劉國松版畫集 by Tony Yeh

蕭耀攝 Photography by York Hsiao

目錄序登峰造極新科技再現傳奇蕭耀 6 劉國松與現代水墨畫李鑄晉 10 一個東西南北人薛永年 18 抽象水墨新氣象劉國松藝術微噴限量發行陸潔民 20 早期系列 22 抽象狂草系列 38 太空系列 74 水拓系列 144 漬墨系列 170 西藏組曲系列 196 四序山水圖卷 236 年表 242

Contents Preface Reaching for the Top Amazing New Technology Creates Another Legend York Hsiao 8 Liou Guosong and Modern Cinese Ink Painting Chu-Tsing Li 16 A Man of East, West, South and North Yong-Nian Xue 21 The New Trend in Abstract Ink Painting The Limited Giclee Edition of Master Liu Guo Songâ&#x20AC;&#x2122;s Paintings Jimmy Lu 23 Earily Series 22 Calligraphic Abstraction Series 38 Space Series 74 Water Rubbing Series 144 Steeped Ink Series 170 Tibetan Suite Series 196 Landscapes of Four Seasons Scroll 236 Chronology 242

序登峰造極新科技再現傳奇 21世紀的文藝復興─談劉國松的藝術微噴當代水墨之父—劉國松老師是藝壇的革命家，拋開中國傳統水墨框架，獨創紙筋法、裱貼法、轉印法、噴霧法、水拓法與漬墨法…等新表現形式，在水墨畫中獨豎一格。誠如台灣師範大學，藝術史研究所曾肅良教授所言：『從 1970年代以來，劉國松努力實踐新的實驗，一方面做大力的破壞，一方面卻做著各種嘗試，企圖重建新的繪畫風格。目的不就是要在傳統的筆墨和材料之中，另外尋找新的表現天地。否則仍舊逃脫不了傳統的限制，而除了材料的更新之外，首要解決的就是掌握新技法的成熟度，也就代表新風格的成形。可謂是全方位而多元的探索。他曾以所崇拜的葛斯托拉（Pierre Gaustalla, 1891—1968）的主張：「藝術永遠的努力，是由技巧的研究，以藝術效果為目的地企圖種種實際的配合。在判斷作品的時候，也是從技巧著手的。」做為例子，而堅決地相信：「不能了解真正技巧的人，就不能把握住真正藝術的本質』。如今劉國松老師的作品在近期藝術市場上屢創高價，兩岸三地及歐美皆有廣大的收藏人口，當前可說是一畫難求。面對此境況，劉國松老師意識到「原創作」無法大量滿足藏家。數量、價格都是考量原因。因此嚴選最頂級的團隊、設備及材料，從事藝術微噴工程。決定與首都藝術中心合作，以滿足廣大收藏家之需求。新科技的發展讓劉國松老師的版畫藝術趨近完美。其獨創的「國松紙」、抽筋剝皮皴法所創

作出來的肌理，非過去傳統版畫技術能呈現。本人特地為劉老師引介EPSON高階技術，其開發的TFP（Thin Film Piezo超薄壓電薄膜）影印頭，每種顏色有360個微細噴嘴，可精準地再現劉國松老師原作的細緻肌理。在墨水方面更使用相應的EPSON獨創“Ultrachrome HDR”墨水，其色域範圍最廣、灰色平衡穩定性高，更易控制色彩圖像，故能最真實地呈現原作的色彩。在介質的選擇上，首都精選法國原廠Canson無酸純棉紙，抗光性強可保存近百年。超凡的創作，以尖端的新科技工法詮釋，經藝術家親筆簽名、認證，打造出精彩絕倫的限量藝術品。藝術微噴（Giclée）是將原作透過專業高階的掃描技術，而製成的數位檔案。經過專家嚴格的色彩管理，並以EPSON大幅面高解析噴墨技術，運用其公司研發的“Ultrachrome HDR” 墨水，搭配專業介質輸出的作品，所製成的色彩、品質、持久完美合一，達到藝術品收藏的極致要求。 2003年EPSON與故宮合作，為中國傳統文物進行數位印刷處理時，本人對此項技術發展抱持高度關注。在參訪過巴黎國際當代藝術及瑞士巴塞爾藝術博覽會等國際性展覽後，我觀察到藝術微噴作品已經蔚為風潮。因此自2005 年開始與藝術家及EPSON團隊著手藝術微噴製作工程。石版版畫在首都發行後有口皆碑。現今再度打破傳統版畫市場形式，將歐美發展成熟的數位藝術市場引進台灣，運用尖端科技完美呈現當代藝術家的作品。

藝術微噴製作過程繁雜嚴謹。除了力求呈現原作色彩管理技術外，更要表現原作的精神和特質。色彩管理人員必須擁有「色彩掌握度」、「藝術家研究」以及「原創作內涵分析」等專業能力。首都藝術中心團隊，不斷與專業製作工程師討論，並與創作者共同監督各項製作流程。製作過程可大致分成：前置作業、掃瞄、分色、藝術家參與修正色彩、打樣、正式輸出、藝術家簽名認證等，七個步驟。前置作業：「前置作業」可確保準備數位化的原作清單正確，及作品本身狀況完整、安全。首都列出預先掃描的作品清單進行投保，防止偷竊、搬運、意外與過程受到損傷。將準備掃描的原作送至掃描廠，經專業人員仔細檢查所有原作，並確實登錄原作狀況。爾後核對作品數位化清單，作為日後歸還的憑證。掃瞄：接著進行原作數位化工程。作品經過掃瞄目的在於建立原作數位檔案，作為日後輸出作業的基礎影像。依據不同材質的原作，應該搭配不同款式的掃描器1。但考量劉國松老師水墨作品大幅、畫面肌理細緻、墨韻變化多端等特性，首都選用德國博物館級CRUSE的移動式平台掃瞄機。CRUSE掃描機結合數位相機和掃瞄機功能，它使用公司專利的Synchron light擅長處理線條筆觸細而密集的技法與墨韻相似的畫面。

此技法更能將劉國松老師「抽筋剝皮」肌理的立體感完美呈現。

至達到藝術家所要求，藉以完成精準的色彩管理。

CRUSE平台掃瞄機使用RGB三線型感光耦合元件（CCD）2，配合穩定、均勻、的光源，能產生出更準確的色彩描述檔（ICC Profile）3。原作經掃瞄後，將產生色彩描述檔，此檔案將交由專業人員，進行分色、打樣。

正式輸出：將確認好的打樣色彩描述檔輸入EPSON高階噴墨式列印機搭配頂級“Ultrachrome HDR”墨水，並以法國原廠Canson專業純棉無酸紙作為介質，輸出列印，藝術微噴大致完成。

分色：分色的目的是將原作數位檔案色彩描述檔進行色彩管理校正。專業人員取得掃瞄的ICC Profile 後，首先將進行螢幕校正。利用螢幕透過分光光譜儀器等電子儀器，作為色彩輔助校正工具進行校色。

關於紙張的部分，首都選擇使用法國老牌Canson Infinity 的Arches Velin Museum Rag和 BFK Rives 兩種高級無酸紙。紙張通過領先全球的噴墨耐久測試實驗室Wilhelm Imaging Research 的五大測試：光照退色測試、暗室保存測試、環境有害物質測試、高濕度環境測試和耐水性測試。以最高品質保證的紙張作為介質，製出藝術微噴。

打樣：由於螢幕顏色屬於RGB三光原色模式，而藝術微噴墨水的顏色則是吸收光線的CMYK模式。因此印出來的成品色彩會和螢幕上看到的有所差距，需要實際印出樣本以校正差距，打樣就是為了此一目的。將螢幕校色後的ICC Profile與列印軟體的ICC Profile比對確認後，以專業噴墨印表機，列印出高解析度紙張小樣作品。接著，將印出的小樣與原作進行比對。與原作有色彩不同之處，須再重複經電腦修正色彩。列印小樣重新比對，經過反覆修色與列印。直到色彩與原作達一致時，此步驟才算完成。藝術家參與修色：此過程最為重要，邀請藝術家參與修正色彩，

藝術家簽名、認證：最關鍵的製作環節，就是劉國松老師親自簽名、認證。藝術微噴輸出的成品，必須經由藝術家親自審核。藝術家認可作品之後，會在作品右下角空白處簽名。並於左下角空白處，以分數的方式簽上該件作品的編號以及版畫發行的數量；中間空白處則標註製作的年份。

藏家的收藏權益。個人可以利用專屬的氣泡編碼，在網上為收藏品作認證。可說是藏家最完善的安全措施與保障。首都邁向30年。而立之年獲當代水墨大師劉國松老師的青睞，與其合作限量發行「劉國松藝術微噴」，深感極致榮幸。我們提倡的《第五種版畫》，目的是為了讓藝術普及。這種憑藉最高階技術以精細講究的素材，限量製作的成品可媲美原作。除完整呈現大師創作風采外，更與藝術家不斷革新創作的精神並存。劉國松老師親自落款的無形價值，值得保存與傳承。 1掃描器是利用不同顏色對光的反射能力，然後再經由感光元件吸收反射光之後，轉換成電腦所能判別的0與1數位資料，透過掃瞄軟體的運算組合之後，轉換成使用者所見的影像檔。 2一種積體電路，佈滿整齊電容，每一小電容能夠感應光線，將影像訊息轉變成數字訊號。 3國際色彩聯盟（International Color Consortium）訂出一個設備描述檔的標準格式，稱為ICC Profile。這個標準將各種輸入設備如數位相機、掃描器、顯示螢幕設備、印表機等，經過一定的標準校正程序後，產生色彩描述檔，使不同設備以色彩描述檔為基礎，進行不同的色彩空間轉換模式，以做到色彩還原，達到色彩管理的目的。

為了保障收藏家權益，及藝術家與首都的信譽。首都藝術中心，特地與法國Art Trust認證公司合作。特地製作了新型無法偽造，不可重複使用的氣泡編碼。為杜絕仿冒，本藝術中心特別在網站上申報作品的單一標籤號碼。並以三種顏色的標示，設定不同功能。以高度保障

前台灣畫廊協會理事長首都藝術中心董事長

Preface Reaching for the Top Amazing New Technology Creates Another Legend Renaissance in 21st Century – Giclee Reproduction of Master Liu Guo Song’s Art

ed to work with Capital Art Center of Taipei to satisfy the need of his collectors.

Master Liu Guo Song, the father of contemporary ink painting, is a revolutionary artist. He broke up the shackles of traditional Chinese Ink Painting and created many new techniques of his own such as “Paper Fiber”, “Paper-mache”, “Transferred Printing”, “Vapor Spray”, “Water-Transfer”, “Ink Soaking”, etc. He generated his own unique style in Ink Painting. Professor Zeng Su Liang of Taiwan Normal University said, “From 1970’s, Liu Guo Song was doing constant experimenting, on one hand he broke down the old traditions, on another hand he tried many different ways to reconstruct his new painting style. His objective was just trying to find new creative space from the traditional brush, ink, and materials; otherwise, he still could not escape the limitations of the tradition. Other than the changed material, the next topic that needed to be solved was the maturity of the new techniques which signified the establishment of the new style. It was an attempt in many fields and in all directions. He had used the quote of Pierre Gaustalla (1891—1968), whom he admired very much, to illustrate, “The eternal endeavor of Art is to search for new techniques, with art effect as objective and attempting to accommodate the reality. To judge a work of art, we have to start from the techniques being used.” Master Liu strongly believes, “He who doesn’t understand the real techniques doesn’t grasp the essence of real Art.””

The new technology let the reproductions approach perfection. The texture of Master Liu’s special paper and his paper fiber technique cannot be duplicated with traditional lithography. I introduced Master Liu to the new high-end Epson technology. Their TFP (Thin Film Piezo) printing head, with 360 micro-ink-jets for each color, can accurately duplicate the detailed texture of the original work. The unique Epson “Ultrachrome HDR” printing inks provide the widest color range, the best stability of the grey, the best control of color graphics, so the color of the original work can be presented in the highest fidelity. We choose the acid-free cotton paper of French paper supplier, Canson. The paper would not affect by light and can be preserved for 100 years. An extraordinary piece work of art, interpreted with an advanced new technology, with artist personally proofed and signed, culminate to a brilliant limited edition collectable item.

Recently, Master Liu’s works had been auctioned to higher and higher prices. There are many collectors for his work in all over the world. It is very difficult to find one of his paintings in the market. Master Liu realized that just his “original art work” cannot satisfy many collectors. Quantity and price are the main factors. So, he picked the top team, equipments, and materials to work on this Giclee project and decid-

Giclee is a technology that transforms an original painting to a digital file through profession, high technology scanning operation; with strict control of the color by expert, employing the Epson large-area, high-resolution ink-jet technology; using their “Ultrachrome HDR” ink to print on professional media to create an everlasting reproduction. The color, quality, and durability can meet the toughest requirements of Art Collection. In 2003, The National Palace Museum worked with Epson on a project to make digital printings for the Chinese traditional art treasures. I was watching the development closely. During my tour of Europe recently, I observed that Giclee reproductions are very popular in both the Contemporary Art Exhibition in Paris and 2014

Art Basel in Switzerland. Since 2005, I started to work with artists and the Epson Team on the project of Giclee productions. Stone-plate lithographs have been very popular at Capital Art Gallery in the past. We are now breaking off from the traditional lithograph business and introducing the latest Digital Art Market, matured in Europe and America, into Taiwan. We will employ the most advanced technology to render the works of contemporary artists. The process of Giclee production is very strict and complicated. Other than reproduce the exact coloring of the original work, the spirit and character of the work have to be presented. The color control expert has to possess the professional abilities of “Control of Color”, “Research of the Artist”, and “Analysis of the Original Work Essence”. The team of Capital Art Center has to communicate with the Professional Production Engineer and to supervise the many different process stages with the artist. There are six process stages: Front-end Preparation, Scanning, Color Separation (Participation of the Artist in Color Correction), Sample Run, Actual Print Out, and Artist’s Signature and Proof. Front-End Preparation: “Front-End Preparation” assures the accuracy of the list of the original works to be processed, the condition and security of the original artworks. Capital Art Center secures insurance for the artworks to be processed to prevent theft, accident, and damages during transportation or during process. When the original works arrive to the processing plant, professionals will examine all the artworks carefully, record the condition of the original pieces, and confirm the list provided by Capital Art Center to make sure the returning of all items undamaged after process.

Scanning: Then, the process of digitizing of the original artwork begins. The purpose of the scanning process is to establish a digital file of the artwork as the foundation for the print-out process that follows. Depending on the material of the original work, different scanner should be used. Considering the size, detailed texture, and variations in ink color of Master Liu’s work, we chose the Museum Class moving-platform scanner1 from Cruse of Germany. The Cruse scanner combine the functions of digital camera and scanner, and it uses their patterned Synchron Light system which is specially suitable to process pictures with fine, dense line strokes and closely similar ink colors. This technology can perfectly presents the special 3D texture effects of Master Liu’s art. Cruse Platform Scanner, using RGB threeline CCD2 scanning head; a stable, even, light source; can produce a very accurate ICC Profile3. This ICC Profile will be used by the professionals to perform the Color Separation and Sample Run operations. Color Separation: The purpose of color Separation is to adjust the color control with ICC Profile of the original work. The first thing to do is to adjust the display screen, using a spectral analyzer with the display screen to adjust the color. Then, the artist participates to adjust the color so that the color control is accurate. Sample Run: Because the color of the screen is formed with RGB, the three prime-color lights and the printed paper is from CMYK color absorption of the printing ink, there will be difference between the printed result and the screen. A sample of

the printed product is needed to adjust the difference. That is the purpose of the Sample Run. The ICC Profile from the adjusted screen and the ICC Profile from the printing software are compared and confirmed. A high resolution and small size sample print is made with the professional ink-jet printer. Then, the printed sample is compared with the original work. Any difference will be adjusted with the computer repeatedly. A new sample printing is made. After repeated color adjustments and printings, until the color is the same with the original, this step is considered complete. Actual Print Out: Using the confirmed sample ICC Profile, print out the picture with the high-end Epson ink-jet machine and the top grade “Ultrachrome HDR” ink on the acid-free Canson professional cotton paper. The Giclee process is then considered complete. As the base media, Capital Art Center uses the Arches Velin Museum Rag and BFK Rives highend acid-free papers from Canson Infinity of France. These papers were subjected to five different tests by the leading ink-endurance test laboratory, Wilhelm Imaging Research, including tests for Light Bleaching, Dark Room Storage, Harmful Environmental Materials, High Humidity Environment, and Water-Resistance. These papers passed the tests with flying colors. That is why we choose them for our Giclee products. Artist’s Signature and Proof: The most critical part of the project is the approval of Master Liu himself and putting down his signature. All Giclee reproductions must be

examined and accepted by the artist. He will sign on the right lower corner of the product. The number of the print out of the total quantity in fraction form are written on the left lower corner. The production date is written on the lower center of the print. To protect the rights of the collector, and the names of Master Liu and Capital Art Center, we work with Art Trust Company of France to use their temper-proof, non-reusable bubble number. To make sure that the collectables are free from forgery, Capital Art Center applied for unique label numbers on their Website, using three different color labels to indicate different functions to give the collectors the best protection. Each collector can use their own bubble number to check the authenticity of their collection. That is the best and most perfect security protection for the collector As we approach three decades of operation at Capital Art Center, we are deeply honored to gain the opportunity of working with Master Liu Guo Song to produce the series of Giclee Reproduction of his artworks. We are promoting the “Fifth Type of Lithography” to let art reach the general public. This new form of art works uses the most advanced technology, the best available materials to create products which highly resemble the original. They are not only presenting the Master’s art but his spirit of continuous renewal. The value of Master Liu’s own signature is well worth preserving and treasuring. 1 A scanner is a machine that uses light sensitive elements to detect the light reflection of different colors to create a file of digital signals for use by the computer. Through the computer’s software, the image can be re-created and displayed on a monitor. 2An integrated circuit which consists of an array of light sensitive capacitors, each capacitor can detect the level of light and transform it into a series of digital signals. 3ICC Profile is a standard created by the International Color Consortium. This standard defines all the necessary parameter to produce color images in different equipment such as digital camera, scanner, monitor, or printer to achieve the same color control.

