書法類評審感言評審委員簡銘山 · 書法類評審感言評審委員簡銘山...

書法類評審感言評審委員　簡銘山

清‧劉煕載（1813~1881，清代文學家。字伯簡，號融齋。）《書概》云：「學書者始由不工求工，繼由工求不工。不工者，工之極也。」

書法家經過鴨鴨學步好幾年，練就用筆、結字、墨色、布局…等等技巧，是在不工求工而既工之後求不工，是另一種境界。誠如孫過庭所言：「…何

必刻鶴圖龍，竟慚眞體；得魚獲兔，猶恡筌蹄?」這是一種過程，如果學書想走捷徑，跳過不工求工的過程，認為不工者，工之極也。實在是對伯簡先生理

論的誤解。

德國詩人、哲學家、歷史學家和劇作家席勒（Johann Christoph Friedrich von Schiller，1759~1805）說：「我們因認識而感到快樂時，我們就毫不費力的

分辨出從主動到被動的轉移，並且清楚地看到後者開始消失。相反地當我們因美而感到賞心與悅目時，我們就分辨不出主動與被動之間的這種更替，在這

裡反思與情感完全交織在一起，以致使我們以為直接感覺到了形式。」所以，書法的表現形式可以說是一種有意識伴隨無意識狀態下的書寫；換句話說，

書法美的形式常常是理性伴隨著感性下書寫，而初學者無法有、也不能有太多的感性，只能在一種理性面居多的被動式狀態下老實臨帖；在技法成熟之

後，如果還拘泥於點畫形質，無法創作出令人感動與賞心悅目，具有強烈自我風格的作品，那就是書家當前重要的課題。

臺灣的書風近廿年來急遽變化，一方面可能與大陸交流頻繁的影響；另一方面學書者與教學者對於書法藝術的表現方式有所變革與創新的思維。在

公辦美展的書法競賽中，行草書的作品較能表達書法語言與個人風格而佔了較大的百分比，但筆者發現一些作者的基礎功夫尚未成熟而急於表現求變的心

態，其作品當然未受到評審的青睞，米南宮云：「書貴自然異，不貴故作異。」因此，書法的底蘊在於長年累積的經驗與功夫，非一蹴可幾。

另外，美展競技除了展現書法美學之外，由於倚藉文字為載體，故書法又與文學互為表裏，因此，國學對於書家就成為不可或缺的素養。有學者議論

古人，甚至王羲之蘭亭序都寫錯字，所以作品中有錯字很正常，漲墨的表現或字形的支離與變形，讓觀者無法辨識書寫內容也無所謂，這是對傅青主〈四

寧四勿〉的誤解，因為書法比賽是競技，競技當然以零缺點為目標。又，在落款處的文字表達，就是書家另一處展現文學素養的園地，但並非必要，漸翁

說過：「多只香爐多隻鬼。」辭不達意，只是將缺點暴露越多而已，李郁周先生在104年全國美術展評審感言中亦提出相同論點。

第20屆大墩美展書法類徵件數為102件，含中國大陸6件、香港3件、加拿大2件、泰國1件。初選入圍16件，複審確定16件全部入選，再由16件中每位

評審圈選8件，結果四票1人、三票4人、二票6人，再由二票6人中圈選2人，得出最多票者1人，總共6人從16位入選者中勝出。這6件作品以等第法投票：

第一名投2位、第二名投2位、第三名投2位，結果第一名同分有2位，評審由二件作品內容及落款等各方面表現之優劣，首獎由林穎生獲得。茲將優勝作品

點評如下：

第一名林穎生主要作品〈古詩十九首之第九〉，以明末連綿草書書風為基本筆調，鎔鑄陳淳、王鐸、傅山各家之長，在能速不速中見淹留，行筆過程

開闔得宜、字距疏密極具節奏韻律的美感，允為首獎。參考作品〈董思翁書禪室隨筆〉，小楷書用筆在大王、褚、歐之間，筆筆精到；〈隸書對聯〉以漢隸

為體，參酌篆法及簡書為用，氣勢磅礡，裝裱形制亦別於傳統；〈風過留痕〉為較具現代感作品，分間布白頗具巧思。

第二名李柏翰作品〈溫飛卿題懷貞亭舊遊〉，同樣以明末變形書風為主，取王覺斯與黃石齋二家筆意，墨色的酣暢與老辣表現優異，在誇張變形中能

虛實有度，與首獎實當雁行，在決選時同列第一；惟第一行「蓮」字多寫一橫（在決審時發現），落款亦有待商榷，因此列為第二。

第三名張倍源作品〈蘇軾詩詞六首之四體書〉，篆、隸、楷、行草四體書通篇用筆協調統一，除行草書外，其他三體訴諸漢隸、北碑及金文筆意而不

為所囿，四體書極具個人風格。

優選陳昭坤作品〈黃庭堅送酒與周法曹用贈潤父韵〉，所書漢隸古樸而富拙趣，不以工整停勻為務，用筆在完白山人、種榆道人之間，參雜部分己

意，款識亦佳。

優選盧彩霞作品〈青蓮居士秋登宣城謝脁北樓〉，融合西周三大青銅器之二寶，毛公鼎與散氏盤金文之圓雋精嚴、蒼茫雄渾特色，恣意跌宕與攲正相

生的揮灑，允為佳作。

優選施承佑作品〈杜少陵詩句〉，以幾近榜書大小的對聯型式書寫五言聯，是很具震撼力的作品，字體具北碑粗曠豪邁、不以工整巧飾為尚，雖寥寥

10字，俱見功力。

其餘入選諸作亦大有可觀，唯限於名額及評審在書法美學主觀上的喜好，難免令參賽者不盡滿意，評審過程在主辦單位協助人員監督之下，其公平、

公正則毋庸置疑。

最後，藉此篇幅建議主辦單位在遴聘各類評審委員時，除了北、中、南地區性酌於考量名額比例之外，同一所大學的員額亦不宜有二位以上評審委員

擔任，使評審作業更趨完美。

66

CHIEN Ming-SanJuror’s Statement, Calligraphy Category

LIU Xi-Zai, a Qing dynasty scholar (1813-1881), once noted in his calligraphy book, “Shugai”, the process of mastering calligraphy.

In the first few years, calligraphy beginners start from scratch by becoming familiar with the brushes, the composition of each character, the strength of the ink, the arrangement of characters and many other fundamental skills. The technique of imitation to form one's own style demands a certain process that allows no shortcuts. It's indeed a misconception to even think that skipping part of the exercises can still lead one to master this art, as proclaimed by SUN Guoting:“…merely imitating the great works done by the distinguished calligraphers leads to a dead end. To establish one's original style, one must fully comprehend the key essence of the scripts in order to innovate and advance.”

Friedrich Schiller, a German poet, philosopher, historian and writer (1959-1805), shared his insight that the happiness gained from understanding allows us to identify the transformation from being passive to active effortlessly, and to clearly see the state of passivity disintegrate. On the contrary, pure visual appreciation of the beauty of artworks fails to provide the awareness to recognize the difference between the passive and active. In this case, introspection and emotions intertwine and contribute to the misperception that visual delight alone is enough to appreciate the forms. Hence, the art practice of calligraphy can be interpreted as unconscious writing with a particularly developed awareness. In other words, the beauty of calligraphy lies in the lines created with sense and sensibility. A calligraphy beginner can't and mustn't possess excessive emotions, which naturally leads to passive and rigid imitation influenced heavily by rationality. Also, if calligraphers are rigid about dots and lines, they won't be able to create any works of inspiration or originality, even though their skills are mature and sophisticated, which I'm afraid is the most consequential lesson.

For the past two decades, the style of calligraphy in Taiwan has been changing dramatically, which has external and internal reasons. First of all, exchanges with China have been on the rise. In addition, both calligraphy students and teachers have revolutionized and innovated on the concept of calligraphy art. At calligraphy contests organized by the government, semi-cursive script works have prevailed over other scripts. This is because semi-cursive script is believed to express the calligraphy language and personal style the best. However, I've encountered some artists who were too eager to transform and establish their own style even though their fundamental skills needed yet more improvement. Naturally, their works were not favored by jurors. MI Nan-Gong, a Northern Song Period calligrapher, once said that superb works demonstrate an eccentric appeal naturally while mediocre works appear pretentious when trying to imitate the eccentric forms.

In addition, fully expressing the beauty of calligraphy requires more than sophisticated skills. Since the media of this particular art relies heavily on Chinese characters, the cultivation of Chinese civilization is an indispensable quality. Some scholars have commented that even ancient calligraphers wrote characters incorrectly, such WANG Xizhi's famed work,“Orchid Pavilion”. Therefore, it seems normal to have characters written wrong or in fragmented and deformed ways that the audience can't even comprehend. This is a misunderstanding of the“Four Do's and Don'ts” by famous Qing Dynasty calligrapher FU Qing-Zhu because the ultimate goal of winning a calligraphy contest is perfection in both skills and knowledge of this practice. Although it's common to have a short article next to an artist's signature－another way of showcasing the artist's refined comprehension of Chinese literature-it's not a must. A renowned Taiwanese calligrapher stated that this can be a double-edged sword because poorly chosen phrases not only fail to complement the content but also expose the artist's insufficient grasp of this ancient art form. Mr. LI Yu-Chou, an eminent Taiwanese calligrapher, also shared this perspective at the National Art Exhibition, ROC in 2015.

A total of 102 works were submitted in the Calligraphy category for the 20th Da Dun Fine Arts of Taichung City, including six from mainland China, three from Hong Kong, two from Canada and one from Thailand. Sixteen submitted pieces were chosen during the preliminary selection stage. In the final selection, all of these passed the jurors' strict scrutiny. The jurors then selected eight favorite pieces from among the 16 works. In the end, one art piece got four votes, four works received three votes and six other works got two. From this, the jurors voted to select two out of the six works. In this way, six artworks were finally chosen out of the 16. Next, the jurors were asked to choose their ideal top three winners. Each juror had two votes for each prize. Two artworks were tied with the same number of votes and, judging the content and signature work, the jurors voted to award LIN Ying-Shin First Prize. The reviews of the awarded pieces are as follows.

The First Prize was granted to LIN Ying-Shin's“No. 9 of the Ancient 19 Poems”. Based on the running semi-cursive script practiced in the Ming dynasty, Mr. LIN ingeniously integrated the expertise of CHEN Chun, WANG Duo and FU Shan styles. The smooth brush flow, rhythmic space between characters, and controlled speed were all superb. The artist applied the small regular scripts given fame by preeminent calligraphers WANG Xi-Zhi, ZHU Su-Liang and OUYANG Xun to deliver DONG Qi-Chang's statements in his book of calligraphy and painting theories. Each stroke is extremely exquisite and precise. The artist's couplet is based on a Han clerical script with a touch of seal and Jianshu scripts. The couplet exudes an awe-inspiring sensation and its frame is also presented with an unorthodox flavor. In the work,“Traveling Marks of the Wind”, the space arrangements between dots and strokes is ingenious and fascinating, emanating a sense of modernity. Mr. LIN indeed deserves the First Prize.

LEE Po-Han's“A Poem by WEN Tingyun”won Second Prize. Hinging on the transformed script of the Ming dynasty, Mr. LEE adopted the styles of WANG Juesi and HUANG Shizai and fully demonstrated great control of the ink, especially with exaggerated transformed characters. During the first round of the final selection stage, he was also in the running for First Prize. However, during the final selection, we found one character was written incorrectly and were dubious about the signature passage so it was decided to grant him Second Prize.

Third Prize went to JANG Bey-Yuan's“A Poem by SU Shi”. Mr. JANG exercised his masterful skills in seal, clerical, regular and semi-cursive scripts with superb consistency. Other than the semi-cursive script, the other three scripts were applied to illustrate Han seal and ancient bronze scripts. Mr. JANG successfully captures the essence and establishes his personal style.

CHEN Chao-Kun's“A Poem by HUANG Tingjian”won an Award of Merit. His Han seal script is simple and innocent without rigidity. His brush works resemble DENG Shiru and CHEN Hongshou with some personal touches integrated. The signature passage also goes well with the content.

LU Cai-Xia's“A Poem by LI Bai”was also granted an Award of Merit. She seamlessly integrated Mao Gong Ding and San Family Plate scripts to demonstrate a sophisticated precision and immense force with each dot and stroke. The congruity within the irregular arrangement of the scripts subtly provides a natural immense power.

The last Award of Merit went to SHIH Cheng-Yu's“A Poem by DU Fu”. His couplet with five characters is powerful with bold, blunt strokes. Although there are only 10 words, they completely highlight his sophisticated skills.

The other shortlisted pieces are also fabulous works. Yet, due to the limited number of awards and the personal preferences of each juror, some were more fortunate than others. However, a fair and just judging process supervised by the exhibition staff leaves no room for doubt about the final results.

Finally, I'd like to take this opportunity to share my opinions with the organizers. While it's important to include jurors that evenly represent various parts of Taiwan, it's just as important to avoid have more than two jurors from the same university. Doing this will ensure an even better judging process for the exhibition.

67

68

書

法

類 Calligraphy

▲

第一名 F

rist Prize

林穎生

LIN Ying-Shin

古詩十九首之第九

No. 9 of the Ancient 19 Poems

210×90cm

2014　第15屆磺溪美展書法篆刻類優選

2014　第15屆明宗獎全國書法篆刻比賽佳作

Award of Merit, the 15th Huang Shi Art Exhibition - Seal Engraving and Calligraphy Category

Award of Merit, the 15th Ming Tsung Award National Calligraphy and Seal Carving Competition

作品說明

以明末的連綿行草為基本型態，嘗試以一種較

為溫和的面貌展示。放慢行筆速度，強調轉折

間的動作，在連貫的筆勢之中讓字群姿態有更

清楚的展示。希望能達到一種兼具清雅溫潤，

以及沉著淋漓的效果。

DescriptionAdopting the running semi-cursive script practiced in the Ming dynasty as a foundation, I tried to innovate by slowing down and emphasizing the turning movements. When doing so, the cursive characters can still be read. It is hoped that this will present fresh, sophisticated and mature effects.

2014

2014

69

書

法

類 Calligraphy

▲

第二名 S

econd Prize

2014　第61屆中部美術展書法類第一名

2014　第15屆南投玉山美術獎書法類優選

First Prize, the 61st Arts Exhibition of Taiwan Central - Calligraphy Category

Award of Merit, the 15th Mt. Jade Art Exhibition - Calligraphy Category

作品說明

近習晚明書家王覺斯、黃石齋二家，取之二家

筆法與風格精髓作為此作品創作來源，呈現出

晚明大條幅氣勢與氛圍。

DescriptionRecently, I've been studying the works of Ming dynasty calligraphers WANG Juesi and HUANG Shizai. They inspired this creation, an attempt to demonstrate a formidable vigor and grand feeling.

李柏翰

LEE Po-Han

溫飛卿〈題懷貞亭舊遊〉

A Poem by WEN Tingyun

　230×90cm

2014

2014

70

書

法

類 Calligraphy

▲

第三名 T

hird Prize

2012　第13屆南投玉山美術獎書法類首獎

2010　第11屆磺溪美展書法篆刻類第一名

First Prize, the 13th Mt. Jade Art Exhibition - Calligraphy Category

First Prize, the 11th Huang Shi Art Exhibition - Seal Engraving and Calligraphy Category

作品說明

篆、隸、楷、行草四種書體，各有其神采面貌，

今試以漢隸和北碑斧鑿痕跡筆意書寫四體書，

於筆調統一中求其通篇的一致與和諧，並以中

堂形式裱裝。

DescriptionSeal, clerical, standard and semi-cursive scripts have their own individual charm. I adopted Han clerical and Beibei choppy styles and applied them to those four scripts, hoping to establish a consistency and harmony in the whole passage. This is framed in central scroll style.

