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趙無極 雙峰 油彩 畫布 一九五二至一九五三年作 Zao Wou-Ki 1920-2013 Deux Cimes Oil on canvas Painted in 1952-1953
香港
2023年10月08日 开拍
拍品描述
size:54 × 65 cm. 21 1/4 × 25 5/8 in.
款識 無極Zao(右下)雙峰 Zao Wou-Ki 1952年五月-1953年六月(畫背) 出版 2019年,《趙無極全集第一卷1935-1958》,弗拉馬利翁出版社暨趙無極基金會出版,巴黎,第165頁
Signed in Chinese and English on bottom right; titled and dated in Chinese, signed in English on the reverse LITERATURE 2019, Zao Wou-Ki catalogue raisonné Vol.1 1935 – 1958, Groupe Flammarion / Foundation Zao Wou-Ki, Paris, p.165
來源 巴黎皮埃爾?勒布畫廊 1956年,紐約拉裡?阿德里奇收藏 杜伊斯堡雷迪斯畫廊 1978年,司圖加特羅蘭?韓塞爾夫婦收藏 2017年3月30日,司圖加特納高拍賣「馬努斯出版社創始人韓塞爾收藏專拍」,拍品編號1102 現亞洲重要私人藏家直接購自上述來源 附:趙無極基金會開立之作品證書 註:阿德里奇為美國時裝產業龍頭暨收藏家;韓塞爾夫婦於1961年成立知名藝術出版社馬努斯 廣納天地無垠,蘊藉東西精粹 趙無極《雙峰》下的桃源夢 「趙無極開闢了歷史上新的一頁。」 ——法國《每日郵報》1951年6月24日 法國前總統希拉克(Jacques René Chirac)稱他「中法瑰寶、其嶄新與充滿智慧的繪畫語言集中法兩大民族的傳統,震驚當世」;中國國家主席習近平說:「欣賞趙無極中西合壁的畫作,讓我提昇了藝術鑑賞能力」;藝評家賈方舟言其為:「最早在西方獲得成功,也是最早受西方認可的中國畫家」;美國《生活》雜誌則稱他是「來自中國的一顆彗星!」。二十世紀現代藝術大家趙無極,在他自1935年入杭州藝術學院求學,至2013年辭世,在逾七十年的創作歷程中,他不斷於藝術追索的道路上突破自我,在一連串的摸索、建立、推翻、重構創新中,他馳騁於歐美與亞洲藝壇,在東西方的藝術高峰上,寫下了他的名字與豐碑。 其生前曾在世界各地發表逾百次個展,作品被全球132家博物館與重要機構收藏,包括巴黎羅浮宮、龐畢度、紐約大都會美術館、現代美術館、西班牙畢爾包美術館、東京石橋美術館等,此資歷在亞洲現代藝術史上無人能敵。而今年9月,杭州中國美術學院美術館特與巴黎龐畢度、現代美術館等合作,舉辦「大道無極——趙無極百年回顧特展」,為期半年的大展,除作為慶祝「中法交流六十年」的重要文化盛事,亦彰顯了趙無極卓絕顯赫的藝術地位。 名人收藏,鋒芒乍現之藝術經典 回溯趙無極在西方藝術世界首先閃耀光彩,始於1950年。彼時赴法僅兩年的他,已逐漸在巴黎站穩腳步,生活上結交了許多好朋友,如詩人米修(Henri Michaux)、藝術家哈同(Hans Hartung)、賈克梅蒂(Alberto Giacometti)等,而在藝術事業上,他受巴黎知名畫廊主皮埃爾?勒布(Pierre Loeb)的賞識,在一次工作室拜訪後,一舉買下多達12件趙無極的畫作,並與他簽下代理約,開啟了長達七年的合作,此讓趙無極在經濟無憂之餘,致力於打開藝術與生活的疆界。是次秋拍,我們榮幸帶來趙無極完成於1952至1953年的《雙峰》,此作最早即出自皮埃爾畫廊,藉此一展其乍放光芒時期的經典創作特色,與當中蘊含的獨特思想。 《雙峰》來源有序,曾先後由美國知名時裝設計師阿德里奇(Larry Aldrich)與藝術出版社馬努斯(Manus Presse)創辦人韓塞爾夫婦(Roland H?nssel and Waltraut H?nssel)收藏。前者在1940年代設計事業版圖大開之際,開始建立其藝術收藏,截至1950年代末期,阿德里奇的藏品含納廣泛的印象派、表現主義大家如:莫內(Claude Monet)、雷諾瓦(Pierre-Auguste Renoir)、塞尚(Paul Cézanne)、克利(Paul Klee)、高更(Paul Gauguin)等與數件趙無極之作,《雙峰》即被納入其收藏之列,此突出了趙無極的創作在彼時即受國際收藏家青睞。而韓塞爾在1961年成立以著重藝術類書籍出版的馬努斯出版社,與許多當代藝術家如超現實主義代表達利(Salvador Dalí)、恩斯特(Max Ernst)、地景藝術家克里斯多(Christo)等交好,其於1978年輾轉購得此作,在過去近40年來悉心珍藏,惜之愛之,是次釋出,甚為難得。 以簡馭繁,心手合一 真我繪畫語言的誕生,符號化的世界 「趙無極的畫中活著符號。他把它們逐漸從表殼和血肉剝離出來…符號是流露著世界深遠的根的痕跡和烙印,記載著他的中國書香世家的教誨,傳遞一種對於世界的理解,他從一個神祕的傳統吸取力量。在中國,創造不是文字,而是符號。它們是創造者留下的足跡,是通向宇宙的道路。」 ——法國前總理德維爾潘(Dominique de Villepin) 回憶剛到法國的1948年,巴黎的一切都讓趙無極感到新鮮,他張開雙手擁抱新的文化,並從中吸取養分,每天至美術館親炙從文藝復興時期到當代西方藝術大師之作、在教堂與各色建築中,觀察西方繪畫與造型的原理,並勇於嘗試新事物與技法,如在1949年他至迪斯裘柏(Desjobert)工作室學習版畫。然而此時如他自言:「我的畫風還沒有成形,一切還在頭腦中如風暴蘊釀」,直到1951年,其創作進入到一個關鍵性的突破,趙無極標誌性的個人風格開始成形。彼時在瑞士行旅的他,偶然接觸到克利的繪畫便目眩神迷,其指出:「克利把物象變成符號,在多重空間中營造一種輕盈靈動的詩意,與遼闊的空間感,他對中國繪畫的理解與喜愛是很明顯的。」此深深震撼了趙無極,讓他如頓悟般地開始重新檢視其東方母體,進而從中提取美學的養分,自1951至1953年,其創作步入一個「符號化」的世界,從中又保留了半具象的元素與指引,使其創生出一系列極易引人共鳴、受人喜愛的作品。如雕塑家賈克梅蒂即特別鍾情趙無極該時期的畫作,言「畫中有一種顫動的東西,充滿生命力」。是次上拍的《雙峰》,即誕生在這樣的背景中。 天地人共生共榮,合宇宙萬物為一 趙無極開始直面他的東方身分,由中國的母體文化傳統中,蒸餾出其所認同並珍視的美學精粹,將之加以轉化、融會貫通地以西方媒介來表現。在此橫幅的作品中,他特別選用了如商周青銅器與甲骨文的青綠為主色調,透過色階與明度的深淺變化佈構全局,刻意營造出一種如漢代畫像磚、漢碑般帶有蒼茫悠遠的歷史感,而此鬱鬱蔥蔥的綠色彩,亦是大地中的自然色,象徵「生命的源起」。有別於1948年早期創作的《山色風光》,趙無極在《雙峰》中大膽捨棄了對於自然景物過於細節的刻劃,他沿襲東方「以簡馭繁」的博大美學,將世界凝縮至我們眼前所見的景致——他以三段式的構圖佈構出天、地、人,三層空間,將自然與景物做出最為精煉的符號式描寫,西方的單點透視與東方的散點透視,在此毫不相悖地交融在一起。趙無極以細如銅刻般的有力線條,透過輕重緩急的變化,在平面的圖示中巧妙地塑造出景物的立體感,並且由上至下勾勒出:廣闊的天空、橫亙的圓月、符號化的重山、碧波、風動、纏綿起伏的江水若言說穿越古今的時光荏苒,與一排象徵人類文明結晶的建築體。其中,最左帶有雙塔的造型建築,正巧妙呼應了巴黎聖母院的外貌。