PRINTEXHIBITED:
Ink Asia 2015, Hong Kong Convention and Exhibition Center, Hong Kong, December18 – December 20, 2015
Ink Asia 2015, Hong Kong Convention and Exhibition Center, Hong Kong, December18 – December 20, 2015
|
Autumn Landscape
|
|
2014 - 2015 Mounted scroll, ink and color on paper 71 x 71 cm Signed lower right Baili in Chinese |
|
Estimate
340,000 - 500,000 1,429,000 - 2,101,000 43,800 - 64,400
|
|
Sold Price
340,000 1,422,594 43,758
|
|
|
Catalogue Note:
Born in Guangzhou in 1945, He Baili moved to Hong Kong at a young age. From the 60s to the 70s, his style turned from sketching to ink wash landscape painting. He received his education in Hong Kong and joined the Lingnan School, one of the three revolutionary art movements in the contemporary Chinese art scene. In the process of seeking the future of Chinese painting under global art trends, the Lingnan School became the art school that had the deepest influence on the refinement of Chinese painting. As the successor to Lingnan School. He concentrated on studying paintings of the Song and Yuan dynasties after moving to Canada in 1984. He originated a freehand style that combined the techniques of splash ink, break ink, ink staining and color blending wash, showing the infinite force of life in nature in Chinese painting.
Canada’s fall foliage, especially during the time the mountains turn red with maple leaves, inspired He, who has lived there for 20 years, to create Autumn. Chinese literati often used maple leaves in their poems to signify their yearning and reminisce about the past. In China, autumn has long been associated with solitude. However, He adopted a new perspective to depict his Autumn by combining the Western style with cinnabar and qing wo (a blue-green mineral pigment). He devoted himself to developing a new painting skill, which portrays the landscape in nature while at the same time convey the essential feelings in traditional culture.
The painter employed vivid and bright tones and painted leaves in bright yellow or garnet with a compact composition and elegant coloration, but the style was different from the well-known boneless landscape technique. Red leaves shine through misty air. Clear springs tumble from the steep hill. The mountain afar is faintly discernible behind the puffy clouds. The way he depicted the trees was particularly delicate. Dense mist pervades a sea of trees, mirroring each other in a highly decorative method. He emphasized the mixture of wash; ink and color, making water vapor emerge from wash ink and thick ink. The bright red halo surfacing from the ink is imposing and natural. The seas of trees and the thin mist outlined with cotton white perfectly show a moist and harmonious temperament, allowing viewers to delve into infinite imagination. Influenced by Western painting style, He preferred gentle and elegant use of ink, making a peaceful and refreshing design on the canvas. Such a use of brush and ink was considered a new style of the Lingnan School. The freehand landscape filled with spirited ink and color wash creates an otherworldly artistic realm, which is indeed a new direction of modern Chinese landscape painting. The multi-colored maple trees and rosy clouds pervade the whole canvas.
Canada’s fall foliage, especially during the time the mountains turn red with maple leaves, inspired He, who has lived there for 20 years, to create Autumn. Chinese literati often used maple leaves in their poems to signify their yearning and reminisce about the past. In China, autumn has long been associated with solitude. However, He adopted a new perspective to depict his Autumn by combining the Western style with cinnabar and qing wo (a blue-green mineral pigment). He devoted himself to developing a new painting skill, which portrays the landscape in nature while at the same time convey the essential feelings in traditional culture.
The painter employed vivid and bright tones and painted leaves in bright yellow or garnet with a compact composition and elegant coloration, but the style was different from the well-known boneless landscape technique. Red leaves shine through misty air. Clear springs tumble from the steep hill. The mountain afar is faintly discernible behind the puffy clouds. The way he depicted the trees was particularly delicate. Dense mist pervades a sea of trees, mirroring each other in a highly decorative method. He emphasized the mixture of wash; ink and color, making water vapor emerge from wash ink and thick ink. The bright red halo surfacing from the ink is imposing and natural. The seas of trees and the thin mist outlined with cotton white perfectly show a moist and harmonious temperament, allowing viewers to delve into infinite imagination. Influenced by Western painting style, He preferred gentle and elegant use of ink, making a peaceful and refreshing design on the canvas. Such a use of brush and ink was considered a new style of the Lingnan School. The freehand landscape filled with spirited ink and color wash creates an otherworldly artistic realm, which is indeed a new direction of modern Chinese landscape painting. The multi-colored maple trees and rosy clouds pervade the whole canvas.