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朱德群 Chu Teh-Chun 1920 - 2014 抽象(雙面扇) Abstrait (Double-sided fan)
香港
2024年04月07日 开拍 / 2024年04月05日 截止委托
拍品描述
壓克力彩 墨 成扇
Acrylic and ink on paper fan
一九九四年作
Painted in 1994
17 × 60 cm. 6 3/4 × 23 5/8 in. (扇面); 33 × 61 cm. 13 × 24 in. (含扇骨)
款識 朱德群 CHU TEH-CHUN 94(左下)碧雲天 黃葉地 秋色連波 波上寒煙翠 山映斜陽天接水 芳草無情 更在斜陽外 朱德群 一九九四年 藝術家鈐印 日新閣 天門居士 朱德群鈐印(扇背)
Signed in Chinese and English and dated on bottom left; signed, inscribed and dated in Chinese with three artist’s seals on the reverse
來源 亞洲重要私人收藏 雄健渾厚,詩書畫三位一體 朱德群珍罕雙面扇首現 「中國的文化背景深深滋潤著我,在我作畫的時候是一種無意識中自然的流露。」 ——朱德群 華人抽象大師朱德群1920年出身中醫世家,自幼受家學薰陶,5歲便在私塾學書法練字、背頌唐詩、宋詞。15歲入國立杭州藝術專科學院,師從吳大羽學西畫,隨潘天壽修習國畫,奠定下良好的基礎。1955年,他西行法國學藝,浸潤在群英薈萃的巴黎藝壇,遍覽各大美術館。其中,寫實的學院派風格無法滿足他的創作需求,而史塔耶爾(Nicolas de Sta?l)、倫勃朗(Rembrandt)、塞尚(Cézanne)那洋溢情感的畫面、富有生機的光線及色彩,撩動了他的心弦。自此,他將現實之景融以廣闊的想像化作創作主體,以書法一般的有力筆觸將內涵與形式合二為一,走向「感性的現實」、「抒情的抽象」。縱橫東西藝壇幾十載,朱德群不囿於油畫,1960至70年代於紙本上開拓水彩、水墨,達到詩書畫三者合一的臻境。其作在現代抽象的暢快恣意之中,兼具中國古代文人的高雅志趣,及如詩詞、交響樂一般激情澎湃的色彩。正如1985年巴黎雙年展主席布代伊(Georges?Boudaille)所說:「獨屬朱德群的是他構圖中特有的東方含蓄氣氛,一種細膩的詩情畫意油然而生,廻繞在畫面而顯示在我們的景象裡,它所提供給我們的激情歷久不散,分佈在深切的協調中」。 闊別故土35年之久,1983年朱德群終於回到中國,得見新朋故友、遊覽壯麗山河,萌生更多靈感;然而直至1994年,他才有機會攜全家重返祖國,於清明時返回離別57年的家鄉蕭縣、至父母墳前行追思禮,其後並遊歷敦煌、雲岡石窟,而該年他並先後於法國維蒂市、台北、台中、高雄舉行巡迴大展,國際聲名達至巔峰。是次呈現的《抽象》正於1994年所作,為拍場迄今所現唯一一件朱德群雙面扇孤品,至珍至罕,作品正面以抽象重彩潑墨畫出無邊秋色,而背面則以勁筆行草提寫宋代詩人范仲淹的詩詞《蘇幕遮.