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top - 2000

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陰陽交錯·成就大地·蘊育其間·萬物於是生焉·此乃天地生生不息之運轉定律· 也是 60·64·2000 企欲表達的中心主題。創作者欲藉中國易經哲理、風水卦相及 陰陽曆法說明宇宙間的運行法則·透過萬象的互 ·知天命、勵行天道·以祈福跨 世紀的來臨。

中國曆法中·以天干(甲乙丙丁戊己庚辛壬癸)地支(子丑寅卯辰巳午未申酉戌亥) 相互搭配·一輪而成「60」·是為一甲子·故以 60 個繩圈代表甲子·一圈寓一年。 而於繩圈中放置 60 種不同的草藥·取其草藥的採擷因節氣的不同而有變化·藉以說 明四季與天文、地理、氣象等自然因素的互 關係。而以繩索作甲子·主要在於中 國人相信人出生時本命皆繫紅繩·為取其吉利·象徵好的開始。

卦·相傳起於伏羲氏·乃易經八卦的一部分。 「64」則象徵八八六十四卦·涵蓋宇 宙萬物間的相互關係·亦是風水之學的重要論據·依此可預知人類生老病死·及萬 物生息的規則與變化。其中·「乾坤卦」·亦稱「地天泰」·乃為最上卦·乾為天 而坤為地·以泰解天地·故以銀色之三圓表之·並以“天地水火風雷鋒山”來呈現 六十四卦中玄與空的交互影響。相傳吉卦之間乃金龍棲息之地·蘊藏萬物以待金龍 出土·故以乾坤吉卦表龍穴·與甲子中的金龍年呼應·以寓即將現世之君子。

邁入二十一世紀的 2000 年·在歷史上具有承接 2000 年前後歷史精華的意義。今年 2000 年正逢庚辰年·是為龍年·與五行的「金」相結合·即成金龍年·在中國易經 學上更是寓意非凡。在易經中·認為金乃歲月累積的精華物·為吉祥的表徵·故相 信每逢金龍年必出君子。故將為時八年·歷經海濤衝擊、海水浸潤的古木加以雕琢· 結合歲月風化腐蝕的遺痕和人為的力量·雕刻出血脈栩栩如生的金龍·並置其於乾 坤陰陽之龍穴上·與甲子的白色背景相對應·其下置黑色山形是為陰·白色反為陽· 陰陽與置於其中的銀色乾坤卦相互交錯·是為龍穴。

龍穴的設計·乃取決於龍脈的流向:太宗山·太祖山·父母山·以至結穴·故以金 龍抱珠為其整體造型。再且·金銀於中國具吉祥之意·故以銀色三角表山脈·橫向 延綿不絕·最終以羅盤表結穴。當羅盤轉 時·光束折射反照·乃謂地理回歸天· 與 64 卦相呼應·則可以卜卦、求子、求健康、問吉凶。藉此·觀者可卜得所求取之 事·而與此裝置藝術有所互 。 

Lin Sha’s installation 60.64.2000, initially created in 1992 and completed in the year 2000, has employed numerous sophisticated concepts derived from the Chinese lunar calendar, Chinese calligraphy, and the I Ching (or the Book of Changes 易經 )(1) to finally form his art of Feng Shui ( 風水 ).

To represent the changes of time and order in the Chinese lunar calendar, Lin Sha has created 60 rope-tied circles against the wall to imply the 60 units resulted from the combination of the 10 celestial stem gan ( 干 ) and the 12 terrestrial branches zhi ( 支 ) in the Chinese lunar calendar, and each of which has inserted a different kind of Chinese herb which grows in different seasons to interact with the gan-zhi combinations cyclically.

