館藏編號:PT06912702

陳庭詩

尺寸:含裝裱224×71

陳庭詩（1913-2002），筆名耳氏，福建長樂人，家世顯赫，祖母為清代台灣巡撫沈葆楨之女。生於書香世家的陳庭詩雖然自幼失聰，但他努力地學習國畫、篆刻、詩詞，奠定深厚的國學基礎。陳庭詩是台灣現代藝術發的代表性人物，活躍於台灣50、60年代「現代抽象繪畫運動」興盛時期，同時也加入「現代版畫會」及「五月畫會」。
一生創作版圖多元，作品包含版畫、水墨、雕塑與壓克力，風格抽象，嘗試將東方傳統元素轉化為具現代性的符號。陳庭詩曾說：「藝術是沒有終極的，所有的創作都是過程的選擇」，因此他將西方的藝術觀念結合中國的思想脈絡，呈現抽象與具象、傳統與現代密切交融的視覺語言。逝世前授權「筌美術」及其相關友人成立「財團法人陳庭詩現代藝術基金會」，現存作品多由其保管收藏。另外，國立台灣美術館、台北市立美術館、高雄市立美術館、辛辛那提美術館、洛克菲勒基金會等皆有典藏其作品。
陳庭詩的版畫創作分為兩個階段，1937-1952「寫實木刻版畫時期」、1957-1999「抽象表達時期」；本作為「抽象表達時期」所創作，運用大色塊拼貼的方式，黑色方形代表大地，成皸裂狀，左下方橘紅色圓形應代表太陽下墜，營造出混沌而抽象的視覺效果，卻又保有畫作中強烈的表達意涵。

Chen Ting-Shih (1913-2002), also known by his pen name “Erh Shih.” Born in Changle, Fujian Province, he hailed from a distinguished family; his grandmother was the daughter of Shen Baozhen, the Qing Dynasty Governor of Taiwan. Despite losing his hearing at a young age, Chen diligently pursued studies in traditional Chinese painting, seal carving, and poetry, establishing a profound foundation in Chinese cultural studies. He was active during the flourishing period of Taiwan’s modern abstract painting movement in the 1950s and 1960s, contributing to groups such as the Modern Print Association and the Fifth Moon Group.

Chen’s artistic repertoire was diverse, encompassing printmaking, ink painting, sculpture, and acrylic works, all characterized by an abstract style. He endeavored to transform traditional Eastern elements into modern symbols. Chen once remarked, “Art has no ultimate end; all creations are choices in the process,” reflecting his integration of Western artistic concepts with Chinese philosophical contexts to present a visual language where abstraction and figuration, tradition and modernity, are closely intertwined. Before his passing, Chen authorized Gallery Chuan and his close associates to establish the Chen Ting-Shih Modern Art Foundation, which now serves as the custodian of most of his existing works. Additionally, his works are part of the permanent collections of the National Taiwan Museum of Fine Arts, Taipei Fine Arts Museum, Kaohsiung Museum of Fine Arts, Cincinnati Art Museum, and the Rockefeller Foundation.

His printmaking journey can be divided into two phases: the Realistic Woodcut Period (1937-1952) and the Abstract Expressionist Period (1957-1999). The work belongs to the latter phase, where Chen employed large color block collages. In this artwork, a black square, symbolizing the earth, exhibits a cracked texture, while two blue semicircles in the upper right likely represent a fragmented moon. This composition creates a chaotic yet abstract visual effect, imbued with profound expressive significance.

典藏單位:國立中正紀念堂管理處