新天下耳目

饒宗頤教授認為學術與藝術兩者是應該互益互補，故他在研究藝術史，如敦煌白畫、晚明諸家的學術與思想等方面時，亦同時研究敦煌白畫的技法，以及元代與晚明諸家的畫法。為了加深對這些方面的了解，他亦臨仿敦煌白畫及元、明兩代諸家的畫作，尤於敦煌白畫、元代黃公望、倪雲林及明遺民張瑞圖、王覺斯、石濤、八大等人的繪畫，臨繪最多。

到了上世紀八十年代以後，饒教授就更加專注於書畫藝術的研究與創作。他在學術研究上，一向主張不單要發現新問題，更重要的是提出答案；他在繪畫方面亦如是。在八十年代始，他踏過了「師古」及「師造化」這兩個階段，而進入了「師心」的境界，像他繪寫亞洲各地佛跡，都寫出了這些佛跡遺址的歷史感；又用中國的畫法去繪寫海外各地的風光；他提出的中國山水「西北宗」作品與及其荷花繪畫，在在都顯示了他個人的創作力。

王灼在《碧雞漫志》中評東坡詞云：「指出向上一路，新天下耳目。」饒教頤教授晚年的繪畫創作亦可謂如是。

鄧偉雄

二零一六年五月

A New Path for Artistic Creation

Professor Jao Tsung-i believes that scholarship and art can be complementary and mutually beneficial. Therefore, when he researched on Chinese art history, including topics such as Dunhuang line drawing, and scholarship and philosophies of the masters of the late Ming Dynasty, he also studied the painting techniques of Dunhuang line drawing, as well as those of the masters of the Yuan and late Ming Dynasties. To deepen his understanding of these fields, he imitated paintings in Dunhuang sketch style, paintings of Huang Gongwang and Ni Zan of the Yuan Dynasty, as well as Zhang Ruitu, Wang Duo, Shitao, and Bada Shanren of the late Ming period.

Since the 1980’s, Professor Jao has engaged more in research and creation of painting and calligraphy. In regard to academic research, he advocates that one should not only raise new questions, but also put forward answers to them; in which he holds the same view on the aspect of artistic creation. Since then, he has gone through the stages of modeling after the ancients and nature, and now his own mind. For instance, his works depicting Asian Buddhist relics are able to evoke a sense of antiquity. He also portrayed overseas landscapes with Chinese painting techniques. Together with his Northwestern School landscape and lotus paintings, his creativity has been fully manifested.

Wang Zhuo’s comment on Su Shi’s poem verse can be applied to Professor Jao’s artworks accomplished in his late years that they have opened up a brand new path in Chinese art.

​May 2016

「筆底造化 ─ 饒宗頤教授繪畫展」海報