YANG JIECHANG (B. 1956)
YANG JIECHANG (B. 1956)

Hundred Layers of Ink

Details
YANG JIECHANG (B. 1956)
Hundred Layers of Ink
Scroll, mounted and framed
Ink on paper
176.5 x 96 cm. (69 1/2 x 37 3/4 in.)
Executed in 1990
Further Details
YANG JIECHANG (B. 1956)
Selected exhibitions
2013 The Metropolitan Museum of Art, New York, USA (group)
2012 OCT Art & Design Gallery, Shenzhen, China (solo)
2008 Venice Biennale, Italy (group)
2007 Guangdong Museum of Art, China (group)
2004 Mus?e d'Art Contemporain, Lyon, France
2001 Hong Kong University Museum, Hong Kong (solo)
1989 National Art Museum of China, Beijing, China (group)
Centre Pompidou, Paris, France (group)

Notable collections
Eslite Inc., Taiwan.
Fukuoka Art Museum, Fukuoka, Japan
Minsheng Art Museum, Shanghai, China
National Museum of Qatar, Doha, Qatar
Rockefeller Foundation, New York, USA

Yang Jiechang was born in Foshan, Guangdong, and graduated from the Chinese Paintings Department at the Guangzhou Academy of Fine Arts in 1982. He spent time studying Taoism under master Huangtao, which has had a profound influence on his work. Yang's international recognition came with his participation in the exhibition Les Magiciens de la Terre at the Centre Georges Pompidou, Paris and China Avant-Garde at the National Art Museum of Art, Beijing. Since the late 1980s Yang has been residing Europe.
Yang Jiechang has gone through many distinct phases in his artworks, from the early abstract ink works "Hundred Layers of Ink" where he associated the repetitive practice of layering ink to meditation, to the more recent series in which he merged political ideologies with his Song style fine brushwork. Although much of Yang's subject matter is contemporary in nature, his technique with the Chinese brush confirms his roots and strong foundation in classical Chinese ink painting.

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Lot Essay

Yang Jiechang's layering of ink is a performative process of repetition that contemplates on ink, time and space. In the Hundred Layers of Ink series, Yang applies fresh ink onto paper until the point of saturation is reached, taking three to four applications daily over a long period. The painting thus becomes luminescent and sculptural as the ink accumulates, creating a beautiful marbling of dried ink, with an almost metallic sheen and distinct fragrance. Influenced by Taoist philosophy, Yang meditates on the physicality of not only ink but also water and paper - a subtle deconstruction of the very act of writing and painting in the ink-wash tradition.

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