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吳冠中 1919-2010 老重慶 Wu Guanzhong Chongqing of the Old Times
香港 北京时间
2023年04月06日 开拍
拍品描述
油彩 木板
一九九六年作
款識 96 荼(右下) 老重慶 吳冠中 1996(畫背) 出版 1999年,《1999吳冠中藝術展作品集》,中華人民共和國文化部及中國美術館,北京,第109頁 2003年,《吳冠中作品收藏集I》,人民美術出版社,北京,第236至237頁 2007年,《吳冠中全集:第四卷》,湖南美術出版社,長沙,第159頁
展覽 1999年11月5日至12月2日,「1999吳冠中藝術展」,中國美術館,北京 來源 2005年11月4日,中國嘉德秋季拍賣會,拍品編號18 現亞洲重要私人藏家直接購自上述來源 寫我丹青,巍巍山城 吳冠中「第二故鄉」重慶傾情油畫至臻之作 「七十年代我用油畫和水墨寫生過重慶,畫那密密麻麻的古老樓之林、黑屋頂白的山牆之城,作風介於具象和抽象之間,予人感覺是具象的,其實須依靠抽象的手法,如果真具象地畫一間一間的屋,則十年也無法完成。二十年沒有再去四川了,換了人間,今日重慶是何光景,諒絕非故人之貌了。翻閱自己畫集中的老重慶,又生懷古情結……願她永葆青春,不隨作者同衰老。」 ——吳冠中 自古典江南小橋流水人家到現代摩登市景,吳冠中以他獨特的視角歌頌所見之美,自七十年代起將自身從西方抽象藝術中領會的感知融入筆下,以點、線、面建構對自然萬物的理解,並在國內外行旅中積累豐富的視覺經驗與靈感,使其筆下的風景隨時光推進而不斷演化,終發展出兼具寫實主義的「情感之真」與表現主義的「意象之美」。 白首起舞,吳冠中「重慶」系列珍罕之作 吳冠中踏遍大江南北寫生,而除其江蘇故鄉之外,「重慶」一地對他別具意義。回憶抗日戰爭期間,杭州藝專自杭州步步向沅陵、昆明、重慶內遷。1941年,在藝專就讀的吳冠中隨導師林風眠等人首次入渝,當時在刻苦的生活中,林風眠仍不斷教導學子用心眼體察景物、自然的風光,此令吳冠中在戰時對重慶這個城市留下難以抹滅的深刻印象。而在1943年藝專畢業之後,他人生第一份工作即獲至於重慶大學建築系任教,更與任職於該校附屬小學的朱碧琴相識相戀,結為佳偶。而在教學之於他亦創作不懈,同年,他人生中的第一次個展於重慶沙坪壩青年宮舉行,此展廣受好評,亦促成其1947年留學巴黎之契機。因此,我們可以說,重慶一地見証了他的青春時光、愛情、婚姻及藝術事業的萌芽,對其別具意義。吳冠中曾在回憶錄《風箏不斷線》中寫道:「我居重慶郊區五年,憶及蜀中風物人情,彷彿第二故鄉,故曾多次入蜀寫生??每入蜀,情思脈脈,年光倒流。」重慶地貌崎嶇,長年霧雨迷濛,又被稱為「霧都」,舊棚與新樓參差坐落,倚於湍流的長江、嘉陵江畔,形成獨特的三峽風景,此風貌亦感染了吳冠中,他曾多次描繪重慶,據考據,自1972至2003年間,他先後創作了13件「重慶」系列之作,當中包含6件油畫,7件彩墨,其中四件分別為其摯友朱德群、香港知名藏家羅桂祥博士、上海美術館收藏,而是次上拍,完成於1996年的《老重慶》為「重慶」主題唯五件流於民間的珍稀油畫,見証他步入新局的創作大境。作品由亞洲重要藏家自2005年購入後逾18年來細心收藏,今春甫現身市埸,珍絕難得! 在《老重慶》誕生的1996年,吳冠中已隨中國改革開放的步伐邁向國際,不僅在1981年曾以「中國美術家代表團團長」的身份出使西非及日本,1992年更在倫敦大英博物館舉行個展,成為史上首位於該館展出的在世藝術家。藝術事業的榮景讓他更加沉穩歷練,每次發揮都全力施為,務求將最美好的風彩呈獻於世人眼前。回顧其90年代的創作之風,他不再像70年代注重細節、外貌的刻畫,採取更為抽象寫意的路徑,簡化了風景的寫實細節,突出其中蘊藏的幾何、抽象美感,在創造美感體驗時,將畫面韻律、意境、精神感悟融入其中,而《老重慶》便是其「白首起舞」,創作步入臻境的一幀力作,既展現重慶山城的豐富刻鏤,又見其以水墨筆調來處理油彩,達致「色墨交融」的視覺契合,進而成就一「油畫民族化」的完美典範。 擁抱抽象,步入自由之境 在創作風格上,吳冠中過往傾向展現物像的自然形態,自1980年代末後,隨著心境上的開闊、技法的圓融,如入無人之境,他逐漸趨向抽象。他將現實景觀簡化為豐富的線條、圓點、有力的色面、墨染和色彩。他曾在回憶錄中指出:「脫離內容的純粹形態無法真正概括現實;在具象藝術的核心,一定存在某種程度的抽象美。」而《老重慶》正恰恰為其擁抱抽象、走入自由之境之經典。 細觀此作,我們可感受到,他亦警惕、不盲目跟隨西方走向完全的抽象,他將藝術家的視角和客觀現實之間的關係類比為不斷線的風箏,而抽象僅限於提取形式的「本質」:《老重慶》在構圖上,以明確的形與色分割出房屋、河流,以抽象的色塊為分界,襯托出具象而細節豐富的船舶、房屋、長江,進而烘托出一個既具備形魂,又充意想像空間的重慶老城。彰顯藝術家耄耋之年爐火純青的筆法與超然的色感。 融貫中西,構築時代之筆 《老重慶》畫面以鱗次櫛比的樓房為主體。吳冠中在此以厚重、短小、快速點染的筆觸描繪出重重向上推進、密密匝匝的房舍。以垂直或橫向擦出的短筆為主旋律,輔以旋轉起伏,從不同角度和方向點染的油彩、堆疊色層,留下或曲、或直、或扭動、或迂迴的視覺效果,豐富異常,細而觀之不禁令人迷炫其中;遠看為一排接著一排的色面,近看色彩常呈現為一團、一組的多重色層。以堆疊的油彩突出材料本身厚重濃稠的質感,突顯油彩色層的綿密疊換和交錯,而在遠景處,他甚至把建築的輪廓線一併消減,在那抽象的色塊交疊、暈擦間,呈現水氣濕潤、氤氳之感,一展重慶山城雲霧迷漫的景色。作品充份印證吳冠中所論「美就美在鱗次櫛比和參差錯落間」,展現了形體、色彩與空間如同千面女郎般豐富的面貌。其中幾何塊面令人聯想起荷蘭藝術家蒙德里安(Piet Mondrian)《百老匯爵士樂》畫中具獨立美感的色塊,但吳冠中並未如蒙氏徹底拋棄外物的具體形象,而保留了與廣大大眾溝通的線索。《老重慶》完美展現了吳冠中藝術風格由具象轉入半具象、抽象過程中一道自由而美麗的動人景貌,以及那變化中的中國。 繼往開來,回首江山大境 《老重慶》畫中碧水如黛偕同藍天環抱山城,在江水的表現上,藝術家透過迷濛滄茫的淡藍與白,營造如中國水墨畫中煙雲翻騰、晦冥變化的空靈山水景觀,並使人窺想山城的大浪拍沙、生機蕴含。而在沿岸處可見幾艘小船由遠方緩緩駛入山城,正要靠岸,構圖充滿動態發展感。並藉此令觀者的視覺中心及廣度向左右、乃至畫面以外的想象空間延展,呈現出一種如電影般的移動式運鏡,連續的意象恰恰暗示時間的流逝,以多重的流動視點牽引觀者,而畫面以晴空、江河環繞人工城市及大地之姿,也融入了中國文化獨特的「人類依託於自然」的宇宙觀,突顯藝術家晚年平和自得、天人合一的遼闊心緒。 色墨交融,一展人間情味 「煙火參差家百萬,波濤上下浪三千。 江流自古書巴字,山色今朝畫巨然!」 ——何明禮《重慶府》 讀清代文人何明禮的詩,可感受到重慶山城岸邊湧動的江水,及城內人煙鼎盛的風景,而正是這樣的地貌景觀,令重慶在吳冠中的筆下展現出一種既巍峨又不失靈動的特出風采。《老重慶》有著如後印象派的堆疊筆觸及斑爛色彩。然而這種筆觸又若是中國書法「點、撇、按、捺」筆勢的轉化。