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                    <text>嶺南畫派創立於清末，至今已有超過120年的歷史。其誕生背景與清朝政府的腐敗和落伍有關，並由高劍父、高奇峰和陳樹人等人推動革新國畫。嶺南畫派的出現和延續至今，與其「折衷中外，融會古今」的理念密不可分。這一畫派強調繪畫的內在精神，而非僅僅模仿傳統形式。歷代嶺南畫派畫家如高劍父、高奇峰、趙少昂等，通過作品表達對社會現實的關注和對藝術的高尚追求，並在國際上推廣中華藝術文化。嶺南畫派的傳承和發展，不僅依賴前輩的努力和堅持，還有新一代弟子的推廣， 使其能夠持續蓬勃發展。</text>
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                    <text>歷史中的嶺南畫派&#13;
何永祥&#13;
嶺南大學駐校水墨畫課程高級導師&#13;
香港書畫藝術導師協會會長&#13;
&#13;
摘要: 嶺南畫派創立於清末，至今已有超過120年的歷史。其誕生背景與清朝政府的腐敗和落伍有關，並由高劍父、高奇峰和陳樹人等人推動革新國畫。嶺南畫派的出現和延續至今，與其「折衷中外，融會古今」的理念密不可分。這一畫派強調繪畫的內在精神，而非僅僅模仿傳統形式。歷代嶺南畫派畫家如高劍父、高奇峰、趙少昂等，通過作品表達對社會現實的關注和對藝術的高尚追求，並在國際上推廣中華藝術文化。嶺南畫派的傳承和發展，不僅依賴前輩的努力和堅持，還有新一代弟子的推廣，使其能夠持續蓬勃發展。&#13;
&#13;
清末，嶺南人士在嶺南地域，創立了嶺南畫派，至今已愈120年之久，可說是由古代活到現代。這段冗長的時間，已有不少學者曾發表過有關《起源與承傳》為題的文章，故此筆者今次承邀再議此題目，在這部份只作簡單介紹，不再詳述。大多數評論皆認為，嶺南畫派（革新畫派）之所以出現，皆因清朝政府的腐敗與落伍，已經走向衰微的盡頭，適逢有高劍父、高奇峰及陳樹人等著意推廣革新國畫的決心，承勢一蹴而就，其論看似非常簡單，但為何嶺南畫派的出現，當刻能夠一呼百應，並可以延續至今，愈一個世紀之多，至今依然在蓬勃發展之中？這頗有討論價值。&#13;
&#13;
從歷史的角度去了解，滿洲國尚未滅明之前，努爾哈赤稱這女真族群為「大金國」，歴史稱它為「後金」，亦即是說，他們是延續在北宋時期，佔領中原地愈百年的「前金」，後被南宋及蒙聯手所逐。一個遊牧民族佔領了有高度文明的華夏古國百年多之久，理所當然被漢人所同化，他們就帶着漢人的文化，一起退回東北之地。及後復辟，捲土重來，消滅明朝，再度獲得如此美好的江山，有如回歸故土之感，從他們歴代帝皇喜好所見，便知他們熟識及愛慕漢人文化，無論書、畫、瓷器及典籍，都珍而重之。筆者更推斷他們仍然懷緬在北宋時期的日子，今失而復得，「潛意識」重返宋代，於是仿製宋窯，包括汝、官、鈞、哥、定等皆是當時的名窯；對於古代書畫，更珍如拱碧，傳統畫士，再被提拔，故有夷山派及婁東派的四王山水，可重振旗鼓，這就解釋了清朝山水畫復古的原因了。這趨勢其實好壞參半，好的方面，是把由元朝開始失落的中華遠古文化再度整合，如編製辭典，四庫全書、佩文韻府、駢字類編等巨構，都使古典學術愛好者關注和重拾；壞的是他們過分沉溺於此，把應該向前發展的時間，反倒而行，在不知不覺中，整個世界已經趨向現代文明，無論科學、軍事、教育及藝術，已幾度革變，他們不但落後於人，更無知地把世界列強看為蠻夷，可謂愚不可及。就繪畫而言，畫士們多重覆前人舊作，已到了抱殘守缺、苦無出路的景况。&#13;
&#13;
