朱銘

款識：
朱銘（右下）

亞洲私人收藏

This work is in very good condition. There are overall small across the surface, which belong to the natural result of aging. Most details are only visible upon very close inspection: Front: Concentrated area of wood splits behind the neck of the second buffalo from the left. Softened edges, possibly due to handling which would result in the wood's slight change in color over the area. Back: Slight crack in the small thin bridging of wood (bottom middle) as well as the supporting arc at the base of the sculpture. Left: Wearing down of the woods surface, revealing the color of unexposed wood underneath. Particularly prominent on the horn of the far left buffalo. Right: Wearing down of the woods surface, revealing the color of unexposed wood underneath. Scattered are a few white specks. This may be paint.
"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."

「鄉土系列」：滙流時代的古典英華

六、七○年代，海峽兩岸捲起一陣鄉土主義浪潮，無論大陸抑或台灣，藝術家紛紛回顧民間元素。憑著「鄉土系列」，朱銘於1976年在台北歷史博物館舉行首次個展，更因反應熱烈而一再延長，被視為台灣美術運動之豐碑。本次上拍之《五牛圖》即為「鄉土系列」之傑作。

「鄉土系列」關注傳統題材和技巧之現代化，「牛」除了作為鄉土風物，在中華文化亦象徵著慈愛、堅毅、勤奮等美德，兼具通俗與高尚的文化價值，而《五牛圖》更呼應唐代韓滉的同名繪畫：韓滉《五牛圖》以橫卷軸形式，呈現五頭姿態各異的耕牛，構成既可獨立、亦可並觀的畫面，是罕見的傳世唐代絹畫真跡；朱銘在此汲古潤今，不但將平面之繪畫轉化為立體之雕刻，更著意提升作品敍事成份，依據木材的天然形狀，雕成一段山路，五頭碩牛踽踽而行，彼此首尾相顧、互相扶持，其中一隻更馱負牧童，構成動人情景。相比韓滉筆下牛隻之自然率性，朱銘在木雕《五牛圖》賦予了鄉間重視倫理、以及萬物之間相互依存的溫情，與其早年得獎傑作《同心協力》彼此呼應，喚醒社會提升道德文化水平之工作，應該始於最切身的日常生活，滿載務實的人文精神。

台灣傳統雕刻與廣東、福建工藝淵源深厚，朱銘的啟蒙恩師李金川，即為福州雕刻傳人。《五牛圖》整體造型穩重、追求神味，以及對木材「開面」（從原料到雛型的第一道工序）的處理手法，均可見傳統雕刻對朱銘之影響；而作品刻意保留刀鋒，以彰顯個性及創作痕跡，則反映了現代主義特徵，標誌著中國工藝美術與現代雕塑的融合與演進。