我認識謝義錩先生已十五年多了，猶記得1998年時，他以東北扶輪社社長身分輔導新創的東華扶輪社推動社務，並鼓勵東華社在國內外各扶輪社視為核心價值的企業回饋、社會公益等事務上，找出一個新的焦點和具有開創意義的實踐方式，該社社員李敦朗先生(亞洲藝術中心董事長)推薦我以藝評人的身分為東華社規劃一個藝術獎項，我的建議方案是從當年度的美術展覽中，主動去甄選優秀的青年藝術家，由東華社社員合贈藝術家定額獎金，而藝術家則可隨喜回饋作品以供該社收藏。這個方案因謝義錩的認同和支持而立即付諸實行，東華扶輪美術獎前後連辦了三屆，後雖因資源轉於濟助九二一大地震災區而停辦，實際已嘉惠了不少新秀藝術家，在台灣藝術贊助史上留下美麗印記。

　　在台灣藝文界中，謝義錩也許不是閃亮的明星，但卻是公認跨前衛設計、建築產業、藝術創作的一個精彩人物，1970年初，他甫從台灣藝專(今台灣藝術大學)畢業，即與同好共同創立「變形蟲設計學會」，在當時正從農業時代邁向工商化的台灣社會，他們以設計從業者的身分，積極推動本土設計與生活應用、建築環境的整合。這個設計協會的活動力從七零年代一路延伸到九零年代，對台灣視覺環境及文化產業的提升有很大的影響力，謝義錩從創始會員到先後擔任「美術設計協會」理事長及「變形蟲設計學會」會長，他個人的精神投入和實質貢獻也是有目共睹的。

　　隨著工商的繁榮和台灣社會的進展，謝義錩也從設計業跨足到建築業，並從知名廣告公司的總經理，於八零年初轉進為開發與建設公司董事長的身分。難得的是，再怎麼「為生活打拼、為事業奮鬥」，他從高中時代已開始生發的藝術熱情，並未因工作的壓力或忙碌的理由而被澆熄;除了大學時期迷上的絹印版畫，直到九零年代都續有新作展出;他同樣寄予興趣和熱誠的油畫和水墨創作，在九零年代後則可看到更多時間與精力的付出。到目前為止，除了參加諸多聯展，他已辦過的三次大型個展，更能印證他在自由創作上的寄情與用心，這次預定到上海大劇院畫廊個展的精彩畫作，本人有幸在展前先睹為快，僅藉此篇幅分享一些個人的賞畫心得和感受。

　　謝義錩本次個展，以【潑彩自在、大氣山河】為展題，展品包括近四十張六十號的油畫，以及十五張一百二十號的大畫;從內容看，它們是藝術家遊歷台灣、大陸、歐洲各地山川名勝後的不同創作回應，就表現形式言，這些畫反覆印證了藝術家個人的繪畫特長、藝術見解，和一種美學偏好。謝義錩最喜歡也特別擅長半抽象的風景畫，他住在台北市郊，畫室外頭就是歷來許多本土畫家樂於入畫的淡水河和觀音山，長年看山望水，目睹天光雲影從早到晚、四季有別的變奏演出，讓他體悟到「變/動」才是自然界唯一的真實，才是所謂的「常態」。從謝義錩新近公開發表、也是本次展覽主軸的【33觀音山】系列畫作中不難看出，這些畫充分詮釋，也具體演繹了他對於兼融自然風光變化和個人情感波動之「能動美學」的特別偏好和一貫主張。

　　謝義錩歌頌自然能量和造化活力的畫作，訴諸於飽滿、鮮豔而充滿韻味的色彩，和自由奔馳揮灑、點線面緊密共構的書寫筆態。在他筆下，紋風不動的山，川流不息的河，飄過天際的雲，瞬息萬變的光，各具姿態美感、律動節奏而和諧交響，整個畫面儼然是一種「無聲不歌、無動不舞」的自然聲光劇場。而在一些幾乎已全然抽象的畫面，如33觀音之9、九寨溝(0602、1015)、合歡山(1211)、阿爾卑斯山(1119、1127)、海峽(1218、0725)、黃山(0818)等作品中，我們更可以純然的去感受和體驗，謝義錩透過酣暢的色彩鋪陳和縱橫飛揚的筆態演出，將尺寸有限的畫布轉換成了有情無罣的自然天地。

　　多年從事設計工作和建築產業的經歷，肯定有助於謝義錩將許多開創的心思轉化為理性的社會實踐行動，或許也因如此，他力求在繪畫的世界中為自己保留了一大塊感性揮灑的天地，作為企業家的他自言即將退休了，身為畫家的另一個他，相信正是大步向前邁進的開始!

