謝里法的版畫創作
HSIEH Li-fa and His World of Printmaking
林雪卿
臺北市立教育大學視覺藝術學系所專任教授
LIN Hsueh-ching
Professor, Department of Visual Arts,
Taipei Municipal University of Education
1996 年全國版畫教育研討會上謝里法如此說道：
「沒有做過 100 張以上版畫
作品，不要輕言是版畫家。」
Introduction
“He who hasn’t created more than one hundred prints should never claim to be a
printmaker,” commented HSIEH Li-fa in the 1996 National Conference on Print
Education.
畫家兼評論家謝里法多年來從創作油畫、版畫、雕塑，到跨足寫作、評論、
策展……，進而相互交融，其豐碩的藝術成就讓人極為景仰。1996 年自美回台
定 居 後 ， 謝里法更 是創 作 不 斷， 並 積極 展開策展，投入台灣美術文化工作，
且自 2002 年起兼任於國立臺灣師範大學美術研究所，講授台灣美術相關課程，
回饋台灣美術原鄉。
As artist and art critic, HSIEH Li-fa has devoted his life to perfecting himself in
the field of art. As an artist, he has steeped himself in different art forms such as oil
painting, printmaking and sculpture, while as an art critic, he has engaged himself in
writing, reviewing, and organizing exhibitions and many other activities. His
attainments in art are impressively diverse and highly admirable. Settling down in
Taiwan after his return from the USA in 1996, HSIEH henceforth strives for
promoting arts and culture of Taiwan. In addition to his continual effort to create
artworks, he busied himself with organizing major exhibitions. From 2002 onwards,
he offers several courses on Taiwan’s art at the Department of Fine Arts, National
Taiwan Normal University, dedicating his knowledge and experience of art to his
fellow countrymen.
謝里法是一個重思考而輕技術的藝術家，其創作的每一系列作品都有每一個
特定主題，不論用油畫、雕塑或版畫創作，皆有其相對應的形式，且每一系列作
品皆具現他對生活的思維與觀照，也反映出他對外界藝術思潮的因應態度。
HSIEH lays less stress on techniques than on ideas. He gives every series of his
work a specific theme. The content of each series is always designed in a way
corresponding to the art form he adopts—oil painting, sculpture or printmaking. In
addition, each series shows his deep reflections on life and further reveals his attitudes
to the trends in the art world.
謝里法的版畫創作集中在 1964 到 1974 年他剛到巴黎與紐約的時期，作品包
括「宗教」
、
「人體的變奏」
、
「嬰兒與玻璃箱」
、
「戰爭與和平」
、
「純造形」與「紐
約生活」等系列。版種上則涵蓋橡膠凸版、蝕刻凹版、照相凹版與照相絹印等，
其作品的質量極為可觀。
Most of HSIEH’s prints were created during the years between 1964 and 1974,
the time when he sojourned in Paris and New York. Works produced in this period
include Religion, Variations on the Theme of Human Body, Baby and Glass Box, War
and Peace, Pure Form, and Life in New York. During his stay abroad, he had turned
his hand to various techniques—linoleum relief printing, etching, photoengraving,
photo serigraphy, to name a few. It should be added that his works produced during
this phase was not only quantitatively impressive but also qualitatively excellent.
歷經 4、50 年歲月，謝里法當初印製的作品有些送人、有些被賣掉，已經不
復存在，此次關渡美術館展出的作品是選擇能留下原版的橡膠凸版和蝕刻凹版，
在專業版畫工作室的協助下重新印製再展風貌。
After more than forty years of vicissitude, these prints were either given away or
sold. None of them is available for public display. Yet, thanks to Kuandu Museum of
Fine Art, we are able to glimpse HSIEH’s artistic brilliance again. With the assistance
of a print studio, the Museum is able to have new prints reproduced with the extant
rubber and etching plates and is going to put them on display.
