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井上有一 1916-1985 愛 Yuichi Inoue Love
香港 北京时间
2023年04月06日 开拍
拍品描述
墨 紙本
一九七二年作
款識 藝術家鈐印(左下) 出版 1996至1998年,《井上有一全書業》第二冊,Unac Tokyo出版社,東京,第262頁,圖版第72141號 2015年,《井上有一》,藏丘洞畫廊,京都,第12頁
展覽 2015年1月10日至31日,「井上有一展」,藏丘洞畫廊,京都 來源 京都藏丘洞畫廊 亞洲私人收藏 註:畫背貼有海上雅臣題款:「井上有一書一字 愛 CR72141海上雅臣拜題」及鈐印 孤獨求索,書法的解放 井上有一的書道之魂 「隨心所欲地寫吧,摒棄一切低級趣味吧。啊,讓峻烈疾風吹吧!為書法不惜生命的人,請拿出勇氣和驕傲,去創造偉大的書法歷史!」 ——井上有一 出於書法而超脫於書法 觀看井上有一之作,最初也最令人印象深刻的就是畫面結構上大開大闔的縱橫筆墨,作為日本戰後現代書法發展進程中的代表人物,有一對於「書法」這個創作形式的企圖與跨度,早已超出傳統意義中優雅和賞心悅目的審美範疇,他在既有的傳統基礎上,以個人獨特的姿態和意志突破書法固有的疆界,不僅開展出具有時代意義的美學創造工程,同時也回應了自身的生存現況。1957年,與「威尼斯雙年展」及德國「卡塞爾文件展」並譽為世界三大藝術展的第四屆的「聖保羅國際美術展」,首次選入了井上有一等日本現代書法藝術家的作品,令其與來自美國的波洛克(Jackson Pollock)與法國的哈同(Hans Hartung)、蘇拉吉(Pierre Soulages)等當時備受矚目的藝術家之作同台登場:發源自東方的、亞洲的、日本本土的現代書法自此被納入象徵「前衛」的國際藝術潮流,並與彼時盛行於西方藝壇的抽象表現主義匯合,形成了東西方文化融合的階段性趨勢。是次展出使得有一的藝術成就廣為國際所知,其作品《愚徹》被收入著名英國評論家里德(Herbert Read)的《近代繪畫史》著作,並被推崇為是「最有代表性的抽象作品」之一,井上有一「出於書法而超脫於書法」的獨特成就,令其在現代藝術史上佔據獨特的一席之地。 由於書寫的大多為單一字或少字,古典的條幅或長卷並不為有一所選用,他多以正方或長方形的紙張創作,在視覺上更趨近於現代繪畫,在當時獨具新創性及觀賞性。是次春拍,我們帶來三件藝術家七〇年代成熟時期之作:完成於1972年的《質素》(拍品編號83)與《愛》(拍品編號82),以及1978年的《孤》(拍品編號84),讓我們一同通過眼前的一筆一畫,走進井上有一苦行僧般靜寂又富饒的藝術世界。 愛:悲欣交集的意象寄託 從1969到1973年,有一持續以「愛」字創作;當時他剛結束了與其同事、寒川中學美術教師佐藤繭乃的熾熱情愫,將內心的苦悶轉入創作。1972年所作的《愛》即為這樣一幀思念愛人,傾注豐沛情感之作:整個「愛」字彷若失去重心,向畫面右半邊傾斜,緩慢的落筆牽動著散開的筆刷,未作收尾的最後一捺,彷若藝術家內心無言的結局。那些撇捺線條中婉轉靈動的筆墨痕跡,又像是愛情中患得患失而悲欣交集的心緒起伏……若將這些視覺上的抽象構成與創作者的生命故事相互連結,便能發現那看似單純的黑白結構和漢字書寫中,確實蘊含著更多字裡行間的意象與寄託,它們一一地映照、打動觀者的心。 質素:大道至簡的「書法」繪畫 東方至聖先師孔子曾曰:「賁,非正色也,是以嘆之。吾思夫質素,白當正白,黑當正黑」,這種本色樸素、不加文飾的理想印證老子「見素抱樸」的超脫境界,同樣在 1972年,有一創作了《質素》,作品在日本蓬勃發展的物質社會中,倡導懷抱原始天然的胸襟,作品彷彿具中國山水畫「書畫一體」的構圖特質:右側的「質素」宛如佔據主要畫幅的堂堂大山,帶有逐級上升的動勢與透視效果,而左側的題款則顯示出近似記事性題記的視覺特質,他在此並非強調一個個體字的「書寫」,取而代之的是以「一張一弛」的視覺鋪排強調畫面的「繪畫性」,從而在視覺上締造藝術家心目中的理想之境,此正吻合《質素》二字在日語中「大道至簡」的內蘊,令人拍案叫絕。 孤:一腔孤勇向天歌 1978年,井上有一被診斷出肝硬化,知道自己來日無多,他開始專注創作於自己鍾意的單字,該時期寫下最多的四個字分別為:「月」、「鳥」、「樹」、「孤」,如果說前三字尚含有藝術家對世間的浪漫想像,「孤」字則是其對自己畢生習藝的狀態總結——既言說了他習慣獨自一人的生命狀態,又詮釋了已過花甲之年的孤獨心緒。《孤》一作以捲軸的形式裝裱,緩緩落下的立軸道出藝術家的內心之寫——「子」與「瓜」二字間緊緊相連,彷若生命的纏繞與皈依。而作品由左至右,由上至下,筆勢由停頓、遲慢地逐漸走向流暢與快速,墨跡也由焦濃的漆黑變得輕盈,通篇可見有一在創作時的思想軌跡——儘管孤獨與病痛使人難以忍受,然而創作卻可消解世間之苦,帶來生的希望,《孤》正為藝術家「由死向生」的奮力一搏,當中飽含著他最真切的對於生命、希望的渴求。 「寫一字就是在一字上竭盡全力」,這是井上有一搏命一生的書寫精神,他用舞動的黑白空間固化變動不居的現代時局,筆若遊龍卻心如止水,以東西共通的匠心和書風撰寫著當代文人的精神典籍,因而展現出書法超越時代的魅力,源遠流長。
Ink on paper
44 × 70 cm. 17 3/8 × 27 1/2 in.
