59. 酱园 2000 85×100 cm 油画·布面 新加坡国家美术馆藏

　　这幅画作铭记了一个时代，也可以说是酱园的时代，那时代酱园微风，今门前冷落，吴冠中于作品中引来当年小户人家乘坐的小舟，停泊于冷落的河滨，聊以寄托酱园或追思酱园的霸业盛年。It depicted an era, or be specific, an era of the sauce shops, when the sauce shops are prosperous, while they are on the decline. Wu employed a boat that the average family used to take and harbored it at the desolate riverside, for the sake of reminiscing the years when the sauce shops were enjoying prosperity.

　　61. 大宅 2001 70×140 cm 水墨•宣纸 上海美术馆藏

　　谁建大宅荫子孙，门庭几番易主人?这是吴冠中的质疑。画家于水墨创作中结合西方绘画的几何元素，为现代水墨创作开创了另一条道路，《大宅》为该系列代表作之一，由黑、白、灰的几何块面构成。Wu questioned, :Who built the mansion to provide shelter for his offspring?And how many times did the mansion change hands? Wu incorporated the geometric elements typical of western paintings into his water-ink painting, thus initiating a new style of water-ink. The Mansion is one of his masterpieces in that style, composed with black, white and grey geometric shapes.

　　62. 世纪新雪 2001 37×46 cm 马克笔、水彩•宣纸上海美术馆藏

　　这幅作品映照出了形、沌、聚、散、合、点、线、面所构成的自然现象的神谬。画家题记：从速写中一目了然作者的功力与品位，正如书法裸露着自己的秉性，决非虚言。It demonstrates what a mysterious world the nature is: the world composed of the shape, the fuzziness, gathering, separating, combining, points, lines and surface Wu’s notes: It’s true that an artist’s skill and taste are evident in his sketches, just as one’s calligraphy reveals one’s character.

　　63. 维港写生 2002 水彩•宣纸 36 × 58 cm 香港艺术馆藏

　　吴冠中题记：“众情难却，破例当众示范速写，偏遇浓雾不消，众情急，我速写昨日之记忆。”透过镜头我们可以看到创作的过程，而通过画家的文字，我们更可体会他在整件事情上的心路历程。Wu once noted: “Being unable to reject some people’s sincere request, I made an exception of demonstrating sketching in front of a group of people. It happened to be foggy, and all the people present were earnest. Then I sketched from my memory. We could watch the creation process through lens, while we understood better how he felt when producing this painting.

　　64. 童年 2003 61×46 cm 油画·木板 新加坡国家美术馆藏

　　《童年》，水巷两岸的房屋再向后退，宽宽的流水增加了无穷的意境：房屋建筑随着岁月可能消失，但那流淌不止、明亮银灰的家乡水，永远透照着童年的记忆，使游子终生恋念。步入晚年的吴冠中更加怀念童年与故乡的亲情。In Childhood, the houses at the riversides receded further; the broad river carried magnificent artistic conception: The houses might disappear as the time went by, while the bright grey water, running timelessly, reflected Wu’s childhood memory for ever. And Wu, who lived away from his hometown, would miss it for his entire life. Wu in his later years was filled with nostalgia for his childhood, for the deep affection his parents and his relatives had for him.

　　65. 白发之花 2003 124×248 cm 水墨设色•宣纸 上海美术馆藏

　　这是一幅笔墨恣意挥洒、滴淌的抽象作品，无论画面有无具体形象，画家内在的生命意志与激烈情感，画家对于沧桑人生的感悟与喟叹，都在作品中淋漓尽致的表达了。年光的流逝看不见，摸不着，只留下了枯藤残叶。It’s an abstract painting with reckless use of brush and dipping ink. Wu’s strong devotion to life and deep feelings, his reflections and sad thoughts all found full expression in this painting, no matter whether there are any concrete images or not. The lapse of time is intangible, and what is left is the withered vine and fallen leaves.

　　66. 太湖岸 2005 42×69 cm 水墨设色•宣纸 浙江美术馆藏

　　这幅作品是吴冠中晚年少见的写生作品。他曾感慨写生过的冷落村镇和荒山野岭，都变成了灯红酒绿的旅游闹市。所以偶然遇到这座太湖上的偏僻小岛，看到只有杂草、乱石与芦苇的洲滨，他创作了这幅本色的写生作品。This work is one of Wu Guanzhong’ sketches very rare in his remaining years. He once said sadly that all the remote villages and mountains where he once drew from life had been turned into tourist cities of debauchery. That’s why when he came across the isolated island on Taihu Lake with only wild grasses, stones and reeds, he created this sketch work faithful to the actual scene.

