ZHONG CHENG

Zhong Cheng 2024 Autumn Auction「Modern And Contemporary Art」

  • Zhong Cheng 2015 Spring Auction「Morden And Contemporary Art」
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    103

    LIANG QUAN ( b.1948 )

    Untitled

    2013

    Ink, Color Collage on Rice Paper
    90x120cm

    Signed Liang Quan in Chinese, dated 2013

    Estimate TWD 1,400,000-2,200,000
    USD 45,800-71,900
    HKD 0-0

    Hammer Price TWD 1,534,000
    USD 0
    HKD 0

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Liang Quan was born in 1948 in Shanghai. When China went through reformation, he was one of the artists that had a privilege to study abroad. He is known for being the most internationally- influenced abstract ink and wash painter as well as one of the forerunners of the industry. He began developing his personality and style since early youth. Under the influence of Post Modernism, he combined the idea of self-consciousness and rebelling against general rules with Chinese traditional aesthetics. Through ink painting, Liang Quan had found a spirit close to Buddhist purity, utilizing religion as a way to communicate with his audience. Art critique, Dr. Xia Kejun once said, “The perceptual pattern of his ink painting is where he used intricate complication to describe peace, which was never accounted for in the traditional perceptions.” In certain aspect, Liang Quan had created a way to observe oneself while manifesting the Eastern knowledge. 
 
Since 1970’s, Western training had brought Liang Quan closer to abstract expressionism as well as realism and strong coloring developed from German neo-expressionism. Later while searching for his self- essence within the variant of Buddhism spirits, he successfully brought back his innate natural senses through conventional ink painting. He then created the “deserted period” series of paintings that represented desolation, this Untitled piece being one of them. Liang Quan rejected complicated techniques and forms. Instead, he applied clear abstract strokes with layers of various color density ink blocks. Relatively, common lash tension created by lavish colors was prevented. He attempted to bring order to empty structures, reflecting Tang Dynasty poet Liu Zongyuan’s quote, “Over a thousand hills, no bird’s in flight; on myriad paths not one footprint in sight. ” 
His work can also be related to the Buddhist philosophy, physical object is not empty, chasing after intangible thoughts and goals. The piece gives off an elegant natural temperament from the enigmatic color fragments and the exquisite hollow white area. With its sophisticated gradation, the painting accurately generates the classic essence of Chinese culture.

 

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