Park Seo-Bo (1931-2023) Écriture No.151005 2015 signed, titled and dated 2015 on the reverse mixed media with Korean paper on canvas 130 x 80 cm (51 1/8 x 31 1/2 in) For further information on this lot please visit the Bonhams website
Park Seo-bo b. 1931 Ecriture No. 910116 mixed media with Korean paper on canvas signed and titled in Hanja and English, and dated 1991 on the reverse 97 by 130.5 cm. 38¼ by 51⅜ in. ---------------------------------------------- 朴栖甫 1931年生 描法 No. 910116 複合媒材韓紙畫布 1991年作 款識 朴栖甫，《描法 No. 910116》，1991年作（作品背面） 97 x 130.5 公分，38¼ x 51⅜ 英寸
Park Seo-bo b. 1931 Ecriture No. 910814 mixed media with Korean paper on canvas signed and titled in Hanja and English, and dated 1991 on the reverse 97.5 by 191 cm. 38⅜ by 75¼ in. ---------------------------------------------- 朴栖甫 1931年生 描法 No. 910814 複合媒材韓紙畫布 1991年作 款識 藝術家簽名，朴栖甫，Park Seo-Bo，《描法 No. 910814，Ecriture No. 910814》，1991（作品背面） 97.5 x 191 公分，38⅜ x 75¼ 英寸
Park Seo-Bo b. 1931 Ecriture No. 37-75-76 oil and pencil on canvas signed and titled in Hanja and English and dated 1975-76 on the reverse 195 by 300 cm. 76¾ by 118⅛ in. ---------------------------------------------- 朴栖甫 1931年生 描法 No. 37-75-76 油畫及鉛筆畫布 1975-1976年作 款識 PARK SEO-BO，《ECRITURE No. 37-75-76 》，1975-1976（作品背面） 195 x 300 公分，76¾ x 118⅛ 英寸
signed, titled and dated in pencil, numbered 15/99, published by ARTN Print Studio, Paju, South Korea, with their chop mark, with full margins, contained in an original case, sold with a certificate by ARTN Print Studio
Signed and dated '96 in the lower right margin, published by Mixografia, Los Angeles, CA, with full margins. Sheet size: H 31", W 23.25". Framed under glass: H 36.5", W 28.5".
Park Seo Bo (1931-) Korea, Ericture, Seoul Korea, 1988, Lithograph on wove paper, Edition of 300 signed, numbered and dated in pencil lower edge, approx 69cm x 89cm
Park Seo-Bo (Korean, b. 1931) Ecriture (from The Official Arts Portfolio of the XXIVth Olympiad, Seoul, Korea), 1988 lithograph signed, dated, and numbered 83/300 in pencil 27 x 35 inches.
描法 No. 110218 Ecriture No. 110218 簽名畫背：朴栖甫 命題：描法 No. 110218 2011年作 PARK. SEO-BO <1931~> ECRITURE No. 110218 165 cm x 260 cm MIXED MEDIA WITH KOREAN HANJI PAPER 1993 S.B. PARK Signed on the reverse PARK SEO-BO in Chinese and English, titled Ecriture No. 110218, inscribed 165 x 260 cm, MIXED MEDIA WITH KOREAN PAPER , dated 2011, and initialed S.B. PARK 賞析： 「我自身裡面有兩個我。一是忠於冥想的宗教性格的我， 另一個是為創造性慾望而吸引的我。」—朴栖甫 朴栖甫作為韓國當代藝術的先鋒者，以抽象表現主義的美學為基 礎，推動著韓國藝術脈絡的前進，被視為東亞當代美術代表性藝術 家。他以東方哲學思想為源，融合韓國傳統媒材「韓紙」的獨特 美學，立下抽象藝術發展的里程碑。世界級重要美術館，如：紐 約古根漢美術館（Guggenheim Museum）、泰德美術館（Tate Modern）等皆有典藏他的作品。 此次拍品《描法 No. 110218》源自朴栖甫最知名、最具代表性的 「描法（Ecriture）」系列。從1967年延續至今的系列，隨著藝術 家數十載的創作歷程，有了不同的變化。最初藝術家試圖模仿稚 子於作業本上的塗鴉，發現不斷重複單一行為，能從強烈的意識 中掏空自我，達到類似冥想，洗滌心靈的淨化。隨時空與心境的 轉換，早期《描法》系列以黑、白、灰為主色調，迴避掉色彩強 烈的象徵性，也是藝術家選擇對當時威權政治、國族情結、傳統 文化的詮釋。 紅色的《描法》系列，為朴氏參加自己在日本的開幕式畫展，旅途 中看見山上如火焰燃燒的秋日楓色，有感於大自然生生不息的力 量，深受感動而啟發的系列。《描法 No. 110218》即為2011年創 作的同一系列作品，為表現深刻於藝術家腦海，當時剎那成永恆的 感受。此系列的紅色，以多層浸泡過染料的手工韓紙製作，每一張 韓紙皆擁有的毛細孔紋理，能吸收顏色的程度各自不同，經過三個 月以上的染製，為藝術家層層悉心堆疊於畫布。如樹枝上獨一無二 的片片紅葉，集成一炬炬燃燒於藍天下的火。