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吳冠中 Wu Guanzhong 1919-2010 玉龍雪山 The Yulong Mountains Snowcapped
香港
2024年04月07日 开拍 / 2024年04月05日 截止委托
拍品描述
油彩 畫布
Oil on canvas
一九七八年作
Painted in 1978
76 × 86 cm. 29 7/8 × 33 7/8 in.
款識 七八 荼(右下)玉龍山 吳冠中 七八(畫背) 出版 1996年,《吳冠中精品選集》,藝達作坊,新加坡,第66至67頁 2007年,《吳冠中全集:第三卷》,湖南美術出版社,長沙,第124頁 2011年,《看日出——吳冠中老師66封信中的世界》,中國建築工業出版社,北京,第178頁
Signed in Chinese and dated on bottom right; titled, signed in Chinese and dated on the reverse LITERATURE 1996, Wu Guanzhong – A Selection of 128 Fine Works, L’Atelier Productions Pte. Ltd., Singapore, p. 66-67 2007, The Complete Works of Wu Guanzhong, vol. III, Hunan Art Publishing House, Changsha, p. 124 2011, Watching the Sunrise – The World in Teacher Wu Guanzhong’s 66 Letters, China Architecture and Building Press, Beijing, p. 178
來源 1999年4月18日,台北佳士得春季拍賣會,拍品編號6 現亞洲重要私人藏家直接購自上述來源 夜縛玉龍之盛世絕景 吳冠中玉龍雪山系列集大成鉅作神定乾坤 「夫畫,天下變通之大法也,山川形勢之精英也,古今造物之陶冶也,陰陽氣度之流行也,借筆墨以寫天地萬物而陶泳乎我也。」 ——石濤 衡量一位藝術大師的地位,或許有很多標準,然而在中國近現代藝術史上,「吳冠中」這個名字所代表的里程碑意義,可謂卓爾不凡。在其一生致力於「油畫民族化」、「水墨現代化」雙重理念的藝術道路中,他空前地在藝壇強調形式美、抽象美的啟示,以兼具「水彩、油畫、水墨」、「畫、文、詩」的美學綜合體,身體力行地建造一座「跨越東西的藝術之橋」。令其成為1991年獲法國文化部授予「法國文藝最高勳位」、1992年打破大英博物館只展古代文物的慣例,成為獲邀舉辦個展的「在世藝術家第一人」,而八年後他更成為首位獲選「法蘭西學院藝術院通訊院士」殊榮的亞洲藝術家。 縱觀吳氏一生的創作,其創作命脈源於對「大自然的寫生再造」,自他背起畫箱,走遍大江南北的第一日起,他便竭畢生之力去尋找那一瞬即逝的美。從虬髯古木到大山雪嶺,從涓涓溪流到萬家燈火,他悉心採風,經由腦海精妙構思,摘取天上之美,落入筆間,匯成繪畫的詩篇。而其藝術人生也正如他著名的「風箏不斷線」比喻,永恆與天地相連,牽引、悸動著無數後人,震撼世間! 神往玉龍,再造雪山之巔: 吳冠中鐘情一生的聖山神址 在吳冠中畢生以雪山為主題的創作中,「玉龍雪山」可謂最具代表性、最受藏家青睞的重要母題。他與玉龍雪山的羈絆橫跨了半個世紀之久,自1978年起,他便以水墨和水粉、油畫數度描繪,直至2003年仍以此為題進行廣幅創作。更畢生唯一一次在水墨作品《月下玉龍山》題詩寫下「崎嶇千里訪玉龍,不見真形誓不還。趁月三更悄露面,長纓在手縛名山」的七言絕句,足以想見其鍾情一生的所愛! 而吳冠中與玉龍雪山的情結,源自於一張30年代的明信片。彼時的他就讀於杭州藝專,因抗日戰爭爆發,校方多次搬遷,其亦隨之四方輾轉。而在1938年校內師生從昆明向四川內遷的過程中,幾位學生放棄乘車,選擇徒步走上雲貴高原,一路寫生。吳冠中雖並未同行,然而其同窗好友、藝術史學家李霖燦則位列其中。旅途中,李氏在寄給冠中的明信片上以鋼筆速寫玉龍山。而正是這薄薄的明信片,激起冠中對聖山的滿腔憧憬。其曾言:「李霖燦同學給我寄來明信片, 一面描寫見聞,另一面是用鋼筆畫的玉龍山速寫,真叫人羨慕, 遺憾未能跟著去。從此,我一直嚮往玉龍山,她深深印在我的腦子裡。」然而造化弄人,嚮往玉龍山數十年的吳冠中,直至40年後的1978年,方得償所願。期間,他曾負笈海外,也曾在歸國後經歷整肅、文革,但他對藝術的執著、對聖山的嚮往卻絲毫沒有減損,在1978年,他經大理、麗江,路程顛簸坎坷,最終在初夏冒著暴雨來到了使他魂牽夢縈的玉龍山,正如他在詩中所寫「崎嶇千里訪玉龍,不見真形誓不還」,他在苦等數星期、缺衣少食的環境下,終而在一個夜晚見到了玉龍山的真容! 卓爾臻絕:玉龍之行最大尺幅油彩珍品 「1978年,我終於到達了玉龍。離了版納,我經大理、麗江,從危險的林場道上搭乘運木材的卡車直奔玉龍山。我由一位青年畫家小楊(福泉)陪著,住到黑、白水地方的工人窩棚裡,床板下的草和細竹一直伸到床外,吃的是饅頭和辣醬,菜是沒有的。都無妨,就是玉龍山一直藏在雲霧裡,不露面。你不露面,我不走。小雨、中雨、陰天、風夾微雨,我就在這陰沉沉的天氣中作油畫。大地濕了就像衣裳濕了,色彩更濃重,樹木更蒼翠,白練更白。就這樣連續一個多星期,我天天冒雨寫生,畫面和調色板上積了水珠,便用嘴吹去。美麗的玉龍山下,濕漉漉的玉龍山下,都被捕入了我的油畫中,我珍愛這些誕生於雨天的作品。我們的窩棚有一小窗,我就睡在窗口,隨時觀察窗外,一個夜晚,忽然月明天藍,玉龍山露面了,通身潔白,彷彿蘇珊出浴,我立即叫醒小楊,便衝出去就地展開筆墨寫生,小楊搬出桌子,我說不用了。激動的心情恐類似作案犯的緊張。果然,只半個多小時,雲層又捲走了一絲不掛的裸女,她再也沒有露面。一面之緣,已屬大幸……」 ——吳冠中《夜縛玉龍》 矚目領銜是次春拍的《玉龍雪山》,正誕生於冠中自述的1978年雲南之行,見證了吳老跨越四十載真情不變的藝術人生,更是其雪山主題的輝煌代表。在訪玉龍的1978年,吳冠中一連創作了以「玉龍雪山」為題的4件油彩和4件水墨作品,今次顯赫呈現的《玉龍雪山》正是這當中最大尺幅的油畫珍品,將此系列中雪山、古木、古鎮三元素匯聚一體,構圖精妙絕倫,令人嘆為觀止,堪為臻絕之品!