Beschreibung:

Zhou Chunya (Chinese, born 1955), 周春芽 Taihu Stone 1993 signed and dated 1993 oil on canvas 100 x 80 cm (39 3/8 x 31 1/2 in) Fußnoten Provenance Private Collection, Asia Sale: Poly Auction, Hong Kong, Chinese and Asian Modern & Contemporary Art, 6 Apr 2014, Lot 194 Acquired directly from the above by the present owner 周春芽 太湖石 油彩畫布 1993年作 簽名: 1993 周春芽 來源 亞洲私人收藏 拍賣: 香港保利 ,「中國及亞洲現當代藝術」，2014年4月6日 ，拍品編號194 現藏家直接購自上述拍賣 Upon his return from Germany, Zhou Chunya dedicated himself to the research of Chinese traditional literati painting, and read many collections of artworks from the Yuan, Ming and Qing dynasties. Zhou was drawn by the temporality and sense of mystery in Chinese calligraphy and painting, which led to his research in the conceptual imagery of shanshui landscape painting. He found himself electrified by the vast, sweeping atmospheric currents of Bada Shanren and Huang Binhong During this period, he fused the Neo-Expressionism he studied at the Kassel Academy of Fine Art with Chinese traditional techniques, and the Stone series, from the 1990s, was an important period for this breakthrough, one in which he began to find an artistic language all his own. Zhou Chunya grasped the dramatic expressiveness and incisively bold colors of Neo-Expressionism, and used them to convey a brilliant new atmosphere in Chinese freehand landscape painting. It brings out a powerful sense of mystery, as if times and spaces are being woven together, or as if capturing the intangible shifting states of a stone in the current moment. "Zhou Chunya finds a miraculous assemblage of Song and Yuan dynasty classic shanshui imagery and Western scenic compositional framing to achieve a detached atmosphere that transcends culture, region and history and brings people into the vast, dreamlike depths of the universe and breadth of heaven and earth." (Excerpted from Yin Shuangxi, Green Mountains Eternal) The powerful brushwork of Neo-Expressionism finds vivid expression here. The emerald blue and crimson tones produce stone textures that are mysterious and laden with the traces of history. Traditional freehand rockery scenes take on vivid presence under his brush, infusing them with profound insight. Zhou Chunya's Taihu Stone has broken beyond the notions bestowed by tradition, yet it retains countless intricate connections to it, producing a dialogue across time and space. This is a key work in his fusion of the artistic languages of East and West. 自德國歸國後，周春芽開始投入中國傳統文人畫的研究，閱讀大量元明清時期的作品集。中國書畫中帶有的時間性和神秘感深深吸引著周春芽鑽研山水畫的意境，八大山人和黃賓虹畫中廣博的氣勢都令他心馳神往。這個時期的他，將先前在80年代後期於德國卡塞爾美術學院接觸的新表現主義與中國傳統技法融合一起， 90年代「石頭」系列便是他突破性的重要階段，他開始找到屬於自己的藝術語言。 周春芽掌握了新表現主義帶有劇場感的表現力、大膽色調的刺激度，將中國寫意的風景勾勒出絢麗的新氣息。從中帶出衝擊的神秘感，彷彿時空交替，或似捕捉著石頭在當下無形變化的狀態。「周春芽將宋元古典山水的意象與西方繪畫框式取景奇妙的組合起來，具有了一種跨越人文地理與歷史文化的超然氣息，使人們猶如進入宇宙洪荒、天地蒼茫的夢幻境界。」殷雙喜曾評論，《青山常在》節錄。 新表現主義強烈的筆觸在畫中淋淋盡致地呈現出。畫面中青藍及赤紅色系的色調勾勒出神秘又富有歷史痕跡的石頭肌理。傳統寫意的石景，在他的筆觸下生動靈活地體現，將其注入一絲帶有靈性的悟感。周春芽的《太湖石》已突破了傳統所賦予的概念，但又卻保有千絲萬縷的聯繫，產生了跨越時空的對話，此作為他融匯東西藝術語言的重要代表作。