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朱銘 太極系列——大鵬展翅 銅雕 版數:15/20 一九九一年作 Ju Ming 1938 – 2023 Taichi Series – Huge Roc Spreading Wings Bronze sculpture Edition: 15/20 Executed in 1991
香港
2023年10月08日 开拍
拍品描述
size:47.8 × 36.3 × 36.4 cm.18 7/8 × 14 1/4 × 14 3/8 in.
款識 朱銘 91 15-20(左側底部)
Signed in Chinese, dated and numbered on the bottom of left side
來源 亞洲私人收藏 附:財團法人朱銘文教基金會開立之作品鑑定報告書 落刻天地,神定乾坤 90年代多元磅礴的太極世界 「朱銘的成就,遠不只在於他作品所呈現的懾人力量和美感,重要的是,他睿智地發現自身的文化傳統,成為他創造一種獨有語言的源泉,而這語言,是中國的,更是當代藝術的意義所在。」 ——牛津大學藝術史教授蘇立文(Michael Sullivan) 1970年代中期,在跟隨導師楊英風學習雕塑近六年後,身材清瘦的朱銘在其鼓勵下開始學習太極拳法以增強體魄。藉由自身練習太極招式的感悟,加之逐步深化的雕刻功底,朱銘開始思考以太極創造藝術的共通所在。在1976年首次個展中,一樽名為《功夫》的木雕首呈,此孕育了「太極系列」的發端。經過多年的演練和思考,朱銘對太極精神有了更為深刻體會和感悟,逐漸認識到太極所蘊含之「陰陽」、「造形」、「連貫的氣」、「整體一元」等哲理內涵,令其揚名世界的「太極系列」自此誕生。此後的80年代,他從太極經典非凡的單一招式,發展到雙人間展現對立與平衡的對打,並在90年代創造出合抱化一的「拱門」,持續拓展太極系列的語彙。他並跳脫木料之媒材,將太極的精神和韻律,不自限地融會於青銅、石雕、不鏽鋼等多樣化的材料之中。藉由多元而磅礴的太極系列,朱銘打通了東西方雕塑藝術的橋樑,以「太極」主題的創作亦在此後於紐約漢查森雕塑公園、香港交易廣場、英國約克夏雕塑公園、日本箱根雕刻之森美術館、巴黎凡登廣場的朱銘個展中展出,形製巨大自信的創作,氣韻磅礴,嘆為觀止,令90年代儼然成為朱銘事業和創作的黃金時期,奠定其「東方藝術大師」的超絕地位。 是次呈現朱銘90年代太極系列巔峰期的三件經典代表《太極系列——大鵬展翅》(拍品編號26)、《太極系列——轉身踢腿》(拍品編號28)、《太極系列——拱門》(拍品編號27),貴為難得地匯聚他在銅雕、石雕和木雕三種材質上所創造的精彩演繹,依循不同表面肌理的紋路和能量,闡述朱銘通向「人與自然之結合」的最高境界。 天圓地方,沉穩現勁骨 拍賣史上珍罕最大太極石雕之作現身 「朱銘在三度空間中以線條、形式,解決銅雕向來存在的笨重感問題,熟練地呈現太極的律動,使中國武術藝術的不安定狀態取得和諧、平衡。