Erenlai - Image and Imagination 亞洲的想像花園
Image and Imagination 亞洲的想像花園

Image and Imagination 亞洲的想像花園

Artists teach us how to look at the world anew as well as into our own hearts. Here you will find a selection of artworks and art criticism that goes transcends the spectrum of fashionable trends. In this section we also feature a series of guided tours of the site, showing our best features!

從古至今,亞洲的創作力源源不絕。亞洲人的眼界究竟觀察到什麼與他方不同的事物呢?這裡刊登的藝文創作與評論不是遊竄在古老與後現代之間的一場秀,而在呈現亞洲藝文多元的文化交融。這些文章將帶領我們以新意探究世界,以真摯凝望內心。

Friday, 03 July 2009

心绘海岛─龟山油桐花如雪

李金远抵达台湾的那一天,他的老友杜乐仁神父去接机。李金远在笔记中写道:「坐上杜乐仁神父开的小车,在绿色的山谷中穿行,有点奇怪的感觉,好像如梦般的轻松飘逸。公路左边翠绿的山丘上开著一大片一大片的梧桐花,真是像白雪一样美丽。」这景象甚至让他想起一部电影《五月雪》,讲述一位中国哈尔滨的女子在网路上邂逅台湾郎,两人陷入热恋,这名男子最后奔赴哈尔滨,在冰天雪地中找到真爱。后来他果然在速写画上题诗「龟山油桐花如雪」。

附加的多媒体:
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Friday, 03 July 2009

心繪海島─龜山油桐花如雪

李金遠抵達台灣的那一天,他的老友杜樂仁神父去接機。李金遠在筆記中寫道:「坐上杜樂仁神父開的小車,在綠色的山谷中穿行,有點奇怪的感覺,好像如夢般的輕鬆飄逸。公路左邊翠綠的山丘上開著一大片一大片的梧桐花,真是像白雪一樣美麗。」這景象甚至讓他想起一部電影《五月雪》,講述一位中國哈爾濱的女子在網路上邂逅台灣郎,兩人陷入熱戀,這名男子最後奔赴哈爾濱,在冰天雪地中找到真愛。後來他果然在速寫畫上題詩「龜山油桐花如雪」。

附加的多媒體:
{rokbox size=|544 384|thumb=|images/slideshow_tw.jpg|}media/articles/LiJinyuan_MayFlower_tw.swf{/rokbox}

Wednesday, 01 July 2009

Li Jinyuan sketches Taiwan

After several months going through the long and frustrating process of applications, Sichuanese painter Li Jinyuan was finally able to step onto Taiwanese soil. Retired professor at the Sichuan Normal University in Chengdu, he thought he should take advantage of his new free time and gaily accepted French painter Bendu’s invitation to discover Taiwan. Li Jinyuan arrived in Taipei on April 24th , right during the “plum rain season”. The strait’s climate is often very unstable and can affect landings and takeoffs but the North-East monsoon had already switched directions and the southern winds were preceding the Kurashio current, meaning the shoals of flying fishes would soon be able to swim up the North coast.

On arrival in Taipei, Li Jinyuan was not very familiar with the Island’s geography, so his host decided to take him on a tour of the Island. They started at Danshui wharf on the North of the capital and Jinshan township on the Northern Coast. He then embarked on a twenty day trip which led him to Nantou County in central Taiwan; to Alishan forest in Jiayi county (West Coast), before switching to the maritime East Coast - from Hualien city to Nan-Fang-Ao Port, Orchid Island, off the coast of Taidong.

Li Jinyuan brought back a considerable amount of sketches, paintings and drawings from his trip around Taiwan. With his black felt-tip pen, he would capture real-life scenes, of which he was the occasional spectator: a man reading his newspaper in a fast-food restaurant, a couple drinking their tea in silence at the terrace of a café, a fisherman repairing his net while two women next to him play with a stray dog… Sometimes, he would use pastels adding a touch of colour and animating the drawing. Li Jinyuan also experimented with felt-tip pen techniques to display the textures and the movements of the millenia-old trees of Alishan forest and Jade Mountain: here, the painter plays with the spaces left blank by the heavy black line, whilst the crooked branches and trunks seem firmly root into the emptiness beyond the page…

Whether you know Taiwan already or not, let painter Li Jinyuan be your guide through this pictorial adventure, telling you his version of Taiwan’s story.

{rokbox size=|544 384|thumb=|images/slideshow_en.jpg|}media/articles/LiJinyuan_Focus.swf{/rokbox}

Tuesday, 30 June 2009

Meet Painter Li Jinyuan

In this short video, Benoit Vermander introduces his friend Li Jinyuan.

