Zao Wou-Ki (Zhao Wuji)

Signed in pinyin and Chinese and dated 55; signed in pinyin, titled and dated 1955 on the reverse

Galerie de France, Paris
Private European Collection

Jean Leymarie, ed., Zao Wou-Ki, Hier et Demain, Barcelona, 1978, plate 40, p. 84, illustrated in colour
Jean Leymarie, ed., Zao Wou-ki, Polígrafa, Barcelona, 1979, plate 40, p.84, illustrated in colour
Jean Leymarie, ed., Zao Wou-Ki, Rizzoli International Publications, New York, 1979, plate 40, p. 84, illustrated in colour
Jean Leymarie, ed., Zao Wou-Ki, Cercle d'Art, Paris, 1986, plate 40, illustrated in colour
Jean Leymarie, ed., Zao Wou-Ki, Cercle d'Art, Barcelona, 1986, plate 40, illustrated in colour

This work is in good condition overall. There is evidence of minor craquelure across the surface of the canvas, primarily in the areas of impasto. There is light wear and paint losses along the edges of the work. There is no evidence of restoration under UV.
"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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This work is accompanied by a certificate of authenticity issued by Archives Zao Wou-Ki.

1954 is another stage of Zao Wou-Ki's artistic career. He gradually gave up the figurative language in his art, seeking inspiration from his Chinese traditional culture and ancient philosophy. During that time, Chinese oracle bones and calligraphy invigorated him, leading Zao to begin a series of works incorporating the inscriptions from oracle bones into his compositions. This highly proclaimed development has been seen as a milestone in Chinese art history. François Cheng, the member of the Académie des beaux-arts, once said:

"Zao Wou-Ki's artistic destiny is not only personal; it is closely linked to the upcoming of a several thousand years old pictorial tradition. This fundamental fact, far from lessening the value of the artist's personal quest, leads instead to making it more moving to our eyes. In fact, thanks to this work, a long expectation in which the Chinese painting had remained for over a century seems to come to an end. For the first time, a true symbiosis took place that, from way back, was meant to take place between China and the West."

Zao had a wonderful relationship with his father when he was young. In Jardin de mon père, it reflects the artist's longing for his childhood and his love for his father. In the expense of light blue and black ink, there are flowing and vibrating symbols in different shapes and sizes emerging from within, constructing a classical Chinese garden with mountains, stones, water, bridges, the moon and the sun. Illuminated by beacons of golden light, this work is imbued with an air of mystery and elegance.