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M a j e s t ic S pl e nd or of Ta i wa n

物遊、靜謐的風景線與寫實的 「地緣政治學」 記劉得浪 2013 年個展

白 適 銘 日本京都大學藝術史博士 國立台灣師範大學美術系教授

一個真正理想的樂園, 一切都那麼美麗、富饒、寧靜、宜人。 在這裡, 豐盛樂見於條理之內, 生命善存於甜蜜之中; 沒有半點混亂、嘈雜和意外, 只有靜謐中的幸福。

──波特萊爾,〈遨遊〉,《巴黎的憂鬱》,1869 年

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Voyage to the World, the Quiet Landscape, and the Realistic “Geopolitics”

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靜謐的喜悅 法 國 現 代 派 詩 歌 先 驅、 象 徵 主 義 鼻 祖 夏 勒・ 波 特 萊 爾(Charles P. Baudelaire, 1821-1867)在繼《惡之華》之後,集結散文詩而成《巴黎的憂鬱》(Le Spleen de Paris)、《人工天國》等書。在《巴黎的憂鬱》中,波特萊爾以更為直白的方法, 對現實社會、世俗習氣進行批評諷諭,透過詩歌,致力於人類心靈、現實壓抑外延 可能的探索與寓意生活真諦。如在〈遨遊〉一詩中所見,反映他企圖自紛擾現實的 短暫逃離中,尋得片刻寧靜,體驗生命的價值、幸福與喜悅,反轉腐朽世俗與現代 人之精神崩解危機,而這就其文學中最為動人的轉化力量。「豐盛樂見於條理之內, 生命善存於甜蜜之中」一語,說明了文學家與藝術家從微觀的視角見到生活的「真 早春 Early Spring

實」、從細節的梳理呈現生命的「豐饒」等兼具理性與感性認知的創作心靈,故而

1996-97 油彩畫布 Oil on canvas 80F (112×145.5cm)

得以成就不凡的精神文化遺產。

隨著現代工業文明的拓展,人類社會倚賴機械而脫離原始勞動、土地自然,構築超 越過往數百千年歷史的進展成果,然而,快速、物慾橫泗與光怪陸離的現代生活, 卻帶來更多的道德淪喪與身心失衡。作為對現代文明的反思結果,如波特萊爾一般, 現代文藝菁英莫不在「化短暫為永恆」、「化現實為理想」、「化醜為美」等身心 試煉中,摸索一種抗拒與轉化現實的可能,而成為其真正觸媒的,即有如靈光一現 的「社會逃離」。此中,由現實與非現實交織而成的藝文世界「美麗、富饒、寧靜、 宜人」,並成為「真正理想的樂園」,創作者藉此剝除世俗外衣,並面對真實自我。 不論是精神或肉體,代表逃離現代生活有如桎梏卻似是而非的「遨遊」,促使其自 「去同化」(de-assimilation)與「再異化」(re-alienation)的認同交錯中,再次 尋回平靜喜樂的「自我真實性」(self-reality)。 3


M a j e s t ic S pl e nd or of Ta i wa n

風景線異移、國土空間現象與「地緣政治學」(Geopolitics) 劉得浪,完成其學院美術教育的時間,正值一九七○年代「鄉土寫實主義」最為風 行之際,其三十餘年學畫歷程所經驗的,正是戰後極度封閉、國際地位最為孤立、 充滿「國族 / 土認同」焦慮、政治不確定性的浮沉時代。戰後美術史上所謂「鄉土 寫實主義」的出現及其社會效應,可以視為對台灣「自我真實性」被剝除命運的反 抗起點、重新檢視台灣主體性存在的一種社會運動,以及交織在「被 / 去同化」與 「異化 / 再異化」認同錯亂之間,有如失去耕地的農夫、尋找獵場的獵人般「奪還」 歷史的行動事錄。他曾說:「台灣是我們心靈深處的原鄉,這個島嶼充滿著狂野不 馴卻又端麗纏綿的無限生命,透過虔誠的觀察與冥想,提升自己對他的親近與敬畏, 一筆又一筆的塗染,一層又一層的堆疊,築成堅實的理性架構,往心中最深處去探

