格式化圖景－－李君毅水墨創作中的隱喻逆反

Formatted pictures: The metaphor and opposition on Chun-Yi Lee's ink painting.

李君毅的水墨創作利用拓印、篆刻的形式，蓋印出具有格子般效果的隱喻作品。他的作品重要性就在於，不僅拋棄了傳統中國水墨以筆做為工具的方法，更以軟木壓印的方式來取而代之。尤其刻意留出的印痕邊界所形成的方形格子，在視覺上造就了山水圖景的生成與分解，豐富了作品一體兩面的隱喻意涵。成為水墨材料突破既定規範的重要案例。本研究即是以他作品中的拓印、篆刻形式的探討，來深究其方格內容的隱喻過程。並且發現他利用特殊的物質材料置換所涉及的內容層次，已然將水墨領域的邏輯，透過了材質研究的方法，引入了個體意識的表述，是當代水墨表現中的另一種獨到之可能。

Chun-Yi Lee creates latticed ink paintings through rubbing and stamping techniques. What makes Lee's works so important is that he has abandoned the brush, a traditional tool of Chinese ink painting, and devised a new tool from the cork stamp. Lee uses the boundaries between the imprints to construct a grid configuration. The reticulated grid structure simultaneously integrates and disintegrates the landscape, representing the duality in Lee's works. It's an important case of breaking the norms of ink painting. This paper will examine how Lee constructs grid configurations by rubbing and seal cutting as a strategy to create a metaphorical context. Lee introduces self-expression in his works through applying unusual materials. His work is a groundbreaking addition to the field of contemporary ink painting.