Page 169 - 亚洲二十世纪及当代艺术

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৷ЭਞࢨeʔΝΈᅂ׼ฮࠦٙτરd˸Ⴠ୚ٙ০അᓃݑଉ૵ʔɓٙර “Trees are not only a sign of life, they are also a symbol
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ၠ e ڡ ၠ e კ ၠ e ኈ ၠ e ዔ ᝃ ၠ d ᄴ ᄴ ቗ ක ഹ ௛ ؒ ϼ ໢ อ ٽ e ୑ ฀ ୚ o f a r t . T h e t r e e o f l i f e i s e v e r g r e e n , a s i t i s a r t i s t i c l i f e, b u t
ၠeڡၠeკၠeኈၠeዔᝃၠdᄴᄴ቗කഹ௛ؒϼ໢อٽe୑฀୚
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،ٙ፹ໝЍҖʘߕdϤ͍ၾؒʘᇻۉeᐿ߱eႏۊe๡ࣳeڗڡٙၚ t the artist always has to die for art to transcend an era.” ”
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ग़ɓɓխᏐfМᎇஹਗၧ੗ٙഅැdࣣ೥ʕٙמ௦ೲeˬˣೲeϷᓃ {{Wu GuanzhongWu Guanzhong
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ೲٙ৶جʘᄳd͵ˀ቗׵೥Ъʕd˸ଉಅeሱͩeդਥe͖ڡdᐄி
ೲ ٙ ৶ ج ʘ ᄳ d ͵ ˀ ቗ ׵ ೥ Ъ ʕ d ˸ ଉ ಅ e ሱ ͩ e դ ਥ e ͖ ڡ d ᐄ ி
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̈٤ගɪٙଉܓձᔮ߱ٙሯช dԨၾεචၠ੹ٙΎܓᛌ̋ d෧ி̈ν A f h t i e n r a g , i r n 1 u a 4 t 7 i , W f u G m t n h z e h N n a t g p n a a s l s C e o d a e n e o a f A r t i n H c a o n m z e t o h u e ,
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China, in 1947, Wu Guanzhong passed an exam to become the
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ҽࡥ ຬᏁؒࠬྡ‘ছଉێɽंٙൖᙂชٝ fͭ׵ರᔝٙ౹٤ձϷሌ n u m b e r o n e p u b l ic l y f u n d e d C h i n e s e s t u d e n t t o s t u d y i n F r a n c e .
number one publicly funded Chinese student to study in France.
ٙɽήʘග d௛ؒʘၠจฏ೯ଉዢ d݈๫̈ɓএ޴וٙ͛նɢඎ fί In 1950, he said goodbye to his classmates in Paris and returned
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வబᙘ؇˙་ઋٙՍᄳʕdЪۜభෂ୕׵ତ˾d˸അɢཱུٙᒹˌʷЍ
வబᙘ؇˙་ઋٙՍᄳʕ dЪۜభෂ୕׵ତ˾ d˸അɢཱུٙᒹˌʷЍ to China to teach what he had learned about aesthetics. In the
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Սˀ݈əюڿʕί؇ГߕኪፄΥගٙЇጲ৷ܓd฽މၚ੹l p a i n t i n g a n d us e d “ m a n u r e b a s k e t s ” t o d o s o , o n l y t o b e f i ll e d w i t h
painting and used “manure baskets” to do so, only to be filled with
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ຬ̚ڗڡٙᖵஔɛࣸ gushing artistic inspiration on receiving his freedom in the 1970s. .
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բٙଣซ d׵˼ϾԊ d௛ؒʔස݊͛նٙᅺႦ dһ݊ɛࣸʘᄳ๫ d݊ a living Chinese artist at the British Museum in 1992. In many
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ڡࢥ௛ؒ‘ה࢝ତٙ
ஹટՉᖵՉːٙၚग़הίfڡࢥ௛ؒ‘ה࢝ତٙd͍݊வɛၾІ್
ஹટՉᖵՉːٙၚग़הί f d͍݊வɛၾІ್ w a y s , f r o m t h e s e c o n d h a l f o f t h e 2 0 t h c e n t u r y W u s e r v e d a s a
ways, from the second half of the 20th century Wu served as a
ග޴ˢ݈๫ٙ೥ྤf bridge between past and present, China and the rest of the world.
