Zhong Cheng

Zhong Cheng
No.92-7, Sec.1, Fusing S.rd., Da-an District, Taipei 106
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Taipei
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No.92-7, Sec.1, Fusing S.rd., Da-an District, Taipei 106, Taipei, TW

Some artworks auctioned at Zhong Cheng selected by the database of Arcadja Auctions.
Selected Artworks

Browse the list of auctions held by Zhong Cheng which Arcadja has followed for you.
Auction list for Zhong Cheng

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Some works sold by Zhong Cheng

Max  Liu - Tang Dynasty Horses

Max Liu - Tang Dynasty Horses

Original 1999
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Lot number: 1
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Tang Dynasty Horses Artist LIU CHIWEI (1912-2002) Size 39.5×55.5cm Era 1999 Auction 2012 Spring Auction - Chinese Contemporary Art and Sculptures Lot.001 Material Mixed Media on Cotton Signature Signed Liu Chiwei in Chinese phonetic and dated 1999 Exposition Estimate TWD 160,000 ~ 240,000 USD 5,344 ~ 8,016 HKD 41,600 ~ 62,400 Hammer Price TWD 188,800 USD 6,306 HKD 49,088
Ju Ming -  Single Whip

Ju Ming - Single Whip

Original 1993
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Lot number: 43
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Taichi Series - Single Whip Artist JU MING (b.1938) Size 45×25×39cm Era 1993 Auction 2012 Spring Auction - Chinese Contemporary Art and Sculptures Lot.043 Material Wood(One piece only) Signature Signed Ju Ming in Chinese and dated 1993 Exposition ILLUSTRATED “CHRISTIE’’S”, Hong Kong, 29 May, 2011, Lot 1103 PROVENANCE Hanart TZ Gallery, Hong Kong, China Acquired directly from the above by the present owner When studying under Yuyu Yang, the doyen of Taiwanese sculpture, Ju practiced taijiquan on a daily basis. In an addition to staying healthy, he soon grasped the essence of this ancient sport and began to ponder conveying his insights through works of sculpture. Taiji became the language, in which his sculpture was written. As Ju Ming his sculpture was written. As Ju Ming explains, “Taijiquan is a method of maintaining your health through regular soft exercise. As the same time, it is the best example of “achieving oneness between individual and nature” that I am aware of. “Taijingquan is a way of directly experiencing and emulating the natural phenomena that makes up our universe. Ju Ming is devoted to the pursuit of this “natural harmony”, both in his life and his art. Having internalized taiji’’s principles, he strives to reveal them to others in his work, melding taiji and artistic skills into straightforward, unembellished manifestations of “man’’s oneness with nature” Ju Ming’’s single whip epitomizes the fascinating tension between inner tranquility and outward action characteristic of most taiji moves. In this piece, Ju transcends the limitations of traditional sculpture, focusing not on the physical substance but its gentle motion, the aesthetic appeal that line in the fluid lines and vigorous momentum of the low single whip move. In doing so, he gives us a hint of how taiji allows the life force to circulate freely through the adept’’s body. Although Ju Ming made many pieces of "Single Whip" and all named the same, they have different manner and imposing appearance in every piece. The Taichi boxing stress the uniform, slow, soft and round, which fully make the aesthetic into practice and just like that will have different dynamics when different people practice the same style. Therefore, we know that when Ju make the Taichi sculpture, he will give the unique vitality to each of them. Estimate TWD 10,000,000 ~ 13,000,000 USD 334,000 ~ 434,200 HKD 2,600,000 ~ 3,380,000 Hammer Price TWD 8,024,000 USD 268,002 HKD 2,086,240
Pei-Ming Yan - Victime Juliette C

