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93        季大純 b. 1968                        Ji Dachun

                  ʈ༵ж                                Workers, Peasants and
                  ልΥదҿ ೥̺                            Soldiers
                  ɓɘɘɘϋЪ                             Mixed media on canvas
                                                     110 x 110 cm. 43  /4 × 43  /4 in.
                                                                1
                                                                     1
                  ಛᗆ
                  ɽॱɮɮ€ʕɪ                           Painted in 1999
                                                     Signed and dated in Chinese on
                  Ը๕                                 upper centre
                  ̨̏॰̔ᖵஔ
                                                     PROVENANCE
                  ତԭݲࠠࠅӷɛᔛ࢕ٜટᒅІɪࠑԸ๕
                                                     Soka Art, Taipei
                  ڝj̨̏॰̔ᖵஔකͭʘᖵஔ࢕ፋᖦЪۜᗇࣣ               Acquired directly by present
                                                     important private Asian collector
                  HKD 90,000 – 120,000               from the above
                  USD 11,500 – 15,400                This work is accompanied by a   ֙ɽॱ3C‘dذ੹೥̺d106.5Ò106.5cmd2000 ϋЪd
                                                     certificate of authenticity signed by   שርϓʹᄆ 718,800 ʩಥ࿆
                                                     the artist issued by Soka Art, Taipei

