| 中文版 English

具体要求

其它要求

-
关闭
丁衍庸 山水圖 彩墨 紙本 一九七五年作 Ting Yinyung 1902-1978 Landscape Ink and colour on paper Painted in 1975
香港
2023年10月08日 开拍
拍品描述
size:69 x 46 cm. 27 1/8 × 18 1/8 in.
款識 黃公遊山去 雲林乘舟來 萬山開笑臉 一水皆畫材 乙卯 丁衍庸 藝術家鈐印(左上)
Inscribed, dated and signed in Chinese with an artist's seal on upper left
來源 原亞洲私人藏家直接獲贈自藝術家本人 亞洲私人收藏 註:畫軸貼有丁衍庸弟子梁琨題簽「丁衍庸山水軸」及梁琨鈐印 古今多少事,都付笑談中 丁衍庸七十年代水墨傑作 「丁衍庸認為藝術必須與充塞天地間的充沛生命力結合,旺盛的生命力才能創作出卓越作品,這種氣論在藝術表現上,連結成『大』與『剛』兩項審美特質,成為時間上的廣大,顯示出歲月的斑駁。」 ——亞洲大學現代美術館館長潘襎襎 與關良、林風眠並稱「廣東三傑」的丁衍庸,1921年留學日本,深受野獸派、印象派影響,1925年歸國後成為中國「洋畫運動」的驍將。而在研究線條時,他接觸到中國文人書畫,感受到當中不重形似而重「神似」的深刻底蘊,備受鼓舞和震撼,其中八大山人和石濤的繪畫最為其推崇。認識到國畫魅力的丁衍庸如獲至寶,轉而投身水墨的探索,曾自言:「我從狹小的範圍裡,逃跑了出來,轉向中國藝術的體系和中國固有文化精神方面去找尋新的知識和技法」。 七十年代,他進入創作至臻的圓熟階段,不僅作畫題材廣泛,更練就爐火純青、大膽新奇的傳神水墨筆法,正如他意氣風發地許下的豪言壯志:「八大無此狂,石濤無此膽」。也正是在此時期,他在國際上逐漸贏得聲望:1974年,丁公畫作入選「當代中國書畫展」,赴美國耶魯大學等各大學院展出,同年又受邀於日本南畫院年展;接下來的1975至1977年三訪墨爾本展覽,轟動國際。是次秋拍呈現的《霸王別姬》(拍品編號79)、《山水圖》(拍品編號78)、《達摩》(拍品編號80)及《耕牛》(拍品編號81)均完成於1970年代,一展其老辣純熟之風,見證他在山水、人物、動物多元題材上卓爾不群的成就。 霸王別姬:豪情萬丈的慷慨之歌 「項王何必為天子,巨鹿一戰古今無。」 ——丁衍庸 大尺幅的《霸王別姬》取材自膾炙人口的京劇,為丁公1970年代極熱衷的標誌性題材。畫中項羽身披金甲、左手持劍,右手執矛、雙目圓睜、怒髮衝冠,好似於四面楚歌的絕境之際爆發出驚天動地的怒號,以勇武之姿慷慨一戰。虞姬則婀娜多姿,未著古人寬袍大袖的服飾,取而代之的是一襲玲瓏貼身的摩登綠裙,盡顯其秀美的體態,然而其眉宇卻顯出巾幗不讓鬚眉的勇毅神色,她右手倚項王手臂,好似已決心赴死,豪情毫不遜於項羽,彰顯丁公對於二人的欽佩。 如藝評家莫一點言:「丁老師運筆果斷而靜鍊,流暢中又揮灑自如,藏豪放蒼勁於含蓄樸拙之中」。在此作中,丁公展現了渾然天成的老辣用筆,以豪邁的潑墨揮就項羽孔武有力的雙臂,又以拙樸而簡練的濃墨重彩勾勒出誇張化的圓目、粗眉、濃鬚,盡數展現霸王本色。而與之對比的是,他以克制的筆法描繪虞姬,諧趣地用勺形一筆勾出其髮髻,並憑圓潤細緻的線條描繪微蹙的柳眉、堅毅的杏眼,展現了女子婀娜和英氣的二重特質,在極簡的構圖中僅憑筆法便使不同人物性格躍然紙上,變化出生動的起承轉合。正如其學生丁錦華回憶:「他的人物畫,京劇小丑與武旦、古代傳記、小說及神話中人物,均神采飛揚,性情活現於紙上。」此番境界非幾十年深厚功力不能及,令人拍案叫絕。回憶丁公中年孤身一人赴香港,與家人兩岸分離、一生節儉清貧、在困頓之中仍堅持追求藝術。他於76歲創作此作時,定會聯想到戲曲《霸王別姬》的絕唱,主角訣別的場景仿若丁公骨肉分離的痛苦,但正如豪傑項羽一般,他破釜沉舟、砥礪前行,畢生矢志不渝地追求藝術理想,最終在藝術史上留下濃墨重彩的一筆,令作品格外撼人。 當仁不讓:融古出新的大寫意山水 「古之鬚眉,不能生我鬚眉。古之肺腑不能安入我腹腸,我自發我肺腑,揭我之鬚眉,縱有時觸著某家,是某家就我也,非我故為某家。」 ——石濤 丁公推崇的清代藝術家石濤主張以創新的精神傲立於傳統之上,他遊歷山川十餘年、練就筆下獨具特色的山水。其畫中陡峭的山岩盤旋崎嶇、怪松古樸剛勁,「脫胎於山川,而法我自立」。丁公與石濤志同道合,當仁不讓地扛起中國藝術革新的大旗,主張超越傳統窠臼、反映當下的時代性。他以更加極簡的野獸派表達詮釋中國筆墨的恣肆,意境暢快新奇。只見《山水圖》中,丁公以大巧若拙的線條畫出右側一顆幾欲參天的松樹、錯落有致的山巒水岸、淳樸的茅舍和衣冠簡樸的居民,並著以淡赭色,寥寥幾筆即展現一派民風淳樸、景色奇絕、如「桃花源」一般的村莊。而在左側則以大片留白指代江水的浩瀚無邊,展現其「要從空處見鴻蒙」的思想。畫面中心,頂天立地的松樹以線為骨,以短而實的筆墨畫出一根根松枝和粗粗礪曲折的樹幹,盡顯蒼樸之態,不追求擬真而求神韻。其左則以奔放的墨色枯筆畫出一棵果樹,沉甸甸的果實壓彎枝頭,比喻謙和的隱士風骨,二者相映成趣、儀態萬千。而岸邊山包形的岩塊不使用過多皴法渲染,唯以一筆勾勒,透露出一種頑趣的拙味。除外,奔放有力的兩條墨線一氣呵成地畫出遠處起伏連綿的山脈,以一濃一淡的墨色展現遠近之別。左側江中的小舟則一轉視角,從奇絕的俯視角度畫出,好似野獸派的佈景,打破單一透視的局限。丁衍庸在此將古代文人推崇的「奇」詮釋到極致,展現令人驚豔的先鋒性。 而在畫面左側,則瀟灑揮毫地寫下:「黃公遊山去,雲林乘舟來,萬山開笑臉,一水皆畫材」,據考應為致敬「元四家之首」黃公望的人生經歷:其仕途不順,最終選擇出家隱居,以自然為師寫生學畫,在山水之中淡忘世俗的糾葛,終成一代宗師。有別於石濤等人畫中透露出的冷冽蒼莽,此時期丁公之作充滿了豁然開朗的意氣,彷彿能從中感受到順流泛舟時清風拂面的愜意,充分展現其晚年豁達樂觀的赤子心境,亦使觀者精神為之一振。 老僧入定:古樸剛勁的紅衣達摩 《達摩》一作為丁公鍾愛的佛教主題,曾在1998年於香港萬玉堂畫廊主辦之「丁衍庸作品展」展出,經悉心保存數十年後首次釋出,尤為難得。畫中丁公誇張地擴大了達摩上半身的比例,突出其圓眼大睜、眉骨突出、寬鼻多鬚、額頭高聳的面部特徵,丁公以勁道的筆法、胸有成竹的簡練線條直接勾勒出達摩的面容,將其特點一一畫至神韻飽滿;繼而筆鋒一轉,以點染之法畫出人物捲曲濃密的鬍子;隨即大筆一揮,以墨線快速勾勒出主角拱手盤腿而坐的身形,以及腰間環繞的腰帶,線條乾淨簡練、酣暢淋漓。那熾熱如火的紅色袈裟璀璨而不庸俗,讓人聯想到馬蒂斯(Henri Matisse)一般的野獸派用色。由構圖、線條至色彩,正展現丁公獨到融貫東西之妙法,寥寥幾筆即展現出達摩法相莊嚴又帶奇趣的外貌。 以側身示人、著一襲紅色袈裟的沉思達摩,是丁衍庸對此佛教人物經典的詮釋,靈感出自達摩「渡江面壁」的傳說:菩提達摩向梁武帝說法,見其冥頑不靈,而渡江北去,於嵩山面壁而坐,入定九年修行參悟,直到影透入石,留下為後世傳唱的佳話。正如佛教著作《釋門正統》中所言:「獨以真法如是安心,謂壁觀也」,達摩拒絕了權力和富貴的誘惑,轉身入定,獨自壁觀,頓悟世間真法、啟迪後世。令人聯想到丁公在孤身赴港後,自身雖清貧節儉,但對於門下學生關懷有加,無所保留地傾囊相授、慷慨解囊,令人為之動容! 耕耘不輟:默默付出的耄耋老牛 丁衍庸晚年對於拓寬畫題仍具極大的熱情,在花鳥、山水、人物主題之外,開始對耕牛、馬、羊等動物特寫產生興趣,然而當中以「牛」為主題之作尤為罕見,在過去逾三十年來拍場所呈不足5件,是次上拍的《耕牛》即為難得的一幀代表作。此寫意之妙作下筆豪邁,丁公以濃烈的重墨大刀闊斧地勾勒出一頭伏地休憩的老牛。柳葉狀的牛眼讓人聯想到丁公喜愛研究的古青銅器中牛雕的造型,流露回歸原始天真的靈性。如同月牙一般的牛角上以鋸齒形畫出極簡的紋路,像是兒童畫中的想象,充滿遊戲古今的童心。丁公細心地以較淡的墨色徐徐加筆,畫出耕牛面龐「川」字形的毛髮,並在四肢和脊背處層層暈開,不僅展現出牛身的體積感,還能夠感受到柔軟絨毛的質感。當中特別的是,那嶙峋的背脊中央凸起的骨骼則獨以飛白枯筆畫出,如同巍峨的高山,訴說著歲月的洗禮,以及耕牛「但願終生皆得飽,不辭羸病臥殘陽」的無私奉獻之心。 「牛」與丁衍庸頗有緣分,除了為人熟知的八大山人和石濤,丁公也對八大的弟弟牛石慧的畫作獨具鍾情,不僅四處收集其古畫古璽,乃至自號「牛君」,並以象形文字刻「牛君」、「牛君之鈢」等私印。可以說,「牛」成為了丁衍庸的自喻符號。1978年,丁公甫由香港中文大學藝術系榮休,就溘然長逝,這幅創作於其生命最後一年之《耕牛》歷經風雨的身影,彷彿是他搖一生的寫照。讓人聯想到丁公幾十年如一日地艱苦求藝、默默耕耘至生命盡頭而不求回報的品德及精神。靜靜觀之,可以感受到丁公畢生所練就功力中那遠古深邃和大膽創新並存的撼人韻味!