Pei-Ming Yan - Victime Juliette C

Original 2001
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Lot number: 89
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Victime Juliette C Artist YAN PEIMING (b.1960) Size 200×180cm Era 2001 Auction 2012 Spring Auction - Chinese Contemporary Art and Sculptures Lot.089 Material Oil on Canvas Signature Signed on the Reverse: YAN Pei-Min in English Exposition ILLUSTRATED Les Presses Du Reel, Yan Pei-Ming: The Way of the Dragon, France, 2004, Page168 In many ways, Yan Pei-Ming’’s monolithic and expressionist portraits maintain certain continuity with his experiences and training as a young in China. His earliest training as an artist came during China’’s Cultural Revolution. At the same time, the country’’s landscape was over-run with “big character” posters, a mode of public political editorializing by competing political factions. Yan was impressed by the scale and directness of the posters, the bold expressiveness of the calligraphy demanding the viewer’’s attention and aspired to become a professional paint image of movie stars. Later in life, Yan was most impressed by the Abstract Expressionists, not wanting to mimic them in his own arts he eliminated color from his palette and relied instead on the monochromatic, calligraphic technique of his youth. In a body of work spanning nearly 30 years, Yan display a tireless investigation into the mysterious power of icons, by the cultural, religious and political. His preferred subjects include such figures as Bruce Lee, Mao Zedong, and Pope John Paul. But he has also given equal attention to anonymous disaster victims, self-portraits, and portraits of his father carried out in the last year of his life, and even these figures serve as icons embodying near universal aspects of the human condition. Many of Yan’’s subjects are drawn from memory, sometimes abetted by newspaper photos or other mementos. Within his chosen vocabulary, the creation of these images serves as a process of externalization, one that allows Yan an extended meditation of the persons in his life, the meaning of their existence, and the ephemeral subjective quality of the artist’’s relationship to his subject. Taken as a whole, it becomes apparent that Yan is compelled by an on-going search for identity that is at once cultural, personal, and existential. In his portraits monumental “Victime Juliette C”, Yan reveals his fundamental worldview in his treatment of anonymous beggars or the naming of otherwise anonymous victims of disasters or crimes. In his Victime Juliette C., the figure emerges from blunt, muscular strokes against neutral and rapidly executed backgrounds. The surface of the canvas is covered with scattered splatters, attesting to the velocity of the artist’’s method. The artist uses usually broad brushes that allow him not only to paint economically but with considerable urgency. Though Yan is working in a classically “Western” painting genre, this technique has certain corollaries with Chinese Zen calligraphers, who would sometimes use overly large brushes in order to sidestep their “conscious” impulses and give rise instead to a less mediated form of expression, This immediacy is apparent in Yan’’s works as well, they have an almost “automatic” quality, as if revealing Yan’’s visceral and subconscious feelings towards his subjects during the moment of their creation. His portraits, especially his anonymous portraits, as such are often a distillation of experience and memory, at once personal and collective, maintaining the particularity of experience and elevating his subjects beyond that of mere statistics. Yan has said that he only paints “miserable people”, including himself, a disposition that seems to imply a fixation on the inevitability of death. Yan’’s worldview is revealed is one of profound unease, full of conflict and unrest. His singular poetic and existential vision, his obsessive return to the visages that have haunted his life, point to a life-long struggle for a moral existence against otherwise seemingly arbitrary experiences and events, a struggle that remains at the core of Yan’’s generation’’s experience of the 20th and 21th Century. Estimate TWD 10,000,000 ~ 15,000,000 USD 334,000 ~ 501,000 HKD 2,600,000 ~ 3,900,000 Hammer Price TWD 11,564,000 USD 386,238 HKD 3,006,640
Zhou Chunya - Peach Blossom No.1

