Sun Tzu’s Art of War

Wei Guangqing
2020 TBA

The Art of War, an ancient military treatise composed of thirteen chapters, is traditionally attributed to the military strategist Sun Wu, and dated to the Late Spring and Autumn Period (771 – 476 BCE). While in antiquity, the text served as a primer for inspiring soldiers, it has expanded its influence into politics, economics, and commerce in modern times.

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Wei Guangqing drew inspiration from Ming Dynasty (1368 – 1644) woodblock illustrations of Sun Tzu’s Art of War, in which thirteen chapters and two additional portraits of Sun Wu and his disciple Sun Bin comprise a total of fifteen images. Wei highlights characters in bright colors, representative of his iconic Cultural Pop style, while juxtaposing the illustration against a dull grey chessboard background, in which the arrangements of the game pieces all result in a draw. Wei attracts further visual interest by applying varying thickness of paint on different color planes, creating an intricate relief effect.

Wei Guangqing’s Cultural Pop reexamines a classical text and reinterprets the value of traditional culture in a contemporary setting. In Wei’s Art of War, the composition is intelligently planned out and painting meticulously executed, in the fashion of a military exercise or a skillful game of chess. Ultimately, the viewer is invited to reflect on the ancient wisdom of the legendary Sun Tzu and find resonance in the strategy of their modern lives.

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Wei Guangqing, The Art of War, 2019, Acrylic on Canvas, 80 x 80 cm x 16 © Wei Guangqing

The Flower of Plenary

Tzeng Yong-ning
October 5 – December 7, 2019




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In Tzeng Yong-ning’s gold-foiled The Flower of Plenary series, a large circle dominates the composition, and is in turn filled with countless smaller circles, of various patterns, colors, sizes. Packed together tightly, there is a sense of unity and harmony, due to the fact that all the individuals are grouped together in a comprehensive whole. Yet, each circle is lively and energetic, seemingly expanding outwards, floating upwards, or squeezing each other. Encompassed in a field of gold, the large circle embodies a solemn planet, sitting scared and elegant in the serenity of space.

October 5 – December 7, 2019
Reception: Saturday, October 5, 4:00 pm
Hours: Tuesday – Saturday, 2:00 – 6:00 pm


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Beyond Abstraction

Wang Yigang
May 5 – June 2, 2018




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In the 1980s, as a student at Lu Xun Academy of Fine Arts, Wang Yigang began his pursue for individuality and self-expression, and adopted Western Modernism in retaliation against conservative art education. After ten years of experimentation with different styles, Wang favored German Expressionism by the early 1990s, which he studied, experimented, but ultimately rejected. By the late 1990s; however, Japanese Post-war art movements caught his attention, particularly Mono-ha and Gutai, which drew upon and expressed Eastern culture on the basis and success of Western Modernist modes. This prompted Wang to revisit Eastern culture, especially Buddhist Chan (Zen) philosophy, which redirected his struggle for individuality toward self-understanding. In this awakening, his internal struggle transformed from against the society to the self, and in self-criticism, he found an abandonment of all conventional painting practices and discovered new meaning purely in the movements of his body during the act of painting. In this way, every artwork became a record of his movements through space and time.

From experimentation, rejection, to self-awareness, Wang Yigang’s art transcends the painterly image, rejects all conventional practices, and ultimately goes Beyond Abstraction.

May 5 – June 2, 2018
Reception: Saturday, May 5, 3:00 pm
Hours: Tuesday – Saturday, 2:00 – 6:00 pm


Pine.Smoke.Ink

Xue Song
January 6 – March 4, 2018




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Pine smoke ink, famous throughout China, is a type of precious inkstick made from pine soot, or the deposition of smoke particles from burning pinewood. Xue Song, who is named after the great pines (song in Chinese) of Yellow Mountain, begins his collages by burning printed images, in which the ashes are collected and mixed into his paint; this artistic practice and synthetic medium can be regarded as a new Pine Smoke Ink.

Since the late 1990s, Xue Song has made extensive use of traditional Chinese calligraphy and painting, either as ready-made images for his burnt collage, or as classical themes to be reinvented in a contemporary context. Although his practice is derived from Pop Art, it carries a profound sense of Chinese culture and the spirit of ink painting. The artistic practice of Pine, Smoke, Ink opens a new chapter in genre of Modern Ink.

Ink Asia 2017
Hong Kong Convention Centre
December 15 – 17, 2017

Gallery Touring Exhibition
January 6 – March 4, 2018
Hours: Tuesday – Saturday 2:00 – 6:00 pm


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Unaltered Landscapes

Xiong Wei
June 3 – July 1, 2017




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As Xiong Wei’s mind wonders deeply into the realm of metaphysics, in either Chan (Zen) Buddhist teachings of Emptiness or Taoist Non-action, her landscapes transcend into total abstraction and brutal minimalism. All forms of traditional symbolism and linear representation is forgotten and left behind. There is only evidence of space and time, left by the artist’s brush. While the formal qualities of her so-called landscapes have dramatically changed, the spirit behind the image remains unaltered. Like Song Dynasty (960 – 1279) artists, Xiong Wei seeks to address philosophical concerns within the boundaries of her canvas, in which the painted image appears as enigmatic as that of the ancients before her, leaving only traces of her mind to be deciphered.

