| 中文版 English

具体要求

其它要求

-
关闭
黃宇興 無題(一組兩件) 複合媒材 玻璃 二〇〇八年作 Huang Yuxing b.1975 Untitled (set of two pieces) Mixed media on glass Painted in 2008
香港
2023年10月08日 开拍
拍品描述
size:Dia 102 cm. × 2. Dia 40 1/8 in. × 2
款識 Huang Yuxing 2008(畫背)
Signed in pinyin and dated on the reverse
展覽 2008年7月12日至8月16日,「黃宇興:改變中的生命史」,紅橋畫廊,上海 來源 上海紅橋畫廊 現亞洲私人藏家直接購自上述來源 直面人性,震撼心靈 黃宇興罕見大尺寸圓形繪畫現身 「作為生物的、人類的每個個體,從出生開始,就被衰老、疾病、慾望、以及社會變革與自然的巨大力量無休止地改變著,並始終體現出生理化的堅韌。」 ——黃宇興 年少的黃宇興叛逆、焦慮,其繪畫風格與如今大眾印象裡的幻彩奪目大相徑庭。30歲時的他,在創作上直面人性的各種面象:慾望、愛、恨、嗔痴、孤寂、生死、宗教、神性,深入探討「人類身體」、「生命科學」、「媒介實驗」等核心議題,並嘗試將繪畫從畫布轉移到工業現成物,大膽使用油墨、噴漆、玻璃等媒材突破創作既有的彊界及固習,展現出更大的自由。通過激烈的敘事、刻意的反叛,試圖從生命自身的意義出發,尋求烏托邦式的社會認同感。 「在所有繪畫藝術中,染色玻璃可能是最困難的一種……沒有另一種藝術能像它一樣不受塵俗所限,能像它一樣靈動,且本身就具有令人陶醉的效果……」 ——《大英百科全書》 自2007年起,黃宇興開始挑戰於直徑25 cm的宜家(IKEA)石英掛鐘的玻璃反面繪畫,冰冷的玻璃、陰鬱的墨漆,伴隨畫作背後周而復始的指針,誕生了《當我需要愛》系列創作。而後他將媒材拓展至直徑更大的玻璃面板,是次秋拍呈現的一組單件直徑逾一百公分的《無題》即為箇中力作。而此特殊的創作形式僅只用於2007至2008年短暫的時期,創生之作屈指可數,突出了此作的珍稀性。 亙古穿今的圓,時間與生命的思考 黃宇興從中世紀的對人體的探索出發,以低限的色彩繪出人物,當中不同層次、流動的黑彩具中國水墨的特質,而藉由高反差的色彩,使觀者以「凝視」之姿與畫面主角進行「跨時空」的對話,暗諷當代社會隱藏的冷暴力與壓迫,與中世紀暗黑不謀而合。打破時空界限,而人類的焦躁不安依舊來源於無法逃避的「生與死」。此圓形繪畫亦為藝術家對中西方繪畫史的追溯與回應,既釋放「以人為本」的文藝復興元素,也暗蘊「道法自然」的中國水墨技法,飽含其對時間與生命之思。 始於文藝復興時期的「圓形畫」(Tondo),如聚焦般集中突顯畫面中心,畫面整體飽滿,主角表情、臉頰光影,隨空間透視被無限放大與強調。主張保留繪畫過程的黃宇興,採用類似動畫膠片製作的方式,以透薄的黑彩在玻璃背面打底,勾勒人物造型,再加以「工筆重彩」反復罩染。最終畫面如水墨畫設色,皴染滲墨,濃淡相宜。他更巧用玻璃特有的「工業冷感」與靈動,讓墨彩在其上肆意流淌,塑造出一個個神秘的人物。 影綽之下, 浮生若夢 其中的側面肖像中,女子正襟危坐,眼神堅定注視前方,瘦削的臉龐、海藻般捲髮、絲絨質地的衣著與墨暈背景相互呼應。作品若展現對文藝復與名家波提切利(Sandro Botticelli)《理想化的女士肖像》的致敬,兩者構圖相似,皆為黑色背景的側像,展現對於何謂「美」之命題的終極探索。而黃宇興在背景上的處理更加細膩,墨色的肌理清晰可見,以噴灑、暈染、破墨之痕躍然展現,而在漆黑中,人物的髮絲如流金攢動,反襯著皙白的肌膚。有別於波提切利明媚的畫面,女子被淡墨覆蓋,柳葉眉下,雙眸淡然,朱櫻暈墨,冷靜又惹人憐惜。而那點綴其上的螢光紅彩,如人物頭飾,如漂浮塵埃,又如咬痕,畫龍點睛地在黯中生輝,乍現人物的精神色彩。而此螢光用彩也預示了它在日後創作的關鍵定位。 生命的本真之色 而在另一件作品中,整體色調更加純粹,女子臉部置中,單手托腮,仰頭閉目,烏髮如美杜莎般張揚,簇擁臉旁。相比卡拉瓦喬(Michelangelo Caravaggio)面目猙獰的《美杜莎》,黃宇興畫中主角未見駭人的眼神,清墨滲透出凝脂膚色。恰到好處的留白與水墨交融,紋路間,五官更為朦朧,稀落的螢光紅彩,使臉頰更顯柔美無辜。近觀之,墨之五彩疊加渲染,視覺景觀和諧,一氣呵成,體現中國畫的「形神兼備」。 「我是一個痛苦的唯物主義者。我很痛恨這一點,又不得不承認這一點。」 ——黃宇興 黃宇興通過幽邈的畫面,將高度敏感的內心與思慮呈現與眾。在沉重悲愴的生命議題中,若賦予傳說人物新的定義。畫者重塑歷史人物與著作,帶觀者從萬物生長與歷史變遷中,思考亙古不變的生老病死。也正是這一時期對黑暗的深刻理解,成就了日後色彩斑斕的黃宇興。
EXHIBITED 12 Jul – 16 Aug 2008, Huang Yuxing solo exhibition Life History in Changing, Red Bridge Gallery, Shanghai PROVENANCE Red Bridge Gallery, Shanghai Acquired directly by present private Asian collector from the above Confronting the Complexity of Human Nature Huang Yuxing's Rare Large-Scale Tondo Paintings “As individuals who are living beings and human beings, we are constantly subject to the ceaseless forces of aging, disease, desire, social change, and nature from the moment of birth, and yet we always embody physiological resilience.” ——Huang Yuxing In his youth, Huang Yuxing's painting style was vastly different from the dazzling impression in people's mind today. At the age of 30, he confronted the various facets of human nature in his artworks: desire, love, hate, anger, obsession, loneliness, life and death, religion, divinity, and deeply explored core issues such as “human body”, “life science”, and “media experiments”. He also attempted to move painting from the canvas to industrial ready-mades, boldly using ink, spray paint, glass, and breaking through the boundaries and conventions of traditional art making, displaying greater freedom of expression. Through intense narratives, he tried to seek a utopian sense of social identity from the meaning of life itself. “Of all the painter's arts, stained glass is probably the most intractable......And yet no other art seems so little earthbound, so alive, so intrinsically beguiling in its effect.” ——Encyclopedia Britannica Since 2007, Huang Yuxing began to challenge himself by painting on the reverse side of the glass of a 25 cm diameter IKEA quartz clock. The cold glass and gloomy ink, accompanied by the ticking of the clock hands behind the artwork, gave rise to When I'm in Need of Love Series. He later expanded his medium to larger glass panels, and the set paintings Untitled with a diameter of over one hundred centimetres