PRINTILLUSTRATED:
Paintings of Liu Kuo-sung, Capital Art, Taipei, 2013,color illustrated, pp. 46-47
Paintings of Liu Kuo-sung, Capital Art, Taipei, 2013,color illustrated, pp. 46-47
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Rhythm of the Moon (C)
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2008 Ink and color on paper 99.5 x 183.5 cm Signed lower right Liu Kuo-sung and dated 2008 in Chinese |
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Estimate
8,000,000 - 9,000,000 2,073,000 - 2,332,000 265,700 - 298,900
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Sold Price
10,200,000 2,656,250 339,773
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Catalogue Note:
As one of the the founding members of the Taiwanese Modern art group Salon de Mai, Liu Kuo-sung is a strong advocate of Chinese traditional art as well as complete reformation and innovation. As western ideas of civilization spread eastward, the values of abstract art of the west took Taiwanese society by storm. Liu Kuosung seeks not to simply showcase the Chinese philosophies of his works through the framework and techniques of western methodologies, but to integrate parts of westernization into his very own artistic vocabulary. With the determination to see it through to the very end, he created a brand new vocabulary.
Even as a master of ink and color painting, Liu Kuo-sung is not satisfied by a singular method of expression. His attempts at bold innovation in traditional ink and color painting techniques have created a form of ink and color paintings never seen before. Liu Kuo-sung’s Modern ink works appear to retain the essence of Chinese culture in both form and technique. However, his methods of expression are based on that of western abstract art. Aside from his attempts in paving a new road for ink and color painting, we can also see his resolution to take the matter of remaking the art of ink and color painting into his own hands. Looking at an overview of Liu Kuo-sung’s artistic journey, from the earliest stages of his ink imprint technique (Tuomo Fa) and paper grain technique (Zhijin Fa) in the 60’s, to his water print technique (Shui Tuo Fa) of the 70’s, and finally his steeped ink and color technique (Zimo Fa) from the mid 80’s to present day, one can see the artist’s constant reforming of his own methodology. As he continuously breaks down the traditional conformities of ink, he conjured up a faction of Chinese painting within the realms of Modern art.
“Rhythm of the Moon (C)” was created in 2008. It summarizes the various ink and color painting languages of the artist’s own creation. One can see traces of his venture into space art as inspired by the American spacecraft Apollo 8’s orbit of the moon in 1968. The upper half is occupied by a few full moons and traces of their trajectory while the lower half was painted in layers using a special kind of paper grain technique. While taking on a vast imagery through its brushwork, it also hold the beauty of abstractions in addition to figurative meaning. It is because of this that when looking at the works of Liu Kuo-sung, one can find that the artist wishes to convey a sort of artistic format that transcends both western and eastern norms. Through his early rebelling against artistic language, western art styles, and forms of abstract art, the art of Liu is constantly rebuilding its own innovation and methods. Even if they hold the minutiae qualities of western art, they still contain the essence of Chinese ink and color painting at its core. The imagery of his works seem figurative, yet not quite abstract, escaping from the sloughs of Chinese landscape paintings in ink. Through injecting new life into an art crafted over thousands of years and constant change, Liu Kuo-sung’s Modern ink and color painting art became one of a kind, making every one of his works from both the past and the future a symbol of their time.
Even as a master of ink and color painting, Liu Kuo-sung is not satisfied by a singular method of expression. His attempts at bold innovation in traditional ink and color painting techniques have created a form of ink and color paintings never seen before. Liu Kuo-sung’s Modern ink works appear to retain the essence of Chinese culture in both form and technique. However, his methods of expression are based on that of western abstract art. Aside from his attempts in paving a new road for ink and color painting, we can also see his resolution to take the matter of remaking the art of ink and color painting into his own hands. Looking at an overview of Liu Kuo-sung’s artistic journey, from the earliest stages of his ink imprint technique (Tuomo Fa) and paper grain technique (Zhijin Fa) in the 60’s, to his water print technique (Shui Tuo Fa) of the 70’s, and finally his steeped ink and color technique (Zimo Fa) from the mid 80’s to present day, one can see the artist’s constant reforming of his own methodology. As he continuously breaks down the traditional conformities of ink, he conjured up a faction of Chinese painting within the realms of Modern art.
“Rhythm of the Moon (C)” was created in 2008. It summarizes the various ink and color painting languages of the artist’s own creation. One can see traces of his venture into space art as inspired by the American spacecraft Apollo 8’s orbit of the moon in 1968. The upper half is occupied by a few full moons and traces of their trajectory while the lower half was painted in layers using a special kind of paper grain technique. While taking on a vast imagery through its brushwork, it also hold the beauty of abstractions in addition to figurative meaning. It is because of this that when looking at the works of Liu Kuo-sung, one can find that the artist wishes to convey a sort of artistic format that transcends both western and eastern norms. Through his early rebelling against artistic language, western art styles, and forms of abstract art, the art of Liu is constantly rebuilding its own innovation and methods. Even if they hold the minutiae qualities of western art, they still contain the essence of Chinese ink and color painting at its core. The imagery of his works seem figurative, yet not quite abstract, escaping from the sloughs of Chinese landscape paintings in ink. Through injecting new life into an art crafted over thousands of years and constant change, Liu Kuo-sung’s Modern ink and color painting art became one of a kind, making every one of his works from both the past and the future a symbol of their time.