秋韻 Autumn Melody

索。」這段話語體現此種台灣再認同的心理歷程,透過理性、反覆「堆疊」/ 寫實的

2012 油彩畫布 Oil on canvas 120F (131×194cm)

運動形式,反映其尋回失土的後解嚴慾望,不論是身體、心理、語言或文化上的。

事實上,以描繪台灣山海風土、雲影林相、鄉野情趣為其表徵的「鄉土寫實主義」, 作為一種台灣主體的政治奪還行動方略,由於戒嚴時代的壓抑,仍是充滿鄉愁、邊 緣與受難精神的。第一次個展(1995)以來,隨著解嚴帶來「去同化」與「再異化」 的台灣認同契機,劉得浪開啟了揮別「鄉土寫實主義」的愁悶與殘害揭露,迎向「地 緣政治學」理論建構的嶄新階段。踏遍台灣山海角落、體驗天光雲影,以及有如「春 耕、夏種、秋收、冬藏」回復季節 / 地力倫理般的筆耕勞動所帶來的「自我真實性」 的重演與復歸,已然超越了作為歷史回憶表相的「鄉土寫實主義」言說。此種描繪 台灣地理細節的實證行動,構築了解嚴以來的新風景線,隨著不同海拔高度、等高 線的實地踏訪,營造出一本「後解嚴國土密錄」。透過儼如章節重編的書寫行動, 劉得浪的風景作品,反轉了戰後台灣社會國族論述中的主 / 從、內 / 外、馴 / 服等不 對等關係,並以寫實作為「政治空間現象」的探討模具,反映以「台灣意識」、「台 灣主體性」為核心價值的「地緣政治學」構想,而非簡單的「寫生」或「鄉土寫實 主義」概念可以涵括的。

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Voyage to the World, the Quiet Landscape, and the Realistic “Geopolitics”

物遊、時序與全球化支配下的「新國民風景」 十九世紀德國經濟學家佛列德里胥・李斯特(Friedrich List, 1789-1846),曾批評 現代經濟學之父亞當・史密斯(Adam Smith, 1723-1790)的世界主義經濟學說, 認為其忽略各國不同歷史背景及經濟現況,片面採取自由貿易及世界聯盟,只能帶 來經濟上的霸權失衡及國際併吞,因說:「我們的世界主義……首先是國家公民, 然後才是世界公民」,反對在經濟地位不平等的前提下實施自由貿易,主張「國民 主義」經濟政策。李斯特的學說強調國情個別差異,提出藉由差異性互補平衡世界 經濟秩序的重要性,反大國全球化經濟支配。從歷史背景言之,不同時代外來政權 的經濟、文化、政治剝削及強勢支配,已造成台灣極度的自我淪喪,尚未被政治化、 中流砥柱 Mainstay 2010-11 油彩畫布 Oil on canvas 150F (182×227cm)

意識形態化全然汙染、剝奪的土地真實已被肢解。劉得浪重返台灣山海的行動,透 過不斷重複的物遊行旅經驗,並在不同時序季候的演繹、串組及編織中,再次拼連 台灣已然支離破碎的「自我真實性」,體現了「國民主義」的理論精神,保有強勢 外來支配、肢解下「自我差異性」的主體價值。就此種觀點言之,其所形塑的台灣 山海風景寫實角落,正代表著對無所不在的「他者宰制」的短暫逃離、儼然被重新 「發掘」的幸福遺跡與祕密樂園聖殿,以及仍為這片土地子民傳述靜謐、理性及充 滿國土想像的「新國民風景」。

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M a j e s t ic S pl e nd or of Ta i wa n