其中尺寸第二大的《玉龍山下叢林》現已為新加坡美術館收藏,更突顯是次上拍之作的珍罕難覓。而此件《玉龍雪山》除出版於權威的藝術家全集之外,並被收錄於新加坡藝達作坊在1996年出版、內容由藝術家本人精心挑選128件作品的《吳冠中精品選集》,作品由現亞洲重要私人藏家於1999年購得後,細心珍藏二十五載,於今甫能釋出,必得識者慧眼之珍! 麗江雪山天下絕,積玉堆瓊幾千疊 氣貫長虹:陽春白雪如騰躍蛟龍 「北辰咫尺玉龍眠,粉碎虛空雪萬年。華表不驚遼海鶴,崆峒只對藐姑仙。」 ——徐霞客 「從脊直北眺,雪山一指豎立天外,若隱若現……北瞻雪山,在重塢之外,雪幕其頂,雲氣鬱勃,未睹晶瑩。」1693年,明代地理學家徐霞客到訪雲南一帶,在《滇遊日記七》中記下他初見玉龍雪山的情景。位於雲南麗江市城北的玉龍雪山,以獨特的「陽春白雪」盛景聞名於世:從山腳河谷到頂峰妙現四季幻變,極其難得地匯聚了一道山上終年積雪、山下卻四季如春的垂直自然景觀。在碧空下,雪山玲瓏綿延,如玉石般皎潔,猶如一條銀色的玉龍在飛舞,故得其名,並被西南「納西族」視為守護民族的「聖山」、「神山」。 而如此般「終年霜雪與天齊」的人間造化,自然也落入了吳冠中的眼中,在他那善於發現美的畫筆下,被賦予著參天貫地的永恆構景。一反傳統水墨高山仰止的直立佈造,吳冠中在《玉龍雪山》中,極為大膽地採取近大遠小的橫向構圖,將前景之古木為視覺首發點,突出其高聳入雲之雄壯,並巧妙將畫面透視的中心點停留在那銀裝素裹的亙古雪山,造就渺遠而崇高的深遠之意。對比南宋梁楷《雪山行旅圖》層層疊加向上的山脈和點綴其間的重重樹木,吳冠中一舉打破前人之法,以融合山水畫的深遠和當代的西方透視關係,建立起近與遠、動與靜、線與塊的深強對照,賦予作品強烈的空間深度和視覺張力。 畫面中景是海拔五千多米的玉龍雪山,核心處的主峰猶如龍首昂揚,氣貫長虹,其身後峰峰相連,似節節龍脊,連綿不絕,活化出一條騰空躍舞的銀色蛟龍,展現「玉龍持護納西擎」的拔天倚地之勢。近處則是一片高大的杉樹林,樹幹如鐵鑄,蓬勃地向上生長,呈一飛沖天之勢態,與橫向蜿蜒的山嶺,構成一縱一橫的奇絕之姿。而玉龍山,看似被高大的杉樹遮住了大半芳容,卻因此隱隱綽綽、猶抱琵琶半遮面,平添了一份只可遠觀、不為人近的神秘色彩。吳冠中在此以白彩勾勒山尖,再逐漸滲入層層疊疊的灰調子,綿綿無盡,再現了元代詩人李京筆下「麗江雪山天下絕,積玉堆瓊幾千疊」的萬丈玉龍。他並在山頭的彩筆間刻意露出少許畫布原本的底色,創造出暖日照拂、如浴聖光的景象,將明與暗、陽與陰、光與影、向與背、交與錯、迎與拒的諸種關係,皆以一種看似瀟灑實則苦心經營的姿態呈現。寥寥數筆,克制含蓄,卻給人「以少勝多」的視覺感受,將玉龍雪山的空靈與大氣盡現觀者眼前。 高杉出眾木,伴我向天涯 「我愛老樹,不是為了珍視它的年輪,說穿了是愛其形象蒼勁之美。」 ——吳冠中 作品雖以玉龍山為題,樹木卻是當中不容忽視的重要客體。「60年江湖生涯,老樹最是莫逆之交。」誠如吳冠中所言,在他的藝術生涯裡,樹木的形象貫穿其創作始終,有著人之「喜怒哀樂的生態」,不僅是生命常青的標誌,更是其藝術形象美的關鍵標誌。 《玉龍雪山》一作將樹的形象特點加以妙用,獨到地選取玉龍山前的雲南鐵杉林,將之佈構於前景中,形成遠山近木的強烈視覺風貌。一字排開的十棵樹中,老樹新木交替生長,以錯落各異的姿態呈現出剛柔並濟之美:或是遒勁高聳,拔地而起,直沖天際,或是枝條蹁躚,蔚然迎風,蒼翠昂揚,展現著清代大家石濤之語:「似英雄起舞,俯仰跌宕」,亦應和了次年吳冠中在《繪畫的形式美》中發表的論點:「美就美在鱗次櫛比和參差錯落間」。葉片間的紋理以快筆結合刮刀,綿密而豐富地排出,深淺不一的黃綠、墨綠、橄欖綠、深棕、赭石,交織有度,筆勢極為鬆快輕盈,呈現出「青樹翠蔓,蒙絡搖綴,參差披拂」的動態韻味。而樹幹的縱向線條,更是流暢得不可思議,一氣呵成,氣宇軒昂,使得整幅畫面充斥著向上的升騰力量,透露著一種神采飛揚、欣欣向榮的氣韻。吳冠中並刻意將中心位留給兩株正待冠葉新生的小樹,以蹲立的姿態仰視雪山之巔。兩側的高木似是吳老所設下的詩意簾幕,在勁風的吹動下,為觀眾緩緩撥開樹林,直探遠方那神聖的雪山。 人文古鎮的抽象筆韻 「建築是凝固的音樂,音樂是流動的建築。」 ——德國戲劇家、 詩人歌德(Johann Wolfgang von Goethe) 而作品同樣精妙的,乃是在山嶺下、樹叢間,以近乎於西方抽象表現主義的手法,將星星點點的麗江古鎮建築散綴其間。城中的屋瓦房舍帶著納西族屋宇的磚瓦特色,以咖啡、鮮綠色繽紛點畫,生氣盎然。而吳老80年代後的抽象形式已在此漸露端倪,他將同系列所作《玉龍山下麗江城》中的寫實的屋簷,在此進一步簡化抽離為率意繽紛的點彩,零星幾筆即活化形象,似具音律綻放的節奏,為這搖曳的密林增添著民間炊煙人情的動態之美。而此用筆用色,並與枝繁葉茂的杉樹交相輝映,在明快靚麗的色彩中,道出人文與自然景觀的和諧共融。 動靜間的渾然天成之美 水陸兼程的心象風景 經過幾十年的藝術探索和精神嚮往,吳冠中筆下的玉龍雪山也早已突破過往寫實的具象描繪,而幻化為其心象的寫照。帶著70年代開拓的抽象美與形式美、「水陸兼程」之道,吳冠中逐步在對景象的形、色、神韻、意境的捕捉中,綜合性地將東方的墨筆皴法、氤氳詩意,和西方現代的抽象形式、虛實構造,進行有機結合,更融入自身對景與境的獨到解讀,造就了此件《玉龍雪山》渾然天成的盛景。 作品除厚實的肌理之外,更賦予油彩顏料以些許水墨的潤澤,筆觸洗練、清新舒朗,令這萬里青空下的雪嶺聖山呈現一派空靈的冰魄之美。觀細節處,他以油彩肌理一層層的色形疊加,為雪山打造著如莫奈(Claude Monet)在冬雪《乾草堆》中的光影變化,創生出一種靜態的永恆、大氣、包容的寧和之美;而在樹林間,以如書畫中的皴法之筆細細吐露著葉冠的葳蕤,亦不難在其中發現北宋大師郭熙《雪景山水圖》中虬枝蒼勁之美的現代手筆。重重疊疊,樹色蒼蒼,在這山與樹的一動一靜間,作品以中西合璧的創造性筆意,將雪山終年不化的精神,與古樹凝萃千秋的品格相得益彰,亦娓娓道出藝術家的藝術心路:執著半生,只為一睹真容。這真容不僅僅是那如希臘女神蘇珊的雪山真容,更是他以一生的藝術理想所探求的「油畫民族化」、「國畫現代化」的藝術真容! 遺世獨立:永恆的藝術之夢 古往今來,縱然不少雅士墨客皆與玉龍山結下不解之緣,吳冠中卻用他的畫筆創造出了大氣、神聖、仰望天地而自適其中的不凡盛景。其中古樹、古城、雪山,三者交相輝映,凝縮著玉龍山、麗江城在世人心中的完整風貌。而那神聖潔白、如夢似幻的聖山,就像是一個「永恆的夢」,坦然、真誠、從容不迫地訴說著吳冠中自19歲起便念念不忘而終得迴響的雪山之夢,亦象徵著他一生鍥而不捨的藝術理想。任歲月匆匆,人事變遷,唯有那座「遺世獨立、照澈人寰」神山依然魂牽夢繞,不負此生所往,不負貞心所向。
