二十世纪中后期的台湾艺术发展，面临着各种文化与艺术的存亡、转型与潮流的挑战，而水墨画所历经的严苛考验，也从文人思想的异域延续，演变为正统性与现代化的质疑，并借着乡土写实的兴起，转化到九○年代对水墨发展的思辩与争论，甚至在当前形成水墨的去从、异变与边缘化的危机，都显现出水墨画在时代动荡中的茫然。从李义弘(在川)先生自身艺术历程的追求看来，见证着近当代水墨发展的波折，却也同时造就他不断前行的明确方向。

　　文人思想的涵育

　　年轻时的李义弘，也曾经历过潮流侵袭的彷徨——如同当前许多评论家或新世代创作者，对于传统水墨不屑、不解的消极所产生主观的轻蔑，从而怀抱对抽象、拼贴、照相写实、超现实、卡漫、装置化水墨的执迷与兴奋感——当时国立艺专就读期间的他，也历经过五月、东方画会对待抽象表现潮流的呼应，一度着迷于现代与抽象的语汇中;一九六六年李义弘虽以优异的成绩毕业，却在此后数年面临与自我心境、文化隔阂的落差，使他在三、四年间几乎创作不出来，直至见到江兆申先生的画作，遂折服在「灵沤馆」门下。

　　此后随着江老师的二十多年间，李义弘濡染着对文人画的深刻领略，却也逐渐有意识的要跨越这一种文化束缚，他的绘画风格并未在师门的笼罩下故步自封。喜好旅游，并透过相机捕捉着年少时期的乡土情怀，一路走过对印度、尼泊尔等印北行脚的异域憧憬(幻想)，并从两岸开放后踏入水墨原乡的山河意象中，再次转回到对自己生长土地的热切期许。

　　历经潮流、师承、写生与传统的炽热追寻，到当下自在心境的适然，李义弘坦然面对自己艺术发展的逐步转折，也显现出水墨绘画在台湾异化、滋长之后本我生命的怀想。所谓“风格”的追寻，在于对所学体悟的法与化，但创作过多的受流行、价值影响，追求迅速的接续、移植西方以致跨过对本质的理解与传统的深究，无疑弱化本身创造力汪沛的可能性，高等艺术教育虽不免探索着时代风尚、论述批判与逻辑价值，但这终究形成自我追寻的必然性，还是自我局限的盲点?

　　就此而论，李义弘先生的创作时空虽平行于当代以拼贴、喷洒、滴流的西方移植风潮，却反能从中擦身出不同的交叉线，这与他进入一个倾向传统私塾体系，从而深刻领略文人本质的底蕴有关，当然，也与他藉鉴着当代摄影、影像的设计感，融合东方共同的艺术人文、创作逻辑与色彩表现有关，渗入十多年来深居乡间对土地的深厚情感，这透过兴趣与生命的总体成长，正合乎从生活与蒙养间“画外求画”的深刻意涵。

　　在潮流中转化

　　如果说二十世纪后期的水墨画风潮，还有着对身处传统与现代间的拉扯，以「抽象=现代」的幻想去追逐抽象与传统的妥协;那么，从二十一世纪初看来，许多焦虑书画终将为当代艺术所吞噬者，猛力于席卷而至的巨浪中挣扎或弃守，更无异使水墨艺术全面深陷在泥沼，从而在虚拟且通俗的幻域中完全隐没。这种品味一致的全球化运动，更在美术馆、策展人的推波助澜下，使艺术家们趋之若鹜，如无意识游魂般成为集体代言人——虽然我们履薄于潮流中，必须时时提醒自己要俯跨在历史洪流的高度之上，却仍不免因信念的不坚定而战战兢兢。

　　回溯水墨传统所指涉的美学逻辑，笔者深信五代‧荆浩所提出的「六要」仍具有存在意义，它使谢赫「六法」真正得以完备。「六要」中所谓的「气」、「韵」，指涉着心、艺、术在风格陶铸下的耐人寻味，「思」、「景」则建立在创作采撷与构图立意的关系;「笔」、「墨」更在形迹的意涵下，透过元代以后强化了本质内涵而影响深远。然而当前认为革去笔墨线条的价值，宣称以自动形式的变革足以反映内在的真实，颇令人费解的是：画面空具「思」、「景」的玄虚设计，如何弥补内在情感气韵的匮乏?而且真正要反思的，是笼罩在西潮挪移的价值之外，什么才是合于台湾身处当代意义的本我追寻呢?

