2013春季拍賣會 - 20世紀華人當代藝術油畫雕塑

景薰樓2013年春季拍賣會 20世紀華人當代藝術 油畫 雕塑

JSL 2013 SPRING AUCTION 20th CENTURY CHINESE MODERN & ASIAN CONTEMPORARY ART

拍賣日期 2013年6月16日（星期日）下午3：00 AUCTION DATE Sunday, June 16th, 2013, 3:00pm

景薰樓2013年春季拍賣會 20世紀華人當代藝術 油畫 雕塑

拍賣日期 / 地點 2013年6月16日（星期日）15:00 富邦人壽大樓國際會議中心 台北市敦化南路一段108號B2 拍賣諮詢 +886 4 2295 5528 +886 2 8771 7989

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JSL 2013 SPRING AUCTION th

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CENTURY CHINESE MODERN & ASIAN CONTEMPORARY ART

AUCTION Date / Venue June 16th, 2013 (SUNDAY), PM 3:00 Fubon National Conference Center B2,No.108,Sec.1,Dun-Hua South Road, Taipei, Taiwan Service Tel:+886 4 2295 5528 +886 2 8771 7989

PREVIEWS Date / Venue TAICHUNG JSL Art Space May 31st-June 10th, 2013 (Friday-Sunday)10:00-19:00 B1, No.262,Section 2,Hua-Mei Street, Taichung, Taiwan Tel: +886 4 2295 5528 TAIPEI Fubon National Conference Center June 14th(Friday)10:00-19:00-15th ( Saturday) 10:00-17:00 B2,No.108,Sec.1,Dun-Hua South Road, Taipei, Taiwan Tel: +886 4 2295 5528 +886 2 8771 7989

JSL AUCTION CO. Auction Consulting: Jade Chen, Una Gong, Sammi Luo Service Tel: +886 4 2295 5528 +886 2 8771 7989 Website: www.jslauction.com E-mail: service@jslauction.com

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景薰樓2013年春季拍賣部門

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創辦人

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亞洲當代藝術部

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中國古美術部

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藝術行政

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客服管理部

林麗美 劉蒨蒨 蔡明惠

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（海外郵資請自付）

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之外其他外幣繳付，惟請買方核實新台幣繳付當日匯

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封面 Lot72 朱德群《拂曉初光》 封底 Lot 107 朱銘《單鞭下勢》Lot58 常玉《菊花》

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JSL 2013 Spring Auction Related Department and Staff

JSL offices will assist clients in bidding of this auction, besides, we offer the services of agent and professional art investment consultation, please contact the company for further information.

Founder

Chen-Ting Lin

Chairman

Jade Chen

Art and sculpture

Jade ChenDavid Tsai Una Gong

Chinese Ceramics Works of Art

Eric Wang

Art Assistant

Sammi Luo

Customer Services Department

May Lin Ming-Hui Tsai Chien-Chien Liu

Art Design

Sylvia Yao

JSL AUCTION CO. Website: www.jslauction.com E-mail:serice@jslauction.com Taichung B1, No. 262, Section 2, Hua-Mei Street, Taichung, Taiwan Tel: +886 4 2295 5528 Fax: +886 4 2295 5529 Central and southern Taiwan Eric Wang, Una Gong

Taipei No.102, Sec.1, Dun-Hua South Road, Taipei, Taiwan Tel: +886 2 8771 7989 Fax: +886 2 8771 7698 Northern Taiwan Sammi Luo 6

JSL 2013 Spring Auction Relevant Consultation & Services

Premium

such checks have cleared. Payment by cash or banker’s

The buyer’s premium payable by the buyer of each lot

draft will enable immediate release of purchases. Lots

is at a rate of 18% on the first NTD 20,000,000 of the

can be collected at JSL Auction. Office, open from

hammer price and at a rate of 12% on the amount by

Monday to Saturday 10:00-18:00. Or make appointment

which the hammer price exceeds NTD 20,000,000.

for any other time.

Customer Services

Shipping

Please contact the following staffs for relevant

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information of the auction:

arrangement of shipping to foreign countries can

Taiwan May Lin, David Tsai

be obtained from Administrative Management

Tel:+886 4 2295 5528 Fax:+886 2 2295 5529

Department:

Tel:+886 2 8771 7989 Fax:+886 2 8771 7698

Una Gong

Phone Bid

Storage

If you cannot attend the auction, you are welcome to

Buyers shall collect purchased lots within 35 days from

bid on the telephone. For the best arrangement, please

the date of the sale. Otherwise, we shall arrange storage

contact us at least 24 hours before the auction:

at the buyer's expense at NTD$250 per lot per day.

Jade Chen Una Gongi

Tel:+886 4 2295 5528 Tel:+886 2 8771 7989

Catalogues Subscription For buying the catalogue, please contact the

Written Bid

Administration Department:

Buyers who cannot attend a sale can bid by using

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the Absentee Bid Form, which is attached in this catalogue. For futher information, please contact:

Price

Eric Wang, Sammi Luo

NTD 1,500 USD 50

Payment The company is pleased to interpret the condition of

All estimates in U.S. Dollar in this catalogue and at

any lot in this auction, lot is sold as the condition that

auction are for reference only. All payments related

prospective buyer ‘granted at the time’, buyer please

to this auction are based on New Taiwan Dollar,

refer

buyers who pay by foreign currency, please pay as the

to the Condition of Business for relevant details. For

exchange rate of the paying day.

further information about the payment, please contact May Lin

Front Cover Illustration Lot72 CHU Teh Chun “Brightening the Daybreak”

Collection of Purchases

Back Cover Illustration

All lots will be available for collection after payment

Lot107 JU Ming “Single Whip”

at the end of each sale. Buyers are reminded to make

Lot58 SAN Yu “Chrysanthemums”E 3, JUILLET1995”

collection arrangement as soon as possible to facilitate

※The copyright of all images, illustrated and written

storing and handing procedures. Although personal and

material relating to a lot is and shall remain at all times.

company checks are accepted, buyers are advised until

Our property shall not be used by the buyer nor anyone else without our prior written consent.

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Index（按姓氏拼音排序） Artist/Lot Number

H

A

HSIAO Chin

蕭勤

6.7.

HSIAO Yi

蕭一

91.92.93.

HSIEH Hung Da

謝宏達

139.140.

HUA Chien Chiang

華建強

114.

HUANG Ming Chang 黃銘昌

134.

HUNG Jui Lin

洪瑞麟

21a~b.22.

HUNG Tien Yu

洪天宇

96.

Michell HWANG

黃銘哲

135.136.137.138.

158a~b.

Jean JANSEM

強．詹森 163.

JU Ming

朱銘

ARMAN Fernandez 阿曼 ‧ 費爾戴儂

152.

B Francis BACON

法蘭西斯 ‧ 培根

Alfred BASTIEN

阿佛雷德 ‧ 巴斯天 61.62.63.64.

84 65.66.67.

Bernard BUFFET

38.41.42.162.

貝納 ‧ 畢費

164.165.

C Marc CHAGALL

馬克．夏卡爾

157.

CHANG Tarng Kuh

張堂金庫

142.

CHANG Yi Shong

張義雄

23.24.25.

CHAO Chung Hsiang 趙春翔

13.

CHEN Cheng Hsiung 陳正雄

148.

CHEN Chin

陳進

15.

CHEN Hui Kuen

陳慧坤

49.

CHEN Keng

陳鏗

125.

CHEN Ting Shi

陳庭詩

35.36.

CHEN Yin Huei

陳銀輝

55.126.

CHI Da Chun

季大純

175.

Andre CLAUDOT

安德烈．克羅多 68.69

CHIU Ya Tsai

邱亞才

116.117.

CHU Teh Chun

朱德群

72.76.81.82.

CHUA Hu

蔡雲程

CHUANG Che

莊吉吉

薩爾瓦多 ‧ 達利

方人定

G

GUO Hsueh Hu

8

郭雪湖

111.113.

K Arthur KAMPF

亞瑟．康普 70.

KUO Wei Kuo

郭維國

119.

KUO Po Chuan

郭柏川

51.

Yayoi KUSAMA

草間彌生

26.28.29.31.32.

33.34.166.181.

182.184.185.

KIM Sang Woo

김상우

159.

L 李明則

98.

102.

LI Shuang

李爽

145.

8.9.10.

LI Mei Shu

李梅樹

52.

LI Tze Fang

李澤藩

47.

LI Yong Sen

李詠森

128.129.130.131.

154.155.156.

F FANG Ren Ding

107.108.109.110.

LEE Ming Tse

D Salvador DALI

J

5a~c.

18.19.20.

132.

LIAO Chi Chun

廖繼春

53.54.

LIEN Chien Hsing

連建興

97.

LIN Feng Mian

林風眠

120.121.122.

Richard LIN

林壽宇

85.

L

W

LIN Yu Shan

林玉山

16.17.

WANG Guang Yi

王廣義

180.

Max LIU

劉其偉

43.44.89.90.

WANG Huai Qing

王懷慶

169.

LIU Ye

劉野

174.

WANG Pan Yuan

王攀元

60.

LU Tieh Chou

呂鐵州

45.

WANG Yi Dong

王沂東

170a~d.

LUH Chyi

陸琦

141.

John WAY

魏樂唐

11.12.

LUO Zhong Li

羅中立

133.

Claude WEISBUCH

克勞德．維士巴修 83.

WU Guan Zhong

吳冠中

M MIN Xi Wen

閔希文

Joan MIRO

喬安．米羅 37.39.40

Takashi MURAKAMI

村上隆

101.

27.30a~e.183.

168.

X XIE Jun Na

夏俊娜

176.

YANG Chi Hung

楊識宏

14.112.115.118

YANG San Lang

楊三郎

56.57.58

YANG Mao Lin

楊茂林

94.95.

YEN Shui Lung

顏水龍

87.

YANG Xing Sheng

楊興生

143.147.

YANG Yong Fu

楊永福

150.

Yuyu YANG

楊英風

106.

YOU Shoou Jong

游守中

50.149.

YEH Huo Cheng

葉火城

48.

YEH Tze Chi

葉子奇

127.

YIN Kun

尹堃

146.

YUE Min Jun

岳敏君

177.178.

188a~c

Y

N Yoshitomo NARA

奈良美智 186.187.

NG Po Wan

伍步雲

153.

R RAN In Ting

藍蔭鼎

46.

REN Zhe

任哲

144.

P PANG Jiun

99.100.

龐均

S SA Dji

沙耆

123.124.

SAN Yu

常玉

4.

SHEN Che Tsai

沈哲哉

59.

SHIY De Jinn

席德進

88.

Lucien SIMON

呂西安．西蒙

71.

T Walasse TING

丁雄泉

1.2.3.86.160.161a~c.

U UMEHARA Ryuzaburo 梅原龍三郎

167.

Z ZAO Wou Ki

趙無極 73.74.75.77.78.79.80.

ZHAN Wang

展望

ZHANG Xiao Gang

張曉剛 173.

ZHANG Xiao Tao

張小濤 151.

ZHOU Chun Ya

周春芽 103.104.171.172.179.

105.

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海外華人藝術

在 1919 年發生的五四運動，陳獨秀在《新青年》發表了《美術革命－ 答呂澂來信》之後，第一批留法勤工儉學運動的開拓者，共 89 名學生，從 上海啟程前往法國，開啟了中國藝術學生離鄉背井、追求藝術本質的大門。 在如此的歷史背景下，這些留學海外的藝術家，以本身所具有的東方文人氣 息，融入了歐洲獨特的文化並吸取西方的知識養分，為藝壇留下了無數的美 麗篇章。此次景薰樓蒐羅到的海外華人藝術家作品如林風眠、沙耆、常玉、 趙無極、朱德群、趙春翔、魏樂唐、丁雄泉、席德進等大師級的作品外，還 有中青輩藝術家莊喆、蕭勤、楊識宏等，這些長年旅居海外的眾藝術家們， 其作品皆具有獨特的風格，深得藏家好評。

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身為杭州美院永遠的精神領袖的林風眠，是中西藝術理念融合的倡 導 者， 在 此 次 春 拍 中， 其 作 品 Lot120《 戲 曲 人 物 — 秋 江 》（ 彩 墨 紙， 62.5x60.5cm）用毛筆宣紙及淡雅的色澤去捕捉京劇人物的動感，線條簡 潔舒暢，在平淡中蘊藏著豐富的內涵。以及 Lot122《林中八哥鳥》（彩墨 紙，64.5x46.5 cm）在中國花鳥意境之外，揉合了西畫的外顯美感，教觀 者怦然心動反思。而朱德群從 1970 年代開始受到林布蘭的影響，明亮的用 色在其作品中佔有重要的地位，在 Lot72《拂曉初光》（油彩畫布，1996， 162x130 cm）中，觀者彷彿能體會到日光衝破夜幕的一剎那，並感受到朝 陽照射在臉龐上的那股溫暖。 其他的海外畫家，像是常玉融合了東方傳統與西方摩登的 Lot4《仰躺的 裸女》、趙春翔東西方傳統交流融合的 Lot13《靜謐》。丁雄泉擅長利用東

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方水墨的潑彩技法成為他獨特的繪畫風格並且充分利用紅色、黃色、藍色和 綠色的特性，在他創作過程中多見女人、花草為題材並且藉由粗獷的構圖與 細膩的灑脫筆觸間展現女人的韻味，如其作 Lot86《盛夏的果實》（壓克力 水彩 紙裱於木板，2001，180x120 cm） 及 Lot2《持扇美人》（壓克力 紙 裱於畫布，63.5x85.5 cm)。席德進 Lot88《台北街景》（彩墨 紙，1956， 39.5x53.5 cm）深具代表性的粗黑線條詮釋出人造古厝與大自然共存的親 密關係，回國後積極認識鄉土藝術並尋訪傳統之美。魏樂唐有許多書法性的 表現，如其 Lot12《抽象》（壓克力 紙裱於畫布，1968，98×78cm）背景 明快且寫意，夾雜著中國書道和西方恣意揮灑的繪畫技巧而構成中國山水的 意象的作品。在國際的藝術殿堂上為東方的傳統媒材找到新發展方向的蕭勤 Lot6《瀑布》以及 Lot7《氣》，莊喆寫意自然的抽象山水 Lot10《溪韻》。 在今年的春季拍賣中，景薰樓徵得許多海外華人藝術家作品，相信將為這次 拍賣增色不少。 10

86

Overseas Chinese Art

In 1919, after May Fourth Movement happened in China, Chen Du Xiu published a article had caused the first wave of Work-Study Movement in China and there was 89 students went to France from Shanghai. The door for Chinese art students to seek the essential of art outside China was finally open. These artists studied abroad and made lots of efforts for Chinese art world by combining their oriental tinges of literature with European culture and knowledge. This time, we selected many overseas Chinese artists’ artworks for you, such as Lin Feng Mian, Sa Dji, San Yu, Zao Wou Ki, Chu The Chun, Chao Chung Hsiang , John Way, Walasse Ting, 88

Shiy De Jinn and others like Chuang Che, Hsiao Chin and Yang Chi Hung, these artists’ works are having unique styles of their own.

Lin Feng Mian was the leader of combining the idea of western art and Chinese art together and was the spiritual idol in Hangzhou Arts School. In this spring auction, his work, Lot120《Chinese Opera FigureChiu Chiang》was showing the deep meaning of paintings and by using writing brush, rice paper and elegant color to create the dynamic atmosphere. Lot122《Myna in Forest》was put western paintings ’ aesthetic into Chinese traditional birds and flowe5rs paintings, making viewers feel the excitement and atmosphere which painter wanted to reveal. Since 1970’s, Chu The Chun influenced by Rembrandt and began to

102

use bright color in his paintings. In lot72《Brightening the Daybreak》, the bight color in the painting make viewers can the moment of the break of dawn and warm carried by the morning sun.

Other paintings of oversea painters like San Yu ’ s lot4《Leading Nude》was blending tradition of east and modern of west. And Walasse Ting’s lot86《Neon Fruit》and lot2《Girl with Fan》were used Chinese splash ink technique and colorful style to create women, flower or animals in his paintings. Shiy De Jinn’s lot88《Street in Taipei》was using black lines to describe the relationship between old houses and nature, and the beauty of Taiwan tradition. John Way’s lot12《Abstract》was the image of Chinese Shansui which described by western abstract techniques.

120

Chuang Che’s abstract Shansui lot6《Rhythm of River》and Hsiao Chin’s lot6《Waterfall》and lot7《Atmosphere》are all going to impressed the collectors.

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華人當代雕塑

雕塑是現代居家、生活美學不缺少的裝飾藝術，可以提 供觀者三度空間感受的藝術形式，雖然雕塑是沒有生命的 物體，但隨著展示的燈光、角度以及環境的改變與不同，也 可以呈現出不同的美感與氣氛。雕塑的表現著重在作品的造 型、結構的安排以及雕塑材質的美感，創作者將內心的感 受，經由特定的技巧以及適合的材料選用，將創作者本身的 內在思維轉化為外在表達，並與觀者之間進行對話與共鳴。 所謂當代雕塑，是要表達雕塑的多元性與自由性，強調的是 除了使用一般的雕塑媒材如紙、陶土、木頭、金屬等以外， 也開始運用更貼近日常生活的材料。而台灣現今多元風貌的 雕塑現象，是由於西洋蓬勃發展多元性思維轉注在雕塑上的 造型探索及新材料與創作方式的揉合，才造就出台灣現代雕 塑的生態雛型。台灣當代雕塑家力在突破一定的認知限制， 努力開拓台灣雕塑的開放與多元特質，並為台灣雕塑文化創

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造一個全新的時代。 此次春拍景薰樓為各位藏家精心準備了楊英風 Lot106 《正氣》是楊英風在 1967 年在花東縱谷被山水氣勢的磅礡 給震懾住，有感而發的作品。朱銘太極系列 Lot107《單鞭 下勢》、Lot108《對打》、Lot110《和諧》是朱銘在太極拳 中始領略其中精義的，進而發展出「太極系列」作品使其雕 塑能在國際間立足並推向另一個高峰，亦有早期經典佛像 系列 Lot109《水月觀音》。周春芽 Lot104《像皮球一樣的 鬥牛犬》。展望 Lot105《假山石》吸收和運用了東、西方 傳統與現代藝術發展的精髓，以再造自然作為其創作理念， 力求將西方觀念藝術方法論與傳統文人經典符號統一在作品 中。蕭一鐵雕原件 Lot91《仙女》，除此還有楊茂林結合卡 漫風格與佛學的 Lot94《騎著大黃蜂的思維飛俠小菩薩》及 Lot144《揮雲》，任哲在中國傳統文化中重新界定了古典雕 塑的主題，在中國傳統的浪漫詩意和崇尚美學的內涵中，呈 現出中華民族的剛毅正氣跟積極進取的精神。

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Chinese Sculpture

Sculpture had become the necessary decoration for modern home and living aesthetic. Although sculptures are the lifeless objects, but within the change of lights, angles and environments, the beauty and the atmosphere are also alter. The important points of sculptures are sculpt, the structure and the material. Artists engrave their emotions and thoughts into their works and send these messages to the viewers. Taiwan sculptors are focusing on the diversities of modern sculptures and working on the possibilities of Taiwan’s sculpture culture and style.

YuYu YANG ’ s lot106《Mountain Grandeur》was made in 1967 when he was astonished by the beauty 105

of mountains in Hualian. The spirit of JU Ming’s lot108 《Boxing》,lot107《Single Whip》,lot110《Harmony》 were found in Taichi and his lot.109《Guanyin》is one of his early style of Buddha sculpture. Zhou Chun Ya ’s lot.104《Bulldog Seems Like a Rubber Ball》is very cute. ZHAN Wang’s lot105《Artificial Rock》was using both eastern tradition and western modern to recreate the nature. Yang Mou Lin’s lot94《contemplative Peter Pan Rides on Homet》is designed in both animation and Buddhism style and Ren zhe’s lot144《Movement》 is presenting the Chi and spirit of traditional Chinese culture.

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台灣前輩

出生在一九○五年前後的台灣藝術家，因為正值台灣日據時期， 他們雖然必須在時代的遷移動盪中尋求生存之道，但同時也奮力卓越 的彩繪出屬於他們的時代，成為開墾台灣新美術史的先驅。這一類的 台灣第一代藝術家們，因為時空背景的關係，受到了吸收歐美藝術特 色的日本近代美術潮流的影響，台灣藝術家不但從中汲取西方繪畫思 潮的養分，也融合台灣的思維，成功的開啟了台灣新美術運動，並以 自己無數的作品做為台灣新美術發展的基石。所謂的台灣前輩藝術 家，其人生經歷與社會體驗皆是對於台灣文化的一種見證，從受到日 本美術影響的廖繼春、郭柏川、李梅樹，到旅歐作畫的楊三郎、顏水

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龍，以及師範大學體系之外的洪瑞麟等，這些前輩藝術家的作品，除 了代表著他們生活背景與人生際遇的不同，同樣也是台灣新美術在歷 史上一路走來的縮影。這次的春季拍賣中，景薰樓將為各位藏家呈現 廖繼春、郭柏川、李梅樹、楊三郎、顏水龍、洪瑞麟、林玉山、郭雪 湖、陳進、張義雄、陳銀輝等的作品實為精彩可期。 春拍中匯集了各大師的作品。廖繼春 Lot53《瓶花》是廖繼春靜 物寫生中最常出現的題材，繽紛的色彩中仍兼顧到畫面整體的和諧。 和廖繼春一樣都受到了梅原龍三郎影響的郭柏川，同樣成功的把東方 傳統認為俗氣的紅綠搭配完美的昇華如 Lot51《紅瓶與靜物》。李梅 樹的 Lot52《小憩》（畫中紅衣女子手執蒲扇坐在木椅中，散發出悠 閒放鬆的氣息）。另有楊三郎喜愛大自然，大自然變化的多采多姿，

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可以讓他經由畫筆在畫布上盡情的發揮描繪，Lot56《高山瑞雪》中 寒冬冰冷的皚皚山勢雪景，在光照之下，顯現了不同明度的韻味變 化，從前景的高山林相、樹枝、路面處理，已可看出楊三郎達至收放 自如運筆之境。顏水龍 Lot87《粉玫瑰》朵朵盛開的玫瑰，背景襯著 向日葵花樣的方塊狀玻璃，產生輕盈喜悅之感。郭雪湖多次遊覽阿里 山都會寫生，Lot18《阿里山煙雲》中的雲海以及參天檜木都是阿里 山的特色。以靜物與風景作品著稱的張義雄，Lot23《觀音山》繼早 期色彩凝重的風格，轉而偏向使用中間色調以及白色，整體風格輕快 高雅，極具色層之美，而 Lot24《花》Lot25《靜物》較晚期的作品 則受到其在巴黎的影響，構圖更加簡明，畫面也添加不少白色塊。陳 銀輝擅長將現實事物與景色昇華成單純的形與色表現，將其內在的激 情、生命力甚至是浪漫詩意透過線條與色彩的運用來傳達給觀者，是 其特有的一種抽象風格，如 Lot52《野柳海邊》及 Lot126《花韻》。 14

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Taiwan Master Art

The artists, who was born before 1905, were all searching and surviving during the period of Japanese rule but, at the same time, they also painted for their era and became the ancestor of Taiwan new art. This kind of artists were influenced by the Japanese art, which also influenced by European art, and combined what they absorbed with Taiwan’s traditions and used their artworks to be the foundation of Taiwan new art. In this spring auction, JSL auction will present you the works of Liao Chi Chun, Kuo Po Chuan, Li Mai 53

Shu, Yen San Lang, Yen Shui Lung, Hung Jui Lin, Lin Yu Shan, Guo Hsueh Hu, Chen Chin, Chang Yi Shong and Chen Yin Huei.

Lot53《Blooming Flowers》is the most common topic for Liao Chi Chum ’ s still life painting. Kuo Po Chuan was also influenced by Umehara Ryuzaburo like Liao, successfully turn the color red and green into classic style like Lot51《Red Bottle and Still Life》. Lot52《Leisure》of Li Mai Shu was giving out the relaxing atmosphere. Yan San Lang was crazy about the nature and we can see the snow in the winter on the mountain in Lot56 《Mountain with the Snow》is shining on the canvas. Lot87《Pink Roses》of Yang Shui Lung has the most blossom flowers. Lot18

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《Clouds in Ali Mt.》of Guo Hsueh Hu is showing the clouds and tall trees in Mountain Ali in Taiwan. And Lot23《Mt. Guanyin》 of Chang Yi Shong having the beauty of colors. Chen Yin Huei is good at turning realistic objects into simple colors and forms, but still present the inner passion and romantic poetry through the use of lines and colors to viewers like Lot55《Coast of Yehliu》 and Lot126《Atmosphere of Flowers》

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15

台灣當代專題

台灣在解嚴後至今 20 年間，藝術家帶著不同觀察 角度與面向各自提出對時代的詮釋，深入在地各個層面 進行探索、質疑、反思與考掘，在當代經驗的文化切片 中去建構自我與認同的疆界，呈現了當代生活與時代心 靈的多元面貌。在正式解嚴走向民主之前，藝術創作已 經醞釀了一波改變的風潮，在 1985 年成立的「台北畫 派」同年在台北國產藝展中心舉辦了第一次的展覽，力 從本土性出發，結合國際性瞻望，充分發揮國內新藝術 的實力，楊茂林、郭維國、連建興等都是台北畫派的成

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員。1997 年「台北畫派」宣告解散之後，「悍圖社」成 立，強調藝術創作要重視跟著社會脈動而多變的時代樣 貌，並創造台灣新藝術的主體性格。「悍圖社」包含了 「台北畫派」的部分舊成員以及新進社員，在新舊交替 的交流之下，也激盪出創作者深層的看法以及觀念，這 種改變也正意味著台灣當代藝術的多元發展性質。 許多台灣當代藝術家的作品，如黃銘哲旅美時期所 作 Lot135《抽象》，可說是在美國時期首次嘗試抽象畫 法的作品，在 80 年代旅美返台之後，原本為鄉土寫實 代表的黃銘哲，由抽象反思為寫實，以人物畫為主題開 始全新的嘗試，如 Lot138《儷人》。連建興 Lot97《智 慧露》其大場景是連建興所擅長且藉由拉出的冊頁來象

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徵新生兒準備譜出精彩的人生樂章，讓人想起書中自有 黃金屋的古老寓言。李明則 Lot98《生．氣》有著其對 當代台灣社會民情的關懷。郭維國 Lot119《憶鄉人》 畫中圖像以逼真的描繪、陰鬱的氣氛來拼湊出半真實的 「自我」，此種畫風使得他的超現實風格更加感性，提 供觀者與作者眼神交會時瞬間觸動的滿足感。楊茂林 Lot95《圓山紀事》以「MADE IN TAIWAN」的字樣， 配上跟台灣政治及文化歷史相關的圖案及圖騰，來重新 觀看、重新審視台灣歷史，是一系列具有衝擊性生命力 的作品。 116

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Taiwan Contemporary Art

Two decades after Taiwan abolished Martial Law, artists started to interpret Taiwan with a different angle and observation. By discovering and questioning the cultural experiences to reconstruct the boundary of self identification.

Before Taiwan abolished Martial Law officially, creations of art were already begun to change. In 1985, Taipei Painting Association had the first exhibition in Taipei, focused on combining the Taiwan traditions and international views to 119

brought out the power of Taiwan new art. Yang Mao Lin, Kuo Wei Kuo and Lien Chien Hsing were all the members of this association. In 1997, after the dissolution of Taipei Painting Association, Hantoo Association replaced it and continued to developed the new character and structure of Taiwan new art.

Some Hantoo Association’s members were the members of Taipei Paintings Association, within the combination of old and new members, enabled Hantoo Association to began the multiple developments of Taiwan’s new art.

Many Taiwanese modern artists ’ work in this spring auction, like Lot135《Abstract》of Michell Hwang which he finished during his time in America, can be said it was his first

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try on abstract painting. When Hwang came back to Taiwan in 80’s, he turned his abstract thinking into realistic style and had series of figure painting like Lot138《Attractive Girl》.

Lien Chien Hsing’s Lot97《Golden House》is by the open pages to symbolize the new life of a new born baby. Lee Ming Tse’s Lot98《Vivid》is showing care for modern Taiwan society. Kuo Wei Kuo’s Lot119《Rcalling Hometown Man》 is using gloomy feeling to construct the true-self and provide the satisfactions when viewers have eye contact with artist through the paintings. And Yang Mao Lin’s Lot95《Yuanshan Memorandum》using the phrase “Made in Taiwan” and the

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symbols of Taiwan culture and history to re-think, re-examine Taiwan history.

