點滴．自在．圓滿

記林磐聳六十藝術展

文／劉素玉

少年聽雨歌樓上，紅燭昏羅帳；

壯年聽雨客舟中，江闊雲低，斷雁叫西風；

而今聽雨僧廬下，鬢已星星也。

悲歡離合總無情，一任階前，點滴到天明。

今年的幾場演講中，林磐聳都提到南宋詞人蔣捷的這首詞《虞美人．聽雨》，詞人以三種不同階段聽雨的境況，將一生心境轉折，表露無遺。同樣「鬢已星星」的林磐聳，也經歷過少年得志，壯年奔波的人生境遇，而今體悟了「悲歡離合總無情」，才能夠徹夜聽雨，心如止水，靜觀萬物皆自得。

淅淅瀝瀝的雨聲迷人綺麗，最能激起騷人墨客的浪漫情懷，林磐聳於2013年創作的水墨畫《聽雨》，將台灣島籠罩在縹緲迷濛的煙雨之中，這是一件構圖與意境都很出色的佳作，在他的藝術創作歷程上，相當具有指標性意義。《聽雨》(136x70cm)展現林磐聳朝大尺幅創作的企圖心，並採用暈染手法，不但增添了畫面的層次感，畫面的空間更深邃，更能呈現出煙雨濛濛的迷離氣氛，這在他過去的作品中十分罕見。

林磐聳創作《聽雨》正值壯年之秋，此前一年，他毅然決然地辭去台灣師範大學副校長的職位，比一般預計的六十歲退休，提早了五年，提早退休的想法之一就是為了專心創作。隨後，他更加海闊天空，開創「大山無價」系列，其中一幅《退思》充分傳達了退休後的心情，在該畫的背後，以毛筆寫下他的感言: 「二○十二年八月一日台師大退休，人生里程轉彎，值得記錄，有如Milestone的巨碑。」「大山無價」系列不只 標示了他人生的里程轉彎，更是藝術上的一個里程碑，有別於過去的「我的台灣」系列，不只是畫面突破單純的台灣圖象，而且在尺幅、筆法上都有更多的變化及創新，除了特有的點滴、點描法之外，也加入了潑墨、暈染等技法，與《聽雨》同樣尺幅的作品如《夢的島嶼》(2012年)、《繁華》(2012年)、《疊翠》(2013年)等，俱皆佳品。近年來他還在成扇、圓形的紙面上創作，富有新意；今年最新的一件作品《行旅五帖》共五條幅，其實是一種直立式的長卷，多點透視，由下而上，五條幅中，有疏有密，分開陳列，形成新穎有趣的視覺效果。

 

阮若打開心內的門，就會看見五彩的春光。

這首曾經被鳳飛飛唱過的台語老歌《阮若打開心內門窗》，詞、曲俱皆優雅，林磐聳藉以形容自己走上藝術之路的契機。打開他心靈門窗的人，就是他的父親林慶雲先生。林慶雲是台灣的前輩攝影家，林磐聳從小就看著父親在三地門、六堆等地拍照，體會到父親對鄉土的關懷，更時常聽到父親與攝影同好聊構圖、色彩、光影等，藝術的種子悄悄散播在他幼小的心田，而父親對古典音樂的愛好，同樣也留傳給他，這些都是滋潤心靈的藝術養分。

蔣捷出自宜興巨族，青年即中進士，出任官宦，並富有文名，被稱為「櫻桃進士」[1]。林磐聳也是少年得志，就讀台師大美術系時，就有傑出表現，在大三時與同學成立工作室，第一件工作是替一家幼稚園進行整理形象規畫設計，逐漸投入企業識別系統領域，1985年，他才28歲，就出版了《CIS企業識別系統》，這本至今還不斷再版的書，讓他成為台灣的CI先鋒，也讓他贏得「台灣設計界導師」、「台灣設計的發光體」美名。[2]

雖然少年得志，但林磐聳始終保持虛懷若谷及樸實敦厚本色，這除了是個人修養良好之外，更不得不歸功於他的家庭教養，林慶雲先生雖然已過世多年，但他一生行誼至今仍被親友懷念不已。

2005年春節，林磐聳回到東港老家，看到父親生前栽種的黃金葛，頓時感觸良多，便畫下佈滿黃金葛的台灣，從此開創了「我的台灣」系列。這個系列一開始是用素描的手法，將各種台灣常見的植物、花卉、石頭，及至抽象的線條、符號畫成台灣島嶼造形，他從此一發不可收拾，幾乎每日創作，藉此和過世的父母，也和這塊土地對話。

