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下的人影阑珊,华艺国际17春拍

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下的人影阑珊,华艺国际17春拍

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“Perception precedes knowledge. If we learn before we perceive, there will not be perception as such.”1

中国油画最早起源于距今400年前,意大利天主教士利玛窦等人来华传教,把欧洲油画作品传入中国。经历了漫长的学习、吸收和成长过程,外来艺术发展成为中国绘画的组成部分。但是,因为特殊的文化背景,中国人物油画起步略晚。在新中国成立后,才形成一种规模性的艺术题材;而它的创作方式,也由最初的中西结合逐步走向多元化进程。如今,中国艺术家在创作的时候不再拘泥于过去,在作品中或添加全球性的艺术新语言,或加入中国传统元素,使画面呈现出一种不仅新于西方油画,且新于传统水墨画的气息。

回顾民国往时画事,关良的名字总会一次又一次地出现,加之如影随形的评论,从中看到一个令人印象深刻的背影。这个背影多次地出现,就不禁让人想走向前认清他的面容。

Both knowledge and art come into existence after humanity. People always perceive €€€€€€ at least to a certain degree €€ regardless of the questions concerning "who," "where," or "what." It can be done consciously or unconsciously. Throughout history humans have accumulated vast knowledge, and yet there lingers the philosophical enquiry as to whether to learn first or to perceive first. Often what we deem familiar is actually veiled; what we consider unknown has long left its traces in our subconsciousness.

郭润文 Guo Runwen

关良 Guan Liang

In collaboration with the Je Fine Art Gallery, the Fubon Bank is pleased to present Familiar Scenery, an exhibition that gathers nine influential artists from China: Sun Liang, Huang Yuanqing, Xue Song, Han Shaoguang, Zhao Zhengrong, Sun Yao, Pang Hailong, Luo Wei, and Ke Ming. Belonging to four generations , they have witnessed different eras and contributed in their own way to the development of contemporary Chinese art.

远方 The Distant

关良自幼嗜画,17岁随兄留洋日本,考入东京太平洋美术学校。回国后,先后授业于上海神州女校、上海美术专科学校、上海艺术大学、昆明国立艺专。1960年退休居于上海,任上海交通大学艺术研究室主任、中国画院画师。关良的戏曲人物独步中国水墨画坛,洛阳纸贵。溯源归根,他的艺术成名于油画创作。在他的创作中,油画的色彩和笔触表现力兼容中国水墨的写意技巧、精神,侧重神似之余,色调清新浓郁、颇具意境;笔触大器恣意流露出中国画独有的神情韵味。于不经意处见功夫,于功夫中见真性情。油画作品尤以静物和风景为常见题材。

1Sun Liang

布面油画 Oil on canvas

关良 Guan Liang


60x50 cm 2009

李太白醉写蛮书图Drunk Li Taibai Writing an Intoxicating Calligraphy

1957 Born in Hangzhou

创作于2009年的《远方》呈现出郭润文艺术的不同面貌,他以略显拙朴的笔触在纯熟的宾卡斯技法中找到了新的突破口,打破了原本古典细腻的刻画,以更为轻松的笔致描绘了一个女子小憩的景象,展现出对既往绘画的新思考。画面中女子侧坐,黑色的长发和暗下去的背景衬托出白皙红润的脸庞,白色的上衣及红色的衣裙勾勒出身体的轮廓,更显双手的柔嫩,而沙发的灰白则为整个画面烘托出一种祥和、宁静的气氛,明暗交替的细微处理充分显现出郭润文娴熟的色彩运用。小手指的微微垂落、侧头凝望的神态则暗示了女子内心的忧郁、思虑,而且通过背景似乎将这种思虑延续到画外。

设色纸本 Ink and color on paper96x132cm 1984

1982 Graduated from the Shanghai Institute of Light Industry, the Fine Arts and Design Department

李贵君 Li Guijun

华艺国际2017年春季拍卖会中国书画拍品

Sun Liang is one of the first Chinese artists who made an early appearance in the international art world and who participated in important exhibitions such as the Venice Biennale in Italy and Documenta in Kassel, Germany. Sun Liang’s styles are well varied and constantly evolving; since his early exploration of jade carving and traditional Chinese painting , he has experienced different artistic phases, from his experiments in ink to expressionism , from mysticism to abstraction , from the style of “diffusion” to his experiments in materials . His art can transcend generations and has a sense of eternity in it. He only lives in his own world and creates his own art.

