When business conditions became difficult in the mainland province of Kwangtung in 1912, the father of Liu Chi-wei moved with his family to Japan. Some years later, the practically-minded Liu entered an engineering academy as a means of guaranteeing him a job on graduation. After he received his diploma he returned to the western province of Yunnan to work, where he was stationed when war broke out with the Japanese in 1936.
In 1945, Liu was sent by the Government of the Republic of China to Taiwan to work as a Chinese-Japanese translator. One day during his spare time he idly picked up an art book and decided to translate "something interesting." The interest, however, soon moved from the translation to the art itself, and from that day on, Liu embarked on a new career as a painter.
Though he had no formal training or even informal guidance, Liu was determined, and with his abundance of self-confidence, he eventually became one of China's great artists. After a career lasting 30 years Liu wishes the days were longer so that he could dedicate himself more to the study and research of formal painting methods.
In 1950, one of his water color works of a temple won him first place in the Taiwan provincial art exhibition. Many of his earlier works were of rural scenes, but later he concentrated on portraits. Always an unconventional artist, Liu feels that expressing one's imagination is more important than being exact in terms of realism, shading and use of space. His expressionist philosophy later caused him to paint Taiwan landscapes and subjects associated with gods and the spirit world.
During the 1960s, Lin was stationed in Vietnam as an electrical engineer. This not only gave him the chance to paint different subjects, but also made him realize that travel would enhance his artistic abilities. So he toured Thailand and South America, and closer to home, Orchid Island off Taiwan's southeast coast, to collect new ideas and find new inspiration. In the areas he visited, Liu sought out primitive tribes whose images and lifestyles he captured on canvas.
Liu feels that the artist, as well as giving full rein to his imagination, must also be bold in experimenting with different ideas. In this way, be can capture such elusive themes as love, dreams, and poetry. Though he has little money, Liu is rich in terms of happiness, and has no regrets about his decision to switch professions. His motto: "Art is long, life is short."
[Picture Caption]
1. Liu Chi-wei, at 70. 2. "We two", 1982. 3. "Still life", 1981.
1. "Fish", 1982. 2. "Spirit of the Horse", 1981. 3. "Seahorse", 1982.
1. "Aristocats", 1982. 2. "Out for a stroll", 1982. 3. "Kissing fish", 1982. 4. "Peking opera", 1970.
1. The artist in 1981. 2. Liu Chi-wei. 3. A male tribesman of one of the aboriginal groups the artist visited in southeast Asia. 4. Warrior face mask.
"Spirit of the Horse", 1981.
"Out for a stroll", 1982.
The artist in 1981. 2. Liu Chi-wei.
A male tribesman of one of the aboriginal groups the artist visited in southeast Asia.
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