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吳冠中 Wu Guanzhong 1919-2010 新居 A New House
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 畫板
Oil on fibreboard
一九七二年作
Painted in 1972
36 × 28 cm. 14 1/8 × 11 in.
款識 荼 七二(左下)新居 吳冠中 一九七二(畫背) 出版 1992年,《名家翰墨第6號》,翰墨軒出版有限公司,香港,第88頁 2007年,《吳冠中全集:第二卷》,湖南美術出版社,長沙,第176頁
Signed in Chinese and dated on bottom left; titled, dated and signed in Chinese on the reverse LITERATURE 1992, Han Mo 6, Han Mo Xuan Co., Ltd, Hong Kong, p. 88 2007, The Complete Works of Wu Guanzhong, vol. 2, Hunan Art Publishing House, Changsha, p. 176
來源 1989年9月25日,香港佳士得秋季拍賣,拍品編號117 亞洲重要私人收藏 虛懷若谷,細嗅生命芬芳 吳冠中的英雄主義 「世上只有一種英雄主義,就是在認清生活的真相之後依然熱愛生活。」 ——法國文學家羅曼.羅蘭(Romain Rolland) 1972年,文革最黑暗的時刻過去後,吳冠中長達六年的繪畫禁令被解除,他從河北農村李村回到北京與家人團聚。雖然文革一直持續到了1976年,但這時局動盪中的命運轉變,帶給了藝術家樂觀的情緒,讓他把此前禁畫六年所累積的能量傾注到彼時自由的創作中,進入1970年代的個人藝術黃金時期——他擺脫了意識形態的泥淖,將精力集中在風景畫上,遊歷海內外,體驗和捕捉各地風光。 事實上,這項於其後長達四十年的藝術努力始於重返北京、搬回故居、重拾畫筆的命運轉折,北京也是他其後重要的生活居所,因而有關北京一地的繪寫也至關情深。吳冠中雖然表面上畫的是風景,但其作真正的主題是他自己的人生故事及對生活的百感情愁。他曾於《而立與不惑——五十至七十年代生活雜記》中回憶:「一九七二年,我回到北京,打開鎖了多年的宿舍,老伴和插隊的孩子們陸續返回。我在自己的家裡作起畫來,不必再提心吊膽,新作品又一批批誕生了。」是次春拍隆重呈現的《新居》便誕生於此時。 此畫題中的「新居」並非現實生活中的「新房」,作品洋溢著藝術家歷經文革苦難,重回故居、如獲新生的喜悅。畫面中平直的磚房、雕花的宅門以及瓜藤,為最典型的中國北方宅景。畫中建築與他另一作《龍鬚島山村》中的景色均呼應,均紀錄了中國北方民間生活的樸實面貌。《新居》通篇以熱情、純厚的色彩,渲染出一幅歷盡千帆、卻希望滿載的成熟心境。 吳冠中最早「首現拍場油畫」榮譽呈現 《新居》在吳冠中的藝術版圖中極其特殊,在風格上,它凝聚藝術家70年代風景主題的經典語彙,標誌他畫風形成的重要節點;自生活上,它為吳冠中坎坷的人生磨難畫下句點,成為充滿自由與希望的「新生起點」;與此同時,它亦為吳冠中藝術市場建立的重要起點,並隨之拉開此後中國當代藝術市場逾三十年波瀾壯闊的進程。在1989年香港的一埸拍賣會中,《新居》作為吳冠中「首次現身拍賣的油畫代表作」,引發社會巨大關注與回應,彼時在激烈競爭下以逾估價兩倍的高價成交,成功奠定並開啟此後吳冠中經久不衰的市場魅力,足見《新居》所承載的、獨有的時代意義和影響力。 近景構圖,畫家的仰視 「細看,這空中花園裡生命在掙扎,花朵在開放。她們不知自己身處險境,朝朝暮暮顯得欣欣向榮。」 ——吳冠中 在《新居》中,吳冠中刻意選擇一個仰視的視點,將門前盛放的花叢作為前景,使之佔據了三分之二的畫幅,由此延伸出後方有著白牆、木質雕花門窗的房舍。這些看似平凡的生活景物,是他內心最深、最崇高的仰望及珍視之物。 在景物的遞進中彰顯出豐富的視覺層次,觀者的視線可自下出發向上,只見近景的竹籬與藤蔓交錯,展現不屈的生命力量,其間紫色的風信子隨風搖曳,自蒼綠的枝葉而出;而中景的白牆灰瓦,以筆直、明快的線條切割,與日後其「江南風景」中標誌性的「黑瓦白牆」元素如出一轍、承載著對這居所的獨特記憶,展現中國現代建築的簡約之美,亦標識著一個創作風格的「新生」!當中黃色拱門以傳統中式雕花鑲嵌,在古樸、自然的氛圍中流洩著一絲人文氣息。後景藍天露出魚肚白,在右側綠蔭的掩映下,將前景的建築和綠植映襯得更為濃郁,體現著藝術家彼時物資艱苦的條件下,旺盛不屈的生命力。 吳冠中在此賦予看似平凡的生活場景戲劇性的描寫。以一種謙卑、崇敬的仰視視角,回看過往的人生際遇,並對未來翹首以盼,其對藝術的熱情猶如熊熊烈火,伴隨著漩渦般的筆觸呼之欲出,他將心境定格於一隅,將之化為永恆。 致敬梵高:草兮草兮,生命的強者 「我畫過多幅野草閒花,羨慕野草之一無所求。自由自在地活著,任憑風吹雨打,不愁春、夏、秋、冬。草兮草兮,生命的強者。當年作畫的時候,也曾體會過梵高心中燃燒的火焰。」 ——吳冠中 細看畫面中的一草一木,吳冠中在此以近乎「梵高式」的旋渦筆觸描繪花葉,在眼前一片濃郁的綠海中,他以葉為「面」,以藤為「線」,在畫面中自右至左,線與面有機的蜿蜒生長。令人聯想起梵高(Vincent Van Gogh)《麥田與柏樹》中流動的雲朵,在糅雜的筆觸下展露生命情態。吳冠中認為梵高是對他影響最深的藝術家,「我從青少年學畫時期起,一見梵高的作品便傾心,此後一直熱愛他,到今天這種熱愛情感無絲毫衰退。我想這吸引力除了來自其繪畫本身的美以外,更多的是由於他火熱的心與對象結成了不可分割的整體,其作能打動人的心靈…他的每一幅作品都展露了作者的心臟在跳動。」在《新居》中,畫中民居湛黃色彩的大門仿若指涉著一個「光明開朗的未來」,更呼應了梵高筆下令吳冠中「美的想要跪下親吻」的向日葵,象徵著太陽的純粹與熾熱。而那些朝向畫面中央伸展、層層疊疊的枝葉、花朵,筆道強勁,每一筆都彷彿融合了藝術家對自然真摯情感的「心跳烙印」,他將對梵高的熱愛與致敬,透過鮮活之筆將內心在非常時期渴望創作的熱情傳遞人前,在那或深或淺的青綠色塊中,以色線和色面的交響樂烘托出葉叢單純的本質面貌。賦予了平凡的生活以非凡的格局,無謂浮華,而能深入人心。 《新居》一作不僅在市場上是中國當代藝術史中的一件重要創作,更是一段重要的歷史記錄,在風起雲湧的歲月中點亮了吳冠中守候、不懈的藝術希望。畫中熱烈的情感與有力的筆觸記錄著生命的起伏,成為藝術家心靈的棲居之所,言說著非常時期的等待與堅守。而那旺盛的花葉冉冉升起,映襯藝術家執著而純淨的內心,安放於眼前這故人的「新居」,心之所向,素履以往。
