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YUNG Chee-Mun, Simon  容 子 敏  

b. 1 9 6 8  ( H o n g  K o n g )

Chee-Mun, Simon Yung grew up in Hong Kong and obtained a Master of Arts in Chinese Literature (HKMU), a Diploma in Chinese Painting (HKU SPACE). Simon has participated in various Hong Kong and overseas art exhibitions. Besides, he has won a number of awards in different art competitions, including "Hong Kong Contemporary Art Awards 2012 (HKMoA)", "Beyond the Surface~Chinese Abstract Art 2008 (MMoA)" and "Hong Kong Art Biennial Exhibition 2005  (HKMoA)". His works are collected by the Hong Kong Museum of Art, enterprises, and private collectors.

容子敏,香港水墨藝術家,兼任藝術教育及推廣。取得中國文學碩士(HKMU)、中國繪畫文憑(HKU SPACE)等。作品入選香港當代藝術獎 (HKMoA)、超以象外中國抽象繪畫作品展 (MMoA)、夏利豪基金會藝術比賽 (PCF)、香港藝術雙年展 (HKMoA) 等。容氏曾參與多個香港及海外聯展,包括英國、美國、新加坡、韓國、台灣及國內等地;及多次舉辦個人展。作品於不同的國際拍賣會競投,並獲香港藝術館、企業機構及私人收藏。

SAA085 青空杳杳_low.jpg
"Empathy" Series   
" 移 情 " 系 列
 
Vertical  

Empathy
Rocks Emerge when Spring Subsides 水落石出

Rocks Emerge when Spring Subsides 水落石出

Ink and Colour on Paper 140 x 35cm each (2010) a set of two <香港藝術館藏系列之一>

Sky of Silence 青空杳杳

Sky of Silence 青空杳杳

Ink and Colour on Paper 138 x 69cm (2020) 寂靜的春天,冥想空靈,紀念著沉默的庚子年,只有流水淙淙不受約束。

Lake on the Cliff 壁上天池

Lake on the Cliff 壁上天池

Ink and Colour on Paper 137 x 52 cm (2018)

"Empathy" Series   
" 移 情 " 系 列
 
Landscape 
Spring Spray  春灑

Spring Spray 春灑

Ink and Colour on Paper 33 x 69cm (2018)

Discover Squirrel in the Canyon 松現城峽

Discover Squirrel in the Canyon 松現城峽

Ink and Colour on Paper 46 x 132cm (2023)

Vicissitudes of Mountain 2 瀾漫形沉其二

Vicissitudes of Mountain 2 瀾漫形沉其二

Ink And Colour On Paper 67.5 x 138cm (2021) 此作是遊歷山川荒野後之綜合想像,並借晉代潘岳《滄海賦》來表現所想:「徒觀其狀也,則湯湯蕩蕩,瀾漫形沉,流沫千里,懸水萬丈。」畫面呈現的藍調是日落前的反照,其驚艷的日光現象,帶出山水世界的不同視覺效果,亦是日夜交替最美的一刻。

Spring & Pure View 青溪平遠圖

Spring & Pure View 青溪平遠圖

Ink And Colour On Paper 49 x 138cm (2018) Museum Grade Framing

"Empathy" Series   
" 移 情 " 系 列

 
squre
Spring Equinox  春分滿灑

Spring Equinox 春分滿灑

Ink and Colour on Paper 69 x 69cm (2018)

Spring Equinox 春分

Spring Equinox 春分

Ink and Colour on Paper 70 x 70 cm (2015)

Listen 聽泉

Listen 聽泉

Ink and Colour on Paper 29 x 29 cm (2014)

Spring Spray 春灑

Spring Spray 春灑

Ink and Colour on Paper 30 x 30cm (2016)

"Empathy" Series   
" 移 情 " 系 列  

The creative concept behind his landscape painting is to hold together the classical philosophy of the ancient Chinese scholars'use of ink. He pursues the philosophy inspired by Du Fu's poetry. Empathy integrated the invisible spiritual realm into the visible landscape, turned the real life's hustles and bustles into a world of quietness and serenity. In addition, he was inspired and influenced by Romantic English artist William Turner and Impressionist French artist Claude Monet. He uses Eastern and Western art materials and techniques to create his own rich colourful paintings imbued with a sense of Chinese fusion. His landscapes depict a fairy tale - like Chinese utopia based on natural scenes from his recalled memory. The other iconic symbol found in Simon&'s work is the waterfall. He feels that unlike trees and buildings which grow vertically upwards, water quietly flows downwards to nourish life on earth. As we lived in a rapid city, it is good for one to slow down and focus on a moment of quietness.

