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133
趙無極
10.1.68
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In order to bid on "Premium Lots" you must complete the required Premium Lot preregistration application and deliver to Sotheby's such necessary financial references, guarantees, deposits and/ or such other security as Sotheby's may in its absolute discretion require, as security for your bid. Sotheby's decision whether to accept any pre-registration application shall be final. We recommend you contact Sotheby's at least 3 working days prior to the relevant sale in order to process the pre-registration, and please bear in mind that we are unable to obtain financial references over weekends or public holidays. If all lots in the catalogue are "Premium Lots", a Special Notice will be included to this effect and the paddle symbol will not be used.
Irrevocable Bids
Lots with this symbol indicate that a party has provided Sotheby’s with an irrevocable bid on the lot that will be executed during the sale at a value that ensures that the lot will sell. The irrevocable bidder, who may bid in excess of the irrevocable bid, will be compensated based on the final hammer price in the event he or she is not the successful bidder or may receive a fixed fee in the event he or she is the successful bidder. If the irrevocable bidder is the successful bidder, the fixed fee (if applicable) for providing the irrevocable bid may be netted against the irrevocable bidder’s obligation to pay the full purchase price for the lot and the purchase price reported for the lot shall be net of such fixed fee. If the irrevocable bid is not secured until after the printing of the auction catalogue, a pre-lot announcement will be made indicating that there is an irrevocable bid on the lot. If the irrevocable bidder is advising anyone with respect to the lot, Sotheby’s requires the irrevocable bidder to disclose his or her financial interest in the lot. If an agent is advising you or bidding on your behalf with respect to a lot identified as being subject to an irrevocable bid, you should request that the agent disclose whether or not he or she has a financial interest in the lot.
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拍品詳情

筆道 III: 抽象先鋒

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香港

趙無極
10.1.68
一九六八年作
款識
無極Zao
Zao Wou-Ki,10.1.68(作品背面)
油畫畫布
82 x 117 公分 ,32¼ x 46 英寸
參閱狀況報告 參閱狀況報告

來源

里昂,Art Themes 畫廊
私人收藏
香港,蘇富比,2011年10月3日,拍品編號781
現藏者購自上述拍賣

展覽

舊金山,舊金山美術館〈趙無極繪畫展〉一九六八年五月八日至六月十六日

出版

〈趙無極〉尚·雷媽利著(巴塞隆納,Hier ed Demain出版社,一九七八年),圖版378,295頁
〈趙無極〉尚·雷媽利著(紐約,Rizzoli出版社,一九七九年),圖版378,295頁
〈趙無極〉尚·雷媽利著(巴塞隆納,Cercle d'Art出版社,一九八六年),圖版40,335頁
〈趙無極〉趙芷姮著(台北,大未來畫廊,二〇〇五年),83頁,彩色圖版

相關資料

「中歲頗好道,晚家南山陲;與來每獨往,盛世空自知;行道水窮處,坐看雲起時;偶然值林叟,談笑無還期。」

王維《終南別業》


火焰宇宙

《10.1.68》閃耀明亮強烈的光輝,流光溢彩,輝煌燦爛,乃趙無極用色最為瑰麗醒目的卓越鉅作之一。灼熱的珠光藍色透過峽谷中燃燒的熊熊巨火,色彩與光線在此追逐纏繞,交織出一幅恢弘磅礴的壯麗畫卷。亮麗迷人的橙色調令人想起刷新藝術家世界拍賣紀錄的《1985年6月至10月》中如烈焰般的色彩,而藍色則是趙無極不同藝術階段均鍾愛使用的顏色。藝術家曾經解釋道,他對藍色的深刻理解來自早期於巴黎的生活經歷,他在那裡欣賞過一幅喬托畫作,描繪身著一襲藍袍的聖母瑪利亞。趙無極於《10.1.68》中選用純潔無瑕而崇高靜謐的藍色, 溫柔安詳而激情澎湃,籠罩著超然無上的氛圍,在富有精美結構感和層次感的橙黃色和焦茶色烘托下尤為如此。在這幅宏大燦爛的畫卷上,趙無極的姿態藝術語彙浸潤飽滿情感,在線條與形狀、色彩與輪廓間巧妙譜出一曲動人心魄的交響樂章,以其全神貫注的直覺和一絲不苟的畫工,為畫作營造出令人沉醉而極具動感的氣氛。《10.1.68》洋溢自信筆觸和燦爛色彩,五十年後依然令人無法抗拒,其散發出的熠熠風采仍不減當年。


趙無極的藝術在六〇年代再創巔峰,於五〇年代末期,他毅然決然地放下已建立起的藝術成就,拋開具體的形象,取法北宋名家范寬在創作上提出的心得:「師古人不如師造化、師造化不如老心源」,朝內心深探,將自我的內在世界化為靈感源頭,通過色彩的開展與融合,在畫中追求一無極的抽象世界探索。他藉此思考對於宇宙的種種問題,畫那些寫視覺上看不見的東西,那生命之氣、風、動力、形體的生命,與他內心煥發的情感,創作了六〇年代著名的「抽象風景系列」作品。

