Page 174 - Christie's Fine Chinese Modern and Contemporary Ink Paintings hk may 226 27 2021

FORMERLY FROM A PRIVATE EUROPEAN COLLECTION 歐洲私人舊藏 (LOTS 1150-1156)

The collection formerly belonged to a European collector who enjoyed Chinese art. During the 1980s and the 1990s, the collector was in Hong Kong
and frequented galleries and auctions searching for modern Chinese paintings, with a particular interest in Wu Guanzhong and Huang Yongyu. These
paintings are in the market for the very first time, having been in the same collection for more than three decades.
舊藏者雖為歐籍人士，然喜好中國藝術，上世紀八、九十年代在港營商期間多流連於畫廊、拍賣，與當地藝文界頗有往來，搜藏中國現代名
家，尤鍾情吳冠中、黃永玉。本輯是其收藏之部分，主人品味清晰可見，庋藏數十年，今日方首次釋出。

In 1973, Wu Guanzhong, Huang Yongyu, Yuan Yunpu and a few 1150
artists received a commission from the Beijing Hotel to collaborate WU GUANZHONG (1919-2010)
on the monumental painting The Landscape of the Yangtze River. The Three Gorges of the Yangtze River
Because of the subject, Wu Guanzhong had the opportunity to Scroll, mounted and framed, ink and colour on paper
go on a sketching trip at the renowned Three Gorges and nearby 135.5 x 67.5 cm. (53 ¡ x 26 ¬ in.)
areas. Although the project did not materialize, Wu made use of Two seals of the artist
the materials from that trip (Fig. 1) to create several large-scale oil
paintings of the Three Gorges in the 1970s, two of these are currently PROVENANCE:
in the collection of the National Museum of China (1977) and the Hong Kong Auctioneers & Estate Agency Limited, Sale of Modern
Great Hall of the People (1979). Chinese Paintings, 14 May 1988, Lot.72.
EXHIBITED:
Wu increasingly preferred to paint in Chinese ink and paper in the Singapore, National Museum Art Gallery, Paintings by Wu Guangzhong,
1980s. In the mid-1980s, Wu painted the Three Gorges subject twice 10-21 February, 1988.
in ink and colour. Apart from the current lot, the other painting was
exhibited in his solo exhibition in the US in 1989 (Fig. 2). The two LITERATURE:
pieces are similar in size but different in composition and brushwork. Paintings by Wu Guanzhong, National Museum, Singapore, 1988, no
Comparing his oil painting sketch from the 1950s and his pencil pagination.
sketches from the 1970s, we can see the likeliness of his compositions. The Complete Works of Wu Guanzhong Vol. VI, Hunan Fine Arts Publishing
Painted in ink on paper, the artist intentionally constructed a narrow House, Changsha, August 2007, p.141.
view of the Yangtze River, with towering cliffs opposing from two HK$6,000,000-8,000,000 US$780,000-1,000,000
sides. Wu’s broad, dense ink brushes outlined the contour, while
diluted ink washes replace traditional brushstrokes to depict the 吳冠中 長江三峽 設色紙本 鏡框 一九八七年作
mountains. Dots of red, blue and yellow pigments scattered on the
painting to accentuate the various shades of ink, bringing vitality to 鈐印：八十年代、冠中寫生
the composition. 來源： 香港拍賣行及地產代理有限公司，中國近代畫，1988年5月14日，
編號72。
1973年，吳冠中與黃永玉、袁運甫等幾位畫家奉調為北京飯店創
作壁畫《長江萬里圖》，因此有機會到三峽等地寫生，這項工程 展覽：新加坡國家博物館，《吳冠中畫展》，1988年2月10日-21日。
以未成而告終，但在七十年代後期，吳冠中利用這次的寫生素材 出版： 《吳冠中畫展》，新加坡國家博物館，1988年，無頁碼。
（圖一）創作數幅巨型油畫《長江三峽》，分別收藏於中國國家 《吳冠中全集》第六集，湖南美術出版社，2007年8月，第141頁。
博物館（圖二）（1977年）與北京人民大會堂（1979年）。
進入八十年代，吳冠中將創作重心由油畫轉移至中國畫創作，畫
材的不同，令他可以放低對造型的要求、轉而追求其它；令他可
以下筆暢快，在速度中更盡興地抓取風景中的韻律。八十年代中
期，吳冠中兩次以《長江三峽》為題進行水墨創作，除本幅外，
另本展出於1989年畫家在美國的個展（圖三），兩幅尺寸相若，
惟構圖用筆略有差異。將兩件水墨本《長江三峽》與五十年代油
畫寫生與七十年代創作相比，構圖的一脈相承清晰可見，然而在
水墨版中，畫家有意識地將長江寬幅儘量縮窄，四尺長的畫面留
給兩邊江崖頂天立地，幾筆濃墨長刷刷出輪廓，頓生氣勢；淡墨
染成山體，巧妙地以西畫的灰色調代替傳統皴法，觀者只見形
式，不見筆墨，頓時進入新的審美世界。紅、藍、黃色點散佈
於畫中，調濟著畫面的各種黑，而生靈動。尤其是本場中這幅，
江水水域被壓縮到極致，線條對比更為強烈，所謂形式的張力得
到最大程度的呈現。推想此本許創作稍晚於美國展出本。水墨較
之油畫，藝術家的自由與追求，變得無比的清晰與強烈。水墨本 Fig.1. Wu Guanzhong, The Fig.2. Wu Guanzhong and Fig.3. Wu Guanzhong,
《長江三峽》與同期畫家代表作《長城》異曲同工，堪稱八十年 Three Gorges, oil work, 1973 Chu Teh-chun in front of Wu The Three Gorges, ink
代中期吳冠中於水墨中追求形式美的一類典型佳作。 圖1 吳冠中1973年油畫《長江 Guanzhong’s oil painting The work, 1989
三峽》 Three Gorges in National 圖3 吳冠中1989年在
Museum of China 美國展出彩墨創作《長
本作1988年由舊藏者購自香港，帶回歐洲，逾三十年未在亞洲展
圖2 吳冠中與朱德群合影於中 江三峽》
示。故全集出版圖文資料皆採自新加坡展覽目錄，尺寸與實物的 國國家博物館其巨型油畫《長
微小誤差，許為星洲展覽度量時造成。 江三峽》
268