中国菜 Chinese Cuisine

曲艺情缘黄青新珍藏关良作品暨私人收藏专场

Untitled |Oil on canvas | 80 x 80 cm | 2017

布面油画 Oil on canvas

现代艺术在关良看来,是由复杂回归简单的单纯化艺术,他1925年发表在《申江新报》的《艺术的还原性》中曾提到:西方绘画上的艺术,现在已经进入单纯化的路径,他们的步调,是简单而至复杂,再从复杂变为单纯,这就是艺术的进化,亦即是还原的定理。复杂,不太会被认为幼稚,但由复杂进化而来的简单,却容易被忽视其进化背景并成为幼稚。注1

Illusion|Screenprint | 50 x 60 cm | 2016

110x83 cm 2000

鸦片战争后,上海被辟为我国五个通商口岸之一,上海港一开放,外轮频频侧畔,至19世纪50年代,每年进出上海港的外轮约在千艘上下。改革开放后经济的突飞猛进更加快了上海港口建设的步伐。上海港的装卸吞吐量更是突破了亿吨大关。

2Huang Yuanqing

出版:《李贵君油画艺术》 天津杨柳青画社 ,2002

关良 Guan Liang 上海街景 The Vista of Shanghai 布面油画 Oil on canvas 51x62cm 1960s


The Art of Li Guijuns Oil Painting, Tian Jin Yang Liu Qing Art Society,2002

关良 Guan Liang 上海港 The Port of Shanghai 布面油画 Oil on canvas 52x63.5cm 1960

1963 Born in Shanghai

作为第三代古典绘画的代表人物李贵君师靳尚谊、杨飞云,在西洋画的表现上倾吐着一种浓烈的中国情怀。《中国菜》一画中,李贵君把欧洲古典艺术中对讴歌生命的美转移到了中国交融传统、现代的少女之上,展现中国女性的灵与美。画面通过桌面、杖灯的直线衬托少女的圆润的曲线美。少女微曲的手指盘织着筷子,动作俏皮可爱,这样的描绘方式使画面更有生命力。另外,画面中的屏风、杖灯、筷子、红肚兜、瓷器和烤鸭都是人物中国身份的强调,隐现出强烈的民族自豪感。

华艺国际2017年春季拍卖会当代艺术拍品

1985 Graduated from Shanghai University of Science and Technology

孙洛 Sun Luo

展览EXHIBITION 关良画展Art Exhibition of Guan Liang 上海美术展览馆Shanghai Art Museum 中国上海Shanghai China 1982

1989 Graduated from Shanghai Normal University, the Fine Arts Department

浴女 Sunshine Bath

出版LITERATURE 《华人现代与当代艺术拍卖大典》 Chinese Modern and Contemporary Art Aution 典藏艺术家庭股份有限公司 Artouch Ltd 台北 Taipei 2004 P194

Huang Yuanqing is one of the leading figures of Chinese abstract art. His works have been exhibited in the Los Angeles International Biennale, Grosse Kunst Ausstellung in Düsseldorf, Germany, and Chinese Contemporary Art Exhibition in Tokyo. Huang has been active in Hong Kong, Tokyo, and Shanghai, all of which are important artistic centers in East Asia. With an academic background in science and engineering, Huang created artworks balanced by logic and reason. His art also integrates qing with li €€ the former stressed by traditional Chinese art while the latter evident in the Western development of art.

布面油画 Oil on canvas

此幅油画作品《上海港》是关良风景类的又一力作,以上海港运作业为背景,轮船上的港口货物忙于装卸,上海滩呈现出一片繁荣。在1982年5月12日上海美术馆展出了此幅《上海港》,观众高达16193人次,紧接着21日上海美协还专门召集了关良画展座谈。这幅作品具有鲜明的东方神韵,意境深远,清新浓郁,更重要的这件作品还体现了浓重的时代精神,见证了上个世纪六十年在经济发展的过程中,上海这一特殊城市所体现出来的港口贸易繁荣景象,是中国经济发展的生动的历史记录,具有重要的历史意义。

