HONG KONG.- In celebration of the successful opening of Sotheby’s Maison in July, one of the most important works in Modern Chinese Art History, Zhang Daqian's (Chang Dai-chien) monumental splashed ink masterpiece, The Giant Lotuses, is available for public viewing from 14th - 25th September at Sotheby’s Maison at Landmark Chater in Central.

The Giant Lotuses is a work that propelled the artist to international prominence. Created in 1960, this work is a six-panel painting executed on prestigious mediums -- six sheets of large Qianlong paper and Wu Tianzhang ink from the late Ming and early Qing dynasties. Standing over three meters tall and eight meters wide, it is by far the largest known work created by the artist. It was so monumental in size that the artist had to build a newer and larger studio specifically for its creation. In the painting, vibrant lotuses unfurl across the water, reaching toward the sky, swaying gracefully in the breeze. It conveys a sense of dynamic movement that reflects the artist's bold and expressive spirit.

In 1961, The Giant Lotuses made its debut at Musée Cernuschi in Paris, where it garnered critical acclaim. The artist described this as his “world-renowned moment”. Following this success, this work was shown later that year at the Bienal de São Paulo in Brazil. In 1963, it was exhibited at Hirschl & Adler Gallery in New York, where it was purchased by The Reader's Digest Collection for a record price of US$140,000. In 1982, it was auctioned at Sotheby's New York and subsequently acquired by The Compensation for Clumsiness Studio, where it has since remained unseen by the public. Now, The Giant Lotuses is finally making its long-awaited debut in Asia, more than 60 years after its very first exhibitions in Europe and the Americas.

“The artist's process from conception to creation is well documented with many precious first- hand photographs and written records left by his friends, allowing the audience to gain a deeper understanding of the artist's creative intentions, reflecting the special significance and importance of the work.” --Carmen Ip, Head of Fine Chinese Paintings Department, Sotheby’s

Photojournalist Wang Zhiyi was invited by the artist to document each step of this work’s creation. In his later book, My Friend Chang Dai-chien, Wang elaborated on witnessing Zhang's preparation and the process of painting this six-panel masterpiece:

“One afternoon, Zhang rolled up the sleeves of his shirt and began pouring the prepared ink onto the paper bowl by bowl. It looked quite intimidating, and I watched anxiously, unable to imagine how to handle it. After splashing the ink, he locked the studio door, forbidding anyone from entering or moving around, allowing it to dry naturally. This whole process took just over half an hour. Zhang then went downstairs to sip tea from a covered bowl, remaining silent and deep in thought with a serious demeanour. It was clear he was contemplating how to deal with the ink splashes he had just created……This continued for several days, with no clear outcome; the new carpet was marked with ink stains in various places. Zhang paid no mind to these, focusing solely on his work. A few days later, Madam Zhang and Paul lifted the ink splashed xuan paper onto the painting table one by one. Zhang then used a brush to connect each ink splash, adding lotus flowers here and there, eventually joining the six sheets of paper together to create a complete composition of The Giant Lotuses painting……

Now The Giant Lotuses was completed, and everyone sighed with relief. Madam Zhang said, “Next time we paint such a large work, it would be best to have a machine made for grinding ink! Watching you pour it bowl by bowl, you seem completely unaffected, but you have no idea about the hardships of the ink grinder. My hands ache from the effort, and it's quite a struggle; this task is truly not easy.”

After The Giant Lotuses was completed, Zhang returned to his usual self and continued his lively chatter. Observing him, I noticed he had lost at least five kilograms, and his beard had turned noticeably whiter. However, his cheerful mood compensated for the hardships of the past few days.”

In the book The Later Life of Chang Dai-chien, the esteemed journalist Huang Tiancai reflects on the artist's insights on the significance of this work:

“Zhang explained to me that his intention in creating The Giant Lotuses was not to make money; he primarily wanted to introduce traditional Chinese ink painting to foreigners. By painting such a large piece, he aimed to attract the attention and appreciation of Western audiences. The Giant Lotuses had already made a splash in exhibitions across Europe and North and South America, receiving overwhelming reviews, which made him very happy…… Chinese paintings had finally gained recognition in the Western art world……”