風景啊風景
在我心目中，風景是最難畫的了！一不小心就會畫得像照片，或是壁飾，或是外銷畫，讓它潛在的價值蕩然無存。風景畫要處理的不是畫得像不像，也不是描繪對象美不美，而是能畫出人對世界的觀感。它要詮釋的是哲學上宇宙論的問題，一幅好的風景畫必然能呈現出人對自己生存世界的感覺和想法。
粗略回顧一下西方繪畫史，風景畫所為何事便很清楚：
在埃及壁畫上看到的風景畫近乎是平面的象徵符號，正如我們電腦鍵盤上幾個符號鍵便能組成所有的思想，埃及人也能用幾個象徵鍵組出全宇宙。龐貝壁畫中的風景畫幾乎可說是在牆上開了一扇通往室外的窗，雖然寫實技法無法跟近代相比，但也顯示了羅馬人務實，追求理想，享樂塵世不落人後。中世紀教會包辦人一切所思所為，只畫他們認為重要的神，風景幾乎退縮到只剩一片天光，自然景物有如簡略的地圖。文藝復興把研究天國的力氣漸漸挪向塵世，空氣遠近法、透視點消逝法成了捕捉自然的利器，在人神交替之際誕生了無數神話世界般的理想風景。由於對實際人世的關照逐漸取代教會的看法，畫面也越趨寫實，風景畫也從人物畫的背景獨立出來成為純風景的作品。用客觀寫實的技藝將自然如實呈現並化為理想世界，相對於自然科學在現象背後尋找定律兩者是同步發生的。當分析法與歸納法成理解世界法則的同時，也為印象派的到來鋪平了道路，之前沒有人能把一棵樹糊成紅、藍、黃三色光點，但當時世界確實被如此看待了。接著文明兵分兩路，一方面以科技為後盾，對自然客體無盡地挖掘、實驗、改造；一方面以自我為客體，向內探索，人的權益、人的本質、人的價值，不斷地翻新。塞尚在繪畫中再造自然的理念，給當時人勝自然下了完美的定義。梵谷也比存在主義早到了幾十年，讓「自我」成了風景主體。野獸派繼而將反常與非理性端上檯面。表現主義更進一步讓非理性主宰理性。第一次世界大戰期間人世的不安、暴力，在達達主義身上表露無遺。超現實主義也為世界的真幻難解添上一筆。立體派對我們眼見的自然已不再留戀，它像解剖刀般把自然切割重組，世界再也難以辨識了。緊跟在二次世界大戰之後的抽象表現主義，那種混沌無言可喻，不也正是世界的寫照嗎？
每當集體意識轉變，文明重組更迭的時刻，風景畫便像一面鏡子般做出回應，沒錯！好的風景畫正是時代的明鏡。
至於當今我們所處的是一個怎樣的時代呢？礙於才情識見，每個人看到的世界其實非常不一樣，光是一個甜甜圈，有人看到的是它中間的洞，有人看到的是圓柱環，有人看到的是芝麻點，有人卻看到它塌了……。我不敢確信自己的風景畫已清晰地映照出時代的樣貌。我只是把人類生存環境的憂慮、殘酷和無奈都留給「空白」做註解；把言語無法說出的憂傷都交給「空白」去敘述。如果有一天，人們看到人造空間的擴張是立足在犧牲其他生境，所有生命的生命都無法免於經濟至上的奴役，而科技不過是生命的利刃，那麼「空白」的意義便得以彰顯。我自許每一幅風景畫都是邁向那全然觀照的步履，是獻給整個世界最誠摯的禮物。能將自己陷入這般自覺而沈浸在創作的狂喜中，對一個畫家來說，那已是無比的幸福了！
Landscape! Oh! Landscape!
In my mind, landscape is probably one of the most challenging genders in terms of creating a painting! Without cautions, this painting will be done more likely as a photo, wallpaper or exporting paintings and totally loses its potential aesthetic value as fine arts. What a landscape painting deals with is not about realism, nor beautifying the object, but rather to interpret our viewpoint on this world. What a landscape painting deals with is the cosmological issues in philosophy. A good landscape painting certainly can present human beings’ feelings and thoughts about this world we survive.