張倍源 JANG Bey-Yuan

蘇軾詩詞六首之四體書

A Poem by SU Shi

200×100cm

2012

2010

71

書

法

類 Calligraphy

▲

優選 A

ward of M

erit

2014　第15屆磺溪美展磺溪獎

2013　第14屆明宗獎全國書法篆刻比賽明宗獎

2014　Huang Shi Award, the 15th Huang Shi Art Exhibition

2013　Ming Tsung Award, the 11th Ming Tsung Award National Calligraphy and Seal Carving Competition

作品說明

向山谷道人致敬。

DescriptionThis work pays respect to the Shan-gu-dao-ren (HUANG Tingjian).

陳昭坤

CHEN Chao-Kun

黃庭堅〈送酒與周法曹用贈潤父韵〉

A Poem by HUANG Tingjian

　190×76cm

72

書

法

類 Calligraphy

▲

優選 A

ward of M

erit

2013　青溪新文藝金環獎首獎 (金環獎)2013　第14屆南投玉山美術獎書法篆刻類優選

2013　Gold Circle Prize, Qingxi Literary Arts Circle Award

2013　Award of Merit, the 14th Mt. Jade Art Exhibition - Seal Engraving and Calligraphy Category

作品說明

作品以金文筆意為之，試融合西周毛公鼎之圓

雋精嚴蒼茫遒麗書風及散氏盤之活潑欹正相生

之體勢，與參酌名家恣意縱橫巧拙並用技法，

期使作品於傳統中出新意，營造出一件完美之

作品。

DescriptionAn ancient Chinese bronze inscription was employed with integrated Mao Gong Ding and San Family Plate scripts in the hope of illustrating the immense and formidable vigor of calligraphy. It's my aspiration to create perfect strokes by immersing myself in the great works and innovating on traditional styles.

盧彩霞 LU Cai-Xia

青蓮居士〈秋登宣城謝脁北樓〉

A Poem by LI Bai

230×100cm

73

書

法

類 Calligraphy

▲

優選 A

ward of M

erit

作品說明

試著創作有別於當代的書風，追尋傳達不穩、

內斂、零碎步白的書寫節拍；這也是我對詩中

此對句之涵意與漢魏刻石感表達的串聯。

DescriptionI attempted to create a staggering, introversive and scattering sensation in this work to differentiate from contemporary practice. This is also how I integrated the meaning of the poem with the impression of a stone carving found in the Han Wei period.

施承佑

SHIH Cheng-Yu

杜少陵詩句

A Poem by DU Fu

　228×145cm

74

書

法

類 Calligraphy

▲

入選 S

hort List

2013　第14屆南投玉山美術獎書法篆刻類入選

2007　第54屆中部美術展書法類第三名

Short-Listed, the 14th Mt. Jade Art Exh ib i t ion - Seal Engrav ing and Calligraphy Category

Third Prize, the 54th Arts Exhibition of Taiwan Central - Calligraphy Category

作品說明

以歷代行草、帖碑兼用，雜以韻律作之。

DescriptionThe semi-cursive scripts practiced during various dynasties and the scripts found in wood and stone carvings were combined and applied in random rhythms in this piece.

吳宏禧

WU Hung-Hsi

東坡居士詞

A Poem by SU Shi

230×120cm

2013

2007

75

書

法

類 Calligraphy

▲

入選 S

hort List

2013　全國美術展書法類金牌獎

2012　第13屆磺溪美展書法篆刻類優選

Gold Prize, National Art Exhibition, ROC - Calligraphy Category

Award of Merit, the 13th Huang Shi Art Exhibition - Seal Engraving and Calligraphy Category

作品說明

學書數年，對小楷情有獨鍾，特別是雅宜山

人，細細研究其筆法，抑、撇、揚、捺，長橫

畫由細至粗駐筆成圓渾狀，形成一種用筆質

樸，含而不露的內斂韻致，這也是我喜歡的藝

術風貌。試抄選喜愛的幽夢影數則，以雅宜山

人之筆法，企求通篇達其以拙取巧，合而成雅

之趣。

DescriptionSmall-character standard scripts—WANG Chong in part icular—have always been my favorites during my years of studying calligraphy. The four brush techniques as well as the thickness of the strokes create a simple, subtle, but deep, power which is the state I aspire to. Thus, I've chosen a few passages from“You Meng Ying”and had them written in WANG Chong style in the hope of delivering the clever and fun presentation.

徐惠美

HSU Huei-Mei

節選〈幽夢影〉

Selected Passages from You Meng Ying by ZHANG Chao

　140×70cm

2013

2012

76

書

法

類 Calligraphy

▲

入選 S

hort List

邱正偉

CHIU Jeng-Wei

宋詞〈御街行〉

A Poem by FAN Zhongyan

180×90cm

2014　第32屆桃源美展書法篆刻類入選

Short-Listed, the 32nd Tao Yuan Art Exhibit ion - Seal Engraving and Calligraphy Category

作品說明

近來喜以連綿草書方式書寫，強調字與字之間

的連結。在布局上，將上下字句空間壓縮，左

右行距拉寬，希望可營造較溫潤的視覺效果。

此外，在宣紙的色調上，經染色後使其帶有時

間感，冀能更添沉穩氣質。

DescriptionMy newfound favorite style is the running semi-cursive script, which highlights the connections between words. I compressed the space between words, lined vertically, but widened the space between rows to create gentle and tender visual effects. In addition, after the ink is absorbed into the Xuan paper, the tone exudes a sense of time, which I hope will add to its calming feeling.

2014

77

書

法

類 Calligraphy

▲

入選 S

hort List

2013　第17屆桃城美術展覽會書畫類第三名

2010　臺中縣美展書法篆刻類第一名

Third Prize, the 17th Tao-Cheng Art Exhibition - Painting and Calligraphy Category

First Prize, Taichung County Art Exhibition - Seal Engraving and Calligraphy Category

作品說明

懷想「觀獵」詩中情景。以長鋒羊毫書寫於千

里之外、千年之前，在天地間的壯闊豪邁，期

能營造蒼勁率直的筆墨情調，以及豪放不羈的

視覺印象。

DescriptionIn WANG Wei's Poem,“Hunting Watching”, the scenes of the fields, sky and land are immense and heroic. I utilized a long goat-hair brush and hoped to capture the bold and genuine visual images taking place a thousand years ago.

張家馨

CHANG Chin-Hsin

草書-王維〈觀獵〉詩

A Poem by WANG Wei

　230×100cm

2013

2010

78

書

法

類 Calligraphy

▲

入選 S

hort List

2014　臺中市第19屆大墩美展書法類優選

2014　第13屆行天宮人文獎書法創意類第一名

2014　Award of Merit, the 19th Da Dun Fine Arts Exhibition of Taichung City - Calligraphy Category

2014　First Prize, the 13th Hsing Tian Temple Humani t ies Award Cal l igraphy Creation Competition

作品說明

法清人尹默先生筆意，期能表現清麗雅逸之

感。

DescriptionI employed the style practiced by Qing calligrapher YI Mo, and hoped to convey an invigorating and gracious impression.

呂宗城

LU Tsung-Cheng

曹雪芹〈紅樓夢柳絮詞鈔〉

Passages from the Dream of The Red Chamber by

CAO Xueqin

230×140cm

79

書

法

類 Calligraphy

▲

入選 S

hort List



Third Prize, the 62nd Arts Exhibition of Taiwan Central - Cal l igraphy Category

Third Prize, the 59th Arts Exhibition of Taiwan Central - Cal l igraphy Category

作品說明

藝術語言能傳遞訊息與人對話而引起共鳴。

DescriptionThe language of art can communicate with its messages and resonate among us.

洪志雄 HUNG Chih-Hsiung

趙孟頫詩〈重遊弁山〉

A Poem by ZHAO Menghu

　205×70cm

2015

2012

80

書

法

類 Calligraphy

▲

入選 S

hort List

2009　第10屆南投玉山美術獎書法類優選

2005　第6屆磺溪美展書法類優選

2009　Award of Merit, the 10th Mt. Jade Art Exhibition - Calligraphy Category

2005　Award of Merit, the 6th Huang Shi Art Exhibition - Calligraphy Category

釋文

讀書不問夜，論壽不計年。

心隨清風爽，身與泰山安。

終日疾弄墨，畫樓尋古情。

山靜風雨後，可聞步階聲。

DescriptionI study late into the night, my age not measured with years, as the breeze gently calms my mind, and I feel like I'm as strong as Mt. Tai. Brushing away all day with ink as my company, I look for memories of what once took place. After the storm passes through the mountains, it's so silent that I can almost hear footsteps on the stairs.

施博獻

SHIH Po-Hsien

閒適〈寇培深詩聯集〉

At Ease, a Poem by KOU Peishen

215×70cm

81

書

法

類 Calligraphy

▲

入選 S

hort List

2013　臺中市第18屆大墩美展書法類第二名

2009　第21屆臺北縣美展書法類全國組第三名

Second Prize, the 18th Da Dun Fine Arts Exhibition of Taichung City - Calligraphy Category

Third Prize, the 21st Taipei County Art Exhibition, National Group - Calligraphy Category

作品說明

習書多年，遍臨多種書體，一直未對草書深入了解，雖也有習臨

懷素自敘帖草書千字文、王羲之尺牘、孫過庭書譜等字帖，然未

得要領，始終不得其門而入。近日再重新臨習書譜，頗有一番體

悟，逐漸能理解書風形成與藝術關聯，通過前人先賢用筆點畫分

明，婉轉圓熟，筋骨內含，且無過多引帶，結字平穩含巧于拙，

寓奇于正，文字古雅靜穆，神定意閑，此種脫落塵埃，意境高邁，

絢爛至極而又歸於平淡之姿態，正是個人想極力追求之境界。

DescriptionI've dedicated years to calligraphy and learned many scripts, but never had a chance to further my understanding of cursive script. Although I imitated many famous writings by Huaisu, WANG Xizhi and SUN Guoting, I still couldn't grasp the key techniques. It wasn't until recently that it dawned on me. I began to comprehend the connection between the forming of calligraphy and art. Guided by established ancestors, I've learned to appreciate the solid foundation behind the seemingly simple lines as well as the glamour illustrated with subtle modesty. This is exactly the state I dream of achieving.

沈克昌

SHEN Ko-Chang

劉勰〈文心雕龍〉草書條幅

Passages from Wenxindiaolong by LIU Xie

　230×45cm

2013

2009

82

書

法

類 Calligraphy

▲

入選 S

hort List

2013　第60屆中部美術展書法類第一名

1999　教育部文藝創作獎書法類第一名

First Prize, the 60th Arts Exhibition of Taiwan Central - Calligraphy Category

First Prize, Ministry of Education Art and Literature Award - Calligraphy Category

釋文

神怡務閑、感惠徇知、時和氣潤、紙墨相發、偶然欲書。

心遽體留、意違勢屈、風燥日炎、紙墨不稱、情怠手闌。

吳奇聰

WU Chi-Tsung

孫虔禮〈書譜〉摘句

Excerpts from Treaties of Calligraphy by SUN Guoting

180×110cm

2013

1999

83

書

法

類 Calligraphy

▲

入選 S

hort List

作品說明

融碑、隸於內。

DescriptionI've adopted the ancient script applied to the passage and melded it with a clerical script present this piece.

鄧君浩

DENG Jun-Hao

猶龍遺體‧道德真源

Couplet-the Passage in Laojun Tai Hall, Laozi's Hometown.

　200×90cm

篆刻類評審感言評審委員　鄭多鏗

近二十年來篆刻風氣在臺灣可以說是蓬勃興盛，對於年輕世代的影響並不輸於書畫，這是可喜的現象，值得欣慰與鼓勵。

臺中市大墩美展已邁入第20屆，篆刻類表現一直都很踴躍。本屆參賽送件者計28件，依往例分初審與複審以決定名次，再

以第一名參加大墩獎決選。初審於5月17日開始，選出7件作品入圍，再通知入圍者將完整作品原件印拓一幅及印材盒裝妥善後，

一併送交，於6月16日參加複賽，方式上是審慎公平的。

篆刻類比賽除印拓裝裱作品外，繳交印石原件是很重要的，除了防止作品造假之外，並可由原印作品看出許多細節。印材

並不需要名貴，但作者對於挑選印材之經驗與眼光，包括奏刀容易與否，品相美感與質感也可窺出作者品味、學問及用心，並可

作為評分時重要參考之依據。

本屆第一名羅應良，作品〈三月不肉〉印拓均附邊款，印與款均有多樣性的變化，應是其致勝之主因，藉此可看出作者熟稔

的製印程度與用心，獲得評審一致高分的評價。第二名杜其東之〈平淡是福人長壽〉，兼具傳統與創新，應屬印中老手，題材正

向、健康。第三名張天健之〈耕之片語〉善於表達印人獨特風格，如力道能再加強有力，定有更佳之成績！優選兩件及入選兩件

皆為後起之才。

綜觀評選結果，過程平順並無爭議，可見評審之認知差異不大，評審後共同討論獲以下結論以供檢討：

一、參賽者皆用心於冶印，於印材方面較為忽略，如於能力範圍之內，稍加講究印材的選擇與用心，提昇印材的精緻度，

以供被收藏時之準備。然佳石亦可助刻印之效果是刻家所公認的，此次有部分印材甚多雜質或裂痕，一方面係成本之考量外，極

可能也是刻者不太重視之故。

二、篆刻藝術是書法藝術透過印材及刀刻效果之再現，對於書畫之影響直接且鉅，不只在於實用性而已。推廣此藝須從古

文漢字為基礎，漢字之美甚為獨特，由其組合設計刻製成印，能將創意發揮其中，於當今亦為文創之最佳媒材。

吾人需關心如何將此優良獨特之藝術延續，唯有更多年輕新血的加入，才能有傳承創造的生命力，政府文化單位、學校的

美術教育，以及藝術團體等皆責無旁貸，臺中市政府文化局大墩美展篆刻類之設立重視與不遺餘力之推廣，就很值得被肯定與鼓

勵的。

84

CHENG To-KengJuror’s Statement, Seal Engraving Category

For the past two decades, seal-engraving art has gained significant momentum in Taiwan. Its influence on the younger generation is just as

profound as calligraphy, which is gratifying and encouraging.

Da Dun Fine Arts Exhibition of Taichung City has reached its 20th anniversary. Seal-engraving artists have actively participated in this art event

and this year there were 28 submissions. As usual, preliminary and final selections were conducted to decide the award winners, with the First Prize

winner joining the Da Dun Award contest. The preliminary selection took place on May 17, when jurors chose seven submitted works. Before the

final selection on June 16, artists were required to send in prints of the seals as well as their original works. The procedure was rigorous and fair.

Besides framed prints of the engraved seals, original seals must be submitted to join this competition. First of all, this prevents forgery but

perhaps the most important reason is that original seals reveal critical details. The material doesn't have to be expensive. However, the chosen

materials underline the artists' experience and preference. From the cuts, look and texture, jurors can deduce the artists' tastes, knowledge and skills,

which are all determining factors during judging.

First Prize went to LUO Ying-Liang's“Meatless Three Months”. A rich diversity of seals and signature articles are responsible for his success

and highlight the sophistication of his skills and knowledge. Mr. LUO's magnificent works swept all jurors off their feet. TU Chi-Tung's“Simplicity

is the Key to Happiness and Longevity”won Second Prize. Mr. TU ingeniously integrated traditional and innovative elements into his engraving with

a highly cultivated approach. The subject is also positive and healthy. CHANG Tien-Chien's“Messages”was granted Third Prize as he effortlessly

expressed the uniqueness of seal engraving. If he can generate more force into his cuts, we're looking forward to seeing more outstanding works from

him soon. Works by new young artists also earned two Awards of Merit and two short-listings.

