典藏單位:國立中正紀念堂管理處

館藏編號:PT09782700

張克齊

尺寸:95x94.5x3(含框)

張克齊(1950-)，出生於南投縣埔里鎮鎮，台灣工筆花鳥畫家。1978年國立台灣師範大學美術系畢業，2002年獲得中國文化大學美術研究所碩士學位。歷任台中師範學院美勞教育系、台南長榮大學豐年畫苑、華梵大學、國立台灣藝術大學書畫藝術系、國立台灣師範大學駐校藝術家、中華民國工筆畫學會理事長、五榕畫會會長、亞細亞中日水墨畫會台灣區總會長，以及台北市學生美展評審委員、基隆文化中心典藏委員，並在行天宮社教館、台北市立美術館、佛光緣松山社教館等處，教授國畫長達數年至數十年，推展美育於社會大眾不餘遺力，貢獻良多。
工筆畫源自古代宮廷，從用筆或彩繪精細度來說，南朝謝赫《古畫品錄》已提出「骨法用筆」、「隨類賦彩」、「經營位置」等品評標準。東晉顧愷之的筆描特徵被稱為「春蠶吐絲」，即與用筆纖細工整的特質有關，唐代之後，吳道子更創造充滿變化動態的「吳帶當風」筆描方法，形成密體、疏體分庭抗禮的局面。
本作運用純熟圓融、技藝精湛的工筆畫法，在前景樹石的掩映中，描繪露出屋頂一角的中正紀念堂，深具巧思。立於莖上的斑鳩或靜觀或理毛，一靜一動，傳達繁忙都市中寧靜祥和一隅的景色。不若其他作品的重彩敷染，本作改以淡設色處理，將清晨陽光初起、薄霧未散之際的細膩感表露無遺。(509字)

Chang Ke-Chi (1950- ), born in Puli Township, Nantou County, is a Taiwanese fine brushwork flower-and-bird painter. He graduated from the Department of Fine Arts, National Taiwan Normal University in 1978 and received his master’s degree from the Graduate School of Fine Arts, Chinese Culture University in 2002. He has served in the Department of Fine Arts Education at National Taichung University of Education, Fengnian Painting Institute at the Chang Jung Christian University, Huafan University, Department of Calligraphy and Painting at National Taiwan University of the Arts, Artist-in-Residence at National Taiwan Normal University, President of Fine Line Painting Association Republic of China, President of the Wurong Art Association, and President of Taiwan Branch of Asia China-Japan Ink Painting Association in Taiwan. Meanwhile, he is also a member of the Taipei Student Art Exhibition jury and a member of the collection of the Keelung Cultural Center. Furthermore, Chang Ke-Chi has also taught Chinese painting for several years at the Hsingtien Temple Social Education Center, the Taipei Fine Arts Museum, and the Song Shan Social Education Center of Fo Guang Yuan and has made many contributions to promoting public art education.
The meticulous painting (gong-bi) originates from the ancient court. Back in the Southern Dynasty, Hsieh He has already proposed the criteria of "bone method," "the color method," and "position management" to rate an artist's technique in "Appreciation of Ancient Paintings.” The characteristic of Ku Kai-Chih's brush strokes in the Eastern Jin Dynasty is known as "spring silkworm spitting silk," which describes the artist's delicate and neat brushstrokes. After the Tang Dynasty, Wu Tao-Tzu even created the "Wu as Wind" brushwork technique, which is vivid with changes and dynamics, forming a stark comparison between the dense and the sparse.
This work employs a sophisticated and skillful meticulous painting technique to depict the National Chiang Kai-Shek Memorial Hall with a corner of its roof exposed in the background of the trees and rocks. The spotted doves standing on the stems are either quietly watching the scene or grooming themselves, conveying a quiet and peaceful scene in the busy city. Unlike other works, which are heavily colored, this painting adopts a full of light, low saturated color palette, revealing a delicate morning with beaming sunlight and mysterious fog.