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Tuesday 11:00 - 19:00 Wednesday 11:00 - 19:00 Thursday 11:00 - 19:00 Friday 11:00 - 19:00 Saturday 11:00 - 19:00 Sunday 13:00 - 18:00

敦煌藝術中心 Caves Art Center

Q: What is the address?

台北市松山區富錦街91號

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敦煌藝術中心 Caves Art Center

1983年，畫家洪平濤為提供中青藝術家發表的園地，以經營者、推廣者的角度創辦了敦煌藝術中心，走過臺灣經濟發展的八十年代，文化多元鼎盛的九十年代。累積兩岸30餘年藝術市場經營經驗，期望能將台灣本土優秀藝術家推向國際，在藝術領域中能夠發揮東方文化與世界的互動及影響。

1983年，畫家洪平濤為提供中青藝術家發表的園地，以經營者、推廣者的角度創辦了敦煌藝術中心，走過臺灣經濟發展的八十年代，文化多元鼎盛的九十年代。除了致力於藝術產業經營外，並開辦敦煌學苑，首創民間藝術研究及欣賞的講座，開創藝術流行風潮，並出版敦煌藝訊，開設藝術網路拍賣。同時以美術史的眼光整理中國油畫史、當代水墨史，重新發掘湮沒於時代變動中傑出的藝術家。經過敦煌引介而活躍亞洲藝術市場的老一代畫家包括余本、沙耆、李青萍、胡善餘、賈又福等…，使其在美術史、在學術上獲得應有的地位與評價。在當代水墨書寫方面也包括張大千、江兆申、周澄、李義弘、李安成、劉國松、楚歌、蔣勳、席慕容、李蕭錕、小魚等…。
近40年藝術市場經營經驗，深知不同文化差異與藝術市場性格及特質，拉近了國際間文化人的距離。經營迄今收穫多年藝術市場經驗，期望能持續將台灣本土優秀藝術家推向國際，在藝術領域中能夠發揮東方文化與世界的互動

及影響。

1987年開設「敦煌學苑」，連續做了7~8年的藝術講座。
1991年敦煌藝術中心搬遷（台北市忠孝東路一段，地下室，近善導寺）
1992成立台中敦煌藝術中心
1997成立高雄敦煌藝術中心
1998成立新竹敦煌藝術中心
1998當選畫廊協會理事長
1999年成立敦煌藝術網
1999首度帶領畫廊協會成員參加北京、上海國際藝術博覽會。
1999台北國際藝術博覽會，適逢九二一大地震，特別舉辦九二一藝術義賣會。在畫家慨捐畫作、藏家熱烈參與下共募得新台幣七百多萬元，悉數捐給慈濟基金會進行藝文設施的重建工程。
2000台北國際藝術博覽會主題「驚世創意」，第一次將純藝術與生活美學相互結合，同時新生代藝術家在大型藝術博覽會中首度擁有發聲的空間。
2006 成立上海敦煌藝術中心
2011 台北敦煌藝術中心遷於台北富錦街91號

In 1983, painter Mr. Pin Tao HONG founded Cave Art Center from the perspective of an operator and promoter in order to provide a venue for young and middle-aged artists to express themselves. It has gone through the 1980s when Taiwan's economy developed and the 1990s when cultural diversity flourished. In addition to being dedicated to the management of the art industry, it also opened the Dunhuang Academy, initiated the first lectures on folk art research and appreciation, created a popular art trend, published Dunhuang Art News, and launched an online art auction. At the same time, we organize the history of Chinese oil painting and contemporary ink painting from the perspective of art history, and rediscover outstanding artists who were buried in the turmoil of the times. The older generation of painters introduced by Dunhuang and active in the Asian art market include Yu Ben, Sha Qi, Li Qingping, Hu Shanyu, Jia Youfu, etc., which have earned them their due status and evaluation in art history and academic circles. Contemporary ink writing also includes Zhang Daqian, Jiang Zhaoshen, Zhou Cheng, Li Yihong, Li Ancheng, Liu Guosong, Chu Ge, Jiang Xun, Xi Murong, Li Xiaokun, Xiao Yu, etc. With nearly 40 years of experience in art market management, he is well aware of the differences between different cultures and the personalities and characteristics of the art market, which has shortened the distance between international cultural people. Having gained many years of experience in the art market since its operation, we hope to continue to promote Taiwan's outstanding local artists internationally and exert the interaction and influence of Eastern culture and the world in the art field.

