Calligraphy X Photography - Fine Arts Contribution Award

Countryside Surrounded by mountains, small bridges and running water
With a simple countryside view

Childhood in the Triad
Filled with fantasies and memories
By the riverbank, on the ridge.
It's the theme of today's work.

It's a little long, but it's like a city of Taipei.
The Holiday Gallery is a place I often visit.

It's been a lot of years.
That's where my interest in art began.

1981 Mr. Yip Yuk Chi
Enlightenment, then put up your pen and learn to write.

1982 Teaching by Mr. Yao Menggu
Then the seal carving

1998 Started photography ......

Born in 1952 in Nantou County, Taiwan, his real name is Liu Kun-Fa.

At the age of 30, he was inspired by Yip Yu; his works were selected for provincial and national art exhibitions; in 1992, he was selected for the 5th National Calligraphy and Seal-carving Exhibition of China; in 1993, he was awarded the Nan Ying Prize at the Nan Ying Art Exhibition; in 1994, he was exempted from judging at provincial art exhibitions; in 1995, he was awarded the Golden Dragon Prize at the National Art Exhibition; and in 1997, he was awarded the Zhongshan Award for Literary and Artistic Creativity.

His works have been exhibited in the 1985 Contemporary Art Exhibition of the Republic of China, the 2nd and 3rd International Seal Engraving Exhibition in Korea, the 1st International Seal Engraving Exhibition (China), the 1st International Seal Engraving and Calligraphy Exhibition of the Xiling Seal Society, the Seal Engraving Joint Exhibition of the Millenium Year of the Dragon, the 50th Anniversary of Taiwan's Provincial Fine Arts Exhibition, and many other local exhibitions, and the centennial of the Xiling Seal Society in Hangzhou, China, in 2003.

In 1998, he was broadcasted in 42-3 episodes of FTV's "Art and Culture, Rural Love". He is now a member of the Nantou County Art Association, Taichung City Calligraphy Association, Taiwan Seal Society, Seal Engraving Society of the Republic of China, and National Style Painting Association. He is a member of the Provincial Art Exhibition Exemption Writers' Association, and chairman of the Taichung City Topography Art Association. He has served as a member of the judging committee for the National and Provincial Art Exhibitions, and as a member of the judging committee for the Dadun, Nanying, Zhongxian, Yunlin, Taoyuan, Sulphur Creek, and Yushan Art Exhibitions.

Started photography in 1998, illustrated small paintings in 2003, 20 solo exhibitions from 1990-2005, published 20 volumes of seal-carving calligraphy. Specialized in calligraphy and seal-carving creation and teaching, photography research.

1993-2021 89 Seminars on Calligraphy and Seal Carving
1990-2021 Organized 29 solo exhibitions of calligraphy and seal cutting works.