懷舊》,訴說朱氏的悠悠思鄉之情、對夙願實現的欣然和感懷、對故土之景內心的無限悸動,極具重要意義。 無垠的超乎象外之美 「看朱德群的畫,從那股透過光線放射出來蓬勃生命的魅力裡喚起那些對『象外』之意義…在朱德群的畫面上棲息著神秘的王國,在有形與無形和短暫及永恆之間。」 ——英國藝術史學家蘇利文(Michael Sullivan) 唐代美學家朱景玄在其作《唐朝名畫錄》中提出「象外」概念,即指視覺可見形象之外的無窮宇宙。朱德群為觀者帶來了走入象外的關鍵鑰匙,在那奔湧的色塊、線條中帶來吞吐八方、縱覽四海的魅力。《抽象》正面巧妙利用扇形如卷軸般橫向延伸的特質,徐徐引人步入絢爛的秋日森林。在中區他以雄渾大筆畫出盤根錯節、力能擎天的主幹,它們時而難捨難分地盤旋纏繞、時而富含動勢地衝擊畫面、留下飛白。其間,朱德群又以筆走龍蛇的細筆,畫出恣意生長的枝幹,如巨木之臂膀,向左右開枝散葉,訴說著雄強古木源自大地的無限生命力。而當中又見朱紅、秋葉黃、墨綠、檸檬黃和綠松石的艷彩在樹枝間揮灑,於畫面中心凝成累累的碩果。華美飛動的秋葉若化做濺射起舞的音符從曲譜上傾灑、跳躍在森林中,細細觀之,宛如令人置身「無邊落木蕭蕭下」的林間,又見「新折紅林蒂尚青」的成熟紅柿果。如若訴說朱德群重返祖國後內心複雜的無限感懷。他以靈動矯健的筆力調動了觀者的五感,引起聽覺、觸覺的想像;其筆下的象外之境並非將風景凝結起來,而是彷彿描繪出了自然瞬息萬變的形態,激昂而有力,令人回味無窮! 婉若游龍凝聚情思的墨寶 朱德群對於中國詩詞和書法的眷戀深入靈魂。其初抵巴黎時,由於地域差異、缺乏畫材,曾一度短暫擱置書法。然而在1966年,他發現法國肉鋪的包裝紙既薄且吸水力強,可以代替難得的宣紙,即刻如獲至寶,每日堅持練習,直至晚年仍筆耕不輟。而其少時雖主寫楷書,但在一次偶見王羲之草書作品後,便被那如畫一般瀟灑飄逸、縱橫捭闔的筆墨所吸引,遂由楷書轉入行草。草書中濃厚的抽象性,傳承於千年文化的滋養,又正吻合朱德群追求的繪畫意境,其書與畫的結合如天造地設、相得益彰宛如命定。朱德群也曾言:「莫名其妙,而妙在其中」。在他的藝術中,東西方的美學精粹如兩條溪流,攀越萬險終相匯為浩海,令他甘之如飴。 《抽象》中,朱德群題《蘇幕遮.懷舊》上半首:「碧雲天,黃葉地,秋色連波,波上寒煙翠。山映斜陽天接水,芳草無情,更在斜陽外」。此詩原為范仲淹離鄉至陜西戍守邊塞時所寫,做此作時朱德群亦為歸鄉的遊子,他將萬千感觸化為張弛有度的遒勁行草,以旋風般的動勢一氣呵成提下此詩句。其中那誇張變體的字形展現了草書無拘無束的特點。如「無情」的「無」字橫向延展擴大,似是藝術家心緒中累積的鄉愁;而「斜陽外」的「斜」及「外」二字刻意拉長,如夕陽下的剪影,喚起對時間如梭的感慨。在行雲流水、一氣呵成的題詩之中,朱德群對故土濃烈的情感濃縮在字裡行間,既意境渾穆又姿韻瀟灑,令人動容。 正如法蘭西美術學院院士哈朗堡(Lydia?Harambourg)所說:「畫與詩,在二者之間,朱德群可以輕而易舉地從一邊跨越到另一邊。對他而言,二者的基調是一致的。」在朱德群筆下,萬物皆動之以情懷、著之以色彩。而《抽象》為畫中有詩、詩中有畫、書畫三絕的文人逸品,凝聚了朱氏在不同領域融貫中西的高度成就,至珍至罕,妙不可言!
