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DTSTART;VALUE=DATE:20251220
DTEND;VALUE=DATE:20260208
DTSTAMP:20260605T183550
CREATED:20251212T102706Z
LAST-MODIFIED:20251231T071333Z
UID:13514-1766188800-1770508799@artgalleryapollo.com
SUMMARY:《會飲》黃至正個展
DESCRIPTION:《會飲》黃至正個展\n展期｜\n2025.12.20 – 2026.02.07\n開幕｜\n2025.12.20 (六) 15:00\n藝術家與談｜\n2026.01.10 (六) 15:00\n→ 報名 \n《會飲 Symposium》其展名直接援引自柏拉圖的一部對話式作品《會飲篇》，該作品記敘了一個宴會場景，眾人在宴會中探討與頌讚愛欲，最後將愛欲從單純的性慾或激情，重新定義為通往形上學真理的理性與精神驅力，而黃至正則在此次展覽中回顧與研究台灣繪畫史上同樣曾於阿波羅畫廊展出過的幾位前輩藝術家。對於至正而言，成立近半個世紀的阿波羅畫廊恰如台灣繪畫史上的一場歷史饗宴，曾於畫廊展出過的藝術家皆為饗宴的與會者之一，而畫作則是宴會上唯一流通的語言，藉由畫作的題材、筆觸與風格，酒酣耳熱的言談從不停止。 \n  \n此次展覽中，黃至正選擇以「靜物」這一經典的題材作為回應台灣美術史的方式。有別於傳統水墨畫中象徵文人雅趣的「清供圖」或「折枝花鳥」，西方靜物畫概念的傳入揭開了日治時期台灣藝術家視覺經驗的現代化轉向，藉由對靜止物體的描繪，藝術家系統性地習得了透視法與理性的科學觀察方式，台灣藝術家亦藉由加入如木瓜、香蕉、鳳梨、百合花、蘭花等南國作物，建構出清晰的在地意象。 \n  \n在《臨界》這件作品中，大量的水果被置放在鏡面上，除了台灣常見的葡萄、蘋果，亦能見到被剖開的石榴，石榴絕非在台灣常見的食物，卻是學院美術教育中，常與石膏像並置的經典臨摹對象。當黃至正在創作過程中思索何謂「在地」這一概念時，經常會想起鑲嵌在他育成經驗中的石榴種子，鏡面中的倒影恰恰是作為藝術家持續提問與思辯的證明。 \n  \n而箔作為黃至正長年關注的材料，藝術家不僅熱衷於箔所承載的文化意涵，亦著迷材質本身的特性，尤其是箔會隨著環境、光線所呈現出的多變面貌，在《扶疏》、《夜航》中，黃至正以不同的技法「擦亮」玻璃杯、「點燃」蠟燭，精心布置了一個燭火搖曳的夜宴，彷彿在作品前方走動時，能夠看見杯子映出自己的倒影，畫作中的燭光足以照亮現實。 \n  \n《餘溫》則是黃至正不吝於表達自身對於藝術家席德進的喜愛，席德進擅以大膽的筆觸與濃烈色彩刻劃人物，黃至正則以柔軟的筆觸與溫潤色調繪製樹下納涼的少年，樹影築起的浪拍打著他的身體，若席德進是以熾熱的目光注視所愛，藉此保存生命最璀璨的一刻，黃至正則總是望向事物最幽微之處，在萬物生成時預見其不可迴避之終結，對藝術家而言，烈火與餘燼盡無不同。 \n  \n在此次展覽《會飲 Symposium》中，藝術家不僅展示了對於掌握金屬箔這一特殊材料的純熟技巧，同時也是藉由回顧所展開與前輩畫家的一場宴席與言談，試圖提問作為創作者要如何真實的面對自身此時此刻的處境，且以一件件的作品構成能夠跨越時代的語句。 \n  \n黃至正畢業於東海大學美術系碩士班創作組。曾獲文化部遴選為 Art Taipei「Made In Taiwan-新人推薦特區」藝術家、臺南新藝獎首獎、阿波羅畫廊與王道銀行教育基金會主辦之「構圖．臺灣」視覺藝術創作徵件計畫入圍等獎項。作品曾受臺南市立美術館、國立臺灣美術館典藏及台中市立美術館典藏。在阿波羅畫廊的推薦與推動下，陸續參與台北國際藝術博覽會、台中藝術博覽會、台南藝術博覽會、One Art、Whatz 等多場藝博會，累計展出達十五次，並獲得眾多藏家高度關注與肯定。今年首次於阿波羅畫廊舉辦個展。 \n→ 黃至正 簡歷\n→ 欣賞 虛擬展廳 \n\n“Symposium” —  Solo Exhibition by HUANG Chih-ChengOpening｜12.20\, 2025 Sat. 15:00Duration｜12.20\, 2025 – 02.07\, 2026Artist Talk｜01.10\, 2026 Sat. 15:00\n→Sign up \n“Symposium” takes its title directly from Plato’s dialogic work Symposium\, which recounts a banquet in which the guests explore and praise the nature of Eros. The dialogue ultimately reframes Eros not merely as sexual desire or passionate impulse\, but as a rational and spiritual force leading toward metaphysical truth. \nIn this exhibition\, Huang Chih-Chen revisits and studies several pioneering Taiwanese artists who likewise exhibited at Apollo Art Gallery in earlier decades. \nFor Huang\, the nearly half-century-old Apollo Art Gallery resembles a grand feast in the history of Taiwanese painting. Every artist who has shown at the gallery becomes a participant in this historical banquet\, and the artworks serve as the sole language exchanged at the table. Through subject matter\, brushwork\, and stylistic choices\, the spirited conversations of this banquet continue without end. \n  \nIn this exhibition\, Huang Chih-Chen adopts still life\, a classical genre\, as his means of responding to the trajectory of Taiwanese art history. Distinct from the traditional ink-painting motifs such as qinggong tu or cut-branch bird-and-flower compositions\, which embody the cultivated elegance of the literati\, the