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拍品专文
"The Chinese ink and wash, or we should say Chinese painting, historically had always been a parallel form of art and aesthetic with the Western painting. Why many Chinese artists nowadays feel unsure in their creation? Only because the materials and concepts they master are not original, but imported. The use of these materials and concepts can only be copies, not renewable, unlike Chinese painting, whose frame of reference is not wWstern. Many people have asked me which foreign masters had influenced my creation, I cannot tell, for in fact there isn't any. However, Fan Kuan in the Song Dynasty, Shi Tao and Badashanren in the late Ming Dynasty and early Qing Dynasty have placed great influence on me. They are much like my friends around me, my frames of reference, and objects that I want to challenge and surpass." Plum Blossoms, Zhu Wei's Album of Ink Paintings 1988-2008 'ArtKNeeds sedimentation - A conversation between Li Xiaoshan and Zhu Wei', Beijing, China, 2008 (pp. 66 & 74)
Zhu Wei is one of the leading figures in Chinese contemporary ink painting. He is best known for The Story of Beijing and China, China series, documenting a rapidly changing social standard, as well as the psychological weaknesses of human nature. His deep affection for Chinese classical ink painting has evolved into a unique modernised style all of his own. In Supreme Treatise on Moral Retribution No. 13 (Lot 2537), Zhu successfully developed a dialogue beyond time and space with traditional Chinese ink painting. Internalised with the profound understanding of classical ink painting's techniques and conceptions, Zhu treats it as an instrument to record the state of everyday affairs like a diary. The characters portrayed here references Chinese folklore; a man of position is dressed in traditional red attire, smoking, standing precariously on a stool. Other figures cling to his waste, as if he is about to take his final breath before ending his life with the apparent noose dangling from the ceiling. This lively scene, whose darker themes only become apparent upon close inspection, capture a melodramatic sensibility, the dramatization one's death with an impulsive gesture. Although both cynical and witty, such gestures are commonly found throughout popular television dramas in China. Metaphorically, this staged tableau of the everyday illuminates Zhu's droll reflection on social events, re-imagined as a traditional ink painting.
Zhu Wei is one of the leading figures in Chinese contemporary ink painting. He is best known for The Story of Beijing and China, China series, documenting a rapidly changing social standard, as well as the psychological weaknesses of human nature. His deep affection for Chinese classical ink painting has evolved into a unique modernised style all of his own. In Supreme Treatise on Moral Retribution No. 13 (Lot 2537), Zhu successfully developed a dialogue beyond time and space with traditional Chinese ink painting. Internalised with the profound understanding of classical ink painting's techniques and conceptions, Zhu treats it as an instrument to record the state of everyday affairs like a diary. The characters portrayed here references Chinese folklore; a man of position is dressed in traditional red attire, smoking, standing precariously on a stool. Other figures cling to his waste, as if he is about to take his final breath before ending his life with the apparent noose dangling from the ceiling. This lively scene, whose darker themes only become apparent upon close inspection, capture a melodramatic sensibility, the dramatization one's death with an impulsive gesture. Although both cynical and witty, such gestures are commonly found throughout popular television dramas in China. Metaphorically, this staged tableau of the everyday illuminates Zhu's droll reflection on social events, re-imagined as a traditional ink painting.