Lin Fengmian (1900-1991) Lady Playing Guitar
Lot 760
Lin Fengmian (1900-1991) Lady Playing Guitar
HK$ 800,000 - 1.2 million
US$ 100,000 - 150,000

Lot Details
Lin Fengmian (1900-1991) Lady Playing Guitar
Lin Fengmian (1900-1991)
Lady Playing Guitar
Ink and color, framed and glazed
Signed Lin Fengmian, with one seal of the artist
70cm x 65cm (27½in x 25½in).

Footnotes

  • Provenance:
    Formerly in a private collection, France
    Purchased at Christie's Hong Kong, 26 October 2003, Lot 344
    Private collection, Hong Kong

    Published:
    Yiyuan Duoying, Vol. 72, Shanghai People's Fine Arts Publishing House, Shanghai, 2004, p.12
    Sanzhen Jicheng: Chinese Paintings from Private Collections, Vol. 1, Hebei Jiaoyu Chubanshe, Shijiazhuang, 2004, p.85
    Modern Chinese Paintings: Twelve Masters, Poly Art Museum, Beijing, 2010, p.280

    林風眠 彈唱 設色紙本 鏡框 一九四〇年代作

    款識: 林風眠。
    鈐印: 林風暝印

    來源:
    法國私人舊藏
    購自於2003年10月26日香港佳士得拍賣, 拍品344號
    現為香港私人收藏

    出版:
    《藝苑掇英》第72期, 周衛明編, 上海人民美術出版社, 上海, 2004年, 頁12
    《散珍集成:私家藏中國書畫·壹》, 王驍編, 河北教育出版社, 石家莊, 2005年, 頁85
    《中國近現代書畫:十二大家各家精品集》, 保利藝術博物館, 北京, 2010年, 頁280

    1938年,林風眠辭去國立藝術專科學校的職務,離開湖南,幾經輾轉抵達重慶。其後6年,林風眠一直獨居重慶城外長江南岸的一間舊房裏,過著清樸的生活,每天潛心作畫。這位「全世界最年輕的國立藝術專科學校校長」卸下了風光頭銜,不再於前線疾聲呼喊「為藝術戰」,然而,在寂靜的斗室裏,他的藝術更能發光發熱,更能在探索的路上大步向前。〈彈唱〉是林風眠於1940年代的作品,呈現了林風眠仕女畫的雛型。

    傳統仕女圖多以工筆描繪,由鬢髮、面容到衣料,無不仔細刻畫。主張「學活古人」的林風眠在他的仕女圖中,捨棄了宋代以來的筆墨章法,把目光轉向擁有「美與生之線」的魏晉六朝和唐代藝術。(郎紹君,〈創造新的審美結構:林風眠的繪畫形式語言的探索〉,載於《林風眠研究文集II》,陳菊秋編,閣林國際圖書有限公司,台北,2000年,頁64。)他的畫筆在紙上疾速行走,以俐落的線條勾勒出〈彈唱〉中的女人,我們幾乎可以想像林風眠畫畫時的敏捷動態。這些線條看似簡單,但其實極講究畫家的筆力。林風眠律己以嚴,重慶6年的半隱居生活,給了他大量的空間和時間鍛鍊自己的筆墨,並專注於探索革新中國畫的各種可能。雖然林風眠到1960年代仍謙稱自己的畫作「是試探性的、不成熟的東西」,但此幅〈彈唱〉的線條圓熟流暢,顯示林風眠於1940年代當時,在一連串的苦練和鑽研後,在筆力和造型表現上已經有所成就。而仕女梳齒型的雙手、簡略的衣飾和背景,透露了林風眠的仕女造型其後日漸概括化的先兆。

    要深入理解一個藝術家,除了研究他成熟時期的作品,其早期作品也十分重要。唯有了解他早年的藝術語言,才能全面掌握他的藝術面貌,以及日後成功的關鍵。可惜的是,大量林風眠的早年作品都在文化大革命毀掉。此幅〈彈唱〉幸運地流存下來,畫作原屬法國私人收藏,其後透過拍賣成為香港收藏家的珍藏。林氏類似風格的作品,見於一張吳冠中所收藏,同樣屬林風眠40年代作品的〈頭像〉(收錄於《林風眠全集:上卷》,天津人民美術出版社,天津,1994 年,圖版16),其造型與〈彈唱〉的仕女頭部十分相似,差別在於〈頭像〉用色較多,但只有半身局部,不像〈彈唱〉是全身畫像。
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