Lot 587
  • 587

Wei Ligang

Estimate
200,000 - 300,000 HKD
Sold
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Description

  • Wei Ligang
  • Record of Yue Yang Tower
  • ink and acrylic on paper, framed
  • executed in 2007
executed in 2007
signed, titled, inscribed in Chinese and marked with one seal of the artist

Provenance

Acquired directly from the artist
The Origo Collection

Exhibited

China, Beijing, National Arts Museum of China, Zhi Kan: Wei Ligang's Calligraphical Art Exhibition, 4-12 March, 2007, p. 47

Literature

Chinese Ink Painting 2008. Book 1: Huantie Times, Zhongguo Yishu Zhuangtai, China, 2008, p. 549
Kuo, Jason C., Chinese Ink Painting Now, Distributed Art Publishers, New York, USA; Timezone 8, Hong Kong, China, 2010, p.126

Catalogue Note

During his studies at Tianjin’s Nankai University where he received a degree in mathematics, Wei Ligang also studied Northern Wei tablet inscriptions, seal carving, and calligraphy. Upon graduation in 1985 he assumed a post to teach mathematics, which transformed into a position to teach art and calligraphy. Dedicated to art and its modern development, Wei systematically focused on the early 20th century developments of Japanese calligraphy and Abstract Expressionism to fuel his journey of developing calligraphic styles of painting. Ten (Lot 584) is an expression of the numerical character composed from two gestural, spontaneous brushstrokes that is reminiscent of the audacious paintings of the calligraphic paintings produced in Japan and the West. Wei’s paintings are meant to draw similarities between the concepts of Abstract Expressionism and the Chinese writing system. In addition, the artist regards mathematics, using symbols to represent relationships between figures and forms, as the highest level of abstraction.

In his paintings, Wei Ligang deconstructs aspects of Chinese characters and the grid system of calligraphy, thus forming the basis of his Wei’s Squares series in the late 1990s. Record of Yue Yang Tower (Lot 587) is a reference to the renowned poem by Song dynasty politician and literary figure Fan Zhongyan (989-1052 C.E.). While the original text describes the scenic beauty of the Yue Yang tower and pays respect to local official Teng Zijing (991-1047 C.E.) who restored the original tower from the Three Kingdoms period, Wei illustrates each character with the architectural and floral references of the poem using ink and gold acrylic coloured brushstrokes.

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