Page 328 - 亚洲二十世纪及当代艺术

87 ˮ̻͗ b.1962 Wang Yuping

݂ࢗԉᅽჃାʘ̬€ഇɿئ Watchtower Overlooking Forbidden City No.4
Ꮐдɢ੹ ذ೥ಏ ॷ͉ (Tongzi River)
ɚ㖼ɓɓϋЪ Acrylic and oil pastel on paper
58 × 68 cm. 22 /8 × 26 /4 in.
3
7
ಛᗆ
ഇɿئ 2011.7 ̻͗€̛ɨ Painted in 2011
Titled, dated and signed in Chinese on bottom right
̈و
2013 ϋdˮ̻͗j̨̏g̏ԯ ‘d༐ۜ೥఼d LITERATURE
2013, Wang Yuping: Taipei g Beijing, Eslite Gallery,
̨̏dୋ 18 ࠫ
Taipei, p. 18
࢝ᚎ
EXHIBITED
2013 ϋ 3 ˜ 2 ˚Ї 4 ˜ 7 ˚d˜ˮ̻͗j̨̏g 2 Mar – 7 Apr 2013, Wang Yuping: Taipei g Beijing,
̏ԯ ™d༐ۜ೥఼d̨̏ Eslite Gallery, Taipei
Ը๕ PROVENANCE
̨̏༐ۜ೥఼ Eslite Gallery, Taipei
ତԭݲӷɛᔛ࢕ٜટᒅІɪࠑԸ๕ Acquired directly by present private Asian collector
from the above
ڝj̨̏༐ۜ೥఼කͭʘᖵஔ࢕ፋᖦЪۜᗇࣣ
This work is accompanied by a certificate of authenticity
signed by the artist and issued by Taipei Eslite Gallery
HKD 100,000 – 150,000
USD 12,800 – 19,200
As an important representative of China’s New The Golden City River Calls for Vitality
Generation of painting, Wang Yuping held a solo Ancient Rhymes of Watchtower Overlooking Forbidden City
exhibition at the National Art Museum of China No.4 (Tongzi River)
as early as 1988 during his studies at the Central In 2011, Wang Yuping took the symbolic Forbidden City’s watchtower
Academy of Fine Arts. After graduating from as the location for his sketches, and continuously depicted it from
the school and remaining there as a teacher, four different perspectives: Summer, snow, night and street scenes.
he plunged into the tide of Neo-Expressionism, Watchtower Overlooking Forbidden City No.4 (Tongzi River) is the
and his works have been shown at the Beijing summer scene that are full of colour and vitality from this series.
Museum of History, the Venice Biennale, and the
Museum of Contemporary Art in San Francisco. Built during the Yongle period of the Ming Dynasty, the Tongzi River
is a moat that surrounds the outer perimeter of the Forbidden City.
As a native of Beijing, Wang Yuping has a deep It mirrors the watchtower with yellow glazed tiles, which serves as
affection for the city’s scenery and people. He a lookout for the defence of the city. The river is well-known for the
often travels through the city’s streets and alleys tale of “gold city wall and boiling moat”. Under Wang Yuping’s brush,
with his painting tools, depicting the four seasons the watchtower and the moat in summer have the brightest tone,
of his hometown, the ancient ruins, parks, lanes telling the infinite vitality of everything flourishing: A clear blue sky
and streets. The natural brushstrokes and the is reflecting the green willows on the banks and the golden brilliant
pure colours present the tenderness of every watchtower, showing the splendorous royal style. Wang Yuping did not
Beijinger’s childhood memories. The Painting only focus on the grandeur of the ancient buildings themselves, but
Beijing series, which started in 2010, is one of also included the tourists on boats in the painting, injecting a human
his most representative creations and is widely emotion into the painting. The towering electric lamps in the painting
favoured by collectors. Watchtower Overlooking are a modern interpretation of the Forbidden City, blending the past
Forbidden City No.4 (Tongzi River) (Lot 87) and The with the present and incorporating the “changes and constants” of
14th of January (Diptych) (Lot 88) are two classic the Forbidden City over the centuries.
representations of the series.
Red Lanterns Hanging High, Stone Lions Wishing Peace
The Unique Diptych: The 14th of January
There is an old Beijing proverb that says: “The lion in Yong’an
Monastery faces inwards.” It means “different from the rest”.
Completed in 2013, The 14th of January (Diptych) captures Yong’an
Monastery in Beihai Park, which Wang Yuping has sketched many
times and loves. This work features a pair of stone lions under the
Jicui Pai Fang on the south side. By using the form of a diptych like
comics, he creates a continuous scene of “multiple perspectives in
one place”. In the lower left of the two frames, he recorded the dates
of the 14th and 15th days of the first month of the lunar calendar, and
used the change of time to create a dynamic sense of vision: From the
݂ࢗԉᅽɓ౻

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