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王懷慶 b.1944 天工開物-4(三聯作) Wang Huaiqing Traces of Nature – 4 (Triptych)
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 王懷慶(右聯右中) 出版 2005年,《王懷慶——天工開物》,仁畫廊,香港,第26至27頁 2005年,《今藝術》八月刊,台北,封底 2007年,《王懷慶藝術展》,大未來畫廊藝術有限公司,台北,第126至127頁及第192頁 2010年,《走出故園――王懷慶作品選》,Ediciones Polígrafa出版社,巴塞隆納,第285頁
展覽 2005年8月,「王懷慶——天工開物」,交易廣場,香港 2007年9月15日至10月28日,「City to City:台灣當代壹拾伍人行」,大未來畫廊,台北 2007年12月3日至12日,「天工開物——王懷慶藝術展」,上海美術館,上海 2010年11月18日至2011年4月10日,「走出故園――王懷慶藝術展」,西雅圖藝術博物館,西雅圖 來源 台北大未來畫廊 現亞洲重要私人藏家直接購自上述來源 註:每聯畫背貼有台北大未來畫廊及上海美術館之展覽標籤 以斧劈金石之力 開創磅礡大境 王懷慶「天工開物」系列博物館級巨構 「斯文千古之不墜也,注玄尚白,其功孰與京栽?離火紅而至黑孕其中,水銀白而至紅呈其變。造化爐錘,思議何所容也。」 ——宋應星《天工開物》 明代科學家宋應星在1637年發表了一本今日被稱之「東方百科全書」的《天工開物》,全書詳述了兵器、火藥、磚瓦、陶瓷、紡織、紙、墨和顏料等的製作方式。如其前言,知識與文化之所以能流傳千古,全憑「注玄尚白」,即「白紙黑字」的記載,而大自然的熔爐變化萬千,火是紅色的,其中卻醞釀著最黑的墨煙,水銀是白色的,但最紅的朱銀卻由它變化而來。真是不可思議!其除點出了黑墨與白紙的重要文化性意義,全書也強調人應「順應自然」的精神。天工開物作為一本著作,除釋現老祖宗千年的智慧,也作為一種東方精神的本根:探討事物的本質、對自然懷抱崇敬之心。而對於出身木工之家的王懷慶而言,此本質與創造性思考,亦是他從小在木造工藝所經驗、所體察、所實踐的現實生活,對他別具意義。 自信與通達:天工開物如入無人之境 王懷慶自2003至2011年創作了七件以「天工開物」為名的系列之作,藉由五件畫作、兩件雕塑,以不同角度深探該主題,王懷慶自言,這是他「第一次把中國的一部書名引入其思緒與畫題。《天工開物》一書詳實地告訴人們怎樣通過『人工』來『造物』,但書名不說『人工』只提『天工』,不談『造物』只論『開物』,其中的奧妙正是中國絢爛文化創造的秘笈!」,此令他深深著迷,足顯該系列作品的箇中要義,與在其創作中的所具的特殊性。而是次春拍隆重呈現的,即為該系列尺寸最大(達200x360公分)、最為磅礡的博物館級重要三聯畫作——《天工開物-4》。