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Monday-Sunday 11am-7pm
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Rebecca Hu
\nSpecialist, Head of Sale
\nModern & Contemporary Art, Hong Kong
\n+852 2318 2028
\nRebeccaHu@phillips.com
\n

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常玉。

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富藝斯將於現代及當代藝術日間拍賣中呈獻四幅紙上作品和一幅水彩畫。讓我們深入了解這位獨特藝術家為何在西方和亞洲藝術愛好者中備受推崇。

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1. 常玉是第一批留學巴黎的中國藝術家之一

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常玉《格子裙女士》。現代及當代藝術日間拍賣

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常玉於1895年出生在中國四川一個經營絲綢生意的富商之家。他於1921年移居巴黎，並迅速融入蒙帕納斯區的波希米亞文化世界。他經常在穹頂咖啡館（Cafe La Coupole）度過時光，隨手在餐墊上草圖與素描。時至今日，他被譽爲華人藝術先鋒之一，其東西交融的美學廣受讚譽。

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2. 隨著歲月流轉，常玉作品的受歡迎程度日益攀升

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常玉《半身女子側像》。現代及當代藝術日間拍賣

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近年對於常玉的關注程度不斷提高，重要展覽包括：巴黎吉美博物館2004年回顧展、臺北市立美術館1988年展覽「中國—巴黎: 早期旅法畫家回顧展，1918-1960」，以及巴黎賽努奇亞洲藝術博物館「巴黎．丹青—二十世紀中國畫家展」等，而以上展覽鞏固了他於現代藝術領域的關鍵地位。

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3.米歇爾‧阿拔赫（Michel Habart）是最早收藏常玉作品的藏家之一

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米歇爾·阿拔赫（正中）和陳炎鋒（右）及妻子出席 1984年巴黎東方畫廊米歇爾·阿拔赫常玉收藏展。Image: Courtesy Doris & Gilles Habart.

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1966年常玉去世後，在其工作室中發現的畫作被送往德魯奧拍賣中心拍賣。阿拔赫是最早發現這批作品的藏家之一，他被常玉藝術中中國韻味與現代主義極簡風格的獨特結合所吸引。

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阿拔赫家族收藏的藝術史意義在大量學術著作中得到了充分證明。衣淑凡在《常玉：生平與油畫全集》中特別指出，阿拔赫在對常玉生平與藝術的重構中扮演了關鍵角色，包括其與常玉朋友達昂的交流以及後來與陳炎鋒的友誼。1980年代，阿拔赫和陳炎鋒於1982年在台北版畫家畫廊、1984年在巴黎東方畫廊先後舉辦了兩場展覽，旨在重新介紹這位被遺忘的藝術家。在阿拔赫家族收藏的基礎上，陳炎鋒完成了專著《巴黎的一曲鄉思》，該書成為第一本關注常玉的書籍。這些早年的努力為今天重新發現常玉、重新思考其深厚藝術遺產奠定了重要基礎。

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富藝斯於現代及當代藝術日間拍賣隆重呈獻五幅來自米歇爾·阿拔赫家族之朵莉絲·阿拔赫及吉爾·阿拔赫收藏的常玉素描作品。

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4. 常玉的人體素描是最為備受讚譽的作品主題

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常玉《左臂向後的坐姿女子》。現代及當代藝術日間拍賣。

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在大茅屋畫院（Académie de la Grande Chaumière），常玉全心投入人物畫創作，專注於人體形態，尤其是裸體繪畫。他走上了一條與中國教育傳統大相徑庭的道路，要知道裸體畫在中國屬於禁忌。為裸體模特兒進行現場寫生對他而言是全新的經驗，這些經驗也孕育了豐盛的碩果，啟迪了其日後的裸體畫創作。

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5. 常玉的紙本畫作在個人藝術創作中尤為突出

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常玉《舉臂站姿女子背像》。現代及當代藝術日間拍賣。

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在常玉豐富多產的創作生涯中，紙本畫作以最輕巧而恣意的形式卓越地體現了其驚為天人的創造力。對他而言，這不僅是掌握油畫創作的關鍵基礎；取材於生活的藝術方法深深吸引著他，這是一種觀看、體驗及表達各種繪畫主題的全新方式。直至1929年，常玉創作了逾兩千件素描作品，其中大部分都以女性裸體為主題。

