築空間ARKI GALÉRIA －《流轉》台灣50現代水彩展

C I R C U L AT I O N Taiwan Modern Watercolor Painting Series

水

現

台

彩

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灣

展

2016

藍蔭鼎 ・ 李澤藩 ・ 馬白水 ・ 胡 笳 ・ 劉其偉 ・ 蕭如松 ・ 席德進 ・ 沈國仁 ・ 何文杞 ・ 李焜培 ・ 蘇憲法 ・ 郭明福 ・ 洪東標 ・ 謝明錩 ・ 楊恩生 ・ 黃進龍 ・ 程振文 ・ 林毓修 ・ 簡忠威・ 高慶元 ・ 吳冠德 ・ 林經哲 RAN In-Ting · LEE Tze-Fan · MA Pai-Sui · HU Jia · LIU Chi-Wei · HSIAO Ju-Sung · XI De-Jin · SHEN Kuo-Jen · HO Boonky · LEE Quan-Pui · SU Hsien-Fa · GUO Ming-Fu · HUNG Tung-Piao · HSIEH Ming-Chang · YANG En-Sheng · HUANG Chin-Lung · CHENG Chen-Wen · LIN Yu-Hsiu · CHIEN Chung-Wie · KAO Ching-Yuan · WU Kuan-Te · LIN Ching-Che

策 展 人

蘇憲法 ・ 洪東標 ・ 黃進龍

築

空

間

現 代 水 彩 展

Taiwan Modern Watercolor Painting Series

Taiwan Modern Watercolor Painting Series

台 灣

50

C I R C U L AT I O N

序

回歸人最初的本質 水彩，真切情感的繪畫

4

流轉新境 台灣水彩的內在風景

6

臺灣水彩畫的集體視覺記憶

14

藝術家簡歷

95

藍蔭鼎

24

李焜培

48

簡忠威

80

李澤藩

26

蘇憲法

52

高慶元

84

馬白水

28

郭明福

56

吳冠德

86

胡 笳

30

洪東標

60

林經哲

90

劉其偉

32

謝明錩

64

蕭如松

34

楊恩生

68

席德進

36

黃進龍

70

沈國仁

38

程振文

74

何文杞

42

林毓修

76

台 灣

5

Roaming a New Land The Inner Landscape of Taiwanese Watercolor

10

The Collective Visual Memory of Taiwanese Watercolor

18

Artists' Biographies

95

50

A Return to Basic Human Nature Watercolor, Painting With Real Emotion

現 代 水 彩 展

Taiwan Modern Watercolor Painting Series

Preface

RAN In-Ting

24

LEE Quan-Pui

48

CHIEN Chung-Wie

80

LEE Tze-Fan

26

SU Hsien-Fa

52

KAO Ching-Yuan

84

MA Pai-Sui

28

GUO Ming-Fu

56

WU Kuan-Te

86

HU Jia

30

HUNG Tung-Piao

60

LIN Ching-Che

90

LIU Chi-Wei

32

HSIEH Ming-Chang

64

HSIAO Ju-Sung

34

YANG En-Sheng

68

XI De-Jin

36

HUANG Chin-Lung

70

SHEN Kuo-Jen

38

CHENG Chen-Wen

74

HO Boonky

42

LIN Yu-Hsiu

76

回歸人最初的本質 水彩，真切情感的繪畫 邱復生 台 灣 土 地 開 發 （ 股 ） 公 司 董事長

台開築空間自 2013 年開始，推廣台灣戰後藝術發展不遺 餘力，《台灣 50》系列展覽以媒材作為主題區分，從現 代繪畫、水墨、版畫，到今年度為水彩藝術作一見證。 用這麼長一段時間去說戰後藝術的故事，最根本簡單的原 因在於，我和這些藝術家同樣生長在那個世代，共同經歷 了戰後肅殺氛圍的艱困年代。要怎麼樣在諸多限制的背景 下創新？如何突破困境？我們陪伴著這些藝術家，也看著 台灣現代藝術在險惡的環境下打拼出一條路。 那段彌足珍貴的打拼歲月是我們非常珍貴的回憶，也是推 動台灣現代藝術重要的關鍵年代。我們認為，其中的核心 價值，無非是建立在大家對於藝術愛好的熱情與信念。這 樣的思維不會單單只成就個人，也會願意投身於推廣、分 享。希望台開能以綿薄之力，讓大眾看到藝術的美好，透 過藝術家之眼，感受藝術家的初衷情感，重新看待這段歷 史發展。這份思考，對生活在當代的我們同樣重要。 水彩在台灣美術教育具有相當影響力，是學習繪畫的入門 必修課，普及率相當高，卻也易學難精。水彩畫有流動、 隨機的特性，搭配藝術家掌控畫筆的筆韻，產生出明淨、 灑脫，如夢似的境界。這是一種非常個人的，私密情感的 流露。我們可以說，不同於其他媒材，水彩是一種更貼近 藝術家情感本質的創作方式。 期許《流轉－台灣 50 現代水彩》展覽，在這個百家爭鳴， 處處求鮮嚐新的世代，能夠傳達出台開理念價值，回歸人 的本質思考。這是築空間台灣 50 現代繪畫系列的初衷， 也是台開集團打造夢想生活產業的使命。

台灣

50

現代水彩展

Taiwan Modern Watercolor Painting Series

4

A Return to Basic Human Nature Watercolor, Painting With Real Emotion Chiu Fu-Sheng Chairman of the Taiwan Land Development Corporation

Founded in 2013, The Taiwan Land Development Corporation's ARKI GALÉRIA endeavors to promote post-war Taiwanese art. The Taiwan 50 series uses different artistic mediums as themes, with previous exhibitions featuring modern painting, ink painting and block printing followed by this year's exhibition of watercolor painting.

We (myself and the artists in the exhibition) decided to tell the story of such a long period of post-war art for the most basic reason: we grew up in that period, and have experienced the difficulties of living in the harsh post-war environment. How can one innovate in the context of such restriction and break down the barriers to creativity? We join these artists to view Taiwanese modern art in its struggle to find a way forward in difficult times.

We treasure the memories of those valuable years of work, a pivotal period in the evolution of modern art in Taiwan. Among our core values are a shared passion and faith in art; this kind of thinking can't be brought about by just one person, and requires a willingness to spread and share. I hope that my contribution will enable the public to see the beauty of the artwork through the artists' eyes, gaining a sense of their original intentions while revisiting this period of history and contemplating its significance to our lives in the present age.

Watercolor is widespread in Taiwan, as it plays a significant role in art education. It serves as a mandatory introduction to the study of art, and it is easy to learn, but difficult to master.

Its qualities of flow and circulation, paired with brush control, produce a bright and clean, free and dreamlike state. It is an expression of individuality and intimate feelings, a creative style that is closer to the emotions of the artist than other artistic mediums.

Circulation - Taiwan Modern Watercolor Painting returns to basic human nature, seeking fresh experiences for the new generation among this diverse world of artistic styles. This is the intention of ARKI GALÉRIA's Taiwan 50 Modern Painting Series, in keeping with the values of the Taiwan Land Development Corporation and the creative mission of the TLDC group.

Preface

序

流轉新境 台灣水彩的內在風景 蘇憲法

台開築空間為向戰後五十年來在台灣這塊土地上致力於藝 術創作者致敬，陸續推出不同領域的「台灣 50 現代系列 畫展」，建立了「台灣 50」展覽品牌的好口碑，此次「台 灣 50 現代水彩」特展，特別邀請廖修平、何肇衢、顧重 光三位藝術家為發起人，並由洪東標、黃進龍及本人擔任 策展人，擬由台灣水彩畫發展史的開端，展出 22 位不同 世代的代表性水彩畫家作品，希望藉此次特展，為台灣近 五十年來的水彩發展史作一見證。

融合東西方繪畫精華的台灣水彩 水彩作為藝術創作的媒材，約於西方文藝復興時期，德國 畫家杜勒（Albrecht Dürer, 1471~1528）嘗試在素描作品加 上墨水或帶有色彩的顏料，成為技法較完整的水彩畫。 英 國 最 偉 大 的 畫 家 之 一 泰 納（J.M.William Turner, 1775—

1851），則以水彩輕快而潤澤的特性，描繪大自然風景， 讓人彷彿可感受到畫中潛潛流動的大氣特質，引起廣大的 回響，深受世人喜愛。水彩畫不僅在西方繪畫史中佔有穩 固地位，於全球各地也大為風行台灣水彩畫的啟蒙，源於 台灣美術的推手日籍藝術家石川欽一郎，他將西方水彩創 作概念引進台灣，也為水彩畫在台灣美術史上開啟了重要 的地位，許多前輩畫家，如號稱本土三家的藍蔭鼎、李澤 藩和倪蔣懷等，嘗試在寫生繪畫中，加入台灣的風景、民 俗與人文風采，逐漸發展出獨特的鄉土藝術風格。 二次戰後，隨國民政府來台的中國藝術家與台灣本土藝術 家，意外使東方水墨畫與西方水彩畫獲得對話並碰撞出新 的火花，如馬白水的彩墨畫與席德進的渲染抒情畫風，都 為水彩創作開展了新視域，他們的藝術內涵深具中國繪畫 的人文精神，感性而寫意；筆下的台灣風景則點燃了鄉土 藝術的情懷，細細品味，意蘊綿長。之後如劉其偉、李焜 培等人，都不斷開發能與台灣文化經驗相互呼應的水彩創 作，融合了東西方繪畫精華與藝術內涵的水彩畫，更具多 元而豐富的面貌，也使台灣水彩畫發展越來越豐富。 當年在石川欽一郎的鼓舞之下，台灣最早的水彩畫會也應 運而生；1960 年代後，受「現代繪畫運動」思潮的影響，

台灣

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現代水彩展

Taiwan Modern Watercolor Painting Series

6

各種畫會更是相繼成立，百家爭鳴，在競合中精進，水彩畫的發展也隨 著媒材與技法的多樣性，呈現更多元而豐富的特色。

水的藝術 無法取代的美 即使到當代，水彩仍是全球最普及的藝術創作媒材之一，更有許多知名 水彩藝術家活躍於當今藝壇，因為水彩獨特的水性之美，有其他藝術創 作媒材無法取代的優點。 就媒材特性來看，因為水彩媒材的使用方便輕巧且有透明感，曾經被作 為油畫寫生前的草稿，用於快速構圖並記錄物象的明暗、色澤與輪廓等 特質以供參考。卻也正因水彩流暢不羈的特性，若善於運用筆觸、控制 水分，無論是透明、不透明或各種創新技法互用，許多水彩畫的特殊效 果，加上藝術家個人的內涵與修為，融合展現出獨特的風格，特別是空 靈迷濛的渲染技法所能展現的詩意情調，唯有水彩能憑筆到意。 就水彩創作者的心境來看，如同雨絲滴落漾起的漣漪，必須有一種透明 的、流動的情感、一種清新而勇於實驗的態度。生活中，無論是關於閃 耀的夢幻或蒼白的現實，都是他們必須以畫筆與顏料進行分析的素材。 且因為每一次的創作都面臨許多偶然與未知，對於一切瞬間可能化為無 形的存在形式，都須具備更敏銳且精密的觀察，因此，可以說水彩畫家 必須比其他類型的創作者更能體現時光中瞬息萬變的具體形象，且將之 濃縮為一方紙張上的美好烏托邦，才能創造出水彩的新境界。

平面繪畫回返新生的媒材力量 也因為水彩畫獨特的水性色彩之美，雖然水彩畫在過去歷史上曾經被認 為紙張難經久藏，或有退色的疑慮，但隨著時代進步，數百年來水彩畫 的材料品質不斷改進，尤其隨著現代科技進步，陸續將空氣、陽光、水 分、酸鹼值等可能的化學變化，在紙、筆、顏料等用具進行了大舉的革 新，甚至透過裝裱的技術與材料為畫作的壽命增值，如今水彩畫的保存 期限已不輸油畫，自然也在繪畫市場上擁有廣大的支持者，開創全新的 時代性。 如今，水彩畫不只是藝術的入門，也不只是寫生的媒材，藉由其高度可 塑模的特質，更能發展出諸多創新意境。面對後現代思潮風起雲湧，平 面繪畫不斷遭受新媒材與觀念的挑戰，豐富多變的水彩語言，也許是平

流轉新境 - 台灣水彩內在風景

面繪畫中，最足以促進繪畫不斷回返新生的媒材力量。

全覽台灣水彩藝術的多元視域 可清雅、可濃重、可渲染、可重疊，台灣水彩畫因為融合 了東、西方繪畫精華，使它得以備齊了平面繪畫中的各種 語彙，進而開發全面性的整合，實屬難得。如同古人對水 墨畫的評論，「一氣落墨，一氣落筆，濃淡處隨筆所之， 乾濕處隨處取象，為煙為雨在有在無之間，乃臻妙境。」 同樣適用於水彩畫境的描繪，寫景、寫生，都能乾濕隨取、 感性寫意。 無論是在國外還是在台灣，水彩畫是繪畫人口最多，學習 最為方便的一種繪畫藝術，但易學卻不易精到，因此，能 在水彩藝術領域中自創一格且藝境動人的藝術家，傳世之 作也特別值得欣賞。此次築空間規劃「台灣 50 現代水彩」 展覽，除爬梳水彩畫在台灣發展的歷史脈絡，也特別尋得 好幾位具代表性的前輩水彩畫家作品，希望透過此次展 覽，讓水彩藝術的愛好者，欣賞到不同時代水彩畫家的作 品之美。 秉持著上承傳統、下啟未來的態度，從本土水彩菁英前 輩，到老、中、青不同世代的代表性水彩畫家，經由推薦 遴選，並考慮已逝藝術家借畫的可能性，最後確定 22 位 水彩名家，每位展出 1 至 3 件個別階段代表性作品，也期 待「台灣 50 現代水彩」特展，能為台灣水彩畫的創作開 展更具多元取向的新視野。

台灣

50

現代水彩展

Taiwan Modern Watercolor Painting Series

8

流轉新境 - 台灣水彩內在風景

Roaming a New Land The Inner Landscape of Taiwanese Watercolor Su Hsien-Fa Curator

The Taiwan Land Development Corporation (TLDC) ARKI GALÉRIA pays homage to the post-war art creators of the past 50 years by successively launching the multi-discipline "Taiwan 50 Modern Painting Series." Building on the established reputation of the "Taiwan 50" exhibition brand name, this special exhibition "Circulation – Taiwan Modern Watercolor Painting" specially invites the three artists Liao Shou-Ping, Ho Chao-Chu and Ku Chung Kuang as exhibition promoters, with Hung Tung-Piao, Huang Chin-Lung and myself serving as exhibition organizers. We will exhibit 22 representative works from watercolor painters of different eras, allowing us to showcase the history of watercolor in Taiwan over the past 50 years.

Taiwanese Watercolor - a Fusion of the Essence of East and West Watercolor's use as an artistic medium began during the Western Renaissance period, when German painter Albrecht Dürer (14711528) tried the technique of adding ink or colored dye to sketches. J.M William Turner (1775—1851), one of the UK's greatest painters, used the light, watery characteristics of watercolor to depict natural scenery, giving the viewer a sense of hidden flow within the painting. He received wide acclaim, becoming a favorite of the people, and watercolor is now not only firmly entrenched in Western history, but has become popular around the globe.

The birth of Taiwanese watercolor originated with Japanese artist Kinichiro Ishikawa, an advocate of Taiwanese art. He introduced the Western concept of watercolor to Taiwan, and gave the painting style an important status in Taiwanese art history. Many senior painters, such as the "three natives", Ran In-Ting, Lee Tze-Fan and Ni Chiang-Huai, added elements of Taiwanese scenery, folk customs and culture to their sketches, gradually developing a unique native style of art.

After the Second World War, a spark of creativity was unexpectedly formed by native Taiwanese artists and Chinese artists who had come to Taiwan, as they combined Eastern ink-and-wash painting with Western

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Taiwan Modern Watercolor Painting Series

10

watercolor. Ma Pai-Sui's bright ink painting and Xi De-Jin's impassioned ink wash style both used watercolor to develop new techniques. The content of their artwork was deeply influenced by the cultural spirit of Chinese painting - both sentimental and suggestive - but also ignited by the mood of the landscapes and subtle inner meaning of the native folk art.

Later, artists like Liu Chi-Wei and Lee Quan-Pei continued to develop their ability to create watercolors that echoed the Taiwanese cultural experience. They fused the best features of Eastern and Western painting to make Taiwanese watercolor ever richer and more varied.

During that time, with the enthusiasm of Kinichiro Ishikawa, Taiwan's earliest watercolor association emerged, and from the 1960s onwards, under the influence of the Modern Art Movement, all kinds of other groups were established in succession. Progressing amongst such competition, the development of watercolor was accompanied by a diversification of materials and techniques, resulting in richer and more varied styles.

The Art of Water - Irreplaceable Beauty Even today, watercolor is still one of the most widespread forms of art, and there are many well-known watercolor artists currently active in art circles. Because of the unique beauty of watercolor, it cannot be substituted by another art form.

Because of the convenience and accessibility of watercolor, it was formerly used as a method of sketching or drafting for oil paintings, using rapid composition and recording the qualities of an object such as shading, color and outline for later reference. Due to the flowing, uninhibited properties of watercolor, if the brush strokes and moisture control are done skillfully, many of watercolor's special effects added to the artist's meaning produce an individual style. Whatever innovative method used, whether transparent or opaque, watercolor displays a unique fusion of styles, and its ethereal, misty rendering techniques show a poetic sentiment that only watercolor can convey.

