"It doesn’t matter whether the driving force behind
my creations is inspired by beautiful things or by
hidden memories and emotions from within. What
matters is that, when I stand in front of the canvas,
my emotions are ignited." — Chu Teh-Chun
As one of the most internationally renowned
Chinese artists of the 20th century, Chu Teh-Chun
opened a brilliant chapter in art history with his
unique style of lyrical abstraction. Before his youth,
he developed a profound foundation in Eastern
cultural traditions. During his years of study at
the Hangzhou National College of Art, frequent
relocations due to war exposed him to the majestic
landscapes of China. These formative experiences
quietly planted the seeds of the broad, nature embracing spirit that would later become central to
his artistic journey.
“In abstract painting, it is not necessary to
completely reject the natural forms of the material
world.” Nicolas de Staël (1914–1955), with his free
spirited approach, reminded Chu Teh-Chun of
the towering mountains and misty landscapes of
traditional Chinese scenery. The Daoist philosopher
Laozi’s words—“Vague and elusive, yet within it
there is form”—aptly describe abstraction. The
Chinese aesthetics of expressive brushwork and
Daoist philosophy dissolve the binary between
abstraction and representation often seen in
Western art. While Chu Teh-Chun’s abstract
paintings may have been sparked by Western
influences, their true roots lie in Chinese culture—in
the ideas of“formless yet immense” and“vague and
elusive, yet within it there is form.”
In 1955, Chu Teh-Chun moved to Paris, France,
where he developed his mature style of lyrical abstraction and gradually established a strong reputation throughout Europe. His work eventually garnered widespread acclaim and a devoted following across Asia and the Americas as well. His painting style evolved through distinct periods: the early 1950s featured elegant compositions with jewel-like colors; the 1960s marked a shift to large scale abstract works characterized by dynamic, calligraphic brushstrokes and bold movement; the
1970s saw a contemplative exploration of subtlety and light, inspired by Rembrandt’s paintings; the mid-1980s introduced his expressive and unrestrained snow landscape series; and in his later years, his work reached a majestic crescendo with symphonic compositions rich in rhythm and grandeur. Over the course of his life, Chu Teh-Chun
achieved remarkable artistic accomplishments.Regarding Chu Teh-Chun’s work after the millennium, Professor Wang Che-Hsiung offers the following insight:“If the works of the 1990s can be interpreted as 'releasing energy,' then those of the 2000s should be seen as 'internalizing energy.' … Lines are used with great restraint—only when
absolutely necessary—and when they do appear, they are like the finishing touch of a dragon’s eye or wings added to a tiger. Such refinement exemplifies the idea of 'cherishing lines as if they were gold.' He embeds rhythm within the rising mystique of forms and flickering, lively color patches. The ethereal light seems to summon Claude Lorrain (1600-1682)! Or perhaps pays homage to William Turner 0(1775–1851)? Or maybe, just gently whisper a good morning to Rembrandt?”(Excerpt from Wang Che
Hsiung’s 2008 lecture “Light, Image, and Rhythm – On the Art of Chu Teh-Chun”)
Chu Teh-Chun’s 2006 painting Vapeurs dissipées embodies the essence of his late style. That same year marked a significant recognition of his artistic achievements: he was appointed by then French President Jacques Chirac as an Officer of the National Order of Merit (Ordre national du Mérite), honoring his contributions to the arts. In addition, he was awarded the European Gold Medal of Merit (Médaille d’Or du Mérite européen) in Luxembourg, further affirming his international acclaim. His artistic
achievements were highly honored in Europe. In Vapeurs dissipées, blocks of blue, green, yellow, and fiery orange interweave and flow across the canvas. The brushwork is bold and uninhibited, evoking the rising, swirling, and vanishing of
mist through mountains and forests—creating a dreamlike, ethereal natural realm. The paint moves freely across the canvas, as if embodying the gathering and release of energy. The work not only portrays the image of mist, but also captures the
rhythm of qi, echoing the Chinese painting principle of qiyun shengdong—the vital, dynamic spirit of life. It unfolds like a symphonic poem in visual form.In creating this captivating landscape painting,
Chu Teh-Chun seamlessly bridges the abstract inspirations of Western art with the conceptual depth of traditional Chinese landscape painting. As the artist himself once explained: “The depiction of landscapes in Chinese painting is no longer confined to the rendering of real scenes; it is in the gap between reality and imagination that
abstraction finds its place.”
In Vapeurs dissipées, Chu transcends conventional landscape composition, expanding the boundaries of aesthetic vision. The result is a masterful work
infused with idealism and a grand, sweeping perspective—an artistic achievement that redefines the landscape genre through both philosophical depth and visual poetry