亞洲現代與當代藝術 Modern and Contemporary Asian Art

207
SANYU
Standing Nude
(Chinese-French, 1895 - 1966)
1920 - 1930s
Ink and watercolor on paper
46 x 29 cm
PROVENANCE
Former collection of Jean-Claude Riedel, Paris
Private collection, France
ILLUSTRATED
Rita Wong, Sanyu Catalogue Raisonné: Drawings and
Watercolors, The Li-Ching Cultural and Educational
Foundation, Taipei, 2014, color illustrated, p. 154, no. W18.
This work is to be sold with the letter of opinion signed by Rita
WONG and issued by The Li-Ching Cultural and Educational
Foundation.
1920 - 1930
46 x 29 cm
2014154W18
NT$ 2,600,000-3,600,000
HK$ 701,000-970,000
US$ 89,600-124,000
RMB 564,000-781,000
我 們 的 步 伐 太 過 時 。 我 們 的 軀 體 太 脆 弱 , 我 們 的 生 命 太 短 暫 了 。 而
時 間 就 像 大 浪 , 一 層 層 洗 去 了 塵 埃 , 最 終 展 現 本 質 的 光 芒
他 用 線 條 佔 領 空 間 , 用 線 來 吐 訴 情 懷 , 在 線 之 畫 情 伸 展 中 , 赤 裸 裸
呈 現 了 他 的 任 性
ELEGANT ON PAPER, SANYU’S BOHEMIAN SENSUALITY
“The steps we take are too slow to keep up with the times. Our
bodies are too fragile. Our lives are too short. And time is like a
giant wave that washes the dirt away, layer by layer, to finally reveal
the shining layer hidden underneath.” - Sanyu
It was in 1921 that Sanyu first set foot in Paris, during a time when
Hemingway’s mighty pen had just began to shake the world,
producing a several decade long banquet of lean yet compelling
literary works. Sanyu was drawn by the prosperity of Paris, and
fully immersed himself into each of the latest artistic trends of the
time. As a part of the School of Paris, Sanyu did not enroll in any
of the more traditional and esteemed schools of art, but instead
preferred the freedom and exuberance of the Académie de la
Grande Chaumière. In comparison to his peers such as Xu Beihong
and Lin Fengmian, Sanyu did not have any grand aspirations.
Instead, displayed a perplexing interest for little more than his art,
and can be said to be the Chinese painter who most took to the
leisurely Bohemian lifestyle of Parisians, uninhibited and painting as
he pleased. The practice revolving around nude portraying at the
Académie de la Grande Chaumière were forbidden back home in
China. In addition to the use of pencil in his sketches, he also used
charcoal to create a greater sense of volume in his drawings. He
also used Chinese ink and brushes for a large number of his nude
drawings. The fluidity and varying innuendos of the calligraphic
strokes made using Chinese ink and brushes became a signature of
his nude drawings.
“The lines he used to occupy the space were also used to convey
his sensualities, as the lines within his drawings unfolded, his
stubbornness was portrayed nakedly.” - Wu Guanzhong, On Sanyu
His drawings are able to withstand the rigors of time; his drawings
are true, moving and full of artistic conception, and are just as
sensitive, stubborn, and indifferent to fame and fortune as the
artist. The nude lady in the drawing, the cloud-like and flowing
lines created using calligraphy techniques are pristine and unaltered,
creating a natural blend between Western and Eastern
cultures, demonstrating the essence of Sanyu’s art.
/1824
Eugene Delacroix, Seated Nude/Mademoiselle Rose, c.1824, oil on canvas, 81x65cm,
Collection of Musée du Louvre, Paris, France
92