In the I Ching, it says the cosmos was resulted from the interaction of Yin ( 陰 ) and Yang ( 陽 ). The constantly changing interactions of Yin and Yang give rise to the infinite variety of patterns of life, and this is symbolized in further permutations of the Yin and Yang lines. Adding a third line produced the eight three-line symbols of the Pa Kua ( 八卦 ). These eight symbols are known as the “eight trigrams” and are said to have been discovered by Fu Xi, a legendary savage king of China, who saw them inscribed on the back of a tortoise he found on the bank of the Yellow River around 3000 B.C. Later, around 1100 B.C., King Wen combined the eight trigrams to make the 64 hexagrams of the I Ching. The top line of each trigram represents heaven, the bottom earth and the middle line is us, humankind. In contrast with the white background of the ’60 circles’ there are two black triangles lying on the ground to symbolize Yin, on which an old tree trunk and two symbols of Ch’ien ( 乾 ) and K’un ( 坤 )(3) in the Pa Kua have been placed orderly against the white, that represents Yang. The tree trunk represents a dragon, which explains that the year 2000 is equivalent to the golden dragon year (or gengchen 庚辰 year) in the Chinese lunar calendar, and it is believed that a hermit saint will come out to the earthly world to bring human beings an auspicious future as the dragon is interacting with Ch’ien and K’un.

Based on the 64 hexagrams of the I Ching and worked with a complicated Feng Shui compass, Lin Sha has perfectly created a dragon’s vein, which is believed to be the best arrangement of Feng Shui.Therefore, walking through the ‘silver mountains’ (triangles) mounted onto the wall and guided by the arrangement of Feng Shui, every element is well designed to be harmonious and to blend with nature. Combining the past and the present, the year 2000, as the golden dragon year, has set a new start in the history of humankind. 

在八卦中·乾三爻突變於一坤·寓意著將有天變。畫中的三爻依卦象排列·矗立於畫心·而其右的「天一」與橫倏前景的「地二」 應聲相擊·是為天災人禍·大凶。天變後·「金」能出「土」·遂以其色表現天地的錯置·而天變後的腥風血雨·更滿佈整個畫幅 的背景·無不讓觀者觸目驚心。

In this painting the artist employs the idea of the permutation of Ch'ien ( 三 ) in the Pa Kua to depict its impact with K‘un ( 三三 ).  As the vertically thrice-rendered Ch’ien (Heaven) collapsed into a horizontal K‘un (Earth), it is believed to be an omen of disaster - an impending Armageddon.

With a bloody color in the background, this expressionist image really endows the viewer with a striking visual impact. 

在五行中 · 以「四綠」表木星 · 以「五黃」表土星 · 土木相生 · 相輔相成·故取「四綠」、「五黃」論大地與萬 物密不可分之關係。「木」·以傳統水墨勾勒出木之形·取「爻」與「一」的象形組合來表現彼此的相匯·且著以 綠色·象徵草木繁衍·用以傳達生命的訊息。而以平鋪於地的黃色琵琶葉寓土星·象徵大地的蘊育·加上一旁流澥 而至的「一白」·與「四綠」相交而生「水」·再輔以可助木長土沃的陽光(以燈光表之)·萬物藉此滋養叢生。 其中·勾勒木形的筆墨揮灑自如·一筆一畫盡現個人風格·加以光影視覺的運用·一種刻意營造的光合作用·因運 而生。故「四綠、五黃」結合了蘊育萬物的「大地」·大地上的一草一「木」·及助其生長的「水」和「陽光」· 清楚地表達了自然界的運行之道。 

In this installation, ‘Wood’ in the Five Elements is rendered with Lin Sha’s individual style of Chinese ink and bush, which philosophically, not technically, represents ‘nature’ in green while framed within the lighted boxes, a symbol of natural light and a necessary element for the growth of earthly kinds. On the ground, some dried leaves are paved to symbolize ‘Earth’. And here is a white fixture running into ‘Earth’, that is One ‘Pai’, which is believed to bring forth ‘Water’ as it integrates with ‘Earth’ in the Chinese divination. Thus, combining ‘Wood’, ‘Earth’, light and ‘Water’, this installation articulately reveals a message of the cycle of life. 

