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104       毛旭輝 b.1956                         Mao Xuhui

                  ࢕ڗӻΐgߎژʘɚ                          The Parent Series – A Red Gate No.2
                  ذ੹ ೥̺                              Oil on canvas
                                                                  3
                                                                      3
                  ɓɘɞɘϋЪ                             103.5 × 111 cm. 40  /4 × 43  /4 in.
                                                     Painted in 1989
                  ಛᗆ
                  1989.12 ɽˣ€̛ɨ89.12 ɽˣ€೥ߠ         Dated and signed in Chinese on bottom right;
                                                     signed in Chinese and dated on the reverse
                  ̈و                                 LITERATURE
                  2005 ϋdˣϛሾ‘d೻׿؇̈وʮ̡d̏ԯd           2005, Mao Xuhui, Xin Dong Cheng Publishing
                  ୋ 151 ࠫ                            House, Beijing, p. 151
                  2007 ϋdอޢࠦ 3jฤ॰͊Ը‘dߎ዗೥఼d          2007, New Interface 3: Searching the Future of
                  ɪऎdୋ 58 ࠫ                          Chinese Contemporary Art, Red Bridge Gallery,   ˣ ϛ ሾ࢕ڗӻΐjߎژʘɓ‘dذ੹೥
                                                                                      ̺d101Ò100cmd1989 ϋ Ъdש ር ϓ ʹ ᄆ
                  2008 ϋd༸༩ { ˣϛሾᖭ೥ዝ೻€1973-         Shanghai, p. 58                  1,250,000 ʩಥ࿆
                  2007‘dɪऎɛ͏ߕஔ̈وٟdɪऎdୋ 163 ࠫ        2008, Road – Mao Xuhui’s Paintings (1973-
                                                     2007), Shanghai People’s Fine Arts Publishing
                  Ը๕                                 House, Shanghai, p. 163
                  ɪऎߎ዗೥఼
                                                     PROVENANCE
                  ତԭݲӷɛᔛ࢕ٜટᒅІɪࠑԸ๕
                                                     Red Bridge Gallery, Shanghai
                                                     Acquired directly by present private Asian collector
                  HKD 200,000 – 300,000              from the above
                  USD 25,600 – 38,500
        ͛նٙ୞฽І͟                                        The Ultimate Freedom of Life
        ˣϛሾ̞ਪ̚ʦ˜ߎژ™ٙࣛ˾ၚग़                               Mao Xuhui’s Questioning of the Spirit of the Times through the Red Gate
                                                       In February 1989, Mao Xuhui, together with artists Zhang Xiaogang and Ye
       ˜ œ࢕ڗ̂တഹ˰ߏ͋ٙၚग़nnɛ͛ʘ௄ৰəϼ୿ʘྤdһ
        ࠠࠅٙ݊ၾն༶ٙҤنdவ݊ତ˾ٙၚग़lϾʕ਷ᖵஔࠅආɝ                    Yongqing of the “Southwestern Art Research Group”, participated in the
                                                       China/Avant-Garde Exhibition held at the National Art Museum of China in
        ˰ޢ׌ٙ࿁༑ఱί׵வ၇ၚग़ٙ৷౮ձۇंl™                          Beijing. He used his signature Parents Series launched in 1988 as a showcase
                                             { ˣϛሾ
                                                       for his own achievements in the “85 New Wave Movement”. However, the
        1989 ϋ 2 ˜dˣϛሾၾ˜Гیᖵஔ޼Ӻ໊᜗™ٙᖵஔ࢕ੵወ࡝e              hasty cancellation of the exhibition and the social turmoil of that year
        ໢͑ڡਞၾ̏ԯʕ਷ߕஔ᎜ᑘ፬ٙ˜ʕ਷ତ˾ᖵஔɽ࢝™d˸Չ                   caused Mao Xuhui to feel the shock of the real world. He said: “After 1989,
        1988 ϋක઼ٙᅺႦ׌˜࢕ڗ™ӻΐЪۜdЪމІԒߘ85 ߕஔ               I was not concerned with my own personal problems, and that was very
        อᆓ™ٙϓ؈࢝ͪf್ϾϤϣ೥࢝ٙࡑڮ̣৾ձ༈ϋٟึࠬتٙ                   important.” Since August of that year, Mao Xuhui’s Parents Series has taken
        ၇၇຾ዝd˿ˣϛሾʲԒήชաՑତྼႧྤٙቤਗf੽ࡈɛٙၚ                   a qualitative leap in both form and content. The faces of the “Parents” have
                                                       been streamlined into geometrical icons full of symbolism, and the dramatic
        ग़˰ޢԐ̈d˼ᔷϾͭ׵ዝ̦҃ᝈٙԉܓj˜வ༁ࠦ݊Мᎇഹɓ                   tensions of the perspective scenes have conveyed the historical experience
        ஫ٙၚग़૧Ӌfœ࢕ڗவࡈ฿ׂԨڢܸݔࡈՈ᜗ٙɛd̴০࿁                   and realistic personalities that the parents have reflected. The Parent Series
        ٙ݊ʕ਷ٙዝ̦೯࢝ʕɓࡈՈϞतࣿจ່ٙ฿ׂnn1989 ϋܝ                 - A Red Gate No.2, which was completed in December 1989 and is currently
        Ңᗫءٙʔ݊Ңࡈɛٙਪᕚdவɓᓃڢ੬ࠠࠅf™І༈ϋ 8 ˜ৎd                for the autumn auction, is a manifestation of Mao’s profound thoughts during
        ˣϛሾٙ˜࢕ڗ™ӻΐίҖόձʫ࢙ɪޫପ͛əሯٙ࠭ᚔdཀֻ                   this period.
