陳丹青

款識
陳丹青，1986

紐約，Grand Central Art Galleries, Inc.
康乃狄克州私人收藏

This work is in very good condition overall. Areas of faint craquelure are observed scattered occasionally over the section of the sky, consistent with the age of the work. Minor signs of abrasion observed along the top left edge of the work. Upon close examination, minor paint loss is observed located 35 cm from the right and 35 cm from the bottom. A pinpoint pigment loss is observed located on the right edge 60 cm up from the bottom right corner of the work. There is a minor chip on the upper right of the frame. No evidence of restoration observed when examined under ultraviolet light. 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."

論及陳丹青，無不聯想起其轟動中外藝壇之油畫系列作品《西藏組畫》。該系列為陳丹青一九八〇年中央美院研究生畢業展展出作品。他首度進藏早於一九七六年，其時的畫作《淚水灑滿豐收田》使他聲明大噪，在揭示藝術家對藏族族民生活百態的興趣同時，亦彷彿預知了他二度訪藏取材作畫，及後更掀起了西藏題材的繪畫風潮。《西藏組畫》享譽中國當代美術史顛覆之作，皆因其取材褪去了文革及蘇聯社會主義的的教化，過濾了英雄主義，餘下則為一系列樸實真摯的人文描寫。陳丹青的藝術歷程中，西藏餘韻又何止最廣為人知的七幅組畫為量？在西藏生活期間，陳丹青筆下速寫素描無數，單就系列中《進城》為例，相關草圖便逾二十，許多並未以油畫呈現，可想藝術家於一九八二年赴美後的藏族油畫創作，溯源於他早期在西藏高原拉薩街頭時積累的寫生作品。

本作作於一九八六年，為陳丹青在紐約時的創作。本作構圖取材與藝術家組畫系列的經典作《牧羊人》相似，然而畫中的一對牧羊人並未呈現後者的親暱狀，而是洋溢著畜牧歇息時的悠然散漫。陳丹青發揮其油畫技巧的爐火純青，其豐潤的用色和柔和的短方筆觸讓郊外的恬靜氛圍不言而喻。陳丹青自幼習畫，常常透過臨摹歐洲大師作品精進技巧。其油畫的風格特徵與描繪的樸素景緻，反映了早於十九世紀法國展開的寫實主義藝術運動對他的影響。一九七八年，中國美術館舉辦了〈法國十九世紀農村風景畫展覽〉，展出藝術家包括陳丹青偏愛的寫實派先驅讓·弗朗索瓦·米勒及尚-巴蒂斯·卡密爾·柯洛。該展覽展出作品不追從歐洲傳統學院派崇尚的澎湃畫風，拒絕矯情設定，不加修飾，率真呈現田園風光、農民風情，就當時的中國藝術家而言，鄉土現實主義素雅而震撼，可謂耳目一新。因此，觀者可從本作目睹米勒《拾穗》及《牧羊女與羊群》等名作的影子。論及其西藏組畫《康巴漢子》，陳丹青對族人的神緒體態嘖嘖稱羨，更坦言他們僅僅站著就堪如油畫，並視之為最能激發自己共鳴的藝術語彙。毫無疑問，陳丹青透過銜接西方藝術的熏陶與中國本土文化，實踐了米勒對藝術及美學獨到的見解：「賦予藝術其力量的真諦，源於以崇高的心態看待最平凡的事物。」（〈藝術及進展，第五冊，第十一期〉Josephine M. Blanch著（The Frick Collection出版，一九一四年）387頁）