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Cui Ruzhuo Cui Ial Tion of C C U Glossiness of Uncarved Jade Uncarved of Glossiness Spe a ｢ 太璞如琢 [VI] ｣ - 崔如琢精品專場 )

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Cui Ruzhuo Cui Ial Tion of C C U Glossiness of Uncarved Jade Uncarved of Glossiness Spe a ｢ 太璞如琢 [VI] ｣ - 崔如琢精品專場 ) GLOSSINESS OF UNCARVED JADE SPECIAL AUCTION OF CUI RUZHUO[VI] ｢ 太璞如琢 ｣ - 崔如琢精品專場 [VI] S GLOSSINESS OF UNCARVED JADE P ECIAL HONG KONG 4 APRIL 2016 2016 4 4 香港 年 月 日 Au C TION OF Cu I Ru Z H U O ( VI ) 太璞如琢 – 崔如琢精品專場 (VI) 4 APRIL 2016 4 APRIL HKS2316 7TH FLOOR, ONE PACIFIC PLACE, 88 QUEENSWAY, ADMIRALTY, HONG KONG • 香港金鐘金鐘道 88 號太古廣場 1 期 7 樓 • +852 2303 9899 EMBRACING THE PAST AND PRESENT, AND OPENING A WAY FOR THE FUTURE 懷抱古今 ，繼往開來 DIRECTOR OF THE PALACE MUSEUM 故宮博物院院長 SHAN JIXIANG 單霽翔 故宮的午門，是紫禁城的正門，東西城台從門樓兩側向南伸展，形如翅膀，也叫雁翅樓。遠遠看去， 午門雁翅樓就像張開的手臂，環抱著端門廣場，迎接著四海遊客。 紫禁城有近六百年歷史，作為故宮人，有一個美好的願望，要把壯美的紫禁城完整地交給下一 個六百年。為了這一目標，這些年來，故宮博物院著手維護、恢復紫禁城的空間，讓他更加壯 麗，更加有尊嚴；而紫禁城的壯美，不僅僅體現在建築層面，更重要的是，要讓紫禁城的空間， 充滿歷史與文化內涵，讓作為公共博物館的故宮，為公眾奉獻上一道道豐盛多彩的文化大餐。 午門雁翅樓的修復，是故宮古建築整體維修保護工程的一部分，於 2015 年竣工投入使用後， 成為獨具特色的博物館展廳，雄踞古都北京的傳統中軸線上，高舉在半空中，外觀完全保持中 國傳統建築風貌，內部則是能夠迎接任何級別珍貴文物的大型現代化展廳。在這裡舉辦的第一 個展覽是“普天同慶——清代萬壽盛典展”，為故宮博物院九十歲生日，獻上一份喜慶、吉祥、 厚重的大禮。今天，午門雁翅樓又迎來了崔如琢先生的作品大展。 如果說萬壽盛典展，是對紫禁城歷史的回顧和致敬；那麼崔如琢先生的作品展，則是故宮博物 院對未來的探索和拓展。故宮博物院擁有 180 多萬件文物藏品，這些文物，經過歲月洗禮而愈 發珍貴，是我國歷史、文化、藝術最重要的組成部分，是中華民族的精神寶藏。面對歷史，我 們是守護人，面對未來，我們是傳承人。故宮博物院從歷史中走來，也有責任參與中華民族未 來歷史和文化的建構。前些年，故宮博物院舉辦過吳冠中、劉國松等當代藝術家展覽，開始對 當代文化藝術的關注；今天，在午門雁翅樓舉辦崔如琢先生的作品展，更表達了故宮博物院對 當代以及未來文化藝術的參與和判斷。故宮博物院不僅典藏歷史，也在創造歷史。 崔如琢先生的藝術成就，有諸多大家點評，毋庸贅言。我感受頗深的是崔如琢先生的文化視野、 胸襟和氣魄。凡大家，必有大氣象，大目標，大追求。崔如琢先生一直認為，在世界藝術史論述中， 西方價值觀主導下的藝術判斷，極大低估了中國藝術所取得的成就，因此，他從理論以及實踐 兩個層面，積極拓展中國藝術影響力，爭取其應有的評價和地位。 對於傳統文化，崔如琢先生更有拳拳赤子之情，多次贊助與傳統文化相關的公益事業。近日， 如琢故宮基金會成立，將致力於故宮學術研究、古建築修繕、古器物修復技藝傳承等領域，不 僅為博物館發展貢獻力量，更為社會各界捐助文化遺產保護公益帶了一個好頭。我相信，在崔 如琢先生的帶動下，我國的文化事業會得到越來越多的支持和關注，在發展中迎來新的繁榮。 太璞如琢。願崔如琢先生的藝術，如同渾厚的璞玉，在歲月的焠鍊和琢磨中，一步步走向高峰。 