individual exhibition

2021 Le Guan De Fu-Liu Yan Chen Calligraphy and Seal Sculpture Exhibition, Taichung City Dadun Cultural Center
2020 The Joy of Characters: Calligraphy Works by Yan-Chen Liu, National Library of Public Information, Taipei, Taiwan
2014 Earth Seal Marks: Calligraphy, Seal and Bottle Carving Works by Liu Yan-chen, National Changhua Museum of Life and Aesthetics, Changhua, China
2013 Imagination of Calligraphy - Liu Yanchen Calligraphy Photography Exhibition, National Chung Hsing University Art Center
2012 Researching the Ancient and Creating the New: Calligraphy and Seal Engraving Exhibition of Liu Yanchen, National Museum of History, Beijing, China
2011 Youtubers - Liu Yanchen Seal Cutting and Calligraphy Exhibition, Taichung Dadun Cultural Center, Taichung, Taiwan
2005 Liu Yanchen Calligraphy, Seal Script and Painted Porcelain Exhibition, Taichung City Cultural Affairs Bureau, Taipei, Taiwan
2001 Liu Yanchen Calligraphy, Printing and Ceramics Touring Exhibition, Tainan County Cultural Center, Tainan, Taiwan
2001 Liu Yanchen Calligraphy, Seal and Ceramic Engraving Touring Exhibition, Taichung Municipal Cultural Center, Taiwan
2001 Liu Yanchen Calligraphy, Printing and Ceramics Touring Exhibition, Nantou County Cultural Center, Nantou, Taiwan
1998 Liu Yan-chen Calligraphy and Printing Exhibition, Taiwan Provincial Hedong Social Education Center
1998 The Love of Calligraphy and Painting - Liu Yanchen's Works, Nantou County Cultural Center, Nantou, Taiwan
1996 Yan-Chen Liu Calligraphy and Printing Exhibition, Kau-Tun Township Library, Kau-Kau Gallery
1994 Yan-Chen Liu Calligraphy and Seal-carving Exhibition, Nantou County Cultural Center, Nantou, Taiwan
1993 Yan-Chen Liu Teapot Seal Sculpture Exhibition, Taichung Municipal Cultural Center, Taiwan
1991 Yan-Chen Liu Calligraphy and Seal-carving Exhibition, Nantou County Cultural Center, Nantou, Taiwan
1990 Liu Yanchen Calligraphy and Seal-carving Exhibition, Taichung Municipal Cultural Center, Taiwan

Newspaper clippings

2012 Digitalization of the art of "Folks' Face", China Times
2003 Artist's Network Teaching him first, China Daily
2002 Five Fortunes Art Network, China Daily
2002 Ink Nicky's Best Friends: A Five-Person Group Exhibition, The Free Times
2002 Folk Year in Taichung-Shinto, Free Times
2001 Seal Sculpture and Calligraphy Exhibition, Taichung Times, Taichung, Taiwan
2001 Liu Yanchen's Solo Exhibition: Teaching the People Silk Seal, China Times
2001 Contemporary Artists Group Exhibition, China Times, China
2000 Teachers and Students of the Seal Carving Class of the Cultural Center, China Times
2000 China Post Trademarks of Chinese life
1998 Liu Yanchen's Painting and Calligraphy Exhibition, China Daily, China
1998 Liu Yanchen, Even Seal Engraving is Rebellious, United Daily News

Experience

2023 Appointed as Convocation Member of Nantou Art Association
1987-2023 Teacher, Seal Carving Class, Dadun Cultural Center, Taichung City, Taiwan
2014-2023 Teacher of Seal Engraving Class, Mingxiu College, National Chin-Yi University of Science and Technology
1999 Founding Chairman, Taichung Topography Art Association
Jury member of the National Art Exhibition, Provincial Art Exhibition, Dadun, Nanying, Sulfur Creek, Yushan and other art exhibitions.
Calligraphy and Seal Carving Teaching

Awarded

2022 Awarded the Nantou County Yushan Fine Arts Contribution Award.
2018 Awarded Senior Outstanding Artist in Taichung City
1997 Zhongshan Literary and Artistic Creation Award Winner
1995 Golden Dragon Award, National Art Exhibition
1994 Exempted from judging in the Provincial Art Exhibition
1993 Winner of the Southern Japan Prize at the Southern Japan Art Exhibition

Lectures

2019 Printing Art for Truth and Interest
2018 A View of Heaven and Earth in a Square Meter: An Impression of the Past and Present
2018 Calligraphy, Painting and Printing Spreading Salary
2017 Exam on Observation and Creativity
2016 Aesthetics of Life Seminar
2016 The Spirit and the Brush - Calligraphy Seminar
2016 The 1st Cross-Strait Cultural Exchange and "Ink and Words" Seminar
2014 Lecture on Aesthetics of Life: Appreciation of the Art of Calligraphy, Seal and Bottle Carving by Liu Yanchen
2014 The Effort to Support Each Other-Mirror Footprints Photography Seminar

