嶺南畫派水墨

藝術家何百里

Although the modern art form and the martial arts blossomed together, Hong Kong ink painting also experienced the process of "new ink painting" evolved by the Lingnan School. He Baili, who painted Chinese ink painting for more than half a century, refers to ink as a medium, but it also contains a long-standing oriental philosophy. To pursue superior ink art and promote ink painting in Hong Kong, artists need to grasp the connotations of oriental aesthetics and attitudes towards life.

"2018 UOB Annual Ink and Wash Award", the theme of which is "connection", one of the judging by the famous Lingnan School of ink and wash artist He Baili, he believes that art is inseparable from life.

The painter is supreme

"Art is life, and it is closely related to the surrounding environment." He Baili said that since his childhood, his father led him to apprenticeship until he won an award, held his first solo exhibition, and widely recognized friends from various art circles. , Triggering creative motivation. "Wang Wei (Wang Mojie) said in" Landscape "that" the painter is the best, ink and wash are the best. "He Baili said that ink and wash represented the best art in China in the Tang Dynasty. In accordance with the functional purpose, it is divided into many "products": "The" products "here refer to" variety ", such as the wall decoration of the court of the civil servant, recording the emperor's tour, etc .;" The Qinghe River Picture "in the Song Dynasty recorded the grandeur of the Qing Dynasty people taking advantage of the market , These ink paintings are of historical value. "

He Baili emphasized that his work belongs to "Chinese ink painting", all because he understands that there are various media in the world such as watercolor painting, oil painting and charcoal painting; if he only classifies ink painting with media materials, it will be degraded. "As a Chinese, wearing a Chinese shirt, I have been painting Chinese paintings for decades. He believes that Chinese paintings are connotative and a product of philosophical rationality." He bluntly stated that Hong Kong ink painting is developing towards the world, and if it is to stand firm, it cannot be separated from Chinese philosophy. thought. "Otherwise you will lose the distinction between east and west."

As far as visual arts are concerned, oriental paintings and western paintings have been continuously combined. "Tang, Song, Yuan, Ming, and Qing dynasties, the so-called" ghost guys "have come to China, and the Chinese have also gone to the Western Regions. As early as Dunhuang, communication between things has been recognized." He Bai However, he clearly stated that the East and the West "will not be fully integrated": "Complete integration is equal to the whole earth glowing together. Why have you seen it?" He said this reason can be understood by observing the rotation of the earth. The sky in Hong Kong and the sky in Canada are dark, symbolizing the world It constantly transforms back and forth between yin and yang and light and darkness. Regarding the art of ink painting, the oriental ink painting has hundreds of rivers, which can infiltrate Western thinking or techniques to enrich itself, but has unique wisdom and philosophy that is difficult to replace. "To develop ink painting in Hong Kong, one must grasp the thinking of oriental ink painting." He Baili added that his east is broad, including Singapore, South Korea and Japan outside of China and Hong Kong. "Eastern ink painting always has a" blank space ". If it is said too clearly, it will be very westernized!" Compared with the Western emphasis on scientific thinking and pure logic, Orientals pay more attention to the virtues of understanding, respect, tolerance and tolerance. Ink and ink can present these elements outside the picture, it is to be superior to ink and ink. "

Oriental Soul in Ink and Wash

"There is an oriental soul in ink painting. If you abandon the soul, you can't go through it to nurture (cultivate) life. This was originally the role of art." He Baili claimed to be a "reading fan", although Lingnan, which has a mature inheritance system In the mantle of the school of painting, he joined the avant-garde "new ink movement" in the 1960s, pursuing innovative development of art forms. But in the final analysis, the most influential He Baili is the authentic life of Hong Kong in childhood memories, as can be seen from the early work "Bai Li Qing Zhou". "The light boat is my symbol, connected to the visual experience in daily life, and has an effect." This work has a deep metaphor of "art sea light boat", conveying his expectation of "shaking and enjoying life". The Central Studio in He Bury happens to be called "Zi Zai Xuan". "Some friends sighed when they saw my boat:" Living as comfortable as you are. "He realized that this is the power of art, which deeply moved and cultivated the temperament." I think the oriental ink painting has such a deductive technique. . "

In 2015, the auction house Christie's Why Baili planned a large-scale solo exhibition, exhibiting a new landscape series "Xiwang". Some viewers thought that this batch of paintings was very Vivid and could compete with the camera. He explained: "Why is it so real? I hope people know that ink painting is not only abstract, but also describes things in detail. But what I always want to talk about is: Hope. "Three years ago, when He Baili was so rare, he joined the same class of students to hike in the Taihang Mountains in China. He hasn't sketched for decades. Ascending the mountain and witnessing the beautiful "morning" beauty that shocked the soul, he painted it on the spot and took the title "Xiwang" with the homophonic "hope" to express his intentions.

