Father of Glue-pigment Painting in Taiwan
Born in 1917 in Daya Village, Taichung County, and graduated from Japanese Painting Department of Imperial Art School of Japan. In 1946, hired to teach at National Taichung University and to act as judge member of Provincial Fine Arts Exhibition. Present demonstration works every year. Founded Midland Fine Arts Association in 1954 and served as director. Called for popularization of fine arts and held the first non-painter's painting exhibition in 1968. In 1977, Mr. Lin, Chih-Chu first proposed the name of glue-pigment painting and, hence, rectified it as a professional one, creating new opportunities. In June of that year, he held joint exhibition for whole Taiwan glue-pigment painting at Longmen Gallery in Taipei, which became the first exhibition named after glue-pigment painting in the painting history of Taiwan. In 1981, he founded Glue-pigment Painting Association in Taiwan and selected as the president. He was also hired by Provincial Taichung Library as an art consultant. In 1985, he was hired as a part-time professor in the Department of Fine Arts of Tunghai University, teaching glue-pigment painting, which blazing a trail for glue-pigment painting course at Department of Fine Arts in universities in Taiwan. On coloring for paintings, Mr. Lin, Chih-Chu thought and practiced based on chromatics. To make choices within thousands of pigment of natural color mineral stone powder, the decision must be deliberated. Besides the shadow arrangements, using different contrasting colors to adjust color turbidity and to create shadow on different color graduation could enrich the picture and prevent it from monotonous. Master Lin engaged in creation of glue-pigment painting for many years and spent a long time to rectify its name. Same as Thangka of Esoteric Buddhism, he also used animal glue and natural stone powder as pigment to create paintings that can last for many years without fading.
Fortitude of the mind
Born in Nantou in 1955 and grew up in a simple rural area, Lin Chin-tien lived with his father, Mr. Lin Zhimu, in a simple farmer-ish life, seeking places with suspension bridge for accommodation. He traveled all over the province with his footprints covered top of mountains and banks of rivers and have been through ups and downs of life. He held a public post after graduated and acquired a master degree of Public Administration. Started from the most grass-roots jobs, he has been worked at departments of people's livelihood, finance, construction, society, budget planning, sightseeing, news, and culture, and eventually achieved the hight of his career, served as Minister of Cultural Department of Taiwan. His experience is rich and, hence, have more materials of culture and society for his creation than many others. In 2014, in order to save more time for himself, he retired resolutely to fully engage in painting creation. Lin Chin-tien is not an academic painter. Therefore, his painting style is not bound and limited by painting techniques and theories. His rich public service and multi-cultural working experience gives him a keen power of observation and ability of creation. Though he started slowly on the road of art, but his achievement is startling, winning big awards for many times and receiving non-stop invitations. His brushstrokes are quite straightforward and natural, with no intention to hide his frank and honest ideas. He's good at using thick and firm colors. Each of his paintings discloses his strict attention towards painting and the solemn and beauty of the image, exuding heartfelt emotions and energy dedicated by the artist.
Colorful ink aesthetics besides the landscape
Born in Yangmingshan, Taipei, in 1961 Studied at Department of Fine Arts of Chinese Culture University and received a scholarship of Mr. Ma Shouhua to arts in 1981. Lived in France in 1988 Moved to Paris in 1992, during which time he was served as Chinese calligraphy and painting teacher at Association Des Amities Franco-Chinoise in Vichy City and calligraphy teacher at associations in Cities such as Moulin and Clermont-Ferrand, etc. During his time in France, Mr. Yu, Chuan-Qi mainly studied religious art. Faced with foreign culture and art, he started to re-examine Oriental aesthetics and humanistic spirit, which helped him to break shackles of literati painting. He mixed Chinese traditional concept of using ink and color for paintings as well as the traditional oriental world view that man is an internal part of nature with western painting techniques such as scenography, chromatics, and principles of optics, endowing Chinese ink painting with new life. The artistic conception of Mr. Yu, Chuan-Qi's landscape paintings pursuits not only an image of place that is inhabitable and worth for traveling, but also conveys the idea and emotion of the artist. Subjects of his creation never go beyond natural scenery like landscape and seasonal sights. However, the way he painted mountains and rivers varies. There are splendid landscapes with grand mountains and rivers and there are elegant and delicate forest scenes, or mountain forest with watery clouds and mist, like a fairy land. Besides that, the material he uses for painting are often unlimited. He takes advantage of special characteristics of different painting material such as color ink, gule-pigment, and acrylic to create a three-dimensional vision of space and bring out the depth and layers of it. He fills pure, fresh, and gorgeous colors in every corner of the picture. However, the composition of the picture makes one feel satisfied but not too much.
