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沙特阿拉伯DM德馬甲骨文數字文化非遺傳承館20260129期 香港東方書畫院［院長梁君度］ 《折衷中西畫藝之我見》 
DMSIXSEVEN / 林鏡德 LIN JING DE1973 主编供图：香港DM德馬數字甲骨文集團 Hong kong-based DM Delmar Digital Oracle Group 開創人：CEO/林鏡德 LIN JING DE 
嶺南畫派師祖高劍父、高奇峰提出「折衷中西，融會古今」。此主張一出，百年來影響深遠，既成為中國畫現代化探索的重要路徑，亦引發無數實踐與爭鳴。 我學西畫，當明白折衷中西是在傳統中國畫的基礎上，吸取西方繪畫藝術的理念、技術，發展出新的水墨畫。高氏兄弟早年東渡日本，見其「和洋折衷」之法，受啟發而倡導變革，其初衷在於打破明清以降筆墨程式之拘束，為中國畫註入時代氣息與現實關懷。 只是，這個折衷不是1+1那麼簡單，而是某些方面保持中國傳統水墨畫的方法——如筆墨意趣、氣韻生動、留白計黑、散點透視、虛實相生；某些方面又吸取西畫的技法——如光影處理、色彩變化、結構比例、空間層次、取長補短。其中的分寸拿捏，全在畫者修養與眼界。過於側重西法，易失東方神韻而近於水彩素描；一味固守筆墨，又難脫陳規，無以應對當代視覺經驗。故折衷之道，實在於「化西為中」，將外來語言融入水墨體系，使其呼吸如常，氣韻自生。 還有，西方繪畫藝術，從17世紀到現在，已發展出多個畫派，當與哪些畫派折衷，又或與多個畫派綜合，這是一個值得探討的課題。古典寫實之精微，印象派之光色，表現主義之情感，抽象藝術之構成，乃至當代觀念藝術之思辨，皆可為我所參酌。然並非所有西方元素皆能與水墨相容。嶺南先輩多取法於日本間接傳來之寫實與光影技法，以增強物象表現力；及後關良、林風眠等，則更重西方現代主義之形式與色彩，賦予水墨以簡約、率真之新貌。 今日思之，折衷中西非僅技法之擇取，更是文化視野之融合。水墨之現代化，並非以西畫改造中國畫，而是以開放之心，廣納視覺資源，終究仍須回歸東方精神之本體——那筆墨深處的性情、意境與哲思。真正成功的「折衷」，必是外來影響沈澱為內在養分，作品中西痕跡漸隱，而時代精神與個人風格卓然自立。 此路漫長，需後來者不僅手追，更須心悟，在古今中西之間，找到那條屬於自己、亦屬於時代的墨徑。 
The Lingnan School of Painting, founded by Kao Tse-fu and Kao Chi-eng, advocates "compromising between Chinese and Western painting, and integrating ancient and modern styles". This proposition has had a profound impact over the past century, becoming an important for the exploration of modern Chinese painting, and has also sparked numerous practices and debates. When studying Western painting, it is important to understand that compromising between Chinese and Western painting absorbing the concepts and techniques of Western painting art on the basis of traditional Chinese painting, and developing a new style of ink painting. The brothers Kao, who went to Japan in early years, were inspired by the Japanese "compromise between Japanese and Western painting" method and advocated for reform. Their original intention was to break away from the constraints of the and ink routines since the Ming and Qing dynasties, and to inject the spirit of the times and realistic concern into Chinese painting. However, this compromise not as simple as 1 1. In some aspects, it maintains the methods of traditional Chinese ink painting, such as the interest of brush and ink, the vitality of work, the consideration of white space and black space, the perspective of scattered points, and the interaction of the real and the virtual; in some aspects, it also absorbs the of Western painting, such as the treatment of light and shadow, the change of color, the structure and proportion, the spatial hierarchy, and the complementarity of strengths and weaknesses. balance of all this depends entirely on the painter's cultivation and vision. If one focuses too much on Western techniques, it is easy to lose the oriental charm and approach the of watercolor sketching; if one blindly adheres to the use of brush and ink, it is difficult to break away from conventions and to respond to contemporary visual experience., the way of compromise actually lies in "transforming the West into the East", integrating foreign languages into the ink system, allowing it to breathe as usual, and generating its charm. Moreover, Western painting art, from the 17th century to the present, has developed into many schools of painting, which is worth discussing which schools to with, or to synthesize with multiple schools. The meticulousness of classical realism, the light and color of Impressionism, the emotion of Expressionism, the composition of art, and even the speculation of contemporary concept art, can all be used for my reference. However, not all Western elements can be compatible with ink painting. The Lingnan mostly adopted the realistic and light and shadow