Page 393 - 亚洲二十世纪及当代艺术

eϞೌ̙ࠢঐٙ͊
ӊ຅Ң౤അᄳ೥
dҢکึӉɝᜊʷೌᇊ
˜
˜ӊ຅Ң౤അᄳ೥dҢکึӉɝᜊʷೌᇊeϞೌ̙ࠢঐٙ͊
ٝჯਹfӊ΁อЪޫϞνჯҢආɝ͊ٝࣛ٤e΂จᎇ׌f
ٝჯਹ fӊ΁อЪޫϞνჯҢආɝ͊ٝࣛ٤ e΂จᎇ׌ f
Ϥዹतઞٝ᜗᜕˿ҢһႩ૶ІҢeݸ࿀ࣛගeຬԫຬيf™
Ϥዹतઞٝ᜗᜕˿ҢһႩ૶ІҢeݸ࿀ࣛගeຬԫຬي f™
˥ؒͩʆג˴ɛ
{ ˥ؒͩʆג˴ɛ
{
͛׵ 1943 ϋٙ˥ؒͩʆג˴ɛdࡡΤ Hugh Mossd݊З೓
͛׵ 1943 ϋٙ˥ؒͩʆג˴ɛ dࡡΤ Hugh Moss d݊З೓
˄໼ߵ਷ɛ d͵݊ၲΤ༽ᔹٙ̚໨ϗᔛ࢕ fՉ˨ίࡐ౱຾ᐄ
˄໼ߵ਷ɛd͵݊ၲΤ༽ᔹٙ̚໨ϗᔛ࢕fՉ˨ίࡐ౱຾ᐄ
̚໨ֳ d˼І̼Ӑऍ׵ ˜ሔ३Ϟᒿኊ™ٙ؇˙˖ِ˰ޢ dᇖ
̚໨ֳd˼І̼Ӑऍ׵˜ሔ३Ϟᒿኊ™ٙ؇˙˖ِ˰ޢdᇖ
ఱəۜբ൴ՙٙᛡሧɢ d࿁ʕ਷ߕኪ޼Ӻხଉٙ˼፯኿ᘱו
ఱəۜբ൴ՙٙᛡሧɢd࿁ʕ਷ߕኪ޼Ӻხଉٙ˼፯኿ᘱו
В ୡ d ɮ Ͼ ɮ ʘ d ˜ ᔛ Ͼ Ꮄ ۆ ೥ ™ ٙ ଣ ׂ ί ˼ ː ʕ ୖ ࣬ f І
ВୡdɮϾɮʘd˜ᔛϾᎴۆ೥™ٙଣׂί˼ːʕୖ࣬fІ
1979 ϋ ৎ d ա ೥ ࢕ ࿬ ᛡ ሧ ࢕ ˮ ֙ ቋ ٙ ᅂ ᚤ d ˼ ί ุ ቱ ࣛ ڋ ༊
1979 ϋৎdա೥࢕࿬ᛡሧ࢕ˮ֙ቋٙᅂᚤd˼ίุቱࣛڋ༊
˥ኈᖭ೥ dՉܝٙɤϋග d˼˾ଣəᄎʗ eᄎ਷ؒ eОᕿ၂
˥ኈᖭ೥dՉܝٙɤϋගd˼˾ଣəᄎʗeᄎ਷ؒeОᕿ၂
ഃอ˥ኈᖵஔ࢕ dԨ੽ʕኪ୦ d׵ߵ਷ʿ࠰ಥՇήϓͭʈЪ
ഃอ˥ኈᖵஔ࢕dԨ੽ʕኪ୦d׵ߵ਷ʿ࠰ಥՇήϓͭʈЪ
܃ d௰୞ҖϓІԒ ˜་ࣣ೥™Υɓٙ௴Ъ d͜࿃อٙГ˙ൖ
܃d௰୞ҖϓІԒ˜་ࣣ೥™Υɓٙ௴Ъd͜࿃อٙГ˙ൖ
ԉ༕ᙑʕ਷˖ɛ೥ऎॶϵʇ࢙ٙ̍ܓdү೯ІԒ࿁͛ݺeޜ
ԉ༕ᙑʕ਷˖ɛ೥ऎॶϵʇ࢙ٙ̍ܓ dү೯ІԒ࿁͛ݺ eޜ
˜Ϸˤථʆ™
dᘽ༲
dၾ҂˾
ِٙᆠฌၾชᕿ
fЪۜᙘబจሳ
ِٙᆠฌၾชᕿfЪۜᙘబจሳdၾ҂˾˜Ϸˤථʆ™dᘽ༲
ݗ˝׉ͩྡ‘ٙࠬࣸʔፑϾΥ dίෂ༺ՉᖵஔԈ༆ٙΝࣛ͵
ݗ˝׉ͩྡ‘ٙࠬࣸʔፑϾΥdίෂ༺ՉᖵஔԈ༆ٙΝࣛ͵
ߧหʕ਷ෂ୕˖ʷ fІ 1990 ϋৎ d˼ί࠰ಥ eॲߒ eɪऎഃ
ߧหʕ਷ෂ୕˖ʷfІ 1990 ϋৎd˼ί࠰ಥeॲߒeɪऎഃ
ήᑘ፬ɤᅰϣ˥ኈ೥࢝dա஢ε˖ɛඩɻሧᗆf
ήᑘ፬ɤᅰϣ˥ኈ೥࢝dա஢ε˖ɛඩɻሧᗆf
d˸˖גޜᘒၾʆ˥ɝᕚ
d͉
ၾІ̚ʕ਷˖ɛ೥࢕ɓএ޴ו
ၾІ̚ʕ਷˖ɛ೥࢕ɓএ޴וd˸˖גޜᘒၾʆ˥ɝᕚd͉
ϣяତٙᜳٺग़༑‘௴Ъ׵ 2015 ϋdᖵஔ࢕˸ዹ௴ࣣٙج
