Mask Series No. 1

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  • Condition Report

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  • Provenance

    Private Collection
    Sotheby's, Hong Kong, 31 October 2004, lot 314
    Acquired at the above sale by the present owner

  • Literature

    Pi Li, ed., Zeng Fanzhi 1993-1998, Beijing, 1998, p. 43 (illustrated)
    He Lijun and Pi Li, ed., I/We: The Paintings of Zeng Fanzhi 1991-2003, Wuhan, 2003, p. 88 (illustrated)
    Jean-Marc Decrop and Christine Buci-Glucksmann, Modernités Chinoises, Paris, 2003, p. 110 (illustrated)

  • Catalogue Essay

    Creation is a tool of mine, it is the way I connect with the world. As an artist under the influences of different cultures, my hope is that my art reflects the social and aesthetic experience of an individual in the present time” — Zeng Fanzhi

    Mask Series No.1 is an exceptional work, one of the early paintings from the Mask Series by Zeng Fanzhi - one of China’s most celebrated contemporary artists who has deservedly established his position within the lexicon of the global art-historical canon for his astoundingly rich and varied body of work. As indicated by the work’s title, Mask Series No.1 was the first painting executed in 1996. Impressive in both its scale and graphically rendered composition, the viewer is presented with a curious scene: a pair of figures, both donning masks, set against a nebulous ochre background that is typical of Zeng’s Mask early works from the mid-90s - and is exceedingly rare. Adorned in vibrantly-coloured clothes that nod to European haute couture, and articulated with clean, black brushstrokes, the subjects of the present work appear to pop off the hazy canvas with an almost three-dimensional quality. Imbued with metaphors that are a testament to the richness of Zeng’s art-historical sensitivity and distinctiveness, whilst undeniably based on the artist’s own personal memories, the present work exudes a unique blend which has paved the way for the Mask Series to become one of Zeng’s most recognisable and iconic works.

    1996 is a year considered to be a mature apex in the artist’s mastery of his most famous masked subjects. A rumination on the culture shock Zeng experienced having moved from relatively provincial Wuhan to metropolitan Beijing in early 1993, the Mask Series works portray a stark societal shift to which the young artist was unaccustomed: “In the mid-1990s, China was transforming fast”, Zeng perceived, “Chinese officials started wearing suits and ties… Everybody wanted to look good, but there was an air of fraudulence in it” (the artist quoted in Sonia Kolesnikov-Jessop, ‘Zeng Fanzhi: Amid change, the art of isolation’, The New York Times, New York, 3 May 2007, online.) Whether an act of silent retaliation or a coping mechanism, Zeng explored the plight of the modern city dweller in his work, serving a valid portrayal of the difficulties and anxieties of the Chinese adapting to rapid urbanisation at that time.

    The fashionable couple in Mask Series No.1 is a far cry from the figures populating the artist’s earlier Meat and Hospital pieces, though they still recall these previous works in their sinewy and sanguineous limbs. Although the pair are clearly comfortable in each other’s presence - their body language friendly as the woman drapes her arm over the man’s shoulders - Zeng’s employment of the mask as a powerful symbol of concealment evokes a strange sense of superficiality. With both masks caught in a ‘poker-face’ expression simultaneously poised between a grimace and a mocking smile, the couple’s genuine feelings are cloaked away. In spite of this, however, turmoil and anxiety nevertheless seep through, via the pairs’ exaggeratedly engorged, veiny hands that are a telltale sign of honesty. As critic Li Xianting summarises Zeng’s masterful rendering of the fleshy hands, composed of crimson hues that derive directly from Zeng’s earlier Meat series: “the overall effect is of people who are trying to suppress their emotions in order to present an air of calm – yet they are betrayed by their hands; they are unable to conceal their hands”. Showcasing an extraordinarily mature and refined technique through his expressive brushwork, the emotion that is concentrated in the faces and hands of Zeng’s subjects command contemplation and internal reflection from the viewer, as opposed to astonishment alone.

    Directly contrasting the ability of masks to conceal, paintings can be examined for what they reveal, as traces of mark-making offer the viewer an insight into a work’s compositional history. In scraping the surface of Mask Series No.1 smooth with a palette knife, Zeng has eradicated any trace of his brushwork in the background of the piece, cleverly extending his exploration of the theme of concealment into the formation of the painting itself. In doing so, the viewer’s eyes are automatically drawn to the more gestural brushstrokes employed to compose the subject of the painting, of which an immense depth of historical references are evoked. With its air of splendour, the present work is a prime example of how Zeng stylistically situates Western Expressionism within a heavily Chinese realm. Drawing on multifaceted allusions that range from the essences of British artists Francis Bacon and Lucian Freud; yet steeped in distinct Chinese symbols including Chinese opera masks and Northern Song scrolls (in Zeng’s deliberate choice of the background’s brown hue) - the artist has achieved his desire to “find an artistic voice that belonged solely to [him]”.

