• 2017-10-02

    SHAN HAI JING

    《 Shan Hai Jing 》

    《山海經》 Shan Hai Jing

    Oil on canvas, 2017

    Height: 205 cm. Width: 290 cm.

    鄭延霖 YEN LIN CHENG

    Shan Hai Jing is a Chinese classic text and a compilation of mythic geography and myth. It largely and orderly records the features of natural geography and the content of human geographies, such as mountains, hydrology, animal, plant, mineral, national geography, economy, social culture. The chapters about Yellow Emperor, Yan Emperor, and Chiyou run throughout my entire work.
    The top right is Yujiang, god of the Northern Sea(dragon rider), the bottom right has the Cross Shank country folk (man with bare buttocks) and the Through Chest country folk. The right side of the theme for the Yellow Emperor’s daughter-Ba, who subdued Wind God and Rain God. At the top, Xiwangmu and Jiutian Xuannu help Yellow Emperor defeated Chiyou. Nuwa, who is in the upper left, repairing the Pillar of Heaven. Below the Nuwa, Kuafu and Houyi capture the sun. The lower left of the hat man, Dayu, who is assisted in his water control work by a Yellow Dragon and a Black Turtle, above Dayu for the Kai-Ming Auspicious Beast which is Kunlun Mountain’s guard (Nine-headed beast).
    The painting coloring with warm and unadorned tone, the overall composition of the picture is divided into three sections, left, center, and right. With exaggerated human body’s muscle shape, the character postures include forward, backward, overlook, lying. By carefully painting the details of the image, I reproduce the myth of the classic description of time, space, texture, and sense of mass.

    山海經為中國先秦以降最奇特之經典,認真閱讀後,內有人物、動物、山川、河流,或有害人噬命的精怪與猛獸,但我一貫的藝術主張是追求至真至善與至美的範疇,故特別擷取吉獸與故事主軸-黃帝、炎帝、蚩尤為主題。
    圖右上方是北海海神禺疆(乘兩條神龍),圖右下方有交脛國(裸臀者)與貫胸國。主題右側為黃帝之女-魃,降伏風伯與雨師,圖上方者為西王母與九天玄女助陣黃帝大敗蚩尤。左側上方有女媧補天,下方有夸父逐日與后羿射日,左側下方戴斗笠者為大禹治水,受應龍與旋龜之助得以治水成功,禹上方為開明吉獸守崑崙山(九頭獸),我以實驗性構圖將全景鋪陳滿版,但分左中右三個聚落,以溫潤質樸的色調編導,並特別誇張人體驚天磅礡之肌肉張力,求律動、俯仰、顧盼等人物動態感,質感上求內斂紮實之筆觸,重現神話經典中描述時間、質量與空間之結構寫實感。

  • 2016-08-28

    Lumbini Siddhartha

    《 Lumbini - The Birth of Siddhartha 》

    《 Lumbini – The Birth of Siddhartha 》

    Oil on canvas, 2014

    Height: 410 cm. Width: 290 cm.

    鄭延霖 YEN LIN CHENG

    From the beginning, I designed the motion of leading role, then, the guest characters echoing the theme. According to the legend, Sakyamuni Buddha (Prince Siddhartha) was born with two water columns dropped from the sky, a newborn baby is covered by a canopy, held by Queen Maya; I designed a rhythmic action, showing the Buddha’s naive and clever, Buddha mother’s Love with the dignified feeling. I also excluded the East brushwork ink style and used Western realistic classical style, with the addition of personal style skills. Mother and son are sitting on the glass bed, who are carried by the Four Heavenly Kings, “Virudhaka, Dhrtarastra, Vaisravana, Virupaksa”, the Virudhaka is holding a sword, who is modeled by my son as a fitness coach, but it was not a copy, and I just understood the muscle space, completing it with exaggerated muscle shape after referring to anatomy to realize the picture, rather than copying details; upon understanding more, I interpreted a new object. Such complicated procedures require a lot of sketching ability, and experiences of copying classical painting in the 16th – 17th century, learning connecting elements therein.

