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Lot Essay
With Western colour relationships and the abstract lines of calligraphy, I hope to mold a new style of abstract painting: one that expresses the ineffable qualities of classical Chinese poetry, and abstract conceptions that can only be sensed or felt. Given what the Western critics have been saying about my work, it seems that they are getting to understand my constant quest for something different from those of Western abstract artists.
Chu Teh-Chun
Chu Teh-Chun has surpassed all his contemporaries with his use of magnificent flow of colour. His colour palette transforms and bursts into layers of hues in all varieties, dark, bright, heavy or light. In the biography of Chu Teh-Chun written by Zu Wei, Chu recalls being amazed by the avant-garde experiments led by Lin Fengmian, the head of Hangzhou Academy of Art at that time. Lin Fengmian broke the Chinese ink-wash traditions by adding dense, brilliant colours to his ink paintings. Under Lin's great influence, Chu came to the realization that "Lin's revolutionary way of visually experiencing nature overturned traditional, stereotypical ink-wash practices, in which only shades of grey were added. He recaptured for us the soul of the human visual experience-abandoned since the time of the Song Dynasty's literati painters-which is colour." Chu began to learn more about the Dutch master painter Rembrandt's work in Europe, which provided him with creative inspirations and inspired him to ponder over the "interwoven cadences of light," and further, to derive even more skillful ways of expressing various aspects of light.
The enchanting charm radiating from Chu's work Abundance (Lot 23) brings the audience into a space of colour permeated with spirituality and imagination, exactly as the attempt of by Wassily Kandinsky p (Fig. 1) ursuing colour's pure implication and form. This particular work was finished in the same period when Chu Teh-Chun was commissioned a large-scale painting, Symphonie Festive (Fig. 2) on the invitation of Shanghai Opera House in 2002. Evidently, even at a smaller scale, the artist still can depict a glamorous world composed by varied colours and equal grandeur with smooth brushwork. Intense colours like orange, turquoise, indigo, vermilion and bright yellow well-applied in the painting, along with the hollow strokes tinged alternately create collision and reconciliation of warm and cool tones of colour exactly form an experience resembl ing the symphonic performance presented by the synchronized march of all the musical instruments in which melody spirals from the murmurous to the tumultuous. The energy agitated within the dance of colours is fully released by Chu's skillful technique
Chu Teh-Chun
Chu Teh-Chun has surpassed all his contemporaries with his use of magnificent flow of colour. His colour palette transforms and bursts into layers of hues in all varieties, dark, bright, heavy or light. In the biography of Chu Teh-Chun written by Zu Wei, Chu recalls being amazed by the avant-garde experiments led by Lin Fengmian, the head of Hangzhou Academy of Art at that time. Lin Fengmian broke the Chinese ink-wash traditions by adding dense, brilliant colours to his ink paintings. Under Lin's great influence, Chu came to the realization that "Lin's revolutionary way of visually experiencing nature overturned traditional, stereotypical ink-wash practices, in which only shades of grey were added. He recaptured for us the soul of the human visual experience-abandoned since the time of the Song Dynasty's literati painters-which is colour." Chu began to learn more about the Dutch master painter Rembrandt's work in Europe, which provided him with creative inspirations and inspired him to ponder over the "interwoven cadences of light," and further, to derive even more skillful ways of expressing various aspects of light.
The enchanting charm radiating from Chu's work Abundance (Lot 23) brings the audience into a space of colour permeated with spirituality and imagination, exactly as the attempt of by Wassily Kandinsky p (Fig. 1) ursuing colour's pure implication and form. This particular work was finished in the same period when Chu Teh-Chun was commissioned a large-scale painting, Symphonie Festive (Fig. 2) on the invitation of Shanghai Opera House in 2002. Evidently, even at a smaller scale, the artist still can depict a glamorous world composed by varied colours and equal grandeur with smooth brushwork. Intense colours like orange, turquoise, indigo, vermilion and bright yellow well-applied in the painting, along with the hollow strokes tinged alternately create collision and reconciliation of warm and cool tones of colour exactly form an experience resembl ing the symphonic performance presented by the synchronized march of all the musical instruments in which melody spirals from the murmurous to the tumultuous. The energy agitated within the dance of colours is fully released by Chu's skillful technique