Ink and colour on paper

36×36.5 cm. 14 1/8×14 3/8 in.

Signed in Chinese with an artist seal on bottom left

LITERATURE
1993, Collection of The Modern Chinese Masters - Lin Feng Mian, Jinxiu Cultural Publishing House, Taipei, p. 222
PROVENANCE
Previous Collection of Hong Kong Private Collector Wong Lian Fon
Lin & Keng Gallery, Taipei
Acquired directly by present important private Asian collector from the above

This work is accompanied by a certificate of authenticity issued by Lin & Keng Gallery, Taipei

Silent Verses That Echo Through the Ages
The Timeless Virtue and Beauty by Master Lin Fengmian

Lin Fengmian, a pioneer in merging Eastern and Western aesthetics and a revolutionary in Chinese ink painting, devoted his entire life to art. As the youngest art academy president in history, he spent the 20th century blending Western techniques with traditional Chinese ink, creating a seamless fusion of light, colour, and ink. His work bridged the gap between Eastern and Western art, offering a fresh interpretation of the beauty and romance of Eastern culture.

In this Autumn auction, we are honoured to present four exceptional works by Lin Fengmian, each showcasing a different theme: the landscape Woods in Spring (Lot30), the operatic scene South Gate of Heaven (Lot27), the modern beauty Sitting in Silence (Lot29), and the Still Life (Lot28). These pieces highlight Lin Fengmian's skill in blending Eastern and Western aesthetics across various subjects.

Eternal Landscapes
Lin Fengmian's Masterpiece Woods in Spring

Lin Fengmian's hometown, Gongling Village in Meixian, Guangdong, is nestled between green mountains and a small river, with lush pine forests that remain vibrant year-round. This serene landscape left a lasting impression on him throughout his life. "It enriched my understanding of all things and natural forms, becoming the main source of my landscape paintings," Lin once said. While teaching at the Hangzhou National College of Art (current China Academy of Art), he encouraged his students to "draw inspiration from nature," and in 1929, he published the New Theory of Chinese Painting, advocating for "learning from nature." A 1953 visit to Tianping Mountain in Suzhou further deepened his pursuit of creating "scenery that is poetic in colour, form, and space." Woods in Spring is a mature example of his innovative blend of ink and colour, reflecting his reformed approach to traditional landscape painting.

A Poetic Fusion of Colour and Ink

Starting in the 1950s, Lin Fengmian mastered the integration of Chinese ink with Western expressions of light and colour. His landscapes often feature broad washes of ink to shape mountains and earth, enriched with subtle shades of indigo and violet to enhance light and shadow. He used bright white pigment to illustrate mist weaving through mountains and water splashing in streams, adding focal points and a sense of airiness. Woods in Spring showcases this technique beautifully. Unlike his earlier works that used pale or blank areas to suggest light, this piece boldly incorporates yellow tones to capture the soft morning light behind distant mountains, blending seamlessly with the warm reflections of trees in nearby streams. The light seems to cut through thick clouds, brightening the forest and shimmering on the water.

A Hidden World
The Spirit of Tranquility and Seclusion

To reduce the use of white, Lin Fengmian painted houses with rich brown tones instead of the typical black-tiled, white-walled houses, blending them with the land to evoke a deep connection. In contrast, the autumn forest bursts with layers of green, orange, and ochre, infusing the scene with vibrant energy.

The trees and houses in the painting gradually enlarge from background to foreground, deepening the sense of perspective. Instead of following traditional zigzag paths, the composition creates a semi-enclosed circular space, guiding the eye right to left, outward to inward. This setting feels like a serene, secluded retreat, capturing the spirit of tranquillity and seclusion central to traditional Chinese painting.

Masterful Expressions of National Heritage
The Rare Opera-Themed Painting South Gate of Heaven

The opera "South Gate of Heaven," also known as "Crossing the Snowy Mountains," tells the tragic story of Cao Zhengbang, a Ming dynasty official who defied the powerful eunuch Wei Zhongxian. As a result, his entire family was assassinated, except for his loyal servant Cao Fu, who escaped with Cao's orphaned daughter, Cao Yulian. They endure a treacherous journey to Guanghua Mountain during a harsh winter. To protect Yulian, Cao Fu sacrifices himself, giving her his clothes for warmth. Lin Fengmian was deeply moved by this opera and created multiple artworks based on it during his later years. Only eight pieces from this series are known to exist, making South Gate of Heaven an exceptionally rare and treasured work.

Dynamic Forms and Geometric Harmony

South Gate of Heaven showcases Lin Fengmian's signature "two-person composition," capturing the dramatic tension between the elderly servant and his young mistress. The figures are defined by sharp, geometric lines—straight edges, triangles, and polygons—that reflect Lin's 1950s exploration of blending traditional Chinese art forms like shadow puppetry with Western Cubism. Yulian, the central figure, is depicted in a flowing blue skirt with triangular elements. The radiating lines on her pleated skirt further emphasise the sense of movement, beautifully integrating the aesthetic of Chinese opera dance into Lin's painting style.

