眼見、觀思 — 磐古
創作自序
呂良遠
如果我們以「想知道它有什麼意義的態度」來看一個物件，就只會思考那個問題而看不到它本身。因為每個人的心智有兩種不同的感官來看物件，一是用眼睛看，一是用問題來看（不用眼睛）。
用眼睛看得到的，手可觸摸得著的，人們會因為太真實，因而缺乏興趣，無法吸引住目光而漏掉很多東西。真實世界的社會現象如此，所謂「藝術物件」更是如此。一件物品以某一種形式呈現在眼前，可能以另一種形式潛藏在它的外表之下。「距離」產生了美，「象徵」增加了想像的空間。意味著某種情境，可以是啟發，可以是探索。
例如：符碼、暗示、意味、酷似、詩意、臆測、衍生、轉化、移嫁、虛擬、辯解、再造、闡釋、觀、思、念、意…等；因此物件的一體兩面，潛在的比真實的想像空間來得更寬、更廣、更深，我想這是"高"的藝術物件必須存在的理由之一。
而在眾多的表現媒介裡—影視、舞蹈、水彩、水墨、寫作、繪畫、雕塑、音樂、建築中，除了影視，大都是加法的表現方式。對不善於加法表現方式的我，選擇了減法的表現方法"攝影"，做為我揮灑的工具，製成的"影像"做為我與他人之間的溝通媒介，相互激賞、共評、共鳴，苦在其中，樂在其中，活在其中，以"磐古"寄情，藉"磐古"寫境。
在拍攝磐古系列時，我常與景中裡的朋友—石、岩、海水，浪濤、風、雨、太陽對話、共鳴。在這三年拍攝之中，我的朋友，以亙古以來自然地相互共生、共存、殞沒的種種面相呈現在我的鏡頭前。春、夏、秋、冬，潮來潮去，互相感動中不知不覺地快門起起落落，落印在我的記憶裡，也實實在在地落印在我的底片中。
在1985~1987三年短暫的造訪，在亙古的時空流轉、遞移裡，我為朋友留下柔與剛、虛與實、純樸、素、靜、韻、疊、迴旋、深遠、幽藐，之古石般地片刻容粧。
Thinking, not just seeing - Pan Gu
Image Lu President of Lotus Arts Co., Ltd
If we look at an object as "want to know what meaning it has" that will cause the problem of can not see the object itself. Because there are two different ways of seeing an object in our mind, seeing with eyes, considering the questions (without eyes).
It’s too real, seeing by eyes and touching by hands, to interest people. It could not attracted attention and we missed a lot. Social phenomena are, and the "Art Works" even more. An item was shown us in a particular form, may have a different meaning in another form hidden under the appearance of it. "Distance" brings beauty; “Symbol” increases imagined space. Implies some sort of context, can be inspired, you can explore.
For example: code, hint, implying, like, poetic, speculation, derivative, transformation, shifting, fictitious, excuse, recycling, explaining, seeing, thinking, meaning and etc.; therefore the potential side of one object could be more wider, broader and deeper imagination than the real side. I think this is the existent reason of "high" art object. It is additive expression in many media, such as dance, watercolor, writing, painting, sculpture, music, architecture, but photography and video. I am not good at the additive approach, so I chose photography which is the performance of subtraction method as my tool. Image of photography is the way connected to others for me; admire and comment mutually; in which hard, in which fun, in which live; in which the emotions and circumstances by "Pan-Gu".
I had dialogue and resonance with stones, rocks, sea, waves, winds, rain, and the sun which were in my landscapes when I filmed “Pan-Gu Series”. During these three years of filming, various appearances, immemorial symbiosis, coexistence, did with natural, showed in the lens. I pressed shutter unknowingly by heart moved. Spring, summer, autumn and winter, time turns the pages, images dropped in my memory, also dropped on my negatives. Three years short-term visits between 1985-1987, I left my friends their aspects as ancient stone in a transient moment with firm and soft, void and real, simple, prime, quiet, rhyme, stacking, and roundabout in the eternal flow of time and space.
