Page 152 - Christie's Irving Collection Lacquer Bronse jade and Ink March 2019

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L A C Q U E R • J A D E • B R O N Z E • I N K T H E R V I N G C O L L E C T I O N 髹金飾玉 - 歐雲伉儷珍藏

818 WU GUANZHONG (CHINA, 1919-2010)
Waterfall 吳冠中 龍翔風翥 設色紙本 鏡框

Scroll, mounted and framed, ink and color on paper 鈐印：八十年代、冠中寫生
With two seals of the artist
來源：
27 x 53¡ in. (68.5 x 135.5 cm.) 歐雲伉儷珍藏。
$750,000-850,000
藉由無縫結合傳統國畫和抽象表現主義，吳冠中的《龍翔風翥》是他掌握這兩
PROVENANCE 種不同美學的哲理與技巧的典範。這幅作品充分地展現他將中國和西方文化內
The Irving Collection. 在化的獨特性，以及他從截然不同的視覺來源所得到的卓越地繪畫技巧。
With a seamless blending of traditional Chinese ink painting and abstract 吳冠中1936 年進入杭州國立藝專學習，「調和中西藝術，創造時代藝術」是校
expressionism, Wu Guanzhong’s Waterfall exemplifes his mastery of 長林風眠的辦學宗旨。吳冠中先後師從常書鴻、關良、潘天壽等學習油畫及國
both styles philosophically and technically. The unique way in which he 畫，並在1947 年進入巴黎高等美術學院，在蘇佛爾皮教授門下研修西方現代
internalized Chinese culture and Western art, as well as his ability to 油畫，在三年的研習結束後，吳冠中回國希望致力開創深具民族性的現代藝術
demonstrate superior skills acquired from vastly diferent visual sources, 新途徑，以西方現代美學理論來發展中國繪畫藝術，然而這種觀念與當時主流
are all manifested in this work. 藝術是大為抵觸的。經過眾多挫折之後，他「認識理解物件的美感，分析掌握構
成美感的形式」的藝術態度，都成為眾矢之的而被受批判和打壓。但吳冠中不
In 1936, Wu Guanzhong entered the National Arts Academy of Hangzhou, 願放棄自己的藝術理念和創作，於是轉道而行，吳冠中說道：「我實在不能接
where the school motto was “A mediation between Chinese and Western 受別人的美的程式，來描畫工農兵。逼上梁山，這就是我改行只畫風景畫的初
art, creating the art of our time,” according to its founder, the renowned 衷」。（吳冠中《憶我的藝術生活》）
painter Lin Fengmian. At the academy, he studied oil painting and
traditional Chinese painting under great painters such as Chang Shuhong,
Guan Liang and Pan Tianshou. In 1947, Wu continued his study at the
École nationale supérieure des Beaux-Arts, focusing on Western modern
oil painting under Professor J. M. Souverbie in 1947. Wu returned to China
after three years with the hope to develop a new approach in modern art
rooted in traditional Chinese painting. However, this approach contradicted
with the contemporaneous mainstream artistic trend. After much struggle,
he came to the realization that his attitude of “understanding the aesthetic
of the object, as well as analyzing and grasping the structure of the
aesthetic form” would always be castigated by the public and shunned.
Nevertheless, he refused to surrender his artistic ideals and instead tried
to circumvent the political current and public opinion. He has stated in
his memoir that “I cannot accept the formula of other people’s aesthetics
merely to depict workers, farmers, and soldiers. As I was pushed to the
brink, I changed my approach and decided to paint only landscape.”

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