拍品專文
(US$230,800-256,400)
Lu Guang (14th century), zi Jihong, hao Tianyou sheng, was a native of Suzhou, Jiangsu province. Although other art history books recorded that Lu Guang studied landscapes and brushworks of Wang Meng (1308-1385), his style was as a matter of fact in between Huang Gongwang (1269-1354), Zhao Mengfu (1254-1322) and Cao Zhibai (1272-1355). Only a few existing pieces of his work in both private and public collection: small scrolls of Spring Morning at a Cinnabar Terrace, Spring View of a Cinnabar Terrace, Mountain Cottage in a Clear Autumn Day, and a large hanging scroll Tower in an Immortal Mountain, now in the collection of the Palace Museum, Taipei. Some of the landscape elements underlying a parallel development with genre such as the misty landscape of the Song period, and the low round-topped hills resembling to Dong Yuan (923-976) in a "level distance" landscape. Bamboo near the river banks were particularly Cao Zhibai, and tree branches archaic and other-worldly. This painting is a masterpiece of Lu Guang's late work.
His use of spacing, recession, and the bonds of visual coherency retain a clear-cut coordination, albeit one tinged with overtones of a decorative urge towards expressively calculated pattern and self-conscious rhythmic intervals. Lu Guang's painting, a continuance of an unbroken tradition of Jiangnan school which had survived as an undercurrent during the ascendancy of Southern Song academic styles.
Lu Guang (14th century), zi Jihong, hao Tianyou sheng, was a native of Suzhou, Jiangsu province. Although other art history books recorded that Lu Guang studied landscapes and brushworks of Wang Meng (1308-1385), his style was as a matter of fact in between Huang Gongwang (1269-1354), Zhao Mengfu (1254-1322) and Cao Zhibai (1272-1355). Only a few existing pieces of his work in both private and public collection: small scrolls of Spring Morning at a Cinnabar Terrace, Spring View of a Cinnabar Terrace, Mountain Cottage in a Clear Autumn Day, and a large hanging scroll Tower in an Immortal Mountain, now in the collection of the Palace Museum, Taipei. Some of the landscape elements underlying a parallel development with genre such as the misty landscape of the Song period, and the low round-topped hills resembling to Dong Yuan (923-976) in a "level distance" landscape. Bamboo near the river banks were particularly Cao Zhibai, and tree branches archaic and other-worldly. This painting is a masterpiece of Lu Guang's late work.
His use of spacing, recession, and the bonds of visual coherency retain a clear-cut coordination, albeit one tinged with overtones of a decorative urge towards expressively calculated pattern and self-conscious rhythmic intervals. Lu Guang's painting, a continuance of an unbroken tradition of Jiangnan school which had survived as an undercurrent during the ascendancy of Southern Song academic styles.