JU MING
THE PROPERTY OF A GENTLEMAN 
JU MING

細節
朱銘
文聖
青銅 雕塑
1975年作
簽名:朱銘 JU MING

來源
重要私人收藏
徐氏藝術館館藏

年輕的朱銘最初學藝於鎮上的媽祖廟雕刻師,學習傳統神像雕刻,後來拜現代雕塑大師楊英風為師,吸收現代雕塑的養份,在他橫跨中西、民俗及現代的藝術創作中,可以清楚見到承傳中國文化的深刻底蘊。此次兩件《文聖》雕塑即在相同的主題下,呈現了朱銘對於不同媒材的深刻思考。1975年的《文聖》(Lot 1079) 屬於藝術家相當早期的作品,在衣袍和細節的處理上,顯露出清晰而銳利的角度轉折,人物有意拉高的比例隱含著至聖先師在中國傳統文化的崇高地位;在《文聖》(Lot 1140) 中,朱銘刻劃了執手而立的孔子,此處線條的使用比例降低,改以大塊面的切割保留媒材的重量感,在木頭的溫潤質感中強調出「夫子循循然善誘人」可親、可敬的形象。在中國傳統信仰中,文有孔子,武有關公,一文一武,兩聖相映,朱銘的《關公》(Lot 1141) 呈現了關羽「面如重棗,長髯飄拂」、手持青龍偃月刀的威武氣勢,青銅的塊面更加簡化,並與剛硬的材質相互呼應,而形塑出中國文化對於關公的崇敬與景仰。在80年代後期所作的《魯班》(Lot 1142)中,朱銘刻劃了魯班手持工具的樣貌,傳說魯班設計的工具與建造法則被沿用至今,對建築、木工等行業貢獻良多,因此被後世尊為中國工匠的師祖,《魯班》也因此傳達了朱銘心中對於工匠師祖的尊崇。
如朱銘的老師楊英風所言:「朱銘的創作軌跡是不斷的變遷,是一種動態的變化,是對生活的真實感受。」由鄉土系列、太極系列轉向人間系列,朱銘的發揮題材愈發深廣,在1979年的《羊》(Lot 1139) 中,我們不僅可見到藝術家對農村生活的回憶,在背景與主體的相互呼應間,更可見朱銘在雕刻過程中對於媒材肌理呈現的探索。《人間系列》(Lot 1080) 則隨著藝術家的生活歷練累積,而企圖以此系列道盡人間百態,其原木的質樸觸感與民間色彩的大膽採用,除了延續作品中一貫對「人」的關懷,同時也反映了中國傳統儒道精神的不斷追求,使朱銘在太極系列之外,再度以一個豐富多彩的世界開創出另一波藝術生涯的高峰。
來源
The Tsui Museum of Art

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拍品專文

Ju Ming received his first lessons in sculpting from sculptors at the Matsu Temple in his hometown, where he learned to carve Chinese traditional religious statues, and later absorbed the elements of modern sculpture under Yang Yingfeng. While his sculpture embraces both East and West, folk tradition and modernism, it also clearly exhibits elements inherited from Chinese culture. Ju's two sculptural images of Confucius display the variation in his aesthetics on the same subject, revealing his feel for the medium he employed.

One of the artist's early works, 1975 Confucius (Lot 1079) reveals Ju Ming's sharp and distinct shift in point of view through his handling of Confucius' robes and detailing of other features; the subject is deliberately elongated vertically to emphasize the almost saintly reverence of Confucius in Chinese society. In Confucius (Lot 1140), Ju Ming constructs this traditional figure in an upright posture with hands clasped, his proportion less exaggerated than the other work. Instead, larger blocks are hewn out with broad cuts, embedding to and preserving the natural mass of the wood.

Through the full, lustrous textures of the wood, this image of the approachable yet revered sage emphasizes his character as "the master who is impeccable in his guidance of men." Traditional Chinese belief has it that Confucius was a great man of letters, but to represent man of armed might, there was Guan Gong. The two sages, one cultured and the other skilled in arms, complement each other. In Guan Gong (Lot 1141), Ju Ming depicts a culture hero, also known as Guan Yu, who is traditionally seen as a "red-faced warrior with long whiskers waving" and holding his sword, the "green crescent dragon blade." Guan Gong here is sketched in bronze blocks, the solidity of the medium echoing the nature of the figure portrayed, and the respect and admiration felt for this figure in Chinese culture. Lu Ban (Lot 1142), executed in1980s, exhibits this legendary historical figure posed with tools in his hands, subtly symbolizing his influence that many of the tools and the building methods he invented are in continuous use even until present day; due to his contributions to building and architecture, younger generations have come to revere him as the father of craftsmen, thus also reflecting Ju Ming's own respect for Lu Ban as a legendary historical builder and craftsman.

Ju Ming's teacher Yang Fengying once said, "Ju's creative path is continually changing. It is a dynamic change, arising out of genuine responses to life." Ju's path has taken him on a constant, expanding journey, from his Nativist Series to his Taichi Series and further on to his Living World Series. In his 1979 Sheep (Lot 1139) we find nostalgic images of rural life, and in the relationship between the subject and its background we see Ju 's artistic investigation on the textural presentation of the medium. Living World (Lot 1080) reflects Ju Ming's matured experiences and his desire to use new series to portray more varied aspects of life. Through the rough textures of wood and bold colors borrowed from folk art, the figure portrayed in this series reveal the artist's continuing concern for humanity and reflects his continuous search for the Confucian-Taoist spirit; an energy that drives Ju Ming to reach for new heights beyond his Taichi series and continuously strive and explore for a new and richly varied creative world.

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