003

YOSHISHIGE SAITO (1904)

Untitled, 1963

oil on plywood. framed, 97.0x130.0cm, signed and dated on

the reverse.

Estimate HK$850,000 - 1,200,000

003

YOSHISHIGE SAITO (1904)

Untitled, 1963

oil on plywood. framed, 97.0x130.0cm, signed and dated on

the reverse.

Estimate HK$850,000 - 1,200,000

Yoshishige Saito was one of the pioneers of the post-war art in Japan along with Jiro Yoshihara and Takeo Yamaguchi. From the 1910s to the 20s, Saito had pursued his own expressions with the keys of the European avant-garde art especially Russian Futurism and Dada, which had been enthusiastically imported to Japan at the time.

The artist had started producing his artworks full time in the 1930s but had an off period due to the war and health issues. He had made a comeback to the art world in the 1950s. Saito had taught many splendid modern artists, those of Mono School at its top, at Tama Art University, where he had been a teacher.

Saito had used wood as a material of his artworks many times. In the early 1960s, he had concentrated on producing the artworks, in which the artist put paints into holes and lines on plywood made with an electric drill. The main theme of the art is the action of drilling plates and the marks from the action. An electric drill, which is hard to handle, contained the technique of the artist and the material of a plate was sealed with skillfully painting techniques. In the artwork, there is only a tension of the space overflowing, which is totally against the reproducibility of traditional painting art and the technique of artisans. In his later years, Saito had gone further to produce 3-dimensional artworks; his art had been developed in a different way from those of Yoshihara and Yamaguchi, who persistently pursued the potentiality of paintings that can be hung on a wall.

與吉原治良．山口長男並稱日本戰後美術開拓者。1910年-1920年代，積極學習山

口長男從歐洲引進的前衛美術，特別是俄羅斯的未來派與達達藝術，探求自我表

現。自1930年代開始正式進行藝術創作。但其中由于戰爭與健康原因一度中斷，

直到1950年才重返美術界。其任教的多摩美術大學，培養出許多“物派”現代美

術家。

齋藤的作品以木制品為主。1960年代初期，主要使用電動掘削機在合板上刻入點

與線，之後塗上顏料。此時這種刻劃板面的行為與板面上留下的刻痕成為其作品

的主旋律。由于自己無法隨心所欲地操縱電動掘削機，致使電動掘削機封閉了藝

術家的創作技巧，認真塗裝的顏料封閉了木板的素材感。其作品與傳統的引以為

豪的繪畫藝術之再現性以及工匠技巧徹底相反，充滿著空間的緊張感。跟探索挂

壁繪畫的吉原．山口正好相反，齋藤晚年致力于立體表現，走上一條獨特的藝術

之路。

006

SUKUKA YOSHIDA (1981)

Usual Haunt, 2008

acrylic on canvas. framed, 72.8x60.6cm, signed

titled and dated on the reverse

Estimate HK$17,500 - 25,000