-----
磅礡又細膩的內向對話
林中斌
2009.01.21 淡江大學國際事務與戰略研究所教授 前國防部副部長
一月中的周末，風和日麗，使人想融入陽光、綠樹、碧天、白雲，與天地對話。呂老師帶了他「磐古系列」的攝影作品來舍下。
他每掀開薄紙展示一張創作，我不禁要驚呼一次。他的攝影磅礡又細膩，內涵越看越豐富。當他結束收拾時，我像被偉大的交響樂醍醐灌頂一般，內心激動不已。
第一個自然聯想是安瑟‧亞當斯 (Ansel Adams) 的氣勢。亞當斯攝影中，下至極黑上至極白的色調，於呂老師的作品中再現。另外類似亞當斯的是：「磐古系列」也重於內向的對話 – 創作者和攝影機的對話，創作者的過去與他的現在對話，創作者與紙張、彩墨、暗房技術的對話。
呂老師在一九八五到八七年間，不斷的重訪野柳。春、夏、秋、冬四季都有他的行蹤。當時，野柳仍屬海防要地，他卻手持相機一再出現，終於和最初禁止他攝影的守兵成了好朋友。這次展出前，呂老師從兩千多張作品中選出廿二張組成「磐古系列」。其中許多景象已被人為的破壞和自然的侵蝕所磨損，一去不返。呂老師當時與巖石、浪濤、風蝕、日曬對話，他多年來心路歷程中的自我對話，他不斷與日新月異沖洗科技對話。這廿二張是三種內向對話，歷經廿多年後，千錘百鍊的結晶！
第二個聯想是安瑟‧亞當斯 (Ansel Adams) 的話：「底片只是樂譜，放大出來的照片才是真正的演奏。」
我二○○三年中認識呂老師。他指導我準備那年年底的個人攝影展並為照片裝框。那時，我所知道的呂老師是國內首屈一指的照片裝框專家。他曾就教於以攝影、沖洗、裱褙、裝框聞名於世界的日本大師「原直久」先生。大師壇下學生甚至不少有博士學位，可見其專業地位之崇高。呂老師也見習於日本頂尖的「古徑」研究所。那兒有歐洲送來裝框如梵谷作品之類的名畫。「磐古系列」沖洗印製所用的各項最好的材料雖然可由市場供應，但是技術巧妙的組合卻屬呂老師獨門鑽研所得。全世界只此一家，別無分號。
直至今年一月中的那天，我並不曉得呂老師也是位深藏不露的創作者。
「磐古系列」讓我看到一位內涵深厚的藝術家從頂尖的技師身中破殼而出。真是廿年磨一劍，出鋒犀利！用音樂的話來說，呂老師不只是一流的演奏家，也是一流的作曲家。
第三個聯想是安瑟‧亞當斯的音樂素養和作品中深遠的意境。亞當斯年輕時決心以演奏鋼琴為業，後來才專攻攝影，所以他的風景作品往往蕩氣迴腸，有無法言傳的氣氛，像音符般的漂浮在空中。呂老師的「磐古系列」也沁透出類似的的氣質，讓人翱遊太虛想像無窮。我們凝視「磐古系列」會不自覺的昇華進入另一個世界。
兩者攝影的相似不是偶然與巧合，因為呂老師也是位音樂愛好者，而且每天要聽。他說：「沒有音樂我不能活！」
呂老師原先學工業設計，廿四歲進入南亞公司服務，四年後升任主管。卅歲自費留學東瀛，就讀於日本大學藝術學院，六年後研究所畢業，回國就業謀生時已規劃五十五歲要作想作的事。「磐古系列」就是他孕育卅年後才問世的藝術新生命的揭幕式。
「磐古系列」是呂老師令人矚目的成就，也是攝影愛好者雙眼和心靈的盛宴。
Overpowering and Exquiste Inner Dialogues
Chong-Pin Lin
Professor, Graduate Institute of International Affairs and Strategic Studies,
Former Deputy Defense Minister, Republic of China
On one weekend in January, the weather was so beautiful that one wished morphing into the golden sunshine, the green vegetation on the hill, the blue sky, and the white clouds so as to have a dialogue with the universe. Professor Lu came to my place with his photographs in the "Pan-Gu series".
