細節
楊飛雲
女人像
油彩 畫布
1986年作
簽名:飛雲
來源:
藝術家於1980年代中期贈予現藏者
美國 私人收藏

楊飛雲曾說:「只有站在自己的文化根基上,重視自己的精神所在,感情所在,清醒地吸收西方藝術,然後進入現代,藝術才能走向成熟。」古典繪畫對他而言並非過時的東西,關鍵在於是否能激發新的創造力,楊飛雲關注自己生活周圍的鮮活真實,將現代觀念與個人的積累融合在一起,並站在傳統根基上,將對中國民族文化的精神因素關注實現於創作中。

《憂鬱》(Lot 1378)與《女人像》(Lot 1377)皆為楊飛雲的早期作品,藝術家對室內人物的偏好在此時已清楚展現,低彩度構成了悠静的空間。楊飛雲注重對整體關係的把握,以人物的動作安排、神態的捕捉、構圖的組合產生主要的節奏變化。局部細節的處理則省去枝微末節,刻意拉大的反差使人物輪廓鮮明。畫面捕捉女子在眼神流轉的一瞬間,在動態與靜態的轉換中,充分地表現出深層的精神內涵。如楊飛雲所說的:「我力圖從人物動態中的一剎那感覺中凝練出具有永恆性的因素,突出生命力,這點與我所喜愛的古典繪畫精神有關係,似乎這種在動態中產生的靜態美比真正的靜態更具靜態美的特質」。

來源
Gift from the artist to the present owner in the mid 1980s
Private Collection, USA

榮譽呈獻

Felix Yip
Felix Yip

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拍品專文

Yang Feiyun once said "only when valuing one's cultural roots, intergrating elements of both Western classical and modern art shall one's art become mature." For Yang, whether or not classical painting was something old fashioned depended on the new creativity it inspired, Yang Feiyun's artistic concepts combine his personal experiences, a keen awareness of his surroundings and the essence of Chinese culture.

Melancholy (Lot 1378) and Portrait of a Lady (Lot 1377), the early works of Yang Feiyun, fully display his preference of depicting figures in an interior space. Yang creates a tranquil atmosphere in both paintings by using a warm colour palette. By carefully deliberating over the facial and physical gestures of the figures and creating a purposeful relationship between the figures and the structural elements, Yang forms a lively, rhythmic composition. By omitting elaborate details, he draws the viewer's attention to the figures themselves. In Melancholy, Yang captures the instant the lady turns to look at the viewer, a transient and dramatic moment often found in photographs. Yang Feiyun once commented that "I endeavor to solidify the moment the figure moves to convey a feeling of eternity and vitality. This is closely tied to my love of classical paintings, in which painted motion is more aesthetically appealing than painted stillness."


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