A framed watercolour (Lin Fengmian)
Lot 275
Lin Fengmian (1900-1991) Lady with a Vase of Flowers
HK$ 1.8 million - 2.5 million
US$ 230,000 - 320,000
Lot Details
Lin Fengmian (1900-1991)
Lady with a Vase of Flowers
Ink and colour on paper, framed and glazed
Signed Lin Fengmian with one seal of the artist
66cm x 66cm (26in x 26in).

Footnotes

  • Provenance: in the personal collection of a former British diplomat, acquired directly from the artist at his studio in Shanghai in 1964

    林風眠 盆花仕女 設色紙本 鏡框

    款識:林風眠。
    鈐印:林風眠印

    來源:前英國外交官私人收藏,於1964年在林風眠上海畫室直接購自於畫家本人

    泥色皮膚的少女
    ...
    如紗的衣裙
    柔如夢,輕如雲

    以上詩句節錄自著名詩人艾青(1910-1996)的〈彩色的詩:讀《林風眠畫集》〉,概括了林風眠筆下仕女如夢似幻的形象。本次拍賣的〈盆花仕女〉來源清晰,畫面寧靜祥和,一如艾青的詩句。

    吳冠中撰文悼念林風眠時,曾感嘆:「林老師生前落寞,死後也未見哀榮。」(吳冠中,〈屍骨已焚說宗師〉,載於《世紀先驅:林風眠藝術展》,香港藝術館編製,2007年,頁26。)林風眠人生中的落寞,來自於藝術路上的孤寂求索,也來自他總是跟生命中重要的女性別離。丁羲元曾指出林風眠的仕女原型,源自他為女兒畫的肖象畫。(丁羲元,〈林風眠論稿〉,載於《美術》,中國美術家協會,1990年第10期。)而林風眠的義女馮葉,亦曾提及這位一代大師的畫作「始終有著不少對母愛的追憶、對故鄉山水的熱愛。」(馮葉,〈序言〉,載於《走近林風眠》,閣林國際圖書有限公司,2000年,頁3。)由小時候與母親訣別,到第一任夫人的驟逝,最後長時間與第二任夫人和女兒林蒂娜兩地分隔,林風眠把對她們的追憶和思念化成筆下的仕女。〈盆花仕女〉中的仕女像對著觀者溫柔微笑,如少女般溫柔,又如母親般包容,嫻靜地盤坐室內,似等著觀者歸來,正是畫家心中的渴望。

    對於中國畫現代化,林風眠相信「我們要保存我們固有的、很好的東西,吸收外面的東西」。他年輕時曾到法國留學,期間接觸到不同的西方藝術流派,令他「想把西洋的東西吸收到中國來...因為任何一種文化都需要營養,有營養,才會長大。」(〈林風眠台北答客問〉,載於《雄獅美術月刊》,雄獅美術月刊社,1989年第11期。)仕女畫證明了林風眠在「調和中西」方面,成就了很好的藝術效果。馬諦斯(Henri Matisse,1869-1954)是林風眠欣賞的西方現代畫家之一,〈盆花仕女〉的用色和白線條便有著他的影子。衣料和花瓶的透明畫法受到中國瓷器的啟發,而勾勒仕女的流暢描法則與漢唐式線描相近。只有像林風眠這樣中西藝術造詣同樣深厚的畫家,才能把來自不同流派、不同時代和不同地方的筆法完美融合,創作出如〈盆花仕女〉一樣傑出的作品。

    本次拍賣的〈盆花仕女〉來源清晰有序,現藏家為一位前英國外交人員,1964年在林風眠位於上海的工作室直接購自於畫家本人,然後一直收藏至今。據《世紀先驅:林風眠藝術展》所載的年表顯示,1964年正歷中國外交頻繁之際,「不少外國外交人員,經人介紹找上先生在南昌路的居處買畫。」(《世紀先驅:林風眠藝術展》,香港藝術館編製,2007年,頁184。)這一事實與現藏家購得〈盆花仕女〉的當時情況相符。
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