典藏單位:國立中正紀念堂管理處

館藏編號:PT09500200

謝榮源

尺寸:89x176x2.8(framed)

謝榮源(1948-)，出生於彰化縣田尾鄉，國立藝專美術科、國立台灣師範大學美術研究所畢業，台灣水墨畫家。水墨師承黃君璧、林玉山、傅狷夫、蘇峰男、孫雲生、賴敬程及金勤博等名家。任職台北科技大學，為中國美術協會、台灣省文藝作家協會、青溪文藝協會、五榕畫會、彰化縣美術協會等會員。曾於台北、台中各地舉辦個展，出版《山水畫進階》(1987)、《論唐宋山水繪畫中林木畫與樹木學關係之研究》(碩士論文)、《論傳統與創新》(1998教授升等論文)及畫冊多種。
近代之後，水墨畫歷經西潮衝擊，如何改革以因應時代需求已成為最大爭論所在。激進派多抨擊傳統繪畫臨摹守舊，因採歐美現代藝術手法，進行徹底的形式改革。傳統畫家面對此抨擊，亦力行振作，尤其戰後台灣，如林玉山、傅狷夫等人強調調和中西台日不同文化元素，以寫生作為導正國畫保守窠臼，獲得大多畫家之回想，寫生國畫因成為戰後台灣水墨畫壇中與「現代水墨」並行發展的重要類型。
謝榮源在學期間，深授藝專、師大諸多水墨名家啟迪，可見來自上述戰後改良式寫生國畫之影響。本作以寫意筆墨，描寫夕陽映照中的嶙峋山景。前景右下繪常松數株，中景繞以雲霧，遠處山岳連綿橫亙，筆情墨韻層次分明，氣氛靈動，充分發揮意筆寫生山水之特長。(502字)

Hsieh Jung-Yuan (1948- ) was born in Tianwei Township, Changhua County, and graduated from Fine Arts Department of National Institute of Arts and Graduate School of Fine Arts of National Taiwan Normal University. He is a Taiwanese ink and wash painter. He studied ink and wash with renowned masters such as Huang Chun-Pi, Lin Yu-Shan, Fu Chuan-Fu, Su Feng-Nan, Sun Yun-Sheng, Lai Ching-Cheng and Chin Chin-Po. Serving as a professor at National Taipei University of Technology, Hsieh also serves as a member of the Chinese Art Association, the Association for Taiwan Literature, Ching-Hsi Literary and Art Association, the Wurong Painting Association, and Changhua County Art Association. Hsieh has held solo exhibitions in Taipei and Taichung and has published "Advanced Landscape Painting" (1987), "A Study on the Relationship between Forest Painting and Arboriculture in Landscape Painting of the Tang and Song Dynasties" (Master's thesis), "On Tradition and Innovation" (1998 professor's thesis), and several other books.
In the postmodern era, ink painting has undergone numerous influences from western arts. The degree of transformation in response to the era has been the most controversial issue. The liberals mostly criticized traditional paintings' mundanity and adopted numerous modern European and American art techniques for reformation. In the face of this criticism, traditional painters have also tried to revive themselves. Post-war Taiwanese Artists such as Lin Yu-Shan and Fu Chuan-Fu emphasize the reconciliation of different cultural elements from oriental, occidental, Taiwan, and Japan. Most painters of the era revived still life drawing as the guide to correct conservative conventions of Chinese paintings. Since then, still-life drawing has become an essential genre in the post-war Taiwan ink painting scene and its "modern ink and wash" field.
During his studies, famous ink and wash artists from the Art Institute and the National Taiwan Normal University, which adopted the post-war still life drawing style, dramatically influenced and inspired Hsieh Jung-Yuan's later works.
The painting depicts a jagged mountain scene in the sunset with a realistic touch. In the foreground, several pines are painted in the lower right. In the middle ground, clouds and fogs mystified the distant mountains and the horizons. Hsieh's transparent layers of brushwork, ink rhythms, and relaxed atmosphere contribute to the vitality of ink wash paintings.