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這些作品展示了各種人體的不同姿勢及不同角度，生動展現了常玉初探西方繪畫這一全新領域時的好奇與興奮。也正是從他的素描之中，我們可以看到常玉在藝術史的轉折點上對當時湧現的各種新興藝術潮流的即時反應。常玉的形式創新明顯受到野獸派、超現實主義甚至攝影藝術的影響，而這些運動徹底改變了1920年代的巴黎藝術界。

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6. 常玉模糊了中國水墨畫與西方油畫之間的界線

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常玉《曲膝仰臥裸女 II》1950/1960年代作品。現代及當代藝術香港晚間拍賣

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常玉的裸體畫以中國書法與西方畫技的獨特糅合見稱。獨有的筆法、大膽的線條，以及饒富中國書法的影響，使他脫穎而出。常玉標誌性「宇宙大腿」的著意刻畫，體現了他對西方主題的創新處理手法。如《曲膝仰臥裸女 II》的後期作品展現了他對書法的更深入探索，並從古代中國書法中汲取靈感。摒棄西方對於美學和理想畫質的追求，這件作品描繪一個幾乎以書法風格呈現的簡化人物，喚起了中國水墨畫的美學。

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7. 常玉作品探索哲學

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常玉《揮手的站姿女子》。現代及當代藝術日間拍賣。

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道家思想是常玉繪畫實踐的重要源泉之一。我們可以看到常玉透過改變、去除和減少構成人體圖像的元素，展示他對簡化和基本形態的追求。通過將形態簡化到最基本的程度，常玉旨在達到一種形而上層次，喚起超越物質層面的無限意涵。一次，常玉對友人說：「我先畫，然後再簡化它⋯⋯再簡化它⋯⋯然後，我完成了。」他的話幾乎是從繪畫的語境直譯了《道德經》名言：「大音希聲，大象無形。」

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常玉《作畫女子四分之三側像》。現代及當代藝術日間拍賣。

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拍賣詳情> 現代及當代藝術日間拍賣

\n","publishDate","2024-11-19T08:05:00.000000Z","authorCredit","Veronica Chow","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/151763902/seven-things-to-know-about-sanyu-cn","displayOrder",3,"auctionEditorialID",5228,"editorialID",4772,"flocklerID",151763902,"https://flockler.com/thumbs/sites/889/sanyu-lead-final-final-a8e35eb0-b172-4d0d-a8fa-2ac4d43a92e2_s600x0.jpg","Discover the world of Sanyu through works on offer in our upcoming Hong Kong auctions.","Seven Things to Know About Sanyu","

Sanyu.

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Four works on paper and one watercolour work by Sanyu are on offer in our upcoming Hong Kong Modern & Contemporary Art: Evening & Day Sale. Below, discover what makes the unique artist so sought after by lovers of both Western and Asian art.

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1. Sanyu was one of the earliest Chinese artists to study in Paris

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Sanyu, Woman in Checkered Skirt. Modern & Contemporary Art Day Sale Hong Kong.

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Sanyu was born into a family of wealthy silk merchants in 1895 in Sichuan, China. He moved to Paris in 1921 and quickly immersed himself in the bohemian world of Montparnasse. He often spent his days at the café La Coupole, sketching and drawing on placemats. Today, he is celebrated as one of the most pioneering Chinese artists and is beloved for his fusion of Eastern and Western aesthetics.

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2. Sanyu’s work becomes more celebrated with each passing year

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Sanyu, Buste de femme de profil. Modern & Contemporary Art Day Sale Hong Kong.

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Sanyu has gained increasing recognition in recent years. Major exhibitions, such as the 2004 retrospective at the Musée Guimet in Paris, the 1988 exhibition Seven Chinese Painters Who Studied in France, 1918–1960 at the Taipei Fine Arts Museum, and Legacy of 20th-Century Chinese Masters at the Musée Cernuschi in Paris, have solidified his status as a crucial figure in modern art.

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3. Michel Habart was one of the earliest Sanyu collectors

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Michel Habart (center) with Antoine Chen (right) and his wife in the exhibition of the Sanyu drawings collection of Michel Habart at Galerie l’Orient in Paris in 1984. Image: Courtesy Doris & Gilles Habart.

