《 Lumbini - The Birth of Siddhartha 》

《 Lumbini – The Birth of Siddhartha 》

Oil on canvas, 2014

Height: 410 cm. Width: 290 cm.


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。 

Center: Prince Siddhartha and Queen Maya

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