Page 147 - 亚洲二十世纪及当代艺术
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˜פ൥ᖭ೥ʔաҖ൥ٙՓߒdટڐʕ਷ᖭ೥ࠠจʔ                          Northern Song painter and
        ࠠҖٙᝈׂfߪᄱהႭٙœၾՉࢪ׵ɛ٫͊߰ࢪ                          calligrapher Fan Kuan (c.
        ׵يdၾՉࢪ׵ي٫͊߰ࢪ׵ːi˸ʿੵ዁ה੶                         960 – c. 1030), known for
        ሜٙœ̮ࢪிʷdʕ੻ː๕dே݊ႭːᜳၾІ್                         being “adept at conveying
        ݊ၡ੗޴ᑌٙf™                                       the spirit of landscapes”
                                                       was an artist Chu Teh-
                                          {{ϡᅃ໊        Chun particularly admired
                                                       and respected. Indeed,
       ˜ഛၾʆෂग़™ٙ̏҂ࣣ೥ɽࢪߪᄱd݊ϡᅃ໊ɤʱਫ਼
        หٙᖵஔ࢕d60 ϋ˾֢ࣚج਷ࣛd˼ಀतจۃֻ̨̏                      when he was living in
                                                       France in the 1960s, Chu
        ݂ࢗdɓທߪᄱෂ˰ΤЪᒁʆБࣚྡ‘dԨชࢻՑj                       made a special trip to the
       ˜ߪᄱהፗࢪːdу݊ਗ਼೥࢕ٙˌซɢeࡌቮձࡈ׌ʘ                        National Palace Museum in
        ʫ଄ݴᚣ׵೥ࠦɪdʕ਷ᖭ೥ձפ൥೥ٙซجʔፑϾ                        Taipei to see Fan’s classic
        Υ™dϓމՉ؇Гפ൥ܠ॰ٙࠠࠅԸ๕fϾኋ၍ߪᄱඪ                       painting Travelers among
        ዎಾێٙࣸሜၾϡᅃ໊ᆔ಼ݴᘆٙפ൥೥ࠬԨʔ޴ͷd                       Mountains and Streams
        Шͭ׵ՇЗɽࢪٙЪۜۃdேึމՉʕהᘾўٙ҃ɽ                        at which he concluded:
        ˰ޢձઅჃࡔܠהኼਗf                                    “Fan Kuan learned from
                                                       his  heart  and  feelings
        ҁϓ׵ 1970 ϋϤɓࠠࠅືᓃٙೌᕚ‘dک͍݊ϡᅃ                    rather than earlier painters,
        ໊ίߪᄱձࡐۉࣦ€Rembrandtɓ؇ɓГٙᕐ઼ࠠ                    revealing the artist’s inner   ࡐۉࣦਿຖໝݖྡ‘dذ੹˝ؐd89.4Ò65.2 cmd1632 Ї
                                                                               1633 ϋЪdᅉ̵ල̚Պᖭ೥௓ΐ᎜ᔛf1969 ϋࡐۉࣦሖԕ
        ͪɨd˸үઋٙഅจeൈྼٙΈᅂd࢝ତ˼ίෂ୕ʆ                        imagination, self-cultivation   300 ϋΫᚥ࢝ଉՍ઼ࠔəϡᅃ໊࿁˜Έ™ٙ౜ᅛdνᄌఙόٙ
        ˥ձГ˙̚Պග΢՟הڗe޴੻ू࿎ٙၚ੹ڌࠑf                         and character in his works,   ੶डʘΈίՉ௴Ъʕ̈ତd͟ʕːਿᓃϾသɝЍ੹ٙ჈ᜊձ
                                                                               അኈٙݴਗʘʕ
        ɷᛷᘩӸd་ቑૉไ                                      in ways that happened to
                                                       bring together the ideas
        խᏐഹࣣ೥ͭൿٙ຾ՊᐽΣ࿴ྡdЪۜ˸ᛐ໅˂ήٙ                        of Chinese painting and
        ཡඩሌ੹d߰މᝈ଺ᇠᇠ࢝ͪഹɓషԸІઅჃࣛΈٙ                        abstract painting.” This
        ʆ˥೥՜j຅ʕɷᛷᘩӸdຬᏁنݴd߇ɝථʆdي                        also became an important
        ઋᖋᛈdϵছ౻يఘྡ೥fԟɓכ૩ೌ፰ထཱུٙ࠭ɽ                        source of Eastern and
        അdІɪϾɨश஺ᐽዑd˸ࣣجഅැٙື۱ɨഅdί                        Western abstract thinking
        ౨ધගdवɨً߰࠭ͣԐැٙഅՏ଱༦d͍ಪତՉ̂                        for Chu. Indeed, despite the
        တᗲܛชٙפ൥അจf˸Ϥމʕːdਉቜe਋ቜٙҵ                        great differences between