維妙細緻的繁複手 法，考驗著創作者極大的耐心與意志力。 1980年代，朴栖甫開始將碎紙浸入水性顏料貼上畫布，發揮紙質 韌性，彌補油畫隨時間龜裂的性質。至80年代後期，朴栖甫全面 將韓紙（hanji，傳統楮皮紙）融入創作，用手指或工具在浸染顏 料的紙上，產生重複的痕跡。進入二十一世紀，朴栖甫的心境隨 日常生活與城市景觀改變也有所變化，藝術家開始將《描法》系 列原本畫面的單色轉變為明亮色彩。韓紙伏貼於畫布，反覆創造 出的凹陷壟溝，隨觀者視覺角度變化產生動態。而拍品《描法 No. 110218》可說是集上述特徵大成之傑作，標誌朴氏近年來進化個 人創作之精髓。 1940- 1950年代於歐美興起之抽象藝術浪潮席捲了亞洲。朴栖甫 1954年從弘益大學油畫系畢業，作為現代美術家協會主要成員， 推動「不定形藝術」運動（Art Informel）在韓國的發展。1961 年，他得到聯合國際教科文組織獎學金，赴歐洲深造，深入抽象藝 術興起之根源。然而，韓戰後社會動盪不安的年代，間接促使朴栖 甫昇華，回歸探索創作精神狀態的本質，使藝術表現不帶目的性，扣合內在精神與物質世界的純粹連結。發展至70年代，以朴栖甫為首，外 在將這群韓國新一代藝術家，統稱為「單色畫」（Dansaekjo）畫派。 此時期的韓國創作者們以嚴謹細緻，對繪畫媒材運用一私不苟，極簡主義 的圖像語言表現，轉換深根於韓國文化的內在精神的概念。透過無限次重 複單一運動的狀態，達成內在自我修練的過程。朴栖甫說：「極簡或概念 化觀念是西方二分法的手法和結果。單色畫應被視為一種靈性之旅。創作 是自我修行的工具，而作品就是修行過程的殘留物。」藉繪畫的形式，掏 空自我的意念，去擁抱容納更多的外在。這種隨時間累積變化，無實際目 的性的概念，即切合東方思想中老莊無為，視人類為大自然的一部分，無 欲去主宰自然世界或對立不同價值的核心精神。 朴栖甫生於1931年韓國慶尚北道醴泉郡，青年時期經歷韓國受日本殖民， 韓戰爆發，高壓政權統治的等社會動盪不平的時期。早年的貧苦生活，使 朴栖甫體認到，在艱困的情境下，仍對藝術創作抱持無限熱情的性格，與 創作過程能修養身心的體悟。藉由現代藝術手法體現的深刻實踐，將千年 哲思的智慧傳遞給後世。在近年的訪談中，朴氏也提到，面對二十一世紀 網路發達，圖像資訊爆炸的時代，人們在生活中承受著極大的壓力與資訊 暴力。他本來不確定自己能夠面對環境如此的巨變，卻發現跨越世代與文 化，觀者能夠通過欣賞其作品，感受到舒適與幸福，如同韓紙吸收水分， 回歸寧靜與治癒壓力造成的傷害。 Catalogue Note: “THERE ARE TWO SIDES OF ME. ONE OF THEM IS DEDICATED TO RELIGIOUS AND MEDITATION, AND ANOTHER IS POSSESSED WITH THE DESIRE TO CREATE.” － PARK SEO-BO. As a pioneer of Korean modern art, Park Seo-bo uses abstract expressionism as a foundation to promote Korean art, becoming an iconic East Asian modern artist. He draws on eastern philosophy while integrating the traditional Korean material, “hanji”, into his artwork, setting a milestone in the evolution of abstract art. His works are collected by some of the most mentionable art museums like Guggenheim Museum and Tate Modern. Ecriture No. 110218 is one of the works from Park’s most famous and iconic Ecriture series. The series has been evolving alongside Park’s art style for decades since 1967. Park’s initial idea was to imitate children’s sketches in textbooks. He discovered that he could release himself from the most intense consciousness to reach a status similar to meditation and spiritual cleansing by doing one thing repeatedly. Based on the transition of time, space and the artist’s attitude, Park’s early works of the Ecriture series avoided the use of intense colors, mainly relying on black, white and grey as the main tones. This describes Park’s attitudes on authoritarian government, nationalism and traditional culture. The story behind the red Ecriture series begins when Park attended his own grand opening exhibition in Japan. He was inspired by the booming life of nature after seeing the flame red autumn maple leaves on the mountains during his trip. Ecriture No. 110218 is one of the works from the series created in 2011. The art represents the unforgettable gorgeous scenes and eternal feelings of the artist. The color red in the series is created with handmade hanji, which is dyed multiple times in the process. The texture of each piece of hanji can absorb the dye at different speeds and levels. After three months of dyeing, the artist finally uses the paper to put them on the canvas layer by layer. The red hanji