典藏單位:國立中正紀念堂管理處

館藏編號:PT09500300

沈冰山

尺寸:298x72x5.7(含框)

沈冰山（1934－2014），福建省詔安縣人，中華人民共和國盲人書畫家。曾任漳州市殘疾人聯合會副主席、詔安縣殘疾人聯合會副主席、詔安縣文聯顧問等職。1991年被選為殘疾人自強模範，獲得首屆全國殘疾人藝術特別獎。
沈氏自幼即喜書法繪畫，然因患小兒麻痺體弱多病，後又患虹膜炎、青光眼，最後因手術失敗導致終身失明。然沈氏並未放棄創作，自行研發「沈氏盲人繪畫技法」，1990年後曾多次應邀至北京、上海、福州各地舉辦展覽而享譽畫壇，2014年因病離世。
本作題為梅花，為2006年受邀赴台參加中華民國身心障礙者藝文推廣協會與國立中正紀念堂管理處共同主辦「一點也不瞎－大陸盲人書畫家沈冰山個展」時之捐贈。由於少時即勤練書法之故，沈冰山用筆老練，畫面上一株老梅自下方騰空而起，幾經轉折之後，完成造型奇特、充滿動態感的骨幹，最後在細枝上隨意點綴紅花，對比強烈的紅黑兩色，在純白宣紙上相互映發，呈現強烈的視覺震撼力。
此種逸筆草草、形簡意疏的簡筆梅花，頗具禪思，尤其注重抒發畫者胸中情志，令觀者想起明末文人畫家徐渭或畫僧八大山人等，充滿反骨叛逆及古怪靈精之個性畫風。水墨名家范曾曾對其做出：「胸中有大千光影，筆下見如來智慧」之佳評，顯示其在中國近代畫壇之特殊地位。(502字)

Shen Pingshan (1934–2014), born in Zhao'an County, Fujian Province, People's Republic of China, was a blind calligrapher and painter. He served as vice chairman of the Zhangzhou City Disabled Persons' Federation, vice chairman of the Zhao'an County Disabled Persons' Federation, and advisor to the Zhao'an County Federation of Literary and Art Circles. In 1991 he was recognized as a self-improvement role model for persons with disabilities, and received the inaugural National Special Arts Award for Persons with Disabilities.

Shen loved calligraphy and painting from childhood; however, he suffered from polio and was chronically ill. He subsequently contracted iritis and glaucoma, and ultimately became permanently blind following an unsuccessful surgical procedure. Undaunted, Shen continued to create, independently developing a "Shen family painting technique for the blind." In the period after 1990, he was invited to hold exhibitions in Beijing, Shanghai, Fuzhou, and other cities, gaining wide recognition in art circles, before passing away due to illness in 2014.

This work, titled "Plum Blossoms," was a donation made in 2006 when he was invited to Taiwan to participate in the solo exhibition "Not Blind at All—Shen Ping-shan, Blind Calligrapher and Painter from the Mainland," jointly organized by the R.O.C. Association for the Promotion of Arts and Culture for People with Disabilities and the Chiang Kai-shek Memorial Hall Management Office. His early devoted practice of calligraphy made Shen's brushwork experienced and assured: in this work, an aged plum tree rises from below, twisting through several turns to complete an unusually shaped, dynamically charged trunk, before red blossoms are scattered freely along its fine branches. The strongly contrasting red and black colors set against pure-white Xuan paper reflect and enhance each other, creating a powerful visual impact.

This kind of sketched plum—executed with freehand, abbreviated strokes, simple in form and sparse in meaning—possesses a quality of Chan contemplation. It places particular importance on the expression of the painter's inner feelings, calling to mind the late-Ming literati painter Xu Wei or the painter-monk Bada Shanren, with their spirit of unconventional individualism and eccentric, inspired personal style. The celebrated ink master Fan Tseng once remarked of Shen’s work: "Within the breast lies the light and shadow of a vast universe; beneath the brush one perceives the wisdom of the Tathagata"—a testament to his singular place in the modern Chinese art world.