- 518
唐海文 無題 （雙聯作） 水墨紙本
估價
50,000 - 60,000 HKD
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招標截止
描述
- Tang Haiwen
- ink on paper
款識：
Tang 海文（右下）
Tang 海文（右下）
來源
歐洲私人收藏
Condition
This work is in excellent condition. There is evidence of a minor accretion caused by framing in the middle of the left edge of the left panel.
"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
戰後的歐洲藝術，漸漸從巴黎畫派轉移到「抒情抽象」（lyrical abstraction），而唐海文的作品，亦呼應著時代潮流，其五○年代作品多為具象，六○年代中期以後定於抽象，至於60至65年則為過渡時期。隨著畫風轉變，其媒材亦從油彩畫布，改為紙本水墨、水彩及膠彩，由此亦可見這位不歸遊子，對於東方的文化根源，始終不忍割捨。
一般理解之中，「具象」與「抽象」是對立的概念，但唐海文似乎並未如他的同儕那般，竭力在抽象的新浪潮中奮勇爭先，而是自然而然的享受繪畫，其1964年的油畫《森林》（拍品編號608 ），仍然保留五○年代特色，以平面化構圖展現林間漫步的舒適，上方樹木懸空飄浮，更令人想起夏加爾（Marc Chagall）懷念農村生活的不老童心；即使日後走向抽象，觀眾仍能透過一些作品，感受藝術家在行走中之創作，《寮下客》（拍品編號611 ）、《林間月》、《煙如織》（拍品編號612 ）以及一組四幅的《路上景》（拍品編號609），彷彿一篇篇旅行日記，把路上心影記錄下來；除了向外探索，唐海文亦重視內在探求，並以線條、暈染和符號構成純抽象作品：《無題》（拍品編號518 ）、《無題》（拍品編號519）及《無題》（拍品編號610 ）俱以墨韻締造意識流動，其濃淡深淺與皴縮，是作品的藝術效果，亦是思緒的自由游弋。正如他自己所說：「我的畫既非抽象亦非具象，它不描繪世界並意圖跨越意識的世界，來呈現與自然及其律動相關的新形式。」
一般理解之中，「具象」與「抽象」是對立的概念，但唐海文似乎並未如他的同儕那般，竭力在抽象的新浪潮中奮勇爭先，而是自然而然的享受繪畫，其1964年的油畫《森林》（拍品編號608 ），仍然保留五○年代特色，以平面化構圖展現林間漫步的舒適，上方樹木懸空飄浮，更令人想起夏加爾（Marc Chagall）懷念農村生活的不老童心；即使日後走向抽象，觀眾仍能透過一些作品，感受藝術家在行走中之創作，《寮下客》（拍品編號611 ）、《林間月》、《煙如織》（拍品編號612 ）以及一組四幅的《路上景》（拍品編號609），彷彿一篇篇旅行日記，把路上心影記錄下來；除了向外探索，唐海文亦重視內在探求，並以線條、暈染和符號構成純抽象作品：《無題》（拍品編號518 ）、《無題》（拍品編號519）及《無題》（拍品編號610 ）俱以墨韻締造意識流動，其濃淡深淺與皴縮，是作品的藝術效果，亦是思緒的自由游弋。正如他自己所說：「我的畫既非抽象亦非具象，它不描繪世界並意圖跨越意識的世界，來呈現與自然及其律動相關的新形式。」