蕭勤

executed in 1969

亞洲私人收藏

This work is in overall very good condition. There are minor stains near the upper left and lower left corners. There is no sign of restoration under UV light examination.
"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."

蕭勤 意隨筆轉

半世紀以前，蕭勤與同儕成立了引領臺灣藝術邁進現代化風格的「東方畫會」，不僅開啟了臺灣美術史上的畫會時代，更推動了臺灣與國際藝壇的交流，為中國前衛抽象藝術奠定了堅實的基礎。回顧蕭勤的創作生涯，他在外來文化的沖擊下，反而讓他潛心反思和檢視自身文化，持續在東方的思維、意境和西方的顏色、表現技法中來回琢磨並臻於成熟，發展出一套東西融和的獨特的個人風格。

蕭勤的作品是他生活經驗的昇華，一九六〇年代遷居義大利，在非形象藝術（Art Informel）和抽象表現主義（Abstract Expressionism）來勢洶洶的大潮下，他力求打破地域、文化和不同藝術範疇之間的疆界，用普世的藝術語言記錄心靈成長的過程，參悟生命的始源和意義。蕭勤六〇年代的作品便從思想入手，他刻意放鬆自己的主觀意念，嘗試以簡約的顏色和圖案，表達道家思想的深邃哲思。1967年的紐約之行開啟了他一系列以壓克力彩創作的「硬邊系列」的作品，或許受到美國工業文明和當時如雨後春筍般湧現的極限藝術（Minimalist Art）的影響，蕭勤對其創作中的平面造型進行了衍生和加強，同創作於1969年的《無題》（拍品編號5035）和《張力－G》（拍品編號5036）皆是這個時期的典型代表。蕭勤選擇節制的用色，濃烈的不透明顏料填滿色塊，以絕對精準、明瞭緊湊的極簡佈局在畫面上建構了一個象徵性的宇宙空間。幾何的造型和銳角在蕭勤眼中是直覺的而不是數理的，因此這些作品雖極簡但超越了極限，它們源自於一種絕對的孤獨和堅毅，形塑而成一個空寥的道家美學境界，一個靜止又變動的生命世界。