| 中文版 English

具体要求

全部
侧面
背面
底部
内部
局部细节
款识
破损处

其它要求

提交申请
关闭
丁衍庸 1902 – 1978 芬芳 Ting Yinyung Flowers in a Jar
香港 北京时间
2023年04月06日 开拍
拍品描述
油彩 纖維板
一九七一年作
款識 Y. Y. Ting 71(右下) 出版 2003年,《意象之美:丁衍庸的繪畫藝術》,國立歷史博物館,台北,第90頁 2005年,《中國意象油畫(一)》,中國美術學院出版社,杭州,第36頁 2020年,《丁衍庸油畫全集》,衣淑凡編,立青文教基金會,台北,第345頁
展覽 2003年8月5日至9月21日,「意象之美:丁衍庸的繪畫藝術」,歷史博物館,台北 來源 1999年4月11日,台北蘇富比春季拍賣會,拍品編號30 台北財團法人國巨文教基金會收藏 2004年10月31日,香港佳士得秋季拍賣會,拍品編號764 現亞洲重要私人藏家直接購自上述來源 心存風骨,香滿人間 丁衍庸靜物至臻代表《芬芳》 「靜觀自得,胸襟廣闊,氣度自生。由氣生韻,才稱得上創造,品格自然超出塵俗,無與比倫。」 ——丁衍庸 曾被藝術家倪貽德喻為「中國藝術界新飛來的一隻燕子」,丁衍庸無疑是二十世紀中國現代化進程中的一代宗師,他以「跨越東西、遊戲古今」的藝術之姿,建立其油畫、水墨、篆刻「一源三脈」的鼎立格局,並在跨越一生52年的教學和創作中,影響後世無數,樹立其卓爾不凡的藝術地位。而無論是他豪放灑脫的意象之美,還是生趣盎然的個性語彙,皆展現他在現代藝術思想的積極推動和畢生不懈的美學追求,正如其「丁蒂斯」、「洋八大」的雙重美譽般,悠遊於古今中外,寫就時代的自信畫卷。 妙筆生花,衍通東西 丁衍庸油畫的創作主題多元豐富,當中「花卉」題材之作更風骨獨具,並相當珍罕難尋。在其畢生創作不足350件、存世僅只200件的珍稀油畫作品中,僅有22件花卉主題作品,當中5件已由香港中文大學典藏,是次上拍完成於1971年的《芬芳》,色形傳意、構圖飽滿、恣意昂揚,堪為其至罕至臻的精彩代表。 而儘管丁衍庸在50年代之前的油畫創作已盡數遺失,但據報刊及同輩的文字記載,仍可見他以靜物創作見長。如早在1924年日本求學期間,22歲的他便憑藉靜物油畫《食桌之上》,在《中央美術》雜誌舉辦的第五屆日本中央美術社展覽中,於兩千五百件參賽作品的激烈競爭中脫穎而出,成為僅百餘位獲得展出者中唯一一位入選的中國人,轟動同僚。1926年回國後,他仍筆耕不輟,其被刊登於上海《中華日報》、《永安月刊》的《窗前》、《花前》兩作,脫胎於野獸派馬蒂斯(Henri Matisse)的窗前瓶花,並以油彩筆觸強調線條化的東方畫風。此皆彰顯其於花卉靜物題材上的深探。移居香港後,在60至70年代間丁衍庸全面開拓油畫形式,將其50年代在水墨領域所得的成果,以東方用筆的精簡勁道,賦予花卉以西式色彩的熱烈,結合而現「象簡意遠,格高昂揚」的花卉之作。而是次呈現的《芬芳》正為其70年代自如駕馭野獸派色彩和東方筆墨的碩果表徵。 淋漓勁筆,色煥形張 「東方美術,是哲學的,注重精神的表理,不斤斤於形式。西洋美術,是科學的,注重物體的形象……我很想把中國畫的線條和墨用到西洋繪畫上。」 ——丁衍庸1957年《中國繪畫及西洋繪畫的發展》 作為「把中國畫的線條和墨用到西畫上」的先行者,丁衍庸早在留日期間便形成其「極力在線條上做功夫」的創作思考。而他並自東西方文化雙向深探,既欣賞馬蒂斯「單純稚拙,含有深遠意味」的簡括造型,又極推崇八大山人「痛快淋漓,頗有人情味」的骨法筆意,在兩者間孜孜求索,找尋到野獸派線形與東方筆墨表達的共通之處。在《芬芳》中,他汲取篆刻和水墨中對線條表達的考究,以酣暢遒勁的筆力,拉出兩道俐落的花莖,為瓶中亭亭淨直的銀蓮花和微微低頭的一串紅,建立錯落起伏的綽約風姿。而他並兼容水墨暈染之效,以微曲連動的中短潤筆,形塑花葉舒張的姿態。左側葉瓣層層疊加,如成環狀,右葉則似兩片三角狀包裹,富立體派的幾何韻味。而當中,落筆的輕重提頓,將明暗、深淺的豐富變化蘊含在鮮亮的綠彩之中,令花葉似呼吸般,恣意張開雙臂、翩翩起舞,在一隅天地中呈現迎風飛揚的生命力,從而在西方傳統的「靜物畫」題材中,展現東方筆法的淋漓氣象。 以點線架構而生的一串紅,和團狀圓筆描繪的銀蓮花,一紅一白,訴說著「吉祥」與「期待」的花語,正展現丁衍庸爐火純青的色形張力。正如倪貽德所言「絢爛而不刺激,鮮豔而不庸俗,卻是富於明快的感情,這是因為他同時善用白和黑這兩種色彩的緣故。」丁公在此極為大膽地、以具高對比的多重飽滿色彩,佈構出濃郁的自然生機,亦充分調動白彩與黑點的襯飾作用。奪目鮮妍的一串紅與嫻靜舒雅的白銀蓮比肩而立,雙姝並開,如著紅裙熱情奔放的女子與冰霜美人比試著各自的萬種風情,滿載戲劇的張力。在其中,斑斑黑彩自東方花鳥水墨中脫胎換骨,分別為花蕊與花蒂作著音符般的點綴,一反傳統黑線之塑形作用,創造無比生動的立體意味,更為花色增添一份獨到的詩意。作品恣意地將紅、綠、白、黑、黃的對比之色,合而構成和諧的旋律,藉由筆之律動、色之碰撞,演繹著欣欣向榮的豐盈生命力! 意韻滿堂,氣生化境 而在《芬芳》背景中,丁公以爽利的縱向排筆為畫中之花打造出一片銘黃、粉橘的純色天地,揚棄野獸派繪畫的裝飾性添加,而展現東方美學中「意境」的塑造,如其言:「藝術以氣勝」,令視覺高度聚焦於畫中主角,在這方寸之間,馥郁滿堂。此外,並以獨到的淺灰藍彩打造一尊晶瑩剔透的玻璃花瓶,令背景、枝條的斑斕色彩,隨光線靈動穿梭,在其中躍然映照,形成景深的透視。而由玻璃產生的光暈,則巧妙地以明亮的藍彩表達,在一抹抹折射中,留於花瓣、葉片、瓶口、側沿,形成光與色的流動。再者,他刻意於花與葉、瓶與景間作出留白,令畫作整體呈現出一種滿而不塞、空則生色的空間張力,創造出「氣」的流動,極為動人。 憧憬滿懷的人生寫照 丁衍庸曾言:「好的創作就是人格的表現。」如銀蓮代表的「期待」、一串紅「吉祥」的花語,《芬芳》不僅以罕見的繽紛用色,展現此時期丁公洋溢的藝術熱情、精神上的愉悅富足,亦在這濃烈而自信的筆意中,傳遞其心境的豁達和對生活的美好期盼。在這拙樸、簡括亦廣大、自由的花卉意象裡,以立於一方天地的不屈之色,描摹其心之風骨,正如作品之名《芬芳》,其格調、其境界、其藝術,必將流芳百代、香滿人間!
Oil on fiberboard
45.5 × 30 cm. 17 7/8 × 11 3/4 in.
Painted in 1971
Signed in English and dated on bottom right LITERATURE 2003, The Beauty of Imagery: Ting Yinyung’s Painting Art, History Museum, Taipei, p. 90 2005, Chinese Imagery Paintings (1), China Academy of Art Press, Hangzhou, p. 36 2020, Ting Yinyung Catalogue Raisonné: Oil Paintings, Rita Wong, The Li-Ching Cultrual and Educational Foundation, Taipei, p. 345
