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亞洲現代與當代藝術 Modern and Contemporary Asian Art

羅芙奧2018春季拍賣會 亞洲現代與當代藝術 Ravenel Spring Auction 2018 Modern and Contemporary Asian Art

羅芙奧2018春季拍賣會 亞洲現代與當代藝術 Ravenel Spring Auction 2018 Modern and Contemporary Asian Art

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THE ADVENTURE LEADS TO A RIVERSIDE,<br />

A NEW SCENE WITHOUT BOUNDS.<br />

WAITING TO MEET THE EASTERN WINDS,<br />

SPRING IS ALWAYS IN THOUSANDS OF VIOLETS AND REDS.<br />

- A Spring Day. (Song) Zhu Xi<br />

BEYOND THE IMAGE<br />

In the words of Wu Dayu, "To create a painting dem<strong>and</strong>s complete<br />

sincerity. It's not something to get smart about or show off, since it<br />

might take six years of schooling before you're able to even make a<br />

single finished, agreeable painting." Such a philosophy of painting<br />

was adopted as the main idea <strong>and</strong> st<strong>and</strong>ard of practice by Chu Teh-<br />

Chun, one of the abstract artists in modern Chinese art. A lover<br />

of Western classical music, Chu Teh-Chun would listen to it while<br />

working as a way to ignite another side of himself. He would follow<br />

the music's mild, 'yin <strong>and</strong> yang' transitions, drawing inspiration from<br />

the depths, heights, <strong>and</strong> countless undulations, adding detail <strong>and</strong><br />

a sense of delicate, musical rhythm to his abstract paintings. With<br />

the light strokes of Chu Teh-Chun's heavy brush, ink is gracefully<br />

blended using both Chinese <strong>and</strong> Western techniques, theories,<br />

<strong>and</strong> expressions. The brushstrokes rise <strong>and</strong> fall across the paintings<br />

like a dancer, stepping, lunging, <strong>and</strong> leaping across a stage. There<br />

is a clear sense of action on the canvas, with colours colliding <strong>and</strong><br />

interweaving as if shifting through every season at once. Together,<br />

they give structure to the multitude of galaxies <strong>and</strong> l<strong>and</strong>scapes<br />

without end in the artist's imagination.<br />

Having hiked mountains <strong>and</strong> walked rivers thous<strong>and</strong>s of times<br />

during his travels in different countries, what Chu Teh-Chun saw<br />

<strong>and</strong> where he stepped he took to heart, later adapting those<br />

colours into the bright forms of his work. One can see in Chu Teh-<br />

Chun's abstract paintings how the artist had developed techniques<br />

in calligraphy since his childhood. The artist's masterful infusion<br />

of the spirit behind Chinese l<strong>and</strong>scape painting with a natural <strong>and</strong><br />

flowing script gives the work a certain connection to ink painting.<br />

While a thick brush sweeps through the majestic mountain ranges,<br />

a fine brush flies with the electricity in the wind, <strong>and</strong> together they<br />

cover the canvas in a captivating Eastern texture of colourful oils<br />

<strong>and</strong> drunken inks that only Chu Teh-Chun could do. But beyond<br />

the technical side of the work which would pose a challenge for<br />

Western artists, even more difficult to replicate is the vibrant,<br />

scenery-transcending energy of the paintings.<br />

Chu Teh-Chun was a master of his craft, <strong>and</strong> he considered nature<br />

to be the main fountainhead of his creative inspiration. The most<br />

beautiful l<strong>and</strong>scapes <strong>and</strong> gorgeous scenes he had seen would<br />

transform before his eyes into nourishment – the winter snow,<br />

summer rain, spring flowers, <strong>and</strong> autumn leaves that all made marks<br />

on his art practice. Oxford University art critic Michael Sullivan,<br />

who was previously a Tang dynasty literature critic, once described<br />

the paintings <strong>and</strong> artistic wisdom of Chu Teh-Chun in the terms<br />

of Sikong Tu as written in Quality of Gr<strong>and</strong>eur in Poetry: 'Leap<br />

beyond the external appearance to reach the centre of the circle'.<br />

While originally describing the cathartic peak of a poem, it is also<br />

extremely befitting of Chu Teh-Chun's beautiful paintings. Taking<br />

a look at this 1995 "untitled" work, one can make out the artist's<br />

passion for the techniques of Eastern calligraphy <strong>and</strong> his applied<br />

knowledge of Western<br />

colour palettes as they<br />

are hidden throughout<br />

the painting. Yet even<br />

more recognisable is Chu<br />

Teh-Chun's refinement<br />

of ink painting skills such<br />

as "heaviness, lightness,<br />

dryness, waterlessness,<br />

moistness, droughtiness,<br />

smudginess" through the<br />

vocabulary of Western<br />

oil painting, adding<br />

soft yet robust layers<br />

of delicate yet bold<br />

details. The endlessly<br />

glimmering brilliance of<br />

the colours leads viewers<br />

into the artist's romantic<br />

world, which is filled with<br />

scenes that resonate with<br />

audiences' memories of<br />

nature, ever so gently<br />

pulling them closer.<br />

<br />

Northern Song Dynasty, Li Cheng, A Solitary Temple Amid Clearing Peaks, color on silk,<br />

111.4 x 56cm, Collection of The Nelson-Atkins Museum of <strong>Art</strong>, Kansas, USA

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