SHIY DEJINN
中誠藝術 多情應笑我─ 席德進精品呈獻
Taiwanese, 1923~1981
中誠藝術2015春季拍賣 席德進精品專刊
中誠獻呈：席德進十幅珍品專拍 2014年12月21日，中誠國際藝術隆重推出的「席德進精品專拍」，品項珍稀罕有，保存毫無瑕疵，雖然起拍 價格稍高，但仍深得各位藏家信賴與支持，五件作品全數高價易手！ 此回中誠推出的2015春拍，延續去年秋拍熱度，再次推出由席德進基金會創會董事長，也是席德進生前摯 友，年逾八十一的盧精華先生手中徵得的第一手珍品，珍藏已逾三十餘年，引薦10幅席德進晚年之水彩及彩墨的 經典畫作，亦示「十全十美」之意。
席德進將盧精華先生的家視為自己的家，時常進住盧家，席德進時常與他談論藝術書法，相應快活！而今， 席德進作品能廣為人知，熱潮持續上升，財團法人席德進基金會居功厥偉，但當年奔走成立基金會卻是千辛萬 苦，屢經波折。基金會的順利設立，幕後最大的推手當為盧精華先生。
本次推出盧精華先生珍藏的十件精品，為席德進晚期的水彩畫、彩墨畫各五幅，提供給藝術收藏及藝術愛好 者共賞之。此時期的作品色調蒼鬱、豐潤飄逸，席德進一生飽嘗了愛情、唯美與空寂，並以生命的孤獨，妝點出 藝術的永恆，在蕭瑟的天地間，展演物我兩忘的自然之美，毫無任何贅言與矯飾，被視為他一生藝術成就的最高 體現。張大千讚其畫作稱：「大筆淋漓，雄奇秀拔而沉重渾厚」，名畫家吳昊先生更說過：「在國內畫壇裡， 席德進的水彩畫還沒有別人能超越他。」道出一代大師的傳奇丰采。
席氏熱情，孤飛雄鷹 席德進踏實而絢爛的創作生命，是畫作底蘊豐沛的養份，他以孤飛雄鷹的姿態，俯視永恆的台灣山川與風 物，向遠處翱翔，帶引我們去看更廣闊的天地（見圖一）。席德進的涉獵極廣，水墨、素描、油畫、書法皆卓然 有成，無一不精，又對藝術理論深有研究，筆耕不綴。文筆犀利，舉凡論文、小品、詩歌等均具其自我獨特的風 格與魅力，永遠是一個前衛的先行者。他銜接西方的繪畫傳統走下去，習自法國藝術家畢費(Bernard Buffet)的銀 鈎鐵畫，線條線條冷峻、色彩灼亮如火；也從中國書畫的傳統走出來，將「墨分五色」的畫境融以水彩及彩墨表 現地淋漓盡致，並在古老混沌的民間文化中，挖掘出藝術的活泉。
1980年，他住院檢查出罹患胰臟癌，然而身體的病痛並未擊倒他，他持著熱情鏗鏘的彩筆，在朋友的安排下 到台中的盧家，坐盧家的專車，無遠弗屆地深入台灣最平凡的角落，徜徉於南投縣埔里鎮的山野林間，去領受 雲山清溪、曠野樹影的風韻。據時常陪同席德進四處寫生的盧精華（谷風）於〈我所知道的席德進〉中所述： 「席德進腰間繫著積存膽汁的瓶子，不時要飲食苦汁，不時又要承受奔波勞頓之苦，在埔里、在鹿谷、在梨山、 在南投遇有好景致時就停了下來，選好角度，立好畫架，然後拿起畫筆，兩腿分開再弓起，當手中的畫筆揮動 時，像武士揮舞著寶劍與惡魔作戰，每一回合至少是三、四十分鐘，面不改色，當一幅畫完成時，已是疲憊不堪 了，但是，他堅持馬不停蹄，向下一個戰場出發。」
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(Picture 1) With observant eyes Shiy stands on the top of Puli Mountain,
圖( 一 雙 ) 眼似鷹的席德進在埔里的高崗上，捕捉可以入畫的景致︵谷風攝︶
looking to capture the magnificent view for his painting (Photographed by Lu Jing-Hua)
勇者如斯，席德進在生命最後的創作階段，他身上吊著流出自身膽汁的瓶子，以虔敬朝聖之心，穿梭於亂草 荒野間，擁抱自然深蘊的生機，大至阡陌野嶺的澎湃，微至珠花細草的真實。那些煙光雲影、青山綠水、暫駐的 野雁、靜臥的水牛，以及歷經風霜的古廟與老屋，這些大美不言的存在，才是他最願神交並為之感染的對象。本 次呈獻的一幅幅的席氏經典畫作，徹底地褪盡單薄的繁艷，獨自流芳，不知有漢，無論魏晉，獨與天地精神往 來，細膩地刻印出生命的渾厚華滋。
花謝在我的墳上，是我的紅外套 盧精華於典藏雜誌的訪談中回憶，席德進在病榻前完成自己的墓園草圖，與李乾朗討論後十分滿意。待李 乾朗離開後，他突然又從病床上坐起，疾呼：「老哥，你過來！設計圖裡忘記塞東西進去，要栽種兩棵木棉進 去。」盧精華回說：「我一定照辦，你放心吧！你忘了你還指定我為你的唯一代言人，要我主導基金會，你不 是常說：『老哥是最值得信賴，做事最有板有眼嗎？』席德進回答說，「因為這個紅在調色盤裡不容易調得出 來。」又說，「我希望木棉花謝了都落滿我的墳墓上，作為我的紅外套」。現在大肚山的墓園裡左、右一棵木棉 花正美麗盛開著，大肚山花園公墓也因席德進墓園而聲名大噪。藝術家的性情與風範令人景仰，而盧精華鐵肩擔 道義的精神，在人文精神淡薄的時代更顯得可佩！
席德進是孤飛的大鷹，朝永恆的藝術信念展翅飛翔，他把瘦癯的身軀挺立於風中山巔、曠野沙洲，飯後昂首 將那瓶從體內滴流出來的黑色膽汁一飲飲盡，那份椎心動性的苦，兩千多年前勾踐嚐過，而今席德進也嚐過，勾 踐為國家；席氏為藝術，臨生命艱困而不皺眉，他飲盡生命的苦泉，照見藝術的甘醇，並以魔術般的彩筆，為自 己繪上傳奇而永不褪色的線條。如雨後光霽映現的虹彩，以藝術的天才妝點生命的寂寥，他的創作永遠深入民 間、向泥土扎根，把生命一切的快樂、憂戚、苦澀和無邊的寂寞，全部濃縮進崢嶸秀潤的山水裡，為天地點染了 繁複璀璨的豐美色彩。
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ZHONG CHENG 2015 SPRING AUCTION THE EXCLUSIVE ISSUE ON SHIY DEJINN
Zhong Cheng Presents:The Exclusive Shiy Dejinn Sale featuring 10 Outstanding Works On December 21st, 2014, Zhong Cheng Auction offered the Exclusive Sale of Shiy Dejinn , the works were extremely rare and preserved in excellent condition! Although, the starting price was relatively high, with the support and trust from our beloved collectors, all five pieces were sold successfully at an impressive value! For our 2015 Spring Auction, Zhong Cheng is carrying on the Shiy fever from our last Autumn Sale; Once again, we present Shiy De-Jinn's work from the artist's best friend and director of the Shiy De-Jinn foundation -Mr. Lu Jing-Hua. The age eighty-one collector, Lu Jing-Hua used to acquire artworks directly from Shiy, furthermore these precious works remain in his private collection for more than thirty years. This auction, we recommend our collectors 10 works from the artist's final years. The 10 paintings vary from watercolor and color-ink medium, the number 10 was especially chosen to express perfection. Shiy De-Jinn viewed himself as a member of Lu Jing-Hua's family; he often stayed over, and the two friends would discuss their different perspectives on the aesthetic and calligraphy. The fame and progressive growth in value for Shiy's artworks owed its credit to the Shiy Dejinn Foundation. To fund the foundation was not an easy task. It took an extraordinary amount of work and dedication; the success of the foundation is all thanks to Shiy's biggest supporter, Mr. Lu Jing-Hua. All works were created during Shiy's final years, five in watercolor, and the other five in color-ink; for the appreciation of our collectors and art lovers. Paintings from this period are slightly sad and drifting, Shiy have experienced a lifetime of love, beauty and loneliness, furthermore a solitary life, it made him realize the eternity of timeless aesthetic. To Shiy, the depiction of nature's beauty in this bleak world, without any burden or pretense, is regarded as the highest form of expression in his lifetime artistic achievement. Zhang DaQian complimented the artworks, saying“Large brush of dripping expressions, with magnificent force ”. The famous painting Mr. Wu Hao even said“In our domestic art scene, no one can yet surpass Shiy's watercolor works. ”the approval of Shiy's aesthetic practice was given by many master artists.
