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林風眠 1900-1991 綠衣仕女 Lin Fengmian Lady in Green
香港 北京时间
2023年04月06日 开拍
拍品描述
彩墨 紙本
約一九四〇至一九五〇年代作
款識 林風眠 藝術家鈐印(左下)
來源 劉翼凌直接得自藝術家本人 弗朗西斯?劉?德直接得自上述來源 前私人藏家直接繼承自上述來源 2019年11月24日,香港佳士得秋季拍賣會,拍品編號362 現亞洲重要私人藏家直接購自上述來源 註:曾任孟加拉達卡大學教授暨外交官的劉翼凌,為林風眠廣東省立梅州中學同窗。1977年林風眠自滬遷港,與彼時移居美國的劉氏取得聯絡,再續前緣,劉氏曾收藏林風眠多件代表作,而弗朗西斯?劉?德為劉翼凌之女。 孤芳不自賞,冰心照丹青 林風眠的藝術臻境 「林風眠畢生在藝術中探索中西嫁接,作出了最出色的貢獻,其成功不僅源於他對西方現代、中國古代及民間藝術的修養與愛情,更因他遠離名利,在逆境中不斷潛心鑽研,玉壺雖碎,冰心永存。」 ——吳冠中《一代宗師林風眠》 二十世紀初期東西文化在不可逆的交鋒之下,中國藝術家苦心求索,以當代精神開創全新的藝術表達形式以繼承傳統並令其重新煥發生機。其中,林風眠的繪畫大膽真摯、前衞地跨越了語言、文化及國界的隔闔獨步畫壇,展現了他對中西藝術融合理想的具體貢獻。其於29歲協助創立杭州藝術專科學校,即久負盛名的中國美術學院前身。作為杭州藝專的第一任校長,他率先提出融合中西藝術精髓的教學方法,啟發了其後一批中國藝術巨擘如趙無極、朱德群、吳冠中等人。被後人推崇為「中國現代藝術之父」,影響甚篤。 在林風眠看來,若論中西繪畫,中國書畫多以白描表現物象輪廓,主角人物和背景之間的緩衝、佈局與通篇的氛圍尤為重要。西方繪畫草圖多以鉛筆、炭筆起稿,追求對人物五官、姿勢的勾勒。他汲其中之長,融合出新,其筆下的仕女可謂膾炙人口——儘管留學巴黎,親身經歷西方現代主義藝術流派的遞嬗,他沒有盲目追求寫實或全然抽象,而是關注如何調動佈局、筆法、色彩去捕捉人物的氣質及韻味,融入西方透視及媒材,展現蘊藉其胸的東方精神。 如果說西方文藝復興時期波提切利(Sandro Botticelli)的《維納斯的誕生》表達了人性對肉體和慾望的歌頌,林風眠的仕女所讚美的,便是東方女性婉約及空靈氣質。是次呈現其兩幀「仕女」題材經典之作,作品皆來源有序——《綠衣仕女》(拍品編號64)乃著名書法家、中國駐印度外交官、基督福音《宇宙光》、《燈塔月刊》的創辦人劉翼淩之女——法蘭西斯?劉?德之舊藏。劉翼淩與林風眠為梅州中學同窗。直至1950年代林風眠旅居重慶時,彼此仍有往還,交情深厚。劉氏和其子女因而收藏了大量林風眠作品;而《湯沐仕女》(拍品編號65)為藝術家親贈中國美術家協會副主席蔡若虹的特出之作,二人在林風眠移居香港前於上海結下深厚友誼,作品為少數林風眠信筆醻贈的用心之作,為識者之珍! 氣韻生動,咫尺天涯 林風眠於1951年定居上海後,平日的消遣便是看京戲,故將戲曲人物的扮象,經想像轉化開啟他創作上標誌性的「古裝仕女」系列。其筆下的女子,體現藝術家將魏晉時期的壁畫、宋瓷中的傳統元素與巴黎畫派現代造型語言間的完美融合,爲為中國古典繪畫帶來突破及革新,《綠衣仕女》一作便是箇中代表。 藝術家將宋磁冰清玉潔的質感及精神注入人物的神髓,觀者從畫中斜倚的主角可感受彷如夢般難以觸及的高潔和美麗,其一襲烏髮、鵝蛋臉、柳葉眉及點絳的紅唇點明來自東方的身份。她雙眼低垂,一手置於床榻,一手懸於胸口,展露落落大方的怡然神采。藝術家在此充分以中國古代繪畫所致力的簡約線條、以低限的色彩去塑造人物表情氣度、轉瞬間的喜怒哀樂。並以濕潤的筆墨描繪肌膚質感、對輪廓形體進行雕琢,女子「孤芳不自賞」的情態恰如林風眠所說的那般:「中國藝術之所長,適在抒情」,是藝術家將東方女性美好特出的氣質和當代美學交融貫通的非凡之作。 一簾幽夢,精神的懷想 林風眠在此構圖中選擇將負空間施以主色調,此技法曾在宋代文人畫中出現,如劉松年的《十八學士圖——品香》,即在空白的背景處以較深色的樹幹及花叢鋪滿畫面,此也再次證明他與東方傳統的深厚連結——他在背景處以不同色彩、形質的花布經營畫面,加以墨線縱筆,令畫面看上去如具窗簾隔絕外在世界,打造出「一簾幽夢」般靜謐的詩意之境。左側背景白底藍花的素雅,暗合女子的青衫白裙,猶如輕盈的春夏時節;而右側則以濃鬱的磚黃、褚褐色為底,輔以黑墨花紋,恰如秋冬時節的低吟,若在有限的空間中營造出多元的視覺空間,更以考究的細節和變幻的圖案,呼應了西方名家馬蒂斯(Henri Matisse)畫面中,那空間外多彩有序的背景圖像:不僅點出室內與室外的連結,更在實與虛,色彩與空間之間達至和諧及統一,烘托出主角豐富的內心世界,引人深入其境。畫面前排以青花瓷壺及一顆飽滿的檸檬入畫,以茶的素雅及檸檬的青澀暗示主人公樸素的審美觀,亦將觀者的視覺從精神上的聯想拉回現實,見其精心佈局之高妙。 無關風月,覓人間知己 而另一件《湯沐仕女》則展現不同的情韻:畫中女子彷若甫出浴後獨坐屋內。她頭紮黛色髮帶,紅唇點絳、雙頰菲菲,嫵媚柔軟的身姿令人聯想到西方繪畫中的女子形象,如提香(Tiziano?Vecelli)筆下《烏爾比諾的維納斯》那倚著床沿、風情萬種的女神,然而與提香不同的是,在林風眠的《湯沐仕女》中,觀者並非遠觀整體情境,而是彷彿與畫中人近在咫尺,共處於一靜謐空間,相對而坐,促膝長談,忘卻人間三千凡俗。 線之靈動,獨守內心清幽 此作畢現林風眠對「形」與「線條韻律」的追求。纖細的線條、和諧的動勢,不僅展現出東方女性婉約的形體之美,畫中人健碩的大腿、紮實的坐姿,更令她帶有西方油畫中女體的力量與韌性。在構圖上,藝術家以其代表性的「方紙布陣」建構出一個均衡、對稱的閨閣空間,仕女儘管一絲不掛,卻以端莊的姿勢坐於正中央,兩側的幕簾分隔出空間的秩序感,令此作一反「裸女」題材慣常可見的大膽香艷,而透出一股知性而清幽的意味,將東方情致的質樸之境、詩意之美深情再現,並一顯林風眠獨守內心的孤高之境。 從《綠衣仕女》到《湯沐仕女》,可見林風眠在「仕女」題材上不斷新創,於造型、構圖以及空間結構上探索變化,對此一傳統題材注入現代主義的詩意與古典主義的優雅,以無人可企及的藝術成就帶領中國傳統繪畫進入更加寬廣、豐富、現代的大境,「玉壺雖碎,冰心永存」,如其筆下看似柔弱,實則內蘊深厚的女子,他以一人之軀,靜默而永遠地改變了中國藝術的面貌。
Ink and colour on paper
66 × 67 cm. 26 × 26 3/8 in.
Painted approximately from 1940s to 1950s
Signed in Chinese with an artist’s seal on bottom left
PROVENANCE Liu Yih Ling acquired directly from the artist Frances Liu Dea acquired directly from the above Thence kept by previous private collector from the above 24 Nov 2019, Christie’s Hong Kong Autumn Auctions, Lot 362 Acquired directly by present important private Asian collector from the above Note: Liu Yih Ling was a diplomatist and also taught at the University of Dhaka as a professor in Chinese literature before. He and Lin Fengmian were classmates at Meizhou Middle School. After Lin moved to Hong Kong, Liu who moved to the United State got contact with