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秦琦 小林 油彩 畫布 二〇一二年作 Qin Qi b.1975 Xiao Lin Oil on canvas Painted in 2012
香港
2023年10月08日 开拍
拍品描述
size:100 × 100 cm. 39 3/8 × 39 3/8 in.
來源 北京站台中國當代藝術機構 現亞洲重要私人藏家直接購自上述來源 雙重自我的奇妙聯袂 秦琦藝術史聯動經典「廚師」系列代表作 作為中國當代70後藝術家中堅力量的代表,秦琦以他如「奇遇記」般不拘一格的意象主題,充滿寓言性、前衛思考的藝術探索,融合學院派古典造型和當代表現主義的生動畫風,而成為新生代藝術家中兼具「大膽創造」與「內斂思考」的佼佼者。 從1994年畢業於西安美術學院,至魯美油畫系研究生,到2002年畢業後被延攬留校任職,多年的創作和教學經驗,令秦琦得以憑藉對美術史脈絡的熟知,靈活穿梭在新古典浪漫主義、歷史民俗畫、立體主義和象徵主義的不同領域。而他並極為擅長捕捉身邊人、事、物中最具典型的特徵,加以發想,藉由超現實主義的場景、單向的光源營造出充滿戲劇張力的「舞台效果」,筆觸的連綿堆疊更湧現著畫中物象和主角的強烈生命力,彰顯出源於本真的深意。自2010年上海民生美術館為其舉辦大型個展「椅子也可以救人」後,秦琦一躍成為中國新繪畫的領軍人物,其創作重心也由此前的「靜物」轉向「人物」肖像。在他的筆下,荒誕而怪異的個體並不具單獨的意義,而是在彼此的形式、色彩、意義的連結中,彰顯出一種非同尋常的精神力度,正如其所言:「這種不必然的關聯產生了一種非視覺的抽象形式,就像古詞裡面野店、荒雞他們之間的關係,諸如這種提示都提供給我一個更大的自由」。完成於2012年的《小林》,便是秦琦建立雙重自我、展現精神自由的妙作。 繪畫史的天國果實,櫻桃的美妙聯想 「好比一張廚師配一張靜物,由靜物又會想到鵝或者其他什麼。可能從別人角度去看,你畫一個廚師就想到鵝,不算是一個高級的想法,但不一定沒有意思。有時候就是因為不合理才能產生點意外,對我來說也是新鮮的事。」 ——秦琦 「廚師」的形象,是秦琦創作中的常客。自2012年起,他圍繞廚師主題深入探索,從2012年休息中的《廚師》、遐想的《小林》,到2015年手抱大白鵝的《廚師與白鵝》、2019年在野外烹煮食物的《忘川眉和南風起》,畫中主角皆身著潔白的制服,帶著高高的廚師帽,鮮明地表露其職業身份。作為「廚師」系列的開端,完成於2012年的《小林》首次將廚師與食物的關聯作為切入點,建立兩者間的思考。儘管畫中並未直接描繪具體的食物,但透過最上方一行小字中的「櫻桃」二字,便如電影旁白般,訴說著主角腦海中的一絲所想,秦琦將之捕捉為繪畫語言,由此打開了觀眾對兩者間的聯想。 在人類學中,食物是連接文化、階級、信仰的解碼文本。飲食的偏好,便如同對人之解碼,在思考自我和他者之間,扮演了重要的角色。「櫻桃」這一可口鮮美的水果,曾多次出現在西方古典油畫之中,如文藝復興大家提香(Titian)著名的《櫻桃聖母》,便將之作為「天國的果實」加以描繪。在東西方語境中,櫻桃亦代表著「少女」、「甜蜜」、「明媚」、「鮮活的愛情」等多重象徵。對於熟稔藝術史的秦琦而言,他將藝術史中的廚娘形象、連接著畫中小林托腮凝思的神情,此刻所寫的櫻桃或正是其心境的寫照:正處二八芳華的她,許是遙想愛情,期待甜蜜,或是單純回憶櫻桃的美味,又或醞釀一道新菜、念起一批新進的水果……作品雖未挑明其中的關聯,卻透過文字的聯想、生動的人物造型,以廚師和食材的關聯打開想象的空間,進而在這如舞台的畫面中,看到了人物背後所代表的自我。 我即為我的時空舞台 在作品中,兩位廚娘的面容、髮型近乎如出一撤,她們坐在桌邊,保持著相似的托腮手勢,如同「未來主義」對下一時刻、下一階段的動態呈現,在「一圖多景」的敘事邏輯中,令觀者的視線在並置的人物中不斷轉換,從而步入超越日常經驗的繪畫世界。對比同年以單人呈現的作品《小林》,此作便可視為對前傳的精彩續寫,連接起繪畫者完整的思維鏈條。兩位主角,既是同一人在不同分鏡腳本的一次繪畫合體,又彷彿是千人一面的暗指,致敬著古典繪畫中小漢斯?霍爾拜因(Hans Holbein the Younger)《大使們》、圭爾奇諾(Guercino)《繪畫與雕塑的寓言》、貝克爾(Jacob Adriaensz Backer)《手捧鳥巢的兩個女孩》的雙人像繪畫。然而不同的是,從此作品的系列式命名可見,畫中的兩位小林本是同一人,相似又相異的指涉,誕生出無比奇妙的超現實主義感。她們在著裝上以紅、黃毛衣作出區分,有意以一種沃荷(Andy Warhol)式的波普肖像圖示,進行由色彩到個性的差異解讀。左側的黃衣女子將左手隱藏在右臂臂彎之後,與之相反的紅衣廚娘,則大方地將左手支於在桌面上,作出比劃,其外展的毛衣高領和從袖口露出一截的紅色,恰如櫻桃般,呈現出鮮妍的姿態。伴隨色彩與性格、姿態和櫻桃隱喻的銜接,兩位主角的外形和神態也相應出現了微妙的差別。黃衣女子如有心事攢聚,眉目間有著一絲期待和嚮往,而籠罩在光芒下的紅衣女子,神色明朗,果斷思索,彷彿並未被任何事物困擾,各對應著櫻桃「愛情」、「明媚」的隱喻。 秦琦以充滿表現張力的筆觸,令色塊在明暗間層層疊加,強化綠色背景、粉白桌布上的豐富肌理,並在兩個主角身上返還出不同層次的暖色。光線在她們的身後並以不同份量的黃色加重,令她們如同身處舞台之上,演繹著各自的喜怒哀樂。 在這雙重自我的奇妙聯袂中,每一個「我」,皆為「真我」的存在,每一個不同的「我」,亦是「自我」之書寫。昨日種種,皆成今我,往日再現,而未來可期。同質化的外在訴說著本質上的不同,在這連動的視覺敘事中,鮮明的實質感和戲劇性,正彰顯著眼前這看似日常景象卻奇妙不凡的精彩瞬間。一場出其不意又同為一體的並肩交鋒正拉開帷幕!