山水意境一向是古代文人生命理念的維繫,是人性的寫照,是心靈寄託的家園。《移情》系列的作品是要將社會世俗的煩囂轉移到靜謐的心靈,通過「移情作用」,把無形的精神境界以筆墨表現在有形的山水之中,追求詩人杜甫的「水流心不競,雲在意倶遲」這樣的人生哲理。我們活在急速的城市,也許需要緩下來,寄情於一刻的恬靜。畫中的風景有如人間仙境,暮色蒼茫,煙雪淒迷,然而又並非是一個渺無人煙、不存在的世外桃源,而是一個世人可以踏足的美景,因此在作品的一角,偶爾仔細觀察則會看到小屋、涼亭,若隱若現,迷蒙之間,恍如你已深入其中,喧囂的生活中還能有一處僻靜之處容你休憩。

The work of “Rocks Emerge when Spring Subsides” is one of this series “Empathy” by Simon Yung. 

「水落石出」為「香港藝術館」館藏《移情》系列中的另一幅水墨畫,該畫作為香港本地水墨畫家 Simon Yung 容子敏先生所作,其受浪漫主義畫家 William Turner 及印象派 Monet 影響,作品中糅合了中西的技法:既有豐富鮮明的色彩,又不失傳統水墨畫淡然物外的氣魄。

Reflection
"Reflection" Series   
" 反 象 " 系 列  

島嶼 系列

島嶼 系列

Islands Series Ink and Colour on Paper 水墨設色紙本 H 137 cm x W 69.5 cm x 7 2019 by Yung Chee mun 容子敏

浪遊

浪遊

Islands 1 Ink and Colour on Paper H 137 cm x W 69.5 cm 2019 by Yung Chee mun 容子敏

浪遊

浪遊

Islands 2 Ink and Colour on Paper H 137 cm x W 69.5 cm 2019 by Yung Chee mun 容子敏

流漫

流漫

Islands 3 Ink and Colour on Paper H 137 cm x W 69.5 cm 2019 by Yung Chee mun 容子敏

淋灕

淋灕

Islands 4 Ink and Colour on Paper H 137 cm x W 69.5 cm 2019 by Yung Chee mun 容子敏

淋灕

淋灕

Islands 5 Ink and Colour on Paper H 137 cm x W 69.5 cm 2019 by Yung Chee mun 容子敏

蓬瀛

蓬瀛

Islands 6 Ink and Colour on Paper H 137 cm x W 69.5 cm 2019 by Yung Chee mun 容子敏

澄明

澄明

Islands 7 Ink and Colour on Paper H 137 cm x W 69.5 cm 2019 by Yung Chee mun 容子敏

寒泉

寒泉

Freeze Ink and Colour on Paper H 138 cm x W 70 cm x 3 2012 by Yung Chee mun 容子敏

靜觀

靜觀

Gaze Ink and Colour on Paper H 134 cm x W 70 cm x 3 2012 by Yung Chee mun 容子敏

臨澤

臨澤

Swamp Ink and Colour on Paper H 140 cm x W 70 cm x 2 2012 by Yung Chee mun 容子敏

"Reflection" Series   
" 反 象 " 系 列  

"Reflection" is abstract series of works, The reflection of the mountains on the lake. The mountains were an established thing and could not be changed, but the reflection of the mountains seen on the surface of the water would be turbulent with the waves (such as wind and rafting), which could change the landscape and bring about a special visual effect, and the composition used in painting and interesting. Through the reflection of light, water shows the inverted images of the scenery. With ripples on water, the virtual images become surreal. 

