Zao Wou-Ki (Zhao Wuji)

signed in pinyn and Chinese; signed in pinyin and Chinese, titled, dated 4.7.79 and dedicated to Madame and Monsieur Jean Welder on the reverse

Private European Collection

Luxembourg, Galerie F. Hessler, De la Chine, entre tradition et modernité, October 27 – December 22, 2010

Jean Leymarie, ed., Zao Wou-Ki, Cercle d’Art, Paris, 1986, plate 521, p. 349
Yves Bonnefoy & Gérard de Cortanze, Zao Wou-Ki, editions La Différence / Enrico Navarra, Paris, 1998, p. 189, illustrated in colour
Zao Wou-Ki: couleurs et mots, Le Cherche midi éditeur, Paris, 1998, p. 41, illustrated in colour

This work is in very good condition. There is evidence of stable minor craquelure across the surface of the painting, predominately at the upper center and on the grey/black impasto at the bottom, 30 cm from the right, 7 cm from the bottom. Under UV: there is no evidence of restoration.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
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The unrestrained character of Zao Wou-Ki's ink pieces -4.7.79

On the transverse plane of 4.7.79, Zao Wou-Ki established a scenery beginning with a thin wash of misty blue as the sky in the background. Its colour resembled the smooth surface of a Ru porcelain rinsed by rainwater or the dewdrops of Jiangnan summer tide. A contrail of delineated mountains slashed across the horizon, separating the sky and the river, setting the boundaries between heaven and earth. The smudging and scumbling techniques used by Zao created an undetermined sense of distance and perspective. As one took a closer look, the contours and lines in 4.7.79 were not black in its entirety but mixed with a luxuriant violet. The patch of celadon green at the right bottom of the composition diffused like the pleasant blush of dusk. The finishing touches of cinnabar red and cobalt blue supplied the subtle composition with several highlights, paying homage to the magnificent "danqing" (the colours blue and red) used often in traditional Chinese paintings.

In his youth, Zao was an admirer of the works of Mi Fu of the Song Dynasty. The Mi's way of depicting fog and mist had influenced Zao painterly style in oils. It was typical of the Northern Song literati to travel around and record their experiences in different art forms such as poetry and painting. Similarly, Zao was an avid traveller. Returning to his motherland after 20 years of touring around the globe, Zao saturated his paintings, 4.7.79 in this particular context, with an overwhelming sense of nostalgia as if he had travelled alongside with the Song masters. The viewer took up an elevated position, beholding the painting's scenery with a bird's-eye view. From the small island depicted at the painting's immediate foreground, across the tranquil surface of the calm river, over to the towering mountains delineating the deep expense of the sky, one's wandering gaze had a liberating effect to one's spirit while visually indulging in such natural splendour.