PROVENANCE 18 Apr 1999, Christie’s Taipei Spring Auction, Lot 6 Acquired directly by present important private Asian collector from the above Breathing in the Sumptuous Scenery of Yulong Mountains Universal Beauty in the Collected Masterpieces of Wu Guanzhong’s Yulong Mountain Series Many different standards can be applied when assessing the status of a great artist, but in the modern art history of China, the name "Wu Guanzhong" is synonymous with excellence. Indeed, Wu dedicated his life to a dual artistic path that embraced the "sinification of oil painting" and "modernization of ink painting." In this context, he took the unprecedented step of focusing on beautiful form and abstraction, resulting in the aesthetic synthesis of "watercolours, oil painting and ink art" with "painting, prose and poetry," leading by example and establishing "an artistic bridge that connected Eastern and Western art." In 1991, Wu was made an Officier de l’Ordre des Arts et des Lettres by the French Ministry of Culture and in 1992 became "the first living artist" invited to hold a solo exhibition at the British Museum, breaking with its traditional focus on ancient cultural artifacts. Eight years later, he was the first Asian artist to be selected as a "Corresponding Member of the Institut de France Académie des Beaux-Arts." Admiring Yulong, Recreating Snowy Mountain Peaks: Life-long Affection for a Sacred Mountain "I traversed a thousand li of rugged mountains to reach Yulong, vowing not to return without seeing its true form. In the early hours of the morning, it suddenly appeared and I seized the moment." —— Wu Guanzhong Of the paintings with a snowy mountain theme Wu produced throughout his artistic career, the "snowcapped Yulong Mountains" are perhaps the best known and one of the motifs most beloved by art collectors. Moreover, the bond between Wu Guanzhong and the Yulong Mountains lasted more than half a century and from 1978 he depicted several scenes in ink, gouache and oils. Indeed, as late as 2003 he was still producing expansive works on the same subject matter. The emotional connection between the artist and the snowcapped Yulong Mountains can be traced back to a postcard Wu saw in the 1930s. At that time, he was a student at National Hangzhou Academy of Art and after the outbreak of the Second Sino-Japanese War, in 1938 students and teachers relocated from Kunming to Sichuan. At that time, fellow student and