作 品
簡 歷
劉得浪繪畫形質 —
巨觀與凝微
劉得浪的巨碑風景 —
序
山嶽美學
圖 錄
余彥良
李欽賢
劉永仁
尊彩藝術中心 董事長
美術史研究者
藝 術 家 、 台 北 市 立 美 術 館 副 研 究員
2
97
12
21 6 4
105
YU Yen-Liang (President of Liang Gallery)
LEE Chin-Hsien (Art Historian)
LIÚ Yung-Jen (Artist and curator at Taipei Fine Arts Museum)
Preface Mountain Aesthetics –
The Landscape of Liu De-Lang’s Great Monuments
The Macroscopic and the Microscopic – The Form and Essence of Liu De-Lang’s Paintings
5
8
16
Artworks
21
Biography
97
Catalog
105
3
尊彩藝術中心 董事長
余彥良
序
劉得浪所繪製的山川大地，總令人神往相隨，他對台灣山嶽的了解，更是
我曾神遊在劉得浪的作品當中，光線會帶領著你的心靈，遨遊在山林之間，
景，引領多數人在畫面前放慢腳步細細品味，盡收眼底感受在台灣山林間
了，而我自己化身為林間仙子，自在輕盈地飛舞，在山之巔，在林間深處，
讓人感到溫暖與喜悅，山裏的彎路與迴轉都能帶著你領略更多美麗的風 壯闊的美景。 我很喜歡《易經》裡的一個卦爻「地山謙」，當我們了解 山是神聖的、是顯耀榮盛的，就更應該學習高不自詡，高不自居，高不自
傲這些謙讓的美德。劉得浪繪製的台灣山嶽，感受到的就是如此的神聖， 移山填海就在他的筆尖當中，但不一定非得要具有天生神力，而是告知你
應有鍥而不捨的精神狀態，去翻越、去征服，去親身體會四季所產生不同 景緻的大地氛圍。當一切呈現在畫布當中時，巨型壯闊的自然景觀，包圍 在我們的眼簾四週，引領我們走向並追尋未知的夢想和旅程。偶爾駐足在
某一段山腰處，盡情釋放對大自然的感受並用心去欣賞山嶽和天際間的關 係，人生的意義就是如此，不斷地行走、不斷地駐足，更不斷地獲得偶遇 中的知識並感悟出深刻的人生智慧。
4
有風聲蕭蕭，有鳥鳴啁啾，有蟲聲唧唧，把整座森林的精神處理得更深遠 聽見山谷的溪水潺潺，有清音輕揚出美麗的樂章瀰漫，這就是劉得浪作品 帶來的舒適感和喜悅。藝術最動人的力量在於提升，把我們的心靈帶向真
善和美，劉得浪呈現的每一個畫面精煉至極，像是顆顆珠玉一般，晶瑩剔 透而且美不勝收，它直接叩響了我的心靈，帶給我至深的感動，這些動人 的畫面經常地和我互動並產生共鳴，我深愛這一切。
Preface
Preface
序
YU Yen-Liang President of Liang Gallery
The mountainous landscape in Liu De-Lang’s paintings has been fascinating. His
I have this experience of spiritually traveling in Liu’s paintings, while my soul followed
knowledge of the mountains in Taiwan is a sweet and joyful offering, especially when
the light to wander about the mountains. The whistling winds, chirping birds, and
we slow our pace in front of the paintings, where every turn and wandering path in
rattling insects transcended the spirit of the forest into a deeper level. As for myself,
the mountains leading us into the land of extreme beauty, to fully enjoy the majestic
I turned into a spirit in the forest to dance with freedom and ease, in the top of the
scenery. “Mountain within the earth” is one of my favorite hexagrams in the I Ching,
mountains or the heart of the woods, accompanied by the murmuring creeks from
Book of Changes, and it symbolizes humbling or modesty. If we understand, even only
the valley like the refreshing melody of a beautiful movement. Liu’s paintings are
with some basic awareness, that mountains are sublime and sacred, we should remind
always full of such a comfort and joy. The most charming power of art is to raise us
ourselves of the virtue of modesty to avoid egocentrism and arrogance when we climb
to a higher level – the spiritual truth, goodness, and beauty. Liu visualizes his images
higher and higher. The mountains in Taiwan depicted in Liu’s paintings make you feel
with the greatest refinement, while each of them becomes a lustrous, crystalline, and
such a sacredness. His brushwork seems to have the power to move the mountains
extremely beautiful gem. It creates a strong and direct resonance in my heart with the
and drain the seas. However, the power is not the gift from heavens, but a spiritual
sincerest inspirations, and I also gradually develop an intimate relationship with these
state of mind to encourage you to stay persistent without a moment of holding back,
fascinating images, the art I love with all my heart.
to surmount, to occupy, and to personally experience the seasonal atmospheres of the land. Finally, everything is visualized on the canvas. The vast and majestic natural scenery surrounding us absorbs our gaze, leading us through the journey toward the unknown dreams. Sometimes, we stop halfway up the mountain to utterly release our feelings evoked by nature and to spontaneously enjoy the mountains against the skyline. It should be the ultimate meaning of life – keep walking, keep regular pauses, and keep collecting unexpected knowledge along the trip to fathom the profound wisdom of life.
5
山嶽美學－劉得浪的巨碑風景 李欽賢
美術史研究者
芎林可以說是遠離塵囂的純樸鄉間，世居在此， 畫室也座落於此，這個位於新竹縣靠山一帶的
客家庄，早年與附近最有互動的城鎮僅有竹東， 現在則多了竹北。質樸、勤勞與潔淨一直是芎 林保有的民風，亦恰如其分地反映到劉得浪的
畫風。質樸是台灣原味；勤勞是劉得浪的奮鬥； 潔淨是縱使再巨大的畫面，島國地標纖塵不染。 台灣美術的山嶽繪畫其實有一段長時間的空白， 前輩老畫家當中，唯有呂基正（1914-1990）愛爬 山，也畫了一輩子的山。另外還有一位宜蘭畫
家 李 讚 成（1953-2015）， 於 1988 年 起， 開 始 用 畫筆「爬山」，將之征服百岳的心路歷程，花 超 大 畫 幅， 群 峰 崢 嶸， 巨 岩 與 林 相 的 紋 理 和 層 疊， 千 絲 萬 縷， 筆 緻 入 微， 宛 如 真 山 真
景， 有 引 領 我 們 身 歷 其 境 的 即 刻 驚 艷。 劉 得 浪 揮 灑 山 嶽 藝 術， 突 破 台 灣 人 長 年 以 來
山 嶽 知 覺 的 盲 點， 他 筆 下 的 非 日 常 風 景， 直 逼 人 們 的 日 常 之 眼， 必 有 一 番 挑 戰。
儘 管 日 本 時 代 已 引 進 寫 生 觀， 但 是 只 有 日 籍 畫 家 在 警 察 護 衛 下， 得 以 上 山 畫 原 住 民 圖
像； 可 是 台 灣 畫 家 缺 乏 管 道， 幾 乎 無 人 有 機 會 深 入 中 央 山 脈 實 地 寫 生。 戰 後，1960 年 代
之 前 的「 入 山 證 」 政 策， 亦 等 於 山 禁。 直 到
1970 年 代 中 後， 經《 戶 外 生 活 雜 誌 》 大 力 鼓
