QIU YACAI
PROPERTY FROM A DISTINGUISHED EUROPEAN COLLECTION
QIU YACAI

細節
歐洲重要私人收藏

邱亞才
詩人

油彩 畫布
1990年代作
簽名:邱亞才

來源
中國 香港 漢雅軒畫廊
現藏者直接購自上述畫廊

身為當代城市人沉默的觀察者,邱亞才所創作的肖像畫揭示出他對描繪完美人像的真誠的追求和人性的複雜性的關懷。他的題材以優雅的學者為典型,並將其轉譯成特權知識分子階層的當代方程式,而身為小說家及畫家的邱亞才亦把自己歸類於此。因此我們很容易從他所描劃的孤獨肖像中看到邱亞才個人性格和精神的反映。《詩人》(編號1427) 的畫中人就是當代學者的縮影,邱亞才認同儒家學者的道德觀、優雅的生活態度,追求完美的理想,所以他很重視表現人物的完美性。邱亞才以富表現力的筆法和冷色調去於目無表情的臉孔中帶出強烈的情感,並用炯炯有神的雙眼捕捉男子的緊張情緒和心理情感。男子那疏離和略帶憂鬱的目光,暗示困擾著一眾思想家和創造者無法宣說的感情,但他自豪的姿態被這幅畫巨大的規模完全神聖化和變得永垂不朽,再一次見證他的藝術創作中非常深刻的個人追求。

《男人像》(編號1429)透過鮮明的輪廓與水墨感強烈的藍色調,以及人物修長的身型,讓人聯想到二十世紀的畫家莫迪里亞尼的作品。然而邱亞才所受的影響更廣,以黑色或藍色墨水連續勾勒出男子圓滑的輪廓,展現出他對中國繪畫、書法的熱情。更進一步顯示傳統中國藝術文化對他深刻的影響,邱亞才借用了東晉藝術家顧愷之的特色,疏離的性格揭露出真實的情感和個性。藉由那強而有力的眼神,表達出男子的寂寞和決心。

《青年》(編號1428)以穩健而揮灑自如的畫法,筆觸宛如傳統的工筆技巧來繪畫,表現得優雅而弱不禁風,然而同時仍收放自如。以常規的面部側影描畫的人物頭像,樸素的美感和年青嫩滑的肌膚,在紅色的背景上突顯出其純潔和官能感受。這種脆弱而又莊重的雙重特性,體現出人性深層的矛盾和能令觀者感受到一絲畫作中人物心理的能力。
來源
Hanart TZ Gallery, Hong Kong, China
Acquired from the above by the present owner

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拍品專文

A silent observer of contemporary urban dwellers, Qiu Yacai's world of portraiture reveals his genuine concern for portraying the ideal portrait and the complexities of human nature. His subjects, typified by the elegant scholar, translate into a contemporary equation of the privileged intellectual class, to which Qiu, a novelist and painter, also associates himself with. As such, we may very well see glimpses of Qiu's reflection of his own spirit and character in the solitary figures he depicts. Post of a Poet (Lot 1427) epitomizes the contemporary scholar; his moral rectitude, elegance, and search for perfection summarize the ideals of nobility and refinement of a Confucian fellow. Qiu renders his subject with expressive brushstrokes and cool colours to capture the tension and psychology behind the mask-like face that stares engagingly at the viewer. The distant and slightly melancholic gaze of the man alludes to unspoken emotions that plague thinkers and creators alike, but his dignified stance is wholly monumentalized and glorified in this large format portraiture which reassures his deeply personal pursuits in artistic creation.

Portrait of a Man (Lot 1429) depicts a symphony of inky blue tones delineated in flat blocks, and elongated forms that remind of Amedeo Modigliani's works. However, Qiu's influences are indeed broader, and the continuous strokes of black or blue ink that render the sleek silhouette of the stooping man reveal Qiu's passion for Chinese painting and calligraphy. Further reflecting his influences rooted in classical Chinese artistic culture, Qiu adopts a trait borrowed from the Eastern Jin artist Gu Kaizhi, in which the detached character reveals true feelings and personality only through the strongly marked eyes to depict the solitude and resolve of the man.

The figure in Androgynous Youth (Lot 1428), rendered in steady and free handling of the brush that is reminiscent of the traditional gongbi or meticulous style painting, appears elegant yet frail; however, still controlled and self-possessed at the same time. In portraying the formal profile view of the figure's bust, the unadorned beauty and smooth skin of the youth strikes in its purity and sensuality against the red background. This duality in character of fragility and dignity embodies the paradoxes of humankind beneath the surface and its ability to evoke glimpses of the inner psyche of the figures he paints.

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