Page 361 - 亚洲二十世纪及当代艺术
P. 361

˜ᖵ༸ОՉ੠࿄d־֦һՉჇჃfʔӋҎૐd̥Ϊ                        “The path of art is rugged, and the other shore is distant. Not
        ฌᛸdးઋ௶Ъdԏ༐ঁঀf™                               seeking hope, only for the sake of love, working tirelessly,
                                                     cultivating with sincerity.”
                                         { ௓ඓᅃ
                                                                                                     { Chen Junde
        ஗᝔ᚑމ˜Ѝ੹ɽࢪ™ٙ௓ඓᅃd̈͛׵एϪᕄऎd
        ͛ڗ׵౶dᐽ್˚ܝԑ༦ཁбɽϪی̏e౮Τ̬                        Hailed as the “Master of Colours”, Chen Junde was born in Zhenhai, Zhejiang.
        ऎd˼჻ଘྫྷጢٙ֐୞݊໔ɨԟ˪ᆞ઄ٙඊɺf˼                       Despite his later travels spanning across China and known throughout
        ׵ 1956 ϋϽɝɪऎᏕᄌኪ৫ႀ̨ߕஔӻdࢪ੽ᕙ˖                   the world, his heart was always entwined with his familiar homeland. He
                                                     entered the Stage Design Department of the Shanghai Theatre Academy in
        ᆃe඘Ҏ˖d*** ۃܝഐᗆᄎऎ഍e؍ࠬेeᗫԄഃ                    1956 and studied under the instruction of Yan Wenliang and Min Xiwen. He
        ɛԨᐏՉԊෂፋબfණɽ࢕ॆෂٙ௓ඓᅃdίΈᅂe                      received guidance from renowned artists such as Liu Haisu, Lin Fengmian,
        Ѝ෯eᇞૢe࿴ྡഃ˙˙ࠦࠦଉա઼ࠔd͂ɨ˔ྼ                       and Guan Liang during the pre and post-Cultural Revolution era. Benefiting
        ٙᖭ೥ֵ̌f1974 ϋd˼ΫՑ͎ࣧ΂઺d઺ኪʘ                     from their true teachings, Chen Junde established a solid foundation in
        ቱ̬ஈڕࠬ௴Ъdܠνಪݰdϓމҷࠧක׳ܝ࠯ҭ                       painting. In 1974, he returned to his alma mater as a professor. In his spare
        Ԑ̈਷ژᑘ፬εϣऎ̮Ԛ࢝ٙʕ਷ᖵஔ࢕f90 ϋ˾                     time, he collected and created works everywhere, making his thoughts
        ܝՉ௴Ъࠬࣸһ̋ബ࢝І͟dഅᙃඪ਄d˸ᄳ͛މ                       flow like a spring, which led him become one of the first Chinese artists to
        ਿᓾd˴ੵڭܵГ˙ذ೥ٙЍ੹ʘڗd೯౨ʕ਷ᖭ                       venture abroad for numerous overseas exhibitions after the era of reform
        ೥˜ɓʲ౻ႧޫઋႧ™ٙᄳจၚग़fίዧडٙ΢၇                       and opening-up. In the 1990s, grounded in lifelike observations, his artistic
        ᖵஔईᆓʕ֐୞ڭܵʫːٙॱၘྐྵ᎑d੔ઋ׵І್d                      style became freer and more expanding. His work retains the vibrant colours
        ˸˜ɓࡈɛٙˮ਷™ࣣᄳʕ਷ତ˾ߕஔ̦וۃ઼ܝ                       of Western oil painting while embodying the expressive spirit of Chinese
        ٙࠠࠅɓ௝fՉЪۜಀ஗ɪऎᎲߕஔ᎜eᘒᎲߕஔ                       painting “every scene conveys emotions.” Immersed in nature, within “a
                                                     person’s realm”, he inscribed a significant chapter in the modern history of
        ᎜ȅԯʕ਷ߕஔ᎜eߕ਷ԭ˄௹ي᎜ (Pacific Asia              Chinese art, connecting the past and future. His works have been collected
        Museum)e˚͉ۃ࠯޴϶ɨ೮€Takeshita Noborue          by institutions such as the Long Museum Shanghai, the Powerlong Museum,
        ࠰ಥڑˤ̃ҔϞࠢʮ̡ഃϗᔛf                               the National Art Museum of China in Beijing, the Pacific Asia Museum, former
        ݴΈ๐੹dଉɝɛː                                    Japanese Prime Minister Takeshita Noboru, and the Shaw Brothers Limited
                                                     in Hong Kong.
