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吳大羽 Wu Dayu 1903 – 1988 花韻(無題92) Floral Symphony (Untitled 92)
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
約一九八〇年作
Painted in approximately 1980
53 × 38.4 cm. 20 7/8 × 15 1/8 in.
出版 1996年,《吳大羽1903-1988——中國新派繪畫宗師》,大未來畫廊出版,台北,第32至33頁 2001年,《吳大羽畫展:中國油畫開拓大師》,國立歷史博物館,台北,第95頁 2006年,《吳大羽》,大未來畫廊藝術有限公司,台北,第101頁 2013年,《吳大羽——海派百年代表畫家系列作品集》,上海書畫出版社,上海,第61頁 2015年,《吳大羽作品集》,人民美術出版社,北京,第139頁 2020年,《飛羽掠天——吳大羽作品集》,商務印書館,北京,第173頁
LITERATURE 1996, Wu Dayu 1903-1988, Lin & Keng Gallery, Taipei, p. 32-33 2001, Exhibition of Wu Dayu’s Paintings, National Museum of History, Taipei, p. 95 2006, Wu Dayu, Lin & Keng Gallery, Taipei, p. 101 2013, Works of Representatives of Shanghai Artists in the Century: Wu Dayu, Shanghai Shu Hua Publishing House, Shanghai, p. 61 2015, Works of Wu Dayu, People’s Fine Arts Publishing House, Beijing, p. 139 2020, Wu Dayu, The Commercial Press, Beijing, p. 173
展覽 2001年3月9日至4月8日,「吳大羽畫展」,國立歷史博物館,台北 來源 1999年4月18日,台北佳士得春季拍賣會,拍品編號44 現亞洲重要私人藏家直接購自上述來源 只留清氣滿乾坤 吳大羽珍稀油畫《花韻》綻放勢象之美 「我愛上了皎皎的花朵, 春天來到你的臉上, 我愛上了潔白的瓊玉, 幽谷深藏著你的輝煌, 我愛上了美麗的月亮, 是你指點了明天的太陽。」 ——吳大羽 在中國二十世紀藝術史的歷程中,吳大羽具無可比擬的獨特地位。他是第一代旅法的先行者、是中國抽象繪畫與理論的奠基人、是林風眠所言「杭州藝專的旗幟」,具有「宏偉的創造力」、林文錚眼中「中國色彩派之代表者」。從1922年遠赴巴黎求學,前瞻性地投身現代主義大潮,到歸國任教杭州藝專西畫系主任,秉持啟發式教學,鼓勵創作自由,培育了日後名揚國際、改寫中國近代藝術史的三位大師——趙無極、吳冠中、朱德群,因而被譽為「大師中的宗師」。在創作上,他雖與林風眠、劉海粟同為中國第一代油畫家,卻是第一位走向抽象創作、並獲得重大成就的「先驅中的先驅」。他以獨樹一幟的「勢象」美學,在中國影響了一代代後人,「以韻噬象,蓄色成勢」是他的美學風尚,「精深而博大,超凡以脫俗」成就了他的藝術品格。 然而吳大羽一生坎坷,歷經40年代對日抗戰時期的輾轉遷徙、50年代政治運動的接連打擊,大半生的時光他都隱居上海石庫門一間十平方米的閣樓中創作,作品留存稀少,直至70年代文革結束後,才在1980年迎來創作的鼎盛期,將一生的絢爛悉數揮灑。現身於春拍、完成於1980年的《花韻》便創作於此背景,為吳大羽現存僅146件油畫作品中非凡的「花卉」題材之作。作品由現亞洲重要私人藏家珍藏25載,保存完好,來源有序。而「花卉」並為其備受藏家青睞的重要主題,於二級市場屢創新高,如《瓶花》一作以4554萬港元成交,至今仍居榜首,彰顯市場的追捧。是次呈現之《花韻》展覽出版顯著,曾亮相於2001年台北國立歷史博物館舉辦的「吳大羽畫展」,並發表於藝術家全集等6本畫冊之中,重要性不言而喻! 著根成藝:以花之名,匯成獨我大境 「美在天上,有如雲朵,落入心目,一經剪裁,著根成藝。」 ——吳大羽 托物言志、以花喻人是中國傳統文學中常見的表現手法,從《詩經》的忘憂萱草、夭夭桃花,到《楚辭》的「香草美人」,再到陶淵明之菊、周敦頤之蓮,或是唐代詩人張九齡的「草木有本心」,不同的花卉具不同的象徵意義,在東西方的文本中發展出了各自的花語體系。「在我看來那花是一種繽紛……而一經塗寫於畫面,那花也融化於人靈活力之中,上天下地,飛翻須芥,永予有心人以詠囑之緣,昧者不察,識者自來。」正如吳大羽所言,在他心目中花卉代表著一種「繽紛」,這繽紛既是形色的生命繽紛,亦是成就物我合一、以花言志的精神及哲思。而《花韻》即為其鮮明的創作印証。 吳大羽極愛畫花,其抽象創作以「花韻」、「京韻」、「采韻」系列作為大類劃分。其中「花韻」系列源自花卉題材,誕生諸多名作,如入選第三屆全國美展的《紅花》、獲第六屆全國美展榮譽獎、為中國美術館收藏的《色草》等。而花卉也是他最早涉獵,貫穿一生的重要母題:「記得我還在孩提七八歲時,我就喜歡上了書畫。我家裡都是讀書人。收藏了幾十幅古人的畫。我小時候就接觸中國畫了。我母親在鞋上、枕頭上描圖繡花,我就站在旁邊看著。」從童年記憶中走來,落入心目,「花卉」在其創作中生根發芽,陸續出現在他40年代的素描、50年代的蠟筆畫、60年代的彩墨、以及80年代的「花韻」抽象油畫,貫穿其畢生創作脈絡,成為他個人美學的經典標誌。 自50年代起,受大環境所囿的吳大羽,隱居在上海小閣樓之中。他在詩中寫道「飛羽掠天過影在,蓓蕊待發晴明枝。」雖居斗室,僅有一扇小窗開啟,他卻透過窗戶,觀察四季流轉,以天地為畫框,以此點染心胸,把示寸衷。儘管其半抽象的表現形式為彼時的時代所不容,他筆下的絢爛花色卻至純至真,始終如一地訴說其哲思與心境。正是在這樣的背景下,花卉系列的油彩創作,傾注了吳大羽對藝術生命的千言萬語。經歷了從具象到抽象、寫實到寫意的轉變,完成於1980年的《花韻》,融匯了其勢象美學的筆力、光色凝萃的表露、以花明志的追求,成為其晚年集大成之作。 飛光嚼彩韻:雨過天青的色舞詩情 「微微風簇浪,散作滿河星。」 ——清代詩人查慎行《舟夜書所見》 西方大家康定斯基(Wassily Kandinsky)曾說:「色彩是直接感染靈魂的。」在創作中色彩往往傳遞著情緒,流露著氣韻、格局,因而特定色彩的選用,亦凝縮藝術家的精神所向。在吳大羽的創作中,「藍色」是其鍾情的主旋律,無論是深邃的普魯士藍、穠麗的靛藍,還是淡雅的天青、水藍,皆帶著青花瓷般的雅麗,將西方的色彩轉化為東方的詩意。