阮康

私人收藏，法國
香港蘇富比，2012年4月2日，拍品編號287

The work is in good condition overall. There are networks of faint craquelures on the black background, along with a minor indentation on the bottom right corner. The mother of pearl inlay appears secure and stable. Upon close observation, there are indications of minor wear and handling along with associated areas of minor retouching on the corners and edges. Examination under ultraviolet light shows a vertical area of restoration on the reverse of the panel, which does not detract from the quality and aesthetic of the frontal image.
"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."

Nguyen Khang, along with Nguyen Gia Tri, Tran Van Can and Tran Quang, are considered the pioneers of the modern Vietnamese lacquer art. Khang graduated from the prestigious École des Beaux Arts de l'Indochine, led by Joseph Inguimberty, who was an influential figure in the revival of the ancestral lacquer technique, which resulted in the Golden Age of Vietnamese painting and lacquer art.

Fishing Under the Moonlight showcases Khang's impeccable skills not only as a master, but an innovator in the field, able to incorporate western composition styles into the traditional discipline. Khang was an admirer of the French Art Deco movement and the works of Jean Dunand in particular. In Fishing Under the Moonlight, the utilization of the background space in black with the movement of the water waves in gold combined with the carved relief and mother of pearl inlay technique brilliantly features Khang's ingenuity. The work's composition, focusing on human figures against a stark background, is quite rare and at the time, revolutionary, in Vietnam.

A lacquer painting by the artist, also dated 1945 with the same size and a similar subject but of a different composition, is on display at the Fine Arts Museum in Hanoi. The two works could very well be a pair, as was usually the case for pieces executed for important exhibitions or prestigious collections during that period. Regardless, Fishing Under the Moonlight finely exemplifies the golden age of Vietnamese lacquer works of art.