ϣяତٙ ᜳٺग़༑‘௴Ъ׵ 2015 ϋ dᖵஔ࢕˸ዹ௴ࣣٙج
ࣣࠬࣸᄳߵ˖ᕚ൸d౜ࠑಀᛓၲٙᜳٺෂႭd༑ࠬν̚˾қ
ࣣࠬࣸᄳߵ˖ᕚ൸ d౜ࠑಀᛓၲٙᜳٺෂႭ d༑ࠬν̚˾қ
ג
ɛ
˴
˥
ͩʆ
ؒ
׉ʃႭdઋືЧॆЧˌdᑺࠑɓЗஷཀᜳٺၾ༸઺භ࠮Ͼ൴
׉ʃႭ dઋືЧॆЧˌ dᑺࠑɓЗஷཀᜳٺၾ༸઺භ࠮Ͼ൴ ˥ؒͩʆג˴ɛ
dΪϤɓٜᎇ
൳ྡྷ˰ٙϓ༸٫
dՉπ˰ਬɓٙᗴૐఱ݊߈൳
൳ྡྷ˰ٙϓ༸٫dՉπ˰ਬɓٙᗴૐఱ݊߈൳dΪϤɓٜᎇ
ԒԽ੭੽๪ږஔࢪஈ੻Ըᚭɢޜम dθซϞಃɓ˚̙ஷཀᓃ ¨Every time I paint, I step into uncharted territory, an infinite realm of
ԒԽ੭੽๪ږஔࢪஈ੻ԸᚭɢޜमdθซϞಃɓ˚̙ஷཀᓃ
i
o u
n
e
n
n
f
p i
t
e
E
m o
m
i
y t
v
f
a
r
e
l
t
i
, I s
t
n
n
e r
e I p
a
i
t
c
n i
e
r
t
r
o
d t
r
y
t
i
, a
h
a
r
e
f೥٫ช౑уԴϓ༸ʘɛɰೌ
ዷޜमіˏग़ᖕ
ዷޜमіˏग़ᖕd̙઎͊νᗴf೥٫ช౑уԴϓ༸ʘɛɰೌ ¨ ne x pl o r e d p o t en t i a l . E v er y ne w w o r k i s l i k e s t ep p i ng i n t o the u n k n o w n, a n d
d̙઎͊νᗴ
u
unexplored potential. Every new work is like stepping into the unknown, and
جеޥ׵⎂ᖝׂซ d̂တ࿁༸઺ग़।˴່ձІ್จ൥ٙᝈ࿀ d I a m e x c i t e d t o f o l l o w w h e r e v e r i t l e a d s . I t i s a u n i q u e e x e r c i s e i n d i s c o v e r y i n
جеޥ׵⎂ᖝׂซd̂တ࿁༸઺ग़।˴່ձІ್จ൥ٙᝈ࿀d
I am excited to follow wherever it leads. It is a unique exercise in discovery in
d
ʔ׭إ׵ҖЧאވҦ
f೥ࠦʕ
ʔ׭إ׵ҖЧאވҦd̥މᔟ˥ኈڌ༺ːʕʘ˳Ꮑf೥ࠦʕd u n d e r s t a n d i n g t h e s e l f a s w e l l a s t h e w o r l d . ©
d̥މᔟ˥ኈڌ༺ːʕʘ˳Ꮑ
