Author: PANG MAOKUN 庞茂琨
Signed and dated: Painted in 1992
Final Price: RMB 2,800,000
1998 Pang Maokun Painting Collection / Chapter Yi / P23 / Mountain Museum
2011 Pang Maokun Complete Works of the Fifth Anniversary of Chinese Realistic Painting School / P24-25 / Jilin Fine Arts Publishing House
2011 Gaze in Silence - Pang Maokun and Contemporary Chinese Oil Painting / P33 / Chong Qing Publishing House
2014 Ten years’ Chinese Realistic Painting / P346 / Cultural Art Publishing House
2014 Ten Years of Chinese Realistic Painting School / P58 / Cultural Art Publishing House
signed in Chinese, dated 1992
1992 Pang Maokun Works of Art solo exhibition, Yan Huang Art Museum，Tai Wan
1998 Classic and Morden Reflection-Pang Maokun Painting Exhibition, Mountain Art Museum,Tai Pei
2011 Gaze in Silence - Pang Maokun and Contemporary Chinese Oil Painting, Guang Zhou Opera House, Guang Zhou
2013 Floating Wolrd • Viewing - Pang Maokun Painting Exhibition, National Art Museum of China, Beijing
2014 Ten years’ Chinese Realistic Painting, National Art Museum of China, Beijing
2020 Cloud Contemporary Art Exhibition, Chengdu Shufeng 468, Cheng Du
In his creative career spanning nearly 40 years from the 1980s to the present, Pang Maokun has always persisted in exploring the expression and presentation of classical oil painting language in contemporary cultural situations, and has cast his personal artistic creation into the current social reality. He always uses the perspective of gaze to describe reality itself, so that the original quiet classical painting style is endowed by him with a sense of strangeness and distance, which is different from everyday life, thus developing a modern painting based on realistic language with the characteristics of symbolism and surrealism. Pang Maokun’s artistic temperament not only represents the construction and perfection of his personal style, but also points to the topic of more open expression of Chinese oil painting in the contemporary era.
Speaking of Pang Maokun’s works, the biggest feature is the attention to people, that is, not only to show the appearance of people, but to show the spiritual world of people in the process of portraying. All the characters in his works are not only independent objects, but also conceptual and emotional existence. He uses classical artistic language to describe the modern spiritual world, showing the artist’s inner secrets, tranquility and sadness from a very personal perspective. In this in-depth description with psychoanalytic characteristics, his characters can travel through the tunnel of time and move from the present to the future.
"Late Autumn", created in 1992, depicts a Yi woman sitting and staring. The character in the painting is beautiful but still solemn. In addition to her classical and quiet beauty, she also reveals a trace of sadness in her serene look. This inexplicable charm is precisely the subtlety that Pang Maokun has always liked, and it is also intriguing. The entire picture of the work presents a state of tranquility and solemnity, as well as an elegant atmosphere exuded by restraint. The painter has extremely accurate control of the woman in the painting sitting concentratingly, and vividly shows the woman’s sitting figure and peaceful look with delicate brushwork. At the same time, the painter has not neglected the discussion of shape, tone and spatial relationship. In the background of the picture, the earthy yellow and brown are almost equally divided. These two seemingly opposite colors show the space where the character is located, and the clothing colors of Yi women achieve a subtle and relative unity in these two tones.
In addition, his works always contain a strong metaphysical atmosphere at the same time. It is in such an atmosphere that although the viewer sees only the image and environment of the woman in the painting, he can experience a faint melancholy. Just like Mr. Shao Dazhen’s comment on Pang Maokun’s oil painting language: “We in the bustling world can get some spiritual comfort when admiring Pang Maokun’s paintings, but that’s only temporary satisfaction, and just the existence of dreams... What we deeply feel is the thinking of this young painter who is not only infatuated with Western classical civilization, but also deeply interested in Chinese ancient philosophy in the face of this complex and changeable Chinese cultural environment."