前言

         中國繪畫傳統上是以「師古」為基礎，然後是「師自然」，最後便是「師心」。所謂「師自然」就是西方人所謂的「寫生」；而「師心」就是經過思考，將自然的形象或物象用自己的藝術意念表達出來。這在山水畫方面，尤其明顯。

         是次展出的十五套「造景山水」，包含饒教授所繪的古人筆意山水、描繪古人詩詞意境的山水、基於他自己所作詩詞的意境而描繪的山水，也有他與其他畫人合作的山水畫。概括來說，其實就是他「師心」的作品。這一類作品很容易落於窠臼，但上乘的作品則最能夠表達創作者的性格與學養。

         中國的山水畫自元代以後，目的是借用自然景物來表達創作者的情感。故此，所謂「師心」的作品，一定要在「師自然」的基礎上創作，否則就會出現在古人的形式中打滾這個毛病。這次展出的作品，正正顯示出饒教授在藝術上的成就。

鄧偉雄
2022年4月19日

Foreword

       Traditionally, the creation of Chinese painting is based on “learning from the past masters”, followed by “taking nature as the model”, and ultimately “recreating the images by the mind”. In fact, “taking nature as the model” is the same concept as what is called “sketching” by Westerners, while “recreating the images by the mind” refers to the ability to interpret natural objects and phenomena from the artist’s perspective after contemplation. It is particularly noticeable in landscape painting.

       In this exhibition, the fifteen sets of landscapes painted by Professor Jao include landscapes after the style of previous masters, landscapes depicting the artistic conception in ancient poetry, landscapes based on his poetry, and landscapes painted in collaboration with other painters. In essence, they are his works “recreated by the mind”. This type of work is prone to become formalistic, yet the greatest pieces may best demonstrate the creator’s character, as well as scholarship and cultivation.

       Since the Yuan dynasty, the purpose of Chinese landscape painting has shifted into using natural scenery to express the painter’s emotions. As a result, the works “recreated by the mind” must be founded on “taking nature as the model”, or they will be reduced to a mere formality. The paintings on display this time showcase Professor Jao’s exceptional artistic achievement.

Tang Wai Hung
19 April 2022