朱德群(1920-2014)

構(gòu)圖第五十七號

1960年

畫布 油彩

Chu Teh - Chun

Composition No.57

Painted in 1960

Oil on canvas

127×96 cm

　　文/李丫涯

　　by  Enya Li

　　「我希望透過西方色彩關(guān)系和書法的抽象線條，熔鑄成新風(fēng)格的抽象繪畫：即能表達中國古典詩詞中不可言傳，只能意會的抽象意境。」

　　—— 朱德群

　　"I wish to create a new style of abstract painting through Western use of hues and Eastern calligraphic abstract lines: it will then express the indescribable abstract state of mind as conveyed in Chinese classical poems."

　　— Chu Teh-Chun

　　1999年2月，巴黎法蘭西藝術(shù)院的圓拱大廳內(nèi)舉行著一場深具歷史意義的授勛典禮，年近80歲的朱德群榮膺法蘭西藝術(shù)院院士，成為該院200年來首位華裔院士和首位東方藝術(shù)家。

　　典禮主席M. J. Cardot院士在致詞時點出：「朱德群院士一生的繪畫創(chuàng)作豐富了歐洲文化的內(nèi)容」，這無疑是對朱德群為20世紀西方繪畫的發(fā)展與貢獻做出至高的肯定。而這豐富西土的根葉，正是中國傳統(tǒng)筆墨的東方美學(xué)涵養(yǎng)，讓朱德群從中國走向世界，又在世界緯度的開闊視野中回歸中國，將中國歷代相傳的翰墨技法與意象詩韻，寫意傳神地轉(zhuǎn)書至西方油畫媒材之上，發(fā)展出兼具冷抽象的冷靜、熱抽象的感性，及中國抽象寫意性的革新藝術(shù)語匯，成為20世紀中西方藝術(shù)發(fā)展中，「借古開今」的重要豐碑。

　　圓熟自我：首攀巔峰的東方式抽象

　　30年代于杭州國立藝專求學(xué)時，吳大羽是朱德群最尊崇的老師，給予了他繪畫技巧、理論和思想上深遠的影響，他銘記恩師的教誨：「繪畫即是畫家對自然的感受，亦是宇宙間一剎那的真實」。50年代初期，在臺灣八仙山寫生時，面對如同唐宋時期山水畫中的景致，使朱德群頓悟：中國傳統(tǒng)繪畫中講求的虛實變幻、意境神韻較傳統(tǒng)西方寫實、透視造型更能展現(xiàn)藝術(shù)家面對自然時「天人合一」的心靈感受，此后，他的畫風(fēng)變得質(zhì)樸自然，帶有濃郁的抒情韻味。1956年，正躊躇于自我藝術(shù)發(fā)展去向的朱德群，在巴黎觀看俄裔藝術(shù)家尼古拉·德·斯塔爾（Nicolas de Sta?l）的回顧展后，深刻體會那自由宣泄的抽象繪畫「遠在其他派別之上」，從而逐步擺脫現(xiàn)實的復(fù)制，向抽象表現(xiàn)主義靠攏，讓其終于尋得紀錄「剎那真實」的鑰匙，收獲恩師吳大羽所謂的「繪畫」。巴黎的抽象浪潮為他提供了一個視點，讓他跳出「廬山」而觀其全貌，找到了東西藝術(shù)交融貫通的方式，成為此后貫徹他一生創(chuàng)作的支柱與靈魂。

　　而1960年，更是朱德群藝術(shù)創(chuàng)作歷程中至關(guān)重要的年份，這一年他迎來了創(chuàng)作生涯中的第一個高峰。如自1956年開始抽象的創(chuàng)作起，他的作品已多次獲邀參加主流畫展，作品驚艷巴黎畫壇。1960年，他更獲邀參加當(dāng)時享負盛名、以提倡抽象畫為志的「巴黎派畫展」；并在以推廣抽象藝術(shù)為主的勒讓德爾畫廊（Galerie Legendre）舉行個展。

　　本次拍賣的封面作品《構(gòu)圖第五十七號》便為朱德群完成于1960年，創(chuàng)作成熟地由具象轉(zhuǎn)向抽象，迎來人生第一個創(chuàng)作巔峰期的磅礴代表巨構(gòu)。作品鮮明地詮釋了藝術(shù)家在借鑒西方抽象表現(xiàn)形式的同時，開辟出有別于同時代西方藝術(shù)大家的獨特藝術(shù)表征，為「融合中西」這一東西方藝術(shù)家共同追尋的藝術(shù)命題，覓得最有力的回響，可謂是集東西方抽象繪畫元素之大成的重量級代表作。

