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朱德群 1920 – 2014 輝煌 Chu Teh-Chun Quand S'anime Le Crépuscule
香港 北京时间
2023年04月06日 开拍
拍品描述
油彩 畫布
二〇〇四年作
款識 朱德群CHU TEH-CHUN 04(右下)quand s'anime le crépuscule CHU TEH-CHUN 朱德群2004(畫背) 出版 2004年,《朱德群個展——心象》,蘭布雷磨坊藝術中心,茹伊,第58頁
展覽 2004年6月6日至9月30日,「朱德群個展——心象」,蘭布雷磨坊藝術中心,茹伊,法國 來源 亞洲私人收藏 2012年6月17日,台北景薰樓春季拍賣會,拍品編號68 現亞洲重要私人藏家直接購自上述來源 華光爍彩,熠熠動星辰 朱德群巔峰史詩代表 《輝煌》榮耀登場 「我的畫是對宇宙的叩問,是生命的沉思和激情的碰撞。我用色彩、用光線來構築我的圖畫,訴說我對世界和生命的認識,表達我的疑慮、我的思考和我的感情。我作畫的時候是一種感情的衝動,有些人說我的畫可以體會到情感的自然流露,我想真誠的熱情是可以得到人們共鳴的。」 ——朱德群 壯遊山川、俯仰古今、貫通中西、走向創作大成巔峰,作為在1997年首位獲得「法蘭西學院藝術院士」殊榮的華裔畫家,朱德群是當之無愧的華人抽象藝術大師,並在西方戰後抽象藝術大潮中,卓絕而立。他的一生,自始至終都秉承著「外師造化,中得心源」的求索精神,以「極其深濃的熱愛,去演繹我的藝術和理想,即一種對於『永不枯竭的美』的追求」。從1955年旅居巴黎,受歐洲抒情抽象啟示之始,他便開啟了向自然、向古今、向東西文化的孜孜探索,逐步建立獨屬於其個人的藝術語彙,在這之中,中國的書法成為他60年代的筆墨涵養,西方古典主義與林布蘭(Rembrandt)的戲劇光影成就他70年代的明暗佈構,步入80年代,他從東方山水的神髓和氣韻走出,而在90年代的歐美旅程中,他連接起西方表現主義的激蕩,將汩汩詩情化為筆下馳騁,最終,於2000年,他走向集大成的輝煌之境。 旅法50年藝術碩果的精粹 文學家程抱一曾說,朱德群的作品有三個特質:震撼力、韻律感和創新性,也正如朱德群自言:「在我的畫面上,色彩和線條從來都不是偶然的,他們相諧和地達到同一目的:激活光源、喚起形象和韻律」。完成於2004年、輝現旅法50年藝術成果的顯赫之作《輝煌》,正體現了朱德群在千禧年後深化藝術在「光源震撼」、「形象創新」、「色彩韻律」的三大美學特點,展現其於抽象藝術登峰造極如入無人之巔的化境。他將中國的書畫、傳統山水畫的美學精萃、文藝復興的光影、歐洲的表現主義內化為其藝術養分,尺幅更向宏偉進發,在開闊大氣的構圖中,全然揮灑內心的創作激情,展現駕馭大局宏篇的高妙,以及藝術視覺的強大震撼力。而他更進一步企圖超越自我,突破過往慣常使用的集中性光源和中心構圖,並一反九十年代至兩千年後的作品多以藍綠為主色調,在《輝煌》中,他另闢蹊徑地採取散點的光源配置,晶燦繽紛的色塊自左下至右上進發,再於中右輝現,恰恰構成了一個自然的環形躍動,如交響樂般中漸進的強音,奏鳴出無限的生命激情,在混著咖啡紅與磅礡黑彩的背景襯托下,越益煥發流光爍彩,共構出如星辰般璀璨的詩意盛景,若為觀者帶來一場充滿力與美、想像與驚奇的視覺盛宴,正呼應其題名「輝煌」。