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朱德群 廣闊 油彩 畫布 一九八六年作 Chu Teh-Chun 1920-2014 Amplitude Oil on canvas Painted in 1986
香港
2023年10月08日 开拍
拍品描述
size:130 × 195 cm. 51 1/8 × 76 3/4 in.
款識 朱德群CHU TEH-CHUN 86(右下)廣闊 Amplitude 1986朱德群CHU TEH-CHUN(畫背) 出版 1989年,《朱德群畫集》,金陵藝術中心,台北,第130至131頁 2005年,《印象經典IX朱德群》,印象畫廊,台北,第37頁
Signed in Chinese and English, and dated on bottom right; titled in Chinese and French, dated, signed in Chinese and English on the reverse LITERATURE 1989, Chu Teh-Chun, King Ling Art Centre, Taipei, p. 130-131 2005, Impressions Classics IX: Chu Teh-Chun, Impressions Art Gallery, Taipei, p. 37
展覽 1988至1989年,「朱德群巡迴展」,台中縣立文化中心、彰化縣立文化中心、雲林縣立文化中心、桃園縣立文化中心、新竹市立文化中心、高雄縣立文化中心、宜蘭縣立文化中心、台北縣立文化中心、台南縣立文化中心、苗栗縣立文化中心、台東縣立文化中心、台南市立文化中心、南投縣立文化中心、基隆市立文化中心及台灣省立美術館 2005年6月,「朱德群的繪畫世界」,印象畫廊,台北 來源 台北印象畫廊 現亞洲重要私人藏家直接購自上述來源 附:台北印象畫廊開立之藝術家親簽作品證書 廣闊天地,大有作為! 朱德群80年代壯寫山河磅礴鉅作震撼首呈 「他的畫是萬象的宣言。」 ——法國藝評家卡巴納(Pierre Cabanne) 充盈廣博的空間、無窮變幻的色階、蓬勃躍動的光線、磅礴筆勢的韻律,這是朱德群的抽象山水,亦是其藝術的靈韻所在。旅法半世紀,他採中西之精粹創造獨我的抽象畫境,遊歷四方,取自然之壯美匯成萬象華彩。所見之風景,皆以心象為印,作出自我的詮釋,恰如其所述:「大自然經過畫家的思想融合和提煉,其中即是畫家的幻想力、修養和個性之內涵流露於畫面上,中國繪畫和抽象畫的想法不謀而合。」 祖國山河的滋潤與壯遊 遨遊於記憶的空間,交織自我生命的歷程,觀朱德群一生創作,故國山水、中國繪畫的涵養始終伴隨其左右。從家鄉安徽蕭縣臨近黃山一帶的地理風貌,到自幼在祖父的薰陶下讀詩練書法;從30年代求學杭州藝專、1949年南渡台灣所見風土人情、至1955年旅居法國、於歐洲拓展事業。過程中朱德群見識到了豐富的世界風景和藝術形式,卻始終不忘思考如何以西方彩筆回溯東方山水。直至80年代重返中國、親臨祖國山河的種種震撼,令他再度煥發熱情,以出自肺腑的抒情和讚美之筆,將東方的氤氳山水,結合西方的光和形,綻放出無比豐潤的藝術圖景。 登臨盛境,畢生最大規模巡展之代表 是次所呈現完成於1986年的《廣闊》,正誕生於藝術家在創作力、精神面貌和藝術事業皆臻於鼎盛的八十年代,見證其聲望如日中天,榮登抽象大師之位的自信時刻,呈現其旅法三十年的藝術碩果。自1982年,於法國馬爾侯美術館舉辦旅法後的首個美術館級個展後,朱德群便獲得來自世界各地眾多藝術機構的邀約,在1984至1988年間,他先後於盧森堡埃西市立劇院、香港中華文化促進文化中心、台北歷史博物館、比利時列日現代藝術館等地舉辦個展。《廣闊》一作便被選入參與1988至1989長達兩年、環繞全台十五個藝術與文化機構的「朱德群巡迴展」,為其生平最大規模之巡迴展。作品由現亞洲私人藏家珍藏逾三十年,來源有序,是次首度釋出、榮現拍場,至珍至貴,再現朱德群志得意滿之時,以蓬勃的創作熱情,抒寫胸中壯懷的藝術高度。 縱橫天地,氣貫長虹的無量格局 「不畏浮雲遮望眼,只緣身在最高層。」 ——唐代文學家王安石《登飛來峰》 伴隨藝術事業的飛速騰躍,朱德群在80年代起正式將創作邁向宏篇,誕生了《自然頌》、《盛世雪》等鉅幅作品。隨著對大幅繪畫駕馭功力的日趨成熟,在1986年創作此件《廣闊》時,他特意選取1:1.5的寬闊尺寸,在寬達195公分的恢弘畫幅上,一吐萬丈豪情。呼應「廣闊」之名,作品採取磅礴的橫向視界,以一東一西、一密一疏、一張一弛的精妙佈構,提煉出一源一流的抽象山水格局,鑄就縱橫四海、吞吐八荒的無量山河。 在畫幅左側中心,朱德群以其70年代在創作中探索出的重要元素——「光源」為一眾生機的發源核心,如同在天地間開啟一盒寶匣,珠玉翠光傾瀉而出,將春日的希望、破曉的力量如甘霖般灑向人間。山水湧動,萬物並作,引出一條綿延的光帶:青苔翠點,赭石如土,亮橘、绛紅、銘黃、瑰紫、天藍、石青色的光點在其中閃爍、飛躍,輕盈的飛白之筆迤邐,並仿擬著大自然中透明的空氣、清涼的水、遊移的風、急速的湍流與縹緲的雲靄,煥發出無比豐盈的視覺感知。而在這華彩之下,是奇崛雄渾、開闔有度的大筆,正以草書之氣韻上下揖讓、縱橫捭闔,透過墨分五色的變化,以立體的塊面筆刷互與交疊,建構重巒疊嶂、千岩萬壑的豐富層次。青綠設色成蔭,紫氣徐徐環繞,層巒染黛,繁石磊磊,在墨韻的濃淡焦潤間自顯其趣,富饒東方山水的高古詩意。 而在右側,一道蒼勁雄渾的濃墨大筆自右端發軔,以大力狂放的動勢驟然貫穿,平直收束於中心,激盪出氣貫長虹的昂揚張力。游絲狀的飛白紋理清晰分明,如飛泉漱玉,灑散而成暮雨,又似綺羅錦繡,綿密而現纖毫,在天地中,翔龍舞鳳,兼收雄奇與鮮活之感。此時,藝術家將其創作大幅畫作的自信全然展現畫幅之中,在天地深廣的邈遠之上,出人意表地引入飛來之筆,恰如其分地平衡了左右空間的張力,更與上方如光芒灑落的縱向之筆構成連環呼應,呈現如大雨刷洗後清新流暢的意蘊。吟詠著「黃河落天走東海,萬里寫入胸懷間」的詩句,觀眾亦彷彿跟隨畫中之筆,在此間登高極目,一覽大江東去,浪濤陣陣,激流迴蕩的廣闊天地。 盛世平安:80年代祖國康泰的美滿祝願 「朱德群描繪了一個只存在於他畫中的國度,一個既是想像又是真實的國度,它源自畫家一生中多次體驗過的感動,連接著他記憶中的一個中國——它已成為追憶的空間,成為心靈印跡與衝動二者相會、時而合一的精神領域。」 ——法國藝評家卡巴納 而《廣闊》所展現的酣暢淋漓和宏大格局,更與朱德群80年代重返祖國、壯遊大江南北之所見所聞息息相關。回顧1983年,朱德群分別受香港中文大學和北京美術家協會邀請,回到闊別近三十年的祖國。藉此契機,他與法國抽象藝術家暨好友基諾(Ladislas Kijno)夫婦共遊神州大地,在三個星期的時間內,他途徑北京、山西大同雲岡石窟、西安、南京、黃山及杭州藝專母校。故國重遊的喜悅令他流連忘返,而自然名勝的震撼,更給予他充沛的創作激情和素材。與此同時,80年代之初的中國正處在改革開放的進程之中,一切正呈現欣欣向榮的姿態。山川大河的雄壯遼闊,應和著「盛世平安」的現實生活,在此雙重影響下,朱德群在返法後,以澎湃的藝術熱情,將源源不斷的靈光傾洩在此作之上。 