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李禹煥 從點 油彩 礦物顏料 畫布 一九八四年作 Lee Ufan b. 1936 From Point Oil and pigment on canvas Painted in 1984
香港
2023年10月08日 开拍
拍品描述
size:31.8 × 41 cm. 12 1/2 × 16 1/8 in.
款識 L.UFAN(右下)Lee Ufan 1984 From point(畫背)
Signed in English on bottom right; signed and titled in English, and dated on the reverse
來源 日本東京畫廊 亞洲重要私人收藏 註:畫背貼有日本東京畫廊之標籤 附:日本東京畫廊開立之作品確認函 點的滌蕩詩意宇宙 李禹煥一點一世界的無限書寫 「縱使自身有限,卻能表現與外部的無限關係。藝術表現即是無限次元的開示。」 ——李禹煥 2022年5月,由建築大師安藤忠雄設計的「李禹煥阿爾勒中心」於法國弗農酒店開幕,這是繼2010年日本直島的「李禹煥美術館」、2015年釜山藝術博物館內的「李禹煥空間」後,第三個李禹煥個人藝術空間的落成,足以見證這位東方大師名震寰宇的世界級地位。作為當今國際藝壇最受矚目的韓國畫家,李禹煥曾於世界各地的重要藝術機構舉辦展覽,如1994年首爾國立現代美術館、2007年第52屆威尼斯雙年展「迴響」、2011年紐約古根漢美術館「點畫無限」回顧展、2014年法國凡爾賽宮、2023年兵庫縣立美術館等個展。其作則紛紛被紐約現代藝術博物館、古根漢美術館、巴黎龐畢度中心、倫敦泰特美術館等眾多知名藝術機構納入館藏,見其早已奠定在國內及海外當代藝壇的卓絕地位。 作為一名活躍於韓國、日本和歐洲的畫家、雕塑家及哲學家,李禹煥具豐富的跨文化、跨學科經驗。他自幼在東方書法、詩畫與哲學的薰陶下成長,高中時期便發表與出版眾多詩詞文學刊物,1958年在韓國國立首爾大學藝術學院修習油畫期間,因受日本現代藝術之啟發感到哲學的重要性,毅然轉入日本大學主修哲學。多年以來的博學多聞、行成於思,令其成為打破西方制式抽象創作,將極簡美學、東方哲理融入創作的先鋒。自70年代起,李禹煥已被公認為1970年代日本「物派運動」(Mono-ha)以及韓國1960-80年代「單色畫運動」(Dansaekhwa)的首要倡導者。從「物派」強調物質原真狀態的理念出發,他在雕塑創作上,運用泥土、木材、石頭等最為基礎的材料,透過空間的佈景,呈現出對環境、時間、空間的思考;而在繪畫領域,他則以極簡主義美學融入東方對「點」、「線」的表達,開展以此二者作為核心元素的創作。隨著1971年歐洲遊歷過程中見到空間主義奠基人封塔納(Lucio Fotana)和新現實主義領導人克萊因(Yves Klein)的作品,更令他明確以「外在世界與自我連接的關係而創造出巧妙形態」的藝術目標。由1972年持續至1984年的著名「從點」、「從線」系列就此誕生。 關鍵轉捩經典代表 是次呈現的《從點》完成於1984年,可視為其由「從點」系列(1972至1984年)之終結邁向「從風」系列(1982至1986年)的重要轉捩代表。在此作中,他用畫筆沾滿自製的顏料,不斷重覆繪畫著「點的筆痕」,直到顏料耗盡,呈現出「由空到有,再到無」,如此般漸層變化的效果,他將之稱為「無限的重覆」。此件《從點》立於兩個系列前後交接的節點,既融匯了「點」元素的形態、「無限」的概念,亦透過如「風」般充滿自由感的筆力,在起勢、落筆、揮灑中留下充滿書法韻味的禪意空間。 一吸一吐間的生命韻律 「眼前的物品以及心靈中的影像全都由點與線組織而成,隨著呼吸吐納的起降之韻律表現。因此,觀者……可以察覺畫和畫布間的動態關係、畫家身體的狀態、其心律的動靜、其性格,以及歲月的氛圍。」 —— 李禹煥 在《從點》中,70年代作品裡形狀規整、排列統一的圓點已然發生了質的衍化,以自由鋪排的漸層藍彩,帶出扣人心弦的筆勢表現,正朗誦著屬於李禹煥的宇宙詩篇。他在創作時憶起兒時所受的書畫訓練,從書法「點」筆中找到靈感,探尋著新的抽象表達的可能。過程中藝術家屏氣凝神,以沾滿濃烈鈷藍的畫筆,於左上方落下最為飽滿而果斷的一道,呈現如山峰般的筆勢。隨後,畫筆持續在畫布的四方交替叢生,或上提如揚起之船帆,或疾落如浪花之湧動,綿綿不絕,又互不重疊,起舞間化為「線」與「形」的共生,似千岩萬壑、群山連綿,又如音頻震動、樂譜韻律,充滿了抽象的生動聯想。 而在東方筆墨、書法的基礎訓練中,點與線的重複描繪,並被視為「駕馭與控制呼吸」的最佳方式。於李禹煥而言,運筆的動作本身即是連接著創作者的心律起伏,突破過往嚴謹審慎的落點,此刻如書法般輕盈流動的筆觸,生發出一種源於本真的純粹、生動,更是一種精神的滌蕩。每落一筆,便如一次吐息的儀式,將一筆作為一循環,成為時間的累積與生命的記錄。由深至淺、由重轉輕,直至逐漸化入虛無,唯餘粒子般的藍彩滲入畫布的紋理中,形成「點」在微觀上的又一盛景。 詩意的藍色自由風景 法國藝術家克萊因曾說:「我的單色陳述就是自由的風景。」充滿螢光感的克萊因藍彩,創造出了打通視覺與形象的一個自由窗口。而同樣視藍調為創作主色的李禹煥,則選取更為深邃、寧靜而富有禪意的鈷藍,由自然之聯想,跨入精神的冥思。在《從點》上,東方傳統中莊重經典的藍與白,正雅麗交匯,如同朝鮮王朝青花白瓷般,在微光瑩白中透出點點藍彩的動人,誕生出悠遠之意。為了彰顯藍色在一筆一劃中留下的精準始末,他並追溯日本絲綢膠彩畫和中國岩彩畫中使用動物膠的方式,將藍色礦物顏料與之混合,令顏料在保留天然特性的同時,亦返還出畫布原本的肌理和基調。「藍色是天空,是水,是空氣,是深度和無限,是自由和生命,藍色是宇宙最本質的顏色。」伴隨藍色賦予的詩意想象,觀眾在這筆畫的起舞間,彷彿看到風的速度、水的肌理、光的傳遞,預示著星河的無垠,並終而回到宇宙之始。正如李禹煥之言:「我的作品以圖像打開通往無限的通道」,透過點之呈現,李禹煥走向的是宇宙的深廣無限,如同將多個瞬間在同一平面內折疊,而當中的每一筆、每一點,均在空間與時間上,自有其重要之意。 「宇宙始於一點,亦終於一點」。在這方寸的乾坤中,源於「點」的物質力量,正透過一筆又一筆、緊湊躍動的藍色印記,彰顯著重如泰山的生命本質。而由李禹煥創造的點,也終將在觀者的思考中,轉化為新的形態。
