Tuesday 30 June 2020

Under the moonlight: Artworks with the moon as a theme in the Turku City Art Collection | 月光之下──圖爾庫市政府藝術典藏月亮主題之藝術品

When it comes to the moon, people tend to have these kinds of feelings or impressions: Mysterious, poetic, melancholic, emotional and so on. Traditionally, people have believed that the moon’s phases affect a person’s psyche. The English word lunatic, as described by the Online Etymology Dictionary: “affected with periodic insanity dependent on the changes of the moon, from Old French lunatique 'insane,' or directly from Late Latin lunaticus 'moon-struck,' from Latin luna 'moon'". 

There are also many myths and folklore stories related to the moon, both in the western and eastern culture. For example, in the west there is folklore about a human-looking being, who transforms into a werewolf during full moon and attacks people. In the eastern mythology, there is a moon rabbit, who makes an elixir of immortality on the moon with the lunar goddess. There is another folklore story that is about a moon or sun eating dog, who in the ancient time was believed to cause an eclipse. 

From all these captivating and imaginary folklore or mythical stories, we can see how people have had different fascinations over the moon since the ancient times. For a long time, the moon has also been a muse for a great number of artists. There are countless artworks depicting the moon in different form and phases. Today we are going to look at artworks with a moon related theme in the Turku City Art Collection.


Maiden of the island

The cycle of the moon is believed to relate to the fertility and femininity, and for that reason a silhouette of a woman can easily be found in many moon-themed art pieces. The drawing Maiden of the Island (1936) by Wäinö Aaltonen is related to Finnish and Finno-Ugrian folktales. The maiden of the island is mentioned in Kalevala, the Finnish national epic. In folktales from Estonia and the Ingria region regarding the creation of the world, an island is born from a bird’s egg and the first person, a maiden, appears on the island. 

The drawing is delicately depicting a scenario of the maiden of island wading in water and possibly dancing under the moonlight. The space around the maiden is skillfully and subtly left blank, creating a feeling of illumination of the maiden. Interestingly, the moon is also believed to relate to the phenomenon of tide. In this work we can see how elements like fertility, creation, femininity and tide are connected and reflected by the moon. 

 
Wäinö Aaltonen: Maiden of the Island, sketch, 1936, lithograph on paper.
Turku City Art Collection. Photo: Raakkel Närhi / Museum Centre of Turku.

Atlantis and Pegasus

Another art piece also by Wäinö Aaltonen related to the moon, is a set of paintings called Atlantis and Pegasus (1930). The artwork consists of two parts, both with a deep indigo blue background and a bright moon partially covered by ”clouds”. However, with a closer look, the clouds have the appearance of a human’s profile and a horse-like flying creature, a Pegasus as the title indicates. Pegasus is a Greek mythical creature, a winged horse. In the painting, Pegasus is ridden by a woman figure, flying past the bright full moon. The shape of the figures is simple and geometric. We can clearly see the influence of Cubism on Wäinö Aaltonen. 

 
Wäinö Aaltonen: Atlantis and Pegasus, 1930, oil on canvas.
Turku City Art Collection. Photo: Aleks Talve / Museum Centre of Turku.

Moonlight landscape 

Moonlight landscape (1979) is a lithograph print by Polish artist Lucjan Mianowski. The artist’s depiction of a “landscape” consists of several human figures with a patterned background under the crescent moon. The crescent moon is the third day of a month in the lunar calendar, but it could also be a common symbol representing the moon in general without specifically indicating the phase. In Moonlight landscape, there are brick walls, stairs and primitive-looking patterns in the background. The composition of the patterns and human figures creates a three-dimensional illusion, feeling almost like some of the people were standing on an open farming field. In his works, it often combines people and natural environment and phenomenon in a surrealistic way. From Mianowski’s work, we can see the influence of pop art and surrealism. 

Lucjan Mianowski: Moonlight landscape, 1979, lithograph on paper.
Turku City Art Collection. Photo: Raakkel Närhi / Museum Centre of Turku.
 

Text:
Ching Lam Yeung  
Museum Assistant 
Museum Centre of Turku 


Sources: 

Takanen, Ringa: “From the Wader to the Garden of My home. Mythical Female Figures and Water in Wäinö Aaltonen’s Works.” Wäinö Aaltonen: Poses, 2017. Turku Museum Centre. 

