Chien Chung Wei Watercolor

 


Pursuing Perfection with Paint Brushe
追求完美的畫筆

失落的世界 A Lost World  105×57 cm 1997

I often term my watercolor works around age 30 as “the classical period."

At that time, what fascinated me was not the delicate and realistic skills in classicism, but the “noble and moderate elegance." To pursue this elegance, I wanted my every single stroke to be precise and exquisite so as to reach perfection, just like how Glenn Gould played Bach. After more than ten years, I at age 45 am no longer making those “classical and realistic paintings", but still striving for this “noble and moderate elegance" in the picture.

It has become the main painting principle that I always emphasize not only in my own watercolor creation but also in my teaching. People may like the delightful atmosphere, and the light-shadow effect, or adore the neat strokes, and the succinct composition in my current paintings. Yet I know clearly in my mind that the now free and unfettered, nimble and clever painting brush in my hand, is the same brush that used to work with such strenuous efforts for perfection more than ten years ago.

(Translated by Tingyi Jiang)

我經常說我三十歲左右的水彩作品,叫做「古典時期」。

當年不是因為我喜歡古典主義的細膩寫實技法,而是崇拜古典主義的那種「高貴而節制的優雅」。為了追求這種「優雅」,一筆一畫都要精雕細琢、追求完美,就像格倫‧顧爾德彈奏他的巴哈一樣。

十幾年過去,現年四十五歲的我,雖然早已不再畫這樣「古典寫實」的作品。但是這些年來,無論是畫室教學示範,還是我的水彩創作,在畫面中追求這份「高貴而節制的優雅」,一直是我的繪畫中心思想。

很多人喜歡我現在的水彩畫中,那種輕鬆營造的氣氛與光影效果。欣賞我那種乾淨俐落的筆觸、簡潔有力的畫面。其實我內心清楚的很,現在我手中這隻逍遙自在、靈活巧妙的水彩筆,其實就是十多年前那隻筆—那隻精雕細琢描繪、苦苦追求完美的畫筆。

(翻譯:張庭宜)

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