Page 207 - 亚洲二十世纪及当代艺术
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˜Ъމ͛يٙeɛᗳٙӊࡈࡈ᜗d੽̈͛ක֐dఱ஗সϼeशषeᅎૐe˸ʿٟึᜊࠧၾ
        І̶್ٙɽɢඎೌ;˟ήҷᜊഹdԨ֐୞᜗ତ̈͛ଣʷٙ਺දf™
                                                                       { රρጳ

        ϋˇٙරρጳۏ৕eೊᅇdՉᖭ೥ࠬࣸၾνʦɽ଺Ι൥༁ٙˌ੹ྮͦɽ޴ࢰࢬf30 ๋ࣛٙ
        ˼dί௴Ъɪٜࠦɛ׌ٙ΢၇ࠦ൥jᅎૐeฌeܧe⎂ຎe֘੕e͛ϥe֚઺eग़׌dଉɝ
        ઞী˜ɛᗳԒ᜗™e˜͛ն߅ኪ™e˜దʧྼ᜕™ഃࣨːᙄᕚdԨྒྷ༊ਗ਼ᖭ೥੽೥̺ᔷ୅Ցʈุ
        ତϓيdɽᑔԴ͜ذኈeᄝဒeޚᆨഃదҿ߉ॎ௴Ъ݅Ϟٙክޢʿո୦d࢝ତ̈һɽٙІ
        ͟fஷཀዧडٙાԫeՍจٙˀۏd༊ྡ੽͛նІԒٙจ່̈೯dరӋढϖԞόٟٙึႩ
        Νชf
       ˜ίהϞᖭ೥ᖵஔʕdݑЍޚᆨ̙ঐ݊௰Ѣᗭٙɓ၇nnӚϞ̤ɓ၇ᖵஔঐ྅̴ɓᅵ
        ʔաྡྷڳהࠢdঐ྅̴ɓᅵᜳਗd˲͉ԒఱՈϞ˿ɛௗቑٙࣖ؈nn™
                                                                { ɽߵϵ߅Όࣣ‘
        І 2007 ϋৎdරρጳක֐ܿ኷׵ٜࢰ 25 cm ٙ֝࢕€IKEAͩߵનᙒٙޚᆨˀࠦᖭ೥dΏ
        иٙޚᆨe௕ᝨٙኈဒdМᎇ೥ЪߠܝմϾూ֐ܸٙ০dሖ͛ə຅Ңცࠅฌ‘ӻΐ௴Ъf
        Ͼܝ˼ਗ਼దҿן࢝Їٜࢰһɽٙޚᆨࠦؐd݊ϣ߇שяତٙɓଡ଼ఊ΁ٜࢰགྷɓϵʮʱٙೌ
        ᕚ‘уމၖʕɢЪfϾϤतࣿٙ௴ЪҖόස̥͜׵ 2007 Ї 2008 ϋ೵ᅲٙࣛಂd௴͛ʘЪ                             ت ౤ ʲ л ଣ ซ ʷ ٙ ɾ ɻӽ྅ ‘dஐ ੹˝ ؐd 81.8 x 54 cmd
        ܸ̙֡ᅰd߉̈əϤЪٙޜ೽׌f                                                            1480 ϋЪdᅃ਷݄इᅃᖵஔ᎜ᔛ
        ͳ̚߈ʦٙ෥dࣛගၾ͛նٙܠϽ                                                            “As individuals who are living
        රρጳ੽ʕ˰ߏٙ࿁ɛ᜗ٙઞ॰̈೯d˸ЭࠢٙЍ੹ᖭ̈ɛيd຅ʕʔΝᄴϣeݴਗٙල੹                                   beings and human beings, we are
        Ոʕ਷˥ኈٙतሯdϾᔟ͟৷ˀࢨٙЍ੹dԴᝈ٫˸˜ኑൖ™ʘ۶ၾ೥ࠦ˴ԉආБ˜༨ࣛ                                    constantly subject to the ceaseless
        ٤™ٙ࿁༑dฮፘ຅˾ٟึᒯᔛٙиᅳɢၾᏀࠗdၾʕ˰ߏฮලʔፑϾΥf͂ॎࣛ٤ޢࠢd                                   forces of aging, disease, desire,
        ϾɛᗳٙೊᙍʔτԱᔚԸ๕׵ೌج৚ᒒٙ˜͛ၾϥ™fϤ෥Җᖭ೥͵މᖵஔ࢕࿁ʕГ˙ᖭ೥                                   social change, and nature from the
                                                                                   moment of birth, and yet we always
        ̦ٙ৛๑ၾΫᏐd݅ᙑ׳˜˸ɛމ͉™ٙ˖ᖵూጳʩ९dɰฮᘾ˜༸جІ್™ٙʕ਷˥ኈҦ                                   embody physiological resilience.”
