Emerging

Morning Melody

Artist Qian Tieshi
Creation Date 2016
Material Oil on canvas
Size 100 x 80 cm
Category original
Make this artwork part of your collection Available

Current total $11,159.00

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Perspectives

A closer look

Artwork Notes

Art appreciation

The fleet runs almost from edge to edge, leaving limited room for sky and water. The largest hull enters diagonally from the left and bears towards the centre; the red cabin at right projects forwards and counters that dark weight. Teal boats overlap between them, with narrow gaps passing through cabins and masts. Vertical reflections descend into the water and are cut by short horizontal strokes. The crowded structure above therefore receives a looser echo below.

Broad deposits of black-green, blue-black, teal and grey-white build the principal masses with a knife-like pressure. Scraped edges reveal pale lower layers, separating one vessel from another and recalling the abrasion of working surfaces. Red is concentrated in a few thick strokes on the right-hand cabin. The water is flatter but retains white, green and dark reflections; several downward runs of paint introduce the change of tide beneath apparently stationary boats.

Qian describes his oil painting as a search between recognisable form and freer image-making. Here he keeps bow, cabin, mast and reflection legible while omitting minor equipment and concentrating force in overlapping masses and the direction of strokes. His practice of Chen-style tai chi also sharpened his interest in movement and internal rhythm. Repeated verticals, diagonals and reflection blocks let a dense working harbour rise and fall without losing its structure.

Theme

Style and context

Modern harbour painting often uses hulls, masts and water reflections to examine outdoor light. Impressionist practice loosened detailed drawing, while Chinese freehand painting placed emphasis on the direction and selection of marks. Morning Melody brings both into a specific fishing harbour: the vessels remain functional objects, and the accumulation, scraping and exposure of ground make the painted surface equally visible.

Morning light appears through the pale sky, cool water and hulls beginning to catch light. Melody lies in the repetition and spacing of red cabin, teal vessels, thin masts and broken reflections. Repeated hulls, masts and broken reflections turn the harbour’s working order into a measured visual rhythm.

Artist Profile

About the artist

Qian Tieshi was born in Kaiyuan, Liaoning Province, in 1964 and is now based in Shenzhen. He graduated in 1990 from the Department of Design and Modeling at Lu Xun Academy of Fine Arts, then worked in art education and oil painting from 1990 to 2002. He is a member of the Guangdong Artists Association and serves as vice chairman of the Hong Kong International Chinese Calligraphers and Painters Association.

His practice centers on what he describes as searching for oil painting between likeness and unlikeness. Qian developed an imagistic oil-painting language that combines Western impressionist color, the expressive spirit of Chinese freehand painting, and a broad, forceful treatment of form. From 2002 to 2006 he made repeated field trips to Tibet, creating western-region subjects while also studying Chen-style taiji and bringing its sense of movement and inner rhythm into his painting.

His works have been selected for national and provincial exhibitions, including New Artists and New Works, Guangdong Artists Association anniversary exhibitions, and Shenzhen’s Pengcheng Autumn Art Exhibition, where Tibetan Wind received an excellence award.

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