吹 之 下， 始 慢 慢 揭 開「 台 灣 百 岳 」 的 面 紗。
6
費 3 年光陰，畫出 54 公尺長卷油畫的《台灣之
屋脊》。說到畫家登山、畫山，也不能不提水彩
劉 得 浪 能 順 利 考 取 新 竹 師 專（ 今 國 立 清 華 大 學 ） 美 術 科， 是 得 力 於 一 位 師 大 美 術 系 出 身 的 長 輩 親 戚， 悉 心 為 他 指 導 考 前 衝 刺。 術 科 考 試 的 素 描 表 現 甚 佳， 但 他 不 自 以 為 是， 謙
稱 是 碰 運 氣 而 已。 就 當 年 劉 得 浪 的 認 知， 素 描 是 繪 畫 的 基 礎， 所 以 把 素 描 當 作 急 待
加 強 的 訓 練， 認 真 思 考 素 描 要 如 何 精 進？
畫家郭明福（1950-）拿手的高山神秘煙嵐。同
水墨畫家劉河北（1928-2016）老師教他觀察石
續發表有別於攝影、另創手繪魅力的山嶽藝術，
月 是 劉 得 浪 的 素 描 沈 潛 期， 在 學 中 的 年 輕 人
屬 50 年代較晚輩的劉得浪，也熱衷登山，並陸
如今在他筆下已經成就了「台灣山嶽美學」。
劉得浪 1958 年出生於新竹芎林，成長過程中， 母親的日文裁縫書之附錄插畫，就是他兒時愛 不釋手的習畫寶典。劉得浪記得從小就有過如 此「藝術衝動」（藝術發生學的學術名詞），
因為常有動手畫圖的「衝動」，這樣的特質也
被老師發現，遂派他參加縣內小學生美術比賽， 劉得浪 5 年級時第一次擁有水彩，也首度畫水
彩靜物參賽，初試啼聲就抱了大獎，為校爭光。
膏像，即使是純白仍要看出其間變化。竹師歲 敏感度，海綿般的吸水性，全心全意投入素描 磨練。不單只是埋首勤畫，也去圖書館找來東 京藝術大學素描資料進行研究，更常跑台北日
文書店；彼時，台北市衡陽路就有大陸書店和
鴻 儒 堂， 開 封 街 有 家 廣 洋 堂， 劉 得 浪 會 用 心
尋 訪 西 洋 名 家 畫 冊， 翻 出 畫 家 們 與 自 己 同 齡 時 期 的 素 描 交 互 比 較。 劉 得 浪 畫 業 生 涯 的 青 澀 年 代， 其 實 已 經 全 面 涉 獵 西 洋 繪 畫 史 的 演 進，從多角度觀察與全方位思索，雖然年紀尚
輕， 卻 對 自 己 未 來 的 畫 路 也 有 一 番 見 地 了。
山嶽美學－劉得浪的巨碑風景
1978 年 新 竹 師 專 美 術 科 畢 業 後， 分 發 至 竹 師
附 小 執 教。 此 際， 正 迎 接 1980 年 代 到 來， 台 灣畫壇的藝術思潮經由《雄獅美術》和《藝術
家》兩本刊物的專輯策劃，經常拋出傳統與創 新、油畫東方精神、美術回到民間，以及鄉土
主義等諸多議題，也成為劉得浪待解的課題。
大 山 峰 頂 最 可 觀 的 是 稜 線 起 伏 與 摺 曲， 這 全
劉 得 浪 一 邊 教 書， 也 一 邊 嘗 試 實 驗 性 創 作，
比 較 常 出 現 在 攝 影 作 品， 然 而 以 畫 筆 詮 釋
此 期 間 有 幾 幅 自 畫 像 的 推 演 痕 跡， 很 像 是 他 探 索 藝 術 途 徑 的 原 始 筆 記。 當 然 他 也 想 過 地 方 色 彩、 民 族 風 格 等 等 議 論 性 話 題， 直 到 迷
上 登 山， 親 近 山 嶽， 多 年 來 專 攻 素 描 的 敏 銳 觀 察 眼， 在 此 刻 豁 然 開 朗， 與 山 靈 犀 相 通， 再 下 來 要 走 什 麼 路， 終 於 了 然 於 胸 了。 攀登大山的考驗，首先是體能克服力，其次是
堅 定 的 意 志 力， 對 劉 得 浪 來 說， 還 有 心 與 眼 的震憾力。優美的山稜線、巨碑般的峭岩以及
高山植被生態等立現眼前的衝擊，又身在崇山 峻嶺環抱中，凝視大自然必對照出小我的謙虛
感， 促 動 了 劉 得 浪 以 畫 筆 鎖 定 山 嶽 的 豪 情。
是 劉 得 浪 無 可 計 數 的 登 山 心 得。 此 類 鏡 頭
的 劉 得 浪， 更 能 掌 握 到 細 密 紋 理， 畫 出 微 妙 的 明 暗 光 影， 在 背 光 幽 微 處 猶 有 筆 觸，
此 回 個 展 更 有 荷 池 花 語， 以 超 強 寫 實 功 力
刻 畫 花 瓣、 花 蕊 與 葉 脈 的 交 錯。 也 有 單 獨 一 朵 怒 放 的 孤 挺 花， 以 大 特 寫 之 姿 出 現， 背 景 是 層 層 連 峰， 淨 土 無 塵， 大 地 萬 物 交 融， 不 禁 令 人 想 起 香 格 里 拉 的 國 度。
可 見 劉 得 浪 對 山 嶽 的 用 眼、 用 情 及 用 心。
欣 賞 劉 得 浪 的 山 嶽 藝 術， 我 們 會 感 受 到 山 的
劉得浪筆下群峰，在 200 號畫布上展現的氣魄，
巨 霸 的 王 者 之 尊， 想 像 中 也 許 他 能 夠 與 山
令觀賞畫者宛如置身峰巒之間，有親臨現場的逼 近感，從這座山頭遙望另一座山頭，氣勢磅礴，
靈 氣， 除 出 神 入 化 的 寫 實 力 之 餘， 營 造 亙 古
靈 對 話， 進 而 臻 至 理 想 的 山 嶽 美 學 境 界。
震懾力無與倫比。他的山嶽風景有時出現風化後
中央山脈是台灣的秘境，山中氣象變幻莫測，
得浪的山嶽藝術走入高山生態的點景，寂寥的空
靜謐時空，但它非千年洪荒，而是台灣子民的
不規則的岩層，或偶有霧嵐下的晨曦。近年，劉 山也會停佇一隻朱雀或岩鷯等高海拔珍禽，或者 是一頭駐足觀望遠方的鹿兒，似乎不是迷路而是 正在勘察的神態，他筆下的山林鳥獸優遊自在。
劉得浪鎮住天象無常，捕捉瞬間的永恆，獨留 精神聖域，其所表現的本質，一定是懷有國土 情操的人，先發現台灣原形，再用畫筆實踐，
劉 得 浪 開 拓 出 山 嶽 美 學 的 台 灣 風 景 新 版 圖。
7
Mountain Aesthetics – The Landscape of Liu De-Lang’s Great Monuments LEE Chin-Hsien
Art Historian
There was a long gap in the history of Taiwan’s mountain paintings. The pioneering painters we have known include Lu Chi-Cheng (1914-1990) and the Although the practice of painting from life was
Yilan-born Lee Tsan-Chen (1953-2015): the former
introduced by the Japanese during the Japanese
devoted his life to mountaineering and mountain-
Occupation, only the Japanese painters were allowed to
painting , while the latter began to transform his
go to the mountains where they could create portraits
100-peaks mountaineering journeys onto the canvas
The cragged mountains accentuated by the texture of
of indigenous Taiwanese, and the whole trip had to be
in 1988 and spent three years creating the oil-painting
the giant rocks and the layered forests with the most
guarded by police. Their Taiwanese colleagues, without
masterpiece The Roof of Taiwan, a fifty-four-meter
refined brushwork – which is subtle, ethereal, and
the same access, rarely had any chance to travel to the
horizontal scroll. The list would not be complete
delicate –, appear in the large-scale paintings by Liu De-
remote Central Mountain Range for painting from
without the watercolor painter Kuo Ming-Fu (b. 1950),
Lang. The artist creates almost realistic scenes inviting
life. After the war, the policy of “Mountain Permit”
best known for his mysterious clouds embracing the
us to walk inside for its breathtaking spontaneity. It
before the 1960s continued making the mountains
high mountains. Liu De-Lang, born in the same decade
is Liu’s art of mountains, challenging in a way that his
an inaccessible area for the public. It was only after
but younger than Kuo, is also a mountain enthusiast,
non-ordinary landscape confronts people’s common
the mid-1970s, particularly with the effort of Outside
whose paintings of mountains, with a different charm
perspective as it penetrates the usual Taiwanese
Magazine, that the “100 Peaks of Taiwan” were no
from photographic art, have been acknowledged as a
experience of mountains.
longer a mystery.
unique “Taiwanese mountain aesthetics.”
