Oil on canvas

33 × 41 cm. 13 x 16 3/8 in.

Signed in Chinese and English on bottom right； signed in Chinese and English， dated on reverse
PROVENANCE
Galerie Erval, Paris
Dimensions Art Centre, Taipei
30 May 2015, Christie's Hong Kong Spring Auction, Lot 55
Important Private Collection, Asia

This work is accompanied by a certificate of authenticity issued by Dimensions Art Centre, Taipei

Note: This work will be included in the artist's forthcoming catalogue raisonné prepared by Françoise Marquet and Yann Hendgen （Information provided by Foundation Zao Wou-Ki）

The Poetic Brilliance of the Sun and the Moon
Zao Wou-ki's rare, elliptical painting: 26.05.84
In terms of lyrical abstraction, Mr. Zao Wou-ki's works stand out as the most unique and the most poetic. （His paintings offer the deepest philosophical reflection and expression among all Chinese works of art.）
Yves Bonnefoy, well-known French art critic
In 1947, after holding an exhibition at The Sun Co. Ltd. in Shanghai, Zao Wou-ki became determined to study in France and set off for Paris one year later. In the fall of 1983, Zao Wou-ki was invited by the Chinese Ministry of Culture to return to China in order to hold an exhibition at the National Art Museum of China in Beijing and to showcase some of his most important works in his alma mater, the Zhejiang Academy of Fine Arts （currently known as the China Academy of Art）. It was the first time in 36 years that Zao had returned to his motherland. At that time, the 60-year-old Zao saw China becoming more and more prosperous and, to his excitement, saw his work exhibited in one of the most important venues in the country. One year later, he created 26.05.84, perhaps as an expression of gratitude toward the land that had raised him.
Unlike Zao's other works, 26.05.84 is of a unique elliptical shape, perhaps referring to its theme, Pregnancy. Among nearly 2,000 oil paintings created during Zao Wou-ki's life, there are only 14 circular paintings, which proves how rare this form of creation is. Zao utilized circular composition for the first time in 1966 as an artistic experiment attempting to break the habit of creating rectangular paintings. Of the 14 circular paintings, only 7 are elliptical, out of which only 5 were created in the 1980s. The object of this auction, 26.05.84, is one of these 5 works, a clearly rare, precious, and significant opportunity for buyers!
A burst of colorful vital force
In 26.05.84, gray hues on the left and yellow on the right converge in the middle. An orange-brown smudge cuts into the light yellow and spreads up and down, forming a gradient. This image slightly resembles a ray of light that penetrates pale yellow clouds, causing them to tumble and twirl. The whole picture emanates with a vivid life force.
In the center of the picture, the strong, dark brown lines further permeate the pale yellow clouds, deepening the visual impact and reaching deep into the viewer's heart. This experience is somewhat reminiscent of Michelangelo's Creation of Adam: God touches the tip of Adam's finger, giving Adam his soul and bringing him to life. In 26.05.84, Zao Wou-ki seems to be interpreting Michelangelo's God and Adam in abstract language. The line at the intersection of gray and yellow resembles a current radiating outward. Perhaps this is an illustration of the exact moment when God created Adam on the sixth day. While admiring this work, there are no limits to what can trigger in one's imagination.
Oriental soul in an abstract space
Zao Wou-ki started to use ink as his medium again in the 1970s. At that time, comparing the cores of Western and Eastern art allowed him to gain a deeper knowledge of the essence of Chinese culture. It is because of this profound understanding that he “endeavored to seek a free spatial relationship in his paintings, expecting to evoke an open, tranquil, and harmonious ambience, a kind of pleasing composure.” The “spatial relationships” in his works basically refer to the intersection of time and space and to his representation of “emptiness”, which constitute the biggest difference between Zao and Western artists.
The two colors of gray and yellow in 26.05.84 reflect the Chinese philosophical concepts of “yin” and “yang”. The fusion of yin and yang is the premise of the birth of life； the details of the yellow part and the blurred lines where both colors meet form the point of convergence between space and time, giving off a delicate, ethereal feel. While standing before 26.05.84, one may notice the moon slowly embracing the blazing sunlight, just as in one of Zao's favorite quotes （“Like the moon advancing to the full, like the sun ascending to the heavens.”） from the ancient Chinese Book of Songs, which refers to one's vital force and bright future.
Zao Wou-ki's works strongly prove that in terms of the pursuit of poetic quality, the cultures of the East and the West have something in common, and moreover, both cultures express and enhance this pursuit in contemporary art language. Zao interacted with nature using colors and canvas, utilized Western methods of expression to interpret Chinese art tradition and aesthetic spirit, and combined the language of Western abstract art with Eastern philosophy. In his paintings, there are no concrete people, concrete objects, mountains, or rivers, yet one can still feel the vital force of all things in the universe, sensing the primordial emotions in the artist's heart.

Price estimate:
HKD: 2,500,000 - 3,500,000
USD: 318,500 - 445,500

Auction Result:
HKD : 2,950,000