Author:Liu Yan-Tao

Size:Length:202 x Width:81 (cm)

Size description：134×68 (202×81)

Introduction：Liu Yan-Tao (1908-1998), also known as Mu Huang, was a calligrapher and painter from Gong County, Henan. Born into a scholarly family with a multi-generational tradition of collecting renowned works of art, his artistic talent was recognized in childhood by Zhao Yin-Tang, the headmaster of the Gong County School. Zhao introduced him to basic training, starting with "The Mustard Seed Garden Manual of Painting". During his second year of Chinese studies at Peking University, Liu met Hu Pe-Heng through a student organization. Influenced by Hu, he learned the techniques of the Southern School and the concepts of the Northern School of Chinese painting. In 1932, on Hu's recommendation, Liu joined the editorial staff of the Imperial Palace Museum in Beijing, where he encountered many ancient masterpieces. In 1934, while editing the standard cursive script of Yu You-Ren, he was deeply influenced by Yu's work. After moving to Taiwan, he co-founded the "Seven Friends Painting Group" with Cheng Man-Ching and others in 1955, and in 1962 he founded the "Republic of China Painting Society" with Ma Shou-Hua and Yao Meng-Gu, focusing on the study of painting.

A master of poetry, calligraphy, and painting, Liu Yan-Tao pursued the unity of these "three perfections" and brought a deep classical education to his work. During his time in the Imperial Palace Museum, he was exposed to the landscapes of masters such as Juran, Fan Kuan, and Li Tang. Later, influenced by Zen Buddhism and literati painting traditions, he developed a style that combined elements from both northern and southern schools of Chinese painting. Beginning in the 1950s, Liu experimented with simple brush strokes combined with ink splashes, integrating the line of standard cursive script and establishing a simple ink style rich in calligraphic flavor.

This work, depicting Mount Lu, is rendered entirely in ink, reflecting Liu's emphasis on ink painting. He blends the technical concepts of both the Southern and Northern schools, often using the axe cut textural strokes for the mountains and rocks, leaving ample white space for thoughtful contemplation. In this work, the "white rocks" are most prominent in the center of the painting, paired with heavily inked trees, creating a clear layering in the painting. The waterfall on the rock wall flows downward, drawing the viewer's eye to the houses and paths in the dense forest, and then to the flowing water in the lower right. Liu's works, often without added color, show the artist's mastery of brush and ink and his skill in compositional management.

Accession Number:PT06910400

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