剛從日本參展回來即接到聯合報系之經濟日報記者唐緯哲先生邀約接受採訪，因為他認為我的畫非常有本土風情，頗具地方性之寫生，已脫離出傳統的水墨畫，因此在今天(2010.8.21)為我刊登了這篇報導。不斷的寫生仍是我今後創作的動力。
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千敷疊翠 和平島 64x140cm 彩墨。張素花／提供
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■唐煒哲■
藝術家張素花出生於基隆港都，北商畢業即進入基隆港務局服務，因為忙碌的公務、家務的生涯使我忽略從小就有的繪畫天份，直到民國70年一次偶然的機會見到 台藝大國畫組涂璨琳老師公雞母雞的水墨，開始從新習畫，當時第二年即以山水畫參加交通機構美展及全省公教人員美展比賽，民國78年期間每年山水、花鳥作品 參加比賽均獲優選以上獎項，如交通部美展特優第一名及第41屆全省美展優選。78年即於台北市新生畫廊舉辦首次個展。展出作品60多件均全數賣出，更奠定 踏進藝術領域的信心。即均獲優選獎。
後也在塗老師的鼓勵及肯定下考上台藝大造型藝術研究所以95年以「神遇 化 基隆地域景觀與畫境之研究'創作論文獲蘇 男教授、歐豪年教授、涂璨琳教授評鑑高分通過畢業取得碩士學位。
求學期間藝術家張素花專攻紅面鴨寫生，肥臀搖曳的番鴨讓我在全省、全國美展及公教美展、南瀛美展、南陽美展、及中華九九畫會創作獎等均獲優選及特優多次 獎，也為了教學相長，應吉林國小部分教師之相邀開始開班教畫，計任教基隆港務局國畫研習班、慈濟台北分會國畫班、台北芝山社區國畫班、台北和平賞社區國畫 班，今年9月在慈濟大學台北社教部開始授教彩墨畫。
中國傳統水墨畫「意境'美學的析論，就中國繪畫「意境'的概念，以師法造化、崇尚自然、寫實加意境，水墨敷彩之構圖筆意，兼有自我意念之表現。重「情中 景'、「畫中境'移情意境，就繪畫移情作用之情與境、虛與實省思畫境之情與境相應，是情亦是境，是因景之情境攝情、感動生情；以意悟情之境界入畫，又使賞 畫者觀畫生情，與作畫者情能互通，進而移人之情。
由於基隆從西荷時期、明鄭時期、日據時期、台灣光復，歷史變遷中亦留下累積了先人活動及戰爭的遺蹟，而為本以極為特殊的天然景觀，增添後人除了遊賞外，更 有研究的價值。張素花以基隆地域景觀為創作為主題，因為身長在基隆的一份情感，多年來常有以彩筆繪出著重意境之港都畫作的渴望，選擇此一創作主題，乃是試 以彩墨寫生表現，系列畫出〝港都風情〞，將基隆景觀以美好畫境現出來，亦是將臺灣美景的呈現。
From Landscape to Mindscape: A Study of KeeLung Landscape Painting KeeLung originally named after 「chicken cage,' has changed through time. With its beautiful landscape of mountain and sea, Keelung occupies an important geographical position in Northern Taiwan. A combined port for trade, fishery, and military, Keelung witnesses coming and going of ships and recounts a past of war and sorrow. Different histories intersect in the port city and open up many possibilities for thought and research. On the other hand. the geological environment also bestows on Keelung a special landscape: under the impact of winds and waters, the surrounding coast was corroded into a protean landscape. The variety and idiosyncrasy of the landscape make Keelung a favorite fountain of inspiration for poets and painters. This thesis focuses on the landscape of Keelung It delineates the history and geography of Keelung to show the humanistic and geographical characteristics of the port and the city. This discussion will be the basis of the transformation of the Jinjie, or the painting stance. The jurisdiction of the area changes hands several times; Hollanders, Spaniards, Japanese, and Chinese all ruled this city before. The activities of ancestors and relics of different battles accumulate in Keelung history. This, with its special natural landscape, adds up the research possibility to its recreational merits. However, in order to study the painting stance objectively, the thesis also analyzes the emotional and ideational stances of the natural landscape. To begin with, the thesis analyzes the aesthetics of 「ideational stance' from traditional Chinese ink painting. The concept of 「ideational stance' involves learning from nature and elevating the natural-ness; it combines realistic styles with ideational concerns. The structure and brush strokes are imbued with the self-consciousness of the painter. This theory emphasizes the correspondence of the landscape with the painter's emotion and ideation. The painting must merge the realistic landscape with the painter's mindscape. Furthermore, this theory also shows how a viewer can connect to the painter's mindscape through the depicted landscape so as to ensure a mental growth in the viewer. Furthermore, the thesis adopts Shi-tao's theory, which describes a painting stance of the encounter of painter's spirit with mountains and creeks. Gu Kai-zhi's portrait painting theory, which promotes 「depicting the spirit through external forms' and 「epiphany of the spirit, 'can also be applied to landscape painting. The thesis considers the images of the objects and the relations between form and spirit. The conclusion is that a painter should observe and understand the inner characteristics and external features of an object; only then can be realize the transformation between the concrete and the abstract. In other words, an artist has to transform the external and the internal temperaments into images; after this, the painting is a convergence of the objective and the subjective, forming the beauty of the painting stance. The representative creative works can be divided into six categories. Taking the painting theories of previous generations as the base, the works seek to validate that ideation stance creates the painting stance. To conclude, this experience in creation and learning helps the author to realize that creation knows no boundary. Artistic creation is an intangible heritage and can only be maintained through endless creation. Creation involves innovation; the choice between the concrete and the abstract lies in the innovative combination of concrete forms and abstract thoughts and mind. This is the goal of the author's future creation.
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