Painted in 1972
Stamped with artist’s seal on bottom left LITERATURE 1996 – 1998, Yu-ichi Inoue Catalogue Raisonné of the Works Vol.2, Unac Tokyo Publication, Tokyo, p,262, pl.72141 2015, Yuichi Inoue, Zokyudo Gallery, Kyoto, p.12
EXHIBITED 10-31 Oct 2015, Yuichi Inoue, Zokyudo Gallery, Kyoto PROVENANCE Zokyudo Gallery, Kyoto Private Collection, Asia Note: An inscription by Unagami Masaomi with a seal is affixed on the reverse Seeking for the Liberation of Calligraphy Yuichi Inoue’s Soul of Calligraphy “Write as you wish, and let go of all the vulgarity. Let the fierce wind blow! Those who risk their lives for calligraphy, take courage and pride and create a great history!” ——Yuichi Inoue Out of Calligraphy but Beyond Calligraphy The first and most impressive thing about Yuichi Inoue’s work is the wide open brushwork in the structure of the picture. As a representative figure in the development of modern calligraphy in post-war Japan, Yuichi’s attempt and span of calligraphy have long exceeded the traditional meaning of elegant aesthetics. He has broken through the inherent boundaries of calligraphy with his own unique attitude and will on the basis of the established tradition. Not only is it an expansion of the calligraphy’s aesthetics meaning, but also a response to the current situation of his own existence. In 1957, the Sao Paulo Art Biennial selected for the first time the works of Yuichi Inoue and other Japanese modern calligraphers: the modern calligraphy of Oriental, Asian, and Japanese origin has been included in the “avant-garde” international art trend, and merged with the popular abstract expressionism prevalent from the Western art world, formed the stage trend of East-West cultural fusion. This exhibition has led to the international recognition of Yuichi’s artistic achievements and has given him a unique place in the history of modern art. As he wrote mostly in single characters or few characters, his works were mostly on square or rectangular paper, which visually resembled modern paintings, and was unique in appreciation at the time. In this spring auction, we present three works from the artist’s mature period in the 1970s: Shisso (Lot 83) and Ai (Love) (Lot 82), both completed in 1972, and Ko (Solitude, Loneliness) (Lot 84) completed in 1978, allowing us to enter the quiet but fertile artistic world of Yuichi Inoue. Love: An Imagination of Sorrow and Happiness From 1969 to 1973, one of the artist’s continuing themes is the word “love”. Ai (Love), made in 1972, is one of these works, in which he pines for his lover and pours out emotions: the whole character seems to lose its gravity and tilts towards the right, and the last stroke, which is not closed, seems to be the artist’s silent ending within. The traces of ink are like the ups and downs of a love affair with mixed feelings of sorrow and happiness...... If we connect these visual abstract compositions with the story of the artist, we can find that the seemingly simple black-and-white structure and Chinese characters indeed contain more meanings between the lines. Shisso:Paint Calligraphy in the Simplest Way In 1972, Yuichi created Shisso, a work that advocates embracing primitive nature in the midst of Japan’s booming material society. The work seems to have the composition of “painting and calligraphy as one” from Chinese landscape painting. The characters on the right side are like a large mountain that occupies the main frame, giving a rising momentum. Instead of emphasizing the “writing” of a single character, he uses the visual arrangement of “one piece at a time” to emphasize the act of “painting”, thus visually creating the ideal situation in the artist’s mind, in line with the meaning of “Shisso” in Japanese. Solitude: A Lonely Heart Sings to the Sky In 1978, Yuichi Inoue was diagnosed with cirrhosis of the liver, and knowing that his days were numbered, he began to focus on creating his favorite monograms, and the four characters he wrote most often during that period were “moon,” “bird,” “tree,” and “solitude”. The former three words seem to contain the romantic imagination of the world, however, “solitude” is a summary of his lifelong art practice - it speaks to his state of life when he is accustomed to being alone and interprets his lonely state of mind when he is past his prime. The work Ko (Solitude, Loneliness) is framed in the form of a scroll, as it unrolls, it speaks of the artist’s inner mind- the two characters “子” and “瓜” are closely connected, as if life is entangled and converted. From left to right, top to bottom, the strokes of the work gradually move from halting and slow to smooth and fast, and the ink strokes change from burnt black to light. Ko (Solitude, Loneliness) is the artist’s “struggle from death to life”, which contains his most sincere thirst for life and hope. “To write a word is to do your best on a word.” - This is the spirit of Inoue’s lifelong struggle with writing. He uses flowing black and white to capture the ever-changing modern world, his brush is like a dragon but his heart is like water. He writes the spiritual canon of contemporary literati with a style that connects both east and west, thus demonstrating the charm of calligraphy that transcends time and history.

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拍品估价:80,000 - 150,000 港币 起拍价格:80,000 港币  买家佣金:
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