典藏單位:國立中正紀念堂管理處

館藏編號:PT09783200

陳炳宏

尺寸:198x115x3(含框)

陳炳宏（1966-），臺北人。畢業於臺灣藝術大學書畫藝術系，美國Fontbonne University碩士，台藝大書畫系博士，任臺灣藝術大學書畫藝術學系副教授。作品獲國畫類南瀛獎、金龍獎與高雄獎永久免審查，及吳三連藝術獎；並於臺南市文化局、高雄市文化局舉辦個展。
陳炳宏擅長水墨人物畫，以此關照臺灣社會與人文風土。70年代，臺灣在外交與社會政治轉變的困境下興起鄉土寫實運動，藝術家回歸對鄉土與人文傳統的關注，積極汲取本土文化素材。臺灣水墨畫也受到這波運動的影響，許多畫家如席德進、袁金塔與江明賢等，更致力於蒐羅與本地人文歷史相關的題材入畫。當時全省美展與各類官辦美展，也多鼓勵這類鄉土寫實題材的創作。
此作品應「臺灣‧民主‧百景：百位名家藝術展」之邀而作，畫面以中堂式構圖呈現多層次的景物。前景百合花海中跪坐一徬徨、赤裸幼童，兩側類似門拱的色塊隱約可見成人巨大軀幹。野百合對於臺灣社會具有重要意義，不僅代表源源不絕的生命力，更是90年代民主運動的象徵。畫家透過幼兒指涉臺灣國際處境與民主進程尚未成熟的迷惘，甚至陷入孤立無援的狀態，身旁強權卻如陌生人一般地冷漠肅然。然而，畫中遍地而生的野百合隱隱透露其對臺灣新生力量的企望，以民主發展為目標在未來找到自己的定位。（505字）

Chen Ping-hung (1966–) was born in Taipei. He graduated from the Department of Chinese Painting and Calligraphy at National Taiwan University of Arts, received a master's degree from Fontbonne University (USA), and holds a doctorate from the National Taiwan University of Arts Department of Chinese Painting and Calligraphy, where he serves as associate professor. His works have received the Nan-ying Award, Golden Dragon Award, and Kaohsiung Award (conferring permanent exemption from juried entry) in the Chinese painting category, as well as the Wu San-lien Award for Art; he has also held solo exhibitions at the Tainan City Bureau of Cultural Affairs and Kaohsiung City Bureau of Cultural Affairs.

Chen excels in ink figure painting, through which he engages with the social and cultural landscape of Taiwan. In the 1970s, in the midst of Taiwan's diplomatic and socio-political difficulties, the Nativist Realism movement arose; artists returned to an engagement with the land and the humanistic tradition, actively drawing on local cultural materials. Taiwanese ink painting was influenced by this movement as well, and many artists—such as Shiy De-jinn, Yuan Chin-ta, and Chiang Ming-hsien—devoted themselves to gathering subject matter related to local humanistic history and culture. During this period, the Taiwan Provincial Fine Arts Exhibition and various officially sponsored fine arts exhibitions also encouraged this kind of nativist realist subject matter.

This work was created at the invitation of the "Glimpses of Democracy: Group Exhibition of 100 Taiwan Artists," and presents a multilayered scene in a central hanging scroll format. In the foreground, a bewildered, naked young child kneels in a sea of lily flowers, with large adult torsos faintly visible on either side, framed by arch-like blocks of color. The wild lily holds great significance for Taiwanese society: it represents enduring vitality, and is also the symbol of the democratic movement of the 1990s. Through the figure of the child, the artist evokes Taiwan's ambiguous international situation and its not-yet-fully-matured democratic process, even the sense of falling into isolated helplessness while the surrounding powers look on with the cold indifference of strangers. Yet the wild lilies growing everywhere quietly reveal the artist's hope for a new energized generation in Taiwan—one that will, pursuing the goal of democratic development, find its own place in the world.