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羅青寄刘正成《異鄉高呼古人》、《无中有》九首与书法

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发表于 2010-1-6 00:30:13 | 显示全部楼层

羅 青 自 述

The Art of Lo Ch’ing            



The ultimate concern of Lo Ch’ing’s painting and calligraphy is to reflect his own weltanschauung , to discuss social and political problems, to probe into the development of Chinese art history and to quest for a new aesthetics of his time mirroring the dilemma faced by China in the past 160 years during which Chinese culture has gone through many different phases, suffered great changes and confronted unprecedented challenges. Its transformation could be traced with the following three stages: The agrarian, the industrial and the post-industrial that has been at once co-existing and overlapping against each other and consequently formed aesthetic complexities effecting almost every single aspect of the life and art of the Chinese people.

With his painting and calligraphy, Lo Ch’ing tries to tackle these problems inherited by modern Chinese intellectuals of the past and present, with semiotic and postmodern approaches. He has devised himself firstly to develop new techniques and forms such as iron-web textual-strokes, seal-paste coloring method, gold flakes collage… etc. and secondly to coin new graphic vocabularies, idioms, and then, thirdly to create a brand new graphic signifier systems  expressing his feelings and ideas, voicing his arguments and contentions, and lastly to negotiate with the current issues East and West, and to converse with the artists ancient and modern.

The reinvented graphic language of ink and color enabled Lo Ch’ing to express novel contents with new composition, to explore unfamiliar subjects with new technique and to perform new aesthetics in the spirit of his time. The following topics of Lo Ch’ing’s paintings are excellent examples to demonstrate his views:

Asphalt Road and Landscape series,
Finding the Recluse?
Cityscape series,
Homage to Palm-trees (scenes of the subtropics)
New Dharma series,
Electricity and Nocturnal scene,  
Here Comes the UFO,
Calling for the Ancient,
Iron-Steel Landscape,
The traveling stones,
Three Ten-Thousand series,
Anecdote of Jars,
One “Man” Culture revolution,
…etc.

Taking Lo Ch’ing’s New Eighteen Dharmas series as an example, he has integrated the radiating bright colors of the Cave art of the T’ang dynasty with the subtle ink tonal variations of the Sung and Yuan dynasties, not only illustrating the Chan Buddhist enlightenment reinterpreted in the context of the contemporaries living in an urban environment but also demonstrating how wonderfully can a postmodern approach be while it fusing Chinese characters (the Heart Sutra), Calligraphy, and the willow leaves into a magnificent combination that literally putting the verbal, graphic and natural signifiers into one integrated whole.

In Lo Ch’ing’s painting and calligraphy, examples of these kind are abundant and the mixing of realistic and impressionistic techniques to create surrealistic group of images are all too conspicuous in his works for anyone to miss.

     With the innovation of the painting language, new forms and contents, new grammar and composition begin to permeate in Lo Ch’ing art recording and reflecting the multiple aspects of various developments in Chinese culture in the past 160 years.

     The application of the Chinese linguistic theory of “topic-supplementary comment” in Lo Ch’ing’s painting allows him to become a conversationalist in art, constantly opening dialogues not only with the Chinese past and present but also with the past and present of the West as well as other civilizations.

This new aesthetic stand allows him on one hand, to continue to create exciting new works of art for his contemporaries to enjoy and meditate, and on the other hand, to reinterpret Chinese art tradition with a new historical perspective that enabling him to rewrite considerably the History of Chinese painting and calligraphy.        
   

羅 青(本名羅青哲)自述      

     湖南湘潭人, 一九四八年出生於山東青島,  畢業於輔仁大學英文系, 及美國西亞圖華盛頓州立大學比較文學研究所; 曾任國立台灣師範大學英語系所,美術系所及翻研所教授, 並兼任 [中國語言文化中]心主任; 東大書局滄海美術叢書主編;現任明道大學藝文中心主任兼英語系主任。 出版有詩集, 詩畫集, 畫集, 論文集, 畫論集, 自藏書畫目錄[絕妙好畫:青碧軒藏畫目]等, 三十多種. 畫作獲獎多次, 並為國內外公私立美術館收藏; 詩作獲國內外大獎多次, 被翻譯成九種外文出版; 國內外以 [羅青詩畫]為研究主題之博士論文亦有多種出版.

     所有羅青的作品, 皆企圖 [反映], 更進一步 [反省], 「文化中國」自鴉片戰爭(1840-2000)至今, 一百六十年間, 由「農業社會」, 轉化入「工業社會」, 再轉化入「後工業社會」的種種狀況與發展. 通過羅青獨特的藝術語言, 他專心探討追索百年間 「文化中國」在美學, 文學, 思想, 政治上所遭遇到的各種問題與困境, 並試圖提出在美術上如何面對,解決,或變通之道.簡而言之,羅青以其自創之藝術語言,不斷的嘗試與古今中外的藝文對話,在形式與內容上、在思想與美學上,不斷的從事深層多層次的對話。

     在[以繪畫詮釋繪畫史] 上, 羅青使用 [主題/ 補充評論]之語言學模式, 重新描畫中國繪畫之[圖象思考模式], 展開一系列新命題, 企圖改寫中國繪畫史.
     在[以繪畫詮釋當代繪畫]上,羅青從更新[藝術語言]的形式上出發, 使用了一系列新的技巧, 如「鐵網皴法」,「印泥設色法」及「金箔拼貼法」…等等,並以此一[新創藝術語言], 開發出下列嶄新的藝術內容:

羅    青 繪畫 書法 作品之 主 題 與 母 題               
Themes and motives of Lo Ch’ing’s Painting              
羅青以下面各種畫組,開發新的繪畫語言及題材,用“對話”的方式,綜合反映上述理念:
(一)古典的轉化: 以系列畫組,對農業社會美學,加以翻新更新。
1.「亞熱帶棕櫚樹系列」
2.「亞熱帶毛魚藤系列」
3.「尋隱者不遇系列」
(二)現代的反映: 以系列畫組,追尋工業社會美學的發揚。
1.「柏油路與山水系列」
2. [城市(鋼鐵)山水:鐵網皴法]
(三)後現代的探索: 以系列畫組,從事後工業社會美學的開發。
1.「電光夜景系列」
2.「古柏行系列」
3.「不明飛行物來了」
                4. [流浪的石頭]

此外,羅青又以三合一的綜合繪畫系列,來從事與古今中外的藝文傳統對話。
(一)碎鏡中國系列:(歲月中國,古典的轉化)
                  (地理中國,現代的反映)
                  (驚雷中國, 後現代的探索)
(二)四十萬圖系列:(前十萬圖,古典的轉化)
(後十萬圖,現代的反映)
(後後十萬圖,後現代的探索)
(水果十萬圖,後現代的探索)
(三)新瀟湘八景系列:(古典的轉化 / 現代的反映 / 後現代的探索)
(四)高呼古人系列 :(古典的轉化 / 現代的反映 / 後現代的探索)
(五)刺客列傳系列 :(古典的轉化 / 現代的反映 / 後現代的探索)
(六)給你猜系列 :  (古典的轉化 / 現代的反映 / 後現代的探索)
(七)唐宋詩意系列: (古典的轉化 / 現代的反映 / 後現代的探索)
(八)新十八羅漢圖:(古典的轉化 / 現代的反映 / 後現代的探索)

在書法方面,羅青亦以下面的系列,從事古今對話:
(一)「正草隸篆系列」(古典的轉化:農業社會美學之更新)
(二)「大寫白字系列」(現代的反映:工業社會美學之追尋)
(三)「漲墨表演系列」(現代的反映:工業社會美學之追尋)
(四)「臉譜書法系列」(後現代的探索:後工業社會美學之開發)
(五)「彩色書法系列」(後現代的探索:後工業社會美學之開發)
(六) [機械書法系列](後現代的反映:後工業社會美學之開發)



古典的轉化Innovation from the Agrarian tradition

「亞熱帶棕櫚樹系列」 Homage to Palm Trees
「亞熱帶毛魚藤系列」 Homage to Mao-yu Retain
「尋隱者不遇系列」   Finding the Recluse?

現代的反映Reflecting the Industrial Aesthetics

「柏油路與山水系列」Asphalt road and Landscapes
[城市(鋼鐵)山水:鐵網皴法] Cityscape or Iron-steel Landscape

後現代的探索Postmodern conversation with Past and Present, East and West

「電光夜景系列」  Electricity and Nocturnal scenes
「古柏行系列」    Homage to the Ancient Cypress
「不明飛行物來了」Here comes the UFO
[流浪的石頭]     The traveling stones

羅青之 [系列繪畫]  Lo Ch’ing’s Series Paintings

China: A Broken Mirror series
「碎鏡中國系列:(歲月中國) China: Past and Present
「碎鏡中國系列:(地理中國) China: North and South, East and West
「碎鏡中國系列:(驚雷中國) China: The Sermon of Thunders

Three Ten-thousand Series
「三十萬圖系列:(前十萬圖)Pre-Ten-thousand series
「三十萬圖系列:(後十萬圖) Post-Ten-thousand series
「三十萬圖系列:(後後十萬圖)Post-post Ten-thousand series
「四十萬圖系列:(水果十萬圖)Post-post Ten-thousand series

Repaint the past with new interpretations
「新瀟湘八景系列」 The Hiao and Hsing Series

Calling for the Ancient Artists           
「高呼古人系列」Calling the famous painters of the past

The Assassins series                     
「刺客列傳系列」 Portraits of Assassins

Guess What? Series                        
「給你猜  系列」 Guess what?