Online Etymology Dictionary. Lunatic. https://www.etymonline.com/word/lunatic (accessed 15.5.2020) 


月光之下──圖爾庫市政府藝術典藏月亮主題之藝術品


當說到月亮,人們通常會聯想到神秘、詩意、憂傷或是情緒化等印象。傳統上亦相信月亮的週期會影響人的心理狀態。根據線上字源學資料庫Online Etymology Dictionary英文字”Lunatic” 字義為受月亮影響之週期性精神錯亂,來自古法語中字義為瘋狂的 ”lunatique” 或在晚期拉丁文中有字義同為瘋狂的“lunaticus” ,字源都是拉丁文 “luna” ──月亮一詞。

不論東西方文化中都有不少關於月亮的傳說,例如在西方就關於「人狼」這種生物的傳說。相傳人狼平常外型與常人無異,但每逢月圓之夜在月光之下化身成人狼並襲擊人類。而在東方亦有很多關於月亮的傳說,例如月兔在月亮上搗長生不老藥、日月蝕則是因為有一巨大之天狗食日或食月等。有趣的是,在北歐神話中亦有一類似的故事,不過主角由天狗變為兩匹追逐日月的兇狼,它們分別名為斯庫爾(Sköll) 與哈提 (Hati)。

由以上這些引人入勝同時充滿想像力的傳說中,我們可以看到自古以來人們就對月亮十分著迷,而且充滿各種想像。長久以來,月亮亦是不少藝術家心中的靈感來源與繆斯女郎。今天我們將會來看看圖爾庫市政府藝術典藏中以月為題之藝術品。

島嶼少女


月亮週期被認為與生殖力與女性陰柔等有關,因此在以月亮為主題的藝術作品中通常不難找到女性的身影。威諾‧阿爾托寧 (Wäinö Aaltonen)的作品《島嶼少女》(Saarenneito, 1936) 與芬蘭及芬蘭-烏戈爾族的傳說有關。在芬蘭的民族史詩《卡勒瓦拉》(又譯《英雄國》)中就有提及「島嶼少女」。而在愛沙尼亞及英格里亞地區的傳說中,世界的開端來自一巨大的鳥蛋。島嶼自鳥蛋而生,而在島嶼上出現的第一個人就是島嶼少女。

在自然中,月亮亦與潮汐漲退的現象有關。阿爾托寧的作品輕柔細緻地描繪出島嶼少女涉水而行,月下起舞的情境。少女身體周圍的空間巧妙地留白,肌膚猶如映照出月亮光芒。在作品中我們可以看到生殖力、創造力、女性陰柔等元素透過月亮連結起來。

威諾‧阿爾托寧 (Wäinö Aaltonen): 《島嶼少女》(Saarenneito), 1936,
石版畫紙本, 圖爾庫市政府藝術典藏 
圖:拉奇爾‧那希(Raakkel Närhi) / 圖爾庫博物館中心

亞特蘭提斯與佩加索斯

威諾‧阿爾托寧另一組以月為題材的作品是《亞特蘭提斯與佩加索斯》(Atlantis ja Pegasos, 1936) 。此組作品由兩幅油畫組成,兩幅畫背景均為深藍色,並且均描繪了一幀被「雲層」局部遮蓋的月光。然而,當我們細心觀察,會發現「雲層」的形態其實隱藏了人的側面,以及天馬佩加索斯。佩加索斯源自希臘神話,是一背上長著翅膀並能飛天之天馬。畫中一有著女性形態的角色騎乘著佩加索斯,並飛越皎潔的圓月。畫中描繪的對象形態簡單並呈幾何形,由此可見立體主義對阿爾托寧的形響。

威諾‧阿爾托寧 (Wäinö Aaltonen): 《亞特蘭提斯與佩加索斯》(Atlantis ja Pegasos), 1930,
油畫布本, 圖爾庫市政府藝術典藏
圖:亞歷斯‧達非 (Aleks Talve) / 圖爾庫博物館中心

