序

       饒宗頤教授認識吳子玉先生是由於謝稚柳先生的介紹。謝公與饒教授為知交，他們都是敦煌學的大家，自改革開放之後，兩人一見如故。吳先生是謝公的高弟，而謝公對吳先生臨仿石濤繪畫十分讚賞。這個時候，筆者因常到廣州工作，得馬國權先生之介，拜會先生於夢簾香閣。蒙先生不以筆者為愚，時相論藝，亦常帶先生作品回港，視以饒教授。

       八十年代中期，子玉先生應香港中文大學之邀，前往講學。在這段時間，選堂教授時邀先生至家中談文論藝。有一次，子玉先生說起選堂教授對八大山人多有研究，尤其是八大題畫詩句與禪宗語錄之間的關係。子玉先生說，他曾見一件八大山人〈魚鳥圖〉，此圖精彩異常，他講得興起，就在選堂教授畫案上默寫出這幅畫。饒教授對這幅作品大為讚賞，於是立即提筆，題了《詩經·衛風·碩人》句「美目盼兮」，這是兩人合作的一段佳話。

       自此之後，饒教授與先生就時有合作，而筆者就時常作為「運送人員」，有時把饒教授作品拿到廣州請子玉先生補筆，亦偶有從廣州拿先生的作品回港給饒教授補寫。

       此展精選了饒公與子玉先生兩人的部份合作作品，並加入了一些吳畫饒書的畫作。從這些作品中，可以見到兩位筆墨交融的高妙境界。

       鄧偉雄
       二零一九年九月

Foreword

       Through the introduction of Mr. Xie Zhiliu, Professor Jao Tsung-i was able to get acquainted with Mr. Wu Hao. Xie and Jao were experts in Dunhuang Studies as well as close friends ever since the Chinese economic reform, and they felt like old friends when they first met. Mr. Wu was the pupil of Mr. Xie, and Xie especially appreciated Wu’s imitations of the paintings of Monk Shitao. During that time, I often needed to travel between Guangzhou and Hong Kong because of work. Due to the introduction of Mr. Ma Kwok Kuen, I was able to visit Mr. Wu at Menglianxiang Studio. I was deeply indebted to his patience because he often discussed art with me, and I frequently took his works back and present them to Professor Jao.

       In the mid-80s, Mr. Wu lectured at The Chinese University of Hong Kong by invitation. During those days, Professor Jao regularly invited him to his place and discussed art with him. One day, Mr. Wu mentioned Professor Jao’s deep research on Bada Shanren, especially the association between his inscribed poems and Zen quotations, and later he said he once saw the painting Fish and Bird by Bada Shanren which was excellently done. He was so excited about his experience and he painted this work by memory. Professor Jao was impressed by this piece and he also immediately inscribed a sentence from Shiren, a poem from the Classic of Poetry, which read, “Her beautiful eyes are so clear that the black and white are well defined.” This is a much-told story between them with regard to their collaboration.

       Since then, Professor Jao often painted collaboratively with Mr. Wu, and I generally acted as a “carrier” to take their paintings back and forth Hong Kong and Guangzhou. Sometimes I took Professor Jao’s works to Guangzhou and let Mr. Wu add some strokes; and at times, I also took Mr. Wu’s paintings back to Professor Jao for additional strokes or inscriptions.

       Exhibits include selected collaborative works by Professor Jao and Mr. Wu, as well as some works painted by Wu and inscribed by Professor Jao. Through these works, we are able to see the ingenious realm of the integration of brush and ink of these two masters.

       Tang Wai Hung
       September 2019