細節
陳丹青
晴日的拉薩小街
油彩 畫布
1985年作
簽名:陳丹青
來源:
美國 私人收藏

1980年代正是鄉土寫實主義的覺醒期,藝術家以親身經歷表現對歷史的嚴肅反思,同時也是對具體而非抽象的底層民眾真實心性的探究和理解,並在其中進一步地思考了人的價值。陳丹青的《西藏組畫》系列即是這一思潮和現象的代表,在二十世紀中國繪畫史上深具里程碑的意義。佳士得自2009年春拍推出《二人進城》、《拉薩市場》等作品引起廣大迴響後,此次推出《黑河青年》(Lot 1374)、《晴日的拉薩小街》(Lot 1371)、《坐在街沿的藏人》(Lot 1372)與《戴紅頭巾的男子》(Lot 1373),希冀提供藏家對此系列有更為深入的認識與了解。

陳丹青熱愛林布蘭、柯羅與米勒,面對西藏的地域環境、人文風貌,很自然地選擇了寫實主義的油畫語言表達,他在《西藏組畫》系列運用寫生般的手法描繪了藏民的日常生活片段,把藏族文化從民族服飾,以至內在精神面貌呈現人前。《黑河青年》以灑脫的筆觸刻畫青年樸實而平凡的形象;《晴日的拉薩小街》則在炙熱陽光與陰影的高度明暗反差下,忠實地傳達了西藏街廓淳樸天然的風貌;《坐在街沿的藏人》以三兩行走與散坐於地的藏民為主角,人物組合自然,呈現出不過份強調空間透視的單純構圖;《戴紅頭巾的男子》將目光炯炯的男子入畫,陳丹青除去了英雄人物的美化與歌頌,使我們在極為親切質樸的臉孔中,感到強健的生命力與曠達的性格。陳丹青把握對於當下景象的直觀,在寫實主義中呈現深刻的感性與精神力量,也真正實現了「如果觀眾能夠不期而然地被作品的真實描寫和人道感情打動,感到『這就是生活,就是人』,那就是我最大的願望了」。
來源
Private Collection, USA

榮譽呈獻

Felix Yip
Felix Yip

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拍品專文

In the 1980s, a new art scene grew up with the appearance of a group of realist painters with nationalistic, cultural and nativist orientations, Chen Danqing was one of the outstanding proponents of native realism. Chen Danqing's "Tibetan Series" represents this ideological trend and phenomenon, setting a significant milestone in twentieth century Chinese Art. While Walking into Town and Lhasa Market and the others presented by Christie's Spring 2009 Auction have caused widespread repercussions, Man with White Scarf (Lot 1374), Lhasa under the Bright Sky (Lot 1371), Tibetan on the Street (Lot 1372), and Man with Red Scarf (Lot 1373) are aimed to provide a profound understandings of this series.

Man with White Scarf is modeled in carefree brushwork to portray an ordinary modest young man. Lhasa under the Bright Sky vividly depicts the unfeigned and natural faces of Tibetan streets, with a great contrast of light and shadows under the burning sun. Tibetan on the Street has two to three rows of Tibetan protagonists who either walk or sit randomly on the street; the figures are grouped naturally, presenting a simple composition without too much emphasis on one-point perspective. Man with Red Scarf portrays a man of piercing eyes; abandoning the embellishment and glorification of a heroic figure, and instead depicting a modest and natural face, Chen allows us to feel the robust life energy and optimistic character. Chen grasps the scenery of existential observation and through Realism captures profound sentiments and spiritual power. He has truly achieved what he said, "My biggest aspiration is that audiences are naturally touched by the naturalistic depiction and humanistic sentiments of my work, and can feel 'This is life. This is human."

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