June 3 – July 1, 2017
Reception: Saturday, June 3, 3:00 pm
Hours: Tuesday – Saturday, 2:00 – 6:00 pm


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The Scripture of a Missionary of Modern Ink Painting III

Liu Kuo-sung
February 18 – April 15, 2017




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Loftyart Gallery is proud to finally present the third series of Liu Kuo-sung Prints. Featuring lithography, woodblock, etching, and silkscreen printmaking, in a set of ten prints, this is the final series in Loftyart’s autographed handmade limited edition prints by Liu Kuo-sung. Since working with Liu on the first two series, the printmakers have further perfected their techniques and took on greater technical challenges in the third.

As the last and final series, Loftyart Gallery has worked together tirelessly, making the best finishing touches to this monumental project. In terms of the initial section of images, Loftyart Gallery selected from Liu Kuo-sung’s long and impressive oeuvre, most important and defining artworks, many of which belong in museum collections. The images are then recreated with the distinct painterly qualities of printmaking, while faithfully preserving the spirit of Liu’s original artwork.

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The art of Liu Kuo-sung’s prints not only lies in the greatness of the original composition, but also in the distinct characters of printmaking incorporated by the printmakers, in their artful recreation the artworks. Visiting the printmaking studio time and time again in the last three years, Liu Kuo-sung’s kind guidance, thoughtful demonstration, and warm communication with the printmakers, making corrections and additions on every test run, has given Loftyart Gallery the pleasure and honor to produce three outstanding series of autographed handmade limited edition prints, ultimately setting new standards in the field of contemporary printmaking, as well as promoting Liu Kuo-sung’s spirit and contributions in Modern Ink Painting.

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February 18 – April 15, 2017
Hours: Tuesday – Saturday, 2:00 – 6:00 pm



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From the Fifth Moon Rising

Liu Kuo-sung, Chiang Li-hsiang, Hsu Hisu-lan, Wu Pui-wah
December 31, 2016 – January 28, 2017




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In 1957, Liu Kuo-sung founded the Fifth Moon Painting Group in Taiwan, to promote Modern Art and the modernization of Ink Painting. Due to his effort to revitalize traditional Chinese painting, Liu has since been honored as the Father of Modern Ink Painting.

For the second annual Ink Asia, Loftyart Gallery proudly presents From the Fifth Moon Rising – New Ink Painting in Taiwan, featuring in addition to Liu Kuo-sung, three of his proud students, Chiang Li-hsiang, Hsu Hsiu-lan, and Wu Pui-wah. Inspired by Liu Kuo-sung’s leadership in the Modern Ink Painting movement, the trio sought his tutelage and dedicated themselves to the cause. Despite sharing the same teacher, each student have developed her own personal style: Chiang Li-hsiang’s rhythmic juxtaposition of white and black lines reflect optic phenomenons; Hsu Hsiu-lan’s command of techniques such as rubbing and staining brilliantly outlines mountain ranges through solids and voids; Wu Pui-wah’s effective use of Liubai or negative space and subtle transitions of colors reflect her keen understanding of the four seasons.

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In addition, the exhibition features Liu Kuo-sung’s autographed handmade limited edition prints produced by Loftyart, in woodblock, etching, lithography and silkscreen prints. These handcrafted prints are not only state of the art in terms of printmaking itself, they also brilliantly capture and recreate the spirit of Liu’s original artworks.

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Liu Kuo-sung, Chiang Li-hsiang, Hsu Hisu-lan, Wu Pui-wah

Ink Asia 2016
Hong Kong Convention Centre
December 16 – 18, 2016

Gallery Touring Exhibition
December 31, 2016 – January 28, 2017
Hours: Tuesday – Saturday 2:00 – 6:00 pm




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Scenery/State

Guo Kai
May 21 – June 25, 2016




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In observing Guo Kai’s paintings, the exquisite brushstrokes, graceful curving lines, elongated horizontal movements, and seemingly monochrome colors constitute a personal and elegant landscape. The tranquil atmosphere presented by his paintings, allows the mind of the viewer to quickly settle, and thereby invites the viewer to enter the scenery of the painted image, into the midst of the gentle sun, the misty air, the freshness of fields, and the temporality of historic buildings. The ability of creating such a vivid experience for the viewer lies in Guo Kai’s carefully articulated images, his unique interpretation of color, and his proficiency with brushwork and the application of texture, as well as the deconstruction and reconstruction of architecture within the landscape.

