2016江心靜花漾年華-文人屏風與掛軸 (紀錄片拍攝紀實)

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（以下文字腳本為有口白與訪談的紀錄） 

《若紫》 Innocence 2016／掛軸
蓓蕾 純真的姿態
包裹點亮世界的花心
渾然不知 霜雪

江心靜 (藝術家) :
當代水墨它在形式上，我覺得是可以創新的，就看你用什麼方式都可以來呈現。
為什麼我會選擇「掛軸」呢？是因為「掛軸」是非常有歷史的一個載具。例如說像在（日本茶聖）千利休，在茶道裡面最重要的一個茶具，其實是「掛軸」。他認為說掛軸選出來，才會有主題決定，他才會去選其他的器具，這樣子。所以說它（掛軸）等於是整個茶會的一個精神象徵。
事實上去（日本）京都茶道的體驗，讓我覺得說藝術品的創意，事實上可以跟現代很流行的茶席做結合。就好像找到了一個，在生活「藝術生活化」的切入點。

《掬水月在手》Blue Moon 2016／掛軸
春光乍洩 誰能不
惜春 水光淋漓
月兒也漫漫

江心靜 (藝術家) :
一般我放在西式畫框的作品，我都比較像是史詩式的作品，是比較壯闊，人生大的命題的一個呈現。
那我會放在卷軸（掛軸），都比較是小品。文人情懷的一個顯現，就是我們傳統國畫常會說的「境界」。所以說（掛軸）我會比較小品，可以讓你安靜下來，然後是可以體會到某種心情的那種作品。我會把它放在卷軸（掛軸）上。

《空山花雨》Shangri-La 2015／掛軸
天女走過人間
撒花 親吻
神佛庇佑的土地

江心靜 (藝術家) :
我在創作的時候，並不會先想說這個作品最後會呈現怎麼樣。而是說作品完成以後，我才會去想說這個好像比較適合放在西式畫框，這個比較適合放在卷軸（掛軸），所以等於是作品完成後，再來做考量，像這次的《花漾年華》（文人屏風創作）我面臨一個很大的問題，事實上也跟這個有關。

《花漾年華》Spring Blooms 2015／文人屏風
一山啁啾 花的春情
蕩漾 新綠搶頭香
演奏岩之靜寂交響樂

江心靜 (藝術家) :
《花漾年華》四連幅就是我用抽象的手法，表現那種，臺灣那種春天來了很茂盛的新綠、生命力，然後到處都是山櫻花，那種花在盛開的那種感覺。
那四幅創作我一直在看，我覺得說，不知道為什麼好像就是覺得，如果只有做成畫框四連幅我覺得很可惜。然後如果做成四個卷軸（掛軸），我覺得好像也很可惜，好像它又可以有不一樣的呈現。
後來我就想到說，像我自己一直很喜歡屏風，雖然在我的成長環境中沒有真的自己接觸過屏風，可是可能因為我很喜歡看書。我以前在看《源氏物語》，描寫日本平安朝時代的一些生活情況。他們基本上是受到（中國）唐朝文化的影響，所以在唐朝的時候，就是主要屏風是當作一個隔間，或是擋風的一個功能，所以屏風基本上是一個「移動的壁畫」。
那要做到那樣子的日式屏風，我們真的去嘗試才發現很困難。那中間經歷了半年，是非常曲折離奇的過程喔！
可是最後真的當我看到裝裱師傅，把那屏風立起來的時候，就讓那幅畫好像就活了起來，就覺得非常的開心，就是找到一個它最好的呈現方式。

林存青(策展人)

這整個空間是心靜的一件作品。
只是這空間，我們用了掛軸、屏風、花、生活上的一種小小的裝飾品，來讓走進來的人，就好像說在繁忙的都市中，他忽然看到一個綠洲這樣。你感覺到風，甚至你還聽得到外面的蟲鳴，然後你感覺到溫度，就一種會心的感動。你會感覺這空間不一樣耶！這不是去到一個很冰冷的空間，去看那種美的東西。而是你就生活在這裡。你想像說我回到了唐朝，或者到日本去，就像到了一個很棒的地方，我也說不出來，反正就是很美這樣。
所以我在想說現在藝術家這個身份，對心靜來講，是最能夠讓人家在很短的時間，就去感受到她內心裡面那滿滿的美的能量，所展現出來的一種優雅。 

莊連東 (藝術家，師大美術系教授)

心靜她本身不是科班出來的，所以在水墨這個學習過程當中，她並沒有受到前面的一些包袱。
那這個有一個好處。就是她在建構的時候，其實她是更自由的，比自由中更自由。那她一直在建構的過程當中，也會有一些，在我們看起來她可能跨出去了，她可能自己也不知道。但是我們可以覺得說也許將來她給水墨畫一個更新的可能。

林茂樹 (書畫家，翠華堂創辦人)

江心靜創作的優點就是她沒有受過專業畫家的訓練，不會考慮什麼材料和限制，她想說：耶！這個可以用看看就用。所以她的創作空間反而寬廣。
運用自己的優點繼續去發揮，我想她一定是未來的巨星。

