A study is not merely a reading room, a meeting room, a workshop, or a laboratory—it is a space for creation where the practice of individual existence is brought to life. From now until June 15, Exhibition Room A at the Tun District Art Center will host “Reinterpreting the Three Forms of Art of the Study: Lin Cheng-Yi’s Diverse Expressions in Calligraphy, Painting, and Seal Carving.” A total of 110 works is on display, showcasing the artist’s response to tradition, engagement with the present, and exploration of Eastern aesthetics through a renewed perspective on ink art. All citizens are warmly invited to the exhibition, immerse in the artworks, and experience how the artist uses brush and ink as a medium to continuously reflect on existence and the present beyond words.
According to the Tun District Art Center, this marks artist Lin Cheng-Yi’s first solo exhibition showcasing works from the past decade. Featuring over one hundred pieces, the exhibition encompasses a diverse range of ink paintings, calligraphy, and seal carving. Lin’s ink paintings are rich in subject matter and executed with refined techniques that bridge tradition and innovation. His calligraphy demonstrates fluid brushwork with lingering resonance, while his seal carvings transform the firmness of the blade into the softness of the brush, embodying both simplicity and emotional depth. This exhibition centers on Lin’s over forty years of artistic practice and philosophical speculation. It presents a localized perspective through the concept of “being here is being local,” initiating an artistic dialogue between the traditions of ink art, life experience, and individual existence.
Curator Pai Shih-Ming noted that the exhibition “Reinterpreting the Three Forms of Art of the Study: Lin Cheng-Yi’s Diverse Expressions in Calligraphy, Painting, and Seal Carving” aptly addresses the dialectics of “tradition and modernity” as well as “local and global” within contemporary Taiwanese ink art. Lin breaks free from the constraints traditionally imposed on the “Three Forms of Art of the Study” by a singular culture or social class, instead treating it as an open, experimental field. Unbound by style or categorization, the exhibition invites viewers to engage with the works through sensory experience, forging connections with the art once more.
Artist Lin Cheng-Yi specifically highlights his work Water Buffalo, which embodies the profound bond between himself and his mentor, Master Au Ho-Nien of the Lingnan School. Personally inscribed and praised by Master Au, the piece not only reflects the transmission of traditional ink techniques but also stands as a heartfelt tribute to his mentor and a symbolic expression of life experience. Positioned at the entrance of the exhibition, the four-panel screen Mountains and Waters draws upon the solid foundations of traditional ink composition and technique. Through layered brushwork, Lin integrates innovative visual language, exploring the essential interdependence between individual existence and the vast natural world. Another featured piece, the cursive-script work Zen Poem, employs dynamic variations in ink intensity, dryness, and moisture. The brushstrokes drift fluidly within space along with the poetic essence, transforming the act of writing into a spiritual resonance with the contemplative atmosphere of Zen verse.
The Tun District Art Center added that the exhibition “Reinterpreting the Three Forms of Art of the Study: Lin Cheng-Yi’s Diverse Expressions in Calligraphy, Painting, and Seal Carving” held its opening ceremony on May 24. On that day, artist Lin Cheng-Yi and curator Pai Shih-Ming specially invited Professor Cheng Yueh-Mei from the School of Architecture, Feng Chia University, artist Lai Hsin-Long, and Assistant Researcher Tsai Yao-Ching from the Exhibition Division of the National Museum of History to participate in a panel discussion. They explored Lin’s innovative expression of the Lingnan School, his masterful use of ink tones, and his artistic journey in researching the materials used in calligraphy, painting, and seal carving. These elements have all served as vital sources of inspiration, culminating in a vibrant and richly expressive exhibition of over a hundred works.
We warmly invite the public to visit the exhibition “Reinterpreting the Three Forms of Art of the Study: Lin Cheng-Yi’s Diverse Expressions in Calligraphy, Painting, and Seal Carving” and step into the artistic world the artist has crafted through brush, ink, and carving tools. The exhibition offers a rich artistic language that looks back to tradition, contemplates existence, and engages in dialogue with the present across the passage of time. For more information, please visit the Tun District Art Center’s official website (www.ttdac.taichung.gov.tw) or Facebook page (https://www.facebook.com/ttdac).
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Media Contact: Ho Tsung-Gen, Promotion Division, 04-23921122 ext. 109 / 0955-832038
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