Acrylic on canvas，set of 2 pieces

35 x 38 cm x 2.13 3/4 x 15 in x 2.

Signed in English and Chinese，dated and stamped with aitist’s seal on the reverse

LITERATURE Dimensions Art Center，Taipei，Hsiao Chin，Dec 1996，p.146.

Hsiao Chin b. 1935

During his first trip to New York in 1967，under the impact of American industrial civilization and minimal art，Hsiao Chin initiated his exploration into hard-edge art and this word “Contemplation” is the representative piece of the artist during this period.

After the trends of post-war abstract expressionism，the minimalism emphasizing calmness and objectivity rose and has reached its peak of development in mid-1960s. Ad Reinhardt，Barnnet Newman and Frank Stella，who created works filled with rational order，became the new stars of American painting societies while geometrical images and clear-edged block shapes became the mainstream of art themes. The art creation of Hsiao Chin at this stage critically borrowed forms form the hard-edge art without directly copying. He emphasized：“the western hard-edge techniques and minimal art are the outcome of sublimated rational structure，but for me，it is still the intuitive form…..” As the artist concluded，the western minimal art is calculated，distributed in a mathematical way. However，Hsiao Chin still approaches painting through intuition in attempt to establish a “static and yet constantly dynamic” living environment on this symbolic universe. The hard-edge structure created by Hsiao Chin during this period is a product under the oriental-western fusion and another attempt to combine contemporary art trend with the traditional Daoism concepts introduced in the 1960s. It represents the transition of the artist’s style and the interpretation of the artistic context for “westernized Chinese style.”

Hsiao Chin was affected by Tibet Lama and Indian Mandala religious paintings in 1962. He changed his style from the previous mobility to symmetry，while the light color also turns brighter，as exhibited by the art work “Hen” created in 1963. “Hen” differs from the “sun series” by Hsiao Chin with emphasis on rotating radiation lines，which does not center on a geometric circle but the five geometric images deployed equally on the canvas. The structure of the canvas signifies the impact from western abstract art while the mystic symbols reflect the profound impact of Chinese Daoism concepts on artists as well as the oriental philosophy of Hsiao Chin’s art.

In the arrangement of geometric structures，Hsiao Chin displays a rare sense of freehand painting in this work. Apart from the special effect rendered by spraying and melting on the smooth surface，what’s more particular are the use circular patterns. His brushes are full of the traces of his hand movement while the spotlights and darkness compose a natural three-dimensional perception. The five spheres are as planets，constructing a magnetic equilibrium on the image or among the universe，which also implies the context of this work. The painter employs planets of the universe as symbol to convey an unknown and mystic spiritual state，which impact on each other and stay balanced at the same time. It is indicative of Daoism philosophy. This “Hen” came from Hsiao Chin’s meditation for oriental religion and altar，which grants inner spirits to the painting of the artist with a more simplified and profound image. The large and strong color blocks declare Hsiao Chin’s artistic stage with most visual impact and inner tension. This work is considered without doubt as one of the master pieces of artist’s early stage.

Price estimate:
HKD：120,000 - 180,000
USD：15,480 - 23,200

Auction Result:
HKD : 141,600