Almost every time he displayed a piece, I just about cried out with excitement. His works were both overpowering and exquisite with contents growing richer as one gazed upon them over time. When he concluded the show, I was so thrilled as if having showered under the outpouring water of a great symphony.
Three aspects of Ansel Adam came to my mind. The first was the overwhelming power of his images. I saw his wide range of shades – from pitch black to glistening white – in Professor Lu's photos. Another similarity between their works is the inner dialogues contained therein: the dialogues between the artist and his camera, between his past and his present, between him and his papers, color pigments, and darkroom techniques.
Professor Lu visited Yeh-Liu regularly between 1985 and 1987. He went there in all seasons. At the time, Yeh-Liu-- considered a sensitive coastal defense post --was off-limits to tourists. Reappearing with his camera, he nonetheless wore off the suspicion of the guarding soldiers and befriended them. For this exhibition, Professor Lu selected 22 photos out of two thousand. A few of the scenes chosen are gone forever due to damages caused by weathering and tourism. During his field trips, he had dialogues with the rocks, the waves, the wind, and the sun. Since then, he has had endless dialogues with himself, and the rapidly evolving technology. The exhibition is the distillation of these dialogues over more than twenty years.
What came to my mind next was Ansel Adam's statement, "The negative is only the music score while the developed photos are the real performance".
I met Professor Lu in 2003 when he guided me on picture framing for my photo exhibition. At the time, I only knew that he was the top photo framer in our country. He had studied in Japan with Hara Naohisa who was a world renowned master of photography, mounting, and framing. Quite a few students under Master Hara Naohisa had doctorate degrees, which showed the esteemed status
of the Master. Professor Lu also interned at Ko Kei, the top framing lab in Japan, where paintings such as those by Vincent Van Gogh were sent from Europe to be serviced. Though the developing and printing materials used for the "Pan-Gu Series" are the best commercially available, the skillful combination of various technologies employed for the series is of Professor Lu's own. No one else in the world has a copy.
Until that day in January this year, I did not know that he had been an talented creative artist yet well-camouflaged.
Through the "Pan-Gu Series", a well-endowed artist suddenly emerged from the façade of a top-notch technician. It is like the Excalibur that when drawn from the rock, nothing could stand in its way. Professor Lu is not only a first rate virtuoso, but also a first rate composer.
The third thing that came to my mind was Ansel Adam's love for music and the poetic quality of his photographs. In his youth, he wanted to be a concert pianist. Only later, he became immersed in photography. That is why his works conveyed a transcendental atmosphere that defied verbal description which was like music notes floating in the air. Professor Lu's "Pan-Gu Series" radiates an ambience reminiscent of Adam's which opens up our own boundless imagination. As we pondered over the "Pan-Gu Series", we unconsciously ascend to another world.
Such similarity is not mere coincidence, as Professor Lu is also a music lover, and listens to classical music daily. He has said, "I cannot live without music".
Professor Lu started out as a student in industrial design. Upon graduation, he entered Nan Ya Plastics Corporation at the age of 24 before being promoted to a managerial position six years later. At 30, he went to study in Japan at the Art College of the Nihon University on his own expense. Six years hence, he finished the graduate studies and returned home when he had already planned what to do at 55. That time has arrived. The "Pan-Gu Series" heralded a new stage of artistic creation in his life.
The "Pan-Gu Series" is a remarkable personal achievement and a banquet for the eyes and the soul of photo lovers.