publication

2022 Jinshi Shou. Ink and Honors ~ Nantou County Yushan Art Contribution Award Liu Yanchen's Works
2021 Happy to be Blessed: Calligraphy and Seal Engravings by Liu Yan-chen, Taichung City Cultural Bureau
2017 Jinguan ~ Ryu Yanchen Characters for Happiness Series by Ryu Kunfa
2014 Earth Seal Records ~ Liu Yan-chen's Seal Scripts and Seals, National Changhua Museum of Life and Aesthetics, Taiwan
2012 Researching the Ancient and Creating the New: Seal Cutting and Calligraphy by Yan-Chen Liu, National Museum of History, Beijing, China
2011 Traveling at Ease: Seal Cutting and Calligraphy by Liu Yan-chen, Taichung City Cultural Affairs Bureau, Taiwan
2009 Book Art Imagination ~ Ryu Yen-Chen Photo Book Ryu Kun-Fa
2007 Seal Seal Sea Compendium ~ Liu Yanchen Seal Sculpture Collection Dictionary Liu Kunfa
2005 Liu Yanchen, Colored Porcelain Calligraphy Collection, Taichung City Cultural Affairs Bureau, Taiwan
2005 Liu Yanchen Calligraphy and Seal Engraving Series (V) Liu Kunfa
1998 Liu Yanchen Calligraphy and Seal Engraving (4), Taitung Social Education Center, Taiwan Province of China
1997 Liu Yanchen Calligraphy and Seal Engraving (3) Liu Kunfa
1994 Liu Yanchen Calligraphy and Seal Engraving (II) Liu Kunfa
1993 The Teapot Seal Engravings of Liu Yanchen (Liu Kunfa)
1990 Liu Yanchen Calligraphy and Seal Engraving (I) Liu Kunfa

Liou Yan Chen

Domain

Photography, Ink, Calligraphy

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Stream of Time - Wang Shengping Oil Painting Invitational Exhibition Conveys the Vision of Beauty

From now until May 29th, the Lugang Township Office will hold the "Stream of Time - Wang Shengping Oil Painting Invitational Exhibition" at the Lugang Guild Hall. This exhibition is a synthesis of Wang Shengping's understanding of painting in three different periods over the past 10 years. His creations are rooted in the belief that "beauty comes from harmony," and through the 47 pieces of creations, he conveys to the viewers a more intimate feeling of "beauty," welcoming those who are interested in art creation to come and visit the exhibition.

Mr. Wang Sheng-Ping, a native of Xiushui Township, Changhua County, has a Master's degree in Fine Arts from Da-Yeh University. He is currently the chairman of the French Salon Society of Taiwan Artists, and has also served as a part-time lecturer for the art class at Nanhua University-Changhua Social University and an external lecturer for the oil painting class at the Changhua County Cultural Affairs Bureau. In 2010, his painting "Hope" won the Bronze Medal at the Salon des Artistes in France and received unanimous international acclaim. He has also won numerous awards in China, and was awarded the third place in the 100th National Art Exhibition in 2013.

Wang Shengping's works in this exhibition are based on natural images and attempt to transform them into imagery, exploring the principles of painting in both the figurative and the sensual. In order to achieve the implementation of "materialization", Wang Shengping seeks for the visual imagery that is contained in nature in a more autonomous manner, and materializes the self-perception, giving the works a richer connotation and tension, in order to achieve the goal of creating works at this stage of the exhibition.

Wang Shengping said he has loved art since childhood, because of the family's poor, can only buy the cheapest Taiwan pigments, and only red, yellow, blue, white, black five colors, pigments are often because of the many times and reduce the degree of color, so that the picture is slightly dull, but he also took the opportunity to train a more pure, versatile color performance.