拉近天與地的距離
Bridging the Gap between the Sky and the Earth
1964 年 3 月謝里法從基隆港搭船啟程赴法求學，4 月抵達巴黎，第 2 天即與
陳錦芳認識，旋即隨陳前往蒙巴爾那斯社會學校畫素描，後來在版畫工作室跟隨
版畫老師戴必希(M. Jean Delpeeche)學習膠版和金屬凹版技法。
In March, 1964, boarding a ship sailing to French at Keelung Harbor, HSIEH
started his journey into the world of printmaking. Right after his arrival in Paris in
April, he made acquaintance with CHEN Tsing-fang, with whom he went to
Montparnasse to draw sketches. Then, he studied rubber plate and copper intaglio
under the tutelage of M. Jean Delpeeche at a print studio.
由於大學時曾修過版畫，到巴黎再作版畫，謝里法已有一些基礎和信心。在
歐洲，很多藝術家都用膠版來製作凸版畫，膠版不但材料便宜，而且質地柔軟易
於雕刻，工作室裡的人都用凹版壓印機來壓印，不同於以往在台灣印製木刻版
畫，因為是凸版畫，通常不用機器印刷，而且也沒有壓印機可供使用。膠版畫經
過壓印機印製出來後，許多意想不到的效果激勵了謝里法的興趣，也成了他出國
後創作版畫的第一階段作品。
In Paris, HSIEH continued working at printmaking on the basis of what he had
learned in his college days. In Europe, rubber plates were a medium commonly used
to make relief prints on account of its low cost and flexibility. Artists in the print
studio at large employed embossing machines to produce prints. Such a way of
making prints greatly impressed HSIEH. Back home, prints were mostly made with
woodcut plates, and there was no need of machine pressing. The effects produced
from machine pressing excited and inspired HSIEH, who then started applying
himself to the creation of prints.
1965 年元旦，廖修平夫婦也抵達巴黎，旅法 4 年期間，與陳錦芳、廖修平 3
人經常在一起逛畫廊、坐咖啡廳、談論畫事與未來理想，日後 3 人被譽為「巴黎
三劍客」
。1965 年，陳錦芳和廖修平皆進入巴黎藝術學院油畫工作室習畫，謝里
法則進入雕塑工作室學雕塑，當年 10 月廖修平並經日本友人齊藤壽一介紹進入
海特的「版畫十七工作室」。他們相處在一起私底下已把任務分配好，廖修平看
好陳錦芳語文能力強，將來在藝術文學的理論方面必有大成；再看謝里法興趣很
多，又紛雜，不斷鼓勵他集中精力專攻雕刻，因為當時台灣雕塑人才太少；廖修
平自己則在版畫領域下很多工夫，不管如何將來回台灣必有貢獻。他們當時的交
往，建立了某些與其他畫家不同的特質，他們都非「純粹畫家」，除了繪畫，他
們也作版畫，從事文學，參與政治，寫作出書等，後來謝里法也和廖修平一樣都
回到台灣的美術教育工作上。這些共同的特質，恐怕是悲情時代台灣美術家必然
的遭遇吧！
On the New Year’s Day of 1965, LIAO Shiou-ping arrived in Paris with his wife.
During HSIEH’s four-year stay in Paris, his normally spent time with CHEN and
LIAO, visiting museums and cafes as well as talking about art and dreams. HSIEH
along with his two art comrades was accordingly named “The Three Musketeers in
Paris.” In 1965, the three studied at the École Nationale Supérieure des Beaux-Arts
(the National School of Fine Arts)—CHEN and LIAO studied painting, while HSIEH
sculpture. In the October of the same year, LIAO entered Atelier 17 Studio on the
recommendation of SAITO Juichi. Together HSIEH, LIAO and CHIEN had drawn a
grand picture of the future in which each of them was allotted an important part. In
CHEN, whose language ability was exceptional, LIAO saw great potential to achieve
attainments in the field of art theory. As for HSIEH, he encouraged him to draw his
attention from varied interests to sculpture, a field which remained quite unexplored
in Taiwan. LIAO himself, on the other hand, worked hard in printmaking. They
anticipated that they would achieve something remarkable and contribute what they
had learned when returning to Taiwan. These three fellow comrades distinguished
themselves from other artists by their activeness and versatility. Apart from being an
artist, their traces were found in diverse fields such as printmaking, literature, political,
and publishing circles. Following LIAO’s step, HSIEH later returned to Taiwan and
devoted himself to art education. The common traits shared by LIAO and HSIEH
were indeed the fate shared by Taiwanese artists in that time and space.
