Why to buy this collection of 28 works? Which is the value of this collection as a whole? And individually?

The Story behind the Works from 'Sanya Elegant Gathering'

The idea of having a relaxing gathering with friends has been on my mind for a while. Since 1993, Chinese artists have frequently participated in international and many other exhibitions. Since the late 90s, and especially nowadays, few artists have been able to relax and rest because of their active involvement in exhibitions and activities. I started to write 20th Century Chinese Art History in 2004, and at that time I talked to Wang Guangyi, Wu Shanzhuan and Zhou Chunya about a possible gathering in the future. The chance came as my book was going to be published in January 2007. I knew I could get the artists together under the pretext of discussing it. I began to contact Wang Guangyi, Zhou Chunya, Wu Shanzhuan, Mao Xuhui, Zhang Xiaogang, Fang Lijun, Zeng Fanzhi, Li Luming, Ye Yongqing, Vue Minjun and Zhang Peili in December 2006, and invited them for a gathering in Sanya. Everybody was strongly interested in this idea and so the "elegant gathering" by the sea was confirmed in mid-December. Unfortunately, because I adjusted the meeting time later, Fang Lijun could not make this appointment as he had to go to Hong Kong for an activity.

Of course, this was not only a vacation. I arranged a "brush meeting", where all the artists gather together and paint on the same subject. Not only because this was a traditional custom for Chinese scholars when they met together at gatherings, but also I was thinking that I could bring the calligraphy and paintings to auction after the gathering, and use the proceedings to support AAA's (Asian Art Archive) academic research and my own art history teaching program. Of course, I do not see this "brush meeting" as a formal academic activity. I asked my friend in Nanjing to purchase xuan paper, brush, ink and four albums for me, as my plan was to let the artists paint without restraint in a relaxing environment with our traditional utilities instead of oil paint.

Our gathering started on the evening of January 9th. We flew to Tianhong Resort in Sanya from different cities that day, and Zhou Chunya was the last one to arrive. Tianhong Resort was the smallest hotel in Sanya's Yalong Bay, thus it was most suitable for a private gathering, for we could avoid of the crowds of tourists. After dinner that evening, the artists finished four albums and a few individual ink on xuan paper paintings in the meeting room by the resort's swimming pool. In this most relaxed and casual atmosphere, most of the abstract ink works were completed by brush and, in some cases, hands. The artists that were present are not considered traditional Chinese painters, and they seldom use brushes or ink. Consequently, they were able to apply ink in a totally free way. Zhang Peili completed most of his works by hand. Everybody was so excited, and some paintings were results of group efforts.

We went to Mount Nan the next day. None of us would have thought that one day, we, the modern artists, the avant-garde artists, the pioneer artists, and the contemporary artists, would worship in a Buddhist temple with incense. All of us felt that time had flown quickly in the past decades, and that our understanding and perception of life had changed significantly. The artists donated generously to the temple, and the scene of Wang Guangyi, Zhang Xiaogang and Zhang Peili worshiping devotedly in the temple impressed me deeply. We returned to the resort after dinner, and everybody remained in a peaceful state of mind. We talked about the past and present state of Chinese art, people and circumstances. In a peaceful atmosphere, Zhang Xiaogang, Mao Xuhui, Ye Yongqing and Zhou Chunya completed different number of paintings, and most of the consignments for this auction were completed that night.

I have included many contemporary artists in my book 20th Century Chinese Art History. The place that important events have taken in Chinese art history, from the Modernism campaign in the late 70s to today's contemporary art, is an issue that concerns most of us. In fact, I hoped through this gathering I could listen to opinions from different artists on this matter. Though their thoughts and opinions may not be bases for my future research on Chinese art history, their feedbacks were beneficial nonetheless.

To my great joy, I managed to achieve my goal. As a member of AAA's academy council, I believe that AAA's work is most helpful for the research in Asian contemporary arts (including Chinese art, of course). It is therefore my continuous goal to contribute to this cause. At the same time, as a lecturer in the Department of History of Art at the China Academy of Fine Arts, I hope that my students can have achievements in their studies of contemporary arts. They need to collect information and interview artists in their research, which requires financial aids. I would like to take any opportunity to help their endeavours, and that the "Sanya Elegant Gathering" is an excellent way to do this. I hope that these works completed by the artists whilst in high spirits can be sold successfully and collected by those who really appreciate them; and that the proceeds will fund AAA's research and part of my art history teachings.

To take such an opportunity and carry out this idea relies on the artists. Therefore I would like to thank all the artists who attended "Sanya Elegant Gathering": Only because of your generous participation that this charitable cause was possible. The images and marks you have left are historical memories. I would also like to thank the AAA. My idea was supported and encouraged by Claire Hsu and Jane Debevoise,_ who helped turn these works into something that will benefit AAA's cause. In addition I would like to thank Christie's Hong Kong for their understanding and constructive advice to put these works as a charity auction, which makes the art and the auction particularly special. Thus, I cannot help but express my appreciation again!

Lü Peng Tuesday, July  l 0  2007.