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Santiago Bose (1949-2002) Contemplating Infinito Dios and Vermeer
香港
2021年11月27日 开拍 / 2021年11月25日 截止委托
拍品描述 翻译
Santiago Bose (1949-2002) Contemplating Infinito Dios and Vermeer 1997signed and dated 1997, affixed with a label on the reverse inscribed Metropolitan Museum of Manila R1998.7wood, window pane, skullcap of cat, paper clippings, wax, epoxy and gold paint on board133.5 by 95.5 cm.52 4/8 by 37 5/8 in. 注脚 ProvenanceHiraya Gallery, Manila, The PhilippinesAcquired from the above by the present ownerExhibitedAsian Art Museum of San Francisco, At Home & Abroad: 20 Contemporary Filipino Artists, 1998LiteratureAsian Art Museum of San Francisco, At Home & Abroad: 20 Contemporary Filipino Artists, San Francisco, 1998, p. 71, illustrated in colour山提亞哥·波斯默觀上帝與維梅爾一九九七年作簽名:Santiago Bose 1997木 窗框 貓骨 迴紋針 蠟 環氧樹脂 金漆木板來源菲律賓馬尼拉Hiraya畫廊現藏家得自上述畫廊展覽「At Home & Abroad: 20 Contemporary Filipino Artists」,舊金山亞洲藝術博物館,1998年出版舊金山亞洲藝術博物館,《At Home & Abroad: 20 Contemporary Filipino Artists》,舊金山,1998年,第71頁,彩圖Santiago Bose was born to working-class parents in Baguio City in 1949, a few years after the end of American colonial rule in the Philippines. Like most Filipinos, he was acutely aware of the effects of imperialism on his fellow countrymen, and it was one of the major themes that fuelled his exploration of the Filipino national identity. Bose's painting, Contemplating Infinito Dios and Vermeer, employs rich native imagery in depicting Infinito Dios, an indigenous figure known to protect souls in the afterlife. He juxtaposed traditional elements such as feathers, beads, bones, bamboo reeds and volcanic ash against a vanitas still-life, a Judeo-Christian symbol of the transience of earthly existence. The eye is drawn immediately to the skull, surrounded by still-life elements like a flute, books and a basket of fruit, while tucked away in the right corner of the painting is a small figure of a woman seated alone at a table, with a glass of wine before her. Each of these elements serves as point and counterpoint, a commentary that despite the impermanence of material things and the impossibility of acquiring and holding on to them forever, we still try to do so – one sip at a time.Bose fused these seemingly disparate elements by painting them with the colours of the Filipino national flag. It is through this unexpected composition that he introduces a thoughtful and poignant discourse on the Filipino identity.The icon of Infinito Dios, which syncretises elements of Catholicism and Filipino folk beliefs, dominates the painting with its simplicity. It appears to beckon and call, and draws one to contemplate what it is trying to tell us. In contrast to the solid but impermanent objects in the vanitas, the Infinito Dios is a material representation of the ephemeral, an icon that appeals for its representation of timeless infinity. The notion of unconditional sacrifice is vividly portrayed by the blood splattered over the Infinito Dios, leaving us to wonder about the conditions we impose upon ourselves when choosing the present over the eternal.

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