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許漢超 1906 - 1993 科歐勞山 Hon-Chew Hee Koolau Mountain
香港 北京时间
2023年04月06日 开拍
拍品描述
油彩 畫布
約一九六〇年代作
款識 H.C. HEE(右下) 出版 1981年,《陰陽藝術》,許漢超編,許漢超工作室出版,歐胡島,第53頁
來源 美國私人收藏 2013年4月6日,香港蘇富比二十世紀中國藝術拍賣會,拍品編號520 現亞洲私人藏家直接購自上述來源 懷抱故土,中西一體許漢超的立體主義陰陽山水 「許漢超的作品融合了中國的書法、法國的立體派、當代的版畫技術,在閱讀時可能需要花多一些時間來理解,但過程中的樂趣與回報確是無窮的。」——美國藝術家尼德爾(Carl?Niederer),《許漢超的藝術》 作為二十世紀旅美華人藝術家先驅,許漢超在夏威夷這一度假天堂留下了瑰麗的藝術寶藏,不僅在1935年及1962年創辦了「中國藝術協會」與「夏威夷水彩畫會」,在1971年與1986年還曾兩度被當地政府授予「年度最佳藝術家獎」。他出生於夏威夷茂宜島,七歲隨母親回祖籍廣東中山就讀小學,浸潤在東方文化薰陶中,1929年考入美國一流的加州藝術學院與朱沅芷同門,1949至1951年間,入法國立體派大師雷傑(Fernand?Léger)和德國表現主義大師格羅茲(George Grosz)門下學習,此段經歷對他產生了深刻的影響,他的畫作中飽含強烈的立體主義風格,能見立體主義之父布拉克(Georges Braque)和畢加索(Pablo?Picasso)的啟迪,又獨樹一幟地融入少年時期所體察、根植其文化血脈的中式寫意山水、東方陰陽平衡理念、皮影戲劇等元素,融會貫通為自身獨特的創作表達。他曾在巴黎亞立爾畫廊、台北國立歷史博物館等地展出,並受邀為夏威夷火努魯魯機場創作長達三米二的巨幅畫作,足見其藝壇份量。 遊子歸鄉,融合大成 1959 年,環遊世界行旅追索藝術靈光的許漢超年近花甲,已成就一代藝術大家,選擇返回誕生地夏威夷,於夏威夷大學執教,傾囊相授,桃李滿天下,連美國前總統甘迺迪(Kennedy)的夫人賈桂琳(Jacqueline)也曾為其學生。他對夏威夷獨特的地理、人文具獨到的研究,並將之作為靈感入畫。《科歐勞山》即為一例,此作亦為其罕見地將其自1930 年代以來便不斷深探的「陰陽藝術」理念應用於風景畫之傑作。許漢超認為東方的陰陽理論博大深淵,提出著重虛實相生、韻律和諧的空間美學、並在平面繪畫中呈現帶有宇宙概念的三次元空間,《科歐勞山》即為動人之典範。科歐勞山(Koolau Mountain)為夏威夷地標,是一座盾狀火山的迎風東面,山勢巍峨地連綿起伏,在每一個日出時首先迎來天光,1972 年被列入美國國家自然地標。許漢超於畫中描繪的正是此山於晨曦時期的景象:此時,天色尚暗,故山體和周圍景色近乎融為一體,但他創造性地以朦朧的橙紅線條塑造灑浥於山間的朝日暖光,而明亮的黃綠色光點也躍躍欲試地在山脊上跳動,彷彿下一秒就要衝破黑暗,而在陰影處,又以翠綠色展露山脈蔥蘢的妍麗。整幅作品帶有一種東方的朦朧美,再現了破曉的微妙光景。而那如同鑿刻一般的線條和以黑色著重渲染的陰影,正是許漢超「陰陽藝術」風格的重要特點。陰陽相生,如影隨形,他使用乾淨利落的線條突出山脊和山溝之間明暗的對比,富有衝擊力地強調了科歐勞山的地質特點,生動地再現了自然鬼斧神工鑄就的崇山峻嶺。而分割的色塊亦展現他將中國皮影戲、剪紙等民俗藝術活用陰陽空間的智慧,這些東西方的藝術靈感為其適宜的自然融合,達爐火純青之境。以其特出的佈局構形抒發對於故鄉壯麗景觀的讚頌,令人感動。
Oil on canvas
66.5 × 96.8 cm. 26 1/8 × 38 1/8 in.
Painted in approximately 1960s
Signed in English on bottom right LITERATURE 1981, Yin-Yang Art, Hon-Chew Hee, ed., Hon-Chew Hee Studio, Kaneohe, p.53
PROVENANCE Private Collection, America 6 Apr 2013, Sotheby’s Hong Kong 20th Century Chinese Art Auction, Lot 520 Acquired directly by present private Asian collector from the above Embrace the Motherland, Integrate East West Hon-Chew Hee’s Cubist Yin-Yang Landscape Art As a pioneer of the 20th-century overseas Chinese artists in America, Hon-Chew Hee successively established the Chinese Art Association in 1935 and the Hawaii Watercolour Society in 1962. He was admitted to the California Institute of Arts in 1929, becoming an alumnus of Yun Gee. From 1949 to 1951, he studied in France. His paintings show a strong style of Cubism, indicating the influence of the “father” of Cubism, Georges Braque and Pablo Picasso. Simultaneously, Hee creatively integrates the elements deeply rooted in his blood into his unique personal expression, including the Chinese freehand landscape painting, the Eastern philosophy of Yin-Yang balance, shadow puppet play and traditional drama. He used to hold exhibitions at Gallery Ariel in Paris and the National Museum of History in Taipei and was invited to create a 3.2-metre-long tremendous painting for Honolulu Airport in Hawaii. When the Wandering Son Returns Home, a Masterpiece of Integration Emerges In 1959, Hee returned to his birthplace and teach at the University of Hawaii. He had even instructed Jacqueline Kennedy. Hee has unparalleled insight into the geography and humanity of Hawaii and integrates these inspirations into his painting, which is embodied in the work Koolau Mountain. What makes this work more valuable is the application of “Yin-Yang Art” philosophy which Hee had continuously studied since the 1930s. As a Hawaii landmark, Koolau Mountain was listed as a US National Natural Landmark in 1972. Hee depicts the scenery when the mount is veiled by the first ray of the morning sunlight: Hee artistically portrays the warm light of sunrise with the hazy orange-red lines, At the same time, the artist renders the lush beauty of the mountain ranges with emerald strokes in the shadowed areas. The painting produces the subtle and delicate scene of dawn, where the chisel-like lines appear as Hee’s symbolic sign of the Yin-Yang Art style. He uses these clean and concise lines to highlight the chiaroscuro between the ridges and ravines, emphasizing the geographical features of Koolau Mount in a visually striking way. Also, the audience may capture the elements of Chinese shadow puppet drama, paper cuttings and other traditional folk activities from the divided black shadows, which reveals Hee’s cunning manipulation of Yin-Yang space.

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