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Lot Essay
The 'Nanyang' school, or style, of art developed in mid-20th century Singapore and is considered a formative part of Southeast Asian visual history. The term 'Nanyang' was originally used to describe the hybrid culture of Chinese migrants to the Southeast Asian region; and when applied to art, it grew to represent the mix of styles and techniques which first-generation artists such as Cheong Soo Pieng, Chen Wen Hsi, Liu Kang, Chen Chong Swee and Georgette Chen pioneered, blending Eastern and Western methodologies with indigenous subject matters.
A central milestone for the 'Nanyang' style is the historic trip to Bali in 1952 taken by Cheong Soo Pieng, Liu Kang, Chen Wen Hsi and Chen Chong Swee. The outcome of this exercise in plein-air study were richly detailed creations focused on Balinese life, local females, 'kampong' (village) scenes, or pastoral landscapes. Subsequently, the artists expanded their travels to other regions such as Sarawak and Java, drawing inspiration from their unique vernacular.
Evidence of Cheong Soo Pieng's skill in evoking the pastoral serenity of Southeast Asin is further displayed in Meditation (Lot 3356), an outstandingly beautiful picture even within Cheong's masterful oeuvre. The single girl is portrayed with large, long-lashed, long lidded eyes, an almond-shaped face, and Cheong's classic elongated limbs. Her vermillion sarong contrasts with the shimmering bronze hue of the entire canvas, while a village with pagoda is faintly shown in the misty background. Growing around her and decorating her hair are tropical gardenia flowers, an exceptionally delicate gesture for Cheong, whose women usually bear more vigorous ornaments of headscarfs and tribal decorations.
A central milestone for the 'Nanyang' style is the historic trip to Bali in 1952 taken by Cheong Soo Pieng, Liu Kang, Chen Wen Hsi and Chen Chong Swee. The outcome of this exercise in plein-air study were richly detailed creations focused on Balinese life, local females, 'kampong' (village) scenes, or pastoral landscapes. Subsequently, the artists expanded their travels to other regions such as Sarawak and Java, drawing inspiration from their unique vernacular.
Evidence of Cheong Soo Pieng's skill in evoking the pastoral serenity of Southeast Asin is further displayed in Meditation (Lot 3356), an outstandingly beautiful picture even within Cheong's masterful oeuvre. The single girl is portrayed with large, long-lashed, long lidded eyes, an almond-shaped face, and Cheong's classic elongated limbs. Her vermillion sarong contrasts with the shimmering bronze hue of the entire canvas, while a village with pagoda is faintly shown in the misty background. Growing around her and decorating her hair are tropical gardenia flowers, an exceptionally delicate gesture for Cheong, whose women usually bear more vigorous ornaments of headscarfs and tribal decorations.