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After Sanyu’s death in 1966, drawings discovered in his atelier were sent to the Hotel Drouot for auction. Michel Habart was among the earliest collectors to discover this body of work, and he was particularly drawn to Sanyu’s unique blend of Chinese sensibility and modernist minimalism.

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The historical significance of Michel Habart’s collection is well-documented through a rich history of scholarly publications. In SANYU, His Life and Complete Works in Oil, Rita Wong notes Habart’s key role in reconstructing the life and art of Sanyu, including his exchanges with Sanyu’s friend Dahan and his later friendship with Antonine Chen.In the 1980s, Habart and Chen organized two exhibitions aiming to reintroduce the forgotten artist — first at Printmaker’s Gallery in Taipei in 1982 and later at Galerie l’Orient in 1984. Building upon Habart’s collection, Chen completed his monograph Une Chanson Nostalgique, which became the first book focused on Sanyu. These early efforts have laid important groundwork for today’s rediscovery of Sanyu and the rethinking of his profound artistic legacy.

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Phillips is honored to present five drawings of Sanyu from the Collection of Doris & Gilles Habart, by descent from Michel Habart in our upcoming Modern & Contemporary Art Day Sale.

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4. Sanyu’s depictions of the human form are among his most celebrated works

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Sanyu, Femme assise bras gauche en arriére. Modern & Contemporary Art Day Sale Hong Kong.

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While studying at the Académie de la Grande Chaumière, Sanyu wholeheartedly threw himself into figure drawing, focusing intensely on the human form, particularly the nude. This marked a significant departure from the conventions of his Chinese art education, in which the subject of the nude was considered taboo. Drawing from live nude models was an entirely new experience for him, and it proved fruitful — leading to his later nude paintings.

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5. Sanyu’s drawings on paper stand out in his oeuvre

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Sanyu, Femme debout de dos tete dans les bras. Modern & Contemporary Art Day Sale Hong Kong.

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Among Sanyu’s prolific output, his drawings on paper exemplify his stunning creativity in its most lighthearted and uninhibited form. For him, drawing was not merely a step toward mastering oil painting; rather, the idea of drawing from life attracted him as a new way of seeing, experiencing, and expressing. By 1929, Sanyu had created over two thousand such drawings, primarily of his most representative subject matter: the female nude.

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Exhibiting a wide array of human bodies in varying poses and from different angles, Sanyu’s drawings vividly showcase the curiosity and excitement he felt as he forayed into new territory in Western art. It is also in his drawings that one can find his immediate response to various emerging trends in art at this historical turning point. His innovative forms show influences of Fauvism, Surrealism, and even photography, which were all revolutionizing the Parisian art scene in the 1920s.

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6. Sanyu blurred the lines between Chinese ink painting and Western oil painting

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Sanyu, Reclining Nude, with Raised Knee II, 1950s/1960s. Sold for HK$42,800,000. Modern & Contemporary Art Hong Kong Evening Sale, November 2024.

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Sanyu's nude paintings are celebrated for their unique blend of Eastern and Western artistic traditions. His bold, linear strokes, influenced by Chinese calligraphy, set his work apart. The “cosmic leg,” a signature feature of his nudes, exemplifies his innovative approach to Western subject matter. Sanyu’s later works, such as Reclining Nude, with Raised Knee II, showcase a deeper engagement with calligraphy, drawing inspiration from ancient Chinese script styles. Eschewing Western ideals of beauty and painterly texture, this work presents a simplified, almost calligraphic figure, evoking the aesthetics of Chinese ink painting.

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7. Sanyu’s works explore philosophy

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Sanyu, Femme debout de face saluant. Modern & Contemporary Art Hong Kong Day Sale.

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Taoist philosophy provides one of the crucial sources for understanding Sanyu’s practice. His pursuit of simplicity and the essential form led him to exaggerate, alter, and deconstruct the human figure. By reducing forms to their bare minimum, Sanyu aimed to reach a metaphysical level, evoking boundless implications beyond the physical. He once wrote to a friend: “Let me simplify and further simplify. And then, the painting is completed.” His words are almost a direct translation of the famous saying from Tao Teh Ching: “Great music has the faintest notes. The Great Form is without shape.”

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Sanyu, Femme de 3/4 dessinant. Modern & Contemporary Art Hong Kong Day Sale.