Rewrite the poetry of T’ang and Sung series
「唐宋詩意系列」Graphic Interpretation of the poetry of T’ang and Sung

The New Dharma series                       
「新十八羅漢圖」 The new 18 Arhats

書法作品 Lo Ch’ing Calligraphy

「正草隸篆系列」 Variations on different scriptures

「大寫白字系列」 Write Big White Characters

「漲墨表演系列」Calligraphic Opera : The Bleeding of
the Ink and the Saturation of the paper

「臉譜書法系列」 Painted Faces calligraphy

「彩色書法系列」 Calligraphy in Colors (qpc)

「機械書法系列」 Mechanical Calligraphy (qpc)


2004/9/17   



       Lo Ch’ing, Painter, Calligrapher, and Poet

Lo Ch’ing, Director of the Art Center of Ming Dao University, has held many one-man shows of Chinese ink-color painting and calligraphy both at home and abroad, such as Landscape and Asphalt Road, Homage to Palm Trees, UFO and Artist ,China—A Broken Mirror, Landscape of Iron and Steel, Thirty Ten-thousand Series of Landscapes, Viewing Mountain Huang with a Mind Eye, A New Look of the Ancient Cypress, Cantos of Mao-yu Rattan, New Eighteen Dharmas, Calling for the Ancients, The Songs of Traveling Stone, Anecdote of Jars,Painted Face Calligraphy… etc. With these exhibitions, he renovated the Chinese ink-color painting and calligraphy of the 20th century and opened a new realm for that of the 21st . His work of art won him numerous national and international critical acclaims around the world.
      
Lo Ch’ing began his formal study of Chinese painting and calligraphy at the age of thirteen. He studied the blue-and-green landscape style under Pu Ru, the cousin of the Last Emperor Pu Yi, a master of the Northern School of painting. Later, under Ru Yu, a Chan Buddhist monk, he learned the impressionistic “splashing ink” style of the Southern School. In the same time, he began to write modern poetry, trying to revitalize and usher the time-honored poetry-painting tradition initiated in the 11 century into a post-industrial world of our time. He has published 12 books of collected poems, including 4 volumes illustrated with his own paintings. His poems have been translated into English, German, Italian, Spanish, Dutch, French, Check, Japanese, Korean, and Swedish and has brought him many national and international poetry awards as well.

      
Lo Ch’ing is one of the few modern Chinese painters who can unite modern poetry and ink-color painting with profound ingenuity and dexterous technique. He utilizes traditional, folk and modern pictorial orientations to create a new graphic language system of his own that is deeply rooted in a surrealistic symbolism with a postmodern touch evident and ostensible in all his works. His fresh compositional arrangement of novel subjects along with his unique perspective in penetrating into the relationship of the painted imageries allow him to present his ideas and feelings with profound dramatic tensions. Despite the cold, desolate, and tragic imaginations apparent in his painting, Lo Ch’ing at the same time, quite adeptly expresses his humorous attitude toward the incongruities xperienced in the hassling-bustling urban lives of the modern cities.

Having both inherited and renewed the Chinese ink-color painting and calligraphy tradition, he has been hailed as the “starting point” of a new modern poetry as well as a new literate painting, recognized both in Mainland China and Taiwan, as one of the leading artists of his time. His works have been collected by many museums around the world, including the British Museum,  Ashmolean Museum, Oxford; St. Louise Art Museum, Royal Ontario Museum, Museum of Asian Art, Berlin; and Liao Ning Provincial Art Museum, Beijing Chinese Art Museum and National Taiwan Art Museum, Taipei Fine Art Museum, Kaohsung Fine Art Museum.



Lo Ch’ing, Painter, Calligrapher, and Poet

Lo Ch’ing, Director of the Art Center of Ming Dao University, has held many one-man shows of Chinese ink-color painting and calligraphy both at home and abroad, such as Landscape and Asphalt Road, Homage to Palm Trees, UFO and Artist ,China—A Broken Mirror, Landscape of Iron and Steel, Thirty Ten-thousand Series of Landscapes, Viewing Mountain Huang with a Mind Eye, A New Look of the Ancient Cypress, Cantos of Mao-yu Rattan, New Eighteen Dharma, Calling for the Ancients, The Songs of Traveling Stone, New Chinese Painting:A Semiotic Trilogy, Painted Face Calligraphy… etc. With these exhibitions, he renovated the Chinese ink-color painting and calligraphy of the 20th century and opened a new realm for that of the 21st . His work of art won him numerous national and international critical acclaims around the world.
      
Lo Ch’ing began his formal study of Chinese painting and calligraphy at the age of thirteen. He studied the blue-and-green landscape style under Pu Ru, the cousin of the Last Emperor Pu Yi, a master of the Northern School of painting. Later, under Ru Yu, a Chan Buddhist monk, he learned the impressionistic “splashing ink” style of the Southern School. In the same time, he began to write modern poetry, trying to revitalize and usher the time-honored poetry-painting tradition initiated in the 11 century into a post-industrial world of our time. He has published 12 books of collected poems, including 4 volumes illustrated with his own paintings. His poems have been translated into English, German, Italian, Spanish, Dutch, French, Check, Japanese, Korean, and Swedish and has brought him many national and international poetry awards as well.

      
Lo Ch’ing is one of the few modern Chinese painters who can unite modern poetry and ink-color painting with profound ingenuity and dexterous technique. He utilizes traditional, folk and modern pictorial orientations to create a new graphic language system of his own that is deeply rooted in a surrealistic symbolism with a postmodern touch evident and ostensible in all his works. His fresh compositional arrangement of novel subjects along with his unique perspective in penetrating into the relationship of the painted imageries allow him to present his ideas and feelings with profound dramatic tensions. Despite the cold, desolate, and tragic imaginations apparent in his painting, Lo Ch’ing at the same time, quite adeptly expresses his humorous attitude toward the incongruities xperienced in the hassling-bustling urban lives of the modern cities.

Having both inherited and renewed the Chinese ink-color painting and calligraphy tradition, he has been hailed as the “starting point” of a new modern poetry as well as a new literate painting, recognized both in Mainland China and Taiwan, as one of the leading artists of his time. His works have been collected by many museums around the world, including the British Museum,  Ashmolean Museum, Oxford; St. Louise Art Museum, Royal Ontario Museum, Museum of Asian Art, Berlin; and Liao Ning Provincial Art Museum, Beijing Chinese Art Museum and National Taiwan Art Museum, Taipei Fine Art Museum, Kaohsung Fine Art Museum.


The ultimate concern of Lo Ch’ing’s painting and calligraphy is to reflect his own weltanschauung , to discuss social and political problems, to probe into the development of Chinese art history and to quest for a new aesthetics of his time mirroring the dilemma faced by China in the past 160 years during which Chinese culture has gone through many different phases, suffered great changes and confronted unprecedented challenges. Its transformation could be traced with the following three stages: The agrarian, the industrial and the post-industrial that has been at once co-existing and overlapping against each other and consequently formed aesthetic complexities effecting almost every single aspect of the life and art of the Chinese people.

With his painting and calligraphy, Lo Ch’ing tries to tackle these problems inherited by modern Chinese intellectuals of the past and present, with semiotic and postmodern approaches. He has devised himself firstly to develop new techniques and forms such as iron-web textual-strokes, seal-paste coloring method, gold flakes collage… etc. and secondly to coin new graphic vocabularies, idioms, and then, thirdly to create a brand new graphic signifier systems  expressing his feelings and ideas, voicing his arguments and contentions, and lastly to negotiate with the current issues East and West, and to converse with the artists ancient and modern.

The reinvented graphic language of ink and color enabled Lo Ch’ing to express novel contents with new composition, to explore unfamiliar subjects with new technique and to perform new aesthetics in the spirit of his time. The following topics of Lo Ch’ing’s paintings are excellent examples to demonstrate his views:

Asphalt Road and Landscape series,
Finding the Recluse?
Cityscape series,
Homage to Palm-trees (scenes of the subtropics)
New Arhat series,
Electricity and Nocturnal scene,  
Here Comes the UFO,
Calling for the Ancient,
Iron-Steel Landscape,
Three Ten-Thousand series…etc.

