Page 368 - 亚洲二十世纪及当代艺术

100 胡善餘 1909-1993 Hu Shanyu

๩ʆ࠶ൖ Overlook from Coal Hill
ذ੹ ೥̺ Oil on canvas
36.5 × 59.5 cm. 14 /8 × 23 /8 in.
3
3
ಛᗆ
ഛቱ€̸ɨ Signed in Chinese on bottom left
̈و
̈و
1997 ϋdߡഛቱ೥ණ‘d౱๯ᖵஔʕːd̨̏d 1997, Paintings of Hu Shanyu, Dunhuang Art Co. Ltd.,
Taipei, p.8 & 25
ୋ 8 ʿ 25 ࠫ
PROVENANCE
Ը๕ 22 Nov 2010, Beijing Chengxuan Autumn Auction, Lot
2010 ϋ 11 ˜ 22 ˚d̏ԯ༐৐߇֙שርึdש 719
ۜᇜ໮ 719 30 Mar 2019, China Guardian Hong Kong Spring
2019 ϋ 3 ˜ 30 ˚dྗᅃ࠰ಥ݆֙שርึdשۜ Auction, Lot 704
ᇜ໮ 704 Acquired directly by present important private Asian
ତԭݲࠠࠅӷɛᔛ࢕ٜટᒅІɪࠑԸ๕ collector from the above
HKD 150,000 – 250,000
USD 19,200 – 32,100

