Chronology

  • 1932 5月31日（农历4月26日）生于中国安徽蚌埠，祖籍山东青州。父亲仲起先生，出身行伍。母亲刘敏玲女士，出身北平通州大户人家，后因避讳「同姓不婚」禁忌，改姓梅。 1938 父亲于中国抗日战争中阵亡，时六岁。与母亲流亡湖北、陕西、四川、湖南、江西各地，1939年左右，妹妹于逃亡中夭折。 1945 中国抗日战争胜利之后，就读江西金溪县立中学。 1946 由江西赴湖南长沙，就读湖南长沙新华中学。住半年后，定居湖北武昌。就读私立武昌中华大学附属中学（初中二年级）。 1947 入湖北省立汉阳高级中学初中部。 1948 春季，考入国民革命军遗族学校，插班就读初中三年级下学期。 1949 只身随南京国民革命军遗族学校到台湾，分发至台湾省立师范学院附属中学（今国立台湾师范大学附属高级中学）高一就读。 1951 以同等学历考入台湾省立师范学院艺术系（今国立台湾师范大学美术系）。 1952 创作〈刧后余温〉短篇小说，在谢冰莹老师鼓励下投稿《中学生文艺》刊登。 1953 与同学参加《细流》新诗壁报。... 1932 5月31日（农历4月26日）生于中国安徽蚌埠，祖籍山东青州。父亲仲起先生，出身行伍。母亲刘敏玲女士，出身北平通州大户人家，后因避讳「同姓不婚」禁忌，改姓梅。 1938 父亲于中国抗日战争中阵亡，时六岁。与母亲流亡湖北、陕西、四川、湖南、江西各地，1939年左右，妹妹于逃亡中夭折。 1945 中国抗日战争胜利之后，就读江西金溪县立中学。 1946 由江西赴湖南长沙，就读湖南长沙新华中学。住半年后，定居湖北武昌。就读私立武昌中华大学附属中学（初中二年级）。 1947 入湖北省立汉阳高级中学初中部。 1948 春季，考入国民革命军遗族学校，插班就读初中三年级下学期。 1949 只身随南京国民革命军遗族学校到台湾，分发至台湾省立师范学院附属中学（今国立台湾师范大学附属高级中学）高一就读。 1951 以同等学历考入台湾省立师范学院艺术系（今国立台湾师范大学美术系）。 1952 创作〈刧后余温〉短篇小说，在谢冰莹老师鼓励下投稿《中学生文艺》刊登。 1953 与同学参加《细流》新诗壁报。... 1932 5月31日（农历4月26日）生于中国安徽蚌埠，祖籍山东青州。父亲仲起先生，出身行伍。母亲刘敏玲女士，出身北平通州大户人家，后因避讳「同姓不婚」禁忌，改姓梅。 1938 父亲于中国抗日战争中阵亡，时六岁。与母亲流亡湖北、陕西、四川、湖南、江西各地，1939年左右，妹妹于逃亡中夭折。 1945 中国抗日战争胜利之后，就读江西金溪县立中学。 1946 由江西赴湖南长沙，就读湖南长沙新华中学。住半年后，定居湖北武昌。就读私立武昌中华大学附属中学（初中二年级）。 1947 入湖北省立汉阳高级中学初中部。 1948 春季，考入国民革命军遗族学校，插班就读初中三年级下学期。 1949 只身随南京国民革命军遗族学校到台湾，分发至台湾省立师范学院附属中学（今国立台湾师范大学附属高级中学）高一就读。 1951 以同等学历考入台湾省立师范学院艺术系（今国立台湾师范大学美术系）。 1952 创作〈刧后余温〉短篇小说，在谢冰莹老师鼓励下投稿《中学生文艺》刊登。 1953 与同学参加《细流》新诗壁报。... 1932 5月31日（农历4月26日）生于中国安徽蚌埠，祖籍山东青州。父亲仲起先生，出身行伍。母亲刘敏玲女士，出身北平通州大户人家，后因避讳「同姓不婚」禁忌，改姓梅。 1938 父亲于中国抗日战争中阵亡，时六岁。与母亲流亡湖北、陕西、四川、湖南、江西各地，1939年左右，妹妹于逃亡中夭折。 1945 中国抗日战争胜利之后，就读江西金溪县立中学。 1946 由江西赴湖南长沙，就读湖南长沙新华中学。住半年后，定居湖北武昌。就读私立武昌中华大学附属中学（初中二年级）。 1947 入湖北省立汉阳高级中学初中部。 1948 春季，考入国民革命军遗族学校，插班就读初中三年级下学期。 1949 只身随南京国民革命军遗族学校到台湾，分发至台湾省立师范学院附属中学（今国立台湾师范大学附属高级中学）高一就读。 1951 以同等学历考入台湾省立师范学院艺术系（今国立台湾师范大学美术系）。 1952 创作〈刧后余温〉短篇小说，在谢冰莹老师鼓励下投稿《中学生文艺》刊登。 1953 与同学参加《细流》新诗壁报。...

