Published on：2020-10-16Views：6
Artwork Analysis
This painting by Wu Fung-Chun (1954-) features mountain boulders and pine tree forests, valley streams and mid-mountain villages with two men strolling by the water bank chatting under a pine tree. Painter’s inscription: "Casual conversation in the mountain village. Painted by Fung-Chun." Name seal: "Yang Yu" (intaglio), "Magnificence stems from exquisite details" (intaglio).
The pine tree forest in the foreground takes up one-third of the painting layout with streams surrounding the mountain boulders in the middle ground. The mountain ridges slope down from the upper right of the painting towards the bottom left to form an invisible diagonal line in the composition that highlights a sense of space in the middle ground. Halfway up the mountains are pine tree forests and villages with stretches of mountains at a farther distance. The painting features overall simplistic sleek lines, full of ingenuity. The pine forests in the foreground use the "vertical dot" technique for the pine leaves, and the mountain boulders in the middle ground use the "vertical dot" and "horizontal dot" techniques. The streamlined rivers and the distant mountains painted with broad brushstrokes suggest a sense of playfulness. In terms of colorization layout, the pine tree forests are smudged with flower blue pigments, mountains in verdant green, rooftops in brick red, streams in light grey and distant mountains in pink, together rendering an awe-striking effect. The painter has created a clear and energetic rhythm through a simplistic layered composition to express a sense of rustic, straightforward aesthetics with unrestrained abandon.
Wu Fung-Chun specializes in ink painting, calligraphy, and seal engraving and has expertly studied inscriptions on drum-shaped stone blocks of the Warring States period for many decades. Wu’s calligraphic style tends to contain a certain musicality through ingenious mastery, while blending the lines and unadorned aspects of his calligraphy into his paintings, thus resembling the style of ZHENG Shan-Xi (1932-), a representative painter of the "Literati Ink Painting Popularization" movement, overflowing with naiveté and childlike merriment.
The pine tree forest in the foreground takes up one-third of the painting layout with streams surrounding the mountain boulders in the middle ground. The mountain ridges slope down from the upper right of the painting towards the bottom left to form an invisible diagonal line in the composition that highlights a sense of space in the middle ground. Halfway up the mountains are pine tree forests and villages with stretches of mountains at a farther distance. The painting features overall simplistic sleek lines, full of ingenuity. The pine forests in the foreground use the "vertical dot" technique for the pine leaves, and the mountain boulders in the middle ground use the "vertical dot" and "horizontal dot" techniques. The streamlined rivers and the distant mountains painted with broad brushstrokes suggest a sense of playfulness. In terms of colorization layout, the pine tree forests are smudged with flower blue pigments, mountains in verdant green, rooftops in brick red, streams in light grey and distant mountains in pink, together rendering an awe-striking effect. The painter has created a clear and energetic rhythm through a simplistic layered composition to express a sense of rustic, straightforward aesthetics with unrestrained abandon.
Wu Fung-Chun specializes in ink painting, calligraphy, and seal engraving and has expertly studied inscriptions on drum-shaped stone blocks of the Warring States period for many decades. Wu’s calligraphic style tends to contain a certain musicality through ingenious mastery, while blending the lines and unadorned aspects of his calligraphy into his paintings, thus resembling the style of ZHENG Shan-Xi (1932-), a representative painter of the "Literati Ink Painting Popularization" movement, overflowing with naiveté and childlike merriment.
Artist Profile
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