鄭善禧（1932-），出生於福建漳州，1950年移居臺灣，是一位臺灣水墨畫家、書法家及教授。1997年，榮獲首屆「國家文化藝術基金會文藝獎」美術類獎項；2017年，獲頒行政院文化獎。2024年，獲教育部「藝術教育貢獻獎」終身成就獎。其創作題材廣泛多元，善於自生活經驗中汲取靈感，以其具有臺灣本土色彩、民間藝術的樸實與兒童天趣的表現特質而聞名。作品兼具傳統詩、書、畫修養與西洋繪畫媒材運用。在橫跨半世紀以上的創作與教育生涯中，其山水作品數量豐富且持續不斷，為其創作中具重要性的畫類之一。本文以鄭善禧山水彩墨作品為研究對象，透過圖像分析、文獻探討與作品比較，探討其如何建立個人化的彩墨表現。本文也進一步將鄭善禧被稱為「濃墨重彩」或「彩墨風格」的概括描述，轉化為更具體的解釋。同時，本文亦分析其作品所呈現之樸實趣味的創作氣質，並回應其在1970年代被納入鄉土繪畫脈絡之意涵。最後，透過對鄭善禧長期山水創作的考察，探討其在面對臺灣不同地景面貌與表達個人感受之際，如何展現出兼具地域特質、時代性與個人風格的臺灣山水樣貌。鄭善禧的山水彩墨創作，不僅展現其融合傳統筆墨、現代色彩與現世生活，也呈現出臺灣山水畫在地景再現、視覺形式與文化認同上的多重面向。;Cheng Shan-Hsi (1932- )， born in Zhangzhou， Fujian， relocated to Taiwan in 1950. He is a Taiwanese ink painter， calligrapher， and professor. In 1997， he received the First “National Award for Arts ”-Fine Arts category; in 2017， he was honored with the Executive Yuan National Cultural Award; and in 2024， he was awarded the Lifetime Achievement Award， Ministry of Education “Arts Education Contribution Award”. His works encompass a wide range of subjects， drawing inspirations from everyday life， and are renowned for their distinctly Taiwanese local character， rustic folk qualities， and childlike expressiveness. His art integrates the traditional literati cultivation of poetry， calligraphy， and painting with the use of Western painting materials. Across a creative and teaching career spanning more than half a century， landscape painting has remained a significant and prolific category within his oeuvre. This study focuses on Cheng Shan-Hsi’s color ink landscape paintings， employing image analysis， literature review， and comparative methods to explore how he developed a personalized mode of color ink expression. It further seeks to translate generalized descriptions such as “dense ink and rich color” or “color ink style” into more precise interpretations. In addition， this study examines the unadorned and playful qualities present in his works， responding to their classification within the context of nativist painting in the 1970s. Finally， through an examination of Cheng’s long-term engagement with landscape painting， this study investigates how he represents Taiwan’s diverse terrains while expressing personal sensibilities， thereby articulating a form of Taiwanese landscape that integrates regional characteristics， historical context， and individual style. Cheng Shan-Hsi’s color ink landscapes not only demonstrate a synthesis of traditional brushwork， modern color， and lived experience， but also reveal the multiple dimensions of Taiwanese landscape painting in terms of spatial representation， visual form， and cultural identity.
