景薰樓 2021春季拍賣圖錄

2021

SPRING AUCTION

MODERN AND CONTEMPORARY ASIAN ART & CHINESE PAINTINGS AND CALLIGRAPHY Sunday 29 th August 2021 14:30 Taipei

景薰樓 ����春季拍賣 JSL SPRING AUCTION 2021

亞洲華人現當代藝術&中國書畫 Modern and Contemporary Asian Art & Chinese Paintings and Calligraphy

拍賣日期 ����年�月��日 (日)

Auction Date August 29th (Sun), 2021

景薰樓����春季拍賣 JSL ���� S PRI NG AUC T ION

亞洲華人現當代藝術&中國書畫 拍賣時間/地點

2021年8月29日 (日) | 2:30PM 富邦人壽大樓國際會議中心 | 台北市敦化南路一段108號B2 預展時間/地點 2021年7月27日 (二) - 8月22日 (日) | 10AM-6PM 景薰樓333畫廊 | 台中市西屯區華美西街二段333號B1 2021年8月27日 (五) | 10AM-7PM 2021年8月28日 (六) | 10AM-5PM 富邦人壽大樓國際會議中心 | 台北市敦化南路一段108號B2

Modern and Contemporary Asian Art & Chinese Paintings and Calligraphy Auction Date/Venue August 29th (Sun), 2021 | 2:30PM Fubon International Conference Center | B2, No. 108 Sec.1, Dun-Hua South Road, Taipei Preview Date/Venue July 27th (Tue) - August 22nd (Sun), 2021 | 10AM-6PM JSL 333 Gallery | B1, No.333,Sec. 2,Huamei W. St,Taichung August 27th (Fri), 2021 | 10AM-7PM August 28th (Sat), 2021 | 10AM-5PM Fubon International Conference Center | B2, No. 108 Sec.1, Dun-Hua South Road, Taipei

拍賣諮詢 Auction Consultation 陳碧真 / 林麗美 (臺中) 諮詢電話 +886 4 2295 5528 林妮萍 / 龍欣遙 (臺北) 諮詢電話 +886 2 8771 7989 官網 www.jslauction.com 電子郵件 service@jslauction.com

Jade CHEN / May LIN (Taichung) Service Tel +886 4 2295 5528 NiNi LIN / Renee LUNG (Taipei) Service Tel +886 2 8771 7989 Website www.jslauction.com Email service@jslauction.com

景薰樓����春季拍賣會

JSL 2021 SPRING AUCTION DEPARTMENT AND STAFF 景薰樓的辦事處，可協助閣下參與本次舉行之拍賣會的競投外，並提供藝術品仲介服務，以及專業 的藝術諮詢之投資建議，詳情請洽景薰樓國際藝術拍賣公司。 JSL Auction Co. will assist clients in bidding this auction, providing angency services and professional art investment consulation. For further information, please contact our office.

創辦人

林振廷

Founder

Chen Ting LIN

董事長

陳碧真

Chairperson

Jade CHEN

亞洲現當代藝術&中國書畫

Modern And Contemporary Asian Art & Chinese Paintings and Calligraphy

執行總監

陳碧真

Chief Executive

Jade CHEN

行政副總

林麗美

Vice President of Administration

May LIN

諮詢專員

林妮萍

Advisory Consultant

NiNi LIN

龍欣遙

Renee LUNG

景薰樓國際藝術拍賣公司 網站: www.jslauction.com 信箱: service@jslauction.com

臺中辦公室 臺中市北區華美街二段���號B� 電話: +��� � ���� ���� 傳真: +��� � ���� ���� 台中: 林麗美/王純敏

臺北辦公室 臺北市松山區敦化南路一段���號 電話: +��� � ���� ���� 傳真: +��� � ���� ���� 台北: 林妮萍/龍欣遙

JSL Auction CO. www.jslauction.com service@jslauction.com

Taichung Office B1, No. 262, Section 2, Hua-Mei Street, Taichung, Taiwan Tel: +886 1 2295 5528 Fax: +886 4 2295 5529 Contact: May LIN/Mindy WANG

Taipei Office No. 102, Sec.1, Dun-Hua South Road Taipei, Taiwan Tel: +886 2 8771 7989 Fax: +886 2 8771 7698 Contact: NiNi LIN/Renee LUNG

景薰樓����春季拍賣會服務部門及聯絡人

JSL ���� SPRING AUCTION CONSULTATION & SERVICES 客戶諮詢服務

Customer Services

陳碧真 / 林麗美 ( 臺中） 電話：+886 4 2295 5528 林妮萍 / 龍欣遙 ( 臺北） 電話：+886 2 8771 7989

Jade CHEN / May LIN ( Taichung ) Tel：+886 4 2295 5528 NiNi LIN / Renee LUNG ( Taipei ) Tel：+886 2 8771 7989

林麗美 / 王純敏 電話：+886 4 2295 5528 電子信箱：may@jslauction.com 林妮萍 / 龍欣遙 電話：+886 2 8771 7989 電子信箱：nini@jslauction.com

May LIN / Mindy WANG Tel： +886 4 2295 5528 Email：may@jslauction.com NiNi LIN / Renee LUNG Tel： +886 2 8771 7989 Email：nini@jslauction.com

電話書面競標

Phone Bid

線上競投

Online Bids

龍欣遙 電話：+886 2 8771 7989 電子信箱：marketing@jslauction.com 請上

官網註冊

https://www.liveauctioneers.com/

付款事宜

林麗美 / 王純敏 電話：+886 4 2295 5528 電子信箱：account@jslauction.com

Renee LUNG Tel： +886 2 8771 7989 Email：marketing@jslauction.com Please register at https://www.liveauctioneers.com/

Payment May LIN / Mindy WANG Tel： +886 4 2295 5528 Email：account@jslauction.com

取件/運輸事宜

Collecting/Shipping

圖錄訂閱

Catalogue Subscription

王純敏 / 江彥昇 電話：+886 4 2295 5528 ( 臺中） 電子信箱：account@jslauction.com 林妮萍 電話：+886 2 8771 7989 ( 臺北） 電子信箱：nini@jslauction.com

Mindy WANG / Eason JIANG Tel：+886 4 2295 5528 ( Taichung ) Email：account@jslauction.com NiNi LIN Tel： +886 2 8771 7989 ( Taipei ) Email：nini@jslauction.com

楊璨如 電話：+886 4 2295 5528 電子信箱：service@jslauction.com

Emily YANG Tel： +886 4 2295 5528 Email：service@jslauction.com

*如您無法親臨拍賣現場，歡迎您事先與我們聯繫以電話參 與競投；亦可利用本圖錄後頁所附之書面委託單投標，為 期能妥善安排委託競標事宜，請於拍賣前48小時通知我們 為您安排。透過網路競投詳情請洽景薰樓官方網站。

If you cannot attend the auction in person, welcome to contact us in advanced to participate in the bidding by telephone; you can use the form on the back of this catalogue to arrange absentee bid. For bidding, please notify us 48 hours before the auction to arrange for you. For details on online bidding, please visit JSL Auction Co.’s official website.

*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業務規則。 如您需要更進一步的諮詢；煩請洽詢上述聯絡人。

Buyers are welcome to require a condition report on any lot in this auction. Please note that all lots are sold under the condition “as determined at the time”. For related rules and payments details, please refer to the “Condition of Business” on the back of this catalogue. For further consultation, please consult the above contact person.

*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 樓辦公室提領。上班時間為週一至週五10:00～18:00。

All lots will be available for collecting after the payment at the end of each sale. Buyers should contact the delivery as soon as possible in order to facilitate the transportation arrangements. Personal and company checks are accepted, but buyers are advised until such checks have cleared. All lots can be collected at JSL Auction Co.’s offices. Offices open on Monday ~ Friday 10:00 ~ 18:00.

景薰樓可為您建議或安排最適當的運輸方式。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。

JSL Auction Co. can suggest and arrange the most appropriate transportation for you. If the buyer has not picked up the auction lot within 35 days after the auction, the storage fee will be charged NT$250 per day.

藝術家索引 (按姓氏拼音排序) INDEX (ARTIST/LOT NO.) A

J 1003

ABE Nyubo

阿部乳坊

ARSHAM, Daniel

丹尼爾．阿瑟姆 1007.1010.1041 1042

APRIYAN, Ronald

隆那．阿普里揚 1011.1012

班克斯

1002.1005.1006

C CHANG Wan Chuan

張萬傳

1049.1073

CHANG Yi Hsiung

張義雄

1015.1030.1053

CHEN Ching Jung

陳景容

1068

CHENG Mao Huang

曾茂煌

1057.1058

CHEN Rui Kang

陳瑞康

1126

CHIANG Chao Shen

江兆申

1085.1110.1113

CHIU Ya Tsai

邱亞才

1062.1063.1064

CHIU Bing Heng

邱秉恆

1026.1027.1028

CHU Chiu Ying

朱玖瑩

1128

CHANN, George

陳蔭羆

1065

D DING Yan Yong

詹金水

1029

JARVIS, James

詹姆斯．賈維斯 1008

JU Ming

朱銘

1097.1098

KOIZUMI Satoru

小泉悟

1141

KUO Hsueh Hu

郭雪湖

1122.1132

KUSAMA Yayoi

草間彌生

1135.1136

LEE Chi Mao

李奇茂

1112

LEE Shi Chi

李錫奇

1013

LI Mei Shu

李梅樹

1070

LI Shih Chiao

李石樵

1048.1054

LI Yi Hong

李義弘

1111

LIN Feng Mian

林風眠

1032

LIN Yu Shan

林玉山

1125

LIN Hsin Yueh

林惺嶽

1031

LIU Ruo Wang

劉若望

1099

LIU Wei

劉煒

1088

LIU, Max

劉其偉

1066.1067

Master of Water, Pine and Stone Retreat

水松石山房 主人

1115

Mr.

岩本正勝

1142.1143.1144

Mr. Doodle

塗鴉先生

1046

MURAKAMI Takashi

村上隆

1137

NARA Yoshitomo

奈良美智

1138.1139.1140

NG, Cindy Sio Ieng

吳少英

1025

K

B Banksy

JAN Chin Shui

丁衍庸

L

1086.1087

M H HUANG Jun Bi

黃君璧

1129

HUANG Ming Che

黃銘哲

1095.1096

HUNG Rui Lin

洪瑞麟

1052

HSIAO Chin

蕭勤

1014

HSU Yu Jen

許雨仁

1114

N

O

Y

OBATA Taku

小畑多丘

1001

YANG Chi Hong

楊識宏

1059.1060.1061

OU Hao Nien

歐豪年

1112.1124.1130

YANG San Lang

楊三郎

1071.1072

YANG Shan Shen

楊善深

1123.1131

YEN Shui Long

顏水龍

1069

ZAO Wou Ki

趙無極

1145.1146

ZHANG Bing Tang

張炳堂

1051.1055

ZHANG Da Qian

張大千

1108.1109

ZHAO Er Dai

趙二呆

1133

ZHENG Shan Shi

鄭善禧

1116.1117.1118 1119.1120.1121 1127

ZHOU Chun Ya

周春芽

1089

P PICASSO, Pablo

巴勃羅．畢卡索

1134

Z

R ROKKAKU Ayako

六角彩子

1040

S SHEN Che Tsai

沈哲哉

1050.1056

SHIY De Jinn

席德進

1033.1034.1035 1036.1037.1038 1039.1100.1101 1102.1103.1104 1105.1106.1107

SORAYAMA Hajime

空山基

1004

TEZUKA Osamu

手塚治虫

1009.1047

TING, Walasse

丁雄泉

1090.1091.1092 1093.1094

T

W WANG Chung

汪中

1084

WANG Pan Youn

王攀元

1016.1017.1018 1019.1020.1021 1022.1023.1024 1075.1076.1077 1078.1079.1080 1081.1082.1083

WANG Shou Ying

王守英

1074

經典不敗 – 臺灣美術前輩藝術家 臺灣美術的藝壇活動始自日治時期日籍美術 教師的帶動和啟蒙，臺灣的前輩藝術家不約而同 地赴日進修，陸續在台、府展中展露頭角，他們 對於繪畫的理想與熱情，傳達出臺灣獨有的純樸 民情與源源不絕的生命力，前輩藝術家們一同開 創出臺灣美術的嶄新風貌。早期臺灣美術沿襲了 中國傳統文人畫的畫風，1895年中日馬關條約的 原因，臺灣割讓給日本，因而傳入日本文化及西 洋畫風，而將臺灣的美術發展史導入了另一個國 際化的層面。 1927年由臺灣教育會主辦的「 臺灣美術展 覽會」簡稱「台展」，促成了臺灣現代美術的萌 芽與發展，打破了保守因襲的文人畫時代，也促 使東洋畫興起與文人畫的式微。1938年開始， 官展改由臺灣總督府主辦，簡稱「府展」，期間 一共舉辦了六屆。在短短十六年的「官展」發展 史上，臺灣的西洋畫、東洋畫從無到有，除了成 為臺灣畫家與日本畫家的公平競賽平台外，透過 美展，更提升了畫家們的社會地位及喚起了社會 對於文化的重視。1934年李梅樹、李石樵與楊三 郎等人成立「台陽美術協會」，是民間歷史最悠 久的畫會，也是台陽美展的重要推手；1954年廖 德政與張義雄等人組合成立「紀元美術會」，他 們獨具自我性格的繪畫表現形式豐富臺灣藝術樣 貌，這些畫會團體都為臺灣美術的近代化奠定了 良好的基礎。而「台展」除設「西洋畫部」外， 另有「東洋畫」實則包含水墨與膠彩二部份，唯 在日後的發展，水墨顯然處於弱勢的地位，甚至 因而未能培養出成名的新一代水墨畫家。不過日 後被稱作「台展三少年」的陳進、林玉山、郭雪 湖等三人，均在水墨與膠彩上同時有成。 回顧日治時期的臺灣美術，不應忽略該時期 生活、工作於臺灣的大批日本畫家。他們同樣積 極參加「台、府展」，並組成各種畫會；除了藝 術家個人的西洋化、現代化，也有藝術家結盟、 社團化的社會現象。石川欽一郎為臺灣近代西洋 美術啟蒙者，雖然是日籍人士，卻使用西洋水彩 技法，描繪臺灣鄉村景物，此舉深深影響臺灣本 土畫家，使他們重新觀察自己生長的環境，開始 尋找臺灣社會樸實的本土精神。石川欽一郎同時 也是臺灣學校美術教育開創者，於1907年首度來 1

Taiwanese Senior Artists

Taiwan’s fine arts activities began with the enlightenment of Japanese art teachers during the Japanese occupation. Taiwan’s pioneer artists went to Japan to study in the same place, and successively showed their prominence in Taiwan and government exhibitions. Their ideals and enthusiasm for painting conveyed Taiwanese’ sentiments and endless vitality, and the predecessors of artists jointly created a new style of Taiwanese fine art. Early Taiwanese fine arts followed the style of traditional Chinese literati painting. In 1895, Taiwan was ceded to Japan due to the Sino-Japanese Shimonoseki Treaty. As a result, Japanese culture and Western painting styles were introduced, and the history of Taiwan’s fine arts development was brought up to another international level.

The "Taiwan Art Exhibition" sponsored by the Taiwan Educational Association in 1927 promoted the germination and development of Taiwan's modern art, broke the conservative era of literati painting, and promoted the rise of Oriental painting and the decline of literati painting. Beginning in 1938, the official exhibition was changed to be hosted by the Governor's Office of Taiwan, referred to as the "Fu Exhibition". During this period, it was held for six sessions. In the history of the development of the "official exhibition" in just 16 years, Western and Oriental paintings in Taiwan have emerged from nothing.

In addition to becoming a platform for fair competition between Taiwanese and Japanese artists, the art exhibition had also enhanced the social status of the artists. In 1934, LI Mei Shu, LI Shih Chiao, and YANG San Lang established the "Taiyang Fine Arts Association", which is the oldest folk-art association and an important promoter of the Taiyang Art Exhibition.In 1954, LIAO Te Cheng and CHANG Yi Hsiun formed the "Era Art Association". Their unique forms of painting expressions enrich the appearance of Taiwan's art. These groups of art associations have laid a good foundation for the modernization of Taiwan's fine arts. In addition to the "Western Painting Department" in the "Taiwan Exhibition", the "Oriental Painting" actually contains two parts, ink and glue. However, in the future development, ink and wash are obviously in a weak position, and they have not even cultivated fame. A new generation of ink painters. However, CHEN Jin, LIN Yu Shan, and GUO Xue Hu, who would be called the "Three Youths of the Taiwan Exhibition" in the future, were all successful in ink and glue.

Looking back on Taiwanese fine arts during the Japanese rule, we should not ignore the large number of Japanese painters who lived and worked in Taiwan during that period. They also actively participated in the "Taiwan and Mansion Exhibitions" and formed various art clubs. In addition to the Westernization and modernization of the individual artists, there are also social phenomena of artists forming alliances and associations. ISHIKAWA Kinichiro was an enlightener of modern Western art in Taiwan. Although he was a Japanese, he used Western watercolor techniques to depict Taiwan’s rural landscapes. This deeply affected Taiwanese local painters and made them re-observe the environment in which they grew up and began to look for the simplicity of Taiwanese society.

台並在後來任教於台北師範學校，培育許多 臺灣畫家，學生眾多如李梅樹、李石樵等， 多數成為臺灣第一代西畫名家，並於日後互 相鼓勵並偕伴赴日深造。日據時代，由於臺 灣並沒有專業的美術學習院校，當時對於藝 術有興趣的人，大多選擇赴日本進修學習， 楊三郎、李梅樹、李石樵、廖德政、張義雄 等人都在此列，他們努力開拓臺灣美術的新 視野，為臺灣藝術園地辛勤耕耘。

臺灣前輩美術家的作品，在人物、風景 和靜物都有優秀亮眼的作品，風景畫作如 楊三郎的Lot 1071《屏東古厝》及Lot 1072 《日本農家 》透過鮮豔溫暖的色彩和筆觸， 表露了風和日麗的景觀，創造出寧靜、淳 樸的氛圍；張義雄油彩作品Lot 1030《塞納 河 》及一系列水彩作品Lot 1015《 台南孔 廟、阿里山、鹿港 》、Lot 1053《 巴黎街 景、郊野、東京風景 》從日本、臺灣到歐 洲的風景，透過寫生創作，讓觀者好似隨 著畫家一同遊歷各地；Lot 1049張萬傳《淡 水一隅》、Lot 1054李石樵《北投公園》、 Lot1052洪瑞麟《 阿里山即景 》，描繪臺灣 各地的景致。靜物畫如Lot 1070李梅樹的 《玫瑰》及Lot 1048李石樵的《瓶花》溫潤 而大方，玫瑰的典雅浪漫充盈畫布。 近年來許多臺灣藝術相關展覽陸續推 出，包含北師美術館「 不朽的青春—臺灣美 術再發現 」和國立臺灣美術館「 經典再現– 臺府展現存作品特展 」，以及現正熱烈展出 中桃園市政府文化局「 自由的風：臺灣繪畫 研究所特展 」和國立臺灣美術館「 海外存 珍－順天美術館藏品歸鄉展 」等。在展覽中 呈現許多臺灣前輩藝術家珍貴的畫作，透過 欣賞畫作，不僅能從中看到當時日本畫壇的 影響，亦可從中看到在大時代下，藝術家們 如何將變動中的文化、社會背景，以細膩自

ISHIKAWA Kinichiro as also the founder of fine arts education in Taiwanese schools. He first came to Taiwan in 1907 and later taught at Taipei Normal University. He nurtured many Taiwanese painters, such as LI Mei Shu and LI Shi Qiao..There were many students such as LI Mei Shu and LI Shi Qiao. Most of them became the first generation of Western painting masters in Taiwan, encouraging each other and accompany each other to go to Japan for further study in the future. In the era of Japanese occupation, because Taiwan did not have professional art learning institutions, most people interested in art at that time chose to study in Japan, including YANG San Lang, LI Mei Shu, LI Shi Qiao, LIAO De Zheng, CHANG Yi Hsiung and others, who worked hard to open up new horizons in Taiwanese fine arts.

The works of predecessor artists in Taiwan have outstanding and eyecatching works in figures, landscapes and still life. Landscape paintings such as YANG San lang's Lot1071 "Pingtung Ancient House" and Lot1072 "Japanese Farmhouse" show the wind through bright and warm colors and brushwork. The peaceful and beautiful landscape creates a tranquil and simple atmosphere; CHANG Yi Hsiung's oil painting Lot1030 "Seine" and a series of watercolor works Lot1015 "Tainan Confucian Temple, Alishan, Lukang", Lot1053 "Paris Street Scene, Countryside, Tokyo Landscape". There are sceneries from Japan, Taiwan to Europe, making viewers seem to travel around with the artist through their sketching creations; Lot1049 CHANG Wan Chuan's "A Corner Of Tamsui", Lot1048 Li Shi Qiao "Beitou Park", Lot1052 Hong Ruilin's “The Scenery Of Alishan", depicting Scenery across Taiwan. Still life paintings such as Lot1070 LI Mei Shu's "Rose" and Lot1048 LI Shi Qiao's "Vase Of Flowers" are gentle and generous, and the elegant romance of roses fills the canvas.

In recent years, many Taiwanese art-related exhibitions have been launched successively, including Beishi Art Museum "Immortal Youth— Taiwan Fine Arts Rediscovery" and National Taiwan Museum of Fine Arts "Classic Reproduction-Special Exhibition of Taiwanese Works", as well as the exhibition in Taoyuan City. Government Cultural Affairs Bureau "Wind of Freedom: Special Exhibition of Taiwan Institute of Painting" and National Taiwan Museum of Art "Overseas Treasures-Shuntian Art Museum Collection Homecoming Exhibition" and so on. In the exhibition, many precious paintings by Taiwanese artists are presented. By appreciating the paintings, the viewer can not only see the influence of the Japanese painting circle at the time, but also see how the artists have used the changing cultural and social background in the great era. The delicate and natural technique is presented in the picture; the rich colors and strong line composition more faithfully record the characteristics of Taiwan's natural landscape.

然的手法呈現於畫面。而他們豐富的色彩、 強烈的線條構成，如實記錄下臺灣自然景觀 的特色。

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日本當代藝術與收藏熱潮 潮物，可以說是年輕在追求流行時尚所延伸的產物， 跟隨潮流，讓自己成為眾所矚目的焦點，如今也已經成為 當代人們－不管是年輕人、中年人、老年人－共同追尋的 目標，而潮物，也理所當然的成為其必要配件。在20世紀 中約50年代和60年代時期，流行藝術橫跨時尚、音樂、 電影、街頭領域，流行文化就已逐漸萌發，現當代藝術拍 賣，除了已入殿堂的大師外，還有備受年輕一輩追捧的星 級藝術家，他們快速且搶眼現身。這些作品充分表現社會 現象、自我主張、人與人之間的關係乃至於政治立場，透 過幽默、詼諧、反諷的態度呈現的社會觀察。 遠從1960年代自英國、美國興起的普普藝術（Pop Art）延伸至今，逐漸由日本漫畫、動畫、電影的推廣， 間接影響民間社會，甚至是當代藝術的創作思維，鮮明的 色彩、以平塗及勾邊的方式所繪製的圖像，已成為當代藝 術家創作風格的特色之一。而這些作品，充滿了可愛、夢 幻、鮮明、絢麗等各種多元風格，除了反映時下的年輕活 力，也喚起童年記憶，促使觀者將思緒停留在扁平幻想世 界之中。 二十世紀下半葉，班克斯（Banksy, b. 1974）崛起， 其神出鬼沒的街頭塗鴉作品中總不失幽默的批判性。藝術 家以塗鴉、版畫等手法，在建物上繪出簡潔的人物圖像， 配合詼諧的政治標語或現代用語，傳遞出對戰爭、政治、 資本主義的冷嘲熱諷，開始獲得藝界高度關注。本次收集 三件公仔拍品Lot 1002《掛牌猴子－什麼都不做 你可以 活的更久（黑、白，兩件一組）》、Lot 1005《擲花者– 黑》與Lot 1006《擲花者–白》將其著名的平面塗鴉立體 化，在空間上更加充滿張力，值得收藏。 日本藝術家小畑 多丘（OBATA Taku, b.1980），Lot 1001 《B-GIRL Down Jacket NAGAME 2016 Black》，他的作品以 HIP HOP文化為自身 創作最重要的元素。 Lot 1001

由MEDICOM TOY發 行的「B-GIRL Down

Jacket」採用Polystone材質打造，展現出Breaking舞者常 常擺出的雙手環抱胸姿態，蓋住眼睛的頭髮保持了他一貫 不露出眼睛的設計特色，服裝的雕紋與整體呈現出來的塊 狀線條相當有型。 3

Japanese Contemporary Art And Collecting Boom Trendy objects can be said to be an extension of young people's pursuit of fashion. Following the trend to make themselves the focus of attention, has now become a common goal pursued by common people. And trendy art objects, of course, have also become their necessary accessories. During the 1950s and 1960s, popular art spanned the fields of fashion, music, film, and street. These works fully express social phenomena, self-assertion, interpersonal relationships and even political stances, presenting social observations through humorous, witty, and ironic attitudes.

From the pop art that emerged in the United Kingdom and the United States in the 1960s to the present day, it has gradually been promoted by Japanese manga, animation, and movies, indirectly affecting the creative thinking of civil society and even contemporary art. The image drawn by the way of painting and bordering has become one of the characteristics of contemporary artists' creative style. These works are full of diverse styles such as cute, dreamy, vivid, and gorgeous. They not only reflect the current youthful vitality, but evoke childhood memories, prompting viewers to stay in the flat fantasy world.

In the second half of the 20th century, street artist Banksy (b. 1974), whose works are always humorous and critical, began to gain great attention from the art world. The artist used graffiti, printmaking and other techniques to draw concise images of people, witty political slogans or modern language on the building, conveying a cynicism about war, politics, and capitalism. Three works from this sale, Lot1002 "Listed Monkey-You Can Live Longer Without Doing Anything (black and white, a set of two)", Lot1005 “Flower Bomber - Black" and Lot1006 “Flower Bomber -White", Making its famous plane graffiti three-dimensional, are made into 3D from Banksy’s famous plane graffiti, making them be full of tension in space and more worth collection.

Japanese artist OBATA Taku (b.1980), works like Lot1001 "B-GIRL Down Jacket NAGAME 2016 Black", takes HIP HOP culture as the most important element of his creation.

The "B-GIRL Down Jacket" issued by MEDICOM TOY is made of Polystone material, showing the gesture that Breaking dancers often put their hands around their chests.

The hair covering the eyes maintains his usual eye-free design features. The carving patterns are quite stylish with the block lines that appear as a whole.

Lot 1007

Lot 1010

Lot 1041

現居於紐約的丹尼爾‧阿瑟姆（Daniel ARSHAM，b.

1980），將自己視為一位未來考古學家，探討人類文明 的脆弱和時間的稍縱即逝。本次集結他創作系列中的經典 「未來遺物系列」及「被侵蝕系列」，包含拍品Lot 1007 《被侵蝕的麻將》、Lot 1010《未來遺跡考古書》、Lot 1041《被侵蝕的保時捷911 Turbo》及Lot 1042《被侵蝕 的皮卡丘 》。在他的作品中將常有對於現實與虛構、破 壞與創造兩者之間碰撞之下的構想，著重於形體幾乎沒有 額外色彩，僅憑藉對基本材料的物理運用來賦予它們新的 含義。 本次以聯名著名的拍品如Lot 1043《 BE@RBRICK x FRAGMENT DESIGN x MIDLAND CREATION 九谷燒 庫柏 力克熊 400% 》版本，以特有的日式九谷燒材質與庫柏 力克熊結合，兼具藝術性與造型裝飾美感。Lot 1044 《BE@RBRICK FRAGMENT DESIGN POLYGON RED 紅水晶庫柏 力克熊 100%》Lot 1045《BE@RBRICK x ROYAL SELANGOR 金錫熊 400%》，許多創新的材質及聯名的作品，更是不 容錯過。 在台灣發展許久的日本藝術家阿部乳坊（ABE Nyubo，b. 1982），阿部的作品內容主要以人體為主， 透過延展的身軀強化了造形的趣味與好奇外，變形後展現 出輕巧的造形力量與他所提出對於自身欲望與記憶的厚重 思考空間。Lot 1003《永恆的旅者 Eternal Traveller》 出自泰戈爾《漂鳥集》306首： 「 永恆的旅人啊！您將會在我 的吟唱裡發現您的足跡！ 」， 木雕原作佇立在台東池上振興 梯田，深受遊客及鄉里居民喜 愛，旅者與一隻同樣配戴著飛

Daniel ARSHAM (b. 1980), now living in New York, sees himself as a future archaeologist, discussing the fragility of human civilization and the passing of time. This sale gathers his classic works from "Future Relics Series" and "Eroded Series", including Lot1007 "Eroded Mahjong", Lot1010 "Fictional Nonfiction Archaeology", Lot1041 “Eroded 911 Turbo" and Lot1042 "The Corroded Pikachu." In his works, there will often be ideas under the collision between reality and fiction, destruction and creation, emphasizing that shapes have almost no additional colors, and only relying on the physical use of basic materials to give them new meanings.

In this sale, there are well-known joint lots such as Lot1043 "BE@RBRICK x FRAGMENT DESIGN x MIDLAND CREATION Kutani 400%" version, which combined with the unique Japanese Kutani Yaki material and Kubrick bear, both has artistic and decorative aesthetics. Joint works with innovative materials such as Lot1044 "BE@RBRICK FRAGMENT DESIGN POLYGON RED 100%", Lot1045 "BE@RBRICK x ROYAL SELANGOR Gold Color 400%" should not be missed.

ABE Nyubo (b. 1982), a Japanese artist who has been developing in Taiwan for a long time, mainly focuses on the human body in his works. In addition to strengthening the fun and curiosity of shaping through the stretched body, the deformed body shows the light shaping power and the thick thinking space he proposed for his own desires and memories. Lot1003 "Eternal Traveller" comes from Tagore's "Floating Bird Collection" 306: "Eternal Traveler! You will find your footprints in my singing!" The original wood carving stands on the terraces of Taitung Pond and is deeply loved by tourists and residents of the village. The travelers stopped in the fields with an egret which also wears flying glasses, echoing the surrounding rice fields.

行眼鏡的白鷺鷥一起駐足在田 間，呼應四周的稻田風景。

Lot 1003 4

Lot 1046

Lot 1141

草間彌生、村上隆、奈良美智，並列當代名氣最 高的三位日本藝術家。他們不僅在藝術領域各領風 騷，創作跨界合作，受到流行時尚、文學、商品與大 眾文化的喜愛。草間彌生的作品偏執熱誠，她曾表 示：「當我抱起南瓜時，便會想起遙遠孩提時代的記 憶。我的心有好幾次，都因南瓜獲得救贖，在過往內 心困苦的日子裡，南瓜總能撫慰我的心靈。」大小不 一的小黑點，就象徵著無限繁殖的生命力；村上隆提 倡超扁平，極具眩惑的視覺圖像，創造的卡漫人物繽 紛愉悅、掌握時代與潮流趣味，將藝術商品化，廣泛 推廣聯名活動；奈良美智筆下的小女孩溫暖、親和、 觸動人心，單純臉孔與凝視的背後，卻又包裝著他對 生命和環境的反思與詮釋，「即使世界崩塌，我也想 在創作中保持童年時的單純心境。」藝術家保留了赤 子之心，對社會變動提出天真嘲諷的反抗話語，令人 著迷且銘記腦海。 直至當下，大眾日常能從餐廳、咖啡店、精品店 之中找尋到藝術家的作品圖像，它們化為各種周邊用 品、擺設用的裝飾玩具、公仔、海報、模型等，而深 受大眾喜愛。透過不同創作，藝術家藉由色彩、構 圖、創作素材等元素來表達自己對於社會、資本主 義、消費主義、主流價值、世界現象的融合、批判、 翻玩等概念，創造出嶄新的當代藝術格局，刺激觀眾 的視覺神經，讓人體會新型態的藝術樣貌。街頭流行 文化不僅能表現藝術家之美，價格又貼近大眾，反映 出潮流趨勢，更新的速度更快、數量更多，推廣的層 面更廣。現今全球掀起一股潮流文化的收藏熱潮，不 但擺脫主流的框架，反建立出自有的獨特收藏市場。

5

Lot 1009

KUSAMA Yayoi, MURAKAMI Takashi and NARA Yoshitomo are among the three most famous contemporary Japanese artists.

Not only they lead in the art filed, they also collaborate in crossindustry projects, and are loved by popular fashion, literature, commodities and popular culture. KUSAMA Yayoi's works are paranoid and enthusiastic. She once said: “When I pick up a pumpkin, I think of the memories of a distant childhood. My heart has been redeemed because of the pumpkin several times. It can always soothe my soul." The small black dots of different sizes symbolize the vitality of unlimited reproduction; MURAKAMI Takashi advocates ultra-flat and dazzling visual images. The characters he creates are colorful and joyful, mastering the times and trends, commercializing art, and extensively promoting joint activities; the little girl in NARA Yoshitomo's works is warm, friendly, and touching. Behind her simple face and gaze wraps NARA’s reflection and interpretation of life and the environment.

"Even if the world collapses, I still want to keep the pure mind of childhood in my creation.”

Even now, the public can find the artist’s work images in restaurants, coffee shops, and boutiques. They are transformed into various peripheral items, decorative toys for display, dolls, posters, models, etc., and are well received by the public.

Through different creations, artists use color, composition, creative materials and other elements to express their concepts of integration, criticism, and revelation of society, capitalism, consumerism, mainstream values, and world phenomena, creating a new contemporary art pattern which stimulate the visual nerves of the viewer and let people experience a new style of artistic appearance. Street pop culture can not only express the beauty of the artist, but the price is close to the public, reflecting the trend, the fast update speed, the increasing quantity, and the wider promotion level. Nowadays, the world has set off a collection craze of trending culture, which not only breaks away from the mainstream framework, but establishes its own unique collection market.

