趙無極

款識
無極ZAO 53

亞洲重要私人收藏

This work is overall in very good condition. There are pinpoint pinholes at the four corners presumably due to the artist's working method.
"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."

趙無極亦離開了具象的世界，但是他的畫保持了與自然一些相似。
它似在似不在，眼前非它卻應是它。
它是如此不同，要再細描已見詞窮。
這從碩大無垠捕捉而來的天地。
總是自然的，更溫暖的，更激情的。亦是源於大地。
它保留著柔性。
非特別的，非異國情調的，流動的，用暖色甚或光，一束束光流繪成的。
剝走了樹、河、森林、山丘，但充滿了水龍捲、顫慄、噴湧、脈動、滴墨，以及漸漸稀釋、升騰、迸發的氤氳瀰漫的顏漿。
召喚它的是新的關注、戲劇性和侵入性。

寫於《風》之前

作於1954年的《風》，被視為趙無極的第一件抽象畫。然而早在1953年的水彩作品《無題》（拍品編號1005）中，即可發現趙無極將形體化為抽象的符號。此時的符號仍具有克利時期的特質，卻已難辨認出畫中所欲描繪的主題。細膩的線依舊堆疊，卻不再是物的輪廓，而成為主體，似乎宣告著隔年甲骨文時期的到來。自五十年代初期，趙無極回歸線條，縱使他亟欲避免落入中國繪畫發展至明清之陳規，在中國繪畫中，線條仍舊是一切的開始。當西方畫家轉向強調光影和體積，中國畫家仍然著眼於線條，將線條當作主要的描繪和表現工具。趙無極因而回望孕育他的中國，從殷商的甲骨文、漢朝的拓片、歷代的書法與水墨畫中所傳承的美學中汲取靈感。中國傳統文字與圖像之美，其古雅之意境、樸拙之氣韻、和象之抽象性，皆顯見於此件趙無極最早的抽象水彩畫中。