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P R E S S R E L E A S E | H O N G K O N G | 4 N O V E M B E R 2 0 1 3

F O R I M M E D I A T E R E L E A S E

CHRISTIE’S HONG KONG FALL 2013

CHINESE PAINTINGS SALES HIGHLIGHTS

With Highlights Including the Continuing Sale of the Former Dr. K S Lo Collection

An Important Single-Owner Sale, The Su Zhu An Collection of Chinese Paintings and Inkstones

Chinese Contemporary Ink Paintings Private Sale Exhibition

A Non-Selling Exhibition of The Feng Wen Tang Collection of Paintings by Qi Baishi

|Fine Chinese Classical Paintings and Calligraphy, James Christie Room, November 25, 10am, Sale 3260|

|The Su Zhu An Collection of Chinese Paintings and Inkstones (Paintings Section), James Christie Room, November 25, 4pm, Sale 3262|

|Fine Chinese Modern Paintings, Part I, James Christie Room, November 25, 5pm, Sale 3261|

|Fine Chinese Modern Paintings, Part II, James Christie Room, November 26, 10:00am & 2:30pm, Sale 3261|

|Chinese Contemporary Ink Private Sales Exhibitions, November 21 – 26|

|Exhibition of The Feng Wen Tang Collection of Paintings by Qi Baishi, November 21 – 26|

Hong Kong – Christie’s Hong Kong 2013 autumn sales of Chinese Classical Paintings & Calligraphy and Modern

Paintings will take place on November 25 and 26. Comprising nearly 790 lots that are estimated to realize in excess of

HK$300 million/US$39 million, the sales will present works from various epochs and with a wide range of estimates.

Highlights of the season include the continuing sale of an important selection of Chinese paintings, which once in the Dr. K.

S. Lo Collection (Dr. Lo was the founder of Vitasoy). In addition, 25 lots of Chinese Classical Paintings and Calligraphy from

the single-owner Su Zhu An Collection of Chinese Paintings and Inkstones will be presented on November 25, while 19 Chinese

inkstones will be auctioned at the Important Chinese Ceramics and Works of Art sale on November 27.

A Chinese contemporary ink private sale exhibition will be held during the auction season, following the exhibitions in Hong

Kong and New York earlier this year, which contributed significantly to Christie’s presence in this rapidly evolving market.

Christie’s is especially honoured to present a non-selling exhibition of The Feng Wen Tang Collection of Paintings by Qi Baishi.

Offering an overview of the master artist’s entire career through the eye of a distinguished collector, the exhibition showcases

56 paintings with subjects from landscapes and figures to flowers, birds and calligraphy.

MAGNIFICENT PAINTINGS BY CLASSICAL AND MODERN MASTERS

A set of folding fans and a pair of hanging scrolls stand out in the Chinese Classical Paintings & Calligraphy sale. The

former, titled Landscapes (Sale 3260, Lot 950, Estimate: HK$600,000-800,000/US$78,000-110,000), is from the late Chinese art

collector Mr Chen Rentao’s King Kwei Collection. The set consists of four fans decorated with ink-and-colour landscape

paintings by the ―Four Wangs‖ from the Qing Dynasty: Wang Shimin, Wang Jian, Wang Hui and Wang Yuanqi. Devoted

followers of an ancient painting discipline, this quartet of painters displayed exquisite brushwork skills, which were much

appreciated by the Qing imperial court. The scrolls are Scholars in the Pavilions (Sale 3260, Lot 952, Estimate: HK$5,500,000-

6,500,000/US$710,000-840,000) from the 14th Century, Yuan Dynasty. Depicting the ideal home of a scholar, this pair of silk

hanging scrolls reflects the artist’s longing to remove himself from a corrupt society and to lead a secluded life in the

countryside—a sentiment shared by many artists and intellectuals during that tumultuous era of Chinese history. The paintings

were formerly attributed to Ren Renfa, an expert painter of horses, figures, flowers and birds, and previously belonged to the

Kawazaki Collection from Japan.