PROVENANCE Tokyo Gallery, Japan Important Private Collection, Asia Note: A label of Japan Tokyo Gallery is affixed on the reverse This work is accompanied by a note of confirmation issued by Tokyo Gallery, Japan Depurative and Poetic Universe of Points Lee Ufan: Infinite Writing through One Point One World “Even though the self is limited, it can still deliver the infinite relationships with the outside world. Artistic expression is the revelation of infinite dimensions.” ——Lee Ufan As one of the most prominent Korean artists in the contemporary global art world, Lee has exhibited at major art institutions around the world, including the National Museum of Modern Art in Seoul in 1994, the 52nd Venice Biennale Reverberations in 2007, the retrospective Marking Infinity at the Guggenheim Museum in New York in 2011, the Palace of Versailles in France in 2014, the Hyogo Prefecture Museum of Art in 2023 and other solo exhibitions. His works have been included in the collections of many well-known art institutions such as the Museum of Modern Art in New York, the Guggenheim Museum, the Pompidou Centre in Paris, and the Tate Gallery in London, which shows that he has already established an outstanding position in both domestic and overseas contemporary art circle. As an active painter, sculptor and philosopher in Korea, Japan and Europe, Lee has extensive cross-cultural and interdisciplinary experience. Having grown up under the influence of Oriental poetry, calligraphy, painting and philosophy, Lee resolutely transferred to a Japanese University to major in philosophy because he recognized its importance when he studied oil painting and got inspirations from the Japanese modern art at the School of Art of Seoul National University in South Korea in 1958. His rich knowledge over the years makes himself a pioneer in breaking the Western standard of abstract creation and integrating minimalist aesthetics and Eastern philosophy into his creation. Since the 1970s, Lee has been recognized as a leading proponent of Mono-ha, the Japanese “thing movement” of the 1970s, and Dansaekhwa, the Korean “monochromatic painting movement” from the 1960s to 1980s. During his European tour in 1971, Lee met the works of Lucio Fotana, founder of spatialism, and those of Yves Klein, leader of neo-realism. This encounter deepened his artistic goal of “creating ingenious forms through the connection between the external world and the self”. The famous From Point and From Line series, which lasted from 1972 to 1984, were born since then. The Classical Representative of Key Transition From Point at this auction was finished in 1984, regarded as the key representative work marking the transition from From Point series (1972 - 1984) to the From Wind series (1982 - 1986). In this work, Lee filled his brush with homemade paint, and repeatedly painted “pen marks of dots” until the paint ran out, showing an effect of “from emptiness to being, and then to nothing”. Such an effect of gradual change is known as “infinite repetition”. Standing at the junction of the two series, From Point not only integrates the form of the “point” and the concept of “infinit”, but also builds a Zen space full of calligraphy