　　大抵凡容易受潮流趋势所影响者，实际上会以融入潮流来掩饰自身的缺乏安全感，水墨画过去的改革，实际是反思在传统缺失中的强化，却缀补得完全失去本我而随波逐流，这一个立足于“缺”的补强原非本质的提升，也就不免失去整体的观照与契合，从上述看来，当前值得等待的是一个能够博纳镕铸的时代意义，绝非西潮下的移植稼接。就此次带有回顾性质的意义看，不难看出李义弘先生正往自己所意欲追求的，具有台湾风格的水墨深化，他不断在尝试中更明确此一方向——不作无理性的空泛反调，却反而深入传统去理解笔墨与自己的关系，从而慢慢介入以新的理念，去转换传统缺乏的观景法则与色彩表现，既写出自然的景，也表现艺术的境——这一段路，李义弘走了四十年。

　　吟咏大地之歌

　　整体而论，李义弘先生的作品明确于七○年代，而成熟于八○年代，从南台湾的乡野田间，注入了他清新笔调的印象营造，此种写意的笔墨与摄影裁剪的基调，都有别于当时水墨界兴起的乡土写实写生。这次展览可以见到在川先生的艺术历程缩影，如最早在1987年〔落鹰峡〕(图)、〔龙洞岩壁〕(图)的册页选件，与同年描写台湾大树绿意的〔苍翠〕(图)、〔老铁〕(图)写生风貌，还有1995年间尝试以埔里广兴纸寮抄制筊白笋纸，所创作的〔阳明山三板桥〕(图)、〔山家小景〕(图)等，尚可体现他在五十五岁以前，倾向溥心畬一路飘逸劲挺，深具文人情怀的线条美学。

　　但约莫在2000年左右，也就是从台北市迁居到三芝的近十年后，李义弘开始有意识的将生活于台湾的情感深化于画面中，他不再追求奇险精妙的构图变化，却更能显现对生活周遭的留恋，主要以当年所作〔一襟乡情册〕(图)，与接续尝试积墨试验的〔溪岸人家〕(图)、〔八连溪雨雾〕(图)等五件作品最为明确。此后无论是2002年间一连串以居地三芝乡附近，或台湾北岸麟山鼻石沪为主题的〔石沪与钓客〕(图)、〔三芝石沪〕(图)、〔退潮麟山鼻〕(图)等，还是2005年的〔相思林外〕(图)、〔大寒迎春〕(图)，都显现其构图意念更趋简化而绝对，与墨、色间积淀的浑厚苍朴与淡逸迷离。此次展出还有先生近年意欲深入探询的玉山圆柏系列，与高达九尺的〔立雾溪洸〕(图)巨幅，都记录着他近年台湾行迹的种种画境延伸，这无疑需要极度的创作体力与构思驾驭力。

　　这种对绘画空间的塑造，最明显莫过于展出的几件山水卷，其长度均达十几公尺，如〔渔寮关渡〕(图)、〔风棱石待潮图〕(图)中对于行旅间时光流动的捕捉，与画幅空间前后远近的变化，都可以显见他对场景调度与溶镜创作，明显介入本身擅长的摄影取镜，与拍摄期间行走观察的思景采撷。2006年底在川先生甫从玉山攻顶归来，至今夏始完成二十五公尺长的〔玉山行〕(图)手卷，更可领略他笔调中交融空间虚实的气韵变化，透过对水墨美学的笔墨运用，与涂彩、刷色、洒金的胶彩技巧，同时渗透着自己对运镜转景的交叉表现，使他的作品融蓄着青绿、墨韵、渲染的种种转换，却又明确逐步醇化的风貌追寻，就如同他一路走来的自我坚持，崎岖却坚毅的朝向目标迈开。

