Page 100 - Christie's Fine Chinese Paintings March 19 2019 Auction

Using a palate of rather Western colors and a singular mix of wet and dry brushwork, Zhu Qizhan
gives an impression of exuberant easiness which belies the very deliberate placement of each
brushstroke in incredibly careful compositions. In his autumn mountains, I saw refections of the
vision, experience and techniques of Shitao, of Kuncan (1612-1674) and of other great Chinese
masters of the past; but I could also sense, if not see, other elements, other associations. I could think
of Turner or of Cezanne, without seeing anything concretely like them. Yet, they were suggested, as
if Zhu Qizhan had created a language of painting that addresses both his distinguished predecessors in
China and at the same time other artists around the world from France to Japan.

在色彩上取用偏向於西方繪畫的風格，朱屺瞻運用乾濕混合的筆法，在佈局精妙考究的構圖中，
賦予整體畫面以繁茂的朦朧感，從而巧妙地掩飾住筆劃的鋒芒。在他的秋日山居圖中，我看到了
石濤，髡殘（1612-1674）和過去其他偉大的中國繪畫大師的視野、經驗和技法的影子；但我也
能感覺到，或許不是看到，其他的元素與聯想。我可以想到威廉•特納或保羅•塞尚，哪怕沒有
任何十分具體或確切的相似之處，他們的影響卻呼之欲出。就好像朱屺瞻創造了一種繪畫語言，
既提及到他在中國繪畫藝術上的傑出先輩，同時又連接著從法國到日本等世界各地的藝術家。
Richard Barnhart, Department of the History of Art, Yale University, 1988

POMEGRANATES AND GRAPES RED LANDSCAPE
Scroll, mounted and framed, ink and color on paper Hanging scroll, ink and color on paper
27 x 27 in. (69 x 69 cm.) 33 ¾ x 17 ¾ in. (85.6 x 45.1 cm.)
Dated autumn, 1989 Dated winter 1977
石榴與葡萄 設色紙本 手卷 一九八九年作 層林盡染 設色紙本 立軸 一九七七年作