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Universe in the Mind: 60 Years of Painting by Liu Guosong
Articles Concerned
 
Exhibitions Concerned
City: Beijing~Beijing 
Curator: Li Zhujin, Zhang Songren 
Date: 2007-04-26~2007-05-26 
Opening: 2007-04-26 2:30pm 
Venue: Palace Museum 
Organizer: Consortium Chinese Culture Foundation 
Exhibition Preface:
LIU Kuo-sung, whose career as a leading painter in Taiwan, was born in 1932 in Anhui, China. He moved to Taiwan in 1949 and graduated from the National Taiwan Normal University in 1956.

In the 1960s in Taiwan Mr. Liu proposed to “modernise Chinese painting” by abandoning its attachment to traditional “aesthetics of brushwork and ink-play”. He proposed to “revolutionise the zhong-feng (centre-point) brushwork” and “revolutionise the brush”. Mr. Liu said: “Brushwork simply means dot and line, ink-work means colour tone and surface, and texture-stroke means textural structure.” “Imitating the new is not the same as imitating the old; copying the West is not the same as imitating Chinese masters.”

Inspired by western abstract painting, Mr. Liu established an experimental approach to the artistic medium in order to depart from traditional brushwork and its aesthetic taste. He attempted varied approaches to artistic expression, seeking resolution and breakthrough under the two anchors of “modern” and “ink art”. Through the “Fifth Moon” art society, of which Mr. Liu was founder, calligraphy-painting reform was expanded into an art movement in Taiwan. In the two decades of the 1970s and 1980s Mr. Liu was professor of art at the Chinese University in Hong Kong, and became closely involved with new ink painting outside of Taiwan. In the early 1980s his touring exhibition in China made a strong impact on the emerging creative scene, establishing a lasting influence. With the concerted efforts of artists from China and abroad modern Ink art has now established itself as an independent art form born of Chinese and western influence. It is both modern and Chinese, culturally grounded and in dialogue with the West.

In presenting the exhibition “Sixty Years a Painter: Retrospective Exhibition of Liu Guosong”, the Palace Museum, as the symbols of the Chinese lineage, signifies the acceptance of the innovative new ink painting movement into its cultural fold. Therefore, it is significant to take the opportunity of this retrospective exhibition to review the historical development of modern ink painting, so as to critically assess broader issues relating to calligraphy-painting and cultural modernisation. It is important to review the theories and strategies that have arisen in the part half century out of response to the growing predominance of modern art.