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中國現當代藝術

十七世紀開始，就廣泛的文化意義論，中國已漸漸吸收西方的藝 術思想開始西化。回溯到 1920-30 年代，在廣州、杭州及上海分別 由高劍父 (1879-1951)、林風眠 (1900-1991) 及劉海粟 (1896-1996) 鳴 放現代繪畫運動思潮。其他具代表性領導者如吳大羽、徐悲鴻、潘玉 良、李仲生等人加上民間繪畫團體與私人創辦的藝術學校共同推動藝 術改革的浪潮。在中國，傳統水墨精神與中外藝術的交錯融合加上民 間美術的自身演化，整體藝術發展的面貌混在眾多背景及潮流時代的 洗禮之下，如同太極的兩儀，一動一靜互為其根；兩氣交感，生出萬 象而變化無窮。油畫東漸至今，中國第一代油畫家遠赴重洋學習油

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畫，是中國油畫真正的奠基者，包括有林風眠 Lot120《戲曲人物－秋 江》、Lot122《林中八哥鳥》、Lot121《戲曲人物》、常玉 Lot4《仰 躺的裸女》、沙耆 Lot123《白玉藤》、Lot124《紅桌巾上的靜物》。 在各家美術派系的成長中，最引人注目的是 1928 年由林風眠、吳大 羽等共組的「杭州國立藝術學院」引進西方教學方式與思想、兼授中 西繪畫以調合中西藝術的前提下開辦，此舉可視為中國現代美術發展 的重要開端，其中培養出許多優秀的藝術家如吳冠中、趙無極 Lot73 《12.11.85》、朱德群 Lot72《拂曉初光》、Lot74《塗鴉》及趙春翔 Lot11《靜謐》等第二代油畫家則接受前輩油畫家引進的油畫基礎上 學習 , 並把致力於將西方油畫的民族化當作藝術創作中的追求而形成 不同表現技法。第三代油畫家如龐均 Lot99《鴛鴦谷》、Lot100《百 合花》、羅中立 Lot133《回眸》等在改革開放的社會形勢下 , 他們開

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闊藝術視野 , 一方面追溯油畫藝術的淵源 , 鑽研歐洲古典油畫傳統 , 吸 收西方現代藝術的創作觀念及表現方法；另一方面深入研究中國傳統 文化及藝術精神 , 將中國傳統繪畫的表現方法及審美意蘊融入油畫藝 術創作中 , 引領了中國油畫藝術的新風氣 , 在推動油畫向多元化方向 發展 , 以及在探索中國特色和氣派方面 , 他們做出了突出的貢獻。在 改革開放的環境中成長，吸收西方現代藝術的各種觀念和技法的第四 代藝術家先後登上藝術舞臺，加上安定平和的政治環境呈現自由的藝 術氛圍，較為廣泛的國際間藝術相互交流，使藝術家們能更瞭解當代 世界的藝術資訊。經濟的蓬勃發展和人民生活明顯的改善，給藝術家 們以鼓舞和前進的動力如周春芽 Lot103《綠狗》、Lot104《像皮球一 樣的鬥牛》、張小濤 Lot151《迷夜》、尹堃 Lot146《英雄系列之四－ 邱少雲》、展望 Lot105《假山石》。 18

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歐洲藝術日本當代

以歐洲 19 世紀學院派油畫為主，以中國前輩畫家的師承關係作 為探討之對象，體現東西方之間的文化交流以及前輩畫家對藝術的領 悟，窺探當今享譽國際的藝術大家徐悲鴻、林風眠、吳作人等人汲 取了哪些西方文化與藝術內涵，作為中國現代藝術革新的養分。其 師 承 Lucien Simon(1861-1945)、Andre Claudot(1892-1982)、Arthur Kampf(1864-1950)、Alfred Bastien(1873-1955) 等人在當時歐洲藝壇 上具有極高評價，後世多認定為學院畫派裡具指標性的人物。學院派 藝術家是指通過美術學院嚴格體系化的技法與理念的訓練而產生的古 26

典主義風格的藝術家，他們的創作在主題上推崇古代神話和歷史人物 事件等，在表現手法上強調嚴謹均衡的構圖和完美的人物造型，準確 的空間透視和細膩的素描筆法，19 世紀後期學院派藝術發展走到了顛 峰，並產生了一批技藝精湛，在當時具有巨大影響的藝術家，這些藝 術家的中國學生們更是將他們的精髓發揚光大。 這次春季拍賣的版畫專題，景薰樓為各位藏家蒐集了歐洲及日本 當代多位有名的藝術大師的作品，讓我們一窺版畫藝術之美。用畫筆 寫詩的超現實主意浪漫詩人藝術大師夏卡爾，Lot158a《婚禮》色彩 從敞開的窗戶飄了進來打亮了畫面，一位猶太新娘捧著無數花朵與觀 者對望，畫面中的馬、天使以及猶太蠟燭增添一絲奇幻卻不失和諧。 由藍、綠、紅、黃、黑等色塊拼湊出的 Lot37《黃金羽毛》是米羅綜 合了自由幻想的潛意識與深思熟慮的繪畫技巧所作出的藝術呈現。擅 以粗黑線條勾勒的貝納畢費據有強烈的個人特色，Lot165《馴獸師》

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表情嚴肅帶有點憂鬱，Lot42《靜物—瓶花》以粗黑線條做勾勒，配 上鮮艷的顏色，襯托出畫面的造型時尚感，以及表情悵然與觀者對望 的 Lot162《小丑》等，都是畢費撼動人心的作品。 日本當代版畫部份景薰樓蒐集了草間彌生、村上隆以及奈良美 智的數張版畫作品讓各位大開眼界。日本經典現代藝術家草間彌生 Lot184《自畫像》透過無限的圓點及線條在無限的空間中架構出了自 我，經典的南瓜系列 Lot182《黃南瓜》，以及據有鮮艷色彩的 Lot33 《夜》等共八件作品。村上隆澗聲系列三幅 Lot30d《澗聲：光琳—紅 色河流》、Lot30c《澗聲：光琳—金色河流》和 Lot30b《澗聲：光琳— 如河水般流淌》， Lot30a《張開你的雙手》還有粉色的 Lot30e《蓮花》 共六件作品。另外還有日本知名的現代藝術家奈良美智 Lot186《No Fun》以及 2008 年在英國 Baltic Centre for Contemporary Art 個展所

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創作的 500 張限量版畫的兩件一組 Lot187《宇宙女孩》。此次景薰樓 所呈獻的都是日本極具名氣的當代藝術家版畫收藏，實為精彩可期。 19

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郭柏川 (1901-1974) 紅瓶與靜物 油彩 宣紙 1959 簽名右下 : -59- 柏 33.7x42.7cm (13.3×16.8in.) 附畫廊保證書 出版 《台灣美術全集 10 郭柏川》，藝術家出版 社，1993，第 249 頁。

KUO Po Chuan Red bottle with Still Life Oil on paper 1959

Signed on lower right: Dated 1959, with one seal of the artist With a certificate of authenticity issued by GALLERY Literature Taiwan Fine Arts Series 10-KUO PO CHUAN , Artist Publishing, 1993,p.249.

NTD 1,300,000~1,500,000 USD 44,100~50,900 HKD 344,700~397,800

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藝術家簡歷

丁雄泉 Walasse TING (1929-2010)

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江蘇無錫人，成長於上海，在街頭作畫維生。 曾入上海美術專科學校學習，1946 年遷居香港。 1952 年前往巴黎，期間和眼鏡蛇畫派成員結為 好友。1960 年移居紐約，發展出新畫風，成為 美國普普藝術家一員。出版一本名為《一分人 生》（One Cent Life）的詩集，內容並包括了多 位美國及歐洲藝術家的版畫原作。1977 年獲得 古根漢紀念基金會的獎助學金，並出版了一本 以女性為題材的情色素描與繪畫書籍，名為《朱 唇》（Red Mouth）。2001 年起定居於荷蘭阿 姆斯特丹。其色彩鮮豔之作品為各大博物館收 藏，包括美國大都會美術館，及古根漢美術館 等。

Walasse TING was born in Wuxi, Jiangsu, China, but raised in Shanghai. He earned his living by drawing painting on sidewalk.

TING ever enrolled Shanghai Fine Arts School. He moved to Hong Kong in 1946. Then he moved to Paris in 1952 where he kept well with members of the CoBra group. In 1960, he immigrated to New York, where he became involved with Pop artists. He published a book of his poems entitled One Cent Life illustrated with original lithographs by numerous American and European artists. He became American citizen in 1974. In 1977, he was awarded a fellowship from the John Simon Guggenheim Foundation and published Red Mouth, a book of erotic drawings and paintings. Since 2001, he has resided in Amsterdam. His works can be found by many museums, including Metropolitan Museum in New York and Guggenheim Museum.

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常玉 SAN Yu (1901-1966)

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生於四川，少年時就讀上海美術學校。1919 年 至日本留學，1920 年轉赴法國留學，成為中國 最早期的留法學生之一，之後留居巴黎。1925 年起，其作品屢見於巴黎的沙龍美展及各大畫 廊。二次大戰前曾回到中國，後轉至紐約生活 兩年。1948 年紐約現代美術館替他舉辦個展。 1966 年於巴黎逝世後，台北國立歷史博物館曾 分別於 1978、1984、1990 年共舉辦三次他的回 顧展。2001 年常玉百歲冥誕時，歷史博物館又 展出常玉百歲紀念大展，2004 年 6 月巴黎國立 居美東方美術館舉辦常玉回顧展，展出 60 餘件 作品。足見其作為海外華人藝術家在中國畫壇 的重要性。主要收藏機構有 : 台北國立歷史博物 館、北京中國美術館等。

Born in Sichuan. SAN Yu attended the Art College in Shanghai and went to Japan in 1919. In 1920, he went to France as part of the first Wave of Chinese artists to study in France. Unlike most of his contemporaries, SAN Yu decided to remain in Paris. Since 1925, SAN Yu exhibited His work regularly at the Paris salons and in local galleries. Before World War II, SAN Yu returned to China briefly and then moved on to New York where he lived for two years. In 1948, the Museum of Modern Art in New York held an Exhibition of his work. Since SAN Yu’s death in Paris in 1966, the National Museum of History In Taipei has held three retrospective exhibitions of his works. To celebrate the 100th anniversary of SAN Yu, the National Museum of History held a grand exhibition of over 129 oil paintings. Since June 2004, the Musee National des Arts Asiatiques-Guimet held a retrospective show of SAN Yu’s 60 works.

229

Artist Biographies

方人定 FANG Ren Ding (1901-1975) 味，揉合在一起，用這種“折衷東西＂的 技法表現勞苦大眾的真實處境；方人定不 僅是一個堅持現實主義道路，在人物畫創 作上卓越的畫家，而且亦是位造詣頗深的 書法家和詩人。 曾歷任廣州市立藝專科學校教授兼國畫系 主任、南中美術院教授、華南人民文學藝 術學院美術部教授、廣東畫院副院長、中 國美術家協會廣東分會常務理事、廣州市 政協常委等職。 1975 年去世。刊有《方 人定畫集》。

Fang was born in 1901 in ChungShuan City in GuangDong.

He graduated from Law and Politics College and Justice School of higher learning, and then majored in arts. He studied in Japan in 1929 and once returned after 918 Event.

He graduated fro Tokyo School of Fine Arts in 1935 and majored in western style of the drawn human body. After returned, he specially worked on Chinese calligraphic paintings. In 1938, he went to America for adventures and had his own exhibition. In 1941, he established “Social reconstruction” with Li Fu Hung in HK and had exhibitions.

He published ‘the future of Chinese painting’ in “Overseas Chinese Daily News” in Macau in1942 to expand the transformation of traditional Chinese paintings. After the Liberation, he was to be the vice president of GuangDong Art School.

1935 年出生於中國上海，1954 年畢業於台灣省 立台北師範學校藝術科，1956 年赴西班牙留學， 後移居義大利，曾在歐美多所藝術學校任教。 從 1957 年在西班牙巴塞隆納的馬達洛美術館舉 辦第一次個展後，後續於義大利、西班牙、荷 蘭、俄羅斯、台北等地舉辦多次個人展覽，後 成立東方畫會以抽象繪畫為研究主題。 早期的作品受到後印象派的影響，移居義大利 後，捨棄以前的濃烈色彩轉而使用中國文人喜 愛的淡泊色調。在作品中可以常見到他以西方 的色彩來闡述東方的哲學，他使用中國書法中 的草書線條營造禪的氣氛，讓線條在畫面上流 動跳躍。

Hsiao Chin was born in Shanghai, China in 1935. He graduated from National Taipei Normal University with Art major in 1954. He was studied in Spain in 1956 and later immigrated to Italy. Furthermore, he was taught in many Art Academies in Europe and also America. After the first solo exhibition in Barcelona Art Museum he held many solo exhibitions in Italy, Spain, Holland, Russia, and Taipei. Later on, he established the Oriental Art Association that focused on abstract painting. His early work was influenced by post impressionism. Nevertheless, after immigration to Italy, he abandoned the heavier tones and switched to tranquil color tone that was Chinese scholar’s favor. He interpreted, he allowed the line to bounce on canvas by creating the Zen’s theme with Chinese calligraphy’s cursive style.

原名方士欽，1901 年生，廣東中山濠湧人。 1921 人在廣州政法學校讀書，1926 年畢業 于廣東法官學校高等研究部。1923 年起利 用課餘時間隨高劍父學畫，1926 年後入春 睡畫院專學山水花鳥畫。1928 年，其花鳥 畫在比利時萬國博覽會上獲金牌獎。他早 期就認為中國畫壇因循守舊，有脫離現實 傾向，提倡復興人物畫，深刻表達民族精 神，把東方紜畫與西文繪畫的長處熔一爐 而冶。具體的實踐是他把中國畫的筆墨功 夫，西洋畫的明暗用色和日本畫的裝飾趣

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蕭勤 HSIAO Chin (b.1935)

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莊吉吉 CHUANG Che (b.1934)

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生於北京，其父親莊嚴為已故名書 法家暨前北京故宮博物院副院長， 莊喆自小培養出熱愛中國藝術興 趣。1948 年遷居台灣，1958 年畢業 於國立師範大學美術系，加入五月 畫會，積極參與中國繪畫現代畫運 動 1966 年獲美國洛克斐勒基金會的 贊助，赴美考察國際當代藝術之發 展，後返台任教於東海大學。1973 年移居美國密西根州，於 1988 年遷 居紐約，專注於抽象繪畫之創作， 1992 年應台北市立美術館邀請回國 舉辦個展，也曾多次在國際展覽中 出現，作品廣為國內外美術館及私 人珍藏。

Born in Beijing, Chuang's father was the great calligrapher, who was the vice-director of National Palace Museum in Beijing, Chuang was introduced to art by his father when he was little:He moved to Taiwan in 1948,after graduating from Taiwan National Normal University in 1958, Chuang taught at Tunghai University. He joined the Fifth Moon Association and actively pushed the modernization of Chinese painting. Received a scholarship from the Rockefeller Foundation, left Taiwan and settled in Ann Arbor; Michigan. In 1988, moved to New York- concentrated on his abstract paintings, and was invited by the Taipei Fine Art Museum to hold a solo exhibition in 1992.

Chuang's works have been exhibited widely0Aand housed by many local and foreign museums and private collectors.

藝術家簡歷

魏樂唐 John WAY (1921-2012)

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WAY has held his own exhibitions in Shanghai since 1937. From 1951 his works have been selected to attend at the Hong Kong Art Club Annual Exhibition for five consecutive years.

WAY settled down in Boston in 1956, where he studied abstract painting in the West.

Throughout the 1960s WAY had held many solo shows in Boston, including one in Nexus Gallery in 1960 and one in MIT’s Art Museum in 1968.

In 1965, WAY was invited to show his painting with renowned artists Hans Hartung, Jackson Pollack, Jean Tinguely and Andy Warhol in a joint exhibition “Painting Without a Brush” held by the Boston Fine Arts Museum. WAY was honored by the Accademiadel Verbano in Italy. His works are in the collections of both the Stanford University Art Museum and the San Francisco Art Museum.

中國上海人。1937 年即於上海畫廊 展出，從 1951 年開始連五年入選香 港美術協會年展。1956 年移居美國， 魏樂唐作品將中國書法的活力移至現 代藝術的形式中，為當代華人藝術家 中 最 早 專 研 抽 象 繪 畫 者 之 一。1960 年起曾在波士頓舉行多項展覽，包括 1960 年在納斯畫廊、1968 年在麻省 學院藝術館之個展。1965 年與西方 當代大師哈同、帕洛克、丁格利等參 加波士頓現代美術館之「不用畫筆的 畫作」聯展，1985 年入選法國「國 際沙龍展」，1998 年獲義大利藝術 學院頒贈最高榮譽教授頭銜，其作品 為美國史丹佛美術館及舊金山美術館 等典藏。

趙春翔 CHAO Chung Hsiang (1910-1991)

Lot.13

生於河南，畢業於河南省第一師範學校藝術系及杭州國立藝術專 科學校，跟隨林風眠、潘天壽學畫，期間獲獎無數。1956 年因受 邀擔任西班牙皇家美術協會會員而旅居西班牙，之後的三十二年 間，他的足跡遍及馬德里、巴塞隆納、巴黎，最後落腳在美國紐 約。1963 年代表中華民國參加紐約古根漢美術館舉行個展。2004 年國立歷史博物館舉辦趙春翔＜生命之光－永恆的追尋者＞特 展，同年趙式巡迴展也在北京中國美術館、上海美術館、香港藝 術中心等展出。 《抽象》是趙春翔在 1956 年創作的作品，當時畫家得到西班牙 政府邀請和支持，在西班牙進修及舉行個展。他在西班牙時的畫 風，主要是延續台灣以來的抽象表現風格，更明確地探索以色彩、 構圖的關係來表達畫家的主觀感情、個性。《抽象》中狂飆奔放 的筆觸背後，是有充分參悟和應用水墨寫意畫的創作神髓，會發 現有像張旭草書般的筆勢運動，是一種個性煥發，但不流於粗疏 的表達手法。趙春翔以粗曠豪邁的筆觸大筆刷畫，筆觸的起承轉 合幅度十分巨大，又潑、又灑、又淋，顯現了一種雄健壯闊氣勢。

Chao was born in Henan, China. He studied at the Department of Art in Henan Teachers Normal School and graduated from Hangzhou National Institute of Art under the guidance of LIN Feng Mian and PAN Tian Shou. In 1948, he left China for Taipei and served as Associate Professor in National Normal University. In 1956, he received a scholarship from the Spanish Government and became a permanent member of the National Art Association of Spain the next year. He toured Madrid, Barcelona and Paris for six months then left for New York. In 1963, he held his solo exhibition in New York Guggenheim Museum. In 2004, he held an exhibition, “CHAO Chung Hsiang－The Eternal Searcher” in National Museum of History in Taipei. His works were exhibited in the same year at National Art Museum of China in Beijing, Shanghai Art Museum and Hong Kong Arts Center.

楊識宏 YANG Chi Hung (B.1947)

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1947 年出生於桃園，1968 年畢業於國立 藝專美術科西畫組，1979 年移居美國。 楊識宏的畫作，呈現了強烈純粹的「繪 畫性」與「表現性」，色相強烈的對比， 常營造出一種黝暗中神秘的光影。作品 富涵濃厚東方情懷、充滿人文氣息，多 以漂浮漫生植物為主題，他的繪畫融合 東西兩方的自然觀與價值觀，透過「象 徵」的圖象語言與從中國哲學的體悟之 象徵性空間，表現了東西思想之間一種 啟示性的張力。他作品的主旨總是圍繞 於自然的榮枯、生命的興衰以及對時間 消逝的感傷。自然界循環與生生不息的 意涵，映照畫家的生命情境、生活體驗 和形象思維，使他的作品散發著詩意而 雋永的優雅風格，極受藝壇的推崇與肯 定。

Born in Taoyuan, Taiwan in 1947, and graduated from National Taiwan College of Art in 1968.

In the early 1980s, Yang Chi-Hung was living in New York; he was one of the secondgeneration overseas artists. During the first few years in New York, he frequently visited major galleries and art museums in an effort to expand his horizon and gather information. He became very familiar with the works and background of New Painting Artists; meanwhile, his effort fuel passion into his canvas and made his work responsive to feedback. Such responsiveness means more than an acute sense and courage, it also challenges the artist’s character. It is therefore that his works always convey poetic as well as elegant style, and receive high recommendation and praise from art field.

231

Artist Biographies

陳進 CHEN Chin (1907-1998)

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生於新竹。陳家不但是當地望族，也是書香世家。 在陳進女士的畫作中，始終維持著一分優雅和悠哉 的情調。1922 年入台北第三女高，在校期間繪畫 才能受日籍畫家鄉原古統賞識。1925 年入日本東 京女子美術學校，為台灣第一位留日女 藝術家。 1927 年入選第一屆「台展」，有「台展三少年」 之稱，並曾獲「帝展」殊榮，是在台灣前輩畫家 中，受到大眾肯定的女性畫家。並曾任台陽美協東 洋畫部會員，並多次擔任各項美展評審委員。其作 品構圖清麗脫俗、典雅氣質表露無遺，為畫壇中膠 彩畫之先驅者。她於 1934 至 38 年間，完成原住民 生活題材鉅幅作品。她一生對繪畫執著，尤其是膠 彩畫，不管外界的環境如何變化，她始終未曾放下 過畫筆，也從未放棄過對美的追求。

Chen Chin was born in 1907 in Hsinchu. Her family was really famous in the area and had good reputations. In 1922, she entered the third high school for girls in Taiwan and the paintings of hers were noticed by Japanese painter, Gouhara Kotou. In 1925 Chen went to Japan to studied art and she was the first girl student artist from Taiwan to study in Japan. She won the price of the First Taiwan Art exhibition and be named as ‘Three young people of Taiwan Art Exhibition’ in 1927 and she also honored in the Empire Exhibition. She was no doubt the female painter with the most recognition and appreciation. Her paintings were fresh and detached and had the sense of grace and classic. She was attached to paint, especially the Japanese painting, no matter how the outside world had changed, she never put down the brush nor gave up to seek the beauty of art.

林玉山 LIN Yu Shan (1907-2004)

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昔日「台展三少年」，以至年過八十猶執著於 繪事，創作不輟的林玉山，1907 年生於嘉義的 美村，自幼即因家庭環境而與繪畫結緣，從民 間畫師蔡禎祥學畫，培養出對色彩的感性與繪 畫的興趣。與陳澄波研習水彩與速寫的表現技 法，寫生與素描的訓練，影響其日後創作理念 甚鉅。1926 赴日本東京川端畫學校日本畫科， 於臨稿外，配合實地寫生，並做石膏像與人體 素描練習，刻苦求學三年，奠下堅強實力。返 台後除致力於推廣台灣美術運動外，並潛修經 學詩文，認為「作畫必求詩意」，可「藉物與 志」、「藉畫述志」。旅遊寫生與詩文活動成 為教課作畫外的生活課題。 1935 年復入日本畫 家堂本印象的東丘社畫塾，該畫塾以教導寫生 自然，應用自然事物改變創作為主，重視構圖 與取景訓練。林玉山並在課餘研究宋代花鳥畫， 臨摹宋、明院體派繪畫，對中國傳統繪畫中的 意境、造形與賦彩有了更深層的領悟與認識。 因摹古考古，進而出陳佈新，並融入西畫的技 法。後自嘉義北上任教，逐漸注重自然題材的 選取，並改變筆法的運用，由精謹穠麗而轉重 筆墨的趣味，以營造出有內涵的畫面。自此以 敏銳的感受和熟練的技巧，直超新境，脫略形 似逼取精髓，朝向筆簡意賅寫出生物生命神彩 的理想境地邁進，畫出挾西融中的新景象。「使 寫生之法，以傳統筆墨，運今人丘壑」，致力 於「外師造化，中得心源」的繪畫理想，是林 玉山窮畢生之力於繪畫所秉持不渝的創作觀。

Lin Yu Shan was born in 1907 in Chiayi. Because of his family he became the student of a local painter and created hi interests in paintings. Studied in water color sketch techniques with Chen Chen Po influenced his idea of art a lot. He went to Japan studied art and working hard for three years to practice human body sketch. After he back to Taiwan, he worked hard in promoting art education in Taiwan. In 1935, Lin went back to Japan focusing composition’s training.

藝術家簡歷

郭雪湖 GUO Hsueh-Hu (1908-2012)

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1908 年出生於台北大稻埕，本名郭金火，是台 灣日治時期中重要的畫家之一，也是台灣膠彩 畫的先鋒。1927 年，第一屆台灣美術展覽會舉 辦，郭雪湖、陳進、林玉山入選為東洋畫部的 三位台灣人畫家，有「台展三少年」之稱，郭 雪湖是三少年中年齡最小者，且唯一自學成功 的畫家，由於家境貧苦，不能上美術專門學校， 非常地刻苦耐勞。2008 年 1 月 22 日，郭雪湖以 九十九歲高齡獲得第二十七屆行政院文化獎。 自入選台展後，以極細密豔麗的膠彩畫，畫出 豐富表現台灣本土特色的作品， 1932 年以後， 他力求簡化畫面的元素，從單純通俗而具有地 方特色的形象中，追求亮麗吸引人的視覺效果。 他取材本土與細膩典雅的表現手法，風格清新 獨特，帶有鮮明的地方色彩，為初萌的台灣新 美術運動，提供了一種真正屬於本土的審美價 值觀的表現內涵。此後一直持續著膠彩畫風格， 至晚年移居日本、美國，他走訪了國內外的名 勝美景，更以不同的風物為題材，尋求畫藝上 進一步的變化。 郭雪湖的畫作大多為家人收藏，流入市面的並 不多，因此他的作品非常地珍貴、難得。

GuoHsueh-Hu was born in Taipei in 1908. He is one of the most important artists of Taiwan’s Japanese Colonial Period, and also a pioneer of Taiwanese glue painting. While the 1st Taiwan Fine Art Exhibition held in 1927, GuoHsueh-Hu, Chen Chin, and Lin Yu-Shan were the only three Taiwanese artists selected into the exhibition. Therefore, they received a name called “Three Youngsters.” In particular, GuoHsueh-Hu is the youngest among three of them, and is the only one who learned to paint by himself. On January 22, 2008, GuoHsuehHu received the 27th Executive Yuan Cultural Award by the age of 99.

Since The Taiwan Fine Art Exhibition, GuoHsueh-Hu has painted many delicate glue paintings that full of Taiwanese local scenery. After 1932, he started to seek elements that can simplify his painting, creating eye-catching visual effect from those common and local images. As for technique, he chose very classic way to present a fresh unique style with distinguishing colors, and therefore offers a true local aesthetic value for Taiwan New Art Movement. Even though GuoHsueh-Hu later on moved to Japan or the United States, not only does he never stop creating glue painting, foreign scenery even provides him with different subject matters to make further advance for painting.

Last but not least, most of GuoHsueh-Hu’s works are kept by his family. As a result, it becomes especially precious to see Guo’s masterpiece been auctioning on market.

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洪瑞麟 HUNG Jui Lin (1912-1996)

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洪瑞麟出生於台北市大稻埕，由於父親對傳統 文 人 畫 的 素 養， 自 小 也 對 繪 畫 發 生 了 興 趣。 1927 年進入由倪蔣懷出資的「台灣繪畫研究 所」，接受石川欽一郎老師的指導，開始由石 膏像正式習畫素描。1930 年赴日求學，畢業於 日本帝國美術學校。1938 年 7 月回到台灣，並 到倪蔣懷經營的瑞芳煤礦工作，自此開始以礦 工作為創作題材，建立出與眾不同的繪畫風格。 洪瑞麟的作品深深充滿了這種悲天憫人的情愫， 同時，也傳達出他對勞苦小民及老年人的由衷 關懷。洪瑞麟除了畫礦工之外，也畫過原住民， 裸女與風景。退休之後，他的第一個願望便是 追求陽光，畫家晚年旅居美國時完成了一些歌 頌陽光的風景畫，但無論如何，「礦工畫」永 遠是前輩畫家洪瑞麟的註冊商標。

HUNG JUI LIN was born in Taipei City in 1912 and his father's long immersion in the traditional scholarly painting was the first benign influence on the young HUNG. In 1927, HUNG was admitted into the Taiwan Painting Research Institute funded by Ni Chiang Huai, and under the guidance of Kinichiro Ishikawa, began his professional training in sketching plaster statues. 1930 saw HUNG studying in Japan, where he later graduated from the Japan Imperial Fine Arts School. After returning to Taiwan in July 1938, HUNG found a job with the Jui-fang Coal Mining Company managed by Ni Chiang Huai. The working miners subsequently became a key inspiration for HUNG, who was thus able to secure his own distinctive style. The powerful compassion for the toiling workers and the elderly, emanating from his works, never fail to touch the spectators. The aboriginal people, nude girls and landscapes also figured in his paintings. After his retirement, the quest for sunlight obviously took the priority, when he moved to the US and painted a series of landscapes celebrating sunlight. Still, his pieces on the miners always remain his signature works.

