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Pham Hau (1903-1995) Golden Sunset over Halong Bay
香港
2021年11月27日 开拍 / 2021年11月25日 截止委托
拍品描述 翻译
Pham Hau (1903-1995) Golden Sunset over Halong Bay circa 1938-1945signed with artist's seallacquer, pigment, and gold foil on wood100 by 198 cm. (total six panels with their mount)39 3/8 by 78 in.The work is accompanied by Emperor Bao Dai's calling card.
注脚 ProvenancePrivate Collection of Emperor Bao DaiGifted to Edgar Ansel Mowrer circa 1951Thence by descent to the present owner 范光厚 (范厚)下龍灣的金色夕陽約一九三八年至一九四五年作簽名:范厚筆 藝術家花押漆木 金箔來源保大帝私人收藏約1951年贈予埃德加·安塞爾·莫勒現藏家繼承自上述來源Celebrated as one of the finest Vietnamese lacquer masters, Pham Hau was a pioneer who contributed to the birth of Vietnamese lacquer art which has grown to become a fine art medium in the country today. The rare and exquisite Golden Sunset over Halong Bay, once belonging to Emperor Bao Dai,1 is a true masterpiece by Pham Hau. It is a magnificent representation of his poetic compositions with unparalleled technical virtuosity and supreme workmanship. The Birth of Vietnamese Lacquer ArtThe école des Beaux-Arts de l'Indochine (EBAI) was established around 1925 through the efforts of Victor Tardieu and Nguyen Van Tho (better known as Nguyen Nam Son). Although modelled after the French academy system, Tardieur's passion for the beauty of the country and the aesthetics of her people compelled him to pursue a mission to renovate and revitalise local art traditions.2Together with Joseph Inguimberty, Tardieu encouraged the study and application of indigenous art forms and materials while bringing modern European painting practices to his students. It was in this cultural exchange and at the crossroads between the old and the new, the foreign and the local, that Vietnamese lacquer and silk paintings formed their distinctive style and flourished. The 1927 to 1945 period was pivotal for the development of lacquer art in Vietnam. A studio dedicated to lacquer at EBAI was established in 1927 under the leadership of Inguimberty, with support from master artisan Dinh Van Thanh and Alix Aymé who studied lacquer from a Japanese professor at the Professional School in Hanoi.3 In 1932, technical lacquer education was officially introduced to the school's curriculum.4 And in 1938, Evarist Jonchere, the Director of EBAI from 1938 to 1945, elevated the status of lacquer from traditional craft to that of a modern fine art medium by officiating it into the school curriculum and creating a dedicated Lacquer Department alongside Painting and Sculpture within the Fine Arts Section of EBAI. Lacquer art then experienced a magnificent boost in interest, support and practices. The lacquer ateliers of Pham Hau and Nguyen Gia Tri were created in 1934 and c. 1936, respectively, followed by those of Nguyen Van Ty, Hoang Tich Chu and Le Quoc Loc. The Cooperative Society for Indochinese Artists was established in 1939 to support lacquer artists in selling and promoting their artworks via domestic and international exhibitions. Governmental loans were granted to artists for the purchase of expensive materials for lacquer paintings. A dedicated showroom at EBAI was set up. Lacquer paintings and screens (bình phong) became status symbols for the Vietnamese and French elites in Indochina.Pham Hau—A Pioneer Master of Lacquer Art Pham Hau was born in 1903 in Dong Ngac, Ha Dong, Hanoi. Unlike most of his peers at EBAI who came from well-off families, he lost his parents at the age of 10, was trained as a metal moulder at Haiphong Vocational School and worked at Hanoi train station5 before joining EBAI in 1929 at the age of 26. Perhaps it was his life experience, coupled with the skills and disciplines in metal mounding, that drew him to and helped him excel in the most "rebellious"6 yet magical of substances: lacquer.The five years Pham Hau spent at EBAI was also when new processes and techniques for lacquer were discovered and perfected there. Oil was replaced with pine resin in mixing with lacquer to produce a remarkably smoother surface. Silver and gold dust were sprinkled into wet lacquer, allowing for different tones and depths. New colours were added to the traditional lacquer palette which was originally limited to translucent brown (cánh gián) with the same consistency as colours like black and shades of red. Egg shell, ivory and pearl shell were introduced to create a spectrum of white, the most difficult colour to obtain due to the reactive nature of lacquer.7 Together with his EBAI classmates like Nguyen Gia Tri, Nguyen Khang, and Tran Van Can, Pham Hau was working alongside their teachers and mentors including Joseph Inguimberty, Alix Aymé, Tran Quang Tran, Dinh Van Thanh and Le Pho on these important discoveries and innovations. Collectively, they triggered the ground-breaking departure from traditional lacquer techniques to modern lacquer, thus building the foundation for the development of an art form that is uniquely Vietnamese. Upon graduation, Pham Hau returned to Dong Ngac on the outskirt of Hanoi in 