Poem |Handmade paper from Tibet| 19 x 24 cm | 2016

140x60 cm 2006

关良先生有深固的西画根底,同时更深入国画的堂奥,从他的作品中所表现出来的风格,显然富有一种极大的创作感。他既不愿意以纯粹的西画以绚其长,更不愿以陈旧的国画作风去倒钻牛角,他认识绘画内在精神的可贵,同时更深切的认识动的热情奔放的时代精神之必须发扬。他以西画作躯壳,国画作灵魂,以西画单纯明快、坚实浓郁的技巧来表达国画恬静、洒脱、淡雅、超逸的神韵,企图创作一种时代的、前进的、发扬中国传统艺术精神的新绘画,但他绝不是折衷主义者,因为他的目的在于创造。郭沫若

Excerpt from WuDeng Hui Yuan| Xuanpaper |110 x 35 cm | 2015

在观看孙洛的作品时,常为他的纯真、自在所触动,不禁让人想重拾那些被遗落的美好。孙洛的《浴女》中,描绘的是两个没有衣物遮蔽的女性在海边沐浴阳光。一人双手抱着后脑勺望向远方,另一人头顶白毛巾,架腿而坐,侧头沉思。女子姿态舒展,似是作者对女性曲线的、不造作的人体美纯粹赞叹。照射在少女身上并不是那种强烈的、直射的阳光,而是温柔、和煦的,更显得少女的闲适自在。此外,画面采用了大量中间色,编织出一种柔和而优雅的格调。背景中天、海、沙滩的渐变中,也似乎透出一种传统水墨画的意趣。

注1:摘自《文艺研究》2017年第5期,《关良的双重身份及其形式语言20世纪传统、现代的一种认知机制》,作者:杭春晓。

3Xue Song

细品人物,总会令人不自觉地想起希腊时期的人物雕塑,那些古时候最美运动员的身姿。他们没有多余的杂念,在阳光下自信地炫耀着自己的身体。那是身体巅峰期的完美呈现,宛如一支对青春的赞歌。

Once more Guan Liang


章犇 Zhang Ben

Reviewing the past of the Republic of China, as his name being mentioned again and again, we see a vague picture of Guan Liang and comments followed in articles , which makes us have an intention to get an insight into Guan Liang.

1965 Born in Anhui

天象 Celestial

Guan Liang developed his interest to drawing since childhood. In 1917, at the age of 17, he went to Tokyo with his brother. He studied oil painting under the instruction of Nakamura Fusetsu and Fujishima Takeji. After returning to China in 1922, he taught at Shanghai Fine Arts School and the National Academy of Art in Hangzhou. He lived in Shanghai after retiring in 1960, and became the chair of Art Research studio under Shanghai Jiao Tong University. He is considered the first artist to introduce western painting techniques to traditional ink wash painting and is known for his unique portrayal of Peking opera figures.

1988 Graduated from Shanghai Theater Academy, Stage Art Department

布面油画 Oil on canvas

Although Guan began his career as an oil painter, he later focused on traditional Chinese ink wash painting featuring characters from Peking operas. The sophisticated lines of Chinese ink painting are translated into his oil painting as the predominant artistic vocabulary which has an emphasis on both the life-likeness and the mood. From where we can see his skills, we can feel his true character.Landscape and still life are the most common subjects of his paintings.

Xue Song is one of the most important “Chinese pop” artists. He adventurously explored cross-field collaborations with Salvatore Ferragamo, Johnnie Walker, CasaBella, and Chevrolet €€ its cars featured in the touring exhibition of Andy Warhol. Xue appropriates the Western technique of collage to make art that is unbounded by materials. He deconstructs traditional cultures through the process of burning and reconstructs popular elements through that of collage. His art reconstructs and narrates the chaotic world that has metaphorically experienced “burning.” The hardship that he went through in life has shaped his firm attitude towards both traditional shanshui painting and Western art.

120x90 cm 2012

His article Arts Reducibilitywas published on Shanghai News in 1925; Guan wrote: Western Art has the reductive concept of modernism, which develops from simplicity to complexity, and from complexity to reducibility. It is the evolution of art, the theory of reducibility. The concept of complexity is not considered as puerility, but its evolution background is easy to be seen as puerility.1

Symbol Series No.8 |Acrylic on canvas、mixed media| 100 x 80 cm | 2004

展览 EXHIBITION

After the Opium War, Shanghai became one of the five trading ports in China. Cargo ships arrived one after another when the port of Shanghai started to run. In the 1850s, there were about a thousand of cargo ships arrived every year in Shanghai. Since the reform and open policy, the Chinese economy grew fast and it speeded up the construction of Shanghai Port. The transportation volume was a great breakthrough of carrying over 100 million tons of goods.

