《春山雲靄》
Floating clouds in spring 

何永祥 ——《春山雲靄》 

 

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。 

 

《春山雲靄》闡釋： 

 

這幅畫作為《春山雲靄》，屬寫實風格的作品，取材為在春天雲霧的彌漫下，春雨後山峰朦朦朧朧的景象。畫中的群峰雄偉峭拔、高聳入雲，景象卻奇幻朦朧﹑變化萬千，使山景更添神秘，引人入勝。 

 

何先生筆下的《春山雲靄》表現出一種虛無飄渺的感覺。畫中明顯地看到何先生結合了渲染與烘托兩種用色技巧來寫這幅畫。渲染方面，畫中部分山尖濃墨重彩，襯托出山峰的景象，形成山峰陰陽向背的效果，增加了畫的質感與立體感；烘托方面，可以看到何老師把畫中中後方山峰的輪廓運用淡墨及淡彩加以點染，使山峰的景象更鮮明突出。除了用色技巧外，何先生在畫中亦運用了中國山水畫中常用的散點透視。通過畫中對山景的描繪，可以看到何先生寫畫時是在不固定的位置觀察景物，把仰視、俯視、平視、遠觀與近觀完美地結合在一起。突顯山後的朦朧山色，也突顯近處的流動雲團，境界高遠，遼闊千里。 

 

畫中的雲霧與山同齊，山峰傲然，遺世獨立；雲霧縹緲，似有還無。一剛一柔，一虛一實，形成了剛柔並濟的山水美景。 

​

​

Ho Wing Cheong — “Floating Clouds in Spring” 

 

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 “Floating Clouds in Spring”: 

 

Floating Clouds in Spring is a realistic style painting, which is based on the hazy scene of the mountain peaks after the spring rain, under the diffuse clouds in spring. The peaks in the painting highlight the majesty and craggy of the mountains, which Mr. Ho expresses in a fantastical, hazy, and changing scene, adding a sense of mystery to the mountain scene, just like putting on a veil to hide the stunning face of the mountains. 

 

From Mr. Ho’s brushstroke, the work shows a sense of emptiness. The painting clearly shows that Mr. Ho combined two-color techniques to paint this painting: diffusion and foiling. In terms of diffusion, some of the peaks are heavily inked to set off the view of the peaks, creating the effect of the peaks facing backward and forwards of the shading, adding to the texture and three-dimensionality of the painting. In terms of foiling, it is easy to see that Mr. Ho has used light ink and light color to foil the contours of the peaks in the middle and back of the painting, making the peaks more distinct and prominent. Mr. Ho uses these two-color techniques can create an illusionary effect in his paintings. In addition to his color technique, Mr. Ho also utilizes the cavalier perspective, commonly used in Chinese landscape painting. Through the depiction of the mountain scenes, we can see that Mr. Ho observes the scenes from an irregular position when he is painting, which perfectly combines viewing above, below, and at eye-level, and the view of far and close. In this way, the hazy colors of the mountains behind him are highlighted and the flowing clouds in the near distance, which expresses the vast realm of a thousand miles at a distance. 

 

The artistic conception in the painting emphasizes the scene of the clouds and the mountains together. The mountain peaks stand proudly from an all-embraced view, fully showing its monumental and grandeur. The combination of the soft clouds and stiff peak creates a magnificent landscape.