The qipao & the gavel: A conversation with Christie’s Liang-lin Chen

(Photos courtesy of Christie’s Hong Kong unless otherwise stated.)

If there were a “Queen of Auctions” in the Chinese art world, many people would immediately think of Liang-lin Chen, who has risen to fame on social media.

As the associate vice-president and head of sales for the Chinese Ceramics and Works of Art Department at Christie’s Hong Kong, each strike of her gavel marks a sale often worth tens of millions of RMB, sometimes even over a hundred million. She carries herself with confidence and professionalism, combining poise with authority in the auction room.

Another notable quality is Chen’s fluency in both Mandarin and English during auctions. This skill is particularly impressive when the bidding heats up among international buyers. At those times, she effortlessly switches between the two languages to check if they want to place a bid, leaving a strong impression on everyone watching.

Since an auction can shift direction at any moment, an auctioneer must read each bidder carefully, choose the right language, and skillfully control the event’s pace and atmosphere. So what sets Chen apart from the few female auctioneers who have made a name for themselves globally? Lianhe Zaobao sat down with her for an exclusive cross-border interview to find out.

Chen was born in Taiwan and was educated in the US and the UK. She began working at Christie’s Hong Kong in 2010. By her own account, entering the highly niche world of art auctions happened by chance.

She majored in biological sciences at Cornell University in the US, and it was not until the summer after graduation — when she volunteered as a docent at the National Palace Museum in Taipei — that she began to consider a career in art.

That role gave her many opportunities to admire some of the finest examples of Chinese art up close and share them with visitors. “It helped me develop an eye for Chinese art, built a solid foundation and taught me how to distinguish truly exceptional works from the more ordinary,” she said.

This experience eventually inspired her to pursue a master’s degree at Christie’s Education in London, where she deepened her understanding of Chinese art and history.

After graduating, she joined Christie’s — and has been with the company ever since. “It’s been 16 years now, and I’m still learning every single day,” she said.

“I’ve learned the most, and most quickly, through on-the-job experience, thanks to my senior colleagues’ decades of expertise and their generous sharing of deep insights into art authentication and valuation.”

Chen also realised her passion for art began in childhood.

As a child, she often visited the National Palace Museum in Taipei with her mother. Her love for art began to blossom during those days. “My mother and I would spend hours exploring the exhibitions together,” she recalled.

Many people came to know Chen as an auctioneer. However, being an auctioneer is actually her side job.

Chen’s primary role is as a specialist in Chinese ceramics and works of art at Christie’s, where most of her time is dedicated to the sale and promotion of Chinese art.

She explained, “Our department handles Chinese ceramics and artworks spanning from the Neolithic period to the Republic of China. But no single expert can possibly master all dynasties and every artistic medium. That’s why teamwork is essential. We’re constantly learning — keeping up with the latest archaeological discoveries, visiting museum exhibitions, and exchanging insights with colleagues and clients.

“This spirit of collaboration is one of the most rewarding aspects of my work. Working at Christie’s also gives me the opportunity to see art and rare collectibles from other categories. Being able to engage with such a wide variety of works is something I find incredibly exciting.”

Although auctioneering is just a secondary role, it feels like a grand, captivating performance every time Chen takes the stage. At auctions, she dresses simply and neatly, her black hair styled in an elegant updo, carrying herself with calm presence and poise.

Once the auction begins, her eyes sharpen, and she leans in slightly, tuning into every subtle cue from bidders and seizing the energy in the room. Like a skilled juggler keeping multiple balls in the air, she multitasks effortlessly. With gavel in hand, she calls out the latest bids and highlights what makes each lot truly special. Her voice is strong yet smooth, commanding attention with quiet confidence.

But as the saying goes: “One minute on stage takes ten years of practice behind the scenes”. This holds absolutely true for Chen’s journey in auctioneering.

Reflecting on her early career, she recalls how each auction highlighted areas for improvement. “It was sometimes a little discouraging,” she admits, “but it’s a process that teaches humility and ultimately brings great rewards.”

With accumulated experience, she learned the crucial balance of taking herself seriously while avoiding excessive self-importance. This philosophy, she states, guides her approach: “My primary role is to facilitate transactions between buyers and sellers, and to ensure the best possible outcome for both parties.”

Some might assume an auctioneer’s task is just to call for higher bids and strike the gavel when none appear. Yet what seems like a job anyone could do actually requires deep professional expertise. The auctioneer plays a vital role, determining the success of an auction and whether both buyer and seller walk away content.

Before every auction, Chen always makes thorough preparations, prioritising the finest, most meticulous details.

She explains, “A successful auction takes months, sometimes even years, of careful planning. From the thoughtful selection of works and negotiating terms with consignors, to conducting research, coordinating photography, writing the catalogue, organising previews and exhibitions, all the way to the final preview and auction itself. Every detail is crucial. Throughout the process, we always put the client first. Once a consignor entrusts their collection to us, it is our duty to do everything we can to deliver on that promise.”

Among the many auctions in her 16-year career, one of the most unforgettable was the Cosmic Essence: Archaic Jades from The Lantien Shanfang Collection auction held in the autumn of 2024. That sale achieved a 100% sell-through rate, and the total realised price exceeded the lowest estimate by nearly 600%.

Chen was involved in the entire process, from cataloguing to exhibition planning.

She said, “This gave me a deep emotional connection with every piece, and I came to truly appreciate them from the heart. To have the opportunity to handle such extraordinary works was both a joy and an honour. The whole experience remains one of the most fulfilling moments of my professional career.”

For an auctioneer, achieving record-breaking prices time after time is no easy feat, especially in an art market that is constantly shifting. So how does Chen stay on top of market trends and buyer interests?