畫面中水及天空的色彩在青藍色基調上,藉著頻繁變化的筆觸,滲入微量的黑、白,以及不同層次的灰調增刪,呈現同系色彩中的細膩遞變,仿若轉換了中國水墨畫「墨分五彩」、「暈染化散」的視覺效果。相較吳冠中1974年以棕色為主調的《長江山城》,《老重慶》用色更為明亮洗鍊,一展其開朗、豁達的生命境界。而兩相比對,亦可發覺儘管兩者畫面皆是自左至右徐徐展開,但吳冠中在《老重慶》的構圖上放棄了橫軸構圖,以近乎正方形比例取而代之,使其更具現代感及強化焦點重心。而在前者中逼仄的貨船在《老重慶》裡化為承載遊客的扁舟,並以淅淅瀝瀝的人群點綴了鱗次櫛比的山景,其間漁夫歸家、婦人浣紗、勇者攜夢出海、幼者於岸邊嬉戲??作品雖描繪宏偉的重慶之景,卻通過化龍點晴的幾筆勾勒點綴,生動地描寫出關於「人」的故事——那些山間一棟棟點亮的屋舍、若人們一個個燃亮的夢想,在巨然山色的掩映下,演繹著一個個日出而作,日落而息,那些平凡又不凡的生命故事,交織出這城市最為亮麗的風景,為此作注入一種前所未有的人間情態,令人回味再三。 通過《老重慶》,吳冠中傳達了中國美學文化中的場景和哲學觀。也代表藝術家成功融入中國美學元素的創作碩果。回望此作,恰似俯仰今昔,那巍峨山城既是幽幽鄉愁,更飽含對未來的無限願景,「願她永葆青春,不隨作者同衰老」,如今,這座既古老又富含活力的城市,在滔滔嘉陵江水的見證下,川流不息,煥發勃勃生機,正如其所願。
Oil on wood panel
44 × 45.8 cm. 17 3/8 × 18 in.
Painted in 1996
Signed in Chinese and dated on bottom right; signed and titled in Chinese and dated on the reverse LITERATURE 1999, Art Exhibition Collection of Wu Guanzhong, Ministry of Culture of the People's Republic of China and National Art Mueseum of China, Beijing, p.109 2003,?Wu Guanzhong - Connoisseur's Choice I, People Fine Arts Publishing House, Beijing, p.236-237 2007, The Complete Works of Wu Guanzhong, vol. IV, Hunan Art Publishing House, Changsha, p.159
EXHIBITED 5 Nov – 2 Dec 1999, Art Exhibition Collection of Wu Guanzhong, National Art Museum of China, Beijing PROVENANCE 4 Nov 2005, China Guardian Autumn Auction, Lot 18 Acquired directly by present important private Asian collector from the above Painting My Colours, Towering Mountain City Wu Guanzhong's “Second Home Town” Chongqing An Oil Painting Masterpiece Brimming with Emotion “In the 1970s I painted real life scenes from Chongqing in oils and ink, painting the densely packed old buildings, a city full of black roofed buildings with white walls, in a style that was somewhere in between abstract and representational, so viewers could feel the representational even though it relied heavily on abstract methodology. If I had painted a representational likeness of each individual home it would have taken more than a decade to complete. I have not visited Sichuan in 20 years and the world has changed, so Chongqing certainly does not resemble its old self, but as I look at old Chongqing in a painting album of my works I find myself filled with nostalgia for the past ... I hope the city remains forever young and does not age as I have done.” ——Wu Guanzhong A Treasured Masterpiece from Wu Guanzhong's Chongqing Series Wu Guanzhong travelled across China painting from real life, and it is in this context that Chongqing holds a special meaning to him, second only to his hometown. During the War of Resistance Against Japan (1937-1945), the Hangzhou Academy of Art relocated on several occasions into the Chinese hinterland, first to Yuanling, then Kunming and finally Chongqing. In 1941, Wu was a student at the school and traveled with his teacher Lin Fengmian and others to Chongqing for the first time. After graduating in 1943, his first job was as a teacher in the Department of Architecture at Chongqing University. It was at that time he met, fell in love with and married Zhu Biqin who taught at the university's affiliated elementary