made in 1998

易經中組成卦的符號叫爻。〝—〞是陽爻· 〝——〞是陰爻·含有交錯及變化之意。全畫以抽象表現的手法·藉易經中的陰陽卦象· 技巧地呈現陽爻的陽剛、燥 與陰爻的陰柔、纏連。又象傳曰:「天行健·君子以自強不息·潛龍勿用·陽在下也。」故在畫組的 安排上·置陽爻於下·放陰爻於上·兩相搭配·於紛擾的混沌中循環不息·以生萬象。

In the book I Ching*, the symbol " — " means Yang, and "——” means Yin. Yang comes to be associated with light, day, maleness, and the south; while Yin is aligned with dark, night, femaleness, and the north.The twin concepts of Yin and Yang are fundamental to Chinese philosophy, in which they are seen not in opposition to each other, but rather as complementary-each needs the other to exist.

These two paintings represent the constantly changing interactions of Yin and Yang that give rise to the infinite variety of the patterns of life. The juxtaposition of up and down, together with a mainly somber tonality, has offered a symbolic explanation to the chaos of the world through a sophisticated application of Chinese ink brush strokes in the style of abstract expressionism. 

made in 2000

Mixed media on paper

27 x 54 in

乾卦·為八卦中的首卦·是宇宙萬象形成之根源。此畫組由乾卦之三爻所組成·由上而下依次代表中國相書命理中的三陽:九紫之陽、 三碧之陽及晚秋之陽。九紫之陽·心 剛烈·好急進或忽退·故以煉金之色襯以溶金之火·表其躁 。而三碧之陽·相對於九紫之陽· 心 陰柔而無邪氣·故以冷冽的銀白表其冰心。至於晚秋之陽·處入冬之前·酷暑之後·是為落葉之秋·亦是收割之秋·蕭瑟中仍 帶希望與喜悅·故以焦墨表其內心的歡愉、滿足·其外廓以金黃·雖為晚秋之色·然黃中帶綠·對即將到來的嫩綠之春·更是期待。

In the book I Ching, Ch‘ien, which literally means Heaven and the south (Yang), is the first permutation in the Pa Kua*. Its symbol ( 三 ) has been applied to depict this set of three paintings, which respectively renders the Yang of Nine “Tzu”, the Yang of Three “Pi”, and the Yang of the late autumn from up to down. The Yang of Nine ”Tzu“ implies restlessness and aggressiveness, which can be explained by its irregular strokes in a turmoil with the colors of gold and pink, symbolically relevant to alchemy. The Yang of Three “Pi” implies stillness and coldness, which is stated by its freezing silver color surrounded by endless darkness. And the Yang of the late autumn describes a fading season, though with a tint of sadness, still cherishes its golden harvest and vernal expectations. 

made in 2000

Mixed Media on paper

27 x 54 in

相書命理中的「三碧」·外表剛強勢烈·內心卻柔和無邪·遂以銀色表其冰心。「三碧」為天數與地數之和·雖無明顯之兩極化· 然在陰柔之處亦兼具剛陽。若以之寓人格變數·則可見多愁善感之人 特質。此畫構圖簡潔·深暗的底色凸顯出以三個銀白線條表 現的「三碧」·黑白相襯·有如陰陽交錯·清楚地道出「三碧」內隱外放的獨特格。

Three "Pi" permutes the third in the Chinese divination. While applied to one's personality, it tends to have a soft and tender heart under the guise of a strong and aggressive appearance. To represent its nature, a silver color turns to be the best embodiment, stressing its innocent inside. The three silver applications, which show a strikingly bright tonality, represent Three "Pi" in contrasted with a dark background to imply an interaction of Yin and Yang. 

「三陽」乃六十四卦之首·詳和而平靜·不剛亦非烈。純三陽外帶藍色氣層·若以此襯托三陽·則可引出潛伏之龍 (8)·使之有所作為· 更能使其運行天地·成就天道。其構圖偶與「三碧」相同·雖線條混亂·但對紋理之描繪·卻掌握深刻·而以金色表現三陽·更清 楚道出了三陽的本質·與三碧之銀有異曲同工之妙。

Three “Yang" permutes the first in the 64 hexagrams of the I Ching. Its nature tends to be calm, serene, warm, and moderate. While Three "Yang" is represented in a pictorial image, it always comes with a dark blue Chi surrounding it, which implies that a great success is going to be achieved. The composition of this painting shows the similarity to that of Three "Pi"; moreover, the warm golden hue turned out to be the best application to fully explain its nature. 

