Liu Yan-tao
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Liu Yan-tao | |
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| Born | July 25, 1908 Gongxian, Henan |
| Died | November 4, 1998 |
| Nationality | China |
| Citizenship | Chinese |
Liu Yan-tao (July 25, 1908 - November 4, 1998), also known by the pen name "Mu Huang," was born in Gongxian, Henan Province, Qing Dynasty (now Gongyi City, Henan Province, China). He passed away at the Chung Hwa Open Hospital in Taiwan.[1][2] He was an ink painter, calligrapher and served as a commissioner of the Control Yuan of the Republic of China. He assisted Yu Youren in the editing of Standard Cursive Script ten times and authored the book Introduction to Cursive Script.
Life
During his elementary school years, Liu Yantao's passion for painting was ignited by the Jieziyuan Huazhuan (Manual of the Mustard Seed Garden). In high school, he focused on learning pencil and charcoal drawing, laying the foundation for his future artistic endeavors. After graduating from high school, he was accepted into both Peking University and the Beijing Academy of Fine Arts. Ultimately, he chose to attend the Chinese Department at Peking University.[3] During his time at Peking University, he received instruction from Hu Peiheng, a master of both Chinese and Western art, which provided him with a solid artistic foundation.
Upon graduation, through Hu Peiheng's recommendation, Liu Yantao entered the National Palace Museum to work on the editing of the "Collectanea of Painting and Calligraphy in the National Palace Museum," allowing him to extensively study ancient books and paintings.[4] Starting from 1947, he served as a commissioner in the Control Yuan.[5]In 1949, he moved to Taiwan with the Nationalist government.[5] In April 1, 1989, the Retirement Act was established, and he was among the first to apply for retirement.[6]
While engaging in political affairs, Liu Yantao continued to create art and participate in promoting the art of painting and calligraphy in Taiwan. In 1955, he, along with fellow artists Ma Shouhua, Chen Fang, Tao Yunlou (1898-1964), Zheng Manqing, Zhang Gunian, and Gao Yihong (1908-1982), formed the "Seven Friends Painting Club." In 1962, he co-founded the "Chinese Painting Association" with Ma Shouhua, Yao Menggu, and others. He also, along with Wang Chuang-wei, Ma Shouhua, Tsao Chiu-pu, and others, initiated the "Chinese Calligraphy Association." In 1963, he collaborated with Li Pu-tong in establishing the "Standard Cursive Script Research Society." Due to eye problems, Liu Yantao's artistic output decreased significantly in 1981. In 1984, he suffered from heart disease. In his later years, his health declined, and he passed away in 1998.[4]
Artistic style
Liu Yantao adhered to the aesthetic principles of traditional literati painting. He believed that the creation of calligraphy and painting should integrate with poetry, achieving a harmonious fusion of emotions and scenes.[4] He emphasized that regardless of poetry, calligraphy, or painting, moral character and cultivation should always take precedence, followed by knowledge and literary skill.[5] His poetry was simple, unadorned, and imbued with sincerity.
In his inscriptions for paintings, he often drew from the essence of classical texts, combining them with his personal sentiments. His compositions were naturally crafted, free from excessive embellishments, yet radiating patriotism and concern for the times, evident in every stroke of his writing.
His calligraphy was rooted in the styles of the Han and Wei dynasties' stone inscriptions, with influences from the Jin and Tang dynasties.[7]In 1956, he published Introduction to Cursive Script, the first systematic monograph on the history of Chinese calligraphy.[7] He had also collaborated with Yu Youren in editing Standard Cursive Script, providing thorough analyses of the brush techniques and structural principles of renowned cursive script masters throughout history. [7]
Liu Yantao's painting style was deeply influenced by the works of Shi Tao and Bada Shanren, but he forged his own unique path.[8]He believed that the essence of painting lay in starting from life sketching and that creativity and originality were the spirits of artistic creation.[4] He also advocated for the modernization of Chinese painting and calligraphy, advocating for a natural fusion of Eastern and Western elements without the need for forced transformation, believing that a new face of painting and calligraphy would gradually emerge.
In his landscape paintings, he used minimal color, and in the few color works, he employed a palette of soft and elegant hues, often blending light purples, azures, and pale ink. [6]His use of ink showcased variations in density, wetness, and dryness, along with concise and graceful brushwork, bearing the charm reminiscent of Shi Tao and Bada Shanren.[6]
Scholar Jiang Yihan referred to Liu Yantao as one of the "Three Marvels of Poetry, Calligraphy, and Painting."[9] Liu, Zhang Daqian, and Zheng Manqing were all distinguished by their magnificent beards, earning them the collective title of the "Three Bearded Figures of the Art World."[1]
References
- ↑ 1.0 1.1 "artistsday". 國立歷史博物館 (in 中文). Archived from the original on 2023-05-08. Retrieved 2023-05-08.
- ↑ "監察院故前監察委員劉延濤之喪". 監察院 (in 中文). 1998-12-08. Archived from the original on 2023-05-09. Retrieved 2023-05-08.
- ↑ 戈, 思明, ed. (2012). 國立歷史博物館典藏水墨書畫. 臺北市: 國立歷史博物館. p. 173. ISBN 978-986-03-2218-7.
- ↑ 4.0 4.1 4.2 4.3 河南博物院, ed. (2014). 故園青山－劉延濤書畫作品選. 河南省: 大象. ISBN 978-7-5347-7394-5.
- ↑ 5.0 5.1 5.2 林, 永發 (2018-12-01). "劉延濤的藝術風格及于右任書法的太極意象" (PDF). 臺東大學人文學報. 國立臺東大學. p. 1-60. Archived from the original (PDF) on 2023-05-11. Retrieved 2023-05-11 – via airiti Library.
- ↑ 6.0 6.1 6.2 戈, 思明, ed. (2007). 清潤高節-劉延濤百歲紀念展. 臺北市: 國立歷史博物館. ISBN 9789860112351.
- ↑ 7.0 7.1 7.2 陳, 玉真 (2015). "劉延濤書藝之研究". 國立高雄師範大學國文系碩士論文. Archived from the original on 2023-05-11. Retrieved 2023-05-11 – via 臺灣碩博士論文知識加值系統.
- ↑ 曹, 靜琍 (2011-12-01). "劉延濤的繪畫藝術". 書畫藝術學刊. 臺灣藝術大學書畫藝術學系. p. 303-375. doi:10.29831/TDPC.201112.0013. Archived from the original on 2023-05-12. Retrieved 2023-05-12 – via airiti Library.
- ↑ 姜, 一涵 (1998-02-01). "劉延濤先生的「三絕」－中國傳統藝術的搖搖欲墜". 美育. 國立臺灣藝術教育館. p. 41-50. Archived from the original on 2023-05-12. Retrieved 2023-05-12 – via 國立臺灣藝術教育館.
External links
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