Submission declined on 6 December 2023 by EggRoll97 (talk).
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| Submission declined on 28 November 2023 by Theroadislong (talk). This submission's references do not show that the subject qualifies for a Wikipedia article—that is, they do not show significant coverage (not just passing mentions) about the subject in published, reliable, secondary sources that are independent of the subject (see the guidelines on the notability of people). Before any resubmission, additional references meeting these criteria should be added (see technical help and learn about mistakes to avoid when addressing this issue). If no additional references exist, the subject is not suitable for Wikipedia. Declined by Theroadislong 5 months ago. | |
Comment: Still not seeing a pass on NARTIST, as was mentioned in the previous denial. EggRoll97 (talk) 07:30, 6 December 2023 (UTC)
- Comment: Not clear how they pass WP:NARTIST? Theroadislong (talk) 08:42, 28 November 2023 (UTC)
Tao Yun-lou (1898-1964) was a calligrapher, painter, and seal artist. He was originally named Tao Hui, and also went by Yun-Lou. His ancestral home was in Shaoxing, Zhejiang Province. Tao was proficient in poetry, calligraphy, painting, seal carving, and historiography, with his main artistic focus on landscape painting. In 1947, he visited Taiwan for the first time, during which he held an exhibition in calligraphy, painting, and seal carving at Zhongshan Hall in Taipei. As the political situation between the Communist Party and the Nationalist Party intensified, he decided to settle in Taiwan[1]. Tao followed in the tradition of ancient literati paintings, emphasizing artistic conception and atmosphere. He painted landscapes with ink, demonstrating simple and elegant compositions. Tao was hailed as an artist of "Four Excellences": poetry, calligraphy, painting, and seal carving.[2]
Biography edit
Tao Yun-lou graduated from Fujian Normal School. He had studied ancient Chinese literature and history since childhood, and also studied calligraphy, painting, and seal carving. In his early years he held painting exhibitions in Nanjing, Shanghai, Zhejiang, Fujian, and other locations, receiving praise from famous artists such as Wu Chang-Shuo and many others[3]. His poetry appeared in the "Ya Yan Poetry Magazine" of Beijing, the "China Poetry Magazine" of Nanjing, and the "National Art Monthly." In 1947, the "China Poetry Magazine Society" in Nanjing published the "Yun-lou Poetry Manuscripts"[2]
After settling in Taiwan, Tao Yun-lou resided in Keelung, and was hired as a Secretary for the Keelung City Government.[4] He joined the "Ying Society" and the "Weige Poetry Society" in 1948, and later the "Datong Poetry Society" in 1949[2]. In 1950, he was appointed as a Contributing Editor for the "Keelung City Chronicles: Cultural Relics[3]." The "Keelung Fine Arts Research Association" was established in the same year, with Tao as its chairman. In 1951, along with poetry circle friends he founded the "Taiwan Poetry Magazine." He was appointed as a Committee Member of the Chinese Culture Society and the Ministry of Education's Arts Education Committee in 1952, responsible for reviewing works. In 1953, he participated in the editing of the "General Historica of Taiwan Province" compiled by the Historical Research Committee of Taiwan Province (now known as Taiwan Historica). With the support of Madame Chiang Soong Mei-ling, he founded the Seven Friends Painting Society in 1955. Members included Ma Shou-Hwa, Chen Fang, Cheng Man-Qing, Chang Guo-Nian, Liu Yan-Tao, and Gao Yi-Hong. He then joined the "Hsin Society" in 1956, a poetry club established by the Historical Research Committee of Taiwan Province. In 1957, he completed editing the "General Historica of Taiwan Province: Notable Monuments". He also collaborated with Madame Chiang Soong Mei-ling and Huang Jun-bi in the creation of "Lan Shi Tu (Painting of Orchids and Rocks)" in 1962.[3]
Artistic style edit
Tao Yun-lou would often directly mention the origins of styles he imitated in a particular artwork within the inscriptions on his paintings[2], or inscribe poems echoing the content of his paintings[5]. Wu Chang-shuo has praised Tao for his "broad and magnificent brushwork," while Zeng Xi complimented his artworks as carrying "transcendent charm and rhythmic flow filled with ethereal elegance." Huang Bao-yue also commented that Tao’s works possess "open and serene brushstrokes with no trace of triteness, seemingly devoted to depicting everyday scenes while recognizing the pleasures within." Zheng Zhuo-lu also observed that Tao’s artworks “each exhibited thought-provoking emotions with powerful brushstrokes, and should be savored for their infinite and tranquil charms[6].” His ability to imitate ancient artworks brought a deep-rooted literati style to his artworks, and his landscape paintings demonstrate his longing for the pastoral life of the past[7].
References edit
- ^ 熊, 宜敬 (2002). "濡墨吟詩興陶然．芸窗展讀飲山樓 陶芸樓一生行誼". 典藏古美術. 113: 94.
- ^ a b c d "陶芸樓". 文化部國家文化記憶庫. 2023-02-20.
- ^ a b c 王, 嵐渝 (2023-02-20). "「臺灣文獻館人物小傳－陶芸樓（陶文輝）」".
- ^ .黃, 議震. "【海嶠人物萬象】 陶芸樓與林熊祥的和詩". 人間福報. Retrieved 2023-02-21.
- ^ "蘭譜清華：七友畫會五十週年紀念展". Retrieved 2023-02-21.
- ^ 熊, 宜敬 (2002). "荒率蒼茫求象外．煙霧空濛有若無 陶芸樓詩書畫印臻化境". 典藏古美術. 113: 102.
- ^ 林, 永發 (2009). 蘭譜清華：七友畫會五十週年紀念展. 台北: 國立歷史博物館. p. 23.
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