THE JAPANESE CALLIGRAPHY AI LOVE SIGNED INOUE YUICHI Ink on paper By the 6th century A.D. calligraphy had spread to Japan, where it gradually evolved into a 'calligraphy ceremony,' a companion to the 'tea ceremony' and 'flower ceremony,' forming an important part of Japan's Zen culture. The postwar years brought Japan into much greater contact with modern Western art. Artists were no longer restricted to Japan's native, traditional art forms; they aspired to participate in international art movements while retaining the power of Japan's traditional aesthetics, thereby producing new art forms. Yuichi Inoue was a true master of the calligraphic arts, who understood that the gestures of a brush could reveal much more than the painted characters themselves. The strong stability of Yuichi’s broad horizontal strokes and the power of his upward splatters Ai-Love with an expressive spontaneous energy. Dimension: Image only 87 cm by 79.3 cm.
Yuichi Inoue, Japanese, 1916 to 1985, Showa era, 1926 to 1989, Calligraphy brushed in sumi ink on paper. Signed in red, lower left. Framed. Yuichi Inoue was a Japanese avant garde calligrapher who embodied the self discipline and experimental spirit of Japans early post war decades. Inoue received his training under the renowned calligrapher Sokyu Ueda and, for a period, experimented with total abandonment of sho calligraphy conventions. He emerged as one of the prominent figures among a generation of avant-garde Japanese artists who gained national and international recognition in the post war era following the collapse of the conservative value system. One of a kind artwork.
A JAPANESE CALLIGRAPHY KOKORO SIGNED INOUE YUICHI Kokoro-Heart, ink on Japanese paper. signed, titled and inscribed in Japanese on the reverse. This work created by wielding deft and powerful brush strokes, where composed boldness orchestrates vertical and horizontal structural lines that embody a beautiful artistic fusion of Western abstract expressionism and modern Japanese Calligraphy. Yuichi breaks with tradition and abandons the use of conventional small-size square paper. Instead, he opts for large sheets of paper with size over a hundred centimeters. Dimension: 107x85 cm.
Yuichi Inoue, Japanese, 1916 to 1985, Showa era, 1926 to 1989, Calligraphy brushed in sumi ink on paper. Signed in red, lower left. Framed. Yuichi Inoue was a Japanese avant garde calligrapher who embodied the self discipline and experimental spirit of Japans early post war decades. Inoue received his training under the renowned calligrapher Sokyu Ueda and, for a period, experimented with total abandonment of sho calligraphy conventions. He emerged as one of the prominent figures among a generation of avant-garde Japanese artists who gained national and international recognition in the post war era following the collapse of the conservative value system. One of a kind artwork.
American Modernism Abstrakter Expressionismus Yuichi, Inoue Jin-Ka (= Suche nach der himmlischen Blüte). 1977. Tusche auf hauchzartem China aufgewalzt auf Japan. Sichtmaß 25 x 26 cm. Signiert "yu-ichi" in Hiragana. Auf Unterlage montiert und unter Glas gerahmt (ungeöffnet). - Augenscheinlich in sehr gutem Zustand. Catalogue Raisonné, Vol. 3, Nr. 77111. - Provenienz: Deutsche Privatsammlung, erworben in der Japan Art Galerie Friedrich Müller. Ink on delicate China rolled onto Japan. Visible dimensions 25 x 26 cm. Signed "yu-ichi" in hiragana. Mounted on underlying mat and framed under glass (unopened). - Apparently in very good condition. - Provenance: Private collection, Germany. Acquired at the Japan Art Galerie Friedrich Müller.
A CALLIGRAPHY OF TONGPOO SIGNED INOUE YUICHI The work offered here, Tongpoo (Wind from East) , is a major work by Inoue. Frozen ink on Japanese paper, one seal of the artist. Dimension: Image only size 55.2 cm by 99.2 cm.
