求购单(0) 消息

【动态】ESKENAZI Waterfalls, rocks and bamboo by Li Huayi 15 October - 15 November 2014

2014-10-29 16:07:05 来源:艺术家提供作者:Giuseppe Eskenazi

  It is a great pleasure for me to write that this is the fourth exhibition of Li Huayi’s paintings we have held in the past seven years - one in New York and three in London. Souren Melikian’s review of the first London show in November 2007 in the International Herald Tribune, ‘A Master’s Ethereal Visions, inspired by East and West’, described it as ‘one of those miracles one hopes for without really believing that they can happen’.

  The eight paintings in the present exhibition are Li’s latest work and again demonstrate those qualities that appeal both to the most refined and knowledgeable collector and the visitor who may wander into the gallery here and see the paintings for the first time. They are immediately accessible and at the same time reference a long tradition of Chinese ink painting that has occupied scholarly connoisseurs for centuries. The subject matter is evidently the natural world of rocks, trees, mountains, water and mist. This world is presented, however - particularly to those accustomed to viewing paintings of nature through the lens of the post-Renaissance Western tradition – in stylized, almost non-naturalistic fashion. This is despite the actual geography of certain regions of China being faithfully reflected or, in the rock and bamboo paintings, their forms being minutely recorded. Some aspects of the subject matter are brought to the fore, even exaggerated, others purposely obscured or left ambiguous. Li Huayi’s technique is similarly a combination of the free – the wash of watery ink that is habitually the starting point of each landscape – and the controlled, in the detailed brushwork that completes the vision.

  I would like to thank Dr Michael Knight, Asian Art Museum Foundation Curator Emeritus and Kuiyi Shen, Professor of Art History, University of California, San Diego, both long-time admirers of the artist, for the truly informative essays they have written specifically for this exhibition, Professor Shen providing both his Chinese and English texts. I am also grateful to Yi-Hsin Lin for translating Dr Knight’s essay into Chinese.

  This exhibition would not have taken place without Daniel Eskenazi who had many discussions in Beijing with Li Huayi on which form it might take and how the artist might find fresh sources of inspiration. As always, Daniel has designed and typeset a catalogue that is a worthy record of a beautiful exhibition.

  Giuseppe Eskenazi






Giuseppe Eskenazi