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朱德群 Chu Teh-Chun 1920 – 2014 構圖第19號-映夜之光 Composition No. 19 - Lumière Obscure
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
一九五九年作
Painted in 1959
130 × 81 cm. 51 1/8 × 31 7/8 in.
款識 朱德群CHU TEH-CHUN(右下)CHU TEH-CHUN 1959朱德群 No.19 Lumière obscure(畫背)
Signed in Chinese and English on bottom right; signed in English and Chinese, dated, and titled in French on the reverse
來源 巴黎勒讓特畫廊 台中現代藝術空間 2013年4月6日,香港蘇富比春季拍賣會,拍品編號539 亞洲重要私人收藏 註:畫背架貼有巴黎勒讓特畫廊及台中現代藝術空間標籤 英雄年代的狂飆、沉潛與雄渾 朱德群早期鏗鏘巨構《映夜之光》 二十世紀中國現代巨擘朱德群,在東西方的藝術史中,都是一個無比響亮的名字,在西方,法國權威藝評家龍柏(Jean Clarence Lambert)評其作是「超脫的風景,帶人超越自然進入想像的天體,是畫家對自然空間的詩意感受」,巴黎記者沙布朗(?Fran?ois Sybron)在《快報》(L’Express)中,稱他是「二十世紀的宋代畫家」,為他畫中那內蘊深厚、廣渺而悠遠,連結東西文化美學神魂而震撼,而在1979年法國著名文學家于伯阮(Hubert Juin)撰文將朱德群列於「巴黎畫派受人矚目的畫家之首位」,對他的推崇溢於言表。而在1997年,他成為獲得「法蘭西藝術學院院士」的首位華人藝術家,名震東西。 而當他在海外取得盛名之時,2000年初他回到中國,在上海美術館發表個展,彼時萬人空巷引起極大的矚目與討論,而2年後上海大劇院委託他作《復興的氣韻》,至今這幅高430寬730公分的巨作於該館被高懸作為永久展示。朱德群畢生在全球發表過逾400場展覽,包括156次個展,與285場聯展,包括自1956至1980年代入選高達39次有「巴黎重要藝術競技場」之稱的五月沙龍、秋季沙龍、巴黎青年沙龍展。足以令人想見其影響力及受追捧的程度。其作品迄今被世界逾40間重要美術館收藏,包括巴黎現代美術館、法國國家當代美術基金會?、比利時烈日現代美術館、台北歷史博物館、北京中國美術館、上海美術館等。 英雄年代的開篇,撼人鐵線成熟時期代表 1920年出生於江蘇中醫世家的朱德群,父親與祖父都是收藏家,中國畫與書法對兒時的他並不陌生,私塾時期即學習楷書練字與閱讀唐詩宋詞,而在1935年考入杭州藝專時,他從吳大羽學西畫,潘天壽學國畫,並做起了親赴彼時藝術殿堂巴黎之夢。藝專畢業後,他先後在母校、南京中央大學、台灣師範大學執教,而直到1955年他才實現心願奔赴巴黎,親炙西方藝術大師的真跡。歐洲活躍的藝術生態與美術館館藏,給予他在創作上極大的刺激與養分。如哥雅(Francisco José de Goya)黑暗沉鬱但直抵人心的作品、塞尚(Paul Cezanne)以強而有力的基礎形體建構視界、史塔耶爾(Nicolas de Sta?l)掙脫具象的自由表現,都帶給他重大的創作啟迪。其繪畫由早期的具象寫實,於1956年開始走向抽象,他開始嘗試以純粹的色彩、線條、塊面來表達自我感受,該年他以第一張黑色底的抽象繪畫參加了五月沙龍,贏得藝術界讚揚,由此,開啟他日後長達58年的抽象實踐新路。而正如法國藝評家卡巴納(Pierre Cabanne)所言:「回顧歐洲藝壇,1958年一個新的畫派『抽象風景主義』在彼時登上了舞台,如同戰後英雄年代的標記,新一代的畫家開始嶄露頭角,而當中,朱德群便是那閃耀的新星!」 