From 28th of February through 4th of March, the Museu do Oriente (Lisbon, Portugal) is hosting the exhibition Voyages of Discovey - A Portuguese collection travelling around the world.
The collection comprises ceramic pieces and paintings on canvas that will be held at auction in Hong Kong by the British auction house Bonhams. This Portuguese collection, beloging to an anonymous private collector, has been previously presented in Paris, Nova Iorque, Londres, Singapura, Taipé, Beijing, Xangai e Hong Kong.
With 12 valuable ceramic pieces spanning a historical period that goes back to the Song Dinasty (960-1279), the collection includes two plates from the Song Dinasty (960-1279), one of them showing a poem written six centuris later by the Emperor Qianlong, where he states the beauty of the object.
Also presented in a fine state of conservation, is rare china from the Ming (1368-1644) and Qing (1644-1912) dinasties.
Minutely elaborated cloisonné pieces (enamelwork in which metal filaments are fused to the surface of an object to outline a design that is filled in with enamel paste) complete this part of the collection, among which stands out an 'ice cooler' that would held a block of ice with the purpose of cooling the room - the Victoria & Alber Museum possesses a similar one, probably property of the same original owner.
A series of 15 paintings from two renowned Chinese painters of the 20th and 21st centuries, Chu Teh-Chun(朱德群) and Zao Wou-Ki(赵无极), travels through several decades that separate both artists, testifying their artistic development.
Born in China, both studied under the instruction of Lin Fengmian at the Hangzhou Academic Art College. Following similar paths, they travelled to Paris (Zao Wou-Ki in 1948 and Chu Teh-Chun in 1955), in a time when Paris effervescing with art movements.
Their artistic creativity together with their life experience is depicted through a fusion of caligrapy and tradicional Chinese painting, with the Western abstractionism, where the result can be appreciated on the 15 exhibited paintings.
Voyages of Discovery can be visited in the Galeria Sul at the Museo do Oriente from 28th of February to 4th of March, 2012.
General information about visits can be found on this page.
Showing posts with label Chinese artists. Show all posts
Showing posts with label Chinese artists. Show all posts
Thursday, March 1, 2012
Sunday, May 1, 2011
Both Scrolls of "Dwelling in the Fuchun Mountains" by Huang Gongwang (黃公望) at the National Palace Museum
The National Palace Museum (Taipei, Taiwan) has announced plans for a major exhibition where for the first time in centuries the two parts of the handscroll 'Dwelling in the Fu-ch'un Mountains' (Dwelling in the Fuchun Mountains) will be reunited after the unique work had been torned in two.
Painted by Huang Gongwang (黃公望, 1269-1354), original name Lu Jian (陸堅) between the years of 1347 and 1350, the handscroll depicts an idealized panorama of the Fuchun Mountains, west of Hangzhou.
At 82 years of age, Huang presented it to Taoist Master Wuyong (無用師)) as a gift in 1350.
A century later the scroll is acquired by Ming Dynasty painter Shen Zhou (沈周, 1427–1509) who sent the painting to a calligrapher for inscription. However the calligrapher's son seized the painting which, after a few changes of hands, reemerged on the market at a much higher price. Unable to afford the price, there was nothing Shen Zhou could do except to make a copy of the painting himself.
The imitation was given by Shen Zhou to his friend Fan Shunju (樊舜舉) who began to search for the authentic.
When he found it, he bought it at a hefty price and invited Shen Zhou to inscribe on it. Shen Zhou then noted down at the end of the scroll the story of how the painting was lost and found.
A copy that is also well acclaimed and is now in the Palace Museum in Beijing.
Over the following centuries, the painting had come to know several owners, including Wu Zhengzhi (吳正志) who left it to his third son Wu Hongyu (吳洪裕).
Wu Honyu cherished the painting so much that when he went on refuge during the invasion of the Manchu, he only brought the painting and a copy of the Thousand Character Classic (千字文) by Master Zhiyong (智永法師), leaving all other valuables behind.