1987 the "Caves Art Academy" and gave art lectures for 7 to 8 consecutive years.
1991 Caves Art Center moved (Section 1, Zhongxiao East Road, Taipei City, basement, near Shandao Temple)
1992 Cave Art Center Taichung was established
1997 Cave Art Center Kaohsiung was established
1998 Cave Art Center Hsinchu was established
1998 Elected as Chairman of Gallery Association
1999 Led members of Gallery Association to attend Art Expo in Beijing and Shanghai
1999 Taipei International Art Expo; 9/21 Earthquake happened and held 9/21 Special Auction. A total of more than NT7,000,000 was raised due to artist contribution and collectors support, all donated to Zhi Chi Foundation for reconstruction
2000 Taipei International Art Expo Theme “Creativity that Shocks the World”, combining for the first time the pure art and beauty of life, while giving space for the new generation artists for the first time to make their show.
2006 Cave Art Center Shanghai was established
2011 Cave Art Center Taipei moved to Fu Jin Street

28/04/2026

天闊煙靜｜李安成水墨展
Vast Skies, the Haze Withdrawn
Li An-Cheng Ink Painting Exhibition

▍展期：2026.05.02 ~ 05.23

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留白處，時間擱淺

在那幾乎無聲的畫境裡，時間不再線性流動，而是如水氣般緩緩滲透。觀者的目光游移於山脊與留白之間，彷彿步入一場無形的行旅——沒有起點，也無須終點。李安成以極度克制的筆法，讓一切情緒潛伏於墨色深處，不張揚，卻無法忽視。那些看似空無的留白，實則承載著最沉重的思緒，如同夜半未竟的夢境，在醒與未醒之間反覆召喚。也正是在這樣的觀看之中，人不自覺地卸下防備，讓自身的孤獨與畫中的靜默悄然對話。

Time Runs Aground in the Void

Within the near-silent realm of these paintings, time ceases its linear passage and permeates instead like vapour — slowly, imperceptibly. The viewer’s eye drifts between ridge and unpainted expanse, as though setting out upon an invisible journey that has no point of departure and requires no destination. Through a brushwork of extreme economy, Li An-Cheng allows all emotion to lie in wait within the depths of the ink — unannounced, yet impossible to overlook. Those spaces that appear empty carry, in truth, the heaviest of thoughts: like a dream that refuses completion at midnight, calling the half-woken mind back again and again between sleeping and waking. It is in precisely this mode of looking that the viewer, without knowing it, lowers every guard — and allows their own solitude to enter into quiet conversation with the silence held within the painting.

27/04/2026

天闊煙靜｜李安成水墨展
Vast Skies, the Haze Withdrawn
Li An-Cheng Ink Painting Exhibition

▍展期：2026.05.02 ~ 05.23

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懂得之人，從此與寂靜為鄰

那寂靜有重量，像初雪落在無人踩踏的庭院，無聲，卻改變了整個地面的顏色。被李安成的墨色真正觸碰過一次的人，此後走在任何地方，都會在某個不經意的轉角，忽然感到身後有什麼輕輕跟來——不是記憶，不是惆悵，而是一種從未有過名字的陪伴感，溫熱而沉默，如同冬日掌心裡一塊尚未涼透的石。從前視為負擔的獨處，如今竟悄然生出了紋理；從前急於逃離的安靜，如今也懂得在其中緩緩坐下，不問來處，不問去向，只是讓自己像一滴墨，慢慢在宣紙上洇開，抵達它命中注定的形狀。與寂靜為鄰，從來不是一個選擇，而是一場水到渠成的歸返。那些在他畫前久久不願離去的人，心底其實都清楚——他們等待的不是下一幅畫，而是那個在所有喧囂退潮之後，仍舊安靜守在原地的自己。李安成從不呼喚，從不挽留，他只是將那扇門畫在紙上，用最淡的墨，最輕的筆，讓它若隱若現地存在於山嵐與留白之間。而門後是什麼，他從未說破——因為每個人推開之後所見，從來都不一樣，那是觀者以自身的一生，與畫中的永恆，悄然完成的最後一筆。