        ֙ɽॱܑᎰٙዝ̦Ϋซ                                         Ji Dachun’s Humorous Historical Recall
       ˜ɽॱ݊ЫٙΤοdɰ݊Ң࿁ЫЪۜٙชᙂdఱ݊ᙂ੻ίவࡈ̂တ                       Ji Dachun is an internationally influential Chinese artist who features
        ̌лٟٙึ༁dЫٙ೥༁ෂ༺̈ॱၘܑٙᎰd྅ɓ࠯ಯࢮəࣛ˾ձ                      the combination of traditional Chinese artforms and postmodern
        จᗆҖ࿒तᅄٙ̚ϼഁᑼdᜫɛࡁชᙂՑɓٰ૶อٙंࢹf™                        surrealistic imagery to joke about history with humorous brushwork.
                                           { ᖵ൙࢕ࣱኮࢬ        He graduated from the Central Academy of Fine Arts in 1993 and
                                                           participated in the First Chinese Oil Painting Biennale in the same year.
        ፄΥʕ਷ෂ୕ٙᖭ೥Җόձܝତ˾ٙ൴ତྼจ൥e˸ܑᎰٙഅᙃሜԹ                     In his early works, the protagonists are the ever-changing objects in the
        ዝ̦d֙ɽॱ݊ɓЗՈ਷ყᅂᚤɢٙʕ਷ᖵஔ࢕f˼׵ 1993 ϋଭุ                  pure white background, often delivering some unconventional actions
        ׵ʕ̯ߕஔኪ৫dΝϋуਞ̋˜࠯֣ʕ਷ذ೥ᕐϋ࢝™ɓ࢝ቜԅfՉ                     which trigger the viewer’s further thinking. Ji has held solo exhibitions
        Ϙಂ௴Ъ˸ॱͣߠ౻ʕٙɛيeਗيeࣣ͉ഃɷᜊຬʷٙ܄᜗މ˴                      at Bern Museum, Shanghai Art Museum, Museum of Contemporary Art
        ԉdШ˼ࡁֻֻяତ༪୭੬஝ٙᑘਗd׵฽ᔊϾจίԊ̮ٙ೥ࠦ▉೯                     in Rome, and Ullens Center for Contemporary Art in Beijing alike. His
        ᝈ٫ආɓӉٙܠϽdܔͭৎ฽Ո፫ᗆܓٙࡈɛႧคf֙ɽॱಀ׵๿ɻ                     works have been collected by Swiss Ambassador to China and famous
        Ьࢸߕஔ᎜dɪऎߕஔ᎜dᖯ৵຅˾ߕஔ᎜d̏ԯˈࡐ౶຅˾ᖵஔ                      collector Uli Sigg, M+ Museum in Hong Kong, and Today Art Museum
        ʕːഃήᑘ፬ࡈ࢝dЪۜԨ஗๿ɻታശɽԴ࿬ٝΤϗᔛ࢕Ҏд€Uli                    in Beijing. This autumn auction presents his representative work in the
                                                           1990s, Workers, Peasants and Soldiers, which shows his naughty and
        Sigge࠰ಥ M+ ௹ي᎜ȅԯʦ˚ߕஔ᎜ഃϗᔛf݊ϣ߇ש੭ԸՉ                 humorous charm.
        90 ϋ˾ٙ˾ڌЪʈ༵ж‘dɓ࢝Չཬሳቾɢf
                                                           Whimsical Thinking, Lifting It as if It Were Light
        փܠѶซdᑘࠠ߰Ⴠ                                          The images of “workers, peasants and soldiers” are commonly seen in
        ˸ʕ਷ 20 ˰ߏٟึ༶ਗʕ௰މݺᚔٙ˜ʈ༵ж™މ˴ԉʘ࿴ྡd౷                   the propaganda posters during the period of Cultural Revolution. After
        ཁ᜗ତ׵ *** ಂගٙ܁ෂྡ྅ɪf*** ഐҼܝd͟׵Ո˾ڌ׌จ່d                the Cultural Revolution, the motif of“workers, peasants and soldiers”
       ˜ʈ༵ж™ྡ྅੬஗ᖵஔ࢕ˏ͜dڌࠑ࿁ࣛ˾ତ൥ٙˀܠfνˮᄿ່                      was frequently appropriated by artists to express their reflection on
        ຾Պٙ*** ӻΐ{̙ɹ̙ᆀ‘ʕdу̙Ԉ˜ʈ༵ж™ɓοરකd                    the past ages because of its representative significance. For example,
        ΍౥അ૖f޴༰׵Ϥٜ࿚ə຅࡚ٙͣd֙ɽॱٙʈ༵ж‘ᜑ್һމ                     in Wang Guangyi’s classic Great Criticism Series - Coca Cola, viewers
        ўႅܑᎰf೥ʕɽࠦጐٙवͣ֟νᏕ̨dഗʚɛІ͟ซ൥ٙ٤ගiϾ                     will notice that “workers, peasants and soldiers” hold the pen together.
        ˸Ꮐдɢල੹಩ݑ̈ٙʕːɛيdࠬࣸνɪ˰ߏ 80 ϋ˾ݴБٙ˜ʃ                   In comparison, Ji Dachun’s Workers, Peasants and Soldiers is more
        ɛࣣ™dε၇ႧคٙഐΥ˿ϤЪପ͛੶ɽٙᏕᄌ׌fʕː̙Ԉ˴ԉ΍                     implicit and humorous, with large pieces of white space in the painting
                                                           like a drama stage, and the protagonists from the centre march to the
        ΝੂͧΣ̛БආdՈ΍ࠌ਷ᗭٙ׻౮ชfϾ୚ᝈʘd˼ࡁۍႶΥग़                      right together. However, looking closely, it is ironic to see that they seem
        ᕎd˿ɛ௾३ޫڢf̥Ԉ̛ਉ͂᎘৬ٙ˜ж™dʱ׼Ԓഹ૶֜ༀҼd                     in harmony but actually at variance: The “soldier” in the vanguard is
        ᑘ࿻Σɪ࢛Ꮨdᕐͦ஗ල੭ቈИdฮͪՉٛͦiʕගٙ˜༵™ᒱ৷ᑘ                     clearly dressed as an official of Qing Dynasty with his eyes covered by a
        ᚙɠdШवɞοᗻeᏖҡܸdᜑ್݊ࠏუࣛಂٙή˴චॴi௰ܝٙ                      black belt, suggesting his blindness; the “peasant” in the middle raises
       ˜ʈ™ᑘഹ᚛ᒣdᏖഹତ˾ʷٙᎭЉసdШԒ߈ڗࠄdၾʈɛԒ΅ࣸ                      his sickle high, but wears the handlebar moustaches and rings which
        ࣸʔɝd̷Ѷή౤̈࿁ዝ̦ၾତྼٙˀܠf                                reveal his class as either the warlord
                                                           or landlord; the last “worker” holds a
        Ͼ͟࿻φЇ҈d֙ɽॱ೥̈˜ʈ༵ж™ٙВഹᜊʷd࢝ତəዝ̦ٙᜊ                     hammer and wears a modern cap, yet
                                     ቋdקዎʘʕɦᜑᚣ̈ɓԬ          also a long gown, which is incompatible
                                    ˜Ы˙ਨᇦҢ೮ఙ™ٙঞሖ           with the worker identity. The expression
                                     Ꮥⲋf˼˸˂৵Б٤ٙซ྅          cleverly puts forward the artist’s
                                     ༪୭ *** ྡ྅ٙࡡ֐Ⴇྤd       reflection on history and reality. Ji
                                     ΫኳəІኃ˪኷نܝʕ਷ה          jumps out of the original context of the
                                     ຾ዝٙ၇၇ࠬථᜊʷd˸ࠬ          Cultural Revolution imagery with his
                                     ሳޗᕲڌ༺ࡡ͉Ӑࠠٙዝ̦          unconstrained imagination to recall the
                                     ༑ᕚd˿ɛΫբԄɮd͍ν          changes that China has experienced
                                                           since the Opium War, and expresses the
                                     ՉІԊj˜Ңཀ̘ٙ೥྅ɓ          otherwise heavy historical topics with   ˮᄿ່*** ӻΐ{̙ɹ̙ᆀ‘dذ

                                     ࡈ݂ԫdତίॆٙఱ݊ɓ࠯          wit and cunning visual language which   ੹೥̺d200 x 200 cmd1993 ϋЪdᖵ
        *** ܁ෂ೥dऎజd76 x 53 cmdߒ 1973 ϋЪd࠰  ་d̙ঐᛘܘεཁdேঐᛘ    is evocative and reflective.  ஔ࢕ᔛdЪۜʕ̙Ԉ˜ʈ༵ж™΍Ν
                                                                                         ੂഅٙҖ൥dၾ֙ɽॱ೥ʕٙɧɛଡ଼
        ಥऍึɽኪᔛd̙Ԉ຅ࣛସБٙ˜ʈ༵ж™˴ᕚ
                                     ̈ʔΝٙբ༸™f                                            ே๕І *** ٙ܁ෂྡ྅
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