典藏單位:國立中正紀念堂管理處

館藏編號:PT09400500

倪占靈等11人合繪

倪占靈(1923-)，安徽渦陽人，後遷臺灣。師事工筆花鳥大師喻仲林，擅水墨蝦、鯉魚、精工筆花鳥、水果，國內個展14次，聯展百餘次，國外展美、日、韓、馬、約旦等，曾獲獎多次，作品為國內外美術館收藏。現任臺灣中國美術協會理事、甲辰詩書畫會副會長、松柏國畫社長，中華書畫會會長，著有《倪占靈畫集》。
本作為倪占靈與中華書畫會畫家共11人合繪，應為中國神話故事「姜太公釣魚」之一景；傳說姜太公在商朝末年曾當過小官，但當時商紂王當政，暴政年年、內亂不斷，不願見到民不聊生的他辭官遠走，隱居於蟠溪峽。姜太公隱居時期常到渭河釣魚，但他卻用直線無彎折的金屬絲當魚鉤，想當然爾，一條魚都釣不到。有一回，周文王正好出巡到渭河附近打獵，見到當時已經垂垂老矣的姜太公坐在河邊釣魚，且魚鉤竟然是直的，納悶之餘問姜太公：「魚鉤要彎的才能釣到魚，你的魚鉤怎麼是直的呢？這樣釣不到的。」姜太公回道：「我要釣的是自願上鉤的魚，我不必用彎的魚鉤來強迫魚上鉤，要來就來、不來也罷。」周文王是聰明人，一聽就知道姜太公一語雙關，便向姜太公表明自己將振興世道，希望姜太公能擔任自己的老師。周文王當場拜姜太公為太師，更親自拉車請回姜太公。
本作所繪正是此景，周文王拱手作揖、畢恭畢敬，姜太公氣定神閒、若有所思，正所謂「訪賢」。作者巧妙運用透視點的變更，觀者視線隨著河流蜿蜒，往畫面左方看去，是雲煙飄渺、恍若隔世，然而望向畫面右方，林木交接處隱約可見人、車、馬等護駕陣仗，同時也象徵著世俗紛擾；究竟是繼續仙隱山林，還是入世還俗，兩條截然不同的道路，賢者當下所面臨重大抉擇之心境，也能透過此畫一覽無遺。

Ni Jan-ling (1923-), born in Kwoyang County, Anhui Province, later moved to Taiwan. Taught by Gongbi master Yu Chung-lin, who specializes in depicting birds and flowers, Ni Jan-ling is known for his portrayal of ink-wash shrimp and carp, and Gongbi flower, birds, and fruits. He has held 14 solo exhibitions and hundreds of group exhibitions in Taiwan. As the one who received numerous awards across the countries and whose works have been collected by national and foreign museums, he was invited to exhibit at the United States, Japan, Korea, Malaysia, Jordan, and more. Today, Ni Jan-ling serves as the director of the Taiwan Chinese Art Association, vice president of the Jia-chen Poetry-art Association, president of Pine Tree Chinese Painting Society, and the president of the Chinese Calligraphy & Painting Association. His most well-known work includes Collection of Ni Jan-ling Paintings.
Visiting the Wise is a collaborative work created by Ni Jan-ling and other eleven artists from Chinese Calligraphy and Painting Association. It illustrates one of the scenes in the renowned Chinese mythologies "The Fishing of Jiang Zi-ya." Legend has it that Jiang Zi-ya (also known as Jiang Tai-gong) was a minor official in Shang Dynasty. However, King Zhou of Shang was a tyrannical ruler who mercilessly executed any dissenting voice. Civil unrest haunted the days. Unwilling to see his people suffering in poverty and famine, Jiang resigned from his position and went away to live in seclusion in Panshi Gorge.
During his reclusive period, Jiang Tai-gong often went fishing by Wei River; however, he insisted on using a straight wire as the hook. As expected, no fish were caught. One day, King Wen of Zhou happened to be on a hunting trip near Wei River and saw Jiang, an old and absurd man sitting by the river fishing with a straight hook. Confused, King Wen of Zhou asked, "How do you plan to catch fish with a straight hook?" "The fish would come to him of their own volition when they were ready," answered Jiang. King Wen of Zhou was also a wise man, and he immediately noticed the implicit meaning in Jiang's words. He spoke of his vision to overthrow the corrupted empire and asked for Jiang's guidance. King Wen of Zhou respected Jiang as his teacher and even pulled his cart to invite Jiang to his territory.
The painting depicts the renowned encounter between King Wen of Zhou, who bows with respectful hands, and Jiang Zi-ya, whose expression is serene and earnest, so is the work named Visiting the Wise. The artist cleverly uses the change of perspective and dimension. If the viewer follows the meandering river to the left, the clouds and mist fill the forest. On the right, however, at the junctions of forests and trees, one can see the crowds, vehicles, and horses escorting the King. The painting perfectly visualizes Jiang Zi-ya's opposing choice: to stay in exile and his seclusive Utopia or return to society and disturbances.