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The Chinese Modern Paintings sale features works by legendary artists such as Zhang Daqian, Xu Beihong, Qi Baishi, Fu

Baoshi, Wu Guanzhong and Lin Fengmian. The crown jewel of the sale is Zhang Daqian’s Garden of Eight Virtues (Sale 3261,

Lot 1574, Estimate upon request). Composed in 1968 during Zhang’s sojourn in Brazil, this masterpiece was painted on a special

type of paper made for Zhang by his Japanese friend Meguro Sanji. Named ―imitated-luowen xuan‖ by the artist, the paper has

tauter and more regular fibres that allowed Zhang fully to utilise his brush techniques and create some of his best works during

his later years. Opera Figures – The Monkey King and the Bull Demon by Lin Fengmian (Sale 3261, Lot 1438, Estimate:

HK$2,000,000-3,000,000/US$258,000-387,000) takes another primary spot in the auction. By applying the variation and

distortion of line that he discovered in western modernists such as Matisse and Picasso to a quintessential Chinese subject

matter, Lin created a vivid image of two opera figures in action. Also worth noting is Wu Guanzhong’s Ghosts of Pine Trees (Sale

3261, Lot 1485, Estimate: HK$2,500,000-3,000,000/US$322,000-387,000), an abstract painting made in 1991 and subsequently

donated to the Hong Kong Institute for the Promotion of Chinese Culture by the artist. Proceeds from the sale of this

painting will be used by the institute to raise funds for the Jao Tsung-I Academy. Additional notable lots include Xu Beihong’s

Four Birds (Sale 3261, Lot 1618, Estimate: HK$3,500,000-4,500,000/US$450,000–579,000) from the private collection of

Singaporean businessman and collector Mr Chua Han Lim, which shows four spirited magpies in lifelike postures, as well as

Qi Baishi’s Apples in a Basket (Sale 3261, Lot 1710, Estimate: HK$200,000-300,000/US$26,000-38,600), a fine example of Qi’s

unique flair in depicting objects from daily life with meticulous brushwork.

TWO IMPORTANT COLLECTIONS ASSEMBLED BY REVERED COLLECTORS

Following sales from the collection in previous seasons, 150 paintings that once formed part of the Classical and Modern

paintings collection of Dr. K. S. Lo will be offered in Autumn 2013, and will be one of this season’s most remarkable

highlights. Widely known in Hong Kong as the founder of Vitasoy, Dr. K. S. Lo (1910 – 1995) had a passion for Chinese arts

and culture. He actively collected Yixing teapots from the 1950s, which led to a comprehensive collection that he later donated

to the city of Hong Kong, and the founding of the K. S. Lo Teaware Museum, now situated in the Hong Kong Park. Dr. Lo

was also an experienced collector of Chinese paintings and a keen supporter of emerging artists. Works will be offered this

season by Lan Ying, Zhang Daqian, Xu Beihong, Fu Baoshi, Qi Baishi and more.

Sharing the spotlight is the Su Zhu An Collection of Chinese Paintings and Inkstones, an important single-owner collection that

contains 25 lots of Chinese Classical Paintings and Calligraphy to be presented on November 25, as well as 19 Chinese

inkstones that will be auctioned at the Important Chinese Ceramics and Works of Art sale on November 27. Key works include two

landscape albums by Shitao, each consisting of seven leaves: one features colophons by well-known collectors and artists

including He Shaoji and Wu Changshuo, the other—created in 1706, the year before the artist’s death—showcases the artist’s

masterly technique and style from a different stage in his life. The collection also includes three pieces of calligraphic works by

Zhang Ruitu, Xu You and Fu Shan, respectively. Created during the transitional period between the Ming and Qing Dynasties,

this trio of works displays characteristics that reflect the complexity of the cultural and political environment of that era.