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Artist Biographies

張義雄 CHANG Yi Shong (b.1914) 台灣嘉義市人。1926 年開始跟隨陳澄波學習油 畫。1931 年返台入嘉義中學，來年赴日考入東 京帝國美術學校 ( 今武藏野美術大學 )，1933 年 轉至京都兩洋中學，晚間至關西美術學校練習 作畫，1935 年與陳澄波組「青辰美術為會」， 隔年約五次投考東京美術學校失敗。持續在川 端畫校進修；1948 年任教於台灣師範學降 ( 師 大前身 )，1949 年先後在台陽美展獲三次首獎。 省展獲美術高榮譽獎，免審查資格，1954 年與 陳德旺，張萬傳，洪瑞麟，廖德政、金潤作合 組『紀元美術會』。 1980 年決心永居巴黎，巴黎春季沙龍獲 Mention Honorable 獎，巴黎秋季沙龍入選後，81、83、 85 年皆入選；1987 年獲頒法國政府藝術家年金， 為華灣第一人獲此殊榮。隔年成為巴黎秋季沙 龍正式會員，1994 年台北市立美術館舉辦「張 義雄八十回顧展」。1995、1997 年皆在台中歌 德舉辦個展。1999 年台北、台中、嘉義、台南 『繪畫生涯演講會』，畫冊同時出版。2004 年 於國立歷史博物館舉辦九十回顧展，於台中哥 德藝術中心舉辦九十回顧經典展。

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Chang spent twelve years in Japan from 1928 to 1940, and was educated at some of the most esteemed institutions in Japan including the Musashino University, Kansai Fine Art College, Kawahita Painting Institute and the Tokyo Fine Art institLite. Chang spent two years in Beijing after graduation before moveing back to Taiwan in1945.While in Taiwan, Chang taught at the National Taiwan Normal University and National Taiwan Academy of Art. He has won First Prize three times for works included in Taiyang Fine Art Exhibitions. In 1994, the Retrospective Exhibition of Chang’s work. Chang moved to Japan in 1960 and subsequently to Paris in 1980 where he resides to this day. He has held several solo exhibitions in Paris and is a regular participant of the Paris Salon.

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草間彌生 Yayoi KUSAMA (b. 1929)

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草間彌生被稱為日本現存的經典藝術家，出生於日本長野縣松本 市，在 1956 年移居美國紐約市，並開始展露她領先群雄的前衛 藝術創作才華。曾與當代卓越的藝術家如安迪．沃荷、克勒斯． 歐登柏格、賈斯培．瓊斯一起聯展。現居住在日本東京。她的創 作類型非常廣泛：涵蓋繪畫、拼貼畫、雕塑、表演、電影、裝 置、小說、詩歌和音樂。她十歲患病導致幻聽幻覺。在美期間正 值激進主義時期，此後她的藝術停留在激進、商業和反思的層面 上。她認為網狀結構像徵富有生機的生命本質。1966 年的充滿神 秘感的《無限鏡屋》的裝置作品反映了生命力的無限廣博以及不 可把握性。她對自己的藝術經歷描述為：分解和積聚，增值和破 碎，是對自己的淹沒和對無形宇宙的回想。返日後用多種形式和 材料探索無此境的網狀結構。她的藝術作品蘊含獨特的感知經驗 和不可觸摸的神秘。2005 年獲頒日本皇室世界文化獎，2012 年， 草間彌生將以大阪國立國際美術館為起點舉辦新作巡迴展，並與 Louis Vuitton、Marc Jacobs 等精品合作，創造藝術生涯的另一高 峰。

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Born on 22nd, March, 1929. She was called the classic artist still alive in Japan. She was born in Matsumoto City in Nagano, Japan. In 1956 she moved to New York, U.S.A. and began to show her unique avant-courier artistic creation which takes a dorminant place. She once held exhibition with some current brilliant artists such as Andy Warhol, Claes Oldenburg and Jasper Johns together. She lives in Tokyo in Japan now. She has a wide artistic practice, including painting, collage, sculpture, acting, filming, decorating and writing novels, poems and music. When she was ten years old, she got acousma and heteroptics because she was ill.

When she was in America, it was the period of radical, commercial and retrospective. She thinks that the net form means the vividness of life. In 1966 her decorating work “Endless Mirror Room” reveals the endless and the uncontrollable of life.

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藝術家簡歷

村上隆 Takashi MURAKAMI (b.1962) 村上隆 1962 年出生於日本東京，並獲得了他 的學士，碩士和博士學位東京國立大學美術和 音樂。1996 年在東京於創立了 Hiropan 廠，後 來演變成凱凱琪琪有限公司的大型藝術創作和 藝術管理公司。 除了生產和銷售村上的工作， 凱凱琪琪公司職能作為一個支持環境，為培育 日本年輕藝術家。 村上也是策展人、企業家， 以及關鍵觀察員當代日本社會。2000 年，他組 織了一個典範日本藝術展覽名為「超平面」， 它的起源追溯到日本當代視覺歷史的日本流行 文化的藝術。 他繼續這項工作，隨後影響力的 展覽，例如「顏色」（卡地亞基金會當代藝術 倒歐萊雅，巴黎，2002 年）和「小男孩：藝術 日本的爆炸亞文化」（日本文化協會，紐約， 2005 年）。 村上的工作已廣泛地集團在世界各地展覽，如 卡地亞基金會當代藝術倒歐萊雅，巴黎倫敦和 蛇形畫廊（2002 年）; 東京當代藝術博物館（ 2001 年）; 波士頓美術館（2001 年）和洛杉磯 當代藝術博物館（2007 年），其中前往布魯克 林博物館，美術館獻給摩登孔斯特，法蘭克福 和古根海姆博物館揭幕，畢爾巴鄂二月 2009。 他 2010 年的展覽在法國凡爾賽宮。

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Takashi Murakami was born in 1962 in Tokyo, and received his BFA, MFA and PhD from the Tokyo National University of Fine Arts and Music. He founded the Hiropan factory in Tokyo in 1996, which later evolved into Kaikai Kiki Co., a large-scale art production and art management corporation. In addition to the production and marketing of Murakami's work, Kaikai Kiki Co. functions as a supportive environment for the fostering of young Japanese artists. Murakami is also a curator, entrepreneur, and a critical observer of contemporary Japanese society. In 2000, he organized a paradigmatic exhibition of Japanese art titled "Superflat," which traced the origins of contemporary Japanese visual pop culture to historical Japanese art. He has continued this work in subsequent impactful exhibitions such as "Coloriage" (Fondation Cartier pour l'art Contemporain, Paris, 2002) and "Little Boy: The Art of Japan's Exploding Subcultures" (Japan Society, New York, 2005).

Murakami's work has been shown extensively in group exhibitions around the world, and in one-person exhibitions at leading institutions such as Fondation Cartier pour l'art contemporain, Paris and the Serpentine Gallery, London (2002); Museum of Contemporary Art, Tokyo (2001); Museum of Fine Arts, Boston (2001); and Museum of Contemporary Art, Los Angeles (2007), which traveled to the Brooklyn Museum, the Museum für Moderne Kunst, Frankfurt and opens at Guggenheim Museum, Bilbao February of 2009. His exhibition at the Château de Versailles, France was on view in 2010.

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陳庭詩 CHEN Ting Shih (1915-2002)

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福建人。1948 年來台，年幼失聰反 使他更專注於創作。三十餘歲活躍 於美術團體如五月畫會、現代版畫 會及現代眼畫會等。曾多次參與歐 美亞等地海外聯展，並定期參與五 月畫會展覽及多項個人展覽。作品 曾獲 1970 年韓國國際版畫雙年展的 東亞日報大展。其版畫作品廣受海 內外美術館及私人機構所收藏，如 洛克斐勒基金會、辛辛那提美術館、 國立台灣美術館等。

CHEN was born in Fujian, China. He lost his hearing at early age, on the contrary, he focus on his art more. CHEN left China for Taiwan in 1948 and has participated in various artistic circles such as the Salon de Mial, the Modern Graphic Art Association and the Modern Eyes Group. He often exhibited as part of the salon de Mai, on top of regular solo shows. In 1970, CHEN was awarded the first prize at the First International Biennial Exhibition of Prints in Seoul. His works can be found in major museums such as Rockefeller Foundation, the Cincinnati Museum, and the National Taiwan Museum of Fine Arts.

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Artist Biographies

喬安．米羅 Joan MIRO (1893-1983) 1893 年米羅出生於西班牙巴塞隆納，自小米羅 就對於大自然的風景非常熱愛。畫畫對於安靜 及敏感的他來說，似乎是一種習以為常的工作。 14 歲時，米羅進入巴塞隆納的 St. Luke 藝術學 院。他的畫通常是架構於平面的底層加上明亮 的色彩，尤其是藍、紅、黃、綠、黑這幾種顏色， 無形狀的阿米巴圖﹝ Amorphous Amoebic ﹞成 形於銳利的線條、點及花色，完全以不協調的 架構成圖。米羅的畫風，總是有一種天真、無 邪、貪玩的風格。他以有限的記號要素做畫， 達到現代畫自由表現的境地，其作品幻想雖然 神秘，表現卻是明晰，畫面充滿了隱喻、幽默 與輕快，表現孩童般的純樸天真，並且富有詩 意。他主張繪畫所表現的神秘，必須以具體的 自然形象作基礎。

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Spanish Catalan painter, sculptor, and ceramist who was born in the sea port city of Barcelona. His works before 1920 (the date of his first trip to Paris) reflect the influence of different trends, like the pure and brilliant colors used in Fauvism, shapes taken from cubism, influences from folkloric Catalan art and Roman frescos from the churches.

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貝納．畢費 Bernard BUFFET (1928-1999) 1928 年出生於巴黎，1943 年進入巴黎國立藝術 學院。1947 年於「藝術圖書書店」舉行他個人 第一次個展，之後陸續在巴黎、日內瓦、紐約、 哥本哈根等地展出。1948 年獲第一次格雷特獎、 此年開始製作石版畫。1955 年年僅 27 歲的畢 費，被當時的《藝術知識》選為戰後最傑出的 十大藝術家之首。 畢費為反抽象主義中具像畫家之代表人物，瘦 長的粗獷有力黑輪廓線為其風格。初期作品多 為單色調，以社會寫實為主，深刻描寫戰後的 哀愁、苦悶。之後開始出現少許色彩，白灰底 色襯托強烈黑黃紅，張力十足，而粗線條為其 特色。

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In 1928, Bernard Buffet was born in Paris. In December, he entered the ÉcoleNationaleSuperieure des Beaux-Arts where he studied for two years. In 1947, he had his first solo exhibition at the Art Impressions book shop in Paris, and later conducted exhibitions in Paris, Geneva, New York, Copenhagen, and etc. 1948 he won the Prix de la Critique; and the same year, he started to create in the medium of lithography. In 1955, at the age of 27, he was awarded the first prize by the magazine Connaissance des arts, which named the 10 best post-war artists.

Buffet was the representative artist of anti-abstraction figurative art, and the thin, rough, and black outline was his personal style. His early stage artworks were mainly monotone and based on social realism to depict the sorrow and depression after war. Afterwards, he used white and gray background color to emphasize the strong black, yellow and red color and thick online was the main characteristic; which results the dramatic tension on the canvas.

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藝術家簡歷

劉其偉 Max Liu (LIU Chi wei) (1912-2002)

Lot.43

中國福建福州人，原名劉福盛。1920 年移居日 本，畢業於東京鐵道教習學院。1954 年來台， 自 修 繪 畫，1951 年 舉 行 首 次 個 人 水 彩 畫 展， 1962 年獲得中國畫學會第一屆水彩畫家金爵 獎。曾多次前往中南美、波羅州、菲律賓、越 南等地採集原始文化資料，對原始藝術研究深 具心得，著有《現代藝術研究基本理論》、《水 彩技巧與創作》及《台灣土著文化藝術》等書。 早期作品多為風景寫生與人物畫，其後，台灣 山胞傳統祭禮、服飾、建築成了繪畫的靈感與 題材。及至烽火漫天的中南半島，除了淡彩風 景寫生的作品外，並完成造型樸拙、色彩神祕 的「中南半島一頁史詩」作品。返台後，創作 題材愈廣，或以精簡的形象、線條與色彩表達， 或以抽象聯想將主題形象化，作品面貌呈現多 樣性與思考性。早期作品多以英文簽名和西元 紀年：其後則與眾不同地，多以注音符號簽名 和中國數碼記載時間，其作品更具趣味。1990 年於台灣省立美術館舉行八十回顧展。

Born in Fujian, his given name was Liou Fu-Sheng. In 1920 he moved to Japan and completed the education in Japan. Liu began to learn painting by himself. In 1951 he held his first watercolor painting exhibition. In 1962 he was awarded First Prize in watercolors by the Art Society of China in Taiwan.

Liu was well-experienced and knowledgeable with the aboriginal art researching and had been to Central America and South East Asia to collect the art resource and published “The Theory of Modern Painting”, “Watercolor Techniques and Compositions” and “Aboriginal Art and Culture in Taiwan”. Landscape and portrait appealed in his early works and later he was inspired by traditional aboriginal ceremony, clothes and architecture. In addition to pastel landscape painting of the works, he completed "An epic of Indochina" with simple but mysterious colors. After returning to Taiwan, the subject of his work is more extensive. He streamlined the image, lines and color expression, and to visualize the abstract theme into concrete image and giving the work diversity and humanity. His signature of early works were in English and AD Chronicles but later mostly with phonetic symbols and Chinese number to record the time with more fun and humor.

In 1990 he held an review exhibition of 80th in National Taiwan Museum of Fine Arts.

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Lot.89

Lot.90

呂鐵州 LU Tieh Chou (1899-1942)

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桃園大溪人，膠彩畫家。呂鐵州自幼接受庭訓， 並對繪畫產生濃厚興趣，早年即以臨摹方式學 習 傳 統 文 人 及 民 間 畫 師 的 創 作 技 法 與 形 式。 1927 年於台灣總督府主導第一回臺灣美術展覽 會中落敗，促成呂鐵州決心留學日本。隔年進 入京都市立繪畫專門學校，跟隨福田平八郎學 習「圓山四條派」的花鳥畫風。在學院訓練與 名師指導下，摒棄了傳統僵化的模寫形式，改 走典雅色彩、精確造形路線，創造出一種客觀 自然、細膩優雅的寫實裝飾風格作品。1929 年 以〈梅〉一作獲得第三回台展特選，讓呂鐵州 創作信心倍增，媒體與藝評界相繼頒予他「東 洋畫寵兒」、「台展泰斗」、「東洋畫壇麒麟兒」 榮銜。1930-1940 年代初期為創作的巔峰期。參 展作品展現精湛造型、嚴謹構圖、明亮色彩、 生動氣韻等特質。身為台灣東洋畫壇佼佼者， 慕其名求教者絡繹不絕。曾私設「南溟繪畫研 究所」傳藝；又與郭雪湖、陳敬輝、林錦鴻、 楊三郎及曹秋圃組「六硯會」，籌辦講習會及 募集興建美術陳列館資金。呂鐵州一生在創作 上的突破，及致力於民間美術教育的推廣，對 近代台灣藝壇貢獻卓著。

Lu Tieh Chou was born in 1899 in Taoyuan. Since he was a child, Lu already had great interests in paintings and practiced by learning from traditional literati paintings’ techniques and style. In1927, Lu participated in the Taiwan Art Exhibition hosted by Taiwan Governor-General Office but failed, hence he decided to study painting in Japan. In 1928, he entered Kyoto City University of Art and learned painting skills with Fukuda Heihachiro. Under the training of school and teacher, Lu had put imitation aside and began the style of elegant colors and specific composition to create a series of natural, exquisite works. As a strong performer of Japanese Paintings in Taiwan, hence, many of people came to Lu asking to be his students. Lu had a huge breakthrough on his art career and promotions of art education, and he made a great contribution in Taiwan art field.

237

Artist Biographies

藍蔭鼎 RAN In Ting (1903-1979) 藍蔭鼎 1903 年生於宜蘭羅東。從石川欽一郎習 畫，受石川影響極深。畢生從事水彩畫創作， 以台灣風土人文為畫題，積極參加國際性畫展， 把台灣的美介紹到全世界。曾應邀於義、法、 美、英等各國展出。1952 年入選為法國水彩畫 協會會員。1962 年日內瓦國際年鑑推薦他為當 代最傑出藝術家之一。1969 年名列世界藝術家 年鑑。1971 年歐洲藝術評論學會與美國藝術評 論學會，聯合選為第一屆世界十大水彩畫家， 享譽海內外。卒於 1979 年，享年 77 歲。

Lot.46

RAN was born in Ilan, Taiwan. Ran began to learn watercolor painting from his mentor, Ishiwaka Kinchiro and was influenced by Ishiwaka greatly. He devoted himself on watercolor painting and used local tradition and culture of Taiwan as subject to introduce the beauty of Taiwan to the world by actively participating in international exhibitions.

He had been invited to many exhibitions in Europe and America. In 1952 he was selected for the French Watercolor Association. In 1962 Geneva International Yearbook recommended him as one of the most distinguished artists. In 1969 he was one of the top artists in World’s yearbook. Ran was selected as top ten watercolor artists in the world by the European and American Art Critics Association in 1971. He was well-known around the world. He passed away in 1979 at the age of 77.

李澤藩 LI Tze Fang (1907-1989) 1907 年生於新竹。畢業於台北師範專科學校， 隨石川欽一郎習畫。1 929 年作品「日落」獲得 台灣水彩學會頒獎而首次受到矚目。1 930 年赴 日深造，回台後則旅遊各地並專心從事繪畫， 並任教於新竹師範學校。歷任全國、全省美展 評審，作品多次獲獎。1 989 年逝世，享年 82 歲。

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LI Tze Fang born in Xinzhi.Taiwan.He graduated from Taipei Normal School where he was instructed by Ishikawa Kiniehiro.In 1929，his work " Sunset" was honored by Taiwan Watercolor Painting Association and first gained Public attention.In 1930,LI set forth to Japan for advanced studies,and after he went back to Taiwan, he began traveling and concentrated on Paintings.LI also devoted himself education in Xinzhu Normal School, and he was regularly invited to judge for several art exhibitions in Taiwan. LI passed away at the age of 82 in 1989.

葉火城 YEH Huo Cheng (1908-1993) 生於台中。台北第二師範學校畢業，曾任國民 學校教員及校長，南亞塑膠工業股份有限公司 美術顧問，明志工專設計科主任。自 1927 年 起，作品多次入選台展及府展。1959 年擔任全 省美展審查委員 ( 第 14 至 27 屆 )，1965 年任私 立明志工專董事。曾任台陽美術協會會員、中 國美術家協會會員、中華民國油畫學會理事長。 1993 年逝世，享年 85 歲。 Lot.48

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Born in Taichung in 1908. Yeh was graduated from the Taipei Second Normal College in 1928. He ever served as schoolteacher and principal at primary schools, consultant at Nan Ya Plastics Corp and director at Mingchi Institute of Technology. Since 1927, his painting was frequently selected in Taiwan Exhibition and Taiwan Governor- General Exhibition. In1959, he held a post at provincial Fine Arts Exhibition (since the 14th to 27th session). In 1965, Yeh occupied as a trustee of Mingchi Institute of Technology. He was one of the adjudicator members from Taiyang Fine Art Association, Chinese ARTISTS association and ROC Oil Painting Association. Yeh passed away at age of85 in 1993.

藝術家簡歷

陳慧坤 CHEN Hui Kuen (1907-2011)

Lot.49

陳慧坤，一九○六年出生於台中龍井鄉。其父 雅好文藝，常臨摹芥子園畫譜自娛，幼年的陳 慧坤也在旁跟著塗抹，並且喜歡描摹門神、灶 神及捏泥人，自小展現了藝術上的天分與興趣。 小學四年級時由於受到陳瑞麟老師的鼓勵，與 藝術結下了一生之緣。其後畢業於東京美術學 校，並任教於國立台灣師範大學美術系。 許多台灣前輩畫家多多少少都有相似的童年， 或許戰亂與貧困是那個時代免不了的命運，陳 慧坤前半生的命運尤為坎坷，父母早逝，只能 依靠著祖母。中學畢業後，因對藝術的執著赴 日本習畫，成績優異。返台後，一直從事創作 與教育工作。陳慧坤比別的畫家更悽苦的命運 是年輕時短短時間內連遭兩次喪妻之痛，直到 娶了第三任妻子莊金枝之後，才否極泰來。 陳慧坤一生勤於繪畫，埋首鑽研色彩，實驗各 種新方法，並且融合了膠彩、水墨、油畫三個 領域，構築他獨特的繪畫風格。畫家對大自然 無比敬重，青年時代嚮往印象派畫法，寫生的 足跡遍及台灣及全世界。他於八十自述中表示： 「堅持自己的路程，探究美的正確方向，能獻 身於美術的教育與創作，樂而忘憂，不知老之 將至矣！」

Chen HoueiKuenwas bornin 1907 in Taichung, Taiwan.His father loved literature and art, influencing Chen’s interests on paintings. He graduated from Tokyo University of Arts and later became a teacher in Department of Fine Arts in National Taiwan Normal University.

Many artists in Taiwan have some similar childhood background because ofwar and poverty in Taiwan society that time. Chen was, too, having a difficult time during his early age. Chen’s parents passed away when he was young and his grandmother took care of him after they gone. Chen was really in to art hence he studied abroad in Japan to learn paintings and went back to Taiwan with a perfect grade. And he started his teaching and painting career after since.

Chen is working on his paintings and keep experiment new techniques on his artworks to build up his own painting style.

Chen respect to the nature and his footsteps of drawing are all over the world. He described himself “to keep one’s own track to find the right direction of beauty. And devote oneself into creation and education of art is the most happiest thing in one’s life.”

游守中 YOU Shoou-Jong (b.1965)

Lot.50

游守中生於台灣省，專長油畫、雕塑、水墨， 1988 年畢業於 復興崗 學院 藝術 系，1998 畢業 美國芳邦藝術學院藝術碩士，目前從事專業油 畫、水墨創作及教學。現任南投縣文化局局長。 1992 年在南投縣立文化中心水墨鄉情進行首次 個展。在 1993 年於南投縣立文化中心油畫創作 個展，次年於 1994 年於台中雅特藝術空間油畫 創作個展。1998 年在美國科羅拉多州丹佛中華 文教中心及密蘇里州聖路易市華僑文教中心舉 辦油畫、銅塑創作個展。回台後，陸續每年都 會舉辦油畫銅塑個展。

Born in Taiwan in 1965, specializes in oil painting, sculpting and water-and-ink painting, YU graduated from the Department of Art, Fuxinggang Institute, in 1988. He and received an MA in Art ofFontbonne College in 1998.

Currently, he specializes in professional oil painting, waterand-ink painting and teaching.

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239

Artist Biographies

郭柏川 KUO Po Chuan (1901-1974)

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郭柏川，字少松，1901 年生於台灣台南，是一 位知名美術家及教師。1921 年，郭柏川從學校 畢業，先行任教。1928 年，以美術方面的專才， 前往日本的東京美術學校進修。1933 年，以半 工半讀情形下，於梅原龍三郎處習畫。1937 年 隨梅原前往中國，並於滿洲國各省畫生。1938 年，他再於日本控制下的北平師範大學與北平 藝專擔任教職。1948 年，因國共內戰回台灣， 並在 1950 年於成功大學任教。1974 年去世。 郭柏川的寫生畫風於 1930 年代末期頗享譽於北 京，天津一帶。二戰後更將中國式的風格融入 台灣民間器物、刺繡與廟宇紅牆。其畫風特點 是是單純但深入、著重構圖且色彩渾厚，嚴謹 也筆觸精準。其線條處理更隱含中國書法的意 境。

As a famous artist and educator born in Tainan,Taiwan, Kuo served as a teacher after he graduated from school in 1921.

With his artistic talents, Kuo went to Tokyo Art School for further education in 1928 and started to learn painting from Ryuzaburo, Umehara in 1933. In 1937,he went to China with Umehara and painted in Manchu Country. In 1938, under the Japanese dominance, he went back to his former career as a teacher at Beijing Normal University and Beijing Art School.

He came back to Taiwan in 1948 when the Chinese Civil War burst out, and continued his education career in Cheng Kung University in 1950. Kuo died in 1974. His outdoor painting was admired in Beijing and Tianjin around the end of 1921.

After WWII he began to implant a more Chinese style into his subjects such as Taiwanese utensils, broidery, and temples.

His paintings are simple yet deep, well composed and powerfully colored, the strokes are precise and conscientious, resembling that of the ancient Chinese calligraphy.

李梅樹 LI Mei Shu (1902-1983) 台北三峽人，專長油畫。1918 年，入台北國語 學校師範部。1928 年，赴日深造，進入東京美 術學校西畫科，學成回國後，與畫友創立台陽 美術協會及中國油畫學會。其作品曾多次入選 台展及省展，並且於 1935 年獲第九屆台展及特 選總督獎。此外，他亦任教於國立藝專、中國 文化大學及國立台灣師範大學。李梅樹美術館 於 1990 年在三峽故鄉成立，其寫實而獨特的畫 風及描繪鄉情的作品，成為台灣西洋美術史的 佼佼者。

Known for his realistic landscapes for his homeland, Li Meishu was one of Taiwan's most outstanding painters in the Western style. After graduating from the Taipei Normal School in 1928, Li went to Japan to study at the Tokyo Fine Arts School. After returning to Taiwan, he founded the Taiyang Fine Arts Association and China Oil Painting Association with a group of artists. Li's works have been selected for the Taiwan Provincial Fine Arts Exhibition in 1935. He was a professor for many years at the National Taiwan Academy of Arts, Chinese Culture University and National Taiwan Normal University. He died in 1983. His memorial museum was opened in 1990 in San-shia.

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廖繼春 LIAO Chi Chun (1902-1976)

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廖繼春 1902 年出身於台中豐原附近農耕家庭， 父母早亡，家境清寒。1918 年入台北師範學校， 並參加日本的函授學校，開始摸索油畫的技法。 1922 年畢業後回母校豐原公學校服務。為了爭 取豐原鄉紳家庭的女兒林瓊仙接受婚約，遂與 她立下盟約前往東京繼續深造。行前先到台北 入田村畫室練習素描。1924 年 3 月下旬與陳澄 波同船抵東京，同時考入東京美術學校圖畫師 範科。畢業後更幸運地受聘為台南私立長老教 會的中學及女校（今長榮中學、女中）美術教 員。同年 10 月台展第 1 回開幕，他以「靜物」 獲得特選，次年再以「芭蕉之庭」入選第 8 回 東京帝展，就此奠定他在台灣油畫界的領導地 位。戰後任教於國立師範大學藝術系，鼓勵學 生自由創作，極受愛戴。他一生忠實於創作與 教書，先後達 50 多年，教育英才無數。

LIAO Chi Chun was born in 1902 in Fenguan, Taichung.

LIAO graduated from Taiwan territorial Japanese school .in 1992,he graduated from national Taiwan Normal University.

In 1924 LIAO entered Tokyo fine art institute. After his graduation, he co-founded Chiyang Fine art association with Chen Cheng Po, Yen Shui Long, and Yan San Lang. In 1928 his work named The garden with banana trees, with was selected for the imperial exhibition, donated to Taipei fine art museum. In 1934 Liao co-founed the Taiyang Fine Art association with Chen Cheng Po, Yen Shui Long and Yan San Lang. Liao continued to create art and contribute the field of art education. In 1962 LIAO was invited to American and held solo exhibition in Chicago.

In 1964 LIAO was award by ROC painting society. In 1968 LIAO was selected the first ten outstanding teachers of Taichung county. In 1976 LIAO passed away and awarded by Ministry of Education for LIAO’s contribution.

