Hsinchu, Traditional Taiwanese Dances

Work sheet

Hsinchu, Traditional Taiwanese Dances · work code 55FE

Technical data

purchase dateacquired in the portfolio
estimated current value in €consult the updated Price Table
identification of the subjectabstract painting/reconstructivist work
materials and techniquesoil on canvas/material work
measurements in centimeters cm70 x 50 x 1,8
inscription techniqueoil
inscription positionon the back/bottom/right
authenticity certificateissued at the same time as the sale
art multiplesno print issued
state of conservationintact work
location of the workRome · Italy
copyright© all rights reserved · global · S.I.A.E.

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Raisuli O. T. Valvo · Hsinchu, Danze Tradizionali Taiwanesi ·  2023 · Picture 0 · © All rights reserved S.I.A.E.
Hsinchu, Traditional Taiwanese Dances · work code 55FE

Description of work

Hsinchu, Traditional Taiwanese Dances

Dance in China is an extremely diverse art form, consisting of many modern and traditional genres. Dances cover a wide range, from folk dances to performances in opera and ballet, and can be used in public celebrations, rituals and ceremonies. There are also 56 officially recognized ethnic groups in China and, each ethnic minority, also has its own folk dances.
Many of the traditional dances have a long history. They may be folk dances, or dances that were once performed as rituals or entertainment, and some may have been performed in the imperial court.
Folk dances have been historically important in the development of dance in China. Some of the earliest dances in court rituals and ceremonies may have evolved from folk dances. Rulers of various dynasties collected folk dances, many of which eventually became court dances.
Many of the folk dances are related to harvesting and hunting and the ancient deities associated with them.
In the entertainment centers called wazi during the Song Dynasty, various theatrical forms flourished and Chinese opera began to take shape, and dance began to merge into opera. Some dances such as the “Judgment Dance” (舞判, also called the Zhong Kui Dance, 跳鐘馗) in the Ming Dynasty, and Song Dynasty dances such as “Waving the Flag” (撲旗子) became opera pieces. Another dance adopted in the opera is the sword dance. Chinese opera became very popular under the Yuan dynasty, and in subsequent dynasties the dances were absorbed into opera.
In this work the artist presents us the spectacle of the colors typical of some Chinese dances, which he witnessed, almost by chance, during his stay in the Far East, which took place from 2007 to 2009, in the Republic of Taiwan and, more precisely , in Hsinchu, a city in the northern part of the country, located on the Formosa Strait.
The chromatic concentration takes place in the central part of the canvas, where the dancers’ movements find their climax. The perspective representation of the stage is here translated in a purely two-dimensional way, in full reconstructivist style. The performance of the actors in costume therefore appears through flashes of colour, which emerge with decisive vehemence through the unfolding of an overall optical dynamism. The peripheral parts of the pictorial space are instead dedicated to a graphic symbolism, typical of the author and proposed here in a preponderant way. A sort of opposing double push is therefore created within the work: from the outside towards the centre, as well as, in an exactly opposite way, from the center towards the outside of the canvas. The graphic symbols in black on a gray background seem to compress the subject treated on all sides, surrounding it at three hundred and sixty degrees. The latter, for its part, seems to explode in every direction, in reaction to such a compressive push. The result is, consequently, a strong dynamic tension that can be appreciated at first glance.
The work expresses the profound and joyful vitality of this traditional Chinese dance performance en plein air, in all its choreographic and stylistic strength. In all its spectacularity.
The dominant shades are those of red, turquoise and yellowish, which, all together, evoke the sense of a primary, very powerful and musical triptych, expressed in irregular and undoubtedly elusive quadratures.

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