6

1001

小畑多丘（日本，b.1980）X MEDICOM TOY

OBATA Taku X MEDICOM TOY

B-GIRL Down Jacket NAGAME 2016 Black

B-GIRL Down Jacket NAGAME 2016 Black

彩繪寶麗石粉樹脂 2019 雕刻底部：2016 TAKU OBATA 簽名底部：60/100 TAKU OBATA 35×12×10 cm（13.7×4.7×3.9 in.）

Painted polystone resin 2019 Carved bottom : 2016 TAKU OBATA Signed bottom : 60/100 TAKU OBATA Manufacturer : MEDICOM TOY

製造商：MEDICOM TOY Trademark: 註冊商標： 印 MEDICOM TOY 2019（右腳底部） 印 TAKU OBATA（左腳底部） 附原裝盒 限量100件

Print with MEDICOM TOY 2019 (R) Print with TAKU OBATA (L) With original box Edition of 100

NT$ 65,000-100,000 HK$ 18,200-28,000 US$ 2,330-3,580

7

1002

班克斯（英國，b.1974）

Banksy

掛牌猴子－什麼都不做 你可以活的更久

MONKEY SIGN-Do Nothing You'll Live Longer

（黑、白，兩件一組）

(Black, White, set of 2)

鑄模 樹脂 雕塑 2016（黑） 鑄模 樹脂 雕塑 2019（白） 19×15×35 cm x2（7.4×5.9×13.7 in.）x2

Cast resin sculpture 2016 (Black) Cast resin sculpture 2019 (White) Edition of 500

限量500件 (White) Trademark: （白色）註冊商標： © MMXVI Full Colour Black Ltd.（右腳底部） MEDICOM TOY 2019 CHINA（左腳底部）

© MMXVI Full Colour Black Ltd. (R) MEDICOM TOY 2019 CHINA (L) (Black) Ttrademark:

（黑色）註冊商標： © MMXVI Full Colour Black Ltd.（右腳底部） MEDICOM TOY 2016 CHINA（左腳底部） 附原裝盒

© MMXVI Full Colour Black Ltd. (R) MEDICOM TOY 2016 CHINA (L) With original box

NT$ 120,000-190,000 HK$ 33,600-53,200 US$ 4,300-6,810

8

1003

阿部乳坊（日本，b.1982） 永恆的旅者 複合媒材 2020 簽名背包下方：Abe Nyubo 2020 37/88 18×11×35 cm （7×4.3×13.7 in.） 限量88件 附藝術家簽名之作品保證卡 附原包裝盒

ABE Nyubo Eternal Traveller Mixed media 2020 Signed below the backpack : Abe Nyubo 2020 37/88 Edition of 88 Attached work certificate signed by artist With original box

NT$ 32,000-46,000 HK$ 9,000-12,900 US$ 1,150-1,650

1004

空山基（日本，b.1947） 霸王龍 軟膠 2019 20.3×63.5×12.7 cm（8×25×5 in.） 限量1000件 附原包裝盒

SORAYAMA Hajime T-Rex Cyborgs Soft Vinyl 2019 Edition of 1000 With original box

NT$ 40,000-80,000 HK$ 11,200-22,400 US$ 1,430-2,870

9

1005

班克斯（英國，b.1974） 擲花者–黑 寶麗石粉樹脂 2019 35.5×9×39 cm（14×3.5×15.4 in.） 製造商：MEDICOM TOY 註冊商標： © MMXV Full Colour Black Ltd.（右腳底部） MEDICOM TOY 2019 CHINA（左腳底部） 附原包裝盒

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

NT$ 46,000-60,000 HK$ 12,900-16,800 US$ 1,650-2,150

1006

班克斯（英國，b.1974） 擲花者–白 寶麗石粉樹脂 2018 35.5×9×39 cm（14×3.5×15.4 in.） 製造商：MEDICOM TOY 註冊商標： © MMXV Full Colour Black Ltd.（右腳底部） MEDICOM TOY 2018 CHINA（左腳底部） 附原包裝盒

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

NT$ 36,000-55,000 HK$ 10,100-15,400 US$ 1,290-1,970 10

1007

丹尼爾‧阿瑟姆（美國，b.1980） 被侵蝕的麻將 複合媒材 2020 15×20×30 cm（5.9×7.8×11.8 in.） 限量500件 附原包裝盒

Daniel ARSHAM Eroded Mahjong Mixed media 2020

Edition of 500 With original box

NT$ 55,000-90,000 HK$ 15,400-25,200 US$ 1,970-3,230

1008

詹姆斯．賈維斯（英國，b.1970）x CASE STUDYO 白釉茶壺 2019 茶壺：18×19×11 cm （7×7.4×4.3 in.） 杯子：5.4×5.4×6.2 cm （2.1×2.1×2.4 in.） 註冊商標： 印 Case Studyo 商標（左腳底部） 印 James Jarvis 2019 Edt.250（右腳底部） 限量250件 附作品保證卡 附原裝盒

James JARVIS x CASE STUDYO TEAPOT White glazed porcelain teapot 2019

Trademark: Printed with Case Studyo logo (L) Print with James Jarvis 2019 Edt.250 (R) Edition of 250 Attached Work certificate With original box

11

NT$ 45,000-70,000 HK$ 12,600-19,600 US$ 1,610-2,510

1009

手塚治虫（日本，1928-1989） 原子小金剛 複合媒材 2020 15×30×51 cm （5.9×11.8×20 in.） 製造商：TOKYO TOYS 註冊商標： 印有手塚製作公司商標：©Tezuka Productions（底座標籤） 限量100件 附原裝盒

TEZUKA Osamu TEZUKA PRODUCTIONS x TOKYO TOYS Astro Boy Mixed media 2020

Manufacturer: TOKYO TOYS Trademark: Print with ©Tezuka Productions (Base label) Edition of 100 With original box

NT$ 70,000-110,000 HK$ 19,600-30,800 US$ 2,510-3,940 1010

丹尼爾‧阿瑟姆（美國，b.1980） 未來遺跡考古書 複合媒材 2019 24×15×3 cm（9.4×5.9×1.1 in.） 限量500件 附原裝盒

Daniel ARSHAM Fictional Nonfiction Archaeology Mixed media 2019 Edition of 500 With original box

NT$ 40,000-70,000 HK$ 11,200-19,600 US$ 1,430-2,510 12

Andy WARHOL, Marilyn MONROE (F. & S. II.22-31), screen print in colors on paper, 91.4 x 91.4 cm, 1967.

13

隆那‧阿普里揚（Ronald APRIYAN）是印尼著名 的藝術家，以其獨特的繪畫技法和具識別性的圖樣聞 名，他經常會描繪兒時的記憶和夢想，藉著繽紛如糖 果的色彩，讓他筆下的作品成為通往童年的橋樑，傳 遞的情感。喚起人們在成長過程中逐漸遺失的那股童 心，展現嬉戲及與生俱來的幽默感，展示屬於天真的 繽紛世界。

Ronald APRIYAN is an Indonesian artist known for his unique painting techniques and recognizable patterns. He often depicts childhood memories and dreams, and makes his works a bridge to childhood to convey emotions through vivid colors like candy.

His works arouse the childlike innocence that people have gradually lost in the process of growing up, showing playfulness and innate sense of humor, and show the innocent and colorful world.

在Ronald最新的「復古與流行」系列中，以當時 流行的元素作為創作題材，就好像在向復古的年代致 敬，抓住了那個時代的精神。作品融入過去幾十年的 流行娛樂、音樂和廣告的懷舊特色。視覺上，使用明 亮而大膽的色調，巧妙地使用霓虹色線條來強調並突 顯主題，讓人過目不忘。霓虹般的調性是對1940年代 新媒體廣告致敬，當時的城市景觀被閃爍迷人的霓虹 燈照亮且轉化了，如普普藝術大師安迪‧沃荷（Andy WARHOL, 1928-1987）也特別在Marilyn DIPTYCH作 品中使用霓虹色。

In Ronald's latest "Retro and Fashion" series, by using the popular elements as the subject matter of creation seems to pay tribute to the retro era and capture the spirit of that time. The works incorporate the nostalgic features of popular entertainment, music and advertising from the past few decades.

Visually, both bright and bold colors are used, and neon color lines are cleverly applied to emphasize and highlight the theme, which is unforgettable. The neon tone is a tribute to the high degree of new media advertising in the 1940s, when the urban landscape was illuminated and transformed by flashing neon lights, such as the pop art master Andy WARHOL (1928- 1987) also especially used neon colors in Marilyn DIPTYCH's works.

本次拍品Lot 1011《Chaplin》Ronald表示自己 和卓別林具有想同的理念「 將快樂帶給眾人」，畫作 中的主體身著如同卓別林經典的服飾，並在畫面中巧 妙的將卓別林的身影置入其中，以天真活潑的元素圖 案作為裝飾，展現俏皮生動的氛圍，讓人不禁感受到 Ronald和卓別林想帶給世界歡樂的氛圍。

Moreover, in Lot1011 “Chaplin”, Ronald stated that he and Chaplin have the same philosophy, which is to "bring happiness to everyone." The subjects in the painting are dressed in Chaplin's classic costumes, and the figure of Chaplin is cleverly placed in the picture, decorated with innocent and lively element patterns. It shows a playful and vivid atmosphere, which makes people can't help but feel the joyful atmosphere Ronald and Chaplin want to bring to the world.

1011

隆那．阿普里揚（印尼，b.1979）

Ronald APRIYAN

卓別林

Chaplin

壓克力 畫布 2021 簽名左下：RNL2021 200×190 cm（78.7×74.8 in.）

Acrylic on canvas 2021 Signed lower left: RNL2021

NT$ 500,000-650,000 HK$ 140,100-182,100 US$ 17,920-23,300 14

根據拍品Lot 1012《Zorro》，描述的蘇洛（Zorro） 是強斯頓‧麥庫力（Johnston MCCULLEY）於1919年發表 的冒險小說《蒙面俠蘇洛》裡的超級英雄，以蒙面來隱藏 真實身份。Zorro本人說：「身份對做好事並不重要。即使 在面具下也可以表現良好。」這也是Ronald最喜歡的一句 話。畫中人物以蒙上眼罩的造型，騎在馬匹上手握刀劍， 上方列出當時電影的主要演員，包括安東尼奧‧班德拉斯 （Antonio BANDERAS）、安東尼‧霍普金斯（Sir Philip Anthony HOPKINS）、凱薩琳‧麗塔–瓊絲（Catherine ZetaJONES），就像如同手繪版的電影海報。 受這些元素的啟發，Ronald的作品代表流行音樂和藝 術品的融合，這樣的藝術觀念及其層次結構，在平等的對 話中，將重新煥發活力且不斷的被顛覆。實際上，Ronald 的作品歌頌所有藝術和文化的影響。在他的作品面前，我 們感受到一種懷舊和新穎交錯，令人耳目一新。也許是因 為他的作品為我們提供了一種視野，當我們凝視著色彩斑 斕的畫布時，將自己帶入了從前如孩子般的自我。而隆那 仍不斷設法為這些可識別的圖像注入新的生命，以他自己 特有的風格巧妙地改造和重新詮釋它們，將他的藝術視野 與從小吸收的西方文化相結合。

15

According to Lot1012 “Zorro”, Zorro is described as a superhero using a mask to hide his true identity in the adventure novel “The Masked Man Sullo” published by Johnston MCCULLEY in 1919. Zorro once said: " Identity is not important to do good deeds. Performing good can be done even under the mask." This is also Ronald's favorite quote from the book. The figure in the painting is blindfolded, riding on a horse and holding a sword. The main actors of the movie at the time are listed above like a hand-painted movie poster, including Antonio BANDERAS, Sir Philip Anthony HOPKINS, and Catherine Zeta-JONES. Inspired by these elements, Ronald's works represent the fusion of Pop music and art. Such artistic concepts and hierarchical structure will be rejuvenated and constantly subverted in an equal dialogue. In fact, Ronald's work celebrates all artistic and cultural influences. By looking at his works, we can feel a strange interlacing of nostalgia and novelty. Perhaps it is because his works provide us with a kind of vision, when we stare at the colorful canvas, we bring ourselves into the self like a child before. Ronald is still trying to apply new sense of life into these recognizable images, subtly transforming and reinterpreting them in his own style while combining his artistic vision with the Western culture he has absorbed since childhood.

1012

隆那．阿普里揚（印尼，b.1979）

Ronald APRIYAN

蒙面俠蘇洛

Zorro

壓克力 畫布 2020 簽名右下：RNL2020 180×180 cm（70.8×70.8 in.）

Acrylic on canvas 2020 Signed lower right : RNL2020

NT$ 460,000-600,000 HK$ 128,900-168,100 US$ 16,490-21,510 16

1013

李錫奇（台灣，b.1938）

LEE Shi Chi

遠古的記憶

A Remote Memory

油彩 畫布 1991 75×75 cm（29.5×29.5 in.）

Oil on canvas 1991

Attached with a gallery guarantee letter signed by the artist

附藝術家親簽之畫廊保證書

NT$ 240,000-350,000 HK$ 67,200-98,000 US$ 8,600-12,540

17

1014

蕭勤（中國，b.1935）

HSIAO Chin

天地之5

World 5

壓克力 畫布 1990 53×65.5 cm（20.8×25.7 in.）

Acrylic on canvas 1990

Attached with a gallery guarantee letter signed by the artist

附藝術家親簽之畫廊保證書

NT$ 260,000-400,000 HK$ 72,800-112,000 US$ 9,320-14,340

18

1015 A

張義雄（台灣，1914–2016） 台南孔廟 水彩 紙 1954 簽名右下：'54 CHANG.Y. 22.5×31 cm（8.8×12.2 in.） 附畫廊保證書

CHANG Yi Hsiung Tainan Confucian Temple Watercolor on paper 1954 Signed lower right : '54 CHANG.Y. Attached gallery certificate

1015 B

張義雄（台灣，1914–2016） 阿里山 水彩 紙 1954 簽名右下：'54 CHANG.Y. 24.5×35 cm（9.6×13.7 in.） 附畫廊保證書

CHANG Yi Hsiung Alishan Watercolor on paper 1954 Signed lower right : '54 CHANG Y. Attached gallery certificate

1015 C

張義雄（台灣，1914–2016） 鹿港 水彩 紙 1954 簽名右下：'54 CHANG. 23.5×34 cm（9.2×13.3 in.） 附畫廊保證書

CHANG Yi Hsiung Lukang Watercolor on paper 1954 Signed lower right : '54 CHANG. Attached gallery certificate

NT$ 60,000-120,000 HK$ 16,800-33,600 US$ 2,150-4,300 19

孤獨情真 – 王攀元 從王攀元的畫作中，不難發現他是一個從一而終、

攀老將傳統的精隨融合現代的表現手法，透過顛沛流

追求安定的人，王攀元不斷地重複著相同的符號—龜山

離的一生賦予作品獨特的氣質，流露於筆觸間的寫意抒

島、紅通通的太陽、黑色奔跑的狗、江海中飄盪的船隻、

情，複雜而矛盾，乍看之下是寂寥沉靜的孤獨美學，隱藏

紅色的女子，這些敘事符號的背後都有其深刻的意義。

在平和簡約的構圖之下是濃烈的情感。王攀元在水墨書法

上海美專畢業，原本計畫與女友一同留法，但戰亂時局下

上的心得頗有研究，乾濕濃淡的施用，一直是其所擅長， 尤其可見於水墨作品中。本季拍品呈現Lot 1022《 閑靜

情人分離，他1949年來臺，直到1952年受聘前往宜蘭羅 東中學教書，在純樸的宜蘭過著穩定的校園執教生活，漂

秋意》、Lot 1077《丹陵弱水》、Lot 1078《枯寂靜美》

泊超過半個世紀，才終於塵埃落定，宜蘭成了他的第二個

及Lot 1082《勁節虛心》可見線條筆法的流動牽引；Lot 1018《 依巖幽居 》、Lot 1020《 夏荷盛開 》、Lot 1024

故鄉。 他出生於江蘇望族，年幼時父母早逝，顛沛流離沒過 上好日子，他將人生際遇的悲喜之情交融，創作出內心糾 結最深沉的吶喊，且富含詩意的獨特畫風，將濃得化不開 的鄉愁幻化成紙上的墨，懷念遠方的家鄉故人，感慨昔日 的徬徨困苦，走過的漫漫長路，都將化作紙上的墨印，永

《高山疊嶂》、Lot 1076《虛清靜美》及Lot 1080《高山 縹緲》利用濃淡區分主從前後關係；Lot 1016《思鄉者》 及Lot 1023《那人》以寥寥數筆使用留白製造空無境界； Lot 1021《凌雲自在》精煉閑熟的筆畫描摹畫山巒挺立的 景色。

久珍藏。 「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，在畫面上相互參用，以求平 衡，不可過與不及。關於畫面上之基調濃淡，以個人之好 惡為原則，二者作風各有千秋，不過總以不落俗套為目 的。」–王攀元 1974年5月8日 對水墨的感情是其祖國文化的驕傲，也是對家鄉的想 念。在《孤獨情深》一書中記錄為何王攀元的水墨不被世 人熟知，以下為節錄：其中水墨，除了民國七十六年在臺 北雄獅畫廊舉辦過一次個展外，卻不曾再展出過，原因是 有個水墨的江蘇同好私下向他表示「你學的是西畫，展展 油畫、水彩就可以了，水墨讓我來就好。」為了給別人生 存空間，自此不再舉辦水墨展覽。所有創作媒材中，王攀 元對水墨最有感情，他說，那才真正是中國人的東西。

20

「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， 出生名門、無父無母、來自何方，日落東方。」 1965年王攀元在手札裡寫了一首詩，道盡藝術家戲 劇化又多舛的人生際遇，在他的畫中，總能窺見幾分憂 愁。Lot 1017《 出航遠渡 》、Lot 1019《 欣於所遇 》及 Lot 1075《暮城》以水彩渲染畫面，單純且俐落，尤其在 渲染的過程中，卻能夠看出王攀元僅以暈染的痕跡區分天 地，可知筆觸絲毫不猶豫，便能達成畫面所闡述之情。 攀老曾說：「一個畫家必須要有自己的體系與風格， 那就是孤獨。 」擅長描繪這世上身為人的孤單與寂寞， Lot 1079《朝陽》中便能端詳其一，透過渲染呈現的迷濛 背景，右上角有一丸紅日，畫面中央佇立著一個人，瘦弱 細小的肩膀，人影就顯得更單薄了。 「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。」 王攀元是為了藝術而生的人。儘管晚年身體狀況並不 好，仍堅持作畫；即便身世坎坷，從不怨天尤人，他期許 自己有個開闊的胸襟，在眾多的創作中，雖然看得見孤 寂，卻看不見黑暗，是一個遼闊超然的境地，人之於大自 然是如此的渺小、微不足道。 枯樹潤澤猶生意 深淺濃淡展挺筋

1016

遠山逸筆草草過

王攀元（台灣，1909–2017）

小亭無人空餘音

思鄉者

Lot 1081《冬心》王攀元老師此作沿襲其簡筆寫意風 格，寫著心中的風景，畫下寂寥無語天地寬敞的境界。畫

水墨 紙本 鏡框 鈐印：王攀元（白文） 34.5×34 cm（13.5×13.3 in.）

面三株挺拔參天等待春天發芽的樹叢，訴說著強韌的生命 力，樹下低矮的小亭彷彿等待下一個過客的笑語；小亭依 偎著高樹，疲累的心靈似乎有了依靠!高樹為群山環抱立

檢附購買證明

足山間，寧靜中便有了安詳！遠山輕描淡寫掠過畫面，觀

WANG Pan Youn

者隨著畫家筆意望著遠方的無垠天地。

Homesick Ink on paper, framed

王攀元曾在札記寫下：「所謂畫盡意在，就是用最小 限度的表現手段，獲得最大限度的表現效果。換言之，即

Inscribed with one seal of the artist

意到筆不到。」在他的水墨畫完美重現了此段話，畫面大

With proof of purchase

面積的留白營造靜思的空間，率性豪爽的墨筆直抒胸臆， 細細品味，卻能使觀者切身感受到，每幅畫作都是王攀元 對過往的想念，對人生的醒悟，對藝術的無止境追求。 21

NT$ 50,000-90,000 HK$ 14,000-25,200 US$ 1,790-3,230

22

1017

王攀元（台灣，1909–2017）

WANG Pan Youn

出航遠渡

Sailing

水彩 紙 簽名右下：P.Y 26.5×38.5 cm（10.4×15.1 in.）

Watercolor on paper Signed lower right : P.Y With proof of purchase

檢附購買證明

NT$ 200,000-300,000 HK$ 56,000-84,000 US$ 7,170-10,750

Lot 1017《出航遠渡》簡約的畫風，整體氛圍恬淡宜 人。船，是攀老曠達又淒美的象徵符號，或有帆無人，或 有帆有人，或出現數船齊航的景象，境界還是空曠沉寂。 23

此作訴說乘船飄泊遠赴異鄉，偌大的背景展現曠達的心 境，是平靜、和諧的氛圍。

1018

王攀元（台灣，1909–2017）

WANG Pan Youn

依巖幽居

Flow Cross The Distance

水墨 紙本 立軸 鈐印：攀元書畫（白文） 66×57.5 cm（25.9×22.6 in.）

Ink on paper, hanging scroll Inscribed with one seal of the artist With proof of purchase

檢附購買證明

NT$ 130,000-220,000 HK$ 36,400-61,600 US$ 4,660-7,890 24

1019

王攀元（台灣，1909–2017）

WANG Pan Youn

欣於所遇

Gladly Met

水彩 紙 1960 畫背簽名：王攀元一九六○於台灣宜蘭 鈐印：王攀元（白文） 21.8×29.5 cm（8.5×11.6 in.）

Watercolor on paper 1960

檢附購買證明

With proof of purchase

Signed on the reverse : named WANG Pan Youn in 1960 in Yilan, Taiwan in Chinese.

Inscribed with one seal of the artist

NT$ 120,000-220,000 HK$ 33,600-61,600 US$ 4,300-7,890 Lot 1019《 欣於所遇 》以水彩渲染畫面，單純且俐 落，攀老僅以暈染的痕跡區分天地，可知筆觸絲毫不猶 豫，便能達成畫面所闡述之情。畫面右下角巨大的枯樹， 象徵王攀元堅韌的生命力，左旁中等的枯樹，後面有房舍 25

數間，遠方隱約看見綿延的山巒佇立，意味攀老要在宜蘭 這個地方生根求生活，遠山模糊似有似無象徵江蘇老家在 遙遠的地方，精湛透視技法、層遞分明，天空是廣大的藍 色令人無限遐思。

1020

王攀元（台灣，1909–2017）

WANG Pan Youn

夏荷盛開

Summer Lotus Blooming

水墨 紙本 立軸 鈐印：王攀元長壽（白文） 67.5×69 cm（26.5×27.1 in.）

Ink on paper, hanging scroll Inscribed with one seal of the artist With proof of purchase

檢附購買證明

NT$ 120,000-260,000 HK$ 33,600-72,800 US$ 4,300-9,320 26

1021

王攀元（台灣，1909–2017） 凌雲自在 水墨 紙本 鏡框 鈐印：王攀元印（朱文） 58.6×28 cm（23×11 in.） 檢附購買證明

WANG Pan Youn Soaring In The Clouds Ink on paper, framed Inscribed with one seal of the artist With proof of purchase

NT$ 70,000-130,000 HK$ 19,600-36,400 US$ 2,510-4,660 Lot 1021《凌雲自在》簡單明快，畫面布局為黑色山 巒挺立幾乎占滿畫面的九成，透過墨色的暈染呈現高低起 伏的山勢，天際稍加留白，筆觸不急不徐，漸層的墨色宛 如氤氳瀰漫群山，孤雁徜徉飛翔自在，更顯得山景的廣 闊。抹去繽紛色彩，獨留黑灰白的世界，更聚焦在每一痕 墨跡，王攀元精煉嫻熟的筆畫描摹一幅幅風景，收放自如 的筆觸亦如他收放自如的人生，變化萬千的墨色，天地山 水巧妙浮於紙上，每幅畫作都是他對人生的醒悟，對藝術 的無止境追求。

1022

王攀元（台灣，1909–2017） 閑靜秋意 水墨 紙本 鏡框 鈐印：王攀元印（朱文） 35.5×34.2 cm（13.9×13.4 in.） 檢附購買證明

WANG Pan Youn Leisurely Autumn Ink on paper, framed Inscribed with one seal of the artist With proof of purchase

NT$ 50,000-90,000 HK$ 14,000-25,200 US$ 1,790-3,230 27

1023

王攀元（台灣，1909–2017）

WANG Pan Youn

那人

That Person

水墨 紙本 立軸 鈐印：王后（白文） 39×25.3 cm（15.3×9.9 in.）

Ink on paper, hanging scroll Inscribed with one seal of the artist With proof of purchase

那人身形微傾著 那人聽見世界聲音 聽 風的呼嘯 聽 花的綻放 聽 葉的飄落 聽 雨的聲音 那人聽見靜美的聲音 一腳踏前 怕是壞了窗前的寧靜 再步向前 恐為碎了苔階的陳綠

檢附購買證明

NT$ 50,000-90,000 HK$ 14,000-25,200 US$ 1,790-3,230

孤俊身影 歲月催彎了挺勁 沉邁步履 流光洗退了矯捷 濃墨點首 沉思空 渴筆寫足 徘徊去 濃淡畫身 惆悵意 留白抒懷 孤獨雨 28

1024

王攀元（台灣，1909–2017） 高山疊嶂 水墨 紙本 立軸 鈐印：攀元書畫（白文） 136×28.5 cm（53.5×11.2 in.） 檢附購買證明

WANG Pan Youn Mountain Peak Ink on paper, hanging scroll Inscribed with one seal of the artist With proof of purchase

NT$ 130,000-220,000 HK$ 36,400-61,600 US$ 4,660-7,890

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Lot 1024《高山疊嶂》以簡單的留白呈現清澈平靜的水面，水面無垠上 接遙遠的山巒，佇立於山前渺小的小船，形單影隻。水墨用色濃淡乾枯隨心 所欲而不凝滯，墨象參差、墨韻自華，筆筆真情。作品中可見攀老自我內心 的觀照以簡潔的主題刻畫其細膩的情感詮釋。孤寂的感觸與漂泊的情思，樹 立其獨特深沉的生命哲思。色彩簡單素雅，筆觸線條勾勒出了船隻的樸拙韻 味，王攀元一生歷經大時代的動盪，江蘇偌大家園失落，遂飄泊靜居蘭陽平 原，崎嶇苦澀生活，卻也塑造出其特殊的藝術語言風格，個人生命歷練的情 感流露，真實而動人。

1025

吳少英（澳門，b.1966）

Cindy NG Sio Ieng

流動的詩意8906

Flowing Poetry 8906

水墨 畫布 2006 53×133 cm（20.8×52.3 in.）

Ink on canvas 2006

NT$ 90,000-180,000 HK$ 25,200-50,400 US$ 3,230-6,450

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1026

邱秉恆（台灣，b.1948） CH-AO-026 油彩 畫布 1990 簽名左下：秉恆 212×49 cm（83.4×19.2 in.）

CHIU Bing Heng CH-AO-026 Oil on canvas 1990 Signed lower left : Bing Heng in Chinese

NT$ 400,000-550,000 HK$ 112,000-154,100 US$ 14,340-19,710

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1027

邱秉恆（台灣，b.1948） CH-BW-F001 水彩 紙 1993 簽名左下：秉恆 101.5×66 cm（39.9×25.9 in.）

CHIU Bing Heng CH-BW-F001 Watercolor on paper 1993 Signed lower left : Bing Heng in Chinese

NT$ 240,000-350,000 HK$ 67,200-98,000 US$ 8,600-12,540

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1028

邱秉恆（台灣，b.1948）

CHIU Bing Heng

CH-BW-F007

CH-BW-F007

油彩 畫布 1995 簽名右下：秉恆 78×54 cm（30.7×21.2 in.）

Oil on canvas 1995 Signed lower right : Bing Heng in Chinese

NT$ 180,000-250,000 HK$ 50,400-70,000 US$ 6,450-8,960 33

1029

詹金水（台灣，b.1953）

JAN Chin Shui

追日

Chasing The Sun

油彩 畫布 1997 簽名左下：金水 1997 161.5×130 cm（63.5×51.1 in.）

Oil on canvas 1997 Signed lower left : Chin Shui in Chinese 1997

NT$ 180,000-300,000 HK$ 50,400-84,000 US$ 6,450-10,750 34

1030

張義雄（台灣，1914–2016）

CHANG Yi Hsiung

塞納河

Seine

油彩 畫布 1988 簽名左下：CHANG.Y. '88 27×41 cm（10.6×16.1 in.）

Oil on canvas 1988 Signed lower left : CHANG.Y. '88 Attached gallery certificate

附畫廊保證書 出版： 鄭俊德：《張義雄》（臺中市：哥德藝術中心，1999年），頁 59。

Literature: Zheng Junde, CHANG Yi Hsiung (Taichung: Gothic Art Center, 1999), p. 59.

NT$ 65,000-120,000 HK$ 18,200-33,600 US$ 2,330-4,300

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1031

林惺嶽（台灣，b.1939）

LIN Hsin Yueh

瓶花

Vase Of Flowers

油彩 畫布 1974 簽名右下：林 1974 92×73 cm（36.2×28.7 in.）

Oil on canvas 1974 Signed lower right : Lin in Chinese 1974

NT$ 220,000-400,000 HK$ 61,600-112,000 US$ 7,890-14,340 36

林風眠的作品體現的意境具有東方詩意， 且有著濃厚的中國傳統審美趣味，沒有使用傳 統的筆墨，沒有以書法用筆作為造型手段，他 用了一種較為輕快、活潑而富有力度的線。他 的繪畫題材內容很廣泛，作品具有極強的表現 主義色彩，從中透出特有的一種孤寂、空漠的 情調，一種平和而含蓄的美。 Lot 1032《仕女》以方形構圖，受西方表 現主義和野獸主義影響，打破「隨類賦彩」的 傳統觀念。身罩紫紗的閨婦，捧托著一朵菡 萏，盤坐羅漢床上，與古書、靜瓶為伴，內心 似有絲縷般的情思，蘊藏著濃郁、悲涼、深沉 及靜寂的種種情調。簡約單純的筆法，在方形 佈陣中找到平衡，從而呈現出別有韻味的靜態 美。這種美具有典型的東方趣味，有別於西方 的審美格調，卻又融合了中西藝術，充滿生 命力。 背景簡約而抽象，墨色量染有致，以熟練 的技巧運轉線條與色彩，散發靜謐的幽光和古 典雅致的氛圍，利用細緻的筆觸，勾勒出人物 的外觀輪廓，展現了畫家的毛筆功。畫中仕女 含蓄端坐，氣質高雅，捧花微笑，身著淡紫色 的衣物，彷若東方美神之化身，畫家在畫面中 保有中國傳統美學的筆墨趣味與深邃意境，但 構圖的形式或佈局都可見西畫的取向。在色彩 方面，水墨、水粉和水彩的結合，複合的表現 形式豐富了中國畫的表現力，服飾上的白粉塗 抹出宋瓷般的晶瑩光澤，以及女子身後透出的 光線，營造一種朦朧的情調，使得畫面充滿光 線的印象，傳統美學中融入現代感，林風眠的 仕女畫在近代中國藝術家中風格獨樹一幟。 林風眠一生培育英才無數，其中不乏具 國際知名者，如旅居法國的趙無極、朱德群 等人，被譽為「中國現代美術發展先驅」的他 一生坎坷，但卻化悲苦為美善，畫作中充滿祥 和與靜謐、抒情與生趣，種種頓挫在他筆下昇 華為一幅幅寧靜的畫作，對中西文化的融合有 極大的貢獻。林風眠的創作風格兼融東西藝術 的精華，擷取了西方藝術強調的自由，並結合 了中國民間藝術的純樸，如同一首溫柔的抒情 詩，令人回味無窮。

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LIN Feng Mian 's works reflect the artistic conception and oriental poetry, and have a strong traditional Chinese aesthetic taste. He did not use traditional pen and ink, nor using calligraphy as a modeling method. He used a relatively light, lively, and powerful line. The subject matter of his paintings is very broad, and his works have a strong expressionist color, which reveals a unique lonely and empty sentiment, a peaceful and implicit beauty.

Lot1032 "Lady" has a square composition, influenced by Western expressionism and Fauvism, breaking the traditional concept of "giving colors to every kind". A girl in purple gauze is sitting on the Arhat bed with a flower in hand, accompanied by ancient books and quiet bottles.

There seems to be a thread of sentiment in her heart, which contains various feelings of richness, sadness, deepness and silence. The simple brushwork finds a balance in the square composition, thus presenting a static beauty with a unique charm. This kind of beauty has a typical oriental taste, which combines both Chinese and Western art and is full of vitality.

The background is simple and abstract, and the amount of ink is welldyed. The lines and colors are circulated with skilled techniques, exuding a quiet light and an elegant atmosphere. Using meticulous brushstrokes, the shape of the figure is outlined, showing the artist’s brush skills. The lady in the painting sits implicitly with elegant temperament, smiling with a bouquet in hands and wearing lavender clothes, which resembles the incarnation of the oriental god of beauty. The artist maintained the traditional Chinese aesthetics of brush and ink, and the profound artistic conception in his paintings, but the form and layout of the composition show the orientation of Western paintings. In terms of color, the combination of ink, gouache, and watercolor enrich the expressive power of Chinese painting. The white powder on the clothing smears the crystal luster of Song porcelain, and the light from behind the woman creates a hazy sentiment, which made the picture full of light. By blending traditional aesthetics with a sense of modernity, LIN Feng Mian’s paintings of ladies are unique among modern Chinese artists.

LIN Feng Mian had nurtured countless talents throughout his life.

Many of them have international renowned, such as ZAO Wou Ki and ZHU De Qun. He was hailed as the "pioneer of modern Chinese art development". His life was bumpy, but he turned misery into beauty and goodness. Full of peace and tranquility, lyrical and lively, all kinds of frustrations sublimate into serene paintings in his brush, which made a great contribution to the integration of Chinese and Western cultures.

LIN Feng Mian 's creative style combines the essence of Eastern and Western art, captures the freedom emphasized by Western art and blends in the simplicity of Chinese folk art like a gentle lyric poem, which is endlessly memorable.

1032

林風眠（中國，1900–1991）

LIN Feng Mian

仕女

Lady

設色 紙本 1940-1950 鈐印：風眠（白文） 款識：林風眠 67.5×65 cm（26×25.6 in.）

Ink and color on paper 1940-1950 Inscribed with one seal of the artist Attached gallery certificate Provenance : Caves Art Center

附畫廊保證書 來源：敦煌藝術中心

NT$ 1,500,000-2,000,000 HK$ 420,200-560,200 US$ 53,760-71,680

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適逢席德進逝世40周年紀念 《寶島山水─思鄉情》 特推出專輯系列Lot1033–1039及Lot1100–1107呈現 席德進（1923-1981）於杭州藝專在學期 間，受兩位恩師龐薰琹（1906-1985）、林風眠 （1900-1991）的影響極大。於1948年來台，在 嘉義中學任教三年半後，移居台北待了逾十年。 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，都成為其描繪的 素材。 2021年適逢席德進逝世40週年，席德進基金 會規劃其文集出版與講座，而相關作品展覽預計 在8月於國立台灣美術館展出，緊接著會在台灣 南、北、東部共計四場巡迴展。藉由此一系列活 動展現席德進的創作對於台灣鄉土風情、風景建 築的紀錄與刻畫。景薰樓特於2021春季拍賣規劃 「席德進特輯專拍」，精選他多件晚期作品，尤 其幾件大幅台灣山水風景作品在歷年拍場上更為 少見！歡迎各位藏家前來共襄盛舉，切莫錯過！ 席德進熱愛台灣的古建築，時常雲遊四海寫 生、拍下各式屋簷造型作為紀錄，成為繪畫題 材。「景薰樓」為霧峰林家頂厝重要樓群之一， 由先人林奠國於同治三年即1864年興建，過去是 林家宴請賓客、議事的主要場所，在今日則是台 灣建築之美的典範，是林家歷史的地標，亦是許 多藝術家創作的靈感泉源。

《景薰樓》，紙本 彩墨，87×92cm，經典典藏。

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SHIY De Jinn was greatly influenced by two mentors PANG Xun Qin (1906-1985) and LIN Feng Mian (1900-1991) during his studies at Hangzhou Art College. He came to Taiwan in 1948 and taught at Chiayi Middle School for three and a half years before moving to Taipei for more than ten years. He had long-term observation of Taiwan’s rural life and artistic trends, temples, markets, vendors, street scenes, and Tamsui scenery, which all become the materials for his depiction.

2021 coincides with the 40th anniversary of SHIY De Jinn’s death. The SHIY De Jinn Foundation plans to publish his collections and lectures. The exhibition of related works is expected to be held at the National Taiwan Museum of Fine Arts in August, followed by four touring exhibitions in the South, North and East of Taiwan. Through this series of activities, SHIY De Jinn’s creations show the record and portrayal of Taiwan’s rural customs and landscape architecture.

JSL Auction plans the "SHIY De Jinn Special Sale" for the 2021 spring auction, and selected many of his late works, especially a few large-scale Taiwanese landscape works that are even rarer in auctions over the years! Collectors are welcome to come and join in the grand event, don’t miss the chance!

SHIY De Jinn loved ancient architecture in Taiwan. He often traveled around the world to sketch, photographing all kinds of eaves as a record and becoming the subject of his painting. “Jing Shiun Lou” is one of the important buildings of the LIN family’s Dingcuo in Wufeng. It was built in 1864 by the ancestor LIN Dian Guo in the third year of Tongzhi.

It used to be the main place for the LIN family to entertain guests and discuss matters. Today, it is a model of the beauty of Taiwanese architecture, a landmark in the history of the Lin family, and a source of inspiration for many artists.

Coinciding With The 40th Anniversary Of SHIY De Jinn's Death, We Specially Present “Landscape On The Treasure Island-Homesickness” Series With Lot1033–1039 And Lot1100–1107. 《 景薰樓 》為席德進標準的建築作品，以 霧峰林家「 景薰樓 」為主題。強調一脈相承的 傳統時，亦鼓吹創新與反叛，因此在描繪古屋 時，看待建築的角度也不同於一般人，房屋的屋 頂、屋脊及牆面被其加強重點，抽離出「線」與 「面」，簡約的造型充分體現建築的線條之美， 「 中國建築採用對稱的造形，對稱代表一種秩 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型；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，帶出引人駐足的美感。」從席德進對中國建 築的描繪，可看出其敏銳的觀察力與內化而出的

"Jing Shiun Lou" is a standard architectural work by SHIY De Jinn with the theme of building from Wufeng the LIN's family. When highlighting the tradition, innovation and rebellion are also promoted. Therefore, when casting ancient houses, the perspective of architecture is equal to that of ordinary people. The roof, ridge and wall of the house are emphasized, and the "lines" and "faces" are drawn out. The simple shape fully reflects the beauty of the lines of the building. “Chinese architecture adopts symmetrical shape, since symmetry represents a kind of order, such as the order between mankind and the universe, between people and society, as well as between an individual and one’s family. The curve of a Chinese building’s roof shows the vitality and special shape of the house, having the characteristic of tolerance; it is closer to nature, it is smooth, stretched, and unhurried, bringing out a fascinating beauty.” From SHIY De Jinn's depiction of Chinese architecture, we can see his keen observa-tion and unique insight.