藝術家簡歷

陳銀輝 CHEN Yin Huei (b.1931)

Lot.55

陳銀輝 1931 年生於嘉義。1954 年國立台灣師範 大學美術系畢業。1952 年迄今曾在國內各大美 展獲獎多次，包括 1961 年獲扶輪獎、1980 年獲 金爵獎、1986 年獲中山文藝創作獎等。1966 年 起在國內外舉辦個展超過二十多次。現任國立 台灣師範大學美術系教授，全國、全省、台北 市等美展評審委員，台陽美術協會及世紀美術 協會會員。 他的作品均有一主色調：平靜略帶憂傷的藍， 鮮亮卻隱含微顯的黃，或是明亮炙熱卻埋伏玄 機的紅，他總能靈活的運用對比色的交錯呼應， 使畫面上的光線跟色彩得以交流。

Born in Taiwan in 1931 and graduated from Art Department in Nation Taiwan Normal University in 1954. He was selected into many awardssince 1952, such as Rotary award in 1961 andGolden Cup Prize in 1980. After 1966, he had more than twenty solo exhibitions in Taiwan and all over the world. He, know, is a professor in National Taiwan Normal University in Art Department.

In his paintings, there is always a main hue to express emotions. It may blue for sadness or yellow for danger, or even red for passion. He also uses complementary colors to contract the main color to create a rich pallet.

Lot.126

楊三郎 YANG San Lang (1907-1995)

Lot.56

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台北永和人。1915 年入艋舺公學校，1923 年赴 日本留學，首先進入京都工藝學校，後轉入關 西美術學院西洋畫科，接受嚴格的學院派訓練。 1927 年回台灣，與倪蔣懷、廖繼春等人共組「赤 島社」。1929 年榮獲台灣美術展覽會特選第一 名。楊氏於 1931 赴法國留學，次年他的作品塞 納河畔入選法國秋季沙龍，與當時留法顏水龍 同為早期留法畫家，回台後成為一個專業畫家， 推動各項美術活動。1934 年返台創辦「洋畫研 究所」於太平町，與陳澄波、廖繼春、顏水龍、 李梅樹、李石樵等人成立「台陽美術協會」， 並在教育會館舉行個展。光復後籌辦「全省美 展」全力參與並展出，奠定其畫壇地位，並獲 國家文藝獎的殊榮。1948 年恢復台陽展，成為 該展最大支持者。1985 年台陽展與春陽會於史 博館合辦「中日美術展」1986 年獲國家文藝獎， 1989 年台北市立美術館舉辦回顧展。1991 年楊 三郎美術館正式開幕，1992 年獲頒行政院文化 獎卓越藝術家獎章，1995 年逝世家中。楊氏舉 行過多次個展，並多次在台灣美術展上獲獎。 其中比較重要的展覽有 1973 年和 1983 年分別 在國立歷史博物館舉行的「楊三郎油畫個展」 和 「楊三郎油畫回顧展」。楊氏以其在畫壇上 卓越的成就，曾於 1986 年榮獲國家文藝特別貢 獻獎。

YANG was born in Taipei, Taiwan. YANG moved to Japan in 1924 where he studied at the Kyoto School of Arts and Crafts. He then transferred to the Western Painting Department in the Kansai Art Academy to receive academic training. He returned to Taiwan in 1927, and founded the Ruddy Island Association together with NI Jiang Huai and LIAO Ji Chun. In 1929, he won the first prize at the Taiwan Art Exhibition. YANG went to France in 1931, spending time to visit museums and study European paintings. In the following year, his works were selected for the Autumn Salon in Paris. In 1924, he returned to Taiwan and held a solo show at the Hall of Education. At the same time, he established the Taiyang Art Association along with other notable artists such as Chen Cheng Po and LIAO Ji Chun. YANG has received numerous awards and held various important solo shows, including Oil Paintings by YANG San Lang (1979) and Retrospective Exhibition of YANG San Lang 's Paintings (1983), both held at the National Historical Museum.

YANG received a special national art award in 1986 for his tremendous contribution to Taiwan's art world.

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Artist Biographies

沈哲哉 SHEN Che Tsai (b.1926) 台灣台南市人，1938 年入省立台南一中，師事 郭柏川（1901-1947）與廖繼春。曾任台南美術 研究會評議員、台陽美術學會會員、省展評議 院、台南家專美術系教師、服務教育界 40 餘年， 目前已退休，專事創作，並旅居日本、美國兩 地。就讀中學時，作品曾入選府展、台陽展， 嶄露頭角，歷來參加國內各項展出，深獲好評， 曾獲中國油畫學會金爵獎、國立歷史博物館榮 譽金獎章等榮譽。1995 年國立台灣美術館舉辦 " 沈哲哉七十回顧展 "。作品收藏有國立台灣美 術館等。

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Born in Tainan, Taiwan. SHEN Che Tsai entered Provincial Tainan First Senior High School and studied with Kuo Pochuan (1901-1974) and Liao Chi-chun. He has served as the councilor of Tainan Art Research Association, member of Taiyang Fine Arts Association, judge of Taiwan Provincial Fine Arts Exhibition, professor of Tainan Woman's College of Arts and Technology.He taught for 40 years and retired only recently.He currently lives in both Japan and USA. While studying in high school, his paintings were selected into the Palace Fine Arts Exhibition and Taiyang Fine Arts Exhibition. SHEN has been awarded by the China Oil Painters Association and National Museum of History in Taiwan. His 70 years retrospective exhibition was held in National Taiwan Museum of Fine Arts in 1995.His works can be found in the public collection of the National Taiwan Museum of Fine Arts.

王攀元 WANG Pan Youn (b.1912) 1912 年出生，江蘇北部徐家洪人，畢業於上海 美專，青壯時期都在戰亂中渡過。自 1949 年來 台，遭逢艱困的歲月，一生堅苦卓絕，卻始終 執著於繪畫之志，他堅持自我觀照，以細膩深 邃的情感詮釋簡潔的主題，筆下透露著人世憂 患的感觸與情思，樹立獨特精煉的風格，作品 中色彩韻味與幽深的線條趣味勾勒出恬淡韻味， 簡練的藝術風格孕育個人情感的流露，真實而 感人。作品多次獲台灣省立美術館、台北市立 美術館典藏。2001 年應國立歷史博物館之邀， 於國家畫廊舉辦《攀圓追日—王攀元九十自選 展》。曾於 1983 年入選中華民國畫會金爵獎， 2001 年榮獲第五屆國家文藝獎、2003 年獲頒文 馨獎之殊榮。

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WANG Pan-Youn was born in a wealthy family in Jiangsu, China, 1912. He graduated from Shanghai Training School of Fine Arts and lived most of his teenage in war. Ever since he came to stay in Taiwan in 1949, life has been difficult.

However, WANG insisted that he keep painting so as to reflect his inner self. Wang’s artwork is depicted through sensitive feelings and clear subjects. The brushwork, which is full of compassion, builds up a highly refined style; moreover, the warm colors and dim outlines give audience a carefree atmosphere. Several of his works were collected by National Taiwan Museum of Fine Arts and Taipei Fine Arts Museum shows the importance of Wang Pan-Youn’s art. In 2001, he was invited by National Museum of History to hold a solo exhibition – “In Pursuit of Solar Perfection: Exhibition of Self-Selection by Wang Pan-Youn at Ninety.” Last but not least, he was awarded for several national prizes in recent years.

阿佛雷德．巴斯天 Alfred BASTIEN (1873-1955) 阿佛雷德．巴斯天（Alfred Bastien）為比利時 畫 家、 學 者， 以 及 軍 人。 他 在 根 特（Ghent） 皇家美術學院師從 Jean Delvin，接著就讀於布 魯塞爾（Brussels）皇家美術學院，師從 JeanFrançois Portaels，並於 1897 年獲得 Godecharle 大獎。之後他旅行到巴黎，並進入巴黎美術學 院就讀。第一次世界大戰爆發時，巴斯天人正 在巴黎。1927 年，巴斯天進入學院任教；直到 1945 年，他一直擔任繪畫教授一職。在這段期 間，他曾經三次擔任主任。吳作人是巴斯天的 學生之一，後來成為中國北京中央美術學院之 院長。

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Alfred Théodore Joseph Bastien was a Belgian artist, academic and soldier. He attended the Académie Royale des Beaux-Arts in Ghent, where he studied with Jean Delvin.

He then enrolled in the Académie Royale des Beaux-Arts in Brussels, where he studied with Jean-François Portaels.

He won the Prix Godecharle there in 1897. He traveled to Paris, where he enrolled in the École des Beaux-Arts in Paris.

He was in Paris when hostilities broke out in what would become the First World War. Bastien joined the faculty of the academy in 1927; and he was a professor of painting until 1945. He served as director three times during these years.

Among his students was Wu Zuoren, who would become head of the China Central Academy of Fine Arts in Beijing.

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藝術家簡歷

安德烈．克羅多 Andre CLAUDOT (1892-1982)

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安德烈．克羅多（Andre Claudot）於 1892 年 2 月 14 日出生於法國迪戎（Dijon），父親是一 位製琴師，母親則是一位基督徒。他於 1982 年 6 月 13 日逝於羅依禮（Loeillery）。1908 年他 進入迪戎美術學院就讀，並於當地報紙上刊登 了他的一幅畫作，從此開啟了他的職業生涯。 1909 年獲頒迪戎市政府獎學金，前往巴黎藝術 設計學校就讀。 1920 年他在迪戎市展出他的四年軍旅生涯所做 的 100 幅作品，接著前往巴黎。於 1921 年間， 克羅多分別於國家美術協會沙龍、秋季沙龍及 獨立藝術家沙龍展出他的作品。他畫的插圖亦 於幾個極左派的期刊（“自由主義者＂、“明 晰＂、“無政府主義者審查＂）刊登。他的畫 風是簡單、快捷、有力，使用較寬的筆觸，畫 面結構的質量與獨創性亦非常突出。 1925 年他動身前往中國，在那兒待了四年，先 後任教於北京國立藝術學院及杭州藝專，成為 他藝術及個人生涯的轉捩點，他將因他的東方 生活畫作而聲名大噪。1935 年至 1941 年間，他 任教於法國迪戎國立藝術學院，之後離職加入 反抗軍。1956 年他在迪戎設立繪畫學校。

André Claudot was born February 14, 1892 in Dijon (Côted'Or) a luthier father and a Christian mother. He died June 13, 1982 at Loeilley (Haute-Saône).

His career began in Dijon in 1908 with its inclusion in the Ecole des Beaux-Arts and the first publications of his drawings in the local newspapers. The department of Côte d'Or awarded him a scholarship in 1909, allowing him to enter the School of Decorative Arts in Paris.

In 1920 he exhibited one hundred drawings of his four years of military life, then leaves to Paris (Vaugirard) present his works at the Salon of the Societe Nationale des Beaux-Arts, the Salon d'Automne and the Salon des Independents Atistes (1921 to 1926). He participates in the illustration of several journals extreme left (The Libertarian, Clarity, The Anarchist Review). The style of his work is so called simple, fast, with a broad stroke, the strength, quality and originality of the construction of the scenes are also highlighted.

In 1925, his artistic and personal life took a new direction with his departure for China,where he remained six years as a professor at the National Institute of Arts in Beijing, then Hangchow. He will now famous for his works on the Far Eastern life.

From 1935 to 1941 he taught at the Ecole des Beaux-Arts in Dijon then sacked and joined the Resistance.

In 1956, he created Musette street Dijoin a school of painting.

亞瑟．康普 Arthur KAMPF(1864-1950)

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亞瑟．康普（Arthur Kampf）在 1879 年至 1881 年於杜 塞爾多夫藝術學院（Kunstakademie Düsseldorf）師從彼 得．楊森（Peter Janssen）。畢業之後，康普便留在該 校擔任藝術學院教授，持續任教直到 1889 年他搬至柏 林（Berlin）。在柏林，他繼續於當地的藝術學院任教， 1915 至 1924 年間，他擔任柏林美術學院院長一職。此 外，康普同時也是普魯士藝術學院（Prussian Academy of Arts）的成員之一。在納粹取得政權之後，康普隨即 加入了納粹黨。1939 年康普在慕尼黑（Munich）“藝 術之家＂舉辦的“偉大德國藝術展＂(Große Deutsche Kunstausstellung) 中，展出了相當多的作品。1939 年， 他榮獲德意志帝國雄鷹勳章（Adlerschild des Deutschen Reiches）“德國畫家＂(Dem deutschen Maler) 之讚譽。

He studied under Peter Janssen, among others, at the Kunstakademie Düsseldorf from 1879 to 1881. After completing his education he became a professor at the Kunstakademie and taught there until 1889, when he moved to Berlin. There he continued to teach at the local Kunstakademie. From 1915 to 1924 he was president of the Hochschule für Bildende Künste in Berlin. He also became a member of the Prussian Academy of Arts.Kampf joined the Nazi Party soon after the Nazis seized power. In 1939's "Great German Art Exhibition" (Große Deutsche Kunstausstellung) at the Haus der Kunst in Munich, he was represented by numerous works. In 1939 he received the Adlerschild des Deutschen Reiches with the inscription "To the German painter" (Dem deutschen Maler).

呂西安．西蒙 Lucien SIMON (1861-1945) 呂西安．西蒙（Lucien Simon）是位出生於巴黎的法國畫家 與教師。從 Lycée Louis-le-Grand 中學畢業之後，進入 Jules Didier 畫室學習，然後於 1880 到 1883 年間，在朱利安藝術 學院習畫。從 1891 年開始，在法蘭西畫家沙龍（Salon des Artistes Francais）及國家美術協會沙龍（Salon de la Société Nationale des Beaux-Arts） 參 展。1891 年 與 André Dauchez 的妹妹 Jeanne Dauchez 結婚，並沉醉於布列塔尼（Brittany） 的自然風景與農家生活。1895 年他與 Charles Cottet 相識， 並且和 Dauchez、Xavier Prinet、Edmond Aman-Jean 及 René Ménard 成 為「Bande noire」 或 稱「Nubians」 之 成 員， 採 印象畫派主義之準則，但是用色卻更為深色調。1902 年， 西 蒙 成 為 Martha Stettler 的 大 山 寨 研 究 院（Académie de la Grande Chaumière）的創校教師之一。同時間他也在克拉 洛西美術學院（Académie Colarossi）教學，一方面也教授 自己私人的學生。1923 年，他任教於國立藝術學院（École Nationale des Beaux-Arts）。1937 年他於盧森堡展館展出的 作品，獲得了“巴黎世界博覽會＂一等獎。 Lot.71

Simon was a French painter and teacher born in Paris. After graduating from the Lycée Louis-le-Grand, he studied painting at the studio of Jules Didier, then from 1880 to 1883 at l’Académie Julian. He exhibited at the Salon des Artistes Francais from 1891, also at the Salon de la Société Nationale des Beaux-Arts.In 1891 he married Jeanne Dauchez, the sister of André Dauchez and became infatuated with the scenery and peasant life of her native Brittany.In 1895 he met Charles Cottet and became a member of his "Bande noire" or "Nubians", along with Dauchez, Xavier Prinet, Edmond Aman-Jean and René Ménard, employing the principles of Impressionism but in darker tones. He was one of the founding teachers at Martha Stettler's Académie de la Grande Chaumière in 1902. He also taught at the Académie Colarossi around the same time, as well as taking private students. He taught at École Nationale des Beaux-Arts from 1923 and elected to its Académie des Beaux-Arts in 1929, a position he held for 13 years. In 1937 he won First Prize at "l’Exposition universelle de Paris" for his work on the Luxembourg pavilion.

243

Artist Biographies

朱德群 CHU Teh Chun (b.1920) 中國江蘇人。1941 年畢業於杭州藝專且留校任 職，而後受聘於南京中央大學。1949 年在台北 任 於師大美術系，1955 年赴巴黎深造。1958 年於巴黎舉行個展後，1964 年應美國匹茲堡卡 內基美術博物館之邀參加國際畫展，1987 年由 法國文化部協辦展開亞洲巡迴展包括北京中國 美術館、香港藝術中心、台北市立美術館等。 1997 年底榮膺法蘭西研究學院藝術院士。 Lot.72

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Chu graduated from the National Academy of Arts in Hangzhou in 1941. He taught drawing at the Central University in Nanjing and the National Taiwan Normal University in Taipei. In 1955, Chu moved to Paris where he held numerous solo exhibitions. In 1964, Chu was invited to show his work at the International Art Exhibition at the Carngie Institute, Pittsburgh. In 1987, Chu most touring exhibitions was organized by the French Ministry of Culture and Shown throughout Asia, incluing the Chinese Art museum in Beijing, the Hong Kong Arts Centre and the Taipei Fine Arts Museum, in 1977, Chu was honored by the Academie des Beaux-Arts de France and elected as a member of institute.

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趙無極 ZAO Wou Ki (1921-2013) 出生於北京，1941 年畢業於杭州藝專，曾任該 校講師，受業於林風眠、吳大羽。1948 年赴巴 黎，受當時抽象主義的影響，探討西方現代藝 術，旋即在巴黎、美、英、瑞士舉辦個展。他 承襲中國傳統的內涵，取中國書法優美的線條 和山水畫的氣韻，巧妙地融入畫布空間中，流 動的氣韻推動著畫面，用抽象方式表達真實的 事物，創造出現代繪畫的新領域，避開抄襲與 舊有形式，不蓋章、不題款，傾心領悟古人對 自然與生命的讚頌之情，以一種嶄新的姿態形 式呈現出他個人含蓄、沉穩、生動、意趣高遠 的藝術新領域，馳名國際，成為第二次世界大 後的巴黎畫派最具影響力的畫家之一，也是西 方藝壇上成就最傑出的一位中國藝術家。1981 在法國大皇宮展出，並獲得「榮譽軍團司令勛 章」。2002 年榮膺為法蘭西學院院士。他的作 品廣被世界各地的私人藏家及博物館珍藏。

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Zhao Wou-Ki was born in Bejing. He graduated from Hangzhou Fine Art College. He was mentored by Lin FengMian and Wu Da-Yu. Influenced by abstractionism, he explored Western modern paintings and immediately held exhibitions in Paris, England, America, and Switzerland.

He adopted the spirit of tradition by join Chinese brush strokes into paintings. He described concrete images in abstract forms. In the painting of Zhao, there is no stamp and no signatures so to show his ideal of art making in new dimension. Zhao is one of the influential painters in modern art and the most successful Chinese artist in the Western world. In 1981, his works were showed in Galeries Nationals du Grand Palais and was awared Commandeur de la lgiond Honneur. In 2002, he was selected as a member of the Academie Francaise.

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藝術家簡歷

克勞德．維士巴修 Claude WEISBUCH (b.1927)

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1927 年 出 生 於 法 國 東 北 部 洛 林 省 的 泰 昂 維 (Thionville)。就學於南錫 (Nancy) 國立美術學 校， 精 通 於 各 種 版 畫 製 作， 善 於 描 繪 人 物、 馬、音樂歌劇等。1951 年起，維氏開始在巴黎 畫壇展露頭角，當代青年畫家展、洛頓沙龍、 巴爾赫哥爾畫展及巴黎「時代證人畫展」都可 見維氏的作品。1957 年首次個展，於在巴黎主 辦藝評家大獎的聖 ‧ 柏拉西得 (Galerie SaintPlacide) 畫廊展出，畫題大都以義大利假面舞劇 中的駝背丑角或法國木偶劇中的滑稽人物為主， 畫面簡化到一切對主題沒有用處的細節皆被排 除。1960 年代後，維氏逐漸發展出自己獨特的 風格，用色漸少但線條更趨於流暢。1961 年獲 得藝評家大獎，從此聲名遠播，與易北畫廊簽 約連續開個展，足跡遍至歐洲各地、美國及日 本開畫展。1968 年被認命為法國版畫協會專任 會員，並應邀至聖 ‧ 艾蒂安藝術學院當任教授。 1970 年起和巴黎 Tamenaga 畫廊開始長期的合 作關係，作品亦開始被巴黎市立現代美術館收 藏。1988 年法國文藝古堡 - 修濃索城堡為他舉 辦首次回顧展，全球 22 個收藏其作品的美術館， 包括紐約現代美術館、巴黎龐畢度中心及比利 時皇家學院美術館代表皆應邀出席，無疑地維 士巴修已成為法國當代代表性畫家之一。

Claude Weisbuch is a distinguished professor in the department of Materials, shool of engieering, UCSB. Weisbuch has been a researcher at the Laboratoire de Physique de la Matière Condensée at the Ecole Polytechnique as a director of research for the Centre National de la Recherche Scientifique (CNRS) since 1997. He is coauthor of Quantum Semiconductor Structures: Physics and Applications (1991), a widely used, graduate-level text, and co-editor of five other books: Physics and Fabrication of Microstructures and Microdevices (1986); Physics, Fabrication and Applications of Multilayered Structures (1988); Confined Electrons and Photons: New Physics and Applications (1995); Microcavities and Photonic Bandgaps (1997), and Confined Photon Systems (1999). Weisbuch a fellow of the American Physical Society in 1993, he received the 1999 Welker Prize for his fundamental contributions to the understanding of the physics of quantum semiconductor structures and the development of novel optoelectronic device concepts.

法蘭西斯．培根 Francis BACON (1909-1992)

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法蘭西斯．培根是一位生於愛爾蘭的英國畫家。 其作品以粗獷，犀利，具強烈暴力與噩夢般的 圖像著稱。中後期作品主體為在狹小空間內的 玻璃或金屬幾何籠子里的抽象雄性肖像，背景 通常為極平坦的平面。培根於 20 年代開始繪畫， 直到 30 年代初，僅有零星創作，繪畫只是他的 興趣，當時他是一位室內、地毯和傢具設計師。 他的突破作品是 1944 年的三聯畫《以受難為題 的三張習作》，就是這一件作品和其從 40 年代 末期到 60 年代初期的抽象頭部肖像和身體肖像 為其本人奠定了他抽象肖像始祖級的大師地位。 培根在世時是泰特美術館兩度回顧展的主角， 並於 2008 年在同一間美術館得到了他第三次的 回顧展。培根堅稱自己從不對其創作草圖準備， 只有即興創作；可是他死後有部分草圖被大眾 發現。雖然泰特美術館肯定了這些草圖的真偽 及其合理性，藝術市場還未能承認這些作品。 1990 年代初期，幾張被認為已經毀掉的作品， 包括 50 年代初期的教宗和 60 年代的頭像重新 浮現在藝術市場，這些作品同樣得到了大眾的 肯定。

Francis Bacon was an English painter who was born in Ireland. His works were crude and sharp, and famous by the force power and image of nightmare. Bacon started painting in 20’s, and until 30’s, he only had some sporadic artworks, the painting was only an interest to him. The most popular work of him is Three Studies for Figures at the Base of a Crucifixion in 1944 and the painting made him the master of abstract portrait.

Before Bacon died, he was the topic of two retrospective exhibitions in Tate Britain Museum in London and had his third retrospective exhibition in 2008 in the same museum.

Even Bacon insisted never do the draft sketch before he painted, only improvisation, there were still many drafts had been found after his death. Although Tate Britain Museum had proof these drafts are authentic, the art markets ar not ready to admit them.

245

Artist Biographies

林壽宇 Richard LIN (1933-2011) 林 壽 宇 是 霧 峰 林 家 後 裔， 畢 業 於 建 國 中 學。 1949 年赴英國倫敦研習建築與美術。曾執教 於英國著名藝術學院，並擔任皇家藝術學院指 導教師。1958 年開始於倫敦多所當代畫廊舉辦 個展。1961 年榮獲英國現代藝術學會勉勵獎。 1966 年歐斯特美術館舉行全英國公開繪畫展中 榮獲第一獎。60~70 年代，在英國從事極限繪畫 創作過程中，做出了他個人為中國文人畫中的 「留白」空間賦予其「現代性」意涵的重要貢獻。 其作品廣為歐、美美術館收藏。

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Lin was born into a wealthy family in Wu Feng in 1933. He graduated from ChienKuo Senior High School and further studied architecture and art in London in 1949. Lin has taught at a famous college of art in the UK and served as an instructor at Royal Academy of Arts. In 1958 he started his personal exhibitions in many modern galleries in London and received the Encouragement Award from the Modern Art Association, London in 1961. In 1966, he also won the first award in the Public Painting Exhibition around entire UK held by Ulster Museum of Fine Arts. In the 60's to 70's, when engaged in minimalism art creation, he made a great contribution to grant "modern" meaning to the "margin" tradition of Chinese paintings. His works are collected by many art museums in Europe and USA.

顏水龍 YEN Shui Long (1903-1997)

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顏水龍台灣台南縣下營鄉人，台灣畫家，1922 年 4 月留學於日本國立東京美術學校學習西畫 與油畫，1929 年 10 月在法國學習素描、油畫， 1934 年－ 1937 年時與楊三郎、廖繼春等人合 作，分別創立了台陽展與台陽美術協會，致力 於台灣工藝美術的推動，半生研究、推廣台灣 手工藝，專心培育與工藝設計人材。 1944 年起，顏水龍先後於台南工業專科學校（今 成功大學）、台南家政專科學校（今台南科技 大學）任教，1950 年後，其作品開始限定於某 些特殊題材，如台灣原住民、台灣風景等，而 在台灣風景的作品上，更表現出了他對人文的 關懷。

YEN Shui Long was considered to be one of the first generation modern Taiwanese painter, he was trained in Japan and France in the twenties and early thirties; his work reflected this training. He illustrated advertisements for Smoca, a Japanese tooth powder (this was before the invention of toothpaste) in the beginning. His speciality was oil painting, and yet he enjoyed making arts of all sorts: sketching, basket weaving, furniture design, mosaics, etc.

Before he was known for his paintings, Yen worked very hard to improve people's lifes through arts and crafts. He was always looking for ways of putting arts for practica l, everyday use.He passed away in late September of 1997.

席德進 SHIY De Jinn (1923-1981)

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246

四川南郜縣人。就讀於杭州藝專，受教於林風 眠、 吳 大 羽 而 發 展 出 粗 黑 線 條 的 繪 畫 風 格。 1941 年受教於留法畫家龐薰勤和馬蒂斯影響而 喜歡強烈色調。後赴美考察，受普普、歐普、 硬邊藝術的影響並在作品中加入歐普和硬邊主 義的形色表現。晚期回歸到他最原始而自然的 本土家鄉。立志以中國人的情感來表達中國的 藝術，開始全島寫生，描繪民間風物與生活百 態。席德進的繪畫創作融合傳統與鄉土、使用 水彩、水墨與油畫，兼納東方與西方繪畫的特 長，開創出他個人雄渾動人的獨特風格。獲中 山文藝創作獎，並舉行個展多次，作品廣為各 界收藏。

SHIY De Jinn was born in Szechwan. He learned under Pang Syun-Chinn who had studied in France. SHIY followed Matisse’s color palette. He had experimented with Pop Art, Op Art, and Hard Edge, but he returned to country style with which he felt most comfortable with later period in his career.

When he moved to Taiwan, he started to use folk matters and state of livelihood as his subjects in paintings. He united western and eastern media and styles to take Chinese art to a new dimension. He had held many exhibitions.

藝術家簡歷

蕭一 HSIAO Yi (1956-2006) 蕭一 1956 生於台灣嘉義。1973 年習傳統雕刻 於屏東，接受傳統佛像雕刻的啟蒙。1977 年脫 離傳統轉於自由創作，以真實生活的體會，思 索人性與佛性的對立與矛盾。1981 年首次個展 於春之藝廊。1987 年台中文化中心個展。1992 年受邀於新加坡國際藝術展。他的作品包括許 多主題與對象物，有人體、頭像、動物、摩托 車等，在台灣民間生活中，融入現代簡約的元 素。1997 年首次嘗試以不鏽鋼金屬線作為創作 媒材，1998 年更嘗試鐵雕創作。晚年潛居台北 縣三芝鄉山間創作，仍以人物的木刻創作為多。 作品風格洋溢樸拙，造型多變，極富禪意。

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Lot.92

Born in Chaiyai, Taiwan. Hsiao started off as an apprentice to craftsmen at Buddhist and Taoist temples around southern Taiwan and later began to create his own wood carving of deities that decorate temples. Daily life experience helped him to ponder on the differences and contradiction between humanity and Buddha nature. Spring Gallery held his solo exhibition in 1981. After then, his art was also frequently in galleries and art centers. In 1987, Taichung Culture Center organized his solo exhibition, and in 1992, his sculptures were included in the International Art Fair in Singapore.

