館藏編號:PT09400202

李鴻儒

尺寸:184×360

李鴻儒（1953-），出生於台灣南投，旅日畫家。青年時學習武術與水墨，師承於歐豪年，後於大阪藝術大學學習日本畫，並入京都藝術大學上村淳之門下。李鴻儒曾任教於東海大學、臺灣師範大學客座，對膠彩畫研究不遺餘力；並擔任NPO法人日本亞細亞文化藝術聯盟主席，積極推動日本、台灣、中國、美國之間的水墨交流活動。
日本近代水墨畫，亦稱「文人畫」或「南畫」，其定義較中國更為廣泛，與董其昌所稱「南宗畫」無直接關聯。「南畫」及「文人畫」自桑山玉洲開始，被普遍理解為一種中國化的藝術形式，但它對自發性與表現性的強調，則更接近日本文化自身的感性體系。由於強調表現性，許多日本南畫家透過筆墨發展出奇特的個人風格，如浦上玉堂。浦上曾被橋本關雪拿來與石濤進行比較，認為畫家對規則的解放，是為何能夠充分表達個人天性之所在。南畫對「奇」的愛好，使得水墨在日本的發展以個性化為先。
此為「2004日本亞細亞水墨畫交流展」現場揮毫之另一作品，描繪蒼勁的松樹與驚濤駭浪之景。右方松樹倚斜彎曲，作虯屈狀，展現古松雄豪挺拔之姿。在這件作品中較少運用渲染，而多用筆墨和墨色濃淡拉開空間遠近距離，藉以區分大海與松樹的賓主關係，雖然少了溫潤之感，卻更為直接地保留了畫家的筆觸個性。（506字）

Li Hung-ju (1953- ), born in Nantou County, Taiwan, is a expatriate painter of Japan. As a young man, he studied martial arts and ink and wash under the tutelage of Ou Hao-nien. He later studied Japanese painting at Osaka University of the Arts, and was apprenticed by Uemura Atsushi at Kyoto University of the Arts.
Li Hung-ju was a visiting professor at Tunghai University and National Taiwan Normal University and has devoted himself to Gouache painting studies. He also serves as the chairman of the Non-Profit Organization Asian Culture and Art Alliance in Taiwan, and actively promotes exchange activities between Japan, Taiwan, China, and the United States on ink wash paintings.
Modern Japanese Ink painting, also known as Literati Painting or Southern Painting, is more broadly defined than in China. The style is not directly related to what Tung Chi-chan called the Southern School Chinese painting. Started from Kuwayama Gyokushyu, a renowned art critic, Literati Painting or Southern Painting has been referred to as a Chinese-styled art expression. However, its emphasis on spontaneity and expression is closer to the Japanese culture and its emphasis on emotion. As a result, many Japanese Southern painters have developed a distinctive personal style through their works. An example would be Urakami Gyokudo. He was once compared to Shitao, a leading Chinese landscape painter in the early Qing dynasty, by Hashimoto Kansetsu. Uragami Gyokudo was viewed as the epitome of how painters can emancipate rules of schools and arts and embrace the human's authentic nature in their paintings. The Southern Painting's emphasis on oddity has led to ink wash's development in Japan with a preference for individuality.
The Pine Tree, Waves, and the Flying Eagle is a live art completed at the 2004 Asian Chinese Ink Painting Exchange Exhibition. The painting depicts a vigorous pine tree and the stormy waves. On the right, the pine tree leans and bends in a curly manner, showing the ancient pine's majesty and upright posture. In this work, the artist does not highlight rendering, a common ink wash technique. Instead, he focuses on mere brushstrokes and shades to create the spatial distance between the sea and the pine tree. His choice distinguishes the relationship between the subject and object of the painting. Although resulting in a lessened serenity, the style retains the artist's unique brushwork and personality.

典藏單位:國立中正紀念堂管理處