The whole judging process went smoothly without any conflicts, indicating that the jurors shared similar perceptions. At the end of the final

selection state, jurors held a discussion of the submitted works and came to the following conclusions.

1. The participants paid a lot more attention to the engraving itself than the selection of the materials. The jurors think that artists can invest both

time and money in the seals themselves within their budgets. This can enhance value for appreciation and collection. It is widely recognized by

established seal engraving artists that the quality of the stone contributes greatly to its presentation. Some of the submitted carved seals this time

were either of poor quality or had cracks, which might have to do with the cost or perhaps the artists' negligence.

2. Seal engraving art is the reinterpretation of calligraphy via carved seals, which has a direct and profound impact on calligraphy besides practical

aspects. To study seal engraving art, one must equip oneself with fundamental knowledge of ancient Chinese characters. The beauty of the

characters is their unique composition, which is exactly where the artists can fully exercise their creation. The uniqueness of the Chinese characters

makes them the best media for artistic creation.

It is essential to preserve and promote this ancient art. And it seems the only way to do this is to engage the younger generation in joining this

practice. Government cultural units, schools and art organizations all share the responsibility to pass on this creative vitality. Hence, the Cultural

Affairs Bureau's strenuous efforts for the Da Dun Fine Arts Exhibition of Taichung City indeed deserve recognition and encouragement.

85

86

篆

刻

類 Seal Engraving

▲

第一名 F

rist Prize

2014　臺中市第19屆大墩美展篆刻類第三名

2013　臺中市第18屆大墩美展篆刻類入選

2014　Third Prize, the 19th Da Dun Fine Arts Exhibition of Taichung City - Seal Engraving Category

2013　Short-Listed, the 18th Da Dun Fine Arts Exhibition of Taichung City - Seal Engraving Category

作品說明

“子在齊聞韶，三月不知肉味”，比喻集中注意力於某一事物而忘了其他事情。

吾常埋首燈下，每每忘食忘寢，心無旁騖，「三月不肉」正是最佳寫照。

DescriptionWhen one is completely engrossed in one particular thing, time passes without a trace and everything else ceases to exist. I often spend my time beneath a lamp carving away without food or drink, which perfectly portrays Confucius' famous story,“Meatless Three Months”, in which Confucius was so engaged in Shao music that he failed to taste the meat in his mouth for three months.

羅應良 LUO Ying-Liang

三月不肉／ Meatless Three Months　（印石20方）　　　　　　　　　　　

87

篆

刻

類 Seal Engraving

▲

第二名 S

econd Prize

2014　第15屆明宗獎全國書法篆刻比賽佳作

2013　全國美術展篆刻類銅牌獎

2014　Award of Merit, the 15th Ming Tsung Award National Calligraphy and Seal Carving Competition

2013　Bronze Prize, National Art Exhibition, ROC - Seal Engraving Category

作品說明

藝術是使人幸福的，是創作者心靈的結晶，走過近五十年的歲月，經歷了諸多的

生離死別，現在深深覺得「平淡是福人長壽」的可貴，遂以此為題。希望藉由金

石的表現，堅定的在生活上、在藝術上繼續前行。

DescriptionArt brings happiness to mankind and cultivates the soul of an artist. For the past 50 years, I've experienced break-ups with and the deaths of my loved ones. At this point of my life, I deeply appreciate the idea that“simplicity is the key to happiness and longevity”, a name I have given to this series of works. I hope that I can continuously advance in seal engraving art for the rest of my life.

杜其東 TU Chi-Tung

平淡是福人長壽／ Simplicity is the Key to Happiness and Longevity　（印石20方）

88

篆

刻

類 Seal Engraving

▲

第三名 T

hird Prize

2014　第32屆桃源美展書法篆刻類第二名

2012　臺中市第17屆大墩美展篆刻類入選

2014　Second Prize, the 32nd Tao Yuan Art Exhibition - Seal Engraving and Calligraphy Category

2012　Short-Listed, the 17th Da Dun Fine Arts Exhibition of Taichung City - Seal Engraving Category

作品說明

篆刻在方寸之間耕耘，雖小，但專注之間而忘我，境地之大卻難以言喻，除了

奏刀堪稱一件樂事之外，在字裡行間的摸索，更是值得玩味。片語之間，能品

賞文詞的幽微意涵，又能一表自己的胸中情懷，雖借古人言，那啞謎般的句意，

若能透過方寸間的呈現，情得以溢乎其外，便是我耕耘盼望的收穫了。此作選

印，發表數方，與君同樂。

DescriptionAs small as carving within a square of stone with knives might seem, I've found myself lost in there. It's so vast, yet only limited words can fit inside. Moving a blade in there is a delight. Trying to figure out the spaces in between is even more fascinating. With a few words, the subtle connotation of a poem can be appreciated, and the author's feelings can be expressed. I adopt ancient characters and apply them to this tiny world. Allowing the riddle-like meaning to reach the audience without confinement within the square is my greatest harvest. This is my collection to share with you.

張天健 CHANG Tien-Chien

耕之片語／ Messages （印石20方）

89

篆

刻

類 Seal Engraving

▲

優選 A

ward of M

erit

賴錦源 LAI Chin-Yuan

汲古生新／ Create from the Ancient Wisdom （印石18方）

2014　第15屆磺溪美展書法篆刻類入選

Short-Listed, the 15th Huang Shi Art Exhibition - Seal Engraving and Calligraphy Category

作品說明

吸取前人智慧，創造個人風格。

DescriptionIt's my hope to create my personal style by immersing myself in the ancient wisdom.

2014

90

篆

刻

類 Seal Engraving

▲

優選 A

ward of M

erit

作品說明

嘗試在古璽與漢印中求其章法及線條的質感。

DescriptionThis collection is my attempt to demonstrate the composition and lines of ancient seals and Han seals.

古員齊

KU Yuan-Chi

律樂印存／ Collection of KU Yuan-Chi（印石20方）

91

篆

刻

類 Seal Engraving

▲

入選　

Short L

ist

作品說明

藉由中國文字之美，由刀去呈現，在方寸的世界裡澄清心靈。

DescriptionCarving out the meanings of the Chinese characters, I find peace in my mind within the square-shaped world.

吳桂森 WU Guey-Sen

篆刻／ Seal Engraving（印石19方）

92

篆

刻

類 Seal Engraving

▲

入選　

Short L

ist

2013　臺中市第18屆大墩美展篆刻類優選

2013　Award of Merit, the 18th Da Dun Fine Arts Exhibition of Taichung City - Seal Engraving Category

作品說明

以陶瓷印當作篆刻創作的印材，因為陶瓷印經過高溫窯燒之後，篆刻的

線條會自動產生變化，希望能夠對篆刻藝術的探索，做出另一個方向的

嘗試和運用。

DescriptionI utilize ceramic as my seal engraving material is because of its sensitivity to heat. The lines on the engraved seals automatically change in the high temperatures of the kiln. Hopefully, this practice can expand the potential of this ancient art.

林儒 LIN Ju

任爾東西南北風：陶瓷印中天地大（印石18方）

Nothing Can Get to Me When I'm Surrounded by My Ceramic Seals

93

DA DUN FINE ARTS EXHIBITION OF TAICHUNG CITY

THE 20 th

膠彩類評審感言評審委員　詹前裕

大墩美展舉辦了20屆，從地方性美展轉型為全國性美展，再擴大為國際性美展，主辦單位的用心值得肯定。觀察到膠彩畫

的水準逐漸提昇，學院科班的膠彩畫教育，帶入豐富的創作觀念與技法，讓膠彩畫逐漸脫離以往表現美人、花鳥等唯美的風格，

能與現代的生活更加契合，也有新議題的表現。

今年的膠彩類只有28件參賽，經過高永隆、廖瑞芬、張瑞蓉、林必強與我，共五位評審委員的多次投票，選出7件作品入

圍。6月16日的複審，從7件原作中，分兩次投票，選出前三名與兩位優選、兩位入選的作品。

榮獲第一名的作品，是黃靖雅的〈銀光幕〉，此作富有創意與時代感，將目前流行的基因改造與美容整型等科技觀念，表現

在她的膠彩畫中，尤其是美容整型，讓新時代的女性，擁有選擇容貌與身材的可能性，銀光幕前後的容貌，反映了愛美女性的心

態，人物造型很美。

第二名是張維元的〈當我們唱起那首歌〉，帶有濃厚的鄉土情懷，一對年輕的男女，一條咖啡色的狗，與一把吉他，組成堅

固的三角形構圖，散發出音樂的旋律感，背景的處理與主題搭配良好，是一幅技巧佳，處理完整的佳構。

第三名是洪永欣的〈雙面論證〉，畫兩個對稱的美女，來反映目前許多社會的議題，中間的蛋形組織與最上方的一對雞，則

隱寓出「雞生蛋？或是蛋生雞？」，如此無解的論證，作者巧妙的運用對稱形式，來反映自己的創作理念，是一件有趣的創作。

榮獲優選獎的作品有兩件，第一件是趙純妙的〈捍衛戰士〉，帶有濃厚的環保觀念，在貼滿銀箔的畫面上，描繪一隻放大、

又戴著防毒面罩的蜜蜂處在飽受污染的環境中，面對著死亡的威脅，是一幅耐人省思的佳構。

藍寅瑋的〈州廳之窗〉，表現日治時期臺中最精美的建築角落，作者用藍色系表達神秘又有幾分傷感的情懷，斑駁而龜裂的

肌理，反映歲月的痕跡，想像昔日的官員心情，整個畫面只畫兩個半的窗戶與一叢盆栽，在冷峻理性的畫風中，讓觀賞者有許多

想像的空間。

綜觀此次膠彩類的參賽作品，因入選名額的限制，而無法展出，深感可惜！從此次參賽的作品當中，可以看到新世代的膠

彩創作者受到西方後現代與當代繪畫的影響漸增，鄉土風格的人物畫亦占相當大的比例，如何建立起臺灣當代的膠彩風格，應該

是值得探討的主題。大墩美展重視臺中美術的特色──膠彩畫，從此次展覽中，可以看到臺灣膠彩畫的新視界，是值得肯定的。

94

CHAN Chien-YuJuror’s Statement, Glue Color Painting Category

Now marking its 20th anniversary, the Da Dun Fine Arts Exhibition of Taichung City has evolved and expanded from a local to national and

then international art exhibition. The organizers' industrious efforts have received great recognition and the influence of glue color painting education

has led it to embrace rich, innovative concepts and skills. It has come to my attention that the standard of glue color painting has progressively been

raised, as it has also continued to move away from the stereotypical ideals of beauty, flowers and birds to more reflections of modern life, giving rise

to new subjects.

Only 28 artworks were submitted to the exhibition this year. After putting it to numerous votes, five jurors—KAO Yung-Lung, LIAO Jui-Fen,

CHANG Jui-Jung, LIN Pi-Chiang and I—finally agreed on seven pieces during the preliminary selection. On June 16 at the final selection, two voting

sessions were conducted and we decided on the top three prizes, two awards of merit and two shortlisted works.

First Prize went to HUANG Ching-Ya's“Silver Screen”. Her work is highly creative and successfully captures the contemporary elements

of our society. Advanced scientific practices, such as now-trendy gene-modification and cosmetic surgery, were conveyed in her painting. Cosmetic

surgery, providing the possibility of altering facial features and body shapes to one's preference, in particular is highlighted to reflect the female nature

of pursuing perfection.

Imbued with a folksy perception,“When We Sing That Song”by CHANG Wei-Yuan was awarded Second Prize. A young couple, brown dog

and a guitar form a formidable triangular composition. One can almost hear the guitar's melodies. The arrangement of the background goes perfectly

with the theme and this is a wonderful creation that shows masterful skills.

HONG Yong-Xin's“Two-Sided Argument”won Third Prize. The two identical beauties in the painting were portrayed to highlight current

social issues. The egg-shaped structure in the middle and the pair of chickens on top were ingeniously composed as a metaphor for“Which came first,

the chicken or the egg?”By cleverly arranging the elements into matching combinations, the artist interestingly conveys his creative concept.

Two artists earned an Award of Merit, CHAO Chun-Miao and LAN Yin-Wei. The former artist's work,“Top Gun”, advocates the concept of

environment preservation with an enlarged bee wearing a gas mask against a backdrop of silver tinfoil. Living in such a highly polluted environment,

even a bee's life is under threat. This great piece encourages contemplation of our environment.

The latter artist's work,“The Window of the City Hall”, presents the most exquisite architectural corner in Taichung built during the Japanese

ruling era. The artist utilized blue paint to express a mysterious and sentimental atmosphere, with the mottled and cracked wall implying the traces of

time. The whole painting is dominated by only two and half windows along with one potted plant. The artist's cool and rational style creates a space

where the audience's imagination can thrive.

The other submitted works are outstanding as well. However, due to the limited number of awards, they couldn't be exhibited, which is a great

pity. After observing all of the works, it's obvious that a growing number of young glue color painting artists are influenced by post-modern and

contemporary culture, while the subject of folk style portraits is also gaining popularity. It is important to establish a unique, individual Taiwan style

of glue color painting and the Da Dun Fine Arts Exhibition of Taichung City strongly identifies the importance of glue color painting, as the“Father

of Glue Color Painting in Taiwan”was from Taichung. In this exhibition, we can witness the approach of new horizons for glue color painting in

Taiwan, which certainly deserves acknowledgement.

95

96

膠

彩

類 Glue C

olor Painting

▲

第二名 S

econd Prize

2013　全國美術展膠彩類入選

2012　第13屆磺溪美展水墨膠彩類磺溪獎

2013　Short-Listed, National Art Exhibition, ROC - Glue Color Painting Category

2012　Huang Shi Award, the 13th Huang Shi Art Exhibition - Ink Wash Painting and Glue Color Painting Category

作品說明

當我們唱起那首歌，能否聽見我心中的鄉愁，如今是否再能聽到這首歌，感受到

我對妳的思念。構圖上以兩個不同的時空，安置於同一畫面中，使其呼應內容的

延伸，且多運用色塊的弧形切割，產生出對稱、安靜的效果，取自於宗教繪畫的

元素與想法，表達筆者的心境思維。

DescriptionWhen we sing that song, can you feel my homesickness? Can you still hear the song now and feel how much I miss you? This picture was separated into two different times and spaces that complement each other. Curved color blocks were utilized to create symmetric and soothing effects while some extended elements and concepts are drawn from religious paintings to reflect the artist's state of mind.

張維元 CHANG Wei-Yuan

當我們唱起那首歌／ When We Sing That Song　112×146cm

97

膠

彩

類 Glue C

olor Painting

▲

第三名 T

hird Prize

作品說明

觀看新聞報導從小七進駐蘭嶼，核四存否，到服貿黑箱，不同的角度引導出完全不同的結

論；雞生蛋？還是蛋生雞？困於思考的圈，以及重複輪迴的圈，周而復始。以「雞」跟「蛋」

兩個元素組成構圖，來表示有許多事情是無解的，沒有決對的誰是誰非；而手拿鏡片則表

示，當我們透過有色的鏡片觀看時，便看不見另一邊的景色，造成思考的盲點。

DescriptionNews coverage of Orchid Island, including the opening of a 7-Eleven store, plus issues related to the 4th nuclear power plant and the Cross-Strait Trade in Services Agreement, have sparked heated discussions with complete varying conclusions. It is if we are locked up in a cage. Which comes first, the chicken or the egg? We can't help but fall into this trap and our thoughts are being repeatedly driven in circles. Composed of these two elements—“chickens” and“eggs”—this painting tries to stress that there isn't an answer for every question. There is also no absolute right or wrong. The lenses held in the girls' hands express the idea that viewing through tinted glasses will create a blind spot, hindering the possibilities for seeing the beauty of the other side.

