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101 羅工柳 1916-2004 Luo Gongliu
˥ࢫ Reservoir
ذ ؐ Oil on board
1
3
ɓɘʬɚϋЪ 70 × 50 cm. 27 /2 × 19 /4 in.
Painted in 1962
ಛᗆ
ʈݣ ʬɚϋ̛ɨ Signed and dated in Chinese on bottom right
PROVENANCE
Ը๕ Acquired directly by original private Asian collector
ࡡԭݲӷɛᔛٜટᒅІᖵஔ͉ɛ from the artist
2020 ϋ 10 ˜ 8 ˚dʕྗᅃ࠰ಥ߇֙שርึd 8 Oct 2020, China Guardian Hong Kong Autumn
שۜᇜ 124 Auction, Lot 124
ତԭݲӷɛᔛٜટᒅІɪࠑԸ๕ Acquired directly by present private Asian collector
ڝj̨ᝄԭ˄ყᖵஔʕːකͭʘЪۜᗇࣣ from the above
This work is accompanied by a certificate of authenticity
HKD 80,000 – 120,000 issued by ARZ international Corporation, Taiwan
USD 10,300 – 15,400
ፄිʕГd༐ςॆ Integration of Chinese and Western, with Sincerity
ᖯʈݣ˸་จකᚠอ༩ and Honesty
Luo Gongliu Blazes a New Trail with Poetic Inspiration
ᖯʈݣᄳྼӉහΣᄳจeɽᄳจdΪ˴ഹ˼ᖵஔٙ݊ઋชd
݊ઋd݊จf˼Ӌʕ་f In 1936, Luo Gongliu was admitted to the National Hangzhou Art
College with the top score. He was taught by Fang Ganmin and
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Wu Dayu. In 1953, he was appointed as the director of the Painting
1936 ϋdᖯʈݣ˸ୋɓΤٙϓᐶϽ՟ͭψᖵਖ਼dա˙͏e Department of the Central Academy of Fine Arts and was hailed as
юɽϻi1953 ϋdආ՟ٙ˼ַᜡʕ̯ߕஔኪ৫ᖭӻ˴dᚑ one of the founders of the academy. From 1955 to 1958, he went to
މ̯ߕఢਿɛʘɓiϾί 1955 Ї 1958 ϋd˼ࠌᘽᑌΐႷߕஔኪ the Soviet Union to study oil painting at the Repin Institute of Fine
৫ਖ਼ࡌذdఢ֛əୖྼዹՑٙذਿᓾfΫܝٙ 1958 Ї 1976 ϋd Arts, establishing a solid foundation in oil painting. Upon returning
˼˴ੵʕذࠅԐІʉٙ༩dፄΥϤۃᅰɤϋ࿁ʕ̮ᖵஔٙd to China, from 1958 to 1976, he combined decades of research on
ිၳɽϓd࿁ࣛʕݴБٙᘽόذ̈ᐿeတeྼe⚠eጰe Chinese and foreign art, proposing criticism of the popular Soviet-
style oil painting in China at the time. He advocated for drawing
ϥeؐٙҭ൙d˴ੵෂ୕ᄳจʕӝ՟ቮʱd̈ᄳจذ nourishment from traditional Chinese painting techniques and
ٙ฿ׂdᐏذޢϞᗆʘɻٙխᏐd௴ЪϤࣛಂٙ˥ࢫуމ proposed the concept of “freehand oil painting.” This idea was echoed
ࠠࠅ˾ڌf by the oil painting community, and his work Reservoir from this period
Ъމଉɝ͏͛ݺe˴ੵ˸ᄳ͛ಿቮ௴ЪٙᖯʈݣdՉЪίɛ྅ձࠬ౻ is an important representation of this style.