school. Wu used his spare time when not teaching to create art and in the same year held his first solo exhibition at Shapingba Youth Palace in Chongqing City. The event was well received and resulted in him being offered the chance to study in France in 1947. As such, Chongqing bore witness to the artist's youth, love story, marriage and the beginnings of his budding artistic career, giving it an important position in his life. In his memoir Unbroken String of the Kite, Wu observed: “I lived in the outskirts of Chongqing for five years, and I recall the people, places and scenery of Sichuan like a second hometown. I also travelled within the province on many occasions to paint from real life ... and every time I was filled with tender affection and transported back in time.” The topography around Chongqing is hilly, often shrouded in fog and rainy, so much so that it is sometimes referred to colloquially as the “City of Fog.” At the same time, it used to be a random mishmash of old and new buildings next to the fast-flowing Changjiang and Jialing rivers, forming the unique three gorges landscape. As a result, old and new engaged in dialogue and blended together to create unique features, which very much appealed to Wu Guanzhong, hence his numerous paintings of Chongqing scenes. Records indicate that from 1972 to 2003 the artist painted 13 individual works recognized as part of his Chongqing series -- six oil paintings and seven ink and colour paintings. Four of these works were owned by Wu's good friend Chu Teh-Chun, renowned Hong Kong art collector Lo Kwee-seong and Shanghai Art Museum. On this occasion, the work being auctioned is Chonging of the Old Times, completed in 1996, one of only five oil paintings from the Chongqing series held privately. It is also a testament to breadth of the Wu's creative outlook and embrace of new things. The work was procured by an important Asian art collector in 2005 and remained part of that collection for 18 years, so its inclusion in the current auction is a rare and precious opportunity for art lovers everywhere. When Wu Guanzhong painted Chonging of the Old Time she already had an international reputation in the wake of China's policy of reform and opening. Not only did he visit West Africa and Japan as head of a “Chinese Artists Delegation” in 1981, he held a solo exhibition at this British Museum in London in 1992. He is the first living artist to ever hold a solo exhibition at this museum. As Wu increasingly found success as an artist, he became more established and experienced, giving everything he could to each work in an effort to present the most beautiful and elegant works possible. If we look back at the artist's creative style in the 1990s, he adopted a more abstract and freehand approach, simplified the real world details of landscapes and highlighted more the geometric and abstract aesthetics hidden in such vistas, infusing his paintings with rhythm, artistic conception and spiritual awareness. Chonging of the Old Times is the perfect example of this “more mature