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全球拍卖首页 > Ravenel Ltd > 翰墨丹青—中國書畫及古文物專場 > Lot 621
徐悲鴻 XU BEI-HONG (Chinese, 1895-1953)
台湾 北京时间
2020年12月05日 开拍 / 2020年12月03日 截止委托
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拍品描述 翻译
Description 顢頇 Two Cats 釋文：顢頇最上策，渾沌貴天成，少小嬉憨慣，安危不動心。 款識：甲戌之冬，悲鴻漫筆。 鈐印：悲鴻（白文） Signed Bei-Hong in Chinese With one seal of the artist "中國近現代著名的畫家兼美術教育家徐悲鴻，乃二十世紀中國畫壇最具影響力的人物之一。徐氏為江蘇宜興人，原名壽康，19歲父逝，更名悲鴻。其父親遠章乃一民間畫師，故悲鴻幼承家學，十餘歲即外出鬻畫，17歲至上海拓展藝事，25歲時赴法留學，考入巴黎國立美術學校學習油畫及素描，並先後赴日、法、德等國觀摩研究西方美術，返國後，長期從事美術教育，並揭櫫國畫改良論，提倡中西合璧的創作理念，影響近現代中國藝壇及美術教育極為深遠。 由於徐悲鴻強調以西畫技法融入國畫，講求對於物象的解剖結構和造型精準掌握，並且善用光線與透視法，因此讓其筆下的人物、走獸、花鳥畫，無一不具備高度寫實主義的精神與技巧。一般人提到徐悲鴻，腦海中立即浮現的通常都是剛健、神彩飛揚的駿馬圖。雖然徐悲鴻向來以畫馬聞名於世，但是他自己卻說:「人家都說我的馬好，其實我的貓比馬畫得好。」原來在1934年，他帶領學生至天目山寫生途中，曾經問學生:「我的畫，什麼最好?」有人說「馬」，有人說「雄雞」，唯獨學生楊建侯答「貓」，他一聽到便稱讚楊氏眼光獨具。 徐悲鴻擅長畫貓，乃得力於他家中養了不少貓，透過不斷的觀察和揣摩，才能順手拈來，將每隻貓的形態畫的畢肖傳神。《顢頇》畫作記錄於多篇徐悲鴻年譜，從1933-1934年徐悲鴻共創作了三幅名為《顢頇》的作品，本件作於1934年的《顢頇》，從畫上題跋「顢頇最上策，渾沌貴天成，少小嬉憨慣，安危不動心。」可知此畫原來是當日寇入侵中國之際，徐悲鴻欲借小貓嬉憨無邪的天性，來諷喻那些國難當頭卻不懂居安思危，剛愎自用、顢頇無能之人，具有誡鑑警示的意味。然而，透過他準確生動的描繪，亦將二隻貓嬌憨可愛的神態表露無遺。畫面中，只見兩隻花貓爬到庭園巨石上休憩，其中一隻貓姿勢優雅的站立，雙眼微瞇，憨態可掬，另一隻貓則是高舉尾巴，屈身張嘴哈欠，表情可愛至極。在此畫中，徐悲鴻結合中國傳統的水墨寫意與西方的寫實技法來描繪物象，如畫樹和石頭，先以焦墨粗筆勾勒岩石塊面及樹木枝幹，再用細筆搭配淡彩渲染，仔細刻畫出石紋、葉脈、小草的形態和質理;而畫兩隻花貓，則是先依次勾出頭部的眼眶、鼻、嘴、顴骨、下巴及身體基本的動態和結構，接著使用淡墨刷染其胸部、肩部、腹部、臀部及四肢，形塑肌肉的凹凸立體感以及毛髮蓬鬆的質感，最後再以濃墨畫出花貓身上的斑紋及尾巴，並用焦墨點睛、突出貓的靈動性，既而完成全畫。徐悲鴻曾經在〈畫貓的步驟〉課徒畫稿中，逐一展示畫貓的步驟和技法，並自題「畫動物須熟悉其骨架肌肉組織，然後詳審其動態及神情。乃能有得。」本幅《顢頇》亦當是最佳的註腳！ 據記錄，此幅畫作及同期作品共一千多幅，為了避開戰亂，被徐悲鴻從南京攜帶至廣西，更於1937年託徐悲鴻的朋友把畫作藏於桂林七星岩岩洞內，經過滿途荊棘，此幅《顢頇》被徐悲鴻挑選，並1939年展於新加坡維多利亞紀念堂「徐悲鴻畫展」，更被記錄於1939年3月16日《南洋商報晚版》。此場展覽轟動國際水墨藝壇，一方面是徐悲鴻為抗日戰爭籌款，另一方面也是當時的新加坡首次邀請到世界等級的當代水墨大師展出畫作。當時展覽場面相當盛大，總共吸引了新加坡總人口之5%前來參觀，而開幕當天，徐悲鴻親自迎接的嘉賓眾多，包括總督夫人湯姆士爵士、中國總領事高凌伯、鄺副領事等多國社會名流人士，更親自拍照留影。此幅畫作經歷戰亂，走遍南京、廣西、桂林、新加坡及台灣，無疑反映藝術家對此畫之珍重，藝術家對戰亂的悲嘆，及其積極為國家貢獻的精神。 Modern painter and art professor Xu Bei-Hong is considered as one of the most influential figures in the 20th Century. Born in Jiangsu Yixing, Xu changed his name from Shoukang to Beihong after his father's death when Xu Bei-Hong was 19 years old. His father Yuanzhang was an artist and taught Xu Bei-Hong painting. At the age of 10, Xu Bei-Hong sold artworks for a living and he further developed his career in Shanghai by 17 years of age. At 25, he practised oil painting and life drawings at Ecole des Beaux-Arts in Paris, France, and studied Western art in Japan and Germany. He started teaching after his return. Since then, he refuted ideologies of Chinese art and promoted an adaptation of both the Western and Chinese styles. His influence towards modern Chinese art and education was paramount. He promoted a blend of Western styles into Chinese paintings by paying attention to the anatomy and body forms. The use of light and perspectives was also emphasized, this makes his Figure, Animal, Flower-and-Bird paintings realistic and vivid in character. The most famous subject of Xu Bei-Hong's art is horses. However, he took most pride in his cat paintings. In 1934, he led a group of students to a life drawing trip at Tianmu Shan. He asked his students which of his art is the best. Some replied horses, others said roosters. One student in particular, named Yang Jianhou, replied to cats. Xu was rejoiced and praised Yang for his keen aesthetic sense. Xu Bei-Hong excelled in cat paintings as he kept a few at home. Through constant observations and studies, he was able to capture every form with their unique character. The subject "Two Cats" has been recorded in many versions of Xu Bei-Hong's chronograph. From 1933 to 1934, Xu Bei-Hong