Taihang Mountain is the main scene of the fable story "Yugong Yishan". In reality, the Taihang Mountain cannot be removed, but the mountain road is gradually cut from generation to generation, inheriting the ambition and hope of Yugong's "accessibility." Through ink painting, He Baili can draw the vast scenery of mountains and flowing water; from the magnificent style of depicting the distant view of the sunrise, he can convey the perseverance of the local pioneers who put the ancestor spirit into practice and accumulated results. "Speaking in the heart can be said by the picture. Oriental ink painting can help us understand the realm." He said that the true orientation of the plane image of Western art is not completely spiritual, but usually there are not many historical allusions and philosophies. "Always lose one layer. I love ink and wash just like this layer."

Western rationality needs to be balanced with Eastern mean

He Baili claimed to be the artist responsible for "optimizing tradition". He said: "When I violate and deviate from tradition, I may not be able to return to the traditional highlands and fall off the cliff. This is a problem that I will think about first when I reach a certain level. Choose. "He talked about how to promote ink painting to local youth. He believed that" traditional "and" innovative "," pictographic "and" abstract "," meticulous "and" freehand "and other relative concepts, for those who have never been exposed to ink and wash There is no difference, and it is not important. "The Badashan people of the Qing Dynasty drew a picture with only a few strokes, and they were criticized by those who insisted on meticulously painting pavilions and towers." He Baili finally believed that form, style and technique were only secondary, Hong Kong ink artists It is necessary to grasp the oriental aesthetic point of view and convey the spiritual maintenance of oriental ink painting in order to reach the peak in art and promote ink painting. Because of such a deep creation, Fang has noble personality and can stand the test of time.

He Baili said that in traditional culture, bamboo stands for Gentleman and gentleman stands for Fairlady. He was convinced that the eastern "peace" sentiment declared by ink and wash could balance the fighting nature and fighting spirit derived from western scientific rationality.

"I said that indisputability is the truth, and change is eternal. If human wisdom is overthrown, it cannot be regarded as a person-art will make you" like to return to the individual ". He has repeatedly emphasized doing things that are beneficial to the East and to the West. It is also advantageous. "Everyone is painting Western paintings in the East, then the East Convenience is about to disappear." Chapter 42 of the Tao Te Ching said: "Everything bears the yin and embraces the yang, and urges to be at peace," He Baili is deeply convinced of the current human trend It is to seek coexistence, not to struggle together. He also used Taoist metaphors to illustrate the symbiotic image of life with "black in white, black in white". This symbol was even convinced by Westerners, and he hoped that ink painting could declare the core value of "balance" in the East and follow the Western. The Art Chamber resists rituals.

儘管現代藝術形式和門派百花齊放，香港水墨也經歷嶺南畫派演變出「新水墨」的過程。畫了中國水墨畫超逾半世紀的何百里指水墨固然是媒介，但亦包含源遠流長之東方哲理思想。要追求上乘水墨藝術，且在香港推廣水墨，藝術家需把握東方美學和生活態度等內涵。

「2018年大華銀行年度水墨大獎」，主題為「連繫」，著名嶺南畫派水墨藝術家何百里評審之一，他認為藝術總離不開生活。

乎畫者水墨至為上

「藝術就是生活，跟周邊環境事物息息相關。」何百里指自少年時父親帶領他拜師，直至得獎、舉行首次個展並廣泛認識藝術界各門派友人，他一直都由生活中取材和獲得靈感，引發創作動力。「王維（王摩詰）於《山水訣》中說：『乎畫者，水墨至為上』。」何百里指水墨在唐代已代表中國最優秀上乘的藝術，乃屬於文人雅士的專長，因應功能目的分成眾多「品」:「此處的『品』是指『品種』，像文官幫宮廷飾壁、紀錄皇帝出巡等；宋朝《清明上河圖》紀錄了清明時節人們趁墟之盛況，這些水墨很有歷史價值。」

何百里強調自己作品屬「中國水墨」，全因了解到世界有種種媒介如水彩畫、油畫和炭筆畫等；若只以媒介素材歸類水墨，就有所貶低。「身為中國人，穿着中國衫，畫了數十年中國畫，認為中國畫好有內涵，是富有哲學理性的產物。」他直言香港水墨面向世界發展，要站得住腳，就不能脫離中國哲理思想。「否則便失去東西方之分。」

就視覺藝術而言，東方畫和西洋畫一直不斷結合，「唐宋元明清至今，所謂『鬼子佬』來華，華人也去西域。早在敦煌已可見識到東西之間的交流。」何百里卻明言東西方「不會完全結合」 :「完全結合就等於整個地球一起發光，你何曾見到？」他說此理由觀察地球自轉便可明暸，香港天光，加拿大便天黑，象徵世界是在陰陽、光暗間不斷來回轉化。看待水墨藝術如是，東方水墨海納百川，可以滲入西方的思維或技法以豐富自身，卻擁有難以取代的獨特智慧和哲學。「在香港發展水墨，須把握着東方水墨思維去做。」何百里補充指他的東方是廣義的，中國和香港以外亦包括新加坡、韓國和日本等地。「東方水墨總有『留白』，如果把話說得太清楚，便很西化！」比起西方注重科學思維、講求純邏輯性，東方人較注重悟性、尊重、承受和包容等美德，「如水墨在畫面以外能呈現這些元素，就為之上乘水墨。」

