繪畫原為傳情寫物，寫物傳情。情，為內心世界，從所學及長期深思體悟而成因；物，為一己之外的客觀具象。個人的情與意有異有別，故繪畫之具象呈現亦因人而有異別之分。欲將情意藉筆墨表現於媒材紙絹之上，那就需無數大量的揮灑鍛鍊，心手相連，以達繪畫的結果與情心契合一致。如此才能我說是我畫，我畫說我心。
The purpose of painting is to project sentiments by depicting objects or to depict objects for sentimental projection. Sentiment is an impression of the mental state and influenced by what is acquired and contemplated; objects reflect objectivity and concreteness outside of oneself. Personal feelings and meanings vary, resulting in distinct creative expressions. To reflect feelings and meanings by ink and brushes on medium such as papers requires diligence and artistry to deliver a consistent execution of technique, implementing “I paint what I speak” and “what I paint speaks what I think.”
洪莆日美教授為韓籍著名藝術家，在國際藝壇廣為知名。於台灣學習中國古典文學與中國水墨畫，中文造詣深厚，後考入國立台灣師範大學美術研究所，學習美術理論及書畫創作，為第一位韓籍藝術碩士。學成回韓國後，繼續攻讀藝術治療，獲博士學位。除全心創作外，也於大學教授相關課程。近十多年以來，已於歐、美個展二十餘次，成績斐然，個人的創作理念及作品風格，已然成熟，為國際藝術界及收藏界全然的肯定。
Professor Purume Hong is an internationally acclaimed and celebrated Korean artist. After studying classic Chinese literature and Chinese ink painting in Taiwan, she passed the MA entrance exam and enrolled in Department of Fine Arts at Taiwan Normal University to study aesthetic theory and creative calligraphy and painting, becoming the first Korean to receive a Master of Fine Arts degree. What followed her return to Korea was a PhD pursuit in Art Therapy which the artist successfully completed. Committed to creative production, the artist also taught related courses in colleges. For the past decade, her solo exhibitions held in Europe and America had exceeded twenty and received notable recognition. Her developed creative concepts and artistic styles are celebrated by the global art community and collectors worldwide.
莆日美在學習中文、中國古典文學、中國水墨畫、攻讀學位、努力創作上，是勇猛精進的！她總是有一己的藝術理念，追求深邃，講究平和，小中見大，大中動靜相和。觀其畫，非靜不能見其動，非靜不能見其遠，非靜不能見其深。
Purume’s diligence and perseverance is exhibited in learning the Chinese language, classic Chinese literature and Chinese ink painting, as well as in acquiring a degree and composing. Her progressive artistic statement is a pursuit of depth and balance, a reflection of scale through micro details and a coexistence of mobility and stability in a macro-environment. Observing her works, one cannot seize the movement, potential or depth if not through tranquility.
經過無數次的筆墨鍛鍊，掌控了心手合一，大膽雄渾的用筆，小心靜心的收拾，以心透過法眼，長觀靜觀畫面，下筆精準到位，用墨層次燦然，不流不拘，形意具合展現！
The artist’s mastery of technique is achieved through numerous practices with bold strokes and careful finishes. Long and silent examination of the plain canvas is made by dharma eye penetrated and introspected by the heart before her meticulous application and vivid ink layers that show an unconventional and skillful composition of both form and meaning.
線條本為中國及東方繪畫的特色，然中國傳統繪畫中，無皴山水、沒骨花鳥、水墨人物，本就有之，除梁楷部份傳世人物畫外，皆用筆穩健平和，畫面寧靜。而莆日美善用了各式毛筆及排筆，精準掌控了水與墨，大膽淋漓的下筆落紙，經營佈局，亦能呈現畫面的寧靜與諧和。
Lines are originally Chinese and Oriental features and already prevalent in the wrinkleless landscape, frameless flowers and birds and character sketches in traditional Chinese painting. Except for Liang Kai’s legendary portraits, the use of solid and controlled strokes to evoke a sense of tranquility is witnessed in other categories. Purume effectively applies a variety of calligraphy brushes and broad brushes to mobilize water and ink on paper, illustrating a serene and balanced ambience through audacious strokes and cautious designs.
莆日美作品的另一驚人特色，是將水墨畫的大膽留白，成就了「光」的呈現。中國傳統繪畫的留白，是「計白當黑」，是畫面的部份，是畫面的空間，是給我們思考想像的空間；西畫畫面的白，是景色的白，是顏料筆觸的白；而莆日美作品的白，是中國繪畫留白的理念，並呈現了光的成效。這在東方水墨藝術家中，應為第一人！
Another astounding characteristic of Purume’s works of art is the blank spaces reserved on canvas to compliment the aurora of “light.” In traditional Chinese painting, blank spot or whiteness is meant to be carefully calculated in order to balance the black of ink, and thus is a part of the composition and a space for imagination. In western painting, white is usually used in scenery and applied on other colors. Purume’s use of white adopts the traditional Chinese painting approach and presents the effects of light. She is probably the first Oriental ink artist to do so.
在明代王紱所著《書畫傳習錄》中「論精簡」一章，引用宋代葛守昌畫論有言：「夫畫，人之為此者甚眾，其誰不欲擅名?大抵形似少精，則失之整齊；筆墨太簡，則失之闊略。精而造疏，簡而意足，惟得於筆墨之外者知之。」這很能說明洪莆日美教授的繪畫作品。
In Ming Dynasty's Wang Fu's book Shu Hua Chuan Xi Lu, Wang cited the theory of painting by Ge Shou-chang from the Song Dynasty in the chapter "On Simplification" which indicates: "There are plenty of people that paint. Who wouldn't like to be famous for their unique style? However, most of the works are either too realistic but lack in essence so as to become dull or too purposely simplified and turn out plain and empty. Concise while mature, simple yet complete, these characteristics are solely owned by those who master both techniques and expression of aesthetic concept." This quote best encapsulates Professor Purume Hong’s work of art.
洪莆日美教授是一位優秀的藝術家，她有傳統的根基，而不因其束縛框限；有著唯美的生活理念和唯美的藝術靈魂；有成熟的個人作品風格；有著精進的創作動力；其作品小者精美，大者可成就空間裝置藝術，我們期待她每次的展出都令人驚嘆，更期待她的未來能幻化多端的精采演出！
Professor Purume Hong is an outstanding artist. Although she has a solid background in traditional painting, she attempts to re-define doctrines. The artist holds a romantic ideal toward life, embodies a gentle creative soul, projects a mature artistic impression, and motivated by dynamic diligence. The miniature works showcase exquisiteness and the large scale installations accommodate show venues. It is hoped that she brings marvel to each exhibition and gives fantastic future performances.
張 克 晉 2014、7、24於台北 玲瓏山房
Zhang Ke-jin at Taipei Ling-long House, July 24, 2014