《花韻》一作獨到採用宋瓷的天青釉作為主色,於西式藍彩滲入具東方雅韻的灰調子,呈現五代後周柴世宗所言「雨過天青雲破處,這般顏色作將來」的詩情畫意。 畫作中,大片的天青藍彩自四角往中心處聚攏,色彩清和,卻呈現出強烈的放射狀結構,將觀眾的視線全然捲入置於中央的瓶花,鵝黃的花、翠綠的葉、棕褐的瓶身,以及隨著光線流轉而四溢折射的璀璨色澤,皆從這縱深的空間中破放而出,引入那「微微風簇浪,散作滿河星」的滿目繁花。隨著左右上下的筆力拓展,藍彩如波浪濤濤傾瀉而下,分別以淺、深、密、疏作出差異化的表達,自頂端的深濃至底部的清淺,光線從左上穿梭,穿透花色投射水色盪漾的湖藍光影,幾筆普藍畫龍點睛地綴於瓶身,強化著藍色系的主體動勢。而至中心,色域則進一步拓寬,以兩種色彩疊加的形式,形成不同光源下的變化,如蘭葉以黃調綠的翠綠、藍加綠的墨綠分別結合,花朵則以淺黃、橙黃、棕黃綻放出鮮妍的生命力,咖啡色的花瓶呼應著頂部上下一體的和諧張力,亦如琉璃般向四周投射淺棕的光線,直至繽紛花色在右下方留下一道暖黃與青綠的彩影,將冷與暖、明與暗的空間層次一一闡述,正是展現吳大羽所追求「謹慎進色,積時成彩」的表達。《花韻》的色彩元素簡潔而生動,雖未用七色卻勝似虹光萬丈。以色點、色塊的多重組合,煥發出極為繽紛的視覺新知,在吳大羽如浪花般湧動的筆勢下,盛放著芳菲生機,更在悠悠藍彩中,返還出一份淡染清華的安適及悠閒。 勁筆天成:大寫意的勢象之美 「天朗氣清,惠風和暢。仰觀宇宙之大,俯察品類之盛。所以遊目騁懷,足以極視聽之娛,信可樂也。」 ——西晉書法家王羲之《蘭亭集序》 而眼前《花韻》所呈現「繁花連素色」的盎然,其主旨並非僅僅呈現瓶花的盛放狀態,更是在於以繽紛的色感、靈動的線條、激昂的筆勢,去展現體察四季而俯仰的寰宇,和「形色本身的生命」,而這,正是吳大羽所獨有的「勢象美學」。早在40年代,吳大羽在給學生吳冠中的書信中便提出這一美學理論:「示露到人眼目的,只能限於隱晦的『勢象』,這『勢象』之美,冰清玉潔,含著不具形質的重感。」他將「筆勢」與「形象」作為載體,以「氣勢」與「抽象」作出發想,創生出充斥著動勢、意象與韻律的獨特藝術語彙,即為《花韻》一作的綜合寫照。 吳大羽選取中國傳統繪畫中的「乾筆淡墨」進行揮灑賦色,筆勢利落,道道分明,並巧妙結合書法「疏能走馬,密不透風」的輕快節奏,以靈活調度。承接元代倪瓚「逸筆草草,不求形似」的「乾筆」韻味,他點蘸相對乾性的藍色顏料,快速揮毫,留下筆刷飛動的留白和速度感。而畫中筆勢縱橫灑掃,或是長筆當空,構架飽滿的空間張力,或是短筆飛揚,刷出清晰的色彩層次,呈現「勢」與「象」的結合。當中可見,三處縱向的長筆,以棕色、普藍和青綠為主調,形成巧妙的結構呼應,與之相應的橫筆藍彩於底端鋪展,構架平衡。而瓶花從花卉、枝條到瓶口,均以連動的弧狀線條帶出花葉舒展的妙韻,色彩隨著筆力互相交錯、對立、融合,激烈地在空間中爭妍。筆勢連動,自由灑脫,不拖泥帶水,亦絕無斷滯之嫌,抽象化的示意聯想,令花意天成,沖破四周直線的利落,而盪漾著靈動的快意。作品將印象派的光影、表現主義的感染力、抽象繪畫的結構性,綜合性地捕捉了形象在剎那間的永恆。衝破了油畫的濃郁厚重,吳大羽把傳統東方美學之妙融入其中,令花色與氣韻在這方寸間虛實相生,閃爍著灼灼光華,諦造藝術家對勢象美的自信之寫。 採菊東籬下:繁花似錦看人間 「你且仰望秋夜的晴空,浮雲散盡,萬物無聲,天際則疏列著明星,只是燦爛動人目,如繡如畫,使你從神智昏迷中間,返回清明,來接近了藝術世界,那時你也就彷彿接觸了他,接觸了這高人的心胸。」 ——吳大羽《從陶淵明說到畫家》 一切花語皆心語。在《花韻》欣欣向榮的生命力中,吳大羽以匯融東西之筆,揮灑著心中繁花的無雙「勢象」;更以如菊的淡雅花色,寄寓著陶淵明般「採菊東籬下」的精神理想。自隱居以來,他始終視陶淵明為模範,以大隱隱於市的胸懷,去閱盡人間勝景,看遍四季流轉:「將比到自然之於生命,生命之於愛,渾然一體,美即我,我即淵明。」繁花似錦的自然,比之人格,是盡善盡美的情懷,比之藝術,是精神富足的信仰。吳大羽的花卉,不止有著線條之美、色彩之美、氣韻之美,更有著藝術之美、人格之美、理想之美。在他的那片花色中,我們看到了「灼灼其華」的綻放、「草木有本心」的執著、「閒花落地聽無聲」的淡然、及「只留清氣滿乾坤」的堅守,一一開放在藝術生命的土壤中,正如他那擲地有聲的話語:「我們從美麗中來,前面是真理所在!」
EXHIBITED 9 Mar – 8 Apr 2001, Exhibitions of Wu Dayu’s Paintings, National Museum of History, Taipei PROVENANCE 18 Apr 1999, Christie’s Taipei Spring Auction, Lot 44 Acquired directly by present important private Asian collector from the above Filling the Universe with Integrity Floral Symphony - a Rare Oil Painting by Wu Dayu Blooms with the Beauty of Dynamic Imagery Wu Dayu was one of the first generation of Chinese painters to study in France as well as the founder of abstract Chinese painting and theory. Lin Fengmian described him as "the standard bearer of the Hangzhou Arts Academy" and praised his "magnificent creativity," whereas for Lin Wenzheng he was "a representative of the Chinese colour school of painting." In 1922, Wu studied in Paris and had the foresight to dedicate himself to the rising tide of modernism. Moreover, on returning to China and becoming dean of the department of Western painting at Hangzhou Academy of Art he adopted an inspirational