Page 374 - 亚洲二十世纪及当代艺术

102 尹朝陽 b.1970 Yin Zhaoyang

ಃശ Vase of Flower
ذ੹ ೥̺ Oil on canvas
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1
ɚ㖼ɓʬϋЪ 100 × 80 cm. 39 /8 × 31 /2 in.
Painted in 2016
ಛᗆ
ಃජ 2016 ϋ€೥ߠ Signed in Chinese and dated on the reverse
PROVENANCE
Ը๕ Aura Gallery, Taipei
̨̏͵τ೥఼ Acquired directly by present private Asian
ତԭݲӷɛᔛ࢕ٜટᒅІɪࠑԸ๕ collector from the above
HKD 180,000 – 280,000
USD 23,100 – 35,900
ʙಃජڀ̓‘dذ੹೥̺d80 x 60 cmd
As an important representative of Chinese contemporary absence of mountains. Under 1997 ϋЪfʙಃජԙʦଭ͛ଧڀ˴ᕚʘ
post-70s artists, Yin Zhaoyang initiated a generation of people the reflection of sunlight, it Ъස̥ɧ΁d௰Ϙ̙Ԉ׵ϤЪdʿЇ݊ϣ
to think deeply about self-image and emotional radiation adds a touch of gentleness. ɪשҁϓ׵ 2016 ϋٙೌᕚ‘
with the theme of “Cruelty of Youth”. With the development of Looking back at Mount Song with a blanket of snow, it stands
the Square, Myth and Dazzle series, Yin Zhaoyang gradually with an unchanged majestic posture, as if trying to compete
constructs his “psychological field” painting, which is full of with the heavens for height. Under Yin Zhaoyang’s brush, the
strong personal characteristics. He continues to question poetic meaning of traditional landscape is sublimated into a
individual spiritual freedom and extends this exploration to powerful visual shock. With the solemnity of looking up to high
important breakthroughs in landscape and still-life subjects mountains, it has traversed countless mountains and rivers.
after 2007. With a colourful banquet, it returns the gaze of our eyes. In
this icy and snowy world of snake-like mountain dancing, it
After breaking away from a decade of realistic creation, Yin
Zhaoyang has retraced the millennium of oriental landscapes resonates with the poetry of clear valley echoes, and radiates
that has endured for a thousand years since 2007. He with a lofty power.
combines the power and vitality of previous works with a Born Like a Summer Flower, a Spiritual Brush Surpasses
contemporary visual language and a personal attempt to the Soul
depict the spiritual landscapes of mountains and rivers, Vincent van Gogh to Yin Zhaoyang is like the spiritual power of
flowers and colour. Completed in 2015, Snow Valley (Lot 103) Mount Song. Since the beginning of his creation in 1995, when
breaks away from the usual portrayal of Mount Song and he created still life in a post-impressionist, expressionist style,
presents a unique frozen snowscape. It is one of only two works to the Van Gogh Series launched after 2020, Yin Zhaoyang
that appeared in the market out of his lifelong collection of less has evolved from his early realistic expressions to his current
than 30 “snowscape” themed works. Vase of Flower (Lot 102) in unbridled and intense oil expressions in the past twenty years.
2016 is one of only three rare flower-themed representatives, This auction showcases his extremely rare still life work Vase
showcasing his unique personal style of oil painting texture of Flower, which fully demonstrates the artistic achievements
since 2010. of the past twenty years through vibrant layers of oil paint,
Snowy Splendor, the Enchanting Grandeur of Sacred scraping, and fusion.
Mount’s Snow Valley In the painting, the abundant colours and dynamic
Yin Zhaoyang once said, “The unique bright texture of brushstrokes are repeatedly stacked on the horizontal and
Mount Song has greatly shaken me, and its ancient and vertical axes, bursting out with a vigorous life force. Vermilion
firm temperament made me reexamine the reasons for red, vivid orange, and delicate pink-white intertwined, like
this attraction.” In this artwork Snow Valley, he uses layers various colourful flowers, embellished with the ink-green
of thick oil paint and vertical brushstrokes that resemble colour of leaves. The ochre base contrasts with the warmth
falling snow to represent the ancient brushwork technique. and vibrancy of the room and confines it within a blue and
This creates vivid dimensions of mountains and rocks, fully white porcelain vase. In the symphony of colours and textures,
demonstrating Yin Zhaoyang’s exquisite presentation of “sense the work seems to have the layering and scraping sensation of
of place.” Within the snow valley, colours are not limited to German artist Gerhard Richter, and it presents a transcendent
pure whiteness, but vaguely reveal an infinite evolution of temperament from the Orient, emerging as a self-portrait of
lemon yellow, sapphire blue, ink green, and blush orange. Vincent van Gogh’s spirit, just like the sunflowers.
When combined with white pigments, it gives rise to a multi- Yin Zhaoyang, with the prominent colours of flowers,
dimensional illusion of rainbow-like brilliance, resembling the establishes his most proud spatial field force. The intense
supreme radiance of a rainbow shining on a sacred mountain. orange-red colour in the painting is precisely the vital colour
The underlying rocks and mountains exhibit a resolute texture that Yin Zhaoyang consistently uses in his art, like the blood
that has weathered storms, establishing a majestic space of of the artistic soul surging from deep within, and ultimately
both quality and colour.
transcending the image itself, illuminating the ultimate
In the background, that lasting dawn red colour, forever present brilliance of the soul in the blink of an eye.
in Yin Zhaoyang’s works, is also hidden in the presence or
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