CHINESE CONTEMPORARY INK PAINTINGS PRIVATE SALE EXHIBITION

During the auction season, Christie’s is launching its third selling exhibition of Chinese Contemporary Ink paintings. This

burgeoning category sees an increasingly international response and growing global interest. In addition to the art works

created by the artists Christie's presented earlier, the upcoming exhibition comprises works by a group of influential artists

who are currently residing and working outside China. While they are all dedicated promoters of Chinese ink paintings in

Europe or North America, their artistic styles and interests vary greatly: born in the 1940s, Wu Yi, Li Xubai and Ma Singfoon

refine traditional landscape paintings through subtle yet profound innovation, all the while sharing a sense of nostalgia

specifically belonging to their generation; Gao Xingjian, on the other hand, sets his focal point introspectively, depicting his

inner world and emotions through his signature xieyi paintings; Lok Yitong is profoundly interested in creating the effects of

natural light, as well as unconventional elements, such as architecture on a grand scale.

The exhibition is presented with four sub-themes. ―The Tradition of a Scholar‖ explores how classical Chinese literature and

scholar’s objects serve as a fundamental inspiration for contemporary ink artists such as Liu Dan, Li Huayi, Li Xubai and Zeng

Xiaojun. Using works of Gu Wenda, Qin Feng, Yang Jiechang and Wang Dongling as primary examples, ―Symbols,

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Calligraphy, Language‖ is a visual thesis on the construction and deconstruction of language and symbols in contemporary

calligraphy. ―Reflections‖ delves into the internal contemplations and non-narrative artistic expressions of abstract painters Lui

Shou Kwan, Irene Chou, Gao Xingjian, Qiu Zhijie and Zheng Chongbin.

The final section ―The Ever-changing Landscape‖ addresses the dominance of landscape painting in ink art. Used to venerate

the past and reflect the present, landscape paintings transcend the limits of time and space, they continued to thrive despite the

dramatic social and cultural changes that have taken place over the course of the past century. For contemporary painters such

as Liu Kuo-sung, Wu Yi, Ma Singfoon, Wucius Wong, Leung Kui Ting and Lok Yitong, the process of painting landscapes

not only offers a channel for them to connect with a bygone era and their cultural roots, but also gives them room for

revolutionary creativity. Through this selection of works, viewers can appreciate traditional or contemporary landscapes alike

while getting a glimpse of the universal appeal of contemporary ink.

NON-SELLING EXHIBITION OF THE FENG WEN TANG COLLECTION OF PAINTINGS BY QI BAISHI

In addition to the auctions and private sale exhibition, Christie’s is also proud to present the non-selling Exhibition of The Feng

Wen Tang Collection of Paintings by Qi Baishi. Boasting 56 works from different periods of Qi’s artistic career, the exhibition is a

testimony to the collector’s three-decade-long love affair with Chinese art. Thanks to her parents, the collector was introduced

to the arts and culture from a young age and was encouraged to appreciate, study, and eventually, acquire artworks. This

collection is named in memory of her father Han Fengwen.

A diverse range of subject matters is featured, from landscapes, figures flowers and birds to calligraphic works. Many of the

works reflect Qi’s emotions at the time of their creations, while the inscriptions on the paintings give viewers an insight into

the meditative artist’s spiritual world. Apart from showcasing the achievements of Qi Baishi as an artist, the exhibition also

carries the collector’s hope of sharing her passion for art with the audience and promoting the appreciation of Chinese

modern art.

