Page 12 - Sotheby's Chinese Paintings Auction New York September 11, 2018

ృఈȠ਽剨喍ጓ̭喎㜴ᑢ๔ࡰ喍͚䫀喎Ƞ䗻䲉ᆞ喍ጓι喎ぶౕझ▐
Figure 4. Tang Hung (left) and Zhang Daqian (middle) and Lang
Jingshan (second left) in Taiwan.
ృρȠ਽剨ፘ⩌ᆂ͸̭㿸ᴙ
Figure 5. Exhibition Invite of works by Tang Hung and his students
ృښȠ਽剨喍͚䫀喎㜴Ⴅ⩌ౕȪ̶ጊ⪘ᰰȫᆂ㻪
Figure 6. Tang Hung (middle) and students at San Chuan Art Society
exhibition

ృ̰Ƞ਽剨喍ᒹᢿ͚䫀喎㜴Ⴅ⩌㜶䓓ᆂ㻪
Figure 7. Exhibition of works by Tang Hung (middle in the back) and
his students

Script (lot 549). In 1946 Fung Bi-Che moved to Hong
Kong and soon thereafter Zhang Daqian took her on
as one of his students. Working in new subjects and
techniques from her new teacher, she exhibited many
groups of fresh works in Singapore, the Philippines,
and Malaysia during the 50s and 60s (! gures 9, 10).
Her husband at the time, Wu Jiayuan, courtesy name
Jiyu, was close friends with Du Yuesheng, an important
underworld ! gure in Shanghai. In Zhang Daqian’s let-
ter to Bi-Che (lot 567), he asks Wu to send his regards
to Du Yuesheng. Also as a close acquaintance of Yu
Youren, Wu Jiayuan helped him frequently to deliver
letters from Taiwan to his wife in Xi’an. # is accounts
for the works by Yu Youren in this collection, includ-
ing a fan leaf dedicated to Wu Jiayuan and Bi-Che as
a couple (lot 584). After Wu Jiayuan passed away in
1963, Bi-Che stayed in Hong Kong to develop her art-
ist career until 1995 when she immigrated to the United
States with Tang Hung. # e two painters were later
wed in California in 1999. Bi-Che’s works exhibit a
great deal of variety, but whether it be landscape, ! gure
painting, " ower and bird painting, or calligraphy, she
invariably takes Zhang Daqian’s techniques and style
as her main guidance (please refer to Fung Bi-Che’s
works on p.22-23). From this collection, we can also
see how Bi-Che would purposefully imitate existing
paintings of Zhang Daqian to enrich her own practice.
With much admiration of the pocai, Bridge to Mountain
Temple Shrouded by Prismatic Clouds in Splashed Color
(lot 570) that Zhang Daqian painted in 1981, she
imitated the painting in great detail and published it in
the magazine Zhong Wai in 1984 (! gure 11). Another
telling example is Zhang Daqian’s Lotus (lot 519) in the
collection. Quite di% erent from the master’s other work
of lotuses, this painting has a vigorous composition with
a powerfully inked lotus leaf in the foreground blocking
out stems of lotus growing from behind. Not only did
Bi-Che carefully copy the composition on a glassine
(! gure 12), she also exhibited her piece in Hong Kong
City Hall as a proud student. Also present in the

12 SOTHEBY’S