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龐薰琹 1906-1985 紅屋頂 Pang Xunqin Red Roof
香港 北京时间
2023年04月06日 开拍
拍品描述
彩墨 紙本
一九七七年作
款識 藝術家鈐印(右下) 出版 1998年,《龐薰琹畫集》,人民美術出版社,北京,第146頁 2006年,《龐薰琹》,江蘇教育出版社,南京,第305頁
來源 藝術家家屬舊藏 台北珍傳畫廊收藏 2020年10月8日,中國嘉德香港秋季拍賣會,拍品編號108 現亞洲重要私人藏家直接購自上述來源 附:藝術家夫人袁韻宜親簽之原作保證書 悠然紅彩,雋永含情 龐薰琹山東行旅水墨代表作 「我從1949到1972年的23年中,只畫過五幅小油畫。是不是我愛畫小尺寸的作品?不是,因為在我的房間裡,找不出比兩米大的空地…。是不是我愛畫花?也不是,我想畫人,但誰敢理睬我讓我畫? 我想畫風景,但我的處境和經濟不允許我去遊山玩水…我把倒頭爛葉的花畫的美些,我相信生活總會逐漸美好起來。我既然畫畫,總希望看我畫的人感受到一點美感,我曾經寫過: 我,中國人,活在二十世紀,儘管一時烏雲遮住大樹,我被迫離開課堂、藝壇,我想安靜,想尋美,想尋些勞動後的樂趣,也想讓你看見一點美,感到生活中仍有一點樂趣 。」 ——龐薰琹 有「中國現代工藝美術之父」的龐薰琹,在1925年19歲時隨著徐悲鴻的腳步入法國朱利安美術學院,旅法期間對西方古典主義、現代主義取得深厚的理解。1930年回國後先後執教於上海美專、北平國立藝專、受聘為中央博物院專員,深入西南,深探雲貴一帶的少數民族美術,後並編寫成多本著作,更籌組中央工藝美術學院。又曾與倪貽德、王濟遠等共創中國重要畫會「決瀾社」,透過集會辦展,以大膽革新的精神為當時趨於保守的創作環境注入新的刺激。然而在大時代的轉輪之下,於文革時期他受到批鬥,很長一段時間不被允許作畫,如前言所述自1949至1972年逾20年間受政治與經濟的影響,所留下的創作僅只個位數,而截至1973年,他才始能自由作畫,而經濟狀況改善後方能四處采風,也讓他迎來了70年代晚期的創作臻境。是次呈現的臻絕作品《紅屋頂》,即完成於1977年至山東訪問期間。作品出自藝術家家屬舊藏,《紅屋頂》曾被收錄於1998與2006年出版的龐氏重要畫冊之中,龐薰琹於過世後,因藝術家與家屬大愛,多數作品均已捐贈給美術館,能於市場上流通者微乎其微,而今釋出甚為難得。 歌舞昇平,自得自適 在龐薰琹自傳《就是這樣走過來的》提及,1977年他經由中國美術家協會的秘書長華君武的介紹與安排,九月至山東各美術學校訪問講學,一個半月期間由煙台、榮城、大漁島一路參訪,並巧遇同為藝術家的黃永玉,兩人攜伴創作,曾一度不眠不休地畫了三天三夜。龐薰琹並在該年並重拾水墨,《紅屋頂》與即完成於此背景中。《紅屋頂》以彩墨生動的捕捉了青島「紅瓦綠樹,碧海藍天」的建築特色。畫家在高處綜合俯視與平視的視角,以果斷的墨線描繪了看似尋常的生活一景,當中由紅磚瓦斜搭而起的屋巒疊嶂,在細節的植栽與燈飾上處處流露生活的情味,無人的場景融合淡藍的天空,在靜謐中展現一種太平時期的安適感,或也反映了藝術家此時走過悲愴迎來喜悅的人生狀態。而用色方面他特以對比的紅綠相襯,在筆刷的韻律中見其瀟灑。而在1978年,他曾以與此作相近的構圖,創作了另一件現由中國美術館所藏的《紅屋頂(回憶青島)》,後者用色與下筆趨於簡約,突顯了前作的豐富性以及藝術家對此情此景的鍾情。
Ink and colour on paper
33.5 × 33.5 cm. 13 1/4 × 13 1/4 in.
