繪畫六法--傳移摹寫 The Six Principles of Chinese Painting - Transmission
繪畫六法—傳移摹寫
熊輝邀請父親──熊海──於宣紙上以硃砂繪畫山水作為範本，先將其摺疊、濕透，再於山水的上層以墨點描摹。墨水經層層滲透，穿透紅色山水，留下隱約、消逝的墨痕。展開的畫面，紀錄對範本的解構和轉換的過程。
作品重新演釋「繪畫六法—傳移摹寫」*，在概念框架下，主動邀請父親以硃砂物料繪畫以山水為主題的範本，逆轉傳統中被臨摹者（父親）與臨摹者（兒子）的關係。以墨點描摹，利用水、墨、紙的物理性，解構象徵權威的紅色山水。感受性的描摹經驗與物理性的解構手法形成了反差。分離、消散的山水，最終被轉化和重構，成為呈現其與傳統、權威和父子之間關係的載體。
*「繪畫六法—傳移摹寫」出自六世紀時的中國畫家、藝術理論家謝赫，載於其著作《古畫品錄》中的序論。
熊輝邀請父親──熊海──於宣紙上以硃砂繪畫山水作為範本，先將其摺疊、濕透，再於山水的上層以墨點描摹。墨水經層層滲透，穿透紅色山水，留下隱約、消逝的墨痕。展開的畫面，紀錄對範本的解構和轉換的過程。
作品重新演釋「繪畫六法—傳移摹寫」*，在概念框架下，主動邀請父親以硃砂物料繪畫以山水為主題的範本，逆轉傳統中被臨摹者（父親）與臨摹者（兒子）的關係。以墨點描摹，利用水、墨、紙的物理性，解構象徵權威的紅色山水。感受性的描摹經驗與物理性的解構手法形成了反差。分離、消散的山水，最終被轉化和重構，成為呈現其與傳統、權威和父子之間關係的載體。
*「繪畫六法—傳移摹寫」出自六世紀時的中國畫家、藝術理論家謝赫，載於其著作《古畫品錄》中的序論。
The Six Principles of Chinese Painting - Transmission
Hung Fai invited his father Hung Hoi to paint a landscape, with cinnabar red color on xuan paper, as a model. With the paper folded and saturated, Hung Fai traced the model landscape with black ink dots. The ink penetrated through the red landscape, layers through layers, leaving subtle, faded marks. Upon unfolding the paper there appeared a deconstruction and transformation image of the original model.
The conceptual framework of “The Six Principles of Chinese Painting - Transmission by Copying”* stemmed from the perception of model and transmission in Chinese painting. By the act of inviting his father to paint a model landscape, Hung Fai reversed the traditional relationship between the transmitted (the father) and the transmitter (the son). The usage of ink dots, water and folding rice paper created a new method that allowed Hung Fai to deconstruct the conventional notion of “red landscape” which symbolizes authority. The sensibility of the tracing experience contrasted with the physicality of the deconstruction methodology. The result was a departing landscape that ultimately transformed and reconstructed into an embodiment of tradition, authority and familial relationship.
* “The Six principles of Chinese Painting - Transmission” was established by Xie He, a Chinese painter and art critic in sixth century AD, in the preface of his book "The Record of the Classification of Old Painters".
Hung Fai invited his father Hung Hoi to paint a landscape, with cinnabar red color on xuan paper, as a model. With the paper folded and saturated, Hung Fai traced the model landscape with black ink dots. The ink penetrated through the red landscape, layers through layers, leaving subtle, faded marks. Upon unfolding the paper there appeared a deconstruction and transformation image of the original model.
The conceptual framework of “The Six Principles of Chinese Painting - Transmission by Copying”* stemmed from the perception of model and transmission in Chinese painting. By the act of inviting his father to paint a model landscape, Hung Fai reversed the traditional relationship between the transmitted (the father) and the transmitter (the son). The usage of ink dots, water and folding rice paper created a new method that allowed Hung Fai to deconstruct the conventional notion of “red landscape” which symbolizes authority. The sensibility of the tracing experience contrasted with the physicality of the deconstruction methodology. The result was a departing landscape that ultimately transformed and reconstructed into an embodiment of tradition, authority and familial relationship.
* “The Six principles of Chinese Painting - Transmission” was established by Xie He, a Chinese painter and art critic in sixth century AD, in the preface of his book "The Record of the Classification of Old Painters".
《繪畫六法—傳移摹寫之十一（熊海合作）》The Six Principles of Chinese Painting- Transmission XI (with Hung Hoi), 136x69 cm each, combined size 136x828cm, 水墨設色紙本 Ink and colour on paper, (一組十二幅, a set of twelve), 2017
《繪畫六法—傳移摹寫之九 (熊海 合作)》 The Six Principles of Chinese Painting - Transmission IX (with Hung Hoi), 136x69cm each, combined size 136x828cm, 水墨設色紙本 Ink and colour on paper, (一組十二幅, a set of twelve), 2016
《繪畫六法—傳移摹寫》之八 (熊海 合作)》The Six Principles of Chinese Painting - Transmission VIII (with Hung Hoi), 136x68.8 cm, 水墨設色紙本 Ink and colour on paper, 2016
《繪畫六法—傳移摹寫之七 (熊海 合作)》The Six Principles of Chinese Painting - Transmission VII (with Hung Hoi),33.8x34cm each, combined size 33.8x272cm, 水墨設色紙本 Ink and colour on paper,(一組八幅, a set of eight), 2016
《繪畫六法—傳移摹寫之六 (熊海 合作)》The Six Principles of Chinese Painting - Transmission VI (with Hung Hoi), 68.5x136.7cm each, combined size 274x410.1cm, 水墨設色紙本 Ink and colour on paper, (一組十二幅, a set of twelve), 2016
《繪畫六法—傳移摹寫之五 (熊海 合作)》 The Six Principles of Chinese Painting - Transmission Ⅴ (with Hung Hoi), 69x97.4cm each, combined size 69x292.2cm, 水墨設色紙本 Ink and colour on paper, (一組三幅, a set of three), 2015
《繪畫六法—傳移摹寫之四 (熊海 合作)》 The Six Principles of Chinese Painting - Transmission Ⅳ (with Hung Hoi),180x96cm each, combined size 180x480cm, 水墨設色紙本 Ink and colour on paper,(一組五幅, a set of five), 2015
《繪畫六法—傳移摹寫之三 (熊海 合作)》 The Six Principles of Chinese Painting - Transmission III (with Hung Hoi), 50.5x138.5cm, 水墨設色紙本 Ink and colour on paper, 2015
《繪畫六法—傳移摹寫之二 (熊海 合作)》 The Six Principles of Chinese Painting - Transmission Ⅱ (with Hung Hoi), 50.5x138.5cm, 水墨設色紙本 Ink and colour on paper, 2014
《繪畫六法—傳移摹寫之一 (熊海 合作)》 The Six Principles of Chinese Painting - Transmission Ⅰ (with Hung Hoi), 50.5x138.5cm, 水墨設色紙本 Ink and colour on paper, 2014
