寫生－陳慧坤百壹紀念展 | A Memorial Exhibition Marking the 110th Anniversary of Chen Houei-Kuen's Birth

1

目

錄

4

序 文

余彥良 ( 尊彩藝術中心 董事長 )

5

發現陳慧坤 文

倪再沁（前國立台灣美術館館長）

作 品

9

簡 歷

83

老而彌篤，不覺筆倦 陳慧坤百壹冥誕紀念展有感

90

文

謝佩霓（策展人、藝評人）

99

圖 錄

2

Contents Preface by

Yu Yen-Liang

(President of Liang Gallery)

Discovering Chen Houei-Kuen by

Ni Tsai-Chin

(Former Director of National Taiwan Museum of Fine Arts)

6

7

Artworks

9

Biography

83

A Lifelong Passion for Art – Thoughts on the Memorial Exhibition for the 110th Anniversary of Chen Houei-Kuen’s Birth

94

by

Catalog

Peini Beatrice Hsieh

(Curator and Critic)

99

序 台灣前輩藝術家始終有一股歲月難以抹除的特質， 那是對自己土地的敬重、對生命的禮敬、對自己選 擇的固執，還有對藝術的純粹。他們總會先在心裡 敬天、敬地、敬人與敬己，透過一種不著痕跡的手 法就將這精神植入到畫裡，在台灣現代美術史的版 圖之中穩穩地屹立著。

綜覽陳慧坤的一生，彷彿回顧台灣現代史，自清治 而日治，光復而民國；在如此動盪變化的時代中， 他傾注心力而致的目標，是求達到藝術的真善美。 陳慧坤的創作融合中、西、日、台諸多元素，秉持 熱情鑽研東洋膠彩、中國水墨、西洋各畫派精神與 技巧，一直到七十歲後自成一格，展出眾彩煥發和 鳴的獨特畫風，是同時代其他畫家無可比擬的。

「寫生－陳慧坤百壹紀念展」，展出的作品都是以 陳慧坤所描寫的台灣這塊土地為主軸。陳慧坤把故 鄉土地的靈魂畫了出來，同時也把自己清澄剔透的 情感智慧放入其中，使他的畫作更充滿著對土地的 禮讚與感恩，那是一種臍帶相連的依存。在他筆 下，膠彩細膩的筆觸、水墨的皴法講究，甚至是西 畫方面對於色彩的鋪陳，已經不再受制於形式本身 的刻板性，他展現了更具容度的繪畫表現；色溫則 捕捉時間的流動，讓他筆下的家鄉景致不再只停留 在風景這個印象，而是能夠有著時間、歷史所沉積 出來的厚度，有著生活的呼吸、有著生命卓然獨立 於日子來去之間的豁朗。

所以陳慧坤老師曾說過：我畫的風景，是要畫風景 的「真形」，即風景在精神方面的相貌，而不是它 的浮光掠影。

余彥良 尊彩藝術中心 董事長

4

寫生

文

見？誰能想到一位前輩畫家的創作高峰是在五十歲

日治時期，他尚未卓然成家；戰後抽象繪畫狂飆， 他正鑽研塞尚的空間；晚近的後現代主義及裝置藝 術當道，更沒有人會注意他融合中、西、日、台諸 多元素的純粹繪畫。在西洋美術風格進展為焦點的 台灣美術史脈絡裡，陳慧坤的路徑與眾不同，的確

陳慧坤百壹紀念展

之後，而最為可觀的作品多在六、七十歲後所繪。

倪 再 沁 （前國立台灣美術館館長）

發現陳慧坤

如此獨特而傑出的創作者，為什麼我們總是視而不

很難放進以時代潮流為軸線的台灣美術史。

我決定把陳慧坤的重點拉回學術層面，試圖為這位 老前輩重新定位，把時間拉長、空間放大，才能看 清藝術家一生的成就，畫家的觀念、創作的品質、 風格的特殊……，我們決定重探陳慧坤，看看他在 台灣美術史上具有什麼樣的意義。

本文節錄自《典藏今藝術》第 131 期，2003 年八月號，頁 178-181。

寫 生 A Life's Journey

5

Preface

The former generation of Taiwanese artists displayed timeless qualities of respect for life and the land, insistence on their preference, and dedication to art. In their hearts, they respected Heaven, Earth, humans, and themselves, seamlessly imparting this spirit into their art. Ultimately, they secured themselves a place in the history of modern Taiwanese art.

The course of Chen Houei-Kuen’s life reflects the history of modern Taiwan, from the Qing dynasty to the colonial era, to the Republic of China. During these times of political change and social unrest, he devoted himself to creating art of “truth, goodness, and beauty.” Chen combined diverse aspects of Chinese, Western, Japanese, and Taiwanese culture, and possessed passion for Japanese painting, Chinese ink painting, and a variety of Western painting schools and techniques. By the age of 70, he developed a unique and inimitable style, displaying radiant and harmonious color.

At “A Life's Journey – A Memorial Exhibition Marking the 110th Anniversary of Chen Houei-Kuen's Birth” all the artworks feature the land of Taiwan. Chen depicted the soul of the land, imparting images with distinct sentiments and wisdom that praised and showed gratitude toward the land.

That land is essential to our survival. His detailed Japanesestyle paintings, meticulously-textured ink paintings, and even Western color technique paintings have surpassed narrow stereotypes. The artworks possess a greater “capacity” and displays the artist’s ease with himself. Color temperature captures the flow of time, elevating scenes of hometown life beyond mere landscapes, and possess a temporal or historical depth, or the breath of life, or an optimistic life that surpasses mundane, everyday existence.

Chen Houei-Kuen once said: In my paintings, I try to bring out the “true appearance” of a landscape, the spiritual rather than superficial aspect.

President of Liang Gallery,

Yu Yen-Liang

6

by

Why do we always turn a blind eye to such unique and outstanding artists? Who would have thought that a painter could create the pinnacle work of his career in his fifties, and that he would go on to paint his most impressive works in his sixties and seventies? During the Japanese occupation period, he had not yet achieved any success. After the war, his abstract paintings underwent a great change as he studied the space of Cezanne. Even more so, with the postmodernism and installation art that holds sway today, no one would pay attention to his integration of diverse Chinese, Western, Japanese, and Taiwanese elements in pure painting. With a focus on the development of Western artistic styles in the historical context of Taiwanese fine art, Chen Houei-Kuen took on quite a different path that is indeed difficult to place in the axis of trends of Taiwanese art history.

