尹朝陽 青岩 油畫畫布 畫框 二O一三年作

executed in 2013, framed

香港, ART ONE畫廊 〈塵土與光榮：三種介質—方力鈞．尹朝陽 聯合展覽〉二〇一三年五月二十四日至六月二十日

This work is generally in good condition. Please note that it was not examined under ultraviolet light.
"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."

稱為「青春殘酷」一代藝術家代表人物之一的尹朝陽，開啟了「七十後」藝術家關於青春感傷的主題探討，並真正開始塑造這一代人的自我形象和情感特徵。在九〇年代，以尹朝陽等人為代表的「青春殘酷繪畫」，重新使繪畫在敘事性、圖像概念以及美學趣味上，具有一種不同以往的實驗性和思想深度，並構成九〇年代前衛繪畫的一個重要傾向。尹朝陽的創作並深切地聯繫著八十年代的“文化啟蒙”帶來的理想主義精神，他對於童年經驗的回溯並未深入到個人的生活細節之中，而是以寫實的手法和象徵主義的調式彰顯了個人對於自由意志的追求。

二〇〇七年以來，尹朝陽自人物、肖像或人事為題材轉焦至風景創作。二〇一一年〈大風景〉系列中，尹朝陽回歸自我，選擇了最古典，也是最純粹的「山」和「寺」為核心主題，演繹他甫入不惑之年的幽微心境。在帶有「反璞歸真」意味的前提下，尹朝陽走向了山水這個中國特有的繪畫傳統主題中，試圖尋找出一個適合自己、貼近真我的所在。儘管有實景作為依據，其風景畫卻非亦步亦趨的寫實，而是山水實境的簡化，甚至是概念的濃縮。當中揉雜了許多個人的主觀印象、意念，或是意識的擬造。因此，尹朝陽的風景其實介於再現和造境之間，且更富於抽象與表現主義特色。對於尹朝陽而言，面對中國傳統繪畫就像「回憶裡有一種詩意」。藉由風景創作，他似乎有意重新反芻並玩味此一大傳統。風景系列作品，真切地反映了他個人的「嚮往」和「心境」。