From the geographic point of view, anal?is probably the scenery of Yehliu in Taiwan. Liao had paintings Yehliu several times during 1972, 1974 and 1975. Yehliu is located in Wanli Township, Taipei County; it's a fishing village which is famous for its coast and reefs. Among those Yehliu paintings, the anal?is the biggest; it is painted on a size 30 canvas. Due to Liao Chi-chun's economic condition and asthma during his childhood, it is



been thirty years since Liao Chi-Chun's death; he is the master of art in Taiwan. He's well-respected for making every endeavor to popularize art education, and the innovation he had in his art. He's the pioneer of modern paintings in Taiwan, he brought the possibility of abstract paintings through his own work, he also urged the establishment of Ton-Fan Art Group and the Fifth Moon Group, and gave birth to Taiwan's abstract paintings.

What most praised about Liao Chi-chun's paintings is the use of colors; art historiographers praised him as he magician of colors Some artist said that his colors are deceivable, untrue to the nature. However, it has no difference from overthrowing the ature is the mentor?tradition of Chinese painters; he took up the aesthetic concepts from Fauvism and Expressionism. He willfully gave the scenery colors from his subjective point of view, and he harmonized, blended those colors together, and shaped the scenery freely at the same time, to achieve a joyful and cheerful feeling.

As for the use of colors and shapes, Liao Chi-chun had his own point of view, he once said: use simple, intense colors and the contrast 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 he Rainbow Across the Gap Between Generations - Liao Chi-chun's artistic life by Lin Xing-yue, Cathay Art Museum, Taipei, published on March, 1981, pp. 230 - 231) 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 boldly. Even in the 1970s, his later years, his works got more colorful, harmony and romance can be easily discovered in variety of colors, when he got older, his paintings got more affecting. He never clung to the shape of the object, through his sensitivity towards colors, and his own unique way to represent the beauty of the world; he has proven himself as an international master of art. (Please refer to he Magician of Colors: Professor Liao Chi-chun's 100 Year memorial exhibition catalogue by Gao Xiu-zhu, National Palace Museum, 2001, p. 6)

Wang Hsiu-hsiong consider Liao Chi-chun's works as good as the masters of Fauvism's: it is hard to believe that Matisse, Vlaminck, Dufy those so-called masters of Fauvism's works aren as bold and power as Liao Chi-chun's work, what most important in Liao's paintings is the symphony of the colors and the harmony in the picture, and it is hard to find such harmony in the masters of Fauvism's work(Please refer to he glamorous and harmonic Fauvism artist - Discussions regarding Liao Chi-chun's style and evolution? Professor Wang considered Liao as one of the best color painters in the world, and is also the only one in the Chinese art history.

Liao Chi-chun studied abroad in Japan in the 1920s, devoted himself to art education for over 40 years, he paints in most of his lifetime, and continue to transcend his own achievements in art, especially in his later years. Art historiographer Lee Ching-hsien thinks that: liao Chi-chun is never a man who summons wind and rain, his position in the art history is not established by his techniques, it is all in his works. Such a simple condition is enough for him to go to the America, indeed, in the 1970s, his later years, his creativity unleashed more than ever, and many of the most splendid pieces were produced during that time. (Please refer to he high-peaks of the style after his Europe trip colors, Harmony, Liao Chi-chun? Hsiung-Shih Art Book, Taipei, first edition in 1997, second edition in 2002, p.108)

The nanal is finished in 1974, Liao Chi-chun's signature and inscription as well as the Lienhun Street Studio address. Liao Chi-chun was costumed to write the address of his studio for easy recognition of some of his paintings. Like his rerryboat?in the Ravenel Spring Auction 2002, had participated in the 30th provincial exhibition in 1975, and his signature and inscription as well as the Lienyun Street Studio address are indeed on the back of the canvas.

His works got more glamorous when he got older, as it got as colorful as rainbow, the warm and fragrant feelings got stronger. His student once asked him about why his later works looks younger than those earlier The artist humorously an not easy for him to produce large paintings, most of his works are small, and some of the most brilliant works are in Size 20 and 30, therefore size 30 can be considered as his biggest piece! He will also paint bigger paintings for exhibitions.

As a matter of fact, bright and vibrant colors were used in nanal?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: link is no doubt a symbol of mildness and sentiment, it's simply poetry when it showed up among other colors.Critics thinks that pink is Lio Chi-chun's spirit.

Liao Chi-chun loves to paint about landscape, especially the scenery of the river and seaport. During the 1950s he did a lot of sketches in Tamshui. After he returned to Taiwan from the America in the 1960s, the abstract paintings of the America and the civilization in Europe had widened his horizon, and he was greatly affected. During 1960 to 1970, Liao's creations reached the peak. Especially when he saw the scenery of Venice, how boats busily come and go in the river, and the unconfined, harmonic aura of creation, they have transformed to a passion and strength for him, to find his own style. When he's paintings, No matter Tamshui, Ai River, Venice, Yehliu 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 nanal?might not be the scenery of Yehliu specifically; it could be the dream land that Liao had been long for swered because the meaning of his name means outhhood lasts forever? Indeed, Chi-chun means lasting the youthhood, but is it really the destiny his name gave him? Actually, what his friends in the Taiwan art scene and his students recall, is his utter innocence, and religion. Sculptor Yuyu Yang had described Liao like the angel and paints with a heart of gold? paintings are like mirrors, and they reflect the innocence inside the artist. And he has been wildly praised for that.