山水真如、氣韻生動─曾得標的膠彩世界

中正紀念堂真情登場

「山水真如─曾得標任運膠彩畫邀請展」將於12月12日在文化部所屬國立中正紀念堂管理處1展廳開展；開幕式於12月13日上午10時30分舉行，歡迎愛好藝文人士及媒體朋友一同參與這場藝壇盛會。

 主辦單位中正紀念堂管理處表示，曾得標老師是促使膠彩創作在台灣的穩定發展的重要推手，本次完整展出曾老師歷年來精采創作共165件，從他的創作，可以欣賞、感受到藝術家表達山水真如、膠彩色澤變幻萬千、氣韻生動之境界，更讓人看到臺灣膠彩未來創新方向及多樣變化的發展能量。

 本展主要區分為兩系列，第1區「山采真性」系列，是曾老師在1962年至1973年間，以本土大地土黃色調進行突破創新，展現綠色山采融入金碧山水的精粹，遊藝於山水真性風華，例如「玉山情懷」三連屏、「靈山傳奇」十連幅長卷，呈現臺灣山水風情面貌，詮釋山中由來無歲月，萬物自得其時所，以人與自然和諧共存，生生不息的韻律。繼「山采真性」系列後，曾老師2016年開始「湲水音律」系列發想，以靛藍色調為主，創作「石溪淙音」十連幅長卷，展現臺灣溪流之美，啟迪大自然圓融之道。

曾得標師承臺灣膠彩畫之父林之助教授，1960年初次參加全省美展，以作品《河邊》獲入選，經指導老師啟發及鼓勵，不斷的自我突破及創新，於1962年以作品《古壁》獲第17屆全省美展第二名、《鬥神》獲全省教員美展第二名、《廟角》獲第25屆臺陽美展臺陽礦業獎，此殊榮對當時僅20歲的青年來說實屬不易，亦影響日後膠彩畫發展，改革裱褙方式，增加膠彩畫更多的題材及畫風的多元性及可能性。

曾得標謙虛的說，因為林之助恩師、呂佛庭教授、鄭善禧教授等恩師賜下的畫訣「繪畫三寶」，才有今日的成就，「繪畫三寶」即要有畫最醜圖畫的勇氣與突破決心；尊重別人存在的氣度，謙虛不可自滿；追求美的理想，美的本質是無終點站的，這樣才能創造膠彩畫的多元及無限可能。

管理處表示，為擴大展覽效益，深化展覽內涵，展期間特別舉辦2場免費膠彩藝術講座，分別邀請學界及實務界專家，與曾得標一同精彩對談，藝術講座詳細資訊請見下方場次表；管理處希望透過畫作，感受藝術大師的謙沖樸實及對膠彩創作之追求突破的執著熱忱，更期待藉由本展，讓民眾親近、瞭解膠彩藝術，對膠彩之美與媒材特色有更多且深的認識，歡迎大家一起來為這位資深藝術家對臺灣藝術推展的耕耘與努力喝采！

【講座場次表】*參加者每人有精美小禮物一份喔*

自序

                   習藝、變革、立論、傳承                  曾得標

    街坊響起，那位路燈下苦讀囝仔，要當老師喔！1958年考進公費的省立台中師範，分組選擇美術科，很幸運美術老師有三位大師後來都是行政院文化獎的得主，林之助恩師、呂佛庭教授、鄭善禧教授，恩師傳吾膠彩畫藝、呂教授要我立論、鄭教授期許傳承膠彩畫藝，不辱師命，我都做到。

    進入台中師範念書，當年參觀第十三屆省美展於省立圖書館(今合作金庫)琳瑯滿目的作品，吸引目光，其中國畫部有三幅作品，「彩塘幻影」、「囍日」、「鏡前」更打動心坎，靠近標籤看個究竟，評審委員林之助作品，是教我美術教授，於是打定主意要向他求藝、先以學長蔡其瑞師兄為榜樣，寫生、創稿、勾勒、繪色、完成一張全開的初學作品「橡膠葉圖」，找個星期日上午到校外林老師宿舍(柳川對岸)，按了電鈴進入「竹籬笆畫室」，說明來意請教恩師膠彩畫藝，受到教誨並收為入室弟子之一，三年的時光，很快就要畢業了，當時恩師賜我「繪畫三寶」：一、要有畫最醜圖畫的勇氣與突破決心。二、尊重別人存在的氣度，謙虛不可自滿。三、追求美的理想，美的本質是無終點站的。

