Page 263 - 亚洲二十世纪及当代艺术
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ᘱͣیࡘܝ௰ࠠࠅٙᒵତ˾ᖵஔɽࢪږडd˸˥ဈᖭၲΤdڿ˸˥ဈٙߕ Following in the f o ot s tep s
ᚑf˼І̼ᎇख़˨ኪ୦ࣣجձ؇˙ࡪኪdԨί͎ፋོᎸɨ୦Г˙ᖵஔf1948 ϋ˼Ͻ՟ဧ of Nam June Paik, the most
ɽኪߕஔӻdዝəಃᒻنٙਗᐗdͭқϕৎᒵତ˾ᖵஔٙɽᆃf1957 ϋ˼ၾϠ᳒ӱe prominent modern Korean artist
ɕᐅഃϓͭᒵତ˾ߕஔึdՉܝ˼ᐏߕݾдിਔਿږึ༟пॲߒኪ͛ᖵஔᑌ is Kim Tschang-Yeul, known for
ຑArt Student LeagueආࡌfϾί 1969 ϋቋ֢جܝdί 1972 ϋ೯࢝̈௰Ո˾ڌٙ his waterdrop paintings, is hailed
˥ဈ˴ᕚᖭf ږडಀԊj˥मٙཀd྅݊๓༆הϞᕏሯdᜫ˥मΫՑɓ၇ೌ as the “Waterdrop Painter.” He
ٙॱଋً࿒fהϞᅕܟeೊᅇձࢵᙰ༺ՑೌٙᐛගdҢࡁکึชՑ̻ձၾബቇf ˼Ⴉ learned calligraphy and Eastern
philosophy from his grandfather
މॱଋeீٙ˥मd̙ݹ̘၇˚੬ࠦ࿁ॸᐿ˰ޢࣛהชաՑٙᅕܟeేෆeʔʮ່dϾ since childhood and studied
ᖭٙཀνΝࡌБd˿˼ίІʕ༺Ї̻᎑ձτᅌf˼ІԒٙ˖ʷ̈೯dਗ਼؇˙ࡪኪኬɝ Western art at the encouragement
௴Ъdίᆄݲᖵእ೯౮؇˙˖ʷֵٙᘾf˼ 1972 Ї 1976 ϋගಀ 5 ϣᐏᒗਞၾجʞ˜ of his mother. In 1948, he enrolled
ӍᎲf2004 ϋᐏجᖵஔ˖ʷኔʕ௰৷ഃ̡ٙ˿ኔdԑᜑՉእྼٙήЗf in the Fine Arts department at
Seoul National University, and
Ͼί 1980 ϋ˾ڋಂdږडආɓӉήҪ๕ʕیಃٙՊ˖ᘠɷο˖ഐΥ˥ဈɝd
Չܸ̈jဏοַၧʔഒe͛͛ʔࢹfɷο˖݊ҢՅࣛ௰ኪ୦Ցٙ˖dה˸̴ίҢːʕ despite the turmoil of the Korean
War, he was determined to uphold
͑ჃЦϞࠠࠅήЗdঐו༱Ңٙ˥ဈԨၾʘމМd݊ΎତӻΐᏐ༶Ͼ͛d˼˸ڐ 40 Korean contemporary art. In
ϋٙΈ౻ܵʘ˸ܩήᅛɷο˖ʕɓࡈࡈዑ̻ሤฺٜࣣٙοdίۊሯዎ˖οɪdɓᒶ 1957, he co-founded the “Korean
ᒶᆪᐓٙ˥ဈұ࢛̈ਗɛٙΈԅdਗ਼ॱଋٙঐඎʫʷːf˥ဈձɷο˖Мᎇږड Modern Artists Association”
ɓ͛dԐཀՉዑ༨ᆄeߕeԭݲɽٙڐϵఙ࢝ᚎdԨॶɝᒵږडߕஔeᒵͭ with artists such as Park Seo-
˾ߕஔeˋኇᇻͤӁᖵஔʕːe˚͉؇ԯɽேึᖵஔ௹يeߕتɻߕஔഃ 40 ቱග bo and Chung Chang-sup. He
ዚٙʮϗᔛfତԒ߇שٙΎତމږडשఙהԈୋɖɽˉʂ٫dԨ˲މਬɘޜߎ later received support from the
Ъʕʘ *** ˉష٫dՉࠠࠅeޜӼʔԊІఏf Rockefeller Foundation to study
at the Art Student League in New
ɷοൡॆԊdဈݴတޮΈ
York. After moving to France in
˂ή͖රdρ֞ݳঞf˚˜ޮᦪdԕΐੵfఫԸ౼ֻd߇ϗ̆ᔛfቱϓ๋dܛѐሜ 1969, he developed his most iconic
ජfථᙜߧڠdᚣഐމᒲfږ͛ᘆ˥d͗̈੪fᄏ̶ᕍdम၈ցΈf؈ޜҽᬮdൄࠠ “water drop” themed paintings in
ڂᑞfऎᙡئ૱fᆑϻജfᎲࢪ˦d֜ɛެfՓ˖οdɗВႜfપЗᜫdϞ 1972. Kim believed that pure and
ௗࡥf transparent water droplets could
