夏陽

款識：
仁心仁術 夏陽 Hsia Yan 65（右上）

歐洲私人收藏

This work is in good condition. There is hairline craquelure scattered across the canvas, notably on the table and the object on top of it. Very slight undulation has occurred at the bottom. The pieces also bears a pinhead paint loss towards the top, 14 cm to the right edge; minor wear to the upper left corner; and a 0.5cm light grey accretion, 10 cm to the bottom and 21 cm to the right edge, which presumably is inherited from the artist. UV light reveals evidence of restoration, notably a few touch ups in the upper right quadrant and in the bottom area.
"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."

東方響馬：夏陽《仁心仁術》

夏陽1932年生於湖南湘鄉，1949年遷居台灣。後入李仲生先生門下學習，於1956年與蕭勤、霍剛、吳昊等人聯名籌組「東方畫會」，成為主要創始人之一。夏陽的一生曾旅居多個西方國家，然而不論身居何處，他的畫永遠是東方，並藉由畫布探討兼容並蓄、中西合併的可能。夏陽堅信：「真正的藝術交流是本國的藝術家把文化的觸鬚伸展到國外，但自己創作的本體，依然系於國內。」儘管他主要以西方媒材和技法創作，但其作品滲透的是濃濃的中國氣韻。藝術家在「東方畫會」時代汲取西方表現主義、複合媒材等創作方式，1963年抵達法國後，在巴黎開始發展半具象風格的「毛毛人系列」畫作。此次上拍的《仁心仁術》創作於巴黎時期。

在雜亂交錯的粗細線條中，夏陽先於畫布上勾勒出無法辨識的線團，慢慢地，一個個人形即隱約從線團中浮現。夏陽曾言，藝術家最重要的就是「抓得住自己特別的東西」。他以短促顫動的飄動線條形成一個個動感又飄忽的人形，畫面的中央可看作一醫生正在手術檯前治療傷患，亦呼應了作品《仁心仁術》之作品名。看不出面容、性格的兩位毛毛人雖然沒有清楚的身分，卻可能是藝術家藉由畫作宣揚現代社會人與人之間應互相關懷包容的祝願。夏陽於巴黎時受到歐洲極簡主義硬邊繪畫的影響，下方畫布以鮮藍色塊平塗，簡潔而明快，畫中人物則以大器狂放的中國草書筆法強調人物。主體的熱烈、豐富與背景的冷靜、空靈形成極富張力的反襯與對比。