PANG JIUN (B. 1936)
PANG JIUN (B. 1936)
1 More
PANG JIUN (B. 1936)

The World Best Scenery - Jiang Nan

PANG JIUN (B. 1936)
The World Best Scenery - Jiang Nan
signed in Chinese and dated '2014' (lower right); signed and titled in Chinese, signed, inscribed and dated ‘PANG JIUN 2014 150 x 300 cm’ (on the reverse)
oil on canvas
150 x 300 cm. (59 x 118 1/8 in.)
Painted in 2014
one painted seal of the artist
Ever Harvest Art Gallery, Taipei, Taiwan
Acquired from the above by the present owner

This work is accompanied by a certificate of authenticity issued by Ever Harvest Art Gallery and signed by the artist.
Pang Jiun: Expression of the Orient, Artist Publishing Co., Taipei, Taiwan, 2015 (illustrated, p. 84-86, 419).

Brought to you by

Jacky Ho (何善衡)
Jacky Ho (何善衡)

Check the condition report or get in touch for additional information about this

If you wish to view the condition report of this lot, please sign in to your account.

Sign in
View condition report

Lot Essay

"The most straightforward and innovatory method of reinventing oil painting techniques is to apprehend essences of the theory and philosophy of Chinese painting and reflect them back in western painting; in terms of the form, that is to borrow the techniques of Impressionism and Fauvism on the one hand and to break away the concepts then cross over the abstract aesthetic idea in Chinese painting so as to explore an original oil painting technique." — Pang Jiun

Born in an art family in 1936 and later educated in the Central academy of Fine art as professional artist, Pang's solid aptitude paved the way for his unique expressionist style of oriental humanism spirit afterwards. Pang Jiun is expert in depicting implicit images of eastern philosophy through western oil painting techniques to create an abstract style of rhythmic vitality.

These two pieces are themed with the landscape of Pang Jiun's hometown in the south region of the Yangtze river so as to express the nostalgic emotions. Zen Moment (Lot 497) captures the still picture of the courtyard of a Zen Temple and fully reflects its tranquility by maintaining the heavy texture of the narrative of oil painting and also blending in the abstract idea of traditional Chinese painting. Compared with the traditional literati painting (fig. 1), Pang's application of oil paint enriches its simple composition, yet his choosing of traditional images and the inheritance of painting techniques smoothly convey the definition of Zen. In this painting, branches and twigs in the foreground depicted by smooth lines manifest rhythmic vitality.

The work demonstrates Pang's constant exploration and innovation in painting the landscape of south region of China. The black rooftile and white wall are Pang Jiun's favourite subjects. as to this piece, black roof-tiles appear as the major role. From an aerial perspective, Pang chose and sorted the tiles of typical pattern and reduced the traditional "black roof-tile" to well-aligned geometrical rectangle, so as to include these structurally connected ancient buildings within the same frame tier upon tier and compose a stunning labyrinthine. In a nostalgic style, Pang Jiun depicts tourist crowds with their umbrellas of various colours into vibrant dots which weave a rhythmical picture and create a bizarre effect of time travel.

More from Modern and Contemporary Art Evening Sale

View All
View All