　　67. 土地 2005 45×48 cm 水墨•宣纸 浙江美术馆藏

　　这幅作品表达了吴冠中对土地的深情，他说海外的游子，总是随身带着一包祖国的土。沙漠里，用手帕包了饼干埋入深土，饼干吸取土里的水分，可以救干渴者的命。人，一切向土地吸取!人民诞生于土地，人民似土地。This work expresses Wu Guanzhong’s deep affection for land. He observed that many overseas Chinese would have with themselves a small bag of earth from their motherland. In the desert, the biscuits wrapped in a handkerchief and buried depp into the land could absorb water to save a thirsty person. Men draw everything from land ! People are born on the land and are like it.

　　68. 飞 2006 41×70 cm 水墨设色•宣纸 中国美术馆藏

　　在自述里，吴冠中说他想用《飞》表达出现在他脑海里的时空之变和未见的变幻莫测，他苦心经营，要令时空在画面中交汇，时空可以扬弃众人的桎梏，任性奔驰，但又处处相互照顾，呼应回合宇宙不守恒，艺术之源还寓于性灵。In his self-narration,Wu Guanzhong said he wanted to convey the change of time and space in his mind and the invisible uncertainty in this painting “Flying”. He endeavored to make time and space intersect, holding that time and space could fly at will to liberate people from hindrance while caring for each other against the law conservation of universe. The source of art is in men’s soul and spirit.

　　69. 墨海银丝 2006 水墨设色•宣纸 35 × 55 cm 香港艺术馆藏

　　这幅作品是吴冠中书法和水墨的交融。这是水墨设色•宣纸系列里少见的线条细弱的书法作品，线条纤长而飘逸，画面上下两端的深色焦墨和中间的彩点形成美感的互动。吴冠中说：“这就是中年人的开始白头发。”This work is a harmonious combination of calligraphy and water-ink both by Wu Guanzhong. These characters consisting of thin and long lines are very rare among his work of Chinese character series. In the painting the deep dark ink on the top and at the bottom plays an aesthetic interaction with the color spots in the middle. Wu said:“That’s the way the hair of the middle-aged begins to turn grey.”

　　70. 紫禁城 2006 45×48 cm 水墨设色•宣纸 浙江美术馆藏

　　吴冠中多次到故宫，他说，“紫禁城曾是帝皇城，今属人民之城，辉煌照耀，不限古今远近。”这幅作品是他在87岁高龄健步登上午门后创作出的。画中金黄的琉璃瓦与红墙在日光下辉映，又生动地点缀着苍翠的松柏。Wu Guanzhong had been to the Forbidden City for many times. He said:“Forbidden City used to be an royal palace and now belongs to people. Its glory and beauty will go beyond time and space.”This painting was created after he strode up Wumen at 87. The golden glazed titles and red walls spotted lively with green pine trees are shining in the sunlight.

　　71. 芒刺 2006 44.5×48 cm 水墨设色•宣纸 浙江美术馆藏

　　《芒刺》是吴冠中的书法作品，他说，书法的构架、韵律、性情之透露，都体现了现代艺术所追求的归纳与升华，发展成抽象绘画，那是书法的支脉，但书法的大本营谁也拔不掉，它必须可读的实用价值根植于所有中国人民的心底，与世长存。“Bur” is one of the works of calligraphy by Wu Guanzhong. The frame, the rhythm and the revelation of the calligrapher’s personality all embody the generation and sublimation the modern art pursues. The development of calligraphy into the abstract painting is only a branch and no one could eliminate the base of calligraphy, for its practical readability is rooted in Chinese people’s heart for ever.

　　72. 魂兮归来 2007 水墨设色•宣纸 61 × 123.5 cm 香港艺术馆藏

　　吴冠中谈到自己晚年愈趋抽象的作品，说它们就如同一篇篇用密码写成的回忆录，把他自己的心声吐露出来，只待有心人追上去，看透它。这幅作品画面浓烈，厚重，极为奔放，似乎是木乃伊群舞，追问魂兮何时归。Speaking of his own increasingly abstract works in his remaining years, Wu compared them to the memoirs written in codes to express his aspirations which can be understood and revealed only by the devoted men. This painting is heavy in color and extremely wild in spirit just like a group of dancing mummies that question eagerly when their souls would come back.

