Though stricken by cancer of the nose and throat, famous artist Chu Ke remains optimistic and continues his life's work. He has achieved his position as a leading bronze sculptor, poet, artist and art critic despite a lack of academic training. Of his present predicament, Chu Ke says: "I am not afraid of death. My only concern is that I will not be able to finish my work in time."

It was in early June, when the National Palace Museum in Taipei was shrouded in the mist and rain of the monsoon season, that this writer went to visit Chu Ke. Stooped and emaciated from his illness, he can only talk in a hoarse voice.

The exhibition room at the entrance of the second floor of the museum has been designed by Chu Ke. An eye-catching cogwheel pattern featuring two coiled snakes, which is taken from the decoration on the lid of a bronze jug of the Western Chou dynasty dominates one wall. Chu Ke chose it because it illustrates the "yin" and the "yang," the Chinese concept of opposites, such as man and woman, sun and moon, heaven and earth, and positive and negative.

After spending 15 years studying the decorations incorporated in the bronzes of the Shang and Chou dynasties, Chu discovered two interesting anomalies. First, in view of the traditional Chinese love of nature, it is strange that there is no trace of plants in the art of this period. Second, there are few examples of figure sculpture.

Further research into the first problem showed that during the Shang and Chou dynasties, a religious period during China's history, people worshiped snakes and birds rather than plants. The second problem was solved when Chu Ke discovered that the Chinese people used symbols for sex objects instead of presenting naked figures as was the custom in the West.

From the custom of snake worship prevalent in these early times, Chu Ke was able to deduce the traditional Chinese view of aesthetics consisting of a balance of curves and lines. "Before Chinese painting or characters were created, ropes were used to record the form of the ancient worshiping ceremonies. Probably, these ropes also served as symbols for snakes. It is also known that dancers in traditional Chinese worship ceremonies imitated the snake in their movements. The flying eaves of traditional Chinese architecture, falsetto voices and loose sleeves in Peiping opera, and the general philosophy of life all reflect this curvilineal concept of beauty," the artist said.

The more he studies ancient bronzes, the more he is able to realize that through the study of antiques, artists can better understand the characteristics of Chinese culture and decide the direction of their future efforts.

Chu Ke's love for art can be traced back to his childhood. Born to a farming family in Hunan province, he learned painting and embroidery from his mother. His father, however, was displeased with his penchant for art, and hired a tutor to teach Chu Ke such ancient classics as the Four Books and a commentary on the Spring and Autumn Annals written by Tso Chiu-ming. Chu also came into contact with materials including photographs and books on the treasures of the National Palace Museum.

He entered middle school at the age of 14, but joined the army the following year. A year later, when the Chinese mainland fell to the Communists, he came to Taiwan with the army.

Growing up in a war-ravaged land in an unstable era, the young men of that period were independent and mature for their age. After settling down in Taiwan, Chu and his colleagues began to study languages, take part in national examinations or found outlets for their interest in writing and painting. In this way, the armed forces nurtured many notable young writers and artists.

By the time he was 18, Chu Ke had already started to write poems, many of which were published in local journals. As he was stationed at a camp close to a library in Taoyuan in northern Taiwan, he browsed through all the books on literature and art. When he was transferred to Linkou nearby, Chu Ke took his lunch of steamed dumplings with him when he attended painting and dancing exhibitions or read books at libraries all over Taiwan. During this period, he came across many books on art criticism and was able to make many deductions and analyses. The self-discipline he acquired proved helpful in his future career of conducting research and writing art commentaries.

Some 20 years ago, Chu Ke was among a group of young men who vigorously advocated the development of modern art. He believed that in achieving the goals of modernization in politics and the economy, art should not be left behind. He thought the Chinese should absorb new concepts to merge with the forces of their culture so as to build up a modern outlook for Chinese art.

Even during his stint in the army, Chu never put aside his brushes. Through imitating and absorbing the painting techniques of such masters as Milo and Klee, he was able to hone his mastery of brush pen techniques. A short period of training in classical Chinese painting from leading female artist Tien Man-shih enabled him to make a breakthrough in his painting career.

Watershed. His retirement from the army at the age of 31 marked a watershed in Chu Ke's life. Yu Ta kan, one of the leading local philosophers and educators, made a major contribution to his change in outlook. Encouraged by his wife, Chen Sou-mei, he passed the college entrance examination and entered the department of fine arts at the National Taiwan Academy of Arts. By this time, he had become a leading art critic, and was invited by Yu to teach at the department of theatrical arts and the Chinese University of Culture. Yu advised him not to go to extremes, and not to take on too many things at once. As a result, Chu Ke never tried to theorize on things he did not under stand, and his commentaries became more moderate and unbiased. He soon devoted all his efforts to the research work at the museum.

He confessed: "As a young man, I was a wild wanderer with a host of girl friends. I always stayed up late, and might be found unconscious in the streets at night after a drinking bout. At 30, I got married, organized my family life and got a regular job. With the encouragement of my wife, and with my new-found responsibility, I settled down to do some research work. It was only then that I discovered I had spent too much time on trivial things. I was so determined to make up for past mistakes, that I often stayed up all night studying."

Calamity: Six months ago, Chu Ke woke up to find that half of his face was paralysed. When he learned that he had cancer of the nose and pharynx, he remained calm, but regretted that there remained so many things to do.

Years of study and research at the National Palace Museum have enabled Chu Ke to publish such works as "Chinese Historical and Cultural Artifacts," "The History of Chinese Sculpture," "The Relationship between Decoration and Religion in the Shang and Chou dynasties," "On the Pattern of Tao Tieh (a legendary ferocious monster)" "Birds' Feet Decoration of the Shang and Chou ynasties," and others.

"These were only a beginning. I am preparing to publish a magazine entitled 'The Chinese People,' in cooperation with Echo Magazine, to finish my collections of decorative art and modern Chinese art, and above all to write down the results of my research into plain language for children. I want to do some thing for the next generation. I can only do my best to finish the task, and hope someone else will carry on where I left off."

He concluded: "At the age of 20, I made up my mind to do the things that interested me most, and would benefit my nation and society at large. I intend to carry out my ideals to the end."

[Picture Caption]

Left: After spending 15 years studying decorative art on the bronze wares of Shang and Chou dynasties at the National Palace Museum, Chu Ke has published many academic essays. Right: An illustration by Chu Ke featuring a man playing cello.

Using the lines and strokes unique to Chinese calligraphy, Chu Ke creates a style called "writers' painting." In such early works as "Roads of the Past" (2), he uses light hues, while in his recent works as "Sudden Rainstorm" (1) he achieves a novel effect by using bright and deep colors in Chinese and Western style. 3. A pattern featuring two coiled snakes, taken from the decorations on the lid of a bronze jug of the Western Chou dynasty, is about the most original taichi picture in China.

Chu Ke has an able, helpful and wise wife. Picture shows their daughter Apao playing with a family pet.

An illustration by Chu Ke featuring a man playing cello.

he achieves a novel effect by using bright and deep colors in Chinese and Western style.

he uses light hues, while in his recent works as "Sudden Rainstorm".

A pattern featuring two coiled snakes, taken from the decorations on the lid of a bronze jug of the Western Chou dynasty, is about the most original taichi picture in China.

Chu Ke has an able, helpful and wise wife. Picture shows their daughter Apao playing with a family pet.