approach to teaching, encouraged creative freedom and cultivated three students who went on to become internationally renowned artists, rewriting the modern art history of China – Zao Wou-Ki, Wu Guanzhong and Chu Teh-Chun. As such, Wu was later known as the "Grandmaster of art masters." Although Wu, along with Lin Fengmian and Liu Haisu, was one of the first generation of Chinese oil painters, he was also "a pioneer among pioneers" and the first Chinese artist to embrace abstraction and receive major accolades. Indeed, his unique "dynamic imagery" aesthetic influenced countless generations of aspiring artists across China. However, Wu Dayu’s life was far from easy. During the 1940s he was forced to relocate because of the second Sino-Japanese war, in the 1950s he became a target of political struggle and for most of his life thereafter lived in seclusion in a 10 square meter garret loft in the Shikumen of Shanghai, where he painted. It was only after the Cultural Revolution ended in the 1970s that Wu entered his most productive period in 1980, during which time he gave voice to his art-life experience. The current work for auction Floral Symphony was completed in 1980 against this background and is one of the best floral themed works from the 146 oil paintings by Wu known to exist. The piece has been part of the collection of an important private Asian collector for 25 years, is in excellent condition and has a well documented provenance. It has also featured in exhibitions and publications, including in the catalogue for the Wu Da-yu Exhibition held at the National History Museum in Taipei in 2001, as well as in the artist’s six-volume painting album collected works, an indication of its importance. Putting Down Roots as Art: Creating a Unique Universe from Flowers "Beauty is found in the heavens as with clouds, enters the mind, is reworked and puts down roots as art." ——Wu Dayu Wu Dayu loved painting flowers and many of his best known works have floral themes such as Red Flower and Colourful Grass in the National Art Museum of China collection. Indeed, flowers were one of the first themes on which Wu focused and remained an important basic motif throughout his life, as evidenced by the artist’s sketches in the 1940s, crayon drawings in the 1950s, ink paintings from the 1960s or the abstract oil painting Floral Symphony from the 1980s. In other words, it represents as a classical symbol of Wu Dayu’s personal aesthetics. From the 1950s, Wu was limited by the environment in which he found himself and lived in seclusion in a small garret loft in Shanghai. Despite living in such a confined space, with just one small window, he still observed the changes of the four seasons beyond the window. Although his semi-abstract expressive forms were unacceptable in that era, the brilliant colours in which he painted