三易人乃三個學易之人:第一始祖伏羲氏、第二為作周易之文王及追隨其後的畫家本人。

全畫用筆灑脫·意境深遠·尤以拿捏得當的墨韻傳寫三易人的身影·是為精湛·於敘述中不失學易的深邃與神秘感。全幅的構圖以「地」 貫軸於右下·畫「天」於左上·天地交融·三易人尾行其中·天、地、人的交互·不迨言諭·直顯畫中。而以金黃為背景·更加烘 托出學易人的尊榮及其任重而道遠的使命感。

So called, the Three Demonstrators of the I Ching are the discoverer of Pa Kua - Fu Hsi, the compiler of the I Ching  - King Wen of China in around 1100 B.C., and its contemporary follower, the artist himself.

The brush strokes applied to this painting are bold and wild with an implication of carelessness. The dark blue colors used to depict " Heaven" with a slashed stroke on the upper left and "Earth" with a horizontal stroke in the foreground have seemingly revealed a mysterious but austere atmosphere.The three demonstrators in silhouette following one by one toward an endless far east have strongly created for the viewer a metaphysical state of mind. Additionally, the color yellow, an auspicious symbol, used in the background has also interpreted a sublime dignity for these three demonstrators of the I Ching. 

此畫筆法紛亂·卻亂中有序:在由上而下的線 構圖中·由點而線·由線而面。「點」說明了精子與卵子所衍生的最初生命體·在 不斷的滋長中·因連結、繁衍而成「線」成「面」。然生命的蘊育中·卻隱隱伏 著一股內在的衝突·就如畫幅下方橫破線 構圖 的滾滾黑流·時而潛藏·時而浮現·乃生命之真實現象。

Mainly based on a vertically linear composition, this painting has created a very subtle perspective in both visual and pictorial structure. Being the symbol of the human cells, these dots have formed numerous vertical lines representing flesh and blood through a continuous movement. However, as this initial life form grows and nourishes, there is a hidden "desire" in the depiction of a serpent-like blackness that appears suddenly inside out from the right to the left to destroy the existing linear structure and twist the essence of life. 

made in 1997

Mixed Media on paper

27 x 54 in

此畫以「五行」—金、木、水、火、土及「乾三」— 天、地、人的交互為基礎·引三角函數的運算原理建構天地五行的運轉大綱。 而置「金」於下·讓五行運轉於上·金銀交錯·是為上卦。且「金」生「水」·水乃蘊育萬物之根源·在天地五行的交互中·滋潤 大地·衍生似卵子、精子的生命點·萬物因此而生·萬象因此而成。

The subject of this painting is involved with the theory of trigonometry, which reconstructs the interaction of the so-called "Five Elements" on a piece of two-dimensional paper.  The color gold, representing "Earth", is horizontally situated at the bottom picture frame. Above this golden "Earth", the silvery Five Elements are trigonometrically interacting with each other. According to the theory of Feng Shui, Metal can bring forth Water in the course of the interaction. And Water itself is the basic element to form the cosmos, and the round dots among this interaction represent those basic life forms which explain the creation of life. 

made in 1998

Mixed Media on paper

27 x 54 in

此畫的主題與同作於 1998 年的「三角函數」相同·惟以不同的手法表現五行與天地間的運轉。全畫用筆灑脫·下墨極為大膽·一 筆一墨·了然胸壑·墨韻所止之處·或虛實相掩·或化實為虛·兩相交互·有如五行與天地·虛虛實實·實實虛虛·是為太極。

The subject of this painting is the same as that of Trigonometry, but the brush strokes used to depict the interaction of the "Five Elements" are bolder and wilder with a sense of freedom to start and stop. What Tai Chi says in the theory, "stillness is a form of mobility," is fully interpreted in this painting. And the still emptiness in its composition has created a rhythm in accordance with the movement of the fleet brush strokes borrowing from the theory of Tai Chi. 

