As for the use of colors and shapes, Liao Chi-chun had his own point
poetry when it showed up among other colors." Critics thinks that
of view, he once said: "I use simple, intense colors and the contrast
pink is Liao Chi-chun's spirit.
to bring up more colors, in the mean time, I pay attentions to the aesthetic delight between lines when shaping. It is not about my impressions in a specific time; it's simply about representing the colors that I wanted to represent." (Please refer to "The Rainbow Across the
The artist's approach to color can be said to be trend setting. By fusing modern elements into the natural landscape, he expresses the youthful energy of a new era. The art historian Wang Hsiu-hsiung
Gap Between Generations - Liao Chi-chun's artistic life" by Lin Hsing-yueh, Cathay Art
once praised Liao Chi-chun's art as "gorgeous and harmonious
Museum, Taipei, published on March, 1981, pp. 230 - 231)
Fauvism". His brush strokes are unrestrained and simple, with their
Critics consider it is due to the stimulation from his visit from Europe and America during the 1960s: "After experiencing the avant-grade trend in the home of the western art, Liao Chi-chun's potentials are fully released. After he returned to Taiwan, he was totally disembarrassed from traditional constraints, and created more
colors overlaying and emphasizing each other, retaining the sense of freshness and vitality. "Yehliu Scenery" is not a large painting but the great effort made by the artist in creating the composition, the free flowing brush strokes and the rich tapestry of colors combine to create a wondrous landscape that existed within the artist's mind.
boldly. Even in the 1970s, his later years,
Liao Chi-chun loves to paint about
his works got more colorful, harmony and
landscape, especially the scenery of the
romance can be easily discovered in variety
river and seaport. During the 1950s he
of colors, when he got older, his paintings
did a lot of sketches in Tamshui. After he
got more affecting. He never clung to the
returned to Taiwan from the America in
shape of the object, through his sensitivity
the 1960s, the abstract paintings of the
towards colors, and his own unique way to
America and the civilization in Europe
represent the beauty of the world; he has
had widened his horizon, and he was
proven himself as an international master
greatly affected. From 1960 to 1970,
of art."
(Please refer to "The Magician of Colors:
Liao's creations reached their peak.
Professor Liao Chi-chun's 100 Year memorial exhibition"
Especially when he saw the scenery of
catalogue by Kao Hsiu-chu, National Palace Museum,
Venice, how boats busily come and go in
2001, p. 6)
the river, and the unconfined, harmonic
Taiwan is surrounded by the seas, with the unusual and the spectacular terrain around its Northeast coast always having been renowned internationally for its
廖繼春《野柳風光》1972 油彩 畫布，45.5 x 53 cm
aura of creation, they transformed a
羅芙奧台北2006春季拍賣會，編號48，成交價：台幣 12,530,000
passion and strength for him, to find
LIAO CHI-CHUN, Yehliu Scenery, 1972, Oil on canvas 45.5 x 53 cm
his own style. When he's paintings, No
Ravenel Spring Auction 2006 Taipei, Lot48, US$ 387,686
matter Tamshui, Ai River, Venice, Yehliu
natural views. The people are also very religious, and temples dedicated to the safety of the fisherman can often be found at in the fishing harbors. The color elements so important to Liao Chichun's paintings have their roots in folk art. Among Liao's many oil paintings which have Yehliu as the background "Yehliu Scenery" is to paint the mountains, houses, temples, shores and ships, the colors of the sky and the water are vivid, they are major blue colors, just like to feelings on the chinas from Ming dynasty, red, green and yellow, the color of the Taiwan's temple, can be seen everywhere. The whole picture is like a carnival in a fishing village, filled with the tempo and the passion of Taiwan. The using of the brighter color, pink, is one of the major techniques of the artist; it balanced and harmonized the blue background. Miss Wang Shu-feng addressed: "Pink is no doubt a symbol of mildness and sentiment, it's simply
or the last stop in his life, Tong Kang, all of them showed a colorful, lively atmosphere. Including Yehliu, his later works are his essence, after the vicissitudinary in life; his mind surpasses, and returns to innocence. Therefore, the paintings of each scenery and location has went far beyond countries and boundaries, transcended the cultural confrontation, what represented to the viewers are the Shangrila in the heart of the artist. When he is painting Yehliu, he might recall the scenery of Tamshui, or even the canal in Venice, he brings the best of his memories to front. Therefore "Yehliu Scenery" might not be the scenery of Yehliu specifically; it could be the dream land that Liao had been long for.