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LOTS 813-814美國私人收藏周綠雲，生於上海，畢業於知名學府聖約翰大學。從八〇年代早期起，作品風格上取得了極具突破性的轉變，創作出極賦現代感的作品，生機勃勃，用色鮮艷大膽，得益於對中國古代道教與佛教信仰的實踐。八〇年代初期，周綠雲開始跟隨道家大師許一帆修煉氣功以改善健康，同為上海人的藏家，亦因跟隨許一帆大師學習氣功，而與周綠雲結為知己。經過一年的修煉與冥想，她感受到一股前所未見又不能解釋的能量。其後，藝術家開始在畫作中表達這種非比尋常的感受。在看似毫無章法的抽象元素中，藝術家對這種能量的表達氣吐虹霓，令觀者可以從畫中感受到浩瀚無際的宇宙，以及微妙玄通、如黑洞一般的能量。這份極具爆炸性的表達，正如老子《道德經》“道可道，非常道”和“濁以靜之徐清”的哲理。藝術家修煉內省沉思的經歷，令她從偏見中解脫出來，佛教慈悲為懷的思想，亦啟發藝術家去追尋心靈的平衡。每天練習氣功後，周綠雲常談道她對他人的痛苦的感同身受，同情心的概念在她心中亦逐漸從抽象變得實在。這份感受逐漸走出因丈夫離世而引發的憂鬱情緒與陰影。她明白到痛苦在人生中是常見的，而丈夫離世的痛苦跟他人感受的痛苦相比，亦是相約的。這種同情心及釋放的玄妙能量賦予藝術家前所未有的創作自由：她的筆觸變得更加自由和大膽，顏色更豐富鮮豔，在這系列的作品（編號813和814）中表現得淋漓盡致。在中國書法的藝術語彙中，周綠雲從循規蹈矩的筆法轉化成抽象畫般的行書。她勇於超越繪畫的規則，作品不僅是個人風格的表現，更完全表達她無法陳述的內在個人能量，悠然自在地表達自己的靈魂。周綠雲不僅是抽象表現主義的藝術家，觀者更能從她作品中禪悟出一些中國古代歷久彌新的智慧。
周綠雲（1924-2011）
抽象
細節
周綠雲（1924-2011）
抽象
設色 紙本 冊頁七開
1992年作
抽象
設色 紙本 冊頁七開
1992年作
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Irene Chou was a graduate of the legendary, now closed, St. John’s University in Shanghai. Her paintings made a breakthrough in the early 1980s from a traditional style to one that was modern in its bold, expressive dynamism and colours, and yet was firmly based in ancient Chinese practice of Taoism and Buddhist beliefs.
Her style changed in the early 1980s after becoming a student, together with the collector, of a Chinese qigong master Hsu I-fan, initially with the sole intention of improving her less than ideal health. After about a year of meditative practice, Chou began to feel moved by an energy she had not known but could not verbalise. She started to paint to express the energy she was feeling. Within the seemingly chaotic abstraction was a coherent reference to an energy that in many of her later paintings resembled a spinning galactic force field. One could “see” what is within the mysterious spaces in her canvas that resembled a black hole in space that was in fact packed with tremendous energy, like the well-known saying in Tao De Jing by Lao Tsu, the founder of Taoism: “What can be named is not the truth…By not seeking, one perceives clarity.”
Chou’s practice also brought her closer to a fundamental Buddhist tenet: compassion. She often talked about a spontaneous feeling for other’s pains after her daily qigong practice. Previously compassion for others was an abstract idea she held dear. Now, she felt its strength that also helped her overcome her depression from the death of her husband, a depression from which she did not believe she could escape. Pain she realised was common among people. Her pain in losing her husband was not more painful than many others had experienced. The compassion and the unleashed energy gave her an artistic freedom she had not had before. Her strokes became stronger, “wilder” and bolder; the colours more brilliant. The paintings show that clearly.
In the language of Chinese calligraphy, she moved from correct penmanship to the “running” style of writing that resembled abstract painting. She had mastered the rules and then she knew how to go beyond the rules. Her paintings became not just a stylistic statement but an expression of an inner personal energy she could not name. These paintings project a force that would hit the viewer like a cosmic hurricane. Irene Chou was more than an abstract expressionist painter. Her paintings project some of the most cherished ancient Chinese wisdoms.
榮譽呈獻
Sibley Ngai