Page 123 - The Pioneers, November 26, 2016 Hong Kong

Fig.1 Liu Kuo Sung in 1998, in North Fjord, Curator and collector Johnson Chang Tsong-Zung, guest

Norway, where he saw the 'White Night' Mr. Ronald Arcullli with the artist Liu Kuo-Sung
圖1 劉國松於1998年於挪威北岬親賭「太陽不落」的天文景致 策 展 人 及 藏 家 張 頌 仁、剪 綵 嘉 賓 夏佳 理 先 生 與 藝 術 家 劉 國 松

comes right into your eyes like a scorching sun. Together with the stillness of the canvas, the planets look as if they
the deep blue sky, it is close to the primary colour scheme and would begin to rise at any moment, to move at their own
it possesses the rawness, captivation and impulsiveness of pace, in action or repose, coming from nowhere and
the Fauves. The flat and clearly framed geometric shapes are heading to nowhere. A late masterpiece of this esteemed
lined up in a roll, bringing viewers' attention to the small circle artist, The Real Realm is a demonstration of his mature
at the centre, which contrasts with the broad and expansive understanding and expressiveness of what his heart
land painted by ink underneath. The rationality of hard-edge guides him to, leading him to the real realm of life.
abstraction and the sensuality of ink spirit met on the same With its boundless momentum and virtue, the present
surface and achieved a perfect balance, demonstrating the work opens to a new page that is both fascinating and
potential of bringing together seemingly opposite extremes. historically significant.

Viewers bring their gaze from the planets to the middle 1 Ed. Palace Museum, Forbidden City Publishing House, Universe in The Mind:
point, and expand again to the Earth overcasted by the
aerosphere, creating an aerial, funnel type of perspective. Not 60 Years of Painting by Liu Kuo-Sung, Beijing, China, 2007 (pp.155-156)
unlike astronauts looking back to the Earth from the moon,
we are also situated in space, looking at the human world Fig 1 Fan Quan
with a fresh perspective. The Real Realm (Lot 2515) was Travellers among
executed in 1999, right before the new millennium. Nine red Mountains and Streams
glowing suns are aligned prominently on the canvas, eliciting ink and slight color on
the Chinese mythical story of Hero Hou Yi shooting down the silk, Song Dynasty
suns. At the centre of the composition, the tenth planet adds Collection of National
to the metaphor, marking the historical moment of the turn Palace Museum
of the millennium. It reminds us of Surrealist works such as 圖1 北宋范寬《谿山行旅圖》
Le Banquet by European master René Magritte, in which the 台北國立故宮博物院藏
misplaced red sun and nature have the same etherealness and
extraordinary spirituality (Fig.4).

IN THE REAL REALM

Above the aerosphere, planets repeat themselves, not referring
to any particular one. Same as we see with the moon, whether
in our eyes it appears clear or cloudy, full or crescent, bright
or dark, they never reveal the truth of the moon. What Liu
presents is the reality of constancy in the universe. When one
finally understands the truth and reaches the reality of the
eternal universe, one becomes capable to surpass the cycle
of reincarnation and roam freely in the entire universe. On
the spiritual level, the work is imbued with the freedom of
enlightenment and the joy of unrestrained ramble. Despite

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