PROVENANCE Received as a gift by original private Asian collector from the artist Private Collection, Asia Note: A titleslip inscribed by original collector who was a student of the artist with a seal is affixed on the reverse History Is in Forthright Laughter Masterpieces of Ink Painting by Ting Yinyung from the 1970s Ting Yinyung, known as one of the "Three Great Masters of Guangdong" along with Guan Liang and Lin Fengmian, studied in Japan in 1921 and was deeply influenced by the Fauvism and Impressionism movements. After returning to China in 1925, he became a prominent figure in the Chinese "Western Painting Movement". While studying lines, he encountered Chinese literati painting and felt the profound essence of focusing not on resemblance but on "likeness to the spirit", which greatly inspired and impressed him. Among the artists he admired, Bada Shanren and Shi Tao's paintings were highly esteemed by him. Realizing the charm of traditional Chinese painting, Ting became captivated and devoted himself to the exploration of ink painting. In the 1970s, he entered a mature stage of creativity, not only painting a wide range of subjects, but also mastering a bold and innovative ink brushwork, which earned him international acclaim during this period. In 1974, Ting's paintings were exhibited in major universities in the United States, including Yale University. He was also invited to the annual exhibition of the Nihon Nangain Exhibition in Japan in the same year. In the following years, from 1975 to 1977, he visited Melbourne for exhibitions, causing a sensation internationally. Farewell My Concubine (Lot 79), Landscape (Lot 78), Da Mo Meditation (Lot 80) and Ox (Lot 81) presented in this autumn auction were all completed in the 1970s, showcasing his mature and skilled style and testifying to his extraordinary achievements in diverse subjects such as landscapes, figures, and animals. Farewell My Concubine: a Magnificent Song of Generosity The large-scale Farewell My Concubine is based on the classic Peking Opera, an iconic theme of Ting's work in the 1970s. In the painting, Xiang Yu, clad in gold armour, holding a sword in his left hand and a spear in his right, with his eyes open and his hair standing on end in anger, seems to be in a desperate situation, bursting into a terrifying fury and fighting with courage and generosity. Yu Ji, on the other hand, is graceful and elegant, not wearing the ancient costume of wide robes and big sleeves, but a modern green dress that fits her body well. Her eyebrows show a look of courage and determination, leaning on the arm of the king with her right hand, as if determined to die, with a bravado that is no less than that of Xiang Yu's. In this work, Ting has demonstrated a sophisticated use of the brush, using bold splashes of ink to depict Xiang Yu's powerful