景薰樓2018秋季拍賣會【亞洲華人現當代藝術中國書畫】線上圖錄 by JSL AUCTION

2018

AUTUMN AUCTION

ASIAN, CHINESE MODERN& CONTEMPORARY ART CHINESE PAINTING Sunday 9 December 2018 TAIPEI P.M. 2:30

景薰樓 2018 秋季拍賣會亞洲華人現當代藝術 ˙ 中國書畫 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART CHINESE PAINTING

拍賣日期 2018年12月09日(星期日) 下午 2:30 Sunday December 9th 2018 PM 2:30

2001

KAWS（布萊恩．唐納利）（b. 1974）同伴們（八件一組）綜合媒材搪膠雕塑 2016 註冊商標： KAWS..16、OPEN EDITION（右腳底部） MEDICOM TOY、CHINA（左腳底部） 14.5×8.5×27cm (5.7×3.3×10.6 in.) 原裝未拆封

KAWS (Brian Donnelly) COMPANION OPEN EDITION (Set of 8) Multiple, vinyl, with original case 2016 Trademark: KAWS..16、OPEN EDITION (R) MEDICOM TOY、CHINA (L)

NT$ 65,000-95,000 HK$ 16,700-24,500 US$ 2,130-3,110

2002

KAWS（布萊恩．唐納利）（b. 1974） BFF（粉紅、藍、黑，三件一組）綜合媒材搪膠雕塑（藍、黑）2017 （粉紅）2018 （藍、黑）註冊商標： KAWS..17 OPEN EDITION（右腳底部） MEDICOM TOY CHINA（左腳底部）（粉紅）註冊商標： KAWS..18 OPEN EDITION（右腳底部） MEDICOM TOY CHINA（左腳底部） 33×14.5×9cm (12.9×5.7×3.5 in.) 原裝未拆封

KAWS (Brian Donnelly) BFF (PINK, MoMA EXCLUSIVE, BLACK EDITION, set of 3) Vinyl, multiple (Blue and black) 2017 (Pink) 2018 (Blue and black) Trademark: KAWS..17 OPEN EDITION (R) MEDICOM TOY CHINA (L) (Pink) Trademark: KAWS..18 OPEN EDITION (R) MEDICOM TOY CHINA (L)

NT$ 50,000-80,000 HK$ 12,900-20,600 US$ 1,640-2,620 8 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2004

KAWS（布萊恩．唐納利）（b. 1974） a. 臥底熊（黑、白，兩件一組）

2003

KAWS（布萊恩．唐納利）（b. 1974）原子小金剛（彩色、黑白兩件一組）綜合媒材搪膠雕塑 2012 彩色限量300件黑白限量500件註冊商標： MEDICOM TOY、2012、CHINA（右腳底部） ©Tezuka Productions、Designed by KAWS（左腳底部） 14×16×38cm (5.5×6.2×14.9 in.) 展覽： 2017年3月28日 - 8月13日，《KAWS：始於終點》，余德耀美術館，上海，另一版次。彩色：原子小金剛漫畫連載60周年紀念黑白：原子小金剛動畫放送50周年紀念附原包裝盒

KAWS (Brian Donnelly) Astro Boy(Color, black and white, set of 2) Multiple, vinyl, with original case 2012 The color Edition of 300

綜合媒材乙烯基雕塑 2009 限量500件註冊商標： UNDERCOVER (U)、© KAWS..09、MEDICOM TOY、2009、 CHINA（底部） 14×11×15cm (5.5×4.3×5.9 in.)

KAWS (Brian Donnelly) Undercover Bear (Black, White, set of 2) Vinyl, multiple 2009 Edition of 500 Trademark: UNDERCOVER (U)、© KAWS..09、MEDICOM TOY、2009、 CHINA (Bottom)

KAWS (Brian Donnelly)

The black and white Edition of 500

SNOOPY

Trademark:

Vinyl, multiple 2011

MEDICOM TOY、2012、CHINA (R)

Edition of 500

©Tezuka Productions、Designed by KAWS (L)

Trademark:

Exhibition:

MEDICOM TOY、2010、CHINA ( R )

2017 March 28 - August 13, KAWS: WHERE THE END STARTS,

Yuz Museum, Shanghai, China, another edition

CONSULTING、Designed by KAWS ( L )

NT$ 150,000-200,000

NT$ 95,000-130,000

HK$ 38,600-51,500

HK$ 24,500-33,500

US$ 4,910-6,540

US$ 3,110-4,250 9

2005

KAWS（布萊恩．唐納利）（b. 1974） a. 同伴絨毛公仔

b. SEEING/WATCHING絨毛公仔

c. BFF黑色絨毛公仔

聚酯纖維 2015 限量600件註冊商標： KAWS..（右腳底部） 20×11×41.5cm (7.8×4.3×16.3 in.) 附原包裝盒

聚酯纖維 2018 編號：3553 註冊商標： KAWS..（灰色右腳底部） 28×8×39cm (11×3.1×15.3 in.) 附原包裝盒

聚酯纖維 2016 （1905/3000）註冊商標： KAWS..（右腳底部） 21×8×46cm (8.2×3.1×18.1 in.) 附原包裝盒

KAWS (Brian Donnelly)

Companion Plush

SEEING/WATCHING Blue Grey Plush

BFF Black Plush

Polyester 2015

Polyester 2018

Polyester (1905/3000) 2016

Edition of 600

NO. 3553

Trademark: KAWS.. (R)

NT$ 60,000-90,000 HK$ 15,400-23,200 US$ 1,960-2,940

2006

班克斯（b. 1974）掛牌猴子－什麼都不做你可以活的更久（黑、白，兩件一組）鑄模樹脂雕塑 2016 限量600件註冊商標： © MMXVI Full Colour Black Ltd.（右腳底部） MEDICOM TOY 2016 CHINA（左腳底部） 19×15×35cm (7.4×5.9×13.7 in.) 附原包裝盒

Banksy MONKEY SIGN-Do Nothing You'll Live Longer (Black, White, set of 2) Cast resin sculpture 2016

NT$ 70,000-120,000 HK$ 18,000-30,900

Trademark: © MMXVI Full Colour Black Ltd. ( R )

US$ 2,290-3,920 10 JSL 2018 AUTUMN AUCTION

edition of 600

MEDICOM TOY 2016 CHINA ( L ) ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2007

名和晃平（b. 1975）水彩原作（五件一組）水彩紙 2011

Kohei NAWA Watercolor's Original Work (Set of 5) Watercolor on paper 2011

17×9.5cm×5、30.7×29.5cm×5 (6.6×3.7 in.×5、12×11.6 in.×5) 拍品為2011年於東京美術館發行，全球限量100本，內含水彩原作贈予與會貴賓。

NT$ 200,000-280,000 HK$ 51,500-72,100 US$ 6,540-9,160

壓克力盒立體裝裱

名和晃平生於日本京都。於京都市立藝術大學取得美術創作博

Born in Kyoto, Japan, Kohei NAWA acquired his PhD. of Art

士學位，以雕塑為主要創作形式。作品探討細胞與表層的關係，

in Sculpture. His art works explore relationship between “cell”

以現代社會特有的媒材，如玻璃珠、樹脂、熔膠等，從事形變等

and “skin”. He collects the medium such as glasses balls,

雕塑創作，創作遊走在真實與虛假之間的模糊地帶，也帶領觀者

resined fibers to transfer into his own creations. His works

一窺藝術家對於世界的獨特觀點。除雕塑創作以外，名和晃平亦

reveals an unknown astmosphere between fact and fake,

積極從事其他創作形式，如影像，更與愛馬仕、Agnès.b等時尚

which leads the viewers to see the world and the point of

品牌跨界合作。

view that the artist built. NAWA also tries to create other art works in different forms, such as flims, and more over, he cooperated with the fashion brands, Hermés and Agnès.b.

2008

劉煒（b. 1965）人像素描（兩件一組）炭筆紙 2000-2003 7×8cm (2.7×3.1 in.) 來源：購自澳洲雪梨Ray Hughes畫廊亞洲私人收藏

LIU Wei Sketches of Portraits (Set of 2) Charcoal on paper 2000-2003 Provenance: Ray Hughes Gallery, Sydney, Australia Private Asian Collection

NT$ 120,000-200,000 HK$ 30,900-51,500 US$ 3,920-6,540

生於中國北京。1989年畢業於中央美術學院版畫系，現居北

Born in Beijing. Graduated from Central Academy of Fine

京。1994年參加「第45屆威尼斯雙年展」、「第22屆聖保羅

Arts in 1989, major in printing. Currently lives in Beijing.

雙年展」、澳大利亞「毛澤東走向波普」展；1995年參加德國

"Attended the 45th Venice Biennial", "the 22nd Saint Paul

「中國新藝術展」；1996年參加德國「中國！」展；1998年參

Biennial" and "Mao, Toward Pop" Exhibition, Australia in 1994;

加德國柏林「中國製造—中國當代藝術展」；1999年參加舊金山

attended "Chinese New Artist Exhibition", Germany in 1995;

「新千年的新現代主義」展；2000年參加雪梨「中國的新面孔

attended "China!" Exhibition, Germany in 1996; attended

展」；2001年於巴黎Loft畫廊舉辦個展。

"Made in China-Contemporary Chinese Art" Exhibition, Berlin, Germany in 1998; attended "New Modernism in New Millennium" Exhibition, San Francisco in 1999. Attended "New Faces in China" Exhibition, Sydney in 2000. Held solo exhibition at Loft Art Gallery, Paris in 2001.

12 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2009

薛松（b. 1965）澤畔行吟圖複合媒材畫布 2010 簽名右下：薛松簽名畫背：《澤畔行吟圖》 70×60cm 薛松 Xue Song 2010. 70×60cm (27.5×23.6 in.) 來源：

XUE Song Walk and Recite at Pond Mixed media on canvas 2010 Signed lower right: named Xue Song. Signed on the reverse: titled, sized, named, dated. Provenance:

NT$ 350,000-400,000

Present collector purchased

HK$ 90,100-103,000

from artist

US$ 11,450-13,080

現收藏者購自藝術家本人薛松出生於安徽省，1988年畢業於上海戲劇學院舞台美術系，

Born in Anhui Province. In 1988, Xue graduated from

現居於上海。薛松是著名的中國當代藝術家，作品特點是將現成的圖片、文字燒烤後，加以分配、重組，再拼貼於畫布上。這一破壞與重生、解構與建構的過程，建立了獨特的創作意義，產生嶄新的視覺效果。曾多次舉辦個展，當中有1992年北京英國大使館「薛松畫展」、1996年上海美術館「薛松個人展」、2002 年，上海香格納畫廊「站在巨人的肩膀上」、2001年，英國倫敦中國當代畫廊「薛松個展」、2002年，上海香格納畫廊「不搭界」、2003年於多國舉行個展。而他多次參加國際聯展，當中有 1996年，德國波恩現代藝術博物館「覺醒的中國」、1997年，維也納、哥本哈根等地巡迴展出「中國！」現代藝術展、2002 年，法國巴黎皮爾．卡登空間「巴黎－北京」；澳門「未來－中國當代藝術展」等。

the Shanghai Drama Institute. He now lives and works in Shanghai. Xue Song is a contemporary Chinese artist, who’s style of collage is characterized by the burning ready-made images and his rearrangement of the burnt fragments on the canvas. This symbolic destruction and rebirth or deconstruction and reconstruction underline the significance of his artistic practice, as well as fashions a brand new visuality.

2010

曹靜萍（b. 1972）飄之九壓克力畫布 2005 簽名右下：靜萍 2005 簽名畫背：曹靜萍 Cao Jing Ping 飄之九 Gone with wind No. 9 Acrylic 200×70 cm 2005 200×70cm (78.7×27.5 in.)

CAO Jing Ping Gone with Wind No. 9 Acrylic on canvas 2005 Signed lower right Jing Ping in Chinese, dated 2005. Signed on the reverse: named Cao Jing Ping in Chinese and English, titled Gone with Wind No. 9 in Chinese and English, sized, dated 2005.

NT$ 240,000-300,000 HK$ 61,800-77,200 US$ 7,850-9,810 14 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2011

楊帆（b. 1972）金魚油彩畫布 2004 簽名畫背：楊帆 yangfan. 2004 100×79cm (39.3×31.1 in.)

YANG Fan Gold Fish Oil on canvas 2004 Signed on the reverse: named and dated 2004. Provenance: With Gallery's certificate of authenticity

來源：附畫廊原作保證書 NT$ 200,000-280,000 HK$ 51,500-72,100 US$ 6,540-9,160 15

CHEN Ting Shih 福建人。1948年來台，年幼失聰反使他更專注於創作。三十餘

CHEN was born in Fujian, China. He lost his hearing as a

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

child enabled him to concentrate on creating. In his thirty’s,

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

CHEN was very exuberant in art association, such as May

個人展覽。作品曾獲選1970年韓國國際版畫雙年展參展資格。其

Association of the Art, Modern printmaking Association,

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

Modern Eyes Association, etc. Participating in many

會、辛辛那提美術館、國立台灣美術館等。籌備近十七年的陳庭詩紀念館，2018年4月底在臺中市太平買菸場完工，8月18日正式開幕，太平買菸場為歷史建築，除了以菸業為主題，規劃內部空間以活化再利用，也設置陳庭詩紀念展示區，由陳庭詩現代藝術基金會進行長期策佈展規劃。

European, American, Asian exhibitions overseas, and regularly attend May Association of the Art’s exhibitions and other solo exhibitions. CHEN was awarded the first prize at the First International Biennial Exhibition of Prints in Seoul. CHEN’s prints are widely appreciated and collected by museums and private institutions. His works can be found in major

自1965年起，是為陳庭詩創作的高峰期，他吸納宇宙混沌初開的能量，賦予塊面深沉的意涵，讓單純的黑色自由撞擊，自成形體。中國人對天地、對日月星辰、對宇宙大地陰陽互動，生生不息的循環哲理，似乎都消融於陳

museums such as Rockefeller Foundation, the Cincinnati Museum, and the National Taiwan Museum of Fine Arts. The monument of CHEN Ting Shih has been prepared for 17 years, it was finished in Taichung Taiping tabaco’s barn at the end of April 2018, and opened in August 18.

庭詩的作品之中。Lot2012《晝與夜#42》、Lot2013《環繞太

From 1965, is the peak of CHEN’s creation, he inhaled

陽的船#5》、Lot2014《晝與

the energy of beginning of the universe, giving the deep meaning, letting pure black struck become the form. Sky and

夜#23》以方、圓與月型組構畫

earth, the sun, the moon and the star and the interaction

面，陳庭詩以雕刻刀在甘蔗板上

between the universe, the philosophy of cycle, are all in

挖刻，也以手撕裂，甚至為捕捉

CHEN’s artwork, Lot2012 ‘Day and Night#42’ the Lot2013

如同甲骨文上卜兆龜裂的美感，

‘Boat around the sun#5’, Lot 2014 ‘Day and Night#23’, using

又將甘蔗板擊破，最後手工拓印

the square, round, and moon shaped construction. CHEN’s

出納殘破、蒼古的時間痕跡。宇

curve knife dig on the sugar can board, and tear by hand,

宙的奧秘透過抽象的視覺構想，

even capture the beauty of the crack on oracle, then break

既可觀、可意會，也流露出藝術

the sugar can, at the end, he use the hand prints to create

家胸中浩瀚的心境。看著陳庭詩

陳庭詩與景薰樓董事長陳碧

broken, ancient trace of time. The wonder of universe by

的作品，如同是獨立於蒼茫之

真合影，1982年攝於文英館

abstract’s visual idea, is visible and sensible, expressing CHEN’s boundless mind. Watching CHEN’s artworks is like standing in

際，照見宇宙的本體。

the universe alone, seeing the universe’s ontology.

16 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

NT$ 400,000-500,000 HK$ 103,000-128,700 US$ 13,080-16,350

2012

陳庭詩（1916-2002）晝與夜#42 版畫（6/40） 1979 簽名中下：Day and Night #42 6/40 Chen Ting-Shih Oct. 1979 60.5×122cm (23.8×48 in.)

CHEN Ting Shih Day and Night#42 Lithograph (6/40) 1979 Signed lower: titled, numbered (6/40), named, dated. Provenance: Acquired directly from the artist by original collector

來源：原收藏者購自藝術家本人

Literature: Taipei Fine Arts Museum, Chen Ting-Shih (1915-2000):

出版：

Sound of Rarity, Taipei, Taiwan, 2002, No. 192, P.234.

臺北市立美術館，《大律希音─陳庭詩紀念展》，臺北，2002，圖版192，頁234。

2013

陳庭詩（1916-2002）環繞太陽的船#5 版畫（5/A） 1966 簽名下方：Ship Circling Around the Sun#5 5/A Chen Ting-Shih 1966 91×91cm (35.8×35.8 in.)

CHEN Ting Shih Ship Circling Around the Sun#5 Lithograph (5/A) 1966 Signed lower: titled, numbered (5/A), named, dated. Literature: National Taiwan Museum of Art, The collection of

出版：

Chen Ting-Shih's print, Taipei, Taiwan, 1967

國立台灣藝術館，《陳庭詩版畫集》，台北，1967。

Taipei Fine Arts Museum, Chen Ting-Shih (1915-2002):

台北市立美術館，《大律希音：陳庭詩紀念展》，臺

Sound of Rarity, Taipei, Taiwan, 2002, No. 56, P. 220

北市，2002，圖版56，頁220。 NT$ 280,000-400,000 HK$ 72,100-103,000 US$ 9,160-13,080 18 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2014

陳庭詩（1916-2002）晝與夜#23 版畫（1/25） 1973 簽名中下：Day and Night #23 1/25 Chen Ting-shih April 1973

CHEN Ting Shih Day and Night#23 Lithograph (1/25) 1973 Signed lower: titled, numbered (1/25), named, dated.

91×91cm (35.8×35.8 in.) NT$ 260,000-350,000 HK$ 66,900-90,100 US$ 8,500-11,450

LEE Chun Yi 李君毅出生於臺灣高雄，1970年移

Born in 1965 Kaohsiung, Taiwan, LEE

LEE’s artworks are in permanent

居香港。先後畢業於香港中文大學藝術

Chun-Yi moved to Hong Kong in 1970.

collection of National Taiwan Arts

系、臺灣東海大學美術研究所，並獲美

LEE graduated from The Chinese

Education Center, Ashmolean

國亞利桑那州州立大學中國藝術史博

University of Hong Kong, received his

Museum of Art and Archeology

士。受到中國傳統拓本藝術及雕版木刻

master degree of Fine Arts at Tung hai

University of Oxford, Asian Art

的啟發，李君毅以軟木製成的小型方章

University of Taiwan, and received a

Museum of San Francisco, Arthur

代替毛筆，反反覆覆以點踏的方式構成

doctor degree in Chinese Art History

M. Sackler Museum Harvard Art

細緻且壯闊的奇妙景致。大膽前衛的表

at Arizona State University, U.S..

Museums Harvard University, Phoenix

現手法，對照山水風景的構圖，反映的

Inspiring by the traditional extension

Art Museum, Hong Kong Museum

是當代知識分子對國家社會的人文關

art and engraved woodcut, LEE used

of Art, Jiangsu Art Museum, etc. LEE

懷。著名藝術評論家李鑄晉教授稱許

the softwood stamp replacing the

has held numerous exhibitions at

他：「一面吸收中國傳統藝術的精華，

Chinese paint brush. LEE uses the

some important art galleries and art

pedal mode over and over again

museums, such as Michael Goedhuis

to construct delicate and grand

Gallery in London, Chinese Porcelain

landscape. Avant-garde’s expression

Company in New York, Hanart TZ

technique, in contrast to the

Gallery in Hong Kong, Xi Zhi Tang in

composition of landscapes, reflects

Taipei, and also been invited to exhibit

the humanistic care of contemporary

his works at many group exhibitions,

intellectuals in the nation and society.

such as Saatchi Gallery in London,

Famous art critic LI Chou Jin praise

Asian Art Museum of San Francisco,

LEE ‘ While absorbing the essence of

National Art Museum of China in

traditional Chinese art, LEE combines

Beijing China Art Museum in Shanghai,

the elements of Western Modern

Hong Kong Museum of Art, etc.

一面結合西方現代文化的因素，融會貫通而完成了其個人風格。」作品典藏於臺灣國立藝術教育館、英國牛津大學愛殊慕蓮博物館、美國舊金山亞洲藝博物館、美國哈佛大學薩克勒博物館、美國鳳凰城美術館、香港藝術館、中國江蘇美術館等。曾於國、內外舉辦多場重要展覽如：倫敦麥克鬲豪士畫廊、紐約中國瓷器公司、香港漢雅軒、台北羲之堂，並受邀舉辦多場聯展如於倫敦薩奇畫廊、舊金山亞洲博物館、北京中國美術館、上海美術館、香港藝術館等。

20 JSL 2018 AUTUMN AUCTION

culture together to complete his personal style.’

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2015

李君毅（b. 1965）一花一世界水墨紙本鏡框 2012 簽名左下：李君毅一二 66×66cm (25.9×25.9 in.) 佳士得2016春季拍賣會，中國當代水墨，Lot 821 出版：遠流出版公司，《後殖民的藝術探索：李君毅的現代水墨畫創作》，台北，2015，頁79。

LEE Chun Yi One Flower One World Ink on paper 2012 Signed left side: named Lee Chun Yi in chinese, dated 2012. CHRISTIE'S 2016 Spring Auction, Chinese Contemporary Ink, Lot 821 Literature： Yuan-Liou Publishing, An Artistic Exploration of Postcolonialism: the Creative Concept of Lee ChunYi's Modern Ink Painting, Taipei, Taiwan, 2015, P. 79

NT$ 500,000-650,000 HK$ 128,700-167,300 US$ 16,350-21,260 21

RAN In Ting 藍蔭鼎生於宜蘭羅東。師從石川欽一郎習畫，受石川影響極

RAN was born in Luo Dong, Yilan. Ran began to learn

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

watercolor painting from his mentor, Ishiwaka Kinchiro and

際性畫展，把台灣的美介紹到全世界。曾應邀於義、法、美、英

was influenced by Ishiwaka greatly. He devoted himself in

等各國展出。1952年入選為法國水彩畫協會會員。1962年日內

watercolor painting and used local tradition and culture of

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

Taiwan as subject to introduce the beauty of Taiwan to the

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。

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

樸實溫暖的鄉土色彩是藍作品的代表，Lot2016《母子情深》的氛圍是如此簡單而溫馨。畫面的左邊，媽媽身著旗袍，一手撐著傘，一手牽著孩子，右方的孩子則被母親拉著，最右邊有一隻黑色的小狗使畫面更生動活潑。以母親與孩子的背影當主角，背影一直是中國文學中耐人尋味的題材，看不見臉反而讓肢體的語

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.

言更能表現，利用背影的詮釋讓人回想起過去的自己，也是被母

Pure and warm, local color presents RAN’ the most. Lot2016

親的手牽著。此作使用藍擅長的媒材水彩，在藍蔭鼎的作品中，

‘Mother's Love’ has a simple and warm ambiance. On the left,

常可以感受到豐沛的水氣，而這幅作品中亦如此，因下著雨，呈

mother wear chi-pao, umbrella is one her left hand, and she

現一種濕漉漉的氛圍，可以是觀者眼中噙的淚水。作品充滿鄉土

use the other hand to hold the child. On the left side there is a

色彩可溯源於藍蔭鼎的童年，他出生於宜蘭鄉間的竹林寒舍，沒有左鄰右舍，在家中他是獨子。在母親的鼓勵下，藍蔭鼎走上藝術這條路；儘管這一路上跌跌撞撞，得靠自己獨自打拚，而終究沒有辜負母親對他的期望，在藝術的領域走出自己的一片天，藍

puppy makes the painting more alive. This work’s subjects are mother and child’s from behind in silhouette. A view of back is always interesting in Chinese literature. We can see clearly the body language without seeing the face. Recalling we were once child, holding by mother. The principal mediums

蔭鼎始終保持著信念：「一幅靈性，有深度的作品，往往是從嚴

are water color and ink. In RAN’s work, the water is tangible

謹的生活中孕育出來的」。

in RAN’s work, because of the rain, it appears to be wet, we can define it as the tears from the viewers. Also, we can find RAN use ink as the silhouette. The local color can be trace back in RAN’s childhood, he was born in wild country side of Yilan, without neighbors or siblings, RAN is all alone, RAN’s mother encouraged him to do art, even all the difficulties RAN encountered, he never gave up and found his own position in art world. RAN said ‘A spiritual deep work normally refines from

22 JSL 2018 AUTUMN AUCTION

strict life’. ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2016

藍蔭鼎（1903-1979）母子情深水彩墨畫布簽名左下：RAN-INTEI

RAN In Ting Mother's Love Watercolor and ink on canvas Signed lower left: named RAN-INTEI.

38×53cm (14.9×20.8 in.) NT$ 400,000-500,000 HK$ 103,000-128,700 US$ 13,080-16,350

2017

劉其偉（1912-2002）

LIU Max Owl

貓頭鷹複合媒材紙本 1996 簽名左上：ㄌㄧㄡˊㄑㄧˊㄨㄟˇ 1996 49×38cm (19.2×14.9 in.)

Mix media on paper 1996 Signed upper left: named Liu Chi Wei in bopomofo, dated 1996.

NT$ 160,000-220,000 HK$ 41,200-56,600 US$ 5,230-7,200 24 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2018

曾景文（1911-2000）林森塑像水彩紙 1995-1998 簽名右下：Dong Kingman 36×55.5cm (14.1×21.8 in.)

曾景文1911年生於美國加勒福尼亞

DONG King Man

洲的奧克蘭市。5歲時隨父親返回香港

Statue of Former President Lin Sun

並隨嶺南畫家司徒衛學習繪畫。1929

Watercolor on paper 1995-1998

年，18歲的曾景文返回美國後正趕上經

Singed lower right: named Dong

濟大蕭條，每週工作六日為人幫工的曾

Kingman.

景文，只能趁週日上午去學習寫生畫。數年後，曾景文才有機會在三藩市沃雷

Provenance:

荷的圖書館中開第一次畫展。畫作雖沒

With a certificate of authenticity

附畫廊保證書

有售出，但對其今後的繪畫生涯卻有著

issued by Art Gallery

亞洲私人收藏

深遠的意義。1931年參展於巴黎WPA

Private Asian Collection

展覽 Work Progress Administration，

展覽：

Exhibition:

1999年3月20日 - 4月25日，《曾景文

來源：

1942、1943獲年得古根漢教育基金。 1999 March 20 - April 25, The

1946年曾景文搬到紐約，在哥倫比亞

水彩畫回顧展》，台灣省立美術館，台

Retrospective Exhibition of Dong King

大學從事教職至1958。同年著作出版，

中。

man' s Watercolor Paintings, Taiwan

成為家喻戶曉的人物。1959-1969年，

Museum of Art, Taichung.

曾景文從中城搬往魏爾登斯，此時他擴

出版：

展曾海外的知名度，在紐約、倫敦以及

台灣省立美術館，《曾景文水彩畫回顧

Literature:

巴黎舉辦許多的展覽。1954年受美國

展》，台中，1999，頁46。

Taiwan Museum of Art, The

州國際文化交流部指派成為文化交流大

Retrospective Exhibition of Dong King

使。1981年，中國文化部為曾景文在北

man' s Watercolor Paintings, Taichung,

京舉辦個人畫展。曾景文畫展是中美建

Taiwan, 1999, P. 46

交後，中國舉辦的第一位美國藝術家的

NT$ 220,000-350,000 HK$ 56,600-90,100

個人畫展。1987年美國水彩界對曾景文

US$ 7,200-11,450

為藝術所做的傑出貢獻，授予了他最高榮譽獎：海豚獎。 25

2019

陳進（1907-1998）芝蘭水彩粉彩紙本約1960

CHEN Chin

簽名左下：陳進鈐印：進（朱文） 41.3×32.5cm (16.2×12.7 in.) 蘇富比2016春季拍賣會，現代亞洲藝術，Lot 5069 來源：亞洲私人收藏

CHEN Chin Orchid Watercolour and gouache on paper about 1960 Signed lower left: named Chin in Chinese, with one seal of the artist. SOTHEBY' S 2016 Spring Auction, Modern Asian Art, Lot 5069 Provenance: Private Asian Collection

NT$ 120,000-200,000 HK$ 30,900-51,500 US$ 3,920-6,540 生於新竹。陳家是當地望族，也是書香世家。在陳進女士的畫

Born in Hsinchu into an illustrious and cultured family. In

作中，始終維持著一分優雅和悠哉的情調。1925年，年方十九

her paintings, a leisurely and graceful air was always present.

歲的陳進前往日本東京女子美術學校進修，成為臺灣第一位留日

In 1925 Chen entered Tokyo Women's Art School and

女藝術家。1927年入選第一屆「台展」，與林玉山、郭雪湖並稱

became the first woman artist to study in Japan. In 1927,

「台展三少年」，並曾獲「帝展」殊榮，在臺灣前輩畫家中受到

her artwork was selected in the 1st Taipei Exhibition and

廣大肯定。返台後，陳進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。

was titled "Three Youths of the Taiwan Art Exhibition ". She also received distinction in the Imperial Art Exhibition. She is a well-respected artist in the early generation of Taiwanese

陳進筆下的花卉最早出現於人物畫中，作為點綴陪襯之用。在當時的一般仕紳人家大多喜歡擺飾高雅的盆栽植物，一方面作為裝飾，同時也帶有幾分彰顯身分的味道。陳進出生世家，接觸

artists. Once a member of the eastern art section of Taiyang Art Association, Chen was also the judge of numerous art exhibitions.

蘭、菊等高雅花卉的機會自然比一般人多。以各種花卉為題材的

The flower of Chen’s painting first appeared in the figure

作品在陳進的畫作中佔了相當大的比重，其中蘭花、曇花與菊花

painting, and it was used as an embellishment. At that time,

是陳進最喜愛的題材，蘭花更是最為擅長且獨具風格。Lot2019

most of the gentry liked to decorate the potted plants. On

《芝蘭》花卉挺立，能夠看出陳進充分掌握化朵綻放時的嬌豔

the one hand, they were decorated to show their identity as

柔媚與枝葉翻轉的律動美感，蘭花的雅素雍容在純熟細膩的觀察

well. When Born in a wealthy family, the chances of reaching

下，鮮活地呈現出來。陳進的生命與繪畫，就像她所喜愛的蘭花

elegant flowers such as orchids and chrysanthemums were

一般，高雅潔淨，不爭奇不鬥豔，兀自挺立一旁，自開自落，散

naturally higher than ordinary people. In Chen's paintings, various flowers have a considerable proportion. Among

發淡雅而持久的芬芳。

them, orchids, silk flowers and chrysanthemums are Chen's

至東京留學的陳進，深受日本藝術啟發，以及西方繪畫技巧影

favorite subjects, and orchids are the most excellent and

響，更常描繪戶外寫生風景，Lot2020《田舍長屋》可見藏身於

unique. Lot2019 "Zilan" flowers (irises and orchids) stood

樹林間的屋舍，靜謐而淡雅。Lot2021《淺間山所見》則描繪日

upright, and it can be seen that Chen fully grasps the

本輕井澤之淺間山景色，淺間山為一活火山，自數十萬年前就與周邊火山不斷活動，經過了多次的噴發後成為現今的樣子。火山口的煙一陣陣的飄來，橘紅的秋葉點綴在山下，彷若身歷其境，清涼而透徹。

delicate and feminine beauty of the blossoming blooms and the rhythmic beauty of the branches and leaves. The elegance of orchids is vividly presented under delicate and skilled observation. Chen ’s life and painting, like her favorite orchids, elegant and pure, not arrogant at all, standing aside, living in her own world, exudes a light, elegant and longlasting fragrance.

26 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2020

陳進（1907-1998）

CHEN Chin House in Countryside

田舍長屋

Eastern gouache on paper

膠彩紙本

Signed lower right: named Chen Chin in Chinese, with one

簽名右下：陳進

seal of the artist.

鈐印：進（朱文） 24×27cm (9.4×10.6 in.)

