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尹朝陽 b.1970 曙山 Yin Zhaoyang Glory Mountain
香港 北京时间
2023年04月06日 开拍
拍品描述
油彩 畫布
二〇一五年作
款識 朝陽 2015年(畫背) 出版 2016年,《江湖》,亦安畫廊,台北,第24至25、第36至37頁及第45頁
展覽 2016年10月8日至11月19日,《江湖》,亦安畫廊,台北 來源 台北亦安畫廊 現亞洲重要私人藏家直接購自上述來源 萬山紅遍,曙光崢嶸 尹朝陽的精神熔岩 「你在你的眼裡邊的這種景觀,就是所謂的山水,它就是你。像是你靈魂的外化。」 ——尹朝陽 凝聚圖像力量、呈現震撼人心的現實感知,是70後當代藝術家尹朝陽最為突出的創作風格。作為中國「新繪畫」的重要代表人物,尹朝陽以強烈的現實主義情感、濃郁而浪漫的視覺表現,建立他充滿張力的「心理場域」。 他從90年代以「青春殘酷」主題展現一代人的彷徨,後以「紅色政治」、「神話隱喻」剖析時代的生存境遇、探詢自我的精神與內心世界。然而自2007年起,他出人意表地打破慣常的敘事參照,轉以投入描繪帶有浪漫精神的「心靈山水」,由最為濃烈的西式語言走向東方的山水格局,建立起恢弘氣象,並陸續於上海龍美術館的「寒山」、河南博物院之「山外嵩山」、蘇州博物館的「尹朝陽在嵩山」個展中呈現其別具個性的山谷松石。如其言「給自己的心靈以山林的撫慰」,他將視野投向萬壑回合的嵩山,「不到嵩山此谷,不知嵩山之雄奇內秀。宛若宋畫再生」。如太行山之於荊浩,黃山之於黃賓虹,聖維克多山之於塞尚般,尹朝陽一心一意地行走在探究自我的山石之路上,依託雄渾的造境,再現心象風景。在他最具代表性的赤色山石中,他以個人的色彩嚮往和心境呈現,完成從筆墨到肌理、自傳統到當代、由生命到靈魂的樹立,2015年創作的《曙山》正是其以宏偉尺幅、遊刃有餘地在嵩山古松中鋪展天地曙色的經典之作。 赤色光輝,燃自血液的生命雄渾 寄情山水向來是傳統文人的精神出路,對文化底蘊深懷敬意的尹朝陽,在《曙山》中,延續著中國山水畫的命名傳統,著重詩意的聯想,卻更展現個人造境的企圖。在其過往「青春殘酷」、「廣場」、「神話」等作品中的標誌性紅彩,如今映照在這重重山巒間,如將藝術家長久以來的精神熔岩、具中國結、朱門紅牆、春聯等文化象徵意蘊的中國紅彩,灌注於這超越現實之真、而發乎心象的丹壑翠松及他所理解的造化神秀。 畫中不見紅日當空,卻處處為曙光籠罩。疊岫參差,兩峰夾谷,蒼綠古松沿山勢林立,化入天色,自大地綿延出一條無極通天之路。點點白彩劃過枝梢,在強烈的紅綠對比之色中交織穿插,如見故宮冬景的紅牆綠瓦,形塑冷暖相生的極致意象。而在崖壑間,銘黃、橙紅、硃砂、胭脂、赭石之斑斕五色跳宕起伏,構建巍峨崔嵬的奇雄山勢。萬山紅遍,層林盡染,那沐浴在曙光直射下的山體,似將生命的熱血齊齊湧現,以其雄強、其壯美、其熾熱,讚嘆造化神工,訴說著生命立於天地間的崇高,展現絢爛深處的蒼茫大象。 在那穠麗絢爛的色彩中,尹朝陽的藝術激情較之以往更見直白、熾熱,他彷彿以筆刷的律動,在天地間點燃一把熊熊火焰,煽動起這赤色光輝,以高昂的色形張力,引發每個人心中對山石的懷想。嶙峋的層岩、聳峙的疊嶂和蒼勁的松濤,帶著北宋山水的雄渾,在這仁者樂山的遠古情結中,獲得了色彩和力量的新生。而藝術家在此,探尋著一種有別於傳統文人的姿態,一種自革命敘事話語中脫離而出的、更為真實的心理現實,既是浪漫主義的情懷、表現主義的自我,亦沉澱為吐胸中逸氣的豁達,置身天地的心境。他將自生命深處燃起的雄渾魄力,化為身臨其境的精神共鳴,於闃寂無人的山林中,訴說我自崢嶸的靈魂。 堂堂而立,躍然如生的山石秩序 「我對肌理一直有特殊的判斷和追求,這也是我作品中一直以來呈現出的特殊形態,是我思考的結果。」 ——尹朝陽 《曙山》並見證尹朝陽繪畫語言縱橫今昔的深刻思考。巨嶂橫亙的高遠構圖、層層堆塑再刮擦的創作方式,恣意地建立起呼之欲出的山石緯度,將遠近高低、陰陽向背、虛實縱橫的空間感登時呈現。以濃鬱的色調、層疊的肌理、老辣又蒼勁的筆觸,營造出雄渾、奇壯的立體感知,充分展現尹朝陽強勁的繪畫表現力。他並自東方山石的廓廡與皴法中走出,以濃烈縱向的赤紅、蒼翠橫飛的綠,構造出山石的嶙峋參天與松樹的凜然蒼鬱。斑駁厚重的油彩質感,如銘文碑拓般一筆筆記錄著山石的紋理,建立起「質」的純粹空間,彷如在數千年山澗凜風的吹盪中,褪去了一切繁文縟節的美化,留下拙樸的自然本真之貌,堂堂而立。 在油彩的堆疊、刻寫、砌痕中,尹朝陽將具象與抽象、宏觀與微觀並存,創造了一種充滿當代視覺趣味的山石秩序。激情四溢的筆觸、高濃度的色彩結構,以意取象、由外達內地重返古老的山水精神,並推演著貫通自然與想像、歷史與現實、糅雜主觀印記和心象造境的當代風景。正如藝術家許宏泉的評述:「雄渾壯麗如中古之象;跡簡意遠直追漢魏六朝,向外的視覺擴張、向內的美學體驗,或許可以認為將宋人山水中具有的古典主義經驗引向一個新的境界,同樣,它亦超拔當代藝術全面交付『觀念』的無奈,果斷地秀出肌腱,彰顯其生命的創造力……美學的指歸,並非傳統意義上的逃逸,而是搖滾後的交響,將生命深處的體驗全然釋放。」
Oil on canvas
140 × 210 cm. 55 1/8 × 82 5/8 in.
