Wu Guanzhong

signed in Chinese and dated 81; signed in Chinese, titled and dated 1981 on the reverse

Important Private Asian Collection

Shui Tianzhong & Wang Hua, ed., The Complete Works of Wu Guanzhong Vol. III, Hunan Fine Arts Publishing House, Changsha, 2007, p. 192, illustrated in colour
Wu Keyu, ed., Great Master of Art in the World - Wu Guanzhong, Hebei Education Press, Hebei, Shijiazhuang, 2008, p. 66, illustrated in colour
Wu Keyu, ed., World Famous Artist - Wu Guanzhong, Hebei Education Press, Shijiazhuang, 2010, p. 136, illustrated in colour

This work is overall in good condition. There are pinholes along the borders which belong to the original condition. There are slight craquelures across the surface which is only visible under close examination. The minor unpainted areas on board shall be part of the original work. There are slight wears along the edges and a natural grain of 3cm near the bottom left corner. There is no evidence of restoration under UV light.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Important Private Asian Collection
Morning Rain by Wu Guanzhong

Brimming with heroic spirit, tender passions for Jiangdong

In modern Chinese history, Wu Guanzhong was among the few artists who achieved wide acclaim in two disciplines: painting and literature. As a man of letters, Wu worshipped Lu Xun as his idol. For Wu, the famed Jiangnan beauty of Lu Xun's hometown could be treated more than a purely picturesque site, but as homage, even pilgrimage. Morning Rain is a work imbued with deep, personal feelings.

Homage to the giant of New Literature

Since the late Qing dynasty, Lu Xun's hometown, Shaoxing in Zhejiang Province, had produced generations of outstanding people with lofty ideals.  Lu Xun, an advocate of the New Culture Movement as well as a flag bearer for leftwing writers, exerted tremendous influence on the development of twentieth-century Chinese literature and society. His oeuvre exceeds a billion words, ringing with the writer's passion and determination to aid the weak and fight the strong and to modernize the nation. The upright Wu Guanzhong was bowled over by all of these qualities.

Perhaps Wu's special affection for Lu Xun could be attributed to their coming from the same area—the landscape of Morning Rain was in fact Dafu Village in Yixing. But Wu identified the location as "Lu Xun's hometown" on the back of the canvas. Wu's hometown, Yixing in Jiangsu Province, is relatively close to Shaoxing; both places share comparable surroundings. In ancient times, both places belonged to the region of "Jiangdong." Therefore, when the painter illustrated his hometown, he projected that very scenery onto his idol's native soil.

Eastern images drawn out of Western styles

Between 1946 and 1950, Wu Guanzhong received a Chinese government scholarship to study at the École Nationale Supérieure des Beaux-Arts in Paris. During that time, under the influence of Maurice Utrillo, he painted numerous European landscapes. The tranquillity of a Jiangnan town is akin to its European counterpart; gentle colours and light brushstrokes transplant easily onto comparable soil. In Morning Rain, gradations between black and white depicting the stone bridge and people crossing it were wielded with natural ease, capturing the passage of time yet revealing a sense of freshness without extraneous brushwork or inconsequential details. The charm and romance of the water town is preserved, although expressed in the Western artistic idiom.

Apart from absorbing the best qualities from others, Wu Guanzhong also sought to change his own artistic language. In Morning Rain, the bridge and flowing water embody quiet elegance, but the crowds coming to and fro are teemed with life. Although the title includes "rain", not a single drop can be found in the composition. Yet the people carrying umbrellas draw out the title of the work, invoking what exists outside the frame. Compared with other works by Wu connected with Lu Xun, this work is spirited and lively, its composition departs far from Chinese traditional landscape paintings.

Sceneries infused with love and admiration

Wang Guowei's philosophies in World Notes and Comments on Earth (Renjian Cihua) can also be applied to painting. Works created with the intention of "homage" are often difficult to execute, because they project the knowledge of one who pays homage to whom he respects, in turn distilling that admiration into artistic expression. Such endeavors require detailed, scholarly understanding and analysis, followed by creativity and discrimination. Critics easily find fault in this idiom, and artists must overcome numerous obstacles to create such works. Wu Guanzhong didn't limit himself to those classic works by Lu Xun, but opted for familiar sceneries as his tribute. Morning Rain is testament to the destiny that connected two artists from their places of origin; it is also infused with breathtaking originality. Literature and painting layer upon one another, rendering Morning Rain a deep and culturally significant work.