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拍品专文
This work is referenced in the archive of the artist's studio.
‘A Chinese painter never works in the open air with his canvas set up in front of him, putting on touches of colour. He feels no need for this as nature is within him and he is perhaps in more intimate communion with it than is the Western artist. In fact, some Chinese
painters have spent their lives travelling and have filled their gaze with the beauties of nature. On returning home they allow these spoils to settle and after putting themselves in a mood favourable to creativity, silence and contemplation they have expressed only the
essence. What remains when the ephemeral has faded away, is the meeting of two souls, that of the artist and that of the landscape’
(P. Cabanne, Chu Teh-Chun, Paris 1993, p. 7).
‘A Chinese painter never works in the open air with his canvas set up in front of him, putting on touches of colour. He feels no need for this as nature is within him and he is perhaps in more intimate communion with it than is the Western artist. In fact, some Chinese
painters have spent their lives travelling and have filled their gaze with the beauties of nature. On returning home they allow these spoils to settle and after putting themselves in a mood favourable to creativity, silence and contemplation they have expressed only the
essence. What remains when the ephemeral has faded away, is the meeting of two souls, that of the artist and that of the landscape’
(P. Cabanne, Chu Teh-Chun, Paris 1993, p. 7).