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阿凡迪 Affandi 1907-1990 魚龍 Ikan Naga
香港
2024年04月07日 开拍 / 2024年04月05日 截止委托
拍品描述
油彩 畫布
Oil on canvas
一九七七年作
Painted in 1977
100 × 150 cm. 39 3/8 × 59 in.
款識 AF1977(左下)
Signed in English and dated on bottom left
來源 原藏家直接購自藝術家本人 亞洲私人收藏 附:日惹阿凡迪美術館開立之作品證書 人與神的頌歌 阿凡迪的民間神話 「有一天,一位藝術收藏家來到我的畫室,他問我為什麼不畫美麗的東西:風景、女孩等。我也喜歡美麗的事物,但它們並不一定能為我的創作提供靈感。我的主題是表現性的,而不僅僅是美麗的。」 ——阿凡迪(Affandi) 膾炙人口、被譽為「將印尼藝術引入全球現代主義藝術運動的功臣」的現代大家阿凡迪,從未接受正規的藝術訓練,其創作動力完全來自對藝術的熱情和己身的勤奮。他於1907年出生於印尼西爪瓦,27歲才開始自學藝術,後成為藝術家,定居日惹。1949年至1951年,他遠赴歐洲壯遊,並在英國、法國、比利時等地參展發表其作,後在1952至1956年間,更連續代表印尼參加聖保羅雙年展及威尼斯雙年展。其作品迄今曾為澳大利亞國家美術館、新加坡國家美術館、福岡美術館等收藏 作為一位充滿人文關懷的藝術家,阿凡迪堅信人類的普遍經驗高於一切,並將畢生精力投入到創作中,以捕捉「人類生活的本質」。這種真實描繪生活的決心使他有別於外國藝術贊助人所青睞而在印尼盛行的浪漫主義描繪,而是以線條誇張的表現主義,激昂有力地表達出印尼平實生活中的「甘榜精神」(Kampong Spirit):甘榜一詞在當地泛指鄉村,意味著貼近泥土、自生活取材的樸實情懷。是次呈現藝術家完成於1977年的作品《魚龍》,其以人性的「魚」與神性的「龍」對話,如同人神交戰、時空對話,交織出生命的火花。 魚躍龍門,海闊任我飛 畫面以藝術家標誌性的「漩渦」筆觸敘事,在藍、黑、紅等粗放的線條之上,依稀可見一條「金龍」與「紅鱗魚」面面相覷,各有乾坤。龍沉潛至底部,雙目直視畫外,蛟長的身軀延伸至畫面頂部,氣勢如虹!而畫面右半,一條魚正向其遊去,其身軀敏捷,對眼前的龐然巨物絲毫不懼!藝術家在此以細短的圓弧勾勒魚鱗,在創作時動作有一種快速感,但光線卻有策略地集中在其鱗片上,令其身軀極富光澤,增添了此作的觀賞性。背景不規則的黑、白條紋烘托了前景魚龍的運動感;兩相對峙,似劍拔弩張,各顯神通。又如「魚躍龍門」,龍與魚的含義在印尼語中與中文近似,顯示出藝術家隱含祝福的美好願景。 自發性繪畫的生命力 「自發性」是阿凡迪創作最為突出的特點,他相信自己的視覺和直覺,堅持在畫布上記錄下身體和情感上的每一個瞬間。為了保持對突如其來的狂熱純粹的表達,他將畫布鋪在泥土地上,徒手在畫布表面作畫。在《魚龍》中,他用手掌將顏料向外塗抹在畫布上,通過自己的手勢有力地傳遞了速度和運動:如在畫面的右上部分,以手掌覆蓋更深面積的藍,來象徵魚所居住的海底。而在左半部分,則可觀察到其手指深入管狀顏料的粗線條中,引導顏料露出未經混合的原始色彩下的裸露畫布,為主角注入生命。 身臨其境,把握精彩瞬間 阿凡迪的作品經常被拿來與梵高(Vincent Van Gogh) 之作相比較,或因他畫面厚重的浮雕和不加調和的色彩。然而其作在表現手法上更直接,在精神上更接近於具體派的藝術家白髮一雄。白髮在創作中用手和腳將身體的能量直接傳遞到繪畫表面,而顏料則記錄了他不受阻礙的行動。著名美國抽象表現主義藝術家波洛克(Jackson Pollock) 也同樣喜歡用自發性的手勢表達內心的騷動。然而,白髮一雄和波洛克是在進行純抽象的創作,而在《魚龍》中,可見阿凡迪通過筆觸和動作,把握現實生活中場景稍縱即逝的情感特質,並與神話角色相結合,展開了一個新的次元:畫面中,儘管場景以極快的速度展開,但阿凡迪的雙手卻能在畫布上迅速完成創作,巧妙地將瞬間的能量轉化為最充分的表達:魚與龍周身每一道快速而自發的線條都被流暢地拉伸到最飽滿的狀態,或緊緊地盤繞在主角身上,阿凡迪真正的精湛技巧,恰恰體現在其藉助筆觸,把握瞬間氣氛、令人身臨其境的功力。? 阿凡迪自身亦是一個情感豐富、個性鮮明的人,他作畫時經常緊貼著地面,凝神貫注不間歇地完成作品,畫完後又會因疲憊不堪而躺在地上,眼前的畫作便是其此刻的全部。《魚龍》是阿凡迪忠於創作與自我的完美典範,他將近在眼前的生活與遠在天邊的傳說相連,把神話中對未知的美好希冀,與印尼人民與生俱來的甘榜精神緊緊地聯繫在一起。
PROVENANCE Acquired directly by original collector from the artist Private Collection, Asia This work is accompanied by a certificate of authenticity issued by Affandi Museum, Yogyakarta Ode of Man and Deity Folk Mythology of Affandi Affandi never received formal art training, his creative drive solely stemmed from his passion for art and diligence. Born in 1907 in West Java, Indonesia, he began self-studying art at the age of 27 and later became an artist. From 1952 to 1956, he consistently represented Indonesia in the Sao Paulo Art Biennial and the Venice Biennale. His works are now part of collections in institutions such as the National Gallery of Australia, the National Gallery of Singapore, and the Fukuoka Art Museum. As a humanistic artist, Affandi firmly believed