Maison des Beaux Arts de L’Indochine, Landscape | 中南半島美術學院 風景
Property from a French Private Collection
Maison des Beaux Arts de L’Indochine
Landscape
lacquer on wood panel
engraved with the MBIA seal on the reverse (lower left)
Executed circa 1930
Length 101 cm, 39¾ in.; Width 60 cm, 23⅝ in.
__________________________________________________________________________
Collection particulière française
École des Beaux-arts de Indochine
Paysage
laque sur panneau en bois
gravé le sceau 'MBIA' au dos (en bas à gauche)
Peint vers 1930
__________________________________________________________________________
法國私人收藏
中南半島美術學院
風景
蝕刻校印MBAI款（作品背面）
木板漆畫
約1930年代作
Condition Report:
This work is in good overall condition as viewed. There is light wear and handling along the edges and corners of the panel, including some nicks, scratches and abrasions. All other inconsistencies, including accretions of dirt and dust, are inherent to the work itself and the age the work. Examination under ultraviolet light reveals no sign of restoration as viewed.
__________________________________________________________________________
整體品相良好，邊角處見輕微磨痕、操作痕跡，如少許細小磕痕、劃痕、磨痕。其餘如灰塵積污，與作品及其年代相符。紫外光檢測無潤飾痕跡。
Catalogue Note:
Completed during the height, or “golden age”, of the modern Vietnamese art movement Paysage (Landscape) is an exquisite testament to the mélange of Vietnamese, Chinese, and French cultural influences that inspired Vietnamese artists. The Maison des Beaux-Arts de L’Indochine played one of the most significant roles in elevating lacquer painting from ornamental to a novel artistic language in the 1930s. With the founding contributions of the French painters Joseph Inguimberty, Victor Tardieu and Evarist Jonchère, alongside Vietnamese artists such as Nam Son, the school was instrumental in providing the tools for artists to pave new roads in art history. As result of the École’s emphasis on creating a new cultural identity grafted from French modernist techniques, many students synthesized European aesthetic styles and indigenous craft sources to inaugurate a hybrid artistic vocabulary that continues to influence the nation’s art scene to this day. Many lacquer works fashioned by École student-painters are highly prized for this mesmerizing blend. The establishment of lacquer painting as a standalone department within the School provided an early training ground for future lacquer masters like Nguyen Gia Tri and Pham Hau to hone their skills in the medium. Known for producing works of the highest level of technical artistry, the creative process at the Maison des Beaux-Arts de L’Indochine (MBAI) involved the collaborative effort of the top students of the École. The exceptional Paysage (Landscape) highlights the beauty and radiance of the lacquer medium. With an elegant simplicity that belies the depth of artistry employed in its creation, this lacquer painting is an exquisite homage to the beauty of the Vietnamese landscape.
Immaculately composed and filled with luminous detail, Paysage depicts a tranquil scene from afar. A sailboat catches wind on the lake as it steers away from a fishing village on the riverbank at the base of a soaring mountain. The viewer’s eye is first drawn to the glorious backdrop – a rocky mountain top, veiled by a profusion of golden leaves sprawling from the right side of the painting. The sky is generously covered in red, while the river below rests in a dark maroon. A nod to the traditions of Chinese shan shui painting, the rocks and foilage on the mountain are delineated in a loose painterly style. Likewise, the leaves of the bamboo trees that sway and willow in the breeze are executed with the delicacy of the ink brush – each leaf distinct and graceful.
The meditative quality of the overall composition in Paysage celebrates the undeniable beauty Vietnam’s rural landscape, and the peaceful lives of the Vietnamese people. Exhibiting the finely-honed artistry and spirit of innovation at the MBIA, this impressive lacquer work represents the great feats that would come to shape the nature of artistry in modern Vietnam.
Compared a similar example with the golden sky, sold in our Hong Kong sale rooms, 8th July 2020, lot 1065.
__________________________________________________________________________
本作成於現代越南藝術運動黃金時期，展現越南藝術家吸收越、中、法文化之長，成就卓越。1930年代期間，漆畫從裝飾品提昇為一種新穎的藝術語言，在這個過程中，印度支那美術學院起了極大作用。學院強調透過傳授法國現代主義的藝術技巧，以創造出當地的藝術文化新語言；許多學生揉合歐洲美學風格及本土工藝靈感，創出混合兩種文化的獨特藝術風格，對越南藝術界的影響延續至今。 學院開設獨立的漆畫部，為未來漆畫大師如阮嘉智、范厚提供專研漆畫的早年訓練。印度支那美術學院的門生以技藝精湛見稱，可謂人才輩出。《風景》是對越南風光的讚歌，它呈現漆畫的美感和光澤，優雅簡約但內藏深厚藝術造詣，令人驚嘆。
本作構圖嚴謹，細節精密明亮，刻劃靜謐的遠景。高山腳下，帆船乘風滑行於湖上，離岸邊漁村而去。首先吸引觀者目光的是明光爍爍的背景—— 金葉從右邊漫延，遮蓋岩山頂峰。天空一片赤紅，以日落色調浸染全景，下方湖水則沈靜於深紅。山石與草木以鬆緩畫意勾劃，隱見中式山水畫風。竹樹搖曳，楊柳隨風，筆觸如水墨精雅，每葉形態獨特，優雅輕靈。人間事物，與自然風景揉合無縫，隱喻天人和諧共處。
本作可與另一件主題相近之漆畫相較，其天空為金色，售於香港蘇富比，2020年7月8日，編號1065。
Provenance:
Acquired by the parents of the present owner in Hanoi in 1930s, and thence by family descent.
