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丁衍庸 Ting Yinyung 1902 – 1978 魚蝦蟹蛙圖 Fish, Shrimp, Crabs and Frogs
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 木板
Oil on board
一九六九年作
Painted in 1969
45 × 30 cm. 17 3/4 × 11 3/4 in.
款識 志德女弟 己酉丁衍庸寫 藝術家璽文畫印 庸鈢(左中)
Signed, inscribed, and dated in Chinese with a painted artist’s seal on middle left
來源 丁衍庸女弟子熊玉英直接獲贈自藝術家 註:此畫上款人蕭志德與熊玉英同為六十年代從丁衍庸畫室習畫的女弟子。丁公原欲將作品致贈蕭氏,其後因蕭氏離開畫室,故而將之轉贈現藏者作為結婚禮物。 妙馭中西,強大的創造與生命力 丁衍庸絕珍《魚蝦蟹蛙圖》首現 「觀看丁衍庸的作品,其實就是觀賞傳統精神在現代的詮釋,其中蘊含著豐富的人文主義精神的時代烙印。」 ——亞洲大學現代美術館館長潘襎 同林風眠、關良齊名,並稱「廣東三傑」、素有「現代八大山人」美譽的丁衍庸,油彩、水墨雙絕,篆刻、書法等諸藝精通,是上世紀推進中國藝術進步革新的先驅。在高中畢業後,他於1921年考入東京美術學校,入學隔年,因參觀第一屆法蘭西現代美術展覽,被印象派和野獸派大膽的風格震撼,因而走向恣意率真的油畫探索之路。1925年歸國後,丁衍庸與趙無極、朱德群、林風眠、關良等志趣相投的藝術家深度切磋交流、在上海中華藝術大學等機構身兼要職、以及負責籌辦廣州市立博物院,為當時藝壇的中堅力量。這些經歷令其在創作的求索中,將目光投射至中國古代文物和書畫上,愈發鑽研,愈覺得東方的美術精神完全可與西方抗衡。丁公決心在引入西畫技法的同時,深掘、發揚博大精深的東方藝術固有的精神,以此改變彼時僵化的中國藝壇。 在後續幾十年的鑽研和修煉後,丁衍庸在野獸派油畫、中國上古的篆刻文字、以及寫意水墨中找到相似的靈魂。他以原始天真的筆法和純粹的用色,在亙久的歷史和東西方人文傳承之共鳴下尋得新時代的道路,正如潘襎所言:「最終,藝術不是形式的模仿,而是一種充塞天地之間的永恆精神的折射,那就是浩然之氣的力量」。是次首呈拍賣的《魚蝦蟹蛙圖》創作於1969年,為丁公大膽地以精鍊低限的黑與奶白為主色之油畫作品,究其畢生創作,以此低限黑白用色為主色者僅有5件,此為其一,且為內容最豐富者。如畫中魚、蝦、蟹、蛙齊聚一堂,在構圖平衡上需投入加倍的心思。究其畢生創作中集齊四種水族之作稀少,據考據僅有24件,其中23件為水墨作品,油畫僅此上拍者一例,使其卓絕而立於丁公存世的200餘件油畫作品中。罕之又罕,盡顯珍稀難得。 東方之韻,大巧若拙 「八大無此狂,石濤無此膽。」 ——丁衍庸 自學生時代,丁衍庸的油彩靜物就已出類拔萃,儘管其50年代前的油畫盡數佚失,但仍能從過文字記載中尋得雪泥鴻爪:1924年,他便以油畫《食桌之上》參加日本第五屆中央美術社展覽會,在2500件作品中脫穎而出,為唯一入選的中國人。而歸國後,丁公對水墨線條的研究日益精進,即產生了融匯東西方藝術,靈活運用各方優長的靈光。早在1935年居於廣州時期發表的文章中,就提出:「我很想把中國畫的線條和墨用到西畫上」的想法。1950年代隻身南遷香港後,丁公將「孤獨、寂寞形諸筆墨」。