Oil on canvas

95×105 cm. 37 3/8×41 3/8 in.

Signed in English and Chinese on bottom right; signed in English and dated on the reverse

LITERATURE
2023, Zao Wou-Ki catalogue raisonné Vol.2 1959-1974, Groupe Flammarion / Foundation Zao Wou-Ki, Paris, p.238
PROVENANCE
28 May 1999, Lempertz Cologne Spring Auction, Lot 560
24 Apr 2001, China Guardian Spring Auction, Lot 879
7 Oct 2019, China Guardian Hong Kong Autumn Auction, Lot 88
Acquired directly by present important private Asian collector from the above

This work is accompanied by a certificate of authenticity issued by Foundation Zao Wou-Ki and a photo of the painting in 2002 with signature of the artist

Epic Brushstrokes, Nature Unveiled
Zao Wou-Ki's Milestone on "The Chinese Road" - 24.01.73

In the early 1970s, Zao Wou-Ki set aside his grand oil paintings, which required extended periods of creation, and began exploring Chinese ink and rice paper again. This shift was partly to care for his ailing wife, Chan May-Kan, and partly to respond to his inner turmoil and quest for a new artistic outlet. This moment became a crucial factor in the subsequent evolution of his painting style. Sadly, his wife passed away in early March 1972, plunging Zao into a period of profound grief and creative stagnation. Yet, this loss also led him back to China after being away for more than 20 years, where he found solace in the support of his mother, old friends, and the familiar landscapes of his homeland. 24.01.73, a rare oil painting from this period, is a testament to this transformative time.

In form and imagery, this work transcends the wild and untamed style of his earlier calligraphy-inspired period. The mountains and rivers of his homeland inspired the organic forms in the painting. Rationality and emotion, East and West, power and tranquillity are tightly interwoven in this work, radiating new hope.

Back to Roots
Soft Clouds, Distant Lands

Between 1972 and 1975, Zao frequently travelled to China, discovering new inspirations in its natural landscapes. He truly returned to the roots of Chinese art, as he stated: "I put more effort into the empty spaces of the painting than the filled areas. In Chinese painting, the rhythm created by presence and absence is inspiring. If my paintings differ from most Western artists', it is often due to this treatment of space." This unique approach distinguished his artistic language.

In 24.01.73, Zao applies heavy colours to the sides to highlight the ethereal scenery in the centre. He uses broad, fluid brushstrokes to simulate the turbulent atmosphere and calligraphic lines to depict mountains shrouded in mist, creating a dynamic contrast of light and dark, and achieving a harmonious balance of strength and softness. Viewers are drawn into an expansive void, feeling the energy bursting forth from its inception.

Gazing at this work, one is reminded of the magical skies at sunrise and sunset, the changing scenery of the sky under the afterglow, and the lush summer foliage illuminated by sunlight. It has intricate connections with Song Dynasty landscape paintings, reflecting a blend of reality and imagination. It also resonates with the romantic and grand narratives of British Romantic painter J.M.W. Turner. Despite the differences in time and space, both Zao and these Western and Eastern masters aimed to capture nature's magnificence, highlighting human insignificance in comparison and leading viewers to transcend themselves.

Erupting Self-Expression

Since the 1950s, Zao Wou-Ki continuously integrated Eastern and Western aesthetic concepts, using Western forms to express Chinese cultural perspectives and reflecting the spiritual realm of Eastern scholars. He drew from the essence of Eastern cultural heritage, as seen in his mastery of calligraphy in 24.01.73.

In this painting, Zao thinned the oil paint with turpentine to create layers of semi-transparent colours, achieving an ethereal and misty atmosphere. Viewers can immerse themselves in the painting, traverse the colour blocks, get lost in the bright mist, and be carried by the ascending colours, reaching a spiritual homeland.

Rare Sister Pieces
A Testament of 1970s Friendship

Three months after completing 24.01.73, Zao created another similarly composed smaller piece (54x65cm), 05.04.73—Homage to René Char, as a gift for his friend, the French poet and critic. The two works are like sister pieces, with the latter borrowing from the former in composition and technique, indicating Zao's satisfaction with the classic composition of 24.01.73. Such closely related compositions are rare in Zao's lifetime oeuvre, highlighting the rarity and added significance to 24.01.73.

Through his continuous retrospection towards China and his outlook towards the world, 24.01.73 marks a significant milestone in Zao Wou-Ki's journey of "returning to China" during the 1970s. It signifies the starting point of a long-separated wanderer finding roots and renewal.

Price estimate:
HKD 12,000,000 – 18,000,000
USD 1,538,500 – 2,307,700

Auction Result:
HKD: 12,000,000