Zao Wou-Ki (Zhao Wuji)

signed in pinyin and Chinese; signed in pinyin, titled and dated 21.7.73 on the reverse

Private European Collection

This work is in very good condition. There is a stretcher mark along the top edge of the work and a brown accretion 1 cm in length along the right edge, 10 cm from the top edge of the work. There is no evidence of restoration under UV.
"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 the 1970s, Zao Wou-Ki began to have regular exhibitions of his works at Galerie de France. During this period he was devoted to ink, while ideologically immersed in the Taoist ideal of an unrestrained and unfettered state of mind. With each painting he creates a whole new world; the artistic appeal, dreamy and ethereal as it is, pulls the viewer into the realm of infinity and inner freedom.  The diluted paint has a transparent texture like light ink; the colour is most pure and clear, the visual effect is misted and moist which oozes a sense of tranquility. French poet laureate Henri Michaux, an old friend of Zao Wou-Ki, wrote prefaces for him again for the first time since 1952. Henri Michaux has witnessed Zao's journey of exploration in art since the artist came to France; he has a deep insight into the artist's life and artistic experiences. Michaux is also a keen observer of the transformation within Zao, as he noted in the preface of 21.7.73, the artist wants to blend himself and his audience into the world he creates on canvas.