獨到眼光。 席德進憶兒時，令其印象深刻的是母親帶一 家人回外婆家，一大片的瓦厝、庭院與水塘，充 滿生機。院子的花卉遍布，每個季節都飄著不同 的花色與花香，「我感覺到那些花香、文化、字 畫，像是紅樓夢裏的場景，那種中國人高貴的生 活環境，給我印象最深刻，這是我們農家所沒有 的。」Lot 1037《不染塵處見清姿》與Lot 1105 《海棠花》，其對於花卉的描寫如兒時的所見所 聞同樣熟悉。花卉色澤中透出淡淡哀愁不同於建 築與風景的典雅溫潤，恰到好處地呈現出–相思 無寄處，默然藏心底。 他晚期開始於全島寫生，描繪民間風物與生 活百態。不斷探索自己情感的依歸以及創作泉 源，也因旅行而累積多年的寫生經驗。70年代開 始發展出大筆渲染的台灣古厝、山水、田野等風 景畫主題，畫面的線條較為精簡，更注重畫面的 渲染效果及整體氣氛的營造。如本次拍品中Lot 1033《岸邊水牛》及Lot 1102《埔里思鄉情》， 其水彩畫中帶有素描的結構與空間、水墨的堆 疊手法和氣韻，再加上他對自然的體會和細微觀 察，將晚年為大環境所困的思鄉與親情抒發於創 作之中。

When SHIY De Jinn recalled his childhood, what impressed him was that his mother took the family back to his grandmother's house. The large tiles, courtyards and ponds were full of vitality. The yard was full of flowers, with different colors and fra-grances in each season. "I feel that the fragrance of flowers, culture, calligraphy and painting are like scenes in the Dream of Red Mansions. The noble living environment of Chinese people impresses me the most. This is something our family does not have." In Lot1037 "Pure " and Lot1105 "Begonia", his description of flowers is as familiar as what he saw and heard when he was a child. A touch of sadness in the color of flowers is different from the elegance and gentleness of architecture and scenery, and it is just right to present the lovesickness, which is silently hides in heart.

In SHIY De Jinn’s later period, he began to sketch from life across the island, depicting folk customs and life styles. Constantly explored the source of emotions and the source of creation, and accumulated many years of sketching experience due to traveling. In the 1970s, large-scale renderings of Taiwanese ancient houses, landscapes, fields and other landscape painting themes were developed. The lines of the pictures are relatively streamlined, and more attention was paid to the rendering effect of the pictures and the creation of the overall atmosphere. Such as Lot1033 "Buffalo on the Shore" and Lot1102 "Homesickness in Puli", the structure and space of the sketches, the stacking technique of ink, the charm in watercolor, as well as his close observation of nature, all express the homesickness and family affection trapped by the big environment in his later years’ creation.

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70年代後的創作，正是以寂靜的心境去描繪 「台灣山水」，並以一種悠然、恬淡的胸懷去擁抱 大自然。老師的風景畫具有一種特有的神秘氣息， 水氣淋漓如多霧的天府故鄉，又帶有南國島嶼潤澤 的熱情。後期創作出一幅幅融合水彩、水墨等多元 特色的山水作品，如Lot 1039《 山水情深 》、Lot 1103《太武山下》、Lot 1104《曲上晨曦》並運用 其獨到的技法，表現出台灣海島氣候多樣的景物與 變化難測的景色，將萬變的景色融入於畫框之中。 此外，拍品Lot 1034《淡江獨釣》、Lot 1035《日 月潭風光 》、Lot 1036《 淡水彩霞 》、Lot 1106 《歸舟》、Lot 1107《新竹海濱》具備他純熟的五 大美學向度：渾厚有量、大氣磅礡、天真稚拙、蒼 勁老練與以簡馭繁。觀者凝視作品時，一抹濃鬱的 遠山從地平線上渲染開來，蒼茫中卻有一股雄渾而 動人的氣魄，撲面而來，我們彷彿又看到熱情洋溢 的席德進正揮動著畫筆，繪出平凡雋永的台灣山 水。畫家生命旅程後半段的「發現台灣之旅」將鄉 愁、際遇與土地揉合成一幅幅畫作，促成他生命步 伐中不同凡響的跳躍。 席德進曾說：「我向自然學習，向同輩畫家學 習，向古藝術學習，向世界名畫學習。我想這種學 習，永不間斷，直到有一天我放下畫筆，告別人世 為止。」一心鑽研藝術，每天心向著作畫、奮鬥不 止的精神更是反應在晚期的作品上，1980年他罹 癌，抱病期間仍持續外出寫生創作，施展一生所磨 練得來的技法，繪出如此壯闊又美麗的台灣山水， 為其創作歷程留下無法磨滅的重要篇章。 「 只要那處的美感動了我，我就畫它。 」此 次拍品Lot 1100《武界秋景》、Lot 1038《武嶺風 景》、Lot 1101《曲冰山峽》是目前藝術拍賣場上 極為少見大尺幅的台灣山水風景作品。席德進晚年 面對病痛依然不懈地創作，思鄉情之際將其在寶島 穿梭旅遊的所見所聞，一筆一畫地躍然紙上。此次 水彩風景畫作中，有別於他創作常以冷色調性作主 導，畫面前景加以些許暖色調綴飾，一眼就讓人感 受到秋意。大氣磅礡的遠景、渾厚有份量的山體、 古意盎然的山水風景與天真樸拙的秋色點綴，灑脫 的筆畫之間創造出三景分明的層次空間，引人駐足 外也生動描繪出台灣武嶺秋色，為其創作歷程再創 一番輝煌。如此平凡的景色間蘊藏席德進一生探尋 藝術的偉大成就。

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SHIY De Jinn’s works after the 1970s depict the "Taiwanese landscape" in a quiet state of mind, embracing nature with a leisurely and calm pace. His landscape paintings have a peculiar mystery, watery like the hometown of the misty Tianfu with the enthusiasm of the southern islands. In the later period, he created a series of land-scape works that integrate multiple characteristics such as watercolor and ink. Works like Lot1039 "The Affection Of Landscape", Lot1103 "Under Taiwu Mountain", Lot1104 "The Curved River At Dawn" were applied with unique techniques to show the diverse scenery and unpredictable scenery of the Taiwan island’s climate, integrating the ever-changing scenery into the painting frame. In addition, Lot1034 " Tamkang Fishing Alone", Lot1035 "Sun Moon Lake Scenery", Lot1036 " The scenery of Tamsui", Lot1106 " Homecoming", Lot1107 "Hsinchu Waterfront" possess his proficient five aesthetic dimensions: vigorous and powerful, majestic, naive , sophisticated, and simple to control the complex. When the viewer stares at the work, a thick touch of distant mountains is rendered from the horizon, but there is a majestic and moving spirit in the vastness, rushing to the face.

We seem to see the enthusiastic SHIY De Jinn wav-ing a brush, drawing the ordinary and timeless Taiwanese landscape. The "Journey to Discover Taiwan" in the second half of the artist’s life combined homesickness, for-tunes were all land into one painting, which promoted an extraordinary step in the pace of his life.

SHIY De Jinn once said: "I learn from nature, from artists of my generation, from an-cient art, from world famous paintings. I think this kind of learning will never stop until one day I put down my paintbrush and leave the world." Focusing on art crea-tion, his spirit of drawing and painting every day is reflected in the later works. In 1980, he suffered from cancer. During his illness, he continued to go out to sketch from nature, using the techniques he honed throughout his life to paint such a mag-nificent and beautiful Taiwanese landscape, which left an indelible chapter in his creative process.

"As long as the beauty of that place touches me, I will paint it." said SHIY De Jinn. Large-scale landscape works such as Lot1100 " Wujie Autumn Scenery ", Lot1038 "Wuling Scenery", Lot1101 " Chuping Canyon" are extremely rare in art auctions. In his later years, SHIY De Jinn still worked tirelessly in the face of illness and pain. When he was homesick, he drew on the paper of what he saw and heard when he traveled on Treasure Island, one by one.

Watercolor landscape paintings from this sale are different from his common works often dominated by cool tones, the fore-ground of the picturs are decorated with a little warm tones, which make people feel autumn at a glance. The majestic vistas, the vigorous and powerful mountains, the ancient landscapes and the innocent and simple autumn colors, all together create three distinct layers of space in the painting, which vividly depicts the autumn colors of Wuling, Taiwan. Such ordinary scenery contains the great achievements of SHIY De Jinn's life exploration of art.

1033

席德進（中國，1923–1981）

SHIY De Jinn

岸邊水牛

Buffalo On The Shore

水彩 紙 1980 簽名右下：席德進 1980 鈐印：席德進印（白文） 席氏書畫（白文） 68.5×67.5 cm（26.9×26.5 in.）

Watercolor on paper 1980 Signed lower right : named SHIY De Jinn in Chinese, 1980 Inscribed with two seals of the artist

NT$ 400,000-500,000 HK$ 112,000-140,100 US$ 14,340-17,920

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1034

席德進（中國，1923–1981）

SHIY De Jinn

淡江獨釣

Tamkang Fishing Alone

水彩 紙 1980 簽名右下：席德進 1980 鈐印：席德進印（白文） 席氏書畫（白文） 66×68 cm（26×26.7 in.）

Watercolor on paper 1980 Signed lower right : named SHIY De Jinn in Chinese, 1980 Inscribed with two seals of the artist

NT$ 400,000-500,000 HK$ 112,000-140,100 US$ 14,340-17,920

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1035

席德進（中國，1923–1981）

SHIY De Jinn

日月潭風光

Sun Moon Lake Scenery

水彩 紙 1979 簽名右下：席德進 1979 57×76.5 cm（22.4×30.1 in.）

Watercolor on paper 1979 Signed lower right : named SHIY De Jinn in Chinese, 1979

NT$ 650,000-950,000 HK$ 182,100-266,100 US$ 23,300-34,050

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1036

席德進（中國，1923–1981）

SHIY De Jinn

淡水彩霞

The Scenery Of Tamsui

水彩 紙 1979 簽名左下：席德進 1979 57×75 cm（22.4×29.5 in.）

Watercolor on paper 1979 Signed lower left : named SHIY De Jinn in Chinese, 1979

NT$ 700,000-900,000 HK$ 196,100-252,100 US$ 25,090-32,260

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1037

席德進（中國，1923–1981） 不染塵處見清姿 設色 紙本 1980 簽名左下：席德進 1980 鈐印：席德進印（白文） 席氏書畫（白文） 釋文：不染塵處見清姿 四川南都縣人 137×69 cm（53.9×27.1 in.）

SHIY De Jinn Pure Ink and color on paper 1980 Signed lower left : named SHIY De Jinn in Chinese, 1980 Inscribed with two seals of the artist

NT$ 1,000,000-1,300,000 HK$ 280,100-364,100 US$ 35,840-46,590

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1038

席德進（中國，1923–1981） 武陵風景 水彩 紙 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） 95×217 cm（37.4×85.4 in.）

SHIY De Jinn Wuling Scenery Watercolor on paper Signed lower left: named SHIY De Jinn in Chinese Inscribed with three seals of the artist

NT$ 2,000,000-3,000,000 HK$ 560,200-840,300 US$ 71,680-107,530

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席德進曾說過：「我需要自然，我將我的靈魂托付予自然，而來自 那裡的一股澎湃的力量湧進我的身心，於是我的筆與色在紙上順理成章 地把這個瞬間的結合狀態，化為一幅畫。 」坐擁四季美景的武陵位於 台灣中部，春天櫻花怒放，夏天暑氣不侵，秋天楓紅滿山，冬天白雪 靄靄，四季風采繽紛多姿，引人入勝。大自然的山林美景給了席德進創 作的力量，對美景如醉如癡的席氏自然被武陵吸引至此創作出Lot 1038 《武陵風景》，席氏捕捉到的是一種獨特的風景以及ㄧ些飄渺的神韻， 他用自己的藝術氣質詮釋，遠處的層層山巒，薄雲（前）可見繁盛的楓 樹林，而紅楓巧妙的點出季節，席德進說過：「只要藝術生命夠堅韌、 有價值，一定會流傳歷史。」 SHIY De Jinn once said, "I need nature, and I entrust my soul to it. A surging power from nature poured into my body and mind, so my brushes and colors on the paper naturally transformed this momentary state of union into a painting." Wuling is located in central Taiwan with its beautiful scenery of the four seasons. In spring, the cherry blossoms are in full bloom, the summer is not invaded, the maple is red in autum, and the snow is misty in winter; all four seasons are colorful and fascinating. The beauty of mountains and forests in nature gave SHIY De Jinn the motivation to paint, and he was so fascinated by the beauty that he was naturally attracted to Wuling to create Lot1038 "Wuling Scenery". What SHIY captured is the unique beauty of the landscape and its ethereal charm. He used his own artistic temperament to interpret the prosperous maple forest in the distant mountains and misty clouds. SHIY De Jinn said: "As long as artistic life is tough and valuable, it will be passed on history."

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「我的山水是用西方的水彩工具傳達了 東方人的深邃的情操，對自然賦以新的詮 釋，我的色彩也變為中國水墨的趣味，賦予 清新氣息與生命的活力。」–席德進 席德進筆下的風景所帶出的統一、穩定 的步調，可說是瀰漫在其所有作品當中。風 景畫屬於席德進長期經營的題材之一，畫中 層疊起伏的山巒，透過大面積色彩的暈染平 塗，架構出席氏風景畫作專屬的獨特風格， 也表達出其對台灣風土風景幾近固執的描 繪。Lot 1039《 山水情深 》畫面中央的山嵐 映照後方綿延的山勢，層巒堆疊的山峰，在 山嵐的環繞下，顯得格外愜意自在，朦朧的 薄雲霧環繞於山巒周圍，一同感受著空氣的 清新，好似置身於仙境般安詳寧靜的風景 之中。 "My landscape uses Western watercolor tools to convey the profound sentiments of the Easterners, and to give a new interpretation of nature. My colors have also become the taste of Chinese ink and wash, giving freshness and vitality to life." - SHIY De Jinn.

The unified and stable pace of SHIY De Jinn's artistic style can be said to permeate all of his works. Landscape painting is one of the themes of SHIY’s long-term management.

The undulating mountains in the painting, through a large area of color smudge and flat coating, structure the unique style of Tsang’s landscape paintings, expressing his almost stubborn attitude towards Taiwan’s landscape Portray. The mountains in the center of Lot1039 "Deep Mountain and Water" reflect the rolling mountains in the rear and the stacked peaks, making it extraordinarily relaxed and comfortable. The mist clouds surround the mountains, making you feel the freshness of the air as if you are in a peaceful and tranquil landscape like a fairyland.

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1039

席德進（中國，1923–1981）

SHIY De Jinn

山水情深

The Affection Of Landscape

水彩 紙 簽名右下：席德進 鈐印：席德進印（白文） 席氏書畫（白文） 68×135 cm（26.7×53.1 in.）

Watercolor on paper Signed lower right : named SHIY De Jinn in Chinese Inscribed with two seals of the artist

NT$ 1,500,000-2,200,000 HK$ 420,200-616,200 US$ 53,760-78,850

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揮灑童趣色彩的指尖魔術師 – 六角彩子 ROKKAKU Ayako

圖片來源： Gallery Delaive 官方臉書 1982年1月24日出生於日本千葉縣的六角彩子，高中 畢業後進入職業學校插畫系學習，之後她開始報名藝術設 計節活動，參加現場作畫。2001年她開始於公園裡繪畫， 透過與群眾互動完成許多作品；2003年參加日本東京第四 屆的「GEISAI藝術祭」，而此活動正是由村上隆「Kai Kai Ki Ki」公司所主辦，旨在發掘新人藝術家進入藝術市場， 並藉由備受矚目的藝文人士評委，口碑足且具有代表性， 她以瓦楞紙上畫著大眼女孩的畫像，獨特的風格獲得評審 的青睞；2006年參加第九屆GEISAI藝術祭，畫中少女的 側顏露出與年齡不符的沉思神情，在細膩的筆法中顯示日 式「可愛美學」的典範，獲頒極具聲望的「後藤明男賞」 （Goto Akio Prize）；第十屆GEISAI參展上獲得「智慧賞」 （Smart Prize），便開始受到國際藝廊的關注，六角彩子 將現場作畫變成獨特的即興表演，以強烈的個人風格贏得 專業評審的關注，讓她在比賽中脫穎而出。 在藝術拍賣市場，她被認為是「 下一位奈良美智 」， 可見她作品受歡迎的程度。六角彩子曾在2015年台北藝博 進行現場作畫，以畫布及壓克力顏料創作一幅130 x 162 公 分大小的作品，將現場作畫當作即興的創作方式，讓人印 象深刻。六角彩子擅長將情感投射到畫作之中，特立獨行 的作畫方式及風格，作畫的材質也不局限於畫布上，她也 時常使用瓦楞紙作為畫作基底，如景薰樓2012秋季拍賣會 Lot 139《 女孩 》，瓦楞紙容易取得加上喜歡撕開紙板的 感覺，讓創作更加的隨興，經常讓觀者有耳目一新的驚喜 感，也正是如此六角彩子深受歐洲畫廊的追捧，許多收藏 家更是喜愛收集她的作品。

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ROKKAKU Ayako was born in 1982 in Chiba Prefecture, Japan. After graduating from high school, she entered the illustration department of a vocational school to study and began to participate on-site art and design festival activities.

In 2001, she started painting in the park and completed many works through interaction with people. In 2003, she participated in the fourth "GEISAI Art Festival" in Tokyo, Japan. This event was organized by MURAKAMI Takashi's "Kai Kai Ki Ki" company, which aimed to discover new artists for the art market. By then, her unique portraits of bigeyed girls on corrugated paper was favored by the judges and earned her a good reputation. She again participated in the 9th GEISAI Art Festival in 2006. The girl in the painting showed a contemplative expression that does not match her age. She displayed a model of Japanese "cute aesthetics" in delicate brushwork, and was awarded the prestigious "Goto Akio Award". (Goto Akio Prize); won the "Smart Prize" at the 10th GEISAI exhibition, and began to attract the attention of international art galleries. ROKKAKU Ayako turned live painting into a unique improvisational performance, winning the attention of professional judges and made her stand out in the competition.

In the art auction market, she is regarded as the "Next NARA Yoshitomo", which shows the popularity of her works. ROKKAKU Ayako once painted on-site at the Taipei Art Fair in 2015, using canvas and acrylic paint to create a 130 x 162 cm-sized work, using on-site painting as an improvisational method, which was impressive. ROKKAKU Ayako is good at projecting her own emotions into her paintings. She is unique in her painting method and style.

The material used for painting is not limited to the canvas.

She often uses corrugated paper as the base of her works, such as JSL’s 2012 Autumn Auction Lot139 "Girl", corrugated paper is easy to obtain and the feeling of tearing the cardboard makes the creation more casual, and often makes the viewers have a refreshing sense of surprise. It is also the reason that ROKKAKU Ayako is highly sought after

by European galleries. Collectors love to collect her works even more.

Fingertip Magician With Childlike Colors – ROKKAKU Ayako

六角彩子作畫照片 圖片來源：ART TAIPEI 台北國際藝術博覽會 官方FaceBook 在展覽現場一抹嬌小的身影光著腳丫子，旁若無人地 沉浸在自己的繪畫世界，將雙手作為畫筆，揮灑出童真的 繽紛世界，展現對於繪畫的熱情，沒錯這正是六角彩子， 她曾表示若不直接用手觸摸顏料進行創作，就沒有一種在 作畫的感覺。用手和整個身體去畫畫，是最快樂的時刻， 感覺這樣能給作品注入活力。生活於盛行卡漫文化的日 本，加上受到超扁平藝術潛移默化的影響，塑造出她筆下 極具個人色彩的畫作，就像孩子塗鴉般充滿童趣，看到什 麼就畫下什麼，憑著直覺反覆的練習描繪，她的標誌性風 格主要是女性人物，如景薰樓2015秋季拍賣會Lot 2194 《女孩漫步》及2011秋季拍賣會Lot 171《粉紅靴》，有 著坦率的面部表情，充滿個性，色彩鮮豔的背景上散落著 鮮花、微小的數字和像彩虹一樣的塗鴉，構成了一個多彩 而幸福的夢想世界。六角彩子在的藝術道路上逐漸展現自 己的光芒，在屬於她的世界揮灑專屬的色彩，相信未來仍 有機會不斷有新作品的創作，讓我們繼續期待能看到更多 精彩絕倫的作品。

2011景薰樓秋季拍賣會

At the exhibition site, a petite figure with barefoot immersed herself in the painting process, using her hands as paintbrushes to show the innocent and colorful world. That's right, this is ROKKAKU Ayako, she once said if you don't directly touch the paint to create, there will be no feeling of painting. Painting with hands and the whole body is the happiest moment. She feels that this can inject vitality into the work. Living in Japan, where the Cartoon & Comic culture is popular, coupled with the subtle influence of ultra-flat art, she creates her highly personal paintings, which are full of childlike interest like children's graffiti. You can draw whatever you see, based on intuition. Intuitively repeated practice depicting, her iconic style is mainly female characters, such as JSL’s 2015 Autumn Auction Lot2194 "Little Girl Walking" and 2011 Autumn Auction Lot171 "Pink Boots", with frank facial expressions, full of personality. The colorful background is scattered with flowers, tiny numbers and rainbow-like graffiti, forming a colorful and happy dream world. ROKKAKU Ayako gradually showed her own path on artistic career, swaying her exclusive colors in her world. It is believed that there will be more paintings of ROKKAKU Ayako being created in the future. Let us continue to look forward to seeing more wonderful works.

2012景薰樓秋季拍賣會

2015景薰樓秋季拍賣會

Lot 171《粉紅靴》，壓克力 紙板， Lot 139《女孩》，綜合媒材 紙板， Lot 2194《女孩漫步》，壓克力 畫布， 36.3×30.3 cm，2006

62×40 cm

200×200 cm，2008

Pink Boots / Acrylic Cardboard

The Girl / Mixed Media Cardboard

Little Girl Walking / Acrylic on canvas 2008 52

在六角彩子的畫作有經常出現的重要元素： 「 特寫式的人物 」、「 重複性的圖案 」及「 繽紛 的色彩」。小女孩時常以特寫的形式出現，佔 據畫面的主體佈局，人物形象有著大大的雙眼癟 著嘴，時而瞪大雙眼，時而眼神斜目，臉上沒有 過多表情，偶爾會帶點憤怒的情緒。六角彩子 常將自己的情緒投射在作品之中，在療癒的形象 中帶點使壞，儘管如此還是保有可愛的面貌，不 會讓人在視覺有很大的衝擊感。除大眼汪汪的少 女外，六角彩子喜歡使用重複的隨機圖案做為 塗鴉素材，最常見的為卡通形式的花草樹木， 搭配鮮明的色彩佈滿整體畫作，Lot 1040《 無題 （ARP18–003） 》正是以單一人物特寫的構圖， 小女孩綁著高馬尾還繫上彩色髮球，正瞪大眼 睛、張開雙手擁抱著滿滿的花草、昆蟲、小動 物，透過強烈鮮明的色彩，繪畫出人物和場景， 可愛的糖衣裡卻有著現實的表情，畢竟生活不可 能一直泛著甜，而「 遠眺與凝視 」、「 逃離與追 尋」是她作品的極端主題與特色。 六角彩子富有細膩情感的創作天賦，獨樹一 幟的繪畫能力，也讓國際市場看到日本作品的多 樣性，在沒有受過傳統的藝術教育制度，畫作技 巧與本領皆為自學，擅長使用手蘸滿丙烯顏料在 瓦楞紙上作畫，因為瓦楞紙隨處可得，既輕又容 易靠立，使用過程中撕破時的斷面，或是上色方 式她都很喜歡，這就是她使用的理由。而透過敏 銳的觀察，感受顏料的流動感，用雙手沾滿熱情 的色彩，將內心的想像揮灑於畫布上，在創作的 路上自由漫步，無拘無束，正因沒有規劃及目的 更能展現出畫家最真實的內心世界，讓觀者都能 敞洋在專屬於六角彩子的童真世界。

There are important elements that often appear in ROKKAKU Ayako's paintings: "close-up figures", "repetitive patterns" and "colorful colors". The little girl often appears in close-up form and occupies the main layout of the picture. The character image has big eyes and squeezed mouth, sometimes widened, sometimes slanted, without too much expression on her face, and occasionally seems a little angry. ROKKAKU Ayako often projects her emotions into her works, and she puts a bit of trouble in the healing image. Despite this, she still maintains a lovely appearance and does not make people have a great visual impact. Except for the big-eyed girls, ROKKAKU Ayako likes to use repeated random patterns as graffiti materials. The most common patterns are cartoon-shaped flowers and trees, with bright colors covering the whole painting. Lot1040 "Untitled" is a closeup composition of a single person. The little girl has a high ponytail with a colorful serve; her eyes widened and her arms are wide open, embracing the flowers insects and small animals. The characters are drawn through strong and vivid colors, but the cute sugar coat has realistic expressions. After all, life cannot always be sweet. "Looking and Gazing" and "Escape and Pursuit" are the extreme themes and features of her works.

ROKKAKU Ayako's delicate art talent and unique painting ability allow the international market to see the diversity of Japanese works.

Without having the traditional art education, ROKKAKU Ayako's painting techniques and skills are all self-taught. She is good at painting on corrugated paper with her hands dipped in acrylic paint, since corrugated paper is available everywhere and light and easy to stand. She likes the section when it is torn during use, or the way of coloring, which is the reason for her use. And through keen observation, feel the sense of flow of paint, use hands full of passionate color, sway the inner imagination on the canvas, wander freely on the road of creation, unfettered, because there is no plan and purpose to show the painter. The most realistic inner world allows viewers to open up to the innocent world that belongs to ROKKAKU Ayako.

1040

六角彩子（日本，b.1982）

ROKKAKU Ayako

無題（ARP18-003）

Untitled(ARP18-003)

壓克力 畫布 2018 簽名左下：2018 ロッカクアヤコ 背簽：ARP18-003 100×100 cm（39.3×39.3 in.）

Acrylic on canvas 2018 Signed lower left : named ROKKAKU Ayako in Japanese, 2018 Signed on the reverse :

歐洲私人收藏 附畫廊保證書

ARP18-003 European private collection Attached gallery certificate

NT$ 3,000,000-5,500,000 HK$ 840,300-1,540,600 US$ 107,530-197,130 53

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1041

丹尼爾‧阿瑟姆（美國，b.1980） 被侵蝕的保時捷911 Turbo 複合媒材 2020 作品底部：Daniel ARSHAM 1986 PORSCHE 911 TURBO 3.3(930) PR00. OF ARSHAM STUDIO 7.6×12.7×30.5 cm（2.9×5×12 in.） 限量500件 附原包裝盒

Daniel ARSHAM Eroded 911 Turbo Mixed media 2020 Bottom of the work : Daniel ARSHAM 1986 PORSCHE 911 TURBO 3.3(930) PR00. OF ARSHAM STUDIO Edition of 500 With original box

NT$ 100,000-200,000 HK$ 28,000-56,000 US$ 3,580-7,170

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1042

丹尼爾‧阿瑟姆（美國，b.1980） 被侵蝕的皮卡丘 複合媒材 2020 22×15.5×35.5 cm（8.6×6.1×13.9 in.） 外盒商標： CERTIFIED ARCHIVE EDITION ©2020 Pokémon.

Tm, ® Nintendo 限量500件 附原包裝盒

Daniel ARSHAM Eroded Pikachu Mixed media 2020

Outer box trademark: CERTIFIED ARCHIVE EDITION ©2020 Pokémon.

Tm, ® Nintendo Edition of 500 With original box

NT$ 90,000-150,000 HK$ 25,200-42,000 US$ 3,230-5,380

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1043

FRAGMENT DESIGN x MEDICOM TOY x MIDLAND CREATION BE@RBRICK x FRAGMENT DESIGN x MIDLAND CREATION 九谷燒 庫柏力克熊 400% 九谷燒 白瓷 2019 28×13×9.5 cm（11×5.1×3.7 in.） 製造商：MEDICOM TOY 附原裝盒

FRAGMENT DESIGN x MEDICOM TOY x MIDLAND CREATION BE@RBRICK x FRAGMENT DESIGN x MIDLAND CREATION KUTANI 400% Kutani 2019

Manufacturer : MEDICOM TOY With original box

NT$ 95,000-130,000 HK$ 26,600-36,400 US$ 3,410-4,660

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1044

FRAGMENT DESIGN x BACCARAT x MEDICOM TOY BE@RBRICK FRAGMENT DESIGN POLYGON RED 紅水晶庫柏力克熊 100% Baccarat 紅水晶 5×6×12 cm（1.9×2.3×4.7 in.） 製造商：MEDICOM TOY 註冊商標： 印 Fragment Design 商標（作品背面） 印 Baccarat 商標（作品底部） 附原裝盒

FRAGMENT DESIGN x BACCARAT x MEDICOM TOY BE@RBRICK FRAGMENT DESIGN POLYGON RED 100% Baccarat red crystal

Manufacturer : MEDICOM TOY Trademark: Print with Fragment Design trademark (on the back of the work) Print with Baccarat trademark (bottom of work) With original box

NT$ 85,000-120,000 HK$ 23,800-33,600 US$ 3,050-4,300

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1045

ROYAL SELANGOR x MEDICOM TOY BE@RBRICK x ROYAL SELANGOR 金錫熊 400% 錫合金 28×13×9.5 cm（11×5.1×3.7 in.） 製造商：MEDICOM TOY 註冊商標： 印 MEDICOM TOY 商標（右腳底部） 印 ROYAL SELANGOR PEWTER（左腳底部） 附原裝盒

ROYAL SELANGOR X MEDICOM TOY BE@RBRICK x ROYAL SELANGOR GOLD COLOR 400% Tin alloy

Manufacturer : MEDICOM TOY Trademark: Print with MEDICOM TOY trademark (R) Print with ROYAL SELANGOR PEWTER (L) With original box

NT$ 50,000-90,000 HK$ 14,000-25,200 US$ 1,790-3,230

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1046

Mr Doodle（英國，b. 1994） The Doodler 複合媒材 2019 34×17×15.8 cm（13.3×6.69×6.2 in.） 簽名左腳底部：MR DOODLE! 2019 限量250件 附作品保證卡 附原裝盒

Mr Doodle The Doodler Mixed media 2019 Signed bottom of left foot: MR DOODLE! 2019 Edition of 250 Attached works guarantee card With original box

NT$ 120,000-220,000 HK$ 33,600-61,600 US$ 4,300-7,890

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手塚治虫，本名手塚治，是日本漫畫家、動 畫製作人，也是醫學博士。因自幼喜愛昆蟲， 故取了「手塚治虫」的筆名，由於「步行蟲」 （osamushi）與「治」（osamu）的日文發音只差 尾音「 shi 」，他便在名字後加上一「 虫 」字，漢 字寫作「治虫」（osamushi）。手塚治虫是位多產 的創作者，40多年的創作生涯中，共畫了400多部 漫畫作品，及60多部動畫作品。其作品題材豐富多 樣，包括兒童生活、科幻、偵探、歷史、傳說，文 學、醫學、宗教、音樂、哲學…等，代表作如《藍 寶石王子 》、《 森林大帝 》、《 原子小金剛 》、 《怪醫黑傑克》、《三眼神童》等。這些作品深深 影響了後來的漫畫家的創作題材，所以手塚治虫被 尊稱為日本漫畫之父、漫畫家之神。 本次拍品Lot 1047《 原子小金剛 》為大型雕 塑，高度135公分為1：1還原的原子小金剛。原子 小金剛可以算是機器人動畫最早的始祖，是日本 漫畫界一代宗師手塚治虫於1952年創作的作品， 於1952至1968年之間連載，多次改編為動畫、電 影。故事描述天馬博士因為愛子意外身亡，為撫平 喪子之痛而製造小金剛，卻因為機械無法像人類一 樣隨時間成長，最終拋棄小金剛。被捨棄的小金 剛，後來經由御茶水博士的修復，以養子的身分重 新生活，並展開一連串的科幻冒險。身高僅有135 公分，且永遠長不大，但原子小金剛擁有強大的力 量，能分辨人類善惡、腳底裝有火箭發動機、會超 過60國語言、聽力為正常人的1000倍等。小男孩 外表的他，看似弱小卻擁有一顆善良、具有正義感 的心，儘管因為身份備受歧視，仍然努力作為人類 與機器人的橋樑，替人類解決許多危機，希望大家 都能和平共處。討喜的外表與正向積極的態度，因 而深受大眾喜愛。

61

TEZUKA Osamu was a Japanese manga artist, cartoonist, animator and film producer. Because TEZUKA loved insects when he was little, he had a pen name called TEZUKA Osamu. The word Osamushi is similar to Osamu in Japanese pronunciation. TEZUKA is a prolific creator. In his more than 40 years of creative career, he has drawn more than 400 manga works and more than 60 animation works. The subjects of his works are rich and diverse, including child life, science fiction, detective, history, legend, literature, medicine, religion, music and philosophy. Some of his representative works, such as "Sapphire Prince", "Forest Emperor", “Astro Boy”, " Doctor Black Jack", "Three-eyed Prodigy,” deeply influence the creative theme of the future manga artists. Therefore, TEZUKA Osamu is honored as the father of Japanese manga and the god of manga artists.

Lot1047 "Astro Boy" is a large-scale sculpture with a height of 135 cm and a 1:1reduction of Astro Boy. He can be regarded as the earliest robot animation created by TEZUKA Osamu in 1952, and was serialized between 1952 and 1968 while being modified into animation and film many times. The story is about Dr.BOYNTON’s son passed away because of an accident, to recover from the pain of losing his own son, Dr. BOYNTON created a robot called “Astro Boy”. However, because the machinery cannot grow with time like human beings, he decided to abandon Astro Boy. Recovered and adopted by the Dr. O'SHAY, Astro Boy relived as an adopted son and embarked on a series of science fiction adventures. Although Astro Boy is only 135 cm tall and never grow bigger, he has a super power to distinguish good or bad in humanity. He is equipped with a rocket engine on the soles of his feet, speaks over 60 languages, and has a hearing that is 1000 times better than common people.

Although Astro Boy has an appearance of a little boy, he has a kind heart and a sense of justice. Even he is discriminated against his identity, he still strived to be a bridge between humans and robots, solving crises for mankind, and hoping that everyone can live together in peace.

