Description: 釋文:赤壁賦。壬戌之秋,七月既望,蘇子與客泛舟遊於赤壁之下。清風徐來,水波不興,舉酒屬客,誦明月之詩,歌窈窕之章。少焉,月出於東山之上,徘徊於斗牛之間,白露橫江,水光接天;縱一葦之所如,凌萬頃之茫然。浩浩乎如憑虛御風,而不知其所止;飄飄乎如遺世獨立,羽化而登仙。 於是飲酒樂甚,扣舷而歌之。歌曰:「桂棹兮蘭槳,擊空明兮泝流光。渺渺兮予懷,望美人兮天一方。」客有吹洞簫者,倚歌而和之,其聲嗚嗚然,如怨如慕, 如泣如訴,餘音嫋嫋,不絕如縷。舞幽壑之潛蛟,泣孤舟之嫠婦。蘇子愀然,正襟危坐,而問客曰:「何為其然也?」 客曰:「『月明星稀,烏鵲南飛。』此非曹孟德之詩乎?西望夏口,東望武昌,山川相繆,鬱乎蒼蒼,此非孟德之困於周郎者乎?方其破荊州,下江陵,順流而東也,舳艫千里,旌旗蔽空,釃酒臨江,橫槊賦詩,固一世之雄也,而今安在哉?況吾與子,漁樵於江渚之上,侶魚蝦而友麋鹿;駕一葉之扁舟,擧匏樽以相屬。寄蜉蝣於天地,渺滄海之一粟。哀吾生之須臾,羨長江之無窮。挾飛仙以遨遊,抱明月而長終。知不可乎驟得,託遺響於悲風。」 蘇子曰:「客亦知夫水與月乎?逝者如斯,而未嘗往也;盈虛者如彼,而卒莫消長也,蓋將自其變者而觀之,則天地曾不能以一瞬;自其不變者而觀之,則物與我皆無盡也,而又何羨乎!且夫天地之間,物各有主,苟非吾之所有,雖一毫而莫取。惟江上之清風,與山間之明月,耳得之而為聲,目遇之而成色,取之無禁,用之不竭,是造物者之無盡藏也,而吾與子之所共適。」 客喜而笑,洗盞更酌。 餚核既盡,杯盤狼藉,相與枕藉乎舟中,不知東方之既白。 款識:辛酉在川李義弘讀之,再三進而繪之,並錄其文於笛音凝室。 鈐印:李印義弘(白文)、在川(朱文)、笛音凝室(白文) Signed LEE YIH HONG in Chinese With three seals of the artist 著錄: 《李義弘近作—笛音凝室辛酉年輯》,笛音凝室,台北,1982 年,頁1 《磊石縱浪—李義弘水墨畫集》,藝術家出版社,台北,2015 年初版,頁62 《臺灣美術全集 第32 卷》,藝術家出版社,台北,2016 年初版,頁62 ILLUSTRATED: Recent Works of Lee Yihong, Diyin Workshop, Taipei, 1982, p.1 Rocks in the Rolling Waves - Album of Lee Yihong's Ink Paintings , Artist Co. Ltd, Taipei, 2015, p.62 Taiwan Fine Arts Series 32 , Artist Co. Ltd., Taipei, 2016, p.62 資深藝評家蕭瓊瑞:「1981年的《赤壁泛舟》,是這個時期重要的代表之作。」面對此文人喜愛且膾炙人口的經典題材,李義弘「讀之再三進而繪之並錄其文於笛音凝室」,證見其構思用心,造境新奇且扣合文賦,洵為傑作。主體為巨大山石巍然矗立,其上臥松橫展壓頂,其下江面空闊一葉扁舟,蘇軾與客泛遊其間,在高聳險峻的對比下而有著「寄蜉蝣於天地,渺滄海之一粟」的遺世獨立之感,橫出的多姿紅葉增添生機,既點醒畫面也點出「壬戌之秋」的季節背景,整體畫作體現出文賦精髓, 藉著「蓋將自其變者而觀之,則天地曾不能以一瞬」的哲理情思。細筆小字抄錄《前赤壁賦》款題於山壁右側,融入畫中不礙於景且恢宏氣勢。值得一提的是,此畫繪於「台灣波蘿宣」,張大千曾高度讚譽此紙「滑能駐毫、凝能發墨,直與元明以來爭勝」,「潑墨留筆不減乾隆內庫御用」,筆觸歷歷分明,墨韻極佳,備增精彩。 Art Critic Prof. Hsiao Chong Ray once said, "Sailing along the Red Cliff from 1981 was one of the most significant works during the period." After reading such well-known classic, the artist "re-read it three times before constructing this painting, and wrote the passage at his studio." This proves the artist's scrupulous attention placed on the composition of the painting, making this oeuvre a masterpiece. At the center is a lofty mountainous rock with a wide stretching pine tree. Looming over the river is a boat, where Su Shi and his guests were taking. The loftiness of the cliff and the small boat enhance the contrast against the grandiosity of Nature. Red leaves add vibrancy to the painting and highlight the autumn season. The painting echoes directly with the poem of elusiveness. The poem was harmonious written next to the mountain. This work was painted on a Taiwanese paper Boluoxuan , which received high recognition from Zhang Daqian, for its well-balanced absorption of ink.