吴冠中木板油画《崂山新屋》（香港佳士得2013）高清详解

吴冠中崂山新屋香港佳士得2013 成交价844万港元

作品介绍

Born in 1919 in Yixing County in Jiangsu Province, WuGuanzhong graduated from the Hangzhou National Art College, aninstitution founded by Lin Fengmian. In 1946, with the support of ascholarship, he moved to Paris to study but by 1950, Wu had decidedit was time to return to China to develop Chinese oil painting. Forpolitical reasons, Wu focused on politically-neutral landscapepaintings and drew on the beauty of the forms of the objects. Whileadopting Western ideas of Formalism, Wu was fully aware of therealities of the Chinese cultural scene and his audience's tastes,and was able to win support from both art critics and the massaudience. Wu's art is just as he describes it: "I love ex-pressinga 'frame of mind' in artwork, yet I believe that such 'frame ofmind' must be combined with the forms of an object - it can only betruly reflected through the depiction of forms. The core of myartworks lies in the discovery of the 'frame of mind' throughsketching and drawing."

In his search for inspiration for his landscape paintings, Wuoften travelled to scenic mountains and rivers to sketch. Duringthe summer of 1975, Wu went on a hiking trip to the Lao Mountainswith a few friends from Qingdao and lost his way in the woods.Luckily, he was rescued but the incident was sufficiently vivid forhim to keep a piece of rock from the Lao Mountains engraved 'Lostin Lao Mountains' on his desk. Wu says in one of his articles: "Thegreatest impression the Lao Mountains has given me is neither themountains nor the sea - it is the rocks. Rocks are everywhere,angular and irregular in shape, carrying a tint of black, white,grey or purple. They are horizontally, vertically or diagonallypositioned, resembling the multi-dimensions of life. Picasso wouldhave liked it. Grass and pine trees sprout between rocks, andthough the pine branches are rather thin, they stand strong withdignity. Where you see thorny bushes you know you can find roses;and where you find such pine branches, you know you'll be in theLao Mountains."

吴冠中崂山新屋局部细节

New House in the Lao Mountains (Lot 23) was created in 1975and features the rocks of Lao Mountains. The rocks are depicted indifferent forms and shapes in the foreground, middle ground andbackground of the painting and the layers of rock form a lumped,crumbled structure. Wu places emphasis on achieving direct visualeffects and extracting beauty from the forms of the objectsthemselves. His approach is similar to Kazimir SeverinovichMalevich's portrayal of abstract geometric shapes. The rocks in theforeground have been simplified from irregular, rugged objects intooverlapping geometrical shapes of various colours and sizes. Everyshape differs in its form, resembling the distorted, strange rocksin the background. The overlapping of shapes demonstrates a layeredspacing and a sense of depth, or as Wu puts it, "Geometrical shapescan be arranged into a rich sense of form." Though the painting haslarge-sized segments, a charming rhythm is created by thesilhouettes of the shapes, forming cohesive, implied lines. Wuadopts the Chinese freehand flower-and-bird-style when sketchingboulders, rocks, as well as the pine branches sprouting out frombetween rocks. He even uses the 'graffito' technique to carve outdetails and a palette knife to produce complicated textures ofmoving lines throughout the painting. In order to encapsulate thebeauty of form, Wu creates supplements to the landscape bysubstituting real objects with imaginary ones, attempting to tailorand put together objects viewed from various perspectives. Xu Hongsays in his article on The New House in Lao Mountains: "The large,joint pieces of granite in the bottom left corner K transforms theoriginal tri-sectional composition of the painting, shifting thecentral point and brings visual excitement K Due to its presence,the painting is less loose and bland, it helps with the overallcoordination of forms and enriches the painting."

New House in the Lao Mountains combines both realism andex-pressionism, similar to Lyonel Feininger's abstractex-pressionism. It not only presents the oriental pine branches andstrange rocks of the Lao Mountains but also explores the hiddenbeauty of form in the scenery. His work successfully bringslandscape paintings to a whole new level - and the height ofabstract ex-pressionism - contributing to the development oflandscape paintings. Wu was able to create an excellent blend ofEastern and Western art. His geometrical shapes are inspired by theWest, while the lines, dots and black-and-white strokes come fromtraditional Chinese paintings and calligraphy. These ideas andconcepts complement each other perfectly in this work.