月光風景

《月光風景》(Moonlight landscape, 1979) 是由波蘭藝術家Lucjan Mianowski所作的石版印刷畫。藝術家所描繪的「風景」由一輪眉月下的人物與圖案背景所構成。在傳統農曆中,眉月代表一個月的第三日,而眉月的在符號學中亦概括地代表月亮而不特別指涉一特定月相或是時間。在《月光風景》的背景可見磚牆、爬梯與一些具原始感的圖案。圖案與人物的空間排列營造出一種具三維立體感的錯覺。Mianowski的作品以超現實的手法刻畫和組合人與自然環境。在他的作品中,我們可以看到普普藝術與超現實主義的影響。

Lucjan Mianowski: 《月光風景》(Moonlight landscape), 1979, 
石版畫紙本, 圖爾庫市政府藝術典藏
圖:拉奇爾‧那希(Raakkel Närhi) / 圖爾庫博物館中心

撰文:
楊清琳
藝術館助理
圖爾庫博物館中心


資料來源:

Takanen, Ringa: “From the Wader to the Garden of My home. Mythical Female Figures and Water in Wäinö Aaltonen’s Works.” Wäinö Aaltonen: Poses, 2017. Turku Museum Centre. 

Online Etymology Dictionary. Lunatic. https://www.etymonline.com/word/lunatic (accessed 15.5.2020) 

Monday 15 June 2020

New Zealander and Finnish Art Meet at the International Urban Art Exchange Project in Turku | 當紐西蘭人遇上芬蘭藝術 國際都市藝術交流計畫在圖爾庫

Sirpa Särkijärvi, Pink Sunset, 2009, acrylic on canvas.
Turku City Art Collection. Photo: Martti Puhakka.

In January 2020, a digital exhibition displayed artworks by both New Zealander and Finnish artists together in Wellington, the capital of New Zealand. In July 2020, the same set of art is showcased in Finland, on the large screen outside the Turku City Theatre.

This digital exhibition created as the result of an international co-operation is very appropriate form of cultural exchange during a pandemic. It connects people living on different sides of the world, despite the physical distance and social distancing. The project takes art to the streets and diversifies its use on public space media platforms. Altogether 240 pictures of artworks and three pieces of video art are displayed in the exhibition. 

The partners in the International Urban Art Exchange project are the Museum Centre of Turku, Arts Promotion Centre Finland, the Video Art Festival Turku (VAFT) and the New Zealander partner Urban Art Foundation that is also the creator of the concept. 

Works belonging to the Turku City Art Collection and the video art curated by the VAFT were presented together with the New Zealander art on digital advertisement displays in the cityscape, in 18 shopping malls across New Zealand and in the gallery space of the New Zealand Academy of Fine Arts in Wellington from the 18th of January to the 9th of February.  This summer, Finnish people have an opportunity to see the same set of art on the large screen outside the Turku City Theatre from the 29th of June to the 12th of July. The screen is in operation on weekdays from 7.30 am to 5 pm and at weekends from 10 am to 5 pm.

The photographs of Finnish artworks are mainly contemporary art made by Turku-based artists, from the early 2000s to this very day. The display includes works from artists such as Annika Dahlsten, Markku Laakso, Minna Sjöholm, Sirpa Särkijärvi, Sampsa Sarparanta, Ulla-Maija Kallinen, Kati Immonen and Heikki Marila. Works by Wäinö Aaltonen, Jussi Mäntynen and Manno Kalliomäki represent classics of the art collection from the early 20th century to the 1980s.

Sampsa Sarparanta: Guardian of All Things Good, 2013, oil on plexiglass.
Turku City Art Collection. Photo: Mikko Kyynäräinen.

Themes of artworks from the Turku City Art Collection range from the images of everyday life to depictions of  nature, the Finnish mentality and social issues. For instance, Sirpa Särkijärvi’s painting Pink Sunset (2009) is a portrayal of friends at the heart of Turku during sunset. Sampsa Sarparanta’s works Guardian of All Things Good (2013) and Angry Birds (2013) depict present-day childhood in an original way.

