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趙無極 1920-2013 04.06.62 Zao Wou-Ki 04.06.62
香港
2023年04月06日 开拍
拍品描述
油彩 畫布
一九六二年作
款識 無極 ZAO(右下)ZAO WOU-KI 04.06.62(畫背) 出版 2017年,《威廉.德.庫寧|趙無極》,厲蔚閣畫廊,紐約,第103頁
展覽 2017年1月18日至3月11日,「威廉.德.庫寧|趙無極」,厲蔚閣畫廊,紐約 來源 紐約庫茲畫廊 亞利桑那州德薩畫廊 亞洲私人收藏 2010年11月27日,香港佳士得秋季拍賣會,拍品編號1006 現美國重要私人藏家直接購自上述來源 註:畫背貼有紐約庫茲畫廊、亞利桑那州德薩畫廊及紐約厲蔚閣畫廊之標籤 此作將收錄於由梵思娃.馬凱及揚.亨德根正籌備編纂的《趙無極作品編年集》(資料提供/趙無極基金會) 蛟龍出海,氣魄凌雲! 趙無極創作黃金時期渾然天成之傑作 「來自東方的畫家站在西方的高峰上…趙無極是國際畫壇中來自中國的一顆彗星。」 ——美國《生活》雜誌,1954年 回顧1941年,趙無極甫由杭州藝專畢業,在重慶舉辦第一個個展,彼時他畫的多是人像畫,而展間唯一售出的作品是由其銀行家父親買下。當時中國環境尚封閉,西方藝術書籍取得不易,趙無極僅能從美國《生活》、《風尚》雜誌一些介紹藝術家如馬諦斯(Pierre Matisse)、畢加索(Pablo Picasso)的文章去認識西方藝術。為掙脫東方傳統繪畫的窠臼與彼時保守環境的束縛,趙無極於1948年赴法,投身西方,如海綿般大量吸收其中各式養分,從建築、美術館大師名作,到彼時戰後抽象表現主義的風潮,在跌跌撞撞中,又重新正視自己來自東方的身分,回頭凝視中國千年的文化美學遺產,提取其中精妙,他由甲骨文、鐘鼎文、青銅器、宋代山水畫與從小學習的書法中,找到了靈感的根源,進而在創作中將東西文化的美學精粹共融,終而走出了一條創新之路。從1941年做為美國《生活》雜誌的讀者,到13年後在辛辛那提美術館舉辦個展時被該雜誌以大篇幅報導,讚美他為「來自中國的一顆彗星」、「站在西方的高峰上」,無極憑藉不懈的努力與才華,在世界藝壇上大放異彩! 1957年,他與彼時巴黎最具影響力的法蘭西畫廊、紐約代理一流藝術家如畢加索、蘇拉吉(Pierre Soulages)的庫茲畫廊簽下長期合作約,在兩者的推廣之下,其名聲在60年代攀至人生第一個巔峰,一躍成為一個「世界級藝術家」,建立其於西方戰後抽象藝術大潮中卓絕的地位。正如藝評家賈方舟所言:「趙無極是最早在西方獲得成功,也是最早受西方認可的中國藝術家。」究其一生,他馳騁歐、美、亞洲畫壇,在世界各地開過逾百次個人畫展,作品被全球129所博物館與重要機構收藏,包括巴黎龐畢度、倫敦泰德美術館、紐約現代美術館、大都會美術館、西班牙畢爾包美術館、香港藝術館等,不勝枚舉,其人不啻為「華人之光」,其作更為「世界瑰寶」。是次春拍,我們榮幸呈現源自紐約重量級庫茲畫廊舊藏,完成於藝術家備受市場追捧之60年代創作顛峰時期的代表作——《04.06.62》,透過風擎電馳的色彩與線條的光華,走入趙無極自由大膽、壯志凌雲的世界。 日射江門動,龍蟠海霧生:凝聚的強大張力 放下50年代中期於「甲骨文系列」所取得的成就,趙無極的繪畫與人生在1958年躍入了一個嶄新的進階,其畫幅中帶著形體的符號開始消失,轉為完全以色彩和線條來征服畫面,同時,他走出與第一任妻子謝景蘭離婚的陰霾,與蘇拉吉一起走訪紐約,見到美國畫壇的活力與畫家們在大型畫布上展現的強大企圖心,激勵了他的創作,而隨後在返回巴黎的路途中,他行經香港,和影星陳美琴陷入熱戀,隔年買下位於巴黎中貴街的新畫室,此均讓他煥發對於創作強烈的熱情,趙無極自言彼時其創作進入到「不可逆轉的新階段的開始,我要畫看不見的東西:生命之氣、風、動力、形體之生命、色彩的開展與融合…。