細節
朱德群
構圖 No. 168 (河渠山景)
油彩 畫布
1964年作
簽名︰朱德群;CHU TEH-CHUN;Chu Teh-chun
來源:
亞洲 私人收藏
展覽:
1965年「朱德群個展」巴黎大學畫廊 巴黎 法國

《構圖 No. 168 (河渠山景)》(Lot 1360)幾乎純以焦赭為主,在素以色彩著稱的朱德群作品中十分罕見,但也正因如此,我們更容易透過單純的色調感受到隱含於畫面的中國山水。傳統水墨畫的主體色調基本以墨色為主,王維之語:「夫畫道之中,水墨最為上。肇自然之性,成造化之功」,便清楚的點明了水墨在中國審美系統中的重要性,歷代畫家已將墨色的組合與構成視為基本的符號元素,在最低限的色彩使用中,營造出最深刻的意境傳達。油彩在朱德群筆下一改其濃厚黏滯的特性,似乎兼具了水彩的輕盈流動與焦墨枯筆的深沉,畫家在此僅以單色油彩的渲染變化,創造出「黑、白、濃、淡、乾、濕」六彩,並在看似豪邁的揮灑間,精準地運用簡約的墨色,使其在視覺結構上組成豐富而細微的層次,前景、中景與遠景的架構清晰,形成了畫面的遠近與縱深,因而創造出廣闊無垠的空間感,而在區區尺幅間呈現范仲淹〈岳陽樓記〉中的:「銜遠山,吞長江,浩浩湯湯,橫無際涯」。
來源
Private Collection, Asia
展覽
Paris, France, Galerie de l'Université de Paris, Solo Exhibition of Chu Teh-Chun, 1965.

榮譽呈獻

Felix Yip
Felix Yip

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拍品專文

Composition No. 168 (Lot 1360), based entirely on tones of burnt umber, is a rarity in the oeuvre of an artist who is as well known for color as Chu Teh-Chun, but precisely for this reason it allows us to sense all the more easily the strong feeling of Chinese landscape implicit within this monotone palette. The primary color palette of traditional Chinese ink-wash paintings was centered on black; as Tang Dynasty artist and poet Wang Wei said, pointing out ink's central importance in the Chinese system of aesthetics, "In the Tao of painting, ink-wash surpasses all; it begins from the essence of nature and completes the work of creation." Many generations of painters have drawn upon the combination and structuring of ink and color for their most basic elements and motifs, which allowed them to convey the strongest impressions with the smallest means in terms of color. Oil pigments, under Chu Teh-Chun's brush, immediately took on a new character, losing their thick viscosity and gaining a new fluidity, along with the weightiness of charcoal black ink applied with a dry brush. Here, the artist uses an ink-wash type of effect with a single oil pigment to create the "six colors" of black, white, thick, thin, dry, and wet, and in his seemingly bold sweeps of the brush he utilizes the simplicity of deep inky color with great precision. The result is a visual organization that creates rich, fine layering and a clear distinction between foreground, middle distance, and background, building a sense of space and depth in the picture space. This sense of limitless space in a canvas of smaller dimensions may be what Sung writer Fan Zhongyan meant when he said, in his essay "On Yueyang Tower," "it holds the mountain ranges in the distance and swallows the waters of the Yangtze. Vast and mighty, it seems virtually boundlessK"

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