Taiwan Art Gallery Assoication, Former Chairman Capital Art Center, Chairman

劉國松與現代水墨畫美國堪薩斯大學美術史系名譽教授／李鑄晉

關於劉國松（1932-）的藝術成就，已有不少人談論過。有關其藝術的書籍畫冊，在台灣已出版十多種，而在中國大陸也快有十種了。至於海外相關的著述，包括英文、德文、法文、韓文及日文者，同樣為數不少。劉國松在美術史上的貢獻，具有多方面的意義，有些是眾所周知的，有些卻未被一般人所了解。因此我在這篇文章，特別著眼於他與現代水墨畫的關係，以圖讓大家對其藝術成就能有更深入的認識。說起來，我和劉國松的相交，已快四十年了。還記得在1963年秋，我在愛荷華大學休假一年，帶了全家，先到歐洲一個月，在倫敦、巴黎、阿姆斯特丹、斯德哥爾摩、蘇黎世、佛羅倫斯、羅馬及雅典，參觀當地的博物館與美術館，並訪問了不少學者。後來轉到開羅、新德里及曼谷，又在香港住了兩個月，而於初冬時抵達台北。那時經過余光中（1928-）的介紹，我才跟劉國松認識。他是我所見到的台灣畫家中，給我印象最深刻的一位。我覺得他為人爽直、堅定，而且很有抱負。我那時已在愛荷華大學執教多年，教的是東方美術史（包括印度、中國、日本及東南亞）與歐美現代美術史。余光中因曾參加愛荷華大學的寫作研討班，來聽過我教的現代美術史的課，因此後來由他的介紹，我才開始注意到台灣的許多年輕作家及畫家。當年我到了香港及台灣後，希望可以找到一些合適的畫家，籌劃一個展覽，赴美國展出。不過那次我到台灣，最重要的研究計劃，是前往

當時還在台中霧峰的故宮博物院去看畫。因為那時美國有幾所大學及博物館，得到數個基金會的資助，派人到台灣協助故宮，將全部的繪畫收藏及其它許多文物，拍攝照片與幻燈片，以作研究、教學及出版之用。因此我在台中住了四個月，除了有難得的機會天天去霧峰，把故宮的藏畫全部看過一遍外，同時也趁機見到了幾位台灣畫家，包括還在台北還未被一般人所認識的余承堯（1898-1993），以及任教於台中東海大學的陳其寬（1921-2007）與莊喆（1934-）等。最後我離台赴日本之前，由於劉國松的推介，得與「五月畫會」的成員見面，他們包括馮鐘睿、陳庭詩（1916-2002）、胡奇中、韓湘寧（1939-）及彭萬墀。這一次的會晤，是安排在台北劉國松的畫室。記得我一進門，就看到了劉國松剛完成的一張題為《寒山雪霽》的畫，貼在木板之上。我一見此畫，頓覺數年來執教的東方美術史及現代美術史的經驗，跟在歐洲以至埃及、印度及泰國一路上參訪所得的印象，都在心中融會起來。我的一些藝術上的想法，竟不謀而合地在劉國松畫中表現出來，這種新的藝術結晶，指向了一個中國繪畫的新方向。於是我就決定策劃一個展覽，定名為「中國山水畫的新傳統」，邀請的畫家包括當時在香港的王季遷，還有台灣的陳其寬與余承堯，以及五月畫會的莊喆、馮鐘睿與劉國松。我並約請那時於故宮博物館研究的哈佛大學研究生羅覃來幫忙，在台灣代為選擇作品。羅覃本是我的學生，後來他入任華盛頓佛利爾美術館館長。展覽由於得到洛氏基金會之助，順利在美國一些博物館及

大學文物館巡迴展出兩年。這一展覽，後來就被公認為替台灣現代美術史打開了一個心的局面，建立了現代水墨畫的基礎。在往後的歲月裡，我和劉國松接觸的機會不少。1966年劉國松得到洛氏基金會的獎助，到美國研習參觀及環球旅行兩年。起初的三個月，他都在愛荷華大學的藝術學院研究該校享譽全美的銅版畫。我那時還在愛荷華執教，因此常到他的畫室，看他作畫及討論各種藝術上的問題。其後在1968年秋，我已轉到堪薩斯大學執教，因得到研究費而休假一年赴遠東，其中有數月是在故宮博物院研究元畫。那時故宮早已遷往台北，我就在金華街租了一個公寓，跟劉國松位於永康街的住所十分接近，因此也常見面，遂對他的藝術發展有了進一步的了解。我還請他把早年的作品，從其親戚朋友處借回來給我看，而完成了第一本關於他的專著，那就是用英文寫的《劉國松—一個現代中國畫家的成長》，由台北歷史博物館及國家畫廊聯合出版，這本書給予海外畫家及學者更深入認識劉國松的機會。1971年暑假，我應香港中文大學之請，為該校所屬的新亞書院藝術系未來的發展作規劃。我首先就推薦劉國松到中大任教，而自己也於1972年秋，看到了他許多的新作。於是我對其藝術創作的新發展，以及其教學理念與方法，又有了全新的認識與理解。「現代水墨畫」一詞，現在已被人普遍使用，不過這個名詞，還有許多含混的地方，需要作出澄清。從一方面來說，「水墨畫」就是國畫

–，因為國畫乃以水墨施於宣紙之上，已經有一千多年的歷史。但從另一方面來說，「現代水墨畫」此一名詞的應用，是最近數十年來的事，它所指涉的對象，乃與傳統國畫不同，而多少受了西方的影響，具有一種兼中西之長的作風。“現代水墨畫”主要的工具與材料，仍是傳統的筆、墨及紙，但其在技巧的運用與造型的表現上，卻跟傳統國畫截然不同，由此就逐漸形成了「傳統國畫」與「現代水墨畫」的區分。而在現代水墨畫的領域上，推動最力的就是劉國松。所謂的「現代水墨畫」，是在60年代初期，由於劉國松提出「中國畫的現代化」口號，而出現的一種新畫風。當時五月畫會的各個成員，如馮鐘睿、胡奇中及韓湘寧等，都由油畫轉向了水墨畫的創作，莊喆亦在油畫中加入水墨趣味。五月畫會的藝術追求，遂在當時非常保守的台灣畫壇上異軍突起，他們極力擺脫傳統國畫的支配，決心創造出一種屬於20世紀中國繪畫的新傳統。與此同時，四、五十年代出國赴美的曾幼荷與陳其寬，也不約而同地在做同樣的嘗試。後來一度由紐約回香港的王季遷，以及返台定居的張大千，皆打破傳統的窠臼，而建立自己的新畫風。至於近一二十年來，在法國的油畫家趙無極與朱德群，也偶而畫些水墨畫。這種新的藝術潮流，其實跟50年代台灣的文藝發展，在目的與表現上，有極其相似之處。當時的一群年輕作家們，多少受到台大外文系教授梁實秋的影響，如白先勇、聶華苓、王文

興、余光中及葉珊等，掀起了一股文藝復興的氣象，產生極大的影響。這是因為自五四運動以來，新文學的地位，早已十分穩固，因而這一群年輕的作家，迅速地建立起他們的地位。但在現代水墨畫方面，由於台灣畫壇傳統國畫的積習太深，雖然年輕畫家們也得到一些長輩的支持，如藝專校長張隆廷，以及師大教授虞君質、孫多慈及廖繼春等，但現代水墨畫家的創作一直受到保守派猛烈的攻擊與打壓，甚至用政治力量去迫害他們。相反地，劉國松的創新畫風卻在美國大受歡迎。他於1966年到美國後，舉行了一連串的個展，從洛杉磯附近的拉古那灘到紐約市，從明尼亞波里斯到達拉斯，在各地都備受讚賞。而同時於美巡迴展出的「中國山水畫的新傳統」，也很受歡迎。如此一來，現代水墨畫就成為一個新的國畫運動，給予劉國松很大的自信心。到了1967年底，他在美國與歐洲的旅行結束回台灣，便創立「中國水墨畫學會」，積極推動現代水墨畫的創作。1970年，劉國松在台灣領導的現代水墨畫運動，又與香港的另一群新派國畫創作者，即呂壽琨及元道畫會的成員，結合起更大的力量。他們聯手在台灣與香港舉行了「中國水墨畫大展」，通過這類聯展活動，讓彼此可以互相觀摩與勉勵，而促進現代水墨畫的發展。到了1971年，劉國松應聘任教於香港中文大學藝術系後，更把現代水墨畫的課程，並於校外部開辦現代水墨畫文憑班，培植了不少香港的年輕畫家，他們於 1976年成立的「香港現代水墨畫協會」，經過25年的努力，成為香港畫壇的中堅份子。

事實上於70年代，劉國松的畫會在國際上建立起一個很特殊的地位。他一面應美國威斯康辛的一所州立大學及愛荷華大學之聘，出任客座教授，一面又在各地演講與展出。他的足跡遍及北美、歐洲、亞洲及澳洲，成為中國畫家在國際上展出次數最繁、作品藏點最多、繪畫名聲最響的一位。劉國松的藝術成就，主要是把中國悠久的繪畫傳統，用創新的技巧與方法，參以西方的理論與創作觀念，但在表現形式上，卻加入不少西方的因素，創造出嶄新的繪畫技巧與風格，能夠充分反映其個人的人生理想，以及當前中國文化的精神。在20世紀中，有無數的中國畫家，不斷摸索中西合璧的藝術表現，然而其中絕少像劉國松的現代水墨畫創作那樣，既保留了中國傳統藝術的精髓，又把握住這個時代的精神，兼容中西文化之長而進入一個新的繪畫境界。劉國松所提倡的現代水墨畫，對中國大陸的繪畫發展，也有很大的影響。1975年他到愛荷華大學任客座教授，全家卜居於愛荷華城。那個時候，正是中國大陸從「文化大革命」轉向對外開放的階段。愛荷華大學有一個全世界最有名的國際寫作研討班，最初由美國名詩人安格爾主持，後由聶華苓接掌，每年都在歐亞許多國家邀請二三十位知名文學家來參加研討班數月。大陸對外實施開放政策後，數年之間，名作家如巴金、曹禺、蕭乾、畢朔望、艾青及王蒙等，都受邀到愛荷華大學來參加研究討論，劉國松也參與了一部份的活動。經過聶華苓的介紹，他認識了詩人艾青，兩人十分投契

–，很快便結成好友。艾青雖以新詩聞名，其實他的主要興趣卻是在美術方面。30年代初期，他曾赴法國學習美術，回國以後，就在延安的魯迅藝術學院任教授，負責藝術理論的課程。艾青於1980年與劉國松在愛荷華城相識後，就常到劉的家中看他的創作。由於他的介紹，劉國松便開始與大陸的藝術界有所接觸了。 1981年11月1日，由李可染任院長的中國畫研究院在北京成立。全國著名的畫家，都獲邀請參加開幕儀式，劉國松雖在香港中文大學任教，卻也在邀請名單中。劉國松於是認識了大陸畫壇的許多名家，如李可染、吳作人、劉海粟、陸儼少、黃冑、吳冠中、亞明、程十發及葉淺予等。他還帶了兩張畫參與成立大會的展覽，那雖是其作品首次於大陸展出，卻馬上引起了藝術界的廣泛注意。當時全國美協的主席江豐，即當面邀請劉國松到北京中國美術館開個人畫展。此展於1983年2月8日正式舉行，受到熱烈的歡迎，轟動了整個大陸畫壇。劉國松的展覽，為中國大陸的藝術界，打開了一個新的局面。本來大陸的美術自解放以來，一直受魯迅30年代所提倡的木刻運動的影響，再加上蘇聯的社會寫實主義的理論，遂一直以此為宗旨極力反對歐美抽象主義的作風。因此1982年時，由波士頓博物館應美國政府之請，辦了一個美國繪畫展，到北京與上海展出，其中十多張的抽象畫就遭到中方的反對，幾經交涉後才勉強得以展出。然而艾青等人於劉國松的畫中，卻看到了本來已存在於中國藝術傳統中的抽象美。這種超以象外的美，在劉國松的抽象手法處理下，成功地把中國傳統書畫相結合，推向更高的藝術境界，而構成一個

既傳統又現代的表現形式。因此通過劉國松的作品，抽象畫就開始被大陸藝術界所接受了。國內藝壇的繪畫大師與理論權威，都參加了劉國松在中國美術館個展的開幕式，而在媒體的大量報導下，全國各地不少文藝界人士與美術愛好者，都趕到北京參觀展覽。劉國松也在展覽期間，前往中央美術學院作了三次演講，當時吳冠中在場聆聽後，就緊握劉的手說：「我們有共同的語言！」，黃苗子與郁風聽完演講後，即邀請劉氏夫婦去他們家過春節，並在雜誌上為文加以推介。至於李可染，則叫李小可帶了機器去做錄音。劉國松的北京個展由於空前成功，於是受邀移師到南京江蘇省美術館、廣東畫院、武漢美術院及哈爾濱黑龍江省美術館繼續展出。在其後的兩年中，他又到全國十八個城市舉行巡迴展覽，其中包括上海、杭州、福州、長沙、太原、西安、重慶、蘭州、烏魯木齊以及其家鄉山東，處處引起轟動。於是1984年劉國松與李可染同時獲得第六屆全國美展特別獎，可見他在藝術上的創新成就已受到中國美術界的高度肯定。因此在80年代初期的大陸畫壇上，形成了一股劉國松旋風，對國內中青年畫家產生深遠的影響，並促成了近二十年來中國畫風格的轉變。而當劉國松發現國內有不少畫家，也正走向「現代水墨畫」之路時，他就於1987 年開始，在台北的《文星》雜誌上，發表一系列的文章介紹他們，當中包括吳冠中、周韶華、石虎、于志學、谷文達、江中潮、段秀蒼、舒春光及楊曉村等，同時也介紹許多中青年畫家到台灣展出。這不僅表明劉國松對大陸藝術發展的關懷與重視，以及對兩岸文化交流的苦心與熱忱，而他為此所作出的貢獻，至為

關鍵與重要。由過去中國大陸所舉辦的幾次水墨畫雙年展，還有去年（2003年）廣東美術館的「水墨實驗二十年」、西安美術學院的「首屆西安國際抽象水墨畫大展」及學術研討會，都說明了劉國松在倡導「中國畫現代化」運動的功績，以及在鼓吹「現代水墨畫」創作上的成果。從 1961年開始，劉國松在台灣背負著「藝術叛徒」的罪名，揭竿而起去「革中鋒的命」，一路走來可說始終如一。他的影響力由台灣到香港，而後遍及大陸各地，還到達東亞儒家文化共同體中的國家，乃至海外的華人世界。因此許多原學傳統國畫的改弦易轍，本習西畫的浪子回頭，可說是從繪畫的兩端投向融會貫通的現代水墨畫，而充分體現了講求中庸之道的中國傳統精神。無疑的，現代水墨畫在劉國松的揚勵下，必將成為21世紀中國繪畫的主流，並建構起中國藝術的新傳統。

Liou Guo-Song and Modern Cinese Ink Panting Chu-Tsing Li, J. H. Murphy Professor, University of Kansas

Liu Guo-Song (Liu Kuo-Sung, 1932 -)’s artistic achievements have been discussed by many artists and writers. Numerous books and exhibition catalogues devoted to his work have been published in his adopted home, Taiwan; others have appeared in Mainland China. Farther afield, interest in his art has resulted in discourses in English, French, German, Korean and Japanese. Liu’s multi-faceted contribution to the history of modern Chinese art is widely understood in many quarters, less so in others. In this essay I shall concentrate on his relationship with modern Chinese ink painting and his achievements in that field. My acquaintance with Liu spans almost 40 years. In autumn 1963, while on sabbatical from the University of Iowa, I took my family to Europe to visit museums and scholars in London, Paris, Amsterdam, Stockholm, ZUrich, Florence, Rome and Athens. Cairo was the next stop, followed by New Delhi. Bangkok and Hong Kong, where we stayed for two months. Eventually, we reached Taipei. Through the introduction of the poet Vu Guangzhong (1928 -), I got to know Liu. Amongst all the artists I met, he made the deepest impression on me. I felt he was straight forward in his approach to people, strong in his convictions and very goal-oriented. I had lectured at the University of Iowa for many years, teaching both Oriental Art (covering India, China, Japan and Southeast Asia) and

European and American modern art for many years at the time. In the early 60s, the poet Vu Guangzhong, in Iowa to participate in the International Writers’ Workshop, also attended my class in modern art. Soon after my arrival in Taiwan he introduced me to several writers and artists. I began to pay attention to the development of young writers and artists in Taiwan. During that period I planned to organize an exhibition in the United States featuring Hong Kong and Taiwanese artists, although my main purpose had been to see the treasures of the Palace Museum, then still in Wu-feng near Taichung. At the time, several universities and museums in the United States were sending teams of curators and photographers to Taiwan to photograph the museum¡¦s entire collection of paintings, and many of its other exhibits, for the purposes of study, teaching and publication. As a result, I spent four months in Taichung, visiting the museum daily. At that time, I also made acquaintance with several artists, including Yu Chengyao (1898 - 1993) whose work was then relatively unknown in Taipei, and Chen Qikuan (Chen Chi-kwan. 1921 -) and Zhuang Zhe (Chuang Che, 1934 -), both of whom were teaching at Tunghai University in Taichung. Before I left for Japan, Liu introduced me to fellow members of an artists’ group known as the “Fifth Moon¨, including Fen Zhongrui (Fong Chungray), Chen Tingshi (Chen Ting-shih, 1916 -), Hu Qizhong (Hu Chi-chung), Han Xiangning (Han

Hsiang-ning, 1939 -) and Pen Wanchi (Peng Wan-Ci). That meeting took place in Liu¡¦s studio in Taipei. As I entered I saw, still pasted onto a wooden board on a wall, the painting “Clearing Over the Snowy Mountains”, which Liu had just completed. Looking at the painting, I felt all my recent thought and experiences garnered during my teaching and travelling had crystallised in that image. In Liu¡¦s work I had found what I had been hoping to see in contemporary Chinese art. Subsequently, I decided to organize an exhibition “The New Chinese Landscape” and included the works of Wang Jiqian (C. C. Wang, 1907 - (then in Hong Kong, Yu Chengyao. Chen Qikuan and three members of the “Fifth Moon Group”: Zhuang, Fen and Liu all based in Taiwan. I asked a former student of mine. Thomas Lawton, then a graduate student at Harvard University engaged in dissertation research in Taiwan, to help me keep in touch with these artists and select works for the exhibition. Lawton later became director of the Freer Galtery of Art in Washington. The exhibition supported by the JDR 3, Fund of New York and the American Federation of Art, toured museums and art galleries in U.S.A. from 1966 to 1968. Although modest in scale it was subsequently reorganized as having opened up a new vista in Chinese art by laying the foundation for the development of modern Chinese ink painting.

