- 期刊
對話空間：廖德政與紀元畫會，1954-1988
Discourse: Laio Te-Chen and Chi-Yuan Painters' Society, 1954-1988
摘要
自從1946年日本東京美術學校畢業歸來，廖德政就與科學家朋友一起研究台灣植物的綠。由於受到現代藝術影響，他想從表現家鄉色彩為開始，以建立個人風格。因此，以植物的錄為隱喻，除了暗示一種科學方法，也意味文化的覺醒。他受到父親的影響，對人道思想充滿關懷。他父親長期從事社會運動，反抗日本殖民之帝國主義思想。但是，台灣光復後，卻因批評時政，不幸地，於1947年228事件失蹤遇難。1951年廖德政打破沉默，以《清秋》來紀念這個事件。1954年他與陳德旺、洪瑞麟、金潤作、張萬傳以及張義雄，共同組成「紀元畫會」。以「互相研究」為目標，來舉辦展覽與討論現代藝街，廖德政都居於關鍵性的角色。西方現代主義畫家中，他先是特別對波納爾的作品感興趣。另方面，為了回應塞尚畫他家鄉的聖維克特山系列，廖德政自1970年起藉由天母山居的視角，開始以系列的觀者山為創作主題。然而，觀音山也正是廖德政父親失蹤遇難之處，暗示創傷的符號。
並列摘要
Laio Te-Chen began studying the ”green colors of Taiwanese plants” with a friend upon his graduation from the Tokyo Academy of Fine Arts in 1946. Laio, already influenced by modernist art, wanted to find his own style through localization. Therefore, his stated interest in ”green colors” implied a scientific investigation. At the same time, the plants of Taiwan provided him with a metaphor for cultural consciousness.Laio shared his father's passion for the wellbeing of humanity. His father had engaged in social movements in Taiwan during Japan's colonial period. At the end of World War II rule over Taiwan passed to the KMT. Laio's father was killed in 1947 in the political event known as ”228” because he had condemned government corruption. In the ”Clear Autumn” of 1951 Laio Te-Chen broke his fearful silence on the matter in an effort to memorialize the event.In 1954 Laio played a key role in founding the Chi-Yuang Painters' Society. This society counted among its members Laio, Chen Te-Wang, Hung Rei-Liang, Jing Rein-Tzao, Chang Wan-Tzang and Chang I-Shung. Chi-Yuang artists were not only interested in organizing exhibitions but in conducting group studies of modern art by other artists. Laio especially admired the work of Bonnard. Cezanne's Mt. Victoire paintings, made in his hometown, found their echo in Laio's Mt. Kuan-In paintings since 1970. However, Laio's father had gone missing in the reqionof Mt. Kuan-In. Thus, Mt. Kuan-In paintings also implied the sign of trauma.