    1932

    5月31日（农历4月26日）生于中国安徽蚌埠，祖籍山东青州。父亲仲起先生，出身行伍。母亲刘敏玲女士，出身北平通州大户人家，后因避讳「同姓不婚」禁忌，改姓梅。

     

    1938

    父亲于中国抗日战争中阵亡，时六岁。与母亲流亡湖北、陕西、四川、湖南、江西各地，1939年左右，妹妹于逃亡中夭折。

    1945

    中国抗日战争胜利之后，就读江西金溪县立中学。

     

    1946

    由江西赴湖南长沙，就读湖南长沙新华中学。住半年后，定居湖北武昌。就读私立武昌中华大学附属中学（初中二年级）。

     

    1947

    入湖北省立汉阳高级中学初中部。

     

    1948

    春季，考入国民革命军遗族学校，插班就读初中三年级下学期。

     

    1949

    只身随南京国民革命军遗族学校到台湾，分发至台湾省立师范学院附属中学（今国立台湾师范大学附属高级中学）高一就读。

     

    1951

    以同等学历考入台湾省立师范学院艺术系（今国立台湾师范大学美术系）。

     

    1952

    创作〈刧后余温〉短篇小说，在谢冰莹老师鼓励下投稿《中学生文艺》刊登。

     

    1953

    与同学参加《细流》新诗壁报。

     

    1954

    发表〈为什么把日本画往国画里挤？九届全省美展国画部观后感〉一文于《联合报》，从此于报章杂志经常撰写发表艺术评论。

    经遗族学校同学霍刚、李元佳介绍，与日后组成「东方画会」之成员萧勤、吴昊、夏阳等人相识。

     

    1955

    台湾师范学院艺术系毕业。

    基隆市立第一中学教学实习一年，与江兆申同事。

  • 1956 夏天与同班同学李芳枝、郭东荣、郭豫伦在师大举办「四人联合西画展」。随后在廖继春老师的鼓励下，创立「五月画会」。 大学毕业，入伍赴台中接受预备军官训练。 1957 被历史博物馆选为参加日本东京「第一回亚细亚青年美术家展」代表之一。 首届「五月画展」于台北中山堂举办，掀起了台湾现代艺术运动。 分派至左营海军陆战队服役，与痖弦、冯钟睿、胡奇中等人相识。 开始用石膏在画布上打底的油画实验。 1958 退伍。回基隆市立第一中学校执教。 1959 由廖继春老师推荐至台南国立成功大学建筑系任郭柏川助教，与汉宝德、李祖原相识。 参加第五届巴西「圣保罗国际双年展」、法国「巴黎国际青年双年展」。 绘画思想由全盘西化转为中西合璧，于是在石膏油画的实验中，进一步加入松节油、墨，创造水墨晕染的韵味。 参与尉天骢主编《笔汇》月刊编撰工作。之后与大批诗人，如余光中、、楚戈、郑愁予及音乐家许常惠、史惟亮，评论家姚一苇等相识，共同倡导现代艺术运动。 1960 应聘担任台湾中原理工学院（今中原大学）建筑系讲师。 参与发起成立「中国现代艺术中心」，因「秦松事件」受挫、解散。 1956 夏天与同班同学李芳枝、郭东荣、郭豫伦在师大举办「四人联合西画展」。随后在廖继春老师的鼓励下，创立「五月画会」。 大学毕业，入伍赴台中接受预备军官训练。 1957 被历史博物馆选为参加日本东京「第一回亚细亚青年美术家展」代表之一。 首届「五月画展」于台北中山堂举办，掀起了台湾现代艺术运动。 分派至左营海军陆战队服役，与痖弦、冯钟睿、胡奇中等人相识。 开始用石膏在画布上打底的油画实验。 1958 退伍。回基隆市立第一中学校执教。 1959 由廖继春老师推荐至台南国立成功大学建筑系任郭柏川助教，与汉宝德、李祖原相识。 参加第五届巴西「圣保罗国际双年展」、法国「巴黎国际青年双年展」。 绘画思想由全盘西化转为中西合璧，于是在石膏油画的实验中，进一步加入松节油、墨，创造水墨晕染的韵味。 参与尉天骢主编《笔汇》月刊编撰工作。之后与大批诗人，如余光中、、楚戈、郑愁予及音乐家许常惠、史惟亮，评论家姚一苇等相识，共同倡导现代艺术运动。 1960 应聘担任台湾中原理工学院（今中原大学）建筑系讲师。 参与发起成立「中国现代艺术中心」，因「秦松事件」受挫、解散。

    1956

    夏天与同班同学李芳枝、郭东荣、郭豫伦在师大举办「四人联合西画展」。随后在廖继春老师的鼓励下，创立「五月画会」。

    大学毕业，入伍赴台中接受预备军官训练。

     

    1957

    被历史博物馆选为参加日本东京「第一回亚细亚青年美术家展」代表之一。

    首届「五月画展」于台北中山堂举办，掀起了台湾现代艺术运动。

    分派至左营海军陆战队服役，与痖弦、冯钟睿、胡奇中等人相识。

    开始用石膏在画布上打底的油画实验。

     

    1958

    退伍。回基隆市立第一中学校执教。

     

    1959

    由廖继春老师推荐至台南国立成功大学建筑系任郭柏川助教，与汉宝德、李祖原相识。

    参加第五届巴西「圣保罗国际双年展」、法国「巴黎国际青年双年展」。

    绘画思想由全盘西化转为中西合璧，于是在石膏油画的实验中，进一步加入松节油、墨，创造水墨晕染的韵味。

    参与尉天骢主编《笔汇》月刊编撰工作。之后与大批诗人，如余光中、、楚戈、郑愁予及音乐家许常惠、史惟亮，评论家姚一苇等相识，共同倡导现代艺术运动。

     

