典藏單位:國立中正紀念堂管理處

館藏編號:PT06903100

林賢靜

尺寸:139×68 (畫心)

林賢靜(1912-)，廣東澄海人，台灣花鳥畫家。長年從事水墨處作，對海上畫派如任伯年、金石派吳昌碩、齊白石畫法頗有研究，致力於兼採清末民初諸家之長，並融會貫通。曾任教於台灣省立師專、國立藝術專科學校美術科，設立「林園畫室」並於救國團暑期文藝隊，指導學生國畫創作。於台北市中山堂等地舉辦個展多次，並與畫室學生舉辦師生展，編輯出版《林園花鳥畫集》多冊。
其國畫創作，專攻花鳥翎毛，以沒骨寫意畫法為主，可分設色及墨繪兩種。植物花卉多作紅白芙蓉、茶花、月桃、楓樹、百合、長松、楊柳、春桃、秋菊，品類繁多；另添筆鳥雀、粉蝶、魚狗、八哥等，動靜呼應，生意盎然，深具女性優雅嫻靜特質。除勤奮於創作外，更基於「一份對復興中華文化的熱忱，……藉著畫筆描繪出對大自然的愛，對國家的愛，和對中華文化的愛，而使人生臻於真善美的佳境」，於學校或畫室教導新進貢獻良多，致力於保存中華文化，藉以造福國家社會。
本作描繪俗稱國色天香之牡丹一株，枝頭綻放盛開牡丹花七朵，與常見濃豔設色者不同，單以墨色鉤畫枝葉，再以白粉點綴花朵，背景未作烘染。透過黑白兩色強烈對比，凸顯牡丹清麗富雅之態。畫題作「六合祥雲光射萬方」，可知具有祝禱百姓福壽吉祥、國家太平安康之意。(503字)

Lin Hsien-Ching (1912-), a native of Chenghai, Guangdong Province, is a Taiwanese painter specializing in flower-and-bird painting. She devoted her life to ink painting, extensively studying the Shanghai School, particularly the techniques of Jen Po-Nien, the Chinshih School’s Wu Chang-Shih, and Chi Pai-Shih. Lin sought to synthesize the strengths of late Ching and early Republican-era masters, creating a distinctive style that seamlessly blends their influences. She taught at the Taiwan Provincial Teachers’ College and the National Academy of Arts, later establishing the Lin Yuan Studio, where she also guided students in Chinese painting through the China Youth Corps Summer Arts Program. Lin held multiple solo exhibitions at Chungshan Hall in Taipei and other venues, frequently organizing teacher-student exhibitions with her studio’s pupils. She also compiled and published multiple volumes of the “Lin Yuan Flower-and-Bird Painting Collection.”

Lin specialized in flower-and-bird painting, predominantly using the boneless freehand style, with works falling into either colored or monochrome ink compositions. Her subjects include a wide array of plants, such as hibiscus (both red and white), camellias, shell ginger, maples, lilies, pines, willows, peach blossoms, and chrysanthemums. She also frequently painted sparrows, butterflies, kingfishers, and mynah birds, achieving a harmonious balance of motion and stillness, vitality and serenity, which reflects the elegant and tranquil qualities of femininity. Beyond her dedication to painting, Lin was deeply committed to the preservation of Chinese cultural heritage. She firmly believed that “out of a passion for reviving Chinese culture, I use my brush to express love for nature, love for my country, and love for Chinese heritage, striving to create a life of truth, goodness, and beauty.” Her contributions to education, whether in schools or her private studio, played a significant role in nurturing new talents and promoting the legacy of Chinese art for the benefit of society.

This artwork features a single peony branch, often regarded as a symbol of “national grace and heavenly fragrance.” Unlike common vibrant-colored peony paintings, Lin employs monochrome ink to outline the branches and leaves, subtly highlighting the flowers with white pigment. The background remains unpainted, allowing the sharp contrast between black and white to enhance the elegance and refined beauty of the peony. The inscription reads “Auspicious Clouds Over the Six Harmonies, Light Radiates Across the Land,” conveying blessings for prosperity, longevity, and national peace.