friend, art historian Li Lincan used this opportunity to visit the Yunnan-Guizhou Plateau and painted from the nature sending a postcard to Wu on which he sketched the Yulong Mountains in fountain pen. It was this postcard that filled Wu Guanzhong with a profound longing to visit the sacred mountain. However, life can be unpredictable and Wu was not able to visit until four decades later, only making the journey in 1978. In the intervening period, the artist studied overseas and after returning to China was purged and experienced the travails of the Cultural Revolution, but his passion for art never wavered and his desire to seek out this natural wonder remained undiminished: "The sketch of Yulong Mountains Li Lincan included in his postcard caused me to yearn for the mountains for decades. In 1978, I finally reached the Yulong Mountains." Outstanding Work: Yulong Journey and Large Oil Painting Masterpiece The headline work for the Spring auction is The Yulong Mountains Snowcapped. This piece was painted by Wu Guanzhong during a trip to Yunnan in 1978, but it is also a testament to the artist’s 40 years of artistic creation and unwavering passion, as well as a glorious example of his snowcapped mountain motif paintings. When visiting the Yulong Mountains that year, Wu painted four oil paintings and four ink paintings of which The Yulong Mountains Snowcapped is the largest oil painting. This piece brings together the three defining elements of the series: snowy mountains, ancient trees and old towns. Its exquisite composition makes it a masterpiece. The second largest of these works, Jungle at the Foot of the Yulong Mountains is part of the National Museum of Singapore collection, an indication of the rarity and value of the auctioned piece. Indeed, The Yulong Mountains Snowcapped is included in the artist’s authoritative oeuvre and was also one of the 128 paintings selected by the Wu himself to appear in Wu Guanzhong – A Selection of 128 Fine Works published by Singapore Art Studio in 1996. The painting was purchased by an important private Asian collector three years later and remained part of that collection for 25 years. As such, its recent appearance on the market will surely appeal to art lovers with a discerning eye. The Amazingly Layered Snowy Mountains of Lijiang, Noble Aspiration: Spring Sun on Snow Like a Leaping Dragon Yulong Snow Mountain, north of Lijiang City in Yunnan Province, is renowned for its unique "spring sun on snow" scenery. From the river valley at the foot of the mountain to the peak, visitors experience the vertical wonder of a full year of seasonal changes and the particularly rare accumulation