Page 121 - 亚洲二十世纪及当代艺术

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˜Ыٙᜳ჻dίٻႂছٙථϢɪd༧४ݓٙ੹ࠀ “Your soul on a hibiscus-like cloud
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blends with the radiance of a pink soft
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ٙ༩ɪfɼජٙථᒳ̮dɓ˪੕್ೌᑊf™ rainbow. Parting is akin to light steps
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walking along a brightly coloured path
w a l k i n g a l on g a bri g h t l y c o l ou r e d p a t h
{{ ণගᏎ͛
{{ণගᏎ͛
of fresh flowers. Beyond the rosy red
o f f r e s h f l o w e r s . B e y on d t h e r o s y r e d
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І 1973 ϋ͟ ॲߒΫ؇ԯ ܝ d ণගᏎ͛ ί௴Ъɪ ක clouds of the setting sun lies silence.” ”
І 1973 ϋ͟ॲߒΫ؇ԯܝdণගᏎ͛ί௴Ъɪක
dІ
1977
ϋЇ
઼ə࿁׵εʩదʧʿҖόٙઞ॰
઼ə࿁׵εʩదʧʿҖόٙઞ॰dІ 1977 ϋЇ {{Yayoi KusamaYayoi Kusama
{{
80 ϋ˾ڋ dμ௴Ъ̈ɓӻΐ˸ ˜ନဒॷؐ™މద A f t e r r e t u r n i n g f r o m N e w Y o r k t o T o k y o i n
80 ϋ˾ڋdμ௴Ъ̈ɓӻΐ˸˜ନဒॷؐ™މద
After returning from New York to Tokyo in
dવ૝Չ࿕੬Դٙ͜تᓃ
ҿٙ̒פ൥ʘЪdવ૝Չ࿕੬Դٙ͜تᓃdᔷϾઞ 1 9 7 3 , Y a y o i K us a m a s t a r t e d t o e x p l o r e a w i d e
ҿٙ̒פ൥ʘЪ
dᔷϾઞ
1973, Yayoi Kusama started to explore a wide
రɓ၇͊ٝٙช֜᜗᜕d͜ନཊዹϞٙЍዣձ୚ጰ r range of media and forms. As a result, from
రɓ၇͊ٝٙช֜᜗᜕
d͜ନཊዹϞٙЍዣձ୚ጰ
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ٙሯชᐄி˰ගຬيฆѶٙᜊʷၾᔮబᅵႶ fϾ݊ 1977 to the early 1980s she created a series of
ٙሯชᐄி˰ගຬيฆѶٙᜊʷၾᔮబᅵႶfϾ݊
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1977
ɼජɨٙɚɛ‘
ϣяତҁϓ׵ 1977 ϋٙɼජɨٙɚɛ‘dۆމ semi-abstract works using “enamel paint and
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ࢀ̋ဧ೿ᗙٙՇᒶ᎘‘dذ੹೥̺d
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༈దҿ௴Ъʕd฽މӼԈeᘾўՈ൥˴ᕚʘЪdণ
༈దҿ௴Ъʕ d฽މӼԈ eᘾўՈ൥˴ᕚʘЪ dণ cardboard.” This involved not using the polka ࢀ ̋ 5 ဧ  19 ೿ 5 ᗙ ϋ Ъ Շ dӷ ᎘ ‘ dذ ੹ ೥ ̺d
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1955 Ї 1956 ϋЪdӷɛϗᔛ
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ගίନဒɪ݄˸εࠠٙЍ੹ dЍ෯ίՉʕ޴ʝຠ d o t s t h e a r t i s t h a bi t ua ll y e m p l o y e d , b u t r a t h e r
ගίନဒɪ݄˸εࠠٙЍ੹dЍ෯ίՉʕ޴ʝຠ
dots the artist habitually employed, but rather
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dνɓṿҁߕٙ޴༾
ᅜdνɓṿҁߕٙ޴༾d࿴ጘ̈νج਷ᖵஔ࢕ࢀ̋ exploring an unknown sensory experience, ,
ᅜ
d࿴ጘ̈νج਷ᖵஔ࢕ࢀ̋
utilizing the unique colour and refined texture
ဧ€
ဧ€Marc Chagall) അɨԟν་ٙईဘྫྷྤd๰೯ u t i l i z i n g t h e u n i q u e c o l o u r a n d r e fi n e d t e x t u r e
Mar
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̈֟ν˜ڋԈ™ٙ͛նઔਗf
̈֟ν˜ڋԈ™ٙ͛նઔਗf of enamel to create the subtle changes and
