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譚平 無題 壓克力彩 畫布 二〇一八年作 Tan Ping b.1960 Untitled Acrylic on canvas Painted in 2018
香港
2023年10月08日 开拍
拍品描述
size:100 × 80 cm. 39 3/8 × 31 1/2 in.
款識 Tan Ping 2018 (右下) 出版 2023年,《譚平1972—2022》,魏畫廊,香港,第468頁
Signed in pinyin and dated on bottom right LITERATURE 2023, Tan Ping 1972 – 2022, Wei Gallery, Hong Kong. p. 468
展覽 2019年1月18日至20日,台北當代藝術博覽會,魏畫廊展位,台北 來源 香港魏畫廊 現亞洲重要私人藏家直接購自上述來源 一圓復始,如炙如豔 譚平抽象世界裡的待續與重來 「當我面對一塊畫布,拿起筆的時候,沒有目的地的旅行就開始了。」 ——譚平 譚平為中國當代抽象表現藝術翹楚,1984年從中央美術學院版畫系畢業後,他選擇留校執教,後於而立之年獲「聯邦德國文化交流獎學金」赴柏林藝術大學攻讀繪畫碩士。留學經歷全面打開了他對「線」的理解,他不再拘泥於作品形式和類別,領悟到藝術應是對世界與生命的認知與感悟。五年後歸國的他,在其後的四十多年間不遺餘力地投入創作及教學,猶如書寫著中國抽象藝術史—始於自然主義的具象,發於超現實,後興於抽象表現,側重創作、社會、空間的三者連結,反思生死與時間。其作品被中外數個重要機構收藏,包括中國美術館,上海龍美術館,美國波特蘭美術館,德國科隆路德維希博物館等。 四時流轉,生生不息 「我覺得藝術這個東西,當你表達你自己感受的時候,當你內心無限貼近死亡的時候,你的表達會越來越直接。無論快樂還是痛苦,我畫了很多,包括黑色的、有一種生的渴望。像這樣的東西都非常直接。此時此刻特別重要。」 ——譚平 2003年,父親的患癌經歷使譚平親眼目睹腫瘤被解剖後如魚子般的癌細胞,他大為觸動,將細胞的形態轉化成「圓」,散佈全畫宣洩內心的情感。「大圓」預示個體成長;「小圓」暗喻微觀世界中細胞的逐漸融合。父親康復後,他內心恐懼日漸消散,畫中的「圓」也最終被展開,解構成「線」,漂浮至邊緣,畫面也變得透亮開闊,由此在2010年誕生了如生命般質樸的「覆蓋」系列。受抽象藝術大師蒙德里安(Piet Mondrian)與博伊斯(Joseph Beuys)影響,譚平深入研究點、線、面與色彩的關係,於2018年前後「覆蓋」系列漸以「色塊線條」呈現,條線相互連結,環環相扣,詮釋他對人生的哲學觀與熱情。 「藝術的終極目標,應該是將表象化的現實,還原至最本質的結構:平面、色彩、節奏與韻律。」 ——蒙德里安 有別於大部分藝術家「留住初見之美」的理念,他一次次大膽「破壞」剛繪完的作品,如版畫製作中重複的工序,透過循環往復的塗抹、重疊,建構、解構,將最初的圖像層層深埋,再建構,作品在不止息的過程中煥發新生,充滿戲劇張力。《無題》即為其箇中力作,深蘊藝術家直面過去,重新開始的勇氣和激情。 驕陽似火,百折不催 有別於譚平作品中多數一貫的沉靜色調,此作打破寂冷,暖陽般的大圓由畫布中上迸發而出,熱烈綻放。線條如交響樂中各種樂器自由而暢快的重奏,分裂迴旋、層層遞進,最終抒情融合。正呼應著巴塞羅那當代美術館館長Dr. Bartomeu Mari? Ribas所言:「譚平的作品從非常具有繪畫性的類型,過渡到一種劇場化的效果,他用來定義這樣一個變化過程的是他對圖像、物件、空間三者關係的完美處理。」?細觀作品,會發現被覆蓋的色彩下,暗含藝術家的想法,色彩由潤漸枯,突破繪畫的局限,被遮蓋的每一畫層,如樂章的終結與再現,瞬間消逝。 畫面中的鮮紅疊置於如水般的灰藍之上,每一處銜接縫隙中,依稀瞥見從前的透黑、霽藍、雪灰的痕跡,若隱若現之白安靜地訴說著底下曾經真實存在過,現今卻無從追溯的斑斕與幽暗。中心的亮橙如光源向外無限延展,幻化成銘黃的細圓飄向畫沿,照亮所有被深埋的色彩。畫作表面彷彿被刮刀滑過,光亮之下線條粗細相匯,顏料肆意流淌,在光芒下慢慢浮現,尤為輕透,如冷靜的生命底色下散發的無限熱情。正如譚平自言:「我的作品如人類歷史,經過了多次自然破壞和人為摧毀,我們依舊可以看到和感受到時代的痕跡與氣息。」藝術對他而言若是「進行時」,他在每一個聚散離合的瞬間實現著永恆。 人生的旅程曲折跌撞,但疼痛最終會成為記憶,埋在幸福的時光裡。萬物美好,暖在中央,若是《無題》向觀者傳達的終極生命之思,如《花田半畝》所言:「讓我們背負著,因愛而起的蒼涼與恐懼,坦然向前。」
EXHIBITED 18 – 20 Jan 2019, Tan Ping solo booth at Taipei Dangdai Art and Ideas, Amanda Wei Gallery, Taipei PROVENANCE Amanda Wei Gallery, Hong Kong Acquired directly by present important private Asian collector from the above A Circle Begins Anew, as Fiery and Radiant as Ever Tan Ping's Exploration of Continuation and Renewal in the Abstract World "When I face a canvas and pick up a brush, a purposeless journey begins." ——Tan Ping Tan Ping is a prominent figure in contemporary Chinese abstract expressionism. After graduating from the Printmaking Department of the Central Academy of Fine Arts in 1984, he stays at the academy as a teacher. In his thirties, he was awarded the DAAD scholarship and studied painting at the Berlin University of the Arts. His study abroad experience broadened his understanding of "lines" and he no longer confined himself to specific forms and categories. He realized that art should be a cognition and perception of the world and life. After returning to China five years later, he devoted himself tirelessly to creation and teaching over forty years, as if writing the history of Chinese abstract art-starting from naturalistic representation, developing into surrealism, and then flourishing in abstract expressionism, focusing on the connection between creation, society, and space, reflecting on life, death, and time. His works have been collected by several important institutions, including the National Art Museum of China, Shanghai Long Museum, Portland Art Museum in the United States, and Ludwig Museum in Cologne, Germany. The Wheel of Life Keeps Turning "In my opinion, when it comes to art, the more you express your own feelings and come closer to death in your heart, the more direct your expression becomes. Whether it is joy or pain, I have painted a lot, including black, which represents a desire for life. Pieces like these are very direct. This moment is particularly important." ——Tan Ping In 2003, after witnessing his father's experience with cancer, Tan Ping was deeply moved when he saw tumour cells dissected like fish eggs. He transformed the form of cells into "circles" and spread them across the canvas to release his inner emotions. The "big circle" symbolizes individual growth, while the "small circle" represents the gradual fusion of cells in the micro world. After his father recovered, his inner fears gradually dissipated and the circles in his paintings eventually unfolded and deconstructed into "lines," floating to the edges. The images also became translucent and expansive. This gave birth to the Overspread Series in 2010, which is simple and natural like life itself. Influenced by art masters Piet Mondrian and Joseph Beuys, Tan Ping delved deep into the relationship between dots, lines, surfaces, and colours. Around 2018, he presented the sequel to the Overspread series, where lines and blocks interconnect and interpret his philosophy and passion for life. "It was not developing abstraction towards its ultimate goal: the expression of pure reality. The rhythm of the relationship between colour and dimension…permits the absolute to appear." ——Piet Mondrian Different from the idea of most artists to "preserve the beauty of the initial encounter," he daringly "destroys" his finished works repeatedly, similar to the repetitive process in printmaking. Through cyclic application, overlap, construction, and deconstruction, he buries the initial imagery layer by layer, only to reconstruct it and bring forth new life in an unceasing process. His works are full of dramatic tension. Untitled is one of his remarkable pieces, embodying the artist's courage and passion to face the past and start anew. Amidst Scorching Sunlight, It Perseveres without Yielding Diverging from the tranquil colour palette often seen in Tan Ping's works, this piece breaks the coldness with a circle bursting out of the upper part of the canvas, exuding warm vitality. The lines are like diverse musical instruments freely and joyously playing a symphony, splitting and revolving, progressing layer by layer, and ultimately merging into an expressive harmony. It echoes what Dr. Bartomeu Mari? Ribas, the director of Barcelona Museum of Contemporary Art, said: "Tan Ping's works started from the painterly type and transited to a theatrical effect. He dealt with the relationship among the image, object, and space perfectly." Careful observation of the work reveals the artist's thoughts hidden beneath the covered colours. The colours transition from vibrant to withering, breaking free from the constraints of painting. Each concealed layer, like the farewell and reappearance of a movement in music, instantly fades away. The bright scarlet hue in the painting is overlaid on top of a watery grey blue. In every seam and crevice of the connection, one can faintly discern traces of the former transparent black, clear blue, and snow grey, with the quietly expressive white, implying the once real and now untraceable chromaticity and obscurity. The central brightness of tangerine orange extends infinitely outward like a light source, transforming into a finely rounded and iconic yellow that drifts toward the edge of the canvas, illuminating all the deeply buried hues. The surface of the painting appears to have been scraped by a palette knife, with lines of varying thickness converging under the light, and pigments flowing freely, gradually emerging in the radiance, particularly weightless, like boundless passion emanating from the calm background of life. As Tan Ping said, "My works are like human history, having undergone natural destruction and deliberate devastation, yet we can still see and feel the traces and atmosphere of the times." For him, art is a "present continuous tense," and in each moment of gathering and dispersing, he realized eternity. The journey of life is full of twists and turns, but pain eventually becomes a memory, buried in happy times. All things are beautiful, warming at the centre as the ultimate thoughts on life conveyed in Untitled, Like the sentence in Little Dream Garden,"Let us bear the desolation and fear that arise from love and move forward with composure."

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