CHENG YEN LIN
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LUMBINI
《 Lumbini – The Birth of Siddhartha 》
Oil on canvas, 2014
Height: 410 cm. Width: 290 cm.
鄭延霖 YEN LIN CHENG
From the beginning, I designed the motion of leading role, then, the guest characters echoing the theme. According to the legend, Sakyamuni Buddha (Prince Siddhartha) was born with two water columns dropped from the sky, a newborn baby is covered by a canopy, held by Queen Maya; I designed a rhythmic action, showing the Buddha's naive and clever, Buddha mother's Love with the dignified feeling. I also excluded the East brushwork ink style and used Western realistic classical style, with the addition of personal style skills. Mother and son are sitting on the glass bed, who are carried by the Four Heavenly Kings, "Virudhaka, Dhrtarastra, Vaisravana, Virupaksa", the Virudhaka is holding a sword, who is modeled by my son as a fitness coach, but it was not a copy, and I just understood the muscle space, completing it with exaggerated muscle shape after referring to anatomy to realize the picture, rather than copying details; upon understanding more, I interpreted a new object.
Such complicated procedures require a lot of sketching ability, and experiences of copying classical painting in the 16th – 17th century, learning connecting elements therein.
According to the legend, Sakyamuni Buddha was delivered by Queen Maya who dreamed a white elephant, so, I added a white elephant and glass bed to echo them. The Bodhi Tree which goes through the entire work is originated from the ancient tree in Tainan Park, then, I shaped it with rough strokes. The character postures include forward, backward, overlook, lying, sometimes the character is back to the viewers, and sometimes is looking around. In Chinese painting theory, "higher mountain than the meter of a tree, the inch of horse and bean-like human" refers to the focus of proportionality while staring around and lying posture shows the importance of the rhythm of modeling. However, western science had space, texture, sense of mass earlier, so I often took eastern science as the theme in the creation and western science refers to the technologic operation, achieving the top realm of eastern science as the body and western art as the application.
SHAN HAI JING
《山海經》 Shan Hai Jing
Oil on canvas, 2017
Height: 205 cm. Width: 290 cm.
鄭延霖 YEN LIN CHENG
Shan Hai Jing is a Chinese classic text and a compilation of mythic geography and myth. It largely and orderly records the features of natural geography and the content of human geographies, such as mountains, hydrology, animal, plant, mineral, national geography, economy, social culture. The chapters about Yellow Emperor, Yan Emperor, and Chiyou run throughout my entire work.
The top right is Yujiang, god of the Northern Sea(dragon rider), the bottom right has the Cross Shank country folk (man with bare buttocks) and the Through Chest country folk. The right side of the theme for the Yellow Emperor's daughter-Ba, who subdued Wind God and Rain God. At the top, Xiwangmu and Jiutian Xuannu help Yellow Emperor defeated Chiyou. Nuwa, who is in the upper left, repairing the Pillar of Heaven. Below the Nuwa, Kuafu and Houyi capture the sun. The lower left of the hat man, Dayu, who is assisted in his water control work by a Yellow Dragon and a Black Turtle, above Dayu for the Kai-Ming Auspicious Beast which is Kunlun Mountain's guard (Nine-headed beast).
The painting coloring with warm and unadorned tone, the overall composition of the picture is divided into three sections, left, center, and right. With exaggerated human body's muscle shape, the character postures include forward, backward, overlook, lying. By carefully painting the details of the image, I reproduce the myth of the classic description of time, space, texture, and sense of mass.
山海經為中國先秦以降最奇特之經典，認真閱讀後，內有人物、動物、山川、河流，或有害人噬命的精怪與猛獸，但我一貫的藝術主張是追求至真至善與至美的範疇，故特別擷取吉獸與故事主軸－黃帝、炎帝、蚩尤為主題。
圖右上方是北海海神禺疆（乘兩條神龍），圖右下方有交脛國（裸臀者）與貫胸國。主題右側為黃帝之女－魃，降伏風伯與雨師，圖上方者為西王母與九天玄女助陣黃帝大敗蚩尤。左側上方有女媧補天，下方有夸父逐日與后羿射日，左側下方戴斗笠者為大禹治水，受應龍與旋龜之助得以治水成功，禹上方為開明吉獸守崑崙山（九頭獸），我以實驗性構圖將全景鋪陳滿版，但分左中右三個聚落，以溫潤質樸的色調編導，並特別誇張人體驚天磅礡之肌肉張力，求律動、俯仰、顧盼等人物動態感，質感上求內斂紮實之筆觸，重現神話經典中描述時間、質量與空間之結構寫實感。
KING & BEGGAR
King & Beggar
Oil on canvas, 2011
Height: 145 cm. Width: 111 cm.
鄭延霖 YEN LIN CHENG
This painting originated from the scene where a dirty beggar leaning on the chair in the park not far from the Marienplatz Square of Munich when I had a personal trip to Germany; I tucked ten Euros into his hands, and he who had closed eyes suddenly opened his eyes. His eyes seemed filling with gratitude, which gave a bit of warm in such a cold Europe. Because I was sketching at the corner of Theatiner Church in front of the park in the afternoon, thinking that the yellow building at the front is built to celebrate the birth of the Prince of Munich and there is somewhat difference between the king's extravagant luxury and the beggar's poverty. After back, I spent seven months in this work. I used a stone to replace the chair of the park and engraved it with the content of Psalm 112:9 " He hath dispersed, he hath given to the poor; his righteousness endureth for ever; his horn shall be exalted with honour." I wish the world never had people living in poverty, and I am willing to express it with this work.
《 國王與乞丐 》 這幅作品是我自助旅行到德國時，於慕尼黑瑪利亞廣場不遠處的公園裏，有ㄧ乞丐身體骯髒，倚靠在公園的椅子上，我拿了十歐元塞入他手中，本是閉眼的他突然睜開雙眼。眼睛似乎充滿感謝之情，在這寒冷的歐洲注入ㄧ絲溫暖。因為下午在公園前方的特提亞納教堂角落寫生，心想這眼前黃色建築物是為慶祝慕尼黑王子出生而建立，國王的窮盡奢華與乞丐的貧無立錐真是天壤之別。回國後心有所感，用七個月完成此作品。以石頭代替公園的椅子，並且於其上刻畫聖經詩篇112篇第九節：「他施捨錢財、賙濟貧窮．他的仁義、存到永遠。他的角必被高舉、大有榮耀。」我願世界永遠無貧苦之人，願以此畫以明心志。
I think that today's concrete art fails to achieve the techniques of classical painting because of the shaping of shapes. Gentle performance with color.
So I trained myself in sketching for 38 years and studied from European museums.
I wanted to recreate the Baroque styling rhythm, using subjective colors, but I must use similar colors and gentle tones like classical paintings.
After copying hundreds of masterpieces, I finally succeeded 38 years later.
I am completely able to use modern characters as models, but he surpasses classical visual effects.
I also have my own creativity.
I use the world's top old Dutch paints for my materials.
And Clinson's extra-fine linen canvas No.14, each one will be reviewed after completion.
Until the perfect close-range brushwork is rigorous and interesting.
BOGRAPHY
Department of Sculpture, National Taiwan University of Arts / 2016 Shanghai Art Fair
Tokyo Art Fair
Supervisor of the Chinese Academy of Art
Taipei Sun Yat-sen Memorial Hall Solo Exhibition
Taipei Mayor's Mansion Solo Exhibition
Kaohsiung Zhongzheng Cultural Center Solo Exhibition
Hangzhou Academy of Fine Arts Solo Exhibition
1966/01/29 Kaohsiung City, Taiwan