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尹朝陽 朝華 油彩 畫布 二〇一六年作 Yin Zhaoyang b.1970 Vase of Flower Oil on canvas Painted in 2016
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 朝陽 2016年(畫背)
Signed in Chinese and dated on the reverse
來源 台北亦安畫廊 現亞洲私人藏家直接購自上述來源 凝萃風骨,傲發華滋 尹朝陽珍稀雪景及花卉主題之作面世 「如果說尹朝陽的『風景』是『色彩主義』的極致,毋寧說是對中國繪畫寫意精神的深刻揭示,雄渾壯麗如中古之象;跡簡意遠直追漢魏六朝,向外的視覺擴張,向內的美學體驗,或許可以認為將宋人山水中具有的古典主義經驗引向一個新的境界,具有一種強烈的當代性,同樣,它亦超拔當代藝術全面交付『觀念』的無奈,果斷地秀出肌腱,彰顯其生命的創造力。」 ——藝術家許宏泉 作為中國當代70後藝術家的重要代表,尹朝陽以「青春殘酷」主題開啟了一代人對於自我形象和情感輻射的深度思索,其具實驗性的敘事語言、圖像概念和美學趣味,成為90年代前衛藝術的標誌。而隨著紅色政治的「廣場」、烏托邦般的「神話」、記憶流動的「眩」系列,尹朝陽逐步構建其充滿強烈個人特徵的「心理場」繪畫,追問著個體的精神自由,並由此延伸至2007年後在風景、靜物題材上的重要突破。 跳脫十年現實主義創作的積澱,2007年後的尹朝陽以「我手寫我心」的灑脫,回溯著東方千年山水的涵養,「圈一處名山做出發點,從中照見自我,成全自己」。他將過往創作中的場域力量和生命力,以充滿當代視覺性的繪畫語言和帶有個人造境的企圖,對話無疆山水、無邊花色,描摹著他的「心靈風景」。若臥遊於冰谷雪山,又或徜徉於瀲灩花境,完成於2015和2016年的《雪谷》(拍品編號103)、《朝華》(拍品編號102)脫穎於慣常創作,前者別具一格地以千里冰封之景描摹雪中嵩山,為其可考畢生至今不逾30件「雪景」主題作品中,唯二現身拍場之作;後者更是其迄今僅三件珍罕的花卉主題代表作之一,游刃有餘地展現其2010年後獨具個人風貌的油彩肌理,令詩意的奔放美層層凝結於畫布之上,創造出昂揚的精神語彙。 映雪姿彩,聖山雪谷的清韻宏光 尹朝陽曾言:「嵩山特有的那種耀眼的明朗質地,曾極大地震撼過我,它古雅堅硬的氣質使我重新去審視這種吸引的來由。」走過夏日紅石的濃烈、秋日寒山的蕭瑟,尹朝陽的心境亦沉澱為一種雪霽初晴後的從容與靈光,追尋著心中嵩山大寫意的堂堂姿態,他持續自「寒威千里望,玉立雪山崇」的冬日盛景,將嵩山的清韻銘記於《雪谷》一作。 在此作中,他以層層堆疊的濃烈油彩、如同落雪紛紛的縱向筆觸代以古筆皴法,建立呼之欲出的山石維度,充分展現尹朝陽對於「場域感」的精妙呈現。呼應著寒山積雪的厚實、充滿立體感的視覺感知,在連綿起伏中,書寫雪山廓廡的壯闊晶瑩之美。而在這清風迴蕩的雪谷間,色彩並非停留於單純的「雪白」之上,而是在掩映中,隱約呈現出檸檬黃、寶藍、墨綠、粉橘之色的無窮演變,在與白彩的結合下,衍生出七彩般的多維幻象,如見虹照聖山的無上光輝。而底層的山石,更欲蓋彌彰般地展露著歷經風雪仍凜然的鏗鏘肌理,建立起質與彩的堂堂空間,抒寫萬般造化。 在背景中,那一抹永存於尹朝陽作品中的曙光紅彩,亦隱現在山色有無之中,彷彿是毛主席《沁園春.雪》中「須晴日,看紅裝素裹,分外妖嬈」最為鮮活的寫照,在晴日的映照下,更添一份柔美。在自然與想象的揉雜中,代表著生機的色彩極大地豐富著畫面,淬煉出無限姿彩,更似歲月歷程的點點過痕,妝點著萬里雪飄的寂靜世界,與皚皚白雪融合為一,沉澱為豐盈的生命印記。而回看那銀妝素裹的嵩山,正以不變的巍峨姿態欲與天公試比其高,在尹朝陽躍動的畫筆下,傳統山水的詩意在此昇華為強大的視覺震撼,它以高山仰止的肅穆,走過萬年山河,以紛彩的盛宴,回報我們注視的目光,在這山舞銀蛇的冰雪世界裡,奏響清谷回音的詩意,煥發泓錚朗朗的崇高力量。 生如夏花,超逸靈魂的精神彩筆 梵高(Vincent van Gogh)之於尹朝陽,一如嵩山的精神力量。尹朝陽從1995年創作之初便依循後印象派、表現主義的風格創作靜物,至2020年後開展「梵高」系列,可見他在二十年間,從早期的寫實表達,一步步衍化為如今肆意而濃烈的油彩表現力。見諸是次呈現、極為罕見的《朝華》一作,他如同回溯自身於1997年所繪梵高式《花卉》,並轉以灼人的油彩堆疊、刮擦與交融,創造出如生的氣韻,完滿展現歷經二十年來的藝術探索碩果。 畫幅中,那滿盈的色彩將昂揚的生命力噴薄而出,極具動勢的筆觸,帶著揮灑自如的勁道,在畫布上不停地盤桓翻轉。經過油彩在橫豎緯度上的反覆堆砌,赭紅、鮮橘、粉白紛然交織,如現各色花容,在筆刷大幅的律動中,盎然而現各自的生韻。伴隨色彩的漸變,生命的絢爛齊齊綻放,如葉的墨綠之色躍然點綴,而畫幅中銘黃的基底更襯托一室的熱烈繽紛,並將之收束於青花色的瓷瓶中。在色彩與肌理的交響中,作品似帶有德國藝術家李希特(Gehard Richter)的層層刮塗感,更呈現一股來自東方的超然逸氣,湧現如梵高向日葵般的自我精神寫照。 而尹朝陽在此,意欲以花卉的卓然之色,建立他最引以為傲的空間場域力,強烈的視覺語言如北宋沈括在《夢溪筆談》中的思索:「近視之幾不類物象;遠觀則景物燦然,幽情遠思,如睹異境」。而畫中那無比熱烈的橙紅之彩,正是尹朝陽藝術一以貫之的生命之色,如同藝術靈魂的血液自深處翻湧而出。 走過青春歲月的殘酷,自山石的朗朗風骨中脫胎,此刻的花色,一如初開般濃烈、奔放,更有著來自藝術家五十知天命的豁達,於是,萬般思緒皆濃縮在這精神的畫像中,觀者似可在這形式的厚度中,真切地感受到生命的存在,並終而超越形象本身,在電光石火間,照見靈魂的終極絢爛。
