拍品 520
  • 520

朱德群 縱谷華光 油彩畫布 一九八三年作

估價
7,000,000 - 9,000,000 HKD
招標截止

描述

  • Chu Teh-Chun
  • oil on canvas
款識 :
朱德群 CHU TEH-CHUN 82(右下) CHU TEH-CHUN 朱德群 1983 LUEURS GRAVES(畫背)

來源

歐洲私人收藏

Condition

This work is in very good condition. There is evidence of undulation at the lower right, lower left and upper left corners of the work. There is a very thin hairline mark at the upper right corner, 25 cm in length and a white drip 1 cm in length along the upper edge, 25 cm from the left edge of the work. There is one red line 8 cm in length, 30 cm from the top and 50 cm from the left edge of the painting, presumably inherent to the artist's working method. There is also evidence of very small and minor accretions across the surface, only visible under close examination. There is no evidence of restoration under UV.
"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

靈感躍動・出岫青雲
朱德群八○年代《縱谷華光》
朱德群的抽象繪畫,是色彩譜寫的樂章,是光與影的迸發,也是實與虛的構成。《縱谷華光》以對角線式構圖展開,光暈從左下往右上噴薄而出,空間亦隨之中分,並向兩邊擴散;其用色以濃度接近水墨的油彩,暢快揮灑著遒勁而帶韻律之線條,創造讓精神馳騁的心象空間。筆走龍蛇的過程,見諸色彩留下的痕跡,抖動的線條力量充沛,在反覆騰躍、上下來回之間,不斷開拓空間的縱深與寛廣。八○年代,朱德群自覺其繪畫進入圓融無礙的巔峰時期,作品構圖隨之顯得更多元化,過往主要以濃重、堅實色彩進佔正中、構成畫面主體的形式,逐漸走向自由靈活、輕盈奔放,正如他深深喜愛的道家精神:「天下無萬生於有,有生於無」(《道德經》),反映藝術家的思想、心境進入另一階段。

《縱谷華光》以光色遊弋於空間,有如青雲出岫,而協調其中的緋紅、鵝黃、縹碧、紺紫,有如空中折射之極光彩虹,滿載生機而不著形體。藝評家皮埃.卡班納曾經形容:「有時,節奏在空間大筆揮灑,留下寬闊的痕跡,在那裡,集中讓位於分散。如果說朱德群偏愛明快的色調和色澤,他亦善用灰色表現色調的漸變和銜接,以及瀰漫的微光……有時,外形的顫動本身就構成了畫的真實主題,色彩好像擱淺,或散發出濃郁的氣味;天、空氣和水在升騰中,或在遼闊的疆域緩慢的行進中融為一體。」國畫長於分析色彩層次,單是水墨一種,已能作「焦、濃、重、淡、清」五種演繹,而山水作品常用之「大氣透視」(aerial perspective),即由墨色從濃到淡,構成從近至遠的景物縱深。朱德群在此混和不同明度之灰色,其實代表著中國畫家以水墨構建空間之觀念,融入於抒情抽象之中,造就元氣淋漓的東方意境。