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艾中信 江南新村 油彩 畫布 一九九三年作 Ai Zhongxin 1915-2003 The Southern New Village Oil on canvas Painted in 1993
香港
2023年10月08日 开拍
拍品描述
size:52 x 56 cm. 20 1/2 × 22 in.
款識 中信(左下)江南新村 艾中信 1993(畫背) 出版 2007年,《艾中信畫集》,北京美術攝影出版社,北京,第76頁 2007年,《艾中信藝術全集》,中國大百科全書出版社,北京,第178及205頁
Signed in Chinese on bottom left; titled and signed in Chinese and dated on the reverse LITERATURE 2007, Painting of Ai Zhongxin, Beijing Art and Photography Publishing House, Beijing, p.76 2007, The Catalogue Raisonné of Ai Zhongxin, Encyclopedia of China Publishing House, Beijing, p. 178 & 205
來源 現亞洲私人藏家直接購自藝術家本人 朝霞歸故里,秋木存深情 艾中信筆下堅韌的亙古靈魂 「艾中信先生的藝術,深含著極高的藝術學養與審美情操,又展現了寬闊的藝術胸懷與文化抱負。」 ——中央美術學院院長范迪安 1915年出生於江蘇的艾中信,是一位傑出的藝術家和美術教育家。回憶他在21歲時考入國立中央大學教育學院藝術系,從徐悲鴻、吳作人學油畫素描、於傅抱石門下習藝術理論,並隨黃君璧學畫山水,集眾家之精萃。1940年畢業後,他以優異的表現被延攬留校任教,從事教育逾半世紀,期間曾任中國美術學院教授、中央美術學院副院長等要職,出版如《讀畫論畫》、《油畫風采談》等專著。作為中國油畫第二代的傑出代表,艾中信致力於鑽研寫實主義油畫,從社會實踐中提煉反應時代脈動的藝術,並主張「寫實中的寫意」。他心領神會法國巴比松派名家科羅(Camille Corot)等人的抒情風景,融合「意在筆先」的東方筆墨思想,以洗練的筆觸描繪根植於現實的神韻,沉著而不失秀美,可謂是「畫中有詩」,被李可染稱作「中國油畫筆墨」。其作曾被中國美術館、龍美術館、泰康藝術中心等重要機構收藏。 縱使春秋不復,如是初心不改 「他畫江南新村裡突出的老樹嵯峨。他畫京郊秋野層林,用淋漓的賦彩寫木葉紛披,其亢奮的意興又道出了胸中嚮往大樹的壯麗。這些就是老境的寄託。」 ——中央美術學院教授鐘涵 是次秋拍帶來的《江南新村》,為艾中信藝術步入爐火純青時期以「樹木」為主角的重要代表作。彼時,甫歷經文革休筆10餘年的他終能再度自由創作,赴各地遊歷取景。當中他寄情於帶有自喻性質的「古樹」,據其學生鐘涵回憶:「他這個時期喜歡畫古木大樹,自是心志的寄託」。此外,2007年出版的兩本艾中信畫集均特意選以樹木主題之作為封面,進一步證明該主題之代表性。綜觀其畢生的該主題畫作,可考者僅不足24件,此作即為其一,且為其中唯一用色粉嫩多嬌者,珍稀非常。 作品描繪著艾中信的故鄉江南在歷經改革開放後的新風貌。畫面中,破曉的朝陽點亮高天,將之染成泛著暖橙、暖黃色的白。而臨近地平線的天空呈藍紫色,彷彿仍在靜靜沉睡,在兩層冷暖色間,艾中信細膩地以雋永的灰調協調過渡,展現富有動勢的自然風光。遠處地平線上白牆黛瓦的農村,是上世紀末中國經濟高速發展、江南生活走向小康的縮影。村前一塊塊規整劃分的沃野,被朝霞染成了瑰麗的紫粉色,飽含潛藏在土地中的生命力量。而在前景佔據最大面積的林木主角,艾中信以赭色、深咖色的筆觸張弛有度地梳理、點抹出明暗光影,展現老樹骨節分明、經歷寒冬後勃發生長的特色。在樹枝的刻畫上,流露出一股中國水墨意境美的韻味,枝條如春雲浮動,時而清晰明確、遒勁有力,時而隱沒身形、若即若離,艾中信以樹枝的濃淡生動地展現出清晨林間霧靄朦朧之美,創造呼吸的空間。枝頭上極簡的朱紅色點出零星的紅葉,又好似沉甸的果實,默默訴說季節更替、歲月交迭的故事。老樹在此像是藝術家本人的寫照,歷經歲月的洗禮,以滄桑卻堅韌的姿態默默守護來之不易的新生。對於故鄉的溫柔眷戀、辭舊迎新的感慨、靜默守望的堅定,歷歷在目,在畫境那靜謐的氛圍中,暗含浴火重生的喜悅,令人回味萬千。
PROVENANCE Acquired directly by present private Asian collector from the artist When the Morning Haze Arrives to My Hometown, the Autumn Trees Hold Deep Affection Ai Zhongxin's Resilient Ancient Soul Under His Brushwork Born in 1915 in Jiangsu, Ai Zhongxin was an outstanding artist and art educator. He was admitted to the Art Department of the National Central University's College of Education at the age of 21, studying oil painting and sketching under Xu Beihong and Wu Zuoren, learning art theory under Fu Baoshi, and studying landscape painting under Huang Junbi, integrating the essence of various schools. After graduating in 1940, he was recruited to stay at the university as a teacher due to his excellent performance. He worked in the field of education for over half a century and held important positions such as professor at the China Academy of Fine Arts and deputy dean of the Central Academy of Fine Arts. As an outstanding representative of the second generation of Chinese oil painting, Ai Zhongxin devoted himself to the study of realistic oil painting, extracting art that reflected the pulse of the times from social practice, and advocated "expressiveness within realism." He had a deep understanding of French Barbizon school painter Camille Corot's lyrical landscapes, blending