NT$ 280,000-350,000 HK$ 72,100-90,100 US$ 9,160-11,450

28 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2021

陳進（1907-1998）淺間山所見膠彩紙本簽名右下：陳進簽名畫背：軽井沢より見た浅間山鈐印：進（朱文）

CHEN Chin Asama's Scenery Eastern gouache on paper Signed lower right: named Chin in Chinese, with one seal of the artist. Signed on the reverse: titled.

30×45cm (11.8×17.7 in.) NT$ 550,000-700,000 HK$ 141,600-180,200 US$ 17,990-22,890

2022

洪瑞麟（1912-1996）

HUNG Rui Lin Miner

礦工

Ink on paper 1956

水墨紙 1956

Signed lower left: dated 1956, with one seal of the artist.

簽名左下：1956 鈐印：洪（白文） 26.5×39cm (10.4×15.3 in.)

NT$ 160,000-260,000 HK$ 41,200-66,900 US$ 5,230-8,500

30 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2023

張萬傳（1909-2003）雙裸女水彩粉彩紙 1980 簽名右下：CHANG. 万. 26.5×39cm (10.4×15.4 in.) 蘇富比2013春季拍賣會，二十世紀中國藝術，Lot 595

CHANG Wan Chuan Double Nude Portrait Watercolor and pastel on paper 1980 Signed lower right: named Chang in Pinyin and Wan in Chinese. SOTHEBY' S 2013 Spring Auction, 20th Chinese Art, Lot 595 CHRISTIE'S 2018 Spring Auction, Asian 20th Century Art, Lot 523

佳士得2018春季拍賣會，亞洲二十世紀藝術，Lot 523 Provenance:

來源：

Certificate of Authenticity by Artist' s Family member

附藝術家家屬原作保證書 Exhibition:

展覽：

2013 March 22 - April 10, Beast Out of Its Cage - Chang Wan-

2013年3月22日 - 4月10日，《猛獸出閘 ─ 張萬傳個展》，三

Chuan Solo Exhibition, 3-Talents Art Gallery, Taichung

才畫廊，台中。 Literature:

出版：

3-Talents Art Gallery, Beast Out of Its Cage, Taichung, Taiwan,

三才畫廊，《猛獸出閘 ─ 張萬傳個展》，台中，2012，頁14。

2012, P. 14

NT$ 60,000-100,000 HK$ 15,400-25,700 US$ 1,960-3,270 31

ZHANG Daqian 民國卅年至四十六年，為大千山水畫創作之中期，也是成熟期。此時，由於深受敦煌壁畫及海外遊歷的影響，畫風逐漸出現較多的自家面目，除在筆墨設色上仍有石濤的意味外，也同時將五代董源、巨然，宋代范寬、李成，元代倪攢、趙孟頫、黃公望、王蒙等的畫風融入筆端，形成筆法圓潤，墨法灑脫淋漓、清潤雅健，「變靈秀勁健之風為靈動疏朗之格」的新風貌。 Lot2024《扁舟浮震澤》以平遠法構圖，取水村山郭一隅，水面遼闊、清波蕩漾。全圖可分三段，近景坂坡、樹木立於江面，屋舍、逸士小艇相互掩映，點綴其中，一片怡情之態。中景以江面隔開，清新滋潤，以點代面，不求其全。遠景淺灘尋天際

32 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

而上崖山，隱約點綴山林及樹木，側鋒勾勒山體之輪廓脈絡，以表現山巒凹凸和體積感。畫中大塊江面天空，實中有虛、虛中見實，山一截、樹一枝、屋一角、取獨特視野，以偏求全，不假筆跡便得湖海之情態，頗得石濤小品畫之清秀高古意趣。本畫上款人趙慶璋先生，原在外交公職體系服務，民國四十五年駐日期間，寓所與大千相鄰。趙先生知道大千先生喜食台灣肉鬆，便趁家人郵寄台灣土產時，順道贈送鄰戶的大千先生三包肉鬆，大千見狀隨即題贈本幅小畫（拍品）予趙先生。此後，這幅畫便一直懸掛在趙宅，並由趙夫人保存至今，因年屆期頤，方才親自委由本公司拍賣。可謂來源清晰！

2024

張大千（1899-1983）扁舟浮震澤紙本設色鏡框 1956 釋文：丙申秋日寫湖山艇子州。上款：慶璋仁兄方家正之。款文：蜀郡張爰大千同客東京

ZHANG Daqian Flat Boat Floats on Water Ink and color on paper 1956 Provenance: Zhang Daqian gave Taiwan Tourist assaciation's president Zhao QingZhang in person, Provide by Madam Zhao

鈐印：張爰（白文）大千鉥（朱文） 30×39cm (11.8×15.3 in.) NT$ 600,000-800,000 來源：張大千親贈台灣觀光協會會長趙慶璋先生；趙夫人提供。

HK$ 154,400-205,900 US$ 19,620-26,160

2025

溥儒（1896-1963）朱筆鍾進士絹本硃砂鏡框釋文：吉祥安樂，福自天申。款文：心畬寫意題記：溥心畬先生真迹。二○○三年九月，史樹青題。鈐印：溥儒之印（白文）心畬（朱文）玉壺（朱文）；史樹青印（白文） 39.5×23cm (15.5×9 in.)

PU Ru Zhong Jinshi Cinnaba on silk

NT$ 30,000-60,000 HK$ 7,700-15,400 US$ 980-1,960 自唐宋以來，畫家常會依歲時節令繪製吉祥畫；溥心畬自不外

溥氏鍾馗題材作品，除冊頁、條幅外，一般尺幅較小，少有大

此，每至年節、端午，常常一日中畫數幅鍾馗，除了祈求平安，

型作品。拍品朱筆繪就，鍾馗身形魁武，鬚如鐵絲，雙目炯介有

部分畫作透過背景安排，更具有自我投射、反應社會現實的自況

神，舉目遠望，不怒而威；馴服的小妖依偎在身傍，益發襯托鍾

色彩。

馗鬼中王者之氣勢。

2026

溥儒（1896-1963）老滿文龍門聯宮絹墨書鏡框鈐印：溥儒之印（白文）心畬（朱文） 40.5×14cm×2 (15.9×5.5 in.×2)

PU Ru Ancient Manch Dragon Door Couplet Ink on silk

NT$ 50,000-80,000 HK$ 12,900-20,600 US$ 1,640-2,620 拍品以老滿文書寫在清代宮絹之上。湘色絹地工筆填繪如意雲，托著暗八仙圖，是類宮絹等級頗高，僅次於明黃色系庫絹。

典制、法統、祭祀之器物，會以老滿文書寫、刻銘，以示不忘祖宗家法。

此外，聯文為未加圈點的老滿文，與一般達海增補改進的新滿文不同。新滿文常見於清代入關康熙朝以後使用，由官方文書一直延續通行至清帝遜位為止。老滿文一般滿臣、漢官尚且不能通曉，百姓更無從知之。惟，老滿文乃努爾哈赤，命爾耳德尼、嘎蓋因革蒙古文而來，象徵後金、大清的龍興，故清宮中舉凡攸關 34 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

溥氏十歲習滿文，又為恭親王奕訢裔孫，幼承清宮庭訓，自當深知滿文掌故，以及新舊滿文之別。拍品之老滿文，拼音、圈點皆與一般習見之新滿文不同，端楷書寫於宮絹，想必亦是攸關典制，不可不察。

2027

張光賓（1915-2016）臨自敘帖紙本墨書手卷 1991 引首：抱樸含真。光老晚年醉心於懷素，視其用筆，凝練遒勁、圓厚意拙，通篇龍蛇宛延、氣韻協調。有如杜甫所言：來如雷霆收震怒，罷如江海凝清光。令人驚嘆不已，威格自成！丁酉夏日，朗秋陶晴山敬題，並識於雙葉樓，輒為引首是也。釋文：文不錄（《懷素自敘》白文）款文：懷素自序。民國第二辛未，冬十月初吉，視力近頓減。懷尚能勉力寫字作畫。讀書頗感困難，聊誌之於此！張光賓鈐印：光賓（白文）張（朱文）麗山寓廬（朱文）；陶晴山（白文）朗秋（朱文）永以為好（白文）自適（朱文） 96×568cm (37.7×223.6 in.)

CHANG Guang Bin

NT$ 50,000-80,000

Calligraphy

HK$ 12,900-20,600

Ink on paper 1991

US$ 1,640-2,620

2028

溥儒（1896-1963）行書五言絕句紙本墨書鏡框釋文：亭際延秋色，巖前足水雲；忘機對幽境，松氣浥清芬。上款：雲生先生屬。款文：心畬鈐印：溥儒之印（白文）心畬翰墨（朱文） 94.5×34cm (37.2×13.3 in.)

PU Ru Calligraphy Ink on paper

NT$ 160,000-250,000 HK$ 41,200-64,400 US$ 5,230-8,180

2029

溥儒（1896-1963）行書《游棲霞山》、《江行》五言律詩宮絹墨書鏡框釋文：連峰隱蕭寺，行行越山麓；殘雪滿荒城，寒禽集孤木。白鹿去不還，澄潭湛空綠；山雲本無心，胡為出幽谷。盤峽浮舟檝，江雪白日昏；新軍開戰壘，老婦泣空村。風雨連山色，泥沙雜浪痕；高陵下木葉，處處掩柴門。

PU Ru Calligraphy Ink on silk Provenance: 2016 May 14, Modern Chinese Painting and Calligraphy(Ⅱ), Lot 0597 (Ancient collection of Zhao Cun Yi) 「Pu Ru Calligraphy」

款文：西山逸士溥儒鈐印：舊王孫（朱文）溥儒（白文） 33.5×71.5cm (13.1×28.1 in.)

NT$ 260,000-500,000 HK$ 66,900-128,700

來源：

US$ 8,500-16,350

2016年5月14日，中國嘉德，《中國近現代書畫（二）》專場 0597（趙存義舊藏）「溥儒行書五言詩」檢附︰ 1、中國嘉德《證書》。 2、鉛印本《南遊詩草》影本。 3、浙江大學《寒玉堂詩》（鉛印本《南遊詩草》）光碟。

Lot2029所書《游棲霞山》、《江行》五言律詩兩首，見錄於

錄之詩篇，目前亦僅見「浙江圖書館」藏有此詩集。

溥儒《南游詩草》（一卷，鉛字排印本）中。書面籤題原作《寒玉堂詩》，卷首則作《南游詩草》，共計十頁。開篇即是溥氏遊歷南京名勝之作，約當民國卅五年間；書末兩首《歲暮江南未歸》、《西湖暮雪寄蒼虬侍郎》則成於民國卅七年歲暮。可知「鉛印本」《南游詩草》收錄絕大部分溥氏南遊後至來臺前詩作，內容較後出之民國四十二年「手寫定本」《南游詩草》（寒玉堂託管文物，見《溥心畬書畫文物圖錄》）豐富。「鉛印本」《南游詩草》多見民國四十二年「手寫定本」《南游詩草》未收 36 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

趙存義，1917年生，河北冀縣人。1931年入琉璃廠「筆彩齋」，拜武琴軒為師，學習文物鑑定。1957年，琉璃廠古董店施行公私合營，趙氏遂進入北京文物商店任職，負責文物徵集工作；文革期間，擔任古書文物清理小組組長；在破四舊風行之際，搶救、保護文物數十萬件。本品源自中國嘉德「趙存義舊藏專輯」，與同專輯之0595（趙存義舊藏）「齊白石芋葉游蝦」，同為文革後政府返還品。

2030

傅狷夫（1910-2007）草書杜牧《長安秋望》紙本墨書鏡框 1989

FU Jiuan Fu Calligraphy Ink on paper 1989

釋文：樓倚霜樹外，鏡天無一毫；

NT$ 40,000-60,000

南山與秋色，氣勢兩相高。

HK$ 10,300-15,400

杜牧長安秋望。

US$ 1,310-1,960

款文：傅狷夫漫書鈐印：傅狷夫印（白文）覺翁八十後作（朱文）己巳（朱文） 34×67cm (13.3×26.3 in.)

2031

2032

江兆申（1925-1996）

傅狷夫（1910-2007）

行書黃庚《旦景》詩

行書禪宗法門

紙本墨書鏡框 1992

紙本墨書鏡框 1997

釋文：雞鳴起濯髮，披衣出戶牖；自汲

釋文：平常心是道。

古澗泉，落月猶在手。三漱吞朝

款文：覺翁八十八書。

霞，餘光散花柳；茲意難語人，

鈐印：傅狷夫印（白文）

延佇忽良久。款文：壬申夏，兆申鈐印：江兆申印（白文）

覺翁八十後作（朱文）丁丑（白文） 61×15cm (24×5.9 in.)

133×32.5cm (52.3×12.7 in.)

FU Jiuan Fu CHIANG Chao Shen

Calligraphy

Ink on paper 1997

Ink on paper 1992

NT$ 10,000-20,000 NT$ 70,000-130,000

HK$ 2,600-5,100

HK$ 18,000-33,500

US$ 330-650

US$ 2,290-4,250

2033

a. 陳丹誠（1919-2009）陳瑞庚（b. 1942）

b. 陳丹誠（1919-2009）

c. 陳丹誠（1919-2009）

綬帶鳥

秭歸鳥

平安清吉

紙本設色立軸

紙本設色立軸 1954

紙本設色立軸

款文：陳丹誠寫

釋文：甲午詩人節。

款文：丹誠

鈐印：陳丹誠印（白文）

款文：陳丹誠寫於台北

鈐印：丹誠（白文）；

69.5×41.5cm (27.3×16.3 in.)

鈐印：陳衷（白文）

陳（朱文）瑞庚（白文）詩堂：無聊是福。瑞庚

CHEN Dan Chen

33×33cm、69×33cm

Paradise Flycatcher

(12.9×12.9 in.、27.1×12.9 in.)

Ink and color on paper

120×28cm (47.2×11 in.)

CHEN Dan Chen Rhododendron Ink and color on paper 1954

CHEN Dan Chen CHEN Rui Geng

NT$ 40,000-70,000

Peace

HK$ 10,300-18,000

Ink and color on paper

US$ 1,310-2,290

2034

江兆申（1925-1996）行書《口號》詩句灑銀箋墨書鏡框 1992

CHIANG Chao Shen

NT$ 60,000-120,000

Calligraphy

HK$ 15,400-30,900

Silver-Sprinkle, ink on paper 1992

US$ 1,960-3,920

釋文：幽人遺我雙菩提，移來拂檻同檻齊。款文：壬申夏，茮原江兆申書鈐印：江兆申印（白文） 12.5×104.5cm (4.9×41.1 in.) 38 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2035

2036

劉延濤（1908-1998）

陳丹誠（1919-2009）

仄徑訪幽

清居巢菊

紙本水墨立軸

紙本設色托片

款文：劉延濤

款文：丹誠

鈐印：劉延濤（白文）

鈐印：丹誠（白文）

34×33cm (13.3×12.9 in.)

44×33.5cm (17.3×13.1 in.)

LIU Yen Tao

CHEN Dan Chen

Seaking the Landscape From Alley

無底價

Chrysanthemum and Bird

無底價

Ink on paper

No reserve

Ink and color on paper

No reserve

2037

李奇茂（b. 1925）躍馬紙本水墨鏡框款文：奇茂鈐印：李（朱文） 44×68.5cm (17.3×26.9 in.)

LEE Chi Mao Leaping Horse Ink on paper

NT$ 15,000-30,000 HK$ 3,900-7,700 US$ 490-980 39

2038

李奇茂（b. 1925）思祖母紙本彩墨鏡框款文：采風堂主人奇茂鈐印：李（朱文）奇茂（朱文）奇茂思親（朱文）若長在（朱文） 69×45cm (27.1×17.7 in.) 出版：藝福有限公司，《李奇茂人物畫集》，高雄，1989，頁34。

LEE Chi Mao Memorizing Grandmother Ink and color on paper Literature: Yifu Publishing, Figure-Paintings by Li Chi-Mao, Kaohsiung, Taiwan, 1989, P. 34

NT$ 150,000-220,000 HK$ 38,600-56,600 US$ 4,910-7,200

2039

朱銘（b. 1938）雙雞圖紙本設色鏡框 1989 款文：綿紡公司新廠落成紀念，七十八年。朱銘。鈐印：朱銘（白文） 74×63cm (29.1×24.8 in.)

JU Ming Two Chickens Painting Ink and color on paper 1989

NT$ 80,000-130,000 HK$ 20,600-33,500 US$ 2,620-4,250

40 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2040

黃磊生（1928-2011）芙蓉錦雞紙本設色鏡框 1979 款文：己未之夏，磊生時客臺北。鈐印：黃磊生（朱文）李氏家福收藏之印（朱文） 104.5×34cm (41.1×13.3 in.)

HUANG Lui Sang Hibiscus and Golden Pheasant Ink and color on paper 1979

NT$ 10,000-20,000 HK$ 2,600-5,100 US$ 330-650

LIN Fong Ming 二十世紀是中華民族政治、經濟、文化大動盪的時代，也是美

對角線上的力，產生平穩秩序、靜態特徵。因此，在林風眠的方

術革新的輝煌時代。中國傳統繪畫歷經數千年的發展，文人士大

形構圖中，幾乎沒有傾斜、動盪的結構，充滿安靜、詳和的靜態

夫不論在用筆、用墨的檢討，都達到了極致。面對西方文化的衝

美，動與靜、剛與柔，和諧統一。

擊，中國畫壇求新求變之聲日益高漲，一時間湧現出許多藝術秋天，是林風眠喜愛的題材之一，也是其成熟期風景畫中，最

家、改革家。

有特色和感染力的一部分。秋天的絢爛與悲壯，在紙幅裏一覽無文革時，林風眠受冤入獄，1972年出獄後開始恢復創作，風

餘，予人強烈的心靈震撼。Lot2041拍品描繪的正是兩江平原上

格發生很大變化，筆觸老辣強悍、色彩濃烈、表現性強、造型狂

的秋色風光，幾列高大挺拔的樹木，錚錚的靜立於湖岸，紅、

放，可從畫中感受到林風眠對自我人生的感悟。

橙、黃等斑爛多姿的秋葉，在夕陽逆光的照射下，清透而又壯麗輝煌，色彩間的對比更凸顯了濃烈的氣氛；與遠處濃重、黑色粗

中國傳統繪畫形式，因受古代文人深層文化觀和欣賞習慣的影響，傳統繪畫形式中最普遍典型的還是立軸與橫卷。透過緩緩展開的物象，可細細品味其中蘊藉的奧妙與意境，從而滿足中國文人心理上所追求的「含蓄」美，映襯在畫紙上，展現特有的時空

壯的樹幹形成鮮明對照，凸顯了金秋時節的明媚響亮與渾厚；林間隱現幾幢墨瓦白牆的農舍，在高直大樹的映襯下顯得愈加矮小，靜溢中流露出淡淡的孤寂，環著近處一池秋水，幾抹倒影，又給壯麗的畫面增添了幾分優雅與柔美。

交融，達到身臨其境、物我兩忘的和諧境界。30年代中期以後，林風眠為了追求心理的寧靜平衡，開始使用與傳統大異其趣的方

本品濃墨重彩、筆力酣暢，已經不是傳統意義上的中國水墨

形構圖；其目的便是要和傳統規範、結習拉開距離。可以說，方

畫。由於色彩光感的運用、線條的弱化，使畫面具有真實的體量

形佈陣是林風眠打破既有傳統規範，形成自我風格的第一步。

感和色光表現力，從而讓觀者產生恍入其境之感。墨的使用，又使畫面色彩在熱烈、衝突中不失和諧穩重。水墨的華潤飄逸，

方形構圖注重物象在繪畫空間中的合理安排，強化了繪畫物件的視覺效果，弱化了傳統橫直構圖中散點透視的時間因素，沒有移步換景、可觀可遊的時間綿延感；也因為長寬比例相同，使得

42 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

透過色的華衣、紙的暈染，呈現出中國繪畫特有的含蓄、恬靜意向，又可謂與傳統水墨畫一脈相承。既具有深意幽遠的東方神韻，又處處洋溢著個性鮮明的現代審美氣息。

2041

林風眠（1900-1991）萬葉秋聲裏紙本彩墨鏡框款文：林風眠鈐印：林風眠印（朱文）弘猷鑑賞（朱文） 50×48cm (19.6×18.8 in.) 來源： 1996年11月3日，香港佳士得，《中國近現代書畫》Lot 240 「秋色」

LIN Fong Ming Autumn Ink and color on paper Provenance: CHRISTIE'S 1996 Autumn Auction, Fine Chinese Modern Paintings, Lot 240 'Autumm'

NT$ 2,800,000-3,500,000 HK$ 720,700-900,900 US$ 91,580-114,470

SHIY De Jinn 席德進1923年出生於四川，以第一名畢業於杭州藝專（現今

Born in 1923, Sichuan, China. In 1948, he graduated top

中國美術學院），為林風眠得意弟子之一。隨著時代戰亂播遷來台定居，又往歐美藝術深耕，而後返台一生為「美」努力著。六 ○年代時，席德進受歐美藝術影響，熱烈鼓吹現代藝術，到了七 ○年代又醉心於台式古建築考察、攝影、撰文，是留下許多古屋容顏的鄉土寫實畫家，八○年代則反璞歸真，潛心探索當代水墨畫。

of his class from the Hangzhou National College of Art. SHIY

席德進創作題材相當多元，在中國生活了二十五年，中國經驗給他傳統性的審美品味。他在臺灣生活了三十年，臺灣島嶼賦予其地域性的主體；美國生活與歐洲遊歷，歐美藝術給他當代性的藝術思維；總和這些養分經由內化後，化整為零匯集成他的創作意識。不論山水風景、肖像人物畫、古屋建築、花卉、民間藝術等，面對不同的描繪題材，演繹的都是臺灣土地上的豐富人文與自然風貌，具有重要的時代意涵。藝術表現手法上，他偏愛使用的渲染技法統合了水彩與水墨，將墨色、線條帶入水彩畫中。墨與黑在材質上、文化意義上都是不同的材料。席德進自述：「假如我們不是那麼狹義地解釋水彩畫，我們何嘗不可以說中國宋代的潑墨畫法不也是水彩畫嗎？所不同的，是中國畫以墨為主，以墨當色吧。」所以在他的水彩作品可以看到彩中有墨的厚度，墨中有彩的靈動，墨彩相互交融映輝。此幅Lot2042《金門古屋》是1977年席德進54歲的水墨作品，也可以看出席德進自美返國以後的自我省思與改變，一落二櫸頭的造型是金門常見的建築樣式。渾厚有力的黑色線條，簡約而幾何的將金門三角屋簷勾勒出來，在一起一落的線條下有了音樂起伏變化的節奏感；色彩方面則是展現了水墨溫潤濕厚的特色，前景一塊磚紅集中了焦點，也點出了金門閩南建築的特色。其藝術發展涵蓋了中西藝術、現代與傳統、鄉土與人文及建築層面。在歷經西方現代藝術的追尋與試煉後，最鍾愛的，仍是煙雨朦朧的山水台灣和矗立天地間的古屋。 44 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

was one of Lin Fengmian’s favorite pupil. After graduation, he moved to Taiwan and then go abroad to U.S. and European to visit and study. After returning back to Taiwan, SHIY contributed himself in art. In 1960s, SHIY was influenced by American and European Art, encouraging Modern art. In 1970s, interested in Taiwanese ancient architecture’s researches, shootings, and texts. SHIY is a local realistic painter. In 1980s, SHIY traced back into the pure and devoted in Contemporary Ink on paper painting. SHIY has multi-creating subjects. Lived in China for 25 years, China experience gave him the traditional taste of beauty. Lived in Taiwan for 30 years, Taiwan enriched the regional subjects. U.S. and European experience gave him the contemporary art thinking. Mixed and digested all the nutrient, became his creating intention. No matter landscape, portrait, ancient architecture, flower, local art… Facing different depicting subjects, interpreting the rich human and the natural look, having the important meaning of time. About art expression, SHIY preferred rendering technique mixed with watercolor and ink. Bringing the ink and the line into water color. The ink and black is different from materials or cultural meaning. SHIY ‘If the definition watercolor is not so narrow, why can’t we say that Splashing ink in Song period is a watercolor? The difference is that Ink is the principal subject on Ink on paper, using the ink as color’ In SHIY’s watercolor painting, we can see the thickness of the ink in the color, and the waviness that color in the ink. Ink and color are mixed together and the two elements reflected to each other.

2042

席德進（1923-1981）金門古屋水彩紙 1977 簽名左上：席德進 1977 56×75cm (22×29.5 in.)

SHIY De Jinn Old House in Kinmen Watercolor on paper 1977 Signed upper left: named Shiy De Jinn in chinese, dated 1977.

NT$ 800,000-1,000,000 HK$ 205,900-257,400 US$ 26,160-32,710 美學評論家蔣勳曾說：「席德進把臺灣畫進中國的山水。」席

Art Critic has said ‘SHIY has put Taiwan into China’s

德進面對生命，面對風景都是誠實的，他從不閉門作畫，所畫

landscape’. SHIY was always honest while facing his life and

的必是眼前的山水。他的風景畫具有一種獨特的神秘氣息，水氣

view. SHIY never shut down his door and paint, the subject

淋漓如多霧的天府之國，又有著南國島嶼濕漉漉的熱情。在後

is always the landscape in front of him. SHIY’s landscape

期的自然寫生，他創作出一幅幅融合油彩、水彩、水墨等多元

painting has a mysterious atmosphere. The moisture as the

特色的山水圖畫，並開創出一套獨到的技法，用來表現亞熱帶海

foggy Sichuan, the passion of the southern island. At the

島氣候繽紛的景物和變動難測的對象。感性浪漫的席德進曾在自

late period of outdoor sketching, SHIY created many works

己的畫裡題上名句：「鮮豔還給季節，芬芳還給土地，姿態還給

combining oil paint, water color and ink, creating an unique

風雨。」觀看席德進的畫作，恬淡的色塊畫面背後是擁有個性高

technique to present the Subtropical islands have colorful

飈、感情摯烈的一生，以火一樣的熱情為藝術殉道。

scenes and unpredictable objects.

2043

席德進（1923-1981）蘭嶼紙本彩墨鏡框 1979 簽名上方：席德進，一九七九。蘭嶼。鈐印：席德進印（白文）席氏書畫（白文） 70×140cm (27.4×55.1 in.) 來源：現收藏者購自藝術家本人

SHIY De Jinn Lanyu Ink and color on paper 1979 Signed upper: named Shiy De Jinn in chinese, dated 1979, with two seal of the artist. Provenance: Present collector purchased from the artist himself.

NT$ 1,100,000-1,500,000 HK$ 283,100-386,100 US$ 35,980-49,060

Lot2043《蘭嶼》，使用濃墨大筆觸描繪山形、礁石的結構輪廓線。礁石邊緣筆觸些微掠過的留白形成明暗光影的效果，並非

上暈染，搭配上無邊線的構圖，使畫面似乎能無限延伸放大，將觀者帶入當下的情境之中。

全然的墨色，畫家將不同的色料調和到接近灰色，然後再上色，於是灰色透出不同調性的色彩。濃淡變化的墨韻染出遠近的層次。德國美學家黑格爾說：「顏色感應該是藝術家所特有的一種品質。」席德進在色彩的表現拿捏得相當精準，大塊面積的墨山托出後方的空間，席進德以中國水墨書畫的精神，透過水彩在紙

46 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

席德進，一生追尋面對真實的自然寫生。他運用水彩和水墨的融合變化與樸厚有力的線條，為台灣山水做了另一番新的詮釋。 1977年的金門古厝寫生系列，是一段追尋融合摸索嘗試後，風格形成之成熟圓滿代表作。

Sensible and romantic as SHIY, once wrote a famous

gives back to the wind and rain." Watching SHIY's paintings,

sentence in his painting: "The bright colors returns to the

we can see there is characteristic and strong emotions

season, the fragrance returns to the land, and the posture

behind the faint color block. Like a fire, enthusiasm for art.

QIN Feng 秦風的畫作筆觸宏大而有力，他尤喜創作巨型繪畫，或可歸因於

觀能夠給我們日神般的夢幻，那麼原始慾望則給我們酒神般的

他在新疆遼闊的草原、大漠成長的經歷。水墨和書法乃秦氏的主要

沉醉。秦風把他的作品歸入『文明景觀』和『慾望風景』兩個系

藝術元素。在構造符號成為文字或解構語言成為符號的過程中，書

列，我們從中可以感受到人類文明與慾望之間的衝突與和解。沒

法成為當代水墨藝術家繼承悠久傳統的表達方式之一。尤其對轉變

有慾望的驅使，文明就失去了動力。沒有文明的引導，慾望就無

中國藝術中抽象表現主義的部分，使用西方抽象表現主義的形式與

法昇華。秦風善於從文明和慾望中吸取力量，從而讓他的作品生

語言。他透過創作探索文明、慾望，以及兩者間的關係。……

發出一種醉生夢死般的效果。」

秦風自述，他的藝術作品充滿禪意，與當代社會同步的熱情。「水」、「圓」、「方」這些符號是意味人與人，人與物，社會與自然之關係、共融是有價值的傳統。藝術家將這些共通點變成主題性及有意味的東西放在作品中，它們或轉變成身體與影子，

2044

秦風（b. 1961）

將它們解體、合成、再解體，創造出的圖式、矛盾與組合。而咖

慾望山水：三屏之二十

啡、茶、壓克力、墨這些看似差異甚大的東西方事物在其作品中

複合媒材畫布（三聯屏） 2007

被智能性的運用。

簽名右下：Qin Feng 2007 170×300cm (66.9×118.1 in.)

Lot2044慾望山水系列是秦風紀念八大山人（1626年－1705 年）逝世300年的作品。秦風：「石頭是一種精神。我的『圓』，

出版：

意喻生死之前的原型，也是其間的慾望之態，與之重迭，意喻當

北京當代藝術館，《秦風》，北京，中國，2008，頁180、181。

代世風敗落、欲謀無度。文人不文、藝人不義。反觀傳統人文精神與當代藝術，八大作品精神與形式可謂前無古人後無來者。他

QIN Feng

對中國畫藝術三百年來影響極大，乃至西方的當代藝術從某種層

Desire Landscape: Triptych (20 of the Series )

面也受其影響。書法和極具抽象表現主義風格的繪畫，半個多世

Mixed media on canvas (triptych) 2007

紀以來受到西方重要博物館及文獻的關注與研究。」藝術實踐注

Signed lower right: named Qin Feng, dated 2007.

重將中國傳統水墨畫和西方抽象表現主義相結合，試圖找到東方語境和西方藝術表現形式間的對話空間。透過多種媒介傳達思想

Literature:

和文化的視覺層次，而重複出現之圓形、圓弧線條又帶著周而復

Museum of Contemporary Art Beijing, QIN FENG, Beijing,

始的哲學隱喻，蘊含著東方特有的氣量與寬容！

China, 2008, P. 180, 181

北京大學藝術學院副院長彭鋒在《秦風的後現代水墨》中談

NT$ 1,800,000-2,200,000

到：「秦風藝術中的力量，一方面源自與歷史悠久的古代文明的

HK$ 463,300-566,300

對話，另一方面源自充滿野性的原始慾望的迸發。如果說文明景

US$ 58,870-71,950

48 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

TANG Hay Wen

QIN’s paint brush is strong and powerful.

in works today. If we look at Bada's work against

Prefer creating gigantic model’s painting, can

the backdrops of a literati tradition of the past,

be contribute to the wild grassland of Xinjiang,

and contemporary art today, both the essence

experience of growing up in gobi desert. Ink on

and form of Bada's work are unsurpassed. Bada

paper and calligraphy is Qin’s principal element. By

Shanren's influence on Chinese art for the past

the process of creating symbols become words

three hundred years has been tremendous. He

or deconstruct the language become symbols.

has influenced even a certain aspect of Western

Calligraphy become the modern ink on paper’s

contemporary art. More specifically, his calligraphy

artist inherited the traditional expression. Especially

and his paintings that display an abstract

the transformation of Chinese Art’s Abstract

expressionist style have been getting a lot of

1948年，19歲的唐海文踏上法國，默默在巴黎藝壇耕耘四十

Born in 1948, when he was 19, he went to France and

expressionism by Western Abstract expressionism’s

attention from museums and scholars in the west

餘年，身為法藉華裔水墨畫家，與趙無極、朱德群為同期的旅法

stay at the art field for more than 40 years. As a Chinese-

form and language. QING hope to discover

world in the past fifty years.’

