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陳建中 Chan Kin Chung b.1939 構圖十六號 Composition No.16
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
一九八一年作
Painted in 1981
100 × 100 cm. 39 3/8 × 39 3/8 in.
款識 Chan Kin-Chung 1981(右下) 出版 1995年,《陳建中——視象詩情》,友豐出版社,巴黎,第14頁 1996年,《陳建中》,飛元藝術中心,台北,第3頁
Signed in English and dated on bottom right LITERATURE 1995, Chan Kin-Chung: A Poetry of the Things Seen, Editions You-Feng, Paris, p.14 1996, Chan Kin Chung, Fairmate Art Gallery, Taipei, p.3
展覽 1996年6月8日至30日,「陳建中個展」,飛元藝術中心,台北 來源 台北飛元藝術中心 現亞洲私人藏家直接購自上述來源 註:畫背貼有台北飛元藝術中心展覽標籤 含蓄靜穆中銘刻的光陰 陳建中代表性「構圖」系列之作 「除了大街以外,巴黎有一些巷子是很安靜的,我看到一些裂縫、一些柵欄,覺得很安靜,安靜的讓人產生複雜的感受。所謂一種神秘感就是這種東西,我就是追求這種感覺,畫出一種氛圍,引起人家去想像。」 ——陳建中 作為第三代海外華人藝術家代表者之一,陳建中1938出生於廣東寧川,1961年畢業於廣州美院油畫系,1969年赴巴黎國立美術學院求學。在法期間,他白日打工謀生,晚上全心創作,時常流連於各大博物館忘我地吸收知識。當時,抽象繪畫如日中天,而陳建中並未隨波逐流。他從樸素的生活細節中汲取靈感,關注並描繪城市角落、台階、門牆等物象,展現被遺忘的角落中動人心弦的美。1972年,他剛誕生的「構圖」系列受當時已名震海外的趙無極偶見、大為讚賞,在其向法國文化部的力薦下,他於畫壇嶄露頭角。兩年後,他獲法國文化部主辦的「國家贊助第一次展」評審獎,並於1975年憑此獎在巴黎達里雅爾畫廊舉辦個展,為第一位獲此贊助的亞洲畫家。其作先後被收藏於法國國立現代藝術基金會、巴黎市立現代藝術館、香港藝術館、中國廣東美術館等。是次即呈現其經典的「構圖」系列成熟之作—完成於1981年的《構圖十六號》,他著眼於細微之處,描繪樸素卻銘刻光陰流轉的牆垣,令人感受到沉靜的禪意。 本作中,深灰色的油彩自畫面上端流下,與牆體的灰白色親密無間地交織,像是歷經風雨的洗禮,牆面顯露被雨水濡濕的痕跡。其上,線條的一刻一劃像是崢嶸歲月的足跡,它們或短或長,有的輕輕掠過,近乎與牆面融為一體、而有的引人注目,例如那幾條橫跨中部的白色寬痕,好像水中游魚穿過灰色雨簾,或如生活中磨煉的深刻印記,靜默地記錄著如梭光陰。而畫面下端橫亙一條蜿蜒崎嶇的縫隙,以逼真的筆觸畫出明確的光影塊面和細膩的線條,絲絲入扣地展現出斷裂處的溝壑縱橫,更添幾分超寫實的趣味。遠看此作,不同明度的灰彩疊加彷彿抽象畫一般充滿韻律感,克制而優雅。近而觀之,品之不盡的細節深深捕獲觀者視線,邀請人們進入熟悉卻新鮮的領地。正如文學家馮驥才如此評價陳建中之作:「這些畫讓我們的視點從光怪陸離的現實世界離開,回歸到生活最樸素、最單純的層面上,享受著一種徹底的沉靜與平和」。
EXHIBITED 8 - 30 Jun 1996, Chan Kin Chung, Fairmate Art Gallery, Taipei PROVENANCE Fairmate Art Gallery, Taipei Acquired directly by present private Asian collector from the above Note: a label of Fairmate Art Gallery, Taipei is affixed on the reverse Serenity Shines through a Landscape of Etching The Iconic Work of Chan Kin Chung's Composition Series Chinese painter Chan Kin Chung is one of the third generation of Chinese artists who lived overseas. Born in 1938 in Ningchuan, Guangdong province, Chan graduated from the Guangzhou Academy of Fine Arts, with an academic focus in oil painting in 1961. He then furthered his practice and study at école Nationale des Beaux-Arts in Paris in 1969. Inspired by the simple details of life, Chan's visual landscape depicts observations of city corners, steps, doors and walls of the street. Each study highlights the stirring beauty of forgotten corners and streetways. In 1972, Chan Kin Chung began his Composition series. It instantly became a reputable series, to which caught the attention of the internationally renowned artist Zao Wou-Ki. With the recommendation by Zao to the French Ministry of Culture, Chan's reputation was enriched and made a name as an established artist. Two years later, he was awarded the jury prize for the First Exhibition Sponsored by the State, an exhibition organized by the French Ministry of Culture. With this international award as a major recognition, Chan held a solo exhibition at the Galerie Dariare in Paris in 1975, being the first Asian painter to receive such a sponsorship. Chan's works have been collected by the Fondation Nationale des Arts Moderne, the Musée d'Art Moderne de la Ville de Paris, the Hong Kong Museum of Art, and the Guangdong Museum of Fine Arts in China. Amongst many of his prolific works, Composition No. 16, completed in 1981 is an outstanding and mature work of his, and fully encapsulates the iconoclasm of Chan's Composition series. In Composition No. 16, flowing gray oil paint descends from top to bottom, as if a thunder-storm journey occurred on the surface. In the layering of the canvas, paint mimics the harshness of powerful rain against a building's exterior. In addition, lines of deep accents are marked across the depth of surface, creating the illusion of history and time. Some line markings are short, others are long, yet it is of light brushwork. Together, the markings blend in smoothly with the wall. For instance, the wide white markings across the middle of the canvas suggest a scenery of fish floating in the water through a gray rain curtain, or the eternal deep markings of life's trials and tribulations, silently recording the passage of time. Each marking eludes people's imagination. By the lower quadrant, a rugged crevice is seen. Through the application of brushwork, light and shadow highlight the surrounding surface and its delicate strokes. The hairline of cracks details a picture of gullies and ravines, adding accents of hyper-realism. Chan's powerful depiction is indeed celebrated, with scholar Feng Jicai once said, "These paintings allow us to look away from the bizarre world of reality and return to the simplest and purest aspects of life, enjoying a complete calmness and peace."

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