Zhou Chunya 周春芽藝術專拍

ZHOU CHUNYA SPECIAL AUCTION OF WORKS BY ZHOU CHUNYA

I only wanted to sketch from life because in so doing I was confronting an immediate, living nature.

This allowed my artistic expression to remain at one with my passions.

Zhou Chunya

羅芙奧台北 2017 秋季拍賣會 亞洲現代與 當 代 藝 術 RAVENEL AUTUMN AUCTION 2017 TAIPEI Modern and Contemporary Asian Art

周春芽藝術專拍 Special Auction of Works by ZHOU Chunya Lot 349-358

拍賣 2017年12月3日（日）下午 2:00 萬豪酒店 台北市中山區樂群二路199號3樓（博覽廳）

AUCTION

Sunday, December 3, 2017, 2:00pm MARRIOTT TAIPEI nd

Grand Space, 3F , No. 199, Lequn 2 Road, ZhongShan Dist., Taipei, Taiwan

諮詢 Enquiry | 林慧菁 Maggie Lin +886 2 2708 9868

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The Art of Zhou Chunya 周春芽的藝術

我只想描繪生活，這樣才能直接與人接觸 讓藝術表現與個人的真實熱情合而為一

放眼過去數十年中國藝壇的潮流與風格演變，周春芽與其他當代藝術家卓然不同。在靈感、象徵、 技巧與理念等方面，周春芽都有自己獨特的藝術走向，不隨流行起舞，努力建立自己的藝術表現手 法。周春芽不願與其他當代中國藝術家一樣，為政治與意識形態掛帥的藝術理論背書；不願以特定 流派侷限自己的藝術風格，因此作品風格與表現能夠維持原創性，透過多項代表性系列作品，展現 自己的熱忱與興趣，如：「西藏」、「石頭」、「花卉」、「綠狗」與「桃花」；獨特的表現手法 深獲各界肯定，2010 年更在上海美術館舉辦第一次個人回顧展。 周春芽與當代藝術潮流與運動首次脫鉤，是在文化大革命之後。當時他在四川美術學院的同學發 起傷痕藝術運動，反應社會動亂與歷史傷痕等現況，而周春芽卻以藏人的田園牧歌與農村生活為 題材。他表示，雖然欣賞同儕發起的傷痕藝術論述，但他有自己偏好的藝術主題，「我只想描繪生 活，這樣才能直接與人接觸，讓藝術表現與個人的真實熱情合而為一。 」周春芽的西藏作品並非再 現政治化隱喻或社會理論，而是在藏人身上與西藏山水中發現獨特的色彩與樸實之美，使他傾注心 力於簡單美學。 In examining the artistic movements and stylistic developments of Chinese artists over the past few decades, Zhou Chunya stood apart from his contemporaries. In inspiration, symbolism, technique, and purpose, Zhou has effectively developed his own artistic direction, continually diverging from the movements around him to explore and establish his own means of expression through art. Rejecting participation in the politically and ideologically charged artistic theories celebrated by other contemporary artists in China, Zhou’s refusal to mold his artistic voice to a discernable movement has set his works apart in both originality of style and expression. The artist instead cultivated his own passions and interests through the establishment of several iconic series: “Tibet”, “Stones”, “Flowers”, “Green Dog”, and “Peach Blossoms”. Zhou’s unique and distinctive voice has earned him recognition throughout his career, culminating in his first retrospective held at the Shanghai Art Museum in 2010.

Zhou’s first departure from the artistic movements around him came in the aftermath of the Cultural Revolution. While Zhou’s classmates at the Sichuan Fine Arts Institute united to express the social upheaval and historical trauma of the Cultural Revolution through the newly established Scar Art movement, Zhou elected instead to focus on depictions of the idyllic, agrarian lives of the Tibetan people. Zhou explained that while he appreciated the Scar Art narratives of his peers, his artistic interests lay elsewhere, stating, “I only wanted to sketch from life because in so doing I was confronting an immediate, living nature. This allowed my artistic expression to remain at one with my passions.” Zhou’s Tibetan studies do not represent politicized metaphors or social theories, but instead focus on the simple aesthetic inspiration that Zhou found in the colors and rustic beauty of both the people and landscape.

Enlightenment of the Prairies 來自草原的啟迪

Lot 351 藏族婦女像 Portrait of a Tibeten Woman

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Lot 352 藏族老人像 Portrait of a Tibetan Elder

那時沒有看過草原的色彩、服裝的色彩， 我從來沒看到過少數民族，剛一看到被色彩震住了。

1980年，還在四川美院求學的周春芽第一次來到四川省紅原縣藏人生活的草原，他深深地被這裡熾烈陽光下，色彩分明 的景象與純樸粗獷的人們深深吸引，他曾如此回憶：「那時沒有看過草原的色彩、服裝的色彩，我從來沒看到過少數民 族，剛一看到被色彩震住了。 」（栗憲庭，周春芽訪談錄，Zhou Chunya, 2010，頁25）周春芽提起畫筆，揮灑出一幀一幀閃爍著陽 光、輝映著大地色彩的畫作。約莫這個時期，周春芽的同學高小華、程叢林也藉著少數民族的題材，開啟了觀注平凡群眾 生存現狀的「傷痕美術」潮流，與當時主要描繪農民的羅中立一起引起了高度關注。同樣以少數民族為題材，周春芽的作 品卻不像「傷痕美術」架構於國族命運的宏大敘事之上，也不著重文學性的情懷抒發，更多的，是展現藝術家對於藝術純 粹性的追求。 As a student of Sichuan Fine Arts Institute, Zhou Chunya came to the grasslands where the Tibetan people of Hongyuan lived in 1980, deeply attracted by the distinctive colors of the views there as well as the simplicity of the people. He once reminisced that, “At the time, I had never seen the colors of the prairies, the colors of their clothing.