Hsiao had tried several themes and objects, such as figures, head portraits, animals and motorcycles in a mixed style with Taiwan custom and modern simplicity. In his late year, he isolated himself to create mainly wooden sculpture in the mountain of Sanchih. His numerous and talented sculptures show a simple and unadorned quality to express a Zen style.

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楊茂林 YANG Mao Lin (b.1953)

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楊茂林 1953 年生於台灣彰化。1979 畢業於台 北文化大學美術系，1985 年為台北畫派創始成 員並推選為第一任會長。1991 年榮獲第一屆雄 獅美術創作新人獎。展覽紀錄豐富，如：1987 年第一次個展於台北市立美術館，1990 參加台 灣省立美術館舉辦的「台灣三百年作品展」， 1995 年於義大利羅馬舉行的「台灣當代藝術展」 等。 於 楊 茂 林 的 作 品 中， 我 們 可 以 看 到 對 台 灣歷史的片斷及多元時空的交錯，其作品以批 判，顛覆的手法對台灣歷史事件作一另類省思。 1990 年代之後，從美國、日本文化影響，創作 「文化篇」系列作品，嘗試多媒體與裝置創作， 掌握時代脈動，呈現今日社會文化面向。1990 年代獲國際邀展不斷，1999 年以《熱蘭遮紀事》 等早期作品參加第四十八屆威尼斯國際藝術雙 年展，受到國際藝評家與收藏家的注意。

Yang was the first director and a founding member of the Taipei School, in 1991 he won the first Art Creation Award of Hsiung Shih Fine Arts; his works have been shown in numerous exhibitions, including his first solo exhibition at the Taipei Fine Arts Museum; in 1990 he participated in the Taiwan Art Museum Exhibition "300 years of Taiwan Art"; in 1995 his works were included in the "Exhibition of Taiwanese Art" in Rome. Yang Mao-lin's works represent a segment of Taiwanese history and build up time/space juxtapositions; they take a critical and even subversive view of Taiwanese historical events. Since the 1990s, he has criticized Taiwanese social phenomena under the long-term influence of American culture and Japanese culture. Then he added multiple-media in his installation work to respond to current Taiwan society. Yang has been frequently invited to participate in international art exhibitions. In 1999, his early series of Zeelandia Memorandum was shown at the 48th Venice Biennale and was well received by international art critics and collectors.

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247

Artist Biographies

洪天宇 HUNG Tien Yu (b.1960)

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洪天宇 1960 年出生台中，1985 年獲得全省公教 美術第二名，1986 年入選全省美展，1987 年入 選雄獅美術新人獎，1996 年參加台北雙年展： 台灣藝術主體性—情慾與權力，2000 年拿下第 一屆廖繼春油畫創作第一名，2001 年在台北市 立美術館舉辦個展。2008 年時以「大悲宴」震 撼藝壇，殘腥的畫面顛覆了人們習慣的美感經 驗，事隔兩年他重拾之前「空白風景」系列， 採取「留白」的方式來處理台灣現代景觀擁有 的大量建築物，將人為、無機的物件留空，以 連作的方式記錄下因人為破壞而日漸消逝的自 然。

Hung Tien Yu was born in Taichung in 1960. In 1985, he won the second price of Taiwan Public Art Price and next year was elected in Taiwan Art Exhibition. In 1996, he participate Taipei Biennial: Taiwanese Art Subjectivities-the lust and the power. In 2000, he won the first price of The Liao Chi-Chun Oil Painting Award and had his first solo exhibition in Taipei Fine Art Museum. In 2008, he shocked people’s aesthetic by the bloody scenes in his works The Feast of Mercy. After two years, he went back to paint landscape and by using the blanks on the canvas to recorded the damages caused by human.

連建興 LIEN Chien Hsing (b.1962)

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台灣基隆人。中國文化大學美術系西畫組畢業。 1984 年獲得第一屆中華民國現代繪畫新展望 入選。1987 年席德進繪畫大獎得獎畫家聯展。 1989 年參加台北市立美術館舉辦之台北畫派大 展。1992 年起為誠品畫廊代理畫家。連建興在 1980 年代以超寫實技巧嶄露頭角，1990 年代藉 不同的既成圖像，並置合成出屬於他個人童年 生活記憶幻境的寫實作品，個人色彩濃厚。他 的作品畫面中隱隱自然滲出的思愁，融合著潛 意識的神秘陰影，反省轉化成獨具一格的「魔 幻寫實主義」。2012 年於誠品畫廊舉辦個展「擬 像風景」。

Born in 1962 in Keelung, Taiwan. LIEN graduated from the Western Painting Section of the Art Department of the Chinese Cultural University. In 1984, he was selected for the first annual Republic of China Modem Painting Outlook Exhibition. In 1987, he joined the group exhibition of the award-winners of the SHIY De Jinn Award. In 1989, he joined a large scale Exhibition of Taipei Painting Association organized by the Taipei Fine Arts Museum. In 1992, he became the representative artist of Eslite Gallery. LIEN Chien Hsing first came to prominence with his superb Realistic technique. In the 90’s, by using different picture, he has created Realistic works recalling images Form his childhood, heavy with personal coloring. His works subtly reveal a feeling of pessimism. Combined with a subconscious, mysterious shadow to become a unique kind of” magical realism.”

李明則 LEE Ming Tse (b.1957) 李明則 1957 年生於高雄岡山，1969 年開始接觸 漫畫，進而學習繪畫，1977 年昆山中學高職部 美工科畢業。1981 年獲雄獅美術「新人獎」。 言簡意賅的「變」，在李明則的作品中，經常 不按邏輯地出現，一種跳脫現實的錯愕，卻沒 有太強迫性的壓力，而是溫和而自在的「超現 實」。李明則的人，李明則的畫，沒有諱莫如 深的大道理，有的只是一份單純的赤子之情和 佛家「心無窒礙」的淡泊與自在。

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Born in Kaohsiung, Lee was awarded the "Young Talent Award" by Hsiung Shih Art. The word "Changes"is a simple yet comprehensive word, can be often discovered in Lee's paintings, like an unreality stun, without compulsive stresses, just a mild and free scurrility. Neither Lee himself nor his paintings are complicated; there are no great philosophies in them, just a heart of innocence and the quietism, freedom from the "unobstructed mind" of Buddhism.

藝術家簡歷

龐均 PANG Jiun (b.1936)

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出生於上海，畢業於北京中央美術 學院。1954-1980 年間參加七次全 國美術展覽，八次北京美術展覽。 80 年代起在香港藝術中心舉行個 展，及「當代香港藝術雙年展」， 深受好評。龐氏於藝術創作之餘， 並積極推廣藝術教育，著作《油畫 技術哲學》等。1994 年納入大陸出 版之《中國當代藝術界名人錄》， 次年並列入《英國劍橋世界名人 錄》。龐氏作品廣為海內外美術館 及私人收藏。

PANG was born in Shanghai and graduated from Beijing Central Art Institute. From 1965 to 1980, his works were widely exhibited in China. He has held solo exhibitions in Hong Kong Arts Center since 1980 and also participated in Biennial Exhibition of Contemporary Chinese Art in Hong Kong. PANG has also been a strong force in promoting fine arts education and has published books such as “Techniques for Oil Painting”.

His name has been included in several major publications of Who’s Who in Contemporary Art World. PANG’s works were held in numerous private and museum collections.

閔希文 MIN Xi Wen (b.1918)

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閔希文 1918 年生於江蘇，1934 年入蘇州美專製版科。 1935 年進入杭州國立藝專，師承吳大羽、方幹民、 蔡 威 廉。1936 年 開 始 自 習 日 文 做 赴 日 準 備， 但 因 1937 年抗日戰爭爆 ，未能實現赴日計畫。1941 年畢 業並留校任教。1944 年赴昆明學習法文做留法準備， 但也未能成行。1953 年任教於上海戲劇學院舞台美 術系，因當時政治背景開始重新學習蘇聯寫實技法。 1948 年在上海協助創辦 " 中華藝術研究會 "。1957 年 被劃為右派，強行勞動改造。1978 年回到創作高峰。 1979 年右派平反，重回上海戲劇院任教，直到 1984 年退休。1995 年首度在台北舉辦個展，也多次赴日 本、美國、蘇聯、新加坡、科威特等國展出。其作品 以探討形、色與畫面間的內在結構關係為特色。

Min born in Jiangsu in 1918, entered the Department of Plate Making, Suzhou Art School in 1934. Then he entered Hangzhou National College of Art in 1935, studying under Wu Dayu, Fang Ganming, and CaiWeilian. He graduated in 1941 and stayed in school to teach students. He was forced to undertake labor for reformation in 1957 and went back to Shanghai Theater in 1979 and taught there till 1984. It is 1995 that he held his solo exhibition in Taipei. His works feature the internal structural correlation among form, color, and composition.

蔡雲呈 CHUA Hu (Tsai Yun-cheng , 1929-2009) 中國福建人，十歲移居菲律賓，曾師從知 名畫家楊賡堂三年，打下中國傳統畫基礎。 隨後進入馬尼拉藝術學院研習西畫。29 歲 參加菲律賓全國美術比賽冠軍，從此在藝 壇嶄露頭角。1979 年曾被英國劍橋國際名 人傳記中心頒發的傑出成就獎及登入世界 名人錄，1980 年獲選法蘭西歐洲科學藝術 及文學院院士，並於 1983 年獲選為終身會 員。1986 年比利時與西班牙協會頒發創作 獎。由於蔡雲程在繪畫裡中西合璧使得東 西方藝術得到很好的對話與暢達的溝通， 曾在 1990 年獲愛因斯坦學術基金會頒授和 平獎。1991 年，他的作品《藍色的巴黎》 收錄於法國巴黎郵卡集、1992 年《藍色的 巴黎》收錄於法國現代繪畫雕刻精品集。

他榮獲了六十多項國際大獎，他以獨特手 法創作藍色調油畫與自製的蠟筆畫，創立 了藍色畫派。陸續在馬尼拉、台北、香港、 紐約、巴黎及洛杉磯等地舉辦一百餘場的 畫展。美國＜紐約藝術＞評論家麥爾斯指 出蔡雲程創新地將東方與西方的兩條藝術 主流匯合在一起，創造了 CHUA HU 獨特 的 藝 術。 法 國 著 名 的 VIE 美 術 畫 廊 推 崇 CHUA HU 其畫超越立體派大師畢加索、布 拉克等人 , 由平面走向立體且氣 生動。認 識蔡雲程及其藍色畫系的豐富內涵，使作 品的意境猶如中國青花般的寧靜詩意。蔡 雲程對藍色有強烈的愛與無上的信念，一 心想要將寧靜藍色世界進入大同世界的理 念。

CHUA was learned from famous painter YANG Qing Tang for three years. CHUA went to Manila Arts College. In 1958 he won the first prize in Philippines Arts Competition as a Chinese immigrant. CHUA was entitled as one of the “20 Most Influential Painters” by the International Who’s who of Cambridge International Biography Center. CHUA’s painting tells people about his intension, about his blue painting style and the interaction between eastern and western culture. In 1990, CHUA was awarded the Albert Einstein International Academy Foundation’s Peach Award. In 1991, his work ‘Paris in Blue’ was published Paris stamp collection. In 1992, his “Blue Symphony” was included in the Modern Art Classic published in France. His paintings based on blue color scheme obtained more than sixty international awards. His “Blue Symphony Series”, wax crayon paintings and hexahedron paintings was exhibited in Manila, Taiwan, Hong Kong and many other cities around the world. Miles, commentator of the New York Arts, said that CHUA creatively forged the main stream oriental arts and western arts together into his own unique style. The VIE Gallery of France commented that CHUA’s work has gone beyond Picasso and Braque from two-dimensional to three-dimensional and expressive.

The expression of my work is similar to the poetic beauty of Chinese porcelain. CHUA contributes to humanity, eternal peace and the unity of mankind.

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249

Artist Biographies

周春芽 ZHOU Chun Ya (B.1955) 1955 年出生於中國重慶，1982 年畢業四川美術 學院繪畫系版畫專業，1988 年得到德國卡塞爾 綜合大學碩士學位。他是中國重要的表現及抽 象派畫家，率先登上國際當代藝術的舞台。 反自然主義是他的典型風格，他最富盛名的代 表作：《綠狗》，反自然色彩的運用使各種不 同姿勢的狗擁有不同的情緒展現。七十年代的 《風景》系列又將截然不同的新表現主義手法、 中國傳統的水墨觀念融入其中，藉由西方新表 現主義的烘托，加上色彩濃淡虛實變化營造出 東方詩意。 2010 年 6 月 13 日於上海美術館舉行「周春芽藝 術四十回顧」展，將其 1971 年至 2010 年的創作， 第一次完整呈現。

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Born in Chongqing, China in 1955, and graduated from the Department of Painting, Sichuan Academy of Fine Art. In 1988, he received master’s degree from Experiment Art Department, Kassel Academy of Fine Art in Germany.

He is an important abstract and expressionistic painter, who now receives high reputation in international stage of contemporary art.

Anti-naturalism is the typical style of Zhou Chun-Ya. For example, his most famous representative work, “Green Dog,” uses colors of anti-naturalism to present different emotions of different dog’s gestures. On the other hand, the “Scenery Series” in 1970s infuses a completely different method of neo-expressionism and Chinese traditional ink. Through the contrast of neo-expressionism and changes of colors, the artist creates much poetic feeling in his works.

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展望 ZHAN Wang (b.1962)

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展望 1962 年出生於北京，自幼喜愛繪畫，少年時代受外祖 父影響接觸中國山水畫。曾就讀於北京工藝美術學校（現北 京藝術設計學院），學習了以中國傳統工藝、藝術為主兼具 各種流行藝術的課程。1988 年考取中央美術學院雕塑系後 進入司徒傑先生工作室，學習中國傳統雕塑與西方現代雕 塑。畢業後留在中央美院自由創作和教學至今。 展望是中國當代藝術家在世界藝壇的的重要代表人物之一， 也是中國雕塑家的重要代表人物。從 1995 年開始製造不鏽 鋼的《假山石》系列，成為聞名國際的重要作品並收藏於世 界各地。展望的作品是美國紐約大都會博物館以及倫敦大英 博物館首次收藏的中國當代雕塑品 ; 同時也是舊金山 Deyang 美術館、波士頓美術館、洛杉磯當代藝術博物館等收藏陳列 的首件中國當代雕塑作品，曾參加威尼斯，上海，新加坡， 廣州等國際當代藝術雙年展，三年展。 展望作為一個具有實驗精神的當代藝術家，一方面吸收和運 用了東、西方傳統與現代藝術發展的成果，同時堅持獨立、 持續的創作方法，以再造自然作為其創作理念，使「假山石」 為代表的中國文人文化走入國際當代藝術視野。他的石頭作 品充滿了哲學思辨，以西方的手法，現代的材料，重新解構 了東方傳統；以現代材料呈現的不鏽鋼山石，在文化的融合 與轉換中，找到了一把從傳統通往當代的鑰匙，其淬鍊的符 碼破解了時代的某種核心。

Born in Beijing, Zhan graduated from the Sculpture Department of Central Academy of Fine Arts in 1988 and acquired his Master degree from Central Academy of Fine Arts in 1995. In 1990, he started creating sculptures of Pure Realism. In 1991, he participated in the New Generation Art Exhibition. In 1992, he participated in Exhibition of Contemporary Young Sculptors. In 1995, his work was selected in the Beijing-Berlin Art Exchange Exhibition and in the Exhibition of Works Nominated by Chinese Art Critics. In 1997, he participated in 97 Chinese Contemporary Art Exhibition in Tokyo and in "Moving Cities" Asian Contemporary Art Exhibition Tour. His works were published in World Sculptures: Eastern Section, 50 Years of Chinese Fine Arts, The Complete Treasury of Chinese Fine Arts, etc.

He has issued an academic dissertation, Conceptual Sculpture - The Idea of Materialization. His works have been collected in many art museums in China and in the Museum of Chicago University as well as in the personal collection of collectors in Switzerland, Germany, United States, and Singapore.

藝術家簡歷

楊英風 YANG Yuyu (1926-1997) 楊英風宜蘭人，生於 1926 年，是臺灣乃至於 世界知名的景觀雕塑與環境造型藝術專家。楊 英風唸過三所大學：日本東京美術學校（現東 京藝大）、北京輔仁大學美術系、國立臺灣師 大藝術系，其後負笈羅馬藝術學院專攻雕塑， 學習近代西方藝術，面臨西方文化的激盪，使 他更體認出東西文化的特質和差異。而後窮其 一生，均致力於調和建築與環境的景觀雕塑。 六十年代間獲頒義大利奧林匹克繪畫金章獎、 雕塑銀章獎與第二屆世界和平文化藝術大獎。

1926,YANG was born in Yilan. He studied architecture at the Tokyo Art School in Japan, fine art at Fu Jen University in Beijing, and the Fine Arts Department of National Taiwan Normal University. Go for learning sculpture at the National Academy of Art in Rome. During 1960’s, he held exhibition in major cities in Italy and was awarded the gold metal in painting and a silver medal in sculpture at Olympiad. He was also awarded the World Peace Prize for culture and Arts by the Roc’s Literature and Art Society.

朱銘生於苗栗縣通霄鎮。本名朱川泰，童年時 小名「九二」。上有五兄姐，為家中老么，家 境貧寒。1953 年在父親帶領下，到通霄鎮上的 媽祖廟向雕刻師傅李金川拜師，1955 年出師， 1956 年北上到基隆的佛具店工作。1968 年拜雕 塑家楊英風為師。早期以鄉土主題，如《牛》、 《牧童》等雕刻出名，近期則以融合了中國哲 學如《太極》等的現代雕刻名作。1976 年在國 立歷史博物館舉辦個展，廣受藝術界的重視。 同年，獲選台灣十大青年，又獲國家文藝獎章。 1978 年，朱銘在日本東京中央美術館展出，作 品《單鞭下勢》被日本雕刻之森美術館收藏。 1981 年，獨自一人到美國紐約市學習，這一年 後，所創作的《人間》系列作品，成為他生涯 中最受讚譽的經典代表。1989 年，他與建築師 貝聿銘合作，在香港中國銀行大廈前使用青銅 為材質，創作《和諧共處》的人間系列作品， 位於大樓入口大門的左側。1999 年，朱銘在台 北縣金山鄉西勢湖成立朱銘美術館，收藏許多 現代雕塑作品。2000 年，花了幾十年規劃成立 的朱銘美術館，獲得日本東京創新大獎 Tokyo Creation Award 海外獎。

JU Ming was born in Tongxiao Town, Miaoli County, Taiwan. In 1953, at his father's instigation, he began learning with the famous craftsman for two years, LI Jin Chuan, at Mazhumiao in Tongxiao Town, where he studied wood carving. The following year, he secured gainful employment in a shop that dealt in Buddhist Tools, in Keelung. In 1968 he began his learning under YANG Ying Feng. Early in his career, he made a name for himself in the villages surrounding where he lived for his sculptures of cows and cowboys. More recently, his modern sculptures integrate the philosophy of Taiji. In 1976, he was widely regarded by art circles at a solo exhibition at the National History Museum. In the same year, JU was awarded one of ten medals for excellent youths of Taiwan. His international exhibition was held at the Tokyo Central Museum of Art in 1978 and his work collected by the Sculpture and Art Museum of Japan. In 1981 he went to study in New York, where the following year, in direct result of the tremendous success his Living World Series, JU experienced a major turning point in his artistic career. In 1989, he worked in conjunction with a famous architect to recreate the Living World Series, cast in bronze, to stand in front of the Hong Kong Bank of China. The JU Ming Art Museum in Taipei, housing many of his works of modern sculpture, was built in 1999 and in 2000, on the basis of managing the JU Ming Art Museum for ten years; he won the Tokyo Creation Award.

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朱銘 JU Ming (b.1938)

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Artist Biographies

華建強 HUA Chien Chiang (b.1975)

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華建強 (b.1975)1975 出生於臺北三芝。2004 年 於 國 立 臺 北 藝 術 大 學 美 術 創 作 碩 士 班 畢 業。 2004 第五十八屆全省美展膠彩類入選。在一般 印象裡，膠彩不外乎表現花鳥人物、人間鄉情 之類的題材，畫面在層層敷染的工筆重彩下， 顯得秀緻纖麗。但華建強除了延續膠彩側重自 然景致的描繪傳統之外，另一方面也開創出屬 於自己的風格符號。一如與他輩分相仿的年輕 創作者大多回到挖掘生活瑣事，或內在思緒的 放大表現，華建強透過記錄自己的日常故事， 捨棄西方繪畫講求的透視傳統，打破人物和背 景的正常比例，以凸顯畫面重心；在部分作品 中，他採用中國山水的散點透視原則，隨著視 點由高點循序而降，觀者猶如跟著作者的步履 體驗柳暗花明的鄉野情趣。

Hua Chien Chiang was born in 1975 in Taipei. He graduated from Taipei National University of Arts in 2004 and won the Fifty-eighth Nihonga Art Exhibition in Taiwan. In Hua’s work, he not only continued the tradition of describing nature view, but also created his own signal. By recording his daily life, he gave up the perspective tradition to point out the topic of paintings and make sure viewers can follow his steps to every sight he had painted in his picture.

邱亞才 CHIU Ya Tsai (1949-2013)

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1949 年生於台灣宜蘭，非學院派畫家，自幼對 正規學業不感興趣，退伍後才開展對文字藝術 的追求，以及對人性的深刻觀察。中國歷史、 莎士比亞、杜斯妥也夫斯基等大師巨著的閱讀 經驗，豐富其往後繪畫中的人物深度。邱亞才 筆下的台灣現代文人肖像，受唐代繪畫的影響 頗深，如人物的鉤狀鼻、杏眼，鵝蛋臉，身材 頎長纖瘦，雌雄莫辯，主題上傾向於孤寂、憂 鬱、內斂而沈靜。1980 年代他經常於台北知名 文化沙龍「紫藤廬」一隅創作，以成無數畫作 及小說。作品曾於台北春之藝廊、歷史博物館 及省立美術館等處展出。以肖像畫著稱，藉由 畫筆直嘆身埋人類理性面具下的卑微、傲慢、 頹廢與脆弱，細膩優雅中洋溢著文人感懷落寞 的頹靡氛圍。

Chiu Ya Tsai was born in Ilan. He is not interested to formal education and developed his interests in literature after he discharged from military. His massive reading experience make his paintings more profound. His paintings always send out the sense of loneliness, depression and quietness. Since his first solo exhibition in 1979, Chiu has been featured in major galleries in Taiwan, Hong Kong and USA. Exhibitions: 1987, the Minds1, Asian Art Centre in New York. In 1989, 300 Years of Fine Arts – Taiwan, National Museum of History, 2004, The New Movement of the 80’s Retrospective: ZHENG Zai Dong, CHEN Lai Xing, CHIU Ya Tsai, Art Centre of Jingyi University.

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郭維國 KUO Wei Kuo (b.1960) 生於台灣台北。1983 年獲雄獅美術新人獎優選。 2003 年為第八屆「李仲生基金會現代繪畫獎」 得主。2005 年獲廖繼春油畫創作獎。1993 年起 至今已舉辦 8 次個展。郭維國自 1998 年起發表 了「暴喜圖」之後，展開「柳暗 1997-1999」、 「熹微 2000-2002」、「豁然 2003-2005」及「花 明 2006」四個階段，傾向於在灰暗如夢的場域 探索，不吝地掏盡躲在深處的自我，漸漸進入 到心底對下一個光亮晨曦的嚮往心境。透過精 采的脈絡串連，提供觀者與作者眼神交會時瞬 間觸動的滿足感。 Lot.119

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Kuo was awarded the eighth Modern Painting Award from Li Zhongsheng Foundation in 2001. Later the same year he finished his M.F.A. at Taipei National University of the Arts.

In 2006, he was awarded the fifth Liao Chi Chun Fund of Taipei Culture Foundation, and held solo exhibition in Taipei Fine Arts Museum. His works are often invited to join the exhibitions in Taiwan and other international art institutions.

Seeing from a realistic perspective, the not-so-real self image enables him to lift up the mask of pretense, to take the self seriously, and to reconstruct a truer self-image. The paintings also demonstrate the process that he goes deep into his inner self, excavates the sub-consciousness, and pieced together his memory and desire.

藝術家簡歷

林風眠 LIN Feng Mian (1900-1991)

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中國廣東梅縣人，1918 年參加政府赴法勤工儉 學。分別在第戎藝術學校研習西洋畫，後轉入 巴黎高等美術學校深造。林氏在學校所受的教 育是學院派的，但在校外深受當時流行的現代 流派影響，如後印象主義，野獸主義及原始主 義。他們的影響表現於林氏中西結合的畫風之 中，其作品曾入選法國秋季沙龍。林氏於 1925 年返國，被聘任為北平國立藝專校長。後受蔡 元培之邀赴杭州藝專任校長。該校成為鼓吹新 藝術運動的大本營。林氏亦經常撰文宣傳他本 人 中 西 合 併 的 藝 術 創 作 經 驗 和 理 論。 林 氏 於 1977 年移居香港後，仍孜孜不倦地從事藝術創 作直至晚年。是享有國際聲望及地位的中國畫 家之一。

LIN was Born in Guangdong, China. In 1918 LIN traveled to France under a government sponsored working and study program. During his seven years in France, LIN studied at the L’Ecole National Superieure in Paris and in Dijon to learn Western drawing and painting techniques.

Augmenting his academic training, his experience outside the classroom brought him in touch with the modern western art movements of the day, such as Post-Impressionism, Fauvism and Primitivism. The works of Matisse and Modigliani in particular impressed the young artist, who began developing his own style, blending Western and Chinese traditions. His works were selected for exhibition in the Salon d’Automne in Paris 1924. LIN returned to China in 1925 where he was appointed Director of Beijing National College (precursor to the Central Academy of Fine Art)

生於浙江。原名沙引年，1932 年就讀於上海美 專，而後進入中央大學藝術系。1937 年進入比 利時皇家美術學院。1942 年其作品《吹笛女》， 於 柏 蒂 畫 廊 美 術 館 展 覽， 並 獲 皇 室 所 收 藏。 1978 年，將在比利時創作的作品，全數捐贈浙 江省博物館。浙江美術學院及中國美術家協會 共同籌辦沙耆個展，於上海、浙江、北京等地 巡迴展出。1984 年，受聘為上海文史研究館館 員，1985 年遊覽中國各地，創作了一系列風景 畫。

Originally named SHA Yin Nian , SHA was born in Zhejiang and in 1932 began studies at the Shanghai Arts School, later entering the art department of the Central University of China. In 1937 he entered the Belgium Royal family. In 1978, he donated all his works from the period in Belgium to the Zhejiang Provincial Museum. lnl983, at touring exhibition of his works organized by the Zhejiang Provincial Museum, the Zhejiang Institute of fine Art and the Chinese Association of Artists was shown in Beijing, Shanghai, and Zhejiang.

1n1984, he was engaged as a fellow at the Shanghai CulturalHistorical Research Society. In 1985, he exhibited throughout China and created a series of landscapes.

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沙耆 SHA Chi (1914-2005)

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Artist Biographies

陳鏗 CHEN Keng (b.1962) 1989 年廣州美術學院畢業獲學士學位，中國藝 術研究院美術學、廣州美術學院油畫系研究生 課程結業，曾赴美 VERMONTSTUDIOCENTER 創作交流。 陳鏗的油畫以雄渾的色調和筆觸， 以歷史和人文的角度表現中國深厚的傳統文化 與底蘊，從沉澱的歷史中透出昔日的輝煌。這 些作品以凝重的形態、斑駁的色彩以及裸露的 質感，昭示繁華之後的真純，錘煉之後的樸素。

Chen graduated from Guangzhou Academic of Fine Arts in BA of Fine Arts and MA of Oil Painting, and MA of Fine Arts in Chinese National Academy of Arts. He once went to Vermont Studio enter for art creation exchange in America.

Chen’s oil paintings show the traditional culture and background of China with his vigorous colors and the point of view of history and literature. These works represent the genuine that came after the prosperity and the simplicity that followed behind the refinement.

