Page 263 - 亚洲二十世纪及当代艺术
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ᘱͣیࡘܝ௰ࠠࠅٙᒵ਷ତ˾ᖵஔɽࢪږ׹डd˸˥ဈᖭ೥ၲΤd஗ڿ˸˜˥ဈ೥࢕™ٙߕ                                     Following  in  the  f o ot s tep s
        ᚑf˼І̼ᎇख़˨ኪ୦ࣣجձ؇˙ࡪኪdԨί͎ፋོᎸɨ޼୦Г˙ᖵஔf1948 ϋ˼Ͻ՟࠯ဧ                                  of Nam June Paik, the most
        ɽኪߕஔӻdዝ຾əಃᒻ኷نٙਗᐗdͭқ׵ϕৎᒵ਷ତ˾ᖵஔٙɽᆃf1957 ϋ˼ၾϠ᳒ӱe                                 prominent modern Korean artist
        ɕ׹ᐅഃϓͭ˜ᒵ਷ତ˾ߕஔ࢕՘ึ™dՉܝ˼ᐏߕ਷ݾдിਔਿږึ༟п׵ॲߒኪ͛ᖵஔᑌ                                    is Kim Tschang-Yeul, known for
        ຑ€Art Student LeagueආࡌfϾί 1969 ϋቋ֢ج਷ܝdί 1972 ϋ೯࢝̈௰Ո˾ڌ׌ٙ                     his waterdrop paintings, is hailed
       ˜˥ဈ™˴ᕚᖭ೥f ږ׹डಀԊj˜೥˥मٙཀ೻d྅݊๓༆הϞᕏሯdᜫ˥मΫՑɓ၇œೌ                                   as the “Waterdrop Painter.” He
        ٙॱଋً࿒f຅הϞᅕܟeೊᅇձࢵᙰ༺ՑœೌٙᐛගdҢࡁکึชՑ̻ձၾബቇf ™˼Ⴉ                                   learned calligraphy and Eastern
                                                                                     philosophy from his grandfather
        މॱଋeீ׼ٙ˥मd̙ݹ̘΢၇˚੬ࠦ࿁ॸᐿ˰ޢࣛהชաՑٙᅕܟeేෆeʔʮ່d੽Ͼ                                    since childhood and studied
        ᖭ೥ٙཀ೻νΝࡌБd˿˼ίІ޲ʕ༺Ї̻᎑ձτᅌf˼੽ІԒٙ˖ʷ̈೯dਗ਼؇˙ࡪኪኬɝ                                    Western art at the encouragement
        ௴Ъdίᆄݲᖵእ೯౮؇˙˖ʷֵٙᘾf˼׵ 1972 Ї 1976 ϋගಀ 5 ϣᐏᒗਞၾ˜ج਷ʞ˜                            of his mother. In 1948, he enrolled
        ӍᎲ™f2004 ϋᐏ཯ج਷ᖵஔ˖ʷኔ௝ʕ௰৷ഃ̡ٙ˿ኔ௝dԑᜑՉ׵೥እ਺ྼٙήЗf                                   in the Fine Arts department at
                                                                                     Seoul National University, and
        Ͼί 1980 ϋ˾ڋಂdږ׹डආɓӉήҪ๕׵ʕ਷یಃٙ຾Պ˖ᘠɷο˖‘ഐΥ˥ဈɝ೥d
        Չܸ̈j˜ဏοַၧʔഒe͛͛ʔࢹfɷο˖‘݊ҢՅࣛ௰΋ኪ୦Ցٙ˖௝dה˸̴ίҢːʕ                                   despite the turmoil of the Korean
                                                                                     War, he was determined to uphold
        ͑ჃЦϞࠠࠅήЗdঐ੄ו༱Ңٙ˥ဈԨၾʘމМ™d׵݊˜Ύତ™ӻΐᏐ༶Ͼ͛d˼˸ڐ 40                                  Korean contemporary art. In
        ϋٙΈ౻ܵʘ˸ܩή౜ᅛɷο˖‘ʕɓࡈࡈዑ̻ሤฺٜࣣٙο᜗dί࡝ۊሯዎ˖οɪdɓᒶ                                    1957, he co-founded the “Korean
        ᒶᆪᐓٙ˥ဈұ࢛̈ਗɛٙΈԅdਗ਼ॱଋٙঐඎʫʷ׵ːf˜˥ဈ™ձ˜ɷο˖™Мᎇږ׹ड                                    Modern Artists Association”
        ɓ͛dԐཀՉዑ༨ᆄeߕeԭݲɽ௔ٙڐϵఙ࢝ᚎdԨ஗ॶɝᒵ਷ږ׹डߕஔ᎜eᒵ਷਷ͭ຅                                    with artists such as Park Seo-
