Zhang Daqian (Chang Dai-chien, 1899-1983)

with two seals of the artist. Titleslip by Kao Ling-mei

Inscription:
Joy of Fish.
This painting was done ten years ago in playful imitation of a joint work by Shitao and Bada (Shanren)in a temporary lodging in Kowloon. Its brushwork is light and soft, and is not worth keeping. Inscribed in the spring of the guimao year by Old Man Yuan.

Hong Kong, The Chinese University of Hong Kong, Art Gallery, The Mei Yun Tang
Collection of Paintings by Chang Dai-chien, 17 April-23 May 1993
Japan, Tokyo, Shoto Museum of Art, The Mei Yun Tang Collection of Paintings by Chang Dai-chien, 5 April-21 May 1995
Singapore, Singapore Art Museum, The Mei Yun Tang Collection of Paintings by Chang Dai-chien, 28 February-27 April 1997

Chinese Paintings with the Original Paintings & Discourses on Chinese Art By Professor Chang Dai-chien, edited by Kao Ling-mei, East Art Co., Hong Kong, February 1961, p. 78
The Mei Yun Tang Collection of Paintings by Chang Dai-chien, edited by Kao Mayching, The Chinese University of Hong Kong, Art Gallery, Hong Kong, 1993, pl. 47
The Mei Yun Tang Collection of Paintings by Chang Dai-chien, Shoto Museum of Art,
Japan, 1995, pl. 46

- Generally in good 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."

Of Fish
The secret of painting fish lies in the painter’s ability to express the fishy
gladness and freedom of motion in water. If the fish should appear to
be out of water, so to speak, that would be tantamount to divorcing it
from its natural instinct. The test of the painter’s finesse is in the art of
showing aquatic presence in the feeling and attitude of the fish, without
having to delineate water…. But the one I adore most is Pa Ta Shan Jên
whose superb technique enables him to give full expression to fish by
means of very simple composition and brush-work, and to reach the
ideal state of being at one with his subject. Such artistic perfection as
his must have passed through innumerable hours of observation and
meditation before he could transform his technique from the complex
to the simple without impairing its full capacity for expression. Let us
examine the mouth, eyes, gills, dorsal fins, back, paddle fins, tail and
abdomen of the fish he has painted. Is there any of these that does
not reflect the subtle ingenuity of the painter? The various species of
fish are different, each having its own particular manner and attitude
in motion. Yet, whatever Pa Ta Shan Jên may paint, he has never failed
to present it at its best. Let us always sit at the feet of Gamaliel, not
by copying his work but by emulating his devotion to art. Should we
merely imitate his style and technique, we would become, at best,
slaves of the master.

In a fish picture, sometimes it is necessary to enliven the beauty of
its composition and break its monotony with rocks and plants which,
however, should be painted in ink monotone, instead of colour, in order
to achieve the effect of plain refinement.

Extracted from Chinese Painting with the Original Paintings and
Discourses on Chinese Art by Professor Chang Dai-chien
Edited and compiled by Kao Ling-mei
Translated by Yao Hsin-nung