Feng Jung-ruei was born in Nanyang City, Henan Province, China in 1934. As warfare between the nationalist and communist forces intensified in 1948, the Chinese government decided to give up on Nanyang, and many civilians became displaced. Feng, like many others, went on exile with his fourth elder brother Feng Jung-yen. On August of 1949, he took a boat trip from Guangzhou to Taiwan. He was accepted by the Department of Fine Arts, Political Staff School in 1952 and joined the Dongshan Battle during the training period. This is considered a very special experience in his life. Feng graduated in 1953 and was assigned to the navy. He saw abstract impressionist paintings in 1956 for the first time and felt amazed. Somehow, he also felt this is the right thing for him. He started to devote himself to creating abstract paintings despite others looked down upon the idea. In 1958, he had a joint exhibition with Hu Chung-chi, Sun Ying and Chu Pen-rui, who co-worked with him in the navy. Together they founded the Four Seas Group. Feng attended the Sao Paulo Biennial in 1959 and joined the Fifth Moon Group as invited by Liu Kuo-sung in 1961. In 1969, Feng retired from the navy and became an art designer for a TV station. He immigrated to the United States in 1975. Today, he has dedicated himself to artistic creation for half a century.
Feng Jung-ruei started adding calligraphic elements to his abstract artworks in the 1980s. This painting is based on mixed media and belongs to his calligraphy-inspired series. Carefully arranged and with a fine texture, this painting leads viewers to leave reality behind and delve into the past. It exudes the unsophisticated aesthetic charm found in traditional Chinese art.
Feng chung-ruei actively participated in the modern art movement in post-war Taiwan by joining the Four Seas and Fifth Moon Groups. In a time when abstract impression was the vogue, Feng picked up a modern, western exression while retaining the essence of Chinese culture that he studied much about. In this way, he was able to blend abstract expressions and traditional landscapes to come up with a style of his own, effectively presenting modernity and tradition at once. His early works look slightly melancholic like the landscape paintings of the Song Dynasty. But after trials and errors, in the 1960s, he developed an approach of blending ink and wash with oil paint, manifesting his own creative style in a much more mature way. It can be said Feng tries to go beyond abstract ink painting and find out what “form” really means. Other than blending modern elements and traditional landscape paintings, he began a research on calligraphy in the 1980s, using calligraphic characters as signifiers and signs in his artworks, reinterpreting art in a daring way.
|Medium / Classification：||Mixed Media|
|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, 1931-1940|
|Related Work：||Painting 91-16 74-59 74-60|