| 中文版 English

具体要求

其它要求

-
关闭
草間彌生 罌粟花 壓克力彩 織物 畫布 一九八二年作 Yayoi Kusama b.1929 Poppy Acrylic and fabric on canvas Painted in 1982
香港
2023年10月08日 开拍
拍品描述
size:22.5 x 16 cm. 8 7/8 × 6 1/4 in.
款識 1982 Yayoi Kusama(畫背)
Signed in English and dated on the reverse
來源 亞洲重要私人收藏 附:草間彌生工作室開立之作品登錄卡 永恆盛放:以勇氣澆灌的生之花 草間彌生早期重要代表作《罌粟花》 「有一天,我盯著桌布上的紅花圖案看了一會兒,然後抬頭看見天花板、窗戶和柱子彷彿都蒙上了一層紅花圖案。我看到整個房間、我的身體和整個宇宙都被紅花所覆蓋,那個瞬間我的靈魂被沖刷得無影無踪,我恢復到本源,回到無盡,那裡有永恆的時間和無垠的空間。那不是幻象,而是事實本身。我震驚地看到了自己的靈魂深處。」 ——草間彌生 美國藝評家布朗(Gordon Brown)曾說:「美國人眼中的日本女人就像溫室裡的花朵,草間彌生打破了這樣的看法,她是強悍而富有創造力的異類」。這位在1959年以一己之力突破異鄉人身份及性別桎梏的藝術家,在彼時世界最為活躍的藝術中心紐約一鳴驚人,且持續保持令人驚訝的創作能量。她不僅與西方重要的藝術家如沃荷(Andy Warhol)等人同台競技,且於1993年成為第一位單獨代表日本參加威尼斯雙年展的女性藝術家。如今,草間之作被收藏於紐約現代藝術博物館、古根漢美術館、倫敦泰特美術館、國立東京現代美術館等90多個重要機構。她不僅是世界上最為出名的當代藝術先鋒之一,在與LV、BMW等品牌的跨界合作後,更成為全球絕對的潮流標桿。是次秋拍將呈現草間彌生首現拍場的珍稀自喻性代表作——以經典紅花為主角的《罌粟花》,作品罕見的結合「無限網」、「波點」、「拼貼」和「花朵」,為其深入人心的招牌藝術語彙之集大成者。 源自童年的真紅之花 草間彌生對「花」這一主題的描繪最早可追溯至其10歲時的素描《無題》。童年時代的她因受父母忽視,在彼時保守壓抑的日本社會中飽受孤獨。而經營植物種子批發的祖父的花田則成為其救贖的出口。在與自然的長期相處中,草間因幻視、幻聽產生了花朵動了起來、在她耳旁竊竊私語的幻覺。而花朵遍佈宇宙的幻覺,極大程度上影響了草間日後的創作,正如其回憶錄自言:「我後來發展起來的藝術的基本概念,包括解體與積累、增殖與分離,粒子的消滅感以及看不見的宇宙回聲,全部生發於當時的親身經歷」。 而在年少迷惘的日子,美國女性藝術家歐姬芙(Georgia O'Keeffe)是草間的精神寄託。1955年,她無意中看到了歐姬芙的畫冊,當中那巨大的紅色罌粟花優雅盛開著,毫不避諱地自由舒展宛若女性軀體的花瓣,強烈的感官之美深深吸引了她。該年,她鼓起勇氣向歐姬芙毛遂自薦,收到了對方的鼓勵。赴美後,歐姬芙不僅專程與其相會,且給予她多方援助,包括介紹她多位美國經紀人。正是這一段女性之間彼此理解和支持的佳話,造就了一代「波點女王」,也讓美麗而熱烈的「紅花」,成為了她們共同的畢生所愛,象徵女性藝術家看似柔弱嬌小的外表下那勇敢堅韌的火熱內心。紅色的罌粟花妍麗多姿卻又能致幻,是草間的靈感源頭和畢生執念,也是她靈魂的棲息地及自我的表徵:早在60年代旅居美國時期,她就曾發表狀似「紅色罌粟」的軟雕塑創作,並以此登上美國《Art Voices》雜誌封面。此外,她還曾多次將「紅花」主題的畫作命名為《自畫像》,以花自喻。而在2003年「妻有大地藝術祭」的大型公共雕塑《妻有花開》,草間以中央一朵恣意盛開的紅罌粟為核心,此被其自豪地稱作「我心中的最愛」。縱觀草間的創作生涯,她在不斷描繪紅罌粟革命性的藝術創新中,已不再懼怕童年的創傷,而是儼然成為了那一朵篤定盛放的花,欣然接受天生的與眾不同,與自我達成和解。 破土重生:堅韌頑強的生命之花 是次上拍的《罌粟花》完成於1982年,彼時在美國已富盛名的草間在1970年返日本後卻飽受保守媒體的攻訐,她回憶初回日本的自己成為媒體口中「異端的花朵」。而即使身處外界的質疑聲浪中,她仍堅持創作,終於在八十年代如花朵一般衝破土地,奪回了屬於自己的榮譽:1982年,她在東京富士電視台畫廊舉辦了回國後最盛大的個展;1985年,她身著紅色舞裙,在東京九品佛淨真寺化身一朵「真紅的花」縱情舞蹈;緊接而來是全世界諸多藝術機構的展覽邀約,掀起一陣被媒體稱之的「草間旋風」。而《罌粟花》正見證了她彼時如日中天的生活及事業狀態。 在此作中,花朵宛如草間紅色的舞裙,帶有波浪的裙擺優雅地聚攏在一起,黑色的波點點綴其中,如同罌粟花籽,在真紅的自然溫床中盡情舞蹈。筆直的花莖穩穩支持花朵,其上以綠色橢圓形排成仿若莖葉細胞的波點陣列,若示現了「植物莖稈內部的放大圖」。在波點中,可見小如細微的生物孢子、大如宇宙銀河的投射,滿含生命強大的無限增生力量。而那玄黑色的背景像是寧靜厚重的土地,默默承托著世間萬物,和罌粟鮮嫩的綠葉之間以白色「無限網」連結,展現萬物息息相關、牽一髮而動全身的關係。葉片形狀的三角「無限網」是草間幼年時在植物上所見的纖細網路,是自我消融的精神鏈接,而觀者的目光若跟隨畫中蜿蜒起伏的線條,將被深深捕獲,若能在其中聆聽到大地堅實有力的心跳,沉浸於宇宙的神秘秩序。在紅花翠葉、青空黑土的對比之中,波點和無限網默默編織自然生命的密碼,宛如草間畢生的信仰,支撐起她無限延展、萬物共鳴的世界,強大而飽含張力。 此外特別的是,《罌粟花》不僅是草間彌生代表性的「紅花」主題作品,亦結合其1975年開始在創作中展現的拼貼手法。她在此以帶有白色波點的藍色鋸齒狀織物拼貼於畫面邊緣,製造玩味的立體層次感,如若罌粟花頭頂的一片藍天,靜靜地守望之。此特別結合了多媒材的創作無疑突出了作品的珍稀性。藝術家本人亦對此作珍愛有加,於作品完成同年將此畫以版畫形式表現,足見其傾心及高度滿意。 如草間自言:「我猶如一朵變化著絢爛的身姿,以展示自己生命力的花一樣。我恰好活在這個時代,並全力吸入時代的氣息,面向未來綻放出一朵鮮紅的花」,《罌粟花》正是她80年代初期最好的自我寫照。她全然不顧外界批評的惡意揣測,如同一朵迷人而茁壯的罌粟花,不顧一切地衝破時代局限,傲然綻放、歌頌著屬於她的生命之歌!
