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PROPERTY FROM A PRIVATE TAIWANESE COLLECTION (LOT 1235)
ZHANG DAQIAN (1899-1983)
Splashed-colour Lotus
Details
ZHANG DAQIAN (1899-1983)
Splashed-colour Lotus
Scroll, mounted and framed, ink and colour on paper
86 x 84.5 cm. (33 7/8 x 33 ¼ in.)
Inscribed and signed, with five seals of the artist
Dated July, sixty-ninth year (of the Republic), gengshen year (1980)
Splashed-colour Lotus
Scroll, mounted and framed, ink and colour on paper
86 x 84.5 cm. (33 7/8 x 33 ¼ in.)
Inscribed and signed, with five seals of the artist
Dated July, sixty-ninth year (of the Republic), gengshen year (1980)
Provenance
Directly acquired from the artist by present owner.
Further Details
In his later years, Zhang Daqian incorporated his well-known technique of splashed-ink and splashed-colour landscape into his paintings. The ink, azurite, and malachite are layered, blended and spread all over the painting through water, calling to mind the beauty of summery breeze and clear, fresh water.
Splashed-colour Lotus was painted in 1980, one of the works from the lotus series in Zhang Daqian’s later years. According to the conversation between Zhang Daqian and the current collector, Zhang carried out several experiments during its creation. First of all, the painting’s square shape differs from Zhang’s typical horizontal or vertical rectangular shapes of the other works in the same series, which poses a challenge in the composition of the painting. Secondly, at the time of creation, Zhang Daqian imagined that he was lying on the bottom of a lotus pond and looking through the water into the sky. He used paper thicker than the type he normally went for, and used the nail on his little finger to scrape off thin layers from the paper to present the gradating effect of light through the filter of water ripples as it penetrates into the water. The special technique helped Zhang accurately recreate the gradation of light, evoking a sense of freshness and elegance.
Splashed-colour Lotus was painted in 1980, one of the works from the lotus series in Zhang Daqian’s later years. According to the conversation between Zhang Daqian and the current collector, Zhang carried out several experiments during its creation. First of all, the painting’s square shape differs from Zhang’s typical horizontal or vertical rectangular shapes of the other works in the same series, which poses a challenge in the composition of the painting. Secondly, at the time of creation, Zhang Daqian imagined that he was lying on the bottom of a lotus pond and looking through the water into the sky. He used paper thicker than the type he normally went for, and used the nail on his little finger to scrape off thin layers from the paper to present the gradating effect of light through the filter of water ripples as it penetrates into the water. The special technique helped Zhang accurately recreate the gradation of light, evoking a sense of freshness and elegance.
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