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吳冠中 青島雪松 油彩 木板 一九七四年作 Wu Guanzhong 1919-2010 Deodars of Qingdao Oil on wood panel Painted in 1974
香港
2023年10月08日 开拍
拍品描述
size:46 × 61 cm. 18 1/8 × 24 in.
款識 74荼(右下)青島雪松 吳冠中(畫背) 出版 1996年,《吳冠中畫選:60's - 90's》,中國三峽出版社,北京,第87頁,圖版66 2007年,《吳冠中全集:第二卷》,湖南美術出版社,長沙,第267頁
Signed in Chinese and dated on bottom right; titled and signed in Chinese on the reverse LITERATURE 1996, Art of Wu Guanzhong: 60's - 90's, China Three Gorges Publishing House, Beijing, p. 87, pl. 66 2007, The Complete Works of Wu Guanzhong, vol. II, Hunan Art Publishing House, Changsha, p. 267
來源 亞洲重要私人收藏 雪松凌雲志,伴我藝長青 吳冠中珍稀唯一雪松油畫卓然輝現 「樹不僅是生命的標誌,也是藝術的標誌。生命之樹長青,其實是藝術生命長青,人總是要死去的,藝術才能跨越時代。」 ——吳冠中 「藝術的成長有如松柏,作者的心路歷程決定作品的定位。」在吳冠中奉於美學的一生中,他以傳統文化的滋養為根,視「調和中西」為骨幹,在「油畫民族化」和「國畫現代化」的雙重理念澆灌中,開出形式美、意境美的香花,並結下「水陸兼程」、「風箏不斷線」的碩果,以半世紀執著不懈的耕耘,在美育的土壤上,種下了一棵萬古長青的參天大樹。 從1947年杭州國立藝專畢業後考取第一名公費留學法國,到1950年毅然告別巴黎同窗回國傳播美學;從60年代下放農村卻堅持以「糞筐」作畫、70年代重獲自由時噴薄的創作靈感,到80年代廣獲展約、揚名國際,至1992年大英博物館破例為其舉辦首個在世華人藝術家展。吳冠中立於二十世紀後半葉古今中外的立交橋頭,以一生如古木般的不屈與堅守、希望與追求,終而找到了通往東西南北的廣闊天地。是次呈現吳冠中完成於1974年的油畫精品《青島雪松》,正是以「松」之凌雲貞心寫其自我人格之化身,不啻為其生命意志、藝術精神的終極寫照! 咬定青山不放鬆的傲然藝魂 70年代油畫黃金爆發期的藝術新生 《青島雪松》誕生的70年代,是吳冠中油畫創作最為多產而臻於鼎盛的黃金時期。1972年,他結束了長達六年的禁畫令,被獲准於假日時作畫,儘管文革尚未結束,但其藝卻迎來了否極泰來的轉機。在該年末,他從下放的河北李村回到北京、與家人重聚,自此全身心投入創作,其自述道:「畫架支在荒坡上,空山無人,心境寧靜,畫裡乾坤,忘卻人間煩惱,一站八小時,不吃不喝,這旺盛的精力,這樣的幸福,太難得。」除將身邊景物納入創作外,他並牢牢把握每一次出行寫生、實地考察的楔機,如1973年春,他接受北京飯店巨幅壁畫《長江萬里圖》的委任,與藝術家袁運甫、祝大年、黃永玉共赴長江一帶采風;1975年再度受命赴青島四方機車廠,為坦贊鐵路總統車廂作風景畫,由此藉機至山東的龍鬚島、青島嶗山等地考察。而因70年代吳冠中任教於北京中央工藝美院,排課以單元制進行,課餘假期間便可離京出遊寫生。臨近的山東沿海一帶,便成為吳冠中時常前往的避暑寫生之地。經歷人生的風雨動蕩,豐富而嶄新的生活面貌令他得以忘我地投入創作,藝術熱情並全然煥發,在彼時有限的物質條件下創作出最為豐富、動人的藝術精品。《青島雪松》便是此一重要人生節點的珍稀油彩之作。 青島系列唯一「雪松」主題精品 在70年代中期,吳冠中曾多次赴青島寫生,除1975年坦贊鐵路委任創作的青島之行外,1976年春,他帶學生赴山東教學寫生,途徑嶗山、泰山等地,同年夏天並赴中糧集團擔任對外宣傳工作的張俠之邀至青島避暑。青島標誌性的紅樓、海浪礁石、山石奇樹等風光,便成為其筆下源源不盡的靈感。在吳冠中的畢生創作中,以「青島風景」為題的油畫作品豐富多元,共有11件,除1998年回憶青島嶗山風景所作的《嶗山松石》之外,其餘的10件皆完成於1974至1976年間,當中的《嶗山松石》、《青島紅樓》兩作已分別獲中國美術館和上海中華藝術宮收藏,足見此系列創作備受認可的美學高度。是次所呈現之《青島雪松》完成於1974年,為吳老第一件以青島風景為題的創作,更是其畢生中唯一一件以「雪松」為描繪對象的作品,構圖大氣飽滿,筆法靈動跌宕,實屬精品之作。而此作更有一幅已為上海中華藝術宮收藏的鋼筆手稿《青島雪松》,在構圖上與之呼應,吳冠中以不同媒材回溯此地景貌,足見其對此景色的喜愛、重視,可謂其念念不忘、灌注心力神魂之重要繪畫典範! 英雄起舞,凝萃千秋 自成一格的七寶松圖 「青松在東園,眾草沒其姿,凝霜殄異類,卓然見高枝。」 ——魏晉詩人陶淵明《飲酒?其八》 「60年江湖生涯,老樹最是莫逆之交。」踏遍天南地北,「松樹」可以說是吳冠中長年不輟的關照客體,他曾將故宮之白皮松、嶗山的石間松、黃山之迎客松、秦山五大夫松,一一攝入畫中,松形象之巍、枝幹之密,與其創作上重視點線結構的理念極為契合,而松之精神風骨更是其個人藝術精神的寫照。在70年代他一連創作13件以「松」為題之油畫,此後以「松」為題的水墨、速寫之作,如《松魂》、《臥松》更層出不窮,足見其對「松」發乎心底的獨有鍾情。然而在其中,作為唯一以枝繁葉茂、狀若寶塔的「雪松」為創作對象的油彩作品,1974年的《青島雪松》在其筆下自成一格,具獨樹一幟之風采。 觀此作,七棵寶松以拔地倚天的磅礴構圖,於天地之間漸次排開,前後錯落如北斗七星,連為一體,更似潛龍出淵,卓然自立,呈現一躍青天的強大動勢!隨著寶塔般的樹冠層層展開,綿密的枝葉以千軍萬馬的姿態奔騰而出,或是縱直一字排開,如列兵般整齊劃一,或是斜上迎風昂揚,伸向無盡天涯,非以虬崛奇姿示人,卻見武者威凜風範。恰如其分地展現清代大家石濤之語:「其勢似英雄起舞,俯仰蹲立,蹁躚跌宕。」 作為青島的市樹,雪松原本生長在阿富汗至印度喜馬拉雅1500至3200米的高緯度山上,如其名般飽經霜雪,仍傲然挺立,凝翠千秋。在阿拉伯古文明中,雪松並代表著「精神和靈性的力量」,具有淨化、治癒的功能。