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講者:李冠良(浸會大學當
代中國研究社會科學碩士、
香港中文大學藝術文學碩士)
講座地點:香港人文學會
講座日期:2024年5月10日
 筆下鄉村變屋邨 86歲畫家江啟明獨步山徑一生寫生
 白描味道油尖旺街景寫生 / 速寫:有時候有些出版社會收納江啟明
的作品來印刷「公仔書」
 水彩寫生:像真度高,不遜色於內地美
院習列寧畫派的寫實高手,也貼近如卓
有瑞的「照相寫實主義」境界
 蕭滋:「他對『靈』的理解比較複
雜而且頗為玄虛,往往牽涉到靈魂,
甚至鬼魂和神靈,這是我還未弄明
的。但是,純粹從藝術的角度就較
易理解。畫家們不是強調要用『心』
來畫、用『腦』來畫,經常提到
『意念』、『性靈』、『靈感』、
『心靈』、『氣韻』…… 嗎?其實
是類似的,只不過他把『靈』放在
更高的位置,認為人人都有『靈』,
藝術家更富有靈性,『靈』是統率
一切的,而且他十分強調畫家的社
會責任。」
 蕭滋:「至於他的藍、黃、紫、紅四色族的色彩學理論,則認為宇
宙應由寒、光、電、熱四象所產生,他是以中國的太極理論來詮述
的,這也是我尚未理解的東西。」
 畫會派寫生畫家獲藝發局獎項的機會不多,2007年僅只試過一
次,因此種下了藍屍藝術界近年對藝發局的不滿,如支持許曉
暉副局長成立文化局。
 徐沛之是少數可獲香港電台《好想藝術》節目廣泛報導且獲藝
發局頒發《藝術新秀獎》的年輕書法家,藝發局的《藝術發展
獎》被認為是機制上不利傳統中國書畫家去競逐。
 傳統中國藝術精神重「臨摹」先於「創新」,亦欠缺洪席耶及Walter Benjamin
所主張「說故事」的概念創作能力,畫會派寫生畫家及中國書畫家沒有「依存
美」的概念,更沒有Deleuze及Guattari重「social engagements」的藝術公民
「公共意識」。
 傳統中國文化重和諧、淡泊名利、歸隱田園等價值,不像西方文化的「重商主
義」般刻意追求「履歷上的競爭」,儒家農業社會中商人地位乃最低等,因此
畫會派不屑王英偉一類官商階層的獎項祝福,亦不會因為親戚之間的名牌比較
文化而損害「安貧樂道」畫家生活的追求,更加不會有「多元智能」或「全人
教育」的觀念,來逼使自己迎合精英主義的評審官僚制度。
 畫會派寫生畫家及中國書畫家多只能在大會堂、中央圖書館、
文化中心的聯展中展出作品,很難像當代藝術家般可填上如大
觀、油街、PMQ元創坊、JCCAC、K11、藝穗會Anita Chan Lai-
Ling Gallery、香港藝術中心包氏畫廊、牛棚、富德樓等多元化
地點的展覽紀錄,機制上難以在藝發局評審眼中特為而出,亦
被藍屍指責為不器重傳統中國藝術精神。
 “Today’s Lesson” Series
 Art Lesson | 美術堂, 2013, Pencil and color pencil on paper, 42 x 29.7 cm
 D.T Lesson | 木工堂, 2013, Pencil and color pencil on paper, 42 x 29.7 cm
 “The Rules” Series
 Rule 1 | 校規 <一>, 2012, Pencil and color pencil on paper, 21 x 29.7 cm
 Rule 2 | 校規 <二>, 2012, Pencil and color pencil on paper, 21 x 29.7 cm
 “Johnny’s Stationary” Series - Correction | 知錯能改, 2014, Pencil,
color pencil, correction tape and ink on paper, 29.7 x 42 cm
 “Unsuccessful Admission” Series - CUHK
 “Copies of Transcripts” Series
 Graduation Photo | 畢業相, 2012, Pencil and color pencil on paper, 32 x 79
cm
 “At Seventeenth” Series
 Wu Man Lai | 胡敏麗, 2011, Pencil and color pencil on paper, 29.7 x 21 cm
