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林風眠 仕女 彩墨 紙本 約一九七〇年代作 Lin Fengmian 1900-1991 Lady Ink and colour on paper Painted approximately in 1970s
香港
2023年10月08日 开拍
拍品描述
size:69.3 × 53 cm. 27 1/4 × 20 7/8 in.
款識 林風眠 藝術家鈐印(右下)
Signed in Chinese with an artist's seal on bottom right
來源 香港重要私人藏家王良福收藏 千秋如戲,萬象入畫 林風眠筆下的百態人間 「林風眠在形與色的節律音韻中吹奏了一輩子,他在弧與曲的軌跡中無休止地探索、奔馳,把握了弧與曲的轉折關鍵點,以直線、折線及稜角來強化形式感,是弧曲情思的變調、新腔。以各種幾何形來表達戲曲人物的強烈效果,方替代了圓,倔強的『折』替代了柔和的『曲』……構攝其美之精英而吐盡渣滓,餘韻悠悠永留人間。」 ——吳冠中 作為中國現代繪畫的奠基人、美學教育的播種者、開自由風氣之先的一代宗師,林風眠(1900-1991)以近乎同步於二十世紀進程的個人生命歷程,向世界展現著他求索美的一生,卻彷彿總比時代走的超前一步。無論是19歲便負笈法國的跨文化求學經驗、26歲便出任國立北京藝專校長的教學履歷、28歲更創辦國立杭州藝專的倡導革新,還是30年代末以「方紙佈陣」打破傳統、50年代融立體主義於東方彩墨的創作魅力,其遠超時代步伐的藝術思想,成就了他具劃時代意義的璀璨。「以忠誠的心,唱出最美的歌聲」,林風眠將「打開中國藝術視野、調和中西藝術理念」的奮鬥目標,換來冰心永存的生命臻言,以一首首彩色的詩,為世人編織著一個個美與善的藝術化境。 而縱觀林風眠的創作,「人物畫」是極具典範的一環,除卻直觀流暢的筆墨線條,其筆下人物的風貌更承載著藝術家內心深切情感的表露,於「形」之上,更獲得「意蘊」的自由抒發,彰顯出他傾盡一生追求的中西調和之路。其中,「嫻靜猶如花照水,行動好比風扶柳」的仕女最為人稱道,而「元氣淋漓,風範參神」的戲曲人物更是令人拍手叫絕!兩者呼應林風眠對人之美、善的終極思想追求。正如其言:「藝術是真情流露,所以能感動我們,惟其是美的表現,所以能增加我們的生趣,惟其是善的宣揚,所以能啟示我們的生路。」是次我們榮幸呈現源自香港重要藏家王良福於80年代初期購自香港中僑百貨、珍藏逾40年的戲曲人物《蘆花蕩》(拍品編號45)與《仕女》(拍品編號44),一展林風眠淬煉古今、宣揚善美的動人真情。 風情由我,照見古今 婉約而自信的審美理想 「林風眠畫的仕女和裸女,不同於任何古今仕女畫和西方式的裸體作品。他用毛筆宣紙和典雅的色澤,捕捉著一種幻覺,一種可望不可及的美。它有古典仕女的風韻,又有馬蒂斯式的輕鬆優雅……不妨說,這是林風眠創造的融古今中外為一的女性美。」 ——中國知名藝評家郎紹君 如果說東方傳統的仕女圖表達的是含蓄韻致的典雅,西方的裸體聖女展現了豐腴人體的女性光環,那麼,林風眠的裸女畫便在這東西二元間去蕪存菁,內化了古典與現代的審美追求,而外化著精神與藝術理想的品格。此幅《仕女》便為精心一例。作品殊為別緻,並未採取林氏常見的方形佈構,而以長方形紙材刻意拉高主角的身體比例,塑造高雅的氣質,並以坐姿取代西方人物畫常見的躺姿,展現中軸式的勻稱感。其間,溫婉、流暢的白描線條繼承了中國傳統書畫運筆的功力,以此勾勒出東方美人婀娜的身姿弧線,而飽滿的肌體,簡約而富有張力,具馬蒂斯(Henri Matisse)和莫迪利亞尼(Amedeo Modigliani)的鮮活,表現出青春生命的情態風姿。 畫中女子呈左L式抱膝而坐,身姿挺拔,體態綽約,嫻雅如秋花照水,卻以充滿摩登感的妝容示人,但見她睫毛挺翹、雙頰淡淡、紅唇一點,梳著民國時期流行的雙環髮辮,展現出甜美而優雅的現代特色。而與其烏髮相配的藍色髮帶,則進一步呼應背景中窗紗的格紋,在朦朧中透出光影在髮絲、身軀間的流轉。右側的淡雅紫花盛放在俏似玉壺春瓶器型的瓷瓶中,為畫中的現代仕女返還一份蘊藉的古典之美。花與人的並置,並非僅僅停留於「對花無言,人淡如菊」的詩意感懷,更甚是林氏心緒、藝術理想和美學追求的至臻寫照。在那充滿青春氣息、洋溢著浪漫情調的唯美中,他以純化的造型語言,調和中西,完滿展現著現代東方女性的風華,在婉約中透露著自信的新時代風貌,寄寓著無比執著的藝術理想和審美理念。 腕底藏鋒,道粉墨人生 蘆花蕩裡頌忠勇 「我喜歡看各種電影和各種戲曲,不管演得好壞,只要有形象,有動作,有變化,對我總是有趣的……我從戲裡面,臉譜等得到一種靈感來畫人物……又如我畫霸王別姬、張飛等歷史人物都是來自平劇的印象,我看京劇是把它作為一種中國舞蹈的味道,我用現代畫的形式表現了它。」 ——林風眠 戲曲舞台上善惡分明的世界,為一生波瀾起伏的林風眠,帶來百般滋味的釋讀空間,而貫穿其半生創作的「戲曲」主題,無疑是他最為鍾愛的題材之一。從40年代「著眼點在人物形神,以及對線描著色寫意形式的把握」,到50、60年代「借鑒西方現代藝術特別是立體主義,尋求一種造型的時空表達」,他持續以調和中西的理念,探索著融匯國粹韻律和藝術美學的表達。歷經七十年的人生風雨,晚年他更真切體悟了人生大戲的意味。此時期的戲曲人物,較之形式的探索,更多了精神層面的自由豁達,和對曲直善惡的考量。完成於70年代末至80年代初移居香港後的《蘆花蕩》,便成為林風眠晚年戲曲主題創作的重要表徵。 方寸張力,迴環臻妙 形與意的交織迸發 「草笠芒鞋漁夫裝,豹頭環眼氣軒昂;跨下烏騅千里馬,丈八蛇矛世無雙。」 ——《蘆花蕩》定場詩 50年代林風眠在定居上海期間,受同居滬的藝術家關良之邀請和引導,逐漸喜歡上了戲曲這一國粹。該時期他常至「共舞臺」和「天蟾舞臺」劇院,接觸到京劇、昆曲和紹興戲等多種形式,加深了他對於各色戲劇人物造型的把握,以及對經典橋段的深度感悟。在其中,戲曲「蘆花蕩」及主角張飛是他尤為屬意、並持之描繪的主題。