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朱德群 No.92 水粉 紙本 一九六一年作 Chu Teh-Chun 1920-2014 No.92 Gouache on paper Painted in 1961
香港
2023年10月08日 开拍
拍品描述
size:35.7 × 54.3 cm. 14 × 21 3/8 in.
款識 朱德群 CHU TEH-CHUN(右下)CHU TEH-CHUN 朱德群 No.92 1961(畫背)
Signed in Chinese and English on bottom right; signed in English and Chinese, titled and dated on the reverse
來源 2019年3月30日,中國嘉德香港春季拍賣會,拍品編號710 現亞洲重要私人藏家直接購自上述來源 畫中之詩,馳騁天地無涯 朱德群遨遊東西藝道的紙上靈韻 「夫畫,天地變通之大法也,山川形勢之精英也,古今造物之陶冶也,陰陽氣度之流行也,藉筆墨以寫天地萬物而陶詠乎我也。」 ——石濤 「詩是無形畫,畫是有形詩」,北宋大家郭熙在《林泉高致》中寫下此句千古流傳之言,高度概括了中國傳統追求詩畫一體的藝術精神。對於一代華人抽象大師朱德群而言,千年東方歷史的薰陶和半世紀旅法的經驗,令他在跨越東西的形色碰撞中,對東方詩、書、畫的高度融合有了更為深刻的感悟。從50年代旅法最初的布面油畫,到60至70年代在紙本的媒介運用上,開拓油彩、水粉、水墨的特殊之效,從以書法化為抽象之筆,到將色彩與筆力融會貫通,創生出自然、詩情、音律的想象。行走於西方世界的朱德群,以不懈的探索精神、高超的領悟力,回溯東方筆墨韻律之源,拓展形式的美學光譜,至不惑之年,終而開啟在光源、形象和韻律上的輝煌美學。 是次呈現朱德群完成於60至70年代的3件紙上神采之作,正是其屆於不惑與知天命之年援東潤西的精彩演繹。結合著非傳統媒介的神來之筆,他自不同的色調、媒材和構圖形式出發,卻皆貴為難得地展現出遊目騁懷的詩意畫景,三件作品分別體現了:千山暮雪的邈邈蒼莽、光耀天地的冉冉晨曉、江楓漁火的簌簌秋香,均在他豁達馳騁的筆力、濃烈醉人的色彩和逍遙悅心的精神中,展現「乘物以遊心」的境界,將一位東方畫家二十年來遊走於西式表達和傳統積澱的靈感,吐露在心象寫就的畫卷之上。 千山暮雪,縱橫捭闔 1960年,朱德群正式成為「巴黎畫派」的成員之一,並在彼時推廣抽象藝術為主的知名巴黎勒讓特畫廊(Galerie Legendre)舉行個展,贏得了法國文藝界的廣泛認可。經歷1956年斯塔埃爾(Nicolas de Stael)回顧展後由具象到抽象的轉變,朱德群的抽象畫風在60年代日臻成熟,無論是油彩的探索,還是水墨、粉彩落於紙上的東西結合,每每皆見推陳出新的絕妙。充盈東方水墨韻味和自然山水之相的水粉之作《No.92》(拍品編號37)便是精彩一例。 作品以粉彩為媒介,充分發揮了水性顏料在紙上的暈染之效,以簡明、相近色調的純粹,營造出如雲似霧、山巒起伏的東方式聯想,正展現若元代詩詞「渺萬里層雲,千山暮雪」的意象抒寫。而在用筆上,一展此時期朱德群深刻強化抽象表達中的「書法」特徵,狂草式的黑色線條帶著力透紙背的書法精神,以大寫意、大抒情的風骨,縱橫頓挫於畫幅中央,構建剛勁連綿的峭壁絕谷。隱現其間的,則是塊狀灰色粗筆寫就的鏗鏘積攢,以渾厚蒼遒的骨法運筆,展現山石竦峙的堂堂質感。而在背景中,他以清雅的灰藍色彩營造出北風簌簌、細雪紛紛的自然想象,在不經意的飛筆留白中,透溢冷冽而清爽的呼吸空間。在這自由有度的佈局中,朱德群以「外師造化,中得心源」的精神,展現東方底蘊與西方抽象的高度融合,以捭闔四方的筆力,鐫刻下自由而深刻的「心跡」,濃淡相宜的潤色,正是他對東方灰色調寫意的精粹提煉,顯示出立於天地、長於萬物的形象張力,似玉龍飛騰,如昆侖蒼莽,捲起千堆雪、萬重山,閱盡世間風彩。 陰陽萬象,放燦寰宇 「身為漢家子弟,藉由《易經》哲學中的陰陽這兩種無窮遞變的東西,呈現其兩種根本且互生的要素,陽是熾熱、光明的,陰是幽暗、濕潤的。這種二元性產生上述的無窮宇宙,同時這種二元性也融會了承續自西歐繪畫的鮮艷色彩,與抽象繪畫所開啟的自由形體。」 ——朱德群 法國詩人、藝評家龍柏(Jean-Clarence Lambert)曾形容朱德群是一位如「火一般的藝術家」,屬於「大氣和火,加諸不可名狀的神秘因素,和個性中的魅力,使他在巴黎畫派中獨樹一幟。」而此番對朱德群的評價,也正如本件《無題》(拍品編號38)所展現的世界:如日中天,展現希望及熱情的烈火燎原,帶著明滅的生機,蘊含道家陰陽的無窮遞變。 在此作中,紅與黑二色正以「陽」和「陰」的調和共生,營造著最為極致的張力對比。對角線式的結構,將光與暗的世界對半而分,又在氣韻的遊曳中彼此滲透、時而悠然,時而激盪,啟引著如唐代大家杜甫筆下之「陰陽割昏曉」般的造化神秀!而那極致的明暗畫面,彷彿是舞台上側向照射的聚光燈,將正與邪的主角分置而立,呈現充滿戲劇性的想象空間,正展現著1969年倫勃朗(Rembrandt)回顧大展對朱德群1970年創作的深刻影響。在畫面的右方,以黑墨鑄就的遒勁大筆,在深重的實質間孕育著幽冥之界的一切可能,天藍、鵝黃、橙紅之彩,在其中縱橫漫游,向四方開拓著深邃高遠的天地,流淌出如詩的旋律。而隨之向左,迸發顫動的飛揚短筆,正激蕩著最為斑燦的光輝,淺黃、銘黃、橘紅、玫紅、赭石,自中心最為明亮的光源點傾瀉四溢,隨之震顫的墨點更以草書般抑揚頓挫的節奏,湧現著無盡的能量,自抽象的疆域中,為觀者呈現猶如火山爆發、岩溶四射、亦似旭日東升、春回大地的光燦盛景! 黑與紅的生之搏動 黑,代表了神秘、未知和暗影,紅,則象徵熾熱、鮮妍和光明,俄羅斯藝術家羅斯科(Mark Rothko)曾以這二者刻畫具精神性的抽象色塊。然而在朱德群的筆下,黑為玄,紅為火焰,是水墨的起舞、油彩的豐盈,亦是東方筆蘊的悠然與西方色形的激蕩。他們相輔相成,勢均力敵地鋪展天地之和諧,正示現著古老的陰陽圖示,蘊藏宇宙萬物在混沌和甦醒間的共生。而畫中的黑與紅,以絢爛奔放的暖與深邃沉浸的冷,貫穿著來自生的蓬勃、氣的湧動、光的肇始,雖以二元為基點,卻似包羅萬象,變化無窮,顯示出與抽象表現的精神共鳴。在這曲「色和力」的交響中,作品在有限的畫幅中,探求超越意識的廣闊,以豐富的自然暢想,激蕩著內心詩意的脈搏。正如藝評家卡巴納(Pierre?Cabanne)的讚嘆:「光斑和白熱的點簇吸引目光,將威脅人的黑暗驅散,混濁的空氣讓遠景窒息,而喧鬧的色彩鋪展在新的天地,在不斷變化的世界中,節奏相互碰撞。在表面的抽象後,宇宙就存在這裡。還有古老的儒道兩家所珍視的永恆之真。」