The Art Enthusiasts Shiy, Similar to a Lone Eagle in the Sky The sensible and splendid creative life of Shiy De-Jinn, served as the abundant nutrient for his work. He viewed the eternal mountains and streams of Taiwan through eagle like stance, with the aim to show us a worldly perspective (picture 1). Shiy De-jinn was an expert in ink-drawings, pencil sketches, oil paintings, and calligraphy. He was also very knowledgably in art history and art theory. As a progressive pioneer in aesthetic he adapted and continued the Western painting traditions. He adapted the sharp lines of French artist Bernard Buffet's; and also incorporated techniques from traditional Chinese paintings such as the five shades of ink into his watercolor and colored ink drawing. Within the diverse aesthetic approach of Chinese traditions, he was able to discover his own artistic path. In 1980, he was diagnosed with pancreatic cancer, however the illness did not conquer him. Instead, he took his paintbrush; under the arrangements of his friends he arrived at Lu's house in Taichung. He got in Lu's family car and drove to nature's every corner. He wandered to the mountains of Puli, Nantou, to feel the Yunshan stream, and wild shadowy charm of the forest. Lu, who often accompanied Shiy on his en plein air travels, written in the book The Shiy De-Jinn I Know , Lu said“Shiy Dejinn would carried a bottle of bile on his waist, he frequently have to consume the bitter taste
of the bile, and suffered physical exhaustion due to his condition. Once he finds a splendid view in Puli, Lugou, Li or
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席大師熱愛台灣民間藝術，在鹿港的古老門前留影。
Nantao, he would pick a good spot to set up his easel and pick up his paintbrush. The way he paints with his paintbrush is similar to a warrior holding his sword battling the devils; each round was around 30-40 minutes without catching a breath. By the time he finished a piece, he would be exhausted, however, he insisted on continuing to the next round without any rest ” The warrior like Shiy, spent his final years embracing the vitality of nature and shuffling through the wilderness with a sincere heart, he painted magnificent mountain scenery to the exquisite details of plants. The unspoken beauty of shadows within clouds, green landscape, wild geese, calming buffalos, temples, and old houses, are all subjects adorned by Shiy. This auction, we bring our collectors the most classic pieces by the legendary artist Shiy De-Jinn, each work engraved the delicacy of life and nature's true essence.
The Flowers Withered on My Grave, It Will Be My Red Coat Lu told Art Investment magazine during an interview that, Shiy completed his cemetery sketch while he was ill and he was very satisfied with his work after a discussion with Lee Ganlang. After Lee left the room, he sat up again from the hospital bed, saying“Brother, come here! I forgot to include two kapoks in my cemetery design ”. Lu Jing-Hua said in respond, "I will get it done, not to worry! Have you forgotten that you chosen me as your one and only spokesperson to lead the foundation? Didn't you always tell me that I'm the most reliable and trustworthy person? ”Shiy continued, "To make the red of kapok on a palate, is not an easy task. I would like the fallen paddles to be my red coat, after they withered on my grave. " The kapok are now blooming beautifully in the Cemetery of Da-du Mountain, because of Shiy, it is now a famous destination. The romantic and passionate character of Shiy is simply captivating; furthermore, the loyal and ethical Lu seems more admirable than ever in our era where scholarly essences are less valued and pursuit. Like a giant lone eagle, Shiy Dejinn fled towards the eternal faith of aesthetic pursuit, he stands undefeated on the peak of the mountaintop, even when his body was ill and exhausted. He swallowed the bitter taste of the bile juice confidently. Thy physical pain is similar to the pain Gou experienced two thousand years ago. Today, Shiy suffered the same way. Gou suffered for a nation, and Shiy did it for art. They approach life's end with no misery, he drank the misery of the world yet shine light on the sweetness of art, with a seemingly enchanted paintbrush, and he painted himself a legendary path. Similar to the calm after the storm, through life's loneliness, he explored his genius within aesthetic. His creations will forever penetrate our minds. He condensed his life experiences of happiness, sadness, suffering, and loneliness all into his colorful depiction of mountains and other natural sceneries.
