Born in 1927 in Xiamen in Fujian Province, China, T’ang’searly education was influenced by his grandfather who ingrained in him an understanding of the principles of both Taoism and traditional Chinese calligraphy. In 1948, T’ang moved to Paris with the intention of studying medicine, yet soon became passionately immersed in the cultural environment of the time studying French Civilisation, Classical texts and the works of Western masters. As a result, T’ang’s works began to coalesce Eastern Taoist tradition with the more lyrical Western aesthetic – producing homages to artists among which were Cezanne, Monet, and Turner – while continuing to exemplify the simplicity and elegance typical of the Chinese artistic style.
By 1960’s T’ang’s works had seen a development – moving away from the more figurative and formal elements of his earlier works striving to represent that which is more abstract – the essential, transcendent and universal. T’anghimself defines his intention ‘to go beyond the conscious world to identify with the forces of nature and materialise them through painting’.
His pieces are shaped by the spiritual elements of the Taoist approach to painting. The artist seeks to capture emotional expression – spontaneous, unadulterated and natural. His works capture an instant in nature through the eyes of the artist himself. Employing traditional techniques, T’ang’sworks are intensely personal – capturing unrestrained energy within the parameters of Taoist artistic ideals. Rendered in few brushstrokes, his works are testament to his belief that Ink Painting is the embodiment of energy, - dynamic, spontaneous and textured.
Widely collected and exhibited, T’ang’s works are internationally renowned and he has pieces in prominent museums both domestic and international. Such institutions include the Museum of Modern Art, Paris City Museum(Paris), the Art Institute of Chicago (Chicago), Cernuschi Museum (Paris), Guimet – National Museum of Asian Art (Paris), and the M+ Museum (Hong Kong).
