饒昌慜・雉鳥｜隱身到現身・國立歷史博物館

饒昌慜（1923—不詳）。名月子，湖南長沙人。曾任職於南京糧食部。受其夫知名書法家兼詩人吳萬谷薰陶，勤研墨竹、山水花卉，創意超拔，色調明麗，兩人經常合作書畫創作，傳為藝林佳話。先後從溥心畬、鍾壽仁、范伯洪習四君子及山水，書法顏真卿，具大家風範。二戰後遷臺，1957年與來臺知名書畫家夫婦組成「六儷畫會」，成員有吳詠香與陳雋甫、邵幼軒與林中行、強叔平與陶壽伯、林若璣與季康、饒昌慜與吳萬谷、龔書綿與高逸鴻，以此會切磋砥礪畫藝。

Rao Chang-min (1923-unknown), also known as Yuezi, was a native of Changsha, Hunan. She originally served in the Ministry of Food in Nanjing. Encouraged by her husband, the renowned calligrapher and poet Wu Wan-gu, she devoted herself to mastering ink bamboo, landscapes, and flower paintings, developing a highly inventive approach characterized by bright, luminous color tones. The couple frequently collaborated on artworks, earning widespread admiration as a celebrated pair within artistic circles. Rao studied the “Four Gentlemen” (plum blossoms, orchids, bamboo, and chrysanthemums) and landscape painting under the guidance of Pu Hsin-yu, Chung Shou-ren, and Fan Po-hung. In calligraphy, she mastered the classical style of Yan Zhen-qing, displaying the poise and refined authority of a master. After World War II, Rao relocated to Taiwan. In 1957, alongside other prominent artist couples who had settled in Taiwan, she co-founded the Liuli (Six Couples) Painting Society. Its distinguished member couples included Wu Yung-hsiang and Chen Jiuan-fu; Shau You-shiuan and Lin Zhong-xing; Chiang Shu-ping and Tao Shou-po; Lin Jo-chi and Chi Kang; Rao Chang-min and Wu Wan-gu; as well as Kung Shu-mien and Kao Yi-hung. Through the society, they engaged in lively aesthetic exchanges, continuously inspiring one another to elevate their art.

Rao Chang-min (1923-unknown), also known as Yuezi, was a native of Changsha, Hunan. She originally served in the Ministry of Food in Nanjing. Encouraged by her husband, the renowned calligrapher and poet Wu Wan-gu, she devot- ed herself to mastering ink bamboo, landscapes, and flower paintings, developing a highly inventive approach charac- terized by bright, luminous color tones. The couple frequently collaborated on artworks, earning widespread admira- tion as a celebrated pair within artistic circles. Rao studied the “Four Gentlemen” (plum blossoms, orchids, bamboo, and chrysanthemums) and landscape painting under the guidance of Pu Hsin-yu, Chung Shou-ren, and Fan Po-hung. In calligraphy, she mastered the classical style of Yan Zhen-qing, displaying the poise and refined authority of a master. After World War II, Rao relocated to Taiwan. In 1957, alongside other prominent artist couples who had set- tled in Taiwan, she co-founded the Liuli (Six Couples) Painting Society. Its distinguished member couples included Wu Yung-hsiang and Chen Jiuan-fu; Shau You-shiuan and Lin Zhong-xing; Chiang Shu-ping and Tao Shou-po; Lin Jo-chi and Chi Kang; Rao Chang-min and Wu Wan-gu; as well as Kung Shu-mien and Kao Yi-hung. Through the society, they engaged in lively aesthetic exchanges, continuously inspiring one another to elevate their art.

《雉鳥》，為饒昌慜水墨設色紙本作品。描繪一隻環頸雉立於橫向竹幹上。其回首注視，眼神銳利，鮮紅的臉頰、堅實的鳥喙與長而彎曲的尾羽格外醒目，更凸顯了白色頸環特徵，竹幹透過墨色深淺的變幻，展現出紮實的立體感。款：文錦披身美雉來，橫空老竹亦奇哉。知君竹實時相采，不向塵中啄草菜。饒昌愍閒窗遣興作此。吳萬谷為題句竝書。印：昌慜畫印。萬谷。

Pheasant is an ink and color on paper painting by Rao Chang-min. The work depicts a ring-necked pheasant perched on a horizontal bamboo stem, turning its head to look back with a sharp, watchful gaze. Its vivid red cheeks, sturdy beak, and long, sweeping tail feathers are particularly striking, subtly emphasizing its signature white neck ring. Subtle variations in ink tone lend the bamboo stem a strong sense of volume and physical solidity.

水墨設色紙本　創作年代不詳 | 縱95 橫31公分 | 1985年入藏 | 國立歷史博物館 | 典藏編號74–00951

Ink and color on paper, date unknown | 95 × 31 cm | Acquired in 1985 | Collection of the National Museum of History | Accession No. 74-00951

《雉鳥》

Pheasant