【專訪】台灣當代藝術家杜麗珠 Tu, Li-Chu 2026 Fiesta Art入選佳作
墨韻凝時・歲月生香——半世紀水墨修行，以荷與竹書寫女性心靈的靜美與鄉愁
【記者 吳慧蓮 張和坤 印度報導】2026/01/04
荷葉沙沙輕語，月光傾瀉竹林—在墨韻層疊虛靈的留白中，彷彿能聽見自然與記憶的細微對話。純粹的東方美學作品代表〈荷趣〉(Lotus Delight) (水墨紙本，122 × 60公分) 以優雅的蓮葉動態與墨色細微變化，捕捉純淨與優雅的瞬間，於印度「2026國際慶典藝術大賽暨線上展覽」（2026 International Fiesta Art Competition & Online Exhibition）入選佳作。台灣當代藝術家杜麗珠以水墨淡彩捕捉荷花亭亭玉立、瓣葉婆娑，葉脈水珠凝翠，留白霧氣繚繞，呈現禪境靜觀的生命韻律，構成「花開自性」的東方哲思，獲主辦單位「賓達斯藝術集團」（Bindaas Artist Group）創辦人暨策展人拉克什·庫馬爾·喬杜里博士（Dr. Rakesh Kumar Chaudhary）與評審團一致推崇，讚為「墨韻寫意的現代演繹」，為台灣當代水墨藝術在國際賽事中成為最具指標性的藝術形象之一。杜老師，屏東師專畢業、任教31年，持有美國國際古董鑑定師、藝術治療師與禪畫藝術師三證，研學水墨畫逾50多年，於國際藝壇上屢獲大獎。
一幅好的荷花作品，是畫者內心道德情操的反映。素有“花中君子”之稱的荷花，以其「出淤泥而不染，濯清漣而不妖」純淨的特性為人們喜愛；荷花被賦予不浮躁、不張揚、美而不妖、嬌而不艷、剛正不阿等美德，這樣一種自然界的花卉帶給人們的精神享受已超出一般賞心悅目的觀賞價值。如果說畫荷是在畫一種幽情，一種境界，一種氣格，而賞荷更是一度胸懷，一種氣度，一種坦然。在這幅〈荷趣〉寫意水墨畫作中，「勾線與沒骨並用」，主體以寫意墨色渲染荷葉與花瓣，局部輔以線條勾勒梗節與葉脈；杜麗珠以「皴擦暈染」技法，將水墨層次由濃黑葉梗漸變至淡灰葉面，再以極淡留白勾勒葉緣，營造出濕潤而立體的質感，把荷花流露芬芳，挺出水面、聖潔高雅的意境，展現得栩栩如生；用筆則濃、淡、枯、濕、勾、抹、點多種筆法參用，除了造型的優美之外，更多了一份筆情墨趣的品味；在構圖上則保留了東方美學的留白哲學，使整體畫面既有動態張力，又不失靜謐空靈，是一件兼具技術與情感的佳作。
作品簡介 : 在荷葉上現出每一片荷葉翻轉的動態，利用墨的濃淡，趁出它的優美，讓人有感覺那~沙、沙的聲嚮，那美麗的清香。
Artwork Description : Each lotus leaf is captured in a moment of graceful motion, its subtle twists revealed through the nuanced interplay of ink tones. The viewer can almost hear the gentle rustling—sha, sha—and sense the delicate fragrance rising from the scene, evoking a quiet elegance in nature’s rhythm.
作品〈輕風韻竹思故鄉〉(Bamboo Whispers in the Breeze: Longing for Home_Ink on Paper) (水墨紙本，100 × 62公分) ，以竹為主題，融合月光與鄉愁意象。墨色由幹部焦墨漸暈至枝葉淡灰，月輪以極淡圓渾留白，竹影投地形成虛實交錯的空間層次。構圖採立軸高遠法，竹叢自畫底竄升，枝葉穿透月光，頂端留白無盡，象徵鄉愁的無邊遼闊。筆觸上，幹部以「鐵線描」剛勁有力，枝葉借「披麻皴」輕柔流動，風韻自墨中生動而出。畫面中，竹影在月色中搖曳，背景以淡墨鋪陳遠山與空間氛圍，濃墨則集中於竹幹與葉脈之間，形成強烈而含蓄的情感張力。杜麗珠表示：「在月亮裡畫出我念念不忘的家鄉，濃濃的竹韻和月亮是牽手的，它在我心裡。」這幅作品不僅是視覺上的構成，更是情感的寄託與記憶的召喚。展現了女性藝術家細膩的情感表達與文化記憶的深度，是一件富含詩意與哲思的水墨佳作。
作品簡介 : 在月亮裡畫出我念念不忘的家鄉，濃濃的竹韻和月亮是牽手的，它在我心裡 同時這裡的墨也較濃，也卷著濃濃的情。是我幾十年來的美麗緣份。
Artwork Description : Within the moon’s glow, I paint the homeland I’ve long cherished. The deep resonance of bamboo and moonlight walk hand in hand, dwelling in my heart. Here, the ink flows more richly, carrying layers of emotion—an enduring connection shaped by decades of beauty and memory.
