DING YI (China, B. 1963)
DING YI (China, B. 1963)

Manifestation of Crosses 92-2

DING YI (China, B. 1963)
Manifestation of Crosses 92-2
signed in Chinese; dated '1992.2' (lower right); titled and inscribed in Chinese; inscribed '160 x 140 cm'; signed 'Ding Yi' in Pinyin; dated '1992.2' (on the reverse)
acrylic on canvas
140 x 160 cm. (55 1/8 x 63 in.)
Painted in 1992

15% of the hammer price of this lot will be donated to Moonchu Foundation
Acquired directly from the artist by the present owner
Asian Art Archive, China's New Art, Post-1989, Hong Kong, 2001 (illustrated, p. 223).
Hong Kong, Hong Kong Arts Centre; & Hong Kong City Hall, China's New Art, Post-1989, 30 January-28 February 1993.
Sydney, Australia, Museum of Contemporary Art, Mao Goes Pop, 2 June-15 August 1993.
Melbourne, Australia, Melbourne Arts Festival, China's New Art, Post-1989, Summer 1993.
Vancouver, Canada, Vancouver Art Gallery, China's New Art, Post-1989, 12 April-28 May 1995.
Eugene, USA, University of Oregon Art Museum, China's New Art, Post-1989, 17 December 1995-28 February 1996.
Fort Wayne, USA, Fort Wayne Museum of Art, China's New Art, Post-1989, 23 March-11 May 1996.
Salina, USA, Salina Arts Centre, China's New Art, Post-1989, 14 March-11 May 1997.
Chicago, USA, Chicago Cultural Centre, China's New Art, Post-1989, 7 June-8 August 1997.
San Jose, USA, San Jose Museum of Art, China's New Art, Post-1989, 2 September-2 November 1997.

Brought to you by

Eric Chang
Eric Chang

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Lot Essay

Ding Yi is among the first group of Chinese artists to participate in international exhibitions in the early 90s. In the mid-80s, he devoted himself to exploring theoretical abstractionism. In 1988, he started his Appearance of Crosses series, the title in Chinese was originally a term from press printing indicating the lines which mark the boundaries of a page.

With a myriad of different shades of greens, the iconic '+' and 'y' symbols monotonously entwine across Manifestation of Crosses 92-2 (Lot 155), demonstrating a technical rigor, an impeccable sense of structure and a coolly analytical visual sensibility that accumulates into a crescendo, into the spiritual realm. Abandoning all methods of representation, Ding Yi's painting is an expression of pure reason with the constraint and diminishment of emotions. It is a direct expression of freedom from any social or ideological expectations.

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