典藏單位:國立中正紀念堂管理處

館藏編號:PT09401602

慧松居士（胡明宏）

尺寸:240×120 (畫心)

慧松居士(1942- )，原名胡明宏，筆名雪邨，台南市人，現居臺北，由蔡草如啟蒙東洋畫基礎，先後師事黃君壁、歐豪年等人，多次入選全省美展、台陽美展、全國書畫展、全國水彩畫展、全國版畫展、日本書道展等多項展覽，任中華禪宗書畫院藝術顧問。慧松居士將水墨畫的濃淡、墨韻、疏密等技法結合了西方透視學、色彩學等，除此之外，也利用絹布作為顏彩畫像的材料，將岩彩使用在柔質的絹布上，便可以卷軸方法收藏並避免龜裂剝落。
本作廣目天王為四天天王之一，同時也是佛教「二十諸天」裡的第六天王，「廣目」之意為能夠以天眼觀察世界，守護人民，故名為廣目天王。廣目天王守護西牛賀州，為西方守護神，身體為紅色，身穿甲冑，傳說廣目天王是神龍的首領，因此手臂上常纏一條龍或是蛇，而手上則持著寶珠，表達世間多變但內心不變之意。
畫面可見天王無論比例、以及多樣的表現手法都有著透視與色彩的應用，不同於傳統佛教繪畫的創作方式，慧松居士使用較強勁的勾線法繪製輪廓線，表現天王的氣勢與強壯，並且在墨色上強而有力的帶來天王的威嚴感，鎧甲與細部均表現出逼真的質感，天王身上的彩帶與衣服使用寫意手法繪成，配合背景的渲染，設色方面清晰不同於以往佛畫使用厚重色彩的風格，更使作品表現出雲霧繚繞的意境。(515字)

Householder Hweison (1942- ), also known as Hu Ming-hong, pen name Hsuehtsun, is from Tainan and currently lives in Taipei City. He was initially taught the skills of Tōyōga (Eastern Gouache) by Tsai Tsau-ru, then later became the student of Huang Chun-pi, Ou Hao-nien, and others. He has been chosen to display his works in many art exhibitions, including Taiwan Provincial Art Exhibition, Taiyang Art Special Display, National Exhibition of Paintings and Calligraphies, National Watercolor Exhibition, National Printmaking Exhibition, Japanese Calligraphy Exhibition, and so on. He is currently the art consultant at the Chinese Painting and Calligraphy Art Zen Institution. Householder Hweison combines saturation, flow, density and other techniques from traditional ink wash painting with Western perspective and color theories. In addition, he uses silk in colored portraits; when the pigment is applied on the soft silk, the cloth can prevent the work from cracking and peeling when rolled up into a scroll.
He Who Sees All is one of the Four Heavenly Kings, as well as the sixth Heavenly King in the Devarāja in Buddhism. "Sees All" means being able to watch over the world with an all-seeing eye and protect people, hence the name "He Who Sees All." He protects Apara-godānīya, serving as God of Protection for the West with his red body clad in armor. Legend says that He Who Sees All is the leader of the Nāga, since he is often seen with a dragon or snake wrapped around his arm. The jewel he holds in his hand symbolizes the firmness of the heart in a ever-changing world.
In the painting, one can see different perspectives and colors applied. Contrary to traditional Buddhist paintings, Householder Hweison uses a more powerful hooking method when outlining the figures, which amplifies the Heavenly King's grandeur and strength, as well as making the texture of his armor and other details more realistic. His ribbons and clothes are depicted in an impressionistic style to match with the blended background. Compared with heavier and more saturated colors in past Buddhist paintings, the colors are distinct and light, which creates a mist-shrouded impression.