沈昌明 2013 高雄個展【空故納萬境】
展覽日期７ / ８ ~ ８ / １８
開幕茶會７月１３日 下午３點
空故納萬境(註一) ―沈昌明的繪畫
文 / 顏雪花
亞洲文化協會南三三小集執行長
畫家沈昌明，一九五六年生，台灣高雄市人，早歲研習美術，工寫生，與朋友善，經常為親朋好友，甚至陌生人畫像寫照，故贏得友儕深厚友誼。沈君除精於藝術收藏之外，亦自營畫廊，在當代藝術領域著力甚深，故在畫界樹立了典範與口碑。亞洲文化協會南三三小集執行長
沈君篤信佛教，宅心仁厚，每日晨起書寫「心經」，彈古琴，頗具朝隱之士餘風；「靜為躁君」，在沈君生命最灰暗的時候，這些機敏、沉澱的歷練讓他畫出一幅幅以文字為主，人、物圖像為輔的畫作；其文字係以經典上的詞句抽象後之解構方式為之，而以不同，或反差之色階呈現如透視窗格深遠之美，在幽微處顯其光輝。這種文字圖像之解構繪製變成了一種自動性技巧的運用，它解放了其內心的底蘊，尤其在無意識與潛意識間，他突破藩籬，使之與自我內在世界與記憶溝通，正如王懷慶以平面藝術的方式解構了明式傢俱，其畫幅以支離、不安排、充滿空寂的美與寧靜，將對中國文明的眷戀深擁入懷，而贏得收藏家的青睞。
沈君則以文字解構，讓它們呈現遠近差距、虛實相生之意境，其繪畫內涵之飽滿與機敏在停頓、轉折處帶著樸拙與敏銳，其空間的創作技法亦順應著情感的縱橫驅遣，而自立其宏觀境界。
藝術的創作無法脫離生活的歷練與探索，生命的創作力量往往來自所經歷的「千生萬死」―所謂「百歲三萬六千日」(註二)，人間百歲即三萬六千個日子，在這長長歲月中，誰不經歷千生萬死?然而也在這種人情處世中自然透露一些靈巧、智慧與昇華。
沈昌明在抽象繪畫的實踐上，所憑藉的正是中國文字與書法，而其文字是以經文為主體，它幽幽敘述隱匿的斑駁傷痕以及因昇華而產出的勃發力量，這也是為何其繪畫可以在隱晦處透露著光芒；他在尋求一顆可以安頓的心靈，一堵可以靠一靠的牆，一片可以休憩的淨土，其繪畫堅定有力，可以近觀，可以微觀，透過文字解構及一再書寫的力量，讓他的藝術呈現了建構與再造，又似乎與解構完全無關。
沈昌明經年累月的書寫繪畫，近乎苦行僧的修練，而他也在修練中釋放自己，每一個筆觸都透露著行而上謂之道的哲理，他默默地在內心承諾，他要在累積一定數量的畫作之後將畫義賣，他不曉得那個時間點的因緣會發生在什麼時候，而去年五月在緬甸友人引導下參訪，位於窮鄉僻壤裡的柯瑪雅娜寺，這裡收容了因風災、戰爭、家境貧苦而遭遺棄的孤兒達７００多人。每天由比丘尼帶領全部小沙彌誦讀經文、學習課業增長智慧，然食指浩繁難溫飽、急需奧援。沈昌明認為時機到了，在這一刻，他決定將這些畫作予以義賣，將所得全數捐贈給寺裡的孤兒，其慈悲喜捨的情懷，化小愛為大愛的精神，誠令人敬佩與感動，希望其願順遂，成就功德，並昇華成靜定力量，永續大愛於人間。
註一：宋代文學家蘇東坡詩云「靜故了群動，空故納萬境」(『送参寥師』)。
註二：清代順治皇帝語
藝術家簡歷
《空故納萬境》展覽相關文章
Endless Implications in Blankness (1) – Paintings by Chang-Ming Shen
Catherine Yen
Director of Asian Cultural Council, South 33 Group
Director of Asian Cultural Council, South 33 Group
Chang-Ming Shen, born in Kaohsiung City, Taiwan, studied fine arts and specialized in sketching in his youth. His easy-going, humble, and self-disciplined nature made him paint many portraits of his relatives, friends, or even strangers and thus establish deep and close friendships with his fellows. In addition to being an adept art collector, Shen once ran an art gallery. His strenuous effort to promote contemporary art has made him widely recognized in painting circles.
