典藏單位:國立中正紀念堂管理處

館藏編號:PT09782800

熊宜中

尺寸:88x87x3(含框)

熊宜中（1953-2014），別號抱一，出生於台中市，文化大學美術碩士。中學時受陳德旺、張萬傳的影響，進入文大美術系後，受曾紹杰、江兆申、金勤伯、吳學讓、歐豪年等人指導，理論方面則受益於王壯為、李霖燦等人。熊宜中曾獲中興文藝創作獎、中國文藝獎章、中華藝術貢獻獎等，作品受總統府、行政院、中正紀念堂等單位典藏。此外，曾任全國全省美展評審、華梵大學美術系教授兼書法中心主任、西泠書畫院特邀畫師、台灣水墨畫會理事長等職務。
熊宜中別號「抱一」，出自《老子》，其意為「神形合一」，融道於自然之中，雖懷有道家萬物齊化的胸襟，亦兼有儒家的謙和與執中。熊宜中熱衷收藏，如傳統文人藉文物以自娛養性。他的作品結合傳統詩、書、畫、印「四絕」的美學表現，堅持筆墨趣味與意境營造。晚年受張大千的啟發，出現潑墨與潑彩的作品，結合「彈粉法」與「疊色法」，透過粉藍、粉紫、粉紅、石綠等顏色增添畫面的活潑感與飽和度。
此作描繪中正紀念堂角門附近一景。前景樹木半掩半映著紀念堂的白壁藍瓦圍牆，而群眾由遠至近魚貫進入園區。中景圍牆內有許多各式葉點組成的樹叢，簇擁著宏偉的建築主體。整件作品用筆粗厚樸實、用色大膽鮮明，讓觀眾感到紀念堂的實體量感與園區的景觀意象。（502字）

Hsiung Yi-chung (1953–2014), literary name Pao-yi (derived from Lao Tzu), was born in Taichung City. He held a master's degree in fine arts from Chinese Culture University. In secondary school he was influenced by Chen Te-wang and Chang Wan-chuan; upon entering the Department of Fine Arts at Chinese Culture University, he received guidance from Tseng Shao-chieh, Chiang Chao-shen, Chin Chin-po, Wu Hsueh-jang, and Ou Hao-nien, and benefited theoretically from Wang Chuang-wei and Li Lin-Tsan. Hsiung was a recipient of the Chung-Hsing Literary and Arts Award, Chinese Literary and Arts Medal, and Chinese Arts Contribution Award, and his works are held in the collections of the Presidential Office, Executive Yuan, and Chiang Kai-shek Memorial Hall, among other institutions. He served as juror for the National and Provincial Fine Arts Exhibitions, as professor and director of the Calligraphy Center in the Department of Fine Arts at Huafan University, as a specially invited painter of the Hsiling Academy of Painting and Calligraphy, and as chairman of the Taiwan Ink Painting Association, among other roles.

Hsiung's literary name "Pao-yi" is taken from Lao Tzu, signifying "the unity of spirit and form"—the merging of the Tao into nature. Although he cultivated the Taoist spirit of the unity of all things, he also incorporated the Confucian qualities of humility and centrality. Hsiung was a passionate collector, in the manner of the traditional Chinese literatus who delights in artifacts and cultivates the spirit through them. His works combine the aesthetic expression of the traditional "Four Perfections"—poetry, calligraphy, painting, and seal carving—and maintain a commitment to the charm of brushwork and ink and the creation of artistic mood. In his later years he was inspired by Chang Ta-chien and created works using ink splashing and color splashing techniques, combining the "powder-scattering method" and the "layered-color method," and incorporated powdery blues, purples, pinks, and malachite greens to add liveliness and saturation to the pictorial surface.

This work depicts a scene near a side gate of the Chiang Kai-shek Memorial Hall. Trees in the foreground half-conceal and half-reveal the white walls and blue-tiled roof of the memorial hall, while figures stream from the distance toward the park entrance in single file. Within the surrounding walls in the middle ground, clusters of trees composed of varied leaf textures surround the imposing main building. The overall brushwork is thick and unaffected, and the use of color is bold and vivid, giving the viewer a sense of the memorial hall's imposing physical presence and the scenic imagery of the surrounding area.