PRESS CONTACTS:

Luyang Jiang Hildebrandt | Hong Kong | +852 2978 9919 |ljiang@christies.com

Shiro Tsui | Hong Kong | +852 2978 6718 | stsui@christies.com

IMAGES of select highlights are available here

About Christie’s

Christie’s, the world's leading art business, had global auction and private sales in the first half of 2013 that totaled £2.4

billion/ $3.68 billion. In 2012, Christie’s had global auction and private sales that totaled £3.92 billion/$6.27 billion making it

the highest annual total in Christie’s history. Christie’s is a name and place that speaks of extraordinary art, unparalleled service

and expertise, as well as international glamour. Founded in 1766 by James Christie, Christie's has since conducted the greatest

and most celebrated auctions through the centuries providing a popular showcase for the unique and the beautiful. Christie’s

offers over 450 auctions annually in over 80 categories, including all areas of fine and decorative arts, jewellery, photographs,

collectibles, wine, and more. Prices range from $200 to over $100 million. Christie's also has a long and successful history

conducting private sales for its clients in all categories, with emphasis on Post-War and Contemporary, Impressionist and

Modern, Old Masters and Jewellery. Private sales totaled £465.2 million ($711.8 million) in the first half of 2013, an increase

of 13% on the previous year, and for the third successive year represents the highest total for the period in both company and

art market history.

Christie’s has a global presence with 53 offices in 32 countries and 12 salerooms around the world including in London, New

York, Paris, Geneva, Milan, Amsterdam, Dubai, Zürich, Hong Kong, Shanghai, and Mumbai. More recently, Christie’s has led

the market with expanded initiatives in growth markets such as Russia, China, India and the United Arab Emirates, with

successful sales and exhibitions in Beijing, Mumbai and Dubai.

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*Estimates do not include buyer’s premium. Sales totals are hammer price plus buyer’s premium and do not reflect costs, financing fees or application

of buyer’s or seller’s credits.

# # #

Visit Christie’s Website at www.christies.com

Complete catalogue available online at www.christies.com or via the Christie’s iPhone app

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FACTSHEET

CHINESE PAINTING

|Fine Chinese Classical Paintings and Calligraphy, James Christie Room, November 25, 10am, Sale 3260|

|The Su Zhu An Collection of Chinese Paintings and Inkstones (Paintings Section), James Christie Room, November 25, 4pm, Sale 3262| |Fine Chinese Modern Paintings, Part I, James Christie Room, November 25, 5pm, Sale 3261|

|Fine Chinese Modern Paintings, Part II, James Christie Room, November 26, 10:00am & 2:30pm, Sale 3261| |Chinese Contemporary Ink Private Sales Exhibitions, November 21 – 26|

|Exhibition of The Feng Wen Tang Collection of Paintings by Qi Baishi, November 21 – 26|

FINE CHINESE CLASSICAL PAINTING AND CALLIGRAPHY (Sale 3260)

ANONYMOUS (14TH CENTURY, PREVIOUSLY ATTRIBUTED TO REN RENFA 1255-1327 ) Scholars in the Pavilions A pair of hanging scrolls, ink and colour on silk Each scroll measures 116.5 x 56.5 cm. (45 7/8 x 22 1/4 in.) LITERATURE: Kawazaki Collection, Vol. 4, Kokkasha, Japan, 1914, pl. 28, 29. Kawazaki Collection, Benrido, Japan, 1936, pl. 5. Estimates: HK$5,500,000-6,500,000 US$710,000-840,000

Yuan-dynasty China saw increased cultural diversity, communications and commercial exchanges brought by the Mongols among China, Central Asia and the West. New inspirations were brought to the art of painting, but the aesthetics still owed much to the literati tradition from the Tang and Song dynasties. Later in its transition from the Yuan to the Ming dynasty, China was thrown into a state of instability. Scholars and intellectuals avoided the corrupted life in politics and voluntarily removed themselves from society. They led a secluded life in the countryside, dedicating themselves to the study of fine art and literature. Scholars in the Pavilions is a prime example from that era. It depicts the ideal home of a scholar in full details: the quintessential interior sees bright light coming in from the windows, the display of bronze vessels, the burning of incense, the scholar playing the qin, and paper neatly piled up on the desk. In the outdoor, lofty pine trees, flowers and bamboo dotted around the house, creating breathtaking views both looking from below or above. From the facial expressions of the figures, the scholar’s objects on the desk, to the leaves on the pine tree, every detail was meticulously rendered. Even at 700 years old, the work offers an animated glimpse of a scene in a rural, domestic life in the Yuan dynasty. The painting was formerly attributed to Ren Renfa (1254–1327), an expert painter in horses, figures, flowers and birds. His paintings of horses were comparable to those by Zhao Mengfu (1254–1322). Whoever painted Scholars in the Pavilions, it is obvious that he had inherited the styles of two Southern Song painters, Ma Yuan and Xia Gui.