　　石瑞仁：台北當代藝術館館長

　　Artistic Expression and Dynamic Aesthetics

　　——The Painting World of Idea Y.C. Hsieh

　　I have known Mr. Idea Y.C. Hsieh for more than 15 years and still recall how in 1998, as head of the North East Rotary Club, he offered invaluable assistance to the recently established Tung-Hua Rotary Club. At that time, he encouraged the latter to find a new focus and embrace innovation in its corporate reward and charity programs, core events for rotary clubs in Taiwan and overseas. As a result, Tung-Hua Rotary Club member Mr. Thomas Duen-lang Lee (Chairman of the Asia Art Center), recommended me, in my capacity as an art critic, to organize an art award for the club. I proposed that they should select the best young artists from exhibitions held that year and offer them a fixed cash prize, for which the artists would donate a work of their own choice to the club. With the support of Idea Hsieh, the Tung-Hua Rotary Club Fine Art Award was quickly adopted and held three times before funding was diverted to help with relief work in areas devastated by a major earthquake on September 21, 1999. Despite its short lifespan, the award provided many new artists with practical assistance and made an indelible mark on the history of art sponsorship in Taiwan.

　　Although Idea Hsieh is perhaps not the brightest light in the world of Taiwanese art and culture, he is widely recognized as being an outstanding artist who has made important contributions in the fields of avant-garde design, architecture and painting. In the early 1970s, shortly after Hsieh graduated from Taiwan College of Art (today's National Taiwan University of Arts), he and a few like-minded individuals established "Taiwan Amoeba Design Association" (TADA). At that time, industry and commerce were starting to play a larger role as Taiwan evolved from a largely agrarian society, and the association promoted the integration of local design, practicality and the architectural environment. TADA was active from the 1970s into the 1990s and had a major influence on the visual environment and upgrading of cultural industry in Taiwan. Hsieh was one of the founding members of the group and also served as chairman of the "Art Design Association" and "Taiwan Amoeba Design Association." As such, his driving spirit and hard work were instrumental in the success of both groups.

　　With increased economic prosperity Taiwanese society began to change and Idea Hsieh developed an interest in architecture. Indeed, in the early 1980s he went from being the well known president of an advertising company to chairman of a development and construction company. However, despite the pressures of "striving to make a living" Hsieh never allowed the passion for art he discovered at senior high school to fade. Indeed, he became fascinated with serigraphy while at university and continued to produce new work into the 1990s. By the end of that decade he was able to devote more time and effort to his love of oil and ink painting. To date, Hsieh has participated in multiple group exhibitions and held three major solo exhibitions, a testament to his artistic focus and determination. On this occasion, I have been fortunate enough to review the paintings to be shown as part of his solo exhibition at the Shanghai Grand Theater Gallery and I would like to take this opportunity to share with readers what I took away from that viewing.

　　The current solo exhibition is titled "Imposing Color Splash Landscapes" (潑彩自在、大氣山河) and includes almost 40 No. 60 oil paintings and 15 No. 120 major works. In terms of content, most of the pieces represent the artist's different creative responses to visiting renowned scenic areas in Taiwan, China and Europe. As for expressive form, these paintings are a testament to Idea Hsieh's considerable painting skill, artistic vision and his love for a certain aesthetic. Hsieh has a preference for and is extremely adept at semi-abstract landscape painting. He lives on the outskirts of Taipei city not far from the Danshui River and Kuanyin Mountain, two natural sights that have long been favorites of local painters. This long term study of landscapes, observing light and shade from morning to night and wide ranging seasonal variations have enabled Hsieh to conclude that "change" is the only constant or "norm" in the natural world. In his latest work and focus of the current exhibition - the "33 Faces of Kuanyin Mountain" (33觀音山) series – we can see pieces that are both replete with interpretative meaning and represent a concrete evolution of the artist's preference for "dynamic aesthetics" - which blend together changes in natural landscapes and the vicissitudes of personal emotions.

　　Idea Hsieh extols the energy and vitality of nature in his paintings as evidenced by the way in which they are filled with bright colors of lingering charm and free flowing brushwork comprised of tightly interwoven lines and surfaces. In his works the unchanging patterns of mountains, timeless flow of rivers, clouds floating over the horizon and ever changing light are imbued with an aesthetic, rhythmic tone and harmony that present a theater of natural light and sound in which "all sounds are music, all movement dance." Moreover, several almost completely abstract paintings such as "33 Faces of Kuanyin Mountain 9" (33觀音山之9), "Jiuzaigou" (九寨溝) (0602, 1015), "Hohuan Mountain" (合歡山) (1211), "The Alps" (阿爾卑斯山) (1119, 1127), "The Straits" (海峽) (1218, 0725) and "Mount Huangshan" (黃山) (0818), enable viewers to experience first hand the way in which Hsieh, with lively colors and bold strokes, transforms a canvas of limited space into a natural world of unbridled passion.

　　Having spent many years in design and the architecture industry, Idea Y.C. Hsieh has been able to transform his innovative ideas into rational social action. It is perhaps as a counterpoint to such an achievement that he has worked so hard to preserve his more emotional side through the world of painting. Although Hsieh has said he plans to retire as an entrepreneur, as a painter he believes that this exhibition represents just the first step in a long and wonderful artistic journey ahead.

　　J.J Shih,

　　Director, Museum of Contemporary Art，Taipei

作者：石瑞仁