ᑘͦɷԢdѯᒪ་ઋ Setting the Eye Afar, a Grand and Expansive
ߡഛቱٙࠬ౻೥˾ڌ๩ʆ࠶ൖ‘ Poetic Sentiment
Signature Landscape Artwork by Hu Shanyu
ίذ೥Ҧجෂɝʕ਷ܝٙ 300 ϋʕdߡഛቱ݊˜ࠌГ˙वኪٙ೥࢕ʕ՟੻߉̈ϓ
ఱٙɓЗdɰ݊ίʕГ˙ᖵஔፄသʕІϓɓࣸٙᖵஔ࢕™f˼ձюڿʕeᘽ˂ሮഃ During his studies in France, Hu Shanyu came into contact
؄ψᖵਖ਼ٙᖵஔ΋ቜࡁܔͭৎ˜ኪ஫؇ГeІϓɓ᜗™ٙ௴ЪࠬࣸdԨ࠾пवج with the latest movements and theories in Western
painting. He and other Chinese expats such as Wu
ᆠᆓ̂ʱટᙃГ˙ᖭ೥ٙ၇၇ࠧอdމʕ਷ڐତ˾ᖵஔ೯࢝ৎՑəࠠࠅપਗЪ͜f Guanzhong collectively developed a style fusing East and
ՉЪۜಀ஗ʕ਷ߕஔ᎜eɪऎߕஔ᎜eیԯߕஔ᎜ഃϗᔛdԨމʕ਷ߕஔ᎜ϗᔛ West in order to become trailblazers of Chinese modern art.
Ъۜ௰εٙ೥࢕ʘɓf
In his work Overlook from Coal Hill, Hu paints a panoramic
ߡഛቱ೥ࠬՊඩeўႅdᑺӺிۨٙ୚ጰdШɦՈГ˙Ι൥ݼ౴ᙻε۶ٙЍ੹d view of a modern city. In the foreground, the hill’s luxuriant
˼ፄึГό௴Ъదҿၾ؇˙ߕชdක௴̈ɓ၇ՈϞ˜Г˙ிۨe؇˙ઋᗲ™ٙ೥ foliage takes up close to half of the canvas. Among
ࠬd݊ϣ߇שٙ๩ʆ࠶ൖ‘уމၖʕڌᅄfЪۜಀ׵ 1997 ϋ̈و׵౱๯ᖵஔ the trees, one can make out a Chinese-style pagoda
ʕːߡഛቱ೥ණ‘fϤ೥ྤમ՟ɓࡈतࣿٙ࠶ൖൖԉd೥࢕೮৷ૐჃdਗ਼อࣛ˾ and, farther away, what appears to be a palace. These
unexpected elements add the romanticism and tranquility
̹ٙ۬ࠬႶးϗ଻ֵdڐ౻ʆɪٙ߱੗ዓᓉЦኽɓ̒೥షdڤ̨ᅽტᓃၢՉʕd of a classical Chinese garden to this otherwise modern
ረʚ຅˾̹۬౻ᝈ˸Ϫی෤؍ছٙ་จiჃஈ̹ٙ۬ࠦႶίϤɓᚎೌ፲d੭Ϟᑘ scene. The jumble of urban buildings extends far into the
ͦɷԢٙѯᒪൖ௉dԨᛖϖ̈ʆɪІ್౻ᝈٙᜳਗʘชdί࿁ˢʕᜑͪ̈຅˾ٟ distance, giving a sense of the breadth and majesty of the
ึІ್ၾɛ˖౻ᝈٙձፓ΍ፄf city. Meanwhile, the stark contrast between foreground and
background sets off the beauty of the hillside while at the
ί͜Ѝɪdߡഛቱ˸εࠠʹᛌٙЍ෯ආБ቗ྦdԴʆ؍e૭ڤe̹۬ܔጘഃ౻ي same time hinting at a harmonious coexistence of human-
੭Ϟν෦֠€Paul Cezanneࠬ౻೥ছٙ਺ྼชiϾڐ౻͜അ৻᐀ʹ፹eჃஈ۬ made and natural elements in contemporary society.
̹ၾڐஈܔጘɪЍ੹ٙ׼ฮிۨۆᜑͪ̈ᅃ̋€Edgar Degas࿁˼ٙᅂᚤfуԴ Where the use of colour is concerned, Hu creates the
νϤdߐ๩ʆ࠶ൖ‘೥ࠦʕ̙˸޶Ց؇˙ෂ୕ࠬ౻ʕٙᄽρeᔝߎЍ੹޴ʹٙ underlayer of the image using both opaque colour blocks as
φ෫ிۨܔጘd࢝ତଉᄴٙ؇˙ well as diluted oil paints that have the translucent quality
ߕชfԨஷཀಯࢮܔጘeዓ˝ of aquarelle. In this way, he gives common scenery such
ഃي൥ٙ׼ฮԸ߉ᜑ౻൥ගٙ as the hillside foliage, the pagoda, and the urban buildings
࿁ˢd࢝ତ̈ڐஈʆ౻eჃஈ a sturdy and clearly defined appearance reminiscent of
̹۬˸ʿ׼ࣦ˂٤ගࠠࠠપආ works by Cézanne. Meanwhile, the influence of Toulouse-
Lautrec and Degas is evident in Hu’s alternation between
ٙᄴϣdɧ౻ʱ׼dԴЪۜί dry and wet brushstrokes when painting crisp lines in the
ୌΥʕ਷ෂ୕ᄲߕจሳٙΝࣛd foreground as well as his contrasting use of bright colours
ɦࡒՈГ˙ذ೥ڌତٙ͛նɢf on the Chinese buildings and duller colours on the urban
scenery in the background. Furthermore, by incorporating
ߡഛቱٙࠬ౻௴Ъίᄳྼʕء the traditional Chinese technique of creating depth and
ࠠจ൥ٙڌ༺dɦίจ൥ʕݴᚣ variety of space through the use of contrasting hues such
̈Іί͉׌fӊɓഅேʹᔌഹ as yellow and green or red and blue, Hu masterfully fuses
˼࿁ତྼၾईဘٙ৛஼d˜˼ࣉ Chinese aesthetics with the expressiveness of Western oil
ߡഛቱࠬ౻‘dذ੹೥̺d45 x 59.5cmdשርϓʹᄆ
625,000ʩಥ࿆ ࣍ٙ݊ชᙂdڌ༺ٙۍ݊ଉઋ™f painting.
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