拍品 418
418
CHU TEH-CHUN (ZHU DEQUN,1920-2014)
Lithography Lithography is a type of planographic print, where ink is applied on a perfectly level surface. The image is created by directly drawing onto the printing plate using an oil-based material - usually with wax substances onto a block of polished limestone or specially treated metal. Water and ink are then subsequently applied onto the printing plate to execute the print. Taking advantage of the incompatibility of water and oil, the drawn image will be printed as it attracts grease, whereas the non-image area attracts water. Since ink is applied on a level surface, the characteristic of lithographs therefore embodies a sense of flatness in them. As the creation of the print relies wholly on the hand drawn image, images drawn are able to demonstrate expressive characteristics that hand drawn images have, as well as a rich tonal variety, depending on how much oil-based material has been applied onto the printing plate. Light and shade of the image can be achieved through roughening the surface of the printing plate, adding more pictorial depth to the print. Some of Chu Teh-Chun and Zao Wou-Ki's lithographs have a painterly effect, almost like watercolour paintings. This effect can be achieved through a tonal technique called lithotint, with images drawn with a brush and an oil-based ink onto the printing plate. The smoother lines seen on his prints reflect that Chu may have used a smooth printing plate to execute his work, while the Abstract Expressionist gestural and expressive marks on Zao's prints reflect the advantages of lithography in allowing more freedom for the artist to draw the image. Etching Unlike lithography, etching is a type of Intaglio print, where ink is held in grooves under the surface of printing plate. In order to create the image, the printing plate has to be prepared and covered with wax - an acid resistant ground, before lines can be drawn onto the plate with an etching needle that exposes the metal surface which allows for lines to be incised later. The printing plate is then placed in an acid bath, where lines drawn on the plate will be etched with acid, creating grooves to hold ink for printing. The longer the plate is left in the acid bath, the deeper, broader and darker lines drawn will be. Paper has to be dampened before printing in order to receive the ink - which leaves a plate mark after printing, as the printing process requires a great amount of pressure, using a rolling press to print. At times, artists combine two different printing techniques to achieve certain visual effects in their work. Aquatint is commonly used together with etching to create tonal gradations, adding weight and dimension to the image. Similar to etching, aquatint relies on acid baths to create tonal areas; however, the printing plate for aquatint is prepared with a layer of heated resin powder before the illustration. The tonal gradations of aquatint is achieved through the various levels of acid bath, where certain areas of the print with lighter tones are achieved by the act of stopping out, covering them with varnish before the acid bath. Areas that have been placed in the acid for a longer period of time therefore result in a darker tone on the print. While the process of creating an etching may be complicated, this particular method enables flexibility for the illustration, and more control over the intensity of lines through varying degrees of acid baths. This allows for a greater precision of the image, as well as a greater tonal variation especially with the use of aquatint. Polígrafa Also worth mentioning is an important institution in printmaking: Polígrafa Obra Gràfica, which has helped to publish print editions by well-known artists such as Joan Miró, Max Ernst, Henry Moore, Michael Craig-Martin and Francis Bacon. Commonly known as Pol?grafa, the Barcelona print studio was founded in 1964 by Manuel de Muga, with its own facilities for a variety of printing techniques such as etching, lithography and woodcuts. Apart from promoting and working with Western artists, the print studio also publishes editions by contemporary artists around the world, including Chinese artists Zao Wou-Ki and Wang Huaiqing . Pol?grafa has been collaborating with Zao since 1976, and only started working with Wang in 2002, producing a successful edition of etchings. Wang's Red (2008) for instance, an etching published by Pol?grafa, presents a simple yet powerful red and black abstract composition, while at the same time alludes to traditional Chinese aesthetics.
朱德群

蓝色季节(其中一版画)；及璀璨

细节
朱德群
蓝色季节(其中一版画)；及璀璨

石刻 版画;及 石刻 版画

2008年作 (璀璨)

款识：朱德群 CHU TEH-CHUN
(右下)；及 朱德群 CHU TEH-CHUN
(右下)
出版
2008年《朱德群2000-2008石版画》 霍克国际艺术 台北 台湾 (图版，第42页)