A watercolor painter must have a certain frame of mind, with open, flowing emotions and a fresh and daring experimental attitude. Whether depicting colorful dreams or pale reality, they must deal with the source material using only paint and brush. Moreover, because every creation faces many random and unknown factors, regarding all momentary possibilities as intangible outward appearances, they must possess a keener and more accurate perspective. Thus, it can be said that watercolor painters are more able than artists of other disciplines to reflect a concrete visualization of the changes of time, condensing

Roaming a New Land - The Inner Landscape of Taiwanese Watercolor

them into a beautiful Utopia on paper and creating the new watercolor plane.

The Medium Power of a Reborn Painting Style The unique beauty of watercolor has historically been considered difficult to preserve on paper due to misgivings about fading, but the quality of the materials used in watercolor has been constantly improving over the last few hundred years thanks to modern scientific progress. In particular, innovations in paper, brushes, ink, and even new mounting technology and materials slow the chemical changes caused by air, sunlight, moisture and acidity. This greatly increases a painting's lifespan, and nowadays watercolor paintings can be preserved for as long as an oil painting, gaining the style many supporters in the marketplace, and ushering in an age of cutting edge modernity for watercolor.

Nowadays watercolor is not merely an introduction to art, and is not just a method of sketching or drafting; its high degree of flexibility enables the development of highly innovative creative concepts. With turbulent postmodern ways of thinking, painting constantly faces the challenges of new methods and concepts; the abundant and varied language of watercolor makes it perhaps the most constantly reinvented medium of painting.

A Comprehensive Look at the Diverse Horizons of Taiwanese Watercolor Because Taiwanese watercolor is a fusion of Eastern and Western painting styles, it can be refined or dense and rich, exaggerated or true to life. It can simultaneously borrow from the vocabulary of all kinds of painting styles, its all-round integration making it a rare gem. As in the ancient commentary on ink and wash painting, "Let the ink fall in one go, put pen to paper in one go, color resides in essay writing, moisture takes form everywhere, as vapor, as rain, between existence and nonexistence, and thus arrives at the wonderful boundary," the same applies to describing watercolor, whether painting scenery or sketching from

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nature, all make free use of wet and dry and are impressionistically perceptive.

Whether overseas or in Taiwan, watercolor is the most popular and easiest form of painting to learn. While it may be easy to learn, however, it is not easy to excel at, so an artist who can create a unique and impressive style within the domain of watercolor truly deserves admiration. ARKI GALÉRIA's "Taiwan 50 Modern Watercolor" exhibition, as well as unraveling the history of watercolor in Taiwan, will also strive to obtain several representative works of art from senior watercolor painters, to allow watercolor enthusiasts to appreciate the beauty of the different generations of watercolor.

Looking back to continued traditions, looking forward to the new attitudes of the future, representative watercolor painters from senior native watercolor masters to the younger generations will be chosen by recommendation, and deceased artists will also be considered. Finally 22 watercolor experts will be chosen to have between 1 and 3 of their works displayed. The special "Taiwan 50 Watercolor" exhibition can be expected to show the multifaceted development of Taiwanese watercolor in a new light.

Roaming a New Land - The Inner Landscape of Taiwanese Watercolor

臺灣水彩畫的集體視覺記憶

廖新田 臺灣藝術大學人文學院院長 台灣藝術史研究學會理事長

除了彩色筆和蠟筆，水彩畫可以說是大多數台灣社會初體

記憶並運用在無數刻印書的插畫上，那是他一直從事的

驗較具表現性藝術的集體記憶。讓我們擬溯當時的狀況：

工作。現在，如果適當地使用，水彩意味著輕快的色調，

面對五顏六色的顏料管、大小不等的軟刷筆以及水，如何

當時間推移，就像塞尚一樣，此經驗無疑地會影響泰納

調顏料、如何沾彩、如何用水等等都涉入更為複雜的色彩

的油畫技巧。在他許多晚期的繪畫中，把油畫媒材當水

學、用筆與「運」彩 ( 等同於運墨 ) 等等訓練，可以說是

彩用，這在複製品是很難分辨出來的。原作裡，這些輕

不小的挑戰。所以，水彩畫可以說是提供我們全方位進入

快的圖畫比任何水彩畫豐富許多，因為有一層神奇的珍

真正藝術體驗的集體記憶。從學生時代一點一滴的累積構

珠顏彩覆蓋在白紙上。那是經過多年的白紙實驗，讓泰

成我們對水彩畫的親近感，其來有自。至於油畫，除非有

納得以完整地畫出這些調子。

特殊機緣，大概只有透過觀賞的經驗而缺乏真正的實作來 認知。諷刺的是，後者在位階上總是高於前者，國內外美

油畫的歷史發展也差不多是在 15 世紀的早期尼德蘭繪畫，

術館展覽也大都是以油畫作品為主軸，暗示偉大的作品或

到了文藝復興時期技法幾已臻於成熟並取代了 7 世紀拜占

「上道」的藝術家還是得藉由油畫這個媒材來界定與發

庭時期使用的蛋彩畫 (tempera)。除了創作的演變，著名

揮。任何藝術史的書寫也印證了這種「偏狹」的狀況，「經

的《觀看之道》作者英國人博格 (John Berger, 1926-) 甚至

典」之作其實很少和水彩畫上等號的。這其實是西方藝術

認為油畫的興起和資本主義的發展不無關係，意思是跟文

發展的特殊形構。西方水彩畫歷史可溯自中古世紀，一

化的權力運作有關；這樣看來，水彩畫就「清純」多了，

般主要作為動植物插畫之用途，到了 14 世紀文藝復興時

過去並沒有涉入複雜的權力遊戲。我們要相信：藝術創作

期始成為藝術媒材，例如德國藝術家杜勒 (Albrecht Dürer,

媒材的流行與否，甚至有無價值，和歷史、文化以及社會

1471–1528) 於 1502 年所畫的〈野兔〉展現出水彩畫除了

發展有絕對的關係，而非僅是自然而然的發展結果。水彩

能精確地描寫之外，同時也是精彩的藝術傑作，兼有「精

畫愛好者不必沮喪或自怨自艾，事出有因必有果，藝術史

確」的造型掌握與「精彩」的表現性。西方藝術大家如

的形構亦然。不過這也暗示人為改變的可能，在特定的文

德國人范戴克 (Anthony van Dyck, 1599-1641)，法國人羅漢

化脈絡下，水彩畫不必然一直是附居次要的地位。只要歷

(Claude Lorrain, 1600-1682)，義大利人卡思帝龍 (Giovanni

史條件成熟，創作與論述到位之際，尋回失落的水彩畫的

Benedetto Castiglione, 1609-1664) 等，都是傑出的水彩畫的

「主體性」是可能水到渠成的，只要我們喜愛，付諸行動

創作者，而英國的泰納 (J. M. W. Turner, 1775-1851) 更展示

並多方論說，讓創作與論述形成氣候。

出從水彩的實驗中取得創新油畫技法的潛在創能。著名的 英國藝術史學者肯尼斯• 克拉克 (Kenneth Clark) 在《風景

臺灣水彩畫始自日本殖民時期現代美術教育之推動，日本

入藝》(Landscape into Art) 一書便見證了水彩在西洋藝術

美術教師石川欽一郎 (1871-1945) 引進英式水彩風格，培

創作中所能發揮的潛力與重要性 ( 筆者譯 )

養了第一批青年水彩畫家，並帶動寫生風氣並組織繪畫團

因教養及偏好的關係，泰納是位使用水彩的畫家。這是

體，對臺灣水彩之奠定居功厥偉。不過，有些「英雄氣短」

他和歐陸觀點疏遠的許多原因之一，因為古典傳統從不

的是，在他的為數頗多的關於臺灣風景畫的論述中，可能

認為水彩是嚴肅的媒材。在泰納極成功的階段裡中，他

是最早的一篇發表於 1908 年 1 月 23 日《臺灣日日新報》

專注於油畫的熟練時從未停用水彩，這兩種媒材協助其

的〈水彩畫與臺灣風光〉卻敘述水彩畫適合附庸風雅、消

台灣

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遣之活動。他也指出水彩畫即適合於描寫臺灣景色的功

史的時光隧道看現在的展覽作品與創作者，會獲得不少有

能。他結論道：「用水彩畫來向世人介紹這裡的佳景吧！」

意思的觀察。

石川先生在實踐上與理論上，毫無疑問都是臺灣水彩畫史 上的第一人。其傳承弟子倪蔣懷、藍蔭鼎、李澤藩等則持

和油畫比較，水彩畫雖然不是主流畫類，在台灣的發展

續經營這片新鮮的藝術園地直到戰後，加上許多新秀的投

總是一條涓涓不斷的細流。在創作風格上則開始跨越日

入而開枝散葉，本展覽意味著這樣的歷史樣貌。

治時期引進的印象派式描寫，走向不同的、多樣的嘗試 與實驗，因此是極為流動而多采多姿的，一如本展的標

臺灣水彩畫經由日本引進，再經過本土化後成為在地創作

題「流轉」。

的一部份。文化藝術的發展總是以內外交錯的方式不斷向 前演繹。值得一提的是，臺灣水彩畫的發展並不如日人石

集體視覺記憶是圖像化的歷史過程，當藝術家創造某些主

川一開始的建議，只停留於業餘的概念，相反的，深化水

題、技法、形式、表現、意義、符號之後，其不斷共享 ( 如

彩創作的藝術路線反倒是最讓人津津樂道的，這次的展覽

教育 )、模仿 ( 如變形 ) 與演繹 ( 如論述 ) 的循環過程構

就是明證。從這個角度看，水彩畫一開始在台灣事實上是

成了集體視覺記憶的基礎，而時代的藝術風格就是集體視

在建立在這塊島嶼上的「新傳統」，因為確實是「前無古

覺記憶的依據。當我們談到臺灣風景，日本殖民時期所營

人」，雖不能說是「後無來者」。當然，其革新乃從地方

造的「地方色彩」、七〇年代的「鄉土印記」都是例子、

性題材開始，毫無疑問是台灣大部分水彩畫創作者所致力

解嚴後的「現代性」與「社會性」。有時，集體視覺是跨

的：自然、動植物、建築景觀、人文民俗、光影、材質與

世代跨時空，總結出一群人的歸屬之處，例如懷鄉，在臺

造型探索等。反到是文化主體性的自覺，開始有了一些變

灣一直是很有影響力。另外，成功的集體視覺記憶進一步

異案例，用「舊傳統」中國文化與本土的題材來「改革」

會成為文化認同的載體，我們會藉由某一圖像來表達對特

西式水彩，而變成新的、在地的可能樣貌，或藉由現代化

定時空的情感聯繫與審美感知。我們如果問：什麼是臺灣

的觀念平衡傳統與本土，形成新的視覺呈現。例如 1960

之美？每個人腦中所浮現的印象會很不同，也許是齊柏林

年代的馬白水把墨加進水彩畫面裡，輪廓線的勾勒極像水

的〈看見台灣〉，也許是朱銘的〈同心協力〉，也許是廖

墨線條。1970 年代鄉土運動的席德進，日課書法以強化

修平的「符號門」系列等等，這些構成臺灣歷史的視覺檔

其筆力，因此他的水彩畫線條簡潔而有書法韻味。張杰與

案，在需要時提供我們實現那個想望，也反射特定性別、

文霽均以荷花為題材，創作手法像極了水墨的簡化彩色

世代、階級、團體的認同連結，是一個動態的投射狀態。

版，也有強烈的「東方趣味」。這些說明水彩變革是從中

集體視覺記憶就像不斷擴充的拼圖，總是有新的圖像或形

國書畫的傳統而來，在地文化傳統成為變革的可能能量。

式加入，豐富圖像的故事內容。

水彩與水墨有材質上的親近性：水、彩、墨、刷筆，也有 流暢性的共同特質，兩種表現材質背後的文化意涵差異很

如果我們用這個視野檢視此次水彩畫展，正好可以一窺台

大。後來的年輕的創作者更極致化各種表現技法，讓水彩

灣水彩畫的集體視覺記憶的樣貌，反映水彩這種媒材的廣

的表現不僅有溫和的感受，甚至有驚豔和震撼效果，和油

度與寬度，雖然並不全面。主題上，寫實性的鄉村 / 傳統、

畫不遑多讓。台灣水彩畫有著戲劇性的過往，我們若從歷

自然、都市、人物是臺灣水彩畫的主要落點 ( 這也暗示或

台灣水彩畫的集體視覺記憶

許我們需要非寫實類的作品來加以平衡，擴展視域 )。不

灣呢？本土色彩呢？吳冠德與謝明錩哼唱出山林裡的蓊

論是戰前或戰後，鄉村景色的描寫構成臺灣水彩畫樂此不

鬱翠綠，沈國仁則將太魯閣的大理石肌理編排得如此細膩

疲的一大主軸。這並非僵化的反覆，而是反映出臺灣作為

一如雄渾曲調，洪東標呈現原野、山坡、水流與山林的

一個傳統農業社會的眷戀，雖然在工業化過程中鄉村逐漸

層次感讓人留戀忘返，林毓修則透過微觀的角度吟唱「一

消失，而藝術家則透過水彩畫企圖把握這個印記，成為臺

沙一世界」的深沉，沒有驚人之舉仍處處動人。胡笳、席

灣社會烏托邦的母體圖像。當我們看到何文杞的老宅一角、

德進以及上述的馬白水都是老兵，分別以印象派、渲染、

一彎溪流，謝明錩的鏽蝕腳踏車倚靠在紅磚牆的一角、古

墨韻與拼疊手法展現水彩的發展路徑，面貌多元而表意到

屋角落的紅燈籠，已轉換為懷鄉的田園、傳統符號，藉由

位。郭明福則以極致的細膩傳遞臺灣山巒的崇高與深邃，

這些記憶的片段集體化為穿越時空的想像機器。

其筆下的自然彷彿是一本本長卷詩篇，需要細細閱讀方有 所自得。楊恩生關注生態環境之永續，在葉縫與樹叢之間

紀錄鄉村之美和紀錄逝去的鄉村之美是一體兩面的，那就

讓人感受到這些稀有的臺灣國寶擁有濃綠的愛的呵護。

是都市。洪東標的〈台北的都會年輪〉描繪了兩者的交替， 在高樓大廈的環視下，北門似乎只能蜷縮於一角，些許無

「臺灣最美的風景是人」是 2012 年大陸《新週刊》全體

奈、更多的是傷感。馬白水的〈台北圓山飯店〉又似乎又

員工赴臺灣觀光體驗後所製作的專輯，指出一個正向的思

寓示老兵不死，只是轉換角色，高聳的中式建築仍然屹立

維：人才是風景的主角，人善待風景，風景反過來才善待

如山、依舊美麗。而都市的身影是醜陋的？並不盡然，藝

人。人是自己的一面鏡子，臉孔、軀體不論老幼都是美麗

術家總能在生存的環境中找到美的集體身影，也許其中含

的。黃進龍的又理想化又入世的少女胴體，程振文〈秋收

有一絲惆悵與無奈，總是以積極態度應對。林經哲用戲劇

的陽光〉老人臉上每條皺紋都帶著純樸的微笑，高慶元的

化的光影效果把都市的沉寂與忙碌轉化為奏鳴曲，跳脫一

少女有著蒙娜麗莎式的淺笑，林毓修筆下兒童純摯的笑。

般對都市的負面刻板印象。簡忠威描繪貫穿城鎮的河流與

讓人同時不能忘懷的是他 / 她們的眼神，誠摯地讓我們相

連接城鎮的橋梁，在一抹夕陽下融化為莫內式的教堂系列

信「最美的風景是人」，這樣的烏托邦信念支持我們相信

般的神聖，李焜培、蘇憲法的異國城市景觀，都有著濃濃

世界仍然有美好的一面。

的詩意，遊旅他都洗去現實生活的沉重負擔，反而可好好 漫遊享受，一如吾人所熟悉的「萬物靜觀皆自得，四時佳

水彩是藉由水將色彩流動到所需之處、交融出所需要的

興與人同」的境界。

視覺效果。水與彩的「流轉」成為水彩藝術的特殊表現， 也是臺灣水彩畫歷程中不可明見的特質但隱藏其中。對初

風景畫從殖民時期開始已成為寫生主題，因此以水彩畫表

學者和最資深的畫家而言，這個挑戰是無止境的。即便是

現自然之美，都是業餘或專業創作者所趨之若鶩的，風景

厚塗手法，若沒有水的介質，在我看來水彩的精神並不

描寫可說是世界共通的藝術語言，藉由這個極簡單的材料

完滿。「水乳交融」說明一種完美融合的境界—水是彩、

反而更能表達我們對自然的感情。然而，風景畫的樣貌在

彩是水，水彩的精神若以「水『彩』交融」形容當屬洽切

世界各地是極為不同的，英國鄉村、法國田園、美國豪

之詞。「水『彩』交融」可以讓光影交錯、讓氣氛有韻味、

邁、俄國陰鬱、德國沉思、荷蘭紀實、澳洲灑脫…那麼臺

讓色彩跨越藩籬、讓不可見變可見、讓藝術想像藉由這個

台灣

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在台灣存在超過一百年的媒材馳騁並再流轉無數個百年光 影，本次展覽有著這種溫婉的呼應與宣稱。這也是臺灣水 彩畫的集體視覺隱喻，沒有異化與唐突，是極為親切的， 我們都曾經歷過，在百多年前就開始不斷流傳遞衍著。 重溫舊夢，總是美好。藉由本展覽，讓我們重溫上述的臺 灣集體視覺記憶。

台灣水彩畫的集體視覺記憶

The Collective Visual Memory of Taiwanese Watercolor

Lao Hsin-Tien Director of the Taiwan Art History Association, College of Humanities, National Taiwan University of Arts

Apart from colored pencil and crayon, watercolor painting was the first

for the classic tradition has never considered water-colour a medium

widely exhibited art style in the collective memory of most Taiwanese.

of serious painting. Turner himself, in the period of his great successes,

We will take a look at the methods of the time: the kinds of paints,

concentrated on the mastery of oils, but he never ceased to use water-colour,

different sizes of brush, methods of blending and use of water. All of

both as an aid to his retentive memory and for the numerous illustrations

these aspects come into the complex study of color, and the challenging

to engraved books on which he was always at work. Now water-colour, if

discipline of brush use and movement of color. Watercolor is our

properly used, involves a light tonality, and there is no doubt that as time

gateway into the collective memory of the genuine art experience, as

went on Turner, like C?zanne, was influenced in his oil technique by his

our feelings towards the style have gradually accumulated from our

experience of water-colour. In many of his later pictures the oil medium

school days. As for oil painting, most of us will only experience as a

is used so exactly like water-colour that in reproduction it is impossible to

passive viewer. The funny thing is, oil painting is always seen as superior

tell which is which." In the originals these light pictures are richer than any

to watercolor, and art exhibitions at home and abroad always revolve

water-colour could be, for a marvellous film of mother-of-pearl paint has

around oil paintings, thus giving the impression that great works or

been floated over what would, in a drawing , have been white paper. But it

superior artists must use this medium. Any writing on art history will

was years of experiment with white paper which allowed Turner to paint in

confirm this prejudice, and "classic" writings seldom mention watercolor.

these tones at all.