　　73. 金缕衣 2007 60×123cm 水墨设色•宣纸 中国美术馆藏

　　珍贵的出土文物《金缕衣》大家都不陌生，吴冠中的画作《金缕衣》却为这件在地下沉寂了几千年的文物，增添了现代的色彩和更加生动的构成，论及生死，他说，“生命之史都只有真实的一份，伪造或曲解都将被时间揭穿。”The precious unearthed relic of “Jade Clothes with “Gold Thread”is widely known. Wu’s painting of “Jade Clothes with Gold Thread” gives some modern significance and lively image to this relic which had been buried for thousands of years. Talking about life and death, he said: “The history of life has only one true account, of which any forgery or misinterpretation would be revealed as wrong by time.”

　　74. 刀剑相吻 2007 水墨设色•宣纸 48 × 57 cm 香港艺术馆藏

　　同吴冠中其他的水墨设色•宣纸作品一样，这幅作品也不能纯以书法视之，虽然画家不写李白，杜甫那样的诗句，但他久在汉字间徘徊，揣摩其构架与韵律感，想写出自己的画思与文心，并探索文字内涵与字体样式间的情脉与拥抱。Like other works in the Chinese character series by Wu Guanzhong, this piece of work should not be viewed simply as a work of calligraphy. Though Wu didn’t write poems like those by Li Bai and Du Fu, he had been studying the frame and rhythm of Chinese characters for a long time in an attempt to convey his idea about paintings and poetry.

　　75. 孤岛 2008 45×91 cm 油画•布面 浙江美术馆藏

　　这幅油画作品更倾向于具象。吴冠中认为具体形象的表达并不困难，而具体物体间抽象形式的组织结构关系，即形的起、伏、方、圆、曲、直及色的冷暖、呼应、浓缩与扩散等等，才是决定作品美丑或意境存亡的要害。This oil painting is more concrete than abstract. Wu Guanzhong believed that it is not difficult to depict concrete images. But the key to the successful sense of beauty or artistic conception of a work is the structural relation between the abstract forms such as rise, fall, square, round, curve ,straight as well as the features of color such as cold and warm, correspondence, contracting and expanding.

　　76. 野草 2008 61×91 cm 油画•布面 中国美术馆藏

　　吴冠中认鲁迅为他精神上的父亲。他画鲁迅的故乡，故家，作画纪念鲁迅，也画鲁迅的精神。这幅画对应散文《野草》，是对生长于野草，斗争于野草，葬身于野草的鲁迅先生的怀念，也是他对野草的追随。Wu Guanzhong regarded Lu Xun as his spiritual father. He painted Lu Xun’s hometown, house and his spirit in memory of him. In correspondence to Lu Xun’s essay “ Wild Grass”, this painting embodies his pursuit of the spirit of wild grass as well as his memory of Mr. Lu Xun who were born and fighting and buried in the wild grass.

　　77. 昼夜 2008 100×80 cm 油画•布面 中国美术馆藏

　　《昼夜》，半轮跃出海面的红日和一弯淡黄的月牙，它们启示着昼与夜，这两者之间，是仓促，苍茫，纷乱扰动的人生，而夜幕与黎明的天色是单纯，寂静的。于是人生的冷暖就融进了画家的笔触与色彩，融进了平面的昼夜交替。In the “ Day and Night”, half the sun rising above the sea and a full and pale yellow moon indicate respectively day and night. Between them is the short ,dark and turbulent life while the sky at dawn and dusk is pure and quiet. Wu incorporated his feeling towards life into the brush strokes and colors as well as the alteration of day and night.

　　78. 眠 2008 61×91 cm 油画•布面 中国美术馆藏

　　《眠》包含着画家的深情，他说：旧时江南，今遥远了。白屋相连，黛瓦数片，参差错落，冷落村庄，悄无人影，鸡犬不闻，临水而居，不知远近，水深浅。我绘就梦里江南，穆静江南，忽感此江南正在睡梦中，便题名：眠。“ Sleep”contains the painter’s deep emotion.He said: “ The past South of Yangtz River has already been vanishing where the white-wall houses were in irregular connection to each other in the quiet villages without anybody walking along and dogs barking. People who lived by water did not know anything about not faraway places. I painted the very tranquil South of Yangtz River in my dream. I feel suddenly that this South of Yangtz River is now in sleeping dream and therefore I entitle it ‘Sleep’”.

　　79. 剑犹在 2008 50×40 cm 油画•布面 中国美术馆藏

　　这幅作品命名直抒胸臆，却在“似与不似”之间，既使人想到犹在石中的宝剑，也想到粗朴的墓碑，破败的山门。像作者提出的：抽象绘画主要的是通过画面气氛，使读者在感情中获得“气势磅礴”的满足。The title of this painting seems to express directly the meaning of the author but actually not, because it reminds us of a sword in the stone as well as a plain gravestone or a shabby door to a house in a mountain. Just as the author suggested, an abstract painting aims to satisfy the viewers with the feeling of imposing power through the ambience created in the painting.

