巫登益美術館以當代彩墨大師巫登益先生為名，創建於台灣地標—台北101大樓，被譽為“台灣最高藝術殿堂”。2021年，美術館於台灣淡水建設“巫登益當代藝術園區”。園區由1875年的歐式建築、光緒年間的閩式古厝、日治時期的歷史建築組成，被譽為“台灣最古美術館”，是歷史建築與當代藝術完美結合的典範。
2023年，巫登益美術館-四川館在長江首城宜賓正式揭牌，四川館座落於千年古鎮李莊，2025年9⽉24日正式開館。
巫登益美術館以融匯東西態度，打造以當代彩墨藝術與世界交流的國際藝文平台，展現當代彩墨藝術的魅力和價值。 美術館源起
巫登益美術館以當代彩墨大師巫登益先生為名，創建於台灣地標——台北101大樓，被譽為“台灣最高藝術殿堂”。2021年，美術館於台灣淡水建設“巫登益當代藝術園區”。園區由1875年的歐式建築、光緒年間的閩式古厝、日治時期的歷史建築組成，被譽為“台灣最古美術館”，是歷史建築與當代藝術完美結合的典範。
2023年，巫登益美術館—四川館在長江首城宜賓正式揭牌，四川館座落於千年古鎮李莊，2025年9⽉24日正式開館。
巫登益美術館以融匯東西的開放態度打造以當代彩墨藝術與世界交流的國際藝文平台，展現當代彩墨藝術的魅力和價值，推動華人藝術走向世界。
Wu Dengyi Art Museum
The Wu Dengyi Art Museum, named for contemporary color-ink master Wu Dengyi, was founded in Taiwan’s landmark Taipei 101 and is acclaimed as “Taiwan’s highest temple of art.” In 2021, the museum established the Wu Dengyi Contemporary Art Park in Tamsui. The park integrates an 1875 European-style residence, a Minnan courtyard house from the Guangxu era, and heritage buildings from the Japanese period—earning it the moniker “Taiwan’s oldest art museum” and standing as a model of harmonizing historic architecture with contemporary art. In 2023, the Wu Dengyi Art Museum — Sichuan Branch was officially unveiled in Yibin, known as the “First City on the Yangtze.” Situated in the thousand-year-old town of Lizhuang, the Sichuan branch opened to the public on September 24, 2025. With an open, East-meets-West outlook, the museum serves as an international cultural platform for contemporary color-ink art, showcasing its vitality and value while helping bring Chinese art to the world stage.
巫登益當代藝術園區
2021年，巫登益美術館於淡水建設“巫登益當代藝術園區”。園區座落於新北市淡水區古跡群落，是加拿大傳教士馬偕博士於1875年設計建造，園區融合西班牙風格的歐式建築、光緒年間的閩式建築和日治時期的歷史建築，處處彰顯文化底蘊與歷史的厚重感。歷經3年悉心修繕，這些建築如時光匣子般重現昔日的輝煌與風華。
園區內古樹參天，綠意盎然，四時皆景，晨昏各異，您可以漫步其中，彷彿與歷史對話，與藝術共鳴。這座150年歷史的園區，不僅是建築藝術的瑰寶，更成為了藝術愛好者和遊客心中的打卡聖地。無論是欣賞獨特的建築之美，還是探索巫登益大師彩墨藝術，這裡都將為您帶來一次無與倫比的文化之旅，讓您的每一個瞬間都值得記錄。
Wu Dengyi Contemporary Art Park
In 2021, the Wu Dengyi Art Museum established the Wu Dengyi Contemporary Art Park in Tamsui, New Taipei City. Set within Tamsui’s cluster of historic sites, the park centers on buildings designed and constructed in 1875 by the Canadian missionary Dr. George Leslie Mackay. It brings together Spanish-style European architecture, Fujian-style structures from the Guangxu era of the Qing dynasty, and historic buildings from the Japanese colonial period—each radiating deep cultural heritage and a profound sense of history. Shaded by towering old trees and lush greenery, the park is beautiful in every season and takes on different moods from dawn to dusk. Strolling its paths feels like a dialogue with history and a resonance with art. This 150-year-old site is not only a jewel of architectural art but also a beloved destination for visitors and art enthusiasts. Whether you come to admire its distinctive architecture or to explore Master Wu Dengyi’s color-ink art, the park promises an unparalleled cultural journey—one where every moment is worth capturing.
關於巫登益
巫登益先生，1951 年生於台灣南投，畢業於台灣藝術大學及台灣師範大學美術系研究所，是當代彩墨藝術的代表性人物。巫先生潛心藝道近 60 載，展現出極強的探索與創新精神；他廣泛汲取中西美術史的精華，融合世界藝術之長，形成獨樹一幟的“巫登益彩墨風格”。
他的作品氣象萬千、意境高遠，既有對歷史文脈的深切繼承，也有對時代精神的敏銳回應；他創作的當代彩墨長卷，以宏大篇章熔鑄壯闊格局，以靈動筆觸描繪開闊而深邃的藝術世界。拓展了當代彩墨藝術的歷史維度與精神高度。巫登益先生擁有深厚的文化根基與藝術功力。以彩墨為媒，構建起跨越地域與文化的藝術橋梁。在他的畫卷中，既有個體心靈的體悟，也有對人文精神的深度凝視。數十年來，他始終堅持「守正創新」的藝術信念，以筆墨探索自然之美與心靈之境，傳遞藝術的包容與共融。「一紙墨香，貫通今昔；一念純粹，照見萬象。」
觀巫登益先生之作，如聆聽江海之聲，綿延不絕；既是對藝術本源的真誠探求，也是對時代美學的持續對話。他以作品拓展當代彩墨的新視野，為華人藝術的發展與交流，貢獻了深遠的創造力與精神力量。
About Mr. Wu Dengyi
Wu Dengyi (born 1951 in Nantou, Taiwan) is a leading figure of contemporary color-ink art. A graduate of the National Taiwan University of Arts and the Graduate Institute of Fine Arts at National Taiwan Normal University, he has devoted nearly six decades to his practice, marked by a strong spirit of exploration and innovation. Drawing deeply from both Eastern and Western art histories and absorbing strengths from global traditions, he has forged a distinctive “Wu Dengyi color-ink style.”
His works range widely in mood and scale while sustaining an expansive, elevated vision. They honor historical lineages even as they respond keenly to the spirit of the age. In his contemporary color-ink panoramas, grand structures are cast in sweeping chapters, and agile brushwork opens a spacious, resonant world. In doing so, he has extended the historical scope and spiritual horizons of the medium. With profound cultural grounding and mastery, Wu uses color-ink as a bridge across regions and cultures; within his scrolls, one finds both intimate inner insight and a sustained contemplation of the humanistic spirit. For decades he has held fast to the ideal of “preserving integrity while innovating,” exploring the beauty of nature and the realms of the mind, and conveying an ethos of inclusivity and communion. “A single sheet, fragrant with ink, links past and present; a single pure intent illuminates the myriad forms.”
To encounter Wu’s art is to hear the ceaseless voices of river and sea—an earnest search for the sources of art and an ongoing dialogue with contemporary aesthetics. By opening new vistas for color-ink today, he has contributed enduring creative energy and spiritual force to the development and exchange of Chinese art worldwide.
