細節
趙無極
Les poires vertes
油彩 畫布
1952年作
簽名:無極 Zao ZAO WOU-Ki
來源:
美國 私人收藏

對比起同時代的抽象畫家,趙無極的抽象油畫創作有一種藝術的開拓和深化。他重溯中國水墨寫意的藝術法則,融合到西方油畫創作上,以水墨畫的方式來處理油彩顏料,在畫布仿水墨畫的渲染、揮灑,使用單純色系,追求色彩的純淨和流動的氣勢,在藝術表現和中西融合上展現了超卓的成就和境界。細緻考察趙無極從油畫過渡到水墨式的油畫,其中所走過的藝術歷程也是引人入勝。

1950年代之初,趙無極來到巴黎不久的一段時間,他在創作上汲汲於追求突破和與歐洲藝術潮流接軌,所以他一度放下了水墨畫,潛心於探索西方抽象表現的技法。趙無極這時候的創作很有保羅.克利的特色,運筆自由,畫面洋溢著輕盈靈動的詩意。《01-07-53》(Lot 917)描寫寫靜夜下安躺的小船,靜淌的海上,海面上幾只小船,整個情景是豐富而完整,又有細微的意趣。畫家使用畫筆的木柄端刮掉顏料,而形成細線,與厚重或稀釋顏料畫出的粗獷筆觸並置,豐富了筆觸的材質感和美感。《Les poivres vertes》(Lot 916)描寫了靜物,畫面上的水壺和水果,安穩而寧靜地呈現眼前,和西方靜物畫相比,這幅作品有一種特別詩意、寧謐的意境,充份表現趙無極融合詩畫,在視覺畫面滲透詩意氣氛的獨特手法。

直到1956-57年期間,趙無極創作了融合甲骨文、描寫自然氣韻的作品,逐漸把中國藝術及文化元素融合於創作之中。進入了1960年之後,趙無極的繪畫風格則進入了完全抽象,也更多把水墨潑染的元素放入油畫創作,拍品《無題》(Lot 919)最能反映這時候趙無極的藝術風格。畫家延續1957年以來的創作意趣,他繪畫非具象、非敘述性的油畫,表現時辰推衍、季節嬗遞的變化無窮,展現「從一片樹葉在水中倒影幻化出的無窮的藍」。從這張作品可以看到趙無極追求色彩的純淨和多層次表達效能,以單純的藍色色調來構圖,但藍色的流動變化,顯得輕靈流動,有如一團團瑰麗星雲、一連串滾動的旋渦,又或是水波的瀲灩、光的靈動、水天之間的煙嵐的情景,有很豐富的層次和情景隱現其中。作品以水份較多、流動性強的水墨和水彩顏料來描繪,是畫家融合水墨與油畫創作的先聲,奠定了70年代以後的創作基調。

從60年代到70年代早期,趙無極的抽象作品仍主要是以黑、褐等暗色為基調。70年代以來,趙無極的繪畫風格則進入了另一階段,拍品《25-03-85》(Lot 918)最能表現這種轉變和特色。迥然於早期作品的厚重深沉,畫面有一種寧靜優雅的山水氛圍洋溢其中。畫面色彩轉而明亮艷麗,並對空間與光線的追求更為著重,更多展現色彩的多層次變化,在油畫創作上更多表現水墨畫「墨分五彩」的藝術境界。從1970年代中期開始,趙無極重新接觸宣紙和水墨創作。因為對西方藝術的深刻認識和多年的藝術沉潛,使趙無極能以嶄新角度去體會和感受中國水墨的藝術效能。當時畫家提到︰

「觸摸這些折縐的宣紙,給我極大的快感,它和永遠挺括、平滑的畫布多麼不同。不經意的紙痕和摻了水的墨紙上渲染成出人意表的效果。水墨一與紙接觸,便隨著手肘運轉的壓力和速度,透過白色紙面,形成變化無窮的黑色、白色、還有灰色、成千種不同層次的灰色。」

中國水墨畫只用一種色調︰黑色,但千百種濃淡枯潤的變化和筆墨的自然,使一幅山水畫有了空間層次。這些創作理念也被靈活融合到趙無極70年代以後的創作中。1985年趙無極應邀到中國杭州講學時,曾發生一段小插曲,很能說明他對單純色系的光影變動和多層次變化的深刻思考。當時他對學生講解色彩運用,提到「在模特兒後面的紅布,這紅色並不是每個地方都一致的,這是受到人體膚色的影響︰有些地方要使它沉靜、柔和,有些地方要使它活動起來,因為空間也恆在動,要仔細研究對比,大膽使用純色,大膽的擴大用色的範圍」。在《25-03-85》可見,畫家忠實地實踐他的藝術沉思,作品選用單純的色調,畫面主要以棕色、土黃和灰白為基調,但從棕黃至土黃的色調變化微妙,互為牽引。在畫面上方的棕色,不是死實一片的棕色,而是可以隱約看到土黃、淡白色彩隱約其中,好像一塊亮麗的絲絨在陽光下抖動,於是起伏錯落,或明或暗,好像有立體的空間感,或是有一種氣韻、動勢在流動。以色彩作構圖,從棕色到土黃,再流轉為灰白,色彩的銜接有很細緻豐富的層次,色彩時而濃豔暴烈,時而輕清溫柔,有一個色彩的節奏在裡面,仿如一個有動感的空間和意境。畫面底部,油彩較為空靈輕淡,透過迷濛蒼茫的灰白暗喻中國水墨畫煙雲翻騰、晦冥變化的山水景觀、及東方藝術一貫空靈、冥思的精純境界。趙無極這時期的創作,在色彩表現上引入了光線和視覺角度的元素,展現在不同光彩下,色彩的多層次變化和空間關係,這種創作表現是充滿參考了中國水墨畫「墨分五彩」、「氣韻生動」的特色。趙無極曾描述回歸中國元素的創作歷程︰「感覺自己已中國走出,又能再走向中國」。

