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Kim Tschang-Yeul (B. 1929)
These lots have been imported from outside the EU … Read more Five Works from an Important Private Asian Collection
Kim Tschang-Yeul (B. 1929)

Waterdrops ENS 212

Details
Kim Tschang-Yeul (B. 1929)
Waterdrops ENS 212
signed and dated 'T. Kim 1979' (lower right); signed, signed in Chinese, titled, inscribed and dated twice 'CSH 65 1979 ENS 212 1979 T. Kim' (on the overlap)
oil on hemp cloth
31 ¼ x 45 ¼in. (79.5 x 115cm.)
Executed in 1979
Provenance
Private Collection.
Anon. sale, United Asian Auctioneers, 25 May 2013, lot 83.
Acquired at the above sale by the present owner.
Special notice

These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.

Lot Essay

Water is a nearly universally recognised symbol, embodying ideas of purity and spiritual cleansing, emptiness and the infinite. These symbolic properties can be found not only visually but in the extended, deliberately meditative practice of Kim Tschang Yeul. After World War II and the subsequent Korean War, many artists throughout Korea and Japan turned away from figurative expression, instead moving towards expressive forms that bear some resemblance to Minimalism in the West. At the same time, the spiritual and philosophical underpinnings of these creations had distinct roots in East philosophy and aesthetics. Born in 1929, Kim Tschang-Yeul,
a learned man in classical Chinese calligraphy and Asian philosophy, was exposed to Western art by his mother, who passionately encouraged his interest in the arts. Settling in Paris in 1970, Kim developed his signature style and motif: the representation of the water drop. As the artist has explained: ‘I paint water drops because I want to dissolve everything inside them, and return to nothingness. Anger, anxiety, fear-I want them all to become emptiness’ (T.-Y. Kim, quoted in, Kim Tsang-Yeul, exh. cat., Tokyo Gallery, 1988).

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