Ni Tsai-Chin Former Director of National Taiwan Museum of Fine Arts

Preface

Discovering Chen Houei-Kuen

I have decided to focus on Chen Houei-Kuen’s academic level, while trying to readjust this senior artist’s position.

Only by lengthening the time and magnifying the space can one clearly see the artist’s lifetime of achievements, concepts of a painter, quality of his works, and uniqueness of his style… We have decided to reexamine Chen Houei-Kuen’s works to determine his importance in Taiwanese art history.

寫 生

An excerpt from ARTCO, No. 131, p. 178-181.

A Life's Journey

7

8

作 品 Artworks

9

故鄉龍井

My Hometown Lung-Ching

油彩畫布

－ Oil on canvas

－ 58.5×43.4cm

1928

10

自畫像 Self-Portrait 油彩畫布

－ Oil on canvas

－ 91×65cm 1932

11

膠彩絹布

－ 179.2×71.9cm

Neng-kao Waterfall

－ Glue-pigment on silk

能高瀑布

1951

12

13

膠彩紙本

原稿 —

－ Glue-pigment on paper

烏來瀑布

－ 176.2×94.1cm

Wulai Falls

1951

14

15

公館農舍

Farm Houses at Kun-kuan

膠彩紙本

－ Glue-pigment on paper

－ 59.5×74cm

1956

16

中央尖山 Pointed Mountains 膠彩紙本

－ Glue-pigment on paper

－ 60.2×73cm 1958

17

太魯閣

Tailugeh

膠彩紙本

－ Glue-pigment on paper

－ 73×58.5cm

1959

18

翠 峰（ 一 ） Mountains (I) 膠彩紙本

－ Glue-pigment on paper

－ 61×73cm 1960

19

油彩畫布

淡江觀音山

－ Oil on canvas

－ 91×116cm 1963

Kuan-yin Mountain, Tan-Chiang

20

21

22

23

南港郊外

Nan-kang Countryside

膠彩紙本

－ Glue-pigment on paper

－ 45.2×59.5cm

1964

24

汐止郊外 His-chih Countryside 膠彩紙本

－ Glue-pigment on paper

－ 49.7×60cm 1964

25

松山郊外

Songshan Countryside

膠彩紙本

－ Glue-pigment on paper

－ 37×44.5cm

1964

26

松 山 郊 外（ 一 ） Songshan Countryside (I) 膠彩紙本

－ Glue-pigment on paper

－ 45×53.8cm 1964

27

松 山 郊 外（ 三 ）

Sung-shan Countryside (III)

膠彩紙本

－ Glue-pigment on paper

－ 44×53cm

1964

28

大直郊外 Ta-chih Countryside 膠彩紙本

－ Glue-pigment on paper

－ 45×54.3cm 1964

29

膠彩紙本

－ 137.1×69.2cm 1964

Liu-chang-li Countryside

－ Glue-pigment on paper

六張犁田園

30

31

淡水風景

Landscape of Tamsui

油彩畫布

－ Oil on canvas

－ 65.7×80.7cm

1964

32

松山風景 Landscape of Songshan 油彩畫布

－ Oil on canvas

－ 61×72.3cm 1964

33

瑞濱海邊

Ruibin Seascape

油彩畫布

－ Oil on canvas

－ 61×73cm

1965

34

野柳海邊 Yehliu Coast 油彩畫布

－ Oil on canvas

－ 72.5×60.5cm 1965

35

油彩畫布

－ 46×55cm 1965

Songshan Bridge

－ Oil on canvas

松山橋

36

37

膠彩紙本

－ 96.4×181cm 1966

Kuan-yin Mt. in Tam-sui

－ Glue-pigment on paper

淡水觀音山

38

39

40

41

九份水濂洞

Cave of Water Curtain, Jiufen

油彩畫布

－ Oil on canvas

－ 50×60cm

1966

42

大直燒磚窯 Kiln in Dazhi 油彩畫布

－ Oil on canvas

－ 61×72.4cm 1966

43

膠彩紙本

－ 91.7×133.4cm 1967

View of Chifen from Chin-fen

－ Glue-pigment on paper

九份看瑞芳海濱

44

45

祝山看玉山遠景

The Distant View of Jade Mountain from Mount Chu

油彩畫布

－ Oil on canvas

－ 60.7×73cm

1972

46

淡水近郊 Tamsui Suburbs 油彩畫布

－ Oil on canvas

－ 50×61cm 1976

47

膠彩紙本

－ 128.9×183.7cm

Shihfen Falls (I)

－ Glue-pigment on paper

十 分 瀑 布（ 一 ）

1976

48

49

膠彩紙本

－ 184.4×95.2cm

Ripples in Pitan

－ Glue-pigment on paper

碧潭微波

1977

50

51

膠彩紙本

－ 124.1×184cm 1978

Landscape of Yehliou (III)

－ Glue-pigment on paper

野 柳 風 景（ 三 ）

52

53

油彩畫布

－ 60×72cm 1979

Wenwuge Reflections

－ Oil on canvas

文武閣倒影

54

55

膠彩紙本

－ 178.5×96cm 1979

Reflection of Wenwu Tower

－ Glue-pigment on paper

文武閣塔影

56

57

膠彩紙本

－ 187.1×95.6cm

Ku-Kuan Falls

－ Glue-pigment on paper

谷關龍谷瀑布

1980

58

59

遠眺總統府

Overlooking the Office of the President

油彩畫布

－ Oil on canvas

－ 91×116.7cm

1983

60

故鄉龍井竹坑 Lung-ching Chu-keng 油彩畫布

－ Oil on canvas

－ 80.5×100cm 1985

61

大直基隆河畔

Chi-lung Riverbanks at Ta-chih

油彩畫布

－ Oil on canvas

－ 53.5×65.5cm

1987

62

左營龍虎塔 Dragon and Tiger Pagodas 油彩畫布

－ Oil on canvas

－ 60.5×72.5cm 1987

63

美濃中正湖

Chung-cheng Lake at Mei-nung

油彩畫布

－ Oil on canvas

－ 72.5×91cm

1987

64

金山群峰 Jinshan Mountain Peaks 油彩畫布

－ Oil on canvas

－ 50.3×60.5cm 1987

65

故宮至善園

Zhishan Garden

膠彩紙本

－ Glue-pigment on paper

－ 137.5×69cm

1987

66

翠 峰（ 三 ） Mountains (III) 膠彩紙本

－ Glue-pigment on paper

－ 140×68.9cm 1988

67

油彩畫布

－ 89×130cm 1988

Kuayinshan (II)

