Lot 530
  • 530

Jia Yundi

Estimate
40,000 - 60,000 HKD
bidding is closed

Description

  • Jia Yundi
  • Waiting
  • ink on paper, framed
  • executed in 2013
executed in 2013
signed in Chinese and marked with one seal of the artist

Provenance

Private Asian Collection 

Condition

Overall in good condition. Overall framed dimensions: 90.8 by 65.9 cm; 35¾ by 26 in.
"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

Born in Beijing in 1978, Jia Yundi is the daughter of renowned ink master Jia Youfu. Like her father, Jia Yundi studied traditional Chinese painting at the Central Academy of Fine Arts and started teaching there after she graduated in 2010. Unlike her father's grand landscapes inspired by the majestic Taihang Mountains, Jia Yundi chose to depict more intimate and mysterious spaces, usually interiors constructed by a strong contrast between black and white, light and shadow. The private and quiet space invites viewers in through a fixed vantage point: the light coming from an open source, either a window, or door.  Similar to the exploration of light by paintings of the Dutch Golden Age, Jia's paintings employ the strong contrast between ink and paper to depict a realistic rendering of an ambient space. The one-point perspective regularly seen in Jia's works marks a departure from traditional Chinese painting, which favours aerial perspective and multiple viewing angles, especially in monumental landscapes like those by her father.