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Lot Essay
Artist Chu Teh-Chun began to reexamine the essence of Chinese cultures in 1960 - 1970, and applied ink wash techniques to his abstract oil paintings. Swath of ink rendering on large measures of space blossoms into variations of tonality, moving in graceful fluidity in an otherworldly sphere. The movement of the plane and silhouette is created by the enchanting repertoire of Chu's brushstroke, the breathtaking crash of water as mountain springs cascade down the precipice, and the dark veil of the night is split by the explosive heavy rock music. The avalanche of light and shadows is a twin of Temple at the Mountain Peak by Zhang Daqian, in which Zhang outlined the mythical aurora between the cliffs.
In the catalogue of the artist's 2013 Paris retrospective exhibition, Pierre Cabanne declared that "paintings by Chu Teh-Chun have neither beginning nor conclusion: they rely solely on the resilience of their own destiny."
The 300-year retrospective exhibition of Rembrandt at Amsterdam's Rijksmuseum in 1970 left a profound impact on Chu Teh-Chun. It not only revolutionised his interpretation and treatment of light, but also gave him insight into the meaning of painting. Chu held Rembrandt in the highest regard; he was particularly awed by Rembrandt's masterful use of light and skillful highlighting and representation of luminosity. Rembrandt's use of distinct gradations of shadows and darkness reinforced the infectious and mysterious appeal of his work, as seem in Untitled. And there, Chu realised that the use of light and shade in Western classical Realism is actually consonant with the concepts of yin-yang, and light and dark-the two definitive elements of Chinese understanding of the universe. After examining more thoroughly the interplay and tempo of light, Chu was able to execute more expressively refined work. He stated: 'The colour and lines in my images are never random: they join hands for one purpose: awaken the source of light, and kindle images and rhythms.'
In the catalogue of the artist's 2013 Paris retrospective exhibition, Pierre Cabanne declared that "paintings by Chu Teh-Chun have neither beginning nor conclusion: they rely solely on the resilience of their own destiny."
The 300-year retrospective exhibition of Rembrandt at Amsterdam's Rijksmuseum in 1970 left a profound impact on Chu Teh-Chun. It not only revolutionised his interpretation and treatment of light, but also gave him insight into the meaning of painting. Chu held Rembrandt in the highest regard; he was particularly awed by Rembrandt's masterful use of light and skillful highlighting and representation of luminosity. Rembrandt's use of distinct gradations of shadows and darkness reinforced the infectious and mysterious appeal of his work, as seem in Untitled. And there, Chu realised that the use of light and shade in Western classical Realism is actually consonant with the concepts of yin-yang, and light and dark-the two definitive elements of Chinese understanding of the universe. After examining more thoroughly the interplay and tempo of light, Chu was able to execute more expressively refined work. He stated: 'The colour and lines in my images are never random: they join hands for one purpose: awaken the source of light, and kindle images and rhythms.'