前言

       今年十月於香港中央圖書館展覽廳舉行的「全球水墨畫大展——教育篇」設有「向饒宗頤大師致敬」專區，展出饒教授各個時期的繪畫作品共十五套，反應甚佳。展覽結束後，仍有不少藝術愛好者查詢，故香港大學饒宗頤學術館決定讓這批作品在學術館展廳中繼續展出。

       該批展品中，既有饒教授晚年繪寫的荷花，亦有他早至上世紀六十年代創作的水墨山水，創作時期橫跨近半世紀。其中更有一些是他嘗試用西方畫材所寫的海外風光，及其晚年獨創的西北宗山水，故是次展覽可謂他在繪畫創作上的一個精簡縮影。

       饒教授一向主張在藝術創作方面要先「師古人」，後「師造化」，但是更重要的是「師心」，即是要有自己的藝術視覺，把古人的精華及造化的神采納入自己筆底之下，從而變化出自我風格。這批畫作亦可見他是如何實踐這個主張的。

Foreword

       “Ink Global – Education Exhibition”, held at the Exhibition Gallery of Hong Kong Central Library in October this year, featured a zone to pay tribute to Professor Jao Tsung-i with 15 sets of his paintings from different creation periods. Due to the enthusiastic response from art lovers, Jao Tsung-I Petite Ecole decided to continue the exhibition at its gallery.

       This exhibition not only includes the lotus paintings accomplished in Professor Jao’s late years, but also the ink landscapes created back in the 1960s, demonstrating his artistic styles over the past 50 years. It also features several overseas landscapes painted with western art media, together with a landscape painting in the Northwestern School style, which was first put forward by Professor Jao in his later life. Therefore, the exhibition can be regarded as the epitome of his artistic creation.

       Professor Jao always advocated that for artistic creation, one must model after the ancients and then the nature. But the more important part is to learn from the mind, which means that the possession of an artistic vision enables one to develop a unique style by merging the essence of the past masters and the spirit of nature into the brushwork. From these selected artworks, viewers are also able to see how Professor Jao put his advocacy into practice.