第⼆届「刘国松⽔墨艺术奖」2021

After two rounds of judging, the Liu Kuo-sung Foundation and The Ink Society were delighted to announce Bian Kai the Winner of the Second Liu Kuo-sung Ink Art Award, with a cash prize of HKD100,000. Honorable Mentions were awarded to Barbara Tak-yee Choi and Tseng Ting-yu. The award ceremony was held on October 10, 2021 at Fine Art Asia, and the works of the three winners were exhibited at The Ink Society’s Special Exhibition Zone. Liu Kuo-sung presented the awards via video link.

Nominators

Liu Zijian (Artist; Researcher, China National Academy of Painting, Beijing; Professor, College of Art and Design, Shenzhen University, Shenzhen)

Pai Shih-ming (Professor and Head of Department of Fine Arts, National Taiwan Normal University, Taipei)

Wang Chunchen (Professor and PhD supervisor, Central Academy of Fine Arts; Director, CAFA Art Museum, Beijing)

Xia Kejun (Professor, School of Liberal Arts, Renmin University of China; curator, Beijing)

Josh Yiu (Director, Art Museum, Chinese University of Hong Kong, Hong Kong)

Judges

Roz Hammers (Associate Professor, Department of Art History, University of Hong Kong, Hong Kong)

Huang Kuang-nan (Artist; Honorary Professor, National Taiwan Normal University and National Taiwan University of Arts, Taipei)

Kingsley Liu (Director, The Ink Society, Hong Kong)

Liu Kuo-sung (Artist, Taipei)

Xue Yongnian (Professor and PhD supervisor, Central Academy of Fine Arts, Beijing)

评审委员韩若兰评述此届「刘国松⽔墨艺术奖」⾸奖得主边凯：

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The three paintings that the artist Bian Kai submitted to the competition greatly impressed all members of the judging committee. He was unanimously awarded top marks. The three works show great command of the skills and techniques of ink painting while depicting highly innovative interpretations of their subject matter. His Picture of a Peach Orchard 桃园图 invites viewers to reconsider a novel vision of a fisherman entering into an area of peach trees, a location poetically associated with an ideal society. As we explore the murky washes of the painting, we find we are in a very different space. The painting Winter Solstice 冬⾄ grants us a view of the festivities of a traditional Chinese holiday that seems timeless, but details suggest the setting is a late 20th-century northern village. Animals and humans are detailed with quaint frankness through brushwork that reveals masterful naturalism. Bian Kai has rendered the objects with a sense of concreteness in both the foreground and background. Finally, the monumental Misty Rain at Maiji Mountain ⿆积烟⾬ is a thoroughly innovative integration of Tang and Song painting techniques. Grand in scale with precise and detailed brushwork, the painting’s coloring evokes comparisons with the elegant blue-and-green Tang landscape tradition. With mountains that engage with the Song grandeur of nature, the color palette challenges expectations. The blue of the Tang painting is replaced by a velvet-like, but ominous, black, compelling viewers to reconsider humanity’s relationship with nature. Bian Kai’s paintings display virtuosity in a variety of styles, from monochromic ink to intensely colored pigments. His themes give nuanced interpretations that update and challenge established perspectives.

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评审委员⿈光男评述此届「刘国松⽔墨艺术奖」⾸奖得主边凯：

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边凯的画作，在水墨画的形质表现上，有两种层级的美学感应，亦即是历史性与文化性的结合。人文与历史在他的画面中，有了鲜活的动力。画境、艺境、心境结合为一体，却有现场实境的感染力量。他的绘画，有几项创作特征：

其一，他把画作的内容化为文学或历史性的剧场，虽然是平面的视觉艺术，但在画面安排上，对于画面的布置，以墨色为底，似为灯光照射的明暗布置，在明处设置主体物象，将画面题材的重点订定，再加似为「走位」的配景安插适当的位置。不论是都市景观或山林幽静，也是画面的配景，主角乃是活生生的社会生态，使画面充满生趣与兴味，也引导观赏者进入他所创造的画面舞台间，或清茗述怀或乡野悠游，甚而南山之志、钟鼎入仕的场景，使观赏者深入其境，而不为造境所囿。

其二，还原文化古迹活动的想像，包括历史的演进、自然的变易或文资的研读，造境有「知」与「觉」的情境里，把古典中国文化的经典文本，或实地的存有，作一巧妙的安排，除了一般百姓生活的实质外，尚在古寺中寻求心灵安顿。其中神话的启发，人文的再现，以及如魏晋之清空美感所塑造的生活理想，再现画面上时，不论借古开今，或是以史为境的再生力量，画面的象征性与意象性，是水墨画美学新生力量，当画面呈现出可知、可感、可行的境地时，创作浓度百分之百成为大众美感的标的。

其三，技法之熟悉与用心，虽然把画面的调子加深，但在美感的营造上，有种「理当如此」的亲和感，他全心全意投入每幅画的力量是十足的，也是诚心的。除了技法完善表达画境外，美学的深度、意象的表现，正如把一件事情发生的始末，以明确理念说明清楚，让观者一看就接受他诚意的创作解说，感应在不言可喻的画面中。

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