亞洲藝術中心 Asia Art Center
2020 Art Basel Hong Kong Online Viewing Rooms | 香港巴塞爾藝術展線上展廳
展名/Title：戰後的臺灣色彩 - 馬白水
MA PAISUI: The Prismatic Hues of Taiwan's Postwar Era
藝術家/Artist：Ma Paisui
時間/Date:
貴賓預展 VIP Opening
2020.3.18 (Wed) 6pm
公眾開放 Public Opening
2020.3.20（Fri）6pm
展覽結束 Closing
2020.3.25 (Wed) 6pm
線上展廳 Online Viewing Rooms
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https://www.artbasel.com/catalog/gallery/2191/Asia-Art-Center
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香港巴塞爾亞洲藝術中心線上展位
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Tips: Scan or long-press the QR code above to access the online booth of Asia Art Center in 2020 Art Basel Hong Kong. Online showroom browsing requires a registration as Artbasel.com website user.
亞洲藝術中心將在2020年巴塞爾藝術展首屆舉行的線上展廳，展出馬白水個展並表現他宏大目標：「以繪畫搭一座溝通中西特質精神的彩墨之橋」。馬白水（1909-2003）是臺灣畫會時代之前的大師，透過這次展覽，呈現藝術家三個階段：大陸寫生期／自然描寫期（1948以前）、臺灣表現期／自然寫意期（1949-1974）、紐約創作期／自然創作期（1975-2003）；以此回應了這樣的疑問：人人都會畫風景畫，那「馬白水風格」的風景畫具有何種特色？此次展出作品從以下三個創作階段選出，展示了藝術家作品鮮麗奪目的色彩、清脆有力的大面積色塊，以及其融貫中國傳統思想與歐美現代用色觀念，這些嶄新的理路，在戰後便已淋漓盡致地表現「亦彩亦墨、也中也西」的衝力。
大陸寫生期／自然描寫期（1948以前）
七七事變期間，馬白水騎著自行車遊歷中國各地，到處寫生，此時環遊世界的雄心油然而生。1948年12月在寫生途中從上海來到臺灣，花費兩個月的時間走遍全島寫生。這個時期馬白水水彩畫色彩淡雅，觀察與表現均十分嚴謹，遊刃有餘地掌握水分與顏料的調和，而能充分表現出水彩畫的特色。1949年在中山堂舉辦「馬白水旅行寫生畫展」，爾後至師院任教，來臺竟一待27年。馬白水自述：「我愛臺灣，終生表現臺灣。」樸實真切地表白心跡。由此時期許多作品中可見豔麗的南方風貌躍然紙上，說明馬白水的用色由淡雅轉趨鮮豔明亮，同時也開啟風景之外的主題，市景、靜物、人物等皆在其筆下有多樣的呈現。馬白水的創作精神在於省略和簡化，曾說「只取形象，寫其生命」，因此其臺灣表現期亦為自然寫意期，更顯遊刃有餘。馬白水在創作上一個關鍵的轉變更在1960年代後期發生：原本描畫的這些繪畫題材是以水彩創作，此時開始使用墨、宣紙、毛筆等，因而作品呈現水墨特有的意境和韻味，打破既定造型的束縛，學者暨水彩畫家李焜培將之比喻為「一口氣大刀闊斧地削去皮毛而保留強健的筋肌，於形、色、線、面都賦予新的生命力」。
▲ 野柳月夜 Moon Night of Yehliu
馬白水將「墨」的媒材技法與「留白」的觀念導入水彩畫的創發，在此時期已經發展成熟，其作品尚增添了一份厚實感，即是來自墨色。定居紐約後，藝術家大膽地在構圖中使用彩墨，墨韻和色彩的加乘使作品渾厚、具有穿透力，同時使觀者如同在薄霧中窺視景色，巖石峭壁、水岸雲海等壯闊的自然竟透露著些許含蓄柔和的詩意。在晚期創作呼應他退休後遊歷歐美、觀察靜思的生活，似已逐漸沉澱，探索自我。在各地旅行之後，馬白水留在臺灣並繼續創作。▲ 太魯閣之春 Spring of Taroko 136x210cm (三拼 Triptych) 1976
▲ 南美大瀑布 Iguazu Falls
彩墨紙本 Color Ink on Paper
121.2x181.9cm (三拼 Triptych） 1982
▲ 黃山迎客松 Welcome Pine on Mt. Huang
▲ 彩虹瀑布 Rainbow Waterfall ▲ 廬山瀑布 Waterfall at Mount Lu
Upcoming｜
2020 Art Basel's Online Viewing Rooms "MA PAISUI: The Prismatic Hues of Taiwan's Postwar"For 2020 Art Basel's Online Viewing Rooms, Asia Art Center presents a solo exhibition of MA Paisui, the scholarly master prior to the golden age of the Taiwanese "painting society", showcasing his accomplishment: to construct a bridge of color ink that embodies both Chinese and Western traits. Through this exhibition, we respond to the interrogation: since landscape painting is unexceptional, what are some unique qualities of "Ma Paisui style" landscape painting? With the exhibited works from the below three