Painted in 1977
Stamped with an artist’s seal on bottom right LITERATURE 1998, Pang Xunqin Paintings, People’s Fine Arts Publishing House, Beijing, p. 146 2006, Pang Xunqin, Jiangsu Education Publishing, Nanjing, p. 305
PROVENANCE Original Collection of artist’s relative Chen Chuan Gallery, Taipei 8 Oct 2020, China Guardian Hong Kong Autumn Auction, Lot 108 Acquire directly by present important private collector from the above This work is accompanied by a certificate of authenticity signed by Yuan Yunyi, wife of Pang Xunqin Paint the Leisure, a Song with Amour The Representative Ink Paintings of Pang Xunqin Created in His Shandong Tour “As a Chinese man living in the 20th century, I was forced to leave the classrooms and art world due to political reasons for some time. But I want tranquil in heart, and I want beauty in life and also pleasure in labour. Also, I want you to see some beauty, and to feel that there is still joy in our life.” ——Pang Xunqin Known as the “Father of Chinese Modern Craft Art”, Pang Xunqin was admitted into the French Académie Julian in 1925. Five years in France enables him to have a thorough understanding about the western classicism and modernism. By 1930, he returned to China and taught in the Shanghai Art School, and the National Art School in Beiping (today’s Beijing) later. After that, Pang worked as a commissioner of the Palace Museum and went to the southwest to research on the art of minorities in Yunnan and Guizhou provinces. With Ni Yide, Pang initiated an art club named “Juelan Club”. The club was of great significance in China at that time, since it stirred the conservative art environment with its revolutionary exhibition. However, the error of the time forced him to leave for the farmland during the Cultural Revolution. He was forbidden from painting for a long time. Thus, only few paintings are created during 1949-1972 still last. When it came to 1973, he started to paint in a free spirit, and reached a perfect state in late 70s. This time we bring his Red Roof which was created during his visit to Shandong Province in 1977. The work has been put in Pang’s important painting albums published in 1998 and 2006. After Pang passed, most of his works have been donated to the art museum, so there are only few works still circulate in the market. Therefore, it is pretty rare to see it presented in the market this time, indicating its precious in value. Dance in Grace, Wander in Peace Pang’s autobiography mentioned that he was introduced and arranged by Hua Junwu, the chief secretary of Chinese Artists Association in 1977 to visit and give lectures in the art schools in Shandong. He accidentally met another artist, Huang Yongyu, and thus painted in company with each other. For once, they together painted for three days without break. In that year, Pang picked up ink painting once again, and created the Red Roof under that circumstances. The artpiece Red Roof vividly captures the “red tile and green tree” character of Qingdao architecture with coloured ink. Artist adapts a combination of the overlook and smooth inspection, and depicts the daily life with sharp and decisive lines. Red tiles pile up like a mountain range, and the plants in detail and green tree suggests an interesting life. The peaceful scene with no man but the light blue sky indicates a sense of comfort in the good time, which also reflects his mental status and pleasure after all those suffering. The colours used are carefully chosen to create a red-green contrast and combination. The rhythm of strokes is full of confident and freedom. In 1978, he once created a painting, named Red Roof (In Memory of Qingdao), with the similar composition, and it is collected by the National Art Museum of China. The colour of the later piece is simplified, which inversely highlights the rich colour in this work, Red Roof, as well as artist’s fascination on this scenery.

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:550,000 - 850,000 港币 起拍价格:550,000 港币  买家佣金:
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