A Burst of Brushstrokes
An artist aims to advance self-cultivation and contribute to society through art
In Chinese culture, the lotus flower is of huge significance. It symbolizes purity, enlightenment and rebirth, and is often depicted in art and literature to reflect these cherished values. The essay Ode to the Lotus by Zhou Dunyi, a philosopher from the Song Dynasty (960-1279), is considered a masterpiece on the flower.
The line “The lotus grows out of mud but is not stained; it is rinsed in clear water but does not look flamboyant” from the essay has been widely recited over the years. It left a deep impression on a 12-yearold boy, who later aspired to embody its noble qualities in his paintings.
This boy is Liu Bo. His fascination with the lotus sprouted from the comic books he’d read as a child, and he went on to become a first-class artist in China renowned for his exquisite lotus flower paintings.
Liu obtained bachelor’s and master’s degrees in traditional Chinese painting at Nankai University in Tianjin Municipality, as well as a Ph.D. in art history from the Institute of History of the same university. Since then, he’s been working at the Chinese National Academy of Arts in Beijing.
Self-portrait
Over roughly three decades of artistic pursuits, Liu has always admired and practiced the tradition of ancient Chinese literati painters, who were more interested in personal erudition and expression than a superficial beauty that immediately attracts the eye.
“A man of letters in ancient times would combine daily life with artistic life. In other words, he would conduct daily activities, meet and converse with friends and guests, read, and create calligraphy and painting works at home. I, too, enjoy this kind of lifestyle,” Liu told Beijing Review.
His artistic journey began with painting, but he then further engaged in other art forms such as literature, calligraphy and antiquing.
“My paintings are reflections of myself, showcasing the landscape of my mind. In my paintings, I hope to show my passion for pastoral life, my love of nature and my appreciation of the mindset of ancient nobles,” Liu said.
“I’m not painting to deliver certain views or cater to anyone’s taste. My paintings are natural reflections of my thoughts on nature, humanity, history, literature and art, which through my brushstrokes translate onto the canvas through an innate impulse.” But this impulse is not fleeting; it is rooted in a dedicationot practice.
“My artistic touch is honed through continuous practice. I must diligently study and sketch various lotus flowers in different stages, delving deep into the essence of this plant to authentically capture its nature and breathe life into my artwork. This pursuit of authenticity aligns with the principles of Chinese painting, which prioritize capturing the spiritual essence of the subject and evoke profound artistic conception to resonate with the viewer.”
The greatest joy of painting comes when these two requirements are met simultaneously.
“This rather ‘unpredictable’ success is a form of unparalleled happiness,” Liu said.
Literati in society
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Recently, Liu completed a series of more than 100 ink paintings called Masters Over the Past Century, showcasing prominent figures in the realms of science and technology, education and the humanities in China over the last century, with a particular focus on the period following the establishment of the People’s Republic of China in 1949.
He painted one portrait and composed one poem for each of the 100 masters,
inscribing the latter onto the paintings using different styles of Chinese calligraphy.
“I don’t see it as an arduous task. It is an expression of my admiration for the masters. I feel like doing it from the bottom of my heart,” Liu said.
As a seasoned painter with refined skills and extensive experience, he prioritizes capturing the essence and charm of his subjects over mere physical resemblance.
Before he started painting the masters, he set a challenging target for himself: He would not include any specific descriptions in the artworks. For example, a calligrapher’s portrait may not always be that of a figure holding a brush. “I removed all superficial elements, just showing the identity of the masters, to focus more on delivering their inner world,” he said.
Similar to the great masters he admires, Liu believes that contemporary literary and artistic creators should recognize their social responsibility.
He stated, “We must continuously enhance our self-cultivation and strive for higher moral standards to contribute to society through our art.”
As director of the art training center at the Chinese National Academy of Arts, he frequently participates in international exchange initiatives, such as delivering lectures on art and Chinese culture at overseas universities and embassies. Occasionally, these activities may not be directly related to art.
“I was once invited by the cultural consul at the Consulate General of China in Toronto, Canada, to give a lecture. After the lecture, the consul told me that he was impressed,” he continued, “He said that such lectures on comparisons between Chinese and Western art should be given before China’s business negotiations with international partners, as they might have a positive impact. I fully agree.”
Liu also shared some insights gained from his years of experience in international exchange. “We may share a common interest in an artwork with guests from other countries. When talking about the work, we will subtly exchange views through crosscultural communication. Perhaps through these types of light conversations, we are actually exchanging some of each other’s cultural understanding. In formal diplomatic negotiations, art can play a positive role in promoting relations between countries. For me, the mission of cultural communication is a noble and meaningful one,” he concluded.