Page 41 - Fine Chinese Modern and Contemporary Paintings July 8th, 2020 Hong Kong

Between the 1970s and 80s, Wu Guanzhong successively published
articles “The Formal Beauty of Painting”, “On the Beauty of
Abstractness”, and “Content Determines Form?” in the Fine Arts
magazine. Wu’s writing awakened the Chinese art world and
introduced new inspirations, challenging the socialist realism genre
prevalent at that time.
Following ten years of exploration, Wu himself unreservedly
embraced the abstract style. From the late 80s, his works transmuted
from elegant, aesthetic creations to rich, intense expressions. Even
so, the particular subjects in his abstract paintings retained an
inkling of nature’s renewing abilities.
The paragon of Wu’s abstract achievements, Wild Vines with Flowers
Like Pearls, which was acquired directly from the artist when the
collector visited China in the 1980s to early 1990s as a delegation
of Sino-Japanese cultural exchange, encompasses lines of different
shades and thickness intertwining with one another, leading to a
layered spatial impression. Simultaneously, the haphazard flecks of
coloured paint mark the abounding vitality of the wild vines. Each
part of a grander design, the outwardly chaotic strokes and dots
attest to Wu Guanzhong’s exceptional creativity and artistic mastery.

上世紀70年代至80年代之交，吳冠中在《美術》雜誌上先後刊登
了《繪畫的形式美》、《關於抽象美》以及《內容決定形式》的
文章，對當時以社會現實主義為主流審美觀的中國藝壇產生了劇
烈的波瀾，也為中國畫壇注入新泉源、開拓新視野。
經過十年的探索，吳冠中於80年代末期逐漸發展出完全抽象的
風格，作品逐漸從清新淡雅的唯美感，轉變至濃郁、雄渾、更
加強烈的情感表達。即便如此，在作品形式呈現完全抽象的樣
貌之下，在具體內容上依舊擁有著對於自然的再現性。

本幅作品《野藤明珠》為藏家於1980年代至1990年代初期，作
為中日文化交流組織成員訪問中國時與吳冠中相識，並直接購
自於畫家。其完美展示此時期吳冠中的抽象創作風格。作品中
延伸不斷、深淺粗細不同的墨線，在畫面中穿梭交疊著，創造
出畫面的空間層次；煥彩繽紛的顏料以點滴狀的方式散布於畫
面各處，展現野藤恣意生長的無限生命力。看似隨機混亂的線
條與斑點，實則來自於畫家有意識的佈局，充分體現出吳冠中
對於材料特質的純熟掌握與創作技法的深厚功力。

Wu Guanzhong with
the present work.
吳冠中與本作品合影。

Letter from Wu
Guanzhong to the
collector.
吳冠中致信給藏家。
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