| 摘要: | 荷之風韻，文人常畫題材荷花，《爾雅》說：「荷，芙渠，其莖茄，其葉蕸，其本蔤，其華菡萏，其實蓮，其根藕，其中的，的中薏。」解釋源於芙蕖，荷可賞部位：莖、葉、花、蓮蓬；荷花可觀色彩：青、黃、紅、白；紅花白藕青蓮葉，充滿生命氣息。芙蕖自然的奧秘，風韻內容的深度，生活實得繪畫，不能離形與色，離形與色，特色芙蕖風韻舒展筆墨的學問，因此繪畫描繪芙蕖生命盛衰必須歷練文學、面對經典、孕育、變化而成，是不能外求的。從某一個角度來看，虛真古今與中西造化再來談藝術生活。
中國水墨時代，接近百年來發生巨大的演變，中國畫面對西方繪畫的衝擊，產生的多種樣貌的質變，自二十世紀初至今，已有許許多多的華人藝術家運用中國傳統的水墨媒材，在舊元素創造新的現代繪畫語言，或連續開創新的媒材，試圖表達東方特有的繪畫特質。因為相信『美』是能讓我們從藝術體驗中獲得營養的來源。
In the ancient Jin Dynasty, Kuo Pu's "El Ya" (The Book of Changes) also states, "Ho, Fu-chou, alias Fu-jung, and Hoo-ho in Gangdong. " The explanation originates from the lotus flower, where the lotus can be seen: stems, leaves, flowers, lotus covers; lotus flowers can be seen in color: blue, yellow, red and white; red lotus leaves are full of vitality. The nature of the lotus flower, the depth of the flavor and the depth of its content, life is drawing, cannot deviate from the form and color, the form and color of the lotus flower, the character of the lotus flower, the painting must experience literature, face classicality, nurture, change, change, cannot be sought outside. From a certain point of view, we can discuss the life of art in the past and the present with the Chinese and Western culture.
Since the early 20th century, many Chinese artists have been using traditional Chinese ink media to create new modern painting languages or to create innovative media to express the unique characteristics of Oriental painting. Because I believe that 'beauty' is a substance that al-lows us to get nourishment from our artistic experience. |