__________________________________________________________________________
現藏家之父母於1930年代得於河內，後家族流傳至今
View it on
Estimate
Time, Location
Auction House
Property from a French Private Collection
Maison des Beaux Arts de L’Indochine
Landscape
lacquer on wood panel
engraved with the MBIA seal on the reverse (lower left)
Executed circa 1930
Length 101 cm, 39¾ in.; Width 60 cm, 23⅝ in.
__________________________________________________________________________
Collection particulière française
École des Beaux-arts de Indochine
Paysage
laque sur panneau en bois
gravé le sceau 'MBIA' au dos (en bas à gauche)
Peint vers 1930
__________________________________________________________________________
法國私人收藏
中南半島美術學院
風景
蝕刻校印MBAI款（作品背面）
木板漆畫
約1930年代作
Condition Report:
This work is in good overall condition as viewed. There is light wear and handling along the edges and corners of the panel, including some nicks, scratches and abrasions. All other inconsistencies, including accretions of dirt and dust, are inherent to the work itself and the age the work. Examination under ultraviolet light reveals no sign of restoration as viewed.
__________________________________________________________________________
整體品相良好，邊角處見輕微磨痕、操作痕跡，如少許細小磕痕、劃痕、磨痕。其餘如灰塵積污，與作品及其年代相符。紫外光檢測無潤飾痕跡。
Catalogue Note:
Completed during the height, or “golden age”, of the modern Vietnamese art movement Paysage (Landscape) is an exquisite testament to the mélange of Vietnamese, Chinese, and French cultural influences that inspired Vietnamese artists. The Maison des Beaux-Arts de L’Indochine played one of the most significant roles in elevating lacquer painting from ornamental to a novel artistic language in the 1930s. With the founding contributions of the French painters Joseph Inguimberty, Victor Tardieu and Evarist Jonchère, alongside Vietnamese artists such as Nam Son, the school was instrumental in providing the tools for artists to pave new roads in art history. As result of the École’s emphasis on creating a new cultural identity grafted from French modernist techniques, many students synthesized European aesthetic styles and indigenous craft sources to inaugurate a hybrid artistic vocabulary that continues to influence the nation’s art scene to this day. Many lacquer works fashioned by École student-painters are highly prized for this mesmerizing blend. The establishment of lacquer painting as a standalone department within the School provided an early training ground for future lacquer masters like Nguyen Gia Tri and Pham Hau to hone their skills in the medium. Known for producing works of the highest level of technical artistry, the creative process at the Maison des Beaux-Arts de L’Indochine (MBAI) involved the collaborative effort of the top students of the École. The exceptional Paysage (Landscape) highlights the beauty and radiance of the lacquer medium. With an elegant simplicity that belies the depth of artistry employed in its creation, this lacquer painting is an exquisite homage to the beauty of the Vietnamese landscape.
Immaculately composed and filled with luminous detail, Paysage depicts a tranquil scene from afar. A sailboat catches wind on the lake as it steers away from a fishing village on the riverbank at the base of a soaring mountain. The viewer’s eye is first drawn to the glorious backdrop – a rocky mountain top, veiled by a profusion of golden leaves sprawling from the right side of the painting. The sky is generously covered in red, while the river below rests in a dark maroon. A nod to the traditions of Chinese shan shui painting, the rocks and foilage on the mountain are delineated in a loose painterly style. Likewise, the leaves of the bamboo trees that sway and willow in the breeze are executed with the delicacy of the ink brush – each leaf distinct and graceful.
The meditative quality of the overall composition in Paysage celebrates the undeniable beauty Vietnam’s rural landscape, and the peaceful lives of the Vietnamese people. Exhibiting the finely-honed artistry and spirit of innovation at the MBIA, this impressive lacquer work represents the great feats that would come to shape the nature of artistry in modern Vietnam.
Compared a similar example with the golden sky, sold in our Hong Kong sale rooms, 8th July 2020, lot 1065.
__________________________________________________________________________
本作成於現代越南藝術運動黃金時期，展現越南藝術家吸收越、中、法文化之長，成就卓越。1930年代期間，漆畫從裝飾品提昇為一種新穎的藝術語言，在這個過程中，印度支那美術學院起了極大作用。學院強調透過傳授法國現代主義的藝術技巧，以創造出當地的藝術文化新語言；許多學生揉合歐洲美學風格及本土工藝靈感，創出混合兩種文化的獨特藝術風格，對越南藝術界的影響延續至今。 學院開設獨立的漆畫部，為未來漆畫大師如阮嘉智、范厚提供專研漆畫的早年訓練。印度支那美術學院的門生以技藝精湛見稱，可謂人才輩出。《風景》是對越南風光的讚歌，它呈現漆畫的美感和光澤，優雅簡約但內藏深厚藝術造詣，令人驚嘆。
本作構圖嚴謹，細節精密明亮，刻劃靜謐的遠景。高山腳下，帆船乘風滑行於湖上，離岸邊漁村而去。首先吸引觀者目光的是明光爍爍的背景—— 金葉從右邊漫延，遮蓋岩山頂峰。天空一片赤紅，以日落色調浸染全景，下方湖水則沈靜於深紅。山石與草木以鬆緩畫意勾劃，隱見中式山水畫風。竹樹搖曳，楊柳隨風，筆觸如水墨精雅，每葉形態獨特，優雅輕靈。人間事物，與自然風景揉合無縫，隱喻天人和諧共處。
本作可與另一件主題相近之漆畫相較，其天空為金色，售於香港蘇富比，2020年7月8日，編號1065。
Provenance:
Acquired by the parents of the present owner in Hanoi in 1930s, and thence by family descent.
__________________________________________________________________________
現藏家之父母於1930年代得於河內，後家族流傳至今
Estimate
Time, Location
Auction House
