Master Artist Su Rong-ren: Preserving the Art of Traditional Temple Painting

　Traditional temples, often constructed from wood, are susceptible to moisture, decay, and weathering, which shortens their lifespan. Decorative paintings not only protect these structures, but also enhance their aesthetic appeal. Su Rong-ren（蘇榮仁）, a master artist recognized by Kaohsiung City Government as a preserver of Traditional Painting, takes us on a journey into the artistic beauty of temple murals.

　Lifelike door gods, which visitors can view up close, demand the highest level of artistry, showcasing the painter's true skills. Meanwhile, intricate panel paintings on the beam, often themed around the main deity's life or historical narratives, convey rich stories. Su explains: “The most challenging aspect is painting historical figures. It requires a deep understanding of history, proficiency in calligraphy, familiarity with poetry, and the ability to achieve balanced compositions.” 

　In his work, Su frequently integrates local history and cultural elements. For example, at the Liuyang Wang San Sheng Ancestral Hall（榴陽王三聖始祖公館）in Kaohsiung's Cieding District（茄萣區）, coastal scenes of Cieding and Singda Harbor（興達港）come to life in his hanging scrolls.

　Su has learned from various artists specializing in ink painting, sketching, and floral and bird motifs, drawing inspiration from both Eastern and Western art traditions. As a result, his works feature depth, vibrant yet tasteful colors, and striking perspectives. He adheres to the principle of “restoring as it was,” striving to preserve the essence and techniques of traditional craftsmanship. Along with his team, he has restored numerous centuries-old temples. “For me, presenting traditional temple paintings infused with religious significance is a mission. I hope to raise awareness and appreciation for the cultural value of traditional painting,” Su says.

傳統彩繪藝師蘇榮仁 守護宗廟藝術
文/李曉萍
 攝影/Cindy Lee
 圖片提供/蘇榮仁

傳統寺廟為木造構造，容易受潮腐蝕或風乾而減短壽命，彩繪可保護建築，實用又美觀。名列高雄市傳統工藝「傳統彩繪」項目保存者的藝師蘇榮仁，帶領我們走入寺廟，欣賞廟宇彩繪獨樹一幟的美學。

栩栩如生的門神，因可近距離觀賞，藝術性要求最高，能完整展現畫師的功力；而高懸樑枋上的垛仁，多以主神生平、歷史沿革為主題，述說著豐厚的故事。蘇榮仁說：「最困難的是畫歷史典故人物，要了解歷史故事、書法寫得好、詩句懂得多、構圖比例也要恰當。」在垛仁的繪製上，他時常融入地方文史與在地特色，比方在茄萣區榴陽王三聖始祖公館中，茄萣海岸風光和興達港，就躍然於蘇榮仁繪製的掛軸上。

蘇榮仁向水墨畫家、素描、花鳥畫等各領域藝術家學習，汲取東西繪畫長處，因此他的作品有遠近透視概念，配色鮮豔不俗。他堅持「修舊如舊」，努力保持傳統工藝的技法與本質，也帶領團隊修復許多百年古剎：「呈現結合宗教信仰的傳統彩繪，對我來說是一種使命，我希望能讓更多人認識並珍惜傳統彩繪的文化價值。」