畫家，皆受五十年代西方所盛行，將中國書法與哲學、融入非具

French Ink on paper painter, in the same period like ZAO

象的藝術風格手法所影響。筆墨的揮灑加入概約性的示意符號，

Wou-Ki and CHU Teh-Chun in France. Influenced by the

Art practice focuses on combining traditional

所呈現的隨性與逸筆，也是其熱愛旅遊與對大自然的感懷。「執

western, Chinese calligraphy and philosophy, blending the

Ink on paper and western Abstract expressionism,

畫筆必須能夠全然自在而不踰矩，必須像是不停地激發一種飛

non-figuration art style. The sway of the Ink on paper plus

QING described his artworks full of Zen, the

trying to find the dialogue between Eastern

翔，以超越事物的本體和外觀。最後的墨，則根據物體質地和色

generalized schematic symbol, express the casualty and

passion progress with the contemporary society.

language and Western Art Expressionism’s form.

彩而蘊含著多種細微差異的色調，它能夠達到一種極為自然的美

ease of the brush, also the caring for the love of travelling.

These symbols : “Water”, “Round”, or “Square”

Through many medias to convey the thinking and

感，渾然天成，彷彿不需依賴畫筆。」唐海文描繪線條變化，不

‘Holding the brush should be totally relax and not across

meaning the relation between human, human and

cultural visual layers, the rounds and curves repeat in his art work, have the philosophy’s metaphor

只是單純的外型輪廓，而是捕捉它們的源頭和無窮的延展。雙聯

the boundary, it should be like keep evoke a fly. Using inside

object, society and nature, combine the valuable

represent the meaning of never end and imply the

幅為唐海文擅用的展呈模式，它反映了成雙成對的概念，「一」

and outside, at the end of the ink, according to the texture

tradition. Artist turned these common points into

meaning of Eastern tolerance.

分為「二」，「二」合為「一」，具有產生第三空間，即創新事

and the color embodied many kinds of slightly diversity’s

a thematic and meaningful things then putted

civilization and desire and the relation between them from creating.

them in works. They transformed into bodies and shadows, disintegrating, synthesizing, and disintegrating, creating patterns, contradictions, and combinations. Coffee, water, acrylic and ink are something seemed very different from Western and Eastern world that can be use in the artwork intelligently.

物的能力，因而附載在畫面上的每一道痕跡，都是心象自由奔

As Peng Feng, the vice president of Peking

馳下的產物。不同於「對立」，唐海文更重視「共與」的表達，

University’s Art Academy has mentioned ‘The

它運用西方經驗與得自當代的思維關照，創造屬於個人的抽象語

power in QIN’s, origins from the dialogue of

彙。唐海文從自身的生活方式，於傳統步調的市井繁囂，衷於道

ancient civilization, and from the wild desire’s

家思維，漠視物質的去存。生命是他唯一的熱情，藝術家手執畫

eruption. If the civilization’s landscape provides

筆，在其中呼吸、呈現生命。

us the day god’s dream, then the original desire into two systems: “ Civilization’s landscape” and

Shanren’ (1626-1705) who has passed away over

“Desire landscape”. We can feel the conflicts and

300 years. QING saids ’A rock signifies a certain

compromise of human civilization and desire.

kind of spirit. The circle in my works symbolizes a

The urge without desire, the civilization lost the

prototype that exists before the beginning of the

motivation. Without civilization’s guide the desire

life-death cycle. It also embodies forms of desire

cannot be sublimate. QING is talented in absorbing

in the life cycle. I overlay the rock with a circle to

the power from civilization and desire, creating an

represent the decline of the morality of the world

effect as if intoxicated or dreaming in his work.’

nature itself, no need to depend on the paintbrush.’ TANG depicting the change of the line, not purely the outline, but capture the beginning and the extension. Diptych is the mode TANG’s talented with, it reflects the concept of a pair. ‘One’ divided into ‘two’, ‘two’ combined into ‘one’. Have the ability to create the third space, to create new things, each trace on painting is the creation of the free heart. Not like

gave us the intoxication. QIN catalogue his work

Lot2044 Desire Landscape is to memorize ‘Bada

tone of color. It can reach an extreme natural beauty. Like

‘contrast’, TANG focus on the express of ‘Sharing’, using the western experience and the modern thinking, create his own narrative abstract language. From his own personal living way, the traditional pace in the crowded city, followed the ‘DAO’, neglecting the existence. Life is TANG’s only passion, we can feel the breathe under TANG’s brushes.

and the excesses of the desires. It is also to lament the lack of intellectual and artistic integrity found

50 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2045

唐海文（1927-1991）無題水墨色紙（雙聯屏）簽名右下：T'ang 海文

TANG Hay Wen Untitled Ink and color on paper (Diptych) Signed lower right: named T'ang Hay Wen.

69×100cm (27.1×39.3 in.) NT$ 200,000-280,000 HK$ 51,500-72,100 US$ 6,540-9,160

WU Zuo Ren 吳作人1908年生於中國江蘇。1927年入上海藝術大學美術系

Born in Jiangsu, China. Wu Zuoren studied in the

就讀，1928年轉入南國藝術學院美術系，同年至國立中央大學

department of fine arts at Shanghai Art University in 1927.

藝術系學習，師從徐悲鴻。1930年赴歐洲留學，先入巴黎國立

Later, he transferred to the department of fine arts at

高等美術學校西蒙教授油畫工作室，後考入比利時布魯塞爾皇家

Nanguo Academy of Arts. In 1928, he was admitted to the

美術學院巴斯天教授畫室高班。留歐期間榮獲庚子賠款助學金，

National Central University where he followed Xu Beihong for

並於24歲時獲比利時皇家美術學院暑期全院油畫大會考首獎，獲

intensive studying. From 1930 to 1935, Wu Zuoren traveled

金質獎章和桂冠生榮譽。1935年受徐悲鴻函約回國，後赴南京

abroad to study in Europe. He first attended the école

中央大學藝術系擔任講師。1960年起陸續職任中央美術學院教

nationale supérieure des Beaux-arts de Paris, and then went

授、第一任教務長，後任副院長、院長和名譽院長；更出資創辦

to the Academie Royale des Beaux-Arts de Bruxelles. During

公益組織「吳作人國際美術基金會」。吳作人之創作紮根於中國

this period, Wu won a fellowship from China and graduated

傳統，融貫西方技法，並持續探求創新，為「中國水墨畫」開拓

from Belgium's Royal Institue of Fine Arts in 1935, honored

新的風貌，是中國當代美術史中具承先啟後地位之重要美術家和

with Laureate Student. Since 1949 he had been the Dean of

美術教育者。1984年，獲法國政府文化部授予「藝術與文學最高勳章」，1986年比利時國王更授予其「王冠級榮譽勳章」。吳作人參予國內外展覽無數，更多次應邀赴世界各地講學、舉辦展覽、參觀訪問、文化交流等，作品廣為海內外收藏家、博物館所蒐藏。

Studies, Vice-president, President and Honorary President of the Central Academy of Fine Arts; Chairman of Chinese Artists Association, and Vice-Chairman of China Association of Writers and Artists. Wu also founded and endowed the nonprofit organization "Wu Zuoren International Foundation of Fine Arts” for educational purpose. Wu is a respected

吳作人出身於傳統畫家之家，卻承擔了向西方寫實主義、現實

oil painter as well as educationist, and was invited to hold

主義求取真理的任務。在「五四運動」改造中國的歷史變化中，

numerous exhibitions, lectures, and cultural exchanging

藝術亦然。吳作人是最早從西方引進的美術學院開始，到作為中

events. He won a French literary and art order of honor in

央美術學院院長、中國美協主席，終其一生，他的人生與作品顯

1984, and in 1986 he was honored with a top level Belgian

示了這個過程。他從典型的西方學院寫實主義繪畫風格，逐漸轉

royal honorary order. His works are collected among the

向到獨特的中國畫風。Lot2046東方紅–全國山河一片紅（雙辮姑娘）有著強烈的民族現實主義精神以及中國風格的寫實手法。這幅油畫與當時社會環境中倡導的「紅、光、亮」的工農兵宣傳畫有風格上的明顯區別，此拍品遵循油畫規律，又不過多追求明暗關係轉變和冷暖對比。同時兼顧了當時的政治性與藝術的高度，是吳作人當時相當成熟的作品。

52 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

collections of museums, galleries and private collectors from home and abroad.

2046

吳作人（1908-1977）東方紅–全國山河一片紅（雙辮姑娘）油彩畫布 1950 簽名左下：作人 1950 46×37cm (18.1×14.5 in.) 來源：附畫廊原作保證書

Eastern Zuo Ren Eastern Red - River of Red (Girl with Braided Hair) Oil on canvas 1950 Signed lower left: named Zuo Ren in chinese, dated 1950. Provenance: With Gallery's certificate of authenticity

NT$ 600,000-800,000 HK$ 154,400-205,900 US$ 19,620-26,160 53

Alfred BASTIEN 巴斯天、吳作人合影

巴斯天是比利時籍的藝術家，被公認是比利時印象派的代表畫

Alfred BASTIEN was a Belgian artist, academic and soldier.

家之一。為比利時國王亞爾佩一世作畫。其中《騎馬肖像》和

He won the Prix Godecharle in 1897 which helped him he

《花籃與水果盤》等作品在1934、1935年間曾巡迴展出於上海

enroll in the École des Beaux- Arts in Paris. After that, Bastien

與南京「比利時現代繪畫展」，此展覽被國外藝術史家看作20世

enrolled in the Académie Royale des Beaux-Arts in Brussels in

紀前期在華舉行的最大規模歐洲畫展。

1927. He served as director three times in these years.

巴斯天一生兼具多樣身分，包括軍人、學者以及藝術家，都影

Before Wu Zuo Ren(1930) and Sha Qi (1937) went

響著他創作的題材或風格。在一次世界大戰結束後，繪製了一個

studying abroad as Bastien’s students, Bastien had already

19世紀傳統的黃色戰場前線全景壁畫，在比利時軍隊的戰時服

been recognized as one of the representative impressionist

務中，巴斯天製作了許多草圖、圖畫和照片，這些草圖、圖畫和

in the Belgian, and had painted for the King of Belgium.

照片後來被納入了全景本身，在技術和效果方面進行了有用的研

The "Horse Riding Portrait" and" Flowers and Fruit Bowl" and

究。展覽獲得空前的迴響。豐富的軍旅歷程，使他亦有「戰爭藝

other works had been exhibited in series of "the Belgian

術家」的別稱。

Modern Painting Exhibition" in Shanghai and Nanjing during 1934 and 1935. "The Belgian Modern Painting Exhibition” is

巴斯天藝事生涯和中國甚有淵源，他和畫家徐悲鴻熟識，兩人

seen as the largest European exhibition by the foreign art

惺惺相惜；1927年進入比利時皇家學院任教並三度擔任藝術學

historians in China in the early 20th century. He had coached

院院長，在他執教的班上曾同時有過11個不同國籍的學生，吳作

11 students of different nationalities in the same class. And

人就是其中之一。吳作人（1908–1997）於1930年4月進入巴黎

Wu Zuoren was one of the 11 students; after the war, Wu

美術學院的西蒙畫室，10月轉至布魯塞爾皇家藝術學院，受教於

joined his teacher, Bastien, and participated in the creation

巴斯天門下學習。巴斯天無論在人物、靜物與風景，扎實精準的

of the battlefield panorama murals of 150 meters perimeter.

素描、充滿光線效果的亮麗色彩、沉穩又生動的筆調，深深影響吳作人的油彩技法與表現。吳作人曾表示：「巴斯天是比利時多位藝術大師當中，最景仰中國傳統優質文化、最愛與中國接近的人。」，他更近一步表明：「徐悲鴻教我畫速寫，巴斯天教我畫油畫。」「吳作人人像繪畫的光影效果之清新風貌與形體表現上的快、狠、準技巧，無疑是巴斯天教導所學的成果，即便是寫意的水墨畫中，畫面的構圖更多是應用西方解剖學與透視學，使其水墨畫獨樹一格。」

54 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2047

阿弗列德．巴斯天（1873-1955）森林油彩畫布簽名右下：A.Bastien

Alfred BASTIEN Forest Oil on canvas Signed lower right: named A.Bastien.

70×90cm (27.5×35.4 in.) NT$ 280,000-400,000 HK$ 72,100-103,000 US$ 9,160-13,080

2048

阿弗列德．巴斯天（1873-1955）

Alfred BASTIEN Autumn's View of Pond Side

池畔秋景

Oil on board

油彩木板

Signed lower right: named A.Bastien.

簽名右下：A.Bastien 36×54.5cm (14.1×21.4 in.)

NT$ 80,000-150,000 HK$ 20,600-38,600 US$ 2,620-4,910

56 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2049

阿弗列德．巴斯天（1873-1955）花與水果油彩木板簽名右下：A.Bastien

Alfred BASTIEN Flowers and Fruits Oil on panel Signed lower right: named A.Bastien.

50×65cm (19.7×25.6 in.) NT$ 100,000-160,000 HK$ 25,700-41,200 US$ 3,270-5,230

2050

貝爾納．夏洛瓦（b. 1931）戴帽的仕女油彩畫布簽名右下：Bernard Charoy 50×65.5cm (19.6×25.7 in.)

Bernard CHAROY

NT$ 200,000-280,000

Woman in Hat

HK$ 51,500-72,100

Oil on canvas

US$ 6,540-9,160

Signed lower right: named Bernard Charoy.

貝爾納．夏洛瓦出生於法國東部洛林

家、畫家、設計師學習繪畫及版畫。

邀於各地展出，其足跡遍佈全球：紐約

省的大南。以柔和的女性肖像畫最為人

1960年代起，接受新聞及雜誌社委託，

藝術展、德國科隆、日本東京、臺灣臺

所知，風景作品細膩而頗富詩意情調。

特別為媒體完成許多旖旎之作。其油畫

北、新加坡、法國坎城、比利時安特衛

夏洛瓦於1955年開始在巴黎蒙馬特工

作品則更加柔美浪漫、風光明媚，廣受

普等地。

作室與當地藝術家一同工作，並向藝術

青睞。自1970年代起至今，夏洛瓦受

58 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2051

貝爾納．夏洛瓦（b. 1931）戴帽子的少女油彩畫布 1987 簽名左方：Bernard Charoy 簽名畫背：Bernard Charoy 54.5×45.5cm (21.4×17.9 in.)

Bernard CHAROY

NT$ 160,000-220,000

Elise with Cloche Hat

HK$ 41,200-56,600

Oil on canvas 1987

US$ 5,230-7,200

Signed left side: named Bernard Charoy. Signed on the reverse: named Bernard Charoy. Provenance:

來源：附藝術家親簽原作證明書

With original artist's signature's cerrificate

Bernard Charoy was born in Nant-

Montmartre Studio, where he studied

press media. Since 1970s, Charoy’s

le-Grand, Lorraine region, East of

painting and lithography from the

work have been exhibited around the

France. Charoy is famous for his

local artists, painters and designers

world, including the United States,

portraits of women. The delicate,

in 1955. From 1960s, Charoy had

Germany, Japan, Taiwan, Singapore,

enchanting sentiment features

accepted consignments from news

France and Belgium.

in his poetic landscape works as

and magazine agencies to create

well. Charoy began to work at the

attractive artwork especially for the

CHANG Shu Hong 常書鴻1927年考入法國里昂中法大學，1932年夏，以油畫第

CHANG Shu Hong entered ‘Institut Franco-Chinois de

一名的成績畢業。1934年發起成立「中國藝術家學會」，曾多

Lyon’ in 1927. CHANG graduated top of his class in 1932’s

次參加法國國家沙龍展，先後獲獎，因此成為法國美術家協會會

summer. In 1934, CHANG established the ‘Chinese Artist

員、法國肖像畫家協會會員。1942年常書鴻於重慶舉辦個人展覽

Association’ attended and awarded in French National Salon

時，徐悲鴻曾為畫展撰寫序文，稱他為「藝壇之雄」，可見當時

several times, became member of French Artist Association

常書鴻在畫界的地位和作用。

and French portrait painter association. In 1942, CHANG’s solo exhibition was hold in ChungKing, Xu Bei-hong has

1933年，中國共產黨中央革命軍事委員會決定於每年8月1日為中國工農紅軍紀念日。從此，「八一」成了中國共產黨領導下

written the preface for him, calling CHANG ‘The Hero of Art Field’, showing the importance of CHANG in art field.

的軍隊的建軍紀念日，並且一直沿革到現今的中國人民解放軍，成為解放軍的建軍紀念日。Lot2052拍品常書鴻以寫實的手法，

In 1933, The republican has decided to set august 1st as

將青年軍人描繪的極其傳神，灰白色調與細緻的筆觸，使畫面顯

the ‘The Army Day’. Since then, Chinese republican’s leader

得內斂沉穩，剛健樸實的構圖也表現出了畫中青年的純樸誠懇，

has become a memorial day for the creation of army for liberation army. CHANG use the realistic method to depict

衷心而傳神。

the spirit of a young man, the grey and white tone and the delicate stoke made the painting introverted and stable. The strong and pure constitution expressing the sincere of the young man, honest and vivid.

60 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2052

常書鴻（1904-1994）建軍大業–蘇維埃工農紅軍（戴八角帽的軍人）油彩畫布 1950 簽名左下：書鴻 1950 S.H.DNANG 54×37cm (21.2×14.5 in.)

CHANG Shu Hong Soldier with Headgear Oil on canvas 1950 Signed lower left: named and dated. Provenance: With Gallery's certificate of authenticity

來源：附畫廊原作保證書

NT$ 600,000-800,000 HK$ 154,400-205,900 US$ 19,620-26,160 61

2053

林達川（1912-1985）

LIN Da Chuan Fishing Village Landscape

漁村美景

Oil on canvas 1980

油彩畫布裱於木板 1980

Signed lower right: named D.T.Lin, dated 80.

簽名右下：D.T.Lin 80 30.5×40cm (12×15.7 in.)

NT$ 120,000-160,000 HK$ 30,900-41,200 US$ 3,920-5,230

62 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2054

林達川（1912-1985）港邊漁村油彩畫布簽名右下：D.T.Lin

LIN Da Chuan Fishing Village of the Harbourside Oil on canvas Signed lower right: named D.T.Lin.

29×38.5cm (11.4×15.1 in.) NT$ 120,000-160,000 HK$ 30,900-41,200 US$ 3,920-5,230

2055

林達川（1912-1985）

LIN Da Chuan Fishing Village and Mountain Landscape

漁港山景

Oil on canvas

油彩畫布

Signed lower right: named D.T.Lin.

簽名右下：D.T.Lin 33×45.5cm (12.9×17.9 in.)

NT$ 120,000-160,000 HK$ 30,900-41,200 US$ 3,920-5,230

64 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2056

楊祖述（1913-1995）山居油彩畫布 1985 簽名左下：祖述 1985.11

YANG Zu Shu Dwelling in Mountains Oil on canvas 1985 Signed lower left: named Zu Shu, dated 1985.11.

39×53.8cm (15.3×21.1 in.) NT$ 120,000-180,000 HK$ 30,900-46,300 US$ 3,920-5,890

HU Shan Yu 1909年出生於中國廣東，1929年進入國立杭州藝專，跟隨林

HU Shan-Yu was born in 1909 in Guangdong, China. In

風眠老師學畫。因在學成績表現優越，於1932年隨即轉往法國留

1929 HU entered the Hangzhou Arts Academy and became

學，進入巴黎國立高等美術學院，並先後於當地畫室習畫。1935

Lin Feng Mian’s Student. According to his great performance

年返國後，先後於國立重慶師範學校，國立藝專及中央美術學校

in class, he went abroad in France in 1932 and entered Ecole

任教。1980年起曾於杭州、廣州、南京、昆明等地舉行個展，並

Nationale Supérieure des Beaux-arts de Paris. HU returned

由上海人民美術社出版《胡善餘油畫選》。於1933年上海美術館

to China in 1935 and became professor in Chongqing

特別為其舉行大型回顧展，廣獲好評。胡善餘作品並廣泛為大型

National Normal School, the National Arts Institute and

機構及私人收藏家珍藏。胡善餘潛心研究西歐油畫藝術，以具有

the Central Fine Art Institute. Since 1980, he had his solo

東方民族特色的藝術手法來表現多姿多彩的生活。生動簡潔的藝

exhibition in Hangzhou, Guangzhou, Nanjing and Kunming.

術語言，明快豐富的色彩，加上雋永典雅的意境，深具鮮明獨特

Shanghai Peoples Fine Arts Society had published ‘HU Shan

的風格。胡善餘作畫從不迎合時尚和潮流，銳意創造，尤其對瓜

Yu Oil Painting Anthology’. In 1933, Shanghai Art Museum

果，更是情有獨鍾，畫筆在手，如醉如痴，近乎進入了練氣功的

held a special retrospective exhibition for him and was

狀態，氣血和順，雜念皆無，整個身心沉浸於一種悠然自得、妙

very successful. HU’s works were widely collected by grand institution and private collectors. HU did a lot of researches

不可言的境界之中。

in West European oil painting, also the life Artistic techniques to express colorful life. Vivid and simple art language, bright color, plus the meaningful scene, rich in bright and unique style. HU never follow the trend or mainstream, he created himself. The fruit is his favorite subject. The state of his creation is like doing Qigong, combine the flesh and the Qi, without any other complicated thoughts, immersed both body and soul into a easy and speechless state.

66 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2057

胡善餘（1909-1993）桃實千秋油彩畫布簽名左下：善餘

HU Shan Yu Longlife Forever Oil on canvas Signed lower left: named Shan Yu in chinese.

41×50.5cm (16.1×19.8 in.) NT$ 350,000-450,000 HK$ 90,100-115,800 US$ 11,450-14,720

2058 DAI Ze

戴澤（b. 1922）

Still Life and Flowers

靜物花卉

Oil on canvas 1972

油彩畫布 1972

Signed upper right: named Dai Ze, dated 1972.

簽名右上：戴泽 1972 簽名畫背：波蘿與花菓戴泽 1972

Signed on the reverse: titled, named and dated.

45.5×60.5cm (17.9×23.8 in.) NT$ 130,000-190,000 HK$ 33,500-48,900 US$ 4,250-6,210

68 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2059

陳蔭羆（1913-1995）香港海景油彩畫布 1950年代簽名右下：GEO CHANN 45.7×61cm (17.9×24 in.)

CHANN George Hong Kong's Sea View Oil on canvas 1950s Signed lower right: named GEO CHANN. Provenance: Certificate of Authenticity signed by the artist's family

來源：附藝術家家屬親簽保證書

member

NT$ 260,000-320,000 HK$ 66,900-82,400 US$ 8,500-10,470

2060

唐海文（1927-1991）

TANG Hay Wen Abstract

抽象彩墨紙本（雙聯屏） 1980 簽名右下：T'ang 海文

Ink and color on paper (Diptych) 1980 Signed lower right: named T'ang Hay Wen.

70×100cm (27.5×39.3 in.) NT$ 150,000-250,000 HK$ 38,600-64,400 US$ 4,910-8,180

70 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2061

唐海文（1927-1991）無題彩墨紙本（雙聯屏）簽名右下：T'ang 海文

TANG Hay Wen Untitled Ink and color on paper (Diptych) Signed lower right: named T'ang Hay Wen.

70×100cm (27.5×39.3 in.) NT$ 200,000-280,000 HK$ 51,500-72,100 US$ 6,540-9,160

1980年代後趙春翔創作風格與現代畫派緊緊相連，自從河南第一師範畢業後，投考杭州藝專，經由林風眠、潘天壽、吳大羽、關良等名師的藝術感召與引導，不但奠定其藝術基礎教育，在中西藝術的表現技法上，更因此構築出強烈的個人風格。Lot2062《悠然自得》於1985年完成，個人風格逐步成長，畫作承襲潘天壽的近景花鳥描寫與林風眠的悵然詩意，可見趙春翔以彩、墨的濃淡表現空間遠近，層層相間、錯落分明，以及於筆觸上隱含的心境變化。畫面左方的中國山石與天地陰陽以西方幾何形狀描繪，趙春翔將中國傳統篆體的轉換運用於山水景色之間，如同南宋「馬一角、夏半邊」的邊角式構圖，同時結合西方抽象表現主義的自動性書寫，濃墨下佐以高明度、彩度的花鳥草樹葉，更顯得整體穩而不傾、艷而不俗。棲息梢上的鳥兒也正點出身處顛沛流離，與家人分別無法見面的

趙春翔與原收藏者書信部分內容。

無奈與思念。中西方交會所擦出的絢爛火花，如同趙春翔的繪畫人生，將其情緒與處境揮灑於畫面之中，為作品增添了無限的趣味性與生命力。預計2019年4月於亞洲大學安藤忠雄美術館舉辦「趙春翔回顧大展」。 After, 1980s CHAO’s style of creation is deeply related to modern Art. After graduated from Henan Normal University, CHAO entered Hangzhou School of Fine Arts, under the direction of Lin Fengmian, Pan Tianshou, Wu Dayu and Guan Liang, not only has their art basic education, but also the strong personal style, the performance techniques of Chinese and Western art has constructed CHAO’s strong identity. The Lot 2062 “Leisure” was completed in 1985, CHAO’s personal style gradually improved. CHAO’s painting inherited the close-up birds and flower’s depiction of Pan Tianshou and poetic poetry of Lin Fengmian. We can see the distance and the space’s installation by thick and light of color and ink. The brush embodied the change of the mind. The left side of the painting, use the Mountain and the rock, heaven and the earth, yin and yang. Depicting with the geometric pattern. CHAO used the Chinese traditional Carcass into the mountain and water. Such as the corner composition of the Southern Song Dynasty ‘Horse in a corner and summer take a

2062

half’, in the meanwhile, CHAO combined the abstract

趙春翔（1910-1991）

expressionism’s spontaneous way. Adding the colored

悠然自得

flower, bird, grass, trees and leaves on the thick ink, make the work stable and extraordinary. The bird on

壓克力彩墨紙裱於畫布 1985

the branch also shows the drifting, the nostalgia of

簽名左上：春翔 Chao 85

unwillingness. The splendid sparks between Chinese

96.5×60cm (37.9×23.6 in.)

and Western culture, like CHAO's creative career, spread

來源：

his emotions and circumstances into the painting, adding infinite fun and vitality to the works. In the near future, there is going to be a retrospective exhibition in april 2019 in Asia University Museum of Modern Art (ANDO Museum).

原收藏者購自藝術家本人

CHAO Chung Hsiang Leisure Acrylic and ink and color on paper 1985 Signed upper left: named Chung Hsian in chinese, and Chao, dated 1985.

72 JSL 2018 AUTUMN AUCTION

NT$ 1,300,000-1,600,000

Provenance:

HK$ 334,600-411,800

Original collectors are purchased from the artist

US$ 42,520-52,330

himself

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

CHUANG Che born in Peking, China in 1934, his father Chuang yen is a calligrapher and also the vice director of

CHUANG Che

National Palace in Peking. CHUANG has cultivated his interest in Chinese art. In 1948, CHUANG followed his family and come to Taiwan. In 1954, he began to study in the Art department at National Normal University, CHUANG learned under the instruction of Chu Tek-Chun. In 1958, he joined the ‘May Art Association’ and became one of the main member. In 1966, CHUANG was sponsored by the Rockefeller Foundation and go to the U.S. to study in International Contemporary Art, when he came back to Taiwan he taught in Tung Hai University. In 1968, CHUANG travelled to Europe, he visited Chao Wu-Ki and Chu Tek-Chun, also went to Spain and met Antoni Tapies, in 1973, immigrated in Michigan, U.S., and moved to Newyork in 1988, concentrated on Art Abstraction’s creation. In 1992, the Taipei Fine Art Museum held a great retrospective exhibition. CHUANG is not just the extraordinary landscape abstraction painter, but also a poet and philosopher, the spirit

1934年出生於中國北京，其父親莊嚴為已故名書法家暨前北京

rich in CHUANG’s artwork is inherit from the Chinese painter.

故宮博物院副院長，莊喆自小培養出熱愛中國藝術的興趣。1948 年莊喆跟隨家人來到台灣。1954年進入台灣師範大學美術系就讀，在朱德群的指導下學習繪畫。1958年加入「五月畫會」，為主要成員之一。自1960年代莊氏開始嘗試改革傳統山水畫，運用塑膠彩和油彩，與抽象元素結合，自創一格。莊喆不僅是卓越的抽象風景畫家，同時也是詩人和哲學家，作品所蘊含的靈性與中國傳統繪畫名家一脈相承。

Since 1960, CHAUNG started the revolution of traditional Mountain and Water painting, using the plastic paint and oil paint combine with the abstraction element, became CHUANG’s own style. CHUANG is a humble and elegant artist. He spent all his life discover the two subjects-- art of painting, painting and abstraction. CHUANG’s landscape abstraction was began from the physique nature into inner

莊喆1966年獲洛克菲勒基金會贊助，赴美考察國際當代藝術之

spirit. CHUANG inserted the line structure in his painting, we

發展，後返台任教於東海大學。1968年到歐洲旅行，在法國六

can see the strength under his paint brush. Accompany with

個月期間拜訪了趙無極和朱德群，同時也去了西班牙並結識安東

color, CHUANG’s painting is nearly transfer into crazy and joy.

尼．塔皮埃斯（Antoni Tapies，1923-2012）。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。莊喆是一位內斂儒雅的藝術家，他長期致力探討繪畫藝術，繪畫與抽象理論同時並進多年積累十分豐碩。莊喆的抽象山水繪畫源自於外觀自然進而走向形神為終極目標，他以書法的線形結構入畫，運筆虛靈轉潤顯出獷悍之昂揚氣勢，筆觸抑揚頓挫伴隨色彩宛轉空間近乎狂喜狀態，畫面經常展現自然滴流波濺、撞擊、冷峻、氤氳、蒼潤之氣質，伴隨縱橫吞吐及疏密深遠之律動，在渾沌與飛揚之中另闢圖象蹊徑，誠可視為藝術家內省感受頓悟之智慧。作品獲美國克利夫蘭美術館、底特律藝術學院、康乃爾大學、密西根州弗林特市美術館、台北國立歷史博物館、台北市立美術館、北京中央美術學院、上海美術館、廣東美術館、香港藝術館收藏；重要個展包括1977年密西根州賽格諾市美術館個展和 2015年台北市立美術館「鴻濛與酣暢→莊喆回顧展」等。近期展覽為2016年由台北亞洲藝術中心舉辦的「1960–台灣現代藝術的濫觴」以及2017年由比利時伊克塞爾博物館舉辦的「從中國到台灣–抽象藝術先鋒 (1955-1985)」。 74 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

Often presenting dripping, stroking, cold, moisture in the nature, along with the rhyme of the distance of the stroke. Create another way from chaos and vol, can be consider as the wisdom of reflect of artist itself and the of the epiphany. CHUANG’s art works were in The Cleveland Museum of Art, Detroit Institute of Arts, Cornell University, Flint City Art Museum of Michigan, National Museum of History, Taipei Fine Arts Museum, Beijing Central Academy of Fine Arts, Shanghai Art Museum, Guangdong Museum of Art, Hong Kong Museum of Art Collection. CHUANG’s important solo exhibitions included the 1977 Segano Art Museum in Michigan and the held by Taipei Fine Art Museum of 2015, " Effusive Vitality: CHUANG CHE Retrospective Exhibition ". The recent exhibition "1960 - The Beginning of Modern Art " in Taiwan was held in 2016 by the Taipei Asian Art Center, and the "From China to Taiwan - Abstract Art Pioneer (1955-1985)" held by Musee des Beaux-Arts d'Ixelles in 2017.

2063

莊喆（b. 1934）無題壓克力畫布 1984 簽名右下：莊喆 101.5×125.5cm (39.9×49.4 in.)

