拍品 527
  • 527

吳冠中 漓江竹林 油彩木板 一九七七年作

估價
4,000,000 - 5,000,000 HKD
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描述

  • 吳冠中
  • oil on panel
款識:
荼 七七(右下)

來源

亞洲重要私人收藏

Condition

This work is overall in good condition. There are 4 pinholes on the 4 corners. On the upper left corner, there is a natural wood grain and a natural chip in the middle of the left edge. There is no evidence of restoration under UV light.
"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

漓江竹林

我著力於江山如畫的倒影之美,著力於酥軟、柔和的情調之渲染,但往往只表現了江山之一角。我想將羅帶與玉簪之美,構成酥軟柔和的虛實之美,作為充溢整個畫面的主角。山之倒影加強了山之層次,但有意無意間又割斷了羅帶。羅帶,那是漓江的命脈。我首先保住羅帶的飄逸無阻,不染倒影,且時強調遠遠近近的山之層次,著意表現玉簪的半透明質感。

吳冠中《吳冠中繪畫形式分析》

唐詩意境的現代演繹

自五○年代歸國後,吳冠中走遍中國各地寫生,論足跡之廣,可謂無與倫比。1977年4月,吳冠中帶領中央工藝美術學院學生,到廣西桂林、南寧寫生,而《漓江竹林》正是此時之作。

對於中國藝文創作,漓江堪稱江南以外的最受青睞之地。吳冠中文學素養深厚,曾引唐詩「水如青羅帶,山作碧玉簪」來概括漓江風景,創作時亦以「山」、「水」元素的張力和映襯為重點。本作以近水遠山為基本格局,而不論是山的灰抑或水的藍,顏色均調校得極其淡雅,以突顯江水之柔和飄逸。江水本佔作品最大面積,但水中映影增加了山嶽和竹林的份量,豐富了本身的層次。藝術家在自敍其漓江作品時曾提及此番用心,而本作不僅作出了上佳示範,亦為傳誦千古的唐詩意境,重新賦予現代意義。

突破油畫創作的綠色關隘

《漓江竹林》色彩簡約,尤以竹林的大片綠色最為矚目。如此佈局看似簡單,對藝術家而言卻有莫大困難。吳冠中曾經在文章《閒話畫竹》提到,聲勢動人而色調單一的景象,難以發揮油畫的色彩斑斕,而氣質嫋娜的竹林,又不宜發揮油畫的粗獷,是以難上加難。面對這一關隘,藝術家自言多次無功而回,亦認為「借用傳統中畫竹的程式,其實是無濟於大局的」;經歷反覆思考與嘗試,他終於得出以下結論:「那一色青綠其實並非單一的青綠,其間色調的遞變極為微妙而含蓄,還真需要利用油彩的明度與色相之豐富才足以應付」、「肌理的使用是為了畫面大面積的處理中不令觀眾感到單調,也可說是追求平面的質感,豐富畫面的層次與韻味」。本作竹林所使用的綠色,變化極為豐富,是藝術家在深綠和淺綠之外,加入黑、灰、藍等顏料調蘊出的效果,同系色彩的妥善堆疊,即成肌理,在成功營造出江邊一隅的竹林深度之餘,亦象徵吳冠中憑藉強大的個人創造力,一次又一次為中國風景油畫作出成功示範。