The Meridian Gate of the Palace Museum, also known as the main entrance of the Forbidden City has two corridor-like buildings at each side of the central tower. They extend southward as if wings of the Gate, and thus are named as Bird-wing Corridor. At distant look, the Meridian Gate greets its visitors from all over the world with its arms open and embraces the Duanmen Gate Square. The Forbidden City is almost 600 years old. As a member of the Palace Museum, I wish to pass on its magnificence wholly to the future for another 600 years. To achieve this goal, the Palace Museum has started a project of maintenance and restoration for years, to enhance the magnificence and nobility of the Forbidden City. Yet the magnificence of the Forbidden City is not only about the architecture itself, but also the historical and cultural connotation hidden inside the space of the Forbidden City. As a public museum, it is the Forbidden City's responsibility to offer the most sumptuous culture feasts for all. The restoration of the Bird-wing Corridor is part of the Forbidden City's ancient architecture maintenance and restoration project. After the completion of the restoration in 2015, it was put into use as a unique exhibition hall. In terms of the exterior appearance, the Meridian Gate remains as a traditional ancient architecture lies on the central axes. While in terms of its interior, it is a huge and modern exhibition hall that can hold any level of antiquity exhibition. The first exhibition held in the Meridian Gate – The World Rejoices as One: Celebrating Imperial Birthdays in the Qing Dynasty is an auspicious and sincere gift offered to celebrate the 90th birthday of the Palace Museum. Today, we once again welcomes the exhibition of Mr. Cui Ruzhuo's works. If the Exhibition of the "Imperial Birthdays" is a retrospect and tribute to the history of the Forbidden City, then Mr. Cui's exhibition is the Museum's exploration toward the future. The Palace Museum has a collection over 1,800,000 antiques. These objects are becoming increasingly