CHUANG Che Untitled Acrylic on canvas 1984 Signed lower right: named Chuang Che in Chinese. Literature: Lung Men Art Gallery, CHUANG CHE, Taipei, Taiwan, 1990, P.

出版：

龍門畫廊，《莊喆》，台北，1990，頁20。 NT$ 1,200,000-1,300,000 HK$ 308,900-334,600 US$ 39,250-42,520

2064

常玉（1901-1966）裸女水墨紙簽名右下；玉 SANYU 30×23cm (11.8×9 in.)

SAN Yu Nude Ink on paper Signed lower right: named in chinese and French. Provenance:

來源：

Current collector purchased from Dimension

原收藏者購自帝門藝術中心

Endowment Of Art

NT$ 500,000-900,000 HK$ 128,700-231,700 US$ 16,350-29,430 76 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2065

常玉（1901-1966）教授水墨水彩紙簽名左下；玉 SANYU 23.5×15.5cm (9.2×6.1 in.)

SAN Yu Professor Ink and watercolor on paper Signed lower left: named in chinese and French. Provenance:

來源：

Current collector purchased from

原收藏者購自帝門藝術中心

Dimension Endowment Of Art

NT$ 500,000-900,000 HK$ 128,700-231,700 US$ 16,350-29,430 77

Walasse TING 丁雄泉於1929年在中國江蘇省無錫市出生，成長於上海，

Self-taught artist Walasse TING was born in Wuxi, Jiangsu,

青年時曾入讀上海美術專科學校。1946年移居香港，1952年

China, raised in Shanghai, where he briefly attended the

前往法國。在巴黎時期丁雄泉認識了阿貝爾（Karel Appel，

Shanghai Art Academy. He moved to Paris in 1952 where he

1921-2006）、瓊恩（Asger Jorn，1914-1973）、阿雷欽斯

became acquainted with members of the avant-garde group

基（Pierre Alechinsky，b. 1927）和柯奈爾（Corneille，1922-

CoBrA, including artists such as Karel Appel, Asger Jorn, and

2010）等眼鏡蛇畫派（CoBrA）藝術家，聯合舉辦了不少展覽。

Pierre Alechinsky. Influenced by the modernist Western

當時他的創作較為抽象，隱含著濃厚的東方精神情感。1958年丁

movements he encountered in Paris as well as traditional

雄泉前往紐約，受到抽象表現主義的影響，他開始把顏料滴濺在

Chinese ink painting, TING developed his unique, colorful

畫布上。70年代其絢爛的色彩配以女性為題材風格逐漸形成，作

style in Paris before moving to New York in 1958. The artist

品融合東西方繪畫表現的精神，80年代這風格達至高峰。1970

was awarded the Guggenheim Fellowship Award for Drawing

年丁雄泉獲得古根漢紀念基金會的繪畫類獎助金，作品典藏於許

in 1970, along with numerous exhibitions and collections in

多世界級的美術館。80年代中他在荷蘭阿姆斯特丹設立工作室，

museums world-wide. After suffering a stroke in 2002, TING

2001年起定居於荷蘭阿姆斯特丹，2002年中風後便無法創作， 2010年5月17日於美國紐約病逝，享年81歲。丁雄泉曾說：「每一次看美麗女人都想到蓮花，鮮花的美使我空靈，使我惆悵、使我愛、使我新鮮、使我不同、使我重生、使我用許多的色彩，把我豐富的情感在畫上表現出來，我一生畫圖，要表現新鮮，像初生的春天。畫上的女人、貓、鮮花、鳥，都表現新鮮，在新鮮中藏著美。」如Lot2066《與花爭豔》這件作品中出現了上述幾個元素，丁雄泉安排女子在畫面中的斜右方，側坐並開腿，若隱若現，花和鳥則是呼應著春天與女子。

spent the remainder of his life in the Netherlands until his death in 2010. TING “When I see a beautiful woman, I see flowers. Its beauty makes me feel intangible, melancholy, love, refreshed, different and reborn. I want to use different colors to express my inner feelings and emotions in my paintings. I’ve spent all my life painting, to express a sense of freshness just like a new spring. Women, cats, flowers and birds in my paintings all represent the beauty in that freshness.” the Lot2066 ‘The flowers surround me’ is a colorful and sensual painting as well, the woman open one leg and surrounded by many flowers.

78 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2066

丁雄泉（1929-2010）與花爭豔壓克力水墨紙鈐印：採花大盜（白文） 21.5×30cm (8.4×11.8 in.)

Walasse TING The Flowers Surround Me Acrylic and ink on paper Signed: with one seal of the artist. Provenance: Present collector purchased in Belgium

來源：現收藏者購自比利時

With certificate of gallery Asian Private Collection

附畫廊保證書亞洲私人收藏 NT$ 160,000-240,000 HK$ 41,200-61,800 US$ 5,230-7,850

性與女人是丁雄泉作品中最重要的主題之一，在 Lot2067《三佳人》的主題皆有三位女子，可與拉斐爾：《美惠三女神》比對，此作中的主角是三位女神通是維納斯的跟班，《三佳人》左右兩側手握扇子女子，猶抱琵琶半遮面，將女人的嬌羞與嫵媚表現出來，頗有中國畫仕女圖之味。丁雄泉的畫風及用色皆十分大膽，以手中畫筆將女人的嫵媚、溫柔、艷麗、可愛描繪出來。丁雄泉喜好使用強烈而鮮豔色彩，例如螢光黃、螢光綠、螢光粉，充滿春天的色彩。丁雄泉主要使用的媒材是中國畫的筆畫與宣紙，以墨線先勾勒形象。Lot2067 《三佳人》、Lot2070《伊人在何方》、Lot2066《與花爭豔》與Lot2069《待君歸來》的媒材皆是水墨與壓克力。丁雄泉的作品充滿藝術的率真，拋開中國畫這些程序化的筆墨，極具現代的美感。

Women and sex are the most important subjects of Ting. The Lot2067‘The Three beauties’ there are three women in the painting. We can compare to ‘Raphaël’s ‘The three Graces’, they are Venus’s followers. The female figures hold fans in their hands, presented the shyness and femininity, there is quite a taste of Chinese painting. TING’s style and color are both bold, he can easily express women’s feminity, tenderness, glamour and cuteness. He

2067

liked using brilliant color such as flouorecens yellow, green,

丁雄泉（1929-2010）

pink, full of the colors of spring. The principal materials TING

三佳人

used are

壓克力水墨紙

Chinese brush and rice paper. Lot2067 ‘The Three beauties’, the Lot2070 ‘Where is my lady?’ Lot 2066 ‘The

鈐印：採花大盜（白文） 180.5×97cm (71×38.1 in.)

flowers surround me’ and the Lot2069 ‘Come soon, I’m waiting for you’ are all ink and acrylic on paper. For TING, the

來源：

impulsive emotion is his inspiration, he considered himself

現收藏者購自比利時

as a beauty discoverer and creator. We can see the sincerity

附畫廊保證書

through Ting’s artworks. Under TING’s brush, he abandoned

歐洲私人收藏

all the boundary and we can feel the modern beauty.

Walasse TING I Like the Way they Look Acrylic and ink on paper Signed: with one seal of the artist. Provenance: Present collector purchased in Belgium With certificate of gallery Private European Collection

NT$ 1,300,000-1,600,000 拉斐爾，《美惠三女神》，油彩木板，1503-1505，法國，

HK$ 334,600-411,800

170×170cm，尚蒂伊城堡藏

US$ 42,520-52,330

80 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

Lot2068《下午茶》是壓克力彩畫布，使用彩色潑灑的表現手法，可見他受抽象表現主義採用的滴灑法，擅長用繽紛色彩營造春天氛圍，丁雄泉安置少女們在後方，前方的果物則與少女相互應。隱約可見勾勒輪廓的線條，對丁雄泉來說，情感的衝動就是他的靈感，他標榜自己是女性美真正的創造與發現者。

In the Lot2068‘Afternoon Tea’ is an acrylic painting. TING use the dripping method influenced by Art abstractionism, talented of using the brilliant color to create the spring’s atmosphere. Arranged two girls on the left side reacting the fruit in the front. We can see the

2068

丁雄泉（1929-2010）

Walasse TING Afternoon Tea

下午茶

outline’s sketching. The scene can be compared to ‘the Two Girls with Flowers’ by Marie Laurencin.

Acrylic on canvas 1977

壓克力畫布 1977 簽名畫背：afternoon tea ting 77 86×129cm (33.8×50.7 in.)

Signed on the reverse: titled, named ting, dated 1977. CHRISTIE'S 2013 Autumn Auction, Asian

佳士得2013秋季拍賣會，亞洲二十世紀

20th Century Art, Lot 135

藝術，Lot 135 Provenance:

來源：

Original collector purchased from artist

原收藏者直接購自藝術家本人

Private Asian Collection

亞洲私人收藏 NT$ 7,200,000-8,000,000

瑪麗．羅蘭珊，《兩位女孩與花》，

HK$ 1,853,300-2,059,200

油彩畫布，33×41cm，私人收藏

US$ 235,480-261,640

82 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2069

丁雄泉（1929-2010）

Walasse TING Come Soon, I'm Waiting for You

待君歸來

Acrylic and ink on paper

壓克力水墨紙

Signed: with one seal of the artist.

鈐印：採花大盜（朱文） 21.5×31cm (8.4×12.2 in.)

Provenance: Present collector purchased in Belgium

來源：

With certificate of gallery

現收藏者購自比利時

Private Asian Collection

附畫廊保證書亞洲私人收藏 NT$ 160,000-240,000 HK$ 41,200-61,800 US$ 5,230-7,850

84 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2070

丁雄泉（1929-2010）伊人在何方壓克力水墨紙鈐印：採花大盜（白文） 20.5×25.5cm (8×10 in.)

Walasse TING Where is My Lady? Acrylic and ink on paper Signed: with one seal of the artist. Provenance: Present collector purchased in Belgium

來源：

With certificate of gallery

現收藏者購自比利時

Private Asian Collection

附畫廊保證書亞洲私人收藏 NT$ 160,000-240,000 HK$ 41,200-61,800 US$ 5,230-7,850

LI Shih Chiao 李石樵，《瓶花與水果》，油彩畫布，1987，45×38cm。2016 年11月26日香港佳士得亞洲二十世紀當代藝術晚間拍賣，成交價港幣625,000（臺幣2,562,500）。

長達六十餘年的創作生涯，李石樵抱持堅定不移的信念與精

From LI Shih Chiao’s more than 60 years creative practice,

神，創作了質量俱豐的作品。勇於新與求變的性格，致使李石樵

LI has hold determined faiths and spirits and created a great

不為熟悉的技法與風格所侷限，隨著時代演進，不斷地追求創新

amount of high resolution art works. Not afraid of changing,

與變化，因此作品中也展現了藝術家對於創作深究的特殊風格。李石樵1908年出生於臺北縣新莊。1922年就讀於臺北師範學

LI always followed the evolution of time, he never restricted by familiar techniques or styles. Therefore, LI’s works also show the artist's special style of deepening his creation.

校，受日籍老師石川欽一郎啟蒙，開啟其藝術領域學習的創作路

Born in Xinzhuang, Taipei County, studed at Taipei Normal

程。1927年入選台展後持續入選，1929年畢業後赴日，受陳植

School in 1922, inspired by Japanese teacher Ishikawa

棋照顧入「川端畫學校」、「本鄉洋畫研究所」，1931年經多次

Kinichiro. In 1927, LI was selected in Taiwan Art Exhibition

應考入東京美術學校五年制油畫科，1933年第七屆台展西畫科特選並獲大阪朝日新聞社設置的朝日賞，1935年東美畢業後續留日本。1941年為首位獲得官辦文展「免審查」資格的台籍畫家。李石樵早期風格以具象寫實為主，多數以台灣人物與風景為主

and went to Japan study in 1929. By Chen Chih Chi’s recommendations, LI entered "Kawabata Art School" and "Hongo Institute of Foreign Painting". In 1931, LI studied at the Tokyo School of Fine Arts. In 1933, LI awarded as the 7th Taiwan Art Exhibition the West painting category and Osaka’s Asahi Prize. In 1941, LI was granted the honor of being

要題材，刻劃人際間相互牽連的緊密關係，以及現實社會的關照

‘Exempt form Exam’ in the official exhibition in Japan, as the

感觸。50年代以後，李石樵轉而接觸西方現代藝術史每一運動的

first Taiwanese who had ever achieved this honor.

鑽研與探索，從塞尚理論「立體主義」的啟示開始，經過「表現

The early style of LI is mostly realistic. LI’s subject are

主義」、「超現實主義」、到「象徵主義」，強調更接近本質的

principally the Taiwan’s character and landscape, depicting

精神構成與色彩機能的安排。70年代以後，題材從畫室移至戶

the intimate relation between one and other, and caring

外，李石樵從理性客觀、邏輯解析的現代主義結構，回歸以自然

in the society. After 1950s, LI turns to reach and research

景物及人體群像為主，營造出詩意般的世界。

the movement in Modern Art. From the inspiration of Cezanne’s Cubism, through the Expressionism, Surrealism,

Lot2071《玫瑰花與靜物》可見李石樵自晚期鍾情的靜物畫創作，對於玫瑰花與瓶器的重複描繪，透露藝術家在物件上的專情與熟稔。李石樵的繪畫從本土出發，直探西方現代主義，最後回歸自然，如同醇化了的美酒，散發出令人醉心的芳香。

Symbolism, emphasizing the spiritual composition and color arrangement closer to the essence. From 1970s, LI’s subject has move from the studio to outdoor, LI’s rational, logical analyses of modernist structure, returning to nature scenery and human beings, creating a poetic world. Lot2071 ‘Rose and Still Life’ showing in LI’s late years, he enjoyed still life creation. The repetition of rose and vase’s depiction, revealing the focus and familiarity on objects. Beginning from local, through the Modern Art and end in return to the nature, like smooth and mellow red wine.

86 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2071

李石樵（1908-1995）玫瑰花與靜物油彩畫布 1985 簽名右下；石樵 1985 61×51cm (24×20 in.)

LI Shih Chiao Rose and Still Life Oil on canvas 1985 Signed lower right: named Shih Chiao in chinese, dated 1985. Provenance:

來源：

Private American Collection,

美國私人收藏

Present Collector purchased from artist’s neighbor

現收藏者購自於藝術家鄰居 NT$ 1,500,000-1,800,000 HK$ 386,100-463,300 US$ 49,060-58,870 87

李石樵從1972年自師大退休，由於兒女居住美國，此後不時

Since LI retired from the National Taiwan Normal University

往返台灣、美國兩地。此時不但有充裕的時間大量作畫，也到處

in 1974, because LI’s daughter and son are based in the

旅遊，創作觸角更延伸至一般市民生活的表現。走出分割、組合

U.S.. LI travelled between Taiwan and the U.S.. LI has more

的邏輯思考，李石樵特別重視光、彩的微妙對話，透過明豔的色

leisure time to do creation, LI also travelled a lot, influenced

彩，呈現有如交響樂般的畫面。Lot2072《費城市政府前廣場風

LI depicting the ordinary life of resident. Aside from the

景》描繪晚年往返於美國的城郊街景，色彩交織而成的異國情

segmentation and the combination of logical thinking. LI

調，使得鮮豔彩度的用色下，卻更能感受到李石樵的細膩巧思，

emphasized on the dialogue between light and color.

平凡生活當中時光緩緩流動的靜謐感不言而喻，不禁令人聯想至保羅．塞尚（Paul Cézanne，1839-1906）晚年所繪《貝利佛景觀》中，靜置的光線與氛圍，既溫暖又懷念的閒適風貌。塞尚對李石樵風格的建立極其重要，知性理論以「體積感」的新詮釋，和畫面還原簡化的結構，相對於李石樵繪畫的堅實厚重與四平八穩的佈局，都能看出藝術家對西方風格探索的研究與影響。

Lot2072 ‘Philadelphia's city hall's plaza’ depicting LI’s late year in suburbs landscape, full of exotic atmosphere. Through the brilliant color, we can see the delicate and ingenious idea of LI. The time slowly passed through the ordinary life. Remind us ‘Fields at Bellevue’ the work by Paul Cézanne’s late years: the still light and ambiance, warm and nostalgia. Cezanne has a great influence on constructing style for LI. Using new interpretation and visual effect of ‘solid volume’ to simplify the structure. Comparing to solid and stable arrangement of LI’s paintings, showing the research and influence in LI’s style.

2072

李石樵（1908-1995）費城市政廳前廣場風景保羅．塞尚，《貝利佛景觀》，油彩畫布，1892-1895， 14.25×19.75cm，菲利普美術館藏

油彩畫布 1977 簽名右下；石樵 1977 53×45.5cm (20.8×17.9 in.) 來源：美國私人收藏現收藏者購自於藝術家鄰居

LI Shih Chiao Philadelphia's City Hall's Plaza Oil on canvas 1977 Signed lower right: named Shih Chiao in chinese, dated 1977. Provenance: Private American Collection Present Collector purchased from artist’s neighbor

NT$ 900,000-1,200,000 HK$ 231,700-308,900 US$ 29,430-39,250 88 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

KUO Po Chuan 線條是圖像表現的諸多手法之一，如色彩、明度等，筆畫線條

Line is one of many ways to express the image, such as

的表達現象，能夠傳達三度空間的實體樣貌。傳統水墨畫以線條

color, the brightness, the expressionism of brush’s line could

作為白描創作，捨去了表達光線。然郭柏川在畫面中借助凌厲明

express the three dimension’s real look. The traditional ink on

確的線條以強調受光處，使線條除了輪廓之外，更暗示光線的流

painting like to use line as line drawing, give up the purpose

動，西方空間表達形式，結構嚴謹、交代明確，因而使畫面產生

of light, GUO used the strict and accurate line to emphasize

強烈的立體感。如此的手法，無不讓人聯想到野獸派代表亨利．

the lightness, implying the flow of the light. The western

馬諦斯（Henri Matisse，1869-1954）豐富的色彩變化，《靜

expressed form, strict structure, exact, making the painting

物蔬果》利用色彩傳達立體感的繪畫手法，寥寥數筆，卻顯得畫

three dimensional, recall us the fauvism’s Matisse. We can

面鮮明飽滿。Lot2073《靜物》以簡潔的構圖，明朗的色彩及筆

find color variability in Matisse’s ‘Still Life with Vegetables’,

觸，蘊含韻律與秩序之美，畫幅下沿的小刀與上方露出一小截的

using the color to express the three-dimensional, there are

畫框，精心擺設的構圖，使視覺上頗具巧思的平衡關係，都能看

not too many brushes, but the painting is bright and rich in

出純靜自然的簡約內在。

color. The Lot 2073 ‘Still life’ using the simple composition, bright colors and brushes, rich of rhyme and the beauty of order. The delicate composition, balance the visual effect represent inner side of the pure nature.

馬諦斯（1869-1954）靜物蔬果油彩畫布約1905 38.4×46 cm 90 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2073

郭柏川（1901-1974）靜物油彩宣紙 1962 簽名左上：- 51 手繪鈐印：柏 39×47cm (15.3×18.5 in.)

KUO Po Chuan Still Life Oil on paper 1962 Signed upper left: dated 1962, with one seal of the artist. Provenance: With Gallery's certificate

來源：

Literature:

附畫廊保證書

Artist Publishing, Taiwan Fine Arts Series 10 - Kuo Po Chuan, Taipei, Taiwan, 1993, No. 104, P. 159

出版：藝術家出版社，《台灣美術全集10－郭柏川》，台北，1993，圖版104，頁159。

NT$ 1,000,000-1,200,000 HK$ 257,400-308,900 US$ 32,710-39,250 91

2074

張義雄（1914-2016）花卉油彩畫布 1986 簽名左下：Y. CHANG. '86. 38×45cm (14.9×17.7 in.)

CHANG Yi Hsiung

NT$ 350,000-450,000

Flower

HK$ 90,100-115,800

Oil on canvas 1986

US$ 11,450-14,720

Signed left side: named Y. CHANG, dated 86.

1914年，張義雄出生於嘉義望族之

灣師範學校（師大前身），1949年先

殊榮。隔年成為巴黎秋季沙龍正式會

家。10歲那年因緣際會遇見在中央噴

後在台陽美展獲三次首獎。省展獲美術

員，1994年台北市立美術館舉辦「張義

水池畔寫生的陳澄波，1926年便從師

高榮譽獎，免審查資格，1954年與陳

雄八十回顧展」。1995、1997年皆在台

學畫，開啟了未來的繪畫之路。1931

德旺、張萬傳、洪瑞麟、廖德政、金

中歌德舉辦個展。1999年台北、台中、

年返台入嘉義中學，來年赴日考入東京

潤作合組『紀元美術會』。1980年決

嘉義、台南『繪畫生涯演講會』，畫冊

帝國美術學校（今武藏野美術大學），

心永居巴黎，巴黎春季沙龍獲Mention

同時出版。2004年於國立歷史博物館舉

1935年與陳澄波組「青辰美術委會」，

Honorable獎，巴黎秋季沙龍入選後，

辦九十回顧展，於台中哥德藝術中心舉

隔年約五次投考東京美術學校失敗。持

81、83、85年皆入選；1987年獲頒法

辦九十回顧經典展。

續在川端畫校進修；1948年任教於台

國政府藝術家年金，為台灣第一人獲此

92 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2075

張義雄（1914-2016）歐洲風景油彩畫布 1989 簽名左下：Chang.y. -8945×53cm (17.7×20.8 in.) 來源：

CHANG Yi Hsiung

NT$ 200,000-300,000

Europe Scenery

HK$ 51,500-77,200

Oil on canvas 1989

US$ 6,540-9,810

Signed lower right: named Chang.y, dated 89. Provenance: With Gallery's certificate of authenticity

附畫廊保證書「我是無名的野草，無日頭，無露

地，寫生創作。風和日麗的陽光照耀

水，我原在是要開花。」強烈、直接的

下，花朵鮮明的綻放著。文森．梵谷

作畫方式，在張義雄的作品中處處可

（Vincent van Gogh，1853-1890）是

見。一生奔波的經歷，直至1980年決

張義雄非常敬佩的大師，躍動的筆觸疊

心永居巴黎後，安定的生活，美好的藝

加於畫面之上，使得花草、屋瓦、雲朵

術環境，增加了張義雄的視野，色感多

錯落有致，Lot2075《歐洲風景》同時

樣化，富生命力的創作，使繪畫生涯達

可見其風格影響，與歐洲鄉村氣息相互

文森．梵谷，《聖保羅醫院後面的麥

到最高峰。Lot2074《花卉》繪於1986

輝映，樸實而自然地景致，於畫面之中

田》，油彩畫布，1889，24×33.7cm，

年，定居歐洲的張義雄，大量的遊歷各

表露無遺。

美國弗吉尼亞州弗吉尼亞美術博物館藏 93

2076

沈哲哉（1926-2017）

SHEN Che Tsai Ballet

芭蕾舞

Oil on canvas 1995

油彩畫布 1995 簽名右下：1995 哲哉 45.7×53cm (17.9×20.8 in.)

Signed lower right: dated 1995, named Che Tasi inchinese. Provenance:

來源：

CHRISTIE'S 1995 Autumn Auction, Fine Modern

佳士得1995秋季拍賣會，中國當代油畫、水墨與水彩，

Chinese Oil, Ink & Water Color Paintings , Lot 30

Lot 30 NT$ 320,000-400,000 HK$ 82,400-103,000 US$ 10,470-13,080

沈哲哉為臺灣臺南市人，1938年入省立臺南一中，師事郭柏

展、台陽展，嶄露頭角，曾獲中國油畫學會金爵獎、國立歷史博

川與廖繼春。曾任臺南美術研究會評議員、台陽美術學會會員、

物館榮譽金獎章等榮譽。1995年國立臺灣美術館舉辦〈沈哲哉

省展評議員、臺南家專美術系教師、服務教育界40餘年，退休後

七十回顧展〉。

專事創作，並旅居日本、美國兩地。就讀中學時，作品曾入選府

94 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2077

沈哲哉（1926-2017）歐洲風景油彩畫布 1989 簽名右下：1989 哲哉簽名畫背：歐洲風景 32×41cm (12.5×16.1 in.)

SHEN Che Tsai The European Landscape Oil on canvas 1989 Signed lower right: dated 1989, named Che Tasi inchinese. Signed on the reverse: titled.

NT$ 170,000-220,000 HK$ 43,800-56,600 US$ 5,560-7,200

Born in Tainan, Taiwan. SHEN Che Tsai entered Provincial

school, his paintings were selected into the Palace Fine Arts

Tainan First Senior High School and studied with Kuo Po-

Exhibition and Taiyang Fine Arts Exhibition. SHEN has been

chuan and Liao Chi-chun. He has served as the councilor

awarded by the China Oil Painters Association and National

of Tainan Art Research Association, member of Taiyang

Museum of History in Taiwan. His 70 years retrospective

Fine Arts Association, judge of Taiwan Provincial Fine Arts

exhibition was held in National Taiwan Museum of Fine Arts

Exhibition, professor of Tainan Woman's College of Arts and

in 1995. His works can be found in the public collection of

Technology.He taught for 40 years. While studying in high

the National Taiwan Museum of Fine Arts.

ZHOU Chun Ya 綠狗的創作最早起源於朋友送周春芽飼養的德國牧羊犬黑根，

The creation of ‘green dog’ was first initiated from Zhou’s

黑根是他生命中第一隻狗，他們倆同床共臥，生活緊密，從此成

pet Hei Gen, a Sherpherd puppy given by Zhou’s friend.

為他創作的主題。周春芽曾說：「畫一張臉就像畫一塊石頭我會

Heigan was Zhou’s first dog, they shared one bed and they

進行非常多關於外型與圖像的思考，在這兩種情況下主題都是事

were so close. Since then, Heigan became one of his subject.

物，畫黑根會讓我變得非常興奮。」偶然之下，他首次將黑根完

Chou once said that Painting a face is like painting a stone,

全描畫成綠色，成為他特有的代表作之一。 1999年，對周春芽有如兒子一般存在的黑根病死，周難過得無

I am overwhelmed by purely formal and pictorial thoughts. “In both cases, they are objects. Painting Hei Gen arouses greater excitement within me” Ocassionally, Zhou painted his Hei Gen into green, it became his representative work.

法繼續畫下去。度過黑暗期的周，於2001重拾畫筆，再畫起綠黑根。此時的黑根已經不是黑根，他可以是任何一隻狗，畫作中的綠狗變成了精神層面的存在，已經不再有感情寄託。Lot2078《綠狗》創作於 2002年，綠狗運用留白的手法，將綠狗置於單純的背景中，使作品中雕塑感更為突顯。畫中的綠狗嘴巴完全張開，象徵一種侵略

In 1999, Zhou’s beloving dog Hei Gen passed away, The sadness was tremendous to him, he couldn’t paint anymore at that time. After Zhou went through the hard time, he picked up his paintbrush once again, keep painting ‘Green Hei Gen’. From now on, Hei Gen is no longer Hei Gen, he could be any dog in the world, the Green dog has become

性，對周來說，狗是一種符號、象徵著原始純粹的生活方式。生

spiritual existence, not the relation bound any more.

長於極其複雜造作的社會中，周春芽格外嚮往被人們所忽略的生

Lot2078 “Green Dog”, created in 2002, using the negative

活樣貌。狗與植物沒有所謂的好或者壞、呈現的只是他的本質。

space, removing all possible element from the back ground; emphasizing the sculptural dimensions.The green dog's mouth in the painting is completely open, symbolizing an

2078

周春芽（b. 1955）

aggressiveness. For Zhou, the dog is a symbol, symbolizes the original and pure lifestyle.Growing up in an extremely

綠狗

complex society, Zhou Chunya is particularly eager to live a

油彩紙 2002

life that is pure and simple.According to Zhou, there is no

簽名右下：2002 周春芽 ZhouChunya

good or bad in Dogs and plants, but only their essence.

108×75.5cm (42.5×29.7 in.)

ZHOU Chun Ya Green Dog

NT$ 2,500,000-2,800,000

Oil on paper 2002

HK$ 643,500-720,700

Signed lower right: dated 2002, named Zhou Chun Ya.

US$ 81,760-91,580

96 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2079

CHIU Ya Tsai

邱亞才（1949-2013）

Hengchun's Sun

恆春的太陽油彩畫布簽名右下：邱亞才 80.5×65cm (31.6×25.5 in.)

Oil on canvas Signed lower right: named Chiu Ya Tsai in Chinese. Provenance: Private Asian Collection

來源：亞洲私人收藏 NT$ 800,000-1,000,000 HK$ 205,900-257,400 US$ 26,160-32,710

98 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2080

YANG Chi Hung Plus Acrylic on canvas 2004 Signed on the reverse: named Chihung Yang in English, titled Plus in English and dated 2004.

來源：

Provenance:

附畫廊開立藝術家親筆簽名之原作保證書

This painting is to be sold with a certificate of authenticity signed by Artist

出版：歐哈拉畫廊，《楊識宏》，紐約，2006，

Literature:

彩色圖版

Chihung Yang, O'Hara Gallery, New York,

NT$ 600,000-800,000

U.S.A, 2006, color illustrated

HK$ 154,400-205,900 US$ 19,620-26,160

CHANG Wan Chuan 台北縣淡水人。1924年入石川欽一郎主持之臺灣洋化自由研

Born in the Tamsui, Taipei County. CHANG first went study

究所學習石膏素描與水彩，結識洪瑞麟與陳德旺且加入台灣水彩

under Ishikawa Kinichiro and the he went to Japan entering

畫會。1929年赴日就讀東京川瑞學校及本鄉繪畫研究所研習西

Kawabata Painting Institute and Hongoo Art Institute. During

畫，作品入選日本第一美術展，1930年結識野獸派畫家鹽月桃

his stay at Japan, CHANG was inspired by Fauvism and

甫，其畫風傾向野獸派風格。1938年後學成返台，曾受聘於國立藝專及延平學院教授油畫。同年赴廣東及廈門美專參觀，且於該校任教。其後退出臺陽美協與洪瑞麟、張義雄、廖德政、金潤作等人共組『紀元美術展』。1997年於台北市立美術館舉行『張萬

afterwards he developed his style into Fauvism way. CHANG returned to Taiwan in 1938 and taught to several schools. He first withdrew from Taiyang Association and then cofounded MOUVE Association with CHEN Te Wang and HUNG Jui Lin in 1938. Then in 1954 he co-founded the century

傳八八回顧展』，2003年逝於台北，享年95歲。『台灣風景』

Association. In 1970s CHANG traveled to Europe and in 1977

入選日本第一美術展，《鼓浪嶼風景》入選第一屆府展特選。作

he had a solo exhibition at the National Museum of Art in

品廣為各地美術機構及私人收藏。

Taichung. In 1997 he had solo exhibition at Taipei Fine Arts Museum in celebration of his 88th birthday. CHANG passed

張萬傳曾自述：「我不擅長談話，卻酷愛繪畫。繪畫即是我的

away at Taipei in 2003 at age of 95. Considered as one of

語言，也是我的思想，感情的化身。沉默雖是我的外貌，但熱

the early 20th century, CHANG devoted his life to the art

力卻是我的內蘊。我的創作是內省式的自剖，更是一場心靈的表

of painting, and was an influential figure in promoting the

白。」張萬傳將他所有的感受，完全付諸於作品當中，而且有別

aesthetic concepts behind Fauvism in Taiwan.

於其他藝術家所偏好的大題材、大場景，他總是在畫面中娓娓道來日常生活點滴。當張萬傳在畫面上排列組合這些人景物，用以營造、烘托他心目中所想時，也深刻記錄下自身的回憶，以及對

CHANG has described himself ‘I’m not good at talking, but I love painting, painting is my language, also my thinking, the incarnation of my feelings, silence is my appearance,

於親人、友人的關愛與思念。Lot2081《憩》描繪室內休憩的三

also the heat is my inner, the introspective self-dissection

名女子，左側人物曲坐，雙手安放於右腿上，右側人物則閒適的

is a confession of soul.’ CHANG use all his feelings into

相互交談，角落的貓咪顯得充分傳達當下的氛圍。自然放鬆的姿

the artwork, different from the grand subject or scene,

態，是為藝術家眼前最真切、最原本的生活面貌，同時也是最能

CHANG prefers to tell the ordinary life instead. When CHANG

喚起張萬傳作畫的能源所在。

arranged the figure and the view with the arrangement of what in his mind, depicting his memory and the love through his caring and missing toward family and friends. The Lot2081 ‘Rest’ depicting three female resting in the indoor, the left side of the figure bend her knees, putting both of her hands on the right leg, the figure at right is chatting, the kitten at the corner shows the relax ambiance is the genuine, original life aspect, also the creation’s power of CHANG.