Liu and I have since met again many times. In 1966, backed by a JDR 3rd Fund fellowship, Liu spent two years studying in the U.S.A. and Europe, visiting universities and museums. He began by spending three months on the world-renowned intaglio prints graduate program at the School of Art in University of Iowa, where I was teaching. I often visited his Studio to watch him paint and to discuss various artistic points. In autumn 1968, after I had moved to the University of Kansas, I received a Fulbright Scholarship to spend a year in Asia on research; four months were to be spent in Taipei studying Yuan paintings at the Palace Museum, which had by then moved from Taichung to Taipei. I rented an apartment in Chin-Hua Street, close to Yung-Kang Street, where Liu and his family lived. We met frequently, which helped me gain further understanding of his artistic development. Liu showed me many of his early works, which he had given to friends and relatives; I was then able to complete a book, Liu Guo-Song - The Growth of a Modern Chinese Painter, published by the National Museum of History and the National Taiwan Gallery. It gave artists and scholars abroad the chance to appre ciate Liu’s art more deeply. I spent the summer of 1971 at The Chinese University of Hong Kong, making plans for the development of the Fine Arts Department of the University’s New Asia College. One of the

The term modern Chinese ink painting is now commonly employed by artists and critics, but ambiguities still surround its use. On one hand, “Chinese ink painting” is often understood to mean traditional Chinese painting, and to refer to the discipline incorporating Chinese brushes and xuan rice paper that appeared over a thousand years ago. On the other hand, the term “modern Chinese ink painting” has been used for half a century Only and refers to a type of painting influenced by Western art, It is a style synthesising the best elements of Chinese and Western artistic traditions. Modern Chinese ink painting still requires traditional Chinese brushes, ink and paper, but technically and in its formal expression it differs from traditional painting. The artist who promotes modern Chinese ink painting most energetically is Liu GuoSong.

including Fen Zhongrui, Hu Qizhong and Han Xiangning turned from oil painting to inks. Zhuang Zhe although still using oil on canvas, introduced ink elements to his paintings. This artistic pursuit saw the emergence of a new force in the conservative world of painting in Taiwan, with those artists in the vanguard trying to shake off the yoke of traditional Chinese painting to create a new tradition for the 20h century. At the same time, similar attempts were made by artists such as Zeng Vouhe (Tseng Vu-ho, 1927 -) in Honolulu and Chen Qikwan in Boston, who left China for America during the late 40s and early 50s respectively. Other artists abroad, such as Wang Jiqian who lived in New York but who spent a few years in Hong Kong in the early 60s, and Zhang Daqian (Chang Dai-chien, 1899 - 1983) who lived for many years in San Paolo, Brazil, before moving back to Taiwan in the 70s, also broke away from traditional practices to develop a new style, introducing Western elements to their works. In the last twenty years, even Zhao Wuli (Zou Wou-ki, 1921 -) and Zhu Dequn (1920 -), celebrated oil painters living in Paris, have tried their hand at Chinese ink painting.

The phrase “modern Chinese ink painting” was coined by Liu in the early 1960s during his campaign “to modernise Chinese painting”, and acknowledges a new style of expression. At that time, members of the “Fifth Moon Group”,

The new artistic current that swept Taiwan was similar in purpose and expression to the literary movement that arose there in the 1950s. Under the influence of Professor Liang Shiqiu (Liang Shih-Chiu, 1903 - 1987) of the Department of

first recommendations I made resulted in Liu’s teaching there. I spent the following year as a visiting professor in the department and again we met often, so I had the chance to see Liu’s new works and observe his teaching ideas and methods.

-Foreign Languages at National Taiwan University, a group of young students, including Bai Xianyung (Pai Hsien-yung, 1937 -), Nie Hualing (Nieh Hua-ling, 1925 -), Wang Wenxing (Wang Wen-hsing, 1939 -) and Yu Guangzhong, plus Ye Shan (Yeh Shan) of Tunghai University, began an extremely influential literary renaissance. Modern Chinese literature had become firmly established with the New Literary Movement 011917 and the May 4 Movement of 1919, and building on those foundations it was not difficult for these young writers to secure themselves places in the new literary world. Because of the domination of traditional Chinese painting in Taiwan, however, modern Chinese ink painters repeatedly came under attack, and even suffered political persecution, from conservative Taiwanese artists, despite the support they received from senior professors of art such as president Zhang Longyan (Chang Lung-yen) of the National Taiwan Art Academy, and professors Yu Junzhi (Yu Chun-Chih), Sun Duoci (Sun To-Tzu) and Liao Jichun (Liao Chih-Chun. 1902 -) of the National Taiwan Normal University. In contrast, Liu Guo-Song’s new painting style enjoyed a popular reception across America. In 1966 he held a series of exhibitions, from Laguna Beach near Los Angeles in the west to New York in the east, and from Minneapolis in the north to Dallas in the south, all receiving high praise from critics and other artists. At the

same time, the travelling exhibition “The New Chinese Landscape”, which included his work, was warmly received in the U.S.A., Modern Chinese ink painting was growing into a new movement, modernising Chinese art and giving Liu confidence in his personal development. Returning to Taiwan in late 1967, after almost two years of travelling in America and Europe, he established the “Modern Chinese Ink Painting Association”. In 1970, Taiwan’s modern Chinese ink painting movement joined forces with the In Tao Painting Association of Hong Kong, led by LU Shoukun (Lui Shou-Kwan, 1919 - 1975), to organize the “Major Exhibition of Chinese Ink Paintings”, which ran in Hong Kong and Taiwan. The following year, after Liu became a lecturer at the Department of Fine Arts at The Chinese University of Hong Kong. he pushed the modern Chinese ink painting movement still further. He established the world’s first course in modern Chinese ink painting, and set up the Modern Chinese Ink Painting Programme at the University’s Department of Extra-mural studios, attracting many young Hong Kong artists. Liu’s students formed the Hong Kong Modern Chinese Ink Painting Association in 1976, and have emerged as important figures on the landscape of the Hong Kong art world. During the 70s, Liu’s works gained wider in-

ternational recognition. He served as a visiting professor in the United States, first at a state university in Wisconsin, then at the University of Iowa. He gave innumerable lectures and showed his works in North America, Europe, Asia and Australia, becoming the most widely exhibited artist to emerge from Taiwan. His works were collected by more museums and collectors abroad than those of any other Chinese artist. Liu’s major achievement was to amalgamate the long tradition of Chinese painting and modern Western theories and styles with his new techniques and methods, thereby creating a new artistic entity. He used Chinese brush, ink and paper as his basic tools, but added Western elements to introduce an approach fully reflecting his personal vision of life and the spirit of contemporary Chinese culture. In fact, the 20 century saw numerous Chinese artists searching for a means of expression embracing Chinese and Western characteristics, but unlike Liu, few could fashion a new approach that preserved the essence of the Chinese tradition while capturing the spirit of the age by incorporating the outstanding features of Western art. The modern Chinese ink painting movement had a strong impact on painting in Mainland China. In 1975, Liu, accompanied by his family, moved to Iowa City, where he took the post of visiting professor at the University of Iowa. Concurrently, China was beginning to shake off

-the shackles of the Cultural Revolution and reopen to the outside world. The University of Iowa hosted the world-renowned International Writers’ Workshop, first conducted by poet Paul Engle, then taken over by his wife, Nie Husling. Annually, twenty to thirty writers from European, Asian and other countries were invited to participate, and in the years following the reopening of Mainland China, writers such as Ba Jin (1904 -), Cao Vu (1910 - 1996), Xiao Qian (Xiao Chien, 1910 - 1999), Bi Shouwang, Ai Qing (1910 - 1996) and Wang Meng (1934 -) were asked to take part. Liu and Al Qing became close friends, because although Ai was better known as a poet, his main interest was art, which he had studied in Paris in of the 1930s.He later taught art theory at the Lu Xun Art Academy in Yenan. Ai, who attended the 1980 workshop, was a regular visitor to Liu’s home in Iowa City, and provided Liu with another channel into the Mainland art world. On November 1, 1981, the National Institute of Chinese Painting was established in Beijing, with Li Keran (1907 - 1989) as its first director. China’s leading artists were invited to the opening ceremony. Liu, by then teaching at The Chinese University of Hong Kong, attended, and became acquainted with many other leading artistic lights, such as Wu Zuoren (1908 - 1997), Liu Haisu (1896 - 1994), Lu Yanshao

(1909 - 1993), Huang Zhou (1925 - 1997), Wu Guangzhong (1919 -), Ya Ming (1924 -), Cheng Shifa (1921 -) and Ye Qianyu (1907 - 1995). Two of Liu’s paintings were featured in the institute’s inaugural exhibition: it was the first time his works had been shown on the Mainland, but they immediately attracted wide interest. The result was an invitation from Jian Feng, chairman of the Chinese Artists’ Association, to stage a one-man exhibition at the National museum of Fine Arts in Beijing. It opened on February 8, 1983, and was received enthusiastically by artists across the country, the show becoming a major event in the annals of Chinese art. Since 1949, the New Woodcut Movement, advocated by Lu Xun (1881 - 1936) in the 30s, together with theories of socialist realism from the USSR, had dominated. The abstract movements in European and American art were strongly opposed. In 1982, an exhibition of American paintings, organized by the Boston Museum of Fine Arts and sponsored by the American government as part of a cultural exchange, was to be shown in Beijing and Shanghai. When the paintings arrived at Beijing, Chinese authorities found 17 works by abstract expressionists offensive and refused to show them. After protracted negotiations they were exhibited in isolation in a restricted gallery. Meanwhile, Ai Qing and others in China found abstract beauty derived from the Chinese tradition in Liu’s works,

which, they felt, combined Chinese painting and calligraphy to attain a rarefied artistic level and form an artistic expression encompassing Chinese tradition and Western modernism. Through Liu’s works, abstract painting began to be accepted by artists on the Mainland. The opening ceremony of Liu’s exhibition at the National museum of Fine Arts was attended by all the major painters and leading critics in China. Cultural leaders and art lovers arrived from across the country. During the period of the exhibitions run Liu was invited to lecture three times at the Central Academy of Fine Arts. After one lecture, Wu Guanzhong grabbed Liu’s hand and announced: “We have a common language now!” Huang Miaozi and Yu Feng invited Liu to their home to celebrate Lunar New Year. They also wrote articles on his art in journals while Li Keren asked his son Li Xiaoke to make records of Liu’s talks. The unprecedented success of the exhibition in Beijing led to the invitation for Liu to take it to the Jiangsu Art Gallery in Nanjing, the Guangdong Art Gallery, Guangzhou, and the Heilongjiang Art Gallery in Harbin. In the following two years, an exhibition of Liu’s works visited eighteen cities around the country, including Shanghai, Hangzhou, Fuzhou, Changsha, Taiyuan, Xian, Chongqing, Lanzhou and Urumqi, plus Shandong Prov ince. In 1984, Liu and Li Keran received special awards at the

-“Sixth National Art Exhibition” China. LIU’S influence hit China like a whirlwind in the 1980s, exerting an irresistible force on a generation of young artists Later, to his great satisfaction, he discovered many Chinese artists were travelling the road towards modern Chinese ink painting, among them Wu Guanzhong (1919 -), Zhou Shaohua , Shi Hu, Yu Zhixue , Gu Wenda (1955 -), Jiang Zhongchao, Duan Xiucang, Shu Chunguang and Yang Xiaocun. So in 1987, Liu began to write a series of articles in Taipei’s Literary Star magazine, in which he introduced them to readers in Taiwan and Hong Kong. At the same time, working hard to facilitate cultural exchange across the Taiwan Strait, he helped Mainland to artists’ stage exhibitions in Taiwan. In recent years, numerous biennial exhibitions of modern Chinese ink painting had been held in China. In 2002, the show “Twenty Years of Experiments in Ink Painting was staged at the Guangdong Art Gallery, and the Exhibition of International Abstract Ink Painting” staged at the Xian Academy of Fine Arts. Such events helped to demonstrate the continuing success of Liu Guo-Song in promoting the modernisation of Chinese ink painting. Under his guidance, it may become the mainstream of Chinese painting in the 21st century. Since 1961, Liu, initially branded a rebel in art, in Taiwan, has fought as an unstinting revolutionary against traditional Chinese painting. His influ-

ence has spread from Taiwan to Hong Kong, across Mainland China, and to Chinese cultural groups in many countries around the world. Consequently, many traditional Chinese artists have come to this way of thinking Many others, Western trained, have adopted the new style of Chinese painting. They have come, it seems, from the opposing ends of artistic traditions to achieve union in modern Chinese ink painting in the spirit, perhaps, of the Confucian “middle way”.

一個東西南北人中央美術學院教授／薛永年在20世紀裡，劉國松先生是有大成就的畫家，是有強烈愛國精神的畫家，是有高漲創造意識的畫家，是善於在創作上特立獨行的畫家，是敢於在理論上標新立異的畫家，是多年來對兩岸藝術交流做出積極貢獻的畫家。這次展覽是個規模盛大的回顧展，回溯了劉先生80年來的藝術歷程，展出了他各個時期的代表性作品：從求學時代的水彩畫、油彩畫、傳統形態的水墨畫，到走上創作道路以來的綜合媒材繪畫和大量的水墨畫。題材上極為廣泛，也包含近十年的「西藏系列」「九寨溝系列」，畫法涵括了一系列實驗。至於美的意象與境界，則有具象的感悟，有抽象的情思，有理性的光輝，也有感性的悸動，可以說是他畢生成就的薈萃，有幾個富於啟示的特點。其一，善於以反傳統的勇氣建立新的傳統。中國繪畫走向現代，是一個多世紀以來的重大課題。走向現代不是被動地回應西方，更不是盲目地效法西方，但是必須把中國繪畫的發展納入到世界的語境中去，必須善於借助他山之石，甚至採取外國良規。走向現代不是盲目地反水墨，更不是盲目地反傳統，但是必須反掉那些喪失生命力的僵化圖式和八股技巧，以便從根本上繼承獨具特色歷劫不磨的傳統文化精神。劉國松先生是50年前在臺灣高舉反傳統大旗的創將，但他所反的傳統恰恰是把傳統簡化和僵化的惰性傳統，並在此基礎上，首先把抽象表現主義因素與山水精神有所結合，初步創造了中國水墨畫的新傳統。上世紀60年代，李鑄晉先生美國策劃了為期兩年的「中國山水畫新傳統」巡迴展，使他作為中國畫新傳統的代表影響了西方。其二，以天人合一的精神發展水墨語言。他不是簡單地搬用西方藝術語彙，而是深入理解中國繪畫的語言特色，研究中國畫材料與語言的關係，語言與中國人思維方式的關係。劉國松為了擴大中國畫表現力，善於圍繞水墨材料進行試驗，他所發明的技巧，無論撕紙筋、拓墨、狂草、水拓、漬墨，無不發揮了中國材料的優勢，無不符合中國「天人合一」的精神，

無不是古代筆墨語言之外的自然天成的水墨語言。他回歸的傳統，不是傳統之跡，而是傳統之心。他的半抽象的水墨語言成功地表現了「惟恍惟惚，其中有象」的宇宙觀和「一陰一陽之謂道」的文化精神，這是一種超越小我與天地精神相往來的宇宙心印的文化精神。他的藝術具有鮮明的走向現代的自覺，這種自覺表現為：既是現代形態的，又是中國特色的，既是民族的，又是在世界語境中便於溝通的。其三，以「可貴者膽」實現「所要者魂」。中國書畫的走向現代，沒有固定的模式，道路十分寬廣，可以有條條道路。但要闖新路，就要有膽量。沒有膽量，走不出新路，光有膽量也不夠，還要有靈魂，沒有民族靈魂，也就沒了身份，就不能在世界上顯出特色。劉國松畢幾十年之功，走出了一條大道，他的勇敢、執著和智慧，給我們的啟示，就像李可染講的那樣「可貴者膽，所要者魂」。「可貴者膽」就是要大膽地突破，大膽地創造，模仿新的，不同於模仿舊的，但本質上還是模仿：抄襲西洋的，不同於抄襲中國的，但本質上絕非創造！所謂。「所要者魂」就是要表現民族的現代的精神魂魄。 20世紀是西學東漸的世紀，是在工業文明與資訊文明中中華民族開始振興的世紀，還是中國水墨畫在向現代轉型中實現復興的世紀。「士不可以不弘毅，任重而道遠」劉國松本著這種文化使命感，一往無前地倡導並實踐著現代水墨畫的創作，他的作品標示著已經建立起來的既富於民族精神又有當代意識的水墨畫新傳統，而且正以其彰顯東方畫系所具有的天人合一的精神美味。「一個東西南北人」不僅說明了劉國松先生閱歷與視野的開闊，或者也表明他以自己的藝術奉獻于萬國四方共用的美好心願。

A Man of East, West, South and North Yong-Nian Xue, Central Academy of Fine Arts, Beijing Liu Guo-Song is an extraordinarily accomplished artist of the twentieth century - a strongly patriotic artist an artist with a surging creative consciousness, skilled at forging a unique creative path, who dares 10 break new theoretical ground, and who has made tremendous contributions to cross-strait art exchange over the years. This retrospective exhibition is sweeping in scope, covering Liu’s 80 years in life and art and featuring selected representative works from each of his major creative periods: from watercolors, oil paintings, and conventional ink paintings dating from his student period, to mixed medic painting and prolific ink painting output conceived since he embarked upon his formal career in art. Subject matter is equally expansive, including the Tibetan and Jiuzhaigou series of the past decade, rendered in a series of experimental approaches. As for images and evocations of beauty, there is representational appreciation, abstract emotion, rational brilliance, as well as emotional resonance that together offer a summation of the finest efforts of his long career. Encountering the exhibition, considering the beauty of his art, and tracing his artistic path, several illuminating aspects are especially worth noting. First Liu Guo-Song’s uncanny ability to courageously oppose tradition and establish new traditions. Chinese paintings march towards modernization has been a major issue spanning centuries. Moving into the modern does not mean passively responding to the West. nor slavishly imitating the West, but necessitates incorporating the development of Chinese painting into the worlds vernacular, which requires learning from and building upon the achievements of others and adopting fine Western practices when appropriate. Modern progress does not mean blindly opposing ink painting, let alone blindly opposing tradition, but it does require opposing stilted graphic farms and hackneyed techniques devoid of life so as to elevate

the unique spirit of lasting traditional culture. An innovator that raised the banner in opposition to tradition half a century ago in Taiwan, Liu Guo-Song opposed the lazy conventions of oversimplifying and ossifying tradition. It was on this foundation that he first joined elements of Abstract Expressionism and landscape painting to forge an incipient new Chinese ink painting tradition. Through the New Traditions in Chinese Ink Painting Exhibition presented by Mr. Li Zhujin over a two-year period in the United States in the 1960s. Liu Guo-Song ascended to the position as the leading figure of the new Chinese painting tradition, in turn making his mark on the Western world. Second, Liu Guo-Song developed a language of ink painting that embraces the unity of man and the universe. Instead of merely adapting the language of Western art, he delved deeply in the linguistic attributes of Chinese painting, studying the relationships between the materials and languages employed in Chinese painting, and between language and methods of Chinese thinking. In the effort to expand Chinese painting’s power of expression, Liu Guo-Song readily engaged in experimentation surrounding conventional ink painting media. Whether tearing oft strips of paper cord, ink rubbing, rhapsodic calligraphy, water rubbing. or ink steeping, he invented techniques that highlighted the strengths of Chinese media, natural outgrowths of the ink painting language beyond the strict ancient language of ink and brushes. Rather than revisiting the traces of tradition, he returned to its heart. His semi- abstract ink painting language successfully expressed the universal view of “something distinguishable within the nebulous” and the cultural spit of “the Dao comprised of one yin and one yang” - a cultural spirit that transcends the bond between the ego and the universe. His art exhibits a palpable self-aware drive towards the modern that is manifest as modern forms and distinctly Chinese at the same time, as well as belonging to a certain people while facilitating communi-

cation within the realm of universal language. Third, Liu has achieved a desirable spirit with rare courage. China’s transition into the modem follows no set modal: the way is wide open with many roads to take but blazing new trails takes guts. Without guts no new paths can be blazed, but guts alone are not enough without spirit: without national spirit one cannot have identity, and cannot display one’s uniqueness in the world. Liu Guo-Song has traveled his own route over the past several decades, and his courage, commitment and wisdom give us inspiration. As the noted artist Li Keran observed, his rare courage helped gird his breakthroughs, to baldly innovate, irritate the new, not the old, which in essence nonetheless remained imitation: copying the West is not the same as copying China, but neither is it innovation. The “desirable spirit” of which Li spoke referred to expression of the nation’s modern spirit. The twentieth century saw the introduction of Western learning to the East, an era during which Chinese civilization began its rise amidst the industrial and information civilizations, as well as an era in which Chinese ink painting staged a revival as it moved towards modernization. Liu Guo-Song embodies the sense of cultural mission in the Chinese saying. “An educated gentleman cannot but be resolute and broad-minded, for he has a heavy responsibility and a long road to travel”. Both an advocate for and practitioner of modem ink painting, his works signify the existing spirit that runs richly throughout Chinese civilization while manifesting the new tradition of ink painting invested with contemporary consciousness - one that exemplifies the beauty of man’s unify with the universe inherent in Oriental painting. The title, A Man of East, West, South and North, not only illustrates the breadth of Liu Guo-Song’s learning and vision, but perhaps also expresses his noble desire to devote his art for the edification of the entire world.