祖籍廣東梅縣，1957 年生於台灣花蓮縣玉里鎮。 1977 年國立藝專肄業，1981 年中國文化大學美 術系西畫組畢業。1989 年獲美國紐約市立大學 布魯克林藝術研究所藝術創作碩士。旅居紐約 十九年，2006 年返回花蓮定居。作品多次參加 國內外個展及聯展，包括 1980 年參加香港舉行 的亞洲青年畫展、1987 年台北美國文化中心及 1989 年紐約衛斯貝斯畫廊個展、1989 與 1990 年均獲邀參加紐約「抉擇美術館」之「死亡之 日」邀請展。近期主要個展：2004 年「獨白― 離鄉之遠近」( 誠品畫廊 )；2007 年「走過風景 的心情」( 誠品畫廊 )；2009 年「風景 ‧ 台灣」 ( 誠品畫廊 )。葉子奇作品從靜物主題的「獨白」 系列至「風景 ‧ 台灣」，都是他心情的記錄， 寫實而帶有隱喻的象徵，充滿了一種豐富的個 人情懷，風格強烈而獨特。

Native of Meixian, Guangdong, Tzu-chi Yeh was born 1957 in Yuli, Hualien county, Taiwan. He held his undergraduate study at the National Taiwan Academy of Arts in 1977 and graduated from the Fine Arts Department, Chinese Culture University in 1981. He acquired his master's degree in the Institute of Fine Arts, City University of New York, Brooklyn, USA in 1989. After living in New York for nineteen years, he returned to settle in Hualien in 2006. Works have been participated in varies solo and group exhibitions at home and abroad, including the 1980 Asian Youth Art Exhibition held in Hong Kong, the Taipei American Cultural Center and the Westbeth Gallery in NY in 1987 and 1989 respectively. He was invited by the NY Choice Art Gallery to attend the joint exhibition named "The Day of Death" in 1989 and 1990.

His recent solo exhibitions include the 2004 "Monologue – the Near and Far Away from Home" Eslite Gallery; 2007 "Through the Landscape of the Mind" Eslite Gallery; 2009 "Landscape Taiwan" Eslite Gallery. Yeh's still life subjects from the "Soliloquy" series to the "Landscape Taiwan" series are the records of his inner feelings, realistic with symbolic metaphors, paintings are filled with personal touch, strong and unique in style.

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葉子奇 YEH Tze Chi (b.1957)

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李詠森 LI Yong Sen (1898-1998)

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李詠森 1898 年生於江蘇常熟。1924 年畢業于蘇州美術專科 學校。此後畢生在上海工作。20 到 50 年代，歷任《太平洋 畫報》編輯、中國化學工業社美術設計、上海美術專科學 校圖案系教授、蘇州美專滬校副校長等職。1953 年後曾任 上海輕工業局日用化學公司美術設計組組長、上海輕工業 專科學校教授、同濟大學和新創立的上海美專教授。 中國 美術家協會會員、中國美協上海分會理事、上海文史研究 館館員。參與發起創立上海水彩畫研究會和上海粉畫學會， 并分 擔任名譽會長。精于水彩畫，風格寫實寫意兼融。兼 長工商美術設計和粉畫。1988 年，與夫人邵 雲于上海美 術館舉行雙人畫展，并因 展出作品中的一部分捐獻給美術 館，而獲得上海市文化局獎狀。水彩畫代表作有《白菊花》、 《繡球花》、《鋼鐵廠的早晨》等。出版有《李詠森水彩 畫選》、《水彩畫臨本》、《水彩畫技法》等。

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Li Young San was born in 1898 in Jiangsu, graduated from Suzhou Art and D esign Technology Institute in 1924 and working in Shanghai for the rest of his life. Between 20’s and 50’s, Li had been the editor of Pacific Art Paper, the art designer of China Chemical Industry and the professor of shanghai school of light industry and Shanghai art school. He also was the member of China Artists association. In 1988, has an exhibition in Shanghai Art Museum with his wife and donated part of the works to the museum.

藝術家簡歷

羅中立 LUO Zhong Li (b.1948) 生於重慶。現任四川美術學院院長、教授及中 國美術家協會理事。1968 年畢業於四川美術學 院附中。曾於鋼鐵場當工人，1978 年重回四川 美 術 學 院 就 讀，1982 年 畢 業 並 任 教 於 母 校。 1983 年至 1986 年赴比利時深造，進入安特衛普 皇家美術學院學習油畫，且獲碩士學位。擅長 油畫，其作品《父親》獲第二屆全國青年美展 一等獎。作品收藏於中國美術館及哈佛納畫廊。

Born in Chongqing. He is currently as the prior and professor of Sichuan Fine Arts Institute, Syndic of China Artists Association. In 1968, he graduated from Senior High School of Sichuan Fine Art Institute. He had been a worker of iron factory, and then entered oil painting department of Sichuan Fine Art Institute in 1978.

After his graduation, he continued to stay in school to be a teacher.

He went to study oil painting in Antwerp Royal Art Institute in Belgium from 1983 to 1986, and received master degree in oil painting. He is good at oil painting; "Father" was awarded the First Prize of the Second National Art Exhibition. His works have been collected by National Art Museum of China.

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黃銘昌 HUANG Ming Chang (b.1952) 畢業於中國文化大學美術系，1977 年赴法國， 並進入國立高等巴黎美術學院深造。1984 年畢 業獲高等油畫文憑，同時作品被巴黎市政府文 化部收藏。留法期間，其作品多次參加重要聯 展：如 1979 年的「法國秋季沙龍展」，1980、 1982 年 的「 紅 山 （Montrouge） 沙 龍 展 」， 1983 年巴黎大皇宮「國際當代藝術展 FIAC」 等。1985 年返國定居，任教於國立藝術學院， 並 於 1985 年 及 1991 年 舉 辦 個 展。 黃 氏 曾 於 1978 年獲得第三屆雄獅新人獎，擅長以細緻的 筆法描繪鄉間田野景象，深受藝評及美術館和 海內外私人藏家的喜愛。是台灣 90 年代接續鄉 土寫實詩情，而又賦以大格局式觀照的畫家， 一貫保持了藝術本質的純粹性。於 2000 年應邀 參加北京、上海「20 世紀中國油畫展」及 2001 年台 北、台中「台灣美術百年展」，作品經常 在歐、美、加等地展出。2010 年作品參加北京 《改造歷史：2000-2009 年的中國新藝術》大展 及兩岸繪畫界聯合舉辦的《百年華人繪畫大觀》 世界巡迴大展。2010 年台灣當代現代美術展、 韓國慶南道立美術館。

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HUANG graduated from the Fine Art Department at the Chinese Culture University. In 1977, he went to France to continue his study at the CEcole National Suprieure in Paris, from which he received a diploma in oil painting in 1984. In the same year, one of his paintings was acquired by the Cultural Affairs Division of the City Hall of Paris. He participated in many Exhibition Salons while in Paris, and upon his return to Taiwan in 1985 became an instructor in the National Institute of Art. In 1985 and 1991, he participated in the Exhibitions of the 25th and 27th Montrouge Salon in France, and in 1990, in the Three Hundred Years of Taiwan Art exhibition at the National Museum of Art in Taichung. HUANG prefers countryside scenery and specializes in meticulously detailed landscapes. He participated in the Exhibition of 20th Century Chinese Painting shown at the Beijing and Shanghai Art Museum, as well as A Hundred Years of Taiwan Art at the National Museum of Art in Taichung in 2001. Huang was awarded the 3rd Lion New Artist Award in 1978, and his works are in the permanent collection of the Paris City Government Cultural Affairs Department, the Taipei National Museum of Art and the Taiwan Museum of Art in Taichung. He attended RESHAPING HISTORY-China Youth New Art in Beijing and A Century of Chinese Paintings World Tour Exhibition, Taiwanese contemporary modern art fair and Korean Gyeongnam Art Museum in 2010.

黃銘哲 Michell HWANG (b.1948)

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1948 年生於台灣宜蘭，專長油畫、雕塑。1976 年第一次油畫 個展於省立博物館，同年赴英國里茲大學研習。曾任中華民 國油畫學會、日本創生美術協會、台灣新畫會會員。1979 年 和美國 Semions 畫廊簽約經紀畫家。 1981、1982 連續兩年榮 獲全省美展油畫第一名，1983 年榮獲全省美展永久免審查資 格。1992 年獲台灣省立美術館永久免審查邀請展，2001 年應 邀赴上海美術館舉行回顧展。黃銘哲的畫帶有象徵主義和表 現主義的意味，重視繪畫中高彩度色彩並置，以書寫性線條 的交錯重疊製造肌理和層次，創造出具有東方神秘色彩的造 型語彙。

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Born in Yilan City, he is one of the few Taiwanese artists who is able to be successful in both sculpture and painting filed. He has won many awards such as 36th Taiwan Exhibition (1982) and 35th Taiwan Exhibition (1981).

After his achievement in steal sculpture, he applied the knowledge and skills of sculptures making into paintings.

His paintings as in sculptures have the quality of simple and elegant. He has participated in many major exhibitions, in 2001, for example. Solo Exhibition in Shanghai Art Museum Taipei Fine Arts Museum and The Revenue Service Office Taipei County.

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255

Artist Biographies

謝宏達 HSIEH Hung Da (b.1953) 國立臺灣師範大學美術系畢業後負笈美國，先 後於紐約市立大學布魯克林學院及維吉尼亞州 立大學攻讀，獲繪畫和視覺傳達設計二項專業 藝術碩士 (MFA) 學位。在師大美術系就讀期間， 曾作為台灣畫壇人稱「畫家中的畫家」李石樵 老師的入室弟子，在李石樵老師畫室鑽研素描 及繪畫創作多年。旅美攻讀學位期間，接受現 代超寫實主義大師 Philip Pearlstein 的指導，在 Philip Pearlstein 畫室與大師共同創作。

Hsieh Hung Da graduated from National Taiwan Normal University Department of Fine Arts. He studied overseas in New York Brooklyn College and Virginia State University and won drawing and visual communication design two professional Master of Fine Arts (MFA) degree. While studying at NTNU, he learning with the "Master of the Painters " Li Shih-chiao. He also under Philip Pearlstein’s guidance, who master the modern ultra-realism in the U.S.A.

陸琦教授 1957 年出生於浙江溫州。1982 年畢業 於中國美術學院 ( 前浙江美院 ) 油畫系。多年執 教於杭州師範大學美術系，曾任美術系主任， 現為研究生導師。 是中國美術家協會會員，浙 江省美術家協會理事。個人資料登列於中國文 藝家傳集，中國當代美術家名人大辭典。

Luh Chyi was born in 1957, Wenzhou, Zhejiang Province.

In 1982, Luh graduated from China Academy of Fine Arts (the former Zhejiang Academy of Fine Arts). For many years she taught at Hangzhou Normal University, a former art department chair, is currently a tutor, a member of Artists Association of China, Zhejiang Province Artists Association.

Registration of personal data in the well-known Chinese art, Chinese contemporary artists famous dictionary.

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陸琦 LUH Chyi (b.1957)

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張堂金庫 CHANG Tarng Kuh (b.1968)

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1968 年出生於桃園。1990 年入圍第十五屆雄獅 美術新人獎以及第十七屆台北市美展版畫類第 一名，1994 年前往法國進修，回國後任教於華 岡藝校。1997 在形而上畫廊舉辦第一次個展。 張堂庫希望可以畫出像宇宙萬物單純地為每個 當下敷彩添色那樣的感動，精緻是一種真實的 境界，隱藏在繁複表相內的，是小我在大我裡 的觀察，是深邃的記憶，是時間的流動 ......。存 在是一種生生不息的成長，既不因視而不見而 消逝，也不為珍惜感嘆而稍駐。畫裡留下瞬間 的喜悅，感動的存在。以原始的風貌，細膩的 觀照，現代的語言。

Chang Tarng Kuh was born in 1968 in Taoyuan. He won the Fifteenth Exhibition of Lion Young Artists Competition and the first price of The Seventeenth Taipei Municipal Art Appreciation Exhibition in Intaglio Printing. And in 1994, he studied abroad in France and instructed in Hwa Kang Arts School when he came back a year later. He had his first solo exhibition in Metaphysical Art Gallery in Taipei. Chang wants to paint the simplicity of universe on the canvas to touch viewers’ inner feelings. He thinks the exquisite of color is a veritable idea, which hides behind the skin of reality and complexity. The existence of living things is growing continuously. Chang wants to catch the joy of the moment and represent it through the modern language and the original style.

藝術家簡歷

楊興生 YANG Xing Sheng (b.1938)

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楊興生生於江西。師大美術系畢業後赴美，於 密蘇里州立師範學院藝研所及新墨西哥州立高 原大學藝研所研究。1965 年起，曾在西班牙、 日本等國及國內各畫廊舉辦多次個展及聯展， 也先後創辦龍門、大陸畫廊，現為專業畫家。 曾獲中華民國畫學會油畫金爵獎、中國文藝協 會 28 屆油畫繪畫文藝獎章。擔任過畫學會、北 市美展、全省美展評審委員及省立美術館典藏 委員。

Born in Chianghsi. Yang is a graduate of the National Taiwan Normal University. Since 1965 he has held many solo and joint exhibitions in Spain, Japan and Taiwan. He founded the Lung Men Fine Arts Gallery and Continental Fine Arts Gallery and is now the proprietor of the Seventh Fine Arts Gallery. He has earned Golden Cup Award for Oil Painting from the Chinese Painting Society and the Chinese Literary Association's 28th Oil Painting and Literary Medal. He has been committee members of China Painting Association, Taipei Fine Arts, and Provincial Fine Arts Exhibitions and served as a member of the Taiwan Provincial Fine Arts Museum's Classics Curatorial Committee.

畢業於清華大學美術學院雕塑系 在校期間曾多 次獲得校內獎學金及參加各種比賽得獎 曾參加 奧運雕塑聯展，作品獲“平山鬱夫＂三等獎 清 華美院木雕七人展 上海浦宇杯雕塑大賽獲獎 作 品被昆侖飯店，國內外許多知名人士收藏 參 展 2003 年獲得“平山鬱夫＂獎學金。 2003 年作品 “水滴＂參加全國奧運徵集展。 2004 年作品“小 立＂獲得清華工美杯創意獎。 2004 年參加木雕 七人展。 2005 年作品“棋之路＂獲得上海浦宇 杯雕塑大賽三等獎，獲得台州市環境雕塑大賽 優秀獎。 2005 年作品“射弩聖火＂被奧運會選 為入選作品。 2005 年參加三度空間中外藝術家 雕塑作品聯展。收 藏 2005 年作品“武士＂、“漢 奔馬＂被昆侖飯店大堂收藏。 2005 年作品“武 士系列＂被上海資本畫廊收藏。 2006 年作品“棋 之路＂被“對比窗＂藝廊收藏。 2006 年作品“武 士＂系列被臺灣應真藏畫廊收藏。

Born in 1983, Ren Zhe graduated in 2005 from the Academy of Arts & Design of Tsinghua University, China, majoring in Sculpture. He won third prize of the Ikuo Hirayama Award in 2003, and although a young artist in China, since 2005, his works could be seen in many international exhibitions such as "The First 798 Biennale" (Beijing); "Crossovers - beyond art & design" (2006, Shanghai); "The 10th Art Exposition of Shanghai" (2006); "International Circuit Exhibition of Landscape Artwork Show of the 2008 Olympic Games" (2007); "International Contemporary Art Fair 2007" (Hong Kong); "Asian Contemporary Art Fair" (2007, New York); and the recent group exhibition "I'm Ready" (2008, Taipei).

李爽生於 1957 年，自幼因為家庭被劃定為右派， 成長期遇到了文革，受到精神折磨，十三歲開 始對繪畫產生興趣，從臨摹各種藝術書籍裡的 美術作品去奠定她的繪畫基礎，法國印象派啟 發她的創作靈感。出生在一個書香門第家庭， 父母是清華大學和北大的教授，祖父是古董專 家，在反右派和文革期間，她有過許多不愉快 的經歷。早年作品深受期傷痛經歷的影響，畫 中洋溢著一種理想主義和悲觀思想自相矛冒的 情調。李爽是七十年代“星星畫會＂十位奠基 人之一，也是唯一的女性成員，同時也是組織 中唯一曾被監禁的藝術家。年曾因與法國外交 官白天祥相戀而被判勞教兩年。“李爽事件＂ 也隨之成為了歷史名詞，因此打開了中國人與 外籍人士通婚的閥門，後來隨夫遠走他鄉移居 法國給她的身世平添了一種傳奇色彩。

Li Shuang’s works testify to her painful personal and artistic journey. She grew up in Beijing during the Cultural Revolution within a family of intellectuals. Her early childhood artistic development was influenced by her grandfather, a dealer in Chinese antiques, books and art.

During the Chinese political reformation and opening up in the late ninetieth, “Li Shuang” was a household name in the art industry in France and other European countries. On a superficial level, the romantic story between Li and her husband might account for the reopening of art in isolated China due to Cultural Revolution. More specifically, Western media described “Li Shuang Incident” as the precursor and advocator of the emerging Chinese modern behavior art

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任哲 REN Zhe (b.1983)

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李爽 LI Shuang (b.1957)

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257

Artist Biographies

尹堃 YIN Kun (b.1969)

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1969 年生於四川省德陽 1992 年畢業於四川阿壩 師範專科學校美術系。1993 年到北京成為自由 畫家。其作品多次參加國內外大展，多件作品 被海內外人士收藏。尹坤是一位有才智、敏感、 積極的年輕藝術家，畫畫是他對生活、情感、 敏感和神經質部分的宣洩或是記錄。其作品涉 及到廣泛的社會層面，通過描述當代人對某些 社會異常現象的普遍漠視，揭示問題的關鍵和 根源。尹坤關注當代人的生存體驗和現實感受， 吸收了波普、玩世現實主義、艷俗等藝術形式 及圖片等藝術語言傳達出一種直接的、尖銳的 訊息；艷麗的畫面色彩旨在喚起一些希望和樂 觀的生活態度。

YIN Kun was born in Deyang, Sichuan in 1969. He graduated from the Sichuan ApaNormal Junior Col-lege Fine Arts Department in 1992. He went to Beijing in 1993 and became a free painter. Hisworks participated in several domestic and inter-national exhibitions, and wildly collected by collectors all over the world. Yin Kun is a wise,sensitive, and active young artist, painting is anoutlet or a record of his life, emotion, and hissensitive and nervousness.

His work involvesdifferent social levels, through modern people'signorance towards certain social abnormal phenomena, promulgates the question the key andthe root.

Yin Kun pays attention to the contem-pic-porary person's survival experience and the real-turesity feelings, absorbed the artistic forms andsuch as pop, absurd realism, kitsch to trans-mit one kind of direct, incisive message. The gorgeous picture color is for the purpose of arousing some hopes and the optimistic life manner.

陳正雄 CHEN Cheng Hsiung (B.1962)

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陳正雄的抽象繪畫生涯，以 1999 年「窗」系列 與 2001 年「數位空間」系列，前進另一高峰， 他兩度蟬連「佛羅倫斯國際當代藝術雙年展」 的「終生成就獎與羅倫佐金質獎章」。知名藝 評家王秀雄教授論及：陳正雄五十餘載的創作 歷程，從「山水意涵抽象期」發展出「生之奧 秘表現期」到「窗與數位空間創作系列」，其 風格變化之豐與精，在世界抽象畫家中也難得 找到第二人，這也是為何他能成為國際級畫家 的最大要因！ 陳正雄非為美術創作傳統科班出身，卻專業、 嚴謹的開拓出耀眼的藝術大道，除了自身秉持 的精神哲學觀外，他對文化資產的研究、保護， 更令人敬重，曾自道：「我的作品實際上融合 了原始藝術、中國藝術和西方藝術….。」他一 路走來，秉持其師李石樵的萬米長跑論：「成 功在於堅持到最後的執著者與實力者！」。陳 正雄即是最精采的抽象藝術大師。

To give expressions to his struggles with and sufferings of life, Chen's figures usually possess strong and exaggerated limb. Knotted eye-braws wrinkled faces, lips tightly shut....all pointing to scars as marred by the passage of time. The use of the "contrapposto", in which the two havles of the body are turned in different directions, gives a satisfying expression of movement. These and many others are important elements employed by artists as conduits for psychological descriptions. Chen Cheng-hsiung, without the help of a teacher, managed to master these all. Particularly worth mentioning is his approach in addressing group figures.

He applies a single event to unite the various figures in a group. Despite the highly individual expression and posture of everyone in the lot, their concern and the direction of their movement nonetheless concentrate on the singular chosen event. The result is a successful unity and powerful assimilation. Rembrandt did this in his famous "Anatomy Lesson of Dr. Tulp" and "The Night Watch". Likewise, Chen Cheng-Hsiung attained similar effect through the group figures in respectively the "Fishermen" and "In Front of the Temple" and deserves our respect.

楊永福 YANG Yong Fu (b.1955) 1955 生於台北市，國立台灣師範大學美術系 72 級西畫組第一名畢業， 曾 獲 全 國 美 展 油 畫 優 選、 教 育 部 文 藝 創 作 獎 油 畫 第 二 名、 第 三 屆 全 國 油 畫 展 金 牌、 第 五十五、五十六屆臺陽美展金牌、台北市美展 油畫第二名、楊三郎藝術獎學金、教育部頒贈 推行美術教育有功人員；曾任台陽美術協會理 事、國父紀念館美展審議委員。 Lot.150

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Yang Yong Fu was born in Taipei in 1955. He graduated as the first grade from Art Department in National Taiwan Normal University. Yang had won many awards in Taiwan Art Exhibition, Oil Painting exhibition in Taipei, Tai-Yang art exhibition and Yang San Lang Art Scholarship. Yang had painted oil painting for forty years and he once said the nature belongs to no one but who are free in mind can own the nature.

藝術家簡歷

張小濤 ZHANG XiaoTao (b.1970)

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張小濤，1970 年生於中國重慶合川，1996 年畢 業於四川美術學院油畫系，1996-2009 年任教于 西南交通大學藝術傳播學院，2010 年至今任四 川美術學院新媒體藝術系系主任、副教授、碩 士生導師，居住于北京、重慶。張小濤多次在 國際、國內重要美術館、基金會舉辦個展、群 展，比如：薩奇美術館、羅馬 21 世紀現代藝術 館、瓦倫西亞現代藝術館、博洛尼亞現代美術 館、挪威 3.14 基金會、成都當代美術館、廣東 美術館、何香凝美術館、北京大學賽克勒博物 館；布拉格雙年展、廣州三年展、荷蘭電影節、 東京動畫節、亞洲動畫大賽等。張小濤是活躍 於中國當代藝術領域的優秀跨媒體藝術家之一， 作品形式有繪畫、攝影、動畫、裝置等，其作 品一直關注中國今天這個壓縮的現代性神話背 後，我們心靈史的煎熬和掙扎歷程。這是中國 很獨特的希望和毀滅交織的複雜經驗。他用跨 媒體的藝術方式去關注社會巨變與個人心靈史 之間的悖論，並試圖把這種個人經驗轉換在公 共經驗中。“病毒學＂的概念既是病理學的也 是社會學的，既是個人的也是社會的，每一代 人都會遭遇到不同的困境，他試圖呈現這些複 雜的“病理學＂報告。他“微觀敘事＂的研究 方法，被德國著名評論家曼弗雷德•施奈肯伯格 評為“令人驚異的藝術家＂。2004 年日本 NHK 電視臺，2010 中國中央電視臺《人物》欄目曾 對其藝術成就做專題片採訪。並獲得了“2008 年中國年度青年藝術家獎＂、“2011 年亞洲最 佳技術動畫獎＂等殊榮。其作品被國際、國內 重要美術館、基金會及收藏家收藏。

Born in Hechuan, Sichuan Province, China. Zhang Xiaotao graduated from the Oil Painting Department of Sichuan Academy of Fine Arts. Solo exhibitions: "Flowers in the Dream" at the Tokyo Gallery, Japan, 2001; "The Blownup Property", Beijing, 2001; 'Desire' at the KunstAkademie Muenster in Germany, 2002; "The Erosion of Materialism", Paris, 2003; "Dream Factory and Refuse Dump", Beijing, 2004 and Tokyo, 2005; "Illusion", Norway and Lithuania.

His group exhibitions have included: "Between the Dream and Painting-Vienna from 1900 to 2000", Germany, 2000; "Dream: Chinese Contemporary Art Exhibition" at the London Paciic Gallery, 2001 and Manchester, 2002; "The Left Hand-Right Hand' at the China and Germany Art Communication Exhibition", Beijing, 2003; "Madrid International Art Exhibition", Spain, 2004; "Chinese Current Painting" at the INFELD Culture House, Vienna, 2004; "New Viewpoint of Chinese Painting" at Marella Arte Contemporanea, Italy, 2004; "Paris International Art Exhibition", 2004; "Chinese Current Painting", Italy and "The 2nd Prague Biennale", Czechoslovakia, 2005.

阿曼．費爾戴儂 ARMAN Fernandez (1928 - 2005)

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美裔法籍。1928 年生於法國尼斯，阿曼曾就讀 於尼斯國立裝飾藝術學院和巴黎羅浮學院。阿 曼深受達達主義及普普藝術主義影響，創立了 新現實主義，並成為在國際上舉足輕重的物體 藝術家。他以「堆積」物件著名，曾受法國總 統邀請創作國旗「堆積」作品放置於皇宮內。 阿曼的作品被紐約大都會藝術博物館、倫敦泰 特美術館和巴黎蓬皮度藝術中心等世界級美術 館收藏。 自 1954 年起，阿曼便在世界各地舉辦展覽，包 括：1975 年「阿曼：1971-1974 年武裝物品」， 巴黎；1991 年「阿曼雕塑展」，東京；1992 年「阿 曼：1955-1991 年回顧展」，紐約；1996 年「國 際大師雕塑：阿曼」，台中；2000-2001 年「阿 曼：紙上作品」，科布倫茨；2001-2002「阿曼： 橫越物體間」，佛羅里達州；2003 年「阿曼： 阿曼」，伊朗；2006 年「給阿曼的稱頌」，紐約； 2010-2011 年「阿曼」，巴黎。

Arman was an American-French. He was born in 1928 in Nice, France, he studied as Ecole Nationale des Arts Décoratifs in Nice and the Ecole du Louvre in Paris. He was strongly influenced by Dadaism and Pop Art, and was a cofounder of Nouveau Réalisme (New Realism). He became an important international artist and is renowned for his "accumulations" of found objects. Arman was invited by the President of France to create an "accumulation" of national flags to be placed in a palace. Arman's works are in the collections of international museums such as the Metropolitan Museum of Art in New York, the Tate Gallery in London and the Centre Pompidou in Paris.

Since 1954, Arman had held numerous exhibitions worldwide, including 1975 "Arman: Objets Armés 19711974", Paris; 1991 "Arman Sculpture", Tokyo; 1992 "Arman 1955-1991: Retrospective", New York; 1996 "Arman: The exhibition of International Sculpture Master", Taichung; 2000-2001 "Arman: Werke auf Papier", Coblenz; 20012002 "Arman: Through and Across Objects", Florida; 2006 "A Tribute to Arman", New York and 2010-2011 "Arman", Paris.

259

Artist Biographies

伍步雲 NG Po Wan (1905-2001) 伍步雲於 1904 年出生廣東臺山，年輕時期家境 清苦，在故鄉接受教育後，在一次偶然機會 -自友人處見到油畫而產生興趣，因此決定修習 藝術。又因父親為菲律賓華僑，所以赴菲律賓 藝術大學深造，在校期間受到素描、水彩、油 畫技法劄實的磨練，返回香港時，即全心投入 油畫創作，成為專業畫家。1966 年開始便到黃 山、杭州、西湖等地進行寫生旅行。伍步雲自 30 年代起創作至今，已累積超過四百多幅作品。 但早期作品在一次由廣東中山開往香港的沈船 事件遭到全毀。而其創作力的巔峰可謂是 60 至 70 年代作品。在 60 年代他至大陸各地旅行寫 生，那些壯麗的河山，純樸的風景如紹興、廣 東、成為創傷的泉源。在多次的寫生經驗中， 他領悟中國大山大水之美。此期他除了油畫之 外，還兼畫國畫，逐漸地他喜歡用西畫方式， 表現中國水墨畫的意境與內涵。畫法上他的筆 觸粗獷跳動，準確地將山村、遠山、浮雲勾勒 出來，筆端透露歡愉的氣氛。用色上雖保持藍 及墨的主色，但溫暖的色調點綴其中，色彩層 次增加而豐富。

Lot.153

NG Po Wan was born in 1904 in Taishan, Guangdong, the young family was impoverished period, after receiving education in the home, in a fortuitous opportunity - to see the painting from a friend at the interest generated, it was decided to attend art. The Philippines because of my father overseas, so the studies to the Philippines University of the Arts, at school by drawing, watercolor, oil painting techniques honed real Sapporo, return to Hong Kong, the heart and soul into painting creation, to become a professional painter. Beginning in 1966 to Huangshan, Hangzhou, West Lake and other places for painting trips. NG Po Wan from 30 years since the creation date, has accumulated more than four pieces of work. However, early works by the Guangdong Zhongshan in a shipwreck in Hong Kong was bound completely destroyed.