　　80. 飞渡 2008 60×70 cm 油画•布面

　　中国美术馆藏画面中一株老树，画名却称为《飞渡》。他自题“老树昏鸦浮云，莫笑老年心境。”时年八十九岁的吴冠中老人，正如站在澄明天空下的老树，默想如浮云时光，有回忆，也有想望，似乎人生都已飞渡，百味都在枝头。Although there is only an old tree in the painting, it is entitled “Flying Away”. Wu wrote for himself: “ See the old tree, crows at dusk and the floating cloud and do not scorn an old man’s state of mind.” Painting it at the age of 89, Wu himself was like an old tree standing under the illuminating sky, recalling the floating time as if the entire life had flied away, all feelings hanging on the tree.

　　81. 横空 2008 42×79 cm 水墨•宣纸 中国美术馆藏

　　一直到八十二岁，吴冠中每年都要外出写生，他走遍也画遍了祖国的山水。之后因病困守家中，他回想起在辽阔的雅鲁藏布江上，那划破太空的长长索桥，画了这幅《横空》，两岸万物都已淡忘，心头却永远铭刻了线的横空。Wu Guznahong kept going out for drawing from life every year until he was 82. He had set feet on almost every corner of China and painted almost every part of China. When he was confined to his house by illness and recalled the rope bridge piecing into the sky on the vast Yarlung Zangbo River, he painted this “Across the Sky”. He forgot everything on both sides of the river but the line across the sky was inscribed in the painter heart for ever.

　　82. 纵横 2008 62×41 cm 水墨设色•宣纸 浙江美术馆藏

　　在吴冠中的画作中，我们进入了抽象艺术的宇宙，纵与横超脱了垂直直线的含义。在全部曲线构成的画面里纵是线条的飘坠和迂回，横是曲线的蔓延和伸展。纵与横构成了具有无限动感的画面，标志性的色点又为它增添了妩媚。In Wu Guanzhong’s paintings, we enter into an abstract artistic universe where the so-called vertical and horizontal lines have gone beyond their literal meanings. In the painting composed completely of curves, what is vertical is the falling and twisting of the lines while what is horizontal is the spreading and extending of the curves. Horizontal and vertical lines combine to make a dynamic painting whose charm is also enhanced by the color spots marking one of his artistic features.

　　83. 江南岸 2008 42×82.5 cm 水墨•宣纸 浙江美术馆藏

　　吴冠中的水墨设色•宣纸作品《江南岸》，朴拙而别有新意，透纸的淡墨就像是江雨迷濛，总是湿漉漉的江南。吴冠中三十年代随潘天寿学画，他一直相信潘天寿先生说的“学画二十年可见成就，书法则须三十年。”One of his works entitled “ the South Yangtz River Bank” , among the Chinese character series, appears plain and simple but particularly original with the penetrating pale ink resembling the hazy rainfall in the South of Yangtz River. In 1930s. Wu learned to paint under Pan Tianshou and he never doubted what Mr. Pan said “ It takes 20 years to learn painting well while 30 years in the case of calligraphy. ”

　　84. 眼 2009 80×80 cm 油画•布面 浙江美术馆藏

　　吴冠中的画意境是淡远的，用色在一点时，却浓艳到极致，在这件作品里，最吸引人的，就是这双色彩纯粹到极致的猫眼。他常说用眼睛看世界是画家的童子功，千万不要客观地看，而是要带着感情色彩，主观地看，偏激地看。The artistic conception of the paintings by Wu Guanzhong is plain but profound. The color applied to one point can be gorgeous to the extreme. In this work,the most attractive is the eyes in the purest color. He often remarked that to see the world with an artist’s own eyes is a vital skill. Instead of being observed objectively, the world should be watched with personal feeling ,subjectively and in the extreme way.

　　85. 关关雎鸠 2009 40×50 cm 油画•布面 浙江美术馆藏

　　这幅作品的名字出自诗经，吴冠中先生是这样谈论诗的：没有了情意，诗意，形式美就失去了灵魂，空洞了，虽然美，却乏味。我感到一切艺术都倾向于诗。《关关雎鸠》就是这样一幅充满了情意和诗意的画。The title of this painting is quoted from the Book of Songs. Mr. Wu Guanzhong talked about poetry as follows: without tender feeling and poetic meaning, form will lose its soul to become empty with only very dull beauty. I feel that every kind of artistic forms tends to get close to poetry. This painting of “ Turtledoves By Riverside” is just full of tender feeling and poetic meaning.