而在其前方,不偏不倚,恰恰是整張畫面的正中心下方,一條帶著強烈透視的道路在我們眼前展開,彷彿歡迎觀者的到來,進入畫中的世界。當中,宇宙被凝縮成天空、山川與建築三個至簡的元素,天、地、人若合而為一,帶給觀者一種如莊子所言之「天地與我並生」強烈的靜謐與包容,感受那自然廣渺而悠遠的力量、聆聽大地脈動如畫中起伏線條的心音。 趙無極若將世界之寬、天地之闊包容於我們眼前之境,給人無限的心靈震撼與撫慰。而在那幽渺的夜空中,在圓月旁幾抹畫龍點睛的紅彩,透過和背景戲劇性的色彩對比,強化了赤月當空照的自然魔幻與神秘力量,令人聯想起《喜月》新詩中所描寫的:「今夜靜無風,紅燈掛碧空,人間逢盛事,萬眾眺蟾宮」,抑或王維在《山居秋暝》中所述:「明月松間照,清泉石上流」,帶給觀者一種探索的嚮往與徜徉,及對自然一種真切的崇敬之心。作品如同文學家程抱一所言:「畫面色調幾乎是單色的,但內蘊無限深邃,與畫家內心所捕捉的風景配合巧妙,仿似依憑記憶,重新創造,其中最奪目的,是那些線條,畫中的形象早已被濃縮成最嚴密的骨幹。它們是一些類似雕刻出來的線條,同時銳利而又籠統,可做多倍的變奏。陰柔與陽剛的混和效果,通過不同紋路的排列而表達出來。我們但見眾線條蜿蜒穿過風景,引領步伐卻不曾抑止跳躍,區分範圍卻不曾關閉密封,畫中風景儘管全部靜止,仍能給人一種輕快的印象,彷彿它們隨時準備飛越。」且讓我們深入其中,感受那充滿生命的寶蘊,在城市中遁入桃源。 美學的復興,朦朧與詩情 「趙無極以書法的鋒芒結合富於空氣感的深度…,表現了一個中國人對於三度空間的直覺,一個中國藝術家關心的從來不是事物的表面,他總是洞察潛藏在事物後面的東西,而充溢在許多傳統中國畫中的那種煙霧迷濛的遠景,總是暗示一個超過眼界的真實境界。」 ——英國藝術史學家蘇立文(Michael Sullivan) 回憶趙無極童年時期,每當過年時,其銀行家父親會拿出珍藏的米芾作品闔家共同欣賞之,此亦影響了成年後的趙無極。在中國繪畫史中,他特別心儀宋畫的表現,認為那是中國藝術的頂峰,尤其鍾愛米芾與趙孟頫之作。而在《雙峰》中,他亦將中國書畫中最為精湛的「留白」美學,轉化以此畫境中深黝朦朧、富含多層次相近色調變化的空間。以有色的油彩建構出一個帶有詩意指涉的,一個如夢的空間。作品與米芾的《春山瑞松圖》展現有趣的呼應,趙無極不直指一物,但在那朦朧的夜空之中,流星幻化成色點從上垂直墜下,月光輕灑山頭,遠山微亮,在那悠遠的山巒與大地之上,可想見草木華滋,流水涓涓,波光淋漓,風在顫動,雲在飄遊,飽含斑斕絢麗的生機。正如文學家郁風所言:「趙無極的畫充滿詩情,似乎宇宙之大、草木之微,都能為他所有。在那空間裡,我們能自由呼吸,往來自如。」而當中那與自然相對的西式建築物,則閃耀著人類文明的奇蹟,歌頌著屬於當代人的喜悅、希望與嚮往,鑠鑠生輝! 作品由趙無極命名為「雙峰」,此不僅僅是形象上的山峰,亦揭示了他在藝術創作中兩個如大山般的母親——「中國」與「法國」。他將之視為自身兩大文化根源,他由東方走向西方,而由西方重新回頭發現、認識、肯定東方民族血脈中的獨特美學,東西方的優點均滋養了他,亦都為其所用,由此,他走向繪畫的新生。
RPOVENANCE Galerie Pierre Loeb, Paris 1956, Collection of Larry Aldrich, New York Galerie Redies, Duisbourg 1978, Collection of Roland H?nssel et Waltraut, Stuttgart 30 March 2017, Nagal Stuttgart, Roland H?nssel, Gründer der Manus Presse Collection, Lot 1102 Acquired directly by present important private Asian collector from the above This work is accompanied by a certificate of authenticity issued by Foundation Zao Wou-Ki Note: Larry Adrich was a pioneer in the U.S. fashion industry and an art collector; Mr. and Mrs. H?nssel had established renowned publishing house Manus Presse in 1961 Boundless Universe Imbued with Eastern and Western Essence Dreams of Paradise in Zao Wou-Ki's Deux Cimes “Zao Wou-Ki Turns a New Page in History.” ——France Daily Mail June 24, 1951 During his lifetime Zao held over 100 solo exhibitions at venues around the world and his works have been collected by 132 art museums and important institutions, including the Louvre Museum in Paris, the Centre Pompidou, the Metropolitan Museum of Art in New York, Bilbao Fine Arts Museum in Spain and Bridgestone Museum of Art in Tokyo, a resume unmatched by any other modern Asian artists. In September 2023, the China Art Academy Art Museum in Hangzhou, the Centre Pompidou and the Paris Museum of Modern Art will hold a six-month exhibition titled “Boundless Path: Centennial Retrospective of Zao Wou-Ki.” Other than celebrating “60 years of Sino-French Exchanges,” this cultural event also underscores the elevated artistic position and great esteem with which Zao Wou-Ki is still held. Renowned Collectors, a Brilliant Artistic Classic Zao first made a splash in the Western art world in 1950, at which time he had been in France for two years and gradually started to find his footing in Paris. Zao Wou-Ki's paintings were very much admired by Parisian gallery owner Pierre Loeb and on one occasion after