.jpg?w=1)
Lot Essay
Chao Chung-Hsiang inherits his artistic style extensively; taking the best from schools of both Western and Chinese art, he blends them to form his own unique style and artistic language. When Chao was young, he entered Hangzhou National Academy of Arts, which was known for its vision in “synthesizing the East and West”. The founder of the Academy, Lin Fengmian, had studied abroad in France. After his return to the country, he based himself at the Academy and worked towards a systematical innovation of the practice of Chinese ink painting. He invited Pan Tianshou to be the professor in charge of Chinese painting and combined the teaching of Chinese and Western art. The Academy nurtured the new generation of Chinese artists and became the cradle of Chinese modern art. Under the influence of both Lin Fengmian and Pan Tianshou, Chao establishes the characteristic of synthesizing East and West in his creative process.
Created in 1989, The Universe (Lot 451) centers its theme on light and darkness. Illuminated from two red candles at the bottom part, radiance is signified by a yellow circle. The artist divides the work into two parts by ink black on the right and bright yellow on the left, representing bright and dark, echoing yin and yang, the harmonious concept of nature in traditional Chinese culture. Using ink as the dominant element, Chao formulates the foreground with wild, dynamic and forceful brushstrokes. The tamed and subdued background juxtaposes with the robust and intense strength in the foreground. The splash of acrylic colours masking the surface of the painting is a result of Chao's continuous exploration in both Western and Chinese media.
Lin Fengmian sees the fluidity and instability of the traditional ink medium as a limitation. It lacks texture when compares to the tactile intensity of oil paint. To overcome this restriction of ink and increase the textural sense of the depicted scene, Lin Fengmian deliberately mixes Chinese ink with colour pigment, sometimes even using the textually dense poster color. He would paint in the method of layering, where ink and colour would interlay within each other to create overlapping layers of colours in his works. Chao's decision in applying acrylic paint, on one hand intensifies the texture of the work, on the other releases the presentational force of the colours. Amongst the similarly vibrant Western media such as oil paint, water-colour and acrylic paint, Zhao chooses to use the water-based acrylic paint for its ability to be mixed with water; and hence, to be applied in a manner similar to Chinese ink, while offering a colourful palette. Mastering the unique qualities of acrylic paints, Chao applies in the manner of splash-ink painting, while also assimilates the 'drip' technique of Jackson Pollock's action painting and can also be discussed together with Walasse Ting who established his abstract style during his stay in New York. Splashing colours onto the ink-wash bamboo outlines, Chao creates an imagery that is filled with contradictions and excitements. The contrasting and intensive colours further accentuates the subtle and intricate cadence of ink.
A rare early work of Chao, Chinese Landscape (Lot 427) as if artist’s dialogue between transition and modernity, illustrating the understanding and passion to Chao’s cultural root.
Created in 1989, The Universe (Lot 451) centers its theme on light and darkness. Illuminated from two red candles at the bottom part, radiance is signified by a yellow circle. The artist divides the work into two parts by ink black on the right and bright yellow on the left, representing bright and dark, echoing yin and yang, the harmonious concept of nature in traditional Chinese culture. Using ink as the dominant element, Chao formulates the foreground with wild, dynamic and forceful brushstrokes. The tamed and subdued background juxtaposes with the robust and intense strength in the foreground. The splash of acrylic colours masking the surface of the painting is a result of Chao's continuous exploration in both Western and Chinese media.
Lin Fengmian sees the fluidity and instability of the traditional ink medium as a limitation. It lacks texture when compares to the tactile intensity of oil paint. To overcome this restriction of ink and increase the textural sense of the depicted scene, Lin Fengmian deliberately mixes Chinese ink with colour pigment, sometimes even using the textually dense poster color. He would paint in the method of layering, where ink and colour would interlay within each other to create overlapping layers of colours in his works. Chao's decision in applying acrylic paint, on one hand intensifies the texture of the work, on the other releases the presentational force of the colours. Amongst the similarly vibrant Western media such as oil paint, water-colour and acrylic paint, Zhao chooses to use the water-based acrylic paint for its ability to be mixed with water; and hence, to be applied in a manner similar to Chinese ink, while offering a colourful palette. Mastering the unique qualities of acrylic paints, Chao applies in the manner of splash-ink painting, while also assimilates the 'drip' technique of Jackson Pollock's action painting and can also be discussed together with Walasse Ting who established his abstract style during his stay in New York. Splashing colours onto the ink-wash bamboo outlines, Chao creates an imagery that is filled with contradictions and excitements. The contrasting and intensive colours further accentuates the subtle and intricate cadence of ink.
A rare early work of Chao, Chinese Landscape (Lot 427) as if artist’s dialogue between transition and modernity, illustrating the understanding and passion to Chao’s cultural root.