Sotheby’s Hong Kong holds 20th Century Chinese Art Autumn Sale in October |
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| Written by Arnold Sheeler |
| Saturday, 12 September 2009 02:31 |
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Lotus et Poissons Rouges depicts flowers, landscape and small fish in the water in a rich and delicate composition. It differs in mood and temperament from his earlier lotus paintings and from his landscapes of the same period as well. Sanyu seems to have rediscovered the symbolism of the lotus so deeply rooted in his own Chinese heritage: an auspicious motif representing strength, purity and aspiration to pursue the highest ideals. On the other hand, the bent lotus stem suggests the artist’s flexibility in overcoming the harshest difficulties, as though Sanyu were reminding himself to be proud and to persevere through hardship. Another gem of the sale is Zao Wou-ki’s (Zhao Wuji, b. 1921) 7.4.61 (Est. HK$8-12 million). Late 1950s to early 1960s is a period of transition for Zao’s artistic direction and creation, during which his works evolved from narration and representation – largely inspired by oracle-shell inscriptions – into more abstract expressions. However, Zao’s abstract art is unique as one can find its roots in Chinese culture and art, emanating an essence of oriental aesthetics and philosophy, setting him apart from other abstract painters. The present work on offer, created on 7 April, 1961 is a rare and exemplary piece that epitomizes such a significant and prominent transformation of Zao’s artistic career. Of particular note, the work embodies the spirit of nature from where the artist draws his inspiration with lyrical calligraphic brushworks.  Another significant offering is Ju
Ming’s (Zhu Ming, b. 1938) Taichi Series – Taichi Arch (Est. HK$ 7.5 – 10
million) of which another edition can be found in the collection of the Ju Ming
Museum in Taiwan where it is on permanent display. Ju Ming’s Taichi Series is
widely regarded as his most important body of work. It has won him international
acclaim, which has seen him establish himself as the leading Asian sculptor.
With its 4.2m width, 2.8m height and 1.56m depth, Taichi Arch is the largest
sculpture by Ju ever to appear at auction. Taichi Arch is evolved and inspired by the ‘push hand’ movement between two practitioners in Taichi boxing. In the present lot, the sculpture is larger in scale and rendered more abstract than earlier works in his Taichi Series. Ju masters the subtle nuances of his subject and material: as he sculpts, the sheer weight of the material is transformed into the smooth motions of Taichi, creating vivid and lively postures. The series conveys the essence of his aesthetic views and creative philosophy, as well as his respect for nature. Two paintings by Liao Chi-Chun (Liao Ji Chun, 1902-1976) titled Tamkang Scenery (Est. HK$5.5-6.5 million) and Bridge (Est. HK$3.6-4.5 million) are further highlights of the sale. Liao is famed for his carefree yet sensitive use of colours, which lends his works an original and inimitable flair. Tamkang Scenery, executed in 1971, is a bird’s-eye view of Taiwan’s Tamsui river basin, with Mount Kuan-yin looming on the opposite bank. Its vibrant colours stem purely from the artist’s imagination, and he portrays his favourite town using the perspective and style preferred by Impressionist masters. Not only does this painting highlight the local character of Taiwan, it also achieves a serene harmony which embodies the realm of Liao’s artistic maturity. Wu Dayu (1903-1988) left China in 1922 to further his studies at the École Nationale Supérieure des Beaux-Arts in France. After returning to China, he took on a realistic approach in his creations, which he later abandoned towards the end of his artistic career as he moved towards using a more philosophical approach in his art. Shao Dazhen, professor of Central Academy of Fine Arts in Beijing, argues that Wu did not solely embrace abstractionism, instead Wu wandered between realism and abstractionism. Wu had a profound grasp of the essence of Western modern art, whilst he was capable of rendering the exquisite kind of subtlety found in Chinese art. Both Rhymes of Beijing Opera (Est. HK$2-2.5 million; pictured above) and Rhythm No. 21 (Est. HK$2-2.5 million) on offer, exemplify Wu’s distinctive style: the heavy use of colours in different hues of blues and tints of yellow, coupled with forceful brushstrokes that inject dynamism and energy to the paintings. Rhymes of Beijing Opera, depicting a performer wearing an opera mask, brings Beijing opera to life through a semi-abstract expression. On the other hand, Rhythm No. 21, emanates the allure of flowers, plants and captivating landscape and Wu’s unmistakably vivacious brushworks and use of striking colours. Click on logo below to add this article to your favorite Social Website ~ |
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