Page 232 - 亚洲二十世纪及当代艺术

55 李禹煥 b. 1936 Lee Ufan

੽ᓃ From Point
Oil and pigment on canvas

ᘤيᕙࣘ
ذ੹ ᘤيᕙࣘ ೥̺ O i l a n d p i g m e n t o n c a n v a s
ذ੹
೥̺
6
1
.
1 c
8 × 4
in
1 1
/
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. 1
× 1
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1 1
m
ɓɘɞ̬ϋЪ
ɓɘɞ̬ϋЪ 3 31.8 × 41 cm. 12 /2 × 16 /8 in. .
8
2
Painted in 1984
P a i n t e d i n 1 9 8 4
ಛᗆ
Signed in English on bottom right; signed and titled
r
L L.UFAN€̛ɨLee Ufan 1984 From point€೥ߠ S i g n e d i n E n g l i s h o n b o t t o m r i g h t ; s i g n e d a n d t i t l e d
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an 1984 F
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om point
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in English, and dated on the reverse e
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Ը๕ PROVENANCE
˚͉؇ԯ೥఼ Tokyo Gallery, Japan n
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ԭݲࠠࠅӷɛϗᔛ Important Private Collection, Asia a
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ൗj೥ߠ൨Ϟ˚͉؇ԯ೥఼ʘᅺᜀ N o t e : A l a b e l o f J a p a n T o k y o G a l l e r y i s a f f i x e d o n t h e
ൗj೥ߠ൨Ϟ˚͉؇ԯ೥఼ʘᅺᜀ
Note: A label of Japan Tokyo Gallery is affixed on the
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ڝj˚͉؇ԯ೥఼කͭʘЪۜᆽႩՌ
ڝj˚͉؇ԯ೥఼කͭʘЪۜᆽႩՌ r reverse e
This work is accompanied by a note of confirmation
f confir
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tion
This w
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ork is accompanied b
issued by Tokyo Gallery, Japan
HKD 400,000 – 600,000 issued b y T oky o Gall ery , Japan
USD 51,300 – 76,900
The famous From Point and From Line series, which lasted Poetic Blue Landscape of Freedom
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French artist Yves Klein once said, “My monochrome paintings
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from 1972 to 1984, were born since then. . F r e n c h a r t i s t Y v e s K l e i n o n c e s a i d , “ M y mo n o c h ro me p a i n t i n gs
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The Classical Representative of Key Transition are landscapes of freedom.” Lee Ufan, who also regards blues
a s t h e m a i n c o l o u r o f h i s w o r k , c h o o s e s t h e c o b a l t b l u e , wh ic h
as the main colour of his work, chooses the cobalt blue, which
From Point at this auction was finished in 1984, regarded as
F r o m P o i n t a t t h i s a u c t io n w a s f i n i s h e d i n 1 9 8 4 , r e g a r d e d a s i is deeper, quieter and full of Zen. In From Point, the classic
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the key representative work marking the transition from From c o m bi n a t io n o f b l u e a n d wh i t e , wh ic h a r e m o r e s o l e m n i n
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combination of blue and white, which are more solemn in
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Point series (1972 - 1984) to the From Wind series (1982 - t the eastern tradition, appears an elegant and beautiful l

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1986). In this work, Lee filled his brush with homemade paint, , i intersection like the blue and white porcelain of the Korean
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and repeatedly painted “pen marks of dots” until the paint d y n a s t y , s h i m m e r i n g a n d p r o d u c i n g a n e t h e r e a l d e t a c h m e n t .
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dynasty, shimmering and producing an ethereal detachment.
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r ran out, showing an effect of “from emptiness to being, and T o h i g h l i g h t t h e p r e c i s io n o f b e g i n n i n g s a n d e n d i n g s o f i n
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To highlight the precision of beginnings and endings of in
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then to nothing”. Such an effect of gradual change is known every single blue stroke, Lee traces the way animal glue was
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as “infinite repetition”. Standing at the junction of the two
a s “i n f i n i t e r e p e t i t i o n ” . S t a n d i n g a t t h e j u n c t i o n o f t h e t w o us e d i n J a p a n e s e s i l k g l u e p a i n t i n g a n d C h i n e s e r o c k c o l o u r
used in Japanese silk glue painting and Chinese rock colour
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series, From Point not only integrates the form of the “point” p a i n t i n g , m i x i n g t h e g l u e w i t h b l u e m i n e r a l pi g m e n t s s o t h a t t h e
se
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painting, mixing the glue with blue mineral pigments so that the
a n d t h e c o n c e p t o f “ i n fi n i t ” , b u t a l s o b u i l ds a Z e n s p a c e f u ll o f pi g m e n t s w i ll r e t a i n t h e i r n a t u r a l c h a r a c t e r i s t ic s b u t a l s o r e v e a l
and the concept of “infinit”, but also builds a Zen space full of
pigments will retain their natural characteristics but also reveal
calligraphy charm through the wind-like freedom.
c a ll i g r a p h y c h a r m t h r o u g h t h e w i n d -l i k e f r e e d o m .
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t the original texture and tone of the canvas. Accompanied by
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The Rhythm of Life Between Breaths the poetic imagination given by blue, through the dance of
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brush strokes, the audience seems to see the speed of wind,
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Recalling his training in calligraphy and painting as a child, , b r us h s t r o k e s , t h e a u d i e n c e s e e m s t o s e e t h e s p e e d o f w i n d ,
Re
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Li found inspirations in the calligraphy stroke “dot”, with a
L i f o u n d i n s pi r a t io n s i n t h e c a ll i g r a p h y s t r o k e “ d o t ” , w i t h a the texture of water, the transmission of light, the vastness of
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strong cobalt blue brush leaving the most full and decisive t the stars, and finally return to the origin of the universe. As Lee
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b
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line on the top left of the work and delivering a steady sense Ufan once said, “The universe begins with one point and ends
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with one point.” Through the presentation of the points, he is
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l like a mountain. Subsequently, the brush stretched to the four w i t h o n e p o i n t . ” T h r o u g h t h e p r e s e n t a t i o n o f t h e p o i n t s , h e i s
e f
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c o r n e r s o f t h e c a n v a s , o r l i f t u p l i k e a r a i s e d s a i l , o r s w i f t e d f a ll going to the infinite depth of the universe, in which every stroke
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corners of the canvas, or lift up like a raised sail, or swifted fall
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like the surge of waves, continuous, but not overlapped, like a n d e v e r y d o t m a t t e r i n t h e d i m e n s io n s o f s p a c e a n d t i m e . A n d
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and every dot matter in the dimensions of space and time. And
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t thousands of rocks and valleys, as well as the audio vibrations, , the point created by Lee Ufan will eventually transform into a
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full of abstract but vivid associations. . new form in the viewer’s meditation. .
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During the fundamental training of the eastern ink and
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calligraphy, Lee’s repeated depiction of dots and lines is
c a l l i g r a p h y , L e e ’ s r e p e a t e d d e p ic t i o n o f d o t s a n d l i n e s i s
n
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regarded as the best way to “control and manipulate the
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breath”. For Lee, the movement of the brush itself connects
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to the rhythm of the creator. Breaking through the rigorous
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and prudent dot strokes of the past, at this moment, his light
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and flowing calligraphic strokes give rise to a sense of purity, ,
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vividness and sincerity. Each stroke, like a breath, from deep
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to shallow, from heavy to light, gradually reached the state of
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dissolving into nothingness. Only the particles of blue paints
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