而在雪松身上,吳冠中發掘其立地參天、蒼翠常青、如具高風亮節的姿態,正契合了中國文人的意志精神。思及南朝詩人范雲「凌風知勁節,負雪見貞心」、清代文人鄭板橋「咬定青山不放鬆」、毛主席「青松怒向蒼天發」的詩詞,吳冠中在此作中,以七棵雪松作為畫中的形象主幹,借「七」所代表之圓滿、尊貴、博大之意和藏傳佛教中寓意吉祥的「七寶石」,寫松之風骨、松之樹魂,道出傲立天地、不同凡響的生命人格。 致廣大而盡精微,於無聲處聽驚雷 千軍萬馬的勁筆之勢 「一群雪松,佇立的將士,鑄成堅而不摧的堡壘,強勁之線構成無窮之面,展開的臂膀於腿腳,無限的枝葉構成千軍萬馬之勢。耐心刻畫,著眼於整體磅礴氣勢,必須意識到為致廣大而盡精微。」 ——吳冠中 細觀用筆,並可見吳老在作品中灌注著強大的定力、耐力,他牢牢抓住雪松「密」與「濃」的兩大特點,以如「鐵畫銀鉤」般綿力澎湃的筆勢,自油彩筆刷的層層律動中,連綿不絕地鋪展出雪松雄渾蒼勁的姿態。帶著筆勢的線條如書法般一氣呵成,以毫無斷改的腕力,寫就樹木枝條柔中帶剛的特質。而當中每一道細筆所描繪之針葉更是道道分明,不見一絲錯亂。其以綿密緊緻的節奏,快速地在畫面上排開根根針葉,將其蒼茂之態生動地躍現。而其下的樹幹亦並非一筆蔽之,而是經由兩至三筆由一左一右方向上疊加,形塑出古木粗實遒勁的強烈立體感。 應和線之起舞,點亦迸發著鮮活的情態,當中明亮的翠綠、銘黃、青、赭之彩點,紛紛然飛向林蔭之間,在翠色中煥發蓬勃生機;與之呼應的,則是下方郊遊踏青的人們。冠中在此以紅、藍、白、黃的鮮明色點,以簡馭繁地寫出人形,當中的色彩若點燃一簇簇生命的火光,塑造獨特的生命情味。而存於枝葉中的點點留白,更在縱向上作出空間之延展,正契合吳冠中之言「密不透風,難在密而透風」,在錯落有致中,彰顯松葉的「至密至濃」。曲直交錯,俯仰呼應,或提或頓,或平或斜,在跌宕起伏中,點與線偕同共譜出一曲樹之頌的旋律,正是「層層疊疊吐葳蕤,於無聲處聽驚雷」的最佳寫照! 蒼色蔥蘢,綠韻盎然 水陸並進的中西之道 而立於吳冠中1974年「水陸兼程」、油彩與水墨並進的起點,《青島雪松》一作更意在以綠為主色調的刻畫中,和傳統繪畫「墨分五色」、皴法的概念相融匯,以西方之油彩造就中國水墨的純粹色感和悠長韻味。當中,吳老細心觀察著每一棵樹的身段、體態與特徵,透過高低參差、不同光影明暗面的安排,以輕細的針筆點染深淺不一的黃綠、青綠、鉻綠、墨綠、橄欖綠,層層鋪開著雪松老葉新芽、粗幹細枝的錯落色形之美,此正與松之蓬勃、繁茂、蒼勁、滄桑、長青的精神一一呼應。伴隨連動綿密的筆勢,書畫中的披麻皴、牛毛皴、米點皴的骨法之寫,亦反鋪於畫作中,以深棕、赭石、咖啡、玄青,營造出空間上的深度和豐茂的質感,並與多階綠彩的再度疊加,塑造出如李唐《萬壑松風圖》般深厚大氣的視覺感知。立於湛藍的晴空和米褐的大地之間,雪松之綠意愈發深濃,映照出一脈相承的生命力量。在這富饒東方詩情的刻寫中,作品寓傳統於現代,以筆力的馳騁幻化色彩之豐盈,精繪樹之豐茂風骨。無論外在形式,抑或內在精神,皆深刻反映了吳冠中在東西美學融合間的至臻高度,極為精彩! 萬古長青的藝術人格 吳冠中傾畢生心力,探求在藝術中展現「風箏不斷線」、連接生活情味的理想,於他而言,雪松不僅是生命的標誌,更是人格之寫照,是連接其藝其心的精神所在。《青島雪松》所展現的,正是這人與自然間相比映照的畫境。 畫中的七棵雪松,姿態不一,粗實者如頭角崢嶸的中堅力量,向上支撐起一片天地,纖細者則如青出於藍而勝於藍的新生希望,葉冠層疊、枝條昂揚,於大地上投射下連綿樹影,生發連動之美。而樹與樹之間的枝枝叉叉,彷彿是攜手相連的夥伴,共構出一片森林,呼應著浮彩點點的攢動人影。而伴隨踏青之人的歡快身影遠去,那後景中的成片樹林便在這根脈相連中悄然浮現,足以道盡雪松生命力的綿延:自上,高聳參天,自下,根繫大地,在天地之間,冠蓋四野,哪怕獨立迎風,腳下依然根深地廣。 青松出高地,伴我向天涯。古樹經歷千年歲月依舊鬱鬱蒼蒼,見證著生活在這天地中鮮活、明媚的人們,他們即便無法如松柏萬古長青,亦可在這一期一會的生命中,創造著自我的永恆價值。誠如開篇對吳老的引述,「生命之樹長青」,其實是藝術生命長青,人之身死,藝術卻可跨越時代。踏遍千山萬水,網羅天下奇景,寫下生命畫卷,這是吳老的藝術生涯。他以此作之松魂,化為自我的藝術人格,道出心中的至臻理想:無畏世事變遷,無懼一切風雨,我自凌雲直上,巋立天地,美學長青不朽,藝術真情亦必永駐人間!
PROVENANCE Important Private Collection, Asia Towering Cedar Trees Accompany My Evergreen Art Outstanding Sole Cedar Tree Oil Painting by Wu Guanzhong “Trees are not only a sign of life, they are also a symbol of art. The tree of life is evergreen, as it is artistic life, but the artist always has to die for art to transcend an era.” ——Wu Guanzhong After graduating from the National College of Art in Hangzhou, China, in 1947, Wu Guanzhong passed an exam to become the number one publicly funded Chinese student to study in France. In 1950, he said goodbye to his classmates in Paris and returned to China to teach what he had learned about aesthetics. In the 1960s, he was sent down to the countryside, but still insisted on painting and used “manure baskets” to do so, only to be filled with gushing artistic inspiration on receiving his freedom in the 1970s. Wu was