of snow on the mountain top which is present all year round, while further down the mountain are springtime natural landscapes. Under an azure sky, the snowy mountain stretches exquisitely into the distance, like a dancing silver jade dragon, as the name suggests, in a place considered by the Southwestern Naxi minority people to be a "sacred and heavenly mountain" that is believed to protect the people. Naturally, the "year-round heaven-bound frost and snow" did not escape Wu Guanzhong. However, he adopted an approach that differed from traditional ink art presentations of the high mountains as towering and awe-inspiring. As such, in The Yulong Mountains Snowcapped the artist boldly adopts a horizontal composition in which near objects are large and distant objects small. In this way he selects the ancient trees in the foreground as his visual starting point, highlighting their towering majesty as they reach up into the clouds, while ingeniously ensuring the central perspective of the scene falls on the eternal snowy mountains, creating a remote and lofty depth and distance. If we compare this work to the layers of ever higher mountains decorated with different trees in Travelers in Snowy Mountains by Southern Song Dynasty painter Liang Kai (born in 1150), Wu sought to break with the approach of the past, by combining the depth and distance of landscape painting with contemporary western perspective ideas, thereby establishing a powerful contrast between near and far, dynamic and static, lines and blocks, which work together to imbue the painting with a strong sense of spatial depth. The central scene in the painting is Yulong Snow Mountain which is more than 5,000 meters above sea level. The main peak at the center resembles the raised head of a dragon infused with noble aspiration and daring, the connected mountain peaks at its rear, appearing like the scale sections on the dragon’s spine extending without end and bringing to life a silver dragon dancing in the air. The closer part of the painting is a tall cedar forest with tree trunks like cast iron, vigorously growing, as if soaring upwards which together with the horizontal meandering mountain ridge forms an unsurpassably wonderful interplay of vertical and horizontal lines. Wu Guanzhong depicts the mountain top in white, and incrementally infuses it layers of grey tones, while revealing a tiny part of the original background colour of the canvas between the coloured mountain tops. This creates warm sunshine and a scene bathed in serene holy light that showcases a range of dichotomous relationships: light and dark, yin and yang, light and shade, front and