Page 292 - 亚洲二十世纪及当代艺术

“Whoever will eventually shake the world will remain silent for a long
time; Whoever will eventually light the lightning will be drifting like
clouds for a long time.”

— German philosopher Friedrich Nietzsche
Sanyu is hailed as the most accomplished and famous Chinese artist living in
France before World War II. Born in Nanchong, Sichuan, he learned painting from
his father during his childhood and studied calligraphy with the famous calligrapher
Zhao Xi. Blessed with a prosperous family and the support of his elder brother
۾ʗɽ߫܊‘dვ᜾޴ॷdߒ1930ϋЪdВૺɭϗᔛ
Junmin, he went to Paris under the government-sponsored work- study program ۾ ʗ  ɽ ߫ ܊ ‘ d ვ ᜾ ޴ ॷdߒ 19 3 0 ϋ Ъ dВ ૺ ɭ ϗ ᔛ
in his 20s. Ten years later, his brother passed away. Sanyu also experienced the bold and accurate strokes with concise
departure of his beloved and faced poverty yet remained pursue his dream of art in and vigorous lines. Under his gentle
Paris. His innate humour and spirit of not compromising for material gain allowed strokes, regardless of age or gender, the
him to persevere with a pure heart, even though he was unrecognized during his models were instantly transformed into
lifetime. In 1966, he passed away unexpectedly as a wanderer without a penny, nude figures. This distinctive painting
leaving behind a legendary story.
style received even more acclaim as it
In September 1966, after Sanyu’s passing, the works in his studio became relics became more extravagant. At the time,
and were auctioned off in bundles by the Drouot auction house in Paris. French nude painting was highly controversial
collector Michel Habart chanced upon Sanyu’s works and was instantly captivated. and “inappropriate” in China, but Sanyu,
Without hesitation, he purchased hundreds of exquisite living in Paris, had the freedom to express
paper works. His daughter, Doris Habart, recalled, “I himself and enriched the subject matter.
remember the beaming face of my father when he According to available records, Sanyu
came home with his treasure under his arm…… My created nearly two thousand nude and
father saw in these works inspired from Matisse, Maillol portrait sketches throughout his life. Xu
sculptures and Henry Moore.” Ten years later, art Zhimo, Pan Yuliang, and Shao Xunmei
historian Chen Yen-Fon, came across Sanyu’s sketches praised his works highly, with Shao
and through mutual friends, met Habart. They became referring to him as “a treasure in the world
close acquaintances, piecing together Sanyu’s life story of modern art.”
and organizing solo exhibitions for him, allowing the world to Looking back on Sanyu’s life, his sketches
witness the exquisite charm hidden for a hundred years. This were created during his prime, carefree
autumn auction, China Guardian Hong Kong presents four and unrestrained youth time. With a
delicate paper works by Sanyu from the Habart Family’s passion for the beauty of the human body
collection, with a well-documented provenance that is and a love for photography, Sanyu’s female
sought-after.
perspectives were rich and varied: profiles,
Amidst the Fusion of Chinese and Western back views, front views, and close-up
Cultures, a Unique Charm and Elegance Emerged details, all displaying a graceful agility.
“The more Sanyu painted and delved more They stood alone, mostly voluptuous, with
deeply into things, the more he rediscovered diverse postures full of rhythm. At that
the peculiarities of his race as new truths…… time, minimalist aesthetics were prevalent
He knows how to depict the essence and often in Paris, and this concept aligned with
humour of things with astonishingly little Bada Shanren’s concept of “Sheng”
means.” (control/restraint). Sanyu perfectly
integrated the Eastern calligraphic and
— Johan Franco, a close friend and important patron
painting traditions he accumulated in his
of Sanyu, a Dutch composer
youth into Western composition, “not in
In the 1920s, when Sanyu first arrived in France, he a confused, sacrilegious way, but with an
was unrestrained. He eschewed the rigid art academy elevated awareness.” His compositions
and chose to study independently at the Académie de were elegant and his paintings were
la Grande Chaumière in Montparnasse. He focused on pure and lively, resulting in figures with
studying sketching and quick sketching. This dashing distinctive elegance. Many areas of his
young gentleman, who appreciated Western techniques artworks were left blank, and his lines
while remaining true to his roots, often used a traditional were “simplified” to the point of being
Chinese brush to sketch and frequently drew a crowd of almost “invisible.” A few bold curves
curious fellow students. He specialized in drawing female outlined exaggerated proportions of
figures, using the “hook lines and washes” techniques thighs, and his brushstrokes shaped
he learned in China to portray the contours of the figures. comb-like fingertips, capturing the lifelike
He then shaded them with pencils and charcoal, creating gestures of his subjects. Scholar Rita

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