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Home > Auction >  Asiatische Kunst >  Lot.2042 CHENG, CONGLIN1954 ChengduRepresentative of Chinese 'Scar Art' in the 1970s. Young [...]

LOT 2042 CHENG, CONGLIN1954 ChengduRepresentative of Chinese 'Scar Art' in the 1970s. Young [...]

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CHENG, CONGLIN1954 ChengduRepresentative of Chinese 'Scar Art' in the 1970s. Young goat herder. China. Dated 1991. Oil on canvas. 69 x 56.5cm. The young woman, whose clothes clearly show that she is not married, stands in front of the gate of the goat pen with lower wall. Behind it, the higher wall around an estate with trees in fresh leaves. She is dressed in a long pleated skirt with blue and brown ribbons, combined with a top, which closes on the right shoulder and an embroidered collar. She wears a small headgear, jewelry in her ears, at the wrists and a necklace. Lowering her gaze, her face shows a serene expression. On a long leash, she holds a young, black and white spotted goat. Sign.: Cong Lin. 1991 (below right). Wooden frame 82 x 69.5cm. Framed in July 1991 by Art Trade TH. HÜLSMEIER, Osnabrück. Backside a label. Condition A/B. Provenance:-North German private collection. In the family estate since 1991.The Yi people, one of China's 55 minorities, live mainly in the mountainous areas of the provinces of Sichuan, Yunnan and Guizhou. In addition to their own language, as well as indigenous ideograms, they cultivate their own costumes, which include wide, pleated skirts combined with jackets dyed in dark indigo blue. Cheng Conglin, born in Chengdu, Sichuan, studied oil painting in the 1970s and 80s at the Institute of Fine Arts Sichuan, where he later worked as a professor, as well even later at the Central Art Academy of China. Upon invitation of the 'Centre national arts plastiques', he was guest in France in 1986. In the period from 1987 to 1990 he taught as visiting professor at the University of Osnabrück. From 1984 to 1990 he worked on two extremely large and impressive cycles with the themes of 'Wedding and Funeral of the Yi', which have been exhibited 1992 from May 24 to June 7, in the Kunsthalle Dominikanerkirche, Osnabrück together with other works. In the period of the Chinese Cultural Revolution and even before in the time before, art mostly served propagandistic purposes under the highest cultural maxim: 'Art in the Service of the Politics'. After the end of the Cultural Revolution in 1976, the political situation changed and likewise the situation of artists. A long suppressed urge for freedom broke free everywhere. Numerous artists dealt with the events of this extraordinary epoch. In many works of art of this period the consciousness about the fanaticism and violence that had been exerted on people became an important issue. But after the end of the Cultural Revolution persons are no longer shown as heroic embodiment of valiant ideas and concepts, but are portrayed as individuals with their feelings readable. Often, however, a melancholic mood prevails, the people are introspective and the coloring of the painting is dark, sometimes almost monochrome. At the end of the 1970s, the 'Scar Art' represents one of the main trends of Chinese contemporary art. The denotation derives from a narrative published in 1978 entitled 'Scars'. Besides Zhang Hongnian, Luo Zhongli, Gao Xiaohua and others Cheng is an important representative of this style.The painting "Young Goat Herder" represents a somewhat later phase in which Cheng was concentrating on the portray of persons of the Yi people in Liangshan, Sichuan. The paintings developed under the influence of impressionism. They show volatile moments in which the light and the atmospheric conditions constitute an important part of the representation. Overall, the picture conveys great vibrancy and depth, on the one hand by skillful shading and on the other hand by the setting of the persons, the wall, the trees and the house in a the stage-like scenery, which is also used as technique in traditional Chinese painting. Explanations to the Catalogue程丛林 (1954-)牧羊少女1991年 布面油画 69x56.5cm彝族少女身着绣花镶边的深蓝黑色大襟右衽上衣及长坎肩,乌黑的头髮中分,头戴橄榄绿色头巾,佩戴琥珀耳饰与项链,领口别有银排花,右手戴腕链,下身着绿棕两色窄布相间横联的四分层百褶长裙,裙呈喇叭状几乎拖地。双手自然下垂,持一长绳,一端系正低头吃草的黑白纹相间的羊羔。她们身后是米黄色的羊圈栅栏门和低矮的圈墙,之后的土夯院墙内几株新叶茂盛的大树,远处的瓦板房亦清晰可见。此画取材于四川大凉山彝民生活场景,画面如照片胶卷般定格在初夏某个清晨,寂静笼罩:牧羊少女面容姣好,低垂眼帘,似乎陷入了深深的思绪;身旁羊羔亦是静静直立,几乎感受不到它咀嚼的动作。签名(右下):「丛林Cong Lin. 1991.」。品相等级A/B。配1991年7月于德国奥斯纳布吕克TH. HÜLSMEIER艺廊定制的木质画框,尺寸82x 69.5cm,背后有艺廊标签。来源:德国北部私人藏品。1991年入藏,并由家族传承。程丛林,中国着名油画家,代表作品《1968年×月×日雪》、《1978年·夏夜》、《华工船》等。作品多为中国美术馆及香港冯平山博物馆、台湾山艺术馆等海外艺术机构及私人收藏。1954年出生于四川成都,1982年毕业于四川美术学院油画系,1986年结业于中央美术学院油画系研修班,曾任教于四川美院、中央美院。1986年应法国文化部造型艺术中心(Centre national des arts plastiques)邀请,赴法国从事艺术和教学活动。1987年至1990年 ,被聘为德国奥斯纳布吕克大学客座教授,期间完成了构思四年、创作三年的巨幅作品《送葬的人们》和《迎亲的人们》(60米x2米)以及一批取材于彝人的小型油画,如《阿米子和牛》、《取水》、《墙外》等。1992年5月24日至6月7日以此在奥斯纳布吕克艺术馆(Kunsthalle Dominakanerkirche)举办了名为“彝人的迎亲和送葬”的个人画展。程丛林曾是“伤痕美术”的主要代表人物之一。“伤痕美术” 是20世纪70年代的文革后期出现的美术现象,从“艺术服务于政治”的理想主义、英雄主义,转向悲情现实主义与平民主义,开始关注普通人的命运和内心需求,重视生命个体的价值,以反思和批判为基调,以写实的手法表现,色调灰冷。以何多苓、高小华、程丛林、周春芽、罗中立等人为代表的四川画派,将“伤痕美术”推到了高潮,谱写了中国当代美术史上的一段华美篇章。《牧羊少女》是程丛林创作中期的作品,其中可看出受到印象派油画的影响,光影及气氛的营造成为创作的重要的一个部分。构图严谨,错落有致,笔法写实细腻,用色凝重单纯,实为画家彝人题材油画的佳作。Conglin Cheng China 20th C. Asian Art - Chinese Paintings 1950s Figurine Painting ChinaCHENG, CONGLIN1954 ChengduVertreter der chinesischen 'Narbenkunst' in den 1970er Jahren. Junge Ziegenhirtin. China. Datiert 1991. Öl auf Leinwand. 69 x 56,5cm. Die junge Frau, deren Kleidung deutlich zeigt, dass sie nicht verheiratet ist, steht vor dem Gatter des Pferchs. Dahinter die höhere Mauer um ein Anwesen mit Bäumen in frischem Laub. Sie ist in einen langen Faltenrock mit blauen und braunen Bändern gekleidet, kombiniert mit einem Oberteil mit Verschluss auf der rechten Schulter und einem bestickten Kragen. Sie trägt eine kleine Kopfbedeckung, dazu Schmuck an den Ohren, den Handgelenken und eine Halskette. Die junge Frau hat den Blick gesenkt und

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