IKKI MIYAKE
三宅一樹

素脚詞

細節
三宅一樹
素脚詞
榧木 樟木 雕塑
2001年作

來源
2006年5月26日 佳士得香港 編號 376
現藏者購自上述拍賣

展覽
2003年12月8-13日「三宅一樹雕刻展」Miyuki Gallery 東京 日本
2005年8月24-31日「人工樂園」Bunkamura Gallery 東京 日本

出版
2003年《三宅一樹雕刻展》Miyuki Gallery 東京 日本 (圖版,無頁數)
2005年《人工樂園》Bunkamura Gallery 東京 日本 (圖版,無頁數)

三宅一樹「素腳詞」系列以女性雙腿為創作題材,展示人體完美比例和優雅線條美感。本次拍賣《素腳詞》(Lot 1368) 為整個系列合共5件作品中首件完成的作品,披露了藝術家的原始創作靈感。有別於此系列中其餘2件作品,《素腳詞》是以珍貴而罕有的榧木雕刻而成。三宅一樹憶述尋找雕刻木材時,第一眼發現榧木便確認了他心中想要展現優雅女性體態的靈感。榧木又稱香榧,本身散發天然香味,早於日本平安時代已是雕塑珍貴佛像的材料。對於三宅一樹而言,榧木散發纖細、柔媚、誘人的感覺。藝術家把榧木以精巧的技藝雕刻成女性修長、柔滑的雙腳。樹木獨有的紋理巧妙成為了獨一無二的腳紋;榧木本身的米白色自然地展現東方女性的膚色和柔滑的肌膚。

為了突出腳部線條,加強雕塑的表現力,三宅一樹刻意把女主角雙手藏在衣服內,肩膀至腰部以簡單線條輪廓交代。彷如奈良東大寺中十六羅漢第一尊者賓度羅跋囉惰闍的塑像,盤腿而坐的佛像,雙腳的形態也是以簡化的線條輪廓交代,突出手勢和面容。日本傳統佛雕的造型重點在於表現慈悲祥和的面容,以及頌經冥想時,平伏心境的手印,表現凝思冥想的境界。三宅反倒表現年輕女性下半生的腳部的感染力。基於美感的考量,三宅刻意把腳指延長,又不失與腳掌、小腿、大腿的比例,形成完美無暇的線條。《素腳詞》輕鬆的腳部姿態透露了內在心靈的平衡、放鬆、平靜。三宅一樹含蓄的藝術手法,表現東方美學情感至上的獨特思維。
來源
Christie's Hong Kong, 26 May 2006, Lot 376
Acquired from the above by the present owner
出版
Miyuki Gallery, Ikki Miyake Sculpture Exhibition - Suashi-Kotoba, Tokyo, Japan, 2003 (illustrated, unpaged).
Bunkamura Gallery, Bunkamura Art Show 2005, Tokyo, Japan, 2005 (illustrated, unpaged).
展覽
Tokyo, Japan, Miyuki Gallery, Ikki Miyake Sculpture Exhibition - Suashi-Kotoba, 8-13 December 2003.
Tokyo, Japan, Bunkamura Gallery, Bunkamura Art Show 2005, 24-31 August 2005.
拍場告示
Please note that the correct dimensions of the work are: 80 x 160 x 113 cm.

拍品專文

Ikki Miyake - Suashi-Kotoba (Fascination of Legs) (Lot 1368), was inspired by female legs and shows the perfect human proportions and aesthetic body shape. As the first completed work out of a series of five pieces, Suashi-Kotoba (Fascination of Legs) reveals the original artistic inspiration of Miyake for this series. Different from other two pieces from the series, Suashi-Kotoba was carved out of Torreya, a precious and rare wood. Ikki Miyake recalled that he knew Torreya was the type of wood needed to present the elegant, gentle and slender female form. Torreya, also known as Torreya grandis, has a distinctive flavor that is considered a precious medium and has been used to carve Buddha sculpture in the early Heian Period in Japan. With great skill, Miyake allows the unique texture of trees becomes the pattern of the foot while the original beige color of the Torreya wood, naturally represents the color and smoothness of Asian women's skin.

To highlight the shape of the legs and strengthening the expressiveness of the sculpture, Miyake deliberately hides the figure's arms and simplistically carves the form from the shoulders to the waist. The simple contour is reminiscent of the cross-legged statue - Pindola Bharadvaja of the sixteen arhats in Todai-ji Temple. Traditional Japanese Buddhist sculptures focus on the mercy face and peaceful gesture showing the meditation state of oneself. Here, Miyake deliberately extend the length of toes without damaging the proportion of foot, thigh and calf. The relaxed posture of Suashi-Kotoba (Fascination of Legs) displays Miyake's balanced and tranquil mind when working. The artwork of Miyake beautifully exemplifies the remarkable thoughts of Eastern aesthetic.

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