Attached media :
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Thursday, 25 June 2009

Tingling Branches and Bony Trunks

Alishan Forest boasts some of the oldest trees in Taiwan. Harmonious foliage and distorted branches, downy barks and rustling trunks.

________________________________________________
Now, lets hit the road to Taiwan East Coast!

Attached media :
{rokbox size=|544 384|thumb=|images/slideshow_en.jpg|}media/articles/Lijinyuan_alishantrees.swf{/rokbox}

Friday, 19 June 2009

心繪海島─中國畫家東遊台灣記

採訪、撰文/李熱葵 繪圖/李金遠
本文為節錄,完整內容請見2009年7、8月號《人籟》特刊


熬過好幾個月繁瑣的公文程序之後,李金遠終於踏上了他期待已久的台灣土地。這位名聞中國的水墨大師才從四川師範大學美術學院的教授職退休,正是空閒的時候,此行應長居台北的法國畫家笨篤之邀,不辭千里從中國成都前來遊繪台灣。

在接下來的二十日裡,這些風景及與此相連的風土人文,李金遠都將一一經歷,並以畫筆留下視覺印記。他觀察著台灣,只是他並不知道尚有台灣人在旁邊觀察著他。


水墨意境下的台灣風景
說李金遠在台灣感受到了什麼「文化差異」,還不如說他看到了與深處中國內陸的四川十分不同的風景。他此行共有大大小小數百張寫生畫,多半是簽字筆、麥克筆和蠟筆所繪,此外也有一些炭筆畫。他在阿里山神木區畫了一些炭筆素描,非常成功地描繪出寂靜的深山和雲霧繚繞的檜木林。

但很明顯地,這些畫頗富中國山水情調,帶著濃重的水墨意境,即使題詩「古木無人徑」或「巖扉松徑長寂寥」,竟也絕無不搭調之處。這當然是因為山地森林畢竟是他所熟悉的風景類型。日月潭、梅山碧湖、冬山梅花湖,甚至淡水河邊的寫生也予人相似的觀感,中國畫中常見的元素都依稀可辨。


大洋中的小嶼
嘉南平野吸引了李金遠的目光,筆下常有開闊的田地和無所不在的細瘦檳榔樹,但真正的「差異」是在他去到蘭嶼之後才出現。這個太平洋上的小嶼想必在李金遠身上造成某種意象鮮明的衝擊──他這二十天超過兩百張的寫生裡,光是蘭嶼就有數十張之多,但其實他只在蘭嶼停留了一日一夜。

李金遠很可能是在置身浩瀚的太平洋時,心中才真正有了「台灣是個海島」的現實感。在前往蘭嶼之前,他已經在蘇花途中見識到太平洋,之後經由東部濱海公路前往台東的一路上,也時時轉頭望向車窗外的大海。這當然不是他第一次邂逅海洋,他也曾遊歷地中海,甚至嚴格說來,二十年前他在廈門沙灘上遠眺大膽、二膽島時,就已經算是與太平洋打了照面。

然而在某個極早的清晨,搭乘「綠島之星」號快艇自台東富崗漁港出海之後,他才真正投向大洋的懷抱。這是世上最大水域的西緣,即使是在陽光和煦的早晨,波濤洶湧依然遠勝古文明環抱的地中海。

離港後許久,山巒起伏的台東海岸才真的消失在水平線外,又過了許久,綠島也消失了,四周什麼也沒有,只剩下令人迷失方向的海洋。李金遠一直坐在快艇後甲板上,有時拍照,有時畫畫。那個早晨他與同行友伴聽說了東方有熱帶氣旋正在形成,但畢竟還遠在兩千公里之外,台灣東海岸的風浪其實並不險惡。自幼看慣了北大西洋險惡波濤的笨篤後來翻閱李金遠的速寫本,發現他筆下的海潮竟然有如濤天巨浪,才終於恍然他在蘭嶼為何堅持不肯一起去浮潛。


睜大雙眼,睜大心眼
中國是個廣土眾民的國家,國內語言殊異、文化各別,不能說哪一種人才是「典型的中國觀光客」。不過,李金遠確實以他獨有的觀看方式,看見了與他迥異的自然風貌與生活場景。或許他的文字無法適切表達此番行腳的諸多體驗,但那數百張寫生和其間悄然變換的畫風,卻透露了旅遊與文化交流的真實內涵──而這一點,在睜大雙眼之外,還要心眼才看得見。