－ Oil on canvas

觀 音 山（ 二 ）

68

69

70

71

淡 水 下 坡 路（ 二 ）

Landscape of Tamsui (II)

膠彩紙本

－ Glue-pigment on paper

－ 72×60.9cm

1989

72

松山郊外 Songshan Countryside 膠彩紙本

－ Glue-pigment on paper

－ 45×54cm 1991

73

膠彩紙本

－ 45.2×54cm 1992

Seaside Village, Yeh-Liu

－ Glue-pigment on paper

野柳漁村

74

75

油彩畫布

－ 97×130cm

Yehliu

－ Oil on canvas

野柳

1992

76

77

膠彩紙本

－ 44.5×53.6cm

Mount Guanyin

－ Glue-pigment on paper

觀音山

1995

78

79

油彩畫布

－ 61×73cm 1996

228 Peace Memorial Park

－ Oil on canvas

台北二二八公園

80

81

82

簡 歷 Biography

83

陳慧坤

1 9 2年 8 進 入 東 京 美 術 學 校︵ 今 東 京 藝 術 大

4餘 0 年，教育

1 9 0年 7 生於台灣台中的書香門第，自小即培養了對繪

畫 的 熱 情，

學︶師範科。畢生從事美術教育及創作

84

英才無數。曾遊歷歐洲各國，遍覽各時期西洋名畫，回

Chen Houei-Kuen was born in Taichung, Taiwan, in 1907 to a well-educated family and showed enthusiasm for painting from childhood. In 1928, he was admitted to the Normal Department at the Tokyo School of Fine Arts (now Tokyo University of the Arts), and after graduation taught fine art and painted for more than 40 years. He trained many young talented students. He also travelled through the various countries of Europe, studying Western paintings of each era, and after returning to Taiwan, he began experimenting with the art concepts he has learned, blending them with the traditional compositional ideas in ink painting. Using an empirical spirit as his starting point, he blended East and West so that his paintings exude the spiritual excellence of the East while containing the techniques and concepts of the West.

國後著手實驗所體悟之藝術理論，並融合傳統水墨的空

2011

間 觀 念 於 作 品 創 作。 他 以 實 證 精 神 為 出 發 點， 兼 融 中

1907

西方繪畫觀念，其創作不僅蘊含著西方的繪畫技巧和概

念，更散發著東方繪畫靈秀的特質。

Chen Houei-Kuen

簡 歷 Biography

年 表

1915

進入大肚鄉公學校（今大肚國小）就讀，台中，台灣

1927

台中中學校（今台中市立台中第一高級中學）畢業，台中，台灣 赴川端繪畫研究所練習素描，東京，日本 進入東京美術學校（今東京藝術大學）師範科就讀，東京，日本

1931

東京美術學校師範科畢業，東京，日本

1933

《無題》，「第六屆台展」，入選，台灣

1934

兼任台灣省立台中商業學校（今國立台中科技大學）商業美術課程教師，台中，台灣

1935

任台中市幸公學校（今篤行國小）教師，台中，台灣

1936

《在世時的面影》，「第九回台展」，入選，台灣

1937

《屏風佳人畫》，「第十回台展」，入選，台灣

1938

任新高公學校（今太平國小）教師，台中，台灣

1939

《逍遙》，「第二屆府展」，入選，台灣

1940

《秋之收穫》，「第三屆府展」，入選，台灣

1941

《池畔春色》，「第四屆府展」，入選，台灣

1942

《登山》，「第五屆府展」，入選，台灣

1945

任台中第一女中專任教師，台中，台灣

寫

1946

《賞畫》，「第一屆省展」，入選，台灣

生

1947

受聘台灣省立師範學院（今國立台灣師範大學）美術系講師，台北，台灣 《台灣土俗室》，「第二屆省展」，主席賞，台灣

1948

升任台灣省立師範學院美術系副教授，台北，台灣

1952

登上玉山主峰進行寫生，南投，台灣

1953

赴日考察日本美術教育，東京，日本 升任台灣省立師範學院教授，台北，台灣

1958

受聘擔任私立實踐家政專科學校（今實踐大學）兼任教授，台北，台灣

1960

赴法進修一年，考察美術教育、參觀重要美術館，至西、義、比、荷、德等國旅行寫生，歐洲

1962

「遊歐作品展」，中山堂，台北，台灣

85

A Life's Journey

1928

「遊歐作品展」，台中省立圖書館（今國立公共資訊圖書館），台中，台灣

1965

受聘擔任國立台灣藝術專科學校（今國立台灣藝術大學）兼任教授，台北，台灣 「陳慧坤、張道林雙人展」，國際畫廊，台北，台灣

1969

暑假赴法考察，旅行寫生，歷時四個月，法國

1970

「遊歐作品展」，台灣省立博物館（今國立台灣博物館），台北，台灣

1972

「遊歐作品展」，台灣省立博物館，台北，台灣

1974

「遊歐作品展」，台灣省立博物館，台北，台灣

1975

擔任「省展」評議委員，台北，台灣

1976

「遊歐作品展」，台灣省立博物館，台北、台中省立圖書館，台中，台灣

1977

自國立台灣師範大學美術系退休，台北，台灣

1981

「陳慧坤個展」，台灣省立博物館，台北，台灣

1986

擔任「第十三屆台北市美展」油畫評審委員，台北，台灣 「陳慧坤八十回顧展」，台北市立美術館，台北，台灣

1988

應聘擔任台灣省立美術館（今國立台灣美術館）展品審查委員，台中，台灣

1989

《淡水下坡路》第一張、第六張，列入台北市立美術館永久典藏，台北，台灣 「陳慧坤、陳進、林玉山三人聯展」，國立歷史博物館，台北，台灣 當選第一屆台中縣十大資深傑出藝術家，並獲金穗獎，台灣

