邱博楷

Ciou Bo-Kai

邱博楷，1997年生，2019年畢業於國立臺灣藝術大學書畫藝術學系，2023年取得同系碩士學位。以水墨與膠彩為主要創作媒材，致力於東方繪畫語彙的當代表現與風格轉化。

其創作核心在於獨特的「圖示風格」建構，善於結合裝飾性語法與插圖式構圖，發展出具有強烈個人辨識度的視覺語言。圖像中常見山水、動物與花卉等自然元素，經由平面化、符號化的處理，轉化為一種既親密又奇幻的敘事空間。這種風格不僅跳脫傳統山水的寫意人文詮釋，更形構出專屬於他個人的象徵系統。

作品中的靈獸與山林組成出城市與自然之間的隱喻結構，映照他身處都市叢林中的心理狀態與對山林靜謐的嚮往，也體現其對於「經驗」、「社會」、「環境」三者之間互動關係的敏銳觀察與詮釋。

在技法層面，他運用膠彩特有的礦物顏料，經由層層堆疊與光的折射，創造出豐富而透潤的色彩場域。細緻筆觸與節奏分明的圖像編排，使畫面兼具裝飾性與空氣感，展現出靜與動、寫意與造型之間的微妙平衡。

Chiu Bo-Kai, born in 1997, received his BFA in 2019 and MFA in 2023 from the Department of Painting and Calligraphy Arts at the National Taiwan University of Arts. Working primarily in ink and Gouache on paper, his practice explores the contemporary possibilities of traditional East Asian painting.

At the core of Chiu’s work is a distinctive iconographic style, in which he integrates decorative elements and illustrative structures to build a highly recognizable visual language. His compositions often feature stylized landscapes, animals, and floral motifs rendered in flat, symbolic forms, constructing narrative spaces imbued with both intimacy and fantasy. This personal symbolism departs from the classical aesthetics of literati painting and opens up new mythopoetic possibilities.

Chiu’s recurring imagery of mythical beasts and imagined nature reflects his psychological negotiation with urban life and his longing for the tranquility of the mountains. Through these fantastical terrains, he engages critically with themes of experience, society, and environment.

Technically, Chiu employs layered mineral pigments characteristic of Nihonga painting, using the interplay of opacity and light refraction to build luminous surfaces. His fine brushwork and rhythmic arrangements of form create a unique visual atmosphere—at once decorative, dynamic, and quietly contemplative.

近期作品 RECENT WORKS

毛茸茸的野獸各自沉浸在自己的活動中，有的與黑蛇玩耍，有的與青蛙喝水，有的欣賞蝴蝶，有的則逗弄老鷹。

其中，一隻小巧精緻的毛野獸格外引人注目，牠的姿態、目光、體型略有不同，且正被一旁的龐然大獸緊盯著，因為實際上，它並非這座園林裡的真正居民，只是隻混入其中的填充玩偶，而在它身旁，有張散落的虎皮地毯，是失去靈魂般的空殼，在這片看似自然的空間裡，人類存在的痕跡悄然深入其中。

面對陌生、未知的領域，最初的情感往往是好奇，但隨理解的加深，控制與支配的慾望緩緩增長，這種潛藏的心理，映射出人類面對生活與生存的野心與理想。

Fluffy beasts are each absorbed in their own activities—some play with black serpents, others drink with frogs, admire butterflies, or tease eagles.
Among them, one particularly delicate and petite creature stands out. Its posture, gaze, and proportions are subtly different, and it is being closely watched by a massive beast nearby. In truth, it is not a true resident of this garden—it is a plush toy that has slipped into the scene.
Beside it lies a discarded tiger-skin rug, like a hollow shell devoid of spirit. In this seemingly natural setting, the trace of human presence quietly seeps in.

When confronted with the unfamiliar and the unknown, our initial response is often curiosity. Yet as understanding deepens, the desire to control and dominate slowly takes root. This latent psychology mirrors humanity’s ambition and ideals in the face of life and survival.

炙熱的陽光、酷熱的沙漠，三頭雄獅努力往前，牠們的目標是吃下炙熱的太陽，完成使命。

「理想」存在於每個人的心中，它可能很大，也可能很小，它得來不易，需要投入的大量的時間與心力，而「理想」猶如太陽，離我們有一大段的距離，但如果能夠達成，那一定閃亮而耀眼。

作品四周留有蛇形圖像，環繞著作品，像是貪吃蛇一般，不斷地吃下各種養分，並成長茁壯，而果實則以小太陽的圖騰，呼應作品內的炙熱太陽。

Under the scorching sun and across the searing desert, three male lions forge ahead with determination—their mission: to devour the blazing sun and fulfill their purpose.

The idea of an “ideal” resides within everyone. It can be vast or modest, but it is never easily attained. It demands immense time, effort, and emotional investment. Like the sun, an ideal often feels distant, yet if one manages to reach it, it shines with brilliance and radiance.

Surrounding the work are serpent-like forms that encircle the composition—reminiscent of a ravenous snake, constantly consuming nourishment to grow stronger. The fruits scattered throughout take the form of miniature suns, echoing the blazing solar symbol at the heart of the piece.