invited to hold art exhibitions and became internationally renowned in the 1980s, holding the first ever solo exhibition by a living Chinese artist at the British Museum in 1992. In many ways, from the second half of the 20th century Wu served as a bridge between past and present, China and the rest of the world. He spent his entire life like an old tree, unyielding and enduring, embracing hope and pursuits, and ultimately discovered a vast expanse connecting the world. On this occasion, the work being auctioned is the oil painting Deodars of Qingdao completed in 1974, in which the artist employs the towering sincerity of the “pine tree” as both an embodiment of his own character and the ultimate reflection of his belief in life and artistic spirit. An Unyielding Artistic Spirit, Like Trees Deeply Rooted in Mountains New Artistic Life During an Oil Painting Golden Age in the 1970s Deodars of Qingdao was painted in the 1970s, a golden age when Wu Guanzhong produced most of his oil paintings and masterpieces. In 1972, Wu came to the end of a six-year ban forbidding him from painting and was henceforth allowed to paint during vacations. After returning to Beijing from Li village in rural Hebei Province where he had been sent and reunited with family, Wu dedicated himself to painting. Other than including the scenery he saw in his paintings the artist also seized every opportunity presented to paint from nature and investigate the areas he visited. For example, in the spring of 1973 Wu was commissioned to paint a huge mural for the Beijing Hotel titled The Ten-thousand-li Landscape of the Yangtze River, which he used to visit the Yangtze and paint landscapes; in 1975, he was ordered to paint a landscape painting for the presidential train carriage on the Tazara Railway at Qingdao Sifang Locomotive and Rolling Stock Co. Ltd. and made use of the opportunity to visit nearby Longxudao and Mount Lao. As such, when Wu worked as a teacher at Academy of Arts & Design in Beijing in the 1970s his class schedule was arranged in such a way that when not teaching he was able to leave Beijing and paint from real life. As a result, he often visited coastal areas in Shandong Province to avoid the summer heat of Beijing and paint from real life. After the vicissitudes of his life, Wu Guanzhong enthusiastically threw himself into the brand-new life he had been given, his passion for art rekindled. Even with the limited material conditions at that time, he was still able to paint rich and moving works of art. Deodars of Qingdao is a rare oil painting from this important period in the artist's life. The Only “Cedar Pine” Motif Work in the Qingdao Series In the mid-1970s, Wu Guanzhong visited Qingdao to paint