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王玉平 故宮角樓遠眺之四(筒子河) 壓克力彩 油畫棒 紙本 二〇一一年作 Wang Yuping b.1962 Watchtower Overlooking Forbidden City No.4 (Tongzi River) Acrylic and oil pastel on paper Painted in 2011
香港
2023年10月08日 开拍
拍品描述
size:58 × 68 cm. 22 7/8 × 26 3/4 in.
款識 筒子河2011.7玉平(右下) 出版 2013年,《王玉平:台北.北京 》,誠品畫廊,台北,第18頁
Titled, dated and signed in Chinese on bottom right LITERATURE 2013, Wang Yuping: Taipei.Beijing, Eslite Gallery, Taipei, p. 18
展覽 2013年3月2日至4月7日,「王玉平:台北.北京 」,誠品畫廊,台北 來源 台北誠品畫廊 現亞洲私人藏家直接購自上述來源 附:台北誠品畫廊開立之藝術家親簽作品證書 彩筆繪京城,無限好風光 王玉平心中的京華詩韻 「王玉平畫筆下的北京城,細膩綿潤,帶給我久違的感動,這是有溫度的繪畫,令人憶起老舍醇厚的北平味兒,沈從文質樸明淨的邊城,抑或林語堂的煙雲舊京華。2010年的秋天,王玉平開始每天拎著簡易的畫具,出沒在北京的街頭巷尾、公園胡同,東遊西逛,四處畫畫兒,從陶然亭的垂柳到西華門的雪,天壇、北海、景山前街,一晃數年下來,愛北京,畫北京,喧鬧的北京城就這樣一幀幀定格在畫家安適恬淡的心性裡。」 ——策展人戴卓群 觀王玉平的畫作,就如同品一杯陳年佳釀,豐盈、醇厚,帶著微熱的溫度,令人回味無窮。作為中國「新生代」繪畫的重要代表,王玉平早在1988年中央美術學院求學期間,便於中國美術館舉辦個展,畢業留校任教後,更投身「新表現」主義大潮,作品先後在北京歷史博物館、威尼斯雙年展、舊金山現代美術館中亮相。長久以來,他深受文學家汪曾祺「寓崎嶇於平淡」風格的啟發,將創作回歸於生命的平凡之美,以日記般生動質樸又具文人雅韻的寫意之筆,捕捉生活風景中的如詩色彩。帶有現實情味的創作,形成其謙沖恬淡又老辣洗練的創作風格,更展現內向式的精神底蘊,打動了無數的觀者。 作為土生土長的北京人,王玉平對北京的景與人懷有極為深厚的情感,他時常帶著畫具穿梭在北京城的大街小巷內,描摹著家鄉的四季風景、公園古跡、街頭巷尾,「從初冬畫到了初春,從飄零落葉畫到遠處城牆下的柳樹泛了微綠」,記錄著眼中、心中的京城風光。自然質樸的筆觸,和純真明媚的賦色,呈現著每一個北京人兒時記憶中的柔情。自2010年開展的「畫北京」系列,是其最具代表性的創作之一,廣受藏家青睞。是次呈現的《故宮角樓遠眺之四(筒子河)》(拍品編號87)、《正月十四(雙聯作)》(拍品編號88)便為兩幀經典代表。 金城湯池,訴盎然生機 《故宮角樓遠眺之四(筒子河)》的古韻今朝 「我生長在北京,很多地方是小時候常去玩的。去年秋天,忽然起了畫北京的念頭。北京,坐下來細看,熟悉又陌生。熟悉的是記憶裡的寧靜。我拎著畫具,在城裡瞎轉悠,像初學畫畫的孩子。