典藏單位:國立中正紀念堂管理處

館藏編號:PT09711700

小林東雲

尺寸:139.9×33.5 (畫心)

小林東雲(1961-)，日本東京市人，母親為書法家，自幼練習書法，高中開始深入水墨畫，師承北京故宮李傅琪，及中國、台灣多位名家，1987年於巴黎「日本美術展」上創作壁畫，並受邀在多國進行類似創作，曾在中國歷史博物館舉辦「中日交流20周年紀念･小林東雲書畫展」，作品在國內外數間美術館均有收藏，有感於傳統水墨畫的意涵，經常於神社，寺廟等地創作壁畫，現在從事包裝、網頁設計類工作，並有多項著作，探索水墨表現的可能性。
小林東雲善用點、線、面進行創作，以「白描」、「皴擦」、「渲染」、「暈染」等基本手法進行創作，畫風融合日本水墨畫與中國傳統水墨畫，形成獨特風格，同時具有傳統水墨的精神又具有日本水墨畫的精細與趣味。
本作「仙人」，與「老人」描寫手法相近，除了臉上的斑駁外，仙人更顯超脫世俗，留有雪白鬍鬚，白髮蒼蒼，仙風道骨，衣著表現減少線條描繪，使用更大筆畫的墨韻取代實體線條，畫面有如大風吹起，呈現仙人的靈動特質，日本受唐朝傳入的仙人意象影響，因此作品也呈現出人們對長生的渴望，與超脫世俗牽絆；自由遨遊的遐思，畫中以歲寒三友中的竹作為相襯植物，也告訴觀者做人需謙虛，並以竹節象徵高尚節操，奉勸世人應當守節如竹。(501字)

Kobayashi Toun (1961-), born in Tokyo, Japan, is an artist with a strong foundation in calligraphy, having been introduced to the art by his mother, a calligrapher. He began practicing calligraphy from a young age and delved deeply into ink painting during high school. He studied under Li Fuqi from the Beijing Palace Museum and learned from numerous renowned artists in China and Taiwan. In 1987, he created a mural at the Japan Art Exhibition in Paris, which led to invitations for similar projects in multiple countries. He also held a solo exhibition, The 20th Anniversary of China-Japan Cultural Exchange: Kobayashi Toun Calligraphy and Ink Painting Exhibition, at the Chinese History Museum. His works are housed in several museums both domestically and internationally. Deeply inspired by the cultural significance of traditional ink painting, he frequently creates murals in shrines, temples, and other sacred sites. Currently, he works in packaging and web design while continuing to explore the expressive possibilities of ink painting through his various publications.

Kobayashi Toun masterfully utilizes dots, lines, and planes in his compositions, employing fundamental techniques such as “baimiao” (line drawing), “cuncao” (texturing), “xuanran” (gradual shading), and “yunran” (diffused shading). His painting style blends Japanese and traditional Chinese ink painting, forming a unique artistic identity that embodies the spirit of classical ink painting while incorporating the precision and aesthetic sensibilities of Japanese ink art.

The artwork “Immortal” shares a similar expressive technique with “Elder,” yet conveys a more transcendent and otherworldly presence. Beyond the mottled features of aging, the immortal figure appears detached from worldly concerns, with flowing white beard, silver hair, and an air of wisdom and serenity. The depiction of clothing is simplified, reducing detailed linework in favor of broader, more fluid brushstrokes that replace solid contours with dynamic ink washes. The composition evokes the imagery of a strong wind sweeping through, emphasizing the ethereal and free-spirited nature of the immortal. Japan’s imagery of immortals was influenced by depictions from the Tang Dynasty, reflecting humanity’s age-old yearning for longevity and liberation from worldly attachments. This painting captures the fantasy of boundless freedom, illustrating the immortal’s detachment from earthly constraints. Complementing the figure, the artist incorporates bamboo, one of the “Three Friends of Winter,” reinforcing the virtues of humility and resilience. The segmented structure of the bamboo symbolizes moral integrity and unwavering principles, reminding viewers to uphold their values with the same steadfastness as bamboo.