朱銘的『太極旋踢』和『太極對招』似乎重現了希臘雕像的神奇發現,大塊量體中竟然隱藏著矯捷的形式。」 ——法國藝評家夏綠莫(Jean-Luc Chalumeau) 宋代太極大家張三豐曾說:「所有動作,內力皆源於雙足,乃及雙股,經腰控制,再從指頭放出,由足至腳至腰至指,最重要的是連貫性。」在朱銘的單招太極作品中,「轉身踢腿」一式十分經典,此招注重將身、法、步的平衡性貫通一體,藉由足、腿的敦實,以轉身的動態帶出踢腿發力的瞬間,正深刻蘊含張氏所述的武學之理。 是次上拍的《轉身踢腿》,特殊而罕見地以整塊大石雕打造,透過幾何形態的量感和動作的不疾不徐,高度融合了「沉穩和勁健」這一對相反的元素,如同藝評家夏綠莫所言,在看似沉重的大體塊中,隱含著矯捷的形式。而在過去逾三十年拍賣市場所見不逾50件的朱銘石雕作品中,是次呈現的《轉身踢腿》為當中體積最大者。因石雕本身沉重,鑿刻需花費大量精力,故而朱銘鮮少刻製石雕,每每創作,則必先精心構思,方落刻其中。 此件石雕作品極為精妙地將「天圓地方」的構思融入於媒材之中,以一種靈動而充滿量感的抽象之美,呈現出猶如現代立體主義的幾何精神。作品若自後側觀之,可見人物通身圓滑溫潤,彷彿一塊正待開鑿的原石,自天然的粗礪中閃現著細密的礦物質感,似可包容萬物。而若行至正前,作品則大面積地為周正的方形所取代,如其頭部方正,左臂通直,以端正的長方體塊作出太極中的「前攬」一式,其右膝並隨之前曲,形成如平台般紮實穩重的下盤,大量的塊狀體積前後交錯,在縱直線上更似連為一體,展現著不動如峰、穩如泰山的磅礴。而隨著人物身姿向一側傾斜,動態的速度感亦隨之湧現,但見人物外展的左腿自側彎踢出,帶著一抹弓形的弧度,越往下,則越見足尖的銳利,右臂隨之下垂,以助落地生根的穩勢。在速度感和力量感的平衡中,以方圓之美,恰如其分地編組了進攻和防守的兩相權宜,使得重如泰山、疾如勁風兩種截然不同的面貌,皆定格在了牽一髮而動全身的瞬時爆發力之中,動與靜的結合高度調和了肢體間的相對平衡,對於太極在沉穩與勁健間的齊頭並進作出了最佳的詮釋。 張力非凡,大顯神通 卓爾不群的《大鵬展翅》 「氣韻生動的作品,每一塊肌理的流動,都依循著作品內在活力與動感的需要,而呈現出整體造型上最合理、自然的律動,這就是『以裡達表』傳導出生命力的訊息。成功的作品絕不是任意加一塊或減一塊所能造就,它有一個接近本能、獨立單一的生命條件,這才是自然天成。」 ——朱銘 有異於《轉身踢腿》敦厚穩重的泰斗之姿,此件《大鵬展翅》如現一仙氣飄飄、身姿硬朗的道家中人,朱銘將人物形體濃縮至精瘦簡勁,以多方塊面分割出多重空間的律動性與生命力,為觀眾帶來另一精彩的經典太極招式——金雞獨立。 而為展現此招式結構勻稱、動靜相隨的特點,「平衡」的張力感成為朱銘此作的靈魂所在。作品極為精妙地捕捉了起勢的攻擊性瞬間,在三維的橫縱軸上均勻展現身體的四肢,藉此「以裡達表」,傳導出生命力的訊息:自橫軸上,其雙臂同時完全伸展而上揚,形成大鵬展翅、日行萬里的豪邁姿態,正待大顯神通;在縱直線上,他以單足穩扎底面,身體重心保持中正穩定,進一步平衡了雙手的外張,形成一個牢牢的十字,突顯著身、手、足的非凡張力;同時,其右腿突破了橫縱平面的束縛,向前高踢,將積蓄的力量全然迸發,腳尖更如同上揚的刀鋒,展現勢不可擋的速度感,在足起飛落中,個體的能量在瞬間釋放。