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Lot Essay
Born in an artistic family in 1936, Pang Jiun's professional academic background in Central Academy of Fine Art brought him solid skills and techniques which paved his way to a unique oriental scholar Expressionist style. Pang excels in blending western oil painting techniques with implicit image of eastern philosophy, inducing an artistic expression of rhythmic vitality and charm.
Located in the southeast region of China, Gulangyu island is filled with red roof top houses, which were heavily influenced by European architectural designs when the island was once the common concession of several western countries. During his time on Gulangyu island, Pang Jiun was fascinated with these houses and the enchanting seascape. He observed and noted the island from different heights and angles, and later portrayed various scenery of the island - Gulangyu Island (Lot 297) is one of them.
The overall impression of the painting is calm and luminous, offering the viewer a glimpse into a dreamy, picturesque vision of the island. It is not illustrated through a conventional rendering of light and shadow, but instead is structured by space and vivid colours to give viewers a strong sense of presence, feeling the warm sunshine and sea breeze on the skin. Scattered amidst the vigorous bushes, red tile and white wall houses pile up on the coast. The saturated azure blue of the sky in the background contrasts with the pale blue of the sea. These colours are subtly and impressively counterbalanced by each other in the form of warm and cold pairing, exemplifying Pang Jiun's nuanced grasp of colours.
Marrying both western painterly techniques and Chinese xieyi tradition, Pang Jiun described an alluring scene in Spring Comes to Huizhou Old Town (Lot 298). The white walls appear as the major role and form a well-balanced composition together with their aesthetically mirrored reflection. In front of the white walls, tourists wander on the path along the river, adding a cheerful mood to the piece. Following the footsteps of these tourists, the viewer's sight is drawn towards the edges of the canvas, where blossom trees sway on sides of the path, exuding exuberant breath of spring. The lower section of this piece is full of the movement of air. The spring breeze blows gently and unsmooths the reflection in river, suggesting a peaceful atmosphere while creating fluidity within the picture. A perfect and complimenting combination of forms and colours, this lot is a stellar example of illustrating Pang Jiun's exceptional skills while celebrating the beauty of everyday life.
Xizhi's Favour Goose (Lot 299) is taken from the anecdote of the great calligrapher Wang Xizhi in Eastern Jin dynasty. Legend has it that he realized the key to how to turn his wrist while writing through observing the postures of geese that he raised. This work takes white, pastel browns and greens as the dominant colours, capturing the natural setting. Beams of sunshine escape through leaves and shower the cornice and roof top of the pavilion, the border stones, and the pond, forming a contrast while achieving a concerted harmony.
Located in the southeast region of China, Gulangyu island is filled with red roof top houses, which were heavily influenced by European architectural designs when the island was once the common concession of several western countries. During his time on Gulangyu island, Pang Jiun was fascinated with these houses and the enchanting seascape. He observed and noted the island from different heights and angles, and later portrayed various scenery of the island - Gulangyu Island (Lot 297) is one of them.
The overall impression of the painting is calm and luminous, offering the viewer a glimpse into a dreamy, picturesque vision of the island. It is not illustrated through a conventional rendering of light and shadow, but instead is structured by space and vivid colours to give viewers a strong sense of presence, feeling the warm sunshine and sea breeze on the skin. Scattered amidst the vigorous bushes, red tile and white wall houses pile up on the coast. The saturated azure blue of the sky in the background contrasts with the pale blue of the sea. These colours are subtly and impressively counterbalanced by each other in the form of warm and cold pairing, exemplifying Pang Jiun's nuanced grasp of colours.
Marrying both western painterly techniques and Chinese xieyi tradition, Pang Jiun described an alluring scene in Spring Comes to Huizhou Old Town (Lot 298). The white walls appear as the major role and form a well-balanced composition together with their aesthetically mirrored reflection. In front of the white walls, tourists wander on the path along the river, adding a cheerful mood to the piece. Following the footsteps of these tourists, the viewer's sight is drawn towards the edges of the canvas, where blossom trees sway on sides of the path, exuding exuberant breath of spring. The lower section of this piece is full of the movement of air. The spring breeze blows gently and unsmooths the reflection in river, suggesting a peaceful atmosphere while creating fluidity within the picture. A perfect and complimenting combination of forms and colours, this lot is a stellar example of illustrating Pang Jiun's exceptional skills while celebrating the beauty of everyday life.
Xizhi's Favour Goose (Lot 299) is taken from the anecdote of the great calligrapher Wang Xizhi in Eastern Jin dynasty. Legend has it that he realized the key to how to turn his wrist while writing through observing the postures of geese that he raised. This work takes white, pastel browns and greens as the dominant colours, capturing the natural setting. Beams of sunshine escape through leaves and shower the cornice and roof top of the pavilion, the border stones, and the pond, forming a contrast while achieving a concerted harmony.