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WANG JIAN (1598-1677) Summer Mountains Hanging scroll, ink on paper 127 x 60 cm. (50 X 23 5/8 in.) Dated 1645 Estimates: HK$2,000,000-3,000,000 US$260,000-390,000

Property Formerly In The Collection Of Dr K S Lo LAN YING (1585-AFTER 1664) Reading in the Shade of Autumn Leaves Hanging scroll, ink and colour on paper 173 x 65.6 cm. (68 1/8 x 25 7/8 in.) Dated 1654 Estimates: HK$1,500,000-2,000,000 US$194,000-260,000

FINE CHINESE MODERN PAINTINGS (Sale 3261)

ZHANG DAQIAN (1899-1983) Garden of Eight Virtues in Pomo style Scroll, mounted and framed, ink and colour on paper 98 x 193 cm. (38 ½ x 76 in.) Dated 1968 Estimate upon request

Zhang Daqian’s Garden of Eight Virtues was composed during Zhang’s sojourn in Brazil, and painted beside the Five Pavilions Lake in his Garden of Eight Virtues. The paper used for this painting was especially made for Zhang by his Japanese friend Meguro Sanji, whose family supplied two batches of paper to Zhang. The first lot consisted of smaller leaves, which Zhang thought somehow constrained his creativity as he was better at large-scale compositions, so he commissioned a second batch of larger format paper to be produced by Meguro's son using the same materials. The stripes you see on the paper were the result of a paper-making technique known as luowen xuan, which originated in the Song Dynasty. Zhang called the paper he used ―imitated-luowen xuan‖. You can see here that because of the stripes, or rather because of the tauter and more regular fibre arrangement, the paper allowed Zhang to fully utilise his brush techniques to create an array of effects. It also absorbed less ink, making the colours more vibrant. This type of paper allowed Zhang to create some of his best works during his later years.

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WU GUANZHONG (1919-2010)) Ghosts of Pine Trees Scroll, mounted and framed, ink and colour on paper 70 x 140 cm. (26 x 53 1/8 in.) Dated 1991 Estimate: HK$2,500,000-3,000,000 US$322,000-387,000

The Hong Kong Institute for the Promotion of Chinese Culture held an exhibition for WU Guanzhong’s works titled ―Wu Guanzhong in the 90’s‖ from 14 – 28 March, 1992, of which this present lot was included. Said of the artist at the time: ―Looking back and reflecting on my fifty years of artistic creation, my themes have evolved from human bodies to scenery and then back to human bodies; my techniques have changed from realistic painting, and then to abstractionism again. But despite all these similarly drastic changes, it is possible to trace the linkage between them. Looking ahead, the future is hazy, and one can only grope one’s way but cannot pre-conceive one’s path‖ - Abstract from Wu Guanzhong in the 90’s, pg. 4 The proceeds from the sale of this painting will be used by the institute to raise funds for the Jao Tsung-I Academy.

LIN FENGMIAN (1900-1991) Opera Figures-The Monkey King and the Bull Demon Scroll, mounted and framed, ink and colour on paper 65 x 64.5 cm. (25 ½ x 25 ⅜ in.) Signed, with one seal of the artist Estimate: HK$2,000,000-3,000,000 US$258,000-387,000

Lin Fengmian’s Opera Figures – The Monkey King and the Bull Demon is an interesting piece of work. Lin’s style is influenced by the French training he received. But unlike Xu Beihong, who also studied in France and adopted the neo-classical strain of realism, Lin was interested in the variation and distortion of lines that he discovered in modernists such as Matisse and Picasso. When he applies that technique to Chinese subject matters, such as Chinese opera, the result is especially natural and vivid. This is Lin Fengmian’s forte.