創作自序
呂良遠
如果我們以「想知道它有什麼意義的態度」來看一個物件，就只會思考那個問題而看不到它本身。因為每個人的心智有兩種不同的感官來看物件，一是用眼睛看，一是用問題來看（不用眼睛）。
用眼睛看得到的，手可觸摸得著的，人們會因為太真實，因而缺乏興趣，無法吸引住目光而漏掉很多東西。真實世界的社會現象如此，所謂「藝術物件」更是如此。一件物品以某一種形式呈現在眼前，可能以另一種形式潛藏在它的外表之下。「距離」產生了美，「象徵」增加了想像的空間。意味著某種情境，可以是啟發，可以是探索。
例如：符碼、暗示、意味、酷似、詩意、臆測、衍生、轉化、移嫁、虛擬、辯解、再造、闡釋、觀、思、念、意…等；因此物件的一體兩面，潛在的比真實的想像空間來得更寬、更廣、更深，我想這是"高"的藝術物件必須存在的理由之一。
而在眾多的表現媒介裡—影視、舞蹈、水彩、水墨、寫作、繪畫、雕塑、音樂、建築中，除了影視，大都是加法的表現方式。對不善於加法表現方式的我，選擇了減法的表現方法"攝影"，做為我揮灑的工具，製成的"影像"做為我與他人之間的溝通媒介，相互激賞、共評、共鳴，苦在其中，樂在其中，活在其中，以"磐古"寄情，藉"磐古"寫境。
在拍攝磐古系列時，我常與景中裡的朋友—石、岩、海水，浪濤、風、雨、太陽對話、共鳴。在這三年拍攝之中，我的朋友，以亙古以來自然地相互共生、共存、殞沒的種種面相呈現在我的鏡頭前。春、夏、秋、冬，潮來潮去，互相感動中不知不覺地快門起起落落，落印在我的記憶裡，也實實在在地落印在我的底片中。
在1985~1987三年短暫的造訪，在亙古的時空流轉、遞移裡，我為朋友留下柔與剛、虛與實、純樸、素、靜、韻、疊、迴旋、深遠、幽藐，之古石般地片刻容粧。
Thinking, not just seeing - Pan Gu
Image Lu President of Lotus Arts Co., Ltd
If we look at an object as "want to know what meaning it has" that will cause the problem of can not see the object itself. Because there are two different ways of seeing an object in our mind, seeing with eyes, considering the questions (without eyes).
It’s too real, seeing by eyes and touching by hands, to interest people. It could not attracted attention and we missed a lot. Social phenomena are, and the "Art Works" even more. An item was shown us in a particular form, may have a different meaning in another form hidden under the appearance of it. "Distance" brings beauty; “Symbol” increases imagined space. Implies some sort of context, can be inspired, you can explore.
For example: code, hint, implying, like, poetic, speculation, derivative, transformation, shifting, fictitious, excuse, recycling, explaining, seeing, thinking, meaning and etc.; therefore the potential side of one object could be more wider, broader and deeper imagination than the real side. I think this is the existent reason of "high" art object. It is additive expression in many media, such as dance, watercolor, writing, painting, sculpture, music, architecture, but photography and video. I am not good at the additive approach, so I chose photography which is the performance of subtraction method as my tool. Image of photography is the way connected to others for me; admire and comment mutually; in which hard, in which fun, in which live; in which the emotions and circumstances by "Pan-Gu".
I had dialogue and resonance with stones, rocks, sea, waves, winds, rain, and the sun which were in my landscapes when I filmed “Pan-Gu Series”. During these three years of filming, various appearances, immemorial symbiosis, coexistence, did with natural, showed in the lens. I pressed shutter unknowingly by heart moved. Spring, summer, autumn and winter, time turns the pages, images dropped in my memory, also dropped on my negatives. Three years short-term visits between 1985-1987, I left my friends their aspects as ancient stone in a transient moment with firm and soft, void and real, simple, prime, quiet, rhyme, stacking, and roundabout in the eternal flow of time and space.
