Chao Chung-Hsiang

CHAO Chung-hsiang (Taiwanese, 1910-1991) PrintLove of the Cosmos 1988 Oil on canvas 69 x 71 cm Signed upper left Chung-hsiang in Chinese, Chao , titled Love of the Cosmos in English and dated 88 This painting is to be sold with a certificate of authenticity issued by Dimensions Art Center, Taipei.

Lot Description CHAO CHUNG-HSIANG (ZHAO CHUNXIANG, Chinese, 1913-1991) Life Ripening into Fullness No. 11 signed 'Chao' in Pinyin; dated '76' (upper left); signed 'Chung-Hsiang Chao' in Pinyin; titled 'life ripening into fullness No 11'; dated '68-75'; and inscribed '45" x 27" 1/2' (on the reverse) ink, watercolour and acrylic on paper mounted on canvas overall: 112.5 x 68 cm. (44 1/4 x 26 3/4 in.) paper: 94 x 61.5 cm. (37 x 24 1/4 in.) Painted in 1976 Provenance Acquired directly from the artist by the present owner

CHAO CHUN-HSIANG (ZHAO CHUNXIANG, Chinese, 1910-1991) Abstract Composition signed in Chinese; signed 'Chao' in Pinyin; dated '77-80'; inscribed in Chinese (upper left) ink and acrylic on paper 140 x 110 cm. (55 1/8 x 43 3/8 in.) Painted in 1977-80 Private Collection, USA Chao's multifaceted themes can be summarized into two major genres-one that employs geometric symbols and elements of literati painting to express traditional Eastern culture and philosophy, while another features animals and plants such as flowers, birds, insects and fish, to express his aspiration and hope towards life. In our Day Sale this season, Abstract Composition (Lot 1111) and Blooming and Falling off (Lot 1112) are representatives for both genres. In his distinctive style, the work displays the consistent thinking and creative process of the artist. The interweaving pattern in red and green at the centre of Abstract Composition creates a striking contrast. Composed of dots and lines, the concentric rings spread outward like ripples, creating a complex layering and spatiality under the gradation of ink background. The vivid florescent colours are applied as the graphic structural component; while the ink shadings, in the long history of Chinese landscape paintings, are elements that can freely define space and dimension. Chao not only creates a striking visual effect with the methods of keeping blank spaces, the gradation of ink, and the combination of colours, but also manages to integrate the traditional Chinese spatial perspective with the flat surface seen in Western abstract expressionism. The bamboo twigs slant from top right to the lower left, while the leaves are placed on the upper left and the lower right. Attempting to balance the composition, he challenges our visual experience by expanding outwards from the central focal point. The bamboo leaves seem to penetrate the ripples. The explicit and rapid brush strokes are full of power and swiftness, creating a strong visual impact. At the same time, the brush stroke at the periphery of the work suggests the artist's intention of breaking free from the restraint of the pictorial space. This echoes the grandeur and momentum described in the Chinese traditional landscape paintings-"painting thousands of miles of landscape within inches of pictorial space." On the top Blooming and Falling off, Chao depicts a blossoming white flower, placed amidst a light ink background. Layering with diluted white colour, Chao creates the varying shades and the shadows of the petals. Compare with the meticulous rendition of the flower, Chao gradually loosens up his controlled brushstroke while the bamboo leaves from the top, while the bottom part of the leaves almost is presented in an splash-ink manner. The heavily inked leaves nearly takeup half of the painting. Although Chao uses intense ink shades for his freehand brushwork on the bamboo leaves, the image is not a massive block of lifeless darkness. The artist manages to create depths through layering different intensity and dampness of the ink. The addition of the fluorescent green details serves to bring lights amidst the darkness. The greyish ink shadings stand out from the two-dimensional space; the actuality of the space is enhanced through subtle layering. At first sight, the white flower, its fluorescent pink outlining, the bamboo leaves and the ink-stain background seem to be individual elements. These are, in fact, commonly seen symbols in Chao's work. He transcends a brief moment of blossoming beauty through the fusion of those elements in his ink and colours. These symbolic elements can be seen as a summary of his artistic expedition. The blossoming and falling off of flowers is actually the circle of life in nature. Chao views the surrounding in a with a positive attitude. In the work, the flower and the leaves are symbols of nature; yet they go beyond life and death. The artist views the beauty and imperfection in life with an magnanimous and open-minded attitude. In Blooming and Falling off , the depiction of the flower in a nearly realistic manner, to the abstract simplification of the bamboo leave reflect , both the persistent and carefree life philosophy of the artist.

