林富男《異流油畫》 自序:用美充實生命

2014年09月27日 中國評論新聞


台灣藝術研究院院長林富男

    中評社高雄9月27日電(作者 林富男)土木算結構,材料重科學(方式),企管講分工,社會說倫理,政治談公義;這是作者一路走來的學程,至於提筆彩繪人生看似偶然,但也難謂必然。習藝的過程,完全放空自我,而廣納各派別繪畫理論,察納諸大師雅言,秉持土木工程力學的基礎,建構圖面穩定與張力,以材料科學應用原理,將傳統油畫原料結合現代奈米礦材,轉化成異於固有繪畫材料,彩繪出烱異於傳統油畫的生命,再酌以企業管理行銷實務,讓“異流油畫”作品走入人們的心中。   

    全心投入.研究創新

    自幼庭承家訓及美學概念,打從父親以舊修舊的工法,整建曾祖父的古厝,從事田耕,再轉行建築事業,都可看到吾父堅持美學;母親手藝輕巧,裁縫製衣、穿著配飾、 講究家居佈置協調,更考究美食文化。諸此種種,形塑出作者凡事,都縈繞著以人為本,用美為核心概念,來豐富需求,充實自己的生命。因之,美的概念對我而言,難論是天生或是養成,總覺得,美就是力量,個人認為美的力量足以豐富生命,創造和諧,是社會進步的泉源,更是人類和平的表徴。

    異流油畫的精神特質,在於“流動與漂浮”,它,沒有油畫的既有章法。作者典藏中西畫作逾三十年,創辦台灣國展也有十年,而真正執筆創作,始於2010年6月,伊始富男即放空自我,不喜歡受固定框架約束,而採行各大師的綜論。北宋著名畫家郭熙:真山水之川穀,遠望之以取其勢,近看之以取其質…宏觀取大,微觀取質。請君細覽作品,或可發現構面有流動也帶有飄浮意境。或因具有美學因子,作畫間,喜愛集自然之氣,注重力學格法,講究畫面肌理堅實豐厚,用筆凝重偶而揮灑,著色濃麗但要求色彩交融,使之流露行雲流水,順暢自然。長年生活在南台灣,終年陽光鋪灑大地,綠意盎然,從而喜愛在畫面中鋪入彩度較高的藍、綠、紅、橘等天然奈米化礦材及微量金屬,並酌入適量天然珍珠,調理出半透明的彩澤,此一材料科學之運用,則屬拜賜1982年在國立中山大學材料科學研究所碩士時,郭海鵠教授的指導。當然也藉此感謝國立彰化生活美學館劉玄詠館長邀請展覽,並以“異流油畫”為題,始有機會呈現個展,特申謝忱之意。再請探究畫面,也不難窺視有多層次的畫、貼、噴、染、拓、暈等不同的技法,來表現異於傳統油畫的基本學理,獨創“流動與飄浮”的風格。再請探究畫面,也不難窺視有多層次的畫、貼、噴、染、拓、暈等不同的技法,來表現異於傳統油畫的基本學理,獨創“流動與飄浮”的風格。林語堂如是說,在藝術作品中,最富有意義的部份,即是技巧以外的個性。

    華夏為本 創造Change

    先孺有稱,形而上者謂之道,形而下者稱之器。形而上者,起於行,學於理,止於道。形而下者,起於教形於法,止於術。余常省思,既要執筆彩繪作品展現於世人,則必需要求自己,用宏觀的精神範疇,創作出烱異於世的作品。著名大師塞尚:“畫畫並不意味者盲目地去複製現實”。因此,作者力圖保有先人的智慧與血汗,交織鍛鍊的傳統文化,又要求自我跳脫傳統框架。這或許是與生俱來的天性,凡事大膽嘗試,大開大閤。終致,在彩繪創作間,勇於運用材料科學,以不同技法將傳統油畫筆韻,不斷擠壓堆疊成多層次又厚實的肌理,構面上再採行油墨潑灑,充份表達流動與飄浮的異流形式,創新彩繪技法,將材料整合到另一種境界。旨在技融華夏文化與西洋史實,讓作品具有東方精神與西方技巧,呈現出“流動與飄浮”的獨美主義,期許達到真正形而上的另類當代異流藝術,以表現真正“創作”的法則。

    有美國夢,中國也提出中國夢,其實夢想是一種希望,而畫家也應該有夢,以個人而言,創作的“夢”就是change,要改變畫技、畫法與畫材。台灣藝術研究院士、國立台師大教授陳銀輝說,繪畫不求“形象”,而在表現“意境”,繪畫者無意境,則無“生命”可言。宋代畫家沈括也說:書畫之妙,當以神會,難可以形器求之。綜此,繪畫應貫注於“傳神”。再參諸,台灣藝術研究院院士、台灣國展畫評會主席詹浮雲老師之厚愛,他究其一生,獨授富男作畫十項要窺:構圖之安定性、主色與補色之關係、型與色之變化、畫面動感與破調之處理、構面之對稱與均衡、反逆之表現、賓主互動與空間處理之關係、畫面張力之造型與延伸、質感量感之要素、色彩對比與畫面連絡之關係,均謹記心頭。 評我者師.日求精進