New Shanghai |Screenprint | 80 x 105 cm | 2007

渐行渐远章犇的绘画世界,华艺廊,中国广州,2012

The Port of Shanghai is another masterpiece by Guan. The painting depicts a busy day for workers using cranesand driving trucksto unload the goods from the cargo ship while the ship is moored in the Bund of Shanghai. The lines of the ship body, the truck and the human figures are rough, heavy and condense, which create a strong visual effect. On May 12th, 1982, the Port of Shanghaiwas exhibited in the Museum of Art in Shanghai, the exhibition attracted over 10 thousand viewers to come. Because the exhibition was impressive to people , Shanghai Art Association held a panel discussion about Guans artwork in the following days. This painting expressesthe spirit of the time, and the conceptual way of eastern art. It is a scene of trading prosperity in Shanghai, and the testimony toChinese economic growth history in the 1960s.

4Han Shaoguang

异视觉新青年具象油画,华艺廊,中国广州,2013

Being nurtured by western art techniques, he took a further journey into the profound meanings of Chinese art. The great style presented by his work is truly creative and impressive. Neither was he willing to show off his strength with pure western art techniques, nor he was willing to copy the old-fashioned Chinese art styles. Deep in this heart, he treasured the inner spirits, and he had an urge to carry on the passion and spirit of the time. In order to create a sense of time, and carry forward the spirit of Chinese traditional art, he considered western art as the body, the spirit of eastern art. He used the western oil painting technique to express the essence of Chinese art philosophies. He is noteclectic, and being creative is his goal in art.-Guo Moruo


异乡章犇的绘画,北京民生现代美术馆,中国北京,2015

1: Hang Chunxiao, Guan Liangs Dual Identities and the Artistic Formal Language - The Cognitive Mechanism ofTraditionandModernityin the 20th century.Studies in Literature and Art, 2017, No.5

1959 Born in Liaoning

Fading away Zhang Bens album of oil painting, Hollys Gallery, Guangzhou, China, 2012

1988 Graduated from Northeast Normal University, Fine Arts Department

A Different VisualNew youth representational oil painting, Hollys Gallery, Guangzhou, China, 2013

2001€€2002 Pursued further studies in oil painting at the Central Academy of Fine Arts in Beijing

StrangerZhang Bens paintings, Beijing Minsheng Museum of Contemporary Art, Beijing, China, 2015

In more than two decades, Han Shaoguang has been creating art that travels between the figurative and the abstract, between the “light” and the “shadow” of culture. He does not constrain himself to one style. His works frequently feature motifs of mountain, water, cloud, and people. He experiments with visual languages as a form of verbal language, bringing into play direct “quotations” and implicit “metaphors.” His attitude is one that “misses no past and anticipates no future.” To him, artistic creation follows a path of limited visibility; artists can only create art and life at the same time by going through dialectical enquiries and struggles. Only such creation can contain both warmth and depth.

出版 LITERATUER

Cigarette!! |Tobacco leaves, acrylic, and oil | 120 x 90 cm | 2017

《渐行渐远章犇的绘画世界》,华艺廊编,广东人民出版社,2012,P108-111

They Explain Nothing |Acrylic, brick from theSong dynasty| 41 x 20 x 8 cm | 2014

《异视觉新青年具象油画》,华艺廊编,2013,P125

5Zhao Zhengrong

《异乡章犇的绘画》,华艺廊编,岭南美术出版社,2015,P29


Fading awayZhang Bens album of oil painting, Hollys Gallery Edited, Guangdong Peoples Publishing House, 2012, P108-111

1971 Born in Shanghai

A Different Visual New youth representational oil painting, Hollys Gallery edited, 2013, P125

1998 BFA in oil painting from the China Acadmey of Art

StrangerZhang Bens paintings, Hollys Gallery Edited, Lingnan Art Publishing House, Guangzhou, China, 2015,P29

2005 MFA in oil painting from the Central Academy of Fine Arts

章犇 Zhang Ben

Zhao Zhengrong’s works depict the visual forms of cosmopolitan cities . He intends to communicate with such cities through the act of painting. His paintings direct us to our unquestioned viewing habits, and thus can be seen as a reflection on humans’ visual experience. To Zhao, painting is part of the mundane life. Born in Shanghai, having studied in Beijing, and having worked in Guangzhou, Zhao travels between big cities. He is a passenger who does not belong to a specific place; he records the poetics of cities, or, in other words, his own existence.