綜觀藝術家畢生創作,迄今超過200x300公分的大畫僅不逾25件,此為其一,足見其分量,與王懷慶在兩千年後欲挑戰、征服大型畫布空間的雄心與魄力、「渴望將普通畫布賦予不朽力量的訴求達到顛峰」,以及全身心投入繪畫逾40年,由1960至1970年代中央工藝美術學院的科班訓練,到1980年成為「同代人畫會」的引領者,走過1986年在「江南民居」系列對於中國古建築結構、空間、情感的探討,到1989年膾炙人口「明氏家俱」系列的創生,至90年代對於結構進行進一步的解構、重構與新創;步入2000年,王懷慶已然深獲海內外藝術界的認同,如英國藝術史學家蘇立文(Michael Sullivan)讚其:「創作形式至思維的深邃精妙已達超凡之境」;西雅圖藝術博物館館長考維特(Derrick Cartwright)稱他「名列傑出中國在世藝術家前茅」。其創作進入到一種昂揚自信與自我通達的狀態,表現在繪畫上更顯大膽,進一步展現超越平面性、對於「精神性」的追求,而如知名藝評家賈方舟所言那「里程碑式」的作品——《天工開物-4》由此誕生。 黑的攝人張力:凝鍊的東方美學精粹 「王懷慶的藝術經歷了從具象、意象到全抽象的過程。他睿智地從傳統文化資源中找到了自己藝術的出發點,從而使他的藝術與傳統文化既具有一種批判的姿態,又保持著深刻的內在聯繫…他甚至不惜放棄油畫在色彩上的優勢,而以單一的『墨色』為主,更突顯出一種獨屬於中國的藝術趣味…他通過自己的藝術努力以大開大合、深入簡出的個人化方式,把中國傳統文脈成功地『切換』到當代語境,使上千年的中國文脈順暢地延伸到當代。其功績顯赫,有目共睹。」 ——藝評家賈方舟 在《天工開物-4》三米六的偉岸畫布之上,王懷慶拋棄西方油畫鮮妍的色彩,將色彩凝縮到以最極簡的黑、白與咖啡色彩之上。當中,占據畫幅最大空間的,便是那攝人心魄的黑彩。迥異於90年代藝術家絕大多數的作品中如《金石為開》或《五千歲》中對於黑色塊面採取平面式的單一處理,在此,王懷慶刻意以沾染著大面積的黑與些許白彩的筆刷,層層揮灑,突出筆勢運動的痕跡與層疊的肌理感,雖然僅以黑為主色,但透過不同方向性的筆刷、下筆的輕重緩急、實筆與虛筆之間的關係,製造出令人目不暇給的豐富性與戲劇張力。如自左聯上方可清晰見到筆刷急促在撇捺旋轉間運動,如奔騰的飛瀑流泉,創生出一種勃然而發的強大氣韻,正如藝術家董小蕙在讀王懷慶之作時的覺察:「黑色的線條性格隱藏著一份來自堅韌的生命力道與生存意志,有如『工匠手持斧鑿砍削巨木材質的粗獷斧痕』,畫家在畫布上捕捉並重現那遠自於原始簡單的生活條件下,工匠腦中閃現的民族智慧與美感特質,以及那一份關照生命的歷史祈願」。畫中一道道的黑,正如斧痕,示現天工開物的過程和藝術家強大的生命意志! 縱橫古今,思緒的遠行:從傳統到當代語境的串聯 在線條之中,觀者幾乎可以想見藝術家的手與身體如何扭轉、如何運動,下筆如同其呼吸,記錄下他的龐然心緒。由「黑」出發,我們遁入了一個冥想的空間,在那裏,我們若見司馬遷用盡一生以密密匝匝的文字書寫出的史記,透過王懷慶時而外放潑辣,時而凝縮內斂的筆道,我們躍入了對中國書法千年流變的懷想,強烈的感受一重重如海波浪向觀者襲來,當中令人若見殷商甲骨文的稜角、秦朝篆書字形的蜿蜒曲折、感受金石的厚重、如顏真卿筆力的磅礡雄渾,又或草聖張旭的豪放灑脫、米芾的簡勁連綿、筆走龍蛇,這些複雜的情感和冥想,一一由王懷慶畫中那多面、充滿律動感和表情的「黑」中生發,王懷慶透過「黑」的運用,上下聯通了中國美學的書藝核心,並「把中國傳統文脈成功切換到當代語境」,給予它新的生命。此呼應藝術家所言:「自上世紀80年代初,偶然被江南古老的傳統建築物中的黑樑黑柱黑窗黑瓦所刺激,一口氣畫了一批『黑畫』,讓我愛上了『黑』… 40多年來,我一直沉浸在『黑』色中。我力圖在『黑』中有一種人的『溫度』,有一種思想的『遠』與精神的『空』。