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　　“紅燈區(qū)，綠燈區(qū)，人間甘苦，都市之夜入畫圖。”這是我對自己80年代所作油畫《香港夜景》的畫外題詞。自50年代別離了巴黎的霓虹燈，30年來沒有見過城市的花花世界。80年代突然從北京來到繁華的香港，卻首先想到紅燈背后的苦難的人群，享樂的人們，人生的紛亂。不同于夜晚的彩色繽紛，白天從高樓上看香港，滿眼樓房屋宇，道路奔馳，密密層層的線、面交錯，構(gòu)成直與曲的協(xié)奏。我用線勾勒那天旋地轉(zhuǎn)的海市蜃樓，畫面已經(jīng)密不通風(fēng)了，更加彩點擊節(jié)，煞是熱鬧。

　　"Red-light district or green-light district, men's joy and misery are all told in a night-scene painting." These are the words I added to the piece I did during the 1980s, "A Night in Hong Kong." Since I parted with Paris's neon lights in the 1950s, I had lived away from cosmopolitan glamour for about thirty years. Then suddenly, I found myself in a prosperous Hong Kong of the 80s, far removed from Beijing's quietude. Despite that initial shock, what subsequently crossed my mind were still life's sufferings, joy and clutter, be it in Hong Kong or anywhere else. Looking down from a skyscraper during the day, with blocks of buildings rising over each other, and streets and roads crisscrossing amongst them, I was a Hong Kong different from the one at its varicolored self at night. Lines and planes overlapped and were tightly knit together, creating a concord of straightness and curviness. I used lines to sketch the contours of this swirling mirage. Upon the already overloaded picture, I threw colored dots here and there to highlight all that hustle and bustle.

　　90年代初，香港土地發(fā)展公司邀我前去畫“吳冠中眼中的香港”專題，畫了一個月的素材，返京后用油彩及水墨表現(xiàn)香港的舊貌與新裝，及用水墨表現(xiàn)夜香港，卻屢屢失敗。水墨之優(yōu)勢在于渲染，所謂水墨淋漓?；杌璋蛋档囊黄股懈‖F(xiàn)燈光閃爍，總嫌太弱，易落入燈光漁火之冷落舊腔。我作了各種探索，竭力想表現(xiàn)夜都市之亮度。

　　In the early 1990s, the Land Development Corporation in Hong Kong invited me to paint a "Hong Kong in Guangdong Wu's Eyes." I did my rough drawing for a whole month. After I was back in Beijing, I tried using both oil and ink colors to depict a Hong Kong at once new and old, as well as ink colors to show it at night, but without success. The advantage of ink and wash lies in its use of bold colors, or what we call "a profuse spattering of water ink." Lights flicker amid a murky expanse of ink-and-wash night. Wouldn't that look too weak? Besides, such a scene fell into the stereotype of twinkling lights and fishing fires, all too familiar to the Chinese eye to be truly creative. I wavered between different tricks, trying to bring out a brightness that would match the metropolis's night.

　　中國水墨畫雖著重講究所謂筆墨，但這只屬局部表現(xiàn)手法中的變化，大部分作品掛上墻后，因缺乏強力的整體效果，顯得極其虛弱，觀眾享受不到視覺美感。我竭力在構(gòu)架方面經(jīng)營，我感到傳統(tǒng)水墨特別在構(gòu)架方面日趨衰頹，弱不禁風(fēng)。要講構(gòu)架，必須重視整體面積的分割，不可浪費畫面方寸之地，我不讓自己的作品留有多余的或非屬結(jié)構(gòu)的空白，盡力追求畫幅上墻后的視覺效果。

　　Notwithstanding traditional Chinese painting's stress on "ink-splashing," it is, after all, a technique used for local variation. Once they are hung on the wall, due to the lack of a compelling overall effect, they mostly look very feeble, incapable of arousing a desire for aesthetic appreciation in the viewer. I am keenly aware of the constant decline of traditional ink painting, especially insofar as its general layout is concerned, and I've been trying to find a way out. Artists must give due attention to planar partitioning for an overall effect. We should not waste any of the space available on paper. I, for one, make a point of leaving no unnecessary or nonstructural space when painting. I'm all for the visual effect of a painting, focusing on how it will look after it gets hung on the wall.

　　以上這些構(gòu)想和因素無意中都體現(xiàn)在這幅1997年所作的水墨《都市之夜》中。我首先著力于濃墨粗筆的橫與直的交錯，樓層間參差錯落的錯覺，似樓非樓都是樓，前樓后樓碰撞不相讓，極目層樓，誰主沉浮，頂天立地爭春秋。其實畫面表現(xiàn)的是樓群之整體而非具體的樓與樓的加法，因而其中并無某一座具體而獨立的樓，而且也不是香港，不是東京，不是紐約，不是北京、上海或深圳。大點小點，是窗是戶，非窗非戶，都屬樓形之輔助，線、面之幫腔。那濃重的紅、黃、綠色塊色點，跳躍著鑲嵌在黑、白、灰的層面上，是夜之眼，燈紅酒綠的噴發(fā)，畫面的最強音。

　　These thoughts and factors have all been unwittingly embodied in this piece, "A City Night," done in 1997. First of all, I used heavy strokes to show crisscrossing vertical and horizontal lines and building's varying heights, enhancing a feeling of dreamy soulfulness. Front and back buildings collide without yielding. Looking across the rooftops, one might feel lost as to which of all the buildings were the highest. In fact, the painting is intended to show the cluster of buildings as a whole, not buildings individually. There is no concrete or isolated building. For that matter, the scene is not taken from Hong Kong. It is not taken from Tokyo, New York, Beijing, Shanghai or Shenzhen. The dots, big or small, are windows but at the same time no windows at all—they are symbolic additions to symbolic buildings and "servants" of lines and planes. Those heavy red, yellow or green patches and dots are vividly inlaid on planar layers of black, white and gray. They are evening's eyes and the strongest touches of the whole picture.

　　積累多次表現(xiàn)夜都市的成敗，這幅作于78歲的《都市之夜》，可說體現(xiàn)了我對中國畫現(xiàn)代化的觀念，透露了我所感到的蕓蕓眾生的掙扎之苦樂，時代飛速變化，令人目眩。

　　Drawing lessons from past attempts to show a metropolis's night, this piece, done at age 78, embodies my perspective on how to modernize Chinese painting. Meanwhile, it bespeaks ordinary mortals' joy and sorrow as I feel both. Time elapses at a dizzying speed, indeed.