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關山飛瀑 Waterfall of Guanshan 款識：關山止於南橫已遠，最高處海拔三千餘公尺，有南臺首嶽之稱，其瘦稜巖脊，密生箭竹，丙辰春余曾偕友漫遊，時近向晚，霧起雲封，置身其中，東西莫辨，沿途而行，未幾山風吹拂，煙飄霧蕩，適成閒雲，有腳樹高低之景，斜陽透射，但見白練耀眼，流泉激石，遠聞其聲，如夜雨打蓬。辛酉長夏，畫關山飛瀑於笛音凝室，李義弘并識。 鈐印：李義弘印（白文）、在川（朱文） Signed Lee Yih-hong in Chinese With two seals of the artist "自1960年代,李義弘先後受當時的現代水墨運動先驅之一傅狷夫及江兆申影響,積極於探討現代水墨及文人畫的革新,加上對攝影藝術的興趣,令李義弘更廣泛地從構圖、佈局、筆墨、光影及透視,分析並在1980年的一幅畫作裡寫下個人的看法:「寫生僅得其外貌而不能立意其中;臨古得其筆墨運用而不能心手相貫。寫生與臨古皆習作之階段,進而棄寫生而登臨山林之間體會自然,則筆底之變化足矣!識者以為否?」在李義弘的心目中,「體會山林」才能讓現代水墨藝術昇華,表達胸懷逸氣,寄情山水更是水墨藝術的精華所在。 此幅《關山飛瀑》正反映此創作理念。畫中題識先提到藝術家與友人數年前遊歷「南台首岳」關山,敘述看見瀑布的畫面及體會。從自然探索,過程中的驚喜,凝神觀賞,數年後再慢慢回味,最後繪於紙上,正是「體會山林」和寄情山水的精粹。此幅通幅垂直的構圖突顯關山與瀑布的雄渾壯偉。山勢先輕鉤輪廓,再以層疊錯綜的皴點突顯山壁的紋理與明暗的反差。瀑布隨著斜陡的山勢直流而下,呼應題識「但見白練耀眼,流泉激石,遠聞其聲,如夜雨打蓬」,音效與畫面同步上映,讓觀者彷若置身現場。瀑布兩旁山林蔥鬱,右旁的山路隱約而見。李義弘曾引用奚岡對於佈局的理論:「山無石則無脈絡,石無山則無包含。」山路既是畫面的點綴,更是視覺的引導,鋪排畫面故事的情節,帶領觀者同遊山林奇景。山路上登山者駐足欣賞山景,討論瀑布的美,呼應藝術家的題識,讓觀者代入登山者的心情,並為畫面添上動感趣味。透過題識與畫面的配合,形似與寄情的平衡,《關山飛瀑》不單表達一段爬山經歷,更與觀者同遊,令觀者體會藝術家所看的山林。" Since 1960, under the influence of two teachers, Fu Chuan-fu and Chiang Chao-shen, the boundaries of modern ink and literati paintings have been scrutinized. His other interest in photography allowed Lee Yih-hong to extensively evaluate art from its structure, composition, ink, light and shadow and perspectives. His manifesto in 1980 compared observation to following old masters landscape paintings, and highlighted that the actual emotional experience of an artist is more crucial to ink art creations. This painting demonstrates such philosophy of the artist. A memory of hiking experience and the delight of his encounter with a waterfall of Guanshan were first described in the inscription of the painting. The subjects were then depicted in their majestic forms on paper. Lofty mountains with carved cliffs were depicted with a light outline, followed by intersecting cun and dots. The grandiosity of the waterfall echoes with the description, "A white gleam of water falls through the rocks. Its sound could be heard from afar as a heavy shower of rain in the night." The visual element vividly demonstrated in sync with its sound. Dense forest encroached on the sides hiding a hiking trail on the right. The artist once quoted Xi Gang's theory on composition, that rocks and hills are two subjects intermingling to form a storyline. The hiking trail leads the eye towards the group of hikers, who were astounded by the grandiosity of the waterfall. This echoes with the inscription and lets the viewers explore the feeling of the artist, thereby balancing the emotional feature of an ink landscape painting.