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北歐家族舊藏自一九四〇年代始，戲曲人物即是林風眠藝術創作中重要的一部分。一九五〇年代初，藝術家客居上海時，常常應同為中國美術學院教師的關良所邀，一同前往欣賞京劇、戲曲表演。戲曲的魅力亦從此令他著迷不已，因而開始了他對戲曲人物題材的長期研究、突破。林風眠曾寫道：“這些作品以戲曲人物為最多。這次畫戲曲人物與抗戰期間的戲曲人物有了很大不同。如果一九四〇年左右畫戲曲的著眼點在人物形神，以及對線描著色寫意形式的把握，這次則轉移到借鑒西方現代藝術特別是立體主義，尋求一種造型的時空表達了。”林風眠戲曲人物題材的變革，在於其以巧妙的抽象構圖，在水墨作品中將時間、空間的變化及連續感表現得淋漓盡致，而不僅僅拘謹於個別場景或人物表情的表達。《京劇人物–白蛇傳》中，四角以黑色著色，有如舞台布幕，加以光輝燦爛的背景，將焦點集中在正面描繪的人物身上。藝術家以流暢的線條勾勒出人物的動態，又匠心獨具地以鈷藍、銹紅營造出前後重疊的主角的空間，形成鮮明的對比；白粉、白線描繪半透明的薄紗，充滿動感。通過戲曲人物的創作，林風眠提出了中國傳統視覺藝術與西方現代藝術接軌的可能性，發展出水墨藝術創作的新面貌。
林風眠
京劇人物–《白蛇傳》 設色紙本 鏡框
細節
林風眠
京劇人物–《白蛇傳》 設色紙本 鏡框
款識：林風眠。
鈐印：林風眠印
65 x 64 cm. (25 5/8 x 25 ¼ in.)
註：原藏家從事精密儀器、鋼鐵與紙等工業機械製造，曾為歐洲企業駐亞洲代表。五十年代早期至七十年代末，原藏家與家人僑居亞洲，期間開始收藏中國近當代書畫，以佈置其上海、香港的住宅。通過一位隨林風眠習畫友人的介紹，他們得以結識林風眠並購得此幀作品。藏家家族後返回歐洲並定居瑞典，而此畫亦於其避暑別墅中保存多年。
京劇人物–《白蛇傳》 設色紙本 鏡框
款識：林風眠。
鈐印：林風眠印
65 x 64 cm. (25 5/8 x 25 ¼ in.)
註：原藏家從事精密儀器、鋼鐵與紙等工業機械製造，曾為歐洲企業駐亞洲代表。五十年代早期至七十年代末，原藏家與家人僑居亞洲，期間開始收藏中國近當代書畫，以佈置其上海、香港的住宅。通過一位隨林風眠習畫友人的介紹，他們得以結識林風眠並購得此幀作品。藏家家族後返回歐洲並定居瑞典，而此畫亦於其避暑別墅中保存多年。
更多詳情
Opera figures have been an important part of Lin Fengmian’s studies since the 1940s. After Lin Fengmian travelled to Shanghai in the early 1950s, he frequently attended opera performances under the influence of Guan Liang, a National Academy of Art professor at the time who often extended an invitation. It was during this time that he became enthralled with opera, which led to an important transition in his art. In describing his transition, he writes, “Most of these works feature opera characters. But these are very different from the opera characters I painted during my time at Hangzhou. I can say that around 1940, I was focusing first on their figures and expressions, and strengthening my grasp of freehand line drawings with added colour. But this time I’ve been drawing from Western art, especially Cubism, trying to express these characters as figures in time and space.”
Instead of concentrating on figures and their expressions, Lin Fengmian depicts a scene as an abstract composition that encompasses not merely a still-frame, but the entire performance as a whole, portraying the movement and the continuity of the entire story. In Opera Scenes from Legend of the White Snake, the paper becomes a stage as the artist overcasts it with stark black corners and radiant background, bringing the figures into focus. Enlivened with rugged lines in an expressionist manner, the figures are both facing the viewer, while dressed respectively in contrasting cobalt blue and rust red that contrast and highlight the figures. Graceful strokes and white powder form the diaphanous dancing drapes, frozen in time. With his innovative form of expression, Lin Fengmian creates a painting with both Western and Eastern styles and depicting the scene at hand while expressing the entirety of the story, resulting in a fully balanced work that integrates the contemporary and the traditional.
Instead of concentrating on figures and their expressions, Lin Fengmian depicts a scene as an abstract composition that encompasses not merely a still-frame, but the entire performance as a whole, portraying the movement and the continuity of the entire story. In Opera Scenes from Legend of the White Snake, the paper becomes a stage as the artist overcasts it with stark black corners and radiant background, bringing the figures into focus. Enlivened with rugged lines in an expressionist manner, the figures are both facing the viewer, while dressed respectively in contrasting cobalt blue and rust red that contrast and highlight the figures. Graceful strokes and white powder form the diaphanous dancing drapes, frozen in time. With his innovative form of expression, Lin Fengmian creates a painting with both Western and Eastern styles and depicting the scene at hand while expressing the entirety of the story, resulting in a fully balanced work that integrates the contemporary and the traditional.
榮譽呈獻
Ben Kong