和這種色彩表現相配合,趙無極在《25-03-85》使用了較為清淡、摻入較多水份和流動性的油彩,所以在揮灑筆墨上,更為自由靈活,作畫時能一揮而就,空間隨著遐思而成形的。畫面出現連一大片連綴無斷續的色彩,像一大片天地氣勢動盪地鋪天蓋地而來,有一種輕靈飄逸的情韻,也叫人聯想到像絲綢的輕柔觸感。

《25-03-85》的單色表現和留白運用,充份表現了中國文化中的「空靈」、「精粹」、「純淨」的境界。西方抽象創作也有不少單色系的作品,如馬克.羅斯科(Mark Rothko) 和伊夫.克莢因(Yves Klein)的作品,著重以單一種的色彩來組織畫面,表現色彩的精神涵蘊和自身變化生長的內在規律。《25-03-85》在藝術表現上也能和上述作品互相呼應。趙無極80年代以來的作品,展現了畫家經歷40年的藝術探索後的圓熟風格,這一階段的作品,我們看到的是一種藉由抽象所展現的圓融自在,純熟和諧,極致完美。趙無極在法國的摯友,詩人亨利.米修曾為趙無極的水墨創作寫有一首詩歌,也可作為此畫作一個詩性的詮釋︰
「抽象成份在擴張 因超脫而抽象 形象的淨化 哲思雋語瀰漫在空氣中 隱約是古老的鳥瞰式透視 以絲綢的輕柔 著陸於大片的紙上 到達時總有一種說不出的瀟灑 絕非西方式的」
來源
Private Collection, USA

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拍品專文

Compared to the other abstract painters of his time, Zao-wouki takes a further step in the development and deepening of abstract painting by tracing back the rules for Chinese conceptual ink painting, and blending them in with western oil painting. He employs ink painting techniques to treat oil paint and pigments, imitating the effects of diffusing and dying on canvas, exploiting primary colors, its purity and fluidity of motion. The synthesis of Chinese and Western traits marks Zao's irreplaceable achievement and vision in art. Taking a closer look at his transition from oil painting to stylized ink and oil painting, it unfolds a heart-gripping story of an extraordinary artist.

In early 1950, no sooner had Zao went to Paris, he abandoned ink painting in pursuit for breakthrough in painting skills and artistic creation. He was keen on exploring the techniques of Western abstract painting, hoping to catch up with the European art trend. In this period, Zao's painting bore the characteristics of Paul Klee, featured by free-style brushstrokes, and a touch of poetic lightness on flowing through the painting's surface. (Lot 917) depicts a boat drifting on the water in a silent night. The calm surface of the sea is strewn with several boats. The composition is completed and enriched with particular interests in detail. The painter create thin lines, by scrubbing away the paint with the end of the wood handle on his brush, juxtaposing them with thick acrylic paint to create a visual contrast between refinement and roughness, which enriches the texture and aesthetic capacity of brushstrokes. The still-lives depicted in Les poires vertes exemplify Zao's integration of painting with poetry, by diffusing poetic ambiance throughout the painting's surface. The pitcher and fruit in portrait appear quiet and serene, evoking a sense of poetic tranquillity not common in Western still-life paintings, but evident that it is work by Zao.


It is not until 1956 to 1957 that Zao created a new brand of art synthesizing features of ancient Chinese lithographs with his artistic depiction of the natural world. He had gradually integrated Chinese art and its cultural elements with his Western-style work. After 1960, Zao's style moved on to pure Abstractionism, with more dyes and splashes of ink and wash in his painting. The Untitled (Lot 919) best exemplifies the art style of Zao in this period of time, which can be understood as a continuation of his creative interest in 1957. His oil painting since then is neither realistic, nor narrative, but a depiction of the forwarding transience of time, the infinite changes of the seasons, 'the illusive vision of infinite blue made by the reflection of a leaf on water'. This painting reveals Zao's interest in colour, both in its pure form and its expressiveness with layering effect. The single colour blue is used as the base tone of the composition. And yet, it appears to be a fluid form undergoing subtle changes as the result of Zao's efforts on tonal variations. The profound lightness of blue connote rich layers of imageries, topping down from the showers of galaxy in the sky, the dramatic currents of the water beneath, the sparkles on its rippling surface, the flicks of light, to the haziness in between water and sky. Zao makes full use of the moist and fluid quality of ink and watercolour, allowing ink to flow randomly on the canvas surface, marking his pioneering position in the synthesis of ink and oil painting, and establishing the foundation for his later works after 70's.


