《懷碩造境》序<論何懷碩>1981 國立台南藝術學院 徐小虎教授

何懷碩的美學理論與他的畫二者相輔相成,互相提昇。在這兩方面,他都採取超然獨立的姿態。他直言不諱地抨擊畫壇上若干陳陳相因的積習。同時也批評當代許多畫家膚淺及侈衍閎麗的匠氣;尤其指責他們對中國文化的傳統與未來的前途缺乏深謀遠慮的見識。無論在文壇或畫壇,他都採不結盟主義,因他知道加入任何畫派,雖可與會友桴鼓相應,但無形中也羈絆了自己畫風的獨創,與未來延伸的方向。作為一隻離群的孤雁,他必須默默忍受同儕的排斥。但這也是他為創作獨立所欣然付出的昂貴代價。

目前,我們至少可以肯定,「何懷碩」這個名字在畫史上不可能輕易隨時間湮沒。無論將來的藝評家對他「苦澀」的美學理論如何評估,他們都將讚揚他在繪畫理論與技巧上的偉大成就。而且,不可否認的,在振興中國藝術的運動上,他是一位有力的推動者。

《Inner Realms of Ho Huai-shuo》, 1981 Professor Joan Stanley-Baker, National Tainan College of Arts

Ho Huai-shuo's theories and his painting have had a mutual influence on each other, moulding and refining. In both respects he stands aloof from his peers and courageously declares his disdain for many common beliefs and traditions, criticising his fellow artists for their shallowness or glibness, most of all for their short-sightedness with respect to China's cultural rtadition and future as a whole. He does not belong to painting or literary schools or associations which benefit members with mutual support and encouragement but may hamper them in overall style and artistic directions. As a lone wolf Ho Huai-shuo has withstood isolation and opposition, a high price he gladly pays for his creative independence.

But for the moment we can safely say that in Ho Huai-shuo we see an artist whose name will not easily be obliterated by time. Whatever future historians may say of his bitter aesthetics, they will acknowledge his prodigious accomplishments as a technician and recognize him as one of the more substantial forces in the movement toward the revitalization of Chinese painting.


何懷碩 《懷碩造境》自序,1981

1973年,在第一本畫集的「自序」中我曾說:「一個現代中國畫家不但要有新創造,同時要背負古老的傳統與面對日新月異的現代,作一番批判性的綜合。……傳統與現代兩個課題的整合,是對現代中國畫家最嚴重的考驗。這不單是一個藝術思想的問題,實亦為文化思想的問題。頑固的復古與盲目的西化,都不是有志建設現代中國繪畫者所應有的態度。」

藝術的創造,不僅是「美」的追求,不僅提供了視覺的式樣,供人欣賞,而且表現了一個藝術家對世界與人生的一種觀照。最好的藝術常常不是流行的寵兒,它預備交付歷史,接受裁判;它總是表現一個時代中最具深度最超越的見識與理念,表現最崇高的心靈所堅持與憧憬的價值。

Ho Huai-shuo 《Inner Realms of Ho Huai-shuo》,1981

In 1973, 《Ho Huai-shuo's Paintings》was published in Taipei. In my first"Introduction"I said,
A contemporary Chinese painter shoulders considerable responsibilities. Aside from the task of creating art works, he must achieve a critical synthesis which integrates the best of Chinese traditions and contemporary innovations...The proper integration of the past and the present presents the most serious challenge for today's Chinese painters. This is not only a question for Chinese art but is actually a problem for Chinese culture as a whole. For neither a stubborn clinging to traditions nor a blind, wholesale westernization should motivate painters who seek to establish Contemporary Chinese Painting.
The creation of a work of art should not only seek "beauty", not only offer visual forms for people's enjoyment, but express an artist's perception of the world, and of life. The best art is often not the darling of its age, but stands ready for critical assessment by history. It expresses the most profound and at the same time the most exalted experiences and concepts of its age, the values aspired to, indeed insisted upon by the loftiest spirits of its time.