I had never met ethnic minorities before, and when I did, I was instantly stunned by their colors.” (Interview of Zhou Chunya and Li Xianting, Zhou Chunya, 2010, p. 25) Thereafter, Zhou Chunya picked up his brush and painted frame after frame of colors of the earth glistening beneath the sun. It was around this time that Zhou Chunya’s classmates Gao Xiaohua and Cheng Tsunglin also adopted ethnic minorities as their subjects, creating a new trend known as “Scar Art” through which they observed the day to day survival of those people. Together with Luo Zhongli, who primarily portrayed the lives of farmers, the works of these arts amassed widespread attention. Though his art was also centered on ethnic minorities back then, Zhou Chunya’s works were not built upon epic descriptions of national fate like that of “Scar Art,” nor did they embody literary expressions of emotion. What the works did express, however, was the artist’s pure and simple pursuit of art.

周春芽1982年在阿垻紅原寫生 Zhou was sktching at Aba, Hongyuan county, Sichuan province, China in 1982

At the time, I had never seen the colors of the prairies, the colors of their clothing. I had never met ethnic minorities before, and when I did, I was instantly stunned by their colors.

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以肌理豐富的筆觸展現陽光下的色彩 以充滿力道的線條詮釋藏人的天成之美

此次上拍一系列繪於1981年起的畫作即來自周春芽這段開始建立 獨立畫風的時期，畫裡有沉厚的大地色彩、因日曬而顯得黝黑的藏 人臉龐與雙手、以及他們身上色彩飽和的衣飾，色彩與形式表現上 已然脫離當時學院裡所傳授的、來自蘇聯的社會寫實技法，而融入 他在四川美院圖書館裡，偕同張曉剛日日觀摩一本來自歐洲的印象 主義畫冊所得的體悟。他以肌理豐富的筆觸展現陽光下的色彩，以 充滿力道的線條詮釋藏人的天成之美；大塊面的結構，展現他在形 式探索上過人的才氣；例如《藏族婦女像》的溫暖厚實、《藏族老 人像》透露歲月風霜，《藏族青年像》則以簡略的筆觸表現身體， 與完整描繪的青年臉龐相互襯托得更為出色。而其中《剪羊毛》一 作來自於他到若爾蓋大草原的一次拜訪。《剪羊毛》呈現一群藏人 圍繞著一頭綿羊剪下羊毛，色彩以粗獷的筆觸堆疊，卻細緻地呈現 皮膚、衣料和羊毛在日光下閃耀的不同質地，襯以粗黑的輪廓線， 如同歐洲教堂裡的鑲嵌玻璃，散發出一股神聖光采。周春芽在四川 美院畢業之際提交了這件作品，不僅入選當時中國美術界最重要的 「中國美展」，還獲得了獎項。

周春芽《剪羊毛》1981 油彩 紙本 38 x 52 cm Zhou Chunya, Sheepshearing, 1981, oil in paper, 38 x 52 cm

HE USED A PLETHORA OF TEXTURES TO DEPICT THE BRILLIANCY OF COLORS GLISTENING BENEATH THE SUN, AND UTILIZED DYNAMIC LINES TO INTERPRET THE NATURAL BEAUTY OF THE TIBETAN PEOPLE

1981年和張曉剛一去到諾爾蓋草原 A Trip to Ruoergai Grassland with Zhang Xiaogang in 1981

This auction features a series of works painted by Zhou Chunya since 1981 just as he was in the midst of establishing his unique personal style. The paintings are heavily coated with colors of the earth, the dark, sun-tanned faces and hands of the Tibetan people, and the vibrant, saturated colors of their clothing. His expression of colors had already differed from what he had been taught in the Institute, one which had been derived from the social realist methods of the Soviet Union. Instead, he incorporated the daily observations he and his comrade Zhang Xiaogang absorbed from the European Impressionist art books in the library collection of Sichuan Fine Arts Institute. He used a plethora of textures to depict the brilliancy of colors glistening beneath the sun, and utilized dynamic lines to interpret the natural beauty of the Tibetan people. The large surface areas within his composition express his outstanding talent for figurative exploration; for example, “Portrait of a Tibetan Woman” exhibits a warm sense of trusty dependability, “Portrait of a Tibetan Elder” hints at times gone by, while “Portrait of a Tibetan Youth” features simplistic brush strokes for representing the body in contrast with the youth’s delicately delineated face. On the other hand, “Sheepshearing” was inspired by a visit to the Zoigê grasslands.

“Sheepshearing” depicts a group of Tibetans crowded around a sheep to shear its wool. The colors are piled on with bold, rough brush strokes, but the different textures of the skin, cloth and wool glistening beneath the sun are delicately rendered.

The thick, black outlines moreover complement the glowing colors that shine with an ethereal light like the mosaics of European cathedrals. Just before his graduation from Sichuan Fine Arts Institute, Zhou Chunya submitted this piece of art; not only was it selected and included in the Art Exhibition of China, the most important event in the world of Chinese art at the time, it moreover garnered an award.