若細觀作品的右下方,可見他特為以結合書法的抽象線條,書寫下「平安」二字,正呼應著此時期神州大地蓬勃發展的盛世之景。平和祥瑞、安泰康盛,作為藝術家重回兩岸三地、藝術事業邁向新篇章的重要創作,《廣闊》寄寓了朱德群對祖國山河、盛世祥和的殷殷期盼,更是在家國興旺的美滿、壯遊九州大地的精神感悟中,以北宋王希孟在描繪中國山河《千里江山圖》的青綠之色,再造天地乾坤,譜寫出心中祖國的萬象華彩。 青綠山水,欣欣向榮的山河再創 「西嶽出浮雲,積翠在太清。連天凝黛色,百里遙青冥。」 ——唐代詩人王維《華嶽》 作為傳統繪畫最為重要的色彩形式之一,「青綠山水」曾主宰著中國藝術的半壁江山。自唐代之始,李昭道、李思訓、王維等人,曾以孔雀石、藍銅礦、綠松石作為原料,調製出深淺不同的青綠色系,以此賦色山水畫作,至北宋王希孟將其推向長幅畫卷之高度,展現疆域遼闊、山河壯麗之美,其後並有明代吳門畫派、至近代張大千、謝稚柳等人,皆以青綠山水描繪心中的家國山河。 承襲自千年以來的表現意義,朱德群在《廣闊》中,以層次豐富、充滿文人雅韻的灰調青綠作為主色,徐徐展現唐代詩人陸龜蒙筆下「九州風露越窯開,奪得千峰翠色來」的越窯秘色,鋪展天地無垠的廣邈震撼。而那其中的石綠、石青色點,則如「雨過天青雲破處」的雅麗汝窯,以流光溢彩的姿態,道盡光風霽月的詩情。中心處的點點橙光,更與綠調濃淡相交,穿透乍現,輕快流暢地譜寫出黎明晨光的光輝之時。得益於朱德群80年代創作中加入大量松節油的調和,原本厚重的西式油彩,此刻呈現宛如水墨般輕薄透明的質感。而經由筆刷的層層律動,色彩相融幻化,生發出如絲如縷的韻味。正如藝術家吳冠中所形容「如將開之璞玉,如細膩之絹紗」,開闢一處豐饒剔透的人間仙境,展現「秋水共長天一色」的畫境。 色韻結合墨韻,朱德群透過油彩的抽象筆意,返還出山水之「形」與「色」的雙重意蘊,創造出貫通古今中西的藝術新貌。《廣闊》既是春色綿綿、秀水娟娟,亦是大山堂堂、浪濤陣陣。沉浸其中,彷彿置身天地無垠,因立於至高之處,而看遍萬千山河。「青山不改,綠水長流,天寬地廣,大有作為!」這是朱德群寄寓《廣闊》的畫意,是他以心象寫就的胸懷,在他對盛世平安的景仰與讚嘆中,我們於山河之疆,也見證了這畫中天地的萬象宣言!
EXHIBITED 1988-1989, Chu Teh-Chun: Exhibition Tour 1988-89, Taichung County Cultural Centre, Changhua County Cultural Centre, Yunlin County Cultural Centre, Taoyuan County Cultural Centre, Hsinchu Municipal Cultural Centre, Kaohsiung County Cultural Centre, Ilan County Cultural Centre, Taipei County Cultural Centre, Tainan County Cultural Centre, Miaoli County Cultural Centre, Taitung County Cultural Centre, Tainan Municipal Cultural Centre, Nantou County Cultural Centre, Keelung Municipal Cultural Centre, and Taiwan Museum of Art Jun 2005, Chu Teh-Chun: Painting World, Impressions Art Gallery, Taipei PROVENANCE Impressions Art Gallery, Taipei Acquired directly by present important private Asian collector from the above This work is accompanied by a certificate of authenticity signed by the artist issued by Impressions Art Gallery, Taipei In the Limitless Horizon, We Fulfill our Ambitions! The Debut of a Chu Teh-Chun's 1980s Masterpiece of the Motherland “His work serves as a proclamation of myriad manifestations.” ——Pierre Cabanne, French Art Critic Majestic Journey of the Nourished Homeland Roaming within the realms of memory, observing the artistic career of Chu Teh-Chun. The essence of his motherland's landscapes and the cultivation of Chinese painting have always accompanied him. From the geographical features near Huangshan in his hometown of Xiaoxian, Anhui, to the early influence of his grandfather, where he immersed himself in poetry and practiced calligraphy; from studying at the Hangzhou Art School in the 1930s, witnessing the local customs upon immigrating to Taiwan in 1949, to residing in France in 1955 and expanding his career in Europe. Throughout this process, Chu Teh-Chun experienced a rich tapestry of global landscapes and artistic expressions, yet he always pondered how to recapture the essence of Eastern landscapes with Western brushstrokes. It was not until the 1980s when he returned to China, personally experiencing the awe-inspiring beauty of his homeland's landscapes, that he once again ignited his passion. With heartfelt lyricism and reverent strokes, he merged