1047

手塚治虫（日本，1928-1989） 原子小金剛 複合媒材 2020 52×90×135 cm（20.4×35.4×53.1 in.） 製造商：TOKYO TOYS 註冊商標： 印有手塚製作公司商標：©Tezuka Productions （底座標籤） 限量100件 附原裝盒

TEZUKA Osamu TEZUKA PRODUCTIONS x TOKYO TOYS Astro Boy Mixed media 2020

Manufacturer: TOKYO TOYS Trademark: Print with ©Tezuka Productions (Base label) Edition of 100 With original box

NT$ 260,000-360,000 HK$ 72,800-100,800 US$ 9,320-12,900

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2008景薰樓春季拍賣會，Lot 49，李石樵， 《玫瑰》，46×38cm，1981。

2015景薰樓秋季拍賣會，Lot 2065，李石樵， 《玫瑰花》，41×31.5 cm，1986。

LI Shih Chiao / Roses

LI Shih Chiao / Roses

2011景薰樓春季拍賣會，Lot 49，李石樵， 《玫瑰》，45.5×38cm，1982。

2016景薰樓春季拍賣會，Lot 2083，李石樵， 《玫瑰花》，45.5×37 cm，1986。

LI Shih Chiao / Roses

LI Shih Chiao / Roses

美術史學者謝里法曾說：「李石樵在美術運動的階段裏，發揮功能 好比一座橋樑，將西洋大師繪畫中的特殊性，釋譯成為普遍性的常理， 讓後起的畫家通過它帶到繪畫之可知性領域」，由此可見李石樵對台灣 美術界的重要貢獻。李石樵的繪畫以寫實為主，加入立體主義、古典主 義的特色，並且著重於思考與理性的圖像表達。1970年代以後，李石樵 回歸以自然景物及人體群像為主的畫作，專注於色彩特質與畫面空間的 經營，特別是筆觸、明度與彩度的詮釋。李石樵曾說：「每個顏色都有 很好的效果、最理想的表達方式，當我們在欣賞其作品之際，強烈的高 彩度震懾了我們的視覺域。」 一直以來，由於李石樵對於藝術實踐的追求，由日本歷程的出發， 光復時期對本土精神的追求，而至探索西方現代藝術，最後回歸自然的 懷抱，幾乎等同於過去五十年來台灣美術史脈絡的縮影，所以在台灣美 術史的定位評價極高。

1048

李石樵（台灣，1908–1995） 瓶花

李石樵終其一生，都不斷地強調理性是藝術創作的最根本原則。他 在靜物畫中嘗試不同形式的可能性，其中又以玫瑰題材的持續創作最為 獨特。拍品Lot 1048《瓶花》就是可以表現其藝術的代表之一。此作為 李石樵晚期作品，流露清新與恬靜的氣質，構圖及色彩都能見到李石樵 藝術理論的實踐，其成作的時間巧處於他回歸寫實自然的階段。而他本 就喜愛描繪花卉，雖然以相同的靜物為題材，卻表現各次靜態植物不同 面向的優雅姿態。

油彩 畫布 1982 簽名右下：一九八二 石樵 41×32 cm（16.1×12.5 in.） 附畫廊保證書

LI Shih Chiao Vase Of Flowers

以西方古典藝術的理性、平穩方式安排主角的中置，此件畫作將瓶 身完整入畫，突顯花朵朝氣的生命力。此畫明顯可以看出已非單純靜物 畫，而是帶有向古典藝術致敬的味道。相較於大部份描繪純色背景的玫 瑰花系列，李石樵除了增加色彩和諧對稱的裝飾性背景線條外，選擇白 色基底的陶瓷花瓶，淺藍色格紋的桌巾搭配紅色背景，使整幅畫面呈現 出一股穩定、平衡的古典美感。值得一提的是，此作花朵部分成花團錦 簇狀，觀者可由中央花朵的圓弧動線，順勢將焦點集中於瓷瓶瓶身的裝 飾趣味，久久不捨將目光移去，其濃濃的永恆優雅感受深植觀者心中。 63

Oil on canvas 1982 Signed lower right : 1982 Shih Chiao in Chinese Attached gallery certificate

NT$ 600,000-750,000 HK$ 168,100-210,100 US$ 21,510-26,880

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1049

張萬傳（台灣，1909–2003） 淡水一隅 水彩 紙 1990 簽名右下：CHANG. 万 25×36 cm（9.8×14.1 in.）

CHANG Wan Chuan A Corner Of Tamsui Watercolor on paper 1990 Signed lower right : named CHANG. Wan in Chinese

NT$ 55,000-70,000 HK$ 15,400-19,600 US$ 1,970-2,510

1050

沈哲哉（台灣，1926–2017） 巴黎街景 油彩 畫布 1981 簽名右下：1981 哲哉 45.5×38 cm（17.9×14.9 in.）

SHEN Che Tsai Paris Street Scene Oil on canvas 1981 Signed lower right : 1981 Che Tsai in Chinese

NT$ 100,000-150,000 HK$ 28,000-42,000 US$ 3,580-5,380

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1051

張炳堂（台灣，1928–2013）

ZHANG Bing Tang

孔廟初夏

Early Summer In The Confucian Temple

油彩 畫布 1991 簽名左下：炳堂 '91 60×73 cm（23.6×28.7 in.）

Oil on canvas 1991

附藝術家親簽之畫廊保證書

Literature:

Signed lower left : Bing Tang in Chinese '91 Attached with a gallery guarantee letter signed by the artist

Taipei Times Gallery, ZHANG Bing Tang Painting Collection 出版： 台北時代畫廊：《張炳堂畫集》（台北：台北時代畫廊， 1991年），頁11。

(Taipei : Taipei Times Gallery, 1991), p. 11.

NT$ 160,000-260,000 HK$ 44,800-72,800 US$ 5,730-9,320

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1052

洪瑞麟（台灣，1912–1996）

HUNG Rui Lin

阿里山即景

The Scenery Of Alishan

水彩 紙 1969 年代左下：1969 鈐印左下：礦山人（朱文） 35×27 cm（13.7×10.6 in.）

Watercolor on paper 1969 Date lower left : 1969 Inscribed with one seal of the artist Attached gallery certificate

附畫廊保證書

NT$ 100,000-180,000 HK$ 28,000-50,400 US$ 3,580-6,450 67

1053 A

張義雄（台灣，1914–2016） 巴黎街景 水彩 紙 1990 簽名左下：'90 11.6 CHANG.Y. 22.5×31 cm（8.8×12.2 in.） 附畫廊保證書

CHANG Yi Hsiung Paris Street Scene Watercolor on paper 1990 Signed lower left : '90 11.6 CHANG.Y. Attached gallery certificate

1053 B

張義雄（台灣，1914–2016） 郊野 水彩 紙 1989 簽名右下：'89. CHANG.Y. 22.5×31 cm（8.8×12.2 in.） 附畫廊保證書

CHANG Yi Hsiung Countryside Watercolor on paper 1989 Signed lower right : '89. CHANG.Y. Attached gallery certificate

1053 C

張義雄（台灣，1914–2016） 東京風景 水彩 紙 1940 簽名左下：'40 CHANG.Y. 21×27.5 cm（8.2×10.8 in.） 附畫廊保證書

CHANG Yi Hsiung Tokyo Landscape Watercolor on paper 1940 Signed lower left : '40 CHANG.Y. Attached gallery certificate

NT$ 60,000-120,000 HK$ 16,800-33,600 US$ 2,150-4,300 68

李石樵（1908-1995）為臺灣本土重要的第一代西畫 藝術家，師承影響臺灣繪畫發展甚深的啟蒙教師石川欽一 郎。李石樵擅長人物、時局群像，寫景亦是他體會地方、 時代刻劃的呈現，而他的風景畫亦有濃厚的鄉土情懷。除 了地方景色，室內的靜物畫則常以用色來對比明豔的主角 與素雅的背景。李石樵的繪畫風格歷經多變，其作品以寫 實為主，但也曾在五○年代嘗試立體主義的表現方式，或 結合印象派、抽象等元素，創作手法的轉變影響他晚期作 品的畫面氛圍。 1970年代以後，李石樵在形體解放後，開始反向的 回歸寫實，回到以自然風景為主的畫作，專注於色彩特 質與畫面空間的經營，特別是筆觸、明度與彩度的詮釋。 當時的台灣興起「 鄉土文學 」風，早期老畫家重新受到 注意。他的繪畫風格也不受左右，風景取材更延展自美 國、加拿大及日本，吸收更多外來風土的元素，繪畫裡融 入新意。李石樵雖與某些印象派畫家所選的題材接近，色 彩亦明艷，但他此類作品不應遽歸為印象派的風格，因為 印象派戶外寫生的作品係以色彩來表現光感，且其色彩較 偏低彩度；換言之，因戶外寫生爭取時間之故，運用大量 的白顏料來調色。李石樵的作品則注重彩度的表現，甚至 在比較低彩度的晚近作品，亦絕少使用白色。李石樵曾 說：「每個顏色都有很好的效果、最理想的表達方式，當 我們在欣賞其作品之際，強烈的高彩度震懾了我們的視覺 域。」

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一直以來，由於李石樵個人藝術實踐的追求，由日本 歷程的出發、光復時期對本土精神的追求、而至直探西方 現代藝術、最後回歸自然的懷抱，幾乎等同於過去五十年 來台灣美術史脈絡的縮影，所以在台灣美術史的定位評價 極高。李石樵的作品以寫實為主體，在構圖上作品呈現著 重思考、理性的構圖表達方式，寫景是畫家在精神上對土 地懷想的寄託，大自然美景則是他把實景轉化為藝術的靈 感泉源。本次拍品Lot 1054《 北投公園 》，完成於1983 年，晚年創作觸角更延伸至一般市民生活的表現，繪畫風 格更加細膩、舒緩，刻畫公園內的青綠，色彩繽紛，結構 嚴謹，以畫面平順的筆觸呈現寫實自然景觀的同時，並間 接表達對土地的情感。細膩的刻畫公園的一隅，民眾悠閒 地漫步在樹林之中，色調的使用不同於早期低明度、低彩 度的色調，晚期較常使用較高彩度的色料，整體畫面流露 清新與恬靜的氣質，顯現了和諧的美感。

1054

李石樵（台灣，1908–1995）

LI Shih Chiao

北投公園

Beitou Park

油彩 畫布 1983 簽名左下：1983 石樵 36.5×44 cm（14.3×17.3 in.）

Oil on canvas 1983 Signed lower left : 1983 Shih Chiao in Chinese Attached gallery certificate

附畫廊保證書

NT$ 500,000-650,000 HK$ 140,100-182,100 US$ 17,920-23,300 70

1055

張炳堂（台灣，1928–2013） 靜物（C） 油彩 畫布 1991 簽名左下：炳堂 '91 31.5×40.5 cm（12.4×15.9 in.） 附藝術家親簽之畫廊保證書

ZHANG Bing Tang Still Life (C) Oil on canvas 1991 Signed lower left : Bing Tang in Chinese '91 Attached with a gallery guarantee letter signed by the artist

NT$ 50,000-90,000 HK$ 14,000-25,200 US$ 1,790-3,230

1056

沈哲哉（台灣，1926–2017） 巴黎小巷 油彩 畫布 1982 簽名左下：1982 哲哉 24.5×33 cm（9.6×12.9 in.）

SHEN Che Tsai Paris Alley Oil on canvas 1982 Signed lower left : 1982 Che Tsai in Chinese

NT$ 60,000-120,000 HK$ 16,800-33,600 US$ 2,150-4,300

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1057

曾茂煌（台灣，b.1934） 靜物 油彩 畫布 1992 簽名左下：茂煌 1992 30.2×40 cm（11.8×15.7 in.） 附畫廊保證書

CHENG Mao Huang Still Life Oil on canvas 1992 Signed lower left : named Mao Huang in Chinese, 1992 Attached gallery certificate

NT$ 32,000-55,000 HK$ 9,000-15,400 US$ 1,150-1,970

1058

曾茂煌（台灣，b.1934） 秋高氣爽 油彩 畫布 簽名右下：茂煌 51.5×44 cm（20.2×17.3 in.） 附畫廊保證書

CHENG Mao Huang Autumn Oil on canvas Signed lower right : named Mao Huang in Chinese Attached gallery certificate

NT$ 75,000-100,000 HK$ 21,000-28,000 US$ 2,690-3,580

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「......其實藝術家一定要很真誠，真實 地表達自我感受、自我思維，作品才會有力 量，對於藝術家來說，每一張畫都應該是把他 最精萃的東西萃取出來放在畫面裡，那種『呼 嚨』的作品或許可以叫座一時，但不會真正打 動人心。」–楊識宏 楊識宏擅長使用大量的黑元素，由於擁有 良好的油畫基礎，常以東方水墨融合西方光線 與色彩的運用，作品的主旨總是圍繞於自然生 命的興衰以及對時間消逝的感傷，透過心象的 凝視及流動的線條表達出時光消逝的速度感， 將作品和生活作緊密連結。1979年楊識宏選擇 來到紐約，開始向自我挑戰，大量吸收國際藝 術新知並找尋新方向的動力，承襲抽象表現主 義的觀念與風格，他的繪畫融合東西兩方的自 然觀與價值觀，透過「 象徵 」的圖象語言與從 中國哲學的體悟之象徵性空間，表現了東西思 想之間一種啟示性的張力，並經常將東方文化 符號融入西畫的結構。 拍品Lot 1059《 潮間帶 》呈現楊識宏畫作 中強烈的「 繪畫性 」與「 表現性 」，色相強烈 的對比，常營造出一種黝暗中神秘的光影，作 品富涵濃厚東方情懷、充滿人文氣息。透過學 習書法獲得的氣韻，呈現出內斂、空靈，其中 的勁道、明暗、氣韻，都同樣是中國書法藝術 的最高境界，而另一種無形的感官饗宴，則是 其畫作中的音樂性，欣賞其畫作的同時，也會 感受到音頻的跳動，楊識宏自己就曾說創作時 一定要聽古典音樂，尤其偏愛安魂曲，讓作畫 時的身心寧靜萬端，此番寧靜滲透進畫面，亦 將撥動觀賞者的心弦。 由於不斷追求呈現內心所想的作品，楊識 宏的繪畫逐漸走向抽象化，不再琢磨具體的型 態而是以意境做為表述，到1980年末開啟「植 物美學 」時期，聚焦在生命的榮枯與自然的循 環。而後，楊識宏邁向抽象創作的轉折「 有機 抽象時期 」，由植物擴大成描繪自然，脫離具 象形體，改用線條、光線及色彩的流動性詮釋 內在自然，但其中景物的輪廓仍依稀可辨，形 成若有似無的景象。

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"...Actually, an artist must be very sincere and truly express his own feelings and thoughts in order to have power in his work. For an artist, every painting should extract his most quintessential things. Putting it on the screen, that kind of "screaming" works may be a hit, but it won't really move people's hearts."--YANG Chi Hong YANG Chi Hong is good at using a large number of black elements.

Because of his good oil painting foundation, he often integrates the use of western light and color with oriental ink and paint. The main theme of his works always revolves around the rise and fall of natural life and the sentimentality of the passage of time. The flowing lines express the sense of speed of time passing, and closely connect the work and life. In 1979, YANG Chi Hong chose to go to New York and began to challenge himself. He absorbed a large amount of new international art knowledge and found motivation to find new directions. He inherited the concept and style of abstract expressionism. His paintings merged the natural views and values of the East and the West. The image language of "symbols" and the symbolic space of understanding from Chinese philosophy express a revelatory tension between Eastern and Western thoughts, and Eastern cultural symbols are often integrated into the structure of Western paintings.

Lot1059 "Intertidal Zone" presents the strong "painterly " and "expressiveness" in YANG Chi Hong 's paintings. The strong contrast of hue often creates a dark and mysterious light and shadow. The works are rich in oriental feelings and full of humanistic atmosphere.

The qi and rhyme obtained through calligraphy are restrained and ethereal. The vigor, lightness and darkness, and qi and rhyme are also the highest state of Chinese calligraphy. Another intangible feast for the senses is the musicality in his paintings. Appreciation at the same time as his paintings, he will also feel the beating of the audio. YANG Chi Hong himself once said that he must listen to classical music when he was creating, and he especially prefers Requiem to make the body and mind peaceful when painting. This tranquility penetrates into the picture and strikes the heartstrings of the viewer.

Due to the constant pursuit of presenting the works he thought in his heart, YANG Chi Hong’s paintings gradually moved towards abstraction, no longer thinking about specific forms but using artistic conceptions as expressions. By the end of 1980, the period of "plant aesthetics" began, focusing, focusing on the prosperity and decline of life and the cycle of nature. Later, YANG Chi Hong moved towards the “organic abstraction period”, expanding from depicting plants to nature, and breaking away from the concrete form by using lines, light and colors. Even so, the outline of the scene is still faintly discernible, forming a scene as if it doesn’t exist.

1059

楊識宏（台灣，b.1947）

YANG Chi Hong

潮間帶

Intertidal Zone

壓克力 畫布 2012 畫背簽名：Chihung Yang Tide ©2012 130×194 cm（51.1×76.3 in.）

Acrylic on Canvas 2012 Signed on the reverse : Chihung Yang Tide ©2012 Attached gallery certificate

附畫廊保證書

NT$ 1,700,000-2,200,000 HK$ 476,200-616,200 US$ 60,930-78,850

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1060

楊識宏（台灣，b.1947） 化石與銀杏 油彩 畫布 1992 簽名右下：C.yang 92 畫背簽名：Chihung Yang ©1992 化石與銀杏 12P 60.5×45 cm（23.8×17.7 in.） 附藝術家親簽之畫廊保證書

YANG Chi Hung Fossils And Ginkgo Oil on canvas 1992 Signed lower right:C.yang 92 Signed on the reverse : Chihung Yang ©1992 Chinese painting name 12P Attached with a gallery guarantee letter signed by the artist

NT$ 130,000-200,000 HK$ 36,400-56,000 US$ 4,660-7,170

楊識宏移居至紐約後接觸當時新的藝術潮流，加上原 本內心對於保守的台灣藝術就不太認同，便開始改變創作 路線，繪畫許多富有個人風格的作品。他擅長以主觀的方 式表達形狀和顏色，透過色彩與光影地強烈對比，結合各 種具象及抽象的線條造型，在畫作中不再著重於描繪客觀 的外在世界，轉而詮釋畫家內心感知到的空間及世界。

75

After YANG Chi Hong moved to New York, he was exposed to the new art trends of the time and began to paint many works with strong personal traits since he did not agree with the conservative art style in Taiwan. He is good at expressing shapes and colors in a subjective way. Through the strong contrast of color, light and shadow, he combines various concrete and abstract line shapes. In YANG’s paintings, he no longer focuses on depicting the objective external world, instead, interprets the space and world that he perceives in

1061

楊識宏（台灣，b.1947） 花與果 油彩 畫布 1990-1991 簽名右下：C.yang 90.91 畫背簽名：Chihung Yang 1990-1991 Flower and fruit 100×74 cm（39.3×29.1 in.） 附藝術家親簽之畫廊保證書

YANG Chi Hung Flower And Fruit Oil on canvas 1990-1991 Signed lower right:C.yang 90.91 Signed on the reverse : Chihung Yang 1990-1991 Flower and fruit Attached with a gallery guarantee letter signed by the artist

NT$ 360,000-600,000 HK$ 100,800-168,100 US$ 12,900-21,510

拍品Lot 1060《化石與銀杏》及Lot 1061《花與果》，創 作時間落在1990-1992年間，由這兩件作品可見在楊識宏 筆下的植物不同於常見的靜物畫，不拘泥於植物造型的真 實性，而是以抽象的形式描繪植物的生長、姿態及情境， 遊走在虛與實之間，體現純粹的作品繪畫性及表現性。

his heart. Lot1060 "Fossils and Ginkgo" and Lot1061 “Flower And Fruit” were created between 1990 and 1992. It can be seen that the plants in YANG Chi Hong 's works are different from common still life paintings, and they are not limited to the authenticity of plant shapes. Instead, it depicts the growth, posture and situation of plants in an abstract form, wandering between the virtual and the real, reflecting the pure painting and expressiveness of the work.

76

「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。」–邱 亞才 邱亞才的油畫作品專注於肖像畫，且為單人畫像，以半身姿態置於畫面 中央最為常見，著重描繪人物的五官面容，隱藏在畫面以外的身軀更容易讓 觀者的注意力集中於面部，如Lot 1062《穿大衣的男子》人像呈現僵直佇立之 態，雙眼目光堅毅直視著觀者，讓觀者感受到畫家內心的孤獨陰鬱卻又不服 輸的精神。畫作的背景多使用灰暗的冷色調，凸顯畫中憂鬱陰沉的氛圍，人 物多身著單色系衣物凸顯清冷的性格，到後期顏色開始趨於鮮豔，逐漸出現 帶有圖案花紋的衣物，如：條紋、圓點及格子的圖樣。 獨特細長的身形，落寞孤獨的身影與畫中永遠費人猜疑的眼神，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。在執著於創作的同時，更是對人性的探索：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。

"When people see my paintings and novels, they often think of pain in life. There are many ways to interpret the pain, but I use paintings and words to express it."CHIU Ya Tsai CHIU Ya Tsai 's oil paintings focus on portraits, especially single portraits. It is most common to be placed in the center of the screen in a half-length posture, focusing on the facial features of the character. The body hidden outside the screen makes it easier for the viewer to focus on the face. For example, the portrait of Lot1062 “Coat Man” shows a stiff man with his eyes fixed and looking straight at the viewer, allowing the viewer to feel the artist’s inner loneliness and gloomy but unwilling spirit. The backgrounds of the paintings are mostly dark and in cold tones, highlighting the melancholy and gloomy atmosphere in the paintings. The figures are mostly dressed in monochrome clothing to highlight the cool personality. In the later years, the colors began to become brighter, and clothing with patterns gradually appear, such as stripes, origins, and grid patterns.

The unique and slender figure along with the suspicious eyes are the most common themes in CHIU Ya Tsai 's paintings. Unlike many other artists, he did not change his theme with times, but had been focusing on the exploration of characters, as well as shaping them with different personalities for a long time.

While obsessed with creation, it is also an exploration of human nature: the changeable human nature and the deepness of the human heart cannot be captured by a single picture; the twists and turns of the human world and the flow of human relationships cannot be explained by a single story. CHIU Ya Tsai insisted on creating and repeatedly pondering on human heart and nature, which was a homework he had never let go of in his life. With the transparency he had honed with this, he painted every silent face that stares at the corner of the viewer's heart.

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1062

邱亞才（台灣，1949－2013） 穿大衣的男子 油彩 畫布 簽名下方：邱亞才 131×81 cm（39.3×31.6 in.） 出版： 鄭玠旻、鄭亘翔：《邱亞才》（臺中市： 哥德藝術中心，2013年），頁64。

CHIU Ya Tsai Coat Man Oil on canvas Signed lower left : CHIU Ya Tsai in Chinese Literature: Zheng Yongmin, Zheng Genxiang, CHIU Ya Tsai (Taichung, Goethe Art Center, 2013), P.64.

NT$ 1,500,000-2,500,000 HK$ 420,200-700,300 US$ 53,760-89,610

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德國收藏家雅戈德菲爾德（Anna Maria JAGDFELD）收藏多件邱亞才作品 並形容他的畫作：「邱亞才在繪畫中所欲追尋的意圖，絕不僅限于描繪主角的 外形和外貌，還有體現中國藝術的特色，將繪畫視為『自我存在』的延伸。」 除肖像畫外，邱亞才在2005年後開始繪畫靜物，作品數量不多，其中以 花卉最為常見，此類作品色彩及技法較為大膽，背景多使用流動性線條。如 Lot 1063《瓶花》不同於肖像作品中陰鬱的色彩，曲線的韻律及單純樸實的構 圖，色彩大膽奔放，筆觸狂野，除寫意外還多了些超乎現實的想像空間。蜿蜒 的線條讓觀者感受到花朵的生命力，整件作品不以客觀的寫實描繪，而是直觀 表達畫家內在感受，邱亞才對於文學創作的滿腔熱情，造就繪畫裡與眾不同的 獨特韻味，他從閱讀中尋找創作的色彩，自文字裡增添畫作生命的內涵。 拍品Lot 1064《 猜》正是邱亞才典型的半身肖像畫，人物的臉龐較為拉 長，以簡單的線條繪出五官，雙眼目光注視觀者，若有似無的表情無法察覺出 人物的情緒，對應黑色背景的凸顯出畫作整體清冷的氛圍，更呈現人物的疏遠 及冷漠。邱亞才的人物造型來源以中國唐代時期的人物畫風格為本，如人物的 鉤狀鼻、杏眼、鵝蛋臉且身形多較纖瘦，多利用線條描繪臉部輪廓，由原先比 例正常的臉部逐漸變成拉長的形式，從複雜細緻的線條漸漸簡化，展現豐富多 樣的面容。 The German collector Anna Maria JAGDFELD collected several works by CHIU Ya Tsai and described his paintings: " CHIU Ya Tsai’s intentions in his paintings are not limited to depicting the protagonist’s appearance, but reflecting the characteristics of Chinese art and regards painting as an extension of "self-existence".

In addition to portraits, CHIU Ya Tsai began to paint still-life after 2005. There are not many works, among which flowers are the most common subjects.

The colors and techniques of these works are bolder, and the backgrounds are mostly fluid lines. Different from the gloomy colors in his portrait works, Lot1063 “Vase of Flowers” has a curved rhythm and simple composition with bold colors and wild brushstrokes, making it more room for imagination beyond reality. The winding lines make the viewer feel the vitality of the flowers. The whole work is not depicted objectively and realistically, but intuitively expresses the artist’s inner feelings. CHIU Ya Tsai’s passion for literary creation creates a unique charm in his paintings. He searched for creative colors from reading, and adds life connotation to paintings from words.

Lot1064 “Suspect” is a typical half-length portrait of CHIU Ya Tsai. The face of the character is relatively elongated, and the facial features are drawn with simple lines. The eyes are fixed on the viewer. If there is a seemingly nonexistent expression, the emotion of the character cannot be detected. The black background highlights the cool atmosphere of the painting as a whole, as well as the alienation and indifference of the characters. The source of CHIU Ya Tsai’s figure modeling is based on the painting style of the Tang Dynasty in China, such as the hook-shaped nose, apricot eyes, oval face, and the figures are mostly slender. Lines are used to depict the contours of the face. The original face has gradually become elongated form from the original proportions, and gradually simplified from the complex and details lines, showing a rich and diverse face.

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1063

邱亞才（台灣，1949－2013） 瓶花 油彩 畫布 1991 簽名右下：邱亞才 130×96.5 cm（51.1×37.9 in.） 出版： 鄭玠旻、鄭亘翔：《邱亞才》（臺北市： 旻谷藝術，2009年），頁157。

CHIU Ya Tsai Vase Of Flowers Oil on canvas 1991 Signed lower right : CHIU Ya Tsai in Chinese Literature: ZHENG Yong Min, ZHENG Gen Xiang, CHIU Ya Tsai (Taipei, Ming Art Gallery, 2009), P.157.

NT$ 950,000-1,600,000 HK$ 266,100-448,200 US$ 34,050-57,350

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1064

邱亞才（台灣，1949－2013）

CHIU Ya Tsai

猜

Suspect

油彩 畫布 1990 簽名右下：邱亞才 藝術家背框親寫： 我痛苦，所以我斜眼看人 80×65 cm（31.5×25.5 in.）

Oil on canvas 1990 Signed lower right：CHIU Ya Tsai in Chinese The artist himself wrote on the back frame: I am in pain.

Literature：

出版： 鄭玠旻、鄭亘翔：《邱亞才》（臺北市：旻谷 藝術，2009年），頁148。

81

ZHENG Yong Min, ZHENG Gen Xiang, CHIU Ya Tsai (Taipei, Ming Art Gallery, 2009), P.148.

NT$ 750,000-1,200,000 HK$ 210,100-336,100 US$ 26,880-43,010

1065

陳蔭羆（華裔美籍，1913–1995） 香港海景 油彩 畫布 1950年代 簽名右下：GEO CHANN 45.7×61 cm（17.9×24 in.） 附藝術家家屬親簽保證書

George CHANN Hong Kong Seascape Oil on canvas 1950s Signed lower right : named GEO CHANN Attached with a letter of guarantee signed by the family of the artist

NT$ 220,000-350,000 HK$ 61,600-98,000 US$ 7,890-12,540

「西方人用眼睛來做畫， 中國人用心靈來做畫。」–陳 蔭羆

"Westerners use eyes to paint, Chinese people use their hearts to paint."- George CHANN

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。1947年陳 蔭羆曾回到中國，客居香港 有兩三年的時間，本次拍品 Lot 1065《香港海景》繪製於 1950年代，受到印象派及後 印象派風格的影響，以線條或 色彩構成畫面，表現畫家自身 的主觀情緒。前景為寬闊的海 域，右側少數的船隻，後方朦 朧的天空帶點橘紅色，中間為 零星的船隻向著港內行駛，應 是描繪黃昏時歸港的船隻，遠 景為海港沿岸延伸觀者視線， 可見陳蔭羆將其抽象繪畫的獨 特性、豐富的視覺層次與肌理 的張力美感，融入至畫面中。

George CHANN was one of the wellknown artists of modern abstract painting.

His paintings are dense, thick and full of strong ancient Chinese characters, making him as one of the leading figures in Asian abstract painting. George CHANN returned to China in 1947 and lived in Hong Kong for two or three years. The Lot1065 "Hong Kong Seascape" was drawn in the 1950s.

Influenced by the styles of Impressionism and Post-Impressionism, the painting is composed of lines or colors to express the subjective emotions of the artist himself. The foreground is a wide sea area, with a few ships on the right, the hazy sky at the rear with a little orange, and the scattered ships returning towards the harbor in the middle.

The distant view is the extended line of sight of the viewer along the harbor. George CHANN integrated the uniqueness of his abstract paintings, the rich visual hierarchy and the tension beauty of texture into the 82 paintings.

藝術探險家 – 劉其偉 劉其偉(1912-2002)，中國福建福州人，原 名劉福盛。1920年移居日本，1936年畢業於東 京鐵道教習學院電機科。1945年中日抗戰勝利 後來台，38歲始自修繪畫，曾受黃君璧指導。 1965年隨美軍前往越南擔任戰地工程師，休假之 餘在中南半島各地展開寫生。越戰後返台，曾前 往非洲、菲律賓以及1981年深入婆羅洲雨林區、 1993年接受委託，父子兩人出發前往巴布亞紐幾 內亞等地蒐集原始文化資料，對原始藝術研究深 具心得，也為其創作增添不少特有的靈感。 早期作品多為風景寫生與人物畫，晚期台灣 原住民傳統祭禮、服飾、建築成了創作的靈感與 題材。無論是動物、人物，總以豐富的人生閱歷 和簡單的色調筆觸，使作品看來充滿幽默和童心 之趣，也顯示出對生命和自然環境的熱情。研究 返台後，創作題材更為廣泛，或以精簡的形象、 線條與色彩表達，或以抽象聯想將主題形象化， 作品面貌呈現多樣性與思考性。 劉其偉的創作多得自於對原始藝術的啟發， 他認為要了解藝術的本質，就必須探究原始藝 術，而巴布亞紐幾內亞是至今仍保有石器時代生 活的地區，劉其偉在旅行中，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，例如族人家中的掛鉤。」 在這趟旅程剪輯的影片紀錄，劉其偉用感性的語 調說：「土著的生活看來單調，但能幻化他們的 人生，創作出震撼人心的神話與藝術。……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」。 他認為「 想像力 」正是直接且原始的創作 力，所以其十分喜愛以色彩來傳遞文學的動人 性，且著色時不加輪廓線，以一種柔和的渲染， 營造出朦朧的氛圍。畫面輕鬆儉約，反應了劉老 晚年的天真、詼諧。集體樸素的大地色調，也傳 遞了劉其偉身為藝術老頑童以及一位過往旅行者 的低調思想。

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Max LIU (1912-2002), a native of Fuzhou, Fujian, China, was originally named LIU Fu Sheng. He moved to Japan in 1920 and graduated from the Electrical Engineering Department of Tokyo Railway Education Institute in 1936. After the victory of the Sino-Japanese Anti-Japanese War in 1945, he started self-learning painting at the age of 38 and was under the guidance of HUANG Jun Bi. In 1965, he went to Vietnam with the U.S. Army to work as a field engineer. After the vacation, he started sketching all over the Indochina Peninsula.

After returning to Taiwan by the end of Vietnam War, he traveled to Africa, Philippines, and went deep into the Borneo rainforest in 1981.

Accepting a commission in 1993, the father and son set off to Papua New Guinea and other places to collect primitive cultural materials.

They had deep experience in primitive art research, adding a lot of unique inspiration to his later works.

Max LIU’s early works were mostly landscape sketches and figure paintings. In the later period, the traditional rituals, costumes, and architecture of Taiwan aborigines became the inspiration and themes of his creation. Whether it was an animal or a character, he always used his rich life experience and simple tonal brushwork to make his works look full of humor and childishness, showing his passion for life and the natural environment. After the research, Max LIU returned to Taiwan, and the subject matter of his creation became more extensive, either with simplified images, lines and colors, or with abstract associations to visualize themes, and the appearance of the works showed diversity and thinking.

Most of Max LIU’s creations are inspired by primitive art. He believed that to understand the essence of art, one must explore primitive art. Papua New Guinea is an area that still retains life in the Stone Age. In addition to exploring the culture during traveling, as an art creator, Max LIU had a deeper sense that "Amazing works of art are everywhere, such as the hooks in the family's home.” In the video record of this journey, Max LIU said in a perceptual tone: "Indigenous life seems monotonous, but it can transform their lives and create shocking myths and art.... They live in a magnificent, simple, and free world, and they have their own happiness and meaning. I think that civilization cannot create a paradise on earth." Constantly thinking about art, about the world, and about civilization should be Max LIU 's persistent efforts in "Art Anthropology."

Max LIU believed that "imagination" is the direct and original creative power, so he loved to convey the humanity of literature with color, and does not add contour lines when coloring, and creates a hazy atmosphere with a soft rendering. Max LIU’s works are relaxed and frugal, reflecting the innocence and humor of his later years. The collective and simple earth tone also conveys Max LIU's low-key thoughts as an old art urchin and a passing traveler.

1066

劉其偉（台灣，1912–2002）

Max LIU

婆憂鳥

Po You Niau

複合媒材 簽名右下：ㄌㄧㄡ ˊㄑㄧˊㄨㄟˇ 11000 48×33 cm（18.8×12.9 in.）

Mixed media

附畫廊原作保證書

Attached with the original gallery

Signed lower right : named Max LIU in Mandarin Phonetic Symbols, 11000

guarantee

NT$ 420,000-550,000 HK$ 117,600-154,100 US$ 15,050-19,710

Lot 1066《婆憂鳥》被劉其偉視 為「親情的守護者」，為其生命中的 代表作。劉老小時候祖母常講「婆憂 鳥的故事」給他聽，劉老也不忘這個 兒時的傳說，加上祖母將他一手帶 大，也因思念而特別喜愛以此作為創 作主題。劉老以最精簡的形與色，幻 化成一個單純的象徵符號，讓單純中 蘊含豐富的內容。獨創的蛋狀身形、 黑背紅腹與細長的雙足，近似米羅風 格的抽象符號，烘托出極富趣味的造 型。動人的傳說加上孺慕之情，更引 起大眾喜愛及共鳴。 84

1067

劉其偉（台灣，1912–2002）

Max LIU

皇帝夢

Emperor Dream

複合媒材 簽名右下：ㄌㄧㄡ ˊㄑㄧˊㄨㄟˇ 11000 47×36 cm（18.5×14.1 in.）

Mixed media Signed lower right : named Max LIU in Mandarin Phonetic Symbols, 11000 Attached with the original gallery

附畫廊原作保證書

guarantee

NT$ 280,000-380,000 HK$ 78,400-106,400 US$ 10,040-13,620

85

Lot 1067《帝王夢》是劉其偉晚 年開始嘗試自畫像的作品之一，曾有 人問過為何晚年才開始做自畫像， 劉老答：「 古代建築師建造廟堂原 是用來紀念帝王、英雄，最後紀念 的才是自己。 」其一生經歷家道中 落、兩次的世界大戰與越戰，看盡磨 難與死亡，而對其個人的人生定義為 一場冒險，不怕死、就怕窮、愛財。 而此作《帝王夢》便是劉其偉綜觀其 人生的對立寫照，後半輩子又將手邊 的財富投入做田野調查、原始文化研 究。嘴上說著愛財，卻永遠將財富擺 在最後，努力不懈的研究與創作才是 「藝術人類學家」劉其偉一生追尋的 目標。

1068

陳景容（台灣，b.1934）

CHEN Ching Jung

瓶花

Vase Of Flowers

油彩 畫布 簽名右下：景容 50.5×48 cm（19.8×18.8 in.）

Oil on canvas Signed lower right : named Ching Jung in Chinese

NT$ 320,000-400,000 HK$ 89,600-112,000 US$ 11,470-14,340

陳景容1952年就讀於國立台灣 師範大學時，受到張義雄、朱德群、 廖繼春等諸多恩師的教導與啟發。 1956年與畫友創立「 五月畫會 」， 畢業後赴日留學，期間亦深受達利影 響，此後發展出極具個人特色的古典 色彩與超現實主義結合的陳氏風格。 1986年後長期旅居法國巴黎，並以 油畫創作為主，風格多為大幅的清冷 風景、人體與石膏。陳景容多以傳統 構圖和低彩度的灰藍色調進行創作， 其作品常帶有一絲寂靜哀愁的氣氛， 風格獨特，可說是台灣藝壇超現實主 義的重要代表。Lot 1068《瓶花》為 其少數以花卉為主題的油畫，瓶中的 玫瑰以紅白色調相互堆疊，在綠葉 及棕藍色背景的襯托下更顯其古典 86 之美。

設計人才的培育。積極發展工藝教育的同時也 進行純藝術創作。1950年後其繪畫風格已逐漸 成熟，題材亦多描寫風土民情，其中他對原住 民及大自然的描繪更是相當生動，由此看出他 對這片土地的熱忱與關懷。

YEN Shui Long (1903-1997) was born in Tainan. He was independent and strong since he was a child. At the age of eighteen, he was admitted to the Western Painting Department of the Tokyo National School of Fine Arts, Japan, which had a profound influence on his pursuit of arts and crafts as well as his simple painting style in the future. Facing financial difficulties when he graduated in 1929, he benefited from Wufeng LIN Xian Tang's funding, which led him to go to France to improve his sketching and oil painting techniques. Adhering to the spirit of "art comes from life," YEN Shui-Long resolutely took the responsibilities of beautifying and educating Taiwanese society after returning to Taiwan. From 1934 to 1937, he cooperated with YEN Shui Long, Liao Jichun and others to establish the "Taiyang Exhibition" and the "Taiyang Art Association", dedicating to promote Taiwanese arts and crafts and cultivate design talents. While actively developing art and craft education, YEN also practiced his artistic creation. After 1950, his painting style has gradually matured, and his subject matters often depicted local customs, including aboriginal people and nature, showing his enthusiasm and deep caring to this land.

