Page 141 - 亚洲二十世纪及当代艺术
P. 141
ၚၘdᜑͪ̈ͭ˂ήeڗຬيٙҖੵɢdЧ͗
Ꮂ࠭ᙜdνԿႏdજৎɷ਼eຬࠠʆdቡး˰ග
ࠬf
ජຬd׳ᐆካρ
ԒމဏɿҔdᔟ͟ࡪኪʕٙජவՇ၇ೌ
ᇊᜊٙ؇ГdяତՉՇ၇͉࣬˲ʝ͛ٙࠅ९dජ݊
ይᆠeΈٙdܑ݊ฮe᐀ᆗٙfவ၇ɚʩପ͛ɪ
ࠑٙೌᇊρ֞dΝࣛவ၇ɚʩɰፄึəוᚃІГᆄ
ᖭٙᒻᜮЍdၾפᖭהක઼ٙІ͟Җf
{{ϡᅃ໊
ج་ɛeᖵ൙ᎲݡJean-Clarence LambertಀҖ
࢙ϡᅃ໊݊ɓЗν˦ɓছٙᖵஔd᙮ɽंձ˦d
̋መʔ̙Τًٙग़।Ϊ९dձࡈʕٙቾɢdԴ˼ίˋኇ
ݼʕዹዓɓᄹf ϾϤ೦࿁ϡᅃ໊ٙ൙ᄆdɰ͍ν͉
ೌᕚשۜᇜ 38ה࢝ତٙ˰ޢjν˚ʕ˂d࢝ତ ϡᅃ໊No. 92שۜᇜ 37
Ҏૐʿᆠઋٙड˦ዴࡡd੭ഹ๘ٙ͛ዚdᘾў༸ජ
ٙೌᇊᜊf
ίϤЪʕdߎၾලɚЍ͍˸ජձٙሜձ͛dᐄிഹ௰މߧٙੵ “Poetry is intangible painting, while painting is
ɢ࿁ˢf࿁ԉᇞόٙഐdਗ਼Έၾฮٙ˰ޢ࿁̒Ͼʱdɦίंᗲ༷ٙϝʕ־Ϥ poetry made concrete.” For master Chinese
သீeࣛϾઅ್dࣛϾዧᐗd઼ˏഹνࡥ˾ɽӁӱഅɨʘජ௲ወছ abstract painter Chu Teh-Chun, his immersion
ٙிʷग़ӸlϾԟߧٙฮࠦdҗֽ݊ႀ̨ɪਉΣ࢛ٙၳΈዱdਗ਼͍ in a Millennia of Chinese history and experience
ၾԝٙ˴ԉʱໄϾͭdяତ̂တᏕᄌٙซ٤ගd͍࢝ତഹ 1969 ϋࡐۉࣦ of living in France for half a century, meant that
as the artist sought to transcend the forms and
RembrandtΫᚥɽ࢝࿁ϡᅃ໊ 1970 ϋ௴ЪٙଉՍᅂᚤfί̛ࠦٙ˙d˸ colours of East and West, he simultaneously
ලኈᛟఱٙ◂ۊɽഅdίଉࠠٙྼሯග̳ԃഹܑࡔʘޢٙɓʲ̙ঐd˂ᔝeᕰ developed a much deeper appreciation of the
රeዐߎʘdίՉʕᐽዑဘದdΣ̬˙කןഹଉᔺ৷Ⴣٙ˂ήdݴ̈ν་ way in which poetry, painting and calligraphy
ٙૅܛfϾᎇʘΣ̸dঢ়೯ᛦਗٙ࠭౮അd͍ዧጺഹ௰މᐆٙΈሾd are integrated in Eastern art. From the oil
රeთරeዒߎeٓߎeሱͩdІʕː௰މڥٙΈ๕ᓃහᓧ̬๐dᎇʘቤᛦ paintings on canvas, Chu produced when he
ٙኈᓃһ˸ণࣣছҵ౮࣒ٙື۱dಪତഹೌးٙঐඎdІפٙᖛਹʕdމ first arrived France in the 1950s to his use of
ᝈ٫яତν˦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।e͊ٝձฮᅂdߎdۆᅄይᆠeᒻѸձΈdڶᖯᖵஔ the way in which Chu transformed calligraphic
ᖯ߅Mark Rothkoಀ˸வɚ٫ՍՈၚग़ٙפЍ෯f್Ͼίϡᅃ໊ brushwork into abstract strokes, to his masterful
ٙഅɨdලމ͖dߎމ˦ೋd݊˥ኈٙৎႀeذٙᔮޮd͵݊؇˙അᘾٙઅ combination of colour and stroke strength, he
್ၾГ˙ЍҖٙዧጺf˼ࡁႾϓdැѩɢᅮή࢝˂ήʘձፓd͍ͪତഹ also created a world of imagination that fully
̚ϼٙජྡͪdᘾᔛρ֞ຬيί૿ӗձ፴ගٙ͛fϾʕٙලၾߎd˸ embraced nature, poetry and melody. Chu Teh-
ഘᙻֆ׳ٙาၾଉᔺӐऍٙиd߈ഹԸІ͛ٙᇻۉeंٙಪਗeΈٙၴd Chun traced the origins of the rhythm of Chinese
ᒱ˸ɚʩމਿᓃdۍЧ̍ᖯຬdᜊʷೌᇊdᜑͪ̈ၾפڌତٙၚग़ჼf ink art and expanded the aesthetic spectrum of
ίவϜЍձɢٙʹᚤʕdЪۜ form, so that at the age of 40 he was finally able
ίϞࠢٙషʕdઞӋ൴൳จᗆٙ to launch his own inimitable aesthetic based on
ᄿᒪd˸ᔮబٙІ್ซdዧጺ light sources, images and metre.
ഹʫː་จٙএรf͍νᖵ൙̔ Three works on paper by Chu Teh-Chun from
ˋॶPierre Cabanneٙྖj the 1960s and 1970s are being auctioned. Each
ΈձͣᆠٙᓃᐨіˏͦΈdਗ਼ one has its own hues, media and compositional
۾উɛٙලฮᚨd૿ዤٙ٤ंᜫ forms. In addition, Chu employs imposing poetic
Ⴣ౻ࢹdϾችٙЍ࢝ίอ imagery such as a thousand mountains and
ٙ˂ήdίʔᓙᜊʷٙ˰ޢʕdື twilight snow, slowly unfolding dawns, riverside
۱ʝຠᅜfίڌࠦٙפܝdρ 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 ϋϡᅃ໊ᙲՉЗˋኇیࠚٙၪतԢVitry-Sur-
Seine܃
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