China Daily 0803 D6.Indd

Total Page:16

File Type:pdf, Size:1020Kb

China Daily 0803 D6.Indd life CHINA DAILY CHINADAILY.COM.CN/LIFE FRIDAY, AUGUST 3, 2012 | PAGE 18 Li Keran bucks market trend The artist has become a favorite at auction and his works are fetching record prices. But overall, the Chinese contemporary art market has cooled, Lin Qi reports in Beijing. i Keran (1907-89) took center and how representative the work is, in addi- stage at the spring sales with tion to the art publications and catalogues it two historic works both cross- has appeared in.” ing the 100 million yuan ($16 Though a record was set by Wan Shan million) threshold. Hong Bian, two other important paintings by His 1974 painting of former Li were unsold, which came as no surprise for Lchairman Mao Zedong’s residence in Sha- art collectors like Yan An. oshan, the revolutionary holy land in Hunan “Both big players and new buyers are bid- province, fetched 124 million yuan at China ding for the best works of the blue-chip art- Guardian, in May. ists, while the market can’t provide as many Th ree weeks later his large-scale blockbust- top-notch artworks and provide the reduced er of 1964, Wan Shan Hong Bian (Th ousands risks that people expect. of Hills in a Crimsoned View), was sold for a “Th is is because in the face of an unclear personal record of 293 million yuan at Poly market, cautious owners would rather keep International Auction. those items, which achieved skyscraping Li, a prominent figure in 20th-century prices, rather than fl ip them at auction,” Yan Chinese art, is recognized for innovating the says. mountain-and-water painting genre after It has become a tug of war between owners the founding of New China in 1949. He is and buyers, he adds. also remembered for breathing new life into Th ere is some reassurance for art dealers, art education. collectors and analysts, however, and that is Figures from the Beijing-based Art Mar- the category of modern masters in the 20th ket Monitor of Artron (AMMA) show the century will continue to serve as a powerful price per 0.11 square meter of Li’s works has engine, because of its immense stock and increased 175 percent, rising from 1.35 mil- wide price ranges — and acknowledgement lion yuan aft er the autumn sales in 2011 to of its artistic value among buyers. 3.72 million yuan at the end of June. Traditional painting and calligraphy have This great leap makes Li an exception, been pillars of the Chinese art market. Th e compared with other modern masters such category accounted for nearly 60 percent of as Qi Baishi (1864-1957), Zhang Daqian China’s art market share in 2011. (1899-1983) and Xu Beihong (1895-1953), The prices of Chinese modern painting whose works haven’t generated the stagger- and calligraphy have kept surging up over ing prices seen in the spring boom of 2011. the past fi ve years, and reached a climax in Th e phenomenon is seen as a continuation the spring sales of 2012. of the market slowing down since the autumn “Although the market fell in 2011’s autumn sales, infl uenced by the credit squeeze policy sales, the price is still on a high level com- and macroeconomic control. pared to other categories,” Guan says. For instance, Zhang Daqian grossed an AMMA’s statistics show that by June 21, auction turnover of nearly $555 million in Chinese modern paintings took up fi ve posi- 2011, and replaced Pablo Picasso as top in tions in the spring sales’ top 10 artworks, in the global artist ranking by auction revenue, terms of auction price. according to the French art market informa- “We are optimistic that the market for tion provider Artprice.com. Chinese modern paintings will continue to His Lotus and Mandarin Ducks sold for a grow, while newer buyers will mature as they personal best when it went under the ham- expand their collection and gain experience mer for $24 million at Sotheby’s 2011 spring in the market,” International Specialist Head sales in Hong Kong. of Christie’s Chinese Paintings Department Meanwhile, his best performance in spring Ben Kong says. at the “Big Four” auction houses — Christie’s, He stresses that it is important to have a Sotheby’s, China Guardian and Poly Interna- normalized and healthy market for Chinese tional — was 29 million yuan ($4.62 million) paintings. for a re-creation of Song Dynasty (960-1279) Guan says although several modern mas- artist Li Gonglin’s painting. ters have ascended to the 100 million yuan “Most record-setting works by Qi Baishi club, fueled by huge influxes of capital in and Zhang Daqian in previous auction sea- previous auction seasons, records are diffi cult sons had formerly been owned by celebrated to break. Th e market