Huang Zhou (1925-1997) Donkeys Carrying Provisions
Lot 337
Huang Zhou (1925-1997) Donkeys Carrying Provisions
HK$ 1 million - 1.5 million
US$ 130,000 - 190,000
Lot Details
Huang Zhou (1925-1997)
Donkeys Carrying Provisions
Ink and colour on paper, hanging scroll
Inscribed and signed Huang Zhou, with two seals of the artist
Dated 1975
177cm x 94.5cm (69¾in x 37¼in).

Footnotes

  • Provenance: private collection, Hong Kong

    黃冑 運糧圖 設色紙本 立軸 一九七五年作

    款識:家屯同志參考,黃冑畫於北京,一九七五年。
    鈐印:黃冑、映齋畫印

    來源:香港私人收藏

    黃冑的藝術生涯可以文化大革命為分水嶺,在此之前,黃冑創作無拘無束,一心以畫筆記錄少數民族的生活點滴,讚揚他們刻苦耐勞的精神。而文革時期,黃冑先後被冠上「驢販子」和「黑畫家」等罵名,更屢次被迫封筆,但種種打擊未能消除他對畫畫的熱情。本次拍賣的〈運糧圖〉是黃冑飽經風霜後的作品,呈現了他歷經數年沈澱、重新出發後的藝術面貌。

    於文革期間,黃冑被分配做推驢車賣豆腐的工作,與這種被他形容為「渾身是寶」的動物相處達三年之久。黃冑過去只能從畫家的視角去觀察、速寫毛驢,如今從餵驢到趕驢,他得以了解驢子的習性,對毛驢的形態有更確切的認識。「如果為筆墨而筆墨,為技巧而技巧是不行的。必須從生活出發,為了表現生活,表現自己對待生活的真實感受而去鍛煉筆墨。」(鄭聞慧主編,《黃冑談藝術》,中國靑年出版社,1998年,頁224。)這是黃冑於1978年的感言,儘管經歷諸多艱苦,但他對生活的熱情,對創作的堅持卻沒有減退。因此,三年放驢者的生活沒有令身為畫家的黃冑意志消沉,反而育化成豐富的藝術養份,令黃冑的畫功不因擱筆日久而生疏。文革後,黃冑筆下的驢更貼近形神兼備。此幅〈運糧圖〉的十多隻驢子背著糧袋,它們姿態各異,黃冑的墨染濃淡有致,沒有刻意的雕飾感卻能準確地表現出毛驢的形像,以寫意的筆觸令匍匐前行的群驢躍然紙上。

    黃冑每到一處,必定會隨身帶著速寫簿,他視速寫為創作的根本:「速寫,一方面是畫家的基本功,另一方面它也是畫家的資料積累。」(楊悅浦主編,《黃冑研究》,北京工藝美術出版社,1999年,頁11。)談到黃冑的畫,不少人都欣賞他筆下人物造型準確。事實上,這得歸功於黃冑長年累月堅持作大量速寫,從中訓練出良好的素描和造型能力。而黃冑亦把速寫與傳統中國人物畫融合,如〈運糧圖〉中所見,黃冑對趕驢少女和老人的面部作較仔細的繪畫,衣服部份則以帶有炭筆觸感的線描勾勒。兩者結合令畫面粗中帶細,表現少數民族的豪情之餘,又能保持寫實精髓。
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