1965 年 4 月，參加復活節學生朝聖團到義大利旅行回來，謝里法便以膠版
刻製了一系列「宗教」主題的膠版畫作品。如〈最後晚餐〉
（圖 1）
，畫面人物造
形以陽刻線條為主，刻法蒼勁有力；也有一些加入陽刻文字（圖 2），或是太極
圖像和陰陽配置的對稱構圖，類似台灣民俗宗教符號的表現，對生命本質提出一
些探討。(這是同一張圖，還是另一張？上下文很不清楚。)
In April, 1965, after returning from an Easter pilgrimage to Italy, HSIEH set to
use rubber plates to create a series of prints centered around the theme of religion.
One of these prints, The Last Supper (Fig. 1), was characterized by lines engraved
with full forces and vigor. In another print (Fig. 2), calligraphic characters were
utilized as a source of inspiration for creative ideas. In another print (Fig. 2),
calligraphic characters were utilized as a source of inspiration for creative ideas. Still
in another print, along with engraved characters, the figures of Taiji and symbols
standing for heaven and earth were arranged in a symmetrical design. These prints, of
which the presentation gave an impression similar to the symbolism of Taiwanese folk
religions, showed to the world HSIEH’s meditation on the essence of life.
「人體的變奏」系列作品，亦以線條雕刻為主，人物造形誇張變形，據謝里
法說他是運用廖修平在版畫十七工作室學來的套色法。本來膠版版畫只有凸起部
分才著色，但是謝里法將凹部用筆填色，同時把版畫紙泡在水裡弄濕，再把紙張
覆蓋在膠版上，用凹版壓印機壓過，由於強壓的關係，凹凸兩部的顏料都能同時
印刷到紙上，而且還出現料想不到的刀紋效果。如此原先只有單色印刷表現的膠
版版畫便多了一些色彩和變化。作品〈翻滾的年代〉
（圖 3）
，充滿藝術家個性表
現的風格，已大大不同於過去的黑白寫實。
Variations on the Theme of Human Body, likewise, laid great stress on engraved
lines. Human figures were presented in a distorted way. According to HSIEH, he
employed in these prints the techniques of color processing, which LIAO had learned
at Atelier 17. Yet, unlike other artists who colored only the protruding surface face of
the printing plate, HSIEH colored the recessed area with pens as well. In addition, he
covered the plate with paper that had been soaked in water and then pressed the paper
and the plate with an embossing machine. The colors of both the protruding surface
and the recessed area of the plate were transferred unto the paper with the unexpected
effect of blade stripes on it. Such an innovative technique added colors and variations
to the monochrome prints made with rubber plates. HSIEH’s singular style was
clearly seen in An Ongoing Age (Fig. 3), a print distinct from his former monochrome
realistic work.
1966 年前後，謝里法在巴黎終於能看到一次大型的畢卡索回顧展，畢卡索
是一個綜合創作型的藝術家，不但畫油畫、作雕塑，也作版畫，其在美術史上有
一定的歷史定位，此次展覽便顯露出他雄厚的創作力。當時一群同在法國留學的
同學，看了畢卡索畫展之後大有「在台灣時，以為自己和畢卡索的距離是台北和
巴黎的距離，來到巴黎一看，才知道這距離原來是天上和地下的差別！」的感慨。
Around the year 1966, HSIEH had a chance to see a big retrospective of
Picasso in Paris. Picasso was a many-sided artist, who mastered oil painting, sculpture
and printmaking. This is the first time that HSIEH was able to have a rare glimpse of
the great artist’s brilliance. Picasso’s versatility and varied attainments in art
overwhelmed HSIEH and other Taiwanese artists who then studied in Paris. After they
saw the artworks of this exceptional artistic genius, it suddenly dawned on HSIEH
and his companions that the gap between Picasso and them was much greater than
they had naively assumed before they came to this exhibition—the gap was never one
between Taipei and Paris but between heaven and earth!