顏水龍的繪畫風格以理性著稱，擅長簡化 複雜的畫面，以簡單的線條和大塊面構圖，將 作品裡那份堅持與莊重的精神內涵描繪的恰如 其分。以風景畫為例，其素描底子深厚，每次 創作前必定造訪現場，先以速寫的方式工整的 描繪出雛形，才回到工作室完成後續水彩及油 畫的上色。其簡潔明朗的畫風、對比強烈的溫 暖用色，不僅傳達出台灣特有的陽光與熱度， 也代表他所想要推廣的現代台灣藝文形象。

YEN Shui Long 's painting style was known for his rationality. He was good at simplifying complex pictures by using simple lines and largescale composition to depict the persistence and solemn spiritual connotation in his works. Take landscape painting as an example, he always visited the scene in person before each creation and would sketch the prototype neatly before returning to the studio to finish the subsequent coloring of watercolors and oil paints. His succinct and clear style and contrasting warm colors not only convey the unique sunshine and heat of Taiwan, but also represent the image of modern Taiwanese he wanted to promote.

顏水龍（1903-1997）台南下營鄉人，從 小個性獨立堅強，十八歲便以半工半讀的方式 考上日本國立東京美術學校西畫科，對其日後 工藝美術的追求及以簡馭繁的繪畫風格帶來深 遠的影響。1929年畢業之際面臨經濟上的困 難，機緣下受惠於霧峰林獻堂資助，轉而促成 他前往法國精進素描及油畫的機會。秉持著 「 藝術源於生活 」的精神，留學歸國的顏水 龍毅然決然承擔起美化與教育台灣社會的使 命。1934年-1937年間與楊三郎、廖繼春等人 合作，分別創立了「 台陽展 」與「 台陽美術協 會 」，將後半生奉獻給台灣工藝美術的推廣及

Lot 1069《 坎城港 》是顏水龍在歐洲工藝 教育考察期間，二次造訪南法時所見的風光。 生動描繪波光粼粼的港灣景色，用簡單的線條 勾勒出船隻與建築的型態。在色彩的應用上， 相較於過去作品強烈對比的分割色塊已漸趨柔 和，前、中景柔美而明快的海色市景襯托著遠 處湛藍的天空，交織出層次感豐富的光影變 化。彷彿展現了陽光明媚的南法夏日風光，讓 觀者置身於畫中的中世紀老城區，漫步在蜿蜒 起伏的石板街道上，迎著微風瀏覽兩旁的街 景，巡禮這座依山而建、層層堆疊的古鎮。

可參考：藝術家出版社， 《台灣美術全集6：顏水 龍》，（台北市：藝術家 出版社，1992年），圖版 48，頁104-105 87

Lot1069 "Cannes Harbor" is the scenery YEN Shui Long saw during his second visit to South France. It vividly depicts the sparkling harbor scenery and outlines the shapes of the ships and buildings with simple lines. In the application of colors, the divided color blocks with strong contrast have gradually become softer in comparison to his past works. The soft and bright sea-colored city scenes of the front and middle scenes set off the blue sky in distance, intertwining the light and shadow with rich layers. It seems to reproduce the sunny summer scenery of South France, allowing the viewer to be in the medieval old town in the painting, strolling on the winding stone streets and browsing the street scenes on both sides in the breeze.

1069

顏水龍（台灣，1903–1997）

YEN Shui Long

坎城港

Cannes Harbour

油彩 畫布 1986 簽名右下：S.L.yen 1986 73×92 cm（28.7×36.2 in.）

Oil on canvas 1986 Signed lower right : S.L.yen 1986 Attached with the original gallery guarantee

附畫廊原作保證書

NT$ 1,500,000-2,200,000 HK$ 420,200-616,200 US$ 53,760-78,850

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「藝術是從摹仿開始，鍛鍊好型態、明暗、 色彩之後，才能邁向創作。所謂摹仿包括自然寫 生、畫人體模特兒，也包括試探與領悟前人的繪 畫。」–李梅樹

"Art starts with imitation, and only after training the form, light, shade and color can you move on to creation. The so-called imitation includes natural sketches, painting human models, and also includes exploring and comprehending the paintings of predecessors." - LI Mei Shu.

早年作品李梅樹創作題材以靜物、蔬果、鮮花 為大宗，在東京美術學校時則以裸體畫見長，至 於風景畫，從三峽風光到淡水小鎮都有他的足跡。 但在戰後，隨著環境的變化和人生際遇的不同，日 據時代風格相近的畫家在戰後分別走向風格相異的 道路，尤其是李梅樹，他走向了一條與眾不同的異 路。李梅樹原本就是地方政治的領導人物，戰後又 擔任重建三峽祖師廟的重責大任，陷身於地方事 務，使李梅樹的藝術取向不自覺改變了，以故鄉景 物取代純粹風景，以人間兒女取代了裸身女郎，以 生活瑣事取代了花團錦簇，回顧李梅樹的創作生 涯，絕大多數作品都圍繞著「風、土、民、情」。

In his early works, LI Mei Shu mainly focused on subjects such as still life, fruits, vegetables and flowers. During his time at Tokyo Art School, he was good at nude painting. As for landscape painting, he had his footprints from the scenery of the Three Gorges to the small town of Tamsui. But after the war, with the changes in the environment and the different life experiences, artists with similar styles in the Japanese occupation era followed different styles, especially for LI Mei Shu who took a different path. LI Mei Shu was originally a leader of local politics. After the war, he was responsible for the reconstruction of the Three Gorges Patriarch Temple. He became involved in local affairs, which made LI’s artistic orientation unconsciously changed, replacing the pure scenery with hometown scene, the children replaced the naked girls, and the trivial matters of life replaced the flowers. After looking back at LI Mei Shu's creative career, most of his works revolve around "wind, soil, people, and love".

李梅樹的畫風細膩，其風格轉變大致可分為三 個階段，1930年代的作品多為外部的顯露，觀者 可藉由畫中的描繪物去和作品名稱相呼應，之後漸 漸開始走向隱喻性敘事畫風。1947年投身於三峽 祖師廟的重建工作，開始發展了寓意式人像創作。 1960年代初期，李梅樹的「 類照片畫作 」誕生， 敘事性更為清楚，拍品Lot 1070《玫瑰》即是此時 期的作品，畫面中心被玫瑰與花瓶佔滿，構圖簡潔 大方，在紅花與綠葉的巧妙布局之下，整幅畫顯得 溫潤而優雅。畫中的深色的骨董花瓶和淺色的桌面 背景，與色彩奔放的花朵互相呼應相得益彰，成功 的將玫瑰的鮮豔烘托出來，顏色典雅浪漫，畫面愉 悅亦不失高貴之氣。 李梅樹這些深具本土自覺的作品，以隱藏筆 觸、捨去自我的「 精微寫實 」手法，幾乎比西方 「照相寫實主義」的出現，還要更早，深具美術史 的意義。漫長的創作生涯不變的是他的努力與真 情。不論其對人物或風景的描述，均見全然的投 入。這也是他留給人們深刻懷想的藝術家生命的本 質呈現。

LI Mei Shu’s painting style is delicate and can be roughly divided into three stages. Most of the works in the 1930s are external exposure. The viewer can use the depictions in the paintings to echo the title of the work, and then gradually begin to move towards a metaphorical narrative style.

In 1947, he devoted himself to the reconstruction of the Three Gorges Temple, and began to develop allegorical portrait. In the early 1960s, LI Mei Shu's "photographic paintings" were introduced with a clearer narrative, such as Lot1070 “Rose”. The center of the picture is filled with roses and vases. The composition is simple and generous, and the red flowers and green leaves are ingenious. Under the layout, the whole painting appears gentle and elegant. The dark antique vases and the light-colored desktop backgrounds in the painting echo each other with the brightly colored flowers. They successfully bring out the vivid colors of the roses, the colors are elegant and romantic, and the pictures are pleasant and noble.

LI Mei Shu's works with deep local consciousness, using the "subtle realism" technique of concealing brushstrokes and abandoning oneself, are almost earlier than the emergence of "photographic realism" in the West and have a profound significance in art history. What remains unchanged in the long creative career is his hard work and true feelings. Regardless of his descriptions of people or landscapes, he is completely engaged. This is also the essence of the artist's life he left for people to think deeply.

1070

李梅樹（台灣，1902–1983）

LI Mei Shu

玫瑰

Rose

油彩 木板 1968 簽名右下：一九六八 梅樹 41×32 cm（16.1×12.5 in.）

Oil on wooden board 1968 Signed lower right : 1968, named Mei Shu in Chinese With proof of purchase Acquired by the original collector from EAST Gallery

檢附購買證明 原收藏者購自東之畫廊 89

NT$ 800,000-1,000,000 HK$ 224,100-280,100 US$ 28,670-35,840

90

楊三郎 「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！」–楊三郎 楊三郎為早期台灣美術史上的重要領航人，一生經歷 了無數次的美術變革，豐富的人生與留學、出國經驗，以 及勤奮的創作欲望，都在作品之中真誠的表露無遺。楊三 郎是一位認真、嚴謹，性情豪邁的藝術大前輩，他以寫實 為基礎，描繪自然、文化，成就綿延不絕且質量豐沛的藝 術生涯。 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 旅日畫家石川欽一郎（1871-1945）、鹽月桃甫（18861954）、鄉原古統（1887-1965）、木下靜涯（18891988）等建言，創立官辦「 台灣美術展覽會 」，即「 台 展」，楊三郎受父親鼓勵投件參加，榮獲入選，作品更由 官方購藏。這樣的殊榮令當時尚在求學習畫的年輕學子而 言，無疑是一份莫大的鼓勵與支持。而就台灣美術運動發 展而言，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。 經歷過日本關西美院嚴格的美術訓練，並獲得「 台 展」及「春陽展」的肯定，楊三郎被譽為有潛力的天才畫 家；但在數年後遭受同樣是「台展」無情的拒絕，但這種 拒絕促使楊三郎留法，進而入選沙龍展，更全面吸收純正 西方藝術的洗禮。楊三郎參加的「赤島社」與發起的「台 陽美展」，表現出對台灣本島的熱愛與藝術的關懷。楊三 郎的作品以寫生的風景畫居多，題材的選擇與色調地運用 普遍為一般大所能接受，因此在後來的「 府展 」與「 省 展」，他的風格仍有相當的影響力。影響楊三郎的是大自 然下的景物，而他的熱情如陽光般的綻放，略帶野獸派風 格的渾厚色彩，一筆一觸畫出心中的自然。楊三郎一生追 求自然風景寫實的描繪，題材看似數十年不變，但他的精 神內蘊卻隨著年齡與歷練的不同而有所增長與轉變。他以 不斷追求自然之美來證明他為藝術所做的努力。

91

"How to transform nature into a painting, I have done more than 60 years of work to transform nature into a painting...Only by directly facing nature, you can feel the unity between one self and the great above. It is pure and touching. " - YANG San Lang YANG San Lang was an important leader in the early history of Taiwanese art. He had experienced countless art reforms in his life. His profound life experience in studying abroad, as well as his diligent desire to create, are sincerely revealed in his works. YANG San Lang was a serious, rigorous, and heroic art pioneer. Based on realism, he depicted nature and culture, and achieves an endless and high-quality art career.

During his study abroad, in addition to rich academic courses, YANG San Lang also actively attended art exhibitions. What made him fascinated was the scenery, such as Kyoto’s elegant architecture, flowers and plants, and quiet and beautiful atmosphere. By embracing the nature, YANG San Lang worked so hard to paint the landscape one by one, which had become the most common theme of his painting in the future. In 1927, Taiwanese artists who traveled to Japan, such as ISHIKAWA Kinichiro (1871-1945), SHIOTSUKI Toho (1886-1954), GOBARA Koto (1887-1965), KINOSHITA Seigai (1889-1988), established the "Taiwan Fine Arts Exhibition", also known as "Taiwan Exhibition”.

YANG San Lang was encouraged by his father to submit pieces to participate and was eventually selected as the official collection. This kind of honor was undoubtedly a great encouragement and support for young students who are seeking to learn and paint. Regarding the development of Taiwan’s art movement, YANG San Lang devoted much effort. The establishment of the Taiwan Exhibition also brought together these Taiwanese art predecessors and became the most lively art event at that time.

After undergoing rigorous art training at the Kansai Academy of Fine Arts in Japan, and was affirmed by the "Taiwan Exhibition" and "Chunyang Exhibition", YANG San Lang was hailed as a talented painter with potential; but a few years later suffered the same ruthless "Taiwan Exhibition" refusal. However, because of this refusal, YANG San Lang was prompted to stay in France and was later selected for the salon exhibition, thus absorbing the pure Western art more fully. YANG San Lang participated in the "Akashima Society" and initiated the "Taiyang Art Exhibition", showing his love and care for Taiwan's main island. YANG San Lang's works were mostly landscape paintings, and the selection

喜愛以自然為師的楊三郎，終身追求「如何把自然轉 化成一幅畫」，他主張客觀的觀察自然將是藝術創作的絕 佳方式，因而一直保持著自然寫生的創作手法。曾有論述 認為，這樣的影響，應該來自於關西美術學院所在地的京 都。那裡的建築古意典雅，風光靈秀明媚，當櫻花盛開的 初春時節，景物之美令人心醉。因此，楊三郎對大自然這 樣的變化感到著迷，他開始嘗試在戶外寫生，讓大自然成 為他百看不厭的老師。如景薰樓2019春季拍賣會Lot 2080 《雪景》描繪冬季雪景下的樹林，深度的雪意，孤寂的冬 景，更有稀疏林間的相互交錯。冬季的難度描繪，在於白 雪間山勢地形的細微變化，以精簡卻準確的筆觸，傳達冷 冽嚴冬下的孤寂，更能體現藝術家親臨實景的畫面。

2015景薰樓秋季拍賣會Lot 2089《陽明山之秋》， 油彩 畫布，60.5×72.5 cm。Yangmingshan Autumn / Oil on canvas 楊三郎對構圖、造形、色彩要求嚴謹，出於當年所受 日本學院注重寫實技巧的訓練，往後創作發展中，尤其受 柯洛（Jean-Baptiste Camille Corot, 1796-1875）和莫內 （Claude Monet, 1840-1926）兩人影響，柯洛的風景中 充滿大量的詩意，羽毛般的膨鬆感，畫面構圖單純，光線 明亮自然。楊三郎以此自然主義為基礎出發，他強調為了 孕育自我對蒼穹的情意和感知，需要實地置身於大自然 中，彼此不斷產生當下相互的交流和感觸，藉由這種實際 的體驗，方能掌握大自然變化萬千的可能性。

of themes and the use of tones are generally acceptable.

Therefore, his style was still quite influential in the later "Fu Exhibition" and "Provincial Exhibition". It was the scenery from nature that affected YANG San Lang the most, making his enthusiasm bloom like the sun with a strong Fauvism style of color. YANG San Lang had pursued realistic depictions of natural landscapes throughout his life. The subject matter seemed to have remained unchanged for decades, but his spiritual contents had grown and changed with age and experience. He proved his efforts for art by constantly pursuing the beauty of nature.

YANG San Lang, who loved nature as his teacher, pursued "how to transform nature into a painting" for life. He advocated that objective observation of nature would be an excellent way of artistic creation, and thus had always maintained the creative technique of natural sketching.

It has been argued that such an influence should come from Kyoto, where the Kansai Academy of Fine Arts is located. The architecture there is ancient and elegant, and the scenery is beautiful and beautiful. When the cherry blossoms are in full bloom in the early spring, the beauty of the scenery is fascinating. Therefore, YANG San Lang was touched by such changes in nature, and began to try to sketch outdoors, making nature a teacher he never bored.

For example, JSL's 2019 Spring Auction Lot 2080 "Snow Landscape" depicts the woods under the snow scene in winter, the depth of snow, the lonely winter scene, and the interlacing of sparse forests. The difficulty of depicting the winter lies in the subtle changes in the topography of the snow-covered mountains. The simple but accurate brushstrokes convey the loneliness in the cold winter and better reflect the artist's presence in the real scene.

YANG San Lang had strict requirements on composition, shape, and color. He was trained in realism skills by Japanese academies. In the later development of his creation, he was especially influenced by Jean-Baptiste Camille COROT (1796-1875) and Claude MONET (18401926). COROT's landscape is full of poetry, feather- like puffiness, simple composition, bright and natural light. Based on this naturalism, YANG San Lang emphasized that in order to nurture his affection and perception of the sky, he needed to be physically in nature, and constantly had mutual exchanges and feelings with each other. Only through this practical experience could he grasp the changing possibilities of nature.

92

楊三郎的畫以他豪放粗獷的筆觸著稱，看似澎湃氣勢 的筆法，卻也能繪出平淡靜謐的氛圍。本次拍品Lot 1071 《屏東古厝》「見我所見，描我所見」。楊三郎在創作之 時，強調醞釀自我對自然的情意和感知的開啟，需要實地 置身於大自然之中，當下與之彼此不斷產生交流與感動。 並非刻意地尋求，而是發自於渴望自然的天性以及出自於 質樸天真的率性。 秋天的景色，亦是楊三郎筆下常見的題材，如景薰 樓2020秋季拍賣會Lot 1073《 秋景 》描繪鄉村秋季下的 一景，屋舍旁橘黃的林木相互交錯，黃葉飄零；景薰樓 2017秋季拍賣會Lot 2043《秋林》以鮮豔明亮的色彩與冷 冽色調作對比，涼意之中帶點暖和，厚塗的油彩感亦帶出 大自然景色的樸實與粗曠感。 本次拍品Lot 1072《日本農家》描繪日本農村的秋天 景色，畫面色彩豐富，秋風颯颯，節次比鄰的樹幹帶出畫 面的深遠感，橘紅色調繪出秋葉的斑斕，整體構圖平穩，

YANG San Lang’s paintings are known for his bold and rough brushstrokes. The seemingly surging brushwork can also create a calm and quiet atmosphere. When YANG San Lang was painting Lot1071 “Pingtung Ancient House" presented in this sale, he emphasized the incubation of his own affection for nature and the opening of his perception. It is necessary to be in the nature in person, and to constantly communicate and interact with each other at the moment, not deliberately seeking, but from the desire for nature and from the simplicity and innocence.

Autumn scenery is also a common theme in YANG San Lang's writings. For example, JSL's 2020 Autumn Auction Lot1073 "Autumn Scene" depicts a scene in the countryside in autumn. The orange trees next to the house are intertwined with yellow leaves; JSL’s 2017 Autumn Auction Lot2043 “Woods In Fall" contrasts bright colors with cold tones. There seems a little warm in the cool air, and the thick oil paint also brings out the simplicity and roughness of the scenery.

厚塗的油彩感亦帶出大自然景色的樸實與粗曠感，以陰濛 的藍色基調表現出雖是晴空而陽光不顯的天氣，藉以凸顯 秋葉的鮮明，產生豐富的層次和協調的畫面。

93

2020景薰樓秋季拍賣會Lot 1073《秋景》，油彩畫布，

2017景薰樓秋季拍賣會Lot 2043《秋林》，油彩畫布，

45.5×53cm，1991。Autumn Scene / Oil on canvas

45.5×53 cm。Woods in Fall / Oil on canvas

1071

楊三郎（台灣，1907–1995）

YANG San Lang

屏東古厝

Pingtung Ancient House

油彩 畫布 1990 簽名右下：S.Yang 36.5×43.5 cm（14.3×17.1 in.）

Oil on canvas 1990 Signed lower right : S.Yang Attached with a gallery guarantee letter signed by the artist

附藝術家親簽之畫廊保證書 Literature: 出版： 台北時代畫廊：《楊三郎畫集》（台北：台北時代畫廊，1993 年），頁22。

Taipei Times Gallery, A Collection of YANG San Lang's Paintings (Taipei : Taipei Times Gallery, 1993), p. 22.

NT$ 360,000-500,000 HK$ 100,800-140,100 US$ 12,900-17,920 94

1072

楊三郎（台灣，1907–1995）

YANG San Lang

日本農家

Japanese Farmhouse

油彩 畫布 1989 簽名左下：S.Yang 49.5×58.5 cm（19.4×23 in.）

Oil on canvas 1989

附藝術家親簽之畫廊保證書

Literature:

Signed lower left : S.Yang Attached with a gallery guarantee letter signed by the artist

Taipei Times Gallery, A Collection of YANG San Lang's Paintings 出版： 台北時代畫廊：《楊三郎畫集》（台北：台北時代畫廊，1993 年），頁25。

95

(Taipei : Taipei Times Gallery, 1993), p. 25.

NT$ 420,000-600,000 HK$ 117,600-168,100 US$ 15,050-21,510

1073

張萬傳（台灣，1909–2003）

CHANG Wan Chuan

王者之尊

The King of Kings

油彩 畫布 1990 簽名右下：CHANG. 万 簽名畫背：魚分菜 CHANG.万 1990.8 38×45 cm（15.1×17.7 in.）

Oil on canvas 1990 Signed lower right : named CHANG. Wang in Chinese Signed on the reverse: Fish dish, CHANG. Wang in Chinese, 1990.

張萬傳非常喜歡海鮮，特別是將魚 為題進行大量創作，無論是烹調前後或 是在食用前，都會仔細對於魚進行詳細 的描繪，有時會為了作畫特別指定蝦 蟹，Lot 1073《 王者之尊 》以鮮活的龍 蝦為畫作主體，前景表現晚期熟練的線 條式筆觸語彙，筆觸強烈且色彩濃厚， 線條簡單俐落，展現強烈自我風格。

附畫廊保證書與藝術家合照 Attached with a gallery guarantee 出版： 印象畫廊：《印象經典III 張萬傳的繪 畫世界》（臺北市：印象畫廊，1994 年），頁88。（龍蝦）

certificate for a photo of the artist and the work Literature: Impression Gallery, Impression Classics Zhang Wanchuan's Painting World (Taipei : Impression Gallery, 1994), p. 88. (Lobster)

NT$ 550,000-700,000 HK$ 154,100-196,100 US$ 19,710-25,090

CHANG Wan Chuan liked seafood very much, especially the creation of a large number of fish as the subject. Whether it was before cooking or before eating, he would carefully depict the fish in detail, and sometimes especially designated shrimp and crab for painting. Lot1073 "The King of Kings" with the vivid lobster as the main body of the painting, the foreground shows the proficient line-style vocabulary of the late stage. The brushstrokes are heavy, the colors are intense and the lines are simple and neat, showing a strong self-style.

96

1074

王守英（台灣，b.1934） 荷田 油彩 畫布 1992 簽名左下：S.Y.WANG 畫背簽名：王守英 1992 72×90 cm（28.3×35.4 in.） 附畫廊保證書

WANG Shou Ying Lotus Oil on canvas 1992 Signed lower left : S.Y.WANG Signed on the reverse : WANG Shou Ying in Chinese 1992 Attached gallery certificate

NT$ 320,000-500,000 HK$ 89,600-140,100 US$ 11,470-17,920 97

王守英的作品風格擅長以狂 放的筆觸營造出極端浪漫的情 境，獨特的「透明打底」手法讓 畫面更具穿透性，即使沒有物體 的輪廓，但筆觸卻穩重嚴謹，呈 現自然的深度與層次。王守英以 風景為主題的作品為數甚多，透 過細膩的觀察，追求本土風景的 特質，他擅長於靠空氣中的味道 來分辨季節，並將這份天賦的敏 感用在畫布上，使許多人陶醉 在他的抒情氣氛之中。Lot 1074 《 荷田 》秉持著王守英一貫靜 謐、恬淡的創作風格，呈現荷田 隨風搖曳的姿態，讓畫面富有流 動感和朦朧的趣味，以客觀的方 式在具象的基礎上掌握造形的簡 約與變化，呈現出純粹的內在感 受，那是一種讓觀者得以置身於 畫中，彷彿與畫家一同呼吸著當 時的氛圍並細細品嚐其中韻味。

WANG Shou Ying is good at creating extreme romantic situations with wild brushstrokes. The unique "transparent primer" technique makes the picture more penetrating. Even if there is no outline of the object, the brush strokes are steady and rigorous, showing the depth and level of nature. WANG has many landscape works.

Through the delicate observation, he pursues the characteristics of the local landscape. He is good at distinguishing the seasons by the taste in the air and using this talent sensitivity on the canvas, which many people were intoxicated in his lyrical atmosphere. Lot1074 "Lotus" upholds WANG Shou Ying's usual quiet and calm style.

It presents the posture of lotus field swaying in the wind, making the picture full of fluidity and haziness, while mastering the simplicity and change of shape on the basis of concreteness in an objective way. By presenting a pure inner feeling, the viewer seems to be in the picture as if breathing in the atmosphere of the still life and savoring the charm with the artist.

1075

王攀元（台灣，1909–2017）

WANG Pan Youn

暮城

Twilight

水彩 紙 鈐印右下：王攀元印（朱文） 畫背鈐印：王攀元印（朱文） 27×34.5 cm（10.6×13.5 in.） 檢附購買證明

Watercolor on paper Inscribed with one seal of the artist With proof of purchase

NT$ 180,000-280,000 HK$ 50,400-78,400 US$ 6,450-10,040

98

1076

王攀元（台灣，1909–2017） 虛清靜美 水墨 紙本 鏡框 鈐印：王攀元印（白文） 39.2×41 cm（15.4×16.1 in.） 檢附購買證明

WANG Pan Youn Emptiness, Quietness and Beauty Ink on paper, framed Inscribed with one seal of the artist With proof of purchase

NT$ 60,000-100,000 HK$ 16,800-28,000 US$ 2,150-3,580 Lot 1076《虛清靜美》王攀元將傳統的精隨融合 現代的表現手法，透過一生顛沛流離的感悟，賦予 作品獨特的寫意抒情氣質雖是簡約的構圖，酣暢淋 漓的用筆、用墨、用水，卻是濃烈情感的符號，是 孤寂靜美的藝術，已臻行住坐臥皆禪的三昧妙境。

1077

王攀元（台灣，1909–2017）

WANG Pan Youn

丹陵弱水

Danleng

水墨 紙本 鏡框 鈐印：王攀元（白文） 21.5×74 cm（8.46×29.1 in.）

Ink on paper, framed Inscribed with one seal of the artist With proof of purchase

檢附購買證明

99

NT$ 60,000-120,000 HK$ 16,800-33,600 US$ 2,150-4,300

Lot 1077《 丹陵弱水 》以平遠的 山景貫穿畫心，構圖精簡，利用對比 與差異製造畫面的豐富性，畫面上方 留白與中央空間配置延伸畫面的範 疇，營造天地間的開闊。畫隅安設草 堂，小舟遠適，浮於水天一色，以留 白暫寄天然深情，充分展現道家哲學 「大象無形」之精神。蓋天至大無 極、水波浩渺，計白當青，以寓水天 一色，烘托出無著筆畫處之妙境，展 現攀老獨有的表現手法，融合文人寫 意與現代感。

1078

王攀元（台灣，1909–2017） 枯寂靜美 水墨 紙本 立軸 鈐印：攀元書畫（白文） 136×35 cm（53.5×13.7 in.）

WANG Pan Youn Silence Ink on paper, hanging scroll Inscribed with one seal of the artist

NT$ 100,000-200,000 HK$ 28,000-56,000 US$ 3,580-7,170

Lot 1078《枯寂靜美》此作構圖延續王攀元風格「簡約而大膽」，如此 簡約 「 」的作品，卻總能把觀賞者帶入畫中意境。畫中元素只有枯樹、石頭 與太陽，看似簡單，其實是經過生活淬鍊再組合而轉化成自己創作語彙。 王攀元在傳統水墨打了很好基礎，但也突破傳統限制，把固有山水風景 的形式解放出來，畫的不是外在風景，而是王攀元內在風景寫照，只能用 「孤寂靜美」來詮釋這幅水墨創作。 100

1079

Inscribed with one seal of the artist

王攀元將其一生開展於畫布之天地，其生命 承受的深沉與孤寂，沉澱為畫筆之濃彩。「太陽 代表著『永恆的希望』，它永遠不會變，它如 果不見，整個宇宙就會消失，太陽是宇宙的靈 魂。」紅日一向是王攀元經常描繪的符號，對於

With proof of purchase

紅色調的熱愛，也是攀老展現對於繪畫與生命的 熱忱與熱情。

王攀元（台灣，1909–2017）

WANG Pan Youn

朝陽

Rising Sun

水彩 紙 畫背鈐印：王攀元印（白文） 19.5×12 cm（7.6×4.7 in.）

Watercolor on paper

檢附購買證明 Literature: 出版： 誠品畫廊：《王攀元畫集》（臺北：沈氏 藝術印刷股份有限公司，1991），頁62。

Eslite Gallery, Wang Panyuan Painting Collection (Taipei : Shenshi Art Printing Co., Ltd., 1991), p. 62.

NT$ 90,000-180,000 HK$ 25,200-50,400 US$ 3,230-6,450 101

拍品Lot 1079《朝陽》描繪獨自的孤單與寂 寥，畫面主體為痀僂的身影停留，單薄的身影好 似抬頭望向右上的紅日，一人幽謐沉思立於大 地，頗有遺世獨立之感，筆觸自然隨意，以大範 圍的紅色調覆蓋整體背景，暈染的色彩帶出畫面 的朦朧感，用色渾厚大膽。以簡單的色彩及主 體，卻吸引著觀者內心深刻的情感，就好比進入 畫中的世界，化身為畫作中形單影隻的路人

1080

王攀元（台灣，1909–2017）

WANG Pan Youn

高山縹緲

Mountain Peak

水墨 紙本 鏡框 鈐印：王攀元書畫（白文） 56×69.5 cm（22×27.3 in.）

Ink on paper, framed Inscribed with one seal of the artist

NT$ 80,000-160,000 HK$ 22,400-44,800 US$ 2,870-5,730

Lot 1080《高山縹緲》此幅 構圖簡約而獨絕，以墨分五色表 現作品淡雅風格，「意造無法」 也是王攀元從傳統水墨功夫，開 創自己水墨語彙。畫中為了表現 群山煙霧縹緲，使用了雨點皴， 小雨粒聚點成皴，宛如聚沙成 山。山頭以逆筆中峰畫出的垂直 短線，密如雨點，水與墨層層堆 疊，表現高山雲霧繚繞景致。王 攀元寄情山水，孤寂靜美，與世 無爭，也就是文人畫表徵現象。

102

1081

王攀元（台灣，1909–2017） 冬心 水墨 紙本 立軸 鈐印：王后（白文） 72×18.3 cm（28.3×7.2 in.） 檢附購買證明

WANG Pan Youn Winter Ink on paper, hanging scroll Inscribed with one seal of the artist With proof of purchase

NT$ 50,000-100,000 HK$ 14,000-28,000 US$ 1,790-3,580 103

1082

王攀元（台灣，1909–2017） 勁節虛心 水墨 紙本 立軸 鈐印：王攀元印（白文） 93.8×16.5 cm（36.9×6.5 in.） 檢附購買證明

WANG Pan Youn Modest Ink on paper, hanging scroll Inscribed with one seal of the artist With proof of purchase

NT$ 50,000-100,000 HK$ 14,000-28,000 US$ 1,790-3,580 104

1083

王攀元（台灣，1909–2017） 慈悲喜捨 墨書 紙本 鏡框 鈐印：王后（白文） 釋文：慈悲喜捨 款識：王后 78.5×36.5 cm（30.9×14.3 in.） 檢附購買證明

WANG Pan Youn Compassionate Joy Ink on paper, framed Inscribed with one seal of the artist With proof of purchase

NT$ 40,000-80,000 HK$ 11,200-22,400 US$ 1,430-2,870

1084

汪中（台灣，1925–2010） 行書七言聯 墨書 紙本 立軸 鈐印：桐城汪中（白文） 履安長壽（朱文） 觀復（白文） 題識：舊館林泉應識客，故山猿鶴亦迎人 款識：雨盦 135×34.5 cm（53.1×13.5 in.）

WANG Chung Calligraphy Ink on paper, hanging scroll Inscribed with three seals of the artist

NT$ 22,000-30,000 HK$ 6,200-8,400 US$ 790-1,080

105

1085

江兆申（台灣，1925–1996） 行書七言聯 墨書 紙本 立軸 1974 鈐印：江兆申（白文） 茮原（朱文） 藏墨（白文） 題識：高江急峽雷霆鬬， 古文倉籐日月昏 款識：甲寅（1974年） 春日兆申 130×31.5 cm （51.1×12.4 in.）

CHIANG Chao Shen Calligraphy Ink on paper, hanging scroll 1974 Inscribed with three seals of the artist

NT$ 120,000-260,000 HK$ 33,600-72,800 US$ 4,300-9,320

106

1086

丁衍庸（中國，1902–1978） 瓜瓞綿綿 彩墨 紙本 鏡框 1970 鈐印： 丁鴻（白文） 田（朱文） 丁衍庸（白文） 題記：瓜瓞綿綿 上款：愛貞女弟清玩 款文：庚戌（1970年）冬日，丁衍庸 138×69 cm（54.3×27.1 in.）

DING Yan Yong Properous Ink and color on paper, framed 1970 Inscribed with three seals of the artist

NT$ 120,000-180,000 HK$ 33,600-50,400 US$ 4,300-6,450

107

1087

丁衍庸（中國，1902–1978）

DING Yan Yong

鍾馗嫁妹

Zhong Kui's Sister Gets Married

彩墨 紙本 鏡框 1973 鈐印：丁（朱文） 鴻之鉥（白文） 牛鉥（朱文） 款識：鍾馗嫁妹 玉珠女弟清玩 癸丑（1973年）十月八日 丁衍庸 寫於思文堂 70×138 cm（27.5×54.3 in.）

Ink and color on paper, framed 1973 Inscribed with three seals of the artist

NT$ 120,000-180,000 HK$ 33,600-50,400 US$ 4,300-6,450

108

「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。」–劉煒 劉煒1965年生於中國北京，1989年畢業於 中央美術學院版畫系。90年代初期，劉煒與方力 鈞開創「玩世現實主義」藝術風格。「玩世寫實 主義」關注自身無意義的現實，多來自對自身和 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「毛澤東走向普普」 展、1996年參加德國「中國！」展；1998年參 加德國柏林「中國製造—中國當代藝術展」。近 年則受台灣大未來林舍畫廊代理，作品更在各大 藝博展覽廣泛出現。

LIU Wei was born in Beijing, China in 1965 and graduated from the Printmaking Department of the Central Academy of Fine Arts in 1989.

In the early 1990s, LIU Wei and FANG Li Jun created an artistic style known as "Cynic Realism". "Cynical Realism" focus on the meaningless reality of oneself, mostly from the actual experience of an individual or one’s surroundings. It makes things comical that are originally "serious" and "meaningful", and expresses the external ridicule, the general loss of the current reality, and the boring mentality. LIU Wei is the first group of contemporary artists to enter the Western market. He was invited to the Venice Biennale in 1993 and 1995 for two consecutive years. In 1994, he participated in the Sao Paulo Biennale, the "MAO Ze Dong Going to Pop" exhibition in Australia; in 1996, he participated the "China!"exhibition in Germany; in 1998, he attended the "Made in China-Contemporary Chinese Art Exhibition" in Berlin, Germany. In recent years, he has been globally represented by the Lin & Lin Gallery in Taiwan, and his works have been widely displayed in major art fairs.

