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朱德群 無題 油彩 紙本 裱於畫布 一九七〇年作 Chu Teh-Chun 1920-2014 Sans Titre Oil on paper mounted on canvas Painted in 1970
香港
2023年10月08日 开拍
拍品描述
size:65 × 50 cm. 25 5/8 × 19 5/8 in.
出版 2017年,《朱德群》,沃丁頓庫斯托畫廊,倫敦,圖版第9號
LITERATURE 2017, Chu Teh-Chun, Waddington Custot Gallery, London, Illustration 9
展覽 2017年9月19日至11月11日,「朱德群:自然與我」,沃丁頓庫斯托畫廊,倫敦 來源 倫敦沃丁頓庫斯托畫廊 亞洲重要私人收藏 附:朱德群基金會開立、由藝術家妻子暨正籌備編纂藝術家全集之聯席編輯朱董景昭女士親簽之作品證書 註:畫背貼有倫敦沃丁頓庫斯托畫廊標籤 物情瀟灑,鐘靈神秀 徜徉朱德群《無題》的秋香楓紅 「抽象繪畫不受形象的制約,接近中國繪畫重意不重形的觀念。范寬所說的『與其師於人者未若師於物,與其師於物者未若師於心』;以及張操所強調的『外師造化,中得心源』,都是說心靈與自然是緊密相聯的。」 ——朱德群 「善與山傳神」的北宋書畫大師范寬,是朱德群十分崇敬的藝術家,60年代旅居法國時,他曾特意前往台北故宮,一睹范寬傳世名作《谿山行旅圖》,並感悟到:「范寬所謂師心,即是將畫家的幻想力、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」,成為其東西抽象思索的重要來源。而儘管范寬雄樸渾厚的格調與朱德群澎湃流麗的抽象畫風並不相仿,但立於兩位大師的作品前,都會為其中所蘊含的宏大世界和悠遠冥思所撼動。 完成於1970年此一重要節點的《無題》,便正是朱德群在范寬和倫勃朗(Rembrandt)一東一西的雙重啟示下,以抒情的筆意、虛實的光影,展現他在傳統山水和西方古典間各取所長、相得益彰的精彩表述。 千巖競秀,詩醉晚楓 呼應著書畫立軸的經典縱向構圖,作品以籠罩天地的雋雅褐彩,若為觀眾緩緩展示著一幅來自悠遠時光的山水畫卷:當中千巖競秀,萬壑爭流,秋入雲山,物情瀟灑,百般景物堪圖畫。那一抹毫無遲滯的飛馳大筆,自上而下疾速縱橫,以書法筆勢的節奏下筆,在揮掃間,留下狀若飛白走勢的筆刷痕跡,正湧現其充滿韻律感的抽象筆意。以此為中心,側鋒、偏鋒的抑揚運筆,在推拉往來間,構成「橫看成嶺側成峰」的層巒疊嶂,如見王翬《仿范寬山水》的奇雄山勢。 與之同時,畫作充分融入倫勃朗式的光影,將空間的聚焦和遞進,定駐在核心處的一束光源。隨色彩的層層漸變,筆勢亦由細微走向狂放的鋪散,在色彩的匯聚處,朱德群並刻意加重色彩的濃度與力道,以直率而充滿角度轉折的個性線條,透露出豐沛的情感,彷彿呈現著光線折射下強烈的反光,與暗褐色的緊密相連,加深了光與影此消彼長的關聯。在中心光芒的照拂下,楓林的磚紅與燈火的銘黃在其中交相輝映,盤桓於大地之上的玄黑與泥棕,正蕩漾著落葉歸根的情韻。觀者若見:晚雲收,夕陽斜,一川楓葉,兩岸人家,瑩光千點於幽巖之下,波光萬頃於天地之中。「輕霜醉楓葉,淡月隱蘆花」,畫面中,不見傳統文人的細小身影,然那乘扁舟、覽風雲、坐山亭的身影,卻正是此刻徜徉於畫中世界的我們。 「這正是創世的史詩,出自畫家的筆、手和心」正如法國駐中國大使毛磊之言,「多虧朱德群,令我們充分品味其畫中的美好——而這繪畫,正是來自中國最古老的傳統,繼而在法國發揚光大。」力透紙背的筆墨意氣,又兼具靈動飛揚的油色華彩,在朱德群詩意的抽象中,一切的彩與墨、密與疏、濃與淡、明與晦,皆洋溢著生命的燦爛,湧動著自然的壯闊,化為心神的嚮往。而那光明和詩情,便在其中,無處不在。
EXHIBITED 19 Sep – 11 Nov 2017, Chu Teh-Chun: Nature Lives with Me, Waddington Custot Gallery, London PROVENANCE Waddington Custot Gallery, London Important Private Collection, Asia This work is accompanied by a certificate of authenticity issued by Fondation Chu Teh-Chun and signed by Mrs. Ching-Chao Chu, spouse of the artist and co-editor of the forthcoming catalogue raisonné of Chu Teh-Chun Note: A label of London Waddington Custot Gallery is affixed on the reversebr Natural and Unrestrained, Replete with Spiritual Meaning A Stroll around the AutumnFragrance and MapleRed of Chu Teh-Chun's Sans Titre Northern Song painter and calligrapher Fan Kuan (c. 960 – c. 1030), known for being “adept at conveying the spirit of landscapes” was an artist Chu Teh-Chun particularly admired and respected. Indeed, when he was living in France in the 1960s, Chu made a special trip to the National Palace Museum in Taipei to see Fan's classic painting Travelers among Mountains and Streams at which he concluded: “Fan Kuan learned from his heart and feelings rather than earlier painters, revealing the artist's inner imagination, self-cultivation and character in his works, in ways that happened to bring together the ideas of Chinese painting and abstract painting.” This also became an important source of Eastern and Western