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Hibiscus
Details
ZHANG DAQIAN (1899-1983)
Hibiscus
Inscribed and signed, with two seals of the artist
Dated autumn, jichou year (1949)
Further inscribed and signed, with one seal
Dedicated to Madam Cuihua
Scroll, mounted and framed, ink and colour on paper
110 x 42 cm. (43 1/4 x 16 1/2 in.)
20th Century
Hibiscus
Inscribed and signed, with two seals of the artist
Dated autumn, jichou year (1949)
Further inscribed and signed, with one seal
Dedicated to Madam Cuihua
Scroll, mounted and framed, ink and colour on paper
110 x 42 cm. (43 1/4 x 16 1/2 in.)
20th Century
Further Details
Hibiscus expresses the elegance and stunning beauty of the flower with delicately rendered leaves, meticulously executed petals and buds devoid of any background. Painted in 1949, it hints at Zhang's training in meticulous brushwork from his time in Dunhuang - in the same way he records the different styles of drawing fingers and postures in portrait paintings, Zhang was equally meticulous in rendering the different species of flowers, the turns of their petals, the shape of the leaves and the firmness of their stems.
This type of flower painting also harks back to the style of Chen Hongshou (1598-1652), the late-Ming narrative illustrator. Chen's style was highly stylized and linear, as he specialized in portrait painting, using easy but controlled sweeping brushstrokes to grasp the essence of his subject. Like Chen, Zhang's hibiscus is delineated in detail, through calligraphic, scholarly-like brushstrokes to evoke the spirit of the flower with an overt expression of realism. The composition, almost photograph-like, has a sense of a specimen rather than an emotive expression of self, such as his xieyi lotus compositions.
This type of flower painting also harks back to the style of Chen Hongshou (1598-1652), the late-Ming narrative illustrator. Chen's style was highly stylized and linear, as he specialized in portrait painting, using easy but controlled sweeping brushstrokes to grasp the essence of his subject. Like Chen, Zhang's hibiscus is delineated in detail, through calligraphic, scholarly-like brushstrokes to evoke the spirit of the flower with an overt expression of realism. The composition, almost photograph-like, has a sense of a specimen rather than an emotive expression of self, such as his xieyi lotus compositions.
Brought to you by
Ben Kong
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