Acrylic, ink and color on paper

45 × 45 cm. 17 3/4 x 17 3/4 in.

Signed in Chinese and English, dated on upper left
PROVENANCE
Original Collection of Mr. Wang Wenjun, Taiwan
Private Collection, Asia

An Inner Spirit Understanding the Essence of Art
Among the 20th century Chinese artists who emigrated from their homes, Chao Chung-Hsiang is undoubtedly very special. According to him, all artists should pursue active living and spiritual liberation, and he absorbed the tradition of Chinese literati painting as well as the characteristics of various Western art trends, blending Chinese and Western art to form his own unique artistic style. Ever since he settled in the Soho district of New York in 1958, he encountered a wave of Abstract Expressionism and met and interacted with artists such as Jackson Pollock and Franz Kline, prompting him to rethink the direction of his creation. During his 30-year stay in the United States, Chao boldly overthrew the established norms of the Chinese calligraphy and painting tradition, switched to vivid and bright colors, and utilized philosophical symbols in order to reflect the long-standing culture of the Orient. He was swiftly pulled into artistic circles, where he was valued and prized. This is reflected in how, in 1962, the Guggenheim in New York invited him to participate in an international abstract painting exhibition to be held in the following year. In 1968, the Boston Museum of Art exhibited 172 contemporary world masterpieces from the famous Wellington-Ivest Collection, and Chao Chung-Hsiang was the only Chinese artist exhibited. Then, in 1972, he was the first Chinese artist to win the New York State Creative Artists Public Service Program Award, further evidence of the renown he enjoyed.
Understanding the Philosophy of Painting
All the works of Chao Chung-Hsiang featured in this auction belong to the later period of his career. It can be seen that by that time, due to all the setbacks he had experienced, Chao became more confident in his creation. He drew inspiration from rice paper and color ink, the yin and yang, and the I Ching, and the entirety of the extensive and profound Chinese cultural tradition became his inexhaustible nutrient. In his work Warmth (1989)(Lot669), the artist portrayed a pair of birds, simple in shape, facing left, and standing quietly next to each other. In the background behind them, apart from a large shape in dark ink, there are multiple patterns formed using short pinkish orange, indigo, and vivid green strokes. Chao also painted a circular halo around the birds using his usual fluorescent yellow, giving balance to the composition, the colors, and the lines and highlighting the quiet and peaceful atmosphere of the painting.
Another featured work, Brightness Inside and Outside(Lot670), is further evidence of the artist’s wisdom and peacefulness. The large shape in black ink resembles a majestic waterfall or a cascade flowing from the top and guiding the viewer’s line of sight to the foreground, in which there are two straight stalks of bamboo growing laterally. The surrounding smudges of yellow and green seem random, but in fact, they provide the perfect backdrop, highlighting the vitality of the bamboo. This is reminiscent of the words of Zheng Banqiao, a Qing Dynasty artist who excelled at painting bamboo stalks: “While painting, one stalk of bamboo is not enough; two is just right; three is too much; and four is just an excuse to cover up the embarrassment of your paintings.” This work combines realistic representation and abstraction, reflecting Chao’s deep understanding of ink. At the same time, the painting also reveals the philosophical principles pursued by the artist throughout his life, and this has resulted in a true masterpiece.

Price estimate:
HKD: 120,000 - 180,000
USD: 15,400 - 23,100

Auction Result:
HKD: 141,600