Description: 款識:甲戍,鄭善禧。 鈐印:善禧(白文)、肖型印(朱文) Signed CHENG SHAN-HSI in Chinese With two seals of the artist 著錄: 《台灣近現代水墨畫大系:鄭善禧—畫壇拾荒老人》, 藝術家出版社,台北,2004 年初版,頁147 ILLUSTRATED: Contemporary Taiwanese Ink Painting Series: Cheng Shan- Hsi , Artist Publishing Co., Taipei, 2004, p.147 瞧見繪中「拙」與「豪」二字,用大筆寫下青山綠蕪,遠處一抹藍撇過,若風吹動樹叢與孩童齊樂,然而在鄭善禧的作品中,並不難看見童趣的影子,論其造形、構圖、色彩,無不將其化為古拙樸茂的個人風格,如果說那是「畫」,似乎以「寫」來形容更為貼切,許是那蘊藏於內心的澎湃,才得以寫得如此貼於情境近乎於人心,然而山水本不僅止於山水,其山有形水流有聲,河水清清,三兩孩童在岸邊或打彈珠或打水漂,鄭善禧筆下的《青山碧水》,在裡頭他似乎更像是一個時代的紀錄者,那裡還沒有水泥堤岸,沒有高樓屋厝的林立,也更突顯出「年代」這個詞彙,此件作品予人淳樸意趣之感,其無飾無華、藏巧於拙的細膩如嚼菜根,別具滋味。 Broad brush was used to depict luscious greenery and distant hills under windy weather where kids were playing. From Cheng’s painting, one could easily observe Cheng’s love for kids. In terms of composition of forms, structure and colour, Cheng’s landscape paintings shows an austere depiction of his humble character. Cheng paints using calligraphy techniques. Cheng’s landscape paintings are not just a sketch of the environment, but the representation of his passion towards rural village lifestyle. Landscapes were drawn as if one could hear the sound of river and wind. Children are featured playing by the river banks, as if the artist was recording a scene frozen in its time and in its realistic form. This work was depicted with immense effort on the artist’s feelings towards the austere life of a villager.