曾佑和

鈐印：
「曾佑和繪」。

This work is in good condition overall. Paper edges are visible on the lateral surfaces of the work, which is inherent to the artist's working method. Framed individually, quadriptych.
"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."

曾佑和用「綴」字來形容自己的繪畫技巧。「綴」者，合箸也，從叕從糸。用以形容縫補絎補，曾氏三歲便隨祖母學得此手藝，她如此形容「綴」與文人傳統之關係：
「中國文人雅聚時喜玩『綴句』，一人一句，連成整段詩歌；取各家字句，拼湊成文，是為『綴文』；學者將對古著之理解與註釋整理成集為『綴輯』；編輯前人舊學之學問為『綴學』。」
縫補舊衣稱之為「補綴」，而修補受損之書畫卷軸 時常用到紙補丁，也同樣稱之為「補綴」，我的繪畫中也會用這種技法。托裱技術是源自中國的久遠技藝，與西方立體主義或超現實主義的拼貼大不相同。當我特指自己的「綴畫」時，我用「掇」而非「綴」，如同一個五手的象形文字。