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楊識宏 Yang Chihung b.1947 生命力 The Vital Force
香港
2024年04月07日 开拍 / 2024年04月05日 截止委托
拍品描述
壓克力彩 炭筆 畫布
Acrylic and charcoal on canvas
一九八七年作
Painted in 1987
152 × 198 cm. 59 7/8 × 78 in.
款識 Chihung Yang The Vital Force 1987(畫背)
Signed and titled in English, and dated on the reverse
來源 2013年6月2日,台北羅芙奧春季拍賣會,拍品編號659 新加坡品博藝收藏 言萬象磅礴,奏千古絕唱 楊識宏縱橫美學之靈韻結晶 「繪畫的行為是一種未知的探險,含蘊著無限的驚奇與變化。繪畫就是我對這轇輵真實生命情境具體而微的靈視與觀照。」 ——楊識宏 生於1947年的楊識宏,被譽為當代華人抽象藝術的領軍人物,在迄今40餘載的旅美生涯中,他逐步建立自身在創作和影響力的翹楚地位。自1979年移居紐約後,他旋即獲藝術界認可,如1984年他成為首位獲「MoMA P.S.1當代藝術中心計劃」獎助的華人藝術家,1989年又獲紐約州州長頒發「傑出亞裔藝術家獎」,並不斷在世界各地發表個展,如2015年東京上野之森美術館、2019年廣東美術館均舉辦其大展。而其公共收藏範圍更逐步擴大,如新加坡國家美術館、美國阿爾德里奇當代藝術博物館、紐約市立大學、台北市立美術館、香港的中環廣場等皆收藏其作。在2013年,世界著名的Discovery頻道曾挑選他做為「華人藝術平面繪畫類代表」,以一年時間走訪其紐約畫室,並近身拍攝他在第55屆義大利威尼斯雙年展中「文化.精神.生成」的展演,如此豐富的經歷,足見楊識宏在當今藝壇的成就。 而在他近半個世紀的創作生涯中,其畫風驚人地展現了六個階段的精彩演化。是次呈現的《生命力》(拍品編號72)誕生於1987年,為其旅美後突破過往寫實,將浪漫主義和象徵主義融合而創的「文明考古」系列,展現對自然與人文精神的終極關懷。而完成於2012年的《賦格》(拍品編號73)則為其近年飽獲讚譽、被視為創作巔峰的「東方詩學」時期代表,以雄渾奔放的筆墨再現音律的抽象之美。作品見證了楊識宏多年來在考古學、書法、哲學、文學、音樂等領域廣泛而淵博的學識,並為其旅美後將西方後現代主義的眾多流派之精髓融並為自身的藝術碩果,開啟了他萬象磅礴的美學藝境。 波瀾壯闊的文明史:永生不竭的《生命力》 「楊識宏的繪畫是對自然的沈思。它們探究自然與精神性的交匯,用生動有力的繪畫性語言、洞察力與研析來發展這個語言,拓展了繪畫的語言以及視覺思考之表現的可能性。」 ——美國藝評家艾柏尼(David Ebony) 1987年,楊識宏於哥斯大黎加國家美術館(Costa Rica Museo de Arte Costarricense)舉辦了其早年旅美的重要美術館級個展,也藉此契機遊歷了中美洲熱帶原始森林。自然界旺盛的生命力,帶給他極大的震撼和創作養分,使其創生了著名的《假面的告白》、《自然循環的神話》之作,亦將其創作推向另一高峰。《生命力》即為完成於該時期的精彩力作,以如同考古文明般的圖像,大膽地將一棵粗壯挺拔的古木橫亙於畫面核心,其自左生出新枝嫩葉、自右根繫廣袤大地,在四季風雨的萬年流轉中,增長出不息的生命體魄。 在此作中楊識宏特別以炭筆所獨有的粗礪質感,描摹著木紋的斑駁肌理,隨著壓克力彩在其上揮灑羅織,而那隱現於樹中的橘彩光輝,正緩緩滿溢至草綠色的自然,直至底端象徵著大海的寶藍,帶領人們的想像深入其中。