        ౮༶അdίપזֻԸගd࿴ϓ˜ዑ޶ϓᏊਉϓࢤ™ٙ                        the imposing and rough
        ᄴᛂᛌ♣dνԈˮ⧉ͷߪᄱʆ˥‘ٙփඪʆැf                         style of Fan and the surging
                                                       elegance showcased in the
        ၾʘΝࣛd೥Ъ̂ʱፄɝࡐۉࣦόٙΈᅂdਗ਼٤ගٙ                        abstract paintings of Chu
        ၳೊձ჈ආd֛ታίࣨːஈٙɓҼΈ๕fᎇЍ੹ٙᄴ                        Teh-Chun, viewers of works
        ᄴနᜊdഅැ͵͟୚ฆԐΣӮ׳ٙ቗౳dίЍ੹ٙි                        by these two great painters
        ၳஈdϡᅃ໊ԨՍจ̋ࠠЍ੹ٙዢܓၾɢ༸d˸ٜଟ                        invariably find themselves
        Ͼ̂တԉܓᔷұٙࡈ׌ᇞૢdீᚣ̈ᔮӒٙઋชdҗ                        moved by the grand world   ˮ⧉ͷ҂ʩʆ˥̅jͷߪᄱʆ˥‘dኈॷ͉d29.3Ò26.1 cmd
        ֽяତഹΈᇞұ࢛ɨ੶डٙˀΈdၾฮሌЍٙၡ੗޴                        and endless meditation   1678 ϋЪd̨݂̏ࢗ௹ي৫ᔛf࿁׵ɤʱਫ਼หߪᄱٙϡᅃ໊
        ஹd̋ଉəΈၾᅂϤऊ־ڗٙᗫᑌfίʕːΈԅٙ๫                        engendered therein.     ϾԊd؇˙ʆ˥଄ቮə˼࿁׵ं൥eࣸ҅ձഅจٙҪછdІפ
                                                                               ൥ʕяତՈІ್ຬ౻ٙซ൥
        ךɨdไ؍ٙጌߎၾዱ˦ٙთරίՉʕʹ޴ሾ݈dᆵ                        The work Sans Titre was
        ࣫׵ɽήʘɪ͖ٙලၾإಅd͍ጺညഹໝ໢ᓥ࣬ٙઋ                        completed in 1970 and is an example of Chu Teh-Chun being inspired by
        ᗲfᝈ٫߰Ԉjૉථϗdɼජુdɓʇไ໢dՇ֦ɛ                        Fan Kuan and Rembrandt, employing lyrical brushwork and virtual/real
        ࢕dᆦΈɷᓃ׵ܑᛷʘɨdتΈຬ௠׵˂ήʘʕf˜Ⴠ                       light and shade to highlight the wonderfully expressive way in which he
        ᒲቑไ໢d૱˜ᒯᘻڀ™d೥ࠦʕdʔԈෂ୕˖ɛٙ୚                       borrows from the strengths of traditional Chinese landscape painting and
        ʃԒᅂd್ԟ࠱ܯЋeᚎࠬථeѬʆڤٙԒᅂdۍ͍                        Western classicism.
        ݊ϤՍઁܞ׵೥ʕ˰ޢٙҢࡁf                                 Competing Mountain Beauty, Enamored of Poetic Evening Maple
                                                       Trees
       ˜வ͍݊௴˰̦ٙ་d̈І೥࢕ٙഅe˓ձː™͍νج
        ਷ታʕ਷ɽԴˣᆾʘԊd˜εᑦϡᅃ໊d˿Ңࡁ̂ʱۜ                       This work echoes the vertical composition of traditional painting and
        բՉ೥ʕٙߕλ{{Ͼவᖭ೥d͍݊ԸІʕ਷௰̚ϼ                        calligraphy hanging scrolls, with the scene shrouded in a seemingly
                                                       endless brown hue, as if slowly unrolling a landscape painting from the
        ٙෂ୕dᘱϾίج਷೯౮Έɽf ™ɢீॷߠٙഅኈจ                       distant past. A series of large sweeping strokes move rapidly across the
        ंdɦࡒՈᜳਗ࠭౮ٙذЍശ੹dίϡᅃ໊་จٙפ                        piece from top to bottom, utilizing the rhythm of calligraphic brushwork,
        ൥ʕdɓʲٙ੹ၾኈe੗ၾଯeዢၾ૱e׼ၾૌdޫ                        leaving behind brushstroke marks reminiscent of “flying white” (feibai)
        ݱ๐ഹ͛նٙᐆᙻdಪਗഹІ್ٙѯᒪdʷމːग़ٙ                        calligraphy that spring forth from the rhythmic abstraction. With this as
        ᓋֻfϾԟΈ׼ձ་ઋdکίՉʕdೌஈʔίf                          the central focus, the rise and fall of side tip or slanted tip brushstrokes

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