在作版畫的同時，謝里法已進國立巴黎美術學校的雕塑班學雕塑，平常他也
畫油畫，而作版畫對謝里法來說，版畫也是創作表現的一種媒材，多學一樣，就
多懂得一種表現方式，畢卡索一直就是很好的典範。
〈春之舞〉
（圖 4）作品，富
動勢和吹奏著樂器的人形，不由得令人聯想起畢卡索麻膠版畫中的牧神（圖 5）。
When HSIEH started working at printmaking, he had already studied sculpture
at the École Nationale Supérieure des Beaux-Arts (the National School of Fine Arts).
He worked on oil painting as well. Printmaking for him was a good medium of artistic
expression. The more he learned, the more means he had to express himself. Picasso
served well as a role model for him. The dynamic figures playing musical instruments
in Spring Dance (Fig. 4) reminded the viewers of Pan in Picasso’s linocut (Fig. 5).
母與子的臍帶情結
The Entangled Umbilical Cord between Mother and Child
繼膠版畫創作之後，謝里法開始製作金屬凹版的鐫刻與蝕刻技法，雖然銅版
有許多優於鋅版的特質，如銅版腐蝕之後版的紋路較清楚，多次印刷之後版面亦
不易磨損，同時施印其上的油墨也不易混濁等，但是當時由於經濟的考量，謝里
法選擇了價格較便宜的鋅版來創作，而經過反覆實驗和練習，終能充分掌握鋅版
的特性。
After his experiment with rubber plates, HSIEH started to make attempts on
intaglio engraving and etching. As the surface of a plate, copper served better than
zinc in many ways. Firstly, the metal lines etched on copper plates were clearer. In
addition, the crevices incised into the surface remained clear after several inking
processes. Also, the ink on the copper plate did not blur easily. Yet, HSIEH chose zinc
plates rather than copper ones out of economical considerations. He was able to
master zinc plates after continual experiment and repeated practice.
1966 年，謝里法開始以繪畫的形式內容同步進行「嬰兒與玻璃箱」系列的
油畫與版畫創作。歐洲的人文思想較濃厚，人間性 (人性?)的探討向來就是藝術
表現的主要議題，尤其新寫實主義興起之後，探討社會問題，表現政治意識，挖
掘人性等題材的作品，更是形成一種主流趨勢。謝里法的「嬰兒與玻璃箱」系列
作品，也有如是的反映，在人性與現實物質的衝突中，藉玻璃箱內的物體在透過
玻璃的效應所產生的反射、折射與扭曲現象，來表達強烈的無力感。
In 1966, HSIEH started to create the Baby and Glass Box series—he produced
prints as well as oil paintings for this series. Humanistic ideals had long prevailed in
Europe, where humanity had been a focal point capturing artists’ eye. More especially,
after the rise of neo-realism, artworks that explored social problems, political
ideology as well as humanity became the mainstream. Such a trend was clearly
detected in HSIEH’s Baby and Glass Box series. The image of the object in the glass
box was reflected, refracted and accordingly distorted. The visual effects produced by
the glass disclosed the intense inner struggle and a strong sense of helplessness that
men suffered when confronting the material world.