劉煒的創作無定式、無規矩，一切憑心而來， 脫離過往擅長的油彩創作後，藝術家將目光回歸到 中國傳統繪畫的紙上情懷。於此，形式描摹早已 不是畫家最重視的，反之是東方氣質的營造與 翻轉，乃至於透過文字及圖像共振出不一樣的 美學解讀形式。

There are no rule nor formula in LIU Wei’s works. After moving on from oil painting to traditional Chinese ink painting, formal depiction is no longer what he pays the most attention to. On the contrary, it is the creation of oriental temperament and the different form of aesthetic interpretation through texts and images that he values the most.

Lot 1088《無題》是一幅看似繁花似錦、青 春正盛的單色水墨作品，細看畫面中卻又彌散著 一股瀕臨死亡的詭誕氣息。畫家以細膩的線條緊 湊地描繪在枝頭間穿行鳴叫的小鳥及以骷髏之姿 現身的天使，各自形成強烈的對比。掛於樹頭的 男女毫不避諱地裸視觀者，其誇大的性徵以最直 接的方式宣示生命本能的存在及慾望。隱沒於花 叢間耐人尋味的「就作不死」與「Too Young To Die 」等文字形成曖昧的並置關係，引領觀眾於

Lot1088 "Untitled 2-17" is a monochrome ink painting that seems to be blooming and youthful, but one can sense a grotesque breath of dying with a closer look. LIU uses delicate lines to compactly depict the chirping birds walking between the branches and the angels appearing in the form of skeletons, each forming a strong contrast. The naked men and women who hang on the tree unobtrusively stare at the viewer while their exaggerated sexual characteristics declare the existence and desire of life instinct in a most direct way. The intriguing words hidden among the flowers, "Just Do Not Die" and "Too Young To Die," form an ambiguous juxtaposition relationship, leading the audience to think and reflect on it. Whether it is the outline of flowers and birds or even the words hidden in the background, LIU’s work is not just an emotional extension of lyrical scenes, but a metaphor for various subtle hidden narratives through the relationship between pictures and texts, touching on the issues of youth, desire, and death that human nature cannot avoid.

其中摸索與反思。無論是花鳥人物之勾勒，乃至 於藏於花邊背景中的字樣，劉煒的創作並非是借 景抒情的情感延伸，而是透過圖文關係暗喻各種 細碎的隱匿敘事，以黑色幽默的方式觸及人性難 以迴避的青春、慾望、死亡等生命課題。

109

“I paint with great respect for my inner feelings, using my own way to comprehend the scenery in my eyes just so everyone can recognize my works right away. Only the artist can touch the viewer and be called as beauty when he paints with feelings.” said LIU Wei.

1088

劉煒（中國，b.1965）

LIU Wei

無題2–17

Untitle 2-17

複合媒材 2013 簽名左側：劉煒 劉煒 墨印：Angel 71×134 cm（27.9×52.7 in.）

Mixed media 2013 Signed left : named Liu Wei in Chinese Ink stamp : Angel Literature:

出版： 言午畫廊：《劉煒／繁花素箋》（上海市：言午畫廊），頁52–53。

XU Gallery, LIU WEI Blossoming Flower in silence ( Shanghai, XU Gallery ) , p.52-53.

NT$ 1,100,000-1,600,000 HK$ 308,100-448,200 US$ 39,430-57,350

110

1089

周春芽（中國，b.1955）

ZHOU Chun Ya

倒著的人體

Upside-Down Human Body

油彩 畫布 1996 100×80 cm （39.3×31.4 in.） 簽名下方：1996 周春芽 畫背簽名：周春芽 1996《倒著的人體》

Oil on canvas 1996 Signed below: 1996 ZHOU Chun Ya in

NT$ 5,000,000-6,500,000 HK$ 1,400,600-1,820,700 US$ 179,210-232,970

Chinese Signed on the reverse: ZHOU Chun Ya in Chinese, 1996 "Upside-Down Human Body"

「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

"Painting is not a state of mind for me, but a belief. It is connected with our sense of life, time, and history. When I am painting, I feel that my ideal has real value and meaning, so I will go all out and concentrate on realizing it.

A person's life is limited, and one of the ways to enhance life is to extend the life of art within the limited vitality."- ZHOU Chun Ya

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，

ZHOU Chun Ya, as one of the most recognized artists in Chinese contemporary art world, has never blindly followed and explored alone under the torrent of art despite experiencing various art reforms. ZHOU continuously explored the desire for creation in accordance with the deepest miss in heart, and successively developed a series of works such as "Mountain Rock", "Taihu Rock", "Green Dog", "Peach Blossom", "Garden", etc. as the best portrayal of life and the inheritance of the evolution of Chinese culture. ZHOU is devoted to realizing wonderful works that integrate life, time and history through creation, and these strong displays have made ZHOU an important representative of Chinese contemporary art.

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。 周春芽自90年代初從德國留學歸國後思索出一系 列蘊含中國文化的作品，他將中國宋元山水的意象與西 方透視法組合起來，以錯綜複雜的筆觸搭配上具象的圖 像來呈現作品。如景薰樓2008春季拍賣會Lot 144周春 芽《 石頭系列 》及2009秋季拍賣會Lot 68周春芽《 紅 色山石系列-人體》，「石頭」系列是一個很特別的題 材，從古至今，山石一直是中國傳統繪畫中不可缺少的 內容。周春芽以反理性、反自然的藝術創作，創造出了 奇特的效果，以德國新表現主義的繪畫方式、技巧來重 新詮釋傳統的中國山石，濃艷的橘紅色塗抹在傳統造型 的中國山石中，打破了山石在中國傳統繪畫裡的技法形 象，從色彩到構圖均給人鬼魅奔放之感。 Lot 1089《 倒著的人體 》表面強烈可辨的肌理線 條，一直是畫家筆下與觀眾的經典對白，作品中狂亂、 掙扎及痛苦，詭異的構成與前述的油彩肌理線條，帶給 觀眾強大的視覺憾動。周春芽在石頭的紋理中發現人體 結構的存在，石頭的肌理與人體肌肉的線條頗為類似， 此作是以一女體為主體，抽離了形象上的限制，以寫意 的形式表現出女體的雅緻。畫面以濃厚的黑色線條描繪 人體輪廓，保留人體的原本輪廓，相對減少真實模樣的 細節處理，筆觸大膽粗曠卻又細緻的將人體的凹凸變化 表露無遺。與現實的意識無關的「石頭」，強烈表達創 作者對客題體純然不同的認知角度，並迫使視覺者在觀 畫同時，下意識的停留思索自身經驗，與猜測創作者的 意念思維，此圖可使觀者抽離現實，進入一個無關的現 111 實感知世界，這也是此畫作的魅力之處。

After returning from Germany in the early 1990s, ZHOU developed a series of works containing Chinese culture. He combined the images of Chinese landscapes in the Song and Yuan Dynasties with Western perspective to present works with intricate brushwork and concrete images. For example, in JSL 2008 Spring Auction Lot144 “Stone Series” and 2009 Autumn Auction Lot68 “Red Mountain Stone Series-Human Body”, the “Stone” series is a very special subject. Since ancient times, rocks and mountains have always been the indispensable element in Chinese painting. ZHOU created a peculiar effect using anti-rational and anti-natural techniques, reinterpreting traditional Chinese rocks and mountains with German neoexpressionist painting methods. The bright orangish red color is applied to the rocks and mountains, breaking traditional image while giving a sense of ghostly and unrestrained spirit from color to composition.

Lot1089 " Upside-Down Human Body " has strong and recognizable texture lines, which has always been a classic dialogue between the artist and the viewer. The frantic, struggling and painful composition as well as the aforementioned oily texture lines give the viewer a strong visual impact.

ZHOU Chun Ya discovered the structure of the human body from the texture of the stone since it is quite similar to the lines of muscles. This work takes a female body as the main subject. It withdraws from the limitations of the image and expresses the elegance of the female body in a freehand form. The painting has thick black lines that depict the shape of a human figure, retaining the original outlines and relatively reducing the details of the real appearance. The brush strokes are bold, rough and meticulous, showing the uneven changes of the body.

112

「我的畫室是一個花園，我的愛是像太陽下山 萬紫千紅。」

"My studio is a garden, and my love is like the sun is setting in radiance."

丁雄泉，是畫家也是詩人，女人、鮮花、鸚 鵡、孔雀、貓咪等美麗動人的事物，都是丁雄泉藝 術靈感的泉源。情感的色彩和線條自由且奔放， 絢麗激情又率真，構築了丁雄泉春意盎然的藝術 花園。20世紀以來，現代主義繪畫在歐美恣意開 放，流派、風格不斷湧現。藝術家們在藝術形式和 表現上標新立異，積極表達個人的主觀精神，不論 是悲觀、或失落的靈魂，以及狂熱、歡愉、激動澎 湃的情緒，形式的複雜和多樣性幾乎達到極致。

Walasse TING was a painter and a poet. Beautiful things such as women, flowers, parrots, peacocks, and cats are all sources of inspiration for his art. The emotional colors and lines are free and unrestrained, gorgeous, passionate and straightforward, building a spring-filled art garden by Walasse TING. Since the 20th century, modernist painting has been liberalized in Europe and America, with genres and styles constantly emerging. Artists are unconventional in art form and performance, and actively express their individual subjective spirit, whether it is a pessimistic or a lost soul, as well as fanatical, joyful, and surging emotions, the complexity and diversity of the form is almost to the extreme.

丁雄泉曾說：「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。 」，他樹 立了獨立於主流畫風之外的特殊風格，將中國書畫 技巧融入畫作中，流暢的筆觸勾勒出線條，使用大 面積的色塊當作基底，運用水墨潑色技法，鮮豔的 色彩凸顯豐富的情感，強烈大膽的表現衝擊著觀者 的視覺印象。丁雄泉的作品帶給觀眾難忘的視覺經 驗，人世間的種種都幻化成絢麗之色映入眼簾，充 滿真誠及自然。 1952年丁雄泉前往法國巴黎，深受馬諦斯 （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，風格較為抽象，隱含著濃厚的東方精神的情 感。自1970年代起，長久旅居國外的丁雄泉聚 集了巨大的創作能量，常見他的主題多為柔性如 女人、花卉、動物等，自封自為「 採花大盜 」、 「風流先生」，使他熱愛女人的形象，在多數人心 中留下深刻的印象。 女性，作為繪畫的表現對象具有悠久的歷 史，早在戰國、西漢墓葬中出土的帛畫上，即出 現體態動人的婦女形象。女性形象的創作在中國 畫中被稱作「 仕女圖 」。儘管畫面中出現的不一 定都是佳麗美女，但世俗習慣將仕女畫稱為「 美 人畫」，仕女畫的畫家們則在畫面中寄託對於 「 美 」的嚮往。本次拍品Lot 1092《 三美圖 》、 Lot 1093《 紫衣女郎 》及Lot 1094《 我的西瓜很 甜》，為丁雄泉按照自己心目中「美」的理想 型，塑造別具一格的女性形象，同時開創中國繪畫 藝術發展中的一個重要視覺樣式。 丁雄泉的作品有著明顯的辨識度，大膽的用色 及放縱恣意的畫面潑灑，如拍品Lot 1090《一顆西 瓜》及Lot 1091《蚱蜢蘋果》，筆觸相較於一般畫 家更為濃烈且狂野，用色放縱不羈，以無拘無束的 畫面結構以及色彩豔麗的壓克力彩平塗線條內的空 間，將畫面自然暢快地呈現且帶瀟灑之感。藝術家 113

Walasse TING once said: "I know what I want. Anything that I can see, I will live it in my heart if I like it." He established a special style independent of the mainstream painting by incorporating Chinese painting and calligraphy techniques, such as using smooth brushstrokes to outline subjects, applying large areas of color blocks as the base, as well as the ink splashing technique. The bright colors highlight the rich emotions, and the strong and bold performance impacts the viewer's visual impression. Walasse TING 's works bring viewers an unforgettable visual experience. Everything in the world is transformed into a brilliant color, full of sincerity and nature.

In 1952, Walasse TING went to France and was deeply influenced by Henri Matisse (1869–1954) in Paris. He often used simplified lines and plane composition in his works. By adopting flat painting and quick description, the style was relatively abstract, and it implied a strong oriental spirit. Since the 1970s, Walasse TING, who lived abroad for a long time, had gathered a huge amount of creative energy. It is common for his themes to be soft, such as women, flowers, animals, etc. His image of loving women has left a deep impression on most people.

Women have a long history as the subjects of his paintings. As early as the Warring States Period and the Western Han Dynasty, there were images of women with moving bodies depicted on silk paintings inside the tombs unearthed. The creation of female images is called "Lady Picture" in Chinese paintings. Although not all the beauties appear in the paintings, the secular custom calls the paintings of beautiful women "beauty paintings", and the artists place their yearning for "beauty" in their works. Paintings such as Lot1092 "Pretty Women", Lot1093 "Woman With Purple" and Lot1094 "Sweet Watermelon” are the unique depictions of women Walasse TING created in accordance with his ideal "beauty", and at the same time developed an important visual style in the history of Chinese painting.

Walasse TING’s works are clearly recognizable with bold use of colors and indulgent splashes of pictures, such as Lot1090 "Watermelon" and Lot1091 "Grasshopper Apple", as the brushstrokes are more intense and wild than the average artists. With the unfettered picture structure and colorful acrylic color flat paint the space within the line, the picture is presented naturally and smoothly with a sense of chic.

1090

丁雄泉（華裔美籍，1929–2010） 一顆西瓜 壓克力 水彩 紙 鈐印：採花大盜（白文） 45×60 cm（17.7×23.6 in.） 來源： 倫敦藝術集團，2005年 原有收藏者購自上述來源

Walasse TING Watermelon Acrylic watercolor paper Inscribed with one seal of the artist Provenance: London Arts Group , 2005 Acquired from the above by the original owner

NT$ 120,000-180,000 HK$ 33,600-50,400 US$ 4,300-6,450

1091

丁雄泉（華裔美籍，1929–2010） 蚱蜢蘋果 壓克力 水彩 紙 鈐印：採花大盜（朱文） 46×61 cm（18.1×24 in.） 來源： 倫敦藝術集團，2005年 現有收藏者購自上述來源

Walasse TING Grasshopper Apple Acrylic watercolor paper Inscribed with one seal of the artist Provenance: London Arts Group , 2005 Acquired from the above by the present owner

NT$ 85,000-150,000 HK$ 23,800-42,000 US$ 3,050-5,380

在隨心所欲的作畫之時，他在享受的繪畫帶給他的美好，此時形式已不 再重要，從作品流露出來的便是丁雄泉與生俱來的繪畫色彩直覺，他將 對藝術的熱情與情感，赤裸裸的表現在畫作中。 When the artist painted as he pleased, the beauty he was enjoying brought to him. At this time, the form is no longer important as what reveals from the work is the instinct of color by Walasse TING. He expressed his passion and emotion for art freely in his works.

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115

1092

1092

1093

丁雄泉（華裔美籍，1929–2010）

丁雄泉（華裔美籍，1929–2010）

三美圖

紫衣女郎

壓克力 水彩 紙 鈐印：採花大盜（朱文） 172×96 cm（67.7×37.8 in.）

壓克力 水彩 紙 鈐印：採花大盜（朱文） 37×49 cm（14.6×19.3 in.）

Walasse TING

附畫廊保證書

Pretty Women Acrylic watercolor paper

Walasse TING

Inscribed with one seal of the artist

Woman With Purple Acrylic watercolor paper

NT$ 1,000,000-1,600,000 HK$ 280,100-448,200 US$ 35,840-57,350

Inscribed with one seal of the artist Attached gallery certificate

NT$ 170,000-260,000 HK$ 47,600-72,800 US$ 6,090-9,320

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1094

丁雄泉（華裔美籍，1929–2010） 我的西瓜很甜 壓克力 水彩 紙 鈐印：採花大盜（朱文） 90×97 cm（35.4×38.2 in.）

Walasse TING Sweet Watermelon Acrylic watercolor paper Inscribed with one seal of the artist

NT$ 500,000-800,000 HK$ 140,100-224,100 US$ 17,920-28,670

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丁雄泉喜歡使用彩筆，並利用較為寫意的方式 歌頌女人的體態，以艷麗的壓克力彩平塗線條內的 空間，表現無拘無束的畫面結構，使整體自然優美 卻也瀟灑。 Walasse TING liked to use colored pens in a more freehand way to eulogize the posture of women, flattening the space within the lines with gorgeous acrylic colors, expressing the unfettered structure of the picture and making the whole natural and beautiful but also chic.

1095

黃銘哲（台灣，b.1948）

HUANG Ming Che

水果盤

Fruit Tray

鋁合金 2003 簽名雕刻底部：HUANG MING-CHE 2003-300-064 55×58×14 cm（21.6×22.8×5.5 in.）

Aluminum alloy 2003

限量300件 附畫廊保證書

Edition of 300

Signed engraving bottom : named HUANG MING-CHE 2003300-064

Attached gallery certificate

NT$ 100,000-160,000 HK$ 28,000-44,800 US$ 3,580-5,730

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1096

黃銘哲（台灣，b.1948） 四通八達 不銹鋼烤漆 2006 簽名底座：哲 12×33×12 cm（4.7×12.9×4.7 in.） 附畫廊保證書與藝術家合照

HUANG Ming Che Getting Around Is A Breeze Stainless steel paint 2006 Signed bottom : named CHE in Chinese Attached with a gallery guarantee certificate and a photo of the artist with the work

NT$ 85,000-150,000 HK$ 23,800-42,000 US$ 3,050-5,380

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1097

朱銘（台灣，b.1938） 人間系列：生生不息 銅鍍鎳 2007 3 2 . 5 × 2 3 . 1 × 5 2 . 9 c m （12.8×9.1×20.8 in.） 附李記創意（股）公司複製品保證書 限量200件

JU Ming Living World Series：Endless Nickel-plated copper 2007 Attached with Lee Ji Creative (Stock) Co., Ltd. copy guarantee Edition of 200

NT$ 220,000-360,000 HK$ 61,600-100,800 US$ 7,890-12,900

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1098

朱銘（台灣，b.1938）

JU Ming

太極系列

Tai Chi Series

銅雕 1995 簽名雕刻底部：自8/10 '95 32×18×26 cm（12.5×7×10.2 in.）

Bronze 1995 Signed engraving bottom : since 8/10 '95 Edition of 10

限量10件 附畫廊保證書

Attached gallery certificate

NT$ 700,000-900,000 HK$ 196,100-252,100 US$ 25,090-32,260

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太極的概念源自《易經》的陰陽之說，同時 也是中國傳統文化最重要的宇宙觀和方法論之 一，陰陽二氣、二元對立而又渾然一體，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。

The concept of Tai Chi is derived from the theory of Yin and Yang in the book of “I Ching”, and it is also one of the most important cosmology and methodology of traditional Chinese culture. The two qui, Yin and Yang, are opposite but integrated, and the duality grow out of each other to multiply infinitely and derive all things. Tai Chi is the essence of Chinese tradition and culture. Its style is chic and elegant. It emphasizes calmness, relaxation, calmness, and slow training while reflects the beauty of Chinese culture's softness and fortitude.

於是在學習太極拳的契機之下，加上對中國 文化精神理解透徹，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，構成蒼勁有力的切面，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，使得朱銘藝術名聲扶搖 直上，造就了其在國際藝術市場的重要地位。大 師的作品能如此受歡迎，反映他的作品滿足了一 定的文化需求，更表達出在文化界醞釀已久的現 象。相較於藝壇的學術與菁英文化路線，作品流 露的濃濃草根性，更能合於大眾。

Therefore, with the opportunity of learning Tai Chi and a thorough understanding of the spirit of Chinese culture, JU Ming realized the power of the atmospheric operation in nature and the law of operation, and transformed the comprehension into the spirit of creation, so as to open up a broader field of art. In the Tai Chi series, it can be seen that JU Ming has walked out of his own path from the realistic style, using the minimalist form to get rid of the realistic depiction, and purely freehand with sculpture.The creation aims to explore the combination of speed and power, as well as the combination of man and nature. Between the freely retractable ups and downs, a powerful cross-section is formed to convey the cultural essence of "yin and yang", "shape", "coherent Qi", and "the whole unity" of Taijiquan. JU Ming's Tai Chi series have been highly affirmed at home and abroad, making him a good reputation and giving him an important position in the international art market. The popularity of the master's work reflects that his work meets certain cultural needs, and it also expresses a phenomenon that has been brewing in the cultural world for a long time. Compared with the academic and elite lines of the art world, the thick grass roots revealed in the works are more suitable for the public.

「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

"The unique Chinese traditional style is too conservative, and only the Western style is lost. However, Tai Chi contains an international language that can be understood and appreciated." JU Ming combines traditional Chinese art with Western abstraction through Tai Chi figures, adhering to it. The principle of "art is practice" expresses the unity of nature and man, and the harmony of spirit, material, and soul. JU Ming applies the Chinese spirit of being born with things and adapting to the momentum to the artistic expression, creating a natural, smooth and dynamic carving style. Lot1098 “Tai Chi Series” is a posture of turning around and kicking, interpreting the force and speed of kicking forward with a knife and axe. Kick is an offensive method in Sanda. Although it is not common in Sanda competitions, if it is used suddenly, it can achieve surprising results. JU Ming sculpted his left foot on the knees to be thick and stable like the bottom plate of Mount Tai. His right foot kicks out is relatively dexterous, showing the speed of kicking, and with a solid and weighty presence. It really shows the natural grain, texture and nicks of the wood, the generous weight and the power generated by the slow movement.

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，圖創一種 自然流暢、兼具動感的雕刻風格。Lot 1098《太 極系列》是為轉身蹬腳之姿，以刀鑿斧劈詮釋蹬 腿而前的力道與速度感。蹬腿是散打腿法中的一 種進攻法，雖在散打比賽中不常見，但是如果突 然運用，則能達到出奇制勝的效果。朱銘把屈膝 站地的左腳雕刻得厚重表現穩如泰山的下盤，蹬 出的右腳相對靈巧，表現了踢腿的速度，並以堅 實而具份量的存在感，著實得表現出木頭天然的 紋理、質地與刻痕，敦厚的份量及動勢緩轉間所 產生的力量，渾然天成。

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1099

劉若望（中國，b.1977） 高山流水系列 03 銅雕 2011 底座簽名：9/10 劉若望 2011.6.29 70×53×45 cm（27.5×20.8×17.7 in.） 限量10件

LIU Ruo wang High Mountain And Flowing Water Series 03 Bronze 2011 Base signature : 9/10 LIU Ruowang in Chinese 2011.6.29 Edition of 10

NT$ 500,000-620,000 HK$ 140,100-173,700 US$ 17,920-22,220

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「《高山流水》是我近兩年的作品，是繼大 型景觀雕塑《狼來啦！》之後的又一組作品。這 組作品以全新的面貌表現了我此時的一點感受。 取《高山流水》之名，有尋找知音之意。《列 子‧湯問》有說，伯牙善鼓琴，鍾子期善聽音。 鍾子期死，伯牙破琴絕弦，終生不復鼓琴，以為 世間再無知音；傳為『伯牙鼓琴遇知音』的典 故。後用『高山流水』比喻知音或知己。我用 《高山流水》來表達我對中國傳統精神的敬意， 以及我在當下快速發展的社會裡尷尬處境的一種 表達。我非善琴者，但仍願以拙劣之聲，來表 達我此時內心的感受，安慰自己！」–劉若望 2010.11.19

“‘High Mountain and Flowing Water’ series is my work from the past two years, and is another group of works after the large-scale landscape sculpture series ‘Wolves Coming’. This group of works expresses a little bit of my feelings at this time with a brand new look. It is said in 'Liezi Tangwen’ that BO Ya is good at drums and quqin, and ZHONG Zi Qi is good at listening. When ZHONG Zi Qi died, BO Ya broke the quqin and never had the drum and quqin for life because he no longer had a friend in the world; it was passed down as the allusion of ‘Bo Ya Meets A Dear Friend’. Later, I use ‘Mountain and Flowing Water’ as a metaphor for a dear friend or a confidant. I use ‘High Mountain and Flowing Water’ to express my respect for the traditional Chinese spirit and an expression of my embarrassment in the fast-developing society. I am not a quqin player, but I still want to express my inner feelings and comfort myself with a clumsy voice!”-LIU Ruo Wang 2010.11.19

劉若望自小在山西的一個小村莊長大，那時 候沒有暖氣、電及充足的食物，生活環境很困 苦，而在這生活最大的快樂就是聽祖父講故事， 他的祖父是個博學多才的人，在其影響下，劉若 望在中國經典著作中成長，尤其是夢幻英勇的 「 三國演義 」、「 西遊記 」和「 水滸傳 」。正因 對於這些英雄故事的崇拜，他繪製無數張關羽、 孫悟空、魯智深和其他傑出英雄的畫作，在童年 的生活中不是只有憂愁和艱辛，奇想和夢想也伴 隨著他成長。

LIU Ruo Wang grew up in a small village in Shanxi. At that time, there was no heating, electricity and sufficient food, and the living environment was very difficult. The greatest joy of living here was to listen to his grandfather telling stories. His grandfather was a knowledgeable and talented person. Under his influence, LIU grew up in classic Chinese works, especially the dreamy and heroic "Romance of the Three Kingdoms", "Journey to the West" and "Water Margin." Because of his admiration for these heroic stories, he painted countless paintings of GUAN Yu, Monkey King, LU Zhi Shen and other outstanding heroes. During his childhood, he grow up with not only sorrows and hardship, but also whims and dreams.

劉若望的創作以青銅為主要媒材。早期作品 中有一些是以玻璃纖維製成的，但很快他就對材 質的侷限感到不滿，也很少使用現代工業的不鏽 鋼。許多雕刻家會看重青銅的光澤美，然而劉若 望並不看重青銅的視覺特性。取而代之，他嘗試 在傳統青銅雕刻中經常被忽略的色彩上去突破， 掌握了色彩的應用。

LIU Ruo Wang uses bronze as the main medium in his creation.

Some of his early works were made of fiberglass, but he soon became dissatisfied with the limitations of materials and rarely used modern industrial stainless steel. Many sculptors value the lustrous beauty of bronze, but LIU does not value the visual characteristics of it. Instead, he tries to break through the colors that are often overlooked in traditional bronze carvings, and mastered the application of colors.

本次拍品Lot 1099《 高山流水系列03 》使用 的泥土色調和色彩，讓人聯想到考古挖掘出土的 中國古代雕塑，在作品中的人物沒有受到姿勢的 影響，沒有誇張的手勢。它們頗具直立性和堅固 性，就中國洞穴中的佛教藝術一般，即使是衣服 上的針腳也是最簡單的樣式。這些雕塑非常平易 近人，充分展現劉若望對百姓的了解，以及他對 英雄主義來自人民階級的信仰。其雕塑的標誌， 是它掌握了停滯與運動之間的空間，從而實現其 巨大的表現力。

The earthy tones and colors used in Lot1099 "High Mountain and Flowing Water Series 03" are reminiscent of ancient Chinese sculptures unearthed from archaeological excavations. The characters in the works are not affected by postures, and there are no exaggerated gestures. They are quite upright and sturdy, just like Buddhist art in Chinese caves. Even the stitches on clothes are the simplest style. These approachable sculptures fully demonstrate LIU's understanding of people and his belief that heroism comes from the common people's class. The hallmark of its sculpture is that it masters the space between stagnation and movement, thereby realizing its great expressive power.

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1100

席德進（中國，1923–1981） 武界秋景 水彩 紙 1980 簽名左上：席德進 1980 鈐印：席德進印（朱文） 席氏書畫（白文） 69×138 cm（27.1×54.3 in.）

SHIY De Jinn Wujie Autumn Scenery Watercolor on paper 1980 Signed upper left : named SHIY De Jinn in Chinese, 1980 Inscribed with two seals of the artist

NT$ 1,600,000-2,200,000 HK$ 448,200-616,200 US$ 57,350-78,850

大氣磅礡的遠景、渾厚有份量的山體、古意盎然的 山水風景與天真樸拙的秋色點綴，灑脫的筆畫之間創造 出三景分明的層次空間，Lot 1100《武界秋景》描繪位 於台灣中部的武界，當地時常有雲海湧現，亦有「雲的 故鄉」的美名。畫作展示席德進特有的水彩畫特色，遠 處的山勢佇立，搭配前景燦爛繁盛的秋樹林，呈現山林 的閒適自得。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；他用繪畫歌頌福爾摩沙， 使我們真正認識台灣的美。 125

W ith majestic vision, vigorous mountains, ancient landscapes and unpretentious autumn colors, SHIY De Jinn’s free and easy strokes create three distinct layers of space in the painting. Lot1100 "Wujie Autumn Scenery" depicts the scene of Wujie in central Taiwan. It is also known as “The Hometown of Cloud” since there are often clouds springing up in the local area. The painting shows the unique characteristics of SHIY De Jinn's watercolor works.

The mountains in distance stand firmly, which match with

the bright and prosperous autumn forests and present the leisure and contentment of the nature scenery. The artistic assets that SHIY De Jinn left for us have enriched the land and people of Taiwan; he sang the praises of Formosa with his paintings, making us truly understand the beauty of Taiwan.

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1101

席德進（中國，1923–1981） 曲冰山峽 水彩 紙 1978 簽名左上：席德進 一九七八 鈐印：席德進印（白文） 93×54 cm（36.6×21.2 in.）

SHIY De Jinn Chuping Canyon Watercolor on paper 1978 Signed upper left: named SHIY De Jinn in Chinese, 1978 Inscribed with one seal of the artist

NT$ 500,000-900,000 HK$ 140,100-252,100 US$ 17,920-32,260 127

1102

席德進（中國，1923–1981）

SHIY De Jinn

埔里思鄉情

Homesickness In Puil

水彩 紙 1979 簽名左下：席德進 一九七九 鈐印：席德進印（白文） 席氏書畫（白文） 68×135 cm（26.7×53.1 in.）

Watercolor on paper 1979 Signed lower left : named SHIY De Jinn in Chinese, 1979 Inscribed with three seals of the artist

NT$ 1,300,000-1,600,000 HK$ 364,100-448,200 US$ 46,590-57,350

128

1103

席德進（中國，1923–1981） 太武山下 設色 紙本 1977 簽名左上：席德進 1977 題識：一瞥 鈐印：四川南部縣人（白文） 65×125 cm（25.5×49.2 in.）

SHIY De Jinn Under Taiwu Mountain Ink on paper 1977 Signed lower left : named SHIY De Jinn in Chinese, 1977 Inscribed with one seal of the artist

NT$ 800,000-1,100,000 HK$ 224,100-308,100 US$ 28,670-39,430

席德進自述：「 假如我們不是那麼狹義地解釋水彩 畫，我們何嘗不可以說中國宋代的潑墨畫法不也是水彩畫 嗎？所不同的，是中國畫以墨為主，以墨當色吧。」所以

129

在他的水彩作品可以看到彩中有墨的厚度，墨中有彩的靈 動，墨彩相互交融映輝。Lot 1103《太武山下》畫面中央 縱向的樹木佇立，左右兩側繪製山勢及石塊，讓整體畫面 達到平衡，使用沒骨粗筆的筆法描繪樹的枝幹，以較深的 墨色強調樹木的遠近感，透過大小不一的灰色調墨點描繪 葉叢，樹叢看似雜亂卻呈現其繁盛的樣貌。席德進認為中 國繪畫缺乏臨場感是一種缺失，他跋山涉水面對真實景 物，表達自己對景物的心靈境界。

SHIY De Jinn once said: "If we hadn’t interpreted watercolor painting in such a narrow sense, wouldn’t the splashink painting method of the Song Dynasty in China also be watercolor painting? The difference is that Chinese painting is mainly ink, and ink is used as color." Therefore, in his watercolor works, you can see the thickness and agility of the ink in color, as well as the ink and color blend in and shine with each other. Lot1103 "Under the Taiwu Mountain" has a vertical tree standing in the center of the painting.

The left and right sides of the painting are equipped with mountains and stones to balance the overall image. The brushwork of a thick brush without bones is used to depict

the branches of the tree, which is emphasized by a darker ink. The sense of distance and proximity of the trees depicts leaf clumps through gray tonal ink dots of different sizes.

The clumps seem to be messy but with their prosperous appearance. SHIY De Jinn thought the lack of presence in Chinese painting was a kind of deficiency. He traveled across mountains and rivers to experience the real scene.

Different from realistic depiction, he felt the real sense of presence and expressed his spiritual state of the scenery.

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1104

席德進（中國，1923–1981）

SHIY De Jinn

曲上晨曦

The Curved River At Dawn

水彩 紙 1980 簽名左下：席德進 1980 55.5×74 cm（21.8×29.1 in.）

Watercolor on paper 1980 Signed lower left: named SHIY De Jinn in Chinese, 1980

NT$ 700,000-800,000 HK$ 196,100-224,100 US$ 25,090-28,670

131

1105

席德進（中國，1923–1981）

SHIY De Jinn

海棠花

Begonia

設色 紙本 1979 簽名右下：席德進 1979 101.5×67 cm（39.9×26.3 in.）

Ink and color on paper 1979 Signed lower right : named SHIY De Jinn in Chinese, 1979

NT$ 750,000-950,000 HK$ 210,100-266,100 US$ 26,880-34,050

132

1106

席德進（中國，1923–1981）

SHIY De Jinn

歸舟

Homecoming

水彩 紙 1980 簽名左下：席德進 1980 56×75 cm（22×29.5 in.）

Watercolor on paper 1980 Signed lower left : named SHIY De Jinn in Chinese, 1980

NT$ 600,000-800,000 HK$ 168,100-224,100 US$ 21,510-28,670

133

1107

席德進（中國，1923–1981）

SHIY De Jinn

新竹海濱

Hsinchu Waterfront

水彩 紙 1980 簽名右下：席德進 1980 57×76.5 cm（22.4×30.1 in.）

Watercolor on paper 1980 Signed lower right : named SHIY De Jinn in Chinese, 1980

NT$ 650,000-1,000,000 HK$ 182,100-280,100 US$ 23,300-35,840

134

1108

張大千（台灣，1899–1983） 蕭疏紅葉艷於花 設色 紙本 立軸 1981 鈴印：張爰之印（白文） 大千居士（朱文） 題跋：蕭疏紅葉艷於花。辛酉（1981年）夏四月 二十九日摩耶精舍涉事。八十三叟爰。 80×34 cm（31.4×13.3 in.） 來源： 中國嘉德2015年第一期四季拍賣會，《名家墨緣—四 季之夜》拍場，Lot 658。

ZHANG Daqian Sparse Red Leaves Ink and color on paper, hanging scroll 1981 Inscribed with two seals of the artist Source: China Guardian's first quarter auction in 2015,” Famous Mo Yuan-The Night of Four Seasons”, Lot 658.

NT$ 1,300,000-2,000,000 HK$ 364,100-560,200 US$ 46,590-71,680

張大千是全能型畫家，其創作「 包眾體之 長，兼南北二宗之富麗」，集文人畫、作家畫、 宮廷畫和民間藝術為一體。於中國畫人物、山 水、花鳥、魚蟲、走獸，工筆、無所不能，無一 不精。張大千人物畫多采古裝，借人物以抒情 懷，主題包括高士、仕女、肖像、佛道人物、神 話人物、戲劇人物等，表現題材極廣。一生的 作品有三多，除山水畫外，就是仕女畫與高士 畫，可見高士畫在張大千人物畫作品中的分量與 意義。 「仿古」是中國藝術美學的重要一環，源於 中國對古代的崇敬心情。「古」象徵一種美好純 粹的起始，是一個理想的藝術境界。畫家必須先 學習經典名作的筆法構圖，再體悟前輩大師的心 境及理想境界，進而打造自己的山水繪畫。仿古 思維由來已久，各朝代有不同詮釋和藝術表現手 法。到了明清之際，藝壇爭論著「什麼是經典」 的問題，新興畫論和仿古山水實踐結合的現象、 收藏鑑賞風氣以及印刷書籍普及的情況，各種因 素的加乘發酵之下，開展出多元精彩的山水藝 術。古有兩種，一種復古是屬於拙趣式古意，錢 選與陳洪綬是此類代表，另一種則是集大成式的 復古，趙孟頫、董其昌便是此類。以張大千在四 135

1109

張大千（台灣，1899–1983） 峽江帆影 設色 紙本 立軸 1972 鈴印：兆申小璽（白文） 茮原（朱文） 張大千長年大吉又日利 （白文） 題跋：李 先 生 二 十 年 前 舊 作 壬子（1972年）新正 江兆申拜識。協珂賢姪 大千爰。 69×34 cm（27.1×13.3 in.） 來源： 中國嘉德2015年第一期四季拍賣會，《德 華堂藏中國近現代書畫》拍場，Lot 76。

ZHANG Daqian The Shadow Of A Sailing Boat Ink and color on paper, hanging scroll 1972 Inscribed with three seals of the artist Source: China Guardian's first quarter auction in 2015,” Dehuatang Collection of Modern Chinese Paintings and Calligraphy”, Lot 76.

