陸琦

款識：
Luqi 2015 陸琦 （右下）Luqi 陸琦 2015年 （畫背）

亞洲私人收藏

This work is overall in very good condition. There is no sign of restoration 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."

散發於生活的聖潔光輝
陸琦《漁家女》

壁畫風格與海洋主題，可謂陸琦的繪畫標記。寫實主義在中國經歷數十年的植根與發展，在題材上已經從籠統的「中國」概念，深化發展至更為精確的地域文化，形成一體多元的豐富面貌。陸琦在浙江美院（前國立藝專，今中國美術學院）求學，後執教於杭州師範大學，其自八○年代開始，即亟欲以作品表現浙江所代表的中國海洋文明，其結合學院派寫實技巧，融會現代主義精神、參酌古今中外的藝術靈感，以及深刻的個人體驗，形成內容充實而風格獨特的作品系列。

在《漁家女》中，藝術家以漁村的女性為主角。在傳統漁業中，出海捕漁是成年男性的工作，承擔養家活口的義務，女性留守岸上，則肩負後勤支援的重任，丈夫與妻子的人倫關係，與漁村裡的經濟生活緊密結合，男性與女性既有愛情之紐帶，亦為生活上的伙伴，兩者唇齒相依，不可分離。藝術家在本作強調女性在海洋文化中的位置，特別汲取犍陀羅藝術中的豐腴柔美的佛像造型，其聚焦前景、強調人物橫排效果的佈局，則攝取了墨西哥壁畫神韻，為漁村女性的補網活動增添宗教般的儀式感，寓意在世俗的生活當中，依然充滿人性光輝。