EXHIBITED 5 Aug – 21 Sep 2003, The Beauty of Imagery: Ting Yinyung’s Painting Art, History Museum, Taipei PROVENANCE 11 Apr 1999, Sotheby’s Taipei Spring Auction, Lot 30 Yageo Foundation, Taipei 31 Oct 2004, Christie’s Hong Kong Autumn Auction, Lot 764 Acquired directly by present important private Asian collector from the above The Spirit of Life Remains Everlasting at Heart Flowers in a Jar, a Still Life Masterpiece of Ting Yinyung Across Chinese Contemporary artist Ting Yinyung’s prolific oeuvre, works of floral motif are the iconic and rare to come by. With less than 350 oil paintings in total, a mere 200 existing, only 22 paintings contain the theme of flowers. Given such scarce and diverse works, 5 are under The Chinese University of Hong Kong Collection. In this upcoming auction, Flowers in a Jar is a speculator work of attention. Between East and West, When Brushwork Meets Flowers Although Ting’s collection of works prior to the 1950’s were all lost, based on scarce newspaper editorial and written accounts, his practice of still-life motifs were prominent in the early days of his collection. When Ting studied in Japan in 1924, he took upon the duration and opportunity to observe the items around him. On the Dining Table is an early and iconic work that was completed at a young age of 22, which was exhibited at the Fifth central Art Exhibition of Japan. As the only finalist from China at this Japanese exhibition, the exceptional result was outstanding and unprecedented. Ting’s works was not only a testament to his craftsmanship, but also a strong encouragement to the Nation. Upon his return to China in 1926, he continues his craft and published works and sketches in Zhonghua Daily and Wing-on Monthly. In particular, his publication of By the Window and Nude and Flower were exquisite works that follow an avante garde approach of showing defined lines in Eastern paintings, with shadows by the legendary Henri Matisse. As Ting later resided in Hong Kong, his use of oil on canvas is a reflection of his mastery of ink, and the visual empowerment of abstraction. Completed in 1971, Flowers in a Jar is a representation of his pinnacle 70’s, and presents a hybridity of Fauvism and Eastern ink. Colours Splashes through Free Brushwork The brushwork in Flowers in a Jar narrates a story and atmosphere of movement and vivid. In a smooth motion, he elongates the flower stem into the clear vase, and beautifully connects a stem of anemone and a stem of scarlet sage. On the leaves, Ting incorporates the effect of ink blurring, with slightly curved and continuous short and medium strokes, to shape the stretching posture of the flowers and leaves. Through the light and