坠落 Falling

City No.1 |Oil on canvas | 70 x 160 cm

布面油画 Oil on canvas

6Sun Yao

90x135 cm 2012


展览 EXHIBTION

1974 Born in Shanghai

渐行渐远章犇的绘画世界,华艺廊,广州,2012

1998 BFA from the China Academy of Art

Fading away Zhang Bens album of oil painting, Hollys Gallery, Guangzhou, China, 2012

2001 MFA from the Shanghai Academy of Fine Arts, Shanghai University

出版 LITURATURE

2012 PhD from the China Academy of Art

《渐行渐远章犇的绘画世界》,华艺廊编,广东人民出版社,2012,P117

Sun Yao’s artworks reveal a unique clash between “reality” and “fiction.” In the past decade, Sun has been exploring the relationship between human body and external nature. In terms of formal qualities, his use of daring composition and bold colors both leave a strong impression. Belonging to the generation born in the 1970s, Sun Yao has created works that are more faithful to his own feelings, that are more inquisitive about the chaotic universe, and that are more concerned with connecting the “self” with nature. His art presents a contemporary self-consciousness and records bodily movements.

Fading away Zhang Bens album of oil painting, Hollys Gallery, Guangdong Peoples Publishing House, 2012, P117

Hidden Landscape No.1 |Oil on canvas | 120 x 120 cm | 2017

章犇生于皖南,学于北京,慢慢地步入艺术的殿堂并拓宽着自己。他琢磨过古代的坦培拉画法,钻研过文艺复兴早期绘画的叙事性绘图式,沉迷过象征主义。他的致学研究也同样反映在作品里,如出现在转折处的坦培拉式小笔排线、因欲望及现实斗争所带来的沉重感、一个个没有具体身份和社会属性的男性符号等。同时,他遵从着自己的内心,在线的构型中追寻超于物质的视觉体验。对于章犇来说,艺术链接人类内心深处的原初价值和情感。他自然写实的描绘下是对可见的世界与内心的表达,把无以用言语表达的情愫通过画面展现出来。

7Pang Hailong

夏星 Xia Xing


多风的季节 The Windy Season

1974 Born in Harbin

布面油画 Oil on canvas

1998 Graduated from the Academy of Fine Arts of Harbin Normal University

81x65 cm 1987

2000 Graduated from the Academy of Fine Arts of Tsinghua University

1987年的作品《多风的季节》是夏星早期在中央美术学院学习时创作的,当时夏星刚刚获得首届全国青年美展铜奖。作品是古典写实的手法勾勒下的女性肖像,透出一种沉静典雅的美感。身后的窗帘被微风吹起,通过窗帘的动态又使画面有一种动感。夏星认为他笔下的人物是没有下过毒,是一尘不染的清洁艺术本体。强调绘画语言的人文精神、务实精神是息息相通的,高度写实的油画技法,传统的中国人文精神、泱泱大国的文化胸怀,在当今西化过度的时刻,这无疑是为人们带来了一股清新的空气。

Pang Hailong creates artworks using natural objects such as animal bones, which then become carriers of meanings. The natural forms of ox bones and horns gradually disappear while artificial traces increase after repetitive cutting, grinding, and assembling. In his installations, what was natural became artificial; became carriers of violence and clashes. Pang is experimental with materials. From his early series of dust to the series of ox bones, he has been reflecting on reality and existing phenomena through the appearances of material forms. Pang tries to explore the meanings of certain visual appearances both in contemporary society and in history.