不必有思想,也沒有負擔,哪兒都能畫,怎麼畫都行。」 ——王玉平 2011年王玉平以北京極具地標象徵性的「故宮角樓」作為寫生采風之地,一連創作了四張系列之作,分別以夏景、雪景、夜景和街景的四個不同角度描繪之。是次所呈現的《故宮角樓遠眺之四(筒子河)》正是當中色澤飽滿、生機勃勃的夏景之作。 始建於明朝永樂年間的筒子河,是環繞紫禁城故宮外圍的護城河,與作防衛瞭望、覆蓋黃琉璃瓦的角樓相輝相映,素有「金城湯池」之說。在王玉平的筆下,夏日中的角樓和筒子河正以最為明媚的色調,道出萬物蓬勃的無限生機:在一碧如洗的晴空中,幾縷白雲淺淺飄過,映照著金碧輝煌的角樓和岸邊迎風的青綠楊柳。在其中,王玉平以明快俐落的弧線短筆,一筆接一筆地勾勒著翠綠柳條的翩然姿態,飛揚的枝葉似在水面上劃開層層碧波,一道又一道地漾起青綠的漣漪,充滿靈動的氣息。紅牆金瓦的角樓在夏日的暖陽中熠熠生輝,四面縱橫的三層歇山式復合屋頂,古意盎然,彰顯著屬於皇家的風範氣派。而王玉平並未僅著筆表現古建築本身的宏偉,而是將划船而行的遊人們一同入畫,為畫作注入一股人情之味。在當中高聳的電燈,更是以融匯古今的面貌,演繹著現代化的氣息,將紫禁城在數百年中的「變與不變」皆融入其中。遊人們乘船而來,乘興歸去,在這萬物生長的時節,王玉平以個人化的視覺經驗、充滿寫意韻味的率真之筆,由「色」之自由突破「形」之局限,在豐盈的天地中,展現著「綠水碧於天」的詩意之美。 大紅燈籠高高掛,歲歲石獅祝平安 特出雙聯作《正月十四》 老北京有句諺語:「永安寺的獅子頭朝裡。」意指「與眾不同」的獨特。完成於2013年的《正月十四》正取景於王玉平多次寫生並十分鍾愛的北海公園永安寺,以南側積翠牌坊下的一對石獅子為畫中主角。有別於常規建築前坐北朝南的石獅,畫中的獅臉朝北,如守門神般守護著眼前的北海公園。此番特殊的趣意,曾令藝術家關良以相似視角的石獅、白塔入畫。而王玉平在此件《正月十四》中,別出心裁地透過連環畫般的雙聯形式,創造出「一地多視角」的連動場景。在兩幀畫面的左下方,他記錄著「正月十四」、「正月十五」的寫生日期,以時間的變化塑造出充滿動態的視覺感,娓娓道來京城充滿年味兒的古韻風貌。在左側繪於正月十四的畫作中,他以縱深的透視感,形成一道深遠的目光軌跡:從前景威猛高大的石獅,到高掛的火紅燈籠,延伸至永安橋上手拿糖葫蘆、衣著鮮妍的活潑孩童,遠方莊嚴的牌坊,以及那永恆肅穆的白塔。石獅、燈籠、寶塔,串聯起濃濃的中國情味,而白塔上圓下方的覆缽式結構,正彰顯普照四方的神聖,為這立春後迎接元宵的歡慶之人,帶來祝福和平安。 延續藝術家一貫以壓克力彩結合油畫棒的表現形式,純色色塊在筆觸的紛繁間,呈現出一種充滿鬆動感的靈氣,正如同北京城那接地氣、講情味,又滿載歷史古韻的獨特氣質。流暢恣意的線條,譜寫著柳枝依依的詩意,平塗飽滿的天空藍彩,帶著些許雪花飛揚,並在右聯的應和中出現了生動的變化:隨著雪霽初晴,正月十五日的藍天更是格外清透,大紅燈籠迎風飛揚,石獅則在這時光中,亙古不變地坐視著一方樂土。作品雖是瞬間抓取的實景寫生,卻營造出如同時光停駐的紀念碑性,在高飽和的純淨色彩中,構建出如夢般的美好,將現實與兒時的回憶相遇在畫中。「尋常風月,等閒談笑,稱意即相宜。」最是平凡的時光,恰是最動人的回憶,在這故國京城的光輝之中,王玉平緩緩道出一代代人記憶中的年華溫情。而那些只道是尋常的風景,正是古今不變、永存心間的無限好風光!
