細節
凌健
牡丹

油彩 畫布
2009年作
簽名:凌健 LING Jian Ling

凌健曾說:「女性往往是時代的象徵…我所畫的『美女』也正是當下國人的精神面貌或者說是對新國粹主義自體的滿足,以及人們的價值觀,審美觀。」作品《綠裝公主 – 珍珍》(Lot 1255)、《無題》(Lot 1296)及《牡丹》(Lot 1254)的女主角皆有過度完美的鵝蛋臉、杏仁眼和鮮豔欲滴的紅唇。畫者刻意地放大美女們立體鮮明的五官,有別於現實中亞洲人較為平板的臉孔。畫中的女主角綜合了亞洲與西方人臉部特徵,也同時反映了當今東方社會西化的審美觀。畫家的筆如同整形醫師的手術刀,細細雕繪出完美但不存在的臉龐,以傳達現代女性對於美的過度追求及標準。如《無題》和《上海天空雞尾酒》(Lot 1297) ,女人有著極其瘦長的雙臂、纖細的軀幹及異常豐滿的胸部。如此不自然的特色,已變成性感與美麗的表徵,成為現代文化的一部分。

凌健也提到:「誘惑是一種生存的力量,人們總是面對現實的、廣告商業的、金錢的、性的種種難以抵抗的誘惑,我一直尋找著這種真實…」。女主角杏眼微睜,時而迷濛,時而撫媚地凝視前方;紅唇半啓,撩撥著觀者的好奇心,引人發想。具有高度寫實感的肌膚,吹彈可破,彰顯女子的美麗。《上海天空雞尾酒》敞開的雙腳暴露了女性的私密處,僅以飾品遮掩,更加具有性暗示。
然而,過度精緻的相貌,像是人工製的產品,讓人覺得不真實並且空洞。女子美則美矣,卻眼神空洞,表情呆滯,像是沒有靈魂的陶瓷娃娃。凌健向來以時尚廣告中的明星或名模作為他創作的來源,因為他們代表著已被合理化的病態美感。如此不自然的標準已下意識的被當今社會所接受,並加諸於每個人身上,使得對於美的追求過分執著,卻忘了心靈或精神上的充實。過度發展的資本主義導致心靈的空虛,如同畫中美女只能用她完美的雙眼空虛地望著前方。
紅色的臂章、領口的徽章和綠色的服裝,是凌健對於中國文化的一種緬懷,是他個人的真實體驗。畫者不進行批判或諷刺的動作,而是以文化符號的拼湊,來表達他對現今社會的觀察與詮釋。

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拍品專文

Ling Jian once said "Women are a symbol of time ... The beautiful ladies I paint are indeed the visualizations of our society and a new sense of nationalism, as well as a reflection of contemporary values and aesthetic standards." In the works Army Princess-Zhen Zhen (Lot 1255), Untitled (Lot 1296) and Peony (Lot 1254), the oval faces, almond eyes and luscious red lips faces of the female figures all seem overly idealized. The deliberately exaggerated facial and body features of the beautiful Chinese ladies, incorporate characteristics of both Westerners and Asians and also reveal the established international standards of beauty in most consumerist societies. The artist's brush is like the scalpel of a surgeon which gently crafts the ideal faces that he imagines, and the images produced are at once a conformity to extreme beauty standards of modern women, and a comment against it. The ladies depicted in Untitled and Shanghai Sky Cocktail (Lot 1297) with elongated slim arms, slender bodies and voluptuous breasts, suggests the arbitrary and extreme ideal beauty standards we impose upon ourselves.

Ling has also stated, "Temptation is a power to survive. People have to face the irresistible temptations of reality, commerciality, money, sex and so on. And I am always looking for such kind of truthK" The ladies' captivating eyes, sensual cherry lips and smooth skin are rendered with great naturalism that adds to Ling's creations of highly inviting and appealing image. In Shanghai Sky Cocktail, while the body of the lady is draped with accessories to cover her parted legs, it is all the more a provocative image of a contemporary woman. While Ling Jian's projections of ideal beauties are created to be beautiful, their still, distant gazes and generalized features brands them with a sense of manufactured artificiality liken to those seen in and justified by beauty and fashion magazines. In his works, Ling points to these accepted standards and perhaps laments on the overlooking of spiritual enrichment under the rapid changes brought about by a new capitalist era in China. The red shoulder patches, collar badges and the green uniforms reflect the artist's nostalgia and memories of the Cultural Revolution. Ultimately, Ling Jian's paintings are neither meant to be absolutely critical nor satirical. His images of juxtaposed cultural symbols expresses a personal observation and interpretation of the guidelines of contemporary society fit for his times.



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