100 LAYERS OF INK
Yang JiecHang (b.1956)
China Guardian HK 2016 Autumn Auctions
20th Century and Contemporary Chinese Art
119.5 x 221 cm
People's Republic of China (1949-)Estimate:
Painted in 1991;Mixed media on paper, mounted on gauze;Signed in Chinese and Pinyin and dated on lower left; signed in Chinese and Pinyin on reverse;YANG JIECHANG(b.1956)100 Layers of Ink is Artist Yang Jiechang’s most prominent work and has drawn public attention since its exhibition in Centre National d'art et de Culture Georges Pompidou, Paris, France. The work is unique for the layers of the ink on xuan paper, while the xuan paper absorbs the ink over and over again until full, to create an exquisite vision for viewers. The randomness during the process raise the whole creation to a level of art, and hence accentuates the procedure of art making by in contemporary ink.Born in the year of 1956 in Foshan, Guangdong province. Yang Jiechang has taught in Guangzhou Academy of Fine Arts before moving to Europe in the late 1980s. His art creation has involved various formats such as installation, action art, video art and contemporary ink. Yang has been adopting Taoism since 1982, and the theory has made a huge impact in his artwork. He then abandoned sophisticated skills such as colour and impressionism, and devoted himself to simplicity and Chinese ink. The layers of Ink on xuan paper have made a reflection from the natural lights, which bring remarkable depth to his work. “The procedure and result of my creation is kind of a meditation and also self-accomplishment. While what has been shown to the public is also part of the meditation in my art.”100 Layers of Ink from this Fall Auction is unique from other pieces of the series due to its structure and composition. A few ink drops have outflow the bottom of the ink Square on the large expansive monochromatic square painting, and blossomed on the base note. This irregular shape is rare among other works of 100 Layers of Ink series, which are familiar to the public for its rectangle shape. It produces a feeling of contemplative tranquillity, and resonates with Yang’s studies of Zen Buddhism and Taoism.