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Lot Essay
The recipient of this painting is He Lingyan (1923–?), daughter of He Jingwu (1894–1961), a lieutenant general of the Republic of China and adjutant general to the Commander-in-Chief of the Army, Navy, and Air Force. While He Jingwu was primarily known for his military career, he is also remembered for his close friendship with the renowned poet and writer Xu Zhimo (1897–1931).
At a young age, He Lingyan became the goddaughter of Xu Zhimo and his third wife, Lu Xiaoman. During He Jingwu’s posting in Nanjing, she lived with the couple in their Shanghai home. Decades later, she documented her childhood experiences in Xu Zhimo’s household and the close relationship between the two families in her article My Godparents: Xu Zhimo and Lu Xiaoman, published in Panorama Magazine, Vol. 32, in December 1972. The time she spent with Xu Zhimo and Lu Xiaoman profoundly shaped her passion for the arts, particularly poetry, painting, drama, and literature. As she grew older, He Lingyan studied under esteemed artists such as Wang Jiqian, Xu Bangda, and Zhang Daqian. After moving to the United States in 1947, she joined Baima Yiwen She, a literary society for overseas Chinese in New York, while actively promoted Peking opera to a broader audience.
The present painting was created in 1953, during Zhang Daqian’s transition from Argentina to Brazil. In this exquisite example of his fine brush (gongbi) painting, Zhang Daqian portrays a young woman leaning to the side in deep thought. With an unsmiling expression, her eyes appear delicate and graceful, while her face is full and rounded. For this piece, Zhang selected a small Japanese cardboard, a paper type with relatively low water absorbency. By skilfully employing varying gradations of ink, he masterfully outlines the woman’s facial features, the layered texture of her hair, and the volume of her robe—all achieved without the use of colour.
The young woman is adorned with simple yet luxurious jewellery and hairpins, exuding an air of refinement and elegance. She is seated in an armchair upholstered with floral fabric, subtly contrasting with her traditional Chinese attire. This beautifully composed work not only reflects Zhang Daqian’s close friendship with He Lingyan but also exemplifies his mastery of fine brush painting during the early peak of his career.
At a young age, He Lingyan became the goddaughter of Xu Zhimo and his third wife, Lu Xiaoman. During He Jingwu’s posting in Nanjing, she lived with the couple in their Shanghai home. Decades later, she documented her childhood experiences in Xu Zhimo’s household and the close relationship between the two families in her article My Godparents: Xu Zhimo and Lu Xiaoman, published in Panorama Magazine, Vol. 32, in December 1972. The time she spent with Xu Zhimo and Lu Xiaoman profoundly shaped her passion for the arts, particularly poetry, painting, drama, and literature. As she grew older, He Lingyan studied under esteemed artists such as Wang Jiqian, Xu Bangda, and Zhang Daqian. After moving to the United States in 1947, she joined Baima Yiwen She, a literary society for overseas Chinese in New York, while actively promoted Peking opera to a broader audience.
The present painting was created in 1953, during Zhang Daqian’s transition from Argentina to Brazil. In this exquisite example of his fine brush (gongbi) painting, Zhang Daqian portrays a young woman leaning to the side in deep thought. With an unsmiling expression, her eyes appear delicate and graceful, while her face is full and rounded. For this piece, Zhang selected a small Japanese cardboard, a paper type with relatively low water absorbency. By skilfully employing varying gradations of ink, he masterfully outlines the woman’s facial features, the layered texture of her hair, and the volume of her robe—all achieved without the use of colour.
The young woman is adorned with simple yet luxurious jewellery and hairpins, exuding an air of refinement and elegance. She is seated in an armchair upholstered with floral fabric, subtly contrasting with her traditional Chinese attire. This beautifully composed work not only reflects Zhang Daqian’s close friendship with He Lingyan but also exemplifies his mastery of fine brush painting during the early peak of his career.