館藏編號:PT09401500

張清宗

尺寸:76×61 (畫心)

張清宗（1954-），彰化人，彩墨畫家。初中畢業後於藝廊工讀，先後受教於陳陽春、徐一飛、歐豪年、黃磊生、涂璨琳等畫家門下。2005年起，四度獲得全日展獎項。曾於臺北市社教館、中正紀念堂、新竹科學園區等地展出。張清宗畫歷逾四十餘，遍訪數國名山大川，嚮往九寨溝、加拿大等地自然美景，並以此為主題，創作不輟。
張清宗擅長以斧劈皴擦之法，描繪湍流瀑布、峭壁山石、雲海高山等景色，其山石表現頗有嶺南派畫風之特質。特別是以重墨點染描繪對象暗面，突出對比強烈的、以乾淡墨皴擦的受光面，並敷上亮色增強作品的視覺張力。張清宗善用豐富的顏色描寫景致，在傳統水墨畫的基礎上，加入西方透視、色調及立體感的繪畫手法，以增加畫面的視覺性。此兼容手法最早見於嶺南派大師高劍父「折衷中外，融合古今」的作法，而臺灣則以歐豪年為代表，結合東西所長。
本作品描繪日本北海道秋景，以垂直峭壁和連綿遠山，展現當地崎嶇山區的壯麗景致。畫面中岩壁正面受光、部分留白，其暗面以重墨釜劈皴描繪，表現出傳統水墨畫缺乏的戲劇性，此為嶺南派的特色之一。此外，周圍石壁亮面以色墨壓暗，使觀者聚焦於中央岩壁上的瀑布。而瀑布底部則以雲霧掩蓋，藉以凸顯山高雲深之神秘氣氛。（495字）

Chang, Ching-tsung (1954-), born in Changhua County, is an artist devoted to ink wash painting. After graduating from junior high school, he worked at art studios and was taught by several artists, including Cheng Yang-chun, Hsu Yi-fei, Ou Hao-nien, Huang Lei-sang, and Tu Tsan-lin. Since 2005, he has received four awards from All Japan Expo. His works have been exhibited at Taipei Cultural Center, Chiang Kai-shek Memorial Hall, Hsinchu Science Park, and more. With experience of over forty years in painting, Chang Ching-tsung also visited several renowned mountains and rivers. The natural beauty at Jiuzhaigou, China, and Canada always catches his heart and has become the central theme of his work. Adept in using the ax-chisel strokes, a brushstroke technique resembling those left on wood by an ax or chisel, Chang Ching-tsung specializes in depicting a turbulent waterfall, rugged rocks, clouds, and mountains. His depictions of the landscape are quite characteristics of the Lingnan School's paintings. In particular, he used heavy inks in a dappled style to portray the shadows, light-dry wash for the illuminated surfaces, and bright colors in combination, creating works with high contrasts and great visual tension. Chang Ching-tsung is known for his use of rich colors in landscape painting. He added Western techniques such as tonality, perspective, and dimension based on traditional ink wash painting, increasing the works' visuality. This method was first seen in the works of Lingnan School leader Kao Chien-fu, who aims to "embrace [all elements of Western painting] as nourishment for Chinese painting" and "negotiate with tradition and modernity" in art. Likewise, Ou Hao-nien, a Taiwanese artist, has a similar stance on the synthesis between western and traditional approaches.
The work depicts an autumn scene in Hokkaido, Japan, with vertical cliffs and distant mountains to show the magnificent scenery of the rugged mountainous region. While the artist portrays the bright front side of the rock wall through purposeful preservation of unpainted space on the canvas, his heavy ink and rough brushstrokes depict the tactile textures of shadowed rocks. The work, resembling the Lingnan School's characteristics, showcases the dramatic tension absent in traditional ink wash painting. Furthermore, the artist darkened the surrounding rocks with ink to divert the viewers' attention to the waterfall at the center. The bottom of the waterfall is soothed to a hazy shade by the clouds, creating the mysterious atmosphere of high mountains and deep clouds.

典藏單位:國立中正紀念堂管理處