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拍品專文
Paul Gauguin said in an interview with the newspaper Ec?le de Paris, "I am leaving in order to have peace and quiet, to be rid of the influence of civilization. I want only to do simple, very simple art." Gauguin had visited Tahiti to seek inspiration; similarly, Yen Shui-long was inspired by traditional aboriginal culture and totem symbolism. During his study in France, there happened to be an exhibition, L'Exposition Coloniale Internationale de Paris, which Yen attended several times. He was struck by the exotic practices and relics, and was inspired to explore and study the primitive culture of Taiwan's past after returning to his homeland.
Despite the inconvenient location of Orchid Island, some artists-related publishing information to date shows that, Yen Shui-long has visited Orchid Island for 5 times since his first visit in 1935. The Yami Boat characteristic of the island is one of Yen's favourite themes, he once said that, "What adds to the Island's scenery is the Yami's boats with beautiful curves, the boat's two proudly raising ends are very special; even the decorative straight lines carved on the boat gives an impression of utmost beauty." Painted in 1991, the artist has employed a unique composition in his work Island and Seascape (Lot 1106), to display his ardent love for the natural landscape in Orchid Island and for the traditional Yami culture. The rock rising above the water occupies the vanishing point at the centre of the picture, and the Orchid Island-Yami Boats are arranged in an outward radial direction to complement this. Yen has employed the classic linear perspective, but the slightly tilted sea surface and the gently sloping hills afar form a circular visual dynamic, which breaks away from the strict rigidity of linear perspective, so as to emphasize the power of the waves breaking on shore. In terms of the colour palette, Yen's vibrant tones characteristic of his earlier works has been replaced with more subdued and relaxed colours, indicating his proficiency and development in the medium having painted this painting at the age of 88. The rich warm colour tones in the foreground complement the turquoise sea in the middle ground, while the cool and warm tones interweave in the hills afar and sky resulting in a the effect of subtle shimmering light changes. While appearing casual, details such as the yellow light penetrating through the sky, the light received on the surface of the distant hills, the Yami Boat arrangements, the beach, and the glowing skin on the Yami people, are in fact carefully arranged by the artist to unfold before our eyes the dazzling sun shine of the south. This shows what the Island and Seascape means to Yen: rather than a direction copy of nature, the artist forms an artistic creation motivated by the artist's long-term devotion and study in painting, as well as his ardent love for the primitive culture of his homeland. Therefore, in addition to being a representation of the natural landscape and local customs, this piece of work is also a conclusion of Yen's artistic achievement in various aspects.
Despite the inconvenient location of Orchid Island, some artists-related publishing information to date shows that, Yen Shui-long has visited Orchid Island for 5 times since his first visit in 1935. The Yami Boat characteristic of the island is one of Yen's favourite themes, he once said that, "What adds to the Island's scenery is the Yami's boats with beautiful curves, the boat's two proudly raising ends are very special; even the decorative straight lines carved on the boat gives an impression of utmost beauty." Painted in 1991, the artist has employed a unique composition in his work Island and Seascape (Lot 1106), to display his ardent love for the natural landscape in Orchid Island and for the traditional Yami culture. The rock rising above the water occupies the vanishing point at the centre of the picture, and the Orchid Island-Yami Boats are arranged in an outward radial direction to complement this. Yen has employed the classic linear perspective, but the slightly tilted sea surface and the gently sloping hills afar form a circular visual dynamic, which breaks away from the strict rigidity of linear perspective, so as to emphasize the power of the waves breaking on shore. In terms of the colour palette, Yen's vibrant tones characteristic of his earlier works has been replaced with more subdued and relaxed colours, indicating his proficiency and development in the medium having painted this painting at the age of 88. The rich warm colour tones in the foreground complement the turquoise sea in the middle ground, while the cool and warm tones interweave in the hills afar and sky resulting in a the effect of subtle shimmering light changes. While appearing casual, details such as the yellow light penetrating through the sky, the light received on the surface of the distant hills, the Yami Boat arrangements, the beach, and the glowing skin on the Yami people, are in fact carefully arranged by the artist to unfold before our eyes the dazzling sun shine of the south. This shows what the Island and Seascape means to Yen: rather than a direction copy of nature, the artist forms an artistic creation motivated by the artist's long-term devotion and study in painting, as well as his ardent love for the primitive culture of his homeland. Therefore, in addition to being a representation of the natural landscape and local customs, this piece of work is also a conclusion of Yen's artistic achievement in various aspects.