        Ոӽ྅จբٙ˜࢕ڗ™࢙ࠦdʊၚᔊʷҖމ̂တ൥ᅄจ່ٙ఻О                   In this work, Mao Xuhui recalls the solemnity of the red gate in ancient
        ྡͪdԒҖ͵ፄɝѬഹٙಉߠdяତν৷෫ছᑍͭٙᛆ۾Җ൥f                   Chinese architecture, and reassembles and transforms it into a thick and
        ˼Ԩ˸တ༱Ꮥᄌੵɢٙீൖఙ౻dෂ჈̈࢕ڗהұ࢛ٙዝ̦຾᜕e                  expressive block of deep colours, like the striking abstraction of German artist
        ତྼɛࣸձ࿁͛նٙ୞฽ᗫᕿf݊ϣɪשeҁϓ׵ 1989 ϋ 12 ˜             Gerhard Richter’s “squeegee method”. The mottled texture of vermilion, Ruo
        ٙ࢕ڗӻΐ・ߎژʘɚ‘͍࢝ତəɽˣϤࣛಂٙଉՍܠ॰f                    green, beige and brown creates vivid associations with the ancient rhythms
                                                       of history, and explores the dimension of history from an open perspective. In
        ίϤЪʕdˣϛሾᑌซЇʕ਷̚ܔጘ༁ଉՈ୿ᘌช͍ٙߎɽژd                   the tunnel of time, “Parents” gradually emerges like a mountain, representing
        ਗ਼˜࢕ڗ™ʘҖ൥dໄ׵৷ᐍɽژܝٙᐽଉ٤ගfഐΥ݂ࢗϡᅽ                   the god-like majesty. However, compared to the figure of “Parents” in The
        ၀͙ٙߎeၠՇɽ˴Ѝdɽˣ͂ॎෂ୕ܔጘᐍ᜗ٙՓόఊЍdਗ਼                   Parent Series - A Red Gate No.1, Mao Xuhui has intentionally simplified his
        ʘࠠଡ଼eࠃʷމᇞeҖٙଉࠠڌᚣfێྼϾတ༱ڌତɢٙЍ෯ॸ                   silhouette in this work, blurring the authority he represents, and gradually
        ್ʹᛌdνՈᅃ਷ᖵஔ࢕ҽҎत€Gerhard Richter˜Ւ෩೥ج™          blending it into the deep background through the horizontal and vertical
        ԟቤኼɛːٙפ൥ྡ౻dϾίɽˣబϞ͛ंٙ೥അɨd͟ϡߎe                   radiation of the light beams, suggesting that it is inevitable that it will
        ⦪ၠeϷරeಅሌהतࣿ͂ிٙ౴ჶЄଣdһ௴ிഹ๕Іዝ̦̚                   eventually pass away. Through the creation and destruction of the image of
        ᗲٙ͛ਗᑌซf଻ۃٙߎژd͍ʷމ߈૞ࣛΈٙ௄ࢰd˸ක׳׌                   the “Parents” in the red gate, the
        ٙൖԉdΣዝ̦ٙၪܓଉઞf༧ᎇᇞૢٙ߈ீܸˏd˜࢕ڗ™ν                   work explores the ultimate freedom
        ৷ʆছٙԒᅂနနओତίவࣛගٙᎆ༸ʕdνΝԒ֢ᄽρٙ৷З                   of life. The red gate is not only a
                                                       symbol of the prosperity of the
        ٫d˾ڌഹग़໋ٙ۾ᘌf࿁ˢ࢕ڗӻΐjߎژʘɓ‘ʕٙ˜࢕                   ancients, but also a new channel for
        ڗ™Җ൥dˣϛሾίϤЪʕϞจਗ਼Չቃ࿊ආɓӉᔊʷЇ฽dᅼᇔ                   the future generations. It allows us
        ഹ˼ה˾ڌٙᛆ۾dһίΈҼٙᐽዑ፧࢛ʕd˿Չနနፄɝଉᔺ                   to look back at history and examine
        ٙߠ౻dฮͪՉ୞ਗ਼Ⴣ್̘ٙ̀׌fᔟ͟ߎژʕ࢕ڗҖ൥ٙ΋ͭ                   the present situation of life. With
        ܝॎdЪۜהઞӋٙ݊͛նٙ୞฽І͟fߎژ݅݊̚ɛᐿ࿲ٙ൥                   the modern spirit of “questioning
        ᅄd͵݊މܝɛක઼ٙอஷ༸d̴˿ҢࡁίΫૐዝ̦ٙΝࣛdᄲ                   the past and the present”, it evokes
        ൖତࣛٙ͛նઋྤd˸৛ਪٙ۶࿒dరӋၚग़˰ޢٙዹͭfٜൖ                   eternal discernment in our hearts,   ݂ࢗڭձํ؇ਉߎژɓ౻fˣϛሾ̚͟ܔጘʕ
        ˣϛሾהܔிٙߎژd̂တڌତɢٙ೥അ͍ஹટഹ͛նٙʫίe                   from which we can move forward to   ˾ڌబ൮ᐿ࿲ٙϡߎɽژ೯ซdਗ਼ʘࠠଡ଼eࠃʷ
                                                                                   މ̂တቤኼɢٙפ൥ྡ౻d˸ϤΣዝ̦ଉઞd̞
        ܠซٙɢඎd˼ਗ਼ɓ၇˜̞ਪ̚ʦ™ٙତ˾ၚग़ءɝவ̂တੵɢ                   a new journey!              ਪ̚ʦ
        ٙ೥ྤʘʕdఎৎːʕ͑ܩٙܠ፫dԨІϤᒕΣอּٙ௄l
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