looks like individual leaves on the tree branches, flaming under the blue sky. The exquisite and complex creating process reveals the extraordinary patience and determination of the artist. Park Seo-bo started a new technique in the 1980s. He soaked shredded paper in paint and used them across his canvas. Unlike traditional oil paint, the elasticity of paper preserves the paint from cracking over the long term. Park used hanji in all his artworks in the late 80s. He used his hands and tools to create repetitive patterns across the dyed paper. Along with changes in his daily life and city landscapes, Park’s inner mood moved on with time after entering the 21th century. He started to add brighter colors to his Ecriture series, which had been mostly monotone with black, while and grey. The hanji on canvas creates a sunken and cambered surface that creates a sense of motion as the viewer’s visual perspective moves. The item Ecriture No. 110218 is the most iconic masterpiece recently created by Park. Park Seo-bo started a new technique in the 1980s. He soaked shredded paper in paint and used them across his canvas. Unlike traditional oil paint, the elasticity of paper preserves the paint from cracking over the long term. Park used hanji in all his artworks in the late 80s. He used his hands and tools to create repetitive patterns across the dyed paper. Along with changes in his daily life and city landscapes, Park’s inner mood moved on with time after entering the 21th century. He started to add brighter colors to his Ecriture series, which had been mostly monotone with black, while and grey. The hanji on canvas creates a sunken and cambered surface that creates a sense of motion as the viewer’s visual perspective moves. The item Ecriture No. 110218 is the most iconic masterpiece recently created by Park. Western abstract art thrived in Asia from the 1940s to 1950s. After graduating from Hongik University with a degree in oil painting, Park Seo-bo started to promote the Art Informel movement in South Korea as a prominent member of the Korean Modern Artists Association. In 1961, Park received a scholarship from UNESCO to further study abstract art in Europe. However, the post-Korean-war era rooted Park to the basic spirit of creating art without specific intention, while focusing on the pure connection between the spirit and realworld objects. As Art Informel developed into the 1970s, the new generation of Korean artists Park inspired is known as “Dansaekjo”. Korean artists during that period of time were very meticulous on painting materials. They transformed the spirit of Korean culture to art with minimalistic images, and trained themselves through repetition. Park stated that “minimalism or conceptualization is the result of western binary thinking. Dansaekjo is more like a spiritual journey. Creating is a tool for self-discipline, and artworks are just the leftovers of the process”. Empty one’s own mind and build tolerance to others with paintings. The concept of no desire and intentionless builds as time moves on, which