    With a practice that is unparalleled in the world of Chinese contemporary art, Zeng has earned critical acclaim and the attention of prominent museums and collectors worldwide for his now-iconic Mask Series that challenges the traditions of figurative painting. Alongside international gallery Hauser & Wirth who announced its worldwide representation of Zeng in March 2018, the artist has presented solo shows at key galleries and institutions around the world - indicating that confidence in the artist’s oeuvre continues to grow.

  • Catalogue Essay

    「創作是我的工具,是我與世界連接的途徑。作為一名受各種文化影響的藝術家,我希望我的藝術反映出一個人當下的社會和美學體驗。」—曾梵志

    《面具系列1號》是曾梵志早期《面具系列》的傑作。曾梵志是中國最知名的當代藝術家之一,其藝術創作豐富多元,在國際藝術歷史中也建立了屬於自己的地位。如此作題目所示,《面具系列1號》是藝術家1996 年創作的第一幅作品,尺寸碩大,構圖生動,畫面場景頗為古怪:兩個人物都戴著面具,背景是一片朦朧含糊的赭色,常見於其1990 年代中的早期《面具》作品,如今極為罕見。人物衣服顏色艷麗,向歐洲「高級定制」服裝表示認同,再以乾淨利索的黑色線條加重效果,人物幾乎被賦予立體特質,要從模糊的畫布上跳出來一般。作品蘊藏著隱喻,突顯曾梵志對藝術史的敏感度和獨特眼光。畫面建基於藝術家自己的私人記憶,散發出獨有的混合特質,奠定《面具系列》成為曾梵志最具辨識度和標誌性的作
    品之一。

    藝術家最為人所知的面具人物題材在1996年達至成熟巔峰。曾梵志於1993 年初從地方城市武漢搬到首都北京,《面具系列》反思了他當年所感受到的文化衝擊,和明顯的社會轉變,對年輕的藝術家來說當時並不大能適應:「在1990 年代中期,中國正在迅速的改革」,曾梵志講道,「中國官員開始穿西裝打領帶… 所有人都想要好看,但有種虛假的感覺。」(藝術家錄於 Sonia Kolesnikov-Jessop,<曾梵志: 變化之中, 孤立的藝術>,《紐約時報》,2007 年5 月3 日,截自網路)不論這是沉默的報復;還是應對手法,曾梵志在作品中探討現代城市人的苦境,是中國在適應迅速都市化時所遇到的困難和焦慮。

    《面具系列1號》中,時尚的二位主角與藝術家更早期的《肉聯》與《協和醫院》中人物大相徑庭,不過他們健壯的手臂仍有早期作品的影子。畫中兩人在對方面前都表現得很自在,身體語言友好,女子把胳膊搭在男人的肩膀上。曾梵志筆下的面具是一個強大的隱匿符號,產生奇怪的表像性。兩人的面具都處於隱匿真情的狀態,介乎鬼臉和嘲笑之間,掩蓋住他們的真實情感。雖然如此,還是有騷動和焦慮滲透了進來,那兩雙誇大且佈滿紋路的手就揭露了事實。如藝評家栗憲庭總結曾梵志筆下《肉聯》系列般深紅色飽滿大手:「整體感覺是那些人想壓制情感,從而表現得很平靜,但他們被自己的雙手出賣了。他們沒辦法隱藏雙手。」曾梵志通過意味深長的筆觸表現出成熟精妙的技法,其人物的情感總是集中在臉部和手部,帶給觀者的除了驚愕,還有反思和內省。

    藝術家直接對比面具作為隱蔽的作用,畫作所透露的是完全可以檢驗的,畫面不乏創作時的痕跡,觀者得以一窺作品的構圖過程。藝術家以調色刀平整《面具系列1號》的表面,消除了背景中的筆觸痕跡,把「隱蔽」主題延伸至繪畫過程中,如此一來,觀者的目光自然被畫面富有動態的筆觸而吸引,而所畫主題又是充滿歷史借鑒的。在光輝的氣氛中,曾梵志把西方表現主義藝術放在中國國情之內,多元的靈感來源包括英國藝術家弗朗西斯·培根和盧西安·弗洛伊德,但也滲透出獨特的中國元素,像是京劇臉譜和北宋卷軸(曾梵志刻意選用棕色調的背景),曾梵志成功「找到一把只屬於他的藝術聲音」。

    曾梵志的作品在中國當代藝術界是無可比擬的,不僅獲得藝評的讚賞,也因《面具》系列大膽挑戰人像畫傳統而引起全球重要博物館和藏家的關注,豪瑟沃斯畫廊於2018 年3 月宣佈在全球代理曾梵志,而藝術家至今已在多個國際上的重要畫廊和機構舉辦個人展覽,見證其依然不斷增長的作品。

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✱ Ж6

Property from an Important Hong Kong Collection

Mask Series No. 1

1996
signed and dated 'Zeng Fanzhi [in Pinyin] 96' lower right
oil on canvas
200 x 180 cm. (78 3/4 x 70 7/8 in.)
Painted in 1996.

Estimate
HK$14,000,000 - 24,000,000 
€1,620,000-2,780,000
$1,790,000-3,080,000

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