Those Who Understand Will Henceforth Live Beside Silence

That silence has weight — like the first snow falling upon a courtyard no foot has yet disturbed: soundless, yet capable of changing the entire colour of the ground. Those who have once been truly touched by Li’s ink will find, thereafter, wherever they walk, that at some unremarkable corner, something begins to follow them softly — not memory, not sorrow, but a nameless companionship: warm and wordless, like a stone carried in the palm on a winter’s day, not yet grown cold. What was once experienced as the burden of solitude acquires, almost imperceptibly, a texture; the silence from which one once fled becomes, in time, a place where one may sit without asking where it comes from or where it leads — allowing oneself to be as a drop of ink, slowly blooming on the surface of paper, arriving at the shape it was always fated to take. To make one’s dwelling beside silence is never truly a choice; it is a homecoming that arrives in its own time, as water finds its way to the sea. Those who linger before his paintings, reluctant to leave, understand in their hearts what they are waiting for — not the next painting, but the self that remains, quiet and still, after all the noise has receded. Li An-Cheng calls no one. He keeps no one. He only paints that door upon paper — with the palest ink, the lightest touch — allowing it to exist, half-visible, between the mountain mist and the unpainted white. What lies beyond that door, he has never disclosed — for what each person finds upon opening it has never been the same. That is the final brushstroke, completed in silence, by the viewer’s own life against the painting’s eternity.

26/04/2026

天闊煙靜｜李安成水墨展
Vast Skies, the Haze Withdrawn
Li An-Cheng Ink Painting Exhibition

▍展期：2026.05.02 ~ 05.23

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黑與白的浪漫

墨落紙上的剎那，黑與白便開始了一場無聲的戀事。那不是對立，而是相互成全——黑因白而有了邊界，白因黑而有了重量。李安成深諳此道，從不強迫兩者妥協，而是讓它們在紙面上自然地靠近、試探、退讓，最終在某個無從預期的位置，以最恰當的距離，相互凝視。那距離不遠不近，像是兩個歷經滄桑的靈魂，不再需要言語，只需同處一室，便足以感到安慰。黑不吞噬白，白不驅逐黑，它們共同守護著彼此之間那片曖昧的灰——而那片灰，才是整幅畫最誠實、也最溫柔的所在。若說黑是一切尚未說出口的重量，白便是那重量落下之後，世界短暫的屏息。雨前的天色、燭火熄滅後的房間、話語終止後的空氣——白從來不是空無，而是最飽滿的等待。李安成用一生練習如何在這等待中停留，不急著以黑填滿，不急著賦予意義，只是讓那片白，安靜地呼吸，安靜地承接所有將至未至的情緒。也許這便是黑與白最深的浪漫：不在於相遇，而在於那個相遇之前，彼此都還在的時刻。

The Romance of Black and White

At the instant ink meets paper, black and white enter into a silent courtship. This is mutual completion instead of opposition — black acquires its boundaries by virtue of white; white acquires its weight by the weight of black. Li An-Cheng understood this intuitively. He never compelled the two to compromise, but allowed them to draw close, to probe, to yield, until they arrived — at some unexpected and unpredictable point — at precisely the right distance from which to regard one another. That distance is neither far nor near: it is the distance between two souls who have weathered the same storms, who no longer need words, and find it sufficient merely to occupy the same room. Black does not consume white; white does not banish black. Together they tend the ambiguous grey that lies between them — and it is that grey, above all, which is the most honest and most tender place in the entire painting. If black is the weight of all that has never been spoken, then white is the world’s brief and held breath after that weight has fallen. The sky before rain; a room after the candle is extinguished; the air after a conversation ends — white has never been absence. It is anticipation at its most replete. Li An-Cheng spent a lifetime practising how to remain within that waiting: never hurrying to fill the white with black, never rushing to impose meaning, but allowing that whiteness to breathe quietly, to receive in silence all the emotions that are approaching but not yet arrived. Perhaps this is the deepest romance of black and white — not the moment of meeting, but the moment just before, when each still exists entire unto itself.

