細節
邱亞才
文人
油彩 畫布
1996年作
簽名:邱亞才

來源
台灣 台北 愛力根畫廊
現藏者購自上述畫廊


邱亞才14歲輟學,在台灣服兵役期間自學,受中國哲學和西方文學的耳濡目染,他多方研讀各類文學作品,邱亞才欣賞的作家包括漢代的司馬遷、希臘悲劇家、莎士比亞以及俄國小說家杜斯妥也夫斯基,也慢慢展現出他對人性的關懷。他受到唐代藝術家閻立本的影響,重新詮釋傳統宮廷畫的意念,以知識份子、中產階級等優勢族群為創作素材。受東晉藝術家顧愷之的影響,他筆下的人物單純而超然,強烈的眼神透露出真實的情感和人格。《男人像》(Lot 1725)是藝術家罕見的早期作品,畫作呈現高度的個人主義,邱亞才實驗性地用筆觸及鮮豔的色彩,把強烈的情感從目無表情的臉孔帶出,並用炯炯有神的雙眼捕捉男子的緊張情緒和心理情感。
不論雅儒或是流浪者都是邱亞才畫作的主體。《中年文學教授》(Lot 1762) 創作於1990年中期,畫中人物就是當代學者的縮影,他雙眼疲憊,頭髮斑白,雖然年紀稍長,卻高雅出眾,散發出智慧的光彩。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。《文人》(Lot 1724)透過鮮明的輪廓,色感強烈的色塊,以藝術家的觀點呈現出儒家份子的高貴情操。
邱亞才畫中的流浪者並非窮愁潦倒、與社會格格不入,而是拒絕麻木地順應社會規範的都市人。《人像》(Lot 1772)畫的是邱亞才小說裡的人物,身型雌雄莫辨,雙臂交扣胸前,眼神充滿狐疑;他在這幅複雜又微妙的畫作中,顯得高貴,卻也脆弱得不堪一擊。雖然邱亞才的畫作主體大多孤寂,甚至憂鬱,可是卻優雅得體,享受自我空間,其中特別引起觀者注意的,就是作品中深藏的人性尊嚴和脆弱的情感。
邱亞才畫作中的人物身型修長,讓人聯想到20世紀的畫家莫迪里亞尼,邱亞才善於以線條勾勒輪廓,常以黑色或藍色墨水勾勒出鮮明的輪廓,展現出他對中國繪畫、書法的熱情。《有玫瑰花的女人像》(Lot 1773)展現出他穩健的手法,畫筆卻揮放自如,筆觸宛如傳統的工筆技巧。他的筆觸簡單,卻能強調出畫中人物的內心世界,觸動複雜的感情與心理狀態。《沉思的貴族》(Lot 1774)中,女子弓著背,頭部下垂,陷入多愁善感的沉思狀態,雕像般的軀體透露著莊嚴優雅氣質。邱亞才靜靜的觀察作畫,畫中的人物超越了時空,在各種混亂的情緒中,創作出叫人難忘的畫作,把瞬間化為永恆。

來源
Galerie Elegance, Taipei, Taiwan
Acquired from the above by the present owner

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拍品專文

Having left school at the young age of fourteen, Qiu Yacai began to delve into the world of Chinese philosophies and Western literature on his own during his years of compulsory military training in Taiwan. He exposed himself to a breadth of works, including those of Han dynasty historian Sima Qian to Greek tragedians, Shakespeare and Russian novelist Dostoevysky, revealing his genuine concern for the complexities of human nature. Reinterpreting court paintings like those by Tang artist Yan Liben, Qiu fills in a contemporary equation by exclusively painting the intellectual middle class as his subject of the privileged. He depicts them as pure and detached characters whose true feelings and personalities are only revealed through the strongly marked eyes, a trait borrowed from the Eastern Jin artist Gu Kaizhi. In a rare and highly individualistic earlier work, Portrait of Man (Lot 1725), Qiu experiments with expressive brushstrokes and intense colours to capture the tension and psychology behind the mask-like face that stares engagingly at us.
The subjects of Qiu's portraiture are the ya ru (elegant scholars) and the liu lang (outcasts). Painted in mid 1990s, Middle Aged Professor of Literature (Lot 1762) epitomizes the contemporary scholar, whose tired eyes and gray hairs render a profile that is slightly aged, nonetheless, distinguished and brimming with wisdom. Qiu identifies himself with the Confucian scholar, his moral rectitude, elegance, and search for perfection; he is concerned with portraying the ideal portrait. Literati (Lot 1724) summarize the ideals of nobility and refinement of a Confucian fellow through the delineated flat blocks of strong, emotional colours seen through the lens of its creator.
The outcasts portrayed by Qiu are not of the poor and dejected, but are the urban beings that refuse to conform to societal norms. In Homosexual (Lot 1772), a character that appears in Qiu's novels, is depicted as a figure of androgynous features with folded arms and quizzical eyes. He appears elegant yet frail in this complex and nuanced painting. While most of Qiu's subjects appear to be solitary, even melancholic, they can still be controlled and self-possessed at the same time. They captivate the audience with their fragility and dignity, embodying the paradoxes of humankind beneath surface.
While Qiu's elongated forms recall works of Amedeo Modigliani, the delineation of figures with continuous strokes of black or blue ink reveals his passion for Chinese painting and calligraphy. Lady with a Rose (Lot 1773) shows his steady and free handling of the brush that is reminiscent of the traditional gongbi or meticulous style painting. Through simple but deliberate brushstrokes, Qiu is able to evoke glimpses of the inner psyches of the figures he paints. In Young Aristocrat (Lot 1774), the arched female figure weighs her head down in sentimental contemplation, yet her sculptural contours breathe of monumentality, sensuousness and elegant composure. A silent observer of urban dwellers, Qiu endows a type of timeless monumentality to his figures, and from the chaos of confused emotions, he has painted these unforgettable portraits with glimpses of permanence.

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