《岩說新語》岩彩繪畫聯展 “Echoes of the Stone: Mineral Pigment Paintings”
「岩彩畫」顧名思義，是利用彩色的礦石研磨成粉末後，調膠繪畫成的作品。最初接觸這種顏料是我留學日本時，在日本繪畫科的工作室中，當時我已被這稱之為「岩繪具」的獨特顏料所吸引，並以為這是日本的傳統繪畫。
從2005年初，我開始利用這種獨特顏料進行創作，及後跟當年一起留學日本的中國畫老師交流時，才知現今的日本繪畫， 是由日本的「唐繪」演生成「大和繪」的模式，繼而在明治維新及戰後，才發展到現今教學中的傳統日本繪畫。由此可見，今天日本繪畫的根源，本來自中國唐朝時候，當時我國的繪畫模樣，跟隨着佛教藝術而流傳至東瀛國，即現今的日本。
既然日本繪畫的根源來至我國，又為何跟現在的中國畫差異那麼大呢？猜想其原因，可能是日本繪畫傳承自隋、唐時期的中國繪畫；反觀今天的中國繪畫，則從宋、元年間，在絹和紙的普及和使用後，由水墨畫不斷發展而成為主流的中國繪畫。
為了尋找「岩彩」跟隋、唐繪畫的關係，在去年六月中，香港岩彩藝術學會一行二十人，前往保存最多唐代壁畫的敦煌莫高窟進行考察，並在敦煌研究院及留學東京藝術大學平山郁夫研究室的資深研究員——王學麗老師的工作室中，學習傳統臨摹和日式精細臨摹，從而嘗試了解使用岩彩的方法和表現技巧。
《岩說新語》岩彩繪畫聯展，是我們從敦煌壁畫臨摹後回到香港，從唐朝繪畫的氛圍回到各自在港的工作室後，把岩彩結合個別成員以前繪畫經驗而創作的一個繪畫聯展。因此，其中的一些作品或會是混合了其他繪畫顏料，或是畫家個人的第一張岩彩繪畫，當中充滿着探索性和原創性。這正是香港岩彩藝術學會成立的宗旨，除了推廣岩彩繪畫藝術和豐富中國繪畫藝術表現外，更能建立獨特的岩彩意念和本土文化意識。
展覽期間，我們會在五月三日舉辦座談會，誠邀資深、混合和希望使用岩彩的藝術家們聚首一堂，詳談大家對使用岩彩的經驗和期望，從中集思廣益，作為我們學會將來發展的方向。除此之外，為普及和推廣岩彩繪畫藝術，在五月十日設置工作坊，讓有興趣嘗試使用岩彩的藝術工作者，了解岩彩的歷史、特質和技巧。最後多謝新藝潮和Wyndham Social 的協助，令這次的聯展能順利和美滿的完成。
鍾大富
香港岩彩藝術學會會長
Echoes of the Stone: Mineral Pigment Paintings“
Mineral Pigment Painting” as the name suggests, is a painting technique that utilises coloured minerals ground into pigments and mixed with glue. My first encounter with these unique pigments, known as “iwa-enogu” in Japanese, was during my studies in Japan at the Japanese painting department studio. I was immediately captivated by their distinctive qualities and initially assumed they were a traditional Japanese painting medium.
Since 2005, I began incorporating mineral pigments into my own artistic practice. However, it was through a conversation with a Chinese painting teacher, a former classmate from Japan, that I discovered the origins of Japanese painting. Modern Japanese painting evolved from the “Kara-e” (Chinese-style painting) to the “Yamato-e” (Japanese classical painting) style, and later developed into the traditional Japanese painting taught today following the Meiji Restoration and World War II. This history traces its roots back to China’s Tang Dynasty, when Chinese painting and Buddhist art were introduced to the land of Wa, which is known as Japan today.
Given that the roots of Japanese painting can be traced back to China, why is there such a significant difference between Japanese and contemporary Chinese painting? One possible reason is that Japanese painting has preserved the classical aesthetics of Chinese painting from the Sui and Tang Dynasties. In contrast, Chinese painting, especially following the widespread use of silk and paper during the Song and Yuan Dynasties, evolved over time — leading to the continuous development of ink wash painting as the dominant style in Chinese art.
To explore the connection between “mineral pigments” and paintings of Sui and Tang Dynasties, the Hong Kong Mineral Pigment Art Association organised a research trip last June to the Mogao Grottoes in Dunhuang, home to the most extensive collection of Tang Dynasty murals. We studied the traditional and refined Japanese-style copying techniques at the studio of Shirly Wong, a senior researcher of the Dunhuang Academy who had studied at the Tokyo University of the Arts Hirayama Ikuo Research Institute. This experience deepened our understanding of mineral pigment’s application methods and expressive techniques.
“Echoes of the Stone: Mineral Pigment Paintings” presents works created after our return to Hong Kong, inspired by our experience of copying Dunhuang murals. The works represent a bridge between the artistic atmosphere of the Tang Dynasty and our own contemporary practices. Some of the works incorporate other painting media while some reflect the artists’ first exploration of mineral pigments. The exhibition embodies a spirit of exploration and originality. This aligns with the mission of the Hong Kong Mineral Pigment Art Association: to promote mineral pigment painting, expand the expressive possibilities of Chinese painting, cultivate a distinct mineral pigment aesthetic and advocate for local cultural awareness.
During the exhibition, we will host a symposium on May 3rd, inviting artists experienced in mineral pigments, other mixed-media artists, and those interested in using mineral pigments to gather and exchange their experiences and aspirations. Through this collective discussion, we hope to generate ideas that will guide the future development of our society. Additionally, to promote and popularize mineral pigment painting, we will hold a workshop on May 10th for artists interested in trying this medium. Participants will have the opportunity to learn about the history, characteristics, and techniques of mineral pigment painting.
Finally, we extend our sincere gratitude to Art Next Fair and Wyndham Social for their invaluable support in making this exhibition a successful and meaningful event.
Dave Chung
President of Hong Kong Mineral Pigment Art Association of Hong Kong
