Lot 520
  • 520

Chu Teh-Chun (Zhu Dequn)

7,000,000 - 9,000,000 HKD
bidding is closed


  • Chu Teh-Chun (Zhu Dequn)
  • Lueurs Graves
  • oil on canvas
  • 130 by 195 cm.   51 1/8  by 76 3/4  in.
signed in pinyin and Chinese and dated 82; signed in pinyin and Chinese, titled and dated 1983 on the reverse


Private European Collection

Catalogue Note

The Inspired Brushstrokes, The Captivating Glamour
Chu Teh-Chun's Lueurs Graves from the 1980s

Chun Teh-Chun's abstract paintings are music composed with colors; here light and shadow collide and explode, reality and virtuality mingle with each other. The composition spreads out in a diagonal direction; a halo bursts out from the lower-left corner towards to the upper-right corner, splitting the space into halves which then diffuse in separate directions. The chroma of the oil paint applied are similar to that of ink colour; the vigorous and yet rhythmical strokes opens the viewers to an inner-world of infinite imagination. The powerful, broad and uninhabited brushstrokes sprang wild and deftly across the canvas; and each of them opens up new spaces in different levels of depth and profiles. From the 1980s, Chu's composition grows more diverse. Vibrant and solid colours have formed the core of many of his earlier composition; but his works becomes ever more free-spirited and unrestrained. The sublimation into new height reflects his free state of mind during that period; it is also a reminiscent of Taoist philosophy the artist admires: "All things under heaven sprang from It as existing (and named); that existence sprang from It as non-existent (and not named)."

Lueurs Graves' composition is an interplay of light and colours, as if bright cloud ascending from mountains, it coheres with the crimson, light yellow, pale cyan and dark purple, creating a rainbow-like aurora which is full of vitality and yet impalpable and incorporeal.  French art critic Pierre Cabanne has once described Chu Teh-Chun's works as such: "Sometimes the broad and uninhibited strokes leave extensive traces, where concentration gives way to dispersion. If bright colors and lusters are Chu Teh-Chun's favor, then he is also very apt at using grey to develop the gradual change of tones and their coalescence, as well as suffusing shimmers... at other times, the vibrating contours constitute the de facto subject; the sky, air and water are leaping up, or melt into one slowly, hovering over a vast territory". Traditional Chinese painting has a remarkable standard of colour gradation, even in water ink alone, there are five different interpretations of shades; in traditional landscape paintings, there is a so-called "aerial perspective", which means the use of gradual transformation from dark to diluted ink to express the depth of field. In this composition, Chu uses different shades of grey, which coheres with the tradition of spatial construction with water ink in Chinese paintings, to express his emotion in an abstract way, creating an exceptional Oriental ambiance.