此題材之作,現存世可考者僅11件,數量稀少,是次上拍的《蘆花蕩》便為罕見的精妙之品。作為京劇《三氣周瑜》中的一齣摺子戲,「蘆花蕩」以張飛、周瑜為主角,講述周氏欲奪回荊州失地而定下美人計,誆騙劉備過江招親,孔明洞悉周瑜的策略,命張飛喬扮漁夫,率兵埋伏於蘆花蕩,突出襲之,將周瑜三擒三縱,令其憤極氣昏。作品《蘆花蕩》正展現了戲劇的最終幕——擒拿周瑜、劍拔弩張的精彩瞬間。 沿用經典的方形佈陣,戲中人物呈頂天立地的大無畏之姿,而基於50年代立體主義的探索,林風眠以鮮明的幾何形狀展現畫中人物特徵:張飛以圓草笠、長襟帶和漁夫裝示人,豹頭環眼分別以梯形和三角迴旋形突顯驍勇之相,其鐮刀狀的雙臂形成半圓的環形結構,若胸有成竹,與對打者一縱一橫平直伸展的雙臂,恰形成極為有趣的對照。而兩人下半身的衣飾、弓步形態又頗具玩味地平行統一,勻稱地迭送在畫面中。基於此構圖造型,林風眠高妙把握了兩人間一張一收、一攻一防的互動關聯。誠如其言:「像畢加索有時解決物體都折疊在一個平面上一樣。我用一種方法,就是看了舊戲之後,一場一場的故事人物,也一個一個把它折疊在畫面上。」有別於關良、丁衍庸重情節、寫神髓的創作理念,林風眠所要展現的是畫中主角在空間中的「動態時間」表現,即其所言之「綜合的連續感」。藝術家在此巧妙地將張飛與周瑜作出身體上的重疊,一方面,突出兩者相距之近、情形之緊張、張飛現身蘆花蕩之出人意料,高度還原了戲曲的高潮一幕,另一方面,兩者間的重疊引發了觀眾的想像,左手持劍的張飛,另一手是否已擒住對手?而周瑜橫檔在張飛腰腹之前的右手,又似乎可就此環腰逆轉。交錯的平行步態,令兩人呈現一前一後的鮮明空間關係,而彼此大相徑庭的過招動態,則大大強化了觀戲的連動性,帶給觀者若可身臨其境的感知,令人大為佩服! 化影為形,躍然如生 力與美的生命高歌 除汲取立體派將物件分割、重疊的方式,林風眠並將民間皮影戲中側面示人、將人影投射到白布的形式巧妙化入其中。如在此作中,空白的四方天地為畫中人創造出延伸的空間,前景的人物則像剪紙般拼貼於空白的畫面上,隨著當中弧形、直線、斜線的組合、疊加、穿梭、切割,他們似皮影人偶般,一舉手一投足皆處於動態之中,方中有圓、圓中見稜,滲透著對立又和諧的表現張力。而臉譜、鬚髮、桂冠、衣帶,則以藏青、銘黃,墨黑、赭紅、草綠等色彩相互映襯,將京劇的濃墨重彩,化為一曲力與美、善與惡、歷史與現實的交織。 而在這片時空中,林風眠為畫中人注入了一種浪漫而熱烈的生命態度,畫中人身影攢動、目光深邃、線條交疊,處處可見十足的張力。我們在觀看蘆花蕩時,莫不敬佩張飛的忠勇凜然、嘆息周瑜的苦心經營、驚艷於孔明的足智多謀;而在欣賞仕女姿容時,莫不為其柔情、品性、嫻雅所折服。人物的一顰一笑、舞台上的唱念做打,在林風眠的筆下交織為生命的高歌,他以二維空間極三維視聽,更潛藏著四維的時間變化,而當中的現代感和創造性正詮釋著他「整理中國藝術、調和中西藝術、復興中國藝術」的理想,演繹著在平淡中見熱烈、在孤傲中訴真誠的藝術精神,鑄造著東方美學的永恆力量!
