- 501
Hsiao Chin (Xiao Qin)
Estimate
180,000 - 220,000 HKD
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Description
- Hsiao Chin (Xiao Qin)
- La repressione cinese - 1
- acrylic on canvas
- 91 by 72 cm. 38 7/8 by 28 3/8 in.
- 1989
signed in pinyin and Chinese and dated 1989; signed in pinyin and Chinese, titled and dated 1989 on the reverse
Provenance
Dimensions Art Center, Taipei
Private Asian Collection
Private Asian Collection
Condition
The work is overall in very good condition. There are some minor stains across the white area, notably in the four corners.
"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."
"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
Red is a symbol of China. It is culturally significant both as an expression of happiness and good luck and a powerful talisman. Therefore red is often used in weddings and Chinese New Year celebration. On the other hand, in Oriental philosophy and feng shui, red is the color of passion and life and a symbol of Sun and fire. We are delighted and privileged to present a series of works from private collections to commemorate the 40th anniversary of Sotheby's in Asia. These works were hand-picked based on their artistic achievements and individualities each representing various styles and concepts. It's a feast of red in different shades and profuse visual language.
The dean of Chinese Realism, Wang Yidong portrays his love of the colour in Teasing the Newlyweds (Lot 562) and Letter from Far Away (Lot 563). Wang once recalled his humble childhood in Linyi, Shandong province. Red was rarely seen in the life of villagers. It is therefore a colour of festivities and pure joy, when the villagers use red to decorate a wedding banquet or a Chinese New Year dinner. The bright and passionate colour thus left an imprint in Wang's heart. Wang's famed "Red" series then became his signature. Teasing the Newlyweds was painted in 1998 and was the first group painting portraying wedding customs. Here, red is paired with black to create the dramatic contrast of light and the intensified darkness brings out the faces of the shy couple and their guests. In Letter from Far Away, Wang uses the same technique to depict serenity and to contrast the heroine's loneliness. Teasing the Newlyweds was once praised as a masterpiece that has no comparison by the owner of Schoeni Art Gallery. Together with Letter from Far Away, the two paintings illustrate Wang's brilliance as an artist.
Red is also often seen in Chinese lacquerware. Lacquer has a long-standing history in China dating back as early as the New Stone Age, and reached its peak in Qin and Han Dynasties. Artist Su Xiaobai employed the texture of lacquer in his works. His style is simple but his thoughts on history, literature and life were reflected in the use of lacquer. Acclaim (Lot 507) is a typical piece of Su's understated elegance, and the same sophisticated tone were echoed by Huang Gang's The World of Mortal (Lot 508), Jiang Guofang's Lotus Dream (Lot 560) and prominent sculptor Ming Fay's Big Red ChilI (Lot 633).
Last but not least, from the abstract painting genre, Zao Wou-Ki's Sans titre (Lot 502), lyrical abstraction Composition (Lot 511) by Chu Teh-Chun, Hsiao Chin's La repressione cinese -1 (Lot 501) and La grandezza (Lot 512), Lalan's Red and Blue fusing art with music and dance, Liu Jiutong's Beauty Beyond Words (Lot 506) and Distant Traveler (Lot 505) are on offer. Sans titre came from Zao Wou-Ki's Klee period, where simple brushstrokes outline the forest scene. Composition was painted in 1979 when Chu The-Chun reached his artistic maturity, showing his joy and gratitude to his teacher Lin Fengmian when they met in Paris after not seeing each other for three decades. Each piece of work uses the same colour but expresses various emotions, presenting different phases of red in Chinese tradition and art.
The dean of Chinese Realism, Wang Yidong portrays his love of the colour in Teasing the Newlyweds (Lot 562) and Letter from Far Away (Lot 563). Wang once recalled his humble childhood in Linyi, Shandong province. Red was rarely seen in the life of villagers. It is therefore a colour of festivities and pure joy, when the villagers use red to decorate a wedding banquet or a Chinese New Year dinner. The bright and passionate colour thus left an imprint in Wang's heart. Wang's famed "Red" series then became his signature. Teasing the Newlyweds was painted in 1998 and was the first group painting portraying wedding customs. Here, red is paired with black to create the dramatic contrast of light and the intensified darkness brings out the faces of the shy couple and their guests. In Letter from Far Away, Wang uses the same technique to depict serenity and to contrast the heroine's loneliness. Teasing the Newlyweds was once praised as a masterpiece that has no comparison by the owner of Schoeni Art Gallery. Together with Letter from Far Away, the two paintings illustrate Wang's brilliance as an artist.
Red is also often seen in Chinese lacquerware. Lacquer has a long-standing history in China dating back as early as the New Stone Age, and reached its peak in Qin and Han Dynasties. Artist Su Xiaobai employed the texture of lacquer in his works. His style is simple but his thoughts on history, literature and life were reflected in the use of lacquer. Acclaim (Lot 507) is a typical piece of Su's understated elegance, and the same sophisticated tone were echoed by Huang Gang's The World of Mortal (Lot 508), Jiang Guofang's Lotus Dream (Lot 560) and prominent sculptor Ming Fay's Big Red ChilI (Lot 633).
Last but not least, from the abstract painting genre, Zao Wou-Ki's Sans titre (Lot 502), lyrical abstraction Composition (Lot 511) by Chu Teh-Chun, Hsiao Chin's La repressione cinese -1 (Lot 501) and La grandezza (Lot 512), Lalan's Red and Blue fusing art with music and dance, Liu Jiutong's Beauty Beyond Words (Lot 506) and Distant Traveler (Lot 505) are on offer. Sans titre came from Zao Wou-Ki's Klee period, where simple brushstrokes outline the forest scene. Composition was painted in 1979 when Chu The-Chun reached his artistic maturity, showing his joy and gratitude to his teacher Lin Fengmian when they met in Paris after not seeing each other for three decades. Each piece of work uses the same colour but expresses various emotions, presenting different phases of red in Chinese tradition and art.