Video artworks presented by the VAFT are Artor Jesus Inkerö’s Swole (2017), where he continues his ongoing 'holistic bodily project', examining bodybuilding and bodily transformations, Laburo (2017) by Henrik Malmström which documents workers and work in Buenos Aires and We Shoot Footage III (2019) by video collective SUOMINEN/TOIVANEN which is a semi-documentary modern period piece with a poetical charge. 

A still from Artor Jesus Inkerö’s video artwork Swole (2017).
In the artist's colletion. Photo: VAFT.

The section of the New Zealander artists has been curated by the Urban Art Foundation and the works come from different galleries and artists' own collections. These include works from artists such as Sara Hughes, Grant Sheehan, Derek Cowie, John Pule and Heather Straka, among others. The topics vary from abstractions to interiors, still lifes and portraits. 

The works offer a look into diverse manifestations of contemporary art in New Zealand. The nature is also present: in the art of Paul Martinson, the colourful fish and birds remind of Oceania. The oldest works from New Zealand are from the 1970s as the newest are from a past few years.


Writer:
Ringa Takanen
Researcher / Curator
Collections
Museum Centre of Turku


THE ARTISTS

Finland

Turku City Art Collection
Aaron Hiltunen
Annika Dahlsten
Elina Ruohonen
Erika Adamsson
Heikki Marila
Heli Kurunsaari
Henna Aho
Jaana Paulus
Jari Silomäki
Jorma Hyttinen
Jussi Mäntynen
Kati Immonen
Kristina Isaksson
Manno Kalliomäki
Markku Laakso
Markus Henttonen
Merja Pitkänen
Minna Sjöholm
Sami Korkiakoski
Sampsa Sarparanta
Sirpa Särkijärvi
Susanna Majuri
Tiina Vainio
Ulla Jokisalo
Ulla-Maija Kallinen
Veronika Ringbom
Ville Laaksonen
Wäinö Aaltonen
Wilma Touru

VAFT – Video Art:


Artor Jesus Inkerö
Henrik Malmström
SUOMINEN/TOIVANEN

New Zealand:

Derek Cowie
Dick Frizzell
Graham Fletcher
Grant Sheehan
Heather Straka
John Crawford
John Drawbridge
John Pule
John Walsh
Karl Maughan
Liam Barr
Paul Martinson
Sara Hughes


當紐西蘭人遇上芬蘭藝術  國際都市藝術交流計畫在圖爾庫


斯柏‧ 薩奇也菲(Sirpa Särkijärvi):  《粉紅夕陽》(Pink Sunset), 2009, 塑膠彩布本, 圖爾庫城市藝術典藏 / 圖: 馬提‧ 布夏卡(Martti Puhakka)

20201月,紐西蘭首都威靈頓的一場數碼藝術展覽展出了紐西蘭與芬蘭藝術家的作品。20207月,同系列展品將在芬蘭圖爾庫城市劇院外之大螢幕展出。

在疫症時期,數碼藝術展是非常適合國際間合作的形式。儘管大家必須保持社交距離,居住在世界不同地區的人依然能藉此連結起來。此計劃將藝術帶到街頭,並多元地以公共空間之媒體作為平台。

展覽總共展出240件藝術作品之影像與3件影片藝術作品。「國際都市藝術交流」(International Urban Art Exchange) 合作夥伴有圖爾庫博物館中心 (Museum Centre of Turku) 、芬蘭藝術推廣中心 (Arts Promotion Centre Finland)及圖爾庫影片藝術節 (Video Art Festival Turku),計劃概念由都市藝術基金(Urban Art Foundation) 發起。

118日至29日,在紐西蘭威靈頓藝術學院畫廊、18間位於紐西蘭的購物中心以及威靈頓市區中以數碼廣告版之形式展出由圖爾庫影片藝術節策展的影片藝術作品,以及屬於圖爾庫城市藝術典藏的藝術作品。今年夏季,芬蘭民眾亦有機會於芬蘭圖爾庫城市劇院外之LED大螢幕觀賞同一系列藝術作品。展期由629日至 712日,螢幕運作時間為平日上午7:30 至下午5:00,週末上午 10:00 至下午5:00

