Oil on canvas

88.3×64 cm. 34 3/4×25 1/4 in.

Signed in Chinese and dated on bottom left; titled in Chinese on the reverse
EXHIBITED
1998, Chinese Ink Painting Modern Exhibition, Mountain Art Museum, Kaohsiung

PROVENANCE
26 Nov 2006, Christie's Hong Kong Autumn Auction, Lot 287
Acquired directly by present private Asian collector from the above

Divine Imagery, Transforming the Cosmos
The Contemporary Mythology of Shi Hu

Art master Shi Hu is a prominent figure in modern Chinese art with his diverse artistic language. He draws from traditional Chinese mural art, New Year paintings, opera, paper-cutting, grotto art, lacquer painting, and embroidery. He also incorporates Western art elements, such as Pablo Picasso's Cubism, Joan Miró's abstract forms, and African primitive woodcuts, creating a unique artistic style.

Harmonious Elegance
Rare Cultural Essence on Canvas

Shi Hu was born in Chilu Village, Hebei. Growing up in the countryside, he was deeply influenced by folk traditions like temple statues, paper cuttings, and lanterns. His travels to Africa in the 1970s and to Henan, Yunnan's Xishuangbanna, and Gansu in the 1980s provided fresh inspiration. In the 1990s, he began blending traditional Chinese techniques with Western styles. During this time, Shi Hu captivated the art world with a series of oil paintings that combined ancient charm with modern flair. His Ordained exhibitions in Beijing, Macau, Taipei, and Singapore greatly enhanced his international reputation. The Red Temple (Lot 83), featured in this auction, was created during this period.

In The Red Temple, Shi Hu blends Eastern folk elements with Western modernism, reflecting his belief that "the essence of Chinese art lies in spiritual perception." The geometric and collage-like structures, reminiscent of Cubism, draw from traditional arts like shadow puppetry and paper cutting, bringing the figures to life. The harsh lines echo Eastern calligraphy, adding a sense of historical depth.

Shi Hu depicts three deities, blending architectural elements of temples into the outfit of the figures. The female deity on the left, wearing a phoenix crown and red robes, resembles the gates of a noble house. The heavenly king on the right, with a helmet and a large red pom-pom, has a crown that looks like glazed tiles. The use of crimson and yellow mirrors the red walls and golden tiles of the Forbidden City, giving the painting a majestic feel.

The female deity holds a pheasant, symbolising good fortune. The king's open mouth reveals human figures representing worshippers. The half-figure deity in the lower right is an ancestral spirit, welcoming everyone. These three deities symbolise the unity of heaven, earth, and humanity, capturing Shi Hu's idea of "the unity of man and spirit" with a powerful and awe-inspiring presence.

Simplicity and Purity
A Return to Ink in Woman

After millennium, Shi Hu, known for his mastery of colour, returned to the medium of ink. He started a series of works focused on the human form, highlighting the essence of black and white ink. Completed in 2000, Woman (Lot 84) moves away from vibrant colours to emphasise the beauty of lines. The painting shows a woman with beautiful curves in a squatting pose. Her hands form a tension-filled triangular structure, and her body has full, rounded shapes. Large areas of ink create layered shading, producing a play of light and shadow that enhances the contrast between black and white, solid and void, dense and light, heavy and ethereal, giving the woman in the painting an almost ethereal presence.

Price estimate:
HKD 250,000 – 350,000
USD 32,100 – 44,900

Auction Result:
HKD: 300,000