the ethereal Eastern landscapes with the luminosity and forms of the Western tradition, blossoming into an exceptionally rich artistic tableau. Ascending to a Prosperous Realm: The Magnum Opus of a Lifetime's Grand Tour Exhibition Presenting Amplitude, completed in 1986, is a masterpiece that embodies the artist's pinnacle of creativity, spiritual outlook, and artistic career during the flourishing 1980s. It bears witness to the artist's soaring reputation and confident ascent to the esteemed position of an abstract master. Since his inaugural museum-level solo exhibition at the Musée des Beaux-arts in France in 1982, the artist has received invitations from numerous art institutions worldwide. Between 1984 and 1988, he held solo exhibitions at prestigious venues such as the Grand Théatre de Luxembourg, The Hong Kong Institute for Promotion of Chinese Culture, the Taipei National Museum of History, and the Museum of Modern Art in Liège, Belgium. Amplitude was selected to be part of the Chu Teh-Chun: Exhibition Tour 1988-89, spanning two years from 1988 to 1989, showcasing at fifteen art and cultural institutions throughout Taiwan. This exhibition marked the artist's largest-scale touring exhibition in his lifetime. The artwork, meticulously preserved by a private collector in Asia for over three decades, now emerges for the first time, esteemed and precious, to capture the exuberance of Chu Teh-Chun's triumphant moments and his fervent creative spirit as he expresses the grand aspirations within his soul. The Vast Tapestry: Weaving through the Cosmos, Unleashing the Radiant Spectrum With the rapid leap of his artistic career, Chu Teh-Chun embarked on a grand journey of creation in the 1980s, giving birth to monumental works such as Les éléments confédérés and Harmonie hivernale. As his mastery over large-scale painting grew increasingly mature, he deliberately chose a 1:1.5 expansive dimension when creating Amplitude in 1986. Within the vast canvas spanning an impressive 195 centimetres in width, he unleashed his boundless passion. True to its name, the artwork presents a majestic horizontal vista, employing intricate arrangements of contrast, density, and looseness. Through these delicate compositions, he distilled an abstract landscape of unparalleled grandeur, embracing the essence of all realms. At the centre of the left side of the composition, Chu Teh-Chun employs a vital element he explored in his artistic journey during the 1970s: the “source of light.” It serves as the radiant core from which vitality emanates, akin to opening a treasure chest between heaven and earth, pouring forth a cascade of precious radiance. It bathes the world with the hope of spring and the power of dawn, like a gentle rain showering upon humanity. The landscape surges and all things come alive, giving rise to an extended band of light: emerald moss, earthy ochre, shimmering orange, deep crimson, vibrant yellow, and ethereal blue hues. These luminous dots sparkle and leap, mimicking the transparent air, refreshing