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Lot Essay
Wu Guanzhong first visited Guilin in 1972 when he went to see his mother-in-law in Guiyang with his wife. While passing through Guilin, he was captivated by its scenic beauty and decided to sketch for a few days at Yangshuo Mountain. Subsequently, he returned to Guilin twice more. The stunning landscapes of Guilin became Wu’s most iconic and significant subject matter. His works on this theme can be categorized into those painted in the 1970s and those in the 1990s.
The earlier works, including the present lot created in 1978, are characterized by a focus on sketching, featuring complex compositions and detailed depictions of the scenes. In Sunrise over Guilin, Wu Guanzhong seamlessly integrated towering peaks, lush lakes, and village life into a single composition. Capturing the landscape of mountains, lakes, and villages from an aerial viewpoint posed a significant challenge. Wu Guanzhong remarked, “The great mountains cradle the villages, concealing their vibrant hues within the deep valleys. The scenery is enchanting and picturesque. However, truly conveying this grandeur in a painting and guiding viewers to explore its mysteries necessitates capturing only a glimpse, as it is impossible to encapsulate the entire scene. My relentless pursuit is to encapsulate the entirety, observing and sketching from all angles—front, back, left, right, above, and below the mountains. I then dedicated two days to constructing the composition and painting. This was the mid-1970s.” These sentiments likely reflect Wu’s mindset while painting Sunrise over Guilin. Contrasted with Wu’s 1991 creation of Guilin (Fig), the present lot represents a masterpiece from Wu’s formative years, signifying the commencement of his exploration of this subject matter.
The earlier works, including the present lot created in 1978, are characterized by a focus on sketching, featuring complex compositions and detailed depictions of the scenes. In Sunrise over Guilin, Wu Guanzhong seamlessly integrated towering peaks, lush lakes, and village life into a single composition. Capturing the landscape of mountains, lakes, and villages from an aerial viewpoint posed a significant challenge. Wu Guanzhong remarked, “The great mountains cradle the villages, concealing their vibrant hues within the deep valleys. The scenery is enchanting and picturesque. However, truly conveying this grandeur in a painting and guiding viewers to explore its mysteries necessitates capturing only a glimpse, as it is impossible to encapsulate the entire scene. My relentless pursuit is to encapsulate the entirety, observing and sketching from all angles—front, back, left, right, above, and below the mountains. I then dedicated two days to constructing the composition and painting. This was the mid-1970s.” These sentiments likely reflect Wu’s mindset while painting Sunrise over Guilin. Contrasted with Wu’s 1991 creation of Guilin (Fig), the present lot represents a masterpiece from Wu’s formative years, signifying the commencement of his exploration of this subject matter.