    1960

    应聘担任台湾中原理工学院（今中原大学）建筑系讲师。

    参与发起成立「中国现代艺术中心」，因「秦松事件」受挫、解散。

  • 1961 与黎模华女士结婚。 参加第六届巴西「圣保罗国际双年展」、第二届法国「巴黎青年双年展」。 撰文〈为什么把现代艺术划给敌人？―向徐复观先生请教〉，反驳徐复观〈现代艺术的归趋〉一文，引发现代绘画论战 。 放弃油彩与画布，重回纸墨世界，倡导「中国画现代化」运动。 开发各种拓墨法。 1962 参加台北国立历史博物馆举行之第六届「五月画展」暨「现代绘画赴美展览预展」。 参展西贡「第一届国际美展」。 母亲自中国寄信至台湾，几经辗转收到之后，请托香港友人画家吕寿琨协助联系与寄送物资。 1963 参加台中东海大学艺术中心举办「东海大学艺术中心落成纪念绘画展」、香港雅苑画廊「台湾现代艺术展」、「第七届五月美展」、第七届巴西「圣保罗国际双年展」、澳洲雪梨「中国前卫画展」等。 发明粗筋刘国松纸，并借此创造「抽筋剥皮皴」独特画风，撕纸筋留下白色皴线，展开大笔触时期风格。 作品〈云深不知处〉，为香港美术馆收藏，是作品首次被美术馆收藏。 1964 经余光中介绍，中国艺术史学者李铸晋参访其画室，并被作品〈寒山雪霁〉所感动。 参展「当代中国绘画展」于非洲十四个国家巡回。 「五月画展」于澳洲雪梨、坎培拉等地。 1965... 1961 与黎模华女士结婚。 参加第六届巴西「圣保罗国际双年展」、第二届法国「巴黎青年双年展」。 撰文〈为什么把现代艺术划给敌人？―向徐复观先生请教〉，反驳徐复观〈现代艺术的归趋〉一文，引发现代绘画论战 。 放弃油彩与画布，重回纸墨世界，倡导「中国画现代化」运动。 开发各种拓墨法。 1962 参加台北国立历史博物馆举行之第六届「五月画展」暨「现代绘画赴美展览预展」。 参展西贡「第一届国际美展」。 母亲自中国寄信至台湾，几经辗转收到之后，请托香港友人画家吕寿琨协助联系与寄送物资。 1963 参加台中东海大学艺术中心举办「东海大学艺术中心落成纪念绘画展」、香港雅苑画廊「台湾现代艺术展」、「第七届五月美展」、第七届巴西「圣保罗国际双年展」、澳洲雪梨「中国前卫画展」等。 发明粗筋刘国松纸，并借此创造「抽筋剥皮皴」独特画风，撕纸筋留下白色皴线，展开大笔触时期风格。 作品〈云深不知处〉，为香港美术馆收藏，是作品首次被美术馆收藏。 1964 经余光中介绍，中国艺术史学者李铸晋参访其画室，并被作品〈寒山雪霁〉所感动。 参展「当代中国绘画展」于非洲十四个国家巡回。 「五月画展」于澳洲雪梨、坎培拉等地。 1965...

    1961

    与黎模华女士结婚。

    参加第六届巴西「圣保罗国际双年展」、第二届法国「巴黎青年双年展」。

    撰文〈为什么把现代艺术划给敌人？―向徐复观先生请教〉，反驳徐复观〈现代艺术的归趋〉一文，引发现代绘画论战 。

    放弃油彩与画布，重回纸墨世界，倡导「中国画现代化」运动。

    开发各种拓墨法。

     

    1962

    参加台北国立历史博物馆举行之第六届「五月画展」暨「现代绘画赴美展览预展」。

    参展西贡「第一届国际美展」。

    母亲自中国寄信至台湾，几经辗转收到之后，请托香港友人画家吕寿琨协助联系与寄送物资。

     

    1963

    参加台中东海大学艺术中心举办「东海大学艺术中心落成纪念绘画展」、香港雅苑画廊「台湾现代艺术展」、「第七届五月美展」、第七届巴西「圣保罗国际双年展」、澳洲雪梨「中国前卫画展」等。

    发明粗筋刘国松纸，并借此创造「抽筋剥皮皴」独特画风，撕纸筋留下白色皴线，展开大笔触时期风格。

    作品〈云深不知处〉，为香港美术馆收藏，是作品首次被美术馆收藏。

     

    1964

    经余光中介绍，中国艺术史学者李铸晋参访其画室，并被作品〈寒山雪霁〉所感动。

    参展「当代中国绘画展」于非洲十四个国家巡回。

    「五月画展」于澳洲雪梨、坎培拉等地。

     

    1965

    首次个展于台北国立台湾艺术馆（今国立台湾艺术教育馆）。

    巡回亚洲十大城市之「亚洲先进艺术家画展」。

    参展义大利罗马现代美术馆「中国现代画展」、义大利佛莫市「第一届国际和平美展」。

    任第五届全国美展评审委员。

    第一本论文集《中国现代画的路》由台北文星书店出版。该书书名原取自论文集一篇短文标题「画，就是画」；书店社长萧孟能建议按〈自序〉最后一段：「这本集子，就是我走自己的路，创建中国现代画的路，发扬东方画系的路的一条不规则的轨迹。因为，这条路也是我在西洋现代绘画思潮不断凶猛地冲击之下所探索出来的」，定名「中国现代画的路」出版。

    创作首幅长卷〈岁月不居，春梦留痕〉（The Imge of Fleeting Time），后为美国旧金山亚洲美术馆收藏。

  • 1966 Receives two-year travel grant from John D. Rockefeller 3rd Fund [JDR 3rd Fund] on recommendation of Chinese art historian... 1966 Receives two-year travel grant from John D. Rockefeller 3rd Fund [JDR 3rd Fund] on recommendation of Chinese art historian... 1966 Receives two-year travel grant from John D. Rockefeller 3rd Fund [JDR 3rd Fund] on recommendation of Chinese art historian...

