ILLUSTRATED:

Jean Leymarie, Zao Wou-ki, Editions Cercle d'Art, Paris, 1986, black-and-white illustrated, no. 465, p. 342

Pierre Daix, Zoo Wou-ki, l'oeuve 1935-1993, Ides et Calendes, Berne, 1994, color illiustrated, p. 124

The painting "30.11.74" was created by Zao Wou-ki in 1974: the pink land has smooth and lasting strokes, the deep colors have a clear hierarchy, and the whole canvas conveys warm and genuine feelings. At this period, Zao gradually walked out of the sorrow for the loss of his wife and was getting to know Françoise Marquet, his future wife. His paintbrush at the time was no longer as excited and high-pitched as in the 1960s; instead, he had a more steady and mature command of colors and a reserved means of tracing lines. The arching lines have a special softness from the brush and the overall layout becomes light and open, reminding us of the "leaving empty" in Chinese water-ink paintings. It takes a Chinese artist that knows the water-ink spirit well to create such a light, smooth, flowing painting.

Many art critics consider that, Zao Wou-ki began another art stage after 1973. After he visited relatives and returned from China, his paintings "Regain the creation from ink painting", and his visit obviously had a clear impact on his future work. Zao Wou-ki says in his autobiography: "I know that from 1973 my paintings changed because my friends often told me and especially wrote to me about it. Maybe I had matured, the point where all my experiences came together, where everything became easy, after many efforts and unremitting work? I know for certain that I loved to paint more and more, that I had more and more to express, with constant fear of repeating myself. I painted my own life but I was also searching to paint an invisible place, a dream place, a place where one feels always in harmony, even with faced with contrary forms and agitations." (Zao Wou-ki & Françoise Marquet, Zao Wou-ki Autoportrait, éditions Fayard, 1988 pp. 157-158)

In 1948, Zao arrived in France. For fear of being considered as opportunistic by using the so-called Chinese water-ink influences, and because of his passion for oil paintings, Zao completely abandoned water-ink painting. In 1972, his wife May passed away. Because of his great sorrow, Zao could not focus on painting. Oil painting requires sufficient preparation and highly focused attention, Zao was unable to think or continue with painting. However, when he accidentally picked up a writing brush and ink, childhood memories emerged in his heart and the softness of the brush, the gentleness and interactivity of the paper and ink brought back his strength and faith in life. It was a short moment, leaving still some worry and concern unsoothed in the depth of his hearth. However, when confronting an oil painting canvas again, he had recovered his serenity inside and discovered a new painting method, expanding once again his painting horizon. Therefore, Zao's oil paintings from 1973 on have an unprecedented warmth and gentleness.

From 1974, Chinese water-ink painting was no longer a mere technique for Zao Wou-ki or a relaxation or time killer when he was unable to focus on oil painting. By then, he had eliminated all concerns and doubts about Chinese water-ink painting. Picking up Chinese water-ink painting again, he enriched his already-mature painting form, with more bright colors and soft lines of light and shade, a spacious painting canvas, and water-ink smudges in oil painting, as he sought a higher and finer sense of harmony. It may be said that "30.11.74" is a tranquil mental landscape. Through painting, Zao Wou-ki has started a new journey of life.

By this time, Zao Wou-ki entered into a mature stage of his life: from the "Book of Changes", the Taoism ideas of Lao-Tse and Chuang Tzu, the poetry of Qu Yuan, Li Bai, and Du Fu, and the landscape paintings of Mi Fu and Fan Kuan, once again, he immersed himself in Chinese culture. In Paris, he perceived and bridged the difference between Chinese and Western art, combining the two harmoniously to become an eye-opening visual language. Throughout his life, he has been pursuing and exploring the lofty and supreme abstract art, finally making himself the most renowned Chinese abstract art master in the world.