Lin Fengmian (1900-1991) Autumn Valley
Lot 759
Lin Fengmian (1900-1991) Autumn Valley
HK$ 2 million - 3 million
US$ 260,000 - 390,000
withdrawn
Lot Details
Lin Fengmian (1900-1991)
Autumn Valley
Ink and colour on paper, framed and glazed
Signed Lin Fengmian, with one seal of the artist
50.5cm x 51.5cm (20in x 20¼in).

Footnotes

  • Provenance: formerly in the collection of Cheng Zhiqing (1917-2000)

    林風眠 山谷秋色 設色紙本 鏡框 一九七〇年代作

    款識: 林風眠。
    鈐印: 林風暝印

    來源: 程質清 (1917-2000) 舊藏

    無論是藝術創作或教育,林風眠都提倡「研究自然、理解自然」,把自然當作材料收集,然後結合記憶與技法,把腦中影像描繪出來。他相信 「一個藝術家應當有從一切自然存在中找得出美的能力,所以他應當對一切自然存在都有愛慕的熱忱」,因為「藝術又是從這些地方產生的」。(林風眠,〈藝術家應有的態度〉,載於《林風眠藝術隨筆》,朱樸編,上海文藝出版社,上海,1999年,頁144。)此幅〈山谷秋色〉表現了林風眠對大自然的熱愛之心和對故鄉的緬懷之情。

    〈山谷秋色〉作於1970年代,距林風眠二十歲離家已有50多年。畫中竹籬農舍,山林小溪,平凡而可親,一如林風眠的故鄉。林風眠在樸實的山村裡成長,培養出他對大自然的熱愛:「我從小生長在一個山村里,對山上的樹,山間的小溪,小河里一塊一塊的石頭,既熟悉又喜愛......可以說對它們很有感情。」(林風眠,〈抒情、傳神及其他〉,載於《林風眠藝術隨筆》,朱樸編,上海文藝出版社,上海,1999年,頁178-179。) 這份源自內心對自然的親近,無疑在日後滋養著他的藝術創作,給予他「找得出美的能力」。

    美術史論家洪惠鎮曾指林風眠的創作方法為「寫心法」,是「個人詩化情緒借助山水之美而跡化」。(洪惠鎮,〈林風眠山水畫的意境美及其時代意義〉,載於《林風眠研究文集II》,陳菊秋編輯,閣林國際圖書有限公司,台北,2000年,頁215-216。) 在林風眠的內心,故鄉一直都在,更是畫家處於顛沛流離時的慰藉。林風眠晚年為畫集作序,曾提及:「在歐洲留學的年代裡,在四處奔波的戰亂中,仍不時回憶起家鄉片片的浮雲、清清的小溪、遠遠的松林和屋傍的翠竹。」 (林風眠,〈自述〉,載於《林風眠藝術隨筆》,朱樸編,上海文藝出版社,上海,1999年,頁190。) 林風眠用畫筆,將他對大自然的愛和對故鄉的情,融入所繪的一草一木中,令他筆下的山水景色,總是帶著「雖隔多年,竟如昨日」的思鄉情結,如同此幅〈山谷秋色〉這般寧靜祥和。

    林風眠曾自比為「好色之徒」,他在以淡彩為主的中國畫主流中,添上繽紛色彩,豐富了表現手法之餘,也保留了國畫的水墨韻味。他同時在畫紙上,訴說著自己難忘的心事,那處他自二十歲離開後便沒有重回的山村,那處賦予了他一生藝術養分的成長之地,那份他於飄泊之際仍不時憶起的寧靜,全部化成畫家筆下純真的理想世界。〈山谷秋色〉和〈秋之奏鳴曲〉既是林風眠風景畫中的佳品,也是畫家心靈軌跡的重現。
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