木石緣‧人間情
－周瑛作品小讀
林保堯
前國立藝術學院美術史研究所教授
早期純木刻黑白明麗線條組合織繪的版刻表現，是周瑛教授在台灣早期四十年代前後膾炙人口的
作品。一刀一痕留存著傳統民間的剛毅質樸風味。例如，至今仍見及的〈春滿人間〉一景，即是
相當典型的代表名作。左右虛實有秩的對稱，正中寬廣畫面，空間井然有序的組合，填補點綴，
令人入鏡，亦令人入畫。四十年代的台灣農村景像，確實離我們好遠，即使今天仍有農村，仍有
豐饒的良田，然而力阿卡車、吹打花轎、睏睡豬仔等，確實不易見著。但是那辛勤耕耘的作品畫
面刻痕，卻是紀錄了台灣大地農村過去以來真實發展的生命力，同時亦是寫下周瑛創作一生的台
灣生命說錄開始。這確實是個不經意的聯想，然而確又是個真實意境的懷想。
走過北師藝術歷程教育洗禮的人，幾乎沒有人不知有個以刻刀語彙展現創作智慧的藝術導師－周
瑛教授。多年來，北師的一木一磚一瓦一屋一宇，不但是其畫作刻筆下啟迪菁菁學子走入學藝世
界的敲門金磚，更是澱績北師代代學子戮力耕耘藝術教育學程傳繼的台灣火炬。今天台灣藝壇藝
術家們，不知有多少是在北師純樸校風的藝術刻繪洗禮剔鍊下，撫育茁壯的，多少的藝術各面鑽
研者們，亦是在北師莊最黌宇的人文氣質薰陶受教下精研成就的。回想，北師的刻繪塗抹，課堂
的人文薰風，是周瑛作育英才的戮力教學時代，更是周瑛探索藝境的輝煌創作時代。
創作是個無止境的人生圖譜，而藝術創作，更是人生長城遙不可及的深境里程，因而讓人心志與
智慧浸於沈潛。因而，藝術家們莫不傾下人生賭注，深掘及不可測的藝術奧祕境域。周瑛的教學
時代，在摸索深究中，不僅沈潛了藝術理路，深境的獨自語彙提煉，同時更澱積了藝術創作深邃
的特有智慧生成。其間，在創作媒材上，創作圖式上，甚而創作思維上，創作風潮上，開展過無
數的「變」與「革」，「破」與「立」的雄渾嘗試開發和深度的推波助浪。民國七十七年國立歷史
博物館邀請展的〈石之頌〉系列，即是沈潛磨鍊，沈澱累積鑽研版畫人生五十年頭的「藝術真言」
壯舉。
走進自然，擷取自然，是每位藝術家創作上的天職，更是付予自然關懷的天性使命。然而，取於
自然的媒材，付予自身獨有的創作語彙，卻又是天職使命中，難以至達的天性業績。
確實，每位世人矚目的藝術家，都有他生命的獨自語彙手法，更有他特有的語彙表現生命。就如
「花」的世界，每位藝術家表現手法千姿百態，然其花韻底層的生命享受卻是各行其道，美不勝
收。然而，在自然的素材中，似乎如周瑛般鍾情於「石」的世界的作家，確實不易多見，特別是，
以石為藝術生命組合系列的創作語彙連鎖，那簡直是不太可能的。
石，是自然界最原始的物件，亦是永遠伴隨人類視覺語彙對象的原始造物者。因於這樣的自然性、
原始性、物件性吧！反而使這個大地珍貴的造物資產，不太為人所重視，更不為藝術家們所鍾情。
這樣地看，「取於石，入於石，又出於石，造於石」的耕耘者，確實具有別於一般的優勢思鑑情
才，以及異於芸芸各家的排他明心智慧。
欣閱周瑛的〈石之頌〉，是個您我不需交談的「非語」世界，令人易見易讀，讓人易領易會，只
是所見讀得，所領會得，卻因人之素養心受，有著無限內涵空間生命的主題見地延伸。換言之，
無拘無束，無限自由的空間延伸，是周瑛〈石之頌〉系列之作給予人的初會見面分享。隨著見面
的喜悅，畫面雅緻溫潤特有的自然石之頌讚肌理與紋飾對語，讓人走進冥思起意的畫面主題尋
思。尤其是那有意無意的溫馨且又優雅的黑白漸層色調，讓人回味自身藝術境域的冥想理趣，更
讓人抒發自然與人際生命之間，「石」的藝境寫照對白，與其包容的寬厚深愛溫度。石是自然冰
冷的，隨著日溫上升，亦是溫熱有情的，似乎人以外的石之創作頌讚者才之呢！相對的，芸芸眾
生的石之頌讚之愛昇起，似乎也在〈石之頌〉系列之外無所知得呢！
您看，簡潔、純淨、不多言，亦不少說的優游自得圖形，有如非思的有力語彙，貫穿作品的鏗鏘
有力結構體內，同時更悠然絢燦地舒放在眾人的視覺傳訊思維眼裡，讓人暇思，不！不是的，而
是有情溫暖的暇思生命體延伸展現。看那〈作品 89-12 〉，是大空與大地的直截交游對話，更是
空寂大靜之下，夜空與喧嚷，疏離的人界溫暖交錯。大概是這個疏離後的溫暖，讓人們願意走近
她，更願心境之「心」，在其大空與大地間優遊舒放，更顯在熙嚷迷茫中身陷無盡的舒發對話。
這似乎是〈石之頌〉的生命走道原理，讓冰涼的自然原造物，如人間般的甦醒，更如有情般的溫
潤韾香，想必這是個〈石之頌〉的內省語彙，更是周瑛頌石的拾穗語「慧」吧!