這或許是祖先鍛造松煙墨的餘溫,亦或是先賢對萬事探究的空谷迴響…。」透過《天工開物-4》中具有不同姿態與表情的「黑」,王懷慶帶領觀者的思緒與精神突破身體與現實的侷限,穿越時空、縱橫古今,達到一個廣博的自由之境。 東方宇宙觀的示現:對自然的崇敬與創造的終極追求 除此之外,在那片深黝的黑彩之中,藝術家巧妙地將黑分以「虛實」,若靜心觀之,可在畫面的左下與中右區,見到被實密黑彩所填滿的一座若起伏橫亙的山脈,及一輪若太陽或月亮的橢圓,它們有別於其外帶有動勢的層層筆刷,展現出一種安定的靜謐力量。而這樣自然意象,亦深刻體現了王懷慶在《天工開物》一書中所獲得的靈啟,與一種獨屬於東方的宇宙觀,即人與自然並非如西方世界觀之「對立」,而是「天地與我並生,萬物與我齊一」的合諧共存,即便是在創造的大爆發動勢中,都帶有一種順應自然的柔軟、及對天地自然鬼斧神工的崇敬,「以自然為師」。以及在其中企圖以「人力」達致「神力」,展現對於創造、超越的永恆追求,此賦予了作品更為深層的意義。 斧劈刀刻的白: 不朽精神力量的迸發 「花了很多年科班,可以把物件塑造得十分『立體』了,而今,又花了不少力氣,再把物件畫『平』壓『扁』,目的只有一個:平面展開的東西,來的更強烈。」 ——王懷慶 在2003年的《天工開物-1》系列初篇中,王懷慶具體描繪了許多木造物件的一角及橫豎穿插的榫卯結構,木結構如其創作母語,貫穿自90年代迄今的創作。在這當中,「榫卯」更為其重要核心,王懷慶認為此為獨屬於中國民族工藝美學的智慧結晶、從中看到了自身東方文化強大的價值與意義。「榫卯」便成為他不斷描繪的客體,從具象到意象、立體到平面,而至2004年的《天工開物-4》,他進一步將此構造由平面化為「圖像性」與「精神性」的表達,走出了一條創作新路。 畫作中的白線條起伏連綿,左右橫貫、上下穿梭,自然地連接起三聯的畫布空間,而其中的凹凸,正如榫卯的結構,彼此相合、互相支撐又帶有一種彈性,畫中的白線條並非僵硬的直線,一條條皆為帶著呼吸斷續、起伏的曲線,此亦呼應了老子所言「大直若曲」,蘊含強大的東方精神內核和人生觀。而這白線的構成細觀之特別有趣,它不是一筆而就的勾勒,也並非留白,而是帶著許多層次與肌理,箇中的秘密如王懷慶所闡釋:「白線是這幅畫的神經、骨架和脈絡。白線畫好了,此畫可立,白線畫壞了,此畫即廢。若用白色直接勾畫易浮淺,若留白又易做作不自然,它必須細而有力,貫穿全局支撐天地,以斧劈刀刻的金石味襯出大塊黑色橫塗縱抹的氣勢。」而那「如斧劈刀刻」的側鋒,正是白線的玄機所在,王懷慶以最終極的對比,以細而有力的白,突顯縱橫的黑,拉開了戲劇性的張力,而當中畫龍點睛的咖啡色彩則增添躍動的生氣,細細品味,藝術家的妙心自現! 正如藝評家皮道堅所言,我們「很難用抽象、具象、寫實、寫意這樣一些常用的概念和術語來討論王懷慶的繪畫,但我們能夠感受其作品的精神內核和老莊哲學所孕育的精神文化高度統一。」《天工開物-4》是王懷慶由影響中國幾代人的百科全書著作所提取出東方民族在實作中追求如「神性」的終極創造性表達、東方老祖宗智慧的結晶、老莊順應自然的哲學、中國書法中黑彩鮮妍萬變的表情、中國古老建築中黑色的磅礡與滄桑的精粹,將之作以個人抽象化的表達,汲古而出新,作品使我們在對歷史的回望中,生發對自身民族文化、美學個性與特殊性的珍重、情感與詩意的想像,作品無疑將是藝術家留給未來藝術史的重要經典之一。
Oil on canvas
200 × 360 cm. 78 3/4 × 141 3/4 in.
