謝景蘭

款識
Lalan
《Le printemps est en retard》(作品背面)

現藏者直接購自藝術家

上海, 上海美術館〈意境‧天堂 - 謝景蘭藝術回顧展〉二OO九年七月四日至八月五日, 88頁
澳門, 澳門藝術博物館〈蕙景蘭心：謝景蘭藝術回顧〉二O一O年三月五日至五月三十日, 59頁, 圖版30

The work is in overall good condition. There are minor signs of wear and tear around the edges, and slight accretion scattered throughout the painting. Under ultraviolet inspection there are scattered signs of restoration, but this is not visible to the naked eye. Framed.
"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."

謝景蘭，又名拉蘭，趙無極首任妻子，其時以丈夫之繆思女神聞名於世。拉蘭天資聰敏，才華橫溢，集畫家、音樂家、舞蹈家於一身，她不再甘為前夫藝術生涯擔當配角，在跨藝術舞臺上演了一幕幕精彩傳奇。她曾說道：「過往我習慣了當現代畫中人、前夫的繆思，但當我從畫裏走出來的時候，發現自己已與畫作不可分離。」¹

本品《春天姍姍來遲》作於二十世紀七十年代，技法純熟，從容自在，是拉蘭在停止作畫一年之後孕育出來的成果。當時她正專注鑽研老莊哲理、中國山水繪畫、形神等美學之道。² 此時畫風自然且多為單色之作。堆滿白色的畫面，「充滿力量，同時神秘… 靈動、光亮又帶有絲絲憂暗」。³ 拉蘭從以往一般具象畫中解放出來，致力抽象山水創作。構圖和諧協調，充滿能量及情感，讓觀者在平面畫布領略其舞蹈的精神。

拉蘭的作品題目為抽象之景賦予知性角度，在理解其作的過程中起了相當重要的作用。《春天姍姍來遲》便是這種創作關係的代表作。玲瓏的褐、黑色筆觸在白茫一片的背境之上舞動，而題目則更進一步引領觀者進入作品的故事世界。然而此作與現代舞蹈相似，並不侷限於單一的闡釋 ，而是給予觀者無限的想像空間。

拉蘭於五十年代晚期開始繪畫，先涉獵水彩藝術，再進行油畫創作，尤其喜歡把畫布橫陳在地上作畫。受中國古代書法及甲骨文影響，所畫線條清麗脫俗。後期畫作反映畫家對音樂、舞蹈、繪畫的研究心得，將三種藝術語言融貫為一體，滋養出別具韻味的抽象繪畫。

拉蘭手中揮動的畫筆，巧妙輕盈，仿如流風迴雪的舞姿，翩若驚鴻，婉若遊龍。劇作家歐仁·尤內斯庫曾經這樣形容拉蘭的作品：「她的畫作一開始所表達的是一種動態，一種稍為輕率、放縱的動態。慢慢地，這戲劇性的激情爆發會沉靜下來，以韻律姿態浮現眼前，盛載著滿溢的情感。畫家成功駕御情感，未受其率情所左右，且將之操控、改變，並能在過程中自省自觀。」⁴

1. Sophy Thompson 及 Antoine Chen Yen Fon, 〈Lalan〉, 21頁
2. 楊子健，〈蕙景蘭心：謝景蘭藝術回顧〉，51頁
3. Sophy Thompson 及 Antoine Chen Yen Fon, 〈Lalan〉, 83頁
4. Sophy Thompson and Antoine Chen Yen Fon, 〈Lalan〉, 29頁