　　靈性線條：書法與抽象的精神共振

　　朱德群自幼在其父的指導(dǎo)下習(xí)碑練帖，接受傳統(tǒng)書畫的熏陶，積累了扎實的草書功力。他借鑒傳統(tǒng)中國畫中「書法入畫」的理念，使中國書法著重線條的特長在西方抽象表現(xiàn)中得到充分發(fā)展。在《構(gòu)圖第五十七號》中，朱德群大刀闊斧的以筆刷沾以著赭黑色顏料，大幅刷寫，揮灑出一道道粗細相間的豪放墨線，用中國書法起伏跌宕的恢弘筆觸勾勒高山輪廓。其揮灑勁毫的油彩線條，于筆鋒回、護、鉤、挑，微妙的流轉(zhuǎn)，互相呼應(yīng)，彷佛黃庭堅《廉頗藺相如傳》中的連綿草書筆勢，蒼勁有力又曲折盤繞。

　　藝術(shù)家以書道的腕勁，幻化為自由灑脫的線條，在上下擺闔間飛舞跌宕，為構(gòu)圖的空間布局交織出錯綜的視覺層次。并在疾、徐、輕、重的節(jié)奏韻律中，施以暗紅、淺褐，營造出如傳統(tǒng)繪畫中彩墨渲染的朦朧效果，為濃重的山勢結(jié)構(gòu)，分隔出山峰渠澗、明暗起伏的肌理，創(chuàng)造出三維空間的透視深度。

　　與斯塔爾用畫刀涂抹的強硬尖銳、粗黑厚重的斜構(gòu)性線條不同，朱德群擅長通過畫筆揮灑，配合中國書法輕重緩急的運筆技巧，使構(gòu)圖富有流動美感。以線條表現(xiàn)聞名的西方抽象藝術(shù)家哈同（H. Hartung）認為，抽象線條是無意識行為自動技法下的幾何圖形，因此他在創(chuàng)作過程中強調(diào)藝術(shù)家繪畫過程中的手勢運動及存在性，透過線條本體筑構(gòu)一個超現(xiàn)實意象空間。但無論是哈同、巴贊（J. Bazaine）、蘇拉吉（P. Soulages），還是克萊因（Y. Klein），誰都不曾像朱德群那樣，使線條、乃至團塊，有如此多變的姿態(tài)和表情，都不曾以朱德群的方式使用手中的畫筆。

　　朱德群巧妙地將中國「書畫同源」的精神轉(zhuǎn)化為現(xiàn)代藝術(shù)語言，意存筆先，以意寫畫，以帶書法性的線條鑄就蘊含東方哲學(xué)禪意的意境空間。如果說蘇拉吉的黑色線條層迭而出的是對生命重度的肅穆探討，那么朱德群在《構(gòu)圖第五十七號》中自下而上，層層交錯相迭的線條，構(gòu)筑的則是擺脫生命物質(zhì)性束縛的靈性山水，一種心靈自由躍動的精神性風(fēng)景。

　　恢宏端重：罕見的對稱性構(gòu)圖

　　在作品結(jié)構(gòu)上，《構(gòu)圖第五十七號》采用了對稱式構(gòu)圖，以畫面中央白色光源為基準軸線左右對稱，與奔騰的線條動態(tài)相互制衡，形成視覺平衡。對稱性賦予畫面一種傳統(tǒng)和莊嚴感，致使畫面以一種氣宇軒昂的氣魄，刻畫出中國壯麗山河的瑰麗，且對稱構(gòu)圖由于形式上的嚴謹，往往得自于藝術(shù)家深思熟慮、用心經(jīng)營的巧思布局，顯示出藝術(shù)家格外傾注的個人心血。在朱德群橫跨20年的「構(gòu)圖系列」中，典型左右對稱式構(gòu)圖的作品不逾三件，可謂朱氏畢生藝術(shù)創(chuàng)作中最罕見的構(gòu)圖式樣，珍貴性及特殊性不言而喻。

　　大地色相：流動的抒情色彩

　　在對稱式的宏觀統(tǒng)一中，朱德群更通過穿插于線條中，斑斕色塊間的色彩對比，達到「靜中有動、動中有靜」的微觀制衡。作品中，明亮的橘紅大色塊被安置于畫面中央醒目的位置，引導(dǎo)觀者視線集中于中區(qū)白色高源透發(fā)之處，而暗赭紅、暗綠色塊分散在畫面四周，紅與綠、明與暗的雙重對比鋪成下，一種視覺透視的空間感逐然顯現(xiàn)。朱德群筆下的色塊，顏色細膩豐富，帶有輕薄卻透亮的獨特美感，色與色的混合交迭，好似傳統(tǒng)中國繪畫筆下的暈染效果，透發(fā)出一幅柔美的氤氳韻味。深淺明暗的顏色漸變形式，締造出運動和光的動勢，進而轉(zhuǎn)化成輕松、優(yōu)美的視覺體驗。

