花團錦簇的鍊金術

策展人／劉素玉

曾雍甯嘗自稱「野人」，因為他從小到大的生長環境，不是在農村，就是在山林或海邊，由於從小喜愛藝術，以及業餘攝影家父親的鼓勵，消磨了許多時光上山下海，盡情地在大自然中寫生、拍照，留下大量植物花卉的素描、圖像，這些都成為日後藝術創作的養料，後來在藝壇投石問路的首次個展就命名為「野人花園」。

「野人花園」是曾雍甯對過去在大自然中成長及學藝經歷的一個檢驗報告，成果是美好的，他如願以償地敲開了台北藝術大學的大門，揮別了五、六年在鹿港家中閉門苦讀、自我摸索的漫長歲月。

2005年上北藝大是曾雍甯生命的一個轉捩點，這個從中南部來的野人，面臨的是一個與素樸小鎮截然不同的繽紛都會，所幸校園裡的生活並不太複雜，真正大的挑戰則是藝術上的學習和創作。就以所選擇的媒材而言，油畫、壓克力、水墨、水彩等才是學院的正統，偏偏曾雍甯選擇的是被視為「非專業」的原子筆，考上北藝大之前，他已經用原子筆畫了好幾年，如果繼續堅持下去，那麼他又何苦來學院走一遭？就算他想在學院多方取經，還是會比那些依循正規訓練的學生辛苦，因為大學裡沒有教授原子筆創作的老師，他所走的是一條沒有人走過的路，而原子筆這種媒材用以創作，先天上就有許多限制，不如油畫或壓克力顏料的色域寬、覆蓋性強、可塑性高，可以表現豐富的層次，生動逼真的效果；也不如水彩畫或水墨畫可利用疊色、渲染、平塗、縫合等技法，製造乾、溼、濃、淡，或黑白明暗等效果。凡此種種，曾雍甯都得要設法一一克服，並開發獨特技法去取代傳統材料創作的優勢。所幸，北藝大的教學思想開放，鼓勵學生自由學習，而當時的藝術界對於使用新材質的實驗風氣正方興未艾，曾雍甯的原子筆繪畫也頗受矚目，如曲德義、張正仁、薛保瑕、黎志文等都很賞識他，黎志文還在「野人花園」佈展時，就收藏了一件作品，成為曾雍甯作品的第一位正式藏家。

2004和2005年連續兩年，曾雍甯入選台北美術獎，2006年又獲得「李仲生基金會視覺藝術獎」，成為有史以來該獎項的最年輕得主，他首次嚐到了時來運轉的甜美滋味，2008年還獲選亞洲文化協會(ACC)台灣獎助計畫，得以到中國、日本遊學半年，開拓新視界。從此之後，他開始受邀參加各種聯展、藝術博覽會，及至私人畫廊邀約，舉行個展，順利地走向專業藝術家的道路，這總算為一路支持他的父母爭一口氣，隨著知名度的開展，他的作品在藝術市場上也廣受喜愛，他也終於可以回饋鹿港家人的關照。

從「野人花園」在藝壇初試啼聲以來，曾雍甯幾乎每年都發表新作，甚至是新的系列作品，可算是新秀藝術家中的佼佼者，這除了顯示他辛勤投注不凡的體力、心力之外，更顯示出他強大的藝術創作能量。原子筆繪畫是高度勞力密集的創作形態，沒有任何捷徑可抄，沒有任何功夫可省，絕對是一分耕耘一分收獲，工作室裡累積著難以計數的廢棄的原子筆筆芯，數量驚人，而作品裡數以千萬計的筆跡、繁複細密的圖案，及至滿溢的畫面、顯著的尺幅，都是曾雍甯日復一日辛勤付出的成果。

不過，比起勞力付出更富有挑戰性的是作品的形式、內容。曾雍甯掌握了原子筆繪畫的基本表現的方法，從最簡單的點、線出發，如圓點的堆疊、線條的重複，形成有機的圖案或符號，像細胞的繁殖增長，延伸到無限的面。他的作品不具敘事性，多半以「花」或「花園」概稱，後來又加入了複雜的幾何形圖案，使作品在具象與抽象之間產生更大的張力；他甚至徹底放棄花卉的圖象和繽紛的色彩，而單純以線條的堆疊構成整個畫面，畫面上充塞著急促筆觸的所留下痕跡，反映了潛藏在他內在生命的爆發力。