precious as time goes by. They are essential part of China's history, culture and art. They are the spiritual treasury of the Chinese nation. We are guardians when facing the history, while successor when facing the future. The Palace Museum is part of the history. And also, it is responsible for construction the future history and culture of Chinese nation. A few years ago, we have held exhibitions for modern artists like Wu Guanzhong and Liu Kuo-sung and have begun to pay attention to modern cultural arts. Mr's Cui Ruzhuo's exhibition, which is held in the Bird-wing Corridor today demonstrates once again the Palace Museum's involvement and judgement of future cultural art. The Palace Museum not only reserves history, but also creates one. The artistic achievement of Mr. Cui is well recognized by many masters. There's no need for repetition. What I feel most deeply is Mr. Cui's cultural respective, the broad breath of mind and the boldness of vision. All masters must be bold, ambitious and aspiring. Mr. Cui always believes that the Chinese artistic achievements are extremely underestimated in the global art history narration guided by Western mainstream values. Therefore, he actively explores the influence and promote the status of Chinese art through both theoretical and practical aspect. Mr. Cui has a sincere and simple love toward traditional culture. He sponsors many traditional cultural related public causes. Recently, with the establish of the Ruzhuo Palace Museum Foundation, a series of programs including academic studies, ancient architecture restoration, implement of antiques and inheritance of traditional techniques has begun. It not only contribute to the improvement of museum, but also set an example for all circles of society to support cultural heritage projects. I have strong faith in Mr. Cui. Driven by him, China's cultural undertakings will win more support and attention, and is increasingly likely to achieve another peak in the process of