tends to seek break- collectors or were the fl agship creations of a throughs in terms of works by more artists certain period. Th ose paintings quickly sold of diff erent genres. out in a booming market,” AMMA’s director Kong says investment should possibly Guan Yu says. be secondary when looking at a painting, Th e market, however, cooled in the latter because “there is always a certain degree of half of 2011 and there was little confi dence in risk in any investment activity”. spring 2012 because of an uncertain econom- “Th e primary focus for collecting is still the ic prospect. Guan says buyers have become love and appreciation that one experiences or more rational. gradually learns,” he says. “Many elements are taken into consider- ation when deciding the value of an artwork, Contact the writer at PROVIDED TO CHINA DAILY which include the artist’s status, the hierarchy [email protected]. Wan Shan Hong Bian, by Li Keran. China’s largest military art show of all time By ZHU LINYONG “These works offer the general um says, the exhibition “reflects a Before the Song (960-1279) and [email protected] public a glimpse of life and the inner great step forward in China’s military Yuan (1271-1368) dynasties, the world of military personnel,” says Wu art which holds a very long tradition”. favorite genre for military-themed Th e National Art Museum of China Changjiang, vice-chairman of the “Th e show is the climax in terms artworks was ink paintings on rice is hosting a military art exhibition — Chinese Artists Association. of the range of subjects, genres and paper or silk scrolls. the largest ever — to commemorate Bai Zhiqiang, a visitor from Liaon- styles,” Yan says. Since Ming Dynasty (1368-1644), the nation’s Army Day, which fell on ing province, says he was most attract- Cangyuan rock paintings, found wood-block prints have been a widely Aug 1. ed to the ink depictions of young Red in January 1965 in the Cangyuan used genre depicting battles, heroes Th e exhibition also celebrates the Army soldiers in the 1930s, as well Wa autonomous county, Yunnan and wartime romances. People’s Liberation Army’s (PLA) as sculptures of Eighth Route Army province, is widely believed to be For example, some New Year 85th birthday. soldiers and offi cers fi ghting Japanese the oldest military-themed painting wood-block prints produced in Yang- “It encompasses the best military- invaders from 1937-45. He also likes in China. liuqing township of Tianjin in the late themed artworks Chinese artists have the oil portrayals of Chinese military Painted on a rock 10 meters above Qing Dynasty (1644-1911) portray created over the past fi ve years,” says officers in peace-keeping missions ground, the recovered sections of the peasant-turned-soldiers scenes dur- Li Xiang, the exhibition’s chief cura- and the Chinese Navy’s convoy mis- painting illustrate scenes of people on ing the 1900 Boxer Rebellion. tor and deputy director of the Artistic sions at the Gulf of Aden. battlegrounds about 4,000 years ago. Since early last century, military- Creation Institute of PLA. “For me, the art exhibition is like The battle motifs resemble those themed artworks have evolved and Th e exhibition is co-organized by a vivid, intensive course about the found on the surface of a variety of became an integral part of main- the Ministry of Culture, the Artistic development of the Chinese army bronze wares, excavated in diff erent stream Chinese art amid the nation’s Creation Institute and the Chinese over the past decades,” Bai says. parts of the country over the past cen- tumultuous history, laden with civil Artists Association. JIANG DONG / CHINA DAILY These artworks not only present tury. wars and wars against foreign aggres- Over the past six months, a Kids enjoy the military art exhibition at the National Art Museum of China, soldiers and offi cers on duty but also But the best-known military- sion, says Li Yonglin, an art historian 60-member jury has conducted three in Beijing. moments in their daily lives. For themed ancient artworks are the Ter- with Art Academy of PLA. rounds of selections. example, there are some which depict racotta Warriors, discovered in the “Today, military-themed artworks A total of 568 works, including ink other types of experimental artworks, according to genres. the romance between PLA officers Mausoleum of the First Emperor of focus on depicting the rise of China’s paintings, oils, prints, watercolors, have been singled out from more than Viewers will be able to learn about the and offi ce girls. Qin Dynasty (221-206 BC) in Xi’an, military power as an essential force posters, picture-story illustrations, 12,000 entries for the grand show.
