- Established Studio at Taipei, Taiwan
- Graduated from Fine Arts Department of Chinese Culture University
- Military service, Appointment as an Art Coach, Two Champion award in Painting Competition
- Graduated from MA Fine Art department, National Kaohsiung Normal university.
- Won the first place in Literary and artistic creation award of Ministry of Education at 2000.
- Won the first place in 58th National Art contest.
- Won the first place in 17th Nanying Awards.
Ink Rhyme with Subtle Colors as Boundless vast as Ink—Mi Li Tsun Nan
--- Written by Pai, Hsueh-Lan 2017 ---
From the first sole exhibition held in 1980 to the ninth sole exhibition held in Kaohsiung Museum of Fine Arts in 2007, Mi Li Tsun Nan has been making progress in the field of modern color ink, who always actives in both sides across Taiwan Strait and East Asia area as a modern color ink painter. Being immerse himself in the field of ink painting for almost forty years, he handles and uses paper, ink, pen and color very skillfully and freely, even applying automatism technique with facility. In consequence, his works have already been collected by art museums home and abroad.
With passage of time, Mi Li Tsun Nan has pursued for reform since 2005. Ink painting creation with only pen and ink could no longer meet his satisfaction. Pioneer thinking and bold personality hidden inward urged him to bring ink painting to another state, which “cross-discipline and boundary removal” is his biggest breakthrough. Any media material between heaven and earth can be used; so he abandoned Xuan paper to choose canvas, adopting intensifier to make drawing texture with difference of height and keeping oriental particular media material—ink. As good as water, ink has characteristics of mobility, permeability and transparency which acrylic paintings can’t reach that point, resulting in the most fascinating and irreplaceable characteristics of ink painting.
After supports of the whole work are completed, Mi Li Tsun Nan will dye it with ink color, splashing and washing with water in accordance with his ideas, going with the flow or guiding water to wash partial ink, and even making white background become visible; if going too far, ink again for a sudden stop as soon as any organic form is produced on the picture. To cope with ups and downs resulted by intensifier in this way, the ink residue may cause ink marks drawn with wrinkle method similar to those drawn by brush. This is a conception of “subtraction” and also an ancient method of splashed ink, furthermore, carried with a natural “flow” technique. In short, it’s an interactive use of old and new technique for more effects.
Rendering is an ingenious application of traditional ink painting, which Mi Li Tsun Nan uses heavily. Different harmonic proportion of ink and water may differ rendering effects. All mysterious principles should be realized through self-experiment before application, so that thought always takes much more time than implementation. It’s all about visual effect closer to traditional ink painting. Where no brush is needed for the presentation methods of wrinkle and wipe, drawing texture is formed naturally. As delicate and detailed as invisible mysterious principles, something great will be viewed from a distance. Such a special beauty has deeply been attracting Mi Li Tsun Nan into continuous experiments, and then a distinct feature of “similar wrinkle method” is developed. He has been enjoying it for more than ten years as not a single visual effect is same.
In addition to the development of a new language, he brings artistic conception of ink painting into media material of the time. The painter achieved the texture of mixed media material but there’re artistic conceptions of ink painting more than words. In pursuit of oriental aesthetics is Mi Li Tsun Nan’s ultimate goal, inside information of ink painting that has taken him forty years bursts out at this moment.
The most valuable thing for any painter is his personal style; generally speaking, its inimitable symbol must be high. Solid color of black and white is Mi Li Tsun Nan’s favorite color; in fact, he is so fond of ink color. “Chinese ink is divided into five colors” in old saying that pure ink color can create a rich level. What he chased boundless vast open-mind through inaction has accomplished his personal style. The overtone of the picture without representational communication is the brilliant point. Mi Li Tsun Nan drew realistic paintings in the past. In the year 2000, He returned to settle down in Kaohsiung City. “Backyard” nicknamed by him for the scenery in southern Taiwan and the landscape of the Naonung River that are the subjects of his works have strong contemporaneousness, transformation and amiable localization.
”Backyard series” has been created since 2005. Many tall trees can be seen from the window frame on the picture, along with layer-after-layer rooftops of old houses; window frame is reserved to increase perspective of space while moon, trees and distant mountains outside of window shape quiet and Zen atmosphere. In face of the Naonung River, he doesn’t paint from nature but personally goes into riverbed to experience. He and his wife wear rain shoes to shuttle back and forth between silver grass twice height of a person. Looking up bright and clear moon afar and watching white egrets as if there’re small dots on sandbanks from far distance, the painter acclaims it as “wonderland”, his ideal land where the stream is as calm as a mirror and quicksand running as flowing water for people to listen to the sounds from all living things without any earthly noise. When white silver grass blooms on September, the artist describes it “September snow” that all things could be contented with quiet appreciation through pure white, light and fantastic, boundless vast, loneliness and simplicity.
Sandbanks and silver grass along water side has been one of the themes of landscape painting since ancient times. Quiet environment of wild geese descending on the sandbank reappears in southern Taiwan causes Mi Li Tsun Nan deeply captivated. He cultivates his creative energy within the scenario. When he comes back to the studio, he doesn’t make a draft but directly paints on the canvas without composition. He tries the utmost to show air temperature, quicksand softness, autumn wind speed and silver grass tenderness for drawing in the process of domination, guidance and gathering with thought blocking or amazing from time to time. Concise subtraction method is applied to the canvas, allowing velocity and humidity to convey to the viewers through three-dimensional touchable texture.
Mi Li Tsun Nan devotes particular care to the structure of a picture instead of the size of Xuan paper. He has a preference in size and makes good use of square shape of picture to display sense of design. He engaged in interior design in the past, so as to have precise aesthetic view of plane spatial dimension. Throughout Mi Tsun Nan’s works, those are simple structures and single color with subtle colors occasionally as well as both meticulous and rough texture, showing changeable and dynamic tension in the mystery; taking a closer look is invisible and abstraction and viewing from a distance generates supreme artistic conception, all of which present boundless nature and reveal constancy of the universe.
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