Taking Lo Ch’ing’s New Eighteen Arhats series as an example, he has integrated the radiating bright colors of the Cave art of the T’ang dynasty with the subtle ink tonal variations of the Sung and Yuan dynasties, not only illustrating the chan Buddhist enlightenment reinterpreted in the context of the contemporaries living in an urban environment but also demonstrating how wonderfully can a postmodern approach be while it fusing Chinese characters (the Heart Sutra), Calligraphy, and the willow leaves into a magnificent combination that literally putting the verbal, graphic and natural signifiers into one integrated whole. In Lo Ch’ing’s painting and calligraphy, examples of these kind are abundant and the mixing of realistic and impressionistic techniques to create surrealistic group of images is all too conspicuous in his works for anyone to miss.

     With the innovation of the painting language, new forms and contents, new grammar and composition begin to permeate in Lo Ch’ing art recording and reflecting the multiple aspects of various developments in Chinese culture in the past 160 years.

     The application of the Chinese linguistic theory of “topic-supplementary comment” in Lo Ch’ing’s painting allows him to become a conversationalist in art, constantly opening dialogues not only with the Chinese past and present but also with the past and present of the West as well as other civilizations.

This new aesthetic stand allows him on one hand, to continue to create exciting new works of art for his contemporaries to enjoy and meditate, and on the other hand, to reinterpret Chinese art tradition with a new historical perspective that enabling him to rewrite considerably the History of Chinese painting and calligraphy.
发表于 2010-1-6 00:31:53 | 显示全部楼层

罗青简历及著述

罗青简历及著述


Lo Ch’ing 羅  青

Curriculum Vitae

1.Literature and Languages


羅 青 哲Lo Ch’ing-che (羅  青Lo Ch’ing)

Born 1948, Ching-tao City, Mainland China.
Moved to Taiwan in 1949.

2007-     Professor of English and Chinese, Ming Dao University.
          Director of Art Center.
          明道大學鐵梅藝術中心主任兼英語系主任
2006      Visiting Professor and artist, Shanghai University
2005      Visiting Professor and artist, San Diego Museum of Art, USA
2004      Visiting Professor and artist, Reed College, USA
2003      Prof. of Chinese Art Connoisseurship (Henry Luce Foundation), University of Maryland, 2003.

2001      Visiting Professor, Charles University, Prague.
2000      Visiting Professor, University of Sussex.

1981-2003 Professor of the English Department, Art Department and
the Graduate Institute of Translation and Interpretation,
National Taiwan Normal University.
(1981-2003  英語系所,美術系所及翻研所教授,國立台灣師範大學.)

1996-2002 Director, Center of Chinese Language and Culture Studies,
National Taiwan Normal University.
(1996-2002  中國語言文化教學中心主任,國立台灣師範大學.)

1991-     Editor in Chief, Tsang Hai Art and Aesthetic Series
Tung Ta and San Ming Book Store, Taipei.
(1991-      東大書局滄海美術叢書主編.)

                    
E-Mail: lochingche@yahoo.com.tw

Home Address: 26, Lane 79, Tsi-kung St. Tahsi, Taoyuan, Taiwan

Phone: 02 2709-0123  03 390-9727     
Fax: 02 2709-5212  03 390-7212
Mobile:0955 765467

Education

1948  Born  in Ch’ing-tao, Mainland China.
1949  Moved to Taiwan.

1970  B. A., English Department, Fu Jen University.
1974  M. A., University of Washington, Seattle, 1974
             Major: Comparative Literature
             Minor: Anglo-American Literature
Art History and literature

Specializations:

Art & Aesthetics :   History of Chinese ink-color painting and calligraphy.
                     History of Western Painting and Sculpture.
                     Creative Chinese ink-color painting and calligraphy.
                     Connoisseurship in Chinese painting and calligraphy.
                        
Language & Lit. :   Anglo-American Poetry.
                    Chinese Literature.
                    Comparative Literature.
Teaching English as a second language.
Teaching Chinese as a second language.
                    Teaching creative writing in Chinese and English.

Professional Experience:  

Prof. of Chinese Art Connoisseurship (Henry Luce Foundation), University of Maryland, 2003.
Visiting Professor, Reed College, 2003.
Prof. of Chinese Art Connoisseurship (Henry Luce Foundation), University of Maryland,2002.
Visiting Professor, Heidelberg University, 2002.
Prof. of Chinese Art Connoisseurship (Henry Luce Foundation), University of Maryland,2001.
Visiting Professor, Charles University, Prague, 2001.
Visiting Professor, University of Sussex, 2000.
Visiting Professor, University of Maryland, 1999.
Professor of English, the English Department, National Taiwan Normal
        University,1998-2003.
Professor of Chinese Art, the Art Department, National Taiwan Normal
        University, 1999-2003.
Director of Center of Chinese Language and Culture Studies, NTNU, 1997-2002.
Visiting Professor, Wadham College, Oxford University, 1994.
Visiting Professor, Washington University, 1993.
Editor in Chief, Tsang Hai Art and Aesthetics Book Series, Tung Da Press, Taipei,
        1991-present.
Visiting Professor, SOAS, London University, 1990.
Associate Professor of English, the English Department, NTNU, 1980-1997.   
Associate Professor of English, the Graduate School of English Literature
     and the Graduate School of Chinese Literature, Fu-Jen University,
1974-1980


Awards

1963  First Prize, Chinese Ink Painting, Keelung.
1969  First Prize, Chinese Calligraphy, Fu Jen University.
1974  First Prize, Chinese Modern Poetry, Taipei.
1978  First Prize, Lion Biennial Chinese Ink Painting Award, Taipei.
1993  Fulbright International Exchange Scholar Award, Scholar in Resident at
      Washington University, St. Louis.
1994  “Text and Image: A Study of the Signifier System and Mode of Thought.”
      Won the Best Paper Price, International Conference on Chinese Art and
      Aesthetic, University of East Anglia, England.
1996  Poetry International Award, Rotterdam.
1996  Grand from Nobel Prize of Literature committee to visit Stockholm, Lectures
      and colloquium.
1996  Best Collective Poems for teenagers: Songs of Teenager A-tien.
1999  Best Collective Poems: Book of Matches
2000  100 Best Books for Children in 20th Century: Fireflies, Collective Poems



Books, Booklets and Dissertations
on Lo Ch’ing in Foreign Languages:

Joseph Allen  The Art of Lo Ch’ing, (New York,  Goedhuis Contemporary New York, 2008)

Silas B. Cook, Lo Ch’ing, Painting and Poetry, Douglas F. Cooley Memorial Art Gallery, Reed College, Portland, 2003.

Stefan Hyner and Lothar Ledderose, Lo Ch’ing: Eiene Versteckten Drachen Wechen, Gedichte und Bilder, (German translation with Introductions), Cheng Shang Publishing House, Taipei and Heidelberg, 2002.

Silvia Mrijnissen, The Art of Lo Ch’ing (Dr. dissertation in English and Dutch),
                       Leiden University Press, Leiden, 2002.  

Kim, Tai-cheng,    The Poetry of Lo Ch’ing: Six Ways of Eating Watermelon,
                        (Korean translation with Introduction), Modern
Literature Press, Seoul, 2000.

Goran Malmqvist,   The Poetry and Paiting of Lo Ch’ing, (Swedish translation with Introduction) Fenix: Atlantis, Stockholm, 1996.

Steven D. Owyoung  Currents 54: Lo Ch’ing, The Saint Louis Art Museum
Press, Saint Louis, 1993.

Joseph R. Allen,   Video Poems: The Poetry of Lo Ch’ing, (in English)
                       University of Washington Press, Seattle, 1993.


Publication in Chinese and English:

羅青詩集。詩畫集

Fireflies, Handwriting edition, Min-sheng Press, Taipwi, 2004     
<螢火蟲手抄本> 台北,民生報出版社, 民國 95年。

Ways of Eating Watermelon, Revised Edition, Mai Tien Press, Taipei, 2003.
<吃西瓜的方法>(修訂本) 台北,麥田出版社, 民國 94年。

Book of Matches, Ming Sheng Press, Taipei, 1999.                        
<一本火柴盒> 台北,民生報出版社, 民國 89年。

Songs of Teenager A Tien, Ming Sheng Press,Taipei,1996.                  
<少年阿田恩仇錄> 台北,民生報出版社, 民國 85年。

Video Poetics, Shu Lin Press, Taipei,1988.   
<錄影詩學> 台北,書林出版社, 民國 77年。

I Have Invented a Medicine, Chin Chin Press,Taipei,1988.                  
<我發明了一種藥> 台北,親親出版社, 民國 77年。

Fireflies, Min Sheng Bao Press, Taipei,1987.                              <螢火虫> 台北,台灣書店出版社, 民國 76年。

Here Comes UFO, Chung Wan Hsueh Press,Taipei,1984.                        
<不明飛行物來了> 台北,純文學出版社, 民國 73年。

Songs of the Rice, Ta Ti Press, Taipei,1981.                           
<水稻之歌> 台北,大地出版社, 民國 70年。

The Invisible Artist, Chen Shang Press, Taaipei,1978.                  
<隱形藝術家>(詩 / 攝影集) 台北,崇偉出版社, 民國 67年。

How to Catch a Thief, Hung Fan Press, Taipei,1977.                       
<捉賊記> 台北,洪範出版社, 民國 66年。