在孤貧的境地內,他和八大山人漂泊半生的心境大有共鳴。另一方面,八大不拘一格的創造力和凝練的神韻也令丁衍庸受益匪淺,他盛讚其「早在三百年前就以『創造力』和『著重精神表現』為中國奠定了現代藝術精神的基礎」。八大成為了丁衍庸跨越世紀的良師益友、精神支柱,他雖生活艱難,卻始終將其墨寶收藏身邊,並感到「蓬蓽生輝、餘香滿室」。1959年,丁公在新亞書院任教直至1978年退休,1969年應香港中國美術會之邀發表演講,同年並受亞洲電視台前身所特製「名畫與畫家」節目邀請出鏡示範水墨畫。事業和聲譽的日漸興隆,使他在該年突破性地以西方的媒介輔助東方墨骨,以黑白為主色畫下此《魚蝦蟹蛙圖》,徹底顛覆了時人對於油畫的刻板印象! 大膽突破,再下一城 丁公曾言:「畫油畫最好是用羊毫長條的中國筆,因為有筆鋒可用,不像外國油畫筆只是像毛刷子」。《魚蝦蟹蛙圖》中,他創新地以中國畫的筆鋒,用湛黑的油彩果斷下筆勾勒出生動的四種水中生物,而在背景又特以象牙白融合米黃的油彩刷在木板上仿擬國畫宣紙的質感,將水墨的意趣以西畫媒材演繹。他不受媒材邊界的桎梏,交錯自如地控制,展示其多年縱橫中西的功力,令人驚愕傾倒,又暗含丁公性格中的詼諧和智慧。 可見畫中右側,兩條游魚,一隻蝦、一對蟹、三隻蛙聚成上下兩個半圓形,有「團團圓圓」之意。魚蛙睜著誇張的圓眼、張口向天而歌,詼諧幽默而跨越時代地呼應八大山人筆下之魚,暗含文人清高的精神。又在寥寥幾筆之間,使蝦子那晶瑩剔透的身形躍然乍現,牠若支起觸角阻擋右方游魚的行路,而下方的魚蛙若正在看戲,賦予動物幽默的擬人性格,其間濃淡漸變的黑色彩如墨分五色般展現豐富的變化。而下方揮動巨鉗的雙蟹分別以重色和單線勾勒,凝有潤澤的鐵色,勁健秀暢。齊白石曾言「作畫妙在似與不似之間」,而比起齊白石的水族,丁公則更為狂放寫意、大膽灑脫。那一筆筆不計枝微末節的大寫意筆觸,筆力強健、形神兼備,著實令人著迷。此外,他藉由背景大面積的「留白」,使得畫面在油彩的濃郁之中帶有水墨的空間感,既具有先鋒性,又有古典文人畫的雅緻和氣節,令人讚嘆佩服。 書畫同源,金石為開 「刻畫如畫的線條,始終不懈的力量,蘊藏無盡的內容,生氣蓬勃的神韻。」 ——丁衍庸 1950至60年代,丁衍庸在傳統文化的道路上循序漸進,以多年鑒賞收藏古印的積累,開始親身篆刻冶印,如癡如醉地深探其中,他從璽印中發現原始藝術的童真拙稚,對印章刀法和精煉符號的理解,也令其繪畫功力更上一層,其作具有濃厚的書法性,有時甚至直接以古代篆刻文字入畫。正如藝術史學家高美慶所言,丁衍庸晚年的創作:「文字、符號、圖像三結合,締造古樸神秘的個人藝術世界,也打破現實與想像的界限,因此已遠遠超出馬蒂斯或野獸派的啟示」。 有別於丁公的宣紙水墨創作,《魚蝦蟹蛙圖》罕見地使用「畫印」,在左側飄逸的落款下以紅色油彩繪出一方鈐印。此畫印結合古文字和丁公自創的符號,顯出「庸鈢」二字,與其刻印無異,自成格局,見丁公對篆刻藝術的深入理解。而畫中蝦蟹那骨節分明的肢體、魚兒柔潤流暢的鰭尾、青蛙極簡寫意的軀體,相互銜接、濃淡有緻,也如若書法運筆一般渾然一體,一氣呵成。此大巧若拙、簡約瀟灑的筆力,非對自身功力胸有成竹之人不可為之,可見丁公彼時已達書畫一體的境界。 歷經半生飄零、骨肉分離的失落、重振和回歸,在跨越中西的探索中,丁衍庸循著「時代性」、「民族性」及「個性」的方向達到卓越的突出境界。他視中西方藝術的衝突為無物,跨越循規蹈矩的章法而自成格局,如一位武林高手,融匯貫通,內功渾厚,而他堅實而渾厚的筆觸下那旺盛的「氣」產生強大的生命力,正為20世紀東方藝壇中不可多得的典範!