    省思自我,任事必須實踐力行而不徒尚空談。作者既仕亦商又學藝.爾來渥蒙中外兩岸媒體評論讚譽“藝流企業家”、“美的力量創作者”、“兩岸騏驥藝術家”與“異流畫家”等語,然而媒體與畫友雖將余之作品,譽為楚辭的驅體與靈魂,均蘊藏在其作品當中。但此間的風采,則抱持謙遜為懷,執著涓涓的人生,落實樸質的生活,享受真正的單純。佛經黃昏偈有曰:是日已過,命亦隨減,如少水魚,斯有何樂,眾等當勤精進,如救頭燃。今後自當期勉,公餘暇邇,日不間斷,隨時畫筆捻來,不忘在畫布上點綴數筆,藉示永續。

2014.07.10於高雄 (林富男系台灣藝術研究院院長)

 

UNIQUE OIL PAINTING

  Construction to civil Engineering, scientific method to material engineering, division of labor to business administration, ethic to sociology and justice to political science is the subject that the author is devoted into. Dealing with life with the painting brush seems accidental, but not consequential. During learning how to paint, the painter empties himself to give himself a refill of various theories and absorb masters’ comments. Based on the mechanics of civil engineering, stability and extension of constructing a blueprint and principles of material science, the painter gives the oil painting a new life with a combination of traditional raw material of oil painting and modern Nano mineral material, and “unique oil painting” with marketing strategies.

  In his childhood, he was educated family discipline and aesthetic concepts. His father dealt with architectural career before engaging in farming and his mother was good at sewing, furnishing and cooking, from which he has learned to behave subject to the human orientation and aesthetic center. Consequently the concept of beauty to him is a kind of power, not matter it is born with or not, which is strong enough to enrich the life itself, to create harmony, to be the resource of social progress and to act as a symbol of peace.

  The spirit of his oil painting, Distinguishing Trend, is “fluid and floating”, of which manner is not as regular as of traditional. He has started painting since June of 2010, and has collected the Chinese and western paintings for three decades. During these ten years, he has held Taiwan National Exhibition. His works display scenery of fluid and floating. The famous painter of Northern Song Dynasty, Guo, Xi focus “The real mountain and water landscape of the valley, in the far distance emphasis on the power, in closer look pay attention to the quality…in macro vision notice the greater one; in microscopic take quality”. Please review his works subtly, “fluid and floating” image can be perceived on the composition of the painting. With the aesthetical factor, he loves nature in painting and emphasizes mechanics and abundance of painting skills. He paints confidently and his paintings are not only bright but blend with color. Therefore, his works are revealed smoothly and naturally. The painter lives in southern Taiwan that the sun illuminates every corner of the vigorous and greenish land. Thus, he is fond of putting natural Nano mineral and few metals, such as blue, green, red and orange colors. Also he adds adequate natural pearl to mix semi-transparent color. This application is worshipped by Professor, Guo, Hai-hu when he studied for master degree in Institute of Materials Science and Engineering, National Sun Yat-Sen Univesity in 1982. By this occasion, the painter extended gratitude to the exhibition invitation of Liu, Suan-yung, the curator of National Changhua Living Art Center, and entitled “Unique Oil Painting” to present personal exhibition. We can see from his different multi-layer skills, including paint, paste, spray, dye, exploration, and halo to present basic theory which is different from traditional oil painting and create unique style “fluid and floating”. Master Lin, Yu-tang said “the most meaningful part in art works is personality beyond skills.”

  Scholars said: “What above form is called Tao; what within form is called material. Metaphysician performance and learn by Tao. Physical personal, behavior and shaped by rules and methods.” The painter introspects to require himself to use macro spirit to create unique works. Master Paul Cézanne said “Painting does not mean duplicate reality blindly”. Therefore, the painter endeavors to maintain ancestors’ wisdom and combines traditional culture to escape the frames of tradition. This is inborn human nature to challenge to become splendid. The painter applies Material Science on traditional oil painting by different techniques to show multi-layered mechanism. He used innovative painting skills, for example, exploration on upper atmosphere to express “fluid and floating”. These skills were mixed by Chinese culture and western history to present “fluid and floating” idealism on works with oriental spirit and western techniques. He expects to realize real extraordinary metaphysical arts to present the real ‘creation”.

