Yu Chung-lin (1925-1985) is a well-acclaimed modern flower and bird master. Specialising in gongbi flower and bird painting, Yu depicted his subjects with intricate details in a realistic manner. The style of his works is elegant and decorative, expressed through exceptional brushwork and colour application. He promoted a realistic depiction of minute details of flowers, leaves and birds through scrutinous observations of nature.



His family recalls that Yu was passionate in taking records of his surroundings with his camera. After numerous visits to zoos and aviaries, he mentioned that he wished to live in aviaries with the birds, so that he could observe and sketch all kinds of birds. This shows his intense passion towards birds. Peacock is admired throughout centuries as an auspicious bird. A male peacock can grow up to three feet with outpouring glamorous feathers and an elegant form. Peacock is Yu's favourite subject as he gathered photos of the bird. They were graciously depicted in large scale paintings, consuming a significant cost, time and effort of the artist. Hence such paintings are rare, restricted to works for exhibitions and commissioned works. Hence this work in enormous scale featuring white peacocks and wisteria is exceptionally rare in the ink art world.



This work was completed on a gold coated paper in its utmost grandeur. Application

on gold paper is starkly different from white paper or silk due to its absorbability of

ink. This feature accentuates the colours as they were applied on the paper and

enhanced the elegance of it. Blank spaces were structured to highlight the subject

matter to maintain the gracious style of the work.



The structure of this work stretches from the left bending towards the trunk of wisteria at the center. Calligraphy strokes hint at the sturdiness of the branch, while fine strokes were chosen for the branches extending upwards. Such composition highlights the crooked branches while balancing the intricate depiction of the white peacock. The trunk was depicted by ink with various paces to represent light and shadow. The lack of absorbability of gold paper contributed to the smooth texture of the branches. Green dots were used with water and ink for a natural depiction of green moss, hinting at Yu's drive towards realism through observation. The lush wisteria was depicted in boneless stroke. Fine strokes were used for the veins, while ink was used for the hanging leaves against gravity. Green was applied to the wet ink for a vivid depiction. The blossoming flowers fill the background in clusters. Delicate petals flow with the breeze as their outlines were sketched in light ink in meticulous details, both on their forms and details. White pigments were applied on wet paints slowly and intricately, followed by fine strokes for the stamens. This highlights the delicate nature of the flowers. Boneless strokes with green and red were applied on the capsules. One may associate this work with those by Qian Xuan of Song and Yuan dynasties, Bian Wen-jin of Ming dynasty. Its vividness shows relevance with those of Giuseppe Castiglione of Qing dynasty and Pu Hsin-yu. This shows that Yu took reference of masterpieces and applied them with his unique perspectives.



Feathers were depicted in gongbi in an intricate manner. Painted with his left hand, Yu's birds tend to be structured on the left. The subjects were elegantly depicted with a male bird curiously exploring the terrain with its right foot bent. The female followed with head held high. The juxtaposition of vividness and tranquility forms an interesting scene. Refined strokes were used for the feathers while leaving coloured areas on the back and the rear areas of the wings. Feathers of the wings and tail and the eye areas were painted with pigments producing a velvety texture. Lu Shou-kun once publicly acclaimed such techniques of Yu. Completed in 1978, this work was exquisitely preserved in the family collection for 40 years, maintaining such delicate treatment of pigments. The vividness of the claws are accentuated as it slightly bends. Indigo was used for the eyes of the peacocks, reflecting the sophisticated treatment of pigment. By the blend of the three colours of indigo, white and gold, Yu created an interesting combination of intricacy and elegance, making this work an intriguing piece of art.



Peacocks were usually composed with peonies to highlight a painting's grandeur. They are featured in paintings and art objects, such as a polychrome enamel glazed peacock bowl of Yongzheng period of the Qing dynasty. The side featuring the king of birds, peacock, was painted with intricate details as an imperial object of appreciation. On the other hand, Yu Chung-lin's peacock works are uniquely created. In the autumn sale in 2019, Ravenel sold a similar work on silk completed by Yu in 1966. The work was elegantly depicted with a peacock standing on a pine tree as an appreciation of the past. Whereas, this work is completed graciously on gold paper, featuring wisteria and a pair of white peacocks. The loving birds couple against a long-living wisteria symbolises an auspicious scene of a harmonious family. Such blessing is delivered through a meticulous application of ink and composition, making this a sought-after work of art.