This has actually come about due to the way in which of Western art evolved. The history of Western watercolor goes right back to the

The history of oil painting originates in the Netherlands, also from the

medieval ages, when it was mainly used in illustrations of plants and

15th century, and when the technique matured during the Renaissance

animals, but it wasn't until the Renaissance period of the 14th century

period it replaced the tempera painting of the 7th century Byzantine

that it developed into an artistic medium in its own right. Albrecht D?rer

period. John Berger (1926-), the British author of Ways of Seeing

(1471-1528) with his 1502 painting "Young Hare", for example, showed

even believes that the growth of oil painting was related to the rise of

that watercolor could be used for expression of beauty as well as accurate

capitalism and the power operation of culture. It seems that watercolor,

portrayal of form. The greats of Western art, such as the German

in its purity, never entered into these complex power games in this way.

Anthony van Dyck (1599-1641), the Frenchman Claude Lorrain (1600-

Whether or not an art medium is fashionable or valuable should be

1682) and the Italian Giovanni Benedetto Castiglione (1609-1664)

down to history, culture and societal development, and is not just luck of

were all outstanding watercolor painters, but the Englishman J.M.W.

the draw. Lovers of watercolor need not be dispirited though, the shaping

Turner displayed a hidden talent for experimentation and innovation

of art history is not accidental. But this hints at the possibility that

with the medium. Well-known British art history scholar Kenneth Clark,

things could change, and indeed in certain cultural contexts, watercolor

in his book Landscape Into Art, evidences the potential and importance

need not remain subordinate. When historical conditions ripen and

of watercolor in the birth of Western art:

with timely creative works and discourse, watercolor's lost subjectivity could be recovered, as long as we love it, take action in expressing varied

Turner by upbringing and by predilection was a painter in water-colours.

opinions and allow a climate of creative and formative discourse.

This is one of the many things about him which alienate continental opinion,

Taiwanese watercolor began with the advancement of art education

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Taiwan Modern Watercolor Painting Series

18

during the Japanese occupation period, when Japanese art teacher

watercolor into a new local style, balancing tradition and localism to form

Kinichiro Ishikawa (1871-1945) introduced the British watercolor

new visual styles using modern concepts. For example, in the 1960s Ma

style. He is largely responsible for nurturing the first generation of

Pai-Sui incorporated ink into his watercolor scenes, creating outlines that

young Taiwanese watercolor painters, encouraging still life sketching

really resembled lines of Chinese ink wash. Xi De Jin of the 1970s Native

and organizing painting groups. But he was something of a short-lived

Soil Movement took day classes in handwriting to improve his brush

hero: among his many discourses on Taiwanese landscape painting,

strokes, and as a result his painting features the charm and precise lines of

Watercolor and Taiwanese Landscape, published on January 23rd 1908

Chinese calligraphy. Zhang Jie and Wen Ji, both using the lotus as subject

in the Taiwan Daily News was perhaps his earliest. It told how watercolor

matter, created techniques that replicate the simple colors of ink, as in

was a suitable pastime, and also pointed out that watercolor was a

the intense "Eastern Delight." These show the transformative possibilities

fitting medium to portray Taiwanese landscapes. He concluded that

for watercolor when the traditions of Chinese painting and calligraphy

"watercolor should be used to introduce people to the beautiful scenery

are combined with folk traditions. The mediums of watercolor and ink

here!" Mr Ishikawa was clearly the number one person in the history of

share a certain closeness, with the fluidity of water, pigment, ink and

Taiwanese watercolor in practice and in theory. His followers Ni Chiang-

brush, but the cultural implications behind the two expressive mediums

Huai, Ran In-Ting and Li Tze-Fan still continued to cultivate this new art

are very different. The younger generation of artists who came later were

form after the war, and many more budding artists threw themselves into

more diverse in their methods, and used watercolor not as a mild and

it and branched out in their own styles, as evidenced in this exhibition.

gentle expression of feelings, but to shock with their gaudy bright colors, determined not to be outdone by oil painting. Taiwanese watercolor has

Taiwanese watercolor originated in Japan, but after the Taiwanese

a dramatic past, and looking back in time, we can gain many meaningful

localization movement it became an integral part of the region's creative

insights by exhibiting these works.

culture, as art and culture always continue to develop despite diplomatic complexities. It is worth mentioning that the development of Taiwanese

Although watercolor is not a mainstream painting style when compared

watercolor does not stop at the suggestions of Ishikawa. On the contrary,

with oil painting, its development in Taiwan has always had a continuous

the artistic route that led to Taiwanese watercolor's creative depth,

flow. From its beginnings in impressionism under Japanese rule to the

clearly evidenced in this exhibition, is actually what most excited people

diverse experimentation and innovations that came later, the evolution

about the medium. In this vein, watercolor was always considered a "new

of the style has been extremely fluid and flowing, hence the title of this

tradition" of this island, because, while it canÂĄÂŚt be said it surpassed all

exhibition: "Circulation"

that followed, was unprecedented. Naturally, its innovations stemmed from local subject matter; certainly most Taiwanese watercolor painters

Collective visual memory follows the course of graphical history, as

were inspired by nature, plants and animals, man-made landscapes, local

artists' creative themes, techniques, forms, expressions, meanings and

customs, and explorations of lighting, materials and form. On the other

symbols are constantly shared (as teacher), imitated (as adaptations)

hand, was the awareness of cultural subjectivity, as traditional mainland

and unraveled (as in discourse). This circulation, along with current

Chinese culture and local folk traditions were used to transform Western

artistic trends, forms the basis for the collective visual memory. When

The Collective Visual Memory of Taiwanese Watercolor

we refer to Taiwanese landscape painting, the "local flavor" established

and Xie Ming-Chang's rusty bicycle leaning against a wall or the red

during the Japanese colonial period and the "native imprint" of the

lantern in the corner of an old house, we become homesick for the fields

1970s are both examples of post restriction "modernity" and "society"

and signs of tradition, and, through these fragments of memory, we travel

Sometimes collective memory spans generations and space-time, and it

through the time machine of our imaginations.

always gives people a sense of belonging to a place, hence the long-term influence of ¡§homesickness¡¨ in Taiwan. This collective visual memory

Recording the beauty of the countryside and recording the demise

can even go a step further and become a recognized vehicle to allow

of this beauty is a double-edged sword that is a fact of the city. Hung

us to express our emotional connection with a certain space and time,

Tung-Piao's "Rings of Taipei City" portrays both sides in turn: looking

and gives us a certain esthetic awareness. If we asked "what is Taiwanese

at the ring of tall buildings, Beimen seems huddled in a corner, a little

beauty?" everybody would have a different idea. Maybe it's Chi Po-Lin's

helpless and sad. Ma Pai-Sui's "Taipei the Grand Hotel" is an undying

Beyond Beauty: See Taiwan From Above, maybe it's Ju Ming's In One

classic with its towering Chinese style building, imposing yet beautiful

Heart, or maybe it's Liao Shiou-Ping's Symbols series. These are all part

like the mountain looming behind. But is this urban outline ugly? Not

of the visual archive of Taiwan's history, they are there to gaze at when

entirely. The artist puts all his efforts into finding a beautiful silhouette

we need them, they reflect on gender, age, class, and group identity, and

from his surroundings, perhaps containing an edge of melancholy and

they cast light on certain situations. The collective visual memory is like

helplessness, which is always well received. Lin Ching-Che uses dramatic

a constantly expanding jigsaw, there are always new images or forms to

lighting effect to contrast the stillness and bustle of the urban metropolis,

add, enriching the content of the graphical narrative.

rejecting the usual negative stereotype of the city. In his simple and honest depiction,a bridge across a river that connect urban areas, is

If we examine the exhibition from this perspective, it might just be

given the sanctity of Monet's chapel series in the sunset. The exotic

possible to peek into the collective visual memory of Taiwanese

urban landscapes of Li Kun-Pei and Su Hsien-Fa all possess a rich poetic

watercolor, and while not totally comprehensive, we can at least reflect on

quality, washing away of the heavy burdens of urban reality to roam

the breadth and width of the medium. The themes of the exhibition are

free, just like in the familiar poem "All living things are content to calmly

the realities of folk traditions, the natural world, the city and the people,

observe, the desires of the four seasons are the same as those of men."

which are the mainstays of Taiwanese watercolor (perhaps we also need a nonrepresentational work to balance things out and expand our view

By the beginning of the colonial period, landscape painting had already

of the field). Whether before or after the war, depictions of rural scenery

become popular, and the natural beauty of watercolor was all the rage

have always been at the heart of Taiwanese watercolor. This is not a case

with both amateurs and experts alike. It could be said that landscape

of rigid repetition; rather it reflects nostalgia for Taiwan as a traditional

painting is a common artistic language worldwide; through this one

agricultural society. Although in the course of industrialization the

simple medium we can express our feelings toward nature. Landscape

villages gradually disappeared, the artists tried to preserve a record in

painting, however, has a different appearance all over the world: the

watercolor to serve as a reference for the future of Taiwanese society.

quaint English village, the French countryside, the vast plains of America,

When we look at He Wen-Qi's old house on the corner or bending river,

the gloom of Russia, contemplativeness of Germany, actual record of

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現代水彩展

20

the Netherlands, free and easy Australia. So what about Taiwan and its

Watercolor is produced by water and ink flowing to the right place, and

local flavor? Wu Kuan-Te and Xie Ming-Chang both pine for the lush

blending to create the desired visual effect. This "circulation" of water and

green vegetation of the mountain forests, while Shen Kuo-Jen exquisitely

color becomes the extraordinary expressive medium that is watercolor

depicts the marbled textures of Taroko Gorge as if composing a strong

art, and this cannot be separated from the history of Taiwanese

melody. Hung Tung-Piao presents open plains, hillsides, rivers and

watercolor. For beginners and veterans alike, this challenge is endless.

mountain forests in a layered style that makes viewers want to linger,

While, in other mediums, one can re-apply paint, this is not so successful

while Lin Yu-Hsiu astonishes and moves audiences with his microscopic

with watercolor, and in my opinion this does not fit with the spirit of

level of detail, presumably reciting William Blake's "to see a world in a

the medium. The Chinese idiom "to blend as well as water and milk,"

grain of sand." Hu Jia and Xi De-Jin, as well as the aforementioned Ma

meaning "to be in perfect harmony," describes watercolor painting so

Pai-Sui, are all veterans, and use impressionism and ink wash techniques.

well that it could be substituted for "to blend as well as water and color."

The path of Taiwanese watercolor comes from the combination of all

This method of blending water and color allows one to alter shading and

of these skills, making its appearance and expressive meaning so varied.

mood, merge boundaries between colors, and make the invisible visible.

Guo Ming-Fu uses incredibly fine detail to express the majesty and

The medium has existed in Taiwan for over a century, a century that is

depth of Taiwan's mountain ranges; under his brush, nature seems like

echoed and recalled in this exhibition. This century of watercolor is also

a poem that one would be content to read softly line by line. Yang En-

representative of the inclusivity of Taiwan's collective visual memory,

Sheng is mainly concerned with ecological sustainability, and from the

and the passing down of this art form, which has not yet run dry, to

veins of the leaf to the dense green of the undergrowth, he promotes the

future generations.

love and conservation of Taiwan's lesser-seen national treasures.

Reviving old dreams is always beautiful. Let's use this exhibition to revive "People, the Most Beautiful Scenery in Taiwan" is a 2012 book from

the collective visual memory of Taiwan.

the Mainland publication New Weekly after their entire staff went on a sightseeing tour to Taiwan. One thing they point out is that people care for the landscape; if they treat their surroundings well then the land will be good to them, and reflect their beauty like a mirror. All the people featured in this exhibition are beautiful, both young and old: Huang Chin-Lung's idealized young female nudes; Chen Cheng-Wen's "Autumn Sunshine" showing every wrinkle on the simple, smiling faces of the elderly; Kao Ching-Yuan's young girl with the shallow smile of the Mona Lisa; the pure simplicity of a child's smile under Lin Yu-Hsiu's brush.

What makes these people unforgettable is their expressions, which sincerely make us believe that "people are the most beautiful scenery," giving us faith that there is still beauty in the world.

The Collective Visual Memory of Taiwanese Watercolor

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Taiwan Modern Watercolor Painting Series

台 灣

作品 Works

藍蔭鼎

RAN In-Ting 1903-1979

1903 生於臺灣宜蘭羅東

畢業於羅東公學校。曾任公學校美術教師。二十一 歲時拜日本水彩畫家石川欽一郎為師，跟隨習畫四 年，對其一生繪畫發展影響深遠。前後曾赴日進修 兩次。為台灣最早的美術團體七星畫的發起人之 一，同時為臺灣水彩畫會的成員。曾任聯合國藝術 委員、中華民國教育部學術審議委員、中華文化復 興運動推行委員會委員等。歐洲藝術評論學會以及 美國藝術評論學會將他選入第一屆「世界十大水彩 畫家」之一。1979 年卒於臺灣臺北。

Born in Luodong, Yilan County, Taiwan in 1903

Ran graduated from Luodong Public School, and worked as an art teach there. At the age of twenty-one, he started studying painting under the Japanese watercolor painter, Ishikawa Kinichiro, who had a life-long influence on him. Ran had studied twice in Japan, and was one of the founding members of the first Taiwanese art group, Chi-Hsing Painting Society, and a member of the Taiwan Watercolor Association. He was also a member of the UN Arts Committee, the Advisory Committee of the Ministry of Education, R.O.C., and the Committee in Charge of Implementing the Movement of Renaissance of Traditional Chinese Culture. He was named one of the "World's Top 10 Watercolorists" by the American and European Art Critic Associations. Ran passed away in Taipei, Taiwan in 1979.

作品題材以描繪臺灣鄉間景致為主，透過記憶與觀 察將文學與書畫的人文性，巧妙地融合在畫面之 中。孤獨中的成長，讓他對於自然產生了依附。不 論是極富野趣的寫生風景，亦或是印象中親切的懸 念，他將熟悉的生活環境與自然共處的片刻，構成 繪畫的主體。運用東方筆墨的性質與獨特的美學觀 念，調和出溫潤高雅的南國風情。並以自然與美化 作為人生志業，將藝術創作的目的視為社會的關懷 與實踐，不遺餘力。

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Ran's work focused on the Taiwanese rural landscape. Through his memory and observation, he cleverly integrated his painting with literature and the humanistic quality of Chinese ink painting. A lonely childhood created a lifelong fascination with nature in him. Whether his outdoor landscape drawing filled with the liveliness of the wild or his heartfelt nostalgia, Ran had made his familiar living environment as well as the moments in nature the subject-matter of his painting. He incorporated the characteristics of oriental ink painting into a unique aesthetic concept, and created a gentle and elegant representation of the Southern country. Meanwhile, he made nature and beauty his life's purpose as he deemed artistic creation a practice to care for the society and dedicated his life to it.

Taiwan Modern Watercolor Painting Series

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淡水養鴨人家

The Duck-Breeder in Tamsui 水 彩 紙 本 Watercolor on paper

38.5×69 cm 1964

RAN In-Ting

藍蔭鼎

李澤藩

LEE Tze-Fan 1907-1989

1907 生於臺灣新竹

畢業於臺北師範學校（今國立臺北教育大學）。曾 任教於新竹公學校（今新竹國小）教書。戰後，他 轉任新竹師範（今新竹教育大學）、國立臺灣師範 大學美術系、國立藝專（今國立臺灣藝術大學）等 教師。在「台展」、「府展」以及光復後的台灣美 術展、全省教員美展，屢次獲獎，並擔任審查委員， 曾舉辦多次個展，曾榮獲中華民國畫學會金爵獎， 七十二年獲行政院文建會選為台灣十位前輩畫家之 一。 1989 年卒於臺灣。故居現已改建為李澤藩美術 館。館內除了展示其畫作，也展示其日記、書信以 及李澤藩生前所用的畫具和器物，供後人研究參觀。

其畫風樸實，偏愛台灣鄉間山水風景寫生，更獨創 特有的「水洗」、「重疊色層」等風格，自成一 家。作品意象沈靜穩重，在造型元素中深入物象本 質，探討靜謐沈靜間的人生哲理。山遠、人遠、心 更遠，其所描繪之景物在淤無飄渺間夾帶著輕鬆自 在的悠然，以陽光為基調的色彩配置，透過沈著穩 重的筆法勾勒出絢爛歡騰的饗宴。為人簡樸，其畫 如其心。不論是在畫紙上的『洗』、『擦』將等技 法，還是性格上的謙恭自省。他洗滌的不僅是心靈 的雜念，更將純淨無暇的藝術本質，幻化為紙上躍 動的精靈。

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Born in Hsinchu, Taiwan in 1907

graduated from Taihoku Normal School (now National Taipei University of Education), Lee taught at Hsinchu Public School (now Hsin-Chu Primary School). After the war, he had taught at Hsinchu Teachers College (now National Hsinchu University of Education), the Department of Fine Arts of National Normal University, and National Taiwan College of Arts (now National Taiwan University of Arts). He had won multiple awards and served as a committee member in various exhibitions, including the Taiwan Art Exhibition and Taiwan Governor Art Exhibition as well as the Taiwan Provincial Fine Art Exhibition and National Civil Officer Art Exhibition. Lee had held many solo exhibitions and won the Golden Goblet Award by the Art Society of China. In 1983, he was named one of the "Ten First-Generation Painters in Taiwan" by the Council for Cultural Affairs, Executive Yuan. Lee passed away in Taiwan in 1989, and his former residence has been renovated into Lee Tze-Fan Memorial Art Gallery, which displays both his paintings as well as his diaries, correspondences, painting instruments and personal things for research and appreciation.

