Page 172 - 亚洲二十世纪及当代艺术

42 юڿʕ 1919-2010 Wu Guanzhong

ڡࢥ௛ؒ Deodars of Qingdao
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Painted in 1974
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Signed in Chinese and dated on bottom right; titled
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̈و LITERATURE
1996 ϋd юڿʕ೥፯j 60 ’ s - 90 ’ s ‘ dʕ਷ɧࢠ 1996, Art of Wu Guanzhong: 60’s - 90’s, China Three
1996 ϋdюڿʕ೥፯j60’s - 90’s‘dʕ਷ɧࢠ
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̈وٟd̏ԯdୋ 87 ࠫdྡو 66 G o r g e s P u b l i s h i n g H o u s e , B e i ji n g , p . 8 7 , p l . 6 6
Gorges Publishing House, Beijing, p. 87, pl. 66
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2007 ϋdюڿʕΌණjୋɚ՜‘dಳیߕஔ̈ 2007, The Complete Works of Wu Guanzhong, vol. II, ,
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Hunan Art Publishing House, Changsha, p. 267
Ը๕ PROVENANCE
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among the trees and branches, represent an extension of space Myriad Valleys. Between the azure blue sky and beige earth, the lush
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a l o n g t h e v e r t ic a l a x i s , wh ic h p e r f e c t l y r e f l e c t s wh a t W u G ua n z h o n g greenness of the cedar pine trees becomes even thicker, reflecting
along the vertical axis, which perfectly reflects what Wu Guanzhong
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m e a n t wh e n h e s a i d : “ I n p a i n t i ng s om e t h i ng de n s e t h e h a r de s t t h i ng the highest achievement in Wu’s efforts to combine Eastern and
meant when he said: “In painting something dense the hardest thing
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is to make it not seem dense and still able to breathe.” The haphazard Western aesthetics, creating something truly exciting. .
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order highlights the “denseness and thickness” of the pine needles Evergreen Artistic Character
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and this is perhaps the perfect depiction of “thunder in the silence.” ”
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W u G ua n z h o n g d e d ic a t e d h i s l i f e t o t h e e x p l o r a t io n o f h o w b e s t t o
Wu Guanzhong dedicated his life to the exploration of how best to
Pale and Verdant, Exuberant Green Rhymes s h o w c a s e t h e “ u n b r o k e n s t r i n g o f t h e k i t e ” t h r o u g h h i s a r t , c o n n e c t e d
showcase the “unbroken string of the kite” through his art, connected
A Path to Eastern and Western Integration - Oil and Water t to the ideals of life sentiment. For him cedar pines were not merely
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Deodars of Qingdao represents the starting point for Wu Guanzhong’s
symbols of life but also a portrayal of human character, a spiritual
D e o d a r s o f Q i ng d a o r e p r e s e n t s t h e s t a r t i n g p o i n t f o r W u G ua n z h o n g ’ s s y m b o l s o f l i f e b u t a l s o a p o r t r a y a l o f hu m a n c h a r a c t e r , a s pi r i t u a l
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“ “combination of oil and ink” but it is perhaps even more interesting to d e p o s i t a r y c o n n e c t e d t o h i s h e a r t a n d a r t .
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depositary connected to his heart and art.
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note that although green is the main colour in the work, it is blended T h e s e v e n c e da r pi n e t r e e s i n t h e p a i n t i n g a r e d i f f e r e n t i n s h a p e a n d
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The seven cedar pine trees in the painting are different in shape and
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with the “five different colours of black ink” and Cun Fa Fa (wrinkle p o s t u r e , w i t h t h e t h ic k e r s t u r d i e r t r e e s l i k e a m a i n f o r c e s t a n d i n g l o f t y
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posture, with the thicker sturdier trees like a main force standing lofty
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method) from traditional Chinese painting. Wu observes in great t a n d u p r i g h t , r e a c h i n g u p w a r ds a n d h o l d i n g u p t h e s k y ; i n c o n t r a s t ,
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and upright, reaching upwards and holding up the sky; in contrast,
d e t a i l t h e p o s t u r e a n d f e a t u r e s o f e a c h t r e e , us i n g t h e i r u n e v e n t the smaller and finer trees are like a new hope surpassing what came
detail the posture and features of each tree, using their uneven
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height, different light/shade arrangements and light needle strokes b e f o r e , w i t h a c c u m u l a t e d l e a f - c r o wn s a n d h i g h s pi r i t e d b r a n c h e s ,
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before, with accumulated leaf-crowns and high spirited branches,
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t that light up the different shades of yellow-green, blue-green, , c a s t i n g c o n t i n u o us s h a d o w s o n t h e g r o u n d t h a t s p e a k t o t h e b e a u t y
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casting continuous shadows on the ground that speak to the beauty
yellow-green, black-green and olive green, thereby creating layers
ye l l o w - gr e en , b l a c k - gr e en a n d ol i v e gr e en , t h e r e b y c r e a t i n g l a yer s o f i n t er c o n n e c t e d m o vem en t . M o r e o ver , t h e i n t er t w i n e d b r a n c h e s
of interconnected movement. Moreover, the intertwined branches
of old leaves and new buds on the cedar pines. The beauty of the
o f o l d l e a v e s a n d n e w b u ds o n t h e c e d a r pi n e s . T h e b e a u t y o f t h e between the trees are like partners holding hands, engaged in
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scattered colours and forms of the rough trunks and fine branches b u i l d i n g a f o r e s t t o g e t h e r , a n e c h o o f t h e h u m a n si l h o u e t t e s m a d e
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building a forest together, an echo of the human silhouettes made
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echo the vitality, lushness, vigor, weathering, and evergreen spirit t up of floating coloured dots. Indeed, in concert with the silhouettes
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of the trees. The use of hemp fiber texture strokes, ox hair texture
o f t h e t r e e s . T h e us e o f h e m p f i b e r t e x t u r e s t r o k e s , o x h a i r t e x t u r e o f t h e p e o p l e o n o u t i n g s i n t h e d i s t a n c e , t h e f o r e s t i n t h e b a c k g r o u n d
of the people on outings in the distance, the forest in the background
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strokes and mi-dot texture strokes from painting and calligraphy are quietly emerges connected by root veins, in a way that highlights the
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also reproduced in the painting as deep brown, ocher, coffee, and extended life vitality of the cedar pines. .
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d e e p b l a c k h u e s , c r e a t i n g a v i s ua l p e r c e p t io n t h a t h a s a d e p t h o f
deep black hues, creating a visual perception that has a depth of
Ancient trees have lived for thousands of years but remain extremely
a t m o s p h e r e r e m i n i s c e n t o f L i T a n g ’ s ( 1 0 6 6 - 1 1 5 0 ) Wi n d y P i n e s A m ong A n c i e n t t r e e s h a v e l i v e d f o r t h o us a n ds o f y e a r s b u t r e m a i n e x t r e m e l y
atmosphere reminiscent of Li Tang’s (1066-1150) Windy Pines Among
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luxuriant, showcasing the fact
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can still use their one and only
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Guanzhong observed: “the tree of
G ua n z h o n g o b s e r v e d : “ t h e t r e e o f
life is evergreen,” as too is artistic
li f e i s e ve r g r e en , ” a s t o o i s a r t i s t ic
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life. This means that although
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