打造片片石語，架構語石秩序，付予語慧旋律，是其挑戰〈石之頌〉這個內化舒放的不敗成就。
細看〈作品 88-5〉與〈作品 89-1〉的生成結構，即在旋律與秩序不定不平的對話中，建構作者獨
思的安穩平實語式圖繪，這個是其自然的組合之序，更是人間的倫理之情。自然的無限有情之美，
在此濃縮化育，人間的無盡純淡之愛，在此更加濃縮風化。思不盡的自然人間撫愛，看不盡的人
間自然對語，在那緊密延展的框架畫面裡為情所攝為愛所放，這是獨特的無言語彙，更是獨有的
匠思心語。若從〈作品 88-11〉來看，讓您更能心會神儀。您看，那片片石語間不是又安然的交
結，充滿大放、大然，且又大破、大立的對應交集明界，早已是跳離超脫自然淨美純境之後，那
東方簡潔又溫暖有情的純淨舒發與歸逸。東方人的簡潔靜思之美，不在人間相互對話的黏凝聚點
上，而是在自然沈靜交會的凝鍊舒逸，因而互應而生的廓然大相，令人身受迴盪，相應而放的大
境，令人自律安然。這個想必是沈思於境相與像，沈迷於境像與相底底層內蘊的攝受澱積吧!
境像與相，必賦予物像極至的抽象化，境相與象，必付予實相絕對的具象化。抽象的境像，實由
思辯理智而起，具象的境相，反由心觀情智而生。然而二者之交融，二者之對話，非難亦非易，
完全在於交融對話的媒介「介面體」
。細細思端，
〈石之頌〉系列的介面媒體，竟在「平面」與「立
體」一線間。物像的平面抽象化，是其賦予境像與相的沈澱凝結，實相的具像立體化，反而是其
賦予境相與象的昇華綻放。因而，見其〈石之頌〉系列組合，令人有談不盡的純然原味。像〈作
品 89-13 〉以及〈作品 89-14〉即是徹底此道平面抽象又具像立體相互還原對焦的極美展現。那
個一大一小的兩個語彙元素境相，是何物？是何指？已無意義。重要的，在於二者相互對應顯化
的龐大生命量體。然而細看其生命量體起勢，卻是在那薄之又薄的兩片架式而已。何其力？何其
焉？使之再起！那不是將一切的自然人間賦予徹底絕境的平面抽象化，是難以使之飽和無盡的，
然而被抽象化的平面量體，不是再度施予徹底深境的具像立體化，那又怎能可以深邃無垠的。故
將自然一切物象賦予平面抽象化的具像立體實相呈顯，即是周瑛教授創生〈石之頌〉 系列語彙
的緣由生成點吧！故從〈作品 89-12〉觀之，被抽象後的交錯語彙，賦予具像化的圖式結構，反
使原本的平面抽象氣勢頓然消失，直截轉化立體具像圖式化的有意結構量體，讓人極易地走進那
悠游引領的無相非相世界，對應那有意結構體內實相意旨的生命意義。
（1995 年原文摘錄）
HUMAN EMOTIONS THROUGH
WOOD AND STONE CARVING
- A Brief Introduction of CHOU Ying’s Prints –
Professor LING Bao-you
Research Institute of Art History, National Arts College
Professor CHOU Ying’s early works, created in Taiwan in the 1950s, are characterized by and highly
acclaimed for clear lines carved in black and white style. Each piece of works preserves the simple yet
strong lines unique to the traditional folk style. One of his works which is representative of this style can
still be seen today in The Spring of the Year. The symmetrical contrast, coupled with a concentration of
details well arranged in the print, seems to extend an invitation to the viewers and bring them into the
world within it, a natural world of beauty and inspirations. While admiring this work, one cannot but
pose the questions to oneself, “Where can we find such a world nowadays? Does the simple village life
that lived by Taiwanese people 4o years ago still exist ?” Yet, it is a simple world which is long gone and
no longer recognizable to us. Long gone are the luxuriant hills surrounding verdant pastures, so are the
fertile if not copious rice fields. The wagons, the wedding carriages, and the pig farms, all these are also
relics relegated to history. Yet, from Professor CHOU’s works, we can still experience the progressive
development of the village life. It is at this point that Professor CHOU started to make history, for it is at
this moment that he became an artist and started his truly remarkable career. Both experts and laymen
find inspirations in his works, while those who have experienced this era are overwhelmed with their
true and vivid representations of the good old days.
