Author:Sun Jia-Qin

Size:Length:70.5 x Width:70.5 (cm)

Size description：87.3x87.3x2.8(含框)

Introduction：Sun Chia-chin (1930–2010), courtesy name Yeh-yun, was born in Dalian and is a native of Tai'an, Shandong. He was the youngest son of Sun Chuan-fang, and was a distinguished painter and the last disciple admitted to the studio of Chang Ta-chien. He excelled in landscape and bird-and-flower painting. In 1944 he began studying figure painting under Chen Lin-chai (1912–1999), a member of the Hushi Painting Society; in 1947 he studied at the Department of Fine Arts at Fu Jen Catholic University in Peiping, without completing a degree; and in 1956 he graduated from the Department of Fine Arts at National Taiwan Normal University, going on to teach in that department from 1956 to 1964. He served as visiting professor in the departments of fine arts at National Taiwan Normal University and Chinese Culture University, as director of the Department of Chinese Literature at Universidade de São Paulo, and as exclusive artist at Galeria Azulão, São Paulo. In 1964, in Brazil, he was admitted to Chang Ta-chien's Ta-feng Hall studio. In 1971, he held a joint teacher-student exhibition with Chang Ta-chien and Chang Pao-lo at the Museu de Arte de São Paulo and the Museu de Arte Moderna do Estado do Paraná, Brazil. From 1972 onward, he held solo exhibitions in Taipei, including the 2004 "Grand Wind Flowing Resonance: Sun Chia-chin Exhibition," and participated in more than fifty exhibitions in Taipei, Hong Kong, the United States, and other locations.

Under Chang Ta-chien's guidance, Sun regularly copied famous paintings from the Ta-feng Hall collection, spanning the dynasties; over several years he not only absorbed the essence of various traditional painting techniques from Chang Ta-chien, but also fully mastered Chang's research at Dunhuang—the methods for preparing rich pigments, the techniques of color application, the linear quality and spirit of mural figures, the hand gestures of Buddhist images, and the various methods for depicting different types of flames.

Whether in gongbi or freehand, ink splashing or color splashing, his mastery extends to landscape, figure, bird-and-flower, and insect-and-fish subjects; his calligraphic inscriptions also capture the spirit of Chang Ta-chien's brushwork. In this work one can see the return to simplicity, the primal essence within the kaleidoscope of color; between brushstrokes a quality of ancient spirit emerges; within the inventiveness a thread of deep feeling shows through. The work is suffused with both the spirit of classical painting and the charm of contemporary painting, as well as a vibrant sense of new life.

Accession Number:PT09781900

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