Description: 款識:乙巳秋日畫於白雲堂,黃君璧。 鈐印:黃君璧印(白文)、白雲堂(白文) Signed HUANG CHUN-PI in Chinese With two seals of the artist 著錄: 《時代與創作—黃君璧精品展》,台北市立美術館,台北,1987 年,圖版41 展覽: 「時代與創作—黃君璧精品展」,台北市立美術館,台北,展期1987 年11 月7 日~ 12 月16 日 ILLUSTRATED: Masterpieces of Hwang Chun-Pi, Taipei Fine Arts Museum, Taipei, 1987, Plate 41 EXHIBITED: Masterpieces of Hwang Chun-Pi, Taipei Fine Arts Museum, Taipei, November 7-December 16, 1987 黃君璧(1898~1991),原名允瑄,號君翁,為近現代水墨大家中以畫雲水獨步藝壇的大師。他曾自云:「我畫的水與雲是前人所沒有的,我所畫的瀑布的水是會動的水,前人畫水只是用線條勾勒;我所畫的雲也與前人不同,是會動的,前人沒有這樣的表現法。」誠如郭熙在《林泉高致》中提及:「山以水為血脈,以草木為毛髮,以煙雲為神彩,故山得水而活,得草木而華,得煙雲而秀媚。」雲和水,乃是傳達中國山水畫神韻不可或缺的元素。唯早期畫雲水多以線描勾勒為主,至明末清初四僧始大量採用水墨烘染再搭配勾雲法,以表達自然中煙雲浩渺之變化。及至善於臨仿古畫的黃君璧,不僅藉摹古綜合古代大家之所長,亦摻之以平日觀察自然的寫生心得,最終在雲水畫法上開拓自我獨創的表現。 本幅《層巒疊嶂》款題:「乙巳秋日畫於白雲堂,黃君璧。」可知乃君翁六十八歲(1965)所畫。全畫採鳥瞰定點透視,兼顧中國山水畫高遠、深遠、平遠之表現。只見畫面重巒疊嶂、浮雲蒼茫,右下角有一蜿蜒河曲往上方逶迤深入,造成縱深的峽谷;另有兩道綿延的雲海橫亙切割畫面、橫鎖山腰,不僅構圖上更見層次井然,也在畫面上營造出迷濛詩意的空間感,可謂匠心獨運。再者,為了表現山巒間水氣蒸騰的效果,山石紋理皆以飽含水分、筆法遒勁的斧劈皺和直皺描繪,且近景用濃墨、中景稍淡、遠方山巒墨色最淡,層次分明。至於層層雲海,則於畫面留白處先以淡墨烘染雲堆凹處,繼以飽含水分的清墨於雲朶上再次漬染,營造雲層堆疊、排雲湧動的靈動感。綜觀全幅交織著蒼勁沉鬱的用筆,與大塊烘染、水分淋漓的墨韻,自湧現出一股勃勃生機,亦傳達出君翁繪事歷程早已進入形神合一、物我兩忘的圓融境界。 Huang Chun-Pi was renowned for his treatment of mist and cloud. He once mentioned, "the mist and cloud I depicted are not copied from previous masters. The mist I created have movement, whereas those depicted by previous masters are only sketched by lines. Same with the clouds I have drawn." As Guo Xi once mentioned in his painting, "Water is the veins of a mountain, plants are its hair, mist gives a mountain its colour. From this logic, water is essential to a mountain’s survival, plants make the mountain look beautiful, whereas mist enhances its beauty." Clouds and mists are the crucial elements in Chinese landscape ink paintings. Early depiction of these elements rely heavily on outlines and sketches. From the Late Ming to Early Qing dynasty, four monks started using the depiction of colour, thus enabled the depiction of movement in clouds. Having been trained through copying old masters, Huang was able to gather the best of ancient ink masters and applied to the paintings according to personal experience, thus achieved Huang’s unique representation from his observation. This painted stated, Huang was 68 years old when he painted this work. From a bird’s eye view, Huang was able to represent spatial depth through height, depth and horizontal distance. From this work, mountainous relief amongst the heavy mist was depicted. A river meanders at the bottom right of the panel towards the center, carving deep into the valley. Mists defined the painting into two parts across the mountain. This clever treatment of mists not only provides a clear structure, it also enhances spatial depiction in the painting. To further heightens the humidity of the area, rocks and plants were depicted using different kinds of brushstrokes including fupizhou and zhizhou. Saturated ink was used in the foreground, lighter ink in the middle ground and the lightest ink was used for distant mountains, enhancing the layering of mountains. Clouds and mists were arranged at the bottom of the valley, depicted as uncoloured area. Using light ink to highlight the layering of clouds, creating movement of heavy mists. With careful structuring and skilled brushstrokes, Huang created this masterpiece of misty mountains.