典藏單位:國立中正紀念堂管理處

館藏編號:PT09401800

李奇茂

尺寸:含框70×137

李奇茂（1925-2019），安徽人，知名水墨畫家。幼年時期受陸化石啟蒙，來台後於1952年考入復興崗美術系，接受梁鼎銘昆仲指導。李奇茂曾任教於國立藝術專科學校、文大美術系，作品曾受邀至中、日、韓、美、比利時等地展出。1966年榮獲中國文藝協會美術獎、中山學術文化創作美術獎等榮譽，1978年韓國檀國大學授予終身榮譽教授及「文學博士學位」。
李奇茂曾自言喜愛從生活中尋找創作靈感。擅長描繪畜獸，尤精於牛馬，此與童年時家中務農有關，加之得到梁鼎銘的真隨傳授，更能青出於藍。其筆墨、動態、造型、虛實與構成等充滿變化為其一大特色。他大膽運用墨、水、色等元素，營造出枯濕分明、大筆潑彩等戲劇性視覺效果，最為人所津津樂道。
李奇茂描繪動物或人物群像時，經常簡化個體細節，而代之以整體氣勢形象的呈現。在這件作品中，李奇茂運用色墨線的變化表現駿馬爭騰的駭人氣勢，八匹駿馬既可視為一個整體，亦可分開觀察組成單位及其之間的相互關係。就馬的個體來看，五官與鬃毛的細節被相對簡化，身形與腿部的姿態則刻意被凸顯，藉以呈現不同觀看角度下的動態差異。虛實對比的手法也相當明顯，例如左二白馬、左一黑馬及左三棕馬在色調上成強烈對比，從明度及彩度來看，左三棕馬無疑是畫面焦點。（502字）

Li Qi-Mao (1925-2019), a native of Anhui, was a renowned ink painter. In his early years, he was enlightened by Lu Hua-Shi, and after moving to Taiwan, he entered the Fuxinggang Art Department in 1952 under the guidance of the Liang Ding-Ming brothers. Li Qi-Mao taught at the National Art Vocational School and the Art Department of the Chinese Culture University. His works have been exhibited in China, Japan, Korea, the United States, Belgium and other countries. In 1966, he received the Art Award of the China Literary and Art Association, the Zhongshan Academic Cultural Creation Art Award, and other honors. In 1978, Dankook University in Korea awarded him the title of honorary professor for life and a doctorate in literature.

Li Qi-Mao often said that he loved to draw creative inspiration from life. He excelled in the depiction of animals, especially oxen and horses, a skill related to his childhood experiences on the farm and further refined under the mentorship of Liang Ding-Ming. His artwork, characterized by a rich variety of brushwork, movement, form and structure, boldly used ink, water and paint to create dramatic visual effects characterized by clear distinctions between dry and wet brush strokes and broad splashes of color.

When depicting animals or groups of people, Li Qi-Mao often simplified individual details in favor of an overall presentation of energy and form. In this work, he used variations of color and ink lines to convey the startling momentum of the galloping horses. The eight horses could be viewed as a whole, or individually to examine the relationships between them. The horses' individual features, such as their faces and manes, are relatively simplified, while their bodies and leg positions are deliberately emphasized to show dynamic differences from different angles. The use of contrast is also evident; for example, the second horse from the left in white, the first in black, and the third in brown create a strong contrast in tone. In terms of brightness and chroma, the third brown horse undoubtedly becomes the focal point of the painting.