精品推荐-----吴冠中款“江南水乡图”

吴冠中，又名吴荼，江苏宜兴人，当代著名画家、油画家、美术教育家。早年毕业于国立杭州艺专，曾在重庆国立大学任教。1936年转入杭州艺术专科学校，从李超士、常书鸿及潘天寿等学习中、西绘画。 1942年毕业，任国立重庆大学助教。1946年考取公费赴法国留学。1947～1950年在巴黎高等美术学校苏弗尔皮教授工作室进修油画；同时在洛特工作室学习，并在卢佛尔美术史学校学习美术史，各项成绩优异。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。现任清华大学美术学院（中央工艺美术学院）教授、中国美术家协会常务理事，全国政协常务委员等职。吴冠中在50～70年代，致力于风景油画创作，并进行油画民族化的探索。

The benefit of Fossil wood to people is a kind of spiritual perception. With such ornaments, people can understand the life course of the earth that has gone through hundreds of millions of years, so as to enhance the inspiration and confidence to understand the mysteries of the earth. Each Fossil wood reflects the infinite beauty of the earth's life and the world for ten thousand years. Therefore, for collectors, it is a story, but also because of the changes in the modern ecological environment and the reasons why it is difficult to form Fossil wood, Fossil wood will gradually become less and less in the collection market. Wu Guanzhong, also known as Wu Te, is a native of Yixing, Jiangsu Province. He is a famous contemporary painter, oil painter and art educator. I graduated from the National Hangzhou Art College in my early years and taught at Chongqing National University. In 1936, he transferred to Hangzhou Art College and learned Chinese and Western painting from Li Chaoshi, Chang Shuhong and Pan Tianshou. He graduated from Chongqing University in 1942 and served as a teaching assistant. In 1946, he obtained public funds and went to study in France. 1947-1950 Studied oil painting in Professor Sufulpi's studio of the Art school in Paris; At the same time, he studied in Lott Studio and Art history in Louvre Art history school, with excellent achievements. Wu Guanzhong returned to China in the autumn of 1950. He has successively taught at the Central Academy of Fine Arts, the Architecture Department of Tsinghua University, the Beijing Academy of Arts, and the Central Academy of Arts and Crafts. He is currently a professor of the Academy of Fine Arts of Tsinghua University (Central Academy of Arts and Crafts), a standing director of the China Artists Association, and a standing member of the CPPCC National Committee. In the 1950s and 1970s, Wu Guanzhong devoted himself to the creation of landscape oil paintings and explored the nationalization of oil paintings.

他力图把欧洲油画描绘自然的直观生动性、油画色彩的丰富细腻性与中国传统艺术精神、审美理想融合到一起。从70年代起，吴冠中渐渐兼事中国画创作。从70年代起，吴冠中渐渐兼事中国画创作。他力图运用中国传统材料工具表现现代精神，并探求中国画的革新。他运用中国传统材料工具表现现代精神，并探求中国画的革新。吴冠中深谙东西方艺术，他认为"中西结合是时代潮流”，他的作品以单纯、饱和的色彩，有力的块面，飞舞的线条，将复杂的事物归纳、锤炼成单纯、素净的造型，形成一种具有中国文化精神和现代形式美感的风格。致力于油画民族化和中国画现代化的探索，形成了鲜明的艺术特色。

He strives to integrate the intuitive and vivid nature depicted in European oil paintings, the rich and delicate color of oil paintings, with the spirit of traditional Chinese art and aesthetic ideals. Since the 1970s, Wu Guanzhong has been working on Chinese painting. Since the 1970s, Wu Guanzhong has been working on Chinese painting. He tried to use traditional Chinese materials and tools to express the modern spirit, and to explore the innovation of Chinese painting. He used traditional Chinese materials and tools to express the modern spirit and explore the innovation of Chinese painting. Wu Guanzhong is well versed in East and West art. He believes that "the combination of East and West is the trend of the times". His works summarize and hammer complex things into simple and pure shapes with simple and saturated colors, powerful blocks and flying lines, forming a style with Chinese cultural spirit and modern form beauty. He is committed to the exploration of nationalization of oil painting and modernization of Chinese painting, forming distinctive artistic characteristics.

