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兒島善三郎 Zenzaburo Kojima 1893-1962 罌粟花 Poppies
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
一九四八年作
Painted in 1948
53 × 80.3 cm. 20 7/8 × 31 5/8 in.
款識 Z.Z.Kojima(左下) 出版 1972年,《兒島善三郎作品集》,株式會社美術出版社,東京,第157頁
Signed in English on bottom left LITERATURE 1972, Zenzaburo Kojima Art Collection Book, Bijutsu Shuppan Sha,?Tokyo p.157
來源 亞洲私人收藏 附:藝術家家屬親簽之兒島善三郎作品鑒定書 繁花瀲豔,剎那即永恆 兒島善三郎拍場唯一風景花卉之作首現 「看著夕陽淹沒在覆滿鮮花的山頭。漫步在一個無盡的樹海裡,沒有想過回頭。站在岸邊凝視著遠方的船消失在島嶼後方。漫思那些在雲層間忽隱忽現般飛行的野鵝們的飛行路徑,和竹枝間交疊的細微樹影。」 ——日本樂師世阿彌《風姿花傳》 春濃時節:一花一世界 1893年生於福岡的兒島善三郎是位自學成才的藝術家,早年他對藝術的研習全來自其不斷實做;直至1923年,他決心留學法國,去學習誕生於歐洲的正統油畫。受彼時巴黎開放、前衛的風氣影響,他開始描繪裸女主題作品。但據其回憶錄記載:「從馬賽我穿過蘋果花的隧道來到巴黎。5月15日,正是法蘭西百花繚亂的春濃時節,不久我開始了美術修學時期。」其個人經歷僅寥寥幾筆,但皆以「花開花落」作為時節記載,足見「花」這一風物在他心中所佔據的特殊意義。 「花」這一主題,更成為日後他最為人所知、最受追捧的創作題材。其以西方學院派的透視法、塞尚(Paul Cézanne)厚重大膽的結構筆法、日本傳統繪畫及色彩美感等不同美學體系融合為一,創造自我嶄新的表現風格。1936年春,兒島善三郎為了感受更豐饒的自然,移居至東京郊外武藏野的國分寺。而在1941年二戰期間,日本很多畫家奔赴戰場做戰爭記錄,兒島未涉足軍隊的工作,畫具配給停止,但恰恰在此時,他停止了一直以來堅持的裸女人體畫,將焦點轉向風景與靜物主題,以簡化的單純造型深入追尋東方傳統繪畫中的文化底蘊,再創藝術生涯高峰。是次呈現完成於1948年的《罌粟花》,為藝術家拍賣市場上唯一一件結合風景與花卉主題之作,以前所未有的視角展現陌上花開的旖旎風情。 極瞬之美:豪放中見幽微 「所謂寫實,就是把握永恆的生命。」 ——兒島善三郎 彼時兒島所居住的武藏野一地的丘陵森林公園以罌粟花海聞名,每到夏天,大片的罌粟花於高原綻放,有著「天空的罌粟花」之美譽,定居該地的兒島必定見過此美景因而畫下此作。畫中罌粟花高低錯落,層次分明,以淺粉、煙紫、紅色調為主體,以揚天而立的姿態向上舒展,在綠葉的襯托下更顯嬌豔,洋溢著生命力,令人聯想到桃山屏風畫豪放的形式及華麗色彩裝飾性的表現,形成了融合自然美和形式美的日本風景畫。而支撐這種審美取向的是日本和中國的古典研究,以及「侘」(短暫而鮮明的美)的美感基礎:有別於其後期經過幾何簡化處理的花束,《罌粟花》力求還原花色本真的面貌。不論是以細膩的輪廓線所勾勒的重重花瓣或以油彩薄塗的花葉,皆刻意將明暗光影的描寫降至最低以突出主體的花本身。當中細長、筆直的根莖與圓潤的花瓣亦形成體量上的反差,在一張一弛、一呼一吸間完整展現參差多樣的花海風姿。 浮世繪傳統的傳承及新創 浮世繪影響了西方大家馬蒂斯(Henri Matisse)對色彩的概念,他曾說:「色彩存在於本身,也為本身而存在。它有自己的美──這是日本浮世繪所揭示的真理」。兒島亦擷取了浮世繪色彩的平面化與色相的對比,在日本傳統色彩中,紅色代表「明亮、燃燒、飽滿」等意義,具豐富的能量,也象徵了感情的激盪,《罌粟花》中大膽的紅色花束與藍色背景形成了強烈的視覺衝擊,可說與歌川廣重的《罌粟花》一脈相承。此外在接受西方教育的洗禮之後,兒島在畫面中以開闊的廣角視野將花朵盡納其中,橫軸的構圖又令人聯想到葛飾北齋描繪櫻花的《東海道品川御殿山不二》,天地之外,方寸之間,繽紛美景盡收眼底。而藍色的背景與其中未定義的空間也蘊含了東方傳統文化所凝聚的色彩觀與空間感,畫面在靜物的實體存在與空間的想像延伸中形成鮮明對比,因而拓展了傳統靜物花卉的表現性,又比傳統風景寫生多了幾分主觀抽象的美感,完整體現了兒島善三郎作為日本戰後藝術家致敬傳統、卻在傳統之外汲新再造的遠見與智慧。作品雖以花為主角,卻不忘著眼於天地——悠久雄大的自然承載著生命的力量。人們的感性在此抒情地與花融為一體,在自然規律中生息,將眼前的寧靜與豐美定格,孕育出生命中的真與善。
PROVENANCE Private Collection, Asia This work is accompanied by a certificate of authenticity issued and signed by the artist’s family Amidst the Vibrant Blooms, a Fleeting Moment Becomes Everlasting Zenzaburo Kojima’s Sole Floral and Landscape Masterpiece Unveiled In the Intensity of Spring:to See a World in a Wild Flower Born in Fukuoka in 1893, Zenzaburo Kojima was a self-taught artist. In 1923, he embarked on a journey to France to study the traditional European art of oil painting. According to his memoirs, he recalled, "From Marseille, I passed through a tunnel of apple blossoms to arrive in Paris. On May 15, in the midst of France’s vibrant spring, I soon began my period of studying art." His use of the phrase "flowers blooming and falling" to describe the seasons illustrates the special significance that "flowers" held in his heart. In 1941, he shifted his focus to landscapes and still-life subjects, delving into the cultural richness of traditional Eastern painting through