Anecdotes of Chinese Knight-errant, Wu Ling Press, Taipei,1975.         
<神州豪俠傳> 台北,武陵出版社, 民國 64年。

Six Ways of Eating Watermelon, Yu Shih Press, Taipei, 1972.              
< 吃西瓜的方法> 台北,幼獅書店出版社, 民國61 年。

羅青譯詩集

Tagore’s Stay Birds, A New Chinese Translation, Shih Hsin University
press, Taipei, 2002.  
<單飛集. 羅青選譯解說> 台北,世新大學出版社, 民國 91年。

Guide to Capturing A Plum Blossom, Translation with Introduction, Mercury
    House, San Francisco,1995。

The Bridge of Poetry, Hsueh Sheng Press, Taipei, 1989.                     
<詩人之橋 >台北,學生書局出版社, 民國 78年。

羅青散文集

Signs: Lens of the Mind Eye, Shih Hsin University Press, Taipei,2003     
<詩眼照天涯: 招牌篇>(散文/攝影集) 台北,世新大學出版社,民國 92年。

Windows: Lens of A Mind Eye, Shih Hsin University Press, Taipei,2003.   
<詩眼照天涯: 窗戶篇>(散文/攝影集) 台北,世新大學出版社,民國 92年。

Green Tress: Lens of A Mind Eye, Shih Hsin University Press, Taipei,2002.
<詩眼照天涯: 綠樹篇>(散文/攝影集) 台北,世新大學出版社,民國 92年。

Sculptures: Lens of A Mind Eye, Shih Hsin University Press, Taipei,2002.
<詩眼照天涯: 雕像篇>(散文/攝影集) 台北,世新大學出版社,民國 92年。

Animals: Lens of A Mind Eye, Shih Hsin University Press, Taipei,2002.   
<詩眼照天涯: 動物篇>(散文/攝影集) 台北,世新大學出版社,民國 92年。

Seven-Leave Tree, Wu Szu Press,Taipei,1989.                                
<七葉樹> 台北,五四出版社, 民國 78年。

Essays of Lo Ch’ing, Hung Fan Press,Taipei,1976.                           
<羅青散文集> 台北,洪範出版社, 民國 65年。


羅青詩論集
An Anthology of Chinese Modern Short Poems of 20th Century,
                         Tsue-young Press, Lukang, 2007.
<小詩三百首(修訂本)>鹿港,左羊出版社,2007年。

The Wind Gauge of Poetry, Erh Ya Press,Taipei,1995.                       
<詩的風向球> 台北,爾雅出版社, 民國 92年。

The Lime Light of Poetry, Erh Ya Press, Taipei, 1994.                       
<詩的照明彈> 台北,爾雅出版社, 民國 83年。

The Lamp of Poets, Tung Ta Press,Taipei,1988.                              
<詩人之燈> 台北,三民書局出版社, 民國 77年。

On Homer’s Epic, Hsueh Sheng Press,Taipei, 1984.                             
<荷馬史詩研究> 台北,學生書局出版社, 民國 73年。

From Hsu Chih-mo to Yu Kung-chung, Erh Ya Press,Taipei,1978.               
<從徐志摩到光中> 台北,爾雅出版社, 民國 67年。


羅青畫集

Lo Ch’ing’s Art, Goedhuis Contemporary, New York, 2008

A Semiotic Trilogy III, Sunbow Art Gallery, Shanghai, 2008
<後現代的探索:上海六十回顧展>上海,太陽虹畫廊,2008年。

A Semiotic Trilogy II, Sunbow Art Gallery, Shanghai, 2007.
<現代的反省:繪畫記號學三部曲> 上海,太陽虹畫廊,2007年。

Lo Ch’ing’s World, A Semiotic Trilogy I , Sunbow Art Gallery, Shanghai, 2006.
<古典的翻新:羅青的世界> 上海,太陽虹畫廊,2006年。

Ten Thousand Miles in a Inch, Chen-shang Press, Taipei, 2001.            
<方寸千里> 台北,真賞出版社, 民國 90年。

Iron-web Texture Strokes, Chen-shang Press, Taipei, 1997.                 
<鐵網皴法> 台北,真賞出版社, 民國 86年。

Stainless Steel Landscape, Chen-shang Press, Taipei, 1995.               
<鋼鐵山水> 台北,真賞出版社, 民國 84年。

Lo Ch’ing’s Painting and Calligraphy:A Thirty years Retrospective,
National Taiwan Museum of Art Press, Taichung,1994.                  
<羅青書畫三十年> 台北,國立台灣美術館, 民國 83年。

Lo Ch’ing’s Poetry and Painting, Chen-shang Press,Taipei, 1991.            
<羅青書畫集> 台北,真賞出版社, 民國 80年。


羅青書法集

Lo Ch’ing, Montagne Vuote/Leere Berge (空山: 羅青書法‧德義中對照本),
Divan Press, Mendrisio, Switzerland, 2004 (Handmade book手工書)


羅青書畫/美學/語言論集

Mingdao English Reader V.II  Tsue-young Press, Lukang, 2009.
<明道英語讀本第二冊>(鹿港,左羊出版社,2009年2月)。

Mingdao English Reader V.I Tsue-young Press, Lukang, 2008.
<明道英語讀本第一冊>鹿港,左羊出版社,2008年9月)。

English Grammar Is a White Magic Horse, Wu-nan Press, Taipei, 2008.
<英文文法是一匹魔法白馬>臺北,五南出版社,2008年。

The Aesthetic of Finger painting, A study of Kao Chi-pei, Beijing,
  Hebei Educational Press, 2006.
<指上美學---高其佩研究> 北京,河北教育出版社,民國95年。

Jen Xiung, A Genius that Died Young, Chanshang Press, Hong Kong and Taipei, 2005.  
<任熋研究> 台北 / 香港,真賞出版社, 民國 94年。

The Usefulness of Uselessness, Chenshang press, Taipei, 2002.
<無用之用---中國文字書法之演變> 台北,真賞出版社,民國91年。
                                                      
Passion and Innovation, Hsung-shih Mei-shu Press, Taipei, 1999.            
<深情筆墨靈 > 台北,雄獅美術出版社, 民國 92年。
                           
Fragrance form the Paper Clouds, Hsung-shih Mei-shu Press, Taipei, 1998.                  
<紙上飄清香> 台北,雄獅美術出版社, 民國 92年。

Flute Songs Beyond the Hanging Scroll, Hsung-shih Mei-shu Press, Taipei, 1998.                  
<畫外笛聲揚> 台北,雄獅美術出版社, 民國 92年。
  
Archetypes and Symbols: A Reflection on Films, San Min Press, Taipei, 1995.
<原型與象徵:羅青看電影> 台北,三民書局出版社, 民國 84年。

Aesthetics of Chinese Ink Painting, Yu Shih Press,Taipei,1991.            
<水墨之美> 台北,幼獅書店出版社, 民國 80年。

What is Postmodernism, Hsueh Sheng Press,Taipei,1989.                     
<什麼是後現代主義> 台北,學生書局出版社, 民國 78年。


羅青著作外文譯本

Lo Ch’ing, Video Poems( 英中對照本), trans. Joseph Allen, University of Washington Press,
Seattle and London, 1993.
         
羅青著,< 吃西瓜的六種方法>(韓中對照本),金泰成譯,現代文學社出版,漢城,2000.

Lo Ch’ing, Einen Versteckten Drachen Wechken (詩畫集‧德中對照本), Mendrisio, Locarno,2002.

Lo Ch’ing, Sei Metodi Per mangiare Un’anguria (義德中對照文), trans. Anna Ruchat,
Fondazione Franco Beltrametti, Milano and Pavia, 2004

書畫合集

China Syndromes: Ten Chinese painters around the world, Shanghai Ku-chi press, Shanghai, 2005/
<華夏繫情:海內外十家書畫集> (黃君實、歐豪年、周 澄、楊思勝、謝春彥、
徐湖平、傅益瑤、羅青、陳健坡、林章湖),上海,上海古籍出版社,
2005年。

Conversation with the Past and Present, Sunbow Art Gallery, Shanghai, 2006.
<與古今對話---羅青、周紹華、姜寶林>上海,太陽虹畫廊,2006年。



Article in English:

2009        “Visual Thinking and Verbal Perception: A New Approach to
Teaching English Grammar to Chinese Student” Conference On Art
and Literature, School of Liberal Arts, Mingdao University,
Changhua, May 22, 2009.

2009    “On the Ink-Color Painting of Chi Pai-shih” , Conference On the Art of
Chi Pai-shih, Taichung Sea Port Art Musuem, May 3, 2009

2008    “New Approaches in Contemporary Chinese Ink-color Painting ”, New
        Ink Art Forum: Innovation and Beyond, 10:00am – 4:30pm, 23.8.2008,
          Lecture Hall, Hong Kong Museum of Art新水墨藝術─創造、超越、
         翱翔研討會:香港藝術館演講廳(地庫) B/F,   

2008   “Five ways of Looking at a floating Boat”, International Conference on
       Aesthetic and Theories of Chinese Ink painting, Asia society &
Association of Modern Chinese Art, New York, 2008, May 17-18, New
York.   