Recommended publications
  • Behind the Thriving Scene of the Chinese Art Market -- a Research
    Behind the thriving scene of the Chinese art market -- A research into major market trends at Chinese art market, 2006- 2011 Lifan Gong Student Nr. 360193 13 July 2012 [email protected] Supervisor: Dr. F.R.R.Vermeylen Second reader: Dr. Marilena Vecco Master Thesis Cultural economics & Cultural entrepreneurship Erasmus School of History, Culture and Communication Erasmus University Rotterdam 1 Abstract Since 2006, the Chinese art market has amazed the world with an unprecedented growth rate. Due to its recent emergence and disparity from the Western art market, it remains an indispensable yet unfamiliar subject for the art world. This study penetrates through the thriving scene of the Chinese art market, fills part of the gap by presenting an in-depth analysis of its market structure, and depicts the route of development during 2006-2011, the booming period of the Chinese art market. As one of the most important and largest emerging art markets, what are the key trends in the Chinese art market from 2006 to 2011? This question serves as the main research question that guides throughout the research. To answer this question, research at three levels is unfolded, with regards to the functioning of the Chinese art market, the geographical shift from west to east, and the market performance of contemporary Chinese art. As the most vibrant art category, Contemporary Chinese art is chosen as the focal art sector in the empirical part since its transaction cover both the Western and Eastern art market and it really took off at secondary art market since 2005, in line with the booming period of the Chinese art market.
    [Show full text]
  • INFORMATION to USERS This Manuscript Has Been Reproduced
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter free, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedtbrough, substandard margin*, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g^ maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. A Beil & Howell Information Company 300 North Zee0 Road. Ann Arpor. Ml 48106-1346 USA 313/761-4700 800:521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with with permission permission of the of copyright the copyright owner. owner.Further reproductionFurther reproduction prohibited without prohibited permission.
    [Show full text]
  • Masterwork by Li Keran to Take Centre Stage in Christie’S Hong Kong Modern Chinese Paintings Sale
    For Immediate Release 7 May 2007 Press Contact: Victoria Cheung 852.2978.9919 [email protected] Dick Lee 852.2978.9966 [email protected] MASTERWORK BY LI KERAN TO TAKE CENTRE STAGE IN CHRISTIE’S HONG KONG MODERN CHINESE PAINTINGS SALE Li Keran (1907-1989) All the Mountains Blanketed in Red Scroll, mounted and framed Ink and colour on paper 131 x 84 cm. Dated autumn, September 1964 Estimate on request Fine Modern Chinese Paintings 28 May 2007 Hong Kong – An impressive selection of works by leading Chinese artists including Li Keran will be offered in the Fine Modern Chinese Paintings sale at Christie’s Hong Kong on 28 May. The works on offer will amaze art collectors with their exceptional quality and captivating themes. Also included in the sale are paintings of impeccable provenance from private collections. In this Spring auctions series, Christie's Hong Kong will introduce a real-time multi-media auction service Christie’s LIVE™, becoming the first international auction house in Asia to offer fine art through live online auctions. Christie’s LIVE™ enables collectors around the world to bid from their personal computers while enjoying the look, sound and feel of the sale. The star lot of the sale is All the Mountains Blanketed in Red by Li Keran (1907–1989) (Estimate on request, Lot 1088). From 1962 to 1964, Li produced a series of seven paintings that took on the theme of ‘All the mountains are blanketed in red and forests are totally dyed’, a phrase from Mao Zedong’s (1892–1976) poem Chang Sha (To the Tune of Spring Beaming in a Garden).
