歡慶景薰樓25周年 2019秋季拍賣【亞洲華人現當代藝術中國書畫】線上圖錄 by JSL AUCTION

景薰樓 2019 秋季拍賣會亞洲華人現當代藝術 ˙ 中國書畫 JSL 2019 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART CHINESE PAINTING

拍賣日期

星期六下午 2:30

Saturday Dec 07th 2019 PM 2:30

景薰樓 2019 年秋季拍賣會亞洲華人現當代藝術中國書畫

2019年 12月 07日星期六 PM 2:30

富邦人壽大樓國際會議中心台北市敦化南路一段108號B2 拍賣諮詢 +886 4 2295 5528 +886 2 8771 7989

預展日期∕地點

JSL 2019 AUTUMN AUCTION ASIAN, CHINESE MODERN & CONTEMPORARY ART CHINESE PAINTING

DEC 07th, 2019 SATURDAY PM 2:30 Fubon International Conference Center B2,No.108,Sec.1,Dun-Hua South Road, Taipei, Taiwan Service Tel:+886 4 2295 5528 +886 2 8771 7989

PREVIEWS Date / Venue

台中景薰樓333藝廊

TAICHUNG JSL 333 GALLERY

2019年11月22日(五) - 12月01日(日) 10:00-19:00 台中市西屯區華美西街二段333號B1 電話 +886 4 2316 1833

Nov 22nd-Dec 01st, 2019 (Friday-Sunday)10:00-19:00 B1, No.333,Sec. 2,Huamei W. St, Taichung, Taiwan Tel: +886 4 2316 1833

台北富邦人壽大樓國際會議中心

TAIPEI Fubon International Conference Center

2019年12月05日(四) 10:00-19:00 2019年12月06日(五) 10:00-17:00

Dec 05th (Thursday) 10:00-19:00 Dec 10:00-17:00 June06th (Friday) B2,No.108,Sec.1,Dun-Hua South Road, Taipei, Taiwan Tel: +886 4 2295 5528 +886 2 8771 7989

景薰樓國際藝術拍賣公司

JSL AUCTION CO.

拍賣諮詢 / 陳碧真吳翰儒

Auction Consulting: Jade Chen, Han Ru, Wu

諮詢電話 +886 4 2295 5528 諮詢電話 +886 2 8771 7989

Website : www.jslauction.com E-mail : service@jslauction.com

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

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

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JSL 2019 AUTUMN Auction Department and Staff

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

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Chief Executive Administrative Advisor Art Director Chairperson

Jade, CHEN May, LIN Han Ru, WU Chen Ting, LIN Jade, CHEN

Chinese Ceramics & Works of Art

Chief Executive Jade, CHEN Advisory Consultant Han Ru, WU

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Art and Sculpture

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Art and Sculpture

Chief Executive

Jade, CHEN May, LIN Art Director Chief Executive Jade,Ru, CHEN Han WU Advisory Consultant Han Ru, WU

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ChineseAdministrative Painting

Chinese Ceramics & Works of Art

Chief Executive Jade, CHEN Advisory Consultant Han Ru, WU

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Chinese Painting

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Chief Executive Jade, CHEN ĺ&#x;ˇčĄ&#x152;ç¸˝ç&#x203A;Ł é&#x2122;łç˘§ç&#x153;&#x; Advisory Consultant Han Ru, WU čŤŽčŠ˘ĺ°&#x2C6;ĺŽś ĺ?łçż°ĺ&#x201E;&#x2019; č&#x2021;şä¸ç¸˝ĺ&#x2026;Źĺ?¸ ć&#x2122;Żč&#x2013;°ć¨&#x201C;ĺ&#x153;&#x2039;é&#x161;&#x203A;č&#x2014;?čĄ&#x201C;ć&#x2039;?čłŁĺ&#x2026;Źĺ?¸ č&#x2021;şĺ&#x152;&#x2014;čžŚĺ&#x2026;ŹĺŽ¤ çś˛çŤ&#x2122; / www.jslauction.com č&#x2021;şä¸ĺ¸&#x201A;ĺ&#x152;&#x2014;ĺ?&#x20AC;č?Żçž&#x17D;čĄ&#x2014;äş&#x152;ćŽľ262č&#x2122;&#x;B1 č&#x2021;şĺ&#x152;&#x2014;ĺ¸&#x201A;ć?žĺąąĺ?&#x20AC;ć&#x2022;Śĺ&#x152;&#x2013;ĺ?&#x2014;čˇŻä¸&#x20AC;ćŽľ102č&#x2122;&#x; äżĄçŽą / service@jslauction.com é&#x203A;ťčŠą: +886 4 2295 5528 é&#x203A;ťčŠą: +886 2 8771 7989

JSL AUCTION. www.jslauction.com service@jslauction.com

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ĺ&#x201A;łç&#x153;&#x;: +886 4 2295 5529 ĺ?°ç Ł: ć&#x17E;&#x2014;éş&#x2014;çž&#x17D;

ĺ&#x201A;łç&#x153;&#x;: +886 2 8771 7698 ĺ?°ĺ&#x152;&#x2014;: ĺ?łçż°ĺ&#x201E;&#x2019;

Taichung B1, No. 262, Section 2, Hua-Mei Street, Taichung, Taiwan Tel: +886 1 2295 5528 č&#x2021;şä¸ç¸˝ĺ&#x2026;Źĺ?¸ Fax: +886 4 2295 5529 č&#x2021;şä¸ĺ¸&#x201A;ĺ&#x152;&#x2014;ĺ?&#x20AC;č?Żçž&#x17D;čĄ&#x2014;äş&#x152;ćŽľ262č&#x2122;&#x;B1 Central and southern Taiwan

Taipei No. 262, Sec.1, Dun-Hua South Road Taipei, Taiwan Tel: +886 2 8771 7989 č&#x2021;şĺ&#x152;&#x2014;čžŚĺ&#x2026;ŹĺŽ¤ Fax: +886 2 8771 7698 č&#x2021;şĺ&#x152;&#x2014;ĺ¸&#x201A;ć?žĺąąĺ?&#x20AC;ć&#x2022;Śĺ&#x152;&#x2013;ĺ?&#x2014;čˇŻä¸&#x20AC;ćŽľ102č&#x2122;&#x; Northern Taiwan é&#x203A;ťčŠą:Ru, +886 Han WU2 8771 7989

é&#x203A;ťčŠą: +886 May, LIN 4 2295 5528 ĺ&#x201A;łç&#x153;&#x;: +886 4 2295 5529 ĺ?°ç Ł: ć&#x17E;&#x2014;éş&#x2014;çž&#x17D;

JSL AUCTION. www.jslauction.com service@jslauction.com

Taichung B1, No. 262, Section 2, Hua-Mei Street, Taichung, Taiwan Tel: +886 1 2295 5528 Fax: +886 4 2295 5529 Central and southern Taiwan

May, LIN

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Taipei No. 262, Sec.1, Dun-Hua South Road Taipei, Taiwan Tel: +886 2 8771 7989 Fax: +886 2 8771 7698 Northern Taiwan Han Ru, WU

景薰樓2019秋季拍賣相關諮詢服務聯絡人 JSL 2019 AUTUMN Auction Consultation & Services 買家支付之酬金說明

Premium

買家除支付成交價外，另須支付酬金於本公司，酬金費率計算方式為：每件拍賣品成交價為新台幣20,000,000元或 20,000,000元以下以20%計算；成交價超過20,000,000元者，則超過新台幣20,000,000元之部分以12% 計算。

The buyer's premium payable by the buyer of each lot is at a rate of 20% on the first NTD 20,000,000 of the hammer price and at a rate of 12% on the amount by which the hammer price exceeds NTD 20,000,000

客戶諮詢服務

Customer Services

關於本次拍賣的任何訊息查詢請洽：台灣區陳碧真吳翰儒林麗美電話:+886 4 2295 5528 傳真:+886 4 2295 5529

Please contact the following staffs for relevant information of the auction: Taiwan : Jade CHEN/Han Ru WU/May, LIN Tel:+886 4 2295 5528 Fax:+886 2 2295 5529 Tel:+886 2 8771 7989 Fax:+886 2 8771 7698

電話競標

Phone Bid

如您無法親臨拍賣場，歡迎您事先與我們聯繫以電話競標，為期能妥善安排電話競標事宜，請於拍賣前24小時通知本公司：陳碧真吳翰儒林麗美電話:+886 4 2295 5528

If you cannot attend the auction, you are welcome to

bid on the telephone. For the best arrangement, please contact us at least 24 hours before the auction: Jade CHEN/Han Ru WU/May, LIN Tel:+886 4 2295 5528

書面投標如您無法親臨拍賣場，亦可利用本圖錄後頁所付之書面委託單投標，請洽：陳碧真吳翰儒林麗美電話:+886 4 2295 5528

付款事宜景薰樓樂意提供您本次拍賣當中，任何一項拍品的狀況說明，惟請準買家須注意拍品均是以「當時認定」之狀況賣出，相關細則及付款詳細事宜請參照本圖錄之交易條款。如需進一步諮詢，請洽：客服管理部林麗美 +886 4 2295 5528

取件事宜所有拍品在款項結清後，即可取件：得標者請儘早連絡送件事宜，以便集中流通運輸安排。本公司接受個人及公司支票付款，惟須在兌現後始能取件。所有拍品亦可在景薰樓藝文空間提領。開放時間為週一至週六10:00～18:00或接受預約。請洽：吳翰儒電話:+886 2 8771 7989(臺北) 林麗美電話:+886 4 2295 5528(臺中)

物品運輸景薰樓可為您建議或安排最適當的運輸方式，及有關進出藝術品的必要手續，可代客安排將拍賣品包裝及託運往外國，詳情請洽：吳翰儒電話:+886 2 8771 7989(臺北) 林麗美電話:+886 4 2295 5528(臺中)

延遲提取惟買家若於拍賣後35天內仍未提取拍賣品，將收取儲存費用，費用為每天新台幣250元。

圖錄訂閱本圖錄歡迎各界人士訂閱訂閱請洽：林麗美電話:+886 4 2295 5528

圖錄價格

Buyers who cannot attend a sale can bid by using the Entrusted Bid From, which is attached in this catalogue.For futher information, please contact: Jade CHEN / Han Ru WU/ May, LIN Tel:+886 4 2295 5528

Payment

The company is pleased to interpret the condition of any lot in this auction, lot is sold as the condition that prospective buyer ‘granted at the time’, buyer please refer to the Condition of Business for relevant details.For further information about method and terms of payment for buyers, please contact our Financial Department: Customer Services Department May, LIN

All lots will be available for collection after payment at the end of each sale. Buyers are reminded to make collection arrangement as soon as possible to facilitate storing and handing procedures. Although personal and company checks are accepted, buyers are advised until such checks have cleared. Payment by cash or banker's draft will enable immediate release of purchases. Lots can be collected at JSL International Auctions. Office commences Monday to Saturday 10:00-18:00. Or make appointment for any other time. Han-Ru WU Tel:+886 2 8771 7989(Taipei) May, LIN Tel:+886 4 2295 5528(Taichung)

Shipping

Advice on the most proper means of dispatch and arrangement of shipping to foreign countries can be obtained from Administration Management Department : Han-Ru WU Tel:+886 2 8771 7989(Taipei) May, LIN Tel:+886 4 2295 5528(Taichung)

Storage

Buyers shall collect purchased lots within 35 days from the date of the sale . Otherwise, we shall arrange at the buyers expense at NTD250 per lot per day.

新台幣1,500元，美金50元，海外郵資需自付。圖錄內估價及拍賣當日所提供之美金等貨幣估價，僅為參考。本次拍賣會以新台幣結算，買方如以新台幣之外其他外幣繳付，惟請買方核實新台幣繳付當日匯率，折合所繳付之等值貨幣計算。

On buying the catalogue, please contact the Administration Department: May, LIN +886 4 2295 5528

雅昌網線上瀏覽(Online Preview)

Price

http://auction.artron.net/taiwanjingxunlou

景薰樓官方網站 http://www.jslauction.com

NTD 1,500 USD 50 All estimates in U.S. Dollar in this catalogue and at auction are for reference only. All payments related to this auction are based on New Taiwan Dollar, buyers who pay by foreign currency, please pay as the exchange rate of the paying day.

Index （按姓氏拼音排序） Artist / Lot Number B

Banksy

班克斯

2011.2012.2174

BASEMAN, Gary

格里．巴斯曼

2173

BASTIEN, Alfred

阿弗列德．巴斯天

2029.2030.2031

GEE Yun

朱沅芷

2097

HSIAO Chin

蕭勤

2037.2038

HSIAO Ju Sung

蕭如松

2019

HSU Ming Hsiung

許敏雄

2053

HU Shan Yu

胡善餘

2033.2034

HUANG Lui Sang

黃磊生

2081.2125

HUNG Rui Lin

洪瑞麟

2064.2065

HUNG Tung

洪通

2023

HUNG Yi

洪易

2007.2008

HWANG Dennis

黃志超

2104

石川欽一郎

2060

朱銘

2105.2106

KAWS

布萊恩．唐納利

2009.2107.2169. 2170.2175.2176

KUO Hsueh Hu

郭雪湖

2063

KUO Po Chuan

郭柏川

2062

KUSAMA, Yayoi

草間彌生

2001.2005.2006. 2177

LEE Shi Chi

李錫奇

2039.2040.2041

LI Gu Mo

李轂摩

2120

LI Ji Sen

李繼森

2054

LI Kuang Yu

李光裕

2161

CHANG Yi Hsiung

張義雄

2113.2114

CHANN George

陳蔭羆

2099.2100

CHEN Cheng Po

陳澄波

2061

CHEN Dan Qing

陳丹青

2134

CHEN Er Fu

陳二夫

2088

CHEN Te Wang

陳德旺

2109

CHEN Yi Fei

陳逸飛

2055.2056.2098

CHIANG Chao Shen

江兆申

2074

CHIANG Chung Cheng 蔣中正

2137.2138

ISHIKAWA, Kinichiro

CHIU Ya Tsai

邱亞才

2052

CHOU Tse

周哲

2075.2076.2077. 2078.2079.2080

CHU Chiu Ying

朱玖瑩

2127

CHU Ko

楚戈

2020.2021

CHU Teh Chun

朱德群

2160

CHUANG Che

莊喆

2035.2036

D DALI, Salvador

薩爾瓦多．達利

2162

DEPATIE, David

大衛．迪帕達

2168

DING Yan Yong

丁衍庸

2122.2123

DUNG Zuo Bin

董作賓

2135.2136

F FONG Chung Ray

馮鍾睿

2101

J JU Ming

LIN Yu Shan

林玉山

2066.2067

TAI Jing Nong

臺靜農

2118.2119

LIU Kuo Sung

劉國松

2082.2083.2084

TEZUKA, Osamu

手塚治虫

2166.2167

LIU Max

劉其偉

2024.2025.2026

TING Walasse

丁雄泉

2013.2103

LIU Wei

劉煒

2051

TU Ke

凃克

2057.2058

LU Rong Chen

呂榮琛

2087

WANG Huai Qing

王懷慶

2133

WANG Ming Ming

王明明

2124

WANG Shou Ying

王守英

2115

WANG Pan Youn

王攀元

2043.2044.2045. 2046.2047.2048. 2049.2050

WAY John

魏樂唐

2102

WU A-Sun

吳炫三

2117

WU Xue Rang

吳學讓

2022

YANG Mao Lin

楊茂林

2163

YANG San Lang

楊三郎

2110.2111.2112

YANG Yu Yu

楊英風

2042

YEE Bon

余本

2059

M MURAKAMI, Takashi

村上隆

2002.2003.2004

N NAKAMURA, Moe

中村萌

2171

NARA, Yoshitomo

奈良美智

2010.2153.2154. 2155

P PANG Jiun

龐均

2085.2086

PICASSO, Pablo

巴勃羅．畢卡索

2164.2165

溥儒

2121

PU Ru

SA Dji

沙耆

2028

SAN Yu

常玉

2095.2096

SHEN Che Tsai

沈哲哉

2116

ZAO Wou Ki

趙無極

SHIY De Jinn

席德進

2089.2090.2091. 2092.2093.2094. 2139.2140.2141. 2142.2143.2144. 2145.2146.2147. 2148.2149.2150. 2151.2152

2015.2016.2017. 2018.2156.2157. 2158.2159

ZHANG Chong Ren

張充仁

2027

ZHENG Shan Shi

鄭善禧

2068.2069.2070. 2071.2072.2073. 2128.2129.2130. 2131.2132

ZHOU Bi Chu

周碧初

2032

ZHOU Chun Ya

周春芽

2014.2108

SONG Chang Zhi

宋長志

2126

SORAYAMA, Hajime

空山基

2172

2001

草間彌生（b. 1929）我熱愛的自己（未來&魚，兩件一組）骨瓷 2013 限量500件未來：28.5×28.5cm (11.2×11.2 in.) 魚：23×23cm (9×9 in.) 附原包裝盒

Yayoi KUSAMA The Me that I Adore (Future&Fish, set of 2) Bone China 2013 Edition of 500 With original box

NT$ 30,000-45,000 HK$ 7,800-11,700 US$ 1,000-1,500 2002

村上隆（b. 1962）怪怪與奇奇寶麗石粉樹脂 2018 註冊商標： COMPLEXCON © TM/KK（白色：左腳底部，粉色：右腳底部） MADE IN JAPAN（白色：右腳底部，粉色：左腳底部） 13×8×22.5cm、13×8×19cm (5.1×3.1×8.8 in.、5.1×3.1×7.4 in.) 附原包裝盒

Takashi MURAKAMI KAIKAI & KIKI Polystone 2018 Trademark: COMPLEXCON © TM/KK (White: L, Pink: R) MADE IN JAPAN (White: R, Pink: L) With original box

NT$ 70,000-100,000 HK$ 18,200-26,000 US$ 2,300-3,300

2003

村上隆（b. 1962）親簽哆啦A夢絨毛公仔（兩件一組）聚酯纖維 2018 簽名中間：TAKASHI 2018 19×14×22.5cm×2 (7.4×5.5×8.8 in.×2)

Takashi MURAKAMI Doraemon Plush Toy (Set of 2) Polyester 2018 Signed at middle: named TAKASHI, dated 2018.

NT$ 30,000-45,000 HK$ 7,800-11,700 US$ 1,000-1,500

2004

村上隆（b. 1962）

Takashi MURAKAMI

凝視死亡的幸運獅子

A Picture of the Blessed Lion who Stares at Death

膠印版畫（114/300）2010 簽名右下：M 10 114/300 70.5×139.7cm (27.7×55 in.)

Offset lithograph (114/300) 2010 Signed lower right: named, dated, numbered (114/300).

NT$ 50,000-80,000 HK$ 13,000-20,800 US$ 1,600-2,600 9

2005

草間彌生（b. 1929）

Yayoi KUSAMA

紅南瓜（五件一組）

Red Pumpkin (Set of 5)

鑄模樹脂 2015 註冊商標： © YAYOI KUSAMA 8×8×10cm×5 (3.1×3.1×3.9 in.×5) 附原包裝盒

Cast resin 2015 Trademark: © YAYOI KUSAMA With original box

NT$ 40,000-65,000 HK$ 10,400-16,900 US$ 1,300-2,100

2006

草間彌生（b. 1929）

Yayoi KUSAMA

黃南瓜（五件一組）

Yellow Pumpkin (Set of 5)

陶瓷 2002 註冊商標： © YAYOI KUSAMA 6×6×5.5cm×5 (2.3×2.3×2.1 in.×5) 附四個原包裝盒、二張說明卡

Ceramic 2002 Trademark: © YAYOI KUSAMA Attached four original boxes, two instructions cards

NT$ 50,000-90,000 HK$ 13,000-23,400 US$ 1,600-3,000 10

2007

洪易（b. 1970）山羊（兩件一組） FRP（玻璃纖維強化樹脂）2015 簽名底部：洪易 2015 38×20×25cm×2 (14.9×7.8×9.8 in.×2) 來源：附畫廊保證書

HUNG Yi Goat (Set of 2) FRP (Fiber Reinforced Plastic) 2015 Signed bottom: named Hung Yi in Chinese, dated 2015. Provenance: With certificate of gallery

NT$ 110,000-135,000 HK$ 28,600-35,100 US$ 3,600-4,500

2008

洪易（b. 1970）福龍（兩件一組）瓷（869/999、959/999）2017 簽名底部：洪易 2018（賀歲作品） 37.5×16.5×19.5cm×2 (14.7×6.4×7.6 in.×2) 來源：附工作室開立保證書附原包裝盒

HUNG Yi Fortune Dragon (Set of 2) Porcelain (869/999、959/999) 2017 Signed bottom: named Hung Yi in Chinese, dated 2018. Provenance: Certificate issued by studio With original box

NT$ 30,000-45,000 HK$ 7,800-11,700 US$ 1,000-1,500

2009

KAWS（布萊恩．唐納利）（b. 1974）

KAWS (Brian Donnelly)

沿途（黑、灰、棕，三件一組）

Along The Way (Black, Gray, Brown, set of 3)

綜合媒材搪膠雕塑 2019 註冊商標： ALONG THE WAY,,、MEDICOM TOY、CHINA（右腳底部） KAWS,, 19（左腳底部） 23×13×27.5cm×3 (9×5.1×10.8 in.×3) 附原包裝盒

Multiple, vinyl 2019 Trademark: ALONG THE WAY,,、MEDICOM TOY、CHINA ( R ) KAWS,, 19 ( L ) With original box

NT$ 75,000-90,000 HK$ 19,500-23,400 US$ 2,500-3,000

2010

奈良美智（b. 1959）

Yoshitomo NARA

小狗收音機

Doggy Radio

玻璃纖維 2011 限量3000件 42×24.5×34cm (16.5×9.6×13.3 in.) 附原包裝盒

Fiberglass 2011 Edition of 3000 With original box

NT$ 75,000-100,000 HK$ 19,500-26,000 US$ 2,500-3,300 12

2011

班克斯（b. 1974）擲花者（白）寶麗石粉樹脂 2018 註冊商標： © MMXV Full Colour Black Ltd.（右腳底部） MEDICOM TOY 2018 CHINA（左腳底部） 36×11.5×40cm (14.1×4.5×15.7 in.) 來源：亞洲私人收藏附原包裝盒

Banksy Flower Bomber (White) Polystone 2018 Trademark: © MMXV Full Colour Black Ltd. ( R ) MEDICOM TOY 2018 CHINA ( L ) Provenance: Asian private collection With original box

NT$ 50,000-90,000 HK$ 13,000-23,400 US$ 1,600-3,000 2012

班克斯（b. 1974）擲花者（黑）寶麗石粉樹脂 2019 註冊商標： © MMXV Full Colour Black Ltd.（右腳底部） MEDICOM TOY 2019 CHINA（左腳底部） 36×11.5×40cm (14.1×4.5×15.7 in.) 來源：亞洲私人收藏附原包裝盒

Banksy Flower Bomber (Black) Polystone 2019 Trademark: © MMXV Full Colour Black Ltd. ( R ) Black: MEDICOM TOY 2019 CHINA ( L ) Provenance: Asian private collection With original box

NT$ 60,000-100,000 HK$ 15,600-26,000 US$ 2,000-3,300 13

2013

丁雄泉（1929-2010）鸚鵡時鐘版畫（20/30）2000 簽名下方：ting 2000 20/30 40.8×40.8cm (16×16 in.)

Walasse TING Parrot Clock Print (20/30) 2000 Signed lower: named ting, numbered (20/30), dated 2000.

NT$ 20,000-35,000 HK$ 5,200-9,100 US$ 700-1,200

2014

周春芽（b. 1955）雲淡風輕版畫（2/3 A.P）2011 簽名下方：2/3 A.P 周春芽 2011 66×84cm (25.9×33 in.)

ZHOU Chun Ya Light Cloud and Soft Wind Print (2/3 A.P) 2011 Signed lower: numbered (2/3 A.P), named Zhou Chun Ya in Chinese, dated 2011.

NT$ 120,000-160,000 HK$ 31,200-41,600 US$ 4,000-5,300

2015

趙無極（1921-2013）

ZAO Wou Ki

藍月

Blue Moon

石版版畫（92/99）簽名下方：92/99 無極 ZAO 35×32cm (9.8×8.2 in.)

Lithograph (92/99) Signed lower: numbered (92/99), named.

NT$ 80,000-130,000 HK$ 20,800-33,800 US$ 2,600-4,300

2016

趙無極（1921-2013）無題銅版版畫（EA）1965 簽名下方：e'preuve d'artiste 無極 ZAO 65 44.5×39cm (17.5×15.3 in.) 出版： Heede & Moestrup：《趙無極版畫作品編年目錄1937-1995》（哥本哈根，1994年），頁97。

ZAO Wou Ki Untitled Etching with aquatint (EA) 1965 Signed lower: numbered (EA), named, dated 65. Literature: Heede & Moestrup: ZAO WOUKI The Graphic Work A Catalogue Raisonné 1937-1995 (Copenhagen, Denmark, 1994) , P. 97

NT$ 200,000-260,000 HK$ 51,900-67,500 US$ 6,600-8,600

華人現當代藝術家首推趙無極在西方的藝術界成就最高，

為經典的圖式，畫面中以黑色山脊襯以赭紅大地，並以黃

1948年離開中國家鄉前往巴黎築夢的趙無極在油畫創作

色作為色彩之間的銜接，強烈對比中卻又產生平衡關係。

之外，亦醉心鑽研版畫技術，1960年代是他在巴黎已諸

趙無極早期版畫的版數稀少，又是罕見的藝術家試版，私

事底定而亟欲拓展國際視野的時期，異常努力且極具雄

人藏家手中或在拍賣場上亮相少之又少。

心，這段時間對趙無極的歷程來講也是最重要的轉折期，在經過了保羅克利時期、青銅器時期這些具象繪畫轉向抽象藝術的奠基階段。而這件銅版畫是1965年的巔峰之最，以運用多色的技法探索線條的表達力，這種「山脊式」的結構具有一種龍捲風般的內在向心力，是趙無極最 16

2017

趙無極（1921-2013）無題石版版畫（31/120）1973 簽名下方：31/120 無極 ZAO 73 40.5×69.5cm (15.9×27.3 in.) 出版： Heede & Moestrup：《趙無極版畫作品編年目錄1937-1995》（哥本哈根，1994年），頁 134。

ZAO Wou Ki Untitled Lithograph (31/120) 1973 Signed lower: numbered (31/120), named, dated 73. Literature: Heede & Moestrup: ZAO WOU-KI The Graphic Work A Catalogue Raisonné 1937-1995 (Copenhagen, Denmark, 1994) , P. 134

NT$ 120,000-160,000 HK$ 31,200-41,600 US$ 4,000-5,300

2018

趙無極（1921-2013）詩畫與禮讚石版版畫（62/99）1976 簽名下方：62/99 無極 ZAO 76 39.8×66.5cm (15.6×26.1 in.) 出版： Heede & Moestrup：《趙無極版畫作品編年目錄1937-1995》（哥本哈根，1994年），頁155。

ZAO Wou Ki A la Gloire de L'image et Art Poetique Lithograph (62/99) 1976 Signed lower: numbered (62/99), named, dated . Literature: Heede & Moestrup: ZAO WOUKI The Graphic Work A Catalogue Raisonné 1937-1995 (Copenhagen, Denmark, 1994) , P. 155

NT$ 100,000-150,000 HK$ 26,000-39,000 US$ 3,300-4,900 17

2019

蕭如松（1922-1992）

HSIAO Ju Sung

筍

Bamboo

水彩紙鈐印右下：J.S（朱文） 15×19.8cm (5.9×7.7 in.)

Watercolor on paper Seal lower right: with one seal of the artist.

NT$ 90,000-130,000 HK$ 23,400-33,800 US$ 3,000-4,300

2020

楚戈（1931-2011）

CHU Ko

捭闔

Open and Close

彩墨紙 2002 簽名中下：楚戈 2002 38×92cm (14.9×36.2 in.)

Ink and color on paper 2002 Signed lower: named Chu Ko in Chinese, dated 2002.

NT$ 40,000-80,000 HK$ 10,400-20,800 US$ 1,300-2,600

2021

楚戈（1931-2011）天運彩墨紙 2002 簽名左下：楚戈 2002 54.5×47.5cm (21.4×18.7 in.)

CHU Ko Celestial Operation Ink and color on paper 2002 Signed lower left: named Chu Ko in Chinese, dated 2002.

NT$ 40,000-70,000 HK$ 10,400-18,200 US$ 1,300-2,300 19

吳學讓

WU Xue Rang

吳學讓1923年出生於中國四川，個性淡泊名利，謙遜隨和，因此也以「退伯」自詡。1948年畢業於國立杭州藝專，受教於林風眠、潘天壽、黃賓虹、李可染、傅抱石、陳之佛等前輩大師，吸取中國繪畫南、北二宗及傳統工筆花鳥、寫意不同流派之精華，間通青綠山水，奠定學畫基礎，藝術造詣極為深厚。此外，吳學讓亦曾深入鑽研吳昌碩、齊白石等金石派藝術，使早期創作上，能達到出入古今、兼通雅俗的藝術境界，此種融合性藝術的形成，更成為吳學讓生涯中最重要的創作指南。1960年代台灣水墨受抽象狂潮的席捲影響下，產生發展相當巨大的變化，而身處於這個文化動盪和政治轉變的遷徙下，其開創藝術歷程中「現代畫」的里程碑，吳學讓的創作無疑是代表這個時代水墨繪畫的典型。吳學讓一生的創作脈絡，以深厚的古典淬鍊作為創作基石，在山水、花鳥繪畫之外，又能不拘傳統開創新局，優游穿梭於「舊」與「新」之間，畫風時而清麗淡雅、時而雄渾蒼茫，展現了多元的藝術風貌。吳學讓有感於現代藝術思潮巨浪的衝擊與中國畫改革的必要性，曾言：「我對傳統的花鳥已感到厭倦，在多年的教畫中，我對兒童畫發生了興趣。……借用了這種想法，發展成一個最簡單的形來構成、組合，加以變化，漸漸走上了這個路子。」藉由教學教育的啟發，吳學讓以創作實踐他的發想，Lot2022《室內》，從傳統美學中汲取了線條元素、幾何形體，沒有具體的象徵造形，乍看之下具有某種輕淡的神秘意味，營造出一種純真幻想、幽默童趣的抽象水墨風格，反而突破傳統國畫形式，呈現出兼具幻想與幽默之作品。吳學讓謙和的儒學典範，深厚的文化涵養，一生致力於水墨繪畫，從傳統水墨走向現代抽象，不斷求新求變，開創渾然天成的現代水墨風格，為傳統國畫傾注現代創新活水，為台灣「現代水墨」之先驅。 20

2022

吳學讓（1923-2013）

WU Xue Rang

室內

Indoor

紙本彩墨 2009 簽名右下：室內，退伯之一鈐印：吳（朱文）退伯堂（朱文） 69.2×67.7cm (27.2×26.6 in.)

Ink and color on paper 2009 Signed lower right: titled, named, with two seals of the artist. Literature:

出版：國立歷史博物館：《真水無香：吳學讓書畫紀念展》（台北，2015年），頁113。

National Museum of History: A Memorial Exhibition of Wu Xue-rang Paintings and Calligraphy (Taipei, Taiwan, 2015) , P.113

NT$ 180,000-280,000 HK$ 46,800-72,700 US$ 5,900-9,200

2023

洪通（1920-1987）快樂天堂複合媒材紙手繪鈐印：洪通文山 90×45.2cm (35.4×17.7 in.)

HUNG Tung Happy Heaven Mix media on paper Signed lower left: named Hung Tung in Chinese.

NT$ 200,000-300,000 HK$ 51,900-77,900 US$ 6,600-9,900

七〇年代，傷痕美術和鄉土寫實主義，從中國大陸的學院派藝術界冒起，在台灣則有擁護本土文化的「鄉土運動」崛起，在當時的政治氣候裡推動文壇、藝壇以至社會對於民族意識的集體想象，美術界中以雕刻家朱銘和素人畫家洪通的成就最備受關注。朱銘和洪通在台灣的成功，奠基於其作品中對於民俗情感和草根精神的共鳴與重視；在久已洋化的現代美術氛圍下，兩者的具象表現強烈地刺激著當時長期被抽象繪畫所獨領的畫壇。憑籍真誠質樸的風格，他們一路抵抗盲目移植自西方的美學觀，並對「現代化」等於「西化」的學院思維作出堅決否定，為鄉土主義刻畫深刻的圖騰。洪通從小無緣求學，因而無能識字；從事過諸如漁民、乩童等工作。1970年，洪通五十歲時突然對繪畫產生興趣，1972年意外獲漢聲雜誌記者刊載介紹其作品，往後的二、三年中媒體相繼大幅報導，掀起一股「洪通狂潮」，短短十餘年的繪畫生涯中，洪通從貧困的環境中取材，自力習畫、無師自通的繪畫歷程充滿著傳奇性，奇特而且令人炫目的畫作深深映現民間藝術及道教信仰文化的滲透，當中充滿靈性和童趣的意象讓觀者都能感受到源自藝術家想像世界的純樸情調。創作風格質樸純真，神祕的文字畫與繽紛的色彩充滿童趣，正因出身草根階層，洪通彩筆下細緻繁瑣的形式，具有現實和幻想所綜合的趣味。創作總圍繞著大自然，畫面構圖更經常呈現枝葉茂盛的樹幹為主軸，在花葉間層層衍生出美滿的果實以及充滿童趣的人形肖像相互連結，使自然與人文之間看來更加緊密且和睦。 22

2024

劉其偉（1912-2002）

LIU Max

門神

Gate God

複合媒材畫布 1997 簽名左下：ㄌㄧㄡˊㄑㄧˊㄨㄟˇ 1997 51×37cm (20×14.5 in.)

Mix media on canvas 1997 Signed lower left: named Liu Chi Wei in bopomofo, dated 1997.

NT$ 130,000-180,000 HK$ 33,800-46,800 US$ 4,300-5,900 23

劉其偉

LIU Max

劉其偉兼有工程師、探險家、作家、人類學

Lot2025《婆憂鳥》為劉其偉最頻繁描繪的

家等各種身分，繪畫與作品為國內外珍藏，獲獎無數。而做一位藝術家，劉其偉是以一顆活潑的

對象，更是劉其偉生命中的代表作。小時候祖母常講「婆憂鳥的故事」給劉其偉聽：「從前有一

心靈及豐沛的情感，創作出既浪漫又詩意的繪畫

個窮苦人家過端午節，小孫子想吃粽子，但是老

作品，他創作的源頭活水，就在於那永不滅絕的

祖母沒錢買米包粽子，只好用泥土做了一個假粽

生命能量。因此他的繪畫往往透露出一股生命的

子，哄孫子開心；沒想到，小孫子卻把假粽子

驅力，展現出生命歷經千錘百鍊之後，圓滿俱足

吃進肚子裡，後來不幸死了；傷心的老祖母日夜

的本來面目。譬如，他的動物畫是以赤子之心、

流淚。後來小孫子變成了一隻美麗的小鳥，每逢

關愛之情畫出動物活潑的生命與活著的尊嚴。民

黃昏，就停在家門前的大樹上呼啼著『婆憂、婆

國八十三年七月，有兩百餘件文物，經細心整理

憂』.....」。劉其偉永遠記得祖母跟他說的婆憂

分類後，在台中的自然科學博物館展出。當時的科博館館長漢寶德告訴媒體：「劉其偉的新幾內

鳥傳說，他認為婆憂鳥就是「親情的守護者」，

亞行，一方面以藝術家的特有敏感度、熱情和人道主義的執著，同時也不改其自喻為業餘人類學家的謙虛精神，完全不顧長途跋涉的辛勞，在短期內完成了艱辛的任務。」

婆憂鳥有著雞蛋形的身軀，小小的眼睛、黑色的背、紅色的腹，以及細長的雙腳，小巧可愛的造型，令人過目不忘。劉其偉以最精簡的形與色，幻化成一個單純的象徵符號，讓單純中蘊含

劉其偉的創作多得自於對原始藝術的啟發，

豐富的內容，貴為一生的代表作。而Lot2024《門

他認為為了解藝術的本質，就必須探究原始藝

神》，劉其偉將主題轉向台灣民俗文化，門神、

術，因而先後到北呂宋、南美洲、北婆羅洲、巴

財神等，藝術家專注於物件的「臉龐」，Lot2026

布亞新幾內亞等地作調查採集。而巴布亞新幾內

《村姑》同樣能夠感受出此種氛圍，劉其偉的民

亞是至今仍保有石器時代生活的地區，劉其偉在

俗系列是以民間藝術為題材，將自身早期對祖母

旅行中，除了是對於文化的探索，以一位藝術創作者的身分更深覺「無處不見驚人的藝術作品，

的印象投射到作品上，傳統婦女矜持嬌羞的表情

甚至包括族人家中的掛鉤。」在旅程剪輯的影片

主角最真誠的一面。劉其偉時常寫生，善於觀察

紀錄，劉其偉用感性的語調說：「土著的生活

的能力，讓畫面達到最精簡的表現，因而深入

看來單調，但能幻化他們的人生，創作出震撼人

人心。

心的神話與藝術。……他們生活在一個壯闊、單純、自由的天地間，自有其快樂和意義，我想，文明並不能塑造出人間的天堂。」不斷地思索藝術、思索人間、思索文明，應是劉其偉執著以赴「藝術人類學」的動力！ 24

因此特別喜愛以此作為主題。

表露無遺，藉由特寫卻簡單純粹的描繪，表達出

2025

劉其偉（1912-2002）

LIU Max

婆憂鳥

Po Yu Bird

複合媒材畫布 1996 簽名右下：ㄌㄧㄡˊㄑㄧˊㄨㄟˇ, '96 38×51.5cm (14.9×20.2 in.)

Mix media on canvas 1996 Signed lower right: named Liu Chi Wei in bopomofo, dated 1996. Provenance:

來源：附畫廊保證書

With certificate of gallery

NT$ 180,000-280,000 HK$ 46,800-72,700 US$ 5,900-9,200

2026

劉其偉（1912-2002）

LIU Max

村姑

Village Girl

複合媒材畫布 2002 簽名左上：ㄌㄧㄡˊㄑㄧˊㄨㄟˇ 二 ○○ 二 50×38cm (19.6×14.9 in.)

Mix media on canvas 2002

來源：附畫廊保證書

Provenance:

Signed upper left: named Liu Chi Wei in bopomofo, dated 2002.

With certificate of gallery

NT$ 130,000-200,000 HK$ 33,800-51,900 US$ 4,300-6,600 26

2027

張充仁

ZHANG Chong Ren

廟宇

Temple

水彩紙簽名右下：充仁 27×39.5cm (10.6×15.5 in.)

Watercolor on paper Signed lower right: named Chong Ren in Chinese. Exhibition:

展覽：國立清華大學藝術中心「中國早期水彩畫的寫生觀」，2001年。

Tsinghua University art center "The concept of Chinese

出版：國立清華大學：《中國早期水彩畫的寫生觀》（北京，2001年）。

Literature:

tranditional paint of life" , 2001

Tsinghua University: The concept of Chinese tranditional paint of life (Beijing, China, 2001)

NT$ 120,000-180,000 HK$ 31,200-46,800 US$ 4,000-5,900

2028

沙耆（1914-2005）

SA Dji

虎視眈眈

Tiger Eyes Covetously

彩墨紙簽名左下：沙耆 SADJI 鈐印：耆（朱文褪色）題記：虎視眈眈，其欲逐逐。款文：沙耆。 57.5×72.5cm (22.6×28.5 in.)

Ink and color on paper

來源：歐洲私人收藏

NT$ 260,000-380,000 HK$ 67,500-98,700 US$ 8,600-12,500

Signed lower left: named Sa Dji in Chinese and English, with one seal of the artist. Provenance: Europe private collection

2029

阿弗列德．巴斯天（1873-1955）

Alfred BASTIEN

風暴後的樹根

A Tree Alone Can't Survive a Storm

油彩畫布簽名右下：-A. Bastien 65.5×100cm (25.7×39.3 in.)