Lugang Mayor Xu Zhihong said, "It is an honor to invite Mr. Wang Shengping to exhibit at the Lugang Guild Hall. Through Mr. Wang Shengping's paintings, we can feel the themes and brushwork of his different periods, from the early days of the countryside, to the middle of the countryside with a variety of techniques to present a different countryside, and finally back to the contents of the surrounding life, and through these paintings, we can feel the beauty of a variety of different things.

With the recent severe epidemic, we are invariably under a lot of pressure. We hope that through this exhibition, we can let all the viewers experience the beauty of life and the countryside through Mr. Wang Shengping's artworks, release the tension and follow his brushwork on the canvas.

(Changhua News) [Reporter Yafang Chen/Changhua News

Source:LINE TODAY,Deer Harbor Township Cultural Center

Master Sculptor and Life Walker Spark Art in the Courthouse

Huang Wen-dong, a clerk, and Li Wen-wu, a contemporary sculptor, held a joint exhibition at the Taichung District Court under the facilitation of Taichung District Court President Jiang Xilin. Li Wen-wu, a sculptor who is an apprentice at the grassroots level, and Huang Wen-dong, an artist in the legal profession, are expected to create cultural sparks at the Taichung District Court.

In the early days, Li Wenwu focused on rare animal subjects, which were so lifelike that it was hard to tell if they were real or fake. Later, after coming into contact with religion and gaining a deeper understanding of it, and in view of the high demand for statues of gods and goddesses in the market, Li Wenwu developed his work towards statue carving. In his early years, he studied wood carving of flowers and birds in a fence with a Japanese master, laying the foundation of wood carving with a background in Chinese painting.

Huang Wen-dong came from a poor background. In junior high school, he set his mind to work in the court system because of the court sessions in the bystanders' hall, and he studied hard to become a clerk from the most basic level. However, because of the disease planted by his sleepless hard study, he began to cultivate his body and mind after being on the verge of death for several times, and more than 20 years ago, when he worked as the clerk of the Taichung District Court, with the support of the court, he created the Art Kitchen Window in the Taichung District Court, and has served as the curator until now.

Huang Wen-dong pointed out that the court was previously considered a government office, the desert of art, Taichung District Court Art Kitchen Window display of all the national exemption from censorship of the works of artists, has been held in photography, elegant stone, collection of exhibitions and many other exhibitions.

In recent years, Li Wenwu has taken two routes, one of which is to combine the techniques of wood carving and painting, and to use the myths, idols, and artifacts of Buddhism, Taoism, and Tantricism as the objects of creation, creating carvings and paintings full of religious mysteries.

In recent years the domestic popularity of Shen Xiang wood from Vietnam, due to the number of rare, soaring prices, become an investment target, Shen Xiang logs are worth a lot of money, more than gold, if then carved, the price is even more expensive! Li Wenwu pointed out that due to the Shen Xiang wood is too precious, carving can not carve off too much wood, and even wood shavings have to be collected, can be made into Shen Xiang powder.

Master carver Li Wenwu has been creating art for 46 years, creating his own artistic style and following his own path. Huang Wen-dong, who has worked in the judiciary for 35 years and is the curator of this exhibition, has specialized in art creation for 27 years. He has specialized in art creation for 27 years. This time, under the facilitation of Taichung District Court President Jiang Xilin, the two of them held a joint exhibition at the Taichung District Court Art Kitchen Window, which sparked off art in the courthouse.

Reporter/Song Chia-king Reported in Taichung

Source:NEWS

Artist Jiang Xinjing's 5-meter eye-catching creation "Yunxi, Arithmetic" is on display at the Founding Father's Memorial Hall.