PROVENANCE Platform China Contemporary Art Institute, Beijing Acquired directly by present important private Asian collector from the above Marvelous of an Altar Ego The Classic Chef Series by Qin Qi Known for his hyper-realistic paintings of fragmented social and historical narratives, Chinese Contemporary artist Qin Qi presents a window between reality and the imaginative. Qin graduated from Xi'an Academy of Fine Arts in 1994, followed by a postgraduate study in Oil Painting at Luxun Academy of Fine Arts. Upon his graduation in 2002, Qin remained as a teacher at the University, and proceeded with Art History classes, ranging from Neoclassical Romanticism, historical folkloric painting, Cubism and Symbolism focus. In 2010, Minsheng Art Museum, Shanghai organized a major solo exhibition for Qin, titled Chairs Can Save Lives. This inaugural exhibition shaped Qin to become a leading figure in a Chinese New Painting. With still life to human portraits, his prolific works developed rapidly. In particular, Xiao Lin, an important work of Qin completed in 2012 establishes his character, spirituality and freedom as an artist. When Historical Heavenly Fruit Dears Dreamscape Sweet Cherry In Qin's oeuvre, the Chef series started with the completion of Xiao Lin in 2012. The work on canvas introduces an intimate relationship between the chef and the food. In the top centre, the phrase "cherry" is written in Chinese in small lettering. With limited explanation, viewers are invited to engage their own interpretation. Under the context of chef and food, "cherry"serves as a movie-narration, a passing thought from the two chefs by the table. In the absence of cherries in Xiao Lin, the popular fruit is actually apparent in many classical painting subjects. For instance, Renaissance master Titian depicts cherry as "fruit of the heaven". Across Eastern and Western languages, cherries also represent "maidenhood", "sweetness", "brightness", "vibrant love" and other symbols. Qin Qi inserts artistic idioms and symbolism in many of his works. In Xiao Lin, the imagery of the chefs are closely linked to Xiao Lin's thoughtful gaze, as the character's cheeks rest comfortably on her head. In a silent moment, a passing thought appears — at a young age of twenties, love, affection, and anticipation runs through her head. Just like the sweetness of cherries, each remembrance and response of love is instilled into every dish. While Xiao Lin's thoughts are imaginative, ambiguous, and interpretive, each symbolic element opens a dialogue for the imagination and meaning between the food groups and free memory. I am a Performer on My Own Stage The two chefs are nearly identical in Qin's narrative. Gazing in the same direction, they both sit by the edge of the table, holding their cheeks in their palms. This static scenery can be compared to a futuristic dimension, allowing viewers the freedom to play multiple possibilities through one picture. Compared to a solo work by Qin, also titled Xiao Lin, the latter can be perceived as an extension of the past, a developed thought of the artist. Upon reading Qin's oeuvre, it is likely that both chefs are of the same character Xiao Lin. Figure on the left wears a yellow scarf, while the right wears a red scarf. The minor difference in attire has strong reference with Andy Warhol's pop portrait iconography. With close examination, figure in yellow on the left hides her left hand behind the bend of her right arm, while the cook in red, in contrast, generously rests her left hand on the tabletop, making a gesture, with the high neckline of her sweater spreading out and a sliver of red peeking out from the cuffs of her sleeves, just like cherries, showing a bright and beautiful gesture. The chef in yellow has a look of anticipation and longing, while the woman in red, shrouded in light, is bright and resolute, as if she is not disturbed by anything, each corresponding to the cherries metaphors of "love" and "brightness". With the convergence of colour, character, posture and the metaphor of cherries, the appearance and demeanour of the two protagonists are juxtaposed from each other. From a duality of characters, Qin explores the notion and existence of self and true self, to which differs from the standard and universal written form of "I" and "self". In a surrealistic and symbolic narrative, each painting of Qin's narrates a dramatic and extraordinary story. As a painter, Qin encourages us to view everyday life in multiple perspectives, revealing a kaleidoscope of experiences.

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拍品估价:170,000 - 250,000 港币 起拍价格:170,000 港币  买家佣金:
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