合作藝術家ARTISTS

繪畫Painting

董陽孜

台灣當代重要藝術家。八歲開始學習書法,從臨摹古代碑帖入手,中學就得過國際書法獎,國立臺灣師範大學藝術系畢業後赴美深造。返台後,結合西洋繪畫理論,以書法線條作為重要創作元素。她擅長巨幅草書創作,筆力雄渾、奔放,字形結構及布局自成一格,以獨特的當代詮釋,開創書法藝術的新風貌。

近年致力推廣文字藝術,將書法美學融入當代生活與視覺藝術創作中,如雲門舞集、金石堂文化廣場、台北車站、出入境戳章,以及誠品書店農曆新年贈送讀者的「福」字春聯等,都出自她之手。

創作逾四十年,已於全球舉辦超過六十場書法展覽,近期更以跨界藝術創作展演為重心,嘗試通過書寫的形式及內容,賦予文字藝術公共性,彰顯文字藝術的當代性。重要展覽包括:《沉墨似金》、《心弦,無聲之音》、《對話》、《無中生有:書法│符號│空間》、《墨韻無邊》、《無聲的樂章》、《一字箴言——誠》、《獨樂》等;跨界展演包括《追魂》、《誠》、《騷》以及與時尚結合的《讀衣》系列等。董陽孜大膽創新的跨界創作,希望在網路時代裡活化書寫的藝術,並且讓文字藝術不斷探索介入當代藝術的創作當中,以延續這項東方傳統藝術的當代生命光采。


TONG Yang-Tze is one of Taiwan’s most important modern-day artists. She started her study of calligraphy when she was just eight with the practice of copying rubbings from ancient stone inscriptions. As early on as junior high school, her calligraphy had already won intentional recognition. Following her graduation from National Taiwan Normal University with a degree in fine arts, TONG Yang-Tze continued to deepen her artistic studies in the US. Following her return to Taiwan, she began experimenting with fusing Western theories of painting with the lines and strokes that are the backbone of Chinese calligraphy. TONG Yang-Tze is practically famous for her large-scale calligraphic pieces done in cursive script, with her work often described as vigorous, bold and unrestrained. The structure of her characters and their lay out reveal a uniquely modern interpretation and serve as the basis for a new calligraphic style.


Over the past few years, TONG Yang-Tze has worked to promote the art of Chinese script, fusing the aesthetics of calligraphy with modern day lifestyles and visual art. Examples include collaboration with the Cloud Gate Dance Theatre, Kingstone Books Cultural Plaza, Taipei Main Station, the arrival/departure stamps used by Taiwan’s National Immigration Agency, the documentary Beyond Beauty—Taiwan From Above, and the character for ‘blessing’—part of the lunar couplet given to shoppers at eslite bookstores throughout Taiwan in celebration of the Chinese New Year.


A full-time artist for over 40 years, TONG Yang-Tze has held over 60 calligraphy shows worldwide. In recent years, her focus has shifted to crossover exhibitions, using the medium of the calligraphic form and content to “re-introduce” the Chinese script to the public and highlighting its place in the modern world. Some of her most important exhibitions include: Ink Like Gold; Heart Strings–The Sounds of Silence; Dialogues, X beyond O: Calligraphy – Sign – Space; Eternal Rhythm of Ink; Silent Music; One Character: Honesty; and Solitary Joy. Some of her most important crossover exhibitions include: Chasing Spirit; SAO; CHEN; From Ink to Apparel-A Crossover between Calligraphy Art and Fashion Design. TONG Yang-Tze’s bold crossover experiments look to bring to life the beauty of calligraphy in the internet age and to ensure that the artistic beauty of the Chinese script finds its way into modern day dialogues—thus continuing the contemporary brilliance of this ancient Eastern tradition.

誠─移動中的雕塑 The idea of “CHEN–A Moving Sculpture”2011 高200 x 寬300 x 厚150
肖楠、紅豆杉
《誠─移動中的雕塑》起心動念於社會動盪的2008年,受美國藝術家羅伯特˙印第安納(Robert Indiana)的《LOVE》雕塑刺激,董陽孜發願立「誠」。她像虔誠的傳道者般帶著「誠」字繞境,讓「誠」蔚為風氣,願人們重新珍視傳承千年的文字。「誠」由五塊巨木和樹瘤構成。左邊的「言」是肖楠木,紋理通直、細緻,帶著特殊清香;而右邊的「成」為紅豆杉,裏材呈現紅豆色澤,外層邊材肌理飛白。肖楠凝重沉穩、紅豆杉率性靈動,是輕重快慢的交錯,亦是言和成的對話。二者共構一個字充斥空間的力量,發出振聾發聵的聲響。 TONG Yang Tze decided to create the calligraphy sculpture “CHEN–A Moving Sculpture” in the dynamic year of 2008, when she was provoked by the American artist – Robert Indiana’s installation “LOVE”. Bringing the sculpture around Taiwan like a faithful preacher, TONG turns sincerity into an ethical trend and hopes that people would cherish Chinese characters. The sculpture is composed of five pieces of woods. The “Yeng” in the left is Taiwan Incense Cedar, which bears a stable characteristic and features delicate straight grain and unique scent. The “Chen” in the right is Chinese yew, which bears a vibrant characteristic and has the color of red bean inside and white color outside. The combination displays the interlock of lightness, heaviness, quickness and slowness, as well as the conversation between “Yeng” and “Chen”. A character with space-filling power is created, roaring with sincerity.
無聲的樂章 Silent Music2011 90x180cm / Each
紙、墨 Paper、Ink
《無聲的樂章》系列作品,源於董陽孜有感於書寫行書、草書時的情感投入,在輕重疾徐的運筆過程中,所留下飛白、濃淡等不同的筆跡,與音樂流動的節奏、韻律性相通,在2011年時,將過去自2003到2010年間創作其它大字作品時,所收集不捨丟棄的「點畫」與「筆勢」部分字形作品中,選出100幅命名為《無聲的樂章》系列作品,並邀請不同領域的創作者,開啟一連串跨界創作計畫。 The Silent Music series has its origins in Tong Yang-Tze’s realization that the weight, speed and continuous movement of the dots, turns, and strokes of Chinese calligraphy’s semi-cursive and cursive scripts suggested a musical beat and rhythm. In 2011, from the hundreds of panels that made up her large calligraphic pieces dating from 2003 to 2010—each exhibiting a portion of the strokes or dots that made up an otherwise complete character—Tong choose 100 panels to be part of the Silent Music series. Upon this foundation, Tong then asked several artists to build a series of crossover creative works.