8
Mountain Aesthetics – The Landscape of Liu De-Lang’s Great Monuments
The ink-wash painter Liu Ho-Pei (Monica Liu, 1928-2016) taught him to observe plaster castings, Born in Qionglin, Hsinchu, in 1958, Liu had a
identifying the subtle variations hidden in the pure
childhood surrounded by the illustrations found in
white. His days at Taiwan Provincial Hsinchu Teachers
his mother’s dressmaking books written in Japanese,
College were a quiet preparation for his future career
with which, like a treasure book, he began to practice
to the list. The people living here have been known to
regarding drawing. A young artist like him with such an
painting. The artist still well remembers his childhood
be unsophisticated, hardworking, and obsessed with
eagerness to absorb everything he could and be open to
experience of “the impulse of art” (the term in the
cleanness, as perfectly shown in Liu’s artistic expressions:
all possibilities was fully dedicated to drawing. He did
studies of the art occurrence (yishu fasheng xue) which
the essence of Taiwanese culture is unsophisticated;
not depend on himself, practicing day and night in the
was the constant impulse to paint. The school teacher
diligence is the signature of Liu’s endeavor; the idea of
studio, but frequently visited the library to study the
discovered his artistic personality and assigned him
cleanliness marks the spotless landscape of the island
drawing-related documents from the Tokyo University
to sign up for a county-held art competition for
nation no matter how immense the frame is.
of the Arts or went to several bookstores in Taipei
elementary students. The fifth-grader Liu had his
where Japanese publications were available, including
own watercolor paint for the first time and painted a
With the help of a family elder, who as an alumnus
Talu Bookstore and Hung Ju Tang on Hengyang Road
watercolor still life as his competition debut, where he
of the Department of Fine Arts at National Taiwan
as well as Kuang Yang Tang on Kaifeng Street. In the
won a major prize and became the pride of the school.
Normal University offered his sincere advice on exam
bookstores, Liu would search every shelf for Western
preparation, Liu passed the exam and became a student
masters’ catalogs and compare his own drawings with
Far away from the noisy world, the country village
in the Department of Fine Arts, Taiwan Provincial
those created when the masters were at his age. In the
Qionglin provides a simple life not only for the
Hsinchu Teachers College (today’s National Tsing Hua
beginning chapter of his career, the young artist – in
artist’s family for generations but also his art studio.
University). He got good grades in drawing, but he
spite of his lack of experience – had already acquired a
It is near the mountain area in Hsinchu County and
was as humble as always, saying he was simply lucky.
thorough knowledge of the history of Western painting
home to a Hakka community. In the past, the village
However, the young artist at that time was convinced
and established a multi-dimensional perspective to
was almost isolated while its only connection to the
that drawing was the fundamental training of painting.
observe and explore. The young age did not hinder his
world was with Zhudong, but now Zhubei is added
It was why he was so eager to improve his drawing skill.
vision of the future artistic career.
9
journey, the exploration of an artist. Indeed, the debate related to nativism and ethnic aesthetics had once
The most astonishing scene of the mountain peaks is the
attracted his attention, but with an increasing obsession
undulating ridges and their various folds and angles – it
to mountaineering, a life close to the mountains seemed
is Liu’s conclusion after numerous trekking trips in the
After graduating from Taiwan Provincial Hsinchu
to validate his sharp penetration which he had acquired
mountains. It may be a familiar shot in photographic
Teachers College in 1978, he was assigned a teaching
from years of training in drawing. A new world
art, but Liu with his brushwork finds a better way
position at the Affiliated Elementary School of Taiwan
opened up for him, where he began to feel a spiritual
to deal with the subtle texture and nuanced contrast
Provincial Hsinchu Teachers College. With the coming
connection with the mountains. The future path now
between light and shadow, revealing the strokes in the
of the 1980s, the two magazines Lion Art and Artist
became clearer than ever.
obscure areas. He not only paints it with his eyes but
began to introduce the latest art trends to the artists’
with his feelings and a sincere heart.
circles in Taiwan and to challenge the conventional
The first challenge to climb a big mountain is one’s
practices, while they also touched upon issues such as
physical strength, followed by a strong will. For Liu, the
The layered mountains extending from one peak to
the Eastern spirit in oil painting, the reunion of fine arts
experience is overwhelming for both the eyes and the
another on Liu’s size-200 canvas creates an imposing
and folk culture, the nativist movement, etc. Liu soon
mind. The beautiful ridges, the giant monument-like
manner as if bringing viewers onto the real mountains
made his response to these subjects mentioned above in
cragged peaks, and the high-altitude vegetation are the
to experience the breathtaking momentum. Standing at
his artworks.
immediate amazement. Meanwhile, being surrounded
one peak to look at another in the distance, one can feel
by layered mountains evokes a sense of humility and
the mind-blowing power of the scenery. His landscape
Teaching and working on his creative experiments at
the respect for the grandeur of nature, as shown in
sometimes also features the exposed layers of rocks,
the same time, Liu had completed several self-portraits
Liu’s brushwork which perfectly visualizes the majestic
decayed irregularly, or the dusky dawn emerging from
while the gradual progress was like the rough notes of a
mountains.
the clouds and fog. In recent years, he has switched his
10
Mountain Aesthetics – The Landscape of Liu De-Lang’s Great Monuments
Liu’s paintings make us feel the aura of the mountains. His outstanding technique to truthfully capture the real focus to the close-up scenes to capture the high-altitude
essence of the scenery visualizes the immense majesty
ecology, sometimes the lonely forest intruded by a rare
which is beyond the border of space and time. One can
bird, such as rose finch or Alpine accentor found only
almost imagine the artist having a conversation with
in the high mountains, or sometimes perhaps a deer
the spirit of the mountains, through whom his art is
standing still and looking into the distance, not getting
transcended into an idealized mountainous aesthetics.
lost but observing the surroundings. Whatever case it may be, the forests and animals in his paintings always
The Central Mountain Range is the faraway land in
enjoy a sense of ease and serenity.
Taiwan. However, in Liu’s paintings, he crystalizes the capricious climate in the mountains, transforming the
In his coming exhibition, we may surprisingly discover
fleeting moment into an eternality of serenity. Rather
subjects other than mountains, like his paintings of
than a thousand years of chaos, it is a holy land for
lotuses, while Liu’s impressive skill in realism perfectly
the people of Taiwan. Its visualization is fulfilled by
visualizes the entanglement among petals, pistils, and
someone with the homeland in his mind, who discovers
leaf veins, or the close-up image of a single amaryllis in
the original essence of Taiwan before practicing it with
full bloom, standing in front of layered mountains as if
brushwork. That “someone” is Liu De-Lang – an artist
to symbolize the purity of a harmonized land, like the
opening up a new world for the landscape of Taiwan
realm of Shangri-La.
with his mountain aesthetics.
