台灣大地原色 洪晧倫 - 燒灼的青春,將畫布染織成彩
洪晧倫,用復古方法自製台灣原生天然顏料與紙張繪具、生活應用,並以之創作作品的藝術家。 Ang He-Lun(in taiwanese), Hong Hao-Lun(in chinese). The artist of Taiwan , that using old tradition techniques by himself hand made earth pigment, paper to painting art work. my852953@gmail.com +886-952-234-146
2024年3月16日 星期六
從蘇丹紅事件談色粉、染料、色素與顏料
2023年6月17日 星期六
植於地系列作品
2022年11月8日 星期二
台灣大地原色藝術創作計畫暨社會實踐 - 繪畫部 - 作品選輯
2022年9月28日 星期三
2022年6月3日 星期五
2022年6月2日 星期四
2022年4月4日 星期一
《Soil Security》藉由土壤的關懷,展現臺灣的大學對社會責任之實踐
Soil connectivity makes
university social responsibility practice in Taiwan
(藉由土壤的關懷,展現臺灣的大學對社會責任之實踐)
This paper describes examples of actions taken for the connectivity
between soil and society to inspire soil awareness in Taiwan, particularly by
the practices of university social responsibility (USR) including workshops of
soil survey education in Taiwan (WOSSET) carried out from 2015 to 2019, the
Farmers Academy, soil profiles diagnoses for crop growth, the soil museum, and soil
art applications. In the WOSSET, the students learned the skills of soil
description, classification and interpretation on the impacts of soil
management, suitability classes of crop production and land uses. The students
considered the experience from the WOSSET as positive impacts on their
professional careers making them “seed-spreaders” for soil connectivity between
scientists and the general public by promoting their dedication to future
practices of USR. In the program of the Farmers Academy, soil concepts related to
soil properties, fertilizer, plant nutrition, compost and soil management have
been taught by speakers from university faculties; thus the trained young
farmers are able to obtain new knowledge of soil science even through the
simple observation of soil profile morphology, which are helpful links among
crop root growth, soil management and climate change. Inspired by the visual
impact from the visits to soil museum in the university, soil was applied as
pigments by artists on artistic practices such as painting and fabric. The
actions of soil connectivity enable the general public and students to
understand soil functions and soil security as well as construct the knowledge
foundation of communication on the Sustainable Development Goals (SDGs).
期刊摘錄
Art application based on soil knowledge
Soils are the consequence of the interactions of parent materials,
climate, biota, topography, and time. As aforementioned, through soil science
courses within universities, workshops of soil survey education and
agricultural practices, the connotation of soil science can be passed on within
scientific community and society. On the other hand, instead of digging into
scientific theories, crafts people and artists emphasize the esthetic
properties of soils and visualized pedogenic processes with an intuitive
approach, i.e., utilization as artistic media in visual arts (Toland and
Wessolek, 2014).
The application of soils as pigments in artworks is one of their most common roles in artistic practices throughout history (van Breemen, 2010). For instance, Austronesian Taiwanese paint “ipanitika” (a traditional wooden fishing vessel) is made with autochthonous red soils of the Orchid Island, an offshore island of Taiwan. In the systematic records of painting materials, there is a specific database The Color of Art Pigment Database which archived the Color index Number of all pigments (Gottsegen, 1993). Soil pigments or earth pigments are classified as nature pigments, which include inorganic mineral/earth pigments made out of minerals or rocks and organic lake soil pigments made out of soils which were dyed by biological effects. Usually, the first code of their color index numbers is N representing the word natural. For instance, the color index number of NBr8 (Van Dyke Brown) is a brown pigment made of peat soils (Myers, 2016). Nevertheless, numerous pigments have been used considerably throughout history which do not use N in their color index numbers. Some examples include: PW19 (Kaolin) is a white pigment made of kaolinite, PG23 (Terre Verte) is a green pigment made out of celadonite and glauconite (both minerals from mica group), PR102 (Terra di Sienna) is a red pigment made out of soils with high iron oxides level and PY43 (Yellow Ochre) is a yellow pigment made out of limonite (Myers, 2016).
Dr. Hao-Lun Hung, one of authors in this paper, a local artist and
experienced art educator, has been inspired by the diverse appearance of soils
and created a series of high-chroma soil pigments using soils collected
throughout Taiwan (Fig. 5a). For example, he made a brownish pigment out of
soils with andic soil properties from Yangmingshan National Park, Taipei, a
pale green pigment out of soils with periodic waterlogging from paddy fields in
Ilan, a crimson pigment out of soils with high iron oxides content from a
lowland montane in Nantou, a black pigment out of Mollisols from Taitung. In
addition to his artistic practices, Dr. Hung is also trying to raise awareness
about soils among the university students by giving lectures on how to produce
soil paints for various purposes (e.g., oil painting, watercolor painting, ink
washing painting, Nihonga, pastel painting, and encaustic painting) (Fig. 5b),
and by introducing different visual arts and soil paints along with specific
painting skills (Fig. 5c). For example, the egg tempera, a painting medium
which was prevalent in renaissance period using soils as pigments to provide
colors, can be applied to teach the cross-hatching painting skill. Moreover,
students supervised by Dr. Hung have developed a series of products using soils
as the main ingredient, such as dyes, nail polishes, crayons, and watercolors
basing on their sensory comprehension of soil properties. It is worth
mentioning that the watercolors product “Knowing Our Land And Its Colors“,
which were made out of eight types of soils with different colors collected
around Taiwan, has won the recognition from the Red Dot Award 2021.