    1966

    Receives two-year travel grant from John D. Rockefeller 3rd Fund [JDR 3rd Fund] on recommendation of Chinese art historian Chu-tsing Li. Studies printmaking at University of Iowa for three months, then travels US for four months, before spending nine months in New York. Visits museums and galleries in various cities, including Chicago, Detroit, Cleveland, Buffalo, Skowhegan, Minneapolis, Denver, Seattle, Portland, San Francisco, Santa Fe, Kansas City and New York. Also visits art institutions such as Skowhegan School of Painting & Sculpture and scenic spots such as Niagara Falls, Yellowstone National Park and Grand Canyon, and meets with various artists. In San Francisco, attends special exhibition of ancient Chinese art from Avery Brundage Collection and international conference on Asian art at de Young Museum, and makes acquaintance of renowned art historians including Michael Sullivan, René-Yvon Lefebvre d’Argencé, Pierre Ryckmans, Sherman E. Lee and Ho Wai-kam. While in New York, by arrangement of Institute of International Education (IIE), visits studios of well-known New York modern artists such as Andy Warhol and Larry Rivers, sees private art collections and attends major local art events. Also interacts with Taiwanese artists C. C. Wang and Walasse Ting.

    First solo exhibition in US at Laguna Beach Art Association Gallery (today Laguna Art Museum) in California.

    Contributes work to group exhibition The New Chinese Landscape, which travels to leading museums and galleries throughout US over two years.

    English edition of Liu’s first exhibition catalogue, Paintings by Liu Kuo-sung, authored by Chu-tsing Li and Thomas Lawton, published by National Museum of History, Taipei.

    Liu’s second collection of essays, Copying, Drawing, Creating, published by Wen Hsing Bookstore in Taipei.

    Rethinks the appeal of Fan Kuan’s Travelers amidst Mountains and Streams and, inspired by it, creates Loftiness series works.

     

    1967

    First solo exhibition in New York, at Lee Nordness Galleries, receives favorable review from New York Times art critic John Canaday. Lee Nordness Galleries begins representing Liu.

    Invited to hold solo exhibition at Friends of Art Sales and Rental Gallery at Nelson Gallery (today Nelson-Atkins Museum of Art) in Kansas City, Missouri, US.

    Mounts solo exhibition that travels from Gallery 100 in Princeton, New Jersey, to Coffman Art Gallery at University of Minnesota in Minneapolis.

    Leaves US in May to spend five months in Europe before returning to Taipei in October, and taking teaching position at Chung Yuan Christian College of Science and Engineering (today Chung Yuan Christian University) in Taoyuan.

     

    1968

    Solo show travels from Seattle Art Museum, Washington, to Taft Museum of Art, Cincinnati, Ohio.

    Named one of “Ten Outstanding Youths” by Junior Chamber International of Worldwide Federation of Young Leaders and Entrepreneurs in Taipei, Taiwan.

    Initiates founding of Chinese Ink Painting Association in Taiwan and continues to advocate modernization of Chinese painting.

    Begins series on snowy mountains after travels to Mont Blanc and the Jungfrau in Switzerland the year before.

  • 1969 Solo show Paintings by Liu Kuo-sung at National Gallery of Art and Museum of History（Now National Museum of History,... 1969 Solo show Paintings by Liu Kuo-sung at National Gallery of Art and Museum of History（Now National Museum of History,... 1969 Solo show Paintings by Liu Kuo-sung at National Gallery of Art and Museum of History（Now National Museum of History,...

    1969

    Solo show Paintings by Liu Kuo-sung at National Gallery of Art and Museum of History（Now National Museum of History, Taiwan. English monograph by US art historian Chu-tsing Li, Liu Kuo-sung: The Growth of a Modern Chinese Artist, accompanies exhibition.

    Begins working on Space series, inspired by pictures of Earth taken the year before from Apollo 8. First work in the series, Which is Earth?, wins painting award at Mainstreams ’69: The Second Annual Marietta College International Competitive Exhibition for Painting and Sculpture, held at the Grover M. Hermann Fine Arts Center, Marietta College, Marietta, Ohio.

    Participates in Tenth São Paulo Art Biennial, as well as Trends in Twentieth Century Chinese Painting at Stanford Museum, Stanford University, California.

    At an airport while travelling through Europe, sees postcards of the “midnight sun,” an encounter that inspires first Midnight Sun, currently in permanent collection of Stanford University.

     

    1970

    Invited to teach art as Visiting Professor at University of Wisconsin–Stout, for one semester.

    Museum für Ostasiatische Kunst in Cologne stages Liu Kuo-sung: A Painter from Taiwan / Republic of China, and publishes German edition of Chu-tsing Li’s Liu Kuo-sung: The Growth of a Modern Chinese Artist. Show travels to Museum für Kunsthandwerk in Frankfurt the following year.

    Solo exhibition travels to Joslyn Art Museum in Omaha, Nebraska, Fine Arts Gallery of San Diego (today San Diego Museum of Art) in California, and Lee Nordness Galleries in New York.

    Participates in group show New Directions in Chinese Painting: An Exhibition of Nine Contemporary Chinese Artists at Spencer Museum of Art, University of Kansas in Lawrence, Kansas. Show travels to many other university museums across the country for two years.

    At invitation of Arts Club of Chicago, participates in group exhibition The Calligraphic Statement.

    Inspired by minimalist painting, begins to experiment with acrylics and airbrush techniques to create Moon’s Metamorphosis series.

     

    1971

    Moves to Hong Kong to teach at Department of Fine Arts, Chinese University of Hong Kong (CUHK).

    First solo exhibitions in England at Bristol City Art Gallery and London gallery Hugh M. Moss, Ltd. Participates in Eleventh São Paulo Art Biennial.

    Commissioned by International Telephone and Telegraph Corporation (ITT) to create New Bridge for company’s global advertising campaign. Shortly thereafter, the work, together with those of representative artists from other countries, exhibited in major cities around the world.

     

    1972

    Appointed Chair of Department of Fine Arts, CUHK. Designs and offers course on modern Chinese ink painting.

    Solo exhibition at The Luz Gallery in Makati City, Philippines.