       ˜௓ඓᅃ˸ɛ˖ઋ⏗ࣣᄳᗫ׵І್ၾ͛նٙശ
        ௝nԨ˸ᔮӒٙช׌Όː௴ЪdҬՑəॆ͍ᄿᒪ                        Radiant Brilliance, Deeply Touching Hearts
        ٙ˂ήf™                                        “Chen Junde writes the story of nature and life with humanistic
                                                     sentiment…and with abundant sensitivity, he wholeheartedly
                              { ʕ਷ߕஔ᎜᎜ڗߪࠔτ
                                                     creates, finding a truly vast realm.”
       ˂ͦଉ߇‘௴Ъ׵ 1991 ϋd౜ᄳٙ݊ᖵஔ࢕І                                    { Fan Di’an, Director of the National Art Museum of China
        ɖɤϋ˾ৎک᎖ᐿઞஞٙ࢕ඊ˂ͦʆd௓ඓᅃतй
        ቑː׵༈ήί߇˂ဘʆཁ௉ٙږරვҾdଉɝʆ؍d                      Autumn in Mount Tianmu, created in 1991, depicts the scenery of Tianmu
        ࣉ࣍ฆѶˌᜊeబᘆٙІ್ʘЍfϘϋ˼՟جГ˙                       Mountain, which was frequently visited by Chen Junde since the 1970s.
                                                     Chen Junde indulged in the golden ginkgo trees that covered the mountains
        ௉ᖕݼʿڌତݼٙֆ׳͜ЍϤࣛʊʫʷމՉዹϞٙ                       in autumn, so he immersed himself in the forests to capture the subtle
        ׼త೥ࠬd˼ɽᑔήԴ͜஢εࡡЍdШᔟ͟޴ڐЍ                       transformations and rich colours of nature. The influence of unrestrained
        ሜٙႾРሜܓdԴʘձፓήΥჼfϾϞй׵ෂ୕ࠬ                       colours of Western Fauvism and Expressionism had been internalised
        ౻೥˜ڐྼჃൈ™ٙஈଣdίϤЪʕd˼ɽᑔમᒻ                       into his unique and vibrant
        ڥٙาЍ݄ᖭჃ౻dԴ౻ଉ̻ࠦʷdШீཀЍ੹ዢ                       painting style. He employed
        ૱૵ചٙᜊʷe࿁ˢЍٙԴ͜dʥ෧ி̈٤ගชd                       various primary colours and
        ԈՉ৷Ѷٙ̌ɢהίf                                   harmoniously blended them
                                                     through adjacent tones.
        Ͼ຾ཀڗϋᄳ͛ጐଢ଼ၾ᝝޼රࢬ਺eɞɽʆɛٙഅ                       Unlike “clearing the vicinity
        جɢ༸dϤࣛ˼ʊᄫᆞ͜ᇞd˼ᎴದІνή˸৻๛                       and blurring the distance”
        ޴ʹٙ੹അeᜳਗᕦҞٙᇞૢeᆼヌٙЍ෯dб࿴                       in traditional landscape
        ̈ʆɪᄴ؍းݑe܊ٸ஗؍˝ᐑᔎd΍Νӕकί๝                       painting, Chen boldly applied
        า˄ජΈɨd౻يˌᜊٙबᆨЍ੹d຅ʕ࿁ˢٙዒ                       bright warm colours to depict
        රၾᔝഓЍ੹dίၯၠၾڡၠഃཀܓЍ੹ٙʹᛌʘ                       distant scenery, flattening
        ɨdɓᓃՅɰʔᜑ߉ɴdˀࡀ̋ଉə೥ࠦٙ౻ଉชd                      the depth of the  scene.
        ˿ɛʔຫ᝔ྖ˼ཀɛٙЍ੹ชfϾ೥ࠦʕɨ˙dɓ                       However, through varying
        З᎘Ꮦ˗ୈٙ௶ਗ٫˓౤ഹӐӳӳ߰တ༱ϗᐏٙᘫ                       colour intensities, contrasts,
        ɿdڎࠦΣᝈ٫ԐԸd͍߰ࠅɨʆᓥ࢕dᜫϤ׼ᘆ                       and complementary colours,
        ٙʆ౻һ૴͛ᗲfᔟ͟νႀᒋ౨ᛈٙЍᇞd௓ඓᅃ                       he still managed to convey a
                                                     sense of space. With years
        ෂ༺ə˼࿁׵࢕ඊeɽІ್͛͛ʔࢹٙ͛նɢdၾ                       of accumulating experience
        ௶ਗ٫௰ॆ༐ၾॆʲٙᆠฌၾਫ਼หf                                                       1977 ϋd௓ඓᅃ˃੉ᎇᄎऎ഍ίూጳʮ෤ᄳ͛

                                                                                                          3 21  - 3 2 2
   356   357   358   359   360   361   362   363   364   365   366