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Lot 351 藏族婦女像 Portrait of a Tibeten Woman

349

ZHOU Chunya (Chinese, b. 1955)

Portrait of a Tibetan Young Boy 1981 Oil on paper 36 x 27 cm Signed lower right Zhou Chunya in Chinese and dated 1981

NT$ 950,000-1,200,000 RMB$ 210,000-265,000 HK$ 246,000-311,000 US$ 31,600-39,900

周春芽 藏族小男孩 1981 油彩 紙本 36 x 27 cm 簽名右下：1981 周春芽

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350

ZHOU Chunya (Chinese, b. 1955)

Portrait of a Tibetan Youth 1981 Oil on paper 53 x 38 cm Signed lower right Zhou Chunya in Chinese and dated 1981 ILLUSTRATED

Zhou Chunya, Timezone 8, Shanghai, 2010, color illustrated, p. 39

NT$ 1,800,000-2,600,000 RMB$ 397,000-574,000 HK$ 466,000-674,000 US$ 59,800-86,400

周春芽 藏族青年像 1981 油彩 紙本 53 x 38 cm 簽名右下：1981 周春芽 圖錄

《周春芽》，東八時區，上海，2010，彩色圖版，頁39

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351

ZHOU Chunya (Chinese, b. 1955)

Portrait of a Tibeten Woman 1981 Oil on paper 53.2 x 37 cm Signed lower right Zhou Chunya in Chinese and dated 1981 ILLUSTRATED

Zhou Chunya, Timezone 8, Shanghai, 2010, color illustrated, p. 307

NT$ 1,800,000-2,600,000 RMB$ 397,000-574,000 HK$ 466,000-674,000 US$ 59,800-86,400

周春芽 藏族婦女像 1981 油彩 紙本 53.2 x 37 cm 簽名右下：1981 周春芽 圖錄

《周春芽》，東八時區，上海，2010，彩色圖版，頁307

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352

ZHOU Chunya (Chinese, b. 1955)

Portrait of a Tibetan Elder 1981 Oil on paper 53 x 38 cm Signed lower right Zhou Chunya in Chinese and dated 1981 ILLUSTRATED

Zhou Chunya, Timezone 8, Shanghai, 2010, color illustrated, p. 7

NT$ 1,800,000-2,600,000 RMB$ 397,000-574,000 HK$ 466,000-674,000 US$ 59,800-86,400

周春芽 藏族老人像 1981 油彩 紙本 53 x 38 cm 簽名右下：1981 周春芽 圖錄

《周春芽》，東八時區，上海，2010，彩色圖版，頁7

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Sheepshearing 剪羊毛

《剪羊毛》是周春芽的早期代表作，向歐洲經典現實主義的回歸。畫面結構著重在生活場景的模式，亦 可視為周春芽脫離過去傷痕美術創作帶有承先啟後的標的性作品。透過描繪藏族人民的日常景致，藝術 家自覺性地流下了眼中所見特屬於該地人民傳統的審美觀念，例如大地色調的琢磨，濃厚的色塊以及粗 獷的線條和藏族人民樸實的生活形象。《剪羊毛》一作褪去了人物輪廓的細部描繪，取而代之的是熱烈 奔放的大筆觸色塊，而畫面表現也特意地迴避了印象派以降強調明暗光亮的虛實變化，卻強調了畫中人 物在體積與質量的質感表現；色彩構成也注重在對於「褐色」，周春芽鍾意的色彩表達。 周春芽在追求自我藝術的真誠表達以外，亦時不時地關注著社會、政治、少數民族等令人敏感的緊張議 題，其即便在風格轉變當中同時能保有對於庶民百姓、對於生活、對於弱者的殷切關懷，也是這樣的初 心使得周春芽的藝術始終保有一種凌駕於藝術表現上的超越性。如此形而上地切入，終使得他的藝術語 彙緊緊貼著人道關懷的良善情操。以這樣的角度再去觀賞《剪羊毛》一作，便能悟出周春芽追求藝術的 熱情、深化他自身的藝術以外所包含的當代人文精神。 “Sheepshearing” is one of Zhou Chunya’s early representative works. He returned to European classical realism, focusing the structure of the picture on scenes of everyday life. This painting can also be seen as an indicative work of Zhou’s in that he turned away from the scar art he created in the past and started painting anew. Through depicting the scenes of the daily life of the Tibetan people, the artist consciously recorded the traditional aesthetic concepts he observed that belonged specifically to the local people, such as the umber tone, the thick blocks of colors, the rough lines, and the image of their unadorned life. In the painting “Sheepshearing,” detailed depictions of characters’ outlines are replaced by enthusiastic and unrestrained blocks of colors painted with large brushstrokes. The painter also intentionally avoids presenting the picture with an emphasis on bright and dim light and on the changes between the illusionary and the real. He avoided this technique that painters since the impressionists have employed; instead, in this painting, he emphasizes the texture performance of the figures’ volume and mass. The color composition also focuses on brown, a color Zhou favors.

In addition to trying to be true to his art, Zhou also pays attention to sensitive topics such as society, politics, and minority ethnic groups. Even as his style changes, he still retains his compassion for commoners, for life, and for the weak. This point of departure enables Zhou’s art to always transcend artistic expression. His metaphysical approach gives his artistic language a benevolent sentiment closely related to humanitarianism. When appreciating the work “Sheepshearing” from this perspective, one can comprehend the zest Zhou possesses in seeking art, which deepens the contemporary human spirit outside his own art.

