Zao Wou-Ki (Zhao Wuji)

signed in pinyin and Chinese
Executed in 1976.

Private European Collection

This work is in very good condition overall. There is evidence of minor wear and paint losses along the edges of the canvas. 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.
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."

This work is accompanied by a certificate of authenticity issued by Archives Zao Wou-Ki.
The viewer can see the art of ink painting in 10.10.76 completed in the mid-1970s. The creamy oil paints flow freely in different directions like ink marks. The sense of speed present in Chinese calligraphy is also appearing in this work. With the rich grey and white textured background created by Zao Wu-Ki's painting knife and the delicate colour arrangement in black and white, the essence of Western and Chinese aesthetics is represented here. French art critic Georges Duby once said:
"In the composition, it seems I can also see China reappearing in the arrangement of the aesthetic components and in the portion allocated to empty space set in a central position within a circumscribed area. All the while, the whole painting is built on a clash, a conflict which is also a harmony, on the hesitant balance between fullness and emptiness, between what is coarse, oppressive, dark, harsh and solid - represented by the mountain, the rocks, the earth in classical Chinese painting - and the effusions, fumes, breezes – depicted in the Chinese tradition by the wandering waters, the sky, the clouds and the haze.
"In this painting, Zao perfectly incorporated Western and Chinese aesthetics, achieving harmony of beauty in life.