    Solo exhibition at Utah State University, Art Gallery Logan; and Utah Museum of Fine Arts, Salt Lake City.

    Solo exhibition at Galerie Hans Hoeppner in Hamburg, Germany.

    Appointed member of international jury for São Paulo Art Biennial.

     

    1973

    Paintings by Liu Kuo-sung opens at Bank of America, St George’s Building, presented by Hong Kong Arts Centre.

    Introduces Modern Ink Painting Diploma Program at Department of Extramural Studies, CUHK, promoting development of modern ink painting.

    British art historian Michael Sullivan praises Liu in The Meeting of Eastern and Western Art, affirming his place in art history.

    Begins extensive experiments with “water-rubbing” (shuituo).

     

    1974

    L’art Abstrait 1945–1970, featuring Which is Earth?, published in France by Michel Ragon and Michel Seuphor.

    Liu’s mother, Mei Minling, applies to travel from Hubei to Hong Kong, where she reunites with Liu for four months.

    Solo exhibition at Laky Gallery in Carmel, California. Takes part in Contemporary Chinese Painting and Calligraphy at Yale University Art Gallery in New Haven, Connecticut, which goes on to tour various museums across the country.

     

    1975

    Invited to teach at School of Art, University of Iowa for a year as Visiting Professor.

    CUHK’s Department of Extramural Studies mounts exhibition at Hong Kong City Hall showcasing works by inaugural graduates of Modern Ink Painting Diploma Program. First presents theory of “Overturn the center tip, overturn the brush” in foreword for exhibition catalogue.

    Solo exhibitions at Colorado Springs Fine Arts Center, Colorado Springs, and M M Shinno Gallery, Los Angeles.

    Participates in Eleventh Asian Contemporary Art Exhibition at Ueno Royal Museum in Tokyo, Japan.

  • 1976 Updates 1965 essay “Discussion on Painting Techniques,” originally published in Taiwanese magazine Apollo (Wenxing), with groundbreaking ideas on “Overturn... 1976 Updates 1965 essay “Discussion on Painting Techniques,” originally published in Taiwanese magazine Apollo (Wenxing), with groundbreaking ideas on “Overturn...

    1976

    Updates 1965 essay “Discussion on Painting Techniques,” originally published in Taiwanese magazine Apollo (Wenxing), with groundbreaking ideas on “Overturn the center tip, overturn the brush.” Revised version published in Hong Kong newspaper Sing Tao Daily (November 17–19, 1976), and thereafter in United Daily News (January 9–11, 1979) in Taiwan, sending ripples through the region’s art circles.

    Fourth InSEA Asia Conference on Art Education jointly organized by CUHK, International Society for Education Through Art (InSEA) Asia, and Hong Kong Committee of InSEA. Elected President of InSEA Asia.

    University of California, Berkeley, publishes Michael Sullivan’s A Short History of Chinese Art, in which the historian describes Liu as innovator in Chinese art.

    Solo show at Ulrich Museum of Art of Wichita State University in Kansas, and Kennedy Museum of Art of Ohio University in Athens, Ohio.

    Steps down as Chair of Department of Fine Arts at CUHK to focus on teaching and creative work.

     

    1977

    Solo exhibitions at Occidental College, California, Plymouth State College Art Gallery, New Hampshire, and East & West Art in Melbourne.

    Only Asian artist invited—of eight artists—to contribute to “Commonwealth Print Portfolio” at University of Alberta in Edmonton.

    Appointed jury member for Hong Kong Museum of Art’s Contemporary Hong Kong Art Biennial 1977.

    Invites fellow alumni of NTNU Fine Arts Department living in Hong Kong to form Front Group and participates in exhibitions through third iteration.

     

    1978

    Professor at City University of New York. German-American historian Conrad Schirokauer publishes A Brief History of Chinese and Japanese Civilizations, calling Liu a key figure in modern Chinese art. Schirokauer quotes from the artist’s essays and features his paintings.

    Solo exhibition in Australia, travelling to East & West Art in Melbourne, Greenhill Galleries in North Adelaide and Churchill Gallery in Perth.

    Serves on organizing and planning committees for Taipei Fine Arts Museum in Taipei.

     

    1979

    Two-man show with Taiwanese painter and calligrapher Au Ho-nien at Museum für Kunsthandwerk in Frankfurt.

    Solo exhibition at Lung Men Art Gallery in Taipei.

    Chu-tsing Li’s Trends in Modern Chinese Painting, published in Switzerland, expounds on Chinese works in C. A. Drenowatz Collection in Zürich, which includes several Liu paintings.

    Liu’s mother dies July 1.

     

    1980

    Jointly invited by Iowa Arts Council and Illinois Arts Council to become artist-in-residence at University of Iowa. While in US, delivers lectures and master classes at various colleges, universities and museums, as well as on educational television programs.

    At Utah Watercolor Society’s invitation, travels to Salt Lake City to teach two-week course on modern Chinese ink painting.

    Participates in second China Weekend organized by International Writing Program at University of Iowa, and meets renowned Chinese poet Ai Qing and his wife, as well as novelist Wang Meng.

    Solo exhibition travels to Ulrich Museum of Art of Wichita State University in Kansas, University of Arizona Museum of Art in Tucson, Monterey Peninsula Museum of Art in California, and Trisolini Gallery of Ohio University in Athens.

  • 1981 Invited to Beijing to attend inauguration of Research Institute of Traditional Chinese Painting (today National Academy of Chinese Painting)... 1981 Invited to Beijing to attend inauguration of Research Institute of Traditional Chinese Painting (today National Academy of Chinese Painting)... 1981 Invited to Beijing to attend inauguration of Research Institute of Traditional Chinese Painting (today National Academy of Chinese Painting)...

