Sun Yee (b.1919)
Sun Yee was born in Zhejiang, China. She studied at the Xinhua Art Academy in Shanghai and the University of Japan in Tokyo before going to France where she studied with notable French modernist, Fernand Leger. Her works have been met with successful exhibitions in France and Japan. A competent artist of Chinese brush and oil mediums, she held exhibitions at the Salon des Beaux Arts in Paris in 1953.
Sun Yee founded the Singapore Academy of Arts and was a prominent figure in the developing Malayan art scene after relocating to Singapore in 1954. That year, she also held her first ever art exhibition in Singapore. Subsequently, she has traveled widely in Malaya, Thailand, and Borneo, researching and painting the local subjects and landscapes. These experiences have all enriched visual and creative vocabulary significantly. She promoted the development of localized visual idioms centered on regional themes in both her writing and art. She did an exhibition in Singapore in 1963 called "Flowers of Nanyang," in which she used Chinese ink to illustrate local and regional botanical species.
“Lotus”, Oil on Board, 123 cm (W) x 80 cm (H)
This piece, titled ‘Lotus’ was created using oil paints which, along with her palette of deeper, darker tones went hand-in-hand by lending a richness to this piece. At the same time, the appearance of flatness, which is a common attribute in many Asian-styled paintings, is also apparent as it is painted upon a wooden board as opposed to a canvas, the latter which typically allows for more textured strokes. The deep, yet muted tones of “Lotus”, are easy on the eyes as they lull the view into a sort of dreamy state, almost akin to insinuating the mysteries of nightfall and dusk.
Although the Lotus flower is the primary area of focus here, as suggested by her chosen title, we can see that there is not just one, but five lotus flowers apparent here in this painting - Each seeming to represent a different stage of growth, or type.
Lotus flowers can come in a variety of colours and types, ranging from yellow, to pink, to purple, and many colours in between. Every lotus flower in this painting stands as it’s own individual, almost as if they were all dancers caught in a moment of self expression. The various, differentiated stages of a Lotus flower’s development holds a deep significance in spiritual symbolism; This is because the lotus flower in and of itself is a flower that symbolises spiritual enlightenment and purity, with deep roots in Chinese and Buddhist culture. The analogy goes, that one should be like the lotus flower, that towers above the mud below and follows the wisdom of light. It is also representative of the various elements as it encompasses earth, water and air - moving through these 3 elements to come into full bloom.
“Lovely Couple”, Chinese Ink on Rice Paper, 38cm (W) x 88cm (H)
Traditional elements of the Chinese countryside and nature are a recurring theme in Sun Yee’s works. This piece, ‘Lovely Couple’ also displays the much beloved lotus flower in full bloom, but this time as a side element to our main protagonists; Two adorable ducks shown floating gently into this idyllic scene; the stoic black duck, presumably the gentleman of the pair, leading the way forth, while a bright yellow duck, as his sweet looking partner in crime, waddles in the water directly behind. Lotus flowers are spread out amongst this watery scene, perhaps making for a romantic backdrop with their bright pink colourings, almost taking on a decorative feel.
Some may speculate an underlying element of comical humour present in this piece - whether intentional or not, this could come as a byproduct from the pleasure that artist Sun Yee experiences when recreating beautiful scenes from nature - either that or the tendencies of her creative mind. By calling a pair of ducks a ‘Lovely couple’, it almost instantly lends anthropomorphic, or humanistic qualities to them for the audience - We envision a fine young gentleman and a fine young lady, perhaps clad in formal wear or in the backdrops of our everyday lives.
Yee is no stranger to plays on words and language, as her artistic breadth ventures into the territory of writing as well as visuals - she has promoted the use of localised idioms in her writings. Idioms are a group of words established by usage as having a meaning not deducible from those of the individual words, for example in English, we may use the phrases ‘over the moon’, ‘walking on thin ice’, or ‘raining cats and dogs’. Every culture has its own set of unique idioms.
One very famous Chinese Idiom, 不可思议 (bù kě sī yì) is said to mean something is noteworthy or amazing in an unexpected way. It can be used for things which are really amazing (eg. magic or larger phenomena) but also for unexpected, everyday occurrences. For example: “真是不可思议，我的名字跟你一样！” “zhēn shi bù kĕ sī yì wŏ de míng zi gēn nĭ yī yàng” “It’s incredible, I have the same name as you!”
Perhaps we could think of this serendipitous sighting of this lovely couple, or pair of ducks as something indeed noteworthy on the topic of unexpected, yet everyday occurrences. It is no wonder that nature has served for so long, as an endless well of inspiration that keeps on giving, for many creative minds like Sun Yee.
“Sun Shine Palace”, Oil on Canvas, 152 cm (W) x 242 cm (H)
Nature even has become like a sanctuary to many who seek it. This air of sanctuary is suggested in the titling of this piece directly translated from Chinese, “Sun Shine Palace” - Palace, a term we usually use in junction with ideas of grandness, royalty and respect.
Interestingly enough, the vivid backdrop of cobalt blue is more indicative of dusk or the coming of evening. So where does the element of sunshine come into play? It could very well be a metaphor for Yee’s inner happiness when met with the wondrous presence of nature. Sunshine, typically associated with colours like yellow and orange, are not a stranger to this image as we see hints of warmth in her display of beautifully painted pears - Their rubanesque forms highlighting every hint of light in the atmosphere, and reflecting them outwards.
Sun Yee has also depicted the female form a few times in her paintings, which seem to precede the appearance of male figures in her paintings. This could be from a place of interest and respect for womanhood, and how females have served the local community in their own ways. Nature itself, and the pear’s distinct form are attributes that lend themselves to more female qualities.
