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拍品专文
Echoing the Chinese social revolution and trends of thought?, ?Shang Yang's creative energy enables him to acquire a unique position in contemporary Chinese art history. Alongside the 85 Movement, the rise of individualism after the Chinese economic reform has cultivated the? "humanistic passion" of artists and the social yearning for artistic freedom (Gao Minglu, The Wall: Reshaping Contemporary Chinese Art, p. 70-71). Shang distinguishes himself from the "countryside realism" and "scar painting" represented by Chen Danqing and Luo Zhongli. ?He revolutionizes the socialist and realist painting upon having inspired by his journey to the Yellow River basin.
Chinese civilization finds its roots in the Huangtu Plateau. Deeply moved by Qinqiang and the Loess culture, Shang Yang, who was born in the South, pursues the genealogy of Chinese culture and offers an uncanny portrayal in his works. By heaping soil on canvas, Shang creates his signature "Shang Yang Huang" to breed his very own expressionism (Shang Yang: Landscapes of Awe, Sichuan Art Publication).
Since 1990, Shang Yang has been reacting against the cultural hegemony and Eurocentricism in the 20th century (Jiangsu Pictorial, A dialogue between Yu Hong and Shang Yang, 1990). Shang insists on using the traditional lines and pigments in painting and expressing the Chinese abstractism on the two-dimensional plane, which mark the novelty of his landscape series.
E Landscape No?. ?2? (?Lot 111?) ?borrows the sharp and solid outlining of trees and rocks from Ma Yuan?, ?a painter of the Southern Song dynasty?. ?Shang? ?applies an inhibitive and orderly comparison on the edge of the landscape?, ?weathering and eroding the silhouette of the scenery?. "?Momentum in distance?; ?substance in myopia?." ?This artistic manifestation of micro-macro interplay is fully rendered by Shang?, ?who has composed a rich and remote poetic imaginary in this work of art?.?
Chinese civilization finds its roots in the Huangtu Plateau. Deeply moved by Qinqiang and the Loess culture, Shang Yang, who was born in the South, pursues the genealogy of Chinese culture and offers an uncanny portrayal in his works. By heaping soil on canvas, Shang creates his signature "Shang Yang Huang" to breed his very own expressionism (Shang Yang: Landscapes of Awe, Sichuan Art Publication).
Since 1990, Shang Yang has been reacting against the cultural hegemony and Eurocentricism in the 20th century (Jiangsu Pictorial, A dialogue between Yu Hong and Shang Yang, 1990). Shang insists on using the traditional lines and pigments in painting and expressing the Chinese abstractism on the two-dimensional plane, which mark the novelty of his landscape series.
E Landscape No?. ?2? (?Lot 111?) ?borrows the sharp and solid outlining of trees and rocks from Ma Yuan?, ?a painter of the Southern Song dynasty?. ?Shang? ?applies an inhibitive and orderly comparison on the edge of the landscape?, ?weathering and eroding the silhouette of the scenery?. "?Momentum in distance?; ?substance in myopia?." ?This artistic manifestation of micro-macro interplay is fully rendered by Shang?, ?who has composed a rich and remote poetic imaginary in this work of art?.?