為配合人物的矯健身姿,朱銘並以利落而流暢的刀斧之力,塑造出圓滑的銅塊切面,繁複的皮肉之相層層褪去,只餘最為精煉的身骨,令每一處弧度、每一道彎折,皆湧現出卓爾不群的傲然氣度。在不同的視角下,作品清晰展現出動靜合一、流轉不息的太極思想,在如行雲流水的雕刻中,以「裡」之氣,置換於「表」之力,更自「表」之相,返還於「裡」之質,見證了朱銘太極雕塑語言的高度成熟。 環抱天地,融精神的共相 走向《拱門》生生不息的大境 「太極教人順應自然,浮沉大化之中,不喜亦不懼。朱銘所雕刻的太極並無個別相,它們代表的乃是形而上的力量、精神的共相。」 ——漢雅軒負責人張頌仁 走過二十年來太極系列的多元深研,對90年代的朱銘而言,太極已不再單單是為展現個人或雙人的力量,而是蘊含著可育人與天地共生的「精神大相」。朱銘如是詮釋:「以前的推手,兩個個體間還有間距,而現在,我讓雙手連接起來,一連接,氣的流動、肌肉的牽動,就相互貫通、活絡,合為一體,轉化成拱門的造型。」為深化相生相長的太極思想,他將建築學中的拱門造型引入,透過陰陽互生、前後貫通的空間造型,將太極拳法你來我往、氣息流動連通一體的形式,化為「合抱為一」的主體。正如美術史教授蕭瓊瑞之言:「太極系列,從初期較偏向『形』象模擬的嘗試,走過力道外顯的『意』象表現,在廿世紀之末的九〇年代,以『拱門』系列的作品,回歸太極無形、流轉不息的精義『神』韻。」因此,「太極拱門」足可稱得上是朱銘太極系列臻入化境的集大成之作。 而是次上拍的以藝術家經典木刻形式而做的《拱門》,便可謂以「人與自然之融合」創「天人合一」之境的高度代表。作品充分以木材的絲狀紋理,將氣的流動感貫通其中,獨屬木刻的方正體塊和律動線條造就了作品剛柔並濟的特質,當中人物採取大幅度的後仰式構型,身軀柔韌伸展,雙臂、雙足緊連而中部留空,形成上下一體、張弛有度的節奏感。一人因地制宜,撐地起勢,以拱形推掌擊出,一人穩中求進,以手擋格,足部發力,取攻防進退之平衡,形成互相牽制、一剛一柔的高度韻律感。拱門的生動造型將虛實互轉、並濟互生的太極之理高度概括,武者看似對招,卻在以合抱之姿傳遞能量之循環往復,如同太極陰陽兩儀之生生不息。作品緊密的木質感與人物間脈脈相通的形體關聯完美調和,準確捕捉了具象中現抽象的藝術特質,使木材的原始性、力量感和流暢度,在實體的空間中發展出精神的共相。 此外,作為朱銘太極系列中兼具當代雕塑美學和東方哲思的作品,《拱門》亦為多間高等學府列為永久收藏。如香港中文大學的「仲門」、英國劍橋大學的「健康之門」、以及在英國牛津大學阿什莫林博物館中與亨利?摩爾之作並置的拱門,皆足以證實這一抽象太極之作的美學價值。是次呈現的《拱門》為適合案台收藏之作,形製精妙、張力十足,材質本身自然的絲絲木紋亦呈現綿綿不息的內在力量,若置於室內案台,則可觀乎太極氣韻及木雕的美學內蘊,實屬精品!