understanding the self as well as the world.©
˼˸ʈഅʵᇞج୚ᖭ̈७༩ν˄ಳͩٙᜳٺቃ࿊ d ˜ᆴ eဍ e — T h e M a s t e r o f t h e W a t e r , P i n e a n d S t o n e R e t r e a t
˼˸ʈഅʵᇞج୚ᖭ̈७༩ν˄ಳͩٙᜳٺቃ࿊d˜ᆴeဍe
—The Master of the Water, Pine and Stone Retreat
eೲݑʹᔌั̈ᜳٺ❵ݛַФЇ❵௮
ᆰ
eீ™
ᆰeீ™eೲݑʹᔌั̈ᜳٺ❵ݛַФЇ❵௮fίՉ଺εϗᔛ
fίՉ଺εϗᔛ
Born in 1943, the Master of the Water, Pine, and Stone Retreat, originally named
ʕd˥ؒͩʆג˴ɛޟฌඩͩdႩމሧ̙ͩ˸ࢻ׌dͩ᎘ў
ʕ d˥ؒͩʆג˴ɛޟฌඩͩ dႩމሧ̙ͩ˸ࢻ׌ dͩ᎘ў B o r n i n 1 9 4 3, t h e M a s t e r o f t h e W a t e r , P i n e , a n d S t o n e R e t r e a t , o r i g i n a l l y n a m e d
Hugh Moss, is a British Jew, renowned as an antique collector. His father ran an
ႅʫᏡϾ਺දଉᔺ dϾІᕧࣜ˸Ը dᜳٺΪ̮Җ߰ ˜νจ™ d H u g h M o s s , i s a B r i t i s h J e w , r e n o w n e d a s a n a n t i q u e c o l l e c to r . H i s f a t h e r r a n a n
ႅʫᏡϾ਺දଉᔺdϾІᕧࣜ˸ԸdᜳٺΪ̮Җ߰˜νจ™d
n L
o
p i
e w
ld o
r
t
i
o
e
e s
h
q
u
f i
l
, h
m a y
m
e i
m
e
u
n
g a
s
g
e
o
r
n
e
o
h
d hi
s
d
m
r
o
. F
o
n
n t
n
݂஗ᚑމୂ๿ၾڗ͛ʔϼʘي fᖵஔ࢕ίϤਗ਼ᜳٺၾͩ޴ഐ a antique shop in London. From a young age, he immersed himself in the world of f
݂஗ᚑމୂ๿ၾڗ͛ʔϼʘيfᖵஔ࢕ίϤਗ਼ᜳٺၾͩ޴ഐ
g
i
a
c
x
t
,
u
t
i
r
S
n
n
n
e
r
h
r
t
n
t
r
a
a
a
a
.
