Private Collection: Emerald Lady - Bronze Horse Sculpture by Modern Chinese Artist Jiang Tiefeng
Emerald Lady: The Bronze, sculpture, 1986, Unique N. 161/199
Considered the most important bronze work of Jiang; Cast bronze with Hand finished copper patina, Sold out Limited edition, Copyright 1986, Conker Fine Art Publisher.
Jiang Tiefeng (b. Oct 3, 1938; Ningbo, Zhejiang, China) is considered a founder of the Yunnan School - the experimental Modern Heavy Color movement.
During the Tang Dynasty (7th & 8th centuries), the interchange of multiple cultures produced a new artistic realism - with the Horse symbolizing strength & power of their civilization and exchange.
Jiang Tiefeng in 1959 at age 21 was selected as one of 50 students to study at the Central Academy of Fine Arts (Beijing). Under famous master Huang Yong-yu, he was exposed to the art of ancient Chinese dynasties, as well as Picasso and Matisse. His stylistic depictions of indigenous people and animals are representative of his post-graduate work in the lush landscape of the Yunnan Province of southwest China.
He was chosen by Chairman Mao Tzsetung's Cultural Revolution government and assigned to design the propaganda posters of Mao - including the famous red-faced portraits in the 1960's. Not until 1978 were artists permitted to express themselves in new directions. But after being publicly denounced in 1981 - branded rebellious to the socialist idealism, his private works were excluded from the permanent collection of the National Art Gallery (Beijing).
His works were, however, accidentally discovered by a National Geographic reporter stranded in Yunnan on his way to Tibet, who returned eventually to the U.S. with a few paintings. China opens to the West: After Jiang visited the U.S. in 1983 to briefly teach at USC, he became a permanent immigrant, with Fingerhut Gallery and Conker Fine Art as his publishers in Minneapolis; Bishop's Gallery of the newly opened Horton Plaza (1985) promoted the artist locally in San Diego.
Influenced by Buddhist cave paintings of Dunhuang, his classical compositions are those of nature and immortal beauty imbued with flowing, primitive yet dynamic, rhythmic lines. Rich, opaque colors typical of the Song & Ming Dynasties adorn his bold images. Traditional ink painting on rice paper and silk with transparent color wash - idealized for centuries - transformed into modern expression.
From handmade pigments on rice paper, to serigraphs, and then to sculptures of bronze, Jiang's creativity flourished with freedom.
In 1998, Jiang was invited back to China by the government to be featured in an exhibition of four Chinese artists. His works have been featured and exhibited throughout the U.S., including the New England Center of Contemporary Art.