典藏單位:國立中正紀念堂管理處

館藏編號:PT09400900

許朝權

尺寸:70×138㎝

許朝權（1952-），出生於臺中，臺灣水墨畫家。曾任臺中市中華書畫協會理事長，多次榮獲全省美展、全國美展、大墩美展等獎項，以及國內外邀請展、美術家聯展的展出，廣為海內外藏家所喜愛。
許朝權自幼熱愛繪畫、漫畫與民間藝術，雖未接受過正式學院美術訓練，但透過臨摹《芥子園畫譜》、《劉奎齡畫譜》等自學有成，同時承蒙許多前輩大師的指導，奠定深厚的筆墨基礎，致力於工筆彩墨的創作。其作品題材多為佛畫、花鳥、仕女和樓閣界畫，在傳統的工筆基礎上，採用西洋繪畫的透視法，使畫面空間布局更為立體；另一方面則透過渲染等技法，活用絲絹基底材特性，賦予工筆畫與時俱進的現代風貌。許朝權的創作重視傳承與創新，他認為創作不需拘泥於形式和技法的框架，重要的是能表達出內心意念和自我風格，如此才能融匯古今，達到不慍不火的層次。
許朝權的花鳥畫繼承了工筆走獸花鳥畫家劉奎齡的畫風特色，用西畫的透視原理處理鳥畜的外型，賦色鮮明而亮麗，皮毛與翎羽的明暗變化，伴隨著軀體結構和透視關係顯得特別起伏有致。此外，其畫面中的動物多為成雙成對，此作品亦不例外，以秋天為背景描繪了竹林裡的一對鳥禽與蟋蟀；一旁的楓樹則以暈染和皴擦的方式完成，匯集工筆與寫意不同優點於同一畫面之中。（507字）

Hsu, Tsao-chuan (1952-), born in Taichung, is a Taiwanese ink wash painter. He was the chairman of the Taichung City Chinese Art Association. Not only has he won several awards in regional, national art exhibitions and the Da Dun Fine Arts Exhibition of Taichung City, but he was also invited to exhibitions from Taiwan and abroad, widely known by global collectors.
Since his childhood, Hsu Tsao-chuan has been keen on painting, cartoon, and folk arts. Although he did not receive formal education in art academy, he studied on his own by copying famous works such as Manual of the Mustard Seed Garden and Liu Kuei-ling's paintings. Meanwhile, receiving serval guidance from several masters, Hsu Tsao-chuan established a profound foundation in brush and inks, which prompted his later devotion to Gongbi ink wash paintings. The artist's subject matter focuses on Buddhist paintings, flowers, birds, ladies, and buildings. On the one hand, he adopted Western paintings' uses of perspective on the basis of traditional Chinese brushwork, creating three-dimensional spaces in his works. On the other hand, through mastering washes techniques, the artist is able to fully present the characteristics of silk substrates and furnish the possible modernity of Gongbi ink wash paintings. Hsu Tsao-chuan believes creation should not be limited to forms and techniques. It is only by creating art that serves as self-expression can a person integrate all past and present and achieve internal serenity.
Hsu Tsao-chuan's bird-and-flower paintings inherit Liu Kuei-ling's style. Adopting the principle of perspective from Western painting to depict the birds' form and shape, the artist also emphasizes bright and vivid colors that characterize the changes in light on the birds' plumage. His approach to structural layout and spatial perspectives enlivens the painting. Furthermore, most of the animals in his works are in pairs; this painting is of no exception. With harvest hue in its background, The Loveliness of Autumn Woodland depicts a pair of birds and crickets in the bamboo forest and maple trees on the side with breathtaking wash techniques. The artist admirably combined the strengths of Gongbi and Realism in his painting.