典藏單位:國立中正紀念堂管理處

館藏編號:PT09902700

張克齊

尺寸:58.5×79 (80×121)

張克齊(1950- )，南投縣埔里人，國立台灣師範大學美術系、文化大學美術研究所碩士畢業，任國立台灣師範大學美術系助理教授、國立台灣藝術大學書畫藝術學系助理教授、國立臺灣師範大學駐校藝術家、長榮大學豐年畫苑教授。曾於中國、台灣、日本等國獲獎，並獲得台灣美術館，國父紀念館、中正紀念堂等博物館典藏，著有多本作品集著作。
張克齊師承喻仲林，學習工筆之暈染、勾線等技法，結合北宋黃荃及徐熙之技巧，得世人以「黃家富貴，徐熙野逸」稱之，曾拜入師祖金勤伯門下，學習翎毛技法，融合於個人創作中，並在創作理念中強調「找出自己的路」，且堅持所畫之物必所親見，絕不只是臨稿或照本宣科，相當講究寫生的經驗累積。
本作中一對藍腹鷴雌雄鳥，為張克齊帶有台灣本土人文精神的作品，藍腹鷴的動作掌握了花鳥寫生「移生動質」的特性，翎羽描繪柔軟但有力，設色清新典雅，將藍腹鷴羽毛的彈性及行進間的動態，展現出輕快、靈動的氣息，背景及近景樹枝選用明度、彩度較低的設色，除了襯托藍腹鷴的華麗之外，也讓畫面更聚焦於主角身上，雖然樹枝與草並非主角，但描繪技法仍清楚呈現，張克齊運用沒骨雙鉤技法為樹枝與草增添了厚實之感，與藍腹鷴堅挺的華羽相互呼應成一幅充滿自然之美的畫作。(504字)

Chang Ke-Qi (1950-) was born in Puli, Nantou County. He graduated from the Department of Fine Arts at National Taiwan Normal University, and then received a master's degree from the Graduate School of Fine Arts at Chinese Culture University. Chang served as an assistant professor in the Department of Fine Arts at National Taiwan Normal University, an assistant professor in the Department of Painting and Calligraphy Arts at National Taiwan University of Arts, a resident artist at National Taiwan Normal University, and a professor in the Fengnian Painting Garden of Chang Jung University. He has won awards in China, Taiwan, Japan, and other countries, and his works are collected by the National Taiwan Museum of Fine Arts, the Sun Yat-sen Memorial Hall, the Chiang Kai-shek Memorial Hall, and other museums. He has published several collections of his works.

Chang Ke-Qi was a student of Yu Zhong-Lin, where he learned various techniques, including meticulous brushwork, blending, and outlining. Combining the techniques of Huang Quan and Xu Xi from the Northern Song Dynasty, he was acclaimed for his richness similar to Huang's style and wild ease similar to Xu's style. He was also a student of his ancestral teacher Jin Qin-Bo, where he learned feather painting techniques that he incorporated into his personal creations. Emphasizing "finding one's own way" in his creative philosophy, he insists on painting only what he has personally seen, refusing to rely on sketches or copying existing works, and places great emphasis on accumulating experience by painting from life.

In this work, a pair of male and female Swinhoe's Pheasants embody Chang Ke-Qi's commitment to the local cultural spirit of Taiwan. The movements of the Swinhoe's Pheasants capture the vibrant quality of flower and bird painting, with feather depictions that are soft yet powerful, and coloration that is fresh and elegant. The elasticity and dynamism of the Swinhoe's Pheasant's feathers and movements are rendered with a light and agile air. The background and nearby branches, chosen with lower levels of brightness and saturation, not only highlight the splendor of the Swinhoe's Pheasant, but also focus the painting on the main subjects. Although the branches and grass are not the main focus, they are still clearly depicted. Chang Ke-Qi uses a boneless double-hook technique to give the branches and grass a solid feel, echoing the sturdy plumage of the Swinhoe's Pheasant, completing a painting full of natural beauty.