這件互動裝置藝術作品目的想以現代生活的角度和觀點,去重新演繹傳統中國山水藝術的 ‘可’ 概念及 ‘遠’ 理論。

(1)首先是傳統山水畫中的 “可行,可望,可游,可居” [1],和現代 “可玩” 的概念。藝術家想將這個充滿幻想性的傳統視覺經驗,以數碼媒體科技去再實踐及延申出來!

(2)另外,藝術家亦嘗試以不用角度及朝距的數碼攝錄機,重新探索傳統中國山水畫中 ‘三遠’[2]的概念。賞試以現代人的生活方式,例如:膠,手版,瓷器公仔,攝錄,遊戰,互動,實時傳送等經驗去探索’三遠’在這現代版的互動山水的可廷伸性。

藝 術家利用了大部分自己收藏的兒時到年青過程中的玩物,放置在這現代版互動山水中。目的在於將一個具時間性的成長過程概念溶入一個現實版的立體空間裡。其 中,在這空間內,無論是,樹,山,人,動物都包容大大小小不同形狀,從中,藝術家想營造一種既真實,又充滿幻覺的虛擬山水空間情調!

和Title: Interactive landscape: to walk, to see, to play, and to live

Format: Interactive installation;
Year: 2012

I attempted to examine how the traditional Chinese concept of ‘three distances’ (三遠 [3], san yuan) has served to integrate ‘multiple perspectives’ into traditional ‘Chinese landscape painting’ (山水畫, shan shiu hau) [4]. In the book ‘Lofty Messages of Forests and Streams’ [5], the artist Gao Xi (郭熙) (c. 1020-1090) of the Northern Song Dynasty, who argues that landscape painting should enable viewers to walk, see, play, and live [6]. He suggests using the concept of yuan to perceive and interpret the relation between the painters / viewers and the scenery in landscape painting. Gao identifies three ways of applying the concept of yuan – ‘three distance’ (三遠 , san yuan) – to landscape painting [7] : (1) ‘higher distance’ (高遠, gao yuan), (2) ‘deeper distance’ (深遠, shen yuan), and (3) ‘horizontal distance’ (平遠, ping yuan). In my “Interactive landscape: to walk, to see, to play, and to live”, I attempted to reinterpret the concept of “three distances” through extending the viewing experience from 2 dimensional plane to 4 dimensional world.

I aim to invite the audience to immerse into the real and virtual space through their participation. Also, I attempt to shift the role of the audience from a passive observer to an active participant.

[1] Original text: 「世之篤論,謂山水有可行者,有可望者,有可遊者,有可居者。畫凡至此,皆入妙品。但可行可望不如可居可遊之為得,何者? 觀今山川,地占數百裏,可遊可居之處十無三四,而必取可居可遊之品。君子之所以渴慕林泉者,正謂此佳處故也。故畫者當以此意造,而鑒者又當以此意窮之,此 之謂不失其本意。」《 林泉高致集: 山水訓》

[2] Original text: 「山有三遠:自山下而仰山顛,謂之高遠;自山前而窺山後,謂之深遠;自近山而望遠山,謂之平遠。高遠之色清明,深遠之色重晦;平遠之色有明有晦;高遠之勢 突兀,深遠之意重疊,平遠之意沖融而縹縹緲緲。其人物之在三遠也,高遠者明了,深遠者細碎,平遠者沖淡。明了者不短,細碎者不長,沖淡者不大,此三遠 也。」《林泉高致集: 山水訓》

[3] Traditional Chinese art theory had no exact Chinese character or combination of characters whose precise meaning corresponded to the art-theory term ‘perspective’ in English; nevertheless, ancient Chinese artists and theorists possessed methods and theories concerning the depiction and the visualisation of scenery whereby four-dimensional experiences would appear on two-dimensional platforms. One of these traditional Chinese concepts is yuan (遠), meaning ‘distance’.

[4] Shan shiu literally means ‘mountain water’.

[5] Gao Si (郭思) edited ‘Lofty Messages of Forests and Streams’ (林泉高致, Lin quan gao zhi) which is about his father Gao Xi (郭熙)’s thoughts and sayings about the art of landscape painting.

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