Sun and Moon in Harmony by Li Tiexiang, 2024, with a pale moon above white summits, orange cliffs, people, yaks and smoke
Sun and Moon in Harmony by Li Tiexiang, 2024, with a pale moon above white summits, orange cliffs, people, yaks and smoke Sun and Moon in Harmony — snow mountain detail, blue-indigo mass with amber-lit snow peak Sun and Moon in Harmony — brushwork detail, layered blue and violet on mountain face Sun and Moon in Harmony — color detail, warm amber snow crest against cool indigo mountain Sun and Moon in Harmony — lower right detail, small blue meadow with yak herd, red headscarves, and hut Sun and Moon in Harmony — signature detail, Li Tiexiang on canvas Sun and Moon in Harmony — moon in upper sky, luminous against indigo atmosphere

Established

Sun and Moon in Harmony

Artist Li Tiexiang
Creation Date 2024
Material Oil on canvas
Size 104 x 78 cm
Category original
Theme Landscape
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Current total $11,161.00

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Perspectives

A closer look

Artwork Notes

Art appreciation

A pale moon remains visible at the upper left as the mountain range gathers around a sharp central summit. White strokes describe snow across the highest ridges, while orange and pink-ochre colour spreads over the exposed rock below. The foothills fall into near-black. Along the narrow blue ground at the bottom are small figures, scattered yaks and a grey-white plume rising near a shelter. These modest signs of habitation make the breadth of the slope and the height of the cliffs immediately legible.

Li does not describe the mountain through continuous outlines or minute geological detail. Long orange strokes strengthen the steep descent of the nearer faces; horizontal bands articulate the ridge to the right; broad blue passages bind several masses together. White strokes identify snow at the summits and form a distinct register beside the orange rock and deep blue mountain. The dark base anchors these separate passages and gives the warm cliffs greater force.

The title connects the visible moon with the warm colour on the rock, concentrating attention on the central peaks. Smoke, people and animals remain subordinate to the mountains, yet prevent the landscape from becoming uninhabited scenery. Li Tiexiang's academic training at the Lu Xun Academy of Fine Arts and his sustained attention to figures and animals in open landscapes help explain why clear landforms and specific signs of highland life remain equally important here.

Theme

Style and context

Academic landscape painting traditionally relies on drawing, tonal modelling and perspective to clarify the volume and overlap of landforms. Expressionist approaches to landscape gave colour a more independent task, allowing it to intensify light, climate and emotional pressure rather than merely reproduce local colour. Sun and Moon in Harmony brings these two concerns together.

Blue, orange and white are organised as broad colour zones, while vertical, diagonal and horizontal strokes preserve the direction of each slope. Instead of relying on continuous tonal modelling to create a realistic light effect, the painting strengthens colour within recognisable terrain. Structural clarity and expressive colour therefore operate together.

Artist Profile

About the artist

Li Tiexiang was born in 1954 to a Mongolian family, graduated from the Oil Painting Department of the Lu Xun Academy of Fine Arts in 1984, and now lives in Shenzhen. He serves as chairman of the Shenzhen Dafen Artists Association and belongs to the China Artists Association, Liaoning Artists Association, and the Shenzhen Artists Association council. In 2014, he was named an Outstanding Expert of Longgang District, Shenzhen.

His academic training established a firm approach to drawing and spatial structure. He works across landscape and figurative subjects, using changes in colour, paint texture and light to describe northern terrain, people and animals. This recurring attention to open land and its inhabitants provides a documented link between his training and the subjects in these paintings.

Li held a solo oil-painting exhibition in China in 1997 and two solo exhibitions in Tokyo in 2001. Mother and Child received an Excellence Award in the Liaoning section of the 10th National Art Exhibition in 2004. Naqu Girl was selected for the 4th Beijing International Art Biennale in 2010, and The Call from Afar entered the 2nd National Young and Middle-Aged Oil Painting Exhibition in 2013. A further solo exhibition was held at the Guangzhou Museum of Art in 2014.

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