Wu Guanzhong – 1992
物與神遊——讀吳冠中92’新作
Recent Works by Wu Guanzhong ——92

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物與神遊——讀吳冠中92’新作

吳冠中在本畫集的作品以黑白為主調:繚繞的?,點,塊面,圓體,穿插,抱合構成藤,林,花,草,崇山峻嶺,不夜華都,甚至熊貓。那黑,那白,如鋼琴的鍵奏出奔放的旋律,那涵量無限的形態,雄險的構圖,那極暗極亮之間,我們?到亨利摩爾,倫勃朗與石濤,潘天壽的促膝談話聲。在既復雜又純美的畫面上黑白相輯,墨色淋漓痛快而疏密佈置又極?講究。吳氏以現代繪畫的眼光去發掘中國書法的構成美,將較理性的西方畫念與較抒情的東方審美結合,把?雜的客觀景像抽絲剝露出大自然最本質最單純的美。連繫具象與抽象的風箏之?若斷還連。「實者非天書」是他在其中一件新作上的題款。識者在,則?不斷,而識者的範圍必將隨時代,喻國界而擴展。過去的西方大師由於時域局限未能吸收到東方藝術的精髓。在資訊發達的跨世紀的今天,在更勤於學習的東半球上必將產生將繪畫藝術帶往東西匯合高?的巨人。

一畫廊

方毓仁

Recent Works by Wu Guanzhong ——92

In this collection, Wu Guanzhong’s new works feature black and white as their basic tone. Thin, entangled lines twisting and turning, dots, broad strokes, each balancing the other, they combining to from the images of ivy, forest, flowers and grass, mountains, even pandas. Wu counts among his influences such illustrious figures as Henry Moore, Shi Tao, Rembrandt and Pan Tianshou. The contrast between black and white, as expressed by Wu’s bold brushwork, reflects the carefully choreographed relationship in Wu’s paintings between mass and space. Wu Guanzhong combines Chinese calligraphy with the principles of Western composition, and Western logic with the Oriental romantic ideal. Wu’s paintings strip away the confusing, superficial aspects of everyday life and reveal the rhythms of nature’s beauty beneath.

Wu Guanzhong has always stressed the link between realism and abstraction. In several of these recent works the link seems tenuous-but it is still there.

Western masters of the past, because of practical limitations did not absorb the best of Oriental art. Today, communication is well developed and Oriental artists have benefited greatly from Western artistic traditions. It is the East which will produce an artist able to assimilate the outstanding features of the two traditions

Fong Yuk Yan