Page 309 - 亚洲二十世纪及当代艺术
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ͩډٙᖭҪෂ୕eତ˾ձІ௴ٙҦجፄΥމɓiัݑ˥ኈeዢᜮഹЍeփ Shi Hu, praised as the “Picasso of China”, is an
ମྡeग़।ᕚҿeʕГ९ҿ૿͜dѩވᘴəͩډٙᖵஔʑശdҪ౷ஷٙ؇ outstanding inheritor and creator in the history
Гᜊϓʔ̻ɭٙ౻f of contemporary Chinese art. He has loved
art since childhood, and in 1958, he entered
{ ɓอߕஔᐼ္เ݆ಆ
the Beijing Arts and Crafts College. Due to
މʕٙଭ̋॰eʕٙٙͩډd݊ʕ˾ᖵஔ̦ɪ௫̈ٙ his excellent performance, he enrolled in the
ෂו٫ձ௴ி٫f˼Іʃᆠฌᖵஔd1958 ϋϽɝ̏ԯʈᖵߕஔኪࣧdΪڌତ̈ Folk Art Department of Zhejiang Academy
ЍdཞϋආɝएϪߕஔኪ৫ٙ͏ගߕஔӻආࡌfͩډʔШၚஷʕෂ୕ᖭҦ̷d of Fine Arts the following year. Shi Hu not
ᒔᄿعऒᓳ؇Г˙ʔΝٙᖵஔҖόdνኣe͏ڳe***eГ˙ͭ˴່e only mastered traditional Chinese painting
techniques but also extensively studied various
ᖕݼഃேމՉ௴Ъٙቮʱf1978 ϋd˼Ⴣࠌڢݲ 13 ᄳ͛ஞਪdਗ਼הԈהၲ art forms from the East and West, such as
ණഐϓࣣdຬ͉̅ίࣛගʫቖਯɓ٤f1982 ϋd˼ίیԯ௹ي৫ᑘ፬ϣࡈ Dunhuang murals, folk paintings, ivory carving,
࢝dቤኼᖵእfᎇܝટஹίඩ̋༺௹ي৫eʕߕஔeอ̋սʕശᐼਠึഃዚ Western cubism, and fauvism, which have
೯ڌࡈ࢝f all become nourishment for his creations. In
1978, he travelled to thirteen African countries
݊ϣ߇ש࢝ତٙમᓘྡ௴Ъ 1991 ϋd༈ϋͩډක઼ə˼͛ૹʕ௰މࠠࠅٙ
Ԛ࢝˂նϋ࢝dԚ࢝̏ԯeዦژę̏eอ̋սdᐏ٤ۃٙყᑊᚑfจं for sketching and research, compiling his
observations into a book. Within a short period,
ࠬ೯ٙ˼ί௴Ъɪɰฏ೯ᘟ˦ॱڡd͉ЪഐΥՉᅺႦٙ˥ኈᇞૢձࠠ ten thousand copies of the book were sold
ग़ᙂdίᇞၾЍٙၚѶৣΥʕdՍႏዎቐێٙ৷̚ʘࠬf out. In 1982, he held his first solo exhibition at
ൈʕ༶ྼdݓʫў the Nanjing Museum, shocked the art world.
ߎԌ͛یd݆Ը೯،fᗴёεમᓘdϤي௰ܠf Subsequently, he presented solo exhibitions
at institutions such as the Jakarta Museum,
{ ˮၪܠ National Art Museum of China and Singapore
Chinese Chamber of Commerce & Industry.
મᓘྡʕdͩډਗ਼Ոͭชཱིٙတɛձʕ̚˾ჶग़।ٙኣ७ଣഐ The work Picking presented in this autumn
Υdܔ̂တࡈٙᖵஔႧԊd࢝ᚣˮၪഹΤʘ་ܠɓছଉઋཡ͑ٙจᘾf auction was created in 1991. This year, Shi Hu
าಅЍٙᄳจߠ౻ʘɪd̙ԈɽࠦጐٙߎԌ،dίԟරͣӎݑٙัݑʕdͩډ embarked on his most important travelling
˸४ߎЍጰήʵਔ̈ٙএືdί˪մᗙೲᏜeᓃݑ̈ථᗯdνྫྷЧˌf exhibition in his career, his solo exhibition
ஈዢࠠٙߎЍᕙࣘᓃᛈίගd˸פഅج࢝ତᎇࠬჀჀࣞਗٙᐿସߎԌ؈ྼf toured Beijing, Macau, Taipei, and Singapore,
Ͼί̸ࠦਉձɪ၌dϲЍٙᗯंᙗකԸdᅼᇔəЪۜࣛගၾ٤ගٙޢࠢdխ garnering unprecedented international acclaim.
