刘国松美术作品

刘国松，祖籍山东青州，生于安徽，1949年定居台湾，14岁在武昌读初中时开始学画。20岁转习西画。1956年毕业于台湾师范大学，并于同年创立五月画会。1968年成立中国水墨画学会。来香港后任教于香港中文大学艺术系迄今，其间曾在美国艾奥瓦大学及威斯康辛州之史道特大学任客座教授。1977年当选为国际教育协会亚洲区会长。现任香港中文大学艺术系高级讲师。
刘教授十四岁开始学习传统国画，二十岁改习西画。1956年，从台湾师范大学毕业后，随即创立「五月画会」，发起现代艺术运动。1961年，有感于一味追随模仿西洋现代艺术思潮与画风之不当，更基于对发展与宣扬民族文化传统的强烈使命感，刘教授在创作上做了一百八十度的大转弯，重拾东方画系的水墨媒材，从事水墨的革新，倡导中国画的现代化。对此，大诗人余光中教授撰文称之为「浪子回头」。而刘教授也在此时提出一个至今仍有价值的口号：[模仿新的，不能代替模仿旧的；抄袭西洋的，不能代替抄袭中国的。
刘教授本人曾就「传承与创新」的关系写过许多文章，后收入台北文星书店出版的《临摹、写生、创造》（1966）文集中。为了开拓画家的胸襟和视野，他崭新的诠释了传统文人画所标榜的[笔墨]原意：[笔就是点和线；墨就是色和面；皴就是肌理。]同时更提出[革中锋的命]、[革笔的命]与[建立二十世纪中国绘画的新传统]的口号，掀起当时文化界的轩然大波。时至今日，他的理论已广为海内外水墨画家甚至史论家所接受，并形成一股潮流。看着目前中国水墨画界呈现的多元化风格与形式，以及许多美术科系已开始从事现代水墨画的教学，就可知刘国松对中国水墨画的开拓与发扬所做的贡献。
刘教授在过去的四十二年中，始终一面作画、一面教学。自己不断的实验并发明了许多新的技法，也创造出多种不同形式的个人独特画风。因为他认为，画家与科学家精神一致，都必须在工作室里不停的实验、创造；他也以这样的观念从事美术教学，并提出了[先求异，再求好]的理论，培养出不少在世界艺坛上崭露头角的艺术人才。所以在1996年7月，台北艺术博物馆邀请刘教授举办[刘国松艺术研究展]时，不但回顾其历年来的创造、介绍其教学方法与成果，更推出了一套两本的[刘国松研究]专画，以肯定他在创作与教学两方面的成就。
从1965年至今，刘教授应世界各地美术馆及博物馆的邀请，已举行个人画展八十余次、参加国际性团体展百余次，并获得多项殊奖。全球收藏其作品的美术馆和博物馆，已有五十余家。各国出版的学术专著，如英国的《中西艺术的会合》、法国的《抽象艺术》、瑞士的《现代中国画》、美国的《中国与日本文化简史》、《中国艺术简史》和《现代中国与日本》等，都有图文介绍刘教授，甚至引用他的理论文字。
另外，海峡两岸与德国已出版的传记、评论和研究的专书已达十余种，再加上画集、画辑、画册、画展目录以及纯文字介绍他的书籍，更有近百种之多。1998年，纽约市古根汉美术馆举办的重要展览[中华五千年文明艺术展]中，唯一被邀请的台湾画家，就是刘国松。由此可见，刘教授早已被国际艺坛公认是台湾最具代表性的画家之一，这不但是因为他的创作有划时代的意义，更因为其创新的思想与理论影响所及，将停滞五六百年的中国绘画，推向现代而进入一个多元的世纪，呈现了文艺复兴式的蓬勃朝气。
1932。4月26日生于安徽蚌埠，原籍山东青州。1938父亲于抗日战争中阵亡。与母亲流亡于湖北、陕西、四川、湖南、江西等地，历经艰难，妹妹于逃亡中夭折。1945抗日胜利，就读江西金溪县立中学。1946定居湖北武昌。1948考入南京国民革命军遗族学校。1949只身随遗族学校来台，分发至台湾省立师范学院（今台湾师范大学）附属中学高一就读。1950发表新诗及短篇小说于《中学生》等杂志。1951以同等学历考进师范大学美术系。1955发表《为什么把日本画往国画里挤》等文，揭开"正统国画"之争序幕。