abstract thinking for Chu. Indeed, despite the great differences between the imposing and rough style of Fan and the surging elegance showcased in the abstract paintings of Chu Teh-Chun, viewers of works by these two great painters invariably find themselves moved by the grand world and endless meditation engendered therein. The work Sans Titre was completed in 1970 and is an example of Chu Teh-Chun being inspired by Fan Kuan and Rembrandt, employing lyrical brushwork and virtual/real light and shade to highlight the wonderfully expressive way in which he borrows from the strengths of traditional Chinese landscape painting and Western classicism. Competing Mountain Beauty, Enamored of Poetic Evening Maple Trees This work echoes the vertical composition of traditional painting and calligraphy hanging scrolls, with the scene shrouded in a seemingly endless brown hue, as if slowly unrolling a landscape painting from the distant past. A series of large sweeping strokes move rapidly across the piece from top to bottom, utilizing the rhythm of calligraphic brushwork, leaving behind brushstroke marks reminiscent of “flying white” (feibai) calligraphy that spring forth from the rhythmic abstraction. With this as the central focus, the rise and fall of side tip or slanted tip brushstrokes create layer upon layer of peaks, which “viewed horizontally resemble a mountain range, but vertically appear as precipitous mountain tops.” At the same time, the work is also replete with Rembrandt-like use of light and shade, ensuring the spatial focus and progression is fixed on a light source at the centre of the painting. As the layers of colour incrementally change, the brush strokes also spread outwards, changing from subtle and fine to unruly and wild. In areas where the colours converge, Chu Teh-Chun deliberately heightens shade and stroke strength, employing distinctive straightforward lines infused with angular turns, as if a powerful reflection refracted from the light. Moreover, by tightly combining this with the brown colour the artist ingeniously deepens the connection between the ebbing and flowing of the light and shade. Attended by the central light, the interplay and contrast of the brick-red maple forest and yellow lamp light lingers around the pitch black and yellowish-brown above the ground, undulating with the charm of fallen leaves returning to the soil. For viewers it is like seeing a scene of evening clouds disappearing, the sun setting at an angle, maple trees on a riverbank, houses on either side of the river, house lights at the foot of a secluded mountain, all reflected in a river. Within the poetic abstractions of Chu Teh-Chun, all colours and ink, whether tightly packed together or dispersed, thick or light, bright or dark, brim with the brilliance of life and bristle with the magnificence of nature, imbuing the work with brightness and poetry.

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