作品不啻為藝術家薈萃勢象光影、鑄融東西華彩、大器恢弘、凝結畢生創作精萃的至臻典範。 輝耀寰宇,東西藝術瑰寶:中法藝術交流年創作代表 2000年後朱德群的藝術成就廣為東西方認可,繼「法蘭西學院藝術院士」的榮耀後,2001年朱德群接連獲彼時的法國總統頒授「榮譽軍團騎士勳章的藝術最高成就獎」,與法國教育部頒授之「騎士棕櫚勳章」。而在2004年,中國與法國政府首度展開「文化交流年」,兩國將朱德群視為中法藝術瑰寶,在該年邀請他於法國、日內瓦、香港先後舉辦五次個展。而是次上拍的《輝煌》,正完成於該年,為藝術家功成名就的時期,並於該年九月首度亮相、發表於法國茹伊的蘭布雷磨坊藝術中心之「朱德群個展-心象」。作品來源有序,無疑見證了彼時中法交流的喜悅和歡慶,以及朱德群藝術盛年備受認可的光輝歲月。在那宏闊的大畫布上奔騰的有力之筆,以如生的氣韻展現著朱德群其藝其心的恢弘大象! 光之奏鳴,放爍強音:穿越古今蒼芎,多元性視覺的饗宴 「朱德群作品的空間不屬於古典透視,這種空間我們可稱之為『多元性視覺空間』,他在他錯綜複雜的線條間介入一些造型元素,而這些元素往往是用很厚的顏料畫上去的小方塊形體。他讓這些小方塊有致地分佈在畫面上,在那裡經由光線轉折、蛻變,形成了光源,使光線從其中發射出來,同時構成了畫面的空間和形體。」 ——巴黎勒讓特畫廊(Galerie Henriette Legendre)總監帕尼耶(Maurice Panier) 迥異於過往之作,《輝煌》另闢蹊徑地以散點式光斑構圖,呈現如帕尼耶所說、特出的「多元性視覺空間」。在那深邃的背景之中,熾熱的白色光斑躍動在宏大深廣的玄空,5處以白色為基底的塊狀筆觸,為靜默的宇宙天地引入如音符般跳躍的節奏,奏響一重重的樂章。飛白般的游絲大筆自頂端垂入一抹白光,如裊裊絲竹,拉開夜曲的序幕。大片的墨色、普藍將其裹挾,為靛青、胭脂紅所浸潤,如晨光初現、天地初開,閃耀著一抹「不墜的光芒」。隨之向下,於左可見如音符般的白點跳躍在藍紫和朱紅所衍生的雲霞之間,似煙花綻放,將夜的能量積蓄、活化、再生。而至中下區的左右,光斑激蕩出最為明亮的光輝,在右側呈三角形的光區中,朱德群自層層厚塗的黃橙色彩上,加以朱紅、湖藍、粉紅、黑色的方形色塊,如群星閃耀,令人聯想到古埃及、瑪雅傳說中輝煌盛世之下的黃金瑰寶,晶燦而奪人心目,讓人瞬時間遁入對古文明的想像;而左下的圓形光班則在滾動中迸裂、四射出一塊塊如希望般的繽紛色彩,兩者如若在管弦並奏的交響中,將觀眾推向戲劇性的高潮。 藉由光斑的躍動,朱德群創造出一場多元的視聽盛宴。正如法國藝評家卡巴納(Pierre Cabanne)所言:「光源亦代表一種心理意識,光在這裡如同音樂的強弱、高低,光影的起伏象徵心意的流動。朱德群展示的世界是一個變化無常的現實。現象與表象在不斷變幻的光焰中搏鬥,光時而閃耀,時而燃燒,在它激盪不安的漩渦中,脫胎與衰弱隨想像之狂歡沉浮…大自然好像隨畫筆的每一次舞動,有節奏地甦醒,燃燒,光芒閃耀,持續彌漫。」在《輝煌》的畫境中,時間與空間若被拉大維度,跟著朱德群的彩筆,我們進入到穿越古今與蒼芎的藝術宴饗。 異彩生輝:晶燦的色彩狂舞 吳冠中曾言:「朱德群畫面的主要構成因素是 『動』,每幅畫都是一部運動的合聲,將運動的節奏之美統一在和諧的色調之中,讓人隔著水晶看狂舞而聽不到一點噪音,粗獷力融於寧靜的美。」