Lu Yanshao (1909-1993) Mount Yandang
Lot 316
Lu Yanshao (1909-1993) Mount Yandang
HK$ 700,000 - 900,000
US$ 90,000 - 120,000

Lot Details
Lu Yanshao (1909-1993)
Mount Yandang
Ink and colour on paper, hanging scroll
Inscribed and signed Lu Yanshao, with four seals of the artist
Dated 1979
134cm x 66cm (52¾in x 26in).

Footnotes

  • Provenance: private collection, Hong Kong

    陸儼少 雁蕩山 設色紙本 立軸 一九七九年作

    款識:雁蕩之山,陽崖正開,陰壑旁轉,懸水百仞,宿雲半嶺,萬象奔走以成形。群峰迴合而卻倚,雨聲散於長林,飛練掛於層漢,下注於潭,晝夜無息,永言長往,遊觀之美,於斯為極矣。家屯同志正之,一九七九年五月,陸儼少并記。
    鈐印:陸、儼少、嘉定、儼少無恙

    來源:香港私人收藏

    陸儼少自19歲開始隨馮迴(字超然,1882-1954)學畫,藝術生涯長達66年,當中尢以70歲後 (1978)為他的黃金時期。陸儼少自言「早年筆墨未到沉著痛快境地...近年筆墨比前較為雄建,一掃柔媚之習...老年變法,釋回增美。」(陸儼少《陸儼少自敘》,上海書畫出版社,1986年,頁114。)本次拍賣的〈雁蕩山〉正是陸儼少晚年之作, 此幅立軸氣勢雄渾,筆意相連,又流露他對雁蕩山的熱愛。

    他一生孜孜不倦創作, 同時對山水畫的發展貢獻良多。兩者相輔相成,令陸儼少晚期的畫作不但是千錘百鍊的藝術精品, 亦是中國山水畫史上一個承先啟後的里程碑。〈雁蕩山〉具備了陸儼少認為一幅成功的山水畫需有的優點:「山水畫不能太乾淨,要鬆毛...但不是髒,看上去還是墨色生光,通體明淨,有條不紊。」(陸儼少,《山水畫芻議》,上海人民美術出版社,1980年,頁26。)陸儼少用筆講求「活」以達到氣韻生動,雁蕩山雖是大山大水,但在他筆下卻顯得甚具流動感,營造山勢「迴合而卻倚」又不覺累贅。

    陸儼少中年後遊覽群山,眼見山高樹茂,雲霧繚繞,對如何在畫幅上表現山水有另一番領悟,先後鑽研出「陸家山水」三種筆法:留白、塊墨及勾線雲水。〈雁蕩山〉前景先以粗筆繪山石之拙,邊緣畫群樹依勢生長,襯托山之險絕。隨後採用烘雲法,以濕筆於中心鋪開幾處大墨塊,間中留白,虛實相生,猶如山峰間的雲氣流轉。後景以勾線畫出雲的輪廓,穿梭於山巒之中。整體一氣呵成,不同筆法之間互相配合,有「萬象奔走以成形」之感。

    雁蕩山位於浙江省溫州市,為中國十大名山之一。陸儼少認為畫家必須對筆下的山水懷有熱情,作品才會出色。他雖然只到過雁蕩山兩次,但對雁蕩的喜愛卻遠遠超越其他名山大川。他曾比較黃山與雁蕩山之別:「我獨愛雁蕩,認為遠較黃山入畫,它的雄奇樸茂,大巧若拙...為他山所無」,並認為「山之氣質與我性格相近」。(陸儼少,《陸儼少自敘》,上海書畫出版社,1986年,頁128。)陸儼少於1981年重遊雁蕩時,曾賦詩四首,其中一首如下:

    合掌高峰仰面看,流雲馭氣接天寒。
    石開洞壑岩懸瀑,信是東南第一山。

    細看之下,不難發現詩文所描述的景色與此幅相近。從陸儼少1963年初遊雁蕩到1979年完成此作以至後來1981年舊地重遊,中間相距近二十年,但雁蕩山帶給陸儼少的震撼以及印在他腦海中的形像,卻沒有隨時日而褪色,使他能在創作此幅時,能夠把其後親歷雁蕩山的感動呈現在畫幅之上。因此,此幅不但融會了陸儼少晚年筆法的精粹,更是他傾注熱情而成的創作,十分難得。
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