陳正雄90大展—一位抽象畫家與他的收藏 Chen Cheng-Hsiung at 90 An Abstract Painter and His Collection

四季中的人間煙火 Finding Splendor in Every Season

在《陳正雄畫語錄》中他曾說：「我的藝術是『召喚的』，而非『描繪的』。如同音樂，旨在激發內在情感，而非記錄自然的外貌或述說故事。它是內在經驗的一種強烈表徵，是視覺的『隱喻』，而非視覺的『敘述』。」

“The nature of my art is ‘evocative’ rather than ‘descriptive’. Like music, it is meant to stimulate inner feeling rather than tell a story. It is intended as an intense expression of the inner experience—a visual metaphor, not a visual narrative.”

–Chen Cheng-Hsiung, The Sayings of Chen Cheng-Hsiung on Art

不僅是一位藝術家。陳正雄生涯中對藝術領域的貢獻絕非僅止於抽象繪畫，他是原住民與清朝服飾文物研究的學者藏家，同時也是抽象藝術理論撰寫的教育者，更是帶領臺灣藝術家們走向國際藝壇的重要推手。多重的身分讓陳正雄早早即開啟了當代在談論的「跨領域」，在藝術創作的理論與傳統收藏中，展現出他獨有的色彩跨界對話。

從1966年便開始收藏臺灣原住民服飾與文物的陳正雄，作品中奔放的飽和色調及抽象線條，似乎都能從其藏品來延伸出創作上的投射。1993年在參觀北京故宮博物院、瀋陽故宮博物院及大英博物館的過程中，他被宮廷服飾之美所震攝，也因而興起對清代宮廷服飾的購藏與研究。在梳理陳正雄與他的收藏中，最讓人驚艷的是他的抒情抽象繪畫與藏品間的高度連結，色系的對應就宛如當代設計中的色域思維，不僅建構出陳正雄作品中自帶的時尚感，更觸及了藝術家本人對於跨領域的成就與貢獻。

不僅如此，旅居巴黎的知名作家祖慰在為陳正雄撰寫傳記時即以《畫布上的歡樂頌》一書，來稱讚其所帶給觀者的喜悅，而筆觸中自然流露的音樂與流動性，讓陳正雄在創作的畫面中，皆染上四季的氛圍。於是，四時流轉，萬物生機交融於天地人間，無論市井喧囂亦或是內觀心性，總能適度展示出如春之新鬱、夏之嬌豔、秋之閑靜，或是冬之冷瑟的章節。

回到《陳正雄90大展－抽象畫家和他的收藏》展覽中，這次高美館以陳正雄的收藏帶出創作中所蘊含的「文化色彩」，我們不僅能從原民藏品中的海洋性，直接投射到陳正雄抽象繪畫中的「抒情海洋」，更能在他的《窗》與《數位空間》等系列作品中，看見書法與刺繡服飾間的線條呼應，他巧妙地以色彩突圍了東方元素，但卻在畫面中同時融合了西方抽象的精粹，就如同劉禹錫《董氏武砬集記》所提出的「境生子象外」一說：或許在我們體會「意境」的當下，感受到的正是陳正雄在創作上呈現出如史記的磅礡，但心領神會後，卻又能從其中看見被列傳所點綴出的璀璨時代。

Chen Cheng-Hsiung has enriched Taiwan’s art world through an impressive range of contributions over the course of his career—from his abstract painting, scholarly research on indigenous and Qing dynasty clothing and jewelry, art education, academic publications on abstract art, to his promotion of Taiwan’s artists to the international stage. These diverse roles established Chen as an early voice in cross-disciplinary dialogue, weaving together his theoretical work and traditional collecting practices in a distinctive approach to artistic creation.

A pivotal moment in Chen’s artistic journey came in 1966 when he began collecting clothing and objects of the indigenous peoples of Taiwan, drawing inspiration from their vibrant colors and abstract patterns for his own work. Years later, in 1993, he toured the Beijing Palace Museum, Shenyang Palace Museum, and British Museum and found himself similarly fascinated with the displayed imperial garments, leading him to build and study a collection of Qing dynasty clothing. The depth of these influences can be seen in the striking connections between Chen’s lyrical abstract paintings and his collected objects, particularly in his sophisticated use of color; his approach to color relationships echoes contemporary design principles, lending his work a modern sensibility while reinforcing his contributions to cross-disciplinary artistic practice.

Chen’s biography was written by the renowned Paris-based artist Chang Tzu-wei, who captured the essence of Chen’s work in the work’s title, An Ode to Joy on Canvas. This celebration of the delight Chen’s art brings to viewers stems in part to the natural musicality and flow of Chen’s brushstrokes, infusing his works with the essence of the four seasons. This essence conveys a sense of convergence across time and his works—whether amid urban clamor or introspective contemplation—speak to the unique atmospheres of each season: the emergent lushness of spring, the charming brilliance of summer, the tranquility of autumn and the somber chill of winter.

In this exhibition—Chen Cheng-Hsiung at 90:An Abstract Painter and His Collection—KMFA aims to illuminate the cultural dimensions of Chen’s artwork through his collected objects. For instance, his collection of indigenous pieces reveals marine elements that find direct expression in his own abstract paintings of the lyrical ocean. Moreover, the dialogue between East and West emerges clearly in his “Window” and “Digital Space” series, where calligraphic lines resonate with embroidered patterns, Chen’s bold use of color extending beyond the traditionally Eastern medium while also incorporating the essence of Western abstraction. This artistic fusion brings to mind Liu Yuxi’s meditation in Record of the Dong Clan’s Wula Collection, where he notes that “the scene emerges beyond the work”. In this way, Chen’s work first strikes viewers with its commanding presence, but deeper contemplation reveals intricate details that delicately embellish his artistic vision.