莫士撝(Hugh Moss) 《何懷碩庚午畫集》序,1990

何懷碩對現代中國畫的偉大貢獻,就是他了解到繪畫基本詞彙的重要性(具象的主題、外形、線條、色彩和肌理),及他對每一方面的表現手法的充份掌握。傳統繪畫偏重於線條,但他卻能將各藝術原素都帶到一個和諧的局面。由於他具有深厚的傳統功力,及他致力於尋求個人獨特的表現手法,對復興中國繪畫傳統至為重要。同時,獨創性亦是一般藝術的必需條件。他的成功,全賴他內在的一股力量。
何懷碩為中國藝術主流中的當代巨匠,他的貢獻,是從內拓展創意,多於從外借鏡。
何懷碩對中國文化的嚴格要求,及對許多習以為常的論點的反駁,使他陷入困境。在一個缺乏批評風氣的社會裡,作為一個敢言的評論家,使他有一種孤立的感覺。但在近年,他的藝術聲名遠播,遠超過台灣一地。由自我的疏離,轉而贏得廣泛的尊重。不單限於他的繪畫,甚至他的藝術教育、評論和藝術史著作,也一樣受到重視。與此同時,何懷碩更建立了更強的自信心和自由的表現手法,由他的近作隱然可見。

Hugh Moss Introduction, 《Ho Huai-shuo:Review 1990》

Ho's great contribution to modern Chinese painting lies in his understanding of the importance of all the basic languages of pictorial art (representational subject matter, form, line, color and texture)and his formidable capacity to bring great depth of expression to each. He has, in short, brought back into harmonious balance an art which had, in the orthodox tradition, become unbalanced in its reliance on the language of line. But his devoted search for the individual creativity which he sees as vital to the renaissance of his own tradition and a necessary prerequisite for art in general is firmly rooted within the Chinese tradition of art.
Ho Huai-shuo's demanding stance on behalf of his culture and rejection of so much that the establishment took comfortably for granted, created problems for him. As an outspoken critic in a culture where even spoken criticism is rare, he often felt isolated in his cultural crusade. However, in more recent years, as his art has become recognized and admired far beyond the confines of Taiwan, this partly self-imposed isolation has given way to widespread respect-not only for his painting, but for his teaching, criticism, and art-historical writing as well. With this Ho has rapidly acquired a greater confidence and freedom of expression which is subtly apparent in his more recent paintings.


何懷碩 《何懷碩庚午畫集》自序,1990

藝術不是集體思維模式的感性形式,乃是一個有創造力的生命體在某個時空中獨特的聲音。杜甫詩云:「悵望千秋一灑淚,蕭條異代不同時」。藝術是人的創造,故有「千秋」不易的「普遍性」;但不同時代的藝術家在不同的處境中各有獨特的思想,必也有「異代」萬變的「特殊性」。普遍性與特殊性和諧的結合,是一切偉大藝術創造的基礎。若只有陳腔爛調與套式化的「普遍性」,或者只一味追求奇變異的「特殊性」,都不免陷入歷史或時代的「群體意識」之中,滅了「個人」。
宇宙人生的體驗,歡樂與痛苦,愉悅、欣賞與歌哭、沉吟,才是藝術創作的原動力。個人創造的視覺形式只是表現獨特風格必要的手段而已。知音的觀畫者,必可在我的畫中得到共鳴。

Ho Huai-shuo 《Ho Huai-shuo:Review 1990》

Art is not a formal expression of a collective ideology, but the unique voice of a creative individual made at a certain place and point in time. The poet Du Fu wrote:
Weeping in despair for a thousand times;Desolate periods at different times.
Art is the creation of humankind and has a universality unchanged through a thousand years. However, different artists in different periods have had their unique ways of expressing it. Locally, art possesses this individual perspective. In the union of this universality and speciality is to be found the source of all great art.
The prime moving force in creative art is the experience of the universe and life:the joy and the pain, the songs and the cries of the human species set on a limitless stage. Visual form is no more than a means to express creatively one's individual response to all of this. Those who understand me will be sympathetic to my paintings.


國立歷史博物館館長 黃光男

從東方美學的範疇出發,吸收西方美術的人文主義精神,何懷碩高妙地兼容並蓄國畫的寫意與西畫的寫實,並灌注個人主觀情感與美學思維,終究形成他今日獨特軓格的藝術風貌。
何懷碩書畫兼善,而藝術評論亦見解精闢,對於東方美學與人性美感的詮釋,深受世人的敬重與藝林的推許。他致力於尋找屬於中華民族藝術的繪畫根源,透過個人的繪畫創作來體現自我的藝評思想。他可說是現代美學新思想的開拓者之一,提供了東方美學實體中嶄新的精神與風貌。

Huang Kuang-nan Director ,National Museum of History

Starting off with Oriental aestheics, and absorbing the humanism of western art, Ho Huai-shuo combines Chinese and western painting styles to create something uniquely his own.
Not only is Ho Huai-shuo a great painter, his critique of art is highly valued in the art world as well. He has striven to capture the essence of tradition while boldly developing his own modern style. One can say he is one of the pioneers of contemporary aesthetics. He has given Chinese aesthetics a new face and spirit.


