Page 283 - 亚洲二十世纪及当代艺术
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˜˼ٙͩ᎘ʔ݊ᎇت஼ईٙਅਗdϞ˂ήٙዎێd                        “His stones are not capricious, but hold
                             ɦ੭ϞᛨජЧ˦ٙቱ๝dࠬਗ̬˙dϞᄿᚠɽή                         the simplicity of the world, along with
                             ٙ၌͍૶ശdࣦࣦ৻տfɦʔ̣݊ᙬٙ຅˾ܠၪd                        the lingering warmth of the scorching
                             ݊ࠧնٙᓿห˂ήdΫᓥఊॱٙତ˰ࠬ౻f™                          sun. They have the dignified clarity and
                                                                           elegance that moves in all directions,
                                                          { ᖵ൙࢕ᑽ९ࠊ
                                                                           expanding across vast lands. It is not
                              ᐽᝈዝ̦d˜փͩ™e˜׉ͩ™ᐼঐ੻Ց˖ɛඩɻٙڡ                     a loud and contemporary thought, but
                              ຕdϾ̨ᝄᖵஔ࢕մम׶ۍዹฌ݂ඊऎᛉɪԟሯዎϾ                      a revolutionary respect for heaven and
                              ॱၘٙᕰфͩfሖ͛׵ਕ༵࢕ࢬٙ˼dഁϋࣛ຾੬዆                      earth, a return to the simple present
                                                                           scenery.”
                              ˚ί܈؇؍ᗙٙऎऱၾԳ̆๣֦ݴஹdᝈ࿀ͩၾӍٙ
                              ۶࿒dɦίνዂܽᎭஐٙ௶Ъʕᒦ๪̈ക૩ʔࢨٙ͜                                         — Art Critic Xie Suzhen
                              ܸঐɢձ৷ܓٙਖ਼ءɢd݂Ͼ௴Ъࣛঐ੻ːᏐ˓ή೯                      Looking through history, “Strange stones” have
                              ࢝̈ዹतٙ˜೥ͩ™จሳf׵਷ͭ৷ඪࢪᇍɽኪߕஔ                      always been favoured by literati and scholars.
                              ޼Ӻה၂ɻଭุܝd˼ʔٛͦ৛஼ओശd˸˜࢕™Ъ                      However, Taiwanese artist Chou Chu-Wang
                              މ௴Ъʕ֐୞ಪਗٙઋชΈ๕dΫᓥԟ˪࣬ಔːٙ͞                      finds his deep affection for the simple and pure
                              ͩວdਖ਼ء׵೥ͩfմम׶˸ܵʘ˸ܩٙᜓɛ௴Ъ                       pebbles found on his hometown beach. Born into
                              ڌତᙊ੻əᖵޢٙႩ̙d׵ 2003 ϋᐏ৷ඪ̹ͭߕஔ                   a farming family, he spent his childhood days
                              ᎜ٙ˜৷ඪᆤ™e2007 ϋᐏ̨̹̏ͭߕஔ᎜ٙ˜̨̏                   lingering by the shores of Linbian in Pingtung
                              ᆤ™e2009 ϋɦ੻Ցୋɚɤɓ֣˜փߕᖵஔᆤ™fՉ                   and the banks of Jiadong River, observing the
                              Ъމ਷̨ͭᝄߕஔ᎜ę̹̏ͭߕஔ᎜eᑌԞ˖઺ਿ                      postures of stones and sands. Through the
                                                                           laborious tasks of collecting cobblestones, he
                              ږึeዦݲͣՄߕஔ᎜ഃዚ࿴ϗᔛf
                                                                           honed his dexterity and cultivated a remarkable
                              ݊ϣ߇שٙᆾᆾᔌː‘€97 x 194cm݊մम׶ש                 level of focus, which allowed him to effortlessly
                              ఙהତʘ *** ˉషʘЪdԨᐏ࢝׵Չ˜ᔟͩᇖː™                    develop his unique interest in “painting stones.”