許多知名畫家與藝評家對他該時期的創作均大為讚賞。如六〇年代初期,曾獲威尼斯雙年展繪畫大獎的藝術家馬內榭(Alfred Manessier)在寫給趙無極的一封信中即提到「我靜靜的傾聽,把心打開,來接納你經由繪畫想對我說的最緊要的話 … 你的畫很美,朝娛樂技巧的純屬,你現在的畫更真實,我想我可以這麼說,你已超越了以前所畫的一切。」(《趙無極自畫像》趙無極、梵絲娃、馬凱著,藝術家出版社出版,台北,1992年,120頁)畫家如文人自古相輕,然而,來自東方的趙無極,卻與許多享譽國際的藝術家建立起終身輕易,作品並為其衷心欣賞,足見他的過人之處,與其超脫國際、身份、語言藩籬的動人藝術之美。

趙無極的知名度在60 年代達前所未有的佳境。其法國經紀人—法蘭西畫廊(Galerie de France)的米雅安(Myriam Prévot)為他在當地與其他國家的畫廊、博物館舉辦許多展覽,打開了他的國際知名度。讓他與許多西方抽象表現主義健將,如哈同(Hans Hartung)、蘇拉吉(Pierre Soulages)一同展出,如趙無極所言,「此使他在已成名的一代中,佔了一席之地」。除法蘭西畫廊外,國際知名畫商如紐約的庫茲(Samuel Kootz)、馬蒂斯(Pierre Matisse)也爭相與其建立長期的合作關係。趙無極的作品一方面承襲了宋元中國山水畫、書法藝術的東方美學精粹,一方面融合西方繪畫技法、對於色彩與光線的重視,並將其重新演繹,創作出融合中西之長的嶄新抽象語言,除帶領中國藝術的復興,更於國際藝術潮流中卓絕而立,此讓他深獲重量級畫商的青睞與追捧。

在此期間,海外邀展亦接踵而至,如一九六七年他受邀參加法國麥格基金會(Maeght Foundation)的「十年活著的藝術1955-1965」(Ten years of living art 1955-1965)大展,與沃荷(Andy Warhol)、李奇登斯坦(Roy Lichtenstein)等246位知名藝術家一同展出;一九六八年於美國各大美術館,如華盛頓國立美術館(National Gallery, Washington)、紐約大都會美術館(Metropolitan Museum of Art)巡迴展出的『法國繪畫1900-1967』(Painting in France 1900-1967)展覽中,其創作也在此之列(《趙無極1935-2008》弗朗索瓦.馬凱、揚.亨德根編,季風美術出版社出版,香港,2010年,351頁), 足見他已深獲國際藝術世界的肯定。同年,舊金山美術館亦為其舉辦了一盛大的「趙無極個展」,當中收錄了不少珍品,而最引人矚目的展品之一,即為是次作品《10.1.68》。

趙無極於此創作中一反該時期在單色畫面上典型相近色系的運用,大膽地選擇了具高度對比的青藍與橘紅色彩,讓他們在畫布上相互碰撞、衝擊,製造出若電光石火、生機灼灼的光華。南朝文學家劉勰在其《文心雕龍》「聲律篇」裡曾談到「異音相從謂之和,同音相應謂之韻」(《筆紙中國畫》趙廣超著,三聯書店有限公司出版,香港,2003年,73頁) 高反差的色彩如同音樂裡互異的音頻,趙無極在此如一嫻熟的音樂家展現高妙的駕馭手法,讓他們互相配合又彼此呼應,透過衝突與差異,在畫布上產生動能與力量的激盪共鳴。而透過他揮灑自若的大筆刷,一宛如天地複興的意向空間,在我們眼前展現。我們可在其筆勢的運動與節奏上體會那種隱而不言的生動氣韻,與那流動雄健的生命力,當中纖維般的黑線條若不同頻率的脈搏震撼其中,不但書寫著藝術家對於生之熱情,並引領觀者在其中徜徉。整體洋溢著一種向上揚升的精神,強烈的震撼觀者。

然而若回顧趙無極創作此作品的一九六八年,實為動盪的一年,該年正逢中國文化大革命,趙無極遠在中國的銀行家父親被列為批鬥的對象,逢此家國劇變,無疑帶給他巨大的心理與情感上的衝擊,但他將此化為創作的動力,訴諸筆華;然而奇妙的是,在此畫境之中,觀者或感受不到那沉滯的痛苦與鬱悶,反而有種昂首向前的勃發生機。此令人憶起王維的《終南別業》一詩,詩是這麼寫的:「中歲頗好道,晚家南山陲;與來每獨往,盛世空自知;行道水窮處,坐看雲起時;偶然值林叟,談笑無還期。」人生的旅途上,或許有些事情只能自我經歷,趙無極如同詩中的主角孤身入南山,山中自有凶險與美景,其中的酸甜苦辣只能自己體會。倘若能隨遇而安,也能境隨念轉,漫天遍野無境不得心。生命無限,如水窮、雲起,一切都在生減之中,雖孤獨處困卻悠然自得。《10.1.68》無疑深刻地記錄和反映這個時期趙無極的人生歷程和情感動盪。在此作之中,我們看到一個寬大而深刻的藝術生命。

筆道 III: 抽象先鋒

|
香港