從這幾年開始,我可以放手做畫,隨心所欲,因為技術性的問題已不存在…在畫布上我與空間搏鬥,不只要填滿它,還要給它生命。我想表現動感:或迂迴纏綿,或風馳電擎,我想藉對比和同一色彩的多重震顫使畫布躍動起來。」《04.06.62》即誕生於這樣的背景中,成為趙無極該階段核心思考的重要例證。 「每一筆都要有每一筆的作用在裡頭,讓畫面醒一醒,就是精神一下。」 ——趙無極 眼前的作品是一個強烈、有震攝力的圖景,採取了趙無極六十年代初期最具代表性的「山脊式」構圖,物象從畫幅的中心往外迸發,此構圖形式僅出現在其1959至1969年間不超過20件的創作之中,彰顯了作品的特出與珍稀性。在《04.06.62》以如商周青銅器、曠野山林所帶著不同明度的綠色彩、大地的褐色彩所共構的背景中,湛藍的筆刷由右至左帶著強大的力度於下方刷出一方碧水,喚起人們對於自然與大海的想像。當中帶著如書法鋒芒的黑線條以飛躍、迴旋、跌宕起伏的姿態生成強大的律動與速度感,從底層往中區向上移動,並藉與其對比的白色、粉膚色線條在畫幅中層層疊疊連綿如泉湧,與震顫的黑線條彼此遮掩、對抗、碰撞,顯示了陰柔與陽剛如何共融、力度與速度如何生發,以及兩者所交迸出時而激昂熱烈,時而柔情悠揚的音韻,共構一如龍捲風般的「雙S型」氣旋。 空間在其中劇烈地扭轉、伸展、上揚,使人透過眼前的視象從內心感覺到生命在躍動、在奔騰,進而對畫境生發出若明代文學家何景明之「日射江門動,龍蟠海霧生」的詩情,及蛟龍得水、呼風喚雨、飛騰升天的想像。觀者可強烈地感受趙無極口中「看不見的生命之氣」,而那宇宙的脈動,就此在我們的心眼中蕩漾開來。正如巴黎現代美術館主任馬卻索(Daniel Marchesseau)所言:「趙無極的繪畫所呈現的是一個豐妍世界的幻境,其浩瀚無垠,遠超乎人類既有的領域,而趙無極是其間的統御者。作品傳達了他內心的感受,具有敏銳的洞察力、宏觀的布局,均勻的色彩,宛如明鏡一般,映射出山岳、海洋、河流與芎蒼。形成一個可供省思與冥想的所在。宏遠的氣質吸引我們深入其中。」當中的萬千氣象,展現了對於自然的深度感知、體察與生命的至真禮讚,令人久視彌珍。 大道無形,凌虛御空:空間的隱現,心靈的詩意棲居 「趙無極以書法的鋒芒結合空氣感的深度,這並不能歸功於波洛克(Jackson Pollock)和克萊因(Franz Kline),卻是表現了一個中國人對於三度空間的直覺。一個中國藝術家所關心的從來不是事物的表面,他總是洞察潛藏在事物後面的東西,而充溢在許多傳統中國畫中的那種煙霧迷濛的遠景,總是暗示著一個超過眼界所及的真實世界。」 ——英國藝術史學家蘇立文(Michael Sullivan) 正如趙無極在1961年所言:「我最近的油畫無不本能的表現中國。」此東方的美感除了表現在《04.06.62》前述中心區域線條的書法筆鋒、流動而雄健的生之氣韻、由中國傳統山水畫如五代荊浩《匡盧圖》的中軸式構圖延伸出的「山脊式」特出抽象構圖外,亦顯現在背景空間的鋪陳。在《04.06.62》的背景中,可見趙無極用了許多相近的色調的烘托,伴隨筆刷水平往復的運動,在塗抹間如中國水墨畫的渲染,藉此製造出一個幽渺的空間,突出核心的前景,同時將空間往後推進到無限,其作用恰如中國水墨中的「留白」,此亦呼應東方老莊的美學觀和宇宙觀。如老子言:「大象無形、大道無名」,又如法國藝評家儒弗瓦(Alain Jouffroy)所說:「東方的宇宙觀,不再是對一山一水,一樹一石的具象式關照,而是一種對大氣盤旋的宇宙大象的宏觀理解和冥想,趙無極的作品清晰的反映了中國人看宇宙萬物的觀點,遙遠和朦朧反映出默念的精神而非默念的具體事物。」此為在西方藝術家筆下難以出現的一種特出藝術格局。趙無極在畫中為觀者建立了一個心靈的安棲之所,我們在其中可歌、可望、可游、可想像、可飛馳,感受那廣渺無垠的時空和大地脈動震撼的心音,達致與天地、自然萬物的合一,這便是無極繪畫迷人的魔力所在。
Oil on canvas
92 × 73 cm. 36 1/4 × 28 3/4 in.