    1981

    Invited to Beijing to attend inauguration of Research Institute of Traditional Chinese Painting (today National Academy of Chinese Painting) and to exhibit works. Liu’s first return to China since leaving in 1949, and first exhibition there. Meets senior artists including Li Keran, Wu Zuoren, Liu Haisu, Lu Yanshao, Cheng Shifa, Ye Qianyu, Zhang Ting and Huang Zhou. Visits Wu Guanzhong and tours art schools and museums in Nanjing, Shanghai and Hangzhou.

    Participates in Chinese Traditional Paintings 1975–1980 at Musée Cernuschi in Paris.

    Solo exhibition at UMC Fine Art Gallery, University of Colorado, Boulder, and Galerie Andree in Costa Mesa, California.

    Participates in First Exhibition of Asian Art at invitation of Bahrain Monetary Agency (today Central Bank of Bahrain).

     

    1982

    Solo exhibition at Nora Eccles Harrison Museum of Art, Utah State University in Logan.

    Conrad Schirokauer’s Modern China and Japan, published in England, names Liu key figure of modern Chinese art and includes his painting The Metaphysics of Rocks.

    Participates in Some Recent Developments in Twentieth Century Chinese Painting: A Personal View at Hugh Moss Gallery, London and Hong Kong Arts Centre, Hong Kong; Modern Chinese Ink Painting Exhibition from Hong Kong at East & West Art in Melbourne; and Contemporary Vision of Landscape at Hong Kong Museum of Art.

     

    1983

    Solo exhibition at National Art Museum of China (NAMOC) in Beijing and Jiangsu Provincial Art Museum in Nanjing. Show eventually tours eighteen cities in China over four years.

    In Beijing, delivers three public lectures at Central Academy of Fine Arts at school’s invitation.

    Participates in Moods of Nature: Four Contemporary Chinese Landscape Artists at Hong Kong Arts Centre.

    Participates in Overseas Chinese Artists Exhibition at Taipei Fine Arts Museum.

    Solo exhibition at Gallery New World in Carmel, California.

    Completes The Four Seasons handscroll at year end. Li Keran adds inscription the following year.

     

    1984

    Paintings by Liu Kuo-sung published in Beijing by People’s Fine Arts Publishing House.

    Participates in Beijing’s Sixth National Art Exhibition in China, where The Feeling of Nightfall (Impression of Sunset) wins “Special Achievement Award for Hong Kong and Macau” and is later collected by NAMOC.

    Participates in 20th Century Chinese Paintings at Hong Kong Museum of Art.

     

    1985

    Invited by French artist association Salon de Mai to participate in salon exhibition in Paris. Liu’s painting Deeply inside the Mountain’s Breath is featured.

    Solo retrospective held at Hong Kong Arts Centre.

    Chinese artist Zhou Shaohua’s The Genesis of Liu Kuo-sung’s Art published in Wuhan by Hubei Fine Arts Publishing House.

    Central Academy of Arts and Crafts (today Academy of Arts & Design, Tsinghua University) in Beijing invites Liu to teach modern ink painting for two weeks as Visiting Scholar.

     

    1986

    Solo exhibition Liu Kuo-sung at Galeria do Leal Senado in Macau.

    Further develops “water-rubbing” technique and begins exploring and experimenting with “ink- steeping” (zimo) technique.

  • 1987 Visits Tibet in August and subsequently creates Tibet series. Participates in Contemporary Chinese Painting Exhibition at Vancouver Art Gallery.... 1987 Visits Tibet in August and subsequently creates Tibet series. Participates in Contemporary Chinese Painting Exhibition at Vancouver Art Gallery.... 1987 Visits Tibet in August and subsequently creates Tibet series. Participates in Contemporary Chinese Painting Exhibition at Vancouver Art Gallery....

    1987

    Visits Tibet in August and subsequently creates Tibet series.

    Participates in Contemporary Chinese Painting Exhibition at Vancouver Art Gallery.

    Participates in Chinese Modern Painting Exhibition at Brussels City Hall.

    Commissioned by K. S. Lo to create long handscroll Scenery of Hong Kong, depicting ships and skyscrapers for first time.

     

    1988

    Participates in Seventh Exhibition of International Art of Suiboku at Tokyo Metropolitan Art Museum.

    Participates in International Ink Painting Exhibition and Ink Painting Research Conference organized by Research Institute of Traditional Chinese Painting in Beijing. Also publishes “Conceptual Questions in Contemporary Chinese Painting.”

    Participates in Third Asian International Art Exhibition at Fukuoka Art Museum in Japan.

     

    1989

    Commissioned by American Express Corporation, paints five-storey-tall masterpiece Source (19.52 × 3.66 m).

    Participates in Fourth Asian International Art Exhibition at Seoul Metropolitan Museum of Art, Seoul.

     

    1990

    Taipei Fine Arts Museum mounts major retrospective exhibition and publishes accompanying catalogue.

     

    1991

    Receives Modern Painting Achievement Award from Chun-Shen Li Modern Painting Foundation in Taiwan.

     

    1992

    Invited to participate in Eastern Aesthetics and Modern Art Symposium at Taipei Fine Arts Museum. In response, pens essay, “First Differentiate, Then Seek Excellence: Solving the Dilemma of Chinese Painting,” on theories of art pedagogy, published in two parts in Taiwan Shin Sheng Daily News on May 17 and 24.

    Retrospective of 60-year-old Liu Kuo-sung opens at Taiwan Museum of Art (today National Taiwan Museum of Fine Arts) in Taichung, Taiwan.

    Retires from CUHK in October, moves to Taichung, Taiwan and joins Department of Fine Arts at Tunghai University as Visiting Professor.