天地萬物·歷千萬年行走至今·雖物換星移·然追本溯源·始於零。

「0」·身著千古銅綠·昂然充塞於天地之間·其勢有如盤古開天·以直挺剛毅的雙臂·頂天立地·其間任由萬物滋長·經千年繁衍· 遂得古銅之軀·為年歲之見證·其後老朽·終歸於零。

The subject, "0" a number, a beginning, and a symbol of the cosmos, is displayed to fill up the entire picture frame, from "Heaven" and down to "Earth". Here the artist applied a somber tonality in copper blue and rusty brown to represent the long spanning years of the cosmos.  And a very subtle brush stroke has been employed to render the mark of the ages in its texture.The light slightly reflected onto its surface provides all beings with a hope of nourishment. 

made in 1999

Mixed Media on paper

27x54 in

「九紫」乃本命星中最後一星·氣盛如火、熱情、好急進或忽退。「三碧」則有如震雷·外表剛強勢烈·內心卻柔和無邪。「三碧」 之 雖柔和·不同於「九紫」之火的熱烈激情·卻可助「九紫」·使其燦爛輝煌。畫中十二個糾結成團的圈紋呈現了「三碧」與「九 紫」之合·細觀上方三星較為緩和·是為「三碧」·其餘九星有如炙燄·相互呼應·深沉中透出一股靜寍感。其筆觸渾厚·在綿密 的點、線交互中·烘托出「九紫」、「三碧」兩相融合之 。

Nine "Tzu" permutes the last in the Chinese divination. Its nature tends to be aggressive, passionate, and restless. In contrast, Three "Pi" permutes the third, and its nature tends to be soft and tender in heart. When they come to be integrated, a moderate state will appear to make everything proceed in harmony. In the middle of the picture frame, the nine swirling gold circles, representing Nine "Tzu" , show their heavy brush strokes to describe its aggressiveness, which is embellished by the soft Three "Pi" in the upper picture frame.Those inserted dark spots and fine elements have formed an interwoven subtle setting to stand out Nine "Tzu" andThree "Pi" against the somber background and show the passion of the integration. 

made in 2000

Mixed Media on paper

27 x 54 in

「一白」乃命理之始·具外柔內剛的特質。一白居處於中·跨越時空·緩緩地劃過靜寍的蒼穹·在以藍綠表現的混沌中·開啟一線 光明。其間潤金養銀·為祈人間安泰、和諧共處·且承接「九紫」之後·鋪陳出人心的平和恬靜·並象徵世界大同之理想境界。

One "Pai" permutes the first in the Chinese divination. It is the beginning of destiny.When applied to one's personality, it indicates an inner aggressiveness under a calm and pliable apprearance. Horizontally crossing the middle of the picture frame, One "Pai" has revealed a message of hope as a light in the dark. The white is pure and simple, even in contrast to the dark background, but it shows its assimilation within chaos. 

made in 2000

Mixed media on paper

27 x 54 in

相書有言·「五五居中·據三則震木」。五乃指「五黃」·在中國命相中是居於中央指揮八方的星象。三即「三碧」·故五、三交 結時·可以融合「五黃」的固執、果斷和「三碧」的雷震之 ·而產生變數。因此交集此二星之人·則有變相之格:一為擅於持家之 ·一為不愛居家之雷震之 。

此畫用筆含蓄·畫中隱約可見「五黃」之氣依次上下排列與「三碧」互有交集·且以水濡墨·在水墨相交之處·更見五、三融合之變數。

In the Chinese divination, as Five "Huang" has an interaction with Three "Pi", it's believed that there is going to be a variation in their original essence, which implies that two total opposite states, conservativeness and aggressiveness, will be derived from one's personality. In this painting, Five "Huang" renders vertically a pink irregular shape, which represents an aggressive Chi, interacting with Three "Pi" on the lower right of the picture frame in a dark pink color, which represents a conservative Chi. The ink, applied with a lot of water, has created an extremely unique stroke with a sense of faintness and uncertainty. 

