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0527 2013年作 山原的凝视 镜心 水墨纸本

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拍品信息

作者 刘丹(b.1953) 尺寸 147.5×350cm
作品分类 中国书画>绘画 创作年代 2013年作
估价 HKD  4,000,000-5,000,000
成交价 登录后可查看
专场 现当代书画专场 拍卖时间 2017-10-02
拍卖公司 北京匡时国际拍卖有限公司 拍卖会 匡时香港2017秋季拍卖会
出版:《心道合一:刘丹》,苏州博物馆,2013年
《水墨无疆:刘丹的绘画》,明尼阿波利斯艺术博物馆,2016年
款识:山原旷其盈视,川泽与其骇瞩。癸巳年金陵刘丹画。
说明 展览:《心道合一:刘丹》,苏州博物馆,中国,2013年5月5日-7月10日
《释放未来:中国当代水墨邀请展》,北京亚洲艺术中心,中国,2014年6月21日-8月10日
《水墨无疆:刘丹的绘画》,明尼阿波利斯艺术博物馆,美国,2016年9月17日-2017年1月29日

兼容中西 在相互验证中殊途同归 — 刘丹 《山原盈视》

刘丹自幼醉心于文艺复兴时期的传世经典画作,痴迷于大师们的精湛技巧,于彼时便凸显出过人的素描造型能力。后转入江苏画院名师亚明门下,专攻国画。精进画艺同时,潜心钻研中国古代山水画的结构与观念。1981年,移居纽约后,刘丹往返于各大美术馆,研究西方大师的创作方法。这两段重要的研习经历,丰富并拓展刘丹的思想与理念的同时,使其得以构建起自我的知识体系,并引导其最终走向探索水墨可能性的艺术创作之路。

刘丹认为“素描”与“水墨”本身就不处于一般中西绘画意识形态中的对立地位,而他之所以神往欧洲中世纪至文艺复兴时期大师的素描手稿,是因为这些作品是艺术家们在一个私密的时空里,为模仿上帝的心灵和意志而作。而根据素描手稿而进一步完成的作品,却只是为了满足观者的需要,以达到宗教教义和皇权思想的普及。中国早期的法书绘画,也是一种在心灵和精神层面上,探讨宇宙及其神秘性而留下的痕迹。同样都是对着“上方”说话,两者之间确有异曲同工之妙。若从横向关系上讲,一种文化行为,不能仅仅在单一的文化语境中被检验。例如顾恺之的《女史箴图》与波提切利的素描手稿,就“气韵生动”这一美学最高原则来讲,两者都能当之无愧地在同意层面中互相检验。1作为兼容中西的艺术家,刘丹认为自己能同时明白并把握这两种视觉语言是一种特殊的幸运,他亦时常于两者之间进行相互验证,转而作用于其探索水墨可能性的创作之中。
由广大致精微 于芥子境须弥

刘丹于上世纪八十年代,开始探索山水画的结构问题,尤其在以石头入画的题材中认识到石头之于中国山水画的结构有着类似“干细胞”的作用。“石”在中国文人对如何营造精神空间与物质空间的价值观里,承担了一种时空转换的致幻功能。基于这种认识,刘丹发现了一个适应于转化万物的变形系统。当其描述某些特定的石头时,他完全忠于眼前的形式,但他的山水画却像是以不可阻挡之势自然地生长而成,以此寻求中国山水画的一个大的宇宙观的支撑,恢复对天地人三者间解构的认知能力。山水通过其变化的位置和视点,提出了有关于人和大千世界之联系的问题,这是刘丹对传统文人美学进行的意味深长的反思,并经过时空的转移与他对古今之间频繁对话的深思熟虑而将之重新的解释。2于一方石中窥见天地,由一脉山水参见宇宙,于精微处探索广大,于芥子中造须弥境。精确中的模糊 确定中的不确定

画中的物质形体,不仅仅具有传达山石造型的特性,也能够将所有的形象转化为莫可名状的幻象,目的是以一种完全不具叙述特质的形式,为山水画领域重建一种物象之外的新秩序。 刘丹