PROVENANCE Important Private Collection, Asia This work is accompanied by a registration card issued by Yayoi Kusama studio Eternal Blossoming: Flower of Life Nourished by Courage Significant Representative of Yayoi Kusama's Early Pieces : Poppy “One day, after gazing at a pattern of red flowers on the tablecloth, I looked up to see that the ceiling, the windows, and the columns seemed to be plastered with the same red floral pattern. I saw the entire room, my entire body, and the entire universe covered with red flowers, and in that instant my soul was obliterated and I was restored, returned to infinity, to eternal time and absolute space. This was not an illusion but reality itself. I was shocked to see to the depths of my soul.” ——Yayoi Kusama American art critic Gordon Brown once said, “Americans think of Japanese girls as hothouse flowers, Kusama surprises them. She is rugged and strong—a veritable human dynamo of creative energy and artistic achievement.” In 1959, the artist who broke through the shackles of foreign identity and gender boundaries became a blockbuster in New York, the most active art centre in the world. Not only did she compete with the important Western artists at that time, but she also became the first female artist who independently represented Japan at the Venice Biennale in 1993. At the present moment, more than 90 influential institutions around world have been collecting Kusama's works. She is far more beyond one of the most famous contemporary art pioneers in the world. After her cross-border cooperation with Louis Vuitton, BMW, and other brands, she has become an absolute trend benchmark in the world. This autumn auction will present Yayoi Kusama's rare and self-explanatory work that firstly appears at the auction–Poppy, which features the classic red flower as the protagonist, combining Kusama's classic artistic vocabulary from “infinity net”, “polka dot”, “collage” and “blossom”. Flower of True Red Originating from Childhood Yayoi Kusama's depiction of the “flower” motif can be traced back to her sketch Untitled in her teens. During her childhood, Kusama suffered from loneliness in the conservative and repressed Japanese society because of her parents' neglection. The flower field of her grandfather who ran the wholesale of plant seeds, however, became the exit to her salvation. Accompanied by nature for years, Kusama gradually had the illusion of flowers flickering and whispering in her ears which greatly influenced Kusama's later creations. In her confused days of youth, American artist O‘Keeffe was Kusama's spiritual comfort. In 1955, she came across O ‘Keeffe's album of paintings, in which the huge red poppy unfurled freely like the petals of a woman's body. Such an intense sensory beauty deeply attracted her. After Kusama's arrival in the United States, O'Keeffe offered her a lot of assistance, including introducing her several American art agents. It is this story of mutual comprehension and support between women that has led to the generation of “polka-dot queen.” The red poppy is gorgeous, yet delusion-inducing, representing Kusama's source of inspiration and self-expression: as early as in the 1960s, she published the soft sculptures of red poppies and appeared on the cover of American magazine Art Voices. In addition, she has repeatedly named her paintings of “red flowers” as Self-portrait. Throughout Kusama's career, she has been