Painted in 2004
Signed in Chinese on middle right of the right piece LITERATURE 2005, Wang Huaiqing- Traces of Nature, Yan Gallery, Hong Kong, p. 26-27 2005, ARTCO Issue 8, Taipei, backcover 2007, Art of Wang Huaiqing, Lin & Keng Gallery Inc, Taipei, p. 126-127 and 192 2010, Wang Huaiqing – A Painter's Painting in Contemporary China, Ediciones Polígrafa, Barcelona, p. 285
EXHIBITED Aug 2005, Wang Huaiqing- Traces of Nature, Exchange Square, Hong Kong 15 Sep – 28 Oct 2007, City to City, Lin & Keng Gallery, Taipei 3 – 12 Dec 2007, Traces of Nature: Art of Wang Huaiqing, Shanghai Art Museum, Shanghai 18 Nov 2010-10 Apr 2011, Wang Huaiqing-A Painter's Painting in Contemporary China, Seattle Art Museum, Seattle PROVENANCE Lin & Keng Gallery, Taipei Acquired directly by present important private Asian collector from the above Note: An exhibition label of Taipei Lin & Keng Gallery and an exhibition label of Shanghai Art Museum are affixed on the reverse of each panel Creating a Majestic Scene Through Rock Breaking Power Wang Huaiqing's ‘Traces of Nature' Series Masterpiece “The unbroken continuation of this culture is attributable to written words on paper and what is comparable to this? Red fire gives birth to black ash, vermillion red is derived from white mercury. The furnace hammer of creation is truly amazing.” —— Song Yingxing Tiangong Kaiwu (Exploitation of the Works of Nature) In 1637, Ming Dynasty scientist Song Yingxing published Tiangong Kaiwu (Exploitation of the Works of Nature) which is often today referred to as the first Chinese Encyclopedia, detailing how to manufacture weapons, gunpowder, bricks, textiles, paper and ink. As the above quote suggests, the reason knowledge and culture has been handed down for a Millennium is attributable to those facts being written down and recorded over time. There are the infinite changes in the cauldron of nature, so fire is red but it also creates the blackest of smoke, mercury is white but crimson vermillion red comes from it. Such things are barely imaginable but other than emphasizing the important cultural meaning of black ink and white paper, the encyclopedia also emphasizes the importance of “following nature.” As a written work Tiangong Kaiwu not only highlights the wisdom of our ancestors over millennia it also displays the roots of eastern wisdom; namely discussing the essence of things and respecting nature. For Wang Huaiqing, who came from a family of carpenters, essence and creative reflection was reflected in his experience working with wood from a young age and as a result such real life was particularly important to him. Self-Confidence and Mastery: Traces of Nature is Like Entering a Land with No People From 2003-2011, Wang Huaqing produced a series made up of seven works named Traces of Nature. He also recounted that this was: “the first time I have thought about the name of a Chinese book or included it in the tile of a work. The book Tiangong Kaiwu tells us in detail how people made things with their hands, but the title of the book does not mention this ‘manmade' aspect but rather only ‘Tian Gong' (work from the heavens) it does not discusses ‘making things' merely exploiting things. In this sense, the book's secret is to be found in the way it details the creation of wonderful Chinese culture.” Wang found this particularly fascinating, as can be seen from the special importance he attached to the series. On the occasion of this spring auction, we present the important triptych Traces of Nature-4, a museum quality painting and the largest piece from the series (at 200cm x 360cm). During his artistic career Wang painted no more than 25 pieces larger than 200cm x 300cm, of which this work is one, underscoring its importance. After 2000, the artist displayed the ambition and courage needed to conquer large canvases at a time when he had been painting for more than 40 years. In 1980, he was a leader in the One Generation Painting Association; in 1986 he discussed the structure, space and sentiment of ancient Chinese architecture in his Southern Chinese Homes series and in 1989 created the Ming Furniture series. By 2000, Wang was a renowned artist both at home and overseas, so much so that British art historian Michael Sullivan noted with praise that: “the depth and ingenuity of the artist's creative form and thought are extraordinary.” Seattle Museum Director Derrick Cartwright lauded Wang as: “one