Sun Tzu’s Art of War

Wei Guangqing
2020 TBA

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


News & Announcements

Collection by the Museum of Fine Arts, Boston

Xue Song
During the Ink Asia 2017 art fair, the Museum of Fine Arts, Boston made a decision to include Xue Song’s painting, Spring Colors, 2013, as part of the Museum’s permanent collection.
Timothy Chang, Art Director of Loftyart, with Nancy Berliner, Senior Curator of Chinese Art at MFA, Boston. Photo: Richard Chang
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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


Exhibition Catalog


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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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February 18 – April 15, 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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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 Kai
Sept 15 – 24, 2019
National Sun Yat-sen Memorial Hall, Taipei

In the Prime of Vitality

Chen Yufei, Guo Kai, Huang Ming-che, Hung Tien-yu, Hsu Yu-jen, Lin Pang-soong, Ma Baozhong, Sun Liang, Wang Yigang, Yang Shu, Yu Youhan
Oct 27 – Nov 16, 2012

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




Related Exhibitions

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 Gallery, Kaohsiung

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



The Scripture of a Missionary of Modern Ink Painting II

Liu Kuo-sung
November 21, 2015 – February 16, 2016




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November 21, 2015 – February 16, 2016
Reception: Saturday, November 21, 2015, 3:00 pm
Hours: Tuesday – Saturday, 2:00 – 6:00 pm



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RElated Exhibitions