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草間彌生 無題 複合媒材 雕塑 一九八三年作 Yayoi Kusama b.1929 Untitled Mixed media sculpture Executed in 1983
香港
2023年10月08日 开拍
拍品描述
size:25 x 14.8 x 11.5 cm. 9 7/8 × 5 7/8 × 4 1/2 in. (酒瓶);16 x Dia.8 cm. 6 1/4 × Dia.3 1/8 in. (酒杯)
款識 YAYOI KUSAMA 1983(瓶底)
Signed in English an dated on the bottom of the bottle
來源 2012年5月19日,香港亞洲聯合拍賣會,拍品編號24 亞洲重要私人收藏 附:草間彌生工作室開立之作品登錄卡 人生得意須盡歡! 草間彌生八〇年代罕見雕塑代表作 赫斯特(Damien Hirst):「你覺得自己更像一個色彩專家、畫家、藝術家還是雕塑家?」 草間彌生:「我覺得自己更像一個雕塑家。」 對草間來說,她自己就是其作品的表徵,她熱愛自然、沈迷幻想,無懼無畏、直面現實,始終將「自我」視作藝術創作的原初動力,以特立獨行的前衛理念,成為時代先鋒。 在過去長達80年以來,草間全身心致力於藝術創作,表現形式多元,涉及:繪畫、拼貼、雕塑、影像、行為、裝置、小說。此折射了一個多產且具天賦的創造者閃耀的一生。她成長於日本長野縣的松本市,在第二次世界大戰後日本力爭重塑社會的經濟和文化背景下,精心錘煉著自己的藝術技能。她在1960年代赴美初期,作品即於賈德(Donald Judd)、沃荷(Andy Warhol)等人同台展出,在白人男性佔據絕對話語權的美國藝壇頭角崢嶸!而到了1970年代,她上演了大膽、以身體為媒介的多項行為藝術,探討身份認同、反戰、女性主義等多元議題。直到回到東京,自1980年代起,她將平面繪畫與雕塑裝置等多元媒材齊頭並進,展現她豐饒的世界。是次呈現的《無題》便完成於1983年,不僅見證了草間彌生走向「雕塑家」的自我認同,「葡萄、美酒、夜光杯」般的獨特造型,體現了對西方希臘神話的思考、援引與回應,將東西方哲學理念巧妙融合;酒瓶與酒杯「連體」的設計,則展現了母體與胚胎之間緊密結合、依伴共存的關係,以獨特的形式展露出草間對於生命的思索。 酒神之歌:葡萄美酒夜光杯 《無題》巧妙地由兩個雕塑主體組成——酒瓶與酒杯,酒瓶在瓶口處收緊、瓶身則敦實厚重,邊緣生出豐碩、象徵豐收與富足的葡萄。而小一號的酒杯「上寬下窄」,瓶口處及底部亦溢出葡萄碩果,與酒瓶呼應。此創意主題令人聯想到義大利文藝復興大家卡拉瓦喬(Michelangelo da Caravaggio)的名作《酒神》,在古希臘和羅馬神話中,酒神狄奧尼索斯(Dionysus)被視為「歡慶」、「享受人生」的象徵,葡萄的甜美多汁、酒精的微醺與迷惑令人縱情享樂,只為慶祝生命中最為圓滿、豐盛的一刻。而在東方,亦有「葡萄美酒夜光杯」的詩句,暢飲到淋漓盡致,展現人生得意須盡歡的豪情!此作亦呼應草間彌生個人的藝術生涯——就在創作《無題》之前,她甫於波士頓菊水畫廊、東京富士電視台畫廊舉辦個展,隔年受邀至米蘭、海牙等地辦展,足跡橫跨三大洲,在東西方聲譽日榮、再攀高峰。《無題》中那象徵「希望」與「豐收」的葡萄與美酒,正是其事業備受認可、生活上漸入佳境的寫照,更充滿著對前路充滿希冀的美好願景。而在對「酒神」的描繪與解讀上,有別於西方名家極富渲染性的平面繪畫,草間在此以手塑、鑄燒的雕塑回應西方歷史,獨特的創作視角與濃厚的個人風格,令此作在其藝術生涯中獨樹一幟,成為藏家不容錯過的收藏之選。 蔓引株連,身份的自我認同 而在作品的造型語言上,藝術家特意以一根細長的「藤蔓」將二個主體相連,細微的枝葉若紛飛的蝴蝶,與豐美的葡萄共同建構出一個有機的環境,賦予單純的物件以生命。裝載葡萄酒的瓶子在此猶如一個「母胎」,與自己的「嬰孩」——酒杯相連,在母胎的孕育下,酒杯亦旺盛地生長出鮮美的葡萄。藤蔓在此可被視為「生命的臍帶」,將二者緊密相連,演繹出人類自細胞脫胎、繁衍,成長為生命的奇妙過程。作品試圖喚起彼時保守的日本藝術界對於「身體」、「女性主義」的關注。對草間來說,女性的身體不僅是繁衍的「工具」,在此更成為一種個人理念的延展,酒瓶與酒杯以「臍帶」相連、又各自獨立存在,強調了個體的獨立性。《無題》不僅展現了草間對生命、享樂的讚頌,還罕見地展現出藝術家對於生命繁衍的思考,及以女性主義的視角展現出自我認同的覺醒。 魔幻的炫人閃光,成長的終極力量 「綠色的浮萍下面,在一個安靜得詭異的池塘裡,有一個影子,企圖引誘我的靈魂。奇怪的記憶。這就是我靈魂出竅的那一瞬間的寧靜嗎?」 ——草間彌生 由於祖父輩長期經營種子生意,草間從小便能近距離接觸各類植物,並在幻視和幻聽的影響下對綠植世界留下獨特的視覺印象,而也只有在自然之中,她才能如其自言「忘卻所有事情,專心致志地看著我面前的形象」,從而獲得靈魂的救贖。此更啟發了她的創作:《無題》整體以孔雀石綠單色繪製,強調其有機性與植物性,而周身灑上銀色的亮粉,彷若賦予它一種非現實的強大能量,不僅展現出一種生機勃勃的美感,更以眼前閃閃發光的視覺體驗,吟詠出對生命的讚歌。而酒杯及酒瓶的形狀因人手的捏塑、燒製而略呈不規則形,更體現出生命雖不完美,卻只此一次、每個靈魂都是獨一無二的珍貴理念。作品以鮮亮的色彩、飽滿的造型從二維平面上「脫穎而出」,展現出一種繁衍、成長的終極力量。 草間彌生以作品與世界對話,在特有的精神世界中自在獨行,正如其所言:「這是我的史詩,總括我的一切」,《無題》正以對自然的讚頌熠熠生輝,傳遞出生命與孕育的奇蹟。
PROVENANCE 19 May 2012, United Asian Hong Kong Auctioneers, Lot 24 Important Private Collection, Asia This work is accompanied by a registration card issued by Yayoi Kusama studio Carpe Diem! A Yayoi Kusama's Rare and Exemplary Sculptural Masterpiece from the 1980s Damien Hirst: “Do you perceive yourself more as a chromatic virtuoso, a painter, an artist, or a sculptor?” Yayoi Kusama: “I perceive myself as more of a sculptor.” Over the past 80 years, Yayoi Kusama has wholeheartedly dedicated herself to artistic creation, exploring a diverse range of expressive mediums including painting, collage, sculpture, film, performance, installation, and even novel writing. This multifaceted journey reflects the brilliant life of a prolific and gifted creator. Growing up in Matsumoto City, Nagano Prefecture, Japan, in the post-World War II era when Japan was striving to rebuild its society economically and culturally, she diligently honed her artistic skills. In the early 1960s, during her initial years in the United States, her works were exhibited alongside renowned figures such as Donald Judd and Andy Warhol, shining amidst an American art scene dominated by white male voices. In the 1970s, she boldly engaged in various body-centric