        جdཱིўՉ࿁ࣛගၾ͛նʘܠf
                                                                                                    — Huang Yuxing
        ֐׵˖ᖵూጳࣛಂٙ˜෥Җ೥™€Tondodνၳೊছණʕ߉ᜑ೥ࠦʕːd೥ࠦ዆᜗ཱིတd˴
        ԉڌઋeᑕ᎔Έᅂdᎇ٤ගீൖ஗ೌࠢ׳ɽၾ੶ሜf˴ੵڭवᖭ೥ཀ೻ٙරρጳdમ͜ᗳЧ                                   In his youth, Huang Yuxing’s painting
        ਗ೥ᇭ˪ႡЪٙ˙όd˸ீᑛٙල੹ίޚᆨߠֵࠦ͂dʵਔɛيிۨdΎ̋˸˜ʈഅࠠ੹™                                   style was vastly different from the
                                                                                   dazzling impression in people’s mind
        ˀూ໅ݑf௰୞೥ࠦν˥ኈ೥ணЍdೲݑသኈdዢ૱޴֝f˼һ̷͜ޚᆨतϞٙ˜ʈุи                                    today. At the age of 30, he confronted
        ช™ၾᜳਗdᜫኈ੹ίՉɪໍจݴ૲d෧ி̈ɓࡈࡈग़।ٙɛيf
                                                                                   the various facets of human nature in

        ᅂၞʘɨdओ͛߰ྫྷ                                                                  his artworks: desire, love, hate, anger,
        Չʕٙਉࠦӽ྅ʕdɾɿ͍ᗁΚѬd଻ग़਺֛ءൖۃ˙dᆰۂٙᑕᕼeऎᘷছજቻeക഑                                    obsession, loneliness, life and death,
        ሯήٙВഹၾኈัߠ౻޴ʝխᏐfЪۜ߰࢝ତ࿁˖ᖵూၾΤ࢕ت౤ʲл€Sandro Botticelli                         religion, divinity, and deeply explored
       ଣซʷٙɾɻӽ྅‘ٙߧหdՇ٫࿴ྡ޴ЧdޫމලЍߠ౻ٙਉ྅d࢝ତ࿁׵Оፗ˜ߕ™                                    core issues such as “human body”, “life
        ʘնᕚٙ୞฽ઞ॰fϾරρጳίߠ౻ɪٙஈଣһ̋୚ጰdኈЍٙЄଣ૶౸̙Ԉd˸ᄝᛈeั                                   science”, and “media experiments”. He
                                                                                   also attempted to move painting from
        ݑeॎኈʘ଱ᚔ್࢝ତdϾίဒලʕdɛيٙቻകνݴږ㎄ਗdˀᛖഹⒾͣٙЄᇮfϞй׵                                   the canvas to industrial ready-mades,
        ت౤ʲл׼తٙ೥ࠦdɾɿ஗૱ኈᔧႊdݣ໢޵ɨdᕐଽ૱್dϡᙶัኈdи᎑ɦญɛᅐ                                    boldly using ink, spray paint, glass,
        ઎fϾԟᓃၢՉɪٙፃΈߎ੹dνɛي᎘ུdνဎओྡྷࡾdɦνې଱d೥Ꮂᓃຒήίᚶʕ͛                                   and breaking through the boundaries
        ሾd˵ତɛيٙၚग़Ѝ੹fϾϤፃΈ͜੹ɰཫͪə̴ί˚ܝ௴Ъٙᗫᒟ֛Зf                                         and conventions of traditional art
        ͛ն͉ٙॆʘЍ                                                                    making, displaying greater freedom of
                                                                                   expression. Through intense narratives,
        Ͼί̤ɓ΁Ъۜʕd዆᜗Ѝሜһ̋ॱၘdɾɿᑕ௅ໄʕdఊ˓ϖ໓d΃᎘ௐͦdढቻνߕӁ                                   he tried to seek a utopian sense of
        ୶ছੵ౮dᐨኹᑕࣙf޴ˢ̔ז͙ఐ€Michelangelo CaravaggioࠦͦଞᐎٙߕӁ୶‘d                       social identity from the meaning of life
        රρጳ೥ʕ˴ԉ͊ԈᎡɛٙ଻ग़d૶ኈသீ̈ኑইᇮЍfܦՑλஈٙवͣၾ˥ኈʹፄd७༩                                   itself.
        ගdʞ֜һމᓛᘚd೽ໝٙፃΈߎ੹dԴᑕ᎔һᜑݓߕೌඁfڐᝈʘdኈʘʞ੹ᛌ̋಩ݑd
        ൖᙂ౻ᝈձፓdɓंգϓd᜗ତʕ਷೥ٙ˜Җग़ࡒ௪™f                                                  “Of all the painter’s arts, stained
                                                                                   glass is probably the most
       ˜Ң݊ɓࡈ೨߮ٙਬي˴່٫fҢܘ೨ܧவɓᓃdɦʔ੻ʔוႩவɓᓃf™                                           intractable......And yet no other
                                                                                   art seems so little earthbound, so
                                                                       { රρጳ
                                                                                   alive, so intrinsically beguiling in
        රρጳஷཀܑᔻٙ೥ࠦdਗ਼৷ܓઽชٙʫːၾܠᅇяତၾ଺fίӐࠠేตٙ͛նᙄᕚʕd߰                                   its effect.”
        ረʚෂႭɛيอ່֛ٙf೥٫ࠠ෧ዝ̦ɛيၾഹЪd੭ᝈ٫੽ຬي͛ڗၾዝ̦ᜊቋʕdܠϽ                                            — Encyclopedia Britannica
        ͳ̚ʔᜊٙ͛ϼषϥfɰ͍݊வɓࣛಂ࿁ලฮٙଉՍଣ༆dϓఱə˚ܝЍ੹౴ᙴٙරρጳf
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