"The most straightforward and innovatory method of reinventing oil painting techniques is to apprehend essences of the theory and philosophy of Chinese painting and reflect them back in western painting; in terms of the form, that is to borrow the techniques of Impressionism and Fauvism on the one hand and to break away the concepts then cross over the abstract aesthetic idea in Chinese painting so as to explore an original oil painting technique." — Pang Jiun
Born in an art family in 1936 and later educated in the Central academy of Fine art as professional artist, Pang's solid aptitude paved the way for his unique expressionist style of oriental humanism spirit afterwards. Pang Jiun is expert in depicting implicit images of eastern philosophy through western oil painting techniques to create an abstract style of rhythmic vitality.
These two pieces are themed with the landscape of Pang Jiun's hometown in the south region of the Yangtze river so as to express the nostalgic emotions. Zen Moment (Lot 497) captures the still picture of the courtyard of a Zen Temple and fully reflects its tranquility by maintaining the heavy texture of the narrative of oil painting and also blending in the abstract idea of traditional Chinese painting. Compared with the traditional literati painting (fig. 1), Pang's application of oil paint enriches its simple composition, yet his choosing of traditional images and the inheritance of painting techniques smoothly convey the definition of Zen. In this painting, branches and twigs in the foreground depicted by smooth lines manifest rhythmic vitality.
The late work Flower of March (Lot 496) demonstrates Pang's constant exploration and innovation in painting the landscape of south region of China. The black roof-tile and white wall are Pang Jiun's favourite subjects. as to this piece, black roof-tiles appear as the major role. From an aerial perspective, Pang chose and sorted the tiles of typical pattern and reduced the traditional "black roof-tile" to well-aligned geometrical rectangle, so as to include these structurally connected ancient buildings within the same frame tier upon tier and compose a stunning labyrinthine. In a nostalgic style, Pang Jiun depicts tourist crowds with their umbrellas of various colours into vibrant dots which weave a rhythmical picture and create a bizarre effect of time travel.