刘丹对于中国书画艺术的贡献是将古人对于宏观世界的认知,转向为对微观世界的探索。而对微观物象的探索就常将人引到对物象的精确性与客观性的定义与理解,然而刘丹确认为感觉上越是清晰的物体,在意象上却常常是模棱两可,量子学里的波粒二象和中国哲学里对宇宙一切事物变动不居的认知,其实都与物象的精确性及客观性相矛盾,因而他常常喜欢在熟悉中创造出陌生感,让具象的东西变得不再受定式的限制,而变得自由与跳脱。
1.2012年今日美术馆展览刘丹访谈 采访人李小倩,《心道合一》,苏州博物馆出版,2013年,页22
2.前言 刘丹的水墨艺术 — 张欣,《心道合一》,苏州博物馆出版,2013年
THE MUTUAL VALIDATION AND INTEGRATION OF THE CHINESE AND WESTERN ART
Liu Dan’s fascination with Renaissance masterpieces began at a young age and showed an extraordinary skill at sketching. He was later brought under the instruction of Ya Ming in traditional Chinese paintings at the Jiangsu Chinese Painting Institute, where he further cultivated himself of the concepts and composition of Chinese landscape painting. Soon after his arrival in New York in 1981, Liu Dan strengthens his artistic studies of western art through constant visits of various museums and their masterpieces. Such experiences enabled Liu Dan to re-examine and integrate his knowledge of artistic theory and practice, through which he decided to commit himself solely to the studies of the ink art paintings.
Unlike the prevailing ideology of Western versus Chinese art, Liu Dan has never regarded “drawing” and “ink painting” as two opposing art form. And in fact his admiration for masters drawing from the Medieval and Renaissance periods derives from the fact that the masters created these works in private. They endeavored to render in art what in their imagination were the embodiments of the soul and the will of God. However the later on finished paintings that were based on these drawings were geared towards a wider audience for the purpose of disseminating religious doctrines or spreading royal authority. We can also see that in early Chinese calligraphy and paintings, the artists’ attempt to explore the mystery of the universe at the spiritual and metaphysical level. Both these artworks are sublime despite being different in form. Their commonality is the exploration of the relationship between mankind and nature. He has always believed that, on the horizontal plain, it is not enough for art to prove itself in just one culture environment. For instance, the “Admonitions Scroll” by Gu Kai-zhi and drawings by Botticelli withstand being measured against the highest aesthetic principle of “spirit-resonance and life-movement” 1(气韵生动). As an artist living in our times, who has been compatibly influence by both Chinese and Western aesthetic values, Liu Dan has considered himself as an especially fortunate artist, who can be able to appreciate and apply both these visual languages and he often tests his art in both system, which functioning in his exploration of the possibility of the ink art in return.
FROM IMMENSITY TO MINUTENESS, TO FOUND SUMERU IN A MUSTARDSEED
Liu Dan started to explore the concepts and composition of Chinese landscape painting from the 1980S, specifically from the “Rock (stone)” theme paintings, he discovered that the rock somehow play the role of the “stem cell” to the landscape. In the past, rock has performed the illusionary function of transforming the sense of the time and space, which enabled the Chinese literati to create a value system that defined the relationship between the spiritual and material spaces. Based on this understanding, Liu Dan discovered a transformational system that can be applied to different painting structures. When he depicts a particular rock, he appears to be faithful to the object. But his landscapes grow naturally into shape with an unstoppable momentum. He seeks a profound world-view as a relationship between heaven, earth and the human being. His landscapes, through changes of positions and angles, allude to the relationship between the human being and the world at large. They reflect Liu Dan’s interpretation of traditional literati aesthetics based on this in-depth contemplation of the transformation of time and space, as well as the relationship between the past and the present.2 From Liu Dan’s perspective through his art works, from a piece of rock, one can seek out the essence of heaven and earth, from one landscape range, one can realize the nature of the universe. From the immensity to the minuteness, a realm of Sumeru could be founded in a mustardseed.
THE VAGUENESS IN THE ACCURATENESS, THE UNCERTAINTY WITHIN THE CERTAINTY
The physical elements in a painting can do more than simply convey the shapes of rocks and mountains. They can also be employed in a totally no-narrative form to transform the images into indescribable illusions, with the aim of constructing a new order for landscape paintings other than identifiable images. — Liu Dan
Liu Dan has contributed to the Chinese ink art by exploring the microcosmic world, which was a shift from the ancient masters, whose understanding of the world was at the macrocosmic level. Yet people tend to associate the microcosmic with an accurate and objective portrayal of an image. But from Liu Dan’s perspective, when something appears very clear, its imagery is in fact vague. Both the Quantum physics theory of the duality of wave-particles and the ancient Chinese recognition of the constantly changing nature of the universe conflict with the materialistic concepts of accuracy and objectiveness. As such, Liu Dan has been enjoyed to create a sense of otherness in things that are familiar to us, making a realistic object non-restricted, to realize the freedom by escaping from the limitation of the fixed thinking mode.