Roughly reviewing the Western painting history, what a landscape painting is about is thus very clear:
What we saw as landscape paintings on Egyptian mural are almost two-dimensional symbols. Just as the few keys on computer keyboard could compose all thoughts, the Egyptians could compose the Universe with few symbol codes. The landscape paintings of frescos at Pompeii are almost like to open a window toward outdoors on the wall. Although the technique cannot be compared to the modern one, it shows the side of pragmatic, ideal-persuading and carpe diem that the Roman possess. During the medieval times, the church takes care of everything, from thoughts to behaviors. Only the deities the church considers to be important are allowed to paint. The landscape paintings heavily withdraw till almost only skyline leaves. The natural landscape is like a simplified map.
The Renaissance moves forward toward this mortal life from focusing researching the Kingdom of Heaven. Sfumato and perspective became good tool to capture the Nature. In between the theocracy and humanism, there are numberless fairy tale-like ideal landscapes. Since the caring for the real human world gradually replaces the opinions from Church. The canvas is increasingly tending to the reality. Landscape paintings are distinguished from the background of portrait paintings and become a pure-landscape gender. While the subjective and realism technique perfectly projects the Nature and transform it into an ideal world, the science seeks rules behind the appearance of things simultaneously. When analysis and induction become the dominant rule to comprehend the world, they also prepare for the coming of Impressionism. Before that, no one would have painted a tree with red, blue and yellow dots. Somehow at that time the world was treated this way.
Later the civilization develops into two different directions. One is back up by technology and restlessly digs out, experiments and transforms the Nature; the other adopts the ego as object and explores internally with human rights, human nature, and the value of human and constantly renews. The concept that recreates Nature in a painting by Paul Cézanne ( HYPERLINK "http://zh.wikipedia.org/zh-tw/1839%E5%B9%B4" \o "1839年" 1839 – 1906) gave the perfect definition for the faith that man would triumph over nature. Vincent Willem van Gogh (1853 – 1890) was several decades earlier than the Existentialism to allow the self as the main body of landscape. Fauvism follows to bring up the issues of abnormity and irrnationality. Expressionism further allows irrationality govern over rationality. Agitation and violence during WWI are fully expressed at Dadaism while Surreailsm adds more projection on the delimna puzzle of the reality. Cubism gives up the Nature we saw with our eyes. It divids and recombines the Nature as and the world is no longer recognizable. Abstractive Expressionism, right after WWII, does not it mirror the real world with the indescribible chaotic?
When the collective sense changes and the civilization recombines, the landscape paintings always response just as like a mirror projects. Yes! A good landscape painting could be regarded as the projecting mirror of an era.
As to what kind of era we are now? It depends on personal quality and thus the world everyone sees is quite different, as matter of fact. Taking a donut as example, some see the hole in the middle, some see the rim, some see sesame seed grain and some see the brown edge…. I cannot really trust that the landscape paintings I did already clearly projecting the true face of the era. I only know that I leave worries, ruthless and helplessness against the survival environment to the blank space as annotation. I give the grief that cannot be expressed by language to the blank space to describe. If one day, people could see that the expanding of man-made space is based on the scarifying of other animals, economic domination tramps over all lives while technology becomes the sharp knife against our life, then the meaning of the blank space is going to be fully presented. Now I have a fantasy that each of my landscape painting is a step toward the fully contemplation as well as the most sincere gift for the world. It is very possible that I might be always seeking it and thus never able to finish it. It is alright that I continue walking on so obsessively. For me as a painter to fall into such illusion and thus feel the ecstasy of art creation, this is such god-sent blessing!