曾雍甯對於原子筆的掌控能力隨著持續地精益求精而絲絲入扣，今年最新創作的貼金箔作品「花團圓」系列反映了他如同鍥而不捨的鍊金術士，在精進繪畫的道路從未停歇。貼金箔的作品《花團圓》首次出現在今年初在彰化縣美術館的「燦燦光彩」個展，雖然不是展場上最大的作品，但是很有吸引力。圓形幾乎是曾雍甯作品的標誌，但直徑長達一米五的大圓還是首見，鑲嵌在閃亮的金箔之中，令人眼睛為之一亮。巨大的圓形之中，又由無數的小圓，以各種不同形式、圖案、色彩堆疊，各自成長，不斷地向外、向上擴散，富有層次，使得畫面有立體感，凡此種種，讓人聯想到曼陀羅；巨圓外圍所貼的金箔，除了讓畫面金碧輝煌之外，更有一種莊嚴高貴的氣氛，懸掛在大片的深紫色展板，創造了一種神秘的氛圍，感覺像是聖壇，氣場很強。

曼陀羅直譯自梵語Mandala，意譯則是壇、聖圓、中心、圓輪具足、聚集等，簡而言之，曼陀羅是神秘的圓環，其中的圖像蘊藏著佛教義理，是古老而且意義深遠的象徵符號。瑞士心理學家榮格(Jung)認為曼陀羅是人類集體潛意識的原型、心靈圖像化的象徵，當一個人繪畫曼陀羅時，能夠反應當下的心境，進入潛意識探索更深層的自我，因此運用為藝術治療的方法之一。

本次「花團圓」展覽中也有三件貼金箔的作品，同樣讓人聯想到曼陀羅繪畫，不過曾雍甯創作概念確實與曼陀羅繪畫不同，但頗堪玩味的是，這些鑲嵌在金箔中的圓形作品，有一種特別的磁場，非常富有聚焦力。自古以來人們對於圓形就特別有好感，小孩子第一次畫的圖形是圓形，人們聚在一起會自動圍成圓形，代表正確的圓圈也是圓形。圓形的偏好在許多文化中屢見不鮮，古希臘人認為圓形是最完美的圖形，中國人講究圓滿，吃飯團圓要圓桌，英格蘭發現石器時代留下來圓形遺跡，羅馬競技場和法國最早建造的迷宮也是圓形，更不用說，許多宗教對圓形的尊崇，如聖母、聖子、天使和聖人等頭部上方常有圓形的光環，或是建築上對於圓形的運用，如大穹頂等。圓形是曾雍甯作品中的要角，幾乎所有的作品都有大小的不同圓形，圓形所象徵圓滿、和諧、循環、生生不息，也自然而然地從其作品中傳達出來。

曾雍甯的作品當然也有其他幾何圖形，甚至把各種圓形切割、堆壘，而並非完整的圓形，圓形還是佔有重要的份量，貼金箔的「花團圓」系列，圓形則躍居主宰地位，而巨圓之中包圍著無以計數的小圓，其紋樣、圖案、色彩、組成方式各異其趣，層層疊疊，繁密叢生，卻有一種統一感、協調感，這應歸功於所有的圓形都聚攏在巨圓之中。每一個圓都生機勃發，充滿能量，意欲向外擴張、向上飄浮，彼此互相擠壓，但仍統攝於巨圓之中，而巨圓像是一個蓄勢待發的星球體，鑲框在金碧輝煌的金箔之中，顯得神聖高貴，莊嚴典雅。

曾雍甯過去曾多次述及，他在作畫時，聽到原子筆在紙上發生規律的摩擦聲時，覺得心靈特別安靜，有時也會令他回想到從前母親為人縫製衣服時，雙腳踏踩縫紉機的聲音，那是他習以為常的一種韻律聲，是他心靈平靜的來源，而心靈的平靜與曼陀羅繪畫有異曲同工之效。

「花團圓」系列吸引人之處，貼金箔的效果功不可沒。這是他今年的最新力作，稱之為「力作」，並不誇張，因為貼金箔的技術難度很高，而且金箔光芒四射，運用不當，可能還有反效果，這就是他早已經構想很久了，事實上是早在五、六年前去京都旅行時就買下了，卻遲遲無法動手創作的原因，直到今年終於有了突破。為何想到貼金箔入畫？這與他從小生長環境有關，在鹿港土生土長的他，童年時光都是在龍山寺、天后宮等寺廟渡過，對於寺廟文化諸如建築、空間、色彩等都十分熟稔而喜愛，也一直是他日後創作的養分來源。當他去日本京都旅行時，最喜愛的就是參觀寺廟，當時除了寺廟的空間特別讓他有感之外，也對寺廟中的金色印象深刻，象徵尊貴、神聖的金色是寺廟中常見的色彩，也是曾雍甯從小看到大的顏色，而京都寺廟的金箔特別精美，金光閃爍，比台灣製作的更加優雅出色，令人愛不釋手，更激起他想要以金箔入畫的創作慾望，雖然每張金箔的要價不菲，他還是買了一批下來。