Painted in 1962
Signed in Chinese and English on bottom right; signed in English, and titled on the reverse LITERATURE 2017, Willem de Kooning|Zao Wou-Ki, Lévy Gorvy, New York, p. 103
EXHIBITED 18 Jan – 11 Mar 2017, Willem de Kooning|Zao Wou-Ki, Lévy Gorvy, New York PROVENANCE Kootz Gallery, New York Pascal de Sarthe Fine Art, Arizona Private Collection, Asia 27 Nov 2010, Christie's Hong Kong Autumn Auctions, Lot 1006 Acquired directly by present important private American collector from the above Note: Three labels of New York Kootz Gallery, Arizona Pascal de Sarthe Fine Art, and New York Lévy Gorvy are affixed on the reverse This work will be included in the artist's forthcoming catalogue raisonné prepared by Fran?oise Marquet and Yann Hendgen (Information provided by Fondation Zao Wou-Ki) A Dragon Rises from the Sea, Soaring in the Clouds A Natural Masterpiece from the Creative Peak of Zao Wou-Ki “An Eastern painter stood on a Western peak ... Zao Wou-Ki is a shooting star from China in the international art world.” ——Life magazine, 1954 In 1941, shortly after Zao Wou-Ki had graduated from the Hangzhou National College of Art he held his first solo exhibition in Chongqing, though at that time he mainly painted portraits and the only work sold was purchased by his banker father. During the war books on Western art were difficult to obtain in China and as a result Zao developed his understanding of the genre from articles introducing artists he read in such magazines as Life and Bazaar. In 1948, in an effort to escape the limits imposed by the strictures and conservative traditions of China at the time, the artist traveled to France and where he absorbed Western culture like a sponge, from architecture to classic works by artistic masters in museums and the post-war fashion for abstract expressionism. As Zao focused on one and then the other, he also began to reexamine his own status and started to review a Millennia of Chinese culture and aesthetic heritage -- from oracle bones to inscription of ancient bronze objects, bronzeware, Song Dynasty landscapes and the calligraphy he learned at elementary school ad in these he found the roots of inspiration. Thereafter, Zao sought to blend the essence of Chinese and Western cultures in his works and thereby create a path uniquely his own. As part of this process, he went from an avid reader of Life magazine in 1941 to being the subject of a major piece by the magazine in 1954 as he opened a solo exhibition at Cincinnati Art Museum. The report praised him as “a shooting star from China” who found himself “stood on a Western peak,” but it was through his tireless effort and talent that Zao Wou-Ki made an international name for himself in the world of art. In 1957, Zao signed a long-term contract with the Kootz Gallery, one of the most influential art galleries in France at the time, and an agent for New York, which had signed such top artists as Pablo Picasso and Paul Soulage. Through the efforts of the two, by the 1960s Zao Wou-Ki had scaled the heights of the art world and was considered a “global artist,” a position built on Western post-war abstract art. As art critic Jia Fangzhou wrote: “Zao Wou-Ki was the first Chinese artist to find success in the West and the one with which the West most identified.” Throughout his life, Zao made a splash in Europe, the United States and Asia, holding more than 100 solo exhibitions around the globe, with his works collected by 129 museums and important international institutions, including the Centre Georges-Pompidou in Paris, the Tate Modern in London, The Museum of Modern Art in New York and the Museum of Fine Arts in Bilbao, Spain. At this time, Zao was considered not only called the “pride of China” but also a “global treasure.” On this occasion, China Guardian (HK) is honored to present for auction the work 04.06.62 from the collection of the renowned New York Kootz Gallery, completed in the 1960s when Zao was at the peak of his fame and one of the most sought after artists in the world. Through the luster of the lighting speed colours and lines visitors are invited to experience first-hand Zao- Wou-ki's world of freedom, boldness and soaring ambition. Sunset Opening the Water Gate, a Dragon Bursting from the Sea: Focused Powerful Tension After the attainments of the Oracle Bones Series in the mid-1950s, Zao's painting and personal life entered a brand-new stage in 1958, as shaped semiotics started to disappear from his work and he sought to conquer works through colours and lines alone. At the same time, he also recovered from the aftermath of his divorce from Hsieh Ching-lan. Not long after, Zao and Pierre Soulages visited New York where he saw with his own eyes the energy and great ambition expressed by artists on large canvases in the US art world. This creatively inspired Zao and on the way back to Paris he stopped off in Hong Kong where he met and fell in love with actress Chen Mei-ching. The next year, he bought a new studio in Paris which enabled him to focus his considerable passion on art. Indeed, the artist has himself said that in this period his creative work entered: “The beginnings of a new and irreversible trend, and I wanted to paint things that cannot be seen: the energy of life, wind, motive force, the life of shapes, the unfolding and fusion of colour ... Starting in these years I could focus exclusively