Page 383 - 亚洲二十世纪及当代艺术
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“When I face a canvas and pick up a brush, a
                                                               purposeless journey begins.”
                                                                                                        { Tan Ping
                                                               Tan Ping is a prominent figure in contemporary Chinese
                                                               abstract expressionism. After graduating from the Printmaking
                                                               Department of the Central Academy of Fine Arts in 1984,
                                                               he stays at the academy as a teacher. In his thirties, he was
                                                               awarded the DAAD scholarship and studied painting at the Berlin
                                                               University of the Arts. His study abroad experience broadened
                                                               his understanding of “lines” and he no longer confined himself
                                                               to specific forms and categories. He realized that art should be
                                                               a cognition and perception of the world and life. After returning
                                                               to China five years later, he devoted himself tirelessly to
        ᗈ̻ 2019 ϋ׵̨̏຅˾ᖵஔ௹ᚎึତఙdՉԒܝуމ݊ϣשۜೌᕚ‘                    creation and teaching over forty years, as if writing the history of
                                                               Chinese abstract art-starting from naturalistic representation,
        Ԣτ€Piet Mondrianၾ௹ͺ౶€Joseph Beuysᅂᚤdᗈ̻               developing into surrealism, and then flourishing in abstract
        ଉɝ޼ӺᓃeᇞeࠦၾЍ੹ٙᗫڷd׵ 2018 ϋۃܝ˜ᔧႊ™ӻ                        expressionism, focusing on the connection between creation,
        ΐန˸˜Ѝ෯ᇞૢ™яତdૢᇞ޴ʝஹഐdᐑᐑ޴ϔd༕ᙑ˼࿁                           society, and space, reflecting on life, death, and time. His works
        ɛ͛ٙࡪኪᝈၾᆠઋf                                             have been collected by several important institutions, including
                                                               the National Art Museum of China, Shanghai Long Museum,
       ˜ᖵஔٙ୞฽ͦᅺdᏐ༈݊ਗ਼ڌ൥ʷٙତྼdᒔࡡЇ௰͉ሯٙ                             Portland Art Museum in the United States, and Ludwig Museum
        ഐ࿴j̻ࠦeЍ੹eື۱ၾᗲܛf™                                       in Cologne, Germany.
                                                 { ႆᅃԢτ        The Wheel of Life Keeps Turning

        Ϟй׵ɽ௅ʱᖵஔ࢕˜वИڋԈʘߕ™ٙଣׂd˼ɓϣϣɽᑔ                            “In my opinion, when it comes to art, the more you
       ˜ॎᕸ™࡝ᖭҁٙЪۜdνو೥ႡЪʕࠠልٙʈҏdீཀృᐑֻూ                           express your own feelings and come closer to death in
        ٙ෩כeࠠᛌdܔ࿴e༆࿴dਗ਼௰ڋٙྡ྅ᄴᄴଉࡽdΎܔ࿴d                           your heart, the more direct your expression becomes.
                                                               Whether it is joy or pain, I have painted a lot, including
        Ъۜίʔ˟ࢹٙཀ೻ʕ๰೯อ͛d̂တᏕᄌੵɢfೌᕚ‘уމՉ                          black, which represents a desire for life. Pieces like
        ၖʕɢЪdଉᘾᖵஔ࢕ٜࠦཀ̘dࠠอක֐ٙۇंձዧઋf
                                                               these are very direct. This moment is particularly
        ᛨජЧ˦dϵұʔළ                                              important.”
        Ϟй׵ᗈ̻Ъۜʕεᅰɓ஫ٙӐ᎑ЍሜdϤЪ͂ॎ੕иdาජছ                                                                    { Tan Ping
        ٙɽ෥͟೥̺ʕɪঢ়೯Ͼ̈dᆠडၛ׳fᇞૢνʹᚤᆀʕ΢၇ᆀ                           In 2003, after witnessing his father’s experience with cancer,
        ኜІ͟Ͼ࿫Ҟٙࠠ۱dʱ൓৙ૅeᄴᄴ჈ආd௰୞үઋፄΥf͍                           Tan Ping was deeply moved when he saw tumour cells dissected
        խᏐഹˋ෦ᖯԟ຅˾ߕஔ᎜᎜ڗ Dr. Bartomeu Marí Ribas הԊj            like fish eggs. He transformed the form of cells into “circles” and
       ˜ᗈ̻ٙЪۜ੽ڢ੬ՈϞᖭ೥׌ٙᗳۨdཀನՑɓ၇ᄌఙʷٙࣖ                            spread them across the canvas to release his inner emotions.
