曾梵志

二〇〇二年作

上海，香格納畫廊
現藏者購自上述來源

〈曾梵志：一面具，一印記〉（德國，Hatje Cantz Verlag，二〇一〇年），83頁

This work is in good condition with minor wear in handling around the edges. Minor restoration was done by a third party restorer to retouch a small stain between the left hand and jacket and to remove dirt on the lower edges of the canvas. Please refer to the Contemporary department for a third party professional treatment report.
"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."

面具背後 — 隱藏的諷刺
曾梵志

曾梵志，一九六四年生於湖北武漢，一九八七年至一九九一年就讀於湖北美術學院。在學期間，他迷上德國表現主義的強烈脆弱性，深受它的感傷力所吸引。曾梵志最爲著名的創作是他的〈面具〉系列，此作《無題》創於二〇〇二年，則是後面具時期的最佳示範作，預示了藝術家期後的人像創作，標示著曾梵志風格轉變，既繼承〈面具〉系列精髓，亦啟發後期著名的肖像作品。《無題》中的男人眼望上方，口部微微張開，愕然的表情，似是觀察著觀者看不到的情境。沒有了面具，卻換上藝術家剛健風格化的筆觸及顏色，並成就了是後面具時期的一大特色。他猶豫的眼眸尤如在意著藝術家在其面上的筆觸，縱使左腳的黑鞋被來自右邊的線條牽畔著，但他向外彎曲的腿部及手臂，仍試著平衡著凝固的身體。曾梵志把面具摘掉後，畫中人雖然得到自由，但面對現實，卻猶如被困於畫框裡，無從逃避。正如曾梵志的早期作品，人物標準的西裝、誇張的雙手與耳朵、充滿表現力的臉部及頭髮、都是對現實的戲謔及嘲弄。也許唯一接近人類本性的，是一雙被模糊掉的眼睛。

曾梵志的創作打從九十年代初開始便專注於人體和生肉的震撼。令他首次獲得國內藝評家關注的早期作品〈醫院〉系列，便是以漠然的氛圍展示身體，毫無惻隱之心。痛苦的病人，受盡折磨，卻找不到半點慰藉；空洞的眼睛呆望遠處，而醫生卻在前方得意洋洋地露出詭異的笑容。人的身體一文不值，特徵是粗獷狂野的筆觸；反之，周圍的醫療器材卻明亮如鏡：四處是光滑的小罐、光潔的針筒和光亮的床架，與人類的困厄形成強烈的對比。

在〈醫院〉系列之後，人體依然是曾梵志關注的焦點。緊接著上述病房場面的是血淋淋和發自本能的〈肉〉系列。後來他對人類的脆弱性和痛苦極限的質詢逐漸減少，轉而探索更為普遍的冷漠感。先前表現主義的暴烈筆觸也變得更加含蓄，散發出無動於衷、疏離的感覺，成為〈面具〉系列的特徴。