Philosophy［哲学理念］
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□創作理念
Philosophy
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＞2013城市山水
City Natural Scenery
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＞2009自然而然
Nature As Such
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・2004虛實之間
Between Reality and Delusion
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＞2000游於藝
Searching Joy
and Enjoyment in The Art
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□創作隨筆
Creative Concept
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□學術論文
Academic treatise
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□藝術觀點
Viewpoints
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胡朝景之
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創作理念（Philosophy）
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虛實之間
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創作者的作品必須與自己的生活經驗、創作邏輯息息相關，真誠的面對自己，呈現自己，這樣的作品才有靈魂。倘若為創新而創新，為批判而批判，則易淪為標新立異，欺世盜名，作品自然經不起時間的考驗。
2003年暑假，藉參加展覽之便赴巴黎，參觀美術館：羅浮宮、奧塞、龐畢度……。在無數大師的傑作前，震撼極大！忍不住要重新省視自己的創作方向；所有高超的技巧，所有創作的可能性，幾乎都在眼前掠過……。霎時心中產生疑問：我要畫什麼？要怎麼畫？使用的是西洋傳統媒材，西洋傳統技法，是否還要循著諸多西方大師的足跡苦苦直追？
幾經思索，認為至少還有兩個方向具有高度的發展空間，一是在形式上表現當代現象，使之具有時代意義；另一是在精神上融入東方思維，使之蘊含東方精神。解讀高千惠在「文化與美學的經緯下有關當代亞洲油畫的論述空間」一文中所指出的：「唯一能在世界油畫史找到的新戰場，便是有別於希臘神話與基督教文明的他者文化，在神話與現實的再現中，提供過去西方油畫史沒有的一種異文化景象。」個人認為：中國畫的「虛實」理論正是一個可以深究的課題。
「虛實」理論是中國非常重要的傳統精神內涵，「就人所寓居的宇宙而言，萬事萬物皆存在著對立的統一，其中尤以『虛』、『實』的關係最為廣泛與明顯，無論上至本體或下至現象，都能找到虛與實的相應關係。」（陳佳君，民91）它涵蓋文學、戲曲、繪畫、書法，甚至涉及醫學、兵法、武術、棋奕等，極其廣泛。有感於其中的奧妙與精神，故嘗試研究「虛實」理論在西畫上的運用，並藉由本次個展「虛實之間」來呈現階段性的成果。
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胡朝景 2004/10
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Between Reality and Delusion
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A creator must combine his/her works with life experience and creative logic, honestly face himself/herself, represent himself/herself, and thus give the works spirit. To create only for creation’s sake and to criticize only for critics’ sake will easily lead to superficial difference and winning fame by cheating the world. This kind of works accordingly cannot pass the trial of time.
I went to Paris for exhibition in the summer 2003, and went to visit Louvre, Musee d’Orsay and Centre Pompidou, which gave me great impact standing in front of countless masterpieces. I cannot help but examine the direction of my creation, all the excellent techniques, all the creative possibilities passing through my mind. Questions aroused immediately: What should I paint? How should I paint? Whether should I use traditional western skills or follow the tracks of most western masters?
After deeply pondering, I think as least there are two directions with highly developing possibilities. One is to present the contemporary phenomenon in form to represent the meaning of the era. And the other is to spiritually instill into oriental thinking to embed oriental spirit. According to Kao Qianhui’s article, The Discourse on Contemporary Asian Oil Painting under the Main Points of Cultural and Aestheticism, “the only arena in world oil painting history is the ‘other’ culture different from Greek Mythology and Christianity, re-presenting in mythology and reality, offering an alien cultural phenomenon that has not appeared in the past western oil painting history.” In my own opinion, the “reality and delusion” theory in Chinese painting is exactly the topic to explore.
The “reality and delusion” delusion is a critical traditional thoughtfulness of spirit in Chinese culture. “In the universe where human beings exist, every thing on earth has its opposing unification, in which the relation between ‘delusion’ and ‘reality’ is the most extensive and evident. Either in noumenon or in phenomenon, the corresponding relations in delusion and reality can be found.” (Chen Jiajun, 2002) It includes literature, drama, painting, calligraphy, and even medical science, art of war, martial art, and chess, which is extremely extensive. I sensed the profound spirit inside the theory, and therefore intend to study the application of “reality and delusion” to western paintings, and thus to display a status achievement through the solo exhibition, “Between Reality and Delusion.”
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Hu, Chau-Jin 2004/10
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