2014　第32屆桃源美展膠彩類第一名

First Prize, the 32nd Tao Yuan Art Exhibition - Glue Color Painting Category

洪永欣 HONG Yong-Xin

雙面論證／ Two-Sided Argument　112×145.5cm

2014

98

膠

彩

類 Glue C

olor Painting

▲

優選 A

ward of M

erit

2010　第28屆桃源美展膠彩類第一名

2008　臺中市第13屆大墩美展膠彩類優選

First Prize, the 28th Tao Yuan Art Exhibition - Glue Color Painting Category

Award of Merit, the 13th Da Dun Fine Arts Exhibition of Taichung City - Glue Color Painting Category

作品說明

蜜蜂戴著防毒面罩。這兩年有 1/3 或更多的蜜

蜂離奇死亡，因為人類的貪婪，迫使其遭受威

脅，蜜蜂今日的處境對每個人來說都是一個警

告，蜜蜂身體攜帶花粉，勤勞的不遺漏任何一

朵花，要是沒有了蜜蜂，我們這個星球的活力

和繽紛終將失落。

DescriptionThe bee in the picture is wearing a gas mask. For the past couple of years, one-third or more of the entire bee population has mysteriously died due to the mankind's endless greed. Their survival is severely under threat, a warning sign for every one of us. The bees diligently carry pollen collected from every flower. Without them, the planet we inhabit will lose its vitality and diversity.

趙純妙 CHAO Chun-Miao

捍衛戰士／ Top Gun　145×97cm

2010

2008

99

膠

彩

類 Glue C

olor Painting

▲

優選 A

ward of M

erit

2015　東海大學美術系第32屆師生美展入選

Short-Listed, the 32nd Teachers and Students Joint Exhibition, Department of Fine Arts of Tunghai University

作品說明

「臺中州廳」可說是臺中地區日本時代最精美、雄偉的建築之一，二樓的窗戶一

景或許只有單純的光線與盆栽，但寧靜的氛圍卻讓我想像起，當時的政府官員上

班時，會不會也趁閒暇之餘，靜靜地欣賞微風與日光的二重奏，懷抱對土地的熱

情呢？

DescriptionThe former Taichung City Hall building has to be one of the most exquisite and magnificent structures built during the Japanese colonial era. The view from the second-floor window might be simple with just some light and a potted plant. However, the serene atmosphere prompts me to wonder if the past government officials enjoyed moments of interplay between the breezes and sunlight when they had some time to spare. And were they passionate about this land?

藍寅瑋 LAN Yin-Wei

州廳之窗／ The Window of the City Hall　97×145.5cm

2015

100

膠

彩

類 Glue C

olor Painting

▲

入選 S

hort List

2014　臺北當代藝術館《街大歡喜》藝術進駐計畫

2014　20號倉庫第14屆駐村藝術家聯展《八又二

分之一月臺》

2014　Artists Stationed Program“Street Fun‧Fun Street”, Museum of Contemporary Art, Taipei

2014　The 14th Artist Village Joint Exhibition of Artstock 20 in Taichung Rail Way Station “Eight and Half Platform”

作品說明

挪用十八層地獄中的景象，轉換成詼諧荒謬劇般的構圖，試圖以宗教圖警惕世人

在現今社會的衰弱。守護地獄、行刑的使者，在地獄中荒廢職責，像是玩耍的詼

諧動作，共分成五個運動系列「接力賽、體操、跳水、跨欄、拔河」，令人生畏

的地獄情景儼然成了另一個極樂世界。

DescriptionAdopting scenes from hell, as portrayed in Buddhist beliefs, the artist altered and transformed the torture scenes into comedic and ridiculous plays in an attempt to show how religious warnings are losing their authority in our society. The guards protecting hell's gates or the ones carrying out persecution have abandoned their posts and have joined an amusing sports series of relay races, gymnastics, diving, hurdling and tug-of-war. The supposedly-horrifying scenes of hell suddenly resemble ones from heaven.

朱婉綾 CHU Wan-Ling

使者體操系列

Sports Series for the Guards in Hell

50×50×5cm×5

101

膠

彩

類 Glue C

olor Painting

▲

入選 S

hort List

2014　板橋扶輪社獎學金

2014　財團法人臺北市黃君璧先生美術獎助

文教基金會黃君璧獎學金

Scholarship by Rotary Club of Panchiao

HUANG Chun-Pi Scholarship, Taipei HUANG Chun-Pi Cultural & Educational Foundation

作品說明

近期的系列創作是在傳達現代占星術對於世上

人、事、物的表達。滿目山河空念遠，落花風

雨更傷春，不如憐取眼前人。你是否因為眼前

的事物不符合心目中的靈魂性，而果斷的選擇

讓事情急轉直下，但是心中卻也知道事與願違

是人之常情，那心中的命中註定靈魂性，是必

然落空的。這是冥王星的挑戰。

DescriptionMy recent creation series focuses on how astrology plays out in our modern society. The scene of the open field reminds me of my family and friends far away; seeing the flowers destroyed by the storm makes me realize how fleeting spring can be. I ought to cherish the person who is right here with me. Have you ever decided to escalate a situation without any hesitation when things don't go according to your spiritual plans? Even though deep in our hearts we understand that things can sometimes go against our wills, we seem unable to reverse the fateful fall. This is the challenge sent by Pluto.

林欣緯

LIN Hsin-Wei

畏／ Fear　176×77.5cm　

2014

2014

油畫類評審感言評審委員　李元亨

大墩美展已進入第二十個年頭，由於文化局全體工作參與者的整體用心設計、規劃、安排，在國內已得到極高評價。

油畫由西方移植東方不過一百多年，而得到藝術工作者的認知喜愛，成為大小展覽的主流。因此，本屆油畫徵件作品有219

件，其中外國作品有29件，分別來自印度5件、馬來西亞1件、羅馬尼亞1件、瑞典1件、薩爾多瓦1件、紐西蘭1件、波蘭1件、俄

羅斯1件、史瓦濟蘭4件、巴西1件、匈牙利1件、西班牙1件、德國1件、中國3件、美國4件、烏克蘭1件、希臘1件，共17國，因

此，大墩應稱得上國際美展。

負責本屆油畫評審委員有：王守英老師、吳永欽老師、黃海雲老師、楊嚴囊老師及筆者，共5位。5月17日初審，局內分配

入圍數為34件，經共識第一輪由每位委員圈選50件，交叉結果得5票的剛好34件，因此無須進行第二輪評選。6月16日進行複審，

前三名及5件優選作品自入圍的34件中選出，第一輪由每位委員各圈選20件，結果得5票得又剛好是8件，接著從這8件中再經三輪

苦戰，終將前三名及5名優選確定。

第一名黃彥勳的「Blowing」，作者對這主題「吹」之創作理念論述太哲學，難理解。以畫面直述：室內地面左下角放一部沒

啟動的電風扇，右側站一裸男，頭部沒畫進，再以線條勾勒出約五層的虛影重疊，地面潑下淺藍的一片水，以連接兩主題。此作

單純的大塊面，有虛實、象徵與超現實的創新感。

第二名林政杰的「夜…羽…」，描繪夜幕中悠游的魚遨翔在天際，流遍每個時空角落。此作以立體派分割手法，解構、對

立、分解，再以畫面所需重組經營，色塊、線條有了整體節奏感，但因黑線太多，有些壓迫感。

第三名梁軒瑜的「光陰的故事」，畫面4個不同動態的兒童走動於室內巷道，以黑、白、土黃作統調，試想表現兒時記憶之

情節及時光的流失，畫面整個空間穿梭不少細白直線，象徵歲月之快速消失，是件佳作。

優選作品5件，李琇兒的「穗花山奈」，畫面前端一束白色野薑花，背景全黑，左上角浮現異鄉教堂，隱喻身處天涯海角總

會憶起故鄉的花香，50號的作品一束花似太單調，建議大片的黑是否可再作思考增加可看性。黃梵的「禁錮的出口」，以獸骨、

鏽蝕的鐵鍊斜掛斑駁的牆上，這些物件的組合在造形上、質感上、塊面上多經營，相信會有新的面目。林政昆的「透視圖：時

間座標」，創作理念為相鄰空間的界限，我想必須要以哲學虛實空間認知去詮釋，畫面直覺上是一部影印或製圖機，如果直線的

色塊多些變化，有助整體空間之穩固與和諧。黃秀蘭的「荷去何從」，孤立的少女獨自茫然面對黑暗荷園，空間色塊質感上再經

營，會是好的象徵派作品。賴易聰的「無聲的樂園」，兒童樂園中心主機之轉動，象徵著時光記憶的流失，小孩的神情亦流露期

待與無奈，建議畫面不要全以黑線表現，會有法國近代大師－貝爾納‧布菲(Bernard Buffet)的聯想。

綜觀這次油畫徵件219件，得獎34件，是6：1的機率。順便一提，我在350年歷史的法國藝術家沙龍繪畫部連任16年的評

審，該展每年徵件2,000至2,500件，入選400件，也是6：1的入選率，24位評審委員若以每件作品3秒鐘的速度察看，也需要3個整

天方能看完，如此快速必有漏網之魚或遺珠之憾。目前世界藝術風格百花齊放又複雜，加上創新、創意之風潮，評審者對藝術必

備宏觀的認知，否則，因立場不同或觀點不同，評出的作品就難能達到真正的公平正義。

勝敗乃兵家常事，勝者不用驕傲，敗者亦無須灰心，創作者為個人長遠藝術生涯而創新，非為得獎而參賽，真誠加上毅

力，不斷地自我經營，超越自己而後超越別人，願與年輕的一輩分享。

102

LEE Yung-HanJuror’s Statement, Oil Painting Category

The Da Dun Fine Arts Exhibition of Taichung City has been running for 20 years and, thanks to all the hard work by organizers, has gained a strong reputation in this country.

Oil painting was introduced by the West to the East less than a hundred years ago, but is widely recognized and loved here, becoming a main focus at all kinds of exhibitions. Consequently, there were 219 oil painting submissions this year, including 29 works from other countries: 5 from India, 1 from Malaysia, 1 from Romania, 1 from Sweden, 1 from El Salvador, 1 from New Zealand, 1 from Poland, 1 from Russia, 4 from the Kingdom of Swaziland, 1 from Brazil, 1 from Hungary, 1 from Spain, 1 from Germany, 3 from China, 4 from America, 1 from Ukraine, and 1 from Greece—a total of 17 countries. So I guess this qualifies as an international art exhibition.

The five judges in this category this year were WANG Shou-Ying, WU Yung-Chin, HUANG Hai-Yun, YANG Yen-Nang, and me. The preliminary selection was on May 17. After each judge selected 50 works, 34 works were unanimously agreed upon to pass this stage, eliminating the need for a second selection round. On June 16, we selected winners of the top three prizes and five Awards of Merit from among these 34 nominees. In the first round of this selection, each judge chose 20 pieces, with judges agreeing on the final eight choices. Among these eight works, we made the decision on awards after several debates.

First Prize goes to HUANG Yan-Shiun's“Blowing”. We think that the meaning of this painting is too philosophical to understand, but here is a direct description of this work: There is an unmoving fan in the left corner and on the right side stands a naked man without a head. Then there are five layers of shadows overlapping each other. A pool of blue water splashing on the ground connects the two themes, as these simple, large pictures bring us an unreal, symbolic and surreal sense of innovation.

Second Prize goes to LIN Zheng-Jie's“Night… Wings…”, depicting a fish swimming in the sky during a dark night, as it swims in every corner of every time zone. This artwork uses a cubism sectioning method, deconstructionism and decomposition because the whole picture needs to be re-matched with the colors and the curves. However, there are too many black curves, giving a significant sense of pressure.

Third Prize goes to LIANG Hsuan-Yu's“Time Flies”. Four different children walk back and forth between the indoor alleys. All the colors are based on black, white and dark yellow, as the painter was trying to recreate childhood memories and show how time flies. The whole painting was designed with many fine, white straight lines, symbolizing that time always flies quickly. It's quite a fine piece of art.

There are five Award of Merit winners. One is LEE Hsiu-Er's“Ginger Lily”. At the front of the painting is a bouquet of white ginger lilies contrasting the black background. The left top corner shows a foreign-style church, as a metaphor for the idea that no matter where you are, you will always get homesick. No. 50's artwork is too simple with just a bouquet of flowers, so I would like to suggest emphasizing or adding something to the black background to enrich this painting.

HUANG Fan's“Imprison”is full of animal bones and rusty iron chains hanging from the wall. These components are carefully designed in their shape, texture and size to provide a new look in this painting. LIN Jheng-Kun's“Time and Space”is inspired by the boundary between neighboring spaces and, in my opinion, it's better to use philosophical and illusionary knowledge to explain the painting because one instinctively thinks it is a copy machine or a drafting machine. So if there were more variety in the stripes, it might help create a solid and harmonious space.

HUANG Hsiu-Lan's“Where to Go, What to Do”describes a lonely girl facing the dark lotus garden by herself. If this painting could focus more on the coloring texture, it would be a good example of symbolism. LAI I-Tsung's“Silent Paradise”illustrates the movement of the engine inside a children's amusement park, symbolizing the loss of memory as time goes by. The child's eyes show both expectation and helplessness, and I suggest that the artist does not show this with black outlines, lest it be associated with recent French master Bernard Buffet.

Among the 219 oil painting submissions, 34 pieces won prizes, which is a 6:1 ratio. Incidentally, when I was among the judges at the 350-year-old Salon Carré painting department for 16 years, its exhibition drew 2,000 to 2,500 works annually, of which 400 were nominated—also a 6:1 ratio. If 24 judges took only three seconds to evaluate each painting, it would still require at least three whole days to finish all of the paintings. Judging art so quickly will certainly lead to moments of misjudging. Because today's world has varied and complicated art styles in addition to a trend of being innovative and creative, it's important for the judges to gain a wide range of knowledge. Otherwise the results might be unfair due to different perspectives and different standpoints. Winning and losing happens all the time, so the winners don't have to be overly proud and the losers don't have to be frustrated. Painters should surpass themselves to meet long-term career goals, rather than simply striving to win competition awards. Modesty and persistency, along with self-development, must aim to surpass your previous achievements, not those of others. This is a motto that I would like to share with the younger generation.

103

104

油

畫

類 Oil Painting

▲

第二名 S

econd Prize

作品說明

當天空換上黝黑的屏幕，一閃一閃的星光也隨著月亮偷偷地掛上了她的光采！

夜…來了！就像悠游的魚，翱翔在天際，任憑流布在每個時空！此時，心靈的風，

也乘著夜的翅膀…親訪了春天！輕柔曼妙地如羽絨般，悄然滑落在每一個美麗的

夢裡。

DescriptionWhen the sky gets dark, twinkling stars rise along with the moon. The night is coming! Just like the fish, swimming in the ocean-like sky, freely spreading across every time zone. Right at this moment, the wind of the spirit visits the spring with the wings of the night! Gentle and flawless, like feathers appearing in each wonderful dream.

林政杰 LIN Zheng-Jie

夜…羽…／ Night… Wings…　112×145.5cm

2014　第13屆全國百號油畫大展第二名

2013　第37屆全國油畫展金牌獎

Second Prize, the 13th National Large-Sized Oil Paintings Exhibition

Gold Medal Prize, the 37th National Oil Paintings Exhibition

2014

2013

105

油

畫

類 Oil Painting

▲

第三名 T

hird Prize

2013　第31屆桃源美展油畫類入選

2012　第59屆中部美術展水彩類入選

Short-Listed, the 31st Tao Yuan Art Exhibition - Oil Painting Category

Short-Listed, the 59th Arts Exhibition of Taiwan Central - Water Color Painting Category

作品說明

午後陽光灑落大地，屋外傳來陣陣嬉戲聲，彷

彿回到古厝陋巷，兒時玩伴浮現腦海，既真實

卻又遙遠～。感嘆因時代變遷，鄉土建築正逐

漸消失於都市叢林中，忙碌的現代人，趨附流

俗地走向茫然的未來！年輕人沉迷於科技網路

的虛擬世界中而自我迷失，人際關係日趨疏離

冷漠。故作此畫，緬懷兒時印記，藉以抒發赤

子之心、思古之情。

DescriptionAfter midday, the sunshine spreads widely on every corner of the earth. There is the noise of playing coming from inside the house, like returning to childhood—surreal, yet too far to reach. The painter sighs because times have changed and all traditional country architecture is disappearing amidst urbanization. Rushing people are facing an unknown future by blindly following trends. Young people have lost themselves in the advanced technology of computer games, and their interpersonal relationships are becoming bigger issues day by day. That's why the artist wants to use this work to urge people not to forget about traditions.