on multiple occasions. Following a visit in 1975, in the spring of 1976 Wu took his students to Shandong to teach them how to paint from real life and they visited Mount Lao and Mount Tai. Later the same year he was invited by Zhang Xia, who worked in external marketing for China National Cereals, Oils and Foodstuffs Corporation to spend the summer in Qingdao. The iconic red buildings, wave-reefs and strangely shaped trees in the mountains became a source of unending inspiration for the artist. Of all the works Wu painted in his artistic career he produced only 11 oil paintings with a “Qingdao landscape” motif and other than Pines and Rocks on the Lao Mountains (1998) which recollects the landscapes of Mount Lao near Qingdao, the other 10 works were all completed from 1974-1976. Indeed, from this series, Pines and Rocks on the Lao Mountains and Red Chambers of Qingdao are now in the collection of the National Art Museum of China and the Shanghai China Art Museum, respectively, an indication of the high esteem with which this series is held. Deodars of Qingdao was the first Qingdao landscape the artist finished as well as the only piece he ever painted that depicted “cedar pines.” Moreover, there is also a pen manuscript of the work in the Shanghai China Art Museum collection, which compositionally echoes the auctioned piece. The fact that Wu Guanzhong used many different materials to revisit landscape scenes from this area is an indication of his love for the subject matter and how important it was to him. Indeed, one could reasonably say it was an important painting archetype into which he poured his heart and soul. Heroes Dancing, Essence of the Ages Unique Seven Treasures Pines “After 60 years as an artist, old trees are the closest of friends.” Despite traveling the world, “pines trees” were a subject in which Wu Guanzhong never lost interest. He included in his paintings white-barked pines from the Forbidden City, pines between rocks in Mount Lao, visitor welcoming pines from Mount Huang and Wu Dafu pines from Mount Qin. In the 1970s, Wu painted 13 consecutive oil paintings with “pine trees” as the motif, but it was only Deodars of Qingdao that featured “cedar pines” with such luxuriant foliage that resembled pagodas. The majestic composition of this work is comprised of seven towering pines that reach into the heavens, gradually spreading out, with the front and back seemingly strewn at random but as with the seven stars of the Big Dipper combine to create a greater whole. They are perhaps even more akin to a dragon hiding in deep waters, brilliantly and majestically showcasing a great power about to leap into the heavens. As the layers of pagoda-like tree tops open up, the