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SHIY DEJINN Taiwanese, 1923~1981
目錄
CONTENTS
序
02
盧精華的告白
11
蘆溪泊舟
18
方外禪話
22
漁人啟航
26
山光出峽
30
霧籠山村
34
埔里山光
40
秋收後的田莊
44
水仙花
48
芙蓉
52
搖曳生姿聖誕紅
56
10
財團法人席德進基金會創辦人
盧精華(谷風) 的告白── 圖( 一 一 ) 九七七年時任台灣省主席蒞臨至省立台中圖書館席德進個展的會場簽名。
(Picture 1) In 1977, the chairman of Taiwan attended Shiy De-Jinn's solo exhibition in
Taichung Public Library, he leaves his signature at the entrance of the event
敬愛的收藏家們： 一、我目前的心境 自從我的老友以無預警式地帶領《典藏投資》雜誌中部總監林小姐及攝影師突然來家專訪之後，該雜誌的 2014年四月號，以十個Page的篇幅紕漏後，電話就不斷響起，身為年正八十一歲老翁的我，感到相當地不寧與為 難，因我收藏的席德進畫作，每幅的背後都有一個令人難以忘懷的故事，難以割捨，而此次送拍的十幅藏畫，很 可能是最後一次，以圖度個寧靜安逸的晚年！
去年夏天的一個中午，我旅居美國的兒子來電說，他的同事帶著他父親造訪，而他先祖家是彰化二水的大地 主，三十多年前移民美國，他父親看到客廳掛的一幅全開的水彩畫後，眼泛著淚光，手指摸著畫面，從遠山摸到 畫框外說：「我們的莊院及土地就在這裡！」，他急切地要求把畫讓給他掛，我兒子問我可不可以，我說明天再 答覆你，真令我五味雜陳，而感動不已！第二天我答覆我兒子說：「可以！價錢由他開好了！」後來，聽我兒子 說，老先生抱著一萬美元現金，把畫高興地抱走了。
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席德進最早的粉絲大部分為外國人，因為當時各國駐台的大使館的外國人，尤其是美國在台協會及美國新 聞處，皆成為席德進的伯樂。尤其是美國新聞處經常為其舉辦畫展，這才讓駐台的外國人認識了席德進的風格 獨具，鄉土風味十足的畫作，也因此席德進是台灣有史以來第一位全職的職業畫家，而台中市的美國新處外牆 的大壁畫即是席德進的創作（見圖三）。如此種種才使席德進得以實現「應美國國務院之邀，赴美參觀考察藝
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圖( 三 台 ) 中美國新開處壁畫係席德進設計， 於 民 國 五 十 六 年 ( 1 9 7 6攝) 於 壁 畫 前 。
二、席德進生前唯一的大壁畫創作
圖( 二 一 ) 九七七年席德進在彰化縣二水鄉的畫作， 在省立台中圖書館展出。
後代為處理。而剩下的一幅就是賣給美國老華僑的那一幅（見圖二）。
(Picture 3) Shiy's mural on the wall outside of
是彰化縣二水的風景，這是謝主席的家鄉，他連連叫好，最後他選了兩張訂下，交代他的隨從及馬館長，在展完
(Picture 2) Shiy De-Jinn's 1977 painting of Ershui,
（見圖一），與席德進寒暄一陣後，就與馬館長等人陪謝主席觀賞畫作，但是站在三幅畫前仔細端詳良多，這就
American News Department in Taichung city
人，館長馬廣亨剪綵後，人潮洶湧，約半小時後，馬館長陪著當時任省主席的謝東閔先生蒞臨會場，先簽了名
Changhua, on displayed at the Taichung Public Library
談到這幅畫，會令我想起1977年在省立台中圖書館，由中興畫廊所舉辦的「席德進個展」時，我是接待
圖( 四 席 ) 德進在畫家黃義永家中用餐 圖( 左 至 右 依 序 為 黃 義 永 、 席 德 進 、 盧 精 華 、 紀 慧 能
)
(Picture 4) Shiy De-Jinn dining at the home of Huang Yi-Yong (From right to left: Huang Yi Yong, Shiy De Jinn, Lu Jing Hua, Ji Huai)
圖( 五 在 ) 畫家黃義永家當眾揮毫。 (Picture 5) Shiy De-Jinn showcasing his skills at Huang Yi Yong's home.
術」，而訪美一年的生活費，皆由美國國務院包辦。而在此之前台灣政府的多種藝術獎項，皆無席德進的 份兒！奇怪嗎！
三、埔里──席德進的最愛
自從席德進生病以來，為了不讓他勞累，而一圓他要死於畫架下的心願，所以派專人將他載來台中我
家，而後，找會推拿及身強體壯的朋友，一起陪同去埔里寫生，收工後，就到埔里的畫家黃義永家中歇息，
有時用午餐或晚餐。他最喜愛活魚現蒸及瓜仔雞（見圖四），飯後，若心情十分好時，會向來自埔里當地的
畫家、仕紳、作家等，在黃義永家中展示他這天的畫作，或當眾揮毫寫書法（見圖五），或與眾人天南地北
地大聊起來。
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14
Confession of Lu Jinghua The Chairman of Shiy Dejinn Foundation
1. My Current State of Mind Since my good friend, brought the director of Art Investment
Magazine Ms. Lin to my house for an interview that published ten pages on April 2014, my phone haven't stopped ringing. As an 81-yearold men, I felt overwhelmed and troublesome, each Shiy Dejinn painting within my collection has an unforgettable story. They are memories that are hard to let go of, therefore this auction of the year may very well be my last time to consign. I intend to live quiet and peacefully in my final years. One afternoon last summer, my son who resides in America called, he told me his colleague paid a visit with his father. His father burst into tears when he saw a watercolor painting in the living room. His father was a big landowner in Ershui, Changhua and had moved to the United States 30 years ago. "This was our land and manor !" he said. He asked for the painting immediately. I told my son I would give him a reply tomorrow. His request puts me in a complicated situation, but I was deeply touched. The next day I said to my son,“He can have the
painting, let him state the price! ”Soon after, the old man brought over ten thousand US dollars, took the painting with joy. Speaking of this painting, it reminds me of Taichung Public Library in 1977, the time Zhong Shin Gallery hosted the "Solo
Exhibition of Shiy De-Jinn ". I was a receptionist for the event, after curator Ma Guang-Han cut the opening ribbon, people soon crowded in, after half an hour, Ma accompanied the current provincial chairman-
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席大師吊著皮包內的膽汁瓶
在草屯通往埔里的大橋上作畫
席大師與盧精華合影於埔里台灣地理中心
Mr. Hsieh Tungmin into the welcoming ceremony. Soon after he signed his name (See picture 1) and briefly speak to Shy De-Jinn, Ma gave him a tour of all the works. Hsieh soon stopped in front of three paintings for a very long time; he observed each painting with great care. The three paintings depict the beautiful scenery of Ershui, Changhua, which is also the hometown of Mr. Hsieh Tungmin! He continuously gave his approval to Shiy's painting, at the end, he reserved two out of the three paintings to be delivered to him after the solo exhibition. The last painting left, was the very work I sold to the father of my son's colleague. (See picture 2).
2. The One and Only Mural Shiy Dejinn Had Ever Created. Most of Shiy's earliest admirers were foreigners. This was the period when Foreign Embassies started to locate in Taiwan. The Americans Institute and the American News Department were all fans of Shiy De-Jinn. Especially, the American News Department, they constantly held art exhibitions for him, promoting his unique style and cultural perspective to other foreigners living in Taiwan. As a result, Shiy became the first full-time artist in Taiwanese history. Shiy's mural can even be found on the wall outside of American News Department in Taichung city (See picture 3). After
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席德進身分證影本，正本已移交省立美術館收藏。
職業欄為﹁畫家﹂，更顯其珍貴意義。
much collaboration with the American Embassy, he was“Officially invited by the United States Council to visit America, for the purpose of aesthetic learning.” He was granted a full year of living expenses, all covered by the United States
Council . Before he flew for American, he entered numerous art competitions sponsored by the Taiwanese government, but have never won an award. Now, Isn't this odd?
