容華淡佇獨佔春
Usurper of Spring — the Delicate and Unadorned Flowers
文｜汪柏成 Article by Wang Bo-Cheng
容華，如未經雕琢的美人。此回展出乃延伸【華非華】系列精神，同中求異，異中生化。古人多以花/華喻人，詩經有「常棣之華，鄂不韡韡。」形容弟以敬事兄，兄以榮覆弟的手足之情。紅樓夢有「孤標傲世偕誰隱，一樣花開為底遲。」形容黛玉若菊孤傲獨立卻心懷偕老之隱的情懷。
Flowers resemble embellished beauties. This exhibition inherits the ethos of the ‘Hua Fei Hua’ series while differences and changes can be sought among their commonness. The ancients like to analogize flowers with humans. For example, in the Book of Odes (Shih-Ching), the flourishing scene of the plum tree in full bloom is used to depict harmonious brotherly love. In another great work of literature, The Story of the Stone, the verses that question the pride and seclusion of the chrysanthemum essentially serve as a reflection of the protagonist’s ambivalent sentiments: taking pride in her solitude but also desiring for a confidant.
到底是華如人，還是人似華？於是畫裡的華，淡雅如綢絲，若浮霧，或堅如洞石，若山巒，或膩如凝脂，若肌肉。所有觀見與想見，實則就是「人」。 展期的三至五月間「獨佔了整個春天」，巧是芍藥盛繁的煙花之春，妙逢臨水而書的蘭亭之集。俱佔綺宴，獨搶金樽，攏絡芳塵，靜候美人。
Do flowers bear a resemblance to humans or humans to flowers? The painted flowers are as delicate and elegant as silk and mist, as firm and solid as stone and mountain, they are also as rich and thick as cream and muscle — all the perceived and conceived is human. From March to May, the exhibition indeed ‘usurped the entire spring.’ In such a season that both peonies and proses flourish, crowds gather for feast and one can drink by himself, waiting for a beauty to come into full blossom among scattered petals.
柏成的作品中，任何時期都包含幾項特徵：
Some common features can be seen from all of Bo-Cheng’s art pieces regardless of the difference in time periods:
隱諱 Obscurity
人性本複雜深層且具備各種面向，擅用象徵表線法，隱喻在一件作品中深藏的各種人性視角。
Outward symbols and lines are often used to metaphorize different angles of complex and multi-layered human nature.
古雅 Quaintness
顏色與質感偏向其個人喜好的陰翳質地，柏成認為陰翳的色彩是內化在東方世界的風土建築及人種基因裡，「陰翳」形而上貼近隱諱的視覺感，而「雅」引發的幽微氣氛，暗喻充滿水氣的生養他的土壤，以及他遙不可觸的故土根源。
Bo-Cheng holds that dark and shaded colours are inherent in Eastern culture, architecture, and even racial genetics. The obscure visual perception created by shades and a faint aura of quaintness allude to his faraway motherland and the moist soil that nurtured him.
留白 Negative Space
留白是東方藝術中很重要的元素，將筆勢留下，形成變即不變的時間邏輯，亦留給自己繼續發問的空間，留給觀者遐想空間。
Negative space is an important element in Eastern arts. Not only does it reserve room for the artist to pursue further questions but it also leaves space for the viewer’s imaginations.
書寫 Writing
所有的作品都關乎書道的用技，為的是進一步透過作品詮釋以為深不可論的理論。畫面表現時間「活在一息」的哲學觀，也從虛實中衍生許多想像空間，自成獨特世界觀。每件作品有獨一無二的名字，乃先有名，方生成所見之物。無模糊，無矯作。同古時窮山秀水，有圖有名有款，這些作品唯簡化了款識，卻並非抽象，每物都能稍經揣摩便可推敲。
All of Bo-Cheng’s works are concerned with the way in which the inscription is given so that the abstruse notions can be conveyed and illustrated more via the art piece itself. The paintings connote a philosophical view that time only ‘lives in the moment’ and derive much room for imaginations from virtual reality, therefore forming a distinct worldview. Every art piece has a unique title, composed as an antecedent and a source from which what is seen in the painting originates– there is no vagueness nor affectation. They are like ancient paintings that depict sceneries of high peaks and beautiful lakes, clearly recognizable by their pictures, titles, and styles. These artworks have simpler inscriptions but are not abstract; every item can be interpreted with a small effort of conjecture.