    [Show full text]
  • Artists of Traditional Chinese Paintings
    Artists of Traditional Chinese Paintings: 马奉信 Ma Fengxin Ma Fengxin, born in Xuzhou, Jiangsu Province in May 1942, studied under Mr. Wang Guanzhong when he was young, and graduated from the Fine Arts of Nanjing Normal University. During his study, he was instructed by Lyu Sibai, Fu Baoshi and Yang Jianhou. Owing to his excellent grades when graduating, he furthered his study in the college for another two years. He is a member of Chinese Calligraphers Association, member of China Artists Association, member of China Canglang Book Society, librarian of Jiangsu Provincial Literature and History Museum, and a standing director of Xu Beihong Research Association of Jiangsu Province. He used to be a member of the Sixth, Seventh and Eighth CPPCC of Jiangsu Province, dean of Xuzhou Painting and Calligraphy Institute, vice chairman of Xuzhou Municipal Federation of Literary and Art Circles, and a distinguished professor of Fine Arts School of Jiangsu Normal University. 黄秉乙 Huang Bingyi Huang Bingyi, born in 1941, styled himself Ye Qing. In 1974, he took Mr. Kong Zhongqi as his teacher and specialized in landscape painting. In 1985, he entered the senior graduate class Chinese painting department of China Academy of Art and taught by Mr. Lu Yanshao. He is a member of China Hue Art Association, senior painter of Jiangsu Guofeng Painting and Calligraphy Institute, adjunct professor of Shandong Art Institute, and a painter of Xuzhou Qinxin Painting and Calligraphy Institute. 杨正伟 Yang Zhengwei Yang Zhengwei (Pseudonym:Zhi Hu) was born in 1948. He is currently a member of the China Artists Association, a national-level artist, an honorary dean of Painting and Calligraphy of Xuzhou Municipal Committee of China Association for Promoting Democracy, and the president of Xichu Landscape Painting Association.
    [Show full text]
  • Chinese Landscape Painting As Western Art History
    James Elkins With a Foreword by Jennifer Purtle Hong Kong University Press 14/F Hing Wai Centre 7 Tin Wan Praya Road Aberdeen Hong Kong © Hong Kong University Press 2010 ISBN 978-962-209-000-2 All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without permission in writing from the publisher. Secure On-line Ordering http://www.hkupress.org British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. Printed and bound by Kings Time Printing Press Ltd., Hong Kong, China Contents List of Plates vii Foreword: “Whose Hobbyhorse?” by Jennifer Purtle ix Preface xxi Abbreviations xxv Iterated Introductions 1 I A Brace of Comparisons 13 II Tying Some Laces 49 III The Argument 67 IV The Endgame, and the Qing Eclipse 99 V Postscripts 133 Notes 147 Index 175 List of Plates A Zhang Hongtu, Shitao–Van Gogh. 1998. x B Shitao, Landscape from An Album for Daoist Yu. Album leaf, ink and color on x paper. C.C. Wang Collection, New York. C Vincent Van Gogh, The Starry Night. 1889. xi 1 Top: Vincent Van Gogh, View of Arles. Museum of Art, Rhode Islands School 25 of Design, Providence, RI. Bottom: Shen Zhou, Scenes at Tiger Hill, Oak and Hummocks with Three Figures at a Wall. Cleveland Museum of Art. 2 Zhao Mengfu, Autumn Colors in the Qiao [Que] and Hua Mountains, detail. 26–27 Handscroll, 28.4 x 93.2 cm.
