Yun Tang

The painter indexed by some platforms as Yun Tang is properly named Tang Yun (唐云), also known by the courtesy name Xiachen. He was born in 1910 in Hangzhou, Zhejiang Province, and worked for most of his career in Shanghai, where he became known for ink and wash paintings of flower-and-bird subjects and landscapes. Reference sources describe him as a significant figure in twentieth-century Chinese painting and record that he served as Vice Chairman of the Shanghai Branch of the China Artists Association, a role that reflects his standing within Shanghai's art establishment.

Tang Yun died in 1993. Available English-language sources give only birth and death years rather than exact dates or a documented place of death, and no source reviewed documents a specific school, degree, or teacher for his early training. Readers should also note that several unrelated, living people share the name Yun Tang, including a Los Angeles Philharmonic violinist, a competition-winning solo violinist profiled by the North Shore Chamber Music Festival, an architectural historian associated with the Central Academy of Fine Arts and the University of Chicago, and a cultural anthropologist at the University of Macau. None of them is the painter described here.

General reference sources describe the artist as an important figure in twentieth-century Chinese painting, citing his standing within the Shanghai art establishment and his body of flower-and-bird and landscape work. No verbatim quote from a named critic in a major outlet could be confirmed in the sources reviewed for this profile, so none is reproduced here.

Listing platforms including Artnet, MutualArt, Invaluable, and AskART show recorded auction activity for this artist, cataloguing him under either Tang Yun or the reversed Yun Tang listing name. A specific all-time auction record, meaning one confirmed work, price, currency, auction house, and sale date, could not be established from the sources available for this profile. The absence of a confirmed record reflects gaps in publicly accessible lot-level data rather than an absence of a market: multiple platforms show an ongoing, if incompletely documented, secondary market for his ink paintings within the Chinese art trade.

Anyone researching this artist should first resolve the name-order issue: works, sale records, and biographical entries may appear under either Tang Yun or Yun Tang, and the two forms refer to the same painter (1910 to 1993), not two different artists. There is no confirmed catalogue raisonne and no confirmed certificate-of-authenticity program, and no museum collection holdings, current gallery representation, or specific exhibition history could be confirmed from the sources reviewed. Given these gaps, collectors should treat any attribution, provenance claim, or price reference for this artist with added caution and confirm details directly with specialists in twentieth-century Chinese painting before transacting.