韋啟義自序A Self-Portrait of Wei Chi-yi
.jpg)
「 憶著當年未悟時，一聲號角一聲悲；如今枕上無閒夢，大小梅花一樣香。」 這是「 唐．孚上座」的偈語，多數人在年少茫然未悟時，處處問人尋求志向或陷入徬徨無助，我卻幸而在早年能自問所求並篤定抱負, 而後在繪畫領域裡自知所能與自省所需。 藝術生命的「悟」之旅, 我視之為一場活水長流，每天我面對畫布所累積的是經由很多的思想與體驗產生的小悟, 再集結為中悟…倘若能忽然有個「恍然大悟」，無疑是生命裡的狂喜! 藝術家的現實生涯洗練著我 , 尊重每場花開花謝成生命裡自然的美麗際遇，俯仰之間聞得芬芳，胸臆間如許舒坦。
Just as says in a Buddhist chant poem in the Fu Shang Zuo of the Tang Dynasty, “Recalling those unenlightened nascent years, every time when the horn rang, I made a long sigh of sadness; at present, every night on my pillow, I am always dreaming no easy sweet dreams as there’re no longer unpractical imaginations in them, that make me feel that all plum flowers are sweet fragrant whether they are large or small,” I was relatively fortunate to have, at my very early age, been capable of knowing myself through self-examination and reflection to find what I really wanted to do for my own life and set my clear, firm goal of becoming an artist in the world of paintings, compared with a vast majority of younger people were uninspired always wandering aimlessly, seeking everywhere to seek for someone’s advice on life goals or directions, ending up getting stuck helpless in a plight. Every day when facing the canvas, I regard this “enlightened, self-awareness” journey of art life as a long river of living waters which keep enlightening me to gain richer and deeper “true understanding” of myself, through many thoughts and experiences, varying from small, then greater and more intense awareness, provided I could “suddenly see a light breaking in upon me;” that is, being enlightened, making me wide awake to understand what is being done with me. Doubtlessly, that would make me wild with joy! The realistic life career of an artist keeps refining me toward perfection so much that I respect and treasure each and every beautiful encounter of nature such as seeing flowers blooming and flowers fading as an inalienable, essential part of my daily life, smelling the sweet fragrance, feeling superb comfortable, peaceful and at ease.
Just as says in a Buddhist chant poem in the Fu Shang Zuo of the Tang Dynasty, “Recalling those unenlightened nascent years, every time when the horn rang, I made a long sigh of sadness; at present, every night on my pillow, I am always dreaming no easy sweet dreams as there’re no longer unpractical imaginations in them, that make me feel that all plum flowers are sweet fragrant whether they are large or small,” I was relatively fortunate to have, at my very early age, been capable of knowing myself through self-examination and reflection to find what I really wanted to do for my own life and set my clear, firm goal of becoming an artist in the world of paintings, compared with a vast majority of younger people were uninspired always wandering aimlessly, seeking everywhere to seek for someone’s advice on life goals or directions, ending up getting stuck helpless in a plight. Every day when facing the canvas, I regard this “enlightened, self-awareness” journey of art life as a long river of living waters which keep enlightening me to gain richer and deeper “true understanding” of myself, through many thoughts and experiences, varying from small, then greater and more intense awareness, provided I could “suddenly see a light breaking in upon me;” that is, being enlightened, making me wide awake to understand what is being done with me. Doubtlessly, that would make me wild with joy! The realistic life career of an artist keeps refining me toward perfection so much that I respect and treasure each and every beautiful encounter of nature such as seeing flowers blooming and flowers fading as an inalienable, essential part of my daily life, smelling the sweet fragrance, feeling superb comfortable, peaceful and at ease.
