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Living in the Mountains
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À propos de l'objet

ZHANG DAQIAN (1899-1983)\nLiving in the Mountains\nInscribed and signed, with four seals of the artist\nDated first month, jiyou year (1969)\nDedicated to Mengdu and Madame Xingzhu\nScroll, mounted and framed, ink and colour on silk\n72 x 102.7 cm. (28 3/8 x 40 1/8 in.)\n20th Century
HK
HK
HK

title

Living in the Mountains

medium

Scroll, mounted and framed, ink and colour on silk

prelot

LOT 1528

PROPERTY OF AN AMERICAN CHINESE COLLECTOR

In 1954, Zhang moved his family to Brazil, creating his Eden known as the Garden of Eight Virtues. In this garden was the Lake of Five Pavilions, which Zhang often used as inspiration for his compositions. He began to experiment in splashed-ink paintings, and this creative zenith was brought about partly by his ailing eye sight, which imposed limitations on the fine (gongbi) painting that he practiced ceaselessly under the inspiration of masterpieces of the Song, Ming and Qing dynasties before the 1950s.

The success of Zhang's pomo style should not be read as Zhang's inability to adhere to his previous style and flair, but rather his wisdom to revive a Tang dynasty artistic tradition and renew it with modern enthusiasm. His spacious painting studio in Brazil, which he began to use in 1953, certainly facilitated his focus on expressive and large-scale works, yet it was Zhang's awareness of Western artistic development and his understanding of the taste of Western collectors that made his success distinct from the rest of his contemporaries in China. The artistic vocabulary one uses to describe these masterpieces is close to those used for major North American art movements at that time, such as Abstract Expressionism, Action Painting, and Minimalism. Zhang Daqian's meeting with Pablo Picasso reaffirmed this innovative development, with academics calling this time as the pinnacle of his artistic career (between 1965 and 1969). Inks of green, blue, and black amalgamate seamlessly to become an entirety. The scale of Zhang's paintings are ambitious statements in which Zhang exudes his confidence on being able to splash ink in a bold, carefree yet controlled manner. The interplay between light and darkness on the painting reveals the artist's genius and creativity in his interpretation of the relationships between the sky, the mountains, and their shadows, creating landscapes where viewers can live and journey within it.

Fused with mysterious hues of blue and green, Zhang's unique use of colour originated from his time at Dunhuang. His unique combination of minerals resulted in captivating shades of malachite-green and azurite blue. He applies the boneless (mogu) method with his splashed-ink technique, and fashions images with fluid brushstrokes. The black stillness illuminated by streaks of iridescence is rendered in splashed-ink, a method often believed as a vehicle Zhang employed to express his vision of paradise, in which representation details were omitted, allowing Zhang's own psychic presence and physical energy create "order from chaos", an idea Shitao expressed centuries earlier.

signed

Inscribed and signed, with four seals of the artist

creator

Daqian Zhang

keywords

Daqian Zhang , 20th Century, Paintings, ink, silk, China, Modern, landscape

department

CHINESE CLASSICAL & MODERN PAINTINGS

dimensions

72 x 102.7 cm. (28 3/8 x 40 1/8 in.)


*Merci de noter que le prix n'est pas recalculé à la valeur actuelle, mais se rapporte au prix final réel au moment où l'objet a été vendu.

*Merci de noter que le prix n'est pas recalculé à la valeur actuelle, mais se rapporte au prix final réel au moment où l'objet a été vendu.


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