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毛旭輝 家長系列.紅門之二 油彩 畫布 一九八九年作 Mao Xuhui b.1956 The Parent Series – A Red Gate No.2 Oil on canvas Painted in 1989
香港
2023年10月08日 开拍
拍品描述
size:103.5 × 111 cm. 40 3/4 × 43 3/4 in.
款識 1989.12大毛(右下)89.12大毛(畫背) 出版 2005年,《毛旭輝》,程昕東出版公司,北京,第151頁 2007年,《新界面3:搜索未來》,紅橋畫廊,上海,第58頁 2008年,《道路—毛旭輝繪畫歷程(1973-2007)》,上海人民美術出版社,上海,第163頁
Dated and signed in Chinese on bottom right; signed in Chinese and dated on the reverse LITERATURE 2005, Mao Xuhui, Xin Dong Cheng Publishing House, Beijing, p. 151 2007, New Interface 3: Searching the Future of Chinese Contemporary Art, Red Bridge Gallery, Shanghai, p. 58 2008, Road – Mao Xuhui's Paintings (1973-2007), Shanghai?People's?Fine?Arts Publishing House, Shanghai, p. 163
來源 上海紅橋畫廊 現亞洲私人藏家直接購自上述來源 生命的終極自由 毛旭輝叩問古今「紅門」的時代精神 「『家長』充滿著世紀末的精神……人生之途除了老莊之境,更重要的是與命運的抗爭,這是現代的精神!而中國藝術要進入世界性的對話就在於這種精神的高揚和勇氣!」 ——毛旭輝 1989年2月,毛旭輝與「西南藝術研究群體」的藝術家張曉剛、葉永青參與北京中國美術館舉辦的「中國現代藝術大展」,以其1988年開啟的標誌性「家長」系列作品,作為自身在「85美術新潮」的成果展示。然而此次畫展的倉促叫停和該年社會風波的種種經歷,令毛旭輝切身地感受到現實語境的震動。從個人的精神世界走出,他轉而立於歷史宏觀的角度:「這裡面是伴隨著一貫的精神欲求。『家長』這個概念並非指某個具體的人,它針對的是中國的歷史發展中一個具有特殊意義的概念……1989年後我關注的不是我個人的問題,這一點非常重要。」自該年8月起,毛旭輝的「家長」系列在形式和內容上皆產生了質的飛躍,過往具肖像意味的「家長」面容,已精簡化形為充滿象徵意義的幾何圖示,身形亦融入坐著的椅背,呈現如高塔般聳立的權威形象。他並以滿載戲劇張力的透視場景,傳遞出家長所折射的歷史經驗、現實人格和對生命的終極關懷。是次上拍、完成於1989年12月的《家長系列?紅門之二》正展現了大毛此時期的深刻思索。 在此作中,毛旭輝聯想至中國古建築裡深具莊嚴感的正紅大門,將「家長」之形象,置於高牆大門後的縱深空間。結合故宮朱樓碧瓦的紅、綠兩大主色,大毛打破傳統建築牆體的制式單色,將之重組、衍化為線、形的深重表露。厚實而滿載表現力的色塊紛然交疊,如具德國藝術家李希特(Gerhard Richter)「刮塗畫法」那震撼人心的抽象圖景,而在大毛富有生氣的畫筆下,由朱紅、箬綠、米黃、棕褐所特殊打造的斑駁肌理,更創造著源自歷史古韻的生動聯想。眼前的紅門,正化為穿梭時光的途徑,以開放性的視角,向歷史的維度深探。跟隨線條的穿透指引,「家長」如高山般的身影漸漸浮現在這時間的隧道中,如同身居廟宇的高位者,代表著神聖的威嚴。對比《家長系列:紅門之一》中的「家長」形象,毛旭輝在此作中有意將其輪廓進一步簡化至極,模糊著他所代表的權威,更在光束的縱橫輻射中,令其漸漸融入深邃的背景,暗示其終將遠去的必然性。藉由紅門中家長形象的先立後破,作品所探求的是生命的終極自由。紅門既是古人繁榮的象徵,亦是為後人開啟的新通道,它令我們在回望歷史的同時,審視現時的生命情境,以追問的姿態,尋求精神世界的獨立。直視毛旭輝所建造的紅門,充滿表現力的畫筆正連接著生命的內在、思想的力量,他將一種「叩問古今」的現代精神注入這充滿張力的畫境之中,喚起心中永恆的思辨,並自此邁向新的征途!
PROVENANCE Red Bridge Gallery, Shanghai Acquired directly by present private Asian collector from the above The Ultimate Freedom of Life Mao Xuhui's Questioning of the Spirit of the Times through the Red Gate In February 1989, Mao Xuhui, together with artists Zhang Xiaogang and Ye Yongqing of the "Southwestern Art Research Group", participated in the China/Avant-Garde Exhibition held at the National Art Museum of China in Beijing. He used his signature Parents Series launched in 1988 as a showcase for his own achievements in the "85 New Wave Movement". However, the hasty cancellation of the exhibition and the social turmoil of that year caused Mao Xuhui to feel the shock of the real world. He said: "After 1989, I was not concerned with my own personal problems, and that was very important." Since August of that year, Mao Xuhui's Parents Series has taken a qualitative leap in both form and content. The faces of the "Parents" have been streamlined into geometrical icons full of symbolism, and the dramatic tensions of the perspective scenes have conveyed the historical experience and realistic personalities that the parents have reflected. The Parent Series - A Red Gate No.2, which was completed in December 1989 and is currently for the autumn auction, is a manifestation of Mao's profound thoughts during this period. In this work, Mao Xuhui recalls the solemnity of the red gate in ancient Chinese architecture, and reassembles and transforms it into a thick and expressive block of deep colours, like the striking abstraction of German artist Gerhard Richter's "squeegee method". The mottled texture of vermilion, Ruo green, beige and brown creates vivid associations with the ancient rhythms of history, and explores the dimension of history from an open perspective. In the tunnel of time, "Parents" gradually emerges like a mountain, representing the god-like majesty. However, compared to the figure of "Parents" in The Parent Series - A Red Gate No.1, Mao Xuhui has intentionally simplified his silhouette in this work, blurring the authority he represents, and gradually blending it into the deep background through the horizontal and vertical radiation of the light beams, suggesting that it is inevitable that it will eventually pass away. Through the creation and destruction of the image of the "Parents" in the red gate, the work explores the ultimate freedom of life. The red gate is not only a symbol of the prosperity of the ancients, but also a new channel for the future generations. It allows us to look back at history and examine the present situation of life. With the modern spirit of "questioning the past and the present", it evokes eternal discernment in our hearts, from which we can move forward to a new journey!

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