In Liu Dan’s paintings, he has been inclined to take an object out of its ordinary context, by means of enlarging or focusing depiction of the object, he create a distance between the imagery in the painting and the actual object, which makes the audience feel familiar and unfamiliar with the object, yet feel the sense of reality and uncertainty simultaneously. Base on the uncertainty strives from the certainty, Liu Dan managed to reconstruct an order apart from the physical object, in which an intangible subtleness grows and a familiar sense resonates, and reversely leads the audience to explore more possibilities beyond.
1.Interview with Liu Dan — Conducted by LI XIAO-QIAN on the occasion of a group exhibition at “Today ” Museum 2012, The Union of Mind and Dao, Suzhou Museum, 2013, P23
2. Foreword by Zhang Xin, The Union of Mind and Dao, Suzhou Museum, 2013
刘丹的画作中常将物象从环境中抽离出来,并通过放大和聚焦将画中的物体与真实拉开距离,让观者对眼前的景与物,既感熟悉又感陌生,既觉得真实却又觉得不确定,这种“看山不是山”的神奇感觉,对观者是一种全新的艺术体验。
这种在精确中生发出的模糊,在确定之中凸显出来的不确定,重建起了一种物象之外的新秩序,让他的作品变得不可捉摸,有熟悉的回响,却又更加吸引人去探索新的广阔与更多的可能性。
限制中显其能手 法则中方有自由

苏立文曾说我们应从雕塑家的角度去看刘丹的艺术,因为我们可以从不同的方面去欣赏他的作品,这些作品不仅表现了刘丹与传统和自然的关系,同时再现了一个纯粹的造型。歌德曾言:“在限制中才能显出能手,只有法则能给我们自由”,观察刘丹的画作,处处得见他对传统和法则的强调,用他自己的话说:“掌握法则是为了约束的解除,我抵达自由的途径靠的是自律精神”。他认为就水墨画而言,他反映了画家与笔墨纸砚的生态关系,在这种生态关系建立的过程中,我想他对限制和法则的尊重,以及他近乎神奇的笔墨,让他走得更高更远。

