Oil on canvas

65 x 100 cm. 25 5/8×39 3/8 in

Signed in Chinese and English on bottom right

LITERATURE
1972, Hsiung Shih Art- Zao Wou-ki, Hsiung Shih Art Books Co. Ltd., front cover
1978, Zao Wou-ki, Jean Leymaric, Poligrafa Publications, Barcelona, p.298, Plate403
1978, Zao Wou-ki, Jean Leymaric, Hier et Demain Publications, Paris, p.298, Plate 403
1979, Zao Wou-ki, Jean Leymaric, Poligrafa Publications, Barcelona, p.298, Plate403
1979, Zao Wou-ki, Jean Leymaric, Rizzoli International Publications, New York, p.298, Plate 403
1988, Zao Wou-ki, Jean Leymaric, Circle d’Art Publications, Paris, p.298, Plate 403
PROVENANCE
Private Collection， France
Important Private Collection， Asia

This work will be included in the artist’s forthcoming catalogue raisonné by Françoise Marquet and Yann Hendgen （Information provided by Foundation Zao Wou-Ki）In 1948， Zao Wou-Ki traveled to France when he was just 27 years old. He felt that the creativity and brilliance of traditional Chinese ink painting of the Han and Song periods had basically vanished after the 16th century， whence its progress grinded to a halt. In order to not confine himself to the traditional ways， he was determined to leave China for his devotion to art world at the time – Paris. Paris at that time had been taken over by the tide of abstractionism. When he first arrived， he frequently visited art museums， soaking up the essence of modern western art like a sponge soaks up water. From Rembrandt to Francisco Goya， Fauvism to cubism， Zao observed how western artists utilized colors and lines to interpret light and space. Throughout this process， he was constantly searching to find his personal artistic language. Having experienced the twists and turns in exploring figurative painting in 1949， and a close study of Paul Klee’s works in 1952， Zao came to the realization that art should stay true to one’s heart and be rooted in one’s own culture and heritage. Thus， he began to trace back the source of his artistic origins by diving into the world of traditional calligraphy （which he studied as a child）， ancient epigraphs on bronzewares or stone tablets， and the aesthetic backbone of the Han and Song periods. Then he fused these Chinese essences into his own personal style by using western oil painting as his medium， resulting in the creation of his well-known Oracle series of works in 1954. He then followed up in 1958 with the creation of a series of awe-inspiring abstract landscapes， providing the western art world with a new visual expression in an Oriental context. These breakthroughs cemented Zao Wou-Ki as a figure of high status in the post-war art history. While in the beginning of his career he rebelled from traditional art practices， after keeping his distance for some time， he finally had a vision that brought him back to his traditional heritage， allowing him to re-invent his ingenuity as an artist.
In the 1960’s， Zao’s works were embraced by the international art community. In France， his works were promoted in French galleries； in the United States， he collaborated with major art dealers such as Samuel Kootz and Pierre Matisse. In a word， he received non-stop invitations from international art museums both at home and around the world， and in 1969 he had reached the pinnacle of his career， marked by his solo exhibition at the Musée national des beaux-arts du Québec in Canada. This auction features Zao’s 01.05.70 （1970）， a painting that encompasses such influences and inspirations as described above.
An intersection of old and new： rumination and rejuvenation of traditional Chinese aesthetics
On the canvas， Zao Wou-Ki first applied a touch of warm fleshy-pink color， and then took a brush heavy with orange to boldly divide the canvas horizontally into two parts. This approach is reminiscent of the rule-of-thirds composition style of landscape painter Ni Zan of the Yuan dynasty. Further， in the center of the painting， strokes of white and black stretched out in slim and silky lines， trembling， dancing， and racing across the canvas like a conductor’s passionate gestures， or vigorous， unrestrained yet interweaved semi-cursive script by Su Shi of the Song dynasty. The artist， in his admiration for the raw vitality of life， creates a sense of explosive momentum， like tens of thousands of steeds galloping straight ahead into the future. In the large swath of orange color， the artist cleverly rubs in green for contrast， adding another layer of space. In the bottom left and bottom right of the painting， the artist used a scraper to cast the reddish orange and black onto the two areas respectively， giving the painting more excitement and lending to a perfect balance in its overall composition.
Despite the fact that Zou Wou-Ki was using western-style oil paints， not only was he able to allow viewers to discern the characteristics of the thick coats of oil and their rich texture， but he also deliberately incorporated the fluid painterly touch of Chinese ink painting. For example， on the lower left-hand side， the diluted oil coloring follows along with the undulating lines to create an effect of natural flow， exhibiting his masterly technique in ink and wash painting. In a word， this work encapsulates Zao’s artistic spirit and precise techniques melding east and west. Curator of the Musée National d’Art Moderne Bernard Dorival describes this work as such： “The ancient traditions are extremely apparent in Zao Wou-Ki’s works. I am not sure why， but in his work I see flashes of youthfulness， enthusiasm， uneasiness， and sprightliness all combined， which together give it a sort of rapidity and tremor. We can see that the painter has taken all of these emotions and portrayed them in a ‘modern’ take of the painting style of his country.” Through this work of art， thousands of years of traditional Chinese painting have been given a new lease on life.
Major representation： on the cover of Lion Art
In March 1972， major art magazine and contributor to Taiwan art culture Hsiung Shih Art celebrated its first anniversary. For that month’s edition， founder Lee Hsien Wen published Feature on Zao Wou-Ki， which introduced Asian readers to the artist’s work on a major scale. The feature introduced Zao as， “the first Chinese painter renowned in the international painting world as well as the first Chinese painter to play an integral role in modern art history around the globe.” His portrayal as a Chinese artist who catapulted to the ranks of global art history was a major affirmation for him and his achievements. This was also the first interview Zao Wou-Ki had ever done with the Taiwanese media， and the artist choose a handful of representative works to highlight in the magazine. Among the works chosen was his 01.05.70 （the work being offered in this auction）， which donned the cover of the special feature that month. This shows the importance that the artist placed on this particular piece of artwork and its representative nature of his creative career. This work is as good as any of his iconic pieces and a commendable achievement.

Similar to any young man with lofty ambitions， I built my hopes and dreams around the great art world in my early years. Since then， for more than thirty years， not only have I rolled the dice with my personal wealth， but I have also taken a chance with the reputation of the ancient Chinese artists and their great artistic heritage. If you believe that a person must do something with his life that drives him mad， that is what painting has been to me， and it has been the only pursuit throughout my entire life that has brought me solace.
—— Excerpt from Zao Wou-Ki’s manuscript Painting is my life， 1965

Price estimate:
HKD: 20,000,000-30,000,000
USD: 2,574,000-3,861,000

Auction Result:
HKD: 23,150,000