綜觀朱德群畢生的創作,較難明確按時期來劃分歸類,然而在這之中,「鐵線時期」(1956至1962年)與「雪景系列」(1985至1990年)卓絕而立,並可說是他作品數量最稀罕、創作風格最受市場追捧的兩大經典。在「鐵線時期」,中國水墨濃郁的黑、書法流暢的線湧進了他的油畫,他將烙印在心中的飛揚狂草、磅礡的漢拓,用線條集結奏出強音,在粗獷的油彩揮灑中竭力發展中國的筆韻墨趣,賦予古老的筆墨以時代性與世界性,帶領了中國藝術在世界美術中的復興,也奠定了他個人在東西藝術史中的豐碑。該時期之作在1958年臻於成熟,接連創生了《幻想曲》、《構圖第25號-秋》等名作,而該年,朱德群在巴黎歐巴威畫廊(Galerie du Haut-Pavé)發表首展,其抽象新風一鳴驚人,該展並吸引勒讓特畫廊(Galerie Henriette Legendre)與藝術家簽定其後長達六年的合約,其藝術事業進入旅法的第一個高峰。而是次上拍完成於1959年的《構圖第19號-映夜之光》,正為其藝術事業逢春、鐵線時期的經典代表。 黑與大地的魅力:鏗鏘對仗,俯仰生姿 「在他手中,畫筆又找回中國書法的韻律,使彩色有了節奏,使一片沉默、黯淡又深沉的色階,經過透明光線的轉調,呈現出如閃光似的火花。」 ——國際藝術批評協會前主席穆林(Raoul-Jean Moulin?) 《構圖第19號-映夜之光》中,朱德群以沾染著大地色調的大筆刷有力地作水平與垂直疊加,色彩在其中展現著從暗褐、卡其、泥黃、紅棕、栗褐等細微多樣,由冷到暖的豐富變化,如用西方的油彩示現了中國「墨分五色」的精神,並在畫布上佈構一方象徵自然與生命的沃土,而在其上,強烈、濃重的黑線條與磅礡的黑色塊如金石般在藝術家呼吸的收攬、吐納間隨其腕力縱橫捭闔,架構出一方強勁又動人的天地,給人強大的視覺震撼,中國千年文化對朱德群的滋養及薰陶在其中自然地流露,細觀黑色的結構,那揚長、遒勁的線條與色面自上而下左右開弓,結合書法的「豎」與「捺」筆,如舞蹈中揚起而落的水袖,又令人想起杭州西湖畔的垂柳,又或朱德群早年作品《八仙山》中向上崢嶸的林木,又或李唐《萬壑松風圖》中的重巒巨嶂…,令人陷入一種想像的奇遇之中。而中心區域在線條的拖曳爭折,與色塊共同呼應書法筆勢的「點」、「提」、「鈎」筆,鏗鏗落落地由大至小由前景往遠方推進的佈構之中,除形成一種自然的音韻,也營造出一種曲折伸展、深遠的空間感。而細觀那黑色有力的結體塊面,在畫幅中近乎呈現有趣的左右對稱,如同樂音之和諧對仗,此在朱德群的繪畫中極其罕見。此外,藝術家特意以黑彩佈構主結構,除展現他對中國千年書藝文化的傳承與新創,更呼應點題的「夜」,在深黝中透過線與塊體架構出人們在夜晚觀景只見大輪廓的此一抽象的視覺經驗,為作品增添了神祕的想像性。 曖曖內含光:永恆的希望光彩 「是故剛柔相摩,八卦相盪,鼓之以雷霆,潤之以風雨,日月運行,一寒一暑。」 ——周易 而在《構圖第19號-映夜之光》畫作的核心,耀眼的乳白色塊如海龍王的夜明珠,由中心往前方放射出光采,瞬間提亮了整個畫面?。朱德群自幼飽讀中國詩詞與古典文學,當中他對老莊思想與《易經》中的哲思特別有領悟,他曾說:「《易經》哲學傳達陰陽兩種無窮遞變的概念,呈現出根本且互生的要素。陽是熾熱、光明的;陰是幽暗、溼潤的。這種二元性產生了無窮盡宇宙,也融會了我承續自西方繪畫的鮮艷色彩,以及抽象藝術所開展的自由形象...創造根源於純粹的自發性:按照道家思想的說法,自發性即是『抒發胸中逸氣』。其結果是在我的畫布上獲得了這樣的繪畫語言──色彩與書法,雖非同時,卻趨向了相同目的:喚起光線、形態與律動。」體現在此作中,朱德群藉著黑與白,陰與陽的兩種戲劇性的對比,低聲訴說著宇宙恆常的真理,帶領人領略日月的運行,示現著在每一個寂靜深黝的夜,黎明之光總會在破曉一刻灑向大地,黑夜終會過去,光明終將到來,日夜輪轉生生不息,而那畫中的光,正如在黑暗中引領前行燈塔,亦為每個人心中最堅貞的對於理想與生命的追索,為我們照亮前路,點燃心中的火焰!
