魏立剛

二〇〇六年作

款識
魏立剛，2006。

郭繼生，〈當代中國水墨畫〉（美國，紐約，Distributed Art Publishers；中國，香港，Timezone 8，二〇一〇年），104 至105 頁，126 頁

Overall in good condition. There are horizontal creases scattered throughout the image, which can be improved with remounting. Overall dimensions: 321 x 142 cm; 126 3/8 x 55 7/8 in.
"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."

魏立剛對於中國書法與繪畫的探索代表了華夏藝術文化長河中的一個變革。最近的學者研究認為，中國藝術家對於抽象水墨畫的探索始於明代山西書法家傅山，他將草書風格與古老篆體結合在一起。魏氏極其尊敬傅山，因二人均為山西人氏，且都倡導將書法作為繪畫結構基礎。魏氏畢業於數學專業，以縝密的思維創出具有概念深度的構圖，並以混合媒材進行試驗。他致力保存傳統與文化，以自己的文人精神贏得藏家喜愛。

魏氏對語言的關注在方塊漢字中以直觀的形式表達出來，他將自己的文章與習語用圖案的形式繪畫出來，暗指古代書法，卻又富有當代氣息。明亮的金色背景中，流暢的黑色壓克力彩線條一劃而過，向正負空間相等的傳統書法致敬。線條是魏氏一直以來的關注點——它與背景或前景的對比，以及筆墨在畫布上留下的蜿蜒痕跡——一直是中國書法繪畫的傳統。然而最終完成的作品將新式媒材與抽象表達手法結合在一起，顯然是對傳統的變革。