corresponds the eastern Lao Zi and Zhuang Zi philosophy. Human is a part of nature, and there is no need to overpower or exclude different values. Park Seo-bo was born in 1931 in Yecheon county of Gyeongbuk province in South Korea. He witnessed Japanese colonization, the Korean Civil War and post-war dictatorship in his younger age. Despite living a impoverished life during his early years, Park retained his passion for art and an understanding behind the meaning of self-cultivation. With modern art, he inherited thousands years of wisdom. In a recent interview, Park stated that people nowadays live under huge pressure. After the popularization of the internet, an information crisis was sparked along with the non-stop flood images and infos of the 21st century. He was not sure if he was ready for the great change before he found out how technology could actually connect different eras and cultures. Viewers may browse his artworks and feel a sense of comfort and joy. Much like the natural, inclusive, and durable qualities of hanji, a sense of tranquility is able to heal the wounds caused by trauma.
Park Seo-bo (b. 1931) Ecriture, from The Official Arts Portfolio of the XXIVth Olympiad, Seoul, Korea, 1988 Lithograph in colors on wove paper 27 x 35 inches (68.6 x 88.9 cm) (sheet) Ed. 198/300 Signed, numbered, and dated in pencil along lower edge HID04901242017
PARK SEO-BO B. 1931 Ecriture No. 070212 2007 signed, titled, dated 2007 and inscribed on the reverse mixed media with Korean paper on canvas 40 x 54cm (15 3/4 x 21 1/4in).
Artist: Seo-Bo Park, Korean (1931 - ) Title: Ecriture Year: 1988 Medium: Lithograph, signed and numbered in pencil Edition: 300 Size: 27 in. x 35 in. (68.58 cm x 88.9 cm)
Artist: Seo-Bo Park, Korean (1931 - ) Title: Ecriture Year: 1988 Medium: Lithograph, signed and numbered in pencil Edition: 300 Size: 27 in. x 35 in. (68.58 cm x 88.9 cm)
Park Seo-Bo (Korean, b. 1931) Ecriture, 1988 (from the Official Arts Portfolio of the XXIVth Olympiad, Seoul, Korea) lithograph edition 100/300, signed Park Seo-Bo (lower right) 27 x 35 inches.
Artist: Seo-Bo Park, Korean (1931 - ) || Title: Ecriture || Year: 1988 || Medium: Lithograph, signed and numbered in pencil || Edition: 300 || Size: 27 in. x 35 in. (68.58 cm x 88.9 cm)
Artist: Seo-Bo Park, Korean (1931 - ) | Title: Ecriture | Year: 1988 | Medium: Lithograph, signed and numbered in pencil | Edition: 300 | Size: 27 in. x 35 in. (68.58 cm x 88.9 cm)
Artist: Seo-Bo Park, Korean (1931 - ) Title: Ecriture Year: 1988 Medium: Lithograph, signed and numbered in pencil Edition: 300 Size: 27 in. x 35 in. (68.58 cm x 88.9 cm)
B. 1931 ECRITURE NO. 9 - 75 ECRITURE NO. 9 - 75 51 1/4 by 63 1/4 in. 130.4 by 160.6 cm signed, titled Ecriture No. 9 - 75 and dated 1975 in Chinese characters and Engilsh on the reverse oil and pencil on canvas PROVENANCE Tokyo Gallery, Japan NOTE "My biggest interest is to live by pure action for nothingness. Like memorizing a chant or meditating, entering a transcendent mental state through repetition, or repeating the act of emptying myself." PARK SEO-BO
