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Liang Quan, born in Shanghai in 1948 and originally from Zhongshan, Guangdong Province, is one of the most representative artists of Chinese abstract painting. He graduated from the Affiliated High School of Zhejiang Academy of Fine Arts, and later went to the United States to study, where he taught at the Printmaking Department of Zhejiang Academy of Fine Arts (now China Academy of Art) and worked at Shenzhen Academy of Painting. He is currently retired and lives in Shenzhen. Liang Quan's works have been widely exhibited and collected around the world, and he has participated in major international exhibitions such as "Great Heavenly Abstraction - Chinese Art in the 21st Century" and "Sydney Biennale" curated by Achille Bonito Oliva, chief curator of the "Venice Biennale", at the National Art Museum of China, and has held solo exhibitions at institutions such as the University of San Diego, the Bauhaus Archive Museum in Germany, and the Nuremberg House of Art. His works are collected by the National Art Museum of China, the Shanghai Art Museum, the Guangdong Museum of Art, the Zhejiang Art Museum, the Hong Kong Museum of Art, the Hong Kong M+, the British Museum and the University of San Francisco.
Six persimmon diagrams
Color ink Rice paper collage
160cm × 122cm 2019年
cocoon
Color Ink Tea Rice Paper Collage
162 cm × 122 cm 2019年
Cocoon Three
120 cm × 90 cm 2019年
Liang Quan was one of the first Chinese artists to combine traditional ink painting with abstract expression, constructing a personal expression that connects the aesthetic languages of the East and the West but distinguishes them from each other. Realistic and freehand thinking uses small words to justify, reconstructing order between form and formlessness, and the ultimate harmony of details to the realm of "emptiness".
Silkworm House - Tribute to Liang Shaoji Double Painting (Left)
Silkworm House - Tribute to Liang Shaoji Double Painting (Right)
Ease on the edge
120cm × 90cm 2018年
Mahler manuscripts
60 cm × 45.5 cm 2018年
The orderly blending of ink, the ablation of form, the details of reality being layered and stacked, reappear in reality in a near-disappearing way, and blank means infinity. With concessions and unclear directions in expression, and coping with rapid changes with an attitude of non-confrontation and non-imposition, Liang Quan spreads out the indifferent and long-term Zen with his most representative ink collage.
Silk bamboo tone (double left side)
Color Ink Tea Rice Paper Collage
162 cm × 122 cm 2017年
Silk bamboo tone (double right)
As an artist, of course, I hope that more and more people like my works, but liking does not mean that it must be collected, from the works can feel what they did not understand before, and even improved, after seeing a wall, a car has a new aesthetic understanding, and then improve the aesthetic taste of the whole society, then the artist's purpose is achieved.
--Liang Quan
Bay Area
120.2 cm × 90.5 cm 2017年
The back garden of childhood
40 cm × 49.5 cm 2017年
The third of the wisteria flowers of the tired and diligent
160.5 cm × 122 cm 2017年
The second of the wisteria flowers of tired and diligent
160.5 cm × 122 cm 2017年
Eight Views of Xiaoxiang 2016-2
120 cm × 90 cm 2016年
Eight Views of Xiaoxiang 2016-5
Eight views of Xiaoxiang
Size varies from 2016
One of the peach blossom sources
120 cm × 90 cm 2015年
Peach Blossom Garden No. 2
120 cm × 90 cm 2015 年
One of the black forces
120 cm × 90 cm 2013年
Black Force Two
Maxima
Brown ink rice paper collage
90 cm × 120 cm 2011年
Note Three
44.8 cm × 41.3 cm 2010年
Note two
29.6 cm × 43 cm 2007年
Trace tea
Color ink acrylic rice paper collage
60 cm × 90 cm 2007年
Add a little tea
113 cm × 50 cm 2007年
The banks of the Taiwus River
22 cm × 16.4 cm 2002年
Tea and a little coffee
Coffee Brown Ink Rice Paper Collage
178 cm × 48 cm × 4 2001年
White horses are not horses
55 cm × 70 cm 1991年
Son
120 cm × 90 cm 1989—1990年
Fire underground
Collage of color, ink and rice paper
89.4cm×121.4cm 1985年
A tribute to tradition
Copper plate thin collage technique
55 cm × 39 cm 1982年