2007  “The Ventriloquist behind a Mouthpiece, An innovative approach to the Teaching of English as A Foreign Language”, The 1st international Conference on Teaching English at Taiwan Universities: Innovative Approaches, Changhua, Mingdao University, Oct. 2007.

2007  “ The Aesthetic of Hsing, the only Chinese Aesthetic that can confront the Western Aesthetic of Mimesis ” The Conference of the 3rd International Biannual Art Exhibition, Cheng-du, China, Dec. 2007.

2005  “On Connoisseurship: with Wen Po-jens’s painting as an example “, International Conference on Chinese painting, Shanghai Museum, 2005.

2005        “The Aesthetic Dilemma confronted by Chinese American Artist: On the painting and Calligraphy of C.C. Wang.”2005 Chinese American Studies Conference, Chinese Historical Society of America, Asian American Studies Dept. San Francisco State University, Oct. 6-9.

2003  “Typology, Discourse, and Connoisseurship in Chinese Landscape Painting: A Linguistic Approach” Lecture at the Department of Art History and Archaeology University of Maryland. July 21.

2002 “Chang Chung’s Art Reevaluated: The Bridge of the Flower & Bird Painting between Sung and Ming”, International Symposium on Painting and Calligraphy from Chin to Yuan, Shanghai Museum, Nov.27 Dec. 2.

2002 “A Palace Museum without a ‘Palace’?”. Orientations, May, 77-78.

2001 “Aesthetics of Chinese Calligraphy in the Post-Industrial Era”, International Symposium on Modern Chinese Calligraphy, National Taiwan Museum of Art, Taichung, Nov. 29-30.

2001 “Trade Marks and Departmentalization: Shanghai School and Metropolitan Art style,” International Symposium on Shanghai School Painting, Shanghai, Shanghai fine Arts publishers De. 16-20.

2001 “Typology, Discourse, and Connoisseurship,” Conference and workshop on Connoisseurship in Chinese Painting, Department of Art History and Archeology, University of Maryland, Washington D.C. July 16-August 15.

2001 “Pursuing the Idea of Yang: The Ultimate concern in Chinese Landscape painting,” Value Systems in the Arts of India and China: New approaches to the Textual Sources(II), Dept. of Art History, University of Sussex, Grant from Arts and Humanities Research, Lewes, England, June 15-17,  

2000 “From Colors to Inks: The Change of Value in Chinese Landscape Painting” Value Systems in the Arts of India and China: New approaches to the Textual Sources(I), Dept. of Art History, University of Sussex, Grant from Arts and Humanities Research, Lewes, England, June 15-17,  

1999 ”Chinese Ink Painting: A Postmodern Condition Past and Present,” Conference on Art and Cultural Politics: China, Hong Kong and Taiwan, University of Maryland, Department of Art History and Archeology, Washington D.C. Dec.16-19.

1999  “How to Teach Chinese Culture Class with a Linguistic Approach: Using
      Chinese Graphic Arts as Examples.” Conference on Chinese Language Teaching, Columbia University, New York, Oct. 12-18.

1998 “Chinese Mode of Thought and Teaching Chinese as a Foreign Language,”
  Conference on Teaching Chinese as a Second Language, Macaw, April, 12-16.

1997  “International Cultural Exchanges: A Personal View.” Conference on International Cultural Exchanges, National Taiwan Normal
      University, Taipei, June, 5-8.

1996 “Teaching Chinese Painting from the View of Applied Linguistics,” Conference on Art and Art Education, Taichung, National Changhua Normal University, Changhua, May,11-15.

1994  “Text and Image: A Study of the Signifier System and Mode of Thought.” International Conference on Chinese Painting and its place in the History of Art, University of East Anglia, Norwich, England, June 14-19.
      * Won the Best Paper Price, 1,000 pounds.
     
1993  “Signifier Bound and Unbound: The Relationship between Text and
Image in Contemporary Chinese Literature and Painting.” The 45
Annual Meeting Association for Asian Studies (AAS), Los Angles,
April,13-19.

1993   Fulbright 1993 International Exchange Scholar Award: Scholar in
Residence at Washington University, St. Louis.

1991  “The Chinese New Poetry Movement and the Imagist Movement: Poetics,
       Technology, and Ideological Domination.” Pedagogy and Research,
       13, May 1991, 279-378.

1990  “Chinese Calligraphy,” The Chinese Pen Quarterly, Summer 1990, 49-61

1989        “From the Cult of Technology to the Vicissitude of Ideology,” The
          Chinese Pen Quarterly, Autumn 1989, 37-48.

1989 “Four Treasures in the Chinese Study,” The Chinese Pen Quarterly,
           Spring/Summer 1989, 44-62:35-57.

1987 “On Contemporary Chinese Painting,” Preface, Exhibition of Young
           Artists of Taiwan, East-West Center, Institute of Culture and
           Communication, Honolulu, March/April 1987.

1986 “Chinese Language and Chinese Landscape Painting:  A Semiotic View,”
            Arts of the Land Conference, East-West enter, Honolulu, July,
            1986.

1984 “Latin American Poetry in Taiwan,” The Chinese Pen Quarterly, Summer
       1984,54-73.

1983 “The Opaque Tears: On the Art of Ho Chin-shui,” The Chinese Pen
        Quarterly, Spring 1983, 50-63.

1983 “How to Drown a Tabby: A Study on Thomas Gray’s Poetry,” Studies in
        English Literature and Linguistics,9, April 1983, 50-66.

1982 “The Art of Wang Lan,” The Chinese Pen Quarterly, Autumn 1981, 52-64.

1980 “Ssu-ma Hsiang-ju’s Fu and John Lyly’s Euphuism,” Tamkang Review, 10:
        3-4, Sept. 1980,385-413.


2. Painting and Calligarphy


Lo Ch’ing-che 羅青哲
(Lo Ch’ing 羅  青)

A native of Hunan Province, born in Ch’ingtao in 1948; moved to Taiwan in 1949. B.A. from The English Department, Fu Jen University, 1970;  M.A. from the Department of Comparative Literature, University Washington, Seattle, 1974.  

Works of poetry being translated into 9 different languages with awards and
critical acclaims. Works of paintings being collected by many major museums around the world, including British Museum, Ashmolean Museum, Oxford, St. Louis Art Museum, Pacific Asia Museum, Royal Ontario Museum, Taipei Municipal Art Museum.
  

One-Person Exhibition:

1973 Lo Ch’ing: Chinese Ink and Watercolor, First National Bank, Seattle
1980 Lo Ch’ing’s Small Landscapes, Pan-hua-chia Gallery, Taipei
1982 Lo Ch’ing: Palm Tree Eulogy,Dragon Gate Gallery, Taipei
1986 Chinese Painting by Lo Ch’ing, Chinatown Cultural Services Center, New York State Council on the Arts, New York
1986 Lo Ch’ing: Ink Painting School of Semantics,Tun-hung Gallery, Taipei  
1990 Find the Recluse? Chinese Calligraphy and Painting by Lo Ch’ing, Percival David Foundation of Chinese Art, London
1992 China, A Broken Mirror, Dragon Gate Gallery, Taipei
1993 China, A Broken Mirror: Four Seasons, St. Louis Art Museum, St. Louis
1993 China, A Broken Mirror: Thunder and Lightning, Ashmolean Museum, Oxford
1993 China, A Broken Mirror: From the South to the North, Asian Arts Center, Towson State University, Towson, Maryland.
1995 Iron and Steel Landscape, Pacific Asia Museum, Pasadena
1997 Barbed-Wire-Textual-Strokes: City Landscapes, National Music Hall Gallery, sponsored by Chi-chang Yuan Art Center, Taipei
1998 Guess What will happen next? Hung Chan Art Center, Taipei
1999 Postmodern Ink-color in Taiwan, Shih Chung Culture Center, Seoul, Korea
2001 Lo Ch’ing, Past and Present, NTNU Art Gallery, Art Dept. of NTNU, Taipei
2001 Lo Ch’ing’s Ten-thousand Series, Gallery Chi-ya Chai, Hong Kong
2001 Calling for Jen-hsung: Calling to the Ancients series, Haishengshan Art
Center, Shanghai
2002 Lo Ch’ing Poetry, Painting and Calligraphy, DAI, Heidelberg, Germany
2002 Lo Ch’ing’s Hung Mountain, Haishengshan Art Center, Shanghai
2002 Lo Ch’ing’s Vignette Painting, Gallerie Encre de Chine, Paris
2003 The Art of Lo Ch’ing, Cooley Memorial Art Gallery, Reed College, Portland.
Oregon
2003 Lo Ch’ing’s Painting amd Calligraphy, La Fabbrica (Franco Beltrametti
Foundation) Losone, Switzerland
2003 The Art of Lo Ch’ing, Apex Gallery, Gottingen, Germany.
2003 Hommage a la Poese des dynasties Tang et Sung, Gallerie Encre de Chine,Paris
2004 The Art of Lo Ch’ing, Honhardt Art Festival, Honhardt.      
2004 The Traveling Stones, 4th. Milan X’po: St. Maria delle Grazie, Milan.
2005 Lo Ch’ing: Separated yet not Separated, LMAN Art Gallery, Los Angeles.
2006 Lo Ch’ing: Painting and Calligraphy, Sunbow Art Gallery, Shanghai.
2007 Aesthetic of Urban Landscape, Sunbow Art Gallery, Shanghai.
2008 Postmodern Approach of Ink-color Painting, A Semiotic Trilogy,
          Sunbow Art Gallery, Shanghai.
     Lo Ch’ing’s Art, A Retrospective, Goedhuis Contemporary, New York.
     Lo Ch’ing’s Art, A 60th Birthday Retrospective, Daxi Artist House,
           Taoyuan, Taiwan.
2009 Shanghai Chu Chi-chan Art Museum, New Chinese Ink-color painting,
            May 12- June 20.


