当今普遍存在这样一种现象——将主观意愿强加于某些本身并不具有时代特征的名词，比如：和尚（被定义为“中国，传统”）、香水、XO(被定义为“西方、现代”)……


如同“书法”向来被冠以“中国传统”的桂冠，“油画”则被赋予更多时尚、现代与年轻的元素。其实，这两种艺术并存多时，并不存在此消彼长之干系。之所以存在这种误解，一来是对书法的敬畏；二来是少有敢与传统宣战者。这也是绘画近几年蓬勃而书法少有人问津的根本原因。


对艺术最好的保护绝非束之高阁、顶膜礼拜，而是赋予其新时代的元素，注入新鲜血液，让其更具生命力。


经历了日本书法首展以及“狂草九润”的备受肯定之后，蔡玉龙倾其精力致力于传统书法的革新，除了摈弃传统书法单一颜色，更尝试在帆布上书写，彻底颠覆书法之存在形态。“和尚·香水·XO”这一主题更像是对传统的宣战。或许借此可以唤起更多人对传统与现代的反思。




Topic:Buddhist monk·Perfume·XO

Time: June 1st– 30th, 2009

Venue:Tsai Yulong Art Space ,No.99 Moganshan Road




Foreword:


It is a common phenomenon in today''''s life – People put too much subjectivity to these words which does not havesentiment actually, such as: monk (being defined as "China, the traditional"), perfume, XO (being defined as "the West, the modern" ) ... ...


As "calligraphy"always been known as "China''''s traditional" crown, and "oil painting" is stand for fashion, modern andyouth. In fact, the coexistence of the two arts is for a long time, there is norelation of opposition between them. The reason why there is such a misunderstanding, one is for the fear of calligraphy; second is for it is raretochallengethe traditional declaration. This is theessence why the painting isprosperous,but calligraphy isunderappreciated.


The best protection of art is notregardit as the God, but give the new element ofthe new period, make it more vitality.


Experienced the first exhibition of calligraphy inJapanand received the good response of his "Wild Cursive" writing,Tsai committed himself to the innovation of traditional Chinese calligraphy. "Monk • perfume • XO" --the theme is more like a challengethe to traditional writing. Perhaps this can arouse more people toreflect the art.