made in 2000

Mized media on paper

26 x 6 in

「乾三」即「三陽」·乃六十四卦之首卦·詳和而平靜。當「三陽」結合「三陰」時·可得先天山澤·通氣雷風的配合·進而凝地 氣為一·融合陰、陽為一體。全畫以水濡墨·筆隨墨走·墨暈交疊相融·勾勒出陰、陽一體·天地合一之境。

Three "Yang" permutes the first in the 64 hexagrams of the I Ching. Its nature tends to be calm, serene, and moderate. While Three "Yang" (Chien) integrates with Three "Yin", it's believed that there will be coordination in the cosmos, thus "Yin" and "Yang" will be merged in one.  The ink applied with heavy water creates moving brush strokes to depict the integration of Yin and Yang and show their harmonious interaction. 

made in 2000

Mixed Media on paper

16 x 4.5 in

相書有言·當「三碧」之光與雲雷交會之際·約是驚蟄之時·由此可預知雷鳴·可知地變將近·更可知地龍 * 出土之時。地龍一出· 但見遠景開闊·好運將至·是為吉象。全畫水墨淋漓·雍容氣闊·點染間便成山澤·豐潤有餘·雖山雨欲來·然與「三碧」交會· 在深邃幽暗的山澤中·但見光明。

In the Chinese divination, when Three "Pi" encounters thunder, it's about the time of Ching-Chih. It's believed that a hermit saint will come out to the earthly world with hope and promises to give human beings an auspicious future.  The ink applied with a lot of water creates splattered brush strokes to catch the moment while Three "Pi" is encountering thunder. Although the tonality is austere and somber, the three pink bubble-shaped lights, representing Three "Pi" on the upper left, are rising from an unknown darkness to show a coming hope. 

made in 2000

Mixed media on papaer

10 x 16 in

零乃生命體的基本結構·象徵一切的起點。然零之上·則是空靈、無念。

此畫構圖虛實相映·陰陽交錯。左畫峻嶺深壑·幽然黯淡·是為陰;右則留白·具意空靈·是為陽。然置零於上·睥睨云云眾生· 使之超然·無念、無慾便是零。

A sublime mountain with a steep cliff situated on the left half of the picture frame sets a contrast with the other half right, which is left empty. This explains the theory of fullness and emptiness in the Chinese philosophy and implies the interaction of Yin and Yang, which nourishes all beings in the world. But beyond the existence, above the mountain, and above the earthly world, an empty mind is formed to look down at the world without any desire, which epitomizes a metaphysical status of mind. 

made in 2000

Mixed Media on paper

18 x 3.5 in

一爻為「陽」·「陽」表天·故名「天一」。天廣大無垠·神祕莫測·與「地」上下呼應·萬物於是生焉。畫幅中天運行於上·透 過韻 的線條與地融合為一·其筆觸柔和·墨韻流暢·呈現一股詳和之氣·是為大同世界。

Represented with the bright and moving unbounded vapor in a pink color, "Heaven" shows its assimilation with "Earth", represented with "earthy gold" and a somber tonality in black and green colors.  The brush strokes are smooth and soft to create a subtle touch for the nature of "Heaven", which tends to be endless and immortal. 

made in 2000

Mixed Media

on paper

12 x 9 in

大地為萬物之母·亦是陰 形體之首·「陰」乃二爻(——)·故以畫幅前方陰柔不清之二圓表之。此畫以深彩對應·刻意凸顯二陰 的本質·在幽暗詭譎的地陰中·慢慢蘊育出大地萬物。

ユEarthユ, the first feminine character in the I Ching, is the creator of all beings in the world.The nature of "Earth" is the same as that of "Yin", which is symbolized in "一一“, interpreting the two misty and cloudy masses in the foreground. The tonality in the background of this painting is dark and somber, which creates an atmosphere of mystery and uncertainty to strikingly stand out ”Earth‘s“ feminine nature. 

made in 2000

Mixed Media on paper

12 x 9.5 in