A well-known contemporary painter
Mr. Guo, Guan lived seclusively in a simple and remote small town named Guidong in Hunan province during his early ages. Later he studied diligently at the highest seat of art learning in China, Fine Arts Department of Beijing Normal University. After graduation, he entered into the Institute of Tianjin Academy of Fine Arts and acquired master degree there. Now he traveled to London, England, for further advancement, studying at the University of the Arts, London, for PhD degree. Baptized by western art trends and influenced by rich academic teaching and western aesthetics, Guo, Guan shows a unique oriental ink creation on his works, which is greatly favored by art collectors. He has served as Vice Chairman of the Chinese Landscape Painters Association, director of Chinese Poets Association, and the Vice Chairman of the Chinese Zither Association. Guo, Guan's paintings are full of Zen meaning and spirituality. His delicate brush strokes revealed peace and harmony that he pursuits deep in his heart. He uses clean lines and dots as well as detailed drawing method to frame landscapes, which not only presents the grandeur of mountains and waters, but also reconstructs a wide and diversified vision. Coupled with modern symbol (totem), shape, style and ideas of innovation and continuous renovation, his paintings are filled with rich oriental thoughts and tones of Zen. Aiming at landscapes, his heaven, harmonious earthly fairyland, and pure glazed world themed paintings often featured with poem. He is also a poet and an ancient Chinese zither player. In painting, he has been qualified as first-class artist in China and served as freelance artist of Rong Bao Zhai and professional painter of China Academy of Painting and Calligraphy. In 2008, he painted “The Lofty Huaxia Soul”, a huge traditional Chinese painting with grandeur Chinese landscape of great mountains and rivers, for Tower of Violet Light at Zhong Nan Hai. He has formed a unique pattern for his paintings in the field of Chinese art creation and is an artist who sees creation as mission and treats painting as his life.
Peaceful Inside and Meditation for Pond
Peaceful Inside and Meditation for Pond Creation is the turning point that changes my life. Because of creation, let me reconnect with nature. "Nature" has an unspeakable power connected to the individual's small universe. I use a pond as a link between my inner and outer world. From things to revelation, in time and space, when I look back, I have discovered the work of the pond series, and parse out the context of one's own life. The process of creation is beautiful, every stroke that has been drawn is a trace of "ideology", and it is waking up the recovery of "enlightenment" and letting the heart return to the beginning of the world, the state of "true". When you are restricted, you can see your heart, and then you will notice the existence of the soul. For this reason, the uneasiness and shadows that have been experienced in the past is invisible but exposed in the form of art, and then soothed, healed, purified, and sublimated through the creation of the later stages. "Birth and death have their own way. Everything is arranged," is the deepest feeling to me. Many of the good relationships start from art, the silent voice of the work, often calling for many souls and friends of art, so as to bridge the communication and let me experience much extraordinary scenery in my life journey. Although also misfortune several times in the process of life, but the art has handed me the courage to face impermanent because this is the arrangement of the "Tao". The creation process of the pond has opened up its own internal and external links. At the beginning of my creation ten years ago, I made art for my life. This time, due to coincidence, a grand exhibition took place at the Buddha Memorial Hall, and then it will be exhibited in other cities to welcome the next decade. I hope to be able to continue to make breakthroughs in the creation, to meet more creative performances, to express not only the visual but also the spiritual art feast. Where am I? I am on the road to a newer life.
