| 中文版 English

具体要求

其它要求

-
关闭
常玉 讀報女子 鉛筆 炭筆 紙本 一九二〇至一九三〇年代作 Sanyu 1895-1966 Lady Reading Newspaper Pencil and charcoal on paper Painted in 1920s to 1930s
香港
2023年10月08日 开拍
拍品描述
size:50 × 30 cm. 19 3/4 × 11 3/4 in.
出版 2014年,《常玉素描與水彩全集》,衣淑凡編,財團法人立青文教基金會,台北,圖版 D3035,電子附錄第118頁,彩圖
LITERATURE 2014, Sanyu Catalogue Raisonné Drawings and Watercolours, Rita Wong, The Li Ching Cultural and Educational Foundation, Taipei, electronic version p.118, plate No. D3035
來源 藝術史學者陳炎峰好友暨法國作家米謝.阿拔赫(Michel Habart)家族舊藏 亞洲私人收藏 滄海遺珠,動人芳華 常玉的紙上倩影 「誰終將聲震人間,必長久深自緘默;誰終將點燃閃電,必長久如雲漂泊。」 ——德國哲學家尼采(Friedrich Nietzsche) 常玉被譽為二戰前最有成就、最出名的旅法華人藝術家。生於四川南充的他,幼時隨父親習畫,拜書法名師趙熙習字。家境富裕,得兄長常俊民的支持,在弱冠之年赴巴黎勤工儉學,十年後,兄長去世,常玉頓失經濟支柱,經歷了所愛之人的離開,他看淡生死,在窮困潦倒之時,對藝術仍熱情不卻,選擇留法繼續追尋畫家之夢。骨子裡的幽默豁達和「不為五斗米折腰」的文人風骨,讓他即使生前懷才不遇,也依舊滿懷赤子之心。1966年,身無分文的他因意外孑然結束了如夢般的遊子一生,留下一世傳奇。 絕弦爾後,終現知音 1966年9月,常玉在逝世後,因無法定繼承人,工作室裡的作品成為遺物由法院交由巴黎圖歐(Drouot)拍賣行成捆上拍。法國收藏家米謝.阿拔赫(Michel Habart)因緣際會下由此初見常玉之作,愛不釋手,爽快買下數以百計的紙上臻品,視若珍寶。其女朵瑞斯.阿拔赫(Doris Harbart)曾回憶:「我還記得父親帶著他的寶貝回家時,臉上流露出的光芒……我父親從這些畫作中看到馬諦斯(Henri Matisse)、馬約爾(Aristide Maillol)的雕塑及亨利.摩爾(Henry Moore)。」十年後,旅法藝術史學者陳炎鋒偶見常玉素描,通過友人結識阿拔赫,兩人傾蓋故知,幾經討論拼湊出常玉生平,更為其舉辦個展,世人才得以一睹塵封百年的絕世風韻。是次秋拍,嘉德香港呈現四幅源於阿拔赫家族珍藏的常玉精妙紙本之作,來源有序,實屬可遇不可求。 中西激盪,風韻無雙 「當常玉畫得越多而對事物的體驗越深,他便越發現那蘊含在民族血統裡的特殊性……他知道如何以最精簡的方法,勾劃出事物中的精髓及幽默感。」 ——常玉好友暨重要贊助者、荷蘭作曲家法蘭寇(Johan Franco) 1920年代,初至法國的常玉,性格不羈、無拘無束,他捨棄嚴謹的藝術學院,選擇至蒙帕拿斯大茅屋學院(Académie de la Grande Chaumière)自主學習,潛心鑽研素描與速寫。這位來自中國的翩翩公子,「師夷長技」但不忘本,喜用毛筆速寫,在大茅屋經常引來許多同學圍觀。他專畫女像,憑在中國習得的「勾線敷彩」繪人物輪廓,再以鉛筆、炭筆暈染,下筆果斷準確,線條遒勁簡練,舉手投足間,東方美學獨有的氣韻凝於紙上。在其溫潤的筆觸下,模特兒們無論男女老少,頃刻間,全部化作裸女。如此特出的畫風,越誇誕,越受追捧。此時,裸體畫在中國備受爭議,被認為「有失體統」,?而身處巴黎的常玉得以自由、自主表達,豐富了該主題的面貌。據可考出版,常玉畢生創作了將近兩千幅裸體與人像素描。徐志摩、潘玉良、邵洵美對其作讚賞有加,邵氏更美言其為「近代藝術界的寶貝」。 回顧常玉一生,素描作品為其風華正茂、無憂無慮之時所作。醉心人體之美又鍾愛攝影的常玉,受多角度攝影作品啟發,其筆下女子視角豐富:側像、背影、正面、局部特寫,搖曳多姿。她們煢煢孑立,極少成雙出現,大多豐腴,姿態萬千,充滿律動感。而回顧彼時巴黎盛行極簡之風,此理念與八大山人的「省」異曲同工。常玉將少時積累的東方書畫底蘊完美融會於西方構圖中,「脫俗又不因循」,佈局淡雅,畫面純粹輕快,人物獨具風雅。作品中可見大量留白,畫中線條至簡,數筆曲線便勾勒出比例誇張的大腿,塑造「梳齒狀」指尖,人物神態惟妙惟肖。學者衣淑凡將其素描作品大致分為兩類:含陰影及框線作品,及單純具輪廓線之作。前者結合鉛筆和炭筆施繪,後者多以毛筆描寫,本次拍賣之作並現兩者風華。 鉛墨流轉,歲月靜好 「我學畫畫原來的動機也就是這一點對人體秘密的好奇。你說我窮相,不錯,我真是窮,飯都吃不出,衣都穿不全,可是模特兒我怎樣也省不了。這對人體美的欣賞在我已經成了一種生理的要求,必要的奢侈,不可擺脫的嗜好;我寧可少吃儉穿,省下幾個法郎來多雇幾個模特……」 ——常玉 常玉鐘情於具力量感、高大的模特兒,《站姿裸女》(拍品編號75)為本次上拍之阿拔赫藏品中唯一一件裸女作品,實屬經典之寫。藝術家以鉛筆、炭筆併用,線條柔和靈動,如書法運筆,一氣呵成地勾繪出人物軀幹,主角雙手交疊,合十貼臉。而以極簡的圓形、曲線速寫出人物立體的五官、卷髮及肚臍。女子的頭部被刻意縮小,豐盈飽滿的身軀及若「宇宙」般被誇大的四肢大方展露於觀者眼前,張力不凡。炭筆暈染於鉛筆線條之上,強調輪廓曲線,一展虛實間的呼應。視線下巡,「梳齒狀」腳趾輪廓細緻而現,與豐碩軀幹形成強烈對比,突顯「肉感」氣息。畫中人抬頭,下巴微斂,風情萬種地凝視觀者,流露著女性對自我體態的欣賞,也讓人不禁沉浸於「簡約裡複雜,複雜裡簡約」的婀娜曲線中,過目不忘! 《讀報女子》(拍品編號73)亦為藝術家以鉛筆、炭筆速寫之典範。畫中主角如端坐於咖啡廳的大家閨秀,戴著時髦的短沿圓帽(cloche hat)及珍珠項鏈,耳環在臉側隱隱若現,手持報紙,肩部微屈,身體呈90度坐姿,身材瘦削,文靜典雅。與《站姿裸女》繪法相似,常玉先以鉛筆細線繪其身,炭筆疊加作陰影,但本作炭筆線條更加交錯、運用面積更廣,用以呈現女子如絲綢般流螢飄逸的衣著質地,使畫面更飽滿。以打圈式描摹的珍珠項鏈實為點睛之筆,在繁複的炭筆線條間,每一個精細的圓都訴說著法國女人的精緻與慵懶。只見她將報紙鋪在腿上,溫柔頷首,一手翻閱,翩若驚鴻,沉靜洵美。 弱水三千,只取一「墨」 「形式上我追求簡化,直至最核心的本質……精準的力量才能更加豐沛無限。」 ——常玉 而是次上拍的另二件作品,皆為同一短髮美女、以角度不一的毛筆繪就。二者均採用對角線構圖,以低視角誇張放大主角腿部,描繪女子側身坐姿。人物動作暗示被隱去的坐椅和手中筆桿,在曲直交匯間,簡約卻又精準地呈現低眉靜思、心無旁騖的女子。 在《斜坐仕女》(拍品編號74)中,濃墨從人物左肩一順而下,延伸至裙擺,帶出雙腿輪廓,墨色漸枯之際,寫出粗跟瑪麗珍鞋、直挺的外套、纖纖細手,最後以簡勁之筆勾勒出人物五官及短髮,盡顯別具一格的頭身比例。豐腴的小腿與腳下拘謹的姿勢對立,主角左手指尖呈握筆之勢,人物安之素若的綽態,讓人耳目一新。 而在另一《女子側像》(拍品編號76)中,常玉由側後方的角度細察女子,在其頸部下筆,墨色隨筆尖順流而下,竭於裙擺處,將「宇宙大腿」深藏連衣裙下,自後,筆觸如游絲特意拉長,掃出裸露的小腿,線條婉若游龍,大氣凝練。她輕抬梳齒狀的玉手,手中雖無物,但其動作令人聯想她若微調腿上紙張的位置,虛實間剛柔齊驅,給人另一番的想象。 作家楊絳曾言:「靈魂生來孤獨」,漂泊流離的常玉,始終超然無所拘,將他對藝術不竭之愛化作紙上神韻。這些女子無關風月,遺世獨立。上世紀的巴黎倩影,被他鮮活留駐,觀看眼前作品,倘若跨時空與其相擁。常玉以窮盡一生的孤獨修行,獨留「緘默」與後人共鳴,令人在如歌的雅韻中,細享各自的緣聚緣散。
