詮釋資料說明

文件類型

研討會論文

研討會

2022大地情緣─臺灣近代水墨創作發展兼論羅振賢水墨創作與教育思想學術研討會

題名

出新意於法度中：從近代山水畫之發展脈絡析探羅振賢之跨文化畫風特質

題名(英)

Innovation Developed from Canon: Analyzing the Cross-CulturalFeatures of Cheng-Hsien Lo’s Painting Style in the Context of Modern Landscape Ink-Painting Development

作者

黃冬富

期刊

2022大地情緣─臺灣近代水墨創作發展兼論羅振賢水墨創作與教育思想學術研討會論文集

單元

論文

出版西元年月日

2022/02

頁次

第55-68頁

關鍵詞

羅振賢 、 山水畫 、 臺式寫生山水畫 、 跨文化畫風

關鍵詞(英)

Cheng-HsienLo 、 landscape painting 、 drawing-from-naturelandscape-painting style of Taiwan 、 cross-cultural painting style

全文內容

戰後臺灣山水畫名家羅振賢，是1949前後第一代渡臺畫家傅狷夫教授的傑出弟子。他延續、拓展乃師參酌傳統山水畫法，再深入觀察臺灣名山勝境的地質地貌和山樹林相，綜合內化提煉而出獨到的臺式寫生山水畫風；繼之又借鑒戰前日本水墨畫清潤優雅、閑靜、空靈之畫境特質，建立其個人畫風辨識度；其後也積極嘗試接駁時代脈動的變革實驗。

長久以來他抱持著「有容乃大」以及「自我超越」的理念，持續於筆墨、書法、詩文下功夫，深化華夏文化底蘊；同時也虛心地吸收西洋和東洋繪畫的長處，廣涉博取又持續的往下紮根，早已建立其跨文化特質的個人畫風辨識度。在面臨日新月異、求新求變的時代，能不斷的嘗試變革以求自我超越，來呼應時代脈動。然其變革並非跳躍式取徑移植，而是經由深入的內省取捨後所作步步踏實的漸進改變，其畫風雖具現代感，但並不追逐於各式拓、噴等「不見筆蹤」的時尚潮流，其創新變革始終維持著「筆墨、文學意境」高品質的底線，正如蘇東坡「出新意於法度中」的名句。

全文內容

As a famous ink-painterin Taiwan, Cheng-HsienLois an extinguished student ofProfessor Chuan-fu Fuasone of the first-generation immigrating painters from Mainland China around 1949. Professor Lo inherits and expandshis teacher’s methodology to consider the traditional way of landscape painting, and observes thoroughly the geological topography of famous mountain scenery, the forms of forests, and groves in Taiwan. Hence, he synthesizes, internalizes, and refines what is observed to develop a unique drawing-from- nature landscape-painting style of Taiwan. Furthermore, to establish personal feature, he learns and refers to the Japanese ink-painting before World War II, characteristic ofclear, rich, graceful, peaceful, empty, and spiritual qualities. In addition, he positively tries innovative experiments to keep up with current art trends.

He has embraced the ideas of “Tolerance is a Virtue” and“self-transcendence” for a long time, and kept on practicing Chinese painting, calligraphy, as well as poem and prose, to deepen self-cultivation in Chinese culture. In the meantime, he humbly absorbs the advantages of Western and Eastern painting to broaden and deepen his art with unique cross-cultural features. In theeraof ever-changing and progressing toward novelty, he constantly attempts to transform for self-transcendence in responding to the pulse of the times. However, his innovation is not simply to mimic, but to reflect on the issue profoundly, to select the content and form carefully, and to change the style sequentially. Therefore, his painting reveals contemporary features, but does not show the fashiontechnique of no brush strokes, like frottage, decalcomania, or sprinkle. As far as innovation and creativity are concerned, he insists on the requirement of high quality in “brush, ink, and the state of mindofliterature,” and this is equivalent to Dong-Po Su’sfamous saying, “innovation developed from canon,” or new meaning derived from the legal principle.

How does traditional landscape display the integration of eastern and western culture and traditional spirit and create the brand-new characteristics? The inheritance, representation, and aesthetics of Lo Cheng- hsien’s landscape painting as a model of creativity are worth discussion.

出版者

國立國父紀念館

出版地

臺北市

備註

ISBN:978-986-532-559-6(平裝)
GPN:1011100213