LKS-P209 日正當中 2015 木刻水印 99x195cm小圖

日正當中
High Noon

劉國松 Liu Kuo-sung

木刻水印 Woodblock Print
6 版 Plates, 15 色 Colors, 15 印 Runs
版數 Edition of 100
2015, 99 x 195 cm

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商品介紹

這件版畫做工繁複,工程浩大,挑戰了木刻水印的極限。共使用6版,畫面上半部2版,下半部4版;總共15色,分15次印刷。原作為綜合媒材,由畫面上半部的噴繪和下半部的抽筋剝皮皴組成,版畫製作也分為上、下兩部分構成。

首先,由下半部開始進行,第一版分為深藍、中藍、淺灰三色,首先以濃郁的藍色漸層打底,過程中必須維持宣紙的高濕度;接著進行第二版(藍、灰兩色),和第三版(淺藍、深藍、淺灰、深灰四色),一次次地染入深淺不同的藍與灰色顏料,以呈現筆觸周邊與背景互動的細節;等到前三版印製的畫面乾透並穩定之後,才進行第四版,這也是畫面下半部的主版,以濃厚的黑、藍兩色為主,力求達到大筆觸的筆墨與背景強烈對比的效果,和如同書法狂草線條的張力。

畫面上半部使用兩版,在呈現太陽與背景上,使用黃、紅與深紅三色;最後一版則     用深紅色呈現光圈。如此繁複使用黃、紅與深紅色,層層暈染,才能表現出太陽和光圈在大地上互相輝映的光芒。

這件木刻水印除了挑戰作品本身的龐大之外,更必須克服多版、多色印製的種種困難,如版與版之間的呼應,以及印製中精細的堆疊和暈染,並要確保原作的大筆觸和光圈俐落的線條、背景色彩柔和的過渡,以及畫面整體的完整性和氣勢。

This monumental print completely redefines woodblock printmaking. It is composed of six plates and fifteen colors, in a total of fifteen runs. As the original mixed media painting was composed of different techniques between the top and bottom, in creating the print, the plates were also divided into top and bottom portions, with two plates for the top and four for the bottom.

Starting from the bottom, the first plate sets a deep blue background, printing different shades of blue and grey onto dampened rice paper. In following second and third plates, while preserving the paper’s dampness, more mixtures of blue and grey are blended on to create the painterly details that bridge the background with the frontal brushstrokes. After allowing the colors to dry and stabilize, the fourth plate is printed. As the main compositional plate, the fourth plate relies on the heavy use of black and blue ink, to create the strong brushstrokes that stand clearly from the background.

The top portion is composed of two plates; the first blends a mixture of different red and yellow pigments to portray the stark red background, which also outlines the contours of the sun and crescent moons. The second and final plate adds the orange halo around the sun, as finishing touches.

This print not only challenges the limits of woodblock printmaking in terms of sheer size, but also the difficulties of printing multiple plates and colors, especially how the colors on each plate are blended or layered. In the end, the sharp contours of the calligraphic brushstrokes, the natural rendering of the background, as well as the overall atmosphere, all testify the degree of ingenuity and craftsmanship of this epic print.

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