　　60年代的朱德群，在巴黎感召于西方的抽象浪潮中，完成了自我此后一生「中西融合，東方抽象」的藝術(shù)探索。他將西方抽象表像的結(jié)構(gòu)，通過自身中國傳統(tǒng)文化底蘊的消解，轉(zhuǎn)化成對應(yīng)于大自然的心靈感動。在他的作品前，觀者若能被一種浩翰宏的沉思和冥想所感動，這便是朱德群的過人之處。他將他所理解的中國文化精神貫穿于個性化的創(chuàng)作之中，使之演化成一種國際語言而發(fā)揚光大，并同時為中國繪畫的發(fā)展開辟了新的篇章。

1960年 朱德群與夫人董景昭攝于法國巴黎盧森堡公園

元 王蒙《春天讀書圖》紙本設(shè)色 132.4×55.5cm  

上海博物館典藏（版權(quán)所有）朱德群將宋元山水畫中「天人合一」的意境通過西方抽象表現(xiàn)手法完美再現(xiàn)于其作品之中

　　In February of 1999, a historically significant inauguration took place within the great arch hall of Académie des Beaux-Arts in Paris. Chu Teh-Chun, now nearly 80 years old, was honoured with membership of Académie des Beaux-Arts, becoming the first Chinese member as well as the first Eastern artist the academy has seen in 200 years.

　　M.J. Cardot, the master of ceremonies and a member of the academy, addressed in his speech: "Member Chu Teh-Chun's life of art has enriched every aspect of European culture." This is undoubtedly a great acknowledgement of Chu Teh-Chun's contribution to the development of 20th-Century Western painting. What enriches Western world is precisely the Eastern aesthetics of Chinese traditional ink art, which allowed Chu Teh-Chun to embrace the world but return to his Chinese roots, translating the brush and ink techniques along with its poetic elegance that have been passed on for centuries in China onto Western oil medium in a lyrical way. Together, the two flourish into a form of composition that is unique to Cold Abstraction yet retains the sensibilities of Lyrical Abstraction. As the form combined with the revolutionary artistic vocabulary of Chinese abstraction, Chu becomes a significant benchmark who has "emulated the past to enrich the present" in the development of 20th-Century Chinese and Western art.

蘇拉吉《Painting》 1953年作 油彩畫布 195 × 130 cm. (版權(quán)所有)

　　Matured Self: Eastern Abstraction at Its First Apex

　　When Chu studied at the China Academy of Art in Hangzhou in the 1930's, Wu Dayu, Chu's most respected teacher, instilled in him the most profound influence regarding painting techniques, theories and concepts. He recalled his teachings vividly: "paintings transcribe an artist's feelings toward nature as well as that fleeting moment of reality in the universe." When Chu Teh-Chun was painting in the Basian Mountains in Taiwan in the early 1950's, he had an epiphany upon recalling the landscape paintings (shanshui) of the Tang and Song dynasties. Emphasising the tangible and the intangible as well as the spiritual reading traditional Chinese painting offers a better representation of the artist's spiritual state of "being at one with Nature" than the Realist expressions and perspective of its Western counterpart. When Chu Teh-Chun felt ambivalent about the direction of his creative path in 1956, he saw in Paris the retrospective exhibition of Nicolas de Sta?l, a Russian artist, and profound realisation dawned on him: untamed and free abstract painting truly "surpassed all other movements". This moment enabled him to gradually distance himself from replicating what is real and to find solace in Abstract Expressionism, thus discovering a portal to document that "fleeting reality". Chu Teh-Chun attained the kind of "painting" that his mentor Wu Dayu spoke of in Paris, and uncovered the method through which art from the East and West mingled. These discoveries became the constant support and essence of his life-long creative career.

　　1960 proved to be a pivotal year in Chu Teh-Chun's creative path as he welcomed the first peak of his career. Since his beginning in abstract creations in 1956, he had been invited to exhibit works at prominent exhibitions multiple times, dazzling the Parisian art scene. In 1960, he was nominated to exhibit at the then famed "Ecole de Paris Exhibition" that strongly advocated abstract painting; he held a solo exhibition at Galerie Legendre, a gallery with a primary focus in abstract art as well. His work won over the critics of the French literary and art circle, and was praised by various art critics and endorsed by dedicated articles in various periodicals.

