 吴冠中 秋 香港佳士得2014.5 成交价964万港元
作品介绍
From 1972 onwards, Wu Guanzhong was permitted by the
government to sketch farming life for his landscape paintings once
or twice a week. Deprived of painting tools and materials, he
resorted to making makeshift tools from objects found in his rural
surroundings. A dung basket woven using willow rods was turned into
an easel and on a primitive, plain blackboard rubbed with base gel
he created oil paintings, so he was teasingly called the
'dung-basket painter' (Wu Guanzhong, The Landscape of Life,
p.148.). From the humble dung-basket, a series of oil paintings
were created which exude genuine feelings and exuberant rural
charm. The most representative piece of this series, Golden Autumn
(Lot 15), is included in this sale. In the winter of 1972, while on
his way from Hebei to Guiyang with his wife, Zhu Biqin, Wu was
inspired by the scenery of a place they passed called River Flower
and a few landscape paintings were produced. Travelling around, Wu
found inspiration in the motherland. With his idea of
'nationalising' oil paintings, Wu imbued his pictorial themes of
national spirit and the landscapes of various regions with a sense
of near-abstraction and simplicity in the traditional freehand
style (xieyi) of Chinese ink painting. Sparked by the Chinese
spirit in his heart, the series of oil paintings completed by Wu in
the 1970s brought him the first climax in his artistic career.
Reflecting on his constant exploration of ways to blaze a new trail
of continuation and innovation in Chinese painting, his insight is:
'many masterpieces in ancient China embodied the tastes pursued by
the modern aesthetics of forms. In terms of assimilating realism
and abstraction, I think Bada Shanren is the most accomplished
exponent among the traditional painters in the realm of abstract
aesthetics. Oil painting is enriched with lyrical, atmospheric
washes when I mingle colour and ink with oils. By employing
distinctive composition of traditional Chinese painting and
blending the merits of Chinese painting with oil painting, I create
emotionally touching figurative images, myriad colours and
magnificent spatial treatments.'
 吴冠中 秋 局部细节
Golden Autumn and Wuyi Mountain (Lot 14) were painted in 1972
and 1977 respectively. Though both paintings were created in the
1970s, the climax of Wu's creativity in oil landscapes, they
represent different pictorial representations. While the mountain
rocks in Wuyi Mounain are huge and formidable, the trees in Golden
Autumn convey a desolate and cold mood. On the upper left plane,
without a trace of human figures, some autumn trees with golden
leaves stand on the rocks. A couple of birds are flying in the far
distance in the empty pictorial space in the background. The
composition is spacious but carefully structured, the brush strokes
simple but descriptive, foretelling Wu's creative concept of
'flying a kite without breaking its line' in the later stage of his
artistic career. 'The visual language is moving towards
abstraction. The feelings and ideas gathered by the artist from
everyday life are distilled into abstraction through reduction,
division and other methods. Abstraction becomes a creative thread
connecting the artwork to its source of life'. The Yuan Dynasty's
Ni Zan (1301-1374) is acclaimed for capturing the simple charm of
nature in his landscape paintings using minimal brushwork and
pictorial elements, encapsulating the lyricism and loftiness of
human spirituality. Wu also developed intimate feelings for every
flower and leaf growing on the vast brown earth during his period
of hard labour in the countryside of Hubei. In Golden Autumn,
clusters of colourful wild flowers in blossom on the lower right
plane ornament and enliven the golden leaves and brown soil. Wu is
conscious that the modernization and future of Chinese painting lie
in integrating the essences of Eastern and Western art. His works
are deeply connected to his countrymen in their sentiments, and he
feels that the baptism of a Western art education did not wash away
his ties with his motherland. The Chinese concept of being rooted
in the mother county is fully revealed in the art of Wu
Guanzhong.