of the most outstanding living Chinese artists.” As his creative work entered a period of self-confidence, and self-mastery Wang Huaiqing's painting expression became bolder as he sought to further transcend two dimensions and continue his pursuit of “spirituality.” Renowned art critic Jia Fangzhou observed that the “milestone” work Traces of Nature-4 was born at this juncture. The Breathtaking Tension of Black: Refined Eastern Aesthetic Spirit “Wang Huaiqing wisely locates the starting point for his art in traditional cultural resources ... he does not hesitate to abandon the advantages of oil painting in terms of colour and focus instead on monotone black, highlighting an artistic appeal that is distinctively Chinese ... Through his own industriousness, impressive command of the oeuvre and by explaining profound ideas through simple individualized methods, he successfully translates the Chinese tradition of unity and coherence in writing into a contemporary context, a truly splendid and outstanding achievement.” —— Art critic Jia Fangzhou In Traces of Nature-4, Wang Huaiqing dispenses with the bright variegated colours of Western oil painting, condensing them down to the minimalism of black, white and coffee colour. Indeed, in this piece, most of the work is taken up by the breathtaking black. Where this differs from the two-dimensional monochrome processing of black blocks in the majority of Wang's works in the 1990s, such as Gold Stone, is that in this painting the black covers a large area with a few white brushstrokes, layered and freely painted, highlighting marks made by the movement of the brush and the layered sense of texture. Although the work is primarily black, the artist creates a richness and dramatic tension feast for the eyes through the different directionality, the weight or speed, solidity or lightness of the strokes. For example, we can clearly see the rapid hasty strokes in the upper part of the left piece revolving between the movement of left and right falling strokes, which as with the torrent of waterfalls and flowing springs creates a strong charm. Artist Dong Shaw-hwei observed: “The character of the black lines created by Wang Huaiqing contains hidden within it a life energy that comes from tenacity and the will to live. As with the ‘rough marks left by an artisan chopping down a giant tree with an axe' the painter captures on the canvas and re-presents the folk wisdom and aesthetics that flash into the head of the artisan from distant primitive and simple life conditions, and an historical invocation of life care.” The strips of black in the painting resemble axe marks, an indication of the process by which the work was created and the artist's powerful life will. Thoughts From Past to Present: Connecting Tradition to a Contemporary Context Within the lines viewers can imagine the hands and body of the artist twisting and moving, how he breathes as the brush meets the canvas and records his huge emotions. Starting with “black,” we break into a meditative space and it is like seeing the historical records written in densely compact text to which Sima Qian dedicating his entire life. Through the brushwork of Wang Huaiqing, which is sometimes fierce and unreasonable other times reserved and introverted, we find ourselves facing nostalgia over a Millennium of changes to Chinese calligraphy. It is almost like viewing the edges and corners of oracle bone script from the Yin-Shang Dynasty, the twists and turns of seal characters from the Qin Dynasty or feeling the weight of epigraphy, as if the vigorous and majestic brushwork of Yan Zhenqing (709-785) or the unrestrained freedom of divine-cursive writer Zhang Xu (675-750). Through his use of “black,” Wang connects to the artistic and calligraphic core of Chinese aesthetics, while also “successfully transferring the Chinese traditional unity and coherence in writing into a contemporary context,” thereby infusing it with new life, a sentiment echoed in the words of the artist: “For more than 40 years I have immersed myself in ‘black' and within that I have striven to find human ‘warmth,' ‘distance' of thought and ‘emptiness' of spirit. This is perhaps the afterglow of Chinese ink made from pine soot by our ancestors or the rumbling echo in a valley as wise men explore the world in which we live ...” Through the different postures and expressions of “black” in Traces of Nature-4 Wang uses