Lot 534
  • 534

Wang Tiande

Estimate
120,000 - 180,000 HKD
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Description

  • Wang Tiande
  • New Chinese Clothes III
  • ink, copper powder and burn marks on paper, framed
created in 2003
marked with one seal of the artist

Provenance

Alisan Fine Arts, Hong Kong
Private American Collection

Exhibited

Wang Tiande: Ink for the 21st Century, Alisan Fine Arts, Hong Kong, 2003, p. 18. 

Condition

Overall in good condition. All creases or tears and burned area of the paper are as per the artist's intention. Overall framed dimensions: 167 by 97.2 cm; 65¾ by 38¼ in.
"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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

As an early advocate of experimentation in painting and calligraphy in Shanghai during the 1980s, Wang Tiande has spent more than three decades focusing on different processes for redefining traditional forms with ink. Having studied at the Zhejiang Academy when Gu Wenda was also teaching there and creating radical shifts in calligraphic painting, Wang incorporated a three dimensional aspect to his groundbreaking creations such as ink stained paper installations and layered materials in this formative era.

New Chinese Clothes III outlines a figure using heavy brushstrokes and illegible calligraphic characters burned into the paper. Although burnt rather than painted, the Chinese characters themselves evoke the poetic inscriptions found in most traditional landscape paintings, and ironically allude to a vanishing literary tradition in the contemporary era. This painting is similar to a painting of the same series in the collections of the Museum of Fine Arts, Boston and the Hong Kong Museum of Art.