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丁衍庸 1902-1978 八面威風 Ting Yinyung The Victorious General
香港 北京时间
2023年04月06日 开拍
拍品描述
彩墨 紙本
一九七三年作
款識 癸丑九月 丁衍庸 藝術家鈐印(右上)藝術家鈐印(左下) 展覽 1974年2月,「新亞書院藝術系教師書畫展覽赴美前預展」,香港大會堂,香港 1974年6月,「當代中國書畫展」,耶魯大學、匹茲堡大學、賓夕法尼亞州立大學、達特茅斯學院,美國
來源 原藏家直接獲贈自藝術家本人 2006年5月29日,香港佳士得春季拍賣會,拍品編號756 現亞洲重要私人藏家直接購自上述來源 註:作品附題簽:「丁衍庸畫人物(八面威風)The Victorious General 1973 by Ting Yen-yung」 融貫中西,縱橫古今 丁衍庸出神入化之人物主題力作 「形式我所欲也,精神我所欲也;二者不可得兼,則我捨形式而取精神;金石我所欲也,書畫我所欲也,二者不可偏廢。」 ——丁衍庸 丁衍庸少時受西潮激盪之影響,決心以留學求藝革新中國藝術,他赴日潛心研習西畫5年,期間受印象派、野獸派、立體派等之影響,以自由遒勁的筆觸和絢爛不羈的色彩見長,終修成正果返回中國,同林風眠、關良等中國近代藝術家積極推進藝術革新,此間他接觸到八大山人、徐渭、石濤等文人書畫,感受到中國水墨畫的博大精深,快速地覺醒了「西畫民族化」的意識。他不盲目追隨西方藝術浪潮,也不因襲東方傳統不思突破,而是從「中國藝術的體系和中國固有文化精神方面去尋找新的知識和新的技法」,苦練傳統水墨技法的線條,以滋養自身獨特的創作。 上世紀四十年代,丁公孑然一身南遷香港,際遇坎坷、生活艱苦,然而他並不屈服於命運的考驗,加倍努力創作,鑽研學術,將「孤獨、寂寞形諸筆墨」,終於為二十世紀東方藝術留下濃墨重彩一筆。《八面威風》(拍品編號61)為1973年丁衍庸水墨人物大尺幅精品,此年為丁公晚年最為活躍的一年,亦是其藝術集大成而璀然綻放之重要時期。該年7月,他應世界東方學會之邀,於法國巴黎舉辦個展,展出一百五十多幅水墨作品,並實現欣賞歐洲野獸派源地的夙願。接下來的數年間,其展遍及台灣,日本、美國、加拿大、新加坡、澳大利亞等地。9月,丁公返香港,並受邀於香港中文大學教授國畫,吸引大批學生追隨。夙願的實現及事業的成功,令丁公如少年般熱血澎湃,於其晚年再度爆發出無限的創作激情,在創作上更加得心應手、老辣自由,進入圓熟階段。而另一幅作品《戲劇人物:美猴王》(拍品編號62)亦為丁公重要的七十年代時期之水墨精品,為丁公弟子鄭嵩舊藏,紀錄一段珍貴情誼。 懲惡揚善 威震四方 「聖天子百靈相助,大將軍八面威風。」 ——元代劇作家尚仲賢,《單鞭奪槊》 香港人文化生活中重要的戲劇、影視都對丁衍庸產生了深刻的影響,他常常以遊戲古今的灑脫、寫意的手法流暢揮毫,將足以「令拘謹的觀眾驚倒」的野獸派誇張造型,結合水墨飄逸的線條,為人物畫帶入民俗意趣,百看不厭。《八面威風》即為一有力代表,主題為一威風將軍懲處惡人,將軍頭上戴有在戲劇及影視中勇武善戰角色標誌性的頭飾「翎子」,左手持槍,右手持匕首,身著紅色戰袍,威風凜凜。