侯吉諒部落格

文學畫家侯吉諒
文／何懷碩(畫家，台北藝術大學美術系及研究所教授）

文學與繪畫極密切的關係，是中國獨特的傳統。

以詩意作圖畫的內涵，啟發創作的靈感；或者在圖畫中題詩文，成為圖文兼美的藝術形式，這是世界藝術史中，中國獨有的特色。 中國文化以文字為重心，一切的學問、知識、學術、思想，若不是融合於文學，便是用文字的方法來表達。

所以國畫若要「飽含意義」，非以文字為靈魂不可。借文學來充實圖畫的內涵，也借文學來提升圖畫的格局境界。 因為偏重意義、內涵，所以中國繪畫不可能遠離人生與人的價值觀念。亦因此造成中國藝術鮮明的人文主義特色。中國文學緊緊擁抱繪畫，或繪畫亦步亦趨追隨文學，所以「書畫一體」。 從文學創作跨入中國書畫篆刻的侯吉諒，繼承了中國文人畫的傳統。

古人說詩、書、畫是為「三絕」，加上明朝以後文人畫家自刻印章，便成為「四絕」。侯吉諒以「四絕」加上文學創作，應該稱為「五絕侯吉諒」。

當代文人畫家同儕中，能寫文章出書者不多，侯吉諒有詩文的造詣，原不成問題，反倒應稱道才是，文學家而能書畫篆刻，更不可多得。江門弟子中文采斐然者侯吉諒也。

侯吉諒有文字的修養，要在書畫藝術上更上層樓，實在有一般畫家所不容易有的優勢。我覺得台灣當代對西方繪畫有基礎的畫人，往往忽視中國書畫藝術的學習；而浸淫中國書畫的則欠缺外國（當然以西方為主）藝術養分的吸收，這是開拓現代中國美術（包括繪畫、書法等本土傳統藝術的創新與外來美術的本土化）所以艱難的原因。

就水墨畫來說，大風堂、白雲堂、寒玉堂與靈漚館去古未遠，留下了傳統的示範，接下來的晚一輩，該是展現新時空條件下當代本土的創造。侯吉諒既曾入「江派」，當以文字的素養與新藝術思想的探求為憑藉來超越「江派」，塑造獨特的、有「時代面貌」的風格。我想，這才能更新江派的香火，也是對他敬愛的恩師最好的報答。

by Ho Huai-shuo(何懷碩), painter, professor,
Fine Arts University, Taipei

Translated by Hu Pin-ching(胡品清), Patricia,
trilingual writer,
professor of French literature,
Chinese Culture University, Taipei, Taiwan

The intimate relation between painting and literature is a tradition peculiar to China. In the world history of arts, the characteristic of Chinese painting lies in the fact that poetry is the inspiration and contents of painting while a painting illustrated by a poem or prose endows painting with a double beauty.

Language is the center of gravity of Chinese culture. Learning, knowledge, erudition and thinking, if not merged in language, are expressed by words. Thus Chinese painters turn to literature to enrich the contents of painting and elevate the latter to a higher level.

As emphasis is laid upon the signification and connotations of painting, the latter should not keep aloof from the value of men and of life. Therefore, Chinese painting is characterized by humanism. Consequently, Chinese painting and literature are linked together to become one.

Hou.jiliang who starts from literary creation to specialise in calligraphy, painting, engraving seal characters continues the tradition of men of letters’ painting. The ancients call poetry, painting and calligraphy “Three unsurpassed skills”. After the Ming dynasty, those who are versed in the men of letters’ painting engraved seal characters themselves and the three unsurpassed skills became four. As to Hou.jiliang, he adds to the four skills that of literary creation and deserves the title “Master of five unsurpassed skills”. Among the contemporary painters, those who excel in writings are rare. Still rare are the writers who know how to paint and engrave seal characters. With his rich literary culture, it would be easy for Hou.jiliang to deepen his art in the field of painting and calligraphy. In my opinion, the contemporary Taiwanese painters well versed in western painting neglect the studying of Chinese painting and calligraphy while those who indulge in Chinese painting and calligraphy refuse western artistic aliments, which explains the difficulties encountered in the development of modern Chinese art (including the renovation of painting, of calligraphy, and the assimilation of foreign art.)

Concerning the Chinese ink painting, the Da Fong Hall, the Pai Yün Hall and the Ling Ou Gallery have left ancient models. The coming generation should envisage native creation under new spatial temporal conditions.

As a disciple of the Chiang School, Hou.jiliang should rest on his literary creation and his new artistic thinking to surpass the Chiang School and create an original style having “l’air du temps.”

In my opinion, it is in this manner that he can assure the continuance of the Chiang School and repay the kindness of his Master.

端午節整理詩稿，想起去年寫的〈春雨〉，一直沒有心情寫起來，於是好筆好墨好紙，一書而就。

53*60cm。






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