崔小冬 Cui Xiaodong

Invisible Force No.3 |Ox horn | 58 x 25 x 3 cm | 2017

画室密语 Gallery Whispers

8Luo Wei

布面油画 Oil on canvas


130x160 cm 2003

1977 Born in Wuhan

崔小冬对整个欧洲具象大师的技艺都有深入的了解,不怪于他的画面常透出不多见的古典味。笔触洒脱灵动,注重画笔下情绪的大胆外放,富含节奏感。同时,精彩的笔触对光阴的把控显得游刃有余,那似乎是画家对自己的一种严厉自律。正如陈丹青所说:崔小冬的色彩厚重,笔法清秀、生猛,他既有北方造型的严谨,又有南方灵动笔法的结合,色彩很有力量。他的画不止于艺术感染力,画面气氛的塑造也相当到位。画室之于艺术家来说,是私密且独立自在的存在空间。作品《画室密语》让观者直接走进画家的工作室。身穿长裙的持枪女子,裸体模特,坐在凳子上的男子。他们之间没有对话,但肢体语言中透露出静谧的亲密感,似是艺术家之间无声而默契的交流,构成一种生活气息浓厚的氛围感。

2002 Graduated from the School of Fine Arts of Central China Normal University

总的来说,一是用笔激情洒脱,二是强调作油画感和书写性,三是他创作来自于生活,来自于现实生活里的一些场情,一些生动性的东西,他能够抓取这个,这是崔小冬的基本风格特点。杨飞云

Luo Wei chooses to focus on creatures that are deemed insignificant in life such as frogs, locusts, and mosquitoes, especially larvae of mosquitoes. They constitute a huge part of Luo’s art. His artworks attempt to promote democracy of universal value. They also represent the equality of all sentient beings in Buddhist scriptures. Luo’s art is a dialogue between the ambiguous and the definite, between the abstract and the figurative. It is the result of his artistic struggle and the clash between us and him. Individuals are on the one hand connected with society, and on the other hand independent of it.

李卓 Li Zhuo

Butterfly |Oil on canvas | 150 x 100 cm | 2016

敦煌系列追忆 Memory The Dunhuang Series

9Ke Ming

布面油画 Oil on canvas


130x150 cm 2016

1980 Born in Huangshi, Hubei

李卓用古典写实的油画语言连接中国古代文明和现代人,用画笔带领着阅画人故国神游,与之一起寻觅一种古今间的和谐。在他的《敦煌系列追忆》中,一缕阳光从画面的右上角挥洒在身姿曼妙的少女和斑驳陆离的敦煌古墙上。古壁画上的侍女们眯目内视,似是在追忆着过去;而现代的少女侧倚轻抚陶罐,闭目怀思,似是也在追忆着历史。画中画,思随思,环扣环的画面叙事下,笔法同时精湛而细腻,微小到壁画人物的表情、颜色变化,少女头上的一根根发梢,指甲上的上白月牙,陶罐上的一圈圈纹理,无一不细致入微。在深静的画面里给予人一种唯美的视觉体验,让人流连忘返。

2005 Graduated from the Hubei Institute of Fine Arts, the Oil Painting Department

沈宇飞 Shen Yufei

2007 Graduated from the Akademie der Bildenden Künste München

且听风吟系列之二

Well trained in German abstract art, Ke Ming has a profound understanding of modern abstract art. He is good at synthesizing external experiences and his own life experience, and integrating the elements into his artworks. His works therefore have both warmth and a sense of attitude. Belonging to the generation born in the 1980s, Ke is interested in social problems and contemporary humanist spirits. Meanwhile, he views nature with awe. He can always acquire certain energy from society and then transform the energy by flexibly employing various artistic media.

Listening to the Whiper of Wind No.2

Untitled | Mixed media | 50 x 50 cm | 2017

布面油画 Oil on canvas

The Fubon Bank aims to go beyond merely providing financial services by developing the concept of "Refined Service." It incorporates aesthetics of life into its philosophy of management, and actively explores the model of cross-field collaborations. A similar belief €€ art originates in life and returns to life €€ is held by the Je Fine Art Gallery. The collaboration between the two, as a result, leads to the presentation of a scenery that transcends both art and life.