were so pure and true that ultimately they speak to the artist’s state of mind. It is precisely against this backdrop that Wu’s floral series of oil paintings represent an outpouring of words on the nature of the artistic life. Floral Symphony, completed in 1980, is one of the greatest masterpieces he produced in later life. Savouring Beautiful Colours in Fleeting Light: Poetry of Dancing Colours in a Clear Sky after Rain "The Breeze builds into waves, scattering and filling the river with stars." ——Qing poet Zha Shenxing, On a Boat at Night Writing about What I Saw In the paintings of Wu Dayu "blue" is the central melody with which he fell in love and Floral Symphony takes the azure glaze of Song Dynasty ceramics as its main hue, permeating Western blue with the grey tones of elegant Eastern rhymes. The large area of cerulean blue moves from the four corners of the work and gathers in the centre. Although the colour is clear and peaceful, it also showcases a powerful radiating structure, so the eyes of viewers are inextricably drawn to the flower vase at the centre, the light yellow flowers, green leaves, brown vase and brilliant colours that brim forth with the flowing light, breaking out from the depths of space. With the expansion of stroke strength to the left and right, up and down, the blue hue pours forth like a torrent of waves, showcasing differentiated expression comprised of light and dark colours, compact and dispersed strokes. At the centre of the painting the colour gamut is further widened, in the form of two colours layered on top of each other to create changes from different light sources. For example, the lush greenness of the yellow mixed into green orchid leaves, the dark green made from adding blue to green, while the light yellow, orange-yellow and brown-yellow of the flowers exude a sumptuous vitality, with the spatial layers of warm and cold, light and darkness elucidated one by one. This highlights Wu Dayu’s injunction to: "Use colours carefully and slowly over time you will achieve the desired result". In this context, the colour elements in Floral Symphony are simple and alive, and although the artist does not employ seven colours his presentation outshines the beauty of a rainbow. Naturally Formed Strong Strokes: the Beauty of Freehand Dynamic Images The work Floral Symphony is replete with exuberance but its main subject is not merely expressing the flowers in the vase in full bloom, but rather the resplendent sense of colour, the energetic lines and passionate brushwork, as the artist observes seasonal changes and the "life inherent in form and colour." It is precisely here that we experience first-hand the unique "dynamic imagery aesthetic" of Wu Dayu. As far back as the 1940s, Wu elaborated on aesthetic theory in a letter to his student Wu Guanzhong: "In revealing