A writer who has never held a paintbrush before has crossed over to the art world for ten years, living in the mountains and forests and creating works behind closed doors, but why has she made a big splash in recent years, winning awards both at home and abroad? Artist Chiang Hsin-ching's "Cloud Stream, Calculation - Chiang Hsin-ching's Creative Works Exhibition" presents the insights gained from living in the mountains and forests into an inspirational presentation. Two important works are the highlights of the exhibition: the first is the large-scale creation, "Cloud Stream, Calculation", and the second is the grand finale, "Flying Flames of the Ten Thousand Heavy Mountains", a six-curve Japanese screen, with their respective styles and the stories of their creations, and they are going to be exhibited at the De Ming Art Gallery, the Memorial Hall of the Father of the Nation, from November 22nd to 29th. The exhibition will be held from November 22 to 29 at the National Father's Memorial Hall's Deming Art Gallery.

Literary background and global experience of practice Jiang Xinjing 2020, more study tours, the Institute of Contemporary Ink Art, Shanghai Academy of Visual Arts, China Academy of Fine Arts Institute of Transmedia Art senior seminar, in-depth contemporary art and philosophy of technology, the development of the exhibition "Thinking Series", by many artists, including the National Father's Memorial Museum Director Wang Lansheng, also commented on the exhibition, "deconstructing the traditional landscapes and presenting the post-epidemic era of contemplation. The exhibition has been recognized by many artists, including Wang Lansheng, Director of the National Father's Memorial Museum, who commented that the exhibition "deconstructs traditional landscapes to present contemplation in the post epidemic era. Liu Guosong, the father of modern ink painting, said, "The process of learning to paint with a quiet mind is the practice of seeking differences before seeking excellence. I used to say in my teaching that we need to find a piece of white paper, but it seems that quietness is not just any paper, but a piece of paper that has 'traveled around the world and has the energy to do so', and that is what makes it possible to have such amazing performances in such a short period of time".

In addition, Prof. Ching Dai Lok, former head of the Department of Fine Arts of Normal University and an artist, acknowledged her work in the "Class‧Shanshui Creation Exhibition" in September, saying that she approaches art from the perspective of a literati, and that her works "are free from the constraints and influences of traditions, and she boldly tries to make mistakes, pursuing the purity and texture of her works, which is a breath of fresh air in the art world". They all recognized her ability to create and her "human" oriented spirit.

A rare exhibition of her large-scale masterpieces, "The Cloud and Stream Calculations" The year 2020 was a turning point for Jiang Xinjing's art. She said that her studies and exhibitions were halted due to the impact of the epidemic, but her inner drive to create was burning, and she moved to the mountains in order to find more space for her creations. This year's exhibition will feature a large-scale work, "Yunxi Calculations - Si-Net Series," which is five meters wide and has been selected for the second time this year as one of Taiwan's newest art awards. The upper image uses topography, dyeing, spraying, painting, and flowing to interpret the changes of clouds and mist in the valley, while the lower image uses one-time writing to present the changes of the water in Dajia Creek, with the white space in the middle symbolizing the openness of the universe."

Jiang Xinjing explains that he lives in the mountains during the creative process, and when it rains, the clouds rise from the mountains along the Dajia River, gathering the spirit of the mountains. I thought the "white space" of ink and wash was an aesthetic of emptiness, but in fact, the clouds, which wipe away the scenery in a flash, are themselves solid and full of power. In the six months of sleepless creation, the evolution of clouds and streams creates a space for contemplation and meditation beyond the algorithm.

Prof. Xie Qichang, the curator of the exhibition, said that the exhibition is mainly composed of new works, combining text, ink and installation, and the interplay of different media, especially this work, which "presents a contemporary vision of humanism," is the highlight. In addition, artist Zhuang Liantong, a professor at the Department of Fine Arts of the National Taiwan Normal University, also liked her work and pointed out that it was rare for her to present "majestic momentum" and "unrestrained charm" in her abstract ink and colors.

The finale of Jiang Xinjing's exhibition is "Flying Flames of Ten Thousand Mountains," inspired by a cycling trip to Sweden in the fall of 2001, where the cold weather and the maples all over the mountains ignited a youthful passion that she had no regrets about. Xin Jing used ink wash, stone green coloring, pine needle brush strokes, and gold leaf stacking to complete the six panels of "Flying Flames of Ten Thousand Heavy Mountains," recreating the memory of the burning autumn scenery of northern China.