Chinese symbols, artistic conception and games
Born in 1948 in Pitou Village, Changhua County, Taiwan In 1964, admitted to Taichung Normal College and started to learn painting diligently after enlightened by professor Lyu Fo-ting. Later acquired master degree of Art at National University of Tsukuba of Japan. In 1992, admitted to PhD Program at Institute of Chinese of National Taiwan Normal University for further study and majored in Philology. In 1993, elected as the chairman of the founding committee of Chinese Calligraphy Association. In 2002, hired by Taipei National University of Arts as assistant professor of Fine Arts Department, teaching History of Chinese Calligraphy and Art Theory of Calligraphy. Promoted to be vice professor at the next semester, attended international seminar of Art Symbol Language in Busan, and published thesis of Art of Calligraphy and Self Achievement. In 2005, attended International Seminar of Chinese Characters and Its Internationalization and published paper of Contemporary Aesthetic Value of Chinese Character Writing. His experience of judging art works is quite rich. He has served as a judge member of National Art Exhibition, Sun Yat-sen Literature and Art Award, National Literature and Art Award, and Wu Sanlian Literature and Art Award and also served as a member of judge committee of different art related institutions such as National Museum of History, Taipei Fine Arts Museum, Kaohsiung Museum of Fine Arts, Taiwan Provincial Fine Arts Museum (National Taiwan Museum of Fine Arts today), and Sun Yat Sen Memorial House. Mr. Du Zhonggao believes that Chinese characters are symbolic shells of calligraphy works which can be felt and seen. Art conception is the key spirit of the work which exists with Chinese characters and can be felt but cannot be seen. And a playful mind that filled with games is an excellent catalytic media which fuses the two together. Brush calligraphy has an irreversible feature and has to be completed in one time. It cannot be corrected or depicted. This artistic characteristics agrees with the nature of life, no one can live once more. Brush calligraphy is a type of art that is enough to show individual talent and tastes. Only in the process of returning to nature and developing creation, will human beings be able to reach a complete status of enhancing skills and techniques and growing spirit simultaneously.
Flower Season at Dream Lake Garden - Glue-pigment Color Series
Born in Nantou County, Taiwan, and graduated as one of the 57th graduates from Fine Arts Department of National Taiwan Normal University in 1968. In 1991, started to learn and study glue-pigment silk painting from Mr. Lin, Chih-Chu and Mr. HSU Shen-Chou, becoming regretless lover and professional painter of silk painting. Has served as director of Taiwan Glue-pigment Painting Association and executive director of Taipei Green Water Glue-pigment Painting Association . Through strict college training, Mr. Su Fuwu, who performed excellently during his school time. He arranges color quite delicately and has sharp sense of aesthetics, which made his works not only have excellent composition but have great colors also. He has a very strong ability of absorption and contingency. Of the glue-pigment skills, he can draw inferences about other cases from one instance and know by analogy or find another way out. It is clear in his works that he can use high skills freely after honing that skill for only several years. What is more valuable is that, in addition to being visually beautiful, his work can also create a poetically gentle and elegant spirituality. Therefore, facing to his works, you will be enchanted by brilliant and vivid complete image with attractive, elegant, and delightful taste, appreciating his solid sketching skills, excellent understanding of color and clever idea. You will also discover some fancy ideas that emerge from his works such as assemblage of a series of colors and blocks of color contrast on the work of When Peony Blossoms, widened angle of view with two birds flying high on the painting of Heavy Makeup, aligned red and white that radiate outward on Awakening of Spring, and blended rhythm of movement mirrored by quietness on Northern Spring Snow.
Across Time and Space of Ink Painting
Born in Kaohsiung County in 1944 and graduated as first honor student from Fine Arts Department of National Taiwan University of Arts in 1969 and later received distinguished alumni award from the University. From 1972, served as teaching assistant, lecturer, and associate professor at National Pingtong University for 13 years. From 1986, served as curator of Taipei Fine Arts Museum for eight years. From 1995 to 2004, served as curator of National Museum of History. In 1993, acquired literature Ph.D degree at National Kaohsiung Normal University and served as part-time professor at Fine Arts Institute of National Taiwan Normal University. In 2009, elected as the 4th president of Arts and Literature Center Association of Universities of Republic of China. Mr. Huang, Kuang-Nan threw himself into the field of Chinese painting once he got the skill of distinguishing painting tastes. Though he was interested in practicing watercolor painting, the connotation of Chinese painting is what attracts him the most. The most important reasons that he chose so are because of the enlightenment he received from several teachers including Chiang Ching-Jung and Bai Yunhen whose influence made him later admitted by National Taiwan University of Arts. He also received teachings from many famous teachers like FU Chuan-fu, JIN Chin-bo, Huang Jun-bi, and Lin Yu-shan, and encouragement from Chinese professors at National Kaohsiung Normal University such as He Shu-zhen, Zhang Zi-liang, and Lin Yao-tseng. All these made him step into aesthetic field of Chinese painting and worked diligently, making sure that works with new visual feelings will emerge in his creation of Chinese painting, or say traditional Chinese ink painting.
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