EXHIBITED 2 Mar – 7 Apr 2013, Wang Yuping: Taipei.Beijing, Eslite Gallery, Taipei PROVENANCE Eslite Gallery, Taipei Acquired directly by present private Asian collector from the above This work is accompanied by a certificate of authenticity signed by the artist and issued by Taipei Eslite Gallery Painting the Infinite View of the Capital with Colourful Brushes Wang Yuping's Poetic Rhythm of Beijing As an important representative of China's New Generation of painting, Wang Yuping held a solo exhibition at the National Art Museum of China as early as 1988 during his studies at the Central Academy of Fine Arts. After graduating from the school and remaining there as a teacher, he plunged into the tide of Neo-Expressionism, and his works have been shown at the Beijing Museum of History, the Venice Biennale, and the Museum of Contemporary Art in San Francisco. As a native of Beijing, Wang Yuping has a deep affection for the city's scenery and people. He often travels through the city's streets and alleys with his painting tools, depicting the four seasons of his hometown, the ancient ruins, parks, lanes and streets. The natural brushstrokes and the pure colours present the tenderness of every Beijinger's childhood memories. The Painting Beijing series, which started in 2010, is one of his most representative creations and is widely favoured by collectors. Watchtower Overlooking Forbidden City No.4 (Tongzi River) (Lot 87) and The 14th of January (Diptych) (Lot 88) are two classic representations of the series. The Golden City River Calls for Vitality Ancient Rhymes of Watchtower Overlooking Forbidden City No.4 (Tongzi River) In 2011, Wang Yuping took the symbolic Forbidden City's watchtower as the location for his sketches, and continuously depicted it from four different perspectives: Summer, snow, night and street scenes. Watchtower Overlooking Forbidden City No.4 (Tongzi River) is the summer scene that are full of colour and vitality from this series. Built during the Yongle period of the Ming Dynasty, the Tongzi River is a moat that surrounds the outer perimeter of the Forbidden City. It mirrors the watchtower with yellow glazed tiles, which serves as a lookout for the defence of the city. The river is well-known for the tale of "gold city wall and boiling moat". Under Wang Yuping's brush, the watchtower and the moat in summer have the brightest tone, telling the infinite vitality of everything flourishing: A clear blue sky is reflecting the green willows on the banks and the golden brilliant watchtower, showing the splendorous royal style. Wang Yuping did not only focus on the grandeur of the ancient buildings themselves, but also included the tourists on boats in the painting, injecting a human emotion into the painting. The towering electric lamps in the painting are a modern interpretation of the Forbidden City, blending the past with the present and incorporating the "changes and constants" of the Forbidden City over the centuries. Red Lanterns Hanging High, Stone Lions Wishing Peace The Unique Diptych: The 14th of January There is an old Beijing proverb that says: "The lion in Yong'an Monastery faces inwards." It means "different from the rest". Completed in 2013, The 14th of January (Diptych) captures Yong'an Monastery in Beihai Park, which Wang Yuping has sketched many times and loves. This work features a pair of stone lions under the Jicui Pai Fang on the south side. By using the form of a diptych like comics, he creates a continuous scene of "multiple perspectives in one place". In the lower left of the two frames, he recorded the dates of the 14th and 15th days of the first month of the lunar calendar, and used the change of time to create a dynamic sense of vision: From the mighty stone lions in the foreground, to the red lanterns hanging high above; from the lively children on the Yong'an Bridge holding Tanghulu and dress in bright and colourful clothes, to the solemn Pai Fang in the distance, and the solemn White Pagoda. The stone lions, lanterns and pagoda are all linked together in a strong Chinese flavour. The white pagoda, with its round upper and square lower, forms a bowl structure. It is a manifestation of the divinity who is illuminating the four directions, bringing blessings and peace to those celebrating the Lantern Festival after the Beginning of Spring. Continuing the artist's classic expression of combining acrylic and oil on canvas, the pure colour blocks in the midst of multiple brushstrokes present an aura full of relaxation and movement, just like the grounded, emotional, and historical atmosphere of Beijing. Though the work is an instantaneous sketch, it creates a monumentality that is like a stoppage in time. In the highly saturated and pure colours, the reality meets with childhood memories, and slowly reveals the infinite scenery that is only commonplace in the memories of generations.

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