Group Exhibition:

1980 Exploration of Modern Chinese Painting, Spring Gallery, Taipei.
1982 Leading Painters of Taiwan and Hong Kong, Dragon Gate Gallery, Taipei.
1986 The 22nd Annual Modern Art of Asia Exhibition, Tokyo Museum, Tokyo.
1986 Arts of the Land, East-West Center, Honolulu.
1986 Poetry and Painting of the Republic of China, Brussels Gallery, Brussels.
1988 The Second Biennial Chinese Ink Painting Exhibition, Lion Gallery, Taipei.
1989 The Beijing Modern Chinese Painting Exhibition, The Beijing Art Museum, Beijing.
1996 First National Ink Painting Exhibition, Institution of National Art
Education, Taipei.
1996 Legacy and Transition of Ink Painting, Chinese Culture Center, San Francisco.
1997 The Flowering Field, Contemporary Chinese Painting, Kaikodo and Luen Chai, New York and Hong Kong
1998 Second National Ink Painting Exhibition, Institution of National Art Education, Taipei.
1999 Multiple Views: Taiwan Contemporary Art 1988-1999, Shan Art Foundation,
       Taipei and Beijing.  
1999 Chinese Painting from Taiwan, A touring exhibition in Five countries of the Middle South America.
2000        Cross-century Exhibition of Chinese Ink Paintings: Touring Exhibition to            
Macedonia and Czech Republic of Works by Ten Contemporary Painters from Taiwan, Museum of the City of Skopje, Republic of Macedonia; and The National Museum, Prague, Czech Republic.
2001        Exhibition of Ink Paintings by Ten Distinguished Artists form Taiwan,     
China National Museum of Fine Art, Beijing.
2002         An Affinity to Mountain Huang, Paintings and Calligraphy by
Contemporary Chinese Artists, New York, Nanjing, Hefei and
Shanghai.
2003        Ink-color Paintings form Taiwan, Warsaw, Poland.
2002  Paintings of Long River Group, Sunyetsan Memorial Hall, Taipei.
2003  Spring Painting Festival, Chinese Artists form Mainland and Overseas, Shanghai.
2006  Three Wintry Friends: Lo Ch’ing, Chou Shaohua, Giang Poulin, Sunbow
      Art Gallery, Shanghai.
2007         When Stone meets Brick: The Art of Lo Ch’ing and Yan Li, Sunbow Art
Gallery, Shanghai.

2008《後現代探索:绘画记号学第三部曲》(六十回顧展 ) 莫干山路太阳虹
             画廊,上海。
    《羅青六十回顧展》 Goedhuis Contempoary古德豪斯當代藝術,紐約。
     The 20th International Fine Art and Antique Dealers Show, New York.                                                                                                                                                                                                                                                         
    《羅青六十回顧展》                   桃園大溪藝文中心,台灣。
    《第六屆深圳國際水墨畫雙年展》             深圳博物館,深圳。
    《二十一世紀水墨畫會高雄聯展》             高雄美術館,台灣。



2009.02-03<新象---2009兩岸當代水墨展>  台中國立台灣美術館,台灣。
2009.02-03<筆韻墨華---當代水墨畫大展>  台中國港區美術館,台灣。
2009.02-03<新象---2009兩岸當代水墨展>  上海朱屺詹美術館,上海。


Award:

1963 First Prize, Chinese Ink Painting Exhibition, Keelung
1969 First Prize, Chinese Calligraphy and Painting Exhibition, Fu Jen University
1974 First Prize, Chinese Modern Poetry, Taipei
1987 First Prize, The Second Lion Biennial Chinese Ink Painting Award, Taipei
1993 Fulbright International Exchange Artist-scholar Award, Washington University
1996 Poetry International Award, Rotterdam
1996 Grand from Nobel Prize of Literature Committee to visit Stockholm, Stockholm
1996 Best Collective Poems of the year: Songs of Teenager A-tien
1999 Best Collective Poems of the year: Book of Matches


Works Collected by the following Institutes:

1990  Percival David Foundation of Chinese Art, London
1990  British Museum, London大英博物館
1990  Royal Ontario Museum, Canada 加拿大皇家美術館
1991  The Saint Louis Art Museum, St. Louis
1992  Museum fur Ostasiatische Kunst, Berlin  柏林美術館   
1992  Seijo University,Tokyo 日本東京 成城大學
1992  Taipei Fine Art Museum, Taiwan 台北市立美術館
1993  Ashmolean Museum, Oxford University, Oxford.
1992  Royal Ontario Museum, Canada
1992  The Saint Louis Art Musuem, U.S.A. 美國聖路易美術館
1994  Liaoning Provincial Art Museum, Shenyang, China遼寧省美術館
1995         Hong Kong Min Chio Group 香港敏求雅集, 香港.
1996         Asia Society, New York  紐約亞洲學會
1997  Hong Kong Min Chio Group 香港敏求雅集, 香港.
1997         Hong Kong Min Chio Group 香港敏求雅集, 香港.
2001  Hong Kong Min Chio Group 香港敏求雅集, 香港.
2001  China National Museum of Fine Art, Beijing. 北京中國美術館
2002  Keelung Culture Center,Taiwan  基隆市立文化中心
2003  National Taiwan Art Museum, Taiwan  國立台灣美術館
2005  Kaohsung Art Museum,Taiwan  市立高雄美術館
2008  Orego Art Foundation, Switzerland
2009  National Taiwan Art Museum, Taiwan國立台灣美術館
发表于 2010-1-6 08:43:23 | 显示全部楼层
布局独特,很有创意,欣赏!!!
发表于 2010-1-6 12:57:08 | 显示全部楼层
新视觉不在表象设计而在内质蓄意。
发表于 2010-1-7 01:09:55 | 显示全部楼层