Voyage to the World, the Quiet Landscape, and the Realistic “Geopolitics” – A Reading of Liu De-Lang’s Solo Exhibition

Written by Pai Shih-Ming Ph.D. in Art History at Kyoto University, Professor in the Department of Fine Arts at National Taiwan Normal University

There all is order and beauty, Luxury, peace, and pleasure. -- Charles Baudelaire, “Invitation to the Voyage” Paris Spleen (Le Spleen de Paris), 1869

The Pleasure of Peace Charles P. Baudelaire (1821-1867), the pioneering French modern poet and symbolist, collected his prose poems in the books Le Spleen de Paris and Les Paradis Artificiels after his The Flowers of Evil. In Le Spleen de Paris, Baudelaire adopts a more straightforward way to criticize and to mock the real world and the mundane society. Through poetry, the poet explores the potentiality of the extension of human souls against the suppression of reality, searching for the true meaning of life. As mentioned in the poem “Invitation to the Voyage,” it reflects the artistic attempt to find a temporal moment of peace away from the chaotic reality and to experience the meaning, blessing, and joy of life. Reversing the modern society’s spiritual crisis and the corrupted mundane world, he creates the most appealing power of transformation in his literary work. “There all is order and beauty, luxury, peace, and pleasure.” – it perfectly describes the “reality” of life from the poet and artist’s microscopic perspective and reveals the “luxury” of life through the meticulous details. The creative mind equipped with both sense and sensibility indeed has completed such an extraordinary intangible cultural heritage.

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Voyage to the World, the Quiet Landscape, and the Realistic “Geopolitics”

巍峨中央尖山 Central Range Point 2012 油彩畫布 Oil on canvas 150F (182×227cm)

With the expansion of modern industrious civilization, the human society’s gradual dependence on machines has removed itself from Nature and the primitive style of human labor, creating something beyond the progress of the thousand-year history. However, the rapid, materialistic, and ridiculous modern life causes the collapse of morality and the contradiction between body and mind. Like Baudelaire, modern intellectuals and artists also attempt to figure out a possibility to defend against or to transform the reality while their body-minds are suffering from how to “transform the temporal into the everlasting,” to “transform the reality into the ideal,” and to “transform the ugly into the beautiful” as a reflection on modern civilization. The real catalyst of it is the aura-like “social escape.” Within it, the world of art where the reality is intertwined with the illusion offers “beauty, luxury, peace, and pleasure” and eventually becomes the “real ideal paradise,” through which the poet peels off the garment-like mundanity to face the true self. Spiritually or physically, “soaring,” which signifies the escape from the modern life’s paradoxical constraint, urges oneself to retain the “self-reality” of peace and joy through the entangled identification between de-assimilation and re-alienation.

The Alienated Landscape, the National Territory Phenomenon, and the “Geopolitics” Liu De-Lang completed his art education from college in the 1970s when “folk realism” was the most approved movement in Taiwan. Through the thirty years of his artistic career, he has experienced a period of time when the post-war Taiwan was isolated from the world and

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M a j e s t ic S pl e nd or of Ta i wa n