展出的芬蘭藝術品影像主要是由圖爾庫本地藝術家創作之當代藝術,創作時期由2000年代早期至現在。參展的藝術家包括:安妮卡戴斯登 (Annika Dahlsten) 、馬古拉索 (Markku Laakso) 、米娜舒約康 (Minna Sjöholm) 、斯柏薩奇也菲 (Sirpa Särkijärvi) 、森薩薩巴蘭他 (Sampsa Sarparanta) 、烏娜邁也卡烈能 (Ulla-Maija Kallinen) 、卡蒂奄莫能(Kati Immonen) 及希傑瑪利拉 (Heikki Marila)威諾 阿爾托 (Wäinö Aaltonen) 、尤西 曼都 (Jussi Mäntynen) 及曼諾 卡利奧瑪奇 (Manno Kalliomäki) 等藝術家之作品則是由20世紀早期至1980年代間極具代表性的經典藝術館典藏。

森薩‧薩巴蘭他(Sampsa Sarparanta): 《所有美好事物的守護者》(Guardian of all things good), 2013, 油畫樹脂玻璃本, 圖爾庫城市藝術典藏 / 圖:米高‧顧那拉能(Mikko Kyynäräinen) 

圖爾庫城市藝術典藏的藝術作品主題廣泛,由日常生活的影像乃至探討自然、芬蘭精神性與社會問題等。以斯柏薩奇也菲 (Sirpa Särkijärvi) 的繪畫作品粉紅夕陽(Pink Sunset, 2009)為例,作品描繪了日落時份朋友間在圖爾庫市中心的聚會。森薩薩巴蘭他 (Sampsa Sarparanta)的作品所有美好事物的守護者(Guardian of all things good, 2013)憤怒鳥(Angry Birds, 2013)則描繪出當代社會中孩子的童年。

圖爾庫影片藝術節(VAFT) 展出的影片作品為阿托耶蘇恩奇略 (Artor Jesus Inkerö) 的作品《壯》(Swole, 2017)。恩奇略在作品中繼續他的「全面身體計劃」,探索健身與身體轉化之關係。而亨利馬爾士創 (Henrik Malmström) 的作品 Laburo(2017) 則紀錄了在布宜諾斯艾利斯的工人與工作。影片創作團體SUOMINEN/TOIVANEN我們拍攝畫面III (We Shoot Footage III, 2019)則是充滿詩意的半紀錄片作品。

阿托‧ 耶蘇‧ 恩奇略 (Artor Jesus Inkerö) 的影片作品《壯》(Swole, 2017), 影片擷圖, 藝術家的私人收藏 / 圖: 圖爾庫影片藝術節(VAFT)

紐西蘭方面藝術家的作品由都市藝術基金策展作品來自不同畫廊與藝術家的私人收藏。此外還有藝術家莎拉曉治 (Sara Hughes) 、格蘭 史漢 (Grant Sheehan) 德里克 考兒 (Derek Cowie) 、約翰 (John Pule) 及希瑟史德卡 (Heather Straka) 的作品。作品主題廣泛,由抽象到室內裝飾、靜物與肖像等等。

作品們展現出紐西蘭當代藝術的多元性。大自然亦出現其中:保羅馬汀森 (Paul Martinson) 的作品中色彩繽紛的魚與鳥令人聯想到大洋洲的自然風光 。來自紐西蘭的作品中,最為久遠的作品來自1970年代,而最近期的作品則來自過去幾年。

 

撰文
鈴嘉戴加能 (Ringa Takanen)
研究員 (典藏)
圖爾庫博物館中心

翻譯楊清琳

 

參展藝術家:

芬蘭

圖爾庫城市藝術典藏 (Turku City Art Collection)

Aaron Hiltunen

Annika Dahlsten

Elina Ruohonen

Erika Adamsson

Heikki Marila

Heli Kurunsaari

Henna Aho

Jaana Paulus

Jari Silomäki

Jorma Hyttinen

Jussi Mäntynen

Kati Immonen

Kristina Isaksson

Manno Kalliomäki

Markku Laakso

Markus Henttonen

Merja Pitkänen

Minna Sjöholm

Sami Korkiakoski

Sampsa Sarparanta

Sirpa Särkijärvi

Susanna Majuri

Tiina Vainio

Ulla Jokisalo

Ulla-Maija Kallinen

Veronika Ringbom

Ville Laaksonen

Wäinö Aaltonen

Wilma Touru

 

