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劉澤光博士
視覺藝術院副教授

   
劉博士為視覺藝術碩士課程總監,著有《雅俗互參:劉澤光書法篆刻的新探索》、《文人藝術之承傳與轉化》和四十多篇論文和展覽圖錄,並為2001年版《大英百科》修訂有關中國書法的條目。

他奪得不少國際書法獎項,作品為中國、香港、美國等地藝術博物館收藏。2007年他獲美國加州聖巴巴拉中央圖書館邀辦第二次個人展《筆之旅》;2008年獲中央研究院近代史研究所邀為訪問學人。他也參與制定新高中視覺藝術課程,以及中學會考視覺藝術科成員。


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Momentum 勢
走進撲朔迷離的「煙霞」
願作文化擺渡人
平安
王昌齡《出塞》

山深杳杳 川流不息
2009-11-16 14:34:38.0 網誌分類: 我的專業
 


A Deep and Tranquil Mountain
山深杳杳
Experimental calligraphy with the character
shan (山), or “mountain”
Glass
Height 9.5cm, width 17cm
2009

An Endless Stream
川流不息
Experimental calligraphy with the character chuan (川), or “stream”
Yellow rose wood (Huanghuali wood)
Height 16.5cm
2009

由平面而立體,從紙張筆墨到組件裝置,劉氏虛實相生的美學也引申到以書意為實、章法規矩、甚或書寫工具皆虛的境地。他的書法雕塑《山深杳杳》、《川流不息》以玻璃、木材將「山」、「川」二字入書,並置成立體對聯狀。有趣的是,山勢安固,所用的媒材竟是流動感強的玻璃;水周流不止,卻以堅實的木材為書。「山深杳杳」唯見磨沙玻璃迷濛、透光玻璃瑩徹,交映出山色一片澄靜。極目遠眺,層巒起伏如創物主的手掌般卷舒自如。山脈逶迤正以媒材為筆為紙,用行書書意描寫出「山野」悠然自得之趣。而「川流不息」則以花梨木為紙、雕刻刀作筆,按木材的天然紋理、色質疏理出流水滾滾的「川」字。天然、人工巧合,激發水流湍慄,波濤涌動,大有書法線條起伏的節奏、墨色層次的明快。一山一水跳脫傳統書法的形式,以意御「筆」表現山光水色,也隱含仁者樂山之寧定、智者好水之奔流的對比,大大豐富了觀賞作品的層次。物非物,書非書,卻見書法窮極變化而象由心生,留下渾沌撲拙的翻滾痕跡。

摘自「虛實相生 – 筆墨、線條的對話:劉澤光黑老虎書法展」一文
作者:丁穎茵  香港浸會大學助理教授

Working from a flat representation to a three-dimensional installation, Lau’s aesthetics of void and solid extend the means of calligraphy.  Thus, the writing embodies the notion of solid, whereas the technique of penmanship refers to the void.  In a pair of sculptures, A Deep and Tranquil Mountain and An Endless Stream, Lau uses glass and wood, respectively, to articulate the characters of ‘mountain’(山) and ‘stream’(川). Interestingly, the majesty of the mountain is portrayed with a fluid form of glass and its serenity, while a gnarly trunk of wood shapes the movement of running water.  Looking at A Deep and Tranquil Mountain, the obscure and transparent facets of glass create a fair show of greenery with a touch of sparkling sunshine.  Its gentle and smooth form is reminiscent of the Creator’s hand – nurturing and miraculous – giving the hill a breath of life.  Through the interplay of glass material and graceful form, Lau represents the ‘mountain’ character in a cursive script that resonates with the natural landscape, and embraces the wilderness with poetic sensibilities.  In contrast, in An Endless Stream, Lau uses a trunk of yellow rosewood (huanghuali wood) as the paper and a carving knife as the brush to reveal the restlessness of water.  With a careful design and artistic processing, the form of the character is carved out of a natural tree trunk, conforming to the original wood pattern.  The rhythmic form and wavy texture of the material resembles the swift lines and delicate inkwork to capture a tumbling current rushing across the view.  The character is not the turbulent flow, but its formal significance is identical to the subject. Obviously, this group of experimental works by Lau does not resemble writing, but as calligraphy, the fully sculptured volume and rich relief make material the essence of the character.  Such a fertile vocabulary of form and texture is also suggestive of the Confucian saying: ‘The wise delight in water, but the humane delight in mountains.  For although the wise are active; the humane are at rest’.  Hovering between formal significance, and cultural reference, Lau invites viewers to explore the multi-layered interpretations of the characters.  Ultimately, the richness of Chinese characters allow for an outpouring of personal expression without limits, as might occur with unconventional writing methods.  Thus, Chaos is revealed directly from a simplistic vision.

