In 1936, Liao Shiou-ping was born into the home of traditional architects in Taipei. His family lived near the ancient Longshan Temple, where one entered a mystical world after passing through the gates, with golden Buddhist icons reflecting the glittering candle flames…. This childhood memory all followed Liao Shiou-ping as he traveled to Paris, Japan and America. While he was far from home, these images became even clearer, and it can be said that the source of his art was the feelings and religious ceremonies of Taiwan folk culture. Full of the aura of Oriental aesthetics, the “Temple Adornments” series cleverly combines the modeling concepts of modern painting and the elements of Taiwanese symbols. The series reinterprets them to carry forward the aesthetics of Taiwan’s native culture, successfully transforming a small local tradition into a new spiritual totem that holds collective memory, cultural affirmation and subjective consciousness. Liao Shiou-ping has made the techniques of printmaking his foundation while compositional structure and abstract form are his style of expression. He created the “Gate Symbols” series using this series of symbolic artworks to explore the human journey, ponder the interrelationship between humanity and the universe and search for the endless cycle of yin and yang while maintaining a harmonious life energy. The inspiration for “Gates” came from Liao Shiou-ping’s early days in Paris, and he continued to explore all the possibilities of symbols and after he went to New York in 1968 and matured, extending that inspiration into the “Life” series during the same period. It was also a kind of modern art language that paved the way for Liao Shiou-ping to enter the international art world. The composition in the works in Liao Shiou-ping’s Symbols of Life series uses fixed symmetrical forms. This represents the traditional Doctrine of the Mean’s philosophical thinking. The appearance of close and familiar utensils like scissors, umbrellas, brushes, and rattan baskets accompanies a house’s doors and windows, surrounding such symbolic images as men, women, clothing, and shoes. This represents fecundity and peacefulness of human life. In terms of color, it has a base of auspicious red that Chinese folk tradition loves to use, and there are rich golds and silvers. The idea that these works want to transmit is, “Complicated modern life hides a vital and restless natural order full of the joy of traditional celebrations.” (LIAO，SHIOU-PING)