NT$ 1,000,000-1,800,000 HK$ 280,100-504,200 US$ 35,840-64,520 零年代及五零年代初銳意復興古代青 綠山水的所取得的成就後期發展出的 潑墨山水，奠定他做為五百年來一大 千，二十世紀的藝術大師的地位。 張大千在花卉主題的創作上，最 常繪製荷花、梅花及芍藥，Lot 1108 《 蕭疏紅葉豔於紅 》畫中的花卉以沒 骨畫法畫成，描繪花萼上尚未完全綻 放 的 花 苞 ， 展 現 待放 的 生 命 力 。 L o t 1109《 峽江帆影 》整體畫面山巒逐漸 攀高，山間有小路順勢而上，隱約點 綴山林及樹木，側鋒勾勒山體之輪廓 脈絡，以表現山巒凹凸，近景聳立的 山壁立於江水邊，兩艘小艇點綴於江 面，一片怡情之態。畫中大塊江面天 空，實中有虛、虛中見實，帶動觀眾 視線前往更後方的遠山。用皴法多寡 製造出墨色的深淺效果，畫家透過強 烈的明暗對比為畫面製造動勢。 136

1110

江兆申（台灣，1925–1996）

CHIANG Chao Shen

黛鏡

Majestic Mountains And Mirrored Water Surface

設色 紙本 鏡框 1992 鈐印：兆 申 之 印 （ 白 文 ） 雙 菩 提 樹 盦 （ 白 文 ） 靈漚館（朱文） 釋文：風波不動影沈沈，翠色全微碧色深。疑是水 仙梳洗處，一螺青黛鏡中心。唐雍陶題君山 詩句。壬申（1992年）江兆申茮原寫意。 98×61.8 cm（38.5×24.3 in.）

Ink on paper, framed 1992

出版： 台北市立美術館編輯委員會：《江兆申作品集（下）–詩文書畫 篆刻》（臺北市：台北市立美術館，1992年），頁231。 《名家翰墨》總號第35期—江兆申特集，（香港：翰墨軒出版有 限公司，1992年），圖頁106-107。

江兆申（1925-1996）於1949年寫信給溥心畬求拜師 門下，喜獲佳訊叩首拜師入寒玉堂，他在任教期間課餘勤 練字與畫，1965年首次個展，展出60件作品佳評如潮， 成為他人生中的轉捩點，被推薦進故宮博物院任職於書畫 處典藏工作，博覽歷史典藏文物真跡，其間他投入明代唐 寅的研究，1969年升任研究員，應美國國務院邀請，以 客座研究員身分訪美一年；1972年升任國立故宮博物院 書畫處處長，次年籌辦「 吳派畫九十年展 」，1978年榮 升國立故宮博物院副院長兼書畫處處長，在國立故宮博物 院任職的二十七年裡他仍衷情作畫，也漸發展出獨具個人 137

Inscribed with three seals of the artist Literature: Editorial Committee of Taipei Fine Arts Museum, The Works of Jiang Zhaoshen (Part 2)-Poems, Documents, Paintings and Seal Cutting (Taipei : Taipei Fine Arts Museum, 1992), p. 231.

Publication: “HAN MO 35”, The 35th term — Chiang Chao Shen Special Feature (Hong Kong: Han Mo Xuan Publishing Co. Ltd., 1992) pp.106-107.

NT$ 600,000-800,000 HK$ 168,100-224,100 US$ 21,510-28,670 風貌的畫風，直到1995年退休南投埔里專心書法與作畫。 江兆申認為畫山水，山的組合無論充塞、疏朗，布 局的第一步，是要把山的「 勢 」表達出來，「 取勢 」要 訣在於有意念時，先把結構上山勢大部份決定下來大膽 的落筆，絕不遲疑，山與山之間相互牽引，是一股張力 也是一股引力，這種力量正是「取勢」才能達到的，Lot 1110《 黛鏡 》多次的渲染，再加細節潤飾，前景的用色 濃烈，遠景的山石則似罩上了一層薄霧般，整個畫面布 局與層次，充滿靈氣與厚實。

1111

李義弘（台灣，b.1941） 壁立千仞 設色 紙本 鏡框 1990 鈐印：義弘染翰（白文） 在川小記（朱文） 笛音凝室（朱文） 即事多所欣（白文） 落款：始信峰在黃山東部海拔一千六百六十八 公尺 據之古人遊山到此始信黃山之峻峭 挺拔及雨後雲烟之變 因而得名五百里之 黃山千峰競秀滿壑崢嶸 其之都峰有天下 第一奇山之稱庚午（1990年）初春歸來 得此一稿 李義弘於笛音凝室 139x70 cm（54.7×27.5 in.） 現收藏者購自藝術家本人

LI Yi Hong Mountains Stood Firmly Watercolor on paper, framed 1990 Inscribed with four seals of the artist Acquired by the current collector from the artist

NT$ 550,000-750,000 HK$ 154,100-210,100 US$ 19,710-26,880

李義弘，字在川，1941年出生於台 灣台南。求學期間曾受教於高一峰、傅狷 夫、胡克敏等水墨大師，奠定扎實的傳統 水墨繪畫技巧，畢業後師承江兆申，找回 繪畫創作的感動。李義弘的山水畫，由寫 生的概念轉化摹擬心中所見之風景，取攝 影視角，構圖自由且靈活，筆法蒼勁，線 條單純，其作品的墨染和紙質皆呈現出 山、色、光、影、雲、氣，繪出屬於台 灣島嶼獨具的山水畫。Lot 1111《 壁立千 仞 》描繪高仕駐足於山中虹橋間的景色。 兩旁的山壁直通雲霄，夾壁間天光破曉而 入，一線留白區隔開畫面中的前後景，使 其層次更加豐富生動。零星樹叢隨著坡勢 層層而上，其線條闊淡而呈現一片濕潤虛 像。谷底的文人雅士談讌論道、舉目極 天，體現空谷留音，無聲勝有聲之意境。

138

1112

139

歐豪年（題）（台灣，b. 1935） 李奇茂（畫）（台灣，1925–2019）

OU Hao Nien

王羲之戲鵝

Wang Xizhi's Play With Goose

設色 紙本 鏡框 1988 鈐印：平生寄懷（白文） 歐豪年（白文） 李奇茂（朱文） 款文：豪年 釋文：風流晉右軍，千古播清芬。羽客鳴寒磬，幽人坐白雲。鷗 波生筆陣，墨沼亂鵝群。卻笑曾書破，羊欣白練裙。戊辰 （1988年）春月清O典 奇茂道兄合畫並書明人句。 33×133 cm（12.9×52.3 in.）

Ink on paper, framed 1988

LEE Chi Mao

Inscribed with three seals of the artist

NT$ 200,000-280,000 HK$ 56,000-78,400 US$ 7,170-10,040

1113

江兆申（台灣，1925–1996）

CHIANG Chao Shen

歸雲入嶺

Return To The Mountains

設色 紙本 鏡框 1989 鈐印：兆申之印（白文） 雙菩提樹盦（白文） 釋文：初日明燕館，新溜滿梁池。歸雲半入嶺， 殘滴尚懸枝。 庚午（1989年）江兆申 49×61 cm（19.2×24 in.）

Ink on paper, framed 1989

江兆申（1925-1996）早期作品墨色厚重，1965年 畫風轉為清麗秀潤，1969年《 花蓮紀遊冊 》更為精進， 在墨染及營造山石層次，大筆顯出雄壯的氣勢細筆描繪出 樹林、遠景透明感的設色、顏色深淺變化，讓他走出了自 我面貌與個人美學筆墨風格。評論家巴東便說，其保留北 宗筆法的清剛秀潤特質，呈現現代人平塗與設計的新穎效

Inscribed with two seals of the artist

NT$ 180,000-250,000 HK$ 50,400-70,000 US$ 6,450-8,960

果，打開了台灣傳統中國水墨畫僵局，1975年江兆申邁 入了新階段除了出版個人畫集，作品赴日展出後，畫中煙 氣迷漫感又帶有筆力蒼茫風格，Lot 1113《歸雲人嶺》為 1989年作品，右側水墨氤氳，前景山石淡墨勾勒，以深 淺墨色呈現立體，遠山則以簡單的暈染，兩位文人雅士在 嶺於群樹環繞涼亭悠然暢談。 140

1114

許雨仁（台灣，b.1951） 植物系列 III 水墨 紙本 鏡框 2007 簽名左下：許雨仁 YJ 2007 70×239 cm（27.5×94 in.）

HSU Yu Jen Plant Series III Ink on paper, framed 2007 Signed lower left : HSU Yu Jen in Chinese, YJ, 2007

NT$ 130,000-200,000 HK$ 36,400-56,000 US$ 4,660-7,170

141

1115

水松石山房主人（英國，b.1943） 有寶在握 設色 紙本 2015 鈐印：如如居士（白文） 携杖老人（白文） 水松石山房（朱文） 山外山樵（朱文） 釋文： 有寶在握 明代末年，叛亂之軍擄掠攻陷揚州城入關清以更凶蠻勢尾隨其後主中原。在此之前，我與友人 雅聚于揚州君相伴怡然自得後制杖以贈為盡其善，頗費雕鑿之工。此外美我將友君所藏二寶一 玉環珍珠，以珊瑚鏈串其之上因名“有寶在握”。然此二寶必招致叛軍與清兵垂涎，歷經動亂 之後或已落陷。今我以筆墨將其放大繪於下時光往人的經歷放大。水松石山房主人作于2015 年夏，于蘇塞克斯世界盡頭花園天空如洗。年夏，于蘇塞克斯世界盡頭花園天空如洗。 79×143 cm（31.1×56.2 in.）

Master of Water, Pine and Stone Retreat Treasure In Hand Ink and color on paper 2015 Inscribed with four seals of the artist Original Text: Treasure in Hand A good deal of chisel work was needed to realize the full potential of a scepter I once made for a scholar whose company I enjoyed at an elegant gathering in Yangzhou, before the rebels took the city in an orgy of destruction to be followed by Qing troops who freed it with even greater violence. Treasure in Hand may have fallen victim to these events, as I had incorporated in it two treasures the scholar owned, a jade hoop and a large pearl drilled through and set with coral ferule, treasures to tempt both rebels and government forces intent on looting. In recalling the scepter 2 to the brush, I have made it seem a good deal larger than it was. Time exaggerates experience. Inscribed by the Master of the water pine and stone retreat at the Garden at the Edge of the Universe,Sussex, January 2015, beneath clear sky.

NT$ 200,000-300,000 HK$ 56,000-84,000 US$ 7,170-10,750

水松石山房主人為英國人，本 名Hugh MOSS，從事專業中國藝 術品收藏逾四十年，為世界著名的 鼻煙壺收藏家，藏品並包含古董、 字畫、近現代書畫及當代藝術。水 松石山房主人的作品以文房清玩和 自然山水為題材，Lot 1115《有寶 在握》不拘泥於技法的展現，而是 透過揮毫題字抒發對生活的感懷， 將母語英文以書法的效果，撰寫神 似漢字行草題跋，以此表達對中國 文人傳統的致敬。 Master of Water, Pine and Stone Retreat, whose real name is Hugh MOSS, is a British and has been engaged in professional Chinese art collection for more than 40 years. He is a world-renowned snuff bottle collector. His collection includes antiques, calligraphy and painting, modern ink painting, and contemporary art. His works are based on treasures of the study and the natural landscape. Lot1115 "There is Treasure in the Hold" is not limited to the display of techniques, but the expression of feelings for life through the inscriptions. By writing English in calligraphy form and composing it like a cursive postscript in Chinese, Master of Water, Pine and Stone Retreat would like to express his respects to the traditions of Chinese literati.

142

1116

143

鄭善禧（台灣，b.1932）

ZHENG Shan Shi

在美吧港海濱

At The Beachfront Of Miba Harbor

設色 紙本 拓片 1986 鈐印： 鄭（朱文） 上下古今（朱文） 釋文：面對松風濤聲以思者 終歲然後略體味，達 摩祖師面壁九年之義何在，一九七一 余修持在北美吧港海濱 丙寅（1986 年）善禧追憶之 41×61 cm（16.1×24 in.）

Ink and color on paper 1986 Inscribed with two seals of the artist

NT$ 150,000-260,000 HK$ 42,000-72,800 US$ 5,380-9,320

1117

鄭善禧（台灣，b.1932）

ZHENG Shan Shi

阿彌陀佛

Amitabha

設色 紙本 手貼金箔 拓片 鈐印：閩漳鄭氏（朱文） 釋文：阿彌陀佛 39×60 cm（15.3×23.6 in.）

Ink and color on paper Inscribed with one seal of the artist

NT$ 150,000-200,000 HK$ 42,000-56,000 US$ 5,380-7,170

144

1118

145

鄭善禧（台灣，b.1932）

ZHENG Shan Shi

青綠山水

Green Hills And Blue Waters

設色 紙本 鏡框 1981 鈐印：鄭（朱文） 一九八一（朱文） 款釋：歲辛酉（1981年）仲秋善禧畫時居稻江 20.5×111.5 cm（7.8×43.8 in.）

Ink and color on paper, framed 1981 Inscribed with two seals of the artist

NT$ 180,000-260,000 HK$ 50,400-72,800 US$ 6,450-9,320

1119

鄭善禧（台灣，b.1932）

ZHENG Shan Shi

辛巳年四月畫牛

Xin Si Year April Painting Cow

設色 紙本 拓片 2001 鈐印：心畫（朱文） 謙軒（朱文） 釋文：兩個月之前於台北木柵動物園畫此水牛今 天午後為之完成近來作畫思改長工作慢辛 巳（2001年）四月二日善禧時在林口 46×70 cm（18.1×27.5 in.）

Ink and color on paper 2001 Inscribed with two seals of the artist

NT$ 240,000-320,000 HK$ 67,200-89,600 US$ 8,600-11,470

146

1120

鄭善禧（台灣，b.1932） 秋日嚶和 設色 紙本 鏡框 1967 鈐印：鄭（朱文） 釋文：丁未（1967年）秋日 善禧寫 25×26 cm（9.8×10.2 in.）

ZHENG Shan Shi Autumn Peace Ink and color on paper, framed 1967 Inscribed with one seal of the artist

NT$ 10,000-16,000 HK$ 2,800-4,500 US$ 360-570 1121

鄭善禧（台灣，b.1932） 平安清吉 設色 紙本 鏡框 1978 鈐印：鄭（白文） 款識：歲戊午（1978年）冬。 善禧在臺北。 跋：拾得破畫為之亂塗，亦可以充構圖之研究。無 所顧慮，失之不足為惜；成之則存為參考而時 有意外之得也。 55×24.5 cm（21.6×9.6 in.）

ZHENG Shan Shi Safe And Well Ink and color on paper, framed 1978 Inscribed with one seal of the artist

NT$ 20,000-35,000 HK$ 5,600-9,800 US$ 720-1,250

147

1122

郭雪湖（台灣，1908–2012） 蘭花 設色 紙本 鏡框 1959 鈐印：郭（白文） 雪湖（朱文） 釋文：已亥（1959年）秋日 雪湖作 34×41 cm（13.3×16.1 in.）

KUO Hsueh Hu Orchid Ink and color on paper, framed 1959 Inscribed with two seals of the artist

NT$ 30,000-50,000 HK$ 8,400-14,000 US$ 1,080-1,790

1123

楊善深（中國，1913-2004） 紛紛紫翠競妍態 設色 紙本 鏡框 鈐印：善深長壽（朱文） 右下鈐印一枚 釋文：紛紛紫翠競妍態不及及枝 玫 瑰 紅 丹 鳳 小 姐 清 賞 善深楊種 26.2×39.4 cm（10.3×15.5 in.）

YANG Shan Shen Flowers Contend In Beauty Ink and color on paper, framed Inscribed with two seals of the artist

NT$ 30,000-45,000 HK$ 8,400-12,600 US$ 1,080-1,610

148

1124

歐豪年（台灣，b.1935） 花鳥 設色 紙本 鈐印：歐豪年（白文） 嶺南布衣（白文） 款文：豪年 33.5×45 cm（13.1×17.7 in.）

OU Hao Nien Flowers And Bird Ink and color on paper Inscribed with two seals of the artist

NT$ 30,000-50,000 HK$ 8,400-14,000 US$ 1,080-1,790

1125

林玉山（台灣，1907–2004） 松鶴萬年 設色 紙本 鏡框 款識：紹偉先生雅正。 桃城玉山寫。 鈐印：玉山（朱文） 武巒林氏（白文） 88×29 cm（34.6×11.4 in.）

LIN Yu Shan Pine Tree and Cranes Longevity Ink and color on paper, framed Inscribed with two seals of the artist

NT$ 60,000-100,000 HK$ 16,800-28,000 US$ 2,150-3,580

149

1126

陳瑞康（中國，b.1935） 鍾進士 設色 紙本 立軸 1981 鈐印：陳瑞康（朱文） 釋文：辛酉（1981年）歲端陽節前三日鍾進士造象瑞記 90×48 cm（35.4×18.8 in.）

CHEN Rui Kang Zhong Jinshi Ink and color on paper, hanging scroll 1981 Inscribed with one seal of the artist

NT$ 10,000-20,000 HK$ 2,800-5,600 US$ 360-720

1127

鄭善禧（台灣，b.1932） 贈與陳瑞康畫牡丹花 設色 紙本 立軸 鈐印：鄭（朱文） 善禧（朱文） 長壽（白文） 釋文：略 60×75 cm（23.6×29.5 in.）

ZHENG Shan Shi The Gift To CHEN Rui Kang Peony Flowers Ink and color on paper, hanging scroll Inscribed with three seals of the artist

NT$ 120,000-180,000 HK$ 33,600-50,400 US$ 4,300-6,450

150

1128

1129

朱玖瑩（中國，1898–1996）

黃君璧（台灣，1898–1991）

中堂書法

仿八大山人

墨書 紙本 立軸 1984 鈐印：朱玖瑩印（白文） 起廢園主（朱文） 款識：中華民國七十三年十一月十一日八十七叟 朱玖瑩拜稿 135×69 cm（53.1×27.1 in.）

水墨 紙本 鏡框 鈐印：白雲堂（白文） 君翁（白文） 款文：君璧仿八大山人 66.5×33 cm（26.1×12.9 in.）

HUANG Jun Bi CHU Chiu Ying

Imitation of Bada Shanren

Calligraphy

Ink and color on paper, framed Inscribed with two seals of the artist

Ink on paper, hanging scroll 1984 Inscribed with two seals of the artist

NT$ 20,000-32,000 HK$ 5,600-9,000 US$ 720-1,150 151

NT$ 90,000-150,000 HK$ 25,200-42,000 US$ 3,230-5,380

1130

歐豪年（台灣，b.1935） 寒梅 設色 紙本 鏡框 鈐印：歐介（白文） 怡志養神（白文） 款文：豪年 33.5×44.5 cm（13.1×17.5 in.）

OU Hao Nien Plum Blossom Ink and color on paper, framed Inscribed with two seals of the artist

NT$ 30,000-55,000 HK$ 8,400-15,400 US$ 1,080-1,970

1131

楊善深（中國，1913-2004） 僧侶簷前樹逸山 設色 紙本 鏡框 1978 鈐印：楊（朱文） 釋文：法侶簷前樹 禪心雨逸山 戊午（1978年）端節 善深 33×38.2 cm（12.9×15 in.）

YANG Shan Shen Monk And Tree Ink and color on paper, framed 1978 Inscribed with one seal of the artist

NT$ 30,000-60,000 HK$ 8,400-16,800 US$ 1,080-2,150

152

1132

郭雪湖（台灣，1908–2012） 農村 設色 紙本 鏡框 1999 鈐印：郭（白文） 雪湖（朱文） 釋文：台灣溪州農家新春乙卯（1999年）秋於 東京客舍為盛中仁兄新婚誌慶郭雪湖畫賀 40×49 cm（15.7×19.2 in.）

KUO Hsueh Hu Rural Area Ink and color on paper, hanging scroll 1999 Inscribed with two seals of the artist

NT$ 65,000-100,000 HK$ 18,200-28,000 US$ 2,330-3,580

1133

趙二呆（中國，1917–1995） 瓶花 設色 紙本 鏡框 1977 鈐印：呆呆（白文） 款文：一九七七年 二呆 43×36 cm（16.9×14.1 in.）

ZHAO Er Dai Vase Of Flowers Ink and color on paper, framed 1977 Inscribed with one seal of the artist

NT$ 10,000-15,000 HK$ 2,800-4,200 US$ 360-540

153

1134

巴勃羅‧畢卡索（西班牙，1881–1973）

Pablo Ruiz PICASSO

組成 22.8.68.II

Komposition 22.8.68.II

蝕刻版畫 1968 簽名右下：Picasso 27.9×30 cm（10.9×11.8 in.）

Etching 1968 Signed lower right: Picasso Edition of 50

限量50件

NT$ 360,000-500,000 HK$ 100,800-140,100 US$ 12,900-17,920

154

1135

草間彌生（日本，b.1929）

KUSAMA Yayoi

跳舞南瓜（YBL）

Dancing Pumpkin (YBL)

絲網版畫 2004 簽名下方：71/120 ダンス かぼちゃ YBL 2004 Yayoi Kusama 39.5×56.5 cm（15.5×22.2 in.）

Silkscreen Print 2004 Signed lower : edited 71/120 Dance pumpkin in Japanese, YBL 2004 Yayoi Kusama Edition of 120

限量120件 Literature: 出版： 草間彌生：《草間彌生全版畫：1979-2011》（東京：阿 部出版株式會社，2011年），圖版320，頁185。

ABE Publishing Ltd., KUSAMA Yayoi PRINTS 1979-2011, Tokyo, Japan, 2011, illustrated, Plate.320, P.185.

NT$ 350,000-500,000 HK$ 98,000-140,100 US$ 12,540-17,920

155

1136

草間彌生（日本，b.1929）

KUSAMA Yayoi

A PUMPKIN GB-D

A PUMPKIN GB-D

絲網版畫 2004 簽名下方：63/80 A PUMPKIN GB-D 2004 Yayoi Kusama 24×28.5 cm（9.4×11 in.）

Silkscreen Print 2004 Signed lower : edited 63/80, A PUMPKIN GB-D 2004 Yayoi Kusama Edition of 80

限量80件 Literature: 出版： 草間彌生：《草間彌生全版畫：19792011》（東京：阿部出版株式會社，2011 年），圖版332，頁190。

ABE Publishing Ltd., KUSAMA Yayoi PRINTS 1979-2011, Tokyo, Japan, 2011, illustrated, Plate.332, P.190.

NT$ 150,000-200,000 HK$ 42,000-56,000 US$ 5,380-7,170

156

1137

村上隆（日本，b.1962） 我們滑稽一族（十件一組） 膠印版畫 2018 十件均簽名右下：M 47.5×47.5 cm（18.7×18.7 in.） 限量300件

MURAKAMI Takashi We Are the Square Jacular Clan (set of 10) Offset printing 2018 Ten pieces are signed lower right：M Edition of 300

NT$ 160,000-200,000 HK$ 44,800-56,000 US$ 5,730-7,170

157

1138

1139

奈良美智（日本，b.1959）

奈良美智（日本，b.1959）

乘著款冬葉遊行（附設五張貼紙）

真實

版畫 2019 商標右下：Dallas Contemporary © Yoshitomo Nara 60.5×46 cm（23.8×18.1 in.）

版畫 商標右下：Dallas Contemporary © Yoshitomo Nara 63.5×73.5 cm（25×28.9 in.）

限量1000件 亞洲私人收藏

限量1000件

NARA Yoshitomo

Real One

Marching On A Butterbur Leaf (5 stickers attached)

Offset lithograph

Offset lithograph 2019

Trademark:

Trademark:

Dallas Contemporary © Yoshitomo Nara

NARA Yoshitomo

Dallas Contemporary © Yoshitomo Nara Edition of 1000 Edition of 1000 Private Collection in Asia

NT$ 20,000-60,000 HK$ 5,600-16,800 US$ 720-2,150

NT$ 60,000-90,000 HK$ 16,800-25,200 US$ 2,150-3,230

158

1140

奈良美智（日本，b.1959） 打鼓的女孩 版畫 商標右下：Dallas Contemporary © Yoshitomo Nara 69×43 cm（27.1×16.9 in.）

NARA Yoshitomo Banging The Drum Offset lithograph Trademark: Dallas Contemporary © Yoshitomo Nara

NT$ 15,000-20,000 HK$ 4,200-5,600 US$ 540-720

1141

小泉悟（日本，b.1983）

KOIZUMI Satoru

沒有桶子

Without Bucket

樹脂 2020 印刷簽名： Satoru Koizumi（右腳腳底） 16.5×20×30 cm （6.4×7.8×11.8 in.）

Resin 2020 Printed signature : Satoru Koizumi (bottom of right foot) Edition of 230 Trademark:

限量230件

Print APPortfolio (L)

註冊商標： 印 APPortfolio（左腳腳底）

W ith a guarantee card issued by APPortfolio With original box

附APPortfolio開立之保證卡 附原包裝盒

159

NT$ 40,000-80,000 HK$ 11,200-22,400 US$ 1,430-2,870

1142

Mr.（日本，b.1969）

Mr.

隨時隨地

Anytime, Anywhere

版畫 2020 簽名右下：Mr. 2020 217/300 70×56 cm（27.5×22 in.）

Offset lithograph 2020 Signed lower right : Mr. 2020 217/300 Edition of 300

限量300件

NT$ 13,000-18,000 HK$ 3,600-5,000 US$ 470-650

1143

Mr.（日本，b.1969）

Mr.

Mr.'s Room

Mr.'s Room

版畫 2010 簽名右下：Mr. 10 213/300 57.4×45.2 cm（22.5×17.7 in.）

Offset lithograph 2010 Signed lower right: Mr. 10 213/300 Edition of 300

限量300件

NT$ 13,000-18,000 HK$ 3,600-5,000 US$ 470-650

1144

Mr.（日本，b.1969）

Mr.

我的公寓

My Apartment

版畫 2010 簽名右下：Mr. 10 204/300 57.4×46.3 cm（22.5×18.2 in.）

Offset lithograph 2010 Signed lower right: Mr. 10 204/300 Edition of 300

限量300件

NT$ 13,000-18,000 HK$ 3,600-5,000 US$ 470-650

160

1145

趙無極（華裔法籍，1921–2013）

ZAO Wou Ki

20.5.88

20.5.88

版畫 1988 簽名下方：無極 ZAO 76×56.5 cm（29.9×22.2 in.）

Lithograph 1988 Signed lower: named Wou Ki in Chinese ZAO Edition of 90

限量90件

NT$ 130,000-200,000 HK$ 36,400-56,000 US$ 4,660-7,170

161

1146

趙無極（華裔法籍，1921-2013）

ZAO Wou Ki

無題

Untitled

版畫 1959 簽名下方：無極 ZAO 59 50×46 cm（19.6×18.1 in.）

Lithograph 1959

限量140件

Literature:

Signed lower : named Wou Ki in Chinese ZAO, 59 Edition of 140

Heede & Moestrup, Annual Catalogue of Zao Wou出版： Heede & Moestrup，《趙無極版畫作品編年目錄 1937-1995》，哥本哈根，1994，頁77。

Ki's Prints 1937-1995(Copenhagen, 1994), p. 77.

NT$ 130,000-200,000 HK$ 36,400-56,000 US$ 4,660-7,170

162

ABE Nyubo 阿部乳坊（b.1982） ABE Nyubo生於日本新潟縣，畢業於金澤美術工藝大學主修雕刻，國立臺灣藝術大學雕塑碩 士。2000年開始運用木雕創作許多雕刻作品，常參與臺灣、韓國的國際展，2007年以來，藝術 家把對未來不可預測的不安全感以及行走和過程化為形體。2013年起投入日本各地藝術計畫， 於2016年展開最新創作計畫 「Joy Division Project」，當中包含與眾多領域專業人士的合作，例 如「阿部乳坊 ÷ 科學家、文化人類學家、商業學者...等」。阿部的作品內容主要以人體為主， 透過延展的身軀強化了造形的趣味與好奇外，變形後展現出輕巧的造形力量與他所提出對於自 身欲望與記憶的厚重思考空間。

Lot 1003

Born in Niigata, Japan, ABE Nyubo graduated from the Department of Craft at Kanazawa College of Art and received his master’s degree at the Department of Sculpture of National Taiwan University of Arts. Since 2000, ABE Nyubo has been using wood craving to create sculptures and participating in international exhibitions around Taiwan and Korea. Since 2007, ABE Nyubo has been physicalizing the uncertainty toward the unpredictable future, as well as the process and the path toward that. Since 2013, he has been involved in art projects in various cities of Japan. In 2016, he launched the latest creation project "Joy Division Project", which includes cooperation with professionals in many fields, such as "Abe Dairyo ÷ Scientist, Cultural Anthropologist, and Business Scholar." ..Wait". ABE Nyubo's works mainly focus on the human body. The extended figure enhances the fun and curiosity of shaping. After the transformation, he shows the shaping power and the thinking process he proposed for his own desire and memory.

ROKKAKU Ayako 六角彩子（b.1982） 六角彩子1982年出生於日本千葉，是一位自學成才的藝術家，從未上過任何藝術學校。她的標 誌性風格主要是女性人物，有著坦率的面部表情，充滿個性。色彩鮮豔的背景上散落著鮮花、 微小的數字和像彩虹一樣的塗鴉，構成了一個多彩而幸福的夢想世界。她所描繪的人物角色有 雙大眼睛和長長的手，符合日本漫畫風格，而明亮的色彩和構圖使人聯想起嬰兒的繪畫。用手 指將顏料直接塗在畫布上是她獨特的繪畫技術，在動態和生動的構圖中很容易辨認。 Born in 1982 in Chiba, Japan, ROKKAKU Ayako is a self-taught artist and never attended any art school. Her iconic style features large, mostly female figures with candid facial expressions full of character. Vividly colored backgrounds, littered with flowers, tiny figures and rainbow-like smears compose a colorful and happy dream world. The large eyes and long arms of her characters fit within the Japanese manga style, while the bright colors and compositions remind of drawings made by infants. Her unique technique, directly applying the acrylic paint to the canvas using her bare fingers and hands, is easily recognizable in the dynamic and lively compositions.

Lot 1040

Banksy 班克斯（b.1974） 班克斯是一位匿名的英國塗鴉藝術家、社會運動活躍份子及電影導演。其街頭塗鴉經常帶有諷 刺意味，在旁則附有一些顛覆性、玩世不恭的黑色幽默和警示語句，班克斯大多運用獨特的模 板技術拓印而成。他的作品富有濃厚政治風格，儼如一種以藝術方式表達的社會評論，並已經 在世界各地不同城市的街道、牆壁與橋樑出現，甚至成為當地引人入勝的城市面貌。眾所周 知，對於絕大多數政府將塗鴉藝術標籤為「恣意毀壞他人財物罪」之既定政策，班克斯一向以 藐視的立場聞名。他習慣在最能接觸社會大眾的表面，例如牆壁等地方展示自己的作品，有時 更不惜親自動手，為其塗鴉圖案建造些物理支撐點。儘管班克斯從來不曾把自己的塗鴉作品或 相關照片用作銷售謀利的用途，不過，很多藝術拍賣行都曾經試圖出售他進行街頭藝術的現 場，並讓贏出競價的人自行決定對該處塗鴉的處置方式。 Lot 1002

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Banksy is anonymous British street artist, activist and film director. His graffiti are often ironic along with cynical black humor and subversive epigrams. Besides, Banksy applies a unique stenciling technique. Generally, Banksy’s works contain strong political messages and express social criticism in art way. They have appeared on streets, walls, and bridges in different cities, and even have become a local landscape. It is well known that graffiti have been labeled as vandalism by most governments while Banksy is known for a position of despising. Banksy gets used to displaying his works on publicly visible surfaces such as walls, and sometimes he even builds physical prop pieces himself for graffiti. Although Banksy has never sold his street graffiti and related photographs for profit, many auction houses have tried to sell a scene where he created art, and let the highest bidder decide what to do with the graffiti.

CHANG Wan Chuan 張萬傳（1909–2003） 台北縣淡水人。1924年入石川欽一郎主持之臺灣洋化自由研究所學習石膏素描與水彩，結識洪瑞麟與陳德 旺且加入台灣水彩畫會。1929年赴日就讀東京川瑞學校及本鄉繪畫研究所研習西畫，作品入選日本第一 美術展，1930年結識野獸派畫家鹽月桃甫，其畫風傾向野獸派風格。1938年後學成返台，曾受聘於國立藝 專及延平學院教授油畫。同年赴廣東及廈門美專參觀，且於該校任教。其後退出臺陽美協與洪瑞麟、張義 雄、廖德政、金潤作等人共組『紀元美術展』。1997年於台北市立美術館舉行『張萬傳八八回顧展』， 2003年逝於台北，享年95歲。『台灣風景』入選日本第一美術展，《鼓浪嶼風景》入選第一屆府展特選。 作品廣為各地美術機構及私人收藏。

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Born in the Tamsui, Taipei County. CHANG first went study under ISHIKAWA Kinichiro and the he went to Japan entering Kawabata Painting Institute and Hongoo Art Institute. During his stay at Japan, CHANG was inspired by Fauvism and afterwards he developed his style into Fauvism way. CHANG returned to Taiwan in 1938 and taught to several schools. He first withdrew from Taiyang Association and then co-founded MOUVE Association with CHEN Te Wang and HUNG Jui Lin in 1938. Then in 1954 he co-founded the century Association. In 1970s CHANG traveled to Europe and in 1977 he had a solo exhibition at the National Museum of Art in Taichung. In 1997 he had solo exhibition at Taipei Fine Arts Museum in celebration of his 88th birthday. CHANG passed away at Taipei in 2003 at age of 95. Considered as one of the early 20th century, CHANG devoted his life to the art of painting, and was an influential figure in promoting the aesthetic concepts behind Fauvism in Taiwan.

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CHANG Yi Hsiung 張義雄（1914–2016） 台灣嘉義市人。1926年開始跟隨陳澄波學習油畫。1931年返台入嘉義中學，來年赴日考入東京帝國美術學校（今武藏野美術大學），1933 年轉至京都兩洋中學，晚間至關西美術學校練習作畫，1935年與陳澄波組「青辰美術協會」，隔年約五次投考東京美術學校失敗。持續在 川端畫校進修；1948年任教於台灣師範學校（師大前身），1949年先後在台陽美展獲三次首獎。省展獲美術高榮譽獎，免審查資格，1954 年與陳德旺，張萬傳，洪瑞麟，廖德政、金潤作合組『紀元美術會』。1980年決心永居巴黎，巴黎春季沙龍獲Mention Honorable獎，巴黎 秋季沙龍入選後，81、83、85年皆入選；1987年獲頒法國政府藝術家年金，為台灣第一人獲此殊榮。隔年成為巴黎秋季沙龍正式會員， 1994年台北市立美術館舉辦「張義雄八十回顧展」。1995、1997年皆在台中哥德舉辦個展。1999年台北、台中、嘉義、台南『繪畫生涯演 講會』，畫冊同時出版。2004年於國立歷史博物館舉辦九十回顧展，於台中哥德藝術中心舉辦九十回顧經典展。2013年於國立台灣美術館 舉辦「百歲回顧展」，在2017台北國際藝術博覽會，與2019台北藝博會皆有作品展出。 CHANG spent twelve years in Japan from 1928 to 1940, and was educated at some of the most esteemed institutions in Japan including the Musashino University, Kansai Fine Art College, Kawahita Painting Institute and the Tokyo Fine Art institLite. CHANG spent two years in Beijing after graduation before moving back to Taiwan in1945.