introduction of Western still-life concepts marked a modern shift in the visual experience of Taiwanese artists during the Japanese colonial period. \nThrough the depiction of inanimate objects\, artists systematically acquired the use of perspective along with methods of rational\, scientific observation. Taiwanese painters further constructed a clear sense of local identity by incorporating tropical produce such as papayas\, bananas\, pineapples\, as well as lilies and orchids\, into their compositions. \n  \nIn 《Critical Point》\, a large assortment of fruits is arranged upon a mirrored surface. Alongside familiar items such as grapes and apples commonly seen in Taiwan\, the composition also features a split-open pomegranate. Although pomegranates are far from typical in Taiwanese daily life\, they remain a canonical subject of academic training\, frequently paired with plaster casts as objects for foundational study. \n  \nAs Huang Chih-Chen contemplated the notion of “locality” during his creative process\, he often recalled the pomegranate seeds embedded in his formative experiences. The reflections captured within the mirror serve precisely as evidence of the artist’s ongoing inquiry and critical reflection. \n  \nFoil\, a material that has long preoccupied Huang Chih-Chen\, engages him not only through its rich cultural connotations but also through its intrinsic physical qualities. He is particularly drawn to the way foil shifts in appearance depending on its surrounding environment and the light that strikes it. \nIn 《Sparse and Spreading》 and 《Night Flight》\, Huang employs various techniques to “polish” a glass and “ignite” a candle\, meticulously staging a nocturnal banquet illuminated by flickering flames. As viewers move before the works\, they may glimpse their own reflections cast upon the glass\, as though the candlelight within the painting were bright enough to illuminate reality itself. \n  \nIn 《Lingering Warmth》\, Huang Chih-Chen openly expresses his admiration for the artist Hsi Te-chin. While Hsi is known for his bold brushwork and vivid\, saturated colors in portraying the human figure\, Huang instead depicts a youth resting beneath a tree with gentle strokes and a warm\, subdued palette. The shadows cast by the foliage ripple across the boy’s body like waves. \n  \nIf Hsi Te-chin gazed upon his subjects with a fervent intensity\, seeking to preserve the most radiant moments of life\, then Huang Chih-Chen consistently turns his attention toward the most delicate and elusive states of being. He perceives\, at the very moment things come into existence\, the inevitability of their end. For the artist\, blazing fire and lingering embers are ultimately indistinguishable. \n  \nIn the exhibition 《Symposium》\, the artist not only demonstrates his mastery of working with metallic foil but also initiates\, through this act of retrospection\, an imagined banquet and dialogue with the painters who came before him. Through this encounter\, he seeks to question how a creator might genuinely confront their own present condition. Each work