25/04/2026

天闊煙靜｜李安成水墨展
Vast Skies, the Haze Withdrawn
Li An-Cheng Ink Painting Exhibition

▍展期：2026.05.02 ~ 05.23

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霧的哲學——將散未散之間的智慧

霧不言，卻最善說話。它棲於山腰，非聚非散，以一種近乎哲人的姿態，拒絕給出任何定論。李安成深諳此道——他從不以筆墨強奪山川之形，而是讓一切在氤氳之間自行吐納，讓輪廓在將現未現之際，保有它最後的矜持。清晰從來不是他追求的境界，他所傾心的，是那道介於顯與隱之間的幽微弧線，是萬物尚未被命名之前，所共同擁有的那份原初的沉默。世人以看清為懂得，他卻以朦朧為智慧——非因迴避，乃因深知：有些真實，一旦被光照得過於分明，便已在那剎那，悄然失真。

水墨之道，從來不在濃處求勝，而在淡處留魂。那縷霧氣游走於峰巒之間，不急於消散，亦不執意凝聚，只是以最素樸的姿態，懸於天地之間，承接晨昏的更迭與觀者的凝望。李安成將此化為畢生的精神座標——在一個凡事皆求立竿見影的時代裡，他選擇以霧的節奏呼吸，以霧的邏輯思索，讓情感在半吐半納之間發酵，讓意境在將散未散之際成熟。那不是猶豫，而是一種更深的篤定；不是模糊，而是對複雜人世最精準的回應。凝視他畫中的霧，我們或將明白：人生許多最要緊的事，皆不宜看得太清——留一分朦朧，方能留住那份最難言說、卻最值得珍守的幽微之美。

The Philosophy of the Mist — Wisdom at the Threshold of Dissolution

Mist does not speak, and yet it communicates more eloquently than most in his visual linguistics. It gathers at the mountain’s waist — neither dispersed nor condensed — adopting the manner of a philosopher who was reluctant to offer conclusions. Li An-Cheng understood this intimately. He never forces his brush to seize the definitive contours of mountains or streams; instead, he allows everything to breathe of its own accord within the haze, permitting each form to retain, at the very moment before it fully emerges, its final measure of reticence. Clarity was never his ambition. He was drawn, rather, to that subtle arc between revelation and concealment — the primordial silence shared by all things before they are given names. Where the world equates seeing clearly with understanding, he held that the faint and indistinct is its own form of wisdom — not from evasion, but from a deep conviction that certain truths, once exposed to too direct a light, are at that very instant shows astigmatism.

The way of ink and wash has never been won by density, but kept alive in the pale. The wisp of mist that wanders among the peaks neither hastens to dissolve nor strains to hold its shape; it simply suspends itself between earth and heaven in the most unassuming of postures, receiving the passage of dawn and dusk and the long gaze of the beholder. Li An-Cheng made this his life’s spiritual bearing. In an era that demands immediate and visible results, he chose to breathe at the pace of mist, to reason by its logic — allowing emotion to ferment in the half-exhaled, allowing the atmosphere to ripen precisely at the point of near-dissolution. That is not hesitation; it is a deeper form of certainty. Not obscurity, but the most precise possible response to the complexity of the world. To contemplate the mist in his paintings is, perhaps, to understand at last that the most vital things in life ought not to be seen too plainly — for it is only by preserving a measure of the unfocused that one may hold on to that most elusive and precious beauty: the beauty that resists being said.

24/04/2026

天闊煙靜｜李安成水墨展
Vast Skies, the Haze Withdrawn
Li An-Cheng Ink Painting Exhibition

▍展期：2026.05.02 ~ 05.23

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閱盡風霜，方能讀懂此墨

雨落在無人知曉的山谷，不為任何目光而落，卻在石面留下最誠實的痕跡。李安成的畫亦是如此——它不迎合初見者的目光，不為讚嘆而敞開，只靜靜等候那些身上帶著歲月刻痕的人，緩緩走近。年少時看他的山，見的是構圖與筆法；歷經幾番失去之後再看，才發現那山從未只是山——它是一個人在某個無可訴說的夜晚，將所有消化不了的重量，一筆一筆押入紙背的證明。讀懂那墨，不需要學識，需要的是那種曾在深夜獨坐、不知為何眼眶發熱的經驗；是那種話到嘴邊卻突然明白說了也無用、於是嚥回去的時刻。風霜不是苦難的勳章，而是觀看的資格——唯有真正在時間裡跌撞過的人，才能在那片看似平靜的山水之間，聽見底層暗湧的悲喜，感受到那份克制之下從未真正平息的波瀾。李安成從不憐憫觀者，也從不給予慰藉，他只是如實地將一切攤開，等待對的人，在對的時刻，以自身的滄桑與之相認。那一刻無聲，卻重於千言。

