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(Gao Xingjian Ink Painting- exhibited in Alisan Gallery 2010, Hong Kong)

高行建近年以高曠的水墨畫挾諾貝爾桂冠詩人之名在藝壇大放異彩,可謂名利雙收。2000年代初期極具眼光的香港Alisan畫廊即做了連續數年有關他的的展覽,成名後新加坡的 iPreciation及台北的亞洲藝術中心均視之為強打展覽,畫價一跳數倍。今天因看到Alisan Fine Arts Gallery寄來的展覽廣告---據數年來的文宣報導,我從未在這位桂冠詩人畫家的文中聽到他提及李安成這個名字,為什麼我要提到李安成?因為高行建來台時曾向李安成學畫. 高先生本身習畫, 且美學基礎深厚 , 出自書香世家, 能如此回眸驚艷 ,看見李安成而向他請益 ,此乃一件藝壇美事; 你如果心靈夠剔透,就會看到兩者之間的雷同奧妙,但李安成連大學都沒上,是水墨畫界的苦行僧;那麼,你認為在某些節骨眼上,要提到自己向一個學歷比自己低的人學畫,或者對方也不是來自什麼學院………?在這裡會發現人性的世俗面與隱晦的奧秘。

我們終究要回頭思考「我夠大」嗎?能夠大到稱自己夠小嗎?我有平等心嗎?
一個人的重量在此被秤得清清楚楚。

多年前,牛津大學藝術史博士徐小虎女士介紹我認識李安成先生的作品,小虎說李安成就是因為沒有上大學,所以才可以畫得那麼好,我撿拾一段小虎對他畫作的看法如下:


http://www.wretch.cc/blog/jessup/15951645


A L I S A N F I N E A R T S
FINE CONTEMPORARY CHINESE ART SINCE 1981
Ink Play: Gao Xingjian, The Nobel Laureate
New works on canvas & on paper
16 September – 15 October

Gao Xingjian 高行健 (born 1940 Jiangxi China, currently living in Paris), the 2000 Nobel laureate, learned to paint at the age of eight, and published his first novel at ten. He studied French at the Beijing Institute of Foreign Languages. In 1987 he moved to France , became a French citizen and has lived there ever since. Alisan Fine Arts has been representing Gao Xingjian since 1994, organising his first Hong Kong solo exhibition in 1996, and subsequently in 1998, and 2002, and in New York in 2004. The artist’s fifth solo exhibition in May 2008 was a part of the French May 2008. His work was also shown at the Hong Kong International Antique & Art Fair in 2009. Recent years he has had many exhibitions in museums in Europe such as Ludwig Museum in Germany , Museum Wurth la Rioja in Spain .


Gao reveals himself as both a scholar and painter whose work is deeply rooted in Eastern and Western traditions. Gao admits being steeped in two-dimensional traditional Chinese painting, and yet he is very attracted by the depth of Western painting. This explains his use of ink, and his powerful sensuous strokes in creating spatial depth pitching black against white, and stillness against movement.


As a painter, Gao uses a language that is deeper than words yet still reflects his inner vision. He describes those of his works that often recall landscapes and cosmic processes as shadows that have emerged from his deepest self that could not be rendered in anything but in ink. His aesthetics clearly reflect his historical and cultural provenance, and are undeniably carried over into his works.


Selected Collections: Artothèque de Nantes; Musée Guimet, Théâtre Molière, Paris; Maison de la Culture de Bourges; La Ville de Marseille, France; Nobel Foundation, Sweden; Krapperrus Konsthall, Malmö; Museum of Modern Art, Ostasiatiska Museet, Stockholm, Sweden; Leibnitz Gesellschaft für Kulturellen Austausch, Berlin; Morat Institut für Kunst und Kunstwissenschaft, Freiburg, Germany; Museum of Fine Arts, Boston, MA, USA; National History Museum, Taipei; Taipei Fine Arts Museum, Taiwan; The Chinese University of Hong Kong; University Museum and Art Gallery, University of Hong Kong, Hong Kong; Singapore Art Museum, Singapore.


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