PROVENANCE Acquired directly by Ting Yinyung’s student Xiong Yuying from the artist Note: The name in the signature, Xiao Zhide, was a renowned student of Ting Yinyung’s studio in the 1960s, same as Xiong Yuying. Ting originally intended to present the work to Xiao, but later, when Xiao left the studio, he transferred it to the present collector as a wedding gift. Including the East and the West, Powerful Creativity and Vitality Ting Yinyung’s rare?Fish, Shrimp, Crabs and Frogs Presented for the First Time "To view Ting Yinyung’s works is to appreciate the modern interpretation of the spirit of tradition, which is rich in the humanistic spirit of the times." ——Pan Fan, Director of the Asia University Museum of Modern Art Along with Lin Fengmian and Guan Liang, Ting Yinyung, known as one of the "Three Great Masters of Guangdong" and is called the "Modern Bada Shanren", was a pioneer in the advancement and innovation of Chinese art in the last century, with his mastery of oil and ink painting, as well as seal-engraving and calligraphy. He found similar souls among fauvist oil paintings, ancient Chinese seal carvings, and Chinese ink and watercolour. With his primitive and innocent brushwork and pure colours, he found his way to the new era. Fish, Shrimp, Crabs and Frogs, created in 1969, is one of only 5 oil paintings in black and white that he created in his lifetime, and it is the richest in terms of content. The fish, shrimp, crabs and frogs in the paintings are all gathered together, requiring double the effort in balancing the composition. The amount of his life’s work that combines all four types of aquatic species is rare, with only 24 pieces, 23 of which are ink works, and only one oil painting, which makes it stand out among the more than 200 oil paintings in Ting’s oeuvre. The Rhythm of the Orient, the Grace Behind Simplicity Since his student days, Ting has been an outstanding oil still life artist: in 1924, he participated in the Fifth Central Art Exhibition of Japan with his oil painting?On the Dining Table, which stood out from the 2,500 entries and was the only Chinese entry. After moving to Hong Kong in the 1950s, Ting’s isolation and poverty resonated with Bada’s half-life of wanderlust. On the other hand, Ting benefited greatly from Bada’s unconventional creativity and refined aura. In 1959, as his career and reputation grew, he made a breakthrough by using a Western medium to complement the Eastern ink bones and painted?Fish, Shrimp, Crabs and Frogs?in black and white, which completely subverted the stereotypical image of oil paintings of the time. A Bold Breakthrough Wins the Next Stage Ting once said: "It is best to use a sheep-hair Chinese brush for oil paintings because the brush has an edge that can be used, unlike foreign oil brushes, which are just like bristles." In this work, he innovatively used the brush of Chinese painting to decisively outline the four living creatures in the water with black oil paint, and in the background, he specially used ivory-white oil paint to imitate the texture of Chinese rice paper on a wooden board, thus interpreting the beauty of ink and wash in a Western painting medium. He was not bound by the boundaries of the medium, and was able to control all kinds of techniques freely, demonstrating his many years of skill in crossing the boundaries of Chinese and Western painting, which is astonishing, but also implies the humour and wisdom of Ting’s character. On the right side of the painting, two swimming fish, a shrimp, a pair of crabs, and three frogs are gathered in two semicircles, one above and the other below, suggesting the idea of "unity and roundness". The fish and frogs with their exaggerated round eyes and open mouths sing to the sky, echoing the fish in Bada Shanren’s painting in humour and across generations, implying the spirit of the literati. In a few strokes, the shrimp’s crystal-clear body emerges, with a rich variety of shades of black. The two crabs waving their huge claws below are outlined in heavy colours and single lines respectively, with a glossy iron colour that is strong and smooth. The powerful and vivid brushstrokes of large-scale brushstrokes, which do not take into account the smallest details, are truly mesmerising. In addition, by leaving a large area of white space in the background, he brings a sense of space with ink amid the richness of oil paint, which is not only pioneering but also has the elegance and temperament of classical literati paintings. The Same Origin between Calligraphy and Painting With Earnestness and Sincerity, Everything Is Achievable Between the 1950s and the 1960s, Ting Yinyung, who had been on the path of traditional culture for many years, began to carve and paint seals with the knowledge he had accumulated through his appreciation and collection of ancient seals. He discovered the childlike innocence of primitive art in seals. His understanding of carving and refined symbols further enhanced his painting skills, resulting in works with strong calligraphic qualities. Sometimes he even directly incorporated the characters from the ancient seal carvings into paintings. Unlike Ting’s ink and watercolour works on rice paper, this work makes rare use of a "painted seal" in red oil under the free-flowing inscription on the left side. This seal combines ancient characters and Ting’s symbols, creating a pattern of its own that demonstrates an in-depth understanding of the art of seal carving. The water creatures in the painting are interconnected, and as distinctive as the calligraphic strokes. This masterly and simple brushwork can only be achieved by a person who has a good grasp of his skills. In his exploration of the Chinese and Western worlds, Ting Yinyung regarded the conflict between Chinese and Western art as nothing and created his pattern by transcending the rules and regulations. The exuberant "qi" under his solid brushstrokes creates a strong vitality, making him a rare artist in the 20th-century Eastern art scene!

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拍品估价:1,000,000 - 1,500,000 港币 起拍价格:1,000,000 港币  买家佣金:
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