「宇宙心印：刘国松绘画一甲子」新闻稿

Rising Toward Mysterious Whiteness
     《升向白茫茫的未知 》
94×58cm
1963年

北京故宫博物院将于2007年4月26日下午两点半，在故宫武英殿为刘国松举办“宇宙心印：刘国松绘画一甲子”展览开幕式。展览由中华文化基金会筹办，李铸晋教授、张颂仁教授担任策展人，展览时间至5月26日止。

刘国松在上世纪六十年代在台湾即大胆提出以放弃笔墨语言，来解决“中国画的现代化”的问题。他要“革中锋的命、革笔的命”。他说：“笔就是点和线，墨就是色和面，皴就是肌理”；“模仿新的，不能代替模仿旧的；抄袭西洋的，不能代替抄袭中国的”。透过西方抽象艺术的启发，从而形成深具媒材实验意识的前卫创作，背离传统的笔法与意境。在作品的表现上，寻求各种前所未有的可能形式，并在“现代”与“水墨”的双重议题上，寻求最大的结合与突破。他并在台湾成立五月画会，以群体之力推动传统书画的变革，产生了深远的影响。七十和八十年代在香港中文大学任教职，汇合了香港的新水墨界。八十年代初刘国松到大陆巡展，冲击了当时亟待思变的画坛，结识了吴冠中，鼓励了谷文达。现代水墨因此成为中西文化融合的画种。它是现代的，又是中国的；既是与西方对话的，又是民族的。

整个20世纪中国书画的发展，是一部应对与因应“现代性问题”的焦虑史。到底书画该如何追随时代，迎上西方，赶上当代，而又不失了民族艺术之本体？在这一思考中，刘国松无疑有着举足轻重的历史影响。

如今，代表书画正统与主流的故宫博物院为刘国松举办展览，意味了创新的现代水墨艺术已被接纳入正统体系之重大意义。

在展览开幕隔日之4月27日，将在故宫由李铸晋教授主持“书画与现代化 : 书画在现代艺术中的流变与波澜”学术讨论会。藉此展览机会，将借刘国松现象对现代水墨的发展进行历史回眸，全面反思“书画与文艺现代化”的整体问题。探讨五十年来书画在现代艺术的各种冲击下，到底出现什么样的理论与反思？到底产生了什么样的波澜与变化？而我们应在目前的问题上继续推进哪些问题与思考？

展览画册由紫禁城出版社出版, Wilbur Ross 先生夫人赞助。
有关展览之查询，请致电香港+852-2526-9019  北京联络人赵孝萱 13683189113
 或电邮香港汉雅轩tzchang@hanart.com或 chhsuan0625@163.com与我们联络。

Press Release
Universe in the Mind: 60 Years of Painting by Liu Guosong
Presented by the Palace Museum with the support of the Consortium Chinese Culture Foundation
Opening: 26th April, 2007, Thursday, 2:30 pm
Exhibition until 26th May, 2007
Opening Hours: 8:30am – 4:30pm
Artist will be present at the opening
Venue: Wu Ying Palace, Palace Museum, Beijing
   
LIU Kuo-sung, whose career as a leading painter in Taiwan, was born in 1932 in Anhui, China.  He moved to Taiwan in 1949 and graduated from the National Taiwan Normal University in 1956. 

In the 1960s in Taiwan Mr. Liu proposed to “modernise Chinese painting” by abandoning its attachment to traditional “aesthetics of brushwork and ink-play”. He proposed to “revolutionise the zhong-feng (centre-point) brushwork” and “revolutionise the brush”. Mr. Liu said: “Brushwork simply means dot and line, ink-work means colour tone and surface, and texture-stroke means textural structure.” “Imitating the new is not the same as imitating the old; copying the West is not the same as imitating Chinese masters.”

Inspired by western abstract painting, Mr. Liu established an experimental approach to the artistic medium in order to depart from traditional brushwork and its aesthetic taste. He attempted varied approaches to artistic expression, seeking resolution and breakthrough under the two anchors of “modern” and “ink art”. Through the “Fifth Moon” art society, of which Mr. Liu was founder, calligraphy-painting reform was expanded into an art movement in Taiwan. In the two decades of the 1970s and 1980s Mr. Liu was professor of art at the Chinese University in Hong Kong, and became closely involved with new ink painting outside of Taiwan. In the early 1980s his touring exhibition in China made a strong impact on the emerging creative scene, establishing a lasting influence. With the concerted efforts of artists from China and abroad modern Ink art has now established itself as an independent art form born of Chinese and western influence. It is both modern and Chinese, culturally grounded and in dialogue with the West.

In presenting the exhibition “Sixty Years a Painter: Retrospective Exhibition of Liu Guosong”, the Palace Museum, as the symbols of the Chinese lineage, signifies the acceptance of the innovative new ink painting movement into its cultural fold. Therefore, it is significant to take the opportunity of this retrospective exhibition to review the historical development of modern ink painting, so as to critically assess broader issues relating to calligraphy-painting and cultural modernisation. It is important to review the theories and strategies that have arisen in the part half century out of response to the growing predominance of modern art.

Fully illustrated catalogue published by the Forbidden City Press, sponsored by Mr. and Mrs. Wilbur Ross.

For more information, please contact us at +852-2526-9019, email: tzchang@hanart.com
 

Purple Sun
     《紫色的太阳》
77.5×61cm
1970年

Monument 12, 
    《 矗立之十二 》
137×77cm
1967年