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劉海粟 Liu Haisu 1896 – 1994 荷塘柳岸 Lotus by the Willow Bank
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
一九八二年作
Painted in 1982
60 × 72 cm. 23 5/8 × 28 3/8 in.
款識 海粟Liu Haisu 1982(右下)
Signed in Chinese and pinyin, and dated on bottom right
來源 1996年10月20日,台北蘇富比秋季拍賣會,拍品編號14 2010年4月5日,香港蘇富比春季拍賣會,拍品編號273 現亞洲重要私人藏家直接購自上述來源 踏遍滄海求一粟,試與日月爭鋒榮! 劉海粟耄耋之年的生命詩篇《荷塘柳岸》 「用其如火如荼之色彩,自己闢自己之途徑,以表白其至潔之人格,以其強烈之意志與堅卓之情操,與日光爭榮。」 ——劉海粟 隨著1915年新文化運動如火如荼的開展,西方「美術」(fine art)一詞漂洋過海,來到中國這片具千年東方美學的土壤,成為「丹青」、「雅藝」等詞彙的現代表達。彼時傳統與現代、國畫與西畫、寫實與寫形等美術思想發生碰撞、交匯、蛻變,一批心懷美術救國理想的青年,開始向西方學習,並深耕傳統美學精粹,在兩者間做出獨我的詮釋,更肩負開闢鴻蒙之使命,最終打開了民族藝術的嶄新道路。 在這其中,被尊稱為「新美術運動的拓荒者」、「近代美術教育的奠基人」,以創立中國第一所美術學校、啟蒙無數學子的藝術大師劉海粟,正可謂是現代美術開宗立派之人:他在17歲即創辦了中國第一個正規美術學校——上海圖畫美術院(後改名上海美術專科學校),23歲以「發揮人類之特性,涵養人類之美感」的主張,成立中國新藝術團體「天馬會」,1929年赴歐洲考察,積極參與法國沙龍,1931年於巴黎舉辦個展,1934年更於歐洲主辦「中國現代繪畫展覽會」的巡迴大展,令中華藝術走出國門、走向世界……他不囿俗規,處處敢為天下先,是保守派眼中的「藝術叛徒」,卻以一己之力破除窠臼、開立人體模特寫生之先河,在中國現代美術史上,以濃墨重彩之筆,書寫其具劃時代意義的里程碑。 燃內心狂激熱焰,熔行雲流水之暢 在劉海粟1896至1994、近乎跨越20世紀整個進程的人生中,他視創新開拓為其藝術主旋律,學貫中西、融通古今,並反饋於自身創作,在油畫、中國畫、書法及詩詞、美術理論等方面皆有卓越的貢獻。而其對「風景」主題的深探,可追溯至1920年代,彼時他專注油畫創作,遊歷寫生,「風景」為其最膾炙人口的主題,如1929年其作《北京前門》即光榮入選法國沙龍,成為該展第一位入選的中國藝術家。而劉海粟更如海綿般透過行旅吸收世界藝術的養分,從1919年日本考察、到前往巴黎盧浮宮臨摹文藝復興巨擘之作,再到受印象派、後印象派影響、憧憬梵高(Vincent van Gogh)那如「燃著了內心狂激的熱焰」的反叛精神。他孜孜不倦地走遍世界,藉寫生展現他對外光、色彩、造型的思考。而在新中國成立後,他更將中國水墨和油畫作為齊頭並進的雙向主線,其油彩獲水墨涵養,獨具行雲流水之美態。而在歷經文革的人事沉浮後,晚年的他潛心創作,在油畫中熔鑄了深厚的國畫寫意精神,匯成其晚期大氣奔放的標誌性畫風。 是次呈現的《荷塘柳岸》完成於1982年,正為劉海粟晚年重要創作代表,彼時他甫榮獲「義大利國家藝術學院金質獎章」,亦為其投身藝術事業的第70年。耄耋之年壯心不已,該年他壯遊祖國山河,一路從福州、廈門、珠海、貴陽、到安徽黃山、揚州,寫下沿途好風光。《荷塘柳岸》由此誕生,即為其藝術成就登臨輝煌時刻的見証。清新婉約中又具豪邁熾盛的熱情,代表性不言而喻! 曲院風荷好風光,經典西湖主題代表 縱覽劉海粟畢生創作,其多以山水風景與中西建築為主,花卉元素極為罕見,據考據,其靜物花卉主題油畫僅不足20幅,兼具風景、花卉者更僅有7件。而將花卉、山水、人文建築,三大元素集為一體的《荷塘柳岸》便為其一,形式之豐富突顯其彌足珍貴,可遇不可求。而畫作所描繪的是杭州西湖十景中,有著「接天蓮葉無窮碧,映日荷花別樣紅」之盛名的「曲院風荷」,令人感受當夏季來臨時,西湖兩岸楊柳依依晴日方好、水光瀲灩、風荷碧葉一一高舉、芙蕖花香陣陣襲來的動人風彩。正如明代王瀛作詩:「古來曲院枕蓮塘,風過猶疑醞釀香。薰得凌波仙子醉,錦裳零落怯新涼」讚嘆令人如癡如醉的荷塘美景。劉海粟以此景入畫,將荷塘對岸的「郭莊園林」作為畫幅的視覺中心,細心佈局,園林入口花朵狀的洞門與祥雲狀的漏窗一展江南園林的精緻典雅,而上翹的飛簷呈飛舉動勢,盡顯人文景觀的莊嚴大氣。此正是劉海粟以古建築之雅韻結合自然景觀之清新暢意,所展現的「油畫民族化」特色的重要表徵。 「西湖最盛,為春為月。一日之盛,為朝煙,為夕嵐。」 ——明代文學家袁宏道 事實上劉海粟一生中曾數度描摹西湖風光,如1925年之《西湖煙霞》、1937年的《西湖紫雲洞》,以及現今為劉海粟美術館收藏的《西湖玉帶橋》、《西湖丁家山麓》等。他與西湖結緣始於上海美專開創行旅寫生的初期,彼時在每年春秋二季,美專校長或主任均帶領學生赴杭州、蘇州、無錫、南京等名勝實地寫生。而在1918年的4月,身為校長的劉海粟帶隊首次赴杭州寫生,他並寫下《西湖旅行寫生記略》,提及:「吾國美術尚在幼稚時代,野外寫生,幾為創見。有多數學界中人,則均知為上海圖畫美術學校之野外寫生,赴杭之翌日,滬上各報均紀錄此事。」在之後的三年中,他多次帶隊赴西湖寫生,或乘船或登高,飽覽三潭印月、西泠橋、平湖秋月、斷橋殘雪之景,亦寫淨慈寺、靈隱寺、南屏晚鐘等古韻建築,西湖豐富的素材涵養了其創作,令他逐漸悟出「畫之真義,在表現人格與生命,非徒囿於視角,外騖於色彩、形象者,故畫象乃表現,而非再現也;造形而非摹形也」的要旨。因而,「西湖」是劉海粟油畫創作極其重要的一環,亦成為他後來留戀往返、數度回溯的重要美學主題,成就其個人藝術豐碑。完成於1980年代晚期的《荷塘柳岸》,正總結、凝聚了他一生對西湖的熱烈鍾情。 心與天地遊,色與形的釋放 劉海粟油畫常如其人及性格般,大膽鮮明、表現強烈,其用色具後印象派和野獸派的深濃風格,令人耳目一新。然其畫面整體卻又予人舒適酣暢之感,不因色彩濃烈而有遲滯閉塞,此除了得益於他對色彩的敏銳捕捉、對油彩顏料加以渲染性的使用之外,更因他極其重視對意象和感受的把握。為達「不為形役,不求合矩,但求筆與物化,心與天游」之境。他採用國畫線條的書寫性使用,以「線」代替色塊,令線與線之間產生不經意的留白,從而構成靈動鬆弛的意味,亦是其特色畫風。體現在《荷塘柳岸》中,湖中的荷葉田田正展現極為舒朗率性的線條筆勢,在外輪廓上,劉海粟先勾勒出或如圓盤、芭蕉扇,或如舞裙的形態,再向內輕快地填入青綠、藍綠、翠綠、黃綠的幾筆色彩,輔以留白處理,創造出「非刻意而為之,乃是一派自然天成」的姿容。而幾朵菡萏裊裊婷婷,似透過頓筆書寫般的方式點畫而成,或小荷初露尖尖角,或迎風搖曳,簡筆寥寥,卻道盡「清水出芙蓉,天然去雕塑」的神韻,亦暗含藝術家「出淤泥而不染」的高潔志趣! 而在主體上,作品出人意表地以明亮的黃綠色彩作為主調,著重刻畫岸上、水下、湖中,天地連成一色的意境。在園林兩側,楊柳並非慣常所見的輕柔拂水,而是呈高大昂揚的蓬勃姿態,如梵高筆下的絲柏樹,予人充沛的希望及朝氣。在其中,劉海粟充分使用他融匯中國筆韻及印象派對色彩的敏銳幻變,快速地變化著用色,營造光源,從核心處的橙黃、鵝黃,到四周的青綠、翠綠,間雜幾筆墨綠,漸次鋪開,由內而外地綻放出那屬於生命的純真色彩。