"The Beauty of Taroko" is a large-scale ink painting created by Ma Pai-Shui in early 1999. It consists of twenty-four pieces of Xuan paper, each measuring 214 cm in height and 69 cm in width, forming a total dimension of 1656 cm in width and 214 cm in height.[1] The painting is divided into six main themes, showcasing the distinctive seasonal landscapes of Taroko. In 2015, it was designated as a nationally important cultural artifact by the Ministry of Culture of the Republic of China.
Themes and Artistic Expression edit
"The Beauty of Taroko" consists of twenty-four linked screens, each bearing the signature of Ma Pai-Shui. Four screens in each set are titled to represent different themes, resulting in a total of six main themes: "Spring Breeze," "Summer Rain," "Autumn Red," "Winter White," "Sunlight," and "Moonlight." These themes sequentially depict the various seasons and landscapes of Taroko from sunrise to sunset, spanning from sea level to an altitude of 300 meters. Furthermore, each theme is centered around a renowned landmark in Taroko: the "Spring Breeze" focuses on the gateway, "Summer Rain" highlights the Changchun Shrine, "Autumn Red" portrays the Jin Heng Bridge, "Winter White" captures the Nine Turns Tunnel, "Sunlight" centers on the Cimu Pavilion, and "Moonlight" showcases the towering Tianfeng Tower. Through this artwork, Ma Pai-Shui presents the unique cultural and geographical features of Taiwan's eastern region. Additionally, scholar Huang Yongchuan suggests that the twenty-four linked screens can be viewed in groups of three to represent different time periods, including early morning, morning, late morning, noon, afternoon, evening, dusk, and nighttime, capturing the ever-changing scenery of Taroko under different lighting conditions.[1][2]: 6 In order to depict the majestic and grand landscapes of eastern Taiwan, Ma Pai-Shui employed an innovative "multi-in-one composition" method to enhance the visual impact of the artwork. By subjectively interpreting and rearranging the scenery of Taroko in the composition, the artwork not only allows each screen to stand independently as a complete scene but also offers flexibility in displaying the artwork by combining two, three, four, or six screens, depending on the available exhibition space.[3]: 11–12 [2]: 12 Furthermore, according to scholar Huang Yongchuan, when all twenty-four screens are connected, viewers are presented with a panoramic visual experience akin to watching a wide-screen display.[2]
In terms of painting techniques, the majority of this artwork features powerful and concise brushstrokes to outline the mountains, complemented by flat and rendered colors, as well as variations in the density of ink, creating a fusion of the rich texture of traditional ink painting and the vibrant hues of Western watercolor.[2]: 12–13
This artwork made its debut in September 1999 as part of Ma Pai-Shui's retrospective exhibition titled "A Retrospective of Ma Pai-Shui at Ninety" held at the National Museum of History,[4] where it was specially created for the exhibition. It is now a permanent collection of the National Museum of History.[5]: 10
Reception edit
This artwork, created by Ma Pai-Shui at the age of ninety, demonstrates his attempt to integrate both Eastern and Western painting styles and techniques. On December 17, 2015, it was designated as an important cultural artifact by the Ministry of Culture.[6]
Related Public Art edit
In 2016, Hualien Xincheng Railway Station adorned its lobby with this artwork through kiln-fired glass decoration, incorporating a dimming system. By manipulating the intensity of lighting, it vividly portrays the changing seasons and all-day light and shadow variations of the Taroko Gorge.[7] Additionally, in collaboration with Taroko National Park and the National Museum of History, the "Ma Pai-Shui Painted Train" was launched.[8] In 2018, Xincheng Station received the "Artistic Creation Award" and the "Environmental Integration Award" at the 6th Public Art Awards organized by the Ministry of Culture. The judging committee of the Ministry of Culture expressed that this public art piece, designed based on the painting "Beauty of Taroko Gorge," revives "forgotten masterful techniques and endangered traditional skills" in front of the public.[9][10]
References edit
- ^ a b 國立歷史博物館. "重要古物 馬白水太魯閣之美". Archived from the original on 2023-02-20. Retrieved 2023-03-14.
- ^ a b c d 黃, 永川. "館藏馬白水鉅作〈太魯閣之美〉". 國立歷史博物館學報 (37). 國立歷史博物館.
- ^ 王, 秀雄 (December 2010). "傳統現代、中西融合、開創新藝術–詮釋馬白水彩墨畫的風格與評價其藝術成就". 馬白水繪畫藝術研討會論文集. 國立臺灣美術館: 1–17. Archived from the original on 2023-03-16. Retrieved 2023-03-16.
- ^ "彩墨千山-馬白水九十回顧展". Archived from the original on 2023-03-14. Retrieved 2023-03-30.
- ^ 蘇, 啟明 (1999). 《彩墨千山—馬白水九十回顧展》. 台北: 國立歷史博物館.
- ^ 文資局. "國寶與重要古物指定公告". Archived from the original on 2022-12-28. Retrieved 2023-03-14.
- ^ "新城車站的公共藝術". 花蓮縣地理資訊整合應用平台 (in Chinese). Archived from the original on 2023-03-17. Retrieved 2023-03-28.
- ^ 陳宜加 (2016-04-21). "展現太魯閣之美 臺鐵「馬白水彩繪列車」啟程". 中時新聞網 (in Chinese). Archived from the original on 2023-01-12. Retrieved 2023-03-28.
- ^ 王峻祺 (2018-12-19). "文化部公共藝術新城火車站獲兩大獎". 自由時報 (in Chinese). Archived from the original on 2023-03-14. Retrieved 2023-03-28.
- ^ 國立歷史博物館. "史博館馬白水典藏榮獲文化部公共藝術獎". 國立歷史博物館. Archived from the original on 2022-07-16. Retrieved 2023-03-30.