1991

「陳慧坤八五回顧展」，國立歷史博物館，台北，台灣

1995

「陳慧坤九十回顧展」，台北市立美術館，台北，台灣

1996

「陳慧坤九十回顧展」，台灣省立美術館，台中，台灣

1997

榮獲行政院文化獎，台灣

1998

「淬光連斗—陳慧坤畫展」，國立歷史博物館，台北，台灣

2001

「大器九五—蒼松映長春：陳慧坤九五回顧展」，台中縣立文化中心 （今台中市立葫蘆墩文化中心），台中，台灣

2003

榮獲第七屆國家文藝獎，台灣

86

簡 歷 Biography

2006

「百慧藏坤—陳慧坤百歲誕辰特展」，國立歷史博物館，台北，台灣

2011

病逝於台大醫院，台北，台灣

2013-14 「追求永恆的真理真形—陳慧坤紀念畫展」，台灣創價學會，台北，台灣 2017

「寫生—陳慧坤百壹紀念展」，尊彩藝術中心，台北，台灣

CHRONOLOGY

1915 Entered Dadu Public School (now Dadu Elementary School), Taichung, Taiwan 1927 Graduated from Taichung Senior High School (now Taichung Municipal First Senior High School), Taichung, Taiwan Studied sketching at Kawabata Painting School, Tokyo, Japan 1928 Entered Normal Department of the Tokyo School of Fine Arts (now Tokyo University of the Arts), Tokyo, Japan 1931 Graduated from Normal Department of the Tokyo School of Fine Arts, Tokyo, Japan 1933 Untitled, “The 6th Taiwan Fine Arts Exhibition”, Selected, Taiwan 1934 Appointed teacher of art at Taichung Business School (now National Taichung University of Science and Technology), Taichung, Taiwan 1935 Appointed teacher at Taichung City Public School (now Taichung City Duxing Elementary School), Taichung, Taiwan 1936 Zai Shishi De Mianying, “The 9th Taiwan Fine Arts Exhibition”, Selected, Taiwan Ping feng Jiaren Hua, “The 10th Taiwan Fine Arts Exhibition”, Selected, Taiwan

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1938 Appointed teacher at Xingao Public School (now Taiping Elementary School), Taichung, Taiwan

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1937

1939 Hiao Yao, “The 2nd Taiwan Governmental Fine Arts Exhibition”, Selected, Taiwan Qiuzhi Shouhuo, “The 3rd Taiwan Governmental Fine Arts Exhibition”, Selected, Taiwan

1941 Chipan Chunse, “The 4th Taiwan Governmental Fine Arts Exhibition”, Selected, Taiwan 1942 Dengshan, “The 5th Taiwan Governmental Fine Arts Exhibition”, Selected, Taiwan 1945 Appointed teacher at Taichung First High School for Girls, Taichung, Taiwan 1946 Shang Hua, “The 1st Taiwan Provincial Fine Arts Exhibition”, Selected, Taiwan 1947 Appointed Lecturer in the Department of Fine Arts, Taiwan Provincial College of Education (now National Taiwan Normal University), Taipei, Taiwan

Taiwan Ethnology Research Institute, “The 2nd Taiwan Provincial Fine Arts Exhibition”, Chairman’s Prize, Taiwan

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1940

1948 Appointed Professor in the Department of Fine Arts, Taiwan Provincial College of Education, Taipei, Taiwan 1952 Climbed the main peak of Yushan to paint the scenery, Nantou, Taiwan 1953 Visited Japan to examine Japanese art education, Tokyo, Japan Appointed Professor at Taiwan Provincial College of Education, Taipei, Taiwan 1958 Appointed Adjunct Professor at Shih Chien Home Economics College (now Shih Chien University), Taipei, Taiwan 1960 Went to France for one year to examine art education, visit important art museums, and traveled widely in Spain, Italy, Belgium, Holland and Germany for purposes of landscape painting, Europe 1962 “European Tour Paintings Exhibition”, Zhongshan Hall, Taipei, Taiwan “European Tour Paintings Exhibition”, Provincial Taichung Library (now National Library of Public Information), Taichung, Taiwan 1965 Appointed Adjunct Professor at National Taiwan College of Arts (now National Taiwan University of Arts, Taipei), Taipei, Taiwan “Chen Houei-Kuen and Chang Tao-Lin Joint Exhibition”, International Arts Gallery, Taipei, Taiwan 1969 Traveled to France during four months of summer vacation for purposes of landscape painting, France 1970 “European Tour Paintings Exhibition”, Taiwan Provincial Museum (now National Taiwan Museum), Taipei, Taiwan 1972

“European Tour Paintings Exhibition”, Taiwan Provincial Museum, Taipei, Taiwan

1974 “European Tour Paintings Exhibition”, Taiwan Provincial Museum, Taipei, Taiwan 1975 Review committee member of “Taiwan Provincial Fine Arts Exhibition”, Taipei, Taiwan 1976 “European Tour Paintings Exhibition”, Taiwan Provincial Museum, Taipei; Provincial Taichung Library, Taichung, Taiwan 1977

Retired from the Department of Fine Arts, National Taiwan Normal University, Taipei, Taiwan

1981 “Chen Houei-Kuen Solo Exhibition”, Taiwan Provincial Museum, Taipei, Taiwan 1986 Member of jury panel at “The 13th Taipei Fine Art Exhibition”, Taipei, Taiwan “Chen Houei-Kuen’s 80th Birthday Retrospective Exhibition”, Taipei Fine Arts Museum, Taipei, Taiwan 1988 Examination commissioner for exhibitions at the Taiwan Provincial Museum of Fine Arts (now National Taiwan Museum of Fine Arts), Taichung, Taiwan 1989 Landscape of Tamsui 1, 6 included in the permanent collection of Taipei Fine Arts Museum, Taipei, Taiwan

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簡 歷 Biography

“Chen Houei-Kuen, Chen Chin, Lin Yu-Shan Joint Exhibition”, National Museum of History, Taipei, Taiwan Elected as one of ten outstanding senior artists in Taichung county, received the Golden Harvest Award, Taiwan 1991 “Chen Houei-Kuen’s 85th Birthday Retrospective Exhibition”, National Museum of History, Taipei, Taiwan 1995 “Chen Houei-Kuen’s 90th Birthday Retrospective Exhibition”, Taipei Fine Arts Museum, Taipei, Taiwan 1996 “Chen Houei-Kuen’s 90th Birthday Retrospective Exhibition”, Taiwan Provincial Museum of Fine Arts, Taichung, Taiwan 1997 Received National Cultural Award, Taiwan 1998 “Arts of Master Chen Houei-Kuen”, National Museum of History, Taipei, Taiwan 2001 “Chen Houei-Kuen’s 95th Birthday Retrospective Exhibition”, Taichung County Cultural Center (now Taichung Municipal City Huludun Cultural Center), Taichung, Taiwan 2003 Received The 7th National Culture and Arts Award, Taiwan 2006 “Chen Houei-Kuen: A Centennial Exhibition”, National Museum of History, Taipei, Taiwan 2011