dense branches and pine needles rush forth like a powerful army, or arrays of soldiers arranged in a straight line, the branches and pine needles greeting the wind in high spirits at an angle, stretching into the boundless distance, never twisting back and forth and imbued with the majestic demeanor of a warrior. The seven cedar pines are the main focus in the painting which is used to convey perfection, honour and vastness as represented by the Chinese word “seven,” as well as the auspicious “seven treasures” in Tibetan Buddhism, in a reference to imposing life character. Vast and Detailed, Thunder in the Silence Brushstrokes Infused with Strength If we look at the brushwork in more detail one can see the way in which Wu infuses the work with great concentration and endurance. He firmly seizes the “density” and “thickness” of the cedar pines, employing the surging strength of calligraphic brushwork-like vigorous touches and fine strokes, continuously presenting the strength hidden in the softness of the cedar pine branches through the layered rhythm of free strokes. Each pine needle depicted with fine strokes is particularly clear, the firm dense rhythm quickly opening up the scene. The lower tree trunks are comprised of two to three strokes, one left, one right, one on top of the other, crafting a powerful three dimensional effect that exquisitely reflects the roughness and strength of the ancient trees. In response to the dancing movements of the lines, the dots also exude a freshness of spirit, with the bright lush green, yellow, cyan and ocher coloured spots, all flying between the branches and replete with vigor. In the lower part of the work, the people on an outing are depicted in red, blue, white, and yellow dots, appearing as simple complex shapes, as if lighting a series of life fires that create distinctive individual lives. At the same time, the white blank spaces left among the trees and branches, represent an extension of space along the vertical axis, which perfectly reflects what Wu Guanzhong meant when he said: “In painting something dense the hardest thing is to make it not seem dense and still able to breathe.” The haphazard order highlights the “denseness and thickness” of the pine needles and this is perhaps the perfect depiction of “thunder in the silence.” Pale and Verdant, Exuberant Green Rhymes A Path to Eastern and Western Integration - Oil and Water Deodars of Qingdao represents the starting point for Wu Guanzhong's “combination of oil and ink” but it is perhaps even more interesting to note that although green is the main colour in the work, it is blended with the “five different colours of black ink” and Cun Fa (wrinkle method) from traditional Chinese