Author: Vivian Wing-yan Ting
Assistant Professor, Hong Kong Baptist University
From “The Void-Solid Reciprocity: A Conversation Between Lines and Ink Work”

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妙手乾坤
2009-11-01 11:42:25.0 網誌分類: 我的專業
 

妙手乾坤
The Principles of Heaven and Earth Held in Wonderful Hands

Clerical script
Ink on paper, hanging scroll
180 x 48 cm
2008

Collection of University Museum and Art Gallery, The University of Hong Kong

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空 Emptiness
2009-10-24 13:26:22.0 網誌分類: 我的專業
 

Experimental calligraphy with the character
kong (空), or “emptiness”
Ink and water on chiffon, mounted as a screen
201 x 101 cm
2009

《空》是劉氏另一創新的實驗書法。是作取篆書「空」字的寫法,以暢快淋漓的筆墨在雪紡表面上潑出那觸不著、摸不透的空明。墨舞佻達達的在雪紡輕透的物料上圓轉流瀉,有如風馳雨驟的南國山水,奇雄卻又不失空靈。作品鑲成屏風式,配上材質粗獷的框架及腳座,亭亭而立。光線輕透雪紡書面,與四周事物交映出虛虛實實的空空世間。觀眾隔紗觀字彷如霧裏看花,一切疑幻似真,直指「空」的本義─世事空花夢一場,捕風捉影何為?

摘自「虛實相生 – 筆墨、線條的對話:劉澤光黑老虎書法展」一文
作者:丁穎茵  香港浸會大學助理教授

Emptiness, one of his latest works, draws inspiration from the form of seal script to create an artistic interpretation of the meaning of the word.  By splashing, sweeping, and dripping ink on to the glassy silk chiffon, Lau applies strokes dashingly to reveal an amazing fusion of intricate sensitivity and strength.  The character, ‘emptiness’ (空), is represented as a gorgeous mountain from South China that is exposed in the pouring rain and whirling blast.  The work is mounted on a rough wooden stand to present its three-dimensionality.  The light passes through dreamily, and the ink landscape is crisscrossed with the surrounding scene, creating both an illusionary and realistic field.  The work allows viewers to see through the glamorous phenomena and reflects upon the essence of the character, ‘emptiness’, in its complete vanity.

Author: Vivian Wing-yan Ting
Assistant Professor, Hong Kong Baptist University
From “The Void-Solid Reciprocity: A Conversation Between Lines and Ink Work”

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虛 Void
2009-10-17 12:51:33.0 網誌分類: 我的專業
 

Experimental calligraphy with the character
Xu (虛), or “void”
Ink and water on paper
60 x 38 cm
2009


沉醉於筆觸墨舞虛實交映間,劉氏的創作又另開一虛實渾然相融,回歸渾沌不開一竅,而萬事俱足的境界。如以《虛》為題的實驗書法,正反映劉氏揮毫自由自在不礙於線條、墨點,卻又突顯文意。乍看是篇作品彷如一幅潑墨山水,崢崢山岳自右下角隆隆崛起,信目遊走至中境,山勢卻為冥冥雲海所遮蔽,旦見遠處雲煙隨隨而上,唯有稍事休息再一鼓登山,豈料腳下涼沁沁的,低頭又見潺潺泉水緩緩流過。細觀通篇似虛還實、濃淡調和,倒似是人跡荒絕的仙人山居。登臨遠眺,才發覺雲海杳然間原來有一個「虛」字在(留白的空間隱約形成了「虛」的草書筆劃)。《說文解字》謂「虛」作大山解,而劉氏正以淋漓的黑色、流動的線條點染出文字的「玄虛」。這是抽象寫意的書法,也是接近中國山水畫的具象書法。亦虛亦實,書法回歸到單純講究筆墨的表現力,開拓了一片自由的想像天地,大抵也就是渾沌怡然自得的所在罷。

