劉國松

款識：
劉國松 藝術家鈐印 二〇一三（右下）

台北高士畫廊
現亞洲藏者直接購自上述來源

This work is in overall very good condition. There is minor wrinkle at the lower left corner.
"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."

「劉國松以天人合一的精神發展水墨語言，他不單是簡單地搬用西方藝術語彙，而是深入理解中國繪畫的語言特色，研究與中國畫材料與語言的關係，語言與中國人思維方式的關係。劉國松為了擴大中國畫的表現力，善於圍繞水墨材料進行試驗，他所發明的技巧，無論撕紙筋、拓墨、狂草、水拓、漬墨，無不發揮了中國材料的優勢，無不符合中國天人合一的精神，無不是古代筆墨語言之外的自然天成。他回歸傳統，不是傳統之跡，而是傳統之心。他的半抽象的水墨語言成功表現了惟恍惟忽，其中有象的宇宙觀和一陰一陽之謂道的文化精神。作品既是現代型態的，又是中國特色的，既是民族的，又是在世界語境中便於溝通的。 」
中央美術學院教授薛永年