Rating and value of paintings by Yan Wang Cheng

If you own a painting by or based on the work of artist Yang Cheng Wang and would like to know its value, our state-approved experts and auctioneers can help you.

Our specialists will carry out a free appraisal of your work, and provide you with a precise estimate of its current market value.

Then, if you want to sell your work, we'll point you in the right direction to get the best possible price for it.

Artist's rating and value

Yang Wang CHENG's work is current and highly rated on the auction market. His works arouse keen interest among collectors and art lovers, particularly those who appreciate 20th-century Chinese painting.

The most sought-after pieces are his abstract paintings, produced using the oil-on-canvas technique.

A painting by Cheng can fetch millions of euros at auction, as demonstrated by his painting Untitled, sold for €2,802,300 in 2020 by Poly International Auction.

Order of value from the most basic to the most prestigious

Artist's style and technique

Yan Cheng Wang stands out for a plastic style that boldly blends oriental tradition with contemporary abstraction.

His fluid, incisive strokes evoke the great masters of calligraphy, while breaking away from them to explore a more geometric, formalized language.

Far from sticking to traditional mimicry, he systematizes a gestural approach in which the tension between control and spontaneity becomes the key to interpretation. Every stroke, every surface, seems calibrated to serve a search for rigor and balance, while flirting with the raw energy of the gesture.

The organization of his compositions sometimes recalls the rigorous architecture of classical prints, where lines intersect in a meticulously structured network.

However, Wang doesn't stop at simply reiterating old codes: he modifies their contours, incorporating ruptures and bursts of pigment that defy uniformity.

These superimpositions of layers and textures result in works of remarkable density, where each element contributes to an overall unity while preserving its singularity.

His approach reveals a kind of mechanization of line, an almost mathematical preoccupation with repetition and variation, but one that avoids coldness through a sensitivity to light and matter. Wang skilfully plays with variations in thickness, subtle gradations and visual breaks, giving his works an internal vibration.

This process, close to engraving in its meticulousness and respect for rigorous laws, extends to a more universal vision, where the past is in constant dialogue with modern aspirations.

Yan Wang Cheng's career  

Yan Wan Cheng is a figure who questions heritages as much as he transforms them. Born in 1976 in a China in the throes of change, he grew up at the crossroads of age-old traditions and the upheavals of the contemporary era.

From an early age, calligraphy was an essential visual grammar for him, imbued with a rigor and fluidity that would mark his entire practice.

A graduate of Beijing's Central Academy of Fine Arts, he crossed the borders of his country at the turn of the millennium to settle in Europe, where he discovered the Western avant-garde.

This geographical shift also becomes a conceptual one: his first European works reflect a hybridization of calligraphic motifs and geometric abstractions borrowed from Minimalism.

His career took shape at the crossroads of these influences: in Paris, he exhibited compositions in which the gesture of ink dialogues with the rigor of flat forms, at times recalling the work of Ellsworth Kelly or Soulages. Soulages while remaining rooted in a distinctly Asian aesthetic.

Cheng is one of the few artists to weave such a direct link between these two visual traditions.

Today, his works, which can be found in international collections, bear witness to a commitment to a poetics of line, where the individual gesture responds to major historical movements.

Contemporary Chinese abstraction

Contemporary Chinese abstraction is surprising in the way it combines heritage and modernity, while defying Western conventions of the genre.

A closer look at the works of these major figures reveals a recurrence of a masterful, almost calligraphic gesture, which revives an age-old tradition while at the same time embodying an eminently contemporary approach.

Here, emptiness is never absence: it is a space for dialogue, a place where matter seems to breathe. We might compare this approach to that of classical Chinese painters, for whom every stroke, every reserve of white, carried a spiritual as well as a formal charge.

But Chinese abstraction doesn't stop at reinterpreting traditional canons. It explores new textures and supports, venturing into areas where the pictorial gesture becomes a writing, an imprint of the moment.

These artists move away from the direct influences of Cubism and Abstract Expressionism to propose their own aesthetic, where ink and oil are used side by side, and where the relationship with the material remains visceral.

This quest can be found in the work of Zao Wou-Ki or Chu Teh-Chunwhose canvases seem to vibrate between the tangible and the infinite.

Though abstract, these works retain a tenuous link with nature and the cosmos, recalling the misty, evanescent landscapes of the Old Masters. But they are distinguished by a more diffuse energy, a tension between fluidity and geometric rigor.

Contemporary Chinese abstraction, far from being a simple technical evolution, imposes a redefinition of pictorial space, a poetic exploration of modernity anchored in the timeless.

Focus on Echo of the Void, Yan Wang Cheng

Yan Wang Cheng's Untitled (Echo of the Void) offers a fascinating terrain for reflection on contemporary Chinese abstraction, bringing into play the relationship between the visible and the invisible, the full and the empty.

The canvas deploys a restrained, almost reductive palette, dominated by deep blacks and ethereal greys, mingled with flashes of white.

These nuances, at first sight simple, are revealed in the light, where each layer of material is carefully applied to play with depth and contrast. The space, far from being simply empty, seems to breathe through this juxtaposition of textures.

The almost monochrome background is dotted with minimalist touches that nevertheless act as indelible marks, inscribed in time. In this way, the artist seems to summon a silent memory, an echo, an imprint that runs through the paper.

The emptiness at the heart of the composition is not simply an aesthetic issue. It is part of a philosophical process, in which absence becomes an act of presence.

This is a subtle reinterpretation of Taoist concepts, according to which emptiness is neither a negation nor an end, but a space of transformation.

At once a vector of tension and liberation, the void inscribes a presence that is both strong and fragile. It testifies to the artist's relationship with his medium: each line is an attempt to capture the invisible, to freeze the infinite.

Fine, confident brushstrokes overlap to create a particular density, not through the accumulation of material but through the way each trace seems to melt and disappear into the next.

The process is reminiscent of Song painters, but also of a certain contemporary style in which the very action of the gesture is as important as the resulting form.

The material itself becomes a metaphor for instability and movement.

In this sense, Écho du Vide goes beyond the boundaries of calligraphy or traditional Chinese painting. If tradition is present in this work, it manifests itself in a desire to erase, to go beyond, not to reproduce but to reinvent a language.

Shapes fade away in a compositional game where meaning gradually dissipates, leaving room for the viewer's introspection.

In the manner of the great old masters, Yan Wang Cheng opens up the space to silent contemplation, in which each element - matter, void, light - becomes an actor in an infinite dance.

Through its subtlety and apparent calm, the work invites deep reflection, at once timeless and resolutely anchored in the present.

His signature

Yan Wang Cheng's works are not all signed. It is also possible that the work is a copy, or that the inscription has faded over time, which is why expert appraisal is essential.

Appraising your property

If you own a work by Yan Wang Cheng, feel free to request a free appraisal by completing our online form.

A member of our team of experts and certified auctioneers will contact you to provide an estimate of the market value of your work.

If you are considering selling your work, our specialists will also guide you through the various alternatives available to obtain the best possible price, taking into account market trends and the specific features of each work.