畫面初見｜沉靜之中自有光華
藝術家簡介｜在膠彩之中安放山川與文心
劉耕谷出生於嘉義，自幼受到家學與台灣前輩畫家陳澄波、林玉山等人的啟發，日後走上膠彩創作之路。 他的藝術不止於自然景物的描寫，更重視畫面中的精神性與文化意涵，將寫生、詩文閱讀與東方思想融入創作，逐步形成兼具人文情懷與內在靜觀的個人風格。
Born in Chiayi, Liu Geng-Gu was shaped early by family cultivation and by the example of important Taiwanese predecessors such as Chen Cheng-po and Lin Yu-shan. His painting moved beyond mere depiction of scenery: sketching, literary reading, and Eastern philosophy were all absorbed into a contemplative pictorial language marked by cultural depth and inward poise.
1986 年，他以《吾土笙歌》獲台灣省立美術館大壁畫首獎，成為其藝術生涯的重要節點。 此後作品視野愈加開闊，既保有膠彩的細膩層染，也在題材與結構上展現更強的詩性、哲思與時代感。
In 1986, his monumental work Wu Tu Sheng Ge received the first prize in the large mural competition of the Taiwan Provincial Museum of Art, marking a major milestone in his career. From that point onward, his work broadened in scale and vision while retaining the subtle layering of mineral color and a distinctly poetic structure.
Selected Works｜作品欣賞
By maples and fishing lights, the traveler lies awake.
Outside Suzhou, Cold Mountain Temple stands in the distance;
At midnight, its bells drift across the water to the boat.
作品之中｜詩與畫的交會
《楓橋夜泊》取意自唐人張繼名篇，畫面不只是詩意圖解，而是將夜色、霜氣、舟泊與鐘聲轉化為可視的節奏。 景物之間保有距離，色層之間彼此滲透，使畫面呈現一種含蓄而悠遠的時間感。
A Night Mooring By Maple Bridge does not merely illustrate a Tang poem; it translates nightfall, frost, mooring, and distant bells into a visual rhythm. Distance is carefully held between forms, while layers of color permeate one another, producing a quiet sense of suspended time.
《夜牡丹》則將花卉從日常觀賞的對象，提升為夜色中的精神景觀。 花朵在幽暗背景中浮現，既豐厚又含蓄，既有生命的盛放，也帶有靜夜深處的內省氣息。
In Night Peony, the flower is elevated from a familiar motif into a spiritual landscape of the night. Emerging against a dark ground, the blossoms appear both lush and restrained, balancing fullness of life with a meditative nocturnal stillness.