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陳鈞德 天目深秋 油彩 畫布 一九九一年作 Chen Junde 1937-2019 Autumn in Mount Tianmu Oil on canvas Painted in 1991
香港
2023年10月08日 开拍
拍品描述
size:69 × 78 cm. 27 1/8 × 30 3/4 in.
款識 cjd 1991 鈞德(左下)一九九一年 十一月 陳鈞德(畫背)
Signed in pinyin and Chinese and dated on bottom left; dated and signed in Chinese on the reverse
來源 原亞洲私人藏家直接購自藝術家本人 2019年3月30日,嘉德香港春季拍賣會,拍品編號698 現亞洲重要私人藏家直接購自上述來源 時代的永恆朝陽 陳鈞德磅礡的色彩交響詩 「藝道何其崎嶇,彼岸更其遙遠。不求希望,只因愛戀,盡情勞作,赤誠耕耘。」 ——陳鈞德 被讚譽為「色彩大師」的陳鈞德,出生於浙江鎮海,生長於斯,縱然日後足跡遍佈大江南北、揚名四海,他魂牽夢縈的始終是腳下那片熟悉的鄉土。他於1956年考入上海戲劇學院舞台美術系,師從顏文樑、閔希文,文革前後結識劉海粟、林風眠、關良等人並獲其言傳親授。集大家真傳的陳鈞德,在光影、色塊、線條、構圖等方方面面深受啟迪,打下扎實的繪畫功底。1974年,他回到母校任教,教學之餘四處采風創作,思如湧泉,成為改革開放後首批走出國門舉辦多次海外巡展的中國藝術家。90年代後其創作風格更加舒展自由,筆觸雄健,以寫生為基礎,主張保持西方油畫的色彩之長,發揮中國繪畫「一切景語皆情語」的寫意精神。在激烈的各種藝術浪潮中始終保持內心的純粹寧靜,寄情於自然,以「一個人的王國」書寫中國現代美術史承前啟後的重要一章。其作品曾被上海龍美術館、寶龍美術館、北京中國美術館、美國亞太博物館(Pacific Asia Museum)、日本前首相竹下登(Takeshita Noboru)、香港邵氏兄弟有限公司等收藏。 流光溢彩,深入人心 「陳鈞德以人文情愫書寫關於自然與生命的華章…並以豐沛的感性全心創作,找到了真正廣闊的天地。」 ——中國美術館館長范迪安 《天目深秋》創作於1991年,描寫的是藝術家自七十年代起便頻繁探訪的家鄉天目山,陳鈞德特別醉心於該地在秋天漫山遍野的金黃銀杏,深入山林,捕捉微妙幻變、富麗的自然之色。早年他取法西方野獸派及表現派的奔放用色此時已內化為其獨有的明媚畫風,他大膽地使用許多原色,但藉由相近色調的輔佐調度,使之和諧地合鳴。而有別於傳統風景畫「近實遠虛」的處理,在此作中,他大膽採鮮亮的暖色施繪遠景,使景深平面化,但透過色彩濃淡淺絳的變化、對比色的使用,仍塑造出空間感,見其高妙的功力所在。 而經過長年寫生積累與鑽研黃庭堅、八大山人的筆法力道,此時他已嫻熟用線,他優游自如地以乾溼相交的彩筆、靈動鬆快的線條、磅礡的色塊,佈構出山上層林盡染、屋舍被林木環繞,共同沐浴在溫暖太陽光下,景物幻變的琉璃色彩,當中對比的橘黃與藍紫色彩,在翠綠與青綠等過度色彩的交疊之下,一點兒也不顯突兀,反倒加深了畫面的景深感,令人不禁讚嘆他過人的色彩感。而畫面中下方,一位頭戴斗笠的勞動者手提著沉甸甸若滿載收獲的籃子,迎面向觀者走來,若正要下山歸家,讓此明麗的山景更添生韻。藉由如舞蹈揮灑的色線,陳鈞德傳達了他對於家鄉、大自然生生不息的生命力,與勞動者最真誠與真切的熱愛與崇敬。
PROVENANCE Acquired directly by original private Asian collector from the artist 30 Mar 2019, China Guardian Hong Kong Spring Auction, Lot 698 Acquired directly by present important private Asian collector from the above The Eternal Sunrise of an Era Chen Junde's Profound Symphony of Colours "The path of art is rugged, and the other shore is distant. Not seeking hope, only for the sake of love, working tirelessly, cultivating with sincerity." ——Chen Junde Hailed as the "Master of Colours", Chen Junde was born in Zhenhai, Zhejiang. Despite his later travels spanning across China and known throughout the world, his heart was always entwined with his familiar homeland. He entered the Stage Design Department of the Shanghai Theatre Academy in 1956 and studied under the instruction of Yan Wenliang and Min Xiwen. He received guidance from renowned artists such as Liu Haisu, Lin Fengmian, and Guan Liang during the pre and post-Cultural Revolution era. Benefiting from their true teachings, Chen Junde established a solid foundation in painting. In 1974, he returned to his alma mater as a professor. In his spare time, he collected and created works everywhere, making his thoughts flow like a spring, which led him become one of the first Chinese artists to venture abroad for numerous overseas exhibitions after the era of reform and opening-up. In the 1990s, grounded in lifelike observations, his artistic style became freer and more expanding. His work retains the vibrant colours of Western oil painting while embodying the expressive spirit of Chinese painting "every scene conveys emotions." Immersed in nature, within "a person's realm", he inscribed a significant chapter in the modern history of Chinese art, connecting the past and future. His works have been collected by institutions such as the Long Museum Shanghai, the Powerlong Museum, the National Art Museum of China in Beijing, the Pacific Asia Museum, former Japanese Prime Minister Takeshita Noboru, and the Shaw Brothers Limited in Hong Kong. Radiant Brilliance, Deeply Touching Hearts "Chen Junde writes the story of nature and life with humanistic sentiment…and with abundant sensitivity, he wholeheartedly creates, finding a truly vast realm." ——Fan Di'an, Director of the National Art Museum of China Autumn in Mount Tianmu, created in 1991, depicts the scenery of Tianmu Mountain, which was frequently visited by Chen Junde since the 1970s. Chen Junde indulged in the golden ginkgo trees that covered the mountains in autumn, so he immersed himself in the forests to capture the subtle transformations and rich colours of nature. The influence of unrestrained colours of Western Fauvism and Expressionism had been internalised into his unique and vibrant painting style. He employed various primary colours and harmoniously blended them through adjacent tones. Unlike "clearing the vicinity and blurring the distance" in traditional landscape painting, Chen boldly applied bright warm colours to depict distant scenery, flattening the depth of the scene. However, through varying colour intensities, contrasts, and complementary colours, he still managed to convey a sense of space. With years of accumulating experience in life drawing and calligraphy, he skillfully employed wet and dry intersecting lines, as well as colour blocks to compose the changing glaze-like colours of the mountain. The contrasting orange and blue-purple hues, layered under shades of emerald and cyan, enhance the sense of depth in the painting. In the lower part of the painting, a labourer in a hat carries a heavy-laden basket, as if on the way home from the mountain with a bountiful harvest, adding vitality to this beautiful mountain scenery. Through these dancing lines, Chen Junde conveys his deep appreciation for his homeland and the inexhaustible vitality of nature, along with sincere affection and respect for the diligent labourer.

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