Lin Fengmian (1900-1991)  Lotus Pond
Lot 815
Lin Fengmian (1900-1991)
Lotus Pond
HK$ 3,000,000 - 5,000,000
US$ 380,000 - 640,000

Lot Details
Lin Fengmian (1900-1991)
Lotus Pond
Ink and colour on paper, framed
Signed Lin Fengmian, with one seal of the artist
67.5 x 136cm (26⅝ x 53½in).

Footnotes

  • Provenance:
    Private Hong Kong Collection. Acquired in Hong Kong in the mid-1990s.

    林風眠 荷塘 設色紙本 鏡框

    款識:
    林風眠。

    鈐印:林風眠印

    來源:
    香港私人珍藏。上世紀九十年代中購自本港畫廊。

    註:「水光瀲灩晴方好,山色空濛雨亦奇」,黃苗子曾借蘇軾之詩形容林風眠的創作,更讚譽他歷經劫難卻不改光風霽月的品格。一九二八年,林風眠自北平南下杭州,出任國立藝術院院長,從此他的筆下便多了西湖的水色山光。一九七七年移居香港後,他深居簡出,開始憑藉記憶重寫文革中被毀掉的畫作,孤鴻歸雁、綠柳長堤、十里荷塘的西湖美景頻頻出現,西子湖畔的歲月沈積了畫家無法忘懷的眷戀。

    「荷」,亭亭淨植,花中君子也,從古至今都是中國文人逸士所詠頌的對象,北宋周敦頤有《愛蓮說》,民國朱自清寫下《荷塘月色》;若論及畫,既有南宋院體工筆菡萏的高潔,又有清初八大潑墨芙蓉的恣意。而林風眠之荷,融貫中西,自成一格,既保留了中國傳統藝術水墨韻味的精華,又在色彩上汲取了西方印象派的光影變化,猶如詩人艾青所形容,真是一首「彩色的詩」。

    本幅採用了中國畫典型的三分構圖,近景的荷塘,荷葉田田,佔據畫面三分之二空間;中景蘆葦叢生,隨風舞動,以增加層次;遠景由濃墨抹出遠山,再以淡墨輕掃天空,凸顯空靈蕭瑟之感。林風眠在一九二九年《中國繪畫新論》中曾說,「中國的山水畫只限於風雨雪霧和四季的描繪,沒有對色彩複雜、變化萬千的陽光描寫;印象派運用了色彩光線的關係,而能表現時間的微妙變化」。林風眠一生的創作,都是調合中西的過程。莫奈〈睡蓮〉的影響雖在,但中國畫媒材——宣紙、毛筆、墨、色的特質,令林風眠對光影的探索注定呈現前無古人的新意。荷葉輕浮於湖水之上,隨著陰陽向背而產生色彩的變化,白色的花瓣,嫩黃的花蕊,三三兩兩,點綴其中,在光線的折射律動中,顯得嬌俏頑皮,無疑做到了他所追求表現的「空氣的顫動和自然界之中音樂性的描寫」。

    林風眠用創造身體力行着他「抱定信念,我入地獄」的執著,而至晚年,他創作力不減,又罕有地以四尺整紙展開這幅〈荷塘〉,他對藝術不渝的熱情盡情綻放在這雨過將晴、即見光芒的盛夏荷塘。

    參考資料:
    《林風眠全集(下卷)》(天津人民美術出版社,1994年,頁212)中收錄一九八三年的彩墨畫〈荷〉,構圖可與本幅相互佐證。
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