典藏單位:國立中正紀念堂管理處

館藏編號:PT09783100

袁金塔

尺寸:78.3x127.5x3(含框)

袁金塔（1959-），彰化員林人，臺灣水墨畫家。畢業於國立臺灣師範大學美術學系、美國紐約市立大學美術研究所，曾任師大美術系教授。曾擔任全國美展、臺北美術獎、高雄獎、廣播電視金鐘獎等國內多項大獎的評審委員，個展與聯展遍及國內外，創作數量相當豐碩，廣為國內外機構所收藏。
袁金塔的創作秉持對「自我探求」的熱情，以及人類與土地、社會、時代之間的關係，在西畫背景的基礎上，探索東方藝術與水墨的現代性，結合東西方藝術特點，融入個人的創作語彙之中，深具個性，故被譽為「水墨頑童」。1970年代臺灣藝壇盛行鄉土寫實主義，此階段的創作題材多以農村及瓦舍表達思鄉情懷；1990年代以後，袁金塔逐漸跳脫傳統水墨技法表現，融入大量當代符號、影像與複合媒材，以及複製、拼貼現成物的嘗試，在主題方面開始轉向政治與性別批判，反映其對台灣社會變遷的軌跡的反思、人文批判和關懷。
袁金塔擅於以時事入畫，特別是對於政治生態的觀察與針貶。這件作品描繪不同政黨傾向與背景的支持者齊聚於中正紀念堂廣場的景象，雖各自擁有不同的政治立場，但卻能自由傳達自己的主張與意見，凸顯台灣社會民主深化的成果。畫面採穩定的三角構圖，配合著旗幟飄揚的角度，傳達社會中不斷上升與前進的無形力量。（505字）

Yuan Chin-ta (1959–) was born in Yuanlin Township, Changhua County. A Taiwanese ink painter, he is a graduate of the Department of Fine Arts at National Taiwan Normal University and from the Graduate Institute of Fine Arts at the City University of New York, and has served as professor in the Department of Fine Arts at National Taiwan Normal University. He has served as juror for numerous major national competitions, including the National Fine Arts Exhibition, Taipei Art Awards, Kaohsiung Award, and Golden Bell Awards. Solo and group exhibitions showcasing his work have extended across Taiwan and abroad; he has produced a remarkably rich body of work, widely held in collections by institutions at home and internationally.

Yuan’s creative practice is guided by a passion for "self-exploration" and an engagement with the relationships between human beings and the land, society, and the times. Drawing on a background in Western painting, he explores the modernity of Eastern art and ink painting, combining the characteristics of Eastern and Western art and incorporating them into his personal creative vocabulary—an approach that has given his work deep individuality. He is accordingly celebrated as the "Ink Rascal." During the 1970s, when Nativist Realism dominated the Taiwan art world, his subjects centered on rural villages and tiled-roof dwellings to express nostalgia for the homeland; from the 1990s onward, Yuan progressively broke free from traditional ink painting techniques, incorporating an abundance of contemporary symbolism, imagery, and mixed media, along with techniques of reproduction and collage of readymade objects. His subject matter began to shift toward political and gender critique, reflecting his critical engagement with and concern for the trajectory of Taiwan's social changes.

Yuan excels in drawing on current events for his painting—particularly in his observation and critique of the political landscape. This work depicts supporters of different political parties and backgrounds gathered together at the Chiang Kai-shek Memorial Hall plaza, each with different political positions, yet all freely expressing their own views and opinions—highlighting the achievements of Taiwan's deepened democratic culture. The composition employs a stable triangular structure, combined with the angle of the waving flags to convey the invisible upward momentum of society as it continually advances.