致未來世代的美術史—臺灣美術以人為本的共融之路
〈憶琳〉
冉茂芹
1987
油彩、畫布
60.5*45.5*1.8公分
這是一幅冉茂芹在1987年用油彩創作的人物畫,名字叫〈憶琳〉。(回憶的憶,琳是有斜玉旁的雙木林)。直式的畫作高60.5公分,寬45.5公分。
畫作裡是一位臺灣原住民年輕女子的半身畫像。女子雙手抱胸、倚著左側一棵大樹站立,兩眼炯炯有神地凝視前方。她的穿著是部落慶典的隆重打扮:頭上戴著紅色、黃色、白色花朵編織成的花環;草綠色傳統服飾的衣領、衣袖及身側都有刺繡滾邊,前胸還有黃底綠色菱形紋的刺繡胸兜。畫作背景是一片淡藍或淡綠淺淺交疊的模糊景象,依稀只能看出右方有一個木架。
冉茂芹的作品帶著印象派的寫實風格,他擅長用寫生的方式去畫寫實的肖像、風景及靜物畫。但他不是精確地複製所有細節,而是選擇性地用筆法表現細節。〈憶琳〉畫出了原住民女子輪廓鮮明的五官:深邃的眼窩,高挺的鼻子,飽滿水潤的雙唇,最引人注意的,是一雙明亮的眼睛,看起來靈動有神。冉茂芹用濃重的油彩和大膽的筆觸,既能表現光影在人物膚色及衣著細微的明暗變化,也能寫意粗獷地勾勒形體的質感,寫實傳達人物的形體和神韻。
Entitled I-Lin, this 1987 oil on canvas work by Jan Mao-Chin is a vertical figure painting measuring 60.5 centimeters tall and 45.5 centimeters wide.
The painting depicts the half-length figure of a young Taiwanese indigenous woman. She leans on a tree to her left side, with her arms crossed over her chest and her bright eyes staring forward. She wears a formal costume for the occasion of a tribal festival and a head wreath made of red, yellow, and white flowers. The collar, cuffs, and sides of the traditional green costume are all decorated with embroidered trim. Over her chest is a yellow, embroidered covering with green diamond patterns. The background is a blurry mixture of grayish-blue and light green, with only a wooden frame barely visible on the right side of the woman.
Jan Mao-Chin’s works are in a realist style with impressionistic touches. While known for using sketch techniques to draw realistic portraits, landscapes, and still objects, Jan does not precisely reproduce all details; instead, he selectively uses specific brushwork techniques to express certain details. I-Lin brings out the indigenous woman’s defined facial features: her deep-set eyes, high-bridged nose, and plump lips. Her most striking feature is her bright and intelligent eyes. The artist uses thick, heavy oil paints and bold brushwork to both express the chiaroscuro of the flesh tones and clothing and to also freely create the rough texture of objects. This technique creates lively and realistic looking human figures in Jan’s paintings.