        ˾ߕஔ᎜eˋኇᇻͤӁᖵஔʕːe˚͉؇ԯɽேึᖵஔ௹ي᎜eߕ਷تɻ཭ߕஔ᎜ഃ 40 ቱග                                  bo and Chung Chang-sup. He
        ዚ࿴ٙʮ଺ϗᔛfତԒ߇שٙΎତ‘މږ׹डשఙהԈୋɖɽˉʂ٫dԨ˲މਬɘ΁ޜ೽ߎ                                    later received support from the
        ੹೥Ъʕʘ *** ˉష٫dՉࠠࠅ׌eޜӼ׌ʔԊІఏf                                                  Rockefeller Foundation to study
                                                                                     at the Art Student League in New
        ɷοൡॆԊdဈݴတޮΈ
                                                                                     York. After moving to France in
       ˜˂ή͖රdρ֞ݳঞf˚˜ޮᦪdԕ੖ΐੵfఫԸ౼ֻd߇ϗ̆ᔛf඙ቱϓ๋dܛѐሜ                                       1969, he developed his most iconic
        ජfථᙜߧڠdᚣഐމᒲfږ͛ᘆ˥d͗̈੤੪fᄏ໮̶ᕍdम၈ցΈf؈ޜҽᬮdൄࠠ                                      “water drop” themed paintings in
        ڂᑞfऎᙡئ૱f᜚ᆑϻജfᎲࢪ˦܎d௢֜ɛެf֐Փ˖οdɗ؂ВႜfપЗᜫ਷dϞ                                      1972. Kim believed that pure and
        ໬ௗࡥf™                                                                        transparent water droplets could
                                                                                     wash away the anger, sadness, and
                                                                      { ɷο˖‘
                                                                                     injustice felt in everyday life, and
        яତɷο˖‘νɪݬໝٙ೥ЪΎତ‘d˸ɽंܨ̾ٙϡߎމ˴Ѝfίᒵ਷ෂ୕͏ගڦ΃ʕd                                   the process of painting was like
        ϤЍ੹݊˜͛նʿɢඎ™ٙ൥ᅄd๕׵ρ֞ʘ๕ɓɓ˄ජٙЍ੹d̙תጏԝెeᚨৰලฮfږ                                    spiritual practice, which brought
        ׹ड፯͜ϤЍ੹б࿴೥ࠦdЪۜ˿ɛᑌซՑρ֞І૿ӗʕνڋ௾ɓছٙᖑގd੭ԸΈሾձ๝                                     him peace and comfort through
        าdረʚຬي͛նdϤϡߎЍ੹တ༱؇ԭ˖ʷਸ਼࿁׵˂ήᆼ礴ٙঐඎʘڦ΃fஷཀਗ਼೥ࠦ෬တ                                    introspection. Drawing on his own
        ϡֵˀᛖ̈٤ͣ٤ගdҖϓͷ߰І˥ʕओତٙ◂ۊฺ᜗dλЧ˸௕Ս̚ᖗছቍࠠήᜇ՟Ιإe                                    culture background, he introduced
                                                                                     Eastern philosophy into his artwork,
        ၌୿ΙɨٙϡΙfՈัݑሯชٙଉߎЍݓձήڝഹίο᜗ᗙᇝd̋੶ə˖οٙͭ᜗ชfϾԟ዆                                    promoting the essence of Eastern
        ᄁϞɢٙɽονΝ຾˖ɓছՈϞڦ΃ٙᚭɢdᎇᝈ٫ᓭᚎٙͦΈԱϣᚔ̈dՉΌ˖οจ੽ρ֞                                    culture in the European artworld.