PROVENANCE Previous collection of the family of art historian Chen Yen-Fon's friend and French writer Michel Habart Private Collection, Asia The Treasures of Captivating Beauty Sanyu's Delicate Figures on Paper "Whoever will eventually shake the world will remain silent for a long time; Whoever will eventually light the lightning will be drifting like clouds for a long time." ——German philosopher Friedrich Nietzsche Sanyu is hailed as the most accomplished and famous Chinese artist living in France before World War II. Born in Nanchong, Sichuan, he learned painting from his father during his childhood and studied calligraphy with the famous calligrapher Zhao Xi. Blessed with a prosperous family and the support of his elder brother Junmin, he went to Paris under the government-sponsored work- study program in his 20s. Ten years later, his brother passed away. Sanyu also experienced the departure of his beloved and faced poverty yet remained pursue his dream of art in Paris. His innate humour and spirit of not compromising for material gain allowed him to persevere with a pure heart, even though he was unrecognized during his lifetime. In 1966, he passed away unexpectedly as a wanderer without a penny, leaving behind a legendary story. In September 1966, after Sanyu's passing, the works in his studio became relics and were auctioned off in bundles by the Drouot auction house in Paris. French collector Michel Habart chanced upon Sanyu's works and was instantly captivated. Without hesitation, he purchased hundreds of exquisite paper works. His daughter, Doris Habart, recalled, "I remember the beaming face of my father when he came home with his treasure under his arm…… My father saw in these works inspired from Matisse, Maillol sculptures and Henry Moore." Ten years later, art historian Chen Yen-Fon, came across Sanyu's sketches and through mutual friends, met Habart. They became close acquaintances, piecing together Sanyu's life story and organizing solo exhibitions for him, allowing the world to witness the exquisite charm hidden for a hundred years. This autumn auction, China Guardian Hong Kong presents four delicate paper works by Sanyu from the Habart Family's collection, with a well-documented provenance that is sought-after. Amidst the Fusion of Chinese and Western Cultures, a Unique Charm and Elegance Emerged "The more Sanyu painted and delved more deeply into things, the more he rediscovered the peculiarities of his race as new truths…… He knows how to depict the essence and often humour of things with astonishingly little means." ——Johan Franco, a close friend and important patron of Sanyu, a Dutch composer In the 1920s, when Sanyu first arrived in France, he was unrestrained. He eschewed the rigid art academy and chose to study independently at the Académie de la Grande Chaumière in Montparnasse. He focused on studying sketching and quick sketching. This dashing young gentleman, who appreciated Western techniques while remaining true to his roots, often used a traditional Chinese brush to sketch and frequently drew a crowd of curious fellow students. He specialized in drawing female figures, using the "hook lines and washes" techniques he learned in China to portray the contours of the figures. He then shaded them with pencils and charcoal, creating bold and accurate strokes with concise and vigorous lines. Under his gentle strokes, regardless of age or gender, the models were instantly transformed into nude figures. This distinctive painting style received even more acclaim as it became more extravagant. At the time, nude painting was highly controversial and "inappropriate" in China, but Sanyu, living in Paris, had the freedom to express himself and enriched the subject matter. According to available records, Sanyu created nearly two thousand nude and portrait sketches throughout his