With mature blend of realism with modernism controlled by quiet brushstrokes, Wang Yidong's adroit conduction in simplicity and insinuation is synchronized in admirable aesthetic vocabulary, complementary to his deep fondness of Chinese traditions. The subtle gestures of paintbrush, the simplicity in the lighting and the soft insinuation of movements, all entail the Chinese wisdom on the passive beauty, in which Wang eloquently illustrates in Spring Fan (Lot 243).
The soft radiance of the pale skin is maneuvered in tactile sensitivity, aesthetically appropriate to his demurely seductive female protagonist. The sophisticated composition of the tilted fan with the folded arms, similar in it's position, allures the viewer a glide of perception along the contour of the fan and the body. The graceful angle of the female is heightened with the tangible sheen of the silk dress in precondition decision by Wang to furtively amplify the palpable sensation of her skin. His realistic painterly execution demonstrates his stunning technical aptitude but nevertheless, he exhibits further his capability in his erudite yet tasteful knowledge in the power of contrast, ambiguity and abstraction a painting can behold. The overshadowed backdrop, hardly discernible is of roughly painted figures that may only appear unnoticeable, outshined by the illuminating existence of the female. The ambiguity of the background remains abstract more than ever, in conjunction to the highly pragmatic depiction of the figure. These two black and white bipolar characteristics are unified in oblivious harmony as Wang deceitfully inserts sensuous blank lines that curve the movement of fanning. The quiet Chinese beauty no longer appear passive but more mystically enchanting with the lyrical traces of a fan dance. With this, the viewers are captivated by her assure interlocking gaze that undoubtedly bears her poise, only to be magnetized by her very calm seduction.