朱銘

款識：
朱銘 91（背面）

台北真善美畫廊
亞洲私人收藏

This work is in overall very good condition. It is consistent with the artist's chosen medium and working method.
"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."

太極木雕
轉身蹬腳前動

八〇年代初期，隨著朱銘對太極拳的認識不斷加深，他逐步打破固定招式的局限，表現的是轉體變化的某一瞬間。作於1991年的木雕太極《太極系列》（拍品編號5025）表現的為類同於轉身蹬腳前動的太極連動姿態，在一腳懸空，單腿支撐的狀態下，準備旋轉身體而蹬出腳跟。於技巧方面，朱銘的木雕不再使用鑿子，改而使用鋼鋸；他創造獨特的快刀法，認為「下刀要快，清空腦袋，不假思索。一個東西，可能你兩三分鐘就能刻好，但你一思考，七八分鐘就過去了。所以我要讓思想跟不上我的刀，刻出來的才是我最真實的反應」。他先觀察木材的特質，再確定欲雕刻的內容，順著木材的天然紋理，劈開、撕裂、抑或刨削。因為工具的改變，他得以加快刀法速度，一氣呵成地完成作品。在快速而準確的刀法運用中，朱銘的雕塑呈現愈發明確的構局感，因而帶出流暢的動勢，和具有張力的速度感。