Liu Kuo Sung (b. 1932), (Liu Guosong) 劉國松 In Yellow Light

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Lot 20
Liu Kuo Sung
(b. 1932)
(Liu Guosong)
劉國松
In Yellow Light

Sold for HK$ 688,125 (US$ 88,458) inc. premium
Liu Kuo Sung (b. 1932), (Liu Guosong)
劉國松
In Yellow Light
1968

signed and stamped with one artist seal
ink and color on paper

60 x 92 cm (23 5/8 x 36 1/4 in)

Footnotes

  • Provenance
    Private Collection, Washington, D.C., US (since 1970's)

    劉國松
    黄光之中
    水墨設色紙本
    1968年作

    簽名: 劉國松
    藝術家鈐印一方

    來源
    美國華盛頓私人收藏(於1970年代)

    In 1950s postwar Taiwan, artists yearned to break through the framework of traditional ink painting, and sought a way to touch off a wave of modern art. In their quest for innovation, students joined together to form the Fifth Moon Painting Society and the Tong Fang Painting Society. The Fifth Moon Painting Society was formed by National Taiwan Normal University art department graduates Liu Kuo-sung, Kuo Tong-jong, Li Fang and others in 1957. The name Fifth Moon was proposed by Li Fang in emulation of the French Salon de Mai. The group was later joined by other artists including Chen Ting-shih, Chuang Che, Han Hsiang-ning and Fong Chung-ray.

    The Tong Fang Painting Society was established in late 1957, and led by Li Yuan-chia, Oyan Wen-yuen, Wu Hao, Hsia Yan, Ho Kan, Chen Tao-ming, Hsiao Chin and Hsiao Ming-hsien, the students of Li Chong-sheng known as the "eight bandits." They were later joined by such leading artists as Li Shi-chi, Shiy De Jinn, Chu Weibor and Chin Sung. Fifth Moon emphasized art created on an entirely abstract basis, while Tong Fang emphasized the importance of preserving China's Eastern culture, and infusing it with Western abstract techniques. Both groups hold an important place in postwar modern art, not only altering the artistic atmosphere at the time, but also effecting a clash between Chinese and Western expressions and ideas.

    This current auction features the 1968 painting In Yellow Light by modern ink master Liu Kuo-sung, Fong Chung-ray's abstract landscape 99-39, and Untitled, a representative work from Chuang Che's art history research in the United States in the 1970s. Li Fang's Untitled presents a Chinese expression of nature in Abstract Expressionist form. Chen Ting-shih's Day and Night No. 18 presents an Eastern cultural interpretation of the vast operations of the cosmos. In Chin Sung's Eclipse Circles, circles are in a state of symmetry evoking the cosmic balance between Yin and Yang. Ho Kan's 90-6 employs powerful color contrasts, as geometric shapes with an Eastern feel express a cross-cultural imagery of mystery within two-dimensional space.

    戰後50年代的台灣,藝術家們渴望突破傳統水墨及寫實畫的框架,追尋「現代藝術」的思潮興起。為了革新突破,學生們團結一致促成了「五月畫會」與「東方畫會」。「五月畫會」當時由師大藝術系畢業的劉國松,郭豫倫、郭東榮、李芳枝等人於1957年成立。當時命名「五月」效法法國沙龍文化Salon de Mai,是出自李芳枝的提議。隨後加入成員為陳庭詩、莊喆、韓湘寧、馮鍾睿等藝術家。

    「東方畫會」於1957年後期,以李仲生體系下的李元佳、歐陽文苑、吳昊、夏陽、霍剛、陳道明、蕭勤、蕭明賢為首,被藝壇封為「八大響馬」所成立。後期則有李錫奇、席德進、朱為白、秦松等代表人物。「五月」強調完全以抽象藝術為基礎,「東方」則強調保留中國東方文化的重要性,再融匯貫通結合西方抽象技法。兩畫會在戰後現代藝術浪潮都持有重要地位,不僅改變當時的藝術風氣,更將中西方藝術表現思潮帶出碰撞。

    本次拍賣帶來了現代水墨畫之父劉國松1968年《黃光之中》、馮鍾睿《99-39》的抽象山水、莊喆在美國鑽研藝術史70年代的代表作品《無題》。李芳枝《無題》用抽象表現主義呈現中國自然寫意。陳庭詩《日與夜之十八》展現東方文化解讀宇宙磅礴氣勢。秦松《圓之色變之一》,圓形相互對稱,如陰陽兩極在宇宙般平衡共存。霍剛《90-6》的用色對比強烈,帶有東方意識的幾何符號在平面空間中表達跨文化意境的神秘感。
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