Page 141 - 亚洲二十世纪及当代艺术
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ၚၘ౤๪dᜑͪ̈ͭ׵˂ήeڗ׵ຬيٙҖ൥ੵɢdЧ͗
        Ꮂ࠭ᙜdν׺Կႏ୼dજৎɷ਼௛eຬࠠʆdቡး˰ග
        ࠬ੹f
        ௕ජຬ൥d׳ᐆካρ
       ˜Ԓމဏ࢕ɿҔdᔟ͟׸຾‘ࡪኪʕٙ௕ජவՇ၇ೌ
        ᇊ჈ᜊٙ؇ГdяତՉՇ၇͉࣬˲ʝ͛ٙࠅ९dජ݊
        ይᆠeΈ׼ٙd௕ܑ݊ฮe᐀ᆗٙfவ၇ɚʩ׌ପ͛ɪ
        ࠑٙೌᇊρ֞dΝࣛவ၇ɚʩ׌ɰፄึəוᚃІГᆄ
        ᖭ೥ٙᒻᜮЍ੹dၾפ൥ᖭ೥הක઼ٙІ͟Җ᜗f™
                                             {{ϡᅃ໊

        ج਷་ɛeᖵ൙࢕Ꮂݡ€Jean-Clarence LambertಀҖ
        ࢙ϡᅃ໊݊ɓЗν˜˦ɓছٙᖵஔ࢕™d᙮׵˜ɽंձ˦d
        ̋መʔ̙Τًٙग़।Ϊ९dձࡈ׌ʕٙቾɢdԴ˼ίˋኇ
        ೥ݼʕዹዓɓᄹf ™ϾϤ೦࿁ϡᅃ໊ٙ൙ᄆdɰ͍ν͉΁
       ೌᕚ‘€שۜᇜ໮ 38ה࢝ତٙ˰ޢjν˚ʕ˂d࢝ତ                     ϡᅃ໊No. 92‘€שۜᇜ໮ 37
        Ҏૐʿᆠઋٙड˦ዴࡡd੭ഹ׼๘ٙ͛ዚdᘾў༸࢕௕ජ
        ٙೌᇊ჈ᜊf

        ίϤЪʕdߎၾලɚЍ͍˸˜ජ™ձ˜௕™ٙሜձ΍͛dᐄிഹ௰މ฽ߧٙੵ                                 “Poetry is intangible painting, while painting is
        ɢ࿁ˢf࿁ԉᇞόٙഐ࿴dਗ਼Έၾฮٙ˰ޢ࿁̒Ͼʱdɦίंᗲ༷ٙϝʕ־Ϥ                                 poetry made concrete.” For master Chinese
        သீeࣛϾઅ್dࣛϾዧᐗd઼ˏഹνࡥ˾ɽ࢕Ӂӱഅɨʘ˜௕ජ௲׾ወ™ছ                                 abstract painter Chu Teh-Chun, his immersion
        ٙிʷग़ӸlϾԟ฽ߧٙ׼ฮ೥ࠦdҗֽ݊ႀ̨ɪਉΣ๫࢛ٙၳΈዱdਗ਼͍                                  in a Millennia of Chinese history and experience
        ၾԝٙ˴ԉʱໄϾͭdяତ̂တᏕᄌ׌ٙซ൥٤ගd͍࢝ତഹ 1969 ϋࡐۉࣦ                              of living in France for half a century, meant that
                                                                           as the artist sought to transcend the forms and
       €RembrandtΫᚥɽ࢝࿁ϡᅃ໊ 1970 ϋ௴ЪٙଉՍᅂᚤfί೥̛ࠦٙ˙d˸                          colours of East and West, he simultaneously
        ලኈᛟఱٙ◂ۊɽഅdίଉࠠٙྼሯග̳ԃഹܑࡔʘޢٙɓʲ̙ঐd˂ᔝeᕰ                                 developed a much deeper appreciation of the
        රeዐߎʘ੹dίՉʕᐽዑဘದdΣ̬˙කןഹଉᔺ৷Ⴣٙ˂ήdݴ૲̈ν་                                 way in which poetry, painting and calligraphy
        ٙૅܛfϾᎇʘΣ̸dঢ়೯ᛦਗٙ࠭౮೵അd͍ዧጺഹ௰މ౴ᐆٙΈሾd૵                                  are integrated in Eastern art. From the oil
        රeთරeዒߎeٓߎeሱͩdІʕː௰މ׼ڥٙΈ๕ᓃහᓧ̬๐dᎇʘቤᛦ                                 paintings on canvas, Chu produced when he
        ٙኈᓃһ˸ণࣣছҵ౮཭࣒ٙື۱dಪତഹೌးٙঐඎdІפ൥ٙᖛਹʕdމ                                 first arrived France in the 1950s to his use of
        ᝈ٫яତ೓ν˦ʆᖑ೯e֧๓̬࢛e͵Чϛ˚؇ʺe݆ΫɽήٙΈᐆସ౻l                                  paper as a medium in the 1960s and 1970s, he
                                                                           developed effects associated with oil, gouache
        ලၾߎٙ͛ʘรਗ
                                                                           and ink painting. At the same time, through
        ලd˾ڌəग़।e͊ٝձฮᅂdߎdۆ൥ᅄይᆠeᒻѸձΈ׼dڶᖯ౶ᖵஔ࢕                                 the way in which Chu transformed calligraphic
