朱銘

款識：
朱銘 1/10 97（背面）

版數：
1/10

亞洲私人收藏

This work is in overall very good condition except for a negligible chip at the front-left knee of the buffalo.
"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."

朱銘《歡樂農家》
農家歡樂 鄉土寄情

1976年三月，朱銘於歷史博物館舉辦首次個展，使鄉土題材成為他早期雕刻最為人稱道的主題。從民間雕刻的關公、魯智深等歷史人物，到農村生活的公雞與母雞、牛與與牧童等，七〇年代中期的朱銘，即以生活中俯拾皆是的題材，被納為台灣鄉土運動最具代表性的雕刻家。朱銘並未力求成為享負盛名的雕刻家，然而他的雕刻總在其所處時代觸動著普羅大眾。兒時的朱銘曾因躲避空襲而躲入山中，未能就讀小學而在山中放羊。後與李金川師傅學習木雕，自廟宇中的傳統木雕習得巧藝。七〇年代後期，他開始創作一系列的太極雕塑，一直要到九〇年代，才在千呼萬喚中，重拾那最早使他闖出名號的主題：農家生活。作於1997年的《歡樂農家》（拍品編號5026）即為朱銘於九〇年代回歸農村主題最為生動的代表。朱銘以更為複雜的構局，將牛隻、牧童、與牧犬紛紛融入其中，使此一雕塑無論從任何角度觀賞，皆能感受藝術家所欲關照的、充滿溫情的鄉土樂趣。