PROVENANCE Aura Gallery, Taipei Acquired directly by present private Asian collector from the above Strength of Character of Condensate Extraction, Nurturing Haughty Manner Yin Zhaoyang's Rare Snow Scenes and Floral Themes As an important representative of Chinese contemporary post-70s artists, Yin Zhaoyang initiated a generation of people to think deeply about self-image and emotional radiation with the theme of "Cruelty of Youth". With the development of the Square, Myth and Dazzle series, Yin Zhaoyang gradually constructs his "psychological field" painting, which is full of strong personal characteristics. He continues to question individual spiritual freedom and extends this exploration to important breakthroughs in landscape and still-life subjects after 2007. After breaking away from a decade of realistic creation, Yin Zhaoyang has retraced the millennium of oriental landscapes that has endured for a thousand years since 2007. He combines the power and vitality of previous works with a contemporary visual language and a personal attempt to depict the spiritual landscapes of mountains and rivers, flowers and colour. Completed in 2015, Snow Valley (Lot 103) breaks away from the usual portrayal of Mount Song and presents a unique frozen snowscape. It is one of only two works that appeared in the market out of his lifelong collection of less than 30 "snowscape" themed works. Vase of Flower (Lot 102) in 2016 is one of only three rare flower-themed representatives, showcasing his unique personal style of oil painting texture since 2010. Snowy Splendor, the Enchanting Grandeur of Sacred Mount's Snow Valley Yin Zhaoyang once said, "The unique bright texture of Mount Song has greatly shaken me, and its ancient and firm temperament made me reexamine the reasons for this attraction." In this artwork Snow Valley, he uses layers of thick oil paint and vertical brushstrokes that resemble falling snow to represent the ancient brushwork technique. This creates vivid dimensions of mountains and rocks, fully demonstrating Yin Zhaoyang's exquisite presentation of "sense of place." Within the snow valley, colours are not limited to pure whiteness, but vaguely reveal an infinite evolution of lemon yellow, sapphire blue, ink green, and blush orange. When combined with white pigments, it gives rise to a multi-dimensional illusion of rainbow-like brilliance, resembling the supreme radiance of a rainbow shining on a sacred mountain. The underlying rocks and mountains exhibit a resolute texture that has weathered storms, establishing a majestic space of both quality and colour. In the background, that lasting dawn red colour, forever present in Yin Zhaoyang's works, is also hidden in the presence