Lee's painting style was simple and unadorned. He favored the sketching of Taiwanese rural landscape, and created his signature "water-washing" and "color-layering" techniques that no other painters had used. The image in his painting was tranquil and dignified. In representing the forms of the images, he ventured into the essence of material appearance to explore the philosophy of life in tranquility and serenity. As the mountain was far, people were further, and the heart journeyed the farthest; and the landscape Lee painted conveyed a sense of freedom and ease in the light and aerial representation. His use of colors was based on the interplay of sunlight. Through calm and unhurried brushstrokes, he delineated a visual feast that was splendid and joyful. Lee had led a simple life, and his painting reflected his state of mind. Whether it was his "washing" and "wiping" techniques or his humble and introspective personality, he had not only washed away the distracting thoughts of one's mind, but also displayed the pure, flawless essence of art, transforming it into the dancing spirit in his painting.

Taiwan Modern Watercolor Painting Series

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集集蕉園

Orchard 水 彩 紙 本 Watercolor on paper

37×52.5 cm 1979

LEE Tze-Fan

李澤藩

馬白水

MA Pai-Sui 1909-2003

1909 生於中國遼寧省

Born in Liaoning Province in the Northeastern part of China

遼寧師範學院、遼寧省立師範專修科畢業。曾任台

Ma graduated from Liaoning Teachers College and Shenyang's Liaoning Provincial Normal University with a degree in Specialized Studies. He was a professor at the Department of Fine Arts, National Taiwan Normal University, and an adjunct professor at both Taiwan College of Arts and Chinese Cultural University. He was also a committee member and the committee chairman for editing the art textbooks for elementary and junior high schools at the National Translation and Compilation Center, a council member of the Art Society of China in Taiwan, an executive council member of the Chinese Art Society, a consultant of Chinese Water Color Painting Society, a researcher of the Chinese Academic Institute, and a judge for both Taiwan Provincial Fine Art Exhibition and Chung Shan Literary Prize. He had won the Washington Gold Medal awarded by the Brush and Ink Association of the United States.

Throughout his life, Ma had been invited to innumerous exhibitions and his contribution to art and artistic research was immeasurable. He passed away in the United States in 2003.

灣師範大學美術系專任教授、台灣藝專及文化大學 兼任教授、國立編譯館中小學美術教科書編輯委員 及主任委員、中國畫學會理事、中國美術協會常務 理事、中國水彩畫會顧問、中華學術院研士、歷屆 全國美展、台灣省美展及中山文藝獎評審委員等。 曾榮獲華府美國協會金牌獎。一生受邀參展與藝術 研究貢獻無數。2003 年卒於美國。 『中西融匯，古今貫通』為其繪畫之宗旨。將西 方的水彩與東方的水墨，透過哲學思想與科學邏 輯的解構，並以彩墨的形式為臺灣水彩立下新的 里程碑，至今仍無人可攀。作品講究在意到筆隨 之處、意境悠晃之間能夠將物境、心境合而為一。 透過兩種不同的思維與風格，將色彩與墨韻、文 化與歷史、技巧與媒材玩出跨古通今的藝術。以 含蓄的點、線、面作為主體搭配輕鬆暢快的色彩， 賦予畫面節奏明快、乾淨俐落的建築性、音樂性 及舞蹈性。

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The goal of Ma's painting was "to integrate the East and the West and to achieve mastery of the past and present." Through his philosophical thinking and scientific analysis, he used Western watercolor and Eastern ink painting to lay down a new milestone for Taiwanese watercolor painting with his application of color ink, an achievement that no one has ever reached so far. The emphasis of his work was the integration of the state of the material and that of the mind as the idea was embodied by his aerial brush. Through his mastery of two dissimilar modes of thinking and styles, he had created a unique art that bridged the past and the present, amalgamating color and ink, culture and history as well as techniques and media. Employing elements like dots, lines and planes in a reserved manner to form the basic structure and using light and bright colors, Ma was able to create brisk and refreshing images that conveyed the qualities of architecture, music and dance.

Taiwan Modern Watercolor Painting Series

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台北圓山飯店

The Grand Hotel 彩 墨 、 宣 紙 Watercolor and ink on paper

122×61 cm 1992

MA Pai-Sui

馬白水

胡笳

HU Jia 1911-1979

1911 生於浙江鎮海

Born in Zhenhai, Zhejiang Province, China in 1911

畢業於上海美專。1950 年後來臺定居臺北北土城。

Hu settled down in northern Tucheng, Taipei City, Taiwan in 1950. He

曾任復興美工、文化大學與淡江大學等校教職。

had taught at Fu-Hsin Trade and Arts School, Chinese Culture University,

1959 年與劉其偉、張杰、吳廷標、香洪等人籌組「聯

and Tamkang University. In 1959, he co-founded Lian-He Watercolor

合水彩畫會（後改組為中國水彩畫會）」。1969

Society (later changed into Chinese Watercolor Society). In 1969, Hu

年獲中華民國畫學會第七屆水彩類金爵獎。1979

was awarded the 7th Golden Goblet Award in watercolor painting by the

年卒於臺灣臺北。

Art Society of China. He passed away in Taipei in 1979.

其作品風格以英式畫風為主，早期寫生作品以底稿

Hu's painting was predominantly English. In his early drawings, he used

素描的線條，加以平塗、縫合，講究在水分控制範

his sketches as a foundation and applied flat coloring to bring the images

圍內快速的完成透明性極高的作品。因此，畫面中

together. He focused on an ideal control of water to quickly create and

常具有拼貼設計感的空白區域。後期以臺灣為主的

finish paintings that displayed a strong sense of transparency. Therefore, in

作品中，則強調畫面結構的緊密性，並逐步融合擅

his paintings, one could usually see seemingly designed blank spaces that

長的平塗畫法與乾濕並濟的渲染。透過筆觸的洗染

gave the work a resemblance of collage. His later works that employed

與堆疊，在平面的向量空間裡營造出不同層次的立

Taiwan as his subject matter emphasized a compact structure, gradually

體感。遠、近、輕、重以大量色塊的分割作為基礎，

integrating flat coloring and shading in both dry and wet coloring.

巧妙地使觀者的眼光隨著精準的透視進入畫面。色

Through the washing and layering of his brush, he was able to create a

彩與形象間的拿捏凸顯出，其掌控虛實交錯的從容

sense of dimension with multiple layers in the two-dimensional space.

自在。淡泊名利的個性使其專注在藝術創作之上，

Using large color blocks to create depth and a sense of weight, he subtly

間接影響臺灣當代水彩創作之風格。

guided the viewers' vision to see into the image with a precise perspective.

His excellent control of colors and images displayed the ease and elegance in creating a balance between the concrete and the intangible. His lack of interest in seeking fame and wealth also allowed him to focus on artistic creation, which indirectly influenced the development of Taiwanese contemporary watercolor painting.

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Taiwan Modern Watercolor Painting Series

30

雨中即景

Scenery in the Rain 水 彩 紙 本 Watercolor on paper

36×52.5 cm 1967

HU Jia

胡笳

劉其偉

LIU Chi-Wei 1912-2002

1912 生於福建福州

Liu was born in Fuzhou, Fujian Province, China in 1912

畢業於日本神戶英語神學院。為著名的人類學家與

He graduated from Kobe English Mission School and was a well-known

繪畫創作藝術家。曾獲聘為國立歷史博物館中國佛

anthropologist and painter. He was a member of the Chinese Buddhism

教藝術研究委員會委員、全國美展、省市美展等評

Art Committee at the National Museum of History, a researcher at the

審委員、評議委員等職務。曾編譯出版《現代繪畫

Institute of Southeastern Study in Hong Kong, Taiwan Provincial Fine

基本理論》、《現代水彩初階》、《現代水彩講座》

Art Exhibition, etc. He had published The Theory of Modern Painting,

等書。水彩作品「寂殿斜陽」入選台灣第五屆全省

Watercolor Techniques and Compositions, and Lectures on Modern

美展，奠定他成為畫家的決心。1969 年榮獲第四屆

Watercolor. His watercolor painting, Sunset in Temple, was selected in the

中山文藝獎。辭去公職後，致力於人類文化之研究

5th National Provincial Fine Art Exhibition, making him determined to

與藝術創作，多次受邀於國內外舉辦個展及聯展，

pursuit an artistic career. He was awarded the 4th Chung Shan Literature

享負盛名。

and Art Award. After he resigned from his official position, he dedicated his time to anthropological research and artistic creation. He had been

其繪畫創作因為自學故不受學院規範所束縛，取材

invited multiple times to give solo and group exhibitions in both Taiwan

廣泛、表現自由。認為學習藝術，能「忍耐一生寂

and abroad and was an internationally renowned artist.

寞，不就一時浮華，才能踏入藝術的『真境』。」 透過閱讀的陶冶與實地探查研究，將理論與技巧精

As a self-taught artist, Liu's painting was not restrained by academic

神相輔而行。將哲學思想結合情感表現作為催化

training. He painted a wide range of subjects and expressed freely in

劑，促使靈感與內涵的迸發，生成感染性以及原

his art. He thought artistic learning enabled a person "to bear life-long

始性即為純粹的繪畫。後期作品則融合臺灣民間

solitude, to stay away from transient vainglory, and to enter the 'real realm'

習俗與研究亞洲人類文化學之精髓，透過造型樸

of art." Through reading and field study, he employed both theories and

拙、色彩神秘的圖像表現自然的詼諧與誠摯。一

artistic skills, using simultaneously philosophical thinking and emotional

生所追求的是來自於生命初源的『極』與連結宇

expression as a catalyst for art to capture the burst of inspiration and

宙萬物間的『愛』。

meaning. Therefore, he was able to create pure paintings that were moving and primitive. His later works incorporated the elements of Taiwanese customs and his study of Asian anthropology. Through simple forms and mysterious, colorful images, he displayed a natural sense of humor and honesty. For him, his lasting pursuit originated from the ultimate origin of life and the love that connected everything in the universe.

台灣

50

現代水彩展

Taiwan Modern Watercolor Painting Series

32

猴子

Monkey 水 彩 紙 本 Watercolor on paper

26×34 cm 2001

LIU Chi-Wei

劉其偉

蕭如松

HSIAO Ju-Sung 1922-1992

1922 生於臺灣臺北

Born in Taipei, Taiwan in 1922

畢業於新竹師範學校（今新竹教育大學）。曾任教

Hsiao graduated from Hsinchu Teachers College (now National Hsinchu University of Education). He used to teach in various elementary and junior high schools in Hsinchu, and had participated and won prizes and awards in exhibitions such as the Taiwan Provincial Fine Art Exhibition, Taiyang Art Exhibition, and Taiwan Provincial Employees and Teachers Art Exhibition, which later won him the privilege to enter the provincial exhibitions without preliminary examination. Throughout his life, he participated in countless solo and group exhibitions, and had won the 14th Wu San-Lien Literary Award. He dedicated his life to teaching and painting, and passed away in Hsinchu, Taiwan in 1992.

於新竹境內多所國中小。曾多次參加省展、臺陽 展、青雲展、全省教職員美展均獲得極高的榮譽， 並獲得省展免審查的認定。一生所參與之個展與聯 展無數，曾獲第十四屆吳三連文藝獎。致力於教學 與繪畫創作。1992 卒於臺灣新竹。 在描繪的題材上，多以自然景致欣賞及生活細節觀 察為主，凡舉風景、靜物、人物，只要他大筆一 揮，彷彿賦予其重生的能量，活靈活現。一絲不苟 的性格，不僅體現在他的日常生活態度中，也在其 繪畫風格上建立獨樹一格的表現。過人的藝術天份 與技巧，使得他的構圖與用色不拘泥於學院體系的 呆板、乏味。加上後天的勤奮苦讀，將東方的書法 意像結合西方現代繪畫基礎，透過冥想沈澱與實踐 成就出高人一等的繪畫技巧與精神。因為熱愛故鄉 的風情景貌，他將藝術向下扎根，以認真嚴謹的生 活哲學，貫徹繪畫上精益求精的執著，成為台灣水 彩中優秀的教育推廣者。

台灣

50

現代水彩展

In terms of subject matter in art, Hsiao mainly painted natural landscape and close observations in life. From landscape, to still life, to human figures, his brush always gave vivid energy of life to the subject. His scrupulous character not only showed through his attitude in the everyday life but also allowed him to create an individual style in painting.

His artistic talent and skills freed his composition and use of colors from the rigidness and banality of academic training. His diligent study in combining Eastern calligraphic image and Western painting made it possible for him to achieve outstanding painting skills and spirit through meditation and steadfast practice. Because of his love for the landscape of his hometown, he devoted his life to artistic education. His serious and dedicated living philosophy as well as his perfectionist pursuit in painting made him an excellent educator of Taiwanese watercolor.

Taiwan Modern Watercolor Painting Series

34

女子

Female 水 彩 紙 本 Watercolor on paper 72×53 cm 年代不詳 Year unknown

HSIAO Ju-Sung

蕭如松

席德進

XI De-Jin 1923-1981

1923 生於四川

Born in Sichuan Provence, China in 1923

畢業於杭州藝專。曾任教於嘉義中學、淡江大學建

Xi graduated from Hangzhou National College of Arts. He had taught at National Chiayi Senior High School, the Department of Architecture at Tamkang University, and the Department of Fine Arts, National Taiwan Normal University. He had been selected to participate in Sao Paolo Art Biennial in Brazil multiple times, and had held many solo and group exhibitions in Taiwan and abroad. Moreover, he also dedicated his life to the preservation and promotion of Taiwanese society, culture, arts, and architecture. He passed away in Taipei, Taiwan in 1981.

築系及國立臺灣師範大學美術系。曾多次獲選巴西 聖保羅雙年展參展資格，並于國內外舉辦多次享譽 國際之各展及聯展。致力於臺灣社會、文化、藝術、 建築之保存與推廣。1981 年卒於臺灣臺北。 其作品風格早期受法國畫風所啟發，尤其以馬蒂斯 與畢卡索最為深刻。其題材則多為靜物、人像、風 景的描繪。在剛勁曲圓線條中，發展出強勁有力， 粗黑直線的精確技法。自美國考察後，其作品類 型轉向普普藝術、歐普藝術、硬邊藝術等現代藝 術面向，跳脫色彩的框架，著重於造型層次的簡 化與強化。 致力於東方水墨與西洋水彩的融合，兼納文人雅韻 與狂放不羈的特質，開創出他個人創作的獨特風貌 及水彩畫的創新局面。

台灣

50

現代水彩展

In an early period, Xi was inspired by the French painting, especially that of Henri Matisse and Pablo Picasso. He painted mostly still lifes, portraits, and landscape paintings with both powerful, curvy lines and thick, black lines that seemed to burst with power and demonstrate skills of precision. After he visited the United States, the artist turned to modern art, including the pop art, op art, and hard-edge painting, escaping the confinement of colors and focusing on the simplification and fortification of form and layers. Xi was devoted to integrating Eastern ink painting and Western watercolor, intermixing traditional Chinese literati elegance and the freewheeling, unrestraint quality to create his own unique art and innovative watercolor painting.

Taiwan Modern Watercolor Painting Series

36

龜山遠眺

Guishan Island 水 彩 紙 本 Watercolor on paper

57×77 cm 1977

XI De-Jin

席德進

沈國仁

SHEN Kuo-Jen 1924-

1924 年生於臺灣屏東

Born in Pingtung, Taiwan in 1924

畢業國於立臺灣師範大學美術系、日本早稻田大學

Shen Kuo-Jen graduated from the fine arts department of Taiwan Normal University, and gained a master’s degree from the College of Western Art, Waseda University in Japan. In addition to a wealth of teaching experience, he has also judged major art exhibitions and Ministry of Education art awards. Moreover, he is the only foreigner to be recommended as a member of the Watercolor Society of Japan, and awarded a permanent exhibition at the Japan Watercolor Exhibition.