11
巨觀與凝微—劉得浪繪畫形質 劉永仁
藝術家、台北市立美術館副研究員
登山寫生啟開闊視野
風景向來是畫家醉心探討的題材，也是真實內 心幽微深邃的映照。風景是藝術所傳達的一種 自然場景，風景既是真實空間的場所，也是再 現的空間的圖像。英國藝評家肯尼思 • 葛拉克
（Kenneth Clark, 1903-1983）在其《風景進入藝術》
談到繪寫山嶽風景，
（Landscape into Art）開宗明義章之風景之象徵有 貼切的描述：「我們處於周遭事物，它們與我
們有不同的生命與結構。樹木、花草、河流、 山川及雲朵等，幾世紀以來，它們激發著我們 的好奇心和敬畏之情。它們一直是愉悅的對象。 我們在想像中重新創造了它們來反映我們的情 感。我們總是思考它們，這種方式促成『自然』 概念之形成。風景畫標示了關於『自然』概念 的發展過程。自中世紀以來，『自然』概念的 興起與發展，就成為循環的一部分，在此體系中， 人類精神試圖再次創造出自然與環境的和諧。」
12
台灣前輩畫家呂基正（1914-1990）以山嶽畫見 台灣蘊藏豐富的自然景觀與複雜多變的地形地
貌， 高 山、 丘 陵、 平 原、 盆 地、 島 嶼、 縱 谷 與海岸等景觀豐富；再加上北迴歸線恰好從中 通過，使台灣同時擁有熱帶、亞熱帶等各種自
然生態，尤其是高山峻嶺深不可測的神秘面紗 成為登山者挑戰的目標，東西方藝術家以繪畫 描寫山嶽壯麗美景，除了是自然心靈的表達，
更有崇高意象之追尋。劉得浪的繪畫創作就是 以巨觀山嶽形質以凝聚內在震撼的系列探討。
長， 他 在 1950 年 代 開 始 登 山 並 描 繪 台 灣 的 高 山， 也 號 召 志 同 道 合 者 共 同 登 山 寫 生， 是 促 成山嶽繪畫風潮的畫家之一。呂基正的山嶽畫 以粗獷筆觸融入激情色彩，是大寫意抒情的表 現手法。相較於劉得浪以寫實手法表現山嶽精
髓，同樣是以山嶽為繪畫題材，兩者表現的山 嶽視覺語言卻迥異其趣。90 年代初劉得浪開始
登山，面對如此崇山峻嶺之浩瀚深深感動，他 醉心著迷於山嶽風景之神秘感與詭譎氛圍，啟 開了劉得浪一系列繪寫山嶽風景的雄心壯志。
巨觀與凝微—劉得浪繪畫形質
東方繪畫形質略觀 一般認為中國山水畫只描寫理想山水，
而不表現特定山水。實際上，山水畫可說是根源
於對特定實景的描繪，直到宋代繪畫大師探索過 劉得浪以瞭望式地觀看繪畫山嶽雄奇，從遠眺
式 的 視 點 出 發， 宛 若 畫 家 敞 開 胸 懷 熱 切 迎 向 自然，而投諸靈魂深處的悸動與山脈共同體現 大自然的震撼。劉得浪個性敦厚樸實，他的繪
畫風貌具有濃郁的自然觀與結實的山嶽語彙， 用「親臨」和「在場」是對其山景繪畫最佳的
詮釋。劉得浪對傳統山水畫中的氣勢憾人與宏 大視界有深切的感受，於是產生強烈的共鳴。
寫 實 畫 作 有 其 描 寫 技 藝 精 彩 的 優 勢， 尋 常 觀
賞 者 一 目 了 然 易 於 激 起 視 覺 美 感 共 鳴， 然 則 當 作 品 的 暗 示 性 甚 於 描 寫 性， 繪 畫 因 而 超 越
程中，山水畫逐漸成為體現宇宙宏觀的重要主
題。北宋范寬《谿山行旅圖》描寫太行山形貌， 堪稱繪寫山嶽形質的極致，范寬為深入感受山嶽 之精華，進駐居住於終南、太華巖隈林麓之間， 而日常觀山形質感其雲煙慘淡、風月陰霽穿梭
與早期的山水畫具有某種關聯性，亦即用筆雄
悟。可見他之所以能畫出山的精神面貌和神采，
與質地，反映了畫家寫實與寫意並重顯露形神
之景象，默與神遇……，因而與山傳神互通感
而不是只描繪了表象，究其原因就是范寬讓自 己完全融入山水間，「理通神會」，觀照自然
想所具有的深邃底蘊，表達了對大自然崇敬的
「神聖感」，觀讀《巉巖（中央尖山）》（1993-
現自然美景的媒介，畫家同時傳達自然秩序的
石的堅硬質感及繪寫出陰陽面貌構成厚實的量
畫筆下自然流露山的真精神。山水畫不僅是表 「理」更深一層的理解，這種理解乃是透過畫家
山 幻 化 成 寫 己 的 自 述 式 寫 照， 物 我 共 通、 質
浪在登山觀岳的過程中也似若有所體悟，藉由
樸 厚 重 寬 容 的 山 包 容 蘊 含 大 量 生 命 的 契 機。
俱足的美感。劉得浪將廣袤風景注入了奇思幻
與自身與天人合一，因此他將個人情懷挹注於
了 僅 僅 再 現 景 物 的 層 次， 而 充 滿 了 思 考 的 意 義。 在 某 種 程 度 上， 因 為 身 心 長 期 投 入， 寫
強敏銳、強韌堅實筆觸描寫大山寂靜沉穩之形
直覺與經驗，而後對造化的整體有所掌握。劉得 山嶽氣勢探索藝術的內在本質。他的山嶽繪畫
1994）崢嶸挺拔的岩石斜插聳立在畫面中央，岩 感，周圍伴隨綠色植物與少許枯木，背景以雲 霧繚繞烘托，形成舉重若輕盈的對比，更加突
顯岩石紋路的亮點，此作應可視為劉得浪於 90 年代中期開始探討山嶽繪畫的系列力作之一。
13
從巨視到凝鍊
近年來劉得浪探討山嶽風景仍感意猶未盡，這
現代寫實主義是由中產階級所滋生出來的藝術
浩瀚綿延的層層山巒，氣勢澎湃震撼人心，具
關係，社會的進展蛻變，經由畫家的心眼來觀
系列畫幅愈加巨大且描寫筆鋒細膩銳利，山勢
文化，這種藝術發展在各個時代和社會皆有相互
有宏觀氣勢的全景視野，在全景視線之中總會
察描繪出引人注目的圖像。劉得浪的繪畫從眺
有鳥、鹿、飛鷹禽獸等大自然的過客駐足其間， 在寂靜的山嶽景象，頗覺活絡畫面之點景，猶
望式的觀看到凝聚近景提煉物象精華，他近年
如渺蒼海之一粟，創作者以另一隻眼線寄情山
容》（2017）是巨幅畫作，採取深遠的構圖，視
寶石》（2017）畫面前景以瘦削堅韌岩石群組展
伴隨光線交織變幻莫測，與山嶽的嚴峻感與厚
林萬物，增添山谷跫音之語境。《山頂上的紅
開，中景寫起伏綠色山巒覆蓋，少許雲霧飄浮 其間，遠景山巒輪廓瀰漫朦朧引帶空氣感，構
圖條理分明卻有豐富的層次，右下方紅色鳥兒
（酒紅朱雀）仰望若有所思，順沿山巒起伏動勢 稜線彎曲，壯麗山脈散發出凜冽氣息，直視群 覽山嶽風景令人頓時感到肅然起敬。《雪山尊
14
線經由兩翼台灣杉透視遠方的巍峨山嶽，雲海 重的量感，形成強烈的虛實對比，蒼鷹盤旋低
迴於廣大的空間，陽光投射穿越雲霧若隱若現 的手法，使此畫產生強烈的視覺靈動。《山中
傳說》（2017） 有台灣水鹿出現的場景，描寫高 山秋色即景，千層礫岩與滿佈枯黃樹枝植物， 與天空朵朵浮雲相映成趣，形成獨特的奇景。
來從描寫台灣的山嶽曠野到田園景物、海濱風
光及池塘荷花，畫家描寫從未侷限於單一題材， 他以寫實的筆調貫徹各種物象，傳達畫家想望
自然與心性的理想境界。本次（2018）在尊彩藝 術中心展覽作品中，劉得浪除了延續熟悉的繪
畫山嶽，他尤其以特寫荷花為表現題材，從開 闊眺望到近距離微觀，畫作衍生出新穎的視覺
語境。《晨曦》（2016）繪寫細緻盛開的花朵與 綠草，以此巨大花朵透視全視角，由近而遠依 序為稻田、草原以及山脈峰巒，描寫花朵的筋
巨觀與凝微—劉得浪繪畫形質
脈清晰可見，在清晨曙光映照之下，光影千變
萬化，表現萬物在晨光的剎那間頓顯生機蓬勃。
劉得浪的具象寫實繪畫兼具心象與自然山水
劉得浪取景構圖視角，荷花與捲曲近乎包裹的
形貌，也投射自我的心境，「行其庭，不見其
《昇之華》（2016）表現荷花與荷葉的自然生態，
觀，從巨觀的力到凝觀的微緻，既強調物象的
大荷葉，描寫荷葉葉脈歷歷可見，好似血管的
人」是山象亦是我象。劉得浪筆鋒飽含熱情的
澎湃，或許澎湃的是劉得浪熱愛自然的心，最 質樸銜接底氣的厚實，沒有強說愁的悲歎，沒
溫度，挹注於巨大山脈的生命力，喚起生命之
有抱怨控訴的吶喊，沒有藝術常用的反諷和冷
翠鳥正在對話，背景中的池水映照折射光影顯
整個畫面，含苞嬌豔麗荷花聳立其間，葉脈放
其原本的含義也產生了畫者賦予圖像的另一層
眼旁觀。《對語》（2016）龐大的荷葉幾乎佔據 射狀、蓮蓬以及花瓣上的條紋，每一筆跡都刻
劃極為細緻，值得關注的是位於右下角有兩隻
得碧波蕩漾。當荷花特寫較原植物放大數倍時， 意義，又如《雍容》（2016）、《清韻》（2016）、
《怡然》（2016）等巨幅荷花作品皆有此特質。
萌動，畫家在開闊格局中也關注細微描寫，無
疑 地， 這 是 個 人 心 靈 空 間 之 驅 使， 然 而 以 寫 實作為一種縝密的載體構成精確的形式語言，
不 僅 是 畫 家 與 生 俱 來 的 敏 銳 及 後 天 鍛 鍊 心、 眼、 手 的 描 寫 能 力， 更 是 內 心 渴 求 的 需 要，
它 激 發 人 們 重 新 體 會 自 然 美 感 的 藝 術 風 貌。
15
The Macroscopic and the Microscopic – The Form and Essence of Liu De-Lang’s Paintings LIÚ Yung-Jen
Artist and curator at Taipei Fine Arts Museum
THE MOUNTAINEERING TRIPS TO PAINT FROM LIFE IS TO OPEN UP A NEW HORIZON
When it comes to landscape painting in Taiwan, the artist we first think of is probably the pioneering Taiwanese painter Lu Chi-Cheng (1914-1990), best known for his paintings of mountains. Lu’s love The landscape has always fascinated numerous painters
for mountaineering initiated in the 1950s, and in
in every possible way and has always been the reflection
these mountaineering trips, which he encouraged a
of the unfathomable true self hidden deep in one’s
group of people sharing the same love for arts and
heart. As an artistic visualization of the natural scenery,
mountains to go with him, he enjoyed painting from
a landscape is a real place, while it is also the image
life in the mountains. We could say that Lu was one
representing the place. The British art critic Kenneth
of the first artists introducing and stimulating the
Clark (1903-1983) has provided us with a convincing
trend of mountain paintings. In his paintings, the
description of the symbolic landscape in the opening part of his Landscape into Art:
mountains are often visualized with bold brushwork, Taiwan is known for its rich natural scenery and diverse
accentuated with strong and passionate colors, mostly
landscapes, ranging from mountains, hills, planes, basins,
done in a lyrical style, the ultimate expression of xie-
We are surrounded with things which we have not made
islands, valleys, to coastlines, while with the Tropic of
yi (the freehand style in traditional Chinese painting).
