Author:

Size:Length:90.3 x Width:60.5 (cm)

Size description：109.3x79.5x3.2(含框)

Introduction：Lin Chin-chung (1951–), courtesy name Ching-lan, is a native of Tainan City, and was born in Wufeng Township, Taichung County. A celebrated mid-career calligrapher and painter in Taiwan, he graduated from Chiayi Normal School's General Teacher Training Program and the Department of Fine Arts at National Taiwan University of Arts, and subsequently earned master's degrees from the Graduate Institute of Fine Arts at Chinese Culture University and Graduate Institute of Arts at the University of Tsukuba, Japan. He has achieved outstanding award results in major domestic and international competitions in calligraphy and painting, including the Special Prize at the Sino-Japanese Cultural Exchange Calligraphy Exhibition, first prize at the National Youth Academic and Arts Competition, second prize at the National Fine Arts Exhibition, and first prize at successive Teachers' Fine Arts Exhibitions. His works have been exhibited in Taiwan, Japan, and France.

In addition to calligraphy and painting creation, he has for many years pursued scholarly research in pre-Qin calligraphy and seal carving history, historical script forms and calligraphy theory, and Chinese art history, with a substantial body of published scholarship. He has been a recipient of the Chung Shan Literature and Arts Award, Chung-Hsing Literary and Arts Award, and Golden Lion Literary and Arts Award. He currently serves as professor in the Department of Chinese Painting and Calligraphy Arts at National Taiwan University of Arts, concurrently serving as dean of the College of Fine Arts.

During his student years in Chiayi, Lin studied Chinese painting and calligraphy under Chen Ming and Chen Ting-chi, establishing his brushwork foundation. He was later given guidance by Lu Fu-ting and Chen Chi-chuan, broadening his artistic horizons considerably. His initial study of Chinese painting was in the traditional literati landscape style; subsequently, at National Taiwan University of Arts and Chinese Culture University, he was further influenced by prominent figures such as Su Feng-nan and Ou Hao-nien, resulting in more diverse brushwork subjects and themes. After the 1970s, the Nativist movement gained momentum in the art world, and he turned to depicting water buffalo and rural pastoral scenes—warm and touching works. His style then shifted after martial law was lifted, with themes of social change and urban development becoming more common.

This work depicts a garden scene at the Chiang Kai-shek Memorial Hall, and was shown in the "Glimpses of Democracy" special exhibition. In the foreground, a well-ordered brushwork arrangement expresses the shade of the trees, creating an atmosphere that sets off the main building behind.

Accession Number:PT09782400

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