And in accordance with the ancient method of making 〈Flying Flame Wan Chong Shan〉 six curved gold leaf screen, the cause is the heart of the quiet and deep love of the "Dream of the Red Chamber" and "The Tale of Genji" in the book of the screen, the timing, location and people, to find the three national treasures of conservationists to collaborate with the wooden lattice with the Kataten, without a nail, glued on five or six layers of paper to become a hollow paper frame, the outer frame of the yellow pear, the back of the frame of the Japanese brocade, the heart of the painting using the digging framing, no splicing marks, can be 360 degrees rotation, the perfect combination of contemporary art and craftsmanship. This is a perfect combination of contemporary art and craftsmanship.

The "Cloudy River, Arithmetic - Creative Works by Jiang Xinjing" will be on display from November 22nd. On November 25th, dancer Zhou Zhangxian will be invited to perform "Cloudy River, Arithmetic" in front of a piece of artwork, accompanied by "Flowing Water" composed by guqin virtuoso Joon Kwan Chen, which will start a multi-disciplinary dialogue between dance, music, and literary arts. People interested in painting are welcome to visit the De Ming Gallery of the National Father's Memorial Hall during the exhibition period to enjoy this not-to-be-missed visual feast.

Source: 2023/11/20 Luang Yuet Reads

2022 White Paper on the Human Body--Double Exhibition of Zheng Hongzhang+Guo Zhengshen

Nakedness is an innate nature, when people come into the world they are naked. We are free to take in the world, but slowly we feel the pressure, the coldness, the different eyes, everything is waiting to be wrapped up, to be educated, including our bodies and behaviors. We often lose the autonomy and voice of the body, and at the same time we forget to recognize our body and see ourselves. The body develops vocabulary and behavior, it can become an actor, a dancer, a movement artist. The body's lines of expression, through painting and art, revisit the superficiality of the skin.

　Zheng Hongzhang's series of female nudes is a multi-faceted confession of the artist's inner feelings after many years of creation. The female body in the paintings is like a metaphor for the abstract landscape. The female body and the frame co-structure a kind of unyielding silence, which is harnessed by a low-color grey that takes you on a journey through the female mind, stress or growth. The female body is no longer objectified into a single image, but they are indulgently beautiful. The relationship between the background and the female body is an understated and harmonious gray color scheme, outlining the colorful clothes on the nude woman, either removed or draped. The personalities of the characters are clearly defined, but in an understated jazzy tone, languid or relaxed, arrogant or confident.

　Guo Zhengshen's male nudes are a stylistic breakthrough after abstraction, modern landscape and vase flower. The male bodies in the paintings are covered by high and low color pigments, the simple color palette seems to cover up the impact of each character, and the ever-changing gestures and nudity inadvertently give off a lot of male pheromones. The male privacy is revealed one by one, but it is perfectly sealed in another way. These nude works present the concept of nudity, but not nudity. Guo's nude men are self-identified, conservative, taboo, open, subversive, exploring their bodies over and over again, from the tone of the color blocking, the linear connection and tension, the pink masculinity, to the exhaustive and infinite space for thought.

　The joint exhibition of Zheng Hongzhang's female body and Guo Zhengshen's male body not only realizes the difference in the artists' gender roles, the micro-creations created by heterosexuals looking at heterosexuals and homosexuals looking at homosexuals, and the juxtaposition of nude men's and women's creations, but also realizes the different perspectives and development of nude art of the two artists. When we look at the confrontation, harmonization, impact, and influence of these two genders' paintings, the nudity no longer becomes the paintings themselves, but a more naked view of our inner self. The nudity is no longer the paintings themselves, but a more naked look into our hearts.

Source:Artist Magazine