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r richness of living things in the real world. The
s o
dਗ਼೥ࠦɓʱމɚ
Ъۜ˸ಳᔝʿݱߎٙЍ੹dਗ਼೥ࠦɓʱމɚdɪ˙ w o r k b e i n g a u c t i o n e d i s T w o P e r s o n i n t h e
Ъۜ˸ಳᔝʿݱߎٙЍ੹
dɪ˙
work being auctioned is Two Person in the
ٙᔝ੹೓νίɼජɨနနᒯӚٙ˂٤d൥ᅄࣛගٙ
ٙᔝ੹೓νίɼජɨနနᒯӚٙ˂٤ d൥ᅄࣛගٙ Sunset completed in 1977, which employs a
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ݴ஻fণග˸ዓ໢بכߎሌЍᏀдɢ੹dᏀΙ׵೥ representational motif that was particularly
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ࠦ෧ி̈ৎͿٙʆැdԨ̋˸ɓ༸ڥᘆٙͣЍᏀд rare in the artist’s use of this medium. In terms
dԨ̋˸ɓ༸ڥᘆٙͣЍᏀд
ࠦ෧ி̈ৎͿٙʆැ
of enamel paint, Kusama employs many
ɢᄝဒd੶ሜএএ౹٤ɨˌᜊٙ˂ყᇞfϾί೥ࠦ o f e n a m e l p a i n t , K us a m a e m p l o y s m a n y
ɢᄝဒ
fϾί೥ࠦ
d੶ሜএএ౹٤ɨˌᜊٙ˂ყᇞ
different colours to construct a poetic romantic
dίІ್
ʕਜЇɨ˙ٙߎၾර੹
ʕਜЇɨ˙ٙߎၾර੹dͷ߰ձ๮ٙาජdίІ್ d i f f e r e n t c o l o u r s t o c o n s t r u c t a p o e t ic r o m a n t ic
dͷ߰ձ๮ٙาජ
dream-like world similar to that of French artist
ٙနᜊʕЕᑌৎ་จٙ༽ซd๝ݓή̍ᔧഹ೥ʕٙ
ٙနᜊʕЕᑌৎ་จٙ༽ซ d๝ݓή̍ᔧഹ೥ʕٙ d r e a m -l i k e w o r l d s i m i l a r t o t h a t o f F r e n c h a r t i s t
Marc Chagall, emitting a life energy that makes
˴ԉdᑛνᔤᑈeν६ٙЍ੹හᓧՉගdίᄴᄴᛌ
˴ԉ dᑛνᔤᑈ eν६ٙЍ੹හᓧՉග dίᄴᄴᛌ M a r c C h a g a ll , e m i t t i n g a l i f e e n e r g y t h a t m a k e s ণ ග Ꮞ ͛  І ೥ ྅ ‘ d Ꮐ дɢ ੹ ೥̺ d
ণගᏎ͛І೥྅‘dᏀдɢ੹೥̺d
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ᛌٙʹ፹eัݑʕ੶ሜɽІ್ٙုᘆೌ۩ʘߕf i it appear “encountered for the first time.” ” 1 145.5 x 112 cmd2015 ϋ ЪdAmoli ਿ
ᛌٙʹ፹eัݑʕ੶ሜɽІ್ٙုᘆೌ۩ʘߕf
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The work is divided into two halves using sky
ٙቻۨe؂ུeʞ֜ѩၾণගᏎ͉͛ɛ
ۨ
ᔷ
৸
৸ᔷ݋୅ٙɛ͛ყ༾ T h e w o r k i s d i v i d e d i n t o t w o h a l v e s us i n g s k y ٙ ቻ ೥ e؂ ུ eʞ ֜ ѩ ၾ ণ ග Ꮞ ͛ ͉ ɛ
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ٙІ೥྅ɓߧd˿ϤЪϓމμࡈɛʫː
ࡈ
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blue and magenta hues, with the upper blue
b l u e a n d m a g e n t a h u e s , w i t h t h e u p p e r b l u e
ऒ
ܸٙ
ɼජɨٙɚɛ‘މণගᏎ͛שር̹ఙགྷɧɤϋԸ
ɼජɨٙɚɛ‘މণගᏎ͛שር̹ఙགྷɧɤϋԸ r resembling a gradually darkening sky as the ܸٙऒ
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˜ᕐɛΌԒ྅™ʘЪ
ਬɓɓ΁˜ᕐɛΌԒ྅™ʘЪdޜ೽׌ʔԊϾఏf s u n s e t s a n d t h e r e b y s y m b o l i z i n g t h e p a s s i n g o f t i m e . K us a m a d i p s a l e a f i n
f
ਬɓɓ΁
dޜ೽׌ʔԊϾఏ
sun sets and thereby symbolizing the passing of time. Kusama dips a leaf in
ণග˸୚ጰٙලᇞૢ౜ᖭՇЗˇɾdμࡁӕकίɼ
ণග˸୚ጰٙලᇞૢ౜ᖭՇЗˇɾ dμࡁӕकίɼ b l a c k a c r y l ic p a i n t a n d i m p r i n t s t h i s o n t h e p a i n t i n g t o c r a f t a n u n d u l a t i n g