wash away the anger, sadness, and
{ ɷο˖
injustice felt in everyday life, and
яତɷο˖νɪݬໝٙЪΎତd˸ɽंܨ̾ٙϡߎމ˴Ѝfίᒵෂ୕͏ගڦʕd the process of painting was like
ϤЍ݊͛նʿɢඎٙᅄd๕ρ֞ʘ๕ɓɓ˄ජٙЍd̙תጏԝెeᚨৰලฮfږ spiritual practice, which brought
ड፯͜ϤЍбࠦdЪۜ˿ɛᑌซՑρ֞І૿ӗʕνڋɓছٙᖑގd੭ԸΈሾձ him peace and comfort through
าdረʚຬي͛նdϤϡߎЍတ༱؇ԭ˖ʷਸ਼࿁˂ήᆼ礴ٙঐඎʘڦfஷཀਗ਼ࠦ෬တ introspection. Drawing on his own
ϡֵˀᛖ̈٤ͣ٤ගdҖϓͷ߰І˥ʕओତٙ◂ۊฺdλЧ˸Ս̚ᖗছቍࠠήᜇ՟Ιإe culture background, he introduced
Eastern philosophy into his artwork,
၌ΙɨٙϡΙfՈัݑሯชٙଉߎЍݓձήڝഹίοᗙᇝd̋੶ə˖οٙͭชfϾԟ promoting the essence of Eastern
ᄁϞɢٙɽονΝ˖ɓছՈϞڦٙᚭɢdᎇᝈ٫ᓭᚎٙͦΈԱϣᚔ̈dՉΌ˖οจρ֞ culture in the European artworld.
૿ӗڋකՑ˚˜ձ̬֙ٙሖ͛dሞʿ͛ն͉๕ٙ˥ІථᄴˌʷމϪئಳऎeᗯڠᒲd˥ٙృ From 1972 to 1976, he was invited
ᐑ੭Ըᐿସٙ͛նdɛᗳٙ˖ɰఱϤܔͭn̚ɛ౽ᅆٙᇎԊठɝ໘ऎd̮ࣸਗɛːָf to participate in the Salon de Mai
ɷο˖ʘɪdɓࡈࡈᆪᐓٙ൴ᄳྼ˥ဈᇠᇠသ̈dϞٙಾீdνޜमছ౺ᆦdϞٙІ in France five times. In 2004, he
್ۧᄥdڐဈໝfᔷᐛуٙ˥ဈݴཀͳ̚ݴෂٙɷο˖dұ࢛̈ዝ̦ٙओΈચᅂdί was awarded the highest rank,
ࠦਗၾ᎑̻ٙፅʕdўႅή೯؇˙όٙ་จࡪଣfϤ̮d͍νᒵҽ߃הԊjί “Commandeur” of Ordre des Arts
et des Lettres, from the French
ᖭ˥ဈٙࣛࡉdږडԨڢਗ̴਼ࡁЪމπίٙତdϾ݊ɓࡈΈᅂٙԫnnאπίၾ Ministry of Culture, highlighting his
ൈ٤dᓥ࣬ഐֵ̥݊Έၾᅂ֛ٙΣʝਗdږडٙ˥ဈஷཀΈᅂ֛ solid position in the art world.
່ІԒj̙ԈΌʕ˥ဈұ࢛̈І̛ɪϾԸٙீڥΈᜄdԨΣ̸ɨҳ
࢛ᄁٙږߎЍΈᅂd່֛əΈٙɓߧd࢝ତॣҏʜ್ٙᗲܛdխ In the early 1980s, Kim took
Ꮠɷο˖ʕ͟૿ӗԐΣॣҏٙρ֞ᇁd݅ձፓɦՈ੶ɽٙ his “water drop” paintings to
ੵɢf the next level by combining the
classic Southern Dynasties
˥Ъމρ֞ڋٙɢඎԸ๕˂٥dմϾూήృᐑձଋʷd௰Ϋ Chinese document Thousand
ᓥ˂ყfږडٙ˥मʊ൴୭ՈจdϾ݊ɓ၇ІҢહᛙfί Character Classic. He stated,
Ԉᗇཀن੭Ըٙ೨߮eऎ̮ဎغٙ֘ዹʘܝdՈଋʷʘɢٙ˥मᐕ “Chinese characters are endless
ᓹə˼ٙʫːdତəߧٙஷீeᄿɽ࢙ٙ̍ɢձ̙෧fϤЪ࢝ an d ev e rlast in g . T ho us and
ତəږडڐ˷Нᄃࠐɓছয༐ٙࡔซό௴Ъၚग़d݊˼ίࣛගٙ Character Classic was the first
ږडΎତ Sh93016dᏀдɢe text I learned as a child, so it
ᐻქʘʕర̻᎑ٙڌᅄf᎑ϾᝈʘdҗֽɰঐరՉၚग़ٙ ذ ̺d162.2 x 130.3 cmd1993
ϋЪdשርϓʹᄆ 1,047,900 ʩ always holds a special place in my
ᚐᇵdίːᜳٙଋʷཀʕӉɝ˂ɛΥɓٙྤޢf ಥ࿆
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