PANG JIUN
龐均

牆外行人.牆裡佳人笑

細節
龐均
牆外行人.牆裡佳人笑
油彩 畫布
2010年作
簽名: 均;均
手繪鈐印:均

龐均著名於他獨特的油畫創新技法及技法哲學的理論之談,以及他對建立一個能在西方媒體表現出對東方情感和中國風格的堅持,令他
馳名藝界。他認為西方油畫技法固然重要,但對當代中國畫家而言,同樣必要的是對中國人文思想的認知,從而提出一個對油畫的新穎
及個人化的體會。因而均的畫作中有著他獨特中國風格以及後印象主義與野獸派的設色及感覺而馳名。均成功地融和了中國人文思
想與西方畫藝,促成了一個集兩家大成,又富有個人特色的畫風。
《牆外行人.牆裡佳人笑》(Lot 1116) 的命題乃出自宋代詩人蘇軾的
《蝶戀花》。傳統中國水墨素有詩畫同源之說, 均通過油畫創作以
詩賦入畫,創作充滿意境的抒情風景畫。《蝶戀花》原本是表現蘇軾
惋惜韶光流逝,感慨宦海浮沉,把自己的身世之感注到詞中。而均
則捕捉了「牆裡秋千牆外道,牆外行人牆裡佳人笑」極富想像的佳
句,再予以創造。由於綠水之內,環以高牆,所以牆外行人只能聽到
牆內蕩秋千人的笑聲,卻見不到芳蹤。不難想像,此刻發出笑聲的佳
人正在歡快地盪著秋千。蘇軾只寫佳人的笑聲,而把佳人的容貌與動
作,則全部隱藏起來,讓讀者隨行人一起想像,想像牆裡少女盪秋千
的歡樂場面。
此幅《牆外行人.牆裡佳人笑》以翠綠、青綠描繪繁枝茂盛,表現一
種豁然開朗的心情。均特意從畫前方開一條通往庭園的石路,沿著
石路便走到庭園的紅色大門。均刻意開放此扇大紅門,彷彿邀請觀
者隨著佳人的笑聲,走進「牆裡」,探索這佳人的美貌,一同享受春
光明媚的歡樂場面。此幅《牆外行人.牆裡佳人笑》明快的色彩、厚
重的筆觸、合宜的光線處理、匠心獨具的構圖呈現了藝術家高超的油
畫技巧,駕馭了點、線、面、色彩等藝術元素。
均在研究了西方現代油畫的發展過程和中國水墨文人畫的理論及實
踐之後,明確指出,加強寫意性是中國現代油畫創新的重要途徑。
均雖受過嚴格的寫實訓練,他在傳統寫實繪畫的模擬寫實性和現代藝
術中的自由表現找到了平衡,在油畫中創造了「寫意」與「氣韻生
動」的精神性。均曾自述:「沒有畫什麼特別的東西,只是畫自己
的『心』,對任何平淡事物的感覺,不是由『形式』決定的,而是由
感覺與情緒決定的。」可見, 均的創作以內心導航。《山水如鏡》
及《春山如笑》(Lot 1117) 兩作中分別於抒寫烟水迷濛的江南印象。
《山水如鏡》描繪推遠平靜的湖景,湖上泛舟,充滿寫意寧靜的氣
息。均準確地掌握了黑、白、灰的混合運用,創造出流動的色彩。
《春山如笑》畫面前方是開滿了桃紅花朵的大樹,藝術家以掘、拆、
修、幼的線條表現千姿百態的樹枝,引發出春天生機勃勃的氛圍。

拍品專文

Pang Jiun is famous for his unique discourse on oil painting and his dedication to the development of a Chinese style and an Eastern ambience in Western medium. He believes that the foundation in Western oil painting technique is vital, but for contemporary Chinese artist one must acknowledge Chinese humanities and utilise such awareness in the development of a new and personalised approach in oil painting. As such Pang Jiun is best known for his individual Chinese style of oil painting, his use of colours resonates the Post-Impressionist and the Fauvist's expressive style. Amalgamating the Chinese humanistic philosophy with Western painterly techniques, the result is a fusion in the best of both worlds, yet uniquely his own.


Red flowers fade, green apricots still small
When swallows pass
Over blue water which surrounds the garden wall
Most willow catkins have been blown away, alas!
But there is no place where grows not the sweet green grass.

Without the wall there's a road, within there's a swing.
A passer-by
Hears a fair maiden's laughter in the garden ring.
the ringing laughter dies away by and by,
For the enchantress the enchant'd can only sigh.


Die Lian Hua by Su Shi
The art idea of A passer-by hears a fair maiden's laughter in the garden ring (Lot 1116) originates from Die Lian Hua by great poet Su Shi in North Song dynasty. Traditional Chinese painters like to paint after poems, though Pan Jiun 's work is oil painting, it is full of poetic sentiment. Die Lian Hua , lamenting the lapse of times and floating and sinking in the official seas, is originally created by the poet to express self-thinking about his life. Pang selects the line "Without the wall there's a road, within there's a swing. A passer-by hears a fair maiden's laughter in the garden ring", rich in artistic imagination, to create this work. The poet describes a very beautiful scene in spring, that inside the wall surrounded by green water are girls jesting round a swing, and outside the wall are those who can only listen to the smile but cannot see the people, leaving themselves in deep sentiment and also leave readers in unlimited imagination.

This work is in bright yellow, green and blue color, revealing a cheerful mood. The stone path paved toward the red door, which is opened surprisingly, as if can lead us stepping into the garden and meeting those laughing girls inside and playing the swing together. Lot 1116, with bright color, heavy strokes, attracting light and ingenuous composition, is an excellent work to illustrate the artist's sound skills of drawing dots, lines , planes and using colors.

After study the evolution of western oil paintings and the approach of Chinese ink paintings, Pang clearly asserted that enhancing expressiveness is the important means to innovate modern Chinese oil paintings. Though trained strictly with realistic skills, Pang strikes a balance between the realism of traditional realistic paintings and the impressionism of modern art, achieving the "lyrical expression" and "lively spirit and vitality", which are usually associated with traditional ink paintings, in oil art. Pang once said: "I do not paint particular things, I paint what is inside my heart and the feeling toward any ordinary subjects. It is not determinated by 'forms', but my feelings and emotion." Pang's creation is led by his heart. Quiet Water & Sound of Spring (lot 1117) both illustrate the landscape of misty and rainy Jiangnan area. In Quiet Water, the smooth surface of the lake reflects mountains in distant view, a fisherman and his boat is in the middle of the painting. The artist carefully uses black, white, grey colors and turns them into fluid hues and creates a peaceful and calmly atmosphere. The foreground of Sound of Spring is occupied by pink Peach blossoms, the artist employs blunt, bent, slender and thin lines to portrait the various images of twigs and branches, uncovering the exuberant breath of spring.

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