        ᖯ౶߅€Mark Rothkoಀ˸வɚ٫Ս೥Ոၚग़׌ٙפ൥Ѝ෯f್Ͼίϡᅃ໊                            brushwork into abstract strokes, to his masterful
        ٙഅɨdලމ͖dߎމ˦ೋd݊˥ኈٙৎႀeذ੹ٙᔮޮd͵݊؇˙അᘾٙઅ                                 combination of colour and stroke strength, he
        ್ၾГ˙ЍҖٙዧጺf˼ࡁ޴Ⴞ޴ϓdැѩɢᅮή቗࢝˂ήʘձፓd͍ͪତഹ                                 also created a world of imagination that fully
        ̚ϼٙ௕ජྡͪdᘾᔛρ֞ຬيί૿ӗձ೤፴ගٙ΍͛fϾ೥ʕٙලၾߎd˸                                 embraced nature, poetry and melody. Chu Teh-
        ഘᙻֆ׳ٙาၾଉᔺӐऍٙиd஫߈ഹԸІ͛ٙᇻۉeंٙಪਗeΈٙၴ֐d                                 Chun traced the origins of the rhythm of Chinese
        ᒱ˸ɚʩމਿᓃdۍЧ̍ᖯຬ൥dᜊʷೌᇊdᜑͪ̈ၾפ൥ڌତٙၚग़΍ჼf                                 ink art and expanded the aesthetic spectrum of
                                          ίவϜ˜Ѝձɢ™ٙʹᚤʕdЪۜ                  form, so that at the age of 40 he was finally able
                                          ίϞࠢٙ೥షʕdઞӋ൴൳จᗆٙ                  to launch his own inimitable aesthetic based on
                                          ᄿᒪd˸ᔮబٙІ್࿫ซdዧጺ                   light sources, images and metre.
                                          ഹʫː་จٙএรf͍νᖵ൙࢕̔                  Three works on paper by Chu Teh-Chun from
                                          ˋॶ€Pierre Cabanneٙ᝔ྖj           the 1960s and 1970s are being auctioned. Each
                                         ˜Έ౴ձͣᆠٙᓃᐨіˏͦΈdਗ਼                   one has its own hues, media and compositional
                                          ۾উɛٙලฮᚨ౳d૿ዤٙ٤ंᜫ                  forms. In addition, Chu employs imposing poetic
                                          Ⴣ౻୆ࢹdϾ௽ችٙЍ੹቗࢝ίอ                  imagery such as a thousand mountains and
                                          ٙ˂ήdίʔᓙᜊʷٙ˰ޢʕdື                  twilight snow, slowly unfolding dawns, riverside
                                          ۱޴ʝຠᅜfίڌࠦٙפ൥ܝdρ                  maples and fishermen’s lights, combined with the
                                                                           inspiration accumulated by from spending two
                                          ֞ఱπίவ༁fᒔϞ̚ϼٙኊ༸Շ                  decades moving between Western expression
                                          ࢕הޜൖٙ͑ܩʘॆf ™                     and tradition, as revealed in the mental imagery
                                                                           showcased in the scroll paintings.
        1970 ϋϡᅃ໊ᙲ׵ՉЗ׵ˋኇیࠚٙၪतԢ€Vitry-Sur-
        Seine೥܃
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