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Lot Essay
"It is the basis of basic for a painter to understand nature and human nature thoroughly, and to sketch incessantly. From the accumulation of sketching experiences, the painter is able to learn to grasp the techniques and ways if expression of oil painting, merge them with personal inspiration, mood, character, and cultural tradition, and express them in a brand new, personal style. Whether his/her work is realist, abstract, semi-abstract, mixed media, constructivist, or conceptual, it must be elevated to an aesthetic height that is extraordinary enough to move people's minds."
- Pang Jiun
After study the evolution of western oil paintings and the approach of Chinese ink paintings, Pang clearly asserted that enhancing expressiveness is the important means to innovate modern Chinese oil paintings. Completed in 2011, Pang's new work A View of Clouds (Lot 1140) demonstrates his strong tides with Chinese traditional landscape painting aesthetics in his creative process. The painting follows the same strain of practice displayed in the Song painting, Strange Peaks and Myriads Trees, in terms of its diagonal composition, which stretches from the top right to the lower ; and the clarity displayed between the different layers in the foreground, middle and the distant plane. Years of practice gives Pang a strong foundation in oil painting, which set bases for the bold brushstrokes and contrasting texture found in his illustration of the distant mountain and the misty fog. Pang further enriches the Chinese concept of "negative space", an essential feature of traditional landscape painting. While it is common in traditional painting to create contrast in virtual distant between the fore and the background as the compositional framework, the artist has deliberately create a tangible "spatial void" that vividly actualize the supposedly unknown sense of depth for the viewer. A View of Clouds therefore lies in between the realm of realistic depiction and an imagined scene, creating a different level of spatial sense. The delicate and subtle changes in the depiction of sky, mist and the mountain range are implanted with the variation of light reflection. The artist has combined the unique Chinese aesthetics on nature, with that of Western theory of light and colour. The centred rock mountain is showered with sunlight, covered in a beige yellow tone, which juxtaposes with the bluish purple tone on the darker side of the rock mountain. The pairing of the warm and cold colours created a sharp contrast. With bold brushstrokes, Pang portrays the structure and the surface of the rock mountain with force, molding out a steady volume and solidified mass. He then outlines with force and strength the skeleton of the pine tree on the right side of the cliff. On the centred mountain, the green moss is dotted down in a dense and over-layering method. Summarized and rearranged through the combination of basic elements such as the dotting, out lining, and surface molding, the painting demonstrates Pang's thorough understanding of the abstract nature of all matters, resulted from his years of observation. This allows him to inject his personal views and emotions on to the foundation of realistic depiction, opening up a new visual vocabulary that contains both the essence of traditional Chinese landscape painting and the elements of Western Modernist formalism.
Hu Pao, Hangzhou (Lot 1141)depicts the one of the "New Ten Scenic Spots of the West Lake (Xi Hu)", "Dreaming of Tiger Spring". The famous fountain Hupao has been a well-known sightseeing spot at Hangzhou, poems has been written about it by famous poets such as Sushi and Hong Daoyuan. Pang boldly created this work in a nearly symmetric composition. From the pond and the rugged stones in the foreground, to the cornice and roof top of the pavilion in the middle ground, and the forest in the background, a sense of tension is created within this progressive setting through the tortuous form and the upward arcs. The patterns on the side of the fountain echoes with that of the Taihu rocks, which leads the viewer's sight upwards along the growing trees. Among the background of trees are leaves depicted in coarse and dry brush strokes that hint on the subtle movement among the trees. In terms of colours, the darker areas of the rock are adorned with colours of pink and maroon. Amidst the overall green tone of the painting, these additional colours complement with each other to achieve harmony and integration in the form of warm and cold pairing. Although, Hu Pao, Hangzhou, depicts a still landscape, the artist has not merely created the sense of depth and distance through his rearrangement of the scene and elements. Instead, he takes into consideration the different settings and alteration of the scene, and fills the tight composition with occasional splashes of harmonized colours. It is a perfect and complimenting combination of form and colours. Not only does this work inherit the long traditional aesthetics that has centered on landscape painting, it also turns over a new page for the development of Chinese Modern art with its innovation and novelty.
The two pieces,Next to Ginger Lily and Spiritual (Lot 1142), showcase Pang's artistic consideration and arrangement on different motifs. The tension created between colours and brushstrokes has always been the focal point on Pang's work. In Next to Ginger Lily, depicts in refined brushstrokes is the subdued varying shades of the female body. Painted in black, turkish and cobalt blue, the background compliments the sitter's skin colour. The thickening quality of the oil paint makes it a great medium to create layerings with. Using the end tip of the paint brush, Pang scraps patterns out of the black oil paint. The theme is simple and concise, yet Pang adds an enriching dimensionality through his varied used of different elements, such as the warm-and-cold contrasting colour tone that is juxtaposed with the texture of the brush strokes. Under the thick strata of oil paint in Spiritual is the overlaying of the petals, branches and leaves. The oaire of white and dark green vases create a visual balance in terms of intensity. Moreover, Pang uses a diagonal line to divide the black-and-white area with that of the bright red on the desk, creating a striking contrast. Compare to the harmonizing tone of white, yellow, olive green and blue on the upper part of the painting, the lower section creates a visual discord. While Pang makes use of the interior space to depict the vase of flowers, the painting indeed demonstrates his years of experiment and experience in the use of colours.