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拍品专文

平版印刷术 平版印刷术是一种平面的印刷方式，油墨是上在完全平坦的印刷版表面。图形是以油脂材料直接图绘在印刷版上－通常是以含蜡笔材画在一块打磨平整的石灰石或是特别处理过的金属上。接着将水及油墨陆续涂上印刷版，再进行印刷。利用水油互斥的特性产生图桉，因为绘图的区域会吸收油墨，而没有图桉的部位则吸收水份。 因为油墨是涂在平坦的表面上，所以平版印刷版画的特色就在于具体呈现出作品的平面性。由于平版印刷的成果完全仰赖手绘图桉，所绘製的图形可以展现出画作表达多重情感的特质，也能表现出丰富的色调差异─这则取决于印刷版上油脂材料的用量。画面的光影效果可藉由调整印刷版表面的粗糙程度来呈现，为印刷出来的成品添加视觉深度。 一部份朱德群与赵无极的平版印刷作品具有绘画般的效果，几乎与水彩画无异。此效果是透过一种称为「彩色石印」的调色技巧达成，图形则是用画笔加上油性墨彩直接画在印刷版上。朱德群的版画作品上可以看见较为平滑的线条，反映出朱德群可能使用了平滑的印刷版来创作。而赵无极的版画中呈现出抽象表现主义大姿态的表述方式。由此可见，平版印刷术的优势在于给予版画家作画时更多的自由。 蚀刻法 不同于平版印刷术，蚀刻法是一种凹版印刷术，油墨位于印刷版上的沟槽中。要创作版画前，印刷版必须事先覆之以蜡─一层可以抗酸蚀的底材，之后用钢製蚀刻针在印刷版上画出线条，将蜡底下的金属面露出，以便稍后进行蚀刻。接着，将印刷版浸泡于酸液腐蚀槽中，如此版上所绘线条就会被酸液浸蚀，形成可以留住墨彩的沟槽。印刷版浸泡在酸液裡的时间越长，所印出的线条就会变得越深、越宽、越暗。印刷前，纸张必须弄溼，以助于吸收墨彩─印刷过程运用滚筒压印机施加大量压力，使得油墨在溼纸上留下印痕。 有时候，版画家会结合两种不同的印刷技巧，以便在作品中形成特别的视觉效果。细点腐蚀法经常与蚀刻法并用，以创造出渐层的效果，为画作增添质感与空间感。与蚀刻法类似，细点腐蚀法也要靠酸液腐蚀槽来创造色调范围；然而，细点腐蚀法的印刷版在作画前要先撒上一层加热过的松香粉。细点腐蚀法的渐层效果由浸泡酸液的程度多寡所形成，画作中色调较澹的区域是以「覆盖」的方式来达成，也就是先覆盖上一层清漆之后再泡进腐蚀槽。浸泡酸液较久的区域，就形成画面中色调较深的部位。 製作蚀刻版的过程也许很複杂，然而这种独特的工法使得画面的呈现更加灵活，并且透过不同程度的酸蚀，版画家能高度掌握线条的饱和度。版画因此带有有更高的精确度，也有更丰富的色调变化，运用细点腐蚀法尤然。 Polígrafa 同样值得一提的是版画印製界中，一个相当重要的工作室：Polígrafa Obra Gràfica。此工作室协助出版许多知名画家的版画作品，包括米罗、恩斯特、亨利‧摩尔、克雷格马丁以及法兰西斯‧培根。一般俗称为Polígrafa，这家巴塞隆纳印刷工作室是由Manuel de Muga于1964年成立，有自己的设备可以从事各种印刷技术，例如蚀刻、平版印刷以及木刻印刷。 除了与西方画家合作与推广之外，Polígrafa印刷工作室也出版世界各地当代画家的版画作品，包括中国画家赵无极与王怀庆。Polígrafa从1976年起开始与赵无极合作，而与王怀庆的合作则始于2002年，成功创造出杰出的蚀刻版作品。举例来说，王怀庆2008年的作品《朱》就是由Polígrafa出版的蚀刻版画，呈现简单却有力的红与黑抽象构图，同时亦传达传统中国美学的意境。

更多来自 亚洲二十世纪艺术 (日间拍卖)

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