100 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2081

張萬傳（1909-2003）憩（畫背標題：室內）油彩畫布 1970 簽名右下：CHANG . 万. 簽名畫背：30P、室內、1970、CHANG . 万.、張萬傳 65×91cm (25.5×35.8 in.)

CHANG Wan Chuan Rest (the back of the painting: Indoor) Oil on canvas 1970 Signed lower right: named CHANG, Wan in chinese. Signed on the reverse: named, sized, titled, dated. Literature: Insiangallery, Paintings by Chang Wan-Chuan, Taipei, Taiwan,

出版：

1991, No. 002, P. 23

印象藝術中心畫廊，《張萬傳畫集》，台北，1991，圖版002，頁23。 NT$ 1,000,000-1,500,000 HK$ 257,400-386,100 US$ 32,710-49,060

101

YANG San Lang

楊三郎至東北角卯澳漁村創作。

楊三郎（1907-1995）出生於臺北永和。1915年入艋舺公學

In YANG’s whole life, he experienced countless art

校，1923年赴日留學，先進入京都工藝學校，後轉關西美術學

revolutions. From YANG’s youth, he slipped across and

院西洋畫科，接受嚴格的學院派訓練。1927年回臺灣，與倪蔣

promoted in holding the art exhibitions, till YANG passed

懷、廖繼春等人共組「赤島社」。1929年獲臺灣美術展覽會特選

away, many private museums have piles and piles of YANG’s

第一名。楊三郎於1931赴法國留學，次年作品《塞納河畔》入選

art work. The rich vitality and personal temperament of YANG

法國秋季沙龍，回台後成為專職畫家，並開始積極推動各項美術活動。1934年於太平町創辦「洋畫研究所」，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」。光復

are overwhelming. Most of them are landscape painting, the repetition of landscape from anywhere. Also expressing the open-minded and tender personality.

後籌辦「全省美展」全力參與並展出，奠定其畫壇地位，並獲國

No matter the clear sky, the white clouds beside the

家文藝獎的殊榮。1948年恢復台陽展，成為該展最大支持者。

trees, observing the seemed to yellowed the monument.

1985年台陽展與春陽會於史博館合辦「中日美術展」，1989年

“The secret of using the color is that how much color have

台北市立美術館舉辦回顧展。1991年楊三郎美術館正式開幕，

you used should not be recognize.” From gray tone till the

1992年獲頒行政院文化獎卓越藝術家獎章，1995年逝世家中。

high colored contrast when he came back to Taiwan. After

楊三郎舉行過多次個展，並多次在臺灣美術展上獲獎。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」。楊三郎的一生經歷了無數次的藝術變革，從年少乘船偷渡事蹟到提倡舉辦美術展覽，直到過世後從私人美術館搬出來成堆的作品，可見其對藝術創作的豐富生命力與個人氣質，無不令人感佩。其中大部分的作品皆為風景畫，反覆描繪各地景觀，卻也能從中看出楊三郎既豁達又溫潤的鮮活個性。無論是晴空萬里的天際，緊依樹林的白雲，都能夠窺見重複堆疊下，看似被秋葉染黃的古樸景致。「用色要用到看不出用了多少色」，楊三郎對色彩的見解，從早年留學的灰褐色調，至回台後鮮明的高彩度對比應用，1970年代後，晚年的楊三郎在寫生創作之餘，已逐漸內化個人風格，使畫面顯得自在奔放且感情深厚。Lot2082《東北角望龜山》取景於漁港碼頭一隅，遠眺龜山島，畫面回望前景延伸，依序可見行駛的漁船、停靠的漁船、擱置的漁船，兩名釣客徘徊在岸邊觀望，天空雲影中有柔和的淡淡粉紅色調，意境閒適宜人。 102 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

1970s, the late years of YANG’s creation path, he gradually internalized, making the painting free and the feeling. The Lot 2082 ‘Overlook turtle island from north-east coast’ was taking place at the corner of fishing harbor, observing turtle island, the installation of the work, looking foreground, the fishing boat, the docked fishing boat and the suspended fishing boat can be seen in sequence. Two fishermen are observing on the shore. The sky and clouds have soft pastel pink tones, and the ambiance is comfortable.

2082

楊三郎（1907-1995）東北角望龜山油彩畫布簽名右下：S.YaNg

YANG San Lang Northeast Corner of Island Oil on canvas Signed lower right: name S.YaNg.

50×60cm (19.6×23.6 in.) NT$ 1,100,000-1,300,000 HK$ 283,100-334,600 US$ 35,980-42,520

103

2083

NT$ 320,000-400,000

陳銀輝（b. 1931）

HK$ 82,400-103,000 US$ 10,470-13,080

春到人間油彩畫布 1991

展覽：

出版：

簽名左下：銀 CHEN '91

1992年10月23日 - 11月2日，《陳銀

高格美術雜誌社，《陳銀輝：第廿四次

50×60cm (19.6×23.6 in.)

輝：第廿四次個展》，高格畫廊，大阪。

個展》，台中，1992，圖版10。

Oil on canvas 1991

Exhibition:

Literature:

Signed lower left: named Yinin

1992 October 23 - November 2,

Galerie Moustache, PAINTINGS OF

chinese and CHEN, dated 91.

PAINTINGS OF CHEN YIN-HUEI, Galerie

CHEN YIN-HUEI, Taichung, Taiwan,

Moustache, Osaka

1992, No. 10

陳銀輝的作品富有獨特的創意與實驗性

然，或身邊的一切物象，我都把它們還

風格。

原為「形」與「色」的組合。」陳銀輝

CHEN Yin Hui Spring Arrives on Earth

陳銀輝畢業於國立臺灣師範大學美術系。1957年任教師大美術系。得獎無數，其中包括：1975年烏拉圭國際雙年展、1991年法國秋季沙龍展、1994年法國現代藝術展及1995年全省美展五十年回顧展。於母校擔任助教期間，他常利用下課時間加強素描，並大量閱讀美術相關書籍，熟悉西洋現代藝術的特質與原理。由於理論與實際的相輔相成，使

104 JSL 2018 AUTUMN AUCTION

時常持畫筆、畫刀並用作畫，有時用手陳銀輝的創作追求「繪畫性」，個人生活和寫生經驗只是作畫的契機，目的並非自然形象表面的描摹或再現，而是藉自然的形態和色彩表現藝術家的自我。「形體（Forme）的追求，畫面的構成，是我繪畫的首要目標；面對大自

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

指頭摸，用布擦，或用竹片刮等等，自由地隨手運用工具。在他的作品中，觀者看到的是線條、塊面造型、肌理、色彩的交響組合，呈現出藝術家所經營的獨特詩意。

2084

NT$ 300,000-350,000

陳銀輝（b. 1931）

HK$ 77,200-90,100 US$ 9,810-11,450

群雞油彩畫布 1991

展覽：

出版：

簽名右下：銀 CHEN '91

1992年10月23日 - 11月2日，《陳銀

高格美術雜誌社，《陳銀輝：第廿四次

45.5×53cm (17.9×20.8 in.)

輝：第廿四次個展》，高格畫廊，大阪。

個展》，台中，1992，圖版5。

Exhibition:

Literature:

1992 October 23 - November 2,

Galerie Moustache, PAINTINGS OF

PAINTINGS OF CHEN YIN-HUEI, Galerie

CHEN YIN-HUEI, Taichung, Taiwan,

Moustache, Osaka

1992, No. 5

CHEN Yin Hui A Group of Chickens Oil on canvas 1991 Signed lower right:

named Yinin

chinese and CHEN, dated 91.

CHEN graduated from National

art’s speciality and theory. As the

I paint, facing the nature; or the

Taiwan Normal University’s Art

combination of theory and practice,

element surrounded, I reduced them

department. CHEN has received

enabled CHEN’s artwork became

to ‘Form’ and ‘Color’ ” said CHEN.

many awards, includes Uruguay

unique and experimental.

CHEN often use brush and knife to

International Biennale in 1975, the Autumn Salon in France in 1991, Modern Art exhibition in France in 1994, the 50 years anniversary of Taiwan Art retrospective exhibition in 1995. As a teaching assistant in National Taiwan Normal University, he often used his leisure time to emphasize the technique of sketching, also read a lot of books related to art, familiar with modern

CHEN’s seeking of Painterly Characteristics. Personal life and outdoor sketching experience are only the opportunity of creation. The purpose is not depiction or reproduction of nature image, but express the artist ego by the nature form and color. “The seeking of ‘FORME’ and the construction of

create together, sometimes there are touches of the hand or the wipe of the cloth; or the trace of bamboo knife, etc. CHEN use the tools aside him freely. In his work, the spectators see the line, the shape the form, the texture and the color combined, presenting the poetic world the artist managed.

the painting are the principal goal

105

2085

楊興生（1938-2013）花東縱谷油彩畫布 2003 簽名左方：楊興生 2003 65×91cm (25.5×35.8 in.)

YANG Shin Sheng The Coastal Range of Hualien and Taitung Oil on canvas 2003 Signed left side: named Yang Shin Sheng, dated 2003.

NT$ 150,000-220,000 HK$ 38,600-56,600 US$ 4,910-7,200

2086

楊興生（1938-2013）山林之美油彩畫布 2004 簽名左下：楊興生 2004 24×33cm (9.4×12.9 in.)

YANG Shin Sheng Beauty of Forest Oil on canvas 2004 Signed lower left: named Yang shin Sheng, dated 2004.

NT$ 28,000-45,000 HK$ 7,200-11,600 US$ 920-1,470

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ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2087

陳景容（b. 1934）桔梗花油彩畫布 1993 簽名右下：景容 1993 72×53cm (28.3×20.8 in.)

CHEN Ching Jung Balloon Flower Oil on canvas 1993 Signed lower right: named Ching Jung in chinese, dated 1993. Provenance: With Gallery's certificate

來源：附畫廊保證書

NT$ 500,000-600,000 HK$ 128,700-154,400 US$ 16,350-19,620

107

PANG Jiun 神思–故宮的記憶

高無上之地位，以及身居「禁中大內」的特殊性。

乍見這件作品，讓人心中掣動心弦！因為顧目而視，它就是北

北京城中，位於內城以裏的青磚城垣區域，便是「皇城」。皇

京故宮。古老的深刻記憶，彷彿投影機般，折射出對紫禁城的千

城以內還有一道牆垣，此牆內便是「紫禁城」，是真正的帝居、

萬遐想。翻閱腦海中的影像，是故宮沒錯，標準黃瓦朱牆，樓群

朝廷所在之處。既然稱為「城」，篤信神道的雍正皇帝，便建立

卻又少了黃、綠琉璃瓦的耀眼，不禁令人心中犯著嘀咕，依稀是

內城隍廟，作為保護內廷的神祗。紫禁城內城隍廟位於紫禁城西

英華殿附近灰瓦房區。正當遲疑之際，傳來答案，龐老師原題

北角，為獨立建築群，前後三進小院，東側院牆設琉璃門一座。

「京都城隍廟」。該題名雖然義項簡潔，卻又廣泛，因為北京城

按照八卦方位屬於「乾卦」，為「天門」所在，且緊鄰紫禁城入

中「都城隍」級別的城隍廟，即有「都城隍廟、大興城隍廟、宛

水口。此處建立內城隍廟具有鎮護皇居安寧的用意。

平城隍廟」三處，另外皇城區還有「皇城城隍廟」。拍品除了黃瓦朱牆，以及宮廷建築的意象外，方形構圖強化了實際探尋畫景與題名，並非浮文妨要，都城隍雖是全國最高規

繪畫物件的視覺效果，弱化了傳統橫直構圖中散點透視的時間因

格的城隍廟，也僅是官方祀典，與真正宮廷文化相較，又不免等而

素；也因為長寬比例相同，使得對角線上的力，產生平穩秩序、

差之。故經實景比對，可確認拍品所描繪處，正是「紫禁城城隍廟

靜態特徵，整體幾乎沒有傾斜、動盪的結構，充滿安靜、詳和的

（內城隍廟）」無誤。根據《欽定大清會典．內務府．祀典．神之

靜態美，動與靜、剛與柔，和諧統一。此外，百年綠樹掩映著建

祀》中指出：「（雍正）四年奏准。建內城隍廟於紫禁城內西北

築群，具有反客體為主體之效果，三兩遊人沿著宮牆信步，絲毫

隅。以奉紫禁城城隍之神。每萬壽聖節及季秋。與都城隍廟同日致

不見壓迫，畫面朗潤康泰，予人凝視著亙古，散步在歷史步道般

祭。祭品同。遣內務府總管大臣行禮。」紫禁城內城隍廟冠上了

的另類清新感受。

「內」字，寓一字之褒貶，更彰顯了宮中城隍神格（福明靈王）至

位於北京故宮西北角樓城垣內的灰瓦建築群，

北京故宮內城隍廟建築群

便是內城隍廟 108 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

北京故宮內城隍廟宮牆

2088

龐均（b. 1936）京都城隍廟油彩畫布 2017 簽名右下：龐均 2017 手繪鈐印：均 73×91.5cm (28.7×36 in.)

PANG Jiun Capital's City God Temple Oil on canvas 2017 Signed lower right: named Pang Jiun in chinese, dated 2017, with one seal of the artist. Provenance: Certificate signed by Artist

來源：

Private Asian Collection

附藝術家親簽之原作保證書亞洲私人收藏 NT$ 1,600,000-1,800,000 HK$ 411,800-463,300 US$ 52,330-58,870

109

Lot2089《春已在枝頭》則可見龐均擅於掌控灰色調的水墨風

The Lot 2089 ‘The Spring is on the branch’ shows the

格，「大陸是屬於大山大水的情景，有一種灰調子，我在黃山寫

grey tone of ink on paper style which PANG is talented with.

生時就體驗到為什麼國畫有皴法的產生。」重複描繪的題材下，

‘China belongs to Grand mountain and river. It has a gray

近年的灰調子少了灰濛的霧氣，多了輕柔透氣的典雅，在畫面

tone, when I sketching at Huangshan, I understand why

上、用筆上，都可見晚年更上一層樓的龐均，雲霧繚繞的山巒，

the Chinese ink on paper has the method called texturing

在輕巧的用色變化下，使視覺場景拉遠，消失於背景裡，前景的

method and style.’ The repetition on the subjects, in recent

紅花彷若提醒春天已悄悄到來，大自然的生機毫不掩飾的嶄露於

years, the mist of the gray become less. The elegance of

眾，成熟而果斷的色彩搭配，簡潔明確。

light and softness replaced instead. PANG has met another standard at his late years through the way of using it. The

龐均以濃厚的東方文化為底蘊，打破過去藝術以「學院式素

cloud and mist surrounded by the mountain, using the

描」為第一的觀念，創作出屬於東方人的浪漫韻味，獨創帶有水

change of bright colors, the visual scene turn into long lens,

墨寫意趣味的油彩風格。作品廣為海內外美術館與私人收藏。

disappearing from the background, the front view’s red flower remind the coming of spring, the vitality of nature has showed in front of the public, mature and decisive color arrangement, simple and correct. PANG use the culture’s fondation in Eastern Culture, against the concept that ‘Academy’s sketching’ is the first place, creating the romantic way of Eastern people, created the original painting style with the ink on paper’s style. PANG’s works are collected by museum and private collector all over the world.

2089 PANG Jiun

龐均（b. 1936）

The Spring is on the Branch

春己在枝頭

Oil on canvas 2018

油彩畫布 2018

Signed lower right: named Pang Jiun in chinese, dated 2018,

簽名右下：龐均 2018

with one seal of the artist.

手繪鈐印：均 73×91.5cm (28.7×36 in.)

Provenance: Certificate signed by Artist

來源：

Private Asian Collection

附藝術家親簽之原作保證書亞洲私人收藏 NT$ 1,600,000-1,800,000 HK$ 411,800-463,300 US$ 52,330-58,870

110 JSL 2018 AUTUMN AUCTION

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111

在民國五十三年至五十八年間，大千發展出有整體感且成熟的

After the war in 1949 between the KMT government and

潑墨及潑彩作品，或兩者兼用。民國五十年代的一些大千作品，

the republic, ZHANG went aboard. ZHANG has reached both

已將傳統線條減至最少，這是他一生作品中，最接近西方抽象表

the European and western art field. In his late years, ZHANG

現藝術的階段。與此同時，西方抽象藝術也邁向「最低極限主

has injured in eyes, so that he couldn’t paint exquisite art

義」。

work. His landscape painting has developed from Splashing ink into splashing color, became the third period of blue-

LOT2090拍品尺幅雖小，卻正是潑彩邁向成熟時期作品。通幅以大塊青綠、墨彩參差衝撞滲化而成，潑墨、潑彩流淌傾灑，藉

green landscape, absorbing the western art abstraction. He let the water and ink flow and change.

此大膽構建，暈成山景，斑駁陸離，似滿紙煙雲，又似回光倒影，迷離恍惚，在混沌中撥出蒼冥，淋漓中展現天地河山，予人神秘眩目燦爛而炳煥之感。

From the mid-1960, ZHANG use the azurite blue and azurite green to replace ink. Splashing the azurite blue, azurite green and other paints, as the effect of ink on paper,

觀全畫佈景，造勢高峻雄偉、幽深神秘，峻嶺突兀嶙峋，峽谷

as a result, the choice of the paper is the key point of the

坳壑一線向陽，山色蓊郁空朦，盡成煙雲變幻之奇，渲染數座遠

expression. From 1920s, ZHANG’s way of using color and

峰，彷彿兀立層層高遠無盡的煙靄之中，山川若隱若現，經神遇

inspiration are nearly out of old method. Immersed in the

而跡化，遂成一方意象世界，與大化同流，有真境大美在焉。

most traditional, so-called the best in contemporary. The late landscape represented his early years learning Zhang Sengyou’s boneless landscape painting of six dynasties under Dong Qichang’s introduction, after the consistantly self-discover, finally ZHANG has a big breakthrough at his late years. In this procedure, both impact from Western and Japan, including Shi Tao and Dunhuang’s experience has great influence in the blue green splashing, making the traditional blue green landscape became modern under his brush.

2090

張大千（1899-1983）

ZHANG Daqian Landscape

雲深晴嵐

Ink and color on silk 1967

絹本潑彩鏡框 1967 款文：五十六年三月，大千居士爰鈐印：大千唯印大年（朱文）大風堂（朱文） 55.5×51cm (21.8×20 in.)

NT$ 4,000,000-5,000,000 HK$ 1,029,600-1,287,000 US$ 130,820-163,530

112 JSL 2018 AUTUMN AUCTION

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113

在兩岸藝術界，年逾八十的劉國松被尊稱為「水墨現代化之

LIU was considered as ‘Father of contemporary Ink on

父」，然而他還有一個有趣的封號：現代水墨傳教士。劉國松

paper’ in the art world, he also has an interesting nick name-

當年創辦「五月畫會」時，他的夫人黎模華形容他宛如「傳教

- ‘Missionary of contemporary Ink on paper’.

士」，因為他推動現代水墨的熱情無與倫比，簡直就像狂熱的宗教領袖，無時無刻到處宣揚，即使受到他人冷落、揶揄，甚至唱反調，也不以為意。劉國松雖然不是教徒，也不隨時捧讀聖經，對於這個其實是有點調侃他的封號卻欣然接受，「現代水墨傳教士」一名自此不逕而走。

When LIU founded the May Association, his wife Li MoHua described him as a missionary, passionate in promoting Modern Ink on paper, enthusiastic like religion’s chef, always promoting his Propaganda, even LIU was neglected, teased or opposed by others, he didn’t mind at all. Actually, LIU

劉國松一生致力於現代水墨的推廣與傳承，打破既有的水墨觀念。早年提出了「革筆的命」、「革中鋒的命」等主張，質疑用筆的重要性，以及藝術之於生活的關聯性，對當時傳統的水墨藝術造成劇烈的影響。其最著名的技法便是在紙張上墨後，撕去紙筋留下白線的「抽筋剝皮皴」，而劉國松為了達成理想的效果，甚至因此發明了「劉國松紙」。 Lot2091《山水之五（記憶）》便是此技法成熟之作，英國的中國藝術史學家麥可．蘇立文（Michael Sullivan，1916-2013）形容劉國松的「抽筋剝皮皴」時說：「他運用紙張本身的紋理，在紙上撕下粗糙的紙筋，因此在畫中就顯出絲絲宛如電光火花的紋路，在巉岩中穿越併發。這些作品不只看來栩栩如生，而且肌理優美動人。」

isn’t religious but he accepted this nick name ‘Missionary of contemporary Ink on paper’. LIU devoted himself in promote and inherit the Ink on paper, break the traditional concept. Brought up the ‘Revolution of the pen’s destiny’ and ‘Revolution to the center’s destiny’, questioning the importance of pen and the relation between art and life, having a great impact on traditional ink on paper at that period. The most famous technique is to remove the white lines of the cramps and peel the skin after the paper is inked. LIU even invented the "Liu Guo-song paper" in order to achieve the ideal effect. Lot2091 ‘Landscape-5(Memory)’is a mature technique,

劉國松對中國水墨畫「得之自然」的藝術追求，超越了山水再現的層次而進入一種本自心源的抽象境界。他深深了解中國藝術所講求「自然」的意蘊，人工太多便生刻板，只有自然，才能生動，也只有生動，才見氣韻。」劉國松所採用的半自動性技巧，

the artist historian Michael Suilivan has described LIU’s paper fibering technique. He chanced upon manipulation of paper textures, interplay the void with solid as well as those of texture strokes in Chinese painting. Not just vivid but also charming.

Lot2093《山色雲霧兩亦奇》其實跟古代「潑墨」、「影壁」或「張素敗牆」的創作可謂如出一轍。他們都是藉由自然偶得的痕

LIU’s art persuasion of “Get from Nature”in Ink on paper,

跡來觸發靈機妙緒，再因勢利導地作出順乎心意的畫面處理，最

is another landscape painting’s level. LIU understand the

後完成自然天成的理想作品。

meaning of nature in Chinese Art. Too artificial leads to boring, only nature can be vivid, only vivid can see the

而到了八十年代以後，他轉而發展所謂的「漬墨」和「漬色」

rhyme. LIU use half automatic skill, Lot 2093 ‘Misty mountain

法，把相疊的兩張紙弄濕而在紙間的氣泡邊緣加墨添色，使之滲

bay’ is the same as well as "Splashing ink", "silver wall". They all

入紙中與水交混相融，從而產生濃淡變化豐富自然的水墨肌理。

aroused from nature.

在Lot2092《海灣》把游移於水面的浮墨以紙吸附，然後透過匠心獨運的筆墨潤飾，繪就一幅幅行雲流水般的玄構。

After 1980s, LIU transferred his technique into “Sinking ink” and “Sinking color”, overlapping two paper, first make

劉國松的作品彰顯他深厚的美學內涵和人文素養，與對藝術的探索與執著，深邃意蘊及獨特而鮮明的美學風格得以傳播，觀者在與作品精彩對話中，體驗中西藝術跌宕融合下的獨特魅力，在墨與色的細韻剔透暗示了流動與變化，蘊藏了變化和運動的感覺，狂草般在畫面上的線條展延以及虛實互動的構成，表現出中

them wet and them add the ink in the edge of it. In Lot2092 ”Bay”, LIU used this special technique, using the ink flow on water, use the paper to absorb, then use the brush to create the shape as flowing water.

國山水畫的氣韻生動與生生不息的意境，充滿著靈動之妙，將中

LIU’s depth in art and human literacy, the insistence and

國傳統水墨畫與西方繪畫理念巧妙地融合，形塑出具深度與廣度

discovery toward art, the unique and fresh style. Between

的創作，譜寫一幅幅非凡作品，綻放出璀璨的藝術光芒。

the dialogue of viewer and artwork, experiencing the charm in Chinese and Eastern Art. Fusing Chinese traditional Ink on paper and the Western painting’s idea together, creating profound creations.

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2091

劉國松（b. 1932）山水之五（記憶）紙本設色鏡框 1967 款文：劉國松，一九六七。鈐印：劉國松（白文） 52.5×78.5cm (20.6×30.9 in.)

LIU Kuo Sung Landscape 5 (Memories) Ink and color on paper 1967 Provenance: Certificate signed by artist

來源：

NT$ 1,900,000-2,200,000

附藝術家親簽保證書

HK$ 489,100-566,300 US$ 62,140-71,950

115

2092

劉國松（b. 1932）海灣紙本設色鏡框 1999 款文：劉國松一九九九鈐印：劉（朱文）國松（白文） 26.5×29cm (10.4×11.4 in.) 來源：附畫廊開立藝術家親筆簽名之原作保證書

LIU Kuo Sung Bay Ink and color on paper 1999 Provenance: This painting is to be sold with a certificate of authenticity signed by artist

NT$ 160,000-200,000 HK$ 41,200-51,500 US$ 5,230-6,540

2093

劉國松（b. 1932）山色雲霧兩亦奇紙本設色鏡框 1999 款文：劉國松一九九九鈐印：劉（朱文）國松（白文）直徑25.5×25.5cm (10×10 in.) 來源：附畫廊開立藝術家親筆簽名之原作保證書

LIU Kuo Sung Misty Mountain Ink and color on paper 1999 Provenance: This painting is to be sold with a certificate of authenticity signed by artist

NT$ 140,000-180,000 HK$ 36,000-46,300 US$ 4,580-5,890 116 JSL 2018 AUTUMN AUCTION

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2094

余承堯（1898-1993）草書李白二絕句紙本墨書鏡框 1990 釋文：故人西辭黃鶴樓，烟花三月下揚州；孤帆遠影碧空盡，唯見長江天際流。誰家玉笛暗飛聲，散入東風滿洛城；此夜曲中聞折柳，何人不起故園情。款文：庚午夏日書李白二絕句。余承堯

YU Chen Yao Calligraphy Ink on paper 1990

NT$ 200,000-300,000 HK$ 51,500-77,200 US$ 6,540-9,810

鈐印：余承堯印（白文） 53×111 cm（20.8×43.7 in.）

117

王天德1960年生於上海，1988年畢業於浙江美術學院（現中

Born in Shanghai in 1960, Wang Tiande is one of the most

國美術學院）中國畫系。2002年在巴黎期間，王天德偶然因為

innovative calligraphers in China: Graduated from Chinese

煙頭掉落宣紙上，引起畫面意外的燃蝕效果。此一場景讓他靈

Painting Department at the Zhejiang Academy of Fine Arts

機一動，進一步發展為創作手段；從此，為水墨藝術揭開了另一

in 1988. Wang’s art is a serious meditation on the precarious

新的空間維度。2012年，王天德雖然繼續以香燒燙書法和水墨

relation between permanence and fleeting efflorescence,

山水，作品形制卻出現了新的轉變。他在山水畫面的上下或左右

between the material and the immaterial, between past

兩側，拼接了歷史碑石的拓印，甚至拿原碑一起並置。此一發展

and present, between tradition and contemporaneity.

肇因於他稍早在蘇州地區蒐集了一些可以上溯至明清時期的碑石

He started to create his Digital series when he was on an

拓片，不僅提供他進一步的創作靈感，更幫助他找到彌合文化斷

artist’s residency in Paris in 2002. His direct encounter with

裂，重新對接傳統的途徑。其作品被紐約大都會博物館、波士頓

contemporary art, especially conceptual art in Paris not

美術館、香港藝術館、上海美術館、廣東美術館、深圳美術館、

only inspired him to new approaches in his own work but

JP Morgan Bank等藝術機構收藏。

also further convinced him of his love for the language of ink. In the Digital series Wang Tiande paints landscapes and calligraphies xuan paper and then enriches the images with buring cigarette. Rich in form and content, this series goes beyond any boundaries dividing painting and calligraphy.

2095

王天德（b. 1960）數碼 No 12-MHST004 石碑拓片、宣紙、皮紙、墨、焰 2012 簽名左方：Wang Tiande 王天德 2012 69×59.5cm (27.1×23.4 in.)

WANG Tian De Digital No 12-MHST004 Stele rubbings, Xuan paper, Chinese ink on paper, burn marks 2012 Signed left side: named Wang Tiande, dated 2012. Literature:

出版：

Leisure Art Company, Gu Shan-Wang Tiande Solo Exhibition,

悠閒藝術有限公司，《孤山-王天德個展》，台北，2012，頁

Taipei, Taiwan, 2012, P. 22, 23

22、23。 NT$ 500,000-600,000 HK$ 128,700-154,400 US$ 16,350-19,620

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119

120 JSL 2018 AUTUMN AUCTION

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2096

林飛龍（1902-1982）依偎在一座乾燥的房子邊蝕刻版畫（38/175） 1975 簽名內頁：Wilam 39×56 cm (15.3×22 in.) 拍品為林飛龍為勒內．夏爾（René Char，1907-1988）繪製的版畫插圖書。書內附有9張林飛龍製作的蝕刻版畫，限量 175份。勒內．夏爾是一名法國詩人，於1928年出版了自己的首部作品。在他的一生中，與眾多藝術家交往密切，其詩歌常常伴隨藝術家的作品一起呈現，如康定斯基、畢卡索、馬蒂斯等。

LAM Wifredo Contre une maison sèche etchings (38/175) 1975 Signature inside: Wilam

NT$ 90,000-150,000 HK$ 23,200-38,600 US$ 2,940-4,910 121

20 世紀現代雕塑大師 20世紀是一個藝術多元化的時代，立體派、表現派、未來派、

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

超現實主義等各種思潮和流派不斷產生並影響整個世界。羅丹為

收藏。自1954年起，阿曼便在世界各地舉辦展覽，包括：1975

傳統雕塑藝術劃了一個句號。此後，西方雕塑進入一個新的時

年「阿曼：1971-1974年武裝物品」，巴黎；1991年「阿曼雕

代——現代雕塑時代。雕塑家們企圖擺脫古典雕塑的束縛，追求

塑展」，東京；1992年「阿曼：1955-1991年回顧展」，紐

新的觀念和價值，並採用新的表現形式。強調感性和主觀內在的

約；1996年「國際大師雕塑：阿曼」，台中；2000-2001年

精神表現，注重精神層面，以抽象和半抽象代替具象，認為藝術

「阿曼：紙上作品」，科布倫茨；2001-2002「阿曼：橫越物

只是有意味的形式。現代藝術是傳統藝術發展的必然，也是現代

體間」，佛羅里達州；2003年「阿曼：阿曼」，伊朗；2006年

社會在藝術家精神上反映的產物。代表人物如薩爾瓦多．達利、

「給阿曼的稱頌」，紐約；2010-2011年「阿曼」，巴黎。

菲利普．伊其理、與阿曼．費爾戴儂。伊其理被譽為“法國五大雕塑家”之一。法國藝術家和設計達利1904年出生於西班牙東北部加泰隆尼亞，為超現實主義的

師，以特殊造型的家具和雕像聞名。出生於1925年生於法國巴黎

代表藝術家。在近代藝術史的地位上與畢卡索、米羅齊名，為西

蒙馬特。1945首先前往奧爾良美術學院就讀，1948接著就讀並

班牙近代藝術三大代表人物。達利的作品充滿活力、加上意想不

畢業於巴黎國立高等美術學院。伊其理擅長用金屬，如鐵、鋼、

到的變形，其特殊的創作風格描繪出不可思議的超現實世界早已

黃銅等媒材進行雕塑創作。在他作品中，可見「形式與混合符號

獨樹一格。達利的創作領域極為寬廣，如：繪畫、雕塑、建築、

對照」的特色，常見的元素有女體、摩登設計感、昆蟲外觀和性

文學、編劇、導演皆有精采演出，其中雕塑無疑是達利作品中最

隱喻，他的作品常被歸類於超現實主義之作。即便他從未完全同

具代表性的藝術創作。

意超現實主義與抽象主義。

Lot2097《太空象》體現了達利特有的象徵手法，此手法於

受到太平洋與非洲原始藝術的啟發，伊其理本身也是原始藝術

1946年所產生，當時達利創作了他最著名的作品之一《聖安東尼

的收藏家，尤其是Kanak的面具，風靡60年代的歐美藝術、媒體

的誘惑》。達利創造了一個大象在埃及沙漠中的形象，大象上面

界，前往美國的伊其理，成為紐約藝術圈的新寵，醉心於作品中

有一個方尖碑，象徵著現代世界中技術的存在和進步。四隻大象

簡單純粹的線條，他的作品被許多博物館以私人藏家所收藏。受

的腿有如蜘蛛一般，象徵著慾望、藝術、美麗、力量、娛樂和知

洛克菲勒基金會的讚賞。伊其理於2013年逝世於法國，可說是

識。就這個雕塑而言，達利強用反差、失重的結構和對比，完成

二十世紀後半葉最重要的創作家之一。

這個奇妙的超現實主義生物，穿越太空朝向天堂，象徵奇幻的飛行，目的地是前往一個令人著迷和超現實主義的宇宙。

Lot2099《格特魯德》，約於1985年完成，受原始藝術影響的伊其理，使用簡單的線條，塑出女性的弧線和形象，此作中主要

阿曼．費爾戴儂1928年生於法國尼斯，曾就讀於尼斯國立裝

的媒材為金屬，伊其理認為金屬能賦予生命力，能扭轉延展，具

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

有無限可能。金屬的光澤，十分溫潤有層次。而此二件作品中或

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

摸頭或張腿的動作使得此作更富趣味性。

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

Lot2097 122 JSL 2018 AUTUMN AUCTION

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Lot2099

Lot2100

20th Century's Modern Sculpture The 20th century is a period of multiple art. Many

national flags to be placed in a palace. Arman's works are

trends and streams influence the world, such as Cubism,

in the collections of international museums such as the

Expressionism, Futurism, and Surrealism. Rodin is a turning

Metropolitan Museum of Art in New York, the Tate Gallery

point through the sculpture’s history. Since then, western

in London and the Centre Pompidou in Paris. Since 1954,

sculpture has entered a new era - modern sculpture.