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Discover More from Modern & Contemporary Art >

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\n","2024-11-13T20:46:59.000000Z","Jesse Limbacher","https://www.phillips.com/article/151556741/seven-things-to-know-about-sanyu-modern-art",2,5231,4765,151556741,"https://flockler.com/thumbs/sites/889/mai-trung-th-lead-f0d06497-3bd1-447d-9cd2-65ea2f10b256-d0a3975c-60b1-4661-a1f7-7bda9cfdc936_s600x0.jpg","認識這幅東西交融的抒情抽象力作。","梅忠恕 - 以美學探討家庭、生活閒情和身份認同","

梅忠恕《奉茶女孩》，1971年作。現代及當代藝術日間拍賣

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越南裔法籍藝術家梅忠恕（Mai Trung Thứ，亦稱Mai Thu）是二十世紀越南現代藝術史上最具代表性的人物之一。作為首批接受西方美術科班訓練的越南畫家，他於1925至1930年間就讀於印度支那美術學院，與黎譜、武高談、黎氏柳同窗。在法國畫家維克多·塔迪厄與約瑟夫·英吉貝爾提的指導下，梅忠恕不僅研習西方繪技，更深入探索越南傳統與文化認同的表達。

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他從油畫起步，後轉向絹本創作，將越南傳統材料與外來技法相融合，建立起以越南主題為核心的獨特美學——鄉村生活的日常片段、儀態優雅的女性與天真無邪的孩童。1937年參加巴黎國際裝飾藝術博覽會的經歷，促使他開啟了在這片異鄉的終身藝術探索。這成為梅忠恕職業生涯的分水嶺，推動他登上國際舞台，在精進技藝的同時獲得法國藏家青睞，成為最早取得國際成功的越南藝術家之一。

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此次來自巴黎的私人珍藏呈獻梅忠恕1968至1971年間創作的四幅晚期代表作。在此之前，他與法國畫廊主讓·弗朗索瓦·阿佩斯泰吉的合作促使其在1950年代持續崛起。隨著1963年在佩里斯泰爾畫廊的個展成功，梅忠恕在法國藝術界迎來職業生涯又一高峰。本次四幅作品創作於該展覽之後，充分展現了藝術家此時已臻成熟完善的獨特視覺語言。

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茶敘閒暇

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梅忠恕《奉茶女孩》，1971年作。現代及當代藝術日間拍賣

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《奉茶女孩》聚焦茶敘閒暇時刻，是梅忠恕藝術創作中最具代表性的經典主題，折射出對故土越南的文化回望。畫面中，一名可愛少女正為兩位成年女性（應是其血親）斟茶，構成一幅親密的生活圖景。兩位身著越南傳統長襖的女性，既流露懷舊之情，更彰顯優雅儀態。在越南傳統中，奉茶行為蘊含尊崇與教養之意。

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梅忠恕在此巧妙發揮絹本特性——通過精心繃絹、調配膠礬水層層敷染水性顏料，形成瑩潤細膩的畫面效果：色彩仿佛懸浮於絲絹經緯之上，形體在柔和的暈染中漸次顯現。這種處理方式實現了清晰與朦朧的交融：人物輪廓分明，其所處之境卻被溫柔地虛化，浸潤在懷舊與詩意之中。

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具包容性的跨文化特質

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梅忠恕《園中漫步》，1971年作。現代及當代藝術日間拍賣

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《園中漫步》則精彩展現了梅忠恕藝術中更具包容性的跨文化特質。畫中母親莊重立於中央，雙手優雅輕撫兩個孩子。其黑色長襖與孩童明亮衣著形成對比，而絹本上的水粉渲染仍保有優雅韻致。孩子們以天真爛漫的形貌緊依母親身旁。初看雖是東方家庭生活的寫照，作品卻隱隱呼應西方聖母、基督與施洗約翰的經典圖式，令人聯想起拉斐爾的傑作。梅忠恕以詩意手法重構這些影響，並賦予其自身文化傳統的敏感特質。

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賦予心理深度的孤寂

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梅忠恕《茶杯》，1968年作。現代及當代藝術日間拍賣

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1968年創作的兩幅女性肖像《茶杯》與《哀愁》，集中體現了梅忠恕捕捉細微私密瞬間的造詣。《茶杯》中，纖柔女子輕倚凳側，目光凝注於茶盞。她以克制而精準的曲指姿勢輕托茶盞，仿佛正沉思於器物之簡樸。女性形象與暖色調共同營造出此刻的寧靜氛圍。