Tien-yu Hung
在我心目中，風景是最難畫的了！一不小心就會畫得像照片，或是壁飾，或是外銷畫，讓它潛在的價值蕩然無存。風景畫要處理的不是畫得像不像，也不是描繪對象美不美，而是能畫出人對世界的觀感。它要詮釋的是哲學上宇宙論的問題，一幅好的風景畫必然能呈現出人對自己生存世界的感覺和想法。
粗略回顧一下西方繪畫史，風景畫所為何事便很清楚：
在埃及壁畫上看到的風景畫近乎是平面的象徵符號，正如我們電腦鍵盤上幾個符號鍵便能組成所有的思想，埃及人也能用幾個象徵鍵組出全宇宙。龐貝壁畫中的風景畫幾乎可說是在牆上開了一扇通往室外的窗，雖然寫實技法無法跟近代相比，但也顯示了羅馬人務實，追求理想，享樂塵世不落人後。中世紀教會包辦人一切所思所為，只畫他們認為重要的神，風景幾乎退縮到只剩一片天光，自然景物有如簡略的地圖。文藝復興把研究天國的力氣漸漸挪向塵世，空氣遠近法、透視點消逝法成了捕捉自然的利器，在人神交替之際誕生了無數神話世界般的理想風景。由於對實際人世的關照逐漸取代教會的看法，畫面也越趨寫實，風景畫也從人物畫的背景獨立出來成為純風景的作品。用客觀寫實的技藝將自然如實呈現並化為理想世界，相對於自然科學在現象背後尋找定律兩者是同步發生的。當分析法與歸納法成理解世界法則的同時，也為印象派的到來鋪平了道路，之前沒有人能把一棵樹糊成紅、藍、黃三色光點，但當時世界確實被如此看待了。接著文明兵分兩路，一方面以科技為後盾，對自然客體無盡地挖掘、實驗、改造；一方面以自我為客體，向內探索，人的權益、人的本質、人的價值，不斷地翻新。塞尚在繪畫中再造自然的理念，給當時人勝自然下了完美的定義。梵谷也比存在主義早到了幾十年，讓「自我」成了風景主體。野獸派繼而將反常與非理性端上檯面。表現主義更進一步讓非理性主宰理性。第一次世界大戰期間人世的不安、暴力，在達達主義身上表露無遺。超現實主義也為世界的真幻難解添上一筆。立體派對我們眼見的自然已不再留戀，它像解剖刀般把自然切割重組，世界再也難以辨識了。緊跟在二次世界大戰之後的抽象表現主義，那種混沌無言可喻，不也正是世界的寫照嗎？
每當集體意識轉變，文明重組更迭的時刻，風景畫便像一面鏡子般做出回應，沒錯！好的風景畫正是時代的明鏡。
至於當今我們所處的是一個怎樣的時代呢？礙於才情識見，每個人看到的世界其實非常不一樣，光是一個甜甜圈，有人看到的是它中間的洞，有人看到的是圓柱環，有人看到的是芝麻點，有人卻看到它塌了……。我不敢確信自己的風景畫已清晰地映照出時代的樣貌。我只是把人類生存環境的憂慮、殘酷和無奈都留給「空白」做註解；把言語無法說出的憂傷都交給「空白」去敘述。如果有一天，人們看到人造空間的擴張是立足在犧牲其他生境，所有生命的生命都無法免於經濟至上的奴役，而科技不過是生命的利刃，那麼「空白」的意義便得以彰顯。我自許每一幅風景畫都是邁向那全然觀照的步履，是獻給整個世界最誠摯的禮物。能將自己陷入這般自覺而沈浸在創作的狂喜中，對一個畫家來說，那已是無比的幸福了！
Landscape! Oh! Landscape!
In my mind, landscape is probably one of the most challenging genders in terms of creating a painting! Without cautions, this painting will be done more likely as a photo, wallpaper or exporting paintings and totally loses its potential aesthetic value as fine arts. What a landscape painting deals with is not about realism, nor beautifying the object, but rather to interpret our viewpoint on this world. What a landscape painting deals with is the cosmological issues in philosophy. A good landscape painting certainly can present human beings’ feelings and thoughts about this world we survive.
Roughly reviewing the Western painting history, what a landscape painting is about is thus very clear:
What we saw as landscape paintings on Egyptian mural are almost two-dimensional symbols. Just as the few keys on computer keyboard could compose all thoughts, the Egyptians could compose the Universe with few symbol codes. The landscape paintings of frescos at Pompeii are almost like to open a window toward outdoors on the wall. Although the technique cannot be compared to the modern one, it shows the side of pragmatic, ideal-persuading and carpe diem that the Roman possess. During the medieval times, the church takes care of everything, from thoughts to behaviors. Only the deities the church considers to be important are allowed to paint. The landscape paintings heavily withdraw till almost only skyline leaves. The natural landscape is like a simplified map.