While in Taiwan, CHANG taught at the National Taiwan Normal University and National Taiwan Academy of Art. He has won First Prize three times for works included in Taiyang Fine Art Exhibitions. In 1994, the Retrospective Exhibition of CHANG’s work. CHANG moved to Japan in 1960 and subsequently to Paris in 1980 where he resides to this day. He has held several solo exhibitions in Paris and is a regular participant of the Paris Salon. In 2013, the National Taiwan Art Museum held a “100-yearsold retrospective exhibition”, and CHANG’s works had exhibitions at Art Taipei 2017 and Art Taipei 2019.

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CHEN Ching Jung 陳景容（b.1934） 陳景容 CHEN Ching Jung(b.1934)，1934年生於彰化。就讀於國立台灣師範大學時，老師是張義雄。1956年與 畫友創立「五月畫會」，畢業後赴日留學，1963年武藏野美術大學畢業，1965年東京學藝大學畢業，1967年 於東京藝術壁畫研究所畢業。回台後任國立藝專美術科主任、文化大學教授、師範大學美術系教授。1975年 赴巴黎參加世界美術教育會議，1976年獲中國畫學會金爵獎，1977年應紐約聖若望大學之邀舉行畫展。1998 年獲法國藝術家沙龍油畫銅牌獎，及1999法國藝術家沙龍油畫銀牌獎；亦為春、秋季沙龍會員。 CHEN Ching Jung born in Changhua. CHEN followed Yoshio Yang to study drawing after entering the National Taiwan Normal University. In 1956, CHEN founded the Salon de Mai with fellow artists. After graduation, CHEN decided to make further research in Japan. He respectively graduated from Musash ino Art University (1963), Tokyo Gakugei University (1967) and Tokyo Fresco Paintings School (1967). After his return to Taiwan, CHEN occupied successively as Director of the Fine Art Department of National Art Lot 1068 Academy, professor of Culture University and of National Taiwan Normal University. In 1975 he was invited to participate in a global art education conference. In 1976, his work was ever awarded for the Golden Award of Chinese Painting Association. In the second year, Saint John's University held a solo exhibition for CHEN. His work won espec-tively a bronze medal and a silver medal of the Salon des Artistes Fran ais. Now he is member of the Salon du Printemps and Salon d’Autumn.

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CHEN Rui Kang 陳瑞康（b.1935） 陳瑞康 CHEN Rui Kang（b. 1935）字玉安，號寧齋，廣東新匯縣人；1959年畢業於台灣國立師範大學美術系。先後 從高逸鴻習花鳥、張隆延習書法，尤以寫意花鳥倍受推崇；其大筆芭蕉、工筆松鼠更是舒卷澤溫，力追古人。陳氏多 年來潛心水墨書畫研究，以傳統筆墨為基礎，融入時代新意；汲古潤今，師法自然，不斷耕耘反思，刻苦自勵，功力 日益精進卻從未稍怠。而他去國多年，視野更寬更廣，作品也隨著時空改變而產生新的風貌。

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CHENG Mao Huang 曾茂煌（b.1934）

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曾茂煌 CHENG Mao Huang（b. 1934）曾茂煌1934年出生，自小成長於新竹 農村。那裡的山丘、田園風光給予他深刻的影響，在台灣省立師範專科學 校畢業，即對美術有莫大興趣。1968年，他獲得全省教員美展優選，給予 他極大的信心與鼓勵。爾後縱使生活的壓力與事業的不順遂，他仍堅持繪 事，一生從未間斷。在1970年代，他成為國家多項重要美術獎項的得主， 創下輝煌的紀錄，普獲肯定。在全省教師美展、歷屆省展、全國油畫展、 台陽美術展覽會、台北市美展，都有傑出的表現。1981年在省立博物館舉 行首次個展，一直到1990年代前後在商業畫廊展出，受到相當肯定，其作 品具有穩健的風格，因此展覽不斷。

CHIANG Chao Shen 江兆申（1925–1996） 生於中國安徽歙縣，幼承庭訓，身受傳統書畫詩文薰陶，曾被溥心畬錄為詩文弟子，更被其讚譽：「觀君文藻 翰墨，求之今世，真如星鳳」。1965年於臺北中山堂舉行第一次個展，驚艷藝壇，並獲葉公超、陳雪屏舉薦進 入國立故宮博物院。任職於故宮期間，致力於畫家與美術史研究，尤長時間投入明代唐寅的研究，其《關於唐 寅的研究》一書，為美術史研究經典。而其主辦之「吳派畫九十年展」，以專題式的策展方式，為博物館的展 覽形式另闢新境，又因工作之需，飽飫故宮文物光華，廣涉博取諸家之長，漸發展出獨具個人面貌的畫風， 1969年以《花蓮紀遊冊》獲中山文藝獎。1978年升任國立故宮博物院副院長兼書畫處處長，同年獲韓國慶熙大 學頒贈榮譽文學博士。1991年自故宮退休。 江兆申被藝術界稱頌為「天上的文曲星」、「中國文人畫的最後一筆」，兼善詩、書、畫、印。江兆申多方面 的藝文成就，植基於深邃的中國人文傳統，作品清雅靈奇，秀逸溫潤，自豐厚的傳統中，創造出「新」境，於 兩岸書畫界引領「新文人」畫風。一生曾出版書畫篆刻集多冊，文則結集為《靈漚類稿》；於中國書畫研究、 博物館書畫的典藏、展覽與行政，及其退休後所開枝散葉之傳緒，所樹立的典範，影響至今。

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Born in Qixian County, Anhui Province, China, educated by traditional paintings, calligraphies and poems. CHIANG was once praised as a poetry disciple by PU Xin Yu, and he was praised by PU: "Viewing the literary altar of CHIANG, there is no one compare to him, such as a shining phoenix." In 1965, CHIANG has his first solo exhibition at Zhongshan Hall in Taipei, which was amazed by the art scene and was recommended by YEH Gong Chao and CHEN Xue Ping to enter the National Palace Museum. During CHIANG’s tenure at the National Palace Museum, he devoted himself to the study of painters and art history, and devoted a long time to the study of Tang Yin in the Ming Dynasty. CHIANG’s book "Research on Tang Yin" is a classic example of art history research. The exhibition curated

by CHIANG called " Ninety Years of Wu School Painting" has opened up a new realm for the exhibition form of the museum. CHIANG has gradually developed his new style by absorbing the master’s pieces in National Palace Museum. In 1969, The Hualien Travel Book

by CHIANG has won Zhongshan Literary Award. In 1978, CHIANG became the vice dean of The National Palace Museum also the director of the painting department. At the same year, CHIANG was awarded the honorary doctorate of literature from Korea’s Kyung Hee University. CHIANG was retired from the National Palace museum in 1991 and passed away in the lecture in Art in of Shenyang Lu Xun Academy of Fine Arts.

CHIANG has been praised by the art world as "the celestial star of heaven" and "the last stroke of Chinese literati painting". CHIANG is also talented in poetry, article, painting, and seal. CHIANG's various artistic achievements are based on the profound Chinese humanities tradition. CHIANG’s works are elegant and ease. From the profound tradition, CHIANG created a "new" environment and leads the "new literati" style in the Chinese painting. In his lifetime, CHIANG has published a collection of paintings and calligraphy, and the collection of the texts is the "Lingshuo Manuscript"; the model of Chinese painting and calligraphy. The collections, exhibitions and administrations of museum, and the model CHIANG has built still has great influence until now.

CHIU Bing Heng 邱秉恆（b.1948） 邱秉恆1948年生於台灣嘉義，國立台灣師範大學美術系畢業，他 說:「我的畫不求巧、求拙，我用心追尋，經過嚴格的鍛鍊和多 方的陶冶，使我得以逐漸穿透事物的表象。」構圖著重筆觸並偏 好鮮豔、明快的色彩，邱秉恆基本上採取了一份中國書畫中留白 的「禪意」空間，卻相當大膽的運用了西方素描及抽象繪畫中的 筆觸與構圖，在著重質理構成、速度感及色域對比均衡的姿態之 中，散發出創作者個人自主性的空間知覺經驗與東方虛實意境。 Born in Chiayi, Taiwan in 1948, CHIU Bing Heng graduated from the Fine Arts Department of National Taiwan Normal University. He once said: "My paintings do not seek cleverness or clumsy. I pursue them with my heart. After rigorous training and various cultivations, I can gradually penetrate the appearance of many things.” The composition of his works emphasizes brushstrokes and bright and lively colors. CHIU adopts the “Zen” space that is left blank in Chinese paintings Lot 1028 Lot 1027 Lot 1026 and calligraphy, at the same time, boldly uses the brushstrokes and composition of Western sketches and abstract paintings. In a posture that emphasizes the composition of quality, the sense of speed, and the contrast and balance of color gamut, it exudes the creator's personal autonomous spatial perception experience and oriental artistic conception of reality and illusion.

CHIU Ya Tsai 邱亞才（1949－2013） 出生於台灣宜蘭，非學院派畫家，自幼對正規學業不感興趣， 退伍後才開展對文字藝術的追求，以及對人性的深刻觀察。中 國歷史、莎士比亞、杜斯妥也夫斯基等大師巨著的閱讀經驗， 豐富其往後繪畫中的人物深度。邱亞才筆下的台灣現代文人肖 像，受唐代繪畫的影響頗深，如人物的鉤狀鼻、杏眼，鵝蛋 臉，身材頎長纖瘦，雌雄莫辯，主題上傾向於孤寂、憂鬱、內 斂而沈靜。1980年代他經常於台北知名文化沙龍「紫藤廬」一 隅創作，以成無數畫作及小說。作品曾於台北春之藝廊、歷史 博物館及省立美術館等處展出。以肖像畫著稱，藉由畫筆直嘆 身埋人類理性面具下的卑微、傲慢、頹廢與脆弱，細膩優雅中 洋溢著文人感懷落寞的頹靡氛圍。2013年辭世，享年67歲。

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

CHU Chiu Ying 朱玖瑩（1898–1996） 因晚年曾居於臺南安平而自號安平老人、安平久客，堂號為師掃帚齋，中國湖南人（出生於清代湖南省長沙 縣東鄉金井鶴霞園），中華民國政治人物與書法家。曾擔任湘軍總司令部政務委員兼秘書、內政部土地司司 長、衡陽市長、湖南省民政廳長、財政部鹽務總局局長兼臺灣製鹽總廠總經理等職，1968年退休後隱居於臺 南安平原英商德記洋行旁。其書法啟蒙自其父，後師從譚延闓，以顏體楷書最出色，曾於1990年4月獲得中華 民國行政院國家文藝獎書法教育特別貢獻獎。著有《學書淺說》、《臨池三論》等書。朱玖瑩在1996年5月時 返回湖南探親，後於同年9月3日病逝於湖南。2012年時，臺南市政府文化局舉辦了「第一屆朱玖瑩全國書法 比賽」以紀念。

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Cindy NG Sio Ieng 吳少英（b.1966） 吳少英生於澳門， 90年代初曾遊學倫敦，得到倫敦大學理斯藝術學院版畫系主任勃度羅教授的推薦，在倫敦大英博物館的中國書畫藏品 館研究室修讀館內的中國藏畫，對她個人的思維得到很深的啟發與影響。1996年移居臺灣繼續研究當代水墨，同年在臺北市立美術館舉行 個人畫展。 她以當代的思維和現代媒材去闡釋水墨之境，並嘗試當下最新的媒介如互動科技技術，用跨領域、跨媒介的水墨表現方式，以證明水墨有 其自身的獨特本質。在她20多年來對水墨的不斷探索過程中，發現在不同的媒材上，水墨會產生其獨有的表現涵義。 Born in Macao, Cindy NG Sio Ieng traveled to London in the early 1990s and was recommended by Professor Brodlow, the director of the Printmaking Department of the Rees School of Art, University of London. Studying the Chinese paintings in the Research Room of the Chinese Painting and Calligraphy Collection of the British Museum has deeply inspired and influenced her personal thinking. In 1996, she moved back to Taiwan to continue his research on contemporary ink painting. In the same year, she held a solo exhibition at the Taipei Fine Arts Museum.

Cindy uses cotemporary thinking and media to interpret the state of ink painting, and uses cross-domain and cross-media ink expression methods to prove that ink painting has its own unique essence. In her 20 years of continuous exploration of ink painting, Cindy has discovered that ink and wash can produce its unique expressive meaning on different media.

Lot 1025

Daniel ARSHAM 丹尼爾‧阿瑟姆（b.1980） 丹尼爾1980年出生在俄亥俄州第二大城市克利夫蘭，於邁阿密長大，2003年獲得紐約柯柏聯盟學院藝術學士學位證。丹尼爾廣泛接觸各種 類型創作，在雕塑，建築，繪畫和電影中創造並詮釋了模糊的中間空間或情境，並進一步將他所指的作為現在的未來遺物，為作品建立虛 構考古學概念。丹尼爾的雕塑作品中充斥著簡單而矛盾的姿態：一個看似在風中翻騰的立面、一個包裹在牆壁表面的人物、一個被火山灰 鑄造的當代物品，彷彿是在未來的某個考古地點發現的時空狀態，都充分顯現其創作的中心價值。 Daniel was born in 1980 in Cleveland, Ohio’s second largest city. He grew up in Miami and received a bachelor’s degree in art from Cooper Union in New York in 2003. Daniel has extensive contact to various types of creations, creating and interpreting fuzzy intermediate spaces or situations in sculptures, paintings and films, and further establishing fictional archaeological concepts for his work as a relic of the present future. Daniel’s sculpture are full of simple and contradictory gestures: a facade that appears to be rummaged in the wind, a figure wrapped around the surface of the wall, a contemporary object cast by volcanic ash, as if it were found in a future archaeological site of state time space, fully shows the core value of his creation.

Lot 1007

167

Lot 1010

Lot 1041

Lot 1042

DING Yan Yong 丁衍庸（1902–1978） 廣東人，後改名丁鴻，字叔旦，號肖虎、丁虎。早年留學 日本，專攻油畫，在日本川端畫學校、東京美術學校習 畫，受野獸派風格的影響甚深，1925年回到中國展開教學 生涯，1949年遷居香港晚年致力於中國畫，並且經營出一 種自然的表現主義風格，將古典的篆刻趣味帶進他的繪畫 作品中。終身從事藝術教育，為新亞書院藝術專修科(後發 展為香港中文大學藝術系)創辦人之一，他的作品多次於香 港及海外展覽，也曾經在香港、澳洲、臺灣舉辦個展。丁 衍庸為中國現代美術的重要倡導者之一，現代名國畫家、 油畫家、篆刻家、美術教育家，在中國畫壇與林風眠、關 良素有「廣東三傑」之稱，三人在畫壇各佔有一席之地。

Lot 1086

Lot 1087

George CHANN 陳蔭羆（1913–1995） 廣東中山縣人，12歲於中國完成中學後隨父親赴美。於1934年進入美國洛杉磯奧蒂斯藝術學院就讀，於 1940年取得美術碩士學位，次年於洛杉磯加州藝術俱樂部舉行首次個展，而後受到洛杉磯郡立美術館館 長麥堅尼的推薦於1942年在舊金山榮勳宮舉行個展，同年參加奧蒂斯藝術學院年度展，獲得油畫類第一 名。1947-49年返回中國，個展於廣州市文獻館及上海。1950年返美並開始研究抽象畫，1951年參加詹 姆士．維吉維諾藝廊舉辦的「法美兩國名家小畫展」聯展，其中參展畫家包括：梵谷、雷諾瓦、夏卡爾 等。於1969-73年期間應南加州帕撒狄納美術館之邀舉行個展，展出50件抽象作品。其作品被聖地牙哥博 物館及美國數個市立美術館永久典藏。

Lot 1065

George CHANN was born in Chungshan county, Guangdong. He left for the US at the age of 12 with his father, after completing junior high school in China. In 1934, he entered the Aldiss Institute of Arts in L. A. He earned his M.F.A. in 1940, holding his first solo exhibition the following year at the California Art Club in Los Angeles. At the recommendation of Roland MCKINNEY, the curator of the L. A. County Museum, George CHANN held an exhibition at the Palace of the Legion of Honor in San Francisco in 1942. From 1947 to 1949, he lived in mainland China, exhibiting at the Public Archives Museum in Guangzhou and in Shanghai. In 1950, he returned to the US and began to study abstract painting, and in 1951 was exhibited with notable Western painters such as VAN GOGH, RENOIR and CHAGALL in an exhibition at the James VIGEVENO Gallery. During the years from 1969 through 1973, 50 pieces of his abstract works were exhibited at the invitation of the Pasadena Fine Arts Museum.

Many of his works are currently in the permanent collection of various museums such as the San Diego Museum.

SORAYAMA Hajime 空山基（b.1947） 1947年出生日本，1967年正式進入美術學院學習，學生時代即展現出色的藝術 天賦。1969年被廣告公司雇用成為插圖畫家，1972年成為獨立自由插圖畫家， 1978年筆下誕生出第一個機器人，1983年Sexy Robot系列作品使他聲名大噪。 空山基的作品精緻唯美，想像力豐富，技法精湛，完美呈現女性的樣貌，因多 件女性機器人作品色情意味濃重，故被譽為日本情慾機械藝術大師。作品極具 現代未來感，利用金屬光澤表現在各種形體上。空山基也曾與多位知名藝術家 合作，2009年與KAWS(b.1974)推出No future companion，2019與美國前衛藝術 家丹尼爾‧阿瑟姆(Daniel ARSHMAN, b.1980) 合作展覽於日本東京，機械科 幻與侵蝕斑駁的衝突驚艷眾人。空山基的熱潮跨及插畫、電影、時尚圈，2014 年，空山基受電影《星際大戰》製作人喬治盧卡斯(George Walton LUCAS, Jr., b.1944)邀請設計電影中的外星角色，2019年Dior於成都太古里舉辦之時裝秀， 邀請空山基設計大型性感機器人，作為燈光表演之展場主視覺。

Lot 1004

SORAYAMA Hajime was born in Japan in 1947, and had showed his outstanding artistic talents during his study at Tokyo's Chuo Art School since 1967. In 1969, SORAYAMA was appointed by an advertising agency as illustrator. Then he became a freelance illustrator in 1972 and drew his first robot in 1978, and SORAYAMA became renowned by Sexy Robot series in 1983. SORAYAMA Hajime’s works are known for his precise details, rich imagination, professional skills, and perfect depictions of women's appearance. Due to works of robotized women in erotic poses, SORAYAMA Hajime has been considered an erotic mechanical master in Japan.

SORAYAMA’s works are modern and futuristic based on metallic materials. SORAYAMA has cooperated with many famous artists, for example, SORAYAMA present No future companion with KAWS (b.1974) in 2009. In 2019, SORAYAMA held an exhibition with American contemporary artist Daniel ARSHMAN (b.1980) in Tokyo, the conflict between mechanical robots and eroded texture amazed the audience. SORAYAMA Hajime’s popularity spans illustration, film, and fashion. In 2014, SORAYAMA Hajime was invited by George Walton LUCAS, Jr. (b.1944), producer of Star Wars, to design alien characters in movie. In Dior’s 2019 Collection Event at Chengdu Taiguli, China, SORAYAMA was invited to design a big sexy robot as key vision and hold a light show.

168

HSIAO Chin 蕭勤（b.1935） 蕭勤1955年底與多位藝術家成立東方畫會以抽象繪畫為研究主題，後前往義大利發展， 深受不定形藝術（Informalism）、抽象表現主義（Abstract Expressionism）的藝術家影 響，察覺中國書法律動線條的重要性與特色，並藉此展開一系列的嘗試。蕭勤已不同於 早期東方藝術家對西方藝術的形式模仿，蕭勤自創一格，積極探索物質與精神、瞬間與 永恆、有限與無限，反思了繪畫媒介的根本，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 際太陽（Surya）運動」、1989年的「國際炁（Shakti）運動」。蕭勤曾多次獲得藝術界 肯定， 2016年獲總統府頒發二等景星勳章，2019年獲頒南藝大名譽博士。他以矜持內斂 的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。 HSIAO Chin cofounded the Ton-Fan Group studying abstract art with many artists in 1955, and he left for Italy to study painting. HSIAO was influenced deeply by informalism and abstract expressionism, realized the importance and features of Chinese calligraphy, and began series of creations. HSIAO has been different from early Eastern artists’ imitation of Western art because HSIAO developed his own style. HSIAO actively explored material and spirit, moment and eternity, finite and infinite, and reflected the root of art materials in order to discover the essence of contemporary painting. HSIAO Chin was active in the international art society; he started the international art movement Punto in 1961, Surya in 1977 and Shakti in 1989. HSIAO Chin has been awarded many times, Order of Brilliant Star with Grand Cordon by the president of Taiwan in 2016, and honorary doctorate by Tainan National University of the Arts in 2019. HSIAO created unique style in the field of abstraction art by his reserved and restrained oriental aesthetics, and won Western world attention and praises.

Lot 1014

HSU Yu Jen 許雨仁（b.1951） 許雨仁1951生於台南佳里，國立藝專美術科畢業，擅用幾何造型組成水墨的基本構圖，從舊有筆法中開創嶄新的表現與 思維方式，以極簡卻粗獷有力的視感呈現出不容侵犯的生存場域，蘊含生生不息的生命能量，傳遞個人內在意志、生命 視域，以及對於生存環境的思考與反省。 HSU Yu Jen was born in 1951 in Jiali District, Tainan and graduated from the National Academy of Arts in 1975. In 30 years of his creative career, HSU has broken through the existing boundaries of ink painting and is adept at using geometric patterns for the basic composition of his paintings.

From old brush technique, he developed a new way of expressing and thinking, with a minimalist but powerful visual sense expressing a domain of existence space that cannot be infringed on, implying endless life energy as well as conveying the individual's internal will, life horizon, and reflection on the living environment.

Lot 1114

HUANG Jun Bi 黃君璧（1898–1991） 原名允誼，晚號君翁，本名醞之，廣州南海人。畢業於廣東公學，從畫家李文顯游，并與粵東藏家交往，致 力於山水畫，尤以雲水瀑布見長，擅詩書畫，畫則兼能山水、人物和花鳥，是一個全能型畫家，人物畫最 少，所見皆為古裝，如士子、仕女、鍾馗、羅漢及鞍馬人物等，均為傳統畫法，包括工筆重彩、粗筆寫意、 精緻白描等，每種畫法均顯示出深厚功力。花鳥、動物作品相對多見，其中不乏精勾細染、色彩絢爛、直逼 宋元的工筆之作，有評論者以「淵博溫潤，渾厚朴茂」 形容；更有兼工帶寫和粗筆大寫之作，拙樸凝重，黃 君璧亦擅畫走獸之屬，為了描繪動物的真實，有時還加入明暗法，曾任廣州市立美術專科學校教務主任、國 立中央大學藝術系教授等，1949年渡臺後任臺灣師範大學藝術系系主任、教授，對臺灣藝術教育貢獻卓著。

Lot 1129

169

Born in Guangzhou Nanhai in China. Graduated from the Guangdong public school, from the painter LI Wenxian tour, and with the eastern Guangdong collectors, is committed to landscape painting, especially in the cloud water waterfall known, good poetry and calligraphy, painting is able to landscape, people and flowers and birds, is a versatile painter, Most of the characters painted, see all the costume, such as scholar, ladies, Zhong Kui, Lohan and pommel horse characters, are traditional painting, including meticulous, rough pen freehand, fine white, etc., each painting shows great skills. Flowers and birds, animal works are relatively common, many of them fine lines, color gorgeous, almost equal to the Song Yuan's pen, as some commentators to "profound and vigorous, vigorous Park Mao" described; more work with writing and rough pen In order to depict the real animal, and sometimes joined the shading law, former Guangzhou City Art College academic director, the National Central University Department of art professor, etc., in 1949, the stage of the festivals, He is the director and professor of the Department of Art of Taiwan Normal University and has made great contributions to Taiwan's art education.

HUANG Ming Che 黃銘哲（b.1948） 黃銘哲 1948年生於台灣宜蘭，專長油畫、雕塑。1976年第一次油 畫個展於省立博物館，同年赴英國里茲大學研習。曾任中華民國 油畫學會、日本創生美術協會、台灣新畫會會員。1979年和美國 Semions畫廊簽約經紀畫家。1981、1982連續兩年榮獲全省美展油 畫第一名，1983年榮獲全省美展永久免審查資格。1992年獲台灣 省立美術館永久免審查邀請展，2001年應邀赴上海美術館舉行回 顧展。黃銘哲的畫帶有象徵主義和表現主義的意味，重視繪畫中 高彩度色彩並置，以書寫性線條的交錯重疊製造肌理和層次，創 造出具有東方神秘色彩的造型語彙。 Born in Yilan City, he is one of the few Taiwanese artists who is able to be successful in both sculpture and painting filed. He has won many awards such Lot 1095 Lot 1096 as 36th Taiwan Exhibition (1982) and 35th Taiwan Exhibition (1981). After his achievement in steal sculpture, he applied the knowledge and skills of sculptures making into paintings. His paintings as in sculptures have the quality of simple and elegant. He has participated in many major exhibitions, in 2001, for example. Solo Exhibition in Shanghai Art Museum Taipei Fine Arts Museum and The Revenue Service Office Taipei County.

HUNG Rui Lin 洪瑞麟（1912–1996） 洪瑞麟出生於台北市大稻埕，由於父親對傳統文人畫的素養，自小也對繪畫發生了興趣。1927 年進入由倪蔣懷出資的「台灣繪畫研究所」，接受石川欽一郎老師的指導，開始由石膏像正式 習畫素描。1930年赴日求學，畢業於日本帝國美術學校。1938年7月回到台灣，並到倪蔣懷經營 的瑞芳煤礦工作，自此開始以礦工作為創作題材，建立出與眾不同的繪畫風格。洪瑞麟的作品 深深充滿了這種悲天憫人的情愫，同時，也傳達出他對勞苦小民及老年人的由衷關懷。洪瑞麟 除了畫礦工之外，也畫過原住民，裸女與風景。退休之後，他的第一個願望便是追求陽光，畫 家晚年旅居美國時完成了一些歌頌陽光的風景畫，但無論如何，「礦工畫」永遠是前輩畫家洪 瑞麟的註冊商標。 HUNG Rui Lin was born in Taipei City in 1912 and his father's long immersion in the traditional scholarly painting was the first benign influence on the young HUNG. In 1927, HUNG was admitted into the Taiwan Painting Research Institute funded by NI Chiang Huai, and under the guidance of ISHIKAWA Kinichiro, began his professional training in sketching plaster statues. 1930 saw HUNG studying in Japan, where he later graduated from the Japan Imperial Fine Arts School. After returning to Taiwan in July 1938, HUNG found a job with the Jui-fang Coal Mining Company managed by NI Chiang Huai. The working miners subsequently became a key inspiration for HUNG, who was thus able to secure his own distinctive style. The powerful compassion for the toiling workers and the elderly, emanating from his works, never fail to touch the spectators. The aboriginal people, nude girls and landscapes also figured in his paintings. After his retirement, the quest for sunlight obviously took the priority, when he moved to the US and painted a series of landscapes celebrating sunlight. Still, his pieces on the miners always remain his signature works.

Lot 1052

James JARVIS 詹姆斯‧賈維斯（b.1970） 英國藝術家詹姆斯•賈維斯（James JARVIS）出生於1970年倫敦，作品涵蓋卡通、漫畫、圖形 設計、版畫和動態圖像。 他畢業於英國布萊頓大學和皇家藝術學院，畢業後為品牌可口可樂、 IKEA和Nike等世界各地的客戶做商業設計。 1997年，JARVIS為總部位於倫敦的時裝公司西 Silas創造了“馬丁”的角色形象，並開始了他的玩具設計生涯。 JARVIS 於2003年創立了自己的 品牌Amos，期間JARVIS為Amos創建了100多個玩具角色，以及圖形、漫畫、書籍、展覽和音樂 節。近期，JARVIS在倫敦、香港和東京的個展中，專注於以一種更簡單，基於繪畫的方式創作 作品。 Born in 1970, James JARVIS is a British artist whose work encompasses cartoons, comics, graphic design, printmaking Lot 1008 and moving image. Graduating from University of Brighton and the Royal College of Art, he first worked as a commercial artist for clients worldwide, including Coca-Cola, Ikea, and Nike. In 1997, JARVIS created the figure "Martin" for Silas, a fashion company based in London.

From then on, he started his toy design career. In 2003, JARVIS founded his own brand, Amos. For Amos, JARVIS created over 100 toy characters, as well as graphics, comic strips, books, exhibitions, and a music festival. More recently, JARVIS has concentrated on a simpler, reductive, drawing-based approach to his work, with solo exhibitions in London, Hong Kong and Tokyo.

170

JAN Chin Shui 詹金水（b.1953） 1953年生於苗栗縣卓蘭鎮，國立藝專美術系西畫組畢業。曾獲教育部文藝創作獎油畫金牌獎、全國油畫 展金牌獎。他的藝術創作之路，也是一場人生的修行之路，27歲才念藝專，這之前他已經畫了15年，工 作就是幫人畫畫，什麼題材都畫，讓他以術科第一名考進藝專。 1989年詹金水遠赴歐洲自助旅行，走訪10國、50個美術館，他發現優秀的藝術家作品，都具文化性、時 代性及個人特色，他開始尋找自己的風格，回歸東方文化，從中國水墨的山水主軸切入，透過油畫肌理 展現出時代性，佛教的內涵表現東方的精神性，從抽象山水至意境山水，讓他的作品更為接近清淨解脫 自在的禪境。

Lot 1029

JU Ming 朱銘（b.1938）

Lot 1097

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

Born in Tongxiao Town, Miaoli County, Taiwan. In 1953, at his father's instigation, he began a two year learning with the famous craftsman, LI Jin Chuan, at Mazhumiao in Tongxiao Town, where he studied wood carving. The following year, he secured gainful employment in a shop that dealt in Buddhist Tools, in Keelung. In 1968 he began his learning under YANG Ying Feng. Early in his career, he made a name for himself in the villages surrounding where he lived for his sculptures of cows and cowboys. More recently, his modern sculptures integrate the philosophy of Taiji. In 1976, he was widely regarded by art circles at a solo exhibition at the National History Museum. In the same year, JU was awarded one of ten medals for excellent youths of Taiwan. His international exhibition was held at the Tokyo Central Museum of Art in 1978 and his work Lot 1098 collected by the Sculpture and Art Museum of Japan. In 1981 he went to study in New York, where the following year, in direct result of the tremendous success his Living World Series, JU experienced a major turning point in his artistic career. In 1989, he worked in conjunction with a famous architect to recreate the Living World Series, cast in bronze, to stand in front of the Hong Kong Bank of China. The JU Ming Art Museum in Taipei, housing many of his works of modern sculpture, was built in 1999 and in 2000, on the basis of managing the JU Ming Art Museum for ten years; he won the Tokyo Creation Award.

KOIZUMI Satoru 小泉悟（b.1983） 小泉悟 KOIZUMI Satoru (b.1983) , 小泉悟1983年生於日本宮崎縣，畢業於沖繩縣立藝術大學造型藝術研究所，2010年發表了一系列身著動 物衣帽的小童木雕作品，極受各界好評。孩子們身著可愛的動物外衣，眼神卻透露著幾分困惑與孤獨，彷彿訴說著屬於孩童的迷惘。小泉 悟藉由作品闡述，人在長大的過程中逐漸社會化，壓抑內心的本性與野性，失去最初的純真，內心喪 失活力，因此希望藉由穿上動物樣貌的外衣回歸自然，重返生命之源，找回初心。小泉悟的作品具有 高度辨識性，作品外表療癒可愛，內涵深刻的人文省思，以及手藝精巧的雕刻，使小泉悟迅速成為藝 術新星，風靡美國、新加坡、台灣、韓國等地的藝術博覽會，各界積極收藏，創下多次售罄紀錄。 KOIZUMI Satoru was born in 1983 in Miyazaki ken, Japan, graduated from the Okinawa University of the Arts with a master's sculpture course. KOIZUMI Satoru presented a highly praised series of children wood carving works wearing animal costumes in 2010. Children all dressed in cute animal costumes; however, confusion and loneliness in their eyes tell children’s perplexity.

Through art works, KOIZUMI Satoru expresses that people gradually socialize as growing up and lose what we have. People tend to suppress inner nature and wildness, and then lose original cuteness and vitality. Thus, KOIZUMI Satoru wants to return nature, go back to the source of life and find our hearts by wearing animal costumes. KOIZUMI Satoru’s sculptures are characteristic based on cute appearance, deep insight, and professional carving. As a result, KOIZUMI Satoru became famous and showed in art fairs of United States, Singapore, Taiwan, and Korea and so on; moreover, his works are popular and set multiple sold out records.

Lot 1141 171

KUO Hsueh Hu 郭雪湖（1908–2012） 郭雪湖原名金火，生於臺北大稻埕，九歲在日新公學校就讀，被導師發現具有繪畫方面的才華，開始 指導他學習藝術。畢業後考取臺北州立工業學校，後來發現與志趣不合，便退學在家自修繪畫，十六歲 時由母親帶引拜蔡雪溪為師，入雪溪館習藝，蔡師多才多藝，是當時有名的職業畫師，他並為郭氏取名 「雪湖」，傳授其描繪觀音、帝君等神像及裱褙的技藝，開啟了郭雪湖走向藝術之路的大門。郭雪湖與 林玉山、陳進參加第一屆「臺展」，亦有「臺展三少年」的美名。影響其重要的人物還有日籍畫家鄉原 古統。他欣賞鄉原的作品，後來相識並建立亦師亦友的關係，鄉原曾力勸郭雪湖要做一位職業畫家，郭 學湖也記取此話，一生獻身藝術。 KUO Hsueh Hu, formerly known as JIN Huo, was born in Dadaocheng, Taipei. At the age of nine, when he was studying at the Nissin Public School, he was discovered by his instructor to be talented in painting and began to instruct him to study art. After graduating, he was admitted to the Taipei State Technical School but later found that he did not have the ambitions, so he dropped out of school to study painting at home. At the age of sixteen, he took CAI Xuexi as an art teacher, who was a well- known professional painter at that time. He also named KUO “Hsueh Hu” and taught him the skills of depicting gods such as Guanyin and the emperor, which introduced KUO to the world of fine art. KUO Hsueh Hu, LIN Yushan, and CHEN Jin participated in the first "Taiwan Exhibition," where they earned the reputation of "Taiwan Three Youths". Among the important individuals who influenced KUO was the Japanese painter GOHARA Koto. He admired GOHARA's works, and later met and established a relationship of teacher-and-friend with him. GOHARA once urged KUO to become a professional painter, which he kept the words in mind and dedicated his whole life to art.

Lot 1122

Lot 1132

KUSAMA Yayoi 草間彌生（b.1929） 草間彌生被稱為日本現存的經典藝術家，出生於日本長野縣松本市，1956年移居美國紐約市，並開始展露 她領先群雄的前衛藝術創作才華。曾與當代卓越的藝術家如安迪．沃荷、克勒斯．歐登柏格、賈斯培．瓊 斯一起聯展。現居住在日本東京。她的創作類型非常廣泛：涵蓋繪畫、拼貼畫、雕塑、表演、電影、裝 置、小說、詩歌和音樂。她十歲患病導致幻聽幻覺。在美期間正值激進主義時期，此後她的藝術停留在激 進、商業和反思的層面上。她認為網狀結構像徵富有生機的生命本質。1966年充滿神秘感的《無限鏡屋》 裝置作品，反映了生命力的無限廣博以及不可把握性。她對自己的藝術經歷描述為：分解和積聚，增值和 破碎，是對自己的淹沒和對無形宇宙的回想。返日後用多種形式和材料探索無此境的網狀結構。她的藝術 作品蘊含獨特的感知經驗和不可觸摸的神秘。

Lot 1135

She was called the classic artist still alive in Japan. She was born in Matsumoto City in Nagano, Japan. In 1956 she moved to New York, U.S.A. and began to show her unique avant-courier artistic creation which takes a dorminant place. She once held exhibition with some current brilliant artists such as Andy WARHOL, Claes OLDENBURG and Jasper JOHNS together. She lives in Tokyo in Japan now. She has a wide artistic practice, including painting, collage, sculpture, acting, filming, decorating and writing novels, poems and music. When she was ten years old, she got acousma and heteroptics because she was ill. When she was in America, it was the period of radical, commercial and retrospective. She thinks that the net form means the vividness of life. In 1966 her decorating work “Endless Mirror Room” reveals the endless and the uncontrollable of life.

Lot 1136

LEE Shi Chi 李錫奇（b.1938） 李錫奇1938年出生於金門古寧頭，畢業於台灣省立