GAO QIFENG (1889-1933)
GAO QIFENG (1889-1933) The Tiger Hanging scroll, ink and colour on silk 50.2 x 87.6 cm. (19 3/4 x 34 1/2 in.) Signed, with two seals of the artist Three collectors seals including one of Yang Shanshen (1913-2004) Further inscribed on the top by Gao Jianfu (1879-1951), with two seals of the artist Colophons by Zhao Shao'ang (1905-1998) and Yang Shanshen (1913-2004) with a total of three seals of the artists Dated thrity-fifth year (of the Republic, 1946) Dedicated to Shanxiao Note: "I believe we should not only take in elements of Western painting. If there are good points in Indian paintings, in Egyptian painting, in Persian painting, or in the masterpieces of other countries, ancient or modern, we should absorb and adopt all of them as well, as nourishment for our national paintingK in the twentieth century, with the progress of science and communications developingKI hope this new national painting becomes world painting." - pp.11,20 Gao Jianfu, "Wo de xiandai huihua guan", taken from Wen C. Fong, Between Two Cultures, Yale University Press, 2001. There is a saying: "when drawing tigers, painting flesh is easy but the bone is where the challenge lies." Gao applied Western modes of thought while adding an Eastern touch, producing an animated, life-like work of art. Later collected by famous Cantonese Opera star Kuang Shanxiao (1909-1976), this painting was to later inscribed by Gao Jianfu: Jiangshan Xiao'au (The Mountains Cry Out in Splendour). A further inscription by Zhao Shao'ang describes the ferocious tiger prowling among reeds, articulating the fierceness of the image in words and enhancing the depth and meaning to the overall composition of this work of art.
GAO QIFENG (1889-1933)
GAO QIFENG (1889-1933) The Tiger Hanging scroll, ink and colour on silk 50.2 x 87.6 cm. (19 3/4 x 34 1/2 in.) Signed, with two seals of the artist Three collectors seals including one of Yang Shanshen (1913-2004) Further inscribed on the top by Gao Jianfu (1879-1951), with two seals of the artist Colophons by Zhao Shao'ang (1905-1998) and Yang Shanshen (1913-2004) with a total of three seals of the artists Dated thrity-fifth year (of the Republic, 1946) Dedicated to Shanxiao Note: "I believe we should not only take in elements of Western painting. If there are good points in Indian paintings, in Egyptian painting, in Persian painting, or in the masterpieces of other countries, ancient or modern, we should absorb and adopt all of them as well, as nourishment for our national paintingK in the twentieth century, with the progress of science and communications developingKI hope this new national painting becomes world painting." - pp.11,20 Gao Jianfu, "Wo de xiandai huihua guan", taken from Wen C. Fong, Between Two Cultures, Yale University Press, 2001. There is a saying: "when drawing tigers, painting flesh is easy but the bone is where the challenge lies." Gao applied Western modes of thought while adding an Eastern touch, producing an animated, life-like work of art. Later collected by famous Cantonese Opera star Kuang Shanxiao (1909-1976), this painting was to later inscribed by Gao Jianfu: Jiangshan Xiao'au (The Mountains Cry Out in Splendour). A further inscription by Zhao Shao'ang describes the ferocious tiger prowling among reeds, articulating the fierceness of the image in words and enhancing the depth and meaning to the overall composition of this work of art.
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
