讓現代水墨成為舉世矚目的藝術主流

── 寄語「現代水墨傳教士－劉國松師生展」

文／張孟起

在海峽兩岸被譽為「水墨現代畫之父」的劉國松，推動中國水墨畫現代化的時間，已經超過五十年。為求中國水墨畫的創新發展與時俱進，劉國松提出理論、實驗材料技法、撰寫文章、組織畫會、開設課程、指導學生、舉辦展覽、深化學術理論、出錢出力、任勞任怨，五十年如一日。

早在1965年，劉國松就提出「我們既非古時的中國人，也非現代的西洋人。所以模仿中國古代、西洋現代皆非創造。」那要如何畫出屬於現代的中國人的畫呢？劉國松主張，「繪畫是不停的實驗、走出筆墨的一言堂、工具材料技法的自由解放、真正的創造不可能做到百分之百的控制。」

在這樣劃時代的主張下，劉國松身體力行以科學家的精神將畫室當成實驗室，嚐試不同的紙張、顏料、技法，吸收宋元古畫的精髓與西方抽象表象主義的呈現，成功的發展出運用狂草筆法入畫以及「抽筋剝皮皴」技法的抽象山水系列，受拼貼與硬邊主義影響而發展出的太空畫系列，取法中國傳統「水畫」的水拓系列，運用水墨滲透特性發展出的漬墨畫，以及應用上述技法發展出的西藏組曲與九寨溝系列。

 

對於這些辛苦發明、練習純熟、運用自如的技法，劉國松非但不藏私，還到處宣揚示範。因為藝術就是劉國松的信仰，水墨的現代化就是他所信仰的教義，他以如同傳教士般的毅力與熱誠，目的就在於擴大現代水墨的實踐隊伍，讓現代水墨成為中國現代藝術的主流，甚至是舉世矚目的中國藝術主流。

2010年起，中國當代水墨隱然已經成為與中國當代藝術（油畫）分庭抗禮的藝術主流，受到國際藝術機構、收藏界與拍賣市場的高度關注，如此態勢的緩慢成形，絕對和劉國松自1981年起在中國各地積極宣揚現代水墨理論與技法有著密不可分的關係，無數的中國藝術家都宣稱自己的創作曾受到劉國松思想與理論的啟發。為了表彰劉國松在藝術與藝術教育上的成就與貢獻，中國文化部在2011年頒發「第一屆華人藝文終身成就獎」予劉氏。

近年來，劉國松所組織的「白線的張力」以及「劉國松師生展」已經在兩岸許多公私立美術機構巡迴展出，這些對於水墨現代化有著相同信仰與理想的藝術家以各自不同的藝術語言呈現作品的不同風貌，提出了水墨現代化發展的各種可能性。而這只是兩岸風起雲湧的現代與當代水墨展覽中的兩股力量，劉國松對於現代水墨成為舉世矚目的中國藝術主流的心願已然實現了。

 

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Leading Modern Ink Painting in Becoming the Renowned Mainstream of Chinese Art

– The Missionary of Modern Ink Painting: Liu Kuo-sung Teacher & Student Exhibition

Respected as the Father of Modern Ink Painting in Taiwan, Hong Kong, and China, Liu Kuo-sung has promoted the modernization of Chinese art for over fifty years. In order to revitalize Chinese ink painting in accordance to the times, Liu Kuo-sung has initialed new thought in published articles, experimented with unconventional painting materials, and created innovative painting techniques; as well as assembled artist groups, opened numerous classes with a legion of students, and tirelessly hosted countless exhibitions and academic seminars all over the world – all for the development of modern ink painting.

Back in 1965, Liu Kuo-sung boldly stated: “We are neither Chinese living in ancient times, nor are we Westerners. So neither imitating ancient Chinese nor modern Westerners is true creation!” To truly paint as a modern Chinese artist, Liu proscribed: “To paint is to constantly experiment. Break free from the limitations of ink and wash, and experiment liberally with different materials and techniques. Real creation does not allow one hundred percent control.”

Under this epochal proposition, Liu Kuo-song embodied the spirit of a scientist and transformed his studio into a laboratory. He experimented with different types of paper and ink, while absorbing the essence of the Song and Yuan dynasties, as well as studying new means of representation by Western abstract expressionists. Thus Liu successfully implemented wild-cursive calligraphy in creating “Ripping the Tendons and Pealing the Skin” technique in his Abstract Landscape series. Inspired by Cubism and the use of collage, Liu developed his famous Space series. By borrowing water painting from traditional Chinese painting methods, Liu created his “Water-Rubbing” series. Finally, by his lifelong exploration of the spontaneous qualities between ink and water, Liu developed the “Steeped-Ink” technique, and thereby developed his Tibet and Jiuzhaigou series.

With his hard-earned innovations and skillfully honed techniques, Liu Kuo-sung not only shares them with the world, but also openly demonstrates them in public. This is because Liu Kuo-sung’s faith is in art, and modern ink painting is his doctrine. With missionary zeal and dedication, Liu Kuo-sung’s purpose is to promote modern ink painting, so that the genre becomes the mainstream of modern Chinese art.

Since 2010, modern ink painting has implicitly become a worthy rival to oil painting in Chinese contemporary art. Highly acclaimed by international art institutions, collectors, and auction houses, the genre and its rise must be credited to Liu Kuo-sung’s tireless effort in hosting exhibitions and academic seminars across mainland China in the last thirty years. Since then, countless Chinese artists have acknowledged being inspired by Liu’s theories and innovations. In recognition of Liu’s accomplishments and contributions to Chinese art and art education in China, in 2011 China’s Ministry of Culture bestowed Liu with the Chinese Art and Literature Life-time Achievement Award.

In recent years, Liu Kuo-sung has assembled the Tension of the White Line painting group and also Liu Kuo-sung Teacher & Student Exhibition in numerous private and public art museums in Taiwan and China. Together, these artist who share the same faith in modern ink painting, wield their own artistic styles to bring forward brand new possibilities in ink and wash. And yet, this is only the beginning to the rise of the fascinating genre. Liu Kuo-sung’s dream of leading modern ink painting in becoming the renowned mainstream of Chinese art has finally been realized.

Richard MC Chang