更多李金遠遊台畫選,請見2009年7、8月號《人籟》特刊

附加的多媒體:
{rokbox}media/articles/LiReKui_island02.jpg{/rokbox}

Friday, 19 June 2009

水墨與油彩之間──關於李金遠

採訪、撰文/李熱葵 繪圖/李金遠
本文亦見於2009年7、8月號《人籟》特刊

「濯錦江邊兩岸花,春風吹浪正淘沙。女郎剪下鴛鴦錦,將向中流匹晚霞。」這是中唐詩人劉禹錫筆下的成都,形容千年以前,芙蓉錦官城內妙齡女子漂練蜀錦的浪漫情調。但終戰之年(1945)生於成都、一生都在成都度過的李金遠,並沒有分享這樣的萬種風情,而是跟無數當代中國人一樣,有著坎坷離奇的生命史、血淚斑斑的文革經驗。但或許正是苦痛經歷使然,他的畫反而展現一片海闊天空。誠如蘇菲瑪索(Sophie Marceau)所言,「藝術最重要的是自由」,這自由緣於心靈的領悟與成長,有時困厄反成助力。

李金遠在成名之後才有到歐洲旅遊、開辦畫展的經驗,不過他長年與四川西南部的彝族人交往,其實有著與異文化接觸的豐富經驗。水墨半生之後,他也開始嘗試油畫,而那很快就成了比觀畫賞畫更直接的文化交流。在油彩與水墨間來去的李金遠欣然同意,他在擎握畫筆的每一刻,也因接觸他人而更加體悟自己。

李金遠的畫作不止見於中國美術館,歐洲的數個航空中心、法國好幾個地區議會以及世界銀行等全球十數個機構,都收藏有李金遠的畫作。他的作品被收錄在《現代中國畫精英作品選集》,也編入《中國當代藝術名人錄》、《中國畫名家作品點評》等重要書目。李金遠的其他畫作出版品有《李金遠畫集》、《李金遠作品集──從四川到南庇里牛斯》、《李金遠、笨篤──南庇里牛斯詩畫集》及《天路歷程──笨篤、李金遠作品選》等。

附加的多媒體:
{rokbox}media/articles/LiReKui_Lijinyuan.jpg{/rokbox}

Friday, 19 June 2009

The Fishermen of Orchid Island

Orchid Island (蘭嶼) portrayed by Li Jinyuan.

___________________________________________
Check the last part of Li Jinyuan’s trip: Jade Mountain

Attached media :
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Monday, 15 June 2009

Scarves

Nothing but these
scarves will cover
a shilling’s worth
of flesh, the rest being
lies packaged in a grief.

Nothing satisfies, not
the halves of ardour
on silver tray, just these
scarves hung on necks
of girls on violent days.

Djellabas on street
terraces suck narghiles,
drag meaning from
the bottom. Still, nothing
will ever prepare you
for this.

No one will tell you
when your time is up,
when pale-pink gods
come for the kill, when
not even a good scarf
will shield you any more.

(painting by Li Jinyuan)
_________________________________________________
Read another poem by Rethabile

Attached media :
{rokbox}media/articles/rethabile_Scarves_Lijinyuan.jpg{/rokbox}

Wednesday, 03 June 2009

Beyond illusion: the positive power of imagination

I Dwell in Possibility
A Fairer House than Prose
--Emily Dickinson


Using one’s imagination is always risky. First, it amounts to depart from the common lot, to come up with ideas and ways of expressing oneself that might meet with hostility or bewilderment. Second… using one’s imagination might just lead you to make mistakes, to come up with hypothesis that do not pass the test of time or experience. Do not we say to someone “this is the fruit of your imagination” for decrying what he tells us, implying that he is living in a world of delusion? Our imagination can be aroused by the daemons of jealousy, pride, fear or hatred… and lead us to tragic mistakes. So, let us recognize it from the start: imagination indeed can be a force of evil and destruction.

But the main point is that, indeed, imagination is a force. It cannot be separated from our physical condition (fever awakens in us the power of imagination…), our desires and our memories. However, when these factors are monitored, imagination can fly in the sky like a bird of prey, and open up new horizons. The problem is not imagination per se, it is what we feed our imaginative power with. Our imagination becomes what we give it to eat and drink, so to speak…

To let our imagination run free means that we are able to abstract ourselves from present conditions, to create a distance between oneself and the world as it is introduced and conditioned for our use. At some point, we doubt what is asserted around us… and from this doubt arise new hypotheses. This doubt might no be provoked by our “reason”, but “reason” will be stimulated by what comes from outside. Without imagination and dream, no way to invent non-Euclidian geometry…

Imagination is begotten by dreams – and dreams are begotten by sleep… Only the one who sleeps and liberates his mind and soul during the sleep will be able to imagine a different world. Imagination is in conflict with utilitarianism. Imagination is anchored into gratuitousness. You need moments when you dream about nothing in particular for imagining something so new that it seems to be directly emerging from Nothingness. Conversely, organizations that are fully “rational”, letting no place to chance or fantasy, progressively destroy the imaginative power of the people who work in them. You need imperfection, free space, free time and some degree of fuzziness for giving imagination its chance, so as it might change the world you dwell in. A world too perfect or too rational becomes entropic, and perishes from its own virtues.