the anxiety of national identity permeated the country of political uncertainty. The birth of “folk realism” in post-war art history and its social effect might be regarded as the beginning of Taiwan’s resistance against its destiny to be deprived of the “self-authenticity.” It was a social movement which reexamined the existence of Taiwan’s identity. It also documented the historical movements which took place within the identity confusion between (de)assimilation and (re)alienation to “recapture” one’s own historical narrative as if farmers and hunters were recapturing the once-lost land. Liu has mentioned that “Taiwan is the homeland of our souls. On the island dwell numerous lives which are wild and unstrained, but also graceful and alluring. Through the devoted observation and meditation, my respect for and intimacy with the land has been accumulated layer by layer, stroke by stroke, until it builds a solid rational structure to explore the deepest part of my heart.” The paragraph embodies the psychological journey of Taiwan’s re-identification. Through this rational repetition of “accumulated” realism, it reflects the post-Martial-Law desire to recapture the lost land – no matter whether it is physically, psychologically, linguistically, or culturally. In fact, “folk realism” – which features Taiwan’s natural landscape and the folk scenery – as a political strategy to recapture the identity of Taiwan has always been full of nostalgia, martyrdom, and marginalization due to the suppression of Martial Law. Since Liu’s first solo exhibition in 1995, the lifting of Martial Law has offered a new entry of Taiwan’s identity of de-assimilation and re-alienation. Liu De-Lang has thus departed from the melancholy “folk realism” and its trauma-revealing expression to embrace a new stage of the theoretical narrative of “geopolitics.” The artist has stepped onto every corner of Taiwan, seen all the natural scenery, and restored the seasonal/natural order to reenact and to regain the “self-authenticity” through his farminglike artistic labor. What he has done is beyond the appearance of historical memory in the narrative of “folk realism.” He actively depicts the island’s geographical details, constructing a new landscape after the lifting of Martial Law. Based on his on-site observation on landscape at different sea levels, he has finished a “secret documentation of the post-Martial-Law national territory.” The writing in Liu’s landscape works is like re-chaptering or reversing the unbalanced relationship between the dominant and the submissive, the inner and the outer, as well as the conqueror and the conquered in the discourse of Taiwan’s national identity. Meanwhile, he adopts a realistic style to discuss the “political space phenomenon” and to reflect the essence of “geopolitics”— the identity and the subjectivity of Taiwan. Indeed, his artistic practice can never be limited by the concept of “landscape painting” or “folk realism.” 8

凝 Gaze 2007-2009 油彩畫布 Oil on canvas 100F (130×162cm)


Voyage to the World, the Quiet Landscape, and the Realistic “Geopolitics”

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Voyage, Order, and the Globalization-dominated “New National Landscape” Friedrich List (1789-1846), the 19th Century German economist, has once criticized the global economic theory brought up by Adam Smith (1723-1790), who is also known as the “father of economics.” Friedrich List argues that free trade and international alliance without consideration to each nation’s different historical background and current economic situation will lead to the inequality of economic dominance and colonization. He thus states that “our globalism… the priority should be national citizens, while global citizens come second,” fostering the “national system” of economic policy instead of the contemporary free-trade policy when economic 山嵐毓秀映光影 Sunlight Reflects off the Mountains 2013 油彩畫布 Oil on canvas 150P (162×227cm)

inequality still exists. List’s theory emphasizes on the cultural differences among nations, arguing against the superpower-dominated global economy. Instead, he advocates the importance of complementary differences to balance the global economic order. In different periods of time throughout the history of Taiwan, the island has been dominated by various foreign regimes and been exploited economically, culturally, and politically, resulting in the loss of identity. The land, even though not being fully polluted and exploited by politics and ideology, has already been dismembered. Through the repetitive journeys to the nature, Liu De-Lang’s returning to the landscape of Taiwan re-interprets the moments of different seasons, weaving them together to re-visualize the once-fragmentized “self-authenticity” of the island. In his artistic practice, he embodies the spirit of “nationalism,” securing the nation’s self-identity with its own “uniqueness” under the dominance of foreign cultures. From this perspective, the landscape he has captured offers a temporal getaway from the “dominance of the Others” which seems to be everywhere in our lives. The scenery in his artworks is like the ruins left with traces of happiness or the secret sacred temple/paradise to be “rediscovered” – the “new national landscape” which continues telling the people on the land about the imagination of the national territory in a rational but yet peaceful way.

