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井上有一 哄 墨 紙本 一九六一年作 Yuichi Inoue 1916-1985 Ko Ink on paper Painted in 1961
香港
2023年10月08日 开拍
拍品描述
size:131x176.8 cm. 51 5/8 × 69 5/8 in.
款識 藝術家鈐印(右下) 出版 1996至1998年,《井上有一全書業》第一冊,Unac Tokyo出版社,東京,第203頁
Stamped with one artist's seal on bottom right LITERATURE 1996-1998, Yu-ichi Inoue Catalogue Raisonné of the Works Vol.1, Unac Tokyo, Tokyo, p.203
來源 台北百藝畫廊 現亞洲私人藏家直接購自上述來源 附:台北百藝畫廊開立之作品證書 馳騁天地,揮毫巨匠之筆 井上有一的自由狂嘯 「?活著就是要揮毫,寧願做書之鬼?!」 ——井上有一 「?他在學校是平凡的教師,回到家裡是前衛藝術家?。」這是海上雅臣口中的日本書法巨匠井上有一。在二戰之後,時任青山師範學校教師的井上有一與好友江口草玄、森田子龍於1952年相聚於京都安龍寺,組織「墨人會」,立志將日本的書法從一種傳統上以優美為主旨的造型藝術形式重返對於精神性的探討,將之注入靈魂。井上有一以最原始的節奏與氣韻來揮灑生命本能的律動,創生了「一字書」,此恰與現代藝術的語言相合,使他名震國際。在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「聖保羅國際美術展」上,策展人特別將井上有一之作與來自美國的波洛克(Jackson Pollock)、法國的蘇拉吉(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之中,與當時盛行於西方藝壇的抽象表現主義匯合,形成了某種東西方文化融合的階段性趨勢。 此展使井上有一的藝術成就廣為國際藝壇所知,其《愚徹》一作被收錄在著名的英國評論家里德(Herbert Read)的著述《近代繪畫史》中,並被推崇為是最具代表性的抽象作品之一。井上有一曾自言:「平時不用毛筆的人不可能像用毛筆生活的顏真卿時代那樣運用自如,所以我就以寫一盡可能的大字,來追溯遠古巨匠之筆力。」是次秋拍,呈現藝術家1961年的《哄》(拍品編號84)及1977年的晚期代表作《月》(拍品編號85),即為其「溯遠古巨匠之筆力」的最佳例證。 念念不忘,必有迴響 六〇年代初,因其母親病重,井上有一時常留在家一邊創作一邊陪伴、照顧她,此時期常寫以抒發心情的「孝」、「咆」等字等,以解心中苦悶。而完成於同期的「哄」一字,在日文中為「聲音」之意。他若將內心的萬千思緒,化為一股靜默之「聲」,在全神貫注的書寫中,生命的五味雜陳得以淋漓盡致的釋放,心靈也重歸真正的平靜。而碩大的「哄」字,在此猶如玄妙的音符,念念不忘,必有迴響,在無盡的白紙上震盪,留下生命的餘波。 筆墨氣度,濃淡皆是墨 與其晚期扎實、濃而焦的黑墨書法有所不同,此作飽含水性。若近觀之,可見每個筆觸下筆刷划過的細節,不同濃度的墨色在筆端同時迸發。他在此用個人獨創的「黏結墨」顯示出墨蹟鮮明的水性效果,展現水墨所獨有的濃淡層次,更使藝術家作畫時的身體動勢、精神狀態在此展露無遺,體現出馳騁天地般的筆墨氣度。 綿延共生,生命的爆發 藝術家在創作時有感於尺幅有限,親自將兩張橫幅的日本和紙上下聯結,使之得以拓展。噴張的「口」字,與綻開的「共」字不分彼此,綿延共生,在墨色的輕重、濃淡,筆勢的驟變、停頓中彰顯性情。在畫面上方,噴湧而出的墨點在其間留下極富戲劇性的一幕,如野獸怒吼般顯示出有一在創作中的強大爆發力。這位至純至真的藝術家,將自己逼入生命極限的絕境,實證著書寫所能達到的邊界與可能性。《哄》字的一口一共,一撇一捺,輕重緩急,可見作者全神貫注,思緒凜然……猶如一個傲然獨立的勇士,屹立於群山之巔,用他的方式正自由狂嘯! 來源有序,展覽卓著 「月」字在日文和漢字中均具有兩個含義:一為天上的月亮,二為一年中的12個月份,記載著時間的流逝。在1970年代末期,井上有一屢次書寫「月」字,為其書法創作的一個重要選題。是次上拍的《月》完成於1977年,正是其晚年「月」字創作的代表作。此作最早由東京小山登美夫畫廊珍藏,並曾展陳於阿聯酋「第11屆沙迦藝術雙年展」。後獲私人藏家收藏,並曾於2018年借展於香港地標H Queen's大樓啟用開幕大展,獲無數藝術愛好者前來打卡、欣賞、讚嘆之,精彩及重要程度不喻自言。是次首現拍場,為井上有一作品愛好者的非凡之選! 書道:象形的藝術 偌大的米白色和紙上,一個頂天立地的「月」字徐徐展開。中間的「二」尤為吸睛,向右開口的「C」形,宛若一輪新月,勾起了字體象形的聯想。而外面的「冂」,則因左上角的墨點而形成一個「门」字,猶如推開的窗門,讓外頭彎彎的月光灑溢入室,作品打破了傳統「字」的形桎,成為一幅真正意義上的「畫作」。而那左側的點點墨跡,猶如忽隱忽現的星星,點綴在月亮的周遭。仿若帶觀者回到遠古時代,以最為原始、簡練的線條構建出神秘而無垠的天空,引人凝神駐足。 月上隨人意,人閒月更清 相較於早期的「人與字的格鬥」,1977年創作的《月》則有一種「月上隨人意,人閒月更清」的優雅和疏朗,體現世人所不多見的游刃有餘、筆隨心動的自由及酣暢感。每一筆畫皆以濃黑的焦墨書寫,色域飽滿而無稀釋、填補的痕跡,足見藝術家下筆時毫不遲疑、落筆成章的大將風範。將生命圓熟境界的飽滿與自信盡訴其間,此時的他已經不再拘泥於書法的格式,而是以書寫探索書法之外更為廣闊的藝術表達,將心中的藝術理念融入「書道」的形式之中,以理性的遠見及豐沛的情感留予世人精神的財富。 由《哄》到《月》,由振聾發聵之音到風清月明的如夢初醒,井上走過了其藝術生命中最為精彩、也最豐盛的階段。對於井上有一來說,藝術超脫了形而上的美麗,而成為歷經錘煉後,某種「存在」的證明。正如南京藝術學院美術館館長李小山總結道:「井上用了一生來證明書法如何與個人共存,如何把自己作為土地,生活作為養料,使得書法在不毛之地茁壯成長,繁花似錦。因而,他是一個標誌,一種象徵—證明了書法這一源遠流長的書寫形式,魅力永存。」