-----
磅礡又細膩的內向對話
林中斌
2009.01.21 淡江大學國際事務與戰略研究所教授 前國防部副部長
一月中的周末，風和日麗，使人想融入陽光、綠樹、碧天、白雲，與天地對話。呂老師帶了他「磐古系列」的攝影作品來舍下。
他每掀開薄紙展示一張創作，我不禁要驚呼一次。他的攝影磅礡又細膩，內涵越看越豐富。當他結束收拾時，我像被偉大的交響樂醍醐灌頂一般，內心激動不已。
第一個自然聯想是安瑟‧亞當斯 (Ansel Adams) 的氣勢。亞當斯攝影中，下至極黑上至極白的色調，於呂老師的作品中再現。另外類似亞當斯的是：「磐古系列」也重於內向的對話 – 創作者和攝影機的對話，創作者的過去與他的現在對話，創作者與紙張、彩墨、暗房技術的對話。
呂老師在一九八五到八七年間，不斷的重訪野柳。春、夏、秋、冬四季都有他的行蹤。當時，野柳仍屬海防要地，他卻手持相機一再出現，終於和最初禁止他攝影的守兵成了好朋友。這次展出前，呂老師從兩千多張作品中選出廿二張組成「磐古系列」。其中許多景象已被人為的破壞和自然的侵蝕所磨損，一去不返。呂老師當時與巖石、浪濤、風蝕、日曬對話，他多年來心路歷程中的自我對話，他不斷與日新月異沖洗科技對話。這廿二張是三種內向對話，歷經廿多年後，千錘百鍊的結晶！
第二個聯想是安瑟‧亞當斯 (Ansel Adams) 的話：「底片只是樂譜，放大出來的照片才是真正的演奏。」
我二○○三年中認識呂老師。他指導我準備那年年底的個人攝影展並為照片裝框。那時，我所知道的呂老師是國內首屈一指的照片裝框專家。他曾就教於以攝影、沖洗、裱褙、裝框聞名於世界的日本大師「原直久」先生。大師壇下學生甚至不少有博士學位，可見其專業地位之崇高。呂老師也見習於日本頂尖的「古徑」研究所。那兒有歐洲送來裝框如梵谷作品之類的名畫。「磐古系列」沖洗印製所用的各項最好的材料雖然可由市場供應，但是技術巧妙的組合卻屬呂老師獨門鑽研所得。全世界只此一家，別無分號。
直至今年一月中的那天，我並不曉得呂老師也是位深藏不露的創作者。
「磐古系列」讓我看到一位內涵深厚的藝術家從頂尖的技師身中破殼而出。真是廿年磨一劍，出鋒犀利！用音樂的話來說，呂老師不只是一流的演奏家，也是一流的作曲家。
第三個聯想是安瑟‧亞當斯的音樂素養和作品中深遠的意境。亞當斯年輕時決心以演奏鋼琴為業，後來才專攻攝影，所以他的風景作品往往蕩氣迴腸，有無法言傳的氣氛，像音符般的漂浮在空中。呂老師的「磐古系列」也沁透出類似的的氣質，讓人翱遊太虛想像無窮。我們凝視「磐古系列」會不自覺的昇華進入另一個世界。
兩者攝影的相似不是偶然與巧合，因為呂老師也是位音樂愛好者，而且每天要聽。他說：「沒有音樂我不能活！」
呂老師原先學工業設計，廿四歲進入南亞公司服務，四年後升任主管。卅歲自費留學東瀛，就讀於日本大學藝術學院，六年後研究所畢業，回國就業謀生時已規劃五十五歲要作想作的事。「磐古系列」就是他孕育卅年後才問世的藝術新生命的揭幕式。
「磐古系列」是呂老師令人矚目的成就，也是攝影愛好者雙眼和心靈的盛宴。
Overpowering and Exquiste Inner Dialogues
Chong-Pin Lin
Professor, Graduate Institute of International Affairs and Strategic Studies,
Former Deputy Defense Minister, Republic of China
On one weekend in January, the weather was so beautiful that one wished morphing into the golden sunshine, the green vegetation on the hill, the blue sky, and the white clouds so as to have a dialogue with the universe. Professor Lu came to my place with his photographs in the "Pan-Gu series".
