Page 313 - 亚洲二十世纪及当代艺术
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˜ు΋༐הЪɛيቧ৵dዹ̈ʉจdՍ೥ၚՑdҦ৷ʔᜫ̚ɛdϾࣛ˾ชۆ                                 “Peng Xiancheng’s portrayal of figures on
        ̚ʦʱ׼dɓͦə್f™                                                      horseback is a unique manifestation of his
                                                                         own artistic vision, displaying meticulous
                                                 { ʕ਷ߕஔ̦ኪ٫ຬڡɢ
                                                                         craftsmanship that rivals the ancients. Yet,
        1941 ϋ͛׵̬ʇϓேٙు΋༐dಀ࿲ᑐʕ਷਷࢕ɓॴߕஔࢪeʕ਷೥ኪึଣ                             the sense of contemporary spirit is distinct,
        ԫഃεࠠ࿲ᚑfՅࣛٙ˼ίዚᇝɨԈࢱేᒿٙ໊৵ྡ‘dա੶डቤኼd੬ᑗ                               clearly evident at a single glance.”
        ᅛІ୦dڡϋࣛکɓ᎘ҳɝ࿁ᖵஔٙ৛॰f1962 ϋଭุ׵ϓேୋɚࢪᇍኪࣧd                                        — Chinese Art Historian Wan Qingli
        ІϤ઺ኪe௴Ъʔ኶f̬ɤ๋ࣛd˼ࠌ౱๯eอᖛϽ࿀̚˾ኣ೥ʿɛ྅dΎա                               Born in 1941 in Chengdu, Sichuan Province, Peng
        ઼ࠔd஼နᆽͭࡈɛࠬࣸfڐϋԸdు΋༐ϼ຅ूѯdጐ฽ᑘ፬ࡈ࢝dੂഹӐ                               Xiancheng has been honoured with multiple
        ᖢٙ˼௰୞ί˥ኈ௴ЪɪӉɝጲྤd௪աԳᚑfʕ਷ߕஔ᎜eߕ਷ੰɗဧɽኪ                               accolades, including being recognized as a National
        ߕஔ᎜e̬ʇ޲௹ي᎜ഃዚ࿴d˸ʿߵ਷ݟဧ౶਷ˮ€King Charles IIIe౷                      First-class Artist and serving as a director of the
        ؍౶཭ɽኪᑽݡݚ€Jerome Silbergeld઺બഃѩϗᔛՉЪf݊ϣ߇שяତՉ                      Chinese Painting Society. During his childhood,
        ˸་ɝ೥ٙᆼヌ˾ڌЪᘆɛБ 1‘dމ˜ᘆɛБ™ӻΐʕɛيᅰඎୋɚεٙ                              he had a fortuitous encounter with Xu Beihong’s
        ̶Ъdᚥ޸͛۶eස˸ᔊഅఱਗ਼ɛيٙઋႶʵਔڌତೌဲfϤЪಀ׵ 2017 ϋ                            painting Groups of Horses, which deeply moved
        ೯ڌ׵ᖵஔ࢕̨̏ࡈ࢝˜ు΋༐j̬ࣛ௰λ݊ɧ˜™dԨ஗तй፯މᒗሗ̔ʿ                               him. He frequently practiced copying it and became
        ऎజᖅΈdᅺႦ׌̙Ԉɓ౴f                                                    immersed in the pursuit of art from a young age.
                                                                         In 1962, he graduated from Chengdu Second
        ɽࡥସ౻dࠬശ͍߱
                                                                         Normal School and has since dedicated himself
       ᘆɛБ 1‘ڌତࡥ˾་໋ӁӱٙΤᇐᘆɛБ‘ʕ˴ԉ⨎਷˃ɛɓБɛखጺ                               tirelessly to teaching and artistic creation. At the
        ̈Бeࠬശഒࡐٙସ౻dు΋༐˸຅˾ᖭ೥ႧԊࠠ࿴་൚ဂረٙจྤdˀ݈̈                               age of forty, he embarked on research trips to
        ɽࡥ਷ɢ੶ସeࡒ࢙ԨႅeІڦක׼ٟٙึًرfڋԈϤЪd࠯΋֛ึ஗̸ਉ                               Dunhuang and Xinjiang, studying ancient murals
        ٙɓБ৵ඟіˏfϤଡ଼ࣨːɛيމ̬З൮ૄɾ׌dϾ᎘રᒻВܟ৵ٙߎ໽ɾɿ                               and portraiture, which further inspired him and
        уމ⨎਷˃ɛfμࡁ᜗࿒ᔮʴdԒഹᒻߎeၯၠeᓆഓٙശߕВசdІڦɽ˙                               led to the establishment of his personal style. In
        ήᚣ̈঍ۃЄᇮdվ್ή࢝ତɾɿዹϞٙࠬᗲd߉ᜑସࡥɾ׌ήЗ٤ۃ౤ʺe                               recent years, Peng Xiancheng has actively held
        ͏ࠬක׳ٟٙึྼرf̬ɛٙढලӸቻ࣐ϓ຅ࣛݴБٙ˜৷Ꭶ™dνථᄴ৷ᑍd                              solo exhibitions, and has reached the pinnacle of
        Ⴁி߉̈ٙൖᙂࣖ؈dԨԽᏖശᘆٙߎЍڀᔇd࿎ᜑɽंࡈ׌ٙࠬႶf̬ʸग़                               ink painting, garnering high acclaim. His works are
        ቸ৷׻᎘ᝍeᏖഹߎᜃdᖵஔ࢕˸ྻྻ఻അኈᇞఱʵਔ̈ԟၚѯٙഊ৶e׻౮                               collected by prestigious institutions such as the
                                                                         National Art Museum of China, Cornell University
        ٙग़ڕdԈՉ̌ɢʘ৷fϾ೥ʕ఻Зɾɿᕐၺ༨ί৵ቧՇਉd͟ɓၠВԲ੽ˏ                               Art Museum in the United States, and Sichuan
        ༩dᕣ৵۶࿒ၾӲɿೌମd˿ɛซՑࡥ˾ഹΤ೥࢕ੵໞٙ⨎਷˃ɛ༷݆ྡ‘f                              Provincial Museum, as well as esteemed individuals
        ኽߕஔ̦ሞ࢕࢑дהԊd˜ࡥ˾ɾɿᕣ৵ཀ̹dࠚ༷ᄪᏕٙݺਗ݊ܝԸ҂׼ଣ                               like King Charles III of the United Kingdom and
        ኪ͔ᏺܝʔ̙ซ྅ٙ™dϾు΋༐׀ྼή˸་މᗇdᒔࡡəԟࡈ̂တІ࢙̍͟                               Professor Jerome Silbergeld of Princeton University.
