- 2932
曾佑和
估價
100,000 - 150,000 HKD
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招標截止
描述
- Tseng Yuho
- 忠誠的象徵
- 水墨，金箔，銀朱，「綴」拼貼紙本裱於纖維板
鏡框
一九六四年作
款識
荷。
鈐印
「曾幼荷印」。
款識
荷。
鈐印
「曾幼荷印」。
展覽
The Downtown Gallery，紐約，1969年
Condition
overall in good condition.
"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."
"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."
拍品資料及來源
曾佑和於一九五零年代自創「綴畫」之後，開始在作品中大量運用金或銀等金屬色，包括使用鈀金和鋁箔。在其自述裡，她提到不同文化中，金的用途迥異。從中國六朝時期的銅鎏金雕塑，到12世紀日本建築中的奢華屏風，再到歐洲早期基督教與拜占庭時期以及後來文藝復興時期的繪畫。縱觀世界各地的文化藝術後，曾佑和巧妙使用金箔。雖然東亞地區習慣將之用來裱畫，但她以金箔創作的質感和構圖都完完全全是她自己的風格。在《忠誠的象徵》和《聚體》（拍品編號2903）中，原本宗教畫裡金屬箔片的用法被顛覆殆盡。曾佑和一九六零年代的作品充滿抽象和裝飾性圖案，對光感的表達淋漓盡致。運用墨、壓克力、金屬箔片和紙本，她孜孜探求畫面的肌理質感與形式空間。雖然這些作品完全抽象，但是格局中可見曾佑和深厚的書法功力。錯落有致的構圖得益于色塊精心排列而形成的張力，以及畫面中充盈的生動氣韻。