or absence of mountains. Under the reflection of sunlight, it adds a touch of gentleness. Looking back at Mount Song with a blanket of snow, it stands with an unchanged majestic posture, as if trying to compete with the heavens for height. Under Yin Zhaoyang's brush, the poetic meaning of traditional landscape is sublimated into a powerful visual shock. With the solemnity of looking up to high mountains, it has traversed countless mountains and rivers. With a colourful banquet, it returns the gaze of our eyes. In this icy and snowy world of snake-like mountain dancing, it resonates with the poetry of clear valley echoes, and radiates with a lofty power. Born Like a Summer Flower, a Spiritual Brush Surpasses the Soul Vincent van Gogh to Yin Zhaoyang is like the spiritual power of Mount Song. Since the beginning of his creation in 1995, when he created still life in a post-impressionist, expressionist style, to the Van Gogh Series launched after 2020, Yin Zhaoyang has evolved from his early realistic expressions to his current unbridled and intense oil expressions in the past twenty years. This auction showcases his extremely rare still life work Vase of Flower, which fully demonstrates the artistic achievements of the past twenty years through vibrant layers of oil paint, scraping, and fusion. In the painting, the abundant colours and dynamic brushstrokes are repeatedly stacked on the horizontal and vertical axes, bursting out with a vigorous life force. Vermilion red, vivid orange, and delicate pink-white intertwined, like various colourful flowers, embellished with the ink-green colour of leaves. The ochre base contrasts with the warmth and vibrancy of the room and confines it within a blue and white porcelain vase. In the symphony of colours and textures, the work seems to have the layering and scraping sensation of German artist Gerhard Richter, and it presents a transcendent temperament from the Orient, emerging as a self-portrait of Vincent van Gogh's spirit, just like the sunflowers. Yin Zhaoyang, with the prominent colours of flowers, establishes his most proud spatial field force. The intense orange-red colour in the painting is precisely the vital colour that Yin Zhaoyang consistently uses in his art, like the blood of the artistic soul surging from deep within, and ultimately transcending the image itself, illuminating the ultimate brilliance of the soul in the blink of an eye.

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拍品估价:180,000 - 280,000 港币 起拍价格:180,000 港币  买家佣金:
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