development. The uncarved jade glosses. I wish Mr. Cui Ruzhuo's works are like pieces of dense and uncarved jades. They will head all the way toward the summit in the refinement and polish of time. POSTSCRIPT GLOSSINESS OF UNCARVED JADE: EXHIBITION OF CUI RUZHUO AT THE PALACE MUSEUM 解讀崔如琢先生指墨藝術 VICE DIRECTOR OF THE PALACE MUSEUM 故宮博物院副院長 WANG YAMIN 王亞民 Poly Hong Kong 2014 Spring Auction, Lot 2017, set artist's world auction record 2014 年保利香港春拍，Lot 2017《丹楓白雪》，成交價 HKD:184,000,000，創藝術家世界拍賣記錄 近日來，風輕雲淡，木葉落盡，頓感天地間一片澄明。昨日月夜， 偶有會於某家，實為自家面目。所謂“落筆要舊，境界要新”， 閑讀故宮出版社出版的《崔如琢大觀》數卷，但覺先生妙筆清韻、 自有一番自家面貌在。如米芾學書，四十以前自己不作一筆，時 手指生花，不論冊頁、團扇等小品，還是手卷、尋丈巨幅，如奇 人謂之集書，四十以後放而為之，卻自有一段光景。先生作畫， 峰錯列，錦屏舒張，煙雲變滅，絡繹奔會，千里不絕，將一段段 六十以前專肖一家，沒有自己，六十以後天眼方開，日日新、月 南北好山好水，紆徐，舒展，呈現眼前。蓋先生之畫，已入得秋 月新，顯出自家本色。 山浪漫、冬林沉寂，複歸天淡之境，而與窗外之竹影，遠方之西風， 內外相益，婆娑共舞。神遊山水畫卷，真有悠然心會，妙處難與 六十後，如琢開始用指、掌、背蘸墨作畫。指墨系是中國傳統繪 君說之慨也。 畫之秘技，難以掌控，絕少有畫家觸及，唐宋元明墨蹟不見，唯 清代高其佩、高鳳翰，近代潘天壽偶一為之，題材以花鳥、人物 1 居多，尺幅也小，偶見潘天壽花鳥巨作。如琢指墨繼承前人，指、 掌並用，巧妙利用紙的纖維和皮質效果，別出新意，突破了前人 前年冬初，與詩人陳超聚，陳持視世長，有卓識，見先生畫，相 熟紙或半熟紙的指畫材質，創新地使用生皮紙，使得指墨從以前 與絕叫奇特。余非畫家，于畫理粗通，見先生指墨新作《春雨江南》 適合表現小品，發展到巨幅大作，如長達60 米的手卷《千山飛雪》， 手卷，亦覺心花怒開。因與陳超究問今人勝於古人處，其說不能一。 指墨技藝爐火純青，畫面大氣磅礴，氣韻生動。《指墨江山》冊 餘笑曰：“自如琢指墨山水出，所有今人亦有勝古人處。”陳莫能對。 頁為先生指墨山水代表之一，或春或夏，或秋或冬，為綠為赭， 餘曰：“今日但見如琢意到之作，淡墨淋漓，縱橫自在，便失聲叫好， 為水為墨，為焦墨為灰墨，為潑墨為潑彩，極具變化之能事。如 不知其平日經幾爐錘，經幾推敲。大山長水，丘阜溪壑，一一全 琢指下的枯樹和古坡縱橫變化，有環轉飛動之勢，其煙光草木， 具於胸中，不差毫末，然後拋卻影響，指筆具遂。所以量有限之 如帶香氣，山蒼樹秀，水活石潤，於天地外，別有一種靈奇。 宣紙，勢若千里，模糊之處，具諸生韻。就是古人寫得一草一木， 一壑一丘，未有幾分相似，便從大師意到之作學起，都成淡薄， 2 了無意致，故今人未必不如古人矣。”惜兮，知余者陳君已成故人。 先生少時師承苦老，繼則遍仿名家。先生嘗言，凡臨古畫，須細 余觀如琢指墨，美則美矣，曰古茂，曰蒼潤，曰秀逸。就巨幅、小品， 閱古人名跡，先看山之氣勢，次究法格，以用意古雅，筆墨精妙 雖粗豪工致，表達有所差異，而各有美之觀念存乎其中。古茂者 者為上。先生作畫，雖摹古人如董源、郭熙、黃公望、石濤等之 如《日出遠岫明，鳥散空林寂》，氣味醇厚，是美之發於靜穆者也。 丘壑梗概，亦必追求其神韻，不可只求形似。誠從古畫中多臨多 蒼潤者如《煙水茫茫，千里斜陽暮》，草木華滋，峰巒峻厚，是 記，飲食寢處與之為一，識得各家乃是一鼻孔出氣者，而後自己 美之發于雄偉者也。秀逸者如《寒溪竹影》，沙明山淨，林木蕭疏， 的筆墨與之相通，即如琢之所以成為如琢者，神韻自然渾化，蹊 是美之發於清幽者也。總之觀其作品，無論大珠小珠，均有動人 徑自然幽深，林木自然蔥郁，亦於此而見。初則依門傍戶，後者 的撞擊玉盤之聲，各有各的好：古茂的作品，令觀者生靜穆之想； 自立門戶，如五代董源，巨然宗之，米氏父子宗之，黃、王、倪、 蒼潤的作品，令觀者生雄偉之想；秀逸的作品，令觀者生清幽之想。 吳皆宗之，今日先生亦宗之，宗一鼻祖而無分毫蹈襲之處者，正 複而言之，如琢凡制一幅圖畫，皆能引人入勝，斯為大美焉。 