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丁衍庸 Ting Yinyung 1902 – 1978 貴妃出浴 Bath of the Concubine
香港
2024年04月07日 开拍 / 2024年04月05日 截止委托
拍品描述
彩墨 紙本
Ink and colour on paper
一九七六年作
Painted in 1976
69 × 40 cm. 27 1/8 × 15 3/4 in.
款識 貴妃出浴 法興仁弟 丙辰丁衍庸 藝術家鈐印(左上)
Inscribed, titled, and signed in Chinese, dated with an artist’s seal on upper left
來源 丁衍庸弟子陳法興直接獲贈自藝術家 亞洲私人收藏 註:陳法興為香港知名藝術家,別稱「魚王」。 筆墨妙韻,時代風華 丁衍庸的回歸與創新 「一個時代,有一個時代的背景;一個時代,有一個時代的精神…。藝術是時代的產物,有時還站在時代的前頭,領導社會前進。」 ——丁衍庸 自1921至1926年留學日本最高藝術學府東京美術學校的丁衍庸,深受西方現代主義、野獸派的啟迪,造就大膽不羈和自由熱烈的藝術風格。學成歸國後,他成為「洋畫運動」浪潮的先鋒,與林風眠、徐悲鴻、關良等人大力推進中國藝術教育現代化,備受尊崇。而自上世紀20年代末,因研究國畫線條的機緣,丁衍庸開始接觸水墨,潛心琢磨八大山人、徐渭、石濤等東方大師之作,並結合野獸派的造型融會貫通,發展出獨具特色的畫風。其大寫意水墨創作既造型大膽,又單純樸拙;清狂而高雅的筆法既有濃郁的傳統水墨意韻,又突顯出強烈的西方現代主義精神,使其獲「洋八大」、「東方馬蒂斯」的美譽。是次春拍呈現的《貴妃出浴》(拍品編號55)及《群蟹》(拍品編號56)分別創作於1976及1965年,為丁公晚期圓熟之作,筆墨之間沉澱數十載的深厚功力呼之欲出,極為精彩。 絕倫盛世,自信豐姿 「春寒賜浴華清池,溫泉水滑洗凝脂。侍兒扶起嬌無力,始是新承恩澤時。」 ——唐代詩人白居易 丁公晚年對於戲劇人物情有獨鐘,六七十年代香港豐富的喜劇影視亦為其提供了創作靈感。自古「貴妃出浴」的題材曾被諸多藝術家詮釋之,多是仕女簇擁下,貴妃以輕薄外袍遮掩身體,神情嬌羞含蓄;然而丁公的《貴妃出浴》卻極為特別:楊貴妃裸身立於中心,自信地伸展手臂展示軀體,右手撫面,神情高貴而自信,恰如馬蒂斯(Matisse)畫作《奢侈》中的美惠三女神。丁公以明快、頓挫有力的狂放線條勾繪出未經矯飾的天然人體,將之回歸原始天真的面貌,坦然屹立於天地之間,肌體的力與美,正一展大唐盛世開放、自信的時代風貌。 創作此作時,丁公已74歲高齡,前後1975至1977年間曾三次受邀赴墨爾本展覽,事業再攀高峰,贏得舉世讚譽。畫中突顯了他老辣純熟的筆力,可見女郎的勺形髮髻乃至臉龐,皆由一筆勾勒,簡練生動;神采煥發的雙目僅憑兩筆墨線畫出、畫龍點睛,如若戲台名角,炯炯有神;象徵皇室恩寵的華美金袍聚攏在貴妃周遭,而仕女們穿紅著綠、姹紫嫣紅間絢爛而不庸俗;幾位女子面頰均被施加圓形紅暈,在奇趣的造型中增添了一份多情可愛,其筆墨間跨越國界的「現代性」,融合了中西方藝術精粹為其在濃墨重彩的美術史立下豐碑,如亞洲大學美術館館長潘襎所言:「丁公畫中濃烈的色彩與樸拙的筆調以及酣暢的墨韻,最終成為他自己所說的東方藝術」。 蘆花蕩下群蟹行,秀凝鐵色含湖光 除去人物,丁衍庸對「動物」主題的描繪也在1950年代達登峰造極。1957年他應邀參加巴黎國立歷史博物館主辦之「動物畫展覽」,同時參展的中國藝術家還有齊白石、潘玉良;1959年又以兩幅動物主題畫作入選「當代中國書畫展」,於耶魯大學等顯赫學府巡展逾兩年,享譽國際。 「蟹」自古象徵秋日豐收的喜悅,其堅硬的外表又可比剛正不阿的性格。丁公的《群蟹》中,巧妙地以墨之輕重及線條,畫出了正在前行的螃蟹家族錯落有致、各具特色的興味。在中心處,以幾筆重墨瀟灑潑就的蟹體量最大,彷彿一位族長,正威風凜凜地揮舞著誇張化放大的蟹鉗,保護身旁兩隻以簡練線條勾畫的小蟹。而遠處淡墨渲染的蟹,規矩地將鉗放於前胸,轉身耐心地等待家族。蟹群間各異的用筆,不僅體現了前後的空間距離,還畫出了牠們不同的性格,妙趣橫生。清雅的單色墨蟹那骨節分明的蟹爪、青黑的色澤,極為生動地詮釋了唐朝詩人陸龜蒙對於蟹「骨清猶似含春靄」的形容。 而在背景處,丁公以簡潔的流暢線條,信手拈來畫出秋風中搖曳的蘆葦,墨線粗細有緻的變化示現葦葉自然垂墜、彎曲的身姿,而一簇簇墨點攢聚在一起,展現了蘆花絨毛一般細小的體態,引人入勝。作品頗具開創中國大寫意水墨的明代畫家徐渭遺風,丁公賦予線條以生命,以極簡的筆觸展現了「行到水窮處,坐看雲起時」的瀟灑豪放、以重神似的精神定義對現代繪畫核心價值的感悟。其作以簡馭繁、以拙馭巧,令人回味良久。
PROVENANCE Acquired directly by Ting Yinyung’s student Fat Hing Chan from the artist Private Collection, Asia Note: Fat Hing Chan is a renowned Hong Kong artist. He is also named "Fish King". The Beauty of the Times Under the Lyrical Brush of Inkwork Ting Yinyung’s Return and Innovation "There is a context for a time; there is a zeitgeist in a time that shines utterly different from that of any other times, which is something known to all. Art is a product of time and sometimes even stands before time, leading the society forward." ——Ting Yinyung Mordern Chinese artist Ting Yinyung received strong academic training from Tokyo University of the Art in Japan from 1921 to 1926. Influenced by Western ideology of Modernism and Fauvism, Ting’s artistic language evolved boldly and unrestrictedly. Later, as Ting returned to China, the artist himself, along with Lin Fengmian, Xu Beihong, Guan Liang and others strenuously promoted the study of modernisation in China. This forward-thinking and pioneering was highly respected within the circle. In the late 1920s, Ting Yinyung came across the study of lines and strokes in Chinese traditional painting. Further, his contact with ink fascinated him to develop a unique style of painting, which combined stylized forms of the Fauvists. This significant breakthrough enriched his distinctive style that is renowned to this day. For instance, his large-scale ink painting demonstrates boldness that is also simplistic. Elegant