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೥ʕٙɖಋ௛ؒd۶࿒ʔɓd୑ྼ٫ν᎘ԉ੣Ꮜٙʕ਺ɢඎdΣɪ˕
೥ʕٙɖಋ௛ؒ d۶࿒ʔɓ d୑ྼ٫ν᎘ԉ੣Ꮜٙʕ਺ɢඎ dΣɪ˕ He spent his entire life like an old tree, unyielding and enduring, ,
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ᅟৎɓ˪˂ή dᜄ୚٫ۆνڡ̈׵ᔝϾ௷׵ᔝٙอ͛Ҏૐ d໢ڿᄴ embracing hope and pursuits, and ultimately discovered a vast t
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ᛌ e،ૢ׻౮ d׵ɽήɪҳ࢛ɨஹၧዓᅂ d͛೯ஹਗʘߕ fϾዓၾዓ e x u p c a io s e c o s t n h e e o t i i l p g t i h t e w o D r l e d o . O a n t h f Q i ng c d a a s io n o , t h e w e o d i k b e 9 i 7 n 4 g
ᛌe،ૢ׻౮d׵ɽήɪҳ࢛ɨஹၧዓᅂd͛೯ஹਗʘߕfϾዓၾዓ
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auctioned is the oil painting Deodars of Qingdaoo completed in 1974, ,
ʘගٙ،،ɸɸdҗֽ݊ᙳ˓޴ஹٙྫМd΍࿴̈ɓ˪ಌ؍dխᏐഹ
ʘගٙ،،ɸɸ dҗֽ݊ᙳ˓޴ஹٙྫМ d΍࿴̈ɓ˪ಌ؍ dխᏐഹ i in which the artist employs the towering sincerity of the “pine tree” ”
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ओ੹ᓃᓃٙ㎄ਗɛᅂfϾМᎇሸڡʘɛٙᛇҞԒᅂჃ̘dԟܝ౻ʕٙ
ओ੹ᓃᓃٙ㎄ਗɛᅂ fϾМᎇሸڡʘɛٙᛇҞԒᅂჃ̘ dԟܝ౻ʕٙ a s b o t h a n e m b o d i m e n t o f h i s o w n c h a r a c t e r a n d t h e u l t i m a t e
as both an embodiment of his own character and the ultimate
ϓ˪ዓ؍کίவ࣬এ޴ஹʕࢺ್ओତ dԑ˸༸း௛ؒ͛նɢٙၧַ j r reflection of his belief in life and artistic spirit. .
ϓ˪ዓ؍کίவ࣬এ޴ஹʕࢺ್ओତdԑ˸༸း௛ؒ͛նɢٙၧַj
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Іɪd৷ᑍਞ˂dІɨd࣬ᖩɽήdί˂ήʘගdڿႊ̬௉dࡳ׊ዹ
І ɪ d ৷ ᑍ ਞ ˂ d І ɨ d ࣬ ᖩ ɽ ή d ί ˂ ή ʘ ග d ڿ ႊ ̬ ௉ d ࡳ ׊ ዹ An Unyielding Artistic Spirit, Like Trees Deeply Rooted in
ͭڎࠬd໔ɨԱ್࣬ଉήᄿf Mountains
ͭڎࠬd໔ɨԱ್࣬ଉήᄿf
ڡؒ̈৷ήdМҢΣ˂ૹf̚ዓ຾ዝɷϋ๋˜ԱᔚᝨᝨႏႏdԈᗇഹ
ڡؒ̈৷ή dМҢΣ˂ૹ f̚ዓ຾ዝɷϋ๋˜Աᔚᝨᝨႏႏ dԈᗇഹ New Artistic Life During an Oil Painting Golden Age in
͛ݺίவ˂ήʕᒻݺe׼తٙɛࡁd˼ࡁуکೌجνؒݡຬ̚ڗڡd
͛ݺίவ˂ήʕᒻݺ e׼తٙɛࡁ d˼ࡁуکೌجνؒݡຬ̚ڗڡ d the 1970s
Deodars of Qingdao was painted in the 1970s, a golden age
͵̙ίவɓಂɓึٙ͛նʕd௴ிഹІҢٙ͑ܩᄆ࠽f༐νකᇐ࿁ю
͵̙ίவɓಂɓึٙ͛նʕ d௴ிഹІҢٙ͑ܩᄆ࠽ f༐νකᇐ࿁ю D e o da r s o f Q i ng da o w a s p a i n t e d i n t h e 1 9 7 0 s , a g o l d e n a g e
when Wu Guanzhong produced most of his oil paintings and
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ϼٙˏࠑd˜͛նʘዓڗڡ͛նʘዓڗڡ™dՉྼ݊ᖵஔ͛նڗڡdɛʘԒϥdᖵஔ™dՉྼ݊ᖵஔ͛նڗڡdɛʘԒϥdᖵஔ
ϼ ٙˏ ࠑ d wh e n W u G ua n z h o n g p r o d u c e d m o s t o f h i s o i l p a i n t i n g s a n d
