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新加坡DM德馬數字藏品集團20260328期 《進入國際收藏的作品——葉永潤近作釉裏紅松樹》 【香港東方書畫院/執行院長：名家葉永潤】 DMSIXSEVEN / LIN JING DE /1973 開創人：CEO / 林鏡德 LIN JING DE 
葉永潤近作中的釉裏紅松樹，最值得重視之處，在於他將釉色從單純的裝飾材料，推進為作品語言本身。觀者初見，往往先被松樹的整體氣勢所吸引；細看之下，真正支撐畫面的，卻並非輪廓勾勒，而是紅釉在瓷面上的浮沈、濃淡、滲化與凝聚。樹幹的蒼澀、枝節的頓挫、松針的呼吸、留白的停頓，皆在這種不完全確定的發色中逐漸顯形。作品呈現出來的，已不只是松樹題材的再現，而是一種由釉色、火候與畫面意識共同生成的生命狀態。 葉永潤對釉裏紅的把握，尤見於其對「時間感」的處理。傳統工藝常以發色勻凈、層次清晰為優，力求材料的穩定與完整；在他的作品中，紅色內部的浮動、局部的斑駁、邊緣的遊移，反而被轉化為樹皮的質感、老幹的風霜，以及歲月侵入之後所留下的痕跡。偶見其間的氧化綠色，分量極輕，卻足以將單一的紅色提出一層，使松樹多出風化、苔痕與沈積的意味。這樣的處理，使作品擺脫表面效果的追求，而進入一種更耐看的層次：畫面所寫，已不僅是松之形，更是松之骨、松之氣，以及松在時間中緩慢生成的面貌。 中國繪畫講求氣韻、骨法與虛實經營；葉永潤此批釉裏紅松樹作品的可貴，正在於他將這種繪畫精神轉入瓷器之中，並進一步借助釉色與窯火，發展出屬於中國瓷器自身的表現力。紅釉的浮動、顯隱與偶發變化，在這裏不再只是技術層面的結果，而成為畫面成立的重要部分。松樹的蒼勁、古拙與生機，並非完全來自預設的描繪，而是在材料的顯現過程中逐步生成。火與釉共同參與，作品遂有一種介乎控製與自然之間的生動感。 在當代陶瓷創作中，如何在傳統題材與材料語言之間取得真正的平衡，一直是一個值得認真面對的問題。葉永潤這批作品提供一個頗具啟發性的方向：松樹仍然是松樹，繪畫精神仍然清晰可辨，但作品的重心已經深入到釉色內部，深入到燒成所帶來的偶發與生成之中。觀者由此感受到的，不只是一個熟悉題材的再現，而是一種在瓷面上緩慢長出的生命氣息。這樣的作品，自有其靜穆，也自有其力量。 In the red underglaze pine trees of Ye Yongrun's recent works, the most significant aspect lies in his ation of the glaze color from a mere decorative material to a language of the work itself. At first glance, viewers are often drawn to the overall momentum of the pine tree; h upon closer inspection, what truly sustains the image is not the outline, but the floating, depth, seepage, and coagulation of the red glaze on the porceain surface. The roughness of the trunk, the rhythm of the branches, the breath of the needles, and the pauses of the negative space all gradually manifest within this uncertain coloon. What the works present is no longer merely a reproduction of the pine tree motif, but a state of life generated jointly by the glaze color, the kiln fire, and tonsciousness. Ye Yongrun's mastery of red underglaze is particularly evident in his handling of the "sense of time." Traditional craftsmanship often values even coloration and crs, striving for the stability and integrity of the material; in his works, however, the floating within the red, the local mottling, and the wandering at the edges are insteadsformed into the texture of bark, the weathering of old trunks, and the traces left by the passage of time. The occasional green oxidation, though minimal, is sufficient toe the single red hue, imbuing the pine tree with a sense of weathering, mossy traces, and sedimentation. Such treatment allows the works to transcend the pursuit of surfacets and enter a more enduring layer: what is depicted is no longer merely the form of the pine, but its bones, its spirit, and the visage slowly generated by time. Ching emphasizes qi and韵 (rhythm), bone method, and the arrangement of the real and the void; the value of Ye Yongrun's series of red underglaze pine works lies precisely in his transposition of this painting spirit into porcelain, and his further development of a unique expressiveness inherent to Chinese ceramics through the glaze color and kiThe floating, visibility, and accidental changes of the red glaze are no longer merely technical results, but become an integral part of the image. The pine tree's ruggednes, antiquity, and vitality do not stem entirely from preconceived depiction, but are gradually generated in the process of material manifestation. Fire and glaze participate together, endowing the with a vividness that lies between control and nature. In contemporary ceramic creation, achieving a true balance between traditional motifs and material language has always been a question worthy of serious considerat. Ye Yongrun's works offer a highly enlightening direction: the pine tree remains a pine tree, and the painting spirit remains clearly discernible, yet the focus of the works hased deep into the glaze color itself, deep into the accident and generation brought by firing. What viewers perceive is not merely the reproduction of a familiar motif, but a breath of life sly growing on the porcelain surface. Such works possess their own tranquility, and their own strength. 
