Page 543 - Bonhams Chinese and Comtemporary Paintings Nov 2014 Hong Kong
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1284                                                                  At the early age of fifteen, Chu Teh-Chun started his formal study of
CHU TEH-CHUN (ZHU DEQUN, CHINESE/FRENCH, 1920-2014)                   classical Chinese ink painting at the National Hangzhou Academy of
No. 96                                                                Fine Arts. Under the tutelage of Lin Fengmian who was inspired by
Gouache on paper, framed                                              Modernism and urged a synthesis of Chinese and European painting
Signed in Chinese and English                                         styles, Chu Teh-Chun was introduced to modern European masters
Signed in English and Chinese, titled, and dated 1961 on the reverse  and their techniques, notably Paul Cézanne whose works would have
68 x 51.5 cm. (26N x 20D in).                                         a profound influence. Throughout his artistic career Chu Teh-Chun
                                                                      would rely on traditional Chinese aesthetic principles while using
HK$450,000 - 650,000                                                  European media.
US$58,000 - 84,000
                                                                      A case in point, No. 96 from 1961, shows a mastery of traditional
Provenance:                                                           Chinese brushwork while employing gouache. As a European water-
Private Collection, France                                            based medium, gouache allows a wide range of possibilities from
                                                                      opacity to transparency, similar to traditional Chinese ink. By 1961,
This work is accompanied by a photo-certificate of authenticity       Chu Teh-Chun was stylistically shifting from figurative realism to
issued by Chu Ching-Chao from the Atelier Chu Teh-Chun, Paris, and    abstraction, but he was also rediscovering his spiritual sources in
will be included in the forthcoming Catalogue Raisonné                Chinese painting. The compact central element seems inspired
                                                                      by the monumental, vertical landscapes from the Northern Song
朱德群 no. 96 水粉紙本 鏡框 一九六一年作                                             dynasty, with impressive towering cliffs and successive peaks. The
                                                                      warm brown shades provide an earthy feel, with the streak of white
簽名:朱德群 CHU TEH-CHUN                                                   gouache in the centre evoking a cascading waterfall. The paler
背面簽名:CHU TEH-CHUN 朱德群 No. 96 1961                                     washes at the top and bottom imbue this “mountain” in an ethereal,
                                                                      surreal atmosphere. Against the formless washes, the thin black
來源:                                                                   strokes recall a calligraphic inscription, endowing the composition
法國私人收藏                                                                with rhythm and creating a captivating tension. Taken as a whole,
                                                                      this fascinating work demonstrates a successful synthesis of different
此作附朱德群巴黎工作室Chu Ching-Chao前述保證書,作品將會收錄                                 traditions, as well as revealing the metaphysical landscapes created
在隨後出版的《目錄全集》中                                                         in the abstract art of Chu Teh-Chun.

                                                                      朱德群十五歲開始在國立杭州藝術專科學校學習中國傳統水墨畫,
                                                                      同時從當時的老師認識西方的藝術家;其中,保羅·塞尚的作品對他
                                                                      的風格有很大的影響。朱德群在這幅1961年的作品中採用像傳統水
                                                                      墨的水粉,給予他探索顏色深淺和透明度的自由,顯現他駕馭水墨
                                                                      的能力。從這幅畫可見,朱德群1961年放下寫實主義,開始邁向抽
                                                                      象的風格,但同時又回到中國傳統畫的本質。此作整體像宋朝的山
                                                                      水畫,特別是范寬的作品,棕色的筆觸如屹立的山峰和懸崖,中間
                                                                      夾了一道白痕就像山邊的瀑布。朱德群用較柔和的顏色圍繞著作品
                                                                      中的風景,產生一個夢幻飄渺的氣氛,彷彿在光色中飄浮。在此優
                                                                      美自然的景色前,朱德群畫上數道書法般的鮮明黑筆跡,加上了一
                                                                      個律動,造出引人入勝的張力。這幅畫所洋溢的動感和力量可以媲
                                                                      美心跳,作品的輪廓和空間均與觀者產生共鳴,是朱德群早期迷人
                                                                      虛境創作中,頗為出色的範例。

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