典藏單位:國立中正紀念堂管理處

館藏編號:PP10400100

黃則修

黃則修先生（1930-2014），兼具教育家、新聞記者暨攝影家等多重身分，更為業界譽稱為「臺灣攝影獨行俠」。1951年兼任日本《朝日新聞》、聯合電視駐臺攝影記者；1961年舉行「龍山寺」攝影個展、1962年與吳東興舉辦「被遺忘的樂園—野柳」雙人攝影展，被譽為「臺灣攝影史『專題攝影展』之濫觴」。以上二展，其後更引起政府對歷史文化古蹟的重視，促使野柳被設定為國家觀光景點。
1967年，擔任徵信新聞報（現中國時報）顧問，為臺灣創設第一座新聞彩印工廠，隔年以世界第一部美國高斯平板彩色輪轉機，印製臺灣首份彩色報紙，受到國際矚目，獲登於1980年的《世界名人錄》。本作透過水面倒影的觀察，表現優游池中的錦鯉與中正紀念堂建築屋頂一角，構圖特色在於錦鯉之清晰對比建築屋頂之液化，輔以對角形式的取景角度，形成生動的畫面。
畫面色彩配置亦有巧思，以墨綠色池水為底色，襯托錦鯉之金黃、橘紅與魚白三色，呼應中正紀念堂屋頂之橙黃與朱紅基調，合著錦鯉魚群的游向，彷彿魚群是由液化輪廓線逐層地往下現形立體化。攝影畫面如同另一種手工藝品，水面如樹脂，使其乾燥後，將錦鯉封存於水面之下，營造清透明亮的畫面質感，而依著水面漣漪液化的建物輪廓線，則如同流動的顏料漸層，映襯於畫面一角。(500字)

Known as the “Lone Ranger of Taiwanese photography,” Huang Tse-Hsiu (1930-2014) was a multifaceted figure who served as an educator, journalist, and photographer. In 1951, he worked as a photojournalist for the Japanese newspaper “Asahi Shimbun” and United Television. In 1961, Huang held a solo exhibition titled “Longshan Temple”, followed by a dual photography exhibition with Wu Tung-Hsing titled “The Forgotten Paradise - Yehliu” in 1962, which was hailed as “the genesis of thematic photography exhibitions in Taiwanese photography history”. These exhibitions spurred government recognition of historical and cultural landmarks, leading to the designation of Yehliu as a national tourist attraction.
In 1967, he became a consultant for the Intelligence News Daily (now China Times) and established Taiwan’s first color newspaper printing plant. The following year, using the world’s first American-made Goss color web offset press, he printed Taiwan’s first color newspaper, attracting international attention and earning him a place in the 1980 edition of Who’s Who in the World. This artwork captures the graceful movement of koi fish in the pool and a corner of the roof of the Chiang Kai-shek Memorial Hall by observing their reflections on the water surface. The distinctive feature of the composition is the clear contrast between the sharpness of the koi fish and the liquefied depiction of the roof of the building, complemented by a diagonal framing angle that creates a vivid scene.
The color scheme of the scene is also carefully crafted, with the dark green pool water serving as a background to accentuate the golden, orange-red, and white hues of the koi fish. This color palette echoes the orange-yellow and vermilion tones of the roof of the Chiang Kai-shek Memorial Hall and harmonizes with the movement of the koi fish, as if the school of fish is gradually taking on a three-dimensional shape, layer by layer, through liquefied outlines. The photographic composition resembles another form of craftsmanship, with the surface of the water acting like resin, preserving the koi beneath it to create a clear and bright visual texture. Meanwhile, the liquefied outlines of the buildings reflected on the water’s surface flow like gradients of flowing paint, enhancing the corner of the image.