blossoming like the red poppy in her consistent, and revolutionary artistic innovation of this motif to overcome her childhood trauma and reach a reconciliation with herself. Rebirth from the Ground: the Tenacious Flower of Life Poppy was finished in 1982. Kusama, who was already well recognized in the United States, was maliciously criticized by the conservative media when she returned to Japan in 1970, being attacked as a “flower of heresy”. Despite the consistent criticism, Kusama insisted on artistic creation and finally in the 1980s, she broke through the ground like a blossoming flower, winning back her own honour: in 1982, she held the biggest solo exhibition after returning to Japan in Tokyo Fuji TV Gallery; in 1985, she wore a red dance dress, freely dancing in Tokyo's Kuhonbutsu Jyoshinji Temple, setting off a “Kusama whirlwind.” Therefore, Poppy is a witness of her life and career at that time: she was like a charming and athletic poppy, regardless of the limitations of her age, proudly blooming and singing the song of life that belongs to her own. In this work, the flowers suggest the red dance dresses in the grass. With the wavy skirts elegantly gathered together, black polka dots are interspersed among them, seeming like the poppy seeds in the dance. Above the straight flower stems, green ovals stand in lines like a polka dot array of stem and leaf cells, delivering an infinite proliferation power of life. However, the dark background seems to denote the quiet and heavy land, silently supporting everything in the world. It connects the fresh green leaves of the poppy by the white “infinite net”, showing the intimate relationship between creatures in the nature. The triangular “infinite network” in the leaf shape is the thin network lines seen on plants when Kusama was young, which signifies a spiritual link of self-melting. If the viewer's eyes follow the winding and undulating lines in the painting, it seems that they will be captured and deeply immersed in the mysterious order of the cosmos. The more interesting fact is that Poppy is not only Kusama's representative “red flower”, but also the presentation of her collage techniques that she began creating in 1975. The blue jagged fabric with white polka dots is collaged around the edges of the painting, creating a sense of three-dimensional layering, as if a blue sky watching over the poppy. This special combination of multi-media materials undoubtedly highlights the rarity of the work. The artist herself also cherished it and emphasized it by publishing its print form in the same year of creation.

本场其它拍品

  • 竞价阶梯
  • 快递物流
  • 拍卖规则
  • 支付方式
竞价区间 加价幅度
0
1,000
10,000
2,000 5,000 8,000
100,000
10,000
200,000
20,000 50,000 80,000
1,000,000
100,000
2,000,000
200,000 500,000 800,000
10,000,000
1,000,000
+

取消

价格信息

拍品估价:3,000,000 - 4,000,000 港币 起拍价格:3,000,000 港币  买家佣金:
落槌价 佣金比率
0 - 5,000,000 20.00%
5,000,000 - 20,000,000 17.00%
20,000,000 - 以上 14.00%

拍卖公司

中国嘉德(香港)国际拍卖有限公司
地址: 中国香港金鐘道89號力寶中心一座五樓
电话: 852-28152269
邮编: 10000
向卖家提问