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吳冠中 1919-2010 富春江之晨 Wu Guanzhong Morning Scene of Fuchun River
香港 北京时间
2023年04月06日 开拍
拍品描述
油彩 木板
一九六三年作
款識 荼 63(右下)富春江之晨 吳冠中(畫背) 出版 1994年,《天南地北風情——吳冠中》,藝達作坊,新加坡,第22至23頁,圖版第6號 1994年,《香港亞洲藝術節》,國際藝術博覽會,香港,第157頁 1994年,《吳冠中個性之旅》,Notices畫廊,新加坡,圖版第62號 2007年,《吳冠中全集:第二卷》,湖南美術出版社,長沙,第141頁 2008年,《吳冠中畫集(下卷)》,江西美術出版社,江西,第263頁
展覽 1994年10月28日至11月2日,「新加坡寶藏展」,新加坡 1994年11月10至13日,「吳冠中個性之旅」,Notices畫廊,新加坡 1994年11月17至21日,「天南地北風情——吳冠中」,亞洲藝術博覽會,新加坡斯民藝苑、香港一畫廊展位,香港 來源 1997年11月3日,香港佳士得秋季拍賣會,拍品編號324 現亞洲重要私人藏家直接購自上述來源 澄懷致遠天地客,一程山水一年華 吳冠中六〇年代珍稀美術館級油畫臻品《富春江之晨》 1994年,吳冠中在「天南地北風情」展覽畫冊中題寫道:「踏遍青山,步徐霞客的後塵,比徐霞客走的更遠,探幽尋奇……我只陶醉於山川風物之異,人情品貌之繁,但也並非旅行寫生,繪圖日記,旨在採形煉型,營造自家深園。」山水知我意,行行重行行。吳冠中的一生,是深耕「自家深園」、行走天南地北、譜寫山水風情的一生,是投身「油畫民族化」、不懈革新中國美術的一生,更是創造一條連接傳統與現代、東西文化交流之路的非凡一生。吳冠中在1991年獲法國文化部授予「藝術與文學勳章」、1992年成為首位在大英博物館舉辦個展的在世華人藝術家、2002年當選法蘭西學院藝術院士,在他如「當代徐霞客」般五十年的藝術行旅中,他「中西並進」、「水陸兼程」,涉獵西式油彩、水彩、東方水墨、鋼筆,無一不擅,以此回饋於生養、滋潤他的祖國山河,一如1950年旅法時他寫下的字字箴言:「我將在故土長成大樹」、「無論被驅在祖國的哪一角落,我將步步真誠!」 1947至1950年的旅法經歷令吳冠中得以純熟掌握西式油彩的色彩力度、現代藝術的造型結構,歸國後長時間的對景寫生使他磨銳了敏感的心與眼,進而於六〇年代達至油畫創作第一個成熟高峰。是次上拍、完成於1963年的《富春江之晨》正為其「肇自然之性,成造化之功」的一幀融合中西形式美、開創高遠意境、蘊藉高度文人雅韻的博物館級油彩精品。作品曾於1994年先後巡展至新加坡、香港的「天南地北風情」藝術家個展,其後並亮相於新加坡「吳冠中個性之旅」展,獲得廣泛回響,作品並被收錄於藝術家全集、1994年《香港亞洲藝術節》展覽名錄等5本權威出版,代表性和重要意義歷歷可見,不同凡響! 妙筆連珠,繪天下獨絕之境 「我愛繪畫中的意境,不過這意境是結合在形式之中,通過形式才能體現。用繪畫的眼睛去挖掘形象的意境,這就是我藝術生涯的核心。」 ——吳冠中《油畫實踐甘苦談》 回顧《富春江之晨》完成的1963年,吳冠中在該年春前往浙江桐廬富春江一帶寫生。有「小三峽」之稱的富春江自古名揚天下,常言道「天下佳山水,古今推富春」,既有「重重似畫,曲曲如屏」、「奇山異水,天下獨絕」的鐘靈,又有黃公望傳世名作《富春山居圖》、嚴子陵隱居富春山的美譽,令無數文人墨客心嚮往之。生於江蘇的吳冠中,此前28年的藝術生涯中雖走過萬水千山,然令其最念念不忘的,仍是江南故鄉的秀水風光。當他面對富春江「一折青山一扇屏,一灣清水一條琴」的勝景,如獲精神和鳴,一口氣創作了六幅「富春江」主題油畫,六件作品尺寸相同,但分別由漁船、沙洲、碧水、江岸、梯田、奇木的不同視角,鋪展出富春江一帶充滿雅韻的早春景致,此後亦未再作該地域的描繪,可謂其創作生涯中「空前絕後」的一環。受彼時經濟拮据所限,吳冠中60年代的油畫創作的數量並不多,他亦十分珍惜每次外出行旅寫生的機會,至一處常以移步換景的方式兩三次描寫當地景貌。然而縱觀其畢生油畫,「富春江」為其「同尺幅數量最多」的主題系列,此後僅在1975年的嶗山行中,連作6幅不同尺寸的油畫銘記,此突出了前者的特殊性。而此番意氣風發、妙筆連連之姿,不僅見證此景此境與其精神高度契合,更顯示他在60年代挑戰自我如何在同一尺寸的畫幅、面對相似的地景,幻變出萬千的藝術風姿,不啻為其創作功力臻至純熟與靈感噴湧的重要見證。 該系列之《富春江上打漁船》已被納入上海中華藝術宮收藏,而描繪碧水的《富春江邊》則在2021年以2645萬人民幣的高價易手。是次呈現的《富春江之晨》,構圖在六件之中最為奇絕,以近距離描寫奇木的視點出發,盡現江河自然與人文風采,無論在用筆、著色、構圖、意境的呈現上皆為藝術家精心佈局而妙意獨具,他將山水的秀、岸諸的曲、樹木的奇、春意的鬱盡納筆下,汩汩詩情雋永流出,正體現其貫通東西藝術形式美、譜寫生命意境、寫通天盡人之懷的藝術高妙。作品由現亞洲重要私人藏家於1997年拍賣購得,在過去26年來悉心珍藏,如今甫再面市,為收藏吳冠中創作黃金時期經典代表可遇不可求之良機! 春拂新枝,深重歸根:擁抱天地的生之頌 《富春江之晨》中最令人驚嘆的,乃是對樹木姿態與枝幹線條詩意的描寫,堪為一絕。「寫其起伏,寫其疏密,寫其線之流竄,畫面上於是掀起一陣點、線、面的喧鬧。」在此畫中構圖安排上,他將幾棵自坡地斜向生長的奇樹置於畫幅中央,以充滿力量感、衝霄入雲的氣勢幾乎貫穿整張畫幅。林木間可見如「夫妻樹」般依偎交織,或昂首而立、競相生長,賦予了樹木擬人化的性格和隱喻,並同時構繪出親疏錯落的動態、平衡之美。當中點、線、面頓挫昂揚的姿態豐富得不可思議,得見藝術家在書法、線條表現之美的完熟掌握,以及在 90年代開展的抽象形式美之雛形,增添此作深意。 觀其描摹樹幹,落筆剛勁,以律動的橫向短筆層層向上迭動,令枝幹綿延如龍蛇競走、盤空升騰,塑造出堅實明朗、身曲神直的風骨;其間枝條飛揚,如絲如縷,具北宋李成蟹爪枝的參差野逸,其下筆不帶一絲一毫的遲滯,提頓靈動,俐落分明,將樹木的身姿與生命力不斷往外延伸、擴大,最左者若像伸出雙手與張開每一個細胞奮力地擁抱所處的世界,戲劇性地展現早春冷冽中自強不息的生命力,而在枝條的綿密交織中亦透出呼吸的空間、將空間感往前推進;在江岸的土壤,幾筆刮刀在最下角帶出縱向的線條,如同樹木的根鬚紮入大地,為此清風春意增添一份「深重歸根」的情懷。畫面最核心的三棵樹木合以線之舞動,呈現疏密有致、主次分明的筆墨韻律,旁逸斜出的奇絕之姿,帶來隨風拂而起舞的動感,靜中生動,生趣盎然。而若再細看其間,可發現點狀的綠色彩筆如音符般歡欣躍動,展現綠芽新抽、春葉萌發的新生力量。作品以樹木為具象載體,自東方書法的勢象走筆,將之注入擬人化的情感與性格,傳達了大地在寒冬過後,自然以蘊藉了強大與堅毅的生命力,正欲起舞而動,如初醒般展現萬般春華,其間渾然天成的生之韻律與詩意的感受,值得細細品味。 搜妙創真,彩筆賦情的文人詩篇 「世間盡有奇險之處,非畫家傳寫,老死牖下者不得見矣。然亦不必世間定有是處也。凡畫家胸中之所有皆世間之所有也。」 ——明末清初畫家龔賢 而有別於其他富春江之作多以橫幅呈現,此件《富春江之晨》獨到地以如傳統水墨畫的縱向、深遠的佈局經營,創造出「咫尺之圖,寫千里之景」的廣邈,既具淡泊致遠的縹緲韻味,又見方寸間構繪天地的奇絕張力,將古今畫意合融其中,獨創富春風情。 在創作《富春江之晨》前的1962年,吳冠中於《美術》雜誌上發表《談風景畫》一文,提出:「我覺得在直接對景寫生中感受較深,無論是捕捉色彩的敏感性和用筆效果等方面是很可貴的」的主張,肯定了寫生之重要性。他將此般銜接上源下流,兼具平遠、深遠,通達東西南北走向的寫生意識傳遞在《富春江之晨》中。在構圖上,承接南宋馬遠、夏圭「半山半水」與元代倪瓚「一河兩岸」的遺風,由江岸一隅切入,契合富春江「兩岸夾江,中有沙洲」的天然地形,隨綠岸、斜樹、沙汀、白帆、屋宇以及如同詩意留白淺降的藍灰用色,步步讓空間從前景的樹林遞向遠方的山水、天際,營造出強烈的空間層次和透視感,鋪展出如南北朝詩人吳均筆下「風煙俱淨,天山共色。自富陽至桐廬一百許里,奇山異水,天下獨絕!」的富春畫卷。 與此同時,吳冠中亦在法度之中探求新意,充分強調自由構圖的創新意識和彩筆賦情的光色表達,「我自己作畫時,也是先遊一遍,構思一番,在小本上或腦子裡構好圖,乃至動手寫生時,作成一幅畫往往要變換幾次寫生地點」。畫中景物組織,並非拘泥於對實景的平鋪直敘,而是將縱與橫、藏與顯、起與伏、明與晦的變化關係,巧妙穿插。畫中江波浩渺,堤岸曲動,以縱橫之向引入大氣曠遠的傳統東方山水畫境。但放眼江岸,百草豐茂,樹木斜生,高明度的靛藍、鵝黃、翠綠、赭石、橄欖綠等豐富色彩流動交疊,與畫中綠如碧藍的一江春水相互映襯,以西方繪畫中強調的肌理感構建草木華滋、水天一色的和諧音韻。而推至江中的沙洲寒汀,影影綽綽中獨現富春江的別韻靈秀,乘風遠航的白帆漁船,在枝葉的縫隙中清晰露出,一隱一現,更添清晨時分薄霧漫漫的詩性畫意。而當視線游至遠方,江南的白牆黑瓦,如縈繞心頭的故鄉,在對岸浮現,在縹緲的遠山中訴說對故鄉的深情。藉由景與彩的精心裁剪,吳冠中以寫生的造化感知,走向更為廣闊的寫意心源。 藝評家徐虹曾評述:「作品《富春江之晨》(1963)、《富春江》(1963)、《微山湖》(1962)等作品可以看到吳冠中對傳統山水和樹木畫法的採用,中國傳統繪畫中的審美意境——『空靈』、『蕭疏』、『淡泊』、『飄逸』——時而直接時而含蓄地流露於畫面之中……吳冠中最有中國特色的作品還不僅僅是發揮『水性』的形式,而是更有綜合內容的,包括對色彩的平面化處理,點、線、面的抽象結構和簡化了的具體物象關係,以及油畫色彩的濃重和豐富性,與中國民間藝術清新明朗的格調和傳統中國畫淡雅清澄趣味的結合。」《富春江之晨》將山水構圖、筆墨章法,綜合性地匯融在那簡靜悠遠、充滿文人雅韻的油彩色調之中,把江南的濃濃詩景訴諸筆端,化為境的新生,在這雋永毓秀的畫幅中,傳遞了吳冠中六〇年代以西式彩筆賦情寫意的美學高度,展現如石濤「借筆墨以寫天地萬物而陶泳乎我也」的精神追求。 勤勉富足:一日之計在於晨,永恆的生命情味 「踏遍祖國的角角落落,窮鄉僻壤,體會到土地的芬芳與人民純樸的心腸。排除了名、利的干擾與誘惑,寂寞耕耘了三、四十年,一味追求自己的藝術理想,漫長歲月中與外界完全隔絕了,過著孤陋寡聞的生活,但卻是地地道道土生土長的年華。」 ——吳冠中 寄情山水而融於自然,隱於山林而忘於江湖,600年前,黃公望在《富春山居圖》中抒寫天人合一的真諦,令富春江成為「精神的歸隱之地」。然而吳冠中的《富春江之晨》,卻不止於文人山水。在1994年展覽畫冊中,他為此件題寫道:「薄霧春陰,帆影遠,富春江上打漁船。」契合題意中「晨」始初春、萬物復甦的意境,在初晨的薄靄裡,投下生命的縮影:畫中晨起洗衣的婦人、江中遠行的漁舟、帆船、白牆黑瓦的徽派屋舍,都透露著來自江南人家的煙火氣息,訴說著勤勉富足、蓬勃朝氣的生命力量。 在這一山晴空、一水澄澈之中,吳冠中以「風箏不斷線」、連接生活情味的藝術理念,自富春江清晨的風土人情中,道出「一年之計在於春,一日之計在於晨」這一亙古不變的生命思索,以「一江煙水照晴嵐,兩岸人家接畫簷」的畫境中,滌蕩著天地悠悠、歲月無疆的澄澈心懷! 秉持對美的堅貞信仰,吳冠中行走在貫穿其生命歷程的寫生山水行旅中。其人其藝,正如《富春江之晨》畫中那雪融柳綠、天青垂水、草長鶯飛的初春時分,走過歲月江河,依然欣欣向榮,永遠生機勃勃,始終是那初生的不息力量。
Oil on wood panel
61 × 46 cm. 24 × 18 1/8 in.
Painted in 1963
Signed in Chinese and dated on bottom right; titled and signed in Chinese on the reverse LITERATURE 1994, Panorama by Wu Guanzhong, L'Atelier Production Pte Ltd., Singapore, p.22-23, pl. 6 1994, Art Asia Hong Kong, International Fine Art Expositions, Hong Kong, p. 157 1994, Wu Guanzhong: A Journey of Individualism, Notices The Gallery, Singapore, pl. 62 2007, The Complete Works of Wu Guanzhong, vol. II, Hunan Art Publishing House, Changsha, p. 141 2008, Paintings by Wu Guanzhong vol. II, Jiangxi Fine Art Publishing House, Jiangxi, p. 263
EXHIBITED 28 Oct – 2 Nov 1994, Tresors Singapore, Singapore 10 – 13 Nov 1994, Wu Guanzhong: A Journey of Individualism, Notices The Gallery, Singapore 17 – 21 Nov 1994, Panorama by Wu Guanzhong, Art Asia Hong Kong, The Booth of Soobin Art Gallery and Zee Stone Gallery, Hong Kong PROVENANCE 3 Nov 1997, Christie's Hong Kong Autumn Auctions, Lot 324 Acquired directly by present important private Asian collector from the above Embracing Moments in an Ever-Changing World Rare 1960s Museum Quality Oil Painting Masterpiece by Wu Guanzhong – Morning Scene of Fuchun River In 1994, Wu wrote in the exhibition catalogue for Panorama by Wu Guanzhong: “I walked the lush mountains in the footsteps of Xu Xiake, but traveled further than Xu investigating the hidden mysteries of things ... I reveled in the differences of landscapes and the diverse lives of people, but I did not paint from real life or keep a pictorial diary during my travels, choosing instead to focus on certain subjects and craft my own artistic skills.” In 1991, the artist received the Ordre des Arts et des Lettres from the French Ministry of Culture, in 1992 he became the first living artist to hold a solo exhibition at the British Museum and in 2002 was elected as a fellow to the Académie des Beaux-Arts. As a “modern day Xu Xiake,” the 50-year artistic journey of Wu Guanzhong saw him become adept at “cultivating eastern and western elements in equal measure” as well as “land and water vistas.” He also dabbled in Western oil painting and watercolours, while embracing Chinese ink and pen painting as a way of repaying the nurturing provided by the mountains and rivers of his homeland. Wu Guanzhong's oil painting work reached its first peak in the 1960s. The work being auctioned on this occasion is Morning Scene of Fuchun River completed in 1963, a museum quality oil painting and excellent example of the artist's ability to combine Eastern and Western aesthetic forms with a literati feel. The piece was previously included in the touring solo exhibition Panorama by Wu Guanzhong which visited Singapore and Hong Kong. It also made a later appearance in the Wu Guanzhong: A Journey of Individualism exhibition in Singapore, where it was well received, and has featured in five authoritative publications, including the artist's catalogue raisonné and the Art Asia Hong Kong exhibition catalogue in 1994, indicating the importance of the painting. Exquisite Brushwork, Employed to Depict Unique Scenery In the spring of 1963, Wu Guanzhong traveled to Fuchun River in Tonglu County, Zhejiang Province to paint from real life. The river has been world-renowned since ancient times and is sometimes called the “Little Three Gorges.” Faced with the wonderful scenery of southern China, the place of his birth, Wu appears to have been particularly inspired or motivated and painted six works with the name “Fuchun River” in the title in quick succession. These pieces were all of roughly the same dimensions, but each one showcased a scene on Fuchun River from a different and unique perspective – fishing boat, sandbar, blue water, river bank, terraced fields, strange-shaped trees. Thereafter, Wu never again painted the area, making this a “never before known and never again occurring” period in his creative career. Limited by his financial circumstances in the 1960s, Wu Guanzhong did not produce many oil paintings at that time and cherished every opportunity he had to travel and paint from real life, so much so that he often painted the same scenes two or three times from different perspectives. Moreover, if we review the oil paintings Wu produced throughout his career Fuchun River was the thematic series for which he produced