LIU YUNG (B.1949)
Graceful Lotus, Elegant Poetry, 2014
Framed and glazed, ink and color on paper, inscribed and signed, dated jiawu at the age sixty-six, with six artist's seals, Liu Yong, wuyong caizi, Meng dao you shen, leng xiang fei shang shiju, and Yinmeng lou; a copy of the 2017 Zhejiang Art Museum artist's retrospective A Man of the Brush and Pen:Retrospective Works of Liu Yung, with the artist's signature signed on September 3rd, 2017, is being sold with this lot.
55 x 141 7/8in (142 x 360cm)
Footnotes:
劉墉 姜夔詞意 設色紙本 鏡框 二〇一四年作

款識：鬧紅一舸，記來時嘗與鴛鴦為旅。三十六陂人未到，水佩風裳無數。翠葉吹涼，玉容銷酒，更灑菰蒲雨。嫣然搖動，冷香飛上詩句。日暮青蓋亭亭，情人不見，爭忍凌波去。只恐舞衣寒易落，愁入西風南浦。高柳垂陰，老魚吹浪，留我花間住。田田多少，几回沙際歸路。甲午年以勾勒沒骨潑墨破墨諸法寫姜白石詞意於氤夢樓，劉墉時年六十有六矣。

鈐印：劉墉、氤夢樓、無用才子、冷香飛上詩句、夢到幽深

Provenance:
Acquired directly from the artist

Published:
Liu Yung, Shujuan Jiangshan: Liu Yong Zuopin Ji 書卷江山：劉墉作品集 A Man of the Brush and Pen: Retrospective Works of Liu Yung, Hangzhou, Zhejiang Art Museum, 2017. p.139.

來源：
藏家直接得自藝術家

出版：
劉墉，《書卷江山：劉墉作品集》，浙江美術館，杭州，2017年，頁139

Born in 1949 in Taipei, Liu Yung is a well-known artist, author, and educator. The artist received a B.A. in Fine Arts from the National Taiwan Normal University in 1972, studied painting with Huang Junbi (1898-1991), and maintained good relationships with Zhang Daqian (1898-1983) and Pu Ru (1896-1963). He was an artist-in-residence of Danville Museum of Fine Arts and History in 1978 and St. John's University in 1980, where he pursued his M.A. in East Asian Studies in 1981. His works are in important institutional collections worldwide.

In this massive painting, a picturesque panorama of lotus pond offers an immersive experience. Three groups of ink lotus leaves are dotted with white flowers and buds, all silver-lined by washes of pale huaqing (indigo). In the accompanying catalog, Liu Yung stated that this palette was inspired by Zhang Daqian's lotus paintings, whose influence on Liu Yung is evident in the painting's subject matter, composition, format, inscription, and color scheme. For a continuous lotus painting by Zhang Daqian for comparison, see Silhouette of a Great Master: A Retrospective of Chang Dai-chien's Art on the 120th Anniversary of His Birth 巨匠的剪影：張大千120歲紀念大展, National Palace Museum, Taipei, 2019, pp. 156-157. In regards to brushwork, however, the two artists adopt a different approach, with Zhang Daqian's technique emphasizing the explicit presence of indexical brushstrokes, while the artist of the present lot does the opposite. Despite Liu Yung's use of traditional techniques like 'splashed ink' and 'broken ink,' they're more organically infused within the water and color to achieve a smooth visual effect. As Shang Hui, Executive Editor of Art Magazine said: 'One could never find traditional ink stroke techniques in Liu Guosong's work; he purposely deconstructed ink strokes. In Liu Yung's work, however, we can see traditional ink strokes and contemporary ink art come together. ... This distinguishing feature of Liu Yung is very much worth our attention and study.' (quote from the website of the artist's studio https://www.syzstudios.com/critiques)