LKS-P208 小雪 2015 銅版 61x93cm小圖

小雪
Light Snow

劉國松 Liu Kuo-sung

銅版 Etching Print
3 版 Plates, 3 色 Colors, 3 印 Runs
版數 Edition of 100
2015, 61 x 93 cm

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商品介紹

本版畫共使用三個版,即白色的底版、藍色的中版,和黑色的主版;總共三色,分三次印刷。

底版以米白色做為背景,用留白的概念在銅版上刻出抽筋剝皮皴所抽出紙筋之後的產生的白色線條,還原版畫紙本身的顏色。銅版刻蝕後不粘油墨的凹痕的概念和劉國松抽筋剝皮皴的道理一樣,使用被刻蝕的虛線在未被刻蝕的平實塊面裡,虛實對比的表現突兀感,而創造出整體的效果。

以藍色為主的中版,注重深和淺的過渡,充滿  神秘生命力的深藍色,使黑墨更有張力。主版的黑色是畫面上大筆觸的主要結構。為了表現劉國松狂草筆觸深厚濃墨的力量,製版過程繁複、費時,一次次刻版和一次次腐蝕的程序,反覆重複超過十次,亦即刻版後就腐蝕,腐蝕後又修改再刻,慢慢表現出墨中的層次與厚度。

劉國松大筆觸系列傳承古代狂草的張力和書法意境,銅版的特性在善於表現線條的銳利和流暢。刻蝕後的留白線條與劉國松抽筋剝皮皴所創造的白線如出一轍,也呈現了劉國松受到道家思想影響使用陰陽兩元素的創作理念。

The print is composed of three plates and three colors, white, blue and black, in a total of three runs. The base plate sets a warm white background, providing the white negative space that will later be outlined by black ink from the main plate. The etched lines of the copperplate shares the same principle as Liu Kuo-sung’s “Ripping the Tendons and Peeling the Skin” technique. In both cases, the lines are created by the principle of reduction, either through etching the surface of the copperplate or pealing the fibers of the rice paper; the goal is to reveal the whiteness of the base.

The blue of the middle plate serves as a transition between the other two plates. Its purpose is to add substance and to create a sense of depth to the black ink of the brushstrokes.The black of the main plate creates the main compositional brushstrokes. In order to represent the velocity of Liu’s wild-cursive script, great attention was paid to the details of the brushstrokes. Undergoing a series of biting (in which the acid corrodes the exposed copper) and revisions with the etching needle, the varying depth and thickness of the ink are slowly created; bit by bit and line by line.

Liu Kuo-sung’s Great Brushstrokes Series transmits the power of wild-cursive script by past masters, and the properties of etching printing specializes in the depiction of sharp and flowing lines. The copperplate’s etched lines and the exposed white lines of Liu’s “Ripping the Tendons and Peeling the Skin” technique share the same principle, both abiding by the creative philosophy of Yin and Yang ever-present in the art of Liu Kuo-sung.         Liu Kuo-sung’s Great Brushstrokes series transmits the power and substance of wild-cursive script by past masters, and the properties of etching printmaking allows for the excellent depiction of sharp and flowing lines. The etched lines of the copperplate and the exposed white lines of Liu’s “Ripping the Tendons and Peeling the Skin” technique are the same in principle, both abiding by the creative philosophy of Yin and Yang ever-present in the art of Liu Kuo-sung.

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