從策展角度觀之，杜麗珠的創作呈現出一條難得而清晰的藝術路徑：她並未追逐快速變動的藝術潮流，而是以教育者與修行者的姿態，長年在水墨語言中反覆錘鍊。杜麗珠的藝術實踐顯示，水墨與留白早已超越形式與技法的層面，不再只是媒材語言的延續，而是一種能夠承載文化記憶、回應時代焦慮並提出精神命題的思想媒介，杜麗珠的靈性寫實則展現東方自然化獨有的層層美學。在全球當代藝術場域日益關注速度、衝突與議題性的此刻，杜麗珠的水墨提供了另一種可能——藝術不僅是觀念的輸出，更是情感的安放與心靈的歸處。她的作品提醒觀者：真正深遠的藝術，往往源於長時間的靜默與誠實觀看。
【台灣當代藝術家 杜麗珠 檔案】
學經歷：
- 屏東師專畢業。
擔任國小教師任教 31 年退休。 師專期間研學水墨畫迄今，50 多年。
美國國際證照：
- 國際古董藝品鑑定師證書
- 美國國際「古董鑑定師」專業證書(2017)、美國國際「藝術治療師」專業證書(2018)、
美國國際「禪畫藝術師」專業證書(2019)
獲獎紀錄：
- 2022「第 56 回國際文化美術大展」(2022.7.9~12)韓國首爾特別市 Gallery LAMER 水墨類 銅獎
- 2024 韓國亞細亞美術大展 水墨類銀獎 韓國首爾特別市展
個展經歷：
- 2019「杜麗珠─複合媒材藝術創作展」高雄 855藝術實驗空間
- 2025「心境─杜麗珠水墨創作展」高雄 855藝術實驗空間(2025.7.30-8.13)
聯展經歷：
- 2025台灣當代美術巴黎特展 (巴黎現代美術藝廊) 2025.6.6-6.8
- 2022「第 56 回國際文化美術大展」(2022.7.9-12)韓國首爾特別市 Gallery LAMER
- 2022「50 周年紀念2022 亞細亞美術招待展」韓國首爾特別市展
- 2021「第 44 回韓國文化美術祭」韓國首爾特別市展 (2021. 12.29- 2022. 1. 4)
- 2021「韓‧中‧日」文化協力美術祭 / Maru Art Center 韓國首爾
- 2021「美夢成真」─美國西南德保羅大學藝研所臺灣校友會 首展 / 琳藝術空間 台灣台中
隸屬畫會團體：
- 中美文化藝術交流協會
【Taiwanese Contemporary Artist：Tu, Li-Chu】
Profile：
Education：
- Graduated from Pingtung Teachers College.
Served as an elementary school teacher for 31 years before retirement.
Studied ink painting since teacher’s college for over 50 years.
International Certifications：
- Certificate of International Antique Connoisseur
- Certificate of International Arts Therapist (2018)
- Certificate of International Zen Painting Artist (2019)
Selected Awards：
- 2022: “The 56th International Culture and Art Exhibition” (2022.7.9-12), Gallery LAMER, Seoul, Korea – Bronze Prize, Ink Painting Category
- 2024: ASIA INVITATION ART EXHIBITIONS IN SEOUL 2024 / korea art – Silver Prize, Ink Painting Category, Seoul, Korea
Exhibition Experience：
Solo Exhibition Experience：
- 2019: “Tuli Chu – Mixed Media Art Exhibition”, Kaohsiung 855 New Art Center, Taiwan
- 2025: “State of Mind – Tuli Chu Ink Painting Solo Exhibition”, Kaohsiung 855 New Art Center (2025.7.30-8.13)
Group Exhibition Experience：
- 2025: Taiwan Contemporary Art Paris Special Exhibition, Paris Modern Art Gallery (2025.6.6-6.8)
(Art moderne galerie, Le Village Swisse, Paris, France)
- 2022: “The 56th International Culture and Art Exhibition” (2022.7.9-12), Gallery LAMER, Seoul, Korea
- 2022: “50th Anniversary 2022 Asia Art Invitational Exhibition”, Seoul, Korea
- 2021: “The 44th Korea Culture Art Exhibition”, Gallery LAMER, Seoul, Korea (2021. 12.29- 2022. 1. 4)
- 2021: “Korea-China-Japan” Cultural Exchange Art Festival, Maru Art Center, Seoul, Korea
- 2021: “Dreams Come True” – DePaul University (USA) Taiwan Alumni Association’s First Exhibition, Lin Art Space, Taichung, Taiwan
Art Groups and Association：
- TAIWAN American Culture Artists Inter Change ASSOCIATION
[Feature Interview]
Taiwanese Contemporary Artist Tu, Li-Chu: 2026 Fiesta Art Selected Artist
Ink Rhythms of Time · Fragrance of Years Past—Half a Century of Ink Discipline,
Inscribing Feminine Serenity and Nostalgia through Lotus and Bamboo
[Reported by Wu, Hui-Lien (Anasha) / Zhang, He-Kun | India Report | January 4, 2026]
Lotus leaves murmur in the breeze, moonlight cascades through bamboo groves—in the layered voids of ethereal ink rhythms, one overhears the subtle colloquy of nature and reminiscence. The paradigmatic work of pure Eastern aesthetics, Lotus Delight (ink on paper, 122 × 60 cm), seizes a pristine, graceful ephemerality through the kinetic poise of its leaves and nuanced ink modulations. Selected as an outstanding entry in the India-based “2026 International Fiesta Art Competition & Online Exhibition,” this piece by Taiwanese contemporary artist Tu, Li-Chu evokes lotus blossoms in poised elegance, petals and foliage swaying in delicate interplay, veins glistening with dew-like verdancy amid mist-shrouded reserves. It distills a Zen-contemplative pulse of vitality, embodying the Eastern philosophical motif of “spontaneous blossoming,” and has earned unanimous acclaim from Bindaas Artist Group founder and curator Dr. Rakesh Kumar Chaudhary, alongside the jury, as a “contemporary exegesis of ink-inflected lyricism.” Thus, Tu emerges as one of Taiwan’s most emblematic figures in global ink artistry. A graduate of Pingtung Normal College with 31 years of teaching, she holds international certifications as an antique appraiser, art therapist, and Zen ink practitioner, her ink studies spanning over five decades crowned by repeated international accolades.
