Page 192 - 亚洲二十世纪及当代艺术

“I frame the world within the canvas, imbuing my heart with hues,
“ I f r a m e t h e w or l d w i t h i n t h e c a n v a s , i m b u i n g m y h e a r t w i t h h u e s ,
m
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r revealing the depths of my innermost thoughts, dispersing trivialities,
and delineating the past and future. I engage in the meticulous artistry
a n d del i n e a t i n g t h e p a s t a n d f u t u r e . I en g a g e i n t h e m e t i c u l ou s a r t i s t r y
o f p er c ei v i n g t h e u n i v er s e t h r o u g h t h e m i n u t i ae, p onderi n g t h e e s s en c e
of perceiving the universe through the minutiae, pondering the essence
of connection with all things. I undertake my craft with a profound
o f c on n e c t i on w i t h a l l t h i n g s . I u nder t a k e m y c r af t w i t h a pr o f o u nd
u nder s t a nd i n g t h a t t r a n s c end s or d i n a r y p er c ep t i on a nd u n v ei l s u n s e en
understanding that transcends ordinary perception and unveils unseen
dimensions. I traverse the realms of macrocosm and microcosm,
d i m en s i on s . I t r a v er s e t h e r e a l m s o f m a c r o c o s m a nd m i c r o c o s m ,
exploring the depths of human nature and honing my skills of the heart,
e x p l ori n g t h e de p t h s o f h u m a n n a t u r e a n d h on i n g m y s k i l l s o f t h e h e a r t ,
h a nd , a nd e y e . I s o a r b e y ond c on v en t i on a l c om pr eh en s i on , f or g i n g a p a t h
hand, and eye. I soar beyond conventional comprehension, forging a path
untrodden by others, as I embark upon my creative endeavours. Merging
u n t r o d den b y o t h er s , a s I em b a rk u p on m y c r e a t i v e en de a v ou r s . M er g i n g
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t the grand and the minuscule, I delve into the depths of the human
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essence, with strength, agility, and an expansive vision that traverses
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t the vastness of the heavens and the depths of the sea.” ”
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{{Wu DayuWu Dayu
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Wu Dayu, as a pioneer of the first generation of Chinese artists who travelled to
W u D a y u , a s a pio n e e r o f t h e f i r s t g e n e r a t io n o f C h i n e s e a r t i s t s wh o t r a v e ll e d t o
France, harmonized Eastern and Western art, and pioneered the era of artistic
F r a n c e , h a r m o n i z e d E a s t e r n a n d W e s t e r n a r t , a n d pio n e e r e d t h e e r a o f a r t i s t ic 10, is one such example. It marks Wu Dayu’s
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c r e a t io n . H e l a i d t h e f o u n da t io n f o r C h i n e s e a b s t r a c t p a i n t i n g a n d t h e o r y , l e a d i n g t h e r return to unfettered invention, a peak of
creation. He laid the foundation for Chinese abstract painting and theory, leading the
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H a n g z h o u N a t io n a l C o l l e g e o f A r t a s t h e h e a d o f t h e W e s t e r n p a i n t i n g d e p a r t m e n t a r t i s t ic e n t h usi a s m a n d g e n i us a t h i s s e n io r
Hangzhou National College of Art as the head of the Western painting department
artistic enthusiasm and genius at his senior
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for a remarkable ten years. He was hailed as the “Flag-bearer of China Academy a ge .
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of Art,” an “extraordinary colourist,” and a “pioneer among pioneers,” undoubtedly Eminence Personified: A Rare Family
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deserving the title of “The Master among Masters.” Through his visionary perspective
d e s e r v i n g t h e t i t l e o f “ T h e M a s t e r a m o n g M a s t e r s . ” T h r o u g h h i s v i s io n a r y p e r s p e c t i v e Portrait of Exquisite Characters
a n d e n l i g h t e n i n g t e a c h i n g m e t h o ds , h e n u r t u r e d r e n o wn e d t a l e n t s s u c h a s Z a o W o u - B e y o n d t h e r a r i t y o f i t s l a r g e - s c a l e f o r m a t , W u
and enlightening teaching methods, he nurtured renowned talents such as Zao Wou-
Beyond the rarity of its large-scale format, Wu
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Ki, Chu Teh-Chun, and Wu Guanzhong. Throughout his dedicated life, he fearlessly Dayu infused Untitled 10 with a profound and
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f faced the challenges of his time and the hardships of existence, presenting the d e e p l y m o v i n g s e n s e o f l i f e ’ s w a r m t h . W i t h i n
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deeply moving sense of life’s warmth. Within
c o m p r e h e n s i v e a e s t h e t ic s o f “ f o r m , l i g h t , a n d r h y t h m . ” H i s e s t e e m e d r e p u t a t io n , the composition, he skilfully blended the
comprehensive aesthetics of “form, light, and rhythm.” His esteemed reputation,
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exceptional talent, and refined creations have left a brilliant mark on the history of e s s e n c e o f C h i n e s e a e s t h e t ic s w i t h e l e m e n t s
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essence of Chinese aesthetics with elements
C h i n e s e m o d e r n a r t , r e s o n a t i n g t o t h i s da y a n d s h i n i n g b r i g h t l y f o r g e n e r a t io n s t o of Western cubist expressions, capturing a
Chinese modern art, resonating to this day and shining brightly for generations to

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I In this autumn auction, we are honoured to present the debut of Wu Dayu’s rare large- - vigorous brushwork in the portrayal of four