Lin again and became close friends. Frances Liu Dea was Liu Yih Ling’s daughter. A Unique Fragrance without Self-Indulgence, A Crystal Soul Reflected in Art Lin Fengmian’s Consummate State of Art In the early twentieth century, when Eastern and Western cultures were irreversibly at odds with each other, Chinese artists painstakingly sought to create new forms of artistic expression to inherit and revitalize the tradition with contemporary spirits. Among them, Lin Fengmian’s paintings cross the barriers of language, culture, and nations with boldness and sincerity and stand out in the art world, demonstrating his specific contribution to the dream of integrating Chinese and Western art. At the age of 29, he assisted in the founding of the National Academy of Art (Now China Academy of Art). As the first president of the academy, he pioneered the teaching method of fusing the essence of Chinese and Western art, which inspired a number of subsequent Chinese art giants such as Zao Wou-Ki, Chu Teh-Chun, Wu Guanzhong. The most popular subject matter of Lin’s works is the traditional Chinese beautiful noble ladies (maids of noble backgrounds in an imperial palace). The two classic works with the theme of “beautiful ladies” presented this time have clear provenance. Lady in Green (Lot 64) was collected by Frances Liu Dea, daughter of Liu Yih-ling, a calligrapher and Chinese ambassador to India who founded Christian Gospel publications Cosmic Light and Lighthouse. Liu Yih-Ling and Lin Fengmian were classmates at Meizhou High School. When Lin sojourned in Chongqing in the 1950s, they were still in contact with each other and had a deep friendship. As a result, Liu and his family collected a large number of Lin’s works. Meanwhile, Bathing Lady (Lot 65) is the artist’s special gift to Cai Ruohong, Vice President of the Chinese Artists’ Association who formed a deep friendship with Lin in Shanghai before the artist moved to Hong Kong. The work is a rare diligent piece created as a gift by the artist and is undoubtedly a gem for collectors. After settling in Shanghai in 1951, Lin Fengmian watched Peking Opera as his pastime. Therefore, he transformed the imagery of opera characters into his iconic “Beautiful ladies in historical costume” series. The women in his series embody a perfect combination of modern Parisian stylistic language and traditional Chinese elements from Wei and Jin Dynasties mural paintings and Song Dynasty porcelain, which brings a breakthrough and innovation to classical Chinese paintings, as exemplified by the work Lady in Green. The artist infuses the textural clarity and spiritual purity of Song dynasty porcelain into the character of the figures, and viewers can feel the dream-like and unreachable elegance and beauty of the inclining figure. Her dark hair, shapely face, arched willow-leaf-like eyebrows, and rouged lips all clearly point to her identity from the East. Her eyes are downcast, with one hand placed on the bed and the other above her chest, showing her noble gracefulness. The artist fully utilizes the simple lines and unsaturated colors that are prominent in classical Chinese paintings to shape the figure’s facial expressions and characters, as well as her subtle fleeting changes of moods. He also uses watery brushstrokes to depict the texture of the skin and sculpt the outline of the body. The lady’s state of being “A single fragrance without