masterpieces. In 1972, Wu came to the end of a six-year ban
ۍ̙༨൳ࣛ˾fሸཁɷʆຬ˥dၣᖯ˂ɨփ౻dᄳɨ͛ն೥՜dவ݊
ۍ̙༨൳ࣛ˾ fሸཁɷʆຬ˥ dၣᖯ˂ɨփ౻ dᄳɨ͛ն೥՜ dவ݊ m a s t e r p i e c e s . I n 1 9 7 2 , W u c a m e t o t h e e n d o f a si x - y e a r b a n
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юϼٙᖵஔ͛ૹf˼˸ϤЪʘؒ჻dʷމІҢٙᖵஔɛࣸd༸̈ːʕ
юϼٙᖵஔ͛ૹ f˼˸ϤЪʘؒ჻ dʷމІҢٙᖵஔɛࣸ d༸̈ːʕ f forbidding him from painting and was henceforth allowed to
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paint during vacations. After returning to Beijing from Li village in
ٙЇጲଣซ jೌޡ˰ԫᜊቋ dೌᙰɓʲࠬڠ dҢІࡗථٜɪ d㋎ͭ˂ p u a r i n t d u r b i n g v r a o c v a i n t i c o e n s wh e f t r e e r r e e t h u a r n i n b g t e o B e e i n j i n g f r d o m L n i v t i e l l d g w e i t n
ٙЇጲଣซjೌޡ˰ԫᜊቋdೌᙰɓʲࠬڠdҢІࡗථٜɪd㋎ͭ˂
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the areas he visited. For example, in the spring of 1973 Wu was
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The Ten-thousand-li Landscape of the Yangtze River, which he
used to visit the Yangtze and paint landscapes; in 1975, he was
us e d t o v i s i t t h e Y a n g t z e a n d p a i n t l a n ds c a p e s ; i n 1 9 7 5 , h e w a s
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carriage on the Tazara Railway at Qingdao Sifang Locomotive and
Rolling Stock Co. Ltd. and made use of the opportunity to visit
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a result, he often visited coastal areas in Shandong Province to
avoid the summer heat of Beijing and paint from real life. After
a v o i d t h e s u m m e r h e a t o f B e i j i n g a n d p a i n t f r o m r e a l l i f e . A f t e r
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˾ d ̨ ̏ ݂ ࢗ ௹ ي ৫ ᔛ f׼ ˾ ӏ մ ˸ ˜ኈ ʱ Ъ dஃ ᚆ ෳ त ݾ ࢫ ਔ - ጒ ਔ ௹ ي ᎜ ᔛf Ъ މ ю ڿ ʕ for art rekindled. Even with the limited material conditions at t
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ࠦ dϾ ਗ਼ ၠ Ѝ ሜ ʱ މ ර ၠ eڡ ၠ eკ ၠ eኈ ၠ e D e o d a r s o f Q i ng d a o i s a r a r e o i l p a i n t i n g f r o m t h i s i m p o r t a n t p e r io
Deodars of Qingdao is a rare oil painting from this important period d
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ᐿ ߱ eႏ ۊ e๡ ࣳ eڗ ڡ ٙ ၚ ग़ ɓ ɓ խ Ꮠ
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