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scale autobiographical masterpiece Untitled 10, completed in 1980s. This artwork, , figures: a young man at the centre, a child
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crafted in the form of “ Savouring the Melody of Radiant Flight” and depicting the vast
c r a f t e d i n t h e f o r m o f “ S a v o u r i n g t h e M e l o d y o f R a d i a n t F l i g h t ” a n d d e pic t i n g t h e v a s t holding a book in the lower left, a woman with
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r realm of artistic expression through “hues imbued with the heart and delineating vivid red lips and a touch of rouge in the lower
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t the past and future,” encapsulates the artist’s exceptional lifelong aesthetic r right, and a mischievous youngster whose only
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achievements. The work has been extensively published and featured in nearly all
a c h i e v e m e n t s . T h e w o r k h a s b e e n e x t e n s i v e l y p u b l i s h e d a n d f e a t u r e d i n n e a r l y a ll exposed eye peeks out from the bottom. This
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the artist’s monographs and collected works. It held significant importance and p o i g n a n t s c e ne i nev i t a b l y ev o k e s t hou g h t s o f
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poignant scene inevitably evokes thoughts of
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represented Wu Dayu’s artistic legacy, as evidenced by its prominent display at the t the artist’s family. .
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E x h i bi t i on o f W u D a y u ’ s P a i n t i ng s h e l d a t t h e T a i p e i M us e u m o f H i s t o r y i n 2 0 0 1 .
Exhibition of Wu Dayu’s Paintings held at the Taipei Museum of History in 2001.
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Looking back to the year 1928, when Wu
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Unleashing the Infinite within Limits: The Horizon Aglow with Radiant D a y u , t h e h e a d o f t h e W e s t e r n P a i n t i n g
Dayu, the head of the Western Painting
Splendour Department at Hangzhou Art Academy, ,
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O f W u D a y u ’ s l i f e l o n g o e u v r e , t h e r e a r e m e r e l y 1 5 9 o i l p a i n t i n g s a n d o v e r t w o t h o us a n d resided in a residence on Yuquan Road by the
Of Wu Dayu’s lifelong oeuvre, there are merely 159 oil paintings and over two thousand
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works on paper remained today. Due to environmental constraints, most of his oil l West Lake. In August of that year, he fell in
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paintings are of modest dimensions (53 x 38 cm). Although he produced larger scale
p a i n t i n g s a r e o f m o d e s t d i m e n sio n s ( 5 3 x 38 c m ) . A l t h o u g h h e p r o d u c e d l a r g e r s c a l e l love with and married Shou Yilin, a six-year- -
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works during his tenure at Hangzhou National College of Art (China Academy of younger artist from the Chinese Painting
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Art), the works were tragically destroyed by the war. After the academy battles and
A r t ) , t h e w o r k s we r e t r a g ic a ll y d e s t r o y e d b y t h e w a r . A f t e r t h e a c a d e my b a t t l e s a n d D e p a r t m e n t a t t h e s a m e c o ll e g e . T h e y
Department at the same college. They
Cultural Revolution, he resigned from Hangzhou National College of Art in 1938. From
C u l t u r a l Re v o l u t io n , h e r e s i g n e d f r o m H a n g z h o u N a t io n a l C o ll e g e o f A r t i n 1 9 38 . F r o m welcomed two children in the next two years, ,
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Changsha via Guiyang and Kunming, he and his family moved to Shanghai in 1940. Wu and their four-person family found joy and
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D a y u s t a y e d i n h i s b a n k e r - i n -l a w ’ s t h r e e - s t o r y h o m e u n t i l h i s d e a t h . A c c o r d i n g t o h i s harmony. Ten years at Yuquan residence were
Dayu stayed in his banker-in-law’s three-story home until his death. According to his
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student Wu Guanzhong, Wu Dayu lived in a remarkably cramped space, yet amidst
s t u d e n t W u G ua n z h o n g , W u D a y u l i v e d i n a r e m a r k a b l y c r a m p e d s p a c e , y e t a m i ds t t the Wu family’s most memorable time. Wu
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poverty and illness, he tirelessly cultivated his artistic pursuits. His contemplation
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and quest for art remained unbroken. The top floor of the small residence, less than
Japanese War, art academy relocation, and
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t ten square meters, served as his limited space for painting. Moreover, during the political climate. As the head of the family, he
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Cultural Revolution, strict scrutiny on modern painting led Wu Dayu to create only
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small-scale artworks that could be discreetly stored in drawers. It was not until the family survived on their children’s secondary
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end of the Cultural Revolution in 1976, when material conditions slightly improved, school teaching salaries. Their son even had
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that he was able to create larger-scale oil paintings. His lifetime yielded only 11 works to l e av e F u d a n Uni v e r s i t y i n S h a n g h ai d u e
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