朱德群

款識：
朱德群 CHU TEH-CHUN（右下）CHU TEH-CHUN No.537 朱德群 1974（畫背）

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This work is in overall very good condition. The surface is varnished. There is no sign of restoration under UV light examination.
"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."

油彩的光影，道家的陰陽

1969年，朱德群在阿姆斯特丹美術館參觀了林布蘭特三百年誕辰紀念展，為他對於色彩和光影的運用帶來嶄新靈感，自此，他的抽象繪畫進入另一風格階段，正如李晉鑄在文章《朱德群的抽象世界》指出「林布蘭特的畫，多用黑色或深褐色及明快的白黃色對比的強光，集中於一部分的畫面，應用於人像畫、宗教畫以及風景畫上，十分戲劇化，而且他用強光、厚色以及粗筆似乎直深入到人物的內心，把他們的沉鬱悲哀、痛苦以及其他的人生感觸都表達了出來……朱德群雖是畫的抽象畫，確受了林布蘭特的影響很大，在他的畫面上可以感覺得出來，而他個人風格更加明顯，筆法更敏快，而且有許多筆法有點中國味，畫面上有較暗黑之處，也有較明朗的一面，像有一種神秘的光源，照亮了其中一部，使人體會到其中的形象，行動與氣勢令人發出無限的遐思，這就是他心靈中的山水，有韻律、有詩意、有意境，全用抽象的藝術語言表現出來。」在《No.537》，藝術家將繪畫技巧上的光影運用，接通了道家的陰陽觀念。太極生兩儀，乾坤日夜浮，光與影的視覺變化，呈現了中國哲學的宇宙觀，觀者彷彿與藝術家一同與大化冥合，回到天地洪荒的時空，見證宇宙的源起狀態。