and which have a life and structure different from our
Cancer across central Taiwan, the island also features
Unlike Lu, Liu De-Lang reveals the spiritual essence of
own: trees, flowers, grasses, rivers, hills, clouds. For
both the tropical and subtropical ecosystems. Here,
his mountains through realistic skills. When dealing
centuries they have inspired us with curiosity and awe.
the mysterious mountains, the faraway land high above
with the same subject, the two artists indeed adopt
They have been objects of delight. We have recreated them
the clouds, become the dream for mountaineers to
completely different visual vocabularies. Since Liu’s first
in our imaginations to reflect our moods. And we have
reach. Artists from both the West and the East try to
mountaineering trip in the 1990s, followed by many
come to think of them as contributing to an idea which we
capture the overwhelming grandeur of the mountains
other trips throughout his artistic career, he has always
have called nature. Landscape painting marks the stages
in their paintings not only to express the inner longing
been overwhelmed by the immense grandeur of the
in our conception of nature. Its rise and development since
for nature but to pursue a transcendent image. Liu De-
mountains. His lasting fascination with the mysterious
the middle ages is part of a cycle in which the human
Lang’s art is one of the cases, as his paintings offer a
and capricious atmosphere found in the mountains has
spirit attempted once more to create a harmony with its
macroscopic description of the form and essence of
inspired the artist to transform the breathtaking scenery
environment.
mountains to concentrate on their inner impulse.
into a series of paintings.
16
The Macroscopic and the Microscopic – The Form and Essence of Liu De-Lang’s Paintings
A BRIEF VIEW TO THE FORM AND ESSENCE OF EASTERN PAINTING
Liu’s mountains are mostly depicted from a distant perspective to create a scenic grandeur as if the artist is enthusiastically embracing Nature with both arms while the mountains and their evocation deep in one’s soul
the surrounding mountains. It is well proven that his
are harmonized to embody the overwhelming power
paintings reveal the spirit and manner of the mountains
of Nature. With a simple and honest character, Liu’s
Chinese landscape painting is believed to be an
rather than their appearance only. Fan fully immersed
paintings feature a rich understanding of Nature and his
idealized expression rather than realistic representation.
himself in the landscape to enjoy a free flow, like a
mountain-based artistic vocabulary is solid. “Presence”
In fact, the original idea was to represent the real scenes,
shared philosophy, between the landscape and his soul.
is probably the best term to interpret his landscape
until the Song Dynasty when some of the masters,
By observing both Nature and the self, he not only
paintings, for that it makes one feel like one is physically
throughout their artistic exploration, had transformed
established a harmonized relationship with his natural
experiencing the scenery. Part of it comes from the
landscape painting into a special genre to embody their
surroundings but also expressed his personal aspirations
influence of traditional landscape paintings, particularly
philosophy of life. In Travelers among Mountains and
evoked by the true aura of the mountains with his
the majestic spirit and the macroscopic vision which
Streams by Fan Kuan in the Northern Song Dynasty,
spontaneous brushwork. The traditional landscape
strongly has impressed the artist. The realistic painting
the artist’s artistic depiction of the Taihang Mountains
painting is more than a medium to represent the beauty
has its advantage regarding the technique, especially
is still considered the perfect example which truthfully
of Natural. Instead, the painter attempt to offer a more
when someone masters it, allowing ordinary viewers to
captures the form and essence of the mountains. To
profound understanding of the so-called philosophy
grasp the full picture at a glance and be inspired by the
fully immerse himself in the aura of the mountains,
of nature, and the “philosophy,” acquired through the
visual aesthetics. However, when the painting becomes
Fan decided to live near the forests in the Zhongnan
painter’s intuition and experience, helps the painter
more symbolic than descriptive, it no longer represents
Mountains and Mount Taihua, where he could spend
to have a full picture about the course of Nature. Liu
the scenery as it used to be but evokes and inspires. In
most of his days contemplating the transformative aura
experiences a similar realization in his mountaineering
some way, the physical and psychological dedication
and scenery of the mountains, feeling the thin clouds,
trips, especially when he is contemplating the
has turned mountain-painting into a self-portrait,
soft smoke, clear sky, bright moon, and the touch of
mountains. Through the overwhelming grandeur of the
harmonizing the self and Nature as the generous and
the wind as if he were having a spiritual encounter with
mountains, he explores the inner essence of art. There
honest mountains embrace the promises of life.