梁軒瑜

LIANG Hsuan-Yu

光陰的故事／ Time Flies　116.5×91cm

2013

2012

106

油

畫

類 Oil Painting

▲

優選 A

ward of M

erit

作品說明

穗花山奈是臺灣鄉間溪畔、山澗常見的野生野薑花學名，在懊熱的夏季，只要家中擺

放一束野薑花，香氣隨著微風擺盪，讓人忘卻暑熱。去年夏天遊訪歐洲，坐在布雷德

湖畔小憩，清風徐拂，腦海中浮現的盡是家鄉的穗花山奈，心中頓時明白，不論身在

何方，心永遠向著唯一的方向。

DescriptionA ginger lily is another name for Hedychium coronarium, a type of flower that can be seen between the mountains and rivers of Taiwan. During the sweltering-hot summers, leaving a bouquet of ginger lilies at home allows their fragrance to help you forget the annoying heat. The painter visited Europe last summer, and as she sat next to Lake Bled relaxing, the memory of ginger lilies back home flooded into her mind. This led to the realization that no matter where you are, your heart is always pointing in one direction.

李琇兒 LEE Hsiu-Er

穗花山奈／ Ginger Lily　80×116.5cm

2014　第15屆南投玉山美術獎油畫類入選

Short-Listed, the 15th Mt. Jade Art Exhibition - Oil Painting Category

2014

107

油

畫

類 Oil Painting

▲

優選 A

ward of M

erit

2013　第61屆南美展西畫類優選

2012　全國學生美術比賽西畫類大專美術系組優等

2013　Award of Merit, the 61st Tainan Fine Arts Association Exhibition - Western Painting Category

2012　Award of Merit, National Student Fine Art Competition, College of Fine Arts Groups - Western Painting Category

作品說明

那幾乎已被遺忘的陰暗角落，獸骨斜掛於斑駁的牆上低吟悲傷，在幽暗裡鳴咽著

死亡旋律，任鏽蝕的鎖鍊禁錮無止盡的歲月滄桑！微光中，牆縫裡掙著竄出的新

芽，彷彿為久蟄桎梏的靈魂開啟了一個生命的出口。

DescriptionIn a dark, almost forgotten corner hangs an animal bone that is sobbing and playing a mournful melody with a depressed voice, spending the rest of its life here with a rusty chain. In a thin ray of light, a new bud is coming out from the wall, almost like the creation of an exit for the soul.

黃梵 HUANG Fan

禁錮的出口／ Imprison　112×145.5cm

108

油

畫

類 Oil Painting

▲

優選 A

ward of M

erit

作品說明

相鄰空間的界限。

DescriptionThe boundaries between connected spaces.

林政昆 LIN Jheng-Kun

透視圖：時間座標／ Time and Space　91×116.5cm

109

油

畫

類 Oil Painting

▲

優選 A

ward of M

erit

作品說明

不沾紅塵，不惹塵埃；千山萬水，古往今來；

心之所嚮，都市叢林；花團錦簇，在黑暗中，

彷彿見到，未來曙光。

DescriptionDo not get involved in this world. Do not cause any trouble. Thousands of mountains and oceans; from ancient times until now; go where the heart tells you; the concrete jungle might be the answer, a colorful world, surviving in the dark, almost seeing the bright light of the future.

黃秀蘭

HUANG Hsiu-Lan

荷去何從／ Where to Go, What to Do　116×90.5cm

110

油

畫

類 Oil Painting

▲

優選 A

ward of M

erit

作品說明

「無聲的樂團」在描述社會發展過程中，所遺

失的共同記憶。透過兒童樂園設施象徵一個個

時代的回憶，這些共同的逐漸消失景象，橫跨

許多時代和族群。作品透過強烈的線條，表現

出小女孩生氣、無奈的愴然，如無聲一樣，在

回憶中掙扎。

Description

賴易聰

LA -Tsung

無聲的樂園／ Silent Paradise　146×112cm

“Silent Paradise”depicts the lost memory of society's developing progress. The amusement park is a symbol of the memory of a certain era, and these common disappearing images have come through many eras and different races. This painting uses vivid and strong outlines to show the grumpy little girl, and disappointed sorrow, just like silence struggling among the memories.

111

油

畫

類 Oil Painting

▲

入選 S

hort List

2015　臺北大倉久和主辦「彩繪中山街景」優選

2015　Award of Merit, the Okura Prestige Taipei sponsor“Painted in Taipei's Zhongshan Street”

作品說明

我的雜亂思緒像水管管路般的複雜，且糾結不斷地永遠下去。

DescriptionMy thoughts are messy and complicated like pipe lines, and the knots will be tied forever and ever.

張鈞傑 CHANG Chun-Chieh

管道系統／ Plumbing　150×150cm

112

油

畫

類 Oil Painting

▲

入選 S

hort List

2012　第59屆中部美術展油畫類第一名

2010　第28屆桃源美展油畫類第一名

First Prize, the 59th Arts Exhibition of Taiwan Central - Oil Painting Category

First Prize, the 28th Tao Yuan Art Exhibition - Oil Painting Category

作品說明

多少故事，在陰涼的樹下被醞釀？多少童年，

在長著鬍鬚、脫著皮的老樹下，來了又去？此

作係以大樹為主要的意象，輔以塗鴉式的線條

帶入記憶中的童年時光，畫面上用顏料所吹製

的泡泡，除了有抽象的符號象徵外，並期帶出

畫面的趣味及豐富性。

DescriptionHow many stories will be created under the trees? How many childhoods will come and go under the bearded, skin-less old tree? This painting uses the tree as its inspiration, and the outlines take you back to childhood memories. The bubbles are generated by blowing the colors, and both serve as symbols and give the painting some interesting effects and richness.

簡孟津

CHIEN Meng-Jin

大樹下的回憶／ Memories under the Big Tree　145.5×112cm

2012

2010

113

油

畫

類 Oil Painting

▲

入選 S

hort List

作品說明

17歲的我們，在此學習階段，不管是課業、

感情的壓力，各種考驗讓我們不斷地進步和成

長，但還是會被一層恐懼包覆住，害怕面臨人

生的第二次大考及升學面試。畫面上安排了主

角和配角的強弱構圖關係，最後右旁羽毛作為

一絲希望。

DescriptionAt the age of 17, regardless of whether it is studies, love or various challenges that we are facing, these tests make us improve and grow. However, there is another layer of fear that makes us too frightened to deal with it—university entrance exams and interviews. The painting arranges the relationships between the main object and other objects. The feather on the right-hand side symbolizes the only hope.

胡哲豪

HU Zhe-Hao

學習中的幻望／ The Phantasy of Learning　116.5×91cm

114

油

畫

類 Oil Painting

▲

入選 S

hort List

2014　臺中市第19屆大墩美展入選


Short-Listed, the 19th Da Dun Fine Arts Exhibition of Taichung City


作品說明

游離點彩，墨走軌跡，是心田出界的藍色奏鳴

曲嗎？

DescriptionGet away from the rich life and travel the world. Does the heart call out with a blue sonata?

龔煜珊

GONG Yu-Shan

藍色書頁／ Blue Page　117×92cm

2014

2013

115

油

畫

類 Oil Painting

▲

入選 S

hort List

2014　臺中市第19屆大墩美展油畫類入選

2014　臺中市第19屆大墩美展攝影類第一名

Short-Listed, the 19th Da Dun Fine Arts Exhibition of Taichung City - Oil Painting Category

First Prize, the 19th Da Dun Fine Arts

Exhibition of Taichung City - Photography

Category

作品說明

正在進行的抽象系列作品，注重空間與線條之

間的張力。

Description Part of an ongoing abstract series focusing on the tension between space and line.

LUCAS K. DOOLAN

交錯空間／ Spatial Complexity　130×99cm

2014

2014

116

油

畫

類 Oil Painting

▲

入選 S

hort List



作品說明

街景，在每個城市，都有不同的風采與氣息，

有繁華、有人文、有閒逸、有忙碌，是個人感

受不同，或是城市的原生魅力所影響？針對街

景主題，創作了此件作品，並加上〈閃閃發光

我的心〉的副標。散亂的垂直軸和水平線，構

成街邊無章法的水泥建築，繁複雜亂卻不影響

那時閃爍發光的心情，我影響了城市，看見魅

力！

DescriptionEach city in every country has a different atmosphere and images. There is glamour, there is humanity. There is leisure, and there is hustle. Everyone has different feelings, or maybe it's because the charm of each city is different. A street view is my inspiration for this painting and I also add the subtitle,“Stimulates My Heart”. Vertical and horizontal l ines generate the concrete buildings without any order. A chaotic, yet heart-pounding, mood affects the city, and I can see its charm.

曾卉馨

TSENG Hui-Hsin

街景，閃閃發光我的心／ Street View, Stimulates My Heart　145×112cm

2014

117

油

畫

類 Oil Painting

▲

入選 S

hort List

2003　印度馬哈拉什特拉省國家藝術獎

1997　孟買藝術協會

2003　State Art Award, Maharashtra State

1997　The Bombay Art Society, Mumbai

作品說明

比知覺更深沉的旅程是面對無知。我的畫作是反映大

自然中，不一樣的形狀或外形會引起我的注意力，會

啟發我，讓我沉浸於快樂之中和讓我有活力。此畫作

的來源是根據我的能量轉變而形成的；而它的美感是

從畫中反映出來的。

Description The journey beyond the known towards the unknown is the work of the abstract highs in gray scale. My paintings are a reflection of nature. Different forms attract my mind, inspire me and give me immense joy and a burst of energy. The paintings that came forth through the transformation of that energy is what is being presented; the beauty of this is reflected on the canvas.

ABHANG BALASAHEB BHANUDAS

灰色標準中的抽象水平／ Abstract Highs in Gray Scale　183×61cm

118

油

畫

類 Oil Painting

▲

入選 S

hort List

2013　新竹美展油畫類第一名

First Prize, Hsinchu Art Exhibition - Oil Painting Category

作品說明

回顧過往的自己與此時此刻的一切，帶著徬徨、不確定的心繼續寫我未來的

人生。

DescriptionLooking back and comparing the past with the present moment, I continue my life with an anxious and unsure mind.

蔡函庭 TSAI Han-Ting

20 歲前的旅程／ The Journey before 20　130×162cm

2013

119

油

畫

類 Oil Painting

▲

入選 S

hort List

作品說明

冰、灰大地迎接南方暖暖的風，喚醒冬眠的仙靈，她淡妝、披上彩衣，越過平原，

跨過山丘、森林、草原，綻放繽紛的花、動物與人們高歌跳舞，又回春的喜悅！

DescriptionIce-cold and grey-colored Mother Earth is welcoming the warm breezes from the south, which awaken the hibernating fairy. She wears light make-up and puts on colorful clothes, passing by the fields and crossing through mountains, forests and grass. The flowers and the animals dance and sing with the humans, welcoming the return of spring.

楊治瑋 YANG Jyh-Woei

春回／ Spring 　91×116.5cm

2014　臺中市第19屆大墩美展水彩類第三名

2013　第14屆南投玉山美術獎水彩類首獎

Third Prize, the 19th Da Dun Fine Arts Exhibition of Taichung City - Water Color Painting Category

First Prize, the 14th Mt. Jade Art Exhibition

- Water Color Painting Category

2014

2013

120

油

畫

類 Oil Painting

▲

入選 S

hort List

2013　全國美術展油畫類入選

2012　第13屆磺溪美展油畫水彩類優選

Short-Listed, National Art Exhibition, ROC - Oil Painting Category

Award of Merit, the 13th Huang Shi Art Exhibition - Watercolor Painting and Oil

Painting Category

作品說明

這是一個假設性的破壞過程，也是一種素描的過程。一種速度的產出，加速了某

些物質產生變化後，到底還會剩些甚麼！？會是一種困境還是一個烏托邦世界。

就讓繼續加速度的爆裂、溢出、噴發持續下去吧！

DescriptionThis is a hypothetical destroying process, and also a procedure for sketching. With the creation of acceleration, speeding up changes of substance, what will be left? Is it going to become a dilemma or a utopia? So let it continue, to speed up the explosion!

李福雄 LI Fu-Hsiung

加速度 No.1 ／ Acceleration No.1　112×145.5cm

2013

2012

121

油

畫

類 Oil Painting

▲

入選 S

hort List

2014　臺中市第19屆大墩美展水彩類第三名


Third Prize, the 19th Da Dun Fine Arts Exhibition of Taichung City - Water Color Painting Category


作品說明

文明社會裡，人類不斷破壞環境，一座座建築物四處竄起，觸動創作靈感。利用

點、線條、色塊在堆疊中構成此畫面，整張畫刻意不留白，並以綠色為主調，正

是我要表達對城市空間的窒息感和提醒建構的環保意識。

DescriptionIn this civilization, humans keep on destroying the environment by building one skyscraper after another. This is the inspiration for the painter, who uses dots, lines and colors stacked together to form this painting. There is no blank space in this piece and the main color theme is green, which is exactly why I would like to express—my feelings about the of lack of space in cities, and to remind people about the importance of environmental issues when designing a building.

許凱玲 HSU Kei-Ling

疊城／ The Stacks of Buildings　91×116.5cm

2014

2014

122

油

畫

類 Oil Painting

▲

入選 S

hort List

作品說明

以塊面堆疊構成畫面，抽象符號的現代元素、語

彙，試圖在畫面展現有邏輯性及思維的視覺效果。

DescriptionI use the different areas overlapping with each other to form this painting. I attempt to use abstract symbols and terms to show visual effects.

蔡仁德 TSAI Ren-De

紅韻／ The Red　112×145.5cm

123

油

畫

類 Oil Painting

▲

入選 S

hort List

城市邊緣人／ Suburban　97×162cm

2012　臺中教育大學校慶美展彩繪技法類優選

Award of Merit, National Taichung University of Education Anniversary Art Exhibition

作品說明

許多年輕人為了實現自己的夢想來到都市，花了大半輩子的時間和精力去實踐、交

織自己的夢想，但成功與否往往不是自己能決定，要經過時間和命運種種的考驗。

追夢的人努力地在這城市奮鬥、碰撞與掙扎，但現實訴說的並不那麼完美，他時常

看不到未來、看不清最初的自己。夢想尚未實現的人，就像一群憋氣在人海裡，等

待可以暢快呼吸的生物。

DescriptionMany young people move to the city because they want to make their dreams comes true. They spend most of their lives and energy trying to fulfill these but the results are not always in their hands. It requires time and testing. These dream-chasers work very hard to survive in this city but, to be honest, this isn't so perfect because they often aren't able to see the future and lose their original selves. Those who can't fulfill their dreams are like people who hold their breath underwater and wait for the day when they can emerge and breathe again.

