WU GUANZHONG (1919-2010)
WU GUANZHONG (1919-2010)
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WU GUANZHONG (1919-2010)

Pine Soul

WU GUANZHONG (1919-2010)
Pine Soul
Signed, with two seals of the artist
Scroll, mounted and framed, ink and colour on paper
70 x 138 cm. (27 1/2 x 54 3/8 in.)
20th Century
The Low Gallery
Awakening Spring: An Exhibition of Significant Works by Wu Guanzhong, Sotheby's Hong Kong, October 2013, pl. 13.
The complete Works of Wu Guanzhong, Vol X, Hunan Fine Arts Publishing House, September 2012, p.247.
Catalogue of An Unbroken Line: In commemoration of Wu Guanzhong, Poly Art Museum, Beijing, October 2010, p.96-97.
Selected Paintings of 15 Famous Modern & Contemporary Artists, Shi Jh Tang Press Ltd., Taipei, November 2001, p.174.
The Art of Wu Guanzhong, P G Publishing Pte Ltd., Singapore, 1990, pl.65.
Paintings of Wu Guanzhong, Singapore National Museum, February 1988, p.1.
Hong Kong, Hong Kong Convention and Exhibition Centre, Awakening Spring: An Exhibition of Significant Works by Wu Guanzhong, 3-7 October 2013.
Beijing, Poly Art Museum, An Unbroken Line: In commemoration of Wu Guanzhong, 30 August-6 September 2010.
Taipei, Shi Jh Tang, Selected Paintings of Fifteen Famous Modern & Contemporary Artists, 11 November-2 December 2001.
Singapore, Singapore National Museum Art Gallery, An Exhibition of Paintings by Wu Guanzhong, 10-21 February 1988.

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Ben Kong

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Lot Essay

Wu Guanzhong long admired the majestic two thousand year-old pine tree on the Tai Mountains known as the Fifth-Rank Pine. When he first climbed the Tai Mountains in the 1980s, the artist sketched the pine tree from multiple angles in an attempt to capture its regal spirit, yet the resulting paintings left Wu dissatisfied with his efforts.
In his essay, Unbroken Line of the Kite, Wu Guanzhong describes the moment of epiphany he experienced when he finally felt his art began to connect to the spirit of the magnificent pine tree: ''Suddenly I felt it charging towards me, overwhelming meKlike Rodin's Burghers of Calais, the indomitable warrior of the natural worldK I tried to capture the soul of the pine, to represent its struggles and jaggedness with wild ink lines, with lines in continuous motion freeing its noble soulKthe tranquil straight lines in grey stand in contrast to the surging lines in ink, and they collide and occlude and shatter in their explosive colour sparks all over the mountains. Are these sparks not merely remnants of nature's once chaotic times?'

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