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吳冠中 誤入嶗山
香港
2021年05月24日 开拍 / 2021年05月22日 截止委托
拍品描述 翻译
吳冠中
誤入嶗山
設色紙本 鏡框 一九八八年作
96.2 x 179.3 cm. (37 7/8 x 70 5/8 in.)
題識:
誤入嶗山。
一九七五年,黑雲猶壓城,不忘寫生樂,偕德儂等誤入嶗山,迷途深山松石間,竟日不遇人影,偶見狼蛇,漸惶恐,呼道士,無應。數度攀峰,窺大海,測方位。傍晚,遙聞村落廣播聲,踏月奔跑,午夜出山,已抵他縣,慶活命。十餘年後憶前事,縱橫交錯入畫圖。一九八八年十二月,吳冠中,龍潭湖畔。
鈐印:吳冠中印、荼、八十年代
Lot Essay Brimming with playful unfurling lines and forms, the richly polyphonic Scenery of Mount Lao is among the most daring and personal of all Wu Guanzhong’s emotive landscapes from the 1980s. It captures the spectacular pine trees growing from rocks on Mount Lao, a coastal mountain range located in Shandong Province with longstanding spiritual significance, set against the backdrop of the distant sea. One of the largest and most complex paintings of the mountain range created by Wu, Scenery of Mount Lao stands as one of the most important touchstones for the artist in major exhibitions, including his important retrospective Vision and Revision held at the Hong Kong Museum of Art in 1995, as well as in his catalogue raisonné, Complete Works of Wu Guanzhong . In this work, the iconic, spirited pine trees stand proudly above colossal boulders smoothened by the ocean – a scene analysed, reconstructed and translated into an intimate study of nature. Painted in Beijing in 1988 over a decade after the transformative trip, Scenery of Mount Lao interprets nature through the prism of memory and the language of abstraction, its composition pared down to a dynamic play of dots and lines. It is this persistent exploring and galvanising the representational potential of ink that marks Wu as a singular force in the history of Chinese paintings in the 20th century. When Wu Guanzhong arrived in Qingdao in May 1975, he was tasked with an unusual assignment: decorating the presidential train carriages bound for the newly-built Tanzania-Zambia Railway, amply supported by China. Having recently returned to Beijing following some difficult years, he was summoned to the locomotive factory in the picturesque coastal town of Qingdao that summer. It offered a much welcome reprieve. He was commissioned to paint the Victoria Falls and Mount Kilimanjaro, in Zambia and Tanzania respectively, based on which decorative tapestries were to be made. At the factory, he befriended a group of aspiring young artists, engineers and architects by profession, who on Sundays took him to the most scenic spots around the city where they sketched en plein air. Since the early 1950s, he began travelling widely in China to paint its diverse geographies in the manner of Monet and Cézanne. ‘Over thirty years,’ he wrote, ‘I carried my easel and paintbrushes with me across the country, staying at stage stations, fishing villages, factory sheds and abandoned temples.’ Wu was amazed by the scenery of the Mount Lao area and was fascinated by the thrilling contradictions between the cliffs and the sea, the smooth rocks and the impossible pine trees that grew from them, a motif he painted in several oil paintings dated 1975 and 1976. He completed the commissioned works quickly, which, as he recalled, ‘did not interest me in the slightest’, and immediately embarked on an extended sketching trip into the mountains. When Scenery of Mount Lao was created in 1988, Wu Guanzhong’s artistic expressions had reached unprecedented new heights following a decade of intense experimentation. In the painting, the trees are showered with distinctive vivid splotches of yellow, green and pink, and the heavy rocks are reduced to simple and powerful contours, with calligraphic brushstrokes bringing to the fore an exuberant vitality. The composition is clearly based on an earlier sketch titled Pines and the Harbour dated 1976, and yet as he wrote in the inscription, the composition is the result of ‘composting different views’, noticeably the waves of the ocean and sailboats in the background. As a student at the National Academy of Art in Hangzhou in the 1930s, Wu had studied ink painting under Pan Tianshou, copying and studying the landscapes of Shitao and Kuncan, but he only began to work more extensively in ink in the mid-1970s. His work took a monochromatic turn, in pursuit of the simplicity, purity and fluidity of ink paintings. ‘Oil paint and ink,’ he wrote, ‘are two blades of the same pair of scissors.’ The elegant prose recounting the eventful journey 13 years later, sprawling along the bottom of Scenery of Mount Lao in a frieze-like inscription, is highly unusual in Wu Guanzhong’s oeuvre, revealing the mountain’s palpable spiritual resonance with the artist. It was an unforgettable trip that he repeatedly wrote about, in narratives directly referencing Tao Yuanming’s Peach Blossom Spring fable about the chance discovery of an ideal world: ‘we walked, laughed, discussed ideas of composing paintings,’ before adding: ‘it was almost as if we entered the Peach Blossom Spring.’ Rising above the sea and surrounded by cloud and mist, Mount Lao is considered one of the birthplaces of Taoism, an ancient tradition of philosophy that embraces nature and its primordial forces. Wu Guanzhong’s trip to Mount Lao came at a pivotal moment of profound personal and artistic changes. An artist trained at the école Nationale Supérieure des Beaux-Arts in Paris, when he returned to China to teach in 1950, he found himself out of step with the socialist realism championed by the authorities, his oil paintings – of nudes, not heroic soldiers, peasants or factory workers – were deemed formalist and bourgeois. He found himself banished to rural China in 1970, where the paucity of materials and condition made it impossible for him to paint. His health, already in decline, also suffered. Here, being lost and finding one’s way in Mount Lao became symbolically intertwined with the artist’s memories. The month he spent in Qingdao re-energised his art – it seemed that the light at the end of the tunnel was in sight. By the mid-1980s, Wu Guanzhong’s reputation was rehabilitated and his lucid writing on art, particularly his defence of abstraction, paved the way for the euphoric moment of 1985 when the new wave in contemporary art in China was born. Previously in the prodigious collection of Dr S. Y. Yip, Scenery of Mount Lao triumphantly captures this jubilant mood – his poetic abstractions of nature as pure colour, rhythm and energy. From this point on, his explorations of geometry would thrust modern ink paintings into unexpected directions.

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