Property Of A Private Singaporean Collector Lot 1618 XU BEIHONG (1895 – 1953) Four Birds Scroll, mounted and framed, ink and colour on paper 134 x 49.5 cm. (52 ¾ x 19 1/2 in.) Dated spring, wuyin year (1938) Estimate: HK$3,500,000 – 4,500,000

This painting is from the private collection of Singaporean businessman and art collector, Mr Chua Han Lim. Mr Chua's art collection encompasses classical and modern Chinese ink paintings, as well as calligraphy and ceramics from the Ming and Qing dynasties. An avid art lover, Mr Chua also practised calligraphy and Chinese ink painting himself. This painting was commissioned by Mr Chua in 1939 during Xu Beihong’s time in Singapore.

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In 1939 Xu took the Holland ferry to Singapore and stayed at Huang Manshi’s house and in March, and held charity exhibitions to raise funds for the war efforts in China. Living at a time of feudalistic and colonial rule, Xu Beihong witnessed the decline of Chinese painting – while many painters just copied ancient masters, Xu raised the theory that painters should not blindly copy from past masters, but improve the tradition by breaking away from the weaknesses and incorporating western models of painting and art creation. During his time in France, he often frequented museums and saw original works of Renaissance painters Raphael and Botticelli, studying works in Western classical realism. Xu’s paintings see an emphasis on proportion, anatomy and gesture of animals, and in this case, birds possessing grace and poise. This vivid painting of four spirited magpies in lifelike posture reflects Xu Beihong's insight into nature. The positions of the magpies on the tree branch are well-proportioned in the painting and their expressions capture their harmonious and lively interaction with each other, bringing great pleasure to the viewer. This painting embodies Xu Beihong's love for his motherland, showcases his superb skills with the Chinese ink brush, and chronicles his personal travels to Singapore during the war years.

QI BAISHI (1863-1957) Apples in a Basket Hanging scroll, ink and colour on paper 68.4 x 33.6 cm. (26 7/8 x 13 1/8 in.) Inscribed and signed, with three seals of the artist Dated gengchen year (1940) Estimate: HK$200,000-300,000 US$26,000-38,600

Original in style, Qi Baishi stood out as a unique poet, calligrapher, painter and seal carver during China's modern era. As the ―people’s artist‖, Qi Baishi intertwined his rural life with his works, using simple objects commonly seen in everyday rural life such as countryman’s tools, insects in the fields, acquatic plants and animals in the pond, and fruit and vegetables such as this piece, Apples in a Basket. These unaffected images were refreshing perspective at a time when meticulous brushwork was highly prized and considered as more scholarly and reputable. The apples are dedicated to Rong Shoushi (1903 – 1996), who later inscribed and dedicated the painting to his friend, Chen Xinliao, whose collection of paintings we first sold in November 2011.

PU RU (1896-1963) Paradise Landscape Scroll, mounted and framed, ink and colour on silk 37.5 x 37 cm. (14 ¾ x 14 ½ in.) Inscribed and signed, with two seals of the artist Estimate: HK$400,000-600,000 US$51,400-78,000

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Property Formerly In The Collection Of Dr. K. S. Lo FU BAOSHI (1904-1965) The Deep in the Mountains Scroll, mounted and framed, ink and colour on paper 82.5 x 53 cm. (32 ½ x 20 7/8 in.) Dated 1960 Estimates: HK$2,000,000-3,000,000 US$258,000-387,000

Property Formerly In The Collection Of Dr. K. S. Lo QI BAISHI (1863-1957) Palm Tree and Crested Mynas Hanging scroll, ink and colour on paper 168 x 48.5 cm. (66 1/8 x 19 1/8 in.) Estimates: HK$1,500,000-2,000,000 US$190,000-260,000