畫中深沉開闊的線條若仿擬橫跨水底的海洋植物,亦勾連著藝術家自身對於東方書法筆墨的思考。那線條的起伏與色彩的幻變,微妙地彼此相結合,若將一種驚人的細膩感鋪展在充滿象徵意味的圖像之中。而畫中之樹,既象徵著自然的原生力,也代表著文明火種、人類起源的多重誘因,在畫面時空的交錯中,若串聯起「古與今」、「天與地」、「東與西」、「自然與文明」的雙向交流。作品滿載古典浪漫主義的特質,似以抽象的形式再現了高更(Paul Gauguin)《在舊時光裡》對於文明從何處來的深切思考。而在充滿象徵主義的橫木中,楊識宏將高更筆下理想化的世外桃源,化為一處波瀾壯闊的文明史,以神秘如詩的色彩訴說著遠古蒼莽的玄奧低語、以力聚千鈞的豪放筆墨鋪展著上天入地、博古通今的廣闊胸懷,更傳達著自然在枯與榮、靜與動、過往與新生中的終極二元,與那無窮迸發的生命之力。 朱弦三嘆:《賦格》曲樂的華章 「人的聲音,與生俱來,是很官能性的,所以也受肉體生命的限制。但是經過藝術家的創造變成音樂時,卻能穿越數百年的時空,幾近永恆地載負人存在的本質。音樂是有始有終的,但帶給人的卻是綿延無盡的感受……」 ——楊識宏 德國哲學家尼采(Friedrich Nietzsche)曾在其著作《悲劇的誕生》中,引用德國詩人席勒(Friedrich Schiller)所言之「音樂的心境」,繼而引申出「創作,始於音樂精神」的觀點。而在繪畫領域,音樂亦是眾多創作者的靈感源泉,如康定斯基(Wassily Kandisky)認為,音樂可以喚醒藝術靈性和內心情感,現代主義藝術之父塞尚(Paul Cézanne)以音樂詞彙的「轉調法」描述他將色彩和諧化的創作模式,而華人抽象大師朱德群每每創作,必有音樂相伴。對於2011年後的楊識宏而言,筆墨縱橫的抽象表達已臻出神入化之境,其在形式上的探索,亦從過往對自然草木、書法線條的機杼意趣,拓展至音律波感的高度提煉,達至集大成的「東方詩學」。是次呈現之《賦格》便為其綜合西方音樂、東方書法之抽象的表徵。 作品以盛行於巴洛克時期的一種複調音樂體裁「賦格」為題,將此音樂形式最主要的兩大特點—「主題和回答」、「對位和模仿」融入創作。「主題和回答」意指一段主旋律在出現不久後,另一聲部緊接著以不同的調式插入同一段旋律作為回應,如此反復,令同一段旋律在不同聲部中此起彼伏、如影隨形,以音域間的錯位拉開差距。而「對位和模仿」則是在此基礎上,安排好不同聲部的進入時間,形成多個旋律線交織的肌理,在兼顧多聲部和諧的同時,亦追求每一段旋律的獨立性。《賦格》一作充分反映了此西方音樂形式「一唱三嘆」的獨特韻味,畫面整體結構看似疏鬆自由,實則內裡充滿縝密的邏輯:左右兩側以幾近旋轉對稱的結構打開畫幅,由源於書法狂草的濃墨線條自低位向高位逐步進發,俐落酣暢地仿擬著跨越八度的音域變化,上下空間亦隨之產生由淡至濃的色彩變化,令畫面之抗衡與互補兼具、張力十足。而後在高音區,奔騰強韌的筆勢來回震盪,衍生出多層的波紋,如同演繹同一旋律在不同聲部的華麗複調,誕生一種綿延迭起的美感。其間熾熱的橙光在其下熠熠閃耀,激蕩出生命的瀲灩華彩,強化了同一旋律的張力起伏,並最終歸於純色的舒緩之境,令曲韻餘音繞樑、久久無法忘懷。 作品既似黃鐘大呂般醇厚莊嚴、又具絲竹管弦的華麗萬象,以精密嚴謹的複調結構,充分展現了抽象筆墨的戲劇張力和音律美感,令作品高度詮釋著老子道德經中「惚兮恍兮,其中有象;恍兮惚兮,其中有物。窈兮冥兮,其中有精;其精甚真,其中有信」的盛景。當觀者的目光在其間游走,心弦亦為之所撼,磅礴萬象無一不現,絕唱千古音波裊裊,極視聽之所娛,而獲音樂精神的生命真境!
