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林風眠 Lin Fengmian 1900-1991 故鄉的浮雲 Clouds Over Homeland
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
一九六〇年代作
Painted in 1960s
69 × 69 cm. 27 1/8 × 27 1/8 in.
款識 林風眠 藝術家鈐印(左下)
Signed in Chinese with an artist’s seal on bottom left
來源 林風眠學生席素華舊藏 原藏家於1992年直接購自上述來源 2013年10月5日,香港保利秋季拍賣會,拍品編號116 前亞洲重要私人藏家直接購自上述來源 2021年10月12日,嘉德香港秋季拍賣會,拍品編號33 現亞洲重要私人藏家直接購自上述來源 悠悠歲月,故園與人間依舊 林風眠的童年追憶與鄉愁 融貫中西,上下求索 「藝術家只能讓自己的作品去說話。」 ——林風眠 1901年林風眠誕生於一石匠家庭,童年多舛,幸得祖父寵愛,養成其質樸、堅韌、不畏苦難的性格。中學時其美術老師梁伯聰常給其作打出120分的成績,顯見其藝術才華及早慧。1919年夏,他響應蔡元培的號召,以「勤工儉學」之名負笈歐洲,受迪戎美術學院院長楊西斯(Yancesse)器重,在其引導下,正式開啟他畢生「中西並蓄」的藝術求索。26歲時,林風眠應邀歸國出任國立北京藝術專門學校校長,成為迄今全世界最年輕的校長。而後數十年間,在內亂、戰爭、三度離開傾注全力的杭州藝專後,與世無爭潛心作畫。 六〇年代初,他於北京中央美術學院陳列館舉辦「林風眠畫展」,全面展現十年間的繪畫成果,昭示世界其前衛的藝術鋒芒,一時技驚四座,引起北京美術界轟動。而文化大革命期間,他親手將近兩千幅作品銷毀,歷經苦難後,於1977年移居香港,用餘生將家國情懷與心中丘壑重寫紙上粉墨。作為中國藝術的奠基人,他用自己跌宕起伏的戲劇一生與詩意畫作,描畫出宏大的二十世紀中國美術史。 行到水窮處,坐看雲起時 是次春拍呈現的《故鄉的浮雲》即為其六〇年代黃金時期,以山間秋色為題材的經典代表作。回憶上世紀五〇至六〇年代,幾經沉浮的林風眠經濟條件轉安,在上海度過了一段清淨的獨居時光,全心投入創作。他曾先後赴蘇州天平山、舟山漁場、安徽黃山等地採風,1959年他與學生席素華(本作原藏家)、水彩畫家李詠森夫婦等同行黃山時曾感嘆:「它把我帶到了國畫中常見的那種高山雲海的境界,氣魄之大,景色之秀……古老的青松和縈繞在半山的雲霧依舊,而在山下,卻平添了許多現代化建築。」自此,林風眠越發喜愛以山水秋景入畫,並大膽開創水墨與水粉、水彩交替使用的先河,這一實踐亦為中國畫改革作出了歷史性的巨大貢獻。他用色瀲灩、大面積暖色水粉結合層疊對比色彩,以獨特構圖、簡約的線條筆觸,營造視覺衝擊與色彩對抗,展現大自然的生命動態,既有水墨縱橫的寫意,又不失戲劇性的光影對比,令人耳目一新。 山村溪水應如舊,片片浮雲處處詩 「我出生於廣東梅江邊上的一個山村裡……後在歐洲留學的年代里,在四處奔波的戰亂中,仍不時回憶起家鄉片片的浮雲、清清的小溪、遠遠的松林和屋旁的翠竹。我感到萬物在生長,在顫動。」 ——林風眠 「故鄉」之於林風眠或許百味雜陳,他在那裡失去了母親,得到文藝啟蒙,故鄉承載著他成長中的悲歡,而從歐洲回國後,他甚少回鄉,曾憶道:「離開家鄉多年了,四十年沒有回去過,但童年的記憶,仍如在眼前,像一幅幅的畫,不時地在腦海中顯現出來,十分清楚,雖時隔多年。」所以他常寄情於景,讓故土隨風歡舞的草木幻作紙上墨彩,傳達記憶中充滿詩意的故園情。 一年好景君須記,最是橙黃橘綠時 《故鄉的浮雲》採林氏典型「方紙佈陣」的平遠式構圖,作品三景分明,他以厚實層疊的銘黃、淺橘集中緊湊地暈染出畫面中部高聳的松樹,以明朗果斷的濃墨勾勒出蒼勁的枝幹。色中摻墨的散點延伸,透出秋葉盡染的草坪、近處湖面的秋波倒影及黝綠的繁茂遠樹相映成趣,微風泛起的漣漪與岸邊的緩坡通過如浪花的星白點綴相依,緩緩道出他心眼中感受的自然之美。在色墨交融下,透過線條的豐富變化展現自然的音韻,如畫中可見他以平直的線條呈現的樹木、小屋,與以弧形、曲線而繪的沙沙樹葉與墨色積雲形成強烈對比,可見其多年對景寫生提煉出以簡約線條塑形的技巧,他不拘泥於西方藝術提倡的明暗透視,遵循「借鑒而不模仿」的原則,巧用線條表現光影。而在色彩運用上更見高妙,他在暗藍、墨綠、漸次加入沙白、以橘黃覆蓋出靜謐深溟的天空,以暗色中豐富的折射變化與反光,幾何線條交錯、動靜相宜,在橙黃橘綠的主色調下,精妙採用相間墨色拼綴出色彩層次,承襲傳統國畫之「尚意」,讓畫面張力十足之餘,更蘊含雅緻的景物細節,飽滿通透的畫境滿溢畫者對故鄉的思憶。 門下弟子珍藏,再現林氏藝術經典 席素華為中國著名建築師馮紀忠的夫人,夫妻二人於五〇年代經友人介紹結識林風眠,馮與林惺惺相惜,而其妻子更拜林風眠為師,二人成為了林風眠後半生莫逆之交。十年動亂期間,席素華不顧被抄家之險,每月為獄中的林風眠送換洗衣物,生活拮据時更不惜變賣家中財物,只求為老師添保暖棉衣。而二人之女馮葉亦為林風眠義女,後遠離雙親,在香港隨義父學畫,並協助其起居,讓林風眠在人生最後十年老有所依,可見三人濃厚的師生情。《故鄉的浮雲》來源有序,為席素華舊藏,凝結了文革前林氏師友的袍澤溫情,承載著畫者的思鄉與弟子的迴響。作品九〇年代初被私人珍藏,三十載後再次釋出,實屬難得。作品四季流轉,斯人已逝,故景如詩般留傳,待世人親證上世紀的故事與真情。
PROVENANCE Original Collection of Xi Suhua, disciple of Lin Fengmian Acquired directly by the original collector in 1992 from the above 5 Oct 2013, Poly Hong Kong Autumn Auction, Lot 116 Acquired directly by previous important private Asian collector from the above 12 Oct 2021, China Guardian Hong Kong Autumn Auction, Lot 33 Acquired directly by present important private Asian collector from the above Time Passes but the Homeland Remains the Same Lin Fengmian’s Childhood Memories and Homesickness Blending the Eastern and the Western, Seeking in All Directions "An artist can only let his works speak for themselves." ——Lin Fengmian Born in 1901 to a stonemason family, Lin Fengmian had a challenging childhood. Fortunately, he received love from his