A way to share and manage lots.
HK$3,500,000 - 5,500,000
Private Collection (acquired directly from the artist)
Bonhams, Hong Kong, 23 November 2013, lot 843
Acquired at the above sale by the present owner
As one of the most globally recognised Chinese contemporary artists, Zeng Fanzhi has created a body of work so rich and diverse that it spans several distinctly different periods, among which the portrait has always played a key role in his artistic expression. Zeng once said, "I'm interested in portraying people, individual people and their attitudes and moods, experimenting and giving expression to a kind of direct reaction, all for the sake of conveying this person's expressions, emotions, and thoughts, as well as my personal feelings towards this person." (Zeng Fanzhi, quoted in i/We: The Paintings of Zeng Fanzhi, 1991-2003, Shanghai Art Museum, Shanghai, 2003, p. 56) His Hospital and Meat series in the early 1990s displays his humanistic concern towards the suffering of ordinary people. The Mask series, which began in 1993, the year when he moved to the more cosmopolitan Beijing, captures his piercing observation of the contradiction between the external pomposity and the inner emptiness of urban dwellers. After 2000, the artist went on to unmask the protagonists in his canvases.
Completed in 2006, Portrait is a quintessential example of his style in this period. With his carefully calibrated expressionistic technique, Zeng portrayed a man holding his head with his over-sized hand, slumped in a chair, with hollow eyes looking away. While the lower body of the figure is presented partially with ethereal outlines and thin wash marks below his knees, the upper body is depicted with vivid red colour in dense layers and large proportioned hands. The stark contrast centres the viewer’s attention on the figure’s upper body, building further on which, the painterly brushstrokes render the creases from the figure’s frown broadly visible, thus building a character lost in deep contemplation and drawing the viewer to ponder what he might be dwelling on.
The composition of this work bears similarity to that of Zeng’s early work A Man in Melancholy, a crucial work painted in the artist’s junior year at college, marking the beginning of Zeng’s artistic career. The importance of this early work is testified by the fact the artist bought it back from auction in 2010 and that it was exhibited in several important exhibitions, including his most recent retrospective in UCCA last year. Compared to the early work, this present lot Portrait, while staying true to his inherent characters, has evolved in terms of the reduced backdrop and the approach of representing texture, testifying to the artist’s continuous exploration of portraiture as a method for conveying personal yet universally appealing emotions and self-reflection on his artistic journey.
身為全球知名度最高的中國當代藝術家之一，曾梵志創作了一系列豐富而多元的作品，每個時期皆有獨特的風格。然而在那其中，肖像一直在他的藝術表達上扮演著重要角色。曾梵志曾經說過：「我對於表現人，一個個體的人的態度和心緒有興趣，並且嘗試用一種直接的反應來予以表現，目的在於傳達這個人的表情、情感、思想以及我自己對於這個人的感受。」(曾梵志，《我．我們：曾梵志的繪畫 1991-2003》，上海美術館，2003年，第56頁）在1990年代初，《協和醫院》與《肉》一系列畫作展現了他對普羅大眾所遭受苦痛的人道關懷。1993年，曾梵志剛剛搬到北京這個大城市，此時他開始創作《面具》系列，捕捉了他對人們在都市環境下，外在所表現出的自大以及內在空虛之間強烈對比的敏銳觀察。2000年後，他不再創作《面具》系列，決定將面具卸下。 創作於2006年，《肖像》是體現曾梵志這個時期風格的代表之作。藝術家以精準刻劃的表現派手法來呈現主角，畫中男子以誇大的手掌托著他的頭部，慵懶地坐在椅子上，空洞的眼神看著遠方。下半身跟膝蓋處僅以虛空薄稀的筆觸，聊聊數筆勾勒出概略輪廓，相較之下，上半身鮮紅厚重的油彩堆叠以及刻意放大的手部描繪，則更顯突出，緊緊抓住觀者的視覺焦點。仔細觀察則不難看見，藝術家更悉心地去描繪了畫中人因眉頭深鎖而生的皺紋，推砌出主角陷入沈思的神態，也吸引著觀者去探究畫中人的思緒所在。 這幅畫的構圖讓人聯想起曾梵志早期作品《憂鬱的人》，那幅重要的作品是他在大學三年級時所繪，標誌著他藝術生涯的起點。藝術家在2010年特地將那幅畫在拍賣中買回，彰顯了此幅早期作品的重要性。其後並多次在重要展覽中展出，包括了去年在尤倫斯中心的回顧展。跟那幅早期作品相比，此幅《肖像》除了承襲一貫風格之外，更看到曾梵志在背景簡化以及油畫肌理表現上的精進，見證了他在藝術生涯上持續用肖像畫來訴說一種既個人又能打動多數人的情感與自省。
HK$3,500,000 - 5,500,000
Hong Kong Auction 28 May 2017