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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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幽閒貞專
作者: 文潔華教授

2011-06-09 12:15:22.0

翻「毛傳」,才知道「窈窕淑女,君子好逑」,隱含了多少女人難以獨立獨處之意。 「淑」為善者;「逑」乃匹配。「毛傳」說「言后妃有關睢之德,是幽閒貞專之善女;君子之好匹」。 幽閒貞專,談何容易。女人如要

Water soluble polymer
作者: 鍾姍姍博士

2011-01-03 09:57:04.0

There appears to be a belief that plastics are bad for the environment because it is not degradable.






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