袁仲衡 YUAN Zhong-Heng

2012

124

油

畫

類 Oil Painting

▲

入選 S

hort List

2011　第2屆金赫獎國際盃美術書畫大賽入圍

2011　臺灣人壽創意獎油畫徵件比賽佳作

Finalist, the 2nd Jin He Award International Cup Calligraphy and Painting Competition

Award of Merit, Taiwan Life Creative Award-Oil Painting Competition

作品說明

半抽象的堆疊與勾勒，是首次嘗試的表現。訴說著有些頻率總在固定的節奏裡，

有些夢想被框在規範裡，棋盤格中填入了我習畫的階段與旅程，自許能繼續前進

而發展，即使盛開的玫瑰布滿荊棘，也要努力綻放迎向陽光。

DescriptionThis is my first time trying“semi-abstract”overlapping and sketching methods. I was telling a story about some people who live regular lives, with some who like to dream big but have those dreams restricted. The checkerboard is filled with my stages of learning about how to paint and this journey. I hope I can keep going and develop like a blooming rose, even with the thorns.

張小薇 CHANG Hsiao-Wei

綻放／ Blooming　91×116.5cm

2011

2011

125

油

畫

類 Oil Painting

▲

入選 S

hort List

2014　全國美術展油畫類銀牌獎

2010　第28屆桃源美展油畫類佳作

Silver Prize, National Art Exhibition, ROC - Oil Painting Category

Award of Merit, the 28th Tao Yuan Art Exhibition - Oil Painting Category

作品說明

流連於公園裡的數隻流浪貓，在寒冬中、酷暑裡畏縮在樹叢角落，躲避陌生人不

友善的驅趕或攻擊，同時也耐心等待我為牠們送上的晚餐。每天餵養這些貓兒，

關懷著牠們的成長與生活點滴，在付出的同時也體驗了生命的意涵。我喜好畫出

令自己感動的事物，心靈的感動正是繪畫的原動力；透過每天與流浪貓相處，情

感所帶來的渲染力，深刻且真實的刻畫下一幅幅的心靈地圖。

DescriptionSeveral stray cats wander around in the park during the winter and all hide in the bushes from unfriendly strangers' attacks. They also wait for me to feed them dinner every day. By taking care of these cats, I experience the meaning of life. I like to draw something that touches my heart because, in my opinion, this is the motivation for painting. Facing these kittens every day really touches the deepest side of my being.

胡美華 HU Mei-Hua

公園的流浪貓／ Stray Cats in the Park　100×120cm

2014

2010

126

油

畫

類 Oil Painting

▲

入選 S

hort List

2014　全國公教美展優選

2013　全國公教美展優選

2014　Award of Merit, National Civil Officers Art Exhibition

2013　Award of Merit, National Civil Officers Art Exhibition

作品說明

透過鮮明色彩和韻律的筆觸，讓畫面有些呈現

破碎的狀態，有些則色塊分明，配合形與線的

靈透組合，將具象轉成半抽象的意境。作品黑

色塊面比喻成大地，在空山新雨後，萬物都洗

滌乾淨，也甦醒了。

DescriptionThe use of bright colors and outlines depicts a broken status. Some colors are segmented clearly, and the combination of shapes and lines turns concrete imagines into a semi-abstract state of mind. The black part of the painting represents Mother Earth, which awakens after several showers in the mountains.

張英彬

CHANG Ying-Pin

雨‧痕／ Rain‧Trace　116.5×91cm

127

油

畫

類 Oil Painting

▲

入選 S

hort List

2014　臺中市第19屆大墩美展水彩類第一名

2014　新北市美展第三名

2014　First Prize, the 19th Da Dun Fine Arts Exhibition of Taichung City - Water Color Painting Category

2014　Third Prize, the Art Exhibition of New Taipei City

作品說明

消逝在那一片陳年的浮水印，褪色的記憶，

就是那一咪咪的，我也無法去管你的漂浮

被塗鴉了

是你，分區了彼岸

朦朧的掙扎

不捨告訴你

每當你要再一次的

離去

DescriptionThe watermark disappearing into the past is a faded memory. I have to wipe out your existence. It is you that separates us. The vague struggle. I find it hard to tell you when you leave again each time.

蔡元桓

TSAI Yuan-Huan

每當你再次離去／ When You Leave Again　145×112cm

128

油

畫

類 Oil Painting

▲

入選 S

hort List

2012　臺灣藝術大學美術學系版畫素描展素描類入選

2012　臺灣藝術大學美術學系師生美展水彩類入選

2012　Short-Listed, National Taiwan University of Arts, Printmaking and Drawing Exhibition of the Fine Art Department - Drawing Category

Short-Listed, National Taiwan University of Arts, Teachers and Students Joint Exhibition - Water Color Painting Category

作品說明

小時候急著長大，長大後想回到小時候，因為長大必須獨立自主，面對社會上

一切的問題。外在會改變，內心更會改變，因此，總是提醒自己要保有小時單

純與善良的心。

DescriptionWhen you're a child, you desperately want to grow up, and when you grow up, you desperately want to go back to being a child. This is because when you're an adult, you have to be independent and face all your problems. Your appearance changes and so does your mind. Therefore, it's important to remind yourself to always keep a simple and pure heart.

游婷鈞 YOU Ting-Chun

可不可以永遠都不要長大／ Be a Child Forever　91×116.5cm

2012

129

油

畫

類 Oil Painting

▲

入選 S

hort List

2013　東海大學路思義教堂50年攝影暨藝術創作

展入選 2012　東海大學美術系第30屆系展水墨佳作

2013　Short-Listed, Tunghai University“Luce M e m o r i a l C h a p e l”f o r 5 0 y e a r s Photography and Fine Arts Creation Sketch Competition

2012　Award of Merit, the 30th Tunghai University, Department of Fine Arts Exhibition - Ink Wash Painting

作品說明

跟「珍愛地球」生存環境議題有關，有感海水的汙染嚴重，空汙造成環境溫度的

變異，冰山起了變化，大海中的鯨魚也失去了方向，甚至海中生物集體自殺事件

層出不窮，隱憂漂亮藍色星球將不再，取而代之的是顆黑色星球。

DescriptionThis work is related to the“Seeds of Hope”environmental movement, environmental issues and the serious problem of polluted oceans, the bizarre global temperature changes caused by air pollution, which brings about changes to glaciers and makes whales lose their direction. There are even some incidents where marine creatures seem to commit suicide, which means that our beautiful blue earth is no longer beautiful and blue but a black planet.

白育綾 PAI Yu-Lin

鯨魚的眼淚／ The Tears of the Whale　130×130cm

130

油

畫

類 Oil Painting

▲

入選 S

hort List



2014　Short-Listed, the 19th Da Dun Fine Arts Exhibition of Taichung City

2011　Short-Listed, the 16th Da Dun Fine Arts Exhibition of Taichung City

作品說明

以抽象符號及色彩的表現方式，回憶與埃及卡內克城的邂逅。塊面堆疊的色塊，彷

彿那日溫暖的零碎記憶！

DescriptionAbstract symbols and colors preserve an unexpected encounter in Karnak. The colors are like broken pieces of the memory.

江秋霞 CHIANG Chiu-Hsia

卡內克城的回憶／ The Memory of Karnak　112×145.5cm

131

油

畫

類 Oil Painting

▲

入選 S

hort List

2014　第13屆全國百號油畫大展入選

2014　財團法人鴻梅文化基金會璞玉圓夢計

畫創作基金獎助

Short-Listed, the 13th National Large-Sized Oil Paintings Exhibition

Creation Dreams Project Found Support from Grand View Culture & Art Foundation

作品說明

從剖析自我逃避傷痛到面對的過程，體悟到正

向面對的重要性，延伸至今日社會逃避現象。

圖中穿著旗袍擁有文明的人類，渴望從眾人爭

奪的權力中，將能觀看世界的望遠鏡占為己

有，使自身成為這世界的價值觀主宰。有文

明，方得權力，人們不可否認，但也不願面對

這不爭的事實，期望在這看似美好卻不善的世

界中，喚醒人類的初心。

DescriptionBy profiling my escape from pain to then facing the pain, I realize the significance of facing problems, and I use this same idea to explain today's phenomenon of avoiding problems. In the painting, there are civilized people wearing Mandarin gowns—known as“qipaos”in Chinese—hoping to take the power from the public and keep a global vision to themselves, making themselves world leaders. It is undeniable that in order to gain power, civilization is needed. This is a non-debatable truth.

林庭如

LIN Ting-Ru

尋一個自己系列 07-碑／ Seek a True Self 07-Monument　116.5×80cm

2014

2014

132

油

畫

類 Oil Painting

▲

入選 S

hort List

眾神之家／ House of Gods　101.6×101.6cm

2015　印度孟買 Heerji 藝廊聯展

2015　印度孟買傑漢吉爾美術館馬哈拉什特拉省藝術展

Group Exhibition in Heerji Art Gallery, Mumbai, India

Maharashtra State Art, Jehangir Art Gallery,

Mumbai, India

作品說明

畫家 Deepak Mer 的作品非常高明，仔細看，你會看到

一層一層的圖像堆疊像一座華麗的迷宮，它會帶你到一

個你沒辦法推測它有限的注意力的地方。畫的焦點在於

人形，而人形像身體一樣懸空在空中，利用手勢會讓你

覺得他們是在問那個人形還沒辦法回答的一些有關諺語

但沒有時空限制的問題，例如：我們生存的目標是只侷

限在木偶師幫我們策劃的人生計畫中嗎？或是我們超前

去影響他的技巧？我們應該要按照自己的意思過生活

還是跟眾神談情說愛會生活的比較好？這個命運的可

能性還存在嗎？畢竟，我們存在的意義尚未被發掘。

Description Artist Deepak Mer's works are works that are nothing short of genius. Peer closely and you will be confronted with a host of images hiding within/behind other images. It is a wonderful maze, a labyrinth of consciousness taking you to places the mind cannot fathom with its limited span of attention. The main subjects are the figurines which are human bodies seemingly suspended in the air, using telling gestures, making you wonder whether they are asking the proverbial yet timeless question that man has still not been able to answer: “Do we live to do only what the master Puppeteer has planned for us? Or do we go beyond and influence his maneuvers? Should we live by our own rules or would romancing the Gods cut a better deal?”Does the possibility of a destiny still remain?After all, what we are meant to do here is yet to be discovered.

DEEPAK N. MER

2015

2015

133

油

畫

類 Oil Painting

▲

入選 S

hort List

2015　印度孟買 Heerji 藝廊聯展

2014　印度孟買藝術家中心年展展出

Group Exhibition in Heerji Art Gallery, Mumbai, India

Annual Show Artists' Centre, Mumbai

作品說明

「她捧著宇宙，不做任何事的斜靠在陽台的欄杆上。」在畫中的女人可能是任何

人，她專注其中，沒做任何事。但是在同時緬懷輝煌的過去，參與和期盼，冥想

著歡樂時光的到來。有人曾經說希望是覺醒的夢。這些畫作就是俗稱的「癖」的

實際證據。

Description “She wasn't doing a thing I could see, except standing there, leaning there on the balcony railing, holding the universe together”.The woman in the paintings could be any one of us engrossed within that moment doing nothing at all, but at the same time reminiscing about the glorious past, anticipating and hoping, musing about the good times to come. Someone once said Hope is a waking dream. These paintings are physical evidence of that the proverbial phase called “Wanderlust”.

VIJAYLAXMI D. MER

希望／ The Hope

2015

2014

水彩類評審感言評審委員　楊恩生

經過這次水彩類初審、複審之後，前三名、優選及入選已評定出來。我個人對這次參與競賽的作品有以下感想：

一、我認為評審均認同水彩宜以透明為主；若是太偏重不透明水彩的油畫效果，或是壓克力彩的特殊材質表現，均不應提倡與鼓

勵。文化局或可考慮將它們另立壓克力彩或油彩類，不宜以「創作自由」而放入水彩類，如此就有「魚目混珠」、「掛羊

頭賣狗肉」之嫌。

二、畫面品味，也是決定能否得到好成績的關鍵。若一味抄襲照片，又不明白攝影與繪畫的基本差異是不值得鼓勵的。只在畫中

拼湊零碎物件，沒有任何意義的無病呻吟決不會得到評審的青睞。

三、參賽的水彩愛好者色彩普遍灰濁，或為了顧及渲染效果的流暢，而缺少了質感與量感的表現。顯見目前水彩教育中缺少了

「水彩色彩學」及「水彩材料學」的基本認知。

四、「大」不代表精，許多大畫仍被淘汰。畫面宜耐人尋味，不在乎大小。不過不可否認的，大尺幅佔了不少優勢。

　　至於其他評審的意見，我也忠實地陳述如下：

郭明福―面目多是好現象，不會同一風貌及師承。本屆第一、二、三名主題、風格、技巧各不相同。

黃進龍―整體以大件作品雙全開效果為佳；相對地，對開就吃虧了。複審現場看原作與初審現場看8×10吋照片效果截然不同。

黃銘祝―風格、技巧各異，但題材仍與傳統制式者雷同，宜多找尋自己生活的體驗為美感。

莊明中―描寫能力普遍不錯。

134

Anderson YANGJuror’s Statement, Water Color Painting Category

The top three awards, awards of merit, and short-listed works have been chosen after the preliminary and final selections for the Water Color

Painting category. My personal thoughts about the artwork in this competition are as follows.

First, I believe that most judges think that better presentation means that water colors should appear translucent; that the use opaque paints or

special materials such as acrylic colors in paintings should not be promoted or encouraged. The Cultural Affairs Bureau may consider dividing these

artworks into the Acrylic Painting or Oil Painting categories; it is not suitable to put these works into the Water Color Painting category under the

excuse of“creative freedom”, as this may lead to a situation of“passing off fish eyes for pearls”, as the expression goes.

Second, the taste of the paintings is also key consideration. A situation where the painter blindly copies photos, and does not understand the

basic differences between photography and painting, is not to be encouraged because they are simply including unrelated elements in their paintings,

which is meaningless. The objects of pictures without any meaning will not gain popularity among judges.

Third, most competitors seem to like turbidity or, in order to shows rendering effects, these paintings does not show the sense of texture and

volume. Apparently, water color education does not include basic knowledge of the“Color Theory of Watercolor”and“Meteorology of Watercolor”.

Fourth, large artworks do not mean they are exquisite artworks. A lot of large artworks were eliminated. It does not matter how large or small a

painting is, although it is undeniable that large-sized paintings tend to gain more advantages.

I have also faithfully stated other judges'opinions as follows:

KUO Ming-Fu:

It was good that many people joined this competition, which meant these artworks didn't show the same styles or inspirations of one master. The

subjects, styles and techniques of the top three finishers were all different.

HUANG Chin-Lung:

Among all entries, large artworks with double-book size provided a better effect; on the contrary, folio paintings had a more negative effect.

HUANG Ming-Chu:

Styles and techniques were different, although subjects were similar to traditional styles. Painters should look more to life experiences and then

develop their own aesthetic.

CHUANG Min-Chung:

Most of painters demonstrated good portrait abilities.

135

136

水

彩

類 Water C

olor Painting

▲

第二名 S

econd Prize

2014　第32屆桃源美展水彩類第一名

2012　全國美術展水彩類金牌獎

2014　First Prize, the 32nd Tao Yuan Art Exhibition - Water Color Painting Category

2012　Gold Prize, National Art Exhibition, ROC - Water Color Painting Category

作品說明

清晨散步在南投魚池鄉的香蕉園裏，空氣中瀰漫著清新香甜的味道及臺灣早年純

樸和善的氣氛，一個屬於我童年單純快樂的回憶，在現今爾虞我詐、冷漠自私的

社會中再也難尋覓！

DescriptionAs I walk through a banana farm in Nantou's Yuchih township, the air filled a sweet, fresh atmosphere, as well as a friendliness and kindness that existed long ago. That was a time, during my Taiwan childhood, when I enjoyed pure joy. You can hardly find such things in these times, filled with lies and selfishness.