“If compared flowers to world affairs, both flowers and world affairs are on the same page,” the metaphor of a flower life is to depict all the human beings, events and, things or articles in this world that are subject to constant changes in which what men can control or grasp is actually quite limited; therefore, as a young art lover being punctilious or rigid in pursuing my art life, I have been fully at ease and calm without fear in facing my aging without any regrets or complaints. Ever since I became a professional artist as the prize winner of the 1993 National Contest, I have been devoted to creating, researching, and keeping accumulating my energies and forces to break through the present “me.” Now as I passed the age of 50, my art life has evolved from nascent, younger stage into a nicely, fully matured one whose humble- and broad-mind through refined and polished practice that can now be compatible with the rhythm of nature gradually, and, suddenly, become enlightened and bright open during my long pursuit of 25 years!
就「繪畫的技法」而言, 我習於強調西方油畫的收放張力, 也偏好融入東方水墨的氣韻生動，賦予我作品的獨特氣質與頗高的辨識度。其次, 就「繪畫的語言」論之, 則可謂之為蘊藏在畫者構思下的企圖, 不僅關乎畫家的主觀營造和審美取向, 更關係到自身修養及藝術內涵追求的深層體現 ! 再論「繪畫的內容」於我而言, 不只是關注在畫面的題材與故事性, 還包含了墨線與刀筆在虛實收放並濟的畫面架構中所產生的「節奏」與「取捨」, 練就筆觸如神經反應般的敏感精準; 或可說是一種心靈樂章的圖像呈現 , 其間唯以心感悟, 堪可傳達無以言喻的繪畫精神與內容.
In view of “painting techniques,” I am used to stressing the stretching force of western paintings which features being retractable and extendable, with favorable interest in incorporating the artistic conception so vivid a style in oriental water ink, thus embodying my works with rather highly characteristic disposition and distinctness which cannot be found anywhere else but in mine. Next, in terms of “painting language used,” it is about the hidden intention of the painter’s incubation, which is closely related to his subjective composition from an oriental angle of sense of beauty, as well as the cultivated character and deepened artistic content of the painter. Finally, as for me, “the content of paintings” is not only focused on the theme or topic of the picture and story-telling; it also contains ink lines and the “rhythms” and “give and take” elements generated by the composition of the picture when the ink lines and knife pen are working together by practicing the stretching power, using alternatively the techniques between “empty” and “substantive,” and “retractable” and “extendable.” My touches and strokes have been trained and refined to be as exact and precise as the response to a delicate and sensitive human nervous system; that could also be termed as an image representing a spiritual music which can strike the heart cord to enlighten and inspire the viewers, thus enabling the art to communicate the spirit of content of paintings beyond description.
In view of “painting techniques,” I am used to stressing the stretching force of western paintings which features being retractable and extendable, with favorable interest in incorporating the artistic conception so vivid a style in oriental water ink, thus embodying my works with rather highly characteristic disposition and distinctness which cannot be found anywhere else but in mine. Next, in terms of “painting language used,” it is about the hidden intention of the painter’s incubation, which is closely related to his subjective composition from an oriental angle of sense of beauty, as well as the cultivated character and deepened artistic content of the painter. Finally, as for me, “the content of paintings” is not only focused on the theme or topic of the picture and story-telling; it also contains ink lines and the “rhythms” and “give and take” elements generated by the composition of the picture when the ink lines and knife pen are working together by practicing the stretching power, using alternatively the techniques between “empty” and “substantive,” and “retractable” and “extendable.” My touches and strokes have been trained and refined to be as exact and precise as the response to a delicate and sensitive human nervous system; that could also be termed as an image representing a spiritual music which can strike the heart cord to enlighten and inspire the viewers, thus enabling the art to communicate the spirit of content of paintings beyond description.
After having published my “My Journey of Artist Years: An Impression of My Native Town” in 2014, this year I am pleased to present a wholly new, “The 2016 Collection of Oil Paintings by Wei Chi-yi,” showing my new direction which combines old and new themes. Most noteworthy is the integration of my using technique of color extending into a vigorous and powerful dark green that presents an enriched and fluent posture. I hope it will reflect my pure, simple and no-frills emotion as well as the meaning of limitlessly extending beauty just like the great beauty should be felt speechless, yet it’s the soundless that can leave the greatest echoing effect !