細節
劉煒
風景

油彩 畫布
2004年作
簽名︰劉煒 Liu Wei

出版
2005年《明日,不回眸 — 中國當代藝術》關渡美術館 台北 台灣 (圖版,第107頁)
2008年《劉煒》紅橋畫廊 北京 中國 (圖版,第160及256頁)

劉煒透過生命中諸如性、花風景及原始天性般基本的事物來探討真理。在一九九九年的兩幅作品,《禁止吸煙》(Lot 1386) 及《禁止吸煙系列-花》(Lot 1212) 之中,那三個裸體人物及盛放的紅花,表現出同樣的感覺,同時亦真誠的表現了畫家對野外的情思,甚或作為一個煙民,對禁煙的不安。內心的鬥爭,在畫面上,從急速擴張的筆觸表達了出來。以花和裸體為對象,劉煒以幼細筆觸畫出浮游的十字架及骨頭,以道出人與植物同樣的生死循環及其脆弱。

劉煒冊頁形式的《花》(Lot 1211) 不單向中國山水冊頁的傳統致敬,同時亦是他作品中僅有兩幅同時描繪人物與風景的作品之一。回歸傳統,表現了劉煒對中國思想中人與自然和諧共處的認同。正如劉煒自己所說:「人、動物,風景都是一樣,他們都有靈魂,所以我把他們都融合在我的繪畫之中。」(《麻將》2005, 214頁) 劉煒特意以徐疾筆觸交互描繪風景與人物,模糊了兩者的邊界以強調在精神層面的共通。在二十六頁中,劉煒在數處著色。著色之處,強調了角色的胸部、熟了的果實、男根。同時還上諸如「這是花」的題字,以表示已經一目了然的性含義。單個或成雙出現的人物像亞當夏娃般與自然互動,同時亦表現了吃過禁果以後在塵世的命運。劉煒筆下的自然世界充滿了奇想元素,並配以文字,使得觀者能透過一己的見解,分析圖象文字。

另一方面,《風景》(Lot 1210) 和《樹》(Lot 1213)兩幅作品則表現了劉煒的技巧。
《風景》一作中像野草般婉延的景色,乍看之下,其細膩處令人想起宋代水墨畫。在《樹》一作中,水彩營造出與油彩不同的材質。不以明確及奪目的淺藍和黃色來來表現,劉氏運用淡淡的顏料逐小逐小的描繪,通過其高超的技巧,使觀者混淆並引導他們從樹的材質去看出劉氏如何表達情感。在左方,觀者可以見到翠綠的樹、陽光與藍天。但同時在旁,又見到火樹在燒毀的枯木之上焚燒。兩作的對立,可能表現了劉氏既思考性,但又具挑釁性的性格。

劉煒與毛旭輝、方力均等諷刺寫實主義畫家一樣,都受過嚴格的美術訓練,擁有高超技巧,卻不發揮在莊嚴的歷史題材或八股主題之上,反而著墨於當代生活中較短暫、生活性的一面。這一派畫家多半描述日常瑣事,也與傳統的中國藝術形成莫大反差。劉煒這代的畫家都抱持戲謔心態,希望揭發真相,批判看來謙恭有禮的表象或是直指先前神聖不可侵犯的題材。
出版
Kuandu Museum of Fine Arts, Always to the Front-China Contemporary Art, Taipei, Taiwan, 2005 (illustrated, p. 107).
Red Bridge Gallery, Liu Wei, Beijing, China, 2008 (illustrated, pp. 160 & 256).

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拍品專文

In exploring the truth Liu Wei takes on the basic subjects of human life- sex, flowers, landscapes and primal human nature. In the 1999 works No Smoking (Lot 1386) and No Smoking Series- A Good Flower(Lot 1212), the three naked figures and the wildly blooming red flower evoke a similar sensuality and Liu's frank projection of his innate feelings towards the wildness and perhaps the anxiety a smoker experiences when restrained from smoking. The inner struggle to want to do so is enhanced by the rapid and sprawling brushstrokes. In use of a flower and a 'nude, additionally emphasizes Liu's acknowledgement of the cyclical life and death nature of both humans and plantation, and its fragility, conveyed through the use of thin and delicate brushstrokes used to depict the floating cross and bone.

The depiction of figures and landscapes together in Flowers (Lot 1211) is only one of two in Liu Wei's oeuvre, and in its album form pays homage to the classical practices of Chinese landscape albums. This deliberate return to classical painting demonstrates his embrace of the Chinese philosophy that nature and humans should live in harmony with one another. As Liu Wei stated: "People, animals, landscapes are all the same; they all have a soul; that's why I melt them together in my paintings" (Mahjong, 2005, p. 214). Using similar alternating brash and dainty brushwork in depicting the landscape and figures, Liu Wei purposefully blurs the boundaries between the two forms in emphasis of their spiritual equality. In few instances over the course of the twenty-six leaves does Liu Wei fill his figures in colour and when doing so draws attention to their breasts, ripe fruits and phalluses accompanied by inscriptions such as "This is a flower" highlighting the already evident sexual connotations. The figures, appearing one by one or in pairs and mingling within the natural scenery draws associations with Adam and Eve and their fate in the mortal world determined by the consumption of the forbidden fruit. His representation of the natural world is filled with fantastical elements enforced by the writings, allowing the viewer to formulate his or her own interpretation of the words to the visuals provided by the artist.

Alternatively Landscape (Lot 1210) and The Trees (Lot 1213) in its pure scenic representation, draws attention to the stylistic techniques of Liu Wei. At once the atmospheric landscape is reminiscent of Sung dynasty ink paintings for its delicate renderings, seen sprouting from throughout Landscape like wild weeds. In The Trees the watercolours provide a diversified texture to the oil paints. Rather than tentacle like flares of soft blues and yellows, Liu Wei makes use of diluted saturated colors in small patches to distort the viewer, using his technique to divert the viewer to consider how Liu Wei conveys his mood through the texture of the trees. On the left, the viewer approaches the lush trees with ease, taking in the sun and clear skies yet when confronted with the fiery tree rising above the burnt remnants of its neighours, recoils. The duality of the two works perhaps echoes the at once spiritual and provocative character of the artist.

Liu Wei, an artist associated with the Cynical Realist painters with Mao Xuhui, Fang Lijun and others, heavily disciplined academic training and their vast technical skills not to the depiction of grand historical or didactic themes, but to the more ephemeral and experiential aspects of contemporary life. Their approach to depicting these taken-for-granted subjects contributed to one of the most radical breaks with tradition in Chinese art history. The uniting roguish impulse of Liu's generation led these artists to seek to reveal the truth of situations beneath polite surfaces and previously unassailable subjects.

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