PROVENANCE 2 Jun 2013, Ravenel Taipei Spring Auction, Lot 659 Collection of Pink Bear, Singapore Majestic Words, Timeless Melody Yang Chihung's Showcases of Aesthetic Spirit Over a creative career of almost 50 years, the painting style of Yang Chihung has undergone six stages of exquisite evolution. The Vital Force (Lot 72) was created in 1987 and represented a break from the artist's earlier realist style after visiting the United States. Indeed, his Civilization and Archaeology series combed romanticism and symbolism, highlighting the artist's ultimate concern with the spirit of nature and culture. In contrast, Fugue (Lot 73) is an excellent example of a more recent work that received much praise and is widely viewed as a creative peak in Yang's "Eastern Poetry" period, re-presenting the abstract beauty of rhythm, through vigorous and unrestrained brushwork. Magnificent History of Civilization: Eternal Vital Force In 1987, Yang Chihung held an important museum-based exhibition at the Costa Rica Museo de Arte Costarricense (Museum of Costa Rican Art) during his early years in the US, and used the opportunity to visit tropical virgin forests in Central America. The Vital Force is an outstanding work completed in this period and with its civilization and archeological like images boldly places a thick, straight piece of ancient timber at the centre of the work. On the left-hand side, the wood sprouts new branches and lush leaves, while on the right its roots take hold of the universe, endlessly propagating life in the boundlessness time of changing seasons. In this painting, Yang uses the unique roughness of a charcoal pencil to depict the mottled texture of the wood grain, and together with the free and easy framing of acrylic colour on top of this, the faintly discernible orange radiance on the tree slowly spills into the greenness of nature. It reaches all the way to the dark blue at the bottom of the work which symbolizes the ocean, drawing in the imagination of viewers. Moreover, the tree at the centre of the painting both symbolizes the primordial vitality of nature, the kindling of human civilization and the multiple inducements that underpin the origins of humanity. At the same time, the overlapping time and space in the painting also speaks to the two-way flow of "ancient times and present," "heaven and earth," "East and West," "nature and civilization." The work is replete with classic romantic features, as if the abstract forms re-present Gauguin's Mata Mua (In Olden Times) in which the artist mused on the origins of civilization, ingeniously conveying the ultimate dualism of nature in withering and flourishing, stillness and movement, past and new life, together with boundless exploding vital energy. Beautiful Music: Brilliant Fugue Composition From 2011, Yang Chihung took his former interest in the mechanics of natural flora and calligraphic lines and expanded this to include the high refinement of undulating melodies, elevated to a comprehensive collection in "Eastern poetry." The work for auction Fugue is an abstract representation in which the artist combines Western music and Eastern calligraphy. This work takes "Fugue," a popular vehicle for polyphonic compositions in the Baroque period as its focus, fully embracing the unique "one song, three harmony" charm of this Western musical form. The overall structure of the painting appears loose and free, but is imbued with its own elaborate internal logic. On the left and right sides of the work, approximate rotational symmetry opens up the picture, with thick ink lines that originate in the wild-cursive lines of calligraphy gradually making their way upwards from the bottom of the painting, clearly and deftly imitating the range changes of transcending octaves. In line with this, the colour of the space above and below changes from light to thick, infusing the piece with competing and complementing elements as well as tension. Thereafter, in the high pitch area at the top, the back and forth of the surging and indomitable brushwork creates multiple layers of ripples, like a wonderful polyphony with the same rhythm emanating from different voice types, giving birth to an aesthetic with extended undulations. Within this scenario there is also a red-hot orange light under which the brilliance stirs up and brims with the flamboyance of life. This highlights the undulating tension of the same rhythm and ultimately returns to the comfort of pure colour, ensuring the lingering tune remains unforgettable long after. The precise and rigorous polyphonic structure of this work fully showcases the dramatic tension and rhythmic aesthetic of abstract brushwork. As viewers look at this painting it tugs at the heartstrings, providing the very pinnacle of audio-visual enjoyment, imbued with the life truth of musical spirit.

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价格信息

拍品估价:280,000 - 380,000 港币 起拍价格:280,000 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%

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