曾雍甯喜愛彩度高的顏色，例如黃色就常見於其作品之中，帶給作品明亮燦爛，而金光閃閃的金色比黃色更勝一籌。金色直接代表黃金，象徵尊貴、權力和財富，自古以來，金色就常見於藝術品中，例如王公貴族的肖像或服飾常用金色；宗教繪畫中，尤其中世紀時期，大量使用金色背景，代表神靈至高無上的榮耀；文藝復興時期的繪畫也常見金色，波提切利(Botticelli)的《春》，眾多女神都是金髮飄飄；提香(Titian)在色彩上的成就舉世聞名，他尤其擅長運用金色，「提香的金色」傳為美術史佳話。及至近代，最擅長使用金色的藝術家莫過於維也納分離派大師克林姆(Kilmt)，大量揮灑金色，形成一種金碧輝煌的基調，強烈的神祕感和富麗璀璨的裝飾效果。他除了使用金色作畫，也直接貼上金箔，畫面看起來熠熠生輝，也營造一種超凡脫俗的氣氛，此外，也大量採用各式各樣的圖案，如長方形、螺旋形、圓形等，富有強烈的平面感和富麗璀璨的裝飾性，各種圖案紋樣的運用及其效果在曾雍甯的作品中也充分展示，如今又加上金箔，讓人有更多的聯想，特別是其中帶來的浪漫、神秘、激情的非凡氛圍。

曾雍甯的作品更多是充滿著動感，有的是規律的律動，有的是不安的噪動，好像是要蓄勢待發的動能，或是生生不息的生長力，如《 花彩搖曳01》、《 花彩搖曳02》、《 花彩搖曳03》、《綻放64》、《綻放65》等，有一些三角形很像是植物的葉子，三角形充滿張力，富有動感，也使得以圓形為主的畫面產生更多變化。
曾雍甯擅長運用幾何造型，近年來更加得心應手。運用幾何造型，讓畫面富有變化，充滿層次感、立體感，突破了原子筆繪畫所欠缺的肌理，而各種幾何形不是以單調的線條呈現，而賦予不同色彩，幾近色塊形式，圓形在層層交疊的各種幾何形之間穿插，非常生機靈動，卻又秩序井然，呈現規律感，因為其中有一定的脈絡，否則就會亂成一團，這對藝術家富有很大的挑戰性，甚至也是體力與眼力的一大考驗。

從「野人花園」在藝壇初試啼聲就一鳴驚人，但曾雍甯始終不敢懈怠，從題材到內容，從構圖到尺幅，及至畫面的精細繁複，創作語彙的變化更新，就像是一位意志堅定的鍊金術士，他日復一日不斷精進，鍊金術追尋的一不只是黃金，更是一種探索宇宙的真理，這也是曾雍甯創作的終極追尋。

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 Alchemy

Starting from Tzeng Yong-ning’s Gold Foil

by Elaine Suyu Liu

Tzeng Yong-ning considers himself as a “barbarian,” because the environment he grew up in, was either the countryside, in mountains or by the sea. Due to his childhood interest in art and the encouragement of his father, who was an amateur photographer, Tzeng spent a great deal of time in nature, sketching, taking photographs, and ultimately leaving a large portfolio of botanical illustrations, all of which later served as inspiration for his art. His first solo exhibition came to be titled Barbarian Garden.

Barbarian Garden was a testament to Tzeng Yong-ning’s childhood experience with nature and art. Subsequently, the exhibition opened the doors to Taipei National University of the Arts (TNUA), when Tzeng bid farewell to over five years of independent study in his hometown of Lukang.

