妙有—林季鋒當代水墨白描
Virtual Existence—Lin Chi Fong’s Contemporary Fine Line Ink Painting
展期：2016.01.16 ~ 02.28
開幕茶會：2016.01.17（日）15：00
藝術家林季鋒，1989年自東海大學美術系畢業，專攻水墨畫，而後專注於白描水墨，近年來致力於白描工筆佛畫。透過早年工筆寫生花鳥畫的嚴謹基礎訓練、古畫臨摹自學等階段，林季鋒在十數年的意匠、功夫雙管齊下的冶煉之下，創作出融合古本特色與時尚文化的「現代佛畫」。
畫中裝身具、瓔珞、持物等莊嚴道具，取材自台灣當下的街坊商肆之中；充滿現代感與自然意象的瓔珞、臂釧、腕釧、華冠等飾品，展現細緻豐富的時尚韻味；以真人模特兒做為尊像面容、姿勢、動態描繪之參考，拉近了觀眾與神佛間的距離。原本嚴肅難以親近的古佛菩薩，演繹著現代教法與美感思維。
在筆法上，林季鋒以絕佳的素描基礎，精確而細膩的表達出人體肌理的立體感，工筆白描更是極盡精雕細鏤之能事，一毛一髮皆以纖毫細線一筆一筆勾描。這種純以精細勾描而產生層次立體的技法前所未見、前所未有，成為林季峰獨特風格，不但開啟了當代佛教繪畫的新道路，更確立了「精筆白描」的佛像新貌。
臉，映現生命狀態。開臉，因此是佛菩薩造像成否的關鍵。
而談季鋒的佛畫，更不得不聚焦於他的開臉。
聖者的臉難開，難，關鍵在於「完美」。這完美，必須符合教義，但符合教義，還不真難，許多神祇，原不在人間，所謂「鬼神易繪，犬馬難描」，關鍵只在你想像的高度，想像得好不好。
但如果這聖者原就是活生生的人修煉而成的，這像，就真難描了，你不能不真，但你也不能只停留於真，不真就與人無涉，只真，又難免於俗。
佛菩薩的臉正如此，所以難開。要在真上兼有超越，對畫者其實是最大的考驗。從這角度，季鋒的白描佛像在當代造像藝術上，正有其不共之處。他畫的佛菩薩讓人「如覩斯人」，讓你既覺親切，卻又不失超越，而此超越更就在人間，直就是凡聖一如的體現。
正因這凡聖一如，看過季鋒佛畫的，無不為這佛菩薩的臉像所讚嘆，而在讚嘆中，觀者的修行種子已自然被植下，佛心已悄悄被喚醒。
到此，真乃無言自化，道藝一體！
Face reflects the state of life. Painting the face, therefore, becomes the most crucial part for the success of painting Buddhas and Bodhisattvas.
To discuss Chi-fong’s Buddhist painting, one cannot help but focus on his painting of the face.
Painting the face of a holy figure is always challenging. The challenge lies in getting it “perfect” as this so-called perfection must conform to religious doctrines. However, conforming to the doctrines is not too difficult because most deities were not real people. It is said that “gods and ghosts are easy to paint whereas dogs and horses are difficult to delineate.” The key is the level of imagination, and whether one has good imagination.
Nonetheless, if the said holy figure was once a real and living person that attained Buddhahood after much practice, it would indeed be a challenge to paint. The reason is that one must paint it in a realistic way and transcend the realistic delineation at the same time. Without the element of realism, the painting would not resemble the particular holy figure; staying only on the realistic level, the painting would eventually seem laic.
The faces of Buddhas and Bodhisattvas fall into this category, which is exactly the reason why they are difficult to paint. To be truthful and realistic and to surpass realist delineation presents a tremendous test to the painter. From this perspective, Chi-fong’s fine-line drawing of Buddhist figures genuinely differ from the contemporary figural art. His delineation of Buddhas and Bodhisattvas makes audiences feel like “seeing the real person,” immersing them in a kind of grace with a sense of transcendence; the transcendence resides in this world, and could be said to be an embodiment of unifying the secular and the divine.
Precisely because of this unification of the secular and the divine, people who have seen Chi-fong’s Buddhist paintings are always amazed by his facial delineation of the Buddhas and Bodhisattvas; and in that amazement, the seed of spiritual practice for the audiences is already planted and their Buddha nature awakened.