charm through the wind-like freedom. The Rhythm of Life Between Breaths Recalling his training in calligraphy and painting as a child, Li found inspirations in the calligraphy stroke “dot”, with a strong cobalt blue brush leaving the most full and decisive line on the top left of the work and delivering a steady sense like a mountain. Subsequently, the brush stretched to the four corners of the canvas, or lift up like a raised sail, or swifted fall like the surge of waves, continuous, but not overlapped, like thousands of rocks and valleys, as well as the audio vibrations, full of abstract but vivid associations. During the fundamental training of the eastern ink and calligraphy, Lee's repeated depiction of dots and lines is regarded as the best way to “control and manipulate the breath”. For Lee, the movement of the brush itself connects to the rhythm of the creator. Breaking through the rigorous and prudent dot strokes of the past, at this moment, his light and flowing calligraphic strokes give rise to a sense of purity, vividness and sincerity. Each stroke, like a breath, from deep to shallow, from heavy to light, gradually reached the state of dissolving into nothingness. Only the particles of blue paints infiltrated into the texture of the canvas, forming a “point” in the micro spectacle. Poetic Blue Landscape of Freedom French artist Yves Klein once said, “My monochrome paintings are landscapes of freedom.” Lee Ufan, who also regards blues as the main colour of his work, chooses the cobalt blue, which is deeper, quieter and full of Zen. In From Point, the classic combination of blue and white, which are more solemn in the eastern tradition, appears an elegant and beautiful intersection like the blue and white porcelain of the Korean dynasty, shimmering and producing an ethereal detachment. To highlight the precision of beginnings and endings of in every single blue stroke, Lee traces the way animal glue was used in Japanese silk glue painting and Chinese rock colour painting, mixing the glue with blue mineral pigments so that the pigments will retain their natural characteristics but also reveal the original texture and tone of the canvas. Accompanied by the poetic imagination given by blue, through the dance of brush strokes, the audience seems to see the speed of wind, the texture of water, the transmission of light, the vastness of the stars, and finally return to the origin of the universe. As Lee Ufan once said, “The universe begins with one point and ends with one point.” Through the presentation of the points, he is going to the infinite depth of the universe, in which every stroke and every dot matter in the dimensions of space and time. And the point created by Lee Ufan will eventually transform into a new form in the viewer's meditation.

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拍品估价:400,000 - 600,000 港币 起拍价格:400,000 港币  买家佣金:
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