Only Those Who Have Weathered Time May Grasp This Ink

Rain falls into valleys where no one watches, observed by no eye, yet it leaves upon stone the most honest of marks. The paintings of Li are of the same nature — they do not accommodate the first glance, do not open themselves for admiration alone; they wait, in solitude, for those whose bodies carry the engraving of years to make their slow approach. In youth, one looks at his mountains and sees composition and technique. After years of trials or trauma, one looks again and discovers that the mountains were never merely mountains — they are evidence of a man who, on some inexpressible night, pressed the full weight of what he could not assimilate, stroke by stroke, into the paper’s grain. To understand that ink requires no scholarship. It requires the experience of sitting alone at a late hour, eyes growing warm for reasons one cannot name; the experience of forming words and then suddenly knowing, before they are spoken, that speaking would be unnecessary — and swallowing them back. Trus feelings are often those that remain unspoken. The wearing of time is not a medal for suffering; it is a qualification for seeing. Only those who have truly stumbled and recovered within the passage of time may hear, within those seemingly tranquil landscapes, the undercurrent of melancholy and joy that runs beneath, and feel the turbulence that, beneath all restraint, was never truly stilled. Li neither pities his viewers nor offers them consolation. He simply lays everything bare, and waits — for the right person, at the right moment, to meet him with their own experience of the world. That moment is still, and heavier than a thousand words.

23/04/2026

天闊煙靜｜李安成水墨展
Vast Skies, the Haze Withdrawn
Li An-Cheng Ink Painting Exhibition

▍展期：2026.05.02 ~ 05.23

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不畫形貌，而是呼吸

晨霧未散，氤氳之間，李安成的畫如同一場與自然的私語。他不畫山的形貌，而畫山的呼吸；不繪水的流動，而繪水的沉默。層層渲染，濃淡相生，虛實交織，觀者初見或以為是傳統山水的延續，細察方知那是當代心靈最誠實的獨白。他的筆觸有著文人的節制，留白處卻藏著不羈的張力——那是多年蟄伏的沉澱，是對世俗評價的漠然，更是對藝術本真近乎執念的守護。他擅長捕捉光線將逝未逝的剎那，那介於明與暗的曖昧地帶，恰如人生中進退兩難的抉擇。畫面中反覆出現的遠山與孤寂，既是避世的嚮往，亦是對歸途的深切渴望——凝視他的作品，我們被邀請放慢呼吸，在寂靜中，聽見自己那些從未說出口的話語。

Not Form, but Breath

Through the still-lingering morning mist, the paintings of Li An-Cheng emerge as a private conversation with nature. He does not paint the form of mountains; he paints their breath. He does not render the movement of water but its silence. Through layer upon layer of gradated wash — dense giving way to pale, the substantial yielding to the void — the uninitiated eye might mistake his work for a continuation of classical Chinese landscape painting. A closer gaze reveals something altogether different: the most candid monologue of a contemporary soul. His brushwork carries the restraint of a scholar-painter, yet the unpainted spaces hold a tension that refuses to be contained — the crystallised residue of years spent in obscurity, a sovereign indifference to the verdicts of the world, and an almost devotional fidelity to the essential truth of art. He is a master of the light that is neither wholly present nor yet departed — that ambiguous territory between illumination and shadow, which precisely mirrors those moments in life when one is paralysed between advancement and retreat. The distant mountains and solitudes that recur throughout his work speak at once of a longing to escape the world and a deep ache for the way home. To contemplate his paintings is to be invited to slow one’s breathing — and, in the silence, to hear at last the words that has never been spoken aloud.