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而《哀愁》則喚起更內省的意境：獨坐的女子凝眸遠望，神情交織渴望與沉思。沉鬱的色彩與柔和的線條創造出空靈質感，讓觀者能感知其情感重量。藝術家通過光影在面部細膩流轉，為這份孤寂賦予心理深度。

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梅忠恕《哀愁》，1968年作。現代及當代藝術日間拍賣

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傳承與影響

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梅忠恕的作品已被全球眾多公共機構與私人藏家廣泛收藏。今年三月，塞努奇博物館剛剛落幕的越南現代藝術先驅大展，將梅忠恕與黎譜、武高談並列為核心藝術家。其另一代表作《蒙娜麗莎》（與本組作品創作時期相近）現正於廣山美術館〈根脈永延〉特展中展出，該展為慶祝印度支那美術學院百年誕辰而舉辦，將持續至2026年一月。

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拍賣詳情> 現代及當代藝術日間拍賣

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\n","2025-09-24T11:43:47.000000Z","https://www.phillips.com/article/162447301/mai-trung-thus-compelling-imagery-of-family-leisure-and-identity-cn",5230,5069,162447301,"https://flockler.com/thumbs/sites/889/mai-trung-th-lead-f0d06497-3bd1-447d-9cd2-65ea2f10b256_s600x0.jpg","Four works from a private French collection illuminate key themes for one of the most significant Vietnamese artists. ","Mai Trung Thứ’s Compelling Imagery of Family, Leisure and Identity","

Mai Trung Thứ, Girl Serving Tea, 1971. Modern & Contemporary Art Day Sale Hong Kong.

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Born in 1906 in Hai Phong, Vietnamese-French artist Mai Trung Thứ, also known as Mai Thu, was one of the most prominent figures in the history of Vietnamese modern art in the twentieth century. He belongs to the first generation of Vietnamese painters to receive formal training in Western art, attending the École des Beaux-Arts de l’Indochine between 1925 and 1930—alongside Lê Phô, Vu Cao Dam and Le Thi Luu. Under the tutelage of French painters Victor Tardieu and Joseph Inguimberty, Mai Thu explored not only Western methods of art but also expressions of Vietnamese tradition and identity.

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Starting with oil on canvas, he transitioned to silk painting, combining traditional Vietnamese materials with foreign techniques. He developed a unique aesthetic built heavily upon Vietnamese subject matter — everyday moments of rural life, graceful women, and innocent children. In 1937, he participated in the International Exhibition of Decorative Arts in Paris, which prompted his lifelong exploration in this foreign land. This became a watershed moment in Mai Thu’s professional life, propelling him onto the global stage, where he perfected his craft and garnered interest among French collectors, becoming one of the first Vietnamese artists to achieve international success.

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The works on offer come from a Parisian private collection, showcasing four exemplary works from a later period of Mai Thu’s oeuvre, dated between 1968 and 1971. Prior to the creation of the works, Mai Thu’s collaboration with the French gallerist Jean François Apesteguy catalysed his continual rise through the 1950s. With his 1963 exhibition at Galerie du Péristyle that followed, Mai Thu reached another pinnacle of his career in the French art world. Painted after the exhibition, the current four works illustrate Mai Thu’s distinctive visual language, which by then had achieved maturity and refinement.

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Tea and ritual

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Mai Trung Thứ, Girl Serving Tea, 1971. Modern & Contemporary Art Day Sale Hong Kong.

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Focusing on a leisure moment of tea serving, Girl Serving Tea is exemplary of one of the most recurring themes in Mai Thu’s oeuvre, looking back to the cultural world of his homeland, Vietnam. An endearing young girl pours tea for two adult women, likely her blood relatives, in an intimate tableau. The two adult women, donned in áo dài, Vietnam’s traditional long tunic, reflect a sense of nostalgia and emphasize elegance and dignity. In Vietnamese tradition, this act serves as a gesture of respect and gentility.

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Mai Thu’s treatment here deftly exerts the quality of the silk medium, which he would carefully stretch, size and layer with washes of water-based pigment to create a surface of luminous delicacy, where colour seems to hover above the weave, and forms emerge in a haze of softness. The effect is a convergence of clarity and ambiguity: figures are crisply outlined, but the world they inhabit is tenderly dematerialised, suffused with nostalgia and lyricism.

