Lot 131
  • 131

Gu Wenda

Estimate
150,000 - 200,000 RMB
bidding is closed

Description

  • Gu Wenda
  • Ink World
  • ink on paper
marked with three artist seals, framed

Provenance

Private Collection, China
CHENGXUAN, Beijing, 11 November, 2011, lot 0680

Condition


"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

In early 1980s, Contemporary Chinese Ink Painting developed from a number of factors – artists’ reflection on the cultural revolution, the evolution of society towards modernity, as well as challenges presented by Western cultures. The anxiety towards the modernity of culture was thus expressed through the rebellion against Ink Painting traditions.

Gu Wenda is one of the most iconic figures from the 85' New Wave Movement. Well-versed in the traditional art of Ink Painting, he studied Chinese landscape painting under Lu Yanshao as a graduate student. Ink World transformed the brush and ink format of traditional Ink Painting into original symbols, testament to both his spiritual connection with the Ink Painting traditions and his grand ambition to perform “overall deconstruction” on these traditions.

In terms of composition, Lost Dynasty No 4, B Series shows a sense of continuation from Northern Song Dynasty’s grand and powerful landscape painting, a style with which the artist has great affinity. Nevertheless, in terms of format, he boldly broke free from traditions’ constrains, using a dislocated and dissected form of “zhuanshu” (seal script) to compose the painting. The main body of the work is a pseudo seal script invented by the artist, the red seal in the middle is one of his earliest “pseudo Chinese character seals”. According to Gu, it could be read as “god of wine”, clearly influenced by Nietzsche's “Dionysian impulse”. The red cross is, the artist asserted, one of the earliest forms of “intervention pop art”, and may have been influenced by “dazhibao” (literally meaning “big-character posters”) from the cultural revolution. The abstract Ink Painting contour and structure in the background is a dazzling display of the artist’s well-honed skills in the traditional art form. Such “overall deconstruction” of Chinese characters and poetic images challenge the formal institution and status quo in its spirit.

Lost Dynasty No 4, B Series is a representative work from the artist’s “Internal Criticism” period (1983 – 1987). Both in concept and external appearance, such “pseudo language” Ink Painting, as the artist claimed, “pioneered the movement of Contemporary Chinese Conceptual Ink Painting”.