Chih-Jen KO 柯志仁 The Blind Leading the Blind 兩個盲⼈的比喻... Lot 425

Chih-Jen KO 柯志仁 The Blind Leading the Blind 兩個盲⼈的比喻 Oil on canvas Size.80.5x100cm Artist's Statement: In terms of creative method, I try to use the technical feature of Chinese calligraphy, the « Zhong Feng », to produce a kind of subtle strength on the mental image. Thus, I wonder why Yan Zhenqing's eulogy manuscript, despite its numerous corrections, can still be considered an aesthetic paradigm of great height. The content of the manuscript, imbued with sadness, nevertheless reflects admirable qualities and depth of the calligrapher's personality. Can an oil painting also be an unfinished accomplishment In Western oil painting, can we also extract rich aesthetic meaning from the centrally held brush technique A more refined and humanized creation seems capable of engendering a certain embodiment and dynamic fluidity of subjective writing, thereby transcending the superficiality centered on the image. The specific aesthetics and technique regarding the corporeality of Chinese calligraphy probably reveal a path that opens up. Regarding the history of the creation of this painting, one day, while walking through the streets of Paris, a melancholy vision invades my consciousness; I paint with divine speed, feeling an experience similar to that of creating Yan Zhenqing's manuscript, evoking a prophetic or parabolic vision of judgment. The blind run as if sleepwalking through the arched streets of the city, their hair floating wildly in the air of the urban twilight. 從創作⽅式⽽⾔，我嘗試使⽤中國書法的握筆的技術特徵——「中鋒」來產⽣⼀種畫⾯上的細緻的⼒度。因此，我思想為什麼顏真卿(709-785)的祭姪⽂稿，即使有許多的塗改痕跡，但仍然具有⼀種極⾼度的審美典範。⽽且⽂稿的內容那樣悲催，卻反⽽體現了⼀個書法家的⼈格中令⼈激賞的品質與深度。⼀幅油畫也可以是筆⼒昂藏鬱拔、雄渾矯健、遒媚淳古嗎 或者問：西⽅的油畫中，也能從「運筆」的細緻變化中產⽣豐富的⼈格審美內涵嗎 更細緻⼈性化的創作，似乎可以孕⽣某種主體性書寫的身體化和流動氣韻，從⽽超越圖像中⼼的表淺化。中國書法家的具體美學和關乎身體性的技巧可能揭⽰了⼀條正在開闢的道路。 關於這幅畫的創造過程：⼀⽇，我⾏⾛在巴黎城⾢之中，某種抑鬱的異象臨到我的意識之中，在神速之中作畫，我感覺如同祭姪⽂稿般作畫，又髣髴所領受的某個先知或比喻的異象。拱形花樓的街道中如夢遊般奔跑的盲⼈，在薄晚城邦搖盪⼀綹纏綿髪鬘地狂奔。 NOTE Chih-Jen KO Immersed from a tender age in the traditional culture of Chinese letters, Théophile Chih-Jen KO studied painting for seven years in the atelier of Yang Weizhong, a disciple of the literati painter Chen Jinghui. In 1995, he participated in a collective exhibition with several Chinese and Japanese artists. In 1996, he settled in France and began creating freely in 1998 as a member of the Maison des Artistes, residing near the Luxembourg Garden in the fifth arrondissement of Paris. He formed friendships with other artists, frequenting the atelier of La Grande Chaumière in Montparnasse and sketching in cafes. Alongside his artistic career, he served extensively as a Protestant pastor and pursued a doctorate in theology at the University of Strasbourg from 2017 to 2022. His reflection and imagination within the modern context blend the calligraphic spirit of classical Chinese culture with the aesthetic implications of Christian theology. His artistic character reflects a modern theological aesthetic of profound universality. 柯志仁 柯志仁⾃幼浸潤在傳統國學⽂化中，在台灣早期留⽇畫家陳敬輝的學⽣——楊維中的畫室研習繪畫七年，志仁曾於1995年與多位中⽇藝術家聯展。1996年留學法國，1998年開始以Maison des Artist的會員身份⾃由創作，住在巴黎五區盧森堡公園附近，並且在蒙帕納斯的⼤茅屋畫室、咖啡中素描，結識藝術家，長期旅法至今。 志仁同時是⼀位新教牧者，長期牧會，並且於2017~2022年，在史特拉斯堡⼤學進修神學博⼠。現代處境中深邃的思維與想像，蘊含中國國學的筆墨精神，以及深湛的現代的基督教神學美學意涵，是他作品的風格。