朱銘

版數
1/2

款識
Ju Ming 85 1/2

〈朱銘雕塑展〉交易廣場，香港，一九八六年（本版展出）

〈朱銘雕塑展〉國家美術館，新加坡，一九八六年，三十頁，彩圖（不同版數）

This work is consistent with the artist's chosen medium and working method. It is in our opinion that the work is in very 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."

而也是在此一化簡的觀念下，朱銘在創作早期即發展出極為概念化的作品。此次專拍中的《結》(拍品編號1025-1027)，以極為抽象的樣貌，挑戰著觀者的視覺感官和對雕塑的理解。作於1985年的《結》，可看作是太極系列的延伸，實際上是源自朱銘1983年的《掰開太極》。在《掰開太極》中，朱銘以機具切割樹幹，使用極少線條，示意太極對打的人體姿態。鑄為銅雕後的《掰開太極》，顯露著樹皮與樹幹的遺痕，卻隱約透露著人體對打的姿態，成為朱銘對於天人合一觀念的實質體現。兩年後，在製作極為少量的《結》之中，朱銘更進一步轉化《掰開太極》。他先將樹幹鑄模後，以此硬模製作橡膠之軟模，再將此橡膠軟模打結後，翻鑄為銅雕。自然中堅硬之樹幹在此變得曲折而難解，卻象徵著順應與再生；天人合一中的「人」，已不復見於《結》之中，人與自然的合一，吸納於朱銘的暗喻，使《結》成為其創作生涯最為純粹的代表作品。