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石沖 b.1963 物語——水、空氣和身體 Shi Chong Story – Water, Air and Body
香港 北京时间
2023年04月06日 开拍
拍品描述
油彩 畫布
二〇〇六年作
款識 石沖06年(左下)物語——水、空氣和身體 2006年 石沖(畫背) 出版 2006年,《物語——水、空氣和身體》,藍色空間畫廊,成都,第31至32頁
展覽 2006年11月18至29日,「物語——水、空氣和身體」,藍色空間畫廊,成都 來源 成都藍色空間畫廊 亞洲重要私人收藏 象罔可以得玄珠 石沖詩意而朦朧的人體物語 「有時我很驚詫身體在水、空氣和物質的肆意干擾下的反應,我獵奇水中瞬間且無序的變化,有點像在實驗室裡交替幾種物質時所產生的一種不確定的期待。」 ——石沖 以古典寫實的高度表現功力、創造性和觀念性的新銳思考,中國知名藝術家石沖綜合前衛思潮和學院技法,呈現其「以寫實質疑寫實、以人體質疑人體」的獨特藝術成就。長年以來,他視「人體」為其創作的最大母題,並突破單純的寫實表現,經由裝置、行為、攝影、化妝等一系列場景的製作,再運用逼真細膩的照相寫實手法,創造出震撼人心的藝術圖景。 1993年,他憑藉超寫實描摹的石膏人體《行走的人》一作,獲中國第二屆油畫年展金獎。而在1996年完成的《今日景觀》,更將女體置於其所搭建的巨型水箱和照片牆前,有機地將架上繪畫與裝置、行為、攝影藝術結合,堪為奇觀,該作於2003年的「第三屆油畫年展」上,獲中國油畫界最高獎項「中國油畫藝術獎」。而其充滿觀念性的形象塑造,實現了人體在圖像語言中層層的轉換、復合、隱喻和再生,及對生命體存在意義的無盡思索。 2000年後的石沖從單純的人體寫實走出,以「物語」、「隱語」、「表情」等一系列呈現水、空氣、薄膜介質和身體交融的作品,置換了寫實的對象,畫中的人體模糊而虛幻,逼真的水蒸氣反而成為了可循的現實狀態,而這介質融入所混合而出的,並非真實的現實,而是「現實存在的心理狀態」。完成於2006年的《物語——水、空氣和身體》,即為其最具代表性、獲廣泛迴響的「物語」系列代表作。在此感知更為親密的小型畫幅上,他創造著一種陌生又詩意的觀看經驗,彷彿訴說著莊子中「象罔得珠」的寓言:無心、無視、無聞,象罔方可獲玄珠之「道」。故而在石沖的作品中,他破除了古典寫實對觀者近距離觀看的慣性,當人們越是想近距離欣賞畫作,當中的形體便越是模糊不見,只有在不近不遠的角度,方可在雲蒸霧繞的籠罩下,感受到那曼妙人體的朦朧之美。 在柔和的光影對比中,畫面集中於女子的半身,以豐潤的肌理、柔媚的膚粉、飽滿的曲線美,展現人體美極致的韻味。然在其身軀前,兩道V字形的滴流水痕、圓潤四溢的水泡、顫動模糊的氣流,則在這份美中,生發出一種錯落的觀賞節奏。作為生命起源的水與空氣,此刻與人體形成空間上的錯位並置,他們在流動中聚合為一,又伴隨景深和明暗的變化而散開,令觀看的焦點虛化,遊移在模糊和清晰、虛化和真實的邊界間。然而,正是在這詩意的尋覓中,身體無聲又別具力量地訴說那安靜中潛藏的掙扎、迷濛中存在的真實、柔軟中塑造的堅強。而那無形無色的空氣和水,與身體的有形有象,彼此獨立,卻又在本質上融合。在介質的協調中,女性的身體也彷彿融入那如水如霧的天地,從「被觀看」的傳統視點中走出,重新書寫著身體的意識。在石沖筆下,象罔得珠的人體物語,再現著對生命存在的追問,在自然天成的筆意中,獲得更為豐富的闡述。
Oil on canvas
27 × 40 cm. 10 5/8 × 15 3/4 in.
Painted in 2006
Signed in Chinese and dated on bottom left; Titled and signed in Chinese and dated on the reverse LITERATURE 2006, Story – Water, Air and Body, Blue Dream Land Gallery, Chengdu, p. 31-32
EXHIBITED 18 – 29 Nov 2006, Story – Water, Air and Body, Blue Dream Land Gallery, Chengdu PROVENANCE Blue Dream Land Gallery, Chengdu Important Private Collection, Asia Purposeless Finding the Pearl Shi Chong's Poetic and Misty Story of Human Body “I am sometimes surprised at how the body reacts to the reckless interference of water, air, and substances. I capture the transient and disorderly changes in the water, which is sort of like the uncertain anticipation of alternating several substances in a laboratory.” ——Shi Chong “Questioning realism with Realism, Questioning human body with Human Body,” the famous Chinese artist Shi Chong synthesizes new conceptual thinking in the traditional oil painting subject matter, “human body.” Through a series of scenes consisting of installation, performance, photography, and make-up, he creates shocking artistic scenes using vivid and delicate photorealistic techniques, which realize the transformation, reunion, metaphor, and regeneration of the human body in visual languages. In 1993, he was awarded the Gold Prize of the Second China Oil Painting Exhibition for his ultra-realistic portrayal of a plaster human body, A Walking Man. In 1996, his work Today's Landscape won the China Oil Painting Art Award, the highest award for Chinese oil paintings. After 2000, Shi Chong used a series of works such as “Story,” “Whisper,” and “Expression” to present the interplay between the human body and water, air, and film medium, replacing realistic objects with blurred and illusory bodies. Meanwhile, the vivid vapours become the traceable state of actuality, demonstrating “a mental state of real existence.” Story —— Water, Air, and Body, completed in 2006, is the representative work of his “Story” series, which has received wide acclaim. In this smaller, more intimate work, he creates an unacquainted yet poetic viewing experience, as if telling Zhuangzi's allegory of “Purposeless finding the colored pearl”: without mind, without sight, without hearing, without a clear purpose, the pearl can obtain the “Tao” of the mysterious pearl. In the soft contrast of light and shadow, the painting focuses on the lower half of the female body, showing the beauty of the body with rich textures, soft skin, and curvy lines. However, in front of her body, two V-shaped watermarks, rounded water bubbles, and flickering air currents blur the viewer's focus and make it shift between the border of the opaque and the clear, the illusion and the real. In the pursuit of such poetic visual representation, the body speaks silently and powerfully of the struggle hidden in the silence, the reality existing in the misty, and the strength shaped in the softness. The formless and colourless air and water are independent of yet intrinsically integrated with the tangible image of the body. In the harmonization of mediums, the female body seems to merge into the watery and foggy world, breaking away from the traditional viewpoint of “being observed,” which rewrites the body's consciousness and reinterprets the quest for the essence of life and existence.

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