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M a j e s t ic S pl e nd or of Ta i wa n

創作自述

|

劉 得 浪

窗外田野的火金姑在蛙鼓的鳴唱中飛舞,月光下的樹梢在輕輕的搖曳著;仲夏的 夜晚,令人陷入無限的遐思。

創作對我來說,是一種冒險;每一次面對空白的畫,我不知道終點在哪裡,一切 的可能均化為淺意識在進行著,都是一種挑戰。對於畫面上所呈現的形式,炙熱 的情感,透過畫筆表達出來;這種內省而自覺的氣質醞釀強烈時,也就自然形成 一種內斂的風格,這也是我現階段的想法與努力的目標。努力的充實、鍛鍊素描 基本能力,研讀各家畫作及美術史、藝術評論與美學;我知道從「學院派」出 去,我有太多東西要學了,沈迷於文藝復興前後期的美術與人文素養;在與師長 的對談中,我學到了一種珍貴而浪漫的東西,既不是技巧,也不是細節,而是認 識「美」,瞭解如何去面對藝術品及用心去體會大自然給我們的教導與他所散發 出特質的領受。

理想的追求,是一種苦澀,也是一種喜悅,唐吉訶德式的自許,未嘗稍有一刻自 棄,油畫是我的最愛,我最喜歡它,直到永遠。

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A RT I S T S TAT E M E N T /

Artist Statement |

Written by

Liu De-Lang

Outside the field where fireflies fly amongst the sounds of frogs, where trees softly swing their branches underneath the pale moonlight, an evening like this in the summer’s season always make people drift away in their boundless reveries.

For me, creating a piece of artwork is like experiencing an adventure. Every time when I face a blank canvas, I have no idea where the finishing point will be, and what makes it a completion. Every creation process could be at work in the subconscious side of mind, so it is always a challenge to achieve more. As for how the blank canvas turns out, I do not insist on a new style to appear, but rather hoping the vivid sense of feeling and the strong passion for art and nature can be manifested through the paintbrush. When my introspective and self-conscious temperaments start to grab hold of me, my artistic style naturally becomes modest and meticulous; these are what I work hard to signify as a painter. Even at this stage, putting efforts to enrich skills, exercising the ability to sketch well, inspecting various artists’ and critics’ works and reviewing art history continue to be my aim. I know that I still have much to learn since I have been too attached to the ideals of the Renaissance. Talking with senior artists, I learned that it is neither about techniques nor details but understanding the aesthetics is the most precious and romantic essence: when one can appreciate nature and realize that nature exudes true beauty.

Chasing ideals is a bitter path, but it also contains joy; perhaps a little Quixotic, but all I know is that I truly love oil painting; it will be my very favorite until eternity.

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Works


王者之峰 The Majestic Demeanor 2013 Oil on canvas 150P (162×227cm)

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玉山春曉 Jade Mountain in Spring 2013 Oil on canvas 120F (130×194cm)

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奇峰俊秀 Admirable Mountain Peak 2013 Oil on canvas 120F (130×194cm)

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瑞雪兆豐年 Snow Promises Good Harvest 2013 Oil on canvas 120F (130×194cm)

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山嵐毓秀映光影 Sunlight Reflects off the Mountains 2013 Oil on canvas 150P (162×227cm)

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層巒疊翠眺雪山 Cengluan Pinnacle 2012-13 Oil on canvas 150F (182×227cm)

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秋韻 Autumn Melody 2012 Oil on canvas 120F (131×194cm)

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巍峨中央尖山 Central Range Point 2012 Oil on canvas 150F (182×227cm)

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雪山行 Snow Mountain Path 1995-2013 Oil on canvas 100F (130×162cm)

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梨山行旅 Lishan Journey 2013 Oil on canvas 50F (90×116cm)

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淬煉 Quenching 2011-12 Oil on canvas 150F (182×227cm)

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梨山風情一 Lishan Scenery 01 1995-2013 Oil on canvas 30P (65×90cm)

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梨山風情二 Lishan Scenery 02 1995-2013 Oil on canvas 30P (65×90cm)

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梨山風情三 Lishan Scenery 03 1995-2013 Oil on canvas 30P (65×90cm)

