Page 207 - 亚洲二十世纪及当代艺术
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Ъމ͛يٙeɛᗳٙӊࡈࡈd̈͛කdఱসϼeशषeᅎૐe˸ʿٟึᜊࠧၾ
І̶್ٙɽɢඎೌ;˟ήҷᜊഹdԨତ̈͛ଣʷٙදf
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ϋˇٙරρጳۏeೊᅇdՉᖭࠬࣸၾνʦɽΙ༁ٙˌྮͦɽࢰࢬf30 ๋ࣛٙ
˼dί௴Ъɪٜࠦɛٙ၇ࠦjᅎૐeฌeܧe⎂ຎe֘e͛ϥe֚eग़dଉɝ
ઞীɛᗳԒe͛ն߅ኪeదʧྼ᜕ഃࣨːᙄᕚdԨྒྷ༊ਗ਼ᖭ̺ᔷՑʈุ
ତϓيdɽᑔԴ͜ذኈeᄝဒeޚᆨഃదҿ߉ॎ௴Ъ݅Ϟٙክޢʿո୦d࢝ତ̈һɽٙІ
͟fஷཀዧडٙાԫeՍจٙˀۏd༊ྡ͛նІԒٙจ່̈೯dరӋढϖԞόٟٙึႩ
Νชf
ίהϞᖭᖵஔʕdݑЍޚᆨ̙ঐ݊௰Ѣᗭٙɓ၇nnӚϞ̤ɓ၇ᖵஔঐ྅̴ɓᅵ
ʔաྡྷڳהࠢdঐ྅̴ɓᅵᜳਗd˲͉ԒఱՈϞ˿ɛௗቑٙࣖ؈nn
{ ɽߵϵ߅Όࣣ
І 2007 ϋৎdරρጳකٜܿࢰ 25 cm ٙ֝IKEAͩߵનᙒٙޚᆨˀࠦᖭdΏ
иٙޚᆨeᝨٙኈဒdМᎇЪߠܝմϾూܸٙ০dሖ͛əҢცࠅฌӻΐ௴Ъf
Ͼܝ˼ਗ਼దҿן࢝Їٜࢰһɽٙޚᆨࠦؐd݊ϣ߇שяତٙɓଡ଼ఊٜࢰགྷɓϵʮʱٙೌ
ᕚуމၖʕɢЪfϾϤतࣿٙ௴ЪҖόස̥͜ 2007 Ї 2008 ϋᅲٙࣛಂd௴͛ʘЪ ت ʲ л ଣ ซ ʷ ٙ ɾ ɻӽ྅ dஐ ˝ ؐd 81.8 x 54 cmd
ܸ̙֡ᅰd߉̈əϤЪٙޜf 1480 ϋЪdᅃ݄इᅃᖵஔᔛ
ͳ̚߈ʦٙdࣛගၾ͛նٙܠϽ “As individuals who are living
රρጳʕ˰ߏٙ࿁ɛٙઞ॰̈೯d˸ЭࠢٙЍᖭ̈ɛيdʕʔΝᄴϣeݴਗٙල beings and human beings, we are
Ոʕ˥ኈٙतሯdϾᔟ͟৷ˀࢨٙЍdԴᝈ٫˸ኑൖʘ۶ၾࠦ˴ԉආБ༨ࣛ constantly subject to the ceaseless
٤ٙ࿁༑dฮፘ˾ٟึᒯᔛٙиᅳɢၾᏀࠗdၾʕ˰ߏฮලʔፑϾΥf͂ॎࣛ٤ޢࠢd forces of aging, disease, desire,
ϾɛᗳٙೊᙍʔτԱᔚԸ๕ೌجᒒٙ͛ၾϥfϤҖᖭ͵މᖵஔ࿁ʕГ˙ᖭ social change, and nature from the
moment of birth, and yet we always
̦ٙ๑ၾΫᏐd݅ᙑ׳˸ɛމ͉ٙ˖ᖵూጳʩ९dɰฮᘾ༸جІ್ٙʕ˥ኈҦ embody physiological resilience.”