phases: China Outdoor Painting Period/Nature Descriptive Period (Before 1948),Taiwan Expressive Period/Nature Freestyle Period (1949-1974), and New York Period/Nature Period (1975-2003), his ambition is evident in the brilliant use of colors, defined vigorous large blocks of color, as well as his exceptional ability mastered since the war of weaving together Chinese traditional ideas and forms with the West's modern use of colors in his works, exemplifying the prowess to be "combined wash painting with color ink, yet a mixture of Chinese and Western principles".
China Outdoor Painting Period / Nature Descriptive Period (Before 1948)Ma Paisui traveled in China on a bike to paint outdoors during the Marco Polo Bridge Incident, and a desire to travel the world budded. He journeyed to Taiwan from Shanghai during his painting expedition in December of 1948, and he spent two months to paint and travel around the island on foot. Ma's watercolor works of this period reveal exquisitely elegant hues while both his observation and expression appear precise and rigorous; he expertly maneuvers the ratio of water and paint to fully express the characteristics of watercolor paintings.
Taiwan Expressive Period / Nature Freestyle Period (1949-1974)
While it was by complete chance that Ma first came to Taiwan, he has lived in Taiwan for 27 years since his 1949 "Ma Paisui Traveling Exhibition" at Zhongshan hall and the teaching career at the NTNU that soon followed. Ma Paisui once said, "I love Taiwan, and I dedicate my life to portraying Taiwan", confessing his most genuine feelings. We see splendid southern sceneries in many works created in this period; as Ma Paisui's use of colors grew more exuberant, he began painting themes outside of landscape: cityscape, still life, portrait and more have all been the topics of his diverse practice. Ma Paisui's creative ideals are simple and precise. "Paint of its form, express of its life", he once said; thus, he seemed even more at ease during the Taiwan Expressive Period, also known as the Nature Freestyle Period. A pivotal change in Ma Paisui's work occurred in the late 1960s: his Western subjects were originally created using watercolor, but he began utilizing ink, xuan paper, calligraphy brush and other traditional ink painting tools to overthrow the confines of established forms, giving the works an appeal and charm that is unique to ink. Art scholar and famed watercolor painter Lee Quan-pui described it as "boldly and decisively stripping away all the inessentials to preserve the most indispensable, breathing new life into form, color, line, and plane".