black acrylic paint and imprints this on the painting to craft an undulating
ජٙቱฯʘɨ d̸ਉٙڗቻˇɾ˸ਉᑕͪɛ d׼ଽ mountain terrain, adding a ray of bright white acrylic spray paint to emphasize
ජٙቱฯʘɨd̸ਉٙڗቻˇɾ˸ਉᑕͪɛd׼ଽ
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ɽ଻ૐΣ˂ყfμɽᑔή஘঍ᚣԪdݴᚣ̈Г˙˖
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ɽ଻ૐΣ˂ყ fμɽᑔή஘঍ᚣԪ dݴᚣ̈Г˙˖ t the changing horizon line under the clear sky. Moreover, the red and yellow
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stretching from the centre to the bottom of the work resembles the pleasant
ʷʕ ˜׌༆׳™ٙۃሊᝈׂ fϾ̛ਉवഹᄁЀ೵ቻ s t r e t c h i n g f r o m t h e c e n t r e t o t h e b o t t o m o f t h e w o r k r e s e m b l e s t h e p l e a s a n t
ʷʕ˜׌༆׳™ٙۃሊᝈׂfϾ̛ਉवഹᄁЀ೵ቻ
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ٙɾ܀ۆ߰ণග͉ɛٙІ೥྅ dμᕐͦၡௐ dԒഹ warmth of the sun, which within the natural gradual changes brings to mind
ٙɾ܀ۆ߰ণග͉ɛٙІ೥྅dμᕐͦၡௐdԒഹ
poetic reverie, warmly embracing the main characters in the painting.
ശᘆٙڗ໽ eകᚌၾிۨ།ੵٙ৷༧ቨ dኋ၍ସ p o e t ic r e v e r i e , w a r ml y e m b r a c i n g t h e m a i n c h a r a c t e r s i n t h e p a i n t i n g .
ശᘆٙڗ໽eകᚌၾிۨ།ੵٙ৷༧ቨdኋ၍ସ
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ༀ͂Ҳ dۍν؇˙ ˜ွߕɛ™ছաຫᎃ eڣܙ஗ఎ The Life Encounters of Moving Stars s
ༀ͂Ҳdۍν؇˙˜ွߕɛ™ছաຫᎃeڣܙ஗ఎ
፴fণගᏎ͛ίϤᔟɚɛʔΝٙԒ΅eഹༀe۶
፴ fণගᏎ͛ίϤᔟɚɛʔΝٙԒ΅ eഹༀ e۶ T w o P e r s on i n t h e S u n s e t i s t h e o n l y “ f u ll b o d y p o r t r a i t o f t w o p e o p l e ” b y Y a y o i
Two Person in the Sunset is the only “full body portrait of two people” by Yayoi
Kusama to appear at auction in more than 30 years, making it particularly
࿒d̷Ѷ࢝ତ̈؇Г˙˖ʷٙࢨମၾ௴ЪႧྤfί
࿒ d̷Ѷ࢝ତ̈؇Г˙˖ʷٙࢨମၾ௴ЪႧྤ fί K us a m a t o a p p e a r a t a u c t io n i n m o r e t h a n 30 y e a r s , m a k i n g i t p a r t ic u l a r l y
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ኑഐϾਬߕٙࣛ٤ʕ dࠑႭμίʔΝࣛಂ eྤ༾ɨ rare. The artist uses fine black lines to paint two young girls basking in
ኑഐϾਬߕٙࣛ٤ʕdࠑႭμίʔΝࣛಂeྤ༾ɨ
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ٙː༩ࠐ༦ fՇЗˇɾ᎘௟ഹ᎘ d߰੽͊޴༾ছ d t the afterglow of the setting sun. The girl with the long hair on the left has
ٙː༩ࠐ༦fՇЗˇɾ᎘௟ഹ᎘d߰੽͊޴༾ছd
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͛ݺί̻Бࣛ٤ʘʕd΢Іစᖫഹ࿚್ʔΝٙ͛ն
͛ݺί̻Бࣛ٤ʘʕ d΢Іစᖫഹ࿚್ʔΝٙ͛ն her face turned to the side and her bright eyes wide open as she stares
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ყ༾fণගᏎ͛˸Չዹतٙࡈɛ຾ዝdစᖫ̈ɾ׌
ყ༾ fণගᏎ͛˸Չዹतٙࡈɛ຾ዝ dစᖫ̈ɾ׌ at the horizon. She also boldly bares her breasts, showcasing the avant- -
