Chou Chu Wang: Art Analysis
1. Overview
Chou Chu Wang is a distinguished artist, recognised for his ¬¬¬¬¬¬¬oil paintings created from using his meticulous memory. He created this hyper realistic painting in style of trompe l’oiel.
The Four Bliss Stones (2014), using only minuscule paint specks with a fine calligraphic brush. As the title suggests, the painting contains four river stones, each in an individual frame. Each piece is fairly small, 41 x 27 cm. Wang’s overall body of work comprises mostly of scenery from his hometown in all seasons, in which his emotions and profound awareness of the value of life are conveyed. He explores the dense lattice framework evident in minute and larger scale river stone formations. Chou Chu Wang’s practice in trompe l’oiel style …show more content…
This pastime chore shaped his personal attributes of being “observant, careful and extraordinarily patient,” (White Rabbit Gallery, 2016). Through his artworks, Wang has portrayed his understanding of peace and serenity, similar to a Monk’s practice. The choice of a natural and humble element, such as river a stone, alike to a Monks’ conscious practice of the world around them, reflects the bliss of the artwork also manifested in the title. A Monks’ conscious practice is pinnacle T inhe the Buddhism practice of the reflection of on life, is referred to as Prajna; insight, wisdom and …show more content…
Yet instead the size of the stones are drawn in relative comparison to an actual stone, enhancing its tactile qualities, as well as keeping with trompe l’oiel still-life compositions . The series of paintings gives a sense of unity whilst the difference in shape, size and structure of the stones provide variation. In addition, the stones give insight into Chou Chu-Wang’s rural upbringing, with relevance of how the stages of his maturity from his childhood influenced his intentions of his work. The technique required for these paintings resonates with his possession of considerable patience, and in turn taught him the appreciation for humble objects and the beauty they posses. Overall, this artwork embodies a line of William Blake’s poem, Auguries of Innocence; “to see a World in a Grain of Sand,” (1803, line 1). This line connects the beauty and significance of the small elements in our world, as the grain of sand represents the minuscule paint specks, and the world as our understanding of
Chou Chu Wang is a distinguished artist, recognised for his ¬¬¬¬¬¬¬oil paintings created from using his meticulous memory. He created this hyper realistic painting in style of trompe l’oiel.
The Four Bliss Stones (2014), using only minuscule paint specks with a fine calligraphic brush. As the title suggests, the painting contains four river stones, each in an individual frame. Each piece is fairly small, 41 x 27 cm. Wang’s overall body of work comprises mostly of scenery from his hometown in all seasons, in which his emotions and profound awareness of the value of life are conveyed. He explores the dense lattice framework evident in minute and larger scale river stone formations. Chou Chu Wang’s practice in trompe l’oiel style …show more content…
This pastime chore shaped his personal attributes of being “observant, careful and extraordinarily patient,” (White Rabbit Gallery, 2016). Through his artworks, Wang has portrayed his understanding of peace and serenity, similar to a Monk’s practice. The choice of a natural and humble element, such as river a stone, alike to a Monks’ conscious practice of the world around them, reflects the bliss of the artwork also manifested in the title. A Monks’ conscious practice is pinnacle T inhe the Buddhism practice of the reflection of on life, is referred to as Prajna; insight, wisdom and …show more content…
Yet instead the size of the stones are drawn in relative comparison to an actual stone, enhancing its tactile qualities, as well as keeping with trompe l’oiel still-life compositions . The series of paintings gives a sense of unity whilst the difference in shape, size and structure of the stones provide variation. In addition, the stones give insight into Chou Chu-Wang’s rural upbringing, with relevance of how the stages of his maturity from his childhood influenced his intentions of his work. The technique required for these paintings resonates with his possession of considerable patience, and in turn taught him the appreciation for humble objects and the beauty they posses. Overall, this artwork embodies a line of William Blake’s poem, Auguries of Innocence; “to see a World in a Grain of Sand,” (1803, line 1). This line connects the beauty and significance of the small elements in our world, as the grain of sand represents the minuscule paint specks, and the world as our understanding of