回溯謝里法從小過繼給謝家的寄人籬下生長歷程，其實我們不難發現「嬰兒
與玻璃箱」系列作品中的嬰兒，正是謝里法內在心靈意識的化身。翻滾在似無隔
實有阻的冰冷玻璃箱中的嬰兒，在與「母體」連結時，透過玻璃箱，會讓人興起
一種無以名狀的疏離感，而這兩者卻又有無以了斷的牽連。這個「母體」，一方
面是謝里法企盼又逃避的血緣性的母親，另方面其實是台灣這個充滿大中國文化
思想的文化性的母親。旅法期間，謝里法開始不斷地尋求中國，但是所採擷的中
國卻是空的，因為他從來就沒有呆在中國過，中國只是遙遠的一種期待。因為回
首在台灣時，指導過他的人都是台灣的「外省人」
，謝里法心頭所充塞的只有「中
國」意識，這個回頭對他來說是極為巨大的衝擊。雙重精神失落的謝里法，在其
作品中反覆隱現此一推拉糾葛的「臍帶情結」
。在「嬰兒與玻璃箱」系列作品〈玻
璃箱裏的愛情〉（圖 6）、〈生辰記憶〉（圖 7）〈嬰兒與玻璃箱〉（圖 8）、〈走出玻
璃箱的嬰兒〉（圖 9）等創作中，我們可以尋找他內心交戰的一些證據。
If we trace HSIEH’s life back to his early childhood, the time when he was
adopted by the HSIEHs, it is quite evident that the baby in Baby and Glass Box series
was indeed the incarnation of his inner self. The baby rolling in the transparent glass
box symbolized the relationship between Mother and Child. The transparency of glass
made the baby visible, yet the segregation between the baby and the viewer remained
there. Mixed feelings that combined intimacy with alienation permeated the Baby and
Glass Box series. The conflicting sentiments, on the one hand, disclosed the
paradoxical feelings that HSIEH felt about his biological mother—he desired to
approach her but at the same time wished to avoid her. They also echoed the
relationship he had with Taiwan, his cultural Mother that had been nourished by
mainland China. During his sojourn in France, HSIEH began a quest for his cultural
origin, that is, mainland China. Yet, his quest turned out to be a vain attempt and
wishful thinking. He had never set his foot in China. To him, China was indeed more
a geographical name than a spiritual home. In retrospection, it dawned on him that he
was imbued with a sense of “Chinese” consciousness by his college teachers whose
roots were in mainland China. Such a belated realization stunned him. Spiritually lost
and distressed, HSIEH projected his mixed feelings unto the Baby and Glass Box
series in which the image of entangled umbilical cord made repeated presence. Traces
of his inner conflicts can be detected in works such as Love in the Glass Box (Fig. 6),
Birth Memory (Fig.7) and Baby walking off the Glass Box (Fig. 9).
戰爭與和平之議題
60 年代末期，越戰打得如火如荼，整個法國甚至整個歐洲反美情緒非常高
昂，在巴黎的許多展覽中，處處可以看到反戰的作品。謝里法每天在報刊、電視
等媒體看到聽到的，全是有關越戰的事，朋友之間彼此談論的也都是越戰的事。
1968 年 5 月，巴黎爆發了無預警的歷史性的「五月學潮」
，大學生反資本、反官
僚，及對教育制度不滿的抗爭，和工人的罷工示威遊行、戰爭等社會動盪不安的
議題便構成謝里法 1968 至 1970 年間的「戰爭與和平」系列作品所探討的內容。
About the War and Peace
At the end of the 60s, the conflicts caused by the Vietnam War worsened.
France and the whole Europe were engulfed by a tidal way of anti-Americanism. In
Paris, artworks expressed anti-war ideas were seen here and there in art exhibitions.
What HSIEH heard and saw from the press and the media was all about the war. It
would not be surprising that his conversations with friends centered on issues
concerning the war. In May, 1968, a long series of student strikes broke out at a
number of universities and lycées in Paris. The May 1968 protest was followed by a
general strike by students and strikes throughout France. The confrontations
precipitated the whole France into disturbance. University students rose to fight
against capitalism and bureaucracy, crying out their dissatisfaction with the education
system. Workers likewise took to the street to protest. The social and political unrest
drew HSIEH into a deep reflection and inspired him to create a series of works that
focused on related issues. Hence, the War and Peace series was born during the years
between 1968 and 1970.
