- 600
趙春翔 明亮 墨、壓克力彩、紙本 一九七九年作
估價
380,000 - 580,000 HKD
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招標截止
描述
- Chao Chung-hsiang (Zhao Chunxiang)
- ink and acrylic on paper
款識：
春翔Chao 紐約（左上）
春翔Chao 紐約（左上）
來源
亞洲私人收藏
出版
〈趙春翔〉藝倡畫廊出版，香港，一九九七年，二十四頁，彩圖
Condition
This work is overall in fair condition. There are slight creases across the surface. There is general foxing across the surface, notably near the centre of the work.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
拍品資料及來源
童心煥發的適意風光
《明亮》的風格明顯更傾向於東方。在趙春翔的具象作品裡，鳥和樹是經常出現的物象，而前者可能是趙氏刻意繼承恩師林風眠愛畫的鶴、鷺形象。趙氏筆下的鳥，往往有如塗鴉，大眼巨喙，寥寥數筆，便交代了飛禽的主要特徵，讓人想起明末清初八大山人的作品；至於山水樹木，亦以最簡單的線條為之，而章法更加適意散漫，玩味甚濃，有如古人所說的「墨戲」。
然而西方藝術的影響，並沒有全然消褪，只是較為隱伏。以《明亮》為例，雖然畫中的筆墨手法忠於國畫，表現出山石、修竹、漣漪和雀鳥，但那來自壓克力彩的黃與綠，卻是橫空而出的點題之筆，象徵白畫的日光，亦象徵樹木的濃蔭。濃蔭遮蓋了畫面上方，保護了樹下的生命，而光束的穿透，剛好接觸到兩隻小鳥，則暗示意在物外、更廣闊的宇宙力量，無遠弗屆地祝福著這些小生命。《明亮》的主題是大自然，但對於畫家而言，更是一方理想的休憩園地，尤其趙氏以童心溢然的手筆繪畫，觀眾可以想像，藝術家在作畫之時，內心充滿著喜悅與純真的嚮往。
「在我個人強烈衝動的熱狂下，盼望著能編織成一個『愛』的橋樑，假使這座『愛』的橋樑能有助於東西兩個世界的文化交流，及增進各個民族間之人類互相瞭解，不但是目前的動亂世界是最要的，且也是達成我此生最高的願望。」趙春翔一生顛沛，然而家國的磨難與個人的孤獨，並不能改變他對世間的大愛。而他的至善至哲，均體現在其作品中，並藉著創作亙古流傳。
《明亮》的風格明顯更傾向於東方。在趙春翔的具象作品裡，鳥和樹是經常出現的物象，而前者可能是趙氏刻意繼承恩師林風眠愛畫的鶴、鷺形象。趙氏筆下的鳥，往往有如塗鴉，大眼巨喙，寥寥數筆，便交代了飛禽的主要特徵，讓人想起明末清初八大山人的作品；至於山水樹木，亦以最簡單的線條為之，而章法更加適意散漫，玩味甚濃，有如古人所說的「墨戲」。
然而西方藝術的影響，並沒有全然消褪，只是較為隱伏。以《明亮》為例，雖然畫中的筆墨手法忠於國畫，表現出山石、修竹、漣漪和雀鳥，但那來自壓克力彩的黃與綠，卻是橫空而出的點題之筆，象徵白畫的日光，亦象徵樹木的濃蔭。濃蔭遮蓋了畫面上方，保護了樹下的生命，而光束的穿透，剛好接觸到兩隻小鳥，則暗示意在物外、更廣闊的宇宙力量，無遠弗屆地祝福著這些小生命。《明亮》的主題是大自然，但對於畫家而言，更是一方理想的休憩園地，尤其趙氏以童心溢然的手筆繪畫，觀眾可以想像，藝術家在作畫之時，內心充滿著喜悅與純真的嚮往。
「在我個人強烈衝動的熱狂下，盼望著能編織成一個『愛』的橋樑，假使這座『愛』的橋樑能有助於東西兩個世界的文化交流，及增進各個民族間之人類互相瞭解，不但是目前的動亂世界是最要的，且也是達成我此生最高的願望。」趙春翔一生顛沛，然而家國的磨難與個人的孤獨，並不能改變他對世間的大愛。而他的至善至哲，均體現在其作品中，並藉著創作亙古流傳。