130x85 cm 2016

1.Shi Tao huayulu [quotations from Shi Tao]

即使油画艺术进入中国的时间并不长,但是独具中国韵味的艺术表达早已应运而生。沈宇飞的人物油画作品充斥着浓郁的中国情感元素,体现着东方情感的唯美优雅。迷人姿态和若有所思神情的精彩刻画下,女子的温文尔雅展露无遗。女子身上的衣物带着浓烈的东方气息,衣服的上段由蚕丝织成的,上面画着几朵出淤泥而不染,濯清涟而不妖的荷花;中段是镂空技艺下的花群;下段是以粗线接近网状图案织成的绿色荷叶。衣物的表达全靠颜色的微妙变化而成,色彩层次感把握得精确到位。远处逐渐暗下的背景是对主体人物的烘托,或许也是一种借海对东方女性的包容、内秀的性格隐喻。艺术家在一种自然安详的氛围里,把东方女性的美丽展现的淋漓尽致。

Art Project

The Shadowy Figures Wandering among the East and the West

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Oil Painting was introduced into China 400 years ago, when Matteo Ricci visited China from Italy as a missionary and he brought along oil painting techniques. Oil painting has become one of the most important categories in Chinese art, after going through a process of study, absorption and growth.

熟悉的风景€€富邦华一银行当代艺术项目

Nowadays, Chinese oil painting artists are not only introducing western art into eastern, but adding a global art language to it. Therefore their works become more diverse to endow the western oil painting and eastern ink painting with new expressions.

Familiar Scenery€€Fubon Bank Contemporary Art Project

The Distantwas created in 2009. Guo Runwen used Abraham Pincasoil painting technique to embark on a new breakthrough to make classical paintings. The Distantforms a picture with strong compositions and tender sight. It depicts a lady resting on the chair, and her body is facing one side slightly, and her fair skin gets revealed against the dark hair and the brown-red background. The red shirt and white jacket reveal the shape of her body and the softness of her hands. Her face is feminine. Her inner depression and doubt is highlighted against this comfortable and peaceful atmosphere.

2018.08.18 - 2018.12.30

Li Guijun, Jin Shangyi and Yang Feiyun are representatives of the third generation of classical painting in China. Their paintings reflect the aesthetics of Chinese culture. InChinese Cuisine, Li adapts the beauty of life in Europeanclassicalart to a young and elegant Chinese lady. The composition of the table and the light accentuate the ladys posture and the artist vividly portrayed the lady holding a pair of chopsticks. In addition, the folding screen, the chinaware, the Peking duck on the table and the waistband skirt are important symbolic elements in Chinese culture.

设计Design:Corey Nicholaidis

Looking at Sun Luos artworks, the viewersinner feelings are often touched by his pure and peaceful images, which reminds them of the forgotten beauty in their life. The two nude woman portrayed by Sun Luo are plump, seductive and unconstrained to praise the beauty of body form. In this work, one of the nude ladies is putting her hands in the back of her head and her face slightly turned to one side. Another woman is sitting on a rock with her upper body supported by her hands. The painting sets in a gray and yellow tone to show graceful features. In the background, the gradient colors of the sky, ocean and beach are expressing the unique aesthetics of Chinse ink painting.

About Fubon Bank

Appreciating these two nude women, the viewers will think of lifelike Greek statues which praised the beauty of body form.

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Zhang Ben was born in the south of Anhui and later studied in Beijing, where he also stepped into the field of art and improved himself. He has studied classical tempera painting techniques and early Renaissance painting techniques, and developed an obsession with symbolism. All these studies can be reflected in his artworks. His paintings have shown the artists struggle with the reality and his desires. There appear no social identities or male symbols in his art language. He is following his heart and he use lines to create a spiritual visual experience. For Zhang Ben, art connects with human beingsprimary values and emotion and he used realistic painting techniques to depict the inner feelings towards the world that no other languages can express.

富邦华一银行的前身华一银行是首家由海峡两岸共同出资组建的商业银行,1997年6月,在上海浦东新区正式开业。一直以来,我行秉承“立足海峡两岸,积极服务台商”的立行宗旨,并立足于“服务台商,服务大陆实体经济”两个本源,以广大台商为中心,不遗余力地为台资企业提供帮助与支持,同时致力于为中小企业提供优质的金融服务和金融产品,助力中国大陆实体经济发展。我行多年来持续深耕大陆市场,以清晰的市场定位、鲜明的业务特色、优秀的服务质量和创新的营运模式赢得了业界的广泛认同与积极评价,不仅扮演着两岸三地资金流通的桥梁,在增进两岸经济金融交流合作方面也积极发挥作用。

Season of Windis one of Xia Xings early artworks during the period of CAFA studying. He created the piece when he had just won the third prize of the 1st NationalYoung Artist Exhibition and Awards. It is a female portrait with fine realistic techniques and a sense of peace. The curtain behind was blown by the breeze, which created an even more realistic feeling to the audience. Xia Xing explains that the men and women from his painting are the last unpoisonedhuman beings, i.e. humans without any evil spirits in his opinion. This work is exquisite in style and form, full of humanism and love. It is an excellent representation of Chinese spirits and culture, bringing to us a refreshing breeze in todays over westernization.

