艾軒

款識：
Ai Xuan 艾軒 1989（左下）

蓋伊‧尤倫斯和米莉恩‧尤倫斯夫人之重要珍藏

The work is overall in good condition except minor paint loss at the centre left and centre right. Sign of hairline craqurlure are visible across the surface, and there are signs of retouching at the top centre and top left hand side under UV examination.
"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."

《西藏女孩》呈現觀者眼前的，是一名孤身隻影的藏族女孩，站在靜謐的雪地遙望遠方。 畫家用上灰黑色調描繪女孩背後的荒蕪雪野，加上其身上樸素厚實的故衣，形造出歷盡風霜的質感。畫面大致由灰藍色的冷色調主導，唯一明亮部分落在女孩的面容以及其眼睛位置上方的背景，艾軒運用唯美的寫實技巧細緻地刻畫女孩沈實而炙熱的目光，在略帶滄桑的面容上， 與周遭蕭瑟冷洌的氛圍形成鮮明對比。

觀其畫如識其人，艾軒筆下的西藏女孩，總散發著一種孤寂空靈的攝人力量。蒼涼之中的絲絲溫存，源於畫家對人生意義的深刻體悟。 捷克著名作家米蘭 ·昆德拉在著作《生命中不能承受之輕》中，對生而為人的存在意義，作出了哲思辯證。 引以反觀艾軒本身， 年幼時與父母的屢次離合，加上成長中遭逢文革年代的動盪云云，使其從小便承受著生命中不同的重擔。崎嶇的人生路上，唯有創作賦予他生命意義。文革期間盛行的「紅光亮」式革命歷史畫縱非艾軒所追求的藝術型態，但亦讓他得以踏足改寫其藝術生涯的靈魂之地－西藏。

藏地裡最讓畫家醉心的是藏民與大自然的和諧共存，苛刻的生存環境在觀者看來也許是「生命中無法承受之重」 。 然而，對活在簡樸寂寥之中的藏民來說， 自然環境所給予的殘酷考驗，反而成了生命中的唯一重量，亦是其最真切實在的生存意義。《西藏女孩》的寫實表象下，正正負載著畫家自身經歷沈澱而得的複雜情感，亦同時引發觀者反思－生命之輕重雖模稜難辨，但也許當人生輕若鴻毛，飄蕩浮沈如失根浮萍之時，那種無所寄託的空虛，才最沈重。 艾軒筆下的《西藏女孩》，剛而不罔，縱生命的重量遠超女孩所能承受，那雙彷彿看透人情世故的眼裡，卻是那麼淡然隨心。生命之輕於此，反而更像一種解脫。遙看遠方的女孩，正好為畫家自身靈魂的投射，兩人似乎都在平行時空下, 為各自疲憊的靈魂覓得一片寧靜的空間，頓悟的片刻。