尊彩藝術中心－樸素高貴：廖修平的藝術歷程｜Liang Gallery – Simple Noble – The Artist Careers of Liao Shiou-Ping

廖修平的藝術歷程

目

錄

序

4

余 彥 良 ( 尊彩藝術中心 董事長 )

樸素高貴：廖修平的藝術歷程

6

廖 仁 義 ( 法國巴黎第十大學美學博士，國立臺北藝術大學博物館研究所所長 )

我走過的路

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廖 修 平 口述 ｜ 陳 小 凌 整理

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121

137

CONTENTS

PREFACE by

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YU Yen-Liang

(President of Liang Gallery)

SIMPLE NOBLE: THE ARTIST CAREERS OF LIAO SHIOU-PING by

LIAO Jen-I

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(Director of the Graduate Institute of Museum Studies, Taipei National University of the Arts. PhD, Aesthetics, Université de Paris-X Nanterre)

108

THE ROADS I HAVE TAKEN Dictated by Liao Shiou-Ping ｜ Edited by Chen Siao-Ling

A RT WO R K S

BIOGRAPHY

C ATA L O G

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121

137

序 余 彥 良

尊彩藝術中心 董事長

廖修平於 1936 年出生於臺灣 - 臺北，自十五歲開啟藝術創作至今將近七十年，跨足油畫、 版畫與複合媒材。是台灣戰後藝術史上，備受尊崇的「臺灣現代版畫之父」，他曾任教 於日本、美國、台灣各地藝術學院，推廣版畫的創作與教育四十餘年，在促進國際版畫 藝術交流上，具有卓越貢獻。 他擁有完整而具備國際視野的教育歷程。1959 年自國立臺灣師範大學美術系畢業後，繼 而留學日本國立東京教育大學（筑波大學前身）。

1965 年，遠赴法國 - 國立巴黎美術學院油畫教室與版畫十七（Atelier 17）工作室進修， 受教於史丹利· 威廉· 海特 Stanley William Hayter 學習一版多色凹凸法的金屬版畫技術， 此一時期，正值全球抽象表現主義風潮，他從此開啟以抽象風格作為創作元素，並反思 做為一位來自東方的藝術家，如何尋找自己的文化根源，兒時故鄉龍山寺廟宇民俗符號 成為他創作的啟發。 心性簡樸，思緒專注，廖修平將平凡樸素的符號轉化為深刻高貴的美感。過去半個世紀， 他以國際聞名的藝術成就得獎無數，作品獲得超過四十多座國際美術館典藏並在全球各 大美術館舉辦個展，此次在尊彩藝術中心「樸素高貴：廖修平的藝術歷程」展覽，則是 他首次在民間畫廊舉辦的個展，深具歷史意義。此一展覽，精選藝術家從 1960 年代的 早期作品直到 2019 年的最新作品，清晰呈現一位當代大師的藝術歷程。

5

序

Preface

YU YEN-LIANG

President of Liang Gallery

Known as Taiwan’s “Father of Modern Printmaking,” Liao Shiou-Ping is a versatile artist not limited to print art. His more than 70-year artistic career began at the age of fifteen, and since then he has adventured into the practices of oil painting, print art, and mixed media. He studied with the Taiwanese masters such as Lee Shih-Chiao and Liao Chi-Chun, from whom he inherited the stance to pilot Taiwan’s modern and contemporary art. Later, he moved to Japan to study with Takahashi Masato and Matsuki Shigeo to acquire a perfect command of color and composition, and finally to France where he studied with Roger Chastel and S. W. Hayter to mastered oil painting and print art.

Modest and focused, the artist transforms the plain and simple symbols into an aesthetics which is profound and noble. For the past fifty years, he has held numerous solo exhibitions at public art museums, but the upcoming Simple Noble: The Artist Careers of Liao Shiou-Ping at Liang Gallery, a landmark as it is, will be his first time at a private gallery. The exhibition is a highlight of a contemporary master’s artistic path with selections from his early works in the 1960s to the latest works in 2019.

In spite of the years spent in the West and the cultural influence that has come with it, Professor Liao Shiou-Ping never abandons the Eastern culture, philosophy, and education which he considers his root. Such a sentiment is infused into his works, visualized through the virtual-versus-real, or yin-versus-yan Eastern philosophy as received in the changing of the seasons. The world is a circle of life to reveal the truth of life, through which the artist perfectly expresses his longing for his native culture while away from home.

PREFACE

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法國巴黎第十大學美學博士，國立臺北藝術大學博物館研究所所長

廖仁義

文

樸素高貴：廖修平的藝術歷程

樸素高貴：廖修平的藝術歷程

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廖修平是一位以全方位的藝術成就寫

作品入選第五屆日展，造成轟動。在這

伸的重要轉捩點。這一時期，他的油畫

進 美 術 史 的 臺 灣 藝 術 家。 過 去 長 期

同時，他也曾進入設計大師高橋正人主

與版畫作品都能得到高度評價。1966 年

以 來， 他 被 尊 稱 為「臺 灣 現 代 版 畫 之

持的視覺藝術研究所，學習色彩學、構

油畫作品〈巴黎舊牆〉曾在春季沙龍獲

父 」， 固 然 意 味 著 他 在 版 畫 藝 術 方 面

成原理與基礎設計，讓他具備嚴謹準確

得銀牌獎，同年蝕刻金屬版畫作品〈拜

享 有 崇 高 的 地 位， 卻 往 往 也 使 得 我 們

的構圖與色彩能力。

拜〉也獲得巴黎市立現代美術館購藏。 年輕的東方藝術家能夠在西方藝術舞台

忽略了他在總體美術各種媒材方面的 多元探索與成就。

1964 年， 赴 法 學 習， 進 入 法 國 國 立 巴

獲得如此榮譽絕非易事，也更加堅定了

黎高等美術學校，師承油畫大師夏士德

他以藝術家做為終身職志的決心。

從廖修平的年輕時期直到目前的藝術創

（Roger Chastel），受其鼓勵回到東方文

作，我們可以清楚看見，他所經歷的媒

化找尋造型元素，而他也利用巴黎居美

1968 年，旅居美國，進入紐約普拉特版

材探索，從油畫到版畫，從石版畫到絲

博物館（Musée Quimet）重新研究古代

畫 中 心（Pratt Graphic Center） 工 作。

網版畫，從版畫到複合媒材，從複合媒

中國的器物圖紋。在這同時，他爭取機

這一時期，他開始透過鳥瞰的觀點破除

材到雕塑與裝置藝術。每一個時期，這

空間限制，並透過調色處理發展漸層彩

些媒材都能平行發展，各領風騷，形成

虹色彩，使作品更顯生動活潑。他也迅

他全方位的藝術成就。

速 受 到 紐 約 畫 壇 矚 目，1969 年 的〈 歷 史 〉、1970 年 的〈 太 陽 節 〉 與 1972 年

I 從臺灣到國際的藝術探索

的〈天空節〉分別獲得重要的藝術獎項。 為了讓東方符號的意義層次變得更為豐 富，他再一次進行材料與技法的探索與

1936 年廖修平誕生於臺北市艋舺龍山寺

突破，從 1970 年開始積極投入絲網版畫

香火嬝繞的街巷。他的藝術學習，可以

（Silkscreen）的創作。在熟練蝕刻金屬版

回溯到 1950 年代，受教於吳棟材與張

畫之後，延伸研究絲網版畫，進一步又

萬傳，紮下嚴謹的素描基礎。1955 年考

發現另一個寬廣的版畫視野。

進省立臺灣師範大學之後，先後師承李 石樵與廖繼春，他從前者學習到畫面的

會進入英國藝術家海特（S. W. Hayter）

而正是因為對於版畫的理論與實踐已經達

空間結構，從後者學習到畫面的色彩布

在 巴 黎 創 辦 的 17 版 畫 工 作 室（Atelier

到爐火純青的境地，他不但在西方藝壇得

置，因而能夠掌握從立體主義與野獸主

17）開始攻研蝕刻金屬版畫（Etching）。

以嶄露頭角，也日漸受到亞洲國家的重

義以來的現代藝術的繪畫思維，就讀師

海特創作足跡與影響遍及美國與法國，

視，紛紛邀請他前往開班授徒。從此，他

大時期已經是備受矚目的新秀藝術家。

享譽國際，他的地位跟戰前歐洲的超現

成為亞洲國家現代版畫的開創者，也成為

實主義與戰後美國的抽象表現主義大師

亞洲最重要的版畫藝術的教育家。因此，

1962 年，赴日學習，進入國立東京教育

齊名。海特曾經接受正規的化學訓練，

他在繼續從事油畫與壓克力繪畫創作的同

大學，師承擅長歐洲廢墟風景畫的日本

能將正確的科學知識運用於版畫藝術，

時，便將時間與心力無私地奉獻於將現

畫家松木重雄，因此能夠透過觀看的視

對於現代蝕刻金屬版畫的顏料與技法做

代版畫帶到亞洲國家，特別是將現代版畫

角與色彩的肌理明暗表現時間痕跡，作

出空前的貢獻，而這項對於材料與技法

帶回臺灣。就是這份貢獻，我們尊稱他為

品呈現更為豐富的歷史表情與文化深度。

的研究與發明，也影響了廖修平版畫創

「臺灣現代版畫之父」，但是事實上，他

1962 年曾以〈臺灣淡水小鎮〉這件油畫

作的創新精神，也是他日後朝向版畫延

的影響已經遍布許多亞洲國家。

樸素高貴：廖修平的藝術歷程

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1973 年，廖修平受邀回到臺灣，任教於

的創造力累積起來的文化，既需要繼承，

生活之中的平凡器物，他透過構圖與色

國立臺灣師範大學、中國文化學院與國

也需要開創。換句話說，綜觀他過去走過

彩將豐富的情感注入這些符號之中，使

立臺灣藝術專科學校，將自己辛苦練就

的路程，我們清楚看見，廖修平的「家」，

它們從樸素轉變為高貴。因此，我們將

的專業能力毫不保留全部傳授給學生，

已經從小我的家變成大我的家。他在這個

這次的展覽取名為「樸素高貴：廖修平

而當時的學生如今也都已經成為臺灣版

屬於全人類的家，看到自己。

的藝術歷程」，以突顯他從平凡恬淡提

畫領域舉足輕重的藝術家。1977 年，受

升出來的大器鏗鏘。

邀前往日本，回到已經改名為筑波大學

在這個從小我到大我的發展脈絡中，廖

的母校，擔任客座教授，協助成立版畫

修平的藝術題材呈現出一個演變的歷程，

過去數十年，廖修平的展覽幾乎都是在

工作室。1979 年，回到紐約繼續藝術創

我們可以簡單整理出十二個系列：1. 人

公立美術館舉行，這次臺北的尊彩藝術

作，並任教於美國西東大學（Seton Hall

體畫系列，2. 風景畫系列，3. 墨象系列，

中心的展覽可以說是他首次在私人藝術

University）直到退休，其間曾經受邀前

4. 門之系列，5. 器物圖紋系列，6. 四季與

場所舉辦的大型展覽，別具意義。因為，

往中國與香港講授版畫。將近 40 年的時

節慶系列，7. 日常器物系列，8. 木頭人

這意味著他的作品將會從他自己的工作

間，他往返於美國與亞洲各國，或者繼

室進入公立美術館以外的收藏地點。我

續創作，或者繼續教學。因應教學的需

們也可以這麼說，這意味著他的作品將

要，他完成了《版畫藝術》一書，成為

會從他自己的家進入到更多人的家，或

中文世界版畫研究與創作最重要的經典。

者，原本屬於他自己的幸福將會成為更

直到 2002 年，返台任教於國立臺灣師範

多人可以享有的幸福。他所創造的這種

大學、國立臺灣藝術大學、國立臺北藝

樸素高貴，也將會成為更多人可以親自

術大學多所學校，作育無數英才。

體驗的樸素高貴。

II 從樸素到高貴的美感表現

這次的展覽，除了強調「樸素高貴」的 美感表現，也要強調他的「藝術歷程」 的探索足跡。一方面，我們想要將他從

廖修平的藝術歷程，呈現出一個同心圓

最初階段直到現在的每一個時期的創作

的逐層開展與延伸。從自己雙腳站立的

系列，9. 生活抒情系列，10. 默象系列，

演變呈現出來，另一方面，我們想要透

小土地，走向能夠承載全人類的大土地。

11. 夢境系列，12. 祈福系列。這些不同

過這樣的演變歷程，將他曾經投注心力

在這個從近到遠的藝術旅程中，臺北這

系列的作品，都分別傳達了他生命歷程

去經營的各種媒材，更為整體性地呈現

座城市一直是軸心，而這個軸心的原點，

每一個時期的悲喜滄桑。每一件作品，

出來。我們可以將他曾經使用的媒材與

則是一個叫做「家」的地方。臺北這座

看似簡單的符號，卻是濃郁的情感。

技法簡單整理如下：

的現代時期，形成了一個多層次的文化

我們也可以看見，他的藝術創作都是在

油畫方面：油彩、壓克力、金箔／版畫

土壤與生活風景，而這一切，都已經成

於把他個人從家庭獲得的幸福擴散給更

方面：木版、石版、金屬蝕刻版、美柔汀、

為他的生命記憶與情感歸宿，也都已經

多的人類。他的作品的主題與圖像幾乎

紙版、絲網版／雕塑方面：木板浮雕、

成為他的藝術創作的圖像、造型與符號

都是他從個人到群體經歷過的幸福經驗

立體雕刻、立體金屬焊接／裝置藝術：

的寶庫，也因此，「家」不只是一個空間，

的美感表現，也因此，他的作品中那些

木材、紙漿、現成物、複合媒材。

也不只是一個地方，而是一個由不同世代

被稱為符號的東西，其實都是來自現實

城市從清領時期與日據時期，直到戰後

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樸素高貴：廖修平的藝術歷程

在廖修平的同意之下，我們策展團隊爭

讓我們看見的不只是一個藝術家創作成

取到能夠展出他從 1960 年代直到 2019

就的高貴與華麗，更是一個藝術家創作

年各個時期的作品。我們的目的，無非

心靈的樸素與平淡。

是想要將他曾經使用這些媒材創作出來 的各類作品，做出完整的呈現。也因此，

廖修平的藝術人生，一直沉默而溫暖地

這個展覽展出的五十件作品的時間跨

關注著他生活周遭的土地，從庶民日常

度長達六十年，媒材類型多達十多種。

生活中找到藝術元素，經由專業而嚴謹

1960 年代，我們展出三張他在日本與法

的藝術媒材與技法，創造出一件件充滿

國時期的初期油彩畫布作品；1970 年代，

視覺美感與文化價值的藝術作品。他讓

展出四張他在返臺教書時期的木板浮雕

平淡變得華麗，讓樸素變得高貴。

作品；其餘的年代，也都分別展出當時 的不同媒材的作品。 整體而言，這次展覽作品的媒材涵蓋著： 油彩、金箔與壓克力繪畫、蝕刻金屬版 畫、美柔汀、紙凹版畫、木刻版畫、絲 網版畫、木板浮雕、立體金屬焊接雕塑， 可以說是以高度的整體性呈現出廖修平 一生藝術創作的豐富經驗與寬闊視野。 這個展覽，足以見證他是全方位的藝術 大師。 廖修平的藝術歷程是一個從入世到出世的 生命實踐，也就是說，這是一個積極從物 質世界到精神世界的轉化與創造的過程。 入世，參與物質世界，是指他的藝術創作 曾經積極進入媒材與技法的琢磨；出世， 彰顯精神世界，是指他的藝術創作能夠深 刻帶領思想與美學的提升。也正因此，他 的創作取材於生活，卻轉化成為藝術；他 呼吸進去的是樸素，吐露出來的是高貴。 因此，廖修平不只是臺灣現代版畫之父， 而且從他數量可觀的藝術作品中，我們 發現，他的每一類藝術作品，無論是油 畫、版畫與立體造型作品，都有極具高 度的專業成就。更重要的是，這些作品

樸素高貴：廖修平的藝術歷程

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SIMPLE NOBLE: THE ARTIST CAREERS OF LIAO SHIOU-PING

by LIAO Jen-I Director of the Graduate Institute of Museum Studies, Taipei National University of the Arts PhD, Aesthetics, Université de Paris-X Nanterre

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SIMPLE NOBLE: THE ARTIST CAREERS OF LIAO SHIOU-PING

Liao Shiou-Ping is a Taiwanese artist who has stepped into the pages of art history with all-round artistic achievements. While he is known as the “father of modern printmaking in Taiwan” and is highly regarded as such, we would often fail to recognize his overall achievements in the exploration of other artistic media.

From Liao Shiou-Ping’s artistic creations from past to present, we can clearly observe his exploration with different media – from oil painting to printmaking , lithograph to silkscreen printing, printmaking to composite media, and from composite media to sculpture and installation art. He was able to manipulate each type of media at different stages of his career into form with his all-round artistic achievements.

through the viewing perspective and color textures to present a rich historical expression and cultural depth. In 1962, his oil painting Tamsui Town in Taiwan was selected for the 5th Japan Arts Exhibition and had also caused quite a sensation back in Taiwan. At the same time, he also entered the Institute of Visual Arts directed by design guru Takahashi Masato to study color theory, composition principles, and basic design elements that can be seen in his works.

In 1964, Liao Shiou-Ping went to France to study at the École nationale supérieure

I Exploring Art from Taipei to the World Liao Shiou-Ping was born in 1936 and raised in the Wanhua (Mongka) District shrouded by the burning incense of Longshan Temple in Taipei. His art studies can be traced back to the 1960s, when he developed a solid foundation in Sketch first studying under Wu Tung-Tsai and then with Chang WanChuan. After being admitted to the Taiwan Provincial Normal University in 1955, he was taught spatial composition by Lee Shih-Chiao and then learned color design from Liao ChiChun. As such, he was adept in the concepts of modern art in Cubism and Fauvism as an emerging student artist.

In 1962, he went to Japan to study at the Tokyo University of Education. Liao studied under Japanese artist Matsuki Shigeo, famous for his European ruins landscape art, where he learned how to express traces of time

des Beaux-Arts in Paris. He trained under oil painting master Roger Chastel, who encouraged Liao to return to his eastern roots to find his own artistic elements. Liao also visited Musée Quimet to re-examine the ar tif acts and pattern desig ns from ancient China. At the same time, he saw an opportunity to join Atelier 17, founded by British artist S.W. Hayter in Paris, to start creating art with metal etching prints. Hayter is internationally renowned for his creativity and influence throughout the United States and France, commanding respect on the level of pre-war European surrealism and post-war

American abstract expressionist art masters.

Having had received formal training in chemistry, Hayter was able to apply scientific knowhow to the art of printmaking with unprecedented contributions in the modern coloring and printing techniques for metal plate etching. Liao was also greatly influenced

by Hayter’s research and invention of materials and techniques, thus marking an important turning point in his printmaking. At that time, his oil paintings and prints were both highly regarded. His oil painting The Old Wall of Paris won the silver medal in the Spring Salon of 1966. In the same year, his metal etching print La Fête was also purchased and collected by the Paris Museum of Modern Art. It is no easy task for a young artist from the east to obtain such honors in the western art scene, and has thus strengthened his dedication in making art as a lifelong career.

Liao moved to the United States and started working at the Pratt Graphic Center in New York in 1968. He began to break through the spatial constraints through a bird’s-eye view, during which he also developed a rainbow gradient coloring technique to produce even more lively and vivid artworks. He quickly drew the attention of New Yorkers by winning key art awards with History in 1969, Sun Festival in 1970, and Sky Festival in 1972. He once again started exploring new breakthroughs in materials and techniques for even more meaningful layers in eastern symbolism. In 1970, he started to become actively invested in silkscreen prints. After mastering the metal etching prints, Liao discovered another wide world of printmaking working with silkscreens.

Liao Shiou-Ping had not only broken out in the west, but also caught the attention of art peers back in the east due to his pursuit

SIMPLE NOBLE: THE ARTIST CAREERS OF LIAO SHIOU-PING

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of perfection in the theory and practice of printmaking. Since then, he has become the pioneer of modern printmaking in Asian countries and the most important educator of printmaking art in Asia. While continuing to work on his oil painting and acr ylic painting, Liao has also devoted his time to selflessly bring modern printmaking to Asia – especially in Taiwan. Even though he is known as “the father of modern printmaking in Taiwan,” his influence has in fact spread throughout many nations and passed down by his students in Asia.

In 1973, Liao Shiou-Ping was invited to returned to Taiwan to teach at the National Taiwan Normal University, the Chinese Cultural University, and the National Taiwan University of Arts. He spared no efforts in teaching his professional knowhow to his students, many of which have also gone onto becoming important artists in printmaking in Taiwan. In 1977, he was then invited to his alma mater in Japan, now the University of Tsukuba, as a visiting professor to set up a print workshop. In 1979, he returned to New York to continue his artistic creation and taught at Seton Hall University until retirement, during which he was also invited to teach printmaking back in China and Hong Kong. For nearly 40 years, he traveled to and from the United States and Asian countries between creating and teaching art. His book The Art of Printmaking became the textbook in the greater Chinese region for studying and teaching printmaking. In 2002, he returned to Taiwan to teach printmaking for the interested students at the National Taiwan Normal University, the National Taiwan University of Arts, and the Taipei National University of the Arts.

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II Presenting Aesthetics from Simple to Noble Liao Shiou-Ping’s artistic journey presents a layered extension of concentric circles – propagating from the small piece of land where we stand on and onto the larger land that can carry all of mankind. On his art journey near and far, the city of Taipei has always been at the center of it all with a place called “home” as the origin. The city of Taipei has formed a multi-layered cultural lifestyle passed down from the Qing Dynasty, to the Japanese

In this developmental context from small to large, Liao Shiou-Ping’s art presents an evolutionary process that can be categorized into 1 2 s eri e s : 1 . Huma n a natomy ; 2 .

