書齋，一個充滿文化想像的空間，它真正迷人的地方，從來不只是收納書、方便看書而已。
即使到了今天，所謂書齋，也未必是傳統意義上的格局；當代人的書房，可能是一間小室，置一張書桌，擺一盞檯燈，幾座書櫥環繞，形成一處得以靜下來的角落。正因它是一個能讓人好好安頓身心的所在，於是，書房中的日常就顯得很特別。
素日起居在其中，工作、閱讀、寫字、觀物、弄植，是以對生命的領略與驚豔亦在其中；但凡從埋首的時刻稍歇，抬起頭來，心上珍愛的作品就自然地映入眼簾，它們之所以看上去如此不凡，不在於巨大或炫目，而是自朝夕相對之中，昇華成寄託目光與情感的存在。書房，成為了精神遨遊的啟程地，人在相對有限的空間裡，與萬物往來，與自己相處，以遊無窮。
是次「神與物遊——書齋風雅・掛畫」展覽，異雲書屋藉由「書齋文化」中的「掛畫」為切入點，呈獻一系列精彩的小型作品。我們刻意把目光收回到比較親密的尺幅，去尋找那些宜於被放進書房、被安置在日常，陪伴人長久生活的作品。相較於博物館式的觀看距離，它們並不龐大，卻可能是一件巧妙的大師之作，或者是耐人尋味的貼心小作。
打造自己的書房，安放屬於個人獨特的品味、心性與樂趣，那些悅目的掛畫、草木花石、茶具香具文房具，從一應陳設至光線落下的方式，都將一點一滴形塑出一種生活的樣子。
這不禁令人想起米芾拜石的故事，在旁人看來，也許近乎癡絕，可那裡面有一種可愛的深情，彷彿經由米芾之眼，讓人們也望見了那些奇石的性靈。這件事更令人意會到，其實世間上所有的書齋主人，總能在萬物之中，認出與自己精神相通的對象，在那一瞬，物並非只是物，它或許是人格的寄託，或而成為心境的映照，又或者化作日夜相伴的案頭知己。
書齋裡的作品，正應該是這樣的。
因此，在「神與物遊——書齋風雅・掛畫」展覽中所營造並不是一個古代書齋的復刻場景，而是一種跨越古今、且與當代生活相通的書房旨趣，一種有關於欣賞、研究、選件與趣味養成的雅興，到了今天，依然持續地豐富人們與空間相處的萬般感受，讓人在心滿意足之間，更靠近自己所嚮往的生活。
———
藝術家｜Artist
董作賓 TUNG Tso-Pin / 溥心畬 PU Xinyu / 彭醇士 PENG Chun-Shi / 余承堯 YU Cheng-Yao / 莊嚴 CHUANG Yen / 臺靜農 TAI Jing-Nong / 王攀元 WANG Pan-Youn / 趙無極 ZAO Wou-Ki / 陳其寬 CHEN Chi-Kwan / 周夢蝶 CHOU Meng-Tieh / 江兆申 CHIANG Chao-Shen / 汪中 WANG Jung / 周渝 CHOW Yu / 于彭 Yu Peng / 吳士偉 WU Shi-Wei / 卜茲 Bu Zi / 高島 進 TAKASHIMA Susumu / 黃健亮 HUANG Chien-Liang / 林銓居 LIN Chuan-Chu / 林季鋒 LIN Ji-Feng / 劉欣 LIU Xin / 古耀華 GWU Yau-Hua / 管偉邦 KOON Wai Bong / 楊忠銘 YANG Chung-Ming / 許靜 XU Jing / 郝世明 HAO Shiming / 劉琦 LIU Qi / 沐冉 Muran / 朱笑竹 ZHU Xiaozhu / 楊新收 YANG Xinshou / 王午 WANG Wu / 郭輝 GUO Hui / 曾建穎 TSENG Chien-Ying / 張小黎 ZHANG Xiaoli / 東 真里江 HIGASHI Marie / 廖育瑩 LIAO Yu-Ying
———
A shuzhai, or scholar’s studio, is a space shaped by layers of cultural imagination. Its enduring charm has never lain merely in the keeping of books, or in making reading easier.
Even today, what we call a shuzhai need not take the form of a traditional scholar’s room. For people today, a study may be nothing more than a small room with a desk, a lamp, and a few bookcases gathered around it—yet it still becomes a place where one may settle the mind and come to rest. For this very reason, the everyday life that unfolds within the study takes on a special significance.
It is there that one works, reads, writes, delights in the objects one lives with, and tends to small plants; it is there, too, that one’s sense of wonder toward life quietly gathers. When one pauses from concentrated thought and lifts one’s eyes, a cherished work naturally comes into view. What makes such a work extraordinary lies not in monumentality or spectacle, but in the way it comes, through daily companionship, to hold one’s gaze and feeling. In this sense, the study becomes a point of departure for inward and imaginative wandering: within a finite space, one enters into exchange with the world of things, and with oneself, while setting out toward the boundless.
With Where the Mind Roams Among Things — Elegance of the Study: Hanging Art, Yi Yun Art takes hanging art as an entry point into the culture of the shuzhai, presenting a group of exceptional small-scale works. We have deliberately returned our attention to a more intimate scale, seeking works suited to the study, to daily life, and to long companionship. Unlike works encountered at a museum-like distance, these do not rely on monumentality. Yet among them may be a finely wrought work by a master, or a deeply engaging small piece of quiet charm.
To shape one’s own study is to make space for one’s particular taste, temperament, and pleasures. Hanging paintings and calligraphy, plants, flowers, stones, traditional tea wares, incense implements, and the accoutrements of the scholar’s desk—from the placement of each object to the way light falls across the room—gradually come together to form a way of life.
This brings to mind the well-known story of Mi Fu bowing before a stone. To others, it may have seemed nearly obsessive, yet within it there was something profoundly tender. Through Mi Fu’s eyes, one seems able to perceive the spirit within those extraordinary stones. It also suggests that those who keep a shuzhai are often able, among the ten thousand things, to recognize the object that speaks to their own spirit. In such a moment, the object is no longer merely an object: it may become a reflection of one’s character, an image of one’s inner state, or a companion on the desk, present through the passing of days and nights.
Such are the works that belong in a shuzhai.
What Where the Mind Roams Among Things — Elegance of the Study: Hanging Art proposes, then, is not a reconstruction of an ancient scholar’s studio, but a way of inhabiting the study that moves across past and present while remaining deeply connected to life today. It speaks to a cultivated pleasure in looking, studying, choosing, and refining one’s taste—one that continues to enrich the many ways people live with space, and that, in a quiet sense of fulfillment, brings them closer to the life they aspire to live.
