EMILY WU:這字超有意思的,黑暗裡仍有光,應該印出來當春聯 CHUN LAN:黑暗中存有一絲光芒~ JULIA YEN:字 形 意 渾然體 妙哉 美哉
書法日記-自由 2014.11.23
自由如朝露,如彩霞,如清風。好像右手才得到,便從左手溜走。
星淚花
陳芳惠: 陳世憲根據詹冰的«墓誌銘»一詩寫成的作品:«星淚花»。意象(圖畫)融入了書法,陳世憲詮釋了詩人對自身的省思與對世界的擁抱,令人想起康德(IMMANUEL KANT)的友人在其墓碑上刻下的墓誌銘:"在我上面有多星的天空,在我內心有道德的法則"。 Chen shih-hsien reprend les trois caractères 星, 淚, 花 qui sont les caractères indéfiniment répétés du poème « épitaphe » (墓誌銘muzhiming), du poète taiwanais chan ping 詹冰, pour décrire l’univers et le destin du poète. Ces caractères sont transformés par le calligraphe en trois images. L’=effet est surprenant, car c’est alors l’image qui parle : 星, l’étoile, est située en haut, dans le ciel, tandis que 花, la fleur, est peinte en forme de fleur, en même temps que淚, la larme, est écrite en forme d’une personne étirée, haute, qui s’en va, en pleurant. Le 大 da qui est compris dans le caractère淚 est à l’origine, dans le pictogramme, une illustration d’un homme sur ses deux pieds écartés : chen shih-hsien va donc les étirer pour symboliser la marche, la fuite. Est-ce de la calligraphie, ou de la peinture ? On a l’impression de voir un homme marcher à grands pas en versant des larmes abondantes dans le monde, reflet de son univers intérieur, incarnés ici par une fleur et une étoile. Si jean-françois billeter peut interpréter les dessins d’henry matisse comme une « écriture plastique », peut-on considérer la calligraphie de chen shih-hsien comme un « dessin au trait », expression employée par matisse lui-même ? Car chen shih-hsien explore la limite entre calligraphie et peinture : il trace un caractère en même temps qu’il dessine un objet.
我為什麼知道這個故事,是侯孝賢導演到白河拍攝麒麟啤酒-白河蓮花篇的廣告時,需要找來幾個歐巴桑在蓮田中採蓮子的場景,這瑞蓮媽媽也來,私底下他們在她背後講給我聽的!我們將採回的蓮子在一個賴老師家的三合院門口,大龍眼樹下的大(竹敢ㄍㄢ)仔上剝殼、去膜、通心,瑞蓮的滿臉風霜,映襯著老三合院,侯導又喊開麥拉,已將瑞蓮專心剝蓮子的場景,大特寫拍完,然後賴老師將炒好的蓮子加鹽給我們品嚐,大家都說讚。「但是」我說。「還欠一樣飲料—--麒麟Beer呢」!我們二個將賴老師家中的手提冰箱提出來,每人一罐…。影片殺青,開始在電視上播出,那個離家二十年的老么,在電視上看到剝蓮子的母親,聽他們說,那老么有打電話回來給瑞蓮母親,說「他很想家,也想老邁的母親,只是不知道怎麼回去」!瑞蓮現在老了,常坐在夕陽的餘暉裡,看著那賣給大伯的蓮田,十月裡,正是殘荷!一開始知道這個家的蒼桑,就很感慨! 所以一直寫,好像忘了寫那父親,反正他就一直喝酒、一直喝酒,也被公司開除,後來肝病發作死了! Ruei-lian is sixty-six this year. She met her husband at the age of eighteen through the local matchmaker. That year, she settled down in the town of Baihe. Even though her husband, who worked at the sugar refinery, treated her relatively well, people of the time were nevertheless shrouded in chauvinistic belief. Ruei-lian had to take care of the entire household. She possessed all the virtues that were expected from a woman at the time. The couple had four sons together. The oldest one did well academically, thus set a good example for his three younger sibling. Having four sons in the rural area made Ruei-lian the envy of other women in the community. Everyone believed the family would be blessed with prosperous future. The family owned a few acres of land in front of the house, which was used to grow lotuses. The land was big enough to keep Ruei-lian and her husband busy. Her husband would wake up before dawn and start working on the farm right away. After rushing home to have a simple breakfast, he would ride his scooter to work. Upon returning home at five, he would head to the farm and stay there until the sky was completely dark. This was his daily routine until one year he was promoted to the position of supervisor. One night, he was treated to a nice dinner by some construction businessmen. Afterward, they took him to an old bar in Baihe which featured Taiwanese geisha. Having never been to any places like that, he was immediately lured by the experience and started frequented it every day. Prior to this, Ruei-lian's husband had been the most disciplined and responsible employee, but now he had many counts of tardiness on his record. Accompanying her husband's decadent lifestyle was her increasing workload. Her husband no longer helped out with the farm work. Ruei-lian couldn't just sell the property