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Lot Essay
Ran In-Ting was born in Luodong Village in Yilan, Taiwan. Enlightened by his father in early childhood, he studied Chinese literature and practiced Chinese ink paintings. Ran's artist talent was highly regarded by Kinichiro Ishikawa, and Ran became his student to learn British transparent watercolor techniques. Ran devoted his life to landscape painting. His works reveals a modernist feel and humanitarian concerns for the local-depicting the simplicity and the freshness of beautiful Taiwanese countryside. Brought up in the rural areas, his paintings mostly revolve around the everyday activities in the countryside, which reflects his true affection towards the peasantry.
College in Spring (Lot 1264) is Ran's ink painting created in 1970. The classical and delicate atmosphere and the treatment of space convey his admiration for the traditional Chinese literati painting. The glaring water surface, the shadow of the boat and the clear blue sky are blended into one. Ran is famous for painting trees with dry ink brushstrokes and rubbing technique to contour the structure and the texture of the gigantic tree in the foreground. A pecularly-shaped tree across the bridge in the middle ground was depicted with turning and twisting lines. The passers-by and the flowing river serve to add a tinge of dynamics.
Travelling to Nanyang in 1959, Ran created a series of watercolor paintings of the landscapes in Thailand and Vietnam. In Menam River (Lot 1265), the rhythmical waves cradle the exotic Vietnamese view under the glorious weather. Different from his commonly-seen gentle and elegant narratives while depicting Taiwanese landscapes, this painting rigorously embedded with a Southeast Asian flare was created with bold and expressionistic brushstrokes and vivid and thick color, showing Ran's attentions to details in the foreign culture and the ability to articulate in his artistic vocabulary. In Duck Farm (Lot 1263), painted in 1970, the sunlight penetrates the dense woods through the gaps between the leaves. The light and shades scatter on the peasant girl and the ducks. Ran used the "rubbing-off and washing technique" to leave a few particular areas blank. The movements of lights in the air are depicted vividly. Taking good advantage of the transparent property of watercolor, Ran has successfully delivered the clear texture of the intangible lights visually. In terms of the composition, Ran turned away from Kinichiro Ishikawa's unique linear perspective, but chose the classical academic perspective, showing the spatial depth by distinguishing the front view, the centre view and the back view. Ran always adds a few big or small human figures and makes them the main characters or ornaments, depending on the theme of the painting. The diagonal composition shaped by the girl and the flocks suggest the direction they are heading to. Ran's typical style contains quiet, fresh and elegant color tone, complementary dry and wet brushstrokes, rubbing-off and washing techniques, overlapping-layered composition and textural sceneries. Ran utilizes elegant and luscious colors to build "the aesthetic of landscape of humanitarian appeal" . He endeavors to illustrate the beauty and harmony of nature, and infuses his feelings in his pictorial landscapes with the shining sun and the glittering water.
College in Spring (Lot 1264) is Ran's ink painting created in 1970. The classical and delicate atmosphere and the treatment of space convey his admiration for the traditional Chinese literati painting. The glaring water surface, the shadow of the boat and the clear blue sky are blended into one. Ran is famous for painting trees with dry ink brushstrokes and rubbing technique to contour the structure and the texture of the gigantic tree in the foreground. A pecularly-shaped tree across the bridge in the middle ground was depicted with turning and twisting lines. The passers-by and the flowing river serve to add a tinge of dynamics.
Travelling to Nanyang in 1959, Ran created a series of watercolor paintings of the landscapes in Thailand and Vietnam. In Menam River (Lot 1265), the rhythmical waves cradle the exotic Vietnamese view under the glorious weather. Different from his commonly-seen gentle and elegant narratives while depicting Taiwanese landscapes, this painting rigorously embedded with a Southeast Asian flare was created with bold and expressionistic brushstrokes and vivid and thick color, showing Ran's attentions to details in the foreign culture and the ability to articulate in his artistic vocabulary. In Duck Farm (Lot 1263), painted in 1970, the sunlight penetrates the dense woods through the gaps between the leaves. The light and shades scatter on the peasant girl and the ducks. Ran used the "rubbing-off and washing technique" to leave a few particular areas blank. The movements of lights in the air are depicted vividly. Taking good advantage of the transparent property of watercolor, Ran has successfully delivered the clear texture of the intangible lights visually. In terms of the composition, Ran turned away from Kinichiro Ishikawa's unique linear perspective, but chose the classical academic perspective, showing the spatial depth by distinguishing the front view, the centre view and the back view. Ran always adds a few big or small human figures and makes them the main characters or ornaments, depending on the theme of the painting. The diagonal composition shaped by the girl and the flocks suggest the direction they are heading to. Ran's typical style contains quiet, fresh and elegant color tone, complementary dry and wet brushstrokes, rubbing-off and washing techniques, overlapping-layered composition and textural sceneries. Ran utilizes elegant and luscious colors to build "the aesthetic of landscape of humanitarian appeal" . He endeavors to illustrate the beauty and harmony of nature, and infuses his feelings in his pictorial landscapes with the shining sun and the glittering water.