Liu Kuo-sung is one of many modern Chinese artists who started by studying Western art. His roots are firmly planted in the impressionist tradition and his life's work has been dominated by trying to reconcile Western impressionist and post-impressionist theory with traditional Chinese painting theories and traditions.

Over the last 20 years, most artists in Taiwan have been trying to find new ways of expression based on the theories of Western impressionism. Of these, none have been more successful than Liu Kuo-sung at finding unusual answers. In his search for a new way of expression he has experimented with theory, concept, materials, ink and paper. He has not only created many beautiful and important works of art but has also carved a niche for himself in the history of late Twentieth Century art.

Liu, who now lives and teaches in Hong Kong, was born in Shangtung province in 1932. At the age of 20 he entered the art department of the National Taiwan Normal University, where he was strongly influenced by the works of Cezanne and Van Gogh. He was especially interested in their use of color and tonal changes. By his senior year, he had lost interest in developing Chinese traditional painting and devoted himself to abstract expressionism.

Purely Western forms of expression also did not satisfy him, however, and he later tried to combine Western theory and methods with Chinese moods and tastes. But he failed in this endeavor as well. Finally after a period of deep thought, Liu decided to pick up his Chinese ink and paper which he had laid aside 10 years ago.

After years of heavy abstract expressionist influence, he suddenly realized that the freedom he sought lay in traditional Chinese styles. What brought about this sudden revelation was a work by the Northern Sung artist, Shih Ke, who painted in a free and spontaneous style. Afterwards, Liu began to experiment with paper; pressing it, folding it, and sticking things on the back.

The paper Liu finally chose after two years of experiments is covered with many paper strips which he tears off when each painting is finished. The remaining white streaks are often integrated into the painting's structure and along with the brush strokes and the blank space, comprise a major design aspect which he takes into consideration before he picks up his brush. Using this method, his work often seems spontaneous, even though it is actually the product of years of hard work and experiment.

Liu Kuo-sung's most acclaimed works are his "space paintings", a series of 300 paintings inspired by photographs sent back by Apollo 7 in 1968. The main theme is based on a circle and an arc, one the earth and the other the moon. Using this same simple theme he varies the color and appearance while seeking different effects.

After working along these lines for four years, he had almost lost sight of his goal of exploring and expanding Chinese traditional modes of painting. He therefore returned to Taiwan to develop new dimensions, such as placing watermarks on the paper before he starts painting, and also using rounded borders. At the same time, he continued to develop some of the themes he had used during his "space" period, especially experimenting with the effects of color.

At present, Liu has been working with watermarks for 10 years. He has tried using all types of inks, water colors, oils, and acrylics seeking to find a way to bring the papers' watermarks together with his spontaneous style. Although during this phase he is still seeking the effects of change, his process is always the same. First he puts the water-marks on the paper and then considers the designs that appear. Finally when his ideas have taken shape, he begins painting. Often, he will spend five to 10 days on one painting.

Liu Kuo-sung's self-proclaimed mission is to bring the modern spirit to traditional Chinese painting. Knowing that he and so many other artists are devoted to the development of Chinese traditional art, one cannot help but have an optimistic view of the future in this field.

[Picture Caption]

1: The Liu's touring the U.S. 2: "Desolate Mountains", 1981. 3: "Purple Mountains", 1979. 4: "Inside the Window, Outside the Window" 1967.

1: "Multi-faceted Mountains", 1981. 2: "The Setting Sun", 1982. 3: "Looking into Wu Gorge", 1979.

Desolate Mountains.

Purple Mountains.

Inside the Window, Outside the Window 1967.

Multi-faceted Mountains, 1981.

The Setting Sun, 1982.

Looking into Wu Gorge, 1979.