perspective” and a masterpiece presented in his new painting style. Embracing Abstraction and Freedom In his memoirs Wu Guanzhong recalled: “Pure form detached from content is unable to truly encapsulate reality; At the core of representational art always exists a certain degree of abstract beauty.” Against this backdrop, Chonging of the Old Times is a classic work that perfectly captures the artist's embrace of abstraction and “plane of freedom.” A detailed look at the painting indicates that Wu was cautious in his approach and did not blindly embrace the complete abstraction of the West. Indeed, he takes the relationship between the viewpoint of the artist and objective reality as analogous to the unbroken string of a kite, wherein abstraction is limited to extracting “essence” from form: In terms of composition Chonging of the Old Times differentiates between buildings and the river through form and colour, using abstract coloured blocks to demarcate boundaries. This serves to highlight the representational and richly detailed boats, homes and the Changjiang, creating an old Chongqing that is replete with forms and spirit and a space brimming with poetic imagination. Combining East and West, Painting the Times In Chonging of the Old Times the main focus is the row upon row of houses. It is here that Wu Guanzhong employs heavy, short and quick dabbed brush strokes to depict the densely concentrated homes stacked on top of each other and reaching upwards. Vertical and horizontal short daubed strokes create the main rhythm, backed up by twisting and undulating strokes. The oils added from different angles and directions accumulate to create layers, leaving behind a visual effect of curved, straight, twisted and circuitous lines. Seen from a distance, the colours appear as one row of buildings after another, whereas seen up close the hues are often grouped together in diverse coloured layers. The artist also uses accumulated oil colours to highlight the thick heavy texture of the medium, showcasing the overlapping and interweaving of oil colour layers. This work also confirms Wu's observation: “Beauty is to be found between the row upon row of uneven and jumbled buildings.” His use of geometric blocks is also reminiscent of the work Broadway Boogie Woogie by Dutch artist Piet Mondrian. That painting contains coloured blocks with their own independent aesthetic, but unlike Mondrian Wu does not completely do away with representational images of external objects, preferring to retain them as clues through which he communicates with the public. Forging Ahead, Looking Back at a Grand Landscape In Chonging of the Old Times, the mountain city is surrounded by emerald water and blue sky. Wu uses a misty light blue and white hue to depict the river and in so doing creates an ethereal landscape imbued with rolling clouds and dark changes more reminiscent of Chinese ink painting, which brings to life the vital energy of the big waves hitting the riverbank and vitality of the mountain city. Moreover, on the bank we can see