Ꮠʕ˥ኈʕᓛᘚϾੈᔷٙᄲߕᗲբfߎЍeኈЍeาරЍٙᓃ࠭ᓫՉ His creative skills were refined and solidified,
ගd݊ν߰פڌତ˴່ɽࢪتݾдJackson PollockɓছٙІਗᆌᛈҦجd combining his iconic “ink lines” with “vivid
މЪᄣ̋əѶ˓ਅٙਗঐfመεҦجձʩ९ٙፄΥd࢝ତəΈݴٙ༦e colours”. In the delicate combination of lines
ஹၧʔഒٙঐඎdᜫࠦ̂တəग़ᙂձᜳd͍νͩډהԊjᖵஔఱ݊ࠅᝈԟ and colours, he portrayed the profound and
Ԭʔ̙༆eʔ̙Ԋٙԫيf pure ancient atmosphere.
Emptiness and Substances, Gentleness
Ͼί߱ჶٙ؍ʘʕdՇЗɾɿٙ࠺ᅂᒯߒ̙Ԉf̸ਉˇɾίᅂܝग़।ή with Strength
ᚣ̈̒ੵཱིတᔮᆗٙᑕᕼdএএўઋٙଽญɛᅐฌdߎࡶխᏐ،᎘ΈᆗٙߎԌf
μͦൖۃ˙dν߰ɝ࿁Ⴣ˙ฌɛٙଉʲܠׂf̛ਉɾɿۆᒯ̘࢙ࠦdස࢝ତ۷ “Red beans grow in the Southern land,
sprouting a few branches when spring
λᔮတٙߠᅂfˇɾί؍ʕમᓘߎԌd˸ʕ arrives. Pick an armful of them, my
ෂ୕˖ʷʕᅄܠٙڦيڌ༺ᗭ˸ൡመ friend, they are the symbols of my
ԊႧٙጰːၫfμࡁਟѶٙԒᔶίͣٙ، lovesick heart.”
ᦶܝ߰ᒯ߰ତd̚ზЍٙᅂձڡͣЍٙ৷Έ
— Wang Wei, Lovesickness
й̈ɓࣸήމɾ෧ி̈Г˙ீൖٙͭชf
ͩډ˸ʕٙኈၾॷ࢝ତГ˙̚Ҏᖳeᖯ৵ᎉ In Picking, Shi Hu combines lifelike human
෧e˖ᖵూጳࣛಂذٙ̚ՊߕdઅჃܩɮf figures with the ancient and mysterious
textures of Chinese ancient murals, creating a
ɾɿԒᔶٙΈᅂίٙᄳจኈe֧ٙ̚ unique artistic style that reveals the profound
ჶग़।e˸ʿᆌᛈ࠭ႀٙІਗഅᙃʘගପ and enduring sentiment like Wang Wei’s famous
͛փѶٙຠᅜdʔΝٙЄଣίͩډٙഅɨϞዚ poem Lovesickness. Against the warm brown
ፄΥdۍҗֽಾ್˂ϓdൈʕ੭ྼeݓʫў background, a large area of red bean branches
d༺ՑၚѶഒࡐٙҁߕ̻ፅd˿ɛྖfϾ and leaves can be seen. Through delicate
ԟ΅ዹ᙮؇˙ٙɓֻઋଉdўႅϾᆠडdν pink strokes, Shi Hu meticulously outlines the
ΝΈٙݰdίЍձᇞૢٙݴਗʕএএ details of the leaf veins, creating clouds and
ݴf ᖵஔͩډ mists around the edges of the leaves, giving
it a dreamlike and ethereal quality. Several
dense red pigment dots between the leaves
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