林壽宇 四象 鋁、油彩、畫布 一九六七年作

款識：
RICHARD LIN FOUR AND FOUR 1967（畫背）

倫敦馬勃洛畫廊
羅馬馬勃洛畫廊
歐洲私人收藏

This work is overall in good condition. There are slight marks across the surface, particularly along the borders and near the top middle area. There are accretions on the metal bars, particularly on the top left one. There is a slight scratch on the bottom right metal bar. There is an accretion of brown in colour at 15 cm bown from the top on the left border. There is no evidence of restoration under UV light.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

「如果你想說感情、說故事，就去寫小說、拍電影，美術就是要做其他藝術都達不到的形式，那是一種絕對的邏輯。」華人極簡主義大師林壽宇一言，道出了他的藝術要旨。雖然現代的極簡主義來自西方，但在悠長的中國文化脈絡中，老莊、禪學、周易，早已擅於藉由最少的文字和符號，演繹出博大精密的哲學系統。林壽宇的作品，絕不是單純對於美的追求，或是對個人情感和敍事的抒發，而是在更高的哲學層面上，做到其他形式所不能取代的表述。

林壽宇於1958年正式以藝術家身份出道，1964年當他參展德國卡塞爾《第三屆文件大展》（Documenta3）時，作品已發展為以白色為主調。正如《道德經》提到「五色令人目盲」，在他的理解當中，智慧愈增，色彩愈減，而白色則是最質樸亦最有深度的顏色。

此作命名為四象，「四」在東方的宇宙觀裡，是一個平衡之數，代表著季節、方位、星宿；在《四象》中，深淺、層次、透明度不同的白色色塊以幾何形狀安排，輔以其他顏色、質感不同的鋁板，在簡中求變。此方形和直線在林氏的作品經常出現，在視覺符號中更傾向理性，與《易經》裡的爻象亦彼此呼應，使觀者在激發聯想的同時，亦陷入更深層的思辨。