細節
羅中立
苗族女子
油彩 畫布
1988年作
簽名:luo zhongli 中立
來源:
芝加哥 Signet Fine Art
現藏者於1992年購自上述畫廊
出版:
1989年《New Era in Chinese Painting》(春季季刊) 芝加哥 美國 (圖版,第1頁)

直至1978年,隨著中國改革開放,藝術家反思許多過去不敢談、不能談的問題。油畫變成理性思考手段,而非過去的政治宣傳工具。因此,1980年代中國藝術壇開始出現一批具民族、文化、鄉土特色的寫實畫作,繪出畫壇新景象。四川畫派也在這段時期崛起,羅中立是鄉土寫實主義畫派的代表人物,他把自我生活經驗與個人思想,投入藝術創作,創作出獨特的鄉土寫實風格。繼描繪大巴山的《故鄉組畫》後,羅中立從人物形象的逼真,轉向日常生活的真實體驗,並開始由農民生活狀態的描寫,進一步深入地探討民族的文化型態。

羅中立於1983年赴歐三年,深感作為一個中國油畫家,作品必須具有非常強烈的東方精神,繪畫語言必須本土化甚至民俗化,而作品的主題必須提升到普遍人性和生命意識的高度,這些特色均鮮明地展現在1988年的《苗族女子》(Lot 1375)之中。藝術家描繪身穿傳統服飾的苗族女子,將人物置於畫面中心,並不是為了如傳統肖像般的美化或歌頌,羅中立表現的是墩實強壯的身形體態,充滿著旺盛的生命力,如他所說的:「他們的生存狀態、行為方式既有地域的味道,又是中國農村現狀的一個『縮影』。這種原生態的東西需要及時記錄,不然就失去了。」《苗族女子》在此呈現的是藝術家對於原生土地的充沛情感,羅中立將對現實的思考轉換成了視覺藝術,他的作品於是成為大巴山區農民幾十年來生活變遷的一種記錄。
來源
Signet Fine Art, Chicago
Acquired from the above by the present owner in 1992

出版
Signet Fine Art, New Era in Chinese Painting, Spring 1989 issue, Chicago, USA, 1989 (illustrated, p. 1).

榮譽呈獻

Felix Yip
Felix Yip

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拍品專文

By 1978, China was entering a period of reforms, and artists began to reflect on issues they had previously been unwilling or unable to discuss openly. Oil painting became a means of engaging in rational discourse rather than a tool of political propaganda as it had been in the past. Thus in the 1980s a new art scene emerged, dominated by a group of realist painters with nationalistic, cultural, and nativist orientations. The Sichuan schools arose during this period; Luo Zhongli was an outstanding proponent of native realism. Following the Home Series-Early Spring of Daba Mountain, Luo Zhongli turned from the absolute realistic depiction of human figures to the real experiences of daily life, and from displaying the life of the farmers to exploring the cultural ideology of a nation.

In 1983, Luo departed for Europe and spent three years there. He strongly sensed that being a Chinese oil painter, his work must have a strong oriental spirit, and the language of painting must be localized or even endowed with folk traditions. Moreover, the subject matter must be escalated to reach the level of common human nature and meaning of life. All these requirements are vividly exhibited in Miao Lady (Lot 1375) created in 1988. Depicting a Miao lady wearing traditional costume, the artist places the figure in the centre of the painting-not opting for embellishments or glorification as found in the traditional portraits-to illustrate the strong body as well as the robust energy of life. As he said, "Their state of living and behavioral styles possess not only local flavor but also is a 'miniature' of China's existing villages. This original ecology needs to be recorded in time, otherwise it will lose." Miao Lady has showcased the artist's abundant sentiments of the homeland. He transformed the reflection of reality into visual art, and his work is the record of past-decade changes in life of Daba Mountain's peasants.


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