a painting to the human eye one is limited to hidden ‘dynamic imagery’ and the beauty of this ‘dynamic imagery’ is pure and noble encompassing a weight that has neither form nor texture." Wu viewed "stroke strength" and "image" as vehicles that drive "momentum" and "abstraction," enabling the artist to create a unique artistic language imbued with force, imagery and rhyme. Floral Symphony is a testament to this artistic approach. Wu Dayu chooses the "dry brush and light ink" of traditional Chinese painting to play with colours, dipping into dry blue pigment, while employing quick movements of his brush and deft brushwork, each clear and succinct, ingeniously combining the light and rapid rhythm of calligraphy with flexible adjustments. In the painting, the strong brushwork sweeps across the canvas and whether the flowing long strokes, the spatial tension that fills the structure or the shorter strokes, these create a clear layering of colour that showcases the combination of "dynamism" and "imagery." From the flowers and stalks in the vase to the opening of the vase, Wu employs connected arc lines that bring out the exquisite rhythm of the outstretched flowers and leaves. With the interplay, juxtaposition and combination of brushstroke strength, the colours vigorously compete for attention in the space, a testament to the artist’s self-confidence at the beauty of dynamic imagery. Picking Chrysanthemums under the Eastern Fence: Seeing the World through Blooming Flowers All flower language is the language of the heart. Among the thriving vitality of Floral Symphony, Wu Dayu combines eastern and Western brushwork, giving rein to the unique "dynamic imagery" of each flower in his mind. He also uses the elegant colour of chrysanthemums to imbue the work with the idealistic spirit and worldly detachment of Picking Chrysanthemums Under the Eastern Fence by Tao Yuanming (365-427). After Wu started living a life of solitude, he came to view Tao as a role model, adopting the mindset of the ideal hermit living in a noisy market, while viewing the great things in human life and observing the changing seasons: "What nature is to life, life is to love, they are part of one whole, wherein beauty is me and I am Tao Yuanming." Comparing the nature of beautiful flowers to human character is the perfect sentiment, while comparing it to art is a belief rich in spirit. In the artist’s flower colours, viewers see the "brilliant luster" of their blossoming, the insistence that "flora have instinctive nature," the indifference that "idle flowers fall to the ground unheard, and a firm belief "in letting one’s integrity fill the universe." As these ideas blooms in the earth of artistic life, they resonate with the words of Wu Dayu: "We come from beauty, ahead lies truth!"

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