As a devout and benevolent Buddhist living like a hermit, Shen transcribes the ‘Heart Sutra’ and plays the ancient Chinese zither every morning. His astute rumination over practicing Laozi’s famous dictum: “Calmness is the leader of restlessness” enables him to create in the darkest moments of his life the paintings in which texts assume greater prominence than images of humans or objects. The texts, which are in the deconstruction form of the abstract phrases and sentences from Buddhist scriptures, are represented through the use of perspective in various or contrasting colors as if they were glowing with the beauty of profundity in the dim distance. The deconstruction painting of texts and images spontaneously liberates what lies deep in one’s heart. Above all, he transcends the boundary between unconsciousness and subconsciousness and enters into direct dialogue with his own inner world and memory just like Wang Huaiqing, who has Ming-style furniture deconstructed in the form of graphic arts, creates paintings that feature the tranquility and beauty of the fragmentation, unplannedness, and blankness, and wins favor with art collectors by embodying in his paintings the strong attachments to Chinese literati painting.
Similarly, Shen creates a conceptual frame where deconstructed texts lie far and near and carry both fictitious and realistic implications. The fact that Shen handles every pause or turn in his paintings with a sense of simplicity, genuineness, and sharpness contributes to the fullness and astuteness of his paintings. Also, his emotionally-driven techniques for creating an illusion of space lend a broad view to the paintings.
The creation of art is always associated with the creator’s life experiences and adventures. The driving force behind the creation tends to come from the ‘countless hardships and perils’ experienced by the creator. The so-called ‘one hundred years/ thirty-six thousand days(2)’ means that one would spend thirty-six thousand days in his/her one-hundred-year life. And who doesn’t experience countless hardships and perils during such a long period of time? Yet, the process of dealing with people and matters naturally breeds some deftness, wisdom, and refinement.
Shen’s abstract paintings are in the form of texts and calligraphy, and the form is also the content of the paintings. The texts he uses are mainly Buddhist scriptures, giving a faint description of hidden and mottled scars while enjoying a revival of power in refinement, which is why his paintings glow in the dark. Shen is seeking a soul that can settle down, a wall which he can lean against, and a pure land where he can rest. His paintings are rich in firmness and strength; they can be looked at closely or on a microcosmic level. The deconstruction of texts and the will to transcribe Buddhist scriptures over and over again allow him to represent construction and reconstruction while leaving faint traces of deconstruction in his artworks.
Shen’s abstract paintings are in the form of texts and calligraphy, and the form is also the content of the paintings. The texts he uses are mainly Buddhist scriptures, giving a faint description of hidden and mottled scars while enjoying a revival of power in refinement, which is why his paintings glow in the dark. Shen is seeking a soul that can settle down, a wall which he can lean against, and a pure land where he can rest. His paintings are rich in firmness and strength; they can be looked at closely or on a microcosmic level. The deconstruction of texts and the will to transcribe Buddhist scriptures over and over again allow him to represent construction and reconstruction while leaving faint traces of deconstruction in his artworks.
While living an ascetic life by transcribing Buddhist texts and creating paintings over years, Shen also liberates himself by disclosing metaphysical philosophy through every brush stroke. He makes a silent promise that once he has created a certain number of paintings, he will sell them all for charity. He just doesn’t know when the good timing will be.
In May 2012, with the help of his Myanmarese friends, Shen visited Kam-ar-yama Temple in a remote village at Thanlyin. The temple accommodates more than seven hundred orphans, who were left abandoned due to windstorms, wars, or poverty. Every day, the orphans turned Buddhists are instructed by nuns to read aloud scriptures and develop wisdom by studying hard. Nonetheless, there are inadequate resources for such a large number of orphans, and the temple is in urgent need of help. Recognizing the time is ripe for selling his paintings for charity, Shen decides to take action and donate all the earnings to those orphans. Shen’s compassion, philanthropy, and selflessness are admirable and touching indeed. Hopefully, his wish will be granted, his noble cause achieved, and his beneficence turned into a sustainable force for promoting charity in our world.
(1)This title derives from the line “靜故了群動，空故納萬境(literally meaning with quietude you comprehend all
movement; with blankness you take in ten thousand scenes)” of the poem “送参寥師(For Buddhist Master Canliao)”
by Su Shi, a writer of Song China.
(2) A quotation from the Shunzhi Emperor of Qing China
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