 

寒天飲冰水，點滴在心頭。

林磐聳常以「寒天飲冰水，點滴在心頭」來形容自己的創作心情。他的創作屬於細水長流，每天畫一點，慢慢地畫、細細地點，不急不徐，積少成多，自2005年迄今，成果相當可觀。「點滴」既是形容他創作時的心情，也是他獨特的筆法，他用毛筆或針筆畫在紙上，從早期的素描，發展為以細密小點推疊、聚散，造成畫面上的肌理與層次，這是一種硬功夫，在旁人看起來更是一種苦功夫，但是他卻自得其樂，今年一月及四月分別在台中及高雄的佛光緣美術館展覽，主題就命名為「點滴自在」，既點出其創作形式和態度，也很切合展覽場地的情境。

常有人戲術林磐聳是台灣設計界的過動兒，因為他經常出差、旅行，行跡遍佈全世界，而林磐聳則認為，人有很多種，有些人屬於動物性格，有些人屬於植物性格，他由於從小在海邊長大，所以自行歸納為海洋性格，就是那種流動不息的海洋特質促使他產生飄泊不定的個性，因此長久以來投入國際設計推廣與交流活動，樂此不疲。他酷愛旅行，這是他保持創意的泉源之一，能激發五感共鳴，是一個人心靈的壯遊(Grand Touring of Mind)。他覺得，放空的同時，也是汲取靈感最好的觸媒。他保持創意的泉源之二是閱讀，他經常手不釋卷，博覽群書，他聲稱，旅行也是一種閱讀，這與古人的「行萬里路，讀萬卷書」不謀而合。

然而旅行過多，其實不利於藝術創作，尤其是需要耗費體力、心力的大尺幅作品。林磐聳以每天堅持創作來克服這個難題，縱使一天只有一、兩個小時，他也一定要想方設法達成，通常是一大清早，或夜深人靜時刻，是他創作的最佳時刻；他也善於利用零碎、片斷的時間創作，以補時間不夠之不足，例如開會、坐車、坐飛機期間，及至等待時的空檔。多年下來，他歸結出一套教戰守策：「時間多就畫大畫，時間少就畫小畫，沒時間就在心裡畫。」林磐聳家中客廳掛著鄭善禧教授送他的一幅字「勤勉惜時」，他把這幅字當做座右銘，身體力行，發揮得淋漓盡致。

每天畫畫，其實也是維繫靈感不致枯竭的良方，對林磐聳而言，更有一種安定的作用，就像是和尚作早課誦經一樣，又像是和尚抄寫經文一樣，透過每日潛心作畫，抒發性情，聆聽內在聲音，也用以鍛鍊人格與修養，尤其是點畫法，最需要功夫與工夫，他說：「每個點的大、小、輕、重，都可以看出當下心情起伏的律動，透過作品可觀照自己內心。」這種鍛練，正好可以平衡他那飄泊不定的海洋性格。

 

走自己的路，圓滿自在…

2007年，林磐聳榮獲國家文藝獎美術類得主，以五十歲的年齡，成為歷屆美術類得獎者中最年輕的得主，也是首位榮獲國家藝術文化肯定其專業成就的設計家，不僅打開了視覺藝術領域的門檻，接納了視覺設計師同樣具有美感創意，可以榮獲文化藝術的獎項。他在台灣設計界的成就有目共睹，然而他總是謙稱，早年他選擇的是一條特別的路。他說：「這條路並不好走，卻讓我因此看到了不同的人生風景；正因為走這條路的人比較少，所以我才能幸運地受到矚目。」

回溯到林磐聳就讀大學美術系的年代，設計是不被重視的領域，但是他投入之後，在國內外獲得無數的獎項，提振了他自己與整體設計界的信心，而這一路走來，其實相當艱辛，並非只是「幸運地受到矚目」而已。

林磐聳覺得在「人生半百」之際，獲得國家文藝獎，具有象徵性的意義，他要花更多的時間與精力投入藝術創作，這又是一條特別的路，也是一個重大的轉彎。他在設計界的盛名，對於他從事藝術創作，有正、反兩面的作用，盛名既激勵著他，但也會是個包袱，所幸，他有著「海納百川，有容乃大」的海洋性格，促使他勇於擺脫一成不變的既定方向。