q
Oriental art and antiques, cultivating an extraordinary taste. Starting in 1979, he
,
d
e
t a
e
n
a
t
t
t
l
n
i
v
r
9
d
t
g
i
1
ul
r
s
t
n
a
e
a
n
O
7
a
9
i
e
y
i
o
s
i
ΥdϾίՉֵ௅ٙϡߎԽᐑމᓃຒʘഅdԽᐑЕஹഹ،ᦶዑ
Υ dϾίՉֵ௅ٙϡߎԽᐑމᓃຒʘഅ dԽᐑЕஹഹ،ᦶዑ d dabbled in ink painting in his spare time. Over the next decade, he represented
e
e
hi
n
r
e
e
a
i
p
e
h
i
e
t
t
d
t
t
v
t
p
d
,
n
r
d
n
s
e
p
e
c
m
n
i
n
a
b
n
e
k
.
r
e
i
h
e
i
n
g
e
a
s
d
ai
x
s
e
l
O
r
b
dˏჯᝈ٫ආɝ͖
͛ٙڥͣޜम
d࿁Ꮠ̸ਉࣣᄳ݂ٙԫઋື
͛ٙڥͣޜमd࿁Ꮠ̸ਉࣣᄳ݂ٙԫઋືdˏჯᝈ٫ආɝ͖ emerging ink artists such as Liu Dan, Liu Guosong, and He Huaishuo. Through
u
i
i
i
o
u G
a
r
n
L
s
H
o
n
u
. T
s s
D
k a
u
t
r
h
n
h
s L
o
t
,
c
H
h
g
g
ai
n
n
e
u
i
i
s
o
e
u
g
s
d
a
e
r
, a
g
h
u
m
d
ʘ
ٙ
ᜳ
჻
Ѷ
Ѷٙซ྅ʘྤfҽ̙ݑಀԊj˜จྤ݊ᖵஔٙᜳ჻d݊܄ᝈ this experience, he developed his unique style. His works are rich in meaning, ,
˜
f
ಀ
ྤ
จ
ҽ
Ԋ
ٙ
ᝈ
ݑ
ஔ
j
܄
̙
݊
ซ
྅
ྤ
ᖵ
݊
o
p
r
v
n m
e
t
r
o
u
s e
e r
i
e
e
c
i
i
. H
c
e
t
s un
e
s a
p
e
n
y
i
r
, h
i
n
l
i
n
h i
d h
e
k
e d
s w
e s
h
x
a
e
i
q
g
l
ԫيၚയٙණʕd̋ɪɛٙܠซชઋٙௗᛟd຾ཀ৷ܓᖵஔ
ԫيၚയٙණʕ d̋ɪɛٙܠซชઋٙௗᛟ d຾ཀ৷ܓᖵஔ c conveying his artistic insights while paying tribute to Chinese traditional culture. .
a
i
i
w
t
i
hi
n
s
r
t
s
d
c
r
e
o
s
p
i
i
a
i
t
l
s
g
i
b
g
t
u
l
r
a
e
s
g
u
hi
e
t
o
C
v

hi
ul
n
n
c
e
e
n
i
to
e

y
i
a
n
y
h
t
r
n
t
t
b
o
1
™
o
̋ʈ༺Ցઋ౻ʹፄ
ld
u
u
H
9
e
9
h
g
h
Y
d་ٙྤޢ
h
a
c
e
e

n
o
n
K
a
n
hi
̋ʈ༺Ցઋ౻ʹፄd੽Ͼڌତ̈Ըٙᖵஔྤޢd་ٙྤޢf™ Since 1990, he has held numerous exhibitions in Hong Kong, New York, Shanghai, ,
o
r
e
k
i
n
S
g
r
s
h
s
n
,
g
i
0
t
,
e
m
n
S
h
f
o
ai
N
,
s
x
n
e
i
i
d੽Ͼڌତ̈Ըٙᖵஔྤޢ
w
p
, e
n o
i
i
n
h
t
e
n
o
t
t
a
a
i
o
c
n
.
s
r
n
r
o
n
r
e a
d a
p
ni
s
e
e
r
y l
a
i a
t
g t
ur
c
a
i
s
f m
t c
ᜳٺग़༑‘ʕdͩ७ᜳٺeථᎲ७ॷe˜ߵόࣣج™ɧ٫७
ᜳٺग़༑‘ʕ dͩ७ᜳٺ eථᎲ७ॷ e ˜ߵόࣣج™ɧ٫७ e etc., earning the appreciation of many literati and art connoisseurs. .