becomes a phrase capable of transcending its time\, contributing to an ongoing conversation across generations. \n  \nHuang Chih-Chen received his MFA in Fine Arts from Tunghai University. He was selected by the Ministry of Culture for Art Taipei’s “Made in Taiwan – Young Artist Discovery” program and has received several honors\, including the First Prize of the Tainan New Art Award and finalist recognition in “GOTO Taiwan\,” a visual arts initiative organized by Apollo Art Gallery and the O-Bank Education Foundation. His works have been collected by the Tainan Art Museum\, the National Taiwan Museum of Fine Arts\, and the Taichung City Tun District Art Center. \n→ HUANG Chih-Cheng’s CV\n→ AR Exhibition
URL:https://artgalleryapollo.com/2021/event/%e3%80%8a%e6%9c%83%e9%a3%b2%e3%80%8b%e9%bb%83%e8%87%b3%e6%ad%a3%e5%80%8b%e5%b1%95-2/
LOCATION:阿波羅畫廊\, 大安區忠孝東路四段218-6號A棟2樓 (阿波羅大廈)\, 台北市\, 106\, 台灣
CATEGORIES:slide show,展覽
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ORGANIZER;CN="%E9%98%BF%E6%B3%A2%E7%BE%85%E7%95%AB%E5%BB%8A":MAILTO:artgalleryapollo@gmail.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251229
DTEND;VALUE=DATE:20260411
DTSTAMP:20260605T183550
CREATED:20260103T060416Z
LAST-MODIFIED:20260106T081532Z
UID:13659-1766966400-1775865599@artgalleryapollo.com
SUMMARY:構圖台灣 ╳ 恆。好
DESCRIPTION:構圖台灣 ╳ 恆。好\n藝術家｜\n余采軒.林千瑋.林芃穎.金祺龍.高冠羣.陳廷菲.陳怡安.傅聖雅.彭冠銘.劉康彥\n展期｜\n2025.12.29 – 2026.04.10\n地點｜恆。好\n屏東縣屏東鎮東門路2巷11弄2&4號 \n\n\n《構圖．臺灣》第四屆入圍聯展，集結十位藝術家，透過繪畫、裝置與複合媒材等形式，呈現當代創作中對空間、日常與文化感知的多元回應。本屆展覽延續「構圖．臺灣」對於當代視覺語彙的關注，呈現年輕世代藝術家在各自創作脈絡中的觀察與實踐。\n\n\n\n「恆 · 好」是阿波羅畫廊位於屏東恆春的展覽空間，自2017年起持續策劃並推出多元展覽，邀請不同世代與創作背景的藝術家於此發表作品，逐步建立南臺灣穩定的藝術據點。空間座落於恆春東門，也讓藝術融入日常風景，成為旅途中可駐足停留的文化場域。\n\n\n→恆。好\n\n\n《Go To Taiwan》Joint Exhibition  \n\nArtists｜\nYU Cai-Xuan\, LIN Chien-Wei\, LIN Peng-Ying\, JIN Chi-Lung\, KAO Kuan-Chun\, CHEN Ting-Fei\, CHEN Yi-An\, FU Sheng-Ya\, PENG Guan-Ming\, LIU Kang -Yen\nDuration｜\n2025.12.29 – 2026.04.10\nLocation｜HunHau\n\nNo. 2\, Aly. 11\, Ln. 2\, Dongmen Rd.\, Hengchun Township\, Pingtung County 946\, Taiwan \nGo To Taiwan: The 4th Selected Artists Joint Exhibition brings together ten artists working across painting\, installation\, and mixed media. Through diverse artistic approaches\, the exhibition presents multifaceted responses to space\, everyday life\, and cultural perception in contemporary practice. Continuing the exhibition’s long-standing focus on contemporary visual language\, this edition highlights observations and artistic practices shaped by different generational and creative contexts. \n「HunHau」 is an exhibition space of Apollo Art Gallery located in Hengchun\, Pingtung. Since 2017\, it has continuously curated and presented a diverse range of exhibitions\, inviting artists from different generations and creative backgrounds to present their works\, gradually establishing a stable art presence in southern Taiwan. Situated within the historic Hengchun Old Town\, the space allows art to merge naturally into the everyday landscape\, becoming a cultural stop where visitors can pause and engage during their journey. \nWelcome to wander through HunHau Old Town and visit Heng. Hao to experience the artworks. \n\n\n→HunHau