several small boats that have slowly made their way to the mountain city from afar and are preparing to dock, filling the composition with a sense of dynamic development. Wu uses this to guide the viewer's visual centre and scope to the left and right, even extending into the imaginary space beyond the painting, to showcase an almost movie-like scanning and movement, with the continuous imagery a perfect allusion to the passing of time. In addition, the way in which the clear sky and river surround the man-made city and nature also speaks to the philosophical view that “mankind is dependent on nature” which is a distinctive element of Chinese culture. This highlights the artist's breadth of mind in his later years, marked by contentment and a belief in the unity of mankind and nature. Interplay of Ink and Colour, Replete with Sentiment “Smoke and fire dot millions of households; Surf and billows roll three thousand waves. The river flow inscribes the character ba down through the ages; The mountain scenery paints Juran until this day.” ——He Mingli Chongqing Prefecture The poem Chongqing Prefecture by Qing Dynasty literati He Mingli gives the reader a sense of the surging water along the riverbanks of Chongqing and bustling scenes of humanity inside the mountain city. Indeed, it is precisely this landscape of man and nature that imbues the Chongqing scenes painted by Wu Guanzhong with such a towering and ethereal feel. In the painting, the water and sky are the same blue-green colour, with the artist repeatedly changing brush strokes and introducing tiny amounts of black and white, along with varied layers of grey. This showcases minute changes among similar colours akin to the “five grades of ink” and “dispersed colours” employed in Chinese ink painting. The small boats carrying passengers and the continuous flow of people in the foreground decorate the rows of homes in the mountain vista, while fishermen return home, housewives wash silk, the courageous set forth on ocean-bound adventures and children play on the riverbank. Although the painting depicts an overview of Chongqing, it is the artist's use of simple brushstrokes to add details that breathe life into the city and presents viewers with a vivid “human” story, which in turn infuses the work with an unprecedented and deeply evocative humanity. In Chonging of the Old Times Wu conveys the scenes and philosophy that inform Chinese aesthetic culture, while also highlighting his great success in employing Chinese aesthetic elements. “I hope the city remains forever young and never ages as I have done.” Today, the city of Chongqing is ancient and full of vitality, an endless flowing display of precisely the life energy for which Wu Guanzhong hoped, witnessed by the surging waters of the Jialing River.

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
  • 拍卖规则
  • 支付方式
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价格信息

拍品估价:8,000,000 - 12,000,000 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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