　　畢業後在彰化市三民國小服務，膠彩畫作雖然在校學生時代即已在中部美展得獎、全省美展入選，恩師的期望要我突破的勇氣，因此畢業隔年1962年到鹿港龍山寺，尋求老師賜我的畫訣實現，當下速寫三幅題材「古壁」木刻、戲台「廟角」、斑剝「鬥神」，應用恩師教我的美學原理。要實現畫最醜圖畫的勇氣，並突發奇想改革裱褙的方式，以油畫的規格，自行釘製三幅40P畫板，浮貼國畫用紙手工京和紙，完成三幅畫作後以成品的西畫框裝裱，參加第十七屆省美展，「古壁」得了國畫部第二獎(正統國畫才能得第一獎)；參加全省教員美展，「鬥神」得了得了國畫部第二獎；參加23屆臺陽美展，「廟角」得到臺陽礦業獎。沒想到才出道沒多久， 一個20歲的敢衝年青人秉持恩師教誨，在1962年竟能拿下官辦、民辦美展大獎，留下傳世的紀錄。為了省裱褙費的變通，竟然影響膠彩畫以後的發展，創造膠彩畫風的可能性，題材多元性，比照油畫以號計價的方式，吸引更多愛好者的興趣，有利創作人口的增進。

    跟隨老師身邊50多年，恩師耳提面命督促，不敢忘記使命，一面從事膠彩藝術教育，負起傳承推廣責任，並為膠彩立論1994年編著出版臺灣第一本《膠彩畫藝術─入門與創作》專書，有效闡述膠彩與水墨同是中國畫兩大主流，為東方繪畫發光發熱，前景更為寬廣。

    1962至1973年以本土大地土黃色調「突破創新」在官辦美展競賽中得到大獎無數之後逐漸呈現個人「建立風格」以綠色山采，承襲金碧山水的精粹，遊藝於山水真性風華，恩師極力讚賞，「臺中大觀」四連幅、「玉山情懷」三連屏以及「靈山傳奇」十連幅長卷呈現，表達臺灣山水風情等面貌，詮釋山中由來無歲月，萬物自得其時其所，以人與自然和諧共存，生生不息的韻律。

    繼山采真性系列，近期尋得湲水音律系列發想，以靛藍色調為主，創作「石溪淙音」十連幅長卷，顯示臺灣溪流之美，水中的生態非常熱鬧有情，需要有心者努力觀想發掘奧妙之處，啟迪大自然圓融之道；圓滿將山與水真如表達，膠彩色澤變幻「氣韻生動」之境界，冀望達到中國繪畫最高目標。
    此次「山水真如─曾得標任運膠彩畫展」，已準備就緒，多承恩師林之助、呂佛庭、鄭善禧文化獎大師平日教誨，更感謝國立中正紀念堂處長林進盛及管理處同仁策劃協助畫展、出刊專輯，還有無數藝術界前輩同好及親朋好友的舉薦關心指正，心懷感激，尚祈不吝批評指教，以求膠彩畫藝更精采完美。

Erudition, Revolution, Dissertation, and Concatenation : A Preface

  In a desolate neighborhood, a young boy is crouched under a streetlamp. His face is buried in a textbook, with which he is reading by the dim glow cast down from the street light. Never in a million years did he imagine that he would one day become a revered instructor and illustrious artist.

  I got into the National Taichung University of Education in 1958 and chose art as my major. By good fortune, I was blessed with three professors who would later all be recipients of the National Cultural Award: Professor Lu Fo-Ting, Professor Zheng Shan-Xi, and the teacher to whom I owe my success to, Professor Lin Chih-Chu. Professor Lin taught me the art of glue color painting, Professor Lu advised me to promulgate my perception of art, and Professor Zheng hoped that I would embrace the legacy of glue color painting and pass on the torch. In retrospect, I believe I have fulfilled my teachers’ wishes to the best of my abilities.