Landscape; 3. Ink painting; 4. Door series; 5.

Artifact patterns; 6. Four seasons and festivals; 7. Everyday utensils; 8. Mannequin series; 9.

Life series; 10. Silent image series; 11. Dream series; 12. Blessing series. These different series convey the respective sorrows and vicissitudes in his various stages in life. Every piece of work would reveal the rich emotions behind the simple symbols.

We can also see that his art aims to pass on the happiness he has personally gained from his family and passed onto more people. The subject and image of his work are the aesthetic expressions of happiness from his experienced as either an individual or from within a group.

Therefore, the symbols in his works are in fact ordinary objects from everyday life. He has injected rich emotions into these simple symbols with noble composition and colors.

Therefore, the exhibition “Simple Noble: The Artist Careers of Liao Shiou-Ping” aims to highlight his greatness in art elevated out of the ordinary.

occupation period, and until the postwar modern era. All of this has become the destination of his life memory and emotional homecoming as the source of images, shapes, and symbols in his artistic creation. “Home” is not just a space nor simply a place, but rather a cultured accumulation of creativity in different generations. This accumulation requires inheritance as well as creation. In other words, looking at the distance he has traveled in the past, we clearly see that Liao Shiou-Ping’s “home” has changed from a small family to a large society. He would see himself in this home that belongs to all of mankind.

SIMPLE NOBLE: THE ARTIST CAREERS OF LIAO SHIOU-PING

In t h e p a s t f e w d e c a d e s , L i a o S h i o u Ping ’s exhibitions have been held almost exclusively in public art galleries. This time, the Liang Gallery in Taipei is his first largescale exhibition held at a private art venue – meaning that his work will finally become available from his private studio to a collection outside the public art gallery. Which is to say, his works and happiness will enter more homes to be enjoyed by even more people. The simplicity and nobility he created will also become the simple and noble experience that people can experience for themselves.

In addition to emphasizing the aesthetic

expression of “simp le and no b le,” th is exhibition also highlights the exploration footprint of his “art journey.” On the one hand, we want to present the evolution of his creation from the beginning to the present.

On the other hand, we want to use this evolutionary process to present the different types of media that he has been invested in its entirety. We can categorize the media and techniques he used as follows:

Oil paintings: Oil paint, acrylic, gold foil Prints: Woodcut, lithography, metal etching, mezzotint, collagraph, silkscreen Sculpture: Wood relief, 3D sculpture, 3D metal welding Installation art: Wood, pulp, objects, composite media

Liao Shiou-Ping provided our curatorial team with his works from the 1960s and up until 2019. Our aim is to construct a complete presentation of the various works that he has used in his creations. As a result, the 50 exhibits in this exhibition span across 60 years featuring more than a dozen types of media, including three oil paintings from his early career in Japan and France in the 1960s, four wood relief from his time in Taiwan in the 1970s, as well as creations from other eras using various media.

This exhibition includes oil painting, gold foil and acrylic painting, metal etching prints, Mezzotint intaglio prints, woodcut prints, silkscreen prints, wood relief, and threedimensional metal welding sculptures. It showcases the rich experience and broad vision of Liao Shiou-Ping’s lifetime career with a high degree of creativity for us to bear witness this all-around master in art.

Liao Shiou-Ping’s art journey is to practice a living attitude in life and being reborn in the world. This is a process of positive transformation and creation from the material world to the spiritual world. Being born and participating in the material world means that his artistic creation has been activated by the media and techniques. Being reborn into the world to manifest the spiritual world indicates that his artistic creation can further sublime into higher thought and aesthetics. For this reason, his creation is based on life and then transformed into true art. What he breathes in is simplicity, and exhales nobility.

from the daily lives of the people to create pieces of visual beauty and cultural value through professional and rigorous techniques in the arts and media. He can turn plainness into grandeur, simplicity noble.

Liao Shiou-Ping is therefore not simply the father of modern printmaking in Taiwan. We can also see that his vast collection of creations – whether it is oil paintings, prints, and threedimensional sculptures – all feature high levels of completion with professional knowhow.

More importantly, these works allow us to see not only the nobility and grandeur of an artist’s creative achievements, but also the plain simplicity of one’s creative mind.

Liao Shiou-Ping’s art has been quietly and warmly concerned with the surrounding land in his life. He would find artistic elements

SIMPLE NOBLE: THE ARTIST CAREERS OF LIAO SHIOU-PING

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A RT WO R K S

油彩、畫布

作品 A

118×90 cm ｜ 1962 Oil on canvas

WORK A

19

20

油彩、畫布

祭神

128×87 cm ｜ 1963 Oil on canvas

WORSHIP

21

22

油彩、畫布

祈壽

130×89 cm ｜ 1966 Oil on canvas

PRAYING

23

24

蝕刻金屬版

春 臺北市立美術館典藏

43×43 cm ｜ 1968 Etching, aquatint

SPRING 25

Taipei Fine Arts Museum Collection

夏

蝕刻金屬版

臺北市立美術館典藏

43×43 cm ｜ 1968 Etching, aquatint Taipei Fine Arts Museum Collection

SUMMER 26

油彩、金箔、畫布

平安門

150×121 cm ｜ 1969 Oil, gold leaf on canvas

GATE OF PEACE

27

28

蝕刻金屬版

東方節 臺北市立美術館典藏

60×54 cm ｜ 1970 Etching, aquatint

ORIENTAL FESTIVAL 29

Taipei Fine Arts Museum Collection

節日

油彩、金箔、畫布

156×128 cm ｜ 1972 Oil, gold leaf on canvas

FESTIVAL 30

壓克力、木板浮雕

夜

122×122 cm ｜ 1973 Acrylic on wood

NIGHT 31

晝

壓克力、木板浮雕

122×122 cm ｜ 1973 Acrylic on wood

DAY 32

壓克力、木板浮雕

生 活（一）

122×122 cm ｜ 1974 Acrylic on wood

LIFE I

33

34

壓克力、金箔、木板浮雕

節 日 之 門（二）

122×152 cm ｜ 1974 (1980 金箔 ) Acrylic, gold leaf on wood

GATE OF FESTIVITY II

35

36

壓克力、金箔、木板浮雕

東方之門

120×90 cm ｜ 1974-1980 (2017 重修 ) Acrylic, gold leaf on wood

GATE OF ORIENTAL

37

38

絲網版

靜物

77×51 cm ｜ 1976 Silkscreen

STILL LIFE 39

歲暮憶往

美柔汀、紙凹版

臺北市立美術館典藏、國立臺灣美術館典藏

61×45 cm ｜ 1982 Mezzotint, collagraph Taipei Fine Arts Museum Collection National Taiwan Museum of Fine Arts Collection

REMINISCENCE 40

絲網版、紙凹版

庭 園（二） 國立臺灣美術館典藏

40×60 cm ｜ 1983 Silkscreen, collagraph

GARDEN II 41

National Taiwan Museum of Fine Arts Collection

一盞茶時

絲網版、紙凹版

33×46 cm ｜ 1984 Silkscreen, collagraph

A CUP OF TEA 42

絲網版、紙凹版

石 園（二） 大英博物館典藏、臺北市立美術館典藏

36×48 cm ｜ 1985 Silkscreen, collagraph

ROCK GARDEN II

British Museum Collection Taipei Fine Arts Museum Collection 43

44

油彩、金箔

木頭人＃ 84-10

127.5×167.5 cm ｜ 1985 Oil, gold leaf on canvas

MANIKIN # 84-10

45

46

油彩、金箔

木頭人＃ 8 6 - 1： 8 穿景

130×163 cm ｜ 1986 Oil, gold leaf on canvas

MANIKIN # 86-18: LOOKING-THOURGH

47

48

絲網版

木頭人＃ 86-2

45×63 cm ｜ 1986 Silkscreen

MANIKIN # 86-2 49

木頭人＃

絲網版

85-2 43×63 cm ｜ 1985 Silkscreen

MANIKIN # 85-2 50

絲網版、紙凹版、金屬蝕刻

園中雅聚＃ 9

54×81 cm ｜ 1992 Silkscreen, collagraph, etching

GARDEN PARTY # 9

51

52

絲網版、紙凹版

四 季 之 敘（一）

60×85 cm ｜ 1995 Silkscreen, collagraph

SEASONAL CHAT I 53

四 季 之 敘（三）

絲網版、紙凹版

40.5×60 cm ｜ 1995 Silkscreen, collagraph

SEASONAL CHAT III 54

油彩、金箔、畫布

雅集＃ 9 6 -Ⅲ

46×122 cm ｜ 1996 Oil, gold leaf on canvas

GATHERING # 96-III

55

56

絲網版

四季一二三四 國立臺灣美術館典藏

91×116 cm ｜ 1997 Silkscreen

FOUR SEASONS I II III IV 57

National Taiwan Museum of Fine Arts Collection

迎春

絲網版、紙凹版

60×43 cm ｜ 1998 Silkscreen, collagraph

WELCOMING SPRING 58

油彩、混合媒材

四季之敘 #98-7

75×102 cm ｜ 1998 Oil, mixed media on canvas

SEASONAL CHAT # 98-7

59

60

木版畫

默 象（十二）

80×60 cm ｜ 1999 Woodcut

SILENT IMAGE XII

61

62

木版畫

結（十六）

60×80 cm ｜ 1999 Woodcut

KNOT XVI 63

結（六）

木版畫

45×60 cm ｜ 1999 Woodcut

KNOT VI 64

油彩、畫布

結（一）

163×203 cm ｜ 2000 Oil on canvas

KNOT I

65

66

油彩、畫布

默 象（五）

163×203 cm ｜ 2000 Oil on canvas

SILENT IMAGE V

67

68

油彩、金箔、畫布

喜慶

122×102 cm ｜ 2002 Oil, gold leaf on canvas

CELEBRATION

69

70

絲網版、紙凹版

今夕何夕 國立臺灣美術館典藏、高雄市立美術館典藏

106×75 cm ｜ 2007 Silkscreen, collagraph

TIMELESS 71

National Taiwan Museum of Fine Arts Collection Kaohsiung Museum of Fine Arts Collection

