《香江画刊》综合版

罗初，罗鑫，唐鑫，张天

香港文艺家协会副主席、《香港文艺》总编、《香港书画院》院长、香江画派领军人物谭延桐

香港邮报(转载)

《香江畫刊》｜羅唐生九幅超驗繪畫系列美術評論

Hong Kong Art Journal | A Critical Review of Luo Tangsheng's Nine Transcendental Paintings

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【引言｜Introduction】

當代藝術在經歷了觀念的泛濫與媒材的狂歡之後，往往陷入一種「為新而新」的疲態。然而，當我們凝視羅唐生這九幅《超驗繪畫》系列時，一種久違的、源自生命底層的原始顫動，竟穿透紙背，直抵觀者心靈。這些作品無意於描繪客觀世界的可見物象，而是在虛實交錯的「爻變」中，試圖對不可見的宇宙秩序與精神內核進行一場視覺上的「升維」。

After the proliferation of concepts and the carnival of media, contemporary art often falls into a fatigue of "newness for its own sake". However, as we gaze upon Luo Tangsheng's series of nine "Transcendental Paintings", a long-lost, primal tremor originating from the depths of life penetrates through the paper and strikes the viewer's soul directly. These works have no intention of depicting the visible objects of the objective world. Instead, amidst the interplay of the virtual and the real, through the "changing lines" (Yao), they attempt a visual "dimension-ascension" of the invisible cosmic order and spiritual core.

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【壹、混沌初開：從地質肌理到心靈深處｜I. Primordial Chaos: From Geological Texture to the Depths of the Soul】

羅唐生筆下的畫布，不似傳統油畫般平滑，反而帶有一種強烈的「物性」與「考古感」。灰白交錯的底色，粗礪得像乾涸的河床，又像剝落的千年壁畫，其間佈滿了如水墨般皴擦、流淌的痕跡。這不是畫筆的溫柔撫摸，而是靈魂的劇烈衝撞。藝術家似乎刻意削弱了具象的邊界，用極具張力的筆觸，在紙面上構築了一個宇宙洪荒的意象，讓油彩與墨跡在交戰中產生一種粗獷而神秘的生命力。

Luo Tangsheng's canvas is not smooth like traditional oil paintings; rather, it possesses a strong sense of "materiality" and "archaeological depth". The interwoven gray and white background is rough like a dried-up riverbed, or like peeling murals from a thousand-year-old temple, filled with traces of rubbing and flowing akin to ink-wash. This is not the gentle caress of a brush, but a violent collision of the soul. The artist seems to deliberately blur the boundaries of representation, using highly tension-filled brushstrokes to construct an image of primeval chaos on the paper, allowing the paint and ink to generate a rugged and mysterious vitality through their conflict.

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【貳、色彩即「爻」：對立與交融的終極法則｜II. Color as "Yao": The Ultimate Law of Opposition and Fusion】

《易經》有云：「爻者，言乎變者也。」在羅唐生的畫作中，這種「變」的哲學被轉化為色彩的極致對抗。深邃的黑、掙扎的紅、幽微的紫、驚艷的藍與綠，如同太極圖中的陰陽二氣，在灰白的混沌中互相撕扯、吞噬又彼此孕生。他以高飽和度的亮色，挑動沉悶的基調，這種「靜中之動，亂中有序」的佈局，正是東方美學中「破」與「立」的平衡。畫面中的每一次色彩碰撞，都是一次精神的「爻變」——是生命在擠壓下的吶喊，也是靈魂在孤獨中的獨白。

The "I Ching" (Book of Changes) states: "Yao refers to that which speaks of change." In Luo Tangsheng's works, this philosophy of change is transformed into an extreme confrontation of colors. Deep blacks, struggling reds, subtle purples, and stunning blues and greens, like the Yin and Yang energies in a Taiji diagram, tear at, engulf, and give birth to each other amidst the gray-white chaos. He uses highly saturated bright colors to provoke the dull foundation. This layout of "movement within stillness, order within chaos" represents the balance between "destruction" and "establishment" in Eastern aesthetics. Every collision of colors in the painting is a spiritual "Yao transition"—it is the roar of life under pressure, and the solitary monologue of the soul.

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【參、破碎與虛空的禪意：不完美的絕對美｜III. Zen of Fragmentation and Void: The Absolute Beauty of Imperfection】

這組作品的另一大魅力，在於其極致的「未完成感」。羅唐生的畫作，大量留白或留出虛無的灰色地帶，不追求封閉圓滿的構圖，反而刻意呈現「殘缺」與「斷裂」。這種美學觀，與東方美學中的「侘寂」（Wabi-sabi）遙相呼應。在藝術家看來，真正的強大恰恰源於脆弱，真正的完整恰恰在於接納破碎。觀者被邀請進入這種不確定的「境像」之中，讓那種難以名狀的狂喜與悲憫，全都沉澱於粗獷的肌理之中，完成一場精神的「打坐」。

Another great charm of this series lies in its ultimate sense of "unfinishedness". Luo Tangsheng's paintings feature large areas of blank space or voids of grey, abandoning closed and perfect compositions in favor of deliberate "incompleteness" and "ruptures". This aesthetic vision echoes the Eastern concept of "Wabi-sabi". In the artist's view, true strength stems from vulnerability, and true wholeness lies in accepting fragmentation. The viewer is invited into this indeterminate "realm of imagery", allowing indescribable ecstasy and compassion to settle within the rugged textures, completing a spiritual "meditation".

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【肆、結語：通往彼岸的視覺經文｜IV. Conclusion: Visual Sutras Leading to the Other Shore】

羅唐生的這九幅超驗繪畫，是對當下浮躁視覺文化的一種沉默反擊。他既不迎合市場的獵奇，也不討好體制，而是忠實地成為了內心宇宙的「記錄者」。這些看似焦躁、破碎、混沌的畫面，恰恰是這個分裂時代最清醒的精神隱喻。它們不是畫，而是視覺化的「經文」；不是風景，而是靈魂的「地圖」。羅唐生以一己之力，在虛實交錯的灰白底色上，為華語藝術界拓印出了一條通往非物質世界的升維之路。

Luo Tangsheng's nine transcendental paintings are a silent counterattack against today's fickle visual culture. He neither panders to the market's sensationalism nor caters to institutional norms; instead, he faithfully serves as a "recorder" of his inner universe. These seemingly restless, fractured, and chaotic images are precisely the most sober spiritual metaphors of this divided era. They are not paintings, but visual "sutras"; they are not landscapes, but "maps" of the soul. With his solitary strength, Luo Tangsheng has imprinted a path of dimensional ascension leading to the non-physical world for the Chinese-speaking art scene, upon a foundation of intertwining virtuality and reality, grey and white.

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【主辦及學術支持｜Hosted & Supported By】

香港書畫院 | Hong Kong Academy of Calligraphy and Painting

文曲星立雪書院 | Wenquxing Lixue Academy

海峽少兒美育文曲實踐基地 | Straits Children's Aesthetic Education Wenqu Practice Base

巴洛克藝術中心 | Baroque Art Center

張雄美術網即得生態寫生基地 | Zhangxiong Art Network Jide Ecological Sketching Base

聯合主持 | Jointly Hosted

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（本文刊登於《香江畫刊》藝術專題欄目｜Published in the Art Feature Section of Hong Kong Art Journal）