想法和目的,不论它们多么崇高,不等于是好的艺术,当下这么多流行的观念艺术如此糟糕,就是一个见证。秘诀不在于此,秘诀是艺术家所具有的把感觉转化为造型的才能,这是一个神秘的出自直觉的过程,艺术家对它可能有种模糊的感觉,有的时候甚至没有,但是它驱使艺术家作出某种选择。— 苏立文3
盈视中之山原 弥合古今中西之经纬
刘丹对于文艺复兴时期古典大师们的作品的热爱,贯穿于他几十年的创作生涯。正如他说:“有时我会将达芬奇的《最后的晚餐》的韵律转化为山水”,在他近年一系列的山水作品中,以独特的视角将这些大师之作转化,并用独一无二的艺术语言创作出了致敬这些传统的壮丽山水。其山水画《皱褶重新被确定》的创作便受到拉斐尔《圣本尼迪克特接受门徒莫瑞丝和普拉西德斯》的启发。他的绘画质疑着传统题材的分类,他采用人物画的构图但又重新解构 —人物在刘丹这一系列的山水画中扮演着石头或“干细胞”的角色。他的灵感来源还包括弗拉•巴托洛梅奥,波提切利等大师的银尖画,体现着他对绘画材料和技法的关注。
此次这件《山原盈视》,正是受让•奥古斯特•多米尼克•安格尔的名作《露易斯•奥松维尔夫人》的启发,画中夫人的眼神引起了刘丹的注意与无限的遐想,她瞳孔中的深邃透闪着神秘的光芒,充满了无法捉摸的可能,正是在这迷人的眼神之中,刘丹的心中闪现出了一脉奇幻的山原。山原旷其盈视,川泽纡其骇瞩5,艺术家将古今中西的经纬弥合在了一仁瞳孔之中,他让我们在奥松维尔夫人的盈视中看见了另一个维度中的山原川泽。
3.为刘丹写得几句话 — 苏立文, 《心道合一》,苏州博物馆出版,2013年,12页
4.谢伯轲 《里里外外:中国的 × 美国的 × 当代艺术》展览图录,普林斯顿大学艺术博物馆,2009年,242页
5.王勃(唐)《滕王阁序》
CONSTRAINTS BRING OUT TALENT, RULES GIVE US FREEDOM
Michael Sullivan once said that we should think of Liu Dan as a sculptor, since we can appreciate his painting in several ways, not only as an expression of his engagement with tradition and with nature, but as a pure form. Just as the famous remark from Goethe: “Constraints bring out our talent, rules give us freedom”, in Liu Dan’s art work, we can always sense his emphasizes on the importance of the tradition and discipline, in his own words: ”the objective of mastering principle is to free oneself of their constraining effects. I have attained this freedom through self-discipline”. From his perspective, the inner structure of the ink art is the organic relationship between the artist, the brush, the paper and the ink. During his establishment of this organic relationship, his respect and tribute to tradition and principle along with his almost miraculous ink-brush technique has guided his art onward and upward.

Ideas and aims, however noble, don’t make good art, as witnesses the badness of so much of today’s fashionable Conceptual art. The secret does not lie there, but in that gift possessed by the artist of translating feeling into form, a mysterious instinctive process that the artist of translating feeling into form, a mysterious instinctive process that the artist barely understand- or not at all – but which compels him, or her, to do this, and not that.3
LANDSCAPE IN THE EYES OF THE BEHOLDER,
WHERE THE ANCIENT AND THE PRESENT,
THE CHINESE AND THE WESTERN CONVERGE
Liu Dan has been demonstrated his fascination with and affinity for the masters’ drawing from the Medieval and Renaissance periods during his artistic career. “ I would sometimes… take Leonardo’s Last Supper,” he recalls, “and transform its rhythms into a landscape”4. To givbe his respect and salute to these traditional masterpieces, in his recent series of landscape painting, he’s transformed some of these masterpieces into magnificent landscape with his distinctive observation perspective and miraculously unique artistic language. For instance, his landscape work Redefining “Pleats of Matter” was inspired by Raphael’s St. Benedict Receiving Maurus and Placidus. His work has challenged the conventional categorization of the subject of the paintings. He adopted the composition of the figure painting yet deconstructed when application — in this series of landscape the figures play the role of the “rock” – the “stem cell”. Apart from Leonardo Da Vinci, Raffaello Sanzio, masters such as Fra Bartolommeo, Sandro Botticelli and etc have also inspired him. From their inkless beta pen, he explored and acquired new ideas on the material choosing and technique adoption.

The great piece of Landscape in the Eyes of the Beholder is created in the inspiration from Jean-Auguste-Dominique Ingres’s masterpiece Comtesse d’Haussonville. The madam’s deep charming eyes has attracted Liu Dan’s attention and his imagination derives out it. Her eyes look so deep and recondite, glittering with a mysterious glamour, in which Liu Dan imagined out a fantastic mountain range. The mountain is wide-stretched and the plateau is vast, fulfilling the beholder’s eyes; yet the rivers and swamps twist, circulate and compose a marvelous landscape5. By artist’s miraculous depiction, the ancient and the present, the Chinese and the Western converges within Comtesse d’Haussonville’s pupil, where a fantastic landscape from other dimension forged.
3.Some Thoughts for Liu Dan - Michael Sullivan, , The Union of Mind and Dao, Suzhou Museum, 2013, P13
4.Jerome Silbergeld et al., Outside In: Chinese × American × Contemporary Art, exh. Cat., Princeton University Art Museum, 2009, P242.
5.Wang Bo, Tang Dynasty, Preface to Pavilion of Prince Teng (滕王阁序)
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