| 摘要: | 筆者孜孜鑽研歷代畫論與尋找內湖山水和中國山水相銜接之藝術現象，堅持古今相融的意念，學習古代藝術家的精神，來客觀地認識外在景象，啟發主觀的情感，以設身處地的藝術精神融合物我兩相容的藝術情懷。
內湖山水是人們現在的生活環境，中國山水畫是超越美景所存在的風景畫，追求意境與藝術家情感的再造物。有了境界後，對於物體萬象，必須要了解其理、其形、其情；一般所說的常形與常理，尤其古代名迹畫理嚴明，春、夏、秋、冬、陰、晴、雨、雲霧，體會的深刻入裡，筆者藉由探究古代畫論旁徵博引地明瞭借古開今的藝術精神，需要藝術家運用筆墨傳遞中國山水畫的義理，如董源用披麻皴，因為江南的山，土多過石且林木蓊鬱，適合用此皴法。金面山的山石宛如礬頭皴，此特徵與黃公望的繪畫表現出礬頭皴相似，應驗古今畫理相通之處。對於名山大川多看多體驗，奇峯峭壁，煙霧雲靄，大自然千變萬化，必須藝術家親自體會，寫胸中丘壑自然流露在筆墨間。
研究過程筆者常遠望位於內湖之金面山山石的景象或親自進入山林，走過大石頭的岩壁，步步驚險；大湖公園的幽境與迂迴曲折的九曲橋、歌台水榭，令人依依難捨；碧湖公園的自然自在，九曲橋與亭台樓閣似乎是釣魚客與白鷺鷥的家，天天要相會。天氣晴朗時，景色清晰，心曠神怡；晨昏雲霧中特殊的天候變化，則凸顯山水畫的意境。從中體驗出筆墨當隨時代，山水畫的意念隨著藝術的情感，而轉化繪畫的元素與特性，亦即山石、樹林、屋宇、人物所組成的景象，並由藝術家妙筆生花畫出像詩那樣意境的絕佳奇景。
The writer has studied diligently the painting theories in history and searched for the connection of artistic phenomena between the scenes of Neihu and Chinese landscape painting. In insisting the idea that the aged and modern paintings are to blend with and acceptable to each other, the originality of ancient artists is further studied to enable the objective understanding of the scene showing from outside and the developing subjective feelings in order to blend with the sights based on artistic creativity.
While Neihu landscape is the existing scene for the citizens, Chinese landscape painting is beyond the scenic setting, or rather the creation of both pursuing the idea and feelings of artists. After having obtaining the scenery scope, we have to further understand their reasons, shapes and feelings about the substantial phenomena. The common shapes and reasons we generally talk about are spring, summer, fall, winter, and dim, sunny, rainy, cloudy and foggy weather which we should involve in and understand thoroughly, particularly in a sense of the aged Chinese painting discipline.
Through the study of the aged painting theories, the writer comes to realize from the modern artistic originality that it is essential for an artist to express tactfully the true meaning of Chinese painting by their tools, such as Tun, Yuan who adapted linen thread pattern in his paintings. It is because there are lots of rocks with luxuriant and green bush and trees in the mountains of southern side of Yangtze River. This type of scene therefore applies to the mentioned painting pattern. On the contrary, Golden-face mountain’s rocks are somewhat like heaps-of-stone pattern which is characterizing by Hwang, Kun-wuan and Wang, Yuan-chi’s paintings and confirms the reasons why the aged and modern paintings are closely related and acceptable to each other.
In the process of studying Golden-face Mountain located in Neihu, The writer looked at its scene from a far distant point, walked into the bush and trees by herself and trod along the path around the cliffs of huge rocks, riskily with every step moved.
In the Tai-hu Park, the peacefully serene settings with winding paths, the nine-crooked bridge and the pavilions above the lake where citizens dancing and singing are beautifully attractive.
In the naive and freeing Pi-hu Park, the crooked bridge and pavilions seem to be the home of fishing men and Egret birds where they used to meet everyday. Landscape painting could particularly show out this lovely scene in foggy and misty weather which changes swiftly in the morning and evening. Of course, it would be a pleasant enjoyment to have a sunny and brilliant day. Being aware of that painting should keep pace with the trend and fad and that the idea of landscape painting hinges on artistic feelings and could transform into painting elements and characteristics, i.e., mountains, rocks, bush, trees, houses and characters are the elements that make up of a scenery; and by this idea, an artist could tactfully draw a picture as beautifully as the frame of mind cited in a poem and reach eventually beauty. |