PROVENANCE Private Collection, Asia This work is accompanied by an authentication report issued by Nonprofit Organization Juming Culture and Education Foundation Sculpting Heaven and Earth, Focused on the Universal Ju Ming's Diverse and Majestic Taichi World of the 1990s In the mid-1970s, Ju Ming started to study Taichi after being encouraged to do so by his teacher Yuyu Yang as a way of improving his health. However, Ju also used the practice of the Chinese martial art to enhance his grounding in sculpture and started to consider creating art work based on Taichi moves. In 1976, one of the pieces in the artist's first solo exhibition was a wood carving titled Kung-fu and this marked the origin point of the Taichi Series. After many years of honing his skills and reflection, Ju Ming developed a deeper experience and understanding of the Taichi spirit, which led to the birth of the world-renowned Taichi Series. In the 1980s, he further expanded the works in the series from a classical single move to two figures in combat and in the 1990s, as the language of the series continued to evolve, created Taichi Arch. At the same time, Ju also transcended the limits of wood by embracing a range of materials -- bronze, stone sculpture and stainless steel. Through the wide-ranging and imposing Taichi Series, Ju Ming constructed a bridge connecting Eastern and Western sculpture. Indeed, creative works with a “Taichi” motif were later shown in solo exhibitions at the Max Hutchinson Sculpture Fields in New York, Exchange Square in Hong Kong, Yorkshire Sculpture Park in The United Kingdom, The Hakone Open-Air Museum in Japan and Place Vend?me in Paris. The 1990s were a Golden Age for Ju, artistically and professionally, establishing for him an unassailable position as an “Eastern Art Master.” On this occasion three classical works created by Ju Ming at the very peak of the Taichi Series in the 1990s are being auctioned: Taichi Series - Huge Roc Spreading Wings (Lot 26), Taichi Series - Turn Stomp (Lot 28) and Taichi Series - Arch (Lot 27). What is of particularly note in the presentation of these three works is that they showcase the evolution of the artist's creative spirit in the form of bronze, stone and wood sculptures. Moreover, the patterns and energy of different surface textures detail how Ju successfully scaled the highest artistic peaks where “humankind and nature exist as one.” Strength and Stability Infused with Chinese Philosophy The Largest Taichi Series Work Ever Auctioned “Ju Ming uses lines and forms in three-dimensional space to resolve the fact that bronze sculpture has always felt heavy and clunky, expertly showcasing the rhythms of Taichi, while finding harmony and balance in the inherently unstable state of Chinese martial arts. Ju's ‘Taichi Spinning Kick' and ‘Taichi Combat' speak to the magical discovery of Greek sculptures, and one is surprised to find such nimble forms hidden within these huge pieces.” ——French art critic Jean-Luc Chalumeau What is emblematic of the work Taichi Series – Turn Stomp is that it is carved from a single stone block, imbues geometric shapes with a sense of volume and embraces unhurried movement, thereby integrating the juxtaposed elements of “calmness and strength.” As the art critic Jean-Luc Chalumeau observes, although the large blocks appear heavy, they contain nimble forms hidden within. Moreover, this work is also the largest of the fewer than 50 stone sculptures by Ju Ming that have been auctioned over the past 30 years or more. In addition, carving such a large piece requires a great deal of energy on the part of the artist, which is why Ju creates so few stone sculptures and each one is well thought out and planned before the work starts. This stone sculpture also exquisitely infuses the ideas of Chinese philosophy into the medium, utilizing a vital and large abstract beauty to highlight the spirit of geometry which approximates to modern cubism. Viewed from the rear, the body of the figure is smooth and round, as if a piece of untouched stone waiting to be carved, with flashes of fine mineral texture from the natural roughness that encompass the history of the Earth. However, from the front, the large surface area of the piece is replaced with a square shape. The head is square and the left leg straight, employing an upright rectangular block of stone to represent the Taichi move “Grasping.” In contrast, the right knee is brought forward and bent, forming a solid lower base that serves as a platform. Viewed on a vertical line, the interplay of physically large pieces, front and back, appears as an integrated whole, showcasing the boundless majesty of an unmoving mountain peak. Moreover, it is when the body turns to one side that the speed of movement becomes apparent, but from the side the extended left leg bent in a kicking motion is in an arc shape, and the further down one looks the more the pointed toes are evident. The right arm hangs down in a steadying motion, as if putting down roots. It is in this balance between speed and power that the work showcases the beauty of squares and circles, a