姜國芳

款識：
國芳 Jiang Guofang 2015.1. 藝術家鈐印（左下）
藝術家鈐印（右下）

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This work is in very good condition. There are very minor pinpoint paint losses located near the middle of the left border, visible under close examination. Under UV light, there is no evidence of restoration.
"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."

幽美雍容的宮闕夢憶

宮廷是中國古代最精緻高尚的生活階層，從商周以迄明清，數千年來一直延續並豐富著中華文化「雅」之內涵；隨著現代社會來臨，宮廷更被賦與濃厚的歷史浪漫情懷，不但成為藝術家接引傳統的靈感泉源，亦是觀眾脫離現實煩囂之寄託。姜國芳畢生創作清宮題材，以西方古典主義重現一去不返的宮廷生活，當中既有翔實考證，亦有個人之觀點與見解。《秋葉》呈現的深宮佳人，正是他筆下之典型─白皙靈秀的臉龐、光潔飽滿的頭額、綴滿珠寶的髮髻、以及繡着吉祥圖案的袍裙，無不透露著高貴的宮廷氣質。姜國芳以細膩的寫實技法，描繪畫中主角之形象，但他在對待女性的刻畫，卻顯示出浪漫主義色彩；他不滿足於平實地展現女性的狀態，而是企圖創造一種「真善美」的凝聚，透過閑雅堅定的眼神、溫柔婉轉的動靜，塑造出理想的古典中國之人物代表。細味本作，有如吟詠晚唐詞人溫飛卿的《菩薩蠻》：「小山重疊金明滅。鬢雲欲度香腮雪。懶起畫蛾眉。弄妝梳洗遲。照花前後鏡。花面交相映。新帖綉羅襦。雙雙金鷓鴣。」藉著既實且虛的人物和場景，透露對於一個黃金時代的慕讚。

《秋葉》佈局對稱，女子端坐於中堂極具富麗效果的青綠山水之前，具有一種遠離世俗氣息的莊重之美，突出了東方女性那種典雅靜謐、賢慧內斂的氣質。藝術家精研油畫語言技巧，同時嫻熟於傳統書法，亦深深著迷於國畫之美。國畫最早的山水意識，可以追溯至兩晉南北朝時代，作為烘托人物形象，輔助敍事之背景；隨著寫實主義從初期的全盤引入，發展至今日接引民族文化之階段，藝術家往往發揮最擅長的觀察與表現力，將國畫的面貌與精神，以油彩呈現。藝術家以青綠山水為背景，不僅是技術層面的示範，亦延續了這份源起於魏晉的中國藝術精神，在現代繼續煥發生命力。