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周春芽《剪羊毛》1981 油彩 畫布 170 x 236 cm 中國嘉德 2011年秋季拍賣會，3,475萬人民幣成交 Zhou Chunya, Sheep Sheaning, 1981, Oil on canvas, 170 x 236 cm Autumn Auction China 2011, US$4,571,250 sold

354

ZHOU Chunya (Chinese, b. 1955)

Sheepshearing 1981 Oil on paper 38 x 52 cm EXHIBITED

1971 – 2010 Forty Years Retrospective Review of Zhou Chunya, Shanghai Art Museum, Shanghai, June 13 - 23, 2010 ILLUSTRATED

Zhou Chunya, Timezone 8, Shanghai, 2010, color illustrated, p. 131

NT$ 6,000,000-7,000,000 RMB$ 1,325,000-1,545,000 HK$ 1,554,000-1,813,000 US$ 199,300-232,500

周春芽 剪羊毛 1981 油彩 紙本 38 x 52 cm 簽名右下：1981 周春芽 展覽

「1971 - 2010周春芽藝術四十年回顧」，上海美術館， 上海，展期自2010年6月13日至6月23日 圖錄

《周春芽》，東八時區，上海，2010，彩色圖版，頁131

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Landscape 風景

1981年夏天，周春芽和張曉剛應同學鐘長青的邀請一起到四川阿壩草原體驗生活。草原絢爛的色彩成就了他藝術歷程的里 程碑作品《藏族新一代》，也影響其八十年代的創作。草原特有的環境和光影，加之印象派的影響，忠實的反映在藝術家這 一時期的作品中。 1983年的《風景》作品正是這一時期的佳品。草原的光影在他獨特的色彩運用手法中呈現。畫面前景和中景描繪了簡易的 木樁橋、藍色的河流、青色的馬駒；多層次的黃色從畫面的這端沿著蜿蜒的小徑延伸至遠景，遠山則被淡淡的赭色一筆帶 過。粗獷的塊狀筆觸，厚重的顏色強烈的表現高原的陽光。是年，周春芽已被分配至成都畫院工作，仍堅持到藏區寫生、創 作。他就曾在1983年與張曉剛的通信中這樣寫道：「我現在特別喜歡躁動的情緒來支配畫面，也很想用強烈的日光來衝擊 成都的灰天氣…… 」藝術家正是借著畫筆、大地與藏區獨特的民族色彩宣洩著自己的熱情。 In the summer of 1981, Zhou Chunya and Zhang Xiaogang were invited by their schoolmate Zhong Changqing to experience the life on Aba Grassland in Sichuan. The luscious and colorful grassland not only inspired Zhou Chunya’s masterpiece “New Generation Tibetan”, which is considered as the milestone work of his artistic career; but also influenced Zhou’s artistic creation in the entire 1980s. The unique environment and images of the grassland are heartedly recorded by the artist in his works during this period, with a touch of impressionism.

This painting “Landscape” is a typical master work from this period. The light and shadow of the grassland is well presented by Zhou’s extraordinary utilizing of colors. The artist delineated the simple wooden bridge, blue stream and azury horse in the foreground and middle ground; aside the multiple levels of yellow along the winding road stretching out to background, and mountains in the background was expressed with a light brush of brown. The raw and blocky brushstrokes and heavy and saturated color both bring out the fierce highland sunshine. That year, Zhou Chunya was relocated to Chengdu, but he kept going back to Tibet for sketching and inspiration. In his letter to Zhang Xiaogang in 1983, Zhou wrote “I am very fond of dominating the picture with an agitated emotion these days, and I am also eager to pierce the smoggy weather of Chengdu with strong sunlight…” In a word, the artist is voicing his enthusiasm with his painting brushes, through the portraying the fascinating land and culture of Tibet.

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Lot 358 風景 Landscape

358

ZHOU Chunya (Chinese, b. 1955)

