Cie Interieur (Inner Sky), 1971

Cie Interieur (Inner Sky), 1971

T’ang Haywen

b. 1927

 

Cie Interieur (Inner Sky)

ink on Kyro card, diptych

Executed in 1971

70 by 100 cm. (27 9/16 by 39 3/8 in.)

 

 

曾海文

b. 1927

 

Cie Interieur (Inner Sky)

水墨Kyro卡本(雙聯作)

1971年作


Cie Interieur (Inner Sky)》是曾海文1971年創作於Kyro卡本的水墨雙聯屏作品。他於1948年抵達法國巴黎,並在當時「新寫實」流派(Nouveau Realisme or New Realism)提倡自由想像及重塑事物形態的主流環境推動下,決意擺脫世俗的枷鎖,毅然踏上藝術家之路。他一方面吸收西方的畫風和技巧,一方面透過不斷觀察和驗證,把對傳統道家思想的深刻體會融入畫作中。曾海文在70年代初開始越來越常在紙上用水墨作畫,並且採用不同尺寸的聯屏形式,視創作過程為一種隨心所欲的表達方式。「墨隨心動」,一幅畫或一幅書法中偶現的意外或斑點則是生命動力的表現;而當中有如中國傳統草書般的符號,並非供觀眾在表象上解讀,而更像是一種印象日記,展現並陳示難以言傳之事。

 

CIE INTERIEUR (INNER SKY) is a diptych of ink on Kyro card by T’ang Haywen in 1971. When he arrived in Paris, France in 1948, he was driven by the prevailing atmosphere of New Realism, a large-scale artistic movement at that time that advocates freedom of imagining and reshaping the material form of lives, to determine to get rid of the conventional boundaries and pursue his dream of being an artist. Through continuous observation and experimentation in the process of creation, he incorporates not only the Western styles and techniques, but also his profound understanding of the Taoism philosophy into his works. In the early 1970s, T’ang began to paint with ink and paper more and more frequently, with a unique preference for diptych of various sizes. He sees the creative process as a way of expressing his own desires, as the saying goes, "the ink moves with the heart." Accidental flecks or patches appear in his painting or his calligraphy can be perceived as an expression of life forces; while the cursive symbols adopted from Chinese calligraphy are not for the audience to read or comprehend, but more like transcripts of a kind of emotion diary recording the indescribable perception of the artist.