▲ 清水斷崖 Qingshui Cliff
水彩紙本 Watercolor on Paper
134.5x67cm 1965
New York Period / Nature Period (1975-2003) Ma Paisui introduced the concepts of "ink" and "Liubai" (Leaving blank space) into the creation of watercolor works. His works have matured in this period and seemed layered with a touch of firmness from the use of ink. After relocating to New York, he grew bolder in his use of color ink in hanging scroll compositions. The tonality of ink and color allow his works to take on greater substance and piercing strength. The viewers seem to be peeking through a thin veil of fog as the rocky cliffs, shorelines, clouds and the magnificent nature subtly emanate muted poetic qualities. These works of later period reflect his life after retirement - he seemed to have gradually settled and begun self-exploring after some traveling and quiet meditation. Having traveled in various places, he remained his heart in Taiwan as he continued to create works with Taiwan as the main subject.▲ 嘉義雲潭瀑 Yuntan Waterfall 彩墨紙本 Color Ink on Paper
關於藝術家
About Artist
馬白水（1909-2003），遼寧省本溪縣人，1929年畢業於遼寧省立師範專修科。畢業後任教於遼寧、北平等地，1937年盧溝橋事變爆發中日戰爭後，馬白水一路南下寫生紀錄風景，最後於1949年渡海到臺灣，並在臺灣師範大學任教27年，1975年旅居美國。馬白水師從於劉海粟習畫，有著深厚的水墨創作根底，其筆法、筆觸力度厚實。虛實對應、三遠法等傳統水墨畫理論在他的畫中充分體現，富有多彩與濃厚的文人意境。馬白水將水墨聯屏的理念轉化為西方風景水彩畫，使畫面分割，結合移動視點的構圖法，突破水彩畫的尺幅限制。另一方面，藝術家所編撰的《水彩畫法圖解》於1957年出版，此書於1971年被納入臺灣國中美術教材。1979年更獲得美國水墨畫協會年展華盛頓金牌獎的殊榮。馬白水作品被眾多公共機構收藏，包括臺北市立美術館、高雄市立美術館、臺灣美術館、遼寧省博物館及本溪博物館等。重要群展為1977年紐約布魯克林博物館及1980年林肯中心之展覽，重要個展包括1992年、1997年與2018年亞洲藝術中心「馬白水個展」和1999年歷史博物館「彩墨千山 : 馬白水九十回顧展」等。近期重要回顧展包括2007年遼寧省博物館"彩墨寄鄉情——馬白水先生捐贈作品展」，2009年由高雄市立美術館舉辦的「彩墨行旅：馬白水作品捐贈展」，以及2010年由臺灣美術館舉辦的「寰遊鑑境：馬白水的水彩藝術（捐贈及典藏）展」。
Ma Paisui (1909-2003), born in Benxi County, Liaoning Province, graduated from Liaoning Provincial Normal College in 1929. After graduation, he worked as an art teacher in Liaoning and Beijing. With the outbreak of the Second Sino-Japanese War in 1937, he traveled along the East coast of China and painted the landscape that he saw. In 1949, he finally settled in Taiwan. He thereafter taught at National Taiwan Normal University for 27 years. After 1975, he lived and worked in New York.The solid grounding in traditional Chinese ink painting helps Ma to enjoy the manipulation of colors and brushstrokes in his paintings. It's worth noting here that watercolor landscape painting and traditional Chinese ink painting can be seen to share an impressionist approach. This allows Ma to translate with greater ease the main principles of traditional Chinese ink painting into the practice of Western watercolor painting, such as a composition structured around the contrast between black and white, or the division of the painted surface into three sections. His watercolor paintings are therefore full of the impressionistic charm of Chinese literati painting, and rich in color and emotion. He resorted to the methods of the multiple-panel painting to overcome the limitation of the paper size. Besides, in 1957, he edited The Illustrated Guide to Watercolor Painting Technique, which was included in the national curriculum in 1971 to be taught at the middle-school level. In 1979, he was awarded the Washington Gold Medal Award of the Sumi-e Society of America Annual Exhibition. Ma's public collection includes Taipei Fine Art Museum, Kaohsiung Museum of Fine Arts, National Taiwan Museum of Fine Arts，Liaoning Provincial Museum and The Museum of Benxi.His important international group exhibitions include Brooklyn Museum, New York in 1977 and Lincoln Center in New York in 1980. His important solo exhibitions include three shows entitled "Ma Paisui Solo Exhibition" at Asia Art Center in 1992, 1997, and 2018, and "A Retrospective of Ma Paisui at Ninety" at National Museum of History, Taiwan in 1999. His recent retrospective exhibitions include "A Sense of Nostalgia by Color Ink: An Exhibition of Donated Works by Ma Paisui" held by Liaoning Provincial Museum in 2007, "Journeys with Ink and Colors: An Exhibition of Donated Works by Ma Paisui" in 2009, organized by Kaohsiung Museum of Fine Arts, "Life's Footsteps: An Exhibition of Donated Works by Professor Ma Paisui" organized by Taiwan Museum of Fine Arts in 2010.
正在展出 Current Exhibitions
亞洲藝術中心（北京） 《青煙 - 李真新作展》
亞洲藝術中心（臺北二館）《如山之想六十年 - 莊喆個展》
即將展出 Upcoming Exhibitions
亞洲藝術中心（北京）《李玉雙個展》
亞洲藝術中心（臺北） 《戰後的臺灣色彩 - 馬白水》