雙福一二三

絲網版

87×150 cm ｜ 2008 Silkscreen

DOUBLE WEALTH I II III 71

壓克力、金箔、畫布

（一） （二） （三） （四）

四季之門

162×520 cm ｜ 2008 Acrylic, gold leaf on canvas

GATE OF FOUR SEASONS I II III IV 73

74

壓克力、金箔、畫布

迎福門 一

162×422 cm ｜ 2010 Acrylic, gold leaf on canvas

GATE OF PROSPERITY I 75

76

壓克力、金箔、畫布

迎福門 二

162×552 cm ｜ 2010 Acrylic, gold leaf on canvas

GATE OF PROSPERITY II 77

78

壓克力、金箔、畫布

新希望之門

130×238 cm ｜ 2013 Acrylic, gold leaf on canvas

GATE OF NEW HOPE

79

80

壓克力、金箔、畫布

新 富 臨 門（一）

227×424 cm ｜ 2013 Acrylic, gold leaf on canvas

NEW GATE OF WEALTH I

81

82

絲網版

富 臨 門（一） （二） （三）

87×201 cm ｜ 2013 Silkscreen

GATE OF WEALTH I II III

83

84

不鏽鋼

節 慶 之 柱（六 ）

110×50×50 cm ｜ 2015 Stainless steel

COLUMN OF FESTIVITY VI

85

86

不鏽鋼

節 慶 之 柱（七 ）

110×50×50 cm ｜ 2015 Stainless steel

COLUMN OF FESTIVITY VII

87

88

絲網版

節日之門

50.5×75 cm ｜ 2015 Silkscreen

GATE OF FESTIVITY

89

90

壓克力、金箔、畫布

新 富 臨 門（四 ）

162×364 cm ｜ 2017 Acrylic, gold leaf on canvas

NEW GATE OF WEALTH IV

91

92

壓克力、金箔、畫布

富 臨 門（十 二 ）

100×190 cm ｜ 2017 Acrylic, gold leaf on canvas

GATE OF WEALTH XII

93

94

壓克力、金箔、畫布

迎 福 門（五 ）

120×280 cm ｜ 2019 Acrylic, gold leaf on canvas

GATE OF PROSPERITY V

95

96

壓克力、金箔、畫布

人 生 四 季（三 ）

53×92 cm ｜ 2019 Acrylic, gold leaf on canvas

LIFE'S SEASONS III

97

98

整理

廖修平

陳小凌

年） 2010

口述

文（

我走過的路

樸素高貴：廖修平的藝術歷程

99

台北艋舺龍山寺，是許多人耳熟能詳的

李石樵老師畫室學素描、油畫；星期天

人教授主持的視覺美術研究所，去學構

寺廟，嬝嬝不斷的香火和善男信女虔誠

或假日也不敢懈怠，仍背著畫架，到台

成原理與視覺設計，為日後若不能以繪

進香祈禱的畫面，構架出它特有的典雅

北近郊淡水、新店、北投等地寫生，也

畫謀生時，還可以利用設計的專業技術

肅穆，而每年熱鬧的廟會，常常是我和

許就是因為昔日的這些堅持，才能夠鍛

來養活家人，而這種純粹以抽象造形來

幾個兄弟最盼望的日子，因為十歲以前

鍊出自己對藝術不懈的毅力。

探索繪畫、節奏與空間的構成原理，對

的童年歲月，就是在龍山寺旁渡過的，

日後我到紐約初期，面臨突破自己繪畫

這段無憂無慮的時光，對我日後的藝術

今天，常常有年輕留日的學生向我抱怨：

生涯，無形中像一條剪不斷的臍帶，牽

「東 京 住 所 太 小， 無 法 畫 大 畫。」 我 就

連並影響我的一生。

空間和風格時，竟然有著相輔相成的作 用，倒是始料未及的。

會把自己當年在三個榻榻米畫室，完成 一百號油畫的事實，說給他們聽。室陋

我初到日本，當時的日本藝壇是十分蓬

許多朋友常問我：為什麼生長在父兄都

屋窄，並沒有難到我，在斗室畫一百號

勃的，但是仔細觀察卻仍脫離不了歐洲

以建築為業的家庭裡，自己卻選擇從事

大畫，雖然無法充分掌握住透視；但是，

流派的窠臼，雖然我在 1962 年就以油

藝 術 創 作？ 其 實 這 都 是 因 緣 使 然。 從

畫作品「台灣小鎮淡水」入選日展，但

小，我就對繪畫有著濃厚的興趣。小學

是這個鼓勵，並不能令我自滿。當時，

就是班上畫壁報的不二人選，唸大同中

現代藝術發展的重心在巴黎，我毅然決

學時，受教於吳棟材老師，學習水彩和

然的收拾行囊，帶著妻小於 1964 年底

鉛筆畫，之後，以第一志願考進師大美

再踏上旅途，向巴黎出發。並於翌年進

術系，一直到我赴日本、法國深造、及

入 巴 黎 美 術 學 院 進 修 油 畫， 同 時 也 在

至美國紐約進修、任教，都是水到渠成，

十七版畫工作室，追隨海特教授學習金

冥冥之中，彷彿早已注定的。

屬版畫。

六○年代的台灣畫壇，還是相當保守，

六○年代的巴黎，是多少藝術家嚮往，

但歐美藝術思潮已逐漸湧入，五月、東

夢寐以求的天堂。初抵巴黎，我就急切

方一些現代畫會相繼成立，那時我剛從

的趕往羅浮宮，我呆立在蒙娜麗莎、林

師大美術系畢業，自然感受到相當大的

我常常勤快地把畫從屋內搬到屋外，就

布蘭、大衛的作品前，「終於我看到了

衝擊，抱持著有心更上層樓追尋藝術的

在大街上比對起來。為了請藝校教授指

真正的原畫！」最初的幾個月，我幾乎

信念，我離開了家鄉赴日本進修，1962

正，經常清晨四點半鐘，就揹著一百號

天天去參觀美術館或展覽，看了許多大

年進入東京教育大學繪畫研究科。早期

油畫，衝上東京地鐵火車，等到夜半地

師，如塞尚、雷諾瓦、馬蒂斯、畢卡索、

留學生的生活十分清苦，在東京寸土是

鐵人群較少時，再揹回畫室，當時月台

布拉克、拉婓爾的畫，有時一幅經典的

金的條件下，雖然我只能利用才三個榻

的查票員，也都習慣了我們這群窮哈哈

名畫，可以重複看上好幾天。野獸派的

榻米大的置物倉庫作畫，但是心裡卻一

的藝術學生的技倆。

空間，完全是由顏色的處理中產生，強

點也不氣餒，只牢記著師大李石樵老師

烈、粗野的色彩令人目眩；而立體派解

說過的一句話：「要畫得好只有一個方

由於東京物價昂貴，生活不易，再加上

析動作，分割平面的技法，則解構了空

法，就是一直畫，迷爛畫 ( 勤畫 )，什麼

親 友 們 常 關 切 的 問 我： 學 藝 術 有 前 途

間， 讓 我 知 道 了 空 間 原 來 可 以 如 此 豐

天份，都是騙人的！」自己回想唸師大

嗎？讓我不得不為畢業後的生計打算。

富，繪畫可以如此多次元的表現。正因

美術系時，常利用下課後的夜晚，就到

於是，除了繪畫創作外，我也到高橋正

為面對著這麼豐富精深的繪畫傳統，帶

我走過的路

100

給我內心強烈的衝擊與震撼，我不禁冷

是，在工作室裡，我開始不眠不休地嘗

也正因為有這個機緣，來到巴黎不到兩

靜下來沉思：「作為東方人，想勉力去

試，當我選擇以版畫做為自己藝術創作

年時光，我就能篤定的決定──藝術創

追求歐洲繪畫，不只是不可能，就是窮

的素材時，發現版畫比油畫還要開放，

作，是自己一生努力不懈的方向。

一輩子精力，恐怕也無法追趕上啊！」

沒有層次、背景、構圖空間等拘束，而

尤其是，當時巴黎學院的油畫老師夏士

透過不同的材質技法，展現出來的藝術

剛到巴黎的時侯，我和妻子倆住的地方，

德教授對我說的一番話：「你是來自中

風貌也截然不同，甚至，在開始製版時，

還不到六個榻榻米大，也沒有浴室和廁

國的東方人，應該有你們獨自的個性和

都無法知道最後的答案，只有透過製印

所，初期，全靠自己畫巴黎風景畫維生，

風格。」更增添了我心中的掙扎與矛盾，

過程，最後才能真相大白。而多年來，

直到巴黎市政府文化局主管，看中了我

經過無數次思考，我決心：要找出真正

自己的油畫一直侷限學院式的範疇，反

的版畫「拜拜」，以五十法朗收藏進市

屬於自己的藝術道路。

而被光影透視，構圖所限制，沒有版畫

立現代美術館，因此，得以住進國際藝

來的得心應手，正因為版畫的一切，對

術家村，生活才稍微安定，能夠心無旁

我來說是新的，因此我可以盡情的實驗

騖地在藝術創作道路上衝刺。

初期，我改用畫刀，以厚重的色彩來描 繪 巴 黎 街 景， 雖 然 1966 年 作 品「巴 黎 舊牆」獲得巴黎春季沙龍銀牌獎，但總

1968 年應美國邁阿密現代美術館邀請，

覺得還是在風景畫中打轉，畫的依然是

首次前往美國舉辦個展，雖然我在巴黎

西方人眼中的風貌。如何開創出自己的

三年，陸續獲得塞納河繪畫展大獎及春

繪畫語言？這個問題一直困擾著我。許

季沙龍銀牌獎，但是二次大戰之後，全

多夜晚，當妻子恬睡時，我仍一個人獨

球繪畫藝術的重心，已經從巴黎轉移到

坐在畫布前思索著。而那陣子，白天在

紐約。身為一個現代藝術創作者，必需

東方博物館仔細觀察研究中國青銅器上

要尋求和接受更徹底的挑戰與磨練，於

的斑爛色彩及浮雕紋理，還有陶瓷器的

是 1968 年底，我和妻子倆來到紐約。

溫潤肌理都一一湧現眼前，這些符號語 言，在台北原本是那麼熟悉，就像生活

紐 約， 迴 然 不 同 於 巴 黎， 它 是 充 滿 動

中的一部分，甚至被視為古老的傳統；

力，講求效率的工業化社會和機械文明

而身處異鄉，再回頭來看，卻讓人驚覺

嘗試，也由於這份「好奇」，支持著我

構築出來的城市，紐約街頭人們的步調

到東西文化的迥然不同。

全力投入版畫藝術的領域。

是緊張而急促的，不同於懶散而自大的 巴黎；巴黎，可以讓我盡情傾吐自己的

101

正因為這番回首，隨著魂夢之所繫，思

當我的第一幅版畫「福壽」完成時，海

鄉愁，魂縈家園；但是在紐約，我瞭解

鄉、望鄉，孩提時歡樂的景象，就歷歷

特教授非常驚喜，對我以台灣民俗為創

自己必須拋棄這一切，機械文明帶給我

在目湧現出來。龍山寺、萬華市場，熱

作題材，特別激賞，並且認為大紅色調

藝術創作上另一種激盪和啟示，我必須

鬧滾滾的節慶拜拜，這一切原本是自己

運用得很大膽。緊接著作品「拜拜」，

盡快釐清自己的方向。尤其在進入紐約

生命中不可分割的，為什麼不把它表現

又意外地被巴黎市立現代美術館以五十

普拉特版畫中心後，我更發現版畫的技

在畫布上？正巧當時我在十七版畫工作

法郎購藏。當時，這筆錢並不算是大數

藝是日新月異，這時我由一版多色兼用

室中學習的一版多色凹凸技法，經酸蝕

目，但是，對一個遠從地球另一邊，千

的銅版印法，轉入金屬或非金屬物料的

後所產坐的不同深淺的凹凸濃淡色層，

里迢迢追尋藝術的 29 歲東方年輕人來

拚版法。滾筒上彩虹般漸層的色彩及運

不 正 可 以 表 達 出 歲 月 斑 駁 的 痕 跡？ 於

說，這卻是最有力的精神鼓勵與肯定。

用壓作不上墨的浮雕手法，平版及絹印

樸素高貴：廖修平的藝術歷程

這些技法難不倒我，不論在單獨或混合

「門」，自然成為這個時期的繪畫語言，

到此，版畫對我來說，愈來愈能帶給我

使用，都逐漸運用自如。但是，該運用

不同於巴黎時期廟門的華麗繁複，我開

如魚得水般的快樂。1970 年，我和家人

什麼樣的語言來表達自己與眾不同的藝

始趨向一種較簡化的平面符號，藉著抽

在紐澤西定居，並且終於安置了個人的

術風貌？卻讓我思考了相當長的一段時

象構圖，來象徵天地、日月、陰陽，有

工作室，我開始不眠不休地鑽研各種材

間，所以這段時間的作品也就十分混亂。

點硬邊藝術的精確與簡潔，並且延續對

質的版印，每兩三個月，就重新研習一

稱的風格。

個新版，線條腐蝕後來回做上二、三十

恆久以來，我常覺得那時期的作品，可 以聯結到「門」的意念：

次更是常事。凹凸金屬銅版，早在巴黎 許多朋友常問我：「為什麼那麼堅持對

就十分順手，但我不想重施舊技，總是

稱？」或許是自幼就看到父親中規中矩

想突破以往的技法；由於自己的作品，

門，這熟悉而陌生的存在

的埋首畫建築圖的影響吧！從父兄那兒

在構圖和空間愈來愈趨於簡潔，金銀基

如何地勾引我無限的思潮與眷懷

傳承了一種對秩序、精確與追求完美的

本色調會趨於單調，為了增進畫面的活

懵懂裹

個性，其實「對稱」不也多少寓含著中

力，我開始研究和實驗在多種色調中尋

你我通過了它來到此人間世界

求新的層次，在滾筒上漸層次彩虹色蝕

發現了歡樂的瓊漿

刻金屬版，就是在這個時期逐漸成熟。

也嚐著了悲哀的苦汁 春夏帶來了新生希望

在色調處理方面，我一直趨於原色，或

秋冬卻是孤零寒瑟

許是自己個性上力求簡潔，在色彩上不

在這忽隱忽現，驟陰驟晴的宇宙

喜歡用調色處理。當時，是先將一端紅、

你我不斷地摸索探求

另一邊藍色的基本系中間，試著安置銀

為的只是不醉生夢死

白色，經滾筒處理淡化了紅、藍色，而

為的是解知生存的真象

意外變化出紅藍色系的深淺層次，這一

啊！這兒，那裹

實驗，開啟了日後七彩彩虹色層的誕育，

到處是門

除增進作品的一份寧靜，而在畫面構圖

你是其中之一

上，更顯得生動活潑起來，更能掌握住

能賦予我們，解此生謎之鏈。 這首詩是 1967 年我在巴黎有感而發寫 的，也是我唯一寫過的一首詩。對門的 記憶，可以追溯童年時期的龍山寺，故 居宅第的門扉印象。隨著年歲的增長， 愈發體驗出生命的自身，就是一連串的 門，通過一扇門，即能進入另一個嶄新 的歷程，從敞開「生之門」後，不正是 一幕幕的人生舞台，在不斷開啟關合？