    [Show full text]
  • The Traditionalist Painter Lu Yanshao (1909-1993) in the 1950S
    COMMUNIST OR CONFUCIAN? THE TRADITIONALIST PAINTER LU YANSHAO (1909-1993) IN THE 1950S THESIS Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Yanfei YIN B.A. Graduate Program in History of Art The Ohio State University 2012 Master's Examination Committee: Professor Julia F. Andrews Advisor Professor Christopher A. Reed Copyright by Yanfei YIN 2012 Abstract The establishment of the People’s Republic of China in 1949 triggered a deluge of artistic challenges for the Chinese ink painter. Lu Yanshao (陸儼少 1909-1993), an artist skilled in poetry, painting and calligraphy, had built his renown on landscape paintings following a traditionalist style. As of 1949, however, Lu began to make figure paintings that adhered to the guidelines established by the Communist Party. Dramatic social and political changes occurred in the 1950s under the new Communist regime. The Anti-Rightist Campaign, launched in 1957, targeted a large number of educated people, including many artists. Lu Yanshao was condemned as a Rightist and was forced to endure four years of continuous labor reform (laodong gaizao 勞動改造) in the countryside before finally ridding himself of the label of Rightist in 1961. Starting in 1957, Lu shifted his focus from making figure paintings for the country’s sake to his personal interest – creating landscape paintings. In 1959, the artist completed the first twenty five leaves of his famous Hundred-Leaf Album after Du Fu’s Poems. The surviving fourteen leaves combined painting, calligraphy and poetry, and are considered to be early paintings of Lu’s mature phase.
    [Show full text]
  • Chinese Literature
    INESE ele12 LI. HRAT RE Iffi s( ffi ;.t'' -? CONTENTS Lao She and His "Teahouse" -Ying Ruoclteng t In Reply to Some Questions About "Te"ahouse" -Lao Sbe t2 Teahouse (a play in three acts) - Lao She t6 The Arc of Wu Guanzhong-Zbang AnThi 97 POEMS rilflest Poems !7'ritten During a Visit to Germany - Ai Qing IOl Three Poems - Hrang Yongyu r09 STORIES In Vino Veritas - Sun Yucban II' NOTE,S ON ART Some Chinese Caitoon Films - Yang Sbuxin rr8 INTROI}UCING A CLASSICAL PAINTING .Wen "The Connoisseut's Studio" by Zhengming-Tian Xia 12, CHEONICLE r27 PLATESI Paintings by \[u Guanzhong 96'sj Cartoon Films 722-r23 The Connoisseur's Studio -W'en Zbengming lz6-tz7 Subiect Index, Cbinese Literatarc 1979 Nos, r-rz rrl Front Cover: Autumn Song-Z.bu Junsban No. 12, 19?9 i t Ying Ruocheng Lao She and His "Teahouse', pieces and world classics. A glance at the entertainments columns The reasons for this are manifold. Lao She was honoured with the title of "People's Arrist" in r95r, the only author to receive such a designation in the history of the people,s Republic. Up to the time of his tragic death in ry66 he more than lived up to it. His literaty output after his return to Beijing from the United States in rg49 was prolific, by f.ar surpassing all the writers of the older Published by Foreign Languages Press Beiling (37), China Pri.nted in tbe People's Republic ol Cbina 1 I generation. Practically all his writing dealr with the life of the commofl people of Beijing.