Oil on canvas Signed lower right: named A. Bastien. Provenance:

來源：歐洲私人收藏

Europe private collection

NT$ 300,000-480,000 HK$ 77,900-124,700 US$ 9,900-15,800

2030

阿弗列德．巴斯天（1873-1955）

Alfred BASTIEN

花束

Bouquet

油彩畫布 1942 簽名左下：A. Bastien 1942 100×80cm (39.3×31.4 in.)

Oil on canvas 1942 Signed lower left: named A. Bastien, dated 1942. Provenance:

來源：歐洲私人收藏

Europe private collection

NT$ 350,000-500,000 HK$ 90,900-129,900 US$ 11,500-16,500 30

2031

阿弗列德．巴斯天（1873-1955）

Alfred BASTIEN

靜物、水果與一瓶香檳

Still Life with Fruit and Bottle of Champagne

油彩畫布 1937 簽名左下：Alfred Bastien 30.10.1937 80×100cm (31.4×39 in.)

Oil on canvas 1937 Signed lower left: named Alfred Bastien, dated 1937. Provenance:

來源：歐洲私人收藏

Europe private collection

NT$ 350,000-500,000 HK$ 90,900-129,900 US$ 11,500-16,500

周碧初

ZHOU Bi Chu

周碧初的藝術生涯大致可分為四個階段，第一階段為法國留學時期（1925-1930），師事印象派藝術家約納斯‧羅隆（Emest Lawrent），重視自然光色的變化，用色鮮明亮麗，筆觸流暢；再加上周碧初空閒之時，都在羅浮宮臨摹習畫，形成日後藝術風格發展的基礎。第二階段是在中國的美術教育時期（19301949），長達二十年的教學生涯，為中國培養無數優秀人才。第三階段是印尼僑居時期（19491959），因戰亂逼使周碧初遠走印尼，雖然生活困苦、畫材缺乏，卻是藝術風格的成熟時期。周碧初在印尼勤於寫生，將南洋明亮的熱烈風情帶入畫中。十年間，周碧初成為頗具影響力的藝術家，講究構圖和嚴謹有序的筆觸，形成為人所熟知的畫風。最後一個階段是中國時期（19591995），周碧初返回上海定居教學，經常在各地旅遊寫生，造訪名勝。晚年心境熟成，在韻律的筆觸中譜成雅致的人生風景。周碧初擅畫風景和靜物，即使不同時期的作品，皆流露著一種明朗樂觀的氛圍，色調自然恬淡，含蓄清奇，令人為之豁然開朗。嘉興是浙江美景之一，此地以秀麗的煙雨風光享有盛名。 Lot2032《嘉興風光》構圖嚴謹簡潔，筆端帶著濃濃詩意，氣氛和淳蘊藉，浸透著周碧初疏秀爽朗，性靜情逸的獨特美感。

ZHOU Bi Chu’s artistic career can be divided into four stages: First, the period of studying in France (1925-1930). Under the teaching of the impressionist master, Emest Lawrent, he precisely grasped changeable colors of natural light and the skill of fluent brushstrokes; moreover, he always practiced painting in Louvre at spare time, setting up the foundation of his further artistic style. The second stage is the teaching period in Mainland China (1930-1949). With over 20 years teaching experience, he nurtured numerous talents of new generation. The third stage is his inhabitation in Indonesian (1949-1959), during that period, he was forced to stay in Indonesia because of the war, though living in hardship and was lack of painting material, Zhou’s artistic style was getting mature at that time. He diligently created in Indonesia, bringing the bright warm of Southern Asian tropical landscape into works. Zhou Bi Chu became an influential painter in a decade; he was well-known by his strict composition and orderly forming brushstrokes. The final stage is the Mainland China period (1959-1995), the artist returned to Shanghai to settle down and teach, he traveled around a lot and painted for many tourist attractions. His mature style and rhythmic brushstrokes resulted in an elegant landscape for his elder life. ZHOU Bi Chu was good at landscape and still-life paintings, even the works from his different periods show an optimistic mood and similarly natural colors. Jiaxing, one of beautiful spots in Zhejiang province, is reputed for its rainy scene. The structure of “Landscape of Jiaxing” is quite simple but strictly composed, in which the poetic brushstrokes reveal a warm atmosphere, implying the artist’s peaceful and unique sense of aesthetic.

2032

周碧初（1903-1995）

ZHOU Bi Chu

嘉興風光

Scenery of Jiaxing

油彩畫布簽名右下：碧初 48.2×65.3cm (18.9×25.7 in.)

Oil on canvas Signed lower right: named Bi Chu in Chinese. Provenance:

來源：附藝術家家屬與作品合影影本

Attached to the artist's family member with artwork photo copy

NT$ 1,000,000-1,200,000 HK$ 259,700-311,700 US$ 33,000-39,600

2033

胡善餘（1909-1993）玫瑰與薔薇油彩紙簽名右下：善餘 54×34.8cm (21.2×13.7 in.) 出版：敦煌藝術中心：《胡善餘畫集》（台北，1997年），頁78。

HU Shan Yu Roses Oil on paper Signed lower right: named Shan Yu in Chinese. Literature: Caves Art Center: Paintings by HU Shan Yu (Taipei, Taiwan, 1997) , P. 78

NT$ 220,000-300,000 HK$ 57,100-77,900 US$ 7,300-9,900

2034

胡善餘（1909-1993）

HU Shan Yu

古寺

Old-fashioned Temple

油彩畫布簽名左下：善餘 45×54.5cm (17.7×21.4 in.)

Oil on canvas Signed lower left: named Shan Yu in Chinese. Literature:

出版：敦煌藝術中心：《胡善餘畫集》（台北，1997年），頁59。

Caves Art Center: Paintings by HU Shan Yu (Taipei, Taiwan, 1997) , P. 59

NT$ 480,000-550,000 HK$ 124,700-142,900 US$ 15,800-18,100

台灣美術運動的領航畫會「美術現代化」運動風潮興起於1950年代，在快速

這樣的啟發，致使1956年9月，由學生霍剛、蕭勤、

變遷、轉換的動盪時代，「五月」、「東方」畫會的成立，正式引領台灣現代藝術成形。「強調以現代藝術的觀

李元佳、歐陽文苑、夏陽、吳昊、蕭明賢、陳道明等八人

念，去選擇融合中國藝術傳統中的精華部份，創造出新的中國藝術風貌。」五○年代中期，李仲生對於美術現代化的啟蒙極其深遠，「現代繪畫」是這群藝術家積極倡導的藝術理想與追求目標。他們堅毅、明確的言論與行動，成為戰後台灣第一個具有鮮明主張的美術運動。這樣的氣氛下，儘管擁有不同的觀念與背景，卻讓他們於分別於 1956年、1967年成立東方、五月畫會，為抽象繪畫帶起一股新風流。五月畫會的劉國松、莊喆以及東方畫會的蕭勤、夏陽、霍剛等人是這一波現代繪畫行動中的代表人物。他們在思想上表現出對中國傳統美學思想的嚮往，並且在行動上試圖結合西方現代藝術思潮，尋求中國現代繪畫的出路。民初以來，中國一直將寫生觀念視為藝術典範及最高價值，但因戰爭的關係，台灣許多方面受美國影響，抽象表現主義間接影響當時年輕藝術家的觀點及想法，為了激盪傳統的繪畫風格，東方及五月畫會積極推動「現代藝術」運動，使藝術不再守舊，也得到更多不同的變化，而這兩個至關重要的畫會，成為台灣戰後現代繪畫運動不可不重視的過程與史實。

成立了東方畫會。畫會共有四大主張，分別為：一、強調創新的可貴：認為要不斷吸收新觀念，才能發展創造。二、強調現代藝術是從民族性出發的一種世界性藝術形式。三、強調中國傳統藝術觀在現代藝術中的價值。四、主張「大眾藝術化」，反對「藝術大眾化」。這八位藝術家，可謂現代美術先鋒，如同「響馬」般衝出保守畫壇，開創先河，其後便有「八大響馬」之稱。他們在藝術荒野奔馳，試圖以更自由的創作態度與中國文化結合，開創屬於六○年代的現代中國繪畫。

／五月畫會

／

1957年，一群台灣師範大學美術系畢業校友，經老師廖繼春鼓勵，靈感於法國「五月沙龍」，組成取名「五月」的畫家協會，五月畫會也是台灣藝術史上重要的畫會之一。影響台灣藝術從古典的靜物保守風格，轉為現代藝術風格。五月畫會的創辦人有劉國松、郭豫倫、郭東榮、李芳枝等人，1957年5月之後加入莊喆、謝里法、韓湘寧、陳景容、楊英風、陳庭詩等畫家，並開始固定在每年五月舉

／東方畫會

／

東方畫會是1950年以後李仲生以特殊的教學方式和新穎開放的觀念，採取民間授徒的途徑培養出的一批成

辦畫展。在1960年代，五月畫會以大膽的畫風、主張自由的繪畫題材、概念、繪畫方式等成為台灣現代繪畫的前衛團體，當時僅有另一個組織東方畫會能與之比擬。

員。李仲生熟知歐美、日本畫壇現代繪畫發展興盛的實

1960年代後，五月畫會的成員大多出國留學、旅居

況，因而對國內畫壇的保守產生強烈的不滿。所以要將

海外，原先團體展出的方式逐漸變為成員的個展。1974

他們認為是現代的、進步的繪畫風格介紹給廣大社會的群

年後，五月畫會活動漸少。1991年，五月畫會開始重新

眾，最好的方式便是開畫展。

組織台灣各大學美術系畢業生等舉辦畫展。

Pilot painting society of Taiwan art movement The "Arts Modernization" movement has risen in the 1950s. In the change of time, the establishment of“Fifth Moon Group” and “Eastern Painting Group” is the leading modern art of Taiwan. “Emphasizing the concept of modern art, choosing to integrate the essence of Chinese art tradition and create a new Chinese art scene.” At the mid of 50s, Li Chun Shan's enlightenment on the modernization of art is extremely far-reaching. "Modern painting" is the artistic ideal and pursuit goal that they actively advocate. Their perseverance speech and actions became the first art movement in Taiwan after the war. In this atmosphere, despite having different concepts and backgrounds, they set up Eastern Painting Group and Fifth Moon Group in 1956 and 1967 respectively, which brought a new trend of abstract painting. LIU Kuo Sung and CHUANG Che of Fifth Moon Group and HSIAO Chin, Xia Yang and HO Kan of Eastern Painting Group are the representatives of modern painting. They express their longing for Chinese traditional aesthetics in their thoughts. Also, they tried to combine Western modern art trends and seek out the way out of modern Chinese painting in action. Since the beginning of the Republic of China, China has always regarded the concept of sketching as an artistic model and the highest value. Due to the war, many aspects of Taiwan are affected by the United States. Abstract expressionism indirectly influenced the views and ideas of young artists at the time. In order to stir up traditional painting styles, Eastern Painting Group and Fifth Moon Group will actively promote the "Modern Art" movement, make art no longer old, and get more different changes. After the war in Taiwan, these two important paintings became the important historical facts of modern painting movement.

/ Eastern Painting Group / Eastern Painting Group is made up of the members trained by Li Chun Shan in the way of private apprenticeship after 1950. Li Chun Shan is familiar with the development of modern paintings in Europe, America and Japan, so he has a strong dissatisfaction with the conservativeness of domestic painting. Therefore, they consider the best way to introduce modern and progressive painting styles to the society is to hold exhibitions.

This kind of inspiration led to the establishment of Eastern Painting Group in September 1956 by eight students including HO Kan, HSIAO Chin, Li Yuan Jia, Ou Yang Wen Yuan, Xia Yang, WU Hao, Xiao Ming Xian and Chen Dao Ming. There are four major ideas in the paintings, namely: 1. Emphasizing the value of innovation: Believed that we must continue to absorb new ideas in order to develop and create. 2. E mphasize that modern art is a worldwide art form based on nationality. 3. Emphasize the value of traditional Chinese art in modern art. 4. Advocate "mass art" and oppose " Popularization of art." These eight artists, as pioneers of modern art, rushed out of the conservative painting scene like a "sounding horse" and created a precedent. Later, they were known as the " Eight Knights ". They are racing in the art wilderness, trying to combine Chinese culture with a more free creative attitude and create modern Chinese paintings belonging to the 1960s.

/ Fifth Moon Group / In 1957, a group of graduates of the Fine Arts Department of Taiwan Normal University, encouraged by teacher LIAO Chi Chun, were inspired by the French” Salon de Mai” to form the painter's association named "May". Fifth Moon Group is also one of important painting society in Taiwan's art history. The influence of Taiwanese art from the classical still life conservative style to the modern art style. The founders of Fifth Moon Group include LIU Kuo Sung, Guo Yu lun, KUO Tung Jung, Li Fang Zhi, etc. After May 1957, they joined CHUANG Che, Shaih Lifa, Han Xiang Ning, CHEN Ching Jung, YANG Yu Yu, CHEN Ting Shih and other painters, and began to hold a painting exhibition in May each year. In the 1960s, Fifth Moon Group became a progressive group of modern Taiwanese paintings with bold styles of painting, free-spirited painting themes, concepts, and paintings. At that time, only another organization, Eastern Painting Group, could compare with it. After the 1960s, most of the members of Fifth Moon Group studied abroad and live there. The way the original group exhibited was gradually turned into a solo exhibition of members. After 1974, the activities of Fifth Moon Group gradually decreased. In 1991, Fifth Moon Group began to reorganize the exhibitions of art graduates from various universities in Taiwan. 37

2035

莊喆（b. 1934）

CHUANG Che

瓜瓞綿綿

Melon Continuous

壓克力彩墨紙 1991 簽名右下：莊喆 91 113.8×91cm (44.8×35.8 in.) 來源：亞洲私人收藏

Acrylic, ink and color on paper 1991 Signed lower right: named Chuang Che in Chinese, dated 1991. Provenance: Asian private collection

雖然莊喆在本質上可能是個抽象畫家，但也從不猶豫地將其注意力轉移到具像派的基調上，他認為不需要為作品做風格的定位，他曾說：「是不是抽象藝術家根本不重要」，而且「重要的是如何透過作品的形式、瞭解其隱含的真正意義」。Lot2035《瓜瓞綿綿》與Lot2036《紅色 38

NT$ 380,000-600,000 HK$ 98,700-155,800 US$ 12,500-19,800

意象》都是莊喆恣意揮灑下，所呈現的自然之姿，做為一個將傳統內蘊於現代中的藝術家，莊喆在許多畫作中反映出以自然為主軸的風格，將自然視為所有藝術的真正意涵與來源。

2036

莊喆（b. 1934）

CHUANG Che

紅色意象

Red Image

壓克力彩墨紙 1991 簽名右下：91 莊喆 111×79cm (43.7×31.1 in.) 來源：亞洲私人收藏

Acrylic, ink and color on paper 1991 Signed lower right:dated 1991, named Chuang Che in Chinese. Provenance: Asian private collection

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，多年累積，經驗十分豐碩。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，筆觸抑揚頓挫間，伴隨色彩豐富變化，

NT$ 320,000-550,000 HK$ 83,100-142,900 US$ 10,600-18,100

畫面經常展現自然滴流潑濺、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像蹊徑，誠可視為藝術家內省、感受頓悟之智慧途徑。

蕭勤

HSIAO Chin

蕭勤1935生於中國上海，1954年畢業於台

創立東方畫會後，蕭勤隨即前往西班牙發

灣省立台北師範學校藝術科，1956年赴西班牙

展，深受不定形藝術（Informalism）、抽象表

留學，後移居義大利，曾在歐美多所藝術學校任

現主義（Abstract Expressionism）的藝術家影

教。從1957年在西班牙巴塞隆納的馬達洛美術館

響，察覺中國書法律動線條的重要性與特色，並

舉辦第一次個展後，後續於義大利、西班牙、荷

藉此展開一系列的嘗試。該時期的創作，特別採

蘭、俄羅斯、台北等地舉辦多次個人展覽，成立

取對稱造型，以加強象徵意味，並以「繪畫」為

東方畫會以抽象繪畫為研究主題。早期的作品受

題名。1959年，蕭勤獲邀在義大利數字畫廊舉

到後印象派的影響，移居義大利後，轉而捨棄以

辦第一次個展。機緣下認識馬爾各尼（Giorgio

前的濃烈色彩，使用中國文人喜愛的淡泊色調。

Marconi），成為蕭勤的唯一代理人，正是此時，

作品中可以常見到蕭勤以西方的色彩來闡述東方

蕭勤選擇移居米蘭，為藝術家人生轉折的重要一

的哲學，他使用中國書法中的草書線條營造禪的

年。Lot2037《繪畫－DT》即創作於1959年，

氣氛，讓線條在畫面上流動跳躍。在追求藝術的

在黑色線條充滿力勁的帶動下，以方、圓排列構

道路上，蕭勤堅守對東方文化本源的認同，更抱

圖，配以白、土黃純粹的色系，隱約可以窺見某

持著開放精神，並在20世紀中後期，一波波的中

些中國文字的影子，如同卦象中的無窮變化，孕

西藝術流派之間穿引、辯證，佐其個人對宗教、

育出一個未可知的形而上思維與神祕世界。蕭勤

哲學的知性追求，終於逐步形成超然而獨樹一幟

加入具有原始紋樣符號的暗示，形成某種帶有祭

的心靈宇宙景色。

儀性與風土特色的作品，這種兼具東方意味的抽象形式，與當時在歐洲盛行的風格相互呼應，使蕭勤在歐洲初試啼聲便獲得了注目，可謂蕭勤早期創作的經典。

HSIAO Chin born in Shanghai, China. In 1954, graduated from the Art Department of the Taipei Normal School in Taiwan. He went to Spain to study in 1956 and moved to Italy. He taught at many art schools in Europe and America. After holding his first solo exhibition at the Madlo Art Museum in Barcelona, Spain in 1957, he held several solo exhibitions in Italy, Spain, the Netherlands, Russia, and Taipei. Eastern Painting Group was established with abstract painting as the research theme. The early works were influenced by the post-impressionism. After moving to Italy, he turned away from the previous strong colors and used the indifferent tones of Chinese literati. It is common in the works that HSIAO Chin expresses the philosophy of the East in the color of the West. He uses the cursive lines in Chinese calligraphy to create a Zen atmosphere, allowing the lines to flow and jump on the screen. On the road of pursuing art, HSIAO Chin adheres to the identity of the origin of oriental culture, and holds the spirit of openness. In the middle and late 20th century, a wave of Chinese and Western art schools intertwined and dialectically, and his personal religion and philosophy. Intellectual pursuit, and finally gradually formed a super-extraordinary spiritual universal view. 40

After the founding of Eastern Painting Group HSIAO Chin immediately went to Spain, deeply influenced by the artists of Informalism and Abstract Expressionism, and realized the importance and characteristics of the Chinese calligraphy. Therefore started a series of attempts. The creation of this period, in particular, adopted a symmetrical shape to enhance the symbolic meaning and to use "painting" as the title. In 1959, HSIAO Chin was invited to hold his first solo exhibition at the galleria Numero in Italy. Under the opportunity to know Giorgio Marconi became the only agent of HSIAO Chin. It is at this time, HSIAO Chin chose to move to Milan, is an important year for the artist's life. Lot 2037 “PinturaDT” was created in 1959. With the strong lines and arranged in square and round, with the pure color of white and earthy yellow. It can glimpse the shadow of some Chinese characters. The infinite change in the image gives birth to an unknowable metaphysical and mysterious world. HSIAO Chin added the hint of the original pattern symbol to form a certain kind of ritual and terroir characteristics. This abstract form with oriental meaning echoes the style prevailing in Europe at that time, making HSIAO Chin feel the buzz in Europe. It has gained attention, and it can be described as the classic of HSIAO Chin 's early artworks.

2037

蕭勤（b. 1935）

HSIAO Chin

繪畫－DT

Pintura-DT

油彩畫布 1959 簽名右下：HSIAO勤八. 1959 56.5×53.5cm (22.2×21 in.)

Oil on canvas 1959 Signed lower right: named Hsiao Chin, dated 1959. Literature:

出版：帝門藝術中心：《蕭勤的海外遺珍》（台北，2000年），頁18。

Dimensions Art Center: Overseas Collection of Hsiao Chin (Taipei, Taiwan, 2000) , P.18

NT$ 1,200,000-1,400,000 HK$ 311,700-363,600 US$ 39,600-46,200

六○年代中期，蕭勤對宇宙間恆常不變的道產生興

Lot2038《隕星－13》創作於2002年，透過繪畫東西

趣，嘗試以簡約的顏色和圖案，捕捉宇宙的形態，表達東西文化深邃的哲思，敏銳地感受到時代心靈的胎動，反思

文明共同的精神象徵，使意識形態得以在他的作品中呈現出來，以精煉的方式表現簡潔和純粹的美。「生命，雖然

創作媒材，進而放棄了已上手的油彩與表現性的使用顏料

以一種方式離開了，卻會以不同的方式轉換地再出現，生

方式，轉而使用壓克力創作。宇宙的瞬息萬變，逐漸融入

命的本質則不斷地在轉換中。」1990年蕭勤的女兒意外

於畫面之中，而蕭勤也開始接觸老莊思想，將中國的空靈

身亡，面對這樣突如其來的噩耗，長久無法恢復，直到透

哲思進一步與西方藝術的最新概念結合起來。作品畫面恣

過繪畫與宇宙、道教的體悟，才終能踏出。Lot2038《隕

意運轉流動，往往是直覺性的留下大面積空白，並留下

星－13》就如同於此，世間的黑暗，終將有一束光芒劃破

帶有對比性或調和性的造型表現，依照顏料的透明、不透

天際，為生命找到出入，而這道光芒，則能為蕭勤領悟星

明，空間的內、外，虛、實，動、靜，可看出蕭勤不同於

辰，感受日月，無懼生命死亡之間的變化，進而走向簡潔

早期東方藝術家對西方藝術的形式模仿，也一改過去如同

且純粹的藝術之美。

非形象主義者追求本體論的現實。雖然仍繼續鑽研於線條與色彩的變化，但蕭勤對於物質與精神、瞬間與永恆、有限與無限的探索，已從更根本的觀念上反思了繪畫的媒介性，試圖重新發現現代繪畫的本質。蕭勤活躍於國際藝壇，先後參與發起1961年的「國際龐圖（Punto）藝術運動」、1977年的「國際太

不同文化中的流轉際遇，反饋為蕭勤創作的養份與深厚的東方背景，相互融冶共生，促使蕭勤展現出人文主義與道家的包容和純粹性。蕭勤對藝術的思考，已昇華為更通透卻熱情不減的生命能量。在這裡面，無所謂的終結，亦無所謂起始，但見美學維度的深化，持續滋養著生命能量的拓展，歷久彌新。

陽（Surya）運動」、1989年的「國際炁（Shakti）運動」。他以東方美學思惟在抽象繪畫領域創造鮮明性格，並獲得西方藝壇的矚目與肯定。

In the mid-1960s, HSIAO Chin became interested in the universe. He tried to capture the shape of the universe with simple colors and patterns, express the deep philosophical thoughts of the East and West, and keenly feel the time and reflections. Thought about the media, and then give up the oil paint and expressive use of pigments. The rapid changes of the universe are gradually integrated into the picture, and HSIAO Chin has also begun to contact Zhuangzi and combine Chinese ethereal philosophies with the latest concepts of Western art. The picture of the work flows freely, often leaving a large blank of intuition, leaving a contrasting or harmonious appearance, according to the transparency, opacity of the pigment, the inside and outside of the space, the virtual, the real, the movement, Quiet, it can be seen that HSIAO Chin has different from the early Eastern artists' imitating the Western art, and also changed the past as the non-imagist pursues the ontological reality. Although he continues to study the changes in lines and colors, HSIAO Chin's exploration of material and spiritual, instant and eternal, limited and infinite has reflected the media of painting from a more fundamental concept, trying to rediscover the essence of modern painting. HSIAO Chin active in the international art world and has participated in the launch of the "Punto Art Movement" in 1961, the "Surya Movement" in 1977, and the "Shakti Movement" in 1989. He created a distinctive character in the field of abstract painting with oriental aesthetics and gained the attention and recognition of the Western art world. 42

Lot 2038 “La cometa-13” was created from 2002. Through the common spiritual symbol of painting, the ideology can be presented in his works, and the simple and pure beauty can be expressed in a refined way. "Life, although left in a certain way, will reappear in different ways, and the essence of life is constantly changing." In 1990, HSIAO Chin’s daughter died unexpectedly. In the face of such sudden loss, he unable to recover for a long time. Until through the painting and the understanding of the universe and Taoism, can finally step out. Lot 2038 “La cometa-13” is like this, the darkness of the world, there will be a beam of light to cut through the sky, to find a way out for life, and this light can comprehend the stars for HSIAO Chin feel the sun and the moon, fear of death The change between them leads to a simple and pure artistic beauty. The circulation of different cultures, feedback for HSIAO Chin’s artworks of nutrients and deep oriental background, mutual symbiosis, prompted HSIAO Chin to show the tolerance and purity of humanism and Taoism. HSIAO Chin thinking on art has been upgraded to a more transparent, but he still have the passionate and energy in his life. In this, there is no such thing as an end, but there is no beginning, but seeing the deepening of the aesthetic dimension, it continues to nourish the expansion of life energy, and it will last forever.

2038

蕭勤（b. 1935）

HSIAO Chin

隕星－13

La Cometa-13

壓克力畫布 2002/2011 簽名畫背：蕭勤 2002/2011 "隕星－13" "La cometa-13" 140×107cm 140×107cm (55.1×42.1 in.)

Acrylic on canvas 2002/2011 Signed on the reverse: named, dated, titled, sized. Provenance: Attached certificate signed by Artist

來源：附藝術家親簽之原作保證書

NT$ 1,600,000-1,900,000 HK$ 415,600-493,500 US$ 52,800-62,700 43

李錫奇

LEE Shi Chi

李錫奇於1938年出生於金門，1955年就讀台北師範學校藝術科後，開始接觸木刻版畫。早期作品描繪故鄉金門的生活點滴，刻劃異鄉學子的鄉愁與詩情。1959年與楊英風、秦松、陳庭詩、江漢東等人創立「現代版畫會」，同時也追隨李仲生學習現代藝術，並於1963年加入東方畫會。李錫奇在探索創作技法以及個人風格的道路上勤奮耕耘，吸收抽象繪畫與普普藝術等西方現代創作形式，同時結合在地議題與文化傳統元素，逐步建立自身的視覺語彙。1960年代曾多次代表台灣參加國際藝術活動，深受各界矚目。李錫奇在創作手法上，突破繪畫平面性的侷限，將物質本身的特性導入立體空間，使觀者直視、思考媒材自身具有的意義，遂有「畫壇變調鳥」之稱。 1973年李錫奇受懷素草書的啟發，開始創作線性的彩色版畫，將現代藝術觀念融入書法元素中，特別是色彩、空間的變異，形成旋轉竄動的視覺效果，呈現獨特的東方現代風格，發展出《大書法》系列。至此前後約近二十年的時間，是李錫奇創作生涯中，最為典雅、精緻，也是最富文學氣質的時期。李錫奇脫離了青少年的狂野，進入了中年的溫柔、婉約與成熟。Lot2039《大書法系列 8901》由舞動的線條組成，描繪在白底畫面上，短促又帶有顏色的線條，猶如黑夜裡，孩童手持線香香頭上的微光，在空中搖動書寫所畫下來的線條。這正是李錫奇自述其觀賞懷素草書，所勾引起的童年經驗記憶。李錫奇也不忘創作發展全新的水墨作品，即是《墨語》系列。Lot2040《墨語 9912》經由特殊的裱貼方式，讓水性和油性交疊，透露出宣紙下方木板底漆的質感，呈現歲月蒼桑、斑駁古味的痕跡。幾何的邊線配上墨色濃淡的變化，因此同時兼具西方與東方交融的創新特色。

LEE Shi Chi born in Kinmen in 1938. After attending the Art Department of Taipei Normal School in 1955, he began to contact woodcut prints. The early works depict the life of the hometown of Kinmen, depicting the nostalgia and poetry of students. In 1959, Yang Yu yu, CHIN Sung, CHEN Ting Shih, Jiang Han Dong and others founded the "Modern Printmaking Society". They also followed LI Chun Shan 's study of modern art and joined the Eastern Painting Group in 1963. LEE Shi Chi worked diligently on the road of exploring creative techniques and personal styles, absorbing abstract Western paintings such as abstract paintings and pop art, and simultaneously establishing his own visual vocabulary by combining local issues with cultural and traditional elements. In the 1960s, he represented Taiwan on many occasions in international art activities and was well received by all walks of life. In his creative approach, LEE Shi Chi breaks through the limitations of the flatness of painting and introduces the characteristics of matter itself into a three-dimensional space, allowing the viewer to look directly at and think about the meaning of the medium itself, and is known as the “Tone bird of art world” Inspired by Huai Su's cursive scripts in 1973, LEE Shi Chi began to create linear color prints, incorporating modern art concepts into calligraphy elements, especially the variation of color and space, forming a rotating and visual effect, presenting a unique oriental modern style, and developing Out of the "Big Calligraphy" series. Up to now, about two decades ago, LEE Shi creative career was the most elegant, refined and literary period. LEE Shi broke away from the wildness of teenagers and entered the gentleness, grace and maturity of middle age. Lot 2039 “Great Calligraphy Series 8901” consists of dancing lines, painted on a white background, short and colored lines, like the night, the child holds the shimmer on the line of incense, shaking the lines drawn in the air . This is exactly the memory of childhood experience caused by LEE Shi Chi’s self-reported cursive book. LEE Shi Chi also did not forget to create and develop a new ink painting, which is the "Inktalk" series. Lot 2040 “Inktalk 9912” is a special way to make the water and oily overlap, revealing the texture of the wood primer under the rice paper, showing the traces of the years and the mottled ancient taste. The geometric sideline is matched with the change of ink color, so it also has the innovative features of the blending of the West and the East.

2039

李錫奇（1938-2019）

LEE Shi Chi

大書法系列 8901

Great Calligraphy Series 8901

壓克力畫布 1989 簽名右下：錫奇 1989 99×99cm (38.9×38.9 in.)

Acrylic on canvas 1989 Signed lower right: named Shi Chi in Chinese, dated 1989. Provenance:

來源：附畫廊保證書

With certificate of gallery

NT$ 580,000-680,000 HK$ 150,600-176,600 US$ 19,100-22,400 45

2040

李錫奇（1938-2019）

LEE Shi Chi

墨語 9912

Inktalk 9912

紙本設色 1999 簽名右下：錫奇 99 鈐印：李錫奇印（白文） 80.5×110cm (31.6×43.3 in.)

Ink and color on paper 1999 Signed lower right: named Shi Chi in Chinese, dated 1999, with one seal of the artist.

NT$ 580,000-680,000 HK$ 150,600-176,600 US$ 19,100-22,400

Provenance: 來源：附畫廊保證書

With certificate of gallery

1990年李錫奇開始發展漆畫，以強烈的紅、黑、金等飽滿色調、印章意象等，構成帶有肌理的幾何錯位風格，重新詮釋了現代中國藝術的格式與格局。「做為藝術觀念的『本位』可以有多重內涵和解釋，但對我說來，最

的表面、書法線條的筆觸，以及紅、黑、金的顏色運用，形式被大量的擴張、延展，正表達出李錫奇對於變與不變的把持以及掌握，因為創新且無懼的精神，開拓出屬於自己的個人風格。

重要的是民族的本位，傳統的本位。」李錫奇在創作歷程

李錫奇的藝術創作，可謂台灣現代藝術發展歷程中的

中，不斷強調「本位」以提醒自我，藉由認知自己，再向

典型：從傳統與本土出發，經由學習、吸收，轉化造形、

外發展，先後創作「本位」、「後本位」、「再本位」，

色彩與題材，進而和國際的當代藝術對話、接軌，台灣現

足以見得其重要性。Lot2041《再本位2007-1》結合過去

代藝術的誕生與創發，即是在如此激盪的軌跡中，展現活

創作的技法於一身，漆畫生漆堆疊出的皺紋、打磨後平坦

潑的生命力。

2041

李錫奇（1938-2019）

LEE Shi Chi

再本位 2007-1

Re-Orientation 2007-1

複合媒材畫布 2007 簽名右下：錫奇 2007 60×50cm (23.6×19.6 in.)

Mix media on canvas 2007 Signed lower right: named Shi Chi in Chinese, dated 2007. Provenance:

來源：附畫廊保證書

With certificate of gallery

In 1990, LEE Shi Chi began to develop lacquer paintings, with strong red, black, gold and other full color, seal image, etc., to form a geometric misplaced style with texture, reinterpreting the format and pattern of modern Chinese art. "Being the "Orientation" of artistic concept can have multiple connotations and explanations, but for me, the most important thing is the national standard and the traditional standard." LEE Shi Chi constantly emphasized the "standard" in the creative process to remind himself. By recognizing oneself and then developing outward, it has been enough to create the "Orientation ", "Post- Orientation" and "ReOrientation ". Lot 2041 “Re-Orientation 2007-1”combines the techniques of the past creation, the wrinkles stacked on

NT$ 200,000-300,000 HK$ 51,900-77,900 US$ 6,600-9,900 the lacquer the smooth surface after polishing, the brush strokes of the calligraphy lines, and the use of red, black and gold colors. The form is greatly expanded. And extension, is expressing LEE Shi Chi’s control and mastery of change and unchanging, because of the spirit of innovation and fearlessness, to develop his own personal style. LEE Shi Chi’s art works can be described as a typical example in the development of modern art in Taiwan: from the traditional and the local, through learning, absorption, transformation, shape, color and subject matter, and then dialogue with international contemporary art, the birth and creation of modern Taiwan art. Showing a lively vitality in such a turbulent trajectory. 47

楊英風

YANG Yu Yu 48

楊英風，生於1926年台灣宜蘭縣，是台灣

由於年幼時與母親長期分隔，使楊英風非常

乃至於世界知名的景觀雕塑與環境造型藝術專

珍惜與母親的相處，1983年，楊英風的母親安

家。楊英風先後就讀於日本東京美術學校（現國

然辭世，成年的三女也興起出家念頭，在這樣的

立東京藝術大學）建築系，師事朝倉文夫（雕塑

人事變化，促使他創作Lot2042《分合隨緣》，

大師羅丹，於日本的學生）、北京輔仁大學美術

藉由凹凸鏡面的變化，而產生物象之間虛盈轉

系、國立台灣師範大學美術系，其後負笈羅馬藝

換。凹面上方有一扁圓柱，在鏡面的反射下，猶

術學院專攻雕塑，學習近代西方藝術，學習歷程

如細胞分裂孳生，萬物繁衍不息，映出的周遭

經由北平、東京、台北、羅馬等地之遊歷，面臨

虛像，則有若心境的反照。世間人事，盡是聚

西方文化的激盪，使他更體認出東西文化的特質

散分合、虛實盈虧，無須執著，應隨緣而變、

和差異。而後窮其一生致力於調和建築與環境的

隨緣而安。楊英風以彎曲條狀的造型，分別象

景觀雕塑。六○年代間獲頒義大利奧林匹克繪畫

徵日、月、龍、鳳，同時結合生命思考、宇宙

金章獎、雕塑銀章獎與第二屆世界和平文化藝術

想像，將雕塑、景觀、自然的哲學思想，融會

大獎。畢生創作超過六十載，舉辦大小型個展、

貫通。該件大型景觀雕塑亦於同年完成，以兩件

聯展數十次，楊英風歷經台灣美術現代化和國際

一組的形式，初展於台北市立美術館，後移往台

化的轉折，作品形式風格隨著時代變遷而引領風

南市立文化中心，直至2018年台南市美術館二館

騷，具體反映近代台灣美術史的演進。

興建完成，同步遷移。

Yang Yu yu, born in Yilan County, Taiwan in 1926, is an expert in landscape sculpture and environmental modeling art in Taiwan and even in the world. Yang Yingfeng studied at the Department of Architecture of Tokyo Art School in Japan (Tokyo University of the Arts nowadays), learned from Asakura Mano (sculpture master Rodin, student in Japan), The Beijing period of Fu Jen Catholic University Art Department, Fine Arts Department of National Taiwan Normal University, Accademia di belle arti di Roma specializes in sculpture and learns modern Western art. The journey of learning through Beijing, Tokyo, Taipei, Rome and other places, facing the turmoil of Western culture, makes him more aware of the characteristics and differences of Eastern and Western cultures. Then he devoted his life to reconciling landscape sculptures of architecture and the environment. In the 1960s, he was awarded the Gold Medal of the Italian Olympic Painting, the Silver Medal of Sculpture and the Second World Peace Culture Art Award. Yang Yu yu create his artwork for more than 60 years, had held large and small solo exhibitions and joint exhibitions dozens of times, Yang Yu yu experienced the turning point of Taiwan's art modernization and internationalization. The style of works has led the trend with the changes of the times, reflecting the evolution of modern Taiwan art history.

Because of his long-term separation from his mother when he was young. Therefore Yang Yu yu cherished the time with his mother. In 1983, Yang Yu yu’s mother died peacefully, his third daughter raised the thoughts of become a monk. In this kind of personnel change, he was encouraged to create Lot2042 “Shadow Mirror”, by the change of the convex mirror surface, the virtual image conversion between the objects. There is a flat cylinder above the concave surface. Under the reflection of the mirror, it is like a cell division, and everything is prosperous. The surrounding virtual image is reflected in the mood. The world's personnel, as far as the gathering and dispersing, the real and the loss, no need to be attached, should change with the fate. The large-scale landscape sculpture was also completed in the same year. Yang Yu yu’s curved strip shape symbolizes the sun, the moon, the dragon and the phoenix, and combines life thinking and cosmic imagination to integrate the philosophical thoughts of sculpture, landscape and nature. It was first displayed in the Taipei Fine Arts Museum in two-piece of a set, and then moved to the Tainan City Cultural Center. Until 2018, the Tainan City Art Museum II was completed and moved synchronously.

2042

楊英風（1926-1997）

YANG Yu Yu

分合隨緣

Shadow Mirror

不鏽鋼（15/20）1983 簽名側邊：'83 英風 15/20 140×43×77cm (55.1×16.9×30.3 in.)

Stainless steel (15/20) 1983

來源：附財團法人楊英風藝術教育基金會保證書

Provenance:

出版：高雄市立美術館：《楊英風－站在鄉土上的前衛》（高雄市， 2006年），頁178。台北市立美術館：《楊英風》（台北，2005年），頁116-117。（另一尺寸版本）楊英風美術館：《楊英風－不鏽鋼景觀雕塑專輯》（台北，2006 年），頁31。

Literature:

Signed on the side: dated 1983, named Ying Feng in Chinese, numbered (15/20).