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梨山風情四 Lishan Scenery 04 1996-2013 Oil on canvas 30P (65×90cm)

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晨光 Dawn Light 2008-09 Oil on canvas 120F (130×194cm)

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奔 Running 2009-11 Oil on canvas 120F (130×194cm)

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早春 Early Spring 1996-97 Oil on canvas 80F (112×145.5cm)

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夏收 Summer Harvest 1996-97 Oil on canvas 100P (112×162cm)

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冬藏 Winter Treasures 1997-2013 Oil on canvas 80F (112×145.5cm)

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春雨 Spring Rain 1998-2013 Oil on canvas 100F (130×162cm)

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秋閒 Leisurely Autumn 2004-13 Oil on canvas 100F (162×130cm)

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冬陽 Winter Sun 1998-2013 Oil on canvas 50F (91×117cm)

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濤 Waves 2008-10 Oil on canvas 120F (130×194cm)

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凝 Gaze 2007-09 Oil on canvas 100F (130×162cm)

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波光映蘆荻 Glistened among the Reeds 2010-11 Oil on canvas 120F (130×194cm)

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中流砥柱 Mainstay 2010-11 Oil on canvas 150F (182×227cm)

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巖岩濤語 Rocks and Waves 2012 Oil on canvas 150F (182×227cm)

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遙望 Gaze away 2009-11 Oil on canvas 120F (130×194cm)

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聞風 The Message 2009-10 Oil on canvas 120F (130×194cm)

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北海岸礁岩 North Coast Cliffs 2010-11 Oil on canvas 100P (112×162cm)

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龜山遠眺 Overlooking the Gueishan Island 1996-2013 Oil on canvas 15F (53×65cm)

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後壁湖 Houbi Lake 1998-2012 Oil on canvas 25F (65×80cm)

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小琉球海岸 Lamay Island Coast 1999-2010 Oil on canvas 15F (54×65cm)

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高丘之歌 The Song of Hill 1993-2013 Oil on canvas 100F (130×162cm)

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淡水渡輪 Tamsui Boats 1993-2008 Oil on canvas 30F (73×91cm)

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淡水晨曦 Dawn of Tamsui 2013 Oil on canvas 50P (81×117cm)

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過新年 New Year 1992-2009 Oil on canvas 100F (162×130cm)

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M a j e s t ic S pl e nd or of Ta i wa n

