| 中文版 English

具体要求

其它要求

-
关闭
劉煒 Liu Wei b.1965 風景 Landscape
香港
2024年04月07日 开拍 / 2024年04月05日 截止委托
拍品描述
複合媒材 木板
Mixed media on wood board
二〇〇九年作
Painted in 2009
65 × 80 cm. 25 5/8 × 31 1/2 in.
款識 劉煒 Liu Wei 2009(中上) 出版 2009年,《一張紙兒 一塊板兒》,紅橋畫廊,上海,第30至31頁 2012年,《劉煒 一人兒畫》,大未來林舍畫廊藝術有限公司,台北,第148至149、及226頁
Signed in Chinese, pinyin and dated on upper middle LITERATURE 2009, A Piece of Paper A Piece of Plywood, Red Bridge Gallery, Shanghai, p. 30-31 2012, Liu Wei: A Solo Painter, Lin & Lin Gallery, Taipei, p. 148-149 and 226
展覽 2009年9月10日至10月15日,「一張紙兒 一塊板兒」,紅橋畫廊,上海 來源 上海紅橋畫廊 現亞洲重要私人藏家直接購自上述來源 草木有本心,葳蕤自芳菲 劉煒洗盡鉛華的珍罕至純風景 「少小時須令氣象崢嶸,彩色絢爛。漸老漸熟,乃造平淡。其實不是平淡,絢爛至極也。」 ——蘇軾《與侄書》 作為享譽西方藝壇的當代先鋒,並被藝評家栗憲庭譽為「最具才情」的中國藝術家劉煒,憑藉其百變的風格、獨我的才華、自由的思辨而享譽盛名。自二十世紀九十年代,歷經1993、1995年兩屆威尼斯雙年展、聖保羅雙年展、中國現代油畫展等一眾國際展事,劉煒逐漸在西方藝壇大放異彩,其充滿變形意味、湧動著原始慾望的創作圖式,顛覆了傳統觀眾的審美認知,賦予作品一種非同尋常的情緒空間,令人得以重新審視事物的本質,因而飽獲東西方藏家青睞。 而在2003年後,劉煒選擇主動跳出業已成名的圖像敘事,將創作重心投入到「無人的風景」題材,由此走向另一個創作高峰。如其言:「傳統的純粹風景實際是心理風景的外化,為山水顯現應有的完美姿態,幾乎都是圍繞完美風景來做文章。而我的風景是『反風景』,有些另類,錯位複雜,近處看不出什麼形狀,全是凌亂線條的短兵相接。我想風景可涵蓋的東西太多了,不單單是純環境。比如社會風景、問題風景、人物、事件、生存、現象同樣也可以是風景的一種內在格局。」 空與色的形質巧思 其風景主題創作大體可分為兩類,一類延續了劉煒此前「潰爛之處、艷若桃李」的標誌性筆觸,以空曠的顛覆性構圖與艷麗的色彩,賦予畫中景貌一種腐朽中的生機之美。而另一類,則是反其道而行地將色彩提煉至極簡,僅以黑、白、灰三彩入色,卻創造出千姿百態的豐富變化,在吸收傳統繪畫墨分五色的筆意之外,更意在突破山水自然的文化本義,而走向那絢爛至極歸於平淡的空靈之境。此系列作品數量極為罕見,僅有不逾十件。 完成於2009年的《風景》隸屬於後者,並為其中極具前衛精神的代表。作品獨到而罕見地採用木板作為創作基底,畫中未著筆觸的留白,所留出的乃是木板的原色。在這之上,劉煒以一種超乎尋常的鬆快筆勢,創造著自有天成的野逸趣味。當中黑白之色,在豐富的過渡、連接和交疊中,建構起一個如萬花筒般的自然視覺場域,木材本身的淺木黃,則在畫面中化為大地土壤的色彩,襯托著草木的生命,展現出劉煒對材料、色彩倒置的妙思。 渾然天成的筆墨生命 畫面上,廣袤的原野綿延至遠方,左側枝枒自上方橫斜,中央的樹木一枝獨秀地立於天地,大膽地分割著遠近空間,景物疏空,卻層次有致,形成咫尺千里的強烈透視感。在下方,佔據畫幅三分之二的抽象筆觸,以看似無序的自動性技法式的筆觸,縝密而強勁地交疊其中,引出落拓不羈的「筆墨」興味。綿密細線的淺墨打底,覆蓋上狂草般的濃墨,再以團團的灰調白彩滲透,交織出陰陽向背的起伏變化,充滿傳統山水畫中的「破墨」韻味。而筆觸營造出的粗礪肌理,似連接著古樸滄桑的碑拓,更在斑駁中,訴說著如同黑白照片的過往,在無聲中醞釀著風雲的變遷。而畫框亦未框住他那隨性的筆觸,此處彩與墨延伸出畫面的範圍,生生不息地進入外層的空間,延續著草木無限蔓延的生長力,令畫面內外渾然一體。 心存風骨,草木成詩 「對比於此前那些急於表現肉體潰爛與腐敗的強迫性技法,劉煒對於如何再現自然生長之物的『成住壞空』過程,仍然深感興趣。極為不同的是,如今他容許時間進駐,讓自然按照自己的節奏發酵,使畫作成為觀者目睹、感知與沉思『時間』的替代物。」一如藝評家王嘉驥所言,劉煒令「時間」進駐這無人的風景,集抽象與再現於一體,將內在的性情與對生活的態度,遊走於畫布之間,展現了與自然同在的「時間性」和「從容感」。作品彷彿浸透了「採菊東籬下,悠然見南山」那怡然自得的田園詩情,而返還出「草木有本心」、「空即是色」的極致之境。心存風骨,草木成詩,當鉛華洗盡,終將呈現生命的本真!
EXHIBITED 10 Sep – 15 Oct 2009, A Piece of Paper A Piece of Plywood, Red Bridge Gallery, Shanghai PROVENANCE Red Bridge Gallery, Shanghai Acquired directly by present important private Asian collector from the above Instinctively Growing Vegetation, Lush Flowers and Plants Liu Wei Dispels with Artifice in an Invaluable Landscape In the Western art world Liu Wei has a reputation as a contemporary pioneer and was described by art critic Li Xianting as the Chinese artist with the "greatest expression of emotions," making a name for himself with his varied style, unique talent and free critical thinking. However, from 2003 Liu left behind the visual narrative approach that made him famous and switched his creative focus to "un-peopled landscapes" from where he scaled another creative peak, observing: "Traditional pure landscapes are in fact the externalization of psychological landscapes and my landscapes are ‘anti-landscape,’ which is to say a little alternative, dislocated and complex. To my mind, landscapes can encompass too many things and are not just pure environment. For example, social landscapes, problematic landscapes, characters, events, existence and phenomenon can also be part of the internal layout of a landscape. " Ingenious Emptiness and Colour Features Broadly speaking, Liu Wei’s landscape motif