典藏單位:國立中正紀念堂管理處

館藏編號:PT10000200

羅芳

尺寸:72.5x68.5(含框)

羅芳(1937- )，湖南長沙人。國立臺灣師範大學畢業，致力於推廣藝術，在師大服務四十年，2001 年自國立臺灣師範大學教授退休，早年受到黃君璧、溥心畬、廖繼春等影響，行腳紀實，不限材質創作繪畫，畫風氣勢渾厚。羅芳長年鑽研藝術及哲學理論，涉獵老莊、禪宗及靈修方面經典，並多次赴美進修訪問，學習中西文化精華，突破傳統限制，為現代水墨技法創新與融合審美理念。著作有「從米芾畫史論鑑藏之道」、「山水繪畫之研究」、「羅芳山水寫生小品集」、「延續與蛻變」、羅芳水墨創作集、「前瞻騁懷」羅芳作品集、「懷抱心宇」羅芳創作集、「神合貌離」羅芳、沈以正攜手五十年展等。
羅父是民國時期重要的報導人、政論家和經濟學家，母親系出何紹基家族，因此羅芳具有湖湘文化的氣質，溫秀之中帶有豪放，在創作上不斷求新求變。她早年受溥心畬、黃君璧、廖繼春等大師的影響，並融合百家之長，東西合併，融會貫通，媒材使用擴及紙、絹、布等各式材質，創作豪爽隨興，畫面全看心情與效果決定。
如同本作可見其融合了西方水彩畫的手法，山石使用較為深厚的大斧劈皴筆法繪成，遠方山巒運用了水彩中的縫合法朦朧的綿延著，近景峭壁有「主山堂堂」之氣勢，將黃山之清幽肅穆完美的詮釋，令人心生嚮往。(502字)

Luo Fang (1937 -), a native of Changsha, Hunan. She graduated from National Taiwan Normal University (NTNU) and dedicated her career to promoting art, serving at NTNU for forty years before retiring as a professor in 2001. Influenced in her early years by masters such as Huang Chun-Pi, Pu Hsin-Yu, and Liao Chi-Chun, Luo Fang's work is known for its grand and powerful style. She has extensively studied art and philosophical theories, exploring classics related to Laozi, Zhuangzi, Zen Buddhism, and spiritual cultivation. She has also visited the United States multiple times for further studies and cultural exchange, blending the essence of Eastern and Western cultures, breaking traditional boundaries, and innovating in modern ink painting techniques and aesthetic concepts. Her published works include "From Mi Fu: On the Art of Painting, Criticism, and Collection," "Research on Landscape Painting," "Luo Fang's Small Landscape Sketches," "Continuation and Transformation," "Luo Fang's Ink Painting Collection," "Prospective and Broad-Minded: Luo Fang's Works Collection," "Embracing the Universe of the Heart: Luo Fang's Creation Collection," and "Unity in Appearance and Spirit: Fifty Years of Luo Fang and Shen I-Cheng's Joint Exhibition."
Luo Fang's father was an important reporter, political commentator, and economist during the Republic of China period, and her mother was from the family of He Shao-Ji. Thus, Luo Fang possesses the cultural temperament of Hunan, combining grace and boldness, and continually seeking innovation in her creations. Her early influences from masters like Pu Hsin-Yu, Huang Chun-Pi, and Liao Chi-Chun, as well as her integration of various styles and techniques, allow her to merge Eastern and Western art seamlessly. She uses a wide range of materials, including paper, silk, and cloth, creating with a bold and spontaneous approach, where the composition is determined by her mood and desired effect.
In this work, one can see the integration of Western watercolor techniques. The mountains and rocks are depicted with the deep and robust axe-cut texture method, while the distant mountains use the hazy stitching technique of watercolors, creating a sense of continuity. The foreground cliffs convey a grand presence, perfectly interpreting the serene and solemn atmosphere of Huangshan, inspiring a sense of longing in the viewer.