URL:https://artgalleryapollo.com/2021/event/13659/
LOCATION:恆。好 HunHau\, 東門路2巷11弄4號\, 恆春鎮\, 屏東縣\, 台灣
CATEGORIES:slide show,展覽
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ORGANIZER;CN="%E9%98%BF%E6%B3%A2%E7%BE%85%E7%95%AB%E5%BB%8A":MAILTO:artgalleryapollo@gmail.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20260228T080000
DTEND;TZID=Asia/Taipei:20260228T170000
DTSTAMP:20260605T183550
CREATED:20260228T043543Z
LAST-MODIFIED:20260228T062836Z
UID:13875-1772265600-1772298000@artgalleryapollo.com
SUMMARY:冉茂芹，《春到梨山》：台灣‧台中(耶穌堂)
DESCRIPTION:  \n \n冉茂芹，《春到梨山》：台灣‧台中(耶穌堂)\n50×60.5cm，1990 \n從松柏村往後上山，梨花、蘋果花正在開放，滿山都活潑起來。米白色的小教堂在早上的陽光中熠熠生輝，教堂後的山脊被朝霧漫過，全然不見了身影。這裡是梨山春早的景象。 \n梨山寫生三幾次，有春天也有秋天，第一次就住在松柏村，梨山賓館一帶上上下下倒摸熟了，不僅畫了好幾張寫生畫，回到台北還藉以創作了幾幅風景大畫。 \n  \n\n\n\n\n\n\n\n\nYIM Mau-Kun\, Spring Comes to Lishan\, Taichung\, Taiwan \nFrom Songbai Village\, heading further up into the mountains\, pear blossoms and apple blossoms are in full bloom\, bringing a lively vitality to the hillsides. A small off-white chapel gleams in the morning sunlight\, while the ridge behind it is veiled in drifting dawn mist\, its outline completely obscured. This is the early spring scenery of Lishan. \nI have sketched in Lishan several times\, both in spring and in autumn. On my first visit\, I stayed in Songbai Village and became thoroughly familiar with the area around the Lishan Guest House\, wandering up and down its slopes. I completed several plein-air sketches there\, and after returning to Taipei\, I used them as the basis for creating a number of large-scale landscape paintings.
URL:https://artgalleryapollo.com/2021/event/%e3%80%8a%e6%98%a5%e5%88%b0%e6%a2%a8%e5%b1%b1%e3%80%8b%ef%bc%9a%e5%8f%b0%e7%81%a3%e2%80%a7%e5%8f%b0%e4%b8%ad%e8%80%b6%e7%a9%8c%e5%a0%82/
CATEGORIES:作品
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20260228T080000
DTEND;TZID=Asia/Taipei:20260228T170000
DTSTAMP:20260605T183550
CREATED:20260228T051911Z
LAST-MODIFIED:20260228T062822Z
UID:13878-1772265600-1772298000@artgalleryapollo.com
SUMMARY:冉茂芹，《埔里河》：台灣‧南投‧埔里
DESCRIPTION:冉茂芹，《埔里河》：台灣‧南投‧埔里\n33.5×45.5 cm，1999年 \n1999年秋天，發生了驚天動地的921大地震，整個台灣都被搖撼了，而震央正是南投縣的埔里。 \n那年春天，我台北與髙雄兩地的美術班學員舉辦了一次聨合寫生活動，南北向中的集合點就是埔里，記得住在一處名叫“阿波羅”的hotel。在埔里大約兩叄天吧，後來就各車散開了。 \n這張畫中的河叫什麼名字？處在埔里鎮的東南西北？也不清楚了，但是，清楚記得畫中的右方是一塊台地，延伸過去就是埔里的市區，我們的腳下是直接巿區的石橋，從橋上望去，小河蜿蜒，流水汩汩，春綠的田陌相連，伸向迷濛遠方，自是一幅畫面。結果，大家都湧到橋上來了，待將畫箱架一字排開：好一幅寫生圖！套一句流行的話是：一道特別的風景線！ \n  \nYIM Mau-Kun\, Old Shed\, Nantou\, Taiwan\n33.5×45.5 cm，1999\n \nAfter leaving Puli\, several cars of us headed toward Shuili. I was rather muddle-headed\, with no real sense of the route or direction. My only task was to keep my eyes on the scenery along the way\, and the moment I spotted something paint-worthy\, I would call for a stop. \nWe got out at this abandoned work shed to take a look\, and sure enough\, it was promising—full of pictorial charm. The wooden factory building\, with its horizontal and vertical planks\, stood in a desolate little courtyard where a graceful flame tree stretched diagonally upward. Fine