罗青诗选

<關於女人的比喻方式>

女人絕對不是一個題目
當然也不是一個問題

所以也絕對沒有什麼標準答案
更沒有什麼絕對的內容

不過對比喻或對比來說
女人倒是一個絕佳的打火機

可以釀出一場壯觀千古的火災
在狂風暴雨的歷史寒流裏

焚毀六家綢緞莊 五座藏經閣 四間夫子廟
消滅三個關口  兩座城池  還有一個國家

一個可以使所有電腦當機的打火機
也可以把所有的人腦當在隱形的程式病毒裏

刪除了那些大驚失色的解構主義
簡化了一群心思細密的沙文主義

並以一個絕佳打火機所能照亮的最後事實
向全球宣布 世界上根本沒有女人

有的只是一隻唱兒歌的麻雀
在屋簷下 吱吱喳喳的唱著

有的只是一棵刺上開花的仙人掌
在沙漠中 風騷萬般的開著

有的只是一位彎腰駝背的婆娑老樹
讓片片的樹葉  垂下點點愛的重量

但見一陣慈祥溫暖的微風吹過
使山河大地不斷的開花結果

讓所有的題目都找到了內容
所有的問題都有了答案

1985

<臨池偶得>

自墨綠墨綠的池底
佳句如紅魚
悄悄悄的浮現

忽的轉身
又靜靜沈入我
幽深的心底

1970

<你早就知道>

你早就知道
在這世界上
你只不過是
普通的小石頭


不過,要命的是
後來你慢慢察覺
自己站的地方
竟有點像喜馬拉雅山聖母峰頂

1975

<雨 >  羅青

小小涼涼的雨
是小小頑皮的
音樂小神童

他有無數
小小透明的手指頭
上上下下到處亂演奏

打著圓圓的荷葉
便把荷葉敲成一面
青色的小花鼓

打著長長的柳葉
便把柳樹彈成一架
綠色的大鋼琴

打著細細的蛛網
便把蛛網撥成一把
銀色的七弦琴

打著我的花傘
便把花傘化成了一朵
鮮艷的毒磨菇

打著我的大頭
便把我變成了一隻
傻傻瓜瓜的癩蛤蟆

癩蛤蟆癩蛤蟆
五音不全
愛唱歌

張開大嘴咯咯咯
唱了一首四音不全的
大風歌

弄翻了三面花鼓
震亂了六棵柳樹
吹斷了七把七弦琴

一口氣呀!
笑掉了小雨小小的大牙
三顆又兩顆

1997年8月2日



<這世界不適合我們>



這世界不適合我們
這世界只適合第一世界第二世界第三世界,以及聯合國

這國家不適合我們
這國家只適合國民黨共產黨民進黨,以及反對黨

這社會不適合我們
這社會只適合戴黑手套的黑道,戴白手套的黑道,以及不戴手套的黑手道

這學校不適合我們
這學校只適合資優班升學班放牛班,以及教育部長

這家庭不適合我們
這家庭只適合鈔票支票股票,以及各種選票

這團體不適合我們
這團體只適合忌妒排擠勾心鬥角笑裡藏刀,以及自相殘殺

這城市不適合我們
這城市只適合搶先搶劫塞車車禍被殺殺人,以及倦眼旁觀

這時不適合我們
這時間只適合錯亂顛倒,外加遺忘

這空間不適合我們
這空間只適合分割分裂,又分化

空氣不適合我們
空氣只適合二氧化碳氟氯化碳,以及長吁短歎

水不適合我們
水只適合水災水荒水貨,以及各種水門事件

陽光不適合我們
陽光只適合觀光脫光輸光,以及申報財產不實曝光

根本說來,這地球就不適合我們
這地球只適合被慧星撞碎

這我們也不適合我們
這我們只適合成為一扇門

不過 在這扇門還沒被撞碎之前
先讓我們寫下這些

立刻製版發表給你們看看
在我們還沒有被人生退稿之前

1994年8月1日中國時報人間副刊



〈黑暗化驗表〉羅青   



你我都不了解

最白最純的輕霧

是由最黑最濃的夜化成

     

而唯有最純最濃的霧夜

才能產生最明最亮的

露水與星星



當星星昇起──長大

放射出探測的光芒

成為解析你我的太陽



露水合應散落──消逝

回歸入萬物的內心

變為構成夢幻的你我

     

在光的化驗下,你我不斷的生生撕裂

自己黑暗的內裏,在露水的浸潤下

你我一再的重新揉塑自己

     

讓所有的人都了解

只有最黑最濃的影子

才孕育最強最健的人





<人>

      

山河日月呵

雖然你們億萬年來

不斷的努力

用地震洪水旱災潮汐

向人們證明你們永恆的存在

億萬年後的今天

仍然無法說服我

你們不只是一場小小的夢幻



〈水稻之歌〉



早晨一醒,就察覺滿臉盡是露水,

顆顆晶瑩剔透,粒粒清涼爽身。



回頭看看住在隔壁的大白菜

肥肥胖胖,相偎相依,一家子好夢正甜。



而遠處的溪水,卻是群剛出門的小牧童,

推擠跳鬧,跟著小魚穿過一座矮矮短短的獨木橋。



於是,我們也興高采烈地前後看齊,

把腳尖併攏,手臂高舉。



迎著和風,成體操隊形,

散────開



一散,就是

千里



1971







<論杜甫如何受羅青影響>



請不要捧腹大笑
更不要破口大罵

請不要以為我故意把
一篇論文的題目寫成了詩

沒有人會相信嫦娥
曾經跟太空人學過太空漫步

但她一定在敦煌觀摩過
彩帶舞──倒是不爭的事實

這是喜歡選購昂貴獸皮的后羿
所永遠無法理解的

還是聖之時者孔丘
開通又明智,得看透了這一點

他任人打扮,穿著歷朝歷代的
衣冠到處活動,從不挑三揀四

這些專業知識
古今中外所有的小孩

早就在繡相插圖連環漫畫裡
反覆研究得一清二楚

光頭神探及老子莊子
齊天大聖及大醉俠蝙蝠俠,都可證明

鄭康成與朱夫子
時報出版社及蔡志忠也都一致同意

只要來個漫畫人物新年大團拜
便可充分證明杜甫受過羅青影響

因為古代的風花雪月
最喜歡模仿現代攝影裡的月雪花風

古代的喜怒哀樂興亡盛衰
完全抄襲現代電視中的因果輪迴循環報應

包青天可以參考虛構的福爾摩斯
武則天可以剽竊美國的埃及艷后

所有的電視觀眾都同意
楊貴妃要健美的現代豪放女來演才像

現在我只不過是說說杜甫受我影響而已
大家又可必皺眉歪嘴大驚小怪

若硬是要問有沒有其他證據
證明杜甫如此這般

只要把杜康抓來一問
便可一審定案

如果有人膽敢因此走上街頭
示威抗議胡攪蠻纏

隊伍一定會遭人插花遊行
趁機主張分裂早已四分五裂的國 土

屆時將更加突顯杜甫創作的
那句「國破山河在」

不單受了我
同時也受了我們大家的,影 響

1994年10月20中國時報



<我拒絕對秋天發表評論>



秋天喔秋天
遠遠的我看見
你他媽的又來了

對你我拒絕發表
任何評論

我不願說
你是紅葉黃葉織成的大壁毯
是黑色樹枝編成的鐵絲網

我不想說
你是果實穀物豐收的大籃子
是衰草殘花灰燼的銅爐子

我不能說
你是醉後紅得發紫的頑皮詩人
教壞葉子搖舌搬弄滿天風涼話

我無法說
你是無法無天的不良中年通緝要犯
縱火燒掉了一座又一座的香水工廠

我不曾說
你是抽象表現主義加極減主義
是浪漫現實主義加恐怖主義

我不敢說
你發動髮國大革命在有十多億人頭的中國

又發動焚化大革命在有無數楓丹白露的法

我更不敢說
你在六月綠色的西瓜裡發動紅色的十月革
命在三月藍色的地中海發動白色的五四學潮

我絕絕對對不會承認
你是那習慣用左手最後一片葉子
輕拍我五十右肩的地下黨員

秋天喔秋天
遠遠的我看見你
你又來了

對你
我拒絕打
任何招呼

雖然我至少應該有
四十多種不同的方法
把你罵得狗血淋頭

但我拒絕……堅絕拒絕
因為 現在 仍然是
春天





<吃西瓜的六種方法>        



第五種 西瓜的血統



沒人會誤會西瓜是隕石 

西瓜星星,是完全不相干的

然我們卻不能否認地球是,星的一種

故而也就難以否認,西瓜具有

星星的血統



因為,西瓜和地球不止是有

父母子女的關係,而且還有

兄弟妹的感情--那感情

就好像月亮跟太陽太陽跟我們我們跟月亮的

一,樣 



第四種 西瓜的籍貫



我們住在地球外面,顯然

顯然,他們住在西瓜裡面

我們東奔西走,死皮賴臉的

想住在外面,把光明消化成黑暗

包裹我們,包裹冰冷而渴求溫暖的我們



他們禪坐不動,專心一意的

在裡面,把黑暗塑成具體而冷靜的熱情

不斷求自我充實,自我發展

而我們終究免不了,要被趕入地球裡面

而他們遲早也會,衝刺到西瓜外面





第三種 西瓜的哲學



西瓜的哲學史

比地球短,比我們長

非禮勿視勿聽勿言,勿為--

而治的西瓜與西瓜 

老死不相往來



不羨慕卵石,不輕視雞蛋

非胎生非卵生的西瓜

亦能明白死裡求生的道理

所以,西瓜不怕侵略,更不懼

死亡



第二種 西瓜的版圖



如果我們敲破了一個西瓜

那純粹是為了,嫉妒

敲破西瓜就等於敲碎一個圓圓的夜

就等於敲落了所有的,星,星

敲爛了一個完整的宇宙



而其結果,卻總使我們更加

嫉妒,因為這樣一來

隕石和瓜子的關係,瓜子和宇宙的交情

又將會更清楚,更尖銳的

重新撞入我們的,版圖



第一種 吃了再說

1968
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::gif160::gif 有点意思
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2aModern Chinese art 柏克萊羅青專論(1).lnk

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柏克莱罗青专论

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中國繪畫極簡史



                  羅   青

(一) 從新觀點回顧繪畫史



中國繪畫,至晉顧愷之是一變,畫家開始,從對「物象外在形體」描寫,轉變成對「物象內在精神」的刻劃,以「傳神」為最高標準。至唐王維又一變,從對「外在物象神形」的刻劃,轉為藉由物象,特別是以「水墨山水」,表達「畫家內心」的獨特感受,也就是從傳外在「物象之神」轉為傳畫家「內在之神」。



稍後的張璪,進一步,爲上述中國繪畫三百年的追求,作一總結性的提要:「外師造化,中得心源」。於是以「水墨」為手段,以「造化與心源」(外物與內神) 之平衡為原則的繪畫探索,便成了唐末、五代、北宋諸大師,在藝術上的主要發展方向。