容子敏喜愛遊歷名山大川,〈漓江反象〉是其抽象系列作品之一,描繪的是山丘在湖水上產生的倒影,這也是他對"水"情有獨鍾的延續。他認為山丘是既定的事物,是不能改變的,但水面上看見的山丘倒影,則會隨著風吹或泛舟而令水波動蕩,這動蕩可為風景產生出變化,帶來特殊的視覺效果,其構圖用於繪畫上,意趣盎然。就如平淡而既定的人生,總會遇到不同的衝激,迎風而致,順勢而行,或可帶來一瞬間的璀璨。 水受光的反射, 呈現出景物的倒影. 水泛起漣漪, 倒影的虛像成了抽象. 


〈反象〉系列之〈島嶼〉作品共五組,分別名為〈浪遊〉、〈流漫〉、〈淋灕〉、〈蓬瀛〉、〈澄明〉

取材於香港「印洲塘」的層巒疊嶂與湖光水色之相互反照所呈現的美感經驗,以實驗水墨來表現一種對山水演繹的抽象聯想。沉穩屹立的丘陵起伏是為「實像」,而萬千變化的湖上倒影則為「虛像」,虛像不如實像般擁有美不勝收的清朗輪廓,但虛實相生,隨著氣候環境產生不同的光影變化,以及微風、小石、泛舟等帶來的漣漪漩渦,其波動的韻律形成了水面上特殊和美好的抽象狀態,如人生總遇上不同的外來衝擊與變化,我們可從另一個角度去探索和啟發更遼闊的方向。水墨在宣紙上大筆洶湧地發揮,乾濕濃淡隨隨流變,墨色的排開呈現出透明靈動、若顯若隱的效果,這種「墨象」活潑淋漓地滋潤在白紙上,有時浮現柔軟的雲瓣和深邃的山巒,有時顯現泛光的湖色和蒼黝的山坡。墨象是沒有聲音,只有視覺的享受,以及用心去感受,通過人的沉默和靜化,心緒比寧靜更寧靜,這是一種超脫出塵的空靈境界。

《灕江反象》是抽象水墨畫,風格大膽創新,與風格沉穩的《移情》系列截然不同。

「我在學時期主修山水畫,為了創作,我不停遊歷名山大川,探索不同的山水面貌。有一年,我遊走到桂林,那時水面極為清澈,眼見山丘在水上有倒影,時動時靜,在規律與不規律之間,感覺很美。」就這樣,容先生開始了《灕江反象》的創作,畫的,不是沉穩屹立的山巒,而是在水面上青白換色、丘陵起伏的變化萬千,容先生稱之為「虛像」。

「虛像」與實景不同,虛像不會如實景般擁有清朗的輪廓,而是會隨著外來環境而有不同的光影變化,可能是微風、可能是小石、可能是泛舟帶來的漣漪....沒有特定的狀態。因此在宣紙上,偶爾你會看到水墨活潑淋漓地流動,有如柔軟的雲瓣,但有時又會清楚地看到深邃的山巒、蒼黝的草坡.....有趣的是,虛像裡不會有聲音,這是水面世界,只會有視覺上的享受,不論水墨如何洶湧,在宣紙上也會靜靜化為沈默。容先生說,這是比寧靜更寧靜、超脫出塵的世界。

為了製造這種透明靈動、若顯若現的效果,容先生需要善用水墨在宣紙上的流動。他先以大筆用墨,潑落於宣紙上,再將宣紙垂直掛上,令水墨自由流動。在濃墨與淡墨半乾時,再在宣紙上加上清水的線條與水點,墨色便會漸漸排開,出現多變的墨象,待乾後,宣紙便會呈現意料之外的抽象效果,最後加上中國顏料(石青、褚石),作品便見滋潤淋漓。

8年前,容先生創作這一抽象水墨畫,大膽創新,希望可以為傳統水墨帶來一點新意;後來唯恐傳統筆墨的功夫會被荒廢,容先生將抽象水墨畫擱置多年,開始了中西合壁的《移情》系列。今次這批塵封的作品在大型畫展裡再次出展,有如一個回顧,也是畫家在藝術生涯上的自我完成。回望過去種種,《移情》系列大受歡迎,但《灕江反象》卻沒有在紅塵中褪色。多年來,畫家遊走大江南北,發現灕江倒像的美與寧靜,始終在腦海裡未能忘懷,那揮之不去的山水,就如他筆下的倒影一樣,沒有起點,也沒有盡頭。

 

藝趣談 Art Uncovered

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