The peak of its creativity can be described as works of 60 to 70 years. To the mainland in the 60 years he travels around sketching, those magnificent rivers and mountains, pristine scenery, such as Shaoxing, Guangdong, became a source of trauma. Experience in the many sketches, he realized the beauty of great mountains and rivers of China. The addition of his paintings , but also painting and painting, and gradually he likes painting with Western ways, the performance of Chinese ink painting in the mood and meaning. Drawing on his strokes rough beating, accurately village, mountains, clouds outlined, his writings reveal the festive atmosphere.

Although the use of color, and blue ink to keep the main colors, but dotted with warm colors, rich color levels increase.

薩爾瓦多．達利 Salvador DALI (1904-1989) 西班牙畫家兼詩人，是廿世紀畫壇中最負盛譽 的畫家之一。1929-36 年間是十分活躍的超現實 主義派畫家，1938 年曾短暫地重拾超現實主義 風格。作品有：《可親的女子》、《征服非理性》、 《那西瑟斯的變形》等等。首創「偏執狂式批 評法」的理論。因為漸漸傾向右翼及商業化， 而與超現實主義決裂。他個人獨特的擬超現實 風格 在美國一直深受歡迎。從一九四○年代起， 創作了許多華麗的宗教畫及化妝品廣告。

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1904 born in Figueras, Spain and became one of the more influential painters of the 20th Century. Dalí was a versatile artist whose art is rich with symbols - many of which were understood by Salvador Dali only and had to be explained at length which suited his self-aggrandizing style. Dali never limited himself solely to painting - some of his more popular artistic works are sculptures and other objects, and he is also noted for his contributions to theatre, fashion, and photography. Dali was known as a Surrealist and is classified as such today though much of his work differs greatly from most Surrealist painters of the time.

藝術家簡歷

馬克．夏卡爾 Marc CHAGALL (1887-1985)

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馬克．夏卡爾 (Marc Chagall) 在藝術史中佔有難 以磨滅的巨匠地位，1887 年誕生於俄國維台普 斯克 (Vitsyebsk) 的猶太區，1907 年進入聖彼得 堡的美術學校習畫，1911 年至當時已是世界藝 術中心的巴黎留學，被視為二十世紀創立超現 實主義 (Surrealism) 風格最重要的藝術家。夏卡 爾的畫作總是充滿著浪漫幻想與瑰麗如詩意般 的氛圍，他擷取了立體畫派的切割構圖技法及 野獸派狂放豪邁的色彩，在線條與色塊的脈動 中將事物以一種幽默、無意識的獨特手法表現 出隱蘊在其中的感性思維，如在天上拉小提琴 的羊、長了眼睛的房子、不受地心引力控制的 樂手等天馬行空的畫面，都充分地表露了他大 量受到俄國風俗和猶太傳統文化背景影響的純 真率性與眷戀故鄉的濃烈思緒，以另類的象徵 手法及詩化意象來表述自己內心的澎湃情懷。

Marc Chagall plays a very crucial role in the history of art.

He was born in 1887 in the Jewish area in Virsyebsk, Russia, and had entered Saint Peter’s Art School to learn painting in 1907. In 1911, he went to Paris, which is the world’s center of arts then, and he was considered the most important artist for surrealism in the 20th century. Chagall’s paintings are full of romantic fantasies and poetic atmosphere. He combined structure-cutting techniques of cubism and the wild, bold colors of fauvism, adding humorous, subconscious techniques to interpret the hidden sensitivities, such as a ship playing violin in the sky, house with eyes, the musician that isn’t controlled by the gravity…etc. His works showed his limitless imaginations, child-like innocence, nostalgia, and how the artist is deeply influenced by the folk culture of Russia and Jewish traditional cultures; the artist interpreted the surge in his heart by unique symbolizing and poetic techniques.

Lot.158a~b

김상우 KIM Sang Woo (b.1968)

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Kim 於 1971 年出生於韓國，1997 年的時候在韓 國的私立中央大學拿到美術學士，並在 2001 年 時到俄羅斯聖彼得堡藝術學院修習繪畫創作。 他的第一次個展在 1997 年的首爾的藝術中心舉 辦，之後也有在大邱廣域市舉行個展，平均每 隔一到兩年會舉行一次個展。除了個人展覽， 他 也 時 常 跟 其 他 藝 術 家 合 作 舉 辦 聯 展， 像 是 2000 年在韓國文化及藝術贊助博物館舉辦的聯 展，還有 2003 年在 Kwaunhun Gallery 舉辦的生 活聯展等的。

2001 Attendance in Painting, St. Petersburg Russian Academy of Art, Russia 1997 B.F.A., in Painting, Chung-Ag University Solo Exhibition 2007 Moving Realism, Gallery Zandari, Seoul 2005 A Girl in St. Petersburg, Gallert Sang, Seoul 2003Portraits study, Gallery Sang, Seoul The pine scenery, Danwon Art Museum,Ansan, Gyeonggido The pine scenery, Gongsan Gallery, Daegu 2002 The Pushkin’s scene, Gongsan Gallery, Daegu 2001 The expression of daily life, Gongsan Gallery, Daegu 1998 Bitmap Street, Seonam Art Center, Seoul Bitmap Street, Gongpyung Art Center, Seoul 1997 Incognitos, Gongpyung Art Center, Seoul Group Exhibition 2008 Korea International Art Fair, Gallery Focus, seoul 2007 The Artist’s Way, Gallery N12, Seoul Korea Hyperrealism’s Inside and Out, Gallery LM, Seoul 2006 Truth of Six Rooms, Savina Museum, Seoul Picture vs Picture, Gallery Zandari, Seoul 2004 Vision 21, Sungshin Women’s University, Seoul Issue of post-modernity, Gongyung Art Center, Seoul Existence and ILLusions, Gwangju Museum of Art, Gwangju Newface 2004, Duckwon Gallery, Seoul 2003 Life, Kwaunhun Gallery, Seoul 2002 NEBAREKA4, Gkukjae Museum, Daegu 2000 Art Museum In Image, The Korea Culture & Art Foundation Meseum 1999 View-finder Canvas, Seonam Art Museum, Seoul Daegu Representation Artists, Daegu Culture & Art Center, Daegu 1998 98 Young Artists, National Museum of Contemporaty Art,Gwachen, Gyuongido

261

Artist Biographies

強．詹森 Jean JANSEM (b.1920)

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亞 美 尼 亞 人， 生 於 1920 年。 強． 詹 森 (Jean Jansem) 幼年同家人逃過了種族滅絕的大屠殺， 後來經希臘，終在 1931 年到達法國。1934 年 就讀於蒙帕納斯的學校，1936 年就讀於巴黎裝 飾美術學院，後在薩巴蒂爾的工作室裏學習。 1941 年他的第一幅畫作在獨立藝術家沙龍展上 展出。之後其作品在各美術展中展出，並不斷 獲獎。1958 年經常年推出展品的青年畫展協會 主席的推薦，成為巴黎秋季藝術沙龍的一名會 員。1967 年在巴黎的莫裡斯卡尼爾畫廊舉辦威 尼斯畫展，1969 年舞蹈畫展、1971 年鬥牛畫展、 1973 年人物與構圖畫展、1975 年時光流逝畫展、 1976 年風景畫展、1977 年義大利風景畫展等的 相繼舉辦，深受好評，來自世界各地的支持者 的呼聲也日益高漲，此外也舉辦過多場個人畫 展。2002 年在自己的祖國亞美尼亞舉辦了紀念 亞美尼亞大屠殺畫展，同時也受邀獲得亞美尼 亞的國家勳章。2003 年獲得法國國家勳章（騎 士榮譽軍團勳章）。

Jean Jansem is a painter born in 1920, in the former country of Armenia. His family fled from the Armenian genocide to Greece, where he spent his childhood. In 1931, he moved with his family to France, and in 1934 attended classes at Montparnasse. In 1936 Jansem was admitted to the Ecole des Arts Decoratifs in Paris, and studied at the Atelier Sabatier. His paintings were shown in the Salon des Artistes Inde´pendants in 1941, and have been subsequently displayed in various exhibitions, where he continues to receive awards.

After having his work exhibited for many years in the Salon de la Jeune Peinture, he became its president in 1958, as well as joining the Salon d’Automne the same year.The Galerie Maurice Garnier in Paris has held many exhibitions of Jansem’s work, such as “Venice” (1967), “Dance” (1969), “Bullfighting” (1971), “The Human Figure” (1973), “Time” (1975), “Landscape” (1976), “Italian Landscape” (1977) and so on. With Jansem’s work so highly appraised, he has fulfilled requests for solo exhibitions all over the world.

In 2002 he was decorated by the Republic of Armenia’s National Academy of Sciences for his exhibition focusing on the Armenian Genocide that took place in his homeland. He was also knighted by the French Legion of Honor (Le´gion d’honneur) the following year.

梅原龍三郎 UMEHARA Ryuzaburo (1888-1986) 梅原龍三郎 於 1888 年出生，早年留學法國，因 仰慕印象派大師「雷諾瓦」的繪畫，於 1909 年 前往求見，此後多次受其指導，直到 1913 年返 回日本，這期間梅原吸取了雷諾瓦的熱情色調， 但同時間也接收了「盧奧」的粗壯筆勢，配合 構成了一個銳利而明快的畫風。台灣早期的畫 家中，多位畫家均受其畫風影響甚巨，尤以郭 柏川一生受其影響至深，在其感染之下，使得 郭柏川的畫風呈現出「重寫不重畫，寓瀪於簡， 變化多而調和」並在台灣畫壇上自成一格至今。

RyuzaburoUmehara was born in 1888. He studied abroad in France and went to visit Pierre-Auguste Renoir because he was admired his work. In 1913, Umehara went back to Japan.

During his time in France, Umeharaabsorbed the passionate color of Renoir and developed his own sharp and bright painting style. Many Taiwan artists in the early period had influenced by Umehara, especially KuoPo Chuan.

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吳冠中 WU Guan Zhong (1919-2010)

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262

吳冠中生於江蘇。1936 年進入國立杭州藝專， 在林風眠的指導下開始研習繪畫。1942 年畢業 後，在國立重慶大學執教。1946 年獲教育部獎 學金赴法國留學。在法國四年期間，曾就讀於 巴黎的國立高等美術學校，師從蘇弗爾比教授 學習油畫，並入洛特和佛里茲畫室進修。同時 在羅浮宮研習美術史。1950 年回到中國後，先 後在中央美術學院，清華大學及北京藝術學院 任教。吳氏數十年間持續進行油畫創作，即使 在文化革命中亦未曾中斷。1989 年三藩市中華 文化基金會舉辦個展及 1992 年在倫敦大英博物 館舉辦個展，其作品受到世界的重視，1995 年 香港藝術館以及 1997 年台北國立歷史博物館亦 為其舉辦講座及個展。

Born in Yixing, Jiangsu. Wu Guanzhong's training in Western art began at the Hangzhou National College of Art in 1936 under Lin Fengmian. After his graduation in 1942, he obtained a teaching position at the National Chung-ching University. He then traveled to France where he spent the next four years studying oil painting under Professor Jean Souverbieat the EcoleNationale Sup rieure des Beaux Arts and the ateliers of AndrLhote and Othon Frieze. He has painted in oil since 1950, even during the Cultural Revolution.

His international fame is evident in two recent exhibitions of his traditional oil paintings at the Chinese Culture Foundation of San Francisco (1989-90) and the British Museum in London. Hong Kong Museum of Art and National Museum of History in Taipei held solo exhibitions of Wu's work in 1995 and in 1997 respectively.

藝術家簡歷

王懷慶 WANG Huai Qing (b.1944) 生於北京，1964 年入中央工藝美術學院裝璜繪 畫系，於 1970 年文化大革命期間，下放農村勞 動改造，並隨吳冠中先生學習繪畫。1980 年籌 辦策劃「同代人畫會」於中國美術館聯展，並 於同年加入中國美術家協會，次年獲得碩士學 位。王懷慶作品頻頻於國內外重要大展中獲獎， 極獲重視。並於 1998 年參加紐約古根漢美術館 「中國藝術 5000 年展」及紐約軍械庫「亞洲藝 術博覽會」。2010 年在美國西雅圖亞洲藝術博 物館舉辦大型回顧展。其作品廣為海內外重要 美術館及企業收藏。 Lot.169

Born in Beijing, entered the Central Academy of Arts and Crafts in 1964 to study interior design and while there, he studied painting under Wu Guanzhong. In 1970, during the Culture Revolution, Wang was assigned to the countryside for rehabilitation through labour and studied painting with Wu Guanzhong. In 1980, Wang formed the Contemporary Painting Society with his fellow classmates; organized an exhibition at the China National Museum of Fine Arts and joined the National Chinese Artist Association. He received a Master's degree a year later. Wang' s work has been selected for exhibitions worldwide including the recent major exhibition at the Guggenheim Museum, New York, entitled "5000 Years of Chinese Art" in addition to the Asian Art Fair at the Armory. A retrospective exhibition at Seattle Asian Art Museum was held in 2010.

王沂東 WANG Yi Dong (b.1955) 王沂東生於山東。1972 年進入山東省美術學校， 曾任教于山東藝術學校美術科。1978 年考入中 央美術學院油畫係，畢業後留校任教，現為中 國美術家協會會員。王沂東對家鄉沂蒙山有著 濃厚的感情，山村的人物和景色成為他繪畫的 主題。其作品曾在新加坡、法國、義大利、日 本和美國展出。1987 年在紐約哈夫納畫廊舉辦 個展。作品《古老的山村》被中國美術館收藏。 王沂東試圖在一個很寫實的畫面裡發現種很抽 象的感覺，這種抽象並非一般意義上的簡單抽 象，也不是純粹為了刺激人的感官，而是為了 服務於整體畫面所要傳達的某種感情或情緒。 於是作品中，單純的黑、白色彩與中性的褐色 調構成了藝術上的純凈，也給作品蒙上一層苦 澀的情緒。

Wang was born in Shandong, he enrolled to the School of Fine Art in Shandong University of Technology in 1972, and had served there as a teacher. In 1978, he was accepted by the Oil Painting department of Central Academy of Fine Arts, had served there as well, he is now a member of Chinese Artist's Association. He has profound emotions for his hometown,Yimeng Mountain, villages and people on the mountain become the theme in most of his paintings. His works had been exhibited in Singapore, France, Italy, Japan, and the United States. In 1987 he held a solo exhibition in Hafner Gallery, New York. The work, Ancient Village is collected by National Art Museum of China. Wang tried to discover various abstract feelings from a realistic picture, this kind of abstract isn't abstract by its meaning, it's not for stimulating people's senses, it simply served to deliver some kind of emotion or feeling that the whole picture was meant to give. Therefore in his works, the black, the white, and the brown-based colors formed a kind of artistic purity; they also covered the whole picture with some kind of sadness.

Lot.170a~d

張曉剛 ZHANG Xiao Gang (b.1958)

Lot.173

張曉剛生於昆明，畢業於四川美術學院油畫系。 1989 年起於北京中國美術館參加中國現代藝術 大展後，陸續參加許多國際重要大展，如 1994 年參加「第 22 屆巴西聖保羅雙年展」，並獲銅 牌，次年應邀參加「第 46 屆威尼斯雙年展」以 及西班牙巴塞隆納現代藝術博物館舉辦的「中 國前衛藝術 15 年」。於 1996 年參加了德國波 恩美術館舉辦的「中國當代畫展」及巴黎法蘭 西畫廊舉行的來自中國四位當代藝術家聯展， 1997 年榮獲由英國庫茨國際當代藝術基金會頒 發的當代藝術新人獎。作品亦被許多重要美術 館收藏，如美國古根漢美術館、日本福岡美術 館等。

Born in Kunming, he graduated from the Sichuan Art Institute, of Oil Painting. After Zhang attended the "China Contemporary Art Exhibition" in Beijing China Art Museum in 1989, he has continually participated in many international major exhibitions, including: "The 22nd Sao Paulo Biennale" in 1994 where he won 3rd place. The next year he was invited to participate in "The 46th Venice Biennale" as well as the "15 Years of Avant-Garde Art In China'' held by the Barcelona Contemporary Art Museum in Spain. In 1996 he attended the "China Contemporary Art Exhibition" in the Kunst Museum, Bonn. He collaborated with four other contemporary artists from China and had a group exhibition in Galerie de France. In 1997, he was proclaimed by the Coutts International Contemporary Art Foundation in England as the "Contemporary Art Best New Act". His works are also collected by many major museums, including the Guggenheim Museum in the United States, and the Fukuoka Art Museum in Japan.

263

Artist Biographies

劉野 LIU Ye (b.1964)

Lot.174

劉野 1964 年出生於北京，成長於文化大革命的 時代。1984 年畢業於北京工藝美校，兩年後考 進中央美術學院壁畫系，1989 年還沒畢業便遠 赴德國，考入柏林藝術學院，1994 年取得碩士 學位回國。由於父親是兒童文學家，加上受到 文革宣傳畫的影響，劉野漸漸發展出其卡通畫 的的風格。而這些看似童趣式的畫作的背後往 往隱藏著一絲絲的邪性與成人題材。劉野的畫 作以方形構圖為主，臉圓圓的小孩及蒙德里安 的畫都頻繁出現在劉野畫作中的圖像。劉野的 作品曾在世界各地的展覽中展出，並獲得國際 肯定。他現時主要在北京工作及居住。

Born in Beijing in 1964, Liu Ye belongs to the generation of artists that grew up during the Cultural Revolution era. Liu Ye graduated from the School of Arts and Crafts in 1984, subsequently entering the Central Academy of Fine Arts.

Prior to graduation from the mural department in 1989, Liu Ye flew to Germany and was enrolled in the University of Fine Arts in Berlin. He returned to China in 1994 with a Master’s degree. Liu Ye’s works of art express a cartoonlike bearing, a style attributed to the influence of his father, a children’s literature author, and that of the propaganda posters created during the Cultural Revolution. Liu Ye’s paintings always adopt a squarish composition, featured with children with round faces and Mondrian’s paintings. Liu has staged exhibitions globally and received international recognition.

He currently lives and works in Beijing.

季大純生於江蘇南通，1993 年畢業於中央美術 學院油畫系四畫室，現在為職業畫家。1994 年 參加中國年畫雙年展，同年參加翰墨藝術中心 邀請展。1998 年參加上海劉海粟美術館的中國 當代畫家當代聯展，也參加了北京國際藝苑美 術館舉辦新銳的目光—1970 年代出生的一代。 2002 年參加上海國際藝術雙年展及巴塞爾國際 藝術博覽會。2001 年參加成都國際藝術雙年展。 季大純的作品使困頓於審美和意義解讀中的你 窺見一些久違了的率真、頑皮，甚至是有一些 「不正經」的歡娛。他的作品在內地市場，乃 至台灣和香港為代表的國際市場，都有較大的 購藏群體，是一位優秀的中生代藝術家。

Born in Jiangsu. Ji graduated in1933 from the Central Institute of Fine Arts, and now is a professional painter. In 1994, he attained the Biennial Exhibition of Spring Festival Paintings and Han Mo Arts Centre Invitational Exhibition.

In 1998 he participate the Join Exhibition of Contemporary Chinese Artists at the Liu Haisu Art Museum. in 1999, he held the Ji’s Exhibition at the BASE Gallery, as well as showing works at the Beijing International Art Gallery’s exhibition-the 1970’s Generation. In 2000, Ji was in the Shanghai International Biennial Exhibition, Fair. His paintings can make viewers,who are trapped in the aesthetics and reinterpretation, to see the naive and childish. His works has lots of potential collectors around Taiwan, Hong Kong and outside Asia.

夏俊娜出生於內蒙古，1984 年就讀於威海市第 二中學，師從美術啟蒙老師叢建子先生學習國 畫人物，初步接觸繪畫藝術。1995 年畢業於中 央美術學院油畫系，畢業創作獲得中央美術學 院優秀獎和日本岡松家族獎學金。作品《秋》 獲「95 第三屆中國油畫年展」銀獎。1996 年參 加「上海美術雙年展」，「北京中國當代藝術 展」。1997 年參加「中國青年油畫展」及「中 國藝術大展」。1998 年參加「世紀－女性」藝 術展，獲收藏家獎。2000 年參加「二十世紀中 國油畫展」，北京晚報也以「百年油畫盛宴的 六道大菜」為題，把夏俊娜提為中國最有時代 代表性的畫家。台北的《藝術新聞》雜誌以「從 李鐵夫到夏俊娜」來概括百年油畫的歷史承繼 性，其作品被海內外私人廣為收藏。

Born in Inner Mongolia, 1971. In 1984, she attended Weihai No.2 Middle School and studied portrait painting with Cong JianZi, who introduced her to a certain field of art.

She graduated in 1995 from the Oil Painting Department of the Central Academy of Fine Arts. Her work "Autumn" won silver prize at the 1995 Annual Exhibition of Chinese Oil Paintings. Her works were also shown at the Shanghai Biennale and Contemporary Art Exhibition held in Beijing in 1996. In 1997, she joined "China Young Oil Painting" Exhibition in Beijing. In 1998, she joined "Century-Female Art Exhibition" and won a collector award. In 2000, she joined "Twentieth Century China Oil Painting Exhibition", "Youngs Series Exhibition". Beijing Evening News used "Six Main Courses in Grant Banquet of Centurial Oil Painting" as the title and commended her as the most representative painter in China. Taiwan magazine, CANS, used "From Li Tiefu to Xia Junna" as the slogan to summarize Xia's historic significance in inheriting from centurial oil painting. Her paintings are collected by private collectors at home and abroad in recent years.

季大純 CHI Da Chun (b.1968)

Lot.175a~d

夏俊娜 XIE Jun Na (b.1971)

Lot.176

264

藝術家簡歷

岳敏君 YUE Min Jun (b.1962)

Lot.177

岳敏君 1962 年生於黑龍江。1985 年就讀於河北 師範大學美術系，1987 年參加河北省展覽館舉 辦的「S 造型藝術展」；1992 年參與「圓明園 畫家作品展」；1995 年參加在比利時舉辦的「中 國油畫展－從現實主義到後現實主義」；1996 年參與在德國舉辦的「中國」展及參加瑞士舉 行的「巴塞爾藝術博覽會」；1998 年參與在西 班牙、倫敦、柏林舉辦的「5000+10 中國藝術」 展；1999 年參加「48 屆威尼斯雙年展」及參加 在法國舉辦的「十四位中國藝術家展」；2000 年參加英國倫敦中國當代藝術畫廊所舉辦的「紅 色的海洋」展覽。

YueMinjun was born in Heilongjiang Province. Studied in Fine Art Department of Hebei Normal University in 1985, joined "S Plastic Art Exhibition" in Hebei Provincial Exhibition Hall; "Summer Palace Painters Exhibition" in 1992, "China Oil Painting Exhibition-From Realism to PostRealism" in Belgium, 1995; "China" in Germany and "Basel Art Fair" in Swiss, 1996; "5000+10 Chinese Art" in Spain, London, Berlin, 1998; "48th Venice Biennial" and "Fourteen Chinese Artists Exhibition" in France, 1999; "Red Ocean" Sponsored by China Modem Art Gallery in London, Britain, 2000.

Lot.178

王廣義 WANG Guang Yi (b.1957) 王廣義 1957 年出生於中國哈爾濱，1984 年在浙 江美術學院油畫系畢業。他被譽為 1989 年後中 國政治波普藝術的領導者之一。他受美國普普 藝術影響，把共產黨的宣傳廣告元素融入畫作 之中，描繪當代中國共產主義與西方資本主義 之間的衝突。王廣義曾在世界各地參與多場重 要展覽，包括 1992 年在廣州舉辦的第一屆雙年 展、1993 年第四十五屆威尼斯雙年展、1994 年 第 22 屆聖保羅雙年展及 1996 年在澳洲昆士蘭 舉辦的亞太區當代藝術三年展。 Lot.180

Born in 1957 in Harbin, China, Wang Guangyi studied oil painting at the Zhejiang Academy of Fine Arts, graduating in 1984. Considered one of the leading figures of China’s post1989 Political Pop movement, Wang’s paintings combine motifs from Communist propaganda with advertising in a style strongly influenced by American Pop Art, illustrating the clash between Communist politics and Western capitalism in contemporary China. Wang Guangyi’s work has been shown at major exhibitions around the world, including the 1st Biennial Art Exhibition in Guangzhou in 1992, the 45th Venice Biennale in 1993, the 22nd Sao Paolo Biennial in 1994, and The Asia-Pacific Contemporary Art Triennial in Queensland, 1996.

奈良美智 Yoshitomo NARA (b.1959) 生於日本青森縣弘前市，現居住於東京。早期 的作品以插畫性質為多，但在 1980 年代後期即 發展出他以小人頭像為主的風格；奈良美智對 於大頭和大眼型的小人相當著迷，他的特色在 於塑造各種帶有情感的眼神，其中最知名的是 斜視的眼神（有人說是代表憤怒、有人則說是 代表了邪惡）。在 1990 年代後期，他也開始創 作立體作品，並採用不同媒材拼組的方式。今 日他的作品已被許多博物館收藏，如紐約現代 藝術博物館和洛杉磯當代藝術博物館等。 Lot.186

Born in Hirosaki City, Aomori, Japan, Yoshitomo now lives in Tokyo. Having most of his early works in illustrations, Yoshitomo developed in the late 1980s portraits of seemingly innocuous children, which have now become his main art style. The artist is infatuated with subjects with big heads and big eyes; he is well-known in depicting the variety of emotions showing through the character's eyes, especially his famous squint look (as some see it as a demonstration of anger, and some think of it as the representation of evil).

In the late 1990s, Yoshitomo also began to create threedimensional works, and implemented different media into his artworks. Today, his works are in collections of the Museum of Modern Art in New York and Museum of Contemporary Art in Los Angeles among many other well-known museums in the world.