3. Puli-Shiy's favorite Since the day Shiy was diagnosed with cancer, to keep him from feeling exhausted yet to also fulfill his final wish of dying on his easel, I made arrangements for him to stay at my house in Taichung. We invited friends who know massage and are muscular to accompany us on our adventure to Puli. After Shiy finish his painting in nature, we would rest at artist Huang Yi Yong's house, we often have lunch or dinner there. Shiy's favorite dish was steamed fish and Gua-xi chicken (See picture 4). If he was in a good mood after a meal, he would show the artist, gentlemen and writers of Puli the painting he created that day; or he would show others his skills in calligraphy (See picture 5). Or on other days we would simply talk about everything and anything.
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︽多情應笑我
Lot 084
席德進珍品呈獻︾ ─
蘆溪泊舟 1980 42.5×61.5 cm 彩墨 紙本 簽名：席德進 1980 藝術家鈐印：席德進印(白文)、席氏書畫(白文)、谷風清賞(白文)
「我們主張世界大同，跟隨西方文化的傳統走，參與世界性的藝術創作，是一條路，這樣可以激勵與提升中 國新文化的誕生，但同時我們也要有一批人，接著母體文化傳統走。這是更為真誠、切實的一條路，來創造自己 的新文化。我們繼往開來，必然是站在自己傳統文化的基礎上去做。」 ──席德進〈現代國畫試探〉，完稿於一九八○年八月，病中
席德進與杭州藝專的恩師林風眠，情若父子，共為中國傳統書畫的革新努力。此幅成於1980 年的《蘆溪泊 舟》，頗具林風眠式的彩墨語彙，蘆葦偃仰、枝葉疾飛，深具動感與詩意。席德進極力把握中國筆墨的優越性， 將書法的用筆勁道帶進畫裡，充分發揮了筆勢的抑揚頓挫、變化多端，密不透風，疏可走馬。
《蘆溪泊舟》裡色層堆疊的構圖方法，是席德進最為精擅的，在大筆橫曳的背景中經營濃淡，色調的變化一 氣呵成、行雲流水，深刻展現了席德進水彩技法的純熟運用。同時雜揉了水墨的深遠意境，以及水彩的渲染技 法，創造了寬闊無窮的空間感。溪河邊獨自停駐一孤舟，不見漁人，在蒼茫的大地裡更顯寂寥。創作《蘆溪泊 舟》的1980 年，席德進已發覺自己罹患胰臟癌，雖積極治療，但病軀仍一日日瘦癯下去，而《蘆溪泊舟》的沉 鬱氣氛，也令人感染到藝術家壯志未酬的遺憾，也甚有杜甫〈旅夜書懷〉中所述的「飄飄何所似，天地一沙鷗」 的孤絕不遇之感，此畫可與其恩師林風眠相互應。
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臺灣頌席德進逝世三十週年精品展
Boat Over the River 1980 42.5×61.5 cm Ink and Color on Paper Signed Shiy De-Jinn in Chinese, dated 1981 With three seals of the artist
"We follow the tradition of Western culture and join the worldwide art creation, it is a way to inspire and elevate the
new born Chinese culture. Meanwhile, we have to carry on our own tradition, this is a more sincere path to create our new culture. We follow the past and herald the future, it must be done by standing on the foundation of own tradition. " - Shiy Dejinn (Modern Painting Exploration ) finalized in 1983 August, during his illness. The layering composition within the painting was presented in Shiy De-Jinn's signature skills. With a large brush that swipes across the page creating the aura of perspective. He combined the profound conceptual ink with the blending technique that watercolor required, showcasing the sense of space that can only be achieved with endless practice. A single boat quietly sits on the river, with no fisherman in sight, the picture suggest isolation and loneliness. This painting was completed in 1980, the same year Shiy was diagnosed with pancreas cancer, although he attempted many treatments, his sickness only got worst. The painting expressed Shiy's regret for his unfulfilled ambition.
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︽多情應笑我
Lot 085
席德進珍品呈獻︾ ─
方外禪話 1981 66.5×48 cm 彩墨 紙本 簽名：席德進 1981 藝術家鈐印：席氏書畫(白文)、席德進印(白文)、谷風清賞(紅文)
《方外禪話》完成於1981 年，當年席德進59歲，命運弄人，正登上了藝術的巔峰，卻也來到生命的末尾。 他對藝術仍有萬般憧憬、滿腔熱情，卻天妒英才、病從天降。席德進知曉自己病情嚴重，對摯友說：「我不會向 生命屈服，萬一不幸，我在台灣孑然一身，我將把我的藝術交託給你們，希望我的藝術生命能夠永存。」並在眾 多好友的協助下，辦起生前最後一場畫展，在1981 年六月，席德進穿起一襲清朝一品官袍服，面容清癯、雙眼 炯炯，深具大師風範。展覽的規模之大、轟動程度均前所未有，賞畫賓客如潮水，百餘位藝文界人士均到場祝 賀。席德進選擇以他獨特的方式，為自己絢爛如星，卻亦如流星般早逝的生命，譜下最美麗的終曲。
詩佛王維曾言：「凡畫山水，意在筆先」，而《方外禪話》的重山疊翠、氣勢巍峨，用色斑斕，構成俐落大 器，充滿豪情瀟灑的天地氣象，也正是藝術家內心真實的反映。《方外禪話》中紫藍的高峰拔地而起，直聳入 天，參天古樹的葉叢茂密，而天邊更有山嵐一抹，天山雲影共徘迴。令人聯想詩人李白〈獨坐敬亭山〉詩中所述 的「眾鳥高飛盡，孤雲獨去閒」。席德進將畢生的愛與美獻予藝術，深入走訪台灣美麗的群山、鄉野，視作方外 桃源，並以與山澗老樹，相看兩不厭。
據陪同席德進去埔里作畫的好友盧精華稱：「此畫是在埔里的一座規模不大的廟宇前的景致，遊罷回台北 後，在畫室中用宣紙畫出此一景致，山峯下樹林中倆位出家人在樹下交談，方外人即是出家人，禪話就是倆人參 禪後，話中另有機鋒的對話，故稱之禪話、禪悅。」
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席大師於台北龍門畫廊最後的一次畫展
Mountain Scenery 1981 66.5×48 cm Ink and Color on Paper Signed Shiy De-Jinn in Chinese, dated 1981 With three seals of the artist
This painting was completed in 1981 when Shiy De-Jinn was fifty-nine year old. Ironically, when his artistic career was reaching for heights, his life journey was slowly coming to an end. His passion and devotion for art remain unmoved; when he realized the seriousness of his condition he told his closest friends“I will not admit defeat to life. If
the misfortunate occurred, I have no relatives in Taiwan, I shall leave my art to you, I hope the existence of my art can be preserved for eternity. ”With the help of many friends he successfully hosted the final exhibition of his life. On June 1981 Shiy dressed in a Qing dynasty traditional Chinese gown to the opening of his final art show. It was a large-scale exhibition that moved many, guests were pouring into the exhibition space, the most important people of the art world arrived as well to give their blessings. Shiy De-Jinn chose to uniquely present himself as the bright shinny star he is, his life ended too soon similar to the faith of a shooting star, he composed a beautiful finale for his life.
