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石晉華 b.1964 走筆#120 Shi Jin-Hua Pen Walking No.120
香港 北京时间
2023年04月06日 开拍
拍品描述
鉛筆 紙 文件
二〇一二年作
展覽 2014年11月1日至30日,「浮生未歇」,小畫廊,高雄 來源 台北安卓藝術中心 亞洲私人收藏 附:創作說明文件及藝術家開立及親簽作品證書 高山仰止,凌雲之志 石晉華的聖山走筆 「藝術是精神的生命灌注到物質界中,使無生命的表現生命,無精神的表現精神。」 ——美學家宗白華 「如果一枝筆,可以是一個人的一生,那麼在漫長的生死輪迴中,我重複走出的是什麼樣的人生線條?」對於行為及觀念藝術家石晉華來說,手中的畫筆,不僅是他記錄、思考、創作的工具,更是如「人之一世」的縮影象徵。由於17歲時便身患幼年型糖尿病,在日復一日、必要的身體監測中,他將自我的生命體驗反映在創作中,以身體作為工具和表達媒介,藉由丈量、紀錄、行走等灌注以強大意志力和精神的行為表述,呈現其對「人之存在」意義的叩問。自1994年起,他以塗畫、耗盡一枝筆的「走筆」行為實踐,創造出無比震撼、發人深省的藝術圖景,由此感知生命精神的力量。憑藉「走筆」系列,他先後獲「台北美術獎」、「高雄獎」,作品被高雄市立美術館、國立台灣美術館、澳洲白兔美術館等典藏,成為其最具代表性的創作,備受認可。 而在石晉華近二百件「走筆」作品中,僅有12件的「岡仁波齊峰轉山系列」是極為特殊的一支。他曾言:「『走筆』有一系列作品,是以一枝鉛筆走畫出岡仁波齊峰。這座山是一個象徵,代表自輪迴生命中超越的一個目標。我的身體到不了那裡,就用這一方紙作為我朝聖的道場。」 位於西藏的岡仁波齊峰,是藏傳佛教、印度教徒信奉的「聖山」,在藏語中意為「雪之珍寶」,其峰頂經年積雪,山勢威凜,至今仍無人登頂。朝聖者相信,只要以順時針方向環繞此峰「轉山」,便可洗滌今生之過,獲得靈魂的淨化和智慧。秉持「轉山」的信念,石晉華如虔誠的使徒般,以鉛筆巡進在《走筆#120》中,描摹著聖山通天仰地的無雙風貌。跟隨走筆充滿信念和力量感的線條,觀者如同和藝術家一起,一步一叩問地行走在聖山的綿延之地,在變化有致的自然之筆中,身臨其境地感知著攀登入雲的雪峰山嶺。在218.5公分的宏闊畫幅上,藝術家以疏密有致、具輕重緩急的走筆行跡,創造出天、雲、山、地分明的精彩空間層次。大地以最為厚重的深色筆觸,在一筆接一筆、縱橫往復的迴旋中,成為轉山行者累積生命業力的基石。其上,他以清淺細筆塑造如雲卷雲舒般的「回字形」紋理,為天地之遼遠蒼茫注入一份輕盈的靈動,更突顯此畫境的神聖之意。而身處其中的聖山,以層疊向上的連動長線,展現千岩萬轉的崔嵬奇境,在鏗鏘的岩石間,以道道行筆之力,鋪展著生命之徑,並在永攀高峰、孜孜不懈的精神念力中,開闢出一條無極的通天之路。縹緲的天際延伸於斯,似無人踏足,卻留下筆屑朝聖般的足跡和叩問,隱含著以一生之願力追求的終極信念。而回看山下,筆頭的身軀正靜靜地被放置在左側的山腳之初,回到生命的原初,並將再度以一生矢志不渝的行旅,持之以恆地探索人生、直達山巔的凌雲之志。 石晉華以最為「樸實無華的線」,呈現聖山「最豐富的形」,並由之創造大千世界的無窮之「象」。正如其所言:「鉛筆的一生完全奉獻繞行一座山,本身就很美。以連續不中斷的線條與鉛筆屑,耗盡一枝鉛筆的走筆轉山,是指以一期的生命來爬這座山,如果沒有達成,就在下一個生命(鉛筆)繼續爬山??只要有一個根本的願力,總有一天我會面對真理、智慧與慈悲。」
Pencil, paper, document
96.5 × 218.5 cm.(artwork); 42 × 29.7 cm.(document) 38 × 86 in.(artwork); 16 1/2 × 11 3/4 in.(document)
Painted in 2012
EXHIBITED 1 – 30 Nov 2014, Shi Jin-Hua Solo Exhibition, Show Gallery, Kaohsiung PROVENANCE Mind Set Arts Center, Taipei Private Collection, Asia This work is accompanied by an explanation document and a certificate of authenticity issued and signed by the artist Looking up at a Peak, Holding High Aspirations Shi Jin-Hua’s Pen Walking in Scared Mountain For Shi Jin-Hua, a performance and conceptual artist, the brush in his hand is not only a tool for recording, thinking, and creating but also a miniature of “one’s life”. Since he suffered from juvenile diabetes at the age of 17, he uses his body as a tool and a medium of expression to present his questioning of the meaning of “human existence” through the act of measuring, recording, walking, and other expressions. Since 1994, he has been conducting the “pen walking” art practice by painting and using out a pen, creating a stunning art scene. This?Pen?Walking?series is one of his most iconic masterpieces and is widely recognised. With this series, he received Taipei Arts Award, and Kaohsiung Award and these works have been collected by institutions such as the Kaohsiung Museum of Fine Arts, the National Taiwan Museum of Fine Arts, and the White Rabit Gallery, Australia.? Among Shi’s nearly 200?Pen?Walking?works, the?Pilgrimage to Mount Kailash?series, of which there are only 12, is a very special group. Mount Kailash in Tibet is a “sacred mountain” for Tibetan Buddhists and Hindus. Pilgrims believe that by “turning around the mountain” in a clockwise direction, they can cleanse themselves of the sins of this life and attain spiritual purification and wisdom. Holding the belief of “turning around the mountain”, Shi Jin-Hua, like a devout apostle, pencils the landscape of the holy mountain standing between heaven and earth in?Pen Waking #120. On the vast 218.5cm canvas, he creates a wonderfully clear spatial hierarchy of sky, clouds, mountains, and earth with his sparse and dense, fast and slow brush strokes. The earth is depicted with the thickest dark brushstrokes. In continuous coming and returning strokes, the earth becomes the cornerstone for the accumulation of karma in the life of the mountain-turner. Above the earth, Shi applies light and thin brushstrokes to create a “backward” pattern like the rolling of clouds, injecting lightness and flexibility into the pale sky and earth, and highlighting the sacredness of this painting. With the long, continuous moving lines, the holy mountain in between, is represented by the wonders of thousands of overlapping rocks. With the power of the walking brush, the path of the rocks is paved. In the spiritual thoughts of the eternal climb to the top, a path to heaven is opened. The skylines stretch in front of the viewers, seemingly untouched, but leaving behind the footprints of a pencil scraper like a pilgrimage, implying a lifelong desire to pursue the ultimate belief. Looking back down the mountain, the body of the pencil is placed at the foot of the mountain on the left, back to the beginning of life, and will once again explore the journey of life with the will to reach the top of the mountain.

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