Author:Ou Hao-Nian

Size:Length:180 x Width:84 (cm)

Size description：136.5×70 (180×84)

Introduction：Ou Hao-Nian (born 1935) is a native of Maoming County, Guangdong. At the tender age of 17, he began to study painting under the master of the Lingnan School, Zhao Shao'ang, and traveled extensively. His wife Chu Mu-Lan, a graduate of the Lingnan Art Institute, is also a renowned ink painter. In 1968, the couple exhibited together at the National Museum of History, and in the same year, both were appointed academicians at the Chinese Academic Institute. In 1970, Ou moved from Hong Kong to Taiwan and began his tenure as a professor in the Fine Arts Department of the Chinese Culture University. From an early age, Ou Hao-Nian showed exceptional talent. At the age of 21, he participated in the Southeast Asian Traveling Art Exhibition and received great international acclaim. His exhibition invitations spread to countries such as Japan, the United States, the United Kingdom, Germany, Austria and the Netherlands. He was even invited to the Art Institute of Chicago to give a special lecture on Chinese painting, and was praised as a representative painter who embodies the Eastern humanistic spirit and is an outstanding continuation of the Lingnan School.

Since his youth, Ou Hao-Nian has been a true heir of the Lingnan School, his freehand style is bold, genuine and full of charm. He is skilled in painting flowers, birds, animals, figures and landscapes. In his early days in Taiwan, his plein air works in Yangmingshan still carried the obvious Lingnan characteristic of Eastern and Western eclecticism. For example, his 1972 "Campus Scene with Plum Blossoms" depicted plum blossoms in the foreground in a boneless style, while the buildings in the background were drawn in perspective, showing an upward view. In addition, Ou Hao-Nian excels in calligraphy and poetry, especially in running and cursive script.

This 2006 work, "Mountain viewing," depicts mountains in the lower right corner using heavy ink and colors such as ultramarine and stone green, combined with textures and staining techniques. This work is similar in technique to his 1975 work "Gang River," both sharing similarities in brushwork, color application, and mountain compositions. The main difference lies in the depiction of the traveler climbing the steps and looking upward in "Mountain viewing," with a large empty space left in the upper left, concentrating the composition in the lower half. In contrast, "Gang River" captures the dialogue between a small boat and the mountains, reflecting the fascinating interaction between nature and man.

Accession Number:PT09905900