席德進

款識：
藝術家鈐印（右上）
席德進 一九八〇年 藝術家鈐印（右下）

〈席德進紀念全集 III 水墨畫〉台灣省立美術館出版，台中，一九九五年，三百四十六頁， 彩圖
〈典藏投資〉典藏雜誌社出版，台北，二〇一四年二月，第七十六期，一百〇五頁， 彩圖

This work is in very good condition. There are faint small spots of scattered foxing, a result of aging. The bottom right hand corner also has a faint water mark.
"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."

「中國寫意畫是以最迅速的簡筆而寫成，為即興的，有很多偶然性，不過這種即興，卻是經長期鍛鍊而促成。中國畫有如特技，雖是剎那之間的絕技展現，卻是從長期的磨練中得來。西方的畫是重複的描繪，累集而成，其過程與中國畫不改、不重複迥異，所達到的效果，表現的意趣也不十分一樣。師古人之心，不是學古人作品的外形，而要深入到古人著筆之意旨。」
席德進

在早期的農業社會，鴨群為一常見的農村風景。牠們或被當成家禽所飼養，或是野生地群居在河畔或池塘。在鄉土運動盛行的年代，鴨群宛如本土農村文化的象徵。如1964年，導演李行曾拍攝電影「養鴨人家」，講述兩代人由農村到大都市生活的故事。而鴨群亦是席德進經常描繪的對象。

在《蘆葦群鴨》裡，席德進以洗練的筆法，沾染著濃墨，在撇、捺、點、轉間，三隻鴨子於水岸或站或低臥休憩的姿態，顧盼生動地躍然紙上，席德進將筆墨與線條化為有溫度的實體，既寫實又寫意，既傳統又現代。背景蘆葦草飄揚其間，紀錄了微風吹動的痕跡。雖然畫家下筆簡淨，但作品卻充滿變化與層次，大塊的留白，展現中國傳統的美學觀。