抽象水墨新氣象劉國松藝術微噴限量發行 2014年，可說是專屬於藝術史上的「藝術微噴年」。國內外知名美術館、博物館紛紛採用藝術微噴的複製型式，完美呈現原作。2013年年底，荷蘭梵谷博物館以「梵谷經典重現展」之名，來台展出全球限量260幅，每幅要價約新台幣100萬元（2.5萬歐元）的「梵谷3D浮雕微噴」系列，受到收藏家們青睞，全台僅10張的配額全數購藏完畢。無獨有偶，2014年1月在中正紀念堂展出的「珍珠之光—透視維梅爾」也同樣以藝術微噴的技術，集結了維梅爾分散於全球十八處美術館的37幅畫作。藝術微噴廣受國際級官方機構認可推行藝術作品，進而影響廣大藝術市場。

當代水墨之父劉國松雄霸亞洲藝壇事實上，藝術微噴幾年前在歐美市場早已成熟。剛結束的瑞士2014Art Basel中，為戰後最值錢的德國藝術家李希特舉辦「李希特─Pictures/Series」大展。展覽場的盛大氣勢，掀起李希特作品在各大拍場的熱潮，其中最受矚目的《貝蒂（Betty）》，在倫敦佳士得2014夏季拍賣送拍這幅作品的「限量藝術微噴」，預估落槌價將超過2010年拍賣38萬美元的價格。劉國松老師在當今藝術市場有其不可被取代之地位。世界畫廊於香港2014 Art Basel為亞洲藝術家劉國松舉辦「回眸‧從六十年代至現在」個人回顧展，劉國松老師更受邀為首映座談會的藝術家。有鑑於此，劉老師的限量藝術微噴肯定引發全球收藏風潮。

新一代藝術品精緻再現─藝術微噴在談到劉國松老師限量藝術品的價值之前，我們先來探討藝術微噴的發展史。「藝術微噴」（Giclée），是日本Epson（愛普生）公司80年

代傳真機發展以來，領先全球的最新科技，無論原料抗褪 “Ultrachrome HDR” 色墨水的本質或是高解析噴墨技術均已十分成熟穩定，其百年抗光防水顏料墨水能取代既有的印刷術，可達光照百年永不褪色的境界，是時代演進下的新一代藝術品複製工法。將藝術微噴一詞拆開來看，「藝」當然是藝術品。「術」是高品質工法技術，「微」是奈米科技，「噴」則代表的是印表機的噴墨功能。顧名思義，用這四字取代過去「數位版畫」……等的用法，代表此嶄新的藝術複製工法可說是再貼切不過了。而藝術微噴的精密先進技術，經專業技術人員調控，擬真程度可完美重現原作，為其他傳統版畫工法無法表達的擬真境界。

秉持著嚴格謹慎的精神。每件都是限量發行，並由藝術家親筆簽名確認。令人振奮的是，首都藝術中心，特地與法國Art Trust認證公司合作。製作了新型無法偽造，不可重複使用的氣泡編碼。收藏家可以利用專屬的氣泡編碼，直接在網上確認收藏品的真偽。劉國松老師的簽名限量藝術微噴，可說是多一層安全保障。

劉國松藝術精品首都領軍限量發行由於能達到與原作擬真性極高，不失真的特性。藝術微噴，堪稱自古以來最接近原作的工法。經由藝術微噴精製而成的限量版畫，近兩年已在超寫實與寫實領域，廣為大陸藝術家使用。舉凡王沂東、冷軍、何多苓、艾軒等一線藝術家，都以藝術微噴作為限量藝術品發行上的首選。其他如劉野、周春芽……等80年後的藝術家，也都紛紛效法跟進，顯然此劃世代高科技發展中應運而生的藝術微噴印製工法在中國藝術收藏市場蔚為風潮。而在台灣早在2005年開始，首都藝術中心董事長蕭耀便洞察未來市場上的發展趨勢，陸續為劉國松老師推行限量藝術微噴。2014年劉國松老師的水墨原作，可謂台灣藝術圈內最具行情的藝術品。他革新獨創的「抽筋剝皮」技法，亦藉由藝術微噴技術，表達得淋漓盡致。首都以多年誠信經營的態度，用最新技術打開您的收藏視野。精選作品及全程監督的製作過程，

台灣畫廊協會資深顧問

The New Trend in Abstract Ink Painting The Limited Giclée Edition of Master Liu Guo Song’s Paintings 2014 may be called “The year of Giclée” in the art history. Internationally renowned galleries and museums are all using the technique of Giclée to reproduce famous original artworks in their collections. At the end of 2013, the Van Gogh Museum of Netherland presented the “The Relievo collection by Van Gogh” exhibition in Taiwan. With the limited quantity of 260 and the cost of one million NT Dollars (25,000 Euros) each, the allotment of 10 for Taiwan was sold out in a short time. In January, 2014, the “Master of Light – Vermeer” exhibition at the Sun Yet San Memorial in Taipei, also presented all 37 paintings of Vermeer collected by 18 different museums throughout the world in Giclée form. The acceptance of Giclée products by museums in promoting artworks will influence the general art market positively. The Dominancy of the Asia Art Community by the Father of Contemporary Ink Painting, Master Liu Guo Song As a matter of fact, Giclée, as a reproduction tool, has been mature in the European and American markets. There was an exhibition, “Richter—Pictures/Series”, for the German Artist Gerhard Richter in the Swiss 2014 Art Basel. The popularity of the exhibition caused another bidding wave in auction houses over the world. The most noticeable one is the Giclée limited reproduction of “Betty” at the summer auction of Christie’s in London. The expected auction price will exceed the 380,000 US Dollars price established in 2010. Master Liu Guo Song has attained a position that cannot be replaced in the current art market. In the Hong Kong Art Basel, the World Gal-

lery presented an exhibition for Master Liu, “A Backward Glance, from 60’s to Now”. Master Liu was the artist presiding in the seminar during the opening of the exhibition. The limited Giclee series of Master Liu’s work will definitely bring another wave of collection in the world. New Generation of Exquisite Art Collectables – Giclée Reproduction Before we discuss the value of Master Liu’s Giclée Reproduction, let us explore the history of Giclée development. The Giclée technology is the world-class leading technology developed by Epson of Japan, a refinement of the common ink-jet scanner developed in the 80s. This high-resolution ink-jet technology and their “Ultrachrome HDK” color ink are all time-proven, mature and stable. The 100-year light resistance of the products cannot be matched by the current printing methods. It is the most advanced printing technology at this time for high value articles. We denote this new technology as “Giclée” instead of using the more traditional “Digital Lithography” because of this precise, advanced technology, with the professional control, can approach almost perfect reproduction of the original. This state cannot be attained by any other existing Lithographic method. Master Liu’s Masterful Work of Art Capital Art Center Leading the Way of Limited Production Because of the extremely high resemblance to the original, Giclée reproduction is the technology that can reproduce artwork with the highest fidelity in history. The Giclée Limited-quan-

tity Lithography has been employed by many Chinese artists in the Sur-realistic and Realistic market in Mainland China. Artists such as Wang Yi Dong, Leng Jun, He Duo Ling, Ai Xuan, etc. have made Giclée their first choice of artwork presentations. Other younger artists such as Liu Ye, Zhou Chun Ya, etc. follow their lead closely. Obviously, the art collection market in Mainland China has embraced this new high technology readily. In Taiwan, York Hsiao, Chairman of Capital Art Center, realizing the future market development trend and the full potential of the new technology, works with Master Liu on Giclee projects starting in 2005. Recently, Master Liu’s original paintings may be the most marketable art work in the collection market in Taiwan. His revolutionary and unique “Paper Fiber” texture technique can be reproduced perfectly with the Giclee technology. Capital Art Center opens up your collecting vision with their consistent credibility and the latest technology. Every item is strictly selected and under constant monitoring in every step of process. Each item is quantity limited and is signed by the artist himself. Capital Art Center worked with Art Trust Company of France to apply their new temper-proof, non-reusable bubble number to the Giclée products. Each collector can use their own bubble number to check the authenticity of their collection on the Web. That is one more security protection for collecting Master Liu’s Giclée Limited Reproduction with the artist’s own signature.

Senior Advisor of Taiwan Gallery Assoication, Taipei

早期系列 Earily Series

Liu Gou Song, acknowledged to be the father of contemporary ink painting, takes a long, legendary, journey of art in a long interesting, tough, and colorful life. His father died during the war fighting against Japanese invaders in China. He and his mother took refuge in Sichuan and Hunan during the war. After the war, the family settled in Wuchang and he attended the second grade of junior 譽為現代水墨之父的劉國松，傳奇般的藝術旅程點綴著曲折、顛簸卻又精彩萬分的人生。西元1938年，父親逝於抗日戰爭，與母親相繼逃亡於四川、湖南，當抗日勝利後，進入武昌就讀初二。開始就學期間，曾利用裝裱畫店所剩的紙與筆，一口氣完成了近八十張畫。爾後，隻身來台就讀師大附中高二，以同等學歷考進師大藝術系。師大就讀期間，國畫師承林玉山、黃君璧、溥心畬等名師，因此奠定了深厚的根基。同時，虞君質老師的一句話：「一切的藝術來自於生活。」，使得劉國松漸對與生活脫節的文人畫失去興趣。開始接觸水彩與油畫的大學二年級期間，劉國松全心全力鑽研西方繪畫，此時影響最深的老師們有朱德群、廖繼春。早期系列的作品，從使用西方元素創作的水彩、油畫、複合媒材，至個人風格逐漸鮮明的水墨作品，輪廓出了劉國松正在雛形中的藝術風骨。

middle school there. When he was in school, he used the scrapped paper and brushes from a framing shop to paint close to 80 paintings. Several years later, at a young age, he came to Taiwan with his school by himself and entered the second grade of senior high school. He took the entrance examination and was admitted to the Arts Department of the now National Taiwan Normal University. He was taught by the great masters of Chinese painting such as Lin Yushan, Huang Junbi, Pu Xinshe, etc. and established a firm foundation for his life in art. At that time, his teacher Yu Junzhi told him that all arts came from real life. Liu gradually lost interest in the literati painting style which was not in touch with actual life. During his sophomore year, he started to learn the Western techniques of watercolour and oil paintings and he devoted all his time in exploring the Western painting methods. The most influential teachers during this period were Zhu Decqun and Liao Jichun. The works in the Early Series were ranged from watercolor, oil, multimedia, with Western elements to ink painting with his gradually more unique style. The early works outlined the forming of the framework of his later styles.

媽，妳在哪裡？

Mama, Where are you?

2006 藝術微噴 38.2 × 24.7 cm 製版數：30 藝術家保留版：6 使用紙材：Arches Velin

2006 Giclée 38.2 × 24.7 cm Edition : 30 Artist’s Proofs : 6 Paper : Arches Velin

2 自畫像

Self-Portrait

2006 藝術微噴 50.7 × 38 cm 製版數：30 藝術家保留版：6 使用紙材：Arches Velin

2006 Giclée 50.7 × 38 cm Edition : 30 Artist’s Proofs : 6 Paper : Arches Velin

3 裸女 2006 藝術微噴 38.5 × 48.5 cm 製版數：30 藝術家保留版：6 使用紙材：Arches Velin

Nude Girl 2006 Giclée 38.5 × 48.5 cm Edition : 30 Artist’s Proofs : 6 Paper : Arches Velin

4 後門 2006 藝術微噴 38 × 52.5 cm 製版數：30 藝術家保留版：6 使用紙材：Arches Velin

Back Door 2006 Giclée 38 × 52.5 cm Edition : 30 Artist’s Proofs : 6 Paper : Arches Velin

5 靜物

Still Life

2006 藝術微噴 38 × 52.4 cm 製版數：30 藝術家保留版：6 使用紙材：Arches Velin

2006 Giclée 38 × 52.4 cm Edition : 30 Artist’s Proofs : 6 Paper : Arches Velin

天若有情天亦老

If God Has Passions, He Would Also Have Aged

2006 藝術微噴 59 × 72 cm 製版數：30 藝術家保留版：6 使用紙材：Arches Velin

2006 Giclée 59 × 72 cm Edition : 30 Artist’s Proofs : 6 Paper : Arches Velin

7 我來此地聞天語 2006 藝術微噴 79.5 × 41 cm 製版數：30 藝術家保留版：6 使用紙材：Arches Velin

I Came Here To Listen to the Sounds of Heaven 2006 Giclée 79.5 × 41 cm Edition : 30 Artist’s Proofs : 6 Paper : Arches Velin

狂草抽象系列 Calligraphic Abstraction Series

After the fourth exhibition of the “Fifth Moon Group”, Liu Guo Song at age 28, felt the constrictiveness of the Western art media and realized the need to break the conservative and close traditions of Chinese painting. At that time, 28歲的劉國松，於1960年第四屆五月畫會展之後，感於西洋藝術媒材的侷限性，同時認為中國繪畫需打破五千年來文人畫的封閉傳統，有所領域的提出了：「模仿新的，不能替代模仿舊的；抄襲西洋的，不能替代抄襲中國的。」，決心將水墨帶入嶄新的領域。從1961—1962年間，實驗了不同的紙拓、板拓，到1963年初試製作燈籠的「雲龍紙」，紙中的紙筋吸引了他，便遍尋紙廠一同研發手工製作、且紙筋更粗、更密集的「劉國松紙」。於紙筋粗厚的「劉國松紙」上，將啟發于石恪

《二祖調心圖》中的狂草

筆法，透過大筆刷橫掃畫面，點綴花青染色。待墨乾後，撕去墨中紙筋，留下單用筆墨無法畫出的白色線條，獨一無二的狂草抽象效果，僅能透過紙中紙筋分佈加以佈局畫面，半偶然的機遇造就了獨一無二的澎湃氣勢，劉國松更將並將此技法命名為「抽筋剝皮皴」，開啟了劉國松的現代水墨之路。1966年，獲得獲得美國洛克菲勒三世基金會獎助金，環球之旅逐漸拓寬了劉國松的藝術視野，造就了更不凡的現代水墨意象，進而成為現代水墨之父。

he proposed that “Copying the new cannot replace copying from the old. Copying the West cannot replace copying Chinese.” and decided to bring the ink painting into a completely new territory. From 1961 to 1962, he experimented with many paper transferring, plate transferring techniques. In 1963, he tried to work with the “Cloud Dragon Paper” which was used to make lanterns. The rough fiber of the paper intrigued him. He looked all over for a paper factory to work with him to develop a paper with more thick and dense fibers, which later was named “Liu Guo Song Paper” in his honor. On his special paper, with big brush and a little blue coloring for decoration, in a wild scribble style inspired by Shi Ke, he made the basic structures of his painting. After the ink was dried, he tear out the fibers that was stained with ink and left streaks of white line on the picture to attain the abstract images he was after. He called this technique his “Paper Fiber Method” opening up a way to his contemporary ink painting destiny. In 1966, he received a two-year grant from the John D. Rockefeller III Foundation of the United States to travel the world. His travelling broadened his mind and brought forth his unique and extraordinary visions in his contemporary Chinese ink paintings.

16 迎風 (A) 2006 藝術微噴 91.6 × 60 cm 製版數：99 藝術家保留版：19 使用紙材：Arches Velin

Windward (A) 2006 Giclée 91.6 × 60 cm Edition : 99 Artist’s Proofs : 19 Paper : Arches Velin

17 雨絲雲樹 (A)

Drizzle in the Trees (A)

2007 藝術微噴 61 × 91 cm 製版數：99 藝術家保留版：19 使用紙材：BFK Rives

2007 Giclée 61 × 91 cm Edition : 99 Artist’s Proofs : 19 Paper : BFK Rives

18 壓眉之二 2006 藝術微噴 101 × 58 cm 製版數：99 藝術家保留版：19 使用紙材：Arches Velin

Pressing on the Brows, No.2 2006 Giclée 101 × 58 cm Edition : 99 Artist’s Proofs : 19 Paper : Arches Velin

19 迎風 (B)

Windward (B)

2005 藝術微噴 59.5 × 89.5 cm 製版數：99 藝術家保留版：19 使用紙材：Arches Velin

2005 Giclée 59.5 × 89.5 cm Edition : 99 Artist’s Proofs : 19 Paper : Arches Velin

20 雲霧繚繞 2007 藝術微噴 80.7 × 50 cm 製版數：99 藝術家保留版：19 使用紙材：Arches Velin

Cloud Surrounding 2007 Giclée 80.7 × 50 cm Edition : 99 Artist’s Proofs : 19 Paper : Arches Velin

21 神韻之舞

The Dance of Spirit

2007 藝術微噴 57 × 89 cm 製版數：99 藝術家保留版：19 使用紙材：BFK Rives

2007 Giclée 57 × 89 cm Edition : 99 Artist’s Proofs : 19 Paper : BFK Rives

太空系列 Space Series

In 1968, the American spacecraft Apollo 8 sent back a picture of earth from behind the moon. This picture brought great impact and inspiration for Liu Guo Song. The traditional Chinese view of “Round Sky and Square Earth” 1968年，美國太空船阿波羅八號在繞過月球後，拍攝了一張地球照片，帶

differed much from the picture. The never seen scenery stimulated his wild

給了劉國松巨大的衝擊和啟發。中國傳統「天圓地方」的地理概念，和照片

imagination. He used the big brush strokes for texture and stained with blue

中的星體相去甚遠。圓形的地球與弧形的月球表面，從未見過的特殊景緻刺

coloring, with the wild scribble abstract lines and special paper fiber technique

激了藝術家無垠的想像空間。以大筆刷的肌理筆觸加上花青染色，結合狂草

to represent the mountains and rivers on earth. Then, added layers of sprayed

抽象的抽筋剝皮皴法，象徵地球表面山水；再利用噴墨、彩墨的特殊漸層畫

ink and color ink to create the paintings such as “Sunrise”, “Coming Sun”, “Ve-

於圓中相互呼應，特殊的菱形畫面如《日出》、《日來》、《金星》、《月

nus”, “Lunar Metamorphosis”, etc. in the most popular “Space Series”. The se-

之蛻變》等作品，造就出了最出名也最受歡迎的「太空系列」。接續也不斷

ries extended to different ways to compose such as the multi-panel method in

延伸出不同的構圖方法如《月蝕》、《如來》等作品的連屏手法，呈現星體

paintings like “Lunar Eclipse”, “Nirvana”, etc. to express the vision of time and

與時間流轉的三度思維，確實跨出了中國水墨的封閉傳統，拓展了截然不同

three dimensional space. It truly exceeded the boundary of the conservation

的視野，讓劉國松在美國獲得了「最敏感的現代畫家」美譽。

traditions of Chinese ink paintings and created a completely different view. Liu Guo Song was called the most sensitive contemporary artist in the United States.