丁公以誇張的手法著重刻畫將軍的面部:在墨色渲染出鬍鬚之上,又以拙樸簡約的筆觸繪出紅色線條,彰顯將軍的王霸之氣;又憑粗獷不羈的濃墨重筆畫出將軍向上揚起的眼睛,並畫龍點睛地以一小墨點點出瞳孔,並僅用一根墨線就表達出因嫉惡如仇而抿起的嘴,人物憤怒又威武的生動樣貌躍然紙上。而右下角的人物畏縮地跪伏在地,瞪大雙眼、伸出手臂合掌作揖,鮮紅的舌頭因告饒而顯露,展現人物驚慌害怕、卑微懦弱的特點。丁公以高深筆法,蘸取濃墨一筆揮就人物因逃竄而蓬亂的狼狽髮髻,並以青色渲染人物裸身,製造和主角將軍之冷暖色對比的戲劇性衝突。丁公常以青色人物代表地獄惡鬼,在此作中他將戰敗奸佞塑造成亦人亦鬼的形象,戲謔地抨擊其人性的喪失,展露正邪不兩立的激烈衝突,令人心潮澎湃。 除卻戲劇文化,觀者亦可於此作中見更加遠古拙稚之文化源流。回憶在赴港初期的困頓之際,古代文物成為了丁公的精神寄託,除卻其隨身攜帶的珍藏八大山人畫作及古璽外,他縮衣節食,於港繼續購藏古書畫及瓷器、青銅器、石雕、陶俑等古器,並深入研究其中奧妙,力求融合中國古代藝術之精神和近代西方野獸派自然、單純的繪畫理念。在《八面威風》中,見以長槍抵住惡人的將軍跨步而立,古樸剛勁的姿態令人聯想到中國古代雕刻中天王或金剛怒目踏鬼的經典形象,有鎮壓邪惡之寓意,更突顯丁公縱橫古今的廣博學識、及游刃有餘地借鑒各種藝術源流之巧妙,令人莞爾。他藉由二人物之間大小、冷暖色調、身姿的對比,襯托主角將軍剛正、勇敢、為民除害的形象,而為禍人間的惡鬼由於受到懲處而盡顯醜態,大快人心。 猴王出世 叱咤風雲 「內觀不識因無相,外合明知作有形,歷代人人皆屬此,稱王稱聖任縱橫。」 ——吳承恩,《西遊記》 《戲劇人物:美猴王》與《八面威風》異曲同工,融合戲劇中孫悟空「鬧龍宮」、「鬧地府」、「鬧天宮」等情節,描繪美猴王身披甲胄、頭帶翎子的戰鬥情景,突顯其作為威風將軍的人性一面,抒發「齊天大聖」戰無不勝、懲奸除惡的英雄本色。畫面左側為一代表卑鄙狡詐的裸身丑角,丁公僅以一筆「上枯下潤」的妙墨,就生動地展現丑角額前髮絲被激戰汗水浸潤,而髮髻末端在戰鬥中散亂的狼狽樣貌。只見他右足陰險地踢向美猴王膝蓋處欲使其跌倒,左手抵擋其腕部,右手驅一匕首直刺右胸要害。而美猴王此時臨危不亂,雙足堅定地橫跨以頂天立地之姿支撐身體,左右手雙刃同時出擊直取丑角,畫面定格於雙方即將分出勝負前的關鍵一刻,令人直呼過癮。與《八面威風》不同的是,丁衍庸在此採取象徵冷靜的青色代替墨線大刀闊斧地繪製美猴王堅挺的上肢,而其身形亦與敵人大小相近、勢均力敵。丁公以色彩和造型的雙重藝術語言彰顯主人公在危機關頭不懼危險、英勇沉著的形象,更使得畫面充滿電光石火、刀光劍影的情節張力。寥寥幾筆便繪出一派既大膽又現代,同時富於傳統文化底蘊的場景,令人拍案叫絕! 丁衍庸自幼喜愛看戲曲,常塗畫戲劇橋段,於此兩幅作品中,透露出丁公在古稀之年仍保持孩童般的赤誠純真,以稚嫩真誠的筆觸展現藝術的原始之美,藉助戲曲人物的題材探索國畫現代化的表達方式。他若一位快意恩仇的武林大俠闖蕩江湖,以筆為劍,在瀟灑酣暢的霸氣潑墨之間,抒發心中對於懲惡揚善的讚頌,永葆對藝術如赤子一般的激昂熱血,令人動容!