此为刘氏日后大量艺术评论之始。1956与师大同班同学李芳枝、郭东荣、郭豫伦等举办"四人联合画展"于师范大学。在廖继春老师的鼓励下成立"五月画会"。1957代表台湾参加日本东京"亚洲青年美展"。首届"五月画展"于台北，掀起了台湾现代艺术运动。1958开始大量撰写艺术理论文章，鼓吹现代艺术。1959参加巴西"圣保罗国际双年展"、法国"巴黎青年双年展"。参与尉天骢主编《笔汇》月刊编撰工作，与大批诗人，如余光中、楚戈、郑愁予，及音乐家许常惠、史惟亮、评论家姚一苇等相识，并同鼓吹现代艺术。思想由全盘西化转为中西合璧，开始采用石膏在画布上打底，在油画中加入水墨趣味。1960应聘担任中原大学建筑系讲师。参与发起成立"中国现代艺术中心"，因"秦松事件"受挫、解散。1961与黎模华女士结婚。受建筑学界材料理论影响，放弃油彩与画布，重回纸墨世界，倡导"中国画现代化"运动，并开发各种拓墨技法，以"拓墨"和"贴"（Collage）为主。撰文反驳徐复观《现代艺术的归趋》一文，引发"现代绘画论战"。1962参展西贡"第一届国际美展"，以及台北历史博物馆"中国现代绘画展"与"现代绘画赴美展览预展"。1963发明粗筋棉纸--刘国松纸，并藉此创造出自我独特画风。作品《云深不知处》，为香港艺术馆收藏，系作品首次为美术馆收藏。1964参展"当代中国绘画展"于非洲十四个国家巡回，及"五月画展"于澳洲雪梨、坎培拉等地。1965首次个展于台北台湾艺术馆。论文集《中国现代画的路》，由台北文星书店出版。1966第二本论文集《临摹·写生·创作》，由台北文星书店出版。经李铸晋推荐，获美国洛克斐勒三世基金会（The JDR 3rd Found）两年环球旅行奖。应美国加州拉古拉美术馆之邀，举行在美之首次个展。赴爱荷华大学学习铜版画三个月，随后在美各地旅游参观四个月，在纽约旅居九个月。受范宽《溪山行旅图》震撼，作"矗立"系列作品。曾获美国洛克斐勒三世基金会两年环球旅行奖金。1967应诺德勒斯画廊之邀，举行首次纽约个展，获纽约时报名艺术评论家肯乃德（John Canaday）好评，并与该画廊签约，成为代表画家。应美国密苏里州堪萨斯市纳尔逊美术馆邀请举行个展。周游欧亚各国四个月后，返台，继续任教于中原大学。1968当选台湾"十大杰出青年"。发展成立台湾"中国水墨画学会"，继续鼓吹中国画之现代化。参展美国俄亥俄州马瑞埃塔学院艺术中心"主流‘68"国际美展，并获"杰出画家奖"。获国际青年商会十大杰出青年奖。1969受美国"阿波罗八号"太空船由月球背面拍回地球照片之影响，开始"太空画系列"之创作，首幅《地球何许》获美国"主流‘69"国际美展绘画首奖。获美国主流国际美展绘画首奖。1970应美国威斯康辛史道特州立大学艺术系之邀，担任客座教授一学期。应邀为日本大阪世界博览会绘制巨作《午夜的太阳》。1971应聘香港中文大学艺术系任教，迁居香港。首创"现代水墨画"课程。1972"五月画展"于美国戛威夷美术馆展出。随后着重在国外的展出，在台湾的活动逐渐停息。应聘担任台北第八届美展评审委员，及巴西圣保罗国际双年展参展作品评审委员。出任香港中文大学艺术系主任。1973创办"现代水墨画文凭课程"于中文大学校外进修部，推广现代水墨创作。著名英国艺术史家苏立文《东西方艺术之会合》（The Meeting of Eastern and Western Art）在英国出版，给予重要评价。开始全力探索水拓画技法。1974发表《谈绘画的技巧》一文，提出"革中锋的命、革笔的命"之理论，引发大规模的讨论。1975法国巴版的"抽象艺术"一书，收录其作品《地球何许》应美国爱荷华大学艺术学院之邀，担任客座教授一年。1976于香港中文大学筹办及主持第四届亚洲国际美术教育会议；并当选国际艺术教育协会亚洲区会长。辞系主任一职，专心教学与创作。