細節
關良
廣州修船廠
油彩 畫布

出版
1979年《關良畫冊》四川人民出版社 四川 中國 (圖版,第9圖)

關良於1917年東渡日本留學,開始接受西方寫生、素描和油畫等近代和現代繪畫的訓練。回國以後,關良認為中國人學習西方的藝術,應該要跟自己民族的文化結合。所以關良往後在他的藝術創作路上,不停探索如何吸取中西文化藝術的精髓,進而轉換成他自己的獨特風格。關良堅持在創作上要有自己的表現形式,以傳達中國繪畫最重要的元素 – 寫意,才能觸動觀者的情感,產生共鳴。
關良對於印象派的大膽用色和光影的捕捉有著極大的興趣,於是開始重新思考自己的畫作,並鑽研如何畫出「抓住帶色的光,強調所畫的對象不是靜止不動,而是在不斷變化中的活的自然所給予畫家的瞬間印象。」(1984年,《關良回憶錄》上海書畫出版社)。在畫作《廣州修船場》(Lot )中,關良表現的手法極為俐落、簡明,卻不失趣味。他用微量的白色顏料勾勒於雲邊、船身、海面及地面,描繪經折射後帶有不同色彩的光線,並且成功的捕捉一瞬間光線的變化。同時,畫家的用色明亮俐落,以中國繪畫「平塗」的手法,避開了西畫過於繁瑣的細節,賦予觀者極具有情感的色彩。關良先生為了延續中國繪畫的筆觸,以「單線平塗,從平面裡找藝術」,意圖表現中國繪畫用線的韻味及風采。如此粗獷又細緻、豪邁又內斂的線條遍佈船身、機器工具和吊臂主機,使此幅畫更添風采。此畫大約是在解放之後至1966年期間所完成。此時的中國處於一個安定發展、生氣蓬勃的狀態,提供了最佳的創作環境。關良以輕快明亮的顏色、內斂穩重的筆法及中國繪畫含蓄的意象,適切地反映中國新時代的朝氣。
出版
Sichuan People Publishing House, he Paintings of Guan Liang, Sichuan, China, 1979 (illustrated, plate 9).

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拍品專文

Guan Liang went to Japan in 1917 to receive training in Western modern and contemporary art such as figure drawing, sketching from nature and oil painting. After returning to China, Guan believed that when Chinese artists study Western art, they should synthesize their culture into the latter. In Guan's creative journey, he never ceased to explore the way to extract cultural and aesthetic essence from the East and West, converting them into his own unique style. Guan insisted on his style of expression, to communicate one of the most important elements in Chinese painting, xie yi - using few rhythmic lines to capture the spirit of an object instead of careful delineation, to move the viewers and establish resonance.

Guan was intrigued by the bold use of colour and the pursuit in capturing transient light in Impressionists paintings. He reflected upon his work and pondered how to "capture the coloured light, and highlight the sense of motion, not the stillness, of objects depicted, the impressionistic moment of a glimpse in the transient nature." i (The Memoir of Guan Liang, Shanghai Shuhua Publications, 1984,) In Guangzhou Dockyard (Lot 1088), his painting is skillfully clean and simple, yet is visually captivating. Guan subtly applies white to delineate the silhouette of clouds, the ship, the sea and the ground to illustrate the coloured light from the reflections and successfully captures shifting changes of light. The artist's use of colour is brilliant and smooth. He adopts ping tu - the even, flat colouring style of Chinese paintings and minimized the number of minute details often seen in Western paintings, hence providing a sense of emotions through pure colours. Adopting the use of fine brushstrokes, the artist endeavors to express the elegant use of lines in Chinese paintings, by applying "delineated flat colouring in order to discover art in flat surfaces". The lines on the ship, machinery and the crane are bold but refined, audacious but subtle. It gives a sense of graceful quality to the painting. The painting is thought to be completed between the beginning of the Open Door Policy and 1966, when China was developing steadily and vigorously, thus providing the perfect environment for artistic creations. Guan uses bright colours with precise brushstrokes, and the subtle aesthetic imagery of Chinese paintings to reflect the vitality of a new era in China.

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