heavy strokes of the brush, the rich variations of light and dark, depth and shade are embedded in the bright green colour, thus presenting the atmosphere of Oriental brushwork in the traditional Western subject of “still life painting”. Ting cleverly used the representation of colours and structure to convey the language and message of floral symbolism and idioms. The string of red stemmed flower, along with the silver lotus in circular brushwork speaks to meaning of “good fortune” and “expectation”, demonstrating Ting Yinyung’s mastery of contrasting colours and shape. Ting boldly uses multiple saturated colours with high contrast to create a rich natural vibrancy, freely combining the contrasting colours of red, green, white, black and yellow to form a harmonious melody. In addition, the placement of white and black dots not only presents as decorative means, but when placed on the stamens and flower tips, the black dots became lively like musical notes. Meanwhile, white dots naturally provide sense of space. Through rhythm of the brush and the collision of colours, Ting extends vitality beyond the actual flowers themselves. Rhythmic Vitality Fills the Room In the background, Ting uses sharp vertical strokes to create a world of pure colours of bright yellow and pink-orange, abandoning the decorative additions of the fauvists and instead displaying the “mood” of Eastern aesthetics. In addition, a crystal clear glass vase is created with unique light gray-blue colour, which makes the background and branches of the vase reflect the colors of the background and branches with the light, forming a depth of field perspective, and makes the painting as a whole presents the flow of “qi”, or air of movement, which is extremely rare in oil painting. A Portrait of a Man’s Full Life As Ting Yinyung once said, “A good creation is an expression of one’s personality”. Like the Anemone, which represents “expectation”, and the scarlet sage, represents “good fortune”, Flower in a Jar not only express Ting’s passion and spiritual happiness for art, but indeed conveys his open-mindedness, in hopes for a better, abundant life in his strong and confident brushwork. As the title of the work suggests, Flower in a Jar is an epitome of style, realm. As a painting, its visual and emotional impact can be compared to fragrance, lasting for generations to come.

本场其它拍品

  • Lot 51
  • Lot 52
  • Lot 53
  • Lot 54
  • Lot 55
  • Lot 56
  • Lot 57
  • Lot 58
  • Lot 59
  • Lot 60
  • 竞价阶梯
  • 快递物流
  • 拍卖规则
  • 支付方式
竞价区间 加价幅度
0
1,000
10,000
2,000 5,000 8,000
100,000
10,000
200,000
20,000 50,000 80,000
1,000,000
100,000
2,000,000
200,000 500,000 800,000
10,000,000
1,000,000
+

价格信息

拍品估价:1,200,000 - 1,800,000 港币 起拍价格:1,200,000 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

拍卖公司

中国嘉德(香港)国际拍卖有限公司
地址: 中国香港金鐘道89號力寶中心一座五樓
电话: 852-28152269
邮编: 10000
向卖家提问