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• Lot n° 3033 Hang Faji (b. 1946) "Crying in Silence/China's Sorrow," 1985 Ink and gouache on paper laid to paper Signed in Chinese and dated 1985.10 in black ink, upper left; with a red ink collaged chopmark lower left; titled on a tag tied to the frame's hanging wire Sheet: 40" H x 57.75" W; Sight of support sheet: 40.5" H x 58" W Exhibited: Phoenix, AZ, Phoenix Art Museum, "Transition & Transformation: Chinese Art From the Leslie & Gerry Jones Collection 1965-1995," September 25, 2004 - April 17, 2005 Phoenix, AZ, Phoenix Art Museum, "Phoenix Rising," 2016 Literature: Janet Baker and Gerry Jones, "Transition & Transformation: Chinese Art From the Leslie & Gerry Jones Collection 1965-1995" (Phoenix Art Museum, Phoenix, AZ, 2004) p. 10, illustrated Other notes: The Phoenix Art Museum exhibition catalogue describes this painting as "This image of a kneeling woman whose body is formed of skulls against a background of more skulls recalls the Rape of Nanjing in 1937." 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. A pinhead-sized paper loss and minor lifting of the work from the sheet it is laid to in the upper left corner. Soft cockling and mostly flattened creases throughout, as well as a vertical crease running down the length of the sheet across the figures head in the left half of the work. A vertical surface crease in the paper running along both the right and left sides of the work, each about 1" in from the edges of the sheet. Not examined out of the frame. Framed under Plexiglas: 42.25" H x 60" W x 1.75" D