1154
1154
劉野
竹子和樹的構圖
估價
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9,000,00015,000,000
拍品已售 19,615,000 港幣 成交價 (含買家佣金)
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1154
劉野
竹子和樹的構圖
估價
Premium Lots
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.
Guaranteed Property
Guaranteed Property. The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. If every lot in a catalogue is guaranteed, the Conditions of Sale will so state and this symbol will not be used for each lot.
9,000,00015,000,000
拍品已售 19,615,000 港幣 成交價 (含買家佣金)
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拍品詳情

當代藝術晚間拍賣

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香港

劉野
竹子和樹的構圖
二〇〇七年作
款識
07,野,Liu Ye
壓克力畫布
300 x 220 公分 ,118⅛ x 86⅝ 英寸
參閱狀況報告 參閱狀況報告

來源

科隆,Galerie Johnen + Schöttle
現藏者購自上述來源

展覽

奧地利,維也納,現代藝術博物館〈中國:面對真相〉二〇〇七年十月二十六日至二〇〇八年二月十日,163頁(彩色圖版)
德國,科隆,Galerie Johnen + Schöttle〈Infatuation〉二〇〇七年
德國,柏林,me Collectors Room Berlin / Stiftung Olbricht〈Passion Fruits Picked from the Olbricht Collection〉二〇一〇年五月一日至九月十二日
荷蘭,阿默斯福特,Mondriannhuis〈蒙德里安和劉野〉二〇一六年六月十日至十月九日

出版

〈劉野︰留我在黑暗中〉(美國紐約,Sperone Westwater畫廊,二〇〇九年),61頁(彩色圖版)
〈China Contemporary Art: Today and Beyond〉赵力著(中國北京,CYPI出版社,二〇一〇年),92頁(彩色圖版)
〈輕逸:一條線索與六張面孔〉(中國北京,蜂巢當代藝術中心,二〇一三年),36頁(彩色圖版)
〈灰色的狂歡節: 2000年以来的中國當代藝術〉朱朱著(中國桂林,廣西師範大學出版社,二〇一三年),122頁(彩色圖版)
〈劉野作品全集1991-2015〉(Hatje Cantz出版社,德國,二〇一五年),203及335頁,編號07-12

相關資料

「蒙德里安的畫出現在我的畫中是精神上的。他的畫那麼單純──最基本的顏色和垂直水平線,我也想解决單純的問題。」

劉野

《竹子和樹的構圖》是劉野極具代表意義屢獲展出的作品,尺幅令人震撼,畫面靜謐安寧,下開後來為數不多的竹子系列畫作,也是這組作品裡唯一的風景畫。本作構圖簡練,直視角度下的雪景在眼前展開,雪地上僅有一道矮牆、一棵禿樹、幾株瘦竹和一把鏟子。牆頭橫貫畫面,形成一條水平直線,牆身和地面一起,與垂直的竹子交錯際會。三株微彎的竹子相互依偎,與水平線形成夾角;在畫面左下角,輕倚的鏟子、垂直的樹幹和地面一同,構成一個凝煉的三角形。這是嚴冬裡一個杳無人跡的後院,荒涼孤寂,卻莫名其妙地散發出一股魔幻氣息,即使是冷靜疏離的手法和素淨簡樸的構圖,亦無阻作品有如微曦加持的靈逸之感。劉野曾經坦言:「我並不想成為一個描摹現實的畫家,卻又想回歸到早期文藝復興,而不是現實主義那種,再加上我對後現代主義也比較感興趣,所以就在具象裡增加一點超現實感、非現實感。」本作融會交叉線條和幾何抽象、現實主義和後現代挪用、東西方的題材和技法,實為劉野集大成的頂級傑作。

劉野生於一九六四年,先後就讀中國工藝美術學校和德國柏林藝術大學。他在歐洲留學期間深受荷蘭藝術家啟發,尤其是蒙德里安。蒙德里安筆下風格強烈的幾何抽象和由平行直線構成的四邊形,開始現身劉野的早期創作,並多以整幅畫的形態出現在背景當中。更重要的是,他比直接挪用更進一步,將蒙德里安強調的平衡和幾何分割等視覺理論內化吸收,用於自己的非抽象作品,引入嚴謹的空間勾畫、分隔、比例和佈局。正如藝術家稱:「蒙德里安的畫出現在我的畫中是精神上的。他的畫那麼單純──最基本的顏色和垂直水平線,我也想解决單純的問題。」儘管劉野的作品被視為並非抽象的一類,然而他卻用窗戶、桌子、掛畫甚至人物四肢和影子的幾何外形作為線條和形體,湊成恰到好處的精妙構圖。這種手法令畫面浮現一股難以形容的張力,各種元素相互映襯,為作品注入平靜的能量,以及活潑的協調和平衡。

上述幾何手法早在九〇年代以小女孩、女教師、米菲為題材的作品中出現;到了千禧年代,劉野下意識將風格轉向抽象,逐步將叙事特質排除在外,因為他希望「儘量讓它更純粹一點,把早期情緒、叙述、情節比較多的地方,減少到依靠繪畫本身的元素,例如比例、色調、結構」。二〇〇七年,他開始創作竹子系列,而竹子在傳統中國藝術裡是文人風骨的象徵。因此以竹為題其實是經過深思熟慮,涵義上,它代表正直和純潔,視覺上,簡潔的竹竿還原了幾何的純粹。這種宋元兩朝中國山水畫的常見題材,更加突顯劉野創作生涯的新方向──將目光投放於傳統中國繪畫,追求東方藝術和西方抽象二者的交融與碰撞。竹子系列為後來同樣重要的書籍系列奠下鋪墊,他以簡單淡淨的手法描繪書本,遊走在幾何抽象的邊緣。而竹子和書籍之間的聯繫亦不可忽略,因為在公元兩百年造紙術成熟之前,竹簡正是中國社會主要的讀寫媒介。

本作是竹子系列的首幅作品,在美學上承接之前的雪中人像,亦成為後來大約十幅竹子畫作的意念先驅。之後的竹子畫作愈趨抽象,透過近距離描繪茂密的竹林,逐漸模糊寫實與抽象的分野。因此本作可謂獨一無二,是整個系列裡唯一一幅描寫場景或風景的作品。它運用了直視前方的扁平透視,延展出鬆散放空的維度,令畫面籠罩著謎一般的氣場,將深奧的智慧、哲理和美學探討陳列觀者眼前,同時喚起我們回憶深處的那個秘密後花園。雖然作品從立體透視方面可謂四平八穩,不過整體仍瀰漫著迷人的空靈氣息,而這當然少不得劉野輕巧精緻的筆觸,正如他自己所言:「我希望我的每一幅畫都只有一克重。」

當代藝術晚間拍賣

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香港