　　86. 自家江山 2009 油画•布面 61.3 × 51.8 cm 香港艺术馆藏

　　《自家江山》的着重点不在江山，而在“自家”两字，这幅画在技法上仍然是吴冠中式的简略，他常说，“几条线就能表现千山万水”，所以省却了皴法渲染的繁杂，舒展的几条线就带出江山无限，并有着无限的自在和潇洒。The point of the painting “ My Native Land ” is not of the native land but of the word “my”. The skill and technique applied to this painting is as typically simple as it had been for Wu Guazhong. He often said:“ only a few lines can presents thousands of rivers and mountains.” Therefore, without the complicated ink diffusion, a few lines extending smoothly outline the vast expanse of our native land with unrestrained freedom and ease. .

　　87. 神之召唤 2009 油画•布面 60.3 × 50.3cm 香港艺术馆藏

　　吴冠中曾赴印度写生，那里触动他的不是泰姬陵，而是洪流般的羊群。他说“荒漠中白色的羊群似银河，天际红云召唤素洁之龙，这是宗教之国”，在惊喜、欣赏与崇敬的复杂情绪里，他彻夜不眠创作了《神之召唤》的初稿。Wu Guazhong once went to paint from life in India where what impressed him most was not Taj Mahal but the flocks of sheep like floods. He said :“Flocks of white sheep in the desert are like Milky Way and the red clouds are calling the sacred dragon. It is a religious country.”In a mixed emotion of surprise, admiration and reverence, he spent a sleepless night creating the draft of “ God’s Calling”.

　　88. 远方 2009 水墨•宣纸 68 × 137.7 cm 香港艺术馆藏

　　这幅作品是表达了吴冠中对生命思考的一幅画，他是这样说的：“谁辨龙蛇，但感生命之蠕动。什么生命，作者所感所思难以言说，只道在远方，托词也。不知是什么，都是线的关系，所以叫《远方》，你找不到它在哪处。” This painting expresses Wu’s reflections on life. He said:“Who can tell a dgragon from a snake? But all could feel the movement of life. About what is life, I can not express my feeling and idea but just excuse myself by saying that it is in the distance. I don’t know what it is but only know that it ia all of the relation between lines. Therefore it is called “ In the Distance” and you are unable to fine where it is.”

　　89. 老屋 2009 49×84 cm 水墨•宣纸 浙江美术馆藏

　　每一幢老屋都是一个故事，在荒芜颓废了的建筑面前，块、面、点、线之间的节律成为画面的根本，启示这些节律的老屋仿佛被解体或隐藏了，但这老屋恰如画家的心境，荒草丛生却依旧很美。Every old house has its story. In the case of a inhabited and ruined building, the soul of the painting lies in the rhythm out of the interplay of block, surface, point and line, which suggests that the old house is disintegrated or hidden. But just like the painter’s state of mind, the old house is still beautiful despite the overgrowing weeds around it.

　　90. 幻影 2010 水墨设色•宣纸 56.7 × 96.4cm 香港艺术馆藏

　　《幻影》这幅画中隐约可见一只豹，吴冠中将具象的豹与抽象的符号融合，似幻似真，表现出作者的思路交替游走在现实与想象之间。豹的形象也呼应着他的自述：“从艺以来，如猎人生涯，深山追虎豹，弯弓射大鵰”。In the painting of “Illusion” a faint shape of a leopard can be obtainable. Wu integrated the concrete image of the leopard with the abstract symbols in half reality to show the painter’s idea alternating between reality and imagination. The image of the leopard also echoes his self-narration:“ I have been like a hunter pursing tigers and leopards in mountains and shooting at the vulture since I started to learn painting.”

　　91. 梦醒 2010 水墨设色•宣纸 57.6 × 90.2 cm 香港艺术馆藏

　　这是吴冠中的晚年作品，他曾自评道：“反刍之草，沧桑味苦，却更接近人生真味。”以前他的枯荷寄寓着对人生际遇、国族的种种噩梦般的创痛。而《梦醒》的画面是一片清翠的荷塘，似乎在言说人生的梦醒之时。It’s one of the works in Wu’s later years. He once commented himself:“The grass ruminated tastes as bitter as the vicissitude of life, which is close to the truth of life.” He used to paint withered lotus to convey his bitter feelings about the traumatic experience of his own life and the nation as terrible as nightmare. Now the fresh and green lotus pound of the painting “Waking” seems to say something about the waking time of the painter’s life.