life. Xu Zhimo, Pan Yuliang, and Shao Xunmei praised his works highly, with Shao referring to him as "a treasure in the world of modern art." Looking back on Sanyu's life, his sketches were created during his prime, carefree and unrestrained youth time. With a passion for the beauty of the human body and a love for photography, Sanyu's female perspectives were rich and varied: profiles, back views, front views, and close-up details, all displaying a graceful agility. They stood alone, mostly voluptuous, with diverse postures full of rhythm. At that time, minimalist aesthetics were prevalent in Paris, and this concept aligned with Bada Shanren's concept of "Sheng" (control/restraint). Sanyu perfectly integrated the Eastern calligraphic and painting traditions he accumulated in his youth into Western composition, "not in a confused, sacrilegious way, but with an elevated awareness." His compositions were elegant and his paintings were pure and lively, resulting in figures with distinctive elegance. Many areas of his artworks were left blank, and his lines were "simplified" to the point of being almost "invisible." A few bold curves outlined exaggerated proportions of thighs, and his brushstrokes shaped comb-like fingertips, capturing the lifelike gestures of his subjects. Scholar Rita Wong generally divided Sanyu's sketches into two categories to distinguish a fundamental difference in his drawing style: some with shading or outline silhouettes and the others with just unembellished line. The former were created using a combination of pencils and charcoal, while the latter were mostly depicted using a traditional Chinese brush. The works in this auction embody both styles. Flowing Ink in the Peaceful Years "My original motivation for learning to paint is curiosity about the secrets of the human body. You say I look poor, yes, I am truly poor, unable to afford food or clothing, but as for models – I just couldn't cut back on that. Appreciation of the beauty of the human body has become a physiological requirement for me, a necessary luxury, an irresistible addiction; I would rather eat less and save a few francs to hire more models..." ——Sanyu Sanyu had a fondness for models with a sense of strength and height and Standing Nude (Lot 75) is the only?nude artwork?in Habart's collection that is up for auction this time. It is a classic portrayal of the female form. Using a combination of pencils and charcoal, the artist's lines are soft and agile, like brushstrokes in calligraphy, effortlessly rendering the figure's torso. The main character folds her hands together, with her face pressing against them in a prayer position. The facial features, curly hair, and navel of the figure are sketched with minimalistic circles and curves. The woman's head is deliberately shrunk, while her voluptuous body and exaggerated limbs are displayed gracefully, exuding extraordinary tension. The charcoal smudging on the pencil lines emphasizes the contour lines, creating a balance between reality and illusion. The toes, which resemble a comb shape, are intricately depicted, presenting a sharp contrast with the voluptuous body, highlighting the sensuality of the piece. With her chin slightly lowered, the woman in the painting gazes at the viewer with a variety of expressions, revealing the appreciation of the female form and leaving a lasting impression of the elegant curves that are both complex and simple. Lady Reading Newspaper (Lot 73) is also an exemplary work of the artist's pencil and charcoal sketching. The main character in the painting is a refined and elegant