樂藝耕讀-陳士侯創作展 【線上看展】｜臺中市港區藝術中心

陳士侯早期畫作以寫意為主，後期逐漸轉向工筆，對佈局的講究則從一而終。工筆畫從打稿、定稿、勾勒、填彩到完成，都需要充沛的精力和時間，所以他選擇在體力尚足的時候，投入工筆畫的創作。而寫意畫講求的佈局構思，則被他運用到工筆畫之中，所以不管是花鳥蔬果，或佛像菩薩畫像，在佈局方面都顯得得心應手，使畫作氣韻生動、親切有味。
In his early years, he engaged in freehand brushwork and later gradually became absorbed in gong bi (meticulous painting). However, he always pays full attention to the composition. It really takes energy and time to complete a gong bi, requiring making a draft, a final draft, outlining and coloring. That’s the reason why he always devotes himself to his gong bi in good spirits. In his gong bi, he also employs visual language and spiritual intention, which are the basis of freehand brushwork. Therefore, spectators can feel the vital rhythmic flow and the sense of amiability in both his still-life object paintings and Buddhist paintings.
在他的畫作中，入畫的素材多半是他園子裡的生命百態，從每日照顧這些花卉蔬果中，仔細觀察一花一葉的四時榮枯變化，以及蟲鳥在花間葉裡進進出出的靈動情態，俯拾皆是題材，如此次展覽中的絲瓜百吉圖、山茶花與藍鵲、牡丹孔雀、向日葵、紫藤花、臺灣原生種蝴蝶蘭等。
In his paintings, most of his ideas come from the variety of plant and animal life in his garden. As he cultivates these plants, he always takes a close look at the changes in them throughout the four seasons and sees insects and birds that visit and live in the plants. All of these give him ideas to create works such as Auspicious Loofah Picture, Camellia and Taiwan Blue Magpie, Peony and Peacock, Sunflower, Wisteria, Phalaenopsis Aphrodite and so on.