Watercolour on paper

31.7 x 40.5 cm. 12 1/2 x 16 in.

Signed in Chinese and dated on middle left
PROVENANCE
Acquired directly by present Asian owner from the artist

The ultimate embodiment of truth, KINDnESS, and beauty
An introduction to Shiy De-Jinn's representative works of the 1970s
“Shiy De-Jinn is a very honest person. He is intoxicated with nature and pursues his beautiful dreams. He uses techniques from Western representationalism to express the tradition of Oriental painting. He is a person of this era, and in his paintings, he expresses the words of today.”
—Lin Fengmian, father of Chinese modernist painting
In 1943, Shiy De-Jinn's name was the first on the list of students admitted to the National Hangzhou Academy of Art. Under the guidance of Lin Fengmian, he learned the techniques of painting and the essence of modernism. In 1948, he graduated with honors and embarked on the path of exploring art and life. That year, he left his home province of Sichuan and followed the army to Taiwan, and in the following years, he had been to many places all around the world but had never once returned to his motherland. In 1957, he represented Taiwan with Goose Seller and participated in the 4th São Paulo Art Biennial of Brazil. He also visited the US with invitation of the US State Department in 1963. Later, he came to Europe and stayed in Paris for three years, trying to find his own place in the international art world. He was constantly seeking the support and affirmation of the West, but once, during a visit to the Oriental Library in Paris, he stumbled upon a Chinese folk art depiction. He suddenly realized that in his artistic creation, he should not seek the affirmation of the foreign world, but explore his own heart and return to his motherland. He therefore returned to Taiwan in 1966 and devoted himself to sketching, recording the true beauty he saw. Since 1969, he practiced calligraphy and tried to draw inspiration from Qin and Han inscriptions and traditional Chinese aesthetics, establishing the golden age of his artistic career.
Humanist Admiration
In Seaside Beefwood, completed in 1970, Shiy used a humanistic perspective. Towering trees occupy most of the picture, as if praising the vitality of the lush vegetation in the tropical climate. The trees in black, blue purple, and dark green show the artist's use of watercolor borrowed from the characteristic “five shades” of Chinese ink painting. The brushstrokes were fast and smudged to form different shades of color, showing the Shiy's extreme skills and the unrestrained use of brush. Shiy depicted peasants under the shade of the trees, some of them carrying goods up the forest path and one sitting down, resting. He vividly sketched their figures with simple lines, which show his profound observational abilities and his admiration of peasants, and presents viewers with ordinary, simple, and true beauty.
Double Boats （1971） shows the inspiration the artist drew from traditional calligraphy rubbings. The hulls' outlines are decisive and confident, and the vessels' structure is precise and concise. Shiy once said, “Ships were created by people to conquer the waters, but at that same time they also created living, flowing works of art. Traditional Taiwanese boats hidden in a small fishing port resemble the most beautiful, colorful fish.” The rich colors of this piece confirm his words. Shiy probably anthropomorphized the picture's protagonists； the two ships closely accompany each other on the waves and fight against difficulties as they head for the future, adding a touch of warmth to their lonely life.
Depiction of Expression
In addition to watercolor, another technique used by Shiy was sketching. He began by depicting plaster figures in the National Hangzhou Academy of Art and continued during his stay in Paris, where he often drew portraits in local parks. His seemingly impromptu sketches actually show superb drawing skills. Portrait of Lady, completed in 1973, is a good example. The artist used a charcoal pen on drawing paper to present a girl in a stand-up collar shirt. She has large eyes, thick eyebrows, and a high nose: the facial features most admired by the artist. Her eyes show a strong, determined character. Although it is just a sketch, the artist was still meticulous regarding certain details, such as the collar and hair. The strong black lines seem to embody the artist's ultimate pursuit of perfection.
The Plain and True Beauty of Modernism
In 1979, Shiy De-Jinn continued his conversation with nature in his sketches, and in doing so, he integrated himself with the world. Fishery is a typical work of this period. Fisheries, common in the southern coastal areas of Taiwan, are a dull scene that gains unparalleled beauty under Shiy De-Jinn's brush. On wet watercolor paper, he used quick, horizontal strokes to depict the small roads dividing the field. The picture seems to capture the early morning moment when the sun is still not fully raised and the air is filled with a faint mist, giving the whole painting a poetic and modern charm. The appreciation of this piece of work can soothe viewers' hearts. The artist is perhaps reminding people to slow down their busy lives and use their souls and eyes to experience and feel the beauty of life. He also shows modern humanity the implicit and elegant attitude of the traditional Chinese toward life.

Price estimate:
HKD: 60,000 - 100,000
USD: 7,600 - 12,700

Auction Result:
HKD : 100,300