the gods… through a harmonized relationship with
is a connection between his mountain paintings and
17
FROM THE MACROSCOPIC TO THE MICROSCOPIC
the early traditional landscape painting, as the sharp and solid brushwork, with which the serenity of the
to the animals and forests, creating a poetic resonance
mountains is depicted in form and essence, reflects
in the valley. The foreground of Ruby on the Top of the
a duality of both the symbolic and the descriptive,
Mountain (2017) begins with the sharp and penetrating
allowing painters to render the physical and spiritual
solidness of the skeletal rocks, covered by the undulating
aesthetics. Liu surrounds the immense mountains with
greens of the layered mountains in the middle ground,
the unfathomable profundity found in one’s inspirations
with clouds floating among them, and the contours of
and fantasies. It is how he expresses the sense of awe in
the background mountains melt in its misty and foggy
front of Nature. In his Rugged Rocks (Central Range
ethereality. The whole composition is well-organized
Point) (1993-1994), the cragged rocks tower into the
and richly layered. The red bird (Taiwan Rosefinch) at
sky at the center of the image. The rigid texture of the
the lower right corner looks up in an evocative manner,
rocks and its nuanced light-and-shadow create a solid
leading our gaze to the rhythmic rise-and-fall of the
Modern realism was born from the Bourgeois culture,
volume, accompanied by the green vegetation and some
ridges and their pulsating momentum. The mountains
and its development was closely related to the various
dead wood scattering around, while the immersive fog
are splendid like an ice queen. Only a panoramic gaze
eras and societies it belonged to. The progress of the
and cloud in the background bring in a sense of softness
on it inspires the most unimaginable awe within us. In
society has been carefully observed and interpreted
against the heaviness of the mountains to highlight
the large-size painting The Noble Xueshan (2017), the
by painters’ artistic mind until it was transformed
the beautiful veins of the rocks. It makes Rugged Rocks
depth of the scenery is highlighted in its composition.
into intriguing images. Liu’s paintings range from a
(Central Range Point) one of the iconic mountain
We follow the Taiwan cedar on both sides until our
distant macroscopic view covering the entire scenery
paintings by Liu, who has been dedicated to the genre
gaze falls on the majestic mountains in the far end,
to the microscopic close-up allowing the details to be
since the mid-1990s.
where a sea of clouds is varnished by the transformative
highlighted. The themes of his recent works include
rays of light to create a fascinating fantasy against the
mountains, wilderness, countryside, and coastal areas
Liu’s passion for mountain painting continues, if not
mountains’ heaviness and rigidity. The visual richness
in Taiwan, or even lotus ponds, and for that, he never
increases, as shown in his recent works. The series he
is further enlivened when a goshawk hovers low over
limits himself to any particular subject. The artist’s
is working on feature a larger-size artworks and the
the open ground, and the sunshine pierces the obscure
realistic brushwork thus becomes the signature, with
brushwork is more subtle and penetrating. The layered
but yet shimmering clouds. A Legend in the Mountain
which Liu visualizes various scenes and objects to
mountains like the surging waves extend toward the end
(2017) is a painting of the autumn scene in the
symbolize one idealized world where Nature and
of the world in such a mind-blowing way. The majestic
mountains, with a Formosan Sambar Deer in the image,
one’s mind are perfectly harmonized. Apart from
panoramic view of the serene mountains is interrupted
while the multiple layers of pebbled rocks and the
the mountain paintings Liu has been known for, the
by visitors like birds, deer, eagles, and other creatures in
withered yellow of dead branches and leaves throughout
exhibition in 2018 at Liang Gallery also features the
Nature who in spite of their tininess enliven the scenery.
the image echo the floating clouds in the sky like a
paintings of lotus while the microscopic close-up, the
It is the artist using another eye to project his feelings
fantasy.
opposite of the panoramic view, offers a brand new
18
The Macroscopic and the Microscopic – The Form and Essence of Liu De-Lang’s Paintings
Liu’s figurative art is a combination of an artist’s mindscape and the tradition of landscape painting. From the macroscopic momentum to the microscopic refinement, Liu not only emphasizes the appearance visual possibility. Morning Sunshine (2016) is a painting
scream of an accusatory complaint, or an artist’s cynical
of the depicted things or scenes but also projects his
of flowers and grasses, depicted with such a refinement
sarcasm and detachment, Liu impresses us with his
state of mind onto the images. “Walking his court. Not
that the veins of the flowers at dawn are clearly revealed
down-to-earth sincerity and honesty. As in Dialogue
seeing his people.” – it is the landscape of the mountains
and illuminated to create the kaleidoscopic nuance.
(2016), the spreading lotus leaves almost occupy the
as well as the mindscape of the artist. The zeal expressed
The flowers, dominating the whole image, offer us an
whole image, interrupted by the fresh lotus buds ready
in Liu’s brushwork is like a stream of vitality running
omniscient perspective, through which we see the rice
to blossom. The projective veins, seedpods, and texture
into the giant mountains to energize and to inspire.
field, grassland, and mountains from the foreground
of petals are depicted with great exquisiteness stroke by
The openness of the image never sacrifices any subtle
to the distance. The whole scenery perfectly captures
stroke. Another focus of the painting is the lower right
detail. Undoubtedly, it is the visualization of one’s
the moment when the first rays of dawn wake up the
corner where two kingfishers are having a conversation.
inner spiritual world. However, realism as a form and
lives of the world. Within the frame of Sublime (2016),
The pond in the background ripples and shimmers in
vocabulary depending on the meticulous precision is
another lotus painting, are the lotus flowers and the
the sunlight. Since the lotuses in the close-up are times
more than a painter’s inherent sensibility or the trained
curled leaves, with veins as obvious as the surging flows
larger than the normal size, the artist seems to bring in
painting skills – the acquired ability concerning the
running through the blood vessels. It is reasonable to
another meaning to the image. Similar examples can
eyes, mind, and hands – but an inner eagerness, which
speculate that the surges symbolize Liu’s passion for
also be found in Grace (2016), Elegant Charm (2016),
inspires us to experience the aesthetic of Nature in a
nature. Rather than a forced sentimental lament, the
Joyful (2016), and other paintings of large lotuses.
new way.