22/04/2026

天闊煙靜｜李安成水墨展
Vast Skies, the Haze Withdrawn
Li An-Cheng Ink Painting Exhibition

▍展期：2026.05.02 ~ 05.23

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「寂靜中的喧囂——凝視李安成」

黎明將至，山巒待醒，以不同層次的夜色與晨光交疊而立。李安成筆下的題材從不止於風景，而是人心靈魂的深層寫照。他的繪畫深入淺出，近看遠看各有洞天——靜謐中藏著矜持古典，細察之下卻現驚心動魄的狂野。畢生懷才不遇的過往，使他內心的渴望與野心毫無保留地滲入每一道揮毫筆墨之中，跨越時空，靜候伯樂。觀賞其作，須先靜心凝視，方能進入他所體悟的人生百態——那既是隱居遠離塵世的自處，又隱隱透著一絲不甘，令觀者在無法自拔之間，不覺泛淚。

黑、灰、白，晝、夕、宵，是他一生的色彩對照。承繼唐宋水墨五色之論——焦、濃、重、淡、清——李安成將其一一對應於宵、夕、晝、晨、曉之間，賦予創作以時間的維度與呼吸的節律。彷彿在破曉之時靜坐冥想，觀者得以享受萬物甦醒前那片短暫而奢侈的寂靜。焦墨是午夜無眠的孤獨，淡墨是黎明初醒的釋然；由植被構築而成的地平線，恰似一道無聲的叩問——從寂然到紛擾的臨界，是否鼓起勇氣跨越？抑或，選擇繼續棲居於這片水墨勾勒的世外桃源之中？

"The Silent Clamor — Ways of Seeing Li An-Cheng"

At the edge of dawn, the mountains hold their breath — layered in the overlapping greys of departing night and arriving light. The subjects of Li An-Cheng's paintings are never merely landscapes; they are profound portraits of the human spirit. His work reveals itself differently at every distance — at first glance, measured and classically restrained; upon closer scrutiny, alive with a wildness that arrests the breath. A lifetime of unrecognised talent has seeped, unreservedly, into every stroke of his brush — his longing and ambition pressed into ink, enduring across time, awaiting those rare souls discerning enough to receive them. To truly enter his world, one must first be still. Only then does the full range of his vision unfold: a life lived in deliberate withdrawal from the world, yet shimmering, unmistakably, with a quiet refusal to be forgotten — a tension so complete that it moves the unsuspecting viewer to tears.

Black, grey, white — dawn, dusk, night: these were the palette of his life. Drawing upon the classical Tang and Song theory of ink’s five tones — scorched, dense, heavy, dilute, clear — Li An-Cheng mapped each gradation onto a corresponding hour of day: midnight, evening, noon, early morning, the first pale light before sunrise. In doing so, he granted his work a temporal dimension, a rhythm of breath. To stand before his paintings is to sit in silent meditation at the moment before dawn — to inhabit that brief, extravagant hush before the world stirs into wakefulness. The deepest, most scorched ink is the loneliness of an insomniac midnight; the palest wash is the release of first light. The horizon, constructed of ink-rendered vegetation, poses a question without words: at the threshold between stillness and commotion, does one gather the courage to cross — or does one choose, instead, to remain in this painted sanctuary, this ink-formed world apart?

21/04/2026

天闊煙靜｜李安成水墨展
Vast Skies, the Haze Withdrawn
Li An-Cheng Ink Painting Exhibition

▍展期：2026.05.02 ~ 05.23

李安成1959年生於雲林莿桐的農村，泥土、田水、竹林與溪流是他最初的視覺記憶，也構成日後創作的底色。離鄉之後，基隆的潮濕山海、陽明山的雲霧、淡水紅樹林的水氣⋯⋯都不斷浸潤於他的畫面中，即使在早年受傳統書畫訓練，他卻很快擺脫師承束縛，走向一條近乎自學、極為個人的創作道路。

他以水與墨為主要媒介，發展出獨特的技法：讓墨在水的引導下自行蔓延、滲透與堆疊，筆觸往往隱沒於流動中，畫面生成於控制與放任間，充滿風、水、光與時間的痕跡。

然而，真正讓人難以忘記的，是他的「黑」。

那是層次極其豐富的黑：濃、淡、潤、枯、沉鬱或流動，既如夜幕覆蓋，也如水氣蒸騰。在他筆下，黑並非遮蔽，而是顯現，正如他所言：「黑色是可讓人放鬆的顏色。」這種對黑的極致運用，使畫作產生強烈的情緒張力與精神密度，也讓觀者在沉靜中被緩緩吞沒。