Five keys for developing the positive power of imagination
Taking into account what precedes, I’d like to suggest five basic attitudes through which we can nurture our imaginative power and make it a force for changing our environment:

-First, our imagination is powerfully nourished by the contemplation of the human person in her riches and complexity. Persons focus our dreams and desires; entering into relationship with concrete people awakens our eloquence, our passions and senses, and consequently our imagination. As a matter of fact, the first person with whom we deal is “I”, and the relationship I nurture with myself is key for the way I use my imagination. So, let us start by contemplating ourselves, to assess and enjoy our own gifts - and our gratitude for everything we have received will already enhance the positive power of our imagination.

-Imagination is nurtured by a sense of time, there are natural tempos of maturation in nature, in art, in personal growth, or in management. Being too hasty will kill our imaginative power. On the contrary, being stubborn in one’s dream and project while respecting the rhythm of maturation proper to the project and its environment will make our imagination more vivid and powerful.

-Imagination is nurtured by freedom. My own inner freedom makes me able to challenge what I have been taught. The freedom I give to the Other will make her able to challenge our common assumptions and to come up with creative solutions to the problems we are encountering.

-Imagination is nurtured by our spirit of service. When I prove to be sensitive to the needs, disarrays and desires of the people I am living or working with, I develop a new sensitivity to my environment, and I naturally ask myself questions on what is to be done for answering these needs, opening up spaces of growth and creativity. The very fact of not putting myself “at the center” liberates my vision and makes me able to imagine solution that would be unconceivable for someone who puts his self-interest first. It is from the margins that the scene appears most clearly…

-Imagination is nurtured by communication and friendship. When communication is inspired by a desire for truth in respect, i.e. by a common search for the common good, the exchange of words, opinions and emotions naturally awakes ideas and ways of proceedings that could not be imagined as long as exchange was not taking place. Imagination, likes fire, needs wood, and communication is akin to the process of cutting wood and putting it into the flame when one fears it might become extinct.

“Poetry is what is lost in translation”- or so wrote Robert Frost. And if the reverse was true? It seems to me that imagination arises in a kind of “translation process.” When I make the effort to explain to myself with my own words and through my own feelings what had been taught to me, then I discover the limits of the ancient statements I was nourished with, or I discover new truths within them. The fact of “translating” old truths into a new language opens up a window through which new landscapes are discovered. Translation is also what happens when we mutually elucidate for each other what we have understood and how we feel. The exchange that takes place is the space into which “common imagination” arises, so as to become a drive for change. “Translation” of shapes, sounds, feelings and images is also what happens throughout the artistic process. “Imagination is what is gained in translation” – and, so, it is in our power to generate endless supplies of it. Contrarily to oil or to coal, imagination is an inexhaustible energy.


Thursday, 21 May 2009

Cessation of our tale

Having just seen
the world’s worst decades,
we’re tortoised in our faith,
the world of Hades

and the cessation of
our tale; after all,
for light to come on
the curtain must fall,

it’s a fact, there’s
inner peace there. But as I
was saying we really
should obey the signs.

Conceding quietly
might just work out
for the best. What I
know without doubt,

what I seen with these eyes
lessoned by war,
is that it doesn’t matter
who you are;

what imports
in the end is the way
the body just knows
it’s time to decay.

 

Photo by C. Phiv

Wednesday, 22 April 2009

Blood river train

When time works against us
and weighs at the heart
somewhere in a foreign land,
night turns to day, and
the fashion in shop windows
I pass on my way from work
in Paris, London or New York
where I live into djellabas, the smell
of restaurants into kuskus
on market day,
hands out, stretched
to accept this gift of walking
in the shadow of African people,
with their fear of anchored boats
on coastal fronts. History
is in the present. On
a young night that is day
I go inland where spear fights musket,
and I join the battle on the river
that filled with blood, our phagocyte
impi sieging their laager in anger.
On the metro of the morning,
Le Monde in my hands and
work on my mind, there’s always
a part of Africa that yearns
for me, for my presence, my flesh,
beyond the clatter of the train
needling beneath the capital
into the reconciliation of our time,
before the evening of my days.

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