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毛旭輝 b.1956 關於權力的詞彙之九 Mao Xuhui The Vocabulary of Power No.9
香港 北京时间
2023年04月06日 开拍
拍品描述
油彩 畫布
一九九三年作
款識 1993.11.大毛(右下)關於權力的詞彙之九 1993年 大毛(畫背) 出版 2008年,《道路——毛旭輝繪畫歷程(1973-2007)》,上海人民美術出版社,上海,第200頁
來源 亞洲私人藏家直接購自藝術家本人 人生況味:解碼、重啟、再出發 毛旭輝90年代重要關鍵轉捩?《關於權力的詞彙之九》 「我的創作取決於內心的力量。內心是由一部密室構成的世界。這是我所關心的『現實』。我的繪畫從我的密室出發,然後到達繪畫這個明晰的地方。一般人將視覺藝術看作是由外向內的進軍,其實事情被顛倒了,而是由內向外的擴張過程。」 ——毛旭輝《棕樹營畫室手記》,1995年 生於社會變革的時代土壤,始於堅定的「內心力量」,以生命直覺式具象解讀,審慎地反思著個體經驗與社會的鏈接,毛旭輝是中國當代「一名真正的存在主義者,一個不肖名利的生命體驗者」。他走過「85新潮」的如火如荼、90年代風靡的政治波普大潮,卻保有高度的定力和屬於自我的藝術語言。他以「新具像」風格,及聯合張曉剛等人組織「西南藝術研究團體」的獨立性,對前衛藝術在主體與客體、個人與時代的思考中作出回應,沉澱出濃烈深刻的畫語。在創作上,他著眼於歷史洪流中的個體價值,追索一種精準有力的現實表達,在1989年開展的「家長」系列達至第一個藝術高峰,由此,引發對「權力」話語的深入探討。 由「家長」主題延伸而出1993年「權力的詞彙」系列,將目光從坐椅的權威暗示、家長的形象敘事,轉以更為具體、更具象徵性、更存在思辨力的物件討論,深入各個代表權力物體的微觀心理,從而深化「權力」意象的核心闡述。「單純、孤獨、放大的造形」是其創作的特徵。而在完成於1993年的《關於權力的詞彙之九》中,他一反此前將鑰匙、坐椅、剪刀、錦旗並置的構圖佈局,獨到而宏大地以單一主角的形象呈現一把鑰匙,此亦見證其日後「剪刀」系列「物件中心性」的表達方式。 「鑰匙」這一形象,最早見於其標誌性的三聯作《92家長》中。而在之後1993年四川美術館舉辦的「90年代以來的中國美術:中國經驗」展中,「鑰匙」亦出現在其《權力的詞彙》組畫裡,成為毛旭輝在「剪刀」、「椅子」外,另一重要意符。而是次上拍的《關於權力的詞彙之九》,正是其將鑰匙立為核心表達的關鍵之作。 凌空而出的權力象徵,進發的戲劇人生 在毛旭輝一貫的灰暗色調背景中,此作打破表面的冷靜,以三維的空間構造和戲劇性光束般的單點透視,將觀者帶入一個真實又陌生的想望之地。當中粗實滿溢的筆觸、道道分明的線條營造出具有深強穿透力的輻射和刺激,令核心處的鑰匙,彷彿是從地底深處浮現的終極答案,被無限放大於眼前。而此深具穿透力的輻射造型,大大打破了此系列其他平面化背景的敘事空間,使之生成一種平凡中的荒誕、壓抑中的爆發、混沌中見光明的強烈視覺力量。 在畫中左右並置分列的方塊仿擬著一排排檔案櫃,滴流的紅色若命名分類的標誌,而此刻,在這道無盡若人生的長廊中,鑰匙成為通往這一場所的唯一指引,代表著權力的終極話語。在此,鑰匙的直線紋理,呼應銳利的背景光線,契合著通向深處的道路。被刻意放大的鑰匙,在180公分的宏大畫幅上,如同降臨的天神橫空而出,在其物質性的「開啟」、「解碼」功能之上,被加賦予一種「精神崇拜」的符號語言。若言說著在人生的旅程中,我們的一切經歷、回憶如同那封存的檔案夾,在其間,人人領受神啟,在課途中追索著光明、力量、真理而不斷過關斬將、解碼前行。 隱形的精神格局,辯證的雙重隱喻 作品正如毛旭輝對現實情境的折射及辯証。鑰匙可以上鎖,亦可開啟,既可代表擁有者的掌握權,亦可成為啟迪的精神力量。是封鎖還是開放,即掌握者之大權。而在現實生活中,鑰匙這一微小的日常物件,是我們進出空間、設備的關鍵所在,而經由刻意放大的「形」,毛旭輝使之成為中心力量的載體,展現其「隱形的巨大權威」。毛旭輝曾指出:「美國著名未來學家托夫勒(Alvin Toffler)在他的新著《大未來》中寫到:『人類是權力的產物。在我們生活中,權力仍是人類最不瞭解卻最重要的一環。』權力作為一種慾望,是許多人骨子裡的東西,這並非單指那些熱衷政治的人。事實上權力是如此廣泛地存在著,與人們的生活息息相關……對權力的探討就是對人的探討。因為權力體現著人與人,人與社會的某種實質性的關係。」於藝術家而言,訴說「權力」本身,便是為了更好地反思權力,符號式的語彙,在其宏大的畫幅中,迸發出震撼人心的極致張力。在無限延伸的時空中,鑰匙以一種無與倫比的深沉力量,訴說著多樣的現實意涵,亦成為藝術家精神追求的不屈所在。
Oil on canvas
180 × 130 cm. 70 7/8 × 51 1/8 in.