Passed away at National Taiwan University Hospital, Taipei, Taiwan

2013-14 “Pursuing the Eternity of Truth and Its Form: The Painting Exhibition in Memory of Chen Houei-Kuen”, Taiwan Soka Association, Taipei, Taiwan 2017 “A Life's Journey – A Memorial Exhibition Marking the 110th Anniversary of Chen Houei-Kuen's Birth”, Liang Gallery, 寫

Taipei, Taiwan

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的表現有兩個面向，一則是追求美感的實驗，另一則是觀念的落實。 雖然兩者不分軒輊，卻因求道之路分道揚鑣，而產生了截然不同的生 命週期，現代藝術家也因此可概分為兩大類：早慧的天才和老成的大 師 (young geniuses and old masters)。證諸其人其事其藝，今年冥誕一百晉 一十的陳慧坤 (1907-2011)，顯然屬於後者。

謝 佩 霓 （策展人、藝評人）

陳慧坤百壹冥誕紀念展有感

老而彌篤，不覺筆倦

芝加哥大學經濟學教授賈稜森 (David Galenson, 1951- ) 立論，藝術創意

回想起來，距離最後幾天臨危受命，為已故台灣美術大師陳慧坤在台 中縣立文化中心舉行的回顧展「大器九五」規劃展場並佈展，倏忽竟 是接近 16 年過去。猶記得當時展出的代表作中，陳慧坤在有幅畫的題 跋裡自喻「大器晚成」，可見年高德劭的他，當年已有此自覺。執著 一生而卓然有成，已故藝評人倪再沁教授不禁讚嘆其毅力驚人：「若 非高度的自覺與自信，藝術家怎能如此自我肯定？ 」

當初受委任為國家文藝獎得主書寫官方傳記《慧照乾坤－陳慧坤的藝 術思維》，倪再沁公然承認，著手研究陳慧坤時，心情無比忐忑不安。 倪再沁認為，姑不論彼時一探前輩耆宿藝術家究竟的熱潮已退，畢竟 論資排輩甚至獲獎紀錄，陳慧坤實在難與黃土水、陳澄波、陳植棋、 陳進、林玉山、廖繼春、李梅樹、楊三郎、李石樵、郭雪湖等日據時 期台籍前輩家相提並論，而他獨樹一格的畫風和個人藝術歷程的進展， 想要平行納入台灣美術史時代潮流的軸線，尤其委實困難。但他越是 鑽研越驚艷越覺汗顏，自問如此獨特而傑出的創作者，「為什麼我們 總是視而不見？」

人生命運與與才情天註定，幾時來幾時去，幾時攀上高峰，其實都無 從強求。綜觀陳慧坤的藝事發展與人生行旅，便是最好的例證。年高 未必德備，創作力更未必能等比成長，但陳慧坤卻是箇中奇葩。

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光復而民國，一黨獨大到政黨輪替。偏偏代代相傳、段段交接之間， 連貫並不順遂，遞嬗難以一氣呵成，嚴格說來都是翻天覆地的丕變。 不過，只要盤點這些無可想像的政經文化極具變故的過往，陳慧坤身 歷其境，也許就再也不難了解他為何猶豫、為何躊躇、為何舉棋不定、 為何多線發展、為何非得耗時半生與半世紀，最後才找到作的本來面 貌，以及不從任何門派的特殊表現法與風格。 陳慧坤的出生地龍井，乃是建立昔時大肚王國 (Camacht) 的主角瀑拉族 (Papora) 的關鍵據點「水裡社」，素來漢、閩、客與原民聚居於斯。陳 氏出生時，龍井才剛由舊稱的「茄投庄」正式改名，處於隸屬台中州 大甲郡大肚下堡沙轆支廳的變化階段。由此可知，成長自多種族群混 生融合的原鄉，他融合多重文脈細細咀嚼反芻的天性，可謂與生俱來。

老而彌篤，不覺筆倦 － 陳慧坤百壹冥誕紀念展有感

細覽陳慧坤生逢其時的年代，彷彿回顧台灣現代史，自清治而日治，

陳慧坤的美術啟蒙教育始於家學，來自與父親陳清文共用光緒年間上 海出版的《芥子園畫譜》臨摹切磋奠基，從此對藝術一往情深。之後 為了潛心習藝，他隻身前往東瀛求學，即便未嘗一試及第，依然越挫 越勇。即便為了穩定家計選擇師範體系，卻不為長年執教鞭畫地自限， 與同事如溥心畬者教學相長，陳慧坤上山下海踩踏實境寫生，行腳也 隨探視步自己後塵赴異國習藝的女兒，1960 年代延伸至海外。這種「不 知老之將至」的勤學執著，一方面讓他精神矍鑠青春永駐，而無視應 寫

老有所終，也確保終其一生創作力高昂不輟。

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期，所以說百年難得的知遇叫「一期一會」。生年一百零四年，如果 從外人看來，陳慧坤經歷過的困頓歲月，太長；不過如果從他自我的 角度出發，觀其創作慾與日俱增不曾止歇而致初老才成熟底定，其實

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古來上壽者希，活得多采多姿饒富創造力又談何容易。人生以百年為

嫌短。也無怪乎儘管壽得百歲，期頤年間，有心無力的他，常常執筆 三嘆畫不成畫。根據了解，1997 年當陳慧坤完成帶有梵谷 (Vincent van Gogh, 1853-1890) 用色風格的《桔梗》一作之後，礙於體能不得不歇手。 陳慧坤堅持走自己的路，卻也因此大半生註定踽踽獨行。他融合中、 西、日、台諸多元素從事純粹繪畫，秉持熱情鑽研東洋膠彩、中國水 墨、西洋各畫派精神與技巧，一直到七十歲希壽後自成一格，從而在 朝杖之年集大成，在耄耋之年開展出眾彩煥發和鳴的獨特畫風。

躋身高等教育作育英才，在規律的生活中畫不停手，筆下的一切都是 他生命歷程的寫照。他的前半生儘管多舛，幾度夫過、父過，但卻漸 入佳境，在以高齡 104 歲辭世之際，已是諸事圓滿，福壽雙全，藝術 成就備受肯定。