A consummate lotus rendition mirrors the moral temperament of its creator. Revered as the “gentleman of flowers,” the lotus—rooted in mire yet immaculate, bathed in limpid ripples without ostentation—embodies virtues of composure, restraint, refined beauty sans vulgarity, resilience without rigidity. Transcending mere visual delight, it proffers spiritual solace. To render lotus is to evoke a reticent lyricism, an exalted realm, a tempered ethos; to contemplate it demands breadth of spirit, magnanimity, unfeigned candor. In Lotus Delight, Tu masterfully hybridizes contour delineation with boneless washes: broad ink sweeps vivify leaves and petals, selectively augmented by linear accents on stems and veins. Through rubbings, bleedings, and graduated tonalities—from inky stalks fading to silvery blades, edged by whisper-thin reserves—she conjures a moist, volumetric tactility. The lotus emerges in vital fragrance, cleaving the waters in sanctity and poise, rendered with palpably lifelike conviction. Her brushwork interweaves dense and dilute, parched and saturated, hooked, smeared, and dotted modalities, yielding not only formal grace but an exquisite savor of calligraphic élan and inky caprice. Compositionally, it honors the Eastern philosophy of void as generative space, balancing kinetic tension with tranquil ethereality—a synthesis of technical prowess and affective depth.
Equally evocative, Bamboo Whispers in the Breeze: Longing for Home (ink on paper, 100 × 62 cm) centers bamboo as a nexus of lunar glow and nostalgic reverie. Ink gradients from charred culms to ashen foliage; the moon manifests as a faintly haloed void; bamboo shadows weave illusory depths across the ground plane. Employing a vertical high-distance format, bamboo thickets erupt from the base, fronds piercing the lunar veil toward boundless apex reserves—emblematic of nostalgia’s infinite expanse. Culms bear the sinewy vigor of iron-wire stroke, leaves flow in hemp-fiber texturing, birthing windswept rhythms innate to the ink itself. Shadows sway in moonlit ambiguity against dilute backdrops of distant hills, while dense saturations anchor veins and stalks, forging a potent yet understated emotive charge. “In that moon, I paint the homeland I cannot forget,” Tu reflects. “The thick bamboo timbre clasps the moon in my heart.” Beyond visual architecture, this canvas summons affective anchorage and mnemonic invocation, a profound testament to a woman’s nuanced expressivity and cultural recall—ink poetry laced with philosophical resonance.
From a curatorial vantage, Tu, Li-Chu’s practice charts a rare, lucid trajectory: eschewing ephemeral trends, she inhabits the dual roles of pedagogue and ascetic, relentlessly refining ink vernacular over decades. Her endeavors affirm that ink and void transcend medium and method, evolving into discursive vessels for cultural memory, temporal unease, and existential inquiry—her spiritually realist idiom unveiling the stratified aesthetics intrinsic to Eastern naturalism. Amid global contemporary art’s fixation on velocity, discord, and topicality, Tu’s ink articulates an alternative praxis: art as not mere conceptual dispatch, but sanctuary for sentiment and soul. Her oeuvre admonishes us that enduring profundity arises from prolonged silence and unflinching gaze.
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