朱銘

款識
左：朱銘

〈漢雅軒2畫廊展覽〉，漢雅軒2畫廊，香港，一九八八年

This pair of works is consistent with the artist's chosen medium and working method. It is in our opinion that both works are in good condition. One of the works had previously gone through insect prevention process.
"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."

朱銘的木雕不再使用鑿子，改而使用鋼鋸；他創造獨特的快刀法，認為「下刀要快，清空腦袋，不假思索。一個東西，可能你兩三分鐘就能刻好，但你一思考，七八分鐘就過去了。所以我要讓思想跟不上我的刀，刻出來的才是我最真實的反應」。他先觀察木材的特質，再確定欲雕刻的內容，順著木材的天然紋理，劈開、撕裂、抑或刨削。因為工具的改變，他得以加快刀法速度，一氣呵成地完成作品，甚至一次完成數件雕刻，而後從中選出最為滿意的作品。本次專拍中唯一的一對太極木雕：作於1986年的《太極系列：對打》(拍品編號1004)，即為上述特徵的最佳代表。左方之雕塑源自太極推手，右方之雕塑由轉身蹬腳演變而來。右方掤勁者俐落蹬腳，左方聽勁者以推手之姿後發制人，體現了太極拳對打中，注重觀察、了解對手，進而改變佔位、抵抗對手之精要。