- 2823
Qiu Deshu
Estimate
200,000 - 300,000 HKD
Log in to view results
bidding is closed
Description
- Qiu Deshu
- Fissuring Series No.308
- ink on paper, framed
signed with one seal of the artist; signed QIU DESHU in English and Chinese, inscribed, titled and dated 1983.8 in pencil on reverse
Provenance
Private American Collection
Condition
Overall 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."
"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
Qiu Deshu is an early pioneer of abstraction and ink art who came of age during the very beginning of the Cultural Revolution. In the vein of creating something new, Qiu developed a mixed media technique in the early 1980s and coined the term liebian, meaning crack-transformation or split-change. Using traditional Chinese mounting techniques to create collages of crumpled and torn paper with layers of ink, acrylic, and watercolor, Qiu's subsequent fissuring method mimics the energy of qi inherent to all natural formations. In his works, mountains seem to split and crack, forming dynamic geological patterns that resemble those in the natural world.
During this early period Qiu experimented with pouring and splashing ink while manipulating the paper to create abstract imagery. Abstraction provided Qiu with the tools to oppose the official art of the 1980s and Soviet Realism of the Mao era. These present works, dated in 1983, represent some of the earliest examples of Qiu's experiments with abstraction and empty form. In addition, Qiu's Fissuring series, which literally records processes of destruction and creation, can be attributed to his Buddhist upbringing. His fissuring technique represents his own cathartic process of engaging with the Buddhist concepts of impermanence and transcendence, while his paper and layering methods are reminiscent of Buddhism's emphasis on emptiness of form. Parallel to Qiu's visionary innovations is a deeply rooted commitment to Chinese tradition. An accomplished traditional calligrapher and seal carver, seals are integral to the composition of his works, and his art reunites painting and calligraphy—art forms that were separated over centuries.
During this early period Qiu experimented with pouring and splashing ink while manipulating the paper to create abstract imagery. Abstraction provided Qiu with the tools to oppose the official art of the 1980s and Soviet Realism of the Mao era. These present works, dated in 1983, represent some of the earliest examples of Qiu's experiments with abstraction and empty form. In addition, Qiu's Fissuring series, which literally records processes of destruction and creation, can be attributed to his Buddhist upbringing. His fissuring technique represents his own cathartic process of engaging with the Buddhist concepts of impermanence and transcendence, while his paper and layering methods are reminiscent of Buddhism's emphasis on emptiness of form. Parallel to Qiu's visionary innovations is a deeply rooted commitment to Chinese tradition. An accomplished traditional calligrapher and seal carver, seals are integral to the composition of his works, and his art reunites painting and calligraphy—art forms that were separated over centuries.