Landscape

1983 Oil on canvas, mounted onto board 34.5 x 44 cm Signed lower right Zhou Chunya in English and dated 1983

NT$ 1,200,000-2,200,000 RMB$ 265,000-486,000 HK$ 311,000-570,000 US$ 39,900-73,100

周春芽 風景 1983 油彩 畫布 裱於木板 34.5 x 44 cm 簽名右下：周春芽 1983

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Lot 353 自畫像 A Self-Portrait

The Young Artist Waiting for his Time to Rise 蓄勢待發的青年畫家

1981年周春芽畫下了一幀自畫像，有著和他的藏人速寫一般粗獷的筆觸以及褐色系的大地色彩，不同 的是，這件畫作以畫布為底，讓他更能夠堆疊顏料，營造出層次豐富的畫面肌理。畫中的藝術家瘦削俊 朗，沉默的雙唇透展現內心的堅毅，不求世人理解他那滿溢胸口的熱忱，濃黑的雙眉微蹙，黑白分明的 雙眼透出如炬目光，帶著一份自信。藝術是周春芽的熱情與成就所在，此時的青年畫家已然以不凡的才 情在藝壇嶄露鋒芒，卻遠遠不滿足於此，他要去探索更多的可能，他的眼裡有著強烈的期盼與質疑。 《自畫像》一作展現了藝術家在大草原日光下鍛煉有成的明暗掌握與色彩運用，他的臉龐在暗色背景中 發亮，雙眼銳利有神，肩頸處亮黃色的皮膚與藍色背心互成對比，頸後的暗綠色油彩恰恰好地平衡了右 臉前相對明亮的土黃色調，在厚重的油彩、流暢的筆觸、嚴謹平衡的構圖之中，浮現的是那位桀驁不馴 的青年畫家，預示了周春芽往後即使在歐洲面對當時最具開創性與震撼力的大師鉅作，或者身在襲捲全 世界的中國當代藝術潮流當中，也從不隨波逐流的自信，他總是忠於自身情感，在藝術的道路上始終保 持著直覺與本能的真誠力量。 In 1981, Zhou Chunya painted a self-portrait using the same rough brush strokes and earthy brown colors as those of his colored Tibetan sketches. The difference was that canvas was used as the base for this painting, allowing him to pile on colors more easily and create rich layers in the texture of his skin. The artist in the painting is lean yet handsome, his silent lips hinting at his heart of steel. His refusal to ask the world to understand the roaring fervency of his passion is fully embodied in thick, black brows pinched together ever so slightly. His eyes are aglow with a burning gaze, the whites distinct from his pupils, exhibiting an air of confidence and assurance. Art is where Zhou Chunya’s passion and accomplishments lie. The young artist had at this time already gave the art scene a taste of his exquisite talent while he finished the canvas. However, he was far from satisfied from his accomplishments and wanted to explore even more possibilities, which is why his eyes burn strongly with expectation and a questioning curiosity.

“A Self Portrait” displays the artist’s mastery of light and dark, a gift shaped by the sunlight and vibrant colors of the prairies. His face glows against the dark background, his eyes sharp, while the bright, yellow skin of his neck is in stark contrast with the blue of his vest. The dark green colors at his nape perfectly balance out the bright, muddy yellow tones of the right side of his face. From within the thick oils, fluid brush strokes, and carefully balanced composition emerges a young artist whose potential cannot be tamed, foretelling Zhou Chunya’s imperturbable confidence even in face of the groundbreaking works of the European masters or the contemporary Chinese art movement that was taking the whole world by storm. He has always been loyal to his emotions, and upheld the commitment to stand by his instincts and natural inclinations throughout his artistic journey.

353

ZHOU Chunya (Chinese, b. 1955)

A Self-Portrait 1981 Oil on canvas 38 x 27 cm Signed lower right Zhou Chunya in Chinese and dated 1981 ILLUSTRATED

Zhou Chunya, Timezone 8, Shanghai, 2010, color illustrated, pp. 86-87

NT$ 3,600,000-5,500,000 RMB$ 795,000-1,214,000 HK$ 933,000-1,425,000 US$ 119,600-182,700

周春芽 自畫像 1981 油彩 畫布 38 x 27 cm 簽名右下：1981 周春芽 圖錄

《周春芽》，東八時區，上海，2010，彩色圖版，頁86-87

30

Lot 355 浴室 Bathroom

Gazing Directly into His Soul 直視內心情感

周春芽一路走來，與引領中國當代藝術各個潮流的代表人物並肩而行，獨特的氣質卻始終無法輕易被歸 類為任一流派，而是獨自走出一道難以被忽略的藝術軌跡，他關心社會與家鄉，然而政治現況、社會議 題始終不是他創作的主旋律，他的藝術更忠於自己的內心與直覺。1986至1989年間，周春芽隻身來到 德國學習，經過了歐洲藝術，特別是第八屆卡塞爾文件展的洗禮，他決定回到祖國，追尋屬於他自己的 藝術道路。他鍛煉畫筆用色，確立了獨特的個人風格，他研究中國文人精神，從中提煉出屬於當代、個 人的見解，亦將自己生活裡種種深刻的情感、慾望與渴望，轉化為吸引世人目光的畫作。 1998年的《浴室》是周春芽重要的代表作，他捕捉了浴室此一私密空間裡一個私密的瞬間，水從蓮蓬頭 灑下，站在浴缸中正在洗浴的女子抬眼望向觀者，眼神中帶著詫異，我們像是闖入者，引起了小小的騷 動，而浴缸的另一側端坐著周春芽此時期畫作最重要的主角—綠狗，巨大的身形是整個灰褐色畫面中唯 一鮮豔的色彩，為這極為貼進日常生活的一景帶來了超越現實的象徵意義，而後方飛起的嬰兒，進一步 完整了這件深具自傳性色彩、意義特殊的作品。 Along the way, Zhou Chunya has lead the various movements of contemporary Chinese art alongside a multitude of icons. His unique aura cannot quite be categorized into any movement, and has enabled him to carve out an artistic path that cannot be ignored. He continued to show over his care about the society and his homeland, but politics and social issues were never the main focus in his creations, as his art was above all loyal to his own inner sentiment and instincts. From 1986 to 1989, Zhou Chunya traveled alone to further his studies in Germany. Baptized by European art - especially the works exhibited at Documenta 8 in Kassel - he decided to return to his home country in pursuit of an artistic path he could call his own. He practiced his mastery of colors, defined his own unique personal style, and studied the spirit of Chinese literati, drawing both contemporary and personal views from them while converting his experiences, desires and yearnings throughout his life into his breathtaking works.

