Page 186 - 亚洲二十世纪及当代艺术

45 林風眠 1900-1991 Lin Fengmian

ᘻڀጺ Opera Figures
੹ኈ ॷ͉ Ink and colour on paper
1
ߒɓɘɖ㖼ϋ˾͋Їɞ㖼ϋ˾ڋಂЪ 66.5 × 66 cm. 26 /8 × 26 in.
Painted approximately in late 1970s to early 1980s
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؍ࠬे ᖵஔ࢕ඕΙ€̸ɨ Signed in Chinese with an artist’s seal on bottom left
PROVENANCE
Ը๕ Acquired directly by important private Hong Kong
࠰ಥࠠࠅӷɛᔛ࢕ˮԄ၅׵ 1980 ϋ˾ڋಂᒅІ collector Wong Lian Fon from Hong Kong Chung Kiu ᗫ Ԅ ᘻ ڀ ጺ‘d੹ኈ ॷ ͉d
࠰ಥʕ྆ϵ஬ Chinese Products Emporium approximately in the 33.4Ò34.1 cmd1963 ϋ Ъf ၾ
ᗫԄࠠઋືeᄳग़᜖ٙ௴Ъଣׂ
early 1980s ʔΝd؍ࠬेהࠅ࢝ତٙ݊೥ʕ
HKD 800,000 – 1,000,000 ˴ԉගɓ၇˜ၝΥٙஹᚃช™d࢝
ତਗ࿒Іٙࣛ͟٤ᝈׂ
USD 102,600 – 128,200

Whispers of Stillness, Harmoniously Echo The scythe-shaped arms form a circular structure, exuding
The Interweaving of Form and Meaning Erupts a sense of confidence, while the opponent’s arms extend
During the 1950s, while residing in Shanghai, Lin Fengmian horizontally and vertically, creating an intriguing contrast. The
was invited and guided by the cohabiting artist Guan Liang, lower garments and the parallel stances of the two figures are
gradually developing an affinity for the quintessence of playfully unified, harmoniously layered within the composition.
Chinese opera. Among them, the opera Lu Hua Dang (Swinging Through this composition and form, Lin masterfully captures
Reeds) and its protagonist, Zhang Fei, held a special place in the dynamic interaction of attack and defence between the
his heart, becoming the focal themes of his artistic portrayal. two characters. As he aptly puts it, “Like Picasso sometimes
As for the existing works on this subject, there are only eleven folds objects onto one plane, I used a method where I folded
known pieces, making this rare and exquisite creation of Opera each scene and each character onto the canvas after watching
Figures a remarkable treasure. As a highlight from Insulting the opera.” The intersecting parallel stances create a distinct
Zhou Yu Thrice, Lu Hua Dang revolves around Zhang Fei and spatial relationship of one character in front and the other
Zhou Yu. It recounts Zhou Yu’s scheme to regain lost territory behind, while their contrasting movements in the confrontation
in Jingzhou by employing a beauty trap, deceiving Liu Bei into greatly enhance the audience’s engagement, providing a sense
crossing the river for marriage. Zhang Fei disguises himself of immersive perception.
as a fisherman and sets an ambush in the swaying reeds, From Shadow to Life, Vividly Unveiled
launching a surprise attack, capturing Zhou Yu thrice and The Resounding Anthem of Strength and Beauty
releasing him thrice, leaving him infuriated and disoriented.
The masterpiece Opera Figures vividly portrays the climactic Drawing inspiration from Cubism’s fragmenting and
scene of capturing Zhou Yu, where tension reaches its peak overlapping of objects, Lin ingeniously incorporates the side
and swords are drawn. view of traditional shadow puppetry, where human shadows
are projected onto white cloth. In this artwork, the blank square
Employing the classical square formation, the characters in space creates an extended realm for the characters within the
the play stand tall and fearless, exhibiting a larger-than-life painting. The foreground figures are collaged onto the blank
presence. Drawing upon the explorations of 1950s Cubism, canvas like paper cut-outs. Through the combination, layering,
Lin vividly portrays the distinctive features of the characters weaving, and cutting of arcs, straight lines, and diagonals,
through sharp geometric shapes. Zhang Fei is depicted wearing they resemble shadow puppets, every gesture and movement
a round straw hat, a long front-closing robe, and a fisherman’s captured in a dynamic state. The theatrical masks, beards,
attire. The leopard-like eyes are highlighted by trapezoidal and laurel crowns, and sashes intertwine with hues of indigo, bright
triangular spirals, emphasizing his heroic and fierce nature.
yellow, ink black, reddish brown, and grass green, reflecting
the rich and vibrant palette of Peking opera. It transforms into
a composition that intertwines strength and beauty, good and
evil, history and reality.
Within this realm of time and space, Lin infuses the figures
with a romantic and fervent attitude towards life. The figures
in the painting come alive, exuding tension in every corner.
The expressions and movements of the characters on the
stage, their singing, reciting, acting, and fighting, intertwine in
Lin’s brushwork as a resounding anthem of life. The modern
sensibility and creativity portrayed therein embody his ideal of
“organizing Chinese art, harmonizing Eastern and Western art,
and revitalizing Chinese art.” It interprets an artistic spirit that
ԯᄌұɿᏕᘻڀጺ‘ ؍ࠬेᘻڀጺ‘d੹ኈॷ͉d58Ò54.5cmd1977 reveals fervour within simplicity, and sincerity within aloofness.
ϋЪdשርϓʹᄆ 2,407,500 ʩಥ࿆
14 7