邱亞才 藍衣男子 油彩畫布

款識：
邱亞才（左下）

亞洲私人收藏

This work is in good condition. There are two paint losses 0.2 cm in length in the middle right part of the work. In the lower part of the work there is evidence of scattered light craquelure consistent with the natural aging process of the medium. There is no evidence of restoration under UV.
"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."

「由邱亞才的自述、相關文獻和作品本身看來，邱亞才的人物造型來源以中國唐代時期的人物畫風格為本，特別是他用來表現人物面部輪廓的線條，與講究線條表現的中國古典畫傳統，顯然有著密不可分的關連─所謂『吳帶當風，曹衣出水』，中國繪畫中的「線條」，並非僅僅作為繪畫中分隔區塊的界線，而是藉由線條的疾除快慢和粗細頓挫，表達出更多空間、氣質和個性。這些蘊含在線條中的豐富表現，同樣可以在邱亞才的畫作中看見；用於人物的五官和輪廓，邱亞才以線條表達的是個別人物不同的質地。從邱亞才早期的作品中，就已經可以發現他特別注重線條本身的豐富表達，特別是一系列顏料層較薄塗的作品中，就能夠清楚看見他對表現人物五官、髮絲、衣折等細節，是如何在逸筆草草的幾筆勾勒中，表現出類似唐代繪畫的傳神氣韻。」

孫曉彤〈邱亞才的作品〉，載於《藝外雜誌》二○一三年三月號