“Bathroom,” painted in 1998, is one of Zhou Chunya’s most significant works. He captured an intimate instant within the intimate space of the bathroom; as the water splashes from the showerhead, a bathing woman standing in the tub lifts her gaze towards the viewer with surprise in her eyes. It’s as if we are trespassers causing a small commotion while Zhou Chunya’s most important subject of the time - the green dog, sits on the other end of the tub. Its gargantuan form, the only splash of brightness in the grayish image, serves as a surrealistic symbol that transcends the banality of everyday life. Paired with the baby flying in the background, a highly autobiographical piece with profoundly unique meaning is thus created.

355

ZHOU Chunya (Chinese, b. 1955)

Bathroom

1998 Oil on canvas 71.5 x 59 cm Signed lower right Zhou Chunya in Chinese and dated 1998 Signed on the reverse Zhou Chunya and dated 1998 EXHIBITED

Zhou Chunya New Painting Solo Exhibition, My Humble House Gallery, Taipei, March 22 - April 13, 2008 ILLUSTRATED

Zhou Chunya New Painting Solo Exhibition, My Humble House Gallery, Taipei, 2008, color illustrated, pp. 32-33 Zhou Chunya, Timezone 8, Shanghai, 2010, color illustrated, pp. 278-279

NT$ 3,600,000-5,500,000 RMB$ 795,000-1,214,000 HK$ 933,000-1,425,000 US$ 119,600-182,700

周春芽 浴室 1998 油彩 畫布 71.5 x 59 cm 簽名右下：1998 周春芽 簽名畫背：周春芽 1998 展覽

「周春芽新繪畫個展」，寒舍空間，台北， 展期自2008年3月22日至4月13日 圖錄

《周春芽新繪畫個展》，寒舍空間，台北， 2008，彩色圖版，頁32-33 《周春芽》，東八時區，上海，2010， 彩色圖版，頁278-279

34

Lot 357 百合 Lily

Departure from the “Scar Art” 出走傷痕美術

I have been deeply influenced by Chinese tradition, which I can never be rid of wherever I am. 我深受中國傳統影響，無論身處何地都無法改變這個事實

「西藏系列」創作結束之後，周春芽離開故鄉中國，前往德國卡塞爾綜合大學攻讀碩士。談到他在德國 的生活，周春芽表示，「我真正的教室是德國與其他歐洲國家的美術館和畫廊。 」他接觸西方藝術思 潮，如立體派、表現主義、野獸派、新表現主義者(狂野青年）等理論，拓展了美學視野，更影響他的藝 術表現風格。儘管周春芽十分認同德國的藝術風潮，但他並未在德國滯留太久，1989年他返回中國。中 國對周春芽始終保持某種影響力，如他自己所言，「我深受中國傳統影響，無論身處何地都無法改變這 個事實。 」在研究中國傳統的過程中，周春芽創作了「石頭」與「花卉」兩個系列的作品，將他在德國 學到的現代西方視覺實驗手法，與傳統中國文人畫家的藝術元素相結合。在其他當代中國藝術家熱情參 與新浪潮、玩世現實主義與政治普普運動等藝術潮流之際，周春芽選擇與文人美學有關的主題，避開了 週遭藝術運動的爭議性激進主義。 Following his time in Tibet, Zhou left a socially tumultuous China to obtain his master’s degree at the Gesamthochschule in Kassel, Germany. Of his time in Germany, Zhou claims “the classroom where I really studied was the art museums and galleries in Germany and other European countries.”

Exposure to Western artistic movements such as Cubism, Expressionism, Fauvism, and the Neo– Expressionist “Junge Wilde” (Wild Youth) theory expanded Zhou’s aesthetic and stylistically influenced his artistic exploration. Despite Zhou’s identification with the artistic movements he discovered in Germany, he did not remain there long, returning to China in 1989. China has always held certain sway over Zhou, who states simply, “I have been deeply influenced by Chinese tradition, which I can never be rid of wherever I am.” It was in pursuit of this Chinese tradition that Zhou developed both his Stone and Flower series, combining the visual experimentation of the Western modern movements he had discovered in Germany with the traditional elements of Chinese literati painters in the past. While his contemporaries in China were participating in the New Wave, Cynical Realism, and Political Pop movements saturated with social and political commentary, Zhou chose subject matter quintessential to the literati aesthetic, devoid of the contentious activism inherent in the movements around him.

The Flower Forming of a Contemporary Literati 當代文人花卉

1990年代起，周春芽開始「花卉」系列的創作。花卉題材一直是中國傳統文人樂於表現的內容，而在周春芽的手法下有了嶄新 詮釋。周春芽以西方的寫生方法將中國傳統繪畫語言融入其中，最重要的是採用完全不同的技巧，即以大筆觸的表現手法，充 分展示率性、粗獷的表現主義風格。在周春芽的畫中，傳統的中國主題—花卉在西方繪畫技巧的光環下折射出迷人光彩，實現 了中西兩種繪畫語言的完美融合。此外，周春芽的大膽用色與其大筆觸的表現手法更是相得益彰，色彩與構圖均給人奔放神秘 之感，這種新穎、大膽的藝術創作達到了奇異的效果。在周春芽看來，這種「離經叛道」的作品形態正好契合了他的天性，並 以他的放肆詮釋了傳統文人繪畫的溫和內斂。 As early as the beginning of 1990, Zhou Chunya had begun the creation of his “Flower” series. Flowers have been a traditional motif for Chinese artists to express in their works. Zhou Chunya recreates this concept in his “Flower” series.