他的次女陳郁秀認為，父親傾注一世無怨無悔的人生目標，是但求「達 到藝術真善美」。陳慧坤、莊金枝伉儷的知交李文，在近身觀察與訪 談畫家本人與親友之後，在《百歲流金》歸納出陳慧坤的藝術家歲月， 就在「想畫、要畫、如何畫」這三者間，不停地循環更迭涵納修養。

一個《淡水的下坡路》的主題，讓陳慧坤窮極一生探索，足足琢磨了 大半輩子，最後入畫了整整有八次，才終於定著。其實仔細推敲，他 反芻的是人生百味，回首來時路，眺望蕭瑟處，一張畫寫不盡所有的 人生風景，只有一再訴諸不同的畫語畫境，譜心事通款曲。 這種戮力實踐以自證的執念，可比莫內 (Claude Monet, 1840-1926) 日夜 面對盧昂大教堂 (Rouen Cathedral) 多年，完成卅餘張系列巨構，抑或梵 谷直接逼視自身臉部變化的卅多幅自畫像。陳氏孜孜不倦地鑽研畫了

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類比華人大家，如黃賓虹 (1865-1955)，窮極大半生臨摹古人山水用功， 直到耳順之年才大放異彩，卻仍忒謙「我的書法勝於繪畫」。又或者 余承堯 (1898-1993)，56 歲才以繪畫自奉，耳順之年蔚然成家，八十多 歲還傳授南管絕學給義女陳美娥，催生了創立「漢唐樂府」。陳慧坤 的創作高峰在五十歲以後，可觀的作品則多在六、七十歲時完成，直 到 1986 年，在北美館舉辦八十回顧展才備受矚目。 不比揮灑烈愛燃燒青春的早慧性藝術家，陳慧坤在「明昧參半」匍匐 前行的心性，更接近於塞尚 (Paul Cézanne, 1839-1906) 鑽研究極的理 路與鞭策的自我要求。塞尚臨終傑作《浴者》(Les Grandes Baigneuses,

1898-1905)，畢其事功於一役，正是大器晚成，卻越老越熟、越勁道

老而彌篤，不覺筆倦 － 陳慧坤百壹冥誕紀念展有感

千百回，只為了執著於以全觀的所有角度充分理解。

的極致代表。陳慧坤大器晚成，可喜的是老運亨通，邀展不斷，在世 時陸續獲得行政院文化獎與國家文藝獎，實至名歸。

有如蒼松映長春，唯有將增加景深時空拉開加大，吾人才能不辯自明， 深刻體認到陳慧坤作為藝術家的成就非常，何以能卓爾不俗地於在台 灣現代美術史的版圖之中屹立。

《梁書》〈王筠傳〉裡有這麼一段：「余少好書，老而彌篤，雖偶見

繚繞。

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無止息無止間。育藝深遠，藝途綿長，歷時至今餘韻猶存，依然餘音

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妨視此為陳慧坤努力藝事一生寫照，勤生有涯而知無涯，求知若渴學

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瞥觀，皆即疏記，後重省覽，歡興彌深，習與性成，不覺筆倦。」何

A Lifelong Passion for Art

Thoughts on the Memorial Exhibition for the 110th Anniversary of Chen Houei-Kuen’s Birth

by

Peini Beatrice HSIEH Curator and Critic

David Galenson (1951-), professor of economics at the University of Chicago, proposed a theory that there are two aspects of artistic creativity: pursuing the realization of beauty, and implementing concepts. While the two are equal, they differ in practical application and produce distinct life cycles. As a result, modern artists fall into two major camps: young geniuses and old masters. And as evidenced by his life and art, Chen Houei-Kuen (1907-2011), born exactly 110 years ago, was clearly part of the latter.

I was thinking back about “Late 95” (Daqi Jiuwu), the retrospective exhibition organized at Taichung County Cultural Center for the late Taiwanese art master Chen Houei-Kuen, soon after he passed away. It’s hard to believe that it was 16 years ago. I recall seeing Chen’s work among the major paintings, bearing a comment in which he referred to himself as a “late maturer.” As a man who would one day become highly respected, he had already come to this realization, and lifelong dedication produced lasting achievements. Professor Ni Tsai-Chin, a distinguished art critic praised his amazing perseverance: “Only an artist with great self-awareness and confidence could be so sure of himself.”

At the time, Professor Ni was appointed to compose the official biography for the winner of the National Culture and Arts Award, entitled Wisdom of the Universe – The Artistic Thought of Chen Houei-Kuen. Ni publicly admitted feeling uncomfortable about the task of researching Chen. He felt that while the enthusiasm for the past generation of artists has faded, it would be difficult to compare (based on seniority or number of awards won) Chen with Taiwanese artists of the colonial period, including Huang Tu-Shui, Chen Cheng-po, Chen Chih-Chi, Chen Chin, Lin Yu-Shan, Liao Chi-Chun, Li Mei-Shu, Yang San-Lang, Lee Shih-Chiao, and Kuo Hsueh-Hu. It would be particularly difficult to merge his unique style and personal artistic accomplishments into the trend of Taiwanese art history. As Professor Ni continued to understand the life of Chen, his amazement grew and he felt ashamed, wondering how such a unique, outstanding artist could have been overlooked.

Fate determines our innate talents, fortune in life, career success, and lifespan, so there is no need to struggle against it. Chen’s life journey and artistic achievements represented this philosophy. Old age does not necessarily lead to virtue or greater skill, yet Chen was a prodigy.

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Chen was born in Longjing, which was once Shuilishe, settled by the Papora tribe of the ancient kingdom of Camacht. This area was once home to Chinese, Fujian, and Hakka immigrants, and indigenous people. When Chen was born, the town had just been renamed from Qietou Village. During the previous era, it had been part of Taichung Prefecture, Dajia District, Dadu District, Shalu Subprefecture.

This shows how growing up in an ethnically diverse community helped him develop the ability to understand and appreciate the variety of cultures.

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Longevity is a rare blessing ; living life to the fullest even more so. And while a human life may last a century, the opportunity to find a patron or superior appreciative of one’s abilities may only come once. Chen Houei-Kuen lived to the age of 104, and those who did not know him might believe he endured extraordinary hardship. But from his perspective, 104 years was a short time, if it was spent with boundless creativity and tireless effort, culminating in great experience and maturation. No wonder this centenarian would often grasp a brush,

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Chen’s artistic inspiration started with home education. He and his father Chen Ching-Wen learned the basics from Mustard Seed Garden, an ancient Chinese painting manual published in Shanghai during the late 1800’s, and fell in love with art. After several years, he decided to further focus on his craft by studying abroad in Japan. This represented uncharted territory, but he courageously accepted the challenge. He worked as a teacher to provide financial assistance for his family, but did not permanently limit himself to this position. He and his co-worker Pu Hsin-Yu studied together and learned from each other. He also traveled the land in search of landscapes to paint. His daughter studied abroad during the 1960’s. This spirit of tireless learning preserved his energy into old age, and despite old age he maintained his lifelong creativity.