                              ࡈ࢝ʕdˈՈ˾ڌ׌fՉගҖ࿒΢ମϾᜄ૩ɝฆٙͩ                      After graduating from the National Kaohsiung
                              ᎘ʔස᜗ତմम׶ڐ 20 ϋԸᆑː޼Ӻ೥ͩϾᐼഐ̈                    Normal University’s Graduate Institute of Fine
                              ٙ຾ՊᖵஔႧคdһ݊ɓ၇ίਖ਼ءձॱॆʕᒚᜰ̈ٙ                      Arts, he did not blindly pursue vanity. Instead,
                              ᆡ֭ձᜳ׌d࠽੻ۜᛡձϗᔛf                               he turned “home” into an emotional source
                                                                           that continuously flowed through his creations,
                              თʆՍऎd΍ᗅ๋˜ʘဂ
                                                                           returning to the stone mill deeply rooted in his
                             ˜Ϋ᎘ਪᕐͩdঐМϼ˃щkͩᒱʔঐԊd஢Ңމ                        heart. Chou Chu-Wang’s persistent artistic
                             ɧʾf™                                          dedication has earned him recognition in the art
                                                        { ࡥ˾་ɛ֢ͣ׸          world. He received the Kaohsiung Award from
                                                                           the Kaohsiung Museum of Fine Arts in 2003,
                             ᆾᆾᔌː‘ʕٙͩ৬˸ೌᗙೌყeɷᜊຬʷٙᕰф                       the Taipei Art Award from the Taipei Fine Arts
                              ͩଡ଼ϓdϞԬɽϾܯ̻dొจήሽίජΈɨiϞԬ୚                      Museum in 2007, and the 21st CHIMEI Arts Award
                              ʃၚ̷dίͩ৬ᐻქʕ࣍৖ᔛf˥ݴˀూٙәՏਗ̴਼                      in 2009. His works are collected by the National
                              ࡁ͂ጋ੻෥ᆗΈڥdί౹ࣦΈᜄɨீତڡϲ͉ٙЍd                      Taiwan Museum of Fine Arts, Taipei Fine Arts
                              ɦҳ࢛̈బϞ৷Эᗲܛٙϲᔝଉᅂdᜫɛପ͛ໄԒ׵                      Museum, Federal Cultural and Educational
                              ᔝ˂၀ऎٙൖᙂeɗЇᙃᙂٙ༽ซfմम׶୚ᇘή˸                      Foundation, and the White Rabbit Gallery in
                              ੗ණ෥ਸ਼ᅼᏝͩࠦٙ୑ᐳሯชdᔟᏝॆٙ˓جԴᕙࣘ                      Australia.
                              ʷԒމͩ᎘͉Ԓd༐ᅚߗːή౜ᅛࠬє˚᛼ݹᓿɨٙ                      Stones(97 x 194cm) in this autumn auction is
                              ๋˜Ս଱dν߰࢝ତ̈ᕰфͩ˜ɷͩɷႶ™ٙዹͭ׌                      Chou Chu-Wang’s largest work created at the
                              ࣸj̥ԈϞٙͩɪϞя˜U™οҖٙ଱༦d྅ɓੵੵ                      present time, and it is representative of his
                              ݺᆌٙ३ᑕiϞٙۆбတૢ७ً੗ණ७༩dνΝᎈࢡ                      latest solo exhibition, Cultivate the Heart through
                              ͩኣٙێྼЄଣdɓνཱི຾๡ࣳٙϼ٫ࠦᕼf̛ਉٙ                      Painting the Stones. The varied and delicate
                              ͩ᎘਼ᛌϓͩʆdԈฆٝഹήᅂ࢛І್ʕ҃ਃٙփ                       stone formations in the painting not only embody
                                                                           Chou Chu-Wang’s classic artistic vocabulary
                              ࢤiϾ̸ਉϞҏٙͩΐҗֽɓૢ๋˜ٙئݴdা፽ə                      developed over nearly 20 years of dedicated
                              ൻᥚৎͿٙɛ͛ { Ϟࣛ̂တᛇᑊ३ႧeϞࣛۇ౲ࠦ                     research on stone painting but also represent a
                              ࿁ᘌࢡٙܿ኷eһεٙࣛࡉ݊ɓ၇࿁׵٤׼̻᎑ٙٝ                      smoothing and spiritual essence brewed through
                              ԑ੬ᆀfմम׶ٙͩ᎘Ϙʊ୭ᕎə࿁׵Ո᜗ԫيٙᔊ                      focus and purity, worthy of appreciation and
                              ఊяତdϾʫʷމɓ၇ːᜳٙ༊๪d˼ίฆᝈٙԫي                      collection.
                              ʕΌग़஫ءήءɝഅɢdމν߰ፋ੗ٙͩ᎘؃ʾረʚ                      Engraving Mountains and Carving Seas,
                              ࣛගձ͛նٙชࢻd᜗ତኑᇖᛈ୭ϾሯዎӸߕٙᆾᆾ                      Composing the Symphony of Ages
                              ʘːf

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