leaves were scattered over the plank roof and the earthen ground of the yard\, occasionally quivering and falling as if nervously shedding themselves. There was not a single person in sight—truly a place abandoned and emptied of life. Only the occasional passing bird cried out once or twice\, as if surprised that someone would pause to capture images of such a desolate old building. \nIn fact\, although this scene possessed a distinctive beauty\, it was extremely challenging to paint. Especially with trees standing in front of the shed—the trunks\, branches\, and leaves all had to be depicted\, including the fluttering foliage. And all of this had to be completed on site within three hours. \nRuined scenes often stir a sense of melancholy. Perhaps this is not merely my own tendency to “force sorrow” where it need not be.
URL:https://artgalleryapollo.com/2021/event/%e3%80%8a%e5%9f%94%e9%87%8c%e6%b2%b3%e3%80%8b%ef%bc%9a%e5%8f%b0%e7%81%a3%e2%80%a7%e5%8d%97%e6%8a%95%e2%80%a7%e5%9f%94%e9%87%8c/
CATEGORIES:作品
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20260228T080000
DTEND;TZID=Asia/Taipei:20260228T170000
DTSTAMP:20260605T183550
CREATED:20260228T052226Z
LAST-MODIFIED:20260228T062807Z
UID:13889-1772265600-1772298000@artgalleryapollo.com
SUMMARY:冉茂芹，《舊工棚》：台灣‧南投‧水里
DESCRIPTION:冉茂芹，《舊工棚》：台灣‧南投‧水里\n33.5×45.5cm，1999 \n離開埔里後我們三幾輛車往水里方向駛去，我是糊裡糊塗，地點方向一些也沒概念，我唯一的工作是盯住沿途看景緻，一遇有畫頭的即刻叫停。 \n在這廢棄的工棚處下車看看，果然不錯，蠻有畫味，那一橫一豎的木板廠房，荒落的小院中斜伸著一棵多姿的鳳凰花樹，細碎的樹葉撒落在板棚上和小院的泥土上，還不時神經質地在抖落。沒有半個人影，真正的人去樓空！只有偶爾經過的飛鳥嘠的一兩聲，好像是驚奇竟有人為此荒涼的舊樓留影。 \n其實，這處景物雖然美感特殊，但難度極大！尤其是板棚前面還有樹木，要畫樹幹樹枝樹葉還要樹葉婆娑！這一切都要在現場三小時完成！\n殘破的景物常引起人們的傷感，或許，這應該不只是我的“強說愁”吧？ \n  \nYIM Mau-Kun\, Old Shed\, Nantou\, Taiwan\n33.5×45.5cm，1999\n \nAfter leaving Puli\, several cars of us headed toward Shuili. I was rather muddle-headed\, with no real sense of the route or direction. My only task was to keep my eyes on the scenery along the way\, and the moment I spotted something paint-worthy\, I would call for a stop. \nWe got out at this abandoned work shed to take a look\, and sure enough\, it was promising—full of pictorial charm. The wooden factory building\, with its horizontal and vertical planks\, stood in a desolate little courtyard where a graceful flame tree stretched diagonally upward. Fine leaves were scattered over the plank roof and the earthen ground of the yard\, occasionally quivering and falling as if nervously shedding themselves. There was not a single person in sight—truly a place abandoned and emptied of life. Only the occasional passing bird cried out once or twice\, as if surprised that someone would pause to capture images of such a desolate old building. \nIn fact\, although this scene possessed a distinctive beauty\, it was extremely challenging to paint. Especially with trees standing in front of the shed—the trunks\, branches\, and leaves all had to be depicted\, including the fluttering foliage. And all of this had to be completed on site within three hours. \nRuined scenes often stir a sense of melancholy. Perhaps this is not merely my own tendency to “force sorrow” where it need not be.
