典藏單位:國立中正紀念堂管理處

館藏編號:PT09904500

熊宜中

尺寸:187x81x5.9(含框)

熊宜中（1953-2014），別號抱一，出生於台中市，文化大學美術碩士。中學時受陳德旺、張萬傳的影響，進入文大美術系後，受曾紹杰、江兆申、金勤伯、吳學讓、歐豪年等人指導，理論方面則受益於王壯為、李霖燦等人。熊宜中曾獲中興文藝創作獎、中國文藝獎章、中華藝術貢獻獎等，作品受總統府、行政院、中正紀念堂等單位典藏。此外，曾任全國全省美展評審、華梵大學美術系教授兼書法中心主任、西泠書畫院特邀畫師、台灣水墨畫會理事長等職務。
熊宜中別號「抱一」，出自《老子》，其意為「神形合一」，融道於自然之中，雖懷有道家萬物齊化的胸襟，亦兼有儒家的謙和與執中。熊宜中熱衷收藏，如傳統文人藉文物以自娛養性。他的作品結合傳統詩、書、畫、印「四絕」的美學表現，堅持筆墨趣味與意境營造。晚年受張大千的啟發，出現潑墨與潑彩的作品，結合「彈粉法」與「疊色法」，透過粉藍、粉紫、粉紅、石綠等顏色增添畫面的活潑感與飽和度。
此作以大片雪山為畫面背景，前景為一片枯林，無任何人物或點景，表現荒寂空遠意境。畫家以粉藍取代墨色皴染雪山，展現雪山的高冷與孤獨。前方枯林則以重墨勾勒，枝幹旁略施棕黃，意蘊清幽絕俗。寫意用筆及清亮用色為本幅重點，共同營造冬日時節的嚴寒氛圍。（502字）

Hsiung I-Chung (1953-2014), also known by his sobriquet Pao-I, was born in Taichung City and earned a master’s degree in fine arts from Chinese Culture University. During his secondary school years, he was influenced by Chen Te-Wang and Chang Wan-Chuan. Later, at Chinese Culture University’s Department of Fine Arts, he studied under Tseng Shao-Chieh, Chiang Chao-Shen, Chin Chin-Po, Wu Hsueh-Jang, and Ou Hao-Nien, while his theoretical foundation was shaped by Wang Chuang-Wei and Li Lin-Tsan. Hsiung received numerous accolades, including the Chung-Hsing Literary and Art Award, the Chinese Literature and Art Medal, and the Chinese Art Contribution Award. His works have been collected by institutions such as the Presidential Office, the Executive Yuan, and the Chiang Kai-Shek Memorial Hall. He also served as a jury member for national and provincial art exhibitions, a professor and director of the Calligraphy Center at Huafan University’s Fine Arts Department, a special guest artist at Xiling Academy of Painting and Calligraphy, and the president of the Taiwan Ink Painting Association.

His sobriquet “Pao-I” originates from Laozi’s philosophy, meaning “harmonizing spirit and form as one” and embodying the Taoist ideal of merging with nature. While deeply influenced by Taoist philosophy, he also embraced Confucian ideals of humility and balance. Passionate about collecting antiques, he followed the traditional literati practice of finding solace and refinement in art and artifacts. Hsiung’s works masterfully integrate the four artistic perfections of poetry, calligraphy, painting, and seal engraving, maintaining a strong emphasis on brushwork aesthetics and artistic ambiance. In his later years, inspired by Chang Ta-Chien, he began incorporating splashed ink and splashed color techniques, blending them with “powder-sprinkling” and “layered color” techniques. By using powder blue, soft purple, pink, and mineral green, he enhanced the vibrancy and richness of his compositions.

This artwork features a vast snow-covered mountain as the background, with a withered forest in the foreground, devoid of human figures or secondary elements, evoking an atmosphere of desolation and remoteness. The artist replaces traditional ink shading with powder blue to depict the aloofness and solitude of the snow-covered peaks, while the foreground’s barren trees are outlined in deep ink with subtle touches of brownish-yellow, imparting a sense of tranquility and purity. The expressive brushstrokes and crisp, luminous colors play a pivotal role in conveying the harsh winter atmosphere.