PROVENANCE 25 Sep 1989, Christie’s Hong Kong Autumn Auction, Lot 117 Important Private Collection, Asia Embracing Emptiness, Savoring Life's Fragrance Heroism of Wu Guanzhong In 1972, after the darkest days of the Cultural Revolution had passed, Wu Guanzhong’s six-year painting ban was lifted. Returning from the rural village of Hebei to reunite with his family in Beijing marked a turning point in his fate amidst the tumultuous era. This shift brought optimism to the artist, allowing him to channel the energy accumulated during the six years of prohibition into free and prolific creations. Thus began Wu’s golden era in the 1970s, breaking free from ideological constraints, focusing on landscape painting, and exploring both domestic and foreign landscapes. In essence, his art, although appearing as landscapes, serves as a canvas for his own life story and myriad sentiments towards life. The painting presented in this Spring auction,?A New House,?was born during this transformative period. A New House?is not a literal "new house" but a depiction of the artist's joy in returning to his ancestral home, reborn after the tribulations of the Cultural Revolution. The straight brick walls, intricately carved doorways, and twisting vines represent the quintessential scenery of northern China. Throughout?A New House, warm and pure colours create a mature atmosphere filled with hope that has weathered countless storms. Wu Guanzhong's Earliest Appearance in Auctions Stylistically,?A New House?encapsulates the classic vocabulary of the artist's 1970s landscape themes, marking a pivotal point in his artistic style. In his personal life, it serves as a punctuation mark to Wu's tumultuous journey, signifying a new beginning full of freedom and hope. Simultaneously, it establishes a crucial starting point for Wu’s presence in the art market, launching over thirty years of remarkable development in the contemporary Chinese art market. In a 1989 auction in Hong Kong,?A New House?made its auction debut as Wu Guanzhong's "first-ever auctioned oil painting." Amid fierce competition, it achieved a price over twice the estimated value, solidifying and initiating Wu Guanzhong's enduring market allure, underscoring the unique historical significance and influence carried by?A New House. Foreground Composition, the Artist's Reverence In?A New House, Wu deliberately adopts an upward perspective, using the blooming flowers in the foreground to lead the viewer’s gaze towards the house with white walls