 Jackie | 男人婆, 2011, Pencil and color pencil on paper, 29.7 x 21 cm
 Ah Yan | 呀欣, 2011, Pencil and color pencil on paper, 29.7 x 21 cm
 “The Virus” Series
 Dengue Fever | 登革熱, 2019, Pencil, color
pencil and ink on paper, 79 x 55 cm
 Plague | 鼠疫, 2019, Pencil, color pencil and
ink on paper, 79 x 55 cm
 “Puberty Once
Again” Series
 Puberty Once Again
(Boy) | 青春期待您
(男)
 Puberty Once Again
(Girl) | 青春期待您
(女)
 「白黑山水」:為管偉邦「水墨形式的當代趨向」創作的啟程,
透過「經典再造」的概念,以松、竹、江岸為題,沿用國畫的
潑墨、留白、寫意、勾皴點染等筆墨語言,表現陰陽虛實的概
念,並探究媒材(紙、絹及墨)各種展現,並展現對天人合一
境界的追求與情懷 。主要代表作品為《墨團團》(2017)、
《黑團團》(2017)及《經典再造》(2017)等作。
管偉邦,《經典再
造》,2012年,水
墨絹本,213 x 45.8
cm(每屏,一共6
屏)
 「文化山水」:靈感得自管偉邦2010年漫遊京都嵐山竹林小徑
之感。以綠竹為主題,多採分屏格式創作,有若窗框外望,帶
入現代生活的窗景、螢幕式視覺經驗。代表性作品《菉竹猗猗》
(2014),為目前最大尺幅的作品之一 。除了國畫的傳統意涵,
也帶入日本的「侘寂」美學,並打破傳統水墨的觀看方式。
管偉邦,
《菉竹猗猗》
2014|設色
鳥子金箋畫
卡,600 x
280 cm
 「水墨以外」:透過機械、錄像、聲音與燈光裝置作品,營造
出「可觀、可行、可遊」的空間,將觀者帶入藝術家所構想的
意境之中。代表作品為《律動》(2017),由十把繪有飛舞蜜
蜂的團扇構成,隨著機械律動起伏,引我們回想起在大自然中
享受清涼的空氣與蟲鳴聲響的愉悅感動。
管偉邦,《律動》
2017|水墨設色紙本團扇及
機械
152 x 22 x 24 cm
 「社會山水」:創作以社會運動為主題的綜合媒材紙本作品。創作主
旨意在連結當代社會民情及時代議題,使藝術作為一面鏡子,冷靜地
為時代做紀錄,代表作品為《1112》(2020)及《獅子山》(2019)。
管偉邦自述:「我不想煽動,亦不想沉默,只是在想如果藝術是一面
鏡子,可反映歷史、反映時代,那我希望我的作品可以留下來,讓下
一代知道今天香港所發生的。
管偉邦,《獅子山》
2017,水墨絹本
八屏,25 x 25 公分 [每屏],私人收藏
 專書:
 蕭滋 著:《出版.藝術.人生》。香港:三聯
書店 (香港)有限公司,2017年9月30日第1版。
 林鳴崗 著:《大道無彊 — 林鳴崗巴黎談藝錄》。
天津:百花文藝出版社,2011年5月初版。
 圖錄:
 香港畫家聯會、香港水彩畫研究會、尋藝者、香
港油畫研究會 著:《具象 + 抽象 — 香港當代油
畫水彩版畫展》。香港:香港高科技有限公司,
2009年8月。
 Wan Qingli, Lau Chak-kwong, Koon Wai Bong.
“Highlights of Dao Revealed through Brush and
Ink: Chinese Paintings and Works of Calligraphy
& Seal Engraving by Wan Qingli, Daniel Lau
Chak Kwong and Koon Wai Bong” (bilingual).
Hong Kong: Academy of Visual Arts, Hong Kong
Baptist University, 2009, ISBN: 978-988-99763-5-4.
 江啟明 著:《香港元氣:江啟明香港大自然組
畫》。香港:中華書局(香港)有限公司,2016
年8月初版。
陳惠立《Unsuccessful
Admission – HKBU》

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