Room 713 柏宜山房

陳啟豪CHEN, Chi-hao (b.1978, Taiwan)

在陳啟豪的作品中，能看出其奠基於中國傳統書畫美學的底蘊，其運用東方繪畫之中獨特的虛實留白語彙，表述生活日常的一花一草，啟豪本素喜筆墨清新、意境超逸之作，故即好以「空靈」的意境做為創作主軸，其淬鍊出禪意的無限延伸，使畫中之白並非空無一物，亦非虛無，而是與物相映成趣，真實存在的意象。

近年啟豪受書畫同源的理論啟發，浸濡於筆墨藝術之美，再加上平日裡喜愛蒔花弄草，遂以草書線質入畫。細膩入微的觀察，雖以簡筆淡墨描繪，輕重淡濃，迂迴或暢快，卻將植物細膩柔軟的姿態描繪出來，多變的光線和濕潤的空氣，在畫面中也表現的淋漓盡致。那看似簡單的線條，亦承載著心緒的變化；畫中疏朗的留白，表現寂靜遼闊的蒼茫，也留下一片無際的想像空間。畫中清雅的氣質及清冷的調性與孤寂，而留白處卻讓觀者存有更大的想像空間。

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唐　榕　Rong Tang

作品簡介/ Introduction

將自己對水墨山水中的繪畫經驗，融入於所學的陶瓷創作，山水一直是中華美學底蘊中的重要題材之一，至今藝術家的表現越來越多元，透過媒材的不同、視覺理念來轉化傳統山水畫，也延續東方美學的意象。觀看水墨使我心中感到平靜踏實，在創作過程中獲得療癒。

皴法在山水畫中是畫家用來刻劃出山的立體變化與細緻的技法展現，轉化在陶土上利用工具創造出不規律卻和諧的刻痕，來表現皴法在山水中的傳統意象。在平面上透過釉上彩繪技法，將傳統山水畫中的樹木圖像化融合表現幻想中的綠意山水，結合眼中所體悟的當代陶瓷山水印象，傳遞出平靜、超脫、遼闊的微景觀，寄情於山水之間。並持續找尋不一樣的表現可能。

Incorporating my experiences in traditional ink landscape painting into my ceramic creations, I've integrated the profound theme of landscapes, which has always been an essential element in Chinese aesthetics. Throughout time, the expression of artists has become increasingly diverse, transforming traditional ink landscape painting through various mediums and visual concepts, while preserving the imagery of Eastern aesthetics. Observing ink wash painting brings me a sense of tranquility and solidity, which I find healing during the creative process.

The technique of " shading" in landscape painting is used by artists to depict the three-dimensional changes and intricate details of mountains. Translated onto clay, this technique uses tools to create irregular yet harmonious markings, conveying the traditional imagery of " shading" in landscapes. On a two-dimensional plane, through overglaze painting techniques, I merge the imagery of trees from traditional landscape painting with my own fantastical interpretation of lush landscapes. By combining these impressions with contemporary ceramic insights, I communicate a serene, detached, and expansive micro-landscape, evoking a sense of emotion within the realm of landscapes. I continually explore various avenues for expression.