Published on：2020-10-16Views：11
Artwork Analysis
This work by Hsu Gu-An (1926-) depicts an eagle standing upright on erected rocks sweeping its sharp eyes across the distant sky for prey, ready to pounce. Painter’s inscription: "Prospect; Hsu Gu-An (Jun-Shou) from Taoyuan under the lanterns in Xin Hua Hall, Keelung." Name seal: "Jun-Shou" (intaglio); Corner seal: "Shui Yuan Abode" (relief).
The composition of this painting is simple and stable. A giant rock rises up from the lower left to the upper right; an eagle perches on the top of the rock, its head turned to the left to gaze into the distance, forming a slight S-shape. The light reddish-brown leaves in the background droop from the upper left to the lower right, forming a stable X-shaped composition with the rock. The contour of the rock is outlined and wrinkled with broad brushstrokes, and most of its surface is left with large patch of blankness. "Emptiness" is used to accentuate the eagle, the protagonist of this painting, directing one’s visual focal point to the back feathers and tail feathers that are dotted and dyed with dark ink. The eyes and peak are outlined with robust lines. The eyeballs are dyed in earthy yellow. The peak and claws are dyed with light flower blue pigments to render a majestic, overwhelming effect.
The eagle symbolizes courage, precise judgment, and an overbearing stance above the crowds. The title "Prospect" inscribed by the painter contains grandeur and resonates with the spirit of the eagle in the painting. Hsu Gu-An is adept at painting landscapes, flowers and birds, insects, and fish. From sketching figural objectives and narratives to expressing imageries and emotions, Hsu’s technique is known for its sublimity, and in his old age, Hsu has reached a state in which "the hand is guided by the heart" to "freely create all that is between heaven and earth" and cover every subject matter. The art critic Yao Meng-Gu (1912-1993) commented on Hsu’s broad freehand brushwork and described it as "having a refreshing, unparalleled, freefall style." Hsu applied his solid, in-depth life sketching prowess for a maneuvering of freehand brushwork to capture the essence of subjects in all forms. Hsu was the 8th secretary general of the Chinese Arts Association, and he has published several albums of paintings and hosted over 100 solo and joint exhibitions.
The composition of this painting is simple and stable. A giant rock rises up from the lower left to the upper right; an eagle perches on the top of the rock, its head turned to the left to gaze into the distance, forming a slight S-shape. The light reddish-brown leaves in the background droop from the upper left to the lower right, forming a stable X-shaped composition with the rock. The contour of the rock is outlined and wrinkled with broad brushstrokes, and most of its surface is left with large patch of blankness. "Emptiness" is used to accentuate the eagle, the protagonist of this painting, directing one’s visual focal point to the back feathers and tail feathers that are dotted and dyed with dark ink. The eyes and peak are outlined with robust lines. The eyeballs are dyed in earthy yellow. The peak and claws are dyed with light flower blue pigments to render a majestic, overwhelming effect.
The eagle symbolizes courage, precise judgment, and an overbearing stance above the crowds. The title "Prospect" inscribed by the painter contains grandeur and resonates with the spirit of the eagle in the painting. Hsu Gu-An is adept at painting landscapes, flowers and birds, insects, and fish. From sketching figural objectives and narratives to expressing imageries and emotions, Hsu’s technique is known for its sublimity, and in his old age, Hsu has reached a state in which "the hand is guided by the heart" to "freely create all that is between heaven and earth" and cover every subject matter. The art critic Yao Meng-Gu (1912-1993) commented on Hsu’s broad freehand brushwork and described it as "having a refreshing, unparalleled, freefall style." Hsu applied his solid, in-depth life sketching prowess for a maneuvering of freehand brushwork to capture the essence of subjects in all forms. Hsu was the 8th secretary general of the Chinese Arts Association, and he has published several albums of paintings and hosted over 100 solo and joint exhibitions.
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