the thinking and spirit of his audience to break through the bounds of physicality and reality, passing through time and space, reaching from past to present, and in so doing reaches a plane of freedom. Revealing an Eastern World View: Respect for Nature and the Ultimate Pursuit of Creating In addition, Wang Huaiqing also ingeniously differentiates between “real and virtual” black. If we meditate on this approach, it is possible to identify an undulating mountain range filled with thick dense black and an oval shape that resembles the sun or moon in the lower left and right center of the work. These differ from the layered strokes beyond infused with a sense of momentum, and instead exude the tranquil strength of stability. This natural imagery also speaks to the epiphany Wang received from Tiangong Kaiwu and a uniquely Eastern view of the world, namely that Mankind and nature do not exist in “juxtaposition” as in the Western world view, but rather coexist in harmony wherein Heaven, Earth, and I were produced together, and all things and I are one, a sentiment that infuses the work with profound meaning. Axe-Cut Engraved White: A Burst of Immutable Spiritual Strength In Traces of Nature-I produced in 2003, Wang Huaiqing portrays many wooden objects and a mortise and tenon structure interspersed horizontally and vertically. From these “mortise and tenon” joints we see the powerful values and meaning of the artist's Chinese culture as a crystallization of ancient wisdom. From the 1990s, Wang consistently depicted ‘mortise and tenon” joints, from representational to abstract, two dimensional to three dimensional. In Traces of Nature-I (2004) he took this a step further by transforming the structure from two dimensions into an “iconic” and “spiritual” expression and in the process forged a new creative path. The unbroken undulating white line in the painting extends from left to right, top to bottom, the concave and convex shapes resembling a mortise and tenon structure, in that they fit together, support each other but are also infused with a degree of flexibility. However, the white lines in the painting are not hard and straight, but rather each one rises, falls and is curved with intermittent breathing, echoing the words of Laozi: “The most upright of things appear to bend.” In other words, they are imbued with a powerful Eastern spiritual core. Moreover, the construction of the white line has multiple layers and texture, the secret being as Wang Huaiqing explains: “The white lines are the nerves, skeleton, arteries and veins of the painting. If the white lines are painted well the work is a success, if not it fails. However, if the painting was in white it could easily be superficial, or if blank spaces were left it would feel unnatural. The lines must be fine and powerful, running through the whole work and holding it up, the axe-mark like feel of epigraphic inscriptions contrasting with the overpowering feel of the black. Moreover, the mystery of the white lines is to be found in the sideways stroke of the “axe-cut like inscription.” Wang makes the ultimate contrast, the fine and powerful white highlights the all-encompassing black and creates dramatic tension, while the coffee-coloured finishing touch adds a sense of vitality, allowing us to savor the artist's wonderful heart and mind. Art critic Pi Daojian has said: “It is difficult to adopt such oft used concepts and terms as abstract, representational, realism or freehand to discuss the paintings of Wang Huaiqing, but one can feel that the spiritual core of his works is very much one with the spiritual culture cultivated by the philosophy of Laozi.” In Traces of Nature-4, Wang takes the ultimate creative expression of pursuing “spirituality” from Eastern “practice” as detailed in a classic literary work that has influenced generations of Chinese; the nature-following philosophy of Laozi and Zhuangzi; the varying gradations of black in Chinese calligraphy, the majesty and vicissitudes of black in Chinese architecture, and transforms them into personal abstract expression, creating something new based on the wisdom of the ancients. To the extent that this work forces us to cherish our own culture, aesthetic character and specialness when reviewing history, it is an important classic of emotional and poetic imagination left by the artist for art history.

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