Foreword to The Art of Pang Jiun

1980年龐均先生從大陸來香港,在香港作畫,教學,辦展,后來去了台灣,在國立藝術大學任教。去年龐均教授退休了。退休后的第一個海外畫展在香港舉行。展品八十件,(見本畫集圖版)全部是當場寫生油畫。

筆者對當場寫生作品情有獨鈡。

九十年代,一位梁先生為吳冠中出版“自選畫集”。吳先生要送一件作品給他留念。梁氏向我咨詢。我建議他選“木槿”。畫中的木槿花生長在吳先生故居院中。因而先生才可以用120 x 80 喱米的大篇幅當場寫生此花。其珍貴可想而知(“木槿”輾轉易手,去年底在北京“保利”以近四千万元拍出)。

畫家當場寫生的作品,一般來説更生動,情感也特別充沛。

龐均先生的油畫無論畫人體,靜物,或是風景,都是當場寫生。面對將要進入畫面的對象,他感到興奮。此刻拿起畫筆就像拔出利劍來應對挑戰。香港,灰蒙蒙的一片,滿目是“摩天大廈”,密密麻麻盡是筆直的綫,吳冠中先生在香港寫生時也感嘆難以處理。龐均的辦法是 ― 色彩。他像孩子抓住玩具那樣,欣喜地用畫筆,刮刀,把顏料舖設到畫布上。客觀對象已經不重要。他心中有支歌,色塊是音符,漂亮而明快,落在畫中組成深情,愉悅的旋律,像是柴柯夫斯基的“胡桃夾子”,又像進入馬蒂斯的世界,那是他對故居舊地的情思。

有人說龐均的畫很像吳冠中。我想那是由於他們都是江南的孩子。兩代人,一樣的江南,不一樣的思緒,給人不一樣的藝術享受。

方毓仁
二零零八年五月

Foreword to The Art of Pang Jiun

 

In the 1980’s Pang Jiun came to Hong Kong from Mainland China. He taught art and held exhibitions.  Later on he went to Taiwan to teach at the Taiwan National Art University.  Last year Professor Pang Jiun retired.  This is his first overseas exhibition since his retirement.  This exhibition consists of 80 oil paintings, all of which can be viewed in this catalogue.  The paintings were all painted on location.

I am particularly fond of onsite paintings.  In the early 1990’s a Mr. Leung published an album for Wu Guanzhong.  Wu wanted to give him a painting as a thank you.  Mr. Leung came to consult me and I suggested that he choose a painting called “Shrubalthea”.  The plant in this painting grew in the courtyard of Wu’s old house and that was why Wu was able to use a larger sized canvas measuring 120 x 80 cm to create this onsite painting.  You can imagine how rare and special this is.  “Shrubalthea” later changed hands several times and at the end of last year sold in Beijing for 40 million RMB from Baoli Auction House.

When an artist paints on location the work generally becomes livelier and conveys a more intense emotion. No matter whether Pan Jiun is painting a human figure, a still life or a landscape painting, he always paints on location.  Face to face with the object he is going to paint he becomes very excited.  When he picks up his brush it is as if he is going to fight a duel, sword in hand.  Hong Kong is quite a grey city with many high rise buildings, many vertical lines and a great density.  When Wu Guanzhong painted in Hong Kong he bemoaned the fact that it is a hard place to paint.  Pang Jiun, however, has his own way to deal with this – by using colour.  He acts like a child chasing after a toy.  He happily uses his palette and brush to put all kinds of colours onto the canvas.  The object doesn’t seem important any more.  There is a song in his heart and the colours become the notes, beautiful and bright, dropping onto the canvas, making a joyful and poignant melody.  Similar to the sound of Tchaikovsky’s Nutcracker Suite or as if you were entering the world of Matisse, Pang eloquently conveys his feelings for Hong Kong.

People have often said that Pang Jiun’s paintings look like Wu Guanzhong’s.  That is because both of them are “children of Jiangnan”.  They are of two different generations, but of the same Jiangnan with their own unique experiences.  Therefore we can enjoy them differently.

Fong Yuk Yan
May 2008