Description: 款識:辛酉仲冬畫,清風輕汗圖,李義弘。 鈐印:李氏義弘(白文) Signed LEE YIH HONG in Chinese With one seal of the artist 著錄: 《李義弘近作—笛音凝室辛酉年輯》,笛音凝室,台北,1981 年,頁32 ILLUSTRATED: Recent Works of Lee Yih Hong - Annual Edition from the Artist's Studio , Lee Yih Hong Artist Studio, Taipei, 1981, p. 32 畫家精心筆煉,溪岸旁柳蔭成林,右側屋舍儼然,景物安排錯落有致,環抱構築出畫幅之中央舞台,將造景聚焦於中間的人物對坐茗閒情,著淨白短衫的中年男子對坐,描繪出台灣常見的鄉間人文景色,筆調清新自在。而看似清雅的柳綠色,是多次以淡淡顏料層層暈染的效果,顏色方能通透醇美,遠近景之綠色亦皆不同,層次變化自然。這般工夫,可溯及其師江兆申向溥心畬學習之故實。溥心畬曾拿出一幅山水長卷,要江兆深細細觀察,最後問:「你看這幅畫染了幾遍?」江兆申答:「至少三遍。」溥師回說:「一共十遍。」這「染色十遍」 的設色心法,江兆申謹記在心,實踐於畫作,也傳承給了江門弟子李義弘。他承接著傳統筆墨,並能突破創新,這取材自生活的場景,真實並富人味,不論就構圖布局或人物衣裝,均打破了傳統水墨畫難以表現現代人物與生活的困境,符合當代人文情趣。自題畫名《清風輕汗圖》,寓唐代詩人盧仝《走筆謝孟諫議寄新茶》喫茶詩意,「四碗發輕汗,平生不平事,盡向毛孔散」,「兩腋習習清風生」,與友晤對且坐來茗茶,身心清爽祥和自在,足稱人生之快活樂事! The painter painstaking structures this painting with willows by the stream and houses on the edge. These elements lead the eye to the center where two figures in white were enjoying tea. This structure and tonality depict a harmonious scene in a local Taiwanese village. Such light tonality was in fact depicted using layers of light green, achieving richness and depth of colour. Such technique could be traced to his masters Chiang Chao-Shen and Chiang's master Pu Hsinyu. Pu once asked Chiang to observe a landscape scroll painting closely and guess the number of colour application. Chiang guessed three, while Pu replied ten. Such method was repeatedly employed by Chiang ever since and passed down to his student Lee Yih Hong. Lee further create by using traditional ink subjects and materials from Taiwan. Structure and clothing of Lee's painting reflect modern literati elements. The Chinese title reflects Lu Tong's poem from Tang dynasty, suggesting the pleasure of tea appreciation.