visiting the artist's studio he bought 12 works, which marked the beginning of a cooperation that lasted seven years. For the autumn auction, we are honored to present Deux Cimes which was completed from 1952-1953 and can be traced back to Loeb's gallery. The painting showcases the classic creative features of Zao's work when he first made a name for himself and the unique ideas reflected therein. Deux Cimes has a very clear provenance and was previously owned by renowned American fashion designer Larry Aldrich and Manus Presse founders Roland H?nssel and Waltraut H?nssel. Aldrich started to collect art when his fashion design business was booming in the 1940s and by the late 1950s his collection included works by impressionist and expressionist masters: such as Claude Monet, Paul Cézanne, Paul Klee, Paul Gauguin etc. as well as several paintings by Zao Wou-Ki. Deux Cimes, been part of the collection, underscores the fact that at that time Zao's paintings were favored by international art collectors. In 1961, H?nssel established Manus Presse dedicated to the publication of art related books and worked with many contemporary artists such as surrealists Salvador Dalí, Max Ernst, and landscape artist Christo. In 1978, Deux Cimes was bought and remained as a treasured part of their collection for almost 40 years, making the work a genuine rarity in auction. From Simplicity to Complexity, Hand and Heart as One Birth of True Self Painting Language and a World of Semiotics “Semiotics live in the works of Zao Wou-Ki. He gradually cuts them from their shell, flesh and blood ... semiotics reveal the marks and imprints of roots from the very depths of the world, carry with them the teachings of his scholarly Chinese family and convey an understanding of the world as he takes strength from a mystical tradition. In China they created not words but semiotics and the footprints left by their creators map a path to the cosmos.” ——Former Premier of France Dominique de Villepin Recollecting his first impression on arriving in France in 1948, Zao remembered finding everything in Paris fresh and appealing. He embraced a new culture, and every day visited museums to be close to works by artistic masters from the Renaissance and contemporary Western art. In that way, he observed the principles of Western painting and style and developed the courage to try new things and techniques. For example, in 1949 he studied printmaking at the studio of Desjobert and as Zao said of this time: “My painting style had not yet taken shape, everything was still in my head like a brewing storm.” In 1951, the artist made an important breakthrough in his creative work and his iconic personal style started to take shape. At that time, while visiting Switzerland Zao occasionally encountered the paintings of Paul Klee which and found them dazzling, commenting: Klee turns objects into semiotics, crafting a light and agile poetry and vast spatial sense in multiple spaces, in a way that makes clear his understanding of and love for Chinese painting. This discovery deeply surprised Zao Wou-Ki and led to an epiphany that caused him to reexamine his Eastern roots, from which he took aesthetic sustenance. From 