Shang Yang (Chinese, born 1942) Dong Qichang's Plan-3 (triptych)
Lot 840
Shang Yang
(Chinese, born 1942)
Dong Qichang's Plan-3 (triptych)
HK$ 5 million - 6 million
US$ 650,000 - 770,000
Lot Details
Shang Yang (Chinese, born 1942)
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).

Footnotes

  • 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

    尚揚 董其昌計劃-3 綜合媒體畫布 二〇〇六年作

    簽名:Shang 06
    背面簽名:(左)董其昌計劃-3 尚揚 Shang Yang 2006

    來源:
    Byron Cohen Gallery,堪薩斯城
    現藏家購自上述畫廊

    展覽:
    「移花接木:中國當代藝術中的後現代方式」,深圳華•美術館,2008年9月1日至12月1日
    「尚揚:董其昌計劃」,北京天安時間當代藝術中心,2009年5月9日至6月7日

    出版:
    《尚揚:大風景的喟嘆》,四川美術出版社,2007年,頁262-263 彩色插圖
    馮博一,王曉松,趙孝萱,《移花接木: 中國當代藝術中的後現代方式》,深圳華•美術館,2008年,頁173 彩色插圖
    《尚揚:董其昌計劃》,北京天安時間當代藝術中心,2009年,頁34-35 彩色插圖
    呂澎,朱朱,高千惠,《中國新藝術三十年:1979年以來的中國藝術和藝術家》,Timezone 8 Ltd,香港,2010年,頁266 彩色插圖

    附北京當代藝術中心藝術家簽名保證書

    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。

    在「董其昌計劃」系列中,尚揚參考明朝偉大的畫家是為了評論物質和文化上挪用、扭曲和乾預的概念。尚揚在畫布上以絲網印發印了董其昌的畫,然後在上面架上塗鴉和隨意的幾何設計。描繪出來的景色變得遠離現實,在這個過程中時間和空間也被移動改變了。尚揚的這個系列其實是批判短暫的當代文化如何侵蝕了擁有幾百年歷史、提倡自給自足、和諧與團結的傳統中國邏輯。 「董其昌計劃」系列大概是尚揚最負盛名的作品,並已得到學術界和市場的認可,並為許多博物館珍藏。
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