1968 年 7 月謝里法搭乘學生包機到紐約，原先只想呆一個月，後來因展覽
關係繼續留在美國，最後便定居下來。「戰爭與和平」系列作品最初大概只製作
4、5 幅，後來覺得這主題很有時代意義，便繼續做下去，先後大約製作了 17、
18 幅。往後每有機會展出就以 12 為準數，每次挑選的 12 幅作品都不盡相同。
到紐約之後，謝里法經常送這些作品去參加國際性展覽，其中有 3 幅印成 75 張
的限定版畫，賣給當地的畫商，謝里法初到美國的 1、2 年便靠印製這些版畫來
維生。這些作品除了使用金屬版的凹版技法外，主要還製作了很多紙版來套色，
所以畫面色彩較先前豐富穩重。
In July, 1968, HSIEH boarded a student charter flight and flew to New York. His
original plan was to stay there for one month. Later, he prolonged his stay owing to
the arrangement of exhibitions and settled down in New York. Initially, HSIEH made
only four or five prints for the War and Peace series. His interest in this theme
continually increased, for he saw in it great significance for the world. Subsequently,
around seventeen prints were made. Afterwards, making the number twelve as a unit,
he chose twelve from these prints for different exhibitions. After his arrival in New
York, HSIEH commonly entered these works in various international exhibitions.
Three of these works were made in a limited edition of 75, which were sold to local
art dealers. In the first two years in the USA, these prints became HSIEH’s main
source of income. In addition to the intaglio techniques, HSIEH also utilized many
paper plates to color process these prints, which made the image more stable and
richer in colors.
「戰爭與和平」系列作品，畫面上充滿從軍的嬰兒潮青年、轟炸的飛機、登
陸的降落傘、觀望的暸望台、賭注的撲克牌、起伏的心跳等等符號，戰事一觸即
發，足以令人感受到不安和未知的緊張感。〈卵生的文明〉（圖 10）作品簡潔化
的構圖，看出要轟炸還是要撤除，戰爭似乎全掌握在權利者的手上。
In design, works of the War and Peace series were mainly composed of war
imagery—the baby boomers serving in the military, bomber aircrafts, parachute
landing, lookout towers, bid pokers, bumping heart and so forth. Feelings of tension
and insecurity pervaded every corner due to a fear that the war would break out in any
minute. The concise composition of An Oviparous Civilization (Fig. 10) made it quite
clear that it is the men in power who had the right to bid in the war game.
而主題雖為〈戰爭與和平〉
，但有些作品畫面卻是以法國羅浮宮、蒙娜麗莎、
聖母或女人的圖像（圖 11）來呈現，似乎無法直接從畫面上解讀戰爭的訊息，
也可能是代表和平的象徵。在謝里法年輕的歲月中，為追尋藝術的原鄉而客居異
地，其所面臨的藝術文化衝擊和愛情、種族、人際關係等問題也是內心的另一種
交戰吧！
Some works of the War and Peace series, on the other hand, consisted of images
unrelated to war—the Louvre, Mona Lisa, Mother Mary or female figures (Fig. 11).
On the face of it, all these prints had nothing to do with war. Yet, it is arguable that the
intended message these images conveyed was a longing for peace during the war time.
In addition, HWIEH spent most of his early years questing for his spiritual home in
foreign lands. His personal experiences in these foreign lands made profound impact
on him when he dealt with cultural differences, love problems, racial conflicts or
interpersonal relationship. It is accordingly reasonable to assume that what reflected
in these prints were the inner struggles that he had gone through in those days.