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︽多情應笑我
Lot 086
席德進珍品呈獻︾ ─
漁人啟航 1979 42×76 cm 彩墨 紙本 簽名：席德進 一九七九 藝術家鈐印：席德進印(白文)、席氏書畫(白文)、谷風清賞(白文)
1979 年五月，席德進飛往香港，會見杭州藝專的恩師林風眠，相談勝歡，並於日記末尾感性記下：「這兩 代藝術家的碰面，他依然雄心萬丈，要去了解最新的藝壇趨向，作為他再出發的起點，而我將接下他的棒來，繼 續完成創造新中國畫的使命。」席德進回國後，立刻振筆疾書、彙整資料，完成了《改革中國畫的先驅者──林 風眠》，向恩師致敬，師生情誼綿長動人。然而兩年過後，席德進遽然離世，林風眠深為扼腕，長嘆：「可惜， 可惜，他剛找到自己的風格，就死了。」
中國畫的革新與發揚，是席德進的終極關懷，他晚年時曾言：「年齡越大，我越喜歡起書法和中國文人山水 畫來。」他對水墨畫有著至死不渝的情感執著，也有著悲壯的歷史擔負，極欲建立現代國畫的新里程碑。即使身 染重疾，仍甘冒性命危險積極主辦「現代國畫試探展」，並發表〈近百年國畫的改革〉及〈現代國畫試探〉等文 章，倡言現代水墨畫的革新，以及對於中國美學的文化認同，苦心造詣地，要為現代國畫開拓嶄新的大道。
成於1979 年的《漁人啟航》，用色濃重，山巒壯麗，拔地而起，宏偉之至。對攝影美學也頗有研究的席德 進，把攝影中「三分法」的構圖技巧，鎔鑄進繪畫美學之中。將景色後一分為三，讓視覺隨著色彩推移、延伸， 值得細品。席德進向來尊重中國筆墨的優越性，並將之發揚光大、獨樹一幟，他的水墨畫，多不含傳統的皺筆筆 法，並將「以線整面」的理念予以擱置。而是採用了水彩的著色法，及其特有的「溼中溼」表現方式相融合，使 作品餘韻無窮，墨氣淋漓、色韻飽滿，《漁人啟航》就此從國畫的精深中另闢蹊徑、別開生面，抵達全新的藝術 境界。
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Boats by the Riverbank 1979 42×76 cm Ink and Color on Paper Signed Shiy De-Jinn in Chinese, dated 1979 With three seals of the artist
Innovation and development of Chinese Paintings have always been Shiy Dejinn's main concern. He once said in his late years,“The older I
am, my interest for calligraphy and Chinese literati landscape paintings grew. ”He had always maintained his strict emotions towards color-ink paintings, as he solemnly took on the historical responsibility in art and culture. With his determination, he had set up the milestone of modern Chinese painting. Boat over the River was presented in 1979, with its magnificent mountains and landscapes celebrated by substantially relentless use of colors. Shiy De-jinn also applied his photographic knowledge into his work when he arranged the composition with the
Rule of Thirds . The composition in turn, brings attention to a fuller movements and an expansion of colors. Shiy De-jinn took advantage of the privileges Chinese ink drawing can offer. He proudly advocated ink paintings by creating a new routine of his own, involving scarce amount of tradition brush strokes, discarding the conventional idea of“complete
the work with lines .”Instead, he related his craftsmanship with watercolors, generating the unique blend of Wet on Wed technique that fabricated the lingering charm of colors and ink. Boat over the River , with new characteristic, had created an innovated style of painting, pushing the boundaries within art history.
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︽多情應笑我
Lot 087
席德進珍品呈獻︾ ─
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山光出峽 1981 57×76.5 cm 水彩 紙本 簽名：席德進 1981
「敞開你的心靈，去承受眼前的平凡，從平凡中，發現神奇。重新去看一朵雲、一片草地、一幅遠山，用自 己的氣質去解釋它。我堅持直接面對自然作畫，是因為自然的千變萬化莫測。那種氣候、那種微妙的色彩，非待 在畫室中用一套公式來界限自然，反覆製造風景的畫家所能夢想得到。」 ──席德進《席德進水彩畫集1977：我畫‧ 我想‧ 我說》
《山光出峽》繪成於1981 年，正是席德進與病魔抵抗最盛之時，1981 年3 月24 日的日記中寫道：「只有作 畫，才值得拼命，想到梵谷的『生命的追求』，最後在人生的終途上，也要發射出一些光來。」在生命最後的章 節裡，席德進仍經常拖著膽汁瓶、駛著小汽車，出外作畫，燃燒生命的火光，照亮被長期淹埋、忽視的台灣民間 藝術，念茲在茲的，永遠是再多畫幾幅台灣的好山好水；最不甘心的，也是那些未竟繪畫過的台灣風景。
《山光出峽》的景色綿延壯麗，寫實又寫意，天地的大美在他的畫筆下楚楚動人。尤其是從山巒之間灑落的 日光，更是畫龍點睛，日光往天際散溢，又向田野流瀉，沃野千頃，氣勢磅礡。美麗的華光從畫面中心延展開 來，組成平衡且深具動感的構圖。無論嶺脈或田野，皆感染了純淨、莊嚴的氛圍，光輝燦爛。在樸真淳厚之外， 亦擁有中國式的精深內蘊、溫雅安逸的生命頓悟。
Landscape 1981 57×76.5 cm Watercolor on Paper Signed Shiy De-Jinn in Chinese, dated 1981
In the painting Landscape depicts a magnificent scenery, realistic and yet abstract, the world itself looks delicate in its beauty under his stroke. Spectacular beams spread from the scenery, forming a balanced yet dynamic structure. Mountains, green fields, of all parts of nature are infected by purity, the stately ambience, all appeared brilliant and sensational. Beside purity and realism, it also has a grip of Chinese profundity, with a refined epiphany of life's journey.
Landscape was painted in 1981, during the time when Shiy De-jinn was battling with a chronical disease. An entry of his diary dated March 1981 noted,“For painting, it is worth the fight. Like Van Gogh's“Pursue of Life”, one should
always shine even at the edge of facing death. ”Throughout the final chapter of his life, Shiy De-jinn continued to paint, burning the flaming desire in him, giving light to Taiwanese folk art that was years concealed and disregarded, painting the formosa's magnificent landscape one after another.