Zhou Chunya has integrated the language of traditional Chinese painting with western sketching. Most importantly is that he has adopted a totally different technique. He has used the expression technique of liberal strokes, fully demonstrating his bold and broad style of expressionism. In Zhou Chunya’s painting, flowers, the traditional Chinese theme, presents charming glory under the aura of Western painting skill, realizing a perfect integration of Chinese and Western painting languages.

Additionally, Zhou Chunya’s bold color application and his expression mode of liberal strokes complete each other. Both color and composition present a bold and mysterious sense. Such innovative and bold artistic creation has reached an extraordinary effect. In Zhou Chunya’s view, form and color of such non-mainstream works align with his disposition. With his uninhibited traits he constructs traditional humanistic paintings that are “warm and introvert”.

左圖 周春芽於畫作前，「藝術怎麼樣？來自中 國的當代藝術」，卡達，多哈阿爾里瓦克 展覽館，2016年3月 Zhou Chunya posed in front of his painting at State of Qatar in March, 2016 右圖 周春芽《湖邊》2005 油彩 畫布 250 cm x 200 cm 北京匡時 2017年春季拍賣會 1,449萬人民幣成交 Zhou Chunya, Lakeside, 2005 oil on canvas, 250 cm x 200 cm Spring Auction Council, Beijing 2017 US$2,124,23 sold

38

Lot 356 百合花 Flowers

356

ZHOU Chunya

周春芽

(Chinese, b. 1955)

百合花

Flowers

1997 Oil on canvas 71.5 x 60 cm Signed lower right Zhou Chunya in Chinese and English, dated 1997

1997 油彩 畫布 71.5 x 60 cm 簽名右下：1997 周春芽 Zhou Chunya

NT$ 2,600,000-3,800,000 RMB$ 574,000-839,000 HK$ 674,000-984,000 US$ 86,400-126,200

《百合花》筆觸明快毫不猶疑，綠與紅在畫布中央衝撞亦融合，濃烈色彩流淌中，浮現盎然盛開的紅百合與淋漓的枝葉，足見 周春芽高超的造形能力。然而，現實的描寫並非藝術家所關注的，《百合花》明顯地透露他從中國文人傳統裡領略到「寄情於 景」的精神，周春芽承接此一精神的同時，卻一反古人的含蓄幽微，直視人性內在的慾望與渴求。畫中豐富的疊色與肌理、高 度對比的疏密佈局，使得原是靜態的花卉動感十足、生氣勃發，既有花的嬌柔瀲豔，亦透露一股近忽狂暴的張力，彷若融高 貴、溫柔、激情與衝動為一體的人之本性。 The brushwork in “Flowers” is bold and bright, showing no signs of hesitation. Green and red on the canvas seem to both clash and coalesce at the same time. In the midst of such rich color, blooming red lilies with elegant leaves and stems shine through, displaying Zhou’s superb ability to form his subjects. Yet realistic depictions are not what the artist is truly concerned with. “Flowers” clearly conveys what Zhou had learned from Chinese literati traditions: the ethos of “imbuing a scene with feeling.” While Zhou inherited this ethos, his art takes a direction which is opposite to the modesty and grace of the elder generation; he gazes directly into the wishes and desires of humanity. The rich layering of color and the texture of its surface, as well as the high contrast of density in the spacing, enliven the once passive flower into a burgeoning vitality.

The painting maintains the flower’s gentle charms, while allowing sudden glimpses of raging tension, mixing gentleness and nobility with passion and impetuosity.

40

357

ZHOU Chunya (Chinese, b. 1955)

Lily

1998 Oil on canvas 72.5 x 60.5 cm Signed lower right Zhou Chunya in Chinese and English, dated 1998

周春芽 百合 1998 油彩 畫布 72.5 x 60.5 cm 簽名右下：1998 周春芽 Zhou Chunya

NT$ 2,400,000-3,200,000 RMB$ 530,000-706,000 HK$ 622,000-829,000 US$ 79,700-106,300

《百合》以油彩為媒材，以最簡單的形式表達大自然的精髓。周春芽在早期時領悟到，只需一枝花便能夠成為主題。傳統水墨 畫中盛開的百合細緻動人，周氏在此作中則以懷舊的風格點染，簡單數筆便令畫作生動傳神。周春芽成功捕捉了盛開百合的神 韻，評論家對於八大山人的評論，恰可適用於本作品，正是「用筆不多不少，恰到好處地傳達出主題之美」。花朵以懷舊簡練 的筆觸繪畫而成，在潔白無垠的背景上成為視覺焦點，這種表現方式來自水墨畫中的留白，「無一物之處卻有最深遠意」，與 詩人畫家馬德生在八零年代早期詩作中想要表達的想法相同。畫作上，百合盛放的永恆美態令人回溯過去，在以簡約有勁的筆 觸描繪的枝葉襯托下，尤如在畫面上翩翩起舞。 “Lily” epitomizes nature in its simplest form through the medium of oil. The artist realized early on that a floral sprig could be a subject on its own during the early phrase of his artistic career. While the depiction of a lily in full bloom encompass qualities of a delicate softness frequently found in the classical ink tradition, the nostalgic composition of the brushstrokes adds dimension to the painting. The artist has succeeded in capturing the essence of a lily in full bloom, in line with a saying often utilized to describe the works of Bada Shanren, which posits, “there is not a missed line, nor the requirement of an extra brush stroke to bring out the beauty of the subject matter.” The nostalgic airy brushstrokes of the flowering blossom becomes the focal point against the white backdrop that offers a delimitation of space, this attribute adheres to a theory in the Chinese ink and wash paintings tradition that predicates upon the notion where the void “is not devoid of sense”, as declares a poem from the poet and painter Ma Desheng the early eighties. The timeless beauty of a lily in full bloom is reminiscence of tradition while the simplified, more vigorous brushstrokes used to render the stem and leafy sprigs issuing the nostalgic flowering lily dances harmoniously upon the canvas.