URL:https://artgalleryapollo.com/2021/event/%e3%80%8a%e8%88%8a%e5%b7%a5%e6%a3%9a%e3%80%8b%ef%bc%9a%e5%8f%b0%e7%81%a3%e2%80%a7%e5%8d%97%e6%8a%95%e2%80%a7%e6%b0%b4%e9%87%8c/
CATEGORIES:作品
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BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20260228T080000
DTEND;TZID=Asia/Taipei:20260228T170000
DTSTAMP:20260605T183550
CREATED:20260228T053747Z
LAST-MODIFIED:20260228T062751Z
UID:13894-1772265600-1772298000@artgalleryapollo.com
SUMMARY:冉茂芹，《蘭嶼落日》： 台灣‧台東
DESCRIPTION:冉茂芹，《蘭嶼落日》： 台灣‧台東\n91×65cm，2004年 \n蘭嶼在台東外海，是台灣迷人的島嶼，島不大，摩托車環島一周也不到兩小時，島上居住二千多達悟族，捕魚和種植芋頭為生。他們的房屋低矮且深陷於山坡土表，因而，冬暖夏涼。尤其令人驚豔的是達悟人用木板手工製作的小船，兩頭翹起，船身雕刻圖案，填上紅白花紋，美麗極了。 \n我畫過面向太平洋的東清灣，決意再畫一幅蘭嶼落日，畫中：夕陽西下，漫天浮雲，海浪嘻鬧，排成隊的小船們彷彿向晚霞致敬，這黃昏多麼溫暖和愉快啊，所以，過去曾取了一個稍長的名字「太陽最後的微笑」。 \n  \nYIM Mau-Kun\, Sunset at Lanyu\, Taitung\, Taiwan\n91×65cm，2004\n \nLanyu lies off the coast of Taitung and is one of Taiwan’s most enchanting islands. The island is small—one can ride a motorcycle around it in less than two hours. It is home to more than two thousand Tao people\, who make their living by fishing and cultivating taro. Their houses are low and set deep into the hillside earth\, making them warm in winter and cool in summer. Most striking of all are the Tao people’s hand-built wooden boats: both ends curve upward\, and the hulls are carved with patterns and painted in red and white designs—exquisitely beautiful.
URL:https://artgalleryapollo.com/2021/event/%e3%80%8a%e8%98%ad%e5%b6%bc%e8%90%bd%e6%97%a5%e3%80%8b%ef%bc%9a-%e5%8f%b0%e7%81%a3%e2%80%a7%e5%8f%b0%e6%9d%b1/
CATEGORIES:作品
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BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20260228T080000
DTEND;TZID=Asia/Taipei:20260228T170000
DTSTAMP:20260605T183550
CREATED:20260228T062008Z
LAST-MODIFIED:20260228T062628Z
UID:13897-1772265600-1772298000@artgalleryapollo.com
SUMMARY:冉茂芹，《春雨迷濛長岡京》：日本．京都
DESCRIPTION:《春雨迷濛長岡京》：日本．京都\n45.5×53 cm，2005年 \n長岡京在京都附近，每次從新大阪坐電車到京都，從窗邊能看到長岡京的景色：它有一灣水，有座小小山，山上有座小小廟。水邊蓋了一排古色的茶室。山上水邊處處可見各種櫻花玉立其中，尤其是湖邊兩排吉野櫻，伸出長枝、搭成棚式的花道，甚是壯觀。 \n正遊覽間，天忽小雨，只好躲進彎橋那頭的木亭，畫下這湖邊春影。 \n  \nYIM Mau-Kun\, Mist-Veiled Spring Rain in Nagaokakyō\, Kyoto\, Japan\n45.5×53cm，2005\n \nNagaokakyō lies near Kyoto. Each time I take the train from Shin-Osaka to Kyoto\, I can see the scenery of Nagaokakyō from the window: a curve of water\, a small hill\, and atop it\, a small temple. Along the water’s edge stands a row of quaint\, timeworn teahouses. On the hill and by the water\, cherry trees of various kinds appear everywhere\, standing gracefully among the landscape. Most striking of all are the two rows of Yoshino cherry trees by the lakeside\, their long branches stretching outward to form a tunnel-like canopy of blossoms—truly a magnificent sight. \nWhile strolling through the area\, a light rain suddenly began to fall\, so we took shelter in a wooden pavilion at the far end of the arched bridge\, where I painted this spring scene by the lake.
