當代彩墨形式結構新蘊 —林洪錢創作論述

Abstract

中國的繪畫向來注重的是精神方面的表現，對於形式卻較少去談論著墨。而在文人畫方面，陳衡恪認為「文人畫首重精神，不貴形式。故形式有所欠缺，而精神優美者，仍不失為文人畫。」但是物質與對象的存在，終究必須以某種形式面貌展現出來。形式是物象的外貌，透過形式的呈現傳達出作者的觀點與思維。藝術的創造，一方面是感性的形式，一方面是理性的表現。而形式的創造是為了表現理念而來。理念是什麼？就是普遍性之內容。藝術家在自然現實與人間世界中所感受的、接觸的、體驗的，在他的思索與探討之中，所獲得的最高理念，雖是抽象化的結果，但卻構成了藝術作品之靈魂與內蘊者，不外就是理念，亦即是在自然現實與人間世界中所蒸餾攝取而得的普遍性之原理。 里德在其著作《現代繪畫簡史》中說到：「藝術作品是形式和色彩具體因素的結構，形式和色彩經過綜合的安排下，變得富有表現力；藝術作品的形式本身就是內容，藝術作品的任何表現力都起於形式。」任何藝術創作都是內容與形式的統一，任何藝術作品的內容都是主體與客體統一的結果。 形式是作品內容的存在方式，包含了內容的內部結構與形象的外觀，兩者是結合在一起的。而內容所以成為內容，是因為它具有了形式，如果沒有相適應的特定形式，就不可能表現特定的內容。反之，藝術形式也不可能獨立存在，再抽象的形式也有自己的內容。內容可以是思想也可以是情感，可以是鮮明確定也可以似是而非。即使是那種完全說不出的內在心理狀態，只要它（內容）有所表現，就仍然是掩蓋在藝術形式之後的內容。 「人生有情感，遇物遷我思」，「外事牽我形，外物誘我情」。一切藝術作品的由來，可說是莫不來自藝術生活的經驗。在普遍的原則下，都是與一個有形、有色的對象聯結在一起。情感、感覺必出自有所見、有所聞，由此而感動，而創作的想像（理智），而靈感，而選擇，而意志命令實行，而作品生出。如無外物的經驗，方則是無法生出創作的。

The Chinese paintings always emphasize on spiritual expression and seldom talk about the form. Regarding the scholar-artist style of painting, Chen Hengke thinks that “the scholar-style painting firstly emphasizes on spirit, not on form. Therefore, this kind of painting is short of shape and those having elegant spirit could still be regarded as scholar-style paintings.” However, the existence of substance and subject must be expressed in a certain shape and appearance after all. The form is the appearance of a substance through which conveys the author’s viewpoints and thoughts. Artistic creation is the sentimental form on one hand and is the rational expression one another hand. Besides, form creation is principally for expressing conception. What is conception? It is just common contents. What the artists have felt, touched, experienced between natural reality and human’s world, and the supreme conception that artists have obtained from their thoughts and research, all of these have composed the soul and purport of artworks, even though they are the abstractive results. This is nothing more than the conception which is also the common principle distilled from natural reality and human’s world.

Prof. Read has said in his book 《A Concise History of Modern Painting》: “An artwork is a structure composed by the concrete factors of form and colors. The form and colors become rich in expression capability through synthetical arrangement. The form of an artwork is the content itself. Any expression capability of an artwork derives from the form.” All artworks are the integration of content and form and all artworks’ content is the result integrating subject and object.

The form is a way to exist for the content of an artwork, including the internal structure combined with the appearance of image. The content becomes so, just because it has the form. If there is no relative specific form, it would be impossible to represent any particular content. On the contrary, the artistic form could not exist independently; even an extremely abstractive form has its own content. The content could be a thought or a sensation and could also be precise or paradoxical. Only if has it (the content) its own expression, even though the mental condition that is hard to describe could still be a kind of content concealed behind artistic form.

The origin of all artworks can be said to derive from the experience of artistic life. Under the common principle, the works connect with a visible and colored object. The emotions and feelings must derive from all that one saw and heard, to be moved and therefore create images (intelligence). Furthermore, inspirations come and selections appear, and then the will orders to execute, therefore the works come into being. If none of outside things has been experienced, no creation could be done.