Wang Huaiqing

executed in 2004

Poly International Auction, Beijing, 21 November, 2006,  lot 338
Acquired from the above sale by the present owner

Hong Kong, Yan Gallery, Wang Huaiqing- Traces of Nature, 2005, pp. 19, 21
Beijing, National Art Museum of China, China vs US Art Exhibition, 2007, p. 19
Kobe, Hyogo Prefectural Museum of Art , Out of the Mountains-Wang Huaiqing Solo Exhibition, 4 December 2015 – 11 January 2016,  p. 25

Art of Wang Huaiqing, Shanghai Art Museum, Lin & Keng Gallery Inc, Shanghai, 2007, p. 135
Collision- Experimental Cases of Contemporary Chinese Art, Beijing, Central Academy of Fine Arts, 2009, p. 223

This work is in overall very good condition. There are negligible hairline cracks along the bottom edge of the upper panel. The work is consistent with the artist's chosen medium and working method. There is no apparent inpainting under UV light examination.
"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.
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The Steady Path of an Enlightened Way

Wang Huaiqing, Traces of Nature-2 

By the turn of the millennium, Wang Huaiqing’s half-representational language had been honed by nearly thirty paintings. In his discovery and sublimation of the beauty of objects, the artist’s capabilities were nearing perfection. Aiming beyond his ability at drawing out the yin and yang of indoor spaces, or harnessing the multitude of the four seasons in pieces of furniture, the artist sought even grander realms of free and unfettered spaces, with scenes racing toward the realm of the void, nearing a purely abstract composition. When compared to the artist’s works from the 1990s, such as Chairs in the Mirror or Feet-2, Traces of Nature-2 (Lot 1027) leads the viewer into a realm of deep meditation, a testament to the artist’s ascent in his grasp of form. Yet, always true to his original style, even in the painting’s magnanimous and rich composition, the artist has kept the reserved restraint of Eastern aesthetics.

Specks of Time, Sparks of Wisdom

Wang Huaiqing’s earlier works often relied on concrete objects (such as furniture, or vases) in contemplating history or civilization, but later shifted his attention to a higher realm of purity, into the movements of the universe and the tracks of time and space. By the time of the artist’s 2004 creation of Traces of Nature-2, his artistic language had grown more mature and deliberate, the dimensions of the panting at 256 x 200 cm, with two canvases, top and bottom, resulting in a towering space of profound mystery, a vast spirituality. The colours on the two sides are like xuan paper, a grain white with hints of ivory, the texture resembling the ancient whitewashed walls of Jiangnan. The large block of colour at the canvas’ centre is a dark sandalwood, applied in a thick and deep paint, yet it is not entirely black, its texture seemingly possessing a shimmer of translucence. But what is most striking, and invites rumination, is the straight line at the very centre that traverses the entire canvas from top to bottom. It is rife with energy, the vertical stroke nimble and agile, dividing the canvas into two. This line is what elevates the painting to perfection, this line created meticulously with a carpenter’s inked cord marker. With only one chance to apply the line, the artist maintained a perfect balance between tension and relaxation, the flecks of paint on both sides adding a whimsy of chance, transforming what was a still, abstract space into something dynamic, atmospheric, and even dramatic. The creation of texture gradually unfolds, while the flash of light is sharp and swift, and through this contrast of slow and quick, the theme of the canvas emerges. The artist’s 1991 work Rhyme-Ming Style Screen once used human-figure-like lines in the backdrop to create atmosphere. Comparing it to this painting, one sees that Traces of Nature-2 is more agile and nimble. Through much deliberation and numerous revisions, the artist has given a single line the power to alight the entire universe of the vast canvas.

Straying from Western Abstractionism, Deviating from Traditional Ink-and-Wash

Wang Huaiqing’s singular artistic value lies not only in his contributions in pushing along the development of Chinese contemporary art, but also in his devotion to unifying East and West. This unification, however, has resulted in a complete and individual style, one that eschews the paths treaded before. From a Western perspective, Traces of Nature-2 resembles an abstract painting in composition, but due to its maintenance of figurative elements, it is in nature different from lyrical abstraction or geometric abstraction. With respect to the ink-wash technique, the artist has maintained an attitude of sincere earnestness toward his own cultural roots, using it as nourishment, yet at the same time, has avoided simple technical imitation, and following old standards. In fact, the overall arrangement of Traces of Nature-2 invokes Onement 1, a painting by American abstract painter Barnett Newman, yet Newman’s canvas, while rich with colour, remains emotionally cold. Traces of Nature-2, although sparing in its use of colour, conveys deep warmth and temperature. And although the work is enhanced by the effect of ink-wash upon xuan paper, the artist does not resort to cheap exploitation of eastern aesthetics, instead creating a work that is holistic, that is thematically prodigious and profound. This intentional choice is clearly the result of deep consideration and intention.