most pieces of similar dimensions. Thereafter, he visited Laoshan in 1975 and painted six oil paintings of different dimensions to record his trip. This highlights the special nature of the earlier works while also revealing how in the 1960s the artist challenged himself to create an artistic style imbued with myriad changes when painting multiples works of the same scenery in similar dimensions. As such, this piece is an important testament to Wu's well-honed painting skills and surging inspiration. The work Fishing Boats on the Fuchun River from the same series is already part of the collection of the China Art Palace in Shanghai, whereas By the Side of the Fuchun River with its depiction of the blue river water exchanged hands in 2021 for 26.45 million Yuan. In addition, the auctioned piece Morning Scene of Fuchun River has the most intriguing composition of the six works in the series. It starts with a close up visual of strangely-shaped trees showcasing the natural and cultural landscape of the river, while the artist exquisitely and meticulously lays out the brushwork, use of colour, composition and artistic conceptualization of the work. The painting was purchased at auction by an important private Asian art collector in 1997 and has been well looked after in the intervening 26 years. Its appearance on the market after such a long time represents a serendipitous opportunity for any art lover looking to add a classic work from the peak creative period of Wu Guanzhong. New Spring Shoots, Back to the Beginning: In Praise of Embracing Life The most wonderful part of Morning Scene of Fuchun River is the way in which Wu's depiction of the posture and lines of the branches imbues them with poetry. In terms of composition, he places a small number of strange-shaped-trees on a slope, growing at an angle, in the very centre of the work. These exude a sense of strength and seem to almost soar into the sky with an energy that informs the whole painting. The way in which the trees are intertwined like a “couple tree,” stood firm and tall and appear to be competing to grow, also imbues them with anthropomorphic qualities, while at the same time constructing a dynamic focused on closeness, distance and the beauty of balance. Through the rich array of dots, lines and surfaces the artist's comprehensive training in calligraphy and line expression is showcased, as are the embryonic forms of abstract beauty that he first started to use in the 1990s, adding greater depth and meaning to the work. If we look at the way in which Wu depicts the tree trunks, the strength of the brush strokes can be seen in the layers of vivid rhythmic lateral upward-moving short strokes. Of these, some of the branches seem to soar, but the artist shows no hesitation with his brush which is reminiscent of the jagged yet graceful crab-claw trees painted by Northern Song artist Li Cheng (919-967), with an emphasis on the way the physicality and life energy of the trees extends outwards. The tree to the far left appears to be reaching out its arms and