A groundbreaking exhibition showcasing the works of renowned Chinese artist Wu Guanzhong (1919-2010) opened at Seoul Calligraphy Art Museum at Seoul Arts Center on July 25, marking the master's first solo show in the South Korean capital. The exhibition, titled "Wu Guanzhong: Between Black & White," features 17 carefully selected paintings from the Hong Kong Museum of Art (HKMoA) collection, offering Seoul audiences an intimate look at an artist who revolutionized the fusion of Eastern and Western artistic traditions.

Nadia Lau, curator at HKMoA, describes Wu Guanzhong as a visionary who bridged multiple artistic worlds through his unique approach to painting. "He diligently pursued his vision of modernizing Chinese ink wash painting and nationalizing oil painting. By infusing Eastern sentiments with Western aesthetics, he blazed a trail for modern Chinese painting," Lau explained in an email interview. The exhibition's success follows a larger showcase of Wu's works in Hong Kong that attracted more than 570,000 visitors last year, demonstrating the enduring appeal of his artistic legacy.

One of the exhibition's most striking pieces, "Snow-covered Mountain," exemplifies Wu's philosophical approach to traditional Chinese ink wash painting. In this work, the artist deliberately left large areas of Xuan paper, a traditional Chinese handmade paper, completely blank. The untouched whiteness of the paper creates a powerful representation of snow-covered mountains that contrasts dramatically with the black ink. This technique reflects Wu's belief that "white plays a commanding role in traditional Chinese painting," as the artist once observed, noting how ink applied to Xuan paper creates vibrant spirit through the strong contrast between black and white.

Curator Lau highlights "Reminiscences of Jiangnan" as the work that best represents Wu's artistic world. This painting depicts the artist's homeland in eastern China using only black, silver gray, and white colors. Wu masterfully renders houses with transparent washes and minimal lines, while a few subtly placed swallows guide viewers seamlessly from abstraction to figuration. "This interplay between abstract and figurative elements embodies Wu's artistic ideal: maintaining a slender link to everyday life in abstract art, like a 'kite that keeps its connection by the thread,'" Lau explained, capturing the delicate balance that defined Wu's distinctive style.

The exhibition also features "Waterway," a silvery gray-toned oil painting that demonstrates Wu's evolution as an artist and his ability to encompass different artistic practices within his unique visual language. Reminiscent of ink wash painting techniques, the work depicts his hometown adorned with colorful dots that resemble pearls and gems. Wu once remarked that "Ink is a river, and oil is a parallel road," symbolizing his alternating journeys across these different mediums. According to Lau, "Wu sought to build a bridge through his artistic creations, one that connected the East and the West, common people and experts, figurative and abstract."

Wu's artistic journey was not without challenges. After returning to China from Paris in the early 1950s, he faced criticism for his innovative approach to blending Eastern and Western artistic traditions. However, he persisted in his vision, struggling and agonizing over his works as he developed a revolutionary artistic philosophy. His determination to create something entirely new resonated through decades of creative output, ultimately establishing him as a transformative figure in modern Chinese art.

Beyond his visual artistry, Wu possessed a strong literary sensibility that manifested in the texts accompanying many of his paintings. Greatly influenced by Chinese writer Lu Xun, Wu viewed painting and writing as inseparable forms of creative expression. One particularly poignant example appears alongside his painting "Downs and Up," where he wrote: "As the tides of the art world rise and fall, life persists. Perhaps my eyesight gradually dims and ages, but my inner vision becomes ever brighter. I persist in observing, painting and writing, leaving behind genuine reflections of a wandering soul."

The Seoul exhibition concludes with a multimedia immersive art installation created by Hong Kong-based artist Chris Cheung in collaboration with artificial intelligence, inspired by Wu's works. HKMoA houses more than 450 works by Wu, donated by the artist and his family, with both the Hong Kong and Seoul exhibitions supported by a generous sponsorship of 100 million Hong Kong dollars ($12.7 million) from Wu Keyu, the artist's son.

Running through October 19, the exhibition serves as a prelude to Hong Kong Week 2025 Seoul, which begins on September 26. This cultural celebration will feature 14 performances, film screenings, outdoor shows, fashion design presentations, and other events designed to connect creative talent from Hong Kong and Seoul, continuing Wu Guanzhong's legacy of bridging Eastern and Western artistic traditions.