• 2021-02-12

    Man with a Lamb

    《Man with a Lamb 》

    《抱羔羊的男人》 Man with a Lamb 

    Oil on canvas, 2020

    Height: 91 cm. Width: 75.5 cm.


  • 2017-10-02


    《 Shan Hai Jing 》

    《山海經》 Shan Hai Jing

    Oil on canvas, 2017

    Height: 205 cm. Width: 290 cm.


    Shan Hai Jing is a Chinese classic text and a compilation of mythic geography and myth. It largely and orderly records the features of natural geography and the content of human geographies, such as mountains, hydrology, animal, plant, mineral, national geography, economy, social culture. The chapters about Yellow Emperor, Yan Emperor, and Chiyou run throughout my entire work.
    The top right is Yujiang, god of the Northern Sea(dragon rider), the bottom right has the Cross Shank country folk (man with bare buttocks) and the Through Chest country folk. The right side of the theme for the Yellow Emperor’s daughter-Ba, who subdued Wind God and Rain God. At the top, Xiwangmu and Jiutian Xuannu help Yellow Emperor defeated Chiyou. Nuwa, who is in the upper left, repairing the Pillar of Heaven. Below the Nuwa, Kuafu and Houyi capture the sun. The lower left of the hat man, Dayu, who is assisted in his water control work by a Yellow Dragon and a Black Turtle, above Dayu for the Kai-Ming Auspicious Beast which is Kunlun Mountain’s guard (Nine-headed beast).
    The painting coloring with warm and unadorned tone, the overall composition of the picture is divided into three sections, left, center, and right. With exaggerated human body’s muscle shape, the character postures include forward, backward, overlook, lying. By carefully painting the details of the image, I reproduce the myth of the classic description of time, space, texture, and sense of mass.


  • 2016-08-28

    Lumbini Siddhartha

    《 Lumbini - The Birth of Siddhartha 》

    《藍毗尼・悉達多王子的誕生》 Lumbini – The Birth of Siddhartha

    Oil on canvas, 2014

    Height: 410 cm. Width: 290 cm.


    From the beginning, I designed the motion of leading role, then, the guest characters echoing the theme. According to the legend, Sakyamuni Buddha (Prince Siddhartha) was born with two water columns dropped from the sky, a newborn baby is covered by a canopy, held by Queen Maya; I designed a rhythmic action, showing the Buddha’s naive and clever, Buddha mother’s Love with the dignified feeling. I also excluded the East brushwork ink style and used Western realistic classical style, with the addition of personal style skills. Mother and son are sitting on the glass bed, who are carried by the Four Heavenly Kings, “Virudhaka, Dhrtarastra, Vaisravana, Virupaksa”, the Virudhaka is holding a sword, who is modeled by my son as a fitness coach, but it was not a copy, and I just understood the muscle space, completing it with exaggerated muscle shape after referring to anatomy to realize the picture, rather than copying details; upon understanding more, I interpreted a new object. Such complicated procedures require a lot of sketching ability, and experiences of copying classical painting in the 16th – 17th century, learning connecting elements therein.

    According to the legend, Sakyamuni Buddha was delivered by Queen Maya who dreamed a white elephant, so, I added a white elephant and glass bed to echo them. The Bodhi Tree which goes through the entire work is originated from the ancient tree in Tainan Park, then, I shaped it with rough strokes. The character postures include forward, backward, overlook, lying, sometimes the character is back to the viewers, and sometimes is looking around. In Chinese painting theory, “higher mountain than the meter of a tree, the inch of horse and bean-like human” refers to the focus of proportionality while staring around and lying posture shows the importance of the rhythm of modeling. However, western science had space, texture, sense of mass earlier, so I often took eastern science as the theme in the creation and western science refers to the technologic operation, achieving the top realm of eastern science as the body and western art as the application.



  • 2016-02-26


    《 The Four Oceans 》

    《 The Four Oceans 》

    Oil on canvas, 2014

    Height: 290 cm. Width: 410 cm.


    The creation shows the fact when I saw that the central square of Navona, its Fountain of the Four Rivers only has Ganges, Nile, Danube, Labrador River when I was in Italy, with which China’s Yangtze River was ignored. So I raised the view up to four oceans. The ocean on the surface of the earth and major rivers going through the entire work was achieved by the rhythm of muscle man of great strength in the center of the picture.  I took the people to represent the ocean and rivers on the ground, echoing the East and the West where characters are used to show the anthropomorphic spirit, such as the eastern myth《Feng Shen Bang》, 《Shan Hai Jing》, many gods in the western Greek mythology and animals and plants in nature and so on.