straining every fiber of its being to embrace the world, dramatically showcasing an inextinguishable energy even in the coldness of early spring; If we look more closely, the green dots jump with joy like musical notes, drawing attention to the new life represented by the green shoots. As to the soil on the riverbank, a few strokes of a painting knife in the bottom righthand corner create lateral lines that resemble roots planted in the ground, which adds a sense of nostalgia at “returning to one's roots” to the scene. The dance-like movement of the lines shared by the three trees at the centre of the work highlights an ink rhythm informed by order and vitality in stillness. With the trees as a representational vehicle, Chinese calligraphic brushwork imbues the depiction with human-like sentiment and character, conveying how after winter passes the strength and unbowed vitality of nature stirs to life. As if waking for the first time, a cornucopia of spring glory is displayed, with the rhythm and poetry of naturally formed life being something to very much savor. Searching for Truth, “Literati Poetry” Comprised of Colourful Brushwork Imbued with Emotion Whereas most other depictions of Fuchun River are horizontal paintings, Morning Scene of Fuchun River adopts a vertical perspective and depth layout more familiar in traditional Chinese ink painting, creating a broad and remote view that appears simultaneously “close but seemingly a thousand li distant.” In the year before painting Morning Scene of Fuchun River, Wu Guanzhong wrote an article titled On Landscape Painting in Art Magazine in which he affirmed the importance of painting from real life: “I find that the feelings run deeper when I directly face what I paint, which is invaluable when seeking to capture the sensitivity of colour or the effect of brushwork.” In terms of composition, he also followed the “half water, half mountain” approach of Ma Yuan (1160-1225) and Xia Gui (1195-1224) from the Northern Song Dynasty and the “two banks” focus of Ni Zan (1301-1374) in the Yuan Dynasty, in this instance depicting a corner of the river where the natural topography of Fuchun River shows sandbanks in between the two riverbanks. The combination of green river banks, angular trees, sandbanks, white sails, buildings and the poetic blank space-like blue-grey colour, creates a powerful sense of spatial layering and perspective that allows the space to evolve from the trees in the foreground to the landscape and horizon in the distance. At the same time, Wu Guanzhong also emphasizes the innovative consciousness of free composition and the expression of light by colours imbued with sentiment. As such, the organization of the scenery is in no way limited by the need to rigidly portray reality. Indeed, Wu chooses to ingeniously intersperse the work with the changing relationship between horizontal and vertical, hidden and shown, rising and falling, bright and dark elements. In the painting the wide expanse of the river together with the arc of the embankment and its length