Arman had held numerous exhibitions worldwide, including

Sculptors attempt to get rid of the boundaries of classical

1975 "Arman: Objets Armés 1971-1974", Paris; 1991 "Arman

sculpture, pursue new ideas and values, and adopt new

Sculpture", Tokyo; 1992 "Arman 1955-1991: Retrospective",

forms of expression. Emphasizing the emotional and

New York; 1996 "Arman: The exhibition of International

subjective inner spiritual manifestation, focusing on the

Sculpture Master", Taichung; 2000-2001 "Arman: Werke auf

spiritual level, replacing the figurative with abstract and

Papier", Coblenz; 2001-2002 "Arman: Through and Across

semi-abstract, and considering art as a meaningful form.

Objects", Florida; 2006 "A Tribute to Arman", New York and

Modern art is the inevitable development of traditional art

2010-2011 "Arman", Paris.

and the product of modern society reflected in the spirit of the artist. There are some 20th century sculptors such as Salvador DALI, Philippe Hiquily, Arman FERNANDEZ, and so on.

Hiquily can be considered as five of greatest sculptors in France. Hiquily was a French artist and designer known for biomorphic furniture and sculptures. He was able to combine modernist design, insect physiognomy, and human

Dali was born in 1904 in Figueres, Catalonia in Spain, he

sexuality, to produce unique Surrealist works. Born on March

was referred to the most vigorous artist of the 20th century.

27, 1925 in Paris, France, he attended the École des Beaux-

He was one of the three Spanish artists, besides Pablo

Arts in Orléans and later the École Supérieure des Beaux Arts

Picasso and Joan Miro to share the same importance in the

in Paris. In Paris, Hiquily mingled with prominent artists.

art history. Dali’s unique techniques not only challenged the traditional view, his works were avant-garde. Dali’s expansive artistic repertoire included painting, sculpture, literature, chorographer, film, etc., and sculpture was among the most significant works among all.

In 1959, he received the Critic’s Prize for his sculpture at the Paris Biennial. That same year, he showed work at New York-based gallery The Contemporaries, where he met the American artist Robert Rauschenberg. His works are held in the collections of The Museum of Modern Art in New York,

The Lot 2097 “Space Elephant”, based on the elephants

the Centre Georges Pompidou in Paris, and the Museum

in the painting, Dalí maintains the almost invisible spindle

of Contemporary Art in Montreal. Hiquily died on his 88th

like legs emphasizing the contrast between robustness and

birthday on March 27, 2013 in Villejuif, France. Hiquily

fragility, and contrasting the idea of weightlessness with

among the great creators of the second half of the 20th

structure. This fantastically surreal creature, moving through

century.

space towards the heavens, symbolizes a flight of fantasy to a mesmerizing and surrealistic universe.

Lot 2099 “Gertrude” was finished by 1985. Influenced by prominent art, Hiquily use simple line to create female’s

Born in 1928 in Nice, France, Arman studied at the Ecole

curve and image. The main material is metal. Hiquily believes

Nationale des Arts Décoratifs in Nice and the Ecole du Louvre

that metal has to power to give live, it can be twisted or

in Paris. He was strongly influenced by Dadaism and Pop Art,

extended. Metal has infinite possible. The metallic luster of

and was a co-founder of Nouveau Réalisme (New Realism).

Hiquily’s art works are warm and stratified.

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

123

2097

Salvador DALI

薩爾瓦多．達利（1904-1989）

Space Elephant Bronze lost wax process (312/350) 1980

太空象青銅失蠟工藝雕塑（312/350） 1980 簽名側邊：Dali、312/350 44×22×84 cm (17.3×8.6×33 in.)

Signed side: named Dali, Numbered (312/350). Provenance: Collector purchased from Modern Art Gallery

來源：原收藏者購自現代畫廊 NT$ 300,000-350,000 HK$ 77,200-90,100 US$ 9,810-11,450

124 JSL 2018 AUTUMN AUCTION

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2098

阿曼．費爾戴儂（法裔美籍，1928-2005）維納斯鐵雕塑（39/80） 2001 簽名下方：arman 39/80 19×19×65 cm (7.4×7.4×25.5 in.)

Arman FERNANDEZ Venus A Cordes Iron (39/80) 2001 Signed lower right: name arman, numbered (39/80).

NT$ 260,000-380,000 HK$ 66,900-97,800 US$ 8,500-12,430 125

2099

菲利普．伊其理（1925-2013）格特魯德青銅鴕鳥蛋雕塑（EA 1/4）簽名台座：Hiquily（正面）、 bocquel Fd. EA 1/4（背面） 37×24×112 cm (14.5×9.4×44 in.) 來源：原收藏者購自現代畫廊

Philippe HIQUILY Gertrude Bronze and ostrich egg (EA 1/4) Signature on pedestal: Hiquily (Front), bocquel Fd. EA 1/4 (Back) Provenance: Collector purchased from Modern Art Gallery

NT$ 180,000-220,000 HK$ 46,300-56,600 US$ 5,890-7,200 126 JSL 2018 AUTUMN AUCTION

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2100

菲利普．伊其理（1925-2013）西爾維亞青銅雕塑（EA 1/4）簽名台座：Hiquily（正面）、 bocquel Fd. EA 1/4（背面） 19×16×55 cm (7.4×6.2×21.6 in.) 來源：原收藏者購自現代畫廊

Philippe HIQUILY Sylvia Bronze (EA 1/4) Signature on pedestal: Hiquily (Front), bocquel Fd. EA 1/4 (Back) Provenance: Collector purchased from Modern Art Gallery

NT$ 120,000-160,000 HK$ 30,900-41,200 US$ 3,920-5,230 127

楊英風是臺灣乃至於世界知名的景觀雕塑與環境造型藝術專家。楊英風先後就讀於日本東京美術學校（現國立東京藝術大學）建築系，師事朝倉文夫（雕塑大師羅丹，於日本的學生）、北京輔仁大學美術系、國立臺灣師範大學美術系，其後負笈羅馬藝術學院專攻雕塑，學習近代西方藝術，學習歷程經由北平、東京、臺北、羅馬等地之遊歷，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。而後窮其一生致力於調和建築與環境的景觀雕塑。六○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。畢生創作超過六十載，舉辦大小型個展、聯展數十次。 1970年，楊英風應葉公超先生的委託，以象徵中華文化的「鳳凰來儀」大型雕塑，在日本大阪萬國博覽會一舉揚名國際。古代中國，在黃河下游的東夷民族，長期遙望東方海面昇起的太陽，像一隻看不到眼睛的大鳥，隨著一天的進行，熱烈的燃燒；傍晚時，在西方的山嶺，火盡鳥亡，但第二天，浴火重生，又是一隻美麗的生命。這種循環不已的自然現象，就衍生出「拜鳥」的人文信仰，「鳳凰」正是這種拜鳥民族的圖騰。楊英風說：「鳳凰的夢想，不是今天才有的，雖然幾千年來它總是屬於中國人想像空間的存在，然而不可否認的是：它已在年代久遠的存在中，經過中國人敬愛的智慧滋補，被塑造成一個有形體有生命的自然物。在這個形體上凝聚著單純有力，絕對自然稱讚人間的，它是自然與人類之間的信使和橋樑。在這種溝通所完成的意義中，深深的表現為人的小自然要投入為宇宙的大自然中，與之結合的慾望。」Lot2101《鳳凰來儀（二）》藉由中國傳統剪紙與紙雕的技法，將原本笨重的不銹鋼媒材，型塑成輕盈飛揚的鳳凰意象，轉身的姿態與鳳毛飄揚的風采，在具象與抽象之間，相互輝映而變化多端。

YANG 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 medal in painting and a silver medal in sculpture at Olympiad. In 1970, under Yeh Kung-chao's commission, exhibiting the big sculpture ‘Advent of the phoenix’ to symbolize Chinese Culture in Japan Osaka's exhibition and YANG became well known. In ancient China, the Donyi-people of the Yellow river's downstream, they look at the sun rises across the east coast. Like a gigantic bird without eyes. As the day goes by, it burned, at the evening, the fire burned and the bird died at southern mountain. On the other day, the bird was reborn as a beautiful living creature again. The circulation of the phenomena became believe of ‘Worshiping the bird’. Phoenix is the totem of this kind of people. Lot 2101 ‘Advent of the phoenix 2’ by Chinese traditional cutting and craving, turned the heavy stainless steel medium into the light and fly signification of phoenix. The gesture of turning and the feather's glow, between the abstract and figurative, reflects the change.

NT$ 1,400,000-1,800,000

1970年於大阪萬國博覽會現場的「鳳凰來儀」

HK$ 360,400-463,300

（尺寸：700×900×600 cm）

US$ 45,790-58,870

2101

楊英風（1926-1997）

YANG Yu Yu Advent of the Phoenix II

鳳凰來儀（二）不鏽鋼雕塑（5/10） 1970 簽名：英風 '70 大阪 5/10 67×60×95.5 cm (26.3×23.6×37.5 in.)

Stainless steel (5/10) 1970 Signed: named Ying Feng in chinese, dated '70, located Osaka in chinese, numbered (5/10). Provenance:

來源：

附財團法人楊英風藝術教育基金會保證書

Certificate of Authenticity issued by Yuyu Yang Art Education

出版：

Literature:

楊英風藝術教育基金會，《大氣．遇合：楊英風》，臺北市，

Yuyu Yang Art Education Foundation, Minds Collided: YU YU

2012，頁78。

YANG, Taipei, Taiwan, 2012, P. 78

藝術家出版社，《楊英風全集第一卷》，台北，2005，頁

236。

128 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

Foundation

Artist Publishing Co., Yuyu Yang Corpus, Taipei, Taiwan, 2005, P. 236

129

1967年，楊英風於花蓮大理石工廠擔任顧問期間，深深感動

In 1967, while YANG was the consultant at Hualien marble

於太魯閣壯闊奇險的千巖萬壑，加上大理石工廠機具切割石材的

Factory, deeply moved by Taroko's spectacular landscape,

靈感，便創作一系列的「太魯閣山水」。Lot2102《水袖》以京

plus the marble factory's rock cutting inspiration of the

劇的水袖舞動為題，太魯

machine, it became the series of ‘Taroko's Landscape’

閣山水的氣勢為型，將雄

The Lot 2102 Putting the tremendous landscape and the

渾的山水境界與水袖神逸

moving of the water sleeve together. The radial line shape

的律動交融，放射狀的線

is the wrinkle of the earth as the waving sleeve in Peking

條，是大地的歲月皺褶，

Opera. For memorizing the sculptor master YANG yuyu who

如同京劇中水袖舞動中的

had passed away 21 years, in 2018, YANG yuyu education

雲水風紋，剛柔並濟，自

association spent more than three years, visiting and

信而豪邁。為紀念雕塑大

shooting YANG's places and school in Yilan, Taipei, Peking,

師楊英風逝世21週年，

Tokyo. Understanding YANG's personal life and creation as a

2018年，楊英風藝術教育

different angle, making the TV documentary, publishing in

基金會費時三年以上，走

October 24th by Chinese Television Service.

訪並拍攝楊英風在宜蘭、台北、北京、東京等地的故居學校，以不同的全新視角，了解藝術家的工作生活和創作，製作電視紀錄片，於10月24日發表，由中華電視公司播出。

自1997年設置於台北火車站前之「水袖」。（尺寸：350×330×150 cm）

2102

楊英風（1926-1997）

YANG Yu Yu Moving Sleeve

水袖銅雕（21/30） 1972 簽名：英風 '72 台北 21/30 67×33×75 cm（26.3×12.9×29.5 in.）

Bronze (21/30) 1972 Signed: named Ying Feng in chinese, dated '72, located Taipei in chinese, numbered (21/30). Provenance:

來源：

附財團法人楊英風藝術教育基金會保證書出版：楊英風藝術教育基金會，《大氣．遇合：楊英風》，臺北市， 2012，頁63。中華大學藝文中心，《宇宙．常新楊英風景觀藝術展》，新竹市，2010，頁9。正因文化，《天地永恆：雕塑藝術家楊英風》，台北，2009，頁 41。香柏樹文化科技股份有限公司，《台灣名家美術：楊英風》，臺北市，2009，頁35、封底。高雄市立美術館，《楊英風：站在鄉土上的前衛》，高雄市， 2006，頁147。藝術家出版社，《楊英風全集第一卷》，台北，2005，頁 230。台北市立美術館，《楊英風》，臺北市，2005，頁95。雄獅圖書股份有限公司，《景觀．自在．楊英風》，台北， 2004，頁119。國立歷史博物館，《楊英風─六一~七七年創作特展》，台北， 2000，頁94。（彩色圖版）

Certificate of Authenticity issued by Yuyu Yang Art Education Foundation Literature: Yuyu Yang Art Education Foundation, Minds Collided: YU YU YANG, Taipei, Taiwan, 2012, P. 78 Chung Hua University Art Center, Universe. Chang Xin: YU YU YANG Landscape Art Exhibition, Hsinchu, Taiwan, 2010, P. 9 Chengyin Culture, Eternity of Heaven and Earth: Sculptor YuYu Yang, Taipei, Taiwan, 2009, P. 41 Xianboshu cultural technology corporation, 100 Years Taiwan Artists: YU YU YANG, Taipei, Taiwan, 2009, P. 35, the back of the cover Kaohsiung Museum of Fine Arts, Yuyu Yang: vanguard on native soil, Kaohsiung, Taiwan, 2006, P. 147 Artist Publishing Co., Yuyu Yang Corpus, Taipei, Taiwan, 2005, P. 230 Taipei Fine Arts Museum, Yu Yu Yang, Taipei, Taiwan, 2005, P. 95 Hsiung Shih Publishers, Landscape Contentment - Yang YingFeng, Taipei, Taiwan, 2004, P. 119 National History Museum, Exhibition of Yuyu Yang's Art from 1961-1977, Taipei, Taiwan, 2000, P. 94 (color illustrated)

NT$ 1,100,000-1,300,000 HK$ 283,100-334,600 130 JSL 2018 AUTUMN AUCTION

US$ 35,980-42,520 ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

131

JU Ming 朱銘1938年出生於苗栗通霄。15歲時，從李金川師傅學習傳

呈現閩南婦人的傳統情懷，以及農間的純樸體態。如果我們要對

統廟宇的雕刻與繪畫，開啟雕刻生涯。30歲拜入臺灣雕塑界大師

朱銘的藝術尋根溯源，這種「文人雕刻」大概是最恰當的答案。

楊英風門下，朱銘融合傳統木雕與現代雕塑精神，逐漸發展出超

朱銘把材料本身的美術內涵發揮的淋漓盡致，一如天機之被點

越兩者的獨特風格。在楊英風門下八年，朱銘逐步掌握了藝術的

破。不論材料是銅是木，是陶還是保麗龍板，朱銘皆善於利用材

本質，更奠定他在藝壇的位置。

料的特性，發揮他的藝術意義。可謂人與物皆大歡喜。即使造型受題材（人像）限制的「人間」系列，我們仍可看出造型因着木

「人間系列」是朱銘在1980年暫別臺灣並踏出國際，於美國發展出的一系列作品，本系列反映朱銘對俗世人間形色人物的觀

塊的天然紋路隨機應變。那種從朱銘作品中透露的力量，大概就是天地間的精氣吧，朱銘只是把它借藏在他的作品中。

察和呈現。朱銘將木塊切鋸分割，如同幾何化量塊的人物體態造形，再以顏料局部彩繪表現服飾、配件和髮型，約略簡化的形體

在臺灣，2003年朱銘獲頒名譽藝術博士學位。除了來自學界的

因為體積、色彩、線性輪廓樣貌，反而使角色呈現個別化的明顯

肯定之外，2004年獲得行政院文化獎，為臺灣政府對文化界人士

特徵，一眼便能明瞭角色性別、年齡、與身分結構，相較於「太

所頒發最高榮譽獎項的終身成就獎。他的成就不僅受到國內的肯

極系列」的大開大闔顯得柔軟敦厚，樸拙木雕造形上的色彩自由

定，更在2007年獲得福岡亞洲文化獎藝術文化獎。而至今「藝術

而繽紛，更添幾分人間溫情的觀照。Lot2103、Lot2104《人間

即修行」，是朱銘的美學體悟，更是他的人生信仰。

系列》婦人閒坐姿態，這是在家鄉情節中令人熟悉的暖意，服飾

2103 JU Ming

朱銘（b.1938）

Living World Series

人間系列

Woodcarving 2003

木雕 2003

Signed lower: named Ju Ming in Chinese, dated 2003.

簽名底部：朱銘 2003 20.5×13×29.7 cm (8×5.1×11.6 in.)

Provenance: With a certificate of authenticity issued by Lee Chi Creativity Co

來源：附李記創意股份有限公司保證書備註：不含底座 NT$ 300,000-500,000 HK$ 77,200-128,700 藝術家簽名處 132 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

US$ 9,810-16,350

133

2104

朱銘（b.1938）人間系列木雕 2004 簽名底部：朱銘 2004 18.5×11.5×31.5 cm（7.2×4.5×12.4 in.）來源：附李記創意股份有限公司保證書備註：不含底座

JU Ming Living World Series Woodcarving 2004 Signed lower: named Ju Ming in Chinese, dated 2004. Provenance: With a certificate of authenticity issued by Lee Chi Creativity Co

NT$ 300,000-500,000 HK$ 77,200-128,700 US$ 9,810-16,350

藝術家簽名處 Born in Miaoli in 1938, Ju Ming was mentored by Lee King

that his work may be seen. In his work the aesthetic potential

Chuan, an artisan specialized in ancient temple sculptures

of the material is brought to a natural fulfillment, whether

and paintings. At the age of thirty, he transferred to Yang

it be bronze or wood, ceramic or foam rubber. Even in the

Yuyu, the specialist in Taiwan sculpture field. By fusing the

more figurative pieces, the Living World series, one may

traditional woodcarving and modern carving, he established

sense the living grain of the wood gently dictating sculptural

his signature style like no one. JU has built up a solid

form. The sense of monumental power central to Ju Ming's

foundation for his legendary artistic career under Yang

work may be interpreted as one borrowed from nature, the

yuyu's teaching for eight years. In general, his creation can

artist being collaborator only.

be divided into three series, which are ‘Traditional Craft’, ‘Tai Chi’ and ‘Living World’. ‘Living World’ is the work after JU go to U.S. and develop to another series. This series reflects the observation on human. At the year of 1980, Ju left Taiwan to America to seek for a broader horizon. His time in The Melting Pot helped him excavate humanity deeper and reflect it through

Apart from his artistic achievement, Ju planted the seed of art in the soil of Taiwan with the grand inauguration of his masterpiece, the Ju Ming Museum. Five years after the opening of museum, ‘Living World Series' grew in full bloom with the accomplishment of ‘Living World Series- Country's Army’.

‘Living World’ series. Multiple materials from clay, sponge,

In Taiwan, his reputation inclined even higher after

bronze to stainless steel had also been experimented on

awarded the Honorary Doctorate of Arts and a lifetime

‘Living World’ series. Since then, Ju's reputation spread

achievement award from the National Executive Institute.

widely toward Singapore, Hong Kong, United Kingdom, Japan

Not even mention the Art and Culture Award from Fukuoka

and French. Tracing the spirit of Ju Ming's art to its source,

Asia Culture Award in 2007. For all these years, he counts on

it is apparently against this background of literati aesthetics

art as the premium reliance of life.

134 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

135

2105

KAWS（布萊恩．唐納利）（b.1974） KAWS大集合（七件一組）立櫃尺寸：151×50×38 cm (58.5×19.6×14.9 in.) 備註：附原包裝盒

KAWS (Brian Donnelly) KAWS Big Collection (Set of 7) NT$ 380,000-400,000 HK$ 97,800-103,000 US$ 12,430-13,080

BAPE×OriginalFake a.Dissected Milo（黑、白、棕）

c.原子小金剛（彩色）

綜合媒材搪膠雕塑 2011

綜合媒材搪膠雕塑 2012

限量500件

限量300件

註冊商標：

註冊商標：MEDICOM TOY、2012、CHINA（右腳底部）

©Tezuka Productions、Designed by KAWS（左腳

2011、CHINA（底部）

底部）

16×11×18.5 cm (6.2×4.3×7.2 in.)

14×16×38 cm (5.5×6.2×14.9 in.) 展覽：2017年3月28日-8月13日，《KAWS：始於終點》，余

BAPE×OriginalFake

德耀美術館，上海，另一版次。

Dissected Milo (Black, White, Brown)

備註：彩色：原子小金剛漫畫連載60周年紀念

Multiple, vinyl, with original case 2011 Edition of 500

Astro Boy(Color)

Multiple, vinyl, with original case 2012 Edition of 300 Trademark: MEDICOM TOY、2012、CHINA (R) ©Tezuka Productions、Designed by KAWS (L) Exhibition:

b.BFF（粉紅、藍、黑）

2017 March 28 - August 13, KAWS: WHERE THE END

綜合媒材搪膠雕塑（藍、黑）2017 （粉紅）2018 （藍、黑）註冊商標：KAWS..17 OPEN EDITION（右腳底部） MEDICOM TOY CHINA（左腳底部）（粉紅）註冊商標：KAWS..18 OPEN EDITION（右腳底部） MEDICOM TOY CHINA（左腳底部） 33×14.5×9 cm (12.9×5.7×3.5 in.)

BFF (PINK, MoMA EXCLUSIVE, BLACK EDITION) Vinyl, multiple (Blue and black) 2017 (Pink) 2018 (Blue and black) Trademark: KAWS..17 OPEN EDITION (R) MEDICOM TOY CHINA (L) (Pink) Trademark: KAWS..18 OPEN EDITION (R) MEDICOM TOY CHINA (L)

136 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

STARTS, Yuz Museum, Shanghai, China, another edition

137

2106

奈良美智（b.1959）失眠夜（坐著）綜合媒材 2007 限量300件 15×17×28 cm (5.9×6.6×11 in.) 來源：源自海外私人收藏備註：附原包裝盒

Yoshitomo NARA Sleepless Night (Sitting) Mixed Media 2007 Edition of 300 Provenance: Private overseas collection

NT$ 1,700,000-2,200,000 HK$ 437,600-566,300 US$ 55,600-71,950

奈良美智出生於1959年的日本青森縣弘前市，他所成長的年代，正逢日本社會經歷二戰戰敗，西方文化在此時的日本，激起

良美智所畫的是他童年的回憶，2001年過後，開始體認自身對社會的影響，追求階段性的突破。

與日本傳統違和的矛盾感，伴隨Nara成長的是黑膠搖滾唱片、國外的畫冊與繪本。1987年於日本愛知縣立藝術大學畢業，取得碩

奈良美智的創作跨越不同媒介，從明信片、畫布到雕塑作品，

士。之後遠赴德國杜塞道夫藝術學院留學，並於1993年完成其學

美智所創作的人物，總是有著不成比例的大頭。露出玩事不恭、

業。在德國生活了12年，直至2000年才回到日本。2001年，他

反骨的表情。Lot2106《失眠夜（坐著）》的主角也是如此，奈

在日本橫濱美術館舉辦的個展，「我不介意你忘了我」（I don't

良美智彷彿喚起每個人心中的那個小孩，溫柔靜謐的外表下，仍

mind If you forget me）大獲好評，面對外界突如其來的關注，

然不畏世俗的發聲之情，呈現時下青年兼具順從與抗拒的雙面心

奈良美智有一種從地下樂團變成主流樂團的感覺。2001年前，奈

態，是如此讓人沉默而又顯露於世。

Yoshitomo Nara, born in Hirosaki, a village located in the

praised. Suddenly became “famous”, Nara felt like a

northern prefecture of Aomori, Japan in 1959. It was the

underground group pop into mainstream. Before 2001,

time after the failure of the second world war for Japan.

Nara's painted his childhood memories. After 2001, Nara

In his teens, Nara listened to rock and roll records and read

began to think his impact on society, try to make a break

many Art album and children's book from western country.

through. Nara's creations in different media, from postcards,

At that time, Western culture were deeply involved in Japan,

canvases to sculptures. Nara's artwork primarily features

it has aroused the cultural stimulation and contradiction.

depictions of children with oversized heads, in a style directly

After obtaining a Masters in Fine Arts from Aichi Prefectural

influenced by children's book illustrations. His children are

University of Fine Arts and Music in Nagoya, Japan in 1987,

often sullen and angry, imbued with the angst and rebellion

Nara moved to Germany to study at the Kunstakademie

of Nara's Punk rock influence. Nara's work spans a diverse

Düsseldorf from which he graduated in 1993. Until 2000,

range of media, from postcards to canvas paintings to three-

Nara continued to live and work in Germany before returning

dimensional sculptural works, and has acquired a cult-like

to Japan.

following as varied as his methods. Lot2106 ‘Sleeping Night

In 2001, Nara's solo exhibition at the Yokohama Museum of Art in Japan, "I don't mind if you forgot me", was highly 138 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

(sitting)’. Nara recalls the children deep inside every one's soul.

139

奈良美智房間原畫

2107

奈良美智（b.1959）

Yoshitomo NARA Banging the Drum

打鼓版畫（6/50） 2002 簽名下方：6/50 な ' 2002 38×27 cm (14.9×10.6 in.)

Print (6/50) 2002 Signed lower: numbered (6/50), named, dated. Literature: Northern China Women & Children Publishing House,

出版：

YOSHITOMO NARA DRAWING FILE, China, 2011

北方婦女兒童出版社，《奈良美智．橫濱手稿Drawing File》，中國，2011年。

NT$ 200,000-280,000

備註：奈良美智房間原畫附圖

140 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

HK$ 51,500-72,100 US$ 6,540-9,160

2108

奈良美智（b.1959）給畫廊的一封信版畫（8/50） 2002 簽名下方：8/50 な ' 2002 37.5×26.8 cm (14.7×10.5 in.)

Yoshitomo NARA A Letter for Gallery Print (8/50) 2002 Signed lower: numbered (8/50), named, dated. Literature: Northern China Women & Children Publishing House,

出版：

YOSHITOMO NARA DRAWING FILE, China, 2011

北方婦女兒童出版社，《奈良美智．橫濱手稿Drawing File》，中國，2011年。備註：奈良美智房間原畫附圖

NT$ 200,000-280,000 HK$ 51,500-72,100 US$ 6,540-9,160 141

2109

奈良美智（b.1959）奈良美智大集合立櫃尺寸：151×50×38 cm (58.5×19.6×14.9 in.)

Yoshitomo NARA Yoshitomo NARA Big Collection NT$ 320,000-400,000 HK$ 82,400-103,000 US$ 10,470-13,080

備註：共13件附原包裝盒 01.夢遊娃娃 PVC（聚氯乙烯） 2003 The Little Wanderer PVC (Polyvinyl chloride) 2003 02.小森子複合媒材 2012

08.N's YARD限定和平狗茶葉罐 N's YARD Peace Dog Tea Ceremony Canister 09.PLASTiSKOP（紅、橙、黃、綠、藍、粉，六件）塑膠

Little Mori Girl Mixed media 2012

2007

備註：限量1,000件，由小山登美夫畫廊（Tomio Koyama

PLASTiSKOP (Red, orange, yellow, green, blue, pink, Set of

Gallery）為奈良美智發行。 03.Walk On翻頁時鐘（藍色）塑膠外殼石英鐘 2001 Flip Clock Walk On (Blue) Ｐlastic case, quartz clock mechanism 2001

10.狗狗書架陶瓷 2002 Puppy Bookends Glazed ceramic 2002 11.美術出版社，《美術手帖：奈良美智特集》，東京，2000年

04.N's YARD限定森子蠟燭蠟 N's YARD Yoshitomo Nara Candle 05.我可愛的狗複合媒材 2005 My Sweet Dog Mixed media 2005 06.小狗咖啡杯 PVC（聚氯乙烯） 2003 Pup Cup PVC (Polyvinyl chloride) 2003 07.青森犬磁力名片夾 PVC（聚氯乙烯）磁鐵 Aomori-Ken PVC (Polyvinyl chloride), magnet

142 JSL 2018 AUTUMN AUCTION

6) Plastic 2007

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

7月號。 Bijutsu Shuppan-Sha CO. LTD., Art hand: Yoshitomo NARA, Tokyo, Japan, July 2000. 簽名封面：な 2000 東京 12.筑摩書房，《奈良手記》，東京，2001。 Chikumashobo, NARA NOTE, Tokyo, Japan, 2001. 13.角川書店，《很深很深的水坑》，東京，1999。 KADOKAWA, In the Deepest Puddle, Tokyo, Japan, 1999.

143

2110

草間彌生（b.1929）

Yayoi KUSAMA A Pumpkin (BY)

南瓜（BY）絲網版畫（32/120） 2004 簽名下方：32/120 A Pumpkin (BY) 2004 Yayoi Kusama 27×32.5 cm (10.6×12.7 in.)

Screenprint (32/120) 2004 Signed lower: numbered (32/120), titled, dated, named. Literature: ABE Publishing Ltd., YAYOI KUSAMA PRINTS 1979-2011,

出版：

Tokyo, Japan, 2011, illustrated, No. 319, P. 184

阿部出版株式會社，《草間彌生全版畫：1979-2011》，草間彌生著，東京，2011，圖版319，頁184。

NT$ 240,000-300,000 HK$ 61,800-77,200 US$ 7,850-9,810

144 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2111

草間彌生（b.1929）跳舞南瓜（YBL）絲網版畫（71/120） 2004 簽名下方：71/120 ダンスかぼちゃ YBL 2004 Yayoi Kusama 39.5×56.5 cm (15.5×22.2 in.)

