This painting is to be sold with a certificate of authenticity signed by the artist.

In Zao Wou-ki's memoirs there is a passage in which he recalls his month-long sea voyage from Shanghai to Paris, a trip that featured several stops on the way before he finally arrived in the City of Arts on April 1, 1948. Zao had barely set foot in the city when he headed straight to the Louvre to feast his eyes on the masterpieces of Western art. He was thrilled by the prospect of immersing himself in the viewing and admiration of artistic works like never before, and for more than a year all he did was visiting museums, galleries and concerts-and learning French. During this period of time, he hardly painted at all, though he did the occasional sketch or block print. Later he spent a lot of time at the Académie de la Grande Chaumière, where he became acquainted with a number of fellow artists, many of which would go on to become renowned painters, such as Hans Hartung, Nicolas de Staël, Pierre Soulages, Vieira da Silva and Sam Francis.

In 1949, he won the first prize in a sketch competition for young artists, a great encouragement for Zao, who was still finding his way and direction in the world of painting. By May of the same year, he was able to hold his first solo exhibition in Paris, which was a big success. He displayed the first inklings of his own characteristic lines and vibrant symbolism. It was during that period that Henri Michaux spotted the existence of a latent lyricism in Zao's paintings, which inspired him to write poems in their praise. Zao, an avid reader of classical Chinese poetry since his early childhood, naturally had a deep understanding of vistas and imagery in both poems and pictures, in particular since in Chinese art poetry and painting often tend to melt into one. This affinity helped Zao to use uncomplicated forms and colors to attract the attention of his peers, such as Jean Dubuffet. And it was the sculptor Alberto Giacometti who once said that he particularly enjoyed the concrete, unveiled elements in Zao's paintings.

As early as 1949, Zao had decided to focus his efforts on oil painting. Largely influenced by the mural paintings in churches and cathedrals, he spent much time on studying carefully how to employ a two-dimensional medium to produce a three-dimensional effect. He also explored different ways of composition and arrangement of objects in his paintings. The art critic Daniel Marchesseau expressed his appreciation this way: "Il retrouve alors une voie pour son pinceau, entre délés orientalisants et architectures classiques."(cf. p. 22 of the exhibition catalogue Zao Wou-ki 60 ans de peintures, published in Chinese by Sanlian Publishers, Shanghai, 1998).