performance arts, delving into themes of identity, anti-war sentiment, and feminism. Upon her return to Tokyo, starting in the 1980s, she seamlessly merged diverse media such as painting, sculpture, and installation, showcasing her abundant world of creativity. The presented piece, Untitled, completed in 1983, embodies Kusama's unique contemplation of life through its distinct form. The Song of Dionysus: The Radiant Chalice of Grape Nectar Untitled cleverly consists of two sculptural components - a wine bottle and a wine glass. The bottle narrows at the neck while maintaining a solid and weighty body, with bountiful grapes symbolizing abundance and prosperity growing along its edges. The smaller wine glass, with a shape widening at the top and narrowing towards the bottom, also features grape clusters at the rim and base, creating a harmonious connection with the wine bottle. This creative theme evokes associations with the renowned masterpiece Bacchus by the Italian Renaissance artist Michelangelo da Caravaggio. In ancient Greek and Roman mythology, the god of wine, Dionysus, was seen as a symbol of celebration. The sweetness and juiciness of grapes, the intoxicating effect of alcohol, and the allure and indulgence associated with them were all embraced to revel in the most fulfilling and abundant moments of life. In the East, there is also the poetic line “the radiant chalice of grape nectar,” symbolizing the joy of drinking to the fullest, celebrating life's triumphs with utmost gusto. This artwork also resonates with Yayoi Kusama's personal artistic journey. Just before creating Untitled, she held solo exhibitions at Kikusui Gallery in Boston and the Fuji Television Gallery in Tokyo. The following year, she was invited to exhibit in Milan, The Hague, and other places, leaving her footprints across three continents, earning growing acclaim and reaching new heights in both Eastern and Western worlds. The grapes and wine, symbolizing “hope” and “harvest,” found in Untitled, depict her recognized career and the gradual improvement in her personal life. Entwined Roots: The Quest for Self-Identity In terms of its artistic language, the artist deliberately connects the two main elements with a slender and elongated “vine,” delicately adorned with tiny branches and leaves. Together with the lush grapes, they construct an organic environment, infusing life into these simple objects. The bottle, carrying the wine, acts as a “womb,” intricately connected to its “offspring” - the wine glass. Nurtured within the womb, the wine glass thrives and blossoms with succulent grapes. The vine can be perceived as the “umbilical cord of life,” tightly linking the two, depicting the marvellous process of human development from cellular inception and reproduction to the growth of life. The artwork seeks to evoke attention to “body” and “feminism” in the conservative Japanese art scene of that time. Enchanting Radiance: The Ultimate Power of Growth Untitled is predominantly rendered in a vibrant peacock green monochrome, emphasizing its organic and botanical nature. The entire surface is sprinkled with shimmering silver powder, as if bestowing upon it an unreal and powerful energy. It not only showcases a vibrant aesthetic but also, through its sparkling visual experience, sings a hymn to life. The shapes of the wine glass and bottle, formed through the artist's hand moulding and firing techniques, exhibit slight irregularities, further embodying the concept that life, though imperfect, is unique and precious, with each soul being one of a kind.

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