Oil on canvas

110 x 110 cm. 43 3/8 x 43 3/8 in.

Signed in Chinese and dated on bottom left
PROVENANCE
Private Collection, Asia

This work is accompanied by a Certification of Authenticity with signature of the artist

With the ingeniously blend of Western and Eastern art, the tip of the brush dexterously brings spring into to the air
After years of self-inquiries and explorations of the external world, Pang Jiun has established his artistic style on the precise balance between classical and modern, the East and the West. His painting not only presents impressionist color and light but also embodies the vivid charm advocated by Chinese literati's aesthetic. Its artistic features are evident in the work, Spring in Li River（Lot33）. In the work, the picture is filled with grey hues in different shades. The glistening surface of the river appears like a mirror, quiet and calm, reflecting the peaks and caves which stand steeply from the bottom of the water, while the white cloud winding in between brings a sense of grandeur. At the bottom left of the picture lays a green hillside, where several low rise houses of red tile and white wall stand next to each other, with fresh weeping willows and pink peach blossoms embellished around. In this way, Pang Jiun created a sharp contrast of color as well as communication between scenes far and near. At the intersection of sights resides the finishing touch -- several fishing boats are placed in picturesque disorder on the broad surface of the water. It is not hard to imagine the leisure and delighted mood of the people on the boat. The overall picture presents a radian and enchanting spring scene, deriving from the ingenious blending of realistic landscape and poetic imagination of the artist.
Beneath the Lingering Snow on Staggered Eaves Lies the Spring.
The work, Early Spring of the Ancient Pagoda（Lot32）, was realized by Pang Jiun in 2013. Although another piece presenting spring scenery, it conveys an entirely different sentiment. Depicted in the painting is the White Pagoda on the Jade Flower Island at the center of Beihai Park. First built in 1651, the pagoda is designed with a round top and a square body, a typical Tibetan-style pagoda with the “Sumeru Throne” base, steeple and canopy. Sun, moon, and flame engravings decorate the surface of the tower, resembling the Buddha Dharma enlightening the world as moonlight and sunshine. When looking at a distance, the pagoda appears as a delicate white pearl hung in midair, distinctive from its surroundings. However, Pang Jiun chose a square composition which is not so common, and deliberately adopted the horizontal viewing angle from high above. In this way, the lingering snow on the eaves of Chinese palaces which are surrounded by dark green pines and cypresses comes to view, making the decorative forms of auspicious beasts more prominent. As the terrain gets higher, the snow spreads all the way up to the top of the White Pagoda, which is in grayish yellow due to the weather. The round and square shapes correspond to each other, and form an excellent spatial balance, not only creating a conversation between two different architectural styles but also setting off the tranquil atmosphere of the early spring in Beijing. Having depicted the spring with an easy manner, Pang Jiun invites the viewer to be immersed in the painting and enjoy the exquisite scenery which excels the nature.

Price estimate:
HKD: 380,000 - 480,000
USD: 48,400 - 61,100

Auction Result:
HKD : 1,038,400