     

  • 1995 Participates in Twentieth Century Chinese Painting: Tradition and Innovation at Hong Kong Museum of Art. Show subsequently travels to... 1995 Participates in Twentieth Century Chinese Painting: Tradition and Innovation at Hong Kong Museum of Art. Show subsequently travels to...

    1995

    Participates in Twentieth Century Chinese Painting: Tradition and Innovation at Hong Kong Museum of Art. Show subsequently travels to British Museum in London, Singapore Art Museum and Museum für Ostasiatische Kunst in Cologne.

    Participates in Chinese Ink: Taiwan Contemporary Ink Painting Exhibition at Centre Culture et d’Information de Taïwan à Paris in Paris.

     

    1996

    Appointed inaugural head of Fine Arts Research Institute at Tainan National College of the Arts (today Tainan National University of the Arts), Tainan.

    National Museum of History, Taipei, mounts An Exhibition of Liu Kuo-sung’s Art and Its Studies. To accompany the show, NMH publishes art historian Hsiao Chong-ray’s Liu Kuo-sung Research and Selected Essays on Liu Kuo-sung, edited by artist Chun-yi Lee.

    Chen Lusheng’s Liu Kuo-sung: A Critical Biography published in Nanning by Guangxi Fine Arts Publishing House.

     

    1998

    Only artist from Taiwan invited to participate in China—5000 Years at Guggenheim Museum New York and Guggenheim Museum Bilbao.

    German university textbook Brücken und Brüche: Chinas Malerei im 20. Jahrhundert (Bridges and Fractures: China’s Painting in the Twentieth Century), authored by Professor Ursula Toyka-Fuong of University of Bonn and published by Edition Global, features Liu’s painting Lofty Zigzag on its cover and includes discussion of Liu’s influence on evolution of contemporary Chinese painting.

    Liu’s collection of essays Eternal Obsession published by Shandong Pictorial Publishing House.

    At invitation of German Cultural Institute, travels through Europe and participates in Vision 2000: Contemporary Chinese Paintings and Sculpture.

     

    1999

    Invited to hold solo show Universe is My Heart at Chung-shan National Gallery in National Dr Sun Yat-sen Memorial Hall in Taipei.

    Anthology Taiwan Critical Writing: Liu Kuo-sung by Hsiao Chong-Ray and Lin Po-shin, published by Artist Publishing Co. in Taipei.

    Invited to Paris to create Poetry in Painting prints collection. Publishes book with six poems specially written for this collection by Taiwan poet Yu Kwang-chung. Calligraphy on cover is by Nanjing-born calligrapher Chang Long-Yien.

     

    2000

    Invited to lecture at Tibet University in Lhasa. Visits Mount Everest and later loses hearing in left ear.

    Between 2000 and 2001 makes several visits to Jiuzhaigou in China’s Sichuan province. Moved by the landscape’s beauty, starts to experiment with new techniques to create Jiuzhaigou series.

    Liu Kuo-sung—Yu Kwang-chung: Reflexion and Elegance published by Hebei Education Publishing House.

     

    2001

    Solo exhibition Opening Up New Land in the West of China: Liu Kuo-sung at Chengdu Art Museum.

     

    2002

    Solo show The Universe in the Mind: A Retrospective of Liu Kuo-sung at 70 travels to NAMOC in Beijing, Shanghai Art Museum in Shanghai, and Guangdong Museum of Art in Guangzhou.

    Awarded Outstanding Alumni Award by National Taiwan Normal University (NTNU).

     

    2004

    Major retrospective exhibition Liu Kuo-sung: A Universe of His Own at Hong Kong Museum of Art.

    Invited to CUHK as Visiting Scholar.

    Named Honorary Professor by Tainan National University of the Arts.

    Liu’s painting The Metaphysics of Rocks and his theoretical writings are included in university textbook Modern East Asia: A Brief History, written by Conrad Schirokauer and published by Thomson in New Jersey.

  • 2005 Invited by Michael Sullivan to participate in Modern Chinese Painting symposium at Oxford University. Liu Kuo-sung: A Retrospective View...

    2005

    Invited by Michael Sullivan to participate in Modern Chinese Painting symposium at Oxford University.

    Liu Kuo-sung: A Retrospective View at Singapore Tyler Print Institute.

    Selected Writings on Art by Liu Kuo-sung, edited by Chun-yi Lee, published by Henan Fine Arts Publishing House.

     

    2006

    Nature from the Heart: Liu Kuo-sung Modern Ink Painting Exhibition travels from Zhejiang Provincial Museum and Zhejiang West Lake Gallery, both in Hangzhou, to Hunan Museum in Changsha.

    Creates Zhangjiajie series, inspired by visit to Zhangjiajie in Hunan province. Large-scale landscape Tianzishan in Summer: Zhangjiajie Series No. 9 later collected by Palace Museum in Beijing.

    Invited by Harvard University to deliver speech at New Chinese Paintings symposium.

     

    2007

    Retrospective The Universe in the Mind: 60 Years of Painting by Liu Kuo-sung takes place at Hall of Martial Valor (Wuying dian) at Palace Museum in Beijing.

    Art historian Lin Mu’s monograph Liu Kuo-sung’s Path to Modern Chinese Painting published.

    The Universe and My Heart: The Artistic Journey of Liu Kuo-sung, by Richard M. C. Chang and Elaine Suyu Liu, published by Taiwan Art & Collection Ltd.

     

    2009

    Retrospective The Universe in the Mind: 60 Years of Painting by Liu Kuo-sung travels to Hubei Provincial Museum, Ningxia Museum, Three Gorges Museum in Chongqing, and Yaming Art Museum in Hefei.

    University Museum and Art Gallery of University of Hong Kong hosts The Universe in the Mind: Liu Kuo-sung’s Art and Thoughts, accompanied by catalogue by Chun-yi Lee.

