典藏單位:國立中正紀念堂管理處

館藏編號:PT06910400

劉延濤

尺寸:134×68 (202×81)

劉延濤（1908-1998），號慕黃，河南鞏縣人，書畫家。成長於書香世家，數代祖先皆有收藏名家書畫。幼年時，鞏縣校長趙蔭棠發現其繪畫天份，將他帶到小學接受基礎訓練，從《芥子園畫譜》入門。就讀北大中文系二年級時，因社團認識胡佩衡先生，受其影響，學習南宗技法及北宗理念。1932年，劉氏受胡佩衡舉薦入北平故宮擔任編輯，親睹許多古代名蹟。1934年編輯于右任標準草書，受右老影響甚深。來台後，於1955年與鄭曼青等人組「七友畫會」，1962年與馬壽華、姚夢谷等人另創「中華民國畫學會」，以畫學研究為主。
劉延濤集詩、書、畫「三絕」於一身，具深厚國學涵養，追求三絕合一之境界。故宮任職期間，他親見巨然、范寬、李唐等山水，後受禪宗與文人畫傳統影響，發展出融合南北的風格。自1950年代起，嘗試以簡筆配合潑墨，結合標準草的線質，創立簡樸具書法趣味之水墨風格。
此作以純水墨描繪廬山，反映其「水墨為尚」情懷。劉延濤融合南北宗的技法理念，常以斧劈皴皴擦山石，卻留下大片空白引人遐思。本件「白壁山石」以畫面中央最為明顯，搭配重墨點染的林木，使畫面層次分明。石壁上的瀑布順流而下，將觀者視線引導至密林中的房舍、小徑等處，再接至右下方的流水。劉氏作品經常不加設色，體現畫家的筆墨與畫面經營的功力。（512字）

Liu Yan-Tao (1908-1998), also known as Mu Huang, was a calligrapher and painter from Gong County, Henan. Born into a scholarly family with a multi-generational tradition of collecting renowned works of art, his artistic talent was recognized in childhood by Zhao Yin-Tang, the headmaster of the Gong County School. Zhao introduced him to basic training, starting with "The Mustard Seed Garden Manual of Painting". During his second year of Chinese studies at Peking University, Liu met Hu Pe-Heng through a student organization. Influenced by Hu, he learned the techniques of the Southern School and the concepts of the Northern School of Chinese painting. In 1932, on Hu's recommendation, Liu joined the editorial staff of the Imperial Palace Museum in Beijing, where he encountered many ancient masterpieces. In 1934, while editing the standard cursive script of Yu You-Ren, he was deeply influenced by Yu's work. After moving to Taiwan, he co-founded the "Seven Friends Painting Group" with Cheng Man-Ching and others in 1955, and in 1962 he founded the "Republic of China Painting Society" with Ma Shou-Hua and Yao Meng-Gu, focusing on the study of painting.

A master of poetry, calligraphy, and painting, Liu Yan-Tao pursued the unity of these "three perfections" and brought a deep classical education to his work. During his time in the Imperial Palace Museum, he was exposed to the landscapes of masters such as Juran, Fan Kuan, and Li Tang. Later, influenced by Zen Buddhism and literati painting traditions, he developed a style that combined elements from both northern and southern schools of Chinese painting. Beginning in the 1950s, Liu experimented with simple brush strokes combined with ink splashes, integrating the line of standard cursive script and establishing a simple ink style rich in calligraphic flavor.

This work, depicting Mount Lu, is rendered entirely in ink, reflecting Liu's emphasis on ink painting. He blends the technical concepts of both the Southern and Northern schools, often using the axe cut textural strokes for the mountains and rocks, leaving ample white space for thoughtful contemplation. In this work, the "white rocks" are most prominent in the center of the painting, paired with heavily inked trees, creating a clear layering in the painting. The waterfall on the rock wall flows downward, drawing the viewer's eye to the houses and paths in the dense forest, and then to the flowing water in the lower right. Liu's works, often without added color, show the artist's mastery of brush and ink and his skill in compositional management.