At this point, it is truly transformation without words, and the way of Bodhi and the arts simply unify as one!
開幕茶會：2016.01.17（日）15：00
畫中裝身具、瓔珞、持物等莊嚴道具，取材自台灣當下的街坊商肆之中；充滿現代感與自然意象的瓔珞、臂釧、腕釧、華冠等飾品，展現細緻豐富的時尚韻味；以真人模特兒做為尊像面容、姿勢、動態描繪之參考，拉近了觀眾與神佛間的距離。原本嚴肅難以親近的古佛菩薩，演繹著現代教法與美感思維。
在筆法上，林季鋒以絕佳的素描基礎，精確而細膩的表達出人體肌理的立體感，工筆白描更是極盡精雕細鏤之能事，一毛一髮皆以纖毫細線一筆一筆勾描。這種純以精細勾描而產生層次立體的技法前所未見、前所未有，成為林季峰獨特風格，不但開啟了當代佛教繪畫的新道路，更確立了「精筆白描」的佛像新貌。
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道藝一體，原可如斯
前佛光大學藝術學研究所所長
林谷芳
臉，映現生命狀態。開臉，因此是佛菩薩造像成否的關鍵。
而談季鋒的佛畫，更不得不聚焦於他的開臉。
聖者的臉難開，難，關鍵在於「完美」。這完美，必須符合教義，但符合教義，還不真難，許多神祇，原不在人間，所謂「鬼神易繪，犬馬難描」，關鍵只在你想像的高度，想像得好不好。
但如果這聖者原就是活生生的人修煉而成的，這像，就真難描了，你不能不真，但你也不能只停留於真，不真就與人無涉，只真，又難免於俗。
佛菩薩的臉正如此，所以難開。要在真上兼有超越，對畫者其實是最大的考驗。從這角度，季鋒的白描佛像在當代造像藝術上，正有其不共之處。他畫的佛菩薩讓人「如覩斯人」，讓你既覺親切，卻又不失超越，而此超越更就在人間，直就是凡聖一如的體現。
正因這凡聖一如，看過季鋒佛畫的，無不為這佛菩薩的臉像所讚嘆，而在讚嘆中，觀者的修行種子已自然被植下，佛心已悄悄被喚醒。
到此，真乃無言自化，道藝一體！
The Way of Bodhi and the Arts Simply Unify as One
LIN Gu-Fang
Former director of the Graduate Institute of Art Studies, Fo Guang University
Face reflects the state of life. Painting the face, therefore, becomes the most crucial part for the success of painting Buddhas and Bodhisattvas.
To discuss Chi-fong’s Buddhist painting, one cannot help but focus on his painting of the face.
Painting the face of a holy figure is always challenging. The challenge lies in getting it “perfect” as this so-called perfection must conform to religious doctrines. However, conforming to the doctrines is not too difficult because most deities were not real people. It is said that “gods and ghosts are easy to paint whereas dogs and horses are difficult to delineate.” The key is the level of imagination, and whether one has good imagination.
Nonetheless, if the said holy figure was once a real and living person that attained Buddhahood after much practice, it would indeed be a challenge to paint. The reason is that one must paint it in a realistic way and transcend the realistic delineation at the same time. Without the element of realism, the painting would not resemble the particular holy figure; staying only on the realistic level, the painting would eventually seem laic.
The faces of Buddhas and Bodhisattvas fall into this category, which is exactly the reason why they are difficult to paint. To be truthful and realistic and to surpass realist delineation presents a tremendous test to the painter. From this perspective, Chi-fong’s fine-line drawing of Buddhist figures genuinely differ from the contemporary figural art. His delineation of Buddhas and Bodhisattvas makes audiences feel like “seeing the real person,” immersing them in a kind of grace with a sense of transcendence; the transcendence resides in this world, and could be said to be an embodiment of unifying the secular and the divine.
Precisely because of this unification of the secular and the divine, people who have seen Chi-fong’s Buddhist paintings are always amazed by his facial delineation of the Buddhas and Bodhisattvas; and in that amazement, the seed of spiritual practice for the audiences is already planted and their Buddha nature awakened.
At this point, it is truly transformation without words, and the way of Bodhi and the arts simply unify as one!
- 藝術家簡介：林季鋒