Lot 680
  • 680

Shiy De-Jinn (Xi Dejin)

Estimate
140,000 - 200,000 HKD
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Description

  • Shiy De-Jinn (Xi Dejin)
  • Old Houses in Kinmen
  • watercolour on paper
signed in Chinese and dated 1977 (lower left)
Executed in 1977

Provenance

Private Asian Collection

Condition

Aside from some slight discolouration to the paper, visible at the lower part of the painting where there is no medium on the paper, this work is 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."

Catalogue Note

A Tribute to Shiy De-Jinn

2011 happens to be the thirty year anniversary of the artist Shiy De Jinn's (1923-1981) death.  Looking back over his brief fifty-nine years of life, although short-lived, his love of life, nature and all forms of art and his pursuit of perfection and success define him as a true artist.  

Shiy De Jinn's early years of study at the Hangzhou Academy of Art, under the master Lin Fengmian, gave him a solid foundation of training in sketching and line drawing.  After graduating in 1948 with top marks, he embraced a "Gauguin goes to Tahiti" attitude and moved to Taiwan.  In these early years, the influence of Lin Fengmian's style could still be seen in the artist's works but he quickly gained popularity amongst local art circles with his unique style of portraiture.  In contrast to Lin Fengmian's otherworldly paintings of figures in ancient costume, Shiy De Jinn's portraits appear much closer to real life. There is no doubt that Shiy was a strongly emotional person and that his detailed observation of people ensured that the personality of his sitters was accurately conveyed.  Through his piercing eyes, the essence, energy and spirit of each person radiates from his paintings.  Looking at the Chinese art world as a whole, Shiy's achievement in this respect was unprecedented.  Perhaps due to his own character as well as his yearning for youth, Shiy seemed to be more adept at depicting the characteristics of male sexuality.  This was a unique development in Chinese art history, which was traditionally dominated by images of hermits, Zhong Kui, Buddha and monks.

In the 1950s, Taiwan's traditional art scene lacked form and was in need of revitalisation.  Shiy De Jinn provided this, not only by promoting newly-emerging modern art groups in newspapers such as The Fifth Moon Group and The Oriental, but more often through providing works for exhibitions, making great efforts to give guidance and support to fellow artists. In the tumult of the 1960s Abstract Painting movement, he drew inspiration from ancient Chinese culture, merging oil paints to depict the local mood in an entirely liberated way. Through his combination of bold lines and bright colors, Shiy felt that abstract painting, in comparison with representational painting, was a better vehicle through which to express his inner emotions.  In 1962, he held a joint exhibition with the artist Liao Chi-chun at the Taipei Information Service. He subsequently received an invitation from the United States State Council to go on an art tour of America and later went to work and study in Europe for four years.

Always at the forefront of artistic thought, during the 1966 Modern Art movement, Shiy was the first artist to consider local culture in art.  During his four years in Western art circles he was startled at the multitude of fast-changing trends in modern art that seemed somewhat directionless. He felt the continuous call of his national consciousness to return to his hometown. When Shiy returned to Taiwan, he was already middle-aged and his mindset had changed; he was feeling the emotional loneliness of traveling and had an endless longing for the scenery of his hometown. Shiy chose to stay away from the turmoil of city culture and was gradually drawn towards local culture.  He sketched all over Taiwan, appreciating the landscape and using his brush to create a unique set of artistic techniques, allowing the scenery of the seasons and glow of the land to dominate his work.  In his landscape paintings from his later years, Shiy abandoned the lively colors that he used previously and combined the style of Western watercolors with the concepts of Chinese ink painting.  These paintings were gracefully desolate, and convey Shiy's complete abandon of himself in these later years. In 1981, in Shiy's final year of life, he abandoned light, warm and powerful colours, revealing art's most noble truth.    

Thirty years ago, Shiy was suffering from pancreatic cancer. After experiencing the hardships of life and painting the mountains and waters of Taiwan, Shiy De Jinn passed away.  Shiy was unlike the other artists of his generation who had also studied at the Hangzhou Academy of Art such as Zao Wou-ki, Chu Teh-chun and Wu Guanzhong. These artists were fortunate enough to benefit from the strong developments in the art market in the 1990s and also enjoy the price-boom in art in the early years of this century. This was not Shiy's destiny, but he will forever remain in the memories of those he left behind.