Almost every time he displayed a piece, I just about cried out with excitement. His works were both overpowering and exquisite with contents growing richer as one gazed upon them over time. When he concluded the show, I was so thrilled as if having showered under the outpouring water of a great symphony.
Three aspects of Ansel Adam came to my mind. The first was the overwhelming power of his images. I saw his wide range of shades – from pitch black to glistening white – in Professor Lu's photos. Another similarity between their works is the inner dialogues contained therein: the dialogues between the artist and his camera, between his past and his present, between him and his papers, color pigments, and darkroom techniques.
Professor Lu visited Yeh-Liu regularly between 1985 and 1987. He went there in all seasons. At the time, Yeh-Liu-- considered a sensitive coastal defense post --was off-limits to tourists. Reappearing with his camera, he nonetheless wore off the suspicion of the guarding soldiers and befriended them. For this exhibition, Professor Lu selected 22 photos out of two thousand. A few of the scenes chosen are gone forever due to damages caused by weathering and tourism. During his field trips, he had dialogues with the rocks, the waves, the wind, and the sun. Since then, he has had endless dialogues with himself, and the rapidly evolving technology. The exhibition is the distillation of these dialogues over more than twenty years.
What came to my mind next was Ansel Adam's statement, "The negative is only the music score while the developed photos are the real performance".
I met Professor Lu in 2003 when he guided me on picture framing for my photo exhibition. At the time, I only knew that he was the top photo framer in our country. He had studied in Japan with Hara Naohisa who was a world renowned master of photography, mounting, and framing. Quite a few students under Master Hara Naohisa had doctorate degrees, which showed the esteemed status
of the Master. Professor Lu also interned at Ko Kei, the top framing lab in Japan, where paintings such as those by Vincent Van Gogh were sent from Europe to be serviced. Though the developing and printing materials used for the "Pan-Gu Series" are the best commercially available, the skillful combination of various technologies employed for the series is of Professor Lu's own. No one else in the world has a copy.
Until that day in January this year, I did not know that he had been an talented creative artist yet well-camouflaged.
Through the "Pan-Gu Series", a well-endowed artist suddenly emerged from the façade of a top-notch technician. It is like the Excalibur that when drawn from the rock, nothing could stand in its way. Professor Lu is not only a first rate virtuoso, but also a first rate composer.
The third thing that came to my mind was Ansel Adam's love for music and the poetic quality of his photographs. In his youth, he wanted to be a concert pianist. Only later, he became immersed in photography. That is why his works conveyed a transcendental atmosphere that defied verbal description which was like music notes floating in the air. Professor Lu's "Pan-Gu Series" radiates an ambience reminiscent of Adam's which opens up our own boundless imagination. As we pondered over the "Pan-Gu Series", we unconsciously ascend to another world.
Such similarity is not mere coincidence, as Professor Lu is also a music lover, and listens to classical music daily. He has said, "I cannot live without music".
Professor Lu started out as a student in industrial design. Upon graduation, he entered Nan Ya Plastics Corporation at the age of 24 before being promoted to a managerial position six years later. At 30, he went to study in Japan at the Art College of the Nihon University on his own expense. Six years hence, he finished the graduate studies and returned home when he had already planned what to do at 55. That time has arrived. The "Pan-Gu Series" heralded a new stage of artistic creation in his life.
The "Pan-Gu Series" is a remarkable personal achievement and a banquet for the eyes and the soul of photo lovers.