Property Formerly In The Collection Of Dr. K. S. Lo LI KERAN (1907-1989) Jinggang Mountains Hanging scroll, ink and colour on paper 138 x 95.5 cm. (54 1/4 x 37 5/8 in.) Dated 1972 Estimates: HK$6,000,000-8,000,000 US$774,000-1,032,000

THE SU ZHU AN COLLECTION OF CHINESE PAINTINGS AND INKSTONES (PAINTINGS SECTION) (Sale 3262)

FU SHAN (1605-1690) Seven-character Poem in Cursive Script Hanging scroll, ink on satin 187 x 49.5 cm. (73 5/8 x 19 ½ in.) Estimates: HK$1,500,000-2,000,000 US$194,000-260,000

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ZHANG RUITU (1570-1641) Seven-character Poems in Cursive Script Hanging scroll, ink on silk 198.5 x 48.5 cm. (78 1/8 x 19 1/8 in.) Signed, with two seals of the artist HK$1,000,000-1,500,000 US$130,000-190,000

Throughout the Ming dynasty, studying and imitating exemplary models by renowned calligraphers from the Jin and Tang dynasties was fashionable. As most Ming calligraphers aspired to the harmonious style and refused to trespass orthodox aesthetics, calligraphic development stagnated. Around the middle of the 17th century, China was experiencing drastic, tormenting political and social changes, since the Ming dynasty was about to collapse and to be replaced by the Qing dynasty founded by the invading Manchus. Against this backdrop, a wave of revolutionary calligraphers surged to the artistic scene, determined to abandon traditional aesthetics and form their own. Indignation, despondency, cynicism, shock, all these emotions overwhelmed the artists as they either had to witness the death of their empire or found themselves aliens on their own land now ruled by a foreign race. Some of them had to go through both. They turned to the cursive script, the most expressive calligraphic form, to vent their feelings. Viewed at that time, their works featured strangely shaped characters, imbalanced compositions and expressive brushstrokes, all of which showed their longing to freedom and unyielding will against the new regime. Zhang Ruitu (1570-1641) was castigated by the people of his time for gaining advancements in the court by consorting with Wei Zhongxian, the powerful and notorious eunuch. His reputation as a brilliant calligrapher, however, is undisputed. In 1692 (second year of the Chongzhen era), he was found guilty of being a collaborator of Wei, who had lost his power and committed suicide. The artist atoned for it with money and was allowed to retire. He returned to the native city of Jinjiang in Fujian province and lived in Baihao An (Temple of White Hair). In the Seven-character Poem in Cursive Script (Lot 1134), he signed with the name Baihao Anzhu (Owner of Baihao An), which indicates that it was finished in his late years. Every character in the calligraphy shows the features of Zhang’s cursive script: writing characters without concealing the tip of the brush; replacing supposedly cursive connecting strokes with angular ones; and domineering brushwork. In contrast with Zhang Ruitu, Fu Shan (1605-1690), a distinguished scholar, was well praised by his contemporaries for his integrity. After the Ming dynasty’s fall, he became a Taoist priest and refused to serve the new court until the very end of his life. Fu thought that a man’s character determines his calligraphic style, because of which he admired Yan Zhenqing, a Tang-dynasty calligrapher famous for his integrity and powerful writing style. Similar to his own character, Fu’s cursive-script calligraphy is vigorous, straightforward and stubborn. To inscribe the Seven-character Poem in Cursive Script (Lot 1132), he first filled a large brush with wet and dark ink, then applied the tip by holding the handle perpendicular to the satin, creating cursive strokes full of strength.

CHINESE CONTEMPORARY INK PRIVATE SALES EXHIBITIONS The Tradition of a Scholar Poetry, literature and scholar’s objects have inspired Chinese artists throughout history. For some living in the modern world they continue to intrigue and inspire and to drive a creative force.