日月浮沉 (A)

The Rise and Set of the Sun and Moon (A)

2005 藝術微噴 58.5 × 94 cm 製版數：99 藝術家保留版：19 使用紙材：Arches Velin

2005 Giclée 58.5 × 94 cm Edition : 99 Artist’s Proofs : 19 Paper : Arches Velin

50 日月浮沉 (B)

The Rise and Set of the Sun and Moon (B)

2005 藝術微噴 58.5 × 80 cm 製版數：99 藝術家保留版：19 使用紙材：Arches Velin

2005 Giclée 58.5 × 80 cm Edition : 99 Artist’s Proofs : 19 Paper : Arches Velin

月之蛻變之八

Lunar Metamorphosis No.8

2008 藝術微噴 60 × 60 cm 製版數：99 藝術家保留版：19 使用紙材：Arches Velin

2008 Giclée 60 × 60 cm Edition : 99 Artist’s Proofs : 19 Paper : Arches Velin

52 日來

Coming Sun

2005 藝術微噴 60 × 60 cm 製版數：99 藝術家保留版：19 使用紙材：Arches Velin

2005 Giclée 60 × 60 cm Edition : 99 Artist’s Proofs : 19 Paper : Arches Velin

53 元宵節 2008 藝術微噴 86 × 50 cm 製版數：99 藝術家保留版：19 使用紙材：Arches Velin

Latern Festival 2008 Giclée 86 × 50 cm Edition : 99 Artist’s Proofs : 19 Paper : Arches Velin

54 地球何許之十 2008 藝術微噴 110 × 60 cm 製版數：99 藝術家保留版：19 使用紙材：Arches Velin

Which is Earth? No.10 2008 Giclée 110 × 60 cm Edition : 99 Artist’s Proofs : 19 Paper : Arches Velin

水拓系列 Water Rubbing Series

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The method of water transferring came from an old lost Chinese painting technique call “water painting”. Master Liu Guo Song noticed the ink floating on top of the water when he washed his brushes and he spent nearly six years 水拓法的靈感，來自於已經失傳的中國古畫技巧，水畫。劉國松於洗筆的盆

to experiment the different ways to use this method. He started with small

中，注意到墨於水中的浮力，於是花了近六年的時間，從水盆實驗到澡缸，

water pan, gradually experimented on larger container and finally in a bathtub

嘗試更大、更多元的水拓技法。水拓法的技巧為，先將墨汁滴或甩於水中，

to do bigger and bigger paintings and with more different elements for the

當墨浮於水上，觀察不相連的墨形成點與在水面上的走勢，逐漸形成意象中

method. To do the water transferring, first drop drops of ink in the water, wait

的畫面與線條時，以手指捏住宣紙兩端，將其放置水面上吸取墨點。放紙的

till the ink drops form the patterns you are after, then take the two end of the

速度越快，其拓印的墨就濃，反之則淡，所形成的墨點與白線，呈現了水流

paper and put it on the water to absorb the ink blots. The faster the paper is

動時的波紋所產生的特殊變化。甚至，劉國松噴灑松節油，利用油水不容的

put on the water, the ink blots are darker. The ink blot would be lighter when

原理，和水中礦物質含量差異影響墨點分佈變化，造就了精巧絕倫的墨色流

the paper is put on slower. The ink and lines formed would show the variation

動肌理、紋路與線條。

due to the water flow during the transferring. Sometimes, Liu even used turpentine to change the ink patterns in the water to achieve various texture of ink flow and lines.

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146

流雲浮月

Floating Moon on Flowing Clouds

2008 藝術微噴 60 × 124 cm 製版數：99 藝術家保留版：19 使用紙材：Arches Velin

2008 Giclée 60 × 124 cm Edition : 99 Artist’s Proofs : 19 Paper : Arches Velin

118 天池 2009 藝術微噴 93 × 58 cm 製版數：99 藝術家保留版：19 使用紙材：BFK Rives

Heavenly Lake 2009 Giclée 93 × 58 cm Edition : 99 Artist’s Proofs : 19 Paper : BFK Rives

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148

赤壁

Chibi

2009 藝術微噴 68 × 67.5 cm 製版數：99 藝術家保留版：19 使用紙材：Arches Velin

2009 Giclée 68 × 67.5 cm Edition : 99 Artist’s Proofs : 19 Paper : Arches Velin

120 多面的山 2008 藝術微噴 93 × 68.5 cm 製版數：99 藝術家保留版：19 使用紙材：BFK Rives

Multifaceted Mountain 2008 Giclée 93 × 68.5 cm Edition : 99 Artist’s Proofs : 19 Paper : BFK Rives

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121 兩岸晨光湧不絕 2009 藝術微噴 95 × 47.5 cm 製版數：99 藝術家保留版：19 使用紙材：BFK Rives

Endless Morning Light between the Two Coasts 2009 Giclée 95 × 47.5 cm Edition : 99 Artist’s Proofs : 19 Paper : BFK Rives

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122 流動的銀色大地 2009 藝術微噴 32 × 47.5 cm 製版數：99 藝術家保留版：19 使用紙材：Arches Velin

Flowing Silver Land 2009 Giclée 32 × 47.5 cm Edition : 99 Artist’s Proofs : 19 Paper : Arches Velin

123 山之盟 2009 藝術微噴 53 × 84 cm 製版數：99 藝術家保留版：19 使用紙材：Arches Velin

Bond with Mountain 2009 Giclée 53 × 84 cm Edition : 99 Artist’s Proofs : 19 Paper : Arches Velin

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漬墨系列 Steeped Ink Series

170

The earliest ink blotting technique used painting paper as media. Stack two pieces of paper on top of table, and wet the paper with hand, spray bottle, or 最早的漬墨法是以宣紙為媒介，將兩張紙交疊平放，以手、噴壺或噴槍打濕

spray gun. The position of air bobbles can be adjusted with a dry pen. Then,

畫紙。待兩紙遇濕貼合後，交疊處所產生的汽泡可利用乾筆調整位置，再滴

apply colors, ink or water. After the two pieces of paper are dried, separate the

下顏料、墨汁、水。待紙乾後將兩者揭開，觀察上下兩張紙的佈局效果，接

paper and examine the resulting patterns. Add additional elements to make

續構圖，呈現山、水、蓮、荷的意象之美。漬墨法用於不同的紙張可造就不

the painting of mountain, water, lotus leaves, or lotus flowers. This method

同的效果，此技法最為人所津津樂道的，即是以「九寨溝」為題的一系列創

produces various results with different type of paper. Liu’s Jiu-zai-gu series

作。

paintings were the great examples of this method.

劉國松與九寨溝的淵源，始於2001年冬季，受邀至成都美術館展覽，結束

The encounter of Jiu-zai-gu and Liu Guo Song started in the winter of 2001.

後驅車前往九寨溝時，路途中發生意外仍平安的驚險抵達。因走過生死關，

Liu was invited to exhibit at the Chengdu Art Museum. A traffic accident oc-

初見九寨溝之美，水色豔瀲、蕩漾，動與靜之間呈現多變色澤交替的閃爍耀

curred on the way to Jiu-zai-gu after the exhibition. He arrived unharmed but

澤，驅使他回台後，一心一意欲將心中感動呈現于畫作中。透過不斷嘗試，

severely shaken up. Even at the edge of death, the beauty of Jiu-zai-gu struck

發現一般畫紙皆無法表現九寨溝之美，卻因緣際會聯想到曾在建築系任教時

him and left a deep impression, which drove him to show the many changing

日，看到學生用描圖紙繪製建築圖，描圖紙的不吸水特性，恰巧將兩張描圖

colors, surface variations, movement and stillness of the water in his paint-

紙重疊渲染後，可做出水紋的效果。經過日以繼夜的實驗後終於成功。

ings when he was back in Taiwan. After many unsuccessful trials, he discovered that using ordinary painting paper was unable to produce the images in his mind. He remembered the draft paper used by students when he was teaching in the Architecture Department. Because of this paper does not absorb water, it would show the water movement effects perfectly. After experimented with this paper day and night, he finally succeeded to show the effects he wanted.

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143 噴發 2012 藝術微噴 45.5 × 32 cm 製版數：99 藝術家保留版：19 使用紙材：Arches Velin

Erupting 2012 Giclée 45.5 × 32 cm Edition : 99 Artist’s Proofs : 19 Paper : Arches Velin

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144 長海秋色

Autumn Colors of Changhai

2012 藝術微噴 54 × 72 cm 製版數：99 藝術家保留版：19 使用紙材：Arches Velin

2012 Giclée 54 × 72 cm Edition : 99 Artist’s Proofs : 19 Paper : Arches Velin

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145 秋林 2012 藝術微噴 80 × 59 cm 製版數：99 藝術家保留版：19 使用紙材：Arches Velin

Forest in Autumn 2012 Giclée 80 × 59 cm Edition : 99 Artist’s Proofs : 19 Paper : Arches Velin

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146 浮島 2012 藝術微噴 35.5 × 54 cm 製版數：99 藝術家保留版：19 使用紙材：Arches Velin

Floating Island 2012 Giclée 35.5 × 54 cm Edition : 99 Artist’s Proofs : 19 Paper : Arches Velin

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147 雪融的聲音 2007 藝術微噴 92 × 60.5 cm 製版數：99 藝術家保留版：19 使用紙材：Arches Velin

Sound of Melting Snow 2007 Giclée 92 × 60.5 cm Edition : 99 Artist’s Proofs : 19 Paper : Arches Velin

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148 漪

Ripples: Jiuzhaigou Series ( A )

2005 藝術微噴 70.5 × 79 cm 製版數：99 藝術家保留版：19 使用紙材：Arches Velin

2005 Giclée 70.5 × 79 cm Edition : 99 Artist’s Proofs : 19 Paper : Arches Velin

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西藏組曲系列 Tibetan Suite Series

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In the spring of 2000, Liu Guo Song was invited to lecture at the Tiber University. On his way there, he went to visit the Mount Everest. He lost the hearing 2000年春季，劉國松應邀至西藏大學講學，途中至珠穆朗瑪峰一遊，期間因高山症導致左耳失聰。此意外並未打擊劉國松的創作之路，反之旅途期間感受了雪山的壯闊姿態，巍然屹立、層巒疊嶂卻又被白雪覆蓋而銀光閃爍，其意境使劉國松內心感動不已。西藏組曲的創作，即是以「劉國松紙」的特色為基底，透過抽筋剝皮皴技法，讓白線替代筆墨的黑線，利用墨水透過紙張的正、反兩面，皆可加以利用於構圖、佈局，將白處象徵停留於山頭的積雪，再以花青染色點綴，忠實且完美呈現了劉國松心中的宏偉山景、雪嶺。

of his left ear due to high altitude sickness. This accident did not impact his road to creation. The grandiose views of the snow-capped mountain ranges and the reflections due to various lighting moved Liu very deeply. The paintings of this series started with his own “Liu Guo Song Paper”. Using his unique “Paper Fiber Technique”, he made the white streaks to replace the lines of ink strokes. The front and back sides of the paper were used for different parts of composition. The empty part of the paper was reserved to depict the white snow on mountain tops. Then, some blue color was added for decoration. The images of high grandiose mountains and the massive snow on top in Liu’s mind were perfectly and faithfully presented in these paintings.

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空谷雪花飛

Snowflakes Flying in Empty Valley

2009 藝術微噴 50 × 50 cm 製版數：99 藝術家保留版：19 使用紙材：Arches Velin

2009 Giclée 50 × 50 cm Edition : 99 Artist’s Proofs : 19 Paper : Arches Velin

168 山外山宇宙心印 2008 藝術微噴 56.5 × 87.7 cm 製版數：99 藝術家保留版：19 使用紙材：Arches Velin

Mountain beyond Mountains Universe in My Heart 2008 Giclée 56.5 × 87.7 cm Edition : 99 Artist’s Proofs : 19 Paper : Arches Velin

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169 冬之飄去 2009 藝術微噴 97.6 × 50 cm 製版數：99 藝術家保留版：19 使用紙材：BFK Rives

Winter Receding 2009 Giclée 97.6 × 50 cm Edition : 99 Artist’s Proofs : 19 Paper : BFK Rives

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170 雲起時

The Forming of Clouds

2009 藝術微噴 60 × 92 cm 製版數：99 藝術家保留版：19 使用紙材：BFK Rives

2009 Giclée 60 × 92 cm Edition : 99 Artist’s Proofs : 19 Paper : BFK Rives

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171 聖山夕照 2009 藝術微噴 96 × 47 cm 製版數：99 藝術家保留版：19 使用紙材：BFK Rives

Sunset on Holy Mountain 2009 Giclée 96 × 47 cm Edition : 99 Artist’s Proofs : 19 Paper : BFK Rives

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172 聖山 (A)

Holy Mountain (A)

2009 藝術微噴 56.5 × 95.2 cm 製版數：99 藝術家保留版：19 使用紙材：BFK Rives

2009 Giclée 56.5 × 95.2 cm Edition : 99 Artist’s Proofs : 19 Paper : BFK Rives

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四序山水圖卷 Landscapes of Four Seasons Scroll

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The “Scroll of Sceneries in Four Seasons” was painted in mid-80s. It is a very important piece of work among his paintings. Many traditional Chinese art「四序山水圖卷」繪製於八〇年代中期，堪稱劉國松相當重要的作品。傳統

ists made scenery painting in four-panel form to depict the four seasons, but

中國畫作常以四屏形式呈現四季山水之變化，但將四季流轉之美以長卷形式

putting all four panels together on a long scroll is a non-preceding idea of his

呈現，劉國松可謂前無古人，後無來者。正如李可染於此畫卷首題跋所言：

own. Li Keran’s note at the beginning of this scroll said, “It is a very original idea

「匠心獨具，突破時空局限，將四季山川景色繪於一圖，壯觀宏偉，展卷令

to break through the limit of time and space. Grandiose vision and sceneries

人神馳不已。」

made your mind soaring.”

製作這幅長卷，劉國松自製大小形狀不一的畫筆，先以粗筆濃墨揮灑，爾後

To paint this scroll, Liu have to make many various shapes and sizes of brushes

撕下紙筋，留下白色線條點綴墨色，再以不同筆觸營造冰川、峭壁、懸崖、

himself. He first made the strokes with broad brush and thick ink. Then, he tore

沼澤、窪地、奔泉、飛瀑等自然景致，巧奪天工的筆墨好似雲遊其中。細微

off the paper fiber and left white streaks on the black ink strokes. He used dif-

之處加以唾、印、漬、染與抽筋剝皮皴技法，細緻表現自然中的四季變化，

ferent brush strokes to create natural sceneries of glaciers, abrupt walls, cliffs,

讓山谷、溪流、雲瀑、濃霧等元素，於畫面中起承轉合，彷彿一首完美的協

marshes, wetlands, running springs, flying waterfalls, etc. To achieving the de-

奏曲，餘音繞梁，回味無窮。春日的浪漫情懷、夏日的昂盛蒼鬱、秋光的金

tails, he used spitting, printing, blotting, soaking, dying, and his unique paper

霞餘暉至寒冬的肅峻冷冽，如同劉國松傳奇般的藝術旅程，如此堅毅不拔卻

fiber techniques. He let the elements of valley, creeks, clouds, fogs bring out

也滿載思思情懷。

the changes in seasons like a perfect Concerto. The romantic spring, the lively summer, the golden autumn sunlight, and the severe winter are all part of the whole picture just like the legendary journey of Liu’s life in art, so steadfast yet full of warm feelings.

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四序山水圖卷

Landscapes of Four Seasons Scroll

2012 藝術微噴捲軸 40 × 648 cm 製版數：30 藝術家保留版：6 使用紙材：宣紙

2012 Giclée Scroll 40 × 648 cm Edition : 30 Artist’s Proofs : 6 Paper : Rice Paper

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年表 Chronology

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年表 1932 4月26日生於安徽蚌埠，原籍山東青州。 1938 父親於抗日戰爭中陣亡。與母親流亡於湖北，陝西，四川，湖南，江西等地，歷經艱難，妹妹於逃亡中夭折。 1946 抗日勝利後，定居於湖北武昌。 1948 考入南京國民革命軍遺族學校。 1949 隻身隨遺族學校到台灣，後分至台北省立師範學院（今台灣師範大學）附屬中學高一就讀。 1950 發表新詩及短篇小說於《自由中國》與《中學生》等雜誌上。 1951 以同等學歷考進台灣師範學院美術系。 1954 在《聯合報》發表首篇評論文章〈為什麼把日本畫往國畫擠？--九屆全省美展國畫部觀後〉。 1956 台灣師範大學美術系第一名畢業，並於校內舉辦「四人聯合西畫展」。在廖繼春教授鼓勵下，成立”五月畫會”。 1957 代表台灣參加日本東京「亞洲青年美展」。首屆「五月畫會」畫展於台北舉辦，掀起了台灣現代藝術運動。 1958 開始大量撰寫藝術理論文章，鼓吹現代藝術。 1959 參加巴西「聖保羅國際雙年展」，法國「巴黎青年雙年展」，被法國費加羅日報評為天才。思想由全盤西化轉為中西合璧，開始採用石膏在畫布上打底，在油畫中加入水墨趣味。受廖繼春老師的推薦，赴台南成功大學建築系擔任郭柏川的美術助教。 1960 應聘擔任中原大學建築系講師。參與《筆匯》月刊的編輯工作。 1961 與黎模華女士結婚。受建築界材料理論影響，放棄油彩與畫布，重回紙墨世界，倡導「中國畫現代化」運動，並開發各種拓墨技法。撰文反駁〈現代藝術的歸趨〉一文，引發「現代繪畫論戰」。 1963 發明粗筋棉紙「劉國松紙」，並藉此創造出自我獨特畫風。作品《雲深不知處》為香港藝術館收藏，也是作品首次為美術館收藏。 1964 「當代中國繪畫展」非洲十四個國家巡迴展。