在《輝煌》之中,朱德群以寶石般晶燦而熱烈的色點,作為引發畫中一切動勢的基點。各種色彩生暗明滅、交相替換,時刻閃現著「衝突」與「爆發」的光采。 在畫幅的右側,那盛溢著烈焰熾火的瑩亮橙黃,似從地底最深處噴薄而出的灼熱熔岩,以電光石火的勢態,噴灑出最為熱烈的溫暖色相。隨之而生的明黃、朱紅、靛青則如碎裂的星點般炸現,飛速湧向那光影的邊界,火花從熱鬧繁盛中爆發,滿載出其不意的晶彩。而觀左下,跌宕多姿的筆觸羅列交織,高彩度的殷紅、瑰粉、青綠、鵝黃色飛揚舞動,在沁涼的藍白底色中噴散開來,創造出冷暖的兩極對比。 寓力於美,藏華於質 「在他手中,畫筆要找回中國書法的韻律,使彩色有節奏,透過透明光線的轉調,呈現出如閃光似的火花。」 ——法國藝評家穆能(Raoul-Jean Moulin) 而在這抽象色線交疊中,朱德群自小習書法所練就的筆力迸現。在色點的挑、點、提、頓或背景暗色筆刷的逡巡間,均可見書法的運筆技巧,小筆處流暢如佩環玎玲,大筆處則富含激情有如狂草。透過各式點線的交織與竄動,呈現光影的明滅,自上飛躍於普藍蒼穹,自下連接起泱莽大地,創造出如詩歌般時急時緩、抑揚頓挫的優美旋律。而在運筆節奏生發的同時,也製造著色點運動的遠近深淺,一道裹挾著粉白、靛青的大筆,自上方如天河彗星倏忽橫掃,在兩側垂流的排筆中,留下瓊玉般的輪廓,化為一處永恆。而在其下,橫向掃過的雄渾粗筆和精細點彩共存共生,曦光、晚霞、疾風、火焰等各式意象飄逸縱橫,而那細微的黃點散落在每一處的光暈之中,營造出張力十足的視覺震撼。磅礡萬千如英國藝術家透納(William Turner)的浩瀚大海、宋代范寬的堂堂大山,點點星光則似印象派畢沙羅(Camille Pissarro)的城市光影,又或辛棄疾筆下「東風夜放花千樹,更吹落,星如雨」的輝煌盛景。有形與無形、瞬間與永恆在此棲息,東方的抒情與西方的理性在此融匯,展露寓力於美、藏華於質的精妙神髓。 虛實相生,東西哲思的時空格局 在這多元交織的空間畫面中,朱德群所呈現的是一個關乎自然、光色、音韻和宇宙的藝術時空。他汲取著東方山水的佈局和寄情天地的懷想,在《輝煌》的直立畫幅中,引入似郭熙《寒林圖》那「遠近淺深,四時朝暮,風雨明晦之不同」的變化。以宏大的藝術格局嘆謂自然的幻變與神奇。他亦化身光的使者,在揮毫間,將轉瞬即逝的光影留於畫幅,更活化為不息的抽象結構,在黑與白、虛與實之間,尋找永恆的支點。 藝評家徐虹曾形容:「這瞬間的『一』讓人窺探到無限和豐富,也就有了真實存在的經驗。 這『一』,就是黑和虛空中的『白』,是照亮,是被發現和看見,有了『白』和『黑』的對比,就有想像和比擬的基礎,就有萬物周轉和始終的支點。朱德群的藝術就這樣融通了中國古聖的智慧和西方先賢的靈韻,一幅幅畫面就是審美省悟的頻頻閃現,記錄著畫家關於人與自然存在的遐想。」在這裡,長天寥廓的虛空因星雲而獲得生命之跡,而他們所存在的這片幽深,正是那無遠弗屆的恆久宇宙,虛與實互生互長,黑夜和白晝、幽深與光芒並非絕對,他們同時存在,共生幻變。於是,在這幽冥的天地,光與彩豐富了生機,風火水土、四時之景、萬家燈火、高山遠水,諸相具足。我們在朱德群的畫中看到了千燈萬火照碧雲、群星閃耀,聽見了鳳簫聲動、玉壺光轉,他將茫茫宇宙的萬千驚奇盡納筆下,蔚然而現《輝煌》的無雙氣象!
Oil on canvas
162 × 130 cm. 63 3/4 × 51 1/8 in.