Contrasting Tones and Emotional Depth
Life's Drama of Justice and Retribution

South Gate of Heaven reflects Lin Fengmian's later reflections on life, especially through his use of colour. The painting features bold contrasts of blue-black, white, and yellow. Cao Fu's white beard highlights his nobility, while Yulian's black dress represents her strength. Cao Fu's bright yellow robe symbolises the warmth and protection he offers. Lin skillfully layers colour and ink, allowing light to break through the dark background and surround the figures, symbolising renewed hope. This mirrors Lin's own life—despite his struggles, he found rebirth through art, subtly conveying the idea that in the end, goodness triumphs, gently reminding us that good and evil eventually receive their due.

Radiant Light and Shadow
The Luminous Elegance of Sitting in Silence

Lin Fengmian's depictions of women include a distinctive group of modern figures, often inspired by his wife, daughter, or students, that stand apart from his classical beauties. While his classical subjects are portrayed with subtle, downcast expressions using simple lines, these modern women are depicted with vibrant, expressive eyes that capture the individuality and warmth of real people. Sitting in Silence is a prime example of this style. The painting has a well-documented provenance, was featured in the 1992 publication Han Mo, and has been carefully preserved by its current owner for over 20 years, making its appearance at auction particularly significant.

A Blend of Subtlety and Boldness

In the painting, the woman sits gracefully in front of a verdant courtyard, her intense gaze directed upward, engaging the viewer. Her warm-toned skin, slender cheeks, and high nose give her an exotic charm. The short, curly hairstyle recalls Lin Fengmian's 1940s portrait of his wife, capturing a distinctly French elegance. While the figure's form reflects the soft curves typical of 1950s Eastern femininity, the composition as a whole is influenced by the bold style of Fauvist master Henri Matisse, seen in the geometric structure of her dress and the flowing lines of her body. The horizontal stripes on the wall, the interwoven patterns of the red carpet, and the shadowy table and round fruit in the lower right add a sense of dynamic movement. This blend of Eastern subtlety and Western boldness creates a striking fusion of styles.

Beauty in Backlighting
An Ethereal Presence

To emphasise the woman's ethereal presence, Lin Fengmian masterfully uses backlighting. Her upper body is bathed in greeness, with just a subtle highlight around her head and shoulders, adding a soft radiance. The centre of the painting bursts with lively shades of mint, lime, sage, and emerald, representing tropical plants outside a large window. Indoors, the space transitions from soft purple-pink to deep turquoise and jade greens, creating a layered depth from front to back, left to right. Lin carefully balances the colours throughout the piece. The woman's simple, elegant black dress is accented with mint green details in her headband, collar, cuffs, and hem, mirroring the greenery outside and subtly enhancing her serene beauty with a refreshing vibrancy.

The Resilient Spirit of Life
Aspiration in Cactus and Orchids

In the 1940s, while Lin Fengmian was the principal of the Hangzhou National College of Art, he lived with his family in a two-story garden house. His student, Shiy De-Jinn, remembered, "As soon as you entered the gate, you were greeted by a large courtyard with green lawns surrounded by blooming flowers of various colours. The staircase led to his spacious studio, where both indoors and outdoors were adorned with purple and pink flowers, all cultivated by him." After moving to Shanghai in 1951, Lin continued his love for gardening, finding solace and inspiration in the vibrant greenery around him. This passion not only enriched his still life paintings but also symbolised his unwavering love for life despite the challenges he faced—a spirit that is vividly captured in Still Life.

In this painting, Lin Fengmian pairs a cactus with a pot of orchid, each representing "resilience" and "elegance." The rounded cactus stems and the slender orchid leaves intertwine in a geometric harmony of shapes and lines. The blossoms on either side seem to engage in a lively conversation. The orchid leaves stretch freely, with two bright red flowers swaying, resembling a dancer gracefully moving her sleeves, exuding elegance and vitality. Opposite them, the cactus showcases its dynamic energy, with spiky leaves overlapping and spiralling upward, creating rich spatial depth. Lin Fengmian had a lifelong affinity for cacti, frequently featuring them in his works from the 1950s to the 1980s. The cactus, known for its resilience, mirrors Lin Fengmian's own life—marked by challenges yet defined by unwavering strength. Through his art, he infused the cactus with his steadfast dedication to his artistic ideals.

A Harmonious Blend of East and West
Elegance in Colour and Form

Unlike Lin Fengmian's other still life paintings, which often feature darker windowsills in the background, this piece stands out for its bright, vibrant colours. The background is filled with soft pinks and light blues, adding a fresh and elegant touch to the scene. Lin Fengmian uses bold, confident brushstrokes to create diagonal patterns, forming a grid-like geometric structure that flattens the space into layered planes. This technique beautifully blends the expressive brushwork of Eastern aesthetics with the cubist influences of Western art, reflecting Lin Fengmian's open-minded and confident approach to creativity. The painting represents a new level of innovation in his still life work, combining traditional ink techniques with modern elements, making it a remarkable example of his artistic mastery.

Price estimate:
HKD 300,000 - 400,000
USD 38,500 – 51,300

Auction Result:
HKD: 1,104,000