Supreme Kung Fu Manual 上武紀 (2011)
Supreme Kung Fu Manual
Fairyland is a place in a dream. Classic is a world of history. Chinese Kung Fu (martial arts and chivalry) in fiction and film is a creative of the world.
Culturally, gesture of action seems like Chinese Ideography character, both have aesthetics, also philosophy.
“Supreme of KUNG FU Century” is my creation of Chinese Kung Fu fairyland, the frame work is a living stage, and the words are monologue. The role of “Me” is projecting oneself into the traditional Kung Fu world.
Time, space and my expression, both are the reaction of nowadays living status.
I try to integrate the relations of Kung Fu and humanities; it’s come from real life, also a new start.
Galen TSE Hong Kong, 2011
上武紀
幻境,即想像中的世界。經典,即歷史中的世界。武俠小說及電影中的虛構武功,即意境中的世界。
武術的風采就像精湛的文字符號形態,俐落流暢,剛中帶柔。剛勁的武拳遇上柔軟的文字相,兩種視覺符號遇攻相守,剛力轉化為軟水般温柔。這種姿態,一身動,對者亦動,形成了互動。宇宙大地共融一體,人文象態也轅出一徹。
“上武紀”為虛構武術典籍,刻劃的空間是劇場,是生活狀態。文字就是獨白,“彼不動己不動,彼微動己先動” 、“止戈不亂” 、“四兩撥千斤”( Little strokes fell great oaks)”等武典流傳繪形繪聲。”我”的角色正處身古典武術典籍的邊緣上,時空及動作上的表現,是對現今世態的一種反應。
現代社會在改變中,經典的存在是在尋找遺忘中的文化,或是嘗試在現代高速轉變的世界所包容,自身個體與環境的關係,我們是主動或被動。
“上武紀”這作品是一個新的紀始,是我對中國武術典籍的意像,是在找尋”武術”與” 現代人文” 關係。我以此作為取材,從中摘下圖像和單字的意識再重組,轉化成我的意像。
Fairyland is a place in a dream. Classic is a world of history. Chinese Kung Fu (martial arts and chivalry) in fiction and film is a creative of the world.
Culturally, gesture of action seems like Chinese Ideography character, both have aesthetics, also philosophy.
“Supreme of KUNG FU Century” is my creation of Chinese Kung Fu fairyland, the frame work is a living stage, and the words are monologue. The role of “Me” is projecting oneself into the traditional Kung Fu world.
Time, space and my expression, both are the reaction of nowadays living status.
I try to integrate the relations of Kung Fu and humanities; it’s come from real life, also a new start.
Galen TSE Hong Kong, 2011
上武紀
幻境,即想像中的世界。經典,即歷史中的世界。武俠小說及電影中的虛構武功,即意境中的世界。
武術的風采就像精湛的文字符號形態,俐落流暢,剛中帶柔。剛勁的武拳遇上柔軟的文字相,兩種視覺符號遇攻相守,剛力轉化為軟水般温柔。這種姿態,一身動,對者亦動,形成了互動。宇宙大地共融一體,人文象態也轅出一徹。
“上武紀”為虛構武術典籍,刻劃的空間是劇場,是生活狀態。文字就是獨白,“彼不動己不動,彼微動己先動” 、“止戈不亂” 、“四兩撥千斤”( Little strokes fell great oaks)”等武典流傳繪形繪聲。”我”的角色正處身古典武術典籍的邊緣上,時空及動作上的表現,是對現今世態的一種反應。
現代社會在改變中,經典的存在是在尋找遺忘中的文化,或是嘗試在現代高速轉變的世界所包容,自身個體與環境的關係,我們是主動或被動。
“上武紀”這作品是一個新的紀始,是我對中國武術典籍的意像,是在找尋”武術”與” 現代人文” 關係。我以此作為取材,從中摘下圖像和單字的意識再重組,轉化成我的意像。
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