water, shifting winds, swift currents, and elusive clouds of nature, exuding an immensely rich visual perception. Beneath this resplendent display, the artist wields a broad brush with measured strokes, evoking the spirit of cursive script, freely opening and closing. Through the interplay of ink in five colours, the brush constructs a multidimensional interweaving of blocks and surfaces, creating a tapestry of abundant layers reminiscent of countless peaks and valleys. On the right side, a powerful and vigorous stroke of dense ink emerges from the right edge, forcefully piercing through with a bold and unrestrained motion. The delicate threads of flying white texture are distinct and clear, creating a stirring tension that resonates with the soaring momentum of a rushing rainbow. At this moment, the artist fully showcases his confidence in creating a large-scale artwork. Above the vast expanse of the heavens and earth, the introduction of this sweeping brushstroke skilfully balances the tension between the left and right spaces. It also forms a harmonious interplay with the vertical brushstrokes descending from above, resembling the radiant scattering of light, and evoking a sense of freshness and fluidity as if cleansed by a heavy rainstorm. Era of Abundance and Harmony: an Auspicious Wish for Prosperity in the Flourishing Homeland of the 1980s “Chu Teh-Chun paints a country whose existence is found only in his paintings, a country both imaginary and real at the same time, formed from sensations many times experienced in the course of his life, bound to his memories of China which in time has become the space in his memory, the territory of the mind where the vestiges of the heart and the impulses of the spirit meet and sometimes unite.” ——Pierre Cabanne, French Art Critic The exhilarating and grand scheme showcased by Amplitude is closely intertwined with Chu Teh-Chun's first-hand observations during his extensive travels across China in the 1980s. Looking back to 1983, he was invited by both the Chinese University of Hong Kong and the Beijing Artists Association to return to his ancestral homeland after an absence of nearly thirty years. Seizing this opportunity, he embarked on a three-week journey with his close friend, the French abstract artist Ladislas Kijno, and his wife. They visited Beijing, the Yungang Grottoes in Datong, Shanxi, Xi'an, Nanjing, Huangshan, and his alma mater, the Hangzhou National College of Art. The joy of revisiting his motherland made him linger with a sense of nostalgia, while the awe-inspiring beauty of natural wonders infused him with abundant creative passion and inspiration. Simultaneously, China in the early 1980s was undergoing the process of reform and opening up, displaying a flourishing state in all aspects of life. The majestic vastness of mountains and rivers resonated with the reality of a “prosperous and peaceful era.” Under the dual influence of these factors, upon returning to France, Chu Teh-Chun poured his surging artistic enthusiasm onto the canvas, capturing