陳文希

The work is in good condition overall, as is the paper, which is clear and free from tears. Upon close observation, there is evidence of light wear and handling around the edges of the painting, along with gentle creases on the top and right margins, and a few specks of very faint foxing predominantly on the top left corner. Examination under ultraviolet light shows no sign of restoration. Framed, under Plexiglas.
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“Chen Wen Hsi simplified the “dragon pulse” of past masters, adopted the succinct and consummate expressions of Bada, and integrated Western compositional principles such as harmony, contrast, symmetry, rhythm and balance to develop “the parabolic curve” and “the oval.”  In doing so, he succeeded in extending the composition’s dramatic effect, creating a greater artistic realm, and imbibing a sense of movement and a perfectly harmonious feel to the otherwise limited pictorial space…In his large paintings of gibbons, the animals were portrayed in a variety of postures and with lively expressions: some with arms outstretched, head sticking out or leaping around, while others hung upside down, or assumed a squatting position…The tree trunks, branches and leaves that appeared in the scenes, rendered with brief strokes that wonderfully captured their forms, were juxtaposed in a non-chaotic fashion that brought a sense of quietude and stability to the otherwise dramatic and animated arrangement.”¹ 

Traditional Chinese painting distinguishes itself from any other genres of art through its primary concepts. With an emphasis on precision and detail, this style of painting at its core aims to depict figurative or narrative subjects with a fine, realistic approach.

Chen Wen Hsi, proficient in traditional Chinese ink paintings features eight gibbons in this painting, gliding through the treetops done in a Gong-bi  style. Although these animals are rarely found in China, they have attained a symbolic meaning in Chinese art.

Gibbons were frequently featured in paintings and stories by Chinese writers and painters as early as the Song dynasty. They were seen to be noble, unlike the macaques- who often disrupted and stole from humans. In contrast, gibbons were often described as the ‘gentlemen of the forests’, with their human-like characteristics they were believed to be animals which would one day evolve into humans.

This painting holds a lot of significance, as the number eight is the most auspicious number in Chinese culture. The pronunciation of eight in Chinese language is very similar to the word meaning “prosper” and “wealth,” and therefore it is considered a highly lucky number. Moreover, eight is also associated with the Earth element, melding the ideas of stability, determination and goals with the realm of money and success.

¹Poon Lian, Goh Ngee Hui, Guiding Light On The Path Of Creativity – Remembering Dr. Chen Wen Hsi, Convergences:  Chen Wen Hsi Centennial Exhibition Vol. 1, Singapore Art Museum, Singapore, 2006, p. 121