244

1965 首次個展於台灣藝術館舉辦。「亞洲先進藝術家畫展」亞洲十大城市巡迴展出。論文集《中國現代畫的路》由台北文星書店出版。應意大利羅馬現代美術館之邀，參加「中國現代藝術展」。 1966 第二本論文集《臨摹，寫生，創造》由台北文星書店出版。經李鑄晉推薦，擭美國洛克斐勒三世基金會（The JDR 3rd Foundation）兩年環球旅行獎。應美國加州拉古拉美術館之邀，舉行在美之首次個展。赴愛荷華大學學習銅版畫3個月，隨後在美各地旅遊參觀4 個月，並在紐約旅居9個月。還多次赴各地參加「中國新山水傳統」在美國主要美術館巡迴展的開幕式。第一本《劉國松畫集》由台北歷史博物館出版。 1967 應羅德斯畫廊之邀，舉行首次紐約個展，獲紐約時報名藝術評論家肯乃德（John Canaday）好評，並與該畫廊簽約，成為代理畫家。應美國密蘇里州堪薩斯市納爾遜美術館邀請舉行個展。五月初離開紐約赴歐州旅遊參觀五個月，十月返回台灣。 1968 當選台灣「十大傑出青年」。發起成立台彎「中國水墨畫學會」，繼續鼓吹中國畫之現代化。 1969 受美國「阿波羅8 號」飛船由月球背面拍回地球照片之影響，開始《太空畫》系列之創作，首幅《地球何許？》獲美國「主流『69』「國際美展」繪畫首獎。台北歷史博物館主辦「劉國松畫展」，並出版李鑄晉著英文版《劉國松─一個中國現代畫家的成長》。應美國加州史丹佛大學美術館之邀，參加「二十世紀中國繪畫的發展」展出。 1970 應美國威斯康辛史道特州立大學藝術系之邀，擔任客座教授一學期。應邀為日本大阪世界博覽會繪製巨作《午夜的太陽》。德國科隆東方藝術博物館和法蘭克福博物館合辦「劉國松畫展」巡迴展，並出版《劉國松─一個中國現代畫家的成長》德文版。應美國芝加哥藝術俱樂部之邀，參展「書法的陳述」。 1971 應聘香港中文大學藝術系任教，遷居香港。美國檀香山美術學院與俄亥俄州辛辛那提市塔虎脫博物館舉辦「五月畫會」畫展。 1972 出任香港中文大學藝術系主任，並首創「現代水墨畫」課程。香港藝術中心舉辦「劉國松畫展」。 1973 創辦「現代水墨畫文憑課程」於香港中文大學校外進修部，推廣現代水墨創作。著名英國藝術史專家蘇利文之《東西方藝術之會合》（The Meeting of Eastern and Western Art）在英國出版，對劉國松給予重要評價。參加由國際電話電報公司主辦在各國著名博物館巡迴展出的「國際美展」。開始全力探索水拓畫技法。

1974 發表〈談繪畫的技巧〉一文，提出「革中鋒的命」、「革筆的命」之理論，引發大規模的討論。參加日本東京上野之森美術館「亞細亞現代美術展」。參加美國耶魯大學美術館「當代中國之繪畫與書法展」，並巡迴著名大學美術館展出一年。 1975 法國出版的《抽象藝術》一書，收錄其作品《地球何許？》。應美國愛荷華大學藝術學院之邀，擔任客座教授一年。參加日本東京上野之森美術館「第十一屆亞洲現代美展」。 1976 於香港中文大學籌辦及主持第四屆亞洲國際美術教育會議，並當選國際藝術教育協會亞洲區會長。辭系主任一職，專心教學與創作。蘇利文著《中國美術簡史》（A Short History of Chinese Art）由美國柏克萊加州大學出版，將其列入創新一派。發表論文著作《溥心畬書畫稿》，出版於香港中文大學藝術系叢書第二冊。 1977 當選英國國聯8 位畫家的亞洲區代表，前往加拿大參加「國際版畫代表作」之創作。參加香港藝術館「今日香港藝術展」。 1978 應聘擔任台北市美術館籌備委員會委員。紐約大學教授諾考瓦（Conrad Schirokauer）著《中國與日本文明簡史》（A Brief History of Chinese and Japanese Civilization），大學教科書將其列為中國現代藝術之代表，並在書中引用其理論文章並刊印其畫作。 1979 獲國際靜坐協會完美獎。參加美國聯合國舉辦的「藝術家79展覽」。 1980 應愛荷華州─伊利諾伊州藝術評議會之邀，任訪問藝術家1 年。並於各大學美術學院，教育電視台及美術館巡迴演講及教授繪畫。 1981 應邀赴北京參加北京中國畫研究院之成立大會並參展。隨後赴南京、上海、杭州參觀訪問。參加法國巴黎塞紐斯基博物館「中國現代繪畫趨向展」。應邀赴巴林國巴林市參加「第一屆亞洲藝術展」展出及開幕活動。 1982 英國出版的希諾考瓦《現代中國和日本》（Modern China and Japan）視其為中國代表畫家。參加菲律賓馬尼拉大都會博物館「香港當代美展」。 1983 個展於北京中國美術館與南京江蘇省美術館，並應中央美術學院之邀公開舉辦三個演講，隨後3 年巡迴展於全國18 個重要城市，北到哈爾濱，西至蘭州、烏魯木齊。 1984 北京人民美術出版社出版《劉國松畫輯》。參加北京「第六屆全國美展」，與李可染同時獲得「特別獎」。參加香港藝術館「二十世紀中國繪畫展」。

1985 首次應法國「五月沙龍」之邀，作品《沉入山的呼吸裡》參加該沙龍在巴黎大皇宮的展出。應北京中央工藝美術學院之聘前往該校講學兩周，教授現代水墨畫。周韶華著《劉國松的藝術構成》由湖北美術出版社出版。 1986 赴敦煌與絲綢之路考察。水拓畫達於成熟境地，開始漬墨畫的探索與試驗。參加漢城韓國文化館「第十屆亞洲運動會亞洲現代水墨畫展。 1987 8月前往西藏旅遊，成為創作《西藏山水》系列之靈感泉源，畫風為之一變。參加日本東京都美術館「國際水墨畫展」並獲頒特別獎。參加加拿大溫哥華市美術館「當代中國繪畫展覽」。參加比利時布魯塞爾市政廳主辦之「中國現代畫展」。 1988 參加北京中國畫研究所「國際水墨畫展」和「水墨畫研討會」，發表論文（當前國畫的觀念問題）。參加日本福岡市美術館「第三屆亞洲國際美術展覽」。參加漢城韓國美術館「東方現代彩墨展」。 1989 應邀擔任北京「全國現代書畫大賽」評審委員。應美國運通銀行之邀，繪製五層樓高之大畫《源》（1952 公分 x 366公分）參加韓國漢城大都會藝術博物館「第四屆亞洲國際美術展覽」。 1990 大型回顧展由台北市立美術館舉辦，並出版畫冊。 1991 獲李仲生現代繪畫文教基金會「現代繪畫成就獎」。 1992 應邀出席台北市美術館「東方美學與現代美術」學術研討會，發表〈先求異，再求好〉教學埋論。「六十回顧展」於台中市台灣省立美術館舉辦。 10月自香港中文大學退休，返台中定居，並任東海大學客座教授。 1995 赴法國參加巴黎台北新聞文化中心「台灣當代水墨畫展」。 1996 應邀擔任台南藝術大學造型藝術研究所所長。台北歷史博物館邀請舉辦「劉國松研究展」，並出版蕭瓊瑞著《劉國松研究》與李君毅編《劉國松研究文選》。陳履生著《劉國松評傳》由廣西美術出版社出版。 1997 應邀參加上海美術館舉辦之「中國藝術大展」及研討會。 1998 台灣唯一的藝術家應邀赴紐約參加古根漢美術館舉辦之「中華五千文明藝術展」的展出，參加開幕式。並參加該展於西班牙畢爾堡古根漢美術館的開幕式。應德國文化中心之邀赴歐洲參觀考察，並參加「展望2000 - 中國現代藝術展」德國Edition Global出版之大學教科書《Bruchen und Bruche : Chinas Malerei im 20. Jahrhundert》用劉國松作品《干仞錯》作封面，內文大量介紹了其對當代中國繪畫的影響。

論文集《永世的痴迷》由山東畫報出版社出版。自台南藝術大學退休。 1999 應台北市中山國家藝廊之邀舉辦「宇宙即我心」個展。蕭瓊瑞與林伯欣合著《台灣美術評論全集：劉國松卷》由台灣省立美術館出版。應邀赴巴黎製作《畫中有詩》版畫集。余光中特別為劉國松的畫創作六首詩一併印出，同時出版《詩情畫意集》。 2000 應邀赴成都參加現代藝術館「世紀之門」藝術展覽。應邀赴西藏大學講學，並前往珠穆朗瑪峰，出藏後左耳突然失聰。在紐約Goedhuis Contemporary畫廊舉辦個展。《劉國松·余光中：對影叢書文彩畫風》由河北教育出版社出版。 2001 應邀赴紐約參加「無限中華」藝術大展，並訪問華盛頓、舊金山等地。赴四川九寨溝旅遊，深受原始自然景觀的感動，開始實驗用建築描圖紙結合漬墨技法創造了一系列九寨溝的波光水影作品。應成都現代藝術館的邀請，舉辦「西疆擴遠─劉國松畫展」。 2002 「宇宙心印劉國松七十回顧」於新竹智邦藝術中心，北京國家歷史博物館，上海美術館，廣東美術館及台北京華城盛大巡迴展出。作品《石頭的玄學》（The Metaphysics of Rocks）被收入美國Wadsworth Group出版的大學教科書《東方文化史》中。當選台灣師範大學「傑出校友」。李君毅編《劉國松談藝錄》由河南美術出版社出版。 2003 「造化心源」於台灣台中文化中心展出。「劉國松七十回顧展」於香港漢雅軒展出。 2004 「劉國松的宇宙」應邀於香港藝術館展出，並出版大型畫集。出任香港中文大學訪問學人。獲台南藝術大學頒發「榮譽教授」證書。美國Thomson出版社的大學教科書《現代東亞簡史》用了劉國松的「石頭的玄學」及其理論文字。 2005 台灣創價學會主辦的「現代的衝擊：劉國松畫展」於新竹藝文中心，台中藝文中心，景陽藝文中心與鹽埕藝文中心巡迴展出。美國亞利桑那州立大學舉辦「劉國松師生展」。出席英國牛津大學主辦之「現代中國藝術學術研討會」。「劉國松：創作回顧」於新加坡泰勒版畫院展出。受神舟六號升空的感動，開始創作《神舟六號》系列作品。 2006 「心源造化:劉國松創作回顧展」由杭州浙江省博物館、浙江西湖美術館與湖南省博物館主辦展出。 10月14日應美國哈佛大學之邀，演講《我的繪畫理念與實際》，並參加賽克勒博物館舉辦之「中國新山水畫展」的開幕活動。在張家界遊覽之後，又創作一系列張家界作品，山水巨幅《天子山盛夏》隨後被故宮博物院收藏。

2007 出席瑞士蘇黎世理脫格博物館新館開幕活動。「宇宙心印：劉國松繪畫一甲子」由北京故宮博物院主辦於武英殿展覽館展出，之後也在上海美術館和廣東美術館展出。林木著《劉國松的中國現代畫之路》由四川美術出版社出版。張孟起與劉素玉合著《宇宙即我心：劉國松的藝術創作之路》由台北典藏藝術出版。 2008 獲台灣第十二屆國家文藝獎。在法國巴黎Galerie 75 Faubourg 開個展。赴北京參加當代藝術館舉辦的「水墨演義」開幕活動及上上美術館「水墨主義」的展出。個展於首都藝術中心，「突兀夢幻蛻變劉國松個展」。 2009 「宇宙心印劉國松繪畫一甲子」巡迴展於湖北省博物館、寧夏博物館、重慶中國三峽博物館、與合肥亞明藝術館。被聘為客座教授至西南大學與四川美院講學。 2010 在英國倫敦Goedhuis Contemporary 畫廊個展，作品《日月浮沉》為大英博物館收藏。應邀赴成都四川大學講學。赴北京參加兩岸漢字藝術節。獲台灣師範大學講座教授聘書。獲世界藝術文化學院頒發榮譽博士學位。 2011 蕭瓊瑞著《水墨巨靈─劉國松傳》由台北遠景出版社出版。「劉國松創作大展─八十回眸」於北京中國美術館展出。應邀於中央美院作專題演講。應邀在澳門舉辦之「海峽兩岸學術研討會」上作專題演講。應邀以嘉賓身份參加北京全國文聯代表會議。獲中國藝術研究院頒發「中華藝文終生成就獎」。參加辛亥革命一百周年藝術展於北京國家博物館與中國美術館。 2012 「一個東西南北人─劉國松80 回顧展」於國立台灣美術館展出。 2013 個展於濟南山東博物館。「大化流行」，首都藝術中心個展。「傳功一甲子：劉國松現代水墨創作展」，台中文化創意產業園區，台灣。「原．緣：劉國松現代水墨師生展」，中原大學藝術中心，桃園，台灣。「中國當代水墨畫展」，香港會議展覽中心。 2014 老而彌堅，創新不已，突破規範，不斷精進，提攜後學，再創高峰，名揚寰宇，璀璨可期。榮獲全球傑出華人獎，香港全球傑出華人協會。「劉國松作品展：回眸一瞥 ─ 從20世紀60年代到現代」，世界畫廊，香港。「白線的張力．中國現代水墨藝術大展」，山東博物館與濰坊、煙台、濟寧、青島等博物館巡迴展，中國。「劉國松師生展」，南海畫廊，舊金山，美國。「中國當代水墨畫展」，香港會議展覽中心。 9月21日孔子農曆生日第二天，應邀至曲阜孔廟祭孔，並擔任主祭官，山東文化局長和山東博物館館長任陪祭官，觀祭民眾有數百人。

245

Chronology 1932

1956

Hong Kong Museum of Art, the first time his work was collect-

Liu Guo Song was born on April 26, in Bang-bu, Anhui Prov-

Liu was graduated as the top student from the Fine Arts De-

ed by a museum.

ince, China. The family was originally from Ching-Zhou, Shan-

partment of the National Taiwan Normal University. He or-

Dong Provence.

ganized the “Western Paintings of Four Artists Exhibition” at

1964

the school.

He was one of the participants in the “Modern Chinese Paint-

1938

Liu founded the “Fifth Moon Group” with the encouragement

ings Exhibition” on tour in 14 counties in Africa.

His father died in the war fighting against Japanese invaders.

of his professor Liao Jichun. 1965

During the war, Liu took refuge with mother and sister in Hubei, Shanxi, Sichuan, Hunan, Jiangxi, and other places. The

1957

Liu’s first solo exhibition was held at the Taiwan Museum of Art

younger sister died during the fleeing.

Liu represented Taiwan to participate in the “Young Asian Art-

in Taipei.

ists Exhibition” in Tokyo.

He was one of the participants of “Asia Pioneer Artist Exhibi-

1946

The first exhibition of the “Fifth Moon Group” opened in Taipei,

tion” on tour in 10 cities in Asia.

After the war, family settled in Wu-chang , Hubei Province.

and initiated a new art movement in Taiwan.

His collection of essays, “The Road to Modern Chinese Paint-

1948

1958

He was invited to participate in the “Modern Art of China Ex-

Liu was admitted to the School for Surviving Children of Na-

He began to write articles about art theory to advocate mod-

hibition” organized and held at Galleria del Palazzo delle Expo-

tional Revolutionary Army in Nan-jing.

ern Chinese art in Taiwan.

sizioni in Rome, Italy.

1949

1959

1966

Liu moved with his school to Taiwan by himself and entered af-

Liu participated in the Sao Paolo Bienal of Brazil and the Paris

Second collection of essays, “Copy, Sketch, Create” was pub-

filiated high school of the Taiwan Provincial Teachers’ College

Youth Bienale of France. He was described as “genius” by the

lished by Wen-Hsin Bookstore, Taipei.

(now National Taiwan Normal University).

French newspaper, Le Figaro.

Recommended by Li Zhu-jin, Liu was the first Taiwan artist to

He turned away from complete Westernization techniques to

receive a two-year grant to travel the world awarded by the

1950

adopt a philosophy of “merging of the East and West”. He be-

John D. Rockefeller III Foundation.

Liu published poetry and short stories in “Free China” and

gan to use plaster as a base on canvas, and to add elements of

His first solo exhibition in the United States was held at the La-

“High School Student” magazines.

ink to oil paintings.

guna Beach Museum of Art in California.

He worked at the Architecture Department of Cheng Gong

He studied copper-plate printmaking at the University of lowa

1951

University in Tainan as a teaching assistant of Professor Guo

for three months. He travelled around the United States for

Liu was admitted into the Fine Arts Department of the Nation-

Bochun.

ing” was published by Wen-Hsing Bookstore in Taipei.

al Taiwan Normal University.

four months, and then lived in New York for nine months. During this time, he also attended many opening ceremonies of

1960

the “New Chinese Scenery Paintings Tradition Exhibition” at

1954

He joined Chung Yang University as lecturer for the architec-

major museums and galleries all over the States.

Published first essay ”Why squeeze Japanese paintings into

ture department.

First catalogue, “Paintings by Liu Kuo Sung” was published by

a Chinese painting exhibition? —Thoughts after viewing the

He participated in editorial work at “Pen Review” magazine.

Taipei National Museum of History.

1961

1967

Ms. Lee Mo-hua and he were married.

First New York solo exhibition was held at Rhodes Gallery, and

1956

Influenced by architectural theories of materials, he aban-

received good review from New York Times art critic John

Graduated 1st from the Fine Arts Department of the Taiwan

doned oil and canvas, and returned to the world of ink and

Canaday. His painting was represented by Rhodes Gallery.

Normal University, and organized “Western Paintings of Four

paper, leading the “Modernization of Chinese Painting Move-

Invited by the Nelson-Atkins Museum of Art in Kansas City,

Artists” exhibition at the school.

ment” and developing new ink painting techniques.

Missouri, he held a solo exhibition there.

Founded the “Fifth Moon Group” with the encouragement of

He wrote an article in response to “The Retrogressive Trend

He left the States in early May for Europe and spent 5 months

his professor Liao Jichun.

in Modern Art”, and set off the “battle over modern painting”.

in Europe. He returned to Taipei in October.

1954

1963

1968

Liu published his first commentary essay, “Why squeeze Japa-

He pioneered the use of rough fiber cotton paper, and invent-

He was named Taiwan’s “Ten Outstanding Youths” of the year.

nese paintings into a Chinese painting exhibition? —Thoughts

ed the “Liu Guosong paper” which brought forth a new paint-

He founded the “Chinese Ink Painting Study Society” in Tai-

after viewing the 9th Taiwan Art Exhibition Chinese Painting

ing style truly his own.

wan, and continued to advocate the modernization of Chinese

Section”, on United Daily News.

His work “Clouds Know no Emptiness” was collected by the

painting.

9th Taiwan Art Exhibition Chinese Painting Section” on United Daily News.

246

1969

He participated in the ITT sponsored “International Art Exhibi-

named Liu as a representative figure in Chinese contemporary

Influenced by pictures of the earth taken from the moon by the

tion” on tour at major museums all over the world.

art. Professor Schirokauer quoted from Liu’s essays and also

American Apollo 8 spacecraft, he began painting the “Space

He began extensive experimentation with ink rubbing.

included Liu’s works in his book.

first prize at the “Mainstream ‘69’ International Exhibition” in

1974

1979

the United States.

He published an essay, “Discussions on Painting Techniques”

He received the fulfilment award from the International Med-

Solo exhibition “Painting by Liu Kuo Sung” was held at the Tai-

and introduced his hugely controversial theories of “over-

itation Society.

wan National Museum of History. At the same time, “Liu Kuo

throwing the center tip” and “overthrowing the brush”.

