Page 380 - 亚洲二十世纪及当代艺术
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105       趙大鈞 1938-2023         Zhao Dajun

                  Ъۜ 3801               Work 3801
                  ذ੹ ೥̺                 Oil on canvas
                                                       1
                                                  3
                  ɚ㖼ɓɘϋЪ                166 x 178 cm. 65  /8 × 70  /8 in.
                                        Painted in 2019
                  ಛᗆ
                  2019 ɽඓ €̛ʕ          Signed in Chinese and dated on middle right
                                        PROVENANCE
                  Ը๕                    Shi Xiang Space, Beijing
                  ̏ԯැ൥٤ග                Private Collection, Asia
                  ԭݲӷɛϗᔛ
                  HKD 180,000 – 350,000                                               Ⴛ ɽ ඓЪۜ 1726‘dذ ੹೥ ̺d160 x
                                                                                      150 cmd2017 ϋЪd2022 ϋʕ਷ྗᅃש
                  USD 23,100 – 44,900                                                 ርϓʹᄆ 781,600 ʩಥ࿆
                                                           Line like Shooting Stars,
        ᇞνݴ݋d࠭ᚔႏ˂                                          Leaping Through the Blue Sky
                                                           Zhao Dajun’s Symphony of Life
        Ⴛɽඓٙ͛նʹᚤϜ
                                                           Artist and educator Zhao Dajun taught at the Lu Xun Academy of Fine
       ˜ɓࡈ຾ཀœˀᔧd˸œ೥਼ጐৎԸٙ؇ГɪdΎ೯ତdˏৎ౜                      Arts, one of China’s top eight art academies, for over half a century,
        ೥ٙᅎૐd͛ዚΎৎfɰ݊ܘϞจܠٙཀ೻dνœᔝɪٙߎᇞf ™                    and was an important spiritual leader of the academy. Many of his
                                                { Ⴛɽඓ      art theories were included in textbooks such as Dual Bases and Form
                                                           and Anatomy, and he was admired by Wang Yan, Wang Xingwei, and
        ᖵஔ࢕e઺ԃ࢕Ⴛɽඓ੽઺׵ʕ਷ɞɽߕஔኪ৫ʘɓٙኁԘߕஔኪ৫                     Qin Qi. His artistic style, like the era he lived in, constantly evolved and
        གྷ̒˰ߏdމኁߕٙࠠࠅၚग़ჯஙfՉה౤̈ٙ஢εᖵஔଣሞ஗፽ɝ                     broke through: from the early Soviet-style representational realism to
        νᕐࠠਿᓾ‘ձҖ᜗ၾ༆࡚‘ഃ઺߅ࣣdˮ֧eˮጳਃeॢೡѩ                     the discovery of abstract soul in the 1980s, establishing series such
        աՉ઼ࠔԨห΃ʘfՉᖵஔ͍ࠬࣸνהஈࣛ˾ɓছdʔᓙစආ߉ॎj                     as Flower, Holy Mountain, and Cypress. Zhao Dajun maintained his
        ੽ϘಂᘽόٙՈ൥ᄳྼdՑ 80 ϋ˾೯ઢ̈פ൥ٙᜳ჻dܔͭ˜ڀ™e                  pioneering and persistent creative passion, and his art was always
       ˜ग़ʆ™e˜ဏݡ™ഃӻΐ௴ЪdႻɽඓڭܵəۃቜٙකן׌ձܵʘ˸ܩ                    evolving, even in the last few years before his passing, he continued
        ٙ௴Ъᆠઋd˼ٙᖵஔ͑ჃίᜊʷʘʕආʷdϾίՉ஻˰ۃٙ఻ϋʥ                     to hold solo exhibitions, which is admirable. In his later works, like the
        ʔᓙ೯ڌࡈ࢝d˿ɛಝԽfίૉϋٙЪۜʕd˼νତ˾ᖵஔʘ˨෦֠                     father of modern art Cézanne, he used pure abstract brushstrokes to
       €Cézanneɓছd˸ॱפ൥ٙഅᙃଡ଼ᔌߕѶٙᖵஔʹᚤd஗᝔ᚑމ                   create a wonderful artistic symphony, earning him the title of “Cézanne
       ˜ኁߕٙ෦֠™f2018 ϋ˸ԸdႻɽඓක઼əɓӻΐ˸ᔝЍމ˴ૅܛٙ                  of Lu Xun’s Academy of Fine Arts.” Since 2018, Zhao Dajun has
        ЪۜdίՉഅাʕd˼၈ʘމ˜ᔝɪٙߎᇞ™dЪۜ͛ዚॄ್dйՈ˾                    embarked on a series of works with blue as the main theme, which he
                                                           referred to as “Red Lines on Blue” in his notes. These works are vibrant,
        ڌ׌d݊ϣ߇שяତٙЪۜ 3801‘уމɓϞɢՊᇍf                        representative, and the piece Work 3801 presented in this autumn
        ੶ۊν͛ٙЍ੹ਗঐ                                          auction is a powerful classic.
