¡@¡@Brought up in an agricultural village, Lee, Yi-Hong is a scintillating person who enjoys plainness. He has visited almost every corner of Taiwan and that of many other scarcely known isles. Wherever he goes, he brings paper for painting with him. Sunlight, houses, trees, stones, clouds and fogs are represented more and more in a profound manner, as his life and art experience enriches. The size or the content of his works all show his creativity, carrying the pure originality and grace that Lee himself has from within.

¡@¡@The old master Shih T'ao (1642-1718) described himself "visiting all the peculiar mountains and peaks to do drafting". Likewise, Lee loves to take a camera with him on his visit to peculiar scenery. His eyes and mind perfectly match with the precision of a cameral window; thus, he is able to create something bold and original. The mountain and water of today is represented with a grace of the traditional, with multiple-layered structure and juxtaposition of what is real and what isn't. He looks for the extraordinary in an ordinary thing.

¡@¡@He creates new vision: discovering almost untouched themes real to life.


He also explores the possibilities of the use of colors and even experiments with the material for painting paper. All these allow Lee's new water-ink paintings to exhibit a special quality: they are unprecendentedly elegant and fun. The artist used to write more leisurely poems in his younger years, but then his interest has shifted to more refined albums and scrolls since the late 80s. He draws inspirations from his trips and everyday life to make a number of albums and hand scrolls such as Formidable Peaks Album, Homeland Embraces Album, Mountains and Showers Album, Clouds and Pines of HuangShan Scroll, Sights from WuYue-ChiangHuai Scroll, and many others. In such works, ink and lines are beautifully interwoven, and color patches are used to replace the traditional technique of ts'un, producing more cohesion and force. These albums are able to transcend a well-trodden path, whereas the scrolls showcase his artistic arrangements of clouds, water, trees, shadows, breezes and drizzles, vividly presenting the scenery. Lee's intention of revolutionizing water-ink paintings and his practice culminate in these works that are refreshing and pleasant to look at.

¡@¡@Old ink endows paintings more spiritual with precise and smooth lines, better-toned colors; new kind of painting paper is freely used to suit the artist's creativity. To him, water ink doesn't have so much to do with so-called "tradition" or "literati convention" as with the ambition to challenge his own limit, or to represent the object before eyes with his special way of arrangement. Accordingly, he has taken one step further to turn an old set of signs, water-ink paintings, into a modern visual language.

¡@¡@In the recent decade, Lee has been living around the beach in Sanchih. The dialogue between waves and ventifacts has brought some influence to him in that the scope of his works seems broader, the line between what can be seen and what can't be seen more blurred. He keeps the essence of the landscape and exceeds the bounds of shapes, but in so doing his works reveals the beauty of plainness. Mr. Chiang,Chao-Shen remarked, "just as poets know how to employ words and language, so do painters with brushes and ink." What he meant by "brush and ink" referred to Lee's works which is the crystallization of his careful observation of the surroundings and the universe. Or like what the artist himself said, "Every day I walked to and forth along the coastline which at one moment is on my left, while at the next on my right. Then I came to know that water and mountain are supposed to be looked from different angles all around. This conforms to the idea that water-ink paintings are no longer a faithful rendition of nature, but rather a pictorial thinking. As a result, I don't feel confined anymore when making choices for creating structure or scenes."

¡@¡@Being free from confinement, the artist uses brushes and ink to express personal feelings, rekindle passion for self-improvement. Lee,Yi-Hong employs materials familiar to him to rediscover infinite possibilities, creating for himself many unknown worlds of aspiration.

Born in Ci-Gan Town, Tainan County.
1966 Graduated from National Taiwan Junior College of Art.
1967 Started the teaching career in Keelung City Zhong-Shan Junior High School.
1969 Studies with Master Zhao-Shen Chiang.
1977 Entered Photographic Society of Keelung.
Invited to teach in Keelung City Da-De Junior High School.
Won the "Excellent Photographer Prize" of Photographic Society of Keelung in the field of Filmstrip.
Became a member of Keelung Foundation of Art, and serve the post of business assistant.
Resigned from Keelung City Da-De Junior High School.
1979 First personal exhibition in Taipei Chuen Zhi Gallery.
Became a member of Chinese Art Association.
1980 Won the first prize of Zhong Shan Literary and artist creation.
1982 Personal Painting Exhibition in Taipei Apollo Art Gallery.
Journeyed to Swaziland, Austria, Germany, France, Italy.
1983 Won the first Prize of San-Lian Wu Literary and artist creation.
Painting Exhibition in Taichong Ming Men Art Gallery.
1984 Painting Exhibition in Taipei Apollo Art Gallery.
Invited to teach in National College of Arts (Now it is called Taipei National University of the Arts).
1985 April, journey through Southern Cross-Island Highway, Taiwan.
July, journey Penghu, Siyu, Tong-Pan Island, Wang-An Island.
1986 January, Traveled India and Nepal.
1987 Journeyed to Kingdom of Bhutan, Sikkim, and Nepal.
Gave the photography exhibition "The Ancient Mysterious Bhutan" after the journey in southern Asia.
Invited by Taiwan National Museum of History to visit and exhibit in Western USA.
1988 Exhibition "The Song of Big Tree" both at National Museum of History and Taipei Caves Art Centers.
1989 Journeyed to South Africa.
1990 Journeyed to Guilin, Kunming, Shilin, Huangshan, Jiangsu and Hangzhou.
1991 Second journey to Huangshan, and traveled Lake Tai, Yianshou, Jiansu and Hangzhou.
1993 Accompanied his teacher Zhao-Shen Chiang for "Zhao-Shen Chiang Calligraphy and Painting Exhibition" in National Art Museum of China, and journeyed Huangshan, Houxie.
1994 Accompanied Zhao-Shen Chiang traveling Bai-Yun River, Huangshan.
1995 Accompanied Zhao-Shen Chiang to hold "Zhao-Shen Chiang Calligraphy and Painting Exhibition" in Liaoning Province Museum.
Invited to give a Personal Painting Exhibition, sponsored by Cultural Affairs Bureau of Tainan County Government.
1996 Painting Exhibition in Nan Kuen Ni- Kuen Ying Art Center.
1998 Guest Artist in Chinese University of Hong Kong, New Asia College Art Department.
1999 Personal Exhibition at Taipei Lung-Men Art Gallery.
2000 Invited in ¡uStride Across the Century-Taiwan Ink Painting¡vto exhibit in Macedonia and Czech, sponsored by Taiwan Government Information Office.
Invited in the Exhibition "One Hundred Years of Taiwanese Arts", sponsored by National Taiwan Museum of Fine Arts.
2001 Invited in the group exhibition "Artists of Long River" in Beijing National Art Museum of China, sponsored by Taiwan Straits Exchange Foundation.
Invited in the Exhibition "One Hundred Years of Chinese Arts", sponsored by Beijing National Art Museum of China.
"Special Exhibition of Yi-Hong Lee's Hand-Scrolls and Album" in Taichong Providence University Art Center.
2002 Hand scroll "Fishing Farm in Guandu" finished.
2003 Photographic program: Ventifacts in Shihmen Township Linshan, hand scroll "Ventifacts waiting for the tide" finished.
October, group exhibition "Lure of Nude" in Taipei Mayor's Residence Art Salon.
2004 Hand scrolls "Painting of plum blossoms" and "Bloom on the Branch in Winter" finished.
Exhibition of Nan-Ying Folklore Artists Series-Yi-Hong Lee's Painting and Calligraphy. Collection of his works published.
"yellow Box"group exhibition in Taipei Fan Arts Museum.