我公司近期征集了吴冠中款“江南水乡图”，135.5cm，68.5cm。描绘江南水乡是吴冠中作品中最具代表性的和最典型的题材。这幅作品以寥寥几笔勾画了江南水乡安宁，白墙黑瓦庄严静谧，盘旋在屋顶的燕子给画面注入了一丝活泼，增添了动感。这幅作品充分体现了“点线面，黑白灰，红黄绿”的吴家作坊风格。吴冠中用绘画形式中抽象的结构美去营造自己作品的意境，他捉住了江边村庄安静空幽的意蕴赋予了其独特的抽象艺术语言，产生强烈的视觉美感。吴冠中用纯熟的绘画技法，柔和的色调将江南水乡的春光乍泄景色展现于笔墨丹青之上。画面充满诗意，布局精妙，线条准确有力，枝杆蜿蜒道劲，富于变化而不呆板。初春的新绿、薄薄的雾露、小村的黑瓦白墙,和谐而清新的色调,宁静而恬淡的境界，使画作产生一种抒情诗般的感染力。

Our company has recently collected Wu Guanzhong's "Jiangnan Water Town Map", with a size of 135.5cm and 68.5cm. The most representative and typical theme in Wu Guanzhong's works is the description of Jiangnan water towns. This work depicts the tranquility of Jiangnan water town with a few strokes, with white walls and black tiles solemn and quiet. Swallows hovering on the roof inject a hint of liveliness and add dynamism to the picture. This work fully embodies the Wu family workshop style of "dots, lines, surfaces, black, white, gray, red, yellow, and green". Wu Guanzhong uses the abstract structural beauty in the form of painting to create the artistic conception of his works. He captures the quiet and secluded implication of the riverside villages and gives him a unique Abstract art language, producing a strong sense of visual beauty. Wu Guanzhong used skilled painting techniques and soft colors to show the spring scenery in the south of the Yangtze River. The picture is full of poetry, with exquisite layout, accurate and powerful lines, and winding branches that are full of changes but not rigid. The new green in early spring, the thin mist and dew, the black tiles and white walls of the small village, the harmonious and fresh colors, and the tranquil and tranquil realm create a lyrical and poetic appeal in the painting.

吴冠中以单纯、饱和的色彩，有力的块面，飞舞的线条，将复杂的事物归纳、锤炼成单纯、素净的造型，形成一种具有中国文化精神和现代形式美感的风格。吴冠中从早年秀丽的江南风景到晚年的抽象线条，用最简单的点、线、面、色之间富有节奏和韵律的形式架构，画面洋溢着浓郁的中国文化诗情和神韵。作为生于江南，长于水乡的通家，吴冠中对江南水乡有着浓厚的深情。正因为有着如此深刻的情怀，使他笔下的水乡流秀出情真意切的雅致与领袖。

Wu Guanzhong sums up and hammers complex things into simple and simple shapes with simple and saturated colors, powerful blocks and flying lines, forming a style with Chinese cultural spirit and modern form beauty. Wu Guanzhong, from the beautiful scenery in the south of the Yangtze River in his early years to the abstract lines in his later years, uses the simplest point, line, surface and color in the form of rhythm and rhythm, and the picture is permeated with rich Chinese cultural poetry and verve. Wu Guanzhong, who was born in the south of the Yangtze River and grew up in a water town, has deep feelings for the water town in the south of the Yangtze River. It is precisely because of such profound emotions that his works of the water town flow show genuine elegance and leadership.

吴冠中长期在油彩和墨彩的互补兼作中探索，终生探索中西艺术结合之路，他的画也呈现了新的面貌，渐渐从长于状物向偏于抒情过渡，厚实浓重也渐趋明朗与空灵，有着全新的审美取向、情趣和气质。他一开始是用油画材料来捕捉山间水田的这种镜面效果，但他发现“在如镜子的水面色调变化极为微妙冷暖倾向难于言传”。后来他“索性扬弃水光天色之色彩变化”将“油画水田移植进了水墨中”，既避免了油色之滞凝更力于发挥线之盘旋与疏密，创造出另一番境界与腔调。

Wu Guanzhong has long explored the way of combining Chinese and Western art through the complementation of oil color and ink color, and his paintings have also taken on a new look, gradually transitioning from being good at shapes to being lyrical, thick and dense, and gradually becoming clear and ethereal, with a new aesthetic orientation, taste and temperament. At first, he used oil painting materials to capture the mirror like effect of the mountain paddy field, but he found that "the subtle color changes on the water surface like a mirror are difficult to convey in words. Later on, he "simply abandoned the color changes of water, light, and sky" and transplanted "oil painting paddy fields into ink", not only avoiding the stagnation of oil colors but also exerting the spiral and density of lines, creating another realm and tone.

以上藏品相关信息请与：四川尊古拍卖集团有限公司联系。

Please contact Sichuan Zungu Auction Group Co., Ltd. for information related to the above collectibles.