     到了北宋中期,蘇東坡提出「江山如畫」與「論畫求形似,見與兒童隣」的論點後,中國畫又醞釀出另一波重大的變化。繪畫開始脫離自然,成為自給自足的主體。對畫家來說,自然與造化,只不過是繪畫的參照物而已,自然界景物的「入目」與否,「如畫」與否,還要依照畫家與繪畫藝術自身的原則,來決定去取。繪畫的結果,與外在對象物是否有「形似」的關係,已成最不重要的微末枝節。繪畫從「造化心源」轉入「格物致知」,以科學的「格物」方法取代簡單的「外師造化」;以系統的「致知」擴充「中得心源」。



     米元章呼應了王維與蘇東坡的看法,他以「米點山水」探索發揚「因筆生筆」的「墨戲」觀念,徹底發揚了繪畫的「抒情性」與「即興精神」。山水的形體,不再依靠外在真山真水的「範本」而生,而是依照畫家及繪畫內在「自給自足」的規律,也就是「心源致知」與「筆墨規律」而生。



唐末五代畫家在「外師造化、中得心源」之間,追求平衡。北宋畫家在「格物致知」之間,追求並重:「格物」是「外師造化」的精密化;「致知」是「中得心源」理性化。而米元章以後的畫家,有一些已開始在繪畫中,向「心源」與「致知」傾斜。南宋馬和之與梁楷的「簡筆繪畫」與僧人牧溪、玉澗的「禪畫」,以及宋伯仁刊印於南宋景定二年 (公元1621年) 的《梅花喜神譜》木版畫譜,精密的描寫梅花的開落,將之分成一百個步驟,便是這種「傾斜」下的產物。





(二) 「歷史感」的共同追求:書畫合一新解



     上述偏重自我感受與體悟的繪畫發展,到了元代趙孟頫又是一大變化。趙氏提出繪畫要有「古意」,要與「八法」相通。一般人多誤解趙氏是「復古」主義者,認為他主張以「書法入畫」,但卻又無法具體說明,以書法的筆法,想要復的是甚麼「古」。其實趙孟頫的「古意」,是繼承蘇東坡與米元章「心源、致知」的理念,做進一步的深入探索。

     

     我們知道,在中國藝術的範疇中,只有「書法」是純粹依靠「後設語言」發展的「圖象/文字」記號系統。書法的個別字型,在自然界,並無具體的「指涉物」或「參照物」。書法家或書評家,在判斷「樹」字寫得是好是壞時,不需依靠「自然界中之樹」為判準,而是依靠檢查此一「樹」字,內在「自給自足」的「筆墨規律」,以及「樹」字與歷代各種寫法範本的對比對照,來判定其成敗得失,一切的判準都是「後設的」。因此書法的發展,就是書法史的發展,絕對無其他參照物,可以左右其方向。書法中的每一個字,每一篇作品,都是在「承先啟後」的脈絡之中,對整個書法史所做的評論與回響。

  

     繪畫如要引「書法」入內,第一要務,便是仿照書法史,建立「後設繪畫語言」的傳統或歷史。不過,建立書法圖像史的過程是較為容易的,碑帖、金石、木版,都可以相當忠實的「拓印臨摹」方式,展現書法發展史的源流,讓習者一目了然,可以全盤掌握「字型字體」的流變轉化與興衰用廢。



繪畫則不然,繪畫圖像的複製技術,要到明末,才漸漸臻成熟,畫家對藝術圖像史的掌握,也要到這個時期,才較全面。趙孟頫是第一個意識到繪畫「歷史感」的畫家,他所謂的繪畫要有「古意」,便是要「繪畫」也像「書法」一樣,不只是一昧追求個人現實經驗的反映,也要加入豐富的「歷史集體經驗」,也就是「歷史感」。所謂的「古意」,也就是歷代「繪畫圖像記號」發展史,換而言之就是繪畫圖像的「典故成語史」。從趙孟頫的觀點看來,「繪畫語言」的寶庫,便存在於他所謂的「古意」之中。

    

     因此趙氏認為,唐末五代大師如荊浩、關仝、李成、范寬的藝術,全都在「外師造化」的個人經驗範疇裡,在筆墨上並不反映繪畫史的發展。其後的董源、巨然、郭熙、李唐,也不系統反映繪畫圖像史的傳承,我們在他們的作品之中,特別是筆法墨法中,找不到前人的影子。這就是為什麼現存五代北宋之名跡,在元明清三代的收藏體系中,沒有受到應有的重視,題識甚少。



     趙孟頫的「古意」藝術觀點,及以書法入畫的「筆墨」觀點,是造成元代「繪畫史典範」(paradigm),由「荊、關、李、范」,轉變成「荊、關、董、巨」的主因。繪畫後設語言系統,由是得以建立。標示著從此,繪畫可以漸漸完全脫離「造化」或「自然」的束縛,走向以「筆墨歷史」為主的獨立自主境地。中西繪畫自此,分道揚鑣,拉開了距離。



     此一「古意」系統,到了董其昌手中,把「筆墨歷史論」系統化與王守仁的「心學」結合,確立了「南北分宗」的繪畫史觀,大膽指出「以境界奇怪而論,畫決不如山水,而以筆墨精妙而言,山水絕不如畫」。此一立論,預示了不久之後,王概的《芥子園畫傳》繪畫字典與文法規則的誕生,也就等於是「繪畫圖像綜合碑帖」的誕生。此後畫家可以混雜引用歷代任何繪畫語言風格,當場即興綜合創造自己內心的藝術,不斷與「過去」從事充滿「歷史感」的「對話」,成為主流,而觀察體會自然,在繪畫過程中,雖然依舊重要,但卻不得不漸漸退居次要的地位。



     從此畫家可以像唐代詩人與書家一樣,在熟背《詩格》、《詩式》(《文鏡密府》)或熟練草書楷書之後,可以即席做字賦詩,抒情言志,而且可以創作出藝術成就極高的名篇名作,流傳千古。西洋繪畫,要到近三十年來,「後現代主義」全面盛行後,這種繪畫「歷史感」才得到無比的重視。





(三) 過分重視「歷史感」的流弊與更生之道



    從顧愷之到趙孟頫到董其昌,用了近一千三百年的時間,中國繪畫「後設語言體系」,終於建立完成。畫家從元代開始,圖繪無不加入「筆墨歷史感」,然後變化發展,創造自家風貌。如果畫家引用典故成語得法,對於獨創另一畫格,幫助甚大,所謂以舊開新,借古開今者也。因此明清兩代畫家,大多沿元舊制,引用典故成與之習,蔚然成風,有如八股文然。不過,「仿古」而又能「以故維新」者,自是大家。然而這種情形,可謂少之又少,大多人云亦云,炒冷飯而已,談不上甚麼創作。



只有清初「新安畫派」與「金陵八家」,企圖重回「造化心源」平衡的傳統,配合王守仁的「心學」,主張「求奇可觀」,參考自然,發明新的字彙、片語、句法,讓人耳目為之一新。十八世紀末,南京鎮江出現「京江畫派」,綜合陳老蓮與吳派畫法,以地方風物為可觀之對象,以「濃重筆墨」為表現個性之手段,也有一新章法、句法之意,開創新局。



金陵與京江畫家們,足跡不出故里,影響範圍較小,對廣大的因襲陋習,無法當頭棒喝。到了清末民初,繪畫傳抄之風愈演愈烈,如充滿了過多的歷史語言,個人當代當下的感受,卒漸稀薄淡化,相互仿作成風,造成了大量的假借仿古之名,而行抄襲變造之實的作品,使繪畫失去了反映時代的功能。

民國以來,新起的「墨彩畫家」,或重新挖掘水墨後設語言,或自外引進西洋水彩寫生之風,從新探討「造化心源」、「格物致知」的關係。

以中國歷史繪畫後設語言為基礎,以現實知感性 (sensibility) 為參考的畫家,有黃賓虹、齊白石、蕭  愻、楊渭泉、賀天健、吳湖帆、陶  鏞、溥心畬、陳小蝶、黃君壁、張大千、丁衍庸、陸儼少、朱辛堯、陳子莊、傅抱石、李可染、任博悟、程十髮、張  仃、鄭善禧、何懷碩、曾  宓、姜寶林、賈又福…等名家。他們的作品之中,書法線條仍然佔有重要地位,但在畫面的構成上,多少也有許多地方,受到西洋古典與現代後設繪畫語言系統的啟發,從而成就其獨特的繪畫風格,他們一方面承繼了古代的遺產,一方面直接、曲折或暗示反映了現代,引領一時之風騷。

以西洋繪畫後設語言為基礎,以現實知感性為參考,再參雜中國後設語言為輔助的畫家,有高劍父、高奇峰、陳樹人、徐悲鴻、豐子愷、余承堯、林風眠、關  良、龐薰琴、趙二呆、吳冠中、陳其寬、曾佑和、周绍華、劉國松、葉世強、李金遠、田黎明...等名家。在他們的作品中,書法線條漸漸退居次要的地位,其繪畫主題,強烈的直接或間接反映時代的表象與肌理,探索現代生活內再與外在,為後世開創無限繪畫法門。
发表于 2010-1-20 14:56:59 | 显示全部楼层
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