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石虎 採擷圖 彩墨 紙本 一九九一年作 Shi Hu 1942-2023 Picking Ink and colour on paper Painted in 1991
香港
2023年10月08日 开拍
拍品描述
size:137 × 68.5 cm. 54 × 27 in.
款識 採擷圖(右上)91 石虎 藝術家鈐印(右下) 出版 2018年,《石虎畫集》,潔思園畫廊,香港,第15至16頁
Titled in Chinese on upper right; signed in Chinese and dated with an artist's seal on bottom right LITERATURE 2018, Shi Hu Collection, Chelesa Art, Hong Kong, p. 15-16
來源 香港潔思園畫廊 亞洲私人收藏 幽林訴深情,紅豆寄相思 石虎的《採擷圖》 「石虎的繪畫把傳統、現代和自創的技法融合為一;暈染水墨、濃艷著色、奇異構圖、神秘題材、中西畫素材混用,均炫耀了石虎的藝術才華,把普通的東西變成不平凡的景象。」 ——一新美術館總監楊春棠 被讚為「中國的畢加索」、「畫家中的畫家」的石虎,是中國當代藝術史上傑出的傳承者和創造者。他自小熱愛藝術,1958年考入北京工藝美術學校,因表現出色,隔年進入浙江美術學院的民間美術系進修。石虎不但精通中國傳統繪畫技巧,還廣泛涉獵東西方不同的藝術形式,如敦煌壁畫、民俗畫、牙雕、西方立體主義、野獸派等都為其創作的養分。1978年,他遠赴非洲13國寫生訪問,將所見所聞集結成書,萬本畫冊在短時間內銷售一空。1982年,他在南京博物院舉辦首次個展,震撼藝壇。隨後接連在雅加達博物院、中國美術館、新加坡中華總商會等機構發表個展。 是次秋拍展現的《採擷圖》創作於1991年,該年石虎開啟了他生涯中最為重要的巡展「天命年展」,巡展於北京、澳門、台北、新加坡,獲空前的國際聲譽。意氣風發的他在創作上也愈發爐火純青,本作結合其標誌性的「水墨線條」和「重彩神覺」,在線與色的精妙配合中,刻畫蒼樸醇厚的高古之風。 虛中運實,柔內含剛 「紅豆生南國,春來發幾枝。願君多採擷,此物最相思。」 ——王維《相思》 《採擷圖》中,石虎將具立體感的飽滿人體和中國古代斑駁神秘的壁畫紋理相結合,構建充滿個性的藝術語言,展露王維著名之詩《相思》一般深情雋永的意蘊。暖棕色的寫意背景之上,可見大面積的紅豆枝葉,在那黃白沁染的暈染中,石虎以粉紅色彩細膩地勾勒出的葉脈細節,在葉片周邊皴擦、點染出雲霧,如夢似幻。幾處濃重的紅色顏料點灑在葉間,以抽象筆法展現隨風輕輕晃動的繁盛紅豆果實。而在畫面左側和上端,灰色的霧氣飄散開來,模糊了作品時間與空間的界限,呼應中國水墨畫中「朦朧而婉轉」的審美韻味。紅色、墨色、暖黃色的彩點飛濺其間,是如若抽象表現主義大師波洛克(Jackson Pollock)一般的自動性潑灑技法,為畫作增加了妙手偶得的動能。諸多技法和元素的融合,展現了光陰流淌的痕跡、連綿不絕的能量,讓畫面充滿了神覺和靈性,正如石虎所言:「藝術就是要觀照那些『不可解』、『不可言』的事物」。 而在茂密斑駁的密林之中,兩位女子的倩影隱約可見。左側少女在葉影後神秘地露出半張飽滿豐潤的臉龐,脈脈含情的眼眸惹人憐愛,紅唇呼應枝頭光潤的紅豆。她目視前方,如若陷入對遠方愛人的深切思念。右側女子則隱去面容,僅展現姣好豐滿的背影。少女在林中採擷紅豆,以中國傳統文化中象徵「相思」的信物表達難以訴諸言語的細膩心緒。她們曼妙的身軀在雪白的枝枒後若隱若現,古銅色的陰影和青白色的高光別出一格地為女體塑造出西方透視的立體感。石虎以中國的墨與紙展現西方古希臘、羅馬雕塑、文藝復興時期油畫的古典美,悠遠恆久。 女子身軀的光影在國畫的寫意墨彩、古岩畫的斑駁神秘、以及潑灑飛舞的自動性筆觸之間產生奇妙的碰撞,不同的肌理在石虎的筆下有機融合,卻彷彿渾然天成,虛中帶實、柔內含剛,達到精妙絕倫的完美平衡,令人讚嘆。而那份獨屬於東方的一往情深,含蓄而熱烈,如同光陰的清泉,在色彩和線條的流動中脈脈流淌。
PROVENANCE Chelesa Art, Hong Kong Private Collection, Asia Whispering Affection in the Deep Forest, Sending Lovesickness with Red Beans Picking by Shi Hu Shi Hu, praised as the "Picasso of China", is an outstanding inheritor and creator in the history of contemporary Chinese art. He has loved art since childhood, and in 1958, he entered the Beijing Arts and Crafts College. Due to his excellent performance, he enrolled in the Folk Art Department of Zhejiang Academy of Fine Arts the following year. Shi Hu not only mastered traditional Chinese painting techniques but also extensively studied various art forms from the East and West, such as Dunhuang murals, folk paintings, ivory carving, Western cubism, and fauvism, which have all become nourishment for his creations. In 1978, he travelled to thirteen African countries for sketching and research, compiling his observations into a book. Within a short period, ten thousand copies of the book were sold out. In 1982, he held his first solo exhibition at the Nanjing Museum, shocked the art world. Subsequently, he presented solo exhibitions at institutions such as the Jakarta Museum, National Art Museum of China and Singapore Chinese Chamber of Commerce & Industry. The work Picking presented in this autumn auction was created in 1991. This