Wang Tiande

signed WANG TIANDE in English and Chinese and dated 2002 in pencil

Alisan Fine Art, Hong Kong
Private American Collection

Wang Tiande: Ink for the 21st Century, Alisan Fine Arts, Hong Kong, 2003, p. 26

Overall in good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Using the language of ink, Wang “writes” and “paints” calligraphy and landscape imagery in his Digital series by burning Xuan paper with incense or cigarettes. The title Digital refers not only to the modern language of technology but also to the concept of discrete elements forming a cohesive whole. In the present work, various types of paper are mounted together to suggest the form of traditional vertical hanging scrolls mounted with grey-blue silk, complete with a dark segment readied for inscription. However, Wang subverts the traditional form not only by treating the format as a graphic design element but also by burning his calligraphy to reveal literal emptiness of form. As an accomplished ink painter and calligrapher, Wang manages to maintain the feeling of ink (shuimo ganjue) in these burnt calligraphy paintings, remarkably achieving the same sense of fluidity and expressiveness in the burnt negative space. The act of burning represents not destruction but the true essence of life, referring also to the concept of “imperfect beauty” or “ruined beauty” in Chinese aesthetics. The final results are not simply delicate negative images that call attention to his innovative technique and exceptional attention to detail and form, but also conceptual works of art that hold the spirit of Chinese culture close to heart.