and breadth introduce the atmosphere and expansiveness of traditional Chinese landscape depictions. However, if we look at the river bank, the lush grass and sideways growing trees, together with the flowing interplay of rich colours -- bright indigo, light yellow, emerald green, ocher and olive green -- contrasts with the green-blue water of the river. In this way, Wu adopts the textural feel of Western painting to construct the lush flora and harmonious sky and water painted the same colour. The eye-line of the viewer gravitates to the distance as the white walls and black tiled roofs of southern Chinese buildings appear on the other bank among the ethereal mountains in the distance, a testament to the depth of feeling the artist feels for his homeland. Moreover, through the intricate shaping of scenery and colours, Wu Guanzhong takes the creative perception that comes with painting from real life and takes it in the direction of a broader freehand expression of heartfelt sentiment. Riches of Diligence: The Morning Is the Most Valuable Time, Imbued with the Immutable Taste of Life Huang Gongwong(1269-1354) painted the classic work Dwelling in the Fuchun Mountains more than six centuries ago. In it he depicted the true essence of man and nature united while forever denoting Fuchun River as a “place of spiritual seclusion.” However, Wu Guanzhong's Morning Scene of Fuchun River is more than a mere literati landscape. In the 1994 exhibition catalogue he wrote: “Among the mist and spring shade, there are shadows of sails in the distance and fishing boats on Fuchun River.” The framing “morning” in the title of the painting depicts the “early spring” when living things burst back into life, and in the early morning mist the artist presents a microcosm of life: housewives getting up to wash clothes, the fishing boats in the distance, sailboats and white-walled, black-tiled roof Hui style buildings reflect life of southern China, while also underscoring a life informed by the riches of diligence and vitality. Among the mountains, sunny sky and clear water, Wu Guanzhong uses the idea of “the unbroken string of the kite” to tie together an artistic philosophy informed by life scenarios. Indeed, the local scenes played out along Fuchun River in the morning are a testament to the immutable ancient aphorism that “spring is the most important part of the year, the morning the most important time of the day.” Moreover, in the scene of “connected houses on the river banks in the early morning mist, sun and cloud,” viewers can experience for themselves the timelessness of Heaven and Earth, the boundlessness of time.

本场其它拍品

  • Lot 41
  • Lot 42
  • Lot 43
  • Lot 44
  • Lot 45
  • Lot 46
  • Lot 47
  • Lot 48
  • Lot 49
  • Lot 50
  • 竞价阶梯
  • 快递物流
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价格信息

拍品估价:8,000,000 - 15,000,000 港币 起拍价格:8,000,000 港币  买家佣金:
落槌价 佣金比率
0 - 5,000,000 20.00%
5,000,000 - 20,000,000 17.00%
20,000,000 - 以上 14.00%
服务费:本专场服务费按成交价(含佣金)的1.5%收取,最低200元

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