A calligraphy of dragon signed inoue yuichi The work offered here, Ryu (Dragon) , is a major work by Inoue. Frozen ink on Japanese paper, one seal of the artist. Dimension: Image only size 58 cm by 72 cm.
Yuichi Inoue (1916-1985) Ichimo Shumo wo Hiku (A Blind person leads many blind persons.) 1976 one artist seal on the lower left ink on paper 61.1 x 74 cm (24 1/16 x 29 1/8 in)
Yuichi Inoue (1916-1985) Oto (Sound) 1972 on artist seal on the lower right; titled and numbered 72011 on the backing board ink on paper 63 x 70.5 cm (24 13/16 x 27 3/4 in)
佛 Butsu 釋文：佛。 井上有一：即身成佛 井上有一（1916-1985）出生於日本東京，來自貧寒家庭的他為了儘早獨立而先捨棄了追尋藝術的夢想，選擇進入東京府立青山師範學校就讀，後成為日本國民學校教師，然而有一並未放棄自己的藝術之夢，教職期間多利用課餘進修西方美術的相關訓練，1941年有一經友人推薦介紹認識了當時日本書法界的大師—上田桑鳩，開始決心拜師學習書法。1945年東京大空襲，有一面臨著生死交關的命運，國家經歷著內憂外患，雖然為生活情勢與貧困所逼，但書法的追求與練習給予他另一個喘息的空間，紙筆俱在便能一頭鑽入藝術的境地，有一在大難不死之中了解到生命與藝術的意義，從此立志藉由「書道」踏上自我實現之路。 井上在面對西方抽象表現主義的主張與理念的反思之中，感受到書法藝術應該要揚棄所有的流派，以精神上的「我」去面對書道，自此井上成為日本現代藝術迎向國際藝壇的的先驅，國內外的邀展無數：1958年布魯塞爾萬國博覽會的「近代美術五十年」展、1959年卡塞爾文獻展、1994-95年古根 漢美術館「1945年後的日本藝術：向天空吶喊」大展、2016年日本金澤21世紀美術館、2018年紐約大都會美術館等，井上的書法被視為東方現代書法藝術的先驅，早年更為國際眾 多知名美術館典藏：德國科隆東亞藝術博物館、紐約大都會美術館、美國卡內基博物館、日本東京與京都現代美術館、京都國立近代美術館等。 井上的父親井上榮治是虔誠的佛教徒（日蓮宗），榮治曾親赴法華經寺許願求子，隨後生下獨子井上有一；1949年榮治的猝逝、戰亂的時局，加上家庭劇變，讓井上深受打擊，當年井上繪製了《父親肖像》紀念父親，畫幅上方題寫《法華經》的〈自我偈〉，作為父親篤信《法華經》的追憶。井上的「佛」字書法本身就是對《法華經》的參悟，並帶有長期修行的意味：人生與書道的修行，佛的書寫以激烈、訴諸人性的至真，將佛道合一的精神魄力，綜觀井上的書法精髓，其剛性、反骨激進與批判時代的性格，某些部分要歸在以《法華經》為最高經典、帶有濃烈日本文化精神的日蓮宗，這種精神也表現在井上「佛」字的書寫上，更是關乎他畢生的藝術命題、勤勉於書道的最佳註解。1958年「近代美術五十年展」，作為戰後日本與西方繪畫藝術抗衡的參展人，有一即以作品《佛》參展，由此可見《佛》於當時的創變與重要性。 1961年的「佛」字，是井上有一以1960年代所特製的「凍墨」寫成，質感有如中國水墨中宿墨的筆觸，能在紙面上作出水墨分離的效果，且可在線條裏呈現出飛白的效果，增添視覺觀看的變化性，「凍墨」可讓作品帶有立體感，是他獨創的特殊手法；佛字的的運筆迅疾，帶有顏真卿及唐代草書筆畫快轉的趣味性，在其似連非連、筆劃交疊的運筆過程中，可看出有一是以身體的氣力、精神與和紙及沾染凍墨的筆刷在進行磨合的過程，輕重之間隱含著東方哲學的玄妙機趣，舉重若輕的「佛」字，猶如他一生遭遇戰亂困頓仍堅守書道的註解，在每個筆勢的運轉自成意蘊，井上以「佛」字的核心觀念，讓他的書法成為現代藝術中最具代表性的精神力量。與此作相類的佛字品項甚是少見，多由美術館等學術機構如：日本京都國立近代美術館、美國匹茲堡卡內基美術館和香港Ｍ+美術館等典藏，可知其在現代藝術史研究的重要性；近年戰後近現代藝術收藏市場上更多所聚焦於井上有一的書法作品，屢屢創出新高，2017年香港蘇富比《夢》拍 出港幣150萬元最高價，2021年羅芙奧秋拍《夢》亦以新台幣528萬高價落槌。「佛」不僅是井上有一1960年代最具精神性與特殊性的作品，更因其作品數量極少件而成為藝術收藏圈內最讓人期待的逸品，井上「佛」的書寫不僅代表了他一生信佛奉道的修為，更是他在書法藝術上自我修煉，印證其藝術生涯最精彩燦爛時刻的經典代表作。 BUDDHIST MEDITATION FROM ART PRACTICE: THE ART OF INOUE YUICHI Inoue Yuichi (1916-1985) was born in Tokyo, Japan to an impoverished family. Hence he forwent his wish to become an artist at an early age. He chose to study at the National University of Tokyo and became a teacher. With an undying pursuit of art, he studied Western art after work. In 1941, under the recommendation of a friend, he met and followed Sōkyū Ueda, a prominent calligrapher of the times. After the aerial attack of Tokyo in 1945, the people of Japan lived under constant fear of life and death in the tumultuous times within the country. Despite the struggle of life and poverty, Inoue found peacefulness and meaning of life through calligraphy practices. Since then, he was determined to follow the path of calligraphy. Under the influence of western abstraction and ideology, Inoue chose to refine calligraphy art from all schools of beliefs, but to follow the exploration of his own "self." Since