石頭時代II-李義弘水墨個展
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展期：2013 04/13(Sat.) ~ 05/12(Sun.)
開幕茶會：2013 04/14 下午3:00
李義弘，字在川，台灣台南西港人，李義弘曾說：「天地通通沒有邊界，對於一個畫家來說，尋求大自然是非常自由的。」榮獲中山文藝創作獎、吳三連文藝創作獎章等，是一位具傑出創新表現力的水墨畫大家。
李義弘以攝影、繪畫、書法等記錄自然，更以攝影入畫，加入層次精準的意象，使作品顯得奇特且創新。從年少時期南台灣鄉土情懷的捕捉，到足跡踏至印度、尼泊爾、中國大陸等地的行旅寫景，近年來的山水創作，更著力將山色、光影、雲氣、質感兼容於一，已然演繹出自我存在於自然狀態下的體悟。
水墨、書法在創作領域中一直是最具東方特質的表現媒材，李義弘在水墨畫中開創出嶄新的表現思維和現代詞彙，具體地實踐藝術家自我挑戰的種種可能。李義弘讓觀者了解他個人深居鄉間對土地的深厚情感，而其所欲探討的，更是深入傳統中去理解筆墨與自身的關係，並具有台灣水墨風格的創作理念，同時也彰顯「島嶼色彩」的水墨新境：留白之處流露出一股靜謐禪意的力量，從而賦予內涵擴展的創作張力。
本次李義弘在小畫廊展出的作品延續當代水墨的創造意念，從寫生轉而對風景的形象摹擬，畫境的剪裁拼接由近而遠，讓構圖趨向單純，而筆墨線條對於形象的取法則更為簡約，將真實影像融入水墨畫中，岩壁和石紋的效果以水墨暈染、虛實相映，肌理耐人尋味，賦予創造性的語言與內涵。
║搶先看║
寫在「石頭時代 Ⅱ」展覽前
百年來，書畫形式從文化心性的內蘊深刻，困灘成附庸於抽象或材料的名詞，我們不得不反省，這個試圖從筆墨束縛掙脫，以名詞更迭所帶來相對的狹隘，是否真正提供了本質上的超越？面對這個時代的變化，轉用的的高明與否便在“筆墨”與“形式”。筆墨根植於線質、內化於人格、淬鍊於思想，更昂揚於心性，不識筆墨便無法鑑別藝術內涵；而形式不外乎題材、構圖、技法，能在形式上推陳出新，更能凸顯風格。然而形式明顯易辨乃成於權變，筆墨深沈隱顯而難以企及，面對全球化或本土性的焦慮，主張揚棄或保留筆墨便形成廿世紀後期華人書畫圈的對立，當最終各自劃下那道底線後——毛筆並未被革命掉，筆墨也沒有消失過。
一九四九年後，臺灣曾陷入對膠彩、水墨「正統國畫」的政治意識中，並逐步透過移民畫家對於中原傳統的懷想、面對抽象思潮的進退失據，將西方美術移植、稼接為當前自我認定的新意。李義弘先生的書畫養成於七○年代初期，面對水墨潮流的衝擊也曾數度迷惘，直到拜入集美術史論、書畫創作於一身的江兆申先生門下，浸淫於筆墨的深探，讓他逐漸在潛遁中紮根，同時藉由自身對攝影取景、飽游飫看與造型美感中，取得相互鎔鑄的均衡發展。
面對師承轉換的去蕪存菁，李義弘逐漸形成自身藝術風格從量化到質變、從守成轉為創造、從依循漸趨個性凸顯，對於師門深厚的文人思維，他自有統攝與轉念的化用，一種筆墨氣度的蘊含，便維繫住書畫相融的人文素養。尤其六十歲後對於書法線條的鍛鍊，使他更自信游刃於筆線的明確與彰顯；可以說，如果六十歲以前李義弘所追求的，是一個趨近真實自然而致的畫意，那麼此後的他便是以筆墨去重塑自然，並凝縮出以一個以線質、層次、結構為依歸的畫境，便從自然形似的寫境、抽象模擬的造境，達到真我交融的超越。綜觀近十年來，李義弘先生的創作方向，便大略呈現如下的特徵：
一、書法結構的伸展：由於專注在書法的體會，先生近年的作品便特別顯露出對空間佈白的追索，與疏密節奏的探尋；聯繫著線性的彈躍與凝思的意象，匯歸為畫幅結構的線性張力，那青山綿密、墨石鬆秀的虛實互異，已然是心手雙暢的書畫合一。
二、水墨韻味的追求：既知線性舒展的凝結，那麼散其結構，便見筆花墨雨般的疏落。這系列或作冊頁形式、或排列成方塊聯作，其開合間彷如棋局的巧變；無論是側重水份凝澤的厚染滲透，或是深邃皴紋的以實馭虛，都要逼仄出畫面純白的透亮，與南島光影的濕潤意象。
三、搨拓噴印的形式：藉由搨印、噴墨圖像的穿插，摻雜皴線墨染的厚實紋理，便能使人興起金石碑拓的傳統聯結，而接著延伸出的石紋肌理、樹幹剪影等意象，並融入雲彩、逆光、藍海、礁石、夕照、寒雨、霾霧……等等觀海經驗，頗能歸引入藝術心靈的沈澱。
四、筆線迷離的意境：由於對巖石肌理、墨痕層染的深究，李氏再次將攝影的細節引入臺灣山岩的表現，無論是黝黑肌理的濃重，或是逼自然光影的通透，均別顯絕巘崚嶒的氣勢撼人。而幾件以花蓮立霧溪、砂卡噹溪石為題的創作，更專注於大自然鬼斧神工的石紋節理——早年李義弘欽服於溥心畬畫面線條精準、毫無廢筆，但這似乎與大自然無章法的脈絡相違。經由皴筆線條穿引、複筆層層厚染後，又賦加著修改的疊痕，使岩面層次顯得錯落幽深，細看便成筆墨繚繞的抽象，是他體悟通會後的另闢蹊徑。
凡直入筆墨者往往老而愈妙，以此為根柢，無論在形式上如何翻新變革，便在一種自我約束與規範中求發揚，甚至於晚年變法後，便直入峰迴路轉的藝術高度。書畫家能對傳統進行回溯與前瞻的遠眺，便臻於極求完善的「中道」。綜觀整個華人書畫界，李義弘對於書畫表現的創造力是明顯而獨特的，他透過自身蒙養的文化母源，重視著從傳統筆墨、攝影取鏡而來的視覺形式，可以說，當前李義弘的藝術發展歸屬並不令人意外——擁有豐厚傳統文人背景的引領、也具備個人探索新思惟的興趣，卻不陷溺在特定視覺形式的巧變，這便是他的藝術法則。
千年以來，書畫藝術藉由自身的文化根源發展，顯現出結合詩意、筆墨、畫境的高度人文意識，透過這深沈多元的文明依傍，便足以提供創作者融貫傳統與當代的回溯與通會，處在這個多變的時代，除此之外，別無他法！
改寫自‧〈人書俱老意猶新——談李義弘當代書畫的筆墨意味〉一文
Composed Preceding to “The Era of Stone Age II” Exhibition
Wu chi-tao
Associate Professor ofTaipei National University
Associate Professor of
(Re-written from “Only the Creative Spirits Remain Fresh”
