黎譜

私人收藏，美國

The work is in good condition overall. The silk is free from runs and tears. There is indication of light wear and handling on the edges of the painting. Examination under ultraviolet light revealed scattered pin-size holes which are only visible upon close observation. Inspection of the painting was done with the frame. Framed, under Plexiglas.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

「池中沒有任何花朵比蓮花美，
綠葉、白瓣和蓮蓬裡澄黃的蓮子。
噢，黃子、白瓣、綠葉，
即便長於池中汙泥，你們依然散發清芬。」

— 越南古詩(意譯)


越南畫家黎譜的作品以典雅著稱，搭配豐富的想像和精湛的藝術效果，明確的傳達背後所承載的文化與品味。黎譜的技巧綜合東方符號與西方美學﹔他的圖畫散發著清純、詩意而且神秘的氣質，被尊為二十世紀越南絹畫大師，是現今東南亞最受矚目的藝術家中的一位佼佼者。

黎譜生於北越河內以南的河東郡，長於著名的官紳世家，父親黎桓於咸宜皇帝在位期間出任東京（河內舊名）總督，黎譜在越南與國外接受了高規格的養成教育。這件精美的《手持蓮花仕女》，足以代表畫家運用絲綢為創作媒介的精湛技藝，同時也呈現了他描繪人物魅力的嫻熟手法，無人能出其右。

《手持蓮花仕女》創作於1939年，黎譜在巴黎舉行的第一次海外畫展之後不久，展現畫家初萌芽的創作自信以及藝術風格。新近的旅遊經驗提供啟發和靈感，使黎譜的作品彌漫著一股優雅的恬靜，一如歐洲宗教藝術肖像畫的典型特質。少女近距離呈現在畫面中，描繪黎譜對女性陰柔之美精確深刻的理解。年輕女子收攏纖指輕柔的捧著一莖蓮花，正將臉湊近嗅著花朵散發的清香﹔她的頭偏斜着，意味著她身上所蘊藏的母性、順從與慈悲。花瓣輕觸著女子的嘴唇，配上她優雅的姿態，傳達著一個既端莊嫻靜又魅惑性感的身體語言。從比黑還黑的烏黑、比紅還要紅的朱紅，到比白更白的潔白，黎譜根本上省略了所有外在的、無關宏旨的色彩成分；畫面完全以單色構成，然而絲綢透亮的質地補強了顏料色度的透明性，將主題形象烘托得飽滿而立體，像是由裡而外煥發光彩般的晶瑩剔透。蓮花生於淤泥濁水，亭亭水面之上纖塵不染的盛開，不受塵世沾染，整個主題的象徵意義在在指涉蓮花所代表的純潔無染。

黎譜早期以水墨與水粉繪於絹上描摹女性美的，可謂藝術家最受歡迎的主題。他根據每個構圖因時因地而創作，賦予每件畫作精致而獨特的氣質。《手持蓮花仕女》略帶孤寂感的構圖，讓畫面彌漫著憂鬱的詩情—嬌嫩的蓮瓣輕觸著年輕女子纖柔的面頰，彷彿一個含蓄卻殷切的期盼。