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設色 紙本 1977 簽名左上: 席德進 1977 題識: 一瞥 鈐印: 四川南部縣人(白文) 65×125 cm(25.5×49.2 in.) Ink on paper 1977 Signed lower left : named SHIY De Jinn in Chinese, 1977 Inscribed with one seal of the artist
席德進自述:「假如我們不是那麼狹義地解釋水彩畫,我們何嘗不可以說中國宋代的潑墨畫法不也是水彩畫嗎?所不同的,是中國畫以墨為主,以墨當色吧。」所以在他的水彩作品可以看到彩中有墨的厚度,墨中有彩的靈動,墨彩相互交融映輝。 Lot1103《太武山下》畫面中央縱向的樹木佇立,左右兩側繪製山勢及石塊,讓整體畫面達到平衡,使用沒骨粗筆的筆法描繪樹的枝幹,以較深的墨色強調樹木的遠近感,透過大小不一的灰色調墨點描繪葉叢,樹叢看似雜亂卻呈現其繁盛的樣貌。席德進認為中國繪畫缺乏臨場感是一種缺失,他跋山涉水面對真實景物,表達自己對景物的心靈境界。
Shiy De Jinn said: "If we hadn’t interpreted watercolor painting in such a narrow sense, wouldn’t the splash-ink painting method of the Song Dynasty in China also be watercolor painting? The difference is that Chinese painting is mainly ink, and ink is used as the color." Therefore, in his watercolor works, you can see the thickness of the ink in the color, the agility of the ink in the color, as well as the ink and color blend in and shine with each other. Lot1103 "Under the Taiwu Mountain" has a vertical tree standing in the center of the painting. The left and right sides of the painting are equipped with mountains and stones to balance the overall image. The brushwork of a thick brush without bones is used to depict the branches of the tree, which is emphasized by a darker ink. The sense of distance and proximity of the trees depicts leaf clumps through gray tonal ink dots of different sizes. The clumps seem to be messy but present their prosperous appearance. Shiy De Jinn thought the lack of presence in Chinese painting is a kind of deficiency. He travels across mountains and rivers to experience the real scene. Different from realistic depiction, he felt the real sense of presence and expressed his spiritual state of the scenery.