Painted in 2015
Signed in Chinese and dated on the reverse LITERATURE 2016, Panorama, Aura Gallery, Taipei, p. 24-25, 36-37 and 45
EXHIBITED 8 Oct – 19 Nov 2016, Panorama, Aura Gallery, Taipei PROVENANCE Aura Gallery, Taipei Acquired directly by present important private Asian collector from the above Hills All in Red, Cliffs in the Dawn Yin Zhaoyang's Spiritual Crystalisation “Seeing yourself through your own eyes. Such landscape is the so-called Shan Shui. Shan Shui is yourself. It is like the externalisation of your spirit. ” ——Yin Zhaoyang Born in the 1970s, Yin Zhaoyang is an important representative of China's “New Painting”. In the course of expressing the anxiety and hesitation of the generation in?Cruelty of Youth?series and exploring the zeitgeist in “red politics” and “myth metaphors” in the 1990s, Yin has established his signature style of “psychological field” through his strong realist emotions and intense romantic visual expressions. Since 2007, Yin has turned to depict the “spiritual landscape” and presented his distinctive valley pines and rocks in solo exhibitions such as Cold Mountain at Long Museum in Shanghai, Distant Song Mountain at Henan Museum, and Yin Zhaoyang at Song Shan at Suzhou Museum.?Glory Mountain, painted in 2015, is a large-sized masterpiece of the series showing his skilful depiction of dawn light spreading in the ancient pines of Song Mountain. Red Glow, the Majesty of Life Burning in Blood The landscape has always been the spiritual residence of traditional literati. In?Glory Mountain, Yin Zhaoyang continues the naming tradition of Chinese landscape painting, emphasizing poetic associations with the intention of creating a spiritual realm. The iconic red colour in his past works, such as?Cruelty of Youth,?Tiananmen Square, and?Myth, is reflected in these overlapping rolling mountains. Chinese red has long been the spiritual crystallization of Yin Zhaoyang, possessing strong Chinese cultural symbolic connotations like red Chinese knots, red walls in traditional Chinese architecture and red spring scrolls. Yin perfuses this colour into the transcendent, surreal, and imaginary red ravines as well as green pines. There is no red sun in the sky, but everywhere is covered with the dawn, as if the fervent blood of life is welling up together. The piled-up mountain ranges, with two peaks sandwiching the valley. The green pines stand along the mountain, disappearing into the colour of the sky, and a road stretches out from the earth to the sky of infinity. Dotted white colour crosses the tips of the branches, interweaving in a strong contrast of red and green, just like the red walls and green tiles in the winter of the Imperial Palace, creating an image of blending warmth and coldness. Between the cliffs and ravines, chrome yellow, orange-red, vermilion, rouge, and ochre jump and undulate like the astonishing magical creativity of nature. In this fiery brushstroke, Yin's artistic passion is more straightforward and blazing than ever before, exploring a more realistic psychological reality that is different from the traditional literati and detached from the revolutionary narrative discourse. This kind of reality is a romantic sentiment, an expressionistic ego, a generous spirit, and an independent soul. Standing, Vivid Landscape Order Glory Mountain?is?a testament to Yin's profound reflection on the language of painting that spans the past and the present. The composition of the giant cliffs and the way they are stacked and scraped layer by layer portray vivid rocks and hills horizontally, presenting the spatial sense of distance and height,?yin?and?yang, reality and emptiness. He is rooted in the outline and texture stroke of classic Chinese rocks and hills, creating the jaggedness of the rocks and the gloom of the pines with intense vertical reds and lush horizontal greens. The thick quality of the oil paint, like inscriptions and rubbings, records the texture of the rocks and hills, establishing a pure space of “quality”. The figurative and the abstract, the macro and the micro, coexist in his painting, creating a contemporary visual taste of landscape order. Yin's work returns to the ancient spirit of the landscape from the outside in, drawing on imagery with meaning and evolving a contemporary landscape that connects nature and imagination, history and reality, blending subjective markings and mental imagery.

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拍品估价:700,000 - 1,000,000 港币 起拍价格:700,000 港币  买家佣金:
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