1934. Entrusted with the first commercial order of fifty lacquer cigarette boxes from Victor Tardieu, he opened his own studio in the village. Artistically gifted and technically brilliant, Pham Hau quickly built a solid brand for his studio and himself. He received a Gold Medal at the first Société Annamite d'Encouragement à L'Art et à L'Industrie (SADEAI) in Hanoi in 1935, and a Premier Certificate at the event's second edition in 1936. He and Nguyen Gia Tri were widely recognised as two pioneer lacquer masters of Hanoi.8 In 1944, they held a joint exhibition at Trang Tien Exhibition House with resounding success. In 1945, he was awarded the Annam Dragon medal by Emperor Bao Dai, a frequent patron of his. The period between 1935 and 1945 marked the peak of Pham Hau's artistic and commercial career, with monumentally scaled works, mostly catered to colonial officials, the royal family, and high-ranking mandarins. His studio was closed in 1945 due to the August Revolution. A new smaller studio was then opened in the family villa at Tran Quoc Toan street in the inner city of Hanoi from 1947 to 1958.9 Due to the limited space and restricted availability of expensive materials, his works during this period tend to be of smaller scale and less opulent10. He also spent more time as an educator, teaching lacquer art at the National School of Handicraft, which he established in 1949.If Nguyen Gia Tri is the master of dreamy scenes of elegant Vietnamese ladies in imaginative settings, then Pham Hau should be considered the master of Vietnam's idyllic landscape. Here we find ancient pagodas ensconced in lush foliage, sprawling Red River delta rice fields, majestic Central Highland mountains, enchanting tropical forests, magical aquatic worlds and rural village quietude with palm trees soaring into the clouds. He managed to capture the soul of the Vietnam immortalised in a realm of limitless imagination. Golden Sunset over Halong Bay—A Unique Masterpiece Golden Sunset over Halong Bay was executed during the period between 1938 and 1945, the peak of Pham Hau's career, bearing all the hallmarks of being a masterpiece of his: original perspectives, poetic compositions, intricate details, and excellent lacquer techniques. The large scale of the screen (100 x 195.8cm) allows us to submerge ourselves into the painting, taking in all the visual and emotional experiences it has to offer. According to Pham Hau's family, he only executed very few works of Halong Bay.11 This is the second one known to date, but of a much more superior scale and quality than the first.With Golden Sunset over Halong Bay, Pham Hau takes us on a journey to the top of a mountain in Halong Bay to take in the panoramic view of the extraordinary sunset. The seascape is expansive without a real focal point. Instead, like in most of his paintings, we explore the beauty of nature in layers. In the foreground, our eyes are drawn to the brilliantly flamboyant red tree, the sun-kissed golden bamboos, tropical ferns, and palm leaves, as well as a nearby rock formation to the right. A fishing village nestles in the safety of the bay, where fishing nets are hung up to dry. Then there are layers upon layers of the majestic cliffs, curving and twisting like great dragons in different directions before disappearing into the distant horizon, where the sky and sea melt into one golden hue. Dotting the waters are traditional junk boats, in which fishermen are lowering their sails after a day at sea. The viewer cannot help but feel, for a moment, like they are living that calm and quiet life, embraced and protected by the harmony of the sun, the sea, the mountain and the forest.Pham Hau's bravura is in full display here. Despite a restrictive lacquer palette, he masterfully created various shades of gold, brown, vermillion, amber and red, demonstrating the limitless power of lacquer in depicting our colourful world. Upon closer examination, the viewer can really appreciate the laborious and painstaking process of lacquer art-making, during which layers of colours and inlays are applied before being sanded down to create the final visual impact. Nowhere can that be seen more clearly than the mountain ranges, where the interplay between colour, light, form and texture materialises a vision that is both realistic and fantastical. Red and gold, the most expensive materials, are the symbolic and spiritual colours of the East—gold for prosperity, happiness, and opulence, and red for power and good fortune. These are also the official colours of the royal family and the court, and perhaps that was why they were picked to construct the dominant palette of this screen. Gold was used unsparingly: subtle and under-toned in the foregrounding water, and glitteringly playful and transformative in the backgrounding sky and its reflection across the horizon. This iconic masterpiece of Pham Hau comes with an unrivalled provenance. The screen once belonged to Emperor Bao Dai who ordered several paintin

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