PROVENANCE Galerie H. Legendre, Paris Modern Art Gallery, Taichung 6 Apr 2013, Sotheby’s Hong Kong Spring Auction, Lot 539 Important Private Collection, Asian Note: Two labels of Paris Galerie H. Legendre and Taichung Modern Art Gallery are affixed to the stretcher on the reverse The Heroic Epoch of Soaring, Submersion, and Grandeur Early Thunderous Masterpiece?Composition No. 19 - Lumière Obscure?by Chu Teh-Chun Chu Teh-Chun, a modern Chinese giant of the 20th century in the art history of both East and West, holds an exceptional reputation. In the West, the renowned French art critic Jean Clarence Lambert described his work as?"a transcendental landscape, taking people beyond nature into the imagined celestial bodies, a poetic sensation of the artist towards natural space."?Fran?ois Sybron, a Parisian reporter for L’Express, called him?"a Song Dynasty painter in the 20th century,"?praising the profound and culturally rich aesthetics connecting East and West in his paintings. In 1997, he became the first Chinese artist to be elected as a member of the Académie des beaux-arts (France), a title echoing throughout East and West. Returning to China in 2000 after gaining international fame, Chu Teh-Chun held a solo exhibition at the Shanghai Art Museum, attracting a massive audience. Two years later, the Shanghai Grand Theatre commissioned him to create Symphonie Festive,?a monumental work measuring 430cm in height and 730cm in width, permanently displayed at the theatre. With over 400 exhibitions worldwide, including 156 solo exhibitions and 285 group exhibitions, Chu Teh-Chun’s impact is truly remarkable. His works are housed in more than 40 major art museums, including the Musée d’Art Moderne de la Ville de Paris, the National Foundation for Contemporary Art in France, the Taipei History Museum, the China Art Museum in Beijing, and the Shanghai Art Museum. Opening of the Heroic Epoch: Representative of the Mature Iron-Wire Period For Chu Teh-Chun, born in 1920 into a family of traditional Chinese medicine in Jiangsu, Chinese painting and calligraphy were familiar during his childhood. During his time in private school, he studied regular script and read Tang Dynasty poetry. In 1935, upon admission to the Hangzhou Academy of Art, he studied Western painting under Wu Dayu and traditional Chinese painting under Pan Tianshou. After graduation, he taught successively at his alma mater, Nanjing Central University, and National Taiwan Normal University before realizing his dream of studying in France in 1955. The vibrant art scene in Europe and the rich collections in art museums provided him with significant inspiration and nourishment. Artists like Francisco José de Goya with his dark and poignant works, Paul Cezanne’s powerful foundational structures, and Nicolas de Sta?l’s liberation from representation influenced him deeply. Starting from realistic representation, Chu Teh-Chun transitioned to abstraction in 1956, marking the beginning of 58 years of abstract artistic exploration. As French art critic Pierre Cabanne noted,?"In 1958, a new art movement called ‘Abstract Landscapism’ emerged in the European art scene, symbolizing the post-war heroic era, and Chu Teh-Chun was a shining star among the new generation of painters." Chu Teh-Chun’s lifelong body of work is challenging to categorize chronologically, but two outstanding periods, the "Iron-Wire Period" (1956-1962) and the "Snowscape Series" (1985-1990), stand out. These periods represent his classic works, both scarce in quantity and highly sought after in the market. During the "Iron-Wire Period," the rich black ink of traditional Chinese ink painting and the flowing lines of calligraphy entered his oil paintings. With vigorous brushstrokes, he incorporated flying wild grass and majestic Chinese rubbing techniques into his work. Through the bold application of oil paints, he sought to develop the essence of Chinese brushwork and ink aesthetics, giving ancient brush and ink a modern and global significance. This paved the way for the revival of Chinese art on the global stage and solidified his monumental position in the history of East-West art. The maturity of this period culminated in 1958, producing masterpieces such as?Fantasia?and?Composition No. 25 - Autumn. That same year, he held his first exhibition at the Galerie du Haut-Pavé in Paris, marking a remarkable debut in the