文學院西洋美術史科碩士畢業。除了豐富的教學經 驗，也多次擔任各項重要美展、教育部文藝創作獎 評審。更是日本唯一海外人士被推薦為水彩畫會會 員，榮獲日本水彩畫會展永久免審查的畫家。 因為熱愛生長的臺灣，其創作多以自然農村風光為 主，把野外當作畫室，借由純熟的素描功力，也將 透明水彩表現出輕爽、明快、流動的畫面效果。他 的畫作以平塗、重疊為主要表現法，筆觸乾淨、色 彩明亮、風格清新。特別是在描寫臺灣鄉下老房子 的水彩風景時，其所講求的技巧與概念，並不侷限 於將景物的外觀以及顏色如實地呈現出來，更包含 了情感上兒時記憶的投寄。因此，在他的生命歷程 中，困境從不在他的繪畫中出現，不僅體現了臺灣 人堅毅的性格，也凸顯了成功背後的執著。

台灣

50

現代水彩展

Due to his love for the nascent Taiwan, his work mainly features rural scenes. He would use the countryside as his studio, and through his sketching talents, his clear and flowing images exemplify the bright clarity of watercolor. His paintings use methods of layering and overlapping to achieve clean brush strokes, bright coloration and a fresh style. Taking a look at his watercolor scene of an old Taiwanese country house, we can see that his technique goes further than superficial realism, it includes transmitting emotionally charged childhood memories. Over the course of his life, we never see misfortune in his paintings. This not only embodies the resolute nature of the Taiwanese people, it also demonstrates his dedication to success.

Taiwan Modern Watercolor Painting Series

38

太魯閣山洞

The Mountain Caves in Taroko 水 彩 紙 本 Watercolor on paper

130×97 cm 1983

SHEN Kuo-Jen

沈國仁

台灣

50

現代水彩展

Taiwan Modern Watercolor Painting Series

40

九曲洞一線天

Landscape of the Nine Wandering Caves and Line Sky 水 彩 紙 本 Watercolor on paper

130×97 cm 1998

SHEN Kuo-Jen

沈國仁

何文杞

HO Boonky 1931-

1931 年生於臺灣屏東大埔

Born in Dapu, Pingtung County, Taiwan in 1931

國立臺灣師範大學美術系畢業。曾任教高職、高

He graduated from the Department of Fine Arts, National Taiwan Normal

中、專科、大學院校美術教職 31 年。曾在國內外

University. For thirty-one years, he has taught in different vocational

個展 60 多次，國內 16 個縣市巡迴展，並著有多本

school, high school, junior college, and fine arts department in university,

水彩畫集。2005 年榮獲國際傳記協會英國劍橋總

and has held more than sixty domestic and international solo exhibitions

部所頒發國際百人美術最高成就獎之榮譽暨國際文

as well as sixteen touring exhibitions in Taiwan. He has also published

化功勞人士頭銜 (IOM)。

numerous watercolor painting albums. In 2005, he was awarded the Top 100 Highest Achievement in Arts and the International Order of Merit

早期刻苦的求學歷程，打不倒他對繪畫的熱愛。從

(IOM) by the Cambridge Headquarter of the International Biographical

太陽旗下的初聲試啼到橫向移植的知識汲取，在當

Association.

時相對保守的社會中，無止盡地激發他的創作走向 現代的可能。堅持水彩的獨特性，透過刻畫臺灣農

Despite a difficult and frugal pursuit of education, He's passion for

村景色、建築等元件，將本土社會的韌性以美學的

painting has never decreased. From his debut in the Japanese Taiwan to

觀點切入，藉以討論工業社會的衝擊與隱憂。除此

acquiring knowledge through imitating and learning from other cultures,

之外，不論面對藝術還是政治，他秉持著臺灣人傲

the artist has always remained stimulated and moved towards modern

骨的精神，不畏時代的驟變，為臺灣的藝術與自由

painting in a relatively conservative society of the time. He insisted on

敲響洪亮鼓聲。近年來，則回歸心靈的沈思與山海

the unique characteristics of watercolor and depicted Taiwanese rural

萬象，透過描繪生命原始動力的過程，剝離出他一

countryside and architecture through his painting, investigating the

生尋根的情與癡。

resilience of local Taiwanese society from an aesthetic point view and discussing the impact and hidden problems of the industrial society.

Moreover, whether arts or politics, he has always insisted on the integrity of the Taiwanese people and voiced for the arts and freedom of Taiwan despite the drastic changes in our time. In recent years, He has returned to the contemplation of the mind and the vast image of the mountains and sea, foregrounding his lifelong longing and pursuit through the process of delineating the primitive force of life.

台灣

50

現代水彩展

Taiwan Modern Watercolor Painting Series

42

萬巒鐵漢樓

Gate Tiet-Hon in Wan-Ran 水 彩 紙 本 Watercolor on paper

80×58 cm 1979

HO Boonky

何文杞

簷下金菊

Autumn Chrysanthemum by the Wall 水 彩 紙 本 Watercolor on paper

75×54.5 cm 1981

台灣

50

現代水彩展

Taiwan Modern Watercolor Painting Series

44

萬年溪景

Wannian Creek View 水 彩 紙 本 Watercoloron paper 76.5×56.7 cm 1996

HO Boonky

何文杞

台灣

50

現代水彩展

Taiwan Modern Watercolor Painting Series

46

萬巒碾米廠

Wan-Ran Rice Mill 水 彩 紙 本 Watercolor on paper 79.5×55.3cm 1980

HO Boonky

何文杞

李焜培

LEE Quan-Pui 1933-2012

1933 出生

Born in 1933

國立臺灣師範大學美術系畢業。曾任國立臺灣師範

Born in 1933 and passed away in 2012, Lee graduated from the

大學美術系專任教授、國立臺灣師範大學美術研究

Department of Fine Arts, National Taiwan Normal University. He was

所教授、全省評審、評議委員、全國美展、臺陽美

a professor at both the Department and Graduate Institute of Fine Arts,

展等個大展評審及臺灣美術館、臺北市立美術館、

National Taiwan Normal University, and a judge and council member for

高雄市立美術館、國父紀念館—典藏委員。

various national exhibitions, such as the National Fine Arts Exhibition and Taiyang Art Exhibition. He was a member of the collection committees

作者風格多變，題材多元。早期的作品多半為探

for Taipei Fine Arts Museum, Kaohsiung Museum of Fine Arts, and Dr.

索、試驗而形成異於他人的面貌或形式，所以作品

Sun Yat-sen Memorial Hall.

裡經常會具備許多不同媒材的特性。透過水、油、 壓克力等媒材的優點，使其作品增添不少雕塑的趣

Lee had a versatile style and painted diverse subjects. In his early works,

味性。不論是懷鄉，亦或是在臺重新建立的情懷。

he mostly focused on artistic exploration and experimentation, creating

他堅持以心交畫，將生命的創造力與賦予溝通的能

a unique style and form different from his fellow artists. It was also the

量。並透過傳承，將具象的作品與抽象的意念融合

reason why there was usually a wide use of varied media. He employed

為一，延續台灣水彩生生不息的活力。後期遊觀世

the dissimilar qualities of watercolor, oil, and acrylic paint to create an

界各地後，手法多以大塊面色彩表現，形象之瓦解

interesting sense of sculptural quality in his paintings. Whether being

與重置。使他的水彩達至抒發內在心靈與沈澱生命

nostalgic or expressing his new-found affection for Taiwan, he had

體驗之平衡。

always insisted on painting with his heart, showing his creativity of life in his works and giving them a communicative power. By inheriting the

『嚴格卻不按牌理出牌』——李焜培

tradition, he was able to unite paintings of concrete images with abstract thoughts, and therefore, fueled Taiwanese watercolor painting with a lasting energy. After traveling around the world, his later watercolors were mainly painted in large surfaces of colors that deconstructed as well as reconstructed images, reaching a sense of balance between his inner world and the life experiences he had gained.

"Be strict, but do not by the rules." — Lee Quan-Pui

台灣

50

現代水彩展

Taiwan Modern Watercolor Painting Series

48

巴黎閣樓眺望聖母院

Notre Dame de Paris 水 彩 紙 本 Watercolor on paper

56×76 cm 1989

LEE Quan-Pui

李焜培

台灣

50

現代水彩展

Taiwan Modern Watercolor Painting Series

50

賞花

Flower Viewing 水 彩 紙 本 Watercolor on paper

61×46 cm 2003

LEE Quan-Pui

李焜培

蘇憲法

SU Hsien-Fa 1948-

1948 年生於臺灣嘉義布袋

Born in 1948 in Budai, Chiayi County

國立臺灣師範大學美術學系畢業。現任中華亞太水

Su graduated from the Department of Fine Arts, National Taiwan Normal

國立台灣師範大學美術研究所兼任教授、中華民國

University. He is currently a professor at the College of Arts, National

油畫學會理事長、台灣國際水彩畫協會榮譽理事

Taiwan Normal University, Director of the Republic of China Oil

長、國立台灣美術館典藏委員。曾任國立台灣師

Painting Association, Director of the Taiwan International Watercolor

範大學美術系主任兼研究所所長、長榮大學美術

Association, and a member of the National Taiwan Museum of Fine Arts

系講座教授、台灣國際水彩畫協會理事長、英國

collection committee. In the past he has been head of fine arts and head

London Metropolitan University 訪問學者。

of research at the National Taiwan Normal University, a lecturer at the Department of Art, Chang Jung Christian University, Director of the

在繪畫上其所強調的態度，是來自於追尋自我、挑

Taiwan International Watercolor Association, and a visiting scholar at

戰自我之下貫徹始終的精神。以一種直觀現實世界

London Metropolitan University.

的心理回應，由外而內感知並訴諸以畫面，以創造 替代重現，將繪畫的精神提高至另一個層次。不論

His emphasized drawing style stems from finding the ego and challenging

是在寫景、寫意，甚至是抽象，其繪畫所蘊含的能

its spirit. It is a psychological response of directly observing both inner

量，透過大塊面的色彩與流動的筆觸，暢快地在畫

and outer perceptions of the world, presenting the essence of scenes in

面之中流轉。透過西方媒材輕快地承載著東方人文

an alternative way, and raising the level of the painting. His paintings,

素養，濃烈的餘韻透過呈現象徵性的符號及表徵。

whether true to life, impressionistic, or even abstract, have an inherent

極簡的畫面結構使其富含詩韻，耐人尋味。

energy which is down to his large splashes of color and free flowing brush strokes. He effortlessly carries Eastern culture into a Western medium, its symbolic motifs making it intensely memorable. The extremely simple scenes make his work both thought provoking and artfully poetic.

台灣

50

現代水彩展

Taiwan Modern Watercolor Painting Series

52

雨夜

Raining Night 水 彩 紙 本 Watercoloron paper

56×74 cm 2012

SU Hsien-Fa

蘇憲法

比利時街景

Street in Belgium 水 彩 紙 本 Watercoloron paper

56×74 cm 2005

台灣

50

現代水彩展

Taiwan Modern Watercolor Painting Series

54

午後台北

Afternoon in Taipei 水 彩 紙 本 Watercoloron paper

38×54 cm 2015

SU Hsien-Fa

蘇憲法

郭明福

KUO Ming–Fu 1950-

1950 年出生於嘉義

Born in 1950 in Chiayi

畢業於國立臺灣師範大學美術學系與美國聖路易

Kuo Ming-Fu graduated from the Department of Fine Arts, National

Fontbonne University 美術研究所，現任台灣國際水

Taiwan Normal University, has a master’s degree in Fine Arts from

彩畫協會理事長。水彩畫個展共計 33 次，國內外

Fontbonne University, USA, and is currently the Director of the Taiwan

聯展邀請百餘次。曾獲得中國畫學會水彩類《金爵

International Watercolor Association. He has had 33 solo exhibitions and

獎》，並出版水彩專業書籍計 14 冊。

over a hundred invitations to exhibitions at home and abroad. He received the gold prize in the Chinese Painting Institute's watercolor category, and

深受德國『漂鳥』的影響，他長年攀登台灣百岳來

has published 14 books on watercolor.

作畫的題材，立志為台灣美麗的高山風景做紀錄。 不同於其他畫家，在郭明福教授的水彩畫中，我們

Influenced by the German Wandervogel movement, he spent a year

可以看到其以『紙鶴』以來比喻自我的渺小與不

climbing Taiwan's 100 highest peaks, determined to record the country's

足。謙虛如他，當面對自然的龐大與內心的渴望

beautiful mountain landscapes. Unlike other painters, in professor Kuo's

時，卻能保有謙卑向上並勇於挑戰的心，不斷創造

paintings, we can see his "paper cranes" as a metaphor for insignificance

新的可能。因此，其畫技多變化，喜愛嘗試或混搭

and lack of ego. He is modest when confronted with a longing for the

多種不同風格的畫法，探索水彩藝術的多樣性。透

enormity and heart of nature, and he remains humble while daring to

過繪畫本身實踐生活中的理想，樸實無華的畫風影

challenge the mind, constantly creating new possibilities. His painting

響很多年輕畫家。

styles vary greatly, as he is fond of experimenting and mixing multiple techniques to explore the diversity of watercolor. He puts the ideals of painting into practice in his everyday life, and in doing so has influenced many young painters with his simple, unpretentious style.

台灣

50

現代水彩展

Taiwan Modern Watercolor Painting Series

56

玉山初陽

The Morning Sun of Yushan 水 彩 紙 本 Watercolor on paper

57×78 cm 2016

KUO Ming–Fu

郭明福

台灣

50

現代水彩展

Taiwan Modern Watercolor Painting Series

58

豐沛大屯溪

The Beauty of Da-Tun Brook 水 彩 紙 本 Watercolor on paper

114×78 cm 2016

KUO Ming–Fu

郭明福

洪東標

HONG Dong-Biao 1955-

1955 年生於臺灣宜蘭

Born in 1955 in Yilan

國立臺灣師大美術系畢業，國立臺灣師大美術研究

Obtained his bachelors and master’s degrees from the Department of Fine

所碩士。現任中華亞太水彩藝術協會常務理事兼任

Arts, National Taiwan Normal University. He is a member of the Chinese

副理事長、台灣國際水彩協會常務理事、玄奘大學

Asia-Pacific Watercolor Association, Taiwan International Watercolor

藝術與創意設計系助理教授，2015 開始擔任 IWS.

Association, a professor of the Department of Art and Creative Design,

TAIWIN 負責人。

Hsuan Chang University, and in 2015 became representative of the International Watercolor Society Taiwan.

早期以理性的分割作為藝術創作的宗旨，借由形勢 與結構上的變化，描繪俱有西方科學主義思潮的繪

His early rationale for art creation borrowed from Western scientism in

畫作品。但近年來卻有感於藝術教育的延續與傳

its alteration of structure and situation. More recently, however, he has

承，進而回歸藝術『孤獨』與『寧靜』的本質當中。

felt the need to continue the artistic traditions of "lonely" and "tranquil"

以『酒麴』作為比喻，醞釀由理性思辨進入感性

themes. Just like "brewers yeast", his thinking has entered the crucial point

的人文關懷的關鍵。透過環島寫生的方式，記錄

of the conception of humanitarian care. Through meandering sketches,

這塊島嶼所蘊含的生命能量。『自然而然』的繪

he has recorded the living energy of this island. This natural painting style

畫理念，隨性與隨興地優游於島嶼之間的洋流。

casually flows between the islands in a leisurely manner, dipping in the

期望借由海洋的水與筆尖的水，激起喧囂風塵裡

water and mixing in the clear, tumbling waves.

的最澄澈的浪花。

台灣

50

現代水彩展

Taiwan Modern Watercolor Painting Series

60

霧鎖溪谷

Ravine with Fog 水 彩 紙 本 Watercolor on paper

56×76 cm 2016

HONG Dong-Biao

洪東標

台北的都會年輪

Cityscapes 水 彩 紙 本 Watercolor on paper

110×76 cm 2011

台灣

50

現代水彩展

Taiwan Modern Watercolor Painting Series

62

大屯山向晚

The Evening of Datun Moutain 水 彩 紙 本 Watercolor on paper

56×76 cm 2016

HONG Dong-Biao

洪東標

謝明錩

HSIEH Ming-Chang 1955-

1955 年生於臺灣臺北

Born in 1955 in Taipei

天主教輔仁大學中文系畢業。現任玄奘大學藝術與

Xie Ming-Chang graduated from the Chinese Department of the Fu

創作設計系客座教授、曾任臺灣藝術大學美術系副

Jen Catholic University in New Taipei City. He held the post of visiting

教授。曾獲得雄獅美術新人獎、全國美展金龍獎、

professor at the Department of Art and Creative Design, Hsuan Chuang

中華民國畫學會金爵獎等重要大獎，兩度獲邀佳士

University, and was once an associate professor at the Department of Fine

得國際藝術品拍賣會，獲邀為臺北市立美術館策劃

Arts, National Taiwan University of Arts. He has received the Lion Art

的《台灣美術發展展》遴選他為 70 年代台灣鄉土

Best New Artist Award, National Art Exhibition Gold Dragon Award, and

美術的代表。

the Art Society of China Golden Goblet Award, has been invited twice to Christie's Art Auctions, and was chosen as the representative of 70 years

每一張『畫』，都有它的『話』要說，單純的喜歡

of native Taiwanese art for the Taiwan Fine Art Development Exhibition.

並實踐是他的創作宗旨。以文學的角度切入，透過 畫面與對象物訴說每一件作品後的故事，不僅寓意

Every painting has its own message, and a pure love of painting seems

深長，也巧妙地將情緒透過色彩的跳動，將內心中

to be the motivation behind his work. From a literary point of view, the

所要吶喊的澎湃，轉換成低音共鳴、節奏感強烈的

story behind the setting and subject of every piece is deeply significant.