PROVENANCE 30 Mar 2019, China Guardian Hong Kong Spring Auction, Lot 710 Acquired directly by present important private Asian collector from the above Painted Poetry, Traversing a Boundless World Chu Teh-Chun's Melodies on Paper Traveling East and West “Poetry is intangible painting, while painting is poetry made concrete.” For master Chinese abstract painter Chu Teh-Chun, his immersion in a Millennia of Chinese history and experience of living in France for half a century, meant that as the artist sought to transcend the forms and colours of East and West, he simultaneously developed a much deeper appreciation of the way in which poetry, painting and calligraphy are integrated in Eastern art. From the oil paintings on canvas, Chu produced when he first arrived France in the 1950s to his use of paper as a medium in the 1960s and 1970s, he developed effects associated with oil, gouache and ink painting. At the same time, through the way in which Chu transformed calligraphic brushwork into abstract strokes, to his masterful combination of colour and stroke strength, he also created a world of imagination that fully embraced nature, poetry and melody. Chu Teh-Chun traced the origins of the rhythm of Chinese ink art and expanded the aesthetic spectrum of form, so that at the age of 40 he was finally able to launch his own inimitable aesthetic based on light sources, images and metre. Three works on paper by Chu Teh-Chun from the 1960s and 1970s are being auctioned. Each one has its own hues, media and compositional forms. In addition, Chu employs imposing poetic imagery such as a thousand mountains and twilight snow, slowly unfolding dawns, riverside maples and fishermen's lights, combined with the inspiration accumulated by from spending two decades moving between Western expression and tradition, as revealed in the mental imagery showcased in the scroll paintings. Transcendent Thousand Mountains and Twilight Snow In 1960, Chu officially became a member of the “Ecole de Paris” and held a solo exhibition at Galerie Legendre, a gallery in the French capital that at the time mainly promoted abstract art, which was well received by local art and cultural circles. It was after visiting a Nicolas de Stael retrospective exhibition in 1956 that Chu's art started to evolve from largely representational to abstract pieces, with his abstract painting style reaching maturity in the 1960s. Whether the exploration of oil painting, or the combination of ink art and gouache painting on paper, Chu introduced new and intriguing ideas. The gouache work No. 92 (Lot 37) is an exquisite example, exuding the rhythms of Chinese ink painting and imagery of natural landscapes. Gouache works showcase the smudging effect of water-based pigments on paper, utilizing the purity of simple clarity and approximate colours to create eastern painting associations such as cloud like fog and undulating mountains, while showcasing lyrical imagery reminiscent of Yuan dynasty (1271-1368) poetry: “Flying under ten thousand li of layered clouds, across a thousand mountains in deep snow.” In this period Chu Teh-Chun greatly strengthened the “calligraphy” features of his abstract expressionism, imbuing “wild scribble” type black lines with a calligraphic spirit that penetrated to the other side of the paper. Indeed, the strength of character of the artist's freehand brushwork and lyricism moves freely throughout the centre of the work, constructing strong and continuous precipices and overhanging rocks. Moreover, in the background Chu employs an elegant grey-blue to craft a natural scene with the blowing north wind and light snowfall, introducing a breathing space that brims with coldness and coolness through the