Ink and colour on paper
177 × 94 cm. 69 5/8 × 37 in.
Painted in 1973
Signed and dated in Chinese with two artist’s seals on upper right; stamped with an artist’s seal on bottom left EXHIBITED Feb 1974, Contemporary Chinese Painting and Calligraphy: An Exhibition Preview, Hong Kong City Hall, Hong Kong Jun 1974, Contemporary Chinese Painting and Calligraphy: An Exhibition, Yale University, University of Pittsburgh, Pennsylvania State University, and Dartmouth College, USA
PROVENANCE Acquired directly from the artist by original collector 29 May 2006, Christie’s Hong Kong Spring Acutions, Lot 756 Acquire directly by present important private Asian collector from the above Note: This work is accompanied by a titleslip. Merging the West and the East, Maneuvering among the Ancient and the Modern Ting Yinyung’s Superb Masterpieces of Figure Painting “Form is something I desire, and spirit is also something I desire; but if I cannot have them both, I would give up the form for the spirit; epigraph is something I desire, and painting is also something I desire, yet I can give up neither.” ——Ting Yinyung Under the influence of Western trends at a young age, Ting Yinyung was determined to innovate Chinese art through pursuing further studies abroad. He went to Japan to study Western painting for five years, during which the Impressionists, Fauvists, and Cubists influenced him. Ting was professional in free and vigorous brushwork as well as unconventional and rich colours. After returning to China, he actively promoted art innovation with Lin Fengmian, Guan Liang, and other modern Chinese artists. During this period, he became acquainted with traditional literary calligraphies and paintings by Bada Shanren, Xu Wei, and Shi Tao, etc. These masterpieces impressed him with the profoundness of Chinese ink painting and provoked his awareness of the localisation of Western painting styles. Ting did not blindly follow Western art trends, nor did he fully accept Chinese tradition without thinking of a breakthrough. He “searched for new knowledge and techniques from the Chinese art system and the spirit of the inherent Chinese culture” and practised the lines of traditional ink painting techniques to nourish his own creation. In the 1940s, Ting moved to Hong Kong alone and lived a difficult life, but he did not succumb to fate and redoubled his efforts in creation.?The Victorious General (Lot 61), painted in 1973, was Ting Yinyung’s masterpiece of large-scale ink figure painting. 1973 was the most active year of Ting’s later years, and an important period when his art achievements blossomed.?In July, he was invited by the World Oriental Society to hold a solo exhibition in Paris, where he exhibited more than 150 ink paintings and fulfilled his long-cherished wish to appreciate the birthplace of the Fauvism in Europe. In September, Ting returned to Hong Kong and was invited to teach Chinese painting at the Chinese University of Hong Kong. The realization of his dream and the success in his career led to a renewed passion for creation in his later years, and painting became much handier to him. Opera Figure: Monkey King (Lot 62), is another important ink painting by Ting Yinyung in the 1970s. This masterpiece once belonged to Zheng Song, a student of Ting and also an artist. It is particularly valuable as a record of the history of inheritance. Praise the Virtue while Punishing the Villains Deterrent the Enemy in All Directions Theatre, film and television, the important components of Hong Kong people’s cultural life, have profoundly influenced Ting. He often connected the past with the present in a liberal, freehand manner, combining the exaggerated shapes of the fauvism with the flowing ink lines and washes to bring folkloric attributes to his figure paintings.?The Victorious General?is a convincing representation of his painting characteristics, which features a majestic general punishing the villains. The awe-inspiring general wears an iconic headdress?lingzi?