Zhou Chunya - Peach Blossom No.1

Original 1997
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Lot number: 91
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Peach Blossom No.1 Artist ZHOU CHUNYA (b.1955) Size 120×150cm Era 1997 Auction 2012 Spring Auction - Chinese Contemporary Art and Sculptures Lot.091 Material Oil on Canvas Signature Signed Zhou Chunya in Chinese and dated 1997 Exposition With a certificate of authenticity from gallery ILLUSTRATED "Red and Grey, 8-Avant-Garde Chinese Artist" Soobin Art gallery, 1997, Page 47 EXHIBITION: "Red and Grey, 8-Avant-Garde Chinese Artist" Soobin Art gallery, 1997 Zhou Chun Ya is regarded as the most talented artist in handling colors and the earliest pioneer in breakthrough in Chinese contemporary art. From 1986 to 1989, he has been inspired by Germany New-Expressionism Painting and began to discover and realize his mother culture. He recognized and understood Chinese traditional culture and presented his desire with the present and personal experiences. Chinese classical culture and Western materials and skills have developed and blended together, Zhou has successfully created his unique “new painting” style. “Peach Blossom No.1” was created in 1997, and is one of the Chinese realist art series after returning from Germany. “Flowers” have long been widely used by Chinese literati to metaphor and express philosophy; giving natural elements different images and symbols. Through singing and chanting, a harmonic consensus that passes time has been created. This implication has become a passion and desire from the inside that provoked the artists’’ affections and later inspired Zhou to create his flower series through strong brushstrokes. Unlike Chinese literati being conservative, Zhou has liberally expressed his passion, desire and needs through the blossoming flowers and vivid bright colors. “Peach Blossom No.1” is a breakthrough from the lightly sketched contours technique. Zhou used bright red, green and other liberating colors and forms to discover different colors and compositions; and created a unique and contemporary style. His later works “Green Dog series” and “Peach Blossom series” have extended from the color base and echoed with the artist’’s affection. The flower stands straight and firm in the middle of the canvas; the vivid green created a strong visual tension that metaphors the livelihood. The brushstrokes are free yet firm; making the flowers strong but beautiful. The intentional blank even more provokes deep thoughts and appreciation. The atmosphere is gentle yet luring making it simple and elegant. Zhou’’s unique form and skills have represented western art and eastern literati fun. Borders between time and culture have diminished; a recreation of traditional and contemporary exists. “After years of studies into literati art, Zhou Chun Ya remained respectful to traditions. He believes that traditions are perfect and modern people can view and extract essence of them from their own perspective. While viewing traditions, he has revealed his continual search of the meaning of life. From the choice of symbols in his painting, viewers can see his passion and impulse towards life. From “Stone series ”to “Peach Blossom series”, they all speak of the artist’’s desire that shines, simplified and excites- a true interpretation of Zhou Chun Ya’’s unique art language.” - Chinese Contemporary Art Curator Li Xu Estimate TWD 13,000,000 ~ 20,000,000 USD 434,200 ~ 668,000 HKD 3,380,000 ~ 5,200,000 Hammer Price TWD 16,284,000 USD 543,886 HKD 4,233,840
Lijun Fang - No.2

Lijun Fang - No.2

Original 1997
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Lot number: 119
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No.2 Artist FANG LIJUN (b.1963) Size 80×100cm Era 1997 Auction 2012 Spring Auction - Chinese Contemporary Art and Sculptures Lot.119 Material Oil on Canvas Signature Signed on the Reverse: Fang Linjun in Chinese, dated 1997 and titled No.2 Exposition With a certificate of authenticity from gallery PROVENANCE Galerie Serieuze Zaken / Rob Malasch, The Netherlands The 64 Movement in 1989 is a watershed in Chinese Modern Art history; the transformation in economy, society and politics has interacted with the thoughts and actions of artists. Viewing from the atmosphere then, Chinese art critic Li Xian Ting brought up the term “the cynical realism” in 1990 to reveal a new and contemporary creation style. The “Post 89” became a significant trademark in Chinese contemporary art history; the artists were rebellious and criticizing in reflecting and taunting the society and formed a new cultural strength. The representatives are – Fang Li Jun, Yue Min Jun, Wang Guang Yi, Zhang Xiao Gang, known as the Chinese contemporary art F4. “No.2” is Fang Li Jun’’s classic with using the theme “water”. The blue, clear water slowly flows to gently reveal a sense of leafing within the endless. Without direction nor target. The floating figurative objects might also be invisible. It is a metaphor of “a drop in the ocean” always discovering, searching and struggling; unable to escape its fate. With the diminishing of passion in the 80s came along the laidback and depressed 90s, there is a lack of belonging in social value and detached phenomena. People are lost and frustrated but still moved forward like the waters in the painting moving and creating ripples. Fang Li Jun’’s artwork did not come in vain rather he is trying to arise the viewers’’ self- awareness and self-reflection. Different individuals will have different images to reflect the heart. The artist’’s skills empowered a sense of peace and tranquility for the viewers to temporary sooth the emptiness and lonesome feeling. ”No.2” returned to the most natural and original emotions without rage and laughter. The artist utilized an interesting image to study the contemporary micro and macro, the artwork is indeed a masterpiece to keep. Estimate TWD 9,000,000 ~ 15,000,000 USD 300,600 ~ 501,000 HKD 2,340,000 ~ 3,900,000 Hammer Price TWD USD 0 HKD 0
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