Page 267 - 亚洲二十世纪及当代艺术
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˜ίҢ޶Ըd೥ࠦˀ݈ٙ݊ːʕٙࠬ౻dה˸ᖭ೥Չྼ݊ҢІʉၾІʉ࿁༑e                                  Zhang Yingnan enjoys utmost popularity as one
        Іʉࠦ࿁Іʉٙཀ೻fᖭ೥࿁ҢϾԊdһ྅݊ІҢٙʫːዹͣf™                                      of the emerging contemporary artists. He is good
                                                                           at exploring physical and mental space with
                                                              { ੵߵ฻
                                                                           restrained, rational geometrical composition and
        1981 ϋ͛׵৯Гeତ֢̏ԯٙੵߵ฻d݊νʦل˓̙ᆠٙ຅˾อቚf˼ኸڗ˸                              delicate use of colour, meanwhile expressing the
        ଣ׌ʫᏡٙ఻О࿴ྡeʔܢʔᙍٙ୚ጰ͜Ѝd෧ி̈ɓࡈࡈઞరତྼၾၚग़ٙ٤                                solitude and disquiet in life, the anticipation for
        ගd࢝ତ͛նٙ֘ዹʔτe࿁͊Ըٙᅏᅓe࿁݂ඊٙᕿᛸഃεࠠٙልᕏːၫfա                                the future, and the nostalgia for his hometown.
        Ϙϋ͎ፋࠈቡٙ˰ޢߕஔ‘ᕏႦᅂᚤdՉЪ̂တ˖ᖵూጳࣛಂܔጘ˴ᕚЪۜٙ                                He stands out with a personal style that is
        ॣҏʘߕdʿ̚Պ˴່ٙӐ᎑dɦ੽൴ତྼ˴່ʕіϗܠ፫׌eᒯఏ׌ٙၚ᜖d                                both realistic and surreal, communicating the
                                                                           emotional within the rational and touching
        Դ೥ࠦ̂တᏕᄌੵɢfੵߵ฻˸݅ᄳྼɦ൴ତྼٙ੶डࡈɛࠬࣸ୭጑Ͼ̈dίଣ                                people’s hearts deeply. In recent years, the artist
        ׌ʘʕෂ༺ช׌d̮ࣸᙃਗɛːdڐϋԸ᎖ᐿ׵̏ԯę̏eɪऎe࠰ಥe࠯ဧ                                has gained recognition through frequent solo
        ഃήᑘ፬ࡈ࢝d࢝ۜѩ௴ɨҁਯԳᐶd˿ɛᝓͦf                                             exhibitions that sold up at impressive rates.
        ੵߵ฻ٙ௴Ъε˸ܔጘ᜗މ˴dɛאਗيޟˇ̈ତ׵ՉЪʘʕdΫᚥՉԙʦމ˟                                Zhang Yingnan’s works are based mainly on
        ʘЪdසϞ 2 ΁ಀ˸ਗيɝᕚd̈ତ˜৵™ٙԒᅂdਅ༾‘уމՉɓdೌဲ࿎                              architectural forms and human or animal figures
        ᜑəЪۜٙ೽Ϟ׌f                                                          rarely appear. Encounter is one of the only two
                                                                           by him that take up the subject of animals, more
        ଣ׌ၾช׌ʹᔌٙІ͟་ᇐ                                                       specifically, horses, highlighting the work’s
        ੵߵ฻ߐਅ༾‘ʕ࢝ତəՉ຾Պٙ఻Оό൴ତྼ࿴ྡjɓੁ˙͍஝዆ٙଉಅЍ                                uniqueness.
        ᐍࠦՈላᏘɢήዑͳί೥ࠦʘʕdҳɨଉӐٙ௕ᅂdՉʫలϞᔝЍᗙ࣪ٙޚᆨ                                 A Poem that Interweaves Sense and
        ೿dνΝɓੵ˜೥ʕ೥™fܝ˙ତࠜࠜᇼᇼٙᙺ˝ᓉձዓ؍dᒯᒯᚣ̈ɦɓࠠఖ                                Sensibility
        ᐍf್ϾϤஈٙޚᆨ೿ீ݈ٙԨڢ܃ʫఙ౻dϾַ݊࢝əڀ෤ٙၠจd཭ࣛᅼᇔ                                Encounter showcases the artist’s signature
        ə܃ʫ̮౻ᝈʘගٙޢࠢfϤ൴੬஝ٙ٤ග࿴ϓҖ෧̈νྫྷྤɓছٙ˜ڢॆྼ                                 geometric, surrealist composition. Standing at
        ׌™fੵߵ฻މᝈ٫ணɨəൖᙂٙ༓ᚗdίॣҏeи᎑ٙ఻Оഐ࿴ʕዧ೯ೌးٙ                                the centre of the image is a brown wall that is
        ઞ॰ሳբf                                                              inlaid with a glass window and its blue frame.