Hongyu decided to have the two works burned, so that he could bring them to the netherworld.
Fortunately his nephew Wu Jing'an (吳靜庵) rescued the painting, which was however already aflame and torn into two.
The first and smaller piece, measuring 51.4 cm, was subsequently renamed The Remaining Mountain or Shenshan Mountain (剩山圖) and after passing through the hands of numerous collectors is now in Zhejiang Provincial Museum in Hangzhou.
The second, comprised of 6 pages totaling 636.9 cm in length, went through the hands of several high-level Qing Dynasty officials, including Gao Shiqi (高士奇) and Wang Hongxu (王鴻緒), before landing in the Imperial Palace.
Named the Master Wuyong Scroll (無用師卷), was in the opinion of Emperor Qianlong, who prided himself in his connoisseurship, a conterfeit. A mistake that was only corrected in 1816, during the reign of Emperor Jiaqing.
This piece was eventually brought to Taiwan after the Kuomintang lost the civil war and is now kept in the National Palace Museum in Taipei.
The "Landscape Reunified: Huang Kung-Wang and the 'Dwelling in the Fu-ch'un Mountains' Scrolls" special exhibition will also include other works by Huang, works by his mentors and works that he influenced in the National Palace Museum collection, as well as the "Shenshan Mountain" scroll held by the Zhejiang Museum, and other calligraphy and paintings borrowed from the Beijing Palace Museum, the National Museum of China, Shanghai Museum, Nanjing Museum and the Yunnan Provincial Museum.
Included in a series of educational activities, calligraphers and painters from China and Taiwan will be invited to visit the birthplace of this painting-Fuyang City, Hanzhou of Zhejiang Province-to create new water and ink paintings on the theme of "Dwelling in the Fuchun Mountains."
The "Landscape Reunified: Huang Kung-Wang and the 'Dwelling in the Fu-ch'un Mountains' Scrolls" exhibition is an historical event not to be missed and a chance to know more about the artist who was orphaned at an early age and exceptionally gifted as a youth, mastering the Chinese classics at an early age.
Painted by Huang Gongwang (黃公望, 1269-1354), original name Lu Jian (陸堅) between the years of 1347 and 1350, the handscroll depicts an idealized panorama of the Fuchun Mountains, west of Hangzhou.
At 82 years of age, Huang presented it to Taoist Master Wuyong (無用師)) as a gift in 1350.
A century later the scroll is acquired by Ming Dynasty painter Shen Zhou (沈周, 1427–1509) who sent the painting to a calligrapher for inscription. However the calligrapher's son seized the painting which, after a few changes of hands, reemerged on the market at a much higher price. Unable to afford the price, there was nothing Shen Zhou could do except to make a copy of the painting himself.
The imitation was given by Shen Zhou to his friend Fan Shunju (樊舜舉) who began to search for the authentic.
When he found it, he bought it at a hefty price and invited Shen Zhou to inscribe on it. Shen Zhou then noted down at the end of the scroll the story of how the painting was lost and found.
A copy that is also well acclaimed and is now in the Palace Museum in Beijing.
Over the following centuries, the painting had come to know several owners, including Wu Zhengzhi (吳正志) who left it to his third son Wu Hongyu (吳洪裕).
Wu Honyu cherished the painting so much that when he went on refuge during the invasion of the Manchu, he only brought the painting and a copy of the Thousand Character Classic (千字文) by Master Zhiyong (智永法師), leaving all other valuables behind.
Hongyu decided to have the two works burned, so that he could bring them to the netherworld.
Fortunately his nephew Wu Jing'an (吳靜庵) rescued the painting, which was however already aflame and torn into two.
The first and smaller piece, measuring 51.4 cm, was subsequently renamed The Remaining Mountain or Shenshan Mountain (剩山圖) and after passing through the hands of numerous collectors is now in Zhejiang Provincial Museum in Hangzhou.
The second, comprised of 6 pages totaling 636.9 cm in length, went through the hands of several high-level Qing Dynasty officials, including Gao Shiqi (高士奇) and Wang Hongxu (王鴻緒), before landing in the Imperial Palace.