abstract art scene. The exhibition attracted Galerie Henriette Legendre, where he signed a six-year contract, marking the peak of his artistic career in his first period in France. The painting?Composition No. 19 - Lumière Obscure, completed in 1959, stands as a representative work of his artistic career during the "Iron-Wire" Period. The Charisma of Black and Earth: Striking Contrasts, Uplifting Gestures "In his hands, the brush regains the rhythm of Chinese calligraphy, giving colour a rhythm, presenting a silent, dim, and deep colour range that, through the modulation of transparent light, reveals sparkles like flashes." ——Raoul-Jean Moulin, Former President of the International Association of Art Critics In?Composition No. 19 - Lumière Obscure,?Chu Teh-Chun used powerful horizontal and vertical brushstrokes with earth-toned colours. The colours, ranging from dark brown, khaki, ochre, red-brown, to chestnut, exhibit subtle and diverse changes from cool to warm. This rich variation is reminiscent of the Chinese concept of "5 shades of ink", expressed using Western oil paints. He constructed a section on the canvas symbolizing the "fertile soil of nature and life." On this canvas, thick black lines and blocks flow and intertwine like golden stones, guided by the artist’s breath. The nurturing and influence of Chinese culture on Chu Teh-Chun naturally emanates through the forceful application of black ink lines and the use of black as a dominant colour. Examining the structure of black, the long, vigorous lines and surfaces sweep from top to bottom and left to right, combining the calligraphic brushstrokes with the dance-like movements of a water sleeve dance or the swaying willows by the West Lake in Hangzhou, which evokes a sense of imaginative adventure. The central area’s trailing and twisting lines, along with the colour blocks, echo the calligraphic brushstrokes of the dot, lift and hook, progressing from the foreground to the distance, forming a natural rhythm and creating a sense of expansive space. Observing the powerful black structure, the near-symmetrical composition is particularly rare in Chu Teh-Chun’s paintings. Additionally, deliberately using black to construct the main structure not only demonstrates his inheritance and innovation of China’s millennia-old calligraphic culture but also corresponds to the theme of "night", creating an abstract visual experience reminiscent of the outlines seen during nighttime observation, adding a mysterious and imaginative quality to the artwork. Ambiguous Radiance: the Eternal Light of Hope "Therefore, the dynamic interplay between opposing forces of strength and flexibility, the intricate dance of the eight trigrams, resonating with the powerful echoes of thunder, enriched by the nurturing essence of wind and rain. This perpetual cycle mirrors the continuous movement of the sun and moon, experiencing the ebb and flow of alternating cold and warm seasons, encapsulating the essence of natural rhythms and the ever-changing course of existence." ——I Ching And at the core of?Composition No. 19 - Lumière Obscure, a dazzling milky-white block shines like a pearl, radiating brilliance from the centre forward, instantly illuminating the entire canvas. Chu Teh-Chun, having been well-versed in Chinese poetry and classical literature since childhood, particularly had a profound understanding of Taoist philosophy and the principles of the?I Ching. He once said,?"The philosophy of the I Ching conveys the endless interplay of the concepts of Yin and Yang, presenting fundamental and mutually generative elements. Yang is fiery and bright; Yin is dark and moist. This duality gives rise to the infinite universe."?This philosophy is embodied in this work, where Chu Teh-Chun, through the dramatic contrast of black and white, yin and yang, softly speaks of the eternal truth of the universe. He leads viewers to appreciate the movement of the sun and moon, showing that in every quiet and dark night, the light of dawn will always spread across the earth at the moment of sunrise. The darkness will eventually pass, and light will come. Day and night revolve endlessly, and the light in the painting, much like a guiding lighthouse in the darkness, represents the most steadfast pursuit of ideals and life in each person’s heart. It ignites the flame within us!

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