Painted in 2004
Signed in Chinese and English, and dated on bottom right; titled in French, signed in Chinese and English, and dated on the reverse LITERATURE 2004, Chu Teh-Chun - Au Coeur de la Création, Centre d'art Le Moulin de Lambouray, Jouy, p. 58
EXHIBITED 6 Jun – 30 Sep 2004, Chu Teh-Chun - Au Coeur de la Création, Centre d'art Le Moulin de Lambouray, Jouy, France PROVENANCE Private Collection, Asia 17 Jun 2012, JSL Taipei Spring Auction, Lot 68 Acquired directly by present important private Asian collector from the above Bright Colours in a Starry Sky Glorious Debut of Chu Teh-Chun's Epic Quand S'anime Le Crépuscule “My paintings are inquiries of the cosmos, a collision of life reflections and passion. I use colours and light to construct my pictures, relate my understanding of the world and life, express my doubts, thoughts and emotions. When I paint it is an emotional impulse, some have said they feel the natural revelation of emotion in my paintings and I believe that such sincere passion resonates with people.” ——Chu Teh-Chun In 1997, Chu was the first Chinese painter to receive the honor of becoming an “Academician at the Academy of Fine Arts at the Institut de France,” an indication of his well-deserved reputation as a master of Chinese abstract art. The artist was first inspired by European lyrical abstraction when living in Paris in 1955 and soon after started to diligently explore nature, past and present, eastern and western culture, gradually developing his own inimical artistic vocabulary. During this period, Chu cultivated painting brushwork through Chinese calligraphy in the 1960s, whereas the dramatic light and shade of Western Classicism and Rembrandt led to his use of light and shade in the 1970s, whereas he departed from the spirit and rhyme of Eastern landscapes in the 1980s. Indeed, as he traveled Europe and the US in the 1990s, the artist was able to link his journey to the impact of Western expressionism and finally he moved in the direction of synthesizing these divergent elements in 2000. Essential Artist Achievements Living in Paris for 50 Years Chu Teh-Chun's Quand S'anime Le Crépuscule, completed in 2004 after five decades of traveling around France, also represents how in the years after 2000 he reached the pinnacle of abstract art. However, Chu also sought to outdo himself by breaking with the concentrated light source and central composition he employed in the past. Although from the 1990s to after 2000 the dominant hue of Chu's works tended to be blue-green, in Quand S'anime Le Crépuscule he established an entirely different path, using dispersed sources of light and dazzling coloured blocks progressing from the lower left to the upper right of the work and also to the right of centre. These perfectly construct a natural moving circle, like a gradually rising sound in a symphony against a backdrop of coffee-red and majestic black that highlight the brightness, presenting viewers with a visual feast replete with power and beauty, imagination and surprise. The work is an echo of its title Quand S'anime Le Crépuscule, a collection of light and shade, cast with the splendor of East and West, outstanding and magnificent in the way it condenses what is best in Chu's art to create the epitome of excellence. East-West Treasure: Lighting up the Universe A Masterpiece from Sino-French Art Exchange Years The artist achievements of Chu Teh-Chun after the turn of the Millennium are widely recognized in both the East and West. After receiving the “Academician at the Institut de France” in 2001, he was also awarded the highest artistic honor in France, the “Ordre national de la Légion d'honneur” presented by the President of France and the “Palmes academiques Chevalier ribbon” from the French Ministry of Education. In 2004, the governments of China and France organized a first “cultural exchange year” at which both considered Chu to be a Sino-French artistic treasure. In the same year, the artist was invited to hold five solo exhibitions in France, Geneva and Hong Kong. This period in which Chu achieved success and won recognition is the same year he completed the auctioned piece Quand S'anime Le Crépuscule. The work first appeared in public in September 2004 at the Chu Teh-Chun - Au Coeur de la Création exhibition at Centre d'art Le Moulin de Lambouray in Jouy France. In other words, the provenance of the work is clear and also serves as a testament to the joy and celebration of exchanges between China and France at that time, and the bountiful artistic harvest it facilitated. In this sense, the powerful brushwork that gallops across the expansive canvas imbued with the rhythm of life showcases the magnificent imagery created through the art and mind of Chu Teh-Chun. Sonata of Light, Flickering Lights, Powerful Notes: A Wide-Ranging Visual Feast, Transcending Past and Present Where Quand S'anime Le Crépuscule, differs from Chu's earlier works is that it maps out a different path for the artist using a composition made up of dispersed points of light that highlight a “diverse visual space.” In the abstruse background there are five blocks where white is the main colour, introducing a lively rhythm akin to musical notes, playing and replaying a musical movement into this silent universe. The feibai calligraphy style and gossamer brush descend from the top of the piece into the white light, like a gently played bamboo flute marking the beginning of a nocturne. This is surrounded by black and