Ravenel Spring Auction 2011 Taipei | Auction Results | Tender Bid | Auction Entrustment | Transaction Agreement | Staff and Services 144 Click to show larger image CHAO Chung-hsiang (Taiwanese, 1910-1991) PrintGossiping Ink and acrylic on paper 92.5 x 61 cm Signed lower left Chung-hsiang in Chinese and Chao in English ILLUSTRATED: Chao Chung-hsiang Collection , Alisan Fine Arts Gallery, Hong Kong, 1992, color illustrated, no. 111, pp. 227-228 Estimate: TWD 2,500,000 - 3,500,000 USD 83,300 - 116,700 HKD 658,000 - 921,000 Sold: TWD 2,400,000 USD 83,711 HKD 650,407 Catalogue Note: Chao retains the essence of western and eastern art in his artworks, forming a unique visual style. He has special emotions for "ink" in eastern art and believes that innovating Chinese art should be in promoting the core of tradition, that is, the ink painting. When Chao was residing abroad in New York in late 1950, western abstract art was in full bloom. He saw western masters of Abstract Expressionism innovate their works by gaining inspiration from eastern calligraphy and ink painting. This prompted his studies on ink and applying ink to his art. Chinese splash-ink painting, broken ink, and Pollock's drip and splash had certain influence on Chao. After the 80s, his style become more free and unrestrained, expressing the spirit of pure abstract art. The pivot of Chao's artwork does not deviate from mystical Taoism and philosophies of humanitarianism. From the elements of topics, images, and color, we can discern Chao's compassion. This work, "Gossiping", combines somber Chinese ink with bright acrylics, a drip-painting technique of the type used in Western abstract painting has been employed for the background; this technique is also similar to the "ink-splashing" free painting method sometimes used in traditional Chinese painting. The luminous green spirals, arranged in a line running down the picture, are like a string of pearls made up from individual roses. The effect is simultaneously classical and modern; its aesthetic appeal surpasses temporal or cultural boundaries. This is also the typical painting style of Chao. Spring Auction 2011 Hong Kong Results Spring Auction 2011 Taipei Results Spring Auction 2011 Hong Kong Lots Spring Auction 2011 Taipei Lots Ravenel Art's Andy Warhol Night

CHAO CHUNG-HSIANG (ZHAO CHUNXIANG, 1913-1991) Glowing signed in Chinese; signed 'Chao' in Pinyin; dated '89'; inscribed'N.Y.C' in English (upper left); inscribed, signed and dated inChinese; signed 'Chao' in Pinyin (upper right) ink and acrylic on paper 92.7 x 68.8 cm. (36 1/2 x 27 1/8 in.) Painted in 1984; retouched in 1989 Alisan Fine Arts Ltd., Chao Chung-Hsiang (Zhao Chunxiang), HongKong, China, 1992 (illustrated, plate 60, p. 123). Eslite Gallery, Chao Chung-Hsiang Solo Exhibition, Taipei, Taiwan,1993 (illustrated, cover). National History Museum, Chao Chung-Hsiang: An Eternal Searcher,Taipei, Taiwan (illustrated, plate 6-6, p. 173). Taipei, Taiwan, Eslite Gallery, Chao Chung-Hsiang SoloExhibition, June 1993. Taipei, Taiwan, Taipei Show Hall 2, Art Taipei 2001 - ChaoChung-Hsiang Memorial Exhibition: On the 10th Year of His Decease,2001. Taipei, Taiwan, National History Museum, Chao Chung-Hsiang: AnEternal Searcher, March 2004.