Lot 1524: SUH YONG

SUH YONG
(B. 1962)
Language of the Heaven 0811
signed 'Suhyong' in English; dated '08' (lower right)
loess, pigment and gold foil on hemp
170 x 147 cm. (67 x 57 7/8 in.).
Painted in 2008
one painted seal of the artist

The Mogao grottoes in China boast a long and antiquated history that plays an important chapter in the development of China. Owing to the remote location, the area was initially a place of pilgrimage for Buddhist monks and followers. Before the Qin dynasty, warfare compelled the people to flee from the Central Plains to the northwestern region of China. Among these refugees were accomplished sculptors and painters of the time who escaped to the relatively stable Dunhuang, and eventually opened new frontiers in Dunhuang murals. During a period of recurring warfare, it was these Dunhuang murals depicting subjects of Pure Land Buddhism that consoled the souls of the people. Along with the prosperity brought about in the Tang dynasty and the acceptance of Buddhist faith by Tang rulers, Buddhism experienced an unprecedented boom throughout China. The largest of the Dunhuang caves and its exceptional murals were created during this period. Dunhuang grottoes had not only testified the Chinese history and culture, but also chronicled the transmission of Buddhism from India to China and from China to Korea and Japan, as well as the profound impact of the religion on the entire Asian cultural spirit.

Specializing in academic study of the Dunhuang studies and mural pigments, Suh Yong spent over seven years living near the dusty Dunhuang grottoes before making a smooth transition into fine art. Suh Yong uses the same mediums and painterly techniques of the Dunhuang murals in his works, and thus honestly presents the ancient murals' compositions, textures, tactile sense, spiritual energy and antiquated beauty. Yet Suh's works are not direct copies of the original grottoes and in fact include iconographies and unique compositional twists, to transform Dunhuang murals into a symbol of contemporary art of renewed relevance. In The Language of the Heaven (Lot 1525) and Language of the Heaven 0811 (Lot 1524) one can see the textured brushstrokes left by the artist's hand that reveals an enigmatic aura of the Central Asian culture. Suh's application of gold foil and ornate floral motifs on the embellished frames, recalls Tibetan Buddhist tankas that are made for devotional practices, meditation, or transmission of Buddhist teachings. When many contemporary artists have chosen videos an element which transcends three-dimensionality, to present the element of time, Suh has selected ancient murals to recount the passing of time and memories, freeze-framing thousands of years in a single piece of artwork that transcends space, time and cultural barriers in the new century.