Շɽ˴ᕚɪѩՈ৷ଉி༏d͍νʕ̯ߕஔኪ৫৫ڗߪࠔτהႭjᖯ As an artist who delved into people’s lives and advocated nourishing
ʈݣ͛݊ 20 ˰ߏʕߕஔ೯࢝ʕٙɓࢭٙ৷ࢤfɪ˰ߏʞɤϋ˾ creativity through life drawing, Luo Gongliu had profound
ڋd˼уڌତ̈࿁ࠬ౻˴ᕚٙɽጳሳdટஹʔᓙήࠌጐʆeอᖛe achievements in both portrait and landscape painting. In the
ഃήઞஞΤʆɽʇeዝ̦̚༦f1962 ϋࢀd˼Ъމʕᖵஔ˾ early 1950s, he showed great interest in landscape themes and
ڌ̈ஞᖯ৵̵ԭeઠдeتᚆձᘽᑌഃήd˥ࢫуމՉϤБʕd continuously visited famous mountains, rivers, and historical sites
Պᄳจذࠬࣸʘ˾ڌЪfߠΙϞༀ⟱ʮ̡ʘڶ˖Ιdাəࣛ˾ such as Maijishan, Xinjiang, and Dunhuang. In the summer of 1962, he
visited Romania, Czechoslovakia, Poland, and the Soviet Union as a
ٙࠐ༦f
representative of Chinese artists. Reservoir is a representative work
˥ࢫɓЪʕd࠭ݴٜɨٙᓬ̺ІԌၠЍٙ˥ࢫɪ၌ಪɨdɦᏕᄌ of his classic freehand oil painting style during this trip. The back
ήίʕݬᏘᜠϾɪdᆼヌɽंήᄝಪeᓫ࢛eяତɓషɷ̚ڗνͣᇖ of the painting was stamped with a Russian seal from the framing
࠭ٙѯᒪྡ౻d֟νʕ̚˾ʆ˥Ԑɝ˾ઋྤfί˸ͣމ˴ company, recording the traces of the times.
Ѝٙ˥ݴʕdᖵஔ˸ጰٙЍͪତ̈ʔΝዢ૱ٙᜊ౬j˥ᓬٙࢤ In the painting Reservoir, the cascading waterfalls flow down from the
νΝჀޮٙᑛ६dீ̈ߠܝٙᔝ˂dɦұ࢛̈ʞᘰॸٙ˥मiʕݬ green reservoir, and dramatically crash against the middle section,
ฏ೯ᜊԪͣᔮޮd˸ᔝϲЍձ surging and splashing, as if ancient Chinese landscape paintings have
ڥͣЍٙᇞૢ࢝ତɓҼҼ˥ݴଉ entred contemporary settings. In the predominantly “white” water
ٙᜊʷiɨ၌ɦနஷீdᚣ flow, the artist uses delicate colours to show the various shades and
̈Ա̙Ԉٙᓛᘚዓᅂfರᔝٙ changes: the peak of the waterfall resembles a light veil, revealing the
blue sky behind and reflecting colourful water droplets. The middle
˂٤ʕdݓழνΝၧၧईٙओ section becomes milkier and more abundant, showing changes
ථᄴᄴัݑකԸd྅˥ኈʕจ in depth with blue-grey and bright white lines. The lower section
ᘾ৷ჃٙථंfϾίɪɨٙஷБ gradually becomes transparent, revealing faint tree shadows. In the
༸ʕd̥ԈԒഹВٙБɛdϞ deep blue sky, soft and layered floating clouds blend together, like
ٙኯᙷ๊ࢹeϞٙታԑૐᓬeϞ the lofty and distant atmosphere of ink paintings. In the pathways
ٙ᎑ථ՜ථബdၾ˥ࢫٙѯᘆ above and below, only figures dressed in colourful clothes can be
࠭ᓬፄމɓe್Іdᚻ್ seen, some leaning on railings, some stopping to admire the waterfall,
ɓਓ་ઋจٙᎴߕྡ՜fᖯʈ and some gazing at the rolling clouds. In the passageways above and
ݣމ̷ྮ˂ʈٙɛʈସ౻הቤኼd below, people dressed in colourful clothes, resting on the railings,
ਗ਼ʕᄳจٙੈᔷݓઋdءɝ gazing at the waterfall, or watching the clouds roll by. They merge
harmoniously with the majestic waterfall of the reservoir, enjoying
ذٙઞ॰ʘʕdකᚠɓૢΌอ themselves contentedly, creating a beautiful scene that is like a
ٙੰɽ༸l ᄎʈݣږ߇dذؐd34.5Ò27.5 cmd
שርϓʹᄆ 280,200 ʩಥ࿆ poetic and picturesque scroll.
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