到紐約後第 2 年，謝里法獲得兩年創作獎助，搬進西貝茲藝術家中心
(Westbeth Artist Housing)專業銅版畫及絹印版畫創作。初到美國的前 2 年，主要
以銅版畫創作為主，一方面延續「戰爭與和平」系列的創作（圖 12），另方面，
投入新藝術之都，謝里法再次發揮其敏銳的觀察，作品中的圖像，多參考自己攝
影而來的影像，不作憑空想像，尤其注意攝影鏡頭掌握的光影變化，進而作出照
相凹版與照相絹印。如〈苦難終結者〉（圖 13）、〈習作之五〉（圖 14）都是具有
代表性的照相凹版，從拍照、沖洗、放大再曝光轉到凹版上，全在暗房中進行，
之後再進行腐蝕製版和印刷，整體作品完整度極高。照相凹版方便凹版的製作
(不知所云)，也凸顯謝里法對科技的興趣。
Two years after his arrival in New York, HSIEH was awarded a two-year art
scholarship. He moved into Westbeth Artist Housing and fully devoted himself to
copper intaglio printing and serigraphy. During the first two years of his stay in the
USA, he on the one hand continued to works on the War and Peace series. On the
other hand, he turned his keen eye on scenes around him, caught in his work what he
had seen in New York. Instead of relying purely on creation and imagination, he now
consulted the photos he had taken. He paid particular attention to light and shadow he
captured with a camera, trying to applying photography techniques to intaglio printing
and serigraphy. The Terminator of Sufferings (Fig. 13) and Work 5 (Fig. 14) were
typical examples of photo-intaglio prints. Picture-taking, film-developing, enlarging,
exposing and image-transferring—all of these processes were conducted in a
darkroom. Then, plates were etched and prints were made. Prints made in this way
were perfect. HSIEH’s experiments with the photo intaglio indicated his interest in
technology.
從興趣出發去學習到畫廊經紀與替畫家印製版畫賴以維生，謝里法投注在版
畫創作的時間和精神實令人敬佩。70 年代初，謝里法在普拉特學院版畫中心(Pratt
Graphic Center)進修時轉投入照相絹印版畫製作，其所作照相寫實絹印版畫「紐
約生活」系列，也對當時紐約生活百態的觀察與紀錄，做了最佳的見證。可惜此
次並未一同展出，其照相絹印版畫技法的精湛，自不在話下。
Conclusion
For HSIEH, printmaking was initially one of his interests. Yet, he developed a
real flair for printmaking through working as art dealer and making prints for other
artists. The time and efforts HSIEH has devoted to printmaking deserve our
admiration and respect. When he studied at Pratt Graphic Center in the early 70s, he
began to try his hand at serigraphy. His great achievement in serigraphy was beyond
description, as evidenced by the highly-acclaimed Life in New York series, the
photographic serigraphs that successfully captured New York life in vivid details. It is
such a pity that the Life in New York series is not included in this exhibition.
從台灣到巴黎，再到紐約，最後回到台灣，畫家謝里法和評論家謝里法是一
體的兩面，而不論透過彩筆、版印或文筆來表達自己的心路歷程，謝里法的著眼
點都是基於強烈的「母體意識」，狂熱地在尋找台灣文化的自主性與主體性。其
文章論述直言流暢，而繪畫創作則更具深層的自我生命剖析。
Traveling from Taiwan to Paris and then migrating to New York, HSIEH
returned to his roots and settled down in Taiwan. Playing a dual role as artist and art
critic, HSIEH reveals to the world his inward journey either through color pallets, or
printmaking, or writing. A deep sense of relationship with Mother threads his artworks.
Fervently, he quests for the autonomy and subjectivity of Taiwanese culture. As critic,
he is outspoken in his criticism, while as artist, he is open and honest in expression of
his inner self.
在面對西方藝術文化衝擊的慘澹歲月，一面吐納西方氣息養素，一面表達自
我觀感，在與其繪畫創作的交集中，版畫創作的多元、艱辛與繪畫的直接、率真，
勿寧說版畫的間接表現，給了他思考沉澱的空間，也成就他多面向思考與多元創
作的複合表現。
Under the impact of the Western art and culture, HSIEH absorbed the
nourishment from the west and at the same time managed to assert himself through
artistic expression. In his life as an artist, he took full advantage of the nature of both
printmaking and painting—the plurality of printmaking, while the directness of
painting. It would not be too much to say that the indirect presentation of printmaking
allows him some space for thinking things through. So is it reasonable to say that it is
the nature of printmaking that enables him to think and create in diverse ways.