Page 204 - Modern Chinese Paintings, Hk Nov. 27,2017

PROPERTY FROM A PRIVATE JAPANESE COLLECTION 日本私人收藏 (LOTS 1423-1425)

“There is no demarcation line between abstract and concrete subjects,
the artist can move freely between them.What we seek is real feeling…”

– Wu Guanzhong

“真實、具象、抽象都無定界，作者往返自由，唯逐真情實感”

- 吳冠中

In 1979,Wu published the article The Beauty of Form in Paintings in Meishu 一九七九年，吳冠中在《美術》一刊發表《繪畫形式美》。其抽
magazine. His radical aesthetics of abstraction shocked the Chinese art world. 象美學觀在中國藝壇產生了劇烈的波瀾，使國人第一次認識到繪
For the first time, artists in China were introduced to the revolutionary 畫能夠超越具象的桎梏，抽象亦能表現心中對美的認識與對生活
idea that painting did not have to reflect objects from reality at all, and that 的感動。
abstraction could equally strike a chord to express the idea of beauty.
八九十年代之交，吳冠中的作品由簡趨繁，由淡漸濃，畫面愈加深
Wu’s abstract work became more vigorous and intense in the late 1980s. 沉，層次感愈加強烈。藤蔓、煙火、亦或是抽象情感的純粹揮霍，
Multiple layers of ink and colours intertwine against an enormous 觀者已無從分辨。但無疑可以從中感受到藝術家揮灑的生命力量。
background. Unlike his previous works where the webs are usually an
expressionist portrayal of stems or physical structures, Flowing Time moves 吳冠中曾道：“古、今、中、外，藝術達到高峰時，都必將在高峰
into complete abstraction, yet the exuberant energy and passion for life 相晤、相親，絕無東、西、南、北之隔膜。”《歲月年華》便是如
remain the theme of the artist’s creation. 此集古今中外之大成之作。吳冠中通過筆刷與畫面的直接接觸，發
揮了油彩無法企及的豐富筆觸感，將中國設色水墨疏、密、濃、淡
Also created in 1989, Joy of Life embodies the similar idea of abstraction 的特性和傳統書法潑墨、飛白等技法淋漓盡致地融合展現，交織出
and offers an equally kaleidoscopic impression, yet the techniques and 一曲生命交響。
rhythms of the brushstrokes are utterly different from Flowing Time. The
speed and vigor of dry brushstrokes weave through the crawling organism 同樣創作於一九八九年的《生命躍動》反映出相近的抽象美學立
left by an elegant dance of a large brush soaked in ink, formulating a 場，然而其用筆手法與節奏韻律卻與《歲月年華》截然不同。千變
captivating consistency throughout the picture. Finishing with dabs of 萬化的技法足以說明吳冠中對水墨、筆刷、紙張特質的純熟掌握。
dots with vibrant colours,Wu has eternalised nature’s order within chaos 無論是奮筆疾書留下的飛白，還是濕筆蔓延迂迴下的破墨暈染，深
with his mastery over the language of ink. 淺墨氣在紙上互動而成了一個有機的整體，無一處網格重複，可見
大師之功力深厚。
Bridging the traditional and the contemporary,Wu painstakingly evolved
his abstract form from his previous expressionist style. He pressed his
brush against the painting with consistent rhythms of force, creating an
abundance of effects which stem from traditional ink paintings such as
flying white and splashed ink. Breaking the boundaries of techniques and
genres, the works have left a timeless mark in the history of art.

Note inscribed by Wu Guanzhong in 1989 to the Japanese collector Wu Guanzhong with present Lot 1423
一九八八年日本藏家於吳冠中家中取畫時，畫家贈此書法留念。 畫家吳冠中與《生命躍動》( 編號 1423）

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