presented at the autumn action are masterpieces of his works. This unique form of creation was only used from 2007 to 2008, and the number of such works is limited, highlighting the rarity of this lot. Contemplating Time and Life: The Circle Spinning Across the Ages Starting from the medieval exploration of the human body, Huang Yuxing depicts figures with limited colours that showcase the characteristics of Chinese ink painting. Through high-contrast colours, viewers are prompted to engage in a “cross-time” dialogue with the characters in the artwork, subtly alluding to the hidden cold violence and oppression in contemporary society as they are the counterpart of the Middle Ages. This set of circular paintings not only liberates the “humanism” of the Renaissance, but also embodies the Chinese ink technique of “following the natural way”, fully reflecting his contemplation on time and life, and death. Originating from the Renaissance period, the “Tondo” painting highlights the centre of the composition, emphasizing the expression and the chiaroscuro on the character's face and magnifying the spatial perspective. Advocating to retain the process of painting, Huang Yuxing adopts a method like draw-on-film animation, using thin black ink to outline the figure and repeatedly shading with “gongbi” meticulous brushwork. The glass's unique “industrial coldness” and agility allows the ink colours to flow freely, shaping mysterious characters. Under the Fleeting Shadows, Life Seems Like a Dream In the side profile portrait, a woman sits upright with a determined gazed. Her slender face, curled hair and velvety attire echo with the ink splatter background. The work pays homage to Sandro Botticelli's Portrait of a Young Woman from the Renaissance period, exploring the ultimate question of “beauty”. Huang Yuxing's treatment of the background is even more delicate, with clear ink textures visible through the spray, smudging, and ink breaks, while the woman's hair shimmers like flowing gold against her pale skin in the darkness. The fluorescent red colour that adorns the woman's head like a headdress, floating dust, or bite marks, adds a touch of spirit and vitality to the otherwise dark painting and becomes a key feature in his future creations. The True Colour of Life In the other work, the overall tone is even purer, with the woman's face in the centre, resting her chin on her hand, tilting her head back with closed eyes, her hair spread out like Medusa, surrounding her face. Compared to Caravaggio's fearsome Medusa, the protagonist in Huang's painting lacks the terrifying gaze, the clear ink permeates a silky skin tone. The just-right blank spaces blend with the ink, making the features vague and sparse fluorescent red colours, making her more beautiful and innocent. Upon closer inspection, the overlapping and rendering of multiple ink colours create a harmonious visual landscape, embodying the Chinese painting's concept of “form and spirit in one”. “I am a miserable materialist. I hate this fact and have to admit it.” —— Huang Yuxing Through his haunting paintings, Huang Yuxing reveals his highly sensitive inner self to the world. By giving new definitions to legendary figures, he reshapes historical works, inviting viewers to contemplate the eternal cycle of birth, aging, sickness, and death amidst heavy and sorrowful life issues. It is precisely this deep understanding of darkness during this period that laid the foundation for Huang Yuxing's future colourful creations.

本场其它拍品

  • 竞价阶梯
  • 快递物流
  • 拍卖规则
  • 支付方式
竞价区间 加价幅度
0
1,000
10,000
2,000 5,000 8,000
100,000
10,000
200,000
20,000 50,000 80,000
1,000,000
100,000
2,000,000
200,000 500,000 800,000
10,000,000
1,000,000
+

价格信息

拍品估价:150,000 - 180,000 港币 起拍价格:150,000 港币  买家佣金:
落槌价 佣金比率
0 - 5,000,000 20.00%
5,000,000 - 20,000,000 17.00%
20,000,000 - 以上 14.00%

拍卖公司

中国嘉德(香港)国际拍卖有限公司
地址: 中国香港金鐘道89號力寶中心一座五樓
电话: 852-28152269
邮编: 10000
向卖家提问