Page 318 - 亚洲二十世纪及当代艺术

84 ʜɪϞɓ 1916-1985 Yuichi Inoue

۝ Ko
ኈ ॷ͉ Ink on paper
5
5
ɓɘʬɓϋЪ 131x176.8 cm. 51 /8 × 69 /8 in.
Painted in 1961
ಛᗆ
ᖵஔ࢕ඕΙ€̛ɨ Stamped with one artist’s seal on bottom right
LITERATURE
̈و 1996-1998, Yu-ichi Inoue Catalogue Raisonné of the
1996 Ї 1998 ϋdʜɪϞɓΌุࣣ‘ୋɓ̅d Works Vol.1, Unac Tokyo, Tokyo, p.203
Unac Tokyo ̈وٟd؇ԯdୋ 203 ࠫ
PROVENANCE
Ը๕ Gallery 100, Taipei
̨̏ϵᖵ೥఼ Acquired directly by present private Asian collector
ତԭݲӷɛᔛ࢕ٜટᒅІɪࠑԸ๕ from the above
This work is accompanied by a certificate of authenticity
ڝj̨̏ϵᖵ೥఼කͭʘЪۜᗇࣣ This w ork is accompanied b y a cer tifica t e o f a uthenticity
ڝj̨̏ϵᖵ೥఼කͭʘЪۜᗇࣣ
issued b y Gall ery 100 , T aipei
issued by Gallery 100, Taipei
HKD 380,000 – 580,000
USD 48,700 – 74,400
¨To live is to wield the brush, rather be a devil of a single character on a large scale is because someone who
writing!© doesn’t usually use a brush cannot use it as freely as the Tang
dynasty calligrapher Yan Zhenqing who lived a life using a
{ Yuichi Inoue
brush. Therefore, I write a single character and try to make it as
“He was an ordinary teacher at school, and an avant-garde large as possible to trace the brush power of ancient masters.”
artist at home.” This is how a friend, Masaomi Unagami, In this autumn auction, the presentation of his work Ko (Lot 84)
described Yuichi Inoue, the Japanese calligraphy master. After from 1961 and Tsuki (Lot 85) from 1977, exemplify the brush
World War II, Yuichi Inoue, who was originally a teacher at a power of ancient masters during his peak creative years.
normal school, along with his friends Eguchi Sogen and Morita What is not Forgotten will Surely Resonate
Shiryū, gathered at Ryōan-ji in Kyoto in 1952. They decided
to return Japanese calligraphy from a traditional form of art In the early 1960s, Yuichi Inoue often stayed at home to take
focused on elegance to the realm of the soul, infusing it with care of his sick mother and began to create art at a higher
soul. By pouring the most primitive rhythm and spirit into the frequency. During this period, he wrote characters such as
brush strokes, and achieving alignment between calligraphy “Filial Piety” and “Roar” to express his inner frustrations. The
and the language of modern art, he entered the realm of character “Ko” means “sound” in Japanese. The large character
international contemporary masters. His work Gutetsu was “Ko” is like a mysterious musical note, what is not forgotten
included in the famous British critic Herbert Read’s book A will surely resonate, vibrating on the boundless white paper,
History of Modern Painting and was praised as one of the most leaving behind the echoes of life.
representative abstract works. Yuichi Inoue once said, “Writing The Dignity of the Brush and Ink, Both Light and Dark are
Ink
Yuichi Inoue’s calligraphy in the 1960s is full of fluidity.
If observed closely, one can see the details beneath
each brushstroke, with different shades of ink erupting
simultaneously at the tip of the brush. This allows the artist’s
physical gestures and mental state to be revealed in the
artwork, embodying the grandeur of brush and ink.
Continuous Coexistence, the Explosion of Life
When creating, the artist felt restricted by the size of the paper,
so he personally connected two horizontal Japanese washi
papers, expanding the dimensions of the artwork. At the top of
the composition, the surging ink dots create a highly dramatic
scene, showcasing the artist’s extreme expression of explosive
force in his creation.

ʜɪϞɓइ‘d146 x 228 cmd1966 ϋЪdשርϓʹᄆ 1,440,000 ʩಥ࿆

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