水墨內藏東方靈魂

「水墨內有東方靈魂。如果拋棄了靈魂，人就不能透過它去Nurture（培養）人生。這本來就是藝術的作用。」何百里自稱「讀番書」出身，儘管承傳體系成熟的嶺南畫派的衣缽，他在60年代加入前衛的「新水墨運動」，追求藝術形式創新發展。但歸根究低最影響何百里的，還是童年記憶中之香港地道生活，這從早期作品《百里輕舟》可見一斑。「輕舟是我的標誌，連繫到日常生活中的視覺感受，而產生效果。」此作有「藝海輕舟」之深層喻意，傳達他期望「搖曳地享受人生」之逍遙快意。何伯里的中環工作室恰好名為「自在軒」。「有些朋友看見我的艇仔便慨嘆：『像你般活得自在就好了』。」他體會到這就是藝術的力量，令人心深感動、陶冶性情，「我覺得東方水墨有如此演繹手法。」

2015年，拍賣行佳士得為何百里策劃大型個展，展出全新山水系列《曦望》。曾有賞畫者認為此批畫得很Vivid（生動），簡直可與相機爭鋒，他解釋道：「為何畫到如此像真？我希望人們知道水墨不止是抽象，還能細緻地描繪事物。但我始終想講的是：希望。」三年前何百里年屆古稀，聯同一班學生往國內的太行山遠足。他已幾十年沒有寫生，登峰目睹震撼心靈的良「晨」美景，便即場畫下，取題《曦望》，諧音「希望」以寄意。

太行山是「愚公移山」寓言故事主場景。現實中太行山當然無法移走，山路卻是由前人一代接一代逐漸開鑿而來，承傳了愚公「出入自如」的抱負與希冀。透過水墨，何百里可以畫出高山流水的浩瀚景色；亦可從描繪遙望朝陽之宏偉氣派，傳達當地開山者將先民精神付諸實行、積累成果的堅毅氣慨。「心底說話可由畫面說出來。東方水墨就是能助我們領悟到如斯境界。」他說西洋藝術的平面像真取向並非全無精神境界可言，卻通常沒有太多歷史典故與哲理襯托其中。「總是少了一重Layer。我鍾意水墨就是喜歡這重Layer。」

西方理性需以東方中庸平衡

何百里自稱是負責「優化傳統」的藝術家，他說：「當我違反、背離傳統，我可能無法重返傳統的高地，跌落懸崖。這是達到一定水平先會思考的問題，也是任君選擇。」談到如何向本地青年推廣水墨，他認為「傳統」和「創新」、「象形」與「抽象」、「工筆」與「寫意」等相對概念，對於從未接觸過水墨的人來講毫無分別，亦不重要。「清朝的八大山人以寥寥數筆便畫出一張畫，也被當時堅持細緻地畫亭台樓閣的人批評。」何百里終究認為形式、風格與技法僅屬次要，香港水墨藝術家要把握東方的美學觀點，傳達東方水墨精神涵養，方能於藝術上登峰造極、推廣水墨。皆因具備如此深度的創作，方有崇高位格，經得起時間考驗。

何百里表示傳統文化中竹代表Gentleman（君子），蘭代表Fairlady（淑女），自有深厚情懷。他深信水墨所宣示的東方「和平」情懷，可以平衡的西方科學理性所衍生的鬥性、鬥心。

「老子說不爭就是事實，變化亦是永恆。人的智慧若被全盤推翻，就不能算是人了——藝術會令你『似返個人』。」他一再強調做對東方有利之事，對西方同樣有利。「人人都在東方畫西洋畫，那麼東方便要消失了。」《道德經》第四十二章說：「萬物負陰而抱陽，沖氣以為和」，何百里深信當今人類大勢是求共存而非求共鬥。他又以道家的太極圖比喻，說明「黑中有白、白中有黑」之相生相剋生命意象，這個標誌連西人也為之折服，期望水墨能宣示「平衡」之東方核心價值，跟西洋美術分庭抗禮。

by  https://www.hk01.com/%E8%97%9D%E ... 9%E9%9D%88%E9%AD%82

[color=rgba(0, 0, 0, 0.4)]

《黃山朝暉》何百里

[color=rgba(0, 0, 0, 0.4)]

《㬢望》何百里

[color=rgba(0, 0, 0, 0.4)]《百里輕舟》何百里