​黃    山   I     Mount Huangshan I

三連作呈現一日內陽光與重山峻嶺的三場對話∶日出、日午、日暮。

立足近景山高處，視野向前閱覽深、高、遠的大山景。畫面運用多重三角幾何形式構圖，斜邊形、錐形、正三角、倒三角山體及光影，無所不在虛實交疊，建構出繁複的突起與凹陷空間 ; 又讓布局與表現法深入細微，山石松木幽徑峽谷，無一不追究道理與脈絡。

光影及山壁的倒三角V形構圖具足優勢，既已穩定畫面，同時又產生高深險峻與地質堅銳的壓力;山體包夾兩側如遇伏兵，逼仄視覺產生身心理效應，集中注意力，好讓視野飛渡峽谷上空，一路警醒觀察山勢結組與側出奇峰，最終進入另一開闊境地，亦即橫亙於遠景中的連綿山脈。此一歷程，提供時間空間恍若無窮盡的體驗。種種思維安排讓古典樣式繪畫顯現真實當代形貌，創新處亦不落3D科技之後，而這創新精神與整體繪畫技法，正是畫家自始從未消逝的獨有特質。

The triplet presents three dialogues between the sun and the mountains in one day: sunrise, noon and sunset.

Based on the high point of the mountain in the near field, the view is forward to see the deep, high and far mountain scenery. The composition uses multiple triangular geometric forms, including oblique, tapered, orthogonal, inverted triangular mountains, and light and shadow, all of which overlap reality and emptiness, creating a complex space of protrusions and depressions; the layout and expression are also deeply detailed, with rocks, pines, trails, and valleys, all of which pursue reason and context.

The inverted triangular V-shaped composition of light and shadow and the mountain wall has the advantage of stabilizing the image while creating the pressure of high and steep and solid geology; the mountain body wraps around the two sides like an ambush, and the cramped vision creates a psychological effect on the body, allowing the vision to fly over the canyon, alertly observing the mountain formation and the side peaks along the way, and finally entering another open area, namely the continuous mountain range in the distance. This journey offers a seemingly endless experience of time and space.

Various arrangements of thought allow classical-style paintings to take on a truly contemporary form. This innovative spirit and overall painting technique are the unique characteristics of the artist that have never disappeared.

黃山 Mount Huangshan I

黃朝謨 Hwang Chao-Mo

2014 / 油彩、畫布 Oil on Canvas / 97 × 162 cm