Attending TNUA in 2005 was a turning point for Tzeng Yong-ning. The “barbarian’ from central Taiwan faced a metropolitan city drastically different from the small town he knew so well. Fortunately, campus life was not too complicated. The real challenge was art, in learning and creation. In terms of selecting media, while oil, acrylic, watercolor, and Chinese ink were the staples at the University, Tzeng Yong-ning chose the “unprofessional” ball-point pen. Prior to his enrollment to TNUA, Tzeng had already worked with ball-point pen for several years, but if he continued with ball-point pen, why bother with university at all? Even if he wanted to pursue higher learning at university, he faced challenges different than students with conventional training, because there were no instructors who specialized in ball-point pen. The path he chose was one never chosen before. In terms of the media of ball-point pen itself, there are many technical limitations, whereas oil or acrylic paint can easily spread, blend, layer, and manipulate in general. Also, in comparison with watercolor or Chinese ink, the pen was not spontaneous and did not respond favorably to water. Each of these limitations Tzeng had to overcome and develop his own method of painting in response to convention media. Fortunately, TNUA was open to new ideas and encouraged students to explore freely. At the time, new media and experimentation was emerging in the art world, and Tzeng received the attention of faculty members and critics including Chu Teh-i, Ava Hsueh, and Lai Chi-man. During the installation of Barbarian Garden, Lai even picked out a piece and became Tzeng’s first collector.

In both 2004 and 2005, Tzeng Yong-ning was nominated for the Taipei Art Award, and in 2006, he won the Li Chong-sheng Foudnation’s Visual Art Award, thereby becoming the youngest receipt in the Award’s history. He enjoyed even more recognition in 2008, when he received the Taiwan Award by the Asian Cultural Council, and its sponsorship for a travel and study program to China and Japan for several months. Since then, Tzeng has been invited to various group exhibitions, art fairs, and solo shows by commercial galleries, and has been well on his way in becoming a full-time artist. Also, much to the relief of his supportive parents, his was gaining popularity in the art market.

Since the validation of Barbarian Garden by the art world, Tzeng Yong-ning has produced new works every year, as well as developed several different series, and has essentially made his presence as an emerging young artist. In addition to sheer physical audacity, his art is a testament of his creative spirit. Working with ball-point pen is highly labour-intensive. There are no shortcuts, and no energy can be spared. Inside his studio, lies countless empty pen cartridges: an extraordinary sight. Furthermore, on the paper of his work, tens of millions of lines, build and overlap in complex images, filling the entire composition, in which each and every line represents the daily labour of the artist.

However, the real challenge to the labour is in form and content. In his mastery of the ball-point pen, Tzeng Yong-ning starts with fundamental elements. Starting with individual dots and lines, and progressing with intense repetition, dots and lines accumulate to shapes and planes, like cells reprocessing itself to create larger and more complex cells in an endless process. His works are not narratives, and are often simply titled Flower or Garden. With added complex geometric patterns, there is great tension between the figurative and abstract elements. He goes as far as to abandon the flower’s imagery and colors, to sketch compositions exclusively with lines. The trace or imprint of the ball-point on the paper reflects his strong artistic will.

Tzeng Yong-ning’s relationship with the ball-point pen continues to grow and develop.This year in 2019 his newest series, Flowers, featuring the addition of gold-foil reflects his spirit as an alchemist, in a never ending search for truth in art. The first work in the gold-foil series was debuted at the Glowing Nature exhibition this year at the Changhua Art Museum. Although it was not the largest piece in the exhibition, it received a great deal of attention. The circle is essentially a trademark in Tzeng Yong-ning’s work, but one with a diameter of over one and a half meters is brand new. Set in an encompassing sea of gold-foil, the work immediately grasps the viewer’s attention. Within the large circle are countless smaller circles of various colors, styles, and patterns. Each of the smaller circles interact and correspond with one another, in a sense of movement, in a image reminiscent of a mandala. In terms of the gold-foil that surrounds the large circle, the metallic shine is not only visually striking, but also sets an solemn and divine atmosphere. With the entire work framed by a deep purple wall, a further mysterious atmosphere is created, in a quasi-religious manner.

The term mandala is Sanskrit in origin meaning a divine circle, center or gathering, and is a geometric configuration of symbols that traces its origin to Hinduism and Buddhism with profound meaning. Swiss psychiatrist Carl Jung (1875 – 1961) believes that the mandala is a prototype of human collective subconsciousness, and that when one draws a mandala, one reflects the current state of mind as a form of art therapy.

This present exhibition is centered around three gold-foil works, also reminiscent of the image of mandalas. While Tzeng Yong-ning’s approach to art is fundamentally different than that of mandala painting, the visual imagery of a circle encompassed in gold is spiritually engaging. The shape of the circle is embedded in human history. A child picking up a pen instinctively draws circles, and individuals tend to gather in circles, the only shape that includes everyone equally. This preference for circles is found across different cultures. The ancient Greeks believed it was the most perfect shape, while the Chinese saw it as the most complete. Furthermore, from the prehistoric monument Stonehenge in England to the colosseum of ancient Rome, as well as the circular halos placed behind depictions of saints and deities in numerous religious traditions, the shape has also been associated with greatness and the divine. Circles are a key element in Tzeng Yong-ning’s art,. Found in nearly all of his works are circles of various sizes and patterns, symbolizing harmony, circulation, energy, and perfection.

