The Prototype of the Head of Morioka Pup

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  • Condition Report

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  • Provenance

    Tomio Koyama Gallery, Tokyo
    Acquired from the above by the present owner

  • Exhibited

    Aomori, Yoshii Brick Brewhouse, Yoshitomo Nara + Graf: A to Z, 29 July - 22 October 2006

  • Literature

    Yoshitomo Nara and Graf, A to Z, Tokyo, 2006, unpaginated
    Noriko Miyamura and Shinko Suzuki, eds., Yoshitomo Nara: The Complete Works Volume 1: Paintings, Sculptures, Editions, Photographs 1984-2010, Tokyo, 2011, no. S-2005-002, p. 279 (illustrated)

  • Catalogue Essay

    Executed in 2005, the present lot’s long snouted white puppy with floppy ears is amongst Yoshitomo Nara’s most beloved characters. Its outwardly innocent form encapsulates a deeply held set of emotions spanning childhood memories, spirituality, and loneliness. Representative of the prolific Japanese artist’s style, one which blends childlike imagination with undercurrents of adult cynicism, not only are Nara’s works highly relatable to audiences of all ages but they also possess strong spiritual and autobiographical qualities that reach into the heart of the artist’s unique brand of art-making.

    The giant scale puppy head rendered in pure white brings to mind the komainu from the Japanese tradition, mythical lion-dog statues commonly placed at shrine entrances as guardians. Dignified and imposing in solidity and size, Nara introduces emotional complexity to what is commonly viewed as a noble statue. Unlike humans, animals do not have the ability to communicate through words, doing so instead through their expressions. Whilst large and solid, the domesticated canine companion’s playful expression is betrayed by long drooping ears that evoke the fragile vulnerability of a wounded puppy, even conveying a sense of defensive anxiety in response to its surroundings. The result is a larger than life work that is both endearing yet faintly menacing.

    The puppy motif that populates Nara’s oeuvre is also highly significant to the artist’s personal life, exemplified by the character’s inclusion as the main protagonist of Nara’s first children’s book The Lonesome Puppy. The artist wrote and illustrated a tale of a large dog that was so big that nobody noticed him, until a little girl came by and climbed through the clouds to befriend him. The story recounts the point of view of the puppy: ‘I was too big for anyone to notice me, that’s why I was all alone and lonesome.’ (Yoshitomo Nara, The Lonesome Puppy, California, 2008, n.p.). Growing up the youngest of three sons with much older brothers and emotionally distant parents, Nara’s childhood was largely spent in isolation. Left to the confines of his imagination in rural post-war Japan, he recounts in an interview, ‘When you are a kid, you are too young to know you are lonely, sad, and upset…now I know I was.’ (Yoshitomo Nara quoted in Kay Itoi ‘Interview with Yoshitomo Nara’, ARTNews, May 1998, p.153) Simple in form yet complex in its underlying intentions, Nara’s puppy is essentially a self-portrait that carries the emotions and memories from the artist’s developing youth, its yearning for friendship and affection manifested through its physical size.

    Since the Japanese pop movement in the 1990s, Yoshitomo Nara has received international acclaim for his distinct figurative style. His drawings, paintings and sculptures can be seen in the permanent collections at MOMA, New York; CAC Malaga, Spain; Queensland Art Gallery, Australia and his largest sculpture, a 3-metre high concrete dog, is permanently installed at the Aomori Art Museum, Japan. A mixture of vulnerability, rebellion and hopefulness within Nara’s artworks connects intimately with people worldwide.

  • Catalogue Essay

    創作於2005年,本拍品中的長鼻子、垂著耳朵的白色小狗是奈良美智最受喜愛的創作角色之一。它外向的天真形象懷著深刻的情感,包括童年記憶、精神性和孤獨感。代表了能量充沛的藝術家,結合了孩子般的天真想像力與底下暗湧的成人式憤世嫉俗的風格,奈良美智的作品不僅能讓不同年齡層的人都產生共鳴,並有著強烈的精神與自傳特質,讓人可以直接進入藝術家獨特的藝術創作核心。

    小狗那純白色的巨大的頭部,使人聯想起日本傳統中的狛犬(komainu),通常放置在神社入口作為守護,神獸是的外型似犬的石獅子。氣質莊嚴,其勢磅礴,奈良美智讓通常叫人敬畏的雕像,注入了更加豐富的情感。與人類不同,動物沒有能力通過語言進行溝通,而是透過表情進行交流。僅管龐大堅實,這個被馴養的人類伴侶,其頑皮的表情卻被它耷拉的長耳所出賣,喚起一隻受了傷小狗的楚楚可憐之脆弱感,甚至傳達了一種對周圍環境充滿警惕的焦慮感。因此最終得到的效果,是一件既招人喜愛又略微帶威脅性的囑目作品。

    構成奈良作品中充斥的小狗主題,對藝術家的個人生活也具有重要意義,從該角色被選為奈良美智的第一本兒童讀物《寂寞的小狗》中的主人公就可以看出。藝術家創作的故事和插畫中,描寫了一隻大狗的故事,那隻狗太大了以至於沒有人注意到他,直到一個小女孩走過來,爬過雲層與他成為朋友。這個故事從小狗的角度講述:「我太大了,所以沒人能注意到我,這就是為什麼我孤單又寂寞。”(奈良美智,《寂寞的小狗》,加利福尼亞,2008年,無頁碼。)。奈良美智是三兄弟中年紀最小的一個,兩個哥哥比他年長許多,父母在感情上也很疏遠,他的大部分童年是在孤單中度過的。成長於戰後日本農村的他,活在自己的想像世界中,他在一次採訪中回憶道,「當你還是小孩子的時候,你太小了所以根本不知道自己是孤獨、悲傷和沮喪的...現在我知道我當時是。」(奈良美智引自Kay Itoi,《採訪奈良美智》,《藝術新聞》,1998年5月,第153頁)形式簡單,但有著豐富的內在用意,奈良美智的小狗本質上是一件自畫像,蘊藏著藝術家成長過程中的情感和記憶,通過物質上的載體去體現對友誼和關愛的嚮往。

    自1990年代日本流行文化運動以來,奈良美智憑藉其獨特的具象風格獲得了國際讚譽。他的素描、繪畫和雕塑作品可以在紐約現代藝術博物館、西班牙的馬拉加現代藝術中心和澳大利亞昆士蘭美術館的永久館藏中看到,而他最大的雕塑,一隻3米高的混凝土小狗,永久地安裝在日本青森美術館中。奈良美智作品所融合的脆弱性、叛逆性和希望,與世界各地的人們建立了親密的聯繫。

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26

Property from an Important Los Angeles Collection

The Prototype of the Head of Morioka Pup

2005
fibre reinforced plastic and wood
Head: 93.3 x 73.7 x 109.2 cm (36 3/4 x 29 x 42 7/8 in.)
Base: 71.8 x 68.6 x 102.8 cm (28 1/4 x 27 x 40 1/2 in.)

Executed in 2005.

Estimate
HK$1,500,000 - 2,000,000 
€173,000-230,000
$192,000-256,000

Place Advance Bid
Contact Specialist
Charlotte Raybaud
Head of Evening Sale, 20th Century & Contemporary Art

20th Century & Contemporary Art Evening Sale

Hong Kong Auction 24 November 2019