︽多情應笑我
Lot 088
席德進珍品呈獻︾ ─
霧籠山村 1980 57×76.5 cm 水彩 紙本 簽名：席德進 1980
「作為一個台灣的畫家，他所承受的影響之複雜，無論歐美或中國大陸的畫家都無法比擬，也使台灣的 藝術家特別辛苦，在多種傳統裡，莫所適從，席德進自然也經歷了這個階段……然而他從台灣出發，才可能 是中國的，才可能是世界的。」 ──蔣勳
席德進下筆灑脫，一筆定江山，成於1981 年的《霧籠山村》，深藍色的峰巒筆觸簡淨，卻極綿延無窮之 韻。層巒綠野，乍看單純，細窺之後卻極富變化，並擁有溫潤的水感。在作畫之前，席德進總慣以大筆，將畫紙 完全打濕，讓色料一附著上去，便很自然地流暈渲染開來，朦朧了色與紙之間的界限。
對於水墨、水彩皆有深厚造詣的席德進，喜將水彩顏料調得有如國畫的墨韻，墨色濃郁、更顯天地莊嚴。席 德進駐足於空濛的山色中，去捕捉微妙的山水真相，把稍縱即逝的美景，凝結在他的畫紙上。《霧籠山村》綠野 蔥蔥，樹林羅列，更有一古屋畫龍點睛。席德進對於台灣屋宇的熱愛與研究眾所皆知，他曾形容：「既不對抗自 然，也不被自然奴役，為的是取得和諧。」背著膽汁瓶的藝術家，在幾經波瀾、千帆過盡後，終站上藝術、生命 的頂峰，他的繪畫不再吶喊張揚，也不存在誇華的艷麗，而是回歸藝術的溫淳、土地的靜謐，演繹生命的堅韌與 大美。
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The Village under the Foggy Mountains 1980 57×76.5 cm Watercolor on Paper Signed Shiy De-Jinn in Chinese, dated 1980
"As a Taiwanese painter, the multi influences Shiy encountered are incomparable to artists of other nations.
Consequently Taiwanese artists are faced with the difficulty to express their individuality, due to their adaptation to diverse cultural traditions. Naturally, Shiy Dejinn faced the same challenge... However, because he started in Taiwan, it became possible for China, it became possible for the rest of the world. ” —Jiang Hsun Shiy completed the painting in 1981 with unrestraint but precise brushstrokes; the dark blue mountain peak stretched endlessly across the page, layers by layers. The peaceful and simplistic green field, with closer observation one may find variation in shades and texture, possessing an element of moist effect. Before the execution of each work, Shiy used a large brush to wet the entire paper, thus pigment may attach to the page more easily, furthermore it will smudged and blend naturally, blurring the boundary between colors and edges of paper. Shiy once said "Neither against nature nor enslaved by nature, for the purpose to achieve harmony. " The artist who carried a bottle of bile juice, after experiencing countless waves of struggle and many battles later, he stands on the climax of his life and aesthetic journey. His paintings are no longer exaggerated and overly embellish, instead it returns to the tenderness of art, calmness of nature and beauty of life.
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席德進對藝術充滿熱情， 面對自然總是給予他強烈的感動， 這些心情更化入他的繪畫之中， 也 感 動 著 觀 者 的 心 。 攝( 影 ： 林 柏 樑
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席德進珍品呈獻︾ ─
1980 66×111 cm 水彩 紙本 簽名：席德進 1980
「這裡的山是台灣的山，也是席德進的山，這裡的筆墨是秦漢的書法，這裡的意境是現代的中國的意境。 因為我的素描根好，所以對造型的把握十分準確，因為我的涉獵廣，所以我的水彩融合了油畫色彩的豐潤和水墨 氣韻的靈動，是一般水彩畫家畫不出來的，也是西方畫家畫不出來的──這種的山水的稜線是我勤練毛筆所 得來，你看每一轉折都有學問在，每一頓挫都有精神在，這就是現代的中國畫，道道地地的席德進的畫。」 ──席德進（郭沖石〈無限延伸的水平線〉，見《懷思席德進》，第56頁）
席德進以敏銳激情的雙眼描繪天地風景，運之以他縹緲壯美的紫色，染出一片山水。據藝評家鄭惠美所述： 「紫色系溯自古代人認為藍代表男性，紅代表女性，而介於藍、紅之間的淡紫色，用來形容同性戀，恰如其 分。」此幅《埔里山光》以神秘輕邈的紫色大筆橫曳，成就了綿延壯麗的山川，盡情展演其優雅、清新的唯美主 義。有「小洛陽」美稱的埔里，位於寶島中心，氣候怡爽、好山好水，群山圍繞，更擁有嵐霧豐沛的山巒田野， 席德進許多重要的寫生作品皆完成於這裡。
成於1980年的《埔里山光》，與1981年集結出版的《席德進畫集1981》之封面作品為同一景色（見圖二）， 僅遠景與近景之別，實屬難得。席德進一向熱愛寫生，立畫架、尋方位，並對眼前風景千挑細選，若興致正盛、 美景當前，時常會忍不住再畫一幅。有次摯友盧精華陪同他去埔里賞遊作畫，發掘一處面對山巒的好景致，但待 畫具安排妥當，他竟不畫了，率性地躺在草叢中看藍天白雲，他說：「雲霧太濃，層次不清，遠山畫不到，要等 霧散再畫！」霧未散去，絕不動筆，便如此等待了整個上午。席德進就是如此堅持現場寫生的藝術家。
席德進創作，從來不打草稿，他面對群巒壯闊，而是在凝視景物之後，直接畫上去。但落筆慎重，運筆豪 放，一筆下去竟孕有豐富的濃淡、剛柔之變化。在層次的渲染中，可感受流動的空氣和氤氳的水氣，既擁有拂曉 晨曦的朦朧感，又散溢著朝陽霧氣中的清新感，又有雨後天晴的明麗清朗。面對水彩畫紙，藝術家心静有如獨處 深山，卻內含筆力萬鈞。《埔里山光》的嵐氣奔騰，行雲流水，猶如海流的激嘯，大筆橫曳，濃淡、虛實變化萬 千。正如北宋文人韓拙在其《山水純全集》內所言：「夫通山川之氣，以雲為總也。」雲霧繚繞，既以水形成， 又隨群山形狀而幻化，讓畫作更加 生機蓬勃、吞吐天地。
而《埔里山光》另一極端迷人之處，在於景色構置的層次，遠景，山巒疏影、迷人嵐氣，更行更遠還生，迢 遠無窮；中景，翠樹挺拔、田野羅列，色彩快速流動，近景則鬱鬱蒼蒼，樹木堅實、溪水清朗，倒影清晰可見。席 德進以景色的推移，暗示了江山無盡之態，使得《埔里山光》更為壯闊渾厚、氣勢磅礡，實為極其難得的佳作。
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︽多情應笑我
Lot 089
埔里山光
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(Picture 2) The cover of Shiy De-Jinn catalogue
席 德 進 畫 集 封 面 埔( 里 山 光 遠 景
(Same subject but different perspective of the work Puli Mountain)
Landscape in Puli 1980 66×111 cm Watercolor on Paper Signed Shiy De-Jinn in Chinese, dated 1980
“The mountains here are Taiwanese mountains, but also the mountains of Shiy De-Jinn. The ink drawing here is of
Qin Han calligraphy, and the aura here depicts the Chinese modern aura. Due to my excellence in sketching techniques, I have confidence in accurate styling. Due to my diverse experiences, my watercolor depicts the vibrancy of oil paint, and the spirits of movements found in ink-drawing. Ordinary watercolorist are not able to achieve this, neither can Western oil painters. My sharp and precise strokes that made up of mountain and watery scenery can only be accomplish through calligraphy practices. Every turn requires certain scholarly questioning, every pause inherited spirits, and this is modern Chinese painting- the works of Shiy De-Jinn” —Shiy De-Jinn (Guo Chong Xi,“Unlimited Extension of the Horizontal Lines”Missing Shiy De-Jinn P.56 ) Completed in 1980, Landscape in Puli shares the same mountain scenery with the cover of Shiy De-Jinn Art
Magazine published in 1981 (See picture two) With identical viewpoint, the only difference between the two painting is that one presented in a more distant view than the other. Shiy Dejinn had always been passionate about landscape drawing. He would often set up his canvas, in search for the best angle, and then strictly embrace the scenery with his drawing materials. Often times, when his subject provided excessive inspirations, he would express his exhilaration by painting multiple pieces. Without doing any rough drafts, Shiy Dejinn usually transform his target onto his canvas directly and immediately after gazing at the magnificent nature in front of him. His solid and cautious brushstrokes evolve changes between full interactions between strong and weak essences, thick and light qualities. Another most alluring component of the piece would stand between the layers of composition built by the shadows and outlines of the deep mountains, brilliantly portraying the boundless yet yearning open space. In the mid ground align the tall trees that compliment the flowing water and reflections of all forms, merged by smoothing colors of ink and watercolor. Shiy Dejinn had adopted the dramatic forms of natural landscapes, brilliantly indicating the endless sovereignty of the river. The grandiose and flamboyant atmosphere and spirit have earned great value to the painting.