works can be divided into two separate categories: one involves continuing the iconic brushwork of his earlier works in which "festering places are as brightly colourful as peaches and plums," wherein Liu imbues scenes with the beautiful vitality inherent in decay. The second category runs counter to the former and involves refining colours into black, white and grey hues, but still creates a cacophony of rich change. However, fewer than 10 works belong to this latter category. The work Landscape, completed in 2009, comes from the second category and is infused with a distinctive and highly experimental spirit. The piece, rather uniquely, is painted on wooden boards, which means it does not contain white blank spaces as is common but instead reveals the original colour of the wooden boards through such spaces. As part of this rich transition, the connection and overlapping of black and white constructs a kaleidoscope-like natural visual arena, while in the painting the light wood-yellow of the board is transformed into the colour of soil. This both highlights the life of the vegetation and showcases the ingenious way in which Liu inverts his own use of materials and colours. Naturally Formed Living Ink In the painting, the vast wilderness extends into the distance, while on the left side branches hang down horizontally at an angle and a tree stands alone in the centre, boldly differentiating near and distant space, the layering and order of the empty scene creating a powerful sense of perspective that feels simultaneously distant but close at hand. The abstract brush work in the lower part of the painting takes up two-thirds of the work, utilizing extraordinary loose and rapid strokes to create a naturally formed wild and leisurely appeal. The light ink base of the densely packed fine lines is covered with wild cursive-like thick ink and permeated with bursts of grey and white, weaving together the undulating interactions of Yin and Yang, repleting with the charm of "broken ink" employed in traditional Chinese landscape painting. Moreover, the frame fails to hold back the random brushwork as it spreads into the space of the outer layer with vigorous abandon, extending the life energy of the boundless spreading vegetation, blending the interior and exterior of the work into a single harmonious whole. Integrity of Character, Vegetation as Poetry Art Critic Chia Chi Jason Wang has said: "Liu Wei remains deeply interested in how to re-present the process of ‘formation, existence, destruction and emptiness’ of naturally growing objects. Recently he has also allowed the infusion of time, enabling nature to unfold according to its own rhythms, and as a result his paintings become a substitute for viewers to witness, perceive and contemplate ‘time’. " In this context, the artist’s inclusion of time in his un-peopled landscapes embraces abstraction and re-presentation as part of a single whole, showcasing the coexistence of "timeliness" and "sense of calm" in nature. This work is infused with contented pastoral poetry reflected in the words: "Picking chrysanthemums under the eastern fence, one pensively views the southern mountains, returning to an ultimate beauty where "plants behave instinctively" and "emptiness is colour."

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
+

价格信息

拍品估价:600,000 - 800,000 港币 起拍价格:600,000 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