Certificate issued by Yuyu Yang Art Education Foundation

Kaohsiung Museum of Fine Arts: Yu Yu Yang-Vanguard on Native Soil (Kaohsiung, Taiwan, 2006) , P.178 Taipei Fine Arts Museum: Yu Yu Yang (Taipei, Taiwan, 2005) , P.116-117 Yuyu Yang Lifescape Sculpture Museum: In Stainless Steel: Sculptures by YuYu Yang (Taipei, Taiwan, 1992) , P.31

NT$ 350,000-500,000 HK$ 90,900-129,900 US$ 11,500-16,500

王攀元

WANG Pan Youn

追憶王攀元再攀也攀不著，一彎月亮。

似久斷又似相連，

再挽也挽不回，一丸夕陽。

一端牽在夢那頭，

再尋也尋不到，一座古屋。

一端掛在海這邊。

無論黑犬如何追，或是孤雁如何趕，

余光中《牽掛—題王攀元畫境》

愈來愈深的暮色裡，只剩下一根地平線，

2011年，詩人余光中為王攀元做了一首詩，

往宜蘭羅東中學教書，從此宜蘭成了他的第二個

充分的表達出藝術家在人生際遇以及作品中所表

故鄉，在宜蘭純樸的人情味與穩定的校園執教生

達孤獨之美，月亮、夕陽、古屋、黑犬、孤雁，

活，漂泊超過半個世紀，才終於塵埃落定，王攀

在畫面上總是單一的景色，而這些就如同王攀元

元將人生際遇的悲喜之情交融，創作出內心糾結

的化身，牽引夢境，勾起回憶。

最深沉的吶喊，形成富含詩意的獨特畫風。

王攀元1908年出生於江蘇大戶人家，3歲時父親過世，家族便由叔叔掌權。母親在失去家族

「用筆應，有輕、有重、有乾、有濕、有骨、有肉、有虛、有實，線條彎曲自如，在畫面

地位的情況下，必須獨力扶養兒子倆、更要面對

上相互參用，以求平衡，不可過與不及。關於

大家族的勾心鬥角，不久便積勞成疾，在王攀元

畫面上之基調濃淡，以個人之好惡為原則，二

13歲時逝世。由於寄人籬下，家族成員的冷言冷

者作風各有千秋，不過總以不落俗套為目的。」

語及爾虞我詐，王攀元自幼如同被世界所遺棄，

－王攀元 1974年5月8日

承受巨大的孤獨感，培養出沉默隱忍的低調個性。所幸，在高中那年，王攀元遇見賞識他藝術天分的吳茀芝老師，在藝術的世界裡，他找到消失已久的歸屬感。王攀元對於水墨書畫的基礎，更在此培養成形。

濕濃淡的施用，一直是其所擅長，尤其可見於水墨作品中。本季拍品呈現Lot2045《墨荷》、 Lot2046《望渡》、Lot2047《佳氣日氤氳》、 Lot2048《萬籟涵虛清》、Lot2049《翱翔自在》

總是逆來順受的王攀元，唯獨對藝術這條路

水墨作品，Lot2045《墨荷》利用濃淡區分主從前

不願妥協，家族希望他念法律，但念了一個學

後關係，Lot2046《望渡》可見線條筆法的流動牽

期，王攀元便轉念美術。如此更使家族成員不諒

引， Lot2047《佳氣日氤氳》以控制水量達到迷

解，斷絕經費，王攀元只好打工賺錢，強忍周遭

濛霧氣，Lot2048《萬籟涵虛清》大膽且奔放的線

的奚落中，勉力求生。1936年王攀元畢業於上

條利用濃淡區別，Lot2049《翱翔自在》寥寥數筆

海美專，原本計畫和女友相隨及潘玉良赴法學習

以留白製造空無境界。王攀元的老家四季分明，

繪畫，卻因籌措不到旅費無法成行。後因戰亂王

他想念春天的桃紅煙柳、夏天的荷塘月色、秋天

攀元與女友失聯，開始過著顛沛流離的日子。至

的金黃草原、冬天的枯枝白雪，這些美景一直都

二戰結束後，1949年王攀元攜家帶眷抵達高雄

留在他的心中，每當想起，便將它們一一入畫，

鳳山，為了生計，王攀元不惜以勞力換取全家溫

藉此懷念抒發，實屬佳作。

飽，開始在碼頭當搬運工人。直到1952年受聘前

王攀元在水墨書法上的心得頗有研究，乾

「春欲盡花已老，情郎不須歸。白雲飛孤雁鳴，我欲乘風歸去，不勝寒。英雄、名馬，君臨茅舍。來自何方，

遠眺成為藝術家在描繪時最常入題的畫面之一，Lot2050

出生名門、無父無母、來自何方，日落東方。」1965年

《遙思》以抽象的塊面景色入畫，大面積的綠包含在黃色

王攀元在手札裡寫了一首詩，道盡藝術家戲劇化又多舛

之中，像山，或如影，右下方的人形微微彎曲，彷彿敬

的人生際遇，在他的畫中，總能窺見幾分憂愁。Lot2044

禮、致意一般的莊重，或如似在回憶，而這片綠就是王攀

《崗巒上的獨居者》以水彩渲染畫面，淺描一棟房屋，單純且俐落，尤其在渲染的過程中，王攀元僅以暈染的痕跡

元的思念，巨大、濃稠，卻是純淨、朦朧的一言難盡，「清風明月，花落成塚，人生幾何，無定春秋。西山紅

就能夠區分天地，可知筆觸絲毫不猶豫，即達成畫面所闡

葉，攜手同歡，何時歸去，還如夢中。天寒風冷，歸思已

述之情。

濃，雲霞呼喚，不知所蹤。遙想當年，心靈已碎，悠悠天

王攀元曾說：「一個畫家必須要有自己的體系與風格，那就是孤獨。」Lot2043《煢獨者》便能端詳其一，透過渲染呈現的迷濛黃色背景中，左下角站著一個人，瘦

每當在宜蘭遠望龜山島，王攀元便知道自己回家了，

地，何必當初。」王攀元在1973年寫下此詩，道盡終將無法抹滅的思鄉之情，如今於畫幅之中，更滿懷思想，令人久久不忘。

弱細小的肩膀，向右上方望著，矮房則顯得更加迷濛，如同漂浮一般的落在畫面右上方，人影就更單薄了。「有時想起了家，想起了童年，二十多年的流亡生活，真不知道是如何打發的。」王攀元如此回憶，是否真的遭遇過的一樣質疑著。迷濛的畫面令人想起印象派畫家透納所帶來的通透景色，《諾勒姆城堡，日出》的光芒氤氳，前方就像罩了十幾層的霧氣，動物、地面、山景都要融為一體了，王攀元的畫中，同樣能夠感受如此的通透感，並添加一股中國文人味的惆悵。

約瑟夫．馬洛德．威廉．透納，《諾勒姆城堡，日出》， 1845，油彩畫布，90.8×121.9cm，英國倫敦泰特美術館藏。

2043

王攀元（1912-2017）

WANG Pan Youn

煢獨者

Loner

水彩紙 19.8×19.8cm (7.7×7.7 in.)

Watercolor on paper With provenance proof

附來源證明

NT$ 110,000-150,000 HK$ 28,600-39,000 US$ 3,600-4,900

2044

王攀元（1912-2017）

WANG Pan Youn

崗巒上的獨居者

Solitude in the Mountain

水彩紙簽名左上：WANG.P.Y. 鈐印：王攀元印（朱文） 29.5×35cm (11.6×13.7 in.)

Watercolor on paper Signed upper left: named WANG.P.Y., with one seal of the artist. With provenance proof

附來源證明

NT$ 140,000-180,000 HK$ 36,400-46,800 US$ 4,600-5,900

2045

王攀元（1912-2017）墨荷紙本水墨立軸鈐印：攀元書畫（白文） 135×69.5cm (53.1×27.3 in.) 附來源證明

WANG Pan Youn Lotus Ink on paper With provenance proof

NT$ 100,000-130,000 HK$ 26,000-33,800 US$ 3,300-4,300

2046

王攀元（1912-2017）望渡紙本水墨鏡框鈐印：王攀元（白文） 40.5×30.2cm (15.9×11.8 in.) 附來源證明

WANG Pan Youn Ink Painting Ink on paper With provenance proof

NT$ 50,000-80,000 HK$ 13,000-20,800 US$ 1,600-2,600

2047

王攀元（1912-2017）佳氣日氤氳紙本水墨立軸鈐印：王攀元印（白文） 49.5×58.5cm (19.4×23 in.) 附來源證明

WANG Pan Youn Ink Painting Ink on paper With provenance proof

NT$ 50,000-80,000 HK$ 13,000-20,800 US$ 1,600-2,600

2048

2049

王攀元（1912-2017）

萬籟涵虛清

翱翔自在

紙本水墨立軸鈐印：王攀元（白文） 64.8×32.6cm (25.5×12.8 in.)

紙本水墨立軸鈐印：王攀元（白文） 97.5×34.5cm (38.3×13.5 in.)

附來源證明

WANG Pan Youn

Ink Painting

Soaring

Ink on paper

With provenance proof

NT$ 50,000-80,000 HK$ 13,000-20,800 US$ 1,600-2,600

2050

王攀元（1912-2017）

WANG Pan Youn

遙思

Remote Thought

水彩紙鈐印右下：王攀元印（朱文）簽名畫背：WANG P.Y. 39×54cm (15.3×21.2 in.)

Watercolor on paper Seal lower right: with one seal of the artist. Signed on the reverse: named WANG P.Y. Provenance:

來源： 2000年4月16日，台中景薰樓，《當代西畫．雕塑．水墨》， Lot203「遙思」 1992年3月22日，台北蘇富比，《中國現代油畫、水彩及雕塑》，Lot78「向高山致意」

2000 April 16, JSL Auction Taichung, Contemporary Paintings, Sculptures and Chinese Paintings, Lot203 'Remote thought' 1992 March 22, Sotheby's Taipei, Fine Modern Chinese Oil Paintings, Watercolours and Sculpture, Lot78 'Greeting the Mountain'

NT$ 260,000-350,000 HK$ 67,500-90,900 US$ 8,600-11,500

劉煒

LIU Wei

劉煒1965年生於中國北京。1989年畢業於中央美術學院版畫系，現居北京。90年代初期，劉煒與方力鈞開創「玩世現實主義」藝術風格。「玩世現實主義」關注自身無意義的現實，多來自對自身和自身周圍的現實體驗，把本來「嚴肅」、「有意義」的事物滑稽化，抒發對外的嘲諷、對當下現實的普遍失落、無聊的心態。劉煒是第一批打入西方市場的當代藝術家，曾於1993 年及1995年連續兩年受邀代表中國參加威尼斯雙年展、1994年參加聖保羅雙年展、澳大利亞「毛澤東走向波普」展、1996年於德國「中國！」展；1998年參加德國柏林「中國製造—中國當代藝術展」。近年則由大未來林舍畫廊代理，台灣、香港等各大藝博展覽廣泛出現，作品更受邀至瑞士、德國、澳洲、荷蘭、美國、英國、義大利等地展覽及收藏，深受國際矚目。劉煒被譽為中國「最有才情」的當代藝術家之一，做為藝術家純天然的直覺實踐藝術創作，他以最直覺的生活體驗感受描繪抒發，使得畫面為觀者帶來真實且純粹的告白。「我想觸摸水墨，看看自己能怎麼做，我開始試驗，並慢慢找到了這樣的表達方式。」－劉煒。劉煒的創作無定式、無規矩，一切憑心而來，暨油畫創作後，藝術家將目光回歸到中國傳統繪畫的紙上情懷。紙之於劉煒，不在一朝一夕，劉煒之於紙，既超乎其繪畫媒介身份，又區別於傳統人文情懷的關係。Lot2051《無題》以細密的線層描繪層層疊出的繁茂花朵，枝頭間穿行鳴叫的小鳥兒，和出現在花叢中的枯骨，看似經過歲月的薰陶，滄桑又優美，隱沒於花叢間的文字，如同詩句歌詞般喃喃低語。劉煒說：「我畫畫非常尊重自己的心理感受，用自己的方式、方法解讀我眼中的風景，大家一看就知道是我畫的，只有畫家畫得有感覺，才能觸動觀者，才談得上美。」他追求超越東西文化的天然之美，使得藝術風格趨向渾然一體，並且達到形式與內在的統一，這種跨界最終釀出了劉煒獨一無二的藝術，成為藝術家最真誠的心境表達。

LIU Wei born in Beijing in 1965. Graduated from Central Academy of Fine Arts in 1989, majoring in printing. Currently lives in Beijing. "Attended the 45th Venice Biennial", "the 22nd Saint Paul Biennial" and "Mao, Toward Pop" Exhibition, Australia in 1994; attended "Chinese New Artist Exhibition", Germany in 1995; attended "China!" Exhibition, Germany in 1996; attended "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. LIU Wei was awarded as the most talented contemporary artist of China. LIU’s instinct is his creation such as his confession of himself. “I want to touch the ink, see what I can do. So I start to experiment, and found the way of express steadily.” There are no formula nor rules in LIU’s creation, it’s all about the soul. After creating oil on canvas’s painting, LIU turned back to Chinese traditional painting. LIU has transcend the painter which is different from the traditional relation between painting. Lot2051 “Untitled” using the delicate layers of line of flowers, the bird was wining between the branches and the branches seem to go through all the vicissitudes of life. “I respect my inner emotion, using my own way to comprehend the beauty in my eyes, every one can recognize my painting right away. Only when the creator has feeling which can moved the audience and can be call as beauty.” LIU pursues the nature beauty, achieving the unity of inner and outer which became the truest expression.

2051

劉煒（b. 1965）

LIU Wei

無題

Untitled

紙水墨簽名左方：劉煒劉煒 74.5×134.2cm (29.3×52.8 in.)

Ink on paper Signed left side: named Liu Wei in Chinese. Provenance:

來源：亞洲私人收藏

Asian private collection Exhibition:

展覽：上海言午畫廊「繁花素箋—劉煒紙上作品展」，2018年1月31日 - 3月9日。

Shanghai XU Gallery "Blossoming Flower in Silence - Liu Wei Works" , 2018 January 31 - March 9

NT$ 2,000,000-2,300,000 HK$ 519,500-597,400 US$ 66,000-75,900

邱亞才

CHIU Ya Tsai

邱亞才總是以具象的人物來詮釋抽象的人性，在中國歷史、莎士比亞、杜斯妥也夫斯基等大師鉅著的閱讀經驗下，為邱亞才往後從文字獲得的領悟轉注入畫面之中，形塑出獨一無二的人像敘事繪畫。邱亞才筆下的台灣現代文人肖像，受唐代繪畫的影響頗深，如人物的鉤狀鼻、杏眼，鵝蛋臉，身材比例修長，神情流露孤寂、憂鬱、內斂而沈靜。其肖像畫藉由畫筆直嘆人類理性面具下的卑微、傲慢、頹廢與脆弱，細膩優雅中洋溢著文人感懷落寞的氣氛。「當人們看到我的繪畫與小說，就會經常想到人生有痛苦這回事，詮釋人生痛苦的方式有許多種，而我卻是用繪畫與文字語言來表達而已。……我喜歡用意象的人生來寫實，來傳達面對生老病死的感慨，描繪過週邊生活被傷害的小人物，捲進悲劇漩渦時常是我作品中人物的縮影，刻意以冷漠來突顯人生的荒謬與空乏。例如：流浪漢及漂泊者等等。繪畫是自我表述的工具，表達出我內心抑鬱的複雜意識及孤獨的人我關係。」藝術家如是自陳。邱亞才兼善繪畫與文學，在畫面中與行文裡總以繪畫對象與心境為核心，Lot2052《紅衣青年》的挺拔身形、昂揚眉宇、還有富有隱喻的大紅色上衣，我們清楚窺見邱亞才以畫面說故事的強烈意圖。邱亞才以他一貫的穩重構圖與深沉情緒低吟畫中主角無語的傾訴。獨特細長的身形，落寞孤獨的身影與畫中永遠令人費心猜疑的眼神，是邱亞才畫中不變的主題。與許多其他藝術家不同的是，他並不隨時代改變其主題，而是長期孜孜不倦的專注在人物的探索，塑化出一個個性格迥異的人物。邱亞才的執著在於創作，更在於對人性的探索：人性的多變、人心的深沉，無法用單一畫面捕捉；人世的曲折、人情的流動，無法用一篇故事說透。邱亞才堅持創作著，反覆的在人心與人性上琢磨，是他一生不曾放下的功課，他憑藉著以此磨練出的通透，畫出每一幅逼視著觀者心中角落的沉默面孔。

CHIU Ya Tsai used human figure to tell the stories of abstract humanity. After reading the masterpieces of Chinese history, Shakespeare, and Dostoyevsky, put the insight he got from the words into his artworks. The style of CHIU in painting portraits has the classical elements inherited from Tang-Dynasty art: faces in his artworks have aquiline nose, almond-shaped eyes, oval face and slender figure. And viewers could feel the loneliness, gloominess in them at the first sight. “When people see my paintings and read my novels, I’m sure my works will make them realize the pain does exist in our lives. There are so many kinds of way to tell the painful stories of human lives, and I choose painting and writing to do so. I prefer telling realistic stories in a metaphorical way. Painting is my tool for conveying myself, and I use it to tell the complexity of my depressed mental state.” CHIU is good at painting and writing, he always focused on the mental state of the character in his works. In Lot2052 “Young Man in Red”, we could see the tall man and the big red cloth which full with implication, and also can feel the strong intention of the artist to tell the Young Man’s story. The slender characters of unique proportion are the iconic figures in CHIU’s artworks. The characters seem trapped in solitude, and they does nothing but look into somewhere with their mysterious eyes. Unlike other artists, CHIU does not change the theme of his art through time; he just keep painting portraits one after another. For CHIU himself, he makes changes already, because every single man is unique. CHIU is persistence with his creation, and also the exploration of human. The deepness of the human heart cannot be captured by a single picture. CHIU insists on his artwork and explores in the human hearts. With his perseverance on artwork, he drew every silent face that looked at the viewer's heart.

2052

邱亞才（1949-2013）

CHIU Ya Tsai

紅衣青年

Young Man in Red

油彩畫布簽名右下：邱亞才簽名左下：邱亞 143.2×123cm (56.3×48.4 in.)

Oil on canvas Signed lower right: named Chiu Ya Tsai in Chinese. Signed lower left: named Chiu Ya in Chinese.

NT$ 2,000,000-2,300,000 HK$ 519,500-597,400 US$ 66,000-75,900 60

2053

許敏雄（b. 1955）

HSU Ming Hsiung

唐吉訶德

Don Quixote

油彩畫布 1995 簽名右下：Don Quixote 許敏雄 '95 116.8×72.8cm (45.9×28.6 in.)

Oil on canvas 1995 Signed lower right: titled, named Hsu Ming Hsiung in Chinese, dated 1995.

NT$ 150,000-200,000 HK$ 39,000-51,900 US$ 4,900-6,600 62

2054

李繼森（b. 1970）

LI Ji Sen

行

Sliding

油彩畫布 2006 簽名右下：李繼森 Li jisen. 2006 150×180cm (59×70.8 in.)

Oil on canvas 2006

展覽： 9藝術空間「信仰的力量－李繼森油畫作品展」，2006年11月15 日 - 11月25日。

Exhibition:

出版： 9藝術空間：《信仰的力量－李繼森》（北京，2006年）。

Literature:

Signed lower right: named Li Ji Sen in Chinese and English, dated 2006.

9 Art Space "Power of Faith - Li Jisen" , 2006 November 15 November 25

9 Art Space: Power of Faith - Li Jisen (Beijing, China, 2006)

NT$ 200,000-300,000 HK$ 51,900-77,900 US$ 6,600-9,900

2055

陳逸飛（1946-2005）

CHEN Yi Fei

太湖

Taihu

水彩紙簽名右下：Chen Yi Fei 鈐印：逸飛（朱文） 52.6×70.5cm (20.7×27.7 in.)

Watercolor on paper Signed lower right: named Chen Yi Fei, with one seal of the artist. Provenance: Attached to original collector with artist's photo,as Certificate

來源：附原收藏者與藝術家合影與證明書信影本

letter copy

NT$ 240,000-300,000 HK$ 62,300-77,900 US$ 7,900-9,900

2056

陳逸飛（1946-2005）

CHEN Yi Fei

湖光山色

Lake and Mountains

水彩紙簽名右下：Chen Yi Fei 鈐印：逸飛（朱文） 55×73cm (21.6×28.7 in.)

Watercolor on paper Signed lower right: named Chen Yi Fei, with one seal of the artist. Provenance: Attached to original collector with artist's photo,as Certificate

來源：附原收藏者與藝術家合影與證明書信影本

letter copy

NT$ 240,000-300,000 HK$ 62,300-77,900 US$ 7,900-9,900

2057

凃克（1916-2012）

TU Ke

邕江大橋

Yong River Bridge

油彩畫布鋼印上方：凃克油畫真跡保證書專用章鈐印下方：黑田貞一藏畫（朱文） 15.2×21cm (5.9×8.2 in.)

Oil on canvas

來源：亞洲私人收藏

Provenance:

出版：湖南美術出版社：《中國油畫名家—凃克》（湖南，2007年），頁53。人民美術出版社：《凃克油畫集》（北京， 2006年），頁154。

Literature:

Embossed stamp: Tu Ke oil painting authentic certificate special stamp. Seal: with one seal of Kuroda Makazu Collection.

Asian private collection

Hunan Fine Arts Publishing: Chinese Oil Painters-TU Ke (Hunan, China, 2007) , P. 53 People's Fine Arts Publishing: TU Ke Oil Painting Collection (Beijing, China, 2006) , P. 154

NT$ 100,000-150,000 HK$ 26,000-39,000 US$ 3,300-4,900 66

2058

凃克（1916-2012）

TU Ke

桂林陽朔

Guilin Yangshuo

油彩紙 1973 簽名右下：凃克 73 15×20cm (5.9×7.8 in.)

Oil on paper 1973 Signed lower right: named Tu Ke in Chinese, dated 1973. Provenance:

來源： 2011年4月4日，香港蘇富比，《二十世紀中國藝術》，Lot606 「桂林陽朔」亞洲私人收藏

2011 April 4, Sotheby's Hong Kong, 20th Century Chinese Art, Lot606 'Landscape' Asian private collection

NT$ 100,000-150,000 HK$ 26,000-39,000 US$ 3,300-4,900

YEE Bon

余本

三○至四○年代的香港只是一個小小的漁港，文化藝術相對落後，在當地發展藝術並不容易，余本在物質貧乏的環境下，仍能堅持創作，舉辦展覽，可見其對藝術的熱情與堅持。徐悲鴻曾經感慨：「我以為油畫在中國是處女地，尤其是南方，想不到香港竟然有兩位出色的油畫家：一位是李鐵夫，一位是余本。」，余本在天賦和自身努力的驅使下走上了藝術道路，儘管艱辛，但仍然持續耕耘，這樣的刻苦耐勞，同樣顯現在畫幅之上，與余本的心境相互呼應。

1950年於香港寫生的余本。原名余建本，字道慶，廣東台山人。余本擅長使用油彩創作，1918年由於「勤工儉學」政策，13歲便到加拿大留學，1928年進威尼伯克藝術學院（Winnipeg School of Art）學習，與譽有「北美大草原畫家」之名的L.L.菲茨傑拉德（Lionel LeMoine FitzGerald，1890-1956）老師習畫。1929年轉至多倫多安達里奧省立藝術學院（Ontario College of Art），之後又追隨J.E.H.麥克唐納（James Edward Hervey MacDonald，18731932）、弗蘭克．約翰斯頓（Frank Johnson， 1888-1949）學習。這三位藝術家均為加拿大著名的風景畫畫家團體「七人畫派」的成員，余本在風景畫的基礎功柢自此成形，因而著力於「七人畫派」的寫實主義理想，同時將中國山水畫的圖面式構成語言融入其中，達到屬於中國式的西洋畫風景圖。余本1932年畢業後，持續留校從事研究工作一年，期間參加多次的加拿大博覽會展出，直到受加拿大經濟衰退影響，謀生困難，只能靠繪製壁畫、肖像畫維持生計，終在1935年回國，到香港定居成為職業畫家，設立畫室創作和授徒，在推動香港西洋畫發展方面，開創先河。定居香港的余本，當時畫下許多沿岸的海景風光以及漁家生態，Lot2059《漁家少女》即為該時期創作，除了風景畫，余本為不同的人留下許多肖像畫，作品情感、題材上體現出對普通勞動人民的深深關注和同情，在人像的面龐上尤其能夠看出。微微前傾的身形，紅潤的雙頰，自臉邊垂下的髮辮，傳統的中國服飾，在在都體現出民間樸實且日常勞動的寫實狀態，而在此之外更重要的是余本作品中蘊含了濃厚而俱生活氣息的嶺南文化特質。 68

1956年余本回廣州定居，先後任廣東畫院副院長、中國美協廣東分會理事、中國文聯委員。余本一生的創作時間漫長且持久，從二○年代末至1957年以前，余本的油畫作品以人物畫為主，同時創作一些風景畫和靜物，一直到他雙目失明的八○年代末期為止，幾乎橫跨了進展最快、轉折最為複雜的整個二十世紀中國美術發展進程。最可貴的是，余本的作品和史料被保存得相當完整，對余本作品的欣賞、借鑑與研究，提供了有利的基礎，在作品與史料的對照下，余本的風格遞嬗、題材的轉變，成為中國油畫歷史清晰的註腳。

2059

余本（1905-1995）漁家少女油彩木板 1947 鈐印右下：余本（朱文） 50.5×41cm (19.8×16.1 in.) 來源：附藝術家家屬親簽之畫廊保證書出版：敦煌藝術：《余本-作品及文獻輯》（台北，1997 年），頁23。

YEE Bon Fisher Girl Oil on board 1947 Seal lower right: with one seal of the artist. Provenance: Certificate of gallery authenticity signed by the artist's family member Literature: Caves Art Center: YEE BON (Taipei, Taiwan, 1997) , P.23

NT$ 700,000-900,000 HK$ 181,800-233,800 US$ 23,100-29,700

石川欽一郎

Kinichiro ISHIKAWA

談到台灣美術史，甚至是台灣史，絕對不會少了一個人，那便是–「石川欽一郎」。隨著北白川宮能久親王近衛師團鐵騎，踏遍東北，筆下描繪過日俄戰爭、日軍進城，開始與華人結下不解之緣。之後更在台北設帳授徒。「貔虎如雲攤錦旗，義兵至處悉追隨」，能久親王率領近衛師團南下臺灣納土，史稱「乙未靖臺」，石川也在大正初年，卜居大稻埕一帶。石川欽一郎作為台灣近代西洋美術的啟蒙者，同時也是台灣第一個大型美術展覽「台灣美術展覽會」（又稱「台展」）的推動者，在旅台的歲月裡，將西方美術教育帶進台灣，啟蒙學生對美術的熱愛、作育無數英才。石川欽一郎1871年生於日本靜岡，中學時代開始學習英語、南畫、日本畫。祖上是幕府舊臣，素來愛好美術，明治維新以後，家道漸衰， 1888年進入東京郵便實際學校，畢業後，即進入大蔵省印刷局工作。期間因接受小代為重（18631951）指導洋畫，1899年決心赴英學習英國傳統水彩畫法，從此確立了自身風格。返日後又赴中國，於日俄戰爭時擔任軍部翻譯官。日俄戰爭後，派至台灣任總督府翻譯官，兼任國語學校美術教官。隨後兩度至台灣任教，擔任台北第一師範學校以及台北師範學校圖畫科教師，在台灣生活總共十七年的歲月，因此熟悉台灣風土民情。大正六年，台灣社會逐漸走向文明開化，台

「河邊春風寒，怎麼阮孤單，舉頭滴里看，幸福人作伴，想你伊對我，實在是相瞞，到底是按怎，不知阮心肝。……《河邊春夢》」惟有漫步在永樂町（迪化街、大稻埕、延平北路一帶），聽著日本曲譜的台語歌，才有機會形象的真正認識石川欽一郎以及學生們的時代氛圍。那是一個淡水河邊，交融海洋文化、中國文化、台灣民俗、日本文化的輻輳地，更是深層蘊藉台灣畫壇的搖籃。「石川先生」開啟了台灣真正的藝術文化、美學新時代，除了描繪旅順、大連、東北景點，台灣風情也屢見在作品中呈現，溫柔筆觸佐以輕快的色調，水彩的通透性使畫面淡雅調和、素樸簡單。他的作品以紙本水彩居多，因為日本絹價格昂貴，相對少見。拍品所繪為京都近郊山科一帶風景！京都自從桓武天皇平安遷都以後，仿唐制，便將左京稱為洛陽，右京稱為長安；後來隨著歷史變遷，右京偏廢，左京獨盛，發展至明治時期。身為日本幕臣後代的石川欽一郎，除了武家文化，自然對國都–「京都」的山水與歷史場景

北城開始出現大量巴洛克建築，早在波麗路（昭

不會陌生。「洛郊霜天」便是描摹左京洛陽近郊山科的秋天景緻。為何石川先生對「山科」如此

和時期西餐廳）之前，也有長崎日式西餐引進，

重視，以極大的絹材繪就？應該不單只是賞櫻勝

先進開放的時代風潮，石川欽一郎成為學子們口中的「石川先生（老師）」，在大稻埕的文化沙

地的因素。在德川幕府時期，許多在政治上失意

龍中播下美育的種子，倪蔣懷、陳植棋、郭雪湖、蔣渭水是繪畫沙龍常客，石川先生偶而協同

一帶賦閒。德川五代將軍綱吉主政時，元祿年間發生「赤穗事件」，忠君的「大石內藏助」即隱

木下靜涯、鹽月桃甫與會，教導學生們精進畫

居在山科，擘劃為赤穗籓主淺野內匠頭長矩舉義

藝。如果說，台灣畫壇（台展、府展）是東京畫

復仇，因此山科在幕府臣僚，甚至是傳統日本人

壇（帝展）的附屬品，那便不是真的懂得台灣、更不理解大稻埕的「稻江風華」。無獨有偶，陳

心中，是一個具有忠義背景的歷史舞台。石川家

的武家（武臣）或公家（公卿），便隱居在山科

澄波、郭柏川、廖繼春、李石樵、張萬傳等前輩

族曾在幕府供職，必然知悉山科的歷史含意。倘能了解日本文化背景，便能洞悉石川先生「洛郊

畫家，同樣不時在石川欽一郎畫室流連，汲取先

霜天」以及多數日本田野畫的取景對象！本畫之

進的繪畫技巧。

大，不在尺幅，是在石川的文化意識上。

2060

石川欽一郎（1871-1945）洛郊霜天彩墨絹本簽名左下：欽一郎鈐印：欽一廬（朱文） 107.5×55cm (42.3×21.6 in.)

Kinichiro ISHIKAWA Autumn Suburbs Ink and color on silk Signed lower left: named Kinichiro in Chinese, with one seal of the artist.

NT$ 450,000-550,000 HK$ 116,900-142,900 US$ 14,800-18,100 71

陳澄波

CHEN Cheng Po

從日治時期到戰後初期，陳澄波在生平逾

1924年陳澄波從基隆搭船前往日本，考上

半世紀的歲月中，創下二十世紀前半葉台灣藝

東京美術學校後，深知年齡相較同學年長，更感

壇上無數之特殊「紀錄」，包含成為最早入選

念妻子在家鄉辛勞，因此比他人更加倍努力，同

日本帝國美術展覽會的台籍洋畫家（1926）、擔任中華民國教育部主辦第一屆全國美展審查

時又加入本鄉研究所學習素描及油畫基礎，其中可見同學廖繼春記述：「我倆抵達東京那年，陳

員（1929）、代表中華民國參展芝加哥世界博

澄波的年齡都已快三十歲了，上課以後，他很

覽會（1933）、帶領籌組台陽美術協會之創始

快就看出自己程度不如他人，年齡又比人家大

（1934）、嘉義市第一屆市參議員（1946）等

很多，所以學習非常認真。開學後，在上野公園

等，陳澄波已成為台灣近代美術史上最為家喻戶

裡經常看見他豎起畫架在寫生，每看到同學從身

曉、最具傳奇性色彩的現代藝術家。

旁走過，他就不肯放過，總要請他們批評幾句。

陳澄波生於台灣割讓給日本的1895年，居住在嘉義市街西門外，父親為前清秀才，受聘家塾講習，長年不在家，而出世不久母親便去世，父親又再娶，陳澄波遂被送往乳母家寄養，三歲後才由祖母領回並撫養長大，十五歲又因祖母年邁轉寄養二叔家。孤獨寄居的童年，使陳澄波日後對於友人熱切請託，都是全力以赴的支持與協助，這也讓陳澄波在創作中，展現對世間真情摯愛的濃烈熱情。陳澄波從小喜愛繪畫，就學於台灣總督府國語學校，受水彩畫家石川欽一郎啟蒙，老師高雅溫和又親切的氣質，以及擅長對台灣美好風景的水彩描繪，深刻觸動陳澄波學畫的堅持。國語學校畢業後，陳澄波在公學校任職數年，雖然深受學生敬重，經濟生活穩定，但陳澄波心中的創作慾望卻不曾停歇，致使30歲的他瞞著家人，毅然辭去穩定教職，以素描考上東京美術學校特等生，赴日本就讀。

起初日本學生總是不太瞧得起他，可是，到了第三年，第七回『帝展』陳澄波居然入選，之後，同學們對他的態度才完全改變，從此人人都喊他『先生』，不再喊『陳君』了。」大三時陳澄波以油畫《嘉義街外》入選日本第七屆「帝國美術展覽會」，成為首位入選此一日本最高榮譽展覽的台灣人，尤其當時台灣的美術活動才剛剛發展，也少有人到日本習畫，可見其殊榮令藝術家開心不已。1927年陳澄波考進研究科，繼續進修兩年，以《夏日街景》再度入選，一時揚名於台日。1929年，陳澄波終於完成日本學業，受聘至中國上海任教。到達上海後，陳澄波先後於新華藝術專科學校、昌明藝術專科學校擔任西畫主任，並在藝苑繪畫研究所之社團任教，同時觀摩上海畫家創作，諸如從傳統國畫家倪雲林、八大山人的作品中，獲得許多啟發。繁忙的教職與畫友之間的活動，在1930年夏天，陳澄波終於將妻兒接到上海，一家人相隔七年終於團聚，而陳澄波在上海客居五年，直到時局動盪，1932年上海發生「一二八事變」，城市陷入緊張戒備的狀態，陳澄波才返回台灣。

回台後，陳澄波陸續成立了「七星畫壇」、「赤陽畫

自上海回台以後，陳澄波不僅對繪畫目標有新的體

會」及「台陽美術協會」，致力於台灣美術發展。陳澄波

悟，對於家鄉的美景，也時有發現，並以此為畫題，遊歷

畫作中的台灣風土氣味，足見其關愛台灣這片人情土地之

台灣各地，台北淡水、嘉義郊區都是常見的題材。嘉義尤

心。在從上海回到台灣之後，到處奔走在台灣各地寫生及做教學推廣。陳澄波常言：「大自然就是我的畫室。」，

其是陳澄波的出生之地，對於家鄉的自然風光當然不會錯

所以陳澄波居多的作品都在戶外完成，風景畫更為一生創作的主軸，逐漸發展出自己獨特的畫法，「……我在畫面

入畫幅，儘管接下來因為二戰爆發，影響日本對台統治採

所要表達的，便是線條的動態，並且以擦筆使整個畫面活

活，陳澄波並未因此屈服，仍然持續尋找適合的題材，不

潑起來，或者是說，言語無法傳達的，某種神祕力滲入畫

斷創作。

面吧，這便是我作畫用心處。我們是東洋人，不可以生吞活剝地接受西洋人的畫風。」陳澄波對自己的創作有一套風格，因此也才能造就今天令眾人印象深刻的繪畫作品。

過，大景至阿里山、玉山山景，小景至公園、街景，皆收取更緊縮的政策，無形阻斷多數台灣畫家的創作心情與生

嘉義市古名「諸羅山」，至乾隆五十一年（1786 年），林爽文反清圍攻諸羅城十個月，城內人民協助清軍有功，清廷乃以「嘉其義勇」為旨，隔年十一月下詔，改「諸羅」為「嘉義」。明治三十九年（1906年）嘉義大地震，城市幾乎全毀。同年，日本殖民政府順勢制定都市計劃並實施市區改名，重建後的嘉義市，遂成為台灣當時最現代化的街市。大政九年（1920年）嘉義成為自治團體嘉義街，昭和五年（1930年）嘉義街改陞為市。嘉義從斷垣殘壁中，蛻變為現代化都市，正好是陳澄波在嘉義求學、就業、結婚生子以及之後留學日本的時期。陳澄波先後留學日本、旅居上海、租屋台北淡水，以寫生的方式紀錄遊歷過往與生活周遭，但嘉義仍舊是他最後的居所，陳澄波對於家鄉土地的貼近與熱愛，在豐富的繪畫作品中便可以體會。Lot2061《蘭潭一隅》創作於 1943年，即是描繪家鄉嘉義郊區外的蘭潭水庫景致。

皮耶-奧古斯特．雷諾瓦，《根西島紅磨坊灣附近的山丘》，油彩畫布，1883，46×65.4cm，美國大都會藝術博物館藏

嘉義蘭潭空拍景致（擷取自Google地圖）

蘭潭，即是今日廣知的蘭潭水庫，古稱紅毛埤，據傳

陳澄波對於家鄉的描繪，透露的除了是對於台灣風景

為當時據台的荷蘭人所開鑿，「蘭潭泛月」也是嘉義的八

的稱揚，更是自身繪畫的磨練，而嘉義的美景，更顯示出

景之一，周邊風景明媚，林木茂密，現今已規劃許多健行

對鄉土人情的關懷。陳澄波自幼對情感的渴望，雖然在妻

步道，清晨或傍晚時分，吸引不少民眾到此運動或散步。

小的關懷下有所回報，他卻也不忘對朋友、同鄉者的關

而水庫同時更主要作為蓄水功能，為嘉義地區重要的民生

照，乃至對於嘉義市民的愛護，以及國家的忠誠，令他不

水源之一。雨過天晴的蘭潭東方山頭，曲線畢露，與遠處

斷地向外釋放。說到創作，更是為此充分的成為陳澄波的

的山鑾起伏，相互輝映，可清晰看見多座山頭，更能夠一

依託，一筆一畫，賦予情感且真實，傳達的不只是風景美

覽玉山群峰、大凍山、大湖尖山、大坑山、籠頭坪山、

地，同時也是自身那股熱情，沉穩且一步一腳印的，深深

二延平山等22座山。從空拍畫面可知，Lot2061《蘭潭一

畫入圖面之中。

隅》正是陳澄波在西岸所描繪出的東岸風景，遠方的山景層層交疊，中央的閃閃水光映照呼應天空，樹木相間錯亂叢生，自然又清新，簡潔有力的筆觸，山、樹、湖水、草之間顯得格外分明，卻又相互映襯，足見陳澄波寫生的功力扎實，此間創作正逢戰時的不安，透過畫中略帶黑暗、沉默的氣息下，更是隱晦的顯現出來。湖光的閃爍，令人將視線自外向內聚集，這樣的效果，卻也透露著一線翠綠生機，可以看出陳澄波不願屈服的決心，與堅持到底的信念，創作出能夠掌握鄉土特色的台灣風格，以展現他的個人理念。

陳澄波有著中國傳統文人的正義與學而優則仕的遠大抱負，以致1945年二戰之後，擔任嘉義市自治協會理事，1946年獲選為嘉義市第一屆參議員，準備施展抱負，為國家民族貢獻心力。然而在當時還未平靜的政治環境下，反倒造成悲劇的發生。1947年，發生二二八事件，不久事件便波及延伸到嘉義，陳澄波因「和平使」身分與國民黨當局協商，反遭受拘捕，最後被押至嘉義火車站廣場槍斃示眾，享年52歲。從戰前到戰後，陳澄波的一生雖波瀾起伏卻豐富精彩，反映台灣美術在不同政治實體統治下所經歷之曲折過程，仍舊不願屈服的繪畫之心，對創作的執著與熱愛，皆充分顯露於樸拙卻有力的畫面之中，同時，也可以說是近代東亞美術現代化轉換的一種歷史縮影，台灣風景特色的最佳寫照，極具收藏價值。

2061

陳澄波（1895-1947）

CHEN Cheng Po

蘭潭一隅

Lantan

油彩木板 1943 簽名右下：澄波一九四三 15.5×22.5cm (6.1×8.8 in.)