He participated in “Artists 79 Exhibition” held at the General

Sung--The Growth of a Modern Chinese Artist”, a book written

He participated in “Asia Modern Art Exhibition” at Ueno No

Assembly Building of the United Nations headquarters in New

by Professor Li Zhu-Jin (in English) was also published by the

Mori Art Museum in Tokyo, Japan.

York.

museum.

He participated in “Contemporary Chinese Painting and Cal-

He was invited by Stanford University Art Museum to partic-

ligraphy Exhibition” at Yale University Art Gallery. The exhi-

1980

ipate in “The Development of 20th Century Chinese Painting

bition toured at various museums and galleries in the United

He was invited by the Iowa-Illinois Art Critics Association as

Exhibition”.

State for a year.

visiting artist for a year, delivering lectures, demonstrations,

1970

1975

Liu taught at the University of Wisconsin-Stout for a semester

“Abstract Art” was published in France. The book included

as visiting professor.

Liu’s painting, “Which is Earth?”

1981

He was commissioned to create a massive painting “The Mid-

He taught at University of lowa for a year as visiting professor.

He was invited to Beijing for the inauguration of the Chinese

night Sun” for the International Expo in Osaka, Japan.

He participated in “The 11th Asian Contemporary Art Exhibi-

Painting Research Institute and to exhibit his works. Then, he

Museum fur Kunsthandwerk, Frankfurt, and Museum fur Os-

tion” at Ueno No Mori Art Museum in Tokyo, Japan.

visited Nan-Jing, Shanghai, and Hang-Zhou.

Series”. His first work in the series, “Which is Earth?”, won the

and master classes at various colleges and universities, education television programs, and museums.

He participated in “Peinture Chinoises Traditionnelles” at Mu-

tasiatische Kunst, Cologne, jointly held the touring exhibition “Painting of Liu Kuo-sung”, and published “Liu Kuo-sung-- The

1976

see Ceruschi in Paris, France.

Growth of a Modern Chinese Artist” in German.

He organized and chaired the Fourth Asia International Art

He participated in “The First Exhibition of Asian Art” in Bah-

He was invited by The Arts Club of Chicago to participate in

Education Conference at the Chinese University of Hong

rain City, Bahrain.

the “Calligraphic Statement Exhibition”.

Kong, and was elected as Asian representative to the International Art Education Association.

1982

1971

He resigned the department chairmanship and devoted his

Professor Conrad Schirokauer’s “Modern China and Japan”,

Liu moved to Hong Kong to teach at the Fine Arts Department

time to teaching and painting.

published in England, named Liu as the key figure of modern

of the Chinese University of Hong Kong.

”A Short History of Chinese Art” by Michael Sulivan was pub-

Chinese art.

Liu was one of the participants of “Fifth Moon Group Exhibi-

lished by the University of California, Berkeley, and named Liu

He participated in the “Contemporary Hong Kong Art Exhibi-

tion” at Honolulu Academy of Hawaii and The Taft Museum in

as an innovator for Chinese art.

tion” at the Metropolitan Museum of Manila, Philippines.

Cincinnati, Ohio.

He published a thesis, “The Art of Pu Xinyu” in the second vol-

1972

ume of the Chinese University of Hong Kong Art Department

1983

Journal.

He held solo exhibitions at National Art Museum of China in

He was appointed the Chairman of the Fine Arts Department

Beijing and Jiangsu Provincial Art Museum in Nanjing. He

at the Chinese University of Hong Kong. He created the

1977

gave 3 public lectures by the invitation of Central Academy of

“Modern Chinese Ink Painting” curriculum.

He was chosen as the only Asian among the eight official rep-

Fine Arts. Liu’s solo exhibition tour continued in 18 different

“Paintings of Liu Kuo-Sung Exhibition” was held at the Hong

resentative artists of the British Commonwealth, and partic-

cities throughout China for the next three years in cities such

Kong Art Center.

ipated in creating the “Commonwealth Lithographic Print” in

as Harbin, Lan-Zhou, Urumuqi, etc.

Canada. 1973

He participated in “Hong Kong Art Today Exhibition” at the

1984

He created the “Modern Chinese Ink Painting” courses for

Hong Kong Art Museum.

He participated in the “Sixth National Art Exhibition” in Beijing.

the Chinese University of Hong Kong Extension curriculum

He was awarded the “Special Achievement Award” at the same

for diploma to foster creative works of modern Chinese ink

1978

time as Li Keran.

painting.

He was elected as a member of the organizing and planning

He participated in Hong Kong Art Museum’s “20th Century

British art historian, Michael Sulivan, published “The Meeting

committee for Taipei Fine Arts Museum.

Chinese Paintings Exhibition”.

of Eastern and Western Art” in England, assessing Liu’s work

New York University professor Conrad Schirokauer published

very highly.

“A Brief History of Chinese and Japanese Civilizations”, and

247

1985

1990

Chinas Malerei im 20. Jahrhun dert”, and also wrote about

Liu’s was invited by “May Painting Salon” of France to present

A major retrospective exhibition for Liu was held at the Taipei

Liu’s influence in contemporary Chinese painting.

Liu’s painting “Submerge into the Mountain’s Breath” as part

Fine Arts Museum. A catalogue of his paintings was published.

Liu’s collection of essays “Obsessed Forever” was published by Shang-dong Pictorial Publisher.

of the salon exhibition in Paris.

He retired from Tainan Fine Arts University.

He was invited by the Central Institute of Arts and Handicrafts

1991

of Beijing to give a two-week seminar for contemporary Chi-

He received the “Modern Painting Achievement Award” from

nese ink painting at the institute.

the Li Zangsheng Modern Painting Cultural and Education

1999

“The Construction of Liu Kuo-sung’s Art” by Zhou Shaohua

Foundation.

Solo exhibition “Universe in My Heart” was held at the Zhongshan National Gallery in Taipei.

was published by Hubei Fine Arts Publisher. 1992

“Anthology of Taiwan Critical Writing: Volume of Liu Kuo-

1986

He was invited to participate at the “Eastern Aesthetics and

sung”, jointly written by Hsiao Chong Ray and Lin Po-shin, was

He visited the grottoes of Dun-huang, the Old Silk Road, and

Modern Art Symposium” at the Taipei Fine Arts Museum. He

published by Taiwan Museum of Fine Arts.

the surrounding areas.

presented his pedagogical theory of “First Be Different, Then

He was in Paris to produce the “Poetry in Painting” lithograph-

Having mastered ink-rubbing techniques, he started to re-

Be Refined”.

ic collection. A book was published with six poems specially

search and explore with light ink techniques.

“Retrospective at 60 Exhibition” was held at Taiwan Museum

written for this collection by Taiwan poet Yu Kwang-Chung.

He participated in “Modern Asian Ink and Color Paintings Ex-

of Art in Taichung.

hibition - 10th Asian Games Arts Festival” at Korean Culture

He retired from the Chinese University of Hong Kong in Oc-

2000

Center in Seoul, Korea.

tober and moved back to Taichung, Taiwan. He joined Donghai

He participated in the “Gateway to the New Century Exhibi-

University as visiting professor.

tion” at the Chengdu Modern Art Museum. He was invited to lecture at Tibet University. He visited Mount

1987 He visited Tibet in August and since created a new style and

1995

Everest and lost hearing in his left ear after the trip.

the “Tibetan Landscape Series”.

He participated in “Contemporary Ink Painting of Taiwan Ex-

Solo exhibition was held at Goehuis Contemporary Gallery in

He participated in “Exhibition of International Art of Suibo-

hibition” at the Taiwanese Cultural Representative Office in

New York.

ku” at the Tokyo Metropolitan Art Museum in Japan and was

Paris.

“Liu Kuo-sung & Yu Kwang-Chung: Reflexion and Elegance” was published by Hebei Education Publishing House.

awarded a special achievement award. He participated in the “Contemporary Chinese Painting Exhi-

1996

bition” at the Vancouver Art Gallery in Canada.

He was appointed head of Fine Arts Research Institute at the

2001

He participated in the “Contemporary Chinese Painting Exhi-

Tainan Fine Arts University.

He was invited to New York to participate in the “China with-

bition” at Brussels City Hall in Belgium.

“Liu Kuo-sung Research Exhibition” was held at the Taipei Na-

out Limit Exhibition”. He also visited San Francisco and Wash-

tional Museum of History. “Liu Kuo-sung Research” written

ington DC.

1988

by Hsiao Chong Ray, and “Selected Essays for the Research of

He visited Jiu-zai-gu in Sichuan and was deeply moved by the

He participated in the “International Ink Painting Exhibition”

Liu Kuo-sung” edited by Li Jun-Yi were also published by Taipei

beauty of nature. He started to explore the light ink tech-

and “Ink Painting Research Conference” organized by the Chi-

National Museum of History at the same time.

niques with architectural draft paper to express the beauty of

nese Painting Institute in Beijing. Liu delivered a thesis, “Con-

“A Study of Liu Kuo-sung” written by Chen Lu-sheng was pub-

Jiu-zai-gu in a series of paintings.

ceptual Questions in Current Chinese Painting”

lished by Guangxi Fine Arts Publisher.

“The West is Vast: Paintings by Liu Kuo-sung Exhibition” was

He participated in “the Third Asian International Art Exhibi-

held at Chengdu Modern Art Museum.

tion” at the Fukuoka Art Museum in Japan.

1997

He participated in the “Oriental Color & Ink Painting’s Exhibi-

He was invited to participate in “Chinese Art Exhibition” and

2002

tion” at the Korean Art Gallery in Seoul, Korea.

conference at the Shanghai Art Museum.

“Universe at Heart: A Retrospective of Liu Kuo-sung at 70 Ex-

1989

1998

National History Museum in Beijing, Shanghai Art Museum,

He was invited to be a panel judge for the “National Modern

He was the only artist from Taiwan invited to participate in the

Guangdong Museum of Art and Jing-Hua City in Taipei.

Painting Competition” in Beijing.

opening ceremonies of the “China: 5000 Years Exhibition” at

Liu’s work “The Metaphysics of Rocks” was included in the

He was commissioned by the American Express Corpora-

the Guggenheim Museum in New York and in Bibao.

“Eastern Culture History” textbook published by Wadsworth

tion and painted a five-story mural titled “Source” (1952cm x

He was invited by the German Cultural Institute, to travel

Group in the United States.

366cm).

through Europe and to participate in “Expectation 2000: Chi-

He was elected to be an “Outstanding Alumni” by the Taiwan

He participated in “The Fourth Asian International Art Exhibi-

nese Modern Art Exhibition”.

National Normal University.

tion” at the Metropolitan Museum of Art in Seoul, Korea.

Edition Global in Germany used Liu’s painting “High Cliff” as

“Collected Essays of Liu Kuo-sung’s Talk of Art”, edited by Lee

the cover of the university textbook “Bruchen und Bruche:

Jun-yi, was published by Henan Art Publisher.

hibition” toured around at the Accton Art Center in Hsinchu,

248

2003

hibition” was held at the Wu-ying-dian Exhibition Hall of the

Academic Conference” in Macau.

Solo exhibition “Heart of Creation” was held at the Cultural

Beijing Palace Museum. The exhibition toured the Shanghai

He was invited as “Guest of Honor” at the National Arts Asso-

Center of Taiwan in Taichung.

Museum of Art, and the Guangdong Art Museum afterwards.

ciation Conference in Beijing.

“Liu Kuo-sung at 70 Exhibition” was held at Hanart T.Z. Gallery

“Liu Guosong’s Road to Modern Chinese Painting’, written by

He was awarded the “Lifetime Achievement Award of Chinese

in Hong Kong.

Lin Mu, was published by Sichuan Fine Art Publishing House

Art” by the Chinese National Academy of Arts.

in Chengdu.

He was invited to participate in the “Art Exhibition for the

2004

“Universe in My Heart: Liu Guosong’s Road to Art Creation”,

100th Anniversary of Xin-hai Revolution” at the National Mu-

“Universe of Liu Guo Song Exhibition” was held at the Hong

written by Zhang Meng-Qi and Liu Su-Yu, was published by

seum of China and the National Art Museum of China.

Kong Museum of Art. An exhibition catalogue of paintings was

Taiwan Art & Collection Group. 2012

published. He was elected the visiting scholar at the Chinese University

2008

“A Man of All Directions - Retrospective Exhibition of Liu Guo-

of Hong Kong.

He received “The 12th Annual National Award for Arts” of Tai-

Song at age 80” was held at the National Taiwan Museum of

He was awarded the certificate of “Honorary Professor” by the

wan. The award was presented by President Ma Yin-Jiu.

Fine Arts.

Tainan Fine Arts University.

Solo exhibition was held at Galerie 75 Faubourg in Paris.

Liu’s painting “The Metaphysics of Rocks” and his theoretical

He attended the opening ceremony of the “Romance of Ink

2013

writings was included in the university textbook, “Modern

Exhibition” at the Modern Art Gallery and participated in the

A solo exhibition was held at Shan-Dong Museum in Ji-Nan.

History of East Asia”, published by Thomson Publisher in the

“Inkism Exhibition” at the Shang-shang Art Gallery in Beijing.

A solo exhibition, “The Flow of the Great Changes”, was held at

United States.

“Awkwardness, Dream, Metamorphosis – Solo Exhibition of

the Capital Art Center in Taipei.

Liu Guo Song” was held at Capital Art Center in Taipei.

Sixty Years of Imparting Art: Modern Ink Paintings of Liu KuoSung , Taichung Cultural & Creative Industrial Park, Taiwan.

2005 Organized by Taiwan Soka Association, “Modern Impact: Liu

2009

Yuan and Fate: Modern Ink Paintings by Liu Kuo-Sung and

Kuo-sung Exhibition” toured the Hsinchu Art Center, Taichung

“Universe at Heart: 60 Years of Paintings by Liu Guosong Exhi-

His Students, Art Center of Chung Yuan Christian University,

Art Center, Chingyang Art Center, and Yangcheng Art Center.

bition” toured the Hubei Provincial Museum, the Ningxia Pro-

Taoyuan, Taiwan.

“Paintings by Liu Kuo-sung and his students Exhibition” was

vincial Museum, the China Three Gorges Museum in Chong-

Chinese Contemporary Ink, Hong Kong Convention and Exhi-

held at Arizona State University in America.

qing and the Yaming Museum in Hefei.

bition Centre.

He participated at the “Modern Chinese Painting Symposium”

Liu was invited to be a “Visiting Professor” to lecture at South-

at the Oxford University in England.

west University and Sichuan Art College.

2014 and on (To be Continued) And many more breathtaking new accomplishments, brilliant

Exhibition “Liu Kuo-sung : A Retrospective View of Creation” was held at Tyler Lithography Institute in Singapore.

2010

breakthroughs, and great honors are yet to come.

Moved by China’s successful launch of spacecraft Shenzhou

Solo exhibition was held at Goedhuis Contemporary Gallery in

Received the Global Outstanding Chinese Biography Award,

#6, he started to paint a new “Shenzhou-6 Series”.

London, England. Liu’s work “The Rise and Set of the Sun and

Hong Kong Global Outstanding Chinese Association.

Moon” was collected by the British Museum.

Rearward Glance: From the 1960s to the Present. A Solo Exhi-

2006

He was invited to lecture at Sichuan University in Cheng-du.

bition of Liu Kuo-Sung. Galerie du Monde, Hong Kong.

“Rhythm of Heart: A Retrospect View of Liu Guo Song’s Art Ex-

He was invited to participate in the inaugural “Chinese Char-

The Tension of White Lines: Modern Chinese Ink Painting Ex-

hibition” was arranged jointly by Zhejiang Provincial Museum,

acter Festival” in Beijing.

hibition, Shandong Museum and a Touring Exhibition at Muse-

Westlake Museum, and Hunan Provincial Museum.

He was designated as “Chair Professor” by Taiwan National

ums in Weifang, Yantai, Jining and Qingdao, China.

He was invited by Harvard University to deliver a speech, “My

Normal University, the highest honor in education in Taiwan.

The Art of Liu Kuo-sung and His Students, Nanhai Art, Mill-

Ideas and Practices of Painting” on October 14. He also at-

Liu received an Honorary Doctorate degree from the World

brae, CA, U.S.A.

tended the opening of the “New Chinese Scenery Paintings

Academy of Arts & Culture and World Congress of Poets.

Chinese Contemporary Ink, Hong Kong Convention and Exhi-

Exhibition” at Sackler Museum.

bition Centre.

After visiting Zhang-jia-jie, he created a new “Zhang-jia-jie Se-

2011

Was invited to act as the principal presentation officer (accom-

ries”.

“The Great Spirit of Ink Painting, Biography of Liu Guosong”,

panied by the Shandong Cultural Bureau Director and Shan-

The huge painting “Tian-zi-shan in Mid Summer: Zhang-jia-jie

written by Hsiao Chong Ray, was published by Taiwan Vista

dong Museum Director as well as hundreds of common folk)

Series No.9” was collected by the Beijing Palace Museum.

Publishing in Taipei.

to offer sacrifice to Confucius at the Temple and Cemetery of

“Exhibition of Liu Guosong’s Creations -- Looking back at 80”

Confucius and the Kong Family Mansion in Qufu on the 21st

2007

was held at the National Art Museum of China in Beijing.

of September, the 2nd day of the lunar birthday of Confucius.

He was invited to attend the opening ceremony of the new

He was invited by China Central Academy of Fine Arts to de-

building at the Museum Rieterg in Zurich, Switzerland.

liver a keynote speech.