星夜裡的靈獸以五行「金、木、水、火、土」呈現萬物之意，奔走、跑跳的活潑模樣，正是馴化後的自然世界所渴望與嚮往的，透過「框」將這片自然景色「框起」，就像是被觀查、被監視的模樣，遼闊的風景中，栓上牽繩的動物、巡檢的熱氣球以及綿延的道路，標示著人留下的痕跡，這片土地已失去自我權，而這樣的感觸是否也像是現實裡，不斷地渴望自由，卻又被牢牢地綁在現實之中。

In the starlit night, the spirit beasts embody the five elements—metal, wood, water, fire, and earth—representing the essence of all things. Their lively gestures of running and leaping evoke a tamed natural world that yearns for freedom and vitality. By placing a "frame" around this natural scenery, it is as if we are observing or surveilling it—an image of confinement. Within the vast landscape, animals tethered by leashes, patrolling hot air balloons, and winding roads mark the traces of human presence. This land has lost its autonomy. Such a scene mirrors our own reality: a constant longing for freedom, yet tightly bound by the constraints of the real world.

516 太空猴子 Space Monkey No. 516

42 x 33 cm / 礦物顏料、水墨、紙本 Mineral pigments, ink, paper / 2025

騎士 Knight

46 x 38 cm / 礦物顏料、水墨、紙本 Mineral pigments, ink, paper / 2025

夜巡 Night Watch

42 x 33 cm / 礦物顏料、水墨、紙本 Mineral pigments, ink, paper / 2025

「飛蛾撲火」比喻自尋死路、自取滅亡，作品以特技動作「跳火圈」繪製，這項動作存在著一定的危險性，在此隱喻追逐理想的過程必有一定難度，而當我們能嘗試跨越，那或許理想也就更近一步。

"Like a moth to a flame" is a metaphor for self-destruction or heading toward one's own demise. This work is depicted through the daring stunt of "jumping through a ring of fire"—an action inherently fraught with danger. It serves as a metaphor for the pursuit of ideals, suggesting that the path toward one’s aspirations is never without obstacles. Yet, it is precisely through the courage to leap that we may draw closer to our dreams.

貪吃龍 Gluttonous Dragon

82 x 82 cm / 礦物顏料、銀箔、紙本 Mineral pigments, silver leaf, paper / 2025

青色系列作品靈感來自「青花瓷」上的圖示與紋裡，這類圖像因為不強調所謂空間、暈染、遠近的氛圍，因此在圖像上的紋飾更顯的活潑而精彩。

作品貪吃龍以遊戲貪食蛇的形象出發，不斷地吃下果實得以茁壯，動物星球上探索著「人與自然相互共構的世界」，雙方在不斷學習與模仿之下，打造出新紀元，青色巨龍在人類到來以後，開始學習吃下人類特有的食物，而人類製作了一個美味巨大漢堡提供給巨龍品嚐，讓巨龍知道人類料理是多麼美味。

The Blue-and-White Porcelain Series draws inspiration from the motifs and patterns found on traditional blue-and-white porcelain. These images, which do not emphasize spatial perspective, shading, or depth, instead highlight the vibrancy and playfulness of decorative patterns.

The work “Gluttonous Dragon” takes its form from the classic game Snake, growing stronger as it devours more and more fruit. Set on an imagined "Animal Planet," the piece explores a world co-constructed by humans and nature—one built through continuous learning and imitation. In this new era, the azure dragon begins to consume uniquely human foods following humankind's arrival. To share the essence of their cuisine, humans create a giant, delicious hamburger for the dragon to taste, allowing it to discover just how flavorful human cooking can be.

系列作品延續著「圖示」的特性，這樣的靈感源取自東方繪畫裡的「符號性」，東方繪畫強調「寫意不寫形」，猶如《芥子園畫譜》般的教科書，創造出特有的造型與符碼，而這股抓取圖像並複製貼上的動作，就好似「剪紙」或「蓋印」一般，聚焦於圖形本身，而非空間邏輯的安排，系列作品則在圖示與符號的特性中，帶出獨有的創作語彙。

The series continues the characteristic use of "icons," drawing inspiration from the symbolic nature of traditional Eastern painting. Eastern art emphasizes "expressing essence rather than form," much like the Mustard Seed Garden Manual of Painting, creating unique shapes and codes. The act of extracting, copying, and pasting images resembles "paper cutting" or "stamping," focusing on the image itself rather than spatial logic. Through the interplay of symbols and imagery, this series establishes its own distinct creative language.

此作品為青花瓷系列之一，靈感來自希臘神話中的三女神，象徵著「感激、歡樂、友誼」，代表大自然的恩賜與慈美，體現著人生的美好，動物星球上探索著「人與自然共構的世界」，美人魚本身就存在於大海中，然而透過了學習，她們嘗試以澡堂的方式體會戲水樂趣，並與魚兒、海馬、小鴨一同遊玩，享受著美好時光。

This piece is part of the Blue-and-White Porcelain Series, drawing inspiration from the three Graces of Greek mythology, who symbolize gratitude, joy, and friendship. They embody nature’s gifts and gentle beauty, reflecting the splendor of life itself.

Set on the imagined Animal Planet, the work continues the exploration of a world co-created by humans and nature. Though mermaids are native to the ocean, they have learned to enjoy the playful pleasures of bathing culture. In this whimsical scene, they frolic in a bathhouse-like setting alongside fish, seahorses, and ducklings—sharing a joyful moment and embracing the simple beauty of togetherness.

長頸鹿與樹 Giraffe and Tree

40 x 70 cm / 礦物顏料、紙本 Mineral pigments, paper / 2025

寫生 Sketch

25 x 33 cm / 礦物顏料、紙本 Mineral pigments, paper / 2025

粉紅泡泡的星期天下午 Sunday Afternoon with Pink Bubbles

36 x 72cm / 礦物顏料, 紙本 Mineral pigments, paper / 2022

漫遊者 Rover

50 x 70cm / 礦物顏料, 紙本 Mineral pigments, paper / 2022

海上圍捕 Round-up at Sea

40 x 60cm / 礦物顏料, 紙本 Mineral pigments, paper / 2022