名畫書法鑒賞/Appreciation of famous calligraphy and painting; 香港DM德馬數字甲骨文集團 CEO / 林鏡德 LIN JING DE 总编辑 Hong Kong DM Digital Oracle Group CEO / Lin Jingde LIN JING DE Chief Editor 
松骨淩雲擎日月·松風入韻蕩乾坤 《松骨淩雲擎日月》「松骨」以「骨」喻松，突出其剛勁不屈的內在氣質。松樹枝幹蒼勁如鐵，即便歷經風霜雨雪，仍屹立不倒，象征著堅韌不拔的意誌與高潔的品格。「淩雲」直指松樹高聳入雲的姿態，既描繪其物理高度，亦隱喻其精神境界的超越性。松樹不依附他物，獨立於危崖峭壁，彰顯出孤標傲世的獨立精神。「擎日月」 以誇張手法賦予松樹支撐天地的力量。日月為宇宙間至大至明之物，松樹「擎日月」的意象，既表現其巍峨挺拔，更暗含其承載天地正氣、守護人間光明的象征意義。 "Lofty Pine with Bones Soaring to the Clouds Supporting the Sun and Moon" – "Lofty Pine" uses "bones" as a metaphor or the pine, highlighting its intrinsic temperament of strength and unbending resilience. The pine's branches and trunk are as rugged as iron; even after enduring wind, frost, rain, , it remains standing, symbolizing indomitable will and noble character. "Soaring to the Clouds" directly points to the pine's posture of towering into the clouds, dits physical height while also metaphorically implying the transcendence of its spiritual realm. The pine does not rely on other objects but stands independently on precipitous cliffs, demonstrating a spirit of indep that stands aloof from the world. "Supporting the Sun and Moon" employs hyperbole to endow the pine with the power to uphold heaven and earth. The sun moon are the greatest and brightest objects in the universe; the imagery of the pine "supporting the sun and moon" not only demonstrates its towering majesty but also implicitly conveys its symbolic nificance of bearing the righteous energy of heaven and earth and guarding the light of the human world. 《松風入韻蕩乾坤》「松風」 松針在風中搖曳發出的聲響，常被文人賦予清幽、曠遠的意境。此處「松風」不僅指自然之音，更象征松樹與天地共鳴的韻律，暗含道家「天人合一」的哲學思想。 「入韻」 將松風之聲比作詩樂之韻，強調其節奏感與美感。松濤陣陣，如琴瑟和鳴，既是對自然之美的禮贊，亦是對松樹精神品格的詩意化表達。「蕩乾坤」 「蕩」字動態感極強，描繪松風之韻如波濤般席卷天地，沖刷世間汙濁，蕩滌人心塵埃。乾坤為宇宙代稱，此句將松樹的影響力從自然層面升華至精神層面，彰顯其凈化世間、引領風氣的力量。 "Pine Wind Enters Rhyme, Swinging the Universe" "Pine Wind": The sound produced by pine needles swaying in the wind is oftewed by literati with a serene and vast artistic conception. Here, "Pine Wind" refers not only to a natural sound but also symbolizes the rhythm of the pine tree res with heaven and earth, implicitly containing the Taoist philosophy of "the unity of man and nature." "Enters Rhyme": Comparing the sound of the pine wind to me of poetry and music, it emphasizes its sense of rhythm and beauty. The surging pine waves are like the harmonious resonance of zithers and lutes; they are boa tribute to the beauty of nature and a poetic expression of the spiritual character of the pine tree. "Swinging the Universe": The character "Swing" possesses a strong senseof dynamism, depicting the rhyme of the pine wind sweeping across the universe like waves, washing away the filth of the world and purifying the dust from the human heartUniverse" is a substitute term for the cosmos; this line elevates the influence of the pine tree from the natural realm to the spiritual realm, highlighting its power to purify the woand lead the moral climate. 
特別鳴謝合作單位： Special thanks to partners: 
開創人：CEO/林鏡德 LIN JING DE DMSIXSEVEN / 林鏡德 LIN JING DE 1973 
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