  In my freshman year at the Provincial Taichung Normal College (now NCTU), I visited the 13^th annual Provincial Exhibition of Fine Art at the Provincial Library. Walking among the array of spectacular artwork, many caught my eye. Three pieces of art in the traditional Chinese painting section moved me in particular, “Illusions by the Pond” (1958), “Wedding Day” (1947), and “By the Looking Glass”. Upon closer inspection, I discovered that they were all works of Professor Lin Chih-Chu. I decided right then and there that I wanted to learn his art. Thus, I took inspiration from upperclassman Tsai Chi-Ruei, and I finished an amateur painting of a rubber tree leaf to take to Professor Lin. I went to his abode early on a Sunday morning, rang the doorbell, and stepped into his atelier (known to his pupils as the “Bamboo Fence Art Studio”). I explained my purpose to learn the art of glue color painting from him, and was blessed with the privilege of becoming one of his apprentices. Three years flew by in the blink of an eye, before graduating, Professor Lin bestowed upon me three treasures that I still hold close to my heart to this day: The first being, to have the courage to paint the ugliest painting and the determination to make breakthroughs. The second, to have respect and be magnanimous. Finally, to capture the essence of beauty at its finest, but also know that beauty has no standards or limitations.

  I was assigned to became part of the faculty at Sanming Elementary School in Changhau City after graduating. Although artwork using the glue color painting medium had been shortlisted and awarded at the Central Taiwan Art Exhibition in the years that I was in school, Professor Lin put faith in me to make a breakthrough. Therefore, in 1962, I ventured to the Lukang Lung-shan Temple to fulfill my teacher’s wishes. I completed “Ancient Wall” (1962), “Corner of a Temple” (1962), and “War God” (1962), keeping Professor Lin’s words in mind. I let my inhibitions go and made “ugly” paintings. Additionally, I strayed away from the conventional way of mounting a picture. I used the specifications for oil paintings to make 40P plywood drawing boards, which I then plastered with cotton residue paper to create custom canvases. The finished pieces were then enclosed with western style picture frames and sent them off to take part in various art competitions.

“Ancient Wall” won second place in the Chinese painting division of the 17^th annual Provincial Exhibition of Fine Art. (At that time, only orthodox traditional Chinese paintings could take first prize.) In the Provincial Faculty Art Exhibition, “War God” took second place in the Chinese painting division, and “Corner of a Temple” earned the Taiyang Mining Award in the 23^rd annual Taiyang Art Exhibition. People could hardly believe that a young man only 20 years of age had won awards in local and official competitions that generally went to artists double my age. I could hardly believe it myself. Never did I imagine that my new technique for mounting paintings would later play a role in contributing to the development and popularity of the glue color painting genre.

  In the 50 years I spent by Professor Lin Chih-Chu’s side, I held his words near and dear to my heart. In addition to devoting myself to the education of glue color painting, I also took on the responsibility of promoting the art. In 1994, I published The Art of Glue Color Painting: Introduction and Creation, the first book dedicated solely to the genre.

  From 1962 to 1973, I experimented with earth tones, typically utilizing a base of ochre and cadmium orange, and was awarded with numerous prizes from official art exhibitions. Since then, I’ve shifted to greener and bluish hues that capture scenic ranges and my temperament to a greater extent. Pieces that depict the gorgeous landscapes and terranes of Taiwan include, “View of Taichung” (2005), a painting that runs across four canvases, “Yushan Mountain” (2011), and “Legends of Mountains” (2012-2013), paintings made up of three and ten canvases respectively. These works portray the tranquility and serenity found when one sinks into nature’s welcoming embrace.

  In my most recent piece, I’ve taken inspiration from the enchanting melody of gurgling streams to create “Symphony of the River”, employing a base of indigo blue. “Symphony of the River” is a piece that consists of ten canvases and illustrates both the beauty of the stream and the abundance of life supported by it. I hope to inspire harmony with nature through this piece and reach the highest standard of Chinese art.

  In conclusion, I would like to thank Professors Lu Fo-Ting, Zheng Shan-Xi, and of course, Professor Lin Chih-Chu for their earnest guidance. Moreover, I would like to express my gratitude towards Director Lin Jin-Sheng of the National Chiang Kai-shek Memorial Hall, and the personnel from the management office for making this exhibition possible and publishing this art collection album. I am also immensely grateful to my family, friends, seniors, and fellow artists for their support and constructive criticism, allowing me to enhance and refine my skills.