T'ang Haywen, Abstract Composition, 1960s, Original Ink Painting

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Description

T'ang Haywen (曾海文) - a.k.a. Tang Haywen, Zeng Haiwen (1927-1991)

Abstract Composition

Original Ink on Cardboard
70 x 50 cm
… Read more T'ang Haywen (曾海文) - a.k.a. Tang Haywen, Zeng Haiwen (1927-1991)

Abstract Composition

Original Ink on Cardboard
70 x 50 cm
ca. 1960-70
Official stamp of S.C.P. Asselin-Samain, Huissiers de Justice (bailiffs) in the back

Very good condition.

Important:
Sold with a Certificate of Authenticity by Cabinet d’expertise Ansas, Papillon & de Léry, one of the premier expert studios in Paris for Asian art. They collaborate with leading auctioneers across France, Belgium, Hong Kong, Portugal, and Canada, are accredited to the Paris Court of Appeal, and are members of the French Syndicate of Professional Art Experts.

Provenance:
Artist's studio
Sold after the artist's death through the Court
Private collection, Toulouse

Offered unframed, unless otherwise requested
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About this Painting and Taoism

In this striking ink on paper, T’ang Haywen embraces the Taoist principle of spontaneity, allowing the ink to bleed and breathe naturally across the surface. The vertical, dripping forms create a sense of organic growth or falling water, where the void of the white paper is just as active as the black pigment. It perfectly captures his philosophy: an outsider of the art world, he found divine energy in these instinctive, unrepeatable gestures.
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The Artist

Born in 1927 in Xiamen, T’ang Haywen lived as a true aesthetic nomad, eventually settling in Paris in 1948.

Unlike Zao Wou-Ki or Wu Guanzhong, who were academically trained in the rigours of both Chinese and French academies, T’ang was largely self-taught. This independence allowed him to bypass the formal structures that defined his contemporaries.
While Sanyu distilled Western figuration into minimalist, calligraphic lines and Zao Wou-Ki transformed the canvas into explosive, cosmic abstractions of oil, T’ang remained fiercely devoted to paper.
Stylistically, T’ang’s work is a spiritual dance of spontaneity.
While Wu Guanzhong meticulously balanced the architectural beauty of Jiangnan landscapes with Western composition, T’ang leaned into the Taoist concept of the "void," using ink and watercolour to capture energy rather than form.

His signature inks offer a sense of boundless movement, lacking the heavy, dramatic textures often found in Zao’s late-period masterpieces
Today, T’ang’s market is ascending rapidly as collectors recognise him as the final "hidden master" of this group. His works are increasingly sought after in major auction houses, with his top price reaching approximately $438,000 (HK$3.4 million) for an exceptional untitled diptych.
This surge reflects a growing realisation that his "nomadic" art is just as pivotal to modernism as that of his peers. I have official proof of authenticity such as vintage catalogs,
designer records,
or other literature sources and take full responsibility for any authenticity issues arising
from
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