赵无极

赵无极绘画的意境为我的创作提供了极为重要的线索。

Zao Wou-ki painting mood for my creation provide very important clues .

借此机会，赵无极补充并完成了了1979年的版画和插图书籍捐赠。

For the occasion , Zao Wou-Ki completes the first donation in1979 of prints and books .

赵无极与康丁斯基抽象油画作品笔触语言比较

Language Comparison of Brushwork in ZHAO Wu-ji and Kandinsky 's Abstract Canvases

最终在对西方大师的研读中赵无极重新了解中国绘画。

Finally , in the study of western masters in Chinese painting to understand zhao .

这一个蓝、白相间的构图，在赵无极作品之中是十分独特的。

The composition of blue and white in Untitled is unique among Zao 's works .

《无题》则表现了赵无极进一步发展的抽象趣味。

Untitled , on the other hand , reveals Zao 's manipulation of playfulness over abstraction .

1960年代对赵无极来说，不论是生活上或创作方面，都是活动强烈频繁的一年。

Lot Notes To Zao Wouki , 1960 is a year of turbulence and creativity , in both life and work .

赵无极的艺术历程给我们剖析了东西方文化结构在相悖的情景下而得以戏剧性结合的秘密。

Zhao Wuji 's career as an artist discloses to us how the cultural structures ofthe East and the West are dramatically combined under paradoxical circumstances .

50年代在赵无极的创作生涯上是一个重要的时期，在这短短十年间，赵无极经历了两个艺术风格的巨大转折。

Lot Notes The1950s was an important decade in Zao Wou-ki 's career : within that short span of time he advanced through two major stylistic transitions .

知白守黑&由赵无极绘画色彩看黑白在中国现代抽象油画中的地位

Knowing White and Guarding Black & On the position of " Black and White " in Chinese modern abstract oil painting by studying Zhao Wu-ji 's painting colour

赵无极是一位融合中西方艺术精华的当代抽象主义绘画大家。

Zhao Wuji is a master of the contemporary abstract expressionist school of painting , mixing together the essence of the Chinese art and that of the Western art .

赵无极早期的版画创作引入中国水墨效果，画面有一股浓郁的中国味，并且善于借鉴中国传统山水构图以及对空白的使用。

Zhao early engraving ink painting effect introduced into China , the picture had a strong Chinese flavor , and be good at Chinese traditional landscape composition and reference to " blank " use .

进入了1960年之后，赵无极的绘画风格进入了抽象的成熟时期，拍品《09-02-60》最能反映赵无极的成熟转变。

By the1960s , Zao Wou-ki 's abstract style had matured , and the second work presented here , 09-02-60 ( Lot531 ), is an excellent representative of this shift to a mature abstract style .

将我多年赏玩雨花石中对其富有美感、激动人心的物象进行提炼与概括，尽可能的在画布上进行组织，同时借鉴赵无极绘画中的结构组合。

Years of admiration of the stone its rich beauty , exciting images to refine and summarize as much as possible be organized on the canvas , while drawing on the structure of portfolio Zao painting .

第三章分析赵无极版画与跨画种关系，赵无极成功的将水墨语言引入版画创作，并且解构中国书法艺术，使其融入版画创作。

The third part , analysis and cross type prints zhao relationship , zhao engraving in into the ink painting interest , the success will ink painting language into abstract creation , and deconstruction of Chinese calligraphy art , make its inclusion in the abstract creation .

第二部分论述了本人对雨花石绘画与赵无极抒情抽象画之间结合的些许体会，通过分析比较，在此次创作中找寻出三大重要的因素：一、雨花石意境与抽象画意境的结合。

The second part discusses the little experience I have combination between the stone painting and Zao Wou-ki lyrical abstract paintings , through analysis and comparison , in the creation find out the three most important factors : a combination of stone , mood and abstract conception .