席德進

款識：
明亮仁兄雅屬 蜀人席德進（左下）

台南席德進友人陳明亮舊藏

This work is in good condition. There are scattered spots of foxing, inherent to the aging process.
"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."

「中國畫是用『心』畫的。西洋畫是用『眼』畫的。石濤說：『夫畫者，從於心者也』。紙平鋪桌上，筆垂直落下，徐徐地吐出胸中之意象，這是中國畫家完成一幅畫的狀態，與西洋畫家，把畫布直立於畫架上，以水平的筆觸及畫布畫出視覺中的形態，其方法恰巧相反。現代國畫不能脫離中國傳統筆、墨、紙、硯的畫具，但要反映中國人文精神、現代思想、情感與色彩。是現代的，不是西方的。」
席德進

席德進自1969年投入水墨畫的現代化革新。他的「現代化」之法，繫於畫出合乎時代潮流、具有創造性的作品。他不臨摩傳統的古典山水，而是畫眼前的真山真水，他不畫古人，而畫現代人，畫本地人，畫眼前的事物，重新面對現實。將傳統的水墨注入新的生命。完成於1980年的《寂寞梧桐》即為其現代水墨表現的成熟之作。畫中一理著平頭，身著吊衫與短褲的男子，獨自一人蹲坐在梧桐樹下，他的打扮透露其年齡與背景，無非是個年少青春的孩子。他正若有所思，也許是為了愛情，或即將到來的遠行、離愁而煩憂，而又或許，他僅僅示現了人活在世上，終究是孤獨的本質。在作品上半部，席德進以流暢穩健、別富個性的行書，寫下南唐後主李煜著名的詞闕〈相見歡〉。如此書畫合一的表現，在其創作中，甚為少見。