國人的生活哲理，「成雙成對」不也一

色調鬆與緊的調和效果。

直是中國人習俗觀念所強調的？ 為了充分的將自己的心中意象表達，在構 適時，同是師大藝術系的學弟－侯錦郎，

圖和表現形式上，我採用了鳥瞰式構圖取

喜歡研究道教，收藏了許多台灣民間信

景，來破除某些空間或透視上的限制，

仰的冥紙、金紙，這些民間習俗的物品，

藉著早期在東京研習的設計觀點來處理

無形中給予我創作上的靈感，我試著把

色調，試圖將基本平淡的原色，轉化為強

冥紙上代表人間生活事物的房子、窗、

烈的色系，在規則之中展現出不規則的律

剪刀、杯、盤、鞋子等一一融進自己作

動。而這一切意象，正可以藉著版畫的製

品中，轉化成半抽象的幾何性的符號。

作過程呈現，不容許有曖昧不定的抉擇， 但在製印作版時，卻常有偶發的效果，可 以充分表達出自己的藝術語言與觀點。

我走過的路

102

儘管當時的紐約，現代藝術蓬勃又熱鬧，

在巴黎、紐約學到的，以及自己研修出

在推廣版畫藝術教育方面，最令我欣慰

一波波的藝術風潮起起伏伏，但都沒有

來的版畫技藝和新觀念，毫無保留地傳

的是：當年傳授的一些學生們，很快就

動搖我的信念。漸層次的彩虹逐漸受到

授給年輕的一代。因為我直覺地認為：

組成了「十青版畫會」，至今己成為台

畫壇的囑目；1969 年的作品「歷史」獲

年輕的藝術家想要在國際藝壇上立足，

灣版畫界的教師或是各擁一片天的中堅

普拉特版畫家展佳作獎，1970 作品「太

版畫藝術不失為一條捷徑。

份子。回想起最早在師大課室裡，我一

陽節」獲紐約第二十八屆奧杜龐藝術家 展首獎，同年並獲東京國際版畫雙年展

由於金屬版畫在推廣方面有器械設備上

馬上就感受到學生們熱切的那股求知

佳作獎，1971 年作品「陰陽」獲波士頓

的限制，木刻在台灣已有基礎，因此我

慾！以當時藝術資訊和技藝兩相欠缺的

版畫家展優選獎，1972 年作品「天空」

以金屬凹凸版，一版多色，彩虹漸層次

情況下，許多版畫材料，還得自己去找

獲紐約州羅却斯特市宗教美術展版畫首

及照相絹印製版，這四種應用版種為傳

廠商製作生產，甚至從紐約越洋訂購，

獎，同年，作品「相對」獲巴西聖保羅

授重點。除了白天師大藝術系的常規課

但看到學生對藝術的熱情，讓我絲毫不

國際版畫展優選獎。

程外，晚上七時，我一定準時到課堂報

覺得麻煩，反而愈教愈起勁！

當時，紐約藝術界也針對我的作品給予

除了版畫技藝的傳授，更重要的是希望

許多評論。紐約市普拉特版畫中心資深

學生們學到的不只是技巧，而是更寬廣

主任方慶堡教授，也是版畫家校樣年鑑

的現代藝術觀。我常常鼓勵他們：一定

主編，在 1972 年評介我的作品時表示：

要出國觀摩，只有走出去，才知道自己

「廖修平給人留下一個深刻的印象……完

該掌握的是什麼，才有現代的藝術觀。

整的人格，文雅卻剛強。他的作品反映

就如同藝術可以多方面嘗試各種媒材，

他的性格，組織完整、構造健全、經營

尤其是年輕的一代，更不應自限，應該

調和，擅長色調精煉。他的版畫獨創一

力求破除當時大家對「繪畫」詮釋的偏

格，似乎繁複，其實簡潔，雖然抽象，

差──總以為用筆或畫刀直接塗抹在畫

但代表一種古代的智慧文化。它們好像

布上的藝術，才叫做繪畫。殊不知現代

詩詞歌賦，以大匠的手筆，在圖畫意象

藝壇上，早已有多種媒材的表現手法。

中表達。在我們繁雜喧鬧而且被公害污

到。當時，學生都知道：只要為我準備

這種情景在 1988 年起，我應邀到北京

染 了 的 城 市 裡， 他 的 作 品 突 出 地 矗 立

一瓶我最喜歡的蕃石榴汁，完全是課外

中央美術學院講演、杭州浙江美術學院

著，則一個清澈幽靜的理想世界的紀念

輔導，不收一毛錢。之後，我還在文化

及南京藝術學院講授版畫藝術時，也是

碑一－大門暢開，歡迎進入東方智慧之

大學，台北藝術專科學校，以及香港中

我一再強調的。畢竟藝術貴在風格和觀

堂。」這些肯定與鼓勵，都是支持我在

文大學校外進修班應邀講授版畫， 1974

念的建立，而不是技巧。

藝術創作上堅持不懈的力量。

年為了將版畫向社會各階層普及推廣， 編 著「版 畫 藝 術 」 一 書， 這 也 是 第 一

基於這個因素，我在推廣版畫藝術教育

1973 年，對我來說，是人生另一個新階

本完整介述有關版畫藝術創作的書，有

方 面， 更 致 力 於 國 際 性 的 版 畫 藝 術 交

段的開啟，我應師大藝術系袁樞真主任

幸 成 為 台 灣、 香 港 以 及 東 南 亞， 以 至

流。1973 年將自己在紐約陸續收藏的約

邀請回到母校，任教三年，專任版畫課

1988 年到 1991 年在大陸講授版畫課程

五十幅當代版畫家作品，包括美國、歐

程。七○年代初期，台灣版畫仍處於木

的教材。

洲、南美及日本、韓國等族裔現代藝術

刻畫的階段，我願意把自己這十多年來

103

放紐約、巴黎的版畫藝術作品幻燈片，

樸素高貴：廖修平的藝術歷程

家運用不同版種創作的版畫作品，交與

中華民國美術教育學會主辦「紐約國際

以直線在素白畫紙上縱橫分布，不正是

術創作歷程中，是一個分界嶺；在此，

版畫家聯展」，在省立博物館發表展出。

身處單調無味的都市機械文明之中的心

對廟與門－無窮憶想象徵的那條臍帶，

及至協助 1983 年起，文建會主辦的歷

境寫照！

是完全割捨了，我逐漸體悟到：生活就

屆國際版畫雙年展，都是出自自己的初 衷－對版畫藝術推動的一分心力。

是藝術！ 「盛夏之晝」、「午后雅集」、「初春悠 閒」、「歲暮憶往」都是這個時期的代

在藝術創作領域中，版畫，雖然佔據我

回到台北這些年，滿腔的熱情及精力，

表作，使用剪貼拚合版通過凹版機以壓

藝術生命歷程中絕大部分，但是找尋其

全投注在努力把版畫藝術的精粹，在自

力印成，有時則用木版水印，在畫面上

他 媒 材， 終 究 是 藝 術 家 的 天 性。1979

己生長的土地上播種生根。台北邁向工

力求營造一片素白，間有一條繽紛的彩

年，回到美國紐澤西後，我開始嘗試水

業化社會的腳步也愈來愈緊湊，再回到

虹，但留白是我訴求的重點。每當我作

彩，「四季」延伸出追求水墨渲染的情

龍山寺，去找尋童年的記憶，許多已是

構圖時，總會情不自禁地想起：在台北

趣，一直在心裡醞釀，但是我並不想回

不復可得。物換星移，多年海外飄泊的

故宮博物院看惲南田的花果趣筆畫作，

到傳統水墨，水彩是我想採用的媒材。

遊子心境，也隨著歲月的遞嬗而逐漸沉

我嘗試以噴槍代筆，先用鉛筆在紙上打

澱下來，廟門雖然依舊，但轉換和回首

圖稿構圖，再以膠紙舖在畫面中，用刀

至此，已是截然不同，所以我運用了照

刻出塗色的範圍，接著以噴槍將水彩噴

相絹印的技法來表達「廟」、「靜物」、

在畫面上，再逐項的作濃淡深淺的色彩 處理。

「朝聖」等，傳遞當時的情境。 大概是冥冥中注定我和版畫藝術教育有

這一系列的水彩作品，題材仍然擷取自

緣吧！ 1973 年開始了四年在台北版畫

生活。在假日期間，常陪著唸中學的兩

教學的工作，1977 年我又應日本筑波大

個兒子，到國家公園去作森林浴，大自

學邀聘擔任客座教授講授版畫，由於太

然草木的生態變化，都深入腦海，而不

太必須在紐澤西照顧兩個就學的兒子，

論是到超市買菜和蔬果時，包裝用的黃

我隻身赴日，當課餘之時，從喧鬧的東

色牛皮紙袋，或是清晨當孩子、太太分

京回到市郊學校旁清靜的住所時，自己

宋代禪畫家牧谿的蔬果紅柿三五，生趣

別上學、上班之後，一個人在家居的庭

料理做簡單的烹飪，日日陪伴著是生活

盎然的畫意，更是我內心中嚮往而冀求

園散步，看到飄落的樹葉，所呈現出自

中必需的茶具、蔬果。獨居的生活，讓

達到：物我兩相忘的心靈合一境界。

然的四時轉化，都是自己心中永恆的意

我更有時間和空間來沉思自己藝術的開

象，而我的作品，也就是希望藉著落葉、

展，進而探尋出生活的哲理：清茶淡飯

在「季節系列」系列中，我開始致力光

石頭、紙袋、蔬果，這些都市文明中殘

不正是生活，不強求什麼，藝術應是生

影的處理，在平面上用彩虹、金金銀銀

存的一些自然訊息，來期望淨化現代物

活最平實的寫照。

的點及象徵春、夏、秋、冬四季──紅、

質文明的貪慾。

黑、黃、白的色系，來暗示出物體的體 積感，以及四季晨昏不定的時空裡變化

1978 年的田園景色延續出來的茶果茶具

的性情，多年來一直趨於寧靜、和諧。

幽微的色調。從東京－巴黎－紐約，及

題材，多少也反映出：自己渴望從步調

自然而然地，這些茶壺、花瓶、柿子、

至 再 回 到 東 京， 整 整 十 五 年 的 歲 月，

緊湊，充滿機械化文明的工業化生活中

蔬菜都溶進我的作品中。在構圖上，我

「季節系列」系列作品，在我個人的藝

解脫出來，去圓那心田深處──悠閒、

禪，對我來說還在摸索的階段，而自己

我走過的路

104

寧靜、安祥的境界。這個階段的探索，

文明的產物，彩虹，在構圖中，更表徵

這些年來逐漸體識到萬物自然界一草一

延伸到後來的「竹園」、「夏荷」，以

著冀求在現代機械文明之中，所欲追求

木、一枯一榮都有恆久不變的定論，窗

至於 1987 年的「山湖」、「牆」和「窗」、

的那點較清晰安逸的心靈環境。

裡窗外，皆為如此。從窗內看窗外的過

「庭園」一系列的版畫和油畫。

往雲煙，窗外園中的樹木，在春天萌芽， 今天的機械文明，固然帶給工商業社會

秋天落葉，看四季更迭、生與死、成長

1980 年開始，我又重拾油彩、壓克力和

相當大的助益，但當人們生活中逐漸被

與凋謝，不正是一葉可以知秋的世界！

水彩，重新再運用這些素材，對我藝術

自己創造出來的科技文明所駕馭，使得

因此，我以正方形來象徵心靈之窗，窗

創作有莫大的助益。藝術，本來就不應

人類，反而在這機械化文明中成了「機

後面的老樹幹，寓意著萬物自然界中，

劃地自限，許多人揚棄傳統，摒除傳統，

械人」，這正是我想藉用木頭人系列，

生命短暫的一種表徵。延伸所及「牆」

事實上，傳統並不是包袱，重點在於如

對機械化社會的反諷。

的連作時，回想起自己與七弟生前共度

何消化融通。而這些年，身在國外，我 反而開始練起毛筆字來，中國文字的線

的一個台北盛夏，意外聽到蟬聲。當時

1988 年、和我感情最好的七弟，罹患淋

七弟說起：蟬要蟄伏地下七年，從幼蟲

條，本身就是一種藝術；而傳統中國芥

長大成蟲，但是牠在地面上的歲月，只

子園畫譜，也是我在創作中汲取的養分，

有那短短的一夏。難怪牠是那麼奮力，

在 吸 收 融 匯 後， 轉 變 成 為 1988 年「窗

竭其所能地把最好的蟬鳴唱出，短暫的

與牆」時期的素材。

生命，因為那嘹亮的唱鳴而永恆不朽， 那人類的生命，要表達的是什麼呢？

在藝術創作領域中，任何素材都可以擷 取 成 為 自 己 作 品 的 靈 感。1983 年 全 家

「牆」的連作中，老樹就宛若我們生活的

到歐洲旅遊之際，在巴黎，我看中了在

空間，岩石，仍是我內心深處永恆不變

櫥窗用來擺飾的木頭人，一個個用機器

的表徵，但是那一側牆，卻是將親情、

雕刻成形的木頭人，不正是機械文明與

友情都橫隔開來，愛、憎、怨、親，在

工業化社會的產物，反觀人類的生活不

此，都全然割捨。

也深受其影響？當時物質文明氾濫，所 產生的精神與物質文化之間的問題和矛

巴癌病逝台北。只有四十七歲的年華，

致力藝術創作五十年，從少不更事的歲

盾，十分嚴重，於是，我企圖藉著畫面

正值英年的七弟，自己還是專攻醫學的

月，走過意氣揚發的壯年，這些年來，

上的木盒與木頭人之間的帶動，來作譬

博士，怎料到會不敵病魔的侵襲！生老

我更深深感受到：世界就宛若一面大鏡

喻與寓言。「木頭人」系列是暗示逐漸

病死，固然是人生必須面對的，但當它

子，從鏡子可以清楚地認知自己的面貌，

消失的生活環境與秩序。「影子」在這

驟然迎面襲來，還是難以讓人承受！回

才會發現東西文化背景的迥異，真正瞭

兒扮演了積極的角色，我以華麗的金箔

到台北，看到白髮鬢霜的父母親，相對

解自己要走的路。如何去體悟生活，才

或強烈的紅色來譜成影子，來解決構圖

在燈下暗自垂淚，那份骨肉連心的哀痛，

能累積出個人的體驗，去建立自己的風

上木頭人漂浮不定的焦點，原則上，我

更是情何以堪！驟然痛失手足，這份錐

格和觀念。就如同紐約，這個國際化大

仍一貫採用鳥瞰的構圖，藉著木頭人在

心之痛，使我沮喪消沉了許久，無法接

都會，是由各個不同族裔的文化與習俗，

工業社會中的生活，有男女之間的情愛，

受這個事實。「窗」與「牆」系列，就

相融相合而成，並非僅止於美國的文化

有家庭甜蜜的親情關係，畫面上的鉗子、

在這種心境下逐漸成形。

風貌。

剪刀、螺絲起子、貼布量尺是象徵機械

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樸素高貴：廖修平的藝術歷程

這些深刻的體悟與感受，促使我從 1990

都是因緣而生，而茗茶敘情，原本只是

一根釘子，敲擊完成作品，讓萬象在簡

年底開始探索，「園中雅聚」連作於是

人與人之間的一份緣起。

化中，默默的以宗教精神自省。「結」

逐漸誕育。我以黑、紅、金、綠色來象

系列之中，交錯纏繞的繩索，象徵世事

徵四時隨著季節而更替，但庭園中的石

八○年代，台灣經濟起飛後，到九○年

的複雜與多變，繩結在人類首創文字之

頭，依舊是恆久的、不變的；岩石，仍

代末期，整個社會呈現窮奢極侈的現象，

前，是當時社會聚落「記事」的工具，

是我藝術心底深處那堅持不變的意念，

一杯咖啡居然賣到五百元，物慾橫流，

它本身可以曲與直、剛與柔並存，是一

它表徵著：自己雖然歷經各種藝術潮流

藝術品飄漲，漫天叫價；竟然還有畫商

種衝突，也是一種平衡。當時，這系列

的衝擊，但自始就抱持著想要在國際藝

越洋到我美國家居買畫，這都不是健康

作品，是針對當時台灣奢華紛亂的現象，

壇上立足，應該認清自己的文化背景，

的藝術市場生態。雖然自己在 1998 年

做一種無言的抗議。果不其然，當年台

不可能去除中國文化，要體認自己該掌

獲得國家文藝獎，但當時回來領獎，看

灣發生最嚴重的「921 大地震」，兩千多

握的是什麼，一旦決定了自已要走的方

到台灣的社會群象，內心感到莫名的憂

人家破人亡，真可說是世紀末的大浩劫！

向，就要全力以赴，不考慮，也不在意

慮。1999 年，我一改過去五彩絢麗的畫 雖然佛經說過：生死無常！但要直到自己

任何的浪潮、阻力和艱難。

真實面對，才會體悟這句話。2002 年我 「園中雅聚」的主題，是藉著不同形狀、

生命中最大的震裂，無預警地來到。在我

國籍的酒瓶，像白蘭地、約翰走路、日

一生中最親密、貼心的伴侶，竟然在獨自

本清酒、茅台、竹葉青等，來表徵各個

出外賞鳥的山路中，意外墜谷身亡。造成

不同族裔的生活習俗。至於酒瓶的背景，

我生命中最難以言喻的痛。從師大求學相

我以五彩繽紛的色塊相結合，不正暗喻

識，到結褵，相伴我走過這一生大半藝術

著人世間的聚散離合，我刻意以沒有統

的生涯，其中有太多的疼惜與感恩；只是

調的色塊來暗示不同個性、不同文化的

個性含蓄，拙於言辭的我，鮮少當面傾訴；

交融，在這兒，沒有任何一種文化居於

總以為會天長地久，任憑華髮叢生，也能

強勢，它只是一個文化交融的藝術天地。

攜子之手，相伴一生。

或許是這些年的心境轉換，對人生處事，

風，突變為黑白為主的色調。即使依然

這些年來，只要想起這段往事，我還是

也就抱持著一切隨緣的態度。「四季之

是「門」、「陰陽」、「茶具」符號入畫，

止不住無盡的思念和悲心的痛。自此我

敘 」 系 列 在 1995 年 逐 漸 成 熟， 杯 子、

然而這些符號只在黑白之間遊走，這種

才明白：中國人形容至悲的「哀慟至極」

茶壺這些日常生活小品，仍是我心靈中

沉重的黑象，可說是我對當時寶島奢華

的涵義，那種內心被撕裂的苦，原來是

的藝術語彙。在構圖上，我依舊秉持著

現象的抗議、也是一種內省。

那麼確切和無言可表。雖然，許多朋友

追求任何對稱的理念，過去方格子所象

刻意幫我安排好幾所大學的課，想讓我

徵的機械規格化文明，如今轉變為排列

同一時期，我還有感創作出「默象」、

藉著忙碌稍忘喪妻之慟，但在我內心深

體式的複式美感，物與物之間若即若離，

「結」系列。「默象」是看不慣許多人上

處卻有不可言喻的悲慟與徬徨，尤其每

一種近於樸素、典雅的氣氛是我想表達

飯店，經常是「吃一桌」，吃不完就整

到夜裡睡夢中，總是一再出現手的意象，

的。這系列連作，結合了複式媒材的藝

鍋倒掉，非常浪費，因此，我有意找回

一隻隻扭曲掙扎，但卻絕望無力的手，

術表現，凹凸版併用的訴求，結合金銀

最簡單的材料──根釘子，一塊三夾木

那是太太求救的手，也是我想要拉回她

箔的折射效果，來吐露一切的聚合離散

板，單一黑色油墨，就這麼著一鐵鎚、

的手啊！我開始試著想把夢中那隻手畫

我走過的路

106

出來，一次又一次地畫出來。我畫自己

限的生命中，開創另一階段人生中的藝

的 手， 也 請 學 生 當 手 模 特 兒，2007 年

術火花！

「夢境」系列連作誕生，一隻隻曲張、向 上虛抓的手，從混黃厚重的土地中掙脫 出來，想拉住甚麼，卻一點力量都沒有。 那是我每個夜晚揮之不去的夢魘。也是 我內心深沉的思念與自責，更是我深層 的救贖。 如今我再度回到童年的居所，過去的記 憶和情感，就如同一頁頁停格的畫面影 像，金銀紙和門的符號，又重回到我的 作品中，「生活符號」系列呈現吉祥的 色彩，使得畫面充滿喜氣；同時，我嘗 試以四連屏或是巨幅尺吋來增強作品的氣 魄和力量。而在自己內心深處，透過它 們，也在傳達我想透過生死之門，和亡妻 溝通，用世間的禮俗向她弔祭的心意。 回顧將近五十多年的創作生涯，自己穿 梭於國際與本土之間，其間有變與不變， 變的是生活環境與年歲的增長，間而影 響到創作主題和繪畫語言；而不變的是－ 自己堅持的藝術理念。當我們走過無數 歲月的四季人生，當殘灰若冥的嚴冬一 過，緊接著就是清心富朝氣的翠綠春意， 滲著生趣盎然的鮮黃；然後走過悶熱的 炎炎夏天，就又到了光輝燦爛的深紅秋 葉。這一葉可以知秋的季節，恰如人生 的歷練，秋天，不正就是鉛華洗盡的年 歲，也正是人生經歷萬千變化之後，逐 漸豐熟的思想高峰。面對知天命的年歲， 最近我更加潛修佛學，順其自然，諸事 淡泊的心境，更能深刻體會人生，而在 藝術領域中，我將再朝著寧靜，和諧和 安祥的境界中提昇，來砥礪自己能在有

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樸素高貴：廖修平的藝術歷程

我走過的路

108

THE ROADS I HAVE TAKEN 2010

109

Dictated by

Edited by

Liao Shiou-Ping

Chen Siao-Ling

SIMPLE NOBLE: THE ARTIST CAREERS OF LIAO SHIOU-PING

Lungshan Temple in the Bangka area of Taipei is a well-known temple where solemn scenes of Buddhists lighting incense and praying can be seen day and night. As a young child my family lived near Lungshan Temple, so at that time what my brothers and I most looked forward to every year was the festive temple fair. My artistic career is closely connected to that carefree time and my life was shaped accordingly.

Friends often ask me, “Since your father and brothers all work in the field of architecture, why did you choose to be an artist?” I can only say that this was fate. Since I was little, I always had a great interest in painting. In elementary school, I always chose to paint murals in class.

At Datong Junior High, I studied watercolors and pencil drawing with Mr. Wu Dong Cun. Afterwards, I fulfilled my ambition by getting into the National Taiwan Normal University(“NTNU” ) Department of Fine Arts. Then, I furthered my studies in Japan and France, and I studied and taught in New York City. Everything followed its natural course, as if it were part of an unfathomable yet predestined plan.

The painting world of Taiwan in the 1960s was rather conservative, but Western trends had started to make inroads. Some modern painting associations had been formed, like the Fifth Moon Group and the Eastern Art Association. At the time, I had just graduated from the NTNU Department of Fine Arts, and I naturally felt the great impact of these new art trends. With the conviction that I had to keep progressing in my artistic career, I left my home and traveled to Japan to study. In 1962, I entered Tokyo University of Education’s Department of Painting Studies ( currently known as University of Tsukuba). During my early period of studying

abroad, I lived a life of noble poverty. In Tokyo, every square inch of space is precious, and although I could only paint in a 50 square foot storage room, I was never disheartened.

I just remembered the words my NTNU teacher Lee Shih-Chiao ( 李 石 樵 ) spoke to me: “There is only one way to paint, and that is to just keep painting. Just work hard at painting. Forget about talent. It’s a lie!”

Thinking back to my time at NTNU, I often used my free nights to go to Li ’s studio to study drawing and oil painting. On Sundays or holidays, I did not dare slack off, so I carried my easel to paint in locations around Taipei

like Danshui, Xindian, and Beitou. It was that experience that tempered my tireless stamina in terms of artistic creation.

Nowadays, many students who study abroad in Japan complain to me: “The accommodations in Tokyo are too small. There’s no room to paint.” I tell them how I completed largesized paintings in a 50 square feet studio. It was a small, cramped space, but it did not stop me from painting large-sized paintings, even though I could not fully view them from the proper perspective. The said, I usually moved the paintings outside to take a look

at them out on the street. I often carried the large paintings across Tokyo to get an opinion from my art school teacher. I would take the subway at 4:30 in the morning. Then I would wait until late at night when the subway was less crowded to take the paintings back to my studio. The subway conductors became accustomed to the strange behavior of this impoverished art student.

Since Tokyo was so expensive, life there was tough. In addition, my friends and relatives kept bugging me: “Where is the future in studying art?” This forced me to start thinking how I would earn a living after graduating.

Therefore, in addition to painting, I studied the principles of composition and visual design at the Visual Arts Institute run by Professor Takahashi. The reason I did this was so that, if I could not make a living by painting, then I could at least make a living as a designer. The principles of composition, which incorporates painting , rhythm, and space through pure abstract shapes, was really helpful to me when I was trying to find a breakthrough with my own painting style in New York. This was something I never could have foreseen.

During the early part of my stay in Japan, the Japanese art world was very lively, but, on closer inspection, it was still closely connected to th e t y p i ca l p atterns o f ma instre a m European art. Although I was encouraged by having my oil painting “Small Town of Danshui, Taiwan” entered into the Japan Fine Arts Exhibition in 1962, I was not content to rest on my laurels. At that time, the center of modern art development was Paris, so in late 1964, I took my wife on a trip to Paris.

The following year, I enrolled in the École des Beaux-Arts ,Paris ,France to study oil painting.

I also studied intaglio with Professor S. W. Hayter at the Atelier 17 Printmaking Studio.

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Paris in the 1960s was a place inhabited by countless artists and a paradise for anyone following their dreams. When I first got to Paris, I went to the Louvre as soon as I had a chance, and I stood dumbstruck in front of the Mona Lisa, Rembrandt’s paintings, and Michelangelo's David. I was so excited to see the original artworks! In the first few months, I would go to museums or exhibitions almost every day to see the works of many masters, such as Cezanne, Renoir, Matisse, Picasso, Braque, and Raphael. Sometimes, I would study one classic painting for a few days in a row. The space of Fauvism is totally created out of the intense color treatment that dazzles the eye. Meanwhile, Cubism’s analysis of movement and its techniques of splitting up the plane and constructing space taught me that space could be rich and that painting could have a diverse array of styles. Because I was faced with such rich painting traditions, I felt an intense psychological impact. I had to calm myself down. I said to myself, “As someone from the Eastern hemisphere, fully pursuing Western painting is not possible.

Even if I spent my whole life trying, I would never be able to catch up!” My oil painting teacher in Paris at that time, Professor Roger Chastel, said to me, “You are from China, so you should follow your own personality and style.” This just added to the struggle and confusion in my mind. After a lot of thought, I decided that I should search for an artistic road that was truly mine.

In the beginning, I started using a painting knife, and I painted Parisian street scenes using bold colors. Although my 1966 work “Old Wall, Paris” won a silver medal in the Salon des Artistes Français, I felt that I was going nowhere with landscape painting, since I was still painting in the style of a Westerner. How

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could I create my own painting language?

This question plagued me constantly. Many nights, while my wife was sleeping, I would sit alone in front of a canvas just thinking. During that time, I thought of the specks of color and engraved patterns on Chinese bronze utensils and the smooth patterns on Chinese porcelain that I had studied at the Museum of Asian Art. This symbolic language was familiar to me from when I grew up in Taipei, like it was a part of my life, or the ancient traditions of my people.

While I was in a foreign land, I remembered all this, and I became aware of the big difference between Western and Eastern cultures.

This act of remembering connected me back to my roots, and I started reminiscing about my homeland as scenes from my childhood started appearing in my mind in waves. The scenes of Lungshan Temple and Wanhua Market and all the festive celebrations and crowds of worshippers were an inseparable part of my life, so why couldn’t I express this on canvas? At that time, I happened to be learning a multicolor intaglio and relief technique at the Atelier 17 Printmaking Studio. I thought that the color layers of different shades that were produced after acid

SIMPLE NOBLE: THE ARTIST CAREERS OF LIAO SHIOU-PING

etching could perhaps express the memories of my youth. So, in that studio, I started to try out new things. When I decided that printmaking would be the medium for my art, I discovered that it was freer than oil painting.

There were no gradations, background, or composition limitations. Using different materials and techniques, I could evoke different kinds of artistic styles. When I started making a print, I never knew what the final result would be. I had to go through the whole printmaking process to finally be able to fully express what I was after. For many years, my oil paintings were limited by the stilted patterns of the academy. I was limited by light and by composition. Oil painting never let me express my true self. Because printmaking was so new to me, I could try out new things to my heart’s content. It was this “curiosity” that helped me put all my energy into the art of printmaking.

When I completed my first print “Fortunate Age” ( 福 壽 ) , Professor S. W. Hayter was very surprised. He was especially gratified that my subject matter was Taiwan folk culture.

He said the use of the bright red shade was very bold. The next work was “La fête” ( 拜 拜 ) , which was unexpectedly purchased by the Modern Art Museum of the City of Paris for fifty francs. It wasn’t considered a lot of money, but for a 29-year old Asian who had traveled to the other side of the world in search of art, this was an affirmation of sorts.

Because of this acknowledgement, after being in Paris for less than two years, I was able to decide that art was the direction I would pursue from then on.

When I first arrived in Paris, the place where my wife and I lived was no bigger than 100 square feet, and there was no bathroom or toilet. In the beginning , we relied on my

painting of Parisian street scenes for a living.

Then the Paris Cultural Bureau took a liking to my print “La fête” ( 拜拜 ) , and bought it for fifty francs for the Modern Art Museum of the City of Paris. Because of that, I could move into the international artist village, and our life became a little more stable. I could put aside all other worries and just dedicate myself to working on my art.

without ink, or lithography and silk screening te chn iques—none of these te chn iques stumped me. Whether it was sing le-use or mixed-use, I gradually learned these techniques with ease. However, I wondered what language I should use to express my own unique artistic style. It was something I pondered for a long time, so my work from that period was very inconsistent.

In 1968, I went to the US to hold a solo exhibition for the first time by invitation of the Miami Museum of Contemporary Art. Although I had won the grand prize at the Seine Exhibition and the silver medal at the Spring Salon Show in my three years in Paris, I knew that the center of the international art world had shifted to New York after WW2.

As a modern artist, I needed to search out the greatest challenges and tests, so in late 1968, my wife and I moved to New York City.

For a long time, I have always felt that my works of that period were closely connected to the idea of the “Gate.”

New York was totally different from Paris. It was full of energy, and it was a city built by an efficient industrial society and a technological civilization. The pace of the streets of New York was nervous and rushed, as opposed to the idle and smug Parisians. In Paris, I could easily continue to dwell on things about my childhood and my homeland, but in New York, I had to throw away everything I knew about myself. This technological civilization brought my art another kind of turmoil and inspiration. I had to figure out my own direction as quickly as possible. After I entered the Pratt Graphics Center, I discovered that the art of printmaking was changing very rapidly. At that time I changed from the single print dual use polychrome copperplate printing method to the collagraphy method with metal or non-metallic material. The gradual layers of rainbow colors on the roller and the relief method which uses pressure

Gates!

Picture of my present Pictures of my future Oh, how you inspire me in the ecstasy of endless contemplation!

To find this world From the deepest chaos I went through you. There, while I was filled with delight You let me taste the bitter sadness Of existence you showed me the vanity, the solitude…

Relentlessly obstinate to discover the impermanent Universe

I refused to enjoy life as in a dream So as to reveal the truth.

Innumerable are these gates Will one of them show me the way?

Translated by Mrs. Alex RENAULT. Miami. MAY 1968 This is a poem I was inspired to write in 1967 while I was in Paris. It is the only poem I ever wrote. My memories of doors and gates can be traced back to the Lungshan Temple of my childhood and my impressions of the doors of people’s homes. As I grew up, I could experience how life itself is a series of doors.

When you go through a door, you start on a new journey. Once the “door of life” is opened wide for you, you give a series of performances on the stage of life, with the curtain constantly opening and closing.

“Gate” naturally became the painting language of that period. Unlike the fancy and complex temple doors I painted in Paris, I started to use more simplified two-dimensional symbols.

I used abstract composition to symbolize heaven and earth, the sun and the moon, or yin and yang. It had a little of Hard Edge’s precision and simplicity, and it continued the style of symmetry.

My friends sometimes ask me, “ Why do you always insist on symmetry?” Maybe it’s because I always saw my father’s neat and orderly architectural drawings when I was growing up! I inherited from my father and brothers a personality that loves order, accurac y, and perfe ction. Actually, the meaning of “symmetry” contains the folk logic of Chinese culture that “everything comes in pairs.” Isn’t this something that has always been an important part of Chinese customs and concepts?

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My classmate at the NTNU Department of Fine Arts, Hou Jin-Lang ( 侯錦郎 ) , enjoyed learning about Taoism, and he collected lots of the ghost money used in Taiwanese folk religion. These objects that are part of folk customs imperceptibly gave me an inspiration.

I tried to blend the images of human life found on ghost money—houses, windows, scissors, cups, plates, and shoes, into my artworks, transforming them into abstract geometrical symbols.

At that point, I became more and more immersed in the joy of printmaking. In 1970, my family and I moved to New Jersey, and I finally built my own personal studio. I started to tirelessly study printing with all types of materials. Every two or three months, I would start studying a new kind of printing method. I would usually practice twenty or thirty times after doing the line etching. I had become proficient in the intaglio and relief copper plate method in Paris, but I didn’t want to repeat my old methods. I wanted to find a breakthrough from my past methods.

My artworks were becoming more simplistic in terms of composition and space, and the basic gold and silver colors tended to become monotonous. To give the prints more vitality, I started to study and experiment with multiple colors in search of a new level. The roller’s different shades of rainbow colors etched into the metal plate were the result of my gradual maturity in this period.

In terms of handling the color tones, I have always favored primary colors. Perhaps my personality makes me prefer simplicity, and so I don’t like to use a whole palette of colors. At that time, I would make one end red, and use basic blue on the other end. I would use silver in the middle to diluted red and blue colors on the roller. I produced variations of blue

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and red shades. This experiment was the birth of my later seven-color rainbow color layers. It added some serenity to the artwork, and it also provided some vitality to the composition, helping me better master the harmonious effect of the balance between the looseness and tightness of the color scheme.

In order to fully express my interior images in terms of composition and form of expression, I used a bird’s eye view composition to break through some limitations of space and perspective. I used the design perspective that I had studied in Tokyo to handle the color,

trying to change plain primary colors into an intense color series, resulting in an irregular rhythm that still followed its own rules. All of these images could be presented through the printmaking process. It did not allow frivolous choices, but there were often spontaneous effects that occurred in the process that could fully express my artistic language and viewpoint.

Although the modern art scene in New York was active and thriving, with constant new waves of art trends, my convictions never wavered. My gradual levels of rainbow colors

SIMPLE NOBLE: THE ARTIST CAREERS OF LIAO SHIOU-PING

were noticed by the art world. The 1969 work “History” ( 歷 史 ) won the top prize at the Burt Printmaking Exhibition, and the 1970 work “Festival of Sun” ( 太 陽 節 ) won the top prize in the 28th New York Audubon Artists Exhibition. The 1971 work “Yin and Yang” ( 陰 陽 ) received the Boston Prize for Outstanding Printmaking Artist, and the 1972 work “Festival of Sky” ( 天 空 節 ) won the top printmaking prize at the Rochester, New York Religious Art Festival. In that same year, the work “Counter Part” ( 相 對 ) received an Honorable Mention at Brazil’s Sao Paolo International Painting Exhibition.

In those days, there were many critiques of my artwork by the New York art world. The Senior Director of New York’s Pratt Graphics Center, who was also the editor of the annual review for printmaking arts, said of my works in a 1972 review : “Liao Shiou-Ping makes a strong impression…. He has a holistic personality that is elegant yet strong. His works reflect his personality with complete org anization, strong comp osition, and harmony. He excels at creating color tones.

His prints are unique. They seem complicated, yet they are simple. They are abstract, but they represent an ancient culture of wisdom. They are like poems that are expressed in images through the hands of a master. In our noisy and polluted city, his works stand tall like a memorial to a serene ideal world. They open the door and welcome you to enter the hall of Oriental wisdom.” This affirmation and encouragement supported me as I tirelessly worked on my art.

1973 was the start of a new phase in my life.

By invitation of Department of Fine Arts Director Yuan Chu-Sheng ( 袁樞真 ) , I went back to NTNU, where I taught printmaking courses full-time for three years. In the early

1970s, printmaking in Taiwan was still mainly woodcut, but I was willing to unreservedly p a ss on to the next g eneration a l l the printmaking skills and new ideas I had learned in over a decade spent in Paris and New York.

This was because I intuitively felt that if young artists wanted to make a name for themselves in the international art world, the art of printmaking would be a good path towards that goal.

There was a good foundation for woodcut in Taiwan, but my promotion of lithography was limited by the availability of equipment and materials. Therefore, I decided to place priority on transmitting the four printing methods of intaglio and relief lithography, polychrome single print, gradual layers of rainbow colors, and photomechanical silkscreen printing.

Besides teaching the general art courses at the NTNU Department of Fine Arts during the day, I would also punctually arrive at my 7 pm evening class. The students found out that as long as they provided me with a bottle of my favorite guava juice, they would not have to pay anything for after-class tutoring.

Afterwards, I also taught printmaking at Chinese Culture University, National Taiwan University of the Arts, and the Chinese Universit y of Hong Kong ’s continuing education program. In 1974, in order to popularize printmaking in society at large, I wrote the book, The Art of Printmaking.

This was the first book to completely explain the art of printmaking, and it has been used as a printmaking class textbook in Taiwan, Hong Kong, and Southeast Asia, and also in mainland China when I taught there from 1988 to 1991.

The most gratifying thing in terms of the promotion of printmaking education was that some students of mine formed the “Evergreen

Graphic Art Association,” and they have now become teachers or central figures in the field of printmaking in Taiwan. I remember that back when I was teaching at NTNU, whenever I would show some slides of works I did in New York or Paris, I could instantly feel the students’ desire to learn more! In that era in which both artistic information and techniques were lacking, we often had to find a factory ourselves that could produce the printmaking materials or even mail-ordered them from New York. However, when I saw the enthusiasm of the students, it made me even more willing to go to any lengths, and

the more I taught, the more excited I became!

In addition to pa ssing on printma king techniques, I stressed that it was important for students not to just learn skills, but that they should have a broader perspective on modern art. I often told them that they had to travel abroad to see what’s out there, that they could only find out what they needed to improve on by going abroad, and that it was the only way to get a modern perspective on art. They needed to understand that there are many different types of materials that can be used in art and that they should not limit themselves, especially the younger generation.

They should break through the prejudice that everyone at the time had about “painting.”

They thought you had to use a brush or a painting knife to put paint on a canvas for something to be called a painting. They did not know that in the modern art world, there were already so many different mediums of expression. This was something I constantly stressed when I went to the China Central Academy of Fine Arts in Beijing, the Zhejiang Academy of Fine Arts in Hangzhou, and the Nanjing Art Institute in 1988 to teach the art of printmaking. After all, the preciousness of art is in creating a style and a viewpoint, and not just in the skill.

B e c a u s e o f th i s , I s tr i v e d t o p r o m o t e i nt e r n a t i o n a l e xc h a n g e s i n t h e a r t o f printmaking as part of printmaking education efforts. In 1973, I gave about 50 prints that I had collected while in New York, which included works by American, European, South American, Japanese, and Korean artists, to the R.O.C. Art Education Society to hold the “New York International Printmaking Artist Joint Exhibition” at the Ta iwan Provincial Museum. Starting in 1983, I began to cooperate with the International Biennial Print Exhibition held by the Council for Cultural Affairs, which was a further extension of my original mission to help promote the art of printmaking.