摘自「虛實相生 – 筆墨、線條的對話:劉澤光黑老虎書法展」一文
作者:丁穎茵  香港浸會大學助理教授

Lau's creations, embracing the aesthetics of void and solid, return to the unnamed land of Chaos, where expressions are liberated from ink and brushes.  One of the experimental works of calligraphy, Void, reflects Lau's free wielding of brushes to reveal the formal significance of character that goes beyond a superficial appearance of lines and dots.  At first glance, the work is a landscape painting in splash-ink. Viewers can see steep mountains rising abruptly form the bottom right corner, and strolling up the slope, viewers would nose into an enigmatic home of immortals enshrouded by a drizzle of mist.  While catching their breath, viewers might feel a peculiar cool sensation creeping up from their feet, with a murmuring brook that seems to thread its way down the hill.  From a distance, viewers would realize that the character xu (虛), or “void” (i.e. the negative/white spaces that suggest the configuration of strokes of the character xu in cursive script), is veiled in the quiet sea of clouds.  According to Shuowen Jiezi (Book of Chinese Characters and Phrases – the first comprehensive Chinese dictionary), the character, “void”, is defined as a gorgeous mountain.  Lau feeds the itinerant lines with sweeps of ink to magnify the character.  The calligraphy is void in outlining any tangible form of the character, but sufficiently solid to reveal its aesthetic significance.  The juxtaposition of void and solid releases a free expression of ink and brushes in conveying a sense of simplicity. It opens up a world with infinite aesthetic imaginations where Chaos can be found within an inner space.

Author: Vivian Wing-yan Ting
Assistant Professor, Hong Kong Baptist University
From “The Void-Solid Reciprocity: A Conversation Between Lines and Ink Work”

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咩話?What?
2009-10-03 11:51:13.0 網誌分類: 我的專業
 

Front

Back

Imitation of rubbing from stone carving in clerical script (front) and clerical script (back)
Ink on paper, mounted with canvas and wood as a three-dimensional object resembling a monument
119.5 x 60 x 179.5 cm
2008

香港粵語中「咩話」一辭,既表達「驚訝」,亦可指「甚麼方言?」令人驚訝的是:粵方言破解了少數民族語言漸被淘汰的宿命,甚至97回歸後,仍在香港流行使用。這體現出強烈的本土認同和自豪感。為歌頌香港粵語作為獨特的社會和文化現象,我將「咩話」二字轉化為石碑拓本的視覺效果,並藉沉雄古樸的書法風格拱托出一種格外的歷史聯想,將歷史猶久而富濃厚地方色彩的粵方言,帶到戲劇化的現在。

 

The Cantonese expression “咩話” has a twofold meaning: an exclamation of surprise or a question asking literally “what dialect?” Cantonese is a dialect that has “surprisingly” defied the fate of extinction of most minority languages and continues to remain in dominant use in Hong Kong even after the 1997 handover; it helps foster a strong sense of local identity and pride.  To celebrate Cantonese as a distinctive social and cultural phenomenon, I transform two Chinese characters “咩話” into a visual effect resembling a stone monument rubbing, and evoke an additional sense of historic association through the age-old and richly vernacular Cantonese dialect through the caverns of time into the dramatic present.

 

「印象:劉澤光博士篆刻展及視覺藝術院學生印章創作展」
舉行日期:2009年10月8日至18日
地點:香港浸會大學逸夫校園林護國際會議中心展覽廳
查詢:(視覺藝術院) 3411 5182/ 3411 5183

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財政預算案中 找不到啟德體育園
作者: 鍾伯光教授

2013-03-07 10:17:38.0

轉載 2013年3月3日[文匯報] A37 2013年度財政預算案已於上周三正式公布。作為體育界一分子,當然特別關注預算案對體育方面的著墨。 當然,體育在整體香港社會的財政預算中不是一項重要部分。而

在香港逛畫廊
作者: 卓有瑞女士

2012-08-01 10:03:05.0

香港畫廊沒有暑修,從五月藝博會後又有不少國際級大畫廊在此開分店,於是和幾位年青的畫友,相約來個每月一遊,以前總覺香港畫廊,尤其在荷里活道上的商業味極濃,沒啥看頭,近幾年開了不少新的小畫廊,有的以本地年






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