    [Show full text]
  • Isamu Noguchi and Qi Baishi: Beijing 1930
    ISAMU NOGUCHI AND QI BAISHI: BEIJING 1930 ISAMU NOGUCHI AND QI BAISHI: BEIJING 1930 5 Continents Editions The Isamu Noguchi Foundation and Garden Museum This publication is produced in conjunction with the exhibition Isamu Noguchi and Qi Baishi: Beijing 1930 Editorial Coordination Editorial Coordination Laura Maggioni Amy Hau Tour dates Art Direction and Production Editing University of Michigan Museum of Art Annarita De Sanctis Heidi Coleman and Amy Hau May 18 – September 1, 2013 Layout Copy Editing The Noguchi Museum Daniela Meda Kathleen Baxter, Stephanie Salomon September 24, 2013 – January 24, 2014 Editing Translation Frye Art Museum Timothy Stroud Lynn Zhang February 22 – May 25, 2014 Colour Separation Studio Pixel, Milan, Italy This publication is produced in conjunction with the Printed and bound in Italy in March 2013 exhibition Isamu Noguchi and Qi Baishi: Beijing 1930, organized by Gra!che Flaminia, Foligno (PG) by the University of Michigan Museum of Art in collaboration with for 5 Continents Editions, Milan The Isamu Noguchi Foundation and Garden Museum, New York. Lead support for the exhibition and publication is provided by the Terra Foundation for American Art, the National Endowment for the Arts, the W.L.S. Spencer Foundation, and The Freeman Foundation, with additional generous support from the University of Michigan Center for Chinese Studies. All rights reserved Distributed in the United States and Canada The Isamu Noguchi Foundation and Garden Museum by Harry N. Abrams, Inc., New York Distributed outside the United States and Canada, excluding © Copyright 2013 by 5 Continents Editions for the present edition France and Italy, by Abrams & Chronicle Books Ltd UK, London No part of this book may be reproduced or utilized in any form The Isamu Noguchi Foundation or by any means, electronic or mechanical, including and Garden Museum photocopying, recording, or any information storage and retrieval 32-37 Vernon Blvd.
    [Show full text]
  • Modernity Through Syncretism and Eclecticism: Wu Guanzhong's Artistic Practice in the Cultural and Political Environment of Th
    0 MODERNITY THROUGH SYNCRETISM AND ECLECTICISM: WU GUANZHONG’S ARTISTIC PRACTICE IN THE CULTURAL AND POLITICAL ENVIRONMENT OF THE PRC (1949 -1989) BY WENWEN LIU A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy Victoria University of Wellington 2019 Acknowledgments I wish to express my great gratitude to my supervisors Dr Luo Hui and Dr Dennitza Gabrakova for their wise guidance and full-hearted support. I also wish to express my great appreciation to Dr Rebecca Rice, Dr Ellen Soulliere and Dr Lidu Yi for their detailed and insightful comments on this thesis. I owe my special thanks to Professor Yiyan Wang, Professor Clunas Craig, Dr Keren Chiaroni, Dr Catherine Churchman, and Peter HaJecek for their helpful suggestions. This thesis is dedicated to my husband Liu Xin. Had it not been his love, this thesis would not have come to fruition. Abstract This thesis examines Wu Guanzhong’s 吴冠中 (1919-2010) art and art theory in the context of socialist and post-socialist China. Wu’s art came to maturation through a sophisticated syncretism of Chinese and Western painting styles and techniques. Aesthetic considerations notwithstanding, each of Wu’s artistic breakthroughs was also a direct response to the cultural policies of the Chinese Communist Party or to the larger cultural and political currents at important junctures of twentieth-century China. Mirroring the syncretistic style and political nature of his artwork, Wu’s art theory is characterised by an eclecticism that mediates between Chinese and Western artistic concepts and walks a thin line between creative agency and political correctness.
    [Show full text]
  • Du Shaoling's Poetry and Lu Yanshao's Artistic Conception
    2020 2nd Scientific Workshop on Advanced in Social Sciences, Arts & Humanities (ASSAH 2020) Du Shaoling’s Poetry and Lu Yanshao’s Artistic Conception Nina Zhang 1,Panzhi He2,Haitao Lin2* 1. School of fine arts and arts , Kunming University, Kunming,Yunnan , 650214, China 2. Yuxi Normal University, Yuxi,Yunnan , 653100, China Emai:[email protected] *Corresponding Author Keywords: Chinese poetic painting, Lu’s Landscape, artistic conception Abstract: Chinese painting has organically integrated poetry, calligraphy, painting, seal and theory. Usually a painter is also a poet, philosopher and calligrapher. They are the kind of people who have made profound achievement in the study of Chinese culture and possess rich humanistic spirit. As we know, the creation of Chinese painting is also the creation of humanistic spirit. Lu Yanshao was a painter who paid great attention to literary cultivation and basic painting skills. This can be seen from Album of One Hundred Poetic Settings from Du Fu’s Lines. Starting from the painting elements of poetry, it reappears the combination of poetry and painting, and enhances the artistic appeal of the combination of poetry and scenery. Lu Yanshao’s artistic conception of Tang and Song poetry is a recreation of art. “Lu’s Landscape” has become a unique and innovative model. 1.Introduction Lu Yanshao had spent all his life pursuing a unique painting style of his own. Whether in artistic thinking or in painting technique and spirit, he had reached the highest level and became one of the great masters of landscape painting in the 20th century. He was a literati artist who excelled in poetry, calligraphy and painting.
