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高山植物 ,水彩 紙本 34.6×51.5 cm ; Alpine plants , Water Colour on paper |
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丸山晚霞 Maruyama Banka
日本 1867-1942
1867年出身於日本長野縣，1884年赴東京本多錦吉郎的畫塾學習油畫，而後結識水彩畫家吉田博，開始對水彩畫產生興趣。1906年與大下藤次郎等人於東京創立水彩畫講習所，進而於1913年擴大成為日本水彩畫會。
自明治以來，日本接受從西洋傳來的水彩畫，在二十世紀初大為普及，丸山晚霞即是在水彩畫興起的時代中崛起的畫家之一，喜愛畫山岳，也常描繪家鄉與日本各地的自然風景。《霧中晴爽的高原》即是一例。一條小徑向畫面深處延伸，左側低矮的花群草叢與右方圍籬相對映，中景是花草叢生的植被，向後則是一片樹叢，再以朦朧高山構成遠景。以藍色為主的冷色調籠罩全幅，藉重複堆疊的筆觸可感受顏料之透明度，如前方花草，鋪疊多層卻不顯濃重，反而呈現帶有水分的透明感，營造出乾淨晴爽的氛圍，又畫面朦朧，除了籬笆之外沒有具體的輪廓，風景似在霧中。
1917年丸山晚霞與河合新藏（Kawai Shinzou, 1867-1936）旅行朝鮮半島，在金剛山停留兩個多月。1923年以救濟關東大地震受災者為目的，到中國、東南亞、印度旅行，並與弟子關晴風（Seki Seifu1888-1957）於小諸玄江院製作「釋迦八雙圖」慰靈。在前往西馬拉雅山寫生後，丸山對石楠花情有獨鍾。（圖三）1931丸山晚霞訪台，在嘉義、台中舉辦展覽。1934年二度訪台，遊歷東部花蓮太魯閣、西部臺南嘉義、中部日月潭等地，留下不少畫作與評論。
Japanese 1867-1942
He was born in Nagano Prefecture, Japan in 1867. In 1884, he went to Tokyo Honda Nishikichiro\'s painting school to study oil painting. Then he met the watercolor painter Hiroshi Yoshida and began to become interested in watercolor painting. In 1906, he founded a watercolor painting workshop in Tokyo with Oshita Tojiro and others, which expanded into the Japan Watercolor Society in 1913.
Since the Meiji era, Japan has accepted watercolor paintings from the West, which became widely popular in the early 20th century. Maruyama Wanxia was one of the painters who emerged during the era of watercolor painting. He loved painting mountains and often painted his hometown and various parts of Japan. natural scenery. \"The Clear Plateau in the Mist\" is an example. A small path extends deep into the picture, with low flowers and grass on the left contrasting with the fence on the right. In the middle ground is vegetation with flowers and grass, and behind is a bush, and then the hazy mountains form a distant view. The cold tones, mainly blue, cover the entire painting. The transparency of the paint can be felt through the repeated stacking of brush strokes, such as the flowers and plants in the front. Multiple layers are laid out but it does not appear dense. Instead, it presents a transparent feeling with moisture, creating a clean and refreshing atmosphere. The atmosphere and the picture are hazy, with no specific outline except for the fence, and the scenery seems to be in fog.
In 1917, Maruyama Wanxia and Kawai Shinzou (1867-1936) traveled to the Korean Peninsula and stayed at Mount Kumgang for more than two months. In 1923, with the purpose of relieving victims of the Great Kanto Earthquake, he traveled to China, Southeast Asia, and India, and together with his disciple Seki Seifu (1888-1957), he made the \"Eight Double Pictures of Sakyamuni\" at Komoro Genjie-in Temple to comfort the souls. After traveling to the Himalayas to sketch, Maruyama fell in love with heather. (Picture 3) Maruyama Wanxia visited Taiwan in 1931 and held exhibitions in Chiayi and Taichung. In 1934, he visited Taiwan for the second time and visited places such as Taroko in Hualien in the east, Chiayi in Tainan in the west, and Sun Moon Lake in the center, leaving behind many paintings and comments. |
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