圖爾庫影片藝術節(VAFT) –影片藝術:

 

Artor Jesus Inkerö

Henrik Malmström

SUOMINEN/TOIVANEN

 

紐西蘭:

Derek Cowie

Dick Frizzell

Graham Fletcher

Grant Sheehan

Heather Straka

John Crawford

John Drawbridge

John Pule

John Walsh

Karl Maughan

Liam Barr

Paul Martinson

Sara Hughes

Monday 6 April 2020

Mysterious Portraits Created by Unknown Artists from Turku City Art Collection | 圖爾庫市政府藝術典藏──作者不明的神秘畫像

In the Turku City Art Collection, there are some artworks whose artist is unknown because of the lack of information. To identify the author of an artwork a lot of information is needed. One of the most important pieces of information among all would be the signature. Is there a signature on the painting? If it is a portrait of a specific person, is the one portrayed a well-known person? Does he or she have any relation to the artist? All these clues are important for identifying the author of an artwork; however, an artist does not always sign their work, and sitter for a portrait could also be an unknown person. In the lack of other supporting material or information, it can be difficult to identify the author. 

The name of artist could indicate relevant information such as where the artist is from. For example, in different areas or countries, the spelling of a name might vary. When we do not have enough information on the artist nor who made the artwork, we lack important material that might help us know more about the background of the artwork. 

Still, we can figure out some information if we investigate the details of an artwork. There is also a beneficial side to not knowing who the artist is: it can take away our bias or prejudice when we look at an artwork.  

Unknown prisoner

For example, there is an oil painting on wood called Unknown Prisoner from the Turku City Art Collection, which was created by an unknown artist. The painting’s acquisition time was 1897. The painting itself depicts a prisoner with his neck and wrists bound in shackles. He is holding a paper with unclear marks in one hand, and a hat in the other hand. The checkered suit that the prisoner is wearing is a 19th century style prisoner’s suit. 


Unknown artist: Unknown prisoner (Tuntematon vanki), 1770 – 1897, 126,5 x 59 cm, oil on wood. 
Turku City Art Collection.  Photo: Mikko Kyynäräinen / Museum Centre of Turku.


Unknown man

The next artwork we are going to have a look at, is an oil painting called Unknown Man, which is also created by unknown artist. The painting’s acquisition time was 1913. There is neither signature nor mark on the painting. The period of the painting is estimated to be around 1850, based on the clothes worn by the young gentleman. The young gentleman is wearing a shirt with a turnover collar and a puff tie fixed by a stud. These features indicate that the clothing style of the sitter was like the fashion trend in Europe in the 1850s. 


Unknown artist: Unknown man (Tuntematon mies), n. 1850, 23 x 21 cm, oil on canvas. 
Turku City Art Collection. Photo: Mikko Kyynäräinen / Museum Centre of Turku.

Unknown woman

Unknown Woman, another oil painting created by unknown artist, which is also believed to be made around 1850s. The period can be estimated by observing the clothing and hair style of the young lady; a fashion trend can reflect the period. From the painting, we can see that the young lady’s hair style is like the fashion trend in the 1840s Europe, that the hair is parted in the middle with ringlets on both sides. The neckline of the dress’s bodice is wide with low shoulders. Unlike in the 1830s, sleeves are not so full any more in the 1840–1850s. Tight sleeves and crochet shawls were more fashionable at that period. 



Unknown artist: Unknown woman (Tuntematon nainen), n. 1850, 33,5 x 29 cm, oil on canvas. 
Turku City Art Collection. Photo: Mikko Kyynäräinen / Museum Centre of Turku.

Mystery remains a mystery. Even though some of the key information is missing, we can still try to investigate the details and figure out something. A more important issue is that we can also see how somebody in the past used to look at a prisoner, a young gentleman or a young lady, and how they used art as a means to record what they saw, and what they wanted to show you. Isn’t it an interesting dialogue with mysteriously unknown artists? 