1951 to 1953, Zao's paintings embraced the world of semiotics, while retaining semi-representational elements and guides, as a result of which he created a series of works that very much resonated with people and which many fell in love with. Sculptor Alberto Giacometti, who was a noted fan of Zao's works in this period, said: “There is something thrilling in the paintings, they are replete with life energy.” Deux Cimes was created against this backdrop. Heaven, Earth, People as One with the Universe As Zao Wou-Ki started to reexamine his Chinese identity, he extracted the aesthetic essence with which he identified and cherished from Chinese culture, masterfully transforming and expressing it through Western media. In this horizontal painting the artist chooses lush green associated with bronzeware and oracle bones from the Shang (1600-1046 BCE) and Zhou (1046-256 BCE) dynasties as the main colour tone. By marking the whole work with colour gradations and changes in the degree of lightness, he deliberately crafts a sense of history as from feeling of antiquity and distance associated with Han Dynasty (202 BCE – 9 AD, 25–220 AD) stone reliefs. This lush green is also the colour of nature and symbolizes “the origins of life.” Unlike Paysage de Montagne painted by Zao in 1948, in Deux Cimes he boldly moves away from overly detailed depictions of natural scenery, in favor of the Eastern preference for erudite aesthetics and “simplicity over complexity” – condensing the word into the scene presented to the viewer. The three-section composition is comprised of three spatial layers representing heaven, earth and people, showcasing nature and scenery in the most refined semiotic depiction, with the Western one-point perspective and Eastern multi-point perspective perfectly combined. Zao Wou-Ki employs fine powerful lines like bronze engraving, and through changes in weight and speed ingeniously crafts a sense of three-dimensional scenery from two dimensional pictures. From top to bottom he depicts a vast sky, a round moon, mountains, green waves, the wind, an undulating river and a line of building structures that symbolize the crystallization of human civilization. At the far left there is what looks like two pagodas, which exquisitely echo the exterior of Notre Dame Cathedral in Paris. Directly in front of this a straight, perspective-oriented road below the centre of the painting opens up in front of us, as if inviting the viewer into the world of the painting. In this presentation, the cosmos is condensed into three simple elements: sky, mountains and rivers, and buildings, with heaven, earth and people as one. This imparts to the viewer a powerful sense of harmony and inclusiveness reminiscent of the words of Zhuangzi: Heaven, Earth, and I were produced together. It also conveys the power of natural vastness and distance, listening carefully to the heart beat of nature Zao's ability to present the breadth of the world and the vastness of the universe in the scene is both a boundless spiritual surprise and a comfort. Within this barely discernible night sky, next to the moon the artist adds several red brushstrokes as a finishing touch. This dramatic colour