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︽多情應笑我
Lot 190
席德進珍品呈獻︾ ─
秋收後的田莊 1976 70×137 cm 彩墨 紙本 簽名：席德進 1976年 藝術家鈐印：席德進印(白文)、席氏書畫(白文)、盧精華(紅文)
此幅《秋收後的田莊》成於1976 年秋天，極繪金黃的秋收後的農家樂，意境幽遠，橙黃秋樹、紫藍群山， 以及清潤的田野，靜謐安詳、萬古常新。席德進熱愛台灣的本土風光，曾在《臺灣遊記》中寫道：「我渴慕鄉土 的氣息，我生長在農家，我永遠屬於她。」他以萬物有情的目光探尋天地大美，並以他熱情的畫筆，深刻地喚醒 了人們對鄉村自然的脈脈含情。
《秋收後的田莊》色彩鮮亮，並以一種對照的方式，不停息地相互追逐、嬉戲著，構築出天地遼闊、豐美的 意蘊。遠方橫曳的山嶺是極簡的，莊嚴肅穆，而中景的座落著席德進熱愛的古屋民舍，屋瓦線條俐落強勁，古意 盎然。而每一筆勾勒與直線，都是席德進深刻鑽研書法的成果。那清藍的水田，呈棋盤狀羅列，深具席德進的水 彩特色，溫潤淋漓。而整幅作品最引人注目的，莫過於畫面兩側，兩相對照、金黃壯麗的樹，繁盛的花朵灼亮如 火，絢爛喧騰，動勢十足，卻保有醇純之味。構思平中見奇，近取其質，遠取其勢，不落尋常蹊徑，鮮麗的花 葉、渾厚的枝幹枯潤相間，有虛有實，繁而不亂，在行筆嚴謹處，有縱橫奇峭之趣，既詩意，又鮮麗。
「筆墨是中國、構圖是現代、情感是民族、生活是台灣。」席德進一生崇敬自然，服膺自然之美，對於台灣 原始的鄉野風光，更灌注了滿腔的熱情與執著。《秋收後的田莊》裡遠景留白，極盡空茫，襯托出花樹鮮黃燦爛 的色調，以及傳統水墨的山水印象，兩者迭次激盪，微妙地傳達中國傳統文化的深邃情操，以及古雅穩重的東方 氣韻（見圖三）
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(Picture 3) Shiy De-Jinn concentrated
圖( 三 席 ) 大師在盧家即席作畫神情
on his spontaneous painting at the home of Lu Jing-Hua's
Autumn Harvesting 1976 70×137 cm Ink and Color on Paper Signed Shiy De-Jinn in Chinese, dated 1976 With three seals of the artist
This painting was completed in 1976 during the autumn season. The landscape of Taiwan was Shiy's favorite subject, he once mentioned in Journey of Taiwan -“I adore the refreshing breath of countryside, I was raised in an
agricultural family. Forever, I belong to her. ”Shiy treated every existence of nature with full appreciation, with passionate brushstrokes; he awakens our affection for the beauty of nature.“ The calligraphy is Chinese, the composition is modern,
the emotions are cultural, and the life is Taiwan. ”For Shiy De-Jinn's entire life, he valued and admire nature, he is especially passionate and towards the wild nature of Taiwanese sceneries.
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︽多情應笑我
Lot 191
席德進珍品呈獻︾ ─
水仙花 1980 45×67 cm 彩墨 紙本 簽名：席德進 一九八○年 藝術家鈐印：席德進印(白文)、席氏書畫(白文)、四川南部縣人(白文)
「西方人畫花，是插在瓶中，已加上了人工的改變，而中國人尊重自然，追求天趣。中國畫的花卉，更非植 物標本，畫者已將花、枝、葉融在他的意念中，而以抽象的、書法的手法寫出。所要表現的是作者的思想，胸中 的逸氣。」 ──席德進
此幅《水仙花》完成於1980 年，墨色氤氳、筆勢沉穩，席德進曾言要給予花朵以新的生命，並用「現代 眼」去觀察，以爐火純青的彩墨技法，讓歷史悠久的花卉主題，賦予新的時代意義。宋代文人、書法家黃庭堅， 曾以「淩波仙子生塵襪，水上輕盈步微月」來形容水仙花於盈盈水間，清雅盛放的優雅姿態。在《水仙花》之 中，水仙恬靜生長，枝椏的濃綠筆直，是書法恆久鍛鍊後的俐落體現，而點綴其間的純白花朵，如夢似幻，展耀 著溫潤的英姿與光華。席德進一生守著孤獨，將生命的豐盈與美好皆奉以藝術，水仙花的堅毅、脫俗，正是藝術 家的高潔品格的最佳註腳。
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一九七七年八月在台灣省立台中圖書館中興畫廊舉辦個展時，
席德進在會場留影。
Narcissus 1980 45×67 cm Ink and Color on Paper Signed Shiy De-Jinn in Chinese, dated 1980 With three seals of the artist
“Western artist often paints flowers only after it have been trimmed and properly arranged in a vase. Chinese artist on the
other hand respect nature, and appreciate it in its most natural form. These is why the Chinese painters often arranges the flowers, branches and leafs soley in their mind, and express what they see through abstraction and calligraphy manner. ” —Shiy De-Jinn
Narcissus was completed in 1980. He presented his work through steady gestures. He wanted to endure a new life for flowers and observes them from the modern points of view. He gave the historic flora theme a brand new meaning through consummate technique. In Narcissus , Narcissus grew in sound and peace, the branches are perfectly straight and clear, this exquisite expression took a lot of practice in calligraphy. The pure white flower within the picture blooms lively. Shiy Dejinn spent his life in solitude; he dedicated the ample and the beauty of life to art. We can say Narcissus , representing determination, is the best footnote of the noble character to the artist.