19
20
MOUNTAINS OF THE FOUR SEASONS
作品 Artworks
21
春之玉山 Yushan in Spring 油彩、畫布
Oil on canvas 112×194cm 2017
22
翠谷迎春 Green Valley Welcomes Spring 油彩、畫布
Oil on canvas 194×259cm 2017
24
山頂上的紅寶石
Ruby on the Top of the Mountain
油彩、畫布
Oil on canvas 182×259cm 2017
26
雪山尊容 The Noble Xueshan 油彩、畫布
Oil on canvas 200×259cm 2017
28
山中傳說 A Legend in the Mountain 油彩、畫布
Oil on canvas 182×227cm 2017
30
晨光序曲 Prelude to a Dawn 油彩、畫布
Oil on canvas 130×194cm 2017
32
合歡遠眺
Gazing into the Distance from Hehuan
油彩、畫布
Oil on canvas 162×227cm 2017
34
向陽迎曦 Facing Sun, Greeting Morning 油彩、畫布
Oil on canvas 200×259cm 2017
36
早安 Good Morning 油彩、畫布
Oil on canvas 130×194cm 2017
38
南湖看中央尖山
Looking at the Central Range Point from Nanhu Mountain
油彩、畫布
Oil on canvas 89.5×130cm 2017
40
朝陽迎春 The Sun Welcomes Spring 油彩、畫布
Oil on canvas 194×259cm 2017
42
聆 Listening 油彩、畫布
Oil on canvas 160×200cm 2017
44
情盼奇萊 Hoping to See Qilai Mountain 油彩、畫布
Oil on canvas 130×194cm 2017
46
遠眺龜山島 Overlooking Guishan Island 油彩、畫布
Oil on canvas 65×91cm 2017
48
暖秋金風
The Golden Wind of Warm Autumn
油彩、畫布
Oil on canvas 53×65cm 2017
50
湖畔晨光 Dawn Light over the Lake 油彩、畫布
Oil on canvas 194×112cm 2017
52
北濱聽浪
Listening to the Waves on the North Shore
油彩、畫布
Oil on canvas 91×116.5cm 2017
54
晨曦 Morning Sunshine 油彩、畫布
Oil on canvas 130×194cm 2016
56
昇之華 Sublime 油彩、畫布
Oil on canvas 194×130cm 2016
58
恬 Tranquil 油彩、畫布
Oil on canvas 112×194cm 2016
60
怡然 Joyful 油彩、畫布
Oil on canvas 162×130cm 2016
62
雍容 Grace 油彩、畫布
Oil on canvas 130×162cm 2016
64
清韻 Elegant Charm 油彩、畫布
Oil on canvas 130×162cm 2016
66
對語 Dialogue 油彩、畫布
Oil on canvas 227×162cm 2016
68
玉山風華慶有餘
Yushan Abounded with Elegance
油彩、畫布
Oil on canvas 196×262cm 2016
70
72
金輝銀粧兆豐年
Splendid Silverish Prosperity
油彩、畫布
Oil on canvas 196×262cm 2016
74
76
玉潔冰清中央尖
Pure and Noble Central Range Point
油彩、畫布
Oil on canvas 112×194cm 2016
78
企業合作
Commissioned Work 台北美福大飯店購藏
Collection of Grand Mayfull Hotel Taipei
台北城之時光走廊 一 (
) Taipei – Passage of Time 1 油彩、畫布
Oil on canvas 210×386cm 2015
80
企業合作
Commissioned Work 台北美福大飯店購藏
Collection of Grand Mayfull Hotel Taipei
台北城之時光走廊 二 (
) Taipei – Passage of Time 2 油彩、畫布
Oil on canvas 210×386cm 2015
82
84
山景 The Landscape 油彩、畫布
Oil on canvas 91×116.5cm 2014
86
玉山金秋 Yushan in Autumn 油彩、畫布
Oil on canvas 130×194cm 2013
88
歷年作品
Pa st Works
巉巖 中 ( 央尖山
) Rugged Rocks (Central Range Point) 油彩、畫布
Oil on canvas 130×162cm 1993-1994
90
歷年作品
Pa st Works
觀音山 Mount Guanyin 油彩、畫布
Oil on canvas 65.1×80.3cm 1992
92
歷年作品
Pa st Works
大霸尖山 Dabajian Mountain 油彩、畫布
Oil on canvas 80.3×61.5cm 1991
94
96
MOUNTAINS OF THE FOUR SEASONS
簡歷 Biography
97
劉得浪 Liu De-Lang 1958 年出生於台灣新竹
Born in 1958 in Hsinchu, Taiwan
畢業於台灣省立新竹師範專科學校（今國立清華大學）美術科。劉得浪 的繪畫由西洋古典畫派出發點，融合自己的情緒思想及民族特質，很自 然地藉著台灣的景色來表達他在繪畫上不斷創新的風格與意念。他善於
用理性的角度去研究石頭、山林、路徑、飛鳥、浪濤等在大自然下的合 作關係，運用寫實的手法來營造他心靈中所想表達的氛圍，他所想表現 的氛圍為可能來自某個科幻小說的情節，或是現代生活裡某個瞬間的情 緒，充滿著新世代嶄新的概念，更展現出台灣本土的生命力。
著名詩人席慕蓉（1943-）曾描述劉得浪的作品：「站在劉得浪的畫前，
我明白一個畫畫的人要捨棄多少誘惑，放進多少心血，才可能成就這樣 的一張作品，眼前的高山是他心中最深處的故鄉，這座島嶼的生命裡所
有的矛盾與對立似乎都被他把握住了。那岩石的堅忍與銳利，那山嵐的
柔和與嫵媚，在風中匍匐成長的植物，那在陽光裡流動著氣息，他畫的 是島上的高山，但是他畫的也同時是這個島上所有狂野不馴的卻又端麗 纏綿的生命呀！」
98
Biography
簡 歷
Liu De-Lang graduated from Taiwan Provincial Hsinchu Teachers College (today’s National Tsing Hua University) with a degree in Fine Arts. His painting style evolved from classicism. In his creation, Liu merges his sentiments, thoughts and national identity, and naturally expresses his innovative artistic style and ideas through the Taiwanese sceneries and views. The artist is good at rationally analyzing connections between stones, mountains, paths, birds, and waves in nature. He applies realistic painting technique to express atmosphere that comes deep from his heart and which feels very much like the one in a science fiction book or like a fastchanging mood so common in modern life. Poet Hsi Mu-Ren (b.1943) described Liu De-Lang’s works in these words: “When standing in front of Liu De-Lang’s artwork, I realize how much temptation the painter has to resist and how much of painstaking effort he has to put to paint this piece of work. High mountains are his home. He is able to grasp all the contradictions and oppositions happening on the island. Perseverance and sharpness of that rock, softness, and charm of that cloud and that mist in the mountain, plants growing in the wind, a sunny day with a gentle breeze, tall mountains of this island, this is what the artist paints. At the same time, he also paints wild and unruly, but lingering life!”
99
1992
1993 2000 2001 2002 2003 2004 2012 2013 2015
聯 展
1995 2013 2018
個 展
1978
學 歷
﹂，南畫廊，台北，台灣 Expo
春季靜物展﹂，南畫廊，台北，台灣 '93
﹁零號集錦在 ﹁ ﹁台灣人物畫展﹂，南畫廊，台北，台灣 新展﹂，南畫廊，台北，台灣 '94
縫合風景本位紀念展﹂，南畫廊，台北，台灣 921
﹁台灣畫派 ﹁ ﹁慶祝 球場自然生態﹂，南畫廊，台北，台灣 ― Golf
美術節﹃玉山雄姿﹄專題展﹂，南畫廊，台北，台灣 325
﹁大地常綠
﹁ 台 灣 風 畫 區 ― Formosa 油畫秀作展﹂，南畫廊，台北，台灣 ﹁寫實風景的宏觀與微觀﹂，南畫廊，台北，台灣 ﹁飛行熱氣球 ― 台灣當代藝術展﹂，尊彩藝術中心，台北，台灣 ﹁台北國際藝術博覽會﹂，台北世界貿易中心，台北，台灣
看山﹂，南畫廊，台北，台灣 ―
﹁繁星閃閃 ― 代理藝術家聯展﹂，尊彩藝術中心，台北，台灣 ﹁三月三日天氣新﹂，尊彩藝術中心，台北，台灣
﹁劉得浪第一次個展
﹁壯闊的生命 ― 台灣﹂，尊彩藝術中心，台北，台灣 ﹁行山四季﹂，尊彩藝術中心，台北，台灣
台灣省立新竹師範專科學校︵今國立清華大學︶美術科，新竹，台灣
100
簡 歷 Biography
1975 1978
1982 1983 1997 1998 1999
獲 獎
﹁第
屆全省美展﹂水彩類，入選，台灣 30
﹁學生美展﹂大專西畫組，優選，台灣 ﹁省公教美展﹂水彩類，優選，台灣
屆全省美展﹂，優選，台灣 36
﹁省公教美展﹂油畫類，優選，台灣 ﹁第
屆全省美展﹂，優選，台灣 37 屆 2 新竹縣美展﹂油畫組，優選，台灣
