signed in pinyin and Chinese; signed in Chinese, titled and dated 1974 on the reverse

Important Private Asian Collection

Paris, Galerie Soleil, Chu Teh-Chun, 1974
Tokyo, The Ueno Royal Museum, Chu Teh-Chun, June 23 - July 10, 2007

Abstract China, Sylvie Chen Art Gallery, Taipei, 2005, p. 125, illustrated in colour
Chu Teh-Chun, Rubycon Inc., Taipei, 2007, p. 162, illustrated in colour

This work is in good condition overall. There is evidence of light wear along the edges and scattered light craquelure across the surface of the canvas, primarily an area 60 cm from the right edge and 38 cm from the top edge of the work. There is a pinhole 0.1 cm in length, 56 cm from the top edge and 47.5 cm from the right edge of the canvas, only visible under close examination, presumably inherent to the artist's working method. There is no evidence of restoration under UV.
"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."

This work will be included in the forthcoming catalogue raisonné on the work of Chu Teh-Chun, being prepared by Atelier Chu Teh-Chun. (Information provided by Atelier Chu Teh-Chun and Mrs. Chu Ching-Chao)

In the 1970s, Chu Teh-Chun started to pursue pure abstraction and incorporate the spirit of Chinese ink painting and Western abstract art theory and its colors together, rendering an exquisite visual charm in his art. The works completed in this period, such as No. 526 created in 1974, are Chu's reflection of Chinese and Western aesthetics as well as the expression of the artist's confidence and maturity.

With his distinctive and free bold brushstrokes of rich flax seed oils, Chu depicts a poetic and ethereal elegance through his flowing lines. Starting to study Chinese calligraphy at an early age under his father's guidance, as a master of Chinese calligraphy, Chu delicately represents the beauty of lines and rhythms through the organizational structure of lines and dots. In this work, the warm yellow light is emanating from within to create an indescribable delicacy and reveal the artist's feelings and emotions to touch the viewer's mind.

The expense of brown and yellow ochre is reminiscent of flowing and brimming rivers. The poet Wang Wei described this kind of landscape in his poem A View of the Han River:

With its three southern branches reaching the Chu border,
And its nine streams touching the gateway of Jing,
This river runs beyond heaven and earth,
On ripples of the distant sky,
These beautiful days here in Xiangyang,
Drunken my old heart in the mountain.

When viewing the canvas, one can imagine the surging yellow river rising beyond the sky 🌸in the beauty of a sublime mountain scene. The city seems to float down the river and sway with the sky. One is deeply engaged with this magnificent landscape as if he is entering another world, drinking with a recluse in rugged mountains🔴 and being mesmerized by this lyrical and poetic picture.