lady sitting in a café, wearing fashionable cloche hat and a pearl necklace. Her earring is faintly visible on the side of her face, and she holds a newspaper, with her shoulder slightly bent, sitting at a 90-degree angle. Like the technique used in Standing Nude, Sanyu initially sketches the figure with fine pencil lines, then overlays charcoal to create shadows. However, in this piece, the charcoal lines are more intertwined and cover a wider area, presenting the flowing and delicate texture of the woman's clothing in a silken manner, making the composition more full-bodied. The pearl necklace, drawn in a circular manner, adds the finishing touch, with each delicate circle amidst the intricate charcoal strokes revealing the delicacy and indolence of French women. The woman spreads the newspaper on her legs, gently lowering her head, flipping through it gracefully, charming and serene. Amidst the Boundless River, Only a Single Drop of Ink Is Taken "As for the form, I have pushed simplicity until indicating only what is strictly essential...... sobriety, with its suggestive force, is richer, more infinite." ——Sanyu The other two works in the auction feature the same short-haired beauty, drawn with a brush from different angles. Both adopt a diagonal composition, exaggeratedly enlarging the legs of the main character from a low perspective, the woman's side-sitting posture. The figure's movement suggests a hidden chair and pen in hand. The simple yet precise strokes present a woman lost in thought with a calm and focused demeanour, amidst the interplay of curves and straight lines. In Reclining Lady (Lot 74), dense ink flows from the figure's left shoulder down to the hem of her skirt, outlining the contour of her legs. As the ink colour gradually fades, depicting the thick Mary Jane shoes, straight coat,?delicate hands, and finally, using simple yet powerful strokes, outlining the character's?facial features?and?short hair, highlighting the unique proportion of the head and body. The?plump calves?and?restrained posture?of the feet are in contrast to the slender body. The main character's left hand is positioned as if holding a pen, exuding a graceful and composed demeanour. In Lady Profile (Lot 76), Sanyu observes the woman from a side angle, starting from her neck and following the ink flow down to the hem of her dress while concealing the "thighs of the universe" beneath the dress. The strokes are deliberately elongate like floating silk, revealing the exposed calves with elegant and concise lines. She lightly lifts her hand, holding nothing in her hand, yet her movement suggests that she is adjusting the position of the paper on her leg. The interplay between reality and illusion in the artwork creates a sense of harmony evoking new interpretations. Writer Yang Jiang once said, "The soul is born alone." Sanyu, who lived a life of wandering, remained free and unconstrained, turning his endless love for art into spiritual charm on paper. These women have nothing to do with romance, they exist in their own independent world on the paper. The fleeting shadows of 20th century Paris are vividly captured, and as we gaze at these artworks, it feels as if we could embrace them across time and space. Sanyu devoted his entire life to the lonely pursuit of art, leaving behind a "silence" that resonates with future generations, allowing us to each find our own connection and detachment within the melodious rhythm.

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:160,000 - 260,000 港币 起拍价格:160,000 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