屆 1 新竹縣美展﹂油畫組，新美獎，台灣
﹁第 ︽玉山初雪︾，﹁第
︽飛鳳山頂東眺︾，﹁第
屆 3 新竹縣美展﹂油畫組，佳作，台灣
︽隘口︾，文建會主辦畫我家鄉比賽，優選，台灣 ︽冬陽︾，﹁第
101
Education 1978 BFA, Taiwan Provincial Hsinchu Teachers College (now National Tsing Hua University), Hsinchu, Taiwan
Solo Exhibitions 2018
“Mountains of the Four Seasons”, Liang Gallery, Taipei, Taiwan
2013
“Majestic Splendor of Taiwan”, Liang Gallery, Taipei, Taiwan
1995
“First Solo Exhibition – Panorama of Mountains”, Nan Gallery, Taipei, Taiwan
GROUP EXHIBITIONS
102
2015
“Freshness of March”, Liang Gallery, Taipei, Taiwan
2013
“Beautiful Starry Night Sky”, Liang Gallery, Taipei, Taiwan
2012
“Art Taipei”, Taipei World Trade Center, Taipei, Taiwan
“Exploring with a Balloon – Taiwan Contemporary Art Exhibition”, Liang Gallery, Taipei, Taiwan
2004
“Macro and Micro View of Realistic Landscape”, Nan Gallery, Taipei, Taiwan
2003
“Taiwan Landscapes – Formosa”, Nan Gallery, Taipei, Taiwan
2002
“Land Evergreen – Golf Course”, Nan Gallery, Taipei, Taiwan
2001
“Celebrating the 325 Art Festival – Jade Mountain Majesty”, Nan Gallery, Taipei, Taiwan
2000
“Stitched Landscape – For 921 Earthquake”, Nan Gallery, Taipei, Taiwan
1993
“Taiwan Painting School ‘94 New Exhibition”, Nan Gallery, Taipei, Taiwan
“Portraits of Taiwanese People Exhibition”, Nan Gallery, Taipei, Taiwan
“Still Life Painting ’93 Spring Exhibition”, Nan Gallery, Taipei, Taiwan
1992
“Zero – Exhibition for Expo”, Nan Gallery, Taipei, Taiwan
Biography
簡 歷
AWARDS 1999
Winter Sun, Oil Painting Excellent Work, “The 3rd Art Exhibition of Hsinchu City”, Taiwan
Mountain Pass, Merit Award, Paint My Hometown Competition organized by the Ministry of Culture, Taiwan
1998
East Vision of Mountain Fei Peak, Oil Painting Merit Award, “The 2nd Art Exhibition of Hsinchu City”, Taiwan
1997
First Snow of Jade Mountain, Oil Painting Excellent Work, “The 1st Art Exhibition of Hsinchu City”, Taiwan
1983
Merit Award, “The 37th Taiwan Provincial Fine Arts Exhibition”, Taiwan
1982
Merit Award, “The 36th Taiwan Provincial Fine Arts Exhibition”, Taiwan
Oil Painting Merit Award, “Military and Government Arts Exhibition”, Taiwan
Water Color Merit Award, “Military and Government Arts Exhibition”, Taiwan
1978
Western Painting Merit Award, “College Students Art Exhibition”, Taiwan
1975
Water Color Selected Award, “The 30th Taiwan Provincial Fine Arts Exhibition”, Taiwan
103
104
MOUNTAINS OF THE FOUR SEASONS
圖錄 Catalog
105
22
春之玉山
翠谷迎春
26
山頂上的紅寶石
Yushan in Spring
Green Valley Welcomes Spring
Ruby on the Top of the Mountain
2017
2017
2017
油彩�畫布 Oil on canvas 112×194cm
28
雪山尊容
油彩�畫布 Oil on canvas 194×259cm
30
山中傳說
The Noble Xueshan
A Legend in the Mountain
2017
2017
油彩�畫布 Oil on canvas 200×259cm
106
24
油彩�畫布 Oil on canvas 182×227cm
油彩�畫布 Oil on canvas 182×259cm
32
晨光序曲
Prelude to a Dawn
油彩�畫布 Oil on canvas 130×194cm
2017
Catalog
34
合歡遠眺
36
向陽迎曦
Gazing into the Distance from Hehuan
Facing Sun, Greeting Morning
2017
2017
油彩�畫布 Oil on canvas 162×227cm
40
南湖看中央尖山
Looking at the Central Range Point from Nanhu Mountain 油彩�畫布 Oil on canvas 89.5×130cm
38
早安
Good Morning
油彩�畫布 Oil on canvas 200×259cm
油彩�畫布 Oil on canvas 130×194cm
42
44
朝陽迎春
The Sun Welcomes Spring 油彩�畫布 Oil on canvas 194×259cm
2017
圖 錄
2017
聆
Listening
油彩�畫布 Oil on canvas 160×200cm
2017
2017
107
46
情盼奇萊
48
遠眺龜山島
暖秋金風
Hoping to See Qilai Mountain
Overlooking Guishan Island
The Golden Wind of Warm Autumn
2017
2017
2017
油彩�畫布 Oil on canvas 130×194cm
52
湖畔晨光
Dawn Light over the Lake 油彩�畫布 Oil on canvas 194×112cm
2017
油彩�畫布 Oil on canvas 65×91cm
54
北濱聽浪
Listening to the Waves on the North Shore 油彩�畫布 Oil on canvas 91×116.5 cm
2017
108
50
油彩�畫布 Oil on canvas 53×65cm
56
晨曦
Morning Sunshine
油彩�畫布 Oil on canvas 130×194cm
2016
Catalog
58
昇之華
Sublime
60
恬
Tranquil
62
怡然
Joyful
油彩�畫布 Oil on canvas 194×130cm
油彩�畫布 Oil on canvas 112×194cm
油彩�畫布 Oil on canvas 162×130cm
64
66
68
2016
雍容
Grace
油彩�畫布 Oil on canvas 130×162cm
2016
2016
清韻
Elegant Charm
油彩�畫布 Oil on canvas 130×162cm
2016
圖 錄
2016
對語
Dialogue
油彩�畫布 Oil on canvas 227×162cm
2016
109
70
玉山風華慶有餘
金輝銀粧兆豐年
78
玉潔冰清中央尖
Yushan Abounded with Elegance
Splendid Silverish Prosperity
Pure and Noble Central Range Point
2016
2016
2016
油彩�畫布 Oil on canvas 196×262cm
油彩�畫布 Oil on canvas 196×262cm
油彩�畫布 Oil on canvas 112×194cm
80
82
86
台北城之時光走廊 ( 一 ) Taipei – Passage of Time 1
台北城之時光走廊 ( 二 ) Taipei – Passage of Time 2
The Landscape
2015
2015
油彩�畫布 Oil on canvas 210×386cm
110
74
油彩�畫布 Oil on canvas 210×386cm
山景
油彩�畫布 Oil on canvas 91×116.5cm
2014
Catalog
88
90
Yushan in Autumn
玉山金秋
巉巖 ( 中央尖山 ) Rugged Rocks (Central Range Point)
2013
1993-1994
油彩�畫布 Oil on canvas 130×194cm
92
觀音山
Mount Guanyin
油彩�畫布 Oil on canvas 65.1×80.3cm
1992
圖 錄
油彩�畫布 Oil on canvas 130×162cm
94
大霸尖山
Dabajian Mountain
油彩�畫布 Oil on canvas 80.3×61.5cm
1991
111
發行人
總經理
出版者
策劃編輯
翻 譯
Yu Yen-Liang
Executive Director
Claudia Chen
Director
Liang Gallery Co., Ltd. Cindy Yang Siraya Pai, Laura Lygaityte Hong Ding-Jiun
余彥良
陳菁螢
尊彩國際藝術有限公司
楊旻軒
白斐嵐、李樂蓉
Ho Chung-Chang KC, JD
Publisher Editor Translation Display Executive
Lighting Photographer
Liu Ming-Wei
Designer
Jih-Tung Art Printing Co., Ltd.
Printing
出 版
洪鼎鈞
何仲昌
劉光智、黃嘉達
劉銘維
日動藝術印刷有限公司
二零一八年一月初版
展場執行
展場燈光
攝 影
設 計
印 刷
ISBN 978- 986- 95903- 1- 0 Publishing Date First Edition, January, 2018