The Renaissance moves forward toward this mortal life from focusing researching the Kingdom of Heaven. Sfumato and perspective became good tool to capture the Nature. In between the theocracy and humanism, there are numberless fairy tale-like ideal landscapes. Since the caring for the real human world gradually replaces the opinions from Church. The canvas is increasingly tending to the reality. Landscape paintings are distinguished from the background of portrait paintings and become a pure-landscape gender. While the subjective and realism technique perfectly projects the Nature and transform it into an ideal world, the science seeks rules behind the appearance of things simultaneously. When analysis and induction become the dominant rule to comprehend the world, they also prepare for the coming of Impressionism. Before that, no one would have painted a tree with red, blue and yellow dots. Somehow at that time the world was treated this way.
Later the civilization develops into two different directions. One is back up by technology and restlessly digs out, experiments and transforms the Nature; the other adopts the ego as object and explores internally with human rights, human nature, and the value of human and constantly renews. The concept that recreates Nature in a painting by Paul Cézanne ( HYPERLINK "http://zh.wikipedia.org/zh-tw/1839%E5%B9%B4" \o "1839年" 1839 – 1906) gave the perfect definition for the faith that man would triumph over nature. Vincent Willem van Gogh (1853 – 1890) was several decades earlier than the Existentialism to allow the self as the main body of landscape. Fauvism follows to bring up the issues of abnormity and irrnationality. Expressionism further allows irrationality govern over rationality. Agitation and violence during WWI are fully expressed at Dadaism while Surreailsm adds more projection on the delimna puzzle of the reality. Cubism gives up the Nature we saw with our eyes. It divids and recombines the Nature as and the world is no longer recognizable. Abstractive Expressionism, right after WWII, does not it mirror the real world with the indescribible chaotic?
When the collective sense changes and the civilization recombines, the landscape paintings always response just as like a mirror projects. Yes! A good landscape painting could be regarded as the projecting mirror of an era.
As to what kind of era we are now? It depends on personal quality and thus the world everyone sees is quite different, as matter of fact. Taking a donut as example, some see the hole in the middle, some see the rim, some see sesame seed grain and some see the brown edge…. I cannot really trust that the landscape paintings I did already clearly projecting the true face of the era. I only know that I leave worries, ruthless and helplessness against the survival environment to the blank space as annotation. I give the grief that cannot be expressed by language to the blank space to describe. If one day, people could see that the expanding of man-made space is based on the scarifying of other animals, economic domination tramps over all lives while technology becomes the sharp knife against our life, then the meaning of the blank space is going to be fully presented. Now I have a fantasy that each of my landscape painting is a step toward the fully contemplation as well as the most sincere gift for the world. It is very possible that I might be always seeking it and thus never able to finish it. It is alright that I continue walking on so obsessively. For me as a painter to fall into such illusion and thus feel the ecstasy of art creation, this is such god-sent blessing!
Tien-yu Hung
上一頁下一頁
麥寮三殤
麥寮之幼年 2010 壓克力鋁板 122x152 cm
麥寮之青年 2010 壓克力鋁板 122x152 cm
麥寮之老年 2010 壓克力鋁板 122x152 cm
大肚溪口三顏
大肚溪口1800年244x122cm
大肚溪口1960年
大肚溪口2010年
高屏溪三境
高屏溪之原貌152x122cm
高屏溪之疏濬
高屏溪之魚塭
獻肚山三顏
獻肚山之小林村
獻肚山之現在
獻肚山之未來？195x230cm
洪天宇_空白城市（台北101）_2013_畫布，壓克力_174x174cm
洪天宇_空白城市（觀音山）_2013_畫布，壓克力_174x174cm (2)
洪天宇_太魯閣之水天相映_2013_壓克力鋁板_183x46cm - 複製
洪天宇_太魯閣之晨_2013_壓克力鋁板_183x46cm - 複製
洪天宇_阿里山1800年_2013_鋁板壓克力_152x122cm - 複製
洪天宇_阿里山1900年_2013_鋁板壓克力_152x122cm
洪天宇_阿里山2000年_2013_鋁板壓克力_152x122cm
洪天宇_梨山1950年_2013_鋁板壓克力_152x122cm
洪天宇_梨山2000年_2013_鋁板壓克力_152x122cm
洪天宇_薩克亞金溪_2013_畫布，壓克力_92x92cm
上一頁下一頁
分享：
分享至痞客邦部落格
分享連結
相片最新留言