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紙本 水墨 1990 簽名左下:莊喆 90 94×73.5 cm (37×28.9 in.) 原收藏者購自藝術家本人 Ink and color on paper 19 9 0 Signed lower left : named CHUANG Che in Chinese,90 Acquired by the original collector from the artist
出版: 勝大莊:《莊喆水墨畫創作》(臺北市:暨美術館,1992 ),頁21。 Literature: Sheng Dazhuang, Chuang Che Ink Painting (Taipei: Ji Art Museum, 1992), p. 21.
莊喆1934年生於北京,其父親莊嚴為已故名書法家暨前北京故宮博物院副院長,莊喆自小培養出熱愛中國藝術興趣。1948年隨家人遷居台灣,1957年畢業於臺灣師範大學美術系。1958年受邀加入「五月畫會」,積極參與中國繪畫現代畫運動。於1963至1973年於東海大學建築系任教。1966年獲美國洛克菲勒亞洲美術基金會資助,赴美考察當代國際藝術一年,曾赴紐約擔任抽象表現主義雕塑家西摩爾.立普頓(Seymour Lipton)的短期助手。1992年應台北市立美術館邀請回國舉辦四十年畫作回顧展,作品亦曾多次在國際展覽中出現,並廣為國內外美術館及私人珍藏。
莊喆在父親莊嚴的引導下,練習水墨與書法,這兩種創作表現至今仍常存於他的作品中。如Lot 1019《靜物》,以東方水墨方式進行西方靜物主題的臨摹,筆觸師法東方,構圖師法西方。以虛實交織的線條構成圖像,整體畫面如中國水墨畫中的大量留白,底部最後的一筆墨線為整體作品增添出空間感。在整體作品中進行東西方藝術的結合。
In 1934, Chuang Che was born in Beijing, China. His father, Chuang Yen was the great calligrapher and the vicedirector of National Palace Museum in Beijing. Chuang Che was introduced to art by his father in his young ages. He moved to Taiwan in 1948, and graduated from Taiwan National Normal University in 1957. In 1958, he joined the “Fifth Moon Group” and actively pushed the modernization of Chinese painting. Between 1963 and 1973, he taught in the Department of Architecture at Tunghai University. In 1966, Chuang Che received a sponsor from the Rockefeller Foundation to study contemporary international art in the United States. He also used to be Seymour Lipton's shortterm assistant in New York. In 1992, he was invited by the Taipei Fine Art Museum to run a solo exhibition. Chuang's works have been exhibited widely and well known between many local, foreign museums and private collectors.
Under the guidance of his father:Chuang Yen, Chuang Che practiced ink and calligraphy. These two creative expressions still exist in his works today. For example, Lot 1019 "Still-Life" uses oriental ink and wash to imitate the theme of Western still life. The brushwork follows the East and the composition follows the West. The image is composed of intertwined lines of virtuality and reality. The overall picture has a large amount of white space just like in Chinese ink painting. The ink line at the bottom adds a sense of space to the overall work. Combine Eastern and Western art for an over all atmosphere.
