館藏編號:PT06904900

王廷欽

尺寸:135×67 (畫心)

王廷欽（1917-1995），字曦白，原籍廣東欽洲，生於合浦北海，別號還珠樓主、十萬山人、石麟閣主。家族為粵中世家，父親王耀川以詩文聞名於世，伯父王士宗為清末庶吉士（翰林院的短期職位），家學淵源。年幼時隨鄉儒薛孝田讀經，習畫四君子；進學校後開始學習西畫。戰後來台，與黃君璧習畫山水。曾於高雄市創還珠樓藝苑，提倡藝術。曾任高雄最早的國畫團體「海天藝苑」（成立於1961年）苑長、「高雄市中國書畫學會」（1964年成立）首屆理事長。著有《畫梅概論》、《國畫之特質》等書。在台舉行多次個展，作品曾選送美、日、德、韓各國巡迴展出。
王廷欽不僅擅畫山水、花卉、墨梅、翎毛等主題，亦善書法，行、楷、篆、隸皆精。從其畫冊所繪題材來看，王氏常至台灣各地高山風景寫生，如阿里山、奇萊山、南橫等地。此外，王氏應不僅繪製嘉陵江一次，在畫冊另一件《嘉陵江畔》的作品中，構圖布景極為相似，僅題款內容明顯不同。在此作中出現的濕潤、厚重的墨點，亦見於王氏其他雨景與春景的山水作品中。
此作畫家以溫潤濃重之筆墨，描繪嘉陵江岸煙雨迷濛之景色。樹叢不分遠近，多以重墨點畫就，用以表現濃重水氣。中景江面留白，迂迴引領觀者通向遠景山峰，停泊於江畔的舟船與房屋稍稍緩解墨點的積重之感。（504字）

​Wang Ting-chin (1917-1995), courtesy name Hsi-Pai, was originally from Chinchou, Guangdong Province, born in Peihai, Hopu. He also went by the pseudonyms Master of Huanchu Tower, Shihwan Hermit, and Master of Shihlin Pavilion. Hailing from a prominent family in central Guangdong, his father, Wang Yao-Chuan, was renowned for his poetry and prose, while his uncle, Wang Shih-Tsung, served as a short-term position in the Hanlin Academy during the late Qing Dynasty, indicating a rich scholarly heritage. In his youth, Wang studied the classics under local scholar Hsueh Hsiao-Tien and practiced painting the Four Gentlemen (plum, orchid, bamboo, and chrysanthemum). After entering formal schooling, he began learning Western painting techniques. Following the war, he relocated to Taiwan, where he studied landscape painting under Huang Chun-Pi. In Kaohsiung, he established the Huanchulou Art Studio to promote art. He served as the first director of the Hai Tien Art Studio (founded in 1961), Kaohsiung’s earliest traditional Chinese painting group, and as the inaugural chairman of the Kaohsiung Chinese Calligraphy and Painting Society (established in 1964). His publications include “An Overview of Plum Blossom Painting” and “The Characteristics of Chinese Painting.” Wang held numerous solo exhibitions in Taiwan, and his works were selected for touring exhibitions in the United States, Japan, Germany, and South Korea.

Wang Ting-Chin excelled in painting landscapes, flowers, ink plum blossoms, and birds, and was also proficient in calligraphy, mastering various scripts such as hsing, kai, chuan, and li. His portfolio indicates frequent sketching trips to Taiwan’s mountainous regions, including Alishan, Chilai Mountain, and the Southern Cross-Island Highway. Additionally, Wang created multiple depictions of the Chia-ling River. In another work titled “By the Chialing River,” the composition and scenery are strikingly similar, though the inscriptions differ notably. The moist, dense ink dots present in this piece also appear in Wang's other landscape works portraying rainy and spring scenes.

In this artwork, the artist employs rich and substantial brushwork to depict the misty, rainy scenery along the banks of the Chia-ling River. Clusters of trees, regardless of distance, are rendered with heavy ink dots to convey the dense moisture in the air. The river surface in the middle ground is left blank, guiding the viewer’s gaze toward the distant mountain peaks. Boats moored by the riverbank and nearby houses provide a slight respite from the accumulation of ink dots, balancing the composition.

典藏單位:國立中正紀念堂管理處