苏立文著《中国美术简史》（A Short History of Chinese Art），由美国柏克莱加州大学出版，将其列入创新一派。 1977 自选英国国联八位画家的亚洲区代表，前往加拿大参加"国联版画代表作"之创作。任香港艺术双年展评审委员。1978应聘担任台北市立美术馆筹备委员。纽约大学教授希诺瓦考（Conrad Schirokauer）著《中国与日本文化简史》（A brief History of Chinese and Japanese Civilizations）将其列为台湾现代艺术之代表，并在书中引用其理论文章。1979应邀与欧豪年举办双人展于西德法兰克福博物馆。获国际静坐协会完美奖。1980应爱荷华州--伊利诺州艺术评议会之邀，任访问艺术家一年。并于各大学美术学院、教育电台及美术馆巡回演讲及教授绘画。应犹他州水彩画协会之聘，赴盐湖城主持工作坊，讲授现代水墨画，为期两周。1981应邀赴北京参加北京中国画研究院之成立大会并参展。名列美国出版《世界名人录》。1982采用袁江笔法与水拓法相结合，完成《天池》一作，是一种新尝试。英国出版希诺考瓦《现代中国和日本》（Modern China and Japan）视其为台湾代表画家。1983个展于北京中国美术馆，并应中央美术学院之邀公开演讲；随后巡回展于南京江苏省美术馆、广州市广东画院、武汉市湖北省美术陈列馆、哈尔滨美术馆等地，并做多场演讲。1984北京人民美术出版社出版《刘国松画辑》。参加北京"第六届全国美展"，与李可染同时获得"特别奖"。个展于上海、济南、烟台、杭州和福州。1985首次应法国"五月沙龙"之邀，作品《沉入山的呼吸里》于巴黎大皇宫展出。应北京中国工艺美术学院之聘前往该校讲学两周，教授现代水墨画。1986个展巡回于重庆、西安、兰州、乌鲁木齐等地。水拓画达于成熟境地，开始渍墨画的探索与试验。1987个展巡回于长沙、潍坊、太原，结束第三次在大陆的巡回展。八月前往西藏旅游，成为创作系列西藏山水之灵感泉源，画风为之一变。1988参展北京中国画研究院"国际水墨画展"。应邀参加北京中国画研究院主办"水墨画研讨会"，发表论文《当前国画的观念问题》。1989应邀担任北京"全国现代书画大赛"评审委员。应美国运通银行之邀，绘五届楼高之大画（1952x366公分）--《源》。1990大型回顾展于台北市立美术馆，并出版画展目录。1991获李仲生现代绘画文教基金会"现代绘画成就奖"。1992应邀出席台北市立美术馆"东方美学与现代美术"学术研讨会，发表《先求异，再求好）教学理论。六十回顾展于台中市台湾省立美术馆。十月自香港中文大学退休，返台中定居，并任东海大学客座教授。1994应广东珠江市文学艺术界联合会之邀，赴珠海举行"中国现代水墨画两岸两人作品展--刘国松与仇德树"展览。1995赴法国参加巴黎台北新闻文化中心"台湾当代水墨画展"。1996应邀担任台南艺术学院造型艺术研究所所长。台北历史博物邀请举办"刘国松研究展"。1997应邀参加上海美术馆举办之"中国艺术大展"及研讨会。1998应邀赴纽约参加古根汉美术馆举办之"中华五千年文明艺术展"。应德国文化中心之邀赴欧洲参观考察，并参加"展望2000--中国现代艺术展"。1999自台南艺术学院退休。应台北市中山国家画廊之邀举办个展--"宇宙即我心"。赴比利时参加"台北当代水墨画展"开幕活动。2000应邀赴成都现代艺术馆参加"世纪之门"艺术展览。应邀赴西藏大学讲学，并前往珠穆朗玛峰，出藏后左耳突然失聪。赴纽约举办个展。2001应邀赴纽约参加"无际中华"艺术大展，并访问华盛顿、旧金山等地。应成都现代艺术馆的邀请，举办"西疆扩远--刘国松画展"。2002"宇宙心印--刘国松七十回顾展"于新竹智邦艺术中心、北京中国历史博物馆、上海美术馆及广东美术馆盛大巡回展出。