他的創作歷程亦如墨色般層層轉化。早期作品偏向輕薄宣紙上的水氣流動，畫面通透而敏銳，細膩捕捉氣候與環境的細微變化；中期之後，墨色轉趨厚重，對比更為強烈，表現力顯著提升；晚期則在韓紙等材質上展開更大尺幅的實驗，筆觸狂放而自由，墨色如暴雨傾瀉，既粗獷又內蘊寧靜。在這些變化之中，不變的始終是對自然的凝視，也是對內在世界的探問。（參考張玉音，〈他在墨裡安放自然：關於李安成作品選〉，《典藏ARTouch》，2019）

這樣的藝術強烈、純粹，也因此孤獨。

敦煌藝術中心創辦人洪平濤先生每每憶起李安成，總帶著複雜的情緒。一方面篤定於他那無需多言、難以模仿的天成才氣；另一方面，亦不免惋惜他對創作的虔誠與對筆墨的敬畏，使他在面對主流藝術市場時不願妥協，也未曾改變自己已然確立的藝術語言。洪先生曾半開玩笑地對他說：「不然畫一點有顏色的？也許會比較好賣。」李安成只是搖頭。

他始終站在邊緣。有人欣賞他的深度與力量，卻也有更多人無法進入他那片過於沉靜、甚至帶著陰鬱的黑。即便身為畫廊經營者，洪先生也坦言，未能讓這位老友被更多人看見是長久的遺憾。

也因此，「天闊煙靜」不只是李安成作品的展示，更像是對時代的回望；對一位不被時代堅定選擇的藝術家之致意。這些來自洪平濤先生精選的作品，不僅見證李安成創作的歷程，也承載著兩人之間長年的情誼與相惜。面對時間無情的洪流，我們或許無力阻擋，但仍願意留下些什麼，讓李安成不至於就此被遺忘。

張大春曾在《我的老台北》提到李安成堅決的遺言：「我很快就要死了，但是還好，我還在畫，還在畫。」而他也確實畫到了最後一刻。

在藝術愈發喧囂、甚至過度解讀的當代，李安成的作品反而顯得異常安靜。他一生行走於少有人跡的幽徑，既不依附傳統，也不追逐潮流，而是在黑與白間，持續開鑿出一片暫離喧鬧的世界。而「天闊煙靜」讓我們得以走進這裡。駐足於作品之前，我們不只是觀看一位藝術家的創作，更是承接一段未竟的對話——關於藝術的純粹、選擇的代價，也關於那些未被時代記住，卻依然留存於筆墨間的生命。

在那之中，李安成的世界仍緩緩展開。

Born in 1959 in a rural village in Yunlin, Li An-Cheng’s early memories of soil, water, bamboo, and streams became the foundation of his artistic vision. After leaving his hometown, the damp mountains of Keelung, the mist of Yangmingshan, and the humidity of Tamsui’s mangroves continued to permeate his work. Though trained in traditional ink painting, he soon broke away from convention and developed a largely self-directed and deeply personal path.

Working primarily with ink and water, Li developed a distinctive method in which ink spreads, seeps, and accumulates across the paper. Brushstrokes dissolve into movement, and images emerge between control and release, carrying traces of wind, water, light, and time.

What makes his work unforgettable is his use of black.

It is a richly layered black, dense and light, wet and dry, heavy and fluid, at once like nightfall descending and v***r rising. In his work, black does not conceal but reveals. As he once said, “Black is a color that allows one to relax.” Through this, his paintings hold a powerful emotional intensity and spiritual depth, drawing the viewer into a quiet and immersive experience.

His artistic trajectory unfolds much like ink itself. Early works are light and fluid, capturing subtle atmospheric changes. Mid-period works grow heavier, with stronger contrasts and greater expressive force. In later years, working on larger formats and different materials, his brushwork becomes more uninhibited, the ink surging like a downpour, at once raw and deeply restrained. Throughout these transformations, what remains constant is his gaze upon nature and his inquiry into the inner world.

Such art is intense and pure, and inevitably solitary.

Hong Ping-Tao, founder of Caves Art Center, recalls Li with mixed emotions, a deep conviction in his rare and unexplainable talent, and a lingering regret that his unwavering devotion to art kept him from compromising with the market. Once, Hong jokingly suggested he add color to make his work more marketable. Li simply shook his head.