　　当下的李义弘，似乎有意隐敛近年对书法的戮力专注，而代之以晕染沁润着画幅的墨韵与色彩，虽然我好奇的探询是否这即是他所谓具有「台湾风格」的方向，李老师却谦称自己仍在追索，从中我看到的却是一个台湾原乡所孕育的子弟，历经学院洗礼、文人内化与时代演进，逐步形成极其本我的创作思考，没有文化的牵绊，不尚异好奇，从人文的全面思索中，一步步登上自己意欲建构的表现高峰!从南台湾的泥土滋养，辗转到自身文化的热切，从画自然之景到写土地之情，无疑深刻吟咏着属于他的大地之歌。

　　岛屿人文的果实

　　就当前中国大陆对于艺术形式的追赶，以近二十年的时间经历了西方百年的前卫流变，其实两岸在水墨的表达上也错擦出全然不同的绘画逻辑。整体而言，对岸的水墨倾向以笔墨皴擦的形式，重复具现代感的符号语汇;台湾则以写生、抽象并陈出较具速写式的笔墨形质。但笔者相信，未来数十年间由于生命经验的相同与借鉴西潮的共时性，两岸水墨会有一段时间的并行。检视台湾自身的文化传承，李义弘先生未尝已然开启了一个具本质面貌的发端，中原水墨文化东渡台湾，在历经「寒玉堂」溥心畬的移植发芽，与「灵沤馆」江兆申的深耕茁壮，终会在李义弘的身上结出本土人文的果实。

　　犹记得三十年前，画家楚戈先生献身于新旧绘画所张扬的强烈批判中，却在见到江兆申的画作后发出：「已无复起新旧之念了」的感叹!那么，笔者认为，如果我们不否认二十一世纪的水墨尚失焦于中原传统、自动性抽象、异国移植与彩墨路线的集体潮流中，当下的李义弘却已然朝向完全属于自我，融铸所学艺术的总结，且明确表征着台湾本我风貌的岛屿色彩。

吴继涛(书画家‧东海大学美术系所助理教授)

二○○七年端阳后五日写于台中大度山‧龙井

　　During the latter part of the Twentieth Century, the development of Taiwanese art was confronted by cultural transformations and artistic challenges.  Similarly, Chinese ink painting underwent a harsh revolution - an extension of the battle between tradition and modernization.  Master Lee Yih-Hong’s course of pursuit in the world of art is a perfect illustration of the progression of contemporary Chinese painting.

　　The Birth of Literati Thinking

　　As a youngster, Lee Yih-Hong went through a period of uncertainty. Just like today how many critics and new age artists are oblivious to the classics but instead embrace the abstract, while a student Lee Yih-Hong experienced similar struggles.  Although he graduated in 1966 with exceptional marks, Lee Yih-Hong was unable to create artwork for several years thereafter.  This was so, until he met Master Chiang Chao-Shen and was won over by his inspiring works.

　　Lee Yih-Hong studied under Master Chiang for over twenty years during which he mastered the art.  As strongly influenced as he was by the great artist, Lee Yih-Hong did not merely follow his teacher’s footsteps but realized that he must surpass these boundaries to uncover his own style.  An avid photographer and eager traveler, Lee Yih-Hong captured countless images through the years.  From childhood momentums of his hometown, to visions of exotic scenes during his journeys to India and Nepal, and to impressions of mountains and rivers in China, all that he sees and experiences are converted into passion for his homeland.