        ૿ӗڋකՑ˚˜ձ̬֙ٙሖ͛dሞʿ͛ն͉๕ٙ˥ІථᄴˌʷމϪئಳऎeᗯ௛ڠᒲd˥ٙృ                                    From 1972 to 1976, he was invited
        ᐑ੭Ըᐿ࿲׶ସٙ͛նdɛᗳٙ˖׼ɰఱϤܔͭn̚ɛ౽ᅆٙᇎԊठɝ໘ऎd̮ࣸਗɛːָf                                    to participate in the Salon de Mai

       ɷο˖‘ʘɪdɓࡈࡈᆪᐓٙ൴ᄳྼ˥ဈᇠᇠသ̈dϞٙಾ෥࡜ீdνޜमছ౺ᆦdϞٙІ                                     in France five times. In 2004, he
        ್ۧᄥd఻ڐဈໝfᔷᐛу஻ٙ˥ဈݴ૲ཀͳ̚ݴෂٙɷο˖dұ࢛̈ዝ̦ٙओΈચᅂdί೥                                    was awarded the highest rank,
        ࠦਗၾ᎑̻ٙፅʕdўႅή๰೯؇˙όٙ་จࡪଣfϤ̮d͍νᒵ਷೥࢕ҽ߃๰הԊj˜ί౜                                    “Commandeur” of Ordre des Arts
                                                                                     et des Lettres, from the French
        ᖭ˥ဈٙࣛࡉdږ׹डԨڢਗ̴਼ࡁЪމπίٙତ൥dϾ݊ɓࡈœΈᅂٙԫ΁nnא஢πίၾ                                    Ministry of Culture, highlighting his
        ൈ٤dᓥ࣬ഐֵ̥݊Έၾᅂ֛ٙΣʝਗ™dږ׹डٙ˥ဈஷཀΈᅂ֛                                               solid position in the art world.
        ່ІԒj̙ԈΌ೥ʕ˥ဈұ࢛̈І̛ɪϾԸٙீڥΈᜄdԨΣ̸ɨҳ
        ࢛዆ᄁٙږߎЍΈᅂd່֛əΈٙɓߧ׌d࢝ତॣҏʜ್ٙᗲܛdխ                                               In the early 1980s, Kim took
        Ꮠɷο˖‘ʕ˜͟૿ӗԐΣॣҏ™ٙρ֞੗ᇁd݅ձፓɦՈ੶ɽٙ                                               his “water drop” paintings to
        ੵɢf                                                                          the next level by combining the
                                                                                     classic Southern Dynasties
        ˥Ъމρ֞ڋ֐ٙɢඎԸ๕׵˂٥dմϾూ֐ήృᐑձଋʷd௰୞Ϋ                                               Chinese document  Thousand
        ᓥ˂ყfږ׹डٙ˥मʊ൴୭Ո᜗จ൥dϾ݊ɓ၇˜ІҢહᛙ™fί                                               Character Classic. He stated,
        Ԉᗇཀ኷ن੭Ըٙ೨߮eऎ̮ဎغٙ֘ዹʘܝdՈଋʷʘɢٙ˥मᐕ                                               “Chinese characters are endless
        ᓹə˼ٙʫːd᜗ତə฽ߧٙஷீeᄿɽ࢙ٙ̍ɢձ̙෧׌fϤЪ࢝                                               an d  ev e rlast in g .  T ho us and
        ତəږ׹डڐ˷Н઺ᄃࠐɓছয༐ٙࡔซό௴Ъၚग़d݊˼ίࣛගٙ                                               Character Classic was the first
                                                                ږ׹डΎତ Sh93016‘dᏀдɢ੹e  text I learned as a child, so it
        ᐻქʘʕర੻୞฽̻᎑ٙڌᅄf᎑Ͼᝈʘdҗֽɰঐ੄৛రՉၚग़ٙ                          ذ੹೥ ̺d162.2 x 130.3 cmd1993
                                                                ϋЪdשርϓʹᄆ 1,047,900 ʩ  always holds a special place in my
        ᚐᇵdίːᜳٙଋʷཀ೻ʕӉɝ˂ɛΥɓٙྤޢf                                  ಥ࿆
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