Oil on board 1943 Signed lower right: named Cheng Po in Chinese, dated 1943. Literature:

出版：邱再興基金會：《畫外知音：陳澄波典藏作品集》（台北，2004 年），頁75。

Chew's Culture Foundation: Painting outside the audience: Chen Cheng Po's collection (Taipei, Taiwan, 2004) , P.75

NT$ 1,600,000-2,000,000 HK$ 415,600-519,500 US$ 52,800-66,000

郭柏川

KUO Po Chuan

郭柏川1904年於台南出生，1927年赴日求學，原本要修習法律的他，因為政治因素改修習繪畫，從此寄情繪畫當中。後來進入東京美術學校西洋畫科，成為岡田三郎助（Okade Subrosuke，1869-1939）的學生，據跟郭柏川同校並且小他一屆的李梅樹敘述，郭柏川是以成績優異的第五名身分畢業，當年他已33歲。1937年郭柏川離開日本後直接前往中國並且在北平長居十二年之久。在北平居住的這段時間是他繪畫生涯的一個轉捩點，人文薈萃的北平以及故都文物的薰陶都激發著他的心境，而他欽佩又交情好的梅原龍三郎（Ryuzaburo Umehara，1888-1986）也到北平和他一起結伴寫生，郭柏川也因此畫風和技法都深受梅原的影響。台北新店依山傍水、景色宜人，其中新店溪的碧潭最為人稱道，就是著名的碧潭風景區，從捷運新店站下車即可一覽風光。新店溪流經碧潭出現曲流、岩壁及丘陵，碧潭因河岸寬廣，水色澄碧、平靜如潭而得其名，適宜划船、游泳、釣魚等活動，景致十分宜人。峭壁依著碧潭延伸整個溪岸，山光水色如詩如畫，而碧潭最重要的地標吊橋，立於碧潭兩岸，如同長虹懸空跨越兩岸。1948年，郭柏川從北平返回台灣定居，開始致力於復興台南藝術發展，更在1952年組織美術研究團體、台南美術研究會，其間仍不忘增廣見聞，環島旅行寫生，畫遍台灣各地，此時期的作品，可謂郭柏川藝術的圓熟期。Lot2062《碧潭吊橋》以墨綠渲染整幅畫面，調和深淺濃淡，增添清朗空靈的風貌於畫面之中。在郭柏川的眼中，台灣無山不美、無水不秀，美麗寶島於畫筆之下，經由率性自然的線條下，增添一股傳統山水的韻味。

Artist KUO Po Chuan, born in Tainan, southern Taiwan in 1904. He came to Japan to study Law in 1927, however, because of the political reasons; he had changed his major to Art painting. Although this unexpected issue occurred, Kuo had evoked the emotional intensity of painting. He applied a program of Western painting in Tokyo Fine Art School and became one of the students of a Japanese Artist, Okade Subrosuke. According to a student, Li Mei Shu who was in the same school as Kuo but one grade lower than him, KUO Po Chuan was ranked in the 5th of the school to graduate when he was already thirtythree-year-old. In 1937 Kuo left Japan and moved to Beiping city, Mainland China for at least twenty years. During the time in Beiping, it was a break in Kuo’s life of painting due to the inspiring of the cultural gathering of Beiping and the literary relics of the ancient capitals. Moreover, Ryuzaburo Umehara, who was a friend of Kuo, came to Beiping to accompany him to sketch. Therefore, Kuo’s style and skill of painting was strongly influenced by Ryuzaburo Umehara since then. Xidian district of Taipei City is a place that straddles the emerald green mountain and the brilliant landscape, and Bitan Scenic area is one of the remarkable landscapes in Taiwan which is near by MRT Xindian station. The Xindian River winds its way through the Bitan area, and there are terraces, ponds, and sand bars on both banks of stream. Bitan is famous for its wide riverbank, clear water and calmness like a lake. It is suitable for boating, swimming, fishing, and exploring nature. The scenery is very pleasant. Besides, The Bitan Suspension Bridge is an important symbol since it spans the waters of Bitan and stands on the banks of Bitan, and Bitan is decorated like a picturesque place. When KUO Po Chuan came back to Taiwan in 1948, he contributed to reviving the art development of Tainan. Kuo even organized an institution for art research and established a research community of Tainan in 1952. In the meantime, he still traveled around Taiwan to gather and enrich his knowledge of painting, and those artworks of this period were his mature style of art. Lot 2062 “Bitan Suspension Bridge” which rendered the image in blackish green, as the depth of pigment had it clear and ethereal in picture. In the perspectives of KUO Po Chuan, since Taiwan which described as Formosa was a magnificent spectacle with mountains and water, it had extraordinary quality by adding the natural and spontaneously line into the image.

2062

郭柏川（1901-1974）

KUO Po Chuan

碧潭吊橋

Bitan Suspension Bridge

油彩紙 1953 年代右下：四二手繪鈐印：柏 23×32cm (9×12.5 in.)

Oil on paper 1953 Signed lower right: dated 1953 , with one seal of the artist. Literature: Respectable Art Center: The precursory artists' masterpieces of

出版：尊彩藝術中心：《台灣前輩藝術家的寶藏圖貳》（台北，1999 年），頁25。

Taiwan. (II) (Taipei, Taiwan, 1999) , P.25

NT$ 220,000-350,000 HK$ 57,100-90,900 US$ 7,300-11,500

郭雪湖

KUO Hsueh Hu

郭雪湖1908年出生於台北大稻埕，本名郭

1974年，郭雪湖至北京、江南旅行寫生，開

金火，是台灣日治時期中重要的畫家之一、台灣

始積極創作「中國風景系列五十幅」，用以紀念

膠彩畫的先鋒，具備勇於突破傳統與大膽嘗試實

從事繪畫五十周年。事實上，當時郭雪湖創作的

驗精神，將台灣風情民俗納入創作題材。成名作

作品，遠超過為展覽準備的數量，Lot2063《水

《圓山附近》為田園實景寫生，獲第二屆「台灣

都秋月（虎丘夕照）》繪於1980年，即屬其一。

美術展覽會」特選，與林玉山、陳進並列「台展

明月、古屋、河畔，郭雪湖描繪美好景色尤為典

三少年」。筆法細緻綿密，用色繁複和諧，濃艷

雅，月光柔和照射下的懷古幽情，令人感受出靜

奪目，畫出豐富表現台灣本土特色的作品，被日

夜古塔與民宅的迷人詩意，就連搖槳人在水面上

本南畫大師松林桂月譽為「細密畫的變種」，遂

掀起的一陣波盪，都顯得輕柔細膩。

成為「雪湖畫派」之典範。

郭雪湖一生獻身藝術，2007年以99歲高齡獲

蒸蒸日上的郭雪湖，為求努力，接連畫圖參

第27屆行政院文化獎，此後一直持續著膠彩畫風

展，直至1931年前往日本遊歷，深刻體悟創作尚

格，至晚年移居日本、美國，他走訪了國內外的

未成熟，1932年以後，郭雪湖力求簡化畫面的元

名勝美景，更以不同的風物為題材，尋求畫藝上

素，從單純通俗而具有地方特色的形象中，追求

進一步的變化。其畫作大多為家人收藏，流入市

亮麗吸引人的視覺效果。他取材本土與細膩典雅

面的並不多，因此作品非常珍貴、難得。

的表現手法，風格清新獨特，帶有鮮明的地方色彩，為初萌的台灣新美術運動，提供了一種真正屬於本土的審美價值觀的表現內涵。1954年，郭雪湖於戰後赴日考察，基於日本復興的快速發展，與顏料取得方便之誘因，以致1964年移居日本，累積了一些日本名勝聯作。

2063

郭雪湖（1908-2012）水都秋月（虎丘夕照）

KUO Hsueh Hu

膠彩紙 1980 款文：庚申秋，雪湖。鈐印：雪（白文）湖（朱文） 47.5×54.6cm (18.7×21.4 in.)

Water with Autumn Moon Eastern gouache on paper 1980 Signed lower left: dated 1980, named Hsueh Hu in Chinese, with two seals of the artist.

NT$ 350,000-450,000 HK$ 90,900-116,900 US$ 11,500-14,800

2064

洪瑞麟（1912-1996）

HUNG Rui Lin

礦工

Miners

水墨紙 1967 年代左下：1967 鈐印：洪（白文） 19×25.7cm (7.4×10.1 in.)

Ink on paper 1967 Signed lower left: dated 1967, with one seal of the artist.

NT$ 80,000-120,000 HK$ 20,800-31,200 US$ 2,600-4,000

2065

洪瑞麟（1912-1996）

HUNG Rui Lin

礦工速寫

Miner Sketch

水墨鉛筆紙 1957 年代左下：1957 鈐印：洪（白文） 39×54.5cm (15.3×21.4 in.)

Ink and pencil on paper 1957 Signed lower left: dated 1957, with one seal of the artist.

NT$ 80,000-100,000 HK$ 20,800-26,000 US$ 2,600-3,300

林玉山

LIN Yu Shan

國內最高美術教育殿堂「國立台灣師範大學美術系」，系友人材輩出，遍及海內外，服務於各美術相關機構，影響台灣美術發展至鉅。水墨畫領域以嚴謹的教學模式，培育出眾多優秀的水墨畫教師、創作者、研究學者。以下拍品呈現早期師大美術系水墨畫專任教授林玉山，中生代鄭善禧教授作品。「臨摹」是學習書畫必然的手段和過程，藉此熟悉傳統技法，以求熟能生巧之效。林玉山則是反對臨摹，他主張師法自然，以寫生學習為主（Lot2067《富貴豐收》）描繪松鼠偷葡萄場景，葡萄圓結、枝葉婉轉、交錯更張，與松鼠同喻多子，反映傳統文化丁財貴盛、繁毓多禧的念想；（Lot2066《輩輩封侯》）長幼嬉戲攀附於勁松上，附背端坐而神氣昂然，生動傳神，猴族丁口眾多，同樣象徵子孫興旺，歷代才俊輩出，繼承父、祖輩優良傳統，爵位代代相傳，充分表達古人對美好生活之嚮往，氣氛和諧，圓融雋樸。

2066

林玉山（1907-2004）輩輩封侯絹本設色款文：玉山筆。鈐印：玉山（朱文） 125×40cm (49.2×15.7 in.)

LIN Yu Shan Ape Ink and color on silk Signed lower right: named Yu Shan in Chinese, with one seal of the artist.

NT$ 150,000-500,000 HK$ 39,000-129,900 US$ 4,900-16,500 83

2067

林玉山（1907-2004）

LIN Yu Shan

富貴豐收

Rich Harvest

彩墨紙款文：玉山鈐印：玉山（朱文） 31×46.5cm (12.2×18.3 in.)

Ink and color on paper Signed lower right: named Yu Shan in Chinese, with one seal of the artist.

NT$ 120,000-190,000 HK$ 31,200-49,400 US$ 4,000-6,300

在福建龍溪長養的鄭善禧先生，自稱打小「好玩、愛亂畫」，畫遍了生活周遭能與自身共鳴的花草樹木、風土人物，鄭先生戲謔自評作品道「沒有風格的風格，沒有抄襲的抄襲」，民國七十四年旅歐期間題材作品，市場少見（Lot2071《旅歐畫新景》、Lot2072《南歐村景》）歐式莊園中，近處枝葉點染青翠，花木扶疏，遠處可見山青田綠，花葉層次分明，一派西洋田園景致，賦色淡雅清新，筆觸細膩，人物逼真傳神，別有風情。傳統題材（Lot2070《壽考延年》），古松挺拔，松針團展，雙鶴佇立，色調柔和，優美華貴，彰顯「婆娑鶴舞千年壽，迎春花開一品紅」的喜慶氛圍。（Lot2073《漁舟聚泊》）則為市場上少見的十才大畫，並著錄於「《鄭善禧作品選輯》1981年，頁18 上、圖19 」。此外，鄭教授臨池主張「學書從古」，於漢隸亦能另闢蹊徑（Lot2069 臨《鄐君開通褒斜道刻石》），這份透脫，宛如蘇軾「造意本無法」般的天真自在。

2068

鄭善禧（b. 1932）白雲清泉紙本彩墨托片 1989 題記：青山白雲清泉。款文：善禧製。鈐印：鄭善禧印（白文）己巳（朱文） 104×69cm (40.9×27.1 in.)

ZHENG Shan Shi Clouds and Water Spring Ink and color on paper 1989

NT$ 400,000-500,000 HK$ 103,900-129,900 US$ 13,200-16,500

2069

鄭善禧（b. 1932）臨《鄐君開通褒斜道刻石》紙本墨書托片 1978 釋文：永平六年，漢中郡以詔書受廣漢蜀郡、巴郡，徒二千六百人，開通褒余道。題記：（論學書從古，中略）款文：歲戊午之秋，鄭善禧臨，時在稻江。鈐印：鄭（朱文）謙成居（白文）鄭善禧印（白文） 44.8×68cm (17.6×26.7 in.)

ZHENG Shan Shi Calligraphy Ink on paper 1978

NT$ 30,000-55,000 HK$ 7,800-14,300 US$ 1,000-1,800

2070

鄭善禧（b. 1932）壽考延年灑金箋彩墨托片 1985 款文：歲乙丑冬，善禧畫。鈐印：鄭（白文）善禧（朱文） 76.2×26.3cm (30×10.3 in.)

ZHENG Shan Shi Longevity Gold-Sprinkle, ink and color on paper 1985

NT$ 100,000-160,000 HK$ 26,000-41,600 US$ 3,300-5,300 86

2071

鄭善禧（b. 1932）旅歐畫新景紙本彩墨托片 1985 題記：歐洲一切建築都很有規律，如同他們的文字，一字字的字母秩序，反複排列著。款文：民國七十四年，善禧歐洲旅行，看到新景異趣。鈐印：鄭（朱文） 40×60.5cm (15.7×23.8 in.)

ZHENG Shan Shi Travel Europe Paints New Picture Ink and color on paper 1985

NT$ 150,000-190,000 HK$ 39,000-49,400 US$ 4,900-6,300

2072

鄭善禧（b. 1932）南歐村景紙本彩墨托片 1985 款文：歲乙丑初冬，鄭善禧寫南歐村景於台北。鈐印：鄭（朱文） 52.7×76cm (20.7×29.9 in.)

ZHENG Shan Shi Southern European Village View Ink and color on paper 1985

NT$ 240,000-350,000 HK$ 62,300-90,900 US$ 7,900-11,500

2073

鄭善禧（b. 1932）漁舟聚泊紙本彩墨托片 1980 款文：歲庚申之春，於稻江，善禧畫。鈐印：鄭（白文） 69.3×135cm (27.2×53.1 in.) 著錄：《鄭善禧作品選輯》1981年，頁18上、圖19。

ZHENG Shan Shi Fishing Boats Gather to Moor Ink and color on paper 1980 Literature: Works of Art by Zheng Shan-Hsi, 1981, P. 18, No. 19

NT$ 700,000-900,000 HK$ 181,800-233,800 US$ 23,100-29,700

2074

江兆申（1925-1996）

CHIANG Chao Shen

《小溪》詩意圖

Color-Ink Painting

紙本彩墨鏡框題記：小溪莊上掩柴扉，雞犬無聲月色微；一隻小舟臨斷岸，趁潮來此趁潮歸。曇穎上人小溪詩。曇穎上人《小溪》詩。款文：茮原江兆申拈毫。鈐印：江兆申印（白文）物外真游（朱文）目送歸鴻（白文） 48.5×62cm (19×24.4 in.)

Ink and color on paper Provenance: With certificate of gallery

NT$ 150,000-190,000 HK$ 39,000-49,400 US$ 4,900-6,300

來源：附畫廊保證書

周哲

CHOU Tse

續貂靈漚

究心而發

文人畫美學思維，惟有立基先人哲思之審美高

園淡泊、恣意人生之嚮往。然而，周氏寫畫謀篇，

度，纔能一窺東方人文思想的核心與精神價值。是以清人黃鉞《二十四畫品》謂：「昔者畫繪之事，

雖承繼靈漚館自然寫生之筆墨創見，上追晉唐古

備於百工，兩漢以還，精於學士。」至近人鄭午昌

發，藉由方塊筆陣，化江氏一脈而下之亂筆山石為

更直言：「故我國畫家，至漢即有工匠士夫之分，工匠應事實而製作，未免板重故近俗；士夫隨性靈

巖壘。此周哲畫作之透脫變化者也！既表現文人畫

而描寫，競競於興趣，故多雅。」明士、匠作畫之

氏晚期書畫蒼渾厚實、雅逸虛靈氣度，以淡遠別以

別，深入肯擎。

淡薄，平淡天真、不巧飾淡雅，熏化心靈，達到秀

周哲紹緒江兆申衍派文人畫風，善寫溪濱礐

意，卻不脫世俗而富涵文化。於工筆間，究心而

中逸之深度，筆墨間沉潛傳統美學思想，又紹續江

逸而自然率意的性靈境界。

石、廊棧岸際、夾列皺石花樹、山坳絹瀑、角亭氣沫，又或高士駐足亭間談讌論道，無非表徵對於田

得獎展覽經歷： 1. 1994年榮獲中華民國畫學會國家金爵獎（國畫類） 2. 1999–2000年佛光山星雲大師舉辦周哲跨年份跨世紀全國巡迴畫展 3. 台灣省政府二十年來美術教育發展邀請展 4. 日本東京都亞西亞國際美展 5. 第十三、十四、十五屆全國美展國畫邀請展 6. 2007年國父紀念館逸仙雅韻百美展 7. 2007年八月國立歷史博物館個展

2075

周哲（1930-2014）

CHOU Tse

江山無盡

Color-Ink Painting

紙本彩墨鏡框 2007 題記：江山無盡。（論畫，中略）款文：中國文化大學藝院、美術系、國家金爵獎國畫類得獎人、國立歷史博物館《生涯一片青山》周哲書畫個展、邀請展，23日，海陵周哲。詩與畫的界限。鈐印：周哲（白文）希哲（朱文）無盡藏（白文） 35.2×136.5cm (13.8×53.7 in.)

Ink and color on paper 2007

2076

2077

周哲（1930-2014）

俯仰觀宇宙

留春堂詩意圖

紙本彩墨鏡框 2006 題記：（錄陶淵明讀山海經詩，中略）款文：中國文化大學藝院、美術系講座、國家金爵獎國畫類得獎人，丙戌年，海陵周哲。鈐印：周哲（白文）希哲（朱文） 20×67.6 cm (7.8×26.6 in.)

紙本彩墨鏡框 1991 題記：胸中正可吞雲夢，盞裏何妨對聖賢；有意清秋入衡霍，為君無盡寫江天。款文：歲次辛未年冬月，吳陵周哲。鈐印：周哲（朱文）家在吳陵（朱文） 40×63cm (15.7×24.8 in.)

CHOU Tse

Color-Ink Painting

Ink and color on paper 2006

Ink and color on paper 1991

NT$ 15,000-35,000 HK$ 3,900-9,100 US$ 500-1,200

NT$ 35,000-55,000 HK$ 9,100-14,300 US$ 1,200-1,800

NT$ 60,000-100,000 HK$ 15,600-26,000 US$ 2,000-3,300

2078

周哲（1930-2014）群山疊翠屏紙本彩墨鏡框 1991 題記：突兀群山疊翠屏，臨流草閣瞰虛明。坐來喜有相過客，識取漁梁柱杖聲。款文：歲次辛未年冬月，吳陵周哲。鈐印：周哲（朱文）家在吳陵（朱文） 61×61cm (24×24 in.)

CHOU Tse Color-Ink Painting Ink and color on paper 1991

NT$ 40,000-70,000 HK$ 10,400-18,200 US$ 1,300-2,300

2079

2080

周哲（1930-2014）

多子多孫

群峰擁翠

紙本設色鏡框 2011 題記：多子多孫。款文：辛卯年周哲。鈐印：周哲之印（白文） 101.5×28cm (39.9×11 in.)

紙本彩墨鏡框 2009 題記：（論嘉義梅山觀光大道，中略）款文：中國文化大學藝院、美術系，己丑年元月吉日，開筆大吉。海陵周哲。鈐印：周哲（白文）希哲（朱文）感恩（朱文） 76.7×35.6cm (30.1×14 in.)

CHOU Tse Color-Ink Painting Ink and color on paper 2011

NT$ 30,000-55,000 HK$ 7,800-14,300 US$ 1,000-1,800

CHOU Tse Color-Ink Painting Ink and color on paper 2009

NT$ 35,000-60,000 HK$ 9,100-15,600 US$ 1,200-2,000

2081

黃磊生（1928-2011）山君紙本彩墨立軸 1972 款文：壬子春三月，磊生於舊金山。鈐印：黃（白文）磊生（白文）高蹈獨往、蕭然自得（朱文） 183.7×94.5cm (72.3×37.2 in.) 出版：東風藝術畫廊：《黃磊生畫集–第二輯》（舊金山，1972年），圖版39。

HUANG Lui Sang Color-Ink Painting Ink and color on paper 1972 Literature: East Wind Art Gallery: Chinese Watercolours by Lui-Sang Wong Volume II (San francisco, America, 1972) , No. 39

NT$ 120,000-200,000 HK$ 31,200-51,900 US$ 4,000-6,600

劉國松

LIU Kuo Sung

劉國松生於1932年中國安徽，1949年隨國民政府遷台，1956年畢業於師大美術系，隨即發起創立五月畫會，掀起現代藝術運動。1961年有感於一味追求模仿西洋現代藝術思潮與傳統畫風的封閉，更對於民族文化傳統的發展與宣揚產生了強烈的責任心與使命感，故在創作上全方位的大轉變，回歸本土，重拾東方畫系的水墨媒材，從事水墨的革新倡導中國畫的現代化。劉國松被譽為「現代水墨之父」，他的水墨蘊含東、西方的文化調性，抽象性的書法元素融合傳統與現代特質。劉國松以獨有的「抽筋剝皮皴」在自創帶有粗筋的「國松紙」上創作，掀起台灣60年代後書墨風氣的革新。劉國松的現代水墨作品有如靈魂附身的氣質，粗筋紙與撕紙皴法的結合表現出隨意、自然的創作風格，山水畫幅則顯現東方的哲學思維，並充滿玄想的寧靜和平和。在一系列「太空畫」系列創作後，劉國松自覺脫離傳統太遙遠，遂決定重回水墨世界，19721982年間，全力拓展水拓畫技法，加上滲墨和漬墨法，1979年創作的Lot2082《清境春澍》即屬於此時期。水拓法即是利用墨汁和色料在水面上的浮力，依據紙張吸水程度的不同所產生不一樣的變化效果，諸如當墨汁和色彩漂浮於水面時，將紙鋪於上方，並移動、提放，墨色便會產生不同條紋的色階變化，替換基底、媒材，或噴上松節油使油墨分離等，劉國松多樣的開發新技巧，讓山水的無窮無盡，更能夠映襯出自然的變化萬千。半自動技巧的運用，延伸成各種流淌、空濛、幻變的畫面，彷彿天地萬物的元氣，都聚精於畫幅之中。 1998年，紐約市古根漢美術館舉辦的重要展覽《中華五千年文明藝術展》中，唯一被邀請的台灣畫家，就是劉國松。由此可見，劉國松早已被國際藝壇公認是台灣最具代表性的畫家之一，這不但是因為他的創作有劃時代的意義，更因為其創新的思想與理論影響所及，將停滯五六百年的中國繪畫，推向現代而進入一個多元的世紀，呈現了文藝復興式的蓬勃朝氣。

Liu Kuo Sung was born in 1932 in Anhui, China. In 1956, he graduated from National Taiwan Normal University. After that he established “Salon de Mai”, and promoted the campaign of modern art. In 1961, he realized that it was not appropriate to imitate Western and pursue Western art theory painting blindly. He gave himself a strong mission and a sense of responsibility to promote the development of traditional and folk art. Then he determined to advocate modernizing Chinese painting. Liu is known as the "Father of modern ink painting" ,his painting contain the culture of Eastern and the Western. Liu created his own way “Marbling” on " Kuo Sung paper". Setting off the innovation of Chinese painting in Taiwan after the 1960s. Liu’s painting expressing a casual and natural creative style, also showing the philosophical thinking of the East, and full of mysterious peace. After a series of "Space Painting" creations, Liu consciously left the tradition too far away. Then he decided to return to the traditional chinese painting. Between 1972 and 1982, he made great effort to expand the technique of water extension painting, plus the method of infiltration and ink staining. The Lot2082 "Fresh Spring Rain" created in 1979 belongs to this period. The water extension method is to use the buoyancy of ink and color on the water surface. Spread the paper on top, move and lift, and the ink will produce different color. Liu diverse development of new techniques makes the landscape endless and more capable of reflecting the natural. In 1998, the only invited Taiwanese painter in the important exhibition “Chinese Five Thousand Years of Civilized Art Exhibition” organized by the Guggenheim Museum in New York City was Liu Kuo Sung. It can be seen that Liu Kuo Sung has long been recognized by the international art scene as one of the most representative painters in Taiwan. This is not only because his creations have epochmaking significance, but also because of his innovative ideas and theoretical influences, he will be stagnant. A hundred years of Chinese painting, which has been pushed into modern times and entered a multi-century, presents a Renaissancestyle vitality.

2082

劉國松（b. 1932）

LIU Kuo Sung

清境春澍

Fresh Spring Rain

紙本彩墨鏡框 1979 款文：劉國松，一九七九鈐印：劉（朱文） 37×68cm (14.5×26.7 in.)

Ink and color on paper 1979 Provenance: 2015 October 5, Sotheby's Hong Kong, Contemporary Ink Art, Lot2849 'Spring Stream'

來源： 2015年10月5日，香港蘇富比，《當代水墨藝術》，Lot2849 「春水圖」

NT$ 450,000-600,000 HK$ 116,900-155,800 US$ 14,800-19,800

劉國松於2000年時，赴西藏珠穆朗瑪峰，被眼前所見的雪山奇景所震撼而耽誤了回屋避寒的準確時刻，導致左耳耳膜被凍傷從此失聰。然而此行卻萌發了他創作出氣韻生動，氣勢磅礡的西藏組曲系列。Lot2083《大視界（西藏系列）》創作於2007年，當時已是該系列創作技法及構圖上的成熟階段，全幅畫作細節講究，精緻細膩處頗有傳統工筆畫作之功，尤其黑、灰、白三色交互穿插浮動，宛若迂迴閃爍的電光般迷幻動人，風起雲湧的氣場流動令人屏息。劉國松深深了解中國藝術所講求「自然」的意蘊，他曾言：「中國人講究『氣韻生動』，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，諸如「水拓」與「漬墨」等，都是藉由自然偶得的痕跡來觸發靈機妙緒，再因勢利導地作出順乎心意的畫面處理，最後完成自然天成的理想作品。由此可見，劉國松倡導的現代水墨畫，既不是盲目地對西方藝術形式附驥攀鴻，也並非無知地把中國繪畫傳統棄如弊屣。劉國松不拘常法的繪畫創作，儘管揚棄了因襲守舊的筆墨表現方式，反而呈現出充滿時代氣息的嶄新風貌，更重新發掘中國文人畫的精神價值。劉國松的畫面構圖之深遠，彷若可以無限地向外延伸，細節中卻又有無窮的變化，令人百看不厭，《大視界（西藏系列）》可謂現代水

scenes, and finally the completion of nature. It can be seen that the modern ink paintings advocated by Liu Kuo Sung are not blindly attached to the Western art form, nor are they ignorantly abandoning the Chinese painting tradition. Liu Kuo Sung’s unconventional paintings, despite discarding the old-fashioned expressions of the pen and ink, have instead presented a new style full of the times, and rediscovered the spiritual value of Chinese literati painting. LIU Kuo Sung picture composition is far-reaching. If it can extend infinitely outward, there are endless changes in the details. Lot2083 ”Big Vision (Tibet Series)” is a masterpiece of modern ink landscape painting. As the development of the Neo-Confucianism trend since the beginning of this century, the efforts made in the reconstruction and rejuvenation of traditional Confucianism for the inheritance of Chinese culture have been widely recognized by academic circles at home and abroad. In the face of the problems of Chinese painting inheritance and innovation, Liu Kuo Sung shoulders an important cultural mission. He has always maintained a new creative attitude, so he not only succeeded in creating a new style, but also continued the traditional aesthetic of ink painting. At the same time, it also absorbs the rich spiritual resources of Chinese literati and creatively completes a modern transformation.

墨山水畫的上品佳作。誠如本世紀以來新儒學思潮的發展，在重建與復興傳統儒家思想方面，為中國文化的承先啟後所作出的努力，已廣受海內外學術界的重視。而面對中國繪畫傳承與革新的問題，劉國松肩負起重要的文化使命，他一直秉持著溫故知新的創作態度，因此不但卓然有成地以煥然一新的形式風格，延續了傳統水墨畫崇尚自然的審美觀念，同時更吸收中國文人畫豐富的精神資源，創造性地完成一種興滅舉廢的現代轉化。

In 2000, when Liu Kuo Sung went to Mount Everest, Tibet, his left eardrum was frostbitten and deaf. However, this trip has sprouted his vivid creations. Lot2083 ”Big Vision (Tibet Series)”was created in 2007, it was a mature stage in the series of creative techniques and composition. The details of the full-length paintings are exquisite, especially the black, gray and white colors are interspersed and floated, just like the flashing electric light is fascinating and breathtaking. Liu Kuo Sung deeply understands the meaning of "natural" in Chinese art. He once said: "Chinese people pay attention to the "vigorous and vivid", too many artificial people will be rigid, only natural, can be vivid, can see the charm. Liu Kuo Sung The semi-automatic techniques used, such as "Water Print" and "Stained Ink", are all triggered by the traces of natural occasions, and then the smooth processing of the 96

2083

劉國松（b. 1932）

LIU Kuo Sung

大視界（西藏系列）

Big Vision (Tibet Series)

紙本彩墨鏡框 2007 款文：劉國松，二○○七。鈐印：劉國松印（白文） 185×92cm (72.8×36.2 in.)

Ink and color on paper 2007

來源：附畫廊保證書

NT$ 7,500,000-9,500,000 HK$ 1,948,100-2,467,500 US$ 247,400-313,400

Provenance: With certificate of gallery

劉國松求學期間曾師從溥心畬及朱德群，在傳統國畫上打下相當深厚的基礎，其畫中雅致古典的文人氣質亦源自於此。劉國松認為書法所表現的線條性質與肌理是有限的，不應以毛筆為唯一的繪畫工具，藉由獨創的拓墨、撕紙筋、水拓法等代替毛筆表現出特殊效果，透過用筆的節奏、韻律、及氣勢的追尋，使筆意完全融入於水墨的表現中。劉國松自歐美遊學歸國，在觀念與技法上出現明顯的轉變，來自中國草書的書寫性格，啟發了劉國松脫去形象筆墨的暗示，敏銳地賦予現代的情緒。「我自己從小就喜歡畫畫，畫多久都不覺得累，但是沒有興趣的事情，做一會兒就不想做了，累得要命。」 1980 年代初，劉國松在山東講學回憶，從小就愛畫圖的他，自中學即開始摹帖摸索，嘗試練習，這樣的基礎，造就之後創作上對於媒材摸索的講究，絲毫不曾停歇。 Lot2084《沒有季節的山—西藏組曲五十四》是劉國松結合材料的實驗和熟練的技法，使用「抽筋剝皮皴」技法，在紙的兩面反覆描繪、弄皺和剝皮，並以白線勾勒雪山的山脈，創作出宏偉的西藏雪山風景。雪山在劉國松的描繪下，展現廣闊無垠環境下的氛圍，白線的交織與山影形成強烈對比，層層的山稜，窮形盡相地描繪山水面貌，流露著他對大山大水的深厚情感。北京故宮博物院在 2008 年曾邀請劉國松舉行個展「宇宙心印—劉國松繪畫一甲子」，同時舉辦學術研討會，「這代表中國最高的文化殿堂給了我歷史位置，已經很滿足了。」劉國松曾如此感嘆。世界許多重要的機構與博物館，也蒐藏他的作品，劉國松之所以能夠成為現代水墨畫的領軍人物之一，靠的不是口號和旗幟，他以數十年的創作實踐奠定了自己的歷史地位，而且影響了許多有志於革新水墨畫的人。 During Liu Kuo Sung’s studies, he has learned from Pu Ru and CHU The Chun, under the traditional Chinese paintings and made a considerable foundation. Liu Kuo Sung believes that the line nature and texture of calligraphy are limited. The brush should not be used as the only painting tool. Though the original brush, paper tear, water extension method, etc. can be used instead of the brush to show special effects. The pursuit of rhythm and momentum makes the pen's meaning fully integrated into the performance of ink. Liu Kuo Sung returned to China from Europe and the United States, and there was a clear change in his ideas and techniques. The writing character from the Chinese cursive script inspired he suggestion to take off his image and express his keenness to modern emotions.

“I have liked to paint since I was a child. I don't feel tired when I paint for a long time, but if some things which were not attract me, do it for a while, I would not want to do and felt tired.” In the early 1980s, Liu Kuo Sung gave a lecture in Shandong, and he loved drawing pictures since he was a child. Since the high school he began to explore from calligraphy and practice, this foundation built him to explore media of art in his life time. In Lot2084 ” The Mountains Without Season: Tibet Series No. 54” Liu uses“ marbling”, repeatedly depicted on both sides of the paper. Under the depiction of Liu, snowy mountain shows the atmosphere in a vast and innocent environment. Also reveals his deep affection for the landscape. In 2008, the Beijing Palace Museum invited Liu Kuo Sung to hold a solo exhibition "Cosmic Heart Print - Liu Kuo Sung Painting for 60 years" and held an academic seminar. "This represents the highest cultural hall in China and has given me a historical position. It is already very satisfying." Important institutions and museums, as well as his collection of works, Liu Kuo Sung can become one of the leading figures in modern ink painting, relying not on slogans and flags, he has established his historical position and influence with decades of creative practice. Many people who are interested in revolutionizing ink painting, are affected by him.

2084

劉國松（b. 1932）

LIU Kuo Sung

沒有季節的山—西藏組曲五十四

The Mountains Without Season: Tibet Series No. 54

紙本彩墨鏡框 2004 款文：劉國松二○○四鈐印：劉國松（白文） 61.3×94.2cm (24.1×37 in.)

Ink and color on paper 2004 Signed upper right: named Liu Kuo Sung in Chinese, dated 2004, with one seal of the artist. Provenance:

來源：附畫廊保證書

With certificate of gallery Literature:

出版：首都藝術中心：《突兀．夢幻．蛻變劉國松畫集》（台北， 2008年），頁82-83。

Capital Art Center: Disharmony. Dreamy. Evolving, Liu Kuo Sung Painting Collections (Taipei, Taiwan, 2008) , P. 82-83

NT$ 2,600,000-3,200,000 HK$ 675,300-831,200 US$ 85,800-105,600 99

龐均

PANG Jiun

「那時對於大陸的大山大水的觀察，我就覺得必須是灰調子，因為這也體驗了在中國詩詞裡的韻味與飄渺，以及中國人所隱藏收斂深沉的情感，這都是同一個精神性。」—龐均龐均1936年出生於上海的藝術世家，父親龐薰琹是中國第一代留學法國的畫家，母親丘堤則是赴日本學畫的女畫家，兩人皆是1930年代上海「決瀾社運動」重要推手。龐均成長於北京，自幼在家庭中耳濡目染，早早顯露繪畫的天賦， 1949年以13歲考入杭州美院，1952年轉入北京中央美院，師承林風眠、潘天壽、黃賓虹、徐悲鴻、董希文、李可染等藝術前輩，為徐悲鴻的末代關門弟子，1954年以18歲畢業於中央美院，成為當年最年輕的畢業生，開啟他的藝術創作生涯。龐均以寫實主義及文人畫為養分，藉由對色彩的靈活運用，轉化出一套專屬的藝術語彙。桂林山水甲天下，桂林的青山綠水是龐均最喜愛的風景，也是最為人稱道的創作題材。早在1978 年，龐均就曾深入陽朔地區寫生，幾十年來對漓江景致的描繪貫徹始終。Lot2085《桂林早春》創作於2011年，以明快的色彩和筆觸描繪早春時節的水光山色，由近至遠的山形層層相隔，水面倒影如同鏡面般透澈，前景的枝枒已開始萌生綠葉，連漁民滑過的波紋都顯得綿密，極具動人的自然生氣。龐均的畫作，注重將觀察到的自然之情描繪出來，同時也體現內心深沉的幽靜感受，蘊含東方文人雅士的高尚氣息，令人心曠神怡。

"At that time, I thought that the observation of the mountains and the waters of the mainland must be gray, because it also experienced the charm and ethereal in Chinese poetry, and the deep and deep emotions hidden by the Chinese. This is the same spirit.” Pang Jiun was born in Shanghai in 1936. His father Pang Xunqin was the first generation of Chinese artist to study in France. His mother, Qiu Ti, was a female artist who went to Japan to study Art. Both of them were important in the 1930s Shanghai “Torrents Society”. Pang Jiun grew up in Beijing. When his childhood, he receive lots of information about art and revealed his talent for painting. In 1949, he was admitted to Hangzhou Academy of Art at the age of 13.In 1952, he transferred to the Central Academy of Fine Arts in Beijing. He learned from Lin Feng Mian, Pan Tian Shou, Huang Binhong, Xu Bei Hong, Dong Xi Wen, Li Ko Jan, etc.. As the last disciple of Xu Bei Hong. He graduated from Central Academy of Fine Arts in 1945 at the age of 18, soon became the youngest graduate at that time, and opened his artistic career. Pang Jiun takes realism and literati painting as a nutrient. Through the flexible use of color, he transforms a set of exclusive artistic vocabulary. The scenery of Guilin is world-renowned. Guilin's cyan mountains and waters are Pang's favorite, and also to be the most popular theme of his artwork. In 1978, Pang Jiun had went to Yangshuo area for painting the scenery, and has been painting Li River for decades. Lot 2085 “Early Spring in Guilin” was created in 2011. It depicts the water and mountains of the early spring season with bright colors and brush strokes. The mountain-shaped layers are separated by the distance, the reflection of the water surface is transparent like a mirror, and the branches of the foreground have begun to sprout green leaves. Even the ripples slipped by the fishermen are very dense and natural. Pang Jiun’s painting focus on depicting the natural and reflect the deep and quiet feelings from the heart, containing the noble atmosphere of the Oriental literati.

100

2085

龐均（b. 1936）

PANG Jiun

桂林早春

Early Spring in Guilin

油彩畫布 2011 簽名右下：龐均 2011 手繪鈐印：均簽名畫背：龐均 PANG JIUN、2011 20F、（桂林早春） 60.5×73cm (23.8×28.7 in.)

Oil on canvas 2011 Signed lower right: named Pang Jiun in Chinese, dated 2011, with one seal of the artist. Signed on the reverse: named Pang Jiun in Chinese and English, dated 2011, sized, titled. Provenance:

來源：附藝術家親簽之原作保證書

Attached certificate signed by Artist

NT$ 900,000-1,000,000 HK$ 233,800-259,700 US$ 29,700-33,000 101

Lot2086《京都潭柘寺》描繪素有「京都第一寺」之稱的潭柘寺，位於北京西郊潭柘山的寶珠峰的南麓，周圍由九座高大的、宛如巨龍的山峰呈馬蹄狀環護著，環境雅致，風景優美。潭柘寺遺留的建築多為明、清時修建，部分保留了金、元時期的風格。龐均以樹景為主體，寫生式的描繪畫面，如同置身於其中，親臨走訪的姿態，更讓觀者充分感受古都風情，是如此的秘境。相較於細筆描繪，龐均選擇以粗獷線條呈現樹枝聳立，對比建築的柔美典雅，再與樹葉紛擾的騷動形成強烈對比。通透的用色則讓古都的純淨得以表露，枝幹的白因而更顯純粹。如此自然的書法線條特色，使龐均的油畫語言有了抑揚頓挫，把西方的熱情、表現力，與東方的寫意哲學完美融合，可謂東方文人表現主義的最佳代表。

Lot 2086“Capital's City Tanzhe Temple” depicts the Tanzhe Temple, Known as the “Beijing First Temple.” It is located in the south of the Tanzhe Mountain in the western suburb of Beijing. It is surrounded by mountains like horseshoe. The environment is elegant and the scenery is beautiful. Most of the buildings left by the Tanzhe Temple were built in the Ming and Qing dynasties, and some retain the style of the Jin and Yuan periods style. Pang Jiun takes the tree view as the protagonist and depicts the natural scenery. It is like being in it. Let the viewer fully feel the ancient customs, is such a secret place. Compared with using the fine pen to draw, Pang Jiun chose to present branches with rough lines. Contrasting the softness and elegance of the building, and then contrasting with the turbulence of the leaves. The transparent color allows the purity of the ancient capital to be revealed, and the whiteness of the branches is more pure. Such natural calligraphy lines have made Pang Jiun’s oil painting vocabulary to be undulate, and the fusion of Western enthusiasm and expressiveness with the oriental freehand philosophy is the best representative of oriental literati expressionism.

2086

龐均（b. 1936）

PANG Jiun

京都潭柘寺

Capital's City Tanzhe Temple

油彩畫布 2017 簽名右下：龐均 2017 手繪鈐印：均 91.3×73cm (35.9×28.7 in.)

