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拍品专文
T'ang perceived Chinese ink painting as a mode of free expression, and began to focus on ink and paper since the 1960s. Islands (1970) and Untitled (1982-83) (Lot 456 and 457) feature the ink painting diptych format he invented, and the central axis became his signature. His unique ink painting format represented a new breakthrough. T'ang embraced the challenge of creating different compositions on the paper, his most frequently used medium. By comparing the compositions of Islands and Paysage (Bois de Boulogne), we can see that natural landscape was the inspiration of T'ang's abstract paintings, which later evolved into simple monochromatic ink paintings. The masterly layering of ink was also evident in the Flowers in Vase, showcasing the artist's evolution of style. His sensitivity allowed him to convey what he held in his mind and heart, as well as clearly understand the essence of the natural world. T'ang used ink and watercolour to depict the universe, each uncorrected and instinctive brushstroke carries the breath, touch, speed and weight of the artist.