year, Shi Hu embarked on his most important travelling exhibition in his career, his solo exhibition toured Beijing, Macau, Taipei, and Singapore, garnering unprecedented international acclaim. His creative skills were refined and solidified, combining his iconic "ink lines" with "vivid colours". In the delicate combination of lines and colours, he portrayed the profound and pure ancient atmosphere. Emptiness and Substances, Gentleness with Strength "Red beans grow in the Southern land, sprouting a few branches when spring arrives. Pick an armful of them, my friend, they are the symbols of my lovesick heart." ——Wang Wei, Lovesickness In Picking, Shi Hu combines lifelike human figures with the ancient and mysterious textures of Chinese ancient murals, creating a unique artistic style that reveals the profound and enduring sentiment like Wang Wei's famous poem Lovesickness. Against the warm brown background, a large area of red bean branches and leaves can be seen. Through delicate pink strokes, Shi Hu meticulously outlines the details of the leaf veins, creating clouds and mists around the edges of the leaves, giving it a dreamlike and ethereal quality. Several dense red pigment dots between the leaves are depicted with abstract brushstrokes, representing the flourishing red bean fruit gently swaying in the wind. On the left and upper parts of the painting, grey mist diffuses, blurring the boundaries of time and space in the work, echoing the subtle and melodious aesthetic taste of Chinese ink painting. Splashes of red, ink, and warm yellow colours are scattered throughout the painting, employing the drip technique is reminiscent of abstract expressionist master Jackson Pollock, adding a touch of dynamic energy to the artwork. The fusion of various techniques and elements showcases the traces of the flow of time and continuous energy, filling the painting with a sense of spirituality and transcendence. Amidst the dense and speckled forest, the faint outlines of two women can be vaguely seen. On the left, a young maiden mysteriously reveals half of her plump and lush face behind the foliage. Her affectionate gaze is captivating, and her red lips echo the radiant red beans on the branches. She looks ahead, seemingly immersed in deep longing for a distant lover. On the right, the woman's face is hidden, only showcasing her graceful and full figure from the back. The young girl collects red beans in the forest, using a token symbolizing "lovesickness" in traditional Chinese culture to express delicate emotions that are difficult to put into words. Their graceful bodies are faintly visible behind the snowy white branches, while the bronze-coloured shadows and pale highlights uniquely shape the women, giving them a three-dimensional feel reminiscent of Western perspective. Shi Hu presents the classical beauty of Western ancient Greek and Roman sculptures and Renaissance oil paintings through Chinese ink and paper, evoking a sense of ancient and everlasting.

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