Text: 
Ching Lam Yeung 
Museum Assistant
Museum Centre of Turku 


圖爾庫市政府藝術典藏──作者不明的神秘畫像



在圖爾庫市政府藝術典藏中部分藝術品,由於缺乏足夠資料,無法判斷作者的身份。要辨別出畫作的作者,我們需要很多的資訊。其中一項最重要的線索就是藝術家的簽名。畫作是否有藝術家的簽名?如果是某人的肖像畫,畫中人是否知名人士?模特兒與藝術家又是否有任何關係?這些線索對於辨別出畫作作者都非常重要。然而,藝術家並不一定會在畫作上署名,而畫中人亦不一定是知名人士。當缺乏其他重要的資料或線索時,要找出畫作的作者十分困難。
藝術家的名字可能隱含重要資訊,譬如藝術家來自甚麼地方,有時候同一個名字在不同的地區或國家可能會有不同的寫法,由此名字可以作為其中一項有用的資訊。但當我們缺乏足夠資料去辨別誰是畫作的作者,我們同時亦缺乏了一項有助我們了解畫作背景的線索。
然而,當我們仔細考究畫作中其他的不同細節,仍然可以找出與畫作背景相關的蛛絲馬跡。不知道誰是畫作的作者亦有一個好處──我們可以不帶偏見與前設,更單純地欣賞一幅畫作。

 


身份不明的囚犯


在圖爾庫市政府藝術典藏中有一幅名為《身份不明的囚犯》的油畫,作者身份不明。畫作是在1897年成為圖爾庫市政府藏品。畫作描繪了一名頸部與雙手都被架上鎖鏈的囚犯,他一手拿著寫有塗鴉的紙張,另一手拿著一頂帽子。格子圖案的衣服是屬於19世紀的風格的囚衣。


作者不明, 《身份不明的囚犯》 (Tuntematon vanki), 1770 – 1897, 126,5 x 59 cm,
木板油畫, 圖爾庫市政府藝術典藏
米高‧顧那拉寧 (Mikko Kyynäräinen) / 圖爾庫博物館中心



身份不明的男子


另一幅油畫《身份不明的男子》,同樣作者不明。畫作在1913年成為圖爾庫市政府藏品。畫作上同樣沒有藝術家的簽名。基於畫中人身穿的服飾,畫作的創作年份估計為1850年代。畫中的年輕紳士身穿反領襯衫,頸上帶著維多利亞時期流行的領結,領巾以領針固定。這些衣著特點都暗示了畫中人身穿的服飾符合1850年代歐洲的穿著風格。


作者不明, 《身份不明的男子》 (Tuntematon mies), 1850, 23 x 21 cm,
油畫布本, 圖爾庫市政府藝術典藏
: 米高‧顧那拉寧  (Mikko Kyynäräinen) / 圖爾庫博物館中心


身份不明的女子


另一幅作者不明的畫作是《身份不明的女子》,同樣估計大概是1850年代繪製。我們可以藉著觀察畫中年輕女子的穿著與髮型風格去估計畫作的年代──時裝風格與潮流可以作為反映時代的線索。在畫作中,我們可以看到年輕女子的髮型符合歐洲1840年代左右的流行風格──頭髮中分,臉頰兩旁的頭髮則捲成數束卷髮。禮服的上半部領口闊而低膊。與1830年代不同,比起蓬蓬的羊腿袖,在1840–1850年代緊身袖更為流行。鉤針披巾在當時亦同樣十分流行。


作者不明, 《身份不明的女子》 (Tuntematon nainen), n. 1850, 33,5 x 29 cm,
油畫布本, 圖爾庫市政府藝術典藏
米高‧顧那拉寧 (Mikko Kyynäräinen) / 圖爾庫博物館中心


雖然欠缺重要的資料,謎團依舊是沒有解開。我們仍然不知道誰是作畫的藝術家,而畫中人又是誰。但藉由觀察畫作中不同的細節,我們可以找出一些有助理解畫作背景的線索。更重要的是,我們可以看到過去某些人如何觀看一名囚犯、一名年輕紳士或一名年輕女子,以及他們如何以藝術作為方式,去紀錄他們曾經所看到的、以及他們想呈現給觀眾看的。這難道不是一場與神秘不明的藝術家有趣的對話嗎?

撰文:
楊清琳
藝術館助理