典藏單位:國立中正紀念堂管理處

館藏編號:PT09782200

蔡友

尺寸:108x71x3.2(含框)

蔡友(1947- )，南投縣人，字樂山、友三。國立藝專、文化大學美術系畢業，日本築波大學藝術碩士，任國立臺灣藝術大學書畫系專任教授、臺灣藝術家協會理事長。初中畢業後專研水墨畫，求學生涯先後向呂佛庭、歐豪年、江兆申等多位名師學習，1983年前往日本筑波大學深造，習得假名書法，並因日本地區四季分明，自然色繽紛的關係，打破「墨分五色」的傳統文人畫觀念，在外寫生的經驗法展出色彩系列，多次應邀參加各項重大展覽，分別於歐亞美各大洲展出。
蔡友秉持著「用意」、「率意」兩種創作理念，「用意」意即確立創作方式，精密計畫，「率意」則重在無心與自然，須以「用意」打下一定的基礎，才能使「率意」創作順利表現。回國後的豔彩系列，開始以臺灣的主題進行創作，921震災後痛心故鄉滿目瘡痍，進行「房子系列」的創作，表達對故鄉的關懷，並力保老屋的保存，「老屋系列」時期創造蠟與墨的混合的「斑駁皴法」。
本作於臺灣民主百景特展展出，畫風蒼勁剛強，厚實的線條與紀念堂的肌理設定，表現斑駁皴法的特色，象徵數十年來的歲月，自由民主發展的痕跡，濃墨乾擦的沉靜大樹與灰色調的天空帶來一片祥和寧靜，則代表社會的平和，落款處帶有蔡友「畫書」特色的落款則為畫面的氣氛帶來活力。(502字)

Tsai Yu (1947–) was born in Nantou County. His courtesy names are Lo-shan and Yu-san. He graduated from the National Taiwan University of Arts and the Department of Fine Arts at Chinese Culture University, received a master's degree in the arts from the University of Tsukuba, Japan, and serves as full professor in the Department of Chinese Painting and Calligraphy at National Taiwan University of Arts and chairman of the Taiwan Artists' Association. After completing junior high school, he devoted himself to ink painting, studying successively under Lu Fu-ting, Ou Hao-nien, Chiang Chao-shen, and other masters during his education. In 1983 he traveled to the University of Tsukuba, Japan, for advanced study, where he mastered kana calligraphy; the four clearly differentiated seasons in Japan and the abundance of natural color led him to break with the traditional literati painting concept of "ink divides into five colors," and his experience of painting from life outdoors gave rise to his “color” series. He has been invited to participate in numerous major exhibitions, exhibiting in Europe, Asia, and the Americas.

Tsai's creative practice is guided by two principles: "intentionality" and "spontaneity." "Intentionality" means establishing a creative approach through precise and deliberate planning; "spontaneity" means allowing the natural and unpremeditated, but requires the foundation of "intentionality" before "spontaneous" creation can be successfully realized. After returning to Taiwan, he began to use Taiwanese themes for his "Vivid Color" series creation; deeply saddened by the destruction wrought by the 921 Earthquake upon his homeland, he undertook the "Houses Series," expressing his concern for his hometown and working to preserve old buildings; during production of the "Old Houses Series," he created the "mottled cun technique" by mixing wax and ink.

This work was shown in the "Glimpses of Democracy" special exhibition. The brushwork is strong and powerful; the thick strokes and the texture of the memorial hall evoke the characteristics of the mottled cun technique, symbolizing the passage of decades and the traces of freedom and democracy's development. The quiet, solemn quality of the large tree rendered in concentrated dry brushwork, and the grey-toned sky, convey a sense of peace and serenity representing social harmony. The colophon in Tsai Yu's distinctive "painted calligraphy" style brings vitality to the work’s atmosphere.