When I returned to Taiwan, I put all of my passion and energy into passing on the essence of the art of printmaking so it could take root in my homeland. Taipei had now become an industrialized society and its pace was becoming faster and faster. When I returned to Lungshan Temple to search for the traces of my childhood, a lot of what I remembered was no longer there. Things change as the years pass by, and the mental state of this

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world traveler has gradually settled overtime.

The temple gate was still the same, but it was different from the image I had in my memory.

That’s why I used the method of photographic silk screening to express the memories that I have stored from those times in works such as “Temple” ( 廟 ), “Still Life” ( 靜 物 ), and “Pilgrim” ( 朝聖 ).

It must be my destiny to be involved in printmaking education! I started four years of teaching printmaking in Taipei in 1973, and I went on to teach printmaking at Tsukuba University as a professor of art in 1977. Since my wife had to take care of our two schoolaged sons in New Jersey, I went to Japan alone. After classes, when I would leave noisy Tokyo and go to my quiet abode in the suburbs, I would prepare simple meals for myself. My daily companions in those days were the tea set and fresh produce. Solitary living gave me more time and space to think about the development of my art. This is how I found the truth of life: Living a simple life should also apply to art, because art should not be forced, but should be a simple reflection of life.

I’m still in the stage of trying to figure out what Z en means. O ver the years, I had discovered that I personally tended to prefer serenity and harmony. Naturally, these items that have become a part of my daily life, such as teapots, flower vases, persimmons, and vegetables, have found their way into my artworks. In terms of the composition, I use straight lines going across different parts of the white drawing paper, which is the reflection of a mind stuck in the monotonous city of a technological civilization!

Representative works from that era are “Hot Summer’s Afternoon” ( 盛 夏 之 晝 ) ,

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“Afternoon Gathering” ( 午 后 雅 集 ), “Early Spring” ( 初春悠閒 ), and “Reminiscence” ( 歲 暮 憶 往 ) . These used collagraphy printed through the pressure of the etching press.

Some used the woodblock printing method. I strived to create a field of whiteness intersected by a colorful rainbow, though the blank space was the part I wanted to emphasize. Each time I created the composition, I couldn’t help but think about the lively flower and fruit drawings of Yun Nan-Tian ( 惲南田 ) and the fruit and vegetable paintings of Song Dynasty Zen painter Mu Xi（ 牧 谿 ）which I have seen at the National Palace Museum. This is

what I was personally searching for, and that is a spiritual state of non-dualism.

In the “Seasons” series, I started to work on how to handle light and shadows. I used rainbow colors on the flat surface and gold and silver spots and colors that represented the four seasons—red, black, yellow, and white, to hint at the solid feel of objects and the colors of the subtle changes of the seasons.

In the 15 years of my journey to Tokyo, Paris, New York, and back to Tokyo, the artworks in the “Seasons” series marked the great divide in the course of my art. The umbilical cord of the

SIMPLE NOBLE: THE ARTIST CAREERS OF LIAO SHIOU-PING

images of my memories of temples and doors had been completely severed. I gradually came to realize that life is art!

Although printmaking has taken up the great majority of my artistic career, the nature of an artist is to always search for new mediums of expression. In 1979, after I returned to New Jersey in the USA, I tried my hand at watercolors. “Four Seasons ( 四 季 ) came out of my searching for the spirit of ink and wash painting. This was always fermenting in my mind, but I didn’t really want to follow traditional ink and wash painting. I wanted to use the medium of watercolors. I tried using a spray gun instead of a brush. I first drew the general composition on the paper with a pencil. Then I used a knife to carve out the area to be colored from gummed paper pasted on the painting. I sprayed the watercolors onto the painting with a spray gun and then adjusted the tones and depths of the color one at a time.

The subjects for this series of watercolors were taken from everyday life, as usual. During the holidays, I would take my sons who were now in junior high school to soak in hot springs in the national park. The changes in plant life made an impact on me. I noticed the changes of the seasons more and more, even when buying produce at the supermarket, when holding paper grocery bags, when I would be alone in the garden after the children and my wife had gone to school and work, or when I looked at the leaves falling from the trees.

These images stuck in my mind, and I hoped that I could use these natural signs that we find in this urban civilization, like falling leaves, rocks, paper bags, and produce, to purify the greed of our modern materialistic culture.

The “tea snacks and tea set” subject matter that extended from scenes of fields and gardens in 1978 was mostly a reaction to my own desire to find an escape from the fast paced industrial lifestyle of the technological civilization and to realize my greatest inner needs— a world of leisure, serenity, and peace. The explorations of this phase extended to the later “Bamboo Garden” ( 竹 園 ) and “Lotus” ( 夏 荷 ) , and to 1987’s “Mountain /Lake” ( 山湖 ), “Walls” ( 牆 ), “Windows” ( 窗 ), and “Gardens” ( 庭園 ) series of prints and oils.

In 1980, I started to return to oils, acrylics, and watercolors, and using these mediums once again had a beneficial impact on my art.

You should not impose self limitations on your art. Many people abandon tradition, but actually, tradition is not the problem. The point is finding a way to digest the tradition and make it your own. During my years of living abroad, I took up practicing calligraphy.

The lines of Chinese characters are a kind of art in themselves. My art was also nourished by the traditional Chinese Mustard Seed Garden Manual of Painting. After I absorbed its essence, I transformed it into the subject matter of 1988’s “Windows and Walls” period.

In the field of artistic creation, any material can be used to become the inspiration for your artworks. When my family and I traveled to Europe in 1983, I saw wooden figurines in a display window in Paris. Are not these wooden figurines carved out by machines the product of a technological civilization and industrialized society and a reflection on how human life has been affected by it?

The problems and dilemmas created by the conflict between spiritual culture and material culture in this materialistic civilization are very serious. Therefore, I attempted to use the wooden boxes and wooden figurines in

my painting scenes as a metaphor or allegory.

The “Manikin” ( 木 頭 人 ) series hints at the gradually disappearing living environment and order. “Shadows” play a positive role here. I used fancy gold foil or intense red colors to compose shadows, which solved the focal point problem of the wooden figurines floating around without a fixe d p oint.

Basically, I consistently used the bird’s eye view composition, portraying the wooden figurines as living in an industrial society. It shows the emotions between men and women and the tender relationships between family members. The pliers, scissors, screwdrivers, and

measuring tape symbolize the products of a technological civilization. In the composition, rainbows symbolize hope in the middle of the modern technological civilization and the pursuit of a spiritual environment with more clarity.

To d a y ’s t e c h n o l o g i c a l c i v i l i z a t i o n unquestionably bring s great benefits to industry, commerce, and society, but when p e ople are g radua lly controlle d by the technological civilization that they have created, they become “automatons.” This is the irony of the technological civilization that

I wanted to point out using these wooden figurines.

In 1988, my closest brother passed away in Taipei after a battle with lymphoma. He was only 47 years old and in the prime of life. He was even a scholar in the field of medicine, so how could he let disease win the battle for his life? Old age, illness, and death are a necessary part of life, but when it appears suddenly, it is unbearable! When I went back to Taipei and saw my white-haired parents, we were heartbroken . That kind of deep sorrow for your blood relations is powerful! This terrible pain is like losing a limb. It made me deeply depressed for a long time because I did not know how to deal with this reality. The “Windows” ( 窗 ) and “Walls” ( 牆 ) series were gradually formed while I was in this mental state.

In recent years, I have gradually come to understand that everything in the natural world, every plant and every tree, whether withering or flourishing , has its eternally unchang ing fate. Ever ything inside the window and outside the window shares this characteristic. Looking out the window at the passing clouds and the trees in the yard, which flourish in the spring and drop leaves in the autumn, you can see the change of the seasons, life and death, growth and decline.

This is a world where one can understand autumn by looking at one leaf ! Therefore, I use a square to symbolize a window, and the old tree branch behind the window signifies the brevity of life for everything in the natural world. When I extended this to the “Wall” series, I remembered how I spent a summer in Taipei with my late brother, and we suddenly heard the chirping of cicadas. My brother said to me that cicadas lay dormant underground for seven years where they grow from a larva to

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an adult cicada. However, its life above ground is only one short summer. That’s why they are so active. They put all their energy to making the best chirp that they can. Life is short, but it is also eternal because of the brilliant song it sings.

So what does this say about the life of humans?

In the “Walls” ( 牆 ) series, the old branches are like the spaces in our lives. The stones are the symbol of the eternally unchanging part deep in our hearts. However, that wall divides us from the emotions of family and friends.

This is where we separate ourselves from the emotions of love, hate, anger, and affection.

In my fifty years of striving in the art world, I started out as an inexperienced youth and then found my confidence in the prime of my life. In recent years, I have come to realize that the world is like a big mirror. It’s a mirror in which you have to clearly see your own face in order to be able to discover the difference between Eastern and Western cultures and truly understand the road that you have taken.

You have to look in that mirror to be able to understand life, to be able to build up your own experiences, and to be able to establish your own style and viewpoint. Take New York for example. This international metropolis is made up of a mix of the cultures and customs of different ethnic groups, and is not just the face of American culture.

I started to profoundly explore my realizations and feelings in 1990, resulting in the “Garden Party” ( 園 中 雅 聚 ) series. I used black, red, gold, and green colors to symbolize the changes of the seasons, but the stone in the middle of the garden was a permanent, unchanging fixture. The stone is an idea that has always firmly held a profound place in my artistic soul. It symbolizes that I have withstood the shocks from all the different

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artistic trends while still holding firm to the ambition to establish myself in the international art world. I recognized that I had to clearly understand my cultural background and not try to escape Chinese culture. I had to understand what I should hold on to. When I decided the direction I was to follow, I put my heart and soul into it without hesitation, without concern for any trend, obstacle, or difficulty.

The theme of “Garden Party” ( 園 中 雅 聚 ) was using liquor bottles of different shapes and from different countries, such as brandy,

Scotch whisky, Japanese sake, Maotai, and Zhuyeqing, to symbolize the lives and customs of different ethnic groups. I used disorderly five-color color blocks connected together for the background of the liquor bottles, symbolizing people gathering together and parting company. I purposefully used color blocks without unified color tones to express the fusion of different personalities and different cultures. Here there is no one culture that dominates, and it is an artistic land where cultures mix together.

SIMPLE NOBLE: THE ARTIST CAREERS OF LIAO SHIOU-PING

Perhaps it is because of the evolution of my thinking over the years and my approach to life’s challenges that my attitude now is one of following the course of destiny in everything. The “Seasonal Chat” ( 四季之敘 ) series gradually matured in 1995. The artistic vocabulary from my soul was still ordinary household items like cups and teapots. In terms of composition, I was still in pursuit of symmetry. The grids that symbolized the institutionalized technological civilization in the past were now transformed into a terraced, mixed aesthetic. Objects were connected yet separate. I was trying to express an unadorned yet elegant atmosphere. This series of works used the artistic expression of mixed media combined with the attraction of intaglio and relief prints. It uses the refraction effect of gold and silver foil to show that all gatherings and partings are made by destiny. It shows that drinking tea and engaging in conversation is basically a fate that people share.

After Taiwan’s economy rocketed to great heights in the 1980s and into the late 1990s, society displayed a big gap between rich and poor. One cup of coffee could cost NT$500 and material desire was rampant, while artworks started fetching astronomical prices.

Some Taiwanese art dealers even came to New York to buy paintings from my home. This was not what a healthy art market ecolog y looks like. I had received the National Award for Arts in 1998, but when I came back to receive the honor, I saw the state of Taiwan’s society and I felt an unexplained anxiety.

In 1999, I suddenly changed from my fivecolor brilliant painting style to a mostly black and white color scheme. Even though I still used the symbols of “doors,” “yin-yang,” and “tea sets” in my paintings, these symbols now moved between being black and white. You can call these heavy black images my protest

in those days against the extravagant times on the island of Taiwan. It was also my own self reflection.

During that same period, I was inspired to create the “Silent Image” ( 默 象 ) and the “Knots” ( 結 ) series. “Silent Image” ( 默 象 ) was the result of watching people eat part of a fancy meal at a hotel banquet table and then just waste what was left over by throwing it in the garbage. I wanted to go back to using the simplest materials—nails, plywood board, and black ink, and just take a hammer and nails to hammer together an artwork, taking everything back to the simplest level to silently contemplate in a religious way. In the “Knots” ( 結 ) series, I used interlacing and intertwining ropes to symbolize the complexity and variety of worldly affairs.

Before humanity developed writing, rope was used as a tool to “record” events in ancient society. They can be curved or straight and strong or soft. They can represent conflict or harmony. At that time, this series of works was a wordless protest against the extravagance and chaos of Taiwanese society at the time.

1999’s 921 Earthquake took more than 2,000 lives and really could be called a fin de siècle catastrophe!

Althoug h the Buddhist sutra s say that existence is impermanent, you don’t really know what that means until it hits you in the face. In 2002, the biggest shock of my life came without any warning. My life-long companion accidentally fell to her death from a cliff while out bird-watching on a mountain road, bringing me the most indescribable pain I had ever felt in my life. She had shared love and gratitude with me from our early days studying at NTNU, to our marriage, and over the course of an artistic career that spanned most of a lifetime. I regret that my reserved

personality and clumsiness with words allowed me to only too rarely tell her how I truly felt. I always felt like our love would last forever and we would constantly accompany each other throughout our old age.

In recent years, whenever I think of what happened, I fall into an endless trough of painful recollection and sadness. I finally understo o d the meaning of the phra se “extreme sorrow” that the Chinese use to describe deep sadness. It is the feeling of your heart being torn in half. There are really no words to accurately describe the

pain. Although my friends kept me busy by arranging many university courses for me to teach, there was still a sadness and anxiety in my heart that could not be conveyed by words. In my dreams at night, the images of hands would always appear. These were crooked hands that were struggling despite being utterly helpless. These were the hands of my wife calling for help, and I so wanted to grab those hands and pull her back! I started to try to paint these hands from my dreams, and I painted them over and over. I painted my own hands and asked my students to be my hand models. In 2007, the “Dreams” ( 夢

境 ) series of works was born. These were filled with many different twisted hands reaching up into space. They struggled out of the muddy earth as if they were grasping for something, but they had no strength at all. These were the nightmare hands that I saw every night and could not chase away. They were the yearnings and self-recriminations in my deepest soul, and they were also my profound redemption.

Now when I go back to the neighborhood where I spent my childhood, the memories and emotions of the past are like images in paintings that flow before my eyes one after the other. The symbols of spirit money and doors make me recall the auspicious colors that appeared in my “Life Symbols” ( 生 活 符 號 ) series, lending the scenes a happy atmosphere. At that time, I tried out fourpaneled paintings or oversized painting sizes to streng then the soul and power of the artworks. In the deepest part of my heart, they helped me pass through the door of life and death and communicate with my departed wife. I used the rituals that I know to mourn her.

When I look back at my nearly 50 year artistic career, in which I passed back and forth between foreign lands and my homeland, I see that some things changed and some things stayed the same. What changed was the living environments and the advance of my age, which influenced my creative themes and painting language. What never changed was the artistic philosophy that I always upheld. I have passed through the seasons of countless years, and when the harsh winter as dark as ashes has passed, what always comes next is the green spring of youthful vigor and bright colors full of the joy of life. Then I traverse the scorching hot summer and arrive again at the gloriously brilliant red leaves of autumn.

THE ROADS I HAVE TAKEN

118

This season where one can understand the entire autumn by looking at just one leaf reminds me again of the lessons taught by life. Autumn is the time when the cosmetics are washed off the face of nature, and it is the peak of mental maturity that was gradually reached after all the vicissitudes of life. Facing the age when I know my fate is sealed, I am studying Buddhism more deeply. I follow the natural flow and maintain a mental state of being satisfied with what I have. I can now more deeply understand life, and I will seek tranquility in my artistic work. In a state of abundant harmony and peace, I am tempering myself in this finite life and setting off new artistic sparks for another stage of life!

119

SIMPLE NOBLE: THE ARTIST CAREERS OF LIAO SHIOU-PING

THE ROADS I HAVE TAKEN

120

BIOGRAPHY

攝影：黃建勝

123

簡歷

Photo by Alex Huang

廖修平，1936 年生於臺灣臺北。臺灣省 立師範大學（今國立臺灣師範大學）美 術系畢業後，廖修平決定出國深造，留 學日本國立東京教育大學與法國國立巴 黎美術學院，並在巴黎著名的「十七工 作室」學習金屬版畫技巧。在求學過程 中意識到自身文化的重要性，便從幼時 熟悉的龍山寺、萬華市場、大拜拜等民 間場景擷取靈感，利用凹凸平孔等各種 方式創作版畫。移居美國時期廖修平學 會了各種嶄新的版畫技法、創立個人工 作室，獲獎無數。而他卻在臺灣爆發政 治外交危機之際，選擇回臺任教於師大 美術系，並巡迴演講示範教學，帶給臺 灣版畫教育觀念、資訊、技藝上莫大的 幫助，被譽為臺灣現代版畫之父。

廖修平 Liao Shiou-Ping

Liao Shiou-Ping was born in 1936, in Taipei, Taiwan, and grew up in the neighborhood of Lungshan Temple in the Monga area of Taipei.

After graduating from the Department of Fine Arts at the Taiwan Provincial University of Education (now National Taiwan Normal University, NTNU), Liao decided to further his studies and went to Japan and France.

Eventually he studied intaglio in the famous Atelier 17 Printmaking Studio in Paris. During the period of studying abroad, Liao was aware of the importance of his own culture, and derived inspirations from familiar childhood scenes such as Lungshan Temple, Wanhua Market and all the festive celebrations and crowds of worshippers, and used various techniques to make prints. Later on, while staying in the United States, Liao learned a variety of brand-new print techniques, started his own studio, and earned numerous awards.

However, at the time when serious politicaldiplomatic crises erupted in Taiwan, Liao chose to come back and taught printmaking c o ur s e s in N T NU, a s we l l a s tr ave l e d around Taiwan giving lectures and hands-on demonstrations, helping to lay the foundations for the subsequent development of modern printmaking. Liao Shiou-Ping is now widely considered as Taiwan's “Father of Modern Print-Making”.

