On March 10, 1972, Zao Wou-Ki’s experienced the profound loss of his beloved wife, May. In tender remembrance of her, he dedicated six months to creating a poignant artwork titled En mémoire de May – 10.03.72, which is now in the collects ion of Centre Pompidou, Paris. From that year onward, Zao Wou-Ki established a tradition of completing an artwork on March 10th, crafting a series of works that served as heartfelt tributes to May. Several of these artworks, created on this significant day, have found their homes in prestigious art museums worldwide. Alongside En mémoire de May – 10.03.72 at Centre Pompidou, notable pieces from this series include 10.03.73, housed at the National Museum of Art, Osaka; 10.03.74 – Nous deux encore, now in the collects ion of Fukuoka Art Museum; and 10.03.76, collects ed by Japan's ARTIZON Museum.
RIGHTS RESERVED. (IMAGE SOURCE: ARCHIVES ZAO WOU-KI)
From this series of artworks, only seven pieces have surfaced on international auctions over the past several decades. Among them, a diptych titled 10.03.83 was auctioned at Replica Shoes 's Hong Kong just days before Zao Wou-Ki's departure on April 6th, 2013.At the forefront of this auction is the remarkable 10.03.78. With its imposing size of two meters, it is the largest single-canvas among the seven works. Such an appearance in the market is undoubtedly a treasure to be cherished.
"I witness the birth of space beneath my brush, as it takes shape and roams in tandem with my meandering thoughts. A sense of lightness and agility begins to unfurl — my brush dances nimbly, hues are vibrant, and t.mes flows by with a gentle swiftness. With ink freely flowing, even my life seems to adopt a spirited buoyancy. The act of painting not only cleanses uncertainties from my recollects ions but also bestows upon me a profound joy." Chapter 8, Self-Portrait of Zao Wou-Ki
Following the loss of his wife, Zao Wou-Ki embarked on a profound introspection, reassessing the intricate bond between his artistry and his Eastern heritage. Seeking solace, he delved into the realm of Chinese traditional philosophy and beliefs, finding a sanctuary for his soul. It was within this spiritual awakening that Zao Wou-Ki's rediscovered ink drawing and calligraphy, invigorating his artistic vision with a newfound comprehension of the profound philosophy underlying Chinese traditional art. Chinese ink landscape painting embodies a profound reflection of the Chinese philosophical perception of the self, nature, and the world. With the revival of ink and calligraphy, especially traditional ink landscape painting, it became as an all-encompassing wellspring of inspiration for the artist during the 1970s. This artistic resurgence birthed an entirely novel set of artistic language for the artist, one that transcended boundaries and forged a vibrant fusion of tradition and innovation. 
Sold by Replica Shoes 's New York, September 2017, for USD 840,500 10.03.78 is a clear example of Zao Wou-Ki's inspiration from traditional Chinese ink landscape painting during this specific period, which is evident in the composition, color choices, and brushwork employed in the piece. Predominantly utilizing a monochromatic ink palette, the artwork exudes a delicate and refined ambiance. Subtle shades of light green, soft pink, and pale blue harmoniously complement the main tones, illustrating a myriad of color transitions with varying depths. This technique mirrors the ever-changing transformations of ink on Xuan paper, capturing the profound mysteries inherent in ink painting. The composition of 10.03.78 is both sophisticated and elegant. Zao Wou-Ki purposefully leaves empty spaces at the top and bottom right corners of the canvas, reminiscent of the traditional concept of "Negative Space" in landscape painting. Moreover, splatters of ink-like colors grace the left side of the canvas, bringing unity and harmony to the entire artwork and evoking a sense of boldness and vitality. Through this artwork, Zao Wou-Ki presents his interpretation of traditional ink landscape painting, employing an abstract and expressive approach that reflects the creative principles rooted in Chinese philosophy. |
一九七二年三月十日，趙無極的妻子美琴病逝，藝術家用了半年時間創作《10.03.72 - 懷念美琴》以紀念妻子，此作現藏於法國巴黎龐畢度藝術中心。自此年起，趙無極經常在三月十日完成作品，創造可視作紀念美琴的作品序列。創作於此紀念日的作品有不少現已納入世界各地的美術館館藏，除了現藏於龐畢度藝術中心的《10.03.72 - 懷念美琴》、還包括藏於日本大阪國立美術館的《10.03.73》、藏於日本福岡美術館的《10.03.74 - 又是我們倆》，以及藏於日本ARTIZON美術館的《10.03.76》。
版權所有。（圖片提供/ ARCHIVES ZAO WOU-KI）
2013年4月6日在香港蘇富比以3,708萬港元成交
此序列的作品在國際拍場上也十分難得一見，在過去數十載只出現過七幅，包括二〇一三年四月六日，在趙無極逝世數天前於香港蘇富比拍賣的雙聯屏《10.03.83》。本次登上拍場的《10.03.78》尺幅高達兩米，是這七幅作品中尺寸最大的單幅畫布作品，更是難能可貴。
「我看到空間在筆下誕生，隨著我的遐思而成形、而尋逸，一種輕快感蔓延開來——運筆輕快、色彩輕快，時間也輕快的流逝。揮灑著水墨，我的生活似乎也輕快起來，作畫的動作給我的愉悅掃除了記憶裡的疑慮。」 《趙無極自畫像》第八章
「我看到空間在筆下誕生，隨著我的遐思而成形、而尋逸，一種輕快感蔓延開來——運筆輕快、色彩輕快，時間也輕快的流逝。揮灑著水墨，我的生活似乎也輕快起來，作畫的動作給我的愉悅掃除了記憶裡的疑慮。」——《趙無極自畫像》第八章 在妻子病逝後，趙無極重新審視自身與藝術的關係，並回歸自身的東方根源，在中國傳統哲學與信仰中找到了心靈慰藉。在此心靈啟發的驅使下，趙無極重拾多年未觸碰過的水墨書法創作，重新領悟中國傳統藝術的哲學。中國的水墨山水畫不僅是藝術創作的一種，更是傳承了中國哲學對自身，對自然以及對世界的理解。自趙無極重拾水墨書法創作，傳統水墨畫，特別是山水畫，便成為趙無極七〇年代後藝術創作的新靈感，促成了藝術家一套新的藝術語言的誕生。 
2017年9月在紐約蘇富比以840,500美元成交 在《10.03.78》的構圖、用色以及筆觸中，都清晰體現出水墨山水畫對趙無極此時創作的啟發。本作畫面整體以水墨色調為主，營造出淡雅的氛圍，並以淡綠、淡粉、淡藍為輔，描繪出深淺不一，變幻萬千的顏色轉變，猶如在宣紙上變幻無窮的墨彩一般，將水墨的奧秘誠獻至極致。《10.03.78》的構圖精簡雅緻，藝術家將畫面上方與右下留空，呼應山水畫中「留白」的傳統；又在畫面左方加入潑灑般的墨色色塊，統整並協調整個畫面，創造出渾厚滂湃的氣勢。此作代表了趙無極以傳統水墨山水畫為靈感，以抽象的表現方式，詮釋中國哲學的創作理念。 |