　　Lee Yih-Hong genuinely acknowledges what he encounters in the path of his pursuits – whether it be a change in trend, instruction from his mentor, painting life’s experiences, or abiding to tradition.  The search for an artist’s individual style involves full comprehension of the art, enabling integration and progression.  However in the process of creating artwork, the artist may sometimes be too influenced by trends and a prevailing desire to breakthrough classical techniques, that the essence of creation itself diminishes.  Indeed, the study of fine arts includes the examination and analysis of styles in different eras.  But is it actually a necessary ingredient of origination or does this instead create a blind spot during one’s search?

　　Master Lee Yih-Hong dwells in a period of time when Western artistic techniques are in vogue.  Yet, he is able to cross the threshold at diverse crossroads.  This is owing to his sensitivity and deep understanding of the literati.  In addition, Lee Yih-Hong successfully adds his knowledge of contemporary photography and image design onto his classical oriental artistic discipline.  Moreover, over a decade of residing in the countryside has greatly enhanced his sentiments for this land.  All these factors converged together and growing in harmony are reasons for the splendor in his works.

　　Transformation Amidst Trend

　　If Chinese ink panting in the latter Twentieth Century was caught in the wrestle between classic and modern = abstract, then the early Twenty-First Century has put the art into deeper trenches challenging its presence.  This global movement can be equally sensed within museums and amongst curators.  Though leaving artists in awe, we have gathered to join forces and constantly remind ourselves to always be at our peaks.

　　Looking back at what Chinese ink painting defines to be beauty, I believe in Wu-Tai’s theory of “Six Musts” – “Chi (Aura)” and “Yun (Harmony)” describe the assimilation of heart, art, and skill.  “Si (Thoughts)” and “Ching (Condition)” explain the relationship between creation and composition.  “Pi (Brush)” and “Muo (Ink)” go beyond practical application to an extended influence.  Following this theory, if a painting is rid of the lines that make it what it is and are replaced with free strokes that supposedly come from the impulses of an artist, then what beauty can be seen in artwork with only composition but without spirit?  Amidst the present day admiration for Western art and culture, what position should Taiwan hold in today’s age?

　　As a matter of fact, artists who are easily influenced and affected by varying trends actually lack in self-confidence and direction.  During the years, the reformation of Chinese ink painting should more appropriately be described as a strengthening on what it had previously lacked.  This is a process of reinforcement, not an upgrading.  Therefore, the fundamental essence of the art remains unchanged and consistent.  We look forward to a transition that incorporates the significance of time, and not one that is simply an application of Western practices.  Upon viewing this exhibit by Lee Yih-Hong, one can sense that he is journeying down a righteous path.  Classic Chinese ink painting presented in a personal style with strong Taiwanese influence, his works exhibit a deep understanding of tradition and an insight of the relationship between his painting media and his encounters in life.  Little by little, he introduces new thoughts and practices onto his paintings. Thus gradually transforming and improving on what is lacking in classical composition, placement, and coloring.  Lee Yih-Hong has traveled on this road to transformation for forty years.

　　Song For Our Land

　　Generally speaking, Master Lee Yih-Hong’s artistic style was established in the 70s and matured in the 80s.  He depicts country scenes of Southern Taiwan, using light brush strokes and formation of composition that is not commonly seen in painting but in photography.  His pieces greatly differ to those of artists in his time.  In this exhibition, the audience can catch a glimpse of the transition in Master Lee’s painting style throughout time.  Such examples are his early works 1987 “Eagle Gap” and “Palisades of Longdong”, his painting “Verdant” which portray the greenery of Taiwan’s forests and “Old Iron”, and 1995’s “Yangming Mountain Sanbanchiao” and “Home in the Mountains” where he attempts to paint on Puli Kwangshing Bamboo Shoot Paper.  These paintings are a reflection of his state before the age of fifty-five - graced, elegant, poised, and emanating an aura of the literati.