2011年暑假，由我策畫的「絲路之旅」中，林磐聳大量在成扇上作畫，他希望做到「日行一扇」，並且「廣結扇緣」。我覺得他做人寬厚、樸實，作品豐富、動人，因而「廣結善緣」，像這次與佛光緣美術館的結緣就是一種善緣，在此我要特別感謝黃淑珍女士的熱心牽線，以及覺居法師、如常法師、如川法師、有泉法師的賞識及努力，得以在台中及高雄的佛光緣美術館舉辦「點滴自在」展覽，在林磐聳六十歲的這一年舉行這兩場展覽，特別富有意義。

與阿瘦文化藝術基金會的合作也是另一個善緣，該基金會執行長鄺書瑛女士透過我的介紹，即使她與林磐聳素昧平生，就樂意贊助林磐聳今年的展覽活動。當我第一次在電話中告訴林磐聳這個消息時，他馬上就想出展覽名稱：「走自己的路」，我一時還會意不過來，他提示我說，這個基金會來自於阿瘦皮鞋集團，展覽名稱要與行走有關，他的慧黠與巧思不禁令我刮目相看。

林磐聳回顧過去，大概每隔十年，就會面臨一次人生的轉折。五十歲那一年，他得到台灣最大的美術大獎，所謂「五十知天命」，他認為這個天命就是藝術創作；在佛光緣美術館展覽時，有一件作品《圓滿自在》恰足以呈現他目前的生命情境，這件圓形構圖的作品佈滿了密密麻麻的點點滴滴，大圓中有小圓，小圓中有小點滴，宛如天際的繁星點點，圓滿自在的各自運行，形成一個奧秘和諧的宇宙。今年林磐聳正式邁入耳順之年，所謂的耳順，就是對於外界的各種聲音都能平順接受，波瀾不起，寵辱不驚，這不就是圓滿自在的境界嗎？

2017年夏至前夕於大台北華城

 

[1] 蔣捷的《一剪梅．舟過吳江》中有一句「流光容易把人拋，紅了櫻桃，綠了芭蕉」膾炙人口，故被人稱為「櫻桃進士」。

[2] 2003年台灣的中華文化總會策畫，藝術家出版龍冬陽女士所撰寫的《台灣藝術經典大系．形象與包裝卷》將林磐聳譽為「台灣設計界導師」，表揚他對台灣設計教育的影響及地位。2004年經濟部商業司頒發首屆「傑出商業設計獎」，隔年出版《林磐聳─台灣設計的發光體》，推介其致力普及並展現台灣設計創意，提升台灣設計水平為職志努力不懈。

 

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A Perfect State of Being

– Record of the Art of Lin Pang-soong at 60

 

In youth I listened to the rain in house of song, red candles dimly lit the silk bed curtains.

In my prime, I listened to rain traveling on boats, the river broad and the clouds low, geese wailing in the west wind

And now I listen to rain in a monk’s hut, my hair streaked with grey

Sorrow and joy, meetings and partings, are all nothing in the end, let the rain drip on the steps till the break of day

In several of this year’s speeches, Lin (Apex) Pang-soong referred to the poem Listening to Rain, by the Southern Song Dynasty poet Jiang Jie (c. 1245 – 1310), who vividly described the circumstances of listening to rain in three different stages of life, as it unfolds. Lin Pang-soong, whose hair is similarly “streaked with grey,” has gone through an ambitious youth and a lively prime, and has now realized that “sorrow and joy, meetings and partings, are all nothing in the end.” So, he can listen to rain throughout the night, with his mind as calm as standing water, clearly reflecting all things with ease.

The steady beat of raindrops falling is comforting, and most capable of stirring up the sentiments of artists. Painted by Lin Pang-soong in 2013, the ink on paper painting Listening to Rain depicts the island of Taiwan shrouded in rain and mist. The painting is a masterpiece in terms of both composition and conception, and is a significant milestone in Lin’s painting career. Listening to Rain (136 x 70 cm) records Lin’s ambitious venture into large-scale compositions and his experience with techniques of ink wash, which not only enhance the sense of depth, but also create the misty atmosphere of the rain. Both the scale and technique are seldomly seen in his past works.