Named the Master Wuyong Scroll (無用師卷), was in the opinion of Emperor Qianlong, who prided himself in his connoisseurship, a conterfeit. A mistake that was only corrected in 1816, during the reign of Emperor Jiaqing.
This piece was eventually brought to Taiwan after the Kuomintang lost the civil war and is now kept in the National Palace Museum in Taipei.
The "Landscape Reunified: Huang Kung-Wang and the 'Dwelling in the Fu-ch'un Mountains' Scrolls" special exhibition will also include other works by Huang, works by his mentors and works that he influenced in the National Palace Museum collection, as well as the "Shenshan Mountain" scroll held by the Zhejiang Museum, and other calligraphy and paintings borrowed from the Beijing Palace Museum, the National Museum of China, Shanghai Museum, Nanjing Museum and the Yunnan Provincial Museum.
Included in a series of educational activities, calligraphers and painters from China and Taiwan will be invited to visit the birthplace of this painting-Fuyang City, Hanzhou of Zhejiang Province-to create new water and ink paintings on the theme of "Dwelling in the Fuchun Mountains."
The "Landscape Reunified: Huang Kung-Wang and the 'Dwelling in the Fu-ch'un Mountains' Scrolls" exhibition is an historical event not to be missed and a chance to know more about the artist who was orphaned at an early age and exceptionally gifted as a youth, mastering the Chinese classics at an early age.
Saturday, April 16, 2011
Call for the release of Ai Weiwei: an online petition launched by the Guggenheim
In sequence of the detainment of the Chinese artist Ai Weiwei at the Beining airport while en route to Hong Kong on April 3, and confiscation of his papers and computers from his studio compound, the Guggenheim has launched an online petition for Ai Weiwei's freedom and to express the international arts community concern towards China's reluctance to live up to its promise to nurture creativity and independent thought.
Museums and cultural institutions around the world, including the Association of Art Museum Directors (AAMD); Museum of Modern Art, New York; Tate, London; Gwangju Biennale, Korea; and the Musée national d'art moderne/Centre de création industrielle, Paris, have joined this initiative and launched the online petition through their Web sites, Twitter, and Facebook.
The detention of Ai is inconsistent with the Chinese government pledged, through the Ministry of Culture, to promote all artistic disciplines and to advance artistic ideas, as well as with China's commitment to the guarantee of fundamental freedoms.
Ai Weiwei, the son of one of the country’s most beloved poets, is an internationally acclaimed artist, a documentary filmmaker and an architect who helped design the Olympic stadium in Beijing known as the Bird’s Nest.
Museums and cultural institutions around the world, including the Association of Art Museum Directors (AAMD); Museum of Modern Art, New York; Tate, London; Gwangju Biennale, Korea; and the Musée national d'art moderne/Centre de création industrielle, Paris, have joined this initiative and launched the online petition through their Web sites, Twitter, and Facebook.
The detention of Ai is inconsistent with the Chinese government pledged, through the Ministry of Culture, to promote all artistic disciplines and to advance artistic ideas, as well as with China's commitment to the guarantee of fundamental freedoms.
Ai Weiwei, the son of one of the country’s most beloved poets, is an internationally acclaimed artist, a documentary filmmaker and an architect who helped design the Olympic stadium in Beijing known as the Bird’s Nest.
Wednesday, January 30, 2008
Xia Xiaowan
Born and living in Beijing, Xia Xiaowan is currently a professor of the stagecraft department at the Central Academy of Drama. He is also a member of important artistic associations.
Xia Xiaowan who is also a graduate from the Third Studio of the oil painting department of the Central Academy of Fine Arts, has seen his works exhibited internationaly.
His latest approach to Art has made quite an impact. The use of a special pencil to draw/paint on large glass panes that are spaced behind each other in order to achieve a 3D feeling in alliance with the excellent technique of the artist, result into what I would call an ectoplasmic show.
Subscribe to:
Comments (Atom)