而隨著西湖水波的盪漾,柳樹亦影影綽綽地倒映其中,以暈染般的疊加方式,由遠及近地呈現出水色由清淺到深濃的自然過渡。遠處是山色空濛,雲卷雲舒,近處則是水波漾漾,荷塘深深。而湖中畫船悠悠蕩蕩地劃開道道波紋,將這天上地下與湖中,連成人與自然的和諧畫境。畫中可見藝術家針對光影施展變化多姿的筆法,以老辣剛勁的線條,奔放地導出物象的生命,而那一氣呵成的短筆更滲入國畫筆法之妙。作品之光影感和節奏的韻律兼具,呈現出強烈的寫意性和表達性,造就極富感染力的畫中世界。 剎那永恆的生命激情 「我常常看見一種瞬息的流動的線,燦爛的色彩,心弦便不息的潛躍,自己只覺得內部的血液要噴出來一樣,有時就頃刻間用了色彩或線條表白。」誠如劉海粟發自肺腑的言語,他一生追求「藝術的表白」,古稀之年仍四海採風,只為表現、追求生命那一剎那的永恆。後人觀其畫作,用筆大膽、用色鮮明,飽含浪漫主義的激情、後印象派的生命力,而這一切的源頭,正是他對藝術一往情深的激越和始終不變的赤誠。而這誕生於瞬息的直覺和噴薄而出的激情,貫徹了他80多載的藝術生涯。他以不懈的創作和教育事業,身體力行地道出對「美術」二字的箴言,也將這份箴言成為後輩取之不盡的藝術財富。
PROVENANCE 20 Oct 1996, Sotheby’s Taipei Autumn Auction, Lot 14 5 Apr 2010, Sotheby’s Hong Kong Spring Auction, Lot 273 Acquired directly by present important private Asian collector from the above Traveling the World in Search of Excellence, Trying to Outshine the Sun and Moon Lotus by the Willow Bank - A Psalm of Life from Liu Haisu "I use colours like raging fire to forge my path and express the purity of my character, employing the strength of will and strong sentiment to vie with the sun." ——Liu Haisu Artist Liu Haisu has been called a "modern art movement pioneer," "the founder of modern art education". He founded a new school of modern art; and at the age of 17, he established the first formal art school in China – Shanghai Art School (later renamed Shanghai Academy of Fine Arts). And at the age of 23, Liu established the Chinese new art group "Heavenly Horse society." In 1931, he held a solo exhibition in Paris, France and in 1934 his touring Chinese Modern Painting Exhibition, travelled across Europe introducing the wider world to Chinese art. Indeed, the artist was responsible for many firsts in Chinese modern art, including pioneering efforts to introduce nude models. As such, Liu’s rich and colourful brushwork made an indelible mark in the history of Chinese modern art. Burning Flames of Inner Passion, Imbued with Flowing Clouds and Water Liu Haisu’s life spanned most of the 20th century (1898-1994) and in that period he became well versed in both Eastern and Western learning, combining ancient and modern elements in his art, while making important contributions in the fields of oil painting, Chinese painting, calligraphy, poetry and art theory. Moreover, the artist’s exploration of "landscapes" as a motif can be traced back to the 1920s, at a time when Liu was very much focused on oil painting. From 1919, whether visiting Japan, copying works at the Louvre in Paris, or influenced by the Impressionist School, he yearned for the "burning flames of inner passion" seen in the rebellious spirit of Vincent van Gogh. Liu tirelessly travelled the world and his paintings from real life showcased his reflections on external light, colour and shapes. After experiencing the turmoil of the Cultural Revolution, in his later years, the artist refocused on art and imbued his oil paintings with the freehand spirit of Chinese painting, ultimately evolving into his ambitious and unrestrained iconic painting style in later life. The work being auction is titled Lotus by the Willow Bank, was completed in 1982 and is an important work from Liu Haisu’s later years, during which he received the "Italian National Art Academy Gold Medal" in