Page 148 - 亚洲二十世纪及当代艺术

39 朱德群 1920-2014 Chu Teh-Chun

ೌᕚ Sans Titre
Oil on paper mounted on canvas

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ɓɘɖ㖼ϋЪ 65 × 50 cm. 25 /8 × 19 /8 in. .
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2017 ϋdϡᅃ໊‘dӜɕ཭ࢫ౶ϖ೥఼dࡐ౱d LITERATURE
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ྡوୋ 9 ໮ 2017, Chu Teh-Chun, Waddington Custot Gallery, ,
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19 Sep – 11 Nov 2017, Chu Teh-Chun: Nature Lives
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Ը๕ PROVENANCE
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ࡐ౱Ӝɕ཭ࢫ౶ϖ೥఼ Waddington Custot Gallery, London
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Note: A label of London Waddington Custot Gallery is
ൗj೥ߠ൨Ϟࡐ౱Ӝɕ཭ࢫ౶ϖ೥఼ᅺᜀ N o t e : A l a b e l o f L o n d o n W a d d i n g t o n C u s t o t G a l l e r y i s
ൗj೥ߠ൨Ϟࡐ౱Ӝɕ཭ࢫ౶ϖ೥఼ᅺᜀ
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ڝjϡᅃ໊ਿږึකͭe͟ᖵஔ࢕ֈɿ࿬͍ᘪ௪
ڝjϡᅃ໊ਿږึකͭe͟ᖵஔ࢕ֈɿ࿬͍ᘪ௪
f a
This work is accompanied by a certificate of authenticity
This w
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ork is accompanied b
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ᇜᘲᖵஔ࢕Όණʘᑌࢩᇜ፨ϡ໨౻݇ɾɻፋᖦʘ
ᇜᘲᖵஔ࢕Όණʘᑌࢩᇜ፨ϡ໨౻݇ɾɻፋᖦʘ
issued by Fondation Chu Teh-Chun and signed by Mrs.
Ъۜᗇࣣ issued b y F onda tion Chu T eh-Chun and signed b y Mr s .
Ъۜᗇࣣ
Ching-Cha o Chu, spouse o f the ar tis t and co-edit or o f
Ching-Chao Chu, spouse of the artist and co-editor of
the forthcoming catalogue raisonné of Chu Teh-Chun
the f or thcoming ca tal og ue r aisonné o f Chu T eh-Chun
HKD 1,000,000 – 2,000,000
USD 128,200 – 256,400
create layer upon layer of peaks, which “viewed horizontally resemble
c r e a t e l a y e r u p o n l a y e r o f p e a k s , wh ic h “ v i e w e d h or i z on t a l l y r e s e m b l e
a mountain range, but vertically appear as precipitous mountain tops.”
a m o un t ain r an g e , b u t v e r t i c a l ly a p p e ar a s p r e c ip i t o u s m o un t ain t o p s . ”
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At the same time, the work is also replete with Rembrandt-like use of
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l light and shade, ensuring the spatial focus and progression is fixed
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on a light source at the centre of the painting. As the layers of colour
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i incrementally change, the brush strokes also spread outwards, ,
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changing from subtle and fine to unruly and wild. In areas where the
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c o l o u r s c o n v e r g e , C hu T e h - C hu n d e l i b e r a t e l y h e i g h t e n s s h a d e a n d
colours converge, Chu Teh-Chun deliberately heightens shade and
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stroke strength, employing distinctive straightforward lines infused
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with angular turns, as if a powerful reflection refracted from the light. .
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Moreover, by tightly combining this with the brown colour the artist
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ingeniously deepens the connection between the ebbing and flowing
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of the light and shade. Attended by the central light, the interplay
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and contrast of the brick-red maple forest and yellow lamp light
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l lingers around the pitch black and yellowish-brown above the ground, ,
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undulating with the charm of fallen leaves returning to the soil. For
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viewers it is like seeing a scene of evening clouds disappearing, the
v i e we r s i t i s l i k e s e e i n g a s c e n e o f e v e n i n g c l o u ds d i s a p p e a r i n g , t h e
sun setting at an angle, maple trees on a riverbank, houses on either
s u n s e t t i n g a t a n a n g l e , m a p l e t r e e s o n a r i v e r b a n k , h o us e s o n e i t h e r
e l
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side of the river, house lights at the foot of a secluded mountain, all
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reflected in a river. .
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Within the poetic abstractions of Chu Teh-Chun, all colours and ink,
W i t h i n t h e p o e t ic a b s t r a c t io n s o f C h u T e h - C h u n , a ll c o l o u r s a n d i n k ,
whether tightly packed together or dispersed, thick or light, bright or
wh e t h e r t i g h t l y p a c k e d t o g e t h e r o r d i s p e r s e d , t h ic k o r l i g h t , b r i g h t o r
da r k , b r i m w i t h t h e b r i ll i a n c e o f l i f e a n d b r i s t l e w i t h t h e m a g n i fi c e n c e ϡᅃ໊ೌᕚ‘dذ੹ॷ͉d65 Ò 50 cmd 1972 ϋ
dark, brim with the brilliance of life and bristle with the magnificence
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