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Belonging and cultural synthesis

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Mai Trung Thứ, Walk in the Garden, 1971. Modern & Contemporary Art Day Sale Hong Kong.

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Walk in the Garden intriguingly exemplifies a more inclusive facet in Mai Thu’s art as a palimpsest of his transcultural experience. In the painting, a mother postures solemnly in the middle, while her hands gracefully hold the two children. Her black áo dài contrasts with the children’s brighter garments, yet retains an air of elegance through the rendering of gouache on silk. The children, depicted with innocence and sincerity, maintain physical closeness to the mother. Another portrayal of Eastern family life at first glance, the work also recalls the canonical Western iconography of the Virgin, Chirst, and St. John the Baptist, reminiscent of Rapahel’s masterpiece. Mai Thu’s work offers a poetic reimagination of these influences, retouched with a sensibility of his own heritage.

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Visions of solitude

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Mai Trung Thứ, Tea Cup, 1968. Modern & Contemporary Art Day Sale Hong Kong.

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Two female portraits from 1968, Tea Cup and Sadness, epitomise Mai Thu’s mastery in capturing nuanced, private moments. In Tea Cup, a slender woman gently leans on a stool, her attention drawn toward the teacup. Her hands, curved with restrained precision, quietly hold it as she seems to contemplate its simplicity. The feminine figure, together with the warm palette, conveys serenity and calmness at this moment.

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Sadness, on the other hand, evokes a more introspective atmosphere. In this piece, a solitary woman gazes out, her expression a blend of longing and contemplation. The muted colors and soft lines create an ethereal quality, allowing viewers to feel the weight of her emotions. Mai Thu’s play of light and shadow across her features adds psychological depth to her isolation.

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Mai Trung Thứ, Sadness, 1968. Modern & Contemporary Art Day Sale Hong Kong.

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Mai Trung Thứ’s legacy today

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Mai Thu’s work has been widely collected by public and private collections around the world. In March of this year, Musée Cernuschi concluded the first major retrospective in France of modern pioneers in Vietnamese art, featuring Mai-Thu as a central subject along with Lê Phô and Vu Cao Dam. Another masterpiece of Mai Thu, Mona Lisa—coming from around the same period as this collection — is currently on view as part of the special exhibition From Roots That Keep Reaching, at Quang San Art Museum, celebrating the centennial of École des Beaux-Arts de l’Indochine, running through January 2026.

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Discover more from Modern & Contemporary Art >

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Ding Shilun's artistic practice is primarily concerned with the concepts of 'perception' and 'event'. His three years of experience in collage and collective participation have led him to develop a unique narrative approach to 'storytelling'. As a storyteller, he describes his work as a campfire, around which people can gather to sense the subtle and complex emotions hidden within the narrative and participate in its construction. His paintings seek to break free from their own inherent narrative logic and the constraints of clichéd imagery.
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\nHis work exhibits a critical quality, achieved through a continuous engagement with everyday objects and real events. It emphasises the body's perceptual experience as a means of resisting and breaking free from the aesthetic models of culture and socio-politics, which are shaped by the control of mundane imagery, information, and 'cliché' logic.
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\nIcarus, the son of Daedalus in Greek mythology. Daedalus, the Greek architect and inventor, was imprisoned with his son Icarus in a tower by King Minos of Crete to prevent the secrets of the Labyrinth from being revealed. To escape, Daedalus crafted wings from wax and feathers. He warned his son not to fly too low, lest the sea's dampness hinder his flight, nor too high, lest the sun's heat melt the wax. After their successful escape from the stone tower, the young Icarus, overcome with the joy of his first flight, forgot his father's warning. He soared ever higher, ignoring the sun's scorching heat. The proverb "Don't fly too close to the sun" originates from this myth.
\n
\nIn the present lot, a male figure—highly characteristic of Ding Shilun's personal style—depicts the mythical Icarus at the moment he spreads his wings and soars towards the heavens. Intertwining flames and clouds evoke the vicissitudes of life. The white dove accompanying him is as vivid and dynamic as the central figure, embodying a fleeting, summer-blossom brilliance and radiating a youthful, vibrant energy.

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103

Ding Shilun

Icarus

Further Details

Full-Cataloguing

Ding Shilun