Lin Pang-soong’s creation of Listening to Rain was during the transition between his prime and his later years. The year before its creation, he resolutely decided to resign from his position as vice-chancellor of National Taiwan Normal University (NTNU), thereby retiring five years short of the standard retirement age of sixty. One of the main reasons for the early retirement is to concentrate on painting. Soon after, he further expanded his oeuvre and began the Invaluable Mountains series, in which the painting Invaluable Mountains: Retreat fully conveys the mood of retirement. On the back of the painting, rendered in calligraphy, he left “August 1, 2012, the day of the great retirement from NTNU, a change in the trajectory of life, worth recording, like a monument milestone.” The Invaluable Mountains series not only marked a transition in the trajectory of his life, but moreover a direction in his art. In contrast to his past My Homeland series, there is a breakthrough from the stock images of Taiwan, as well as the use of new painting techniques. In addition to pointillism, ink wash incorporated, as seen in Listening to Rain, and also other large-scale work, such as Dream Island of 2012, Flourishing of 2012, and Pinnacle of 2013. In recent years, Lin has found new inspiration in fan-shaped and circular formats. This year’s newest work, Traveling Pentaptych, is an ensemble of five hanging scrolls; with multi-point perspectives and compositional variations between dense and sparse, visually it is exceptionally engaging.

 

 

If I open the window in my heart, you will see colors of spring light.

Sung by Fung Fei-fei (1953 – 2012), the Taiwanese classic, If I Open the Window in My Heart, is elegant in its melody and lyrics, and has been used by Lin Pang-soong to describe how he entered the world of art. The one who opened the window of his heart was his father, Lin Ching-yun. Ching-yun is one of Taiwan’s pioneering photographers. From an early age, Pang-soong watched his father photograph their native county and felt his father’s attachment to the land. He often listened in on his father discussing with other photographers topics such as composition, color, and light, and the artistic seed was thereby planted in young Pang-soong’s heart. Ching-yun also had a passion for Western classical music, which he also passed onto Pang-soong, as something that nourishes the soul.

The Southern Song poet Jiang Jie came from a distinguished family, passed the highest level of government exams at a early age, and served as a high official. He was both privileged and famous for his literary talents, being known as the Cherry Blossom Scholar.^[1] Lin Pang-soong was also successful at an early age. While studying Fine Arts at NTNU, Lin established a workshop with other classmates in junior year. Their first business was to recreate the image of a nearby kindergarten. Gradually, Lin entered the field of corporate identity systems. In 1985, at twenty-five years old, Lin published a book on the subject, which has been republished continuously since, placing him at the forefront of corporate identity design in Taiwan and earning him the title “the Master of Design in Taiwan.”^[2]

Despite his early accomplishments, Lin Pang-soong remained humble and honest, which reflects not only his self-cultivation, but more importantly his family education. Although Lin Ching-yun has passed away for many years, his legacy and memory is stilled cherished by his friends and family.

During the Spring Festival (Lunar New Year) of 2005, Lin Pang-soong returned to his childhood home in Tungkang and saw the golden pothos planted by his late father. Lin suddenly felt a surge of inspiration and painted an arrangement of golden pothos in the shape of Taiwan, thereby creating the My Homeland series. The series began as live sketches, assembling plants, flowers, rocks, commonly seen in Taiwan, as well as abstract lines and patterns into the shape of the Taiwan island. Ever since, it has become almost a daily ritual, creating an image every couple of days, in a dialogue with his late parents and also the land of Taiwan.

 

A drink of icy water on a cold day, the taste is in my heart.

Lin Pang-soong often describes his approach to painting as “a drink of icy water on a cold day, the taste is in my heart.” His approach is slow and steady, like the flow of a long and winding river. Everyday he paints a little; slowly but surely, dot by dot, he pieces the image together, and from 2005 to the present, what he has amassed is a sight to behold. This describes not only his mental approach, but also the technical. With the Chinese brush and sometimes the technical pen, he progressed from early sketches to pointillism, constructing the composition through the build-up of dots alone. This in itself is a form of art; while others perceive it as tedious work, Lin takes pleasure in it. In January and April of this year, Lin’s exhibitions at the Fo Guang Yuan Art Museums in Taichung and Kaohsiung respectively, was titled A State of Being, evoking his approach to art, as reflecting the exhibition venue with poetic resonance.

People often jokingly describe Lin Pang-soong as hyper-active in Taiwan’s field of design, as he is constantly traveling the world. In response, Lin believes there are many types of people; some are like animals, while others are like plants. As Lin grew up by the ocean, he regards himself to be like the sea. It is precisely the rising and falling of tides that keeps him floating and drifting, tirelessly immersing himself in international design events. He happens to also have a passion for traveling, which serves as a source of inspiration to him, stimulating his perception of the world, as a personal grand tour for the mind. He believes, times of leisure is when inspiration strikes best. A second source of inspiration for him is from reading, and he is often found with a book in hand. He voices his belief that traveling is a form of reading, which exemplifies the Chinese idiom “travel ten thousand miles, read ten thousand books.”