techniques indirectly transmitted from Japan to enhance the expressive force of objects; later, Kou Liang and Lin Fengmian, etc, paid more attention to the form and color of Western modernism, and endowed ink painting with a new look of simplicity and sincerity. Today, when I think it, compromising between Chinese and Western painting is not only the choice of techniques, but also the integration of cultural perspectives. The modernization of ink painting is not to reform Chinese painting Western painting, but to embrace visual resources with an open mind, and ultimately still need to return to the essence of Eastern spirit—the temperament, artistic conception, and philosophy in depth of brush and ink. The real successful "compromise" must be the influence of foreign culture sinking into internal nutrients, the traces of China and the West in the works gradually, and the spirit of the times and personal style stand out. This road is long, and it requires later generations to not only pursue it by hand but also to understand in their hearts, to find that road that belongs to themselves and to the times among the ancient and modern Chinese and Western 
高劍父(1879.10.12-1951.06.22)，名侖，字劍父，出生於廣東省廣州府番禺縣(現廣州市番禺南村員崗鄉)，中國近現代著名國畫家、美術教育家、嶺南畫派創始人之一。與高奇峰、陳樹人並稱為「嶺南三傑」。 高劍父出身文化世家，他的祖父高瑞彩，父親高保樣均擅醫學、武術，亦能書畫。他和五弟高奇峰同為嶺南畫派的藝術先驅。兄弟二人的藝術聲名不亞於「大風堂」張善子、張大千兩兄弟。 高劍父曾歷任中山大學國畫教授、南京中央大學藝術系教授、廣州市立藝術專科學校校長等職，桃李眾多。著名的弟子有關山月、黎雄才、楊之光等。生平著作有《中國現代的繪畫》《印度藝術》《國畫新路向》《蛙聲集》《佛國記》《劍父碎金》等。 曾在上海、南京、廣州及香港、澳門、印度、柏林、巴黎、蘇聯等地舉行過個人畫展或展出過作品。他的作品先後獲得意大利萬國博覽會金牌獎和巴拿馬萬國博覽會、比利時百年博覽會最優等獎，在國內外影響很大。代表作有《東戰場上的烈焰》、《松風水月圖》等。晚年居於澳門，1951年6月22日，享年73歲。 
Kao Gong Fu (1879.10.12-1951.06.22, born in Panyu County, Guangzhou Prefecture, Guangdong Province (now Nancun Village, Yanguang Township, Panyu District,angzhou City), was a famous modern Chinese painter, art educator, and one of the founders of the Lingnan School of Painting. He was known as the " Heroes of Lingnan" together with Kao Chi-feng and Chen Shuren. Born into a family of culture, his grandfather Kao Rui-c and father Kao Pao-yang were both proficient in medicine and martial arts, and also had a talent for calligraphy and painting. He and his fifth brother K Chi-feng were both pioneers of the Lingnan School of Painting. The artistic reputations of the two brothers were not inferior to those of the two brothers Zāng Shàn-zǐ and Zhāng Dà-qián of the "Dà Fēng Táng". Kao G Fu had served as a professor of Chinese painting at Sun Yat-sen University, a professor of the Department of Art at Nanjing Central University, and the principal of Guang Municipal Art College, among other positions, training many students. His famous disciples include Guan Shan-yue, Li Xiong-cai, and Yang Zhi-ang. In his lifetime, he authored works such as "Chinese Modern Painting", "Indian Art", "New Direction of Chinese Painting", "F Voice Collection", "Record of Buddha's Kingdom", and "Kao Gong Fu's Miscellaneous Golden Pieces". He had held art exhibitions or exhibited his works in Shanghai, Nanjing, Guangzhou, Hong Kong, Macau, India, Berlin, Paris, the Soviet Union, and other places. works have won the gold medal at the Italian Universal Exposition and the highest award at the Panama Universal Exposition and the Belgium Centennial Exposition, making a great impact both domest and internationally. His representative works include "The Blaze on the Eastern Battlefield" and "The Picture of Pine Wind and Water Moon". In his later years, he lived Macau and passed away on June 22, 1951, at the age of 73. 
特別鳴謝合作單位： Special thanks to partners: 
開創人：CEO/林鏡德 LIN JING DE DMSIXSEVEN / 林鏡德 LIN JING DE 1973 
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