Published on：2020-10-16Views：7
Artwork Analysis
A painting of ocean waves lapping on the shore and pine tree branches greeting the wind by Fu Chuan-Fu (1910-2007). Painter’s inscription: "To Taoyuan County Cultural Center from Fu Chuan-Fu (Enlightened Elder), Mid-Autumn, Year of Ji Si (1989)." Name seal: "Fu" (intaglio), "Chuan-Fu" (relief).
The water in the painting is slightly S-shaped; the rocky bank and the pines thereon stand on the left side of the painting, while on the right the mountains run into the distance. The painter has outlined the rock contours with broad brushstrokes and dyed it with reddish-brown pigments. The sea waves are formed using his self-developed "dot blotting technique," with which not a single line is used, but light blue pigments are dotted extensively; he used deliberate blank to represent the light and shade and the wave shape, vividly capturing the instantaneous movement of the wave. The painter used (freehand) brushstrokes with flower blue pigment to dot and dye the needles of the pines standing on the cliff, to show the movement caused by heavy wind; pine needles are visible only on two or three twigs. The mountain and sky in the distance are only dyed with light ink, light blue, and light reddish-brown pigment, so as to direct the viewer’s attention to the dramatic moment at which the rough waves crash against the shore. The painter is an expert in contrasting the meticulous Gongbi technique with the expressive Xieyi freehand technique and accentuating and fusing cold and warm tones, thereby adding poetic resonance to the life sketching (Xiesheng).
The shocking experience of the rough sea waves when he came to Taiwan by sea inspired Fu Chuan-Fu to paint the sea in his later days. So often does he go to the north coast to watch the sea, to take a walk along the cross-island highway, and to see the sea of clouds over Alishan, that he has created new techniques for painting the landscape of Taiwan; he has even been hailed as the "Taiwan Landscape Painting Spokesperson." Since coming to Taiwan, he often paints the tide crashing against the shore and the sea of clouds over Alishan. He has developed the "dot blotting technique" to paint tides and the "water stain technique" to paint the sea of clouds, trying to capture the instantaneous beauty of the changing clouds and water. By observing the texture of the mountain rocks of Taiwan, he has developed the "Rift texture (texture meaning ‘blotting and brushing’)" and "Mt. Tashan texture" techniques, thereby creating new terms for Taiwan’s landscape painting.
The water in the painting is slightly S-shaped; the rocky bank and the pines thereon stand on the left side of the painting, while on the right the mountains run into the distance. The painter has outlined the rock contours with broad brushstrokes and dyed it with reddish-brown pigments. The sea waves are formed using his self-developed "dot blotting technique," with which not a single line is used, but light blue pigments are dotted extensively; he used deliberate blank to represent the light and shade and the wave shape, vividly capturing the instantaneous movement of the wave. The painter used (freehand) brushstrokes with flower blue pigment to dot and dye the needles of the pines standing on the cliff, to show the movement caused by heavy wind; pine needles are visible only on two or three twigs. The mountain and sky in the distance are only dyed with light ink, light blue, and light reddish-brown pigment, so as to direct the viewer’s attention to the dramatic moment at which the rough waves crash against the shore. The painter is an expert in contrasting the meticulous Gongbi technique with the expressive Xieyi freehand technique and accentuating and fusing cold and warm tones, thereby adding poetic resonance to the life sketching (Xiesheng).
The shocking experience of the rough sea waves when he came to Taiwan by sea inspired Fu Chuan-Fu to paint the sea in his later days. So often does he go to the north coast to watch the sea, to take a walk along the cross-island highway, and to see the sea of clouds over Alishan, that he has created new techniques for painting the landscape of Taiwan; he has even been hailed as the "Taiwan Landscape Painting Spokesperson." Since coming to Taiwan, he often paints the tide crashing against the shore and the sea of clouds over Alishan. He has developed the "dot blotting technique" to paint tides and the "water stain technique" to paint the sea of clouds, trying to capture the instantaneous beauty of the changing clouds and water. By observing the texture of the mountain rocks of Taiwan, he has developed the "Rift texture (texture meaning ‘blotting and brushing’)" and "Mt. Tashan texture" techniques, thereby creating new terms for Taiwan’s landscape painting.
Artist Profile
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