the continuous flow of spiritual brilliance in this remarkable artwork. Chu Teh-Chun's use of abstract calligraphy to write “peace”(平安) in the lower right corner of the artwork directly echoing the scene of flourishing development across China during that time. Amplitude captures Chu Teh-Chun's longing for his homeland's breathtaking vistas and peaceful periods as an artist returning to both sides of the Strait to mark a new chapter in his artistic career. It embodies his spiritual insights gained from the prosperity of his homeland and his explorations across the vast expanse of the country. He masterfully recreates the vibrant colours reminiscent of the “blue-green” hue used by the Northern Song Dynasty painter Wang Ximeng in his monumental landscape painting One Thousand Li of Rivers and Mountains, and weaves a magnificent tapestry that reflects the diverse facets of his beloved homeland. Blue and Green Landscapes: Where Nature Bloom Anew “Blue and Green Landscape”, one of the most important colour forms in traditional Chinese painting, once dominated a significant portion of Chinese art. Using materials such as malachite, azurite, and turquoise, artists created various shades of blue-green to depict the landscapes. This style originated in the Tang Dynasty and reached its peak during the Northern Song Dynasty with Wang Ximeng, who elevated it to the level of long handscrolls, showcasing the vast and magnificent beauty of the land. Inheriting the significance of centuries past, Chu Teh-Chun imbues Amplitude with a rich layering of tones, using the grey shade of Yue kiln's colour of blue-green. This creates an atmosphere filled with elegance and refined aesthetics. The flowing and vibrant shades of mineral green and azurite resemble the poetic sentiment of light breeze and clear moon, akin to the exquisite beauty of Ru kiln porcelain. The scattered points of orange light at the centre intersect with the varying shades of green, piercing through and gracefully depicting the radiant moment of dawn. Benefiting from Chu Teh-Chun's addition of turpentine in his creative process during the 1980s, the originally heavy Western oil paints take on a light and transparent quality akin to ink wash painting. As the artist Wu Guanzhong described it, it is like “unfolding jade or delicate silk,” opening up a realm of abundance within the human world. Chu Teh-Chun brilliantly blends abstract brushstrokes of oil paints with ink wash to create a distinct style that transcends tones and ink, creating a new artistic style that spans ancient and modern, East and West. “The green mountains remain unchanged, and the green waters continue to flow. With a vast sky and broad earth, there is great potential!” This is the artistic intent encapsulated in Chu Teh-Chun's Amplitude. In his admiration and awe for a prosperous and peaceful era, we witness the declaration of the universe within the painting's realm.

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中国嘉德(香港)国际拍卖有限公司
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