and swift brushstrokes tell the history of traditional ink painting, while its accents and brazenness conveys courage and vivacious spirit of the modernity. With the works retrospectively titled Bath of the Concubine (Lot 55), completed in 1976, and Crabs (Lot 56), completed in 1965, these sublime works to be auctioned in Spring are noted as matured works of Ting’s oeuvre. Each work shows unity, solidity and profoundness in the gesture and highlights of ink and Ting’s materful brushwork. In a World of Beauty and Confidence Drama characters were a focus in Ting’s golden days. In his significant work Bath of the Concubine, the scenery reminds of classical topic about Yang Guifei’s bath, which is often depicted by many artists. In contrast, Ting’s depiction conveys confidence through Yang Guifei’s nakedness and spread out arms, gesturing a display of her body and stroking her face with her right hand. Compared to works of similar subject, the character of Yang transcends nobility and confidence, like the three goddesses of beauty in Henri Mattise’s paintings. Through Yang’s character, Ting Yinyung boldly depicts the natural human body in deep, strong and powerful lines of brushwork. With accents of yellow, red and blue on the servants’ clothing, it guides the viewers to focus on Yang and her unfiltered body, returning to its original innocence, as she stands with courage between heaven and earth. The character highlights the strength and beauty of the human body, and most importantly, it symbolized a new modernity of art, beauty and culture in Tang dynasty. Crabs Walks Along an Aloe Blossom Pond The Colour of Iron Reflects by the Lake In addition to figures, Ting’s depiction of animals was pivotal and frequent in 1950’s. The passion in animal portrayal was emphasized as the artist was invited to participate in an exhibition on animal paintings at the Musée National d’Histoire in Paris in 1957, along with Chinese artists Qi Baishi and Pan Yuliang. In 1959, Ting was selected to enter the Contemporary Chinese Calligraphy and Paintings Exhibition. Two of his animal-themed paintings were displayed at Yale, followed by other prestigious institutions’ exhibitions for over two years. Ting’s international presence at such major venues definitely enriched his global reputation. In our upcoming auction, the painting Crabs is in reference to ancient ideology and symbolism of joy of a good harvest. With the crab’s solid exterior, the shield-like form is comparable to an upright and unyielding character. In Ting’s painting Crabs, the light touches of ink and lines shape the spatial distance in the pictorial composition. Its form and structure builds each characteristic and personality. In the background, swaying and simplistic brushwork builds ambience of an autumnal reeds in wind. Variations of thick and thin lines highlight the natural position of the falling reeds. In comparison, Ting’s works are quite similar to the legendary works of Xu Wei, a Ming dynasty painter who pioneered Chinese large-scale ink painting. In addition, Ting uses the power of lines to redefine the value of modern painting. In a few simplistic lines, Ting skillfully pictures a playful and dynamic landscape which can be appreciated for a long while.

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价格信息

拍品估价:30,000 - 50,000 港币 起拍价格:30,000 港币  买家佣金:
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20,000,000 - 以上 14.00%

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