grandfather, fostering a simple, resilient, and fearless character. During high school, his art teacher, Liang Bocong, often gave him perfect scores of 120, planting the seeds for his future dedication to art. In the summer of 1919, he went to Europe under the guise of "working and studying diligently" and gained the favour of Yancesse, the dean of the ENSA Dijon Art & Design. Under Yancesse’s guidance, Lin officially embarked on a lifelong journey of blending Eastern and Western art. At the age of 26, Lin Fengmian was invited back to China to serve as the president of the National Beijing Art College (renamed as Central Academy of Fine Arts), becoming the youngest school president in the world. Over the decades, amid internal conflicts, wars, and departures from the fully dedicated National Hangzhou Academy of Art (currently named China Academy of Art), he focused on painting, away from worldly disputes. In the early 1960s, he held the Lin Fengmian Art Exhibition at the Central Academy of Fine Arts in Beijing, showcasing his painting achievements over the past decade. The exhibition astonished the Beijing art community and created a sensation. During the Cultural Revolution, Lin destroyed nearly two thousand of his works himself. He moved to Hong Kong in 1977, using the remaining years of his life to express his feelings for his homeland through ink. As one of the founders of Chinese art, Lin Fengmian depicted the grand history of 20th-century Chinese art with his dramatic life and poetic paintings. Reaching the Water’s End I Sit and Watch the Clouds Ascend Clouds Over Homeland from the Spring auction represents his rare work from the golden era of the 1960s, featuring autumn mountain scenery. Reflecting on the tumultuous economic conditions he experienced in the 1950s and 1960s, Lin Fengmian settled in Shanghai for a period of peaceful solitude, devoting himself to creation. He traveled to various places for inspiration, including Tianping Mountain in Suzhou, the fishing grounds of Zhoushan, and Huangshan in Anhui. From then on, Lin Fengmian enjoyed depicting mountain and Autumn scenes in his paintings, boldly pioneering the alternating use of ink and wash, watercolour, and gouache. This practice made a historic contribution to the reform of Chinese painting. Using large areas of warm-toned wash, combined with layered contrasting colours, unique compositions, and simple brushstrokes, he created visual impacts and colour confrontations, revealing the dynamic life of nature. His works were both poetic and realistic, providing a refreshing perspective. Mountain Stream, Timeless Gleam Drifting Clouds, Poetry’s Dream For Lin Fengmian, "hometown" may have various flavours. He lost his mother there, received artistic enlightenment, his hometown carried the joys and sorrows of his growth. After returning from Europe, he rarely visited his hometown, stating, "I left many years ago, and it has been forty years since I last went back. However, the memories of my childhood are still vivid, like paintings that frequently appear in my mind, clear and