PROVENANCE Important Private Collection, Asia Powerful and Strong, Combining Poetry, Calligraphy and Painting The Debut of Chu Teh-Chun’s Rare Double-sided Fan? "The Chinese cultural background has deeply nourished me, and when I paint, it is a kind of unconscious and natural expression." ——Chu Teh-Chun French-Chinese abstract master Chu Teh-Chun was born in 1920 into a family of Chinese medicine practitioners and was nurtured by his family’s education from an early age. At the age of five, he learnt calligraphy and recited poems in private school, and at the age of fifteen, he entered the Hangzhou National College of Art, where he learnt Western painting from Wu Dayu, and Chinese painting from Pan Tianshou, laying down a good foundation. In 1955, he travelled to France to study, but the realistic academic style did not appeal to him. Instead, Nicolas de Sta?l, Rembrandt, and Cézanne’s emotionally charged paintings, vibrant light and colours tugged at his heartstrings. Since then, he has transformed the reality of the scene into the main body of his creation with a broad imagination and has merged the content and form with a powerful calligraphic brushstroke. For decades, Chu Teh-Chun was not confined to oil paintings. From the 1960s to the 1970s he developed watercolour and ink on paper, achieving the unity of poetry, calligraphy and painting. In his works, he combines the unrestrained abstraction of the modern era with the elegance of the ancient Chinese literati and the passionate colours of poetry and symphonies. After 35 years of absence from his homeland, Chu Teh-Chun finally returned to China in 1983, but it was not until 1994 that he had the opportunity to bring his family back to his homeland, a place he had not seen for 57 years, to remember his family and to travel around the country. In that year, he held a touring exhibition of his giant oil paintings in Vitié, Taipei, Taichung, and Kaohsiung. His international reputation was at its peak.?Abstrait, which was made in 1994, is the only one of Chu Teh-Chun’s double-sided fans ever to appear in the auctions and is extremely rare and precious. The front side is painted in abstract ink and acrylic colour, while on the reverse, the poem?Sumuzhe Theme: Reminiscing?by the Song Dynasty poet Fan Zhongyan is written in bold cursive, which is a reference to Chu’s feelings of longing for his homeland, and nostalgia of his long-cherished wish. Boundless Beauty beyond the Imaginary The Tang Dynasty aesthetician Zhu Jingxuan put forward the concept of "the image beyond an image" in his book?On Famous Paintings of the Tang Period, which refers to the infinite universe beyond the visible image. Chu Teh-Chun brings the key to the viewer to enter beyond, bringing the charm of swallowing the eight directions and exploring the four oceans in the rushing colours and lines. On the front of?Abstrait, he cleverly makes use of the horizontal extension of fan shapes like a scroll to slowly lead people into a colourful autumn forest. He paints the main trunk, which is so strong that it can hold up the sky, with large strokes in the central area. In the meantime, Chu Teh-Chun also paints the branches and trunks of the trees with his fine brushstrokes, which tell the story of the boundless vitality of the strong old trees from the earth. In the middle of the painting, vermillion red, autumn leaf yellow, ink green, lemon yellow and turquoise colours are splashed among the branches, condensing in the centre of the painting into fruitful fruits, and the gorgeous flying autumn leaves are like notes spattered and danced from the music score, leaping in the forest. His agile and robust brushwork tweaks the viewer’s five senses, arousing the imagination of the senses of hearing and touch; "the image beyond an image" realm under his brushwork does not condense the scenery, but rather depicts the ever-changing forms of nature, which is stirring and forceful!?? Ink that is as Graceful as a Swimming Dragon and Brings Together Emotions Chu Teh-Chun’s love for Chinese poetry and calligraphy is deep in his soul. When he first arrived in Paris, due to the geographical difference and lack of painting materials, he had put calligraphy on hold for a while. However, in 1966, he happened to obtain a paper that could be used as a substitute for rice paper. He continued to practise daily until his later years. Although he mainly wrote regular script when he was young, he was attracted to Wang Xizhi’s cursive script by chance. The strong abstraction in cursive script, inherited from the nourishment of a thousand years of culture, is in line with the painting mood Chu Teh-Chun pursued. In his art, the essence of Eastern and Western aesthetics is like two streams that climb over thousands of dangers and eventually merge into a vast ocean. In?Abstrait, Chu Teh-Chun wrote the first half of the poem?Sumuzhe Theme: Reminiscing. This poem was originally written by Fan Zhongyan when he left his hometown to guard the border in Shaanxi Province, and Chu Teh-Chun was also a traveller returning home when he wrote this poem. He transformed his thousands of feelings into a vigorous cursive style with a controlled flow and wrote this poem in a single breath with a whirlwind-like movement. The exaggerated and variant character forms show the unrestrained character of cursive writing. In the poem, his strong feelings for his homeland are condensed between the lines in a flowing, breathless style, which is touching in both its mood and its melancholy rhyme.?Abstrait?is a work of literary excellence in which there is a poem in the painting, a painting in the poem. It unites Chu’s high level of achievement in integrating the East and the West in different fields, which is very rare and precious.

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