款識
無極ZAO
ZAO Wou-Ki 25.5.2001（作品背面）

Marlborough畫廊
中國私人收藏
上海，天衡，2011年6月28日，拍品編號0616

，17頁

"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

在趙無極的觀念中，借助於繪畫來表達的想法是難以通過語言加以轉述的。1959年之後，他便很少為自己的畫作命名，而以作品的完成日期編號或者“無題”作為作品名稱。這不僅由於語言在視覺面前的蒼白無力，更在於明確的語言能指往往會令人陷入對於現實事物的過多聯想。在趙無極2001年創作的這幅《25.5.2001》中，與此前盡情揮灑的純然抽象繪畫頗有不同，顯示出他在晚年對於物象的重新觀照。藝術家在畫中利用諸多中國水墨式線條的頓挫、綻放、流溢，凝練出兩株小樹的翩躚舞動、 綽約有姿，飽含著生意盎然的動態之勢。人們在畫家營造的朦朧印象中難以厘定樹木的明確造型，這為觀者留下了廣袤的想像空間。畫面色彩主體呈現為黃、綠色基調上的融合貫通、縱橫交錯，其中演繹著生命的歡快節奏，卻不至過分流于濃烈、豔麗，依然保有色彩的純淨清逸、柔美淡雅。畫中情境不僅作為趙無極暮年之時清靜怡然心緒的視覺顯現，其本身也標示出藝術家于雄渾浩瀚的大幅抽象畫之外，始終如一地堅持在其藝術形式的創造中伴隨著隨心所欲的自我體驗。在他那裡，自由的精神維度追尋不在別處，卻恰恰是在各種顏色的紛亂混雜中，在剛勁筆鋒的重迭交錯中。