第⼆屆「劉國松⽔墨藝術獎」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)

評審委員韓若蘭評述此屆「劉國松⽔墨藝術獎」⾸獎得主邊凱：

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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 桃園圖 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 ⿆積煙⾬ 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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評審委員⿈光男評述此屆「劉國松⽔墨藝術獎」⾸獎得主邊凱：

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邊凱的畫作，在水墨畫的形質表現上，有兩種層級的美學感應，亦即是歷史性與文化性的結合。人文與歷史在他的畫面中，有了鮮活的動力。畫境、藝境、心境結合為一體，卻有現場實境的感染力量。他的繪畫，有幾項創作特徵：

其一，他把畫作的內容化為文學或歷史性的劇場，雖然是平面的視覺藝術，但在畫面安排上，對於畫面的佈置，以墨色為底，似為燈光照射的明暗佈置，在明處設置主體物象，將畫面題材的重點訂定，再加似為「走位」的配景安插適當的位置。不論是都市景觀或山林幽靜，也是畫面的配景，主角乃是活生生的社會生態，使畫面充滿生趣與興味，也引導觀賞者進入他所創造的畫面舞台間，或清茗述懷或鄉野悠遊，甚而南山之志、鐘鼎入仕的場景，使觀賞者深入其境，而不為造境所囿。

其二，還原文化古蹟活動的想像，包括歷史的演進、自然的變易或文資的研讀，造境有「知」與「覺」的情境裏，把古典中國文化的經典文本，或實地的存有，作一巧妙的安排，除了一般百姓生活的實質外，尚在古寺中尋求心靈安頓。其中神話的啟發，人文的再現，以及如魏晉之清空美感所塑造的生活理想，再現畫面上時，不論借古開今，或是以史為境的再生力量，畫面的象徵性與意象性，是水墨畫美學新生力量，當畫面呈現出可知、可感、可行的境地時，創作濃度百分之百成為大眾美感的標的。

其三，技法之熟悉與用心，雖然把畫面的調子加深，但在美感的營造上，有種「理當如此」的親和感，他全心全意投入每幅畫的力量是十足的，也是誠心的。除了技法完善表達畫境外，美學的深度、意象的表現，正如把一件事情發生的始末，以明確理念說明清楚，讓觀者一看就接受他誠意的創作解說，感應在不言可喻的畫面中。

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