墨非墨：李振明創作集

19 There are a series of Lee’s paintings of the head of Buddha, which is an interesting transition. The topic looks irrelevant to the creation of ecological ink painting, but it also echoes to the concept of ecology and life. In several paintings related to Buddha such as “Present Borrowed Flowers to Buddha,” “Self-Fulfillment of the Fig,” “Exulting Goat,” “Facing,” “Buddhist Country Yutian,” and “Pray for Safety at Lei Tower, ” he transcribes the sentences in The Heart Sutra and The Diamond Sutra as part of the paintings. He writes about the concepts of “emptiness” and “nothingness“ of Buddhism: “Form is not other than emptiness. Emptiness is not other than form,” “Each and every form is illusive.” “All things contrived are like dream, illusion, bubble, and shadow.” Buddhism’s mercy and wisdom teach people to gradually give up the insistence on “self.” All life is equal, which applies to all creatures in the nature. Human beings are only part of it. This eco-centered thought echoes to the Buddhist spirit of “no-self.” Lee transforms the head of Buddha into a totem with the ecological consciousness, reminding us to replace the man-centered shallow and selfish thinking with the eco-centered idea. The Buddha’s heads he paints look solemn as if protecting the land and people of Taiwan. This should be his purposeful arrangement! Putting life in the broader historical perspective of ecology to reflect on the meaning of existence, Lee has climbed onto another peak in recent years with his new works of ferns. The appearance of ferns is even earlier than that of human beings. They have appeared on the earth for nearly 300 to 400 million years. They are humble plants, staying low near to the ground. Without the attractive appearance, they never catch people’s attention. Lee makes the nearly-forgotten ferns the creative topics, which is not only to practice the life concern for the equality of all life but also to confirm the sustainable value of ecology. This series of paintings include “Life of Ferns,” “Awakening of Ferns,” “Ferns Living in the Rock Crack,” “Small Ferns Series,” “Meet Love at the Corner,” and “Ferns Cleaning.” With the simple and clean grey background, the strong contrast between the humble life of ferns and the painter’s mercy is highlighted. Furthermore, ferns also carry the metaphor for “awakening” and indirectly suggest our consciousness of “ecologically correct.” To examine these paintings in detail, we will find the boundless meaning of Zen. Take “Ferns Cleaning” as example. A smiling Buddha’s head holding a flower emerges from the stone. From the base stone rises a cluster of ferns full of life. On the bottom of the long painting is the full text of The Heart Sutra transcribed by the painter. The three of the image of Buddha, sutra, and ferns are combined together to interpret the close relationship between ecology, art, and life. V. Conclusion In the winter of 2008, I followed the former president of National Taiwan Normal University, Guo Yi-xiong to visit Mr. Zhu De-qun, who used to teach at Department of Fine Arts, NTNU. We chatted about the past memories and talked about culture and art at his residence. I remember Mr. Zhu expressed his sincere thought that the most important trait of a painter should be “morality,” with which an artist can achieve high. With the high morality, a man will have the broader and expanded vision and tolerance. Isn’t the grand tolerance and mind the most needed part for a man who creates? Today Lee Cheng-ming follows the senior painters’ model and levels up his creation to the height of life. With a sense of mission, he combines art and ecology and creates the new perspective of ink painting. Such intention is worth our admiration. Finally, I will sum up this article with a poem of the female American poet, Emily Dickinson (1830-1886): If I can stop one heart from breaking, I shall not live in vain; If I can ease one life the aching, Or cool one pain, Or help one fainting robin Unto his nest again, I shall not live in vain. By getting rid of the barrier of “self-center,” Dickinson shows her humanistic concern for other creatures and for even a bird. This spirit of building the brotherhood with all creatures serves as the best interpretation of the ecological consciousness and life value. Lee ecological ink painting also expresses the same message. Thirty years ago, Lee Cheng-ming took a road less trodden, exploring the awakening of the ecological ink painting. Today, there are plentiful fruits. The art circle has turned into a garden of full blossoms. I believe his creation will continue to prosper and bring us more marvelous scenery.