怡涛yitao 刘liu 画廊gallery

绘画 4 关注者 加入会员自2007
昆明市 Kunming, 中国

返回列表 2007年5月4日新增


I was born in November 1955 in the Puer county of Yunnan, a province situated in the southern part of China, which is very famous for the tea it produces. I came from a family with a high academic and social status. My great grandfather came top in the annual imperial civil service examination during the Ching dynasty and was made a government official. My grandfather and father were both teachers and officials.
Influenced by this family background I have liked art and poetry since I was a small child. When I grew older I developed a particular interest in drawing but my school education stopped during the cultural revolution. In 1971 I joined the Chinese Scientific Research Institute of Tropical Plants in Xishuangbanna of Yunnan and worked as a sketcher.
Xishuangbanna is one of the world’s biggest tropical forests. Many famous painters came there to sketch and asked me to be their local guide. They had different specialisations including oil painting, gouache, water colour painting, traditional Chinese painting, figure painting, traditional flowers and birds painting and landscape painting. Because of this I had the opportunity of learning the strength of their different styles and schools.
Out of the various styles of painting I chose to specialise in the drawing of flowers and birds because of my special interest in them. In 1981 and 1982 I had the luck to study in the Beijing Teachers’ University and learned how to observe the essence of the past and present. Since then I have explored ways of expressing the richness and somewhat slightly disorganised scenery of the tropical forest of Xishuangbanna.
My work as a plant sketcher has allowed me to visit primeval forests in all sorts of remote areas of China. This has filled my mind with lots of good subjects for painting, which differentiates me from urban artists who often have too few ideas for their paintings.
Chinese traditional touch painting of flowers and birds is the type of drawing whose content is based on a single theme. Its format is to use extremely clear and simple refined strokes to draw a complete picture of a particular object. If the picture contains too much detail or is too rich in colour, it becomes too cluttered and appears dull and tiresome. Good Chinese traditional touch painting has to be detailed but not tiresome, to give a complete picture without being dull. Therefore typical traditional work comprises a simple branch with either a bird or two. The picture contains much space to show its flexible design of flowers and branches. However this technique is not sufficient to express the lively and energetic atmosphere of a tropical forest. To paint such a picture in this style (which was not undertaken by previous painters) it is necessary to use a rich picture and design in order to express the vividness of its spirit and elegant demeanour.
To avoid tiresome, stiffness and dullness caused by too much detail, I search for a way of painting which allows me to marry the abstract with the real, to mix the drawing of the object itself and its essence and always combine romanticism and symbolic imagery with object painting in the same picture so that the two can be in unity and harmony as much as possible to give a liveliness and energy to the picture. This way of painting relies on personal feeling and understanding of the scenery rather than rational understanding. In my opinion rationality stifles imagination. To a painter perception is more important.
However, simply drawing flowers and birds cannot reflect the richness of the mode of life in its natural environment. I want to break with the accepted separate treatment of landscape painting and the traditional painting of flowers and birds and create a new style which reflects the varieties of life in the tropical forest.
The next step is to search for a poetic feeling, emphasising the imagery of the picture. In my opinion the true meaning of art lies with poetic inspiration. Painting should be an expression of feelings and desires. Its success depends on whether it can arouse or inspire the viewer’s feelings. This type of inspiration comes from perception and not rationality. Images may come from either a past memory aroused by particular scenery or may result from expressing one’s feeling through a particular scene.
The purpose of painting is communication. A good picture blends the thoughts of the painter with the objects in the picture giving particular imagery. Accordingly a painter, through the imagery of his paintings, can communicate to the viewer his viewpoint on certain matters as well as his thoughts and feelings. A the same time I want to show the intricate feeling and colourful connection between man and nature and try to describe their messages for each other through the images in the picture.
I think to a large extent the success of painting depends on whether the painter has the ability to thoroughly and deeply understand and observe nature as well as special feelings. As an artist, it is necessary to be able to pick out the unusual from the usual, to discover the uncommon within the common, to pick relevant ideas from a group of organised data. Only in this way can he stand out from the rest. His drawing techniques should also use ideas to translate the method rather than using the method to translate ideas. In other words the painting method, that is the use of pen and ink, colour and design should follow his own ideas, desires and interests.
Whether the scenery and subjects can be cleverly utilised depends on the variation in the use of the abstract and the realistic drawing technique.
Abstract means using feelings to express ideas. Real means making the theme stand out. The former should be of prime importance because abstract gives life and inspiration. If a picture contains spirit and inspiration it means it comes to life. Abstraction and realism have to compliment each other in order to show the delicacy and elegant demeanour of mountains, the softness and active movement of water and the life-beauty of the flowers and plants.
My search for a new way of painting as mentioned above gives me a unique style which differentiates me from the traditional style of those produced by the contemporary painters. As a result I won the 6th National Drawing Distinction Prize, the 7th National Art Exhibition Bronze Medal, the China Cup Chinese Painting Grand Prize Competition Good Work Prize, National Touch Painting Golden Hairpin Prize and the 3rd prize in the National Scientific and General Art Exhibition. My paintings have been shown in the French Autumn Salon exhibition and exhibited in the international art exhibitions in countries like the USA and Japan. I have mounted personal exhibitions in Beijing in 1991, Hong Kong in 1992, Australia in 1994 and Thailand in 1995. Publications include two sets of ‘Yitao Liu Paintings collection’ which were published by Roung Baozhai Limited in Hong Kong and Yunnan Provincial Nationality Press.

追求创新 艺涯随想

二十多年前,年仅16岁的我离开家乡普洱,来到了座落在西双版纳勐仑的中国科学院热带植物园工作。我面对着似乎完全是另一个世界神奇的景物, 到处是千奇百怪的植物,种类繁多、层峦茂密的热带雨林,奇花异卉,奇树异木,像朝霞那样五颜六色,看到这些,我忘却了三十几人从早到晚乘座一辆解放牌卡车所带来的疲倦和虽是秋天却炎热无比的气候,跳跃着扑进了它的怀抱。
一年之后的一个偶然机会,我开始了我所钟爱的绘画艺术工作,又由于植物园是有名的热带植物王国,许多著名画家都到这里写生,我便主动为他们担任向导,跟着什么画家学习什么画种——油画、水粉、水彩、国画,人物、花鸟、山水,不同风格,不同流派,使我得于师百家之长。我最终选择了花鸟画,是由于我对花鸟特别的偏爱。我之所以选择表现西双版纳的热带景物,而不是传统的题材,一是爱其朴质、幽雅、脱俗的美;再就是我认为画一种全新的题材,亦是促发观念变革的契机,一种全新的事物,会给人予不同一般的感受,迫使你在表现它时极尽所能,甚而摈弃传统技法,而创新法以应新的命题,触发艺术观之突变或渐变,从而达到创新之目的。我一次又一次地走入那人迹罕至的原始森林,去感悟,去发现大自然的美。山野林间的一丛古藤,一泓泉水,一片绿叶,一朵黄花,甚至一块苔痕斑斑的顽石和枝头的一只鸣禽,都能触发我的创作冲动,形成我胸中那充满诗意的灵感。或许是那片绿色的原野给予了我生命与希望,或许是为满足人们在生活中对美积日已久的追求,我总是想在作品中表现一种生命勃发的新境界,并力图使之富有极强的艺术感染力。我的画力求体现林逋的小桥流水之意境,杜甫的大江东去之雄浑,苏东坡的宇宙怅茫之悠然, 把它们有机地统一到一起来。




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