URL:https://artgalleryapollo.com/2021/event/%e3%80%8a%e6%98%a5%e9%9b%a8%e8%bf%b7%e6%bf%9b%e9%95%b7%e5%b2%a1%e4%ba%ac%e3%80%8b%ef%bc%9a%e6%97%a5%e6%9c%ac%ef%bc%8e%e4%ba%ac%e9%83%bd/
CATEGORIES:作品
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BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20260228T080000
DTEND;TZID=Asia/Taipei:20260228T170000
DTSTAMP:20260605T183550
CREATED:20260228T062556Z
LAST-MODIFIED:20260228T065528Z
UID:13898-1772265600-1772298000@artgalleryapollo.com
SUMMARY:冉茂芹，《北野天滿宮》：日本．京都
DESCRIPTION:冉茂芹《北野天滿宮》：日本．京都\n45×53 cm，2005年 \n北野天滿宮很大，在主宮旁邊還有捐献者的小廟，造型、色彩多姿多彩，十分可愛。我用四個小時，畫下了這小小廟的可細讀的一景。 \n  \nYIM Mau-Kun\, Kitano Tenmangu Shrine\, Kyoto\n45×53 cm，2005\n \nKitano Tenmangū Shrine is expansive\, and beside the main sanctuary there are small shrines donated by patrons. Rich in form and color\, they are delightful in their variety. I spent four hours painting a carefully observed scene of one of these small shrines.
URL:https://artgalleryapollo.com/2021/event/13898/
CATEGORIES:作品
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BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20260228T080000
DTEND;TZID=Asia/Taipei:20260228T170000
DTSTAMP:20260605T183550
CREATED:20260228T063246Z
LAST-MODIFIED:20260228T065545Z
UID:13899-1772265600-1772298000@artgalleryapollo.com
SUMMARY:冉茂芹，《小樹林》：台灣．宜蘭
DESCRIPTION:冉茂芹，《小樹林》：台灣．宜蘭\n53×45 cm，2007年 \n這是宜蘭、台北交界處的森林研究所。 \n在好朋友楊恩生教授大力推薦下，我背著油畫箱進到這幽靜的山林湖泊之中，眼前的小樹林彷彿是一群舞完的姑娘對著我說：「留下來！」，夕陽也灑進兩抹溫暖的陽光，還說什麼呢？我終於畫完這無聲的小樹林。 \n畫樹林很難，難在要有深度，有空間感，方如古人所說：「可居，可遊」，所謂有意境。 \n  \nYIM Mau-Kun\, Small Grove\, Yilan\, Taiwan\n53×45 cm，2007年\n \nThis is the Forest Research Institute at the border between Yilan and Taipei. \nAt the strong recommendation of my good friend Professor Yang En-sheng\, I carried my oil-painting kit into this tranquil mountain forest and lakeside setting. The small grove before me seemed like a group of dancers who had just finished their performance\, turning to me as if to say\, “Stay.” The setting sun cast two bands of warm light into the scene—what more needed to be said? In the end\, I completed this silent little grove. \nPainting a forest is difficult. The challenge lies in creating depth and a sense of space\, so that it becomes\, as the ancients described\, “a place one could dwell in\, a place one could wander through”—in other words\, a scene imbued with poetic atmosphere. \n 
URL:https://artgalleryapollo.com/2021/event/%e5%86%89%e8%8c%82%e8%8a%b9%ef%bc%8c%e3%80%8a%e5%b0%8f%e6%a8%b9%e6%9e%97%e3%80%8b%ef%bc%9a%e5%8f%b0%e7%81%a3%ef%bc%8e%e5%ae%9c%e8%98%ad/
CATEGORIES:作品
