典藏單位:國立中正紀念堂管理處

館藏編號:PT09803204

吳廣沛

尺寸:畫心120.5×34.4

吳廣沛，廣東鶴山縣人，出生於越南，由於自幼愛好國畫，在越南就讀穗城小學時，便在曹石畫家電影廣告工作室工作，奠定繪畫素描基礎。回台後，工作之餘，1990年，有幸拜得當今嶺南畫派黃磊生大師門下，專心致力學習嶺南畫派之繪畫技術，鍛鍊嶺南畫派其繪畫神形氣韻，用骨筆法、以其自然生態形象著色傳彩、塗墨濕粉、撞色渲染，嚮往「藝海無涯、丹青不老」之概念、「遊於藝」之境界，來規劃人生之幸福。
嶺南畫派是廣東畫家組成的一個畫派，創建於晚清時期；創始人為「二高一陳」，即高劍父、高奇峰及陳樹人，也稱「嶺南三傑」。嶺南畫派為中國傳統國畫中的革命派，以創新為宗旨，是在西方藝術思潮的衝擊下、近代中國藝術革新運動中逐步形成的。19世紀末，中國現代教育奠基人何子淵、丘逢甲等衝破頑固守舊勢力的禁錮，積極創辦和推廣新式學堂，不僅培育了一大批思想進步銳意創新的社會精英，而且還催生了「折衷中西，融匯古今」的嶺南畫派，給嶺南文化注入了勃勃生機，並為辛亥革命積蓄了巨大能量。
嶺南畫派主張引進西洋畫法，融合中西繪畫之長，以革命的精神和強烈的時代責任感改造中國畫，並保持了傳統中國畫的筆墨特色，創製出有時代精神、有地方特色、氣氛酣暢熱烈、筆墨勁爽豪縱、色彩鮮艷明亮、水分淋漓、暈染柔和勻淨的現代繪畫新格局和創新作品。
第二代嶺南畫家以關山月、黎雄才、趙少昂、楊善深為代表，無論在題材與技法上比起「二高一陳」又有新的突破，被譽為當代嶺南畫派的四大畫家。嶺南畫派和粵劇、廣東音樂被稱為「嶺南三秀」。在二十世紀中國畫壇上，嶺南畫派和京津畫派、海上畫派三足鼎立，是「現代中國畫」的代表。
本系列畫作共有4幅，為描繪牡丹花之四聯屏，享譽為國色天香的牡丹花，在作者筆下爭奇鬥艷、香豔欲滴，即使僅用墨色表達，也能透過畫面感受到艷麗的色彩。

Wu Kuang-Pei (1937-), a native of Heishan County, Guangdong County, was born in Vietnam. From a young age, he developed a passion for traditional Chinese painting. While attending Sui Ceng Primary School in Vietnam, he worked at painter Tsao Shih’s film advertisement studio, where he laid a solid foundation in sketching and painting. After returning to Taiwan, he pursued his artistic passion in his spare time. In 1990, he had the privilege of becoming a disciple of Master Huang Lei-Sheng, a contemporary master of the Lingnan School of Painting. He dedicated himself to mastering the Lingnan painting techniques, refining his skills in bone stroke techniques, naturalistic coloring, wet powder ink application, and contrast shading. His artistic journey is guided by the philosophy of “Art is boundless, and painting is eternal”, striving to achieve a state of “joy in art” as a path to personal fulfillment.
The Lingnan School is a Chinese painting movement composed of painters from Guangdong founded in the late Qing Dynasty by “The Three Masters of Lingnan”—Kao Chien-Fu, Kao Chi-Feng, and Chen Shu-Jen. Rooted in innovation, the school emerged in response to the influence of Western artistic trends and the broader Chinese art reform movement. In the late 19th century, pioneering educators such as Ho Tzu-Yuan and Chiu Feng-Chia challenged conservative artistic traditions by establishing modern schools that cultivated progressive and innovative thinkers. This movement not only revitalized Lingnan culture but also fueled the momentum of the 1911 Revolution.
The Lingnan School advocated for the incorporation of Western techniques into traditional Chinese painting, merging Eastern and Western artistic strengths. With a revolutionary spirit and a profound sense of responsibility, its artists sought to modernize Chinese painting while preserving the distinct essence of traditional brushwork. The resulting works are characterized by bold and expressive brushstrokes, vivid colors, fluid washes, and a dynamic, harmonious balance, creating a new modern artistic paradigm infused with local identity and contemporary relevance.
The second-generation masters of the Lingnan School, including Kuan Shan-Yueh, Li Hsiung-Tsai, Chao Shao-Ang, and Yang Shan-Shen, introduced further innovations in both subject matter and technique, advancing beyond the achievements of their predecessors. They are regarded as the four great contemporary Lingnan painters. Alongside Cantonese opera and Cantonese music, the Lingnan School of Painting is recognized as one of the “Three Treasures of Lingnan Culture.” In the landscape of 20th-century Chinese painting, the Lingnan School stood alongside the Peking-Tientsin and Shanghai Schools, forming a triadic dominance and serving as a representative force of modern Chinese painting.
This series consists of four paintings, forming a four-panel screen featuring peonies. Revered as a symbol of national beauty and grace, the peonies in this artwork appear to bloom in full splendor under the artist’s brush. Even when expressed solely in ink, the painting still conveys a striking sense of vibrancy, allowing the viewer to perceive the richness of color through its composition.