She says, “I stay informed through continuous dialogue and observation, always keeping a close eye on market trends to track changes in buyer interests. I maintain close communication with collectors to understand their evolving perspectives, and I work with my team to analyse auction results, museum exhibitions, and academic research. All of this provides valuable insights into emerging trends, which directly influence our strategies and pricing, allowing us to adapt to the market quickly and in real time.”

At the same time, Chen and her team also strive to lead the market and shape the conversation.

“We proactively introduce historically significant and exceptional works. For example, in our recent themed sale, Ravishing Blue: Imperial Porcelains From An Important Private Collection (靛藍若化 - 重要私人珍藏官窯青花器), three remarkable blue-and-white porcelain masterpieces from the Ming and Qing dynasties were standout highlights. By striking a balance between trend sensitivity and curatorial strategy, we deepen our connections with all stakeholders in the auction process and maintain the vitality of the market.”

Chen’s work mainly focuses on mainland China, Hong Kong and Taiwan, reflecting the sources of her clients and auction lots.

Outside of Christie’s, she values spending time with family, friends and colleagues. She enjoys travelling, visiting exhibitions, hiking, reading and exploring a wide range of interests — from traditional Chinese medicine and language learning to various sports. These pursuits broaden her horizons, offering fresh perspectives and prompting reflection on the balance between life’s constants and changes.

This emotionally rich and intellectually curious mindset is also reflected in the way she carries herself each time she “takes the stage”.

Few garments capture the grace of traditional Chinese culture like the qipao. Chen often wears elegant, professional qipaos at auctions.

“My qipaos come from various tailors, and some were thoughtful gifts from friends,” she says.

She prefers styles that fall just below the knee with a diagonal front and prioritises comfort by avoiding overly tight fits.

She holds a special place for the qipao: “My first was made in Taipei with my mother, and I cherish those memories of choosing fabrics and details together.” Her mother’s stories of Chen’s grandmother wearing qipaos daily also make her feel connected to history, as if weaving the past into her clothing.

When asked whether there were any Singaporean buyers at the auctions, Christie’s replied that they could not disclose any client information. Based on early May auction results, demand from mainland China remains strong, accounting for over 50% of all buyers, followed by Taiwan. Notably, spending by Southeast Asian clients saw a significant increase — over three times compared to the 2024 spring auction season.

While it is unclear how many of Chen’s clients are from Singapore, one thing is certain: she is no stranger to Singaporean art.

At Christie’s spring auction in May 2023, Chen successfully sold late Singaporean artist Georgette Chen’s Still Life With Big Durian for a record US$1,824,286.

The niche field of art auctions requires many skills. For example, how should an auctioneer handle two bidders raising their paddles at the same time?

Chen explained that in such cases, she decides based on the order in which she perceives the bids and clearly communicates her decision to the bidders present to ensure transparency and fairness.

She said, “If two colleagues raise their paddles at nearly the same time, I quickly decide whose bid I saw or heard first and respond immediately. For example, I might say, ‘I saw Zhifen’s bid first; Sherese, please consider your next offer.’ This helps keep the auction running smoothly, reassures both bidders, and ensures fairness. I also stay alert to minimise such situations whenever possible.”

When an auction lot receives no bids, how does an auctioneer liven up the atmosphere and encourage bidding?

Chen said, “There are practical approaches in such situations. For example, giving buyers more time to consider. Sometimes hesitation simply means they need more time to think. So, the auctioneer can slow down the pace slightly to keep the atmosphere from becoming too tense, allowing buyers space to fully assess the lot’s value.”

The auctioneer can also use this time to highlight the lot’s unique features and strengths.

She explained, “For instance, I might elaborate on the lot’s background, craftsmanship, historical significance, or market value. I may also emphasise its rarity, the artist’s reputation, or its potential for appreciation, to help spark buyer interest.”

The 2024 autumn auction of Cosmic Essence: Archaic Jades from the Lantien Shanfang Collection was one of Chen’s most memorable auctions.

The rare treasures on auction showcased the development and evolution of archaic Chinese jades from the Neolithic period to the Eastern Han dynasty, and are among the rarest treasures in the collectibles market in nearly 20 years.

These pieces were specially exhibited at the National Palace Museum in Taipei in 1999 and had not been publicly displayed since, adding to the auction’s mystique and appeal last year.

How did Chen perform at this collectors’ auction?

The highlight of the auction was a mid-Eastern Han dynasty “Jade Openwork ‘Longevity’ Bi”, approximately 17 cm high, which sold for US$3,251,934 — 25 times its low pre-sale estimate.

A “Highly Important and Superbly Carved Turquoise Bixie” from the Western Han dynasty was also sold for US$2,704,994 — four times its low pre-sale estimate.

Another treasure is an “Extremely Rare White Jade Dragon-Head Ladle” from the late Western Han dynasty to Eastern Han dynasty, which sold for US$2,861,263 — a whopping 44 times its low pre-sale estimate.

At this auction, Chen explored the cultural development of ancient China, combining archaeology and history. She successfully sold all the lots and achieved an impressive total hammer price of US$27,738,067, bearing testament to her charisma and drive.

Moving forward, we can likely expect to hear more of her stories and watch her work her magic on the auction stage.

Through her work, many have gained the opportunity to appreciate rare artworks and the rich history behind them. This also reminds us that artworks are not just objects — they are stories to be told and vessels cradling cherished memories.

This article was first published in Lianhe Zaobao as “中国艺术“拍卖女王”陈良玲：一身旗袍东方美 一拍落锤千百万”.

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