Liu Kuo-sung, Spring of Old Banyan, 2015

The original painting is generally composed of the “Ink-staining” technique, without much use of the brush. This is similar to printmaking, which also forgoes brushwork in creating the image. At first glance the colors of the original appear simplistic; however, careful visual analysis suggests otherwise. In fact, due to the large amount of water used in its creation, the image conceals an abundance of colors, which have layered together after the water dried. In creating the screens in addition to splitting the layered colors into additional screens, great attention was given to the color’s transparency in each screen, in which water-based conditioners were manually mixed into the paint to increase the sense of transparency.

As the size of the print is unconventionally large, it cannot be evenly printed manually. Therefore, the studio ordered a custom screen printing machine, which mechanically pulls the squeegee over larger screens, up to an area of four by three meters. However, regardless of the assistance of the machine, the application of paint on each screen is still done manually, as in conventional silkscreen printing.

Artist: Liu Kuo-sung (Liu Guosong)
Based on Spring of Old Banyan, 1993, Collection of Shandong Museum, Jinan, China
Medium: Silkscreen Print on Paper (27 Screens, 27 Colors, 27 Runs)
Image: 94 x 104 cm (37 x 41 in.)
Paper: Arches, 100% Cotton, 300 g/m²
Date: 2015
Editions of 100, AP10
Literature: The Scripture of a Missionary of Modern Ink Painting II, Lofty Art & Culture, 2015
Signed, numbered, dated, and stamped with a seal by the Artist
Frame: Sold separately

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