On the contemporary painting and calligraphy of Lee Yi Hong)
The discussions on Chines e painting and calligraphy have been focused on different concepts and the use of materials for a significant long time. Somehow, arguments around “Literati painting”, “Chines e painting”, “Ink painting”, and “Modern ink painting” are limited into certain contexts. Maybe it’s about time to explore the nature of painting and calligraphy beyond the borders of “jargon”.
Ink and form are two of the most important nature of Chines e painting. It would be impossible to do criticism without examining them. Ink has its root in the application of line, moreover, it is a true reflection of the artist’s personality and intellectual philosophy.
As for form, it is about subject matter, composition, technique, and innovation. It would be reasonable to say, that too much focusing on form might end up with rigidity, while indulging in ink could lead into confusion.
The recent conflict between globalization and localization has advocated debates on abandoning or retaining the use of ink. Arguments keep on going, however, the use of ink has never died.
Lee Yi hong’s art work was getting gradually mature during the early 70’ s. It was a time when traditional ink painting stood on the verge of change. The impact was so strong that he once felt lost. Fortunately, he was inspired and guided by Chiang Chao-shen, who was one of the pioneers of contemporary i nk painting and calligraphy, also a terrific art historian.
Lee Yi hong has developed a strong interest as well as a fairly good reputation in landscape photographing. His way of seeing also plays a role in his painting. The two creative methods combine and keep balance mutually.
Age 60 was a turning point for Lee Yi hong. Before 60, he was pursuing the mature use of line in the field of calligraphy. After 60, he has obviously put much more efforts on the nature of painting, and tried to convey the spiritual thoughts.
The exhibition has presented Lee Yi hong’s creative “mind set” for the recent 10 years. There are some characteristics can be summarized.
‧Stretching the layout of calligraphy.
‧ The pursuit of Ink spirits.
‧ The form of rubbings.
‧The beauty of blurring lines
Lee Yi hong creativity on painting is unique in the contemporary Chines e calligraphy and painting circles. His strong Literati background plays a key role in guiding him to explore new territory of traditional painting. More importantly, he refuses to indulge himself in playing with techniques. This is Lee’s principle of art.