Yayoi KUSAMA Dancing Pumpkin (YBL) Screenprint (71/120) 2004 Signed lower: numbered (71/120), titled, dated, named. Literature: ABE Publishing Ltd., YAYOI KUSAMA PRINTS 1979-2011,

出版：

Tokyo, Japan, 2011, illustrated, No. 320, P. 185

阿部出版株式會社，《草間彌生全版畫：1979-2011》，草間彌生著，東京，2011，圖版320，頁185。

NT$ 350,000-500,000 HK$ 90,100-128,700 US$ 11,450-16,350

145

2112

草間彌生（b.1929）

Yayoi KUSAMA Hat

帽子絲網版畫（81/100） 1983 簽名下方：81/100 1983 帽子 Yayoi Kusama 45.5×52.5 cm (17.9×20.6 in.)

Screenprint (81/100) 1983 Signed lower: numbered (81/100), date, titled, named. Literature: ABE Publishing Ltd., YAYOI KUSAMA PRINTS 1979-2011,

出版：

Tokyo, Japan, 2011, illustrated, No. 21, P. 23

阿部出版株式會社，《草間彌生全版畫：1979-2011》，草間彌生著，東京，2011，圖版21，頁23。

NT$ 280,000-380,000 HK$ 72,100-97,800 US$ 9,160-12,430

146 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

NT$ 100,000-180,000 HK$ 25,700-46,300 US$ 3,270-5,890

2113

村上隆（b.1962）

Takashi MURAKAMI

Mr DOB雕塑（金黃、紅藍，兩件一組）

Mr DOB Figure( Gold-silver, red-blue, set of 2)

PVC（聚氯乙烯）雕塑金黃限量250件紅藍限量750件註冊商標：TM/KK COMPLEXCON BAIT SWITCH 23.5×27.5×19.5 cm (9.3×10.8×7.6 in.)

PVC (Polyvinyl chloride) The Gold and silver Edition limited to 250 pieces The red and blue Edition limited to 750 pieces Trademark: TM/KK COMPLEXCON BAIT SWITCH Provenance:

來源：

附作品原盒及紙箱

Attached original box and carton A limited edition Mr DOB sculpture for Japanese artist Takashi

拍品為日本藝術家村上隆與美國加州知名球鞋店鋪BAIT攜手於

Murakami and BAIT, a well-known shoe shop in California, at

ComplexCon會場推出的限量版Mr DOB雕塑。

the ComplexCon venue

備註：附原包裝盒

2114

村上隆（b.1962）魔法公主數位版畫（120/300）簽名右下：M 120/300 84×59.5 cm (33×23.4 in.) 備註：

拍品為村上隆與 COMME DES GARCONS 為慶祝時尚雜誌 VOGUE Nippon 於日本創立十週年，開幕所販售

之商店展覽「Takashi Murakami Magical Princess」紀念海報。

Takashi MURAKAMI Magical Princess Print (120/300) Signed lower right: M and numbered (120/300).

NT$ 35,000-60,000 HK$ 9,000-15,400 US$ 1,140-1,960

147

LI Chun Shan 李仲生出生於中國廣東韶關縣的書香之家。父親雖為一位法律

Born in a cultured family in Shaoguan County, Guangdong.

學者，卻擅長書畫。李仲生自小耳濡目染，課餘時便隨父親學習

LI's father is a scholar of law, LI's talented in calligraphy. LI

水墨書畫。17歲入廣州美專西洋畫科，後至上海美專繪畫研究

has immersed in art field when he was little, he studied

所。1932年便受邀加入中國油畫史上最早倡導現代醫術的美術團

ink on paper with his father. When LI was 17, LI went to

體「決瀾社」，吳大羽也是該社的成員之一，在宣言裡，社員慷

the Guangzhou Art Academy School's western painting

慨激昂地自我期勉：「用了狂飆一般的激情，鐵一般的理智，來

department, afterwards, studying in Shanghai Academy of

創造我們色、線、形交錯的世界吧！」這樣徹底標舉為了構成純

Fine Arts Painting institution for in graduate school. In 1932,

粹造型世界所以「為了藝術而藝術」的訴求，在中國美術史上史

was invited to participate the ‘Storm Society’, provoking

無前例。

the contemporary medical. Wu Dayu is one of the member.

作為中國現代美術史上第一個高喊純藝術口號的造型藝術團體，決瀾社儘管社齡五年不到，但其興起無疑代表著中國繪畫運動史二○、三○年代大躍進的最高峰。而其里程碑式的歷史地位，對後代中國美術現代化進程的啟示和影響深刻，更是不可磨滅。李仲生隨後轉往日本東京大學藝術系西洋畫科。1935年加入日本前衛美術團體-東京「黑色洋畫會」，結識南韓首位的抽象藝術家金煥基（Whanki Kim，1913-1974）、日本具體派創始人吉原治良（Jiro Yoshihara，1905-1972）。1943至1946年間任教於杭州藝專。1945年與趙無極、丁衍庸、關良、林風眠及龐薰琹等畫家參加重慶「現代繪畫聯展」。

In the declaration, the member proudly “Passion as crazy wind, Sensible as steel, let's create the world of color, line and physiques”, constructing a purely styling world as the purpose of “Create art for art” which is one of a kind in China's art's history. As the first styling Art association, yelling the slogan of the fine art, even ‘Storm Society’ has been founded not more than 5 years. It has no doubt represented the peak of the Chinese Painting's movement in 1920s and 1930s. The historical position for the progress and inspiration of Chinese Contemporary Art is influential. Graduated from Tokyo University Department of Fine Arts, Western Paintings branch, LI joined a Japan progressive art group in Tokyo called the "Black Western Painting Society", got familiar with the first abstraction artist in Korea--Whanki Kim, Japan's Gutai's fonder Jiro Yoshihara. From 1943 untill 1946, LI taught in National Hangzhou School of Art. In 1945, his works were exhibited at “Modern Painting coExhibition” in ChongQin with Zao Wou-Ki, Ding Yanyong, Guan Liang, Lin Fengmian and PANG Xunqin.

148 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

LI came to Taiwan in 1949, his artwork was exhibited at the Modern painting co-exhibition in Taipei Jhungshan Auditorium with Chu Teh-Chun, Zhao Chunxiang and other artists. LI taught at Taipei Chongshan Girls High School and National Changhua Girls Senior High School. LI's teaching is famous. ‘Eight Knights’ Ouyang Wenyuan, Huo Gang, Xiao Qin, Li Yuanjia, Chen Daoming, Wu Hao, Xia Yang and Xiao Mingxian, inspired by LI's modern painting thinking. Started the path of modern painting, created their own characters. Lot 2116

Lot 2115

Lot 2117

LI is the founder of the "Progressive Art Research Group" in Taipei 1951; his students founded the "Ton Fan Group" in 1957. LI attended the "China Modern Art Exhibition" in Italy in 1965, and acquired the golden duke award in the "Painting

1949年來台後，同朱德群、趙春翔等人參加台北中山堂現代繪畫聯展，先後任教於台北第二女子中學及彰化女中，教學不倦，許多學生慕名前往求教，其中「八大響馬」：歐陽文苑、霍剛、蕭勤、李元佳、陳道明、吳昊、夏陽及蕭明賢，都受李仲生現代繪畫思想之啟迪，開始現代繪畫摸索之路，建立各自風格特

Educational category" presented by Taiwan Painting Society in 1982. In 2005 and 2011, National Taiwan Museum of Fine Arts has hold ‘Master LI Chun-Shan and Modern Art in Taiwan’ and ‘LI Chun-Shan's 100th anniversary—Represent the Modern painting's master’.

色。李仲生於1951年在台北開辦「前衛藝術研究室」，其學生

LI provoked in Modern Art's creation's basis, ‘Finding

於1957年組成「東方畫會」。1965年參加義大利舉辦的「中國

the self-creating path’ imitation is not allowed. In private

現代畫展」。1982年獲台灣畫學會的「繪畫教育類」金爵獎。

occasion, the extremely closed from the outside's world, and

2005年、2011年先後於國立台灣美術館舉辦「李仲生與台灣現

concentrated on the self-creating world, living like a monk,

代藝術」、「李仲生百年紀念展－現代繪畫大師風華再現」。

rarely exhibited in public. LI's painting character combine the

李仲生倡導現代繪畫創作的最基本主張，即為「獨立尋找自我創作路線」，不容許創作相互模仿，在私下場合，完全封閉自我創作的天地，過著如同苦行僧的創作生活，極少公開展示。李仲生的繪畫特色結合了超現實畫派與佛洛伊德的潛意識理論，線條構成卻展現東方、建築性、書寫式的線條。『在毫無實景實物的

surrealistic and the theory of subconscious from Floyd. Line's constitution but showing eastern, architectural, writing's line. “Presenting flawlessly on the stage which has no objects or background, almost like abstract painting. Using technics of high-purification, implication and symbolism.

舞台上一絲不苟表演出來，幾乎像抽象畫一樣地抽象畫了。它使

While appreciating ‘National drama’, sometimes we are

用的是高度單純化、暗示性和象徵性的技巧。我們欣賞國劇，有

lost and fascinate by its beauty like abstract's art, forgetting

時也會渾然忘我地為它那幾乎接近抽象藝術美的創作所著迷，而

the action of ‘Song Jiang’ turned out to symbolize hurry

忘記了宋江的動作原來是象徵趕路、敲門和上樓！然而它表現出

on the road, knocking on the door and going upstairs!

來的空間幾乎和現代繪畫所表現的「精神空間」相同。』繪畫如

However, the space it displays is almost the same as the

同舞蹈般具有流動與節奏之美，可見得李仲生對於抽象創作的原

"spiritual space" expressed by modern painting. And the

動力。

presenting of space is nearly the same as the Modern Art's

當線條與色彩在畫面中相互纏繞，多層結構在空間中逐次的產生了衝突與矛盾的場域，帶有一種在生活壓抑下，適時紓解蹦出的顫慄激情。李仲生在畫面上絕非追求視覺的舒適美感，然而在凝重的架構中並不顯得飄逸感性，卻能勾引出觀者在觀賞時，內心跳動的脈絡節奏，擦出火花而引起共鳴，隨著畫中的線條律動擺盪而起舞，是李仲生抽象繪畫的魅力與精神所在。

spiritual space’ Painting as dancing has the beauty of flow and rhythm, we can see the strength of abstract creating. When the line and color winding together on the painting. The multi-layers on the space is gradually create the conflicts and contradictions, bring the passion from life under the pressure. LI definitely don't pursue the visual's comfort's beauty, the spectators can find the resonance, the beat of the heart from the dignified structure, dance with the rhythm of the line in the painting. These are the charm and spirit of LI's abstraction painting. 149

2115

李仲生（1912-1984）

LI Chun Shan

抽象 290

Abstract 290 Watercolor ink and collage on paper

水彩墨拼貼紙 25.5×35.5 cm (10×13.9 in.)

Provenance:

來源：附李仲生現代繪畫基金會保證書

Li Chun Shan Modern Art association's certificate

NT$ 350,000-500,000 HK$ 90,100-128,700 US$ 11,450-16,350

150 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2116

李仲生（1912-1984）

LI Chun Shan

抽象 275

Abstract 275

水彩墨紙 26.5×36 cm (10.4×14.1 in.) 來源：附李仲生現代繪畫基金會保證書

Watercolor and ink on paper Provenance: Li Chun Shan Modern Art association's certificate

NT$ 350,000-500,000 HK$ 90,100-128,700 US$ 11,450-16,350

151

2117

李仲生（1912-1984）

LI Chun Shan

抽象 197

Abstract 197 Watercolor and ink on paper

水彩墨紙 19×27 cm (7.4×10.6 in.)

Provenance:

來源：附李仲生現代繪畫基金會保證書

Li Chun Shan Modern Art association's certificate

NT$ 350,000-500,000 HK$ 90,100-128,700 US$ 11,450-16,350

152 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2118

陳幸婉（1951-2004）抽象墨水畫水墨紙 1998 簽名右下：98 婉 78×108 cm (30.7×42.5 in.)

CHEN Hsing Wan Abstract Ink Painting Ink on paper 1998 Signed lower right: named Wan in Chinese, dated 98.

NT$ 60,000-130,000 HK$ 15,400-33,500 US$ 1,960-4,250

2119

陳幸婉（1951-2004）抽象墨水畫水墨紙 1998 簽名右下：98 婉 85×85 cm (33.4×33.4 in.)

CHEN Hsing Wan Abstract Ink Painting Ink on paper 1998 Signed lower right: named Wan in Chinese, dated 98.

NT$ 55,000-120,000 HK$ 14,200-30,900 US$ 1,800-3,920

153

HSIAO Chin 2120 HSIAO Chin

蕭勤（b.1935）

Beyond the Great Threshold-67

大限外-67

Acrylic on canvas 1993

壓克力畫布 1993 簽名畫背：Hsiao 勤 1993 "Beyond the Great Threshold-67" 48×75 cm (18.8×29.5 in.)

Signed on the reverse: named Hsiao and Chin in chinese, dated 1993, titled. Provenance:

來源：附藝術家親簽保證書

With original artist's signature

NT$ 600,000-700,000 HK$ 154,400-180,200 US$ 19,620-22,890

蕭勤出生於上海。父親蕭友梅是中國現代音樂的重要啟蒙者。

Hsiao Chin was born in Shanghai. His father, Hsiao Yu-

受其影響，童年在濃厚藝文氣息環境下成長。1949年來台，

mei, was an important composer in modern music in China.

1951年入台北師範學校藝術科系，曾隨朱德群學習素描，1952

Hsiao grew up in an artistic environment and his childhood

年入李仲生畫室研究現代藝術。1956年後與畫室成員創「東方

remains an important influence on his work. After moving

畫會」，為「八大響馬」成員之一，作品多次參加過全國性及

to Taiwan in 1949, Hsiao studied Fine Arts at the National

國際性展覽。1955年獲西班牙政府獎學金，次年啟程赴歐留

Taiwan Normal University, Taipei. He also studied drawing

學。1959年遷居義大利米蘭，先後工作於巴黎、倫敦及紐約等

under Chu Teh-chun. After his graduation, he learned

地。1961年發起「龐圖（又譯作「點」，PUNTO）國際藝術運

modern art with Li Chun-shan. He then went to Spain to

動」，1978年再創辦「太陽（SURYA）國際藝術運動」，1989

study but changed his mind as he was not inclined towards

年發起「國際無（SHAKTI）藝術運動」活躍於國際藝壇。1996

the conservative style practiced by the Spanish art colleges.

年起，應聘於國立台南藝術學院造型藝術研究所，擔任繪畫專任

Hsiao founded the Ton Fan Art Group in 1956, and was

教授。2000年應邀參加第七屆義大利威尼斯建築雙年展。主要收

instrumental in bringing modern Taiwanese painting into

藏機構包括：紐約現代美術館、大都會博物館、費城藝術館，義

international exhibitions. In 1959, he moved to Milan, Italy.

大利羅馬國立現代美術館、德國司圖加斯特美術館、西班牙巴塞

He then traveled and worked in Paris, London and New York.

隆納現代美術館、台北國立歷史博物館、台北市立美術館等。

Since 1966 he is the director of Graduate Institute of Plastic Arts of Tainan National College of Arts.

154 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

經歷過二戰期間多舛又顛沛的際遇，讓蕭勤變成悲觀已極的樂

After drifting in the second world war, HSIAO has become

觀主義者，未嘗令他對人性和生命失去信心。但他卻反而愈挫愈

a passive optimism. HSIAO never lose hope in humanity

勇，化悲憤為力量，屢屢昇華為大愛，轉化為超越藝術創作的原

or life, he turned sadness into power and became more

動力，人生的信仰之道同時支持著藝術家創作的養分。蕭勤曾自

courageous after all. HSIAO transferred them into creativity,

言道：「藝術不成問題，生命才是『大哉問』；我只是透過藝術

the believe support HSIAO to keep creating. HSIAO once said

創作完成這一生的使命而已。」不論以任何形式表現，蕭勤的每

“Art is not a problem at all, the life itself is the big question.

一筆均反映出藝術家堅信藉由「靜」所傳達之自然界中「動」的

I only fulfill my mission in life through artistic creation.” No

指引，「氣」的運行在畫面之中活躍而沉穩，Lot2121《大炁之

matter what form it, each brush under HSIAO reflects the

33》以寬版的中式羊毫排筆。在畫面上反覆運筆，隨著流動運行

‘peace’ from the guidance of the ‘movement’ from

形成一股緩慢、但不凝滯的時間感，所謂自然、自發、天機、天

the nature, the ‘Qi’ in the painting is active and steady.

放、氣韻生動，由蕭勤的手到筆、紙上一氣呵成，舒坦而直接。

The Lot 2121 ‘DA QI-33’, using the wide version of the

Lot2120《大限外-67》奔放的藍色線條直刷而下，又同時在畫

Chinese sheep pen. Repeated rhyme on the painting, with

面下的一小角增添紅蘊，使畫面不顯得頭重腳輕，反而均衡協

the flow to form a slow, but not condensed sense of time,

調，在留白的縫隙之間，直白乾淨。

the so-called natural, spontaneous, heavenly and lively, from HSIAO's hand to the pen and the paper without any pause, relax and direct. 155

2121 HSIAO Chin

蕭勤（b.1935）

Grande Chi-33

大炁之33

Ink on paper 1999

水墨紙本 1999 簽名左下：HSIAO 勤. 九九簽名畫背：大炁之33 1999 79×144 cm (31.1×56.6 in.)

Signed lower left: named Hsiao Chin, dated 1999. Signed back: titled Grande Chi-33 in chinese, dated 1999.

NT$ 700,000-900,000 HK$ 180,200-231,700 US$ 22,890-29,430

156 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2122

蕭勤（b.1935）一個進入的過程石版畫（71/75） 1972 簽名下方：71/75 Hsiao 勤 ' 72 25×25 cm×9 (9.8×9.8 in.×9)

HSIAO Chin An Entering Process Lithograph (71/75) 1972 Signed lower: numbered (71/75), named, dated.

NT$ 80,000-120,000 HK$ 20,600-30,900 US$ 2,620-3,920

展覽： 2004年1月23日-3月28日，《時間的故事：北美館典藏專題展》，台北市立美術館，台北，另一版次。 1998年9月19日-1999年9月19日，《典藏常設展－萌芽．生發．激撞：第二單元－現代藝術的發生》，台北市立美術館，台北，另一版次。 1993年4月17日-5月13日，《六○年代台灣現代版畫展》，台北市立美術館，台北，另一版次。出版：帝門藝術中心，《蕭勤》，台北，1996，頁294、295。台北市立美術館，《蕭勤的歷程：1953-1994》，臺北市，1995，頁100。台北市立美術館，《現代美術雙月刊》第56期，臺北市，1994，封面底。台北市立美術館，《台北市立美術館典藏目錄：1993-1994》，臺北市，1994。台北市立美術館，《台北市立美術館典藏圖錄總覽：1983-1993》，臺北市，1993。臺灣省立美術館，《臺灣省立美術館典藏目錄》第五輯，臺中市，1993，頁232、233。台北市立美術館，《六○年代台灣現代版畫展》，臺北市，1993，頁70、71。米蘭烏比約出版社，《一個進入的過程》，米蘭，1972。備註：九件一組

157

Michell HWANG 黃銘哲1948年生於台灣宜蘭，專長油畫、雕塑。1976年第一

Born in Yilan City, HWANG is talented in both sculpture

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

and oil painting. In 1976, HUAUNG's first solo exhibition of

民國油畫學會、日本創生美術協會、台灣新畫會會員。1979年

oil painting in National Taiwan Museum, at the same year,

和美國Semions畫廊簽約經紀畫家。1981、1982連續兩年榮獲

he studied at University of Leeds in England. HWANG was a

全省美展油畫第一名，1983年榮獲全省美展永久免審查資格。

member of Taiwan's oil painting association, Japan's Creating

1992年獲台灣省立美術館永久免審查邀請展，2001年應邀赴上

life Art Association, Taiwan's new painting Association. In

海美術館舉行回顧展。

1979, signed contract with American gallery Semions. HUANG

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。玫瑰花，代表著理想、夢想，手握荊棘的獸人神色篤定，對藝術家而言，畫布就是他的國王，藉由不斷的破壞與超越重建藝術國度，孤身卻直立於前，如同明確清楚方向的信徒，既優雅而凜然。

has won many awards such as 36th Taiwan Exhibition (1982) and 35th Taiwan Exhibition (1981). In 1992, HUANG was granted the honor of being ‘Exempt form Exam’ in the official exhibition. In 2001, he was invited by Shanghai Art Museum to hold the retrospective exhibition. HUANG's painting brought the meaning of symbolism and expressionism, emphasizing the high saturation of painting, employing the writing line's overlapping, making textures and layers, creating a narrative way of eastern mysterious color. Rose, represented idol, dreams. The monster god hold thorns seems confident. As artist, the canvas is his king, by keep destroying and go beyond the art kingdom, lonely but standing straight, as a believer who knows the direction clearly, elegant and straight.

158 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2123

黃銘哲（b.1948）國王油彩畫布 2007-2013 簽名畫背：哲國王 2007 2013 260.3×113 cm (102.4×44.4 in.) 蘇富比2014秋季拍賣會，二十世紀中國藝術，Lot 5090 來源：亞洲私人收藏展覽： 2014年6月20日-7月20日，《黃銘哲精品油畫展》，拓樸藝術，台北。

Michell HWANG King Oil on canvas 2007-2013 Signed on the reverse: named Che in chinese, titled, dated. SOTHEBY' S 2014 Autumn Auction, 20th Cenyury Chinese Art, Lot 5090 Provenance: Private Asian Collection Exhibition: 2014 June 20 - July 20, Huang Ming-Che Fine Works Oil Paintings Exhibition, Top Art, Taipei

NT$ 850,000-1,200,000 HK$ 218,800-308,900 US$ 27,800-39,250 159

2124

黃銘哲（b.1948）女人油彩畫布 2007-2013 簽名畫背：哲女人 2007 2013 260.3×113 cm (102.4×44.4 in.) 蘇富比2014秋季拍賣會，二十世紀中國藝術，Lot 5089 來源：亞洲私人收藏展覽： 2014年6月20日-7月20日，《黃銘哲精品油畫展》，拓樸藝術，台北。

Michell HWANG Woman Oil on canvas 2007-2013 Signed on the reverse: named Che in chinese, titled, dated. SOTHEBY' S 2014 Autumn Auction, 20th Cenyury Chinese Art, Lot 5089 Provenance: Private Asian Collection Exhibition: 2014 June 20 - July 20, Huang Ming-Che Fine Works Oil Paintings Exhibition, Top Art, Taipei

NT$ 850,000-1,200,000 HK$ 218,800-308,900 US$ 27,800-39,250 160 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2125

林明弘（b.1964）福爾摩沙羊毛（織毯） 202×298 cm (79.5×117.3 in.) 來源： 2013年12月21日，上海泓盛《藝術與生活》專場1336「林明弘福爾摩沙」

LIN Michael Formosa Wool (Carpet) Provenance: 2013 December 21, Hosane Sale-Art & Life, Lot 1336「Michael Lin Formosa」

NT$ 190,000-260,000 HK$ 48,900-66,900 US$ 6,210-8,500

林明弘是台灣當代知名的藝術家，跨國界成長的背景，讓林明

的記憶，以台灣傳統的圖樣結合美學，換化成另一種「美」的特

弘在處理花布時，能抽離主觀的想法、傳統與現代的激盪，文化

殊表現。《福爾摩沙》採用100%紐西蘭純羊毛手工編織而成，

主義的抬頭更讓林明弘的花布圖騰轉化成另一種情感的表現，漸

並比一般的手工地毯更為精緻細膩，需耗時三年才得以製作完

漸在國際上受到矚目。林明弘藉著花布為媒介，喚醒對台灣本土

成，精準細緻的質感，讓藝術家對作品品質的要求表露無遺。 161

TSONG Pu TSONG Pu Weeping Branches and oil on canvas 1989

2126

Signed on the reverse: named Tsong Pu in chinese,

莊普（b.1947）

dated 1989.

泣樹枝油彩畫布 1989

NT$ 180,000-250,000

簽名畫背：1989 莊普

HK$ 46,300-64,400

81×80×11.5 cm (31.8×31.4×4.5 in.)

US$ 5,890-8,180

莊普1947年生於上海，1973年進入馬德里大學藝術學院就

Born in 1947 in Shanghai, Tsong has demonstrated

讀。在西班牙的8年間，受抽象表現主義影響。用作品表現出繪

his artistic talents when he was young. Studied in

畫的物質性與自身的抽象思維，其創作曾在多國展出，並被北美

Universidad Complutense de Madrid since 1973, Tsong

地區美術館、國立臺灣博物館典藏。1981回臺後，莊普參與伊

was deeply influenced by Abstract Expressionism when

通公園等當代重要藝術空間的創立，並多次舉辦個展，以獨特的

living in Spain. His works, expressing the paintings'

藝術構思與鮮明個人特質成為臺灣抽象藝術、極限主義的重要代

materialism and abstract thinking, have been exhibited

表。

in many countries and are collected by North America's museum and National Taiwan Museum. Tsong is one of

莊普的創作常以方印為基本單元，以「圖章」系列最具代表，

the most significant figures in Abstract Expressionism

致力於在幾何硬邊或立體派的構圖中呈現出意念的運動與自律。

and Minimalism in Taiwan. Stamped grid represents the

表現出迷幻的三度空間。在創作中莊普以印章代替畫筆，並逐漸

artist most. Tsong employs unconventional materials

在作品中加入樹枝、鋁、紙張等不同材質，用帶有不同觸感的現

with his unique interpretation presenting three-

成物相互疊合成微觀空間，如莊普自述：「變化即存在」，在簡

dimension space. In Tsong's creation, he replaces the

化思維的同時求同存異，從而使日常事物「化為修辭、標點，成

paint brush with the stamps to create a microcosm

為一首詩」。

with different textures. As his saying goes, "to change is to exist". Created in 1985, the Lot 2126 ‘Cry’, is

Lot2126《泣》創作於1989年，是莊普難得一見的早期創作。

his early creation. Stamped grids generate a balanced

以滿布畫面的印章構成具有均衡節奏的視覺圖像。帶有點描派技

visual effect on the canvas, echoing the characteristics

法特徵又不同於波洛克式的隨意揮灑，透過形式語言尋求一種

of pointillism but varying from Jackson Pollock's style.

「以一生萬」能動性。莊普用創作不斷探索著藝術的各種可能，

Tsong adopts a Zen-like approach in marring his spirits,

以生活的紋理構成別樣的迷離面貌，引起觀者共鳴。擺脫了慣有

craftsmanship and materials to create his poetic self-

的空間處理，以禪宗般的製作，在理性的制約下營造出一種來自

transcendence. With the breakthrough of traditional

生活的詩意；他在具有多維空間的畫布上，打破傳統美學構圖原

aesthetic principles, Tsong's geometry shapes reveal the

則，以幾何方塊營造業化世界，「無中生有」，在「無」中找到

artist the poetic universe.

自我，於「有」中創造萬象。 162 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

163

ZHANG Qi Kai ZHANG Qi Kai We Have to Emigrate to Outer Space in the Name of

2127

National Treasure

張奇開（b.1950）

Oil on canvas 2007

我們要以國寶的名義移居太空

Signed lower left: named Zhang Qikai, dated 2007.

油彩畫布 2007

Signed on the reverse: dated 2007, named Zhang Qikai.

簽名左下：Zhang Qikai 2007 簽名畫背：2007 Zhang Qikai

Exhibition: 2008 May 29 - June 21, Zhang Qikai First London

220×150 cm (86.6×59 in.)

Exhibition, Marlborough Fine Art, London Literature: Marlborough Fine Art, Zhang Qikai First London Exhibition, London, UK, 2008, P. 19

展覽：2008年5月29日 - 6月21日，《時空中的謎語：張奇開倫敦個展》，馬保

馬保羅畫廊畫冊封面

Provenance: Private European Collection

羅畫廊，倫敦。出版：馬保羅畫廊，《張奇開－倫敦個展》，倫敦，2008，頁

NT$ 1,600,000-2,000,000 HK$ 411,800-514,800

19。

US$ 52,330-65,410

來源：歐洲私人收藏張奇開1950年出生於中國四川，德籍華人藝術家、評論家。

Born in 1950 Sichuan, China. German Chinese artist, critic.

1987年留學日本，隨後移居德國，從事藝術活動，2000年返回

In 1987, ZHANG immigrated in German and started to do

重慶四川美院並展開中西文化交流和藝術教育工作。張奇開的藝

art. In 2000, go back to Sichuan Art Academy and started

術和現代主義的思想一脈相承，他選擇了批判角度的藝術立場，

communicating and doing art education between Chinese

採用喻警式的語彙。作品融合了照相寫實和超現實的元素，但在

and Eastern culture. ZHANG inherited art and modern

形式上卻保持輕描淡寫的優雅姿態與唯美的視覺。

thinking, using the warning implication to criticize art. Mixing the photograph’s reality and the surrealistic element,

「熊貓是新的文化圖騰」，談到為什麼專畫熊貓，張奇開給出

performing a light, elegant and beautiful visual effect.

了自己的解釋：「在中國傳統文化中龍是文化圖騰，但在西方人眼中龍象徵著邪惡，有著強烈的征服慾」，這與中國對外的姿態

“Panda is a new cultural totem” ZHANG explained “In China

不符。「熊貓比較溫和，在西方人眼中也一樣，更符合中國文化

tradition, dragon presents cultural totem, but in western

的特徵」，張奇開認為，熊貓代表著一種軟力量，在北京奧運之

country, it represents evil, and the desire of conquer.” This

後，它更是成為中國的文化圖騰。在他的畫中，熊貓則成為一種

is not the way that China expresses, ZHANG said “Panda is

中國符號，與各種國際問題發生著關係。

much more tender, and it has the same meaning in western country. It is qualified as a character of Chinese culture.” ZHANG think that panda is a soft power, after the Peking Olympic, it became the culture totem of China, Panda is a symbol to get involved with other countries.

164 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

165

2128

吳昊（b.1931）花之一（黃）油彩畫布 2003 簽名左上：吳昊 2003 22×26.5 cm (8.6×10.4 in.)

WU Hao Flower-1 (Yellow) Oil on canvas 2003 Signed upper left: named Wu Hao in chinese, dated 2003.

吳昊（b.1931）花之一（紫）油彩畫布 2002 簽名左下：吳昊 2002 21.5×27 cm (8.4×10.6 in.) Flower-1 (Purple) Oil on canvas 2002 Signed left side: named Wu Hao in chinese, dated 2002.

NT$ 70,000-100,000 HK$ 18,000-25,800 US$ 2,280-3,280

166 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2129

吳昊（b.1931）花之二（黃）油彩畫布 1997 簽名右下：吳昊 1997 26.5×21 cm (10.4×8.2 in.)

WU Hao Flower-2 (Yellow) Oil on canvas 1997 Signed lower right: named Wu Hao in chinese, dated 1997.

吳昊（b.1931）花之二（紅）油彩畫布 2002 簽名左下：吳昊 2002 22×26.5 cm (8.6×10.4 in.) Flower-2 (Red) Oil on canvas 2002 Signed left side: named Wu Hao in chinese, dated 2002.

NT$ 70,000-100,000 HK$ 18,000-25,800 US$ 2,280-3,280

167

2130

吳昊（b.1931）樹版畫（7/30） 1975 簽名中下：樹 7/30 吳昊 Wu Hao 1975 鈐印：吳昊（朱文） 54.5×100 cm (21.4×39.3 in.)

WU Hao Tree Lithograph (7/30) 1975 Signed lower: titled, numbered (7/30), named and with one seal of the artist, dated.

NT$ 50,000-90,000 HK$ 12,900-23,200 US$ 1,640-2,940

2131

吳昊（b.1931）馬戲版畫（A/P） 1973 簽名中下：馬戲 A/P 吳昊 1973 56×103 cm (22×40.5 in.)

WU Hao Juggling Lithograph (A/P) 1973 Signed lower: titled, numbered (A/P), named, dated.

NT$ 50,000-90,000 HK$ 12,900-23,200 US$ 1,640-2,940

2132

林之助（1917-2008）椿版畫（279/500） 1996 簽名右下：279/500 96 林之助 34×45 cm (13.3×17.7 in.)

