收藏人：歐陽健中先生

此幅林風‟京劇關羽與趙雲(漢津口)”是林風眠先生45歲時創作，林風眠先生在法國遊學時深受馬諦斯為代表的野獸派影響，畫風強烈、用色大膽鮮豔，因此此畫中人物的衣飾、背景皆為重色，豐富且飽和。京劇漢津口描述趙雲突圍，交阿斗於劉備，時曹操領兵追至，幸得關羽搬來劉琦之兵抵禦，終得脫險。畫中關羽紅臉、長鬚，鬍鬚以平刷法畫之，眼睛上挑，右手持馬鞭，馬鞭向下為下馬之意，趙雲臉龐俊秀，右手持馬鞭、馬鞭向上，可知趙雲方策馬而至。此幅的人物服飾部分，盡情扭曲、變形、疊加、組合各種幾何圖形，是林風眠先生的標準慣性畫風。此幅林風眠以水彩方式創作油畫，先以平塗法畫出色塊再用粗筆勾勒邊緣，線條力道十足，勾勒之筆峰腕力十足、線條細膩，是為中峰之畫法，可見林風眠先生此時處於中、壯年時期，落筆時完全沒有猶豫，充分顯現出他畫油畫的高深功力，許多仿作無法表現出來。此畫畫布的織法是創作中幅油畫時，當時常用的亞麻布，油畫顏料與近代有用丙烯塗底會上光的畫料不同，是林風眠先生慣用的調色方式，讓油畫顏料呈現出類似水彩的水粉感，畫布局部有年代久遠之黴斑。此幅林風眠先生之落款，觀察其起筆與轉折處，為中、壯年時期之標準落款，「林」字的二豎筆先寫，再寫橫畫，寫「林」字最後一撇時會一起寫「風」字第一撇，簽名筆峰腕力十足，是林風眠先生標準的簽名。此幅是少見的林風眠大型油畫代表作之一。

The painting "Peking Opera: Guan Yu and Zhao Yun (Han Jin Gate)" by Mr. Lin Fengmian was created when he was 45 years old. During his studies in France, Mr. Lin Fengmian was deeply influenced by the Fauvist movement, represented by artists like Matisse. As a result, this artwork showcases a strong and vibrant style with bold and vivid colors. The painting depicts a scene from Peking Opera where Zhao Yun breaks through the enemy lines to deliver Liu Bei's son, Adou, while Cao Cao's forces chase after them. Fortunately, Guan Yu arrives with reinforcements from Liu Qi, successfully fending off the pursuers. In the painting, Guan Yu is portrayed with a red face and a long beard. His beard is depicted using flat brushstrokes, and his eyes are slightly uplifted. He holds a horse whip in his right hand, which indicates his intention to dismount. Zhao Yun has an elegant facial expression and holds a horse whip in his right hand, pointed upward, suggesting his approach on horseback. The clothing and attire of the characters in this painting are distorted, transformed, overlapped, and combined with various geometric shapes, representing Mr. Lin Fengmian's distinctive habitual style.

To create this work, Lin Fengmian used a watercolor technique to paint an oil painting. He first applied flat strokes to create color blocks and then used bold brushstrokes to outline the edges. The lines are strong and dynamic, and the brushwork is both forceful and delicate, embodying the central peak of his artistic style. It is evident that Mr. Lin Fengmian was in his prime during this period, as his brushstrokes show no hesitation, revealing his profound expertise in oil painting that many imitations cannot capture. The canvas of this painting was woven using the traditional method commonly used for creating medium-sized oil paintings during that time, using linen fabric. Lin Fengmian employed his preferred mixing technique for oil paints, giving them a watercolor-like texture. In some parts of the canvas, there are age-related mold spots.

The inscription on this painting by Lin Fengmian, upon close observation of its brushstrokes and transitions, is consistent with his standard style. The vertical strokes of the character "林" (Lin) are written first, followed by the horizontal stroke, and the last stroke of "林" combines with the first stroke of "風" (Feng). The signature exhibits powerful brushstrokes and wrist strength, conforming to Lin Fengmian's customary signature. This painting is a rare representative work among Mr. Lin Fengmian's large-scale oil paintings.