He remained at the margins. While some recognized the depth of his work, many found it difficult to enter his quiet and often somber world of black. Even as a gallerist, Hung admits it is a lasting regret that he could not bring wider recognition to his friend.

Thus, Vast Skies, the Haze Withdrawn is more than an exhibition. It is a reflection on time and a tribute to an artist never fully embraced by his era. These works, carefully selected by Hung Ping-Tao, trace Li’s artistic journey while bearing witness to a long-standing friendship.

Facing the relentless passage of time, we may not be able to resist its erasure, yet we still hope to leave something behind so that Li An-Cheng may not be forgotten.

Writer Chang Ta-Chun once recorded Li’s final words: “I will die soon. But it’s alright. I am still painting, still painting.” And he did, until the very end.

In an age of increasing noise and over-interpretation, Li’s work remains profoundly quiet. Walking a path few have taken, he neither adhered to tradition nor followed trends, but carved out, in black and white, a space apart from the clamor.

Vast Skies, the Haze Withdrawn invites us into this space. Standing before these works, we do more than observe. We take part in an unfinished dialogue about the purity of art, the cost of choice, and lives that endure in ink, even when history forgets them.

Within it, Li An-Cheng’s world continues to unfold, slowly and quietly.

17/04/2026

天闊煙靜｜李安成水墨展
Vast Skies, the Haze Withdrawn
Li An-Cheng Ink Painting Exhibition

▍展期：2026.05.02 ~ 05.23

在臺灣當代水墨的發展中，李安成始終像一抹不肯被收編的黑。他描繪自然，卻不以再現為目的，而是在具象與抽象的模糊界線中開展出「神似山水的抽象」，引領觀者進入陌生而深層的內在風景。

以水與墨為核心，他讓墨隨水蔓延、滲透與堆疊，在控制與放任之間生成畫面。層次豐富的黑或濃或淡、或沉或流，不僅構築出強烈的視覺張力，也承載著時間、氣息與情緒。

李安成一生不依附傳統，也不追逐潮流，始終行走於孤獨純粹的創作之路。本次展覽精選之作品，不僅是對其創作歷程的回望，更是一場關於藝術信念與生命選擇的深刻凝視。

在喧囂之外，邀請你走進這片靜默深邃的世界。

In the development of contemporary ink art in Taiwan, Li An-Cheng has remained like a streak of black that resists being contained. Rather than representing nature, he moves between figuration and abstraction, creating what has been described as an “abstract landscape in spirit,” drawing viewers into a deep and unfamiliar inner world.

Working primarily with water and ink, he allows ink to spread, seep, and accumulate, with images emerging between control and release. His rich blacks, shifting from dense to fluid, carry time, atmosphere, and emotion while generating a powerful visual tension.

Unbound by tradition or trends, he pursued a solitary and pure artistic path. This exhibition reflects on his practice while offering a meditation on artistic conviction and the choices of a life.

Step beyond the noise and enter this quiet, immersive world.

04/04/2026

🌷《春分之境》圓滿落幕 🌷

感謝每一位在這段時間走進展場的朋友與我們一同經歷《春分之境》，讓這段旅程更加完整而溫暖

每一次駐足、每一段凝視，都是展覽最珍貴的回聲，謝謝你們的參與與陪伴！

接下來，我們也將迎來新的展覽與計畫：
▍五月初｜李安成展覽
▍六月初｜ART TAICHUNG 2026

誠摯邀請大家持續關注，與我們一同期待下一段藝術旅程

再次感謝大家，我們展場見～

03/04/2026

🌿 展覽倒數一天 🌿

《春分之境》即將在明天（4/4）畫下句點

在這段春光漸盛的時節，林麗玲以細膩而安靜的創作，引領我們走過一段關於轉化與感知的旅程

現在正是最好的時節，誠摯邀請您把握最後機會，來到展場與作品相遇

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林麗玲 - 春分之境
Lin Li Ling - The Equinox Realm

▍展期：2026.03.20 ~ 04.04

25/01/2026

畫中青嶺層疊，老松盤踞，其勢由低而高，氣象漸次開展。
以青綠設色寫山川生機，寓立基穩固、光華日盛之意，呈現向上而不張揚的精神氣度。

洪平濤 Ping Tao HONG

松嶺騰輝｜設色絹本｜124x31cm｜2025

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