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拍品專文
Born in the 1930s and admitted to Hangzhou National College of Art in the 1950s, Xiao Feng and Quan Shanshi acquired their fundamental knowledge in art from the joint programme of Chinese and Western Painting. In 1954, the founding year of new China, the two artists graduated with distinction and were nominated by the college to further pursue their study in the Oil Painting Department of the Academy of Arts in the USSR.
Upon arriving in the Soviet, Quan Shanshi ascertained that the purpose of the journey was to observe and learn from their use of colour. In traditional Chinese art, the limited palette of colour caused less discussion of colour. Influenced by the political oil paintings that dominated the trend at that time, Quan Shanshi learned to first sketch and then employ earthy reds, yellows and greens to his painting. Studying in the Soviet, Xiao Feng and Quan Shanshi first encountered a large number of oil paintings divergent from the communist and monumental styles of their homeland. From these works they discovered the rich emotions , imagination and the straightforward temperament that can fill a painting. Even further, they realized how a painting can convey the close relationship between human and nature. Xian Feng and Quan Shanshi acquired new painting techniques and were inspired during their study in the Soviet. After returning to China, they went back to Hangzhou and taught at Zhejiang Academy of Fine Arts (previously named as Hangzhou National College of Art) where they promoted systematic training in oil painting techniques that complemented Chinese oil painting.
Quan Shanshi went on an excursion to Dunhuang in 1979 to emulate the Mogao Fresco and later to paint from nature in Xinqiang. From this trip to the western regions of China, Quan discovered ways to enrich his oil painting vocabulary. Painted in 1980, Tajik Maiden (Lot 1138) is a remarkable piece of Quan Shanshi's works from Xinqiang. It was selected to be exhibited at the Spring Salon Exhibition in France in 1982 and was exhibited across Europe. The light melancholy in the Tajik maiden's big eyes and pursed lips allude to the mysterious smile of Mona Lisa. Perhaps she is gazing at viewers affectionately or lost in her thoughts, captivating viewers with her crystal-like eyes. The orange veil draped from her red hat is rendered with layers of delicate brushstrokes which skillfully expresses the lightness of the veil. The detailed hat with tassels and beads, goat-skin lined jacket and the complex design of the tapestry on the wall and floor all reflect Quan Shanshi's skilful rendering and his tactful manipulation of colour and light.
Quan Shanshi applies bright hues and vivid brushstrokes to depict the vast, peaceful and solemn Castle Gate (Lot 1161) of Xinqian. This lyric painting possesses the expressiveness of Impressionism and reflects Quan's love of Xinqian and life in the lively brushstrokes that depict the azure sky and lush tress. The foreground of painting is left vacant to elevate the sense of grandeur.
Landscape (Lot 1160) was created in 1995 when Xiao Feng was the director of the Zhejiang Academy of Fine Arts (China Academy of Art at present). Xiao fully utilizes every inch of the canvas to capture the view of the vast sky and land. Dynamic brushstrokes and a bright, uplifting palette is used to show the lightheartedness and content of the people boating tranquilly on the river surrounded by the steep valley. Paintings of Xiao Feng possess deep meaning and graceful colour, particularly the silver grayish tone. He blends the freehand brushwork of Chinese painting and the rich colours of oil painting into a unique style of his own. Works of Xiao are collected by the Academy of Arts in the USSR, The National Art Museum of China, The Museum of Chinese Revolution and The Military Museum of the Chinese People's Revolution and have been exhibited in the US, Japan and France. Works by Xiao Feng and Quan Shanshi have been exhibited jointly across China.
Upon arriving in the Soviet, Quan Shanshi ascertained that the purpose of the journey was to observe and learn from their use of colour. In traditional Chinese art, the limited palette of colour caused less discussion of colour. Influenced by the political oil paintings that dominated the trend at that time, Quan Shanshi learned to first sketch and then employ earthy reds, yellows and greens to his painting. Studying in the Soviet, Xiao Feng and Quan Shanshi first encountered a large number of oil paintings divergent from the communist and monumental styles of their homeland. From these works they discovered the rich emotions , imagination and the straightforward temperament that can fill a painting. Even further, they realized how a painting can convey the close relationship between human and nature. Xian Feng and Quan Shanshi acquired new painting techniques and were inspired during their study in the Soviet. After returning to China, they went back to Hangzhou and taught at Zhejiang Academy of Fine Arts (previously named as Hangzhou National College of Art) where they promoted systematic training in oil painting techniques that complemented Chinese oil painting.
Quan Shanshi went on an excursion to Dunhuang in 1979 to emulate the Mogao Fresco and later to paint from nature in Xinqiang. From this trip to the western regions of China, Quan discovered ways to enrich his oil painting vocabulary. Painted in 1980, Tajik Maiden (Lot 1138) is a remarkable piece of Quan Shanshi's works from Xinqiang. It was selected to be exhibited at the Spring Salon Exhibition in France in 1982 and was exhibited across Europe. The light melancholy in the Tajik maiden's big eyes and pursed lips allude to the mysterious smile of Mona Lisa. Perhaps she is gazing at viewers affectionately or lost in her thoughts, captivating viewers with her crystal-like eyes. The orange veil draped from her red hat is rendered with layers of delicate brushstrokes which skillfully expresses the lightness of the veil. The detailed hat with tassels and beads, goat-skin lined jacket and the complex design of the tapestry on the wall and floor all reflect Quan Shanshi's skilful rendering and his tactful manipulation of colour and light.
Quan Shanshi applies bright hues and vivid brushstrokes to depict the vast, peaceful and solemn Castle Gate (Lot 1161) of Xinqian. This lyric painting possesses the expressiveness of Impressionism and reflects Quan's love of Xinqian and life in the lively brushstrokes that depict the azure sky and lush tress. The foreground of painting is left vacant to elevate the sense of grandeur.
Landscape (Lot 1160) was created in 1995 when Xiao Feng was the director of the Zhejiang Academy of Fine Arts (China Academy of Art at present). Xiao fully utilizes every inch of the canvas to capture the view of the vast sky and land. Dynamic brushstrokes and a bright, uplifting palette is used to show the lightheartedness and content of the people boating tranquilly on the river surrounded by the steep valley. Paintings of Xiao Feng possess deep meaning and graceful colour, particularly the silver grayish tone. He blends the freehand brushwork of Chinese painting and the rich colours of oil painting into a unique style of his own. Works of Xiao are collected by the Academy of Arts in the USSR, The National Art Museum of China, The Museum of Chinese Revolution and The Military Museum of the Chinese People's Revolution and have been exhibited in the US, Japan and France. Works by Xiao Feng and Quan Shanshi have been exhibited jointly across China.