正因如此，藝術革新的內在思潮，與政治、教育等已萌芽多時，正是人心嚮往，嶺南畫派，在歷史中要出現，所扮演的重要角色是必然產生的，也是畫壇翹首以待的，於是跟從者之眾，有勢如破竹之感。話雖如此，當下仍有很多被植根太深之畫士，極力排斥，並組織各類以傳統畫為主題的畫派抗衡，計有長安畫派、嶺東畫派、京津畫士，特別是廣東美術研究會更甚。但嶺南畫派的奠基人二高一陳，已經定下以「折衷中外，融會古今」為主張，堅持信念，積極推廣。特別一提，嶺南畫派所指的古，是指古人繪畫的內在精神，而不是傳統作品的表面形式。記得趙少昂老師曾以唐末張彥遠的《歷代名畫記》引言教導筆者，說：「夫畫者，成教化，助人倫，窮神變，測幽微，與六籍同功，四時並運。」其意是指「畫」這樣東西，能具有多種意義及功能，包括教育意義、倫理道德、信仰精神、知識層面、探索事物變化及特徵等論述，所發揮的功效，竟與「六籍」《詩》、《書》、《禮》、《易》、《樂》、《春秋》相同，這正是古人書與畫的內在精神，可見有標準的藝術是何等重要的，都與畫家本身的學養及識見有密切關係。&#13;
&#13;
追憶上世紀三十年代，高劍父先生目睹日軍空襲上海東方圖書館之慘烈情況，黯然寫成《東戰場的烈焰》和《白骨猶新國難悲》等作，道出戰爭的可怕及山河濺血的哀嘆，這是藝術作品，也是歷史的見證和記錄而永留史冊；他曾為離世的胞弟劍僧，創作了以竹絲雞為題材的作品，取足思二字的諧音，以表手足思念之情，這就是寓情於景、寓景於情的繪畫境界。高奇峰先生特意繪畫強壯的雄獅，向門人示意國民不是弱者，要醒來對抗外敵的欺凌。黃少強先生則悲天憫人，多寫反映民間疾苦，貧窮與失落的人物畫，表達當時無奈的社會景况，觀者每有唏噓之感。趙少昂先生喜歡寫蟬，多題上：「高潔聲自遠，不是藉秋風」提示品格高尚的重要。楊善深先生則善寫雄雞，頌其五德之美。黎雄才先生的山水作品，多是先松樹後風景，頌讚松樹臨風傲立的風度，散發出剛靭不拔的氣慨，使人仰視。上述先賢，不但以鮮明及嶄新的筆法呈於紙上，更能以高尚的思想境界及真摯的感情流露於作品之中，與當時還停留在風花雪月、遣興戲墨的廣東美術研究會諸畫士，就拉開了一段距離矣。 &#13;
趙少昂老師曾經覆述，當時中國畫在國外，無人認識，故此不受重視，曾與同儕參加多個國際性藝展，作品每遭冷待，又在選拔東方藝術代表時，多由日本等國擔任，具有數千年文化的中國，反而問鼎無緣，令人沮喪不已。趙師有見及此，旋於四十年代初開始，身先同儕，拓筆挾藝，壯遊於大江南北及歐美各地，以講學交流、展覽示範等形式，向世界各地宣揚、推廣中華藝術文化達拾數年之久，他曾刻有三方印章，分別記錄足跡所到之處，包括英美法意德瑞日印菲諸國，須知在尚未發展航空事業的年代，只靠輪船作為交通工具並以外語周旋於多國舉辦展覽，是何等艱巨呢！趙師這種不撓精神，也激發起門人對繪畫那份積極而恆久的常態，化成生生不息的助力，不無關係。&#13;
&#13;
除此之外，嶺南畫派第二代關山月、黎雄才、楊善深及多位同輩畫盟，也分別在其他領域中努力擴展，於是第三及第四代藝徒，已發展至中港台澳以至遍佈於世界各地，嶺南畫派能夠繼續開枝散葉，實有賴前人的承傳功績。筆者認為，若能保持筆墨精煉的技法，又謹遵「折衷中外，融會古今」的主張，畫派能夠歷久不衰，是有可能的。&#13;
&#13;
(原文刊登於《藝術香港》2023年11-12月號50-53頁)</text>
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                    <text>磊落清和質趣妍雅——何永祥國畫賞讀&#13;
李琰&#13;
高劍父紀念館館長&#13;
&#13;
在中國畫藝術中，象、境的關係與關聯，始終是一個具有深刻意味的哲學命題。賞讀畫家何永祥的畫作，大抵也應該由此入手。&#13;
&#13;
一般來說，立象，即選擇物象，確立主題，但在本質上則是構建心象，這一點正是東西方繪畫的本質區別。東西方文化差異的敏感性和求同性，是中國港籍藝術家的心理基本，這大抵來自于港島文化的特殊性，作為中國港籍畫家的何永祥，其創作的立象，具有平素的、靜態的、光影、造型的特質，這似乎與中國畫的精神相悖，其實不然，上個百年的主張文化改良的思想家、藝術家們已經開始解決這一矛盾。何永祥作為嶺南畫派一脈而起的畫家，也在用繪畫踐行這一道路，他將這一特質轉化為作品的表現，以及在表達方式上筆墨陰陽、光影造型進行微妙的切換，努力使之形成一個“自然而然”的過程。這樣，也就自然而然地使筆墨成為其他繪畫表現中的生命的律動與意志的勃發，是一種發自人性本體的純真與畫外世界的和諧。&#13;
