Ink on paper

138×180.3 cm. 54 3/8×71 in.

Stamped with one artist's seal on bottom right

LITERATURE
1996—1998, YÛICHI INOUE: catalogue rasonné of the works Vol 3, Unac Tokyo, Tokyo, plate No. 77009
EXHIBITED
1990, 1990 Exhibition No. 5 of Yûichi Inoue Unpublished Artworks, Unac Tokyo, Tokyo
1991, Yûichi Inoue Exhibiton - To Circle, Azabu Museum of Arts and Crafts, Tokyo

PROVENANCE
Original Collection of Masaomi Kaikai
Private Collection, Asia

Note: A label signed and stamped by Masaomi Kaikai is affixed on the reverse

The Roar and Resonance of Life
Yûichi Inoue and the Silent Thunder of Art

As a pioneering figure in Japan's post-war avant-garde movement and a founding member of the Bokujin-kai (The Ink People Society), Yûichi Inoue broke boundaries between traditional calligraphy, Abstract Expressionism, and performance art. His bold and uncompromising creations brought the ancient art of Japanese calligraphy into dialogue with modernity, infusing the traditional discipline with profound spiritual and self-expressive intent. Harnessing the rhythmic pulse of human life, Inoue transformed single-character works into vessels of raw emotion and existential depth, channelling his inner will and imbuing each stroke with a monumental soul.

Inoue's works made a seismic impact on the global art stage, first showcased at pivotal exhibitions such as the 1954 Japanese Calligraphy: Abstract Expressionism exhibition at MoMA, the 1957 São Paulo Biennale, and the 1959 Kassel Documenta II. His piece Gutetsu was notably included in Herbert Read's seminal book A Concise History of Modern Painting, heralded as "one of the most representative abstract works" of its time. Meanwhile, Abstract Expressionist master Robert Motherwell praised Inoue as "one of the great artists of the second half of the 20th century-peerless and extraordinary." Through his groundbreaking perspective of modernity-"emerging from calligraphy yet transcending it"-Inoue propelled this distinctly Eastern art form beyond its regional confines, cementing its place on the global stage and etching his name in art history.

A Thunderous Echo: Writing the Resonance of Life and Death

Completed in 1960, Ko (Lot 43) ("Roar") exemplifies Inoue's mastery of uniting mind, eye, hand, and voice in perfect harmony. The character "哄" (Ko), unlike its meaning in Chinese, carries the connotation of "roar" or "loud voice" in Japanese. In creating this work, Inoue channeled his own primal spirit, evoking the commanding presence of a warrior's shout and grounding it firmly in the monumental strokes of his brush.

For this piece, Inoue chose a rustic brown cardboard base, allowing the material's earthy texture to evoke an almost archaeological resonance. Upon this surface, he unleashed bold, jet-black ink strokes. The character "口" (mouth) dominates the left half of the composition, its explosive energy reverberating across the canvas like a sonic wave. On the right, the character "共" (together) counters it, its structure deliberately fragmented and reimagined. Lines that traditionally adhere to symmetry and clarity are here elongated and distorted, creating a sense of flowing continuity-a visual embodiment of shared experience and unity. Together, the two characters form "哄" (Ko), a single word infused with the raw intensity of Inoue's creative process. This piece, with its tempestuous energy and commanding presence, encapsulates the artist's belief that "the purpose of writing is to express the roar of life and death." It is a meditation on the "great soundlessness of great noise", a philosophical state where the loudest cries are born in silence.

The Circle Beyond Perfection

Another significant work, En (Lot 42), created in 1977, originally paid homage to Enni Ben'en, the influential Zen monk who brought Zen philosophy and practice from China to Japan during the Southern Song Dynasty. Over time, the character "圓" (En) evolved into a recurring theme in Inoue's oeuvre, reflecting his deep engagement with Zen principles. In this work, Inoue subverts convention by beginning the character's composition on the far right side of a large sheet of washi paper. The character, written within a square framework, cleverly explores the interplay between geometric form and meaning. The enclosed "員" (member) carries a hint of anthropomorphic delight, resembling a figure with rounded limbs firmly planted on the ground. Ink splatters radiate outward from its contours, pulsating with life's rhythm and echoing the cosmic philosophy of "heaven is round, earth is square." The splash in the upper-left corner extends this dynamism, evoking the ancient cosmological worldview of unity and balance.

What sets this "圓"(circle) apart, however, is Inoue's deliberate rejection of traditional calligraphic technique. While classical calligraphy often emphasizes a closed and complete structure, Inoue leaves a conspicuous gap in the character's enclosing lines. The two brushstrokes on either side appear to face each other in silent confrontation-or perhaps mutual contemplation-allowing a sense of tension and incompleteness to permeate the work. This rupture transforms the circle into an emblem of philosophical inquiry.

In Zen practice, the circle is revered as a symbol of enlightenment, representing the fullness of truth and the harmony of existence. Yet, for Inoue, the circle is not an endpoint but a paradox-a form that both completes and defies itself. His "non-circle circle" challenges the notion of perfection, suggesting that life's true meaning lies in its imperfections. "Fullness and emptiness coexist," the artist seems to say, "and it is precisely because of life's inherent incompleteness that we find beauty and cherish the fleeting moments of wholeness."

Price estimate:
HKD 400,000 - 600,000
USD 51,300 - 76,900