視覺衝擊。在他的思想裡凡是符合邏輯所運轉的結

His works are filled with intelligent emotion, a visual impact and a strong

構，皆是完美。以鐘錶來比喻畫面中的腳踏車，加

sense of rhythm. In his mind, each logical structure is perfect, from the

上滄海桑雲的人事本質，試圖寄託歲月下斑駁的感

realistic scenes of parked up bicycles to the slow, mottled blue of the

動。以寫實、寫意、抽象、圖案、設計等多元素的

shifting clouds. Xie somehow manages to fuse realism, impressionism,

融合，凸顯的並不是以高深技巧所拼湊出的遺憾，

abstraction, patterns and designs, and instead of a mish mash of disparate

而是如同花朵一般綻放他心念中所包容的信念。.

techniques, the result is in fact a blossoming of his beliefs in tolerance and inclusivity.

台灣

50

現代水彩展

Taiwan Modern Watercolor Painting Series

64

燦爛時光

The Best of Youth 水 彩 紙 本 Watercolor on paper

51×76 cm 2014

HSIEH Ming-Chang

謝明錩

夢幻湖畔

Dream Lake 水 彩 紙 本 Watercolor on paper

51×76 cm 2014

台灣

50

現代水彩展

Taiwan Modern Watercolor Painting Series

66

喜慶豐年

Harvest Festival 水 彩 紙 本 Watercolor on paper

51×76 cm 2016

HSIEH Ming-Chang

謝明錩

楊恩生

YANG En-Seng 1956-

1956 年生於臺灣花蓮

Born in 1956

1956 年生於臺灣花蓮，1985 年獲國立臺灣師範大

Born in 1956, Yang En-Seng graduated with a bachelors and research

學美術研究所碩士。現任國立臺灣師範大學設計學

degree from the Fine Arts Department, National Taiwan Normal

系教授、國立臺灣師範大學 - 生態藝術與科普傳播

University. He is a professor at the Department of Design, National

學程計畫主持人、亞熱帶生態藝術協會第二、三屆

Taiwan Normal University, presenter at the Ecology Art Project, the

理事長、淡大文錙中心諮詢委員。曾出版水彩技巧

second director of the Ecological Art Association, member of the

專書以及運用水彩結合生態之叢書三十一本，多次

Carrie Chang Fine Arts Center, and a presenter at the Taiwan Normal

受邀參展國內外聯展。早期以色彩精準的水彩靜物

University Art Academy. He has also published a series of 31 books on

為主，強調光影與色彩間的呼應。以科學的方法繪

the combination of watercolor with ecology, and has received multiple

製出新鮮圓潤飽滿附果粉的葡萄，堪稱經典。在繪

invitations to domestic exhibitions. From an early age he relied heavily on

畫方面其透過閱讀融會貫通學理並專注於突破自

realistic still-life, conforming to the prevailing shading techniques, and his

我，除了堅持與毅力之外，還多了一份專屬於藝術

subsequent depiction of grapes using scientific method became a classic.

家的偏執。近期，則投身於來自內最深沈呼喚——

Through his mastery of science and concentration he transcended the

生態保育——做為主要發展的題材。試圖借由繪畫

self, persevering to free himself from the personal prejudice of the artist.

的創造性，將以假亂真的具象美學貫徹於並且重現

Recently, responding to the deepest call of his heart, his work has focused

其中，繪製大自然中環境與生物的互動關係。期望

on environmental conservation. He uses nature as an inspiration for his

能夠喚起社會大眾對於生態的重視，進而使生物多

painting, in an attempt to waken society to the importance of ecology, and

樣性達到推廣、重視、保護的成效。

help popularize the onservation of biodiversity.

台灣

Taiwan Modern Watercolor Painting Series

50

現代水彩展

68

再現翠峰湖

Cui Feng Lake-reconstructed 水 彩 紙 本 Watercolor on paper 100×200 cm 2010

YANG En-Seng

楊恩生

黃進龍

HUANG Chin-Lung 1963-

1963 年生於臺灣屏東東港

Born in 1963 in Donggang, Pingtung County

國立臺灣師範大學美術學系畢業。現任中華亞太水

He graduated from the Department of Fine Arts, Taiwan National

彩藝術協會理事長、臺灣國際水彩畫協會榮譽理事

Normal University. He holds the posts of Director General of the Chinese

長。曾任國立台灣師範大學藝術學院第 13 任院長、

Asia-Pacific Watercolor Association and Honorary Director General of

美術系優聘教授、台灣國際水彩畫協會榮譽理事

the Taiwan International Watercolor Society. He was also the 13th Dean

長、中華亞太水彩藝術協會理事長、美國水彩畫協

of the College of Arts, a senior professor at the Fine Arts Department,

會 (American Watercolor Society) 國際評審 2012、澳

International Jury Member of the American Watercolor Society in 2012,

大利亞水彩畫協會 (Australia Watercolour institute) 榮

and an Honorary Member of the Australian Watercolor Institute.

譽會員。 He first became known for painting the scenery of the fishing port in his 早期以繪畫家鄉漁港風景作為抒發與記錄聞名，透

hometown, and through solid practice and determination, he constantly

過扎實的訓練與自我要求，不斷精進其在水彩方面

sought to improve his level in the field of watercolor. In recent years, using

追求更高層次的突破。近年來，以素描的基礎將人

sketch as a basis for human movement and structure, and his skillful

物的動態與結構，透過水彩的特性與深厚純熟的筆

mastery of watercolor techniques, he has deconstructed and reinterpreted

法，融合東西方的文化素養重新解構再做詮釋。試

the fusion of Eastern and Western culture. He has experimented with

圖將東方哲學的脈絡，釐清後以嶄新的面貌呈現在

the fabric of Eastern philosophy, which has made a re-appearance in his

作品中。因此，其所繪畫的人物，不單純只是細微

work. Therefore, the characters in his paintings are not merely simple

的刻畫，更能將人物深層的氣質幻化為空靈與優雅

depictions; their deepest emotions are translated into graceful brush

的筆韻，伴隨清新的色彩表現，完美地傳達作者與

strokes, and together with crisp and clean coloring, they perfectly transmit

模特當下的既視感。

the painter's feelings at that moment.

台灣

Taiwan Modern Watercolor Painting Series

50

現代水彩展

70

夏日的聯想

The Association of Summer 水 彩 紙 本 Watercolor on paper

76×56 cm 2014

HUANG Chin-Lung

黃進龍

東方抒情－ 1

New Oriental Rhythm 水 彩 紙 本 Watercolor on paper

76×56 cm 2014

台灣

50

現代水彩展

Taiwan Modern Watercolor Painting Series

72

思念

The Miss 水 彩 紙 本 Watercolor on paper

76×56 cm 1990

HUANG Chin-Lung

黃進龍

程振文

CHENG Chen-Wen 1964-

1964 年生於台灣屏東

Born in 1964 in Pingtung

新竹師專畢業。現任中華亞太水彩藝術協會理事、

He graduated from National Hsinchu University of Education. He is a

IWS 國際水彩大賽評審。2014 榮獲法國世界水彩

member of the Chinese Asia-Pacific Watercolor Association, and a judge

大賽金牌獎、受邀法國 Narbonne 水彩雙年展、墨

of the International Watercolor Society's Competition. In 2014 he was

西哥國際水彩展、韓國國際水彩展、大同大學志生

awarded the World Watercolor Competition gold medal, and was invited

紀念館水彩個展。

to two International Watercolor Competition Exhibitions in Narbonne, France, Mexico and South Korea, as well as a solo exhibition at Datong

作品風格細膩寫實，寧靜典雅中蘊涵著豐沛情愫，

University in Taipei.

在花草綠林間寄予親土近土的熱忱，翻閱著記憶的 雋永；從樸實的臉龐中尋覓人間的溫情，細讀著樂

Cheng's work shows meticulous realism and copious sentiment in

天知足的歲月；創作內容從早期描寫自然生態的鮮

its tranquil elegance, every piece filled with heartfelt emotion. In his

明暢快，至近期反覆堆疊時間厚實感的人物系列作

depiction of plants and flowers he expresses an intimate closeness to

品，沒有刻意挑選的題材，喜愛不期而遇的緣分，

the earth, with meaning that comes from memory. He finds human

透過畫筆記錄了每段動人的故事。其強調水彩不僅

tenderness in people's faces, and uses this to record all of their bygone

作為繪畫表現的媒材，更可以成為實踐心靈夢想的

years. His subject matter in the early days was always the bright joy of

媒介。

nature, while his later work featured portraits piled thick with layers of time. He never deliberately chooses his subject matter, rather it chooses him by chance or destiny, and through the brush the story flows freely.

He stresses that watercolor is not only a painting medium, it is also a specialized process of realizing dreams.

台灣

50

現代水彩展

Taiwan Modern Watercolor Painting Series

74

秋收的陽光

Autumn Sunshine 水 彩 紙 本 Watercolor on paper

127×97 cm 2012

CHENG Chen-Wen

程振文

林毓修

LIN Yu-Hsiu 1967-

1967 年生於臺灣花蓮

Born in 1967 in Hualien City

國立臺灣師大美術系畢業。現任新北市立福營國中

Lin Yu-Hsiu graduated from the Fine Arts Department, National Taiwan

美術教師及中華亞太水彩藝術協會正式會員。曾參

Normal University. He is an art teacher at Hsinpei Junior high, and

與「臺灣當代水彩大展」、兩岸水彩交流名家大展、

a member of the China Asia-Pacific Watercolor Association. He has

「建國百年 - 國家植物園之美」水彩大展、「臺灣

taken part in the Taiwan Modern Watercolor Exhibition, the Bilateral

風情．印象 100 －中華民國水彩大展」等國內外多

Watercolor Exchange Exhibition, the National Botanical Beauty

項水彩大展。

Exhibition, and the Taiwan Impressionism 100 - ROC Watercolor Exhibition.

低調與謙卑的性格，造就他繪畫中內斂卻得天獨厚 的魅力。透過水彩與情感記憶的堆疊，將大海的包

Despite his low-key and humble disposition, his painting is blessed with

容透過色彩意象，昇華為心靈上雋永的族性；將孩

a restrained but unique charm. Through layers of emotional memory

童天真爛漫、不拘小節的純淨，自然細膩地雕琢出

and colorful ocean imagery comes a spiritual meaning; the pure and

眼神中所散浸的透澈；將來自山林間的生命，幻化

penetrating expression on the face of an innocent child, natural and

為親情中最甜蜜的聯結與希望；將來自故鄉海灘的

exquisitely sculpted; the life of the mountain forests transformed into the

眷戀，一顆一顆緩慢卻又扎實地填補現實中消失的

happy bonds of love; the longing of the harbor, a dream disappearing into

夢土。

the slow moving but solid reality.

台灣

50

現代水彩展

Taiwan Modern Watercolor Painting Series

76

心洄瀾處

Hometown 水 彩 紙 本 Watercolor on paper

76×56 cm 2014

LIN Yu-Hsiu

林毓修

簡單 • 幸福

The Simple Happiness 水 彩 紙 本 Watercolor on paper

56×76 cm 2013

台灣

50

現代水彩展

Taiwan Modern Watercolor Painting Series

78

純真 • 失落

The Lost Innocence 水 彩 紙 本 Watercolor on paper

91×70 cm 2011

LIN Yu-Hsiu

林毓修

簡忠威

CHIEN Chung-Wei 1968-

1968 年生於臺灣基隆

Born in Taipei in 1968

輔仁大學應用美術系畢業，台灣師範大學美術研究

Chien Chung-Wei graduated in applied arts from the Fu Jen Catholic

所西畫創作碩士。現任玄奘大學視傳系客座副教

University in New Taipei City, and received his masters in Western art

授、中華亞太水彩協會正式會員、台灣國際水彩協

from the Fine Art Research Institute, Taiwan Normal University. He is

會會員。美國水彩畫協會 AWS 署名會員、美國全

an associate professor in the Department of Visual Communication

國水彩畫協會 NWS 署名會員。作品近年獲得數次

at Hsuan Chuang University, a formal member of the China Asia-

國際水彩獎項，並登上數本不同的國際水彩雜誌刊

Pacific Watercolor Association, and a signature member of the Taiwan

物專訪。2015 年開始受邀至俄羅斯、中國、美國、

International Watercolor Association, American Watercolor Society

新加坡、義大利、加拿大、墨西哥、西班牙、德

(AWS), and American National Watercolor Society (NWS). He has been

國、土耳其…等世界各地舉辦簡忠威水彩教學研習

an Asia-Pacific Watercolor Association council member, and head of the

營 Workshop。

Chien Chung-Wei Art Studio. At the beginning of 2015 he was invited to hold the Chien Chung-Wei Watercolor Course in Russia, China, USA,

簡忠威對於何謂『自我風格』始終抱持著誠懇而嚴

Singapore, Italy, Canada, Mexico, Spain, Germany and Turkey. His talent

厲的批判。儘管如此他仍秉持大量的練習，作為成

for painting was evident from a young age, but in terms of finding his own

長的動力。在豐富的教學經驗中，透過不斷地吸

style he was very doubtful. Despite this he still kept practicing, which gave

收、蛻變，逐漸讓他在水彩中尋找到自己堅持的渴

him the confidence to advance. After a wealth of teaching experience, and

望——心到手到。如果繪畫是一種習慣，其觀念的

a great deal of assimilation and adaptation, he gradually found his calling

建立必然與技巧合而為一，方能達到永恆的美。

in watercolor. If painting is purely a leisure activity, his ideas and skills must merge, then they can reach eternity.

『知道你要的是什麼，想好進行的順序與方向，然 後全神貫注，肯定每一筆留下的痕跡與價值，這就

"Know what you want, and think hard about the way to get there. Then

是水彩，也是人生。』- 簡忠威

concentrate. Be assured in every trace left by the brush. This is watercolor.

This is life." - Chien Chung-Wei

台灣

50

現代水彩展

Taiwan Modern Watercolor Painting Series

80

形趣之境：永和新店溪畔

The Intrigue of Form 水 彩 紙 本 Watercolor on paper

90×110 cm 2013

CHIEN Chung-Wei

簡忠威

台灣

50

現代水彩展

Taiwan Modern Watercolor Painting Series

82

莫斯科戀曲

Love Song of Moscow 水 彩 紙 本 Watercolor on paper

90×110 cm 2016

CHIEN Chung-Wei

簡忠威

高慶元

KAO Chin-Yuan 1978-

1978 年生於臺灣新北市

Born in 1978 in New Taipei City,

國立臺灣師大美術系研究所畢業。現任台灣國際

Kao Chin-Yuan obtained his masters degree from the Fine Arts

水彩畫協會監事、中華亞太水彩藝術協會會員。

Department, National Taiwan Normal University. He is a supervisor

曾任台灣國際水彩畫協會總幹事、理事。曾獲選

at the Taiwan International Watercolor Society, and a member of the

為 OLYMPIC 藝術大賽 . 國際賽銀獎得主、第十屆

Asia-Pacific Watercolor Society. He has been secretary-general and a

大墩獎（水彩類）得主、第六十屆全省美展第三名

council member for the Taiwan Watercolor Society in the past, won

等項大獎。並受邀參展「台灣風情．建國百年．中

silver medal in the OLYMPIC Art Competition, was the tenth recipient

華民國水彩大展」、「台灣當代百年水彩大展」與

of the Da Dun Prize for watercolor, and third prize at the 60th Provincial

「十五面向 . 當代水彩研究大展」等。

Fine Arts Exhibition. He has also been invited to the Impressions of Taiwan Watercolor Exhibition, the Taiwan Modern Century Watercolor

在水彩人物畫中，其創作手法以豐富多層的罩染，

Exhibition, and the fifteenth Modern Watercolor Study Exhibition.

結合油彩與蛋彩的繪畫模式，堆疊出他追求極致的 人生態度。溫潤的筆法下，描繪的不僅是人與人之

In his watercolor portraits he uses rich layers of color, integrating the

間的溫度，更蘊含慢熟穩重的專業；深邃的雙眸所

techniques of of oil and tempera. Using his gentle style, he portrays not

釋放的，更是來自於畫面質心的平衡，不斷地在欣

only people and the chemistry between them, but also takes the time to

賞的過程回甘。水彩中下筆即逝的不可替代性與藝

include deliberate details. The depth he gives to the eyes gives equilibrium

術家個人特質，在作品中交錯出人與自然間的糾結

to the scene, and leaves the viewer with a sweet aftertaste. His works

與連結。此外，他多以自身最熟悉的景物做為題

often focus on the bonds between people and nature, and he often uses

材，並嘗試挑戰水彩的可能性與多元性。期望透過

his most familiar scenes as subject matter, and then pushes boundaries,

不斷地實驗，能夠將藝術的共同性在未來的作品中

challenging the diversity of watercolor.

完美的呈現。

台灣

50

現代水彩展

Taiwan Modern Watercolor Painting Series

84

融

Union 水 彩 紙 本 Watercolor on paper

93×73 cm 2015

KAO Chin-Yuan

高慶元

吳冠德

WU Kuan-Te 1979-

1979 年生於臺灣臺北

Born in Taipei in 1979

1979 年生於臺灣臺北，國立高雄師範大學美術學

Wu Kuan-Te graduated the Department of Fine Arts, National Kaohsiung

系、國立臺灣師範大學美術學系研究所畢業。曾任

Normal University, and gained a research degree from the Department

新莊高中美術班教師、中華亞太水彩藝術協會秘書

of Fine Arts, National Taiwan Normal University. He was an art teacher

長及理事。2011 辭去教職，旅居法國專職創作。

at Hsinchuang senior high school, and a China Asia-Pacific Watercolor

曾獲邀國際展出於紐約、巴黎、雪梨等畫廊，以及

Association council member. In 2011 he resigned from his teaching

新加坡、香港、上海、深圳、台北…等國際藝術博

duties to become a full-time artist in France.