then, Inoue was regarded as an advocate of modern Japanese art in the international art scene. His works were invited to numerous exhibitions including, 50 ans d'art moderne, Palais des Beaux-Arts, Brussels, Belgium in 1958, 21st Century Museum of Contemporary Art, Kanazawa, Japan in 2016 and Metropolitan Museum of Art, New York, USA in 2018. His calligraphy works were considered as a pioneer of modern oriental calligraphy. His works were kept in national collections in Museum für Ostasiatische Kunst, Cologne, Germany, Metropolitan Museum of Art, New York, USA, Carnegie Museum of Art, Pittsburgh, USA, The National Museum of Modern Art, Tokyo and Kyoto, Japan and The National Museum of Modern Art, Kyoto, to name but a few. Inoue's father Inoue Eiji was a devoted buddhist of Nichiren-shū. He visited Hokekyo-ji Temple in the hopes of having a son. Not long after, Inoue Yuichi was born. Following his father's passing and the turbulent times in 1949, along with family conflicts, Inoue underwent a heavy turmoil. He sketched an image of his father with an inscription from the Lotus Sutra in his remembrance. Butsu (Buddha) in itself is a revelation from the Lotus Sutra with an implication of a life-time meditation, which synchronizes with calligraphy. A vibrant calligraphy of Butsu reflects the artist's determination in the pursuit of Buddhist enlightenment. Throughout the career of Inoue, the strong, rebellious and independent character of Inoue could be traced back to the pursuit promoted by the Lotus Sutra and the Hokekyo-ji Temple. Such spirit is reflected through the calligraphy Butsu by Inoue. The work might as well be a summary of his pursuit of art and calligraphy. In 1958, Inoue exhibited a Butsu calligraphy at the 50 ans d'art moderne, Belgium, showing his faith as a post-war artist against the influence of Western art. This work was completed in 1961 written with a special chilled ink invented in the 1960s. The strokes resemble that of Chinese calligraphy with a natural split of ink and water, while creating natural crevices between the strokes, thereby enhancing the visual impact. Chilled ink enriches the visual perspectives as a unique invention of Inoue. Swift strokes of Butsu ressemble the cursive script of Yan Zhen-qin and of Tang dynasty. Through the intersecting lines, one can observe the movement and the spirit of the artist with ink and brush on paper. This is a play of balance in oriental philosophy, as the word appears both sturdy and light in its form. Such a juxtaposition summarises the struggles of the artist in his post-war life through calligraphy. Each stroke carries its purpose in its form. Butsu forms a core ideology of the artist's art, allowing his art a foothold in the modern art scene. Similar works of Butsu are rare and are kept in national institutions such as The National Museum of Modern Art, Kyoto, Japan, Carnegie Museum of Art, Pittsburg, USA and the M+ museum in Hong Kong. This shows the pivotal importance of the subject in the artist's portfolio. In recent years, Inoue Yuichi's calligraphy has