distinct." Therefore, he often found solace in landscapes, letting everything dance in the wind, turning them into ink colours on paper to convey the poetic feelings for his hometown. A Year’s Grace, Recall in Rhyme Most Vivid in Hues of Orange, Yellow, and Lime Clouds Over Homeland adopts Lin’s typical "square paper layout" with a flat composition. The three scenes are distinct, with a thick and layered bright yellow and light orange concentrated and compactly blended to depict the towering pine tree in the center of the painting. The clear and decisive ink outlines portray the vigorous branches. The scattered ink points depict the grassy lawn, the reflection of Autumn ripples on the nearby lake surface, and the lush trees in the distance, complemented by the ripples caused by the breeze and the gentle slope on the shore adorned with white dots. The blending of colour and ink emphasizes the contrast between the straight-lined trees and houses and the curved strokes depicting rustling leaves and ink-coloured clouds. This reveals Lin Fengmian’s unique skill, refined through years of sketching landscapes. He did not adhere to the Western art emphasis on light and dark perspective. He follows the principle of "borrowing without imitating" and skillfully uses lines to express light and shadow. His mastery in colour is evident, as he creates a tranquil and deep sky with shades of dark blue and ink green, gradually adding sand-white, and covering it with orange-yellow to portray the rich refraction changes and reflections. The interplay of geometric lines, the harmony of movement and stillness, and the use of contrasting colours in orange, yellow, and green demonstrate his skill in creating a tension-filled yet delicately detailed scene, full of memories of his hometown. Collected by Disciples, Reproducing Lin’s Artistic Classics Xi Suhua, the wife of renowned Chinese architect Feng Jizhong, and her husband met Lin Fengmian in the 1950s through mutual friends. Feng and Lin, sharing similar backgrounds, developed a deep friendship. Xi, having studied under Lin, became a close friend. During the turbulent decade, Xi risked being raided to send Lin clean clothes every month, even selling household possessions during difficult times just to provide her teacher with a warm winter coat. Their daughter, Feng Ye, also became Lin Fengmian’s goddaughter, leaving her biological parents to study painting with Lin in Hong Kong. She assisted him in daily life, providing Lin with support in his final ten years, showing the deep teacher-student relationship between the three. Clouds Over Homeland comes from Xi Suhua’s collection, embodying the warmth and camaraderie of Lin’s pre-Cultural Revolution friends and disciples, carrying the painter’s homesickness. The artwork was privately collected in the early 1990s and is now released again after thirty years, making it a rare find. The person has already passed away, but the scenery, like poetry, endures, allowing people to witness the stories and true emotions of the last century.

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