Page 142 - 亚洲二十世纪及当代艺术

37 朱德群 1920-2014 Chu Teh-Chun

No.92 No.92
Gouache on paper
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Painted in 1961
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I In 1960, Chu officially became a member of the “Ecole de Paris” c o nti n u o u s p re c i p i c e s a n d o v e r h a ng i ng ro c k s . M o re o v e r , i n
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and held a solo exhibition at Galerie Legendre, a gallery in the t the background Chu employs an elegant grey-blue to craft a
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natural scene with the blowing north wind and light snowfall,
French capital that at the time mainly promoted abstract art,
F r e n c h c a pi t a l t h a t a t t h e t i m e m a i n l y p r o m o t e d a b s t r a c t a r t , n a t u r a l s c e n e w i t h t h e b l o w i n g n o r t h w i n d a n d l i g h t s n o w f a ll ,
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which was well received by local art and cultural circles. It was introducing a breathing space that brims with coldness and
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coolness through the unconscious flying brush strokes and
after visiting a Nicolas de Stael retrospective exhibition in 1956
a f t e r v i s i t i n g a N ic o l a s d e S t a e l r e t r o s p e c t i v e e x h i bi t io n i n 1 95 6 c o o l n e s s t h r o u g h t h e u n c o n s c i o u s f l y i n g b r u s h s t r o k e s a n d
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that Chu’s art started to evolve from largely representational blank spaces. Within the freedom provided by this layout, the
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to abstract pieces, with his abstract painting style reaching artist employs spiritually refined shades of grey and freehand
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or the combination of ink art and gouache painting on paper, objects depicted, like a flying jade dragon or the boundlessness
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Chu introduced new and intriguing ideas. The gouache work o f K un l un .
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No. 92 (Lot 37) is an exquisite example, exuding the rhythms of D i v e r s e C o m b in a t i o n s , L i g h t in g u p t h e U n i v e r s e
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C h i n e s e i n k p a i n t i n g a n d i m a g e r y o f n a t u r a l l a n ds c a p e s . French poet and art critic Jean-Clarence Lambert once
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G o ua c h e w o r k s s h o w c a s e t h e s m u d g i n g e f f e c t o f w a t e r - b a s e d described Chu Teh-Chun as “an artist who resembles fire, with
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pigments on paper, utilizing the purity of simple clarity and
p i g m e n t s o n p a p e r , u t i l i z i n g t h e p u r i t y o f si mp l e c l a r i t y a n d an atmosphere and fire that when combined with indescribably
mysterious elements and the appeal of his character make him
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unique in the Paris School.” Moreover, this evaluation dovetails
such as cloud like fog and undulating mountains, while
s u c h a s c l o u d l i k e f o g a n d u n d u l a t i n g m o u n t a i n s , wh i l e u n i q u e i n t h e P a r is S c h o o l . ” M o r e o v e r , t h i s e v a l ua t i o n d o v e t a i l s
perfectly with the world showcased in the work Sans Titre (Lot
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with a flickering vital force and the infinite gradations of Taoist
a c r o s s a t h o u s a n d m o u n t a i n s i n d e e p s n o w . ” I n t h i s p e r io d C h u w i t h a fl ic k e r i n g v i t a l f o r c e a n d t h e i n fi n i t e g r a da t io n s o f T a o i s t
across a thousand mountains in deep snow.” In this period Chu
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T e h - C hu n g r e a t l y s t r e n g t h e n e d t h e “ c a ll i g r a p h y ” f e a t u r e s Yin and Yang. .
of his abstract expressionism, imbuing “wild scribble” type
o f h i s a b s t r a c t e x p r e s si o n i s m , i m b u i n g “ w i l d s c r i b b l e ” t y p e I In this work, the coordination and coexistence of red and black
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black lines with a calligraphic spirit that penetrated to the a s “ Y i n ” a n d “ Y a n g ” c r e a t e s a n e x q u i s i t e t e n s io n a n d c o n t r a s t .
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other side of the paper. Indeed, the strength of character of The diagonal structure divides the piece in half, into juxtaposed
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