42

Lot 354 剪羊毛 Sheepshearing

周春芽藏族系列作品十大拍賣成交排行 TOP 10 MOST EXPENSIVE TIBETAN SERIES WORKS BY ZHOU CHUNYA EVER SOLD AT AUCTION

剪羊毛

成交價

Sheepshearing

US$ 4,802,858

1981 Oil on canvas 170 x 236 cm

拍賣時間/地點

RMB 30,475,000 中國嘉德 Guardian, Beijing 16 Nov, 2011

藏族新一代

成交價

New Generation Tibetan

US$ 4,349,880

1980 Oil on canvas 149.3 x 198.4 cm

拍賣時間/地點

HKD 33,720,000 香港佳士得 Christie's, Hong Kong 23 Nov 2013

餘暉

成交價

Radiance of the Sunset

US$ 1,171,983

1982 Oli on canvas 109.5 x 79.5 cm

拍賣時間/地點

RMB 7,230,000 上海佳士得 Christie's, Shanghai 26 Apr 2014

藏族新一代

成交價

New Generation Tibetan

US$ 913,830

1980 Oil on canvas 149.3 x 198.4 cm

拍賣時間/地點

RMB 6,272,000 北京匡時 Council, Beijing 07 Dec 2008

諾爾蓋的春天

成交價

Grassland in Spring

US$ 854,380

1985 Oil on canvas 150 x 180 cm

拍賣時間/地點

RMB 5,824,000 北京保利 Poly, Beijing 22 Nov 2009

46

陰影裡的羊和陽光下的狗

成交價

Sheep and Dogs under the Sunlight

US$ 820,755

1985 Oil on canvas 100 cm x 120 cm

拍賣時間/地點

餘暉

成交價

Radiance of the Sunset

US$ 568,560

1982 Oli on canvas 109.5 x 79.5 cm

拍賣時間/地點

RMB 5,175,000 廣州華藝 Holly’s, Guangzhou 10 Jun 2012

RMB 3,680,000 北京保利 Poly, Beijing 02 Jun 2011

藏女

成交價

Tibet Women

US$ 272,032

1990 Oli on canvas 70 cm x 54 cm

拍賣時間/地點

RMB 1,725,000 北京保利 Poly, Beijing 02 Jun 2012

在西藏的草原上

成交價

On the Grassland of Tibet

US$ 272,032

1988 Oli on canvas 80 cm x 60 cm

拍賣時間/地點

RMB 1,495,000 北京匡時 Council, Beijing 03 Dec 2013

西藏

成交價

Tibet

US$ 144,480

1986 Oli on canvas 63.5 x 77.5 cm

拍賣時間/地點

HKD 1,120,000 香港佳士得 Christie's, Hong Kong 24 Nov 2013

2016年3月，周春芽與卡達文化部長、卡達公主謝哈阿勒瑪雅莎 (卡達博物館主席)、 卡達王子、中國國家藝術基金會主席、藝術家蔡國強於卡達博物館展覽現場 March, 2016, Zhou Chunya, Princess Sheikha Al Mayassa (Chairperson of Qatar Museums) and Prince of Qatar, the chairman of China National Arts Fund, artist CAI Guo-Qiang at the exhibition in Qatar Museums

預展日期

地點

台中 2017年11月11日（六）下午1:00至下午6:00 2017年11月12日（日）上午11:00至下午6:00 豐藝館 台中市西區五權西路一段110號B1 高雄 2017年11月18日（六）~ 19日（日）上午11:00至下午6:00 琢璞藝術中心 高雄市前金區五福三路63號8樓 香港 2017年11月25日（六）~ 26日（日）上午11:00至下午7:00 君悅酒店 香港港灣道1號5樓 （CES） 台北 2017年11月30日（四）~ 12月2日（六）上午10:00至下午6:00 萬豪酒店 台北市中山區樂群二路199號3樓（博覽廳）

PREVIEWS Taichung

Saturday, November 11, 2017, 1:00pm - 6:00pm Sunday, November 12, 2017, 11:00am - 6:00pm Fong-Yi Art Gallery B1, No. 110, Section 1, Wuquan W. Rd., West Dist., Taichung, Taiwan

Kaohsiung

Saturday, November 18 - Sunday, November 19, 2017, 11:00am - 6:00pm J. P. Art Center 8F, No. 63, Wufu 3rd Rd., Qianjin Dist., Kaohsiung, Taiwan

Hong Kong

Saturday, November 25 - Sunday, November 26, 2017, 11:00am - 7:00pm Grand Hyatt Hong Kong CES, 5F, No. 1, Harbour Road, Hong Kong

Taipei

Thursday, November 30 - Saturday, December 2, 2017, 10:00am - 6:00pm Marriott Taipei Grand Space, 3F, No. 199, Lequn 2nd Road, ZhongShan Dist., Taipei, Taiwan

SPECIAL AUCTION OF WORKS BY ZHOU CHUNYA