A Lifelong Passion for Art - Thoughts on the Memorial Exhibition for the 110th Anniversary of Chen Houei-Kuen’s Birth

Carefully examining Chen’s life and times is like reflecting on the history of modern Taiwan, from the Qing dynasty to the colonial era to the Republic of China, and the end of the one-party political system. As one generation succeeds the next, the transition is not always smooth. The process of change is gradual, and does not always come peacefully. Nevertheless, as we examine the past, and how Chen lived through unimaginable political, economic, and cultural turmoil, it becomes clear why he would often be filled with hesitation and indecision, develop in multiple directions, and spend half a lifetime and century before finally discovering his unique and authentic self, expression, and style.

wishing he still had the energy to produce one more painting. According to my understanding, his health condition forced him to retire in 1997, after completing Chinese Bellflower, a painting in the style of Van Gogh (1853-1890).

Chen has forged his own, mostly solitary, path through life. His paintings combine elements of Chinese, Western, Japanese, and Taiwanese culture, and he possesses a passion for Japanese painting, Chinese ink painting, and various Western techniques. By the age of 70, he had developed a personal style, and as he grew older it reached perfection, displaying uniqueness and radiant color.

He achieved a high level of education, taught students, followed a regular schedule, and worked tirelessly painting the events of his life. While his early years were full of setbacks and misfortune, including the loss of his father, he eventually achieved success, and passed away at the venerable age of 104, having enjoyed a long, full life and finally been recognized for artistic greatness.

According to Chen You-Chiou, his second daughter, he never regretted devoting his life to the pursuit of artistic “truth, goodness, and beauty.” Li Wen, a close friend of Chen and his wife Chuang Kin-Chi, closely observed his life and interviewed Chen and his friends and family. In The Gilded Century, Li summarized his life as constantly revolving around self-cultivation and “wishing to paint, painting, and figuring out how to paint.”

Chen spent his life exploring the theme of Tamsui’s Downhill Roads and worked on it for most of the latter part of his life before completing the eight-part series.

Closer analysis reveals these paintings were exploring the various experiences of life.

Reflecting on the lonely road traveled throughout the past, the picture depicts every stage of human life, again telling of different words and contexts, relating heartfelt feelings.

The fixation on trying to prove one’s self is comparable to Claude Monet (18401926), who faced Rouen Cathedral at night and day for several years in order to complete a masterpiece of over 30 works, or Vincent van Gogh, who closely inspected his facial changes in order to create over thirty self-portraits. Chen Houei-Kuen tirelessly studied painting countless times to understand it fully from every angle.

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Chen’s forward-crawling nature of “confusion and mixture” is closer to thoroughlyexamined logical thinking and self-demands of Paul Cézanne (1839-1906) than Frida and the burning passion of young geniuses. Cezanne’s very last masterpiece, Les Grandes Baigneuses (1898-1905), brought his work to completion, perfectly representing the way he grew even more talented, mature, and energetic late in life.

Chen Houei-Kuen also matured gradually, but fortunately enjoyed good fortune and participated in many exhibitions late in life. While alive, he won the National Cultural Award and National Culture and Arts Award, and fame followed merit.

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According to a passage from the Book of Liang, Biography of Wang Yun: “My love of reading began at an early age and only grew over time. I took notes on everything, even the books I never finished. I would reread and reflect on the meaning, deepening my interest. This ultimately shaped my habits and character to the point that I could write at length without growing fatigued.” This is an excellent description of the way Chen dedicated his life to art and the endless pursuit of knowledge. Art is a deep field and lengthy journey, and the influence of Chen’s work lives on after death.

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Just like how green pines reflect spring, we must increase and draw apart landscape depth and space-time in order to reach a natural, comprehensive understanding of Chen’s extraordinary artistic achievements and significant stature in the history of modern Taiwanese art.

A Lifelong Passion for Art - Thoughts on the Memorial Exhibition for the 110th Anniversary of Chen Houei-Kuen’s Birth

Among famous Chinese painters, he is comparable to Huang Bin-Hong (18651955), who spent the most of his life emulating ancient landscape painting. By the age of 60, Huang’s paintings finally began to shine, though he humbly maintained them to be “inferior to his calligraphy.” Another comparable painter would be Yu Cheng-Yao (1898-1993), who reached the age of 53 before being able to support himself by painting. By the age of 60, he had established a reputation, and at over 80, he taught the difficult art of Nanguan music to Chen Mei-Er, his adopted daughter. This led to the foundation of Hantang Yuefu, a music and dance company. Chen Houei-Kuen did not reach the peak of his skill until his fifties, his best works were produced in the decades thereafter. He did not gain public attention until 1986, the Taipei Fine Arts Museum’s organized the 80th Retrospective Exhibition.

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11

12

故鄉龍井 ｜ My Hometown Lung-Ching

自畫像 ｜ Self-Portrait

能高瀑布 ｜ Neng-kao Waterfall

油彩畫布 Oil on canvas

油彩畫布 Oil on canvas

膠彩絹布 Glue-pigment on silk

14

16

17

烏來瀑布—原稿 ｜ Wulai Falls

公館農舍 ｜ Farm Houses at Kun-kuan

中央尖山 ｜ Pointed Mountains

膠彩紙本 Glue-pigment on paper

膠彩紙本 Glue-pigment on paper

膠彩紙本 Glue-pigment on paper

58.5×43.4cm ｜ 1928

176.2×94.1cm ｜ 1951

91×65cm ｜ 1932

59.5×74cm ｜ 1956

100

179.2×71.9cm ｜ 1951

60.2×73cm ｜ 1958

圖 錄 Catalog

18

19

20

太魯閣 ｜ Tailugeh

翠峰（一） ｜ Mountains (I)