Oil on canvas 2017 Signed lower right: named Pang Jiun in Chinese, dated 2017, with one seal of the artist. Provenance:

來源：附藝術家親簽之原作保證書亞洲私人收藏

Attached certificate signed by Artist Asian private collection

NT$ 1,600,000-1,800,000 HK$ 415,600-467,500 US$ 52,800-59,400 102

103

2087

呂榮琛（b. 1963）

LU Rong Chen

懷秋

Cherishing Autumn

油彩畫布 2016 簽名左方：榮琛 Lu 2016 簽名畫背：呂榮琛 120F 2016 懷秋 Lu Rong Chen 130×194cm (51.1×76.3 in.)

Oil on canvas 2016

in Chinese and English, size, titled, dated.

NT$ 700,000-900,000 HK$ 181,800-233,800 US$ 23,100-29,700

呂榮琛說道：「創作，是我生活和品味的總和，也看得出我的發展，

以繼夜面對生活真實熾熱之心。」

能量，達到觸動人心的優美畫面。

作品自己就會說話，大家可以各依自己的眼光及精力，產生不同想像與刺激，我想分享的是自己那顆日 104

Signed left side: named Rong Chen in Chinese, Lu in English, dated 2016. Signed on the reverse: named Lu Rong Chen

呂榮琛從生活中找尋藝術的可能，他喜歡在人多的地方，不只觀察，更享受互動，那些過程當中時時存在著化學反應，從而昇華為創作的

呂榮琛在油彩畫面融入了不同的生活體驗及自我反思，畫作中運用了更多的色彩，使觀賞者領略藝術家自我的蛻變與生活的共鳴。

2088

陳二夫（b. 1965）

CHEN Er Fu

烏鎮大院

Wuzhen Courtyard

油彩畫布 2005 簽名右下：CEF 2005 簽名畫背：江南民宅大院系列－《烏鎮大院》 2003年蘇州市美術作品展覽獲一等獎陳二夫 99.7×77.5cm (39.2×30.5 in.)

Oil on canvas 2005 Signed lower right: named CEF, dated 2005. Signed on the reverse: titled, named.

NT$ 200,000-300,000 HK$ 51,900-77,900 US$ 6,600-9,900

105

席德進1923年出生於四川的一戶富裕農家裡，父親當過鄉長，為地方小有名氣的鄉紳，直到內戰被

SHIY De Jinn

席德進

迫遷離。從小跟著母親刺繡的花樣塗鴉，繪畫天分逐漸突出，接連得了許多比賽。其後經由老師龐薰琹引薦，入國立藝專（今中國美術學院），以第一名畢業，為林風眠得意弟子之一。林風眠的指導，讓席德進對於藝術之路更加明確，「若不是在林老師兩年的教導之下，開啟了我走進藝術堂奧的正確道路，今天可能我的藝術又是另一個樣子，像一般平庸的畫家，永遠找不到自己的風格。」席德進在追憶時如此說道。隨著時代戰亂，席德進於1948年播遷來台定居，到嘉義中學任教三年半後，前往台北，一待就待了十年，長期觀察台灣的鄉野生活與藝術潮流，廟宇、市場、攤販、街景、淡水風光，成為席德進描繪的對象。1962年往歐美藝術深耕，而後返台一生為「美」努力著。席德進畢生致力於研究創作，1950 年代受台灣畫壇影響，吸收普普、歐普、硬邊藝術知識，作品加入許多歐普和硬邊主義的形色表現，熱烈鼓吹現代藝術。在多重影響下，席德進發展出剛勁有力、粗黑線條的個人繪畫風格。直到歐遊返台後，醉心於台式古建築考察、攝影、撰文，並留下許多古屋容顏，成為偏重台灣鄉土與民俗描繪的鄉土寫實畫家，回歸到他最原始而自然的本土家鄉，記錄戰後台灣早期建築與民俗藝術，遂成為其創作的底蘊。席德進創作題材相當多元，在中國生活了

席德進於台中苑裡環翠堂前留影。來源：國立歷史博物館：《館藏席德進素描特展》（台北，1998年），頁94。

「只要你深入了解中國，最後你只好投降，全部接受」，席德進強調一脈相承的長久傳統，同時又鼓吹創新與反叛，因此在描繪古屋時，看建築的角度也不同於一般人，房屋的屋頂、屋脊及牆面被加強重點，抽離成「線」與「面」，簡約的造形十足體現建築的線條之美，「中國建築採用對稱的造形，對稱表示一種秩序；人類與宇宙的秩序；人與社會的秩序；個人與家庭的秩序。中國建築屋頂的曲線，顯示了屋宇的生氣與特殊的造形，曲線是順物之性；曲線有忍讓的特性；曲線更接近自然，它流暢、舒展、不緩不迫的氣勢，有一種懾人的美感。」從席德進對中國建築的描述，可見出其敏銳的觀察與深入研究所達到的獨到眼光。

二十五年，中國經驗給他傳統性的審美品味。而他在台灣生活了三十年，台灣島嶼文化賦予地域性的主體。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，化整為零匯集成席德進的創作意識。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，演繹的都是台灣土地上的豐富人文與自然風貌，具有重要的時代意涵。席德進為我們留下的藝術資產，豐富了台灣這塊土地與土地上的人民，他從西方現代藝術，回歸本土並認同生存的土地，要比當時其他的畫家要早，他無疑是「一個道道地地的台灣

席德進畫室：《席德進畫集》（台北，1968年）。

畫家」。藝術表現手法上，席德進偏愛使用渲染技法，以統合水彩與水墨之間，將墨色、線條加入水彩畫中。席德進自述道：「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。」所以水彩作品可以看出藉由中國畫的墨色變化，使彩中有墨的厚度，墨中有彩的靈動，墨彩相互交融映輝。席德進熱愛台灣的古建築，時常雲遊四處，寫生、拍照各式屋簷造型作為紀錄，以成為繪畫題材，Lot2089《進士第（翹翅仔樓）》與 Lot2090《苑裡環翠堂》是席德進標準的建築作品， 106

席德進，《武陵勝景》，約1970，水彩紙， 68×137cm，景薰樓2013年秋季拍賣會，成交價台幣 3,304,000。

席德進，《大榕樹下》，1978，彩墨紙，68×136cm，景薰樓2014年秋季拍賣會，成交價台幣 4,720,000。

席德進，《水鄉》， 1979，彩墨紙， 138×35cm，景薰樓2015年春季拍賣會，成交價台幣 2,400,000。

席德進家書上所印刷的塗鴉。來源：席德進畫室：《席德進畫集》（台北，1968年），頁9。

席德進面對生命，面對風景都是誠實的，他從不閉門作畫，所畫的必是眼前的山水，外出寫生是再平常不過的事。他的風景畫具有一種獨特的神秘氣息，水氣淋漓如多霧的天府之國，又有著南國島嶼濕漉漉的熱情。在後期，

席德進，《微光晨曦》，1973，水彩紙，58×78cm，景薰樓2013年秋季拍賣會，成交價台幣 2,832,000。

他創作出一幅幅融合油彩、水彩、水墨等多元特色的山水圖畫，並開創出一套獨到的技法，用來表現亞熱帶海島氣候繽紛的景物和變動莫測的對象。感性浪漫的席德進曾在自己的畫裡題上名句：「鮮豔還給季節，芬芳還給土地，

露著香氣，明亮的色彩爭奇鬥艷，不同於建築與風景的典雅溫潤，席德進強調了如同少女般的甜美情感於畫面之中。而席德進的素描在其藝術生涯中，極具代表性，早從藝專時代

姿態還給風雨。」觀看席德進的畫作，恬淡的

即勤練線條，這樣的成效，不管在水彩、油彩作品中，都能看出深

色塊畫面背後是擁有個性高飈、感情摯烈的一

厚的素描基礎能力。

生，以火一樣的熱情為藝術殉道。回憶小時候，令席德進最印象深刻的是母

「我所認為的素描是一種表現的素描，有風格的素描，它呈現作者的性格、思想與情感……素描是訓練眼的觀察，手的跟進，不

親帶一家人到外婆家拜訪，一大片的瓦房與庭

會看就不會畫……畫過十年、二十年，基礎總是可得的，但是若你

院、水塘，充滿生機。院子的花卉遍布，每個季節都飄著不同的花香，「我感覺到那些花

缺乏一雙敏銳的眼睛，沒有豐富的心靈與情感，你所畫的就止於基

香、文化、字畫，像是紅樓夢裏的情景，那種中國人高貴的生活環境，給我印象最深刻，這是我們農家沒有的。」拍品Lot2091《富貴專情》、Lot2092《一品冠仙客來》、Lot2093 《國艷海棠花》與Lot2094《芋塘覓趣》可見席

礎，而產生不了風格和特殊有個性的色彩。」能夠將創作發揮出如此獨具特色且有性格的線條，有賴於素描的渾厚功力，拍品Lot2139至Lot2146為珍貴的席德進未公開素描稿，簡潔俐落的線條，可見藝術家對造形掌握的精準描繪。

德進對於花卉的描寫同樣熟悉，花卉的顏色透 107

2089

席德進（1923-1981）

SHIY De Jinn

進士第（翹翅仔樓）

Residence of Scholar

紙本彩墨簽名左下：席德進鈐印：席德進（白文） 44×46.7cm (17.3×18.3 in.)

Ink and color on paper Signed lower left: named Shiy De Jinn in Chinese, with one seal of the artist.

NT$ 160,000-260,000 HK$ 41,600-67,500 US$ 5,300-8,600

108

2090

席德進（1923-1981）

SHIY De Jinn

苑裡環翠堂

Yuanli Wantsuiclass

紙本彩墨簽名左下：席德進鈐印：席德進畫（朱文） 45×45cm (17.7×17.7 in.)

Ink and color on paper Signed lower left: named Shiy De Jinn in Chinese, with one seal of the artist.

NT$ 160,000-260,000 HK$ 41,600-67,500 US$ 5,300-8,600

109

2091

席德進（1923-1981）

SHIY De Jinn

富貴專情

Rich and Faithful

水彩紙 1976 簽名左下：席德進 1976 75.5×56.5cm (29.7×22.2 in.)

Watercolor on paper 1976 Signed lower left: named Shiy De Jinn in Chinese, dated 1976.

NT$ 300,000-400,000 HK$ 77,900-103,900 US$ 9,900-13,200 110

2092

席德進（1923-1981）

SHIY De Jinn

一品冠仙客來

Florists Cyclamen

紙本彩墨 1979 簽名右下：席德進 1979 鈐印：席氏書畫（白文） 51.5×52cm (20.2×20.4 in.)

Ink and color on paper 1979 Signed lower right: named Shiy De Jinn in Chinese, dated 1979, with one seal of the artist.

NT$ 350,000-420,000 HK$ 90,900-109,100 US$ 11,500-13,900 111

2093

席德進（1923-1981）

SHIY De Jinn

國艷海棠花

Begonia

紙本彩墨簽名左下：席德進鈐印：席德進印（白文）席氏書畫（白文） 61.5×57.2cm (24.2×22.5 in.)

Ink and color on paper Signed lower left: named Shiy De Jinn in Chinese, with two seals of the artist.

NT$ 300,000-400,000 HK$ 77,900-103,900 US$ 9,900-13,200 112

2094

席德進（1923-1981）

SHIY De Jinn

芋塘覓趣

Taro Pond Playing

紙本彩墨簽名左下：席德進鈐印：席德進印（白文）席氏書畫（白文）四川南部縣人（白文） 75×138.5cm (29.5×54.5 in.)

Ink and color on paper Signed lower left: named Shiy De Jinn in Chinese, with three seals of the artist.

NT$ 1,200,000-1,600,000 HK$ 311,700-415,600 US$ 39,600-52,800 113

常玉

SAN Yu

常玉生於四川，家境富裕，自幼就讀於家中的私塾。雖父親的教育程度不高，對於常玉的藝術天分，卻是毫無保留的支持及鼓勵，因此讓常玉經常有機會去上海、日本，以及後來的巴黎發展時，不須擔心費用的問題。常玉少年時就讀上海美術學校，1919年至日本留學，1920年常玉在法國由政府贊助的「勤工儉學」計劃，成為中國最早期的留法學生之一，之後留居巴黎四十年之久。1966年因煤氣中毒意外，去世於巴黎蒙帕納斯工作室裡。在法國留學時期，常玉並未進入正規的美術學院受教育，而是在充滿了自由氛圍的大茅屋學院（Académie de la Grande Chaumière）隨興地習畫，個性瀟灑不羈的常玉總在蒙帕納斯（Montparnasse）的咖啡廳流連，或跑去拉小提琴、打網球、撞球。觀察寫生的習慣，令他養成對人體的濃厚興趣，以中國筆墨的方式創作，在毛筆的線條功力與線條的曲線掌握有不少的心得。1925年起，其作品屢見於巴黎的沙龍美展及各大畫廊。常玉於1930年代，初抵巴黎時，多使用白、黑、粉紅色等淺色色塊構圖，畫面簡約、典雅恬淡。而自1940年代起，常玉嘗試使用豐富而多樣的色彩，表達出愉悅的情感，也對西方的

SAN Yu born in Sichuan, a wealthy family. He has been studying at home since childhood. Although his father’s education is not high, SAN Yu’s artistic talent is unreservedly supported and encouraged. Therefore, SAN Yu often has the opportunity to go to Shanghai, Japan, and later Paris to develop without worrying about the cost. When he was a teenager, he studied at the Shanghai Art School. He studied in Japan in 1919. In 1920, SAN Yu was sponsored by the government in the“Work-study Program” in France. He became one of the earliest students studying in France and stayed in Paris for 40 years. . In 1966, due to a gas poisoning accident, he died in the studio of Montparnasse in Paris. During his stay in France, SAN Yu did not enter the formal art school for education. Instead, he studied in the Académie de la Grande Chaumière, which is full of free atmosphere. SAN Yu is always hang around Montparnasse cafés, or went to play the violin, play tennis, and hit the ball. Observing the habit of sketching, he developed a strong interest in the human body, created in the way of Chinese pen and ink, and has a lot of experience in the curve of the line skill and line of the brush. Since 1925, his works have been seen in the Salon Art Exhibition in Paris and major galleries. In the 1930s, SAN Yu used white, black, pink and other light114

繪畫技巧漸漸有了信心，到了1950年代開始發展偏愛題材：裸體、動物、花卉，常玉保留傳統繪畫固有的筆法勾勒，將其運用於更抽象的形式及構圖中，兼具線條美與韻律感。1950年代晚期、1960年代，常玉更鍾情於漆黑，用黑色作為基底，勾勒主題。常玉的表現形式囊括油彩、水彩、水墨及炭筆。與同時期赴歐洲定居的少數中國藝術家相較，常玉特立獨行且畫作獨具一格，以呈現國畫的風格詮釋傳統西方主題，揉合了文人畫與現代主義風格，承襲傳統水墨的底蘊，用西方媒材體現自身的特色。常玉二次大戰前曾回到中國，後轉至紐約生活兩年。1948年紐約現代美術館為他舉辦個展。二戰後，常玉選擇留在巴黎，因不擅經營自己，也與畫商漸行漸遠、揮霍家產，從富有的生活藝術家，轉為窮困潦倒的失意畫家。1963年和常玉同鄉的教育部長造訪巴黎，邀請常玉到國立台灣師範大學美術系任教，並到國立歷史博物館舉行個展，視為人生的新開始。1965年，常玉原先計畫前往台灣，可惜，因緣際會，前往埃及後卻無法來台了。1966年常玉於巴黎逝世後，國立歷史博物館曾分別於1978、1984、1990年共舉辦三次的回顧展。2001年常玉百歲冥誕時，歷史博物館

colored color blocks to form a simple, elegant and bleak picture. Since the 1940s, Chang Yu has tried to use rich and diverse colors to express pleasant emotions, and has gradually gained confidence in Western painting techniques. In the 1950s, he began to develop his favorite subjects: nude, animals, flowers. SAN Yu contain the traditional brushstrokes of traditional paintings are applied to abstract forms and compositions, combine beautiful lines and rhythm. In the late 1950s and 1960s, SAN Yu was more interested in black, using black as the base to outline the theme. SAN Yu’s performance includes oil paint, watercolor, ink and charcoal. Compared with a few Chinese artists who settled in Europe at the same time, SAN Yu has his own unique art style. He interprets traditional Western themes in the style of Chinese painting, blending literati painting with modernist style and inheriting the heritage of traditional ink painting. Use Western media to reflect its own styles. SAN Yu returned to China before the Second World War and then moved to New York for two years. In 1948, the Museum of Modern Art in New York held a solo exhibition for him. After the Second World War, SAN Yu chose to stay in Paris. Because of his poor management, he also gradually drifted away from the art dealers, squandered his family property,

又展出常玉百歲紀念大展，2004年6月巴黎國立居美東方美術館舉辦常玉回顧展，展出60餘件作品。2017年3月至 7月於國立歷史博物館舉辦「相思巴黎-館藏常玉展」，足見其作為海外華人藝術家在畫壇的重要性。主要收藏機構有：台北國立歷史博物館、北京中國美術館等。常玉的素描與水彩，有時比油畫作品更具吸引，因為油畫的層疊交替容易分散線條的純粹，而透過素描與水彩，則更能直接且毫無保留常玉熟練的線條筆觸，創造出優美隨興的作品。常玉專精於中國水墨，寥寥幾筆便能捕捉主角的神韻，觀察人臉表情的變化尤為傳神，Lot2095 《臉像》描繪側臉的男士與女士頭像，為了拓展速寫的表現手法，常玉以中國山水畫常用的「乾筆」增加明暗對比與體積感，再施以簡單的色彩。上方往左側遠望的戴鏡男子，與下方眼角視線略低的盤髮女子，形成左、右，上、下的對應關係，顯得自然優美又簡潔有力。 1925年常玉的朋友龐薰琹抵達巴黎，便受常玉推薦前往大茅屋授課，龐薰琹在回憶錄寫道：「病後我往往和 and turned from a rich life artist to a poetic painter who was destitute. In 1963, the Minister of Education and his fellow countrymen visited Paris, invited SAN Yu to teach at the Fine Arts Department of National Taiwan Normal University, and held a solo exhibition at the National Museum of History as a new beginning of life. In 1965, SAN Yu originally planned to travel to Taiwan. Unfortunately, due to the intermarriage, he could not come to Taiwan after he went to Egypt. After the death of SAN Yu in Paris in 1966, the National Museum of History held three retrospective exhibitions in 1978, 1984 and 1990 respectively. In 2001, when SAN Yu was 100 years old, the History Museum also exhibited the SAN Yu 100th Anniversary Exhibition. In June 2004, the National Museum of Oriental Art in Paris hosted the SAN Yu Retrospective Exhibition, which exhibited more than 60 works. From March to July 2017, the "Acacia Paris - Collection of SAN Yu Exhibition" was held at the National Museum of History, which shows the importance of being an overseas Chinese artist in the art world. The main collection agencies are: Taipei National History Museum, Beijing National Art Museum, etc. SAN Yu’s sketches and watercolors are sometimes more attractive than oil paintings, because the cascading of oil paintings tends to disperse the purity of the lines, while through sketches and watercolors, it is more straightforward and unreserved, beautiful and interesting works. In 1925, SAN Yu’s friend PANG Xunqin arrived in Paris and was recommended by SAN Yu to go to teach at Académie de la Grande Chaumière. PANG Xunqin wrote in his memoirs:” After my illness, I always went with Sanyu. He would sketch with brush and ink. Everybody knew him and when he arrived, people would gather around him. If the model struck an interesting pose, he would sketch her; otherwise, he would sketch the people around him, particularly the women, completing each sketch in ten minutes. Most interestingly, he

常玉一起來，他用毛筆畫速寫，很多人認識他，他一來很多人圍繞著他，坐在他旁邊，如果模特兒擺的姿態好，他就畫模特兒。他常畫他周圍的人，他專畫全身女像，十分鐘左右就可畫好。最有趣的是他把周圍的人，不管是男的女的，年輕的或中年的都畫成是女的裸體，沒有人抗議，反倒是極受歡迎。我想他在巴黎十多年，大概就是這樣生活。」常玉畫了許多同樣在速寫的人們，Lot2096《速寫中的仕女》即描繪其背影姿態，微彎且帶有蜷曲感的女性背影，充分體現出常玉表現女性優雅體態的特色，簡潔的構圖透露長期學習中國書法的影響，不單只是線條的流暢，在於畫面的均衡、線與線之間的牽引、黑、灰、白底間的空氣流動，都暢通且自信十足的表現於畫面之中。衣淑凡曾經是蘇富比第一位台灣區負責人，並為常玉研究三十多年，建構線上文獻庫，同時出版油畫、雕塑、素描、水彩與版畫集，詳盡收錄常玉作品，本次拍品 Lot2095《臉像》、Lot2096《速寫中的仕女》均收錄其中，品項完整，來源詳細，可謂難得佳作。

would sometimes show his fellow sketchers, no matter male or female, young or old, as nudes. And nobody seemed to mind. In fact, they all admired him. I imagine this is how he spent his more than ten years in Paris.” SAN Yu has painted many people who are also sketching. Lot 2096 “Sketched Lady” depicts the back of the woman, the slightly curved and distorted female back, which fully reflects the characteristics of SAN Yu’s female elegant posture, simple composition. It is revealed that the influence of long-term learning of Chinese calligraphy is not only the smoothness of the lines, but also the balance of the picture, the traction between the lines and the lines, the air flow between the black, the gray and the white background, all of which are unobstructed and confident in the picture. SAN Yu specializes in Chinese ink painting, and can capture the protagonist's charm in a few strokes. Observing the change of facial expression is especially vivid. Lot 2095 “Faces” depicts the face of men and women, in order to expand the expression of sketching. The "dry pen" SAN Yu commonly used in Chinese landscape paintings increases the contrast between light and dark and the sense of volume, and then applies simple colors. The man wearing the mirror looking far to the left and the woman with a slightly lower line of sight below the eye, forming a corresponding relationship between left, right, up and down, looks natural and simple and powerful. Yi Shufan used to be Sotheby’s first head of Taiwan, and studied SAN Yu for more than 30 years, and built an online literature library. At the same time, she published oil paintings, sculptures, drawings, watercolors and prints, and included the works of SAN Yu in detail. Lot 2096 “Sketched Lady” and Lot 2095 “Faces” are included. The items are complete and the source is detailed. They are precious artworks. 115

2095

常玉（1901-1966）臉像彩墨紙 1920-1930年代簽名左下：玉 SANYU 43×21.5cm (16.9×8.4 in.) 出版：財團法人立青文教基金會：《常玉素描與水彩全集》（台北，2014年），頁248。

SAN Yu Faces Ink and color on paper 1920-1930s Signed lower left: named in Chinese and French. Literature: The Li Ching Cultural and Educational Foundation: SANYU Catalogue Raisonné: Drawings and Watercolors (Taipei, Taiwan, 2014) , P. 248

NT$ 1,900,000-2,200,000 HK$ 493,500-571,400 US$ 62,700-72,600

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2096

常玉（1901-1966）速寫中的仕女水墨紙簽名右下：玉 SANYU 43.5×26.5cm (17.1×10.4 in.) 出版：財團法人立青文教基金會：《常玉素描與水彩全集》（台北，2014年），頁108。

SAN Yu Sketched Lady Ink on paper Signed lower right: named in Chinese and French. Literature: The Li Ching Cultural and Educational Foundation: SANYU Catalogue Raisonné: Drawings and Watercolors (Taipei, Taiwan, 2014) , P. 108

NT$ 800,000-1,000,000 HK$ 207,800-259,700 US$ 26,400-33,000

117

朱沅芷

Yun GEE

美籍中國藝術家朱沅芷的創作歷程經過幾度轉折，早先從立體主義出發，歷經共色主義、新表現主義、超現實主義等之啟迪，朱沅芷迅速吸收並融會貫通，將各種複雜而微妙的創作理念，提煉出屬於個人的風格及華人文化的藝術樣式。然而朱沅芷的作品在當時的美國未能完全被了解，直至九○年代，美國以至台灣的學者、美術館、畫廊開始對朱沅芷進行有系統的研究，許多珍貴的作品因此能重現於世。 1927年，經由法國穆哈特王子、王妃的引薦，為了達成融合東西文化的目標，朱沅芷啟程前往巴黎，進一步拓展視野與創作靈感。19281929年間，入選法國獨立沙龍，在中國藝術家中極少獲得此殊榮。創作於1930年的Lot2097《孔子像》即是朱沅芷停留巴黎初期的作品，充分體現藝術家全力結合中西方藝術、文化、精神及主題的意旨。

The creative process of American Chinese artist Yun GEE has undergone several twists. From the beginning of Cubism, after the inspiration of cocolorism, new expressionism, surrealism, etc., Yun GEE quickly absorbed and integrated, and refined various complicated and subtle creative ideas. The style of the individual and the artistic style of the Chinese culture. However, Yun GEE’s works were not fully understood in the United States at that time. Until the 1990s, scholars, art galleries, and galleries in the United States and Taiwan began to systematically study Yun GEE, and many precious works could be reproduced in the world. In 1927, through the introduction of the French Prince Muhart and his wife, in order to achieve the goal of integrating the East and West culture, Yun GEE set out to Paris to further expand his horizons and creative inspiration. From 1928 to 1929, he was selected as the French Independent Salon, and he was rarely awarded this honor among Chinese artists. The creation of the 1930 Lot 2097 " Confucius" is the work of Yun GEE's early stay in Paris, which fully reflects the artist's intention to combine Chinese and Western art, culture, spirit and theme.

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「永無饜足的好奇心，驚人的智慧」朱沅芷的第二任妻子朱海倫如此形容丈夫，家中的書架上排列不同領域的書籍，其中也包括各種的思想、宗教書目，《倫語》、佛洛依德的作品及聖經等，應有盡有，就可看出朱沅芷在創作時，除了技法的表現上，更著重於思想的整合與表達。Lot2097《孔子像》雙手交疊，雙肩微拱，望向前方，長衣與髮隨風飄逸，展現「至聖先師」的莊重形象。精緻的孔子像，蘊含著博愛世人，有容乃大的氣度，緊收的小手卻也透露謙遜平和的性格。當朱沅芷在描繪基督時，會引用聖經中文譯本，其中記載耶穌基督的門徒稱呼基督為「夫子」，朱沅芷便巧妙地把西方的「夫子」與中國傳統儒家「孔夫子」結合。而不論在油畫或是雕塑，外形面貌的結合都象徵著東西文化精髓的融合，即是朱沅芷當時極欲表達的中心思想，皆融會在此雕塑作品之中。

"Never enough curiosity, amazing wisdom" Yun GEE’s second wife, Zhu Hai Lun, described her husband as a book on the bookshelves in the family, including various ideas and religious bibliographies, Analects of Confucius and Freud’s works and the Bible. It can be seen that in the artwork of Yun GEE, in addition to the performance of the technique, more emphasis is placed on the integration and expression of ideas. Lot 2097 "Confucius" overlapped with hands, shoulders slightly arched, looking forward, long clothes and hair flowing with the wind, showing the solemn image of "Supreme Master". The exquisite image of Confucius contains the fraternity of the world. The small hand that is tightly closed also reveals the humble and peaceful character. When Yun GEE is depicting Christ, he will quote the Chinese translation of the Bible, which records that the disciples of Jesus Christ call Christ the "Master". Yun GEE skillfully combines the Western "Master" with the traditional Chinese Confucian "Confucius". Whether in oil painting or sculpture, the combination of appearance symbolizes the fusion of the essence of Eastern and Western cultures. That is the central idea that Yun GEE was anxious to express at that time, and it will be integrated into this sculpture.

2097

朱沅芷（1906-1963）孔子像銅雕（2/8）簽名底座：Yun Gee 2/8 21×14×40.5cm (8.2×5.5×15.9 in.) 來源： 2010年5月30日，香港佳士得，《中國二十世紀藝術日間拍賣》，Lot1393「孔子像」亞洲私人收藏展覽：前波畫廊「極簡心像」，2002年3月20日 - 4月20日。大未來畫廊「朱沅芷」，1998年11月14日 - 12月1日。出版：前波畫廊：極簡心像（紐約，2008年），頁77。大未來畫廊：朱沅芷（台北，1998年），頁75。原模創作於1930年，藝術家家屬授權於1998年翻銅

Yun GEE Confucius Bronze sculpture (2/8) Signed on the base: named Yun Gee, numbered (2/8). Provenance: 2010 May 30, CHRISTIE'S Hong Kong, Chinese 20th Century Art (Day Sale), Lot1393 'Confucius' Asian private collection Exhibition: Chambers Fine Art "A Minimal Vision" , 2002 March 20 - April 20 Lin & Keng Gallery "Yun Gee" , 1998 November 14 December 1 Literature: Chambers Fine Art: A Minimal Vision (New York, America, 2002) , P.77 Lin & Keng Gallery: Yun Gee (Taipei, Taiwan, 1998) , P.75 The original mold was created in 1930, the artist’s family member authorized rolling over with copper in 1998.

NT$ 450,000-600,000 HK$ 116,900-155,800 US$ 14,800-19,800

119

中國寫實派之首柔情與粗獷兼容的藝術家

陳逸飛

CHEN Yi Fei

The Head Of The Chinese Realism, Artists Who Are Soft and Rough 陳逸飛1946年出生於中國寧波。1965年畢業於上海美術專科學校，後赴美留學，1984年畢業於紐約亨特學校，獲藝術碩士學位，受當時藝壇稱許與肯定，並留在紐約從事創作。1981年起，陳逸飛作品連續於哈默畫廊舉辦六次個展，後分別於華盛頓科克倫藝術博物館、日本西武、英國倫敦馬伯樂畫廊及法國等地舉行個展。1992年陳逸飛返回中國，除繼續從事油畫藝術創作外，創立服裝品牌、視覺藝術公司、涉足影壇。陳逸飛的展覽足跡遍佈世界各地，作品廣為中國美術館、中國人民革命博物館、中國軍事博物館、國內藝術機構與收藏家珍藏。陳逸飛在中國油畫界舉足輕重，是中國改革開放後第一位在美國、英國藝壇成名的中國藝術家，他充分掌握歐洲古典寫實的精髓，融合中國藝術的特徵，開創出自己的寫實風格，令大眾耳目一新。留學美國期間，陳逸飛恣意於對美的追求與表達，無論是恬靜的西洋樂手，還是幽雅的江南水鄉，都成就了他唯美的典型風格。這些作品的印刷品後來在中國廣泛流傳，滿足了當時中國人對於審美的強烈渴望。陳逸飛的細膩與唯美，使他不管在國際及國內都享譽盛名。在陳逸飛生前就已經籌劃的中國寫實畫派推出首個展覽時，將這位已故畫家推為「中國寫實畫派」之首。

陳逸飛，《山地風》，1994，油彩畫布， 188×255cm，中國嘉德2011年春季拍賣會，成交價人民幣 81,650,000（台幣約4億）。 120

Chen Yi fei was born in Ningbo, China in 1946. He graduated from Shanghai Academy of Fine Arts in 1965. After that he went to US for study and graduated from Hunter College in New York in 1984. Chen was praised and affirmed by the art world at the time. During the period, Chen Yi fei was eager to pursue and express his thoughts of art. Whether it was a quiet western music player or an elegant Jiang Nan water town, he achieved his unique aesthetic style and became the most deeply rooted part of all his art works. The prints of these works were later widely circulated in China, satisfying the strong desire of the Chinese at that time for aesthetics. Chen Yi fei's exquisiteness and aestheticism have made him famous in the West and in China, and his artistic achievements have been recognized by the public and his peers. When the Chinese realistic painting school, which was planned by Chen Yi fei before his death, launched the first exhibition. The past artist became the head of the “Chinese realistic painting”. His works had been exhibited at New York International Gallery, the New England Center for Modern Art, the Smith Art Museum, and the Brooklyn Museum. Since 1981, Chen’s works have held six solo exhibitions in the Hammer Gallery, and also held some solo exhibitions at the Cochrane Museum of Art in Washington (1985), Seibu in Japan(1989-1990), Marlborough Gallery in London (1997) and France (1998). In 1992, Chen Yi fei returned to China. In addition to continuing his work in oil painting, he also founded the Layefe clothing brand and other companies engaged in visual art. In 1993, Chen Yi fei completed an autobiographical art film ”Old dreams at sea - Chen Yi fei's personal dreams”. In 1996-1997, “Chen Yi fei Retrospective Exhibition" was exhibited at the Shanghai Museum and the China National Art Museum in Beijing. In 1999, Marlborough Gallery held a "Cross-Century" solo exhibition for Chen in New York. Chen Yifei's exhibitions cover all over the world, and his works are widely collected by collectors.

在三十多年的油畫創作生涯中，陳逸飛常常從歷史中尋找靈感，柔美與溫情的畫面，是一大特色。而據陳逸飛生前的一位密友回憶，功成名就、衣錦還鄉之後，這位偉大的藝術家也曾有過短暫的徬徨，正是由於從未停止過的對於美的追求，陳逸飛開始了「想怎麼畫就怎麼畫」的新時期，西藏成為其藝術生涯中集大成的題材。代理陳逸飛畫作之煌傑畫廊負責人高杰清，曾表示：陳逸飛畫中唯美的女性與風景，被一些人指責為庸俗或「沒有思想，他們甚至把他第一個時期革命題材的創作看作陳逸飛藝術的巔峰。但事實上唯美貫穿於陳逸飛的整個創作生涯，豪邁情懷與細膩筆觸完美結合的西藏題材足以讓所有人改變對於陳逸飛作品思想性的認識。」西藏被譽為離天堂最近的天地，地區幅員遼闊，其中青藏高原的平均海拔在4000米以上，是世界上面積最大、海拔最高的高原，故素有「世界屋脊」之稱。西藏是中國領土不可分割的一部分，是中國及南亞最古老的民族之一。自古以來，西藏特殊的地理位置阻絕了外來勢力的侵擾，也保留了獨特的地域文化。自新石器時代即在西藏高原活動的人類，逐漸發展成今日的藏族，而其綿延至今的文化中最引人矚目的，正是在他們的生活中無所不在的宗教色彩。陳逸飛曾多次到西藏與當地藏民生活在一起。在西藏，他領略了藏族母親的無私奉獻、藏族父親的人格魅力、藏族老人的堅忍不拔，遂創作一系列以西藏民俗為主題的油畫，突顯藏民的粗獷、原始、神秘。

Chen Yi fei plays an important role in the Chinese oil painting world. He is also the first Chinese artist to become famous in the American art scene after China's reform and opening up. Chen fully grasps the essence of European classical realism, blends the characteristics of Chinese art, and creates his own realistic style. Chen often finds inspiration from history in his thirty-year oil painting career. The soft and warm picture is a major feature. According to a close friend of Chen Yi fei’s life, after the success and returning to his hometown, this great artist had a short embarrassment. It was because of the pursuit of beauty that never stopped. Chen Yi fei began to“Paint whatever I want” In the new era of painting, Tibet became the subject of great achievements in its artistic career. The proxy of Chen Yi fei’s painting, principal of Huangjie Gallery Gao Jie Qing said: ” The beautiful women and scenery in Chen Yi fei's paintings have been accused by some people of being vulgar or not thinking. They even regard the creation of his first revolutionary theme as the peak of Chen Yi fei's art. But in fact Aesthetics runs through Chen Yi fei's entire creative career. The Tibetan theme of combining heroic feelings and delicate brushstrokes is enough for everyone to change their understanding of Chen Yi fei's works." Tibet is known as the closest heaven of the land. The region is vast. The Qinghai-Tibet Plateau has an average elevation of over 4,000 meters. It is the largest and highest altitude plateau in the world. It is known as the "roof of the world". Tibet is an inalienable part of Chinese territory and one of the oldest peoples in China and South Asia. Since ancient times, Tibet’s special geographical location has blocked the intrusion of foreign forces and preserved its unique regional culture. Since the Neolithic Age, the people who lived in the Tibetan Plateau have gradually developed into today's Tibetans, and the most striking of the cultures that have stretched to this day is the omnipresent religious color in their lives. Chen Yi fei has repeatedly visited Tibet to live with local Tibetans. In Tibet, he experienced the selfless dedication of Tibetan mothers, the charisma of Tibetan fathers, and the perseverance of Tibetan old people.