覽會。國內展出於國立歷史博物館、國立台灣美術 館、高雄市立美術館…等五十餘次。曾獲「全國美

Watercolor was his first love, and wandering is his life. He holds the

展水彩銀牌獎」、入選法國世界水彩大賽，編入「世

belief that "Mother nature is the source of the heart," and his painting

界水彩大賽選集」，2015 獲邀至法國巴黎進行短

techniques and spiritual beliefs come from a combination Eastern

期水彩示範教學。

philosophy and the way of nature. Through dialog with the natural world, a new understanding of life and nature can be observed. Watercolor is

水彩，是他的初戀；流浪，是他的生活。秉持「外

known as the medium which is easy to learn but hard to master; Wu has

師造化，中得心源」的信念，擅長以繪畫追求形而

no desire to defeat it, but has established a positive energy towards it. He

上的精神力量，闡述東方思哲與自然之道。透過與

insists on not using photographs, and stresses that all his painting is from

自然物的對話，重新理解自然與生命之前的連貫與

life, all his works are made through the inner mind and senses. He tries

依存，靜觀則已動。易學難精的媒材不但沒有將它

to do away with the norms of watercolor on canvas, using experimental

擊垮，更確立了他對於正面能量的執著。除了不依

painting methods in a bid to break through boundaries and create new

賴攝影，強調所有繪畫皆是由寫生後，經由內在心

meaning.

靈與感官的轉換而輸出的作品。在媒材處理方面， 他試圖破除慣性將水彩繪畫於畫布上，實驗性的繪 畫模式，期望突破水彩的侷限並創造新的價值。

台灣

50

現代水彩展

Taiwan Modern Watercolor Painting Series

86

靜觀

Silent Observation 水 彩 於 畫 布 Watercolor on canvas

80×116.5 cm 2011

WU Kuan-Te

吳冠德

台灣

50

現代水彩展

Taiwan Modern Watercolor Painting Series

88

靜謐時光

Tranquil Times 水 彩 於 畫 布 Watercolor on canvas

72.5×116.5 cm 2011

Wu Kuan-te

吳冠德

林經哲

LIN Ching-Che 1987-

1987 年生於臺灣臺北

Born in 1987 in Taipei

國立臺北藝術大學美術系、國立臺灣師範大學美術

received his bachelors and master’s degrees from the Department of

研究所畢業。現任臺灣國際水彩畫協會會員、中華

Fine Arts, National Taipei Normal University. He is a member of the

亞太水彩藝術協會正式會員、私立玄奘大學藝術與

Taiwan International Watercolor Society and the Asia-Pacific Watercolor

創意設計學系兼任講師。曾任國內外藝術競賽評

Association, and a lecturer at the School of Art and Creative Design

審。除獲獎無數之外，並獲邀參與國內外多項聯

at Hsuan Chuang University. He was a judge at the 2012 Turkey

展、博覽會等。繪畫，是他與世界連結的途徑；水，

International Watercolor Society Competition. As well as winning

是媒介。過程中他以扎實地寫生技巧訓練，逐步摸

countless awards, he has been invited to many exhibitions at home and

索出適合自己的媒材，並堅持所愛。筆尖的水和雨

abroad, and presented his solo exhibition "Wandering in the Rain" at the

為主角，以城市作為背景舞台，畫面中顏料滲入紙

Imavision Gallery.

本的層次感表露無遺，彷彿一場令人拍案叫絕的戲 劇。不論是綿綿細雨亦或是滂沱夜雨，他擅長運用

If paint is his way of connecting with the world, then water is his vehicle.

浪漫的氛圍營造光影中迷離的高冷。然而，當面對

In the course of his practical training in still life techniques, he gradually

問題時卻秉持著順其自然的樂觀，猶如筆下花卉般

worked out which medium suited him best. With the city backdrop, water

陽光燦爛。此外，透過文字、攝影、記憶，他以旅

flows from the brush like rain, and the paint in his pictures permeates the

行的步伐刻畫出夢境般的舞台，在絢爛下藏著若即

heart as well as the paper. Whether drizzle or torrential rain, he specializes

若離的親切感，令人耐人尋味。

in blurring light and shadow to create a charming atmosphere from a cold, wet scene. When faced with troubles, his optimism flows naturally, like the sunny flowers that he paints. Through text, photography and memory, he depicts dream-like scenes, with a gorgeous but ambiguous intimacy that is both intriguing and thought provoking.

台灣

50

現代水彩展

Taiwan Modern Watercolor Painting Series

90

夜幕

Night 水 彩 紙 本 Watercolor on paper

35×56.5cm 2016

LIN Ching-Che

林經哲

沐光

Light 水 彩 紙 本 Watercolor on paper

35×56.5 cm 2016

台灣

50

現代水彩展

Taiwan Modern Watercolor Painting Series

92

共同的旅程

Synchronized Journey 水 彩 紙 本 Watercolor on paper

35×56.5 cm 2016

LIN Ching-Che

林經哲

50 現 代 水 彩 展

Taiwan Modern Watercolor Painting Series

台 灣

藝術家 簡 歷 Artists' Biographies

藍 蔭 鼎 RAN In-Ting

(1903-1979)

全力整理八十回顧展作品共一百二十件，創作四尺宣紙全張六 合一至十四合一大畫五幅。《白水彩墨十二講》約三萬字。1990

1903 生於宜蘭羅東，羅東公學校高等科畢業、台北師範學校。

年台灣省立美術館舉行馬白水彩墨八十回顧展，出版專輯。1992

曾拜石川欽一郎為師，跟隨習畫四年。1926 與倪蔣懷、 陳澄波、

出版《馬白水畫集》。1993 年於台灣省立美術館舉辦「馬白水

藍蔭鼎等七人組成的「七星畫壇」第一次展出於台北博物館。

繪畫藝術之研究」展覽並出版研究展專輯。1999 年五月美國國

曾選為英國皇家水彩協會會員、日本水彩畫展會員、中央美術

際杜威大學在紐約贈榮譽藝術教育博士學位 D.F.A. (H.C.)。返台

會員、法國水彩畫協會會員、日內瓦國際藝術年鑑推薦為世界

參加國立歷史博物館舉辦「彩墨千山─九十回顧展」，並出版畫

二十五位傑出藝術家之一、名列世界藝術家年鑑、第一屆世界

集，作品約一百件。2000 年六月初與學生李焜培、羅慧明教授

十大水彩畫家。1991 國立故宮博物院舉辦「藍蔭鼎先生紀念畫

於紐約法拉盛橋教中心舉行聯展。2003 年元月六日晨因心肺衰

展」。1998 國立歷史博物館舉辦「真善美聖 --- 藍蔭鼎的繪畫世

竭病逝勞德岱堡親德醫院 (Kindred Healthcare, Lauderdale, Florida)

界」。著作：《鼎廬小語》。享年七十七歲。

享年九十五歲。

李 澤 藩 LEE Tze-Fan

胡 笳 HU Jia

(1907-1989)

(1911-1979)

1907 生於臺灣新竹，畢業於臺北師範學校（今國立臺北教育大

1911 生於浙江鎮海，畢業於上海美專。1950 年後來臺定居臺北

學）。曾任教於新竹公學校（今新竹國小）教書。戰後，他轉任

北土城。曾任復興美工、文化大學與淡江大學等校教職。1959

新竹師範（今新竹教育大學）、國立臺灣師範大學美術系、國立

年與劉其偉、張杰、吳廷標、香洪等人籌組「聯合水彩畫會（後

藝專（今國立臺灣藝術大學）等教師。在「台展」、「府展」以

改組為中國水彩畫會）」。1969 年獲中華民國畫學會第七屆水

及光復後的台灣美術展、全省教員美展，屢次獲獎，並擔任審查

彩類金爵獎。展覽：「反思：70 年代臺灣美術展」，台北市立

委員，曾舉辦多次個展，曾榮獲中華民國畫學會金爵獎，七十二

美術館，2006 年。「胡笳水彩畫 念展」，土城市公所。「臺灣

年獲行政院文建會選為台灣十位前輩畫家之一。 1990 台北市立

水彩經典」，國立臺灣師範大學創意產學中心，2009 年。1979

美術館舉辦「李澤藩回顧展」；逝世週年紀念展於台北阿波羅畫

年卒於臺灣臺北。

廊、台東之畫廊、台北傳家藝廊。1994 年 8 月李澤藩美術館成立。

2007 國立故宮博物院「風城風采」李澤藩百歲紀念畫展。1989

劉 其 偉 LIU Chi-Wei

年卒於臺灣。

(1912-2002)

1912 生於福建福州，畢業於日本神戶英語神學院。為著名的人

馬 白 水 MA Pai-Sui

(1909-2003)

類學家與繪畫創作藝術家。曾獲聘為國立歷史博物館中國佛教藝 術研究委員會委員、香港東南亞研究所研究員、省市美術館諮詢

1909 年生於遼寧省本溪縣山城溝。1929 遼寧省立師範專修科畢

委員、文建會美術諮議委員，和中山學術文化基金會、國家文藝

業。1930 年執教於東豐遼寧省立第五師範學校；1937 年西安舉

基金會、教育部文藝創作獎、全國美展、省市美展等評審委員、

行首次個展。1948 年搭中興輪繼續旅行寫生到台灣，次年於臺

評議委員等職務。曾編譯出版《現代繪畫基本理論》、《現代水

北中山堂光復廳舉行「馬白水旅行寫生展」。受聘國立台灣師範

彩初階》、《現代水彩講座》等書。水彩作品〈寂殿斜陽〉入選

大學，任教二十七年。出版《水彩畫法圖解》。1964 年榮獲國

台灣第五屆全省美展。1969 年榮獲第四屆中山文藝獎。2001「探

立歷史博物館主辦全國水彩畫展今纍獎。同年與王藍、劉其偉三

索 90 ──劉其偉捐贈展」、出版《典藏目錄 14 別冊──劉其偉

人聯展，紐約文化中心舉行個展及林肯中心四人聯展，成為紐約

捐贈作品專輯》。2007 玉山藝廊特展區「野性呼喚 - 劉其偉生態

藝術獨立組織二十四畫家自畫像聯展 ( 唯一華人 )。完成「馬白

保育畫作特展」；2004-2007 劉其偉紀念展。 2002 年卒於臺灣。

水彩墨世界」三之第一卷欣賞人生和繪畫錄影帶。1989 年集中

台灣

50

現代水彩展

Taiwan Modern Watercolor Painting Series

96

蕭 如 松 HSIAO Ju-Sung

(1922-1992)

何 文 杞 HO Boonky (1931-)

1922 生於臺灣臺北，畢業於新竹師範學校（今新竹教育大學）。

1931 年生於臺灣屏東大埔，國立臺灣師範大學美術系畢業。現職：

曾任教於新竹境內多所國中小。曾多次參加省展、臺陽展、青雲

翠光畫會會長、臺灣現代水彩畫協會會長、國際現代水彩話聯盟

展、全省教職員美展均獲得極高的榮譽，並獲得省展免審查的認

總裁、陳澄波韋華基金會董事、南海美協顧問、臺灣師大高雄聯

定。一生所參與之個展與聯展無數，曾獲第十四屆吳三連文藝

盟顧問。曾任教高職、高中、專科、大學院校美術教職 31 年。

獎，致力於教學與繪畫創作。展覽：1988 第一次個展，台北市阿

水彩聯展：日本、全國水彩畫展、全美水彩畫展，亞細亞國際世

波羅畫廊；參加「中華民國當代美術展」哥斯大黎加國立博物館、

界水彩畫大展、台灣水彩百年展。個展：台灣、中國天津、韓國

瓜地馬拉現代美術館、暨巴拿馬現代美術館巡迴展出。1989 第二

釜山、日本東京、大阪、加拿大溫哥華、多倫多、美國華盛頓、

次個展，臺北東之藝廊。1990 參加亞洲雙年展。1991 第三次個

紐約、北卡、洛杉磯、康奈爾、德國漢堡、巴西聖保羅 ...... 個展

展，臺中東之藝廊。1992 卒於臺灣新竹。

76 次。聯展 / 邀請展：全國省縣市美展、南瀛展、國立師範大 學美術系傑出校友美展等著作：《何文杞水彩畫集 ( 一 ) 》、《何 文杞水彩畫集 ( 一 ) 》、《台灣鄉土禮讚》、《第五屆國際水彩

席 德 進 XI De-Jin

(1923-1981)

畫聯盟世界水彩畫大展紀念畫集》、《何文杞懷鄉台灣畫集》、 《台灣名家美術 100 年》。

1923 生於四川，畢業於杭州藝專。曾任教於嘉義中學、淡江大 學建築系及國立臺灣師範大學美術系。曾多次獲選巴西聖保羅雙 年展參展資格，並于國內外舉辦多次享譽國際之各展及聯展。

李 焜 培 LEE Quan-Pui (1933-2012)

1960「現代油畫展」，作品「韻律」、「朽毀」以中國書法的用 筆與結構運用於抽象畫上。 1980 阿波羅畫廊舉行水彩畫個展。

1933 年生於廣東，國立臺灣師範大學美術系畢業。曾任國立臺

1981 分別於版畫家、龍門、阿波羅畫廊舉行「席德進特選展」；

灣師範大學美術系專任教授、國立臺灣師範大學美術研究所教

歷史博物館主辦「席德進畫展」。致力於臺灣社會、文化、藝術、

授、全省評審、評議委員、全國美展、臺陽美展等個大展評審及

建築之保存與推廣。著作：《席德進的世界》、《席德進素描集》、

臺灣美術館、臺北市立美術館、高雄市立美術館、國父紀念館—

《席德進的回聲》及《席德進看歐美藝壇》等。1981 年卒於臺

典藏委員。曾獲中國畫學會水彩金爵獎。個展：2011 「彩筆靈動

灣臺北。

天地間，李焜培水彩個展」，福華飯店，臺北。2012 「意像 節 奏—李焜培水彩藝術」，台灣創價學會，臺中。聯展：「台灣水 彩 100 年展」，台北市國立歷史博物館；「臺灣水彩經典特展」，

沈 國 仁 SHEN Kuo-Jen

1924-

台北市中正文化中心；「台灣風情•印象 100」中華民國水彩大展， 台北市國立歷史博物館。2012 年卒於臺灣。著作：《水彩畫法

1924 年生於臺灣屏東，畢業國於立臺灣師範大學美術系、日本

123》，雄獅美術；《水彩技法手冊：花卉》，雄獅美術。

早稻田大學文學院西洋美術史科碩士畢業。曾任教於國立藝專 （今國立臺灣藝術大學）、文化大學、台北工專並曾擔任國立藝 專美工科主任。多次擔任各項重要美展、教育部文藝創作獎評

蘇 憲 法 SU Hsien-Fa (1948-)

審。曾任台灣省立美術館、高雄市立美術館典藏委員。1973 被 推薦為日本水彩畫會會員，及往後每年免審查參展資格。展覽：

1948 年生於臺灣嘉義布袋，國立臺灣師範大學美術學系畢業。

2014 國父紀念館「鄉野傳奇——沈國仁的水彩世界」。2015 創

現任國立台灣師範大學美術研究所兼任教授、中華民國油畫學會

價學會文藝系列展覽「我的野外畫室——沈國仁水彩創作」；台

理事長、台灣國際水彩畫協會榮譽理事長、國立台灣美術館典藏

中、景陽、陶園、錦州藝文中心巡回展；屏東美術館「鄉野藝

委員。曾任國立台灣師範大學美術系主任兼研究所所長、長榮大

趣——沈國仁的水彩世界」。

學美術系講座教授、台灣國際水彩畫協會理事長、英國 London

Artists' Biographies

藝術家簡歷

Metropolitan University 訪問學者重要個展如「澄境」蘇憲法油畫

相去旅行」於台北市吉林藝廊，「斯土斯情」洪東標水彩畫鄉情

個展（2011，台北）；紐約台北文化中心「秋之印記」油畫個

個展於台北市第一銀行總行藝廊。聯展：2013 應邀參展「台澳水

展（2010，美國）；紐約 SOHO456 畫廊「秋之印記」油畫個展

彩交流展」於台中、雪梨；應邀參展 2013 土耳其世界水彩畫展；

（2010，美國）；加州舊金山 Masterpiece 畫廊個展（2007，美國）。

應邀參展莞城美術館水彩邀請展。2014 應邀參展泰國 2014 世界

蘇憲法油畫個展（2006，台北）；「視象與心象」蘇憲法油畫個

水彩畫展於泰國曼谷美術館；應邀參展中國「中國第十二屆全國

展（2003，台北）；「映象之旅」蘇憲法油畫個展（2001，台北）；

美展」台、港、澳區展於遼寧省美術館；應邀參展「泰風光」水

「為台灣把脈」蘇憲法油畫個展（2000，台北）。

彩畫展於泰國曼谷，及台北市國父紀念館；榮登外交部對世界發 行「台灣觀察」英文雜誌專文介紹；應邀參展中國青島國際水彩 雙年展，作品「幽林小徑」為中國水彩博物館典藏。2015 應邀

郭 明 福 GUO Ming-Fu

(1950-)

參展中國美術家協會水彩藝術委員會主辦中國水彩發展研究展於 北京市中國美術館；應邀參展台灣水彩的人文風景系譜於 Tanri

1950 年出生於嘉義，畢業於國立臺灣師範大學美術學系與美國

Gallery, New York。

聖路易 Fontbonne University 美術研究所。現任台灣國際水彩畫協 會理事長。曾任銘傳大學商設系助理教授、台北士林高商廣告設 計科主任、復興商工美工科繪畫組長、師大附中美術實驗班教

謝 明 錩 HSIEH Ming-Chang (1955-)