LIN Chih Chu Camellia Print (279/500) 1996 Signed lower right: numbered (279/500), dated, named.

NT$ 30,000-50,000 HK$ 7,700-12,900 US$ 980-1,640 168 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2133

陳浚豪（b.1971）刺獸（金、銀，兩件一組） FRP（玻璃纖維強化樹脂）圖釘 2008 （金）版次 8/10 （銀）版次 10/10 （金）簽名右後腳：浚 2008 （銀）簽名左後腳：浚 2008 39×23×44 cm (15.3×9×17.3 in.) 來源：附畫廊開立藝術家親筆簽名之原作保證書

CHEN Chun Hao Dog in Thumbtacks (Gold, silver, set of 2) FRP (Fiber Reinforced Plastic) thumbtacks 2008 (Golden) Edition No. 8/10 (Sliver) Edition No. 10/10 (golden) Signed right rear leg: Chun in Chinese and dated 2008. (sliver) Signed left rear leg: Chun in Chinese and dated 2008. Provenance: This art work is to be sold with a certificate of authenticity signed by Artist

NT$ 40,000-60,000 HK$ 10,300-15,400 US$ 1,310-1,960

2134

展望（b.1962）意象台灣銅雕 1998 簽名側邊：展望98.8 10.5×23.5×10.5 cm (4.1×9.2×4.1 in.)

ZHAN Wang Imagery Taiwan Bronze 1998 Signed side: Zhan Wang in chinese, dated 98.8.

NT$ 150,000-200,000 HK$ 38,600-51,500 US$ 4,910-6,540

169

2135

沛優（皮耶爾．居里福爾）（1928-1992）《藍色小精靈》動畫拍攝用手繪賽璐珞原稿（12件一組）顏料賽璐璐片紙水彩手繪背景 24×30.5 cm (9.4×12 in.)

PEYO (Pierre Culliford) The Smurfs Animated Shooting with Handdrawn Celluloid Manuscripts (Set of 12) Anime Color on celluloid, color on paper, sketch on paper

NT$ 120,000-200,000 HK$ 30,900-51,500 US$ 3,920-6,540

170 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

a.鐵雄

b.大明

c.珍珍

d.阿丁

e.阿龍

2136

吉田龍夫（1932-1977）《科學小飛俠》動畫拍攝用手繪賽璐珞原稿（10件一組）顏料賽璐璐片紙水彩手繪背景 a.20.5×25.5 cm (8×10 in.) b.24×21 cm (9.4×8.2 in.) c.22×26.5 cm (8.6×10.4 in.) d. 21×25 cm (8.2×9.8 in.) e.20×25.5 cm (7.8×10 in.) f.22×24.5 cm (8.6×9.6 in.) g.21.5×25.5 cm (8.4×10 in.) h.22×25.5 cm (8.6×10 in.) i.22×25.5 cm (8.6×10 in.) j.22×25.5 cm (8.6×10 in.)

Tatsuo YOSHIDA Science Ninja Team Gatchaman Animated Shooting with Hand-drawn Celluloid Manuscripts (Set of 10) Anime Color on celluloid, color on paper, sketch on paper

NT$ 120,000-200,000 HK$ 30,900-51,500 US$ 3,920-6,540

171

2137

KAWS（布萊恩．唐納利）（b.1974） a.同伴們蠟燭版（黑、白，兩件一組）蠟 2012

28.5×13×7.5 cm (11.2×5.1×2.9 in.) 備註：由潮流服飾品牌OriginalFake推出。2012年發售當時，限定於東京門市購物滿＄50,000日元即可免費贈送，隨後也因廣大迴響而正式發售。

KAWS (Brian Donnelly)

COMPANION CANDLE (Black, White, set of 2) Wax 2012

b.KUBRICK 公車站牌組（五件一組）

KUBRICK BUS STOP (Set of 5) Mixed media 2002

複合媒材 2002

Trademark:

3×1.5×6.3 cm、3.5×2.3×6.7 cm、16.2×5.5×8.5 cm （1.1×0.5×2.4 in.、1.3×0.9×2.6 in.、6.3×2.1×3.3 in.)

NT$ 65,000-110,000

備註：拍品為KAWS早期塗鴉在CK及DKNY等公車廣告看板之縮

HK$ 16,700-28,300

小版的公車亭。

US$ 2,130-3,600

附原包裝盒

2138

KAWS（布萊恩．唐納利）（b.1974） a.小謊言（黑、灰、棕，三件一組）綜合媒材搪膠雕塑 2017 註冊商標：KAWS..17、SMALL LIE（右腳底部） MEDICOM TOY、CHINA（左腳底部） 16×14.5×30 cm (6.2×5.7×11.8 in.) 備註：原裝未拆封

KAWS (Brian Donnelly) SMALL LIE (Black, Gray, Brown, set of 3)

Multiple, vinyl, with original case 2017 Trademark: KAWS..17、OPEN EDITION (R)、MEDICOM TOY、CHINA (L)

b.BFF（粉紅、藍、黑，三件一組）綜合媒材搪膠雕塑（藍、黑）2017 （粉紅）2018 （藍、黑）註冊商標：KAWS..17 OPEN EDITION（右腳底部） MEDICOM TOY CHINA（左腳底部）（粉紅）註冊商標：KAWS..18 OPEN EDITION（右腳底部） MEDICOM TOY CHINA（左腳底部） 33×14.5×9 cm (12.9×5.7×3.5 in.) 備註：原裝未拆封 BFF (PINK, MoMA EXCLUSIVE, BLACK EDITION, set of 3) Vinyl, multiple (Blue and black) 2017 (Pink) 2018

(Blue and black) Trademark: KAWS..17 OPEN EDITION (R)

NT$ 120,000-180,000 HK$ 30,900-46,300 US$ 3,920-5,890 172 JSL 2018 AUTUMN AUCTION

MEDICOM TOY CHINA (L) (Pink) Trademark: KAWS..18 OPEN EDITION (R) MEDICOM TOY CHINA (L)

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2139

手塚治虫（1928-1989）

Osamu TEZUKA

80年代原子小金剛、烏蘭、茶水博士店招公仔（三件一組）

1980s Astro Boy, Uran, Dr. Packidermus J. Elefun Figure

FRP（玻璃纖維強化塑膠）註冊商標：原子小金剛：©Tezuka Productions（右腳背面） ATS（左腳底部）烏蘭：©Tezuka Productions（裙底） ATS（左腳底部）茶水博士：©Tezuka Productions（右腳底部） ATS（左腳底部）

(Set of 3) FRP (Fiber-reinforced plastic) Trademark: Astro Boy: ©Tezuka Productions (the back of the right foot) ATS (the bottom of the left foot) Uran: ©Tezuka Productions (the bottom of skirt) ATS (the bottom of the left foot) Dr. Packidermus J. Elefun:

原子小金剛：25.5×19×54.5 cm (10×7.4×21.4 in.)

烏蘭：20×15×49 cm (7.8×5.9×19.2 in.)

ATS (the bottom of the left foot)

茶水博士：32×25.5×49.5 cm (12.5×10×19.4 in.) NT$ 120,000-190,000

備註：稀有80年代特約店招物烏蘭：茶水博士製造出來的機械人，原子小金剛的妹妹。

HK$ 30,900-48,900 US$ 3,920-6,210

茶水博士：機械人專家博士，同時亦是科學省的長官。他認為機械人都應該有「人權」。和原子小金剛一同協助警察廳解決有關邪惡機械人的問題。 173

Osamu TEZUKA

註冊商標

2140

NT$ 300,000-450,000 HK$ 77,200-115,800 US$ 9,810-14,720

手塚治虫，本名手塚治，是日本漫畫家、動畫製作人，也是醫

Osamu Tezuka was a Japanese manga artist, cartoonist

學博士。手塚治虫是位多產的創作者，40多年的創作生涯中，共

artist, animator and film producer. TEZUKA is a multi-creator,

畫了400多部漫畫作品，及60多部動畫作品。其作品題材豐富多

in his 40 or so years, he had more than 400 comic works

樣，代表作如《原子小金剛》、《怪醫黑傑克》等。這些作品深

and more than 60 animations. The subjects are rich, Such

深影響了後來漫畫家的創作題材，所以手塚治虫被尊稱為日本漫

as“Astro Boy”, " Doctor Black Jack", these works influence

畫之父、漫畫家之神。

the subject on the future manga artists. TEZUKA is the father

可以算是機器人動畫最早的始祖《原子小金剛》為手塚治虫於

of Japanese manga and the god of manga artist.

1952年創作的作品，多次改編為動畫、電影。故事描述天馬博

“Astro Boy” can be considered of the earliest robot

士因為愛子意外身亡，為撫平喪子之痛而製造小金剛，卻因為機

animation, the comic created in 1952, TEZUKA has modified

械無法像人類一樣隨時間成長，最終拋棄小金剛。被捨棄的小金

it many times into animations and movies. The story is about

剛，後來經由御茶水博士的修復，以養子的身分重新生活，並展

Dr. Boynton's son passed away because of an accident, to

開一連串的科幻冒險。小男孩外表的原子小金剛，看似弱小卻擁

recover from the pain of losing his own son, Dr. Boynton

有一顆善良、具有正義感的心，儘管因為身份備受歧視，仍然努

create a robot called “Astro Boy”. But machine can't

力作為人類與機器人的橋樑，替人類解決許多危機，希望大家都

grow like human being, at the end, Dr. Boynton decided

能和平共處。討喜的外表與正向積極的態度，因而深受大眾喜

to abandon Astro boy. Recovered and adopted by the Dr.

愛。

Packidermus, started a new adventure.“Astro Boy” has the appearance of little boy, seems weak but has a kind heart and sense of justice. Even he received discrimination of others, still trying to solve the problem for human, he is a bridge between human and robot that's why he is loved by the public.

174 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

175

2141

KAWS（布萊恩．唐納利）（b.1974） KAWS大集合（九件一組）立櫃尺寸：151×50×38 cm (58.5×19.6×14.9 in.) 備註：附原包裝盒

KAWS (Brian Donnelly) KAWS Big Collection (set of 9) NT$ 130,000-180,000 HK$ 33,500-46,300 US$ 4,250-5,890

a.同伴-經過（黑、灰、棕）

b.小謊言（黑、灰、棕）

綜合媒材搪膠雕塑 2018

綜合媒材搪膠雕塑 2017

註冊商標：

KAWS..18、TOGETHER（右腳底部）

KAWS..17、SMALL LIE（右腳底部）

MEDICOM TOY、CHINA（左腳底部）

9×13×21 cm (3.5×5.1×8.2 in.)

16×14.5×30 cm (6.2×5.7×11.8 in.)

Companion-Passing Through (Black, Gray, Brown)

SMALL LIE (Black, Gray, Brown)

Multiple, vinyl, with original case 2018

Multiple, vinyl, with original case 2017

Trademark:

KAWS..18、TOGETHER (R)

KAWS..17、OPEN EDITION (R)

MEDICOM TOY、CHINA (L)

c.在一起（黑、灰、棕）綜合媒材搪膠雕塑 2018 註冊商標： KAWS..18、TOGETHER（右腳底部） MEDICOM TOY、CHINA（左腳底部） 21×11×26 cm (8.2×4.3×10.2 in.) TOGETHER (Black, Gray, Brown) Multiple, vinyl, with original case 2018 Trademark: KAWS..18、TOGETHER (R) MEDICOM TOY、CHINA (L)

176 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

177

2142

空山基（b.1947）空山基親簽1000%庫柏力克熊（金、銀，兩件一組）複合媒材 2017

Hajime SORAYAMA SEXY ROBOT BE@RBRICK 1000% (Gold, silver, set of 2) Mixed media 2017 Gold: NO. 122

金：NO. 122

Silver: NO. 533

銀：NO. 533 （金）簽名正面：Sorayma

(Gold) Signature on front: Sorayma. (Silver) Signature on back: Sorayma.

（銀）簽名背面：Sorayma 70×34×25 cm (27.5×13.3×9.8in.)

HK$ 25,700-38,600

備註：空山基與日本MediCom Toy聯名設計生產的BE@RBRICK公仔。 178 JSL 2018 AUTUMN AUCTION

NT$ 100,000-150,000

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

US$ 3,270-4,910

2143

安迪．沃荷（1928-1987）瑪麗蓮．夢露絲網版畫（一套十張）絲網版畫畫背印戳：fill in your own signature、published by Sunday B. Morning 91.3×91.3 cm (35.9×35.9 in.) 來源：附原作證明書

Andy WARHOL Marilyn Monroe Screenprint Stamped on the reverse: fill in your own signature、 published by Sunday B. Morning Provenance: Certificate of original work

NT$ 150,000-200,000 HK$ 38,600-51,500 US$ 4,910-6,540 179

2144

趙無極（1921-2013）無題石版版畫（121/140） 1959 簽名下方：121/140 無極 ZAO 59 50×46 cm (19.6×18.1 in.) 出版： Heede & Moestrup，《趙無極版畫作品編年目錄19371995》，哥本哈根，1994，頁77。

ZAO Wou Ki Untitled Lithograph (121/140) 1959 Signed lower: numbered (121/140), named, dated 59. Literature: Heede & Moestrup, ZAO WOU-KI

The Graphic Work

Catalogue Raisonné 1937-1995, Copenhagen, Denmark, 1994, P. 77

NT$ 200,000-280,000 HK$ 51,500-72,100 US$ 6,540-9,160

2145

趙無極（1921-2013） N393 石版版畫（33/99） 1998 簽名下方：33/99 無極 ZAO 98 64.5×45 cm (25.3×17.7 in.) 出版：首都藝術事業有限公司，《名家珍藏石版畫集》，台北，2010，頁95。

ZAO Wou Ki N393 Lithograph (33/99) 1998 Signed lower: numbered (33/99), named, dated 98. Literature: Capital Art Corporation, Maters' collection of print art work, Taipei, Taiwan, 2010, P. 95

NT$ 160,000-200,000 HK$ 41,200-51,500 US$ 5,230-6,540 180 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2146

趙無極（1921-2013） N335（首爾奧運會）石板版畫（H.C 25/30） 1988 簽名右下：H.C 25/30 無極 ZAO 76×57 cm (29.9×22.4 in.) 出版：首都藝術事業有限公司，《名家珍藏石版畫集》，台北，2010，頁87。 Heede & Moestrup，《趙無極版畫作品編年目錄1937-1995》，哥本哈根，1994，頁186。

ZAO Wou Ki N335 (Olympic Games, Seoul) Lithograph (H.C 25/30) 1988 Signed lower right: numbered (H.C 25/30), named. Literature: Capital Art Corporation, Maters' collection of print art work, Taipei, Taiwan, 2010, P. 87 Heede & Moestrup, ZAO WOU-KI

The Graphic Work

Catalogue Raisonné 1937-1995, Copenhagen, Denmark, 1994, P. 186

NT$ 150,000-200,000 HK$ 38,600-51,500 US$ 4,910-6,540

2147

朱德群（1920-2014）無題石版版畫（64/90）簽名下方：64/90 朱德群 CHU TEH-CHUN. 74×54 cm (29.1×21.2 in.)

CHU Teh Chun Untitled Lithograph (64/90) Signed lower: numbered (64/90), named.

NT$ 170,000-200,000 HK$ 43,800-51,500 US$ 5,560-6,540 181

2148

朱德群（1920-2014）藍色季節（版畫書）彩色石版畫集（98/99） 2006 簽名下方：98/99 朱德群 CHU TEH-CHUN.

182 JSL 2018 AUTUMN AUCTION

Ａ: 41×32 cm (16.1×12.5 in.)

B~E: 44.5×34.5 cm (17.5×13.5 in.)

F: 41.2×30.2 cm (16.2×11.8 in.)

G: 45×69 cm (17.7×27.1 in.)

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

CHU Teh Chun

NT$ 220,000-300,000

Blue Season (Print Book)

HK$ 56,600-77,200

Lithograph (98/99)

US$ 7,200-9,810

Signed lower: numbered (98/99), named.

183

2149

朱德群（1920-2014）綠色精靈石版版畫（27/100）簽名下方：27/100 朱德群 CHU TEH-CHUN. 75.5×56 cm (29.7×22 in.)

CHU Teh Chun Green Fairy Lithograph (27/100) Signed lower: numbered (27/100), named.

NT$ 150,000-200,000 HK$ 38,600-51,500 US$ 4,910-6,540

184 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2150

李義弘（b.1941）天門開闔紙本潑墨潑彩鏡框 1990

LEE Yih Hong Landscape Painting Ink and color on paper 1990

款文：庚午仲春于笛音凝室，李義弘鈐印：義弘染翰（白文）在川小記（朱文）水流雲在（朱文）笛音凝室（朱文） 66.5×130.5 cm (26.1×51.3 in.)

NT$ 650,000-800,000 HK$ 167,300-205,900 US$ 21,260-26,160

拍品為李氏少見的潑墨、潑彩作品，或應更進一步正名為破

通景雖是墨團構成，卻因用墨用色大膽，彩墨濃淡互滲，色、

墨、破彩作品，因畫作之載體為生紙，與正格潑墨、潑彩使用之

彩、墨互破，使色襯光，光顯色，光色迷離、氣韻生動，故畫面

熟紙絹不同，韻化層次亦顯塊壘。此或是李義弘嘗試潑彩、潑墨

非但無妖豔之氣，靜謐中反顯暗含生機。可謂強調主觀意興抒發

之作，值得玩味。

之佳作，雖水跡無意，但心跡有情，寫在紙上，想在天外，同時保留中國畫特有的意境和韻味。

畫心主體為大片破墨，三壘而成峽壁，左側山坡破彩、潑彩，營造天門開闔之氣勢。山稜隱置精舍數椽，左山側懸崖勾畫出石壁山坡，不設曲徑，上若通巔，下含水際，不見人聲。取景宛若山陽危巖，又不窺山陰人家，殊為新奇。

185

2151

2152

2153

張光賓（1915-2016）

謝東閔（1908-2001）

擬程青溪詩意圖

仙都泉隩

楷書曾國藩格言

紙本彩墨鏡框 2005

紙本墨書鏡框

釋文：筆勢裁群境，幽心破遠空；

款文：張光賓，時年九十

釋文：得意事來，處之以淡；

山無塵市氣，樹有逸民風。虛闇千峰動，清流萬派同；何須尋別業，不入此圖中。

鈐印：張光賓印（白文）于圜（朱文） 136.5×35 cm (53.7×13.7 in.)

款文：張光賓，時年九十

失意事來，處之以忍。上款：和璧吾兄。款文：謝東閔鈐印：謝東閔印（白文）

來源：附畫廊原作保證書

91×43 cm (35.8×16.9 in.)

135×35 cm (53.1×13.7 in.)

CHANG Guang Bin

XIE Dong Min

Villa in the City

Calligraphy

來源：附畫廊原作保證書

Ink and color on paper 2005

Ink on paper

CHANG Guang Bin

Provenance:

NT$ 10,000-20,000

Landscape Painting

With Gallery's certificate of authenticity

HK$ 2,600-5,100

鈐印：張（朱文）光賓（白文）麗山寓廬（朱文）

US$ 330-650

Ink and color on paper 2005

NT$ 50,000-80,000 Provenance:

HK$ 12,900-20,600

With Gallery's certificate of authenticity

US$ 1,640-2,620

NT$ 50,000-80,000 HK$ 12,900-20,600 US$ 1,640-2,620 186 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2154

鄭善禧（b.1932）南竿盛夏紙本彩墨鏡框 1981 釋文：民國七十年辛酉盛夏，隨中視中廣國家文藝基金會文化服務團，到馬祖前線寫生。此畫作於南竿，歸來又加設色，整飾之。

ZHENG Shan Shi Summer in Nangan Ink and color on paper 1981 Provenance: Current collector purchased from Taichung's Ming men gallery

款文：善禧并記鈐印：閩漳鄭氏（朱文）歸真返璞（白文）拾趣（白文）一九八一（朱文） 69×94.5 cm (27.1×37.2 in.)

NT$ 500,000-700,000 HK$ 128,700-180,200 US$ 16,350-22,890

來源：現收藏者購自台中名門畫廊

拍品畫於戒嚴時期，又是外島馬祖南竿岸際，可以說是前線中

是畫的時代烙印，絕非一般鄭氏畫金門、馬祖外島風光可見！

的前線。在兩岸對立的特殊時代背景下，一般人遠赴外島寫生並

細品之，整畫以攲側式構圖，左上方南竿海景，甚富亮感；右下

不容易。此畫因是鄭氏隨中視中廣國家文藝基金會文化服務團到

角色墨濃重飽滿，形成對比，在傳統國畫裡頗難見到。符合鄭氏

南竿考察，方才有機會畫下南竿戒嚴時期實景。只見海上兩三艘

所提倡「國畫應當表達時代的情感，當前的景相都可以入畫，不

大目船，一如尋常的下網打魚，看似愜意悠閒；但與近岸的鐵絲

必一昧地抱殘守缺」的特色。

網圍籬，相形下顯得突兀。又有兩個人，延著曲徑仿佛要到華光廟，對邊映襯著一座碉堡般的軍事設施，或許是岸巡憲兵的前推哨？終究不得而知。

鄭氏畫作以二、三才作品為主，五才以上即屬大畫；本拍品為七才二，就畫幅面積而言，已屬鄭氏少見作品。

187

OU Hao Nien 2155

歐豪年（b.1935）雲山寄跡紙本設色鏡框 1988 釋文：雲山寄我跡，湖海開我襟；虹影時在目，天風伴嘯吟。款文：戊辰盛夏，挹翠山堂晴窗歐介豪年畫成並句鈐印：歐豪年（白文）煙霞問訊風月相知（白文） 73×172 cm (28.7×67.7 in.)

OU Hao Nien Mountain Climbing Ink and color on paper 1988

NT$ 450,000-600,000 HK$ 115,800-154,400 US$ 14,720-19,620 188 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

趙慶章夫人與畫作合照

歐豪年在大陸易幟後，於民國卅九年遷居香港，十七歲便投入

梁楷的潑墨仙人畫中所揭示的自然性，像唐寅及來自廣東省，表

嶺南畫派巨擘趙少昂門下，學習筆墨技法、繪畫思想；創作題材

現出色的林良，還有那些具有創作能力的僧侶們，例如石濤、八

豐富涉及山水、人物、走獸、花鳥、詩文等。民國五十九年，應

大山人、弘仁和髡殘，以及所謂的揚州八怪，就是他們給花鳥畫

教育部長張其昀之邀，設帳中國文化學院（文化大學），次年任

及風景畫注入一股新的精神力量。」

美術系主任，此後便定居台灣。

名畫家江兆申曾替歐豪年寫過一篇序文，他說：「豪年作畫對

在《嶺南畫派:中國現代繪畫的變革者》一書中，作者韋承紅開

即事獵景，遠近取勢，有獨到之處。所以對畫的經營位置，也特

卷的第一句話是:「在中國繪畫史上恐怕再找不出第二個藝術流派

別出色，嶺南畫派曾經取捐東瀛，用為鏡助。而日本同道們特別

像嶺南畫派那樣概念不清的了」，嶺南畫派是因革新而創造的畫

喜歡中國的「禪」畫，也就是宋元之交的中國僧侶畫家，包括了

派。主張引進西洋畫法，融合中西繪畫之長，以革命的精神和強

溫日觀、玉澗等等，因此特別喜愛用水，比南宋夏圭的拖泥帶水

烈的時代責任感改造中國畫，並保持了傳統中國畫的筆墨特色，

還濕。」台灣氣候與中國五嶺之南相似，高溫、潮濕多雨，林木

創製出有時代精神、有地方特色、氣氛酣暢熱烈、筆墨勁爽豪

繁盛、四季常綠，非常適合營造雲煙繚繞風格畫作。歐豪年先生

縱、色彩鮮艷明亮、水分淋漓、暈染柔和勻淨的現代繪畫新格局

便是得益於嶺南、成於台灣。Lot2155拍品寫雲海壯闊、山巒瑰

和創新作品。

麗之景，水氣與筆墨之間的乾溼運用得宜，大筆皴出岩塊，雲霧繚繞崗頂上兩高士正似清介而論。畫作天頭題有歐介自作詩，述

「折衷中西，融匯古今」為嶺南畫派精神，會採用任何使畫面生動、有力的方法，歐豪年自身相當推崇以前的創作天才：「像

明「寄跡雲山、隨物造化」的開闊心跡，近景實而遠景虛，予人淵穆清華之感。 189

2156

2157

于右任（1879-1964）

白崇禧（1893-1966）

草書《中庸》句

楷書鄧拓書房聯

紙本墨書立軸

紙本墨書聯軸

釋文：是故君子動而世為天下道，行而世為天下法，

釋文：春風大雅能容物；秋水文章不染塵。

言而世為天下則。遠之則有望，近之則不厭。

上款：志文先生雅屬。

款文：于右任

款文：白崇禧

鈐印：右任（朱文）

鈐印：白崇禧印（白文）

115.5×54.5 cm (45.4×21.4 in.)

135×27.5 cm (53.1×10.8 in）

YU You Ren

BAI Chong Xi

Calligraphy

Ink on paper

NT$ 70,000-110,000

NT$ 10,000-20,000

HK$ 18,000-28,300

HK$ 2,600-5,100

US$ 2,290-3,600

US$ 330-650

190 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2158

袁金塔（b.1949）豐年紙本彩墨鏡框 2015 款文：豐年，歲乙未年，三月，二○一五年，金塔。鈐印：袁（朱文）金（朱文）塔（朱文）以其不爭（白文）橘園（朱文） 53×76.5 cm (20.8×30.1 in.)

YUAN Chin Ta Harvest Year Ink and color on paper 2015

NT$ 80,000-160,000 HK$ 20,600-41,200 US$ 2,620-5,230

2159

吳冠中（1919-2010）致吳俊東書信原子筆信札實寄封鏡框 1994 實寄封：北京，勁松垂楊柳，19樓2門201號。吳俊東先生。吳釋文：俊東先生，剪頁收悉，甚好，十分感謝；我本月中旬赴東京，參與「吳冠中畫巴黎」開幕，屆時當寄上目錄畫冊請指教。日內事多，匆匆先覆頌撰安。款文：弟吳冠中，一九九四，十月八日 26×18 cm (10.2×7 in.) 10×16 cm (3.9×6.2 in.)

WU Guan zhong Letter to: China Central Academy of Fine Arts's Wu Jundong Ballpoint pen on letter, Entire Cover 1994

NT$ 150,000-200,000 HK$ 38,600-51,500 US$ 4,910-6,540

191

2160

2161

2162

鄭善禧（b.1932）

黃杰（1902-1995）

行書華嚴集聯

楷書石韞玉聯語

楷書王安石《茅簷》詩

紅宣墨書鏡框 2012

紙本墨書聯軸

紙本墨書立軸 1980

釋文：大慈念一切，慧光照十方。

釋文：精神到處文章老，學問深時意氣平。

釋文：茅簷常掃淨無苔，花木成蹊手自栽；

款文：壬辰之春，鄭善禧筆

款文：黃杰

鈐印：鄭善禧（朱文）

鈐印：黃杰之印（白文）達雲七十以後作（朱文）

吉祥（欄印） 55.7×9 cm (21.9×3.5 in.)

95.5×23 cm (37.5×9 in.)

ZHENG Shan Shi

注：黨國政要舊藏，詳洽書畫部。

一水護田將綠繞，兩山排闥送青來。王安石上款：家豪世兄屬。款文：庚申黃杰鈐印：黃杰之印（白文）達雲七十以後作（朱文）

Calligraphy Ink on paper 2012

HUANG Jie Calligraphy

NT$ 26,000-40,000

注：上款人為黨國政要家屬，詳洽書畫部。

Ink on paper

HUANG Jie

HK$ 6,700-10,300 US$ 850 -1,310

性剛才拙（朱文） 69.5×37.8 cm (27.3×14.8 in.)

NT$ 50,000-80,000

Calligraphy

HK$ 12,900-20,600

Ink on paper 1980

US$ 1,640-2,620 NT$ 20,000-40,000 HK$ 5,100-10,300 US$ 650-1,310

192 JSL 2018 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

2163

2164

2165

謝宗安（1908-1997）

汪亞塵（1894-1983）

劉太希（1898-1989）

節臨《石鼓．鑾車》詩

楷書文徵明《石湖》詩

行書叔和自作詩

紙本墨書托片

紙本墨書立軸

紙本墨書托片 1978

釋文：鑾車奔次，弓孔碩，彤矢，四馬

釋文：石湖烟水望中迷，湖上花深鳥亂

釋文：游行自在地行仙，到處留情過眼

其寫，六轡驁驁，徒馭孔庶，擄

啼；芳草自生茶磨嶺，畫橋東注

煙；生具賣姿天錫厚，但能親我

宣搏，眚車載道，徒如章，原隰

越來溪。涼風嫋嫋青蘋末，往事

即延年。游龍老子與天游，亦有

陰陽，趍趍馬，射之族族，迂如

悠悠白日西；依舊江波秋月墮，

天空海闊愁；一曲高歌當狂淚，

傷心莫唱夜烏棲。

西風無限季鷹秋。詩因年老多隨

虎獸，鹿如多賢。上款：叔公賜正。

款文：亞塵

款文：節石鼓文。謝宗安

鈐印：池上草堂旅者（朱文）

鈐印：鐘厂五十歲後書（朱文）壽（朱文）

麴墨（朱文）

雲隱樓（白文） 139.5×25.8 cm (54.9×10.1 in.)

67×33.5 cm (26.3×13.1 in.)

意，不必驚人事苦吟；自笑浮沉文字海，好名虛費一生心。上款：叔和先生屬書舊作。款文：戊午八月，劉太希鈐印：劉太希印（白文）

注：上款人為黨國政要，詳洽書畫部。

96.8×40.8 cm (38.1×16 in.)

注：上款人為黨國政要，詳洽書畫部。

WANG Ya Chen

LIU Tai Xi

XIE Zhong An

Calligraphy

Ink on paper

Ink on paper 1978

Ink on paper

NT$ 10,000-20,000

NT$ 6,000-10,000

HK$ 2,600-5,100

HK$ 1,500-2,600

US$ 330-650

US$ 200-330 193

2166

蔣中正（1887-1975）

Inscription for Party's Fund-Raising

黨費特別捐題詞

Ink on paper 1946

紙本墨書鏡框 1946 釋文：義風可欽。題記：中國國民黨於三十五年十月，為籌募黨費基金發動特別捐，承漢口市紗業公會慷慨捐輸，爰題詞以誌謝忱。款文：蔣中正鈐印：蔣中正（白文） 33.5×79 cm (13.1×31.1 in.)

194 JSL 2018 AUTUMN AUCTION

CHIANG Kai Shek

ASIAN, CHINESE MODERN & CONTEMPORARY ART . CHINESE PAINTING

NT$ 120,000-160,000 HK$ 30,900-41,200 US$ 3,920-5,230

2167

葉醉白（1909-1999）長驅入中原紙本水墨鏡框釋文：長驅踏入中原路。上款：一西先生教正。款文：葉醉白鈐印：醉白（朱文）亦馬亦龍（朱文） 34×112 cm (13.3×44 in.)

YE Tzuei Bai A Group of Running Horses Ink on paper

NT$ 80,000-150,000 HK$ 20,600-38,600 US$ 2,620-4,910

2168

2169

喻仲林（b.1937）

百合

一食千歲

紙本設色鏡框 1978

款文：戊午夏日寫於麗水精舍，仲林

款文：戊午春日，仲林寫

鈐印：喻（白文）仲林（朱文）

鈐印：喻仲林（朱文）

劉培鑑藏（朱文）

直徑34.2×34.2 cm (13.4×13.4 in.)

57×30.5 cm (22.4×12 in.)

YU Zhing Lin YU Zhing Lin

Bird and Plums

Lily

Ink and color on paper 1978

無底價無底價

No reserve

195

196 JSL 2018 AUTUMN AUCTION

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景薰樓2018秋季拍賣會【亞洲華人現當代藝術 中國書畫】線上圖錄

景薰樓2018秋季拍賣會【亞洲華人現當代藝術中國書畫】線上圖錄