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LIU DAN (B. 1953) Scholar’s Rock Ink on paper 163 x 101 cm. (64 1/8 x 39 ¾ in.) Executed in 2013

LI HUAYI (B. 1948) Rock Returned to Landscape Ink and colour on paper 154.7 x79.2 cm. (61 x 31 1/8 in.) Executed in 1996

LI XUBAI (B. 1940) Floating Cloud Mountain Studio Ink and colour on paper 75 x 66 cm. (29 ½ x 26 in.) Executed in 2013

Reflection Abstract or symbolic, depicting inner feeling in a non-narrative manner is one of the true breakthroughs in contemporary ink paintings.

GAO XINGJIAN (B. 1940) Contemplation Ink on paper 97 x 107 cm. (38 1/8 x 42 1/8 in.) Executed in 2013

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LUI SHOU KWAN (1919-1975) Abstract Ink and colour on paper 94.5 x 45.5 cm. (37 ¼ x 18 in.) Executed in 1965

QIU ZHIJIE (B. 1969) Map of the Deities Ink rubbing on paper A set of six hanging scrolls Each scroll measures 240 x 120 cm. (94 3/8 x 47 ¼ in.)

ZHENG CHONGBIN (B. 1961) Fractured Square Ink and acrylic on paper 193 x 179 cm. (76 x 70 ½ in.) Executed in 2013

Symbols, Calligraphy, Language Constructing symbols to become words or deconstructing a language into symbols, some artists find calligraphy most expressive and representative of their spirit.

GU WENDA (B. 1955) Mythos Of Lost Dynasties G Series#20 Ink on paper 178 x 95 cm. (70 ½ x 37 ½ in.) Executed in 1998

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QIN FENG (B. 1961) Series Civilization Landscape No. 0008 Ink, coffee and tea on paper 199.5 x 124 cm. (78 ½ x 48 7/8 in.) Executed in 2012

WANG DONGLING (B. 1945) Return to the Root Ink on paper 178.5 x 96 cm. (70 ¼ x 37 ¾ in.) Executed in 2013

The Ever-Changing Landscape

A form of nostalgia or progress, landscape paintings are used to venerate the past and discuss the present. ―Mountain‖ and ―water‖ remain closely connected to the Chinese cultural identity for they capture both the image and the soul.

WU YI (B. 1934) Seven Stars under Silver Lights Ink on paper 97 x 119 cm. (38 1/8 x 46 7/8 in.) Executed in 2011

LIU KUO-SUNG (B. 1932) Roof of the World Series No. 5 Ink and colour on paper 94.2 x 158.2 cm. (37 x 62 ¼ in.) Executed in 2013

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WUCIUS WONG (B. 1936) Sky-Land Expression #3 Ink and acrylic on cotton paper A set of two scrolls Each scroll measures 200 x 100 cm. (78 ¾ x 39 3/8 in.) Executed in 2008

EXHIBITION OF THE FENG WEN TANG COLLECTION OF PAINTINGS BY QI BAISHI

QI BAISHI (1863-1957) Bizhuo Stealing Wine Scroll, mounted and framed, ink and colour on paper 94 x 50 cm. (37 x 19 3/4 in.)

QI BAISHI (1863-1957) Village Scenery after Rain Hanging scroll, ink and colour on paper 103.7 x 55 cm. (40 7/8 x 21 5/8 in.)

QI BAISHI (1863-1957) Studying the Buddha's Relic 31 x 104 cm. (12 ¼ x 41 in.) Scroll, mounted and framed, ink and colour on paper Dated wuyin year (1938)

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QI BAISHI (1863-1957) Flowers and Butterflies Hanging scroll, ink and colour on paper 150 x 66.8 cm. (59 x 26 ¼ in.) Inscribed and signed, with one seal of artist Dated xinsi year (1941)

*Estimates do not include buyer’s premium. Sales totals are hammer price plus buyer’s premium and do not reflect costs , financing fees or application of buyer’s or seller’s credits.

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