جdཱིўՉ࿁ࣛගၾ͛նʘܠf
— Huang Yuxing
˖ᖵూጳࣛಂٙҖTondodνၳೊছණʕ߉ᜑࠦʕːdཱིࠦတd˴
ԉڌઋeᑕ᎔Έᅂdᎇ٤ගீൖೌࠢ׳ɽၾ੶ሜf˴ੵڭवᖭཀٙරρጳdમ͜ᗳЧ In his youth, Huang Yuxing’s painting
ਗᇭ˪ႡЪٙ˙όd˸ீᑛٙලίޚᆨߠֵࠦ͂dʵਔɛيிۨdΎ̋˸ʈഅࠠ style was vastly different from the
dazzling impression in people’s mind
ˀూݑf௰ࠦν˥ኈணЍdೲݑသኈdዢ૱֝f˼һ̷͜ޚᆨतϞٙʈุи today. At the age of 30, he confronted
ชၾᜳਗdᜫኈίՉɪໍจݴd෧ி̈ɓࡈࡈग़।ٙɛيf
the various facets of human nature in
ᅂၞʘɨdओ͛߰ྫྷ his artworks: desire, love, hate, anger,
Չʕٙਉࠦӽ྅ʕdɾɿ͍ᗁΚѬdग़֛ءൖۃ˙dᆰۂٙᑕᕼeऎᘷছજቻeക obsession, loneliness, life and death,
ሯήٙВഹၾኈัߠ౻ʝխᏐfЪۜ߰࢝ତ࿁˖ᖵూၾΤتʲлSandro Botticelli religion, divinity, and deeply explored
ଣซʷٙɾɻӽ྅ٙߧหdՇ٫ྡЧdޫމලЍߠ౻ٙਉ྅d࢝ତ࿁Оፗߕ core issues such as “human body”, “life
ʘնᕚٙઞ॰fϾරρጳίߠ౻ɪٙஈଣһ̋ጰdኈЍٙЄଣ౸̙Ԉd˸ᄝᛈeั science”, and “media experiments”. He
also attempted to move painting from
ݑeॎኈʘᚔ್࢝ତdϾίဒලʕdɛيٙቻകνݴږ㎄ਗdˀᛖഹⒾͣٙЄᇮfϞй the canvas to industrial ready-mades,
تʲлతٙࠦdɾɿ૱ኈᔧႊdݣɨdᕐଽ૱್dϡᙶัኈdи᎑ɦญɛᅐ boldly using ink, spray paint, glass,
fϾԟᓃၢՉɪٙፃΈߎdνɛي᎘ུdνဎओྡྷࡾdɦνېdᎲᓃຒήίᚶʕ͛ and breaking through the boundaries
ሾd˵ତɛيٙၚग़ЍfϾϤፃΈ͜ɰཫͪə̴ί˚ܝ௴Ъٙᗫᒟ֛Зf and conventions of traditional art
͛ն͉ٙॆʘЍ making, displaying greater freedom of
expression. Through intense narratives,
Ͼί̤ɓЪۜʕdЍሜһ̋ॱၘdɾɿᑕໄʕdఊ˓ϖ໓d᎘ௐͦdढቻνߕӁ he tried to seek a utopian sense of
୶ছੵ౮dᐨኹᑕࣙfˢ̔ז͙ఐMichelangelo CaravaggioࠦͦଞᐎٙߕӁ୶d social identity from the meaning of life
රρጳʕ˴ԉ͊ԈᎡɛٙग़dኈသீ̈ኑইᇮЍfܦՑλஈٙवͣၾ˥ኈʹፄd७༩ itself.
ගdʞ֜һމᓛᘚdໝٙፃΈߎdԴᑕ᎔һᜑݓߕೌඁfڐᝈʘdኈʘʞᛌ̋ݑd
ൖᙂ౻ᝈձፓdɓंգϓdତʕٙҖग़ࡒ௪f “Of all the painter’s arts, stained
glass is probably the most
Ң݊ɓࡈ೨߮ٙਬي˴່٫fҢܘ೨ܧவɓᓃdɦʔʔוႩவɓᓃf intractable......And yet no other
art seems so little earthbound, so
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alive, so intrinsically beguiling in
රρጳஷཀܑᔻٙࠦdਗ਼৷ܓઽชٙʫːၾܠᅇяତၾfίӐࠠేตٙ͛նᙄᕚʕd߰ its effect.”
ረʚෂႭɛيอ່֛ٙf٫ࠠ෧ዝ̦ɛيၾഹЪd੭ᝈ٫ຬي͛ڗၾዝ̦ᜊቋʕdܠϽ — Encyclopedia Britannica
ͳ̚ʔᜊٙ͛ϼषϥfɰ͍݊வɓࣛಂ࿁ලฮٙଉՍଣ༆dϓఱə˚ܝЍᙴٙරρጳf
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