　　However starting in the year 2000, which is about ten years after moving residence from Taipei city to the suburbs of Sanchih, Lee Yih-Hong began to bring in his feelings of living in Taiwan onto his paintings.  He no longer strives for revelations in composition, but more amazingly, his paintings reveal a touching attachment to his surroundings.  As an example, his artwork “Embracing Home”, “Streambank People”, “Rain and Fog of Eighth River” and other such pieces are evidence of his sentiments.  Thereafter in 2002, he painted a series of works illustrating Sanchih and its surrounds, such as “Stone Tidal Weir and the Fisher”, “Sanchih’s Stone Tidal Weir”, and “Lowtide at Linshanbi”.  In 2005, he created “The Plantation” and “After Winter Comes Spring” which portray simplicity, cleanliness in composition, and clever use of overlapping colors.  This exhibit further includes Master Lee’s Cypress Painting Series painted in the recent years, and a gigantic nine-meter long masterpiece “The Fog and the River”.  These works are footprints of his travels throughout Taiwan and undoubtedly exhibit his intense creativity and powerful conceptual abilities.

　　The presentation of space in a drawing is best demonstrated on the landscape paintings in this exhibit.  Over ten meters in length, the works “Fishing Laos of Guandu” and “Vertifacts Waiting for the Tide” show a passing of time and a disclosure of proximity and distance.  These are evidently outcomes of his photographic aptitudes and keen sense of observation groomed through years of practice.  At the end of 2006, Master Lee climbed Yushan and from this journey evolved a twenty-five meter hand scroll “Journey to Yushan.  Master Lee reveals a remarkable transition between reality and the abstract, demonstrating a skillful use of the brush and ink.  He applies many painting techniques such as spreading of color, brushing of color, and sprinkling of gold dust, which result in breathtaking variations in color scheme and texture.  These shifts are gradual yet strong and steady, very much like his own pursuit of artistic goals.

　　The Lee Yih-Hong of today seems to have put away his emphasis on the skill of painting itself, but now finds harmony in ink and color.  When I curiously ask whether or not this is his quest for a “Taiwanese style”, Master Lee modestly replies that he is “still searching”.  From my perspective, I see a child of Taiwan who after receiving academic training in fine arts, thru transition in time and comprehension of the literati thinking, developed his own creation cognition.  Free from constraints of culture and thru a total exploration of the literati, Lee Yih-Hong arrives at his peak.  From the nurture received from the lands of Southern Taiwan, he translates these affections to a passion for culture.  He goes on to transform these sentiments to paintings of his homeland – his Song For Our Land.

　　Sowing the Seeds of the Island’s Literati

　　China’s quick pace in the development of the arts and the intensity of experiencing one hundred years of western transition in a mere twenty years, has resulted in a different aesthetic logic.  In comparison, China’s Chinese ink paintings concentrate more on the application of the brush and ink, exhibiting an avant-garde flair.  On the other hand, Taiwanese paintings exhibit still life impressions and abstract literary sketches.  However, I believe that in the future, similar experiences in life will lead to a period of time when China and Taiwan ink painting will fall in line with one other.  In examining Taiwan’s cultural history, Master Lee Yih-Hong has opened doors to new beginnings.  From the art of Chinese ink painting which had originated from the Orient and crossed the straits to come to Taiwan, through “Han Yu Tang’s” introduction and maturity at “Ling Ou Hall”, Taiwan’s own literati is born.

　　Thirty years ago, the painter Master Chu Ko faced criticisms due to the contest between old and new artistic approaches.  Upon viewing Chiang Chao-Shen’s works, he proclaimed the “controversy between the old and the new no longer exists”.  Similarly in the Twenty-First Century when Chinese ink painting struggles amidst tradition, abstract, foreign influences, and the overall transformation of color ink, the present day Lee Yih-Hong has found his own standing.  He is a perfect blend of all that he has learned, a symbol representing Taiwan’s unique style and color.

- Written Five Days after Dragon Boat’s Festival in the Year 2007

at Lungjin, Taichung Dadu Mountain

作者：吴继涛