and wooden-carved doors and windows in the background. These seemingly ordinary life elements represent Wu’s deepest and most revered aspirations. The progression of elements highlights rich visual layers. The viewer’s gaze can ascend from the resilient bamboo fence and vines in the foreground to the straight, vibrant lines of the white walls and grey tiles in the midground, showcasing the simplicity and beauty of modern Chinese architecture. The background’s blue sky, partially veiled by the green shade on the right, intensifies the richness of the foreground’s architecture and greenery, embodying the flourishing resilience under challenging conditions that the artist faced during that time. Wu Guanzhong infuses seemingly ordinary life scenes with dramatic storytelling. With a humble and reverent upward perspective, he reflects on his past life experiences and looks forward with anticipation to the future. Homage to Van Gogh: Grass, the Strong Ones of Life Examining the details of the painting, Wu uses swirling brushstrokes reminiscent of van Gogh to depict the leaves and flowers. Each stroke, whether facing towards the centre of the canvas or extending layer upon layer, exudes the vitality of life. Wu considers van Gogh the artist who influenced him the most deeply. The branches, leaves, and flowers stretching towards the centre of the canvas are bold, each stroke seemingly infused with the artist’s sincere emotions, a "heartbeat imprint" of his genuine connection with nature. Through vibrant strokes, Wu expresses his love and tribute to van Gogh, conveying his passionate desire to create during challenging times. Amidst the shades of blue and green, the painting brings out the simple essence of the foliage, elevating ordinary life with extraordinary breadth, devoid of unnecessary extravagance but resonating deeply with the audience. A New House?is not only an important work in the contemporary art history of China but also a significant historical record, illuminating Wu Guanzhong's patient and unwavering artistic hope during tumultuous times. The fervent emotions and powerful brushstrokes in the painting chronicle the ebbs and flows of life, becoming a sanctuary for the artist's soul, narrating the waiting and perseverance during extraordinary periods. As the vibrant leaves ascend, reflecting the artist's dedicated and pure heart, they find a home in this "New House," a destination aligned with the heart, rooted in the past.

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价格信息

拍品估价:6,000,000 - 8,000,000 港币 起拍价格:6,000,000 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%

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