陳俊男 CHEN Chun-Nan

蕉園風情／ Banana Grove Style　80×155cm

137

水

彩

類 Water C

olor Painting

▲

第三名 T

hird Prize

2015　全國美術展入選


Short-Listed, National Art Exhibition, ROC


作品說明

旭日東昇，萬物甦醒，美景仙境，風華再現。

作品以藍色為底，象徵煩惱，要居安思危，

並襯托夜遊、夜泳、夜色之美。聖樹由盛而

衰，象徵它承載與包容人類罪惡，隱喻人類

的貪婪、暴力非萬能，要愛護大自然，讓天

地萬物和諧共存。

DescriptionAs the sun rises, every creature wakes up and you can see beautiful scenery everywhere. This painting has a blue base, representing worry. The blue also highlights the beauty of playing, swimming at night, and the beauty of the evening. The saint tree is changing, from flourishing to decadence; it is a symbol of the guilt and tolerance of human beings. It is also a metaphor for the greed of humans, that violence is not super power, and that we have to protect nature and to co-exist with all creatures on earth.

陳樹枝

CHEN Shu-Chih

風華再現／ The Reappearance of Elegance　110×80cm

2015

2013

138

水

彩

類 Water C

olor Painting

▲

優選 A

ward of M

erit

2015　九族櫻花祭水彩寫生第一名

2014　全國美術展水彩類第三名

First Prize, Formosan Aboriginal, Cherry Blossoms Festival Watercolor Sketch Competition

Third Prize, National Art Exhibition, ROC - Water Color Painting Category

作品說明

只不過是夜裡起了風，有了一抹憂鬱氣質的

紅，情緒很濃卻說不出口，是一種自問自答的

痛，再多神經質的挑動，終究隱沒空中，猶

如灰色雨季的飛行殘夢，當人們向上走，點盞

燈，細數昨日種種。

DescriptionIt is just the wind at night, but suddenly I feel depressed. This emotion is strong; yet I cannot change it into words. It is the pain I keep asking myself about and answering by myself. This neurotic feeling eventually disappears, just like a broken dream flying away during the gray rainy season. As people walk on and light lamps, the memories of yesterday come back.

蔣玉俊 CHIANG Yu-Chun

我在，故我思／ I Am, Therefore I Think　176×142cm

2015

2014

139

水

彩

類 Water C

olor Painting

▲

優選 A

ward of M

erit

2015　全國美術展水彩類入選

2014　第32屆桃源美展水彩類佳作

Short-Listed, National Art Exhibition, ROC

Award of Merit, the 32nd Tao Yuan Art Exhibition - Water Color Painting Category

作品說明

運用水彩的色彩表現墨與靜物，塑造出饒富生

命活力的凝止空間情境，描繪的是彷彿置身於

那時間與空間。以虛實及靜物的元素平衡構

圖，呈現微妙寧靜氛圍空間的畫面。

DescriptionI use the characteristics of watercolors and still life to express vibrancy in the still space and make people feel like they are in that time and space. I use unreal and actual elements to balance the composition, showing a sense of tranquility in the space.

陳登景

CHEN Deng-Jing

靜與墨／ Vitality and Peace　110×76cm

2015

2014

140

水

彩

類 Water C

olor Painting

▲

優選 A

ward of M

erit

2014　全國公教美展水彩類佳作

2001　第19屆桃源美展優選

2014　Award of Merit, National Civil Officers Art Exhibition - Water Color Painting Category

2001　Award of Merit, the 19th Tao Yuan Art Exhibition

作品說明

在作者小時候，購物是一種樂趣，少少的錢可

以買到滿滿的喜悅；多年過去，都會充斥著高

聳的購物中心，消費欲望像摩天大樓一般，不

斷追求更高欲求的滿足。作者以櫥窗的反光與

百貨大樓升降扶梯的影像重疊，想表達的是上

班族在都會生活中，工作與消費的循環與盲

從。

DescriptionDuring this painter's childhood, shopping was my pleasure. I could feel joy with a little money. With the passage of a few years, cities are filled with high-rise buildings and shopping malls. Our desires have risen like skyrockets and we have increased our desires as consumers. The overlay of the window reflection and escalators of a department store show that city-dwelling office workers are in a cycle of blind obedience to working and consuming.

游雯珍

YU Wen-Jane

摩天消費／ Luxurious Consumption　110×78cm

141

水

彩

類 Water C

olor Painting

▲

優選 A

ward of M

erit

2014　第38屆敦化盃學生寫生比賽第一名

2014　第16屆群生盃寫生比賽第三名

First Prize, the 38th Dun Hun Cup Students Sketch Competition

Third Prize, the 16th Qun Sheng Cup Sketch Competition

作品說明

我想透過水彩這個媒材來呈現我成長、生活的地方。畫中的景色是臺北人熟悉的

街口，希望能傳達出在這個時代所該有的地域性與時代性。

DescriptionI want to show the place I grew up in and live in through watercolors. The place in the painting is one of Taipei's streets. I want to express the localization and modernity of life in this time.

曾竣偉 TSENG Jun-Wei

在這個時代／ In This Era　132×170cm

2014

2014

142

水

彩

類 Water C

olor Painting

▲

入選 S

hort List

2015　臺北大倉久和主辦「彩繪中山街景」第

二名

2012　臺中市第 17 屆大墩美展入選

Second Prize, the Okura Prestige Taipei sponsor“Painted in Taipei's Zhongshan Street”


作品說明

十全十美的愛需要雙方的包容與體諒，畫面呈

現的觀看視角是必須彎著腰才能看見整片花朵

的樣貌，如同現實生活中的愛一般，雙方對愛

情的態度必須是尊重的，而浪漫需要雙方的經

營與呵護，並努力保護這愛情時效性，即使花

朵終究凋零，還是不枉為愛走一回。

DescriptionPerfect love requires each other's tolerance and understanding. This painting shows that we have to see the true appearance of flowers. With true love in life, both lovers need to respect in order to love, and both sides need to give attention to romance and try to protect the timeliness of love. Even though flowers eventually will die, it is not a waste of love.

李政穎

LEE Cheng-Yin

包容／ To Forgive　109×78cm

2015

2012

143

水

彩

類 Water C

olor Painting

▲

入選 S

hort List

2013　臺中市第18屆大墩美展水彩類優選

2012　臺南地方美展西方媒材類第二名

2013　Award of Merit, the 18th Da Dun Fine Arts Exhibition of Taichung City - Water Color Painting Category

2012　Second Prize, Tainan Local Fine Arts Exhibition - Western Media Category

作品說明

一個老村莊，一條破落的小巷，斑剝的牆壁和

長滿火龍果的牆頭，顯得是如此的蕭瑟。

DescriptionWith an old village, a shabby valley, and a worn-out wall covered with dragon fruit, this scene appears to be filled with bleakness.

蔡淑珍

TSAI Shu-Jan

窮巷／ Desolate Alley　124×95cm

144

水

彩

類 Water C

olor Painting

▲

入選 S

hort List

2014　第15屆磺溪美展水墨膠彩類優選

2014　第13屆全國百號油畫大展入選

Award of Merit, the 15th Huang Shi Art Exhibition - Ink Wash Painting and Glue Color Painting Category

Short-Listed, the 13th National Large-Sized Oil Paintings Exhibition

作品說明

早晨，強烈的陽光受到陽台上衣物的遮蔽，穿

透玻璃並在磁磚上產生分割抽象的光影結構，

睡眼惺忪之際甚是感動，美麗的畫面同時也為

忙碌的一天起了一個精彩的開始。

DescriptionIn the morning, the strong sun shines on the clothes on the balcony and through the glass, showing the segmented, abstract structure of light and shadows. When I woke up with bleary eyes, I was touched. This beautiful scene marked the beginning of my busy day.

黃旭志

HUANG Shin- Chin

晨光／ Dawn　99×51cm

2014

2014

145

水

彩

類 Water C

olor Painting

▲

入選 S

hort List

2014　第62屆中部美術展水彩類入選

2014　全國學生美術比賽西畫類佳作

2014　Short-Listed, the 62nd Arts Exhibition of Taiwan Central - Water Color Painting Category

2014　Award of Merit, National Student Fine Art Competition - Western Painting Category

作品說明

寶島最有趣的特色，就是連吃東西都要帶著防

毒面具。

DescriptionTaiwan has seen a number of food-safety scandals in recent years. The painter wants to address this issue by portraying the idea that Taiwanese are required to have poison protection when dining in restaurants or at food stands.

譚卉妮

TAN Hui-Ni

寶島風光／ The Scenery of Formosa　78.6×54.5cm

146

水

彩

類 Water C

olor Painting

▲

入選 S

hort List

2015　第63屆中部美術展水彩類第一名

2014　MAKAPAH 美術獎繪畫類佳作

2015　First Prize, the 63rd Arts Exhibition of Taiwan Central - Water Color Painting Category

2014　Award of Merit, MAKAPAH Fine Art - Painting Category

作品說明

在科技發達的現今，人們過著匆促繁忙的生

活，表面上是充實的，但許多人在心靈深處，

卻是空虛、苦悶的，煩惱如枯荷般纏繞，而我

只是用最單純的畫筆將它表現出來。

DescriptionWith technological advances, people live busy lives and it seems like everyone has a fruitful existence. However, deep in their hearts, they always feel empty and depressed, and their worries are just like a winding lotus. I only utilize the most simple brush strokes to show this situation.

蒙威仁

MENG Wei-Jen

阿里斯托芬的憂愁／ The Melancholy of Aristophanes　104.2×75.1cm

147

水

彩

類 Water C

olor Painting

▲

入選 S

hort List

2010　臺中市第15屆大墩美展水彩類第二名

2010　第 10 屆臺灣國際藝術協會美展水彩類

第三名

2010　Second Prize, the 15th Da Dun Fine Arts Exhibition of Taichung City - Water Color Painting Category

2010　Third Prize, the 10th Taiwan International Association of Art - Water Color Painting Category

作品說明

作品以「鏡子」為主要構成元素，一簾明鏡透

過反射重現出不同的樣貌與神韻，更表達了深

潛意涵與混合意象。畫面中的人物透過鏡子反

射延伸出另一種空間與情境，人物側身握琴，

回憶著過往精采樂章。

Description

王少夫

WANG Shao-Fu

「鏡影」回憶—樂章之頌／ “Reflection”Memory-Song of Praise　103×73cm

“Mirror”is the major element of this painting. “Mirror”is a bright mirror, reflecting different images and charms; it also expresses deeper implications and mixed symbols. The character in the painting reflects another space and situation through the mirror. The girl holds a violin and evokes memories of wonderful music.

148

水

彩

類 Water C

olor Painting

▲

入選 S

hort List

2015　第78屆臺陽美術展水彩類銅牌

2014　第38屆桃源美展水彩類第三名

2015　Bronze Medal Prize, the 78th Tai Yang Art Exhibition - Water Color Painting Category

2014　Third Prize, the 38th Tao Yuan Art Exhibition - Water Color Painting Category

作品說明

水龍池上神龍盤踞，細雨紛紛如珍珠般溫潤池

水，也滋養了大地。水龍池中鯉魚歡欣承受雨

露，呈現風調雨順之昇平世界。

DescriptionOver the aqua dragon pond, a mythical dragon coils and crouches. The pearly drizzling rain nourishes the pond of water as well as the earth. The carps in the pond withstand the raindrops with delight, showing a peaceful world in harmony with gentle breeze and propitious rain.

湯嘉明

TANG Chia-Ming

神龍盤踞水龍池／ A Mythical Dragon Coils and Crouches over the Aqua Dragon Pond　109×79cm

149

水

彩

類 Water C

olor Painting

▲

入選 S

hort List

2015　印度全國美術和工藝學會第二名

2014　Lalit Kala Akademi 印度國家學會美術

展覽

Second Prize, All India Fine Arts and Crafts Society

La l i t Ka la Akademi (Na t i ona l )Exhibition of Art

作品說明

人們經常在爭執時都沒注意到是否使用恰當的

音調或是文字，不同的意見會產生不同的認

知，就有可能會讓人混淆，因此，每個人的音

調不同就有可能會讓人產生誤解。

Description

People often quarrel, without knowing the proper voice or the source of words, what it was exactly. Different opinions creates different perception that occurs confusion among peoples, thus speeches varies in persons causing misunderstanding to the peoples.

SUMANTA DEY

誤解／ Misunderstanding　162×121cm

2015

2014

150

水

彩

類 Water C

olor Painting

▲

入選 S

hort List

2014　國際青年水彩大賽入圍獎

2014　第30屆藝術家雜誌年度藝術競賽學生靜物

組首獎

International Young Artists Watercolor Contest Award Winner

First Prize, the Artist's Magazine 30th Annual Art Competition, Student Still-Life

作品說明

有一次餵魚的過程中，看到魚兒傻乎乎的、一開一闔的張著大嘴，對畫面感到有

趣，正當自己陶醉在玩弄魚群的同時，卻也不禁反思，現今社會上層人微小的舉

動對下層社會所帶來的影響，也許是金錢、也許是名利，是否我也如同魚兒般盲

目的追尋，成為被玩弄的對象呢？

DescriptionOne day when I was feeding the fish, I watched them opening their mouths and looking silly. This interested me and, as I enjoyed making fun of them, I could not help but reflect on today's society. Upper-level people perhaps use fame and fortune to influence lower-level people. What if I am also blindly chasing things, and I am the one that is being made fun of, just like these fish?

張逸棋 CHANG Yi-Chi

爭鱻／ Fish Competition　110×110cm

2014

2014

151

水

彩

類 Water C

olor Painting

▲

入選 S

hort List


2012　全國美術展第二名

2015　Short-Listed, National Art Exhibition, ROC

Second Prize, National Art Exhibition,

ROC

作品說明

在覓境的世界裡，萬物充滿著無止境的活動，蘊藏著生生不息的生命跡象，看似

紊亂，卻有規律，規律中又有變化，透過不同形狀、悸動的色塊，感覺大氣在騷

動，融合在一起，相互、相存、相應，無邊無界，表達出空間、熱情永不止息。

DescriptionIn this changeable world, everything is changing all the time, illustrating the circle of life. It may seem disorderly but there are laws, and within the laws it is changeable. Through different shapes and colors, we can sense that the air is moving and then coming together. Together, co-existing, reflecting, without boundaries, it shows endless space and passion.

蔡德勝 TSAI De-Sheng覓境之徑／ A Changeable and Regular World　79×109cm

2012

152

水

彩

類 Water C

olor Painting

▲

入選 S

hort List

2014　臺中市第19屆大墩美展水彩類第二名

2014　第15屆南投玉山美術獎水彩類首獎

2014　Second Prize, the 19th Da Dun Fine Arts Exhibition of Taichung City - Water Color Painting Category

2014　First Prize, the 15th Mt. Jade Art Exhibition - Water Color Painting Category

作品說明

琴音悠揚共譜和諧，奈何雅典諸神騷動。古文明、新轉折，雙頭馬車載不動許多

愁？是歧路或契機？ ... 人文薈萃、童話原鄉—「浪漫之路」將何去何從？

DescriptionThe girl plays a peaceful melody, and you can see that the Greek gods are fighting. There are many worries, from ancient to modern times, and we cannot let go of these fears. Are our worries crossroads or opportunities? From cultural origins and hometown fairy tales, where is the“road of romance”from? And where will it lead?

江福旺 CHIANG Fu-Wang

迷航 ( 二 ) ／ Drifting Off Course II　91×116.5cm

153

水

彩

類 Water C

olor Painting

▲

入選 S

hort List

2014　第44屆國際 Juried 展覽路易斯安那水彩

畫會榮譽獎 ( 美國 )

2012　第33屆國際 Juried 展覽 Perm Sevana 水

彩畫會會長獎 ( 美國 )

The 44th International Juried Exhibition of Louisiana Watercolor Society's Honorable Mention in USAThe 33rd International Juried Exhibition of Perm Sevana Watercolor Society President's Award in USA

作品說明

我喜歡 Rund 村的景致，從我的作品中就可以略窺一二。有天早晨，我偶然走進

一個名叫 Dighal Garam 的村莊，它是一個距離孟加拉 40 公里遠的小村莊。我站

在一排牛車前，第一次感受到我深愛鄉村的景致。

Description

Rund village seemed to satisfy my vision as that reflection into my work until I experienced a morning in village called Dighal Garam. It is small village, 40 kilometers from the Bangladesh border. I stood in front of a row of bullock carts. It was the first time I felt in love with a village.