ଣʹ޴ሾ݈dߵ˖ᕚοࡒԻণࣣٙໍจᛈ୭ၾБࣣٙБථݴ
ଣʹ޴ሾ݈ dߵ˖ᕚοࡒԻণࣣٙໍจᛈ୭ၾБࣣٙБථݴ L Lingzhi Fairy was created in 2015. The artist wrote the English inscriptions in a
l
t w
r
t
i
s
g
n
h
e E
o
t
e t
1
n a
5
n 2
n
0
. T
s
i
r
h i
h
e a
s i
s c
r
p
i
a
c
t
e
s
r
e
a
w
z
h
o
n
in
g
i
t
ir
y
i
F
a
d i
˥dྡ྅༷Ԑ׵פ൥ၾՈ൥ʘගdҦجၾจᘾޫዹዓɓᄹf unique calligraphic style, describing a legend he had heard about Lingzhi. The
˥dྡ྅༷Ԑ׵פ൥ၾՈ൥ʘගdҦجၾจᘾޫዹዓɓᄹf
o
d h
r
c
t
uni
a
i
q
e
e
h
a
y
r
e
, d
n
. T
g a l
a
a
b
u
n
b
e c
zhi
t L
c s
r
i
u
e h
hi
p
i
g
i
e
e
d a
n
l
e
d h
g
l
s
l
g
l
e
s
s
o
o h
h
c
u
y t
y te
d t
a
h a
t
a
l
l
d b
u
z
g
e
r
e
n w
i
e
d t
s o
d
s
a
r
d M
l
o
a
t
f a R
y w
e d
o
h
r
n
story tells of a Realized Man who had transcended the dusty world by through a
n
h
r
b
i
i
f L
e c
l o
e
r
zh
l p
y d
t o
i
o
r
i
t
m
a
d w
a
t
e
h a m
g
a
i
e
n
r
n
te
r
i
c
a
e
a
i a
o
m
n
s
a
d D
. H
d
g
s steady diet of Lingzhi and Daoism. He carried with a magical pearl obtained from
d f
a
i
a
a
y i
u
e m
a
y
hi
p
o
s b
o
c
s
h
c
s
t
ni
g
n a
t
i
t o
g
i
e d
m
y
, h
ld a
a
t
a
n
t
e
r
c
n
h
t t
i
e c
l b
n
a an alchemist, hoping that one day, he could attract the mythical beasts by igniting
g t
t
h
, h
l
t
e
d
e
l
o
w e
e
w
a
c
ul
i
h
s w
l
h w
n
i
. H
l
t
t the pearl. However, his wish was never fulfilled. The artist reflects on how even
, hi
r
e
e p
r
t
l
e
f
e
s o
h
i
e
v
r f
e a
o
t r
n h
v
e
r
s
e
v
s n
f
s
a
. T
e
t
t i
n
g
i
h
o d
t
l e
m
e
m
t
t a
n
e a
o
p
un
t those who seek spiritual enlightenment are not immune to desire and attachment. .
a
i
r
i
t
r
k s
n
n
h
l
s
t
e w
i
u
r
e
e
e
e t
h
e n
a
o
d a
m
o s
s
m
e
n
e
c
h
u
e p
n
o
o
l
s o
r
n
ai
t
n t
i
i
f L
e
o
t
u
l
s
g
h
n
c
h
u
t
In the painting, he meticulously outlines the contours of Lingzhi using meticulous
l
e c
t
zhi u
e
n
g m
, h
e m
e
s t
u
i
g
I
n
o
n
c
s
l
i
s
u
t
i
u
y o
i
e
h
e dr
k
h
. “
a
l line drawing techniques, rendering the texture like that of Taihu stones. “Folds, ,
i
h
n
i
w
t o
, r
f T
n
i
ni
q
n
g t
o
o
u s
e
e
i
a
s
e t
t
n
r
ld
h
u
d
n
ur
e l
a
F
e
g te
i
t
x
s
s
e te
c
o
” a
o f
d t
h
k
y i
e
t
g
l
n
n
t
e
i
m t
a
m
s
a
r
e
d t
e i
i
y
i
te
r
n
n
r
r
a
n
t
n
r
p
l leaks, slimness, and transparency” are intricately intertwined to form the Lingzhi
s
e
r
l
, a
i
n
n
s
zhi
, s
e
w
c
a
e L
c
s
h
m
e
a
, t
a
g
t
b
ai
s L
s stalk and cap. In this painting, the artist combines Lingzhi with his beloved stones, ,
n
n
zhi w
e
s
. I
i
d c
hi
e
t
t
o
t
n
n
n t
s
v
o
t
n
p
s b
d s
i
i
e a
l
g
o
k a
l
s p
i
r
h hi
i
t c
n
e
o
T
e p
n
n
t c
d
n
.