BIOGRAPHY

124

1936

生於臺灣臺北市

1959

國立臺灣師範大學美術系 (48 級 ) 畢業

1962-64

留學日本國立東京教育大學繪畫研究科畢業

1965-68

旅居巴黎，進入法國國立巴黎美術學院油畫教室受教 於夏士德 (Roger Chastel) 教授，以及版畫十七工作室 進修，受教於海特 (Hayter) 教授

1966

進駐國際藝術家村 (Cité Internationale des Arts)，獲法 國政府獎學金一年

1973-76

在臺灣提倡現代版畫，任教於臺灣師大、文化大學、 藝專、指導與示範版畫製作

1977-79

應日本國立筑波大學之邀，設立版畫工作室並任教 二年半

「廖修平作品展—門」，大同大學志生紀念館，臺北， 臺灣

1979-92

美國西東大學藝術系版畫教授

1988

應邀至浙江美術學院版畫系講學

「臺灣現代版畫的播種者—廖修平」，雀兒喜美術館， 紐約，美國

1991

南京藝術學院擔任客座教授，主持現代版畫研習班

1993

與謝里法、陳錦芳等人合力籌辦「巴黎文教基金會」

2002-08

返臺繼續從事繪畫和版畫創作，並執教臺北市立教育 大學、國立臺北藝術大學造形所、國立臺灣藝術大學 版畫研究所

2009

國立臺灣師範大學講座教授及臺灣美術院院長

● 個展 2019

「樸素高貴：廖修平的藝術歷程」，尊彩藝術中心， 臺北，臺灣 「樸素高貴：廖修平的藝術歷程」，奕思畫廊，中環， 香港

「版畫 交響—廖修平創作歷程展」，高雄市立美術館， 高雄，臺灣

2013

「跨域 典範—廖修平的真實與虛擬」，中華文化總會， 臺北，臺灣

2012

「界面 印痕—廖修平與臺灣現代版畫之發展」，國立臺 灣美術館，臺中，臺灣

2012

「臺灣現代版畫先行者—廖修平個展」，行天空附設圖 書館，臺北，臺灣

2011

「版畫人生—廖修平教授藝術創作特展」，國立臺灣師 範大學圖書館一樓大廳，臺北，臺灣

2010

「臺灣現代版畫播種者－廖修平個展」，臺灣創價學會 藝文中心巡迴展

2009

「樸素的符號 高貴的美感廖修平繪畫展 2000-2018」， 龍門畫廊，黃竹坑，香港

2016

「福彩 版華—廖修平之多元藝道」，國立歷史博物館，臺北， 臺灣 「Masterpiece Room—廖修平作品展」，國立臺北藝術 大學關渡美術館，臺北，臺灣

125

2015

「符號藝術—廖修平創作展」，臺灣國際創價學會，宜 蘭、花蓮、臺東，臺灣

2014

「福華人生─廖修平個展」，福華沙龍，臺北，臺灣

簡歷

「福華人生—廖修平作品展」，中國美術館，北京，中國 「廖修平作品展」，松濤美術館，東京，日本

2008

「符號人生 無語問天」，臺南文化中心，臺南，臺灣

2007

「符號人生 夢境系列」，國父紀念館，臺北，臺灣 「符號人生 夢境系列」，港區藝術中心，臺中，臺灣

2001

「門和四季之敘系列」，中華文化中心，舊金山，美國 「版畫師傅—廖修平版畫回顧展」，國立歷史博物館， 臺北，臺灣

2000

方謝古藝術文化中心，蒙特婁，加拿大 香港藝術中心，灣仔，香港 「門戶之鑑—廖修平的符號藝術」，臺北市立美術館， 臺北，臺灣

「廖修平的藝術：跨域 多元藝術」，馬來西亞國家美術館， 吉隆坡，馬來西亞

2018

「文化尋根—建構臺灣美術百年史」，創價學會，臺北， 臺灣

1999

臺東社教館，臺東，臺灣 國立中央大學藝文中心，桃園，臺灣 「臺北福華沙龍國際藝術博覽會」，臺北，臺灣

1998

巴黎國際藝術城，巴黎，法國

1997

薇苑畫廊，東京，日本 西格瑪畫廊，紐約，美國

1994

福華沙龍（中華民國畫廊博覽會），臺北，臺灣 積禪五十藝術空間，高雄，臺灣

1993

上海美術館，上海，中國

1992

烈日市立現代美術館，烈日，比利時

1976

省立博物館，臺中，臺灣

臺灣省立美術館，臺中，臺灣

1975

鈴木畫廊，紐約，美國

1991

克拉克畫廊，札幌，日本

世紀畫廊，臺中，臺灣

新澤西藝術中心，新澤西，美國

線條屋美術館，東京，日本

香港中文大學校外進修部，沙田，香港

江蘇省立美術館，南京，中國

1974

四五六畫廊，紐約，美國

1990

喜格瑪畫廊，紐約，美國

小造型畫廊，東京，日本 歐斯馬畫廊，馬德里，西班牙

1973

華那特畫廊，費城，美國

臺南文化中心，臺南，臺灣

加州榮譽宮殿（版畫部），舊金山，美國

1989

臺北市立美術館，臺北，臺灣

鴻霖畫廊，臺北，臺灣

1988

裕奈畫廊，漢城，韓國

1986

國際畫廊，華盛頓，美國

國立歷史博物館（國家畫廊），臺北，臺灣

1971

羅連茲畫廊，馬里蘭，美國

菊花畫廊，新澤西，美國

1970

塔佛托美術館，辛辛那提，美國

猶太文化中心，新澤西，美國

1984

松屋畫廊，東京，日本

1982

三集畫廊，香港

1969

飛鳥畫廊，東京，日本

阿部畫廊，新澤西，美國

友風畫廊，舊金山，美國

雷廷根雷市立美術館，德國

薩地畫廊，倫敦，英國

臺中金爵藝術中心，臺中，臺灣

1968

克羅蘇里畫廊，墨爾本，澳洲

高雄市立文化中心，高雄，臺灣

思威特畫廊，巴黎，法國

版畫家畫廊，臺北，臺灣

米密斯畫廊，波爾多，法國

臺北國立歷史博物館（國家畫廊），臺北，臺灣

比利時那慕文化會館，比利時

辛諾畫廊，洛杉磯，美國

1981

波士頓亞洲畫廊，波士頓，美國

紐瓦克公立圖書館，新澤西，美國

1985

1983

1972

華那特畫廊，費城，美國

邁阿密現代美術館，邁阿密，美國

1967

三集畫廊，香港

新社會學院，紐約，美國

青年畫廊，巴黎，法國

1980

80”畫廊，多倫多，加拿大

藝術之家，巴黎，法國

1979

白田畫廊，東京，日本

造型畫廊，布宜諾斯艾利斯，阿根廷

1978

高人藝廊，東京，日本

道畫廊，維也納，奧地利

龍門畫廊，臺北，臺灣

16 畫廊，奧地利

裕內畫廊，漢城，韓國

1966

臺北省立博物館，臺北，臺灣

宮崎畫廊，大阪，日本

1965

泛美大樓三井公司，紐約，美國

紅畫廊，京都，日本

1964

造型畫廊，東京，日本

德曼學院藝廊，紐約，美國

1977

西東大學藝術中心，新澤西，美國 華李大學藝廊，維吉尼克，美國

BIOGRAPHY

126

● 聯展

「凹凸有誌印痕歲月—臺灣 50 現代版畫展」，築空間， 臺北，臺灣

2018

「2015 兩岸藝緣」，福建師範大學美術學院 1 樓展覽廳， 福建，中國

「共振・迴圈：臺灣戰後美術特展」，臺北國際藝術博 覽會，臺北，臺灣

「2015 中華民國版畫學會全國版畫展暨版畫大獎展」， 國立臺南生活美學館，臺南，臺灣

「紙的意象」，福華沙龍，臺北，臺灣 「意象符碼」，宛儒畫廊，臺北，臺灣 「亞洲當代版畫展在竹縣」，新竹縣政府文化局美術館， 新竹 「竹風行版：2018 現代版畫邀請展」，國立清華大學竹 師藝術空間，新竹

2014-15 「美好今日：今日畫會今日畫展 2014-2015 巡迴展」 ， 高雄、桃園、臺北、宜蘭，臺灣

2014

「抽象・符碼・東方情—臺灣現代藝術巨匠大展」，尊 彩藝術中心，臺北，臺灣

「藏：國際版畫中心收藏展暨廖修平名譽博士作品展」， 臺灣師大德群藝廊，臺北，臺灣

「いま臺灣」，臺灣美術院聯展，松濤美術館，東京， 日本

2017-18 「徬徨之海：旅行畫家・南風原朝光與臺灣、沖繩」，

「臺灣美術院澳洲國家大學展覽—臺灣・製造・美術」， 澳洲國家大學畫廊，澳洲

沖繩縣立博物館美術館，沖繩，日本

2017

「群英薈萃 彩瓷展」，福華沙龍，臺北，臺灣

「國際迷你版畫邀請展—萌發・薪傳」， 國立臺灣師範 大學德群藝廊，臺北，臺灣

「聚・火：鶯歌、上海、紐約三城彩瓷創作聯展」，臺 華藝術中心，臺北，臺灣 「心傳：臺灣・西班牙版畫交流展」，亞億藝術空間， 臺北，臺灣 「今日画展」，國立國父紀念館，臺北，臺灣

「版畫激流－兩岸工作室交流展暨學術研討會」，國父 紀念館中山國家畫廊，臺北，臺灣

2013

「臺灣製造藝術：2017 臺灣美術院院士大展」，國立國 父紀念館，臺北，臺灣

2016

「再現原始－臺灣「原民／原始」藝術再現系統的探討」， 國立國父紀念館，臺北，臺灣

「緣起廖修平—2016 十青現代版畫大展」，新莊文化藝 術中心藝術廳，新北，臺灣

「臺灣美術家刺客列傳・二年級生・1931-1940」，國立 臺灣美術館，臺中，臺灣

「版圖擴張—緣聚廖修平」，臺南、高雄、屏東、桃園， 臺灣

「第一屆澳門版畫三年展」，澳門南灣舊法院大樓，澳門

2015-16 「無邊・無界：台法藝術交流展」，國父紀念館中山畫廊， 臺北 ; 泰勒基金會展廳，巴黎，法國 「畫家畫金門—寫生紀行」，福華沙龍，臺北，臺灣 「精華匯聚：2015 宜蘭國際版畫邀請展」，宜蘭美術館， 臺灣 「集十傑之長・創臺灣之光」，第二屆全國十大傑出青 年美術創作得主巡迴展，國父紀念館，臺北，臺灣

簡歷

「現代・迭起－ 2013 臺灣的當代藝術」，國立國父紀念 館，臺北，臺灣

「心印・歸」，亞億藝術空間，臺北，臺灣

「臺灣製造藝術：2016 臺灣美術院海外展—韓國」，大 韓民國藝術院美術館，首爾，韓國

127

「 美麗臺灣－臺灣近現代名家經典作展」，北京中國美 術館、上海中華藝術宮，北京、上海，中國 「臺灣 50 現代畫展」，築空間，臺北，臺灣

「人間・山水：藝術創作邀請展」，羅東文化工廠 2F 天 空藝廊，羅東，宜蘭

「紙上創作—台日韓美術交流展」，新營文化中心，臺南， 臺灣

2015

「2014 高雄藝術博覽會」，翰品酒店，高雄，臺灣

「全國版畫大展」，財團法人臺北市艋舺龍山寺板橋文 化廣場，新北，臺灣

2012

「 Prints Tokyo 2012 － International Print Exhibition Tokyo 2012」，東京都美術館，東京，日本 「十青現代版畫大展」，臺南文化中心，臺南，臺灣 「非形之形－臺灣抽象藝術」，臺北市立美術館，臺北， 臺灣 「原點的維度－ 2012 年上海國際版畫展」，上海美術館， 上海，中國 「大無限－亞洲當代版畫邀請展」，大象藝術空間， 臺中，臺灣

「異域・原鄉－廖修平 60 年代作品展」，福華沙龍，臺北， 臺灣 「後殖民與後現代－臺灣美術院士第二屆大展」，國立 國父紀念館，臺北，臺灣 「國立臺灣藝術大學・女子美術大學交流展」，女子美 術大學美術館，神奈川，日本

北京美術館，臺灣、中國

2008-09 「今日畫會 2008~2009 巡迴展－今日畫會・今日畫展」， 桃園、臺中、新竹、彰化、臺北、高雄，臺灣

2008

「臺灣現代美術的先驅」，陶森大學亞洲文化藝術中心， 馬利蘭，美國

「繼往開來」，臺灣、韓國國際版畫交流展，臺北、臺中、 臺南、高雄，臺灣

「吳三連獎藝術成就展－藝象臺灣」，國立歷史博物館， 臺北，臺灣

「館藏精品常設展－國美・無雙」，國立臺灣美術館， 臺中，臺灣

「國立臺灣師範大學美術系畢業校友留校作品展－時空 與高度」，國立歷史博物館，臺北，臺灣

「十青現代版畫風」，臺東美術館，臺東，臺灣

2011

「藝林鼎足－朱為白、廖修平、李錫奇」，國立國父紀 念館，臺北，臺灣

「臺灣藝術・當代演繹」，國立摩拉維亞美術館，捷克 「2008 年亞太國際版畫邀請展暨學術研討會」，臺北國 父紀念館，臺北，臺灣

「百歲百畫－臺灣當代畫家邀請展」，國立國父紀念館， 臺北，臺灣

「臺灣當代版畫展」，圓緣藝術基金會，上海、杭州， 中國

「臺灣美術院院士作品大陸巡迴展－開創・交流」，北 京中國美術館、廣州廣東美術館，中國

2010

「橫跨歐亞－臺俄當代藝術」，國父紀念館，臺北，臺灣

「SKY － 2011 亞洲 版／圖 展」，國立臺北藝術大學關 渡美術館，臺北，臺灣

2007-08 「歷史的光輝－全省美展六十回顧展」，國立臺灣美術館，

「蔣健飛、鄭善禧、陳瑞康、傅申、廖修平－書畫五人展」， 福華沙龍，臺北，臺灣

「全國十大傑出青年美術創作得主巡迴展」，國父紀念館， 臺北，臺灣

「2010 上海國際版畫展－觀城」，上海虹橋當代藝術館， 上海，中國

臺中，臺灣

2007

「第九屆展覽審查委員聯展－藝壇風雲」，國父紀念館， 臺北，臺灣

「當代版畫的走向－ 2010 國際版畫新風貌展」，國立臺 灣師範大學、德群畫廊，臺北，臺灣

「2007 國際當代版畫邀請展」，臺南藝術大學，臺南， 臺灣

「臺灣美術院美術院士首屆大展－傳承與開創」，國立 國父紀念館，臺北，臺灣

「2007 世紀初藝術－海峽兩岸繪畫聯展」，北京，中國 「國立臺灣師範大學美術學系系友聯展－臺灣藝門 60」， 國立臺灣民主紀念館，臺北，臺灣

「百年華人繪畫大觀・世界巡迴大展」，北京、上海、 日本、美國、法國、臺灣

「國立臺灣師範大學美術學系教授聯展－臺灣美術光譜」， 國父紀念館，臺北，臺灣

「李仲生現代繪畫獎特展－續」，國立臺灣美術館，臺中， 臺灣

「國立臺灣師範大學美術學系系友留校作品展－臺灣美 術種子」，國立臺灣美術館，臺中，臺灣

「異象－典藏抽象繪畫展」，國立臺灣美術館，臺中， 臺灣

2009

「臺灣－國際迷你版畫、素描邀請展」，國立臺灣師範 大學，臺北，臺灣

「世紀初藝術－海峽兩岸繪畫聯展」，國立國父紀念館、 佛光山佛光緣美術館，臺北、高雄，臺灣 「60 年代旅巴黎臺灣畫家展」，國立國父紀念館，臺北， 臺灣 「半世紀藝友聯誼展」，福華師大藝廊，臺北，臺灣 「亞洲當代繪畫聯盟展」，淡江大學文錙藝術中心，臺北， 臺灣 「講・述：2009 海峽兩岸當代藝術展」，國立臺灣美術館、

「台藝大版畫研究所 ˙ 日本大學藝術學部交流展－梅櫻 春遇」，國立臺灣藝術大學，新北，臺灣

2006

「第五屆埃及國際版畫三年展」， 埃及 「臺灣美術－現代巨匠東京五人展」，相田光男美術館， 東京，日本 「巴黎首都藝術・聯合沙龍大展」，巴黎大皇宮，巴黎， 法國 「版畫藝術－中日韓現代版畫展」，首爾，韓國

BIOGRAPHY

128

「日本・臺灣版畫交流展」，日本

2005

「西格瑪畫廊」，紐約，美國

「第一屆臺北當代水墨雙年展：時尚水墨」，國父紀念館， 臺北，臺灣

1996

「臺北雙年展－臺灣藝術主體性」，臺北市立美術館， 臺北，臺灣

「有版有演－版畫名家與菁英展」，435 藝文特區浮洲館， 板橋，臺灣

1995

「美洲華裔藝術家作品展」，香港交易廣場，中環，香港

1994

「臺灣繪畫回顧展」，高雄市立美術館，高雄，臺灣

「釜山國際版畫雙年展」，釜山，韓國 「2005 全國暨國際版畫名家邀請展」，國父紀念館，臺北， 臺灣

「中國當代繪圖展」，國立明斯克美術館，白俄羅斯

1993

「挪威國際版畫三年展」，挪威

「新素描展」，新臺北藝術學會、國立國父紀念館，臺 北，臺灣

2004

「福華沙龍 20 周年慶特展－捉影 Drawing ' 04」，臺北， 臺灣

「60 年代臺灣現代版畫展」，臺北市立美術館，臺北， 臺灣

1992

2003

2001

2000

「臺灣教授版畫聯展」，文房堂，東京，日本

1988

「新世紀版畫特展」，國立臺灣藝術教育館，臺北，臺灣

「臺灣當代藝術創作展」，加州聖荷西市埃及煉金博物館， 美國

「心靈重建三部曲－歌頌生命百人展」，臺北市立美術 館，臺北，臺灣

「中國現代版畫展」，日本町田市立國際版畫美術館， 日本

「千濤拍岸－臺灣美術一百年」，國立臺灣美術館，臺 中，臺灣

1987

「臺北現代藝術本位與對話」，上海美術館，上海，中國

1986-88 「秋季沙龍展」，巴黎，法國

「方與圓－臺灣當代藝術展」，紐約臺北畫廊、國立臺 灣美術館，美國、臺灣

1986

「中國現代版畫家聯展」，紐約 456 畫廊，紐約，美國

簡歷

「巴黎三劍客作品展」，臺北、巴黎，臺灣、法國

「加州匯一堂畫廊五人聯展」，美國 「現代臺北藝術」，臺北福華沙龍，臺北，臺灣

「2000 年國際版畫邀請展」，暨學術研討會，臺灣、日本

「日台版畫交流展」，東京都目黑區立美術館，東京， 日本

129

「臺北－紐約：現代藝術的遇合」，臺北市立美術館， 臺北，臺灣 「挪威國際版畫三年展」，挪威

「2000 年國際版畫展－世紀版畫」，橫濱，日本

1997

「當代版畫大展：臺北－北京」，北京，中國

1989

「臺灣精神－現代風格與文化傳承的對話」，美國紐文 中心，美國

1998

1991

「日本東京 ISPA 國際版畫藝術論壇暨邀請展」東京都町 田市版畫藝術館，東京，日本

「克勞可國際版畫三年展」，波蘭

1999

「美國版畫家協會展」，奧立岡州波特蘭美術館，美國 「東西之間視景－紐約亞裔藝術家聯展」，中國、日本、 韓國

「廖修平暨名家版畫聯展－薪心相印」，天使藝術中心， 臺北，臺灣 「原鄉與流轉－臺灣三代藝術展」，國美館臺灣藝展北 美巡迴展

「廖修平、李奇茂－雙人展」，盧森堡藝術中心，比利時

「紐約華裔及香港藝術家素描展」香港中華文化促進中心， 香港 「現代日本版畫展」，大英博物館，倫敦，英國

1985

「當代版畫展」，臺北市立美術館，臺北，臺灣 「紐約畫家紙上藝展」，臺北福華沙龍，臺北，臺灣

1983

「海外藝術家展」，臺北市立美術館，臺北，臺灣 「臺灣版畫家選拔展」，東京，日本

1983-87 「中華民國版畫雙年展」，臺北市立美術館，臺北，臺灣 1982

「北方畫室版畫二十年展」，奧斯陸，挪威

1981

「藝術家 1981 國際藝展」，紐約，美國 「東方藝術五人聯展」，新澤西州柏根郡美術館，美國

「第二屆國家文藝獎得獎者展覽」，臺北市立美術館、 高雄市立美術館，臺北、高雄，臺灣

1980

「挪威國際版畫雙年展」，挪威

「中加版畫交流展」，蒙特婁、臺北，加拿大、臺灣

1979

「龍與菊－中日藝術家聯展」，新澤西州立藝術中心，美國

1978-88 「日本現代版畫展」，東京，日本

1965

「春季沙龍」，巴黎大皇宮，法國

1978

「中韓現代版畫展」，漢城、臺北，韓國、臺灣

1963

「日本版畫協會展」，東京都美術館，日本

1977

「中國現代版畫展」，聖若望大學，紐約，美國

「聖保羅國際雙年美展」，巴西

「海內外當代版畫展」，國立臺灣博物館，臺北，臺灣

「日本美術展」，東京都美術館，日本

「版畫十七工作室全美迴展」，威斯康辛，美國

1976

「亞細亞美術展」，東京，日本

1975

「世界青年藝術家聯展」，紐約，美國 「第二屆烏拉圭國際雙年展」，烏拉圭 「中國當代版畫展」，臺北、紐約，臺灣、美國

1962

「日本美術展」，東京都美術館，日本

● 獲獎

「中日現代美術展」，國立歷史博物館，臺北，臺灣

2018

國立臺灣師範大學名譽藝術學博士學位

1974

「亞細亞美術展」，東京，日本

2016

第三屆教育部藝術教育終身成就獎

1973

「聖保羅國際雙年美展」，巴西

2010

第二十九屆行政院文化獎

「當代中國藝術家版畫展」，香港

2006

第五屆埃及國際版畫三年展 優選獎

「國際巡迴展－ ISPA」，日本、韓國

1998

中華民國第二屆國家文藝獎 美術類

「挪威國際版畫雙年展」，法城，挪威

1995

第四屆李仲生基金會現代繪畫獎 成就獎

「聖保羅國際版畫展」，巴西

1993

中國版畫版種大展全國第五屆三版展 傑出貢獻獎

「聖保羅國際雙年美展」，巴西

1993

挪威國際版畫三年展 銀牌獎

「西雅圖國際版畫展」，西雅圖，美國

1980 韓國漢城國際小版畫大獎

「紐約惠特尼美術館版畫大展」，紐約，美國

1979

吳三連文藝獎

「瑞士國際版畫三年展」，瑞士

1976

中華民國版畫會 金璽獎

「巴黎國際版畫雙年展」，巴黎，法國

1974

中山學術獎 藝術創作獎

「大阪萬國博覽會世界美術展」，大阪，日本

1973

中華民國十大傑出青年獎

「義大利國際版畫雙年展」，翡冷翠，義大利

1972

紐約州羅却斯特市宗教美術展版畫首獎

1972 1971

1970

「布魯克林美術館版畫雙年展」，紐約，美國

巴西聖保羅國際版畫展 優選獎

「東京國際版畫雙年展」，東京，日本

美國新澤西州藝術委員會版畫藝術創作獎

「英國布拉德福國際版畫雙年展」，英國

1969

「聖保羅國際雙年美展」，巴西 「世界青年藝術家聯展」，紐約，美國

1968

1967 1966

1971 1970

美國波士頓版畫家展優選獎（作品為麻省 DeCordova

Museum 收藏）

東京國際版畫雙年展 佳作獎 紐約奧杜龐藝術家展 版畫首獎

「五月沙龍」，巴黎大皇宮，法國 「巴黎國際版畫雙年展」，法國

1969

紐約普拉特版畫家展 佳作獎

「國際版畫雙年展」，布宜諾斯艾利斯，阿根廷

1968

法國第 3 屆波爾多雙年展 佳作獎

「國際彩色版畫三年展」，瑞士

1966

第 21 屆臺灣省展西畫類第一名

「秋季沙龍」，巴黎大皇宮，法國

1965

法國春季沙龍 銀牌獎

「春季沙龍」，巴黎大皇宮，法國

1964

日本東京 示現會展 首獎

「新現實沙龍」，巴黎大皇宮，法國

1962

入選日本帝展

1959

全省美展西畫類第三名

BIOGRAPHY

130

● 收藏機構

美國紐約大都會博物館

中華民國國立歷史博物館

美國加州艾氏基金會

中華民國國立臺灣藝術教育館

美國賓州阿爾伯瑟美術館

中華民國省立中興 ( 臺中 ) 圖書館

美國俄州辛辛那提美術館

中華民國國立臺灣美術館

美國麻州得考獨華美術館

中華民國臺北市立美術館

美國賓州費城自由圖書館

中華民國高雄市立美術館

美國佛州邁阿密現代美術館

中國北京中國美術館

美國紐約公立圖書館

中國香港藝術館

美國新澤西州紐瓦克市總圖書館

中國江蘇省美術館

阿根廷布宜諾斯艾利斯版畫美術館

中國上海美術館

巴西聖保羅潘氏基金會

中國黑龍江省美術館

以色列海華現代美術館

美國夏威夷火奴魯魯美術學院

中國四川省美術館 中國廣東美術館 日本國立東京近代美術館 日本町田市立國際版畫美術館 韓國漢城國立現代美術館 韓國漢城華克美術館 英國雪飛爾可蘭斯美術館 英國倫敦南倫敦美術館 英國倫敦維多利亞阿爾伯特美術館 英國利物普沃可而美術館 英國倫敦大英帝國博物館 法國巴黎國立圖書館 法國巴黎市立現代美術館 法國哈福文化會館 義大利托里諾國際美學研究中心 比利時布魯塞爾皇家圖書館 比利時布魯塞爾皇家歷史美術館 比利時烈日市立現代美術館 比利時那慕文化會館 西班牙馬德里當代藝術館 奧地利維也納阿爾博蒂那博物館 德國法蘭克福工藝博物館

131

簡歷

1936 Born in Taiwan 1959 Graduated from National Taiwan Normal University, Fine Arts B.A. 1962-64 Continued his studies at Tokyo University of Education, Japan 1965-68 Studied at L'ecole des Beaux-Arts, Paris, France under R. Chastel and at Atelier 17 under S. W. Hayter 1969 Moved to New York City, U.S.A. 1973-76 Returned to Taiwan and taught printmaking at National Taiwan Normal University, Chinese Culture University and National Taiwan Academy of Arts 1977 Invited by Tsukuba University, Japan to set up a printmaking workshop and taught there for two and half years 1979-92 Adjunct professor of Arts at Seton Hall University in New Jersey for 12 years 1988-91 Invited by Zhejiang Academy of Fine Arts and Nanjing Academy of Fine Arts in China as Visiting Professor in the Printmaking Department 1994 Founded the Paris Foundation of Art with Shaih Lifa and Chen Tsing-Fang 2002-08 Moved back to Taiwan and focus on painting and printmaking creations. Teaching printmaking at Taipei National University of Arts, Taiwan University of Arts, and Taiwan Normal University, Department of Continuing Education (Master of Arts Program) 2009 Chair Professor at National Taiwan Normal University and Director of Taiwan Academy of Fine Arts

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SOLO EXHIBITIONS

2019

“Simple Noble: The Artist Careers of Liao Shiou-Ping”, Liang Gallery, Taipei, Taiwan.