Yet, excessive travel is not conducive to creating art, especially for energy-demanding large-scale artworks. Lin Pang-soong overcomes this problem by insisting on painting every day; even only for an hour to two, he forces himself to find time, usually early in the morning to late at night. He is adept in finding and making time to paint, such as time spent in the car, on the plane or even in meetings. After many years, he came to the conclusion that “if there is plenty of time, paint a large painting; if there is little time, paint a small painting.” In Lin’s living room hangs a piece of calligraphy by the traditional Chinese painter, and his former colleague, professor Cheng Shan-hsi (b. 1932), of the characters: “Diligently Treasure Time (Qin Mian Xi Shi),” which he sees as a motto to live by.

 

Walking my own path, a perfect state

In 2007 Lin Pang-soong received the National Award of Art in the Fine Arts category at the age of fifty, as the youngest award winner of the Fine Arts category as well as the first designer in the award’s history. Lin thereby created a new field of opportunities for visual designers, by bringing the profession onto the fine art stage. Although, his achievements in design in Taiwan are well-renowned, he humbly maintains that he had chosen a different path early in his career. He says “it was not an easy path, but it allowed me to see a different perspective in life; and because those who went down this path are few, I have the good fortune of being recognized.”

Back in Lin Pang-soong’s student days at the Fine Arts department of NTNU, visual design was not a prestigious field. However, having received numerous national and international awards since his entry in the field, has boosted his confidence as well as those of his colleagues in their vocation. Looking back on the path, it was not only a matter of “good fortune.”

Having received the National Award of Art at “half way to a hundred” is symbolic to Lin Pang-soong. It is a turning point onto another path, dedicated to painting. His success in design plays both a positive and negative role on his art. He is driven by his reputation, which can also be a burden. Fortunately, he has the spirit of the sea, in which “the sea encompasses a hundred rivers, it is great because of its capacity,” thereby encouraging him to forge another path.

On my curated project, Silkroad – A Contemplative Journey, during the summer of 2011, Lin Pang-soong worked almost exclusively with the medium of the folding fan, jokingly wishing to make attract many “fans.” I believe he is generous and modest, and his works great and moving. My opinion is also shared by his fans who made the exhibitions at Fo Guang Yuan Art Museums possible. I would like to acknowledge the warm enthusiasm of Ms. Huang Shu-chen, and also the Venerable Masters Chue Chu, Ju Chang, Ju Chuan, and Yu Chuan, for their support for Lin’s A State of Being – The Art of Lin Pang-soong at 60 exhibitions at both Taichung and Kaohsiung’s Fo Guang Yuan Art Museums. To have such exhibitions at the age of sixty is especially meaningful for Lin.

A.S.O. Culture & Art Foundation is another fan of Lin Pang-soong. Upon my introduction of Lin to the CEO of the foundation, Ms. Kelly Kuang, the foundation found Lin to be very agreeable and was pleased to sponsor him in this year’s exhibitions. When I first told Lin on the phone of the sponsorship, he immediately came up with a name for the exhibition, Walking My Own Path. At first, it did not dawn on me, until he pointed out that the foundation came from the mother company of leather shoes. I found his quick and witty response admirable.

Lin Pang-soong recalls, every ten years or so his life is met with turning points. At fifty, he received the greatest art award in Taiwan. Quoting Confucius’ phase “knowing the mandate of heaven at fifty,” Lin believes his mandate is art. One of the painting featured in the exhibitions at the Fo Guang Yuan Art Museums, Complete Freedom, perfectly resembles Lin’s present self. The painting’s circular format is densely filled with circles and dots of all sizes, like a magnificent constellation of stars in the night sky.  Continuing the same quote from above, this year Lin Pang-soong will officially enter into the “year in which one’s ears are accepting [of truth, at sixty years old].” In terms of accepting, the quote speaks of one’s ability to accept everything one hears, without alarm or distress. Is this not a state of complete freedom or perfect being?

by Elaine Suyu Liu

(Translated by Timothy Chang)

Early Summer 2017, Great Taipei New Town

 

 

^[1] Jiang Jie’s poem, Crossing Wu River by Boat, uses the imagery of cherry blossoms, and was therefore known as the Cherry Blossom Scholar.

^[2] Taiwan Art: Image & Packaging published by the General Association of Chinese Culture in 2003, called Lin the “Master of Design in Taiwan.” Great Commercial Design Award published by the Ministry of Economic Affairs in 2004 called Lin the “Light of Design in Taiwan.”