【 藝文空間展區 】 Art Gallery of Art & Culture Center Venue

《 狂草長卷—前赤壁賦 》
Wild Cursive Long Scroll: First Ode on the Red Cliffs

從章草、今草到狂草,草書的作品型態與西方抽象表現主義遙相呼應。其中,狂草的關鍵特色是「連筆」,從連綿不斷的筆勢中,創作者需要持續不間斷地構想整體紙面的空間佈局、留白與行列安排,為書法藝術中的美學高峰。

藝術家在研究所時期從臨摹懷素經典的狂草作品〈自敍帖〉開始,在後續的創作發展中逐漸融入過去累積的美學知識,而開啟更加全面、人筆融一的書寫狀態,亦曾突破傳統書法的直式書寫,以橫寫、立軸的形式創作狂草作品。本次展覽書寫的全新作品,是特別為藝文中心的牆面尺寸而規劃為橫式長卷的狂草作品——前赤璧賦。文本內容談論流水明月的恆常變動性,與狂草筆勢與佈局中大量隨機變化與流動感相互輝映。

From clerical cursive, modern cursive, to wild cursive, the cursive script seems to echo Abstract Expressionism in the West from afar. The characteristic of the wild cursive script lies in its connected style. Throughout the connecting movements of the brush, the calligrapher needs to consider constantly about the spatial composition of the paper, blank spaces, and the arrangement of vertical and horizontal lines. The wild cursive script is undoubtedly a peak in the development of the art of calligraphy.

The artist started with copying Huai Su's classic wild cursive script work Autobiography in graduate school. Later, LEE integrated his knowledge of aesthetics in later works, which led to a more comprehensive, holistic writing style. LEE also once abandoned the traditional vertical composition and created wild cursive script calligraphy that was written horizontally on vertical scrolls. The new work created for this exhibition is a wild cursive script of First Ode on the Red Cliffs that was specifically designed according to the dimensions of the wall at the Art and Culture Center. First Ode on the Red Cliffs describes the ever-changing nature of the flowing water and shining moon, which is reflected in the shifting brushstrokes of the wild cursive script and the dynamic changes in composition.


書寫內容:蘇軾《前赤璧賦》

壬戌之秋,七月既望,蘇子與客泛舟遊於赤壁之下。清風徐來,水波不興。舉酒屬客,誦明月之詩,歌窈窕之章。少焉,月出於東山之上,徘徊於斗牛之間。白露橫江,水光接天。縱一葦之所如,凌萬頃之茫然。浩浩乎如馮虛御風,而不知其所止;飄飄乎如遺世獨立,羽化而登仙。

於是飲酒樂甚,扣舷而歌之。歌曰:「桂棹兮蘭槳,擊空明兮溯流光。渺渺兮予懷,望美人兮天一方。」客有吹洞簫者,倚歌而和之。其聲嗚嗚然,如怨如慕,如泣如訴;餘音嫋嫋,不絕如縷。舞幽壑之潛蛟,泣孤舟之嫠婦。

蘇子愀然,正襟危坐,而問客曰:「何爲其然也?」客曰:「『月明星稀,烏鵲南飛。』此非曹孟德之詩乎?西望夏口,東望武昌,山川相繆,鬱乎蒼蒼,此非孟德之困於周郎者乎?方其破荊州,下江陵,順流而東也,舳艫千里,旌旗蔽空,釃酒臨江,橫槊賦詩,固一世之雄也,而今安在哉?況吾與子漁樵於江渚之上,侶魚蝦而友麋鹿,駕一葉之扁舟,舉匏樽以相屬。寄蜉蝣於天地,渺滄海之一粟。哀吾生之須臾,羨長江之無窮。挾飛仙以遨遊,抱明月而長終。知不可乎驟得,託遺響於悲風。」

蘇子曰:「客亦知夫水與月乎?逝者如斯,而未嘗往也;盈虛者如彼,而卒莫消長也。蓋將自其變者而觀之,則天地曾不能以一瞬;自其不變者而觀之,則物與我皆無盡也,而又何羨乎!且夫天地之間,物各有主,苟非吾之所有,雖一毫而莫取。惟江上之清風,與山間之明月,耳得之而爲聲,目遇之而成色,取之無禁,用之不竭。是造物者之無盡藏也,而吾與子之所共適。」

客喜而笑,洗盞更酌。餚核既盡,杯盤狼籍。相與枕藉乎舟中,不知東方之既白。

駐校展覽 Exhibition
藝書藝色
The Art of Chinese Characters and Chromatology

藝文空間展區展區
Art Gallery of Art & Culture Center Venue
2020.03.23 ~ 06.05

23. Mar. – 05. Jun. 2020
週一至五11:00-17:00 國定假日及期中考週休展 | Mon. - Fri., 11:00 to 17:00 Closed on National Holidays & Mid-term Week

(相關防疫規定請洽各場館公告)

【 展區介紹 Venue Introduction 】

民國78年藝文中心成立之初即在五樓成立「藝文展覽室」,專業的展場有著軌道投射燈與正式展版以供中西畫作、雕塑與攝影作品的展出。在近年的展場改善工程中改名為「藝文空間」,長期以「機構策展」的概念策劃當代藝術展覽、在當代攝影領域也多有著墨。