LOT DETAILS

Materials:

Oil on board

Size Notes:

each

Description:

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Markings:

1. Signed in English and Chinese, dated on bottom right; 3. Signed in English and Chinese on bottom right; 5. Signed in English and Chinese, dated on bottom right; 6 Signed in English and Chinese, dated on bottom right; 7 Signed in English on upper center; 8. Signed in English and Chinese on bottom center; 9 Signed in English and Chinese on bottom right; 10 Signed in English on upper right

Literature:

LITERATURE1992， Liu Dahong 1986-92， Schoeni Gallery， Hong Kong， p.88-891992， Chinese Contemporary Art Document 1990-1991， Hunan Art Publishing House， Changsha， p.441997， Artists in Drawing Room， Joint Publishing House， Shanghai， p.1312006， Liu Dahong， Hebei Education Publishing House， Shijiazhuang， p.102008， Liu Dahong’s Textbook， HAN art TZ Gallery ， Hong Kong， p.54-572008， Liu Dahong 1988-2008， Doart Gallery， Beijing， p.126-127

Provenance:

EXHIBITION17-21 Nov 1992, Liu Dahong Artworks 1986-1992, China Club, Hong KongPROVENANCEImportant private collection, Hong KongLiu Dahong was born into a family of intellectuals in Qingdao in 1962； that year, the infamous Great Leap Forward was just drawing to a close. During the social tidal wave known as the Cultural Revolution, Liu, then a child, had to see a great number of persecutions. No longer shocked by human tragedy, he began to pay a lot of attention to social and political realities of China. These early experiences later became the cornerstone for Liu’s Post-Realist practice, with this artist ending up creating his own world. Fantastic, fascinating, full of history and culture associated with it, this world is an allusion to socio-political environment of China. Meanwhile, it is also saturated with a strong personal style that fuses philosophical thought, expertly crafted detail, and diversely shaped figures, which, undoubtedly, is what sets a stark contrast between Liu and the mainstream art scene.The new generation of the 1970s was eventually able to take a step back and reflect on the real significance of the Cultural Revolution and the changes it had brought on the society by the end of this transformative period. It is against this background that the new branches of contemporary painting started to emerge. Since he was born in the 1960s, Liu was too late to have really taken part in the great bloodbath himself, but he was most certainly able to witness the spiritual emptiness of the preceding generation, signaled by the downfall of the strict system of communist beliefs, and see clearly the mass insanity running rampant at the time. A major artist in the “Political Pop” movement, Liu called his creations “political classics”, but his work went far beyond mere political symbolism. It was substantially rooted in the traditional Chinese culture and often touched on controversial political topics. Searching for artistic elements in the political jargon and Chinese folk culture, such as the monthly and Chinese New Year posters, Liu used satire and absurdity in his pictorial language to reveal the madness and undeniable irrationality of that moment in history where every aspect of life, art included, was mandatorily linked to policy.An eloquent “logbook”In the summer of 1990, Liu Dahong went back to his hometown to visit his family, and that was when the artist was struck by a brainwave to create something new. Drawing inspiration from China’s traditional typography, medieval manuscripts, and even cigarette cards, the artist produced ten oil paintings on board, mirroring his personal experiences and thoughts on cultural events. Entitled the Ten 1990 Autographs series, each of these pieces, though small in size, is like an interesting and informative hand-painted book, so immersive, that viewers may find it difficult to lose interest even at the end of the day. This is Liu’s most important work of the 1990s with a commemorative significance, as it was featured in the artist’s first-ever solo show at the Hong Kong China Club. It is worth mentioning that the gallery-goers were simply floored by the exhibition, with a senior collector from Hong Kong purchasing the series on the spot. It is now being put up for auction for the first time after 20 years in a private collection, and the potential buyers will finally be able to get a glimpse of a truly scrumptious visual feast.Liu Dahong has made a personal effort to turn the idée fixe surrounding the existing political symbols and their significance on their heads. In Ten 1990 Autographs, each detail, figure, and letter included in the tumultuous, humorous, and satirical images is a result of the artist’s in-depth observation and an intelligent questioning of the societal norms. The artist is known for translating well-known proverbs into concrete, cleverly designed, and colorful settings, Liu has used allegory to appeal to China’s historical intrigues or political states, his aim being to reveal the easily ignorable problems with the appearance of modern China after the country had been ripped from its genuinely rich past. With his pictures, the world’s glossy veil can be lifted, and its true face may once again be revealed.SISTERS,THE MARKET, THE ROADSisters portrays man’s curious nature.The Market depicts a competitive environment.The Road indicates conflicting views on what route should be taken.HELL,THE CHURCH, TANTRA, THE HEAVENLY KINGDOMHell shows the trial people are subjected to after they die.The Church depicts baptism of both body and soul.Tantra represents the mystery of Tibetan Buddhism.The Heavenly Kingdom means an understanding of fairyland.QINGDAO, THE BEACH, THE OLD MAN OF STONEQingdao expresses the quest for an ideal world.The Beach displays the melancholy experienced when friends and relatives are separated.The Old Man of Stone depicts a sage in deep thought.