because it was her father-in-law's deathbed wish to see the land remain in the family. The oldest son was attending college at the time his father strayed from his family responsibilities. The second son was in high school. Both tried not to let their father's conduct affect their lives. However, the youngest son, the black sheep of the family, started getting into trouble. Too overwhelmed with maintaining the household on her own, Ruei-lian had no extra strength to worry about him and could only leave him to fend for himself. When the oldest son graduated from college, he told his mom of his wish to study in the US. After contemplating and struggling for two weeks, Ruei-lian had no choice but to sell the ancestral land to their neighbor so that her son would have the financial means to fulfill his academic ambition. However, as soon as he received his Ph.D degree and found a stable job, he decided to settle down in the US and form his own family. Rarely did he return to Taiwan to see his parents. A neighbor remarked cynically that the next time they saw him in the neighborhood would be at his mom's memorial service. The second son majored in economics in college and found a job in a bank in Taipei. The first few years he would come down to see his parents whenever he had time off. As he got married and later promoted to a high position in the bank, the number of visits greatly reduced to only once a year. The third son was not as brilliant as his older brothers. Not only did he not attend college but also possess no special skills. However, he was the only son who chose to stay at home. Occasionally he took on some temporary menial labor jobs , and with the meager wages he made sporadically, he managed to support himself and his mom. As for the black sheep of the family, his life deviated from the norm since junior high school. For a while he was trained to be a mechanic at a garage, but left because the work environment was too uncomfortable and dirty for his taste. Later he went to a restaurant to be an apprentice to the chef. Again he didn't stay long because the kitchen was too greasy and searingly hot. He changed over twenty four jobs in a year. While fulfilling his compulsory military duty, he met people who exerted more negative influence on him. After taking a sudden leave from home one night, he was never seen again in the family. And that was twenty years ago. How did I know the story? When the internationally renowned Taiwanese director, Hsiao-hsien Hou, came to Baihe to film a beer commercial, he needed to find a few local women as temporaries for the scene of lotus seed picking. Ruein-lien came too. It was then I heard of her story from others. That day, we put all the lotus seeds at the gate of a historic three-section compound. As the director yelled, "Action!", all the temporaries focused on peeling the lotus seeds. The cameraman then did a close-up on Ruei-lian's time-beaten face. After the commercial was aired, the youngest son, who left twenty years ago, saw his mom on TV. According to the neighbors' account, he called home and told his aging and frail mom how much he had missed her. But he still didn't come home. Perhaps he didn't know how to face her. Ruei-lien is now an old woman. She often sits in the hue of the sunset looking down at the lotus farm which she sold to her neighbor years ago silently. It was the month of October when I heard the story of this woman, withered and beaten like an October lotus. I seem to have forgotten about the husband in my narrative. For some reason, he just slipped my mind. For those who care, he was fired from his job and later died of liver cancer.
高詩佳:這壞有眼睛. 紅點是血淚!(2014.12.13觀看展覽以後說)
傳藝人 2014.08
為文藻外語大學大傳藝術系所長林悅棋所長邀寫「傳藝人」。
書寫林文平老師的詩,滿過癮!
民主運動書法-親像無回頭路同款!
親像無回頭路同款! 為台灣老兵許昭榮先生而做。
浪-趙嘉寶收藏
人生無路盡飄零
人生無路盡飄零, 或是翻譯成:直直(長長)的路充滿寂寞。The straight road,full of loneliness.