刘国松美术作品

Liu Guosong, a native of Qingzhou, Shandong Province, was born in Anhui Province, settled down in Taiwan in 1949, and began to learn painting when he was 14 years old in Wuchang junior high school. At the age of 20, I transferred to Western painting. He graduated from Taiwan Normal University in 1956 and founded may painting society in the same year. In 1968, the Chinese ink painting society was established. He came to Hong Kong to teach in the Art Department of the Chinese University of Hong Kong. During that time, he served as visiting professor at the University of Iowa and the University of Stewart in Wisconsin. In 1977, he was elected president of the Asia region of the International Education Association. He is now a senior lecturer in the Art Department of the Chinese University of Hong Kong.

Professor Liu began to study traditional Chinese painting at the age of 14 and changed to Western painting at the age of 20. In 1956, after graduating from Taiwan Normal University, the May painting society was founded to launch the modern art movement. In 1961, influenced by the improper imitation of western modern art trend and painting style, and based on the strong sense of mission for the development and promotion of national cultural tradition, Professor Liu made a 180 degree turn in his creation, picked up the ink media of Oriental Painting Department, engaged in the innovation of ink, and advocated the modernization of Chinese painting. To this end, the great poet Professor Yu Guangzhong called it "Prodigal Son turning back". At the same time, Professor Liu also put forward a slogan that still has value today: imitation of the new cannot replace imitation of the old; plagiarism of the West cannot replace plagiarism of China.

Professor Liu himself wrote many articles on the relationship between "inheritance and innovation", which were later included in the anthology of copying, sketching and creating (1966) published by Taipei Wenxing bookstore. In order to open up the artist's mind and vision, he interpreted the original meaning of the traditional literati painting: "pen is point and line; ink is color and surface; Cun is texture.". ]At the same time, the slogan of "the life of the revolutionary center", "the life of the revolutionary pen" and "the establishment of a new tradition of Chinese painting in the 20th century" was put forward, which caused a great stir in the cultural circle at that time. Up to now, his theory has been widely accepted by ink painters and even historians at home and abroad, and formed a trend. Looking at the diversified styles and forms of Chinese ink painting, and many art departments have begun to engage in modern ink painting teaching, we can see Liu Guosong's contribution to the development and promotion of Chinese ink painting.

In the past forty-two years, Professor Liu has been painting and teaching at the same time. He has constantly experimented and invented many new techniques and created many different forms of personal unique painting styles. Because he believed that painters and scientists must constantly experiment and create in the studio in the same spirit; he also engaged in art teaching with such a concept, and put forward the theory of "first seek difference, then seek good", so as to cultivate many art talents who are emerging in the world art world. So in July 1996, when Professor Liu Guosong art research exhibition was invited by Taipei Art Museum, he not only reviewed his creation over the years, introduced his teaching methods and achievements, but also launched a set of two [Liu Guosong research] paintings to affirm his achievements in both creation and teaching.

Since 1965, at the invitation of art galleries and museums around the world, Professor Liu has held more than 80 individual exhibitions, participated in more than 100 international group exhibitions and won many awards. There are more than 50 art galleries and museums that collect their works all over the world. Academic monographs published in various countries, such as the combination of Chinese and Western art in Britain, abstract art in France, modern Chinese painting in Switzerland, a brief history of Chinese and Japanese culture in the United States, a brief history of Chinese art and a brief history of modern China and Japan, have introduced professor Liu with pictures and even quoted his theoretical texts.

In addition, there are more than 10 published biographies, reviews and research books on both sides of the Taiwan Strait and Germany. In addition, there are nearly 100 kinds of books about him, such as picture collection, picture collection, picture album, picture exhibition catalogue and pure text introduction. In 1998, Liu Guosong was the only Taiwanese painter invited to the important exhibition of Chinese 5000 year civilization art held by gugenhan Art Museum in New York City. It can be seen that Professor Liu has long been recognized as one of the most representative painters in Taiwan by the international art circle. This is not only because his creation has epoch-making significance, but also because of his innovative ideas and theoretical influence. He has pushed the stagnant Chinese painting of five or six hundred years to the modern era and into a pluralistic century, presenting a Renaissance style vigorous vitality.

1932. Born in Bengbu, Anhui Province on April 26, he was born in Qingzhou, Shandong Province. His father was killed in the Anti Japanese war in 1938. She was exiled with her mother in Hubei, Shaanxi, Sichuan, Hunan, Jiangxi and other places. After a lot of difficulties, her sister died in the escape. 1945 Anti Japanese victory, study in Jinxi County middle school, Jiangxi Province. He settled in Wuchang, Hubei Province in 1946. In 1948, he was admitted to Nanjing National Revolutionary Army School for the remains. In 1949, he came to Taiwan with the school of the dead and distributed it to senior one of the secondary school affiliated to Taiwan Provincial Normal University (now Taiwan Normal University). In 1950, he published new poems and short stories in middle school students and other magazines. 1951 entered the Art Department of Normal University with the same degree. In 1955, he published "why to squeeze Japanese painting into Chinese painting" and other articles, which opened the debate of "orthodox Chinese painting". This is the beginning of a large number of Liu's art reviews in the future. In 1956, he held a joint painting exhibition with his classmates Li Fangzhi, Guo Dongrong and Guo Yulun at Normal University. Under the encouragement of Mr. Liao Jichun, "may Painting Society" was established. 1957 represented Taiwan at the Asian Youth Art Exhibition in Tokyo, Japan. The first "may painting exhibition" in Taipei set off a modern art movement in Taiwan. In 1958, he began to write a large number of art theory articles, advocating modern art. 1959 participated in Brazil's "Saint Paul"