Page 337 - 亚洲二十世纪及当代艺术
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˜ᓖ୭၇၇Ҽጣdί೹ᐽу஻ٙҖ൥ၾ຅ɨܔͭݔ၇ᒯఏٙᗫᑌdɰ                                In the panorama of contemporary Chinese art, Ma Ke
        ఱ݊ᖭ೥ϓఱٙᐛගdҢึᛇؚོႀeᚓᗑတқdঐ੄ชաՑɛ׌ٙ                               has garnered attention for his quirky and introverted
        యᘌၾࡈ᜗ٙਫ਼৷dҗ߰ࠠ͛ɓছf࿁வ၇ᐛගٙಸૐd݊Ңᖭ೥                                flat images, his exploration of the artistic language
        ٙʫίਗɢf™                                                      between abstraction and figuration, and his profound
                                                                     and obscure symbolic techniques. Through a highly
                                                          { ৵ൾ       convincing painting style, he explores and presents an
        ίʕ਷຅˾ᖵஔٙྡ౻ʕd৵ൾΪՉ̚׉eʫᏡ̻ٙࠦྡ྅d༷ʏ׵פ൥                             aspect of reality and human nature that is often unknown
        ၾՈ൥ʘගٙҖόႧԊd˸ʿܑଉૌᏼٙ൥ᅄ˓جϾ௪աᗫءf˼˸ɓ၇                             to the world, a visual representation of intimate emotions.
        ଉՈႭ؂ɢٙᖭ೥˙όdઞ॰Ԩяତତྼၾɛ׌٧ᚂʕdʔ੬މ˰ɛהٝ                             After graduating from the Oil Painting Department of the
                                                                     Central Academy of Fine Arts in 2005, Ma Ke's artistic
        ወٙɓࠦdһ݊ݔ၇ӷ੗ઋชٙൖᙂʷڌତf˼׵ 2005 ϋଭุ׵ʕ̯ߕ                          journey was influenced by his earlier experience of being
        ৫ذ೥ӻdϾϘί 1998 Ї 1999 ϋd৵ൾ࠾ሜ˖ʷ௅ࠌڢݲʽͭत༁ԭ                       sent to Eritrea, Africa, by the Ministry of Culture from
        ౪઺dڢݲ࿁׵˼ϾԊ݊ᆠઋϾࡡ֐ٙdᖵஔ࢕၈Ϥ຾ዝމ˜ॱၘٙช׌                             1998 to 1999 for aid teaching. The artist referred to this
        ၾᆠฌ™dԨ˴ੵ˜Ңঐ੄੶डήจᗆՑڢݲdίήଣᐑྤeί˖ʷൖ௉                             experience as "pure sensibility and passion", which is why
        ɪ༧˸ۃҁΌʔΝfˢνႭdᆄݲ݊ɓࡈଣ׌ٙeڢ੬Ϟᜌ፨ٙή˙iڢ                             Ma Ke's creations retained the primitive and exaggerated
        ݲఱ݊ᆠઋٙeࡡ֐ٙiیߕݲ݊൴ତྼٙfҢՑəڢݲdҢఱ೯ତ̴                              lines reminiscent of African totem elements, as well as
        ່݊ɽл൴ତྼٙ๕᎘fҢႩމଭ̔॰€Pablo Picassoܘεዧઋٙᖭ                       vibrant colours. Following his return to China, he held solo
        ೥d྅ᅃ਷ٙڌତ˴່ٙၚग़༟๕ே༧ڢݲϞᗫᑌf ™աՑவݬ຾ዝٙᅂ                            exhibitions in Beijing, Hong Kong, Los Angeles, Munich,
        ᚤd৵ൾٙ௴ЪڭवəՈڢݲྡᙜʩ९ٙࡡ֐e།ੵٙᇞૢd˸ʿᒻ׼ٙ                             and other places, capturing collectors' attention with his
        ͜ЍfΫ਷ʘܝd˼ϓމਖ਼ᔖᖵஔ࢕dಀ׵̏ԯe࠰ಥeݾӄᐢeᅉ̵ල                             unique artistic language and spiritual core. This auction
        ഃήᑘ፬ࡈ࢝d˸ዹतٙிۨႧԊၾၚग़ʫࣨᐏ੻ᔛ࢕ᗫءf݊ϣשርя                             presents his representative work Dionysus 2, symbolizing
        ତՉ˾ڌЪৢग़ɚ‘dЪۜ˸Г˙˜Ԯᆀʘग़™ৢग़މ൥ᅄd༆ؓɛᗳ                             the Western "god of pleasure", Dionysus, and dissecting
                                                                     the most direct and private spiritual realm of human life.
