曾佑和

約一九九三年作

鈐印
藝術家鈐印一方。

直接購自藝術家

Generally in good condition, there is light discoloration to the tapa cloth on the upper left and right edges.
"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."

Many of Tseng’s works allude directly to celebrated Chinese paintings. With a Heart of Hongren (Lot 2845), a distinctive piece from Tseng’s later period, pays tribute to the faceted structure and abstract formality of Qing dynasty painter Hong Ren’s mountainous landscapes. Known for his geometric abstraction, Hong Ren (1610-1663) is regarded by many as an early Eastern equivalent of Cezanne. Tseng’s reverent tribute directly references Hong Ren’s most renowned masterpiece, The Coming of Autumn, which formerly belonged in the collection of her husband Gustav Ecke. Exhibiting a particularly exceptional application of her dsui technique, Tseng’s painting extends the imagery beyond the traditional square frame of the landscape, merging the traditional with the contemporary, the controlled with the spontaneous. Like Hong Ren, Tseng employs geometric abstraction to present a simplified and dematerialized world, giving the viewer a palpable sense of tranquillity and balance.