arms, while using simple and concise thick ink and heavy colours to outline the exaggerated round eyes, thick eyebrows, and thick whiskers. In contrast, he depicts Yu Ji with a restrained brushwork, harmoniously sketching her hair in a bun with a spoon-shaped brushstroke, and depicting her slightly furrowed willow eyebrows and resolute almond eyes with rounded and delicate lines, demonstrating the duality of the woman's gracefulness and heroism, and making the different personalities of the characters pop out on the paper with just his brushwork in a minimalist composition. This is a state of mind that cannot be attained without decades of profound skills, and it makes one applaud him. Ting went to Hong Kong alone in his middle age, separated from his family and lived a life of frugality and poverty. He insisted on the pursuit of art in the midst of hardship. When he created this work at the age of 76, he was surely reminded of the opera Farewell My Concubine, where the farewell scene of the protagonist resembles the pain of the separation of Ting's flesh and blood. However, just like the great Xiang Yu, he made a breakthrough and took a hard push to move forward, and his lifelong pursuit of artistic ideals ultimately left a colourful mark in the history of art, which makes this work particularly appealing. Uncompromising Integrity: a Grand and Expressive Landscape Painting that Combines Tradition with Innovation The Qing dynasty artist Shi Tao, whom Ting Yinyung admired, advocated for standing above tradition with an innovative spirit. After traveling through mountains and rivers for more than ten years, Shi Tao honed his unique style of landscape painting. His paintings showcase steep mountain cliffs, peculiar and ancient pine trees, and a strong and simple artistic approach that "originates from the mountains but forms my own method". Ting shared a common vision with Shi Tao and undisputedly shouldered the banner of Chinese artistic innovation, advocating for surpassing traditional conventions and reflecting the era's zeitgeist. He interpreted Chinese brush and ink with a more minimalist and unrestrained approach influenced by Fauvism, creating a joyous and novel artistic conception. In the painting Landscape, Ting uses skilful and artless lines to depict a towering pine tree on the right, a well-arranged range of mountains, riverside landscapes, humble thatched cottages, and plain-dressed residents, all tinged with a light sienna colour, creating a picturesque village scene reminiscent of the fabled "Peach Blossom Spring". On the left, a vast expanse of blank space represents the boundless expanse of the river, exemplifying the idea of "Seeing the Tao from Emptiness". In the centre of the painting, the upright pine tree is drawn with lines as its backbone, using short and solid brushstrokes to depict the pine branches and rough and wining trunk, fully displaying its simple and unadorned nature. The emphasis is on capturing the spirit rather than pursuing realism. On the left, a flourishing ink stroke neatly outlines a fruit tree, with heavy fruits weighing down the branches, metaphorically representing the modest and reclusive hermit's demeanour. The two trees complement each other, creating various postures and a sense of