墨戲ink play
 

元，吳鎮《畫論》有言:「墨戲之作，蓋士大夫詞翰之餘，適一時之興趣。」宋後，書畫以素墨取代了艷彩，在濃暈淡染間創造了獨特的節奏與氣息，這種隨性而為的筆墨書畫，被稱作「墨戲」。
本案以狂逸淋漓的筆勢揭開序幕，發展出隨性寫意的文人情趣和態勢。墨寓動於靜，用直率俐落的乾筆＂擦＂出透光的玻璃隔屏，以優雅飄逸的水暈＂染＂開整個天花場域。
將層層疊疊的濃厚積墨＂皴＂入牆壁櫃體，筆勢在石板紋理上＂行捻＂，在隔柵中＂提按＂，在吊燈裡＂折轉＂，書寫六法在空間的細節中串連接續。空間即是畫紙，去形而寫意，數筆亦成趣，舒卷自如而氣韻生動。
那些流瀉在空間中的光影，似水中之墨，渲染嬉遊於屋偶角落，猶如墨戲般，一筆一畫地勾勒出屬於屋主的氣質。

 

Yuan artist Wu Zhen wrote in Theory of Painting, “For literati, the game of ink is another hobby of spontaneity aside from poetry.” After Song dynasty, black ink instead of color dominated calligraphy and painting to form a singular language that is at times intense, at times light. This genre of free-style painting is call “moxi,” or ink play.
This project starts out with an uninhibited stroke to enliven a literati spirit and mood whereby the ink delivers quiet dynamism while leaving swift streaks as if dabbed by a dry brush on the glass partition. The elegant hue in the ceiling reveals a washing effect and the cabinet wall is accentuated by dense layers of cun strokes.
The strokes “twist” on the marble, “lift-up and press” in the barred partitions, “turn” in the ceiling lamp… the six techniques of calligraphy continuously alternate with each other to create myriad details for the space. Here, the space becomes the paper, on which forms dissolve into imageries, writing turns into play. The art expands and retracts effortlessly like the vivid charm, rhythm and harmony of nature. As for the light and shadow floating in the space, they are ink in water that dance or lark in the corners of the house. Like ink play, every line, every stroke delineates the owner’s unique persona.