in the universality of human experiences. This commitment to portraying real-life set him apart from the prevalent romanticized depictions favoured by foreign art patrons in Indonesia. Instead, he employed expressive lines and exaggeration of form, vividly expressing the "Kampong Spirit" – a sense of authentic feelings drawn from everyday life. Featured in this auction is his 1977 artwork, Ikan Naga, where the dialogue between the fish and the dragon unfolds, symbolizing the interaction between humanity and the divine, weaving the sparks of life. Fish Leap in the Wildest Ocean Amidst bold strokes of blue, black, and red, the dragon submerges at the bottom, its eyes staring beyond the canvas, while a fish swims towards it on the right side of the painting, displaying no fear towards the colossal creature. Irregular black and white stripes in the background enhance the dynamic movement of the fish and dragon. Just like the phrase "Fish leaping through the dragon gate", which signifies a beautiful vision in Bahasa Indonesia, subtly conveying the artist's blessing. Spontaneity: The Vitality of Painting Spontaneity is Affandi's most prominent characteristic in his creations. He trusted his vision and intuition, persisting in capturing every moment of his body and emotions on canvas. To maintain the purity of spontaneous expression, he laid his canvas on the earth and painted with his bare hands. In Ikan Naga, he used his palms to spread paint on the canvas, covering larger areas with a deeper blue to symbolize the underwater habitat of the fish. Being in the Moment, Capturing the Brilliant Instants Affandi's works spiritually resonate with concrete artists like Kazuo Shiraga. Renowned American abstract expressionist artist Jackson Pollock also favoured expressing inner turbulence through spontaneous gestures. While Kazuo Shiraga and Pollock pursued pure abstraction, in Ikan Naga, Affandi opened a new dimension through brushstrokes and movements. Every line around the fish and dragon is gracefully stretched to its fullest, or tightly wound around the protagonists, showcasing Affandi's true mastery in capturing the atmosphere and immersive experience through brushstrokes. Affandi himself was emotionally rich and distinct in personality. He dedicatedly completed his works without interruption, and the painting in front of him was his entire present. Ikan Naga exemplifies Affandi's devotion to creativity and self, connecting the beauty of the unknown from mythology with the inherent "Kampong Spirit" of the Indonesian people.

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价格信息

拍品估价:400,000 - 600,000 港币 起拍价格:400,000 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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