painting. Wu observes in great detail the posture and features of each tree, using their uneven height, different light/shade arrangements and light needle strokes that light up the different shades of yellow-green, blue-green, yellow-green, black-green and olive green, thereby creating layers of old leaves and new buds on the cedar pines. The beauty of the scattered colours and forms of the rough trunks and fine branches echo the vitality, lushness, vigor, weathering, and evergreen spirit of the trees. The use of hemp fiber texture strokes, ox hair texture strokes and mi-dot texture strokes from painting and calligraphy are also reproduced in the painting as deep brown, ocher, coffee, and deep black hues, creating a visual perception that has a depth of atmosphere reminiscent of Li Tang's (1066-1150) Windy Pines Among Myriad Valleys. Between the azure blue sky and beige earth, the lush greenness of the cedar pine trees becomes even thicker, reflecting the highest achievement in Wu's efforts to combine Eastern and Western aesthetics, creating something truly exciting. Evergreen Artistic Character Wu Guanzhong dedicated his life to the exploration of how best to showcase the “unbroken string of the kite” through his art, connected to the ideals of life sentiment. For him cedar pines were not merely symbols of life but also a portrayal of human character, a spiritual depositary connected to his heart and art. The seven cedar pine trees in the painting are different in shape and posture, with the thicker sturdier trees like a main force standing lofty and upright, reaching upwards and holding up the sky; in contrast, the smaller and finer trees are like a new hope surpassing what came before, with accumulated leaf-crowns and high spirited branches, casting continuous shadows on the ground that speak to the beauty of interconnected movement. Moreover, the intertwined branches between the trees are like partners holding hands, engaged in building a forest together, an echo of the human silhouettes made up of floating coloured dots. Indeed, in concert with the silhouettes of the people on outings in the distance, the forest in the background quietly emerges connected by root veins, in a way that highlights the extended life vitality of the cedar pines. Ancient trees have lived for thousands of years but remain extremely luxuriant, showcasing the fact that although we do not share the longevity of the pine trees people can still use their one and only life to create lasting value. Wu Guanzhong observed: “the tree of life is evergreen,” as too is artistic life. This means that although an artist might pass away, art transcends time and space.

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