unconscious flying brush strokes and blank spaces. Within the freedom provided by this layout, the artist employs spiritually refined shades of grey and freehand strokes to display image tension in the natural scene and objects depicted, like a flying jade dragon or the boundlessness of Kunlun. Diverse Combinations, Lighting up the Universe French poet and art critic Jean-Clarence Lambert once described Chu Teh-Chun as “an artist who resembles fire, with an atmosphere and fire that when combined with indescribably mysterious elements and the appeal of his character make him unique in the Paris School.” Moreover, this evaluation dovetails perfectly with the world showcased in the work Sans Titre (Lot 38), in which the blazing fire of hope and passion are infused with a flickering vital force and the infinite gradations of Taoist Yin and Yang. In this work, the coordination and coexistence of red and black as “Yin” and “Yang” creates an exquisite tension and contrast. The diagonal structure divides the piece in half, into juxtaposed worlds of light and dark and the rhythm of the piece flows so the colours seep into each other. This brings to mind the magnificence of “sky and earth gathering heavenly splendor,” wherein bearing and geography determine light and shade, in the poem Mountain Gazing by Tang Dynasty poet Du Fu (712-770). Moreover, the exquisite light and shade in the picture is like the side exposure of a spotlight on stage, with the main characters representing good and evil deliberately separate, highlighting an imaginary space imbued with drama. This also showcases the deep and lasting influence the Rembrandt Retrospective exhibition in 1969 had on this work, which was painted in the 1970s. The right of the painting is cast in vigorous black ink brush strokes and their weight gives rise to all possibilities in the world of darkness. Moving left across the work, the flying short strokes in light yellow, golden yellow, orange, rose red and ocher stir up wonderful brilliance and from within the abstract territory viewers can see the image of what appears to be a volcano erupting, lava spurting in all directions or a red sun rising in the East. Pulsating Life of Black and Red The colour black represents mystery, the unknown and shadow, while red symbolizes blazing fire, vividness and brightness, from which Russian artist Mark Rothko once crafted spiritual, abstract coloured-blocks. However, in the works of Chu Teh-Chun, black is replete with the dancing rhythms of ink painting and richness of oil painting, as well as the vibrance inherent in free-flowing Chinese brushwork, Western colour and form. The two complement each other and are evenly matched in showcasing the harmony of heaven and earth, as we view the ancient Yin Yang icon, which contains hidden within it the coexistence of all things between chaos and awakening. Despite taking duality as a base, they are also all-encompassing, representing boundless change and resonating with abstract expression. Within this symphony of “colour and strength,” the limited space of the work explores the breadth of consciousness, using rich natural imagination to draw forth poetry from deep inside the heart of the artist.

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