“Universe at Heart: 60 Years of Paintings by Liu Guosong Ex-

He was invited as the keynote speaker at the “China-Taiwan

249

主要個展 1965 台北藝術館

澳洲坎培拉市劇場畫廊德國法蘭克福博物館

1966 美國加州拉古拉藝術協會美術館美國肯薩斯州立大學美術館

1980 美國肯薩斯州威其塔市烏瑞奇美術館美國亞利桑納州吐桑市亞利桑納州立大學美術館美國加州蒙特利市蒙特利半島美術館美國俄亥俄州雅典市俄亥俄州立大學美術館

1967 美國紐約市諾德勒斯畫廊美國密蘇里州肯薩斯市那爾遜美術館美國喬治亞州雅典市喬治亞大學美術館 1968 美國華盛頓州西雅圖美術館美國俄亥俄州辛辛那提市塔虎脫博物館菲律賓馬尼拉市陸茲畫廊 1969 美國德州達拉斯市現代美術館台北歷史博物館國家畫廊美國印地安那州諾特丹聖瑪麗學院藝術館 1970 德國科隆東方藝術館美國拉布拉斯卡州歐馬哈市賈斯林美術館美國加州聖地牙哥市美術館 1971 德國法蘭克福博物館英國倫敦莫士畫廊英國布里斯朵美術館 1972 美國鹽湖城猶他州立大學美術館美國猶他州婁根市猶他州立大學美術館美國猶他州普柔佛市布瑞根揚大學博物館德國漢堡市漢斯胡普勒畫廊 1973 香港藝術中心美國加州聖地牙哥市美術館紐約市開樂畫廊 1974 美國加州卡邁爾市拉克畫廊 1975 美國科羅拉多州科羅拉多泉藝術中心美國加州洛杉磯市喜諾畫廊 1976 美國肯薩斯州威其塔市烏瑞奇美術館美國俄亥俄州雅典市州立大學美術館

1981 美國俄亥俄州哥倫布市立文化藝術中心美國科羅拉多州波爾市科羅拉多大學美術館美國加州哥斯塔梅沙市安德瑞畫廊 1982 美國猶他州羅根市諾拉依科哈瑞森博物館 1983 北京中國美術館江蘇省博物館黑龍江美術館武漢市湖北省美術陳列館廣州市廣東畫院 1984 上海美術館山東省美術館杭州市浙江展覽館煙台市展覽廳福州市五一廣場中央展覽廳

1979

250

1998 台中現代藝術空間 1999 台北國父紀念館中山國家畫廊 2000 台灣中央大學藝術中心美國紐約古豪士畫廊 2001 成都現代藝術館 2002 「宇宙心印：劉國松七十回顧展」北京中國國家博物館上海美術館廣東美術館 2003 台中市立文化中心山東青島博物館香港漢雅軒畫廊 2004 香港美術館台灣創價學會主辦台灣巡迴展

1985 香港藝術中心澳門市政廳賈梅士博物館

2005 新加坡泰勒版畫學院台北市中央研究所

1986 陝西西安市美術家協會畫廊甘肅蘭州市少年宮新疆烏魯木齊市展覽館重慶市文化宮四川重慶西南大學美術展覽館

2006 浙江省博物館湖南省博物館

1987 湖南長沙市湖南省國畫館山西太原市山西大學美術館 1988 山東濰坊博物館 1989 德國布瑞曼市烏伯西博物館 1990 台北市立美術館

1977 美國新罕普什州普利茅斯市新罕普什州大學美術館 1992 美國加州洛杉磯市奧西丹脫學院美術館台中省立美術館 1978 澳洲墨爾本市東西畫廊澳洲北阿德萊市格林赫爾畫廊澳洲帕斯市邱吉爾畫廊

1997 廣東深圳何香凝美術館台中現代藝術空間

1994 台北龍門畫廊 1996 台北歷史博物館高雄積禪五十藝術空間

2007 「宇宙心印：劉國松繪畫一甲子」北京故宮博物館上海美術館廣東美術館 2008 法國巴黎法寶75畫廊 2009 「宇宙心印：劉國松繪畫一甲子」湖北省博物館寧夏博物館重慶中國三峽博物館安徽亞明藝術館國父紀念館中山國家畫廊 2010 英國倫敦Goedhuis畫廊台灣新北市市府藝廊 2011 「劉國松創作大展—八十回眸」北京中國美術館 2012

「一個東西南北人—劉國松80回顧展」台灣國立台灣美術館 2013 「傳功一甲子－劉國松現代水墨創作展」台北中華文化總會文化空間「劉國松現代水墨藝術館」山東省博物館設立永久陳列館 2014 「革命．復興－劉國松繪畫大展」國立歷史博物館

Selected Solo Exhibition 1965 Taiwan Museum of Art, Taipei, Taiwan 1966 Laguna Beach Museum of Art, California, USA Museum of Art, University of Kansas, Lawrence, Kansas, USA 1967 Lee Nordness Galleries, New York, USA Nelson-Atkins Museum of Art, Missouri, USA Georgia University Art Gallery, Athens, Georgia USA

1978 East and West Art Gallery, Melbourne, Victoria, Australia Greenhill Galleries, North Adelaide, South Australia Churchill Gallery, Perth, Western Australia

1988 Weifang Museum, Weifang, Shangdong, China

1979 Play House Art Gallery, Canberra, Australia Museum fur Kunsthandwerk, Frankfurt, Germany

1990 Taipei Fine Arts Museum. Taiwan

1980 Ulrich Museum of Arts, Wichita, Kansas USA University of Arizona , Tuscon, Arizona USA Monterey Peninsula Museum of Art, Monterey, 1968 California USA The Seattle Art Museum, Seattle, Washington, USA Museum of Ohio University, Atnens, Ohio USA The Taft Museum, Cincinnati, Ohio, USA The Luz Gallery, Makati, Rizal, The Philippines 1981 Columbus Cultural Arts Center, Columbus, Ohio 1969 USA The Dallas Center for Contemporary Art, Texas, UMC Fine Art Gallery, University of Colorado, USA Boulder, National Museum of History, Taipei , Taiwan Colorado USA St. Mary 's College Art Gallery, Nortre Dame, Galerie Andree, Costa Mesa, California USA Indiana USA 1982 1970 Nora Eccles Harrison Museum of Art, Logan, Utah Museum fur Ostasiatische Kunst, Koln, Germany USA Joslyn Art Museum, Omoha, Nebraska, USA San Diego Museum of Art. California USA 1983 National Museum of Fine Arts, Beijing, China 1971 Jiangsu Provincial Art Museum, Nanjing, China Museum fur Kunsthandwerk, Frankfurt, Germany Heilongjiang Provincial Art Gallery, Harbin, China Hugh Moss Ltd., London, England Hubei Provincial Art Exhibition Gallery, Wuhan, Bristol City Museum and Art Gallery, England China Guangdong Art Institute Gallery, Guangzhou, 1972 China Art Museum At the University of Utah, Salt Lake City, Utah USA 1984 Utah State University Art Gallery, Logan, Utah USA Shanghai Museum of Art, China Brigham Young University Museum, Provo, Utah Shangdong Provincial Art Gallery, Jinan, China USA Zhejiang Exhibition Hall, Hangzhou, China Galerie Hans Hoeppner, Hamburg, Germany Fuzhou May 1st Plaza Central Hall, Fuzhou, China 1973 Hong Kong Art Centre, Hong Kong San Diego Museum of Art, California USA Frank Caro Company, New York, USA

1985 Hong Kong Arts Centre Museu Luis de Camoes, Leal Senado de Macau

1986 Art Gallery of Shanxi Artists Association, Sian, Shanxi, China Youth Palace, Lanzhou, Gansu, China 1975 Urumqi City Exhibition Hall, Urumqi, Xinjiang, Colorado Springs Fine Arts Centre, Colorado USA China M.M. Shinno Gallery, Los Angeles, California USA Cultural Palace, Chongqing, Sichuan, China University Art Exhibition Hall , SouthWest 1976 University, Ulrich Museum of Arts, Wichita, Kansas USA Chongqing, Sichuan, China Museum of Ohio University, Atnens, Ohio USA 1987 1977 National Painting Museum of Hunan Province, Plymouth State College Art Gallery, University of Changsha, New Hampshire, Plymouth, New Hampshire USA Hunan, China University Art Gallery, Shanxi University , Taiyuan, Occidental College Art Gallery, Los Angeles, USA Shanxi, China 1974 Laky Gallery, Carmel, California USA

1989 Ubersee-Museum, Bremen. Germany

1992 National Museum of Art, Taichung, Taiwan 1994 Lung Men Art Gallery, Taipei, Taiwan

Palace Museum, Beijing, China Shanghai Art Museum, Shanghai, China Guangdong Museum of Art, Guangzhou, China 2008 Galerie 75 Faubourg, Paris, France 2009 "The Universe in the Mind: Liu Guosong 60 Years Retrospective Exhibition" Hubei Provincial Museum, Wuhan, China Ningxia Museum, China Three Gorges Museum, Chongqing, China Ya Ming Art Museum, Anhui, China National Dr. Sun Yat-Sen Memorial Hall, Taipei

2010 1996 NationaI Museum of History, Taipei, Taiwan G.Zen Goehuis Contemporary, London, England Taipei City Government Art Gallery, Taiwan 50 Art Gallery, Kaohsiung, Taiwan 1997 He Xiangning Art Museum, Shenzhen, China Modern Art Gallery, Taichung, Taiwan 1998 Modern Art Gallery, Taichung, Taiwan 1999 National Dr. Sun Yat-Sen Memorial HolI, Taiwan 2000 Art Center, National Central University, Taiwan Goehuis Contemporary, New York, USA 2001 Chengdu Contemporary Art Museum, Chengdu, Sichuan, China 2002 "The Universe in the Mind: A Retrospective of Liu Kuo-sung at 70" Tour in China National History Museum, Beijing, China Shanghai Art Museum, Shanghai, China Guangdong Museum of Art, Guangdong, China

2011 "A Creation Exhibition by Liu Guosong - Looking back at 80" National Art Museum of China, Beijing 2012 "A Man of East, West, South and North" National Taiwan Museum of Fine Arts, Taichung, Taiwan 2013 “60 Years of Imparting Art – Liu Guosong Modern Ink Art” The General Association of Chinese Culture, Taipei, Taiwan Permanent Exhibited in The Art Gallery of Modern Chinese Paintings by Liu Guosong, Shangdong Provincial Museum 2014 “50 Years after the Revolution against the Brush: The Art of Liu Kuo-sung” National Museum of History

2003 Cultural Centre of Taichung, Taiwan Shangdong Qingdao Museum, China Hanart TZ Gallery, Hong Kong 2004 Hong Kong Museum of Art Taiwan Exhibition Tour organized by Taiwan Soka Association 2005 Singapore Tylor Print Institute, Singapore Academia Sinica, Taipei 2006 Zhejiang Provincial Museum, Hangzhou, China Hunan Provincial Museum, Changsha, China 2007 "The Universe in the Mind: 60 Years of Painting By Liu Guosong"

251

獲獎及榮譽 1965 台北市第五屆全國美展評審委員 1966 榮獲美國洛克斐勒三世基金會兩年環球旅行獎 1968 當選國際青年商會台灣十大傑出青年 1969 美國瑪瑞埃他學院主流六九國際美展繪畫首獎 1972 巴西聖保羅國際雙年展台灣參展評審委員 1976 當選聯合國教科文組織國際藝術教育協會亞洲區會會長 1977 被選為英國國聯八位代表畫家的亞洲區代表前往加拿大參加「國聯版畫代表作」之創作 1978 台北市立美術館籌建委員 1979 獲國際靜坐協會完美獎 1984 獲北京第六屆全國美展特別獎 1986 獲東京都美術館國際水墨畫特別獎 1991 獲李仲生現代繪畫文教基金會現代繪畫成就獎 2002 當選台灣師範大學「傑出校友獎」應聘出任香港中文大學訪問學人 2004 獲台南藝術大學頒發榮譽教授證書 2005 受聘上海多倫現代美術館名譽館長 2006 10月應美國哈佛大學之邀請演講「我的創作理念與實踐」 2007 北京故宮博物館舉辦「宇宙心印：劉國松繪畫一甲子」大型回顧展 2008 獲台灣國家文藝獎 2010 獲世界藝術文化學院頒發榮譽博士學位 2011 獲中國首屆中華藝文獎「終生成就獎」北京中國美術館舉辦「劉國松創作大展－八十回眸」大型回顧展

252

2013 山東省博物館成立「劉國松現代水墨藝術館」永久展出 2014 5月應美國史丹佛大學邀請演講「挑戰與創新：我的水墨革命」獲香港亞洲協會傑出藝術家表彰獲全球傑出華人獎

Awards and Honors 1965 One of the judges of The Fifth National Art Exhibition , Taiwan. 1966 First artist from Taiwan to receive the John D. Rockefeller lll Foundation grant to travel around the world for two years. 1968 Named Taiwan's "Ten Outstanding Youths".

2007 "The Universe In The Mind: A Retrospective Of Liu Guosong's 60 years of paintings" exhibition held at The Palace Museum in Beijing. 2008 Awarded Taiwan's "National Award for Arts", presented by Taiwan President Ma Yin-Jiu.

1969 Awarded First Prize for painting at Mainstream '69, Marietta, Ohio USA.

2010 Awarded "Chair Professor" by Taiwan National Normal University. Awarded "Honorary Doctorate" by the World Academy of Arts.

1972 Member of Taiwan selection committee for Taiwan entries to Bienal de Sao Paulo, Brazil.

2011 Awarded China Arts Award "Lifetime Achievement Award" by the Chinese National Academy of Arts.

1976 Elected as Asian representative to the International Art Education Association.

2013 Liu Guosong Modern Ink Art Gallery Was Established by Shangdong Provincial Museum and Permanent Exhibited.

1977 The only Asian artist among the eight official painters for Commonwealth Print Portfolio , University of Alberta, Canada.

2014 Invited by Stanford University and gave speech on “Innovation through Challenge: The Creation of My Landscapes”. Honored by Asia Society Hong Kong. Awarded "Global Outstanding Chinese Award" by Global Chinese Organization.

1978 Member of organizing and planning committee of Taipei Fine Arts Museum. 1979 Received fulfillment award by the International Meditation Society, Hong Kong. 1984 Awarded Special Achievement Prize at the 6th National Art Exhibition, Beijing, China. 1986 Received special prize at the Exhibition of International Art of Suiboku, Tokyo Metropolitan Museum, Japan. 1991 Received the “Modern Painting Achievement Award" from the Li Zhongsheng Foundation. 2002 Awarded “Outstanding Alumni" by Taiwan National Normal University. Invited by Chinese University of Hong Kong as visiting scholar. 2004 Awarded "Honorary Professor" by the Tainan Fine Arts University. 2005 Appointed as Honorary Director for Shanghai DuoLen Museum in China. 2006 Invited by Harvard University and gave speech on "My Innovation Theory and Practice".

253

作品典藏機構

254

亞洲

美國

歐洲

台中市國立台灣美術館台北市國立歷史博物館台北市立美術館台北市立國父紀念館台北市台灣藝術教育館高雄市立美術館香港藝術館香港中文大學文物館澳洲墨爾本國立維多利亞美術館菲律賓馬尼拉大都會博物館馬來西亞吉隆坡藝術博物館北京故宮博物館北京中國美術館上海美術館廣州廣東美術館廣東深圳何香凝美術館重慶市三峽博物館江蘇省美術館浙江省博物館湖北省博物館湖南省博物館安徽亞明藝術館山東省美術館山東省博物館青島市美術館青島市博物館成都現代藝術館寧夏博物館甘肅省美術館

芝加哥美術館俄亥俄州克利佛蘭州博物館舊金山亞洲藝術博物館密蘇里州肯薩斯市納爾遜美術館紐約亞洲美術館亞利桑納州鳳凰城美術館拉布拉斯州歐馬哈市賈斯林美術館佛羅里達州諾頓美術館加州聖地牙哥美術館加州蒙特利半島美術館德州達拉斯現代美術館西雅圖美術館科羅拉多州丹佛市美術館科羅拉多州科羅拉多泉藝術中心麻州皮博迪埃塞克斯博物館麻州康橋哈佛大學薩克拉博物館肯薩斯州肯薩斯大學史班塞美術館明尼蘇達州明尼蘇達大學美術館亞利桑納州吐桑市亞利桑納大學博物館加州史丹佛大學坎特爾藝術中心猶他州婁根市猶他州立大學烏瑞奇美術館佛羅里達州聖彼得斯堡市普利市拜特蘭學院美術館紐約坎東市聖勞倫斯大學美術館加州惠特爾市雷歐社會學院美術館

英國倫敦大英博物館英國布里斯朵市美術館德國法蘭克福博物館德國科隆東方美術館德國柏林博物館德國斯都加林都美術館瑞士蘇黎世萊特堡博物館義大利麥辛那大學美術館

Selected Public Collections ASIA

USA

EUROPE

Taiwan Museum of Fine Arts, Taichung National Museum of History, Taipei Taipei Fine Arts Museum National Dr. Sun Yat-Sen Memorial Hall, Taipei Kaohsiung Museum of Fine Arts Hong Kong Museum of Art The Chinese University of Hong Kong Art Museum National Gallery of Victoria, Melbourne, Australia Metropolitan Museum of Manila, Philippines National Art Gallery, Malaysia The Palace Museum, Beijing National Art Museum of China, Beijing Shanghai Art Museum Guangdong Provincial Art Museum, Guangzhou He Xiangning Art Museum, ShenZhen Three Gorges Museum, Chongqing Jiangsu Provincial Art Museum, Nanjing Zhejiang Provincial Museum, Hangzhou Hubei Provincial Museum, Wuchang Hunan Provincial Museum, Changsha Ya Ming Art Museum, Hefei Shangdong Provincial Art Museum, Jinan Shangdong Provincial Museum, Jinan Qingdao Art Museum Qingdao Museum Chengdu Modern Art Museum Ningxia Museum, Yinchuan Gansu Provincial Art Museum, Lanzhou

Art Institute of Chicago Cleveland Museum of Art Asian Art Museum of San Francisco Nelson-Atkins Museum of Art, Kansas City, Missouri Asian House Art Gallery, New York Phoenix Art Museum Joslyn Art Museum, Omaha, Nebraska Norton Museum of Art, West Palm Beach, Florida San Diego Museum of Art Monterey Peninsula Museum of Art, Monterey, Colifornia The Dallas Center for Contemporary Art Seattle Art Museum Denver Art Museum Colorado Springs Fine Arts Center, Colorado Springs, Colorado Peabody Essex Museum, Salem, Massachusetts Arthur M. Sackler Museum, Harvard University Museums Fogg Art Museum, Harvard University Museums Spencer Museum of Art, University of Kansas Weisman Art Museum, University of Minnesota The University of Arizona Museum of Art Iris and B. Gerald Cantor Center for Visual Arts, Stanford University Chase Fine Arts Center, Utah State University Ulrich Museum of Art, Wichita State University Florida Presbyterian College, St. Petersburg, Florida St. Lawrence University Art Gallery, Canton, New York Rio Hondo Junior College Art Gallery, Whittier, California

British Museum, London, England Bristol City Museum and Art Gallery, Bristol, England Museum fur Kunsthandwerk, Frankfurt, Germany Museum fur Ostasiatische Kunst, Cologne, Germany Museum fur Ostasiatische Kunst, Berlin, Germany Linden-Museum, Stuttgart, Germany Museum Rieterg, Zurich, Switzerland Universia degli Studi di Messina, Italy

255

國家圖書館出版品預行編目（CIP）資料劉國松版畫集 / 劉國松作.

臺北市：首都藝術中心.

2014. 09 面；

公分

ISBN 978-986-87686-1-1（精裝） 1. 版畫

2. 畫冊

937 103017711

發行人 / 蕭耀

Publisher / York Hsiao

作者 / 劉國松

Author / Liu Guo Song

編輯監督 / 廖小玟、李張煒美術編輯 / 葉彥廷譯者 / 張弘弢、李翊菱校稿 / 莊舒如、蕭瑾、馬怡綾、聶孝如出版 / 首都藝術中心地址 / 台北市仁愛路四段343號2樓

Editor Supervisor / Hsiao-Wen Liao, Louis Lee Graphic Designer / Yen-Ting Yeh Translator / Vang Cheong, Eileen Lee Manuscript Reviewer / Shu-Ju Chuang, Ching Hsiao, Yi-Ling Ma, Xiao-Ju Nieh Publisher / Capital Art Center Address / 2F, No.343, Renai Road Sec.4, Taipei, Taiwan, R. O. C.

電話 / 02-2775-5268

TEL / 02-2775-5268

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FAX / 02-2775-5265

Website / www.capitalart.com.tw E-mail / service@capitalart.com.tw Copyright / Capital Art Corporation Printing House / Suhai Design & Production, INC Publishing Date / September, 2014 ISBN : 978-986-87686-1-1 Price / NT. 3000

劉國松 版畫集

劉國松版畫集