李山 每星期的七天系列 油畫畫布 一九九五年作

款識
李山，Li Shan，江山木楠山，1995

現藏者直接購自藝術家本人

This work is generally in good condition. There is a minor paint loss measuring around 1 cm in the middle area. Please note that it was not examined under ultraviolet 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."

李山最廣為傳頌的是以毛澤東為對象的〈胭脂系列〉，但他於九十年代中期，刻意逃避人們對其作品過多的政治性解讀，而創作了數量極少的〈每星期的七天系列〉。該系列首次於一九九四年的聖保羅雙年展中展出，七張一組的〈每星期的七天系列〉正好體現了他美學上由政治人物向動物的重要轉向。「鵝的形象在我的畫面裡出現，就是找一個簡單的符號，因為人類已經給予雞、鴨、鳥等動物很多的比喻、讚美或什麼的，我所幾選擇鵝就是一個簡單的符號。」至於這個符號的含意，他雖然沒有明言，但作品的名稱《每星期的七天系列》卻暗示了其用心。「鵝」與「我」同音，是藝術家對整個中華民族，甚至全人類的比喻。李山以七張油畫，代表一周中的七天。鵝叼著荷花，構圖上有單鵝亦有雙鵝，牠們或相對或背對，以幾近完全相同的形象現身。鵝隻的集體肖像，彷彿暗示著人類營營役役的生活處境。從〈胭脂系列〉後，李山進一步擺脫人物，作品以動物，甚至植物為題，並完全告別政治人物肖像，逐步尋找畫布以外的表達空間。故此，可見〈每星期的七天系列〉對藝術家的重要性。今次拍賣作品《每星期的七天系列》乃來自「聖保羅雙年展」展出的同一系列之作，足以見証李山創作生涯的重要轉向。