PROVENANCE Gallery 100, Taipei Acquired directly by present private Asian collector from the above This work is accompanied by a certificate of authenticity issued by Gallery 100, Taipei Roaming the Heavens and Earth, Wielding the Brush of a Master Calligrapher Yuichi Inoue's Expression of Freedom "To live is to wield the brush, rather be a devil of writing!" ——Yuichi Inoue "He was an ordinary teacher at school, and an avant-garde artist at home." This is how a friend, Masaomi Unagami, described Yuichi Inoue, the Japanese calligraphy master. After World War II, Yuichi Inoue, who was originally a teacher at a normal school, along with his friends Eguchi Sogen and Morita Shiryū, gathered at Ryōan-ji in Kyoto in 1952. They decided to return Japanese calligraphy from a traditional form of art focused on elegance to the realm of the soul, infusing it with soul. By pouring the most primitive rhythm and spirit into the brush strokes, and achieving alignment between calligraphy and the language of modern art, he entered the realm of international contemporary masters. His work Gutetsu was included in the famous British critic Herbert Read's book A History of Modern Painting and was praised as one of the most representative abstract works. Yuichi Inoue once said, "Writing a single character on a large scale is because someone who doesn't usually use a brush cannot use it as freely as the Tang dynasty calligrapher Yan Zhenqing who lived a life using a brush. Therefore, I write a single character and try to make it as large as possible to trace the brush power of ancient masters." In this autumn auction, the presentation of his work Ko (Lot 84) from 1961 and Tsuki (Lot 85) from 1977, exemplify the brush power of ancient masters during his peak creative years. What is not Forgotten will Surely Resonate In the early 1960s, Yuichi Inoue often stayed at home to take care of his sick mother and began to create art at a higher frequency. During this period, he wrote characters such as "Filial Piety" and "Roar" to express his inner frustrations. The character "Ko" means "sound" in Japanese. The large character "Ko" is like a mysterious musical note, what is not forgotten will surely resonate, vibrating on the boundless white paper, leaving behind the echoes of life. The Dignity of the Brush and Ink, Both Light and Dark are Ink Yuichi Inoue's calligraphy in the 1960s is full of fluidity. If observed closely, one can see the details beneath each brushstroke, with different shades of ink erupting simultaneously at the tip of the brush. This allows the artist's physical gestures