 吴冠中 秋 局部细节
官方译文
自1972年开始，吴冠中在政府的允许下，每周一至两次以农村庄稼为题写生绘制风景画。没有画具材料的吴冠中使用农家柳条编成的粪筐作画架，凑合着一元多钱一块的农村简易黑板，刷上胶后作油画，因而被戏称为「粪筐画家」(吴冠中《生命的风景》第148页)。他在粪筐上画出了一批感情真挚、乡土气息浓厚的油画。同年冬，吴冠中与妻子朱碧琴从河北前往贵阳途中，路经花溪而绘制了少量的风景画作，而拍品《秋》(Lot
15)便是其中的代表作。他的「油画民族化」以中国的民族、地域风格、特色为题材，融合以中国水墨写意绘画中时而近乎抽象的简洁特质；而他1970年代一系列以中国精神出发的油画作品，更为他的创作生涯创造了第一个高峰。于此吴冠中对中国绘画的延续与创新提出了独到的见解：「中国古代不少杰出的绘画作品蕴藏着现代造型美所要追求的品味。我认为八大山人对掌握具象与抽象的契合，是我国传统画家中进入抽象美领域最深远的探索者。我将彩墨的特色融入油画中，赋予油画中国式的抒情晕染。我吸收了中国古画中的构图特色，结合古画与油画的优点，使画面呈现感人的形象、色彩与壮丽的空间感」。(图1）
作于1972年的《秋》(Lot 15)与1977年的《武夷山》(Lot
14)，同样创作于吴冠中1970年代以油彩创作风景画的巅峰时期，然而不同于《武夷山》所描绘的浑厚山石，《秋》描绘了树木的萧疏之态。画作左上方的几株金叶秋树，挺立于杳无人迹的山石之上，背景留出空白，远处却有几只飞鸟，构图疏而不简，笔简而形具，预示了其后「风筝不断线」的创作理论：「作品的画面已偏向抽象，从生活中来的素材和感受，被画家用减法、除法或别的法，抽象成了某一艺术形式，但仍须有一线联系着作品与生活中的源头」。一如元代画家倪瓒
(1301-1374)的山水使用极少的元素，却能舒畅地表现自然的趣味，使其绘画具有抒写性灵的人性姿态(图2)。吴冠中在河北农村劳动期间，对单调黄土地景中生长的一花一叶，产生了亲切的感情，因而可见《秋》画作右下方只伴黄土的不知名野花，欣欣向荣的为金叶黄土带来了必要的点缀。吴冠中意识到中国绘画唯有融贯中西艺术相通的美，才能具有时代意义与未来。他的作品因而深系民族情感，更表明他在经历西方艺术的洗礼之后，却未曾与中国切断脐带，使中国人「根」之意识深植其绘画中。
作品细节
 吴冠中 秋 局部细节  吴冠中 秋 局部细节  吴冠中 秋 局部细节  吴冠中 秋 局部细节  吴冠中 秋 局部细节  吴冠中 秋 局部细节  吴冠中 秋 局部细节  吴冠中 秋 局部细节
画家简介
吴冠中（1919-2010），当代画家，美术教育家。1919年出生于江苏省宜兴县。1942年毕业于国立艺术专科学校，1946年考取教育部公费留学，1947年到巴黎国立高级美术学校，随苏沸尔学校学习西洋美术史。吴冠中1950年秋返国。先后任教于中央美术学院、清华大学建筑系、北京艺术学院、中央工艺美术学院。曾任清华大学美术学院教授、中国美术家协会顾问，全国政协委员等职。曾出版过《吴冠中素描、色彩画选》、《吴冠中中国画选一辑》、《东寻西找集》、《吴冠中散文选》等。
作品资料
秋
吴冠中
成交总额 HKD 9,640,000
估价 HKD 8,000,000 - HKD 10,000,000
油彩 纤维板
1972年作
款识：荼 一九七二（左下）吴冠中 秋 七二年 (画背)
拍卖 3307
亚洲二十世纪及当代艺术 (夜间拍卖)
香港|2014年5月24日
拍品 15
来源
台湾 国巨基金会收藏 2005年5月29日 佳士得香港 国巨基金会收藏拍卖 编号
203
现藏者购自上述拍卖
相关文献
1996年《吴冠中画选 '60s-'90s》中国三峡出版社 北京 中国 (图版，第61图，第82页)
2007年《吴冠中全集第二卷》水天中等编 湖南美术出版社 长沙 中国 (图版，第160页)
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吴冠中 秋 香港佳士得2014.5 成交价964万港元
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