dark blue which are infiltrated with indigo and carmine red, which radiate a “never ending light” as if the beginnings of Heaven and Earth. If we follow this downwards then to the left a white spot oscillates in a cloud created from blue, purple and vermillion, while the light at the bottom of the central area is the brightest, with a triangular light area to the right. Chu Teh-Chun adds square blocks of dazzling eye-catching vermillion, turquoise, pink and black to the thick layers of yellow-orange, which bring to mind the legends of gold treasure at the pinnacle of the ancient Egyptian and Mayan civilizations, playing on people's imaginings about those ancient peoples. The circular light in the lower left of the work seems to split open as it rolls and a riotous profusion of colour spills forth like hope, as the two push viewers in the direction of a dramatic climax like part of a symphony of wind and string instruments. It is almost as if the dimensions of time and space are magnified and following the brushwork of Chu we find ourselves at an artistic feast that connects past and present. Blazing Splendor: Brilliant Dance of Colour Wu Guanzhong commented: “The main element in Chu Teh-Chun's paintings is ‘movement'. Paintings are like a chorus of movement, and Chu Teh-Chun has harmoniously united the rhythmic beauty of his movement with colours. People are able to witness this wild dance but without a pin drop of noise, as if through a layer of crystal. The power and coarseness of the energy is enveloped in the beauty of tranquility.” In Quand S'anime Le Crépuscule, the artist uses gem-like brilliant and passionate coloured points of light as a base from which to initiate all momentum in the painting. The colours are dark and clear, overlapping and interchangeable, parts appear brilliantly “conflicting” and others “explosive.” To the right of the painting the glittering orange-yellow hue overflows with fiery flames like scorching magma spurting from the depths of the Earth, bursting forth the strong bright warm colours like lighting hitting the ground. The bright yellow, vermillion and indigo to which this gives rise appear like shattered star points exploding, rapidly flying towards the edge of the light and shade. Below this, the rollercoaster brushstrokes are interwoven, with highly colourful and vibrant crimson, rose-pink, dark green and light yellow, bursting from the cold blue-white base colour, to create a contrast between the cold and warm colours. Strength in Beauty, Splendor Hidden in Essence “In his hands, the brush had to find the rhythm of Chinese calligraphy and give the colours rhythm. The silent, dim and dark colour gradations give off glittering sparks through the adjustment of transparent light.” ——French art critic Raoul-Jean Moulin Moreover, the powerful brushwork practiced by Chu Teh-chun since learning calligraphy as a young boy emerges from the overlapping of these abstract colours and lines. The artist's skillful application of calligraphy is apparent between the upwards and right strokes, rising strokes and dot strokes of the coloured marks and background dark colour brushstrokes. The smaller stokes flow like the jingle of a jade pendant, while the larger strokes are rich in passion like wild cursive lines. From flying in the dark blue firmament at the top of the work to the connection to the vast and wild Earth at the bottom of the piece, Chu creates a beautiful melody like a poem that is a mixture of fast and slow movements. A large brush stroke of pink-white and indigo descends from the top of the painting like a comet streaking across the sky, with a row of vertical flowing broad strokes at either side leaving an outline reminiscent of a piece of bright beautiful jade. Within the sweeping, strong, thick strokes and refined coloured dots, there are images of twilight, sunset glow, a gale and flames float in the ether. This is every bit as majestic as the vast ocean vistas painted by British painter William Turner (1775-1851), the imposing mountains of Song Dynasty artist Fan Kuan (950-1032), with the dots of light resembling the city lights of Impressionist painter Camille Pissarro (1830-1903). Poet Xing Qiji (1140-1207) writes of a sumptuous sight to behold when “The East wind of the night calls to bloom blossoms of a thousand trees, as if blowing adrift stars that drizzle like rain”. At this point, there is a convergence of Eastern lyricism and Western rationalism, revealing strength in beauty and splendor hidden in essence. Coexistence of Real and Virtual, Eastern and Western Philosophies Over Time and Space Within this multiple overlapping space, Chu Teh-Chun showcases an artistic dimension focused on nature, light, rhythm and the universe. To that end, he utilizes nostalgia for the arrangements of Eastern landscape painting and love of nature, taking fleeting moments of light and shade and freezing them in the vertical painting Quand S'anime Le Crépuscule, so as to breathe life into the abstract structure. At this juncture, the mutual growth of reality and virtuality, night and day, deep serenity and light are not absolute, they coexist and symbiotically fluctuate. The four elements, scenes from the four seasons, a myriad twinkling lights, high mountains and distant rivers are all present. Chu Teh-Chun showcase the wonders of the boundless universe and these are magnificently displayed in the unique Quand S'anime Le Crépuscule.
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