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"buddha-head blue" peony
Såld

Om föremålet

With three seals of the artist, and two collector’s seals, one on the titleslip. Titleslip by Kao Ling-meiInscription:Painted for “younger brother” Mujuan in early-summer of the wuzi year, Dai-chien Chang Yuan.\nPeonies In The Elaborate Style\nBlessed with majestic elegance and splendour, the peony is hailed as\nthe queen of all flowers, the reigning beauty of celestial fragrance.\nHence, in the elaborate style of painting, it may be regarded as the\nrepresentative of the floral kingdom.\n\nOf the numerous species of tree peony, the ones I like best are the\nPalace Crimson, the Inky Purple and the Buddhahead Blue. To paint\nthese varieties, one must make painstaking efforts and not expect to\nget good results via the slipshod way. It is no child’s play to grind the\nmineral pigments and mix in the right proportion of glue. If the glue\ncontent is too low, the pigment may easily fall off; if too high, it may\nbecome dull and sluggish. The glue must be mixed into the pigment\non the day it is used and should be drained off after use by means of\na bath, or else the original colour of the azurites and malachites will be\nlost. A certain kind of crimson has a glue content ready for use; the\nothers must be pulverized with the fingers and glue-processed by the\npainter himself.\n\nThe Palace Crimson. The artist begins with tracing the outline of the\npetals with a thin brush and diluted ink. Next he draws the branches\nand leaves in such an order as may befit the form of the flower. The\npetals should be filled one after another with even washes of light\ncarmine and, when dry, with another coat of the same colour. Then he\nwashes every petal over with deep carmine three or four times so that\nthe pigment will stand out in relief with a velvety effect. The contour\nof each petal is to be outlined with heavy carmine and again with\nmilk gold, thus adding lustre to the regal elegance of the flower. The\nanthers should be stippled with whitish-yellow. In case of a full-blown\nflower, the pistils should be painted with malachite into the shape of a\ncluster of millet grains and touched with saf-flower red at their tips. The\nanthers may be dotted with whitish-yellow or milk gold.\n\nIt is the practice to provide the leaves and branches with a red ochre\nbase before washing them over with malachite green. When dry, the\npainter may define their contour with sap green and wash the leaf-face\nover with the same colour two or three times. In the final wash, space\nshould be left along both sides of the leaf-veins to make allowance\nfor the gradual fade-out of the azurite line to be drawn in the middle.\nFor the other side of the leaves and the tender leaves, No. 2 or No. 3\ngreen is commonly used. Light indigo and sap green are suitable for\ndescribing the contour of the back of leaves. If the lines are drawn once\nagain with milk gold, the effect will be even more engaging.\n\nThe Buddhahead Blue. The technique of painting the leaves and\nbranches is the same as that depicted above. But instead of carmine,\nthe artist fills the face of the petals with flat washes of azurite,\npreferably No. 3, without gradation, and the back with No. 4. The\nboundaries must be outlined with light indigo and milk gold, otherwise\nthe flower may appear insipid and dull.\n\nExtracted from Chinese Painting with the Original Paintings and\nDiscourses on Chinese Art by Professor Chang Dai-chien\nEdited and compiled by Kao Ling-mei\nTranslated by Yao Hsin-nung
HK
HK
HK

medium

Ink and colour on paper, hanging scroll, 1948

creator

Daqian Zhang

condition

Signs of discolouration could be found on the mounting. Light crease lines could be found on the painting, otherwise, 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."

dimensions

145 by 69 cm. 57⅛ by 27⅛ in.

exhibition

Hong Kong, City Hall Art Gallery, Recent Paintings by Chang Dai-chien, 21 April-9 May 1962 Singapore, Victoria Memorial Hall, Exhibition of Paintings by Chang Dai-chien, 12-17 March 1963 Malaya, Kuala Lumpur, Dewan Bahasa Dan Pustaka, Exhibition of Paintings by Chang Dai-chien, 24-30 June 1963 Malaya, Ipoh, Ku Kong Chow Kung Wai, Exhibition of Paintings by Chang Dai-chien, 9-16 November 1963 Malaya, Penang, Penang Museum, Exhibition of Paintings by Chang Dai-chien, 20-29 December 1963 Thailand, Bangkok, Kai Shou Hall & Metropolitan Bank, Exhibition of Paintings by Chang Dai-chien, 12-25 September 1964 Thailand, Haadyai, Hakkas Association Auditorium, Exhibition of Paintings by Chang Daichien, 2-8 February 1965 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

literature

Exhibition of Recent Works by Zhang Daqian, exhibition catalogue, Exhibition Gallery of the City Hall, Hong Kong, April 1962, no. 100 Exhibition of Paintings by Chang Dai-chien, exhibition catalogue, East Art Co., Hong Kong, March 1963, Singapore exhibit no. 98 Exhibition of Paintings by Chang Dai-chien, exhibition catalogue, East Art Co., Hong Kong, June 1963, Kuala Lumpur exhibit no. 98 Exhibition of Paintings by Chang Dai-chien, exhibition catalogue, East Art Co., Hong Kong, November 1963, Ipoh exhibit no. 98 Exhibition of Paintings by Chang Dai-chien, exhibition catalogue, East Art Co., Hong Kong, December 1963, Penang exhibit no. 98 Exhibition of Paintings by Chang Dai-chien, exhibition catalogue, East Art Co., Hong Kong, September 1964, Bangkok exhibit no. 98 Exhibition of Paintings by Chang Dai-chien, exhibition catalogue, East Art Co., Hong Kong, February 1965, Haadyai exhibit no. 98 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. 43 The Mei Yun Tang Collection of Paintings by Chang Dai-chien, Shoto Museum of Art, Japan, 1995, pl. 42 The Art of Chang Dai-chien, written by Ba Tong, National Museum of History, Taipei, December 1996, colour pl. 34


*Vänligen notera att att priset inte är omräknat till dagens värde, utan avser slutpriset vid tidpunkten när föremålet såldes.

*Vänligen notera att att priset inte är omräknat till dagens värde, utan avser slutpriset vid tidpunkten när föremålet såldes.