Lee Chung-chung was born in 1942 in Tunxi County, Anhui Province. She moved to Taiwan in 1947. Her father Lee Jinyu graduated from Beijing Jinghua Art College, specializing in traditional Chinese painting. Lee practised painting, calligraphy and ink and wash from an early age. With this background Lee developed a talent for ink and wash. Lee attended the Fine Arts Department of Fuxinggang Political Warfare College. There she trained in multiple styles of art, even studying oil painting under Lin Kegung for several years. After graduating in 1967, Lee formed the Ben Yu Art Society with Wang Kai, Jin Kai-hsin, Yang Sheng-hsiong, Shen Lin-bin, Chen Wen-tsang. She started to take part in various artistic activities.
In 1968 Lee joined Liu Kuo-sung's Chinese Ink and Wash Painting Society. She started to explore modern ink and wash painting. Many major artists of the time working in modern ink and wash were members of the Chinese Ink and Wash Painting Society. The group often held large scale exhibitions of its members’ work, and Lee always played an important role in these exhibitions. In 1970 Lee decided to focus on ink and wash. She experimented with a number of different techniques and styles. She developed a lyrical abstract ink and wash style, and her work became more refined over time as she gained experience.
Vitality is composed of strings of dots of different colors, sizes and shades. These dots seem to be jumping about like living organisms on the canvas. The semi-circular dots in the upper half are stabilizing and unifying. The zigzagging splashes of ink in the lower half resemble waves and make the overall picture more dynamic. The flowing blue tapes symbolize water and enhance the dynamic visual power.
Lee Chung-chung started working in modern ink and wash in the 1970s. She wanted to explore the medium's potential and escape from the technical restrictions she felt existed in traditional ink and wash. She carried on the baton of the modern ink and wash movement of the 1960s which encouraged new techniques and learning from the West. She wanted to push aside the conventions and limitations traditional Chinese ink painting placed on form, techniques and materials, and focus instead on experimenting and innovating in terms of style and artistic vocabulary. After joining the Chinese Ink and Wash Painting Society, Lee was exposed to the new style of American Abstract Expressionism. She drew much inspiration from this style.
Artists frequently experiment with media as a way of transforming the look of their work. Early on in her career Lee did much trialling with rubbing and dyeing techniques. She later turned to experimenting with traditional painting brush and ink principles, developing a style that used layered brush work and fluid calligraphic lines. Lee's later works were characterised by their fluid yet contained energy. Lee's works are concise yet rhythmical. She demonstrates mastery of brush and ink. At the same time her works show the same ethereal quality, artistic conception and ambience of traditional painting.
|Medium / Classification：||ink painting and calligraphy|
|Collection Unit：||Collection of the National Taiwan Museum of Fine Arts|
|Contact method for authorization：||
Guide to the Use of Image Files and Data from the Online Collection Database
|Related Exhibition：||"The Pioneers" of Taiwanese Artists, 1941-1950|
|Related Work：||A Love Affair with the Mountain Mysteries of the Tienshan Mountain Eye of Typhoon|