- 5012
余承堯
估價
400,000 - 600,000 HKD
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招標截止
描述
- Yu Chengyao
- 藍天白石
- signed in Chinese and stamped with the artist's seal
- 彩墨紙本
款識：
余承堯 藝術家鈐印 （右上）
余承堯 藝術家鈐印 （右上）
來源
亞洲私人收藏
展覽
〈余承堯百歲回顧展-山居歲月不知長〉國立台灣美術館，台中，一九九九年，八十二頁
Condition
The work is overall in good condition except sign of foxing on the top area.
"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
《高崖新翠》（拍品編號5011）與《藍天白石》（拍品編號5012）中不僅可一窺余承堯亂筆下生意盎然的春夏美景，更可見到藝術家改革傳統「厚重渾淪，真山壓面」的構圖。以《谿山行旅圖》為例，傳統水墨的空間段落推移具有正面性的垂直跳接性質，所以仰望山巔，高聳的山巒直逼而來，形成「高遠」，而畫面中下的空濛水器與溪流水口，則以「深遠」的距離感帶出「平遠」的效果。余承堯在《藍天白石》中作出改革，配合長軸的特性，以大篇幅淡彩天際與水流、白石間的留白，使「真山壓面」的窒密得以舒展，帶出高遠及深遠感，並以超出畫面的曲折河道暗示平遠，使得畫面雖堅實飽滿，卻不令人望之卻步，反有曲徑通幽、引人入勝之妙；《高崖新翠》中余承堯則更進一步跳脫三遠的限制，可見山巒脈脈相連，前後高低之間的推移分明而暢達，卻也推擠交錯相互呼應，視角上既不遙望山峰也不屈於仰望山石，反倒真實的畫出他多年記憶中的家鄉山水，呈現出同一脈理中群山強大的生命力，物體的遠近及方向藉由前後方山石大小、左右山陰的明暗以及畫面左方的淡出便可判斷，不需仰賴傳統，而改以現實的視覺體驗為核心，點出層次分明的空間。