contrast with the background heightens the natural magical power of the red moon lighting up the world below. In so doing it also brings to mind the words of a new poem Joyful Moon: “Tonight all is quiet there is no wind, a red light hangs in the green sky, grand occasions take place around the world, but everyone stares at the moon”, or alternatively the words of Wang Wei (701-761) in An Autumn Evening in the Mountains: “The bright moon shines between the pines, the clear spring water flows over the stones.” Such sentiments make the viewer yearn to explore and wander but also reflect a profound respect for nature. Reviving Aesthetics, Haziness and Poetry “Zao Wou-Ki combines the radiance of calligraphy with a depth that is rich in atmosphere ... expressing the instinct toward three-dimensional space of a Chinese person. A Chinese artist never concerns himself with the exterior of an object but rather always observes things hidden behind the object and the haze-shrouded distant scenes that fill many traditional Chinese paintings invariably allude to a real world beyond the physical world we can see.” ——English art historian Michael Sullivan If we look back at the childhood of Zao Wou-Ki, every Chinese New Year his banker father would display a painting he had collected by Mi Fu (1051-1107) for the family to appreciate and this influenced Zao in adulthood. In terms of the history of Chinese painting the artist particularly favored Song Dynasty paintings which he considered to be the peak of Chinese art and fell in love with works by Mi Fu and Zhao Mengfu (1254-1322). Against that backdrop, Zao takes the “blank space” aesthetic that is such an integral part of Chinese painting and calligraphy and transforms it in Deux Cimes into space that is dark, hazy and imbued with multiple rich layers of approximate colour changes. In this way, he uses coloured oils to construct a dreamlike space. Indeed, there is an interesting similarity between this piece and Mountains and Pines in Spring by Mi Fu. Although Zao does not directly depict objects, in the hazy night sky meteors are changed into coloured dots and plummet from top to bottom, the moonlight is lightly sprinkled on the mountain tops and the distant peaks are barely lit so the viewer can imagine grass fluttering in the wind, trickling streams, shimmering light in the water, floating clouds and a brightly coloured life on the mountains and land in the distance. Moreover, the Western style building juxtaposed to nature illuminates the miracle of human civilization, eulogizing the joy, hope and yearning of modern people. Zao Wou-Ki named the work Deux Cimes and this symbolizes not only the image of mountain tops, but also reveals the sources of inspiration for his artistic work -- China and France, which he embraces as two sources of culture. In 1948, Zao traveled from China to France and in 1951 he looked back from his home in the West and in doing so rediscovered and came to better understand and affirm the unique aesthetics of the East. The strengths of East and West nourished Zao Wou-Ki and by making full use of both in his art he breathed new life into painting

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