朱銘

款識：
朱銘 82（底部）

台北真善美畫廊
亞洲重要私人收藏

This work is overall in very good condition except a minor ship, which is only visible under very close inspection, at the chest.
"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."

「朱銘的作品非常中國，他的藝術不但表現了中國陰陽辨證的觀念，也在國際現代藝術的舞台中占有重要的地位。」
蘇立文（Michael Sullivan, 節錄自楊孟瑜著之《刻畫人間 ─ 藝術大師朱銘傳》）

回顧中國千年的雕塑發展，大體以宗教與政治目地為主，或表現神話故事，或為君主權貴塑像，風格多是寫實的，朱銘則是敢於叛離傳統者，他在1976年從早期的鄉土寫實作品中超脫，開始探索半抽象的「太極」，企圖以東方獨特的太極拳運動為主題，表達當中所蘊含的哲理及美學，如「以簡馭繁」、「陰陽相生」的美學觀。「太極系列」作品由此孕生，《太極系列：單鞭下勢》即見證他突出的語彙。

朱銘曾說，對他而言，水墨畫的下筆如雕塑的下刀，他把中國書畫中大寫意的筆法化為木雕的劈剖，提出了現代的詮釋。朱銘在《太極系列：單鞭下勢》重現太極武學的經典招式，但將人物的細節省略，取其意，重其氣，觀者可顯見藝術家在作品中刻意保留的刀痕，在精確、有魄力的劈剖間，太極拳鬆、沉、靜、定的力量運行其中，朱銘生動地將一半蹲人物蓄勢待發的姿態呈現出來，沉靜的塊體內蘊巨大的能量與力度，令人過目難忘。