on painting and do whatever I wanted, because there were no more technical issues ... I wrestled with space on the canvas, not only to fill it up, but also to give it life. I wanted to express being moved, whether in a circuitous and lingering way or at?lightning speed, I wanted to make the canvas jump into life through the multiple tremors caused by contrasting the same colour.” It was against this background that 04.06.62 was created, making it an important example of the core thinking of Zao Wou-Ki in this period. “Each stroke has to have its own use so the picture can be awakened and filled with spirit.” ——Zao Wou-Ki The work we are looking at is a picture with the power to awe viewers. It utilizes Zao Wou-Ki's iconic “mountain ridge type” composition from the 1960s as the object depicted bursts from the centre of the painting. In addition, the fact this compositional form appears in no more than 20 of the artist's works from 1959-1969, is an indication as to the special nature and rarity of the piece. In some ways, the different shades of green in 04.06.62 are reminiscent of Shang and Zhou Dynasty bronzeware, or a forest on a mountain wilderness and together with the brown earth they create a background, while strong brushstrokes at the bottom of the work bring to life clear blue water, which in turn awakens in viewers imaginings of nature and the ocean. In the painting, the leaping, swirling and undulating black lines painted by the artist with the tip of the calligraphy brush, create a powerful sense of rhythm, which moves from the bottom to the central area, while the white and pink lines contrasted with it accumulate in layers. In addition, the fact the oscillating black lines cover, confront and collide with each other highlights the co-existence of Yin and Yang, how strength and speed occur, and how the interplay of the two causes an explosion of rhythm. This is sometimes excited and passionate, but on other occasions tender and melodious, combining to construct a “double S-shaped” cyclone like a hurricane. In this depiction, space vigorously twists, extends and rises allowing viewers to feel the surging vitality of life deep inside, creating a scene that brings to mind the words of Ming Dynasty writer He Jingming (1483-1521) “Sunset Opening the water gate, a dragon bursting from the sea,” based on the Chinese belief that a dragon can call forth the wind and rain and fly to the heavens when it has water. Viewers feel the universal context characterized by Zao as: “the invisible essence of life” and at this point it causes ripples in the mind that ensure it is observed and cherished. A Formless, Empty and Meaningful Path: Indistinct Space, the Poetic Home of the Soul “Zao Wou-Ki combines the tip of the calligraphy brush with a deep sense of atmosphere, and although this cannot be likened to Jackson Pollock or Franz Kline, it does express the Chinese instinct of three-dimensional space. A Chinese artist never focuses on the surface of an object, but rather seeks insight into what lies behind it, while the misty and indistinct distant vistas seen in many traditional Chinese paintings are invariably allusions to a world that exists beyond what can be seen.” —— British art historian Michael Sullivan In 1961, Zao Wou-Ki observed: “All of my recent oil paintings have been instinctive expressions of China,” an expression of Eastern aesthetics seen in the aforementioned calligraphic brush tip used to paint the lines in the central area and powerful rhythms of life in 04.06.62. It is also present in the “mountain ridge composition” that is an extension of the central axis compositional approach in such traditional Chinese landscape paintings as Mount Kuanglu by Jing Hao (850-911) during the Five Dynasties period and in the arrangement of the background space in this work. Moreover, Zao uses shading of similar hues in the background of this piece, so between the smudging he crafts something akin the rendering of Chinese painting, creating a dark and indistinct space that highlights the core foreground while also pushing the space back into the boundlessness. This is similar to the “leaving of blank spaces” in Chinese ink painting, while also echoing the aesthetics and world view of Laozi and Zhuangzi. As Laozi said: “The great phenomenon manifested by the Path has no shape nor form; the Path hence, is unidentifiable and nameless,” while French art critic Alain Jouffroy observed: “The Eastern world view is no longer a representational focus on one mountain or river, one tree or stone, it is rather a broad understanding and reflection on the swirling ether of cosmic phenomena. The works of Zao Wou-Ki clearly reflect the Chinese world view of the universe and all things in it, with the distance and indistinct imagery reflecting the implicit recognition of spirit and not that of representational objects.” It is also a distinctive artistic layout a Western artist would have difficulty replicating. In this painting Zao establishes a home for the soul of the viewer, wherein we are moved to praise, to travel and to take flight, as we feel the vast and boundless nature of time and space and the strong heartbeat of the land. As a result, the work achieves oneness with Heaven and Earth and all things in nature, and herein lies the enchanting magic of Zao Wou-Ki's painting.

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