        ؈d˼͜Ը່֛வᅵɓࡈᜊʷཀ೻ٙ݊˼࿁ྡ྅eي΁e٤ගɧ                           The “big circle” symbolizes individual growth, while the “small
        ٫ᗫڷٙҁߕஈଣf ™ ୚ᝈЪۜdึ೯ତ஗ᔧႊٙЍ੹ɨdฮўᖵ                        circle” represents the gradual fusion of cells in the micro world.
        ஔ࢕ٙซجdЍ੹͟ᆗနݗd߉ॎᖭ೥ٙ҅ࠢd஗ቈႊٙӊɓ೥                           After his father recovered, his inner fears gradually dissipated
        ᄴdνᆀ௝ٙ୞ഐၾΎତdᐛගऊ஻f                                      and the circles in his paintings eventually unfolded and
                                                               deconstructed into “lines,” floating to the edges. The images
        ೥ࠦʕٙᒻߎᛌໄ׵ν˥ছٙϲᔝʘɪdӊɓஈმટᐻქʕdԱ                           also became translucent and expansive. This gave birth to the
        ೽ጊԈ੽ۃٙீලeᛢᔝe௛ϲٙ଱༦d߰ᒯ߰ତʘͣτ᎑ήൡ                           Overspread Series in 2010, which is simple and natural like life
        Ⴍഹֵɨಀ຾ॆྼπίཀdତʦۍೌ੽৛๑ٙ౴ᙴၾܑฮfʕː                           itself. Influenced by art masters Piet Mondrian and Joseph
        ٙڥዐνΈ๕Σ̮ೌַࠢ࢝dˌʷϓთරٙ୚෥ᙗΣ೥ضd๫ڥ                           Beuys, Tan Ping delved deep into the relationship between
        הϞ஗ଉࡽٙЍ੹f೥Ъڌࠦҗֽ஗Ւɠ๞ཀdΈڥʘɨᇞૢ୑                           dots, lines, surfaces, and colours. Around 2018, he presented
        ୚޴ිdᕙࣘໍจݴ૲dίΈԅɨ࿔࿔ओତdˈމჀீdνи᎑                           the sequel to the Overspread series, where lines and blocks
        ٙ͛նֵЍɨ౳೯ٙೌࠢᆠઋf͍νᗈ̻ІԊj˜ҢٙЪۜνɛ                           interconnect and interpret his philosophy and passion for life.
        ᗳዝ̦d຾ཀəεϣІ್ॎᕸձɛމ࿣์dҢࡁԱᔚ̙˸޶Ցձ                           “It was not developing abstraction towards its ultimate
        ชաՑࣛ˾ٙ଱༦ၾंࢹf ™ᖵஔ࿁˼ϾԊ߰݊˜ආБࣛ™d˼ί                         goal: the expression of pure reality. The rhythm of the
        ӊɓࡈၳ౳ᕎΥٙᐛගྼତഹ͑ܩf                                       relationship between colour and dimension…permits
                                                               the absolute to appear.”
        ɛ͛ٙࣚ೻ϜұൻᅜdШ़೨௰୞ึϓމাኳdࡽίֱ၅ٙࣛΈ
        ༁fຬيߕλdาίʕ̯d߰݊ೌᕚ‘Σᝈ٫ෂ༺ٙ୞฽͛ն                                                               { Piet Mondrian
        ʘܠdνڀ̒͞ल‘הԊj˜ᜫҢࡁߠࠋഹdΪฌϾৎٙႏ૭                           Different from the idea of most artists to “preserve the beauty of
        ၾࢵᙰdվ್Σۃf ™                                            the initial encounter,” he daringly “destroys” his finished works


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