Page 170 - 亚洲二十世纪及当代艺术

The Only “Cedar Pine” Motif Work in the Qingdao Series
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I In the mid-1970s, Wu Guanzhong visited Qingdao to paint on
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Wu took his students to Shandong to teach them how to paint from
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reefs and strangely shaped trees in the mountains became a
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source of unending inspiration for the artist. Of all the works Wu
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1976 ϋdюڿʕ੭ჯɓफʃኪ̘͛ʆ؇ဝӀᄳ͛f˜ڡࢥ™
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މՉ 1974 Ї 1976 ϋග຾੬ሸڡમࠬٙήᓃ painted in his artistic career he produced only 11 oil paintings
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Mount Lao near Qingdao, the other 10 works were all completed
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the L ao M o u n t a i n s an d R e d C h a m b e r s o f Q i ng d a a r e n o w i n t h e
the Lao Mountains and Red Chambers of Qingdaoo are now in the
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collection of the National Art Museum of China and the Shanghai i

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China Art Museum, respectively, an indication of the high esteem
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with which this series is held. Deodars of Qingdao was the first
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Qingdao landscape the artist finished as well as the only piece he
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a pen manuscript of the work in the Shanghai China Art Museum
a p e n m a n us c r i p t o f t h e w o r k i n t h e S h a n g h a i C h i n a A r t M us e u m
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юڿʕڡࢥߎᅽ‘dذ੹˝ؐd46Ò61 cmd1975 ϋЪdɪऎ c collection, which compositionally echoes the auctioned piece. The
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11 ΁ d މ Չ ௰ ᑖ ل ɛ ɹ ٙӻ ΐ ʘ ɓ d Ш ຅ ʕ ˸ ˜௛ ؒ ™ މ ˴ fact that Wu Guanzhong used many different materials to revisit
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landscape scenes from this area is an indication of his love for the
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subject matter and how important it was to him. Indeed, one could
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Heroes Dancing, Essence of the Ages
Unique Seven Treasures Pines
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“After 60 years as an artist, old trees are the closest of friends.” Despite traveling the world, “pines trees” were a subject
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pines between rocks in Mount Lao, visitor welcoming pines from Mount Huang and Wu Dafu pines from Mount Qin. .
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I In the 1970s, Wu painted 13 consecutive oil paintings with “pine trees” as the motif, but it was only Deodars of Qingdaoo
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t that featured “cedar pines” with such luxuriant foliage that resembled pagodas. .
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T h e m a j e s t ic c o m p o s i t io n o f t h i s w o r k i s c o m p r i s e d o f s e v e n t o we r i n g pi n e s t h a t r e a c h i n t o t h e h e a v e n s , g r a d ua ll y
The majestic composition of this work is comprised of seven towering pines that reach into the heavens, gradually
s p r e a d i n g o u t , w i t h t h e f r o n t a n d b a c k s e e m i n g l y s t r e wn a t r a n d o m b u t a s w i t h t h e s e v e n s t a r s o f t h e Bi g D i p p e r
spreading out, with the front and back seemingly strewn at random but as with the seven stars of the Big Dipper
combine to create a greater whole. They are perhaps even more akin to a dragon hiding in deep waters, brilliantly and
c o m bi n e t o c r e a t e a g r e a t e r wh o l e . T h e y a r e p e r h a p s e v e n m o r e a k i n t o a d r a g o n h i d i n g i n d e e p w a t e r s , b r i ll i a n t l y a n d
m a j e s t ic a ll y s h o w c a s i n g a g r e a t p o we r a b o u t t o l e a p i n t o t h e h e a v e n s . A s t h e l a y e r s o f p a g o da -l i k e t r e e t o p s o p e n u p ,
majestically showcasing a great power about to leap into the heavens. As the layers of pagoda-like tree tops open up,
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t the dense branches and pine needles rush forth like a powerful army, or arrays of soldiers arranged in a straight line, ,
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the branches and pine needles greeting the wind in high spirits at an angle, stretching into the boundless distance, ,
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never twisting back and forth and imbued with the majestic demeanor of a warrior. The seven cedar pines are the main
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“seven,” as well as the auspicious “seven treasures” in Tibetan Buddhism, in a reference to imposing life character. .
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Vast and Detailed, Thunder in the Silence
Brushstrokes Infused with Strength
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If we look at the brushwork in more detail one can see the way in which Wu infuses the work with great concentration
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and endurance. He firmly seizes the “density” and “thickness” of the cedar pines, employing the surging strength of f
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calligraphic brushwork-like vigorous touches and fine strokes, continuously presenting the strength hidden in the
c a ll i g r a p h ic b r us h w o r k - l i k e v i g o r o us t o u c h e s a n d f i n e s t r o k e s , c o n t i nu o us l y p r e s e n t i n g t h e s t r e n g t h h i d d e n i n t h e
s o f t n e s s o f t h e c e da r pi n e b r a n c h e s t h r o u g h t h e l a y e r e d r h y t h m o f f r e e s t r o k e s . E a c h pi n e n e e d l e d e pic t e d w i t h f i n e
softness of the cedar pine branches through the layered rhythm of free strokes. Each pine needle depicted with fine
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strokes is particularly clear, the firm dense rhythm quickly opening up the scene. The lower tree trunks are comprised
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o f t w o t o t h r e e s t r o k e s , o n e l e f t , o n e r i g h t , o n e o n t o p o f t h e o t h e r , c r a f t i n g a p o we r f u l t h r e e d i m e n s io n a l e f f e c t t h a t
of two to three strokes, one left, one right, one on top of the other, crafting a powerful three dimensional effect that
exquisitely reflects the roughness and strength of the ancient trees.
e x q u i s i t e l y r e f l e c t s t h e r o u g h n e s s a n d s t r e n g t h o f t h e a n c i e n t t r e e s .
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In response to the dancing movements of the lines, the dots also exude a freshness of spirit, with the bright lush green, ,
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yellow, cyan and ocher coloured spots, all flying between the branches and replete with vigor. In the lower part of the
y e ll o w , c y a n a n d o c h e r c o l o u r e d s p o t s , a ll f l y i n g b e t we e n t h e b r a n c h e s a n d r e p l e t e w i t h v i g o r . I n t h e l o we r p a r t o f t h e
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work, the people on an outing are depicted in red, blue, white, and yellow dots, appearing as simple complex shapes, ,
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as if lighting a series of life fires that create distinctive individual lives. At the same time, the white blank spaces left
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