CHEN CHONG SWEE (1910-1986)
CHEN CHONG SWEE (1910-1986)
CHEN CHONG SWEE (1910-1986)
2 更多
陳宗瑞 (1910-1986)

南洋風景

細節
陳宗瑞 (1910-1986)
陳宗瑞 (1910-1986)
南洋風景
中國水墨 粉彩 紙本
68 x 101 公分. (26 3⁄4 x 39 3⁄4 英寸.)
約1970年代作
題識:藝壇老友宗瑞兄擅於運用中國傳統水墨畫手法描繪南島風光。此幀佈局謹嚴、氣勢不凡,異國情趣躍然紙上,傑作也。乙亥(1995)中秋,劉抗題(左上)
劉抗鈐印兩枚
來源
新加坡 私人收藏(直接購自藝術家家庭)
2015年11月29日 香港 佳士得 編號354
新加坡 私人收藏(現藏者購自上述拍賣)

榮譽呈獻

Emmanuelle Chan
Emmanuelle Chan Associate Vice President, Specialist, Head of Day and Online Sales

拍品專文

Chen Chong Swee's creative career was marked by his lifetime devotion to and affinity for the medium of ink on paper. He was one of the four pioneer painters alongside Cheong Soo Pieng, Chen Wen Hsi and Liu Kang that traveled to Bali in 1952. While Chen experimented with oil to great success, it was his continuous ambition to work within his traditional medium while introducing new methods, styles, and topics that established Chen as one of the leading proponents of a truly 'Nanyang' school of painting.

The current scene is a blend of Southeast Asian as well as Chinese components - the huge scene and geographic components call to mind the rustic scenes of China. The consideration of two figures in conventional Malay dress strolling by the lakeside be that as it may, establishes the artwork solidly in Southeast Asia. Maybe Chen looked to unite his conventional and his new home through the delivering of this optimal scene.

The inscription stumbling into the upper left of the canvas, done by Liu Kang, adds an extra aspect to the composition as a token of companionship between the two specialists. Liu Kang composes a devotion to Chen Chong Swee's dominance of Chinese ink in this fine art that presents the interesting and colourful excellence of the Nanyang locale. Liu Kang's deference for his companion was not lost, and this work is probably the best illustration of Chen's unmistakable renderings of Nanyang scenes.

The current work is one that uncovers the straightforwardness which Chen had the option to blend both Western and Eastern ideas of variety and space. The style of variety application in this work is plainly impacted by Western practices of watercolour painting, yet executed here with the guarantee of a Chinese painter's information on ink wash, pressure, and the differing power of variety. While the mountains and highlights in the closer view are approximately illustrated with dark ink, the subsiding precipices behind the scenes demonstrate that they are totally made with liquid strokes out of the brush - which is a sign of conventional Chinese artwork. The ideal lake that possesses the focal point of the creation is delivered utilizing the blank area of the paper, with the unpretentious use of variety and line to delineate its limits. This utilization of blank area to propose structure is likewise solidly arranged in the practice of Chinese ink.

While artists like Cheong Soo Pieng and Chen Wen Hsi are known for their bold style and form developments, Chen Chong Swee is remembered for his unwavering commitment to teaching and skill-refining.

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