Footnotes

Provenance
Private Collection, Europe.
Private Collection, Asia.
Sale: Poly Auction, Hong Kong, Modern and Contemporary Art, 12 July 2020, Lot 124.
Acquired from the above by the present owner.
Private Collection, Asia.

蕭勤
春雷
壓克力 畫布
1985年作

簽名: 春雷，Hsiao勤一九八五（底部）

來源
歐洲私人收藏
亞洲私人收藏
拍賣：香港，保利香港拍賣，「現當代藝術」，2020年7月12日，拍品編號124
現藏家得自上述來源
亞洲私人收藏

Hsiao Chin, as one of the first generation of artists who grew up in post-war Taiwan, he established China's first abstract painting group, the "Ton Fan Group." In 1956, at the young age of 21, Hsiao was awarded a scholarship by the Spanish government, marking a pivotal turning point in his artistic career. During his studies in Europe, he immersed himself in Western modern art, particularly the idea of Abstract Expressionism, which sparked a fascinating chemical reaction with his deep-seated Taoist philosophy. This experience created a remarkable synergy with his passion for Daoist philosophy, allowing his artistic style to retain the rhythmic lines of "qi yun sheng dong" (the vitality of spirit) from Eastern aesthetics while incorporating the compositional methods of Western abstract art, resulting in a transcultural expression. Hsiao's works are widely collected by major museums around the world, including the Galleria Comunale d'Arte Moderna and the Metropolitan Museum of Art, establishing him as one of the pioneers of Chinese abstract art.

"People must achieve boundless energy and exploration within a limited space, learning and understanding the profound meaning of life in a timeless, non-material world. With my clumsy brush and primitive colours, I strive to express a glimpse of this concept." — Hsiao Chin, 2015

Hsiao's works often explore grand cosmic landscapes, deeply inspired by Taoist cosmology. Spring Thunder was created during a period when Hsiao was intensely attuned to the energy of cosmic life, perfectly embodying the Taoist philosophy of "The Dao formulated 'One'. 'One' generates 'two.' 'Two' generates 'three.' 'Three' generates the whole universe." At the center of the painting, a dynamic red sun, with powerful brushstrokes that command the viewer's attention. One can feel the artist's mastery and the release of natural energy through the subtle variations of ink intensity. The irregular circular shape resembles a thunderclap, awakening the earth and transporting the viewer into a world brimming with vitality. The lines at the bottom of the canvas seem to flow like the rhythm of nature, and while these seemingly spontaneous brushstrokes are meticulously arranged, they symbolize both the growth of all things in nature and the cyclical nature of cosmic energy.

Hsiao's fascination with the cosmos and nature is as pure and fervent as a child's. Within the confines of the canvas, he seeks to explore the essence of life using the purest artistic language. In Spring Thunder, Hsiao employs only three colours—yellow, red, and green—to capture the vibrant vitality of spring. This minimalist yet direct use of colour perfectly reflects his pursuit of "expressing the profound meaning of life through primitive colours." In his hands, circles and flowing lines are not merely visual elements but concrete manifestations of cosmic energy. These symbols guide viewers into a "timeless, non-material world," allowing them to experience the artist's profound contemplation of the mysteries of the universe and human existence. As Hsiao once said, he uses his "clumsy brush" to depict a grand cosmic vision, creating infinite spiritual space within the limited canvas, enabling viewers to glimpse the deepest meanings of life through his work.

Hsiao Chin regards artistic creation as a dialogue with the cosmic energy. By transcending geographical and cultural boundaries, this pursuit—beyond the personal and cultural—ensures that his work remains imbued with powerful vitality and relevance to the times.


蕭勤1935 年出生於上海後移居台灣，創立中國第一個抽象繪畫團體 「東方畫會」。1956年，年僅21歲的蕭勤獲得西班牙政府獎學金，這成為他藝術生涯的重要轉折點。在歐洲遊學期間，他深入接觸了西方現代藝術，特別是抽象表現主義的思潮，這與他醉心的道家思想產生了奇妙的化學反應，令他的藝術風格既保留了東方美學中「氣韻生動」的線條韻律，又融入了西方抽象藝術的構成方式，創造出一種跨越文化藩籬的藝術表達。蕭勤的作品廣爲世界各地重要博物館收藏，其中包括羅馬國立現代美術館與紐約大都會博物館，是華人抽象藝術的開拓者之一。

「人們須在有限的空間中達到一種無限大的能量和探索，在超越時間的非物質性世界中去學習、瞭解生命深刻的意涵。而以我笨拙的筆，和原始的色彩，來表達一點這樣的觀念。」 — 蕭勤，2015

蕭勤的作品常探索宏大的宇宙景觀，深受道教宇宙觀的啟發。1985年創作的《春雷》正值蕭勤感受宇宙生命能量的高潮階段，完美體現了道家「一生二，二生三，三生萬物」的生成哲學。畫面中心那輪充滿張力的紅日，以潑墨般的筆觸佔據觀者視野，可見正值創作盛年的藝術家收放自如的筆法，在對虛實的沉穩掌握下，墨色濃淡變化間能感受到自然界中能量的釋放。春雷響，萬物長，這不規則的圓形如同一聲驚雷，喚醒大地，將觀者帶入一個充滿生機的世界。畫布下方的線條仿彿是自然氣韻的流動，這些看似隨意的筆觸實則經過精心安排，既象徵著自然萬物的生長，又暗示著宇宙能量的循環往復。蕭勤對宇宙與自然的癡迷，宛如孩童般純真而熱烈。在畫布這方寸之地，以最純粹的藝術語言探尋生命的本質。《春雷》中，僅以黃、紅、綠三色便勾勒出春天的盎然生機，這種簡約而直接的色彩運用，完美體現了蕭勤「以原始的色彩，來表達生命深刻意涵」的創作追求。在其筆下，圓形與流動的線條不僅是視覺元素，更是宇宙能量的具象化表現，這些符號引領觀者進入「超越時間的非物質性世界」，感受藝術家對宇宙奧秘與人類存在的深邃思考。正如蕭勤所言，他以「笨拙的筆」描繪出宏大的宇宙觀，在有限的畫面中創造出無限的精神空間，使觀者得以透過其作品，一窺生命最深刻的意涵。

蕭勤將藝術創作視為一種與宇宙能量對話的方式。通過打破地域與文化的界限，這種超越個人、超越文化的藝術追求，使他的作品始終保持著強大的生命力和時代意義。