       ˜ᕙЍνɓ਼ɺeͩe˝e˥ٙ؇ГdѶί̴ʡჿɰʔ݊fШΝࣛ                       Pure, Powerful Colour Dynamics
        ᆑίήҎૐഹɛٙਞၾe͛նٙਞၾf™                                 In this work, the artist directly organizes images in the composition
                                                { Ⴛɽඓ      using pure, highly saturated primary colours. With bold and powerful
                                                           strokes of bright red, sky blue, emerald-green, lemon yellow, and other
        ίϤЪʕdᖵஔ࢕˴˸ॱၘٙ৷ཱིձܓࡡЍٜટί೥ࠦʕଡ଼ᔌྡ྅f                     colours construct the order of the composition, with clear logic. The
        ˸୑ᓲϞɢٙՒɠ෩כ͍ߎe˂ᔝeၯၠeᓠරഃЍ੹d͜ɨഅٙ஺                     base is laid with thick lines of blue and green, with fine lines of red,
        ܓ࿴ܔ೥ࠦٙॣҏdᜌ፨ʱ׼f຅ʕਿֵ˸ᔝeၠɚЍٙ୑ᇞ቗ఱd                     black, and yellow interweaving and overlapping, sometimes running
        ՉɪߎeලeරɧЍٙ୚ᇞ߈ౢʹᛌdϞࣛԨરۃБુΣཱུ࠭eϞࣛ                     parallel and diagonally forward, sometimes colliding and clashing
        ʝ޴ຠᅜʹቜdᇜᔌ̈Ѝ੹ٙၣഖdνΝɓఙ᜷್ٙݴ݋ڠચཀ˂ᔝ                     with each other, weaving a network of colours, like a sudden meteor
        ٙ࿇ᖣdሾ๯ᐆᙻeͦʔะટiɦ྅ʕ਷ࣣجᐽዑٙഅැɓছd̂တ                     shower sweeping across the blue curtain of the sky, brilliant and
        І೯׌ٙүઋܛਗd࢝ତνഄ࢝ɛᘽਃהସ᝔ٙ˜അᙃҖ࿒೵ڮe૶                     dazzling. It’s also like the free and spontaneous rhythm of Chinese
        ౸ϾՈϞႭ؂™fϾί୚ືஈdЍ੹ɦϞዚήፄΥৎԸd௴ி̈ʔᗇІ                    calligraphy, displaying “short, clear, and persuasive” brushstroke forms
        ׼ٙ዆᜗׌fν೥ࠦᗙᇝٙᔝ੹ࣛϾ̋˸ߎ੹dΥϓዢ૱ϞᇘٙഓЍ                     praised by curator Su Wei. In the details, the colours blend organically,
        ᒳΈdϞࣛɦፄɝͣЍdᜫ̴఻˷ၾ೥̺ፄމɓ᜗fᜊʷٙᔝ੹ৣΥ                     creating self-evident unity. For example, the blue hues at the edge
                                                           of the composition are sometimes enhanced with red, creating a
        Չɪ࠭ચϾཀٙ੹ᇞd݅ޢࠢʱ׼ɦ˥Ԫʹፄdᔮబə೥ࠦٙᄴϣชd                    rich purple light and shadow, and at times mixed with white, making
        ᝈ٫߰ضഹЍ੹ٙࠐ༦୚୚ۜᛘd֛ᙂΫբೌᇊl                             it almost blend with the canvas. The changing blue hue, paired with
        Ϋ๑௴ЪϤ೥ࣛdϋཀॿഞٙႻ                                     the streaks of colour flying over it, both have clear boundaries and
        ϼdίЪۜʕ᜗ତ̈ٙۍ݊׶ସ                                     blend seamlessly, enriching the sense of layers in the composition. If
        ٙ͛նɢձ͑ʔ๊৾ٙӋٝᅎf                                     viewers carefully follow the path of the colours, they will find endless
                                                           resonance.
        ɪऎذ೥ᎉ෧৫ਓ৫ڗϪૠಀ൙
        ᄆႻɽඓٙפ൥චݬމ˜সϋᜊ                                     Looking back at the creation of this painting, the elderly Zhao embodies
        ج™dவʔස݊࿁ᖵஔ࢕ίૉϋʥ                                    a vibrant vitality and an unceasing thirst for knowledge. Jiang Mei, the
        ್νڡϋɓছ̂တ৸қٙ᝔౮d                                     Vice President of the Shanghai Oil Painting and Sculpture Institute,
                                                           once described Zhao Dajun’s abstract stage as a “transformative phase
        һٵ֛əՉ͟֐Ї୞eѾѾʔ࠷                                     in his declining years.” This not only praises the artist for having the
        ٙᖵஔ௴อdՉ௴Ъዝ೻җֽʕ                                     same fighting spirit as a young person in his later years but also affirms
        ਷ᖵஔତ˾ʷٙᐵᅂj੽Σ̮ઞ                                     his consistent and tireless artistic innovation. His artistic journey is
        ӋdЇԐΣ࿁ʫːٙ೯ઢd௰୞                                     like a microcosm of the modernization of Chinese art: from seeking
        ڎԸɓఙସɽٙe࿁׵ІԒ˖ʷ            ڭᖯg෦֠੽ཤᖯ۾ʃᕄ޶໋ၪεл        outward to exploring the inner self, ultimately culminating in a grand
                                  ԭʆ‘dذ੹೥̺d60 x 72 cmd1905 ϋ
        ֵᘾձːᜳଋɺٙΫᓥf               Ъd๿ɻˋ෦ဧߕஔ᎜ᔛ              return to one’s own cultural heritage and spiritual sanctuary.
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