以孤寂的生命創造豐美的藝術

國家文藝獎得主王攀元大師於民國38年來臺,在美麗的蘭陽平原落戶生根,一生創作不輟,開創出獨有的孤寂簡逸風格。其藝術成就斐然,普獲國內外藝術界的肯定與敬重,並且獲得廣大社會的共鳴。

 

年少時由於歷經孤苦的生活與見證離散的歷史,他乃將此悲劇式的人生納入創作之中,藉由極簡的象徵符號表現出一種意韻深遠的境界。他的用色純樸而優雅,構圖簡約而奇絕,充滿著一種既澀沉又淡泊、既渾厚又內斂的美感氛圍。因為情感真摯、富含詩意,在簡單的畫面元素中卻蘊含著許許多多動人的故事。王大師的作品深深地觸發了我們的心靈,在筆觸與畫面之間,總能帶給欣賞者一種清澈滌淨之感,讓人回味不已,有如繞樑三日。

簽名用22.gif

RICH AND BEAUTIFUL ART, CREATED FROM A LIFE OF LONELINESS

Master painter and National Arts Award winner Wang Pan-youn came to Taiwan in 1949 and settled in the beautiful Lanyang Plain. He worked tirelessly for the rest of his life in Taiwan, developing a unique style based on solitude and simplicity. His towering artistic achievements won the recognition and respect of the art community both in Taiwan and abroad, and his work resonated with the general public.


Wang's youth was marked by pain and loss, as well as historical turmoil that took him from his family and home. He incorporated the tragic events of his life into his art, using minimalist symbols to evoke deep feeling and sensibility. His use of color was simple but elegant, and his compositions were spare yet distinctive. The aesthetic of his work was austere and subdued, potent but restrained. The emotional sincerity and poetic richness of his art mean that, though his works are often simple on the surface, they tell many touching stories. Master Wang's works touch us all deep in our hearts. In his strokes and his compositions, the viewer can always find a purity and clarity that stay in the mind.

簽名用44.gif

「寂」的隨想  ─  王攀元的造境與心境

一、「寂」的隨想

邂逅王攀元的繪畫,總是有一種濃得化不開的孤獨情緒,並不只是畫面中那位踽踽獨行、垂頭緩步、若有所思的老人(有趣的是:為何朝此聯想 ── 歷盡滄桑的「老人」),而是畫面中簡單元素組合起來的整體氛圍,朝向一種指涉「蒼老」、「滄桑」、「靜寂」、「無依」、「落寞」、「哀愁」、「漂蕩」、「困頓」、「鬱卒」,但也是「優適」、「豁達」、「老練」、「捨得」、「放下」、「澹泊」……的詩境與詩意,當然也是某種心志的投射。謹謹「寂」一字豈止能盡其意?非得以疊字方能表達。一如孟浩然〈留別王維〉詩作,落寞異常,不得志之情溢於言表,故詩:「寂寂竟何待,朝朝空自歸。欲尋芳草去,惜與故人違。當路誰相假,知音世所稀。只應守寂寞,還掩故園扉。」寂之又寂,故言「寂寂」。

 

若「寂」是一種情境,「簡」則應當是這種情境的視覺化 ── 運用極為稀少的元素表達寂寥的綿密兼又空疏之感。這很符合元代詩人馬致遠的名曲:「枯藤老樹昏鴉,小橋流水人家,古道西風瘦馬。夕陽西下,斷腸,人在天涯。」(〈天淨沙‧秋思〉)。十二個性質相似的元素排序下來,每三詞一組,每詞再配上該屬性形容詞,特別是這七字:枯、老、昏、古、瘦、夕、斷,讓寂情無比寂寂。沒有贅言,甚至也沒有任何聯繫,而情境的營造(造境)是在想像中完成,當然這種想像力是需要美學上的超越:跳脫實用價值進入象徵思維、翻越世俗規制神遊太虛境界,如此才能有享受此苦澀滋味的可能(這不禁讓我們聯想起何懷碩先生的《孤獨的滋味》、《苦澀的美感》二書,那是筆者年少愁滋味的文字慰藉;其畫如論,也是滿滿愁滋味、寂寥意)。陳長華曾以〈孤舟、落日、老畫家〉為題形容王攀元的畫作,也是類似上述看法(《聯合報》1984年1月2日 )。

CASUAL MUSINGS ON LONELINESS: THE CONSTRUCTED AND EMOTIONAL LANDSCAPES OF WANG PAN-YOUN

I.Musings on Loneliness
Wang Pan-youn’s paintings always bring an intense, inexorable sense of loneliness. It is not only because of the old man in so many of the paintings, who limps along, head bowed, as if deep in thought (it is interesting to note that this image is what comes to mind—an old man), but rather because of the overall atmosphere created by the combination of simple elements. This atmosphere points toward a sensibility that is old, weathered, silent, alone, desolate, sorrowful, unmoored, forlorn, disconsolate... but also at peace, accepting, experienced, detached, willing to let go, and nonchalant. Of course, such an artistic sensibility is also a reflection of the artist’s state of mind. How can a single word such as “loneliness” suffice to re