- Pang Jiun
After study the evolution of western oil paintings and the approach of Chinese ink paintings, Pang clearly asserted that enhancing expressiveness is the important means to innovate modern Chinese oil paintings. Completed in 2011, Pang's new work A View of Clouds (Lot 1140) demonstrates his strong tides with Chinese traditional landscape painting aesthetics in his creative process. The painting follows the same strain of practice displayed in the Song painting, Strange Peaks and Myriads Trees, in terms of its diagonal composition, which stretches from the top right to the lower ; and the clarity displayed between the different layers in the foreground, middle and the distant plane. Years of practice gives Pang a strong foundation in oil painting, which set bases for the bold brushstrokes and contrasting texture found in his illustration of the distant mountain and the misty fog. Pang further enriches the Chinese concept of "negative space", an essential feature of traditional landscape painting. While it is common in traditional painting to create contrast in virtual distant between the fore and the background as the compositional framework, the artist has deliberately create a tangible "spatial void" that vividly actualize the supposedly unknown sense of depth for the viewer. A View of Clouds therefore lies in between the realm of realistic depiction and an imagined scene, creating a different level of spatial sense. The delicate and subtle changes in the depiction of sky, mist and the mountain range are implanted with the variation of light reflection. The artist has combined the unique Chinese aesthetics on nature, with that of Western theory of light and colour. The centred rock mountain is showered with sunlight, covered in a beige yellow tone, which juxtaposes with the bluish purple tone on the darker side of the rock mountain. The pairing of the warm and cold colours created a sharp contrast. With bold brushstrokes, Pang portrays the structure and the surface of the rock mountain with force, molding out a steady volume and solidified mass. He then outlines with force and strength the skeleton of the pine tree on the right side of the cliff. On the centred mountain, the green moss is dotted down in a dense and over-layering method. Summarized and rearranged through the combination of basic elements such as the dotting, out lining, and surface molding, the painting demonstrates Pang's thorough understanding of the abstract nature of all matters, resulted from his years of observation. This allows him to inject his personal views and emotions on to the foundation of realistic depiction, opening up a new visual vocabulary that contains both the essence of traditional Chinese landscape painting and the elements of Western Modernist formalism.
Hu Pao, Hangzhou (Lot 1141)depicts the one of the "New Ten Scenic Spots of the West Lake (Xi Hu)", "Dreaming of Tiger Spring". The famous fountain Hupao has been a well-known sightseeing spot at Hangzhou, poems has been written about it by famous poets such as Sushi and Hong Daoyuan. Pang boldly created this work in a nearly symmetric composition. From the pond and the rugged stones in the foreground, to the cornice and roof top of the pavilion in the middle ground, and the forest in the background, a sense of tension is created within this progressive setting through the tortuous form and the upward arcs. The patterns on the side of the fountain echoes with that of the Taihu rocks, which leads the viewer's sight upwards along the growing trees. Among the background of trees are leaves depicted in coarse and dry brush strokes that hint on the subtle movement among the trees. In terms of colours, the darker areas of the rock are adorned with colours of pink and maroon. Amidst the overall green tone of the painting, these additional colours complement with each other to achieve harmony and integration in the form of warm and cold pairing. Although, Hu Pao, Hangzhou, depicts a still landscape, the artist has not merely created the sense of depth and distance through his rearrangement of the scene and elements. Instead, he takes into consideration the different settings and alteration of the scene, and fills the tight composition with occasional splashes of harmonized colours. It is a perfect and complimenting combination of form and colours. Not only does this work inherit the long traditional aesthetics that has centered on landscape painting, it also turns over a new page for the development of Chinese Modern art with its innovation and novelty.
The two pieces,Next to Ginger Lily and Spiritual (Lot 1142), showcase Pang's artistic consideration and arrangement on different motifs. The tension created between colours and brushstrokes has always been the focal point on Pang's work. In Next to Ginger Lily, depicts in refined brushstrokes is the subdued varying shades of the female body. Painted in black, turkish and cobalt blue, the background compliments the sitter's skin colour. The thickening quality of the oil paint makes it a great medium to create layerings with. Using the end tip of the paint brush, Pang scraps patterns out of the black oil paint. The theme is simple and concise, yet Pang adds an enriching dimensionality through his varied used of different elements, such as the warm-and-cold contrasting colour tone that is juxtaposed with the texture of the brush strokes. Under the thick strata of oil paint in Spiritual is the overlaying of the petals, branches and leaves. The oaire of white and dark green vases create a visual balance in terms of intensity. Moreover, Pang uses a diagonal line to divide the black-and-white area with that of the bright red on the desk, creating a striking contrast. Compare to the harmonizing tone of white, yellow, olive green and blue on the upper part of the painting, the lower section creates a visual discord. While Pang makes use of the interior space to depict the vase of flowers, the painting indeed demonstrates his years of experiment and experience in the use of colours.