- 2823
仇德樹
估價
200,000 - 300,000 HKD
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招標截止
描述
- Qiu Deshu
- 《裂痕》系列 308號
- 設色紙本
一九八三年作
款識
物性‧本性‧貴性。1983‧8。《裂痕》系列 301-308。308號。作者：仇德樹 QIU DESHU。（作品背面）
鈐印
藝術家鈐印一方
款識
物性‧本性‧貴性。1983‧8。《裂痕》系列 301-308。308號。作者：仇德樹 QIU DESHU。（作品背面）
鈐印
藝術家鈐印一方
來源
美國私人收藏
Condition
Overall in good condition
"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
仇德樹是抽象及水墨藝術的先鋒之一，文化大革命開始時剛剛成年，其藝術生涯便從一名紅衛兵畫家開始。在探索創新的過程中，仇德樹於1980年代初發展出一種混合媒材技法，稱之為「裂變」，形容出仇氏「變形的創作過程與其試圖在作品中找到的共通性」。藝術家使用傳統裝裱技巧將皺爛的紙張與墨、壓克力及水彩拼貼在一起，然後使用裂紋方式效仿自然之「氣」的能量。在他的作品中，山脈看似分崩離析，動態的地質特徵與真實的大自然別無二致。
仇氏在藝術生涯早期以潑灑墨汁實驗，同時使用紙張來達致抽象效果。藝術家此後以抽象藝術作為工具，對抗八十年代的官方藝術與毛澤東時代的蘇聯寫實主義。這此兩幅作品中紀年1983的作品是仇德樹最早以抽象及空洞形式實驗的代表作，另外，真實記錄了損毀與創造過程的「裂變」系列，可歸功於藝術家自小的佛教信仰。他創作中所選取的紙張及拼貼技法也與佛教教義中的「空」有異曲同工之妙。
仇氏在藝術生涯早期以潑灑墨汁實驗，同時使用紙張來達致抽象效果。藝術家此後以抽象藝術作為工具，對抗八十年代的官方藝術與毛澤東時代的蘇聯寫實主義。這此兩幅作品中紀年1983的作品是仇德樹最早以抽象及空洞形式實驗的代表作，另外，真實記錄了損毀與創造過程的「裂變」系列，可歸功於藝術家自小的佛教信仰。他創作中所選取的紙張及拼貼技法也與佛教教義中的「空」有異曲同工之妙。
仇氏不單富有創新視野，更深深紮根於中國傳統。其為優秀傳統書法家與篆刻家，印章是仇氏作品構圖中不可或缺的一部分，他的藝術亦書亦畫，兩種已經分開幾百年的藝術形式在其作品中重新融合。仇氏追尋一種從古至今的普世真理，探究自然謎題與無窮恆變的特質，嘗試表達出傳統國畫中的精神特性。