    [Show full text]
  • Appendix the Dao of Ink and Dharma Objects—On Jizi's Paintings
    Appendix The Dao of Ink and Dharma Objects—On Jizi’s Paintings Gao Congyi The stance that the ancient Daoist philosopher Laozi took of his brush and ink were still on the distant horizon. Even in the world after he realized the “Way” ( dao), as everyone so, the paucity of his artworks in his early period allowed knows, was a rejection of the world. A modern Western ex- him, after weighing the matter over and over, to destroy ample would be Ludwig Wittgenstein who, after his Tracta- them voluntarily. Isn’t this also a kind of suicide? This was a tus Logico-Philosophicus, saw the “Way” ( dao), left the elite kind of cultural suicide that is different from the suicides of celebrity circle of Bertrand Russell, John Maynard Keynes the novelist Lao She (1899–1966) and the translator and art and others, and ran off to a far away mountain village to be- critic Fu Lei (1908–1966), who took their own lives. Chinese come an elementary school teacher and church gardener for intellectuals like Lao She and Fu Lei did not “endure”, while more than 15 years. Until his 27 June 2009 exhibition “The those like Jizi “endured” until after 1977, “endured” until the Way of Ink and Dharma Objects,” Jizi’s exhibition”, Jizi’s “science spring,” and “endured” until the “art spring.” personal life had been hidden from the world for almost 70 The 1980s were a watershed for the Chinese society and years. As for the contributions of his artistic career, Jizi had also for Jizi. The period just before the mid-1980s was the been painting in silence for almost 50 years! After hearing first period of his painting, the period of brush and ink land- this marvelous absurdity, one cannot but feel that it was a scapes.
    [Show full text]
  • The-Art-Market-In-2019.Pdf
    Methodology The Art Market analysis presented in this report is based on results of Fine Art auctions that occu- red between 1st January and 31st December 2019, listed by Artprice and Artron. For the purposes of this report, Fine Art means paintings, sculptures, drawings, photographs, prints, videos, instal- lations, tapestries, but excludes antiques, anonymous cultural goods and furniture. All the prices in this report indicate auction results – including buyer’s premium. The $ sign refers to the US dollar and the ¥ sign refers to the Chinese yuan. The exchange rate used to convert AMMA sales results in China is an average annual rate. Any reference to “Western Art” or “the West” refers to the global art market, minus China. Chinese Art is divided into two main categories: • “Chinese Painting and Calligraphy” indicates traditional Chinese art such as works in ink on a variety of substrates including Xuan paper, silk and fans. “Chinese calligraphy” is focused on lettering, words, poems and wishes, whereas “Chinese painting” represents landscapes, people, birds and flowers. • “Oil painting and Contemporary art” indicates artworks created by Chinese artists who appropriated Western techniques and artistic media (oil painting, photography, sculpture, installation, drawing in pencil, gouache, watercolors, etc.) after an oil on canvas was pres- ented in China for the first time in 1579. Regarding the Western Art market, the following historical segmentation of “creative period” has been used: • “Old Masters” refers to works by artists born before 1760. • “19th century” refers to works by artists born between 1760 and 1860. • “Modern art” refers to works by artists born between 1860 and 1920.
    [Show full text]