Showroom

Cui Xiaodong studied realistic painting thoroughly from the western masters. Thus his painting incorporates with classical art style. The way he applied brushstrokes is bold and rhythmic. As Chen Danqing said, Cui Xiaodong applied thick colors and vibrant brushstrokes to paintings. His paintings combine skillful drawing techniques from the north of China and the unconstrained skills of brushstrokes from the south of China. His color is full of power and the atmosphere he creates is touching peoples heart.Studio is an intimate an individual space for artists,Gallery Whispersis inviting the viewer to come and see Cuis studio. In this space, there are a lady holding a gun, a nude model and a man sitting on the chair. They have no conversations with each other, and their body languages create an intimate atmosphere, establishing a closer relationshipbetween the artist and the viewers.

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To summarizeCuis art, firstly, his skillful brushstrokes are unconstrained. Secondly, he stresses the materialof oil paintings as well as the sense of writing. Third, Cuis creation is based on his real life experiences. He can catch something of the life-likeness, and these are all Cuis basic art styles.

回忆结晶学-关于时间沉淀的六项研究报告

Yang Feiyun

Memory Crystallography-Six Reports on Our Shared Memory

Li Zhuo combinesthe classicallanguageswith the modern ones by his artworks which show both traditional skillsand expressions. He offers the audience the opportunity totake part ina tour going through variousmarvelous ancient landscapes. Together with the audience, he is trying to look for a sense of eternal harmonyregardless of the time. In his Dunhuangseries, ayoung lady liesleisurely in front of thefresco of Dunhuangwith rays of sunlight. In the cave, the figures of ancient young ladies glancebeyond with thoughtful expressions. So doesthe young lady in present. The identicalemotion and expression beyond time was so vividly created by the artist. His techniquesand skills areremarkable.The recreation of the marvelous fresco, colorsand warmthof the sunlight, glistening dark brown hair of the young lady, the new moon shape of the tip of the ladys fingernails, magnificent texturesand detail of the ceramic bowl were all perfectly presented. Itis indeed anattractive and unforgettable experience to the audience.

2018.08.02 - 2018.09.09

Though ithas not beenlong since Chinese artiststookoil painting as a new skill to create art, a new art form adopting typical Chinese cultural elementsoccur soon in the fieldof oil painting, embodied with oriental elegance. With her beautiful gesture and enchanting eyes, the audience would be convincedthat the young lady is an embodiment of virtue and elegance. The patternsand texture of the ladys dress have oriental elements- made of fine Chinese silk, designed with lotuspatternswhich is a symbol of being true. The colours and conditiponof the dress are so vividly portrayed, which requiresexceptionalskills. The darkening background can be understoodas a metaphor for the typical female charactereristics of being tolerant and educated. Itis no doubt that the artist is praising the virtuesof oriental females by the creation ofthis excellent artwork.

杜若云章 | About Us

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上海灏象文化传播有限公司2014年创立于上海,旗下杜若云章艺术空间坐落于“穿行老洋房,睡闻梧桐香”的历史建筑区。通过与纽约老牌画廊沃尔特€€维克瑟 的联袂合作,秉承着艺术就是生活的理念,我们致力于打造一个国际交流平台,提供专业的艺术合作咨询与策划。

"Strolling among the old villas and resting in the scent of plane trees," Je Fine Art Space is located in the French Concession right in the heart of Shanghai.As part of Shanghai Haoxiang Culture Communication Co. Ltd. Je Fine Art Space opened in 2014 in cooperation with the Walter Wickiser Gallery .Embracing the belief that 'life is art,' we devote ourselves to establishing a platform for cross-cultural discourse and providing professional art advice andplans.

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