師、實踐、銘傳等校兼任教師、嘉義桃城美展、台東美展、台北 市學生美展、新莊美展等評審。

1955 年生於臺灣臺北，天主教輔仁大學中文系畢業。現任玄奘 大學藝術與創作設計系客座教授、聯合報副刊《臺灣水彩傑作

個展：2016 台北市福華沙龍「明水福山 ─ 郭明福作品展」；

選》專欄作家、中華亞太水彩藝術協會、臺灣國際水彩畫會常務

2014 台北宏藝術「百岳泊雲」；2014 受邀俄羅斯羅巡迴展；

理事。曾任臺灣藝術大學美術系副教授、公視《銀髮大學美術系》

2013 台北新藝術博覽會 「郭明福個展」；2013 台北宏藝術 「海

主持人。曾獲得教育部文藝創作獎、金爵獎、金鼎獎等國內外大

岸森林在說話－郭明福個展」。聯展：106「台灣之美」雙人聯

獎，內外大獎，作品〈我的心靈雞湯〉獲中國水彩博物館典藏。

展，宏藝術，臺北；2104 「絢麗迎春」雙人聯展，宏藝術，臺

個展：2012 年「意念遊戲系列篇」，郭木生文教基金會美術中心，

北；2013 台港澳水彩畫家邀請展 ( 莞城美術館 )；2012 「傳統與

臺北。2010 年「人文 • 風景系列篇」郭木生文教基金會美術中

變革」－台灣澳洲水彩交流展 ( 台中市役所 )；2011 「百歲百畫－

心，臺北。聯展：2015 年「韓國國際水彩邀請展」，韓國首爾；「百

台灣當代畫家邀請展」 ( 國父紀念館 )；「台灣風情印象 100」

年華彩—中國水彩藝術研究展」，中國美術館，北京。2014 年「傳

中華民國水彩大展 ( 國立歷史博物館 )。

統藝術的當代性」三人展，國泰世華藝術中心，臺北；「台南國 際藝術博覽會」，應格爾畫廊 / 雅逸藝術中心，台南。中國青島、 泰國及新加坡國際水彩邀請展。出版著作：《水彩創作 - 觀念技

洪 東 標 HUNG Tung-Piao (1955-)

法與實務解析》、《水彩創作》、《水彩畫法的奧秘》等（共 21 本）

1955 年生於臺灣宜蘭。國立臺灣師大美術系畢業，國立臺灣師 大美術研究所碩士。現任中華亞太水彩藝術協會常務理事兼任副

楊 恩 生 YANG En-Seng (1956-)

理事長、台灣國際水彩協會常務理事、玄奘大學藝術與創意設計 系助理教授，2015 年開始擔任 IWS.TAIWIN 負責人。專書著作：

1956 年生於臺灣花蓮，國立臺灣師範大學美術系、1985 年國立

《水彩生活畫》 2006.04 藝風堂出版；《旅人畫記》2006.12 藝風

臺灣師範大學美術研究所，現職國立臺灣師範大學設計學系教

堂出版、《疊染光影 2007」、《擁抱自然》。個展：堂出版、

授、國立臺灣師範大學 - 生態藝術與科普傳播學程計畫主持人、

《疊染光影 2007」、《擁抱自然》。個展：2013 「哇 福爾摩沙

亞熱帶生態藝術協會第二、三屆理事長、淡大文錙中心諮詢委

台灣海岸百景之美」水彩展於中央大學藝文中心。2014 「帶著畫

員。展覽：1980-1990 年五次個展於臺北龍門畫廊。2006 年策劃 「風生水起」──國際華人水彩大展 - 國立歷史博物館；2008 年

台灣

50

現代水彩展

Taiwan Modern Watercolor Painting Series

98

策展「臺灣水彩一百年大展」聯展──國立歷史博物館 / 臺中

程 振 文 CHENG Chen-Wen

(1964-)

國立美術館；2009 年策展「台灣水彩經典」- 國立中正紀念堂；

2010 年「動靜之間」個展 - 臺北市長官邸藝文沙龍；2012 年「達

1964 年出生於臺灣屏東，新竹師專美勞科畢業。2014 年獲得法

爾文的奇幻旅程」個展臺 - 灣師範教育館 ( 劉真故居 )；2013 年「生

國世界水彩大賽金牌獎，曾任 IWS 國際水彩大賽評審、中華亞

態旅郵──透過藝術的環保」楊恩生的生態繪畫與郵票設計展個

太水彩藝術協會理事、新竹縣市文化局藝術季審查委員。2013

展郵 - 政博物館。著作：1984 至 2009 年陸續由雄獅出版社出版

年「真情迴藝」個展於臺北草山行館、2015 年「吾鄉吾親吾愛」

《水彩藝術》、《水彩經典》及藝術家出版社出版《藝術方舟》

個展於臺北大同大學志生紀念館、「程振文水彩展」個展於西伯

等二十六本書籍；2013 至 2016 年陸續出版《台灣水彩調查》、《水

利亞羅維奇博物館、2011~2016 年參展台北新藝術博覽會。2012

彩的色彩研究》、《水彩材料學初探》、《臺灣水彩歷史》、《水

年「壯闊交響 • 巨幅水彩創作大展」展於國立中正紀念堂；

彩靜物畫 - 寧靜的生命》- 國立臺灣師範大學；2015 年《演化與

2014 年「水波盪漾－兩岸水彩名家展」展於新竹縣文化局、「土

創造：臺灣特有種鳥類水彩畫集》- 行政院農委會林業試驗所。

耳其 IWS 國際水彩大展」展於土耳其、「法國國際水彩雙年展」 展於法國 Narbonne；2015 年「第一屆墨西哥國際水彩邀請展」 展於墨西哥、「韓國國際水彩畫三年展》展於首爾、「15 個面

黃 進 龍 HUANG Chin-Lung (1963-)

相

臺灣當代水彩研究大展」展於郭木生美術中心、文化部「流

溢鄉情

台灣水彩的人文風景暨台日水彩的淵源」展於紐約天理

1963 年生於臺灣屏東東港，國立臺灣師範大學美術學系畢業。

文化中心、2016 亞洲 & 墨西哥

國立台灣師範大學藝術學院第 13 任院長、美術系優聘教授、台

於墨西哥國家博物館。著作：《程振文水彩作品集 1997-2002》

灣國際水彩畫協會榮譽理事長、中華亞太水彩藝術協會理事長、

屏東縣政府文化局出版。

第二屆墨西哥國際水彩展 展

美國水彩畫協會 (American Watercolor Society) 國際評審 2012、澳 大利亞水彩畫協會 (Australia Watercolour institute) 榮譽會員。個展

(1992 至今共計 15 次 ) ︰ 2008「台灣高見」專題創作展 ( 台北

林 毓 修 LIN Yu-Hsiu

(1967-)

國泰世華藝術中心 )、2009「Eastern Wind」個展 (Jung Gallery, 首 爾 , 南韓 ) 、2011「水•花蕩漾」個展 ( 台中大古文化藝術中心 )、

1967 年生於臺灣花蓮，國立臺灣師範大學美術系畢業。現任新

「建構新東方繪畫的歷程」2000 - 2011 創作展 ( 屏東美術館 ) 、

北市立福營國中美術教師及中華亞太水彩藝術協會秘書長。2008

2016”Losing and Gaining the Eastern and Western” 個展 (Hwang’s

年「臺灣當代水彩大」。2009 年「水彩的壯闊波濤」兩岸水彩

Gallery, 紐約 )。聯展：「台灣當代水彩大展」( 台北市中正文化

交流名家大展；「臺北植物園之美」詩畫聯展；「遊園尋夢」中

中心 )；「台灣水彩 100 年展」( 台北市國立歷史博物館 )；「台灣 -

正紀念公園園林之美水彩展。2011 年參加「建國百年 - 國家植

泰國」藝術家邀請展 ( 台北市紅樓 )；「臺灣水彩經典特展」( 台

物園之美」水彩大展於中正紀念堂；同年參加「臺灣風情．印象

北市中正文化中心 )；「台灣風情•印象 100」中華民國水彩大展 ( 台

100 －中華民國水彩大展」於歷史博物館；「水染風華．彩疊韻

北市國立歷史博物館 )。2011「台灣國際水彩畫邀請展」(Robeson

致－杉林溪之美」水彩名家大展於臺中市立屯區藝文中心；「建

Gallery, Penn State University 賓州；Carrollton Cultural Arts Center 喬

國百年－臺灣意象」水彩名家大展於國父紀念館、「臺灣之美」

治亞州 ) ( 台北市國父紀念館中山國家畫廊 )；受邀參加第 88

水彩展於雅逸藝術中心「流光溢彩－吳冠德、林毓修、童武義、

屆 Australian Watercolour Institute 聯 展 (Gosford Regional Gallery, 澳

簡忠威水彩聯展」，雅逸藝術中心，台北。2014 年榮獲中華民

洲 )。第 145 屆美國水彩畫協會國際展 (145th Annual International

國畫學會頒贈 103 年度水彩類金爵獎；「觸動」－毓修的水彩於

Exhibition , 紐約 ) 出版水彩畫、素描技法解析與創作專輯等。

臺北國立國父紀念館 - 逸仙藝廊。2015 年「流溢鄉情」－臺灣水 彩的人文風景暨臺日水彩的淵源聯展於紐約天理畫廊．文化部主 辦。2016 年「中華亞太水彩藝術協會－正式會員 聯展－」著作： 《毓修的水彩》，自行出版，2014。

Artists' Biographies

藝術家簡歷

簡 忠 威 Chien Chung-Wei (1968-)

吳 冠 德 WU Kuan-Te (1979-)

2013 法國《水彩藝術》雜誌第 12 期十頁專訪；2014〈威尼斯

1979 年生台灣台北，國立高雄師範大學美術系學士、國立台灣

之夜〉入選全美水彩畫會 NWS 第 94 屆國際年展並榮獲 NWS

師範大學美術研究所西畫創作組碩士。曾任國立新莊高中美術班

署名會員資格，為台灣首位獲得此殊榮之水彩畫家；2014〈合

教師兼任特教組長、中華亞太水彩藝術協會秘書長。現任中華

掌村的雪景〉榮獲美國 Watermedia Showcase 2014 年度大賽第

亞太水彩藝術協會理事、台灣國際水彩畫協會會員。於三峽老

一名；2014 法國《水彩藝術》雜誌第 17 期冬季號六頁專訪；

街改造百年古厝，成立「庶民美術館」推廣藝術與生活美學。

2015 〈八里左岸〉入選美國水彩畫協會 AWS 第 148 屆國際年

2012-2013 旅居法國巴黎專職藝術創作，出版著作：2012 《吳冠

展， 並 榮 獲 Alan R. Chiara 紀 念 獎；2015《 國 際 藝 術 家 雜 誌 》

德的藝術之道》。個聯展：2015 「流溢鄉情 -- 臺灣水彩的人文風

（International Artist）102 期八頁專訪；2015〈北斗剛下過雨〉

景暨臺日水彩的淵源」於 TenriCultural Center in New York 紐約，

榮獲美國 Watermedia Showcase 2014 年度大賽第二名；2015 〈威

美國。2013 「異鄉．觀靜」吳冠德旅法創作展，庶民美術館；

尼斯暮色〉榮獲中國深圳水彩雙年展榮譽提名獎；2015 三度入

「la fluidité」，ArtPaul Gallery，法國巴黎；2011「台灣風情 . 印象

圍美國 AWS 第 149 屆國際年展，同時榮獲 AWS 署名會員資格，

100- 建國百年水彩大展」於國立歷史博物館。2015 年獲邀至巴

為台灣首位獲得 AWS 與 NWS 署名殊榮之水彩畫家；2016 〈劍

黎進行示範講座，2014 「全國美展」水彩類，銀牌獎。入選法國

橋騎士〉榮獲英國 RI 第 204 屆國際年展 The Matt Bruce RI 紀

世界水彩大賽、獲編入師大出版之《台灣水彩歷史》專書。

念獎。

林 經 哲 LIN Ching-Che (1987-) 高 慶 元 KAO Ching-Yuan (1978-) 1987 年生於臺灣，國立臺北藝術大學美術系、國立臺灣師範大 1978 年生於臺灣新北市，國立臺灣藝術大學畢業、國立臺灣師

學美術研究所畢業。現任為臺灣國際水彩畫協會會員、中華亞

範大學美術系研究所碩士畢業。現為中華亞太水彩藝術協會正式

太水彩藝術協會正式會員、私立玄奘大學藝術與創意設計學系

會員、臺灣國際水彩畫協會理事、私人畫室教師獲獎經歷：2004

兼任講師。2012 年「土耳其國際水彩畫協會」(IWS-International

年水彩作品〈穿〉獲第五十一屆中部美展－水彩第一名，同年作

Watercolor Society) 國際藝術競賽評審；2016 年臺灣世界水彩大賽

品《牽之章》。2005 年作品〈永恆的告白〉分別獲大墩美展水

之全國寫生比賽 評審。獲獎：2011 年 第 16 屆「大墩美展」 大

類第三名、第一名。2006 年水彩作品〈禁果〉獲第六十屆全省

墩獎，「大墩美展」水彩類 第一名，「全國美術展」水彩類 金

美展第三名。第四屆聯邦美術印象大獎得主；倫敦 OLYMPIC 藝

牌獎，「全國美術展」水彩類金牌獎；2012 年「新北市美展」

術大賽，台灣區，首獎；北京 OLYMPIC 藝術大賽，國際賽，銀獎。

全國組水彩類 第二名，第 5 屆「亞洲華陽獎」水彩創作比賽金獎。

獎個展：2008 年「高慶元水彩創作個展」於國父紀念館，臺北。

個展：2009，林經哲個展，國立臺北藝術大學，臺北；2014，「以

聯展： 2010 年「水彩的壯濶波濤」兩岸水彩交流名家大展於中

雨行旅」林經哲水彩個展，晴山藝術中心，臺北。聯展：2013

正紀念堂，臺北。2011 年「臺灣風情．印象 100 －中華民國水

年「水波盪漾」兩岸水彩名家展，新竹縣政府文化局美術館，新

彩大展」於歷史博物館，臺北；「建國百年－臺灣意象」水彩名

竹。 2014 年 The World Watermedia Exposition, Thailand 泰國水彩國

家大展於國父紀念館，臺北；「臺灣之美」水彩展於雅逸藝術中

際 博 覽 會，Ratchadamnoen Contemporary Art Center (RCAC) ， 泰

心，臺北；2015 年 Young Art Taipei 臺北國際當代藝術博覽會，臺

國曼谷。2015 年臺中；「彩匯國際」全球百大水彩名家聯展，新

北喜來登大飯店，臺北；「15 個面向」臺灣當代水彩研究大展，

光三越百貨臺北信義新天地 A9 館，臺北；「15 個面向」臺灣當

郭木生文教基金會美術中心，臺北。2016 年「五域境象」五人

代水彩研究大展，郭木生文教基金會美術中心，臺北；こうさく

聯展於郭木生文教基金會，臺北。

てん「パンドーラ」(PANDORA)，日本金澤 21 世紀美術館，日 本金澤

台灣

50

現代水彩展

Taiwan Modern Watercolor Painting Series

100

Artists' Biographies

藝術家簡歷

50 現 代 水 彩 展

『流轉』台灣 50 現代水彩展

策展人

Taiwan Modern Watercolor Painting Series

台 灣

Circulation Taiwan Modern Watercolor Painting Series 2016.08.12-09.11

蘇憲法、洪東標、黃進龍

藝術家

國家圖書館出版品預行編目資料

藍蔭鼎、李澤藩、馬白水、胡 笳、 劉其偉、蕭如松、席德進、沈國仁、 何文杞、李焜培、蘇憲法、郭明福、 洪東標、謝明錩、楊恩生、黃進龍、 程振文、林毓修、簡忠威、高慶元、 吳冠德、林經哲

流轉 : 臺灣 50 現代水彩展 / 許貴雯等編輯 . -- 初版 . -臺北市 : 築空間 , 民 105.08 面 ; 公分

ISBN 978-986-91144-5-5( 平裝 ) 1. 水彩畫 2. 畫冊 948.4 105013707

發行人

邱復生

Publisher

CHIU Fu-Sheng

策展人

蘇憲法、洪東標、黃進龍

Curator

SU Hsien-Fa . HUNG Tung-Piao . HUANG Chin-Lung

展覽執行

沈欣穎、許貴雯、林洧辰、蔡欣懿

Curatorial Team

編輯

許貴雯、林洧辰、蔡欣懿、章雅柔

Editor

SHEN Hsin-Yin . HSU Kuei-Wen . LIN Wie-Chen .

TSAI Shin-yih HSU Kuei-Wen . LIN Wie-Chen . TSAI Shin-yih .

特別邀稿

蘇憲法、廖新田

作品攝影

杜宗尚

Curatorial Essay

SU Hsien-Fa . Liao Hsin-Tien

人物照片

藝術家提供、李奕儒

Photographer

Dolby TU

採訪攝影

李奕儒

Artist Photos

Provided by the artists . LI Yi-Ru

採訪錄影

陳詩文

Photographer

LI Yi-Ru

設計

劉銘維

Videographer

CHEN Shih-Wen

Designer

LIU Ming-Wei

翻譯

何郁慧、黃亮融

Translator

HE Yu-Hui . HUANG Liang-Jung

印刷

日動藝術印刷有限公司

Printed by

Jih-Tung Art Printing Co., Ltd.

佈展單位

藝術戰爭

Art Handler

ART WAR COMPANY

出版發行

築空間

Published by

Arki Galéria

CHANG Ya-Jou

B1, No.2, Sec.1, Chongqing South Rd., Zhongzheng Dist., Taipei City 100 / 2-2382-1000

100 台北市重慶南路一段號 B1 02-2382-1000

出版日期

民國 105 年 8 月初版

Date of Publication Aug, 2016

定價

新台幣 600 元

Price

NT$ 600

ISBN

978-986-91144-5-5

ISBN

978-986-91144-5-5