劉 得 浪

1958 年出生於台灣新竹

1978

國立新竹師專美術科

2013

「壯闊的生命-台灣」,尊彩藝術中心,台北

1995

「劉得浪第一次個展-看山」,南畫廊,台北

2012

「2012 台北國際藝術博覽會」,台北世界貿易中心,台北

「飛行熱氣球—台灣當代藝術展」,尊彩藝術中心,台北 2004

「寫實風景的宏觀與微觀」,南畫廊,台北

2003

「台灣風畫區- Formosa 油畫秀作展」,南畫廊,台北

2002

「大地常綠- Golf 球場自然生態」,南畫廊,台北

2001

「慶祝 325 美術節『玉山雄姿』專題展」,南畫廊,台北

2000

「921 縫合風景本位紀念展」,南畫廊,台北

1993

「台灣畫派 '94 新展」,南畫廊,台北 「台灣人物畫展」,南畫廊,台北 「'93 春季靜物展」,南畫廊,台北

1992

「零號集錦在 expo」,南畫廊,台北

1999

「冬陽」獲第三屆新竹縣美展油畫組,佳作

1998

「飛鳳山頂東眺」獲第二屆新竹縣美展油畫組,優選

1997

「玉山初雪」獲第一屆新竹縣美展油畫組,新美獎

1983

第 37 屆全省美展,優選

1982

第 36 屆全省美展,優選

「隘口」獲文建會主辦畫我家鄉比賽,優選

省公教美展油畫類,優選 省公教美展水彩類,優選

90

1978

學生美展大專西畫組,優選

1975

第 30 屆全省美展水彩類,入選


C u rr i c u l u m V i t a e /

Liu De-Lang

Born in 1958 in Hsinchu, Taiwan

Education

1978

BFA, Fine Arts, National Hsinchu University of Education, Hsinchu, Taiwan

Solo Exhibitions

2013

“Majestic Splendor of Taiwan”, Liang Gallery, Taipei

1995

“First Solo Exhibition-Panorama of Mountains”, Nan Gallery, Taipei

2012

“ART TAIPEI 2012”, World Trade Center, Taipei, Taiwan

Group Exhibitons

“Exploring with A Balloon: Taiwan Contemporary Art Exhibition”, Liang Gallery, Taipei, Taiwan 2004

“Macro and Micro view of Realistic Landscape-Formosa”, Nan Gallery, Taipei

2003

“Land Evergreen-Golf Course”, Nan Gallery, Taipei

2002

“Celebrating Art Festival-Jade Mountain Majesty”, Nan Gallery, Taipei

2001

“Stitched Landscape-For 921 Earthquake”, Nan Gallery, Taipei

2000

“Taiwan Painting School ’94 Anniversary”, Nan Gallery, Taipei

1993

“Portraits of Taiwanese People Exhibition”, Nan Gallery, Taipei “Still Life Painting ’93 Spring Exhibition”, Nan Gallery, Taipei “Zero-Exhibition for expo”, Nan Gallery, Taipei

Awards

1992

“Land Evergreen-Golf Course”, Nan Gallery, Taipei

1999

Winter Sun, Excellent work, The 3 rd Art Exhibition of Hsinchu City, Taiwan Mountain Pass, Merit Award, The Art Exhibition of Council for Cultural Affairs, Taiwan

1998

East Vision of Mountain Fei Peak, Merit Award, The Art Exhibition of Hsinchu City, Taiwan

1997

First Snow of Jade Mountain, Excellent work, The 2 nd Art Exhibition of Hsinchu City, Taiwan

1983

Merit Award, 37th Taiwan Provincial Fine Arts Exhibition

1982

Merit Award, 36th Taiwan Provincial Fine Arts Exhibition Oil Painting Merit Award, Military and Government Arts Exhibition, Taiwan Water Color Merit Award, Military and Government Arts Exhibition, Taiwan

1978

Painting Merit Award, College Student Art Exhibition, Taiwan

1975

Water Color Selected Award, 36th Taiwan Provincial Fine Arts Exhibition 91


M a j e s t ic S pl e nd or of Ta i wa n

圖 錄 Catalog

山嵐毓秀映光影 Sunlight Reflects off the Mountains 2013 Oil on canvas 150P (162×227cm)

p. 23

王者之峰 The Majestic Demeanor 2013 Oil on canvas 150P (162×227cm)

p. 15

玉山春曉 Jade Mountain in Spring 2013 Oil on canvas 120F (130×194cm)

層巒疊翠眺雪山 Cengluan Pinnacle 2012-13 Oil on canvas 150F (182×227cm)

p. 25 秋韻 Autumn Melody 2012 Oil on canvas 120F (131×194cm)

p. 27

p. 17

奇峰俊秀 Admirable Mountain Peak 2013 Oil on canvas 120F (130×194cm)

p. 19

92

巍峨中央尖山 Central Range Point 2012 Oil on canvas 150F (182×227cm)

p. 29

瑞雪兆豐年 Snow Promises Good Harvest

雪山行 Snow Mountain Path

2013

1995-2013

Oil on canvas

Oil on canvas

120F (130×194cm)

100F (130×162cm)

p. 21

p. 31


Catalog /

梨山行旅 Lishan Journey 2013 Oil on canvas 50F (90×116cm)

p. 33

淬煉 Quenching

梨山風情四 Lishan Scenery 04 1996-2013 Oil on canvas 30P (65×90cm)

p. 43

晨光 Dawn Light 2008-09

2011-12

Oil on canvas

Oil on canvas

120F (130×194cm)