“Simple Noble: The Artist Careers of Liao Shiou-Ping”, A Concept Gallery, Hong Kong.

“The Art of Liao Shio-Ping: Cross Region · Diverse approaches”, National Art Gallery, Malaysia.

“Simple Symbols · Noble Aesthetics: Liao Shiou-Ping Paintings 2000-2018”, Longmen Art Projects, Hong Kong.

“Vivid Colors · Vigorous Life: Liao Shiou-Ping, a Mixed Media Retrospective”, National Museum of History, , Taipei, Taiwan, R.O.C. “Masterpiece Room: Liao Shiou-Ping and His artworks”, Kuandu Museum of Fine Arts, Taipei National University of the Arts, Taiwan, R.O.C. “The Art of Symbols - An Art Exhibition of Liao Shiou-Ping”, Taiwan Association Art Center, Yilan, Hualien, Taitung, Taiwan, R.O.C. “Liao Shiou-Ping Solo Exhibition”, Howard Salon, Taipei, Taiwan, R.O.C. “A Symphony of Printmaking and Painting: The Art of Liao ShiouPing”, Kaohsiung Museum of Fine Arts, Taiwan, R.O.C. “Cross-domain Paradigms : The Real and Virtual Imagery of ShiouPing Liao”, The General Association of Chinese Culture (GACC), Taipei, Taiwan, R.O.C. “Interface∙Imprint – Shiou-Ping Liao and the Development of Modern Printmaking in Taiwan”, National Taiwan Museum of Fine Arts, Taiwan, R.O.C. “The Pioneer of Modern Printmaking in Taiwan–Liao Shiou-Ping”, Chelsea Art Museum, New York City, U.S.A. “Liao Shious-Ping Print Exhibition: GATE” Tatung University, ChihSheng Memorial Hall, Taipei, Taiwan, R.O.C. “Searching for the Root of Culture”-Constructing the Centennial History of Taiwanese Art ”A Pioneer of Taiwanese Modern Print”- Selected Works of Liao Shiou-Ping, Taiwan Association Art Center, Taiwan, R.O.C. “Exhibition of Art Works by Liao Shiou Ping”, National Art Museum Of China, Beijing, China “Liao Shiou-Ping Solo Exhibition”, The Shoto Museum of Art, Tokyo, Japan “Symbols of Life –Speechless Pray”, Tainan Municipal Cultural Center, Tainan, Taiwan, R.O.C. “Symbols of Life – Dream Series”, National Dr. Sun Yat-sen Memorial Hall, Taipei, Taiwan, R.O.C. “Symbols of Life – Dream Series”, Taichung County Seaport Art Center, Taichung, Taiwan, R.O.C. “Gate Series and Seasonal Chat Series”, Chinese Culture Center, San Francisco, California, U.S.A. “The Master of Printmaking”, National Museum of History, Taipei,

2018 2016

2015 2014

2013 2012 2011

2010

2009

2008 2007

2001

2000

1999

1998 1997

1994

1993 1992

1991

1990

1989 1988 1986

1985 1984

1983

1982

1981

1980 1979

Taiwan, R.O.C. Marche Bonsecours, Montreal, Canada Hong Kong Arts Centre, Hong Kong, Chin “Significance of gates: art of icons by Liao Shiou-ping” Taipei Fine Arts Museum, Taiwan, R.O.C. Taitung Social Education Center, Taiwan, R.O.C. Art Center of National Center University, Chung-Li, Taiwan, R.O.C. Taipei Art Fair International 1999, Taiwan, R.O.C. Cite internationale des Arts, Paris, France Vivant Gallery, Tokyo, Japan Sigma Gallery, Soho, New York City, U.S.A. Howard Salon, Art Galleries Fair, Taipei, Taiwan, R.O.C. G. Zen Art Gallery, Kaohsiung, Taiwan, R.O.C. Shanghai Art Museum, Shanghai, China Museum of Modern Art, Liege, Belgium Taiwan Museum of Art, Taichung, Taiwan, R.O.C. Judy’s Art Collection, Taichung, Taiwan, R.O.C. Striped House Museum of Art, Tokyo, Japan Jiangsu Provincial Arts Museum, Nanjing, China Gallery 456, Soho, New York City, U.S.A. Sigma Gallery, Soho, New York City, U.S.A. Tainan Municipal Cultural Center, Taiwan, R.O.C. Taipei Fine Arts Museum, Taipei, Taiwan, R.O.C. Yuna Gallery, Seoul, Korea Gallery International, Washington D.C., U.S.A. Newark Public Library, Newark, New Jersey, U.S.A. Ku Kwa Gallery, Tenafly, New Jersey, U.S.A. J.C.C. Culture Center, Tenafly, New Jersey, U.S.A. Matsuya Gallery, Tokyo, Japan Abe Gallery, Fort Lee, New Jersey, U.S.A. Oberschlesisches Landesmuseum, Ratingen, Germany Avante Guard Art Center, Taichung, Taiwan, R.O.C. Kaohsiung Culture Center, Taiwan, R.O.C. Printmakers Art Gallery, Taipei, Taiwan, R.O.C. National Art Gallery, National Museum of History, Taipei, Taiwan, R.O.C. Shinno Gallery, Los Angeles, California, U.S.A. Walnut Gallery, Philadelphia, U.S.A. The New School, New York City, U.S.A. Gallery “80”, Toronto, Canada Shirota Gallery, Tokyo, Japan Tahmam Collection Gallery, Tokyo, Japan Lung Men Art Gallery, Taipei, Taiwan, R.O.C.

BIOGRAPHY

132

1978

1977

1976 1975

1974

1973

1972

1971 1970

1969

1968

1967

1966 1965 1964

133

簡歷

Yuna Gallery, Seoul, Korea Miyazaki Gallery, Osaka, Japan Beni Gallery, Kyoto, Japan Dasmen College Art Gallery, Amherst, New York, U.S.A. Seton Hall Univ. Art Center, South Orange, New Jersey, U.S.A. Art Gallery of Washington and Lee Univ., Lexington, Virginia, U.S.A. Clark Gallery, Sapporo, Japan Taiwan Provincial Museum, Taipei, Taiwan, R.O.C. Suzuki Gallery, New York City, U.S.A. Art Center of Northern New Jersey, Tenafly, N.J., U.S.A. Dept. of Extramural Studies, Chinese University, Hong Kong, China Petit Forum Gallery, Tokyo, Japan Osma Gallery, Madrid, Spain Walnut Gallery, Philadelphia, Pennsylvania, U.S.A. California Palace of Legion of Honor, San Francisco, U.S.A. Morrison Art Gallery, Taipei, Taiwan, R.O.C. Art Asia Gallery, Boston, Massachusetts, U.S.A. National Art Gallery, National Museum of History, Taipei, Taiwan, R.O.C. Lorenz Gallery, Bethesda, Maryland, U.S.A. The Taft Museum, Cincinnati, Ohio, U.S.A. Sally Jackson Gallery, Hong Kong, China Asuka Gallery, Tokyo, Japan Yu Fong Gallery, San Francisco, California, U.S.A. Zaydler Gallery, London, U.K. Crossley Gallery, Melbourne, Australia Galerie de la Chouette, Paris, France Galerie Mimese, Bordeaux, France Maison de la Culture, Namur, Belgium Miami Museum of Modern Art, Miami, Florida, U.S.A. Sally Jackson Gallery, Hong Kong, China Galerie de Jeunes, Paris, France Maison des Beaux-Arts, Paris, France Plastica Galeria de Arte, Buenos Aires, Argentina Galerie TAO, Vienna, Austria Galerie 16, Graz, Austria Taiwan Provincial Museum, Taipei, Taiwan, R.O.C. Mitsui & Co., Pan Am Building, New York City, U.S.A. Zokei Gallery, Tokyo, Japan

● 2018

GROUP EXHIBITIONS

“Resonance · Loop: Art in Post-war Taiwan”, Art Taipei 2018, Taipei, Taiwan, R.O.C.

“The 34th Anniversary of Howard Salon Arts on Paper Exhibition”, Howard Salon, Taipei, Taiwan, R.O.C. “ABSTRACTIONS · SYMBOLS”, Yuan Ru Galler y, Taipei, , Taiwan, R.O.C.

“Contemporary Asisa Printmaking Exhibition in Hsinchu County” Cultural Affairs Bureau of Hsinchu County Government Museum, Taiwan, R.O.C.

“TREASURE: Shiou-Ping Liao & IPC Collection”, NTNU TehArt Gallery, Taipei, Taiwan, R.O.C. 2017-18 “Over the Wandering Sea: Okinawa, Haebaru Choko and world Warll.”, Okinawa Prefectural Museum & Art Museum, Collection Gallery.

2017 “The Exhibition of Porcelain Paintings by 9 Artists”, Howard Salon, Taipei, Taiwan, R.O.C.

“Yingge, Shanghai, New York, Color Porcelain Creation Exhibition”, Tai-Hwa Art Center, New Taipei, Taiwan, R.O.C.

“Taiwan · Spain: Printmaking Exhibition”, AHM Gallery, Taipei , Taiwan, R.O.C.

“The Splendor of 2017, Association of Taiwan Artist Today / Le salon de Jour”, National Dr. Sun Yat-sen Memorial Hall, Taipei, Taiwan, R.O.C.

“Art Made in Taiwan: An Exhibition from the Taiwan Academy of Fine Arts(TAFA)”, National Dr. Sun Yat-sen Memorial Hall, Taipei, Taiwan, R.O.C. 2016 “Mind Printmaking Group Exhibition”, AHM Galler y, Taipei , Taiwan, R.O.C.

Evergreen Modern Graphic Art Exhibition with Liao Shiou-Ping”, Xinzhuang Culture and Arts Center , Taipei, Taiwan, R.O.C.

“Expanding the Scope of Printmaking: a Gifted Venture with Liao Shiou-Ping”, Tainan, Kaohsiung, Pingtung, Taoyuan, Taiwan, R.O.C.

“Art Work Created on Paper: Taiwan, Japan and Korea exchange exhibition of fine arts”, Xinying Cultural Center, Tainan, Taiwan, R.O.C.

“Art Made in Taiwan: An Exhibition from the Taiwan Academy of Fine Arts(TAFA) in Korea, 2016”, The National of Arts of the Republic of Korea, Seoul, Korea 2015-16 “Sans Limites · Sans Frontières: L'echange D'a rt Taiwan-France”, Dr. Sun Yat-sen Memorial Hall, Taipei, Taiwan, R.O.C.; Fontation Taylor, Pairs, France.

2015 “Kinmen Landscape Paintings by 6Artists”, Howard Salon, Taipei, Taiwan, R.O.C.

“2015 Yilan International Invitational Printmaking Exhibition” , Yilan Museum of Art,Taiwan, R.O.C.

2014-15 2014

2013

2012

2011

“The 2nd Exhibition of Ten Outstanding Young Persons’ Artists”, National Dr. Sun Yat-sen Memorial Hall, Taipei, Taiwan, R.O.C. “The Marks of Time: Taiwan1950s Modern Printmaking Series”, Arki Galéria, Taipei, Taiwan, R.O.C. “22th National Printmaking Exhibition” , National Tainan Living Art Center, Tainan, Taiwan, R.O.C. “C’est une Belle Jourée, Le Salon du Jour” ATAT Tour Exhibition in Taiwan “Art Kaohsiung” Liang Gallery, Chateau de Chine Room, Kaohsiung, Taiwan, R.O.C. “Abstract / Symbol / Oriental, Exhibition of Taiwan’s Masters of Modern Art” Liang Gallery, Taipei, Taiwan, R.O.C. “Taiwan Modern Art Exhibition”, The Shoto Museum of Art, Tokyo, Japan.

Art of “Made in Taiwan (MIT), An Exhibition from the Taiwan Academy of Fine Arts, School of Art Gallery, Australian National University, Canberra, Australia.

“Taiwan 50 : Modern Art Exhibition” , ARKI GALÉRIA, Taipei, Taiwan, R.O.C. “Modernity, the Ever-rising New Wave-Taiwan Contemporary Art 2013”, National Dr. Sun Yat-sen Memorial Hall, Taipei, Taiwan, R.O.C. “A Research for Representation of Primitivity”, National Dr. Sun Yatsen Memorial Hall, Taipei, Taiwan, R.O.C. “The Pioneers” of Taiwanese Artists,1931-1940, National Taiwan Museum of Fine Arts, Taiwan, R.O.C. “1st Macau Printmaking Triennial”, Instituto Cultural do Governo da R.A.E. de Macau.

“National Printmaking Exhibition” Taiwan Society of Printmaking, Banqiao, Taiwan, R.O.C. “Prints Tokyo 2012—International Print Exhibition Tokyo 2012” Tokyo Metropolitan Museum, Japan.

“2012 Evergreen Modern Graphic Art Exhibition”, Taitung Art Museum , Taiwan, R.O.C. “Formless Form-Taiwanese Abstract Art”, Taipei Fine Arts Museum, Taiwan, R.O.C. “D i mensi ons of O r i g in —t h e 2n d S h a n g h a i Internati ona l Printmaking Exhibition 2012”, Shanghai Art Museum, China.

“Post-Colonialism & Post-Modernism” 2012 Exhibition of Taiwan Fine Arts Academy, National Dr. Sun Yat-sen Memorial Hall, Taipei, Taiwan, R.O.C. “Unique Vision: Highlights from the National Taiwan Museum of Fine Arts Collection”, National Taiwan Museum of Fine Arts, Taiwan, R.O.C. “Three Modern Art Masters- Chu Wei-Bai, Liao Shiou-Ping, Lee ShiChi”, National Dr. Sun Yat-sen Memorial Hall, Taipei, Taiwan, R.O.C. “Exhibition of contemporary artists in Taiwan”, National Dr. Sun Yatsen Memorial Hall, Taipei, Taiwan, R.O.C. “Creativit y & Communication” Mainland China Traveling Exhibition of the Taiwan Academy of Fine Arts, National Art Museum Of China, Beijing, Guangdong Museum of Art, China

2010

2009

2008-09 2008

2007-08

“SKY—2011 Asia Plate & Print Exhibition”, Kuandu Museum of Fine Arts, Taipei, Taiwan, R.O.C. “Shanghai International Printmaking Exhibition 2010” Shanghai Hongqiao Contemporary Art Museum, Shanghai, China “The Futurity of Contemporar y Print Art—2010 International symposium and Exhibition” National Taiwan Normal University, R.O.C “Taiwan Academy of Fine Arts” , National Dr. Sun Yat-sen Memorial Hall, Taipei, Taiwan, R.O.C. “Continuation” Special Exhibition of Li Chun-shen Modern Painting Award Winners, National Taiwan Museum of Fine Art, Taiwan, R.O.C “A Century of Chinese Paintings World Tour Exhibition” Chan Liu Art Museum, Taiwan, Beijing, Shanghai, Japan, France, U.S.A .

“Beyond Vision—Highlights of Abstract Paintings from Taiwan Museum of Fine Arts Collection ” , National Taiwan Museum of Fine Art, Taiwan, R.O.C “The Art at the beginning of the Century—Cross-Strait Group Exhibition”, National Dr. Sun Yat-sen Memorial Hall, Taipei; Fo Guang Yuan Art Gallery, Kaohsiung, Taiwan, R.O.C. “Exhibition of Taiwan Artists in Paris during the 60s”, National Dr. Sun Yat-sen Memorial Hall, Taipei, Taiwan, R.O.C. “1/2 Century”, Howard Normal Gallery, NTNU, Taipei, Taiwan, R.O.C. “Joint Exhibition of Asian Contemporary Paintings”, Carrie Chang Fine Arts Center of Tamkang University, Taipei, Taiwan, R.O.C. “SPEAK · DESCRIBE—2009 Cross-Strait Contemporary Art”, Taiwan Museum of Fine Art, Taiwan, R.O.C; National Arts Museum Of China, China “Le salon du Jour”, ATAT Tour Exhibition in Tauyuan, Taichung, Hsinchu, Changhua, Taipei, Kaohsiung “2008 Taiwan International Invitational Mini-Prints and MiniDrawings Exhibition”, National Taiwan Normal Universit y Department of Fine Arts, Taipei, Taiwan, R.O.C. “Tradition and Modernity”, Taiwan’s Three Masters of Modern Art, Asian Arts Gallery, Center for the Arts, Towson University, U.S.A. “Images of Taiwan”, An Exhibition of Wu San Lien Art Award Recipients, National Museum of History, Taipei, Taiwan, R.O.C. “High Altitude in Space-time”, Words by Art Graduates of National Taiwan Normal University National Museum of History, Taipei, Taiwan, R.O.C. “BUBBLE TEA: Art of Taiwan and its Contemporary Mutations”, The Moravian Gallery, Brno, Czech Republic “2008 Asia Pacific International Exhibition”, National Dr. Sun Yatsen Memorial Hall, Taipei, Taiwan, R.O.C. “Taiwan Contemporary Printmaking”, KWLF Arts Foundation, Shanghai, Hangzhou, China “Across Europe and Asia: The Arts of Taiwan and Russia”, National Dr. Sun Yat-sen Memorial Hall, Taipei, Taiwan, R.O.C. “ The Glor y of Histor y—A Retrospective of 60 Years’ Taiwan Provincial Exhibition of Fine Art”, National Taiwan Museum of Fine

BIOGRAPHY

134

2007

2006

2005

2004

2003

2001

135

簡歷

Art, Taiwan. , R.O.C. “ The Exhibition of Ten Outstanding Young Persons’ Artists”, National Dr. Sun Yat-sen Memorial Hall, Taipei, Taiwan, R.O.C. “ Taiwan Art Circle Essence”, The 9th Exhibition Examine Committee Member Joint Display Collections, National Dr. Sun Yat-sen Memorial Hall, Taipei, Taiwan, R.O.C. “The International Invitational Exhibition of Contemporary Prints”, Tainan National University of the Arts, Taiwan, R.O.C. “2007 The Art at The Beginning of Century-Cross-Strait Paintings Joint Exhibition”, Beijing “The 60 years of Taiwan Art”, National Taiwan Democracy Memorial Hall, Taipei, Taiwan, R.O.C. “The Spectrum of Taiwan Art”, National Dr. Sun Yat-sen Memorial Hall, Taipei, Taiwan, R.O.C. “Sprouted Seeds of Taiwanese Art”, National Taiwan Museum of Arts, Taiwan, R.O.C. “Art Blooms in Spring”, Taiwan/Nihon University College of Art, Taipei, Taiwan, R.O.C. “5th Egyptian International Print Triennial”, Egypt “Wind from the South –The Contemporary Art of Taiwan” Mitsuo Aida Musem, Tokyo, Japan “Le Salon 2006-Art Capital”, Grand Palace, Paris, France “Prints on the Plate’- Master’s Contemporary Prints from Korea, Taiwan & Japan”, Milal Museum of Art, Seoul, Korea “The First Taipei Modern Ink Exhibition”, National Dr. Sun Yat-Sen Memorial Hall, Taiwan, R.O.C. “2005 International Print Festival”, Busan City Hall Gallery, Busan, Korea “2005 National Famous Printmakers Invitation Exhibition, National Dr. Sun Yat-sen Memorial Hall, Taiwan, R.O.C. “The New Drawing Exhibition”, New Taipei Art Association, Taipei, Taiwan, R.O.C. " Drawing 04: The 20th Anniversary Special Exhibition”, Howard Salon, Taipei, Taiwan, R.O.C. Angel Art Gallery, Taipei, Taiwan, R.O.C. “Place/Displace: Three Generations of Taiwanese Art”, Allen R. Hite Art Institute; University of Louisville, Kentucky, U.S.A.; Richmond Art Galler y, Canada; National Taiwan Museum of Fine Arts, Taichung, Taiwan, R.O.C. “International Symposium of Print Art (ISPA)”, Tokyo Art University and Machida City Museum of Graphic Art, Tokyo, Japan “The Print Exhibition of Taiwan Professors”, Bumpodo Gallery, Tokyo, Japan “New Millennium Printmaking Show”, National Taiwan Arts Education Institute, Taiwan, R.O.C. “Trilogy of Spiritual Healing---Praise of Life: An Exhibition of One Hundred People”, Taipei Fine Arts Museum, Taiwan, R.O.C. “Wave Striking: One Hundred years of Taiwanese Arts”, National