Of course, other shapes are found in Tzeng Yong-ning’s art as well, but many are variations of the perfect shape, such as ovals or half circles. However, the circle is most prevalent and dominant. In the gold-foil Flower series, a large circle dominates the composition, and is in turn filled with countless smaller circles, of various patterns, colors, and sizes. Packed together tightly, there is a sense of unity and harmony, due to the fact that all the individuals are grouped together, in a comprehensive whole. Yet, each circle is lively and energetic, seemingly expanding outwards, floating upwards, or squeezing each other. Encompassed in a field of gold, the large circle embodies a solemn planet, sitting scared and elegant in the serenity of space.

Tzeng Yong-ning has shared many times that while at work, when he hears the soft sound created by the friction of the ball-point pen on the corse surface of the paper, his mind becomes at ease. Sometimes it reminds him of the sound of his mother sowing, that is the swaying sound of the peddle of a traditional sewing machine. It is a rhythm he is accustomed to and a source of comfort, similar to the effect of creating a mandala.

Gold-foil in an integral part of the Flower series. It is his masterpiece of the year. Applying the foil itself is also labour-intensive, as well as unforgiving in terms of mistakes. He had worked with the idea in his head for a long time, and had bought the foil in a temple in Kyoto, Japan, over five years ago, but the idea only came to fruition this year. Why gold foil? It too is related to his childhood and his hometown of Lukang. Having spent many childhood years, playing in and out of the many historic temples throughout the town, the architectural elements and iconography of the temples became integral to his understanding and appreciation for art and culture. During his trip to Kyoto, visiting temples was the most memorable. In addition to how the architectural space is conceived and functioned, he was most impressed by the abundance use of gold. Symbolizing dignity and divinity, and color gold is commonly found throughout temples, and was an element Tzeng Yong-ning recognized since childhood. He also found the use of gold-foil in Kyoto more elegant and brilliantly applied than the temples in Taiwan, and there he decided to purchase some for future use, despite the costly nature of the material.

Tzeng Yong-ning prefers bright colors, such as the yellow often found in his works, which brighten up his compositions. Gold is essentially a brighter and shinier shade of yellow. The color gold directly alludes to the material gold, which represents power and wealth. Throughout history, gold is commonly used in works of art, such as in portraits of nobility, or the religious iconography of the Medieval Period. During the Renaissance, the Three Graces in Sandro Botticelli’s (1445 – 1510) Primavera are adorned with flowing golden locks, while Titian (1490 – 1576) was celebrated for his mastery of color, especially for his preference for the divine color. Closer to modern times, Austrian Symbolist Gustive Klimt adopted the gold as the primary color in his art, with the result being highly decorative and strongly mysterious. In addition to just the color, Klimt applied gold foil to his paintings, furthering the visual effect of the color. Klimt also employed the use of various geometric shapes and patterns, such as swirls and circles, to create a striking and pleasing image. The same use of shapes and patterns is found in Tzeng Yong-ning’s work, and with the further incorporation of gold-foil, similarities between Tzeng and Klimt become increasingly abundant, especially the sense of romanticism, aura of divine mystery, and artistic passion.

Tzeng Yong-ning’s works are filled with the sense of movement. Some are patterned rhythms, while others are wholly dynamic, filed with momentum and life. In Flower 070101, Flower 070102, Flower 070103, Bloom 64, and Bloom 65 some triangles appear similar to the leaves of plants, and their repetition simulates organic growth. Their presence also provides variation and contrast to the predominances of circles.

In recent years, Tzeng Yong-ning has become increasing proficient in the use of geometric shapes. Such use engages the composition, heightens the sense of depth and three-dimensionality, and thereby challenges the limitations of the ball-point pen. Furthermore, the shapes are not represented with simple lines, but with planes of colors. In the exchange of colors, circles overlap and interact with various shapes, seemingly organically and full of rhythm. As there is a certain order or pattern to the arrangement or progression of shapes, the composition does not descend into chaos, which is often a challenge faced by the artist, to be overcome with vision and perseverance.

Despite the success of the Barbarian Garden and the secure foothold it created, Tzeng Yong-ning never dared to slow down in his art. From theme to content, from composition to size, as well as the complexity of each image and the constant renewal of his will to create art, he has the spirit of an alchemist. The goal of alchemy is not to create gold, but to create the purest substance, and to find the truth within, that is the ultimate pursuit in Tzeng Yong-ning’s art.