《山月照歸帆》
Homing sail under the moonlight  

何永祥 ——《山月照歸帆》 

 

何永祥生平： 

 

何永祥（1949 - ），生於香港。早歲跟隨潘德修先生學習國畫，後從嶺南畫派大師趙少昂先生門下深詣，遂為嶺南畫派第三代門人。何先生作畫題材多元，擅於山水花鳥，魚蟲走獸等；其筆下的作品豪邁卻不失秀雅。何先生曾於1982年參與全臺灣青年國畫大展，其大作《御苑丹青》芙蓉花鳥畫，更獲得國立臺灣歷史博物館頒發優質作品奬狀，殊榮迭至。此外，何先生在數十年來，多次舉辦個展及受邀參加海內外的邀請展，碩果累累，成就非凡。何先生現為香港嶺南大學駐校水墨畫導師，並創辦逸峰書畫院，作育英才無數，可謂桃李滿天下。 

 

《山月照歸帆》闡釋： 

 

這幅畫作為《山月照歸帆》，平和簡淨、自然天成，主要由夜月、山、水以及一艘正趕著歸來的帆船組成。配合何先生的用色技巧來看，傍晚的天空與山水皆以不同深淺濃淡的石青色為主調，石青顏色自然柔和，高貴華麗，更能突顯山體的大氣磅礴與質感分明；山尖則運用濃墨描繪，形成墨中有色，色中有墨的效果，通過墨與色之間微妙的變化，豐富了畫面的效果，提高畫作的感染力。除了石青與濃墨兩種色彩搭配外，亦能看到何先生在山峰、房屋與舟船上運用了淡赭石色作輔色修飾，赭石色有調和他色之用，在淡彩的山水畫中，作為點綴的作用，用作表示夕陽返照下山峰的色彩。 

 

畫幅的款識中寫下了「山月照歸帆，辛未年春日，永祥於九龍急就。」配合畫作景色來看，一艘帆船正趕在夜幕降臨之際歸去。何先生看到此番景象後，便落筆率心，直抒胸臆，乾淨俐落地寫下了這幅畫作，與歸來的帆船互相呼應，是謂「急就」。 

 

這幅作品結合了傳統中國畫與日本畫的繪畫技巧，畫中呈藍色的月亮是運用了反白的效果，是一種傳統中國畫的技巧；而透過顏色來留白的技巧則源於日本畫。嶺南畫派「折衷中外，融會古今」之宗由此可見一斑。 

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Ho Wing Cheong — “Homing Sail under the Moonlight” 

 

Ho Wing Cheong’s Bio: 

 

Ho Wing Cheong (1949 - ), native Hong Kong. He started studying traditional Chinese painting under Mr. Pan Dexiu since childhood, and later under Mr. Zhao Shaoan, is a renowned third-generation painter of the Lingnan School. His artworks have covered many subjects, such as landscape, bird-and-flower, insects, animals, and fishes; his painting style is bold and elegant. Mr. Ho participated in a Taiwan painting exhibition in 1982; his masterpiece “Color of the Imperial Garden” was awarded by the National Museum of Taiwan History with an excellent certificate. In addition, over the past few decades, Mr. Ho has held numerous solo exhibitions and has been invited to participate in many exhibitions both at domestic and overseas. It can be said that he has a lot of fruitful achievements in his art. Mr. Ho is currently teaching Chinese Painting at the Lingnan University of Hong Kong and founded the Glorious Peaks Arts Academy, which has taught several students. 

 

The Interpretation of Homing Sail under the Moonlight”: 

 

Homing Sail under the Moonlight is a calm and straightforward painting. The composition of the painting consists mainly of the moon, mountains, river, and a sailboat on its way back. In line with Mr. Ho’s color uses, different shades of azurite dominate the evening sky and the landscape. Azurite is a color that is natural and soft, which can highlight the majestic and distinctive texture of the mountain; the peaks are depicted with thick ink; through the subtle changes between ink and color, the effect of the picture is enriched, and the infectiousness of the painting is enhanced. In addition to the two-color combinations of azurite and dark ink, we can also see that Mr. Ho has used light reddish brown as a complementary color for the mountains, houses, and sailboat. Reddish-brown is used to harmonize other colors and is used as an embellish in light-colored landscapes to represent the colors of the mountains at sunset. Mr. Ho’s composition and coloring reflect each other, resulting in a painting with both style and sentiment. 

 

The painting’s inscription reads: “Homing Sail under the Moonlight, in the spring of the year Xinwei, Wing Cheong was in a hurry painting in Kowloon.” The view of the painting shows a sailboat returning just in time for nightfall. After seeing this scene, Mr. Ho straightforwardly wrote the painting without much arrangement, echoing the returning sailboat, so to speak “in a hurry painting”. 

 

This artwork combines the techniques of traditional Chinese painting and Japanese painting, in which the blue moon is painted by leaving the color blank, which is a traditional Chinese painting technique. However, the traditional Chinese painting does not use color for leaving the color blank, but only the ink; the method of using color for leaving the color blank is derived from Japanese painting. This reflects Mr. Ho’s inheritance to the main idea of the Lingnan School of painting, which has always been “eclecticism between East and West, and bridging the past and the present”.