    Because the ocean which accounts for the most on the earth is the Pacific, so I set the central lead role to symbolize the Pacific, referring to the motion of a football player, who holds a water urn with Asia and the Americas satellite aerial map. The left one dressed in green is Yangtze River, surrounded by the land of Asia, and a panda is underneath it. In the right side, Bengal tiger is underneath the Ganges River of India; the carrier of the urn at the most right is the Atlantic Ocean, enclosing the American continent attaching Indian feathers; the Americas is like a newborn child held. Europe is at the lower left corner, and the urn carrier represents the Arctic Ocean; the Greenland is on the urn. The upper left urn carrier symbolizes the Indian Ocean, and the African Nile and a crocodile are surrounding the African continent. The Mount Everest is placed in the center, with children’s fingers pointing to the stars, a symbol of the unknown universe.

    《 四大洋 》


  • 2016-02-26


    《 Crooning on the Steppe - Morin Khuur 》

    《草原上的低吟–馬頭琴   》 Crooning on the Steppe – Morin Khuur

    Oil on canvas, 2016

    Height: 205 cm. Width: 290 cm.


    I had read the ancient Mongolian legend, 《Morin Khuur》, the story is here: a young man, Su He, saw a dying pony on the vast Mongolian steppe, took him back home and took care of it; time passed by, the pony grew up a strong handsome horse, and Su He heard that the Mongolian lord was in the horse selection race, and the winner can marry the princess. Su He had a smooth victory, but the lord denied the promise and snatched the horse, and the horse only wanted to follow its master and desired going home, the lord eventually commanded soldiers to kill the horse. The horse memorizes the master with void! The soul returns with hatred! Su He heard the horse telling him in the dream: “My master, don’t be sad, made the strings with my mane, and the zither with my bone, let me be with you always!” … on this moment, the tears burst in my eyes. I decided to paint such an ancient legend of the Mongolian steppe into a 300F giant oil painting. In its middle part, it is the protagonist, Su He, surrounded by the soldiers assigned by the lord, and on the upper left side, it is Mongolia ancient flag.


  • 2016-02-26


    《 King & Beggar 》

    《 King & Beggar 》

    Oil on canvas, 2011

    Height: 145 cm. Width: 111 cm.


    This painting originated from the scene where a dirty beggar leaning on the chair in the park not far from the Marienplatz Square of Munich when I had a personal trip to Germany; I tucked ten Euros into his hands, and he who had closed eyes suddenly opened his eyes. His eyes seemed filling with gratitude, which gave a bit of warm in such a cold Europe.  Because I was sketching at the corner of Theatiner Church in front of the park in the afternoon, thinking that the yellow building at the front is built to celebrate the birth of the Prince of Munich and there is somewhat difference between the king’s extravagant luxury and the beggar’s poverty. After back, I spent seven months in this work. I used a stone to replace the chair of the park and engraved it with the content of Psalm 112:9 ” He hath dispersed, he hath given to the poor; his righteousness endureth for ever; his horn shall be exalted with honour.” I wish the world never had people living in poverty, and I am willing to express it with this work.

    《 國王與乞丐 》 


    《 Mother Teresa - Angle of Earth 》

    《 Mother Teresa – Angle of Earth 》

    Oil on canvas, 2015

    Height: 205 cm. Width: 290 cm.


    This work shall express that I was greatly moved by the Mother Teresa with the most pious attitude.

    I gave it with three triangular compositions; on the left side are old patients at the dying home of Calcutta in India, who was cared by the volunteers; patients are directed towards the protagonist Mother Teresa; the nuns in the dying home had a hand gesture of the palms up that the Catholic is featured, expressing that the Lord also showed reverence to the Lord’s messenger, Teresa. The bottom part shows lying male persons expressing appraise to the righteous act of Teresa with Laurel. The right side shows my smooth shape of men and women holding flags upward without styling reference of the models, expressing their pursuit of rescuing others with determination to sacrifice themselves. The light shrouded the Saint Teresa from the sky, which is the Holy Spirit of God, also the warmth that the world perceives Mother Teresa. She fully expresses the ultimate kindness of humanity. As what she said, “I have never seen God, but I have seen God in the sick”.

    《 德蕾莎修女 – 人間天使 》 

    這件作品,以最虔敬的態度表達我對德蕾莎修女義行的感動。 我以三個三角形構圖,最左邊印度加爾各達垂死之家的老病人被義工褓抱照護,病患視覺都朝向主角德蕾莎修女,垂死之家的修女以天主教特有手勢兩手掌心向上,表達對主也對主的使者德蕾莎表達崇敬。下方有仰臥與俯身的男人以桂冠表達對德蕾莎的義行嘉冕。右邊在完全沒有模特兒的造型參考下,自己流暢地造型出男女擎舉旗幟,表達追求攜牲自己幫助救難的決心。把光明從天空籠罩德蕾莎聖人,那來自天空的光是主的神靈,亦是世界對德蕾莎的溫暖感受。她將人類善的極致充分表達。誠如她所說的話: 「我從未見過上帝,但我在病人身上看見上帝」。

    《 War & Peace 》

    《 War & Peace 》

    Oil on canvas, 2010

    Height: 37 cm. Width: 44 cm.


    《 戰爭與和平 》


    高:37 cm 寬:44 cm