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garde western cultural idea of “sexual liberation.” The girl on the right has
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ί๋˜ᜊቋʕd਺දϾεᜊٙ͛նʫࣨd˸௴Ъ᎑
ί๋˜ᜊቋʕ d਺දϾεᜊٙ͛նʫࣨ d˸௴Ъ᎑ g a b r d b e h we i s c t e r t n i n c wh t u r t a a l p i d e a r o f t “ o s b x e u a a l s l e i l b f e p r a o t r io r a i . ” o T f h K us i r a l m n . t H e r r e i g y h e t s h a a r s

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a bob haircut in what appears to be a self-portrait of Kusama. Her eyes are

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Ꮀٙڌͣᖵஔ൴୭ࣛගٙ͑ܩ৛॰f
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t tightly closed tightly and she is wearing a gorgeous dress, stockings and
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stylistically exaggerated high-heel shoes. Although the girl is dressed up, she
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˜ɼජೌࠢλd̥݊ڐර׾™dߐɼජɨٙɚɛ‘ s t y l i s t ic a ll y e x a g g e r a t e d h i g h - h e e l s h o e s . A l t h o u g h t h e g i r l i s d r e s s e d u p , s h e
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ʕdণගਗ਼᎑ߕٙ͛նε࿒ή࢝ତ׵ɛۃdίਁɽ i is imprisoned like an Asian “sleeping beauty” waiting to be woken from her
dণගਗ਼᎑ߕٙ͛նε࿒ή࢝ତ׵ɛۃ
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˂ήග d޶Ч಺ʃٙˇɾࡁਂྫྷ eࡔซ eࣛϾЭ slumber. Yayoi Kusama uses the different identities, clothing and posture of
˂ήගd޶Ч಺ʃٙˇɾࡁਂྫྷeࡔซeࣛϾЭ
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ႧeࣛϾૐΣೌ۩ٙႏ٥dίӊɓࡈ৸ᔷ݋୅ٙᐛ t the two girls to ingeniously highlight the differences and creative context of
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dίӊɓࡈ৸ᔷ݋୅ٙᐛ
Asian culture. In a time and space that is fixed and beautiful this piece speaks
ࢹʕ dࣉ࣍ɽɷ˰ගٙІ್ෳ। f͍νӊࡈ஻̘ٙ A s i a n c u l t u r e . I n a t i m e a n d s p a c e t h a t i s fi x e d a n d b e a u t i f u l t h i s pi e c e s p e a k s
ࢹʕdࣉ࣍ɽɷ˰ගٙІ್ෳ।f͍νӊࡈ஻̘ٙ
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d४ݓ
dӊɓϣڋԈѩ֟߰อ͛
ɼජேʔึΎࠠԸdӊɓϣڋԈѩ֟߰อ͛d४ݓ t to the artist’s mindset at different times and in different encounters. The two
ɼජேʔึΎࠠԸ
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girls are juxtaposed with their heads almost touching as if they never met
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ٙ੹ࠀΈԅίϤ޴ፄdᓃڥɓࡈࡈ͛նփ༦l
ٙ੹ࠀΈԅίϤ޴ፄdᓃڥɓࡈࡈ͛նփ༦l
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each other and live in parallel universes, each living a completely different life
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