Pinnacle of Human Expression in Sports and Art | Zao Wou-Ki’s 04.10.85

In 1988, the Seoul Olympic invited 25 artists from around the world to create a series of art posters to celebrate the idea of the Seoul Olympic, and Zao Wou-Ki is one of them. Using 04.10.85 as an inspiration, the artist first created the lithograph Jeux Olympiques Séoul, which was then used in the poster for the Olympic game, titled Tree of Life.

During the 1970s and 1980s, Zao Wou-Ki centered his artistic creation on ink paintings, which influenced his oil paintings from this period. In 1982 and 1983, Zao Wou-Ki reunited with Zhang Daqian, the master of Traditional Chinese ink painting, in Taipei. Since then, the technique of splashing ink and colour can often be seen in his oil paintings, perhaps inspired by Zhang's creative techniques.The Olympic poster Tree of Life can be seen as a footnote for 04.10.85. The current lot is composed with expressive ink strokes extending from the center of the painting like growing trees, displaying endless vitality. Meanwhile, the soft and gentle palette of 04.10.85 showcases Zao’s impressionism inspirations. In the 1980s, Zao was reflective of the Western Art inspiration in his works, often referencing Impressionist masters, he even created pieces such as Hommage à Claude Monet in tributes to them. The palette of the current lot recalls the colours of Poplars, End of Autumn by Monet, displaying Zao’s unique understanding of the Impressionist tones.

The 1980s is an important decade for Zao Wou-Ki, for he held exhibition and important collaborations in many Asian countries and areas, such as Mainland China, Taiwan, Hong Kong, Japan, Singapore. The collaboration with the 1988 Seoul Olympic Game is the most significant project he participated in Korea. 04.10.85 is also strongly tied to Zao Wou-Ki’s career development in Asia; the current lot was first exhibited in Tokyo Fuji Television Gallery's Zao Wou-Ki, a solo exhibition of the artist. As it was later used as a blueprint for the Seoul Olympic poster, the current lot is a testament to Zao’s lustrous career in Asia. In 1996, the current owner of the work bought the painting directly from the gallery, and the work has stayed in the collection for nearly 30 years. This work is now appearing in auction for the first time, making this an extremely rare opportunity for collectors.

04.10.85 is not only an embodiment of Zao Wou-Ki’s aesthetic and artistic development in the 1980s, it is also a manifestation of Zao’s hope in art and world peace. After World War II, artists sought for a common artistic language that can be shared around the world, and the Abstract movement is the result. Meanwhile, the Olympic Games emphasize the peace, friendship and unity of the world, which shares great similarity to the original purpose of abstract art. This work demonstrates Zao Wou-Ki's pursuit for peace and unity through Abstract art. 


一九八八年，漢城奧運會邀約全球25位藝術家以漢城奧運會為主題，設計一系列藝術海報，而趙無極便是其中之一。趙無極即以《04.10.85》為創作靈感，創作《首爾奧運會》（Jeux Olympiques Séoul）版畫，並將其用作奧運會海報，命名《生命之樹》（Tree of Life）。

七、八〇年代，趙無極以水墨為創作重心，並以此啟發油畫的構圖及創作。一九八二及一九八三年，趙無極於台北重逢國畫大師張大千，此後他的作品中常見潑墨潑彩技巧，或受張大千創作所啟發。漢城奧運海報《生命之樹》可視為本作《04.10.85》的註腳，本作中磅礴大氣的水墨線條從畫面中心向四周延伸發展，如參天大樹般，展現出源源不斷的生機。本作的用色柔和妙曼，則是反映出趙無極作品中西方印象派藝術的靈感源泉。此時，趙無極在創作中亦直面西方藝術淵源，開始創作《向莫內致敬（三聯作）-1991年2月至6月》等致敬印象派大師的作品。而《04.10.85》的用色、構圖則與莫內畫中秋末的白楊樹相呼應，彰顯出趙無極對印象派色彩的獨特見解。

一九八〇年代是趙無極藝術生涯中回歸亞洲的重要時期，他在中國大陸、台灣、香港、日本、新加坡等亞洲國家與地區舉行展覽及參與重要合作項目，而一九八八年與漢城奧運會的合作則是他在韓國最具代表性的項目之一。《04.10.85》亦與藝術家回歸亞洲有著密切關聯，此作最早在一九八七年展出於日本東京富士電視台畫廊〈趙無極展〉藝術家個展中，而日後更是用作於漢城奧運海報的創作藍圖，可見此作是藝術家在亞洲藝壇發展的重要見證之一。本作現藏家於一九九六年直接向東京富士電視台畫廊購藏至今，三十年來從未釋出于市，如今首登拍場，難能可貴。

《04.10.85》不僅是趙無極八〇年代美學及事業發展的見證，更是藝術家對藝術以及世界和平寄託的體現。二戰之後，經歷過戰亂的藝術家們決定尋求一種全球共通的藝術語言，以此達到世界大熔爐的境界；抽象藝術正是此思潮的結晶。而奧林匹克運動會的精神著重世界和平、友誼和團結，以體育競爭代替戰爭，與抽象藝術的追求有相通之處。由此可見，趙無極以抽象藝術為媒介，傳達追求世界大同的渴望。