Lim Tze Peng (b. 1921) The Sultan MosqueLim Tze Peng (b. 1921)The Sultan Mosque 1974signed and dated with artist's sealink and colour on paper68 by 44.5 cm.26 3/4 by 17 1/2 in.ProvenancePrivate collection, SingaporeExhibitedSingapore, My Kampong, My Home: Lim Tze Peng, Singapore Management University Gallery, 8 December-18 December 2010.LiteratureWoon Tai Ho, My Kampong, My Home: Conversations with Lim Tze Peng, published by Friends of Lim Tze Peng in conjunction with the exhibition My Kampong, My Home: Lim Tze Peng at Singapore Management University Gallery, 2010, p. 141.林子平 蘇丹清真寺 1974年作 簽名：林子平 藝術家鈐印 甲寅秋日 水墨設色紙本 鏡框 來源 新加坡私人收藏 展覽新加坡，「我的甘榜，我的家」，新加坡管理大學畫廊，2010年12月8日至12月18日 出版 雲大篪，《情繫甘榜》，由林子平之友與「我的甘榜，我的家」展覽聯合出版，新加坡，2010年，第141頁，彩圖Lim Tze Peng, a second-generation Nanyang style artist, is widely recognised as one of the most celebrated Singaporean painters. Born in 1921, Lim learned Chinese calligraphy as a young child and taught himself to paint. Lim is the last living member of Singapore's Ten Men Art Group—he participated in most of this group's field trips across Southeast Asia in search of inspirations during the 1960s and held his first solo exhibition in 1970. Lim is best known for his ink paintings of local scenes, such as Malay kampongs, Chinatown, Sultan Mosque and the Singapore River. His unique oeuvre demonstrates a creative blend of traditional and modern styles, drawing together elements of calligraphy, Chinese ink, and oil painting. One of the first subject matter areas that Lim explored through his art was to document the disappearing kampongs, streetscapes and landmarks in Singapore of the time. Lot 1 The Sultan Mosque, dated Autumn 1974, has a distinct local theme and evokes precious memories of Singapore's past. Visually appealing and exuberant, it vividly captures the bustling street scene near Sultan Mosque, the focal point for the Muslim community in Singapore. Bussorah Street, depicted in this plein-air painting, was formerly known as Kampong Kaji (pilgrimage village), as it was where many Southeast Asian pilgrims would gather before embarking on the hajj to Mecca. The monumental Lot 2 Singapore River, on the other hand, is the artist's recent work and overflows with lively and spontaneous expressions rendered in bold, vigorous brushworks as well as vibrant ink tones and colours. Both Lot 1 The Sultan Mosque and Lot 2 Singapore River strive to elevate Chinese ink painting with modern consciousness. The influence of the Chinese modern ink-brush master Huang Binhong (1865-1955) is evident in Lim's paintings. Like Huang, Lim also views the art of "brush and ink" (bimo) as the core of his artistic practice. Using his profound knowledge of Chinese calligraphy, Lim integrates the art of Chinese writing into the creation of his ink works. Moreover, his unique visual language skilfully innovates Chinese traditional ink painting by employing more expressive, fluid lines and strokes to create the mood and atmosphere of his artwork.   Lim, a teacher by profession, started his journey as a full-time artist after his retirement in the early 1980s. In 2003, Lim was awarded the Cultural Medallion, the highest honour for a Singaporean artist, for his contributions to the art scene in Singapore. On 15 June 2021, Singapore's Prime Minister Lee Hsien Loong opened the artist's exhibition titled Soul of Ink, Lim Tze Peng at 100 in honour of Lim's 100th birthday. Additionally, Lim's mastery of Chinese ink has gained him a strong following both in his native Singapore and China. In 2009, he became the first Singaporean to have a solo exhibition at China's National Art Museum in Beijing and The Liu Haisu Art Museum in Shanghai respectively. This retrospective show, titled Inroads: The Ink Journey of Lim Tze Peng, garnered considerable public attention and received critical acclaim.南洋畫派第二代藝術家林子平是公認的新加坡重要畫家之一。他出生於1921年，自幼學習中國書法，並自學繪畫。1960年代，他曾隨新加坡「十人畫會」多次造訪東南亞各地，藉由實地考察汲取創作靈感，後於1970年舉辦首次個展。如今，他是該會碩果僅存的成員。 林子平廣為人知的作品，即是以在地景色作為創作題材之水墨畫，主題多為馬來甘榜、牛車水、蘇丹清真寺和新加坡河等。他獨具風格的作品結合書法、中國水墨和油畫等元素，展示其融合傳統和現代風格的創造力。林子平在其藝術歷程的初期，著重藉由其畫作真實記錄新加坡甘榜、街景和地標等逐漸消失的人文景色。他於1974年秋天所繪之《蘇丹清真寺》具有鮮明的在地特色，讓觀畫者回想起新加坡舊日景象的珍貴記憶。這幅畫作極具吸引力與充滿活力，生動捕捉了蘇丹清真寺附近熱鬧熙攘的街景。蘇丹清真寺是新加坡穆斯林社群的信仰中心，這幅戶外寫生當中所描繪的巴梭拉街，昔稱「甘榜加地」（Kampong Kaji；意即朝聖村），當年東南亞各地的伊斯蘭教信徒在啟程前往麥加朝聖之前，都會經過新加坡而聚集在此。相較之下，巨幅作品《新加坡河》則是林子平的近期佳作。此畫用筆大膽雄健、色彩鮮明，即興而流暢的筆觸令作品洋溢著明快的神采。《蘇丹清真寺》和《新加坡河》這兩幅作品皆力求以現代思維作畫，進一步提升中國水墨畫的創作層次。 中國近現代書畫名家黃賓虹（1865-1955）對林子平的影響，在林氏畫作中可見一斑。林子平師法黃賓虹，將「筆墨」藝術視為其創作核心。憑著自身對中國書法的深刻了解，林子平亦將中國的書寫藝術融入自己的水墨創作中。此外，他也採用更具表現力的流暢線條和筆觸，來營造作品的意境和氛圍，以其獨特的視覺藝術語言，巧妙地在中國傳統水墨畫的基礎上不斷創新。 林子平深耕教育工作多年，1980年代初退休後開啟全職藝術家之路。2003年，他獲頒新加坡文化獎，這個象徵新加坡藝術家最高榮譽的獎項，表彰了林子平對新加坡藝術界的貢獻。2021年6月15日，新加坡總理李顯龍為林子平的個展《墨魂：百歲林子平》揭幕，向邁入百歲的耆老書畫大師致敬。林子平精湛的水墨作品不只受到新加坡本地重視，在中國亦同樣獲得推崇。2009年，他成為首位分別在北京中國美術館和上海劉海粟美術館舉辦個展的新加坡畫家。其作品回顧展《心向—林子平水墨歷程》在當地引起相當廣泛的關注，且廣受各界好評。