Eastern ink painting thoughts that emphasized intention in brushwork. He used refined brushstrokes to paint a charm rooted in reality, graceful and elegant, and could be described as "depicting poetry in painting." He was referred to as the "ink and brush of Chinese oil painting" by Li Keran. His works have been collected by important institutions such as the National Art Museum of China, Long Museum, and Taikang Art Centre. The Original Intention Remains Unchanged with the Passage of Time The painting The Southern New Village brought by this autumn auction is an important representative work of Ai Zhongxin's art during the peak of his career, with trees as the protagonist. At that time, after more than ten years of hiatus due to the Cultural Revolution, he was able to resume creating art and travel to various places for inspiration. He was particularly fond of painting "ancient trees" with a sense of self-identification, as recalled by his student Zhong Han: "During this period, he liked to paint ancient trees, which was a reflection of his aspirations." Additionally, two art catalogues of Ai Zhongxin specifically selected tree-themed works as covers when they were published in 2007, further proving the significance of this theme. Throughout his life, he only completed less than 24 works with this theme, while this piece is one of them, and the only one with a delicate and charming pink colour scheme, making it exceptionally rare. The artwork depicts the new style of Ai Zhongxin's hometown Jiangnan after the reform and opening up. In the painting, the sunrise illuminates the high sky, tinted into warm orange and yellow. The sky near the horizon is a blue-purple colour, as if still quietly sleeping. Between the two layers of warm and cool colours, Ai Zhongxin delicately transitions with a sophisticated grey tone, showcasing the dynamic natural scenery. The fertile fields in front of the village are dyed with a splendid purple-pink colour by the morning haze, full of the vitality hidden in the land. The trees in the foreground, occupying the largest area, are depicted by Ai Zhongxin with strokes of reddish-brown and deep cocoa, showing distinct joints and the characteristics of thriving growth after experiencing harsh winters. The portrayal of the branches reveals a sense of Chinese ink painting charm, with branches floating like spring clouds, sometimes clear and powerful, sometimes indistinct. Ai Zhongxin vividly presents the misty beauty of a morning forest, creating a sense of space. The simplicity of the red dots on the branches marks the sporadic autumn leaves, resembling heavy fruit, silently telling the story of changing seasons and overlapping years. The old tree here is like a reflection of the artist himself, baptized by the years, silently guarding the hard-won rebirth. The tenderness and nostalgia for his hometown, the emotions of farewelling to the old and welcoming the new, and the firmness of silent vigilance are vividly portrayed in the tranquil atmosphere of the painting, with an underlying joy of rebirth after being tested by fire, leaving a lasting impression.

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