Page 12 - The Pioneers, November 26, 2016 Hong Kong

Fig. 6 Liu Haisu in Switzerland in 1930 Fig. 11 Liu Haisu, Landscape, Dated 1954. Liu Hai Su, Fig. 12 Liu Haisu, Pavilion at Huangshan, Dated 1979.
圖 6 1930劉海粟在瑞士
Jiangsu Arts Pulisher, Jiangsu, China, 2002. p. 111 World of Representatives of Shanghai Artists in the
圖 11 劉海粟 《攬天都之奇》 一九五四年作
《劉 海 粟》，江 蘇 美 術 出 版 社，江 蘇，中 國，2 0 0 2 年，第 111頁。 Century: Liu Haisu, Shanghai Calligraphy & Printing

Publishing House, Shanghai, China, 2013, p. 124
圖 12 劉海粟 《黃山立雪臺晚翠圖》 一九七九年作
《海 派 百年 代 表 畫 家 系 列 作 品 集 · 劉 海 粟》，上 海 書
畫 出 版 社，上 海，中 國，2 0 13 年，第 124頁。

Academic painting, Fauvism ,and Realism, naturally planned with one goal - to study the different aspects
leading to a collaboration whereby these artists used of the mountain in its entirety, drawing and sketching
Western and Chinese painting techniques together in constantly, and it was in these years at an older age in
an attempt to revive older classical traditions. As the which some of his best work were completed (Fig. 10).
leader at the forefront of this New Art movement, Liu
frequently experimented in oils, watercolours and ink It is truly remarkable this painting was done when the
often using bold, crude lines to outline the vistas of the artist was 91 years of age. The strength and grace in
Anhui province. Documenting the mountain through the forms of the mountain reveal a man with in-depth
sketching remained integral to his style, evident in this knowledge and respect for each rocky outcrop, knowing
present lot, where each branch of a tree, or façade of how to manipulate the angle of the brush to reflect the
a rock, are visible through a confident stroke of ink. natural gradient of the stone. The emphasis on looking
firsthand and the importance of the sketch is clear from
It was in 1954 on his sixth visit to Mount Huang, when the detail of the broken tree hanging precariously off
his path crossed again with a former student, Li Keran the cliff to the subtle asymmetry in the formation of
and this fortuitous meeting ignited an exchange in this magnificent structure. From this painting, there is a
ideas concerning the reformation of Chinese ink sense of tranquility accentuated by the choice of colour
painting. Together these two artists honed their skill palette conveyed via quick strokes to gradually build the
inspired by their shared love for art and nature. atmospheric energy, reminiscent of the methods employed
by the Impressionist painters. In its entirety this is a
A LOVE FOR MOUNT HUANG work that exhibits both Western painting styles with an
understanding of Chinese ink painting developed by a man
Liu Haisu would continue to visit Mount Huang a who was a visionary, credited for making the education
number of times before his final stay in 1988, one year and appreciation for art in China accessible to all.
after this work was completed. His trips were always

His ten visits to Mount Huang were recorded as below:
劉 海 粟 十上 黃 山 的 年 份 包 括：

1st Visit : 1918, aged 23 6th Visit : 1954, aged 59 (Fig. 11)
1918 23 1954 59 (Fig. 11)

2ed Visit : early 1920's 7th Visit : 1980, aged 85
20 20
1980 85

3rd Visit : 1935, aged 40 8 Visit : 1982, aged 86 (Fig. 12)
1935 40 1981 86 (Fig. 12)

4th Visit : 1936, aged 41 9th Visit : 1982, aged 87
1936 41 1982 87

5th Visit : Winter of 1936, aged 41 10th Visit : 1988, aged 93 (Fig. 13)

1936 41 1988 93 (Fig. 13) Fig. 13 Liu Haisu's tenth visit to Huang Shan in 1988
圖 13 1988年劉海粟十上黃山
10 THE PIONEERS 先 鋒 薈 萃
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