simplified and pure forms. Completed in 1948, Poppies stands as the artist’s unique piece in the market, combining landscape and floral themes. Beauty in the Extreme Moment: Discovering Subtlety amidst Boldness At that time, Zenzaburo Kojima resided in the hilly forest park of Musashino daichi, renowned for its poppy flower fields and acclaimed as the "Poppies of the Sky." In the painting, poppies are scattered in varying heights, creating distinct layers. Dominated by shades of light pink, smoky purple, and red, they stand with a lofty posture, gracefully reaching upwards. Set against the backdrop of green leaves, their vibrancy and life force become even more prominent. This imagery evokes thoughts of the bold forms and splendid colours decorations seen in the folding screen paintings of Japan’s Momoyama period, creating a fusion of natural beauty and formal aesthetics in Japanese landscape art. Underpinning this aesthetic direction are studies in classical Japanese and Chinese art, along with the aesthetic foundation of ‘Wabi’ (transient and vivid beauty). In contrast to later works that underwent geometric simplification, Poppies strives to restore the authentic appearance of the flowers. Whether depicted with delicate contour lines outlining numerous petals or thinly painted flower leaves, the portrayal deliberately minimizes the depiction of light and shadow to accentuate the essence of the flowers themselves. The slender, straight stems and the round, lush petals create a contrast in volume, showcasing a diverse and dynamic sea of flowers in the ebb and flow of each breath, embodying the charm of the poppy field. Ukiyo-e: Traditional Heritage and Innovation Zenzaburo Kojima incorporates the flatness of colour and the contrast of hues from ukiyo-e into his work. In traditional Japanese colours, red symbolizes brightness, intensity, and fullness, carrying rich energy and signifying the surge of emotions. In Poppies, the bold red bouquet against a blue background creates a striking visual impact, echoing the lineage of Utagawa Hiroshige’s Poppies. After being influenced by Western education, Kojima captures the flowers with a broad, panoramic perspective, encompassing them in the vast expanse beyond the heavens and earth. The blue background and undefined space contain the color perception and spatial sense embedded in Eastern traditional culture. The contrast between the tangible presence of still life and the imaginative extension of space expands the expressive nature of traditional floral still lifes, adding a subjective and abstract aesthetic. This fully embodies Zenzaburo Kojima’s role as a post-war Japanese artist, paying homage to tradition while ingeniously recreating beyond its boundaries. Although flowers take centre stage in the artwork, it also pays attention to the cosmos —— the enduring and majestic nature that carries the power of life, nurturing the essence of truth and goodness in existence.

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