There is American dream in America; there is also Chinese dream in China, actually dream is a kind of hope. And the painter should also have dreams. For the painter, dream of creation is “change”. We should change skills, methods and materials on painting. Professor of the academic of Taiwan Research Institute of Art and Professor of National Taiwan Normal University, Chen, Yin-Hui said painting is no only to show the “image”, but “artistic conception”. Without it, there is no “life” of the painting. The painter Shen, Kua said “the wonderful painting should be focused on the artistic conception, not only evaluated the shape”. The painter is adored by Mr. Chan, Fu-Yun, Chairman of Taiwan National Exhibition who instructs him ten elements of painting: stability of composition, relationship of main and auxiliary colors, changes of modes and colors, handle with motion and broken tune, symmetry and balance of surface of painting, performance of inverse, relationship of interactive an space, modeling and extension of surface tension, main element of quality and quantity, and relationship between color contrast and picture connection. The painter always keeps in mind.

“Doing instead of talking” is the proverb to require himself. The painter is not only a high officer, a successful business man and also an outstanding artist. The painter is entitled as “Artist Entrepreneur”, “Creator of Beauty Power” “Cross-strait artist” and “Unique Oil Painter”. In addition, he was praised as body and soul of Songs by the media and other painters and that are shown in his works. He insisted on humility and dedication in his real life to enjoy simplicity. Buddhist Epigrams “As today passed, length of this life is thus reduced, just as fish in scant water, what enjoyment is there? One should practice diligently, as if to put out fire on one’s head…”. Henceforth, he will keep on painting continuously and consistently.

In Kaohsiung
2014.07.10

NEWS  

林富男
林富男
臺灣藝術研究院 院長
學歷
  • 美國西雅圖城市大學企管碩士
現任
  • 行政院政務顧問
  • 臺灣藝術研究院院長
  • 台灣國展委員會主任委員
  • 行政院觀光發展推動委員會委員
  • 南台灣觀光產業聯盟總召集人
  • 國立中正大學講座教授
  • 長榮大學EMBA講座教授
  • 大韓民國東洋大學榮譽教授
  • 台韓經貿發展協會會長
  • 台灣藝術股份有限公司(8479)董事長
  • 高雄漢王洲際飯店總裁
  • 墾丁天鵝湖湖畔別墅飯店總裁
  • 田甲興業股份有限公司總裁
  • 台灣機電股份有限公司總裁
經歷
  • 總統府顧問
  • 行政院顧問、政務顧問
  • 總統府2006國家永續發展委員會經濟組副召集人
  • 行政院國家永續發展委員會委員
  • 行政院南方智庫副總召集人
  • 高雄市政府顧問
  • 高雄市政府經濟發展委員會副主任委員
  • 中國國民黨中央黨部青工會副主任
  • 中國國民黨高雄市黨部青工會委員長
  • 中華民國跨世紀青年領袖國務委員會總召集人
  • FAPA台灣人公共事務委員會顧問
  • 財團法人高雄市國樂團文化基金會董事長
  • 財團法人伯仲基金會、明德安和基會會董事
  • 財團法人高雄市文化基金會董事
  • 二級古蹟打狗英國領事館董事長
  • 高雄市孔子廟董事長
榮譽
  • 1986 當選高雄市首屆十大傑出市民
  • 1986 高雄市政府頒高雄市金質市鑰
  • 1989 高雄市政府頒高雄市榮譽市鑰
  • 1996 中國青年救國團頒幼獅奬榮譽奬章
  • 1998 中國國民黨頒二等華夏奬章
  • 2003 高雄市政府頒觀光貢獻特別奬
  • 2003 獲大韓民國東洋大學頒榮譽教授
  • 2004 獲大韓民國忠清南道聘任海外首席經濟顧問
  • 2006 獲屏東縣恆春鎮公所頒榮譽鎮民
  • 2011 教育部大學教學卓越計畫審查委員
  • 2012 大韓民國朴槿惠總統海外顧問
展覽
  • 2011 北京台灣映像特展-台灣館開幕展
  • 台東縣政府邀請展覽-台東美術館
  • 台灣八大名家聯展-漢鄉畫廊
  • 2012 北京國際藝術博覽會
  • 首屆兩岸藝術新天地畫展暨論壇
  • 上海國際藝術博覽會
  • 台灣府城藝術博覽會
  • 台灣之美油畫特展-高雄捷運公司
  • 2013 國立彰化生活美學館邀請展
  • 交通部民航局高雄國際機場邀請展
  • 第16屆北京國際藝術博覽會個展
  • 高雄市文化中心展覽
  • 2014 第17屆北京國際藝術博覽會個展
  • 台灣新存在主義序曲-高雄市美術推廣傑人會聯展-國立海洋科技大學
  • 台灣新存在主義序曲~望春風-高雄市美術推廣傑人會聯展-高雄市文化中心
  • 藝協-戲古蛻今創作聯展-高雄市文化中心
  • 藝協-韻采交響曲-高雄市藝文團體理事長協會-國立雲林科技大學
  • 中國宏寶齋美術院邀請展
  • 國立彰化生活美學館邀請個展
  • 典藏
  • 「蓮花錦躍」,澳門國父紀念館典藏
  • 「Formosa」,中國兩岸客家文化研究院典藏
  • 「阿塱壹古道」,屏東縣政府文化處典藏