and mental state to be revealed in the artwork, embodying the grandeur of brush and ink. Continuous Coexistence, the Explosion of Life When creating, the artist felt restricted by the size of the paper, so he personally connected two horizontal Japanese washi papers, expanding the dimensions of the artwork. At the top of the composition, the surging ink dots create a highly dramatic scene, showcasing the artist's extreme expression of explosive force in his creation. The Remarkability through Time The character?"月"?holds two meanings in both Japanese and Chinese characters: it represents the moon in the sky and signifies the twelve months of a year, marking the passage of time. The artwork?Tsuki (Moon)?up for auction, was completed in 1977, representing the pinnacle of the artist's late-period exploration of the character?"月". The piece was initially acquired by the Tokyo Tomio Koyama Gallery and was exhibited at the?11th Sharjah Art Biennial?in the United Arab Emirates. Later, it became a private collector's collection and was lent for display at the prominent H Queen's Gallery in Hong Kong in 2018, attracting numerous art enthusiasts who came to witness, appreciate, and acclaim its brilliance and significance. The Art of Calligraphy: Art in Pictograms On the expansive moon-white Japanese paper, the character?"月"?stands tall, unfolding gradually. The central?"二"?is particularly eye-catching, resembling a crescent moon with its rightward-opening "C"? shape, evoking associations with the pictorial nature of the character. The outer?"冂,"?due to the ink dot in the upper left corner, forms the character?"門"?(door), like a window pushed open, allowing the curving moonlight to spill into the room. This breaks the confines of traditional?"characters"?and becomes a truly meaningful?"painting"?.?The scattered ink marks on the left side resemble stars, shimmering around the moon. Moon Rises, Chilling in Leisure The artwork?Tsuki (Moon)?exudes elegance and clarity, embodying a rare sense of ease, free-flowing brushwork, and a sense of indulgence not often seen. Each stroke is filled with rich colour, devoid of dilution or filling traces, showcasing the artist's confident and decisive brushwork. At this point, the artist has transcended the confines of calligraphy's structure, exploring broader artistic expressions beyond calligraphy. This work embodies rational foresight and abundant emotion, leaving behind a spiritual treasure for the world.

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拍品估价:380,000 - 580,000 港币 起拍价格:380,000 港币  买家佣金:
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