陳逸飛，《晨禱》，1996，油彩畫布，200×200cm，香港蘇富比2014年春季拍賣會，成交價港幣 27,000,000 （台幣約1.1億）。 121

Lot2098《西藏老人》以民俗角度演繹古老中國的浪漫故事以喚起西方對東方的無限想像，儘管因為高原的地形使生活機能不便，高山的氣候險峻且變化萬千，但因此形成不受外來干擾的地形，反而成就民族歷經風霜卻保有純真紅潤的面貌。西藏題材的作品在陳逸飛一生的創作中所佔比例不大，大多為家人或摯友珍藏，極為罕見。陳逸飛利用自美國留學期間學習的照相寫實主義描繪，融合並滲透出東方神韻於《西藏老人》之中，使碩大的畫面上，獨佔老人的臉龐，圓滿的技藝、老練的筆觸、新穎的構圖，這樣的特寫鏡頭方式，更讓我們能夠從中感受異地的神祕氣息，在畫面上瀰漫著寧靜和柔美，因而深具特色。而深邃的雙眼、經過歷練的皮膚、結實又瀟灑，氣魄渾厚而充滿力量，透露藏民的粗狂淳樸與神聖的高原文化，鑄就了這一作品的渾厚氣魄，展現出更為豪放與寬廣的意向和氣局。陳逸飛轉而將早期柔美的筆觸進一步深入畫題，毫不掩飾的以粗獷、濃密的暖色系變化在老人面龐上來回流動，其中施以藍色調和成紫色，為面光處輔以對比色相襯，使得《西藏老人》同笑容一樣閃閃發光。西藏可謂許多人心中的香格里拉、夢想的旅遊勝地，原始的高山美景及高海拔的壯闊景觀，都是西藏吸引人的原因。而藏族人民、文化更是一大特色，能夠克服高山險勢，與自然共存的藏民生活，看在陳逸飛眼中，就如同置身藝術之流的創作之山，這也是藝術家不管是對於中國文化的傳承、堅忍、不懈毅力，更是民族歷史的歲月痕跡，都令作品內涵充分擁有悠久且極具珍藏的保存價值。

Lot 2098 ”Tibet old man” Interpreting the romantic story of ancient China from the perspective of folklore to arouse the infinite imagination of the West to the East. Although the altitude of the plateau makes the life inconvenient, the climate of the mountain is steep and varied, but it forms a terrain that is free from external interference, but instead achieves the nation. After the weather, it has a pure and ruddy look. The works of Tibet have a small proportion Chen Yi fei's life. Most of them are collected by family members or friends. It is extremely rare. Chen Yi fei uses American photorealism to depict, and blending the oriental charm into the ”Tibet old man”. He made the huge paintings fill the face of the old man. This close-up way makes us feel the mysterious atmosphere of the different places, and thus has its own style. The deep eyes, the experienced skin, the sturdy and chic, the sturdy and full of power, revealing the rude and sacred plateau culture of the Tibetans, which has created the richness of this work, showing the bold and broad. Chen Yi fei turned to the early soft brushstrokes to further deepen the paintings, unobtrusively flowing back and forth on the face of the old man with rough, thick warm colors, with blue tones and purple, for the face to be contrasted with contrasting That makes the ”Tibet old man” smile like sunshine. Tibet is a Shangri-La, a dream resort in the hearts of many people. The original alpine scenery and the magnificent scenery at high altitudes are the reasons why Tibet attracts people. The Tibetan people and culture are a major feature. They can overcome the dangers of the mountains and the Tibetans living in harmony with nature. In the eyes of Chen Yi fei, it is like the mountain of creation in the art stream. This is also the artist’s interest in Chinese culture. Inheritance, perseverance, perseverance, and the traces of the history of the nation's history make the connotation of the work fully possessing a long-standing and highly preserved preservation value. 2098

陳逸飛（1946-2005）

CHEN Yi Fei

西藏老人

Tibet Old Man

油彩畫布簽名左下：Chen Yi Fei 陳逸飛 150.3×120.5cm (59.1×47.4 in.) 來源：購自美國馬伯樂畫廊亞洲私人收藏

Oil on canvas Signed lower left: named Chen Yi Fei in Chinese and English. Provenance: Purchased from Marlborough Gallery in USA Asian private collection

陳逸飛，《父與子》，1995，油彩畫布， 198.7×198.7cm，香港佳士得2014年秋季拍賣會，成交價港幣 18,040,000（台幣約7600萬）。 122

NT$ 12,000,000-15,000,000 HK$ 3,116,900-3,896,100 US$ 395,900-494,900

123

陳蔭羆

CHANN George

「西方人用眼睛來做畫，中國人用心靈來做畫。」－陳蔭羆

陳蔭羆是現代抽象繪畫知名藝術家之一，細密厚重且帶有強烈的中國古文字畫作，一直是亞洲抽象繪畫中非常重要的領航人物之一。以繪畫風格分期，陳蔭羆的風格依序為社會寫實、抽象表現、變體抽象等三個階段。陳蔭羆1913年出生於廣東，中學畢業後，便隨父親移民美國加州，但當時美國為防止大量移民，定下「排華法案」（Chinese Exclusion Act），迫使母親及兩位弟弟留居中國。1934 年，陳蔭羆進入洛杉磯郡立美術館（Los Angeles County Museum）附屬的奧蒂斯藝術學院（Otis Art Institute），接受正式的繪畫與素描訓練，完成學士與碩士學位，當時的華裔學生僅有一到二位，而陳蔭羆更擔任繪畫助教多年，直到1943年為止。家人分散，在陳蔭羆的心靈中一直存有芥蒂，早年創作根源便來自對社會的不滿情緒，落地生根的土地認同感也至此延伸，「作為一個中國人」成為陳蔭羆年輕時的創作依歸，社會寫實的創作，使畫面帶有清苦憂心神情的人物肖像畫，濃烈的表現出這種韻味。期間，陳蔭羆開始在洛杉磯藝壇嶄露頭角，受邀到當地和舊金山的美術館展覽。拍品Lot2100《紅衣少女》描繪妙齡的外國少女，深邃的臉龐下，身著紅色洋裝，與唇上的口紅相互映襯，標緻且優雅，凝視遠方的半身姿態，卻也因為陳蔭羆的描繪，更顯露出一絲穩重的憂愁，可謂藝術家早期人物畫的經典作品。第二次世界大戰結束後，陳蔭羆於1947年返回中國，主要居住於香港，相識水墨名家黃君璧及嶺南畫派趙少昂，後又前往廣東客座教學，期間周遊各地，1947年於上海結識陳景容女士，並於1949年四月結婚，十二月偕同懷有身孕的妻子移居美國。生活環境的改變，同時讓陳蔭羆轉向美國藝術「現代化」的發展，積極研究抽象表現主義繪畫及美學，1950年代正逢美國抽象表現主義的全盛時期，傑克遜．波洛克（Jackson Pollock，1912-1956）、威廉．德．庫寧（Willem

124

“Westerners use their eyes to paint, Chinese use their minds to paint.” George CHANN is one of the famous artists in modern Asian abstract painting. With Chinese words paintings, he has always been a very important leader in Asian abstract paintings. In the stage of painting style, George CHANN 's style has three stages: social realism, abstract expression, and variant abstraction. George CHANN was born in Guangdong in 1913. He left to California with his father when he graduate from junior high school,. But at the time, in order to prevent a large number of immigrants, the United States set a” Chinese Exclusion Act “ Forced his mother and two younger brothers to stay in China. In 1934, he entered the Otis Art Institute in L. A. to learn painting and sketch. After completing the bachelor's and master's degrees, there were only one or two Chinese students at that time, and George CHANN served as a teaching assistant for many years until 1943. Due to the separation of his family, there has always cause bad feelings in George’s heart. Chen's early creation came from dissatisfaction with society. Socially realistic creation making the picture with portrait of a person with sad and worried look. George CHANN become more and more famous, and also invited to San Francisco art gallery for his exhibition. Lot2100 " Girl with Red Blouse" depicts a young foreign girl with a squat face, dressed in a red dress, and a lipstick on her lips. It is elegant and gaze at the far-reaching half-length gesture, but also because of George CHANN’s depiction. It is even more revealing of a steady sorrow, which is a classic work of the artist's early figure painting. After the Second World War, Chen's returns to China and living in Hong Kong. Chen's met the famous artist Huang Junyi and Zhao Shao'ang. In 1947, Chen's met Ms. Chen Jingrong in Shanghai and married in April 1949. After that, they move to the United States . Because of the different

de Kooning，1904-1997）、馬克．托比（Mark Tobey， 1890-1976）等人，都成為陳蔭羆深刻尊敬且研究的對象，也是陳蔭羆創作型態轉變的重要分水嶺。波洛克以自動性技法方式繪畫，將筆、勺沾上油畫或是油漆，滴灑在畫布上，這樣的行動繪畫，彰顯出戲劇性的偶然效果，也解放了潛意識下的能量轉換，激情四射而且充滿了色彩的自由、張力和狂野，作品《1948年第5 號》在2006年以1.4億美元轉賣，成為當時世界出售價格最高的畫作，可見其藝術地位的重要性。而陳蔭羆在經過美國大環境的薰陶之下，自在的開始嘗試一系列的抽象實驗，所依憑參照的，便是自幼的中國家鄉印象，中國文字與書法字帖，甲骨、竹簡、鐘鼎、篆、隸、行、草、楷等各式字體，萃取饒富中國意蘊內涵的元素符號作為創作基底，結合材質實驗，體現其抽象繪畫的獨特性、豐富的視覺層次與肌理的張力美感，開始融入至畫面中。其中的斑駁粗砂般的質感，更能體現出陳蔭羆欲表現的歷史痕跡，宛如紀念碑的文明紀錄，透過繪畫再度令人肅然起敬，他的繪畫手法彷彿歷經浴火重生般蛻變，讓世人目光為之一驚，對母系文化竭力守望，又以完整的西方藝術養成其繪畫特質，造就後世為人熟知其典型的「陳氏風格」創作表現。 environment , George CHANN turn to the development of American art "modernization". The 1950s was the heyday of American abstract expressionism. Jackson Pollock, Willem de Kooning and Mark Tobey have become the respectful person to George CHANN. Pollock painted by automatism, he dip the pen or spoon with oil or paint and drip it on the canvas. Such action paintings show dramatic accidental effects. The work “No. 5, 1948” was resold for US$140 million in 2006. Being the most expensive painting in the world at that time. Under the influence of the American environment, George CHANN began to explore with a series of abstract experiments. The theme is from his memory of hometown. Various types of Chinese calligraphy, extract the elemental symbols that enrich the meaning of Chinese meaning as the basis of his creation. Some of the mottled texture can reflect the historical traces.

傑克遜．波洛克，《1948年第5號》，1948，油彩畫布， 243.8×121.9cm，私人收藏。

George CHANN’s painting technique seems to be changed like rebirth. Chen's makes great efforts to protect Chinese culture, and to develop the characteristics of painting with Western art, then become a typical "Chen's style" creation performance. 125

抽象表現時期的早先，陳蔭羆是將書法拓本與印刷品加工、拼貼於畫面上，形成破碎、片段的中國文字，再進行繪畫。之後，他逐漸加入色彩與肌理，層層的書寫與灑染，讓文字逐漸變得更加無法閱讀，畫面顯得既古典也現代。直到最後，書寫變得更加純粹、自由，甚至是以一種肌理狀態，綿密的組織在畫面上，然而，儘管文字符號已全然消失，卻似乎能夠從畫面中意識到文字的存在，如同潛意識般的印象，足以可見陳蔭羆對於文字書寫的透澈研究。不單是波洛克那般的自動狂野，綿密、斷續的抽象文字排列，充分的表達出屬於中國人的抽象畫。拍品Lot2099《文字變奏》畫作的運色如織錦般精緻華美，典雅與現代焠煉的意象相互交疊穿繞，斑駁斷續的文字筆觸，消失在交錯的線條和結構裡。而畫面中充分利用白色交疊於繽紛的色彩之間，隱隱若現的紅、黃、藍使畫面更加典雅，抽象的描繪使文字符號變得純粹且有機，進而讓觀者對中國文字有更深的體會和感觸。陳蔭羆雖經西方藝術的孕育為基底，但畫作上以中國文字脈絡的展現，強烈透露出自身對東方人的身分認同。陳蔭羆的作品凝練了古老的文字符號於其中，為畫面鋪陳更為深奧的內心觀感，也體現出他在抽象繪畫領域中的獨特性，具有中國悠久歷史的文化深度。 Pre-existing of abstract expressionism, Chen uses calligraphy and text processing, collage on the picture, become broken and fragmented Chinese characters. After that, he gradually added more color, writing and dyeing, let the words getting blurred. The picture looks both classical and modern. Until the end, writing became more pure and free. However, although the text symbol has completely disappeared, it seems to be able to recognize the existence of the text from the picture. It is not only the wild abstract text arrangement of Pollock, but also the abstract paintings belonging to the Chinese. The color of Lot 2099 ”Text Variation” is as delicate as brocade, also inclued elegant and modern. The mottled and intermittent text strokes disappear into the interlaced lines and structures. In the picture, white is used to overlap between colors, while light red, yellow, and blue make the picture more elegant. Chen's painting let viewers have a deeper feelings about Chinese characters. Although Chen is based on Western art, the paintings show the Chinese pattern. Chen's painting reflects his uniqueness in the field of abstract painting and has the cultural depth of China's long history.

126

2099

陳蔭羆（1913-1995）文字變奏油彩畫布簽名左下：GEO 手繪鈐印左下：羆（白文，草書） 137×70.5cm (53.9×27.7 in.) 來源：附藝術家家屬親簽保證書亞洲私人收藏

CHANN George Text Variation Oil on canvas Signed lower left: named GEO in English, with one seal of the artist. Provenance: Certificate of Authenticity signed by the artist's family member

NT$ 2,800,000-3,300,000 HK$ 727,300-857,100 US$ 92,400-108,900

127

2100

陳蔭羆（1913-1995）

CHANN George

紅衣少女

Girl with Red Blouse

油彩畫布 1940年代簽名右下：GEO.CHANN 50.5×40.5cm (19.8×15.9 in.) 來源：附藝術家家屬親簽保證書原收藏者購自藝術家本人美國私人收藏

Oil on canvas 1940s Signed lower right: named GEO.CHANN Provenance: Certificate of Authenticity signed by the artist's family member Current collection purchased from artist America private collection

NT$ 260,000-350,000 HK$ 67,500-90,900 US$ 8,600-11,500

128

2101

馮鍾睿（b. 1934）

FONG Chung Ray

1983-58

壓克力水墨畫布 1983 簽名右下：馮鍾睿八三年作簽名畫背：Painting by Chung-Ray Fong 1983-58 76.5×99cm (30.1×38.9 in.) 來源：洛杉磯M.M. Shinno畫廊原收藏者1984年購自上述畫廊亞洲私人收藏展覽：洛杉磯MM Shinno畫廊「馮鍾睿個展」，1984年

Acrylic and ink on canvas 1983 Signed lower right: named Fong Chung Ray in Chinese, dated 1983. Signed on the reverse: named, titled. Provenance: Los Angeles M.M. Shinno Gallery Original collector purchased from the above gallery in 1984 Asian private collection Exhibition: Los Angeles M.M. Shinno Gallery "Fong Chung Ray: Solo Exhibition" , 1984

NT$ 480,000-550,000 HK$ 124,700-142,900 US$ 15,800-18,100 129

魏樂唐

John WAY

魏樂唐1921年生於上海，1931年開始師從李仲乾，學習書法，1937年起即於上海畫廊展出， 1951年起連續5次入選香港美術協會年展，一舉在香港畫界成名，加入香港美術協會。1956年移居美國，並專心投入抽象繪畫，為當代華人藝術家中最早鑽研抽象繪畫者之一。其表現的技法上融合了西方的抽象藝術與中國書法、水墨畫。在繪畫風格方面則先後經歷了印象派、抽象主義及抽象表現主義。魏樂唐的藝術是一種意象藝術，介於「抽象」和「意象」的中庸，是對內心世界及外在環境兩種傾向的平衡。因為中國文字的抽象性從來沒有脫離意象的趣味。魏樂唐以書法入畫，自然隨性造就出抽象的外貌及意象的內在精神，每件作品皆如萬馬奔騰、石破天驚的筆觸及技法，營造出整體畫面的氛圍。 1998年的Lot2102《抽象》作品在色彩的運用上呈現出過人的天份，他運用單純的色彩卻表現出令人無法捉摸的感受，畫面以大面積奔騰的飛白為底，藍、紅、黑揮灑於上，蒼勁的線條張力十足，讓觀者陷入神秘的色彩之中，魏樂唐融合了西方的抽象與拼貼手法，以及中國筆法深具速度與重量感的表現形式，筆意雄健而豪放，構圖上則在秩序中保留有機的變化，並藉由筆刷與拼貼技法營造豐富的肌理。潑墨一般的筆觸繪畫，給人強烈的視覺震撼。魏樂唐自小的中國書法、繪畫積累在西畫中自然流露，融會貫通之後就此成為獨特的抽象藝術。他以冷靜理智的思考進行構思佈局，在觀賞他的作品的同時，我們的心也隨之遨遊，俯仰天地間的壯闊。

John WAY was born in Shanghai in 1921. He began to study calligraphy with LI Jhong Cian in 1931. He has been exhibited in Shanghai Gallery since 1937. He has been selected into the Hong Kong Art Association for five consecutive times since 1951. He became famous in the Hong Kong art world and joined the Hong Kong Fine Arts Association. In 1956, he moved to the United States and devoted himself to abstract painting. He was one of the earliest Chinese abstract artists in contemporary Chinese artists. Its performance techniques combine Western abstract art with Chinese calligraphy and ink painting. In terms of painting style, he has experienced impressionism, abstraction and abstract expressionism. John WAY’s art is an imagery art. The middle of "abstract" and "imagery" is a balance between the inner world and the external environment. Because the abstraction of Chinese characters has never divorced from the interest of images. John WAY uses calligraphy to enter the painting, and the natural nature creates an abstract appearance and the inner spirit of the image. Each piece of work is like a galloping, stone-breaking brush stroke and technique to create an overall picture atmosphere. In 1998, Lot 2102's " Abstract NO.11" works showed extraordinary talent in the use of color. He used simple colors to express an unpredictable feeling. The picture was based on a large area of half-dry brush white. Blue, red, black is swaying on the top, and the vigorous lines are full of tension, which makes the viewer fall into the mysterious color. John WAY combines the Western abstraction and collage techniques, and the Chinese brush stoke has a speed and weight expression, and the pen is bold and unconstrained. On the composition, there are organic changes in the order, and the rich texture created by brush and collage techniques. The brushstroke painting of the ink splashing gives a strong visual shock. In his childhood, Chinese calligraphy and paintings have naturally emerged in Western paintings, and after this integration, they have become unique abstract art. He conceived with calm and rational thinking. While watching his works, our hearts also traveled, and the world was magnificent.

130

2102

魏樂唐（1921-2012）

John WAY

抽象 NO.11

Abstract NO.11

油彩畫布 1998 簽名右下：John Way 98 畫背：NOVEMBER NO. 11 40 × 50 1998 101.5×127cm (39.9×50 in.)

Oil on canvas 1998 Signed lower right: named John Way, dated 1998. Signed on the reverse: titled, dated.

NT$ 420,000-500,000 HK$ 109,100-129,900 US$ 13,900-16,500 131

丁雄泉

Walasse TING

丁雄泉1929年出生於江蘇無錫，成長於上海，畢業於上海美術專科學校。1946年移居香港，1952年前往法國，風格受亨利．馬蒂斯（Henri Matisse，1869-1954）影響，以簡化的線條及平面構圖作進行探索，採取平塗和快速描寫，隱含著濃厚的東方精神的情感。1958年丁雄泉移居紐約，受到抽象表現主義與普普藝術的影響，他開始把顏料滴濺在畫布上，逐漸融出繽紛色感的雛型。七○年代以絢爛的色彩配以女性為題材的風格逐漸形成，作品融合東西方繪畫表現的精神，以中國書法搭配亮麗色彩的鮮明對比，成就丁式風格。八○年代達至高峰，線條勾勒輪廓線，注入更多東方美學色彩。1990年代，探索中國山水畫，完成了一系列桂林山水的創作，期間在日本遊歷後，創作了不少藝伎相關作品。晚年作品充滿花卉、鸚鵡、馬、貓等題材，貼近人心。2001年定居於荷蘭，2002年中風後便無法創作，2010年於美國紐約病逝，享年81歲。「我知道自己要的是什麼，凡是看得見的東西，喜歡就將它存活心裡。」丁雄泉將中國書畫技巧融入畫作中，流暢的筆觸勾勒出線條，加上毫不猶豫的大面積色塊描繪身形，隱含東方柔性情懷，卻富有直爽的爆發力，強烈並衝擊著觀者的視覺印象。丁雄泉以華麗的色彩及灑脫的表達方式見稱，自號「採花大盜」、「風流先生」，樹立了獨立於主流畫風之外的特殊風格。Lot2103《美女蟋蟀》以擅長的長幅尺寸描繪三位佳人，在花束的簇擁下僅能窺見女士的臉龐，淡墨渲染的雙眼帶有一層迷茫的柔媚，下方以大膽的渲染隱約透露阿諛的身姿，蟋蟀錯落於之間，彷彿為美人的香氣引誘，不自覺的緊挨著。丁雄泉寫意的技法高超，僅以線條描繪輪廓，墨色渲染，便表達出女人的柔、情、媚，率性呈現女性之美，以及藝術家孤高且風流、自由放蕩的性格，實屬佳作。

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Walasse TING was born in Wuxi, Jiangsu, China in 1929, raised in Shanghai and graduated from Shanghai Academy of Fine Arts. In 1946, he moved to Hong Kong. When Walasse TING traveled to France in 1952, he was influenced by Henri Matisse (1869-1954). Walasse TING explore with simplified lines and plane composition, and taking plain and patterned style and sketch. Most of his works are abstract, and implies a strong oriental spirit of emotions. When Walasse TING moved to New York in 1958, he influenced by abstract expressionism and popular art, then he began to develop his unique colorful style by splashing the pigment on the canvas. In the 1970s, Walasse TING’s mainly painting style was gorgeous color and women, and combined with Eastern and Western cultures. Calligraphy combines with bright colors become to TING’s style. In the 1980s, TING’s works reach to the high, he use the line trace outline, and inject more oriental aesthetics of color. Since 1990, TING began to explore the Chinese landscape painting, and painted the series of Guilin landscape. After traveling in Japan, he painted lots of theme about geisha. Walasse TING’s works full of flowers, parrots, horses, cats, etc. After suffering a Stroke in 2002, Ting spent the remainder of his life in Netherlands until his death in 2010. “I know what I want, as long as you can see it, you can keep it in mind.” Walasse TING integrate Chinese calligraphy into painting, he painted by smooth strokes and lots of color block. His works implies oriental feelings, and also have strong visual impression. TING expresses in gorgeous colors, and had "Butterfly Gangster" and "Mr. Romantic" to be his pseudonym . In Lot2103” Ladies and Crickets”, we could see the face of the lady hide in the crowd of bouquets, light ink makes the eyes soft and confusing, bottom with a bold rendering reveals a good figure. Walasse TING had a good talent in painting, he can only draw outlines and rendered to expresses softness, affection and charm, and the beauty of the woman.

2103

丁雄泉（1929-2010）美女蟋蟀水墨紙本立軸鈐印左上：採花大盜（朱文） 178.5×95.5cm (70.2×37.5 in.) 來源： 2016年5月29日，香港佳士得，《中國當代水墨》，Lot827「美女蟋蟀」羅桂祥博士舊藏中國書畫亞洲私人收藏

Walasse TING Ladies and Crickets Ink on paper Signed upper left: with one seal of the artist. Provenance: 2016 May 29, CHRISTIE'S Hong Kong, Chinese Contemporary Ink, Lot827 'Ladies and Crickets' Formerly the property of the Dr. K. S. Lo Collection, Hong Kong Asian private collection

NT$ 1,000,000-1,200,000 HK$ 259,700-311,700 US$ 33,000-39,600

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黃志超

Dennis HWANG

黃志超以最繽紛的色彩、最單純的筆觸，在

常大的視覺與心靈衝擊。黃志超在初抵紐約後，

狂筆與艷色的帶動下，將傳統寫意進一步解放，

以地下鐵通氣蓋、房屋窗戶為題材進行系列創

打破山水、花卉、翎毛、走獸、仕女等的形象元

作，即是透過對日常都會環境中單調、瑣碎的一

素，不按常理地組合運用，描繪出個人強烈的藝

面進行描繪，顯示他對於流行藝術的風潮，不願

術特質。

盲從的態度。1975年起，黃志超陸續創作以刻

「我的心老是像匹野馬，無法忍受因循拘束，常想要掙脫韁繩狂奔。」自幼便愛好藝術的黃志超，年輕時即與許多藝術名師學習，諸如席德進、吳學讓等人，累積豐富的傳統國畫與西方繪畫經驗。直至1965年與李仲生學習現代繪畫，拋棄以往的繪畫觀與技法，重新開始，反覆琢磨。如此的創作思考模式，深遠的影響黃志超未來的繪畫方式，鑽研、反省、突破，促使藝術家延續了一生的創作事業。然生性獨立的黃志超，並未加入畫會組織，跟隨當時潮流風格創作，反而別出心裁，應用工藝蠟染技法另起爐灶，建構出自己的藝術風格。

劃男女愛情為主的系列創作，甜美親近的相處互動，都一併映入眼簾。在這些題材轉化中，黃志超逐漸回歸中國傳統筆墨雅趣，線描性的筆觸成為畫面獨有的趣味。長時間被紐約市的高樓大廈圍繞，為求轉換心情，黃志超從室內與封閉的都會畫作，改為親近大自然、花鳥、鄉間、動物，廣泛的增加題材與空間的深度。「馬的系列」創作於此時期， Lot2104《馬》即創作於此時期的1990年，紅、藍、黃、綠、白，高彩度的顏色點綴著畫面，迷濛且五光十色，看似受紐約鬧街的繽紛招牌所渲染，而不再注重輪廓使得馬的形體若隱若現，交錯且寫意的呈現於畫面之中。

1971年黃志超應邀前往美國訪問展出，而後定居紐約，文化、居住環境的差異，令他產生非 Dennis HWANG use the most colorful colors and simplest brush strokes Dennis HWANG emancipated the traditional freehand brushwork with the help of pens and beautiful colors, breaking the image elements of landscapes, flowers, manes, beasts, ladies, etc., and not using them in a common sense, depicting a strong artistic trait. "My heart is always like a wild horse. I can't stand the restraint. I often want to break free from the reins." Dennis HWANG who loves art since childhood, studied with many famous artists in his youth, such as Xi Dejin and WU Xue Rang and accumulated rich experience in traditional Chinese painting and Western painting. Until 1965, he studied modern painting with LI Chun Shan, abandoned the previous painting concept and technique, and started again and repeatedly. Such a creative thinking mode has profoundly influenced Dennis HWANG’s future painting methods, research, reflection, and breakthrough, and urged the artist to continue his lifetime creative career. However, Dennis HWANG who was independent, did not join the organization of the paintings. Instead of following the trend style creation, he used his craftsmanship and dyeing techniques to set up his own artistic style. In 1971, Dennis HWANG was invited to visit the United States for exhibition, and then settled in New York. The difference in culture and living 134

environment caused him to have a great visual and spiritual impact. After arriving in New York in the first place, Dennis HWANG created a series of works with the underground ventilation cover and the windows of the house. It is a portrayal of the monotonous and trivial side of the everyday urban environment, showing his trend towards pop art and his unwillingness to follow blindly. Since 1975, Dennis HWANG has created a series of creations that focus on the love between men and women. The sweet and close interactions are all in sight. In the transformation of these themes, Dennis HWANG gradually returned to the traditional Chinese ink and brush, and the brushstrokes of the lines became the unique taste of the pictures. Long time surrounded by high-rise buildings in New York City, in order to change his mood, Dennis HWANG changed his paintings from indoors and closed cities to close to nature, flowers and birds, the countryside, and animals, and extensively increased the depth of the theme and space. "Horse series" was created during this period. Lot2104 "Horse" was created in 1990. Red, blue, yellow, green and white, high-color colors are dotted with pictures, misty and colorful, seemingly occupied by New York City. The colorful signboards are rendered, and instead of focusing on the outlines, the horse's body is vividly visible, interlaced and freehand in the picture.

2104

黃志超（b. 1941）

Dennis HWANG

馬

Horse

壓克力畫布 1990 簽名右上：志超 90 Hwang 71×56cm (27.7×21.9 in.) 來源：附藝術家親簽之畫廊保證書

Acrylic on canvas 1990 Signed upper right: named Zhi Chao in Chinese, Hwang in English, dated 1990. Provenance: Attached gallery certificate signed by artist

NT$ 180,000-300,000 HK$ 46,800-77,900 US$ 5,900-9,900 135

朱銘

JU Ming

朱銘於1968年，30歲時入恩師楊英風門下，便開

名聲扶搖直上，造就了其在國際藝術市場的重要地位。

始學習太極拳，以鍛鍊雕刻所需的體力，同時從太極領

大師的作品能如此受歡迎，反映他的作品滿足了一定的

悟精義與哲理，逐漸發展出揚名國際的太極系列作品。

文化需求，更表達出在文化界醞釀已久的現象。相較於

太極的概念源自《易經》的陰陽之說，同時也是中國傳

藝壇的學術與菁英文化路線，作品流露的濃濃草根性，

統文化最重要的宇宙觀和方法論之一，陰陽二氣、二元

更能合於大眾。

對立而又渾然一體，二者相生相長，以繁衍無限，派生萬物。而太極拳更是中國傳統與文化的精華，其拳法瀟灑飄逸，講究中定、放鬆、心靜、慢練，體現出中華文化的柔軟與剛毅之美。學習太極拳的契機之下，以及對中國文化精神理解透澈，朱銘於其中體會到自然間大氣運作的力道以及運行的法則，並將領悟得之道理轉化為創作的精神，從而嘗試另闢更廣闊的藝術領域，創作更寫意、大幅度、重傳神的雕刻系列作品。在太極系列中可見朱銘從寫實風格走出自己的道路，以極簡的形體表現擺脫寫實的刻畫，直接、純粹的以雕塑寫意。創作旨在探求速度與力量，以及人與自然的結合，在收放自如的起落數刀之間，構成倉勁有力的切面，傳達太極拳法的「陰陽」、「造形」、「連貫的氣」、「整體一元」之文化精隨。朱銘的太極系列受到國內外的極高肯定，使得朱銘藝術

In 1968, under the instruction of YANG Yu Yu, JU Ming has considered Taichi as a way to provide energy while craving sculpture, at the same time Taichi makes him understand the meaning and philosophy. The concept of Taichi was originates from “Yi-Jing”, Taichi can be found in its concept of Ying and Yang, of a dualism that is at the same time a unity. This unity is one in which the two separated elements generate and complement each other, and the essence of Chinese traditional culture. The gesture of Taichi is boundless and spiritual, emphasizing on stable, relax, peace, slow, showing the beauty of Chinese culture’s strength and softness. As the learning of Taichi plus the comprehension of Chinese culture, JU has put them into his artworks, trying a more freehand and wilder way in art field. In Taichi Series, we can see JU’s own character by using

「氣韻生動的作品，每一塊肌理的流動，都依循著作品內在活力與動感的需要，而呈現出整體造型上最合理、自然的律動，這就是『以裡達表』傳導出生命力的訊息。成功的作品絕不是任意加一塊或減一塊所能造就，它有一個接近本能、獨立單一的生命條件，這才是自然天成。」朱銘的創作媒材，早期使用整塊的天然木料，然而受木雕材料大小等限制，隨著太極系列的持續發展，銅雕成為藝術家創作時最嫻熟愛用的媒材。如果說他在創作木雕時是順勢而為，讓木材的自然紋理成為作品的一部分；那麼他在創作銅雕時，則是讓銅雕在完成之後，隨著歲月滋養而產生自然的銅綠，讓現代藝術點染出上古青銅器的質感，使作品在離開藝術家的雙手後，獲得獨立演化的生命。與木雕相較，銅雕材質更為堅固耐久，適宜陳列於室內戶外。由於不受材料的天然限制，

the simple shape to get rid of the realistic craving, which is pure and straight forward. The purpose is to discover the speed and strength, also the combination between human and nature. As one of the most famous international artists in Taiwan, JU Ming has devoting himself in Taiwan’s art field and was highly impressed by foreign countries, establishing JU’s position in international art market. The local atmosphere and culture foundation was different from any other, which has make JU’s artworks this unique. “As is the case with all the prized pieces of art, the movement of every grain, every texture, is defined by the innate spirit and energy of the work to faithfully and naturally demonstrate the kinetic energy of the form. This is the focus of ‘actualising the exterior with the soul’ to vocalise the pulse of life. A successful piece of art is never accomplished through the haphazard assemblage of loose bits: it is alive with its own defining character, instinctual, and one-of-a-kind. This is the spirit of natural.” In the early days, JU Ming used a whole piece of natural wood. However, it is limited by the size of the wood carving material. With the continuous development of the Taichi series, bronze sculpture has become the favorite media for artists to create. If you said that he was taking advantage of the wood carving, let the natural texture of the wood become part of the work. Then when he was creating bronze sculptures, is to make the bronze sculpture produce patina after completion. JU Ming let modern art combine the texture of ancient bronzes, and make the works an independent evolutionary life after leaving the artist. Compared with wood carving, the bronze sculpture material is more durable, and more suitable for outdoor.

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2105

朱銘（b. 1938）太極系列－太極乾坤（左）

太極系列－上下相隨（右）

銅雕（13/20）1995 簽名下方：朱銘 13/20 '95 37×43.5×48cm (14.5×17.1×18.8 in.) 來源：附財團法人朱銘文教基金會－朱銘美術館作品鑑定報告書附畫廊保證書

銅雕（5/20）1995 簽名下方：朱銘 5/20 '95 37×36×42.5cm (14.5×14.1×16.7 in.) 來源：附財團法人朱銘文教基金會－朱銘美術館作品鑑定報告書附畫廊保證書

JU Ming Taichi Series-Taichi Qian kun (Left)

Taichi Series-Upper and Lower Mutually Follow (Right)

Bronze (13/20) 1995

Bronze (5/20) 1995

Signed lower: named Ju Ming in Chinese, editioned (13/20), dated

Signed lower: named Ju Ming in Chinese, editioned (5/20), dated

1995.

Provenance:

Certificate of Authenticity by JU MING CULTURE & EDUCATION

FOUNDATION

With certificate of gallery

NT$ 2,800,000-3,500,000 HK$ 727,300-909,100 US$ 92,400-115,500

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太極武者的手足顯得靈活有力、自由舒展肢體語言，能量間的流動更為遒勁暢快。「獨有中國傳統風格則過於保守，僅存西方風格則有失傳承，但太極包含著一種國際化語言，可被理解與欣賞。」朱銘通過太極人物將中國傳統藝術與西方抽象主義結合，秉承「藝術即修行」的原則，表達天人合一，精神、物質、心靈三者的契合。朱銘將中國精神中隨物而生、順應氣勢的特質應用到藝術造形表現上，呈現自然流暢、兼具動感的雕刻風格。 Lot2105《太極系列－太極乾坤（左）、上下相隨（右）》為兩件一組的對打姿態，以具體量感的渾厚造形探討堅硬與柔軟、實與虛以及動勢緩轉間所蘊生的力量，充分體現朱銘對於平衡的完美掌握。左側武者重心由上向下，雙手拱起，以粗壯的單腿立於地；左側武者作勢收回衝力，穩住陣腳，氣沉下盤，以不變應萬變。此組太極系列捕捉招式的一靜一動，彼此之間形成的磁場互動就如太極相抗相融，令觀者感受到撲面而來的綿勁力度，造型簡潔，結構充滿律動感，代表了朱銘現代雕塑語言的真正成熟和確立。

太極系列－上下相隨，藝術家落款處位於新北市金山的朱銘美術館在1999年成立，本為存放朱銘大型雕塑作品，後因作品漸多，便決議成立美術館，前後興建、規劃長達12年，是為台灣最大的戶外美術館，除了大型雕塑，館藏展覽室也有豐富作品，更致力於藝術文化推廣之發展。 Lot2106《太極系列－單鞭下勢、十字手、推手（三件一組）》由朱銘授權，朱銘美術館所發行之全球限量品，在保存與發揚藝術的同時，朱銘美術館保有對朱銘作品最完整且詳盡的研究與分析，終能使Lot2106《太極系列－單鞭下勢、十字手、推手（三件一組）》接近原型呈現。英國美術史學家蘇利文（Michael Sullivan，b. 1961）曾說：「太極是一種兩人對拆過招的武藝。太極致勝之道，常是以退為進，以靜制動。太極對打如同兩個對拆的個體，精力在他們之間流轉，像一股強大的電源，相生相剋。陰陽之道不再蘊於單一的個體，而呈現於兩個對手間的相互關係裡…對手間的推力與張力成了力道的來源，像是一股磁力把他們連接在一起。朱銘的作品濃烈地表達了深藏的力量。」即可看出朱銘作品，不單止於中國傳統藝術，在太極的相對應下，正反、相剋、相吸的觀點，確實是世界通用且持續討論的生命哲理。

138

“Only Chinese traditional style is too conservative, only western culture is lack of inheriting, but Taichi includes an international language, which is comprehensible.” Taichi is a combination between Chinese traditional style and Abstraction Art. Adhering to the principle of "art is practice", it expresses the unity of heaven and man, spirit, and mind. JU Ming adapt to the characteristics of the momentum to the artistic shape, showing a natural and smooth, and dynamic sculpture style.Lot 2105 “Taichi Series Taiji Qiankun (left), up and down (right)” is a two-piece pair of gestures, with a specific sense of thickness and shape to explore the hard and soft, real and virtual and dynamic slow transition The power of life fully reflects JU Ming 's perfect grasp of balance. The focus of the left side of the warrior is from top to bottom, and both hands are arched, standing on the ground with a strong single leg; the left side of the warrior regains the momentum, stabilizes the position, and the air sinks down the plate. This Taichi series capture the movement, and the interaction between the magnetic fields formed by each other is like the integration of Taichi, which makes the viewer feel the strength. The shape is simple and the structure is full of rhythm, representing Ju Ming, whose true maturity and establishment of modern sculptural language.

太極系列－太極乾坤，藝術家落款處 The Ju Ming Museum in Jinshan, New Taipei City was established in 1999. It was originally designed to store Ju Ming's large-scale sculptures. After the work was gradually increased, the museum was established. It was built and planned for 12 years. It is the largest outdoor art museum in Taiwan. Except for large ones, sculptures, collections and exhibition rooms also have rich works, and are more committed to the development of art and culture. Lot 2106 “Taichi Series-Single Whip, Underarm Strike, Push Hands (Set of 3)”close to the original ones. British art historian Michael Sullivan (b. 1961) once said: "Taichi is a martial art of two people who have dismantled the trick. The way to win Taichi is often to retreat to static braking. Taichi is like two Individuals who are dismantling, energy flows between them, like a powerful power source, and each other. The yin and yang are no longer in a single individual, but in the interrelationship between two opponents... Tension has become a source of strength, like a magnetic force connecting them together. Ju Ming’s works strongly express the power of deep possession.” It can be seen that Ju Ming’s works are not only related to Chinese traditional art, but also corresponded in Taichi. The view of positive and negative and attracting is indeed the philosophy of life that is universal and continuously discussed.

2106

朱銘（b. 1938）

JU Ming

太極系列－單鞭下勢、十字手、推手（三件一組）

Taichi Series-Single Whip、Underarm Strike、Push

不飽和聚酯樹脂碳酸鈣油性色母單鞭下勢：（169/300） 2015 十字手：（52/300） 2018 推手：（179/300） 2018 28.5×14.4×18.2cm、25×12.2×24.5cm、25.3×16×26cm (11.2×5.6×7.1 in.、9.8×4.8×9.6 in.、9.9×6.2×10.2 in.)

Hands (Set of 3)

來源：附朱銘美術館開立之限量複製品證明書附原包裝盒

Unsaturated polyester resin, calcium carbonate, oil color paste Single Whip: (169/300) 2015 Underarm Strike: (52/300) 2018 Push Hands: (179/300) 2018 Provenance: Attached The Certificate of Limited Reproduction issued by Juming Museum With original box

NT$ 300,000-500,000 HK$ 77,900-129,900 US$ 9,900-16,500

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要論當今最火紅的當代年輕藝術家，我們就不能不提到KAWS，即使你沒有進入藝術領域，你也可能會從玩具公仔、UNIQLO、音樂專輯封面、Pharrell x CommedesGarçons 香水瓶中知道KAWS，今年先後於台北中正紀念堂、日本富士山腳下的巨型同伴吹氣公仔，更是讓亞洲大眾掀起一股追星潮。以街頭藝術起家的KAWS，近年在拍賣界炙手可熱，作品動輒逾百萬成交。藝術和商業，在過去似乎是兩個不可相互觸及的領域，但自從以安迪．沃荷（Andy Warhol， 1928-1987）為代表的普普藝術開始流行後，這兩者之間的禁忌逐漸消除，關係日益緊密。如今，優秀的藝術家有很多，出色的商人也數不勝數，但像KAWS這般能把兩者完美兼顧的人並不多。 1974年出生於美國新澤西的KAWS，本名布萊恩．唐納利（Brian Donnelly），畢業於紐約知名藝術學院。起初，他只是把路邊的知名品牌CK和DKNY海報，塗上自己的招牌XX 圖案，沒想到這些惡作劇不但沒被指責，反而大受歡迎、被廣為流傳，竟開啟了一系列的創作歷程。1999年，KAWS與日本街頭品牌Bounty Hunter合作，設計並生產了第一款限量玩偶同伴（COMPANION），此後便一發不可收拾。不僅玩偶的尺寸越做越大，價格也水漲船高。無論是掩面羞澀的同伴、酷似米其林的CHUM、還是毛茸茸的BFF，都成了潮流玩具界最炙手可熱的單品。很多人也在次級市場以高昂的價格轉售KAWS的作品來牟取暴利。世代的差異，造就不同的審美與收藏品味。 KAWS的作品，有時參雜一些令人不安的共鳴，這同樣表現出當代青年的惡趣味。他的作品表現就像一個青春期前的男孩，生活在充滿驚奇的異世界裡，同伴（ C O M PA N I O N ）就如同是 K A W S 的化身。最初的同伴（COMPANION）跟現今有所差異，手腳細長配上圓滾滾的肚子，穿著一條兩顆鈕扣的短褲，以及手戴手套，如同迪士尼的米老鼠，KAWS擅長將經典的卡通動畫融入自己的作品中，諸如辛普森家族、小木偶皮諾丘、芝麻街、米其林寶寶，都是他曾經致敬過的經典之作，而米老鼠則是 KAWS最鍾情的對象，最後終於演變成今日眾所皆知的同伴（COMPANION）。繼安迪沃荷之後，他滲透了消費主義文化和大眾商品的領域。但他更進一步，通過我們熟悉的卡通人物，融化的面孔和解剖的身體的圖像來審視當代社會的心理，模糊了當代藝術和商業零售之間的界限。對於藝術市場KAWS只表達了自己對於當代年輕人的建議，「我認為大家不要追隨和模仿任何人。多看看你周圍，想想對你重要的事情，並完成真情實感的工作。」可以預見，未來KAWS在藝術與商業之間的合作還將不斷發酵，並帶給我們更出乎意料的驚喜。

many excellent artists and outstanding businessmen, but there are not many people balance the two perfectly like KAWS. KAWS was born in New Jersey, USA in 1974. The real name is Brian Donnelly .He graduated from the prestigious Art Institute of New York. At first, he just painted his signature XX pattern on the famous brand CK and DKNY posters. He didn’t expect these hoaxes not to be blamed, but rather popular. Then KAWS started a series of creation. In 1999, KAWS collaborates with Japanese brand “Bounty Hunter”, and then he designed the first limited-edition doll. He became more and more popular, and his works not only the size of the doll is getting bigger, but the price is getting higher. Whether it is a shameful companion, a CHUM like Michelin, or a furry BFF, it has become the hottest item in the trend of the toy industry. Many people also resell KAWS's work at a high price in the secondary market to make huge profits. The differences between generations create different aesthetics and collectible tastes. KAWS’s works sometimes mixed with some disturbing resonance. His works just like a prepuberty boy living in a surprising world. The companions symbolize KAWS himself. The original COMPANION is different from todays, slender hands and feet with rounded belly, wear a pair of buttoned shorts, and a gloved hand. As Disney's Mickey Mouse, KAWS is good at incorporating classic cartoon animation into his work. Among them, the Simpsons, the Pinocchio, Sesame Street, and the Michelin Baby are all classics that he once paid tribute to, while Mickey Mouse is the most loved object of KAWS, and finally evolved into what is well known today, COMPANION. After Andy Warhol, he infiltrated the field of consumerist culture and popular goods. However he goes further, with the image of our familiar cartoon characters melting face and the anatomical body to examine the psychology of contemporary society. For art, KAWS expresses its own advice for young people. "I don't think everyone should follow and imitate anyone. Look around you, think about things that are important to you, and do the work of real feelings." In the future, KAWS's cooperation between art and business will continue and it will definitely bring us more surprises.