been under the limelight of the post-war art market. Yume fetched HK$1,500,000 at Sotheby's Hong Kong in 2017, and NT$ 5,280,000 at Ravenel, Taiwan. This work Butsu represents both the spiritual background of the artist and the uniqueness of the art itself. With a limited quantity in private hands, this work is one of the sought-after works released in the market, as it captures the crux of Inoue's religion and practice, as a form of meditation at the glorious stage of his artistic career.
Yu-ichi INOUE (1916-1985) SANS TITRE, 1977 Encre de Chine sur papier Signée et datée en bas à droite 24,7 × 31,7 cm - 9.44 × 12.20 in. India ink on paper Signed and dated lower right Cette œuvre est issue du livre consacré à l’artiste, Sho by Yu-Ichi ‘49-77’, Masaomi Unagami, Editions UNAC, Tokyo, 1977 Œuvre insérée dans l’ouvrage Provenance : - Collection particulière, Paris (acquis il y a une quinzaine d’années) Yu-ichi Inoue est l’un des représentants les plus créatifs de l’avant-garde artistique du Japon de l’après-guerre. Transcendant les conventions et les règles traditionnelles, il érigea la calligraphie au rang d’art contemporain Dès les années 50, Yu-ichi Inoue explore des territoires inexplorés de la calligraphie et crée ses premières œuvres constituées d’un seul caractère (ichijisho). Au cours de sa vie, il en produira inlassablement une multitude. Aujourd’hui encore, il est avant tout connu pour ces grands idéogrammes tracés dans des styles évoluant au fil des ans. Ai (Amour), Hana (Fleur) et Hin (Dénuement) figurent parmi ceux qu’il affectionnait le plus. Parallèlement aux ichijisho, Inoue n’a cessé de réaliser des œuvres composées de multiples caractères. Dans l’impressionnant Ah École nationale de Yokokawa (1978), il dénonce avec rage l’absurdité de la guerre en relatant le bombardement en 1945 de l’école où il enseignait. En 1979, une cirrhose du foie lui est diagnostiquée. Paradoxalement, les années jusqu’à sa mort en 1985 sont les plus productives de sa carrière, et beaucoup de ses chefs-d’œuvre datent de cette période (…). Jusqu’à ses derniers jours, Yu-ichi Inoue aura « libéré la calligraphie ». (Yuji Akimoto, Directeur, The University Art Museum, Tokyo University of the Arts. Texte écrit à l’occasion de l’exposition consacrée à l’artiste à la maison du Japon, Paris - 14 juillet au 15 septembre 2018)
Yūichi Inoue 1916 - 1985 Bear ink on paper laid on hanging scroll marked with one artist's seal; label on the reverse signed by Unagami Masaomi stating the work description and catalogue number work: 104.5 by 125 cm. 41⅛ by 49¼ in. scroll: 155 by 129 cm. 61 by 50¾ in. Executed in 1965. ---------------------------------------------- 井上有一 1916 - 1985年 熊 水墨紙本裱於立軸 1965年作 款識 藝術家工作室蓋章 海上雅臣親簽之作品描述及圖錄編號（作品背面標籤） 作品：104.5 by 125 公分，41⅛ by 49¼ 英寸 立軸：155 by 129 公分，61 by 50¾ 英寸
Indian ink on paper, executed in 1975, signed and sealed (lower left), with a certification label by Mr. Masaomi Unagami, scrolled. This work will be included in the forthcoming addendum to the catalogue raisonné currently being prepared by Mr. Masaomi Umigami.