    Invited to teach at Southwest University and Sichuan Fine Arts Institute as Visiting Professor.

     

    2010

    The Universe is My Mind, organized by Goedhius, held at Carlton Hobbs in London. Painting Sun and Moon: Floating? Sinking? collected by British Museum.

    Appointed Chair Professor at NTNU.

    Awarded Honorary Doctorate by World Academy of Arts & Culture and World Congress of Poets.

  • 2011 Liu Kuo-sung: An 80-year Retrospective mounted at NAMOC, Beijing. Honored with “Award for Lifetime Achievement” at China Arts Awards... 2011 Liu Kuo-sung: An 80-year Retrospective mounted at NAMOC, Beijing. Honored with “Award for Lifetime Achievement” at China Arts Awards... 2011 Liu Kuo-sung: An 80-year Retrospective mounted at NAMOC, Beijing. Honored with “Award for Lifetime Achievement” at China Arts Awards...

    2011

    Liu Kuo-sung: An 80-year Retrospective mounted at NAMOC, Beijing.

    Honored with “Award for Lifetime Achievement” at China Arts Awards organized by Chinese National Academy of Arts, Beijing.

    Hsiao Chong-Ray’s The Spirit of Ink Painting: A Biography of Liu Kuo-sung published by Taiwan Vista Publishing.

     

    2012

    A Man of East, West, South and North: Liu Kuo-sung 80th Birthday Retrospective at National Taiwan Museum of Fine Arts.

    Invited to participate in Second Chinese Painting Biennial of Hangzhou.

     

    2013

    Permanent Liu Kuo-sung Modern Ink Art Gallery, featuring more than 80 works, opens at Shandong Museum in Jinan, Shandong province.

     

    2014

    Revolution | Renaissance: The Art of Liu Kuo-sung opens at Taipei Museum of History. Later tours Southeast Asia.

    Presented with “Outstanding Artist” award by Asia Society in Hong Kong.

     

    2015

    Touring exhibition Revolution | Renaissance: The Art of Liu Kuo-Sung travels to Singapore MoCA@LOEWEN, National Museum of Indonesia, Jakarta, and Museum of Contemporary Art, Bangkok.

    Invited by Stanford University and China National Academy of Arts to present lecture “Echoes of Art and Science: Creative Exploration of the Universe” with Stanford University Physics Professor Peter Michelson.

     

    2016

    Echo of the Universe: Ink Art of Liu Kuo-sung mounted at China Art Museum in Shanghai.

    Becomes first Chinese artist to be named Foreign Honorary Member by American Academy of Arts and Sciences.

    Awarded Order of Brilliant Star with Grand Cordon by President of Taiwan.

     

    2017

    Awarded 36th “National Cultural Award” in Taiwan.

    Retrospective Exhibition of Liu Kuo-sung’s Works of Art opens at Shandong Museum in Jinan.

    Participates in Boundless: Ongoing Chinese Ink Art 2017 at Art Museum of Sichuan Fine Arts Institute, Chongqing.

    Special exhibition A Tribute to Liu Kuo-sung organized by The Ink Society in Hong Kong at Ink Asia.

    The Weight of Lightness: Ink Art at M+ includes painting Clear Mind Clear Seeing (1965), part of M+ collection.

     

    2018

    Appointed inaugural Dean of newly-founded Academy of Contemporary Ink Art at Shanghai Institute of Visual Art.

     

    2019

    Inaugural Liu Kuo-sung Ink Art Award co-presented in Hong Kong by the Liu Kuo-sung Foundation and The Ink Society.

    To the Moon—Liu Kuo-sung mounted at Kaohsiung Museum of Fine Arts.

    A Man of East, West, South and North: A Biography of Liu Kuo-sung, the Father of Modern Ink Painting by Richard M. C. Chang and Elaine Suyu Liu published by Yuan-Liou Publishing, Taipei.

     

    2020

    Catalogue for Longing for Nature: Reading Landscapes in Chinese Art at Museum Rietberg in Zürich features Snow on its cover.

     

    2021

    Second Liu Kuo-sung Ink Art Award co-presented in Hong Kong by the Liu Kuo-sung Foundation and The Ink Society. Ceremony conducted online due to Covid-19.

     

    2022

    Teh Chun Art Gallery of NTNU mounts Forging New Paths in Ink: An Exhibition of Liu Kuo-sung Documents from the 1940s to the 1980s.

     

    Special Liu Kuo-sung Ink Art Award (2022) held at Hong Kong Convention and Exhibition Center, with Hung Fai Gold Award Winner.

     

    2023

    Liu Kuo-sung: Experimentation as Method opens at National Gallery Singapore.

    Awarded Honorary Doctorate in Fine Arts by NTNU.

    Third Liu Kuo-sung Ink Art Award co-presented in Hong Kong by the Liu Kuo-sung Foundation and The Ink Society.

     

    2024

    Newly reopened National Museum of History collaborates with National Taiwan Craft Research and Development Institute, Taipei branch, to stage special exhibition Fifth Moon and Ton-Fan: The Birth of the Modernist Art Movement in Taiwan. Liu’s 1970 work Midnight Sun showcased. Additionally, oral history film Liu Kuo-sung and the Fifth Moon Group, produced by the Liu Kuo- sung Foundation, screened. The film presents Liu’s perspective on founding and development of Fifth Moon Group and role in emergence of modern art movement in Taiwan in 1950s and 60s.

     

    2025

    Fourth Liu Kuo-sung Ink Art Award co-presented in Hong Kong by the Liu Kuo-sung Foundation and The Ink Society.

    Liu Kuo-sung’s work featured in Fernando Zóbel: Order is Essential at National Gallery Singapore. Among works on view is Liu’s Lofty Zigzag, a representative painting from the 1960s, formerly in Zóbel’s personal collection.