n
h
a
e
s t
h
n
e i
a
s
c
e f
hi
n
g t
s
i
ni
s
e b
d
p
e
t
e r
e
h
n
t t
h
d t
t a
d
a
n
u
e
c
o
a
and the red pendant at the base is the finishing touch. The pendant connects
h
bright white pearls that grow amidst branches, corresponding to the story written
n
r
r
g t
o t
l
t b
e
d
t
s t
c
n
s
a
h
r
o
g
e
w a
o
r
n
t g
e s
h
a
d
h
i
e p
s
i
t w
h
p
t
m
s
, c
i
n
r
e
y w
hi
r
r
t
o
t
i
b
a
o
r
e
t
o a r
o
e l
o
i
n
n
a
e
, g
s L
e v
a
i Ke
i
r i
e
d
f
o on the left, guiding the viewer into a realm of profound imagination. As Li Keran
w
r
m
t
n
u
e
o
d i
h
r
e
n
g
i
i
i
a
t
f
n
g t
f p
a
n t
un
l
h
m o
. A
f a
e
m i
d
i
e a
n
e o
c
a
e
c r
v
t
i
d e
c
e
t
j
r
l
ai
n
r
, a c
n
a
b
l o
s
r
e s
e
c
i
t
s
f o
n
o
e
s
u
t
s t
c
, “
t
o once said, “The artistic realm is the soul of art, a concentrated essence of objective
e
t
h
T
o
e s
h

“ I
d w
h t
n t
g
e
n
t
i
r
d e
h
n t
h
k
a
t
u
m
o
o
g
t things combined with the molding of human thoughts and emotions. “ In the work, ,
h
t
h
m
o
m
o
s a
u
f h
l
o
d
e w
in
s
.
h
s c
n
e m
g o
b
i
o
i
n
in
a
h
-
o
e
t
n E
p
t
n
e
n
n
d p
h
i
t
r
t
g
r
e
e
i
g
, a
r
a
t
a
l
p
the stone-patterned Lingzhi, patterned paper, and “calligraphy in English” ”
l
h
d “
i
g
n
n
n
r
y i
d L
e
e
a
c
, p
t
a
l
zhi
p
s
e s
p
e
g
un
o
m
c complement each other. The English inscriptions, combining cursive and running
l
r
c
s
t
p
i
s
i
l
n
ur
h i
i
ni
m
o
i
ni
b
n
o
g c
, c
n
s
g
c
n
a
e a
t
h o
d r
e
m
n
t e
n
i
h
e E
s
n
v
e
h
r
. T
l
e
s
t
y
f
o
b
a
l
p
y
a
s
a
t
d
n
r
t
c
a
t
p
a
,
c
s script, and the interplay of abstract and concrete imagery, create a distinctive style
i
r
n
t
n
r
e
t
d
e i
h
e
r
a
e
t
r
e
y
c
,
a d
t
c
i
e
v
s
i
t
n
i
e
n
i
o
c
r
t
e
m
a
c
g
b
t
a
g
e
h i
o
n t
ni
n
h o
n
f m
d d
p
e
t
e a
e
h
c
ni
u
q
˥ؒͩʆג˴ɛЗ׵ߵ਷Иהࢬ৫ʕٙ˄ಳͩ
˥ ؒ ͩ ʆ ג ˴ ɛ З ׵ ߵ ਷ И הࢬ ৫ʕٙ ˄ ಳ ͩ both in technique and depth of meaning. .
35 3 - 3 5 4