back, exchange and overlapping, acceptance and rejection. With just a few strokes, the artist creates a visual feel where "less is more," presenting the ethereal nature and atmosphere of Yulong Snow Mountain to viewers in all its glory. Tall Cedar Trees, Accompany Me to the World’s End "I love old trees, not because I treasure their age but honestly because I love the beauty of their old and hardy image." ——Wu Guanzhong Although Yulong Mountain is the theme of the painting, the trees are important vehicles in their own right and cannot be ignored. Throughout his artistic career, Wu Guanzhong made a point of using trees to not only denote the evergreen nature of life but also as a key indicator highlighting the beauty of his artistic images. In The Yulong Mountains Snowcapped, Wu Guanzhong places the Himalayan hemlock forest in front of the mountains in the foreground. A total of 10 trees stand in a straight line, with young and old trees intertwined and growing together, employing scattered and varied shapes to showcase the beautiful coexistence of hardness and softness. Through its strong and towering trees or beautiful branches this work alludes to the words of Qing Dynasty master painter Shi Tao (1642-1707) "Like a hero dancing with undulating pitch," while also echoing a commentary by Wu in Formal Beauty of Paintings written the following year in which he said: "Beauty is to be found row upon row, uneven and jumbled." The texture between the leaves is a combination of rapid strokes and scraper, densely and richly arranging yellow-green, ink green, olive green, dark brown and ocher of different depths, all ordered and intertwined. Moreover, the horizontal lines of the tree trunks are also incredibly fluid and completed all at once, imbuing the painting with a sense of rising power. Wu deliberately leaves the central position in the work to two small trees awaiting new crown leaves, which from their squatting position gaze up at the peak of Yulong Mountain. The tall trees on either side are akin to a poetic curtain created by the artist, swaying in the strong wind and slowly opening up the forest to the audience, inviting them to directly explore the holy snow-capped mountain in the distance. Abstract Brushwork of a Cultural Ancient Town "Music is liquid architecture; architecture is frozen music." ——German playwright and poet Johann Wolfgang von Goethe The work is equally exquisite in the forest below the mountain ridgeline, where Wu adopts an approach that approximates to Western abstract expressionism, and among which he scatters the buildings of the ancient town of Lijiang. The roof tiles of the town buildings