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Lot Essay
Born in 1923 in Sichuan, Shiy studied under Lin Fengmian, and was greatly influenced by the renowned painter and pioneer of modern Chinese painting. Shiy also went to New York and Paris in the early 1960s, where he expanded his knowledge about Western art. As a result, most of Shiy's works reflected western painting techniques and art movements, alongside the development of his own artistic style.
Abstraction (Lot 409) is a remarkable abstract oil painting made up of cylindrical and spherical shapes in vibrant colours, juxtaposed against a brown monochrome background. Despite being abstract in nature, the forms and shapes resemble three figurines gazing out on the viewers, which is evocative of Chinese folk art. Shiy's inspiration may well come from Chinese religion, where the three figures represent Prosperity, Status and Longevity. The composition of the work also echoes traditional Chinese tracery window in terms of its form and structure (Fig. 1 & 2), reflecting Shiy's interest in architecture alongside art. Shiy skilfully blends dabs of paint at the centre of his work. This not only creates a tonal effect that is reminiscent of traditional Chinese literati painting, but also flattens and fragments the whole composition- a technique commonly used by Cubists. This abstract yet figurative piece invites further attention and contemplation from the viewers to envisage the imagery Shiy puts before their eyes.
Similar to Abstraction is Untitled (Lot 410), another abstract painting by Shiy in the early 1960s. The composition resembles a target, as if representing a signature motif. Worth mentioning is the use of red in this painting, whereby the red surrounding the blue at the centre represent Taiwan, where Shiy once stayed; whereas the vermillion red on the left imply Shiy's hometown in Sichuan, fully demonstrating Shiy's love and nostalgia to places close to his heart. The use of strong and bright colours in both abstract works helps to demonstrate the influence of western art over Shiy's work - particularly the western modernist movements of Fauvism and Analytical Cubism.
Shiy's abstract painting recalls American artist Stanton MacDonald-Wright's works (Fig. 3). Sound and colour play important roles in MacDonald-Wright's paintings, presenting an abstract, yet expressive and figurative approach. Unlike MacDonald-Wright, Shiy puts more emphasis on line and form to accentuate the dimensionality of his work. Painted in the mid-1960s, Shiy's abstraction demonstrates the artist's attempt to orchestrate a new pictorial vision, incorporating Western and Chinese aesthetics.
Unlike his abstract paintings, Bamboo&i (Lot 411), Ducks&i (Lot 412) and Hong Kong Sakura (Lot 413) present a different dimension of the artist's oeuvre&i during the later stages of his career. These are three traditional Chinese ink wash paintings with nature as their subject matter. Shiy was able to express the lyrical aura through the delicate brushwork, with painterly precision and expressive ink wash, communicating a sense of calmness and simplicity that the works entail. They all remind viewers of Shiy's root and origin as a Chinese painter, and demonstrate the depth of Shiy's talent as a multifaceted and competent artist of his generation.
Abstraction (Lot 409) is a remarkable abstract oil painting made up of cylindrical and spherical shapes in vibrant colours, juxtaposed against a brown monochrome background. Despite being abstract in nature, the forms and shapes resemble three figurines gazing out on the viewers, which is evocative of Chinese folk art. Shiy's inspiration may well come from Chinese religion, where the three figures represent Prosperity, Status and Longevity. The composition of the work also echoes traditional Chinese tracery window in terms of its form and structure (Fig. 1 & 2), reflecting Shiy's interest in architecture alongside art. Shiy skilfully blends dabs of paint at the centre of his work. This not only creates a tonal effect that is reminiscent of traditional Chinese literati painting, but also flattens and fragments the whole composition- a technique commonly used by Cubists. This abstract yet figurative piece invites further attention and contemplation from the viewers to envisage the imagery Shiy puts before their eyes.
Similar to Abstraction is Untitled (Lot 410), another abstract painting by Shiy in the early 1960s. The composition resembles a target, as if representing a signature motif. Worth mentioning is the use of red in this painting, whereby the red surrounding the blue at the centre represent Taiwan, where Shiy once stayed; whereas the vermillion red on the left imply Shiy's hometown in Sichuan, fully demonstrating Shiy's love and nostalgia to places close to his heart. The use of strong and bright colours in both abstract works helps to demonstrate the influence of western art over Shiy's work - particularly the western modernist movements of Fauvism and Analytical Cubism.
Shiy's abstract painting recalls American artist Stanton MacDonald-Wright's works (Fig. 3). Sound and colour play important roles in MacDonald-Wright's paintings, presenting an abstract, yet expressive and figurative approach. Unlike MacDonald-Wright, Shiy puts more emphasis on line and form to accentuate the dimensionality of his work. Painted in the mid-1960s, Shiy's abstraction demonstrates the artist's attempt to orchestrate a new pictorial vision, incorporating Western and Chinese aesthetics.
Unlike his abstract paintings, Bamboo&i (Lot 411), Ducks&i (Lot 412) and Hong Kong Sakura (Lot 413) present a different dimension of the artist's oeuvre&i during the later stages of his career. These are three traditional Chinese ink wash paintings with nature as their subject matter. Shiy was able to express the lyrical aura through the delicate brushwork, with painterly precision and expressive ink wash, communicating a sense of calmness and simplicity that the works entail. They all remind viewers of Shiy's root and origin as a Chinese painter, and demonstrate the depth of Shiy's talent as a multifaceted and competent artist of his generation.