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KAWS （布萊恩．唐納利）（b. 1974）同伴（灰）

Nowadays the most popular contemporary young artist must belong to KAWS. Even if you are not in the field of art, you may also know KAWS from toys, UNIQLO, music album covers, Pharrell x Commedes Garçons perfume bottles. This year, the giant companion blower doll becomes more and more prevalent at the Chiang Kai-shek Memorial Hall in Taipei and the foot of Mt. Fuji in Japan. KAWS, who started with street art, has been very popular in recent years, and its works have been sold for over one million. In the past art and business seem to be two areas. However, after Pop Art has become popular, the relationship between art and business is getting closer. Nowadays there are

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強化玻璃纖維塑料雕塑 2007 限量100件註冊商標： © KAWS,, 07（右腳底部） MEDICOM TOY 2007 MADE IN CHINA（左腳底部） 57×34×125cm (22.4×13.3×49.2 in.) 來源：亞洲私人收藏家附作品登錄卡、原包裝盒

KAWS (Brian Donnelly) Companion (Gray) Painted cast vinyl 2007 Edition of 100 Trademark: © KAWS,, 07 ( R ) MEDICOM TOY 2007 MADE IN CHINA ( L ) Provenance: Asian private collection With guaratee card and original box

NT$ 2,200,000-2,800,000 HK$ 571,400-727,300 US$ 72,600-92,400

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／當代領航中國的傳承與蛻變

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周春芽

ZHOU Chun Ya

「繪畫對於我來說不是心態，而是一個信念，他與我們的生命、時間、歷史的感覺連接到一起，當我在畫畫時我才覺得我的理想具有了真正的價值和意義，所以我就要全力以赴、全神貫注的去實現它。一個人的生命是有限的，而增強生命的方式之一就是在有限的生命力延長藝術的生命。」－周春芽周春芽作為中國當代藝術界最備受關注與認同的藝術家之一，儘管經歷各式美術變革，卻從來不會盲目追隨，於藝術洪流下獨自摸索。周春芽依照心靈最深處想念，不斷的挖掘創作慾望，先後發展出《山石》、《太湖石》、《綠狗》、《桃花》、《園林》等系列作品，綿延且持續的脈絡文本，是藝術家生活的最佳寫照，也是中國文化流變的傳承。周春芽全心全力藉由創作，實現集生命、時間、歷史為一體的精彩作品，而這些強烈的展現，令周春芽成為中國當代藝術的重要代表。

／創新流變藉情於畫中的文化脈絡／ 1955年，周春芽出生於中國重慶，從幼時起的興趣培養與父親的支持，就算是文革期間也未能澆熄藝術家的創作熱情，令周春芽於1977年考入四川美術學院，接受高等教育與嚴格的繪畫訓練。期間周春芽大量的練習素描、水彩等速寫，乃至四川藏族地區寫生，都成為藝術家未來創作的基石，也是周春芽不管在構圖、技法、造型上，藉由投入繪畫的深沉狀態，開始充分顯現出個人性情的萌芽時期。接著，周春芽於1986年前往德國留學，遊歷歐洲的經驗、當地的藝術、文化落差，令他深刻返回思考身為中國人的根本，而因距離而產生的鄉愁思緒，也逐漸開始考慮「地方」與「鄉土」的文化本質。在這些思想上的刺激下，周春芽的創作融入的是更深一層對生命經驗的轉換，與中國文人畫的交集與結合。《山石》、《太湖石》系列，便藉由亞洲人思維方式的隱晦表達中，側寫山石肌理，實觀歷史痕跡，同時以油彩的流動、筆觸的轉折代替水墨的乾、濕、濃、淡。 1994年周春芽的朋友送給他一隻德國牧羊犬，黑根，到2005年在成都龍泉山遊玩時，注意到遍山盛開的桃花，這些生活事物促使周春芽創作出《綠狗》、《桃花》系列。周春芽對於生命的停留與離去，自然的萬物美景，以一種最接近心靈真實的方式呈現，不斷加入的創新元素和獨特筆觸、強烈色彩，都加強了他的表現主義風格，溫和又暴力的翻轉觀者對於既定形象的應有姿態。 142

／Contemporary Piloting, The Inheritance and Transformation Of China／ "Painting is not a mentality for me, but a belief. It is connected with our feelings of life, time and history. When I was painting, I felt that my ideals have real value and meaning, so I will go all out and concentrate on achieving it. One's life is limited, and one of the ways to enhance life is to extend the life of art in a limited vitality." - ZHOU Chun Ya ZHOU Chun Ya experienced the art changes such as "Scarred Art", "Native Painting", "Eighth Five New Wave Art Movement" and "After Eighth Nine" in the early days, but he felt that it was difficult to integrate. After selfexploration, he went out of his own creative vocabulary and developed it. "Stone", "Taihu Stone", "Green Dog", "Peach Blossom" and other series of works, lots of book of the long lines, make ZHOU Chun Ya continue to create unique and amazing art works.

／Innovative Change With The Cultural Context Of Painting／ In 1955, ZHOU Chun Ya was born in Chongqing, China. Since he was a child, his father encouraged him to insist on painting. ZHOU was admitted to Sichuan Fine Arts Institute to get a higher education and strict painting training in 1977. A large number of manuscripts show his ability and enthusiasm for painting. During the times, ZHOU practiced a lot of sketches, watercolors, etc. He went to Sichuan Tibetan area to sketch, become the cornerstone of the artist's creation. Also, ZHOU began to fully express the germination of personal temperament in composition, technique and modeling by investing in the deep state of painting. In 1986, ZHOU Chun Ya went to Germany to study and traveled to Europe, which enabled him to re-recognize the positive significance and value of nationalism in cultural development. He returned to his heart and successive series of creations were born. This is because of the distance he has the homesickness. Let him gradually ponders the cultural essence of "Local" and "Native". The natural customs turned to the human landscape, and the stones, flowers and trees and rock gardens became the main elements of painting. Under the stimulation of these ideas, ZHOU 's creation incorporates the transformation of life experience and the intersection and combination of Chinese literati painting. The series of "Stone" and "Taihu Stone" , is concealed expression by Asian way of thinking. ZHOU sketching the texture of the rock and the trace of the history, he replace the dry, wet, thick, and light ink with the flow of oil paint and the turning of the brush stroke. In 1994, ZHOU Chun Ya’s friend gave him a German

周春芽在2013年喜獲麟兒，走過人生五十餘年，新的轉變再度向藝術家襲來，於上海遊覽的豫園景致，讓他聯想到古人遺留的歲月痕跡，能否以當代之情忠實闡述，遂借鑑明清四王、四僧，加以經典舊垣的蘇州、揚州等園林時空，將這些文人之氣，隱晦的描繪於山石、花草、閣樓之間，經過選取的片段景色與脫離真實的色彩、筆觸，成為獨具自身經驗，並有所表達的自然畫面。

／韜光晦跡古今對談

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中國的園林藝術是傳統文化中物質與精神的雙重體現，自2011年時，周春芽就曾前往上海豫園參觀，當時的景色衝擊，一直令藝術家銘記在心。接著每年下揚州創作時，周春芽總會選在花開爛漫時懷著幸福之心來到園林，感受幽深曲折、溫暖冷冽、花開花落。上海豫園為江南五大園林之首，原是明代四川右布政使潘允端為侍奉至親而建的私人園林。園內建築精細巧思，亭台樓閣爭奇鬥艷，石林佈景隨處可見卻又不盡相同。周春芽曾表示：「在畫園林系列的作品時，整個人的心態確實是要更平靜些。它更多的考慮到的是從物本人出發，草、樹枝、花的筆觸、深淺及結構想的更多。」富含歷史文化的樓亭風景，在現今看來似乎超脫時空現實，使周春芽於此臨摹作畫時更加思索的是其背後的關聯性，進而突顯出繪畫語彙與文人山水相契相合之詩意質感。 2015年，周春芽於澳門藝術博物館舉辦大型個展「始終是開始－周春芽作品 2015」，拍品Lot2108《奇石》包含其中，周春芽在個展中提及：「隨著年齡的增長，家庭的溫暖，兒子的誕生，作品更加的厚重，這次的展覽不一定有進步，但是我希望有一些變化。我很感恩這個年月，在我人生中很重要的時期在澳門辦這次個展。」，「始終是開始」，周春芽在展名即開宗明義表示，對於藝術家最真切面對每一次的創作，一定都是全力以赴的全新作品，包含由內而外的感性與真誠，可謂周春芽始終如一的對待方式。澳門藝術博物館館長陳浩星則於展覽序言寫道：「二零一五年周春芽的新作，可見依舊笑春風的桃花，秀絕天下揚州園林的精靈，石濤濟山僧的夢囈……，是周春芽與古代文化的一次對話，是對《園冶》的深度解讀，是對《揚州畫舫錄》的禮讚，是藝術湼盤，更是眾人戀戀不捨的唯美國度。」Lot2108《奇石》藉由凝視歷史足跡，經久不衰的山石景致，是歲月的遺產，也

shepherd dog, called “Heigen”. In 2005, when ZHOU was in Mont. Longquan , he saw peach blossoms that bloomed all over the mountain. These life things prompted ZHOU Chun Ya to create the "Green Dog" and "Peach Blossom" series. For ZHOU, stay and departure from life, the beauty of nature, presented in a way that is closest to the soul. ZHOU keeps trying innovative elements, unique brushstrokes and strong colors. These strengthened his expressionism style. A gentle and violent reversal of the viewer's attitude towards the established image. In 2013, ZHOU Chun Ya finally had a son when he was 58 years old. It’s new chapter of the his creation life. ZHOU Chun Ya visited the Shanghai Yu Garden and was inspired by it. Chinese garden art is a dual embodiment of material and spiritual in traditional culture. From this time on, he went to Yangzhou for creation every year. When the place was full of flowers, he came to the garden with happiness and felt the deep twists and turns, warm and cold. These self-experience make him create natural art works.

／Hidden Talent Not Exposed, Ancient and Modern Talks ／ Shanghai Yuyuan is the first of the five gardens in Jiangnan. It was originally a private garden built by Pan Yunduan, the right political ambassador of Sichuan in the Ming Dynasty. The periphery of Yuyuan Garden has been a comprehensive commercial area since the Qing Dynasty, and there are lakeside pavilions and Jiuqu Bridge. The architecture of the park is meticulous and ingenious. The stone forest scenery is everywhere but different. ZHOU Chun Ya once said: "When painting the works of the garden series, the whole person's mentality is indeed to be calm. It is more concerned with the brush, the depth and the structure of the grass, branches and flowers. " The landscape of the pavilion rich in history and culture seems to be detached from the reality of time and space. Now ZHOU Chun Ya thinks more about the relevance behind it when painting the artworks and then highlights the vocabulary of painting, the literati, and the poetic texture of the match. In 2015, ZHOU Chun Ya’s big solo exhibition was held in Macau Art Museum” Always the beginning - ZHOU Chun Ya works 2015”. Lot 2108 “Eccentric Stones” was included in this exhibition. "With the increase of age, the warmth of the family, the birth of the son, the work is even heavier. This exhibition does not necessarily have progress, but I hope there are some changes. I am very grateful to this year, a very important period in my life. This solo exhibition was held in Macau.” “Always the beginning”, ZHOU express that for the artist to face each and every creation, it must be a brandnew work that goes all out. The inner and outer sensibility and sincerity can be described as ZHOU Chun Ya’s consistent treatment. The curator of the

上海豫園園內景致 143

是文人詩意的抒發，古城與當代語彙因此相互交織，變得既寫實又夢幻。

／熠熠生輝內外相合

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「我為什麼會畫這個石頭，在什麼地方畫了這幅風景？這些都源於我親自經歷的一些事情和生命的感受，是我自己的生活，看到它們我就會回想起當時的感覺，回想起過去的一段歷史。」－周春芽石頭在路邊時常可見，但是具有文人詩意的奇石卻難以相遇，周春芽的「石頭」發生過不同時期的轉換，從最早開始的《山石》系列就持續著，為了能夠充分表現自己的精神以及繪畫技巧，周春芽選擇以石頭刻畫，他開始不厭其煩的研究各種山石、奇石，嘗試以自己的理解去詮釋它。Lot2108《奇石》看來是園林景致一角，奇石錯落於牆邊，相互交疊，嫩草從石縫之間恣意攀附依靠，樹木自兩側蜿蜒垂下，牆面朦朧間透著前景的光影，石與草樹依著畫面邊緣向內延伸，整體的視覺是由上而下的俯視，空間宛若自成一格，隱隱於市。周春芽在畫面中降低了對於陰影的描繪，轉而藉由筆觸、色彩強調奇石肌理。許多藝術家始終執著於在藝術上強調「現實」的直接投射，挑戰傳統、顛覆秩序也一直被極端的表達著，周春芽確實身為當代藝術家的其中一員，卻也從未拋開歷史傳統、中國文化間的足跡。《奇石》的描繪保留了對象的原本輪廓，相對減少真實模樣的細節處理，加以個人情感、技術之上的用色筆觸，使觀者能夠同時感受私密的囈語，

周春芽，《綠狗》，2005，油彩畫布，120×150cm，景薰樓2013年春季拍賣會，成交價台幣 11,210,000。

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Macao Museum of Art, Chen Hao Xing, wrote in the preface of the exhibition: “The new work of ZHOU Chun Ya in 2015 shows that the peach blossoms are shining. The elf of the garden, the nightmare of Shitao Jishan... is a dialogue between ZHOU Chun Ya and ancient culture. It is an in-depth interpretation of "Yuan Ye", a tribute to "The Book of Yangzhou Galleries", it’s a heavenly nation for everyone.” Lot 2108 “Eccentric Stones” by gazing at the historical footprints and the enduring landscape of the mountains. It is also the poetry of the literati. The ancient city and the contemporary vocabulary are intertwined and become both realistic and dreamy.

／Brilliant, Internal and External ／ ZHOU said "Why did I paint this stone, and where did I paint this landscape? These are all from the things I have experienced personally and the feelings of life. It is my own life. When I see them, I will recall the feelings of the time. Recalled a history of the past." Stones are often visible on the side of the road, but the stone with literati poetry is hard to meet. ZHOU Chun Ya’s stone" has undergone a transition in different periods. The series of "Stones" has been going on since the beginning. In order to fully express his spirit and painting skills, ZHOU Chun Ya chose to paint with stones. He began to study various rocks and stones. Try to interpret it with his own understanding. Lot 2108 “Eccentric Stones” captures the garden scenery, the scattered stones overlap each other, the tender grass in the stone seams squats, the trees linger, and hang down slightly, the wall has a foreground of light, stone and grass trees extend inward along the edge of the picture. The overall vision is overlooking and the space is like a self-contained. ZHOU reduced depiction of shadows in the picture, he emphasize the texture of the stone by brush strokes and colors. Many artists have always been obsessed with emphasizing the direct projection of "reality" in art, challenge the tradition and subvert the order has always been expressed extremely. ZHOU Chun Ya is one of the contemporary artists, but he never put aside the historical traditions and Chinese cultures. “Eccentric Stones” preserving the original outline of the object, and reduce the details of the real look, also paint with the strokes of personal emotions. Let viewers could feel the elegance of the literati. And its brushstrokes are also the most vivid, perfectly showing the bump between the cracks. The dark turbidity in the dark is in sharp contrast to the dry pen stacking in the bright place. ZHOU Chun Ya mixes a large amount of coloring oil into the paint, which makes the oil flow naturally. It seems to be a quick and messy brush stroke, which overlaps and supports each other. It seems to be sloppy but calm, as if you can feel the moist air under the shadow. In contrast, the surface of the sun-illuminated stone is more dry and rough.

以及文人的雅緻。太湖奇石的描繪尤其在畫面中佔據極為重要的中心位置，而其筆觸也最為生動，大膽、粗獷卻又綿密的將石縫之間的凹凸變化完美表露。暗處的深濁與亮處的乾筆堆疊形成強烈對比，周春芽在油彩裡加入大量的調色油，讓油自然流淌，在深色處尤其明顯。看似快速凌亂的筆觸，相互交疊支撐，看似散漫，卻又沉穩，彷彿能夠感受出陰影下的濕潤之氣，反觀陽光照射的石頭表面就更顯乾燥粗糙了。

ZHOU Chun Ya has a set of personal practices in color processing. The “Green dog” is green, the “Peach Blossom” is pink, and the “Garden” is mainly purple. "My first daughter was named brown, because the brown painting was being made at the time, and now the son is taking purple, and the reason is the same. The son is called Ziyan. It is taken from a source of hermit in ancient poetry. " ZHOU Ziyan", this is also in line with our environment in the blue top. I painted a lot of stones, purple stones. The son is the birth of a new life, which is also the birth of a new life for me. This is the life of a new experience. You will find out that although you are older, you will be born from his first day and start observing the daily changes. Until now, one year and one month. Every day, change will touch me. I think an artist's lifestyle determines his attitude towards culture." ZHOU has a deeper feeling, purple is the color of his son, purple is a color composite of red and blue, but it is neither as bright as red nor as cold as blue. It is warm but not exposed, and it is mysterious in the noble. In Chinese traditional culture, purple is a noble color even represent saints. Depicting the history of the Yu Garden, There is a lot of purple in the picture of “Eccentric Stones”. And made us to think what Laozi said. “Purple brings the good luck, the saints must to pass through this place within 90 days.”

周春芽，《紅色山石》，1999，油彩畫布，150×120cm，景薰樓2007年春季拍賣會，成交價台幣 10,940,000。

奧斯卡-克勞德．莫內，《吉尼維莫內花園的小徑》，油彩畫布，1902， 92×89cm，奧地利美景宮美術館藏

周春芽，《桃花》，2006，油彩畫布， 150×120cm，景薰樓2008年春季拍賣會，成交價台幣 7,580,000。

周春芽，《山水系列》，2001，油彩畫

周春芽，《紅色山石系列-人體》，

布，115×90.5cm，景薰樓2006年秋季

1992，油彩畫布，99×79cm，景薰

拍賣會，成交價台幣 3,304,000。

樓2009年秋季拍賣會，成交價台幣 3,894,000。 145

／開創新局綿延不朽

／Open Innovation, Stretching Immortality

／

周春芽在顏色處理上，有一套屬於個人且自由奔放的做法，《綠狗》是綠色，《桃花》是粉紅色，而《園林》是以紫色為主：「我第一個女兒取名褐褐，因為當時正在畫褐色的作品，現在兒子取的是紫色，原因亦然。兒子叫紫岩，栗憲庭取的名字。取自古詩中隱士的某個出處。『周紫岩』，這也符合我們在藍頂生活的環境。我當時畫了很多石頭，紫色的石頭。兒子是一個新生命的誕生，這對我來說也是一次新生命的誕生。這是人生的一個新的體會。你會一下發現，雖然自己年齡比較大了，但你會從他第一天生下來開始觀察每天的變化，到現在，一歲零一個月。每一天變化，都會觸動我的心。我覺得一個藝術家的生活方式決定了他對文化的態度。」，紫色是代表兒子的顏色，紫色是由紅色與藍色合成的顏色，但它既不像紅色那麼鮮亮，也不像藍色那麼冰冷。它熱烈但不外露，高貴中透著神秘。在中國傳統文化中，紫色更是尊貴的顏色，時常為代表聖人、帝王之氣。描繪豫園的歷史歲月，與個人心境的轉變，《奇石》畫面當中自然出現大量的紫色，令人聯想老子將至時，關令尹喜登高遠望，見東邊天上霧氣繚繞，緩緩向西飄來，所言：「此乃紫氣而生、有運而來，九十日之內聖人要經過此地。」周春芽的紫色之氣滿溢而出，蓄勢待發，待與貴人相遇，吉祥獻瑞。周春芽的描繪技法，就如同中國文人畫的寫意心境，筆墨收、放之間的精準掌握，再加以西方表現主義的思維，使其有別於一般的水墨畫，更不是我們所認識的西方油畫。封閉的景觀描繪，乃至樹木、山石的形態，與其說是周春芽鍾情於前朝夢影，不如說是他在描繪自身相處現實的流光碎影。因為周春芽所乘載的園林景致，已成為時代變遷後的種種標誌，他所描繪的對象如同虛幻的歷史，卻也是自然歲月的一片微光與幽靜。周春芽以山、石為本體，用色大膽，對比強烈，畫中的構圖、著色均蘊含著作者強烈的個性，在傳統與創新之間另闢新路，別樹一幟。

／

ZHOU Chun Ya’s depiction technique is like the freehand mood of Chinese literati painting, the precise mastery between pen and ink, and the Western expressionist thinking, which makes it different from ordinary ink painting, not the Western oil painting we know. The closed landscape depicting, and even the shape of trees and rocks, is not so much that ZHOU Chun Ya loves the dreams of the former, but rather that he is portraying the reality of his own reality. Because the garden scenery carried by ZHOU Chun Ya has become a symbol of the changes of the times, the object he depicts is like an illusory history, but it is also a shimmer and quietness of the natural years. ZHOU Chun Ya uses mountains and stones as the main body, bold colors and strong contrasts. The composition and coloring in the paintings all contain the strong personality of the authors, and create a new path between tradition and innovation. ZHOU Chun Ya’s artistic creation has a broad and solid social foundation. It is derived from the use of enriched elements of life and expresses a picture of tension and emotion. It is an indescribable and unspeakable feeling. ZHOU Chun Ya never confuses his dreams. His creation is a picture of life. The prototype of "Green Dog" comes from the black dog of the dog. Although he has already told others, he has left his master's thoughts on life. "Peach Blossom" is newly married; it is a peach flower with people, couples. The scenes of love are all depicting the beauty of nature, man and nature, and the original desires. "Garden" is the condensed and extreme of Chinese exquisite culture. These scenes have been given a vivid personality and bright colors by ZHOU Chun Ya. The visual impact, but it makes people feel the heart, and you can swim in the sway of color and light. For a long time, you can't bear to divert your eyes and fall into long thoughts.

周春芽的藝術創作具備廣大、堅實的社會基礎，源自於利用充實的生活元素，表現極富張力、情感的畫面，令人只可意會，不可言傳的心向感受。周春芽從來不會故弄玄虛，他的創作就是人生畫卷，《綠狗》原型來自愛犬黑根，儘管已告別人間，卻留下主人對生命的懷想；《桃花》正逢新婚，是桃花跟人、情侶相愛的場景，都是描繪自然的美、人和自然、原始的慾望；《園林》則是中國精緻文化的濃縮與極致，古今中外，內外包含。這些景物，都被周春芽賦予了鮮活的個性、明豔的顏色，強烈的視覺衝擊，卻反而讓人心沉澱，優游於色彩光影的擺盪之中，久久不忍轉移目光，陷澳門藝術博物館：《始終是開始： Lot2108《奇石》創作速寫草圖入漫長的思索。周春芽作品 2015》（澳門，2006 來源：澳門藝術博物館：《始終是開始：周春年）。 146

芽作品 2015》（澳門，2006年），頁117。

2108

周春芽（b. 1955）奇石油彩畫布 2015 簽名右下：2015 周春芽 Zhou Chun Ya 200×250cm (78.7×98.4 in.) 展覽：澳門藝術博物館「始終是開始：周春芽作品 2015」，2015年10月17日 2016年1月3日。出版：澳門藝術博物館：《始終是開始：周春芽作品 2015》（澳門，2006年），頁75。

ZHOU Chun Ya Eccentric Stones Oil on canvas 2015 Signed lower right: dated 2015, named Zhou Chun Ya in Chinese and English. Exhibition: Museu de Arte de Macau "ZHOU CHUNYA: NOVAS OBRAS 2015" , 2015 October 17 - 2016 January 3 Literature: Museu de Arte de Macau: ZHOU C H U N YA : N O VA S O B R A S 2 0 1 5 (Macao, China, 2015) , P. 75

NT$ 28,000,000-35,000,000 HK$ 7,272,700-9,090,900 US$ 923,800-1,154,700

147

陳德旺

CHEN Te Wang

陳德旺1910年出生於台北市永樂町（今迪化街），父親經商致富，早年從事黃金買賣，直至光復後禁止黃金買賣，轉而經營中藥材，因此年幼時期的陳德旺生活富裕。從小就喜愛畫圖的陳德旺，受家族親戚勸導，前往中國北京藝專參觀，而後更赴日學畫，開啟遊學日本長達十二年的生活。當時日本官辦的帝展以及東京美術學校課程，保守的畫風與陳舊的主張，無法吸引陳德旺，便轉身投入本鄉繪畫研究所、川端畫學校、二科會研究所等畫塾學習。受當時日本的西化環境影響，陳德旺潛心學習西洋古典繪畫，更開啟對抽象派、立體派、野獸派、印象派的深刻鑽研，「一個傳統流入另一個傳統，變成另一個新形態。」在這樣的體悟下，陳德旺終將這份學習心力，延伸至往後的繪畫之中。

148

Chen Te Wang was born in Yongleding, Taipei City (Dihua Street, Nowadays) in 1910. His father got rich in business and engaged in gold trading in his early years. After Restoration, the gold trading was banned, he turned to engaged in Chinese herbal medicine. Therefore, Chen Te Wang was rich in his youth. Chen Te Wang, who loved drawing since he was a child. He persuaded by his family relatives to visit the Beijing Art School in China, and then went to Japan to learn drawing, which began a study tour in japan for 12 years. At that time, the Japanese government’s official exhibition and Tokyo Art School curriculum, the conservative styles and old ideas, could not attract him. Chen Te Wang turned to study in Hongo Painting Institute, Kawabata Art Academy, NIKA ASSOCIATION and some of Art Studio. Influenced by the Westernization environment of Japan at that time, Chen Te Wang was absorbed in learning Western classical paintings, and further opened up profound research on abstract, cubism, Fauvism, and Impressionism. "One tradition flows into another tradition and becomes another new form." Under this realization, Chen Te Wang finally extended this learning effort to the paintings in the future.

至1941年，二戰爆發期間，陳德旺回台定居，躲避戰亂。未料父親、大哥先後離世，不擅經營與交際的陳德旺，家產逐漸耗盡。1952年受好友張萬傳引薦，任職開南高工職校（夜間部）的美術教師，後又兼任於私立延平中學（夜間部），因張萬傳轉調大同中學任訓導主任，陳德旺再度經由介紹，1956年前往任教，直至1973年退休。陳德旺一心探討美術研究，本主張獨身主義，最後經楊三郎遊說介紹，1954年與楊三郎夫人表親林玉霞結為連理。 1975年，陳德旺在三重市的住宅兼畫室發生火災，許多的重要文件、資料遭受祝融，舊址拆除翻新，暫於對街賃屋居住，直到1978年遷入新居，拍品Lot2109《有樹的風景》正逢當時。新居落成，既平穩且安定的居所與後半餘生自此展開。陳德旺以不沾名利的純粹之心研究繪畫，此時步入中年階段，不管是研究方向與繪畫風格，已逐漸明朗。「用一色，畫一筆，這一色一筆，到底能把什麼樣的內容，做到何種程度？何等深度？」陳德旺的繪畫風格，在每一點筆觸下，都包含對畫面的構思與光線、顏色的對應關係，層疊之間逐漸開闊的草原，似乎能感受到日照與微風下的柔和氛圍，並倚靠於樹影下歇息。

Until 1941, during the outbreak of World War II, Chen Te Wang back to Taiwan to settle down to avoid the war. Unexpectedly, his father and the elder brother passed away. Chen Te Wang, who was not good at business and communication, gradually exhausted his family property. In 1952, he was recommended by his friend Chang WanChuan to serve as an art teacher at KaiNan Vocational High School (Night Department). Later, he served as an adjunct teacher at Yanping High School (Night Department). Because Chang Wan-Chuan transferred to Taipei Municipal Datong Senior High School served as the director of student affairs, Chen Te Wang was introduced once again, 1956 he went to teach until retirement in 1973.CHEN Te Wang focused on art research, and advocated celibacy. Finally, he was introduced by Yang San Lang’s. In 1954, Chen Te Wang married with cousin of Yang San Lang’s wife, Lin Yu Xia. In 1975, fire broke out in Chen Te Wang’s painting studios and house at San Chong District. Many important documents and materials were damaged by conflagration. The house was demolished and refurbished. He lived in the opposite street until 1978, and moved back to the new house. Lot 2109 “Landscape with a Tree” It was at that time. After the new house is completed, the stable residence and the rest of life started. Chen Te Wang research art with a pure heart. At this time, he entered the stage of middle-aged. Whether the research direction and the style of painting have become clear. “Use one color, draw a stoke, the color and the stoke, what kind of content can I draw? Which level should I deep in?” Chen Te Wang’s painting style, at every stroke contains his conception, light and color. The gradually widening grassland between the layers seems to feel the soft atmosphere under the sunshine and the breeze, and rest relies on the tree shadow.

1960年代，陳德旺與學生於自宅畫室。來源：行政院文化建設委員會：《純粹‧精深‧陳德旺》（台北，2011年），頁99。 149

「莫內晚年的畫，是寫實主義的破產，所重視的是光線、空氣在物體中出入關係，已看不出具體形象，已經是一種抽象畫了。」莫內以線條表現光線與空氣的流動，利用線條表現色彩層疊繽紛的變化。陳德旺同樣十分注重畫面的光線與空氣，Lot2109《有樹的風景》中，能夠看到藝術家巧妙利用顏色、筆觸製造空間的通透性。空氣在樹葉、枝幹、草叢間進出穿梭，點點的筆觸分解成微細的淺藍、淺黃色光，跳躍於畫面之中。色調的細膩變化，幾乎要屏息凝視，才能分辨，而落筆厚實有力的樹容，使原本虛無飄渺的大氣，變得飽滿且富有實感。「越平面，越接近畫；越立體，越接近自然。要求平面性的表現，而表現的對象，依舊是立體的，因此說：表現三次元（客觀自然）時，不可打破二次元（畫布平面）」，陳德旺在描繪自然風景時，除了真實，更同樣注重繪畫的表現形式，以藝術家的眼光保留最完美的時刻，讓畫作成為特立獨行的陳氏風格。「對自然的情感是第一重要的事，接著是怎樣把這個情感，在畫面上具體化起來。」陳德旺花了一輩子的時間，深入研究、探討繪畫，自始至終堅持保留自然的外貌和對自然的情感，細膩且寧靜的特質，使得畫面充滿生命力。細碎的筆觸，使樹葉與天空、樹葉與枝幹、枝幹與草地交界處的變化，綿密而微妙。陳德旺把大自然陽光柔和灑下的淡麗、大氣的氤氳狀態，樹葉披拂搖曳，相互招呼的姿態，細膩的描繪出來，使《有樹的風景》一圖姿態安然，令人百看不厭。

奧斯卡-克勞德．莫內，《垂柳》，1918-19，油彩畫布， 99.7×120cm，美國金貝爾藝術博物館藏。 150

"Monet's paintings in his later years are the bankruptcy of realism. The emphasis is on the relationship between light and air. It has not seen a specific image. It is already an abstract painting." Monet expresses light , the air flowing with lines. Using the lines to expresses the colorful changes in color. Chen Te Wang also pays great attention to the light and air of his artwork. In Lot 2109 “The Landscape with Trees”, you can see the artist’s ingenious using color and stroke to create the transparency of the space. The air enters and exits between the trees and the grass, and the little brush strokes break down into tiny light blue and pale yellow light, which jumping on the painting. The delicate changes of the color, almost need to gaze with holding breathe in order to distinguish. The thick and powerful tree let the atmosphere full of real. "The more flat, the closer to the painting; the more stereoscopic, the closer to nature. Required the flatness but to the object, the expression is still stereoscopic. Therefore it said: when the three-dimensional (objective nature) is expressed, the two-dimensional cannot be broken (the canvas plane).” When Chen Te Wang depicting the natural scenery, he pays attention to the expression and reality of painting, and retains the most perfect moment with the artist’s vision. Let the painting to be CHEN Style. “Emotional feelings of nature are the first important thing, and then how to embody this emotion in the paintings.” Chen Te Wang spent a lifetime of research, in-depth study and discussion the painting. He insisted on retaining the natural appearance and the emotion to the nature, delicate and serene qualities make the painting full of vitality. The fine brushstrokes make the leaves, sky, branches, grassland changed, dense and subtle. Chen Te Wang softly sprinkles the natural sunshine, the leaves are swaying and greeting each other. There gestures were delicately depicted.

2109

陳德旺（1910-1984）

CHEN Te Wang

有樹的風景

Landscape with a Tree

油彩畫布 1978 41×53cm (16.1×20.8 in.)

Oil on canvas 1978 Literature:

出版：行政院文化建設委員會：《純粹．精深．陳德旺》（台北，2011 年），頁70。藝術家出版社：《台灣美術全集15－陳德旺》（台北，1995 年），圖版66，頁118。

Council for Cultural Affairs, Executive Yuan: Purely. Deep. Chen Te Wang (Taipei, Taiwan, 2011) , P. 70 Artist Publishing: Taiwan Fine Arts Series 15 - Chen Te Wang (Taipei, Taiwan, 1995) , No. 66, P. 118

NT$ 2,600,000-3,000,000 HK$ 675,300-779,200 US$ 85,800-99,000

151

楊三郎

YANG San Lang

1934年於台北鐵道飯店舉行，台陽美術協會正式成立。前排坐者左起楊年少時期的楊三郎。

三郎、立石鐵臣、陳清汾、井守薰、鹽月桃甫，後排立者左起陳澄波、顏水龍、李梅樹。

楊三郎為早期台灣美術史上的重要領航人，

石川欽一郎（1871-1945）、鹽月桃甫（1886-

一生經歷了無數次的美術變革，豐富的人生與留

1954）、鄉原古統（1887-1965）、木下靜涯

學、出國經驗，以及勤奮的創作慾望，都在作品

（1889-1988）等建言，創立官辦「台灣美術展

之中真誠的表露無遺。楊三郎是一位認真、嚴

覽會」，即「台展」，楊三郎受父親鼓勵投件參

謹，性情豪邁的藝術大前輩，他以寫實為基礎，

加，榮獲入選，作品更由官方購藏。這樣的殊榮

描繪自然、文化，成就綿延不絕且質量豐沛的藝

令當時尚在求學習畫的年輕學子而言，無疑是一

術生涯。

份莫大的鼓勵與支持。而就台灣美術運動發展而

1907年楊三郎出生於台北艋舺，父親是當時著名的詩人，同時也是名聲遠播的園藝家，每年的花季總會吸引各地名流、社會人士參觀造

言，楊三郎同時不遺餘力，台展的創辦，也使這些台灣藝術前輩齊聚一堂，成為當時最活絡的藝術盛事。

訪，而日據時期，父親也持有菸酒專賣執照，經

1932年楊三郎赴法深造，以求精進，期間入

營配銷營運。優渥的經濟條件，以及好客的家族

選法國秋季沙龍，並遊歷各地寫生創作，一年後

環境，無疑造就楊三郎未來的藝術發展與開朗性

回來台灣時，帶回多達二百件的作品。憑藉著赴

情。然而一開始，溫儒典雅的父親並未支持兒子

法習藝的成果，1934年初在教育會館舉辦留歐作

的繪畫興趣，促使楊三郎私下籌備儲蓄，1922 年，楊三郎從基隆港搭上當時唯一航行於台灣與

品展，作品總數達八十六件，觀眾絡繹不絕，其後再赴台中舉辦個展，「作不完的畫作」、「開

日本之間的商船，赴日習畫。這樣的積極與勇

不盡的畫展」，足見當時盛況空前。

敢，就是在現今也不常見，足可見楊三郎對於藝術的熱愛，在此刻已然成形。而家人也因此感受出他的決心，兄長以電報簡短回覆：「看到你的信，請放心。到日本後，必須通知你的住所！」讓楊三郎無後顧之憂，更對於親情可貴有所體悟。楊三郎隨後前往京都，1923年就讀於京都美術工藝學校，後轉至關西美術學校洋畫專科，直至1929年畢業返台。求學期間，除了豐富的學業課程外，楊三郎也積極觀摩美術展覽，而令他醉心的莫過於異地風景，京都的典雅建築、自然花草，清靜幽美的氛圍，讓楊三郎著迷於對大自然的懷抱，無不讓他奮力的畫下一張又一張的風景創作，成為日後繪畫最常見的種類。1927年，台灣經旅日畫家 152

1934年楊三郎於台中公會堂舉辦畫展之盛況。來源：藝術家出版社：《台灣美術全集7－楊三郎》（台北，1992年），頁35。

晚年於戶外寫生的楊三郎。來源：印象畫廊：《典藏台灣國寶印象經典VIII楊三郎V.S.李石樵當感性遇見理性》（台北，2003年），頁196。

楊三郎為人慷慨與廣泛的交友能力，促使他在藝術圈裡擁有重要的地位，而對於藝術的熱心推廣，則先於太平町創辦「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」，台陽的創辦，為台灣美術再添新活力，而前輩們不遺餘力的提攜與指導，促使年輕新進，彌足珍貴。其後，楊三郎籌辦「全省美展」全力參與並展出，奠定其畫壇地位，並獲國家文藝獎的殊榮。1985年台陽展與春陽會於史博館合辦「中日美術展」，1986年獲國家文藝特別貢獻獎，1989年台北市立美術館舉辦回顧展。1991年楊三郎美術館正式開幕，1992年獲頒行政院文化獎卓越藝術家獎章。楊三郎一生孜孜不倦地為藝術發揚、奉獻，走過的歷程與足跡，為後世帶來極為重要的影響。

楊三郎，《東尋坊》，油彩畫布，53×65cm，香港佳士得

楊三郎，《日出》，油彩畫布，72.5×91cm，景薰樓

2011年春季拍賣會，成交價港幣 860,000（台幣約 360萬）。

2006年春季拍賣會，成交價台幣 6,564,000。 153

位於台中台灣大道一段，介於自由路與繼光街路段的台中太陽餅博物館，典雅的標準日據時期紅磚造型，白柱相間的建築，曾為魏清海太陽餅老店租用，是台中當地醒目且著名的地標。其實這棟建築物迄今已有百餘年歷史，最早可追溯至1909年，是由當時台中三大富商之一，東大墩人氏盧安所建，原名「全安堂」，經營銀錢借貸，開創「全安堂藥局」代理日本各大藥廠名藥，也在此經營製藥、建築、雜貨等等行業。盧安更是當時裕仁皇太子視察台灣的台籍奉迎委員之一，可想當時在地方的聲望。 1934年，剛從法國回來的楊三郎，正值創作、展覽、活動的最高峰，在台北舉辦完留歐作品展後，旋即接力於台中的公會堂辦展，11月更是成立台陽美術協會。

1936年的全安堂。

「中市的天空有如南歐天空般的那麼晴朗如洗。」楊三郎帶著愉快的心情來到台中，展覽盛況非凡，開幕當天售出的畫作已達十二幅，可見其魅力在中台灣也不曾銳減。如此的名氣當然也傳到了盧安耳中，便邀請楊三郎來家裡住，為妻子畫一幅肖像畫，即是Lot2110《李卻阿嬤》。楊三郎少有人物畫作，受邀創作，當然不能馬虎，結果在盧安家中前後往訪，一待就待了近一個月。儘管當時展覽活動纏身，仍可以感受他對於創作的認真態度，日夜近距離的觀察與構思，完成這幅畫作，背面框緣簽署日據時期名字「楊佐三郎」。當時的李卻阿嬤年事已高，身著深藍色的袍子，雙手交握，安然的坐在沙發椅上，和藹慈祥的面龐隱隱透露莊嚴的氣質，在在顯露出為人長輩的榜樣，以及對後輩的關愛之情溢於言表。李卻阿嬤過世時，孫女尚未出生，然而這幅畫作，卻也為家人帶來清晰美好的回憶，孫女在長大後這樣回憶道：「我小時候，與阿公住在南台中的樓仔厝。從外面進來，可以看到掛在走廊右邊一幅阿嬤的畫像，她好似每一次向著我說『你回來啦』。我也向她笑一下。這，讓我有

2110

回到家的感覺。爸爸常常在阿嬤畫像的下面，講慈祥的母

楊三郎（1907-1995）

親的事給我聽。」如今，孫女也成為阿嬤了，儘管未曾與

李卻阿嬤

李卻阿嬤見面相聊，卻透過畫作感受親情的可貴，離開台灣三十餘年的孫女，在回來家鄉後，父母也過世了，「不

油彩畫布 1934 日期畫背：昭和九年簽名畫框：一九三四、十一、二十六日五十四才楊佐三郎 80.5×66cm (31.6×25.9 in.)

