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常玉 (1895-1966) 靜月瑩菊
香港
2021年05月24日 开拍 / 2021年05月22日 截止委托
拍品描述 翻译
常玉
常玉 (1895-1966)
靜月瑩菊
油彩 纖維板
91.5 x 48 cm. (36 x 18 7/8 in.)
約1950年代作
Lot Essay "The tranquil scenes of nature all bring reward; I enjoy the moods of the seasons with all humankind." Cheng Hao, Song Dynasty POTTED CHRYSANTHEMUMS : A REPRESENTATIVE WORK FROM THE PINNACLE OF SANYU'S CREATIVE CAREER Potted Chrysanthemums, created in the 1950s, is the largest Sanyu floral work to feature blue-stemmed pink chrysanthemums, a classic that is perhaps the most creative and original of the artist's life. Sanyu was then at the peak of his creativity, continually refining his presentation of form and colour, in works combining the poetry of the East with the meticulous precision of the West. Stylistically, presenting blooming pink chrysanthemums with delicate blue leaves was unusual for Sanyu. The beauty of colour here derives from traditional Chinese aesthetics; the calm stillness of its Eastern conception blends harmoniously with its Western media, producing the elements that make this masterpiece so touching and unforgettable. A HIDDEN PEARL: AN IMPORTANT DISCOVERY AMONGST SANYU COLLECTIONS Potted Chrysanthemums is one of the few important late still-life works by Sanyu to remain long hidden in a private collection. The story of its provenance transports us back to the days of Sanyu's Parisian life, where Sanyu met a Mr. E. K. at the Académie de la Grande Chaumière. They both preferred the unconventional live sketching in its classrooms and saw it as a place to meet like-minded artists. In the first half of the 20th Century, the Académie was an artistic hub for School of Paris artists such as Sanyu, Jean-Paul Riopelle, Zao Wou- Ki, Rhee Seundja, and Sam Szafran, and it is therefore no surprise that the Egyptian-born E.K., who aspired to become an illustrator, would have made his way there. He befriended Sanyu, who caught his attention with his sketches of models and students, and they enjoyed a lasting friendship that transcended the differences in age and cultural background between the two. A COMPELLING ORIGIN: WITNESS THE MUTUAL COMRADESHIP BETWEEN SANYU AND HIS CLOSE FRIENDS In the 1950s, Sanyu’s circle of friends consisted mainly of a younger crowd. Impressed by Sanyu’s personality, drive, and artistry, they were ready to support him in whatever way they could. Mr E.K. also gravitated toward Sanyu and became a close friend, their lives forever intertwined through their art and their appreciation of women. Like other artists in Paris such as Man Ray and Foujita, who perfected their depiction of female subjects in their own mediums of photography and painting, Sanyu and E.K. had a natural inclination toward artistic depictions of the female body, presenting them in deft sketches with an innate sensuality. Sanyu sketched nudes with dexterous, calligraphic strokes, while E.K. was fascinated by women on the Parisian streets and would sketch such scenes, which gained recognition and were published regularly in local newspapers. As Sanyu was often in need of financial support, it was with great gratitude that Mr. E.K. provided that support by buying a painting from him. It was a choice purely based on a matter of personal preference between two paintings depicting flowers in a pot, which Sanyu often painted and had in his studio. The subject matter, the colours, and the format of this Potted Chrysanthemums painting was a good fit and the choise was settled. Sanyu said it had been painted at night, with only the moon to shed light on the canvas, and E.K. was thrilled to welcome the painting into his home. Sanyu painted several nighttime scenes, but this one in particular combined the intimacy of moonlight with the artist’s emblematic potted flowers. When Sanyu delivered the painting, he realised it was not signed. As Mr E.K. was an illustrator and not a painter, there were no oil paints to be found in his home, and so Sanyu promised to come back to sign his work, but unfortunately destiny decided otherwise and Mr E.K. never saw Sanyu in his home again. Mr. E.K. continued to enjoy the work privately for many years, a much-loved memento of his friendship with Sanyu. FLOWERS IN MOONLIGHT: POETIC TREATMENT OF LIGHT AND COLOUR The treatment of light and colour is the most extraordinary feature of Potted Chrysanthemums. He created Potted Chrysanthemums late at night, in a studio awash with quiet moonlight, observing in detail the carefully arranged bonsai in front of him. The chrysanthemum blooms shine in the indigo night like twinkling stars, the tips of their petals tinged with red, while the stems and leaves reflect different shades of tranquil blue. Sanyu chooses the traditional Chinese colours of azure, malachite green, peacock blue, and soft white. He retains weight and texture in his brushstrokes, not just to present those colours, but more importantly to suggest front to back positioning and the subtle textures produced by the glowing light. This brings a three-dimensional, living quality to the stems and leaves, which become the most touching and appealing element of the painting. Under a low-level light source such as moonlight, the human eye becomes more sensitive to changes in the blue part of the spectrum. The different shades of indigo blue in Potted Chrysanthemums display an almost perfect understanding of the relationship between light source and colour. His carefully considered treatment enriches the colour spectrum of the canvas and its changing light and shadow, so that the stems, leaves, and flower petals seem to flicker and shift under our passing gaze. We seem to almost return to the moonlit studio where Sanyu painted, gazing at the moonlight quietly gleaming on the chrysanthemums. Such an emphasis on the links between colour and texture arose because, in Sanyu's mind, these Western concepts of light and colour were linked to memories of how a single colour of ink could be used to express all manner of textures. While the Impressionist Claude Monet or the Fauvist Henri Matisse also depicted flowers in night-time scenes, or against dark backgrounds, Sanyu broke away from that type of colour as his own style naturally emerged. His still lifes, too, reached new heights by breaking free of the genre's traditional figurative styles. MAGNIFICENT BLOOMS: SANYU'S LARGEST BLUE-STEMMED CHRYSANTHEMUMS Classical Chinese potted flowers were an important representative theme in Sanyu's work in the 1950s and '60s, and six paintings with subjects similar to this Potted Chrysanthemums are held at the National Museum of History. In addition, based on records in Volumes I and II of the Sanyu Catalogue Raisonne: Oil Paintings, there are currently only five known works, including this Potted Chrysanthemums, that depict stems and leaves in peacock blue as a foil for pink chrysanthemums. The only three known to use the rare choice of indigo and golden yellow as a background are also in that group, of which this Potted Chrysanthemums is one. Thus, this Potted Chrysanthemums is rare both for its blue stems and pink chrysanthemums, as well as for its rarely seen combination of indigo and yellow in the background. It is the largest of that group of five, and that, combined with unique commemorative significance and artistic value, makes it undoubtedly one of the most outstanding and important of Sanyu's works in the still life genre. CHRYSANTHEMUMS AS SYMBOL: SANYU'S INNOVATION IN FLORAL STILLLIFE SUBJECTS Floral works, especially those with chrysanthemums, occupy a significant portion of his life's work. He loved to observe nature, and drew creative energy from it that ingeniously shaped his work. He often drew on the life experience of the traditional Chinese literati, with which he was familiar, for material. This Potted Chrysanthemums definitely recalls the tradition of "pure offering paintings," symbolic works that reflected the refinement of the literati life. They embodied the spirit of "a small vessel but with great elegance" and expressed the desire for happiness and peace. Through Sanyu's brush, chrysanthemums are transformed into soft lines and pure, simple colours. The spirit and meaning of the work augments its abstract qualities, opening a window for the imagination and bringing the viewer into his world of the Chinese literati, or scholar painter.

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