Painted in 1993
Dated and signed in Chinese on bottom right; Titled and signed in Chinese and dated on the reverse LITERATURE 2008, Road – Mao Xuhui's Paintings (1973-2007), Shanghai?People's?Fine?Arts Publishing House, Shanghai, p. 200
PROVENANCE Acquired directly by present private Asian collector from the artist The Taste of Life: Decoding, Restart, and Departure Once Again Mao Xuhui's Significant Transition in the 90s: The Vocabulary of Power No.9 In the history of contemporary Chinese art, Mao Xuhui is “a real existentialist who would rather experience life than chase after fame or fortune.” In the trends of “the New Wave Movement” (or the '85 New Wave) and the nineties' Political Pop, Mao Xuhui featured New Figuration and collaborated the artists, including Zhang Xiaogang, to organize an independent group, Southwest Art Research Group, which can be considered as his response towards how to locate avant-garde art in the dialogues between the subject and the object, the individual and the era. When he creates artworks, Mao highlights the individual values in the historical tide, questing for a precise and powerful realistic expression. Mao achieved his first artistic climax in his series of Patriarchs in 1989 when he triggered a profound reflection on the language of “power”. Developing from the thesis of Patriarch, which delivers the authority of the chair and the images of patriarchs, his 1993 series of The Vocabulary of Power turns to more concrete, symbolic, and critical discussion on objects, deepening the core elucidation of “power”. These works highlight the qualities of “simplicity, solitude, and enlargement.” In The Vocabulary of Power No.9, finished in 1993, he adopts a unique and ambitious narration to present only one character——a key. From this work, we will also discover the start of Mao's “centrality of the object” in his later series work Scissor. The “key” first came into sight in Mao's iconic triptych '92 Patriarch. The image of key also appeared in the series paintings of The Vocabulary of Power in the exhibition of Chinese Art Since the 1990s: Chinese Experience at the Sichuan Art Museum in 1993, becoming a representative symbol of Mao's works apart from “scissor” and “chair”. This time, The Vocabulary of Power No.9 at auction is the key work marking “key” as Mao's pivotal representation. With Sign of Power Soaring, Dramatic Life Sets Out In this work, Mao consistently applies a sombre dark-toned background, while the three-dimensional spatial structure and the theatrical single-point perspective break the facade of calmness and channel the audience into a space of reality and strangeness. The bold strokes and distinct lines construct an intense and penetrating radiation making the image of the key at the centre become the ultimate key answer emerging from the deepest underground. The sign is infinitely enlarged in front of the viewers' eyes, generating an absurdity in ordinary vision, an outbreak of depression, and a dazzling visual strike in chaos. Mao juxtaposes the squares on the two sides of the painting with dripping red pigments, which may remind the audience of rows of named and categorized file cabinets. At this moment, in the endless corridor of life, the key becomes the only guide as a sign of the ultimate words of power. On the 180-centimetre grand canvas, the exaggerated key resembles a divine advent which, in terms of the “opening” function of materiality, is endowed with a symbolic language of “spiritual worship”. The work seems to tell us that in the journey of human life, all we experience and memorize will be archived in these file folders among which we receive God's inspirations and quest for goodness, power, and the truth by decoding and advancing. Invisible Spiritual Pattern, Dialectical Dual Metaphor The painting embodies Mao's representation of reality and a dialectical dual reflection on that: the key can not only lock something but also open something; it symbolizes the possessor's authority and the spiritual power of enlightenment. Blockade or opening? It depends on the one who holds the key. The artist establishes and magnifies the representation of “power” through the daily object, reflecting the invisible power beneath its ordinary appearance. As the famous American futurist, Alvin Toffler, wrote in The Great Future, “Humans are the products of power. Power is still the most unknown but important part of our lives.”

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拍品估价:750,000 - 950,000 港币 起拍价格:750,000 港币  买家佣金:
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