For those who study art at Taipei Normal College, from the naïve yet optimistic freshmen to the
confident dedicated graduate students, have the chance to come to know Professor Chou YING as a
master of art: the tools he used to create prints bring out insightful inspiration and respect for nature.
Under his artistic hands, everything on campus was turned into a piece of art work—every plant, every
tree, every stone, every brick, every house, every building, and many other things. Fashioned by his
nimble hand and his keen mind, all these became art works which have inspired many young artists as
well as viewers. It would not be too much to say that the fruits of his labor serve well as a guiding light
for not only artistic development but also for the development of art education in Taiwan. Many of
today’s top artists as well as numerous art researchers were nurtured in such pure artistic intellectual
environment. The art works on campus and the intellectual climate in his class characterize CHOU
Ying’s days at Taipei Normal College, an era marked by his full dedication to education and genuine
creation.
There is no limit to creativity. Yet, artistic ingenuity is something that is no less a rare acquisition than a
god-given gift. Artists have to devote their entire life to obtaining the impossible goal of perfection.
During his teaching years, Professor CHOU experimented with different ways of expressing his artistic
feelings. He had succeeded in making “change,” “revolution,” “breakthrough,” and “achievement” in
material selection, arrangement, styles, and ideas of creation. In 1988, his Ode to Stone series was
exhibited at the National History Museum. Ode to Stone series is one of his ultimate masterpieces that
witnesses to his dedication to art over fifty years.
2. The Beauty of Nature
Nature has always been a rich source of inspiration for every artist. It may well be asserted that it is the
calling of every artist to explore nature. Yet, to give a unique style to the ordinary natural material is
something that requires special genius.
Indeed, every great artist has his or her unique style and way of interpreting the living world. Take
“flowers” for example; there are diverse ways to portray the spirit of flowers. Yet, among these
celebrated artists who create art works with natural materials, it is rare to find one who adores stone as
much as CHOU. More especially, it is nearly impossible to find an artist who devotes an entire life to
discovering the nature of stone as he did.
Stone, one of the most fundamental elements on earth, has been our companion since the start of
civilization and will be with us forever. Due to its too-common presence and abundance, it has been
ignored by many, especially by artists. For someone who “gives a life to a lifeless stone,” it would
require a thorough understanding and a unique perspective of the natural world.
CHOU’s Ode to Stone series brings the viewers into a world of “Wordless Wonder Land.” It is a world
that the viewers can easily understand; yet, interpretations vary with the viewers’ imagination. The
first impression one gets of the Ode to Stone series is a limitless freedom in imagination. As you look
further, the lively nature of stone invites you to enter into the picturesque world. The subtle contrast of
black-and-white lines enhances the pleasure of viewing even more. Through the presentation of stone,
the viewers are brought closer to nature. Stone by nature is as cold as ice. Yet, when the sun warms it up,
the lifeless object seems to have human feelings. Only the creators who truly know the nature of stone
can detect its variation in temperatures. The viewers can feel the emotions expressed in the Ode to Stone
series as they would never do in other stone carvings.
Seemly telling stories through unspoken words, the simple and pure patterns create strong and powerful
images which inspire the viewers to imagine the stones as full of life and warmth. The stones seem to
be the medium between the earth and the sky, the quiet and the noisy. On admiring his works, the
viewers are transported into the world of stone by the magical spells of his creative carvings. To give a
life to the cold lifeless stone is the essence of the Ode to Stone series. So is it the trademark of CHOU
Ying the artist.
The biggest challenge that CHOU faced during the creation of the Ode to Stone series was to give each
stone a unique meaning, structure, and rhythm. Taking a closer look on the structures of Work 88-5 and
Work 89-1, we clearly see the artist’s unique style of thinking and ways of presentation. The style is
natural yet orderly. The boundless beauty and endless love of the universe are condensed and reflected
unto a few pieces of tiny stones. CHOU’s style presents itself even more clearly in Work 88-1. As the
result of this wonderful and creative arrangement, the finished stones have a beauty beyond their natural
selves. The oriental beauty these stones reflect does not exist in words but lies in the simple, peaceful
and comfortable nature of the stones. As you view each piece of works in the series, you cannot help
feeling an impact of its originality. Yet, as you pause to look them again, you can feel the peace coming
through to you.
Each piece of the Ode to Stone series emphasizes either the abstract or the realistic aspect of the natural
world. Both elements can be seen at either one-dimensional or three-dimensional levels. That is the
reason why the Ode to Stone series offers to its viewers such a pure and pleasant natural flavor.
Another good example would be Work 89-12 and Work 89-14. Both works echo with each other and
bring out the forces of life which wonder and amaze the viewers with their resonance. Although Work
89-12 was carved out on a flat surface, Professor CHOU managed to transform the images into a
three-dimensional structure, which allows the viewers to enter the surreal world of the real world.
An extract from an article written on December 22nd, 1995