From 60's to early 70's, black and brown still predominated Zao's abstract painting as the base tones. Since the 70's, Zao's painting style has proceeded to another stage. (Lot 918) shows his stylistic transformation from the profound heaviness and serene elegance in his earlier landscape painting, his oil painting in this period lightens up with the use of bright and lush colours, and a shift of focus to light and space, to present the delicate, multi-layered variations in colour tone, realizing the conception of 'one ink renders five colours' in Chinese ink painting. From mid-70's onwards, Zao reconnected with ink painting on Xuan paper (traditional rice paper for practising Chinese calligraphy and ink painting). His comprehensive training and years of immersion in Western art enabled him to feel and understand the artistic functions of Chinese ink painting. That is what he said then,

'It gives me enormous sensual pleasure to simply touch this crumpled Xuan paper. How different it is from canvas - always stiff and smooth. There are always marks on the Xuan paper resulted from casual folding, and water diffuse and permeate throughout the surface to produce surprising effects. When ink drops on paper, it takes shape in accordance with the movement of the wrist, the weight of pressure from the brush tip, and the speed of brushwork. It then creates black with infinite variations, white, grey, and grey with a thousand different layers.'


Black is the sole colour in traditional Chinese ink painting. And yet, black is manipulated to create layering effects in space, with tonal variations, and the interplay of lightness and weight, with a dry brush and a moist brush. The manipulation of colour is flexibly blended into Zao's work after 70's. An incident happened in 1985, when Zao was invited to deliver art lectures in Hangzhou, that demonstrates his deep thoughts on primary colour and its multi-layered variations in light and shade. On the topic of colour application, he mentioned to students, 'Look at the red cloth behind the models. The red is not consistent. If you look closer, every inch of it is different, because it is influenced by the colour of human skin. You have to make it look softer, duller and quieter on some areas, but activate some others area. It is because the space is constantly in motion, and you have to study the contrasts and changes in colour. Use primary colours boldly, and boldly expand the space of colouring'. From what we see in 25-03-85, Zao indeed realized his artistic ideals. The primary colours chosen for the painting include the base tones brown, earthy yellow and greyish white. The subtle change from brownish yellow to earthy yellow is done by gradient toning of each other. The brown on the top of the painting is not a static patch of solid brown paint, but a dancing brown pool oozing with gleans of earthy yellow, and pale streaks of white, as if it were a piece of velvet fluttering in sunlight, teasing up and down in a play of light and shade infused with the energy and motion of a three-dimensional space. The colours used range from brown to earthy yellow to greyish white, moving to and fro in a spectrum of rich delicate layers. The colour is at times strong and sleek, at times soft and light, dancing rhythmically in a conceptual space in motion. At the bottom of the painting, the oil paint is lighter and softer, dissolving in a fog of greyish white, recalling the landscape rhetoric of Chinese ink painting, and the ethereal, meditative state of conception in Eastern art. Zao's work in this period of time embodies the elements of light and visual angles, displaying the multi-layered changes and spatial relationship under different light and colour, bearing cultural reference to abstract conceptions, such as 'mo fen wu cai' (one ink renders five colours) and 'Qi yun sheng dong' (energy flow in motion as if it had life), in Chinese ink painting. Zao described his re-encapsulation of Chinese elements, 'I feel I have exited China, and now go back to China again.'

Action aligned with his articulate expression on coloring, Zao uses oil paint, flaunting its lighter, moister and more fluid qualities 25-03-85, which enables a more flexible and spontaneous flow of brushstrokes in one go, space formed in a flight of fantasies. Enormous strands of colours stretch across the painting's surface, in a metaphorical merge of the sky and earth, dancing between was an air of ethereality, so much like the soft touch of satin.

The monochrome painting with area bare of paint is a pictorial expression of 'void', 'essence' and 'purity' in traditional Chinese culture. In fact, monochrome is frequently found in Western abstract painting, for instance works of Mark Rothko and Klein. The monochrome composition actually accentuates the inner spirit and rhythmic flow of colour. 25-03-85 can be viewed as a complement of the above paintings in artistic performance. Zao's work in the 80's concludes his forty-year long expedition on art with a mature style towards perfection. In abstract form, all are encompassed into one. The French poet Henri Michaux has a poem on Zao's ink painting, which can be read as the poetic interpretation of Zao's work,

Elements of the abstract are expanding
Abstract because it surpasses all forms
Purified, and reduced to
Philosophical thoughts
And language permeates in the air

Faint is the old bird-eye view
As soft as silk
Land on the vast void of paper
Arrive there in an unspeakable
Casual manner
But not Western still.

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