石甫
意象藝術家
石甫草堂駐持
1993年入選「全國第五屆中青年書法篆刻家作品展」自然成為中國書法家協會會員。其作品被「中國書法舘」「榮寶齋」「東京日中會舘」「多倫多大學東亞圖書館」「密西沙加市中央圖書館」等專業機構收藏；并散見于《中日現代書畫家作品集》《筆墨東方．中國書法藝術國際大展》《湧泉·國際書法大展》《當代書法家墨迹選》《加拿大國際中國書畫名家》《全北世界書藝雙年展》等辭書畫册。
著作：《藝道雙楫》《章草書道德經》《死海古卷新抄》《寫經傳道書》《草書景教碑》《石父鳩歌》集。加拿大新時代傑出藝術家年奬得主，「道藝書畫」榮獲加拿大聯邦藝術專項基金獎。
先後出任：加拿大當代藝術聯盟主席、（加拿大）中國文化藝術研究所所長、大多倫多文化中心藝術顧問、迦國書道院院長、「國際藝術新聞網 」中國藝術中心主任等。
他集書畫雕刻影像于一體，在壽山石意象微刻實踐中，照見微觀世界中視而不見的藝術元素與刻符意象，結合40多年踐行的書道經驗，參＂二調三色＂為構成元素，把馬家窰彩陶、雲水紋樣、圖騰符號、教堂彩窗、敦煌壁畫，以及三星堆臉譜等靈意符紋，提煉為視覺語言。同時，吸收了拉比畫派始祖高更（Paul Gauguin ）的象徵性，抽象畫之父康丁斯基（Wassily Kandinsky） 的神秘性，形而上畫聖蒙德里安（Piet Mondrian ）的純粹性，書法畫禪克萊恩（Franz Kline）的抽象性以及行動畫鼻祖波洛克（Jackson Pollock）的隨意性。以非具象的宗教般的信念藝術語言，成功地將書道與當代藝術美學、哲學、神學熔於一爐，自然地東方陰陽之道與西方太初之道融為一體。巧妙地解構形象、溶鑄理念、激活意象，避開時空世界的物象、形式和錯覺，攀登形而上界，去直接觀照宇宙的真相，從而真正地認識本我。 成功地開辟出一條信念藝術之路，被譽為當代意象藝術的開拓者。因他只憑意念，不用顯微鏡，能在壽山石上，以頭髮之微，刻經五千多字；被行家譽為＂聖手神雕＂。
因其意象作品的獨特性與開創性，故被美國前總統雷根、琴箏大師梁在平、「棋聖」聶衛平、書畫篆刻大師韓天衡等專家及學術機構收藏；Ritchies Auctioneers拍賣行曾特為其專設拍賣。
作為意象藝術開拓者，他不遺餘力地親臨北京、成都、上海、山東、杭州、香港、台北，浮羅倫薩、米蘭、羅馬，巴黎、迪拜、紐約、舊金山、東京、首爾、全州，溫哥華、蒙特利爾、多倫多等地交流；曾多次應邀在加拿大多倫多大學、安省皇家博物館、密西沙加巿藝術中心美術館、萬錦市博物館等專業學術研究機構展演；并出任美術學院教授意象藝術。
JenZ Shifu
Iconographic Artist / Curator
Shifu is a Chinese-Canadian artist who has created a distinctive non-representational art form called “Iconography”, Yixiang Hua, where Chinese ink art, modern painting, and micro-engraving, collages are all constituting parts of his artistic creation.
Shifu had been part of the “Artistic Wave” or avant-garde of the mid-80's in China. And before settling down in Toronto in 1993, he had already been granted a Member of the prestigious Calligraphy Association of China for his calligraphy artwork. His calligraphy pieces were published by the highest caliber art-publishing house in China, Rongbao Zhai, and were collected by art galleries in China as well as around the world.
Shifu’s “iconography" marries tradition and innovation of the East and the West, profiting from the mastery of Chinese calligraphy and the miraculous skill of micro-engraving. It uses three primary colours and variations of black and white tone from Chinese ink as his constructing palette, taking inspirations from the ancient Majiayao coloured-pottery motifs, totem designs, as well as stained- glassworks, etc. to form the totality of his aesthetic language. His iconographic work, often in the form of collages, embraces and blends the Chinese Tao of Yin Yang with the Word of Cosmic Oneness found in the origin of Western thought. In short, Shifu’s artistic creations dwell heavily in aesthetics, philosophy and theology; as such, they are as much the travail of a philosopher as that of a painter.