知過了多久，抬起頭看到從小看熟了的這幅阿嬤的畫像，雖然畫框退色有點變樣，她依舊向著我說『你回來啦』。她、撫平了我的心痕。」楊三郎的畫作，確實讓人們感受到真誠的情感，或許這也是藝術家自身對於親情體會感同身受，才能如此表達出來的。不同於留法期間嘗試的恣意

YANG San Lang Li Chiue Grandma Oil on canvas 1934

筆觸，楊三郎轉而面對人物畫像時，選擇以細密柔和的描

Date on the reverse: Showa nine years.

繪面龐，讓人看出他對於該作的用心之處。而這樣的一幅

Signed on the frame: dated 1934, named Yang Zu San Lang in

人像畫，也使得Lot2110《李卻阿嬤》不只會是家族保留

Chinese.

的畫作，更是代表一位奉獻終身的大地之母，在家族長輩的關懷下，撫慰著奮力耕耘的子孫後輩，讓世代流傳。

154

NT$ 1,500,000-1,800,000 HK$ 389,600-467,500 US$ 49,500-59,400

155

2111

楊三郎（1907-1995）

YANG San Lang

海景

Seascape

油彩畫布簽名右下：s. yang 50×60.5cm (19.6×23.8 in.)

Oil on canvas Signed lower right: named s. yang.

NT$ 1,200,000-1,500,000 HK$ 311,700-389,600 US$ 39,600-49,500 「如何把大自然轉化為一幅畫，我做了六十多年的功夫……唯有直接面對自然，才能感受人我與天際間的合一，才是最純粹、動人的自然容顏！」對於藝術創作者而言，鑽研繪畫從來都沒有盡頭，尤其是鍾情的對象。楊三郎在此也抱持著同樣的堅持，除了受到印象派與自然寫生的影響外，他生性率真的個性，也促使他主動觀察風景感受大地。其中描寫海景更是楊三郎作品的最佳代表，Lot2111《海景》在天空大氣宛如靜止的畫面下方，以海浪波濤洶湧的氣勢，拍打著岸邊的礁 156

岩，浪花紛飛，粗獷且雄壯的氣勢，讓人旋即以為置身於畫面之中，聽到海岸的風、波浪的鼓動，陣陣襲來。楊三郎憑藉親臨寫生的豐富經驗，完美抓住動感的瞬間，令感動之情直撲心靈，「任何事我一定十足親嘗。」是楊三郎向來貫徹的體悟，更是成就他一生創作的寫實榜樣。而畫幅中的「動」與「不動」經由前景的浪花與遠景的水平面，正因為強烈的對比，才更能顯示出如此極具力量的畫面。

2112

楊三郎（1907-1995）

YANG San Lang

舞台演員故居

House of a Former Actor

油彩畫布 1968 簽名右下：s. yang 53.5×65.5cm (21×25.7 in.)

Oil on canvas 1968 Signed lower right: named s. yang. Literature:

出版：李石樵美術館文化中心：《台灣美術菁英研究展》（台北，1994 年），頁13。

Li Shih-Chiao Museum: Top of Taiwanese Artists (Taipei, Taiwan, 1994) , P. 13

NT$ 1,000,000-1,200,000 HK$ 259,700-311,700 US$ 33,000-39,600 中壯年的楊三郎，逐漸將風格轉向簡潔、粗獷又筆觸細緻統整的表現形式。楊三郎四處遊歷，擅長的風景畫中總會包含幾件建築繪畫，隱藏於樹林之間的建築風景，也足以稱為一大主題了。Lot2112《舞台演員故居》創作於1968 年，簡約構圖的畫面下，楊三郎精確的掌握用色與筆觸的帶動，大筆的建築牆面，配上細筆的欄杆屋簷，錯落的樹容相互陪襯，形成一幅愜意安居的景色。

「我要讓一筆一筆的下去越多，越顯出清境和諧來。」楊三郎一生縱橫台灣畫壇，其份量與地位具有非常大的重要性，而這些在堅持努力下，成為一幅幅精煉渾厚的作品，更是推動台灣美術與歷史的重要足跡，彌足珍貴！

157

2113

張義雄（1914-2016）

CHANG Yi Hsiung

歐洲風景

European Landscape

油彩畫布 1982 簽名左下：Y.CHANG. 82. 31.9×41.1cm (12.5×16.1 in.)

Oil on canvas 1982 Signed lower left: named Y.CHANG., dated 1982. Provenance:

來源：現收藏者購自八○年代太極畫廊

Current collector purchased from Taiji Gallery in the 1980s

NT$ 220,000-300,000 HK$ 57,100-77,900 US$ 7,300-9,900 「我是無名的野草，無日頭，無露水，我原在是要開花。」－張義雄強烈、直接的作畫方式，在張義雄的作品中處處可見。一生奔波的經歷，直至1974年，妻子江寶珠為完成張義雄的「巴黎夢」，用多年積蓄在巴黎租了房子，讓丈夫在當時走遍美術館，豐富創作了一個月。Lot2114《歐洲

158

街景》創作於1979年，往訪巴黎的頻率越來越高，這時的創作無不看出張義雄對於歐洲景致的嚮往與推崇，清晰明媚的街景，條理卻各有特色的房屋相互並排，足以窺見巴黎市郊的漫遊氛圍。1980年，張義雄終於決心在巴黎永居，安定的生活，美好的藝術環境，增加了張義雄的視野，色感多樣化，富生命力的創作，使繪畫生涯達到最高峰。Lot2113《歐洲風景》繪於1982年，定居歐洲的張義

2114

張義雄（1914-2016）

CHANG Yi Hsiung

歐洲街景

European Street View

油彩畫布 1979 簽名右下：79 Y.CHANG. 33.4×45.5cm (13.1×17.9 in.)

Oil on canvas 1979 Signed lower right: dated 1979, named Y.CHANG. Provenance:

來源：現收藏者購自八○年代太極畫廊

Current collector purchased from Taiji Gallery in the 1980s

NT$ 280,000-320,000 HK$ 72,700-83,100 US$ 9,200-10,600 雄，大量的遊歷各地，寫生創作，略帶狂野的筆觸更能看出創作的慾望之強烈。文森．梵谷（Vincent van Gogh， 1853-1890）是張義雄非常敬佩的大師，耀動的筆觸疊加於畫面之上，使的花草、屋瓦、雲朵錯落有致。Lot2113 《歐洲風景》同時可見其風格影響，與歐洲市井氣息相互輝映，樸實而自然地景致，於畫面之中表露無遺。

文森．梵谷，《奧維爾和教堂的景色》，油彩畫布，1890，34×42.1cm，美國羅德島設計學院藝術博物館藏 159

王守英

WANG Shou Ying

王守英擅長對大自然光影的變化作為描繪主

2115

題，其中以風景畫為數甚多，秋楓入畫為題的作

王守英（b. 1934）

品在各個時期更是重複出現。他在風景畫上用心

奧萬大之秋（秋陽）

思觀察，追求本土風景的特質，更擅長藉由空氣

油彩畫布 2004 簽名左下：S.Y.WANG 130×162cm (51.1×63.7 in.)

中的味道分辨季節，並將這份天賦靈敏地運用在畫布上，使許多人陶醉在王守英的抒情氣氛之中。 Lot2115《奧萬大之秋（秋陽）》整體富流動

來源：附畫廊保證書

感和朦朧的趣味，是為此作的一大特色，色彩從深鬱逐漸轉化為明亮的色調，在光影上的琢磨尤

WANG Shou Ying

其精彩，使得樹林撲朔迷離、詭譎多變，短促的

Aowanda Autumn

筆勁來回擦抹，層次感細膩、回味無窮，讓人想

Oil on canvas 2004

走進畫裡的世界一探究竟。

Signed lower left: named S.Y.WANG.

「一切題材都來自於自然，就是你的話不管怎麼畫，最後還是要符合這個自然的要件，尊重

Provenance: With certificate of gallery

自然。」王守英道盡出超脫世俗煩囂與自然同工的生命觀，是為台灣抒情印象繪畫中，極具代表性的重要畫家。

160

NT$ 700,000-900,000 HK$ 181,800-233,800 US$ 23,100-29,700

161

2116

沈哲哉（1926-2017）加拿大國會議事堂油彩畫布 1993 簽名右下：1993 哲哉標題畫背：加拿大國會議事堂 24×33cm (9.4×12.9 in.)

SHEN Che Tsai Parliament of Canada Oil on canvas 1993 Signed lower right: dated 1993, named Che Tsai in Chinese. On the reverse: titled.

NT$ 50,000-70,000 HK$ 13,000-18,200 US$ 1,600-2,300

2117

吳炫三（b. 1942）白樓油彩畫布簽名右下：炫三 A-SUN 60.5×50.2cm (23.8×19.7 in.)

WU A-Sun White House Oil on canvas Signed lower right: named A-Sun in Chinese and English.

NT$ 100,000-130,000 HK$ 26,000-33,800 US$ 3,300-4,300 162

2118

臺靜農（1902-1990）臘梅紙本水墨托片鈐印：歇腳盦（白文） 60.7×30cm (23.8×11.8 in.)

TAI Jing Nong Winter Sweet Ink on paper

NT$ 25,000-45,000 HK$ 6,500-11,700 US$ 800-1,500

2119

臺靜農（1902-1990）

TAI Jing Nong

春梅

Plum Blossom of Spring

紙本水墨托片鈐印：歇腳盦（白文） 30.3×60.8cm (11.9×23.9 in.)

Ink on paper

NT$ 25,000-45,000 HK$ 6,500-11,700 US$ 800-1,500

163

164

2120

2121

李轂摩（b. 1941）

溥儒（1896-1963）

行寫讀書本事八言聯

楷書文源造化七言聯

紙本墨書聯軸 1993 釋文：得山水清其人多壽；饒詩書氣有子必賢。上款：文卿道兄雅教。款文：癸酉春初，李轂摩。鈐印：轂（朱文）摩（朱文） 136.7×34×2cm (53.8×13.3 in.×2)

描花箋墨書托片釋文：龜書出洛傳洪範，鳥跡行沙變古文。款文：西山逸士溥儒。鈐印：溥儒（白文）心畬（朱文）一朵紅雲（朱文）錢俞（朱文） 68.3×11cm×2 (26.8×4.3 in.×2)

LI Gu Mo

PU Ru

Calligraphy

Ink on paper 1993

Ink and color on paper

NT$ 8,000-13,000 HK$ 2,100-3,400 US$ 300-400

NT$ 80,000-100,000 HK$ 20,800-26,000 US$ 2,600-3,300

2122

2123

丁衍庸（1902-1978）

竹下對弈

貓石圖

紙本彩墨托片 1972 款文：壬子冬日，丁衍庸寫。鈐印：丁（朱文） 82×50cm (32.2×19.6 in.)

紙本水墨鏡框上款：炳良仁兄。款文：衍庸寫。鈐印：丁氏（白文） 94.2×42.3cm (37×16.6 in.)

DING Yan yong Under the Bamboo to

DING Yan yong

Play Chess

Cat and Stone

Ink and color on paper 1972

Ink on paper

NT$ 30,000-50,000 HK$ 7,800-13,000 US$ 1,000-1,600

NT$ 80,000-110,000 HK$ 20,800-28,600 US$ 2,600-3,600 165

2124

王明明（b. 1952）竹林煮茶紙本設色鏡框 2009 題記：坐酌泠泠水，看煎瑟瑟塵；無由持一碗，寄與愛茶人。款文：己丑冬月，明明畫。鈐印：王（白文）明明（朱文）淡然無意（朱文） 38×64.5cm (14.9×25.3 in.)

WANG Ming Ming Color-Ink Painting Ink and color on paper 2009

NT$ 5,000-10,000 HK$ 1,300-2,600 US$ 200-300

2125

黃磊生（1928-2011）閑池探水紙本設色托片 1980 款文：己未新春，磊生時客寶島。鈐印：黃（白文）磊生（朱文）謝曜陽珍藏印（朱文） 92×30cm (36.2×11.8 in.)

HUANG Lui Sang Leisure Pool Ink and color on paper 1980

NT$ 20,000-35,000 HK$ 5,200-9,100 US$ 700-1,200 166

2126

2127

宋長志（1916-2002）

朱玖瑩（1898-1996）

楷書《風雨中的寧靜》摘句

行書王安石《書湖陰先生壁》詩

紙本墨書立軸釋文：「千磨萬刼猶堅勁，任爾東西南北風」。在風雲變幻中，我們應有此定力。「安危他日終須仗，甘苦來時要共嘗」。在革命事業上，我們應同此認識。–錄自風雨中的寧靜–。款文：宋長志。鈐印：宋長志印（朱文） 67×43.5cm (26.3×17.1 in.)

紙本墨書立軸 1979 釋文：茅簷長掃淨無苔，花木成蹊手自栽；一水護田將綠繞，兩山排闥送青來。王安石詩。款文：己未冬至節後，朱玖瑩。鈐印：玖瑩八十以後作（朱文）乘桴逸叟（朱文） 69×33.2cm (27.1×13 in.)

SONG Chang Zhi

CHU Chiu Ying

Calligraphy

Ink on paper

Ink on paper 1979

NT$ 10,000-20,000 HK$ 2,600-5,200 US$ 300-700

NT$ 5,000-9,000 HK$ 1,300-2,300 US$ 200-300

167

2128

鄭善禧（b. 1932）行書天塹奔騰七言聯紙本墨書聯軸 2015 釋文：長風海立波瀾壯；絕域山源木石奇。款文：鄭善禧，二○一五，乙未暮春。鈐印：鄭善禧印（白文）翰墨緣（朱文） 108.5×17.5cm×2 (42.7×6.8 in.×2)

ZHENG Shan Shi Calligraphy Ink on paper 2015

NT$ 20,000-35,000 HK$ 5,200-9,100 US$ 700-1,200

2129

鄭善禧（b. 1932）

ZHENG Shan Shi

綠浦溪亭

Color-Ink Painting

扇面彩墨鏡框 1991 題記：綠浦溪亭。款文：辛末之夏，鄭善禧畫於台北錦安里金山老廈四層樓上。鈐印：自在（朱文）謙成居主（朱文） 17×48cm (6.6×18.8 in.)

Ink and color on paper 1991

著錄：台北福華沙龍：《張光賓鄭善禧書畫聯展》，2005年。 168

Literature: Taipei Howard Salon: The Exhibition of painting & Calligraphy-Chang Kuang-Bin, Cheng Shan-Hsi, 2005

NT$ 80,000-100,000 HK$ 20,800-26,000 US$ 2,600-3,300

2130

鄭善禧（b. 1932）

ZHENG Shan Shi

高雄漯底山

Ta-di Mountain in Kaohsiung

紙本彩墨托片 1982 款文：歲壬戌之夏於稻江，善禧製。鈐印：鄭（朱文）善禧（白文）一九八二（朱文） 39×90cm (15.3×35.4 in.)

Ink and color on paper 1982

NT$ 200,000-280,000 HK$ 51,900-72,700 US$ 6,600-9,200

169

2131

鄭善禧（b. 1932） a.遠瞰觀音山

b.草書蘭亭春祝五言聯

紙本彩墨鏡框 1992 款文：民國八十一年壬申新春，鄭善禧畫於台北錦安里金山老廈。鈐印：自在（朱文）謙成居主（朱文） 28.5×60.5cm (11.2×23.8 in.)

灑金紅宣墨書鏡框 2006 釋文：暢懷年大有；極目世同春。款文：歲丙戌春，鄭善禧。鈐印：鄭（白文）善禧（朱文） 67×11.2cm×2 (26.3×4.4 in.×2)

ZHENG Shan Shi

b.Calligraphy

a.Far Look at Mount Guanyin

Gold-Sprinkle, ink on paper 2006

Ink and color on paper 1992

b 170

NT$ 120,000-200,000 HK$ 31,200-51,900 US$ 4,000-6,600

2132

鄭善禧（b. 1932）

ZHENG Shan Shi

天然好放舟

Color-Ink Painting

紙本彩墨鏡框 1995 款文：歲乙亥之夏，鄭善禧畫。鈐印：自在（白文）善禧（朱文）鄭（朱文） 69.2×45.2cm (27.2×17.7 in.)

Ink and color on paper 1995

NT$ 150,000-220,000 HK$ 39,000-57,100 US$ 4,900-7,300

171

2133

王懷慶（b. 1944）三雙半筷子版畫（16/50）2002 簽名右下：16/50 王怀慶 78×75.5cm (30.7×29.7 in.) 來源：附畫廊保證書

WANG Huai Qing Three and Half Pair of Chopsticks Print (16/50) 2002 Signed lower right: numbered (16/50), named Wang Huai Qing in Chinese. Provenance: With certificate of gallery

NT$ 50,000-80,000 HK$ 13,000-20,800 US$ 1,600-2,600

2134

陳丹青（b. 1953）

CHEN Dan Qing

a.民族少女

a.Ethnic Girls

b.歸鄉

b.Homecoming

木刻版畫（15/29）1980 簽名下方：15/29 陳丹青 1980 29×22cm (11.4×8.6 in.)

Woodcut (15/29) 1980

木刻版畫（27/29）1980 簽名下方：27/29 陳丹青 1980 27×29.3cm (10.6×11.5 in.)

Woodcut (27/29) 1980

Signed lower: numbered (15/29), named, dated 1980.

S i g n e d l o w e r : n u m b e re d (27/29), named, dated 1980.

NT$ 120,000-160,000 HK$ 31,200-41,600 US$ 4,000-5,300

172

2135

董作賓（1895-1963）藏中研院龜腹甲（甲骨文）拓片A 紙本墨拓 22.7×18.5cm (8.9×7.2 in.)

DUNG Zuo Bin Collection Academia Sinica Tortoiseshell (Oracle Bone) Rubbings A Ink rubbings on paper

NT$ 20,000-30,000 HK$ 5,200-7,800 US$ 700-1,000

2136

董作賓（1895-1963）藏

DUNG Zuo Bin Collection

中研院龜腹甲（甲骨文）拓片B

Academia Sinica Tortoiseshell (Oracle Bone) Rubbings B

紙本墨拓 20.1×15.4cm×2 (7.9×6 in.×2)

Ink rubbings on paper

NT$ 20,000-35,000 HK$ 5,200-9,100 US$ 700-1,200

173

174

2137

蔣中正（1887-1975）、嚴家淦（1905-1993）、張群（1889-1990）

CHIANG Chung Cheng、YEN Chia Kan、

壽辭（壽箋）暨國大主席團主席黃天鵬文獻

Birthday-Congratulations by National Assembly

壽辭（壽箋三張）：紙本墨書軟心

Presidium Chairman Huang Tian Peng

ZHANG Qun

Birthday-Congratulations (three pieces): Ink on paper

黃天鵬、黃盧小珠文獻（名片、國民黨黨證、國大代表代表證、私人筆記、總裁辦公室直譯密碼本、光復大陸設計研究委員會委員證、政治作戰學校識別證、公私印件、獎章、徽章等一批）：複合材質壽箋釋文： a.壽。黃母莊太夫人九秩晉一嵩慶；蔣中正。 b.媊星熠燁倬天章，藹藹春暉樂未央；梁案孟機同典則，瓊枝玉樹競芬芳。家聲忠孝無違教，國器含宏詎可量；耄耄期頤登拾級，板輿安穩壽而康。黃母莊太夫人九秩晉一嵩慶；嚴家淦敬賀。 c.上元鐙好，女宿光盈；身膺百茀，齒邁九旬。佳兒佳婦，舞綵嬉春；嘉賓式宴，同介祥齡。黃母莊太夫人九秩晉一大慶；張群拜祝。

Huang Tian Peng, Huang Lu Xiao Zhu literature (business card, Kuomintang party card, National Assembly members cards, private notes, president's office literal translation codebook, Guangfu Mainland Design and Research Committee member card, political war school identification card, public and private printing, medals, badges, etc.): Mix media

NT$ 580,000-850,000 HK$ 150,600-220,800 US$ 19,100-28,000

鈐印：張群（白文）壽辭：27×39.5cm×3 (10.6×15.5 in.×3) 175

蔣中正、嚴家淦、張群

壽辭（壽箋）

暨國大主席團主席黃天鵬文獻拍品為民國五十六年，蔣中正、嚴家淦、張群親筆手書，賀國大主席團主席黃天鵬之母莊世光九十一歲嵩壽祝

黃天鵬之父黃毓才為「廣東省普寧馬柵興德黃家」十世雲礽，同盟會會員，曾參加廣州圍攻督署之

嘏辭。另外包含國大主席團主席黃天鵬之國大代表代表

役及黃花崗之役。黃母莊世光，則出身廣東省普寧市

證、名片、國民黨黨證、私人筆記、總裁辦公室直譯密碼本、光復大陸設計研究委員會委員證、政治作戰學校識別

燎原街道果隴村「進士第」（詳參【圖1】），乃清廷晉封從一品振威將軍莊起鳳之曾孫、誥封正二品武

證、公文書用私印、獎章、徽章；以及黃天鵬德配台北市

顯將軍莊鎮邦之孫，自幼雅好詩辭，善吟詠，敦三

議員黃盧小珠之名片、國民黨黨證等文獻。文史收藏價值

重、備四德，賢能練達，型于廟堂、御于家邦，徽行

頗高。以下析論之：

慈祥。黃天鵬除自身黽勉問學外，得力於父祖及母家

／世德懋績–莊黃世家／黃天鵬原名鵬，字天鵬，別號天廬，以字、號行世，報章別名有六十餘見。於1909年2月17日生於廣東省普寧市流沙南街道馬柵村。創辦中國第一個新聞學刊，被譽為現代新聞學拓荒人，1947年選任國大代

在明朝嘉靖以後所經營之普寧、潮汕勢力，躋身政壇，最終榮膺第三次、四次、六次國民大會主席團主席，並代表國民大會頒發《總統當選證書》予蔣經國，且得以錄名於蔣中正、嚴家淦、蔣經國《總統當選證書》。（詳參【圖2】）此皆非偶然，黃天鵬所代表者，實是紹續數代之一方政治勢力。

表，致力實施憲政，弘揚民主精神，為時代先趨、報界耆宿、憲政推手。

【圖1】莊世光母家（黃天鵬外祖家）普寧市燎原街道果隴村「進士第、將軍第」 176

【圖2】第三任《總統當選證書》

黃天鵬親書、鈐印列名於主席團

／層峰祝嘏–序官之盛／歷史命定論，總縈迴在中國大地上，洗鍊著歷朝歷代文人的心！西晉愍帝建興四年（A.D.316）劉曜攻陷長安，晉愍帝被俘；王導、謝安協助瑯琊王司馬睿廣收賢俊，入建康，延續晉室政權。正當兵馬倥傯之際，俊毅的王導不疾不徐，在他袖中珍藏的並非金銀珠寶，更非國璽金印，而是將鍾繇楷書《宣示表》縫入衣袖，貼身南渡！（見王僧虔《書錄》）而從弟王廙也攜帶索靖《七月廿六日帖》渡江。最終兩帖並傳予王羲之一脈。在邦國殄瘁、倉皇辭廟之時，王氏一族除了心繫復興晉室外，同樣的將三國、西晉法帖視如身命般的攜往江左，恐非事出湊巧，而是西晉貴族集體意識中具有同樣文化信仰之展現！因為國土可遷，政統可續，惟有道統、法統不可斷。東晉人如此、南宋人如此，國民政府亦若是。

回顧民國二十年至八十年間，尤以民國四十年以後為盛，舉凡渡海黨政軍要員、學人、泛公職聞人、擁政治實力之社會賢達，祝嘏上壽（祝壽）、室家之好（婚嫁）、遷宅卜居（入厝），甚至是銘誄請哀（奠饗），皆有廣邀文墨襄事之傳統。普遍者，函索屏幛書畫；慎重者，延請名家作序，甚而訂製專用冊紙，廣蒐名人題誌紀盛，一則祝禱，一則展現政治與社會實力。民國五十六年，黃天鵬特地為九十一嵩壽之母莊世光，定製專用冊、紙箋，每紙皆印正紅色壽字界欄，右下書明「黃母莊太夫人九秩晉一大慶祝壽箋」用項；並延請謝東閔在壽箋冊封面題署「黃母莊太夫人九秩晉一大慶壽冊」（詳參【圖3】）。冊內則有八百七十餘名國內外政府官員手書、繪畫，依官位職等（序官）排列，層峰在上，依次而下，除首張總統蔣中正、第二張副總統嚴家淦、第三張總統府祕書長

民國卅七年十一月，蔣中正甫當選行憲後首任總

張群外，另見有孔德成、孫科、張其昀、葉公超、陶

統，旋即面對遼瀋會戰失敗，內部亦有桂系李宗仁、

百川、杭立武、錢大鈞、黃少谷、王昇、秦孝儀、何

白崇禧逼宮，要求引退；蔣中正接受張其昀建議，撤

應欽、薛岳、李國鼎、向前、成惕軒、高拜石、谷鳳

守東南海島台灣。故蔣氏於卅八年元月廿一日引退下

翔、高玉樹、黃君璧、杜聰明等諸君，一時俊彥，

野後，仍在浙江溪口奉化，與幕僚、黨國層峰暗中運

八百名人，盡錄於斯。至若，物之顯晦，各有時義。

籌帷幄、點撥江山，為負隅頑抗、建設復興基地，布

國大主席黃天鵬，肆力廣聚國府聞人祝辭，冀求母

局著搶運故宮文物、央行黃金、學人來台的指導棋。民國卅八年底，國統區已搖搖欲墜！陳誠主政下的台

壽，殊非尋常能致，班班世澤，皆躍然於壽箋之上。本拍品中之主角《蔣中正、嚴家淦、張群壽辭（壽

灣省政府，大量中央黨政軍人員不斷湧入台灣。此際

箋）》，即是黨國文化中「祝嘏上壽」之代表作品，

除了黃金與軍政要員外，故宮文物與學人便如同東晉王氏家族手中的《宣示表》、《七月廿六日帖》，

絹素雖小，尺幅千里，不可勝窮。

起著延續政統道脈的重責大任，穩定軍心、民心與僑心。日治時期，台灣書畫系統受日本東洋畫派影響，瀰漫濃烈和風，即使稍有學習日本漢學的台灣人，在民國卅四年台灣光復後，文化骨氣仍不免陷在「和魂漢才」思想中。直至卅八年國府遷臺後，真正中國一脈相傳之國故、國學才在臺灣深耕。而這套由禹、湯、文武、周公、孔孟一脈遞嬗之中華文化，便展現在黨國要員、藝文人士、文化學人身上，形成「黨國文化」。【圖3】黃母莊太夫人九秩晉一大慶壽冊

177

／國府遺型–天書玉札／國民政府「黨國文化」，仍不免俗延續「宮庭政

當時台灣政壇三鼎甲人物（序官制度），蔣中

治」之禮俗。清代每值歲末，皇帝便在大紅龍箋上書

正、嚴家淦、張群皆親筆恭楷為黃天鵬母莊世光上壽

寫福字，賞賜御前諸臣僚、外藩撫臣（《國朝宮史．典禮．禮儀上．賞賜福字儀》）。無獨有偶，除年終

外，仍不免俗另外致送代筆壽屏。（詳參【圖4】）內文相同，一親筆（特製壽箋）、一代筆（紅壽

歲末「賜紅（鴻）福」外，如遇內廷太嬪、太妃等千

屏），恰可為黨國文化、代筆文化作見證，兩相比

秋，或致仕重臣等特殊要員大壽，皆會班賜大紅龍箋「壽」字，以矜優容。這個「賜福、賜壽」之宮俗，

對、參酌。諒可浮一大白！

在前清官僚系統中延續到民國，再從民國政壇遞嬗到國府政界，直至民國八十年前後李登輝總統時期，仍見贈送政要「壽屏」之遺緒。目前市面所見之蔣中正款「壽屏」並不少見，皆係當年來台要員上壽時，由總統府頒給。蔣中正秉政期間，身分較普通之黨公職要員，多數可循正常公務系統申請，經總統府「總統帶筆室–總統帶筆人」捉刀「壽屏」，遞送賀壽；如與層峰親近者，則可直線報呈官邸，由文學恃從官代筆「壽屏」。僅有極少數特殊人仕，因功在黨國，且深受肯定者，才有機會另外遞上特製「壽箋」，請「壽」字。蔣中正款壽屏、玉照一般多是楊家麟代筆，真正蔣中正親筆書寫者，可謂千載難逢。原因無他，除了戮力從公外，在戒嚴時期，領導真跡不得輕易外流，即使公文書紅筆批註，多數也必須繳回發文單位。故一般所見蔣中正真跡直筆，多係大陸時期在各「行營、大本營」所發出之手飭。民國卅八年前後，也有部分「下野時期、總裁辦公室字條」收存在黨國要員手中，多半係指揮撤台、戰爭調度等事宜之便箋。五十年以後，各類蔣中正手跡極少流出，論者、研究者甚難發現比對。台灣時期蔣中正親筆甚難覓得，而拍品蔣中正壽字箋，乃民國五十六年黃天鵬為母所請書，因黃天鵬父親為同盟會員，母親莊世光為廣東普寧果隴進士第世家出身；自身又位居國民大會主席團主席，懋德世績非同尋常，遂請得當時領袖蔣中正親筆在特製壽箋上恭楷，賜下「壽」字。實屬特例！在已面世之民國四十年訖六十四年間黨國要員壽冊中，幾乎未見蔣中正開篇引首題字。更顯本品之恩遇寵錫。

【圖4】蔣中正、張群賀黃母莊太夫人九秩晉一壽屏（代筆）

178

／文獻足徵–為王前驅／黃天鵬除父母和自身出身貴冑外，德配黃盧小珠同樣在台北市政壇深具影響力，夫婦二人更被時人譽為「議席雙輝」。拍品中國大主席團主席黃天鵬之國大代表代表證、名片、國民黨黨證、私人筆記、總裁辦公室直譯密碼本、光復大陸設計研究委員會委員證、政治作戰學校識別證、公文書用私印、獎章、徽章；以及台北市議員黃盧小珠之名片、國民黨黨證等文獻，反映時代特色。其中又以黃天鵬「私人筆記、總裁辦公室直譯密碼本、公文書用私印」深具史料、研究價值。以下分述之。

A. 私人筆記此本筆記十分小巧，內有部分親友、子女連絡電話；多數記載房產營建、資產分配事宜。並且出現較多時代性辭彙，如大黃魚（十兩金條）、小魚（一兩金條）等上海系統稱謂。反映國民黨來台前後，要員政

【圖5】總裁辦公室直譯密碼本內頁

經狀況，以及如何在台灣落地生根之實情。

B. 總裁辦公室直譯密碼本國民政府密碼多數由特務、情報、軍統、國安系統掌握，此部分是官僚機構對口使用，受眾為單位對部屬，隨時間移轉，已非祕聞。另外，在民國三十四年抗戰勝利後，至卅七年國府大廈將傾、卅八年蔣中正下野之際，由總裁辦公室對口要員，傳授特殊性的獨立直譯密碼，受眾非群體，為單一個體。黃天鵬所持「符號式密碼本」即為總裁辦公室直譯版本；並且為手抄本，必然是接受組訓時所授予。該密碼本黃氏十分看重，並與各類文獻一同保存。（詳參【圖5】）

C. 公文書用私印黃天鵬生平重要用印四方，皆在本拍品中。其中兩方壽山石印，為無逸奏刀刻就。劉玉林，字無逸，一字語鈴，號野馬道人，又號木齋，劉竹庵子，劉留庵之姪，約生於1901年，1950年卒，原籍江西，先僑久居廣州；早孤，能守家學，善各體書，精繪畫，尤長於篆刻，性耽酒，畢生沉滯下僚，家累重，恒為生活所苦，1950年10月於港九過海輪中自沉，年約五十。彼治印初從留庵學，又就教於鄧爾雅，挺勁清拔，有俊逸氣。（錄自《篆刻年歷1051–1911》07 1則）另外牙印、禽鈕銅印各一方。銅印印鈕為手工鍥成，作禽鳥跽坐狀，印面治「黃天鵬印」旋讀四字陽文。此印為黃氏諸印中之公務用印，曾鈐在蔣中正、嚴家淦、蔣經國《總統當選證書》之上。（詳參【圖2】）

179

2138

蔣中正（1887-1975）

CHIANG Chung Cheng

德音孔昭題匾（鈐「榮典之璽」原印）

De Yin Kong Zhao's title (with "The Seal of the Glory"

證書紙墨書 1947

original) Ink on certificate paper 1947

題記：德音孔昭。上款：國民政府為整編第七十七師、三七旅、軍委二階書記李德明之父孔漢，抗戰期間逝世題。款文：主席蔣中正；中華民國三十六年十月廿八日。鈐印：榮典之璽（朱文，原璽鈐印，非一般套印）檔案編號：軍天字第八三五號。用印：國民政府典璽官許靜芝（朱文）國民政府典璽官（朱文） 33.6×61.1cm (13.2×24 in.)

180

NT$ 180,000-350,000 HK$ 46,800-90,900 US$ 5,900-11,500

蔣中正

德音孔昭題匾（鈐「榮典之璽」原印）

拍品為民國卅四年抗戰勝利後，國民政府頒予抗戰期間著有功績、勞績之人員或眷屬之匾。此類題匾外觀類似一般常見之「勳章證書」，性質與實物特徵卻同中有異。最大差異在於，「勳章證書」存世量頗多，「榮典之璽」為套印而成；而拍品題匾「榮典之璽」乃原璽鈐就，可明顯發現朱砂印泥印蛻痕跡。（詳參【圖1】）與拍品相同形式之國府題匾，也曾出現在渡海來台之黨國要員–陸軍中將何志浩家傳文獻中。（詳參【圖 2】）中華民國國璽有兩方，分別為「中華民國之璽」與「榮典之

【圖1】榮典之璽印蛻（非一般常見之套印版本）

璽」。印文皆作玉箸篆。「榮典之璽」為國家元首授與榮典之印信，蓋用於勳章證書、褒揚令、褒獎性匾額等文件。該璽為和闐羊脂白玉，係國民政府北伐、統一全國後，由新疆省政府主席金樹仁委請和闐縣陳繼善縣長，向民間徵得玉料；民國廿年元旦上午八時，國民政府主席蔣中正親自受呈，隨即交付文官處印鑄局設計、琢制鐫文。並於民國廿年七月一日啟印。

【圖2】國民政府為時任軍務局之陸軍少將何志浩父親題匾（鈐榮典之璽原印）

「榮典之璽」為帶糖色和闐羊脂白玉，重4.3公斤，印台高4.6公分，連鈕通高為11.1公分，璽面為 13.6公分見方，鈕頂刻有青天白日國徽，肩處浮雕太陽、龍身、祥雲等紋飾，印鼻繫寶藍色絲穗。（詳參【圖3】）「榮典之璽」原印目前由總統府第二局監印官保管。因「榮典之璽」璽面較一般印信大，鈐印時為保持印色均勻、避免璽身受損，皆採用類似拓印方式處理，固定璽身敷上印色後，將文件倒覆於璽面，再於文件背面施力採蛻。【圖3】中華民國國璽–榮典之璽 181

席氏書畫

本來面目

今年適逢景薰樓成立二十五周年，公司特地徵集席德

無獨有偶，過去藝術市場、博物館、畫冊所見的席德

進大師「私人郵簡、書信」五封，暨畫作「速寫小樣稿」

進書法，除了少數筆鋒尖銳的楷書以外，便以臨「隸書」

八張，以酬眾多藏家歷年來支持之情誼。為席德進私人信

作品為多見；再者，如畢費般直線條剛硬的席德進簽名，

札文獻首次出現在公開拍賣，殊值典藏。敬請把握！

還有德字末筆的抽掣，也深烙在多數人腦海中！沒錯，那

古語有云「言，心聲也；書，心畫也！聲畫形，君子、小人現矣。」書跡往往呈現一個人最真實的心理狀態、精神面貌。可以這麼說，真正要了解一個藝術家，單純從作品切入，是不足且外沿的。惟有透過日常書寫，才能窺見藝術家本如的真實面貌。販售、展覽的書法或繪畫，多半經過精心謀篇，甚至是篩選過濾，能夠直接傳達作者深層精神的並不多見。因此，可以這麼說，席德進水彩、水墨畫、書法常有，而信札、速寫不常有也！這三五年來，席德進書畫並不難取得，多數藏家只要肯付出代價，皆能購得席老晚期畫作。甚或有力者，大肆搜羅席德進早期油畫、素描，只欲一窺全豹。然而，不論是書法、素描、水彩、水墨畫，皆是席氏為了謀生的「有心之作」。在這類作品中，固然能體認、感知席老的藝術境界，卻也不全面，甚至只能見到席老的表面。表面「有心而作」的藝術作品固然是藝術家的門庭；內在的神髓且由心而感通迸發的「無心之作」，便是日常

也只是冰山一角，甚至是刻意的營造。席氏真實的書寫風格，甚至是對中國文字理解後的線條與結構，絕非一般作品那樣直接、充滿個性。以下五件席老的「私人郵簡、書信」，書風隨著心情起落跌宕，甚至信封落著常見的硬線條「席、德、進」標誌性簽名，內文卻同時出現毫不矯揉造作的秀逸筆法，「不視盧山真面目，只緣身在此山中」，隨著新材料公開，相信也能提供研究者、收藏家一個嶄新的思考面向。古人論書有言「信手自孤高」，歷朝歷代以來，真正好的法書名跡，多半是書信或腹稿，惟有這類「無心之作」，才能真情流露。席氏信札的面世，除了展現席老的書風，實寄封、實際郵簡皆有年份可稽！內文也是研究席氏生平的重要史料，本次秋拍書信內容，涉及席氏交遊狀況、家事、私事、賣畫概況等。每件分別以提要方式說明內文概況；並列明研究價值。有美玉于斯，韞櫝而藏諸？期待識貨的您來遞藏！

見山是山、見水是水的「速寫小樣稿」，這些正常作品的前身「畫樣」，包涵充沛的構思過程。因此，在本次上拍的八件「速寫小樣稿」中，有一件Lot2141《意境》，在紙幅不大的空間中，卻留下了「意境；實處易，虛處難。」八個字！映襯著席老在速寫後，營造、構圖時的所思所想。這便是最真實的席德進作品，也是創作的中心思想所在。

國立歷史博物館：《館藏席德進素描特展》（台北，1998年）。 182

2139

席德進（1923-1981）博物館速寫簽字筆紙鈐印：席德進印（白文） 17.8×25cm (7×9.8 in.)

SHIY De Jinn Museum Sketch Sharpie marker on paper Seal: with one seal of the artist.