reflect the brick and tile features of the homes of the Naxi people and the artist brings the scene to life with coffee-brown and bright green colours. Hints of the abstract forms employed by Wu Guanzhong from the 1980s onwards are already evident in this work. Indeed, his realistic depiction of building eaves in Lijiang Town at the Foot of the Yulong Mountains from the same series, is simplified in this piece and detached as spontaneous colourful stippling, as if representing a melodic rhythm. Moreover, by adding the dynamic beauty of people living by the dense swaying trees Wu speaks to the harmonious coexistence of mankind and nature. Natural Beauty between Movement and Stillness Mental Landscape Combining Ink and Oil painting When Wu Guanzhong developed the beauty of form and abstraction as well as the "combination of ink and oil painting" in the 1970s, he used thick texture and imbued his oil pigments with a dash of ink smoothness, thereby infusing this snowy ridge sacred mountain, under a boundless clear sky, with an ethereal ice soul beauty. If we look closely at the attention to detail, the accumulation of colour and form in the textured layers of oil colours creates changes in light and shade for the snowy mountain similar to that seen in Claude Monet’s Haystacks (Effect of Snow and Sun), crafting a beautiful static atmosphere. Between the trees, brushstrokes reminiscent of the wrinkle method employed in Chinese painting and calligraphy precisely create leaf crowns. It is also easy to find modern-like brushwork associated with the beautiful vigorous curled branches in Snowy Landscape by Northern Song Dynasty master painter Guo Xi (1020-1090). Between the stillness and the movement of the trees and the mountains Wu employs creative brushwork that blends Eastern and Western technique, ensuring the spirit inherent in the perennially snowcapped-mountain and the character etched into the ancient trees over boundless time perfectly complement each other. Aloof from the World: an Eternal Art Dream Although many refined scholars have felt an indissoluble bond to the Yulong Mountains from ancient times to the present, Wu Guanzhong used his paint brush to create wonderful landscapes imbued with great atmosphere, divinity, gazing up at nature and Earth in which he finds a place for himself. The ancient trees, old town and snowy mountains complement each other, creating a microcosm of Yulong Mountains and Lijiang Town in the minds of people around the world. In addition, the pure white and dreamlike sacred mountain elucidates an "eternal dream" that calmly, sincerely and

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