典藏單位:國立中正紀念堂管理處

館藏編號:PT09711800

小林東雲

尺寸:140×33.5 (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，著有多項著作，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「老人」，畫中的人物意像描寫貼切，運用寫意手法勾勒眼睛、鼻子、嘴巴之間的皺紋，兩鬢上留白添加些許白髮，身體微微前傾，顯露出年老的體態，然主角神采奕奕，撫鬚賞梅，著寬鬆白衣，頭戴烏紗帽，表現其「清廉潔白」的節操。梅花為「歲寒三友」之一，不畏寒冬，傲然卓立，品格高尚，深受文人雅士喜愛，故稱君子當堅貞如梅。作者運用大筆瀟灑繪製樹枝，運筆帶有多變墨色，梅枝向上挺拔，並以噴灑的方式點上梅花，運用簡單意象，省略傳統梅花細部勾勒，更加增添簡潔的氣氛。(500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 “Elder” captures the essence of old age with remarkable precision. The subject is depicted with expressive brushwork, skillfully outlining the wrinkles between the eyes, nose, and mouth. Subtle white spaces along the temples suggest strands of white hair, while the slightly forward-leaning posture reflects the natural curvature of aging. Despite this, the figure exudes vitality and spirit, gently stroking his beard while admiring plum blossoms. Dressed in a flowing white robe and wearing a black gauze cap, he embodies the virtues of integrity and purity. The plum blossom, one of the “Three Friends of Winter,” stands resilient against the cold, symbolizing unyielding strength and noble character. Admired by scholars and literati, it is often associated with the virtues of a gentleman—unyielding and steadfast like the plum. The artist uses bold and fluid brushstrokes to render the branches, skillfully varying ink tones to create depth. The upward-reaching branches emphasize resilience, while the blossoms are applied using a splattering technique, simplifying traditional fine-line depictions of plum flowers. This approach enhances the painting’s minimalist aesthetic, reinforcing its elegance and refined atmosphere.