Lot.187

265

景薰樓股份有限公司交易條款 第一節

總則

一、景薰樓股份有限公司（以下簡稱本公司）執行業務，均依據以下條款及每次拍賣時各拍賣型錄之特別訂定條款。 二、本條款所指之金額均以新台幣計算之。 本拍賣會以新台幣結算。本公司同意以新台幣以外之其他外幣結算，惟請依當日匯率核實計算折合等值之新台 幣。 本拍賣會中，提供匯率轉換顯示螢幕供競投者參考。其匯率係依拍賣日前一營業日台灣銀行公告之卅天遠期匯 率計算。然而競投仍以新台幣進行。匯率轉換顯示螢幕所示之相關資訊，其準確度可能出現非本公司所能控制 之誤差。競投者因依賴匯率轉換顯示螢幕資訊參與競投而導致蒙受任何損失，本公司概不負責。 三、競標者之定義 （一）喊價行為者皆視為競標者，如以書面通知本公司並經確認者得指定代理人為喊價行為。 （二）拍賣官得以低於底價的金額開始拍賣，並有權代賣家以連續競標或以回應其他競標者的競價而競標的方 式，繼續競投到底價的金額，拍賣官毋須特別表示其為代替賣家競投。在任何情況下拍賣官不會代表賣 家作出等同或高於底價之出價。 （三）如準買家以電話參與競投，本公司將盡適當之努力聯絡競投者，使其能以電話參與競投，但在不可抗力 情況之下，如未能聯絡，本公司對賣家或任何買家均不負任何責任。 （四）競標者應於拍賣開始前填具登記表，並提供身份證明。並經本公司核對身份證明後始得進行喊價。 （五）喊價過程若有爭議時，依拍賣主持人之意思解決之，競標者不得異議。 四、型錄閱讀 未經本公司同意，不得任意轉載型錄圖檔。 競標者應於拍賣前詳閱拍賣型錄及第四節有關型錄之規定，自行瞭解並參考其他資訊以判斷拍賣物與型錄說明 之差異。 五、特定名詞之定義，規定於第卅九條。

第二節 買方 六、拍賣進行中喊價最高經拍定之競標者稱為買方。 七、登記競投 未曾於景薰樓競投或託售拍賣品的準買家，須備： （一）個人：政府發出附有相片的身分證明文件（如國民身分證或護照）及現居住址證明（如身分證明文件未 有顯示現居住址），可出示公用事業帳單或銀行結單等證明文件。 （二）公司：註冊登記證書 （三）財務狀況證明：可為近期銀行結單或銀行開立證明書。 登記代表未曾於景薰樓競投或託售拍賣品者為競投者，除須備本身的身分證明文件外，尚須備其所代表競投一 方之身分證明文件，以及該方簽發之授權書。 準買家須於拍賣開始前至少 30 分鐘辦理登記手續並索取競投號碼牌。取得號碼牌後請妥善保管並為持該號碼 牌所為之行為及所生費用負全部責任。 八、買方佣金 買方應支付本公司佣金，計算方式如下： （一）拍定價少於或等於新台幣（以下同）貳仟萬元時，為拍定價之 18%。 （二）拍定價高於新台幣貳仟萬元者，貳仟萬以內之部分為 18%，超過貳仟萬元之部份 12% 計算。 （三）買方同意本公司，亦可依第十九條及第二十條之規定向賣方收取佣金。 九、 付款方式 （一）拍定之買方應立即提供姓名、地址及往來銀行等相關資料予以本公司。但從未與本公司往來者，應於拍 賣日前與本公司約定付款及交付拍定物方式。 （二）除另有約定外，買方應於拍定後七個工作天內付清總價款。 買方如以新台幣以外之貨幣支付，因此所致之任何外匯費用；包括銀行收費與兌換貨幣之規費及匯差等， 皆由買方負擔。

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十、約定付款 買方得於拍賣前與本公司另行約定付款條件。 十一、給付順序 買方給付之任何款項，本公司得自由選擇優先抵充之應付項目，而不受買方及其代理人指示之限制。 十二、拍定物之交付 買方非於拍賣過程全程結束後並付清應付總價款前，不得請求交付拍賣物。但依第九條規定另行約定付款條 件者，得於付清約定之一部份價款，並依中華民國動產擔保交易法登記為附條件買賣後，先取得拍定物之占 有，於付清全部價款後取得所有權。登記所需費用由買方自行負擔。 十三、拍定物交付之費用 （一）拍定物交付所生之費用，由買方負擔。 （二）買家應支付景薰樓之所得款項均不包括任何貨物稅或服務稅或其他加值稅（不論是由香港或其他地區 所徵收）。如有任何此等稅項適用， 買家需依有關法律所規定之稅率及時間繳付此等稅款。 凡進口藝術品由買方在台取貨者，買方依規需另繳交『落槌價』之百分之五（加值）營業稅。若拍品 係於中華民國境外交付買方，並由景薰樓處理運輸等相關事宜，買方則無需負擔該筆稅費，惟買方若 欲於中華民國境外取貨，應於拍賣後三個工作天內通知本公司（上述進口藝術品為目錄內有 * 符號標 示者）。 （三）依第九條付款者，買方最遲應在拍定日後七個工作天內取走拍定物，否則應負擔任何本公司所為之搬 運、保存及保險費用，不得異議。 （四）付運及運送保險：付運所需費用概由買方支付。已購物品將於下述狀況儘快送出：買方繳足該拍賣品 之款項全部結清、取得買方之書面付運指示，任何出口認可證以及其他可能需要之許可證或證書。 十四、危險負擔 拍定物之利益及危險自交付時起均由買方承受，縱本公司應買方之要求代為包裝或處理拍定物亦同。但逾拍 定日後七個工作日仍未取走者，自該七個工作日屆滿後其利益及危險亦由買方承受負擔。 十五、違約條款 違反本節規定者，本公司得以拍賣人或經賣方授權之代理人身份，任意選擇下列一種或數種方法請求賠償： （一）對違約之買方提起賠償訴訟。 （二）對違約之買方，解除其於本次或他次拍賣之交易。 （三）將原拍定物於公開或非公開之拍賣中，再予出售。再次出售之拍定價，若較原「 應付總價款」 於扣除 已付款部份加上再出售費用後之金額低，其差額應由違約之買方負擔；若再出售之拍定價額較高，則 超出部份歸於賣方所有。 （四）再次出售前拍定物之搬運、保存及保險，均依本公司選擇之方式處理理，其有關費用應由違約之買方 負擔。 （五）尚未付清之「應付總價款」餘額，應自拍定日後五個工作日屆滿時起至支付日止，按每月 2% 之利率 計息。 （六）留置買方於本次或他次拍賣之拍定物，至「應付總價款」付清後才由買方領回。 （七）拒絕接受違約之買方或其代理人，於未來拍賣方之喊價，或於接受其喊價前，先取得與本公司約定之 押金。 （八）違約之買方若對本公司有任何已到期或未到期之應收拍賣所得，應以之抵償其「應付總價款及其他費 用」，不足之部份並對其交由本公司保管之任何物品設定質權。 （九）對違約之買方提起賠償訴訟並要求買方賠償該次拍賣會所拍得標地物之落搥價百分之三十違約金及其 違約所遭受的一切損失及該次訴訟之全數開支。 十六、本公司取得所有權 前項情形，買方於拍定日後二十一日內仍未付款者，若本公司願意付款，則拍定物之所有權於本公司將拍賣 所得，匯予賣方時取得所有權。 十七、拍定物為膺品之處置 買方於本公司將拍賣所得匯予賣方前，如認定拍賣物系膺品，得於拍定日後二十一日內，以書面通知本公司， 並於發出通知後十四日內將與拍賣時保持同一狀況之拍定物退回本公司，經本公司認定確有買方所述之情形 時，買方得解除本件交易，本公司並無條件退還買方已支付之任何款項，然買方不得再請求其他賠償。 十八 、買方注意事項 依中華民國法律所規定，超過百年歷史藝術品，是禁止出口的。本委託單所生之爭議適用中華民國法律，如

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因而涉訟雙方合意由台灣台中地方法院為第一審轄法院。

第三節 賣方 十九、權利瑕疵擔保 （一）賣方應擔保第三人就買賣標的物，不得對於本公司或買方主張任何權利。 （二）拍賣之物若未交由本公司保管者，賣方應保證於買方請求時，立即交付拍定物。 （三）賣方不履行前二項義務時，本公司得請求其負債務不履行之責。 廿、買方因第十六條之情形而解除本件交易時，賣方應支付本公司已發生之所有相關費用及佣金（包括買方及賣 方）。 廿一、佣金及費用 （一）未能拍出者，應依底價 2% 計算給付佣金並給付相關費用。 （二）拍出者，本公司自「拍定價」中扣除依「規定比率」計算之佣金及相關費用，因未能拍出而私下議價 者亦同。 （三）本公司雖為賣方之代理人，本公司亦得依第七條向買方收取佣金。 廿二、保險 （一）本公司對所有受委託拍賣或保管之物皆予以投保，另有約定者，不在此限。 （二）保險費用由賣方或委託人負擔，保險金額依本公司對拍賣物之估計定 之，但該估計之金額，非本公司 保證之拍定價。 （三）保險期間至拍賣物交付予買方、買方應付款之到期日（以先屆至者為準），若未能拍出者，至賣方委 託人應取回拍賣物之時。 （四）保險事故發生時，領得之保險金扣除相關費用後，全數歸於享有所有權之一方。 （五）本公司依第一項約定未予保險者，除本公司或其僱用人、代理人故意或重大過失所致之損害外，賣方 或委託人應自行負擔危險，若致本公司受有損害者亦應負賠償責任。 廿三、撤銷委託（一） （一）賣方委託本公司拍賣後，不得任意撤銷，但經本公司同意者不在此限。 （二）撤銷委託者仍應支付底價 20% 之款項及相關費用予本公司。 廿四、撤銷委託（二） （一）賣方委託拍賣後，如有下列原因，本公司得撤銷委託。 （1）對拍賣物之歸屬或真實性有懷疑者。 （2）對賣方所做之說明或保證之內容有懷疑者。 （3）賣方有違反本交易條款內容之情事者。 （4）其他合理原因。 （二）如依前項第二、三款撤銷委託者，賣方應依前項約定給予底價 20% 之款項與相關費用予本公司。 廿五、交付價款 （一）除另有約定外，本公司應於拍定日後第三十五日內，將拍賣所得匯予賣方，但以買方已支付完畢為限， 否則應於買方付清應付總價款五個工作日內匯予賣方。 （二）可歸責於本公司而延遲者，應加計依月息 2% 計算之利息付予賣方。 廿六、未能拍出之拍賣物 （一）拍賣物未能拍出時，賣方應於接到本公司通知後三日內與本公司聯絡，欲取回者，應於通知送達後五 日內取回，通知後至取回前所發生之相關費用及危險、利益均由賣方負擔。 （二）除另有約定外，本公司不再繼續為拍賣物投保。 （三）欲繼續拍賣者，另與本公司成立新的委託契約。 （四）通知送達後逾三日，尚未與本公司聯絡或逾五日仍未領取者，本公司得以公開拍賣或私下協議方式出 售拍賣物，出售價金額不受底價限制，且均應自出售價款中扣除先前積欠之佣金及相關費用後始將餘 款匯予賣方。賣方所在不明者，則將前項款項存入以本公司名義開設之銀行帳戶代為保管。 （五）任何拍賣品如未能成功拍賣，或不包括在拍賣之內，或因任何理由而撤回拍賣，則在本公司發出通知 予賣家要求賣家領回拍賣品之 35 天內，賣家必須領回拍賣品。任何此等拍賣品如在 35 天期過後仍未 領回，則每天每件將徵收新台幣 2000 元貯存費，並收取額外費用以購買保險。賣家須在付清所有未 付費用後，方可領回拍賣品。

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第四節

交易條款

廿七、除本公司於拍賣前聲明該拍賣物為本公司所有者外，本公司只為賣方拍賣事物之代理人。賣方或買方自身之 違約行為，應自負其責，與本公司無關。 廿八、本公司有權拒絕任何人進入拍賣場所或參加拍賣。 廿九 、所有拍賣物皆定有底價，底價由本公司與賣方協議並以書面定之，底價經雙方協議後，非經本公司同意，不 得更改。 卅、本公司得依買方之請求代買方喊價，但因過失致喊價有誤或未為喊價者，本公司及其僱用人或代理人不負任何 責任。本公司如同時受到多人委託代為喊價，而喊價相同者有數人，又皆為最高價者，以本公司最先收到委 託書者為拍定人。 卅一、本公司之拍賣型錄對拍賣物之圖示、影像、作者、來歷、出處、年代、尺寸、材質、損壞或修復情形及其他 相關說明僅供參考，不在本公司保證之範圍。 卅二、（一）拍賣物悉依拍賣時之現狀出售，本公司不對拍賣物之種類、性質為任 何明示或暗示之保證或負擔任何 瑕疵擔保責任。 （二）本公司對拍賣物所為之任何陳述或書面，均不得視為保證或擔保，本公司之僱用人或代理人所為者亦 同。 卅三、本公司不保證買方於買受拍定物後，當然取得其著作權。 卅四、未高於前次喊價 5% 或其他由拍賣主持人決定之比例之喊價，拍賣主持得拒絕之。 卅五、因本交易所生之損害賠償，若請求權人為本公司之僱用人或代理人，本公司得代為全權處理。 卅六、本公司依本約所為之通知均以書面為之，如交付郵政機關者，以郵寄後一星期視為送達收信人，但收受日期 早於一星期者，以實際收日為送達日。 卅七、本公司得對拍賣物拍照或攝影，並隨時使用該圖片或影像，不以此次拍賣為限，賣方所提供者亦同。 卅八、未具中華民國國籍之賣方，亦應依中華民國稅法申報所得稅。 卅九、名詞定義： （一）「拍賣型錄」：係包含廣告目錄、展示錄影帶、估價、標價及其他有關拍賣物品性質之說明。 （二）「拍定價」：指出價最高且拍得物品之價格。 （三）「應付總價款」：包含拍定價、佣金之相關費用及依第十四條得請求之損害賠償。 （四）「拍賣所得」：係指拍定價扣除應付之佣金，相關費用及其他賣方應付予本公司金額後之餘額。 （五）「拍定比率」：於每次拍賣前公佈。 四十、本條款所未說明之特殊名詞，其特殊定義將於每次拍賣型錄上說明。 四一、本條款依中華民國法律解釋之，若有未盡事宜，均依中華民國法律定之，本公司與交易之他方因本契約所生 之爭訟，合意由台灣台中地方法院第一審管轄法院，其他買賣雙方未涉及本公司之爭訟者，不在此限。 四二、本交易條款以中文版為準。

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JSL International Art Auctions Co., Ltd. Conditions of Business Part I. General Provisions Article 1. JSL International Auctions Co., Ltd.(hereafter referred to as “the Company＂) carries on business on the following terms and conditions and on such other terms conditions and notices as may be set out of any relevant catalogue in every auction.

Article 2. Any dollar amount referred to in these provisions is denominated in New Taiwan Dollars. The sale will be settled in New Taiwan Dollar. If any sale is settled in other currency, it will be calculated in the exchange rate of the day of the sale. In the auction, the exchange rate show on the screen is only for reference. The currency exchange rate will take the thirty days forward exchange rate that announced by the Bank of Taiwan a day before the auction as standard exchange rate.

However, the biding is still conducted New Taiwan Dollar. The accuracy of the currency exchange rate shown on the screen cannot be controlled by JSL Auction, hence the company will not take any responsibility for any error or failure to the screen information.

Article 3. Definitions (1) Every bidder shall be deemed to act as a principal unless there is in force a written acknowledgement by the company that he acts as an agent on behalf of a named principal.

(2) The auctioneer must start the bid with the price lower than the reserve price and has rights to bid successively for the seller or respond the other bidders in order to reach the reserve price. However, the auctioneer doesn´t need to indicate that in the auction. Under any circumstances, the auctioneer will not offer the same price or the price higher than the reserve.

(3) Bidding The auctioneer accepts bids from those present in the saleroom, from telephone bidders, or in advance of the auction.

The Company offers all telephone and absentee bidding services as a convenience to our clients, the Company will do the best to serve our clients but will not be responsible for errors or failures to execute bids. ‧ Telephone bids Prospective buyers may bid by telephone during the course of the auction. Arrangements for this service must be confirmed with the Bid Department at least 24 hours prior to the auction. Telephone bids will be recorded. By bidding on the telephone, prospective purchasers consent to the recording of their conversation. The company will not be responsible for any failure telephone contact in cases of force majeure. ‧ Absentee bids Absentee bids are written instructions from prospective buyers directing to bid on their behalf up to a maximum amount specified for each lot. If identical bids are received from two or more parties, the first bid received will take priority. ‧ Bidder Registration Prospective buyers should register for a numbered bidding paddle at least 30 minutes before the auction.

(4) No bidder can make a bid unless the registration form has been filled in by the very person and the identification there of has been verified by the Company.

(5) If any disputes happen while bidding, bidders should follow the judgment and decision of the auctioneer.

Article 4. Catalogue Illustration. The copy right of all the images, illustrates and writing materials to any lot is remain at all times and shall not be used without our consent. Illustrations in catalogues are for reference only. Buyers should satisfy themselves prior to the sales as to the condition of each lot and should exercise and rely on their own judgments as to whether the lot accords with its description.

Article 5. The definition of words and phrases with special meanings appear in Article 39.

Part II. Conditions Concerning Buyers Article 6. The highest bidder at the "hammer price" in auction shall be the buyer.

Article 7. Bidder Registration Prospective buyers who have not previously bid or consigned with JSL should bring: (1) Individuals: government-issued photo identification such (such as national ID card or passport) and, if not shown on the ID documents, the proof of current address, a document as utility bill or bank statement is acceptable.

(2) Corporate clients: certificate of incorporation.

(3) A financial reference in the form of a recent bank statement or a reference from your bank.

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Persons who register to bid on behalf of someone who has not previously bid or consigned with JSL should bring identification documents not only for themselves but also for the party on whose behalf they are bidding for, together with a signed letter of authorization from that party.

Prospective buyers should register for a numbered bidding paddle at least 30 minutes before the auction. Any liability or fee accured holding the paddle goes to whose name the paddle is registered under.

Article 8. The Company is entitled to charge premium from the buyer in accordance with the following terms: (1) The buyer's premium payable by the buyer of each lot is at the rate of 18% on the first NT$ 20,000,000 of the hammer price and at the rate of 12% on the amount by which the hammer price exceeds NT$ 20,000.000.

(2) The buyer agrees to pay the Commission and Expenses prescribed in Article 19 and Article20.

Article 9. Payment: (1)The buyer shall immediately provide the Company with information of personal name, address and relevant bank. The buyer without and prior relation with the Company shall come to an agreement with the Company concerning Payment and Collection of Purchases prior to the auction date.

(2) Unless agreed upon. , the buyer shall paid by New Taiwan Dollars, if the buyer wants to pay in other foreign currency, the buyer shall refer to the Bank of Taiwan exchange rate based on auctioning date; the buyer shall pay off the total amount in 7 working days after the auction.

Article 10. The buyer may otherwise come into a payment agreement with the Company prior to the auction.

Article 11. Any payment by a buyer to the Company may be applied by the Company as any sum due from that buyer to the Company on any account without regard to any direction of the buyer or his agent.

Article 12. Delivery of Lots The buyer shall not request for the delivery of the lots purchased unless the auction has concluded and the total price due has been paid in full. The buyer having entered into payment agreement with the Company pursuant lo Article 10, may take the possession of the lots after payment of the agreed partial amount as well as the completion and execution of all documents and forms as required to register the sale as conditional sale under the Chattel Secured Transactions Act of the Republic of China. The ownership of the lot purchased passes to the buyer after the full payment has been paid to the Company. Any fee required for the registration above mentioned shall be borne by the buyer.

Article 13. Fees and Expenses of the Delivery of the Lots (1) The buyer shall at his own expense take the delivery of the lots purchased.

(2) All sums payable by the buyer to JSL are exclusive of any goods or service tax or other value added tax (whether imposed by Hong Kong or otherwise). If any such tax applies, the buyer shall pay such tax at the rate and time as required by the relevant law.

The buyer shall pay value added sales tax in the amount of 5% of the hammer price with respect to imported works of art collected by the buyer in Taiwan. The buyer shall not pay the value added sales tax if collected by the buyer abroad and the buyer shall contact the company within 3 days after the auction for the matter of delivery.

(3) In case of payment made in accordance with Article 9, the buyer shall take the delivery of the lot no later than 7 working days after the auction, any removal, insurance, storage and custody fees and expenses attributed to the late delivery shall otherwise be borne by the buyer with no dissent.

(4) Dispatch and transit insurance: Purchases will be dispatched as soon as possible upon receipt of full payment for the lots received in cleared funds and receipt of your written dispatch instructions and any export licenses or certificates that may be required. Dispatch will be arranged at the buyer’s expense.

Article 14. Risk of Loss Any interest and loss of the lots purchased shall be borne by the buyer upon the delivery with no exception of the condition when the Company packs or handles with the lots at the request of the buyer. The interest and loss of the lots not delivered 7 days after the auction date shall be borne by the buyer likewise.

Article 15. Default or Breach of the Conditions Any violation of the Conditions in Part II happens, the Company, as auctioneer or authorized agent of the seller, shall be entitled to exercise one or more of the following rights and remedies: (1) To proceed against the buyer for damages for breach of the conditions.

(2) To rescind the sale of that or any other lots sold to the defaulting buyer at the same or any other auction.

(3) To sell the lot by public auction or private sale and the defaulting buyer shall pay to the Company any resulting deficiency in the "total amount due" (after deduction of any partial payment and addition of resale costs) and any surplus shall belong to the seller.

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(4) Remove, store and insure the lot discretionarily prior to the resale at the expense of the defaulting buyer.

(5) To charge interest at a rate of 2% per month on the total amount due to be paid 7 working days after the auction date.

(6) To retain that or any other lots sold to the same buyer at the same or any other auction and release it only after payment of the total amount due.

(7) To reject any bids made by or on behalf of the defaulting buyer at any future auction or obtain a deposit before accepting any such bid in the future.

(8) To apply any proceeds of the sale then due or at any time thereafter becoming due to the defaulting buyer towards the settlement of the total amount due and to exercise a lien on any property of the defaulting buyer which is in the Company's possession for any purpose.

(9) To proceed against the buyer, charging the buyer 30ďź… amount of hammer price and all damages caused by breach of the conditions.

Article 16. If the buyer fails to pay to the Company the total amount due 21 days after the auction, the buyer and the seller agree that the ownership of the lot shall pass to the Company upon the Company's payment of the sale proceeds to the seller at the Company' discretion.

Article 17. Prior to the remittance of the sale proceeds to the seller by the Company the buyer may make a written notice of the forgery of the lot to the Company 21 days after the auction and return to the Company the lot in the same condition as it was at the time of the auction 14 days after the notice. The buyer may rescind the deal after the lot is proved to be a forgery by the Company and any amount paid in respect of the lot will be refunded unconditionally to the buyer accordingly. The buyer is not entitled to make any other claim than the amount paid in the respect of the lot.

Article 18. According to the laws and regulations of the Republic of China, artworks which over 100 years are transported other countries is forbidden. Controversy with consignation is governed by the laws and regulations of the Republic of China.

For all litigations arising, the Taichung District Court shall have jurisdiction in the first instance.

Part III. The Seller Article 19. Warranty of Title (1) The seller must warrant that the lot is free from any right enforceable by the third parties against the buyer.

(2) The seller must warrant that immediate delivery of the lot upon the request of the buyer if it is not in the custody of the Company (3) If the seller fails to perform the liabilities prescribed in the proceeding two paragraphs, the Company may demand compensation for the nonperformance of the entire obligation.

Article 20. The seller shall pay to the Company all the fees, expenses and commission accrued (both for the seller's and the buyer's sides), if the deal is rescinded by the buyer under the condition of Article 16.

Article 21. Commission and Expenses (1) If the auction fails, the commission and expenses shall be 2% of the reserve price, which is the minimum hammer price.

(2) If the auction succeeds or a private deal is done, the Company shall deduct from the "hammer price" at a "regulated rate" as the commission and expenses.

(3) The Company, although as the agent of the seller, may charge commission and expenses from the buyer in accordance with Article 8.

Article 22. Insurance (1) Unless otherwise negotiated, the Company will insure any property consigned to it or put under its custody for any other purpose.

(2) The insurance will be at the expense of the seller or the consignor and the amount of which will be decided in accordance with the Company's estimation of the value of the lot. The estimated value cannot be deemed as an insured "hammer price" however.

(3) The insurance period subsists to the delivery of the lot to the buyer, the last day the buyer mshould pay (whenever comes first) or the day before which the seller or consignor should take back the lot due to failure of the auction.

(4) If the insurance is to be collected, the full amount of the insurance compensation after deduction of related commission and expenses shall be given to the owner of the lot.

(5) The seller or the consignor is liable for the loss or damage of the lots without insurance under special negotiation in accordance with the proceeding paragraph(l) unless the loss or damage is caused by the Company, its employee or agent. Any loss or damages of the Company therefore shall also be borne by the seller or the consignor.

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Article 23. Rescission of the Consignation (I) (1) Unless consented by the Company, the seller shall not rescind the consignation.

(2) Upon rescinding of the consignation, the consigner shall pay 20% of the reserve (which is the minimum hammer price) as the related expenses to the Company.

Article 24. Rescission of the Consignation (II) (1) The Company may rescind the consignation under the following conditions: (a) The ownership or the authenticity of the lot is questionable; (b) The description or insurance of the lot by the seller is questionable; (c) The seller violates the Business Conditions; (d) Other reasonable reason occurs.

(2) The seller shall pay 20% of the reserve (which is the minimum "hammer price") to the Company as related commission and expenses, if the consignation is rescinded in accordance with the preceding b.c. paragraphs.

Article 25. Payment of Sale Proceeds (1) Unless otherwise agreed upon, the Company shall remit the sale proceeds to the seller during the 35th days after the auction. If by that date, the Company has not received the total amount due from the buyer, the Company will remit the sale proceeds within 5 working days after the date on which the total amount due is received from the buyer.

(2) Late remittance caused by the Company, an interest of 2% per month shall be paid to the seller by the Company.

Article 26. Unsold Lots (1) Where any lot fails to sell, the Company shall notify the seller accordingly. The seller shall make arrangements either to re-offer the lot or to collect the lot within two days after receiving of the notification. The collection of the lot shall be completed within 5 days after arrival of the notice. Any fees and expenses, risk, and interest accrued between the arrival of the notice and the collection of the lot shall be borne by the seller.

(2) Unless otherwise agreed upon, the Company shall not insure the lot re-offered for sale.

(3) The seller shall make a new resignation contract with the Company for re-sale of the lot.

(4) If the seller has not contacted with the Company three days after the arrival of the notice or has not collected the lot 5 days after the arrival, the Company shall have the right to sell the lot at public auction or private sale without reserve and to deduct from the sale proceeds any sum owing to the Company before remitting the balance to the seller or, if the seller cannot be traced, placing it in bank account in the name of the Company for the seller.

(5) Any lot fails to sell, not included in auction or rescinded for any reasons, the seller shall collect the lot within 35 days after receiving the notice from the Company. If not, seller will be charged NT$ 2,000 per lot for each overdue day without the extra charge of insurance. Seller can collect the lot after the all payment done.

Part IV. General Conditions Article 27. Unless the lot is proclaimed as owned by the Company prior to the auction, the Company acts as the agent for the seller.

The Company is not liable for any default by the seller or the buyer.

Article 28. The Company shall have the right at its absolute discretion to refuse admission to its premises or attendance at its auctions by any person.

Article 29. The Company shall negotiate with the seller for every lot and place for it a reserve, being the minimum "hammer price" at which the lot may be treated as sold, in written form. Once being placed, the reserve shall not be changed unless agreed upon by the Company.

Article 30. The Company may make a bid for the seller upon request, but the Company, its employee or agent shall not be responsible for any mistake or miss of the bid by negligence. If more than one consigner make the same highest bid, from whom the consignation letter first arrives the Company shall be the buyer.

Article 31. Any illustration, images, authorship, origin, provenance, age, size, material, damage or repair condition and other related statement of the lots in the Company's catalogue is for reference only. They are not under the warranty of the Company.

Article 32. (1) All lots shall be sold in their present state, and the Company does not expressly or impliedly warrant that the type and quality of the lot sold are free from any defect which may impair or destroy its value.

(2) Any illustration or written statement of the lots made by the Company and its employee, agent shall not be regarded as the guaranty or warranty.

Article 33. The Company does not guarantee the obtainment of the copyright of the lot sold by the buyer.

Article 34. The auctioneer may refuse any bid lower than 5% (or any rate decided by the auctioneer) above the previous bid.

Article 35. The Company may, at its absolute discretion, represent its employees or agent for claims of the rights resulting from any

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sale in the auction.

Article 36. Any notice made by the Company in accordance with the Business Conditions shall be in written form. Any notice by post shall be deemed as having been received by the addressee one week after dispatch. If received earlier than seven days after dispatch, the actual receiving day shall be the arrival day of the notice.

Article 37. The Company shall be entitled to make photos of every lot and use the photos or images freely during and not limited in the auction.

The Company has the same said right fro photos or images provided by the seller.

Article 38. Sellers of nationality other than Republic of China are also subject to the Republic of China income tax and are required by the Republic of China law to file income tax with respect to sales proceeds from the auction.

Article 39. Definition of the Terms (1) “Catalogue” includes any advertisement brochure, display videos, price estimation, tagged price, and other illustration of the lots.

(2) “Catalogue” means the highest price at which a lot is knocked down by the auctioneer to the buyer.

(3) “Total amount due” includes the hammer price in respect of the lot sold together with the commission, any related fees and expense plus rights and remedies in accordance with Article 14.

(4) “Sale proceeds” means the balance of the “hammer price＂ less the total amount of the commission at the “stated rates＂ and any other related fees and expenses due to be paid by the seller to the Company.

(5) “Stated rates＂ shall be proclaimed prior to every auction.

Article 40. Definition of any other special terms not covered in the Business Conditions shall be defined in the sale catalogue of each auction.

Article 41. The effectiveness, interpretation, performance and any other related matter of this Business Conditions shall be governed by the laws and regulations of the Republic of China. For all litigations arising or derived from the Business Conditions, except for those between the seller and the buyer without any involvement of the Company, the Taichung District Court shall have jurisdiction in the first instance.

Article 42. Any discrepancy between the Chinese version and any other language version of this Business Conditions, the Chinese version shall prevail.

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