典藏單位:國立中正紀念堂管理處

館藏編號:PT06905000

劉國松

尺寸:64×58 (143×68)

劉國松（1932-），生於安徽蚌埠。1949年隨國民政府遷台。1956年於師大美術系畢業，在廖繼春老師的鼓勵下成立「五月畫會」，掀起水墨畫的現代化運動，被譽為「現代水墨之父」。1970年代，劉國松應聘至香港中文大學藝術系任教，擔任系主任。1983年個展首次於北京中國美術館舉行，轟動一時。後陸續於美、德、義、瑞士等多國展出，現有八十餘個國家美術館藏有其作品。2010年，《日月浮沉》一作受大英博物館收藏。2016年當選美國文理科學院院士。
劉國松早年提出「革筆的命」、「革中鋒的命」等主張，質疑筆墨的必要性，並發明「抽筋剝皮皴」進行水墨實驗。此種特殊表現技法，受到西方現代藝術的影響，尤其是超現實主義及抽象表現主義、半自動性技巧的啟發。然而，他也強調其實許多奇異的創作手法，早出現於中國畫論之中，如王默的「潑墨」、郭熙的「影壁」與「屋漏痕」等。此外，劉國松講求自然意韻，特別崇尚六法中的氣韻生動。
此作中，劉國松以色、墨與肌理的變化，呈現圓月下之奇幻造境。畫面左側山石以不規則的色塊，搭配重墨、石綠、灰調墨等豐富的肌理變化，右側以重墨安置山石前景，中景是延伸向遠方的曲流與上方留白的圓月，背景則以淡色染拓處理。其手法雖新奇，仍能傳達水墨畫悠遠飄渺之意境。（503字）

Liu Guo-Song (1932-), born in Bengbu, Anhui. In 1949 he moved to Taiwan with the Nationalist government. He graduated from the Fine Arts Department of the Normal University in 1956 and founded the "May Painting Society" under the encouragement of his teacher Liao Ji-Chun, sparking the modernization movement of ink painting and being hailed as the "Father of Modern Ink Painting". In the 1970s, Liu Guo-Song was hired to teach in the Art Department of the Chinese University of Hong Kong, where he served as department head. In 1983, his first solo exhibition at the China Art Museum in Beijing caused a sensation. Subsequently, his works have been exhibited in many countries, including the United States, Germany, Italy and Switzerland, and are now collected by art museums in more than 80 countries. In 2010, his work "Rise and Fall of the Sun and Moon" was collected by the British Museum. In 2016, he was elected a Fellow of the American Academy of Arts and Sciences.

In his early years, Liu Guo-Song proposed ideas such as "revolt against the brush" and "revolt against the central point," questioned the necessity of brush and ink, and invented the "bone-stripping and skin-peeling" for ink experiments. This particular expression technique, influenced by modern Western art, especially surrealism and abstract expressionism, as well as semi-automatic techniques, was inspiring. However, he also emphasized that many strange creative techniques had appeared early in Chinese painting theory, such as Wang Mo's "splashed ink", Guo Xi's "shadow wall" and "leaky house marks", and so on. In addition, Liu Guo-Song emphasizes the natural charm and especially advocates the "Vibrant Energy and Rhythm" among the six principles of Chinese painting.

In this work, Liu Guosong uses color, ink and texture changes to create a fantastic environment under the round moon. The rocks on the left side of the painting are depicted with irregular blocks of color, paired with heavy ink, stone green and gray ink for rich texture variations. The right side places rocks in the foreground with heavy ink, the middle is an elongated meandering stream with a white above for the round moon, and the background is treated with light colored dye extension. Although his technique is novel, it still conveys the distant and ethereal artistic concept of ink painting.