    According to the legend, Sakyamuni Buddha was delivered by Queen Maya who dreamed a white elephant, so, I added a white elephant and glass bed to echo them. The Bodhi Tree which goes through the entire work is originated from the ancient tree in Tainan Park, then, I shaped it with rough strokes. The character postures include forward, backward, overlook, lying, sometimes the character is back to the viewers, and sometimes is looking around. In Chinese painting theory, “higher mountain than the meter of a tree, the inch of horse and bean-like human” refers to the focus of proportionality while staring around and lying posture shows the importance of the rhythm of modeling. However, western science had space, texture, sense of mass earlier, so I often took eastern science as the theme in the creation and western science refers to the technologic operation, achieving the top realm of eastern science as the body and western art as the application.

    《 藍毗尼 – 悉達多王子的誕生 》

    ㄧ開始我先設計主題人物動作,再添加和主題呼應的賓部人物。據傳釋迦牟尼佛(悉達多王子)出生時天空下兩道水柱,有華蓋遮擋初生之嬰兒,被摩耶夫人褓抱,我設計了律動的動作,表現佛陀的天真慧詰與佛陀母親大愛端莊的感受。也摒除東方較工筆水墨造型,採西方寫實古典,並加入個人風格的技巧。母子均坐在琉璃床上,由「風、調、雨、順」四大天王扛起,手持劍者為風,由我身為健身教練的兒子做模特兒,但並非照抄,只是理解肌肉空間,參考藝用解剖學後用誇張肌肉造型完成力士,這樣做是為了使畫面寫實而非抄描細節,充分理解後,自己詮釋ㄧ個新的物體。這樣繁瑣過程需要許多素描能力輔助,並臨摩大量16-17世紀古典畫的經驗,汲取其中聯結元素而完成。 相傳釋迦牟尼佛是由摩耶夫人夢見白象而生下,故在畫面添加白象與琉璃床呼應。貫穿整幅作品的菩提樹,是採台南公園的古樹造型,再自己塑造型態用粗獷的筆觸完成。 人物姿態都有前、後、俯、瞰、仰、臥,時而背對觀畫者,時而左右顧盼。中國畫論中,提醒「丈山尺樹,寸馬豆人」指出比例的重點,而左右顧盼,俯仰生姿就明示造型律動的重要性。但西方科學昌明較早加入空間,質感,量感,如我常抱中學為創作主題,西學為技術操作,達成中學為體,西學為用之美術最高境界。 

    Bottom: Four Heavenly Kings — Left: Virudhaka. Right: Vaisravana. Upper right: Dhrtarastra. Upper left: Virupaksa.

    Center: Prince Siddhartha and Queen Maya

  • 2016-02-26

    THE FOUR OCEANS

    《 The Four Oceans 》

    《 The Four Oceans 》

    Oil on canvas, 2014

    Height: 290 cm. Width: 410 cm.

    鄭延霖 YEN LIN CHENG

    The creation shows the fact when I saw that the central square of Navona, its Fountain of the Four Rivers only has Ganges, Nile, Danube, Labrador River when I was in Italy, with which China’s Yangtze River was ignored. So I raised the view up to four oceans. The ocean on the surface of the earth and major rivers going through the entire work was achieved by the rhythm of muscle man of great strength in the center of the picture.  I took the people to represent the ocean and rivers on the ground, echoing the East and the West where characters are used to show the anthropomorphic spirit, such as the eastern myth《Feng Shen Bang》, 《Shan Hai Jing》, many gods in the western Greek mythology and animals and plants in nature and so on.

    Because the ocean which accounts for the most on the earth is the Pacific, so I set the central lead role to symbolize the Pacific, referring to the motion of a football player, who holds a water urn with Asia and the Americas satellite aerial map. The left one dressed in green is Yangtze River, surrounded by the land of Asia, and a panda is underneath it. In the right side, Bengal tiger is underneath the Ganges River of India; the carrier of the urn at the most right is the Atlantic Ocean, enclosing the American continent attaching Indian feathers; the Americas is like a newborn child held. Europe is at the lower left corner, and the urn carrier represents the Arctic Ocean; the Greenland is on the urn. The upper left urn carrier symbolizes the Indian Ocean, and the African Nile and a crocodile are surrounding the African continent. The Mount Everest is placed in the center, with children’s fingers pointing to the stars, a symbol of the unknown universe.