吴冠中崂山新屋局部细节

译文

1919年出生于中国江苏省宜兴县的吴冠中，毕业于林风眠所创办的国立杭州艺术专科学校，1946年考取公费前往巴黎留学，1950年吴冠中决心回中国创作属于自己民族的油画。由于政治的因素，吴冠中回国后便集中创作客观的风景题材。他的风景绘画的灵感源自对象所激发起的形式美感，着重形式的美。在吸收西方现代艺术形式主义时，吴氏关注中国文化环境和受众的实际情况，做到「群众点头，专家鼓掌」。吴冠中的艺术正如他所归纳：「我爱绘画中的意境，不过这意境是结合在形式中，首先通过形式才能体现。用绘画的眼睛去挖掘形象的意境，这就是我艺术生涯的核心。」(徐虹，「从『写生』中寻找绘画形式美—吴冠中20世纪50-70年代的水彩和油画」《吴冠中全集2》(长沙：湖南美术出版社，2007)，14。)吴冠中为寻找风景画的创作灵感经常到名川大山实地写生。1975年夏天，吴冠中偕几位青岛的友人去崂山写生，却误入深山后迷途，幸得搜救队救援，最终脱险。为记念此事，吴冠中的案头仍放置那块刻上「误入崂山」的崂山石。吴冠中曾撰文：「崂山最予我强烈印象的，不是山，不是海，而是石，巨石遍野，方图突兀，色分墨，白、灰、紫，或横卧，或矗立、或斜倚，人生百态，尽在其中矣，如毕加索至此，当叹观止。石隙中不仅离草成窝，且处处生长屈曲的松，虽细瘦，却坚挺，风景这边独傲。刺丛开花，花丛多刺，是玫瑰，石丛长松，松抱石丛，是崂山。」创作于1975年的《崂山新屋》(Lot23)以崂山石为主题，崂山石以三种不同的形式分别在画作的远、中、近景演绎。从分析构图着手，画作出现团块结构，用石块组合起来。吴冠中在呈现景观时，造型意识十分强烈，追求直接的视觉效果，从客观景物提炼出造型美感，其理念与马列维奇(KazimirSeverinovich Malevich)几何抽象表现主义相接近。前景的石块，被去掉突兀的体积，简化成大大小小的几何色块平面，在相连重迭间组成结构关系。每一色块的形态各异，与背景中、扭曲的、奇诡的山石相呼应。色块之间并迭、左右交错，表现了层层推移的空间变化和深遽感，一如吴冠中所说「简单的几何排列构成了无限丰富的形式感」。画面虽以大面积分割处理，却带富韵味的节奏，节奏由块面轮廓边线构成，造成一种连贯画面的视觉线。吴氏以写意花鸟画的运笔方式，勾勒石块、石砖的形状、石隙中生长的松树枝干，更以刮除法的油画技巧(sgraffito)局部地刮出细节，又用画刀造出细致的肌理，以视觉上流动的线条贯穿全画。为了达到形式的美，吴冠中予以创造，对景物补充，「移花接木」、「移山倒海」，试着把分散的事物或不同视角下的景观剪裁在一起。正如徐虹曾对〈崂山新屋〉撰文：「而左下角一大块用财色花岗岩拼接的基石，……使本来三等分的痉面构图，重心位置起了变化，视觉上产生丰富感。……但正由于它的存在，才避免画面的平淡和分散，它协调朋画面各部份的形式，也使之更丰富。」(徐虹，「从『写生』中寻找绘画形式美—吴冠中20世纪50-70年代的水彩和油画」《吴冠中全集2》(长沙：湖南美术出版社，2007)，22。)吴冠中创作《崂山新屋》包含有写实主义与表现主义两个层面，融汇为一，其理念与费宁格(LyonelFeininger)的抽象表现主义相接近，既真实呈现了具东方感与青松怪石，郁郁葱葱的崂山风景，也同时探索风景底下所隐藏的造形美感。他的创作成功把具象风景画类提高到「抽象表现」的层次和高度，在「风景画类」这一创作脉络有着独特的贡献。在表现抽象形式美的同时，也同时达到中西融合的高度，他的几何色块受西方美学所启发；但线条、色点和黑白皴擦的笔触纹理则来源自东方的书画艺术，在吴冠中的统驭下，相互配合，彼此提振，达致各自深化。

作品细节

吴冠中崂山新屋局部细节

画家简介

吴冠中（1919-2010），当代画家，美术教育家。1919年出生于江苏省宜兴县。1942年毕业于国立艺术专科学校，1946年考取教育部公费留学，1947年到巴黎国立高级美术学校，随苏沸尔学校学习西洋美术史。吴冠中1950年秋返国。先后任教于中央美术学院、清华大学建筑系、北京艺术学院、中央工艺美术学院。曾任清华大学美术学院教授、中国美术家协会顾问，全国政协委员等职。曾出版过《吴冠中素描、色彩画选》、《吴冠中中国画选一辑》、《东寻西找集》、《吴冠中散文选》等。

作品资料

崂山新屋

吴冠中

成交总额 HKD 8,440,000

估价 HKD 8,000,000 - HKD 12,000,000

油彩木板

1975年作

签名：荼

拍卖 3255

亚洲二十世纪及当代艺术 (晚间拍卖)

香港|2013年11月23日

拍品 23

来源

Sotheby's Hong Kong, 8 April 2006, Lot 602 Private Collection,Asia

展览历史

Hong Kong, Hong Kong Arts Centre, Wu Guanzhong: ARetrospective, 10 September-4 October 1987 (Exhibit No.25).