ritual. The rock formations on the riverbank are not rendered with excessive texture, but simply outlined, revealing a rustic and straightforward charm. In addition, two bold and powerful ink lines create a continuous range of undulating mountains in the distance, using varying shades of ink to demonstrate depth. The boat on the left side of the river is depicted from an unusual overhead perspective, reminiscent of the staging of Fauvism, breaking the limitations of a single perspective. In this work, Ting pushes the ancient literati's concept of "strangeness" to the extreme, showcasing his astonishing avant-garde style. On the left side of the painting, he whimsically inscribes: "Huang Gong travels to cloud forest, takes a boat to come, a million mountains reveal smiling faces, all of nature becomes painting material." According to research, this is a tribute to the life experience of Huang Gongwang, the leader of the "Four Masters of the Yuan Dynasty": his career did not go smoothly, and he eventually chose to become a monk and live in seclusion, taking nature as his teacher and seeking inspiration from observing and painting landscapes, eventually becoming a master in his field. Unlike the cold and desolate atmosphere conveyed in the works of Shi Tao and others, Ting's works from this period are filled with a bright and open spirit, as if one can feel the pleasant breeze brushing against their face when drifting along the river. It fully reflects his optimistic and carefree attitude in his later years, and invigorates the viewer's spirit. The Serene Meditation: the Strong and Robust Red-Robed Da Mo Da Mo Meditation is a Buddhist theme that Ting Yinyung greatly favoured. It was exhibited for the first time in 1998 at the Plum Blossoms Gallery in Hong Kong during the Ting Yinyung Exhibition and has been carefully preserved for decades, making it particularly rare. In the painting, Ting exaggeratedly enlarges the upper body proportions of Da Mo, highlighting his round eyes, protruding eyebrows, broad nose with many whiskers, and high forehead. With powerful brushwork and confident and concise lines, Ting directly outlines Da Mo's facial features, capturing his characteristics with full spirit. He then uses pointillism to depict the curly and dense beard of the figure. With a sweeping stroke, he quickly outlines the posture of the main character, sitting cross-legged with folded hands, as well as the waist belt wrapped around him, with clean and concise lines flowing freely. The fiery red robe is radiant but not vulgar, reminiscent of the Fauvist use of colour, reminiscent of Henri Matisse. From composition, lines, to colours, Ting demonstrates his unique method of blending Eastern and Western styles, capturing the solemn and intriguing appearance of Da Mo's dharma aspect with just a few strokes. Ting Yinyung's interpretation of the Buddhist figure Dharma, depicted as a contemplative figure wearing a red robe and standing at an angle, is inspired by the legend of Dharma's Crossing the River and Facing the Wall. According to the legend, Bodhidharma, while teaching Emperor Wu, found him resistant and unenlightened. Therefore, he crossed the river and went north to Mount Song, where he sat facing a wall in deep meditation for nine years, until