perfect combination of attack and defense. In addition, the combination of movement and stillness reconciles the relative balance between the limbs. In this way, the piece offers a perfect representation of the way in which calmness and strength are integral to Taichi. Playing to One's Strengths - Extraordinary Tension The Uncommonly Brilliant Taichi Series – Huge Roc Spreading Wings “In works imbued with rhythmic vitality, the flow of the texture in each piece follows from the inner energy and sense of dynamism in the piece, whereas to showcase the most rational and natural rhythm of the whole involves conveying life force with ‘surface expressing the inner world.' The success or failure of a work is unrelated to the casual addition or subtraction of this or that piece, but is rather possessed of an existence that approximates to instinct, is independent and singular and only then naturally takes shape.” ——Ju Ming Unlike the large and bulky Taichi Series – Turn Stomp, Taichi Series – Huge Roc Spreading Wings is like an ethereal being floating in the air or an observant Taoist solid and unmoving. The piece also reduces the human body to its basic essence, partitioning the rhythm and life energy of diverse space, to present the classic Taichi move -- Golden rooster standing on one leg. Moreover, in order to showcase the structurally well-balanced nature of this move, as well as its embrace of stillness and movement, the artist creates the “balanced” sense of tension as soul of the work. The piece ingeniously captures the moment of aggressive attack, using a three dimensional horizontal and vertical axis to show the limbs in perfect balance. On the horizontal axis the two arms are lifted into the air to form the heroic posture of a large roc with its wings spread. On the vertical axis, the figure is stood with one foot solidly on the ground and a stable centre of gravity, which further balances the extension of the arms and forms a solid cross shape. At the same time, the right leg breaks with the horizontal and vertical planes by kicking high and forward, with the toes like an upward pointing blade, to imply unstoppable speed. In concert with the figure's calm and strong posture, Ju Ming uses the strength expressed in sharp and smooth cutting motions to create a rounded bronze section, and after repeatedly stripping away the layers of skin and flesh all that remains are the refined bones of the figure, exuding an uncommon and lofty pride. Viewed from different angles, the work clearly displays the blending of movement and stillness integral to Taichi philosophy. Indeed, with its natural and flowing style the “external” strength of this sculpture is replaced with “inner” qi, restoring “inner” essence by carving the “external,” a testament to the mature language employed in Ju Ming's Taichi sculptures. Embracing Heaven and Earth Infused with Universal Spirit Moving toward the Boundless Energy of the Arch After engaging in two decades of extensive research related to the Taichi Series, in the 1990s Ju Ming no longer viewed Taichi as a matter of showcasing the power of one or two individuals, but was rather more interested in “spiritual bearing” with an ability to nurture the coexistence of humankind and nature. As art history professor Hsiao Chong-ray has said: “In its early days the Taichi Series focused more on ‘form' as some kind of virtual overture and then the expression of ‘meaning' by external strength, but in the 1990s, ‘Arch' series returned to the shapelessness and constant flow of ‘spiritual' rhythm as the essence of Taichi.” As such, Taichi Series - Arch is a masterpiece that marks the apotheosis of Ju Ming's Taichi Series. The rectangular blocks and cutting rhythm only belonging to wood carving makes the work harmonious with both hardness and softness. The figures' bodies are in one piece, stretching with rhythm. One man pushes himself against the ground, and stretches out his other hand in an arch-like pose. The other man defends with one hand, stands firmly, and holds a balance in forth-back action, which is highly rhythmic. The tense wooden texture of work perfectly coordinates with the persons' body shape, precisely catching the abstract artistic characters in this specific scene. The form of arch is also a symbol of “two polarities” of Taichi, summarizing the virtuality-solidity switch. It seems that the masters are fighting, while the pose that they hold each other is actually a circulation of power. The breath control and circulation of Taichi is also embedded with the human connection in this work, developing a spiritual appeal, a higher self. As a developed work, Taichi Series - Arch is permanently collected by the Chinese University of Hong Kong, University of Cambridge, and Ashmolean Museum of Oxford University. Taichi Series - Arch presented in this auction is full of tension. The fine texture of the wood indicates a long-lived internal energy. When it is put on a desk, the Taichi spirit and the aesthetics of wood carving would be right in front of you to admire.

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