his 70th year as an artist. Despite his advanced age, Liu still cherished high aspirations. In the same year, he traveled across China, visiting Fuzhou, Xiamen, Zhuhai, Guiyang, Huangshan in Anhui Province and Yangzhou in Jiangsu Province, where he painted natural scenery. It was this experience that led to the creation of Lotus by the Willow Bank which serves as a testament to the artist’s ability to scale new artistic heights even at such an advanced age. The fresh elegance of the work is also imbued with a heroic and flourishing passion. Lotus in the Breeze at Crooked Courtyard, Classic West Lake Themed Work A review of paintings by Liu Haisu during his career shows that most had a landscape or architecture motif, with very few focused on flowers. Textual research indicates that he produced fewer than 20 still life paintings of flowers, with only seven paintings of landscapes and flowers. One of these is Lotus by the Willow Bank, which combines flowers, landscape scenery and cultural buildings. The rich form of this work showcases something particularly rare. In this painting Liu depicts "Lotus in the Breeze at Crooked Courtyard," one of the 10 places of interest at the West Lake in Hangzhou. When summer arrives, the banks of the West Lake are bedecked with willow trees, with shimmering water, towering lotus flowers and their ubiquitous fragrance. This is the scene Liu Haisu paints, though his detailed depiction of "Guozhuang Garden" on the bank opposite the lotus pond is the visual focus of the piece. The flower-shaped round entrance to the park and its auspicious cloud shaped windows showcase the exquisite refinement of southern Chinese gardens, while the upturned cornice provides a sense of flight momentum, fully highlighting the magnificent solemnity of the cultural landscape. This is also a perfect example of the way in which Liu blends the elegant rhythms of ancient buildings with the freshness and joy of natural landscapes. It is an important example of how the artist created an oil painting imbued with Chinese features. Throughout his artistic career Liu Haisu painted scenes from the West Lake on several occasions, including Twilight on the West Lake in 1925, Purple Cloud Cave on the West Lake in 1937, as well as West Lake Jade Belt Bridge and Foothills of Dingjia Mountain on the West Lake, the last two being part of the Liu Haisu Art Museum collection. The artist’s relationship with the West Lake can be traced back to his early days at Shanghai Academy of Fine Arts when he visited the area to paint from real life. At that time, every Spring and Autumn the principal or department dean of the school took groups of students to Hangzhou, Suzhou, Wuxi, Nanjing and other places to paint. As principal, Liu headed such visits to the West Lake on multiple occasions from 1918-1920 and it became an extremely important theme in his oil paintings as well as a key aesthetic motif. Completed in the late 1980s, Lotus by the Willow Bank is a perfect synthesis of the artist’s life-long passion for the West Lake. Heart Wandering through Nature, Freeing Colour and Form Liu Haisu’s oil paintings are often reflective of his personal