created three works with the same title. This work, created in 1934, was inscribed with a poem on the top. This could be traced back to the period when Japan invaded China and Xu Bei-Hong sarcastically refer the innocent cats to those who were negligent towards the current situation. This work served as a warning to its viewers. Despite the warning message, the two cats were realistic and adorable. Two cats were relaxed in a courtyard, one crouched with eyes closed, while the other yawn with its tail raised high at the back. This work shows an ideal combination of Chinese ink and Western realistic approach. The trees and rocks were sketched with dry ink, followed by light colouring and details with fine brush. The cats were drawn by steps, first the eye frame, nose, mouth, stomach and hips, then the limbs. The shapes of muscles and the fluffiness of their fur were drawn to detail. Lastly, the patterns of the cat and tail were painted with dense ink. The eyes were coloured with dry ink. The whole painting was thus vividly created. Xu's teaching notes revealed the steps and skills to draw cats, with a note "familiarize the muscle and bone structure of animals, then study their movements and characters." This work would be a perfect example to demonstrate this belief. According to documentations, this painting along with a thousand more produced during the period were taken from Nanjing to Guangxi to flee the war. They were sheltered in a stone cave in Qixingyan, Guilin in 1937. After many struggles, this painting was eventually chosen by Xu Bei-Hong to be showcased at the"Exhibition of Paintings of Prof. Ju Peon" at the Victoria Memorial Hall in Singapore in 1939. It was also featured in the Nanyang Siang Pau on 16 March, 1939. The exhibition received tremendous attention from the international ink art scene, as it was held with the aim to raise money for the Sino-Japanese War, and was regarded as the first exhibition that showcased works by an international modern ink artist. According to the records, the exhibition attracted 5% of Singapore's total population. In the preview, Xu Bei-Hong welcomed many social elites and prominent political figures in person, including H.E. the Governor and Lady Thomas of Singapore, Mr Kao Ling Pai, the Chinese Consul-General. This event was recorded by the artist in his own photographs. This work escaped the war and fled from Nanjing, Guangxi, Guilin, Singapore and eventually Taiwan. This shows the value of the work to the artist, the artist's melancholy towards the devastation of war, and the patriotic spirit towards his homeland. Dimensions 112 x 54 cm Artist or Maker XU BEI-HONG (Chinese, 1895-1953) Medium 水墨 設色 紙本 鏡框 Ink and colour on paper, framed Date 1934 Exhibited 「徐悲鴻畫展」，新加坡維多利亞紀念堂，新加坡，展期1939年3月14日至1939年3月17日 “Exhibition of Paintings by Prof. Ju Peon”, Victoria Memorial Hall, Singapore, 14 March, 1939 - 17 March, 1939 Literature <徐悲鴻畫展> ，《南洋商報晚版》，南洋商報社，新加坡，1939年3月16日，頁 33；《徐悲鴻畫集 一冊》，中華書畫出版社，台北，1975年1月，頁 88；《徐悲鴻年譜》，人民美術出版社，北京，1985年3月第一版，圖版 7；《悲鴻在星洲》，藝術工作室，新加坡，1999年第一版，頁 6 "Exhibition of Paintings by Prof. Ju Peon" , Nanyang Siang Pau, Nanyang Siang Pau Press Ltd, Singapore, 16 March, 1939, Page 33; Paintings by Hsu Pei-Hung, China Painting Association, Taipei, January, 1975, p. 88; The Chronology of Xu Beihong, People's Fine Arts Publishing House, Beijing, March, 1985, Plate No. 7; Beihong in Singapore, Art Studio, Singapore, 1999, p. 6 Provenance 私人收藏，台灣 Private collection, Taiwan

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