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Guo Kai’s genres of painting can be identified as pastoral landscapes and architecture. He implements animated organic lines and intentional artificiality to create an individualistic and highly distinguishable mode of landscape painting. Under Guo’s brush, the animated lines seem to have an inherent will of their own, spreading sporadically across the canvas, leaving a sense of energy and dynamic movement in the composition. The source of the energy comes from the subject matter itself, that is the natural scenery, embodied in the grass, flowers, and trees, and more the notion alludes to a core value in traditional Chinese landscape painting.

Unveiling the layers of meaning behind Guo Kai’s works, one discovers a sense of timelessness in his less-than-figurative portrayal of pastoral landscapes and architecture, as well as his sentiments on the state of being of these subjects. These carefully articulated images, ridden of all traces of human presence, ultimately reveal Guo Kai’s idealized inner state of mind.

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May 21 – June 25, 2016
Reception: Saturday, May 21, 2016, 3:00 pm
Hours: Tuesday – Saturday, 2:00 – 6:00 pm



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Faraway Breeze

Guo KaiSept 15 – 24, 2019National Sun Yat-sen Memorial Hall, Taipei

Invaluable Mountains

Lin Pang-soong
April 9 – May 10, 2016




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Works



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Mapping each and every image with millions of needle-like dots of ink, Lin (Apex) pang-soong forgoes the conventional use of shades and contours, and reconstructs lines and planes with the accumulation of tiny dots. Playing on the viewer’s natural indication to connect the individual dots into coherent images, Lin substantiates the virtuosity of his art.

Reinventing the visual technique of pointillism with elements of ink and wash, Lin Pang-soong debuts a bold new series, Invaluable Mountains, which contemplates the relation between Taiwan’s “position” and “spirit.” Lin believes, great or small is only a matter of perspective. Although Taiwan occupies a small position on the globe, Taiwan’s international presence stands large and tall. In terms of cultural diversity and innovation, Taiwan possess a great and unyielding spirit.

Constantly traveling the world, promoting Taiwan’s design on the international stage, Lin Pang-soong is a restless pioneer in the world of Taiwan’s design. However, in painting, Lin adheres to the virtues of steadfastness and perseverance. With unadorned shades of black and white, and clusters of tiny dots, Lin sweeps across the paper in a slow rhythmic trance, leaving an articulated field of meticulous ink dots, thus revealing his idealized inner world of Taiwan’s Invaluable Mountains.

April 9 – May 10, 2016
Reception: Saturday, April 9, 2016, 3:00 pm
Hours: Tuesday- Saturday, 2:00 – 6:00 pm




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Island Is Land of Dream

Lin Pang-soong Sept 7 – Oct 31, 2019 Pingtung Art Museum Oct 10 – 20, 2019 Setouchi-city Art Museum

A State of Being

Lin Pang-soong January 14 – March 5, 2017 Fo Guang Yuan Art Gallery, Taichung March 18 – April 23, 2017 Fo Guang Yuan Main Art…

Descry.Taiwan

Lin Pang-soong April 6 – May 26, 2013 National Museum of History, Taipei

Modern Ink Painting Quintet

Chiang Li-hsiang, Lien Yu, Hsu Hsiu-lan, Wu Pui-wah, Chen Yi-fen
February 20 – March 16, 2016




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Loftyart Gallery proudly presents five distinguished artists of Modern Ink Painting: Chiang Li-hsiang, Lien Yu, Hsu Hsiu-lan, Wu Pui-wah, and Chen Yi-fen. The five artists have engaged in Modern Ink Painting for over twenty years, four of which are bachelors or masters of Fine Arts from National Taiwan Normal University. Starting from traditional Chinese painting, the artists also have firm foundations in Western painting. For example, Chiang Li-hsiang studied Western painting under Liang Dan-fong from 1970, and Wu Pui-wah entered the Lingnan School of Chinese Painting in 1985. In their years of painting and pursuit for innovation and change, they met the pioneer of Modern Ink Painting, Liu Kuo-sung in a matter of fate, and honored him as their teacher.

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Despite sharing the same teacher and mentor, the five artists each strive to develop their own style. Chiang Li-hsiang sets natural rhythmic white lines against solid black lines; the contrasts creates a bold rendering of natural light. Lien Yu takes Eastern thought as the basis of her painterly experimentations, thereby constructing an unique personal style of Modern Ink. Hsu Hsiu-lan utilizes innovative techniques such as “Ink-rubbing” and “Ink-staining,” in layering the faces of mountains in respect to the contrast of light and dark. Wu Pui-wah uses the effect of liubai, or negative space and the balance of dark, light, thick and thin colors in representing her artful perception of the natural world. Chen Yi-fen holds her concept of altering the composition as the painting unfolds, and employs a rich display of colors and lines; she ultimately searches for the delight of inkplay between likeness and abstraction.

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Ink Asia 2015
Hong Kong Convention Centre
December 18 – 20, 2015

Gallery Touring Exhibition
February 20 – March 16, 2016
Hours: Tuesday – Saturday 2:00 – 6:00 pm




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