Indian ink on paper laid down on panel, executed in 1983, sealed and dated (lower right), with a certification label by Mr. Masaomi Unagami, framed. This work will be included in the forthcoming addendum to the catalogue raisonné currently being prepared by Mr. Masaomi Umigami.
Yuichi Inoue (Japanese, 1916-1985), 井上有一 No (Whereupon) 1969signed with one artist sealink on paper117.4 x 165.5 cm (46 1/4 x 65 3/16 in)This work was executed in 1969.
Yuichi Inoue, Hana (Flower), sumi ink on Japon, sealed (lower left), executed in 1970, framed, label signed and sealed by Masaomi Unagami (on the back of the frame), Literature: 'The Complete Works of Yuichi Inoue, Vol. 2', Masaomi Unagami, UNAC TOKYO, Tokyo, 2000, illustrated on P.123 as No.70187, 52.1×81.6cm
ink on paper, book published in 1971, sealed (lower right), not framed, provenance: sold with a gift tag from the editor Masaomi Unagami to a previous owner/ private collection, Tokyo
YUICHI INOUE (YU-ICHI) Tokio 1916 - 1985 Kyu (Ruhen). 1981. Tuschpinsel auf sehr feinem handgeschöpften Kalligrafiepapier auf sehr dünnem Japan aufgewalzt. 45 x 60,5cm. Rotes Siegel unten links: YU-ICHI. Verso bezeichnet: ... (Siegel) 81.10.7-10.26. Rahmen. Provenienz: Galerie Friedrich Müller, Frankfurt (Aufkleber) Wvz. Unagami, Nr. 81027. Yuichi Inoue (Yu-Ichi) 1916 Tokio - 1985 Tokio Kyu (Ruhen) 1981. Tuschpinsel auf sehr feinem handgeschöpften Kalligrafiepapier auf sehr dünnem Japan aufgewalzt. 45 x 60,5cm. Rotes Siegel unten links: YU-ICHI. Verso bezeichnet: ... (Siegel) 81.10.7-10.26. Rahmen.
A calligraphy by Inoue Yûichi (1916-1985) with the character "Kyu" (rest). Ink on "Tibetan" paper. Seal Yûichi. Mounted on thin paper, notation in paper on the back. Framed and glazed.
A calligraphy by Inoue Yûichi (1916-1985) with the character "hana" (flower). Ink on paper. Sealed Yûichi. 1970. Mounted on thin paper. Glazed and framed.
A calligraphy by Inoue Yûichi (1916-1985) with the large character "ai" (love). Ink on paper. Dated in pencil 73.3.11. Mounted on thin paper. Framed and glazed.
A large calligraphy by Inoue Yûichi (1916-1985) with the character "shoku" (belonging). Ink on paper. Sealed Yuichi. dated in pencil 76/3/10. Mounted. Framed and glazed.
Yuichi Inoue, Hana (Flower) sumi ink on Japan, executed in 1970, sealed and dated (lower left), hanging scroll, sold with an authentication wooden box signed, sealed and titled by Masaomi Unagami
