Hou.jiliang,： writer-painter

by Ho Huai-shuo, painter, professor,

Fine Arts University, Taipei

Translated by Hu Pin-ching, Patricia,

trilingual writer,

professor of French literature,

Chinese Culture University, Taipei, Taiwan

The intimate relation between painting and literature is a tradition peculiar to China. In the world history of arts, the characteristic of Chinese painting lies in the fact that poetry is the inspiration and contents of painting while a painting illustrated by a poem or prose endows painting with a double beauty.

Language is the center of gravity of Chinese culture. Learning, knowledge, erudition and thinking, if not merged in language, are expressed by words. Thus Chinese painters turn to literature to enrich the contents of painting and elevate the latter to a higher level.

As emphasis is laid upon the signification and connotations of painting, the latter should not keep aloof from the value of men and of life. Therefore, Chinese painting is characterized by humanism. Consequently, Chinese painting and literature are linked together to become one.

Hou.jiliang who starts from literary creation to specialise in calligraphy, painting, engraving seal characters continues the tradition of men of letters’ painting. The ancients call poetry, painting and calligraphy “Three unsurpassed skills”. After the Ming dynasty, those who are versed in the men of letters’ painting engraved seal characters themselves and the three unsurpassed skills became four. As to Hou.jiliang, he adds to the four skills that of literary creation and deserves the title “Master of five unsurpassed skills”. Among the contemporary painters, those who excel in writings are rare. Still rare are the writers who know how to paint and engrave seal characters. With his rich literary culture, it would be easy for Hou.jiliang to deepen his art in the field of painting and calligraphy. In my opinion, the contemporary Taiwanese painters well versed in western painting neglect the studying of Chinese painting and calligraphy while those who indulge in Chinese painting and calligraphy refuse western artistic aliments, which explains the difficulties encountered in the development of modern Chinese art (including the renovation of painting, of calligraphy, and the assimilation of foreign art.)

Concerning the Chinese ink painting, the Da Fong Hall, the Pai Yün Hall and the Ling Ou Gallery have left ancient models. The coming generation should envisage native creation under new spatial temporal conditions.

As a disciple of the Chiang School, Hou.jiliang should rest on his literary creation and his new artistic thinking to surpass the Chiang School and create an original style having “l’air du temps.”

In my opinion, it is in this manner that he can assure the continuance of the Chiang School and repay the kindness of his Master.