self-indulgence” is precisely the same as in Lin’s own words, “The strength of Chinese art lies in the expression of emotions.” A Curtain of Dreams, a Spirit of Reminiscence Lin Fengmian uses floral fabrics of various colours and shapes in the background. In addition, the vertical ink lines make the canvas seem separated from the outside world by a curtain, creating a poetic scene of “A Curtain of Dreams.” On the left half of the painting, the elegant blue flowers on a white background parallel the lady’s green and white dress, as if it were a lighthearted season of spring and summer; while on the right half, the rich brick yellow and ochre brown background is complemented by the black ink and floral patterns, which echoes the colourful and orderly background of Henri Matisse’s paintings. Those backgrounds that seem outside the painted space not only highlight the connection between the interior and the exterior but also achieve the harmony and unity between the real and the virtual, colours and space. Hence, they bring out the dynamic inner world of the figure and invite viewers into the world inside the painting. At the front of the painting, there is a teacup with blue floral decorations and a plump lemon inside it. The simple elegance of tea and the astringent taste of lemon imply the figure’s unadorned aesthetics and draw the viewers’ attention from spiritual associations back to reality, which shows the subtlety of the artist’s ingenious and masterly layout. The Quest for a Terrestrial Confidant: An Inherent Sentiment The other painting, Bathing Lady, shows a different mood: the woman appears to have just finished her bath and is sitting alone in front of the window. Her purple hair band, red lips, rosy cheeks, and alluring posture remind viewers of female figures in Western paintings, such as Venus in Tiziano Vecelli’s Venus of Urbino, who charmingly leans at the edge of the bed. However, unlike Vecelli’s composition, viewers of Lin’s Bathing Lady do not look at the whole scene from afar, and the lady in the painting seems to be next to them. Viewers are as if sitting next to the lady and having a long conversation with her in a quiet space, leaving the mundane world behind. Enchanted Lines: Persevering with Inner Seclusion This work manifests Lin Fengmian’s pursuit of “form” and “rhythm of lines.” The slender lines and harmonious movements reveal the beauty of Eastern women’s graceful and restrained figures. Moreover, the strong thighs and solid seated posture of the lady in the painting enhance her strength and resilience, like the female body in Western oil paintings. In terms of composition, the artist uses his representative “square paper array” to construct a balanced and symmetrical space of a boudoir. Though seated naked, the woman sits in the centre in a demure posture. The curtains on the two sides create the orderliness of the space, which shows a sense of intellectual beauty and seclusion and contrasts this work against the usual theme of eroticism in artworks about female nudity. It recapitulates the Eastern poetic aesthetics of simplicity and sentimentality and exhibits Lin’s perseverance in his inner seclusion.

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:2,200,000 - 3,200,000 港币 起拍价格:2,200,000 港币  买家佣金:
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20,000,000 - 以上 14.00%
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