character in their bold and distinctive nature, while his use of colour is imbued with the style of the post-modernist and fauvist schools, though the overall picture gives viewers a sense of comfort and lack of inhibition. Such work benefited from the employment of the calligraphic nature of Chinese painting lines with "lines" replacing coloured blocks. This created inadvertent blank spaces between different lines, which was another feature of the artist’s painting style. As we see in Lotus by the Willow Bank, the lotus leaves linked together in the lake display extremely straightforward brushwork. However, in terms of outline, Liu first depicts shapes that resemble plates, palm-leaf fans or a swirling skirt dancing, followed by the brisk and lively addition of several coloured strokes, complemented by the leaving of blank spaces. Several lotus flowers are painted with a paused calligraphic stroke and whether it is the early sprouting of the lotus flowers or swaying in the wind, expressing the verve of "a lotus rising out of clear water; natural and without embellishment." This also encompasses Liu’s noble and unsullied aspiration to "grow out of mud, pure and untainted." Moreover, the main body of the work exceeds all expectations in the way it adopts clear and bright yellow and green as its main tones, in depicing the lakeside, underwater, the lake, heaven and earth. On both sides of the entrance, the willow trees do not gently dip into the water as it is commonly depicted, but are rather towering vigorously like the cypress trees painted by van Gogh, bringing viewers a sense of vitality. As part of this, Liu Haisu fully utilizes his ability to combine Chinese brushstroke and the Impressionist use of colour, to skillfully apply the colours from orange-yellow and light-yellow at the center of the painting, to dark green and emerald green, with a few dispersed strokes of black-green that gradually spread, emanating outwards as the pure colours of life. Moreover, the indistinct reflections of the willow trees are seen in the ripples on the West Lake, using colour blending method to highlight changes of the water from light and shallow to deep and thick from far to near. In the distance, we see indistinct mountain scenery and swirling clouds, with the rippling water of the deep lotus pond in the foreground. At the same time, the boat on the lake is swaying in the waves, connecting the sky, land, and the lake harmoniously. Life Passion in an Eternal Moment "I often see momentarily flowing lines and brilliant colours, which constantly make my heart leap, and I feel as if the blood is about to burst forth from my body, and sometimes in an instant I use colours or lines to express that feeling". As Liu Haisu said from the heart that he spent his life on the pursuit of "artistic expression." Even in his 70s, he continued to collect styles from around the world as part of his desire to capture and express eternal moments in life throughout his 80-year-long artistic career.

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拍品估价:1,600,000 - 2,500,000 港币 起拍价格:1,600,000 港币  买家佣金:
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