細節
徐勇
西方淨土圖

黃土 顏料 綜合媒材 金箔 麻布
2002年作
簽名:Suhyong
藝術家手繪鈐印

展覽
2004年8月4日-9月4日「A Desert's Eternal Flower - Dunhuang」首爾拍賣中心 首爾 韓國
2004年9月16日-2005年2月10日「A Desert's Eternal Flower - Dunhuang」Todosa 美術館 慶南 韓國

出版
2004年《A Desert's Eternal Flower - Dunhuang》Yeo You Dang著 首爾 韓國 (圖版,第231圖,無頁數)

徐勇以古老敦煌壁畫的技法、媒材、構圖為基礎,讓作品能忠實呈現這些壁畫的構圖、肌理、質感、氣勢與古典之美。徐勇的壁畫看似是直接臨摹石窟原作的,但其實包含了藝術家對敦煌壁畫的個人詮釋,甚至加入圖像,更改構圖,把敦煌壁畫變成當代藝術的符號,賦予新的意義。

乍看之下,《西方淨土圖》(Lot 1380)左右對稱,既表達了宗教信念,也規範了道德準則,表現出人類社會制度的內涵。平面平行的圖像所畫的是前往淨土的路上,雖未到達,卻表達出如寓言所述般,穩定的秩序和安排。畫中明確地分成三個層次,先是在淨土門前的空間,讓觀者將自己投射在內;然後是畫的正中央,映入觀者眼簾的是被安放在正中間佛陀,身旁畫有兩個菩薩,其優越的位置可看出祂的地位和超凡的功德;而在最後一層,我們的視線跨越了眾神,直抵宮殿。雖然徐勇對敦煌壁畫顏料的專門研究已超過七年,但他的興趣仍然十分貼近現代,例如研究作品的形象和象徵。他對金箔在畫中作用的解讀,便充分表現出他對象徵意思和審美能力敏銳的觀察。以金箔組成的黃金四角使天堂更覺神聖,卻不會像運用反光物料般,使其難以接近。許多當代藝術家選擇以錄像形式來呈現光陰這個超越三度空間的元素,徐勇則以壁畫作品來完美重現所經歷過的時光與記憶,將千年歲月凝結於單一作品中,為壁畫的發展與新世紀的藝術創作提供了超越時空與文化背景隔閡的新風貌。
出版
Yeo You Dang, A Desert's Eternal Flower- Dunhuang, Seoul, Korea, 2004 (illustrated, plate 231, unpaged).
展覽
Seoul, Korea, Seoul Auction Centre, A Desert's Eternal Flower-Dunhuang, 4 August-4 September 2004.
Kyungnam, Korea, Todosa Museum, A Desert's Eternal Flower-Dunhuang, 16 September 2004-10 February 2005.

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拍品專文

Suh Yong uses the same medium and painterly techniques of the Dunhuang murals in his works, thus honestly presenting the ancient murals' compositions, textures, tactile sense, spirituality and antiquated beauty. Yet his works are not direct copies from the original grottoes and in fact include iconographies and unique compositional twists, transforming Dunhuang murals into contemporary art with renewed relevance.

At first glance, Language of the Heaven (Lot 1380) emerges in mirrored symmetry, being both expressions of religious beliefs and moral codes of humanity with obvious hierarchical connotations of social systems. The parallel images appear flat in execution but yet serve a compositional stability and also as allegorical evocation of a stable order. The arrangement is clear - divided in three tiers to imply distance - the forefront opens up the gates of heaven with an empty space in the middle for the viewer to position themselves; an adept placement for our eyes to gaze directly into eyes of the Buddha, poised at the centre accompanied by two Bodhisattvas, the superior scale and the central position being an obvious indication of his supremacy. In final tier, our vision reaches beyond the deity into the garden of the imperial palace. Though Suh has specialized in academic study of Dunhuang murals and pigments used for more than seven years, his interest remains distinctly modern, investigating the languages of iconography and symbolism. His exploitation of the gold foil and its illuminating effect exemplify his acute awareness of its symbolic and aesthetic power; the four gold corners further sanctify heaven, providing an aura of transcendence and an illusion of motion to the otherwise static picture plane. Whereas many contemporary artists have chosen videos as an element to transcend from three-dimensionality and to present the element of time, Suh has selected ancient murals to recount the passing of memories and time, freeze-framing thousands of years in a single piece of artwork that transcends space, time and cultural barriers in the new century.

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