The title is just pure embellishment, with the ‘rising sun’, a source of energy and light, having little or none to do with fishes, jumping or otherwise, while the sea tides are tied to the phases of the moon. Jumping fishes can be ascribed to the carp, an auspicious creature oft emblazoned in Chinese ink paintings, or the breaching of the dolphins, out for lark rather than escaping from predators or preying on others. The juxtaposition is just a double conjunction of joy and beauty, as Jolly Koh unabashedly pursues the elixir of beauty on his canvas through luscious forms and oft incendiary colours. Whether it be sunrise, sunset or twilight, Jolly Koh is only in pursuit of beauty personified. This piece is a major work, a masterpiece. There is a schism in Jolly Koh’s art. The intellect of theory and philosophy honed from his academic background: National Diploma in Design, Hornsey College of Art, London; Art Teacher’s Certificate, London University; MSc Indiana University, USA (Fulbright scholarship), and his teaching Art in the United States, Australia and Malaysia. And the other is the incorrigible romantic in his canvas. His first claim to great fame was as one of the Magnificent 7 in the GRUP exhibition held at the AIA Building, Kuala Lumpur, in 1967.In 2017, he published the 350-page retrospective book defining his 60-year art career called Jolly Koh @ 76, which was also the title of the accompanying exhibition (organised by Henry Butcher Art Auctioneers) at White Box, MAP Publika. A great achievement for one who was given his first solo, at the tender age of 16, at the British Council in Kuala Lumpur in 1957.