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    Sale 12517

    Asian 20th Century Art (Day Sale)

    29 May 2016, Convention Hall

  • Lot 386

    TSENG YUHO (ZENG YOUHE, Chinese, B.1924)

    Rhapsody in Blue

    Price Realised  


    TSENG YUHO (ZENG YOUHE, Chinese, B.1924)
    Rhapsody in Blue
    signed in Chinese (lower right)
    ink, gold, palladium, dsui collage and paper mounted on panel screen (two-panel screen)
    each: 182.2 x 90.8 cm. (71 3/4 x 35 3/4 in.)
    overall: 182.2 x 182.2 cm. (71 3/4 x 71 3/4 in.)

    one seal of the artist

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    As a distinguished female artist in the 20th century, Tseng Yuho created methods of Dsui Painting which is revolutionary in works on paper development in modern Chinese art history. Dsui method is inspired by traditional mounting method of Chinese ink painting. The artist once explained, “[m]y aim in the new painting is not to emphasize the technique of paper art but rather to focus on what I can express through the medium. The element of the unexpected gave me a sense of freedom, as if I were roaming in a world of my own. Most importantly, I felt I would now explore the world unencumbered and have valuable new artistic experiences.”

    Rhapsody in Blue (Lot 386) is a very rare two-panel screen created by the artist, with the use of gold foil and palladium. The use of gold and silver colours, Tseng once mentioned, “I apply large amounts of gold or silver metallic colours (including palladium and aluminum) to my work, a technique developed around 1959. … As a student in Beijing, I painted gold paintings on Tibetan blue paper and on gold folding fans, using traditional themes such as bamboo, orchids and human figures. In 1959, I began to use synthetic gold and silver pigments. … On my numerous trips to Europe, I was impressed by the gold paintings in the medieval and early Renaissance altar triptychs. In these paintings the mellowed gold did not detract from the design but served as a background, framing the portraits of Christ and the holy family. … In 1963, I again applied metallic colours to my paintings, but using genuine gold foil. I replaced easily tarnished silver with palladium and finally aluminum foil. My emphasis shifted from design to texture, as I sought the solemnity of another world. … Some of my work has predominately metallic tonal values. The aluminum foils are solidly applied. Like the gold used in medieval paintings, the metallic colour performs a deductive role that suggests a world on a different plane.” (2)

    Tseng Yuho, “Dsui Hua”, Dsui Hua: Tseng Yuho, Hanart TZ Gallery, Hong Kong, 1992, pp. 26-28.


    Private Collection, USA

    Pre-Lot Text