2000

1999

1998

1997

1996 1995 1994

1993

1992

1991

1989 1988

1987

Taiwan Museum of Arts, Taichung, Taiwan, R.O.C. “The Origin, Interaction and Declaration of Taipei Modern Arts”, Shanghai Art Museum, Shanghai, China “Images of Circle and Square in Contemporary Taiwanese Art”, Taipei Gallery, New York, U.S.A.; Taiwan Museum of Art, Taichung, Taiwan, R.O.C. “Y2K International Exhibition and Symposium of Print”, ChungCheng Gallery, Taipei, Taiwan; Kanagawa Citizen’s Hall Gallery, Japan “International Print Triennial Cracow Poland”, Poland “The Spirit of Taiwan: Dialogue between Modernism and Cultural Heritage”, Taipei Gallery, New York City, U.S.A. “Millennium Graphic”, 2000 International Print Exhibition, Yokohama, Japan “6+6=Prints”, Gallery 456, New York City, U.S.A. “Japan-Taiwan Contemporary Print Show”, Meguro Museum of Fine Arts, Tokyo, Japan “ Trois Peintres Mousquetaires au contact de l’Europe”, Taipei Fine Arts Museum, Taipei, Taiwan; Centre Culturel & d’Information de Taipei a Paris, France “The Exhibition of Winners of National Literature and Art Lifetime Achievement Award”, Taiwan, R.O.C. “Taiwan & Canada Exchange Exhibition, Taipei County Cultural Center, Taiwan; Montreal, Canada Sigma Gallery, Soho, New York City, U.S.A. “Taipei Biennial”, Taipei Fine Arts Museum, Taiwan, R.O.C. “Chinese Artists in the United States”, Exchange Square, Hong Kong, China “Retrospective Exhibition of Painting Development in Taiwan”, Kaohsiung Museum of Fine Arts, Taiwan, R.O.C. “Exposition de Peinture Contemporaine Chinoise”, Musee d’etat de Belarus “A Spiren” Centre Culturel, Luxemburg, Belgium Norwegian International Print Triennial, Norway “Taiwan Graphics from 1960’s”, Taipei Fine Arts Museum, Taiwan, R.O.C. S.A.G.A Print Show, Portland Art Museum, Oregon, U.S.A. “ Vision in Bet ween” Asian Artist in Travel Show-New York, Hiroshima, Seoul, Taipei, Taichung, Kaohsiung Taipei-Beijing Contemporary Prints Exhibition, Beijing, China “Taipei-New York” confrontation of Modernism, Taipei Fine Arts Museum, Taiwan, R.O.C. “Norwegian International Print Triennial”, Norway “The Contemporary Art Exhibition”, Rosicrucian Egyptian Museum, California, U.S.A. “Modern Print in China”, Machida City Museum of Graphic Arts, Japan “ Five Chinese Artists Show “, Morging One Gallery, Santa Monica, California, U.S.A. “Modern Art In Taipei”, Howard Salon, Taipei, Taiwan, R.O.C.

1986-88 “Salon d’Automne”, Paris, France 1986 “Drawing 86”- Hong Kong and New York Chinese Artists Presented at the Hong Kong Institute for Promotion of Chinese Culture, Hong Kong, China

“Contemporary Japanese Prints”, British Museum, London, U.K. 1985 “Contemporary Prints Exhibition”, Taipei Fine Arts Museum, Taipei, Taiwan, R.O.C.

“Works on Paper, from New York Chinese Artists”, Howard Salon, Taipei, Taiwan, R.O.C. 1983 “Overseas Chinese Artists Exhibition”, Taipei Fine Arts Museum, Taipei, Taiwan, R.O.C.

“Printmaker from Taiwan”, Galerie Vivante, Tokyo, Japan 1983-87 “International Biennial Print Exhibition”, Taipei, Taiwan, R.O.C. 1982 “Atelier Nord 20th Anniversary Print Show”, Oslo, Norway 1981 “Artist 1981 International Art Exhibition”, New York City, U.S.A.

Five from the Orient-Bergen County Museum, New Jersey, U.S.A. 1980 “Norwegian International Print Biennial”, Fredrikstad, Norway lst International, Norway 1979 “The Dragon and the Chrysanthemum Summit”, Art Center, New Jersey, U.S.A. 1978-88 “Contemporary Japanese Prints (CWAJ)”, Tokyo, Japan 1978 “Modern Chinese and Korean Print Exhibition”, Taipei, Seoul 1977 “Chinese Modern Graphic Arts Exhibition”, St. John's University, New York City, U.S.A

“Contemporary Print Exhibition by International Artists”, Taiwan Provincial Museum, Taipei, Taiwan, R.O.C.

“Atelier 17 Travel Show in U.S.A.”, University of Wisconsin, U.S.A. 1976 “Asian Art Exhibition”, Tokyo, Japan 1975 “Young Artists from Around the World”, New York City, U.S.A.

“2nd Biennal de Pintura Internaciona de la Republica”, Uruguay

“Chinese Modern Graphic Arts”, National Museum of Histor y, Taipei, Taiwan, R.O.C.; New York City, U.S.A.

“Chinese- Japanese Fine Arts Exhibition”, National Museum of History, Taipei, Taiwan, R.O.C. 1974 “Asian Art Exhibition”, Tokyo, Japan 1973 “Bienal de São Paulo”, Sao Paulo, Brazil

“Contemporary Prints by Chinese Artists”, Hong Kong Museum of Art, Hong Kong, China.

“ISPA International Traveling Exhibition”, Japan, Korea 1972 “Norwegian International Print Biennial”, Fredrikstad, Norway

“Brazil International Print Exhibition”, Sao Paulo, Brazil 1971 “Bienal de São Paulo”, Sao Paulo, Brazil

“International Print Exhibition”, Seattle, U.S.A.

“Whitney Art Museum Print Show”, New York City, U.S.A.

1970

1969

1968

1967

1966

1965 1963

1962

“International Triennial of Colored Graphic Prints”, Grenchen, Switzerland “Biennale International de 1'Estampe”, Paris, France “World Fine Arts Exhibition”, Expo'70 Osaka, Japan “International Print Biennial”, Firenze, Italy “National Print Exhibition”, Brooklyn Museum, New York City, U.S.A. “International Print Biennial”, Tokyo, Japan “British International Print Biennial”, Bradford, U.K. “Bienal de São Paulo”, Sao Paulo, Brazil “Young Artists from Around the World”, New York City, U.S.A. “Salon de Mai”, Paris, France “Biennale International de 1'Estampe”, Paris, France “International Print Biennial”, Buenos Aires, Argentina “International Triennial of Colored Graphic Prints”, Grenchen, Switzerland “Salon d'Automne”, Paris, France “Salon des Artistes Français”, Paris, France “Salon des Realites Nouvelles”, Paris, France “Salon des Artistes Français”, Paris, France “Exhibition of Japanese Print Association”, The Metropolitan Museum of Art, Tokyo, Japan “Bienal de São Paulo”, Brazil “Japan Fine Arts Exhibition”, The Metropolitan Museum of Art, Tokyo, Japan “Japan Fine Arts Exhibition”, The Metropolitan Museum of Art, Tokyo, Japan

●

AWARDS (SELECTED)

2018

Honorary Degree of Doctor of Philosophy in Fine Arts, Awarded by National Taiwan Normal University.

Honorar y Academy Award, 3rd Arts Education Contribution Award, Taiwan, R.O.C. The 29th National Cultural Award, Taiwan, R.O.C. Honorary prize of the 5th Egyptian International Print Triennial Exhibition, Egypt National Award for Arts, Taiwan, R.O.C. The 4th Li Chun-Shen Modern Painting Award, Taiwan, R.O.C Outstanding Contribution Award, The 5th China Exhibition of 3 kind Print, Xi'an, China.

Silver Medal, Norwegian International Print Triennial, Norway.

Grand Prize of 1st International Miniature Print Exhibition, Seoul, Korea.

2016

2010 2006

1998 1995 1993

1980

BIOGRAPHY

136

1979 1976 1972

1971

1970

1969 1966

1965 1962 1959

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Wu San Lien Creative Arts Award, Taiwan, R.O.C. The Best Printmaker Award, Chinese Graphic Society, Taiwan, R.O.C. Graphic Art Mini Grant of New Jersey State Council in the Arts, U.S.A. Purchase Prize, International Print Exhibition, San Paulo, Brazil.

First Graphic Award, Rochester Festival of Religious Arts, New York, U.S.A. De Cordova Museum Purcha se Prize, Boston Printmaker's Exhibition, Boston, U.S.A. Honorable Mention, 7th International Print Biennial, Tokyo, Japan.

First Prize, 28th Annual Audobon Artist's Exhibition, New York, U.S.A. Honorable Mention, Pratt Print Exhibition, New York, U.S.A. First Prize, Taiwan Provincial Fine Art Exhibition (Western Painting), Taiwan, R.O.C. Silver Medal, Salon des Artistes Français, Paris, France Honorable Mention, Tokyo Empire Fine Art School Exhibition, Japan Third Prize, Taiwan Provincial Fine Art Exhibition (Western Painting), Taiwan, R.O.C.

COLLECTIONS

National Museum of History, Taipei, Taiwan, R.O.C. National Taiwan Arts Education Center, Taipei, Taiwan, R.O.C. Taiwan Provincial Taichung Library, Taichung, Taiwan, R.O.C. (National Taichung Library, Taichung, Taiwan) National Taiwan Museum of Fine Arts, Taichung, Taiwan, R.O.C. Taipei Fine Arts Museum, Taipei, Taiwan, R.O.C. Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan, R.O.C. National Art Museum Of China, Beijing, China Hong Kong Museum of Art, Hong Kong, China Jiangsu Provincial Arts Museum, Nanjing, China Shanghai Art Museum, Shanghai, China Heilongjiang Provincial Museum of Fine Arts, Heilongjiang, China Sichuan Provincial Museum of Fine Arts, Sichuan, China Guangdong Museum of Art, China National Museum of Modern Art, Tokyo, Japan Machida City Museum of Graphic Arts, Machida, Japan National Museum of Contemporary Art, Seoul, Korea Walker Hill Art Center, Seoul, Korea Graves Art Gallery, Sheffield, U.K.

137

簡歷

South London Gallery, London, U.K. Victoria & Albert Museum, London, U.K. British Museum, London, U.K. Walker Art Gallery, Liverpool, U.K. Bibliothèque Nationale de France, Paris, France Musée d’Art Moderne de la Ville de Paris, France Maison de la Culture, Havre, France International Center of Aesthetic Research, Torino, Italy Bibliotheque Royale de Belgique, Brussels, Belgium Musée d’Art moderne, Liege, Belgium Maison de la Culture, Namur, Belgium Museo Espanol de 1'Arte Contemporano, Madrid, Spain Museo de Arte Contemporáneo, Madrid, Spain Albertina Museum, Vienna, Austria Museum für Kunsthandwerk, Frankfurt, Germany The Metropolitan Museum of Art, New York City, U.S.A. Honolulu Academy of Arts, Honolulu, Hawaii, U.S.A. Achenbach Foundation, San Francisco, U.S.A. Alverthorpe Gallery (Rosenwald Collection), Jenkintown, Penn, U.S.A. Cincinnati Art Museum, Cincinnati, Ohio, U.S.A. De Cordova Museum, Lincoln, Mass, U.S.A. The Free Library, Philadelphia, Penn., U.S.A. Miami Museum of Modern Art, Miami, FI., U.S.A. The Public Library, New York City, U.S.A. Portland Art Museum, Oregon, U.S.A. Newark Public Library, New Jersey, U.S.A. Museo del Grabado, Beunos Aires, Argentina Foundation Alvares Penteada, Sao Paulo, Brazil Haifa Museum of Art, Haifa, Israel

C ATA L O G

BIOGRAPHY

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139

圖錄

PAGE. 21

PAGE. 23

作品 A

祭神

祈壽

WORK A

WORSHIP

PRAYING

油彩、畫布

Oil on canvas 118×90 cm ｜ 1962

油彩、畫布 Oil on canvas 128×87 cm ｜ 1963

油彩、畫布 Oil on canvas 130×89 cm ｜ 1966

PAGE. 24

PAGE. 25

PAGE. 27

春

夏

平安門

SPRING

SUMMER

GATE OF PEACE

蝕刻金屬版 Etching, aquatint 43×43 cm ｜ 1968

蝕刻金屬版 Etching, aquatint 43×43 cm ｜ 1968

油彩、金箔、畫布 Oil, gold leaf on canvas 150×121 cm ｜ 1969

PAGE. 28

PAGE. 29

PAGE. 30

東方節

節日

夜

ORIENTAL FESTIVAL

FESTIVAL

NIGHT

蝕刻金屬版 Etching, aquatint 60×54 cm ｜ 1970

油彩、金箔、畫布 Oil, gold leaf on canvas 156×128 cm ｜ 1972

壓克力、木板浮雕 Acrylic on wood 122×122 cm ｜ 1973

PAGE. 31

PAGE. 33

PAGE. 35

晝

生活（一）

節日之門（二）

DAY

LIFE I

GATE OF FESTIVITY II

壓克力、木板浮雕 Acrylic on wood 122×122 cm ｜ 1973

壓克力、木板浮雕 Acrylic on wood 122×122 cm ｜ 1974

壓克力、金箔、木板浮雕 Acrylic, gold leaf on wood 122×152 cm ｜ 1974 (1980 金箔 )

PAGE. 37

PAGE. 38

PAGE. 39

東方之門

靜物

歲暮憶往

GATE OF ORIENTAL

STILL LIFE

REMINISCENCE

壓克力、金箔、木板浮雕 Acrylic, gold leaf on wood 120×90 cm ｜ 1974-1980 (2017 重修 )

絲網版 Silkscreen 77×51 cm ｜ 1976

美柔汀、紙凹版 Mezzotint, collagraph 61×45 cm ｜ 1982

PAGE. 40

PAGE. 41

PAGE. 43

庭園（二）

一盞茶時

石園（二）

GARDEN II

A CUP OF TEA

ROCK GARDEN II

絲網版、紙凹版 Silkscreen, collagraph 40×60 cm ｜ 1983

絲網版、紙凹版 Silkscreen, collagraph 33×46 cm ｜ 1984

絲網版、紙凹版 Silkscreen, collagraph 36×48 cm ｜ 1985

CATALOG

140

PAGE. 45

141

圖錄

PAGE. 47

PAGE. 48

木頭人＃ 84-10

木頭人＃ 86-18：穿景

木頭人＃ 86-2

MANIKIN # 84-10

MANIKIN # 86-18: LOOKING-THOURGH

MANIKIN # 86-2

油彩、金箔 Oil, gold leaf on canvas 127.5×167.5 cm ｜ 1985

油彩、金箔

Oil, gold leaf on canvas 130×163 cm ｜ 1986

絲網版 Silkscreen 45×63 cm ｜ 1986

PAGE. 49

PAGE. 51

PAGE. 52

木頭人＃ 85-2

園中雅聚＃ 9

四季之敘（一）

MANIKIN # 85-2

GARDEN PARTY # 9

SEASONAL CHAT I

絲網版 Silkscreen 43×63 cm ｜ 1985

絲網版、紙凹版、金屬蝕刻 Silkscreen, collagraph, etching 54×81 cm ｜ 1992

絲網版、紙凹版 Silkscreen, collagraph 60×85 cm ｜ 1995

PAGE. 53

PAGE. 55

PAGE. 56

四季之敘（三）

雅集＃ 96- Ⅲ

四季一二三四

SEASONAL CHAT III

GATHERING # 96-III

FOUR SEASONS I II III IV

絲網版、紙凹版 Silkscreen, collagraph 40.5×60 cm ｜ 1995

油彩、金箔、畫布 Oil, gold leaf on canvas 46×122 cm ｜ 1996

絲網版 Silkscreen 91×116 cm ｜ 1997

PAGE. 57

PAGE. 59

PAGE. 61

迎春

四季之敘 #98-7

默象（十二）

WELCOMING SPRING

SEASONAL CHAT # 98-7

SILENT IMAGE XII

絲網版、紙凹版 Silkscreen, collagraph 60×43 cm ｜ 1998

油彩、混合媒材 Oil, mixed media on canvas 75×102 cm ｜ 1998

木版畫 Woodcut 80×60 cm ｜ 1999

PAGE. 62

PAGE. 63

PAGE. 65

結（十六）

結（六）

結（一）

KNOT XVI

KNOT VI

KNOT I

木版畫 Woodcut 60×80 cm ｜ 1999

木版畫 Woodcut 45×60 cm ｜ 1999

油彩、畫布 Oil on canvas 163×203 cm ｜ 2000

PAGE. 67

PAGE. 69

PAGE. 70

默象（五）

喜慶

今夕何夕

SILENT IMAGE V

CELEBRATION

TIMELESS

油彩、畫布 Oil on canvas 163×203 cm ｜ 2000

油彩、金箔、畫布 Oil, gold leaf on canvas 122×102 cm ｜ 2002

絲網版、紙凹版 Silkscreen, collagraph 106×75 cm ｜ 2007

CATALOG

142

143

圖錄

PAGE. 71

PAGE. 72

PAGE. 74

雙福一二三

四 季 之 門（一）（二）（三）（四）

迎福門 一

DOUBLE WEALTH I II III

GATE OF FOUR SEASONS I II III IV

GATE OF PROSPERITY I

絲網版 Silkscreen 87×150 cm ｜ 2008

壓克力、金箔、畫布

Acrylic, gold leaf on canvas 162×520 cm ｜ 2008

壓克力、金箔、畫布 Acrylic, gold leaf on canvas 162×422 cm ｜ 2010

PAGE. 76

PAGE. 78

PAGE. 80

迎福門 二

新希望之門

新富臨門（一）

GATE OF PROSPERITY II

GATE OF NEW HOPE

NEW GATE OF WEALTH I

壓克力、金箔、畫布 Acrylic, gold leaf on canvas 162×552 cm ｜ 2010

壓克力、金箔、畫布 Acrylic, gold leaf on canvas 130×238 cm ｜ 2013

壓克力、金箔、畫布 Acrylic, gold leaf on canvas 227×424 cm ｜ 2013

PAGE. 83

PAGE. 85

PAGE. 87

富 臨 門 （一）（二）（三）

節慶之柱（六）

節慶之柱（七）

GATE OF WEALTH I II III

COLUMN OF FESTIVITY VI

COLUMN OF FESTIVITY VII

絲網版 Silkscreen 87×201 cm ｜ 2013

不鏽鋼 Stainless steel 110×50×50 cm ｜ 2015

不鏽鋼 Stainless steel 110×50×50 cm ｜ 2015

PAGE. 89

PAGE. 90

PAGE. 92

節日之門

新富臨門（四）

富臨門（十二）

GATE OF FESTIVITY

NEW GATE OF WEALTH IV

GATE OF WEALTH XII

絲網版 Silkscreen 50.5×75 cm ｜ 2015

壓克力、金箔、畫布 Acrylic, gold leaf on canvas 162×364 cm ｜ 2017

壓克力、金箔、畫布 Acrylic, gold leaf on canvas 100×190 cm ｜ 2017

PAGE. 94

PAGE. 97

迎福門（五）

人生四季（三）

GATE OF PROSPERITY V

LIFE'S SEASONS III

壓克力、金箔、畫布 Acrylic, gold leaf on canvas 120×280 cm ｜ 2019

壓克力、金箔、畫布 Acrylic, gold leaf on canvas 53×92 cm ｜ 2019

CATALOG

144

展場執行 Display Executive

Editor Assistants

編務協力

策劃編輯 Editor

出版者 Publisher

總經理 Director

Executive Director

余彥慶、梁孟彰、盧樂道 Arthur YU, Mang-Chang LIANG, Le-Dao LU

Ai-Cing, JHANG, Alison LEE, Zoe WANG

張愛青、李玉珊、王淳容

林柔安 Roni LIN

尊彩國際藝術有限公司 Liang Gallery Co., Ltd.

陳菁螢 Claudia CHEN

YU Yen-Liang

余彥良

ISBN

Publishing Date

出 版

Printing

印 刷

Designer

設 計

展場燈光 Lighting

Translation

翻 譯

978-986-97200-2-1

First Edition, September, 2019

二零一九年九月初版

Jih-Tung Art Printing Co., Ltd.

日動藝術印刷有限公司

LIU Ming-Wei

劉銘維

何仲昌 HO Chung-Chang

AERTIE Translation

譯藝有限公司

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