(long pheasant tail feathers worn on warriors’ helmets), symbolising bravery and militancy in traditional operas and films. He holds a gun in his left hand and a dagger in his right, dressed in a red battle robe. Ting uses exaggerated manners to portray the general’s face: on top of the ink-rendered beard, red lines are drawn in primitive and rustic strokes; his eyes are depicted in heavy ink, and the pupils are punctuated with a small dot of ink, so that an angry and majestic general appears on the paper. In the lower right corner, another smaller figure cowering on his knees, with eyes open up, arms outstretched and palms clasped in prostration. His bright red tongue exposed as he pleads for mercy, demonstrating his fearful, humble and cowardly features. Ting dips into thick ink to create the dishevelled hair of the fleeing character in one stroke and renders his naked body in cuyan. A dramatic conflict is created between the warm and cold colours of the defeated man and the general. Ting Yinyung often represents the evil spirits in hell with cyan figures. In this work, he depicts the defeated figure like neither a human nor a ghost, jokingly criticizing his loss of humanity, and revealing the fierce conflict between good and evil, which strike chords with viewers. In addition to the theatrical culture, the viewer can also see a more ancient and primitive cultural origin in this work. In the early days of his stay in Hong Kong, ancient relics became Ting’s spiritual support. Besides his collection of Bada Shanren’s paintings and old seals, he scrimped and saved to continue acquiring ancient porcelains, stone carvings, and other antique objects in Hong Kong. He studied them in depth, striving to blend the spirit of ancient Chinese art with the natural and pure painting concepts of the Fauvism from modern Western. The painting shows the general standing in an unadorned and powerful pose, making the viewers reminiscent of the ancient Chinese sculpture of the Vajra stepping on a ghost with angry eyes, symbolising the suppress of the evil. It is also interesting to note the breadth of Ting’s knowledge, and his skills in borrowing from various artistic sources. The Birth of the Monkey King,Shaking Heaven and Earth Opera Figure: Monkey King?and?The Victorious General?share similarities in subject matters and compositions. Ting depicts the battle scene where the Monkey King wears armor and?lingzi, highlighting his role as a prestigious general and indicating the heroic nature of “Qi Tian Da Sheng”, who is invincible in battle, punishing and eliminating the evil. On the left side of the painting is a nude clown. Ting applies the technique of “withered on top and moistened at the bottom,” vividly portraying the clown’s sweaty forehead hair, and the end of his bun in disarray during the battle. His right foot kicks to the Monkey King’s knee to make him fall, and his right hand drives a dagger straight into the latter’s right chest. However, the Monkey King is in a state of calmness, with his feet firmly straddling to support his body in an upright position. The Monkey King’s left and right hands, holding blades, thrust at the clown. The painting is framed at the enjoyable determining moment of victory or defeat. Unlike in?The Victorious General, Ting uses cyan, a symbol of calmness, instead of ink to represent Monkey King’s muscular upper body. He is also similar in size to his enemy, making him an equal opponent. Ting Yinyung applies the dual artistic language of colour and shape to emphasize the hero’s bravery and composure in the moment of crisis, which makes the painting full of tension. With just a few strokes, he depicted a scene that is both bold and modern, while grounded in traditional Chinese culture. Ting Yinyung’s childlike innocence in his old age is conveyed in these two paintings. He explores the modernized expression of Chinese painting through the subject matter of traditional opera figures, using his childish and sincere brushwork to express the primitive beauty of art. He is like a chivalrous expert who is free from gratitude and revenge, wandering in the vulgar world. Using his brush as a sword, he expresses his eulogization for the punishment of evil and praise of virtue with ease and verve ink splashes.

本场其它拍品

  • Lot 61
  • Lot 62
  • Lot 63
  • Lot 64
  • Lot 65
  • Lot 66
  • Lot 67
  • Lot 68
  • Lot 69
  • Lot 70
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拍品估价:150,000 - 250,000 港币 起拍价格:150,000 港币  买家佣金:
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