駐校藝術家自述 | Artist Statement


李蕭錕 | Quenten LEE

對我而言,書寫是對不同階段的生命記憶。

年少時,一直希望將來當一個純然的職業藝術家,可以海闊天空快樂自在的畫畫,事實上,自己正因為是美術學系水墨畫科班的學生,畢業後,很自然地朝著獨立藝術家的方向努力,約在30到40歲那段時間,有過一段水墨畫的創作高峰期。

之後,因為在大學裡教授書法的關係,遂投入大半的時間往書法鑽研,雖然平日除了畫畫外,字帖絕不離手,觀帖臨帖沒有斷過,目的在藉由毛筆的書寫,練習筆力勁道與空間布局,有助於水墨畫的提昇,後來,因為學佛,大量的抄寫佛經,廣涉各體書法,特別是在具有象形符號,濃厚的圖像感的篆書,及其特殊的虛實對應,吸引我對它的好奇與用心,但是篆書書寫,歷代各家各自有不同的詮釋與技法表現,甚至連字體結構都不盡相同,讓我困惑頗長的一段時間,不敢輕易下筆。

為了溯源其流,故而,大量的閱讀,開始研究文字學,探究其造字原理,及創字意涵,這才真正開啓了我對中國書法結構美、造形美、形態美探究與解析的漫長歷程,而同一時間,另外,亦同步進行狂草書法的摹寫,因為篆書的靜,與狂草的動,一動一靜,可以互為交錯並習,動靜互用,緩疾相應,而從篆書象形符號圖庫,亦能助於變化狂草書體的結構空間,及造形新意,而狂草的天馬行空,更大大強化篆書書寫線條的靈動,如此,篆與草的相輔相成,連結並置,終於突破多年來書法創作的困境,開始積極並有建設性地找出一條可以自在書寫的竅門,終而,浮現並緩步建立自己的書寫風格與創作新意。

除了書法創作的深耕與創新的自我挑戰,長久以來,因為,西方文化與西方藝術的衝擊,年輕學子們幾乎一面倒地傾向西方,而漠視自家老祖宗留下有著數千年歷史的書法藝術,故而,在創作之餘、教學之間,亦常諄告學生們對於傳統文化的重新認識與認同,尤其是,幾乎走進歷史,一息尚存,在整個文化的邊緣處苟延殘喘的書法,尚待他們延續薪火,傳承這引以為傲,世界獨一無二,最精、最妙、最美的書法藝術!

For me, to write is to remember the different stages of life.

When I was young, I wanted to become a full-time artist and spend my days painting freely. Because I graduated from the Fine Art Department, specializing in ink painting, I naturally pursued the career of an independent artist after graduation. When I was between the ages of 30 and 40, I reached a peak in my ink painting career.

Later on, because I taught calligraphy in universities, I devoted most of my time to the research of calligraphy. Apart from days when I was painting, I was never seen without a calligraphy worksheet, and I never stopped practicing and admiring the works of others. My objective was to practice different pressures of the brush and arrangements of space through calligraphy writing; this allowed my ink painting to advance. I then started copying Buddhist scriptures extensively because I converted to Buddhism and was exposed to various calligraphy styles, particularly the pictogramic and graphic seal script. I was especially attracted to and curious about the unique contrasting qualities in the seal script. However, different calligraphy schools throughout the dynasties involve different interpretations and techniques when writing the seal script; even the structure and ways that characters connect are different. This puzzled me for some time, and I was reluctant to start my own writing.

To trace its origin, I started reading extensively and delved into Chinese character analysis, investigating the structure, principle, and meaning behind the characters; this set me on the lengthy path of appreciating the beauty in the construction, design, and form of Chinese calligraphy. At the same time, I carried on with copying wild cursive scripts, because the stillness of the seal script and dynamic movement of the wild cursive script complement each other, which makes them the perfect pair for study and practice. In addition, the pictogramic graphic database of the seal script is beneficial to changes and innovation in the spatial structure of the wild cursive script, while the unconstrained nature of the wild cursive script strengthens the fluidity of the brushstrokes of seal scripts. Together, the two reciprocal calligraphy styles helped me overcome my creative block in calligraphy that had troubled me for many years. I started forging a way of writing with freedom in a more proactive and constructive manner and finally established my own creative style and introduced innovation.

Apart from deep-rooting in calligraphy writing and challenging myself with new styles, I also noticed that young students have long been leaning towards the west, due to the impact of western culture and western art; as a result, these students have neglected calligraphy, the ancient art form passed down through thousands of years by our ancestors. Therefore, apart from my creative work and teachings, I often encourage students to learn and reinvestigate traditional culture, especially calligraphy, a dying art form that is lingering on the edge of culture. I anticipate that the students will preserve the legacy and pass on the unique, exquisite, wonderous, and beautiful art of calligraphy.

駐校展覽 Exhibition
藝書藝色
The Art of Chinese Characters and Chromatology
2020.03.23 ~ 06.05
23. Mar. – 05. Jun. 2020
(駐校藝術家將於4/13-4/24至達賢圖書館駐地創作,並於4/28開放參觀) | ( The artist-in-residence will be stationed at Dah Hsian Seetoo Library between 13th and 24th April. The section will be open to visitors on 28th April. )

藝文空間開放時間:週一至五11:00-17:00 國定假日及期中考週休展
Opening Hours for the Art Gallery: Mon. - Fri., 11:00 to 17:00. Closed on National Holidays & Mid-term Week (Other venues have respective regularities)

展覽地點:藝文中心5F藝文空間、四維堂、中正圖書館、電算中心藝廊、達賢圖書館
Venue: Art Gallery of Art & Culture Center , Si Wei Hall, Computer Center Gallery, Main Library, Dah-Hsian Seetoo Library
駐校開幕茶會 (已取消)
Program Opening Reception
2020.03.25
(三) 18:00-18:30 | Wed. 25. Mar. 2020
18:00-18:30
藝文中心 5F 藝文空間
Art Gallery, 5F of NCCU Art & Culture Center
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駐校開幕對談:《書法與茶》
Opening Talk: Calligraphy and Tea
2020.03.25
(三) 19:30-21:00 | Wed. 25. Mar. 2020
19:30-21:00
藝文中心 4F Art Hub
Art Hub, 4F of NCCU Art & Culture Center
主持人 | Host
藝文中心 侯雲舒主任
Director of Nccu Art & Culture Center, HOU Yun-Shu
對談人 | Speakers
駐校藝術家 李蕭錕老師、林良淦校長
Artist-in-residence, Quenten LEE; Principal, LIN Liang-Kan
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