        ձंැຬɷٙସࡥdϤ͵ܦၾ຅˾ɾ׌ٟٙึήЗ޴Чdˏɛ΍ჼf                                   In this autumn auction, one of his magnificent
        Ӛ৶ࠬᗲdνྫྷЧˌ                                                        representative works, Demoiselles in an Outing 1,
                                                                         which is part of the moiselles in an Outing Series and
        Ϥ̮dίϤЪʕdు΋༐೯౨əዝ຾ 50 ቱϋጋ๪eʔჅ̚ɛٙ৷ଉӚ৶അ                              features the second-largest number of figures, will
        جdഐΥ˸຅˾ᜳਗٙΈᅂЍ੹dމЪۜ቗࢝ə฽బᄴϣٙᏕᄌ׌ΈሾfΌ೥                               be presented. This piece was previously showcased
        ˸ዢኈࠠ੹቗ணdߠ౻ʕ̂တᄳจชٙۊ༸ኈᇞeᒻྲ׼ڥٙၠ੹ɽࠦጐ೥̈                               at the artist’s solo exhibition in Taipei in 2017, titled
        ণ˝ూ೤݆ٙ˚ं؟dจᘾᜳਗϾഅɢۊ਄dίᄴᄴ಩ݑʘග࢝ତੵɢf΢ଡ଼                               Best Time of Year Falls in March: Peng Xiancheng
        ɛيʘග̷Ѷή˸Ѝ੹ձ׼ฮٙ࿁ˢ࢝ତ̈Ϟҏٙ˴ϣᗫڷj⨎਷˃ɛɓБ˸                               Solo Exhibition, where it was specially selected as
        ੹ኈމ˴ٜટݑ̈В໽dР˸ˇ஢฽ᔊٙኈЍՍ೥ቻᎦʿࠦ௅̻ձ୿ᘌٙڌઋ                               the exhibition poster, symbolizing its iconic status.
        ୚ືdλЧࡥ˾ኣ೥ɓছंᗲ৷̚fͣЍe૱ሱЍٙᒺ৵ν݆˚ͣ௛d౳೯૱                               The Majestic Splendour of the Great Tang
        ૱ٙΈሾfϾ༸༩ՇࣙٙᎇБԲ੽ѩ˸ዢࠠኈЍ೥̈dߠ࿁೥ࠦމ⨎਷˃ɛක                               Dynasty: Flourishing Elegance
                                   ༩dڐ˷஗ণ˝ቈથdˀᛖ˴ɛʮήЗٙ                    Demoiselles in an Outing 1 depicts a magnificent
                                   ৷൮iۃ˙ӉБٙɾᆀ٫ၾ৵ඟʘගཞϞ                    scene from the renowned Tang Dynasty poem Ode
                                   ɓ֛൷ᕎdμࡁ׬ഹོᆀ೜ೝٙኜي޴ʝ                    to Beautiful Ladies by the esteemed poet Du Fu. The
                                   ʹሔdݺᜳݺତfֆ׳ٙɽഅכ̈μࡁଉ                    painting showcases the grandeur of Lady of Guoguo
                                   ЍВ໽dနနБЇ̛ਉኈЍʘʕdၾՉፄ                    and her entourage as they embark on a splendid
                                   މɓ᜗fᏕᄌ׌ٙ׼ฮ࿁ˢਗ਼⨎਷˃ɛɓ                    journey. On the left side, a group of noblewomen on
                                   Бහ਷හ۬eᜮᘆശߕeंఙੵ౮ٙतᓃ                    horseback takes the spotlight, with Lady of Guoguo,
                                   ੶ʷd˿ࣙɛᚶ್̰Ѝe୽౲ڐۃd͍۰                    adorned in a vibrant red dress, positioned at the
                                   ΥӁӱ་̩ʕٙ˜ل˓̙ᆠැഒࡐdฐ୽                    front. They possess voluptuous figures, adorned in
                                   ڐۃͮ޴⎂l™fు΋༐ʘ೥आဃᓛᘚeЧ                   splendid attire of vivid red, emerald-green, and dark
                                                                         purple. Confidently and gracefully, they reveal their
                                   ॆЧˌeዢᝣϾʔ̰Ӹඩdͷ߰ʦɛ༷ዝ                    décolletage, highlighting the unprecedented rise
        ు΋༐ 2017 ϋ׵̨̏অ೥఼ᑘБٙࡈ࢝      ථ၌ྫྷྤהԈʘସࡥd˿ɛग़ֻl
       ˜ు΋༐j̬ࣛ௰λ݊ɧ˜™ᒗሗ̔dतй                                               in social status of women during the prosperous

        ፯݊͜ϣɪשٙᘆɛБ 1‘
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