PROVENANCE Collection of important private Hong Kong Collector Wong Lian Fon A Tapestry of Ages Unfolds: the Eternal Drama Life Unveiled The Portrayal of the Diverse World by Lin Fengmian Looking at Lin Fengmian's creations, figure paintings are an exemplary aspect. Apart from the fluid brushstrokes, the appearance of the figures in his paintings carries the profound emotions of the artist. It goes beyond the “form” to express the liberated “meaning,” showcasing his lifelong pursuit of a harmonious blend of Eastern and Western influences. Among them, the elegant and serene ladies are highly acclaimed, while the opera characters show remarkable charism. Both echo Lin Fengmian's ultimate pursuit of beauty and goodness. We are honored to present the collection of Lady (Lot 44) and Opera Figures (Lot 45). The latter was purchased by the esteemed Hong Kong collector Wong Lian Fon in the early 1980s from Hong Kong Chung Kiu Chinese Products Emporium. These masterpieces have been cherished for over 40 years, showcasing Lin Fengmian's refined fusion of the past and present, and his profound celebration of benevolence and beauty. Unveiling the Essence: Illuminating the Past and Present a Graceful Aesthetic Ideal “The ladies and nudes depicted by Lin Fengmian's painting are unlike any traditional or Western-style portrayals of women. With the use of brush and elegant hues on rice paper, he captures a kind of illusion, an unattainable beauty. It possesses the charm of classical ladies and the relaxed elegance of Matisse... It can be said that this is the harmonious fusion of ancient and modern, Eastern and Western, a creation of female beauty by Lin Fengmian.” —— Renowned Chinese Art Critic Lang Shaojun This piece of Lady is exquisitely unique, deviating from Lin's usual square composition. It deliberately elongates the proportions of the main character on a rectangular paper to create an elegant temperament. Departing from the reclining poses commonly found in Western figure paintings, it showcases a sense of balanced symmetry with a seated posture. The gentle and flowing lines, executed with finesse inherited from traditional Chinese brushwork, outline the graceful curves of an Eastern beauty. The plump physique is simple yet dynamic, displaying vividness reminiscent of Henri Matisse and Amedeo Modigliani, capturing the essence of youthful vitality. The female figure in the painting sits in a leftward “L” shape, maintaining an upright posture with a graceful physique. She wears a modern-style makeup, featuring beautifully curled lashes, lightly blushed cheeks, and a hint of red lips. Her hair is styled in the popular double-loop braid of the Republican era, showcasing elegant modern characteristic. The blue hairband that complements her dark hair further echoes the pattern of the window curtains in the background, casting a subtle play of light and shadow through the strands of hair and the body. On the right side, delicate purple flowers bloom in a porcelain vase with the shape of a jade spring bottle, adding a touch of classical beauty to the modern lady in the painting. The juxtaposition of flowers and the figure conveys a poetic contemplation of “flowers speak without words, while people are as serene as chrysanthemums,” portraying Lin's sentiments, artistic ideals, and aesthetic pursuits. In that youthful and beautiful ambiance, he harmoniously blends Eastern and Western elements with a purified visual language, fully showcasing the charm of modern Eastern women, exuding both elegance and confidence in this new era of grace. Veiled Mastery: Life's Canvas Unfurled Valour Amidst the Tempest “I enjoy indulging in a diverse array of films and theatrical performances, regardless of their quality. As long as they possess vivid imagery, captivating movements, and intriguing transformations, they never fail to pique my interest...I gain inspiration for my portraiture from the theatrical masks… For instance, my depictions of historical figures such as the King in Farewell My Concubine and Zhang Fei stem from my impression of Peking Opera.” ——Lin Fengmian The world of theatrical performances presents a clear distinction between good and evil on stage, offering Lin Fengmian, a man whose life has been filled with ups and downs, a multitude of interpretations and profound emotions. Undoubtedly, the theme of “Opera” has been one of his most cherished subjects throughout his artistic career. Having weathered the storms of life for seventy years, he gained a deeper understanding of the true meaning behind life's grand drama in his later years. During this period, the portrayal of theatrical