&#13;
綜覽何永祥畫作，似乎他更關注于自然世界的情感與體驗。他依從自我內心的聲音，遵從自然規律的變化，注重通過藝術創作，來觀察和表現人類精神世界帶來的影響，並訴諸於相應的筆墨語言形式，畫境自然而成。他理想化的對客觀物象，予以修正或昇華，並把二者有機地關聯起來，進行自然與文化的反復洗禮。在這一過程中，其以自身的學識水準，感受客觀物象時獲得一種情境，而這種情境于畫家自我精神的某一點，又有所揭示與涵蓋，觸發出濃郁的傳達欲望。這種欲望調動創作者，做更廣泛、更深入、更細緻的體味，觀察客觀物象間的種種狀態與神契，並予以全面的創作語言的調度，從而強化物象間的關係狀態。於是，作品的意境便自然而然地從他畫筆下物象間、筆墨間、光影間以及主客關係間，汩汩而來。&#13;
&#13;
境由象成，象由心立，而呈現出來的必然是語言形式，在中國畫範疇裡，不外是筆、墨、色。何永祥水與色的把控上，顯現出一定的能力和特點。色彩的選擇與運用，更具有性格化和文化性的特質。色彩是一個人文化的外表，隸屬於本人所在的文化體系的色彩系統。中國古代色彩文化意韻獨特，作為一種文化符號，其最鮮明的特徵就是以人為本。中國文化歷經儒道釋的雜糅，又歷經東西方文化的碰撞，對色彩與光影的選擇與運用上，有了更加寬廣的空間，但這並不影響中國畫寫意性的表達。從何永祥的畫作，可以品讀出這一明顯特徵。&#13;
&#13;
在中國傳統色彩觀中，賦予了色彩更多的社會倫理意義，但也忽視了自然色彩的科學性表達；何永祥畫作色彩的基調，是一方面是中國傳統儒家的妍麗典雅，在本質上這種色彩的選擇與追求，其實是一種入世觀的外現，這或是何永祥人格的文心所致。同時，他不自覺地接受了西方繪畫色彩觀念，追求自然色彩的屬性之美，也揉之以喜歡色彩對光影氛圍的塑造， 形式語彙相容了主觀精神與客觀物象的表現，對筆墨色彩進行梳理與與提煉。這必然使得何永祥的繪畫作品，質趣典雅，沖和清麗，主觀色與客觀色互為映襯，蘊涵了豐富的感官體驗，蘊含豐富的層階，雖然寫實，顯然也不是純粹的自然主義的摹寫，這是一種哲學意義上的選擇。他著眼于從傳統的藝術觀念和創作中發掘資源，補充以現代意識、以及東方明珠香港特色的審美情趣和生存狀態的體驗，作品既具有民族審美特質，並同時相容獨特地域文化與時代個性的多重意味。他巧妙而恰如其分地使用“以實當虛”，在尺幅的天地中能夠縱橫馳騁觀者的想像，從而予人以空靈流暢之感，虛實相應地表現了生命的流動，創造了由有限而通無限的境界與生機。明代唐志契在《繪事微言》中說：“……蓋氣者有筆氣，有墨氣，有色氣；而又有氣勢，有氣度，有氣機；此間謂之韻。”何永祥的作品，在美感之後有著不可言傳的東方傳統文化審美的意蘊，也呈現出了多元、多樣的格局。這既與中國傳統繪畫審美意趣一脈相承，也與西方表現派主張形式語言具有獨立意義的理論遙相呼應，與畫家所處的時代相契合，極易引起觀者感情的共鳴。&#13;
&#13;
曙色入寒溪，冷豔渾如醉。在這裡，借用嶺南畫派創始人高劍父先生詩句來概括比喻何永祥作品的色彩光影之美，嫺靜沖和，色階、色相宋人之法度、元人之意趣和時代審美相容，以古為本，以時代之態，化用傳統的入世，以時代為養護，既脫塵俗，而不離塵世，更不負時代。他在用東方式的心靈境界和思維模式進行造化萬物的藝術再創造，透過自己對境象的構建，顯示出文化傳統的精神力量。&#13;
&#13;
(原文刊於《詩酒年華：何永祥畫集》序言)</text>
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永祥</text>
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何永祥畫</text>
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