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︽多情應笑我
Lot 092
席德進珍品呈獻︾ ─
芙蓉 1976 111×66 cm 水彩 紙本 簽名：席德進 1976
「最能表現中國毛筆的筆力、書法勁道、線條變化的是寫意花卉。大千的荷幹，一筆直下，通達上下，這是 西方畫筆所無法達到的效果。中國有一筆畫，也是在表現筆勢的力量流暢，一氣呵成。」 ──席德進（《席德進紀念全集II 油畫》，台灣省立美術館出版，1994 年，第43 頁）
名畫家羅青曾在〈繁華落盡見真純〉中言道，席德進早期的線條，勁瘦如鐵，陽剛太過，陰柔不足。然而 「自從他細心在線條中滲入書法之書法，強而有力的線條開始剛中帶柔，極富彈性，孕含著生機一線，耐人尋 味。」而此幅《芙蓉》，翠綠枝葉、水氣酣然，那殷紅柔美的花朵更擁有豐富層次，色感濃烈、娟麗大氣，正是 其展現筆墨涵養與意象化境的大幅水彩鉅作。席德進擅於在水彩畫中，融入國畫的設色技法，餘韻無窮，妙得天 然，此舉唯有對兩者媒材的運用皆得心應手方可達致。
席德進獨樹一格的畫風，使得水彩質地的《芙蓉》，也擁有了中國傳統繪畫的筆情墨韻。席德進以簡約的結 構、單純的色調，繪出形色之外的幽玄理趣，正如詩佛王維的那首〈辛夷塢〉：「木末芙蓉花，山中發紅萼。澗 戶寂無人，紛紛開且落。」所描寫的那般靈空奇妙，仿若仙境。
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一九八 年九月在埔里畫家黃義永家中， ○
展 示 當 天 寫 生 的 作 品 背( 影 為 席 德 進 前 、 前 一 人 為 牛 耳 石 雕 公 園 主 人 黃 炳 松 。)
Cotton Rose 1976 111×66 cm Watercolor on Paper Signed Shiy De-Jinn in Chinese, dated 1976
“What expresses most about Chinese calligraphy-the strength, the curves-is the realism and perspective in nature and plants. The extensive stems of water lilies, a stroke through and through one after the other, couldn't be found in the western art. A stroke shows the flow in strength, a style of unity.” —Shiy De-jinn (The Commemorative Collections of Shiy De-jinn II Oil Painting , Taiwan Museum of Art, 1994, p. 43.) The painting“Cotton Rose ”has a naturalness in its branch, the acuity in steam, the lush, crimson petals, and the use of vivid colors, are the practice of self-restraint in writing and perfecting the imagery in substantial watercolor painting. Shiy De-jinn is well-known for his watercolor painting, in which he blended in the technique used in Chinese art. The lasting impression and the richness in nature, only the ones who mastered both skills are able to define. His unique taste along with the grasp of Chinese traditional painting made“Cotton Rose ”exclusive. Shiy De-jinn's simple yet concise structure and purity in tone emitted a sense of peculiarity. Like the poet Wángwéi once expressed in his poem, the portray of dreamy and intriguing eccentricity.
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︽多情應笑我
Lot 093
席德進珍品呈獻︾ ─
搖曳生姿聖誕紅 1976 111×66 cm 水彩 紙本 簽名：席德進 1976
在西方文化中，「聖誕紅」代表著聖誕佳節的即將來臨，而今全球化潮流影響，東方民族也時興起栽種聖誕 紅，紅花喜氣，既代表新的一年即將誕生，更代表闔家祥瑞、喜慶洋洋。此一巨幅《搖曳生姿─聖誕紅》水彩畫 完成於1976年，席德進日日臨帖不懈已近十年，艷麗、怒放的紅花，搭配嫩綠的枝枒，搖曳生姿、昂然挺立、柔 中有剛，反映其天然純粹的情致，其枝椏間亦蘊含著動態的語言。在一片清幽柔和的氛圍之中，枝椏纖韌逎勁， 如水墨畫般一揮而就，蘊藏著骨法用筆的勁道，展演席德進對墨韻掌握的流暢穩重，足見其一家之成法。
《搖曳生姿─聖誕紅》搖曳生姿、昂然挺立、柔中有剛，反映其天然純粹的情致。花瓣殷紅、昂然茁壯，象 徵著生命力的頑強。在席德進1981年2月22日的日記裡，也就是他生命末尾的最後幾個月，仍然洋溢著對青春的 讚嘆與熱愛：「你知道嗎我多想飛舞起來，飛舞才是我的真我，讓狄斯可音樂燃燒我，讓我陶然其中，那青春的 男性的活力，那狂熱的撲向愛的企求，那野性的，肉體的渴慕，把我拉回到青少年的時辰，這時才是我，永遠年 輕的我。」（《孤飛之鷹：席德進七○至八○年代日記選》，聯合文學出版社有限公司，台北，第118頁）
《搖曳生姿─聖誕紅》鎔鑄了藝術家瀟灑狂放、如火般熊烈的意念，色彩淋漓，生命力澎湃，並蘊含著無盡 的語言與動作，在色彩恣意流淌之際，又擁有東方詩意的高雅、唯美，讓作品擁有震撼、懾服人心的力量。
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Poinsettia 1976 111×66 cm Watercolor on Paper Signed Shiy De-Jinn in Chinese, dated 1976
In the western culture, Poinsetta (Christmas red) represents the approaching of Christmas holidays, and through the trending of our modern society, the eastern population started planting Christmas poinsettias, cheerful and optimistic, symbolizing the start of new year, magnifying family reunion with joy and blessing.“Poinsetta ”was accomplished in 1976, 10 years after Shiy De-jinn's committed and diligent effort, the elegant blossoming of red petals, along with the raw yet firm in the green branches, reflexes his pure temperament, as if the twigs themselves contain activeness in speech. Amidst the beautiful and secluded ambience, his stroke of the branches illustrates his mastery in painting, with precise fluency and steadiness. Shiy De-jinn's diary entry in February 22nd, 1981, towards the end of his life, still praised the brimming of youth and passion,“You know what? I want to fly. Fluttering is me, the flaming of pop, disco sensation,
living the freedom, the youthful, masculine vigor, the wild and thirst for the physical body, bring me back to my boyhood. This is me, the forever enthusiastic me. ” (Unitas, Udngroup, Taipei, p. 118)
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SHIY DEJINN
多情應笑我─ 席德進精品呈獻
Taiwanese, 1923~1981