150F (182×227cm)

p. 45

p. 35

梨山風情一 Lishan Scenery 01 1995-2013 Oil on canvas 30P (65×90cm)

奔 Running 2009-11 Oil on canvas 120F (130×194cm)

p. 47

p. 37

梨山風情二 Lishan Scenery 02

早春 Early Spring

1995-2013

1996-97

Oil on canvas 30P (65×90cm)

Oil on canvas 80F (112×145.5cm)

p. 39

p. 49

梨山風情三 Lishan Scenery 03

夏收 Summer Harvest

1995-2013

1996-97

Oil on canvas

Oil on canvas

30P (65×90cm)

100P (112×162cm)

p. 41

p. 51

93


M a j e s t ic S pl e nd or of Ta i wa n

冬藏 Winter Treasures 1997-2013 Oil on canvas 80F (112×145.5cm)

p. 53 春雨 Spring Rain 1998-2013 Oil on canvas 100F (130×162cm)

p. 55

凝 Gaze 2007-09 Oil on canvas 100F (130×162cm)

p. 63

波光映蘆荻 Glistened among the Reeds 2010-11 Oil on canvas 120F (130×194cm)

p. 65

中流砥柱 Mainstay 秋閒 Leisurely Autumn 2004-13 Oil on canvas

2010-11 Oil on canvas 150F (182×227cm)

p. 67

100F (162×130cm)

p. 57

冬陽 Winter Sun

巖岩濤語 Rocks and Waves 2012

1998-2013

Oil on canvas

Oil on canvas

150F (182×227cm)

50F (91×117cm)

p. 69

p. 59

94

濤 Waves

遙望 Gaze away

2008-10

2009-11

Oil on canvas

Oil on canvas

120F (130×194cm)

120F (130×194cm)

p. 61

p. 71


Catalog /

聞風 The Message 2009-10 Oil on canvas 120F (130×194cm)

p. 73

高丘之歌 The Song of Hill 1993-2013 Oil on canvas 100F (130×162cm)

北海岸礁岩 North Coast Cliffs

p. 83

2010-11 Oil on canvas 100P (112×162cm)

p. 75

淡水渡輪 Tamsui Boats 1993-2008 Oil on canvas

龜山遠眺 Overlooking the Gueishan Island

30F (73×91cm)

p. 85

1996-2013 Oil on canvas 15F (53×65cm)

p. 77

淡水晨曦 Dawn of Tamsui 2013 Oil on canvas 50P (81×117cm)

後壁湖 Houbi Lake

p. 87

1998-2012 Oil on canvas 25F (65×80cm)

p. 79

小琉球海岸 Lamay Island Coast

過新年 New Year

1999-2010

1992-2009

Oil on canvas

Oil on canvas

15F (54×65cm)

100F (162×130cm)

p. 81

p. 89

95


發行人

余彥良

出版者

尊彩國際藝術有限公司

策劃設計

尊彩藝術中心

印刷

日動藝術印刷有限公司

出版

2013年12月初版

ISBN

978-986-90108-1-8

Executive Director

Yu Yen-Liang

Publisher

Liang Gallery Co., Ltd

Editor

Liang Gallery

Printing

Jih-Tung Art Pringting Co., Ltd.

Publishing Date

First Edition, December, 2013

ISBN

978-986-90108-1-8

www.lianggallery.com•Tel +886-2-2797-1100•Fax +886-2-2656-0033•lianggallery@gmail.com 台北市11492內湖區瑞光路366號 | No.366, Ruiguang Rd., Neihu District, Taipei 11492, Taiwan 開放時間 Gallery Hours 11:00am~6:00pm | 週一公休 Closed on Monday


壯闊的生命:台灣—劉得浪  

尊彩藝術中心 Liang Gallery 2013

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