　　Composition No. 57, the cover artwork of the auction, was completed in 1960, a magnificent work of great maturity created at the first apex of Chu Teh-Chun's creative life as he shifted toward abstraction. The work vividly translates the artist's interpretation of the expressive forms of Western abstract art while launching an innovative and unique artistic sign amongst his Western peers. His work has earned the most compelling response concerning "integration of the East and West", the proposition pursued by both Eastern and Western artists. This is a landmark work that harmonises elements of Eastern and Western abstract paintings.

　　Spiritual Lines: A Spiritual Resonance of Calligraphy and Abstract Art

　　Chu Teh-Chun studied calligraphy under his father rigorously as a young child. Nurtured in traditional Chinese calligraphy and art, Chu accumulated a solid foundation in cursive calligraphy. Chu Teh-Chun drew inspirations from the notion of "calligraphy into painting" from traditional Chinese painting, fully optimising the emphasis on lines in Chinese calligraphy in a Western abstract expression. In Composition No.57, Chu Teh-Chun boldly exercised his paintbrushes using black ochre paint. Decisive and daring, he released strokes of thick and thin black lines onto the canvas. The rhythmic pulse in Chinese calligraphy outlines the contour of mountain peaks, echoing the intricate transitions as the centred brush swirled and danced, boasting a powerful spirituality of Eastern calligraphy. The artist transcribes the robustness of calligraphy as free-flowing lines, leaping gracefully across the canvas in extraordinary form, weaving intricately webbed visual layers in the compositional space.

　　While Sta?l used palette knives to create jarring, sharp, bold and heavy diagonal lines, Chu was adept in coupling paintbrushes with the crescendos of Chinese calligraphy at varying speeds to enrich the composition with fluid elegance. H. Hartung, a Western abstract artist renowned for his expressions of line, believes that abstract lines are geometric shapes born out of unconscious automatic techniques. He thus stresses the importance of gestures and their presence in the artist's creative process, constructing a space of surreal imagery through lines. Nonetheless, whether it be Hartung, Bazaine, Soulages or Klein, no one has ever encapsulated as many expressions as Chu Teh-Chun has in terms of lines or blocks. Their works do not contain Chu Teh-Chun's brush techniques such as dot (dian), turn (zhe), falling stroke (pie), right falling stroke (na) and other forms from Chinese calligraphy – they all stop at mere gestures.

　　Chu Teh-Chun cleverly transforms the spirit of "oneness of calligraphy and painting" in China into Modern artistic language – to think before laying down a stroke and to paint with your soul – the calligraphic lines embody the spiritual realm existing within Eastern philosophies and the notion of Zen. If Soulages' layers of black lines entail a solemn discussion on the weight of life, Chu Teh-Chun constructs a spiritual landscape unrestrained by worldly matters in the work Composition No.57, presenting a spiritual scenery that invites your soul to roam freely.

　　Majestic Solemnness: Rarely-Seen Symmetrical Composition

　　Regarding the work's structure, Composition No.57 employs a symmetrical composition; the light source in the centre is the axis that halves the image, counteracting the rhythmic and dynamic lines to create a visual balance. The work's symmetricity offers the image a sense of tradition and solemnness, allowing the image to sculpt out the sublimity of China's incredible landscape with a striking presence; the rigid form of symmetrical composition is often the result of the artist's calculated arrangement, implying the artist's personal investment in the work. In Chu Teh-Chun's Composition Series spanning 20 years, there are no more than three iconic symmetrical works with the other two being Composition No.31 of 1959 and Composition No.53 of 1960; this is indeed the most extraordinary composition in all of Chu's creative career, its preciousness and uniqueness are apparent.

　　Earthly Hues: Fluid and Lyrical Colours

　　From a macroscopic view of the work's symmetricity, Chu Teh-Chun achieves an equilibrium of "motion within tranquility, tranquility within motion" on a microscopic level through colour contrasts interwoven by lines and spotted Colour blocks. The vividly tangerine blocks are positioned visibly in the centre of the image, guiding the viewer's gaze to fall upon the source of the white energy while dark red ochre, dark green colour blocks scatter across the image; under the dual contrasts of red and green, light and dark, a spatial relation with perspective surfaces gradually. The hues of Chu Teh-Chun's colour blocks are delicate and rich, carrying a uniquely light and translucent aesthetics; the mixing and overlapping of colours look similar to the colouring (ran) technique in traditional Chinese painting, emitting an elegant poise and charm. The hues' variations in light and dark forms achieve rhythms of motion and light before transitioning into a relaxed and graceful visual experience.