李華弌

一九九八年作

款識
李華弌



鈐印
「李華弌」、「小戊子」、「李華」。

香港，蘇富比，2000年5月1日，拍品編號330
亞洲私人收藏

美國，三藩市，亞洲藝術博物館，〈The Monumental Landscapes of Li Huayi〉，二〇〇四年，圖錄編號14，80至81頁

Overall in good condition
"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."

《山上樹，樹上山》屬李華弌探究黑暗之涯的系列作品，以「積墨」筆法呈現浩瀚大石，細節中質感分明，是霧氣朦朦也是峭壁深淵。磐石深幽暗漫，旁有雲霧升騰，巨岩聳立畫中央，與傳統山水畫幅修長構圖中之高峻遠山頗為不同。李華弌之筆觸遍布整幅畫面，幾乎全無留白，充溢滿盈，正是李華弌筆下山水幽雅過人之處。松柏常青不凋，志操堅貞，是畫中焦點，墨色深湛，刻畫入微，在依附巨石上的矮木叢中脫穎而出，屹立畫幅下緣，仰止高山。

此作曾於2004年在亞洲藝術博物館展覽，當時裱為大型橫幅，對傳統中國山水畫而言甚為罕見，乃二十世紀末海派畫家興起之風。雖李華弌早期在上海習畫，但他之所以選擇橫幅，更多是考慮到其在西方當代藝術大體中更為恰當，尤見李華弌之古今兼顧，融會貫通。