特別感謝道綺全球傳播有限公司 ｜Vision Way Communication Co., LTD

最優秀的拍攝團隊，導演：顏妏如 、攝影：張元昱 / 陳治安 、聲音總監：謝耀武，

以及水聲音樂提供 Quiet Planet LLC / The Sound Tracker ， 古琴演奏：江心靜

2016 Pinky Chiang’s “Spring Blooms” Art Exhibition – Literati Screens and Hanging Scrolls

(The text below are records of voice overs and interviews)
 

《Innocence》 2016／Hanging Scroll
Pure and innocent flower buds
Contain the heart of a flower that light up the world
Oblivious to frost and snow

Pinky Chiang (Artist)
I feel that there can be innovation in contemporary ink wash paintings, meaning that you can present it in whatever method you desire. The reason I opted to use “hanging scrolls” as my method of presentation is because ‘hanging scrolls’ is a medium that is rich in history. For instance, Sen no Rikyū, the Saint of Tea in Japan, believes that the most important tea-ware in Japanese “Way of Tea” is the hanging scroll. Rikyū thinks that only after the hanging scroll is selected can the theme then be determined, followed by the selection of other tea wares. As such, one can say the hanging scroll is a spiritual symbol for the entire tea ceremony.
In fact, my experience of the tea ceremony in Kyoto, Japan tells me that the creativity of art works can be integrated with the contemporary and fashionable tea mats, akin to identifying a method for the realization of incorporating art into daily life.

《Blue Moon》 2016／Hanging Scroll
A glimpse of spring makes everyone
Cherish the spring; Water shimmers,
The moon carries on.

Pinky Chiang (Artist)
What I normally put in western-styled frames are epic-like works that are more expansive and manifest the big issues in life. What I put in the hanging scrolls are vignettes. The expression of artists’ emotional moments is something that is often termed as “a state of being” in traditional ink wash paintings. So I feel that hanging scrolls are suitable for vignettes, which can quiet your mind and allow you to experience certain moods. I would put this type of work on the hanging scrolls.

《Shangri-La》 2015／Hanging Scroll
The divine goddess walks through the human world,
Sprinkling flowers and kissing
The land blessed by deities.

Pinky Chiang (Artist)
During my creation process, I don’t pre-conceive how the work will turn out. Instead, I wait till the work is completed then I think about whether I should place it inside the western-styled frame or on the hanging scrolls. So the decision comes after the completion of the work.

Incidentally, during my creation of “Spring Blooms” (Literati Screen Creation), I encountered a huge problem related to the above point.

《Spring Blooms》 2015／Literati Screen
Flowers in spring, chirping in the mountains
Blooming, budding in fresh greenness,
Playing an orchestra of silence amongst the rocks.

Pinky Chiang (Artist)
“Spring Blooms” is a four-part painting in which I used abstract painting methods to express the fresh thriving greenness and vitality during Taiwan’s spring as well as the omnipresent cherry blossoms in full bloom during this time.

Looking at the four parts of the painting, I cannot help but feel that it would be a shame to frame it as a four-part painting, and it'd also be a shame to hang them up on four hanging scrolls. I feel that the work calls for a different presentation.

Then it occurred to me that I have had long-standing fondness for screens. Though screens have never played a substantial part in my life while I was growing up, but maybe my love for reading has brought me into contact with screens via books like The Tale of Genji, a depiction of everyday living situations during the Heian period in Japan. At that time, Japan was heavily influenced by the culture of the Tang Dynasty in China, thus during that time, screens were used as partitions or as wind shields, so one can say screens are basically "mobile paintings".

To create Japanese-styled screens from that period was no easy feat, and it took half a year and much trial and error. It was a process full of twists and turns!

In the end, when the framing artist stood the screen up, the painting was brought to life, and we felt a sense of great elation. I knew then that we had found the best way to present the painting.

Vicky Lin (Curator) :

This entire space is a work by Pinky.
We use hanging scrolls, screens, flowers and little adornments in daily life in this space to allow visitors to feel like they are in an oasis within the bustling metropolis. Here, one can feel the wind and hear the bugs singing outside, and one will also sense a feeling that touches you because you feel connected with this place. You will feel that there is something different about this space. You are not visiting a cold, lifeless place to see something beautiful, but instead, you know you have stepped into a space where you can live in. You may even feel as if being transported back to the Tang Dynasty or to ancient Japan, to somewhere idyllic, someplace imbued in beauty beyond description.

So I believe that for Pinky, being an artist allows other people to experience the elegance that emanates from her brimming artistic energy in the shortest amount of time.

Lainudung Chuang (Artist, Art Professor) :

Pinky did not receive professional art training, so she is not burdened by the styles of the artists that came before her when she was learning ink wash painting. This gives her certain advantages in that she is freer during the creative process. Her freedom is the ultimate freedom. When she is painting, she could appear to us to have already stepped forward into unmapped territories, even though she might not know it herself, and we can say that in future she might open up new possibilities for ink wash paintings.

Mao-shu Lin (Artist, Gallery Owner) :

Her advantage is that she is not limited by materials or restricted by any norms or rules of professional painters. She can be free and go, “yeah, this may work, let’s try it.” Thus, she has greater freedom to express herself.
If she continues to utilize her advantages to create artwork, I think she will become a superstar in the future.

Special thanks to " Vision Way Communication Co., LTD "
Nature Music -- Quiet Planet LLC / The Sound Tracker
Gu Qing Music -- Pinky Chiang