.jpg?w=1)
Deep Autumn
细节
LIU KUO-SUNG (LIU GUOSUNG, B. 1932)
Deep Autumn
Scroll, mounted and framed
Ink and colour on paper
91 x 152.5 cm. (35 7/8 x 60 in.)
Executed in 2008
Liu’s fascination with water led the artist to work over the course of two decades on a technique to capture the ever-changing and ethereal nature of the element. Late Autumn (Lot 727) and Jiuzhaigou Valley Series: the Richness of Spring at Wolong Sea (Lot 751) are examples from Liu’s Steeped Ink series, in which he renders the surface of a body of water at different times of the year. Liu first applies ink and watercolour to moist tracing paper, before placing another sheet of tracing paper on top. He then sweeps the composition with a broad brush, leaving unpredictable horizontal patterns as the two sheets are separated from one another. Through variations of colour, paper thickness, and pressure of application, Liu’s water paintings range from the brilliant, energetic intensity seen in Late Autumn to the soothing gracefulness of The Richness of Spring at Wolong Sea. By conveying the diverse energy of water and the environment reflected upon it, Liu shifts this often-neglected element to the centrepiece of Chinese landscape painting, altering the relationship between mountain and water in this traditional genre.
Deep Autumn
Scroll, mounted and framed
Ink and colour on paper
91 x 152.5 cm. (35 7/8 x 60 in.)
Executed in 2008
Liu’s fascination with water led the artist to work over the course of two decades on a technique to capture the ever-changing and ethereal nature of the element. Late Autumn (Lot 727) and Jiuzhaigou Valley Series: the Richness of Spring at Wolong Sea (Lot 751) are examples from Liu’s Steeped Ink series, in which he renders the surface of a body of water at different times of the year. Liu first applies ink and watercolour to moist tracing paper, before placing another sheet of tracing paper on top. He then sweeps the composition with a broad brush, leaving unpredictable horizontal patterns as the two sheets are separated from one another. Through variations of colour, paper thickness, and pressure of application, Liu’s water paintings range from the brilliant, energetic intensity seen in Late Autumn to the soothing gracefulness of The Richness of Spring at Wolong Sea. By conveying the diverse energy of water and the environment reflected upon it, Liu shifts this often-neglected element to the centrepiece of Chinese landscape painting, altering the relationship between mountain and water in this traditional genre.
荣誉呈献
Carmen Shek Cerne