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運費：NT$ 800
《將夜》描繪的是日落之後、夜幕真正降臨之前的片刻——一段光尚未熄滅、時間暫時停駐的過渡時光。萬物仍可辨識，而天空已燃起餘霞，亮度逐漸收斂，世界彷彿放慢了呼吸。這既不是充滿期盼的晨曦，也非喧亮急促的正午，而是一種溫柔而安撫人心的光，如同自然在一天終結前，對人間輕聲道別。
畫面以橫向構圖展開，天空、遠山與湖面層層鋪陳。天空以透明畫法反覆堆疊，從橘紅與粉膚色緩緩沉入深紅與紫色，刻意消隱筆觸，使光感如絲絹般流動。中景的山林以濃暗色調凝結成畫面中的「暗中之暗」，引導視線靜靜落向湖水與倒影交會之處。湖面映照天空的暖色與藍紫色層，虛實交錯，如同情緒與心念的流動狀態。
在《將夜》中，天空象徵結束中的慰藉，遠山成為時間暫停的隱喻，而湖水與倒影則提醒觀者：所有感受皆真實，卻不固定。畫中未置人物，卻預留了情感的入口，讓凝視本身成為參與——在光將盡未盡之際，安放自身，與夜相遇。
On the eve of night, when daylight has receded yet darkness has not fully arrived, the world lingers in a moment of quiet suspension. Forms remain visible as the sky begins to glow with its final hues, and time itself seems to slow. It is neither the expectant light of dawn nor the urgency of noon, but a gentle, calming radiance—nature’s soft farewell at the close of the day.
The composition unfolds horizontally, layered into sky, distant mountains, and water. Translucent washes build the sky from warm oranges and blush tones into deeper reds and purples, dissolving visible brushstrokes to create a silk-like flow of light. The mountains, rendered in deep, muted tones, form a concentrated stillness—the darkest point within the painting—guiding the viewer’s gaze toward the meeting of water and reflection. The lake mirrors the sky in a dialogue of warm and cool hues, where clarity and blur coexist like shifting states of emotion.
In On the Eve of Night, the sky embodies consolation within an ending, the distant mountains suggest suspended time and quiet endurance, and the lake’s reflections evoke the fluid nature of perception—real, yet never fixed. No figures appear in the scene; instead, the viewer’s gaze completes the work. The painting opens a contemplative space, inviting one to pause at the threshold of light, and gently enter the night.
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