淡江觀音山 ｜ Kuan-yin Mountain, Tan-Chiang

膠彩紙本 Glue-pigment on paper

膠彩紙本 Glue-pigment on paper

油彩畫布 Oil on canvas

24

25

26

南港郊外 ｜ Nan-kang Countryside

汐止郊外 ｜ His-chih Countryside

松山郊外 ｜ Songshan Countryside

膠彩紙本 Glue-pigment on paper

膠彩紙本 Glue-pigment on paper

膠彩紙本 Glue-pigment on paper

73×58.5cm ｜ 1959

45.2×59.5cm ｜ 1964

61×73cm ｜ 1960

49.7×60cm ｜ 1964

101

91×116cm ｜ 1963

37×44.5cm ｜ 1964

27

28

29

松山郊外（一） ｜ Songshan Countryside (I)

松山郊外（三） ｜ Sung-shan Countryside (III)

大直郊外 ｜ Ta-chih Countryside

膠彩紙本 Glue-pigment on paper

膠彩紙本 Glue-pigment on paper

膠彩紙本 Glue-pigment on paper

30

32

33

六張犁田園 ｜ Liu-chang-li Countryside

淡水風景 ｜ Landscape of Tamsui

松山風景 ｜ Landscape of Songshan

膠彩紙本 Glue-pigment on paper

油彩畫布 Oil on canvas

油彩畫布 Oil on canvas

45×53.8cm ｜ 1964

137.1×69.2cm ｜ 1964

44×53cm ｜ 1964

65.7×80.7cm ｜ 1964

102

45×54.3cm ｜ 1964

61×72.3cm ｜ 1964

圖 錄 Catalog

34

35

36

瑞濱海邊 ｜ Ruibin Seascape

野柳海邊 ｜ Yehliu Coast

松山橋 ｜ Songshan Bridge

油彩畫布 Oil on canvas

油彩畫布 Oil on canvas

油彩畫布 Oil on canvas

38

42

43

淡水觀音山 ｜ Kuan-yin Mt. in Tam-sui

九份水濂洞 ｜ Cave of Water Curtain, Jiufen

大直燒磚窯 ｜ Kiln in Dazhi

膠彩紙本 Glue-pigment on paper

油彩畫布 Oil on canvas

油彩畫布 Oil on canvas

61×73cm ｜ 1965

96.4×181cm ｜ 1966

72.5×60.5cm ｜ 1965

50×60cm ｜ 1966

103

46×55cm ｜ 1965

61×72.4cm ｜ 1966

44

46

47

九份看瑞芳海濱 ｜ View of Chifen from Chin-fen

祝山看玉山遠景 The Distant View of Jade Mountain from Mount Chu

淡水近郊 ｜ Tamsui Suburbs

油彩畫布 Oil on canvas

50×61cm ｜ 1976

48

50

52

十分瀑布（一） ｜ Shihfen Falls (I)

碧潭微波 ｜ Ripples in Pitan

野柳風景（三） ｜ Landscape of Yehliou (III)

膠彩紙本 Glue-pigment on paper

膠彩紙本 Glue-pigment on paper

膠彩紙本 Glue-pigment on paper

膠彩紙本 Glue-pigment on paper 91.7×133.4cm ｜ 1967

油彩畫布 Oil on canvas

60.7×73cm ｜ 1972

128.9×183.7cm ｜ 1976

184.4×95.2cm ｜ 1977

104

124.1×184cm ｜ 1978

圖 錄 Catalog

54

56

58

文武閣倒影 ｜ Wenwuge Reflections

文武閣塔影 ｜ Reflection of Wenwu Tower

谷關龍谷瀑布 ｜ Ku-Kuan Falls

油彩畫布 Oil on canvas

膠彩紙本 Glue-pigment on paper

膠彩紙本 Glue-pigment on paper

60

61

62

遠眺總統府 ｜ Overlooking the Office of the President

故鄉龍井竹坑 ｜ Lung-ching Chu-keng

大直基隆河畔 ｜ Chi-lung Riverbanks at Ta-chih

油彩畫布 Oil on canvas

油彩畫布 Oil on canvas

油彩畫布 Oil on canvas

60×72cm ｜ 1979

91×116.7cm ｜ 1983

178.5×96cm ｜ 1979

80.5×100cm ｜ 1985

105

187.1×95.6cm ｜ 1980

53.5×65.5cm ｜ 1987

63

64

65

左營龍虎塔 ｜ Dragon and Tiger Pagodas

美濃中正湖 ｜ Chung-cheng Lake at Mei-nung

金山群峰 ｜ Jinshan Mountain Peaks

油彩畫布 Oil on canvas

油彩畫布 Oil on canvas

油彩畫布 Oil on canvas

66

67

68

故宮至善園 ｜ Zhishan Garden

翠峰（三） ｜ Mountains (III)

觀音山（二） ｜ Kuayinshan (II)

膠彩紙本 Glue-pigment on paper

膠彩紙本 Glue-pigment on paper

油彩畫布 Oil on canvas

60.5×72.5cm ｜ 1987

137.5×69cm ｜ 1987

72.5×91cm ｜ 1987

140×68.9cm ｜ 1988

106

50.3×60.5cm ｜ 1987

89×130cm ｜ 1988

圖 錄 Catalog

72

73

74

淡水下坡路（二） ｜ Landscape of Tamsui (II)

松山郊外 ｜ Songshan Countryside

野柳漁村 ｜ Seaside Village, Yeh-Liu

膠彩紙本 Glue-pigment on paper

膠彩紙本 Glue-pigment on paper

膠彩紙本 Glue-pigment on paper

76

78

80

野柳 ｜ Yehliu

觀音山 ｜ Mount Guanyin

台北二二八公園 ｜ 228 Peace Memorial Park

油彩畫布 Oil on canvas

膠彩紙本 Glue-pigment on paper

油彩畫布 Oil on canvas

72×60.9cm ｜ 1989

97×130cm ｜ 1992

45×54cm ｜ 1991

44.5×53.6cm ｜ 1995

107

45.2×54cm ｜ 1992

61×73cm ｜ 1996

Executive Director

發行人

Director

總經理

出版者

Publisher 策劃編輯

Editor

Designer

設 計

Printing

印 刷

Yu Yen-Liang

余彥良

Claudia Chen

陳菁螢

尊彩國際藝術有限公司

Liang Gallery Co., Ltd. 修天容、陳映芃、楊旻軒

Daisy Shiou, Chen Ying-Peng , Cindy Yang

Liu Ming-Wei

劉銘維

Jih-Tung Art Printing Co., Ltd.

日動藝術印刷有限公司

月 4 初版

First Edition, April, 2017

2 0 1年 7 Publishing Date

978-986-94070-1-4

出 版

ISBN