    《 四大洋 》

    創作四大洋,是我在義大利時,看見納沃納廣場中央的四河噴泉只有恆河、尼羅河、多瑙河、拉布拉多河,而忽略中國長江的事實。故將格局拉高至四大洋。地球表面的海洋與主要河川,由畫面中央健力士的律動構圖貫通整張作品。我以人物代表海洋與陸地河川,呼應東西方皆以人物表現擬人化精神,如東方的《封神榜》、《山海經》;西方希臘神話諸多神祇與自然界動植物等。因地球佔比例最廣的海洋為太平洋,故設定中央主角象徵太平洋,參考橄欖球員動作,手持印有亞洲與美洲衛星空照圖之水甕。左側綠衣者為長江,環抱長江者為陸地亞洲,下有貓熊。右側印度恆河下有孟加拉虎,最右側扛甕者為大西洋,圍附著戴印地安羽毛的美洲大陸,美洲如新生幼兒被抱著。左下角為歐洲,持甕者為北冰洋,水甕上有格陵蘭島,左上馱甕者為印度洋,有非洲尼羅河與鱷魚環抱黑色大陸。中間以聖母峰置之,以幼兒手指向星空象徵未知的寰宇。

  • 2016-02-26

    MORIN QUUR

    《 Crooning on the Steppe - Morin Khuur 》

    《 Crooning on the Steppe – Morin Khuur 》

    Oil on canvas, 2016

    Height: 205 cm. Width: 290 cm.

    鄭延霖 YEN LIN CHENG

    I had read the ancient Mongolian legend, 《Morin Khuur》, the story is here: a young man, Su He, saw a dying pony on the vast Mongolian steppe, took him back home and took care of it; time passed by, the pony grew up a strong handsome horse, and Su He heard that the Mongolian lord was in the horse selection race, and the winner can marry the princess. Su He had a smooth victory, but the lord denied the promise and snatched the horse, and the horse only wanted to follow its master and desired going home, the lord eventually commanded soldiers to kill the horse. The horse memorizes the master with void! The soul returns with hatred! Su He heard the horse telling him in the dream: “My master, don’t be sad, made the strings with my mane, and the zither with my bone, let me be with you always!” … on this moment, the tears burst in my eyes. I decided to paint such an ancient legend of the Mongolian steppe into a 300F giant oil painting. In its middle part, it is the protagonist, Su He, surrounded by the soldiers assigned by the lord, and on the upper left side, it is Mongolia ancient flag.

    《 草原上的低吟–馬頭琴 》 

    我認真讀過蒙古古傳說《馬頭琴》,故事是這樣的:話說青年蘇禾在廣大無垠的蒙古草原上,看見垂死的小馬,於是把他帶回家悉心照顧,時光飛逝,小馬長大成了英挺駿馬,蘇禾聽聞蒙古王爺在舉辦競馬選拔,勝出者可娶公主為妻。蘇禾順利奪勝後,王爺卻矢口否認此承諾,並搶奪駿馬,而駿馬ㄧ心只想主人,歸心似箭,王爺因此命士兵射殺了駿馬。駿馬憶主人心茫茫!魂歸離恨天!蘇禾在夢中聽聞駿馬說道:「主人不要悲傷,把我馬鬃製成琴弦,把馬骨製成琴身,就讓我常伴主人身側!」……這時我眼淚在眼眶打轉。我決定認真將此蒙古草原古老傳說,畫成300F巨型油畫作品。畫面中間勒馬者是主角蘇禾,周邊是王爺派的士兵,左上方是蒙古古軍旗。

  • 2016-02-26

    OIL PAINTING

    《 King & Beggar 》

    《 King & Beggar 》

    Oil on canvas, 2011

    Height: 145 cm. Width: 111 cm.