his shadow penetrated the stone, leaving behind a legendary tale for future generations. Dharma rejected the temptations of power and wealth, turned around and meditated, observing the wall alone, and attained enlightenment, enlightening future generations. This recalls Ting's journey to Hong Kong alone in his middle age, enduring separation from his family across the strait and a life of frugality and hardship yet persevering in his pursuit of artistic excellence. It also evokes his compassionate spirit in caring for his students and imparting his knowledge generously and unreservedly, which is truly moving! Unrelenting Cultivation: The Silent Contribution of an Aged and Diligent Ox In his later years, Ting Yinyung remained passionate about expanding the subjects of his paintings. In addition to landscapes, flowers and birds, and figures, he began to take an interest in painting animals such as oxen, horses, and sheep. However, works cantered around oxen are particularly rare, with fewer than five pieces featured in auctions over the past thirty years. The present artwork, Ox, stands out as a rare representative of this subject matter. This expressive masterpiece is boldly executed, with Ting using vigorous brushstrokes to outline an old ox resting on the ground. The cow's oval-shaped eyes evoke the shape of ancient bronze cow sculptures that Ting enjoyed studying, revealing a return to primitive innocence. The crescent-shaped horns are painted with minimalistic patterns resembling a child's imagination, full of the playful spirit of past and present. Ting carefully adds lighter ink strokes to depict the "川" shaped fur on the ox's face, and layers of ink wash on its limbs and back, not only showing the volume of the cow's body but also conveying the soft texture of its fur. Especially noteworthy is the protruding and rugged spine, which Ting portrays using white brushstrokes, resembling towering mountains that bear the baptism of time, as well as the selfless and dedicated heart of the ox. Ting Yinyung had a special affinity with "ox." In addition to Bada Shanren and Shi Tao, two well-known Chinese painters, Ting also had a special fondness for the works of his younger brother Niu Shihui. He not only collected Niu's ancient paintings and seals but also used the pseudonym "Niu Jun" (Lord Niu) and engraved private seals with the characters "Niu Jun" and "Niu Jun's Seal." It can be said that "ox" became Ting's self-identifying symbol. In 1978, shortly after retiring from the Chinese University of Hong Kong's Department of Fine Arts, Ting passed away. The painting Ox, created in his final year of life, portrays his lifelong struggles and hardships. It brings to mind Ting's decades of arduous pursuit of art and his moral and spiritual dedication, silently toiling until the end of his life without seeking rewards.

本场其它拍品

  • 竞价阶梯
  • 快递物流
  • 拍卖规则
  • 支付方式
竞价区间 加价幅度
0
1,000
10,000
2,000 5,000 8,000
100,000
10,000
200,000
20,000 50,000 80,000
1,000,000
100,000
2,000,000
200,000 500,000 800,000
10,000,000
1,000,000
+

取消

价格信息

拍品估价:40,000 - 60,000 港币 起拍价格:40,000 港币  买家佣金:
落槌价 佣金比率
0 - 5,000,000 20.00%
5,000,000 - 20,000,000 17.00%
20,000,000 - 以上 14.00%

拍卖公司

中国嘉德(香港)国际拍卖有限公司
地址: 中国香港金鐘道89號力寶中心一座五樓
电话: 852-28152269
邮编: 10000
向卖家提问