2018年3月26日 星期一
洪晧倫 各大媒體網站登載紀錄 (2013~2017節錄)
2018年1月17日 星期三
2016年首創「松煙燻畫」創作過程首度公開
向中華文化水墨三千年致敬,我於2016年世界首創的「松煙燻畫」創作過程首度公開。
自己的松煙自己燒,自己的墨汁自己做。
洪晧倫歸納,一般傳統顏料中的黑色色粉常見來由有幾種:
炭黑(Carbon black, 國際色彩索引編碼PBk6)是一種常見黑色顏料的名稱,碳在自然界有三種存在形式:鑽石、石墨和煤。傳統上由炭化有機材料(如木材或骨頭)製成。現代亦有由燃燒石油、瓦斯的殘渣,所製成的高純度碳黑。炭黑是碳不定形的粉末,作為廣泛應用的黑顏料,性質穩定,被覆力極強。
象牙黑/骨黑(Ivory black/
Bone Black, PBk9)傳統上是通過將象牙高溫鍛燒而得來,雖然象牙黑/骨黑化學成分相似,但真正的象牙黑是來自燒餾象牙琺瑯質製作。象牙現在已被法令與生態保育禁止。現代的象牙黑或骨黑已經是由動物骨頭所燒焦來生產製作的,但兩者在磷酸鈣的比例還是有落差,比例高則稱象牙黑,而略低者稱骨黑。
葡萄藤黑(Vine black, PBk8)傳統上是通過將乾燥的葡萄藤去高溫炭化生產的。
燈黑(Lamp black, PBk7)傳統上是通過從油燈的燈蓋上收集煙塵來的。
煙黑(Smoke black)是中國慣常使用的色彩,其實應該被國際色彩索引歸類屬於燈黑的一種,中國的煙黑是指將松木材經過流掉樹脂的工序後,再經過不充分燃燒法燃燒,所產生大量的濃煙,蓋收其煙粒就是暱稱為松煙的煙黑。而歐洲的煙黑其實燃燒的是樹脂的部分為主體,譬如Patrick Baty的著作裡表明歐洲的煙黑:煙黑是將杉樹的樹脂點燃後,收集黑煙得到的一種顏料。因為燃燒往往並不夠充分,所以顏料會由於少量樹脂的殘留而呈現出微妙的棕色調子。煙黑的製作工藝主要起源於瑞典和挪威,但到了19世紀初期德國成為最大的原產地,另外還有巴黎。17世紀末,約翰·史密斯在最早的塗料手冊之一中提到了這種顏料, 以小盒或者桶裝的形式出口到英國。
「松煙燻畫」有2016年拍攝的影片、照片為證,系列作品曾展出於臺北、台中、南投等地,並為各大媒體曝光發表。
直接朔源到松煙製作的起點,師法石濤、跳脫中國畫南、北宗套路,什麼筆不筆墨不墨的,我用薰的。如何?
清初,中國繪畫在董其昌等人倡導的「南北宗」影響下,摹古之風日熾。石濤對這種風氣毫不理會,他強調「我自用我法」,並在畫語錄中說「縱使筆不筆,墨不墨,自有我在。」效法石濤,不想在傳統、現代水墨套路中走,那沒有意義。
本來在去年2017的「泥述」個展要放一台影片播放機播放過程,後來慣常的沒空梳理影片,作罷爾!
明鄭清領以來台灣過去一直是中華文化邊陲地帶,滯台畫家也因循了「閩習」畫意,也因為這樣意外保留的許多閩南人的常民傳統文化。國府遷台後卻變成中華文化復興基地,來了所謂正統國畫渡海三家,解嚴前後又來個西學為用的水墨現代化。畫來畫去還是那樣,我覺得還不如以古人和自然為師,從土地與材料重新出發,別管那幾千年間的套路,從「燒松煙」的這個源頭開始,再來做古人沒做的嘗試。
西方有一個法國插畫家畫煙燻畫,點的是蠟燭。我是燒做墨汁的松樹枝,並取其松煙來燻畫及做松煙墨汁作畫。理念和做法上不同。
以古墨製作之法為師,在手工製墨的過程得到的啟示。不只是作品,藝術家的工具和材料就是身體的延續。
想到自然復古的媒材而去做的種種嘗試,包括這個古人常用的松煙墨,其實因為要砍樹不環保,市面上早就沒有「松煙墨」這種東西,如果您看到了有人在販售松煙墨,那說不定是眼睛業障重。江湖一點訣,不能道破矣。也是因為買不到所以我才自己燒製,而被松煙嗆到的同時也就產生了這個將做墨的過程變成畫的念頭。
什麼骨法用筆、革中鋒的命、斧劈披麻皴的都是在談「筆」的技法,畫家又不是工匠,應該說士大夫鄙視百工匠人,所以數千年來也不會做墨。我偏偏就從做墨的源頭來思考繪事,向這三千年製墨的傳統及匠師們致敬。
2018/01/18洪晧倫筆記