Oil on paper

56 × 76 cm. 22 × 29 7/8 in.

Signed in Chinese and English, dated on the bottom right

LITERATURE
1986, Chu Teh-Chun, Hong Kong Institute for Promotion of Chinese Culture Gallery, Hong Kong, p.38
EXHIBITED
2 – 25 Apr 1986, Chu Teh-Chun Solo Exhibition, Hong Kong Institute for Promotion of Chinese Culture Institute, Hong Kong

PROVENANCE
20 Nov 2014, Chengxuan Beijing Autumn Auction, Lot 865
Acquired directly by present important Asian collector from the above

Look into the Light of Art

When Chu Teh-Chun saw Rembrandt in Amsterdam in 1970 for the first time, he was shocked by Rumbrandt's rendition of light. He once said: “The light in Rembrandt's paintings makes his paintings more profound, vigorous and powerful.” Since then, light has become the focus and creative characteristic of Chu's paintings. The Shadow on the Pond Tells Emptinessdemonstrates his subtle and sophisticated expression of light. The work adopts a classic horizontal composition, darker in the upper part, lighter in the lower part. The intertwined lines of stone green and red form the colors of dusk in the upper part, creating depth and rhythm of the space. The vibrant yellow, white, green, and red form strong contrast to the adjacent dark colors, forming the light source and the focal point of the painting, which looks like sparkling jewels in a deep valley, or water oozing out of a pond.

The Rhythm of East and West

When studying at the Hangzhou National Art College, Chu Teh-Chun not only studied oil painting under Wu Dayu, but also received instructions from the master of Chinese painting Pan Tianshou. The artistic concept of “Integration between East and West” has long been rooted in his heart. His fusion of Chinese and Western techniques and his vitality across cultures are both perfectly presented in The Shadow on the Pond Tells Emptiness. The work is made of paper and is mounted on canvas, using a western-style composition to show the texture and color of Chinese ink. The upper part of the painting is rendered in large brushes, thin and translucent in color, while center brush is used in the lower part to outline the details of the color blocks, from which the influence of traditional calligraphy and painting on Chu Teh-Chun's creative practice can be seen. Meanwhile, the rich textural effect and the traces of brush movement formed by the thick coating of paint are typical western painting techniques. The natural rhythm of the integration between east and west echoed what Chu Teh-Chun mentioned in his speech when he was awarded the academician of France: “The result is that I have this kind of painting language on my canvas, that is, color and handwriting simultaneously attend to the same purpose: to awaken light, form and rhythm. “

Mountain Light Pleases the Bird, the Shadow on the Pond Tells Emptiness

Chu Teh-Chun often draws inspiration from classical Chinese poems in his creation, and the name of this piece derives from the Tang poet Chang Jian's Inscriptions on the Back Yard of Poshan Temple. The two well-known lines, “Mountain light pleases the bird, the shadow on the pond tells emptiness” depicts the tranquility of nature. When a person stands beside the pond and looks at the shadow in the water, he loses all his idle thoughts and his mind is purified. It perfectly presents Chu's reclusive mindset of discarding distracting thoughts and wandering in nature and it also invites viewers to come and join him.

Price estimate:
HKD: 1,000,000 – 2,000,000
USD: 128,900 – 257,900

Auction Result:
HKD: 1,652,000