吳冠中 年華 油彩木板 一九九四年作

款識：
荼 94（右下）

新加坡斯民藝苑
亞洲私人收藏

This work is overall in very good condition. There are a few minor unpainted spots near the centre which belong to the artist's original creation. There are pinholes near the four corners which belong to the original condition. 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."

以「時間」為主題的作品，一般多出現在藝術家創作的成熟期或年紀更長之時，只因未經歲月的沉澱，便難以累積出生命的高度，在回首中有所感悟。以振興民族藝術、揉合中西藝道為己任的吳冠中，畢生固然以西方抽象主義與東方水墨意象兼備的風景畫飲譽國際，但這只是以表現手法而言，事實上，以純然抽象概念為主題的作品，主要創作於1990年代之後，如1992年的《流年》、1997年的《流逝》等，而此類抽象作品大部份又屬於水墨設色的紙本作品，用油彩為媒材的創作如鳳毛麟角，甚為稀有獨特。

吳氏在八十年代後期，作品漸走向抽象探索，經常以點線構成，線的作用是勾勒實景中的輪廓，而點則象徵實景中的細節，以及抽象的元素，譬如生命、能量、光彩等。反映在《年華》上，畫家在此摒棄線條，完全使用量感、顏色、形狀不同的點來構圖，使整個畫面猶如萬花筒，呈現變化無窮的幻境，亦似時光蛹道，在此沒有悲傷的感懷，反而一派歡欣、喜悅洋溢。六十而知天命，七十而從心所欲不逾矩，此作所體現的，正是畫家從心到手的通達之境。