Author:Hsiung I-Chung

Size:Length:68.5 x Width:68 (cm)

Size description：88x87x3(含框)

Introduction：Hsiung Yi-chung (1953–2014), literary name Pao-yi (derived from Lao Tzu), was born in Taichung City. He held a master's degree in fine arts from Chinese Culture University. In secondary school he was influenced by Chen Te-wang and Chang Wan-chuan; upon entering the Department of Fine Arts at Chinese Culture University, he received guidance from Tseng Shao-chieh, Chiang Chao-shen, Chin Chin-po, Wu Hsueh-jang, and Ou Hao-nien, and benefited theoretically from Wang Chuang-wei and Li Lin-Tsan. Hsiung was a recipient of the Chung-Hsing Literary and Arts Award, Chinese Literary and Arts Medal, and Chinese Arts Contribution Award, and his works are held in the collections of the Presidential Office, Executive Yuan, and Chiang Kai-shek Memorial Hall, among other institutions. He served as juror for the National and Provincial Fine Arts Exhibitions, as professor and director of the Calligraphy Center in the Department of Fine Arts at Huafan University, as a specially invited painter of the Hsiling Academy of Painting and Calligraphy, and as chairman of the Taiwan Ink Painting Association, among other roles.

Hsiung's literary name "Pao-yi" is taken from Lao Tzu, signifying "the unity of spirit and form"—the merging of the Tao into nature. Although he cultivated the Taoist spirit of the unity of all things, he also incorporated the Confucian qualities of humility and centrality. Hsiung was a passionate collector, in the manner of the traditional Chinese literatus who delights in artifacts and cultivates the spirit through them. His works combine the aesthetic expression of the traditional "Four Perfections"—poetry, calligraphy, painting, and seal carving—and maintain a commitment to the charm of brushwork and ink and the creation of artistic mood. In his later years he was inspired by Chang Ta-chien and created works using ink splashing and color splashing techniques, combining the "powder-scattering method" and the "layered-color method," and incorporated powdery blues, purples, pinks, and malachite greens to add liveliness and saturation to the pictorial surface.

This work depicts a scene near a side gate of the Chiang Kai-shek Memorial Hall. Trees in the foreground half-conceal and half-reveal the white walls and blue-tiled roof of the memorial hall, while figures stream from the distance toward the park entrance in single file. Within the surrounding walls in the middle ground, clusters of trees composed of varied leaf textures surround the imposing main building. The overall brushwork is thick and unaffected, and the use of color is bold and vivid, giving the viewer a sense of the memorial hall's imposing physical presence and the scenic imagery of the surrounding area.

Accession Number:PT09782800

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