EXHIBITED:
China - Paris, Seven Chinese Painters Who Studied in France, 1918-1960, Taipei Fine Arts Museum, Taipei, March 26 - June 26, 1988
The Art of Lin Fengmian, Hong Kong Art Centre, Hong Kong, December 12 to 29, 1992
The Approach of Lin Fengmian, Shanghai Art Museum, Shanghai, 1999
ILLUSTRATED:
Shiy De-jinn, Contemporary Chinese Painter - Lin Fengmian, Hsiung Shih Books Pte. Ltd,, Taipei, 1979, black-and-white illustrated, p. 93
Hsiung Shih Montly, (Lin Fengmian Album, October 1979) , Hsiung Shih Books Pte. Ltd. Taipei, 1979, black-and-white illustrated, p. 16
Wu Guanzhong,〃Remembrance of the Gardener in the Flower Garden〃Artist Magazine, Hong Kong, issue August 1983,
black-and-white illustrated, p. 203
China - Paris, Seven Chinese Painters Who Studied in France, 1918-1960, Taipei Fine Arts Museum, Taipei, 1988, color illustrated, p. 81
Lin Fengmian,'Expression, Communication and Other Matters' Artist Magazine, issue October 1989, black-and-white illustrated, p.35
The Art of Lin Fengmian, Hong Kong Art Centre, Hong Kong, 1992, color illustrated, p.59
Zheng Yi & Jin Shangyi ed., Lin Fengmianˉs Theory, Zhejiang Academy of Fine Arts Press, Hangzhou, October 1990,
color illustrated, no. 3, p. 171 (titled〃Landscape〃)
The Collected Works of Lin Fengmian Vol. 2, Tianjin Peopleˉs Publishing House, 1994, color illustrated, nos. 218-219 (titled 〃Landscape〃)
The Approach of Lin Fengmian, China Academy of Art, Hangzhou, 1999, color illustrated, p. 255
Zheng Zhong, Lin Fengmian Biography, Shanghai Orient Publishing Center, Shanghai, October 1999, color illustrated, p. 6
Zhou Weiming ed., Collection of Art Garden Studio No. 72: Sanhuai Tangˉs Modern Chinese Paintings,
People Fine Arts Publishing House, Shanghai, 2004, color illustrated, p. 24
PROVENANCE:
Ancient collection of Chung Kiu Products Emporium Ltd., Hong Kong
Collection of Sanhuai Tang, Hong Kong
Catalogue Note:
Art critics believe that the Chongqing period was the gestation phase of Ling Fengmian's art, with the Shanghai period being the development phase and his Hong Kong period the mature phase. The theme of riverside landscapes continued into the later phases. The liverside Landscape? to be listed in this auction for example dates from the late 1970's, and it is cataloged in Shiy De-jinn ontemporary Chinese Painter - Lin Fengmian? The niverside Landscape?can be considered a representative masterpiece of his later painting period. This work has frequently been exhibited and included in publications, and when it was on display at the Taipei Fine Arts Museum in 1989 as part of the hina - Paris: Seven Chinese Painters Who Studied in France, 1918-1960? the exhibition catalog's review of the painting stated that: if Ling Fengmian's landscape paintings, this is one that is closer to Chinese ink paintings. The depth and tone is superior to works with a higher level of coloring, and the way the layering was painted has influenced many Chinese painters. The use of space is very finely judged, making this an outstanding example of Lin Fengmian's land scape paintings. (China - Paris: Seven Chinese Painters Who Studied in France, Taipei Fine Arts Museum, 1988, p. 81)
The ancient yet still forceful pines in the niverside Landscape with their unbending presence are imbued with the artist's tenacious personality. Within the limited boundaries of the canvas Ling Fengmian has created an imaginary world whose horizons disappear into the future, demonstrating his ability as thea grand master of art. The spacing within the river waters in the center is quite exceptional, with the contrast between light and color practically becoming the soul of this masterpiece! The dark clouds and the housing by the river shrouded in mists seem to hint at how far away the homeland had become. Light peeks out from behind the distant mountains, and the variations in the weather are simply endless. The clear river emphasizeds the uprightness and vitality of the ancient pines in the foreground, expressing the artist's feelings, making this work the result of rare artistic refinement.
Lin Fengmian painted many riverside landscapes of his homeland from memory. The earliest was during the early 1940's during the war-torn period while he sought sanctuary in Chongqing, well away from the front. Shiy De-jinn says: uring this period he explored new techniques and made ink paintings of beautiful women. As he spent a great deal of time along the Yangtze River and Jialing River, the magnificent mountainous landscape through which the rivers flowed left him with an indelible impression. Whenever he crossed the river to return from Chongqing, he would observe the ships on the river as well as the changes in the mountain scenery. This meant he made many paintings of riverside landscapes and ships. (Shiy De-jinn, Contemporary Chinese Painter - Lin Fengmian, Hsiung Shih Books Pte. Ltd., Taipei, 1979, p. 58)
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