漢寶德 國立台南藝術學院院校長《心象風景-何懷碩九九年畫集》序,1999

在今天的中國畫壇上,何懷碩無疑是藝術界無人不知的重量級人物,但是在許多藝術活動的場合,他卻有意無意的疏離。他嘯傲群山,不介懷於孤獨。
何懷碩是不多見的嚴肅、認真、博學的藝術家,自己又有一套嚴密的理論,幾十年來以自我苛求的態度不斷的創作,又在廣闊的文化領域堣斷的寫作,累積了可觀的成績,為文化界所景仰的藝術家。

Han Pao-teh President of National Tainan College of Arts 《The Scene of Mind:Ho Huai-shuo Reviewing 1999》

Today Ho Huai-shuo is undoubtedly well known to the art world. But he always avoids gatherings of artists. He talks and behaves freely, and does not mind being alone.
Ho Huai-shuo is a rare artist who is very serious, earnest and erudite. For many decades, he has developed his own precise theories, devoted himself to painting and kept himself writing. He has achieved greatly in art and is respected in the cultural circles.


何懷碩 《心象風景-何懷碩九九年畫集》自序,1999

三十多年來我的藝術創作一脈相續。我的信念,我的審美觀;我對人生、時代與生存環境的種種感受、感想、感動與感慨;我對生命與世界的領會、品味、熱愛、依戀、關切、悲憫與某些無可奈何花落去的悲愴之情的體驗,所有難以言語訴述的情思,都通過畫筆傾注於我的繪畫創作中。所以,我的繪畫歷程是「我」這個孤獨個人的「藝術史」。那個集體的大藝術史與當代中外藝術界的表現,雖然是我學習與研究、汲取與借鏡的對象,亦是我檢討與批判的對象,而不是我依附的靠山。我認為有自覺的藝術家都必他的生命去創造他個人與眾不同的「藝術史」--亦可以說是以藝術去表現個人的生命史。所以繪畫不止於視覺的呈現,更重要的是那獨特個人內在的因素。
依附流行,追逐潮流,輕率兒戲既然皆為虛妄,但追求真實,卻不是模仿「實在」所能達到。古今第一流的藝術家都在追求宇宙人生最高本質的真實的表現,但什麼是「最高的真」?似乎永遠沒有答案。「實在」所呈現於吾人感官之前者只可能是「現象」(phenomenon),最高的真實應為精神「本質」(essence)。然而,視覺藝術所能呈現的只可能是感官的形式,要表現內在的本質有先天性的困難。所以,當代的畫家必須在「模仿自然」與「抽象形式」的舊路之外另覓途徑。
「夢幻比實在為更高的真」。斯特林堡(August Strindberg,1849~1912)這句話是我的知音。肉體的人寄生於實在的世界皆不自由,只有自由的心靈可以作無限的追求。凡超越的追求皆如夢幻,卻是生命的消耗唯一值得努力的事業,故為生命中最高的真。
我的繪畫是一連串個人內心幻景的視覺構築。我用廣義的寫實手法表現最曲折幽昧,抽象隱晦,難以訴說的心理活動。或可稱之為「夢幻的寫實」。喜歡用不斷出現的視覺意象來作隱喻或象徵的表現。這一點也許是近十年來我的畫所呈現較前更為顯著的特色。


Ho Huai-shuo 《The Scene of Mind:Ho Huai-shuo Reviewing 1999》

My art has adhered to the same ideology for over thirty years. My belief , my appreciation of beauty, my feelings about life and the environment, my tastes and passions, concerns, sympathies and sadness are difficult to express through words, but are painted through my brush. Therefore, my painting process actually is my pesonal art history. I learn from, research and criticize art history and the modern contemporary art community, but I never follow them. I think a conscious artist should create his own "art history"through his life --his experiences of art. Therefore, it is more important to express the artist's inner qualities than just visual presentations in paintings.
Being part of the mainstream and pursuing fashion are not real. Seeking for the truth is not the imitation of "reality."Artists from ancient times to the present day have all been seeking the truth. Unfortunately, truth has been elusive. To me,"reality"probably is a "phenomenon"and the truth should be the "essence."Contemporary artists need to fill the gap between "imitating nature"and "abstract form"because visual art is only able to present the sensible form, but not to express the inner essence.
"Imagination is more truthful than reality"by August Strindberg is an intimate saying to me. The human body is not free but only a free mind is able to pursue without limits. Pursuit of the extraordinary is like a dream, which is the only career worth pursuing. Therefore it is the ultimate truth of life.
My painting is a visual composition of a succession of personal inner images. I utilize realistic way to describe the most secret and abstract activities of the mind. you may call it "fantastic realism"--using visual ideology to express a metaphor or a symbol. This is an obvious feature in my painting during the last ten years.