Dong Qichang's Plan-3 (triptych) Signed "Shang" in English and dated 06 Signed in Chinese and English, dated 2006 and titled in Chinese on the reverse of the left panel Mixed media on canvas 223 x 505cm (87 13/16 x 198 13/16in).
Provenance: Byron Cohen Gallery, Kansas City Acquired directly from the above by the present owner
Exhibited: 'Hypallage: The Post-Modern Mode of Chinese Contemporary Art', The OCT Art & Design Gallery, Shenzhen, 1 September to 1 December 2008 'Shang Yang: The Dong Qichang Project', Beijing Center for the Arts, Beijing, 9 May to 7 June 2009
Published: Yu Hong et al., Shang Yang: Sign With Great Feeling for Great Landscape, Sichuan Fine Arts Publishing House, Chengdu, 2007, p.262-263 Feng Boyi, Wang Xiaosong, Zhao Rita, Hypallage: The Post-Modern Mode of Chinese Contemporary Art, The OCT Art & Design Gallery, Shenzhen, 2008, p.173 Fan Dian et al., Shang Yang: The Dong Qichang Project, Beijing Center for the Arts, Beijing, 2009, p.34-35 Lu Peng, Zhu Zhu, Kao Chienhui, Thirty Years of Adventures: Art and Artists Post 1979, Timezone 8 Ltd, Hong Kong, 2010, p.266
With the artist's signed photo-certificate of authenticity issued by the China Visual Arts Center in Beijing
One of the most important actors of the 'life-stream' art movement in China, Shang Yang constantly strives to contribute to modernism through his aesthetic experiments. While speaking of contemporary issues, his works are deeply infused with Chinese culture and history. In his practice, Shang Yang merges East and West, classical and avant-garde. His inspiration derives from the tradition of Chinese landscape painting and from the geography of China's past, namely the plateau and loess of the Shanxi region. However, he uses the Western traditional media of oil painting and his work is highly conceptual. In the 'Dong Qichang Project' series, Shang Yang's reference to the great painter of the Ming dynasty, who influenced many generations of painters, is meant to comment on the ideas of appropriation, distortion and intervention, both in physical and cultural terms. Shang Yang has screened onto the canvas parts of Dong Qichang's paintings and altered them with graffiti or obtrusive geometrical designs. The depicted landscape thus becomes artificial and remote from reality. Time and space are displaced in the process. Indeed, in this series, Shang Yang comments on the fact that a fleeting contemporary culture has eroded the centuries-old traditional Chinese logic of self-sufficiency, harmony and unity. The 'Dong Qichang Project' series is probably Shang Yang's most acclaimed series and has been acknowledged by the academic world, the market and collected by museums. 作為在中國的「life-stream」畫派最重要的角色之一，尚揚不斷努力通過他的藝術創造為現代主義做出貢獻。儘管是當代的，他的作品深深地註入了中國的傳統文化和歷史。尚揚把中西合併，混合了古典與前衛。他的靈感源於傳統的中國山水畫和中國古代的地理，特別是高原和陝西地區的黃土高坡，但用的是西方傳統油畫媒體，而他的作品是高度概念化的。
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