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• Lot n° 3034 Hang Faji (b. 1946) "The Dove," 1978 Fabric collage on paper Signed in Chinese and dated 78 in pencil, lower right; variously inscribed with Chinese characters, and dated "78," as well as "1991·2·26," in pencil or ink, all verso; titled by repute Sheet: 10.875" H x 7.625" W Other Notes: Hang Faji is best known in China today as an experimental ink painter, with his works featured in numerous surveys of contemporary ink painting as well as in solo exhibitions, including "Ink Wash & Dissipation" at the Today Art Museum in Beijing (2015). His works have also been exhibited at the Chinese National Art Museum, the Jiangsu Art Museum, and twice at the Phoenix Art Museum. The works presented here offer a much broader perspective on Hang's career and the scope of his creativity. Born into poverty, Hang nearly drowned as a child when his family considered the burden of raising another child too great. From an early age, he showed a keen interest in arts and crafts, and his ingenuity is especially evident in the fabric and paste collages he created in the late 1970s and early 1980s. Using whatever scraps of fabric were available, he crafted poetic images of rural life, iconic Chinese landmarks such as the Three Gorges and the Summer Palace, simple boating scenes, and even imaginative depictions of his favorite poet, Li Bai, composing by moonlight. Many of these works were widely published in China at the time, suggesting that their vitality and craftsmanship were readily recognized by his peers. The collection also includes a wide range of works in different media, from some of Hang's earliest student pieces, still lifes, and portraits from the 1960s, to works that engage with common themes of the era: maternal love, the dignity and hardship of peasant life, and the veneration of elders. In these, Hang explored the expressive possibilities of ink painting and expressionism. Some works address specific traumas of the 20th century, such as "Crying in Silence" (1985), an image of a nude woman in mourning, surrounded by human skulls, referring to the notorious Japanese occupation and "Rape of Nanjing" in 1937. Others foreshadow Hang's later dedication to ink and experimentation, particularly his philosophical and abstract compositions, which seem to probe themes that are nearly cosmic in scope. Overall good appearance. Minor surface soiling. A pinpoint-sized foxmark in the upper edge, at left. Handling marks, mostly minor, scattered in the outer edges and corners, and the upper right sheet corner is dog-eared. Artist's pinholes at the upper sheet corners. Dark-colored paper remnants on the verso of each corner. The sheet is loose, not matted. Unframed