其自立門戶而成其所以為我也。先生指墨山水，蒼潤宗董源，雄 渾宗李、範，體勢宗石濤，潑彩宗大千，格局宗潘天壽，皴染宗 余觀如琢指墨，氣韻生動。《浮雲不共此山齊，山靄蒼蒼望轉迷》 傅抱石，以前人之規矩，開自己之生面，不襲不蹈，而天然入穀， 有筆氣，有墨氣，有色氣；而又有氣勢，有氣度，有氣機，此間 可以擢前人而同符，可以傳後世而無愧。自此以後，凡有所作， 即謂之韻。而生動處，又非韻之可替，生者生生不已，深達難盡， 動者動而不板，活潑迎人。《春雲如白鶴》、《江南春遊》、《春 氣韻之渾厚，色澤之古雅，達此境界，其功夫克奏，有自然矣。《金 雲江南》，盡巒嶂波瀾之變，亦盡筆內筆外起伏升降之變，蓋其 秋無限》、《風船解興月徘徊》如琢用意，墨生指活，橫來豎去， 設境也，隨筆而轉，而構思隨筆而曲，氣韻行於其間。凡物無氣 空虛實際，輕重綿遠，俱有腕中指上出之，其指在松。松者，變 不生，山氣從石內發出，以晴明時望山，其蒼茫潤澤之氣，騰騰 化不測之先天也。所以愈松愈緊，愈遠愈近，愈今愈古，趣在畫外， 欲動。見青煙白道而思行，見山川落照而思望，見幽人山客而思居， 意在手前。 見岩丘泉石而思遊，此思之意外妙也。 3 余觀如琢指墨，胸有丘壑，方能奔赴於腕下，勤賞名跡，自能得 應於心胸。搜羅焉，鑒賞焉，收藏焉，皆觸諸眼前，不論于天化 如琢之畫，勝在境界。晉人王羲之云：“從山陰道上行，山川自 於人造，無不加砥求探索之功，窮其奧妙，極其底蘊，自然神明 相映發，使人應接不暇。若秋冬之際，尤難為懷。”先生之指墨 於法，既不為法所拘，又不至流無所據。如琢《飛雪伴春》、《夏 山水，綿延多姿，會稽山水難以與其媲美。夫大雅之作，唯在境 木蔭蔭更可人》、《秋晚煙嵐》等作品，指墨神逸，能於無筆墨處， 界，此先生所嘗言也。境界之大，在格局；境界之高，在格調。 顯出情真景真之活潑形影，其山水畫作之妙，如真山真水，四時 先生巨畫作《葳蕤雪意江南》、手卷《雪溪江南》，灑灑落落， 不同，春融洽，夏蓊鬱，秋疏薄，冬黯淡，不為板刻之形，則之 一望無際，格局開闊，洵有其大；指墨蒼潤，結體雄健，塵滓汰盡， 氣之態變活矣。其煙嵐之氣四時有異：春山澹冶而如笑，夏山蒼 天然脫俗。得境界者得自在，一似閑鷗翔集，又如雲水風度。先 翠而如滴，秋山明淨而如妝，冬山靜穆而如睡，如真在此山中， 生諸多畫作，如《荷葉似雲香不斷》、《蒼蒼楚色水雲間》等作 則煙嵐之景象正矣。 隨心所欲，信手拈來，卻出以淡然天真，閒雅平和，不著力而力沉， 不雕琢而意豐。指、掌積墨映帶之際，閑和自在，故如風起秋山， 余觀如琢指墨，《雨氣薰薰遠近峰》營丘作山水，危峰奮起，蔚 落英匝地，繽紛絢爛之極，卻又有著平淡沖和之境界，此正先生 然天成。喬木倚磴，下自成陰。軒暢閒雅，悠然遠眺。道路深窈， 之襟懷使然也。指墨運用處，比多了一支毛筆來得痛快，有質感， 儼如深居。用墨濃而皴斫分曉。凝坐觀之，雲煙悠生。澄江萬里， 有溫度。 神變萬狀，不知身置千岩萬壑中。 畫中唯山水最高，雖人物花鳥草蟲，未始不可稱絕，然終不及山 余觀如琢指墨，手卷《明麗春山》、《莫怪孤帆江上行》則霧鎖煙籠， 水之氣味，風流瀟灑，變幻萬千。昔米元章題王維畫云：“雲峰 長煙引素，水如藍染，山色漸青。夏景則古木蔭天，綠水無波， 石跡，迥出天成。筆意縱橫，參予造化。”至題韓幹畫時則曰： 瀑布穿雲，幽亭近水。《秋韻圖》則天如水色，幽林簇簇，雁鴻 “肖象而已，無大物色。”看山川之美，觀山水之畫，同一理也。 秋水，蘆鳥沙汀。冬景則借地為雪，樵者負薪，漁者倚岸，水淺沙平。 凡山之可貴，在層疊起伏不盡之狀。先生指墨山水，精於謀篇， 余觀如琢指墨雪景，《雪溪冬韻》、《郊野吟雪》得寒凝淩競之意， 高下大小，參差錯落，以蒼潤濕蘊之狀，而有峰巒起伏之妙。手 長林深峭，澗道人煙，攝人渾茫，游於靜穆，其象凜冽，其光黯慘。 卷創作取自古人常見手卷形式，案頭把玩，橫向舒卷，溪山無盡， 披拂屈曲，循境涉趣，岩氣浮于幾席，勁飆發於毫末，得其神跡， 次第推衍。團扇、冊頁，以及尋丈、尺幅，兼大小疏密之變，通 以式造化。如琢指墨，觀其運思，纏綿無間，飄渺無痕，寂焉寥焉， 甲骨、鐘鼎收放之體，往往不故常主，佈局多方，絕無雷同之感。 浩焉渺焉，塵滓盡矣，靈變極矣。 其高昂峭拔者如《飛雪伴春》，似孤峰突起、四面削成；其平緩 低矮者如《夏山煙晚》，若平疇遠風，漸行漸遠。 余觀如琢指墨，天分與學歷兼到，則勾勒之勁逸，皴擦之松靈， Poly Hong Kong 2014 Fall Auction, Lot 2010 2014 年保利香港秋拍，Lot 2010《百開團扇》，成交價
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