                                                                           Behind it, another wall reveals itself among
        І̚˸Ը˜৵࠯™൥ᅄɢඎձּ؂dሖ͛̈˜ɓ৵຅΋™e˜৵࠯݊ᓼ™ഃ൚คf                               bushes and trees. The window does not open to
        ್Ͼੵߵ฻ۍˀՉ༸ϾБʘd೯ৎ࿁ᒺ৵ՍؐҖ൥ٙˀۏdՍจ˸৵ᑒͪɛϾᒯ                                the indoor, but continues the green of the garden,
        ᔛۃԒdމ೥ࠦᄣ૴əग़।ชf೥ʕণ෤̈ତɓಅϲЍᒺ৵dЄЂʴ၈਄ߕd৶                                blurring the boundary between the interior
        Ꭵഐ࿴๟ᆽdڗ҈ᙗਗd੭̈Σ̸Ԑɝᐍܝٙਗැf್Ͼ̸ਉ఻˷νᗝࠦұ࢛ɓ                                and exterior to create a sense of unreality. A
        ছdԈɓಈߎЍᒺ৵Σ೥̮ԐԸdɚ٫λЧίࣛගձϣʩٙᐻქʕਅ༾dϤ೦࿁                                visual sophistry is therefore set for the viewer,
        ׵٤ගِٙբd͍ၾ൴ତྼ˴່ɽࢪီࣸлत€René MagritteٙΤЪ٤ͣ                          from whom the work arouses immeasurable
                                                     ᖦΤ‘ʔፑϾΥdί             fascination through calm, orderly geometric
                                                     εʩ٤ගʘʕd೥ʕ             structures.
                                                     ٙ৵ʸʝމڌ༁e޴             Since antiquity, the horse head has symbolized
                                                     ݈ϓሳf                  power and conquest. Yet, to go aginst such
                                                                           tradition, Zhang Yingnan deliberately conceals
                                                     ኋ၍ɚ٫ίൖᙂٙʹ             the head and depicts the animal’s posterior,
                                                     ፹ɨًЧਅ༾dྼყ             which introduces a layer of mystery to the
                                                     ɪۍཞഹʔΝၪܓٙ             work. In the painting a horse emerges from the
                                                     ൷ᕎdܦνՇૢ̻Б             garden on the right whilst another within the
                                                     ᇞdೌج༺Ցॆ͍จ             window frame comes from the left, the two
                                                     ່ɪٙʹිf͛׵ඊ             appearing to be running up against each other
                                                     Ӏٙੵߵ฻ίยֻ̏             via a dimensional crack. The artist’s play of
                                                     ԯܝd޶Чኯᔟ೯༺             space coincides with the Surrealist master René
                                                     ٙஷৃҦஔϾପ͛ə             Magritte’s work, The Blank Signature. Zhang
                                                     һεɛყʹֻdШԒ             Yingnan was born in rural Shaanxi Province. After
                                                     ஈɽே̹ٙ˼dʫː             relocating to Beijing, although having experienced
                                                     ଉஈۍฏ೯֘ఊd˼             extended social relations due to the development
                                                                           of communicational technology, the artist felt
                                                     ߰ᔟϤЪᒯఏɛࡁၾ             his inner loneliness increase. With Encounter, he
                                                     ҳᅂe޴˪eཥɿ܈             seems to express a metaphor for the intimate
                                                     ࿇ഃɓӻΐɚၪପۜ             but simultaneously detached relationships that
                                                     ʘගፋ੗ۍפᕎٙɚ             people establish with two-dimensional items
                                                     ʩᗫڷdᅤਗ຅˾ٟ             such as photographs and electronic screens,
                                                     ึʕɓ଺ᆠችɦ੕ྸ             strucking a chord among the dynamic yet lonely
        ီࣸлत٤ͣᖦΤ‘dذ੹೥̺d81.3 x 65.1 cm.d1965 ϋЪdߕ਷ശସ཭਷࢕
        ᖵ఼ᔛ                                          ٙᜳ჻dϔɛːָf             souls of contemporary society.

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