顏小僊（1925–2020），字小仙，號二仙，晚號無猜老人，生於江蘇揚州。書法家顏二民孫女，花卉畫家顏裴仙之女。幼承家學，師專畢業後於小學執教。水墨用筆以淡彩及小寫意為主，專攻花鳥，尤擅牡丹。二戰後遷臺，1961年代與韓石秋等書畫家組織「海天藝苑」（今高雄市中國書畫學會），為高雄市最早成立的書畫社團。1975年遷居臺北，1987年獲中華民國書畫學會金爵獎。1974年捐贈作品參加本館「中華文物箱」世界巡展，1984年參加本館於多明尼加舉辦「中華當代繪畫展」，1999年參加本館「慶祝儒學大師陳立夫資政百歲誕辰百家書畫展」。
Yan Shiau-shian (1925-2020), courtesy name Xiaoxian, was born in Yangzhou, Jiangsu. She used the art name Erxian and, in her later years, Wucai Laoren. The granddaughter of calligrapher Yan Er-min and daughter of flower painter Yan Pei-shian, she received her early artistic training within her family. After graduating from a teachers college, she taught at an elementary school. In her ink paintings, Yan favored light colors and the refined freehand style. She specialized in bird-and-flower painting, gaining particular acclaim for her depictions of peonies. After World War II, Yan relocated to Taiwan. In 1961, together with Han Shih-chiu and other artists, she co-founded the Haitian Art Society (now the Kaohsiung Chinese Painting and Calligraphy Society), the earliest painting and calligraphy society established in Kaohsiung. She moved to Taipei in 1975. In 1987, she was awarded the Golden Jue Award by the Painting and Calligraphy Society of the Republic of China. In 1974, she donated works for NMH’s “Chinese Cultural Chests” international touring exhibition. In 1984, she participated in the “Exhibition of Contemporary Ink Painting” held in the Dominican Republic. In 1999, she participated in NMH’s “Exhibition of One Hundred Masters Celebrating the Centenary of Senior Advisor Chen Li-fu.”
《桃李春風》，為顏小僊1999年水墨設色紙本作品。背景用淡墨綠色大面積烘染，襯托出兩株桃樹和李樹交錯的主體畫面。中桃花以沒骨描繪，李花則用淡墨勾勒，營造兩種筆法前後掩映的空間感。在枝幹與樹枒、花蕊布局間，充分掌握主輔、虛實、疏密、聚散、開合的呼應關係。款：桃李春風，己卯顏小僊於臺北時年七十有五。印：顏氏，小僊畫記。
Peach and Plum Blossoms in the Spring Breeze is an ink and color on paper painting by Yan Shiau-shian in 1999. Broad washes of pale, ink-green form the background, gracefully highlighting the intertwined main subject—a pair of peach and plum trees. The peach blossoms are rendered in the mogu (boneless) technique, without outlines, while the plum blossoms are delicately delineated in light ink. The interplay between these two complementary brush techniques creates a rich sense of spatial depth as the flowers overlap and recede. In arranging the trunks, branches, and floral stamens, Yan skillfully masters the rhythmic relationships between primary and secondary elements, solid form and void, density and openness, clustering and dispersion, and compositional opening and closing.
水墨設色紙本 1999 | 縱90 橫35公分 | 1999年入藏 | 國立歷史博物館 | 典藏編號88–00433
Ink and color on paper, 1999 | 90 × 35 cm | Acquired in 1999 | Collection of the National Museum of History | Accession No. 88-00433
《桃李春風》
Peach and Plum Blossoms in the Spring Breeze