characters went beyond formal exploration, embracing a newfound spiritual freedom and a contemplation of moral righteousness. Completed in the late 1970s to early 1980s after his relocation to Hong Kong, Opera Figures became a significant representation of Lin Fengmian's late-stage artistic exploration of “Opera” themes. Whispers of Stillness, Harmoniously Echo The Interweaving of Form and Meaning Erupts During the 1950s, while residing in Shanghai, Lin Fengmian was invited and guided by the cohabiting artist Guan Liang, gradually developing an affinity for the quintessence of Chinese opera. Among them, the opera Lu Hua Dang (Swinging Reeds) and its protagonist, Zhang Fei, held a special place in his heart, becoming the focal themes of his artistic portrayal. As for the existing works on this subject, there are only eleven known pieces, making this rare and exquisite creation of Opera Figures a remarkable treasure. As a highlight from Insulting Zhou Yu Thrice, Lu Hua Dang revolves around Zhang Fei and Zhou Yu. It recounts Zhou Yu's scheme to regain lost territory in Jingzhou by employing a beauty trap, deceiving Liu Bei into crossing the river for marriage. Zhang Fei disguises himself as a fisherman and sets an ambush in the swaying reeds, launching a surprise attack, capturing Zhou Yu thrice and releasing him thrice, leaving him infuriated and disoriented. The masterpiece Opera Figures vividly portrays the climactic scene of capturing Zhou Yu, where tension reaches its peak and swords are drawn. Employing the classical square formation, the characters in the play stand tall and fearless, exhibiting a larger-than-life presence. Drawing upon the explorations of 1950s Cubism, Lin vividly portrays the distinctive features of the characters through sharp geometric shapes. Zhang Fei is depicted wearing a round straw hat, a long front-closing robe, and a fisherman's attire. The leopard-like eyes are highlighted by trapezoidal and triangular spirals, emphasizing his heroic and fierce nature. The scythe-shaped arms form a circular structure, exuding a sense of confidence, while the opponent's arms extend horizontally and vertically, creating an intriguing contrast. The lower garments and the parallel stances of the two figures are playfully unified, harmoniously layered within the composition. Through this composition and form, Lin masterfully captures the dynamic interaction of attack and defence between the two characters. As he aptly puts it, “Like Picasso sometimes folds objects onto one plane, I used a method where I folded each scene and each character onto the canvas after watching the opera.” The intersecting parallel stances create a distinct spatial relationship of one character in front and the other behind, while their contrasting movements in the confrontation greatly enhance the audience's engagement, providing a sense of immersive perception. From Shadow to Life, Vividly Unveiled The Resounding Anthem of Strength and Beauty Drawing inspiration from Cubism's fragmenting and overlapping of objects, Lin ingeniously incorporates the side view of traditional shadow puppetry, where human shadows are projected onto white cloth. In this artwork, the blank square space creates an extended realm for the characters within the painting. The foreground figures are collaged onto the blank canvas like paper cut-outs. Through the combination, layering, weaving, and cutting of arcs, straight lines, and diagonals, they resemble shadow puppets, every gesture and movement captured in a dynamic state. The theatrical masks, beards, laurel crowns, and sashes intertwine with hues of indigo, bright yellow, ink black, reddish brown, and grass green, reflecting the rich and vibrant palette of Peking opera. It transforms into a composition that intertwines strength and beauty, good and evil, history and reality. Within this realm of time and space, Lin infuses the figures with a romantic and fervent attitude towards life. The figures in the painting come alive, exuding tension in every corner. The expressions and movements of the characters on the stage, their singing, reciting, acting, and fighting, intertwine in Lin's brushwork as a resounding anthem of life. The modern sensibility and creativity portrayed therein embody his ideal of “organizing Chinese art, harmonizing Eastern and Western art, and revitalizing Chinese art.” It interprets an artistic spirit that reveals fervour within simplicity, and sincerity within aloofness.

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拍品估价:700,000 - 900,000 港币 起拍价格:700,000 港币  买家佣金:
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