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FORMERLY THE PROPERTY OF THE DR K S LO COLLECTION
Dr. K S Lo was born in 1910 in Mei County, San Xiang Village. At the age of 10 he went to Malaysia with his mother, where they reunited with his father, Luo Jinxing, who at the time was working at the Ren Sheng Tang Medicinal Shop. In 1934 he graduated from the University of Hong Kong and joined the company where his father worked and was soon appointed Hong Kong manager of the firm's real estate branch.
On one occasion in 1936 Dr. Lo was in Shanghai for business, he attended a talk entitled "Soya Bean: The Cow of China," which introduced the great benefits of soya bean and their high protein content - this lecture changed his life, when he witnessed the malnutrition of the people in Hong Kong after the World War. With the thought of building an empire to "save his people", Dr. Lo sought to create a family drink that was not only affordable but also contained the necessary nutrients for health. Dr. Lo then produced the now famous "Vitasoy", establishing his company in 1940. Vitasoy quickly spread to become a household name and expanded beyond Hong Kong to become one of the most recognizable brands in Asia.
Dr. Lo's passion for business and love for his people also extending to his passion for studying and collecting Chinese art. With a particular focus on Chinese arts and culture, he turned his interest to Yixing teapots and actively collected them from the 1950's onwards. He formed a great collection which he donated to the Hong Kong people in 1981 when he established the K. S. Lo Teaware Museum, now situated in Hong Kong Park. In addition to his interest in Chinese ceramics and works of art, he also concentrated on collecting Chinese paintings and supported younger artists and the different exhibitions that were held across town.
Having successfully sold Dr. K S Lo's collection of Zhang Daqian and Wu Guanzhong paintings in May 2011, Christie's is proud to present a selection of Dr. Lo's paintings that reflect his collecting interests and passion for Chinese arts and culture.
WU GUANZHONG (1919-2010)
Roar
Details
WU GUANZHONG (1919-2010)
Roar
With two seals of the artist
Scroll, mounted and framed, ink and colour on paper
95.5 x 179 cm. (37 3/8 x 70 1/2 in.)
20th Century
Roar
With two seals of the artist
Scroll, mounted and framed, ink and colour on paper
95.5 x 179 cm. (37 3/8 x 70 1/2 in.)
20th Century
Literature
Han Mo-Wu Guanzhong Gu Cheng/Ancient City, Han Mo Xuan Publishing Co. Ltd., Hong Kong, April, 1997, pp. 26-27.
Further Details
Mountains and waters are transformed into twisting, meandering and crisscrossing fluid dots and lines in Wu Guanzhong's Roar. This river scene is the result of Wu Guanzhong's extensive travel in China, where he sought places and scenery that captured his creative imagination. When he was on the hunt for creative inspiration in nature, he never used photographs as materials for copying, because he believed they inhibit the artist's direct and true experience and perception of nature. Instead he utilized his innate artistic instincts to transfer his own unique artistic vision onto paper, thus creating something completely unique. The artist once said: "Sketching is primarily intended to paint misimpression." He argued that 'misimpression' in an artistic sense that exudes the artist's nature, temperament and instincts. In Roar, the passion of the artist emerges with unbridled sound and fury.
Water thundering downwards, the abstract, the concrete and the illusionary, combined to transcend reality but bore some resemblance to the actual river, During the 80s', when Roar was created, Wu's style became increasingly abstract. Wu's style of abstraction is in the harmony found between concreteness and abstraction, which Wu so skillfully demonstrates here. Another significant factor in Roar is rhythm. The dancing of dense dots as well as flowing curvaceous lines is a kind of visual music the artist calls "musical composition". Wu believed that rhythm is the soul of his paintings and the reason for his creation. In Roar, abstraction, rhythm and artistic vision fuse seamlessly, to reveal Wu Guanzhong's tremendous artistic vision, freedom and passion.
Water thundering downwards, the abstract, the concrete and the illusionary, combined to transcend reality but bore some resemblance to the actual river, During the 80s', when Roar was created, Wu's style became increasingly abstract. Wu's style of abstraction is in the harmony found between concreteness and abstraction, which Wu so skillfully demonstrates here. Another significant factor in Roar is rhythm. The dancing of dense dots as well as flowing curvaceous lines is a kind of visual music the artist calls "musical composition". Wu believed that rhythm is the soul of his paintings and the reason for his creation. In Roar, abstraction, rhythm and artistic vision fuse seamlessly, to reveal Wu Guanzhong's tremendous artistic vision, freedom and passion.
Brought to you by
Ben Kong
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