SWARAJ DAS

我的村莊／ My Village　56×76cm

2014

2012

154

版畫類評審感言評審委員　倪朝龍

二十年轉眼過，「大墩美展」堂堂邁入第20屆，且已是目前國內政府主辦全國性、國際性美展中較具規模且類別分項較多，

眾所矚目的重要美展。其中「版畫類」與「獎金高」是其特色。

「版畫」本就是視覺藝術類型中存在最悠久，版材性質最為廣泛，製版與刷製方法較為多樣活潑的藝術類型。不同於直接拿

著筆描繪、上色或修改的其他繪畫，它透過製版、印製，達成間接性表現，構成最普及性、大眾性，具有深厚文化底蘊、獨具特

色的藝術，在歷史長河中有其自己的發展軌跡與地位。就版材應用方面，版畫自最早的木板、石版到絹版、銅版、鋅版、麻膠

版、美柔汀版…等擴展成具豐富變化、創意於一身的複合媒材版；近年來更由於印刷科技的飛躍成長，突破刷印技術上的難度與

可能性，帶來「新版畫觀念」的進步發展，呈現多樣多元的新風貌，這些，從本美展應徵作品的版種與面貌上可見一斑。

本屆版畫參賽件數高達50件，與全國美術展件數不分上下，應徵作品涵蓋多種版材，且多能破除傳統版畫既定形式，邁向

更開放自由的創作領域，是可喜的；但由於入選件數仍以應徵百分比決定錄取率，不多！所以專業版畫家參賽件數不若國際版畫

及素描雙年展踴躍，是為美中不足的地方。本屆評委有林智信、鐘有輝、黃世團、楊明迭與倪朝龍，皆為資深版畫家，全部作品

經初選、複選，結果如下：

第一名得主黃得誠，是近年竄起的版畫界菁英，屢獲全國美術展、版印年畫首獎。作品〈臺灣食單－山海序〉，選用腐蝕凹

版，以臺灣食譜，符號式、圖畫式的畫意，單純的造型（葫蘆）意象，純熟的技法，表現臺灣飲食文化之精髓，表現手法有其獨

特性。

第二名蔡孟夏，去年曾獲大墩美展版畫界首獎、全國美術展銅牌獎，亦堪稱版畫界新秀。作品〈憶〉，同樣以腐蝕凹版技法

製作，藉由貓的夢化，凸顯內心世界的成長意象。畫面透過分割，區隔不同時空的幻象，是其新的嘗試。

第三名賴冠宇作品〈愛〉，選擇傳統的紙凹版，一方面表現社會的紛擾與冷漠，一方面強調用愛去感受，引領生命的新方

向，畫面有喜悅新氣象。

優選金炫辰作品〈期待-7〉，是本屆入選的少數凸版作品，以單版複印的手法、優雅的色彩、新穎的畫面結構性變化，表現

內心世界的期待與希望，是值得鼓舞的創作方向。

優選潘威光作品〈幻想色鳥〉，以新樹脂版、紙凹版倂用，表現幻想的色鳥，企圖將現實與虛幻並置，表現具卡漫的表現形

式為其個人風格。至於入選的3件作品亦頗具水準，唯一可惜的是受限名額，來自國外參賽的6件作品皆未能入選，不無遺憾！

總之，透過一次又一次的比賽和展覽，如何借鏡歷史經驗、汲取傳統滋養，進行對版畫藝術內涵的多方位思考，開創版畫

將來，應是我們大家一致的課題吧！

155

NI Chao-LongJuror’s Statement, Printmaking Category

Two decades have passed and the Da Dun Fine Arts Exhibition of Taichung City is now 20 years old. As a significant national and international

art exhibition covering most art categories, the Printmaking category and a grand prize are among its unique features.

Printmaking has the longest history among all visual art categories, and because printmaking materials are among the most common ones, many

more creative artworks are produced with these methods. By contrast to drawing, coloring and modifying directly with a pen or a brush, printmaking

entails creating and printing indirectly, making it the most common, down-to-earth cultural and distinguishing art form with its own solid standing

over a long history. Materials range from the earliest wood and stone, to silk, copper, zinc, linocut and mezzotint, and on to recently-introduced

materials such as composites that combine all of the advantages offered by other materials. In addition, the rapid growth in printing technology has

allowed difficult technical breakthroughs to be achieved and the development of“new printmaking concepts”. It is this development and the variety it

provides that can be seen among this year's art entries.

There were 50 submissions in the competition for this category, which is similar to the National Art Exhibition ROC, as both receive the

most printmaking artworks. All submitted works were made with a variety of materials and most of the artists were thinking outside the box, which

allowed them to create in a free spiritual way. However, the ratio between winning entries and overall participants was not great and the numbers of

participating professional artists didn't match those of International Biennial Print and Drawing Exhibition ROC, which was the one disappointment.

LIN Chih-Hsin, CHUNG You-Hui, HUANG Shih-Tuan, YANG Ming-Dye and NI Chao-Long were the category judges this year, and all are

experienced printmaking artists. Awarded works were selected via preliminary and final selection stages and below are the results.

First Prize goes to HUANG De-Cheng, who has demonstrated expertise in the Printmaking category, also winning first prizes at the National

Art Exhibition ROC and Printed Pictures. His work,“Menu of Taiwan”, uses intaglio etching, a Taiwanese menu and symbols to show the essence of

Taiwanese food culture with a simple calabash image and fine technique.

Second Prize goes to TSAI Meng-Hsia, who also won First Prize at the Da Dun Fine Arts Exhibition last year and a bronze prize at the National

Art Exhibition ROC, earning herself a reputation as a rising star in printmaking. Her work,“Memory”, uses the same intaglio etching technique and

a kitten's dream to emphasize the theme of growth from the inner world. The picture is segmented, showing distinguishing images from different time

zones, which is a new way of painting.

The Third Prize belongs to LAI Kuan-Yu and his work,“Love”. He chose a traditional paper intaglio to express the two sides of a phenomenon-

one is to show the coldness of society and the other emphasizing the use of love to feel, to guide one in a new direction for a new life. This image

offers a joyful feeling.

An Award of Merit goes to“Expectation #7”, which was one of the few relief prints this year. Printing via multiple press on single plate is the

method this artist used, along with bright colors and creative painting structures, to show the expectations and hopes that arise from the inner world

and making her artwork an inspiration to others. Another Award of Merit goes to“Imaginary Bird”. New resin plate and paper intaglio are both used

in this work, showing an imaginary, brightly-colored bird that cannot be distinguished from reality or the imagination, in a comic style that is this

artist's personal trademark.

There were also three works that were short-listed, with the only pity being that because of the limited numbers of winners, there were six

phenomenal international artworks that were not able to receive special recognition.

In conclusion, after several competitions and exhibitions, we should all be learning from the past and absorbing traditions while investing some

diversity into the content of the printmaking art.

156

版

畫

類 Printmaking

▲

第一名 F

rist Prize

2010　全國美術展版畫類銅牌獎

2010　中華民國第26屆版印年畫首獎

2010　Bronze Prize, National Art Exhibition, ROC - Printmaking Category

2010　First Prize, the 26th Chinese New Year Printmaking Exhibition, ROC

作品說明

臺灣雖小但豐富的物產養育了人民，就像是葫

蘆的外型雖小但內容量是寬大的，正所謂麻雀

雖小但五臟俱全，處處充滿生機造就臺灣飲食

文化的壯大。〈臺灣食單－山海序〉就是在這

個概念下誕生的，透過創作者對於食材的意

象，試圖引起觀者對於食物的過去產生興趣，

找尋出屬於自己的味道，自己生命的起點。

DescriptionAlthough Taiwan is small in size, it provides its people with an abundance of products, just like the calabash, which is small but yet capable of carrying many things. This is expressed in the Chinese saying,“Size doesn't matter; only the content matters.”There are many opportunities to enhance Taiwan's food culture and this painting is based on this idea. The painter uses his concept of food ingredients in attempt to stimulate the audience's curiosity and help them discover their own unique fragrances, and life starting points.

黃得誠 HUANG De-Cheng

臺灣食單─山海序／ Menu of Taiwan　腐蝕凹版／ Etching Intaglio　150×114cm

157

版

畫

類 Printmaking

▲

第二名 S

econd Prize

2014　臺中市第19屆大墩美展版畫類第一名

2014　全國美術展版畫類銅牌獎

First Prize, the 19th Da Dun Fine Arts Exhibition of Taichung City - Printmaking Category

Bronze Prize, National Art Exhibition, ROC - Printmaking Category

作品說明

從小就喜歡模仿貓，像牠一樣躲在某處偷偷觀察這個小小世界，或是喜歡從高處躍

下，或是徘徊在喜歡的物品身邊磨蹭留下自己的氣味，做些討喜的行為得到愛的滿

足，作品呈現出筆者幻化為貓的內心世界，透過回憶每一階段成長的心情故事。

DescriptionThe painter has enjoyed mimicking a cat's behavior ever since she was little. She would hide somewhere and observe this world, or jump down from somewhere up high, or leaving scents on objects that she liked, acting adorably to gain the satisfaction of love. The painting shows the inner world of a kitten, telling a life's story from memory.

蔡孟夏 TSAI Meng-Hsia

憶／ Memory　腐蝕凹版／ Etching Intaglio　91×116cm

2014

2014

158

版

畫

類 Printmaking

▲

第三名 T

hird Prize

2014　中華民國第16屆國際版畫雙年展入選

2014　第13屆行天宮人文獎美術創作比賽西

畫類青少年組第一名

Short-Listed, the 16th International Biennial Print Exhibition, ROC

First Prize, the 13th Hsing Tian Temple Humanit ies Award Ar t Creat ion Competit ion - Western Painting Category Youth Group

作品說明

現今社會的冷漠，內心世界的紛擾，透過創作

透視自我的內在世界，追尋最真實、最初的自

己。愛—是最初、最快樂的泉源，生命循環輪

迴中會經歷多少的挫折與失敗，用愛去重新感

受生命，它將會繼續引領著我們方向。

DescriptionThe coldness of today's world and turmoil of the inner world are both translated in this painting, as the painter tries to express the most truthful and innocent self. Love is the earliest and happiest foundation of life, while there are always some frustration and failure occurring within the life circle and reincarnation. Use love to relive life, because love will lead us to wherever we want to be.

賴冠宇

LAI Kuan-Yu

愛／ Love　紙凹版／ Paper Intaglio　95×65cm

2014

2014

159

版

畫

類 Printmaking

▲

優選 A

ward of M

erit

金炫辰

KIM Hyun-Jin

期待 -7 ／ Expectation #7　凸版、單版複印／ Relief, Multiple Press on Single Plate　78×58cm

2015　泰國國際版畫與素描三年展素描類入選

2014　芬蘭國際迷你版畫展獲大獎

Shor t -L is ted, the In ternat iona l Triennial Print & Drawing Exhibition, Thailand

Grand P r i x , M in ip r i n t F i n land Exhibition, Hyvinkää Art Museum, Finland

作品說明

人是因為期待而有了生命力，在人生旅途中因

為有期待而有盼望，對自己、對親人、對未來

種下盼望與夢的種子，期待它發芽成長，結出

果實。當你忠實於現在的每一瞬間，真誠的雨

露便會滋潤你心靈深處的種子，使它發芽成

長、歡喜綻放。

DescriptionPeople live because of expectations, and because of expectat ions people have hopes for themselves, their families and the future. When you are true to yourself every single minute of your life, the honesty that is hidden deep inside of you will eventually be discovered.

2015

2014

160

版

畫

類 Printmaking

▲

優選 A

ward of M

erit

2014　新竹美展工藝及應用設計類佳作

2014　宜蘭縣「全國藝術深耕-第2 屆迷你版

畫創作比賽暨巡迴展」優等

Award of Merit, Hsinchu Art Exhibition - Crafts and Application Design Category

Excellent Prize, National Art Roots-the 2nd Miniprint Creative Competition and Exhibition Tour, Yilan County

作品說明

現實與夢境、真實與虛幻，即是世上存在

的…，透過兩面的碰撞結合創作在我的畫面

裡，以個人潛意識的夢為主延伸其系列作品，

將現實中繁忙與疲累不堪，幻化成畫面裡的雜

幻思緒，因無法承受而跳脫到虛幻的「夢」世

界，個人的空象「幻想色鳥」。

DescriptionReality and dreams both exist in the world, and are both portrayed in a clashing combination in the painting. This work is based on a dream from the personal subconscious, transforming the hustle and bustle of the city into a complicated picture.

潘威光

PAN Wei-Guang

幻想色鳥／ Imaginary Bird　109.8×79.1cm

併用版 ( 新樹脂版、紙凹版 ) ／ Combined Print (New Resin Plate, Paper Intaglio)

2014

2014

161

版

畫

類 Printmaking

▲

入選 S

hort List

作品說明

哲學中，「混沌」即為空虛。我們每天的生活就像

機器一樣，被安置在哪兒就得重複同樣的狀態，

直到徹底離開那個空間為止。這是一個工作室的

劇場，每天按壓著手裡的滑鼠，畫著自己的故事，

這是一場又一場沒有完結的劇本。

DescriptionIn philosophy, a state of confusion indicates emptiness. We live like robots every day, doing exactly the same thing until we depart. This is a theatre that simulates an office scene, with everyone clicking on computer mice, telling their own stories in a script without an ending.

洪誼庭 HUNG Yi-Ting

混沌劇場 - 少女的獨白 Part 1 ／ Chaotic Theater-Maiden's Monologue Part Ⅰ　絹版／ Silkscreen　70×136cm

162

版

畫

類 Printmaking

▲

入選 S

hort List


2014　第61屆中部美術展優選

2014　Short-Listed, National Art Exhibition, ROC

2014　Award of Merit, the 61st Arts Exhibition of Taiwan Central

作品說明

午后茶藝館小池畔，徐徐微風泛起陣陣漣漪，悠游的魚兒相交輝映燦爛餘光，生

活繁忙的腳步暫停片刻，靜享寧靜任思緒流轉。

DescriptionOn a summer afternoon, the breeze ripples the surface of a pond and the swimming fish seem to be dancing in the water. Stop and rest for a moment from the busy pace of life and enjoy a moment of serenity.

李元湘 LI Yuan-Hsiang

漣漪 ( 二 ) ／ Ripple 2　木刻版／ Woodcut　45×60cm

163

版

畫

類 Printmaking

▲

入選 S

hort List

作品說明

深刻過往的記憶，分段且拼裝帶有一點小小的歡愉。

DescriptionOld memories are divided into pieces, ready to be reassembled again.

車靜玫 CHU Ching-Mei

組裝記憶-啟動／ Assembled Memory-Start　紙凹版／ Paper Intaglio　73.5×142cm

書法類評審感言評審委員簡銘山 · 書法類評審感言評審委員簡銘山...

Documents

Transcript of 書法類評審感言評審委員簡銘山 · 書法類評審感言評審委員簡銘山...

書法類評審感言 評審委員 簡銘山 · 書法類評審感言 評審委員 簡銘山...

Documents

Transcript of 書法類評審感言 評審委員 簡銘山 · 書法類評審感言 評審委員 簡銘山...

書法類評審感言評審委員簡銘山 · 書法類評審感言評審委員簡銘山...

Transcript of 書法類評審感言評審委員簡銘山 · 書法類評審感言評審委員簡銘山...