ZHONG CHENG

  • Zhong Cheng 2019 Spring Auction「Morden And Contemporary Art」
    • Download

    188

    PANG JIUN (b.1936)

    Zen at Full Force

    2007

    Oil on Canvas
    72.7x60.6cm

    Signed Pang Jiun in Chinese, dated 2007 With one inscribed seal of the artist

    Estimate TWD 1,100,000-1,400,000
    USD 35,600-45,300
    HKD 0-0

    Hammer Price TWD 1,320,000
    USD 42,038
    HKD 331,658

With a certificate of authenticity signed by the artist

Provenance：Christie\\\\\\\\\\\\\\\'s Hong Kong, ASIAN CONTEMPORARY ART (DAY SALE), 2015.11.29, Lot 497

Illustrated：

Exhibition：

Exposition：

Pang Jiun was born in Shanghai in 1936, his father is Pang Xunqin an important Chinese painter with a household name of renowned intellects and artists. Pang Jiun entered China Academy of Art at the mere age of thirteen, learning from masters such as Lin Fengmian, Huang Binhong and Pan Tianshou. In three short years he transferred to China Central Academy in Beijing and became the last disciple of master Xu Beihong. He settled in Taiwan in 1987 and taught at the Taiwan University of Arts for more than twenty years, now with many exceptional students around the world. Pang Jiun’s artistic vocabulary infused the essence of Chinese freehand ink into western paintings; his works radiate with Oriental flow and grace; meanwhile validate the artist’s knowledge in strong composition, profound color theory, precise and bold brushwork. Instead of deliberately pursuing a meticulous depiction of the subject, his artworks embody the elegance and tranquility of the East, as it explores the magnificence of life.

Although he received proper academic training in Fine Arts, Pang Jiun chooses to abandon the conventional painting style of realism and move towards the more liberating path of Expressionist movement; meanwhile, still preserving the connotation of form, rhythm and essence by creating “freehand” and “vigorous and vividness” force in his works. He incorporates elements learned from the French Post-Impressionists and Fauvist painters, but infused with Chinese aesthetics theory of “presentation of spirit through form” and “becoming one with nature” to give new perspective to scenery. In Zen at Full Force, the artist captured the still scenery of zen garden with exceptional details of the old walls, the twist and turns of each tree branch, and overlapping roof tiles; as each component cross path with one another, the result harmonize the overall structure of the painting. Pang Jiun also used calligraphy lines to portray the multiple slender and upward-expanding tree branches in the foreground; the interweaving layers of ascending curved lines further advocates the dynamic vitality of the image. The vast and boundless, free-flowing temperament of the work conveys the meaning of “Zen.” Pang Jiun uses intersecting points, lines and surfaces, along with the subtle and calm gray color palate to reciprocate the relationship between nature and architecture — it not only retains the heavy texture in oil paintings but combines the realistic painting nature of Chinese traditional paintings. Pang Jiun said, ‘the night before leaving China, my father and I had a talk. He said that gray is superior to all colors and the most difficult to master. My father reckoned that I am sensitive and expressive in using gray, and that I should cherish my talent.’ 

View More Works