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Lot Essay
Teng Nee Cheong is an artist renowned for his exotic palette that reflects the various influences of cultures and traditions around
Asia. His works use distinct symbols of adjacent cultures or religions, such as Balinese mythology, Hinduism, and Buddhism. Born in 1951 in Singapore, geographically located in the hub of various cultural exchanges of Southeast Asia, Teng paints in oils and draws with charcoals, inspired by Asian mural paintings and Persian miniatures, in his depiction of flora in particular. In the present Lot , Beauty Even Gods Find Ravishing, Teng deliberately divides the canvas into two yet freely crosses the border of the Oriental and the Western arts. The tiger in strong warm palette imbues the left half of the canvas with the tropical atmosphere of Southeast Asia while sunflowers on the right half remind us of Van Gogh's beloved sunflowers with the ultramarine background. Two seemingly different fields of the painting flawlessly merge from the middle with the central figure of the nude woman. Teng skilfully depicts the woman in this painting as if she is defying gravity, free from any rules, boundaries, or limits, like she cannot be defined or confined by any garments or accessories.
Asia. His works use distinct symbols of adjacent cultures or religions, such as Balinese mythology, Hinduism, and Buddhism. Born in 1951 in Singapore, geographically located in the hub of various cultural exchanges of Southeast Asia, Teng paints in oils and draws with charcoals, inspired by Asian mural paintings and Persian miniatures, in his depiction of flora in particular. In the present Lot , Beauty Even Gods Find Ravishing, Teng deliberately divides the canvas into two yet freely crosses the border of the Oriental and the Western arts. The tiger in strong warm palette imbues the left half of the canvas with the tropical atmosphere of Southeast Asia while sunflowers on the right half remind us of Van Gogh's beloved sunflowers with the ultramarine background. Two seemingly different fields of the painting flawlessly merge from the middle with the central figure of the nude woman. Teng skilfully depicts the woman in this painting as if she is defying gravity, free from any rules, boundaries, or limits, like she cannot be defined or confined by any garments or accessories.