    鄭延霖 YEN LIN CHENG

    This painting originated from the scene where a dirty beggar leaning on the chair in the park not far from the Marienplatz Square of Munich when I had a personal trip to Germany; I tucked ten Euros into his hands, and he who had closed eyes suddenly opened his eyes. His eyes seemed filling with gratitude, which gave a bit of warm in such a cold Europe.  Because I was sketching at the corner of Theatiner Church in front of the park in the afternoon, thinking that the yellow building at the front is built to celebrate the birth of the Prince of Munich and there is somewhat difference between the king’s extravagant luxury and the beggar’s poverty. After back, I spent seven months in this work. I used a stone to replace the chair of the park and engraved it with the content of Psalm 112:9 ” He hath dispersed, he hath given to the poor; his righteousness endureth for ever; his horn shall be exalted with honour.” I wish the world never had people living in poverty, and I am willing to express it with this work.

    《 國王與乞丐 》 

    這幅作品是我自助旅行到德國時,於慕尼黑瑪利亞廣場不遠處的公園裏,有ㄧ乞丐身體骯髒,倚靠在公園的椅子上,我拿了十歐元塞入他手中,本是閉眼的他突然睜開雙眼。眼睛似乎充滿感謝之情,在這寒冷的歐洲注入ㄧ絲溫暖。因為下午在公園前方的特提亞納教堂角落寫生,心想這眼前黃色建築物是為慶祝慕尼黑王子出生而建立,國王的窮盡奢華與乞丐的貧無立錐真是天壤之別。回國後心有所感,用七個月完成此作品。以石頭代替公園的椅子,並且於其上刻畫聖經詩篇112篇第九節:「他施捨錢財、賙濟貧窮.他的仁義、存到永遠。他的角必被高舉、大有榮耀。」我願世界永遠無貧苦之人,願以此畫以明心志。

    《 Mother Teresa - Angle of Earth 》

    《 Mother Teresa – Angle of Earth 》

    Oil on canvas, 2015

    Height: 205 cm. Width: 290 cm.

    鄭延霖 YEN LIN CHENG

    This work shall express that I was greatly moved by the Mother Teresa with the most pious attitude.

    I gave it with three triangular compositions; on the left side are old patients at the dying home of Calcutta in India, who was cared by the volunteers; patients are directed towards the protagonist Mother Teresa; the nuns in the dying home had a hand gesture of the palms up that the Catholic is featured, expressing that the Lord also showed reverence to the Lord’s messenger, Teresa. The bottom part shows lying male persons expressing appraise to the righteous act of Teresa with Laurel. The right side shows my smooth shape of men and women holding flags upward without styling reference of the models, expressing their pursuit of rescuing others with determination to sacrifice themselves. The light shrouded the Saint Teresa from the sky, which is the Holy Spirit of God, also the warmth that the world perceives Mother Teresa. She fully expresses the ultimate kindness of humanity. As what she said, “I have never seen God, but I have seen God in the sick”.

    《 德蕾莎修女 – 人間天使 》 

    這件作品,以最虔敬的態度表達我對德蕾莎修女義行的感動。 我以三個三角形構圖,最左邊印度加爾各達垂死之家的老病人被義工褓抱照護,病患視覺都朝向主角德蕾莎修女,垂死之家的修女以天主教特有手勢兩手掌心向上,表達對主也對主的使者德蕾莎表達崇敬。下方有仰臥與俯身的男人以桂冠表達對德蕾莎的義行嘉冕。右邊在完全沒有模特兒的造型參考下,自己流暢地造型出男女擎舉旗幟,表達追求攜牲自己幫助救難的決心。把光明從天空籠罩德蕾莎聖人,那來自天空的光是主的神靈,亦是世界對德蕾莎的溫暖感受。她將人類善的極致充分表達。誠如她所說的話: 「我從未見過上帝,但我在病人身上看見上帝」。

    《 War & Peace 》

    《 War & Peace 》

    Oil on canvas, 2010

    Height: 37 cm. Width: 44 cm.

    YEN LIN CHENG

    《 戰爭與和平 》

    油畫,2010

    高:37 cm 寬:44 cm 

    鄭延霖