Page 78 - Christies IMportant Chinese Art Sept 26 2020 NYC

THE IRVING COLLECTION 歐雲伉儷珍藏
THE FLORENCE AND HERBERT IRVING COLLECTION
1544
LIN FENGMIAN (1900-1991) 林風眠 (1900-1991)
Lady 仕女
Scroll, mounted and framed, ink and color on paper 設色紙本 鏡框
26 √ x 26 º in. (68.3 x 66.6 cm.) 款識：風眠。
Signed, with one seal of the artist 鈐印：林風瞑印
$200,000-300,000
來源:
PROVENANCE:
Sotheby’s Hong Kong, Fine Modern Chinese Paintings, 21 May 1987, lot 48. 香港蘇富比，中國近現代畫，1987年5月21日，編號48。
The Irving Collection, New York, no. 1626C. 歐雲伉儷珍藏，紐約，編號1626C。
Born in a poor family of farmers and stone engravers in Meixian of the 林風眠（1900-1991）出身於廣東梅縣一個平凡石匠農家，自小對繪
Guangdong province, Lin Fengmian (1900-1991) exhibited interest and 畫產生了濃厚興趣並展現出過人的天賦。1919年赴法勤工儉學，系
talent in painting as a child. In 1919, he received a scholarship which 統學習歐洲繪畫，隨後前往德國遊學，林風眠深深被現代派與野獸
enabled him to study painting in France and then in Germany, where the 派狂放的色彩張力折服，並接觸到以埃米爾·諾爾德（1867-1956）
oeuvre of Expressionists such as Emil Nolde (1867-1956) and Erich Heckel 、埃里希·黑克爾（1883-1970）等為代表的表現主義藝術。這深刻
(1883-1970) deeply inspired and influenced his artistic direction. He was 地影響了林風眠的藝術創作軌跡。歐洲的遊學經歷不僅奠定了林
also fascinated by the boldness and the range of hues shown in the works 風眠的藝術視野，也使他為20世紀中國繪畫發展鋪設了藍圖。
from the Modernist and Fauvist movements. Lin’s study and journey in
Europe became perhaps the most crucial factor in shaping his artistic 林風眠不僅是位敏銳的藝術家，也是位頗具遠見的藝術教育
vision and his definition of what 20th century Chinese painting ought to be. 家。1926年，林風眠受蔡元培（1868-1940）之邀，出任國立北平藝術
專科學校校長，聘請齊白石（1864-1957）、法國畫家克羅多（1892-
Lin Fengmian was as much of a visionary artist as he was an insightful art 1982）來校任教，開拓學生藝術眼界。1928年，林風眠與蔡元培在杭
educator. At the encouragement of Cai Yuanpei (1868-1940), Lin Fengmian 州創辦了20世紀中國藝術家的搖籃——國立藝術學院（現為中國美
returned to China and served as the principal of the National Beijing Fine 術學院），培養了包括李可染（1907-1989）、吳冠中（1919-2010）、
Art School in 1926. He invited artists such as Qi Baishi (1864-1957) and 趙無極（1920-2013）在內的大批中國藝術史中的風雲人物。
the French artist Andre Claudot (1892-1982) to serve as faculty during
his tenure so students could broaden their horizon with both Chinese 此幅歐雲伉儷珍藏的《仕女》是這位二十世紀中國最傑出的畫家罕
and European painting traditions. In 1928, Lin Fengmian co-founded the 見的佳作之一。一位身著藍衣的仕女盤坐畫中，雙手捧白蓮，並有
National Academy of Art (now known as the China Academy of Art) with 細長花瓶相伴，是林風眠最為喜愛也最為人知的主題之一。林風眠
Cai Yuanpei in Hangzhou, which became an incubator for many renowned 標誌性的正方形構圖，彰顯其對傳統中國畫手卷、立軸決定的水平
artists of the 20th century with notable alumni such as Li Keran (1907- 或豎直的長方形構圖的挑戰。林風眠以蜿蜒的筆觸線條勾勒出女子
1989), Wu Guanzhong (1919-2010), and Zao Wou-ki (1920-2013). 薄紗般的外袍和柔美的輪廓，佔據了畫面的右斜角。而畫作左半高
挑的花瓶無疑使整幅畫多了平衡的美感。
The Irving Collection’s Lady depicts a seated woman in blue holding a
white lotus with both hands, accompanied by a slender vase of flowers, 歐洲繪畫藝術對林風眠的影響在此幅畫作中輕易可見。仕女、靠
which is one of his favorite motifs and one of his most recognizable 墊、花瓶、透光窗簾的層疊為畫作搭建了不同的深度，而幾個世
themes. The selection of a square composition—a characteristic choice by 紀以來，將人物置於窗前或窗戶附近已經成為歐洲肖像畫中廣泛
Lin—serves as a rejection of the usual shape of the medium (a horizontal 使用的技巧。靜物與人像刻意的不均比例又讓人想起保羅·塞尚
or vertical rectangle) dictated by traditional Chinese painting’s format of （1839-1906）等法國印象派畫家的靜物描寫。儘管如此，林風眠對
a handscroll or hanging scroll. Lin uses sinuous, soft lines to delineate the 中國繪畫根基的堅持同樣顯而易見。他對女性的描繪又讓人看到
gauzy outer robe of the lady and the outline of her body, which takes up 六朝（220-589）繪畫中苗條優雅的仕女睹物沉思的影子。而枯筆點
a sizable portion of the scene. While the composition is anchored by the 觸女子額前纖細的碎髮，則是使用了傳統筆墨的獨特技法。手部及
mass of the seated lady diagonally across the right half, it is balanced by 臉部簡潔的線條描述又似敦煌佛窟壁畫中的飛天。
the tall vase with blossoms on the left.
這幅《仕女》不僅展現了林風眠精湛的技巧及令人玩味的巧思，又
More elements hinting at the influence of the European art can be 放大了他貫穿中西繪畫技巧之長的藝術理想。它印證了林風眠富有
observed here. Different depths are established into the pictorial space 創造性的美學視野，保存了他以其特有筆觸創造出的一位穿越時間
by the layering of the lady, a cushion, a vase of flowers, and a window with 和地域之永恆的仕女形像。
light-filtering sheer curtain. Situating a figure in front of or near a window
has been a widely used technique for centuries in European portraiture.
The intentional disproportion between the objects and the figure recalls
the still-life paintings of the French Impressionists such as Paul Cezanne
(1839-1906). Yet, Lin Fengmian also adheres to his Chinese roots
simultaneously. His depiction of the lady harks back to the elegant and
slender rendition of female figures who often wear a wistful expression
while gazing at an object, popular during the Six Dynasties (AD 220-589).
The wispy bang on her forehead is a demonstration of calligraphic strokes
(with a dry brush), the unmistakable singular characteristic of Chinese
brush painting. The simplified lines used to draw her hands and face
reflect the influence of the apsaras painted on the walls of the Buddhist
caves in Dunhuang.
Lin Fengmian’s Lady demonstrates not only his technical virtuosity and
whimsical playfulness, it embodies his artistic ideal of absorbing both
the traditional Chinese painting and European painting traditions. It is
a testament to his innovative vision and a preservation of his signature
creation of the timeless female figure.