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BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20260228T080000
DTEND;TZID=Asia/Taipei:20260228T170000
DTSTAMP:20260605T183550
CREATED:20260228T064846Z
LAST-MODIFIED:20260228T065359Z
UID:13914-1772265600-1772298000@artgalleryapollo.com
SUMMARY:冉茂芹，《田疇晚雲》：台灣．桃園．龍潭
DESCRIPTION:冉茂芹，《田疇晚雲》：台灣．桃園．龍潭\n31×41 cm，2010年 \n清末民初大學者王國維說：「有造境，有寫境，此理想與寫實二派之所由分。然二者頗難分別，因大詩人所造之境必合乎自然，所寫之境必鄰於理想故也。」 \n畫家心中有詩，眼中有詩，下筆畫面必有詩意而少匠氣也。早些年赴美講學，見女婿Uffe(丹麥人，中國古文化教授)的書架上有這本《 人間詞語解讀》，翻閱後直索之，帶回台北。常翻閱，常有悟。 \n  \nYIM Mau-Kun\, Evening Clouds over the Fields\, Taoyuan\, Taiwan\nWang Guowei\, a great scholar of the late Qing and early Republican period\, once said: \n“There is the creation of a realm\, and there is the depiction of a realm. This is how the idealist and realist schools are distinguished. Yet the two are rather difficult to separate\, for the realm created by a great poet must accord with nature\, while the realm depicted must inevitably verge upon the ideal.” \n  \nWhen a painter carries poetry in the heart and poetry in the eye\, the painted image will naturally be imbued with poetic resonance and free of mere craftsmanship. Years ago\, while lecturing in the United States\, I noticed a copy of Renjian Ciyu Jiedu on the bookshelf of my son-in-law Uffe (a Dane and a professor of classical Chinese culture). After browsing through it\, I immediately asked for it and brought it back to Taipei. I return to it often\, and each time I do\, I gain new insights.
URL:https://artgalleryapollo.com/2021/event/13914/
CATEGORIES:作品
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BEGIN:VEVENT
DTSTART;TZID=Asia/Taipei:20260228T080000
DTEND;TZID=Asia/Taipei:20260228T170000
DTSTAMP:20260605T183550
CREATED:20260228T070020Z
LAST-MODIFIED:20260228T093040Z
UID:13928-1772265600-1772298000@artgalleryapollo.com
SUMMARY:冉茂芹，《道格拉斯》：台灣．台北
DESCRIPTION:冉茂芹，《道格拉斯》：台灣．台北\n53×41 cm，2013年 \n這是我油畫人物雕刻化最明顯的畫例，我眼前的人物完全〝弗魯貝爾〞(俄國十九世紀大師) 化了，完全〝米開朗基羅〞化了。我像鑲嵌師那樣去〝切〞去〝按〞去〝捶打〞，使形像雕塑化，力求帶來另一種美感。 \n  \nYIM Mau-Kun\, Douglas\n53×41cm，2013年\n \nThis is the most striking example of the sculptural transformation of figures in my oil painting. The figure before my eyes became completely “Vrubel-ized”—transformed in the manner of Mikhail Vrubel—and entirely “Michelangelo-ized\,” in the spirit of Michelangelo. Like an inlay craftsman\, I “cut\,” “press\,” and “hammer\,” sculpturalizing the form and striving to bring forth a different kind of beauty.
URL:https://artgalleryapollo.com/2021/event/%e3%80%8a%e9%81%93%e6%a0%bc%e6%8b%89%e6%96%af%e3%80%8b%ef%bc%9a%e5%8f%b0%e7%81%a3%ef%bc%8e%e5%8f%b0%e5%8c%97/
CATEGORIES:作品
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