        ͛նʕ௰މٜᝈeӷ੗ٙၚग़˰ޢf
                                                                     Intimate Glimpses of Life
        ͛ݺٙൖԉdӷ੗ٙጕઞ
                                                                     In the centre of the canvas, a young woman is depicted
        ೥ࠦʕ̯˸ࣹ४Ѝ੹౜ᖭ̈ɓϋჀɾɿdμᕐ˓ɸ໐ࠦΣᝈ٫dԒഹ৷༧                             in peachy tones, standing with her hands on her hips
        ቨ̒ᗐഹ͍߰ί༆˓ { ᖵஔ࢕݂จਗ਼வ฽މӷ੗ٙݺਗʮකʷd˵ɓ޶                            facing the viewer, wearing high heels and squatting as if
        ხމᜓ˰Ꭱڳdྼۆ˿ᝈ٫ٜࠦࡈɛ͛ݺʕӷ੗ٙ͛ଣତ൥d͵խᏐ̚Ҏ                             relieving herself—an extremely private act deliberately
        ᖳग़༑ʕৢग़ʔ׭ɓࣸٙɽᑔ׌ઋfϾίՉ̸ਉdɓලЍٙɛᅂᜥͭίࣙ                             made public. At first glance, this might appear sensational
        ᎑᎑ᄲൖഹவɓᅉd̉ৎٙߎЍ໖௅ฮͪഹอ͛ն̳ٙԃ { ৵ൾ˸੭ᓃ                            and outrageous, but it actually echoes the bold and
        ຫҚeɽᑔܿ኷˰ڳٙ଻ΈdላᏘഹᝈ٫ٙൖᙂग़຾fϤܦމՉዹतቾ                              unconventional nature of the god Dionysus in ancient
        ɢdɰᒯఏձฮΥഹݔԬʔ̙ԊႭٟٙึҖ࿒ձɽ଺ːଣf                                   Greek mythology. Ma Ke daringly challenges conventional
                                                                     perspectives, impacting the viewers' visual senses. This is
        ඌ࿫૸ဇٙ͛ሳ
                                                                     precisely his unique charm, also hinting at and resonating
       ˜ᖵஔላਗ஗ൖމɛٙ͛ଣ͉ঐdᖵஔ௴Ъٙࡡ֐ਗɢఱίɛ͉Ԓ                                 with certain unspeakable social forms and public
        ຅ʕf™                                                         psyches.
                            { ᅃ਷ࡪኪ࢕̵ڕ€Friedrich Wilhelm Nietzsche   Ultimate Joy of Life
                                                                     The composition of Dionysus 2 is rich and textured. In
       ৢग़ɚ‘ٙ೥ࠦێྼd̂တᔮబٙЄଣfίҦجɪdᖵஔ࢕˸ዢࠜٙɺ                              terms of technique, the artist uses rich earthy tones,
        රЍdɓᄴɦɓᄴٙᔧႊદϤۃٙɪ੹d̒ீ׼ၾீ׼ᕙࣘί೥ࠦʕ־Ϥ                             layer upon layer. With almost intuitive, rough and bold
        ʹᔌԨڭवІਗ׌ٙဈݴd࿫Ҟ૸ဇl ࢝ତ৵ൾνΝ኷ɻɓཁཁၾ೥̺                             brushstrokes, he brings a certain spontaneous joy to
        ᗤ኷੻Ըٙ௷лϓ؈d˼˸ڐ˷ٜᙂٙe˜୑ኁ୼ᅜ™ٙഅᙃd˿೥ྤ੻                             the painting, bursting with vitality. The background,
        Ցݔ၇ਅ್Ͼ̂တᘱ೯׌ٙ˜͛ሳ™dঢ়೯̈ۉۉ͛ዚfϾߠ౻˸฽ᔊٙ                             depicted with minimal strokes, portrays slender weeping
                              അᙃd౜ᖭ̈୚ڗٙۧݣd،᎘ٙໝڀd֟                    willows, and falling blossoms on the branches, akin to
                              νʕ਷ڀ௢೥dίӮ׳ၾ୚ጰʕ՟੻ɓ၇ฆ                    traditional Chinese paintings, striking a delicate balance
                              Ѷ̻ٙፅdҖϓɓ၇൴൳ࣛගٙ͑ܩf                      between exuberance and subtlety, creating a sense of
                                                                     timelessness.
                              ͂ॎᬞᕁٙତ˰భԊ
                                                                     Breaking the Chains of Allegory
                              ৢग़ί̚Ҏᖳग़༑ʕ൥ᅄഹԮᆀၾІ͟d̴
                              ላॎהϞᜧ୓dʔᚥɓʲຫҚdһᓖ୭ࡈ᜗                    In ancient Greek mythology, Dionysus symbolizes pleasure
                                                                     and freedom; it disregards all taboos and breaks free from
                              ٙҼጣd͂ॎ̮ᝈٙˌᙂf͍νৢग़ɚ‘                    constraints. Just as in Dionysus 2, although the woman
                              ʕdɾɿᒱ್Ԓഹ৷༧ቨeই४ിിdۍࣙ                    wears high heels, she engages in an incredibly private
                              ߰ೌɛήਂഹ฽މӷ੗ٙਗЪdޟЇɽᑔή                    act without a care in the world, even boldly accepting
                              ટաഹ˰ɛٙᕿဲၾᄲкfᖵஔ࢕ί͂ॎତ                    the suspicion and judgment of others. By breaking the
                              ྼ׌ᬞᕁٙΝࣛd˸ઋၫཱིတٙభԊόɛيd                   shackles of reality, the artist infuses the work with a
                              މЪۜረʚɓ၇ईဘٙߵඪ˴ֵ່Ѝd˿ɛ                    romantic heroic undertone through emotionally charged
        ᖵஔ࢕৵ൾ                 ཀͦʔҙf                                  allegorical figures, making it unforgettable.
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