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THE SELLER WILL DONATE THE PROCEEDS FROM THE SALE TO SUPPORT THE UPCOMING EXHIBITION OF BADA SHANREN FROM THE COLLECTION OF TIANJIN MUSEUM AT THE CHINA INSTITUTE IN AMERICA IN NEW YORK （LOT 1046)
LIU DAN (B. 1953)
Scholar’s Rock from Xiaogushanguan
细节
LIU DAN (B. 1953)
Scholar’s Rock from Xiaogushanguan
Scroll, mounted and framed, ink on paper
42.3 x 39 cm. (15 3⁄8 x 16 5⁄8 in.)
Inscribed and signed, with one seal of the artist
Dated spring, renyin year (2022)
Scholar’s Rock from Xiaogushanguan
Scroll, mounted and framed, ink on paper
42.3 x 39 cm. (15 3⁄8 x 16 5⁄8 in.)
Inscribed and signed, with one seal of the artist
Dated spring, renyin year (2022)
更多详情
Meticulously rendered with a heightened sense of hyperrealism, Scholar’s Rock from Xiaogushanguan is an intimate portrait of a scholar’s rock with a jagged range of peaks and valleys, riddled with holes and depressions resembling mountain ridges. On the upper part of the painting is Liu Dan's fine standard script calligraphy, which consists of an extract from Wen Zhengming's Garden of the Inept Administrator and various historical writing about rocks. This piece depicted by Liu Dan here belongs to the owner of Xiaogushanguan, collector and artist Zeng Xiaojun.
For Liu Dan, rocks are objects of mystery and uncertainty that provide sources of imagination for him to journey through the world from a microscopic viewpoint. With an ultimate fascination with the structural properties of things, Liu Dan actively removes his subjects from their original context. By decontextualising the subject matter, he abandons the narrative of his subject and elevates his paintings to a purely visual experience.
Liu Dan’s work resonates with drawings by European Renaissance artists and old masters. However, a close-up view of the stone, with its ridges and textures, will lead viewers to the grandeur of traditional Chinese landscape paintings where one can wander. His mastery of ink and brush and his use of cross-cultural references enable him to free his work from the constraints of Chinese ink paintings. He does this while remaining true to the legacy, resulting in his spectacularly novel and contemporary images.
For Liu Dan, rocks are objects of mystery and uncertainty that provide sources of imagination for him to journey through the world from a microscopic viewpoint. With an ultimate fascination with the structural properties of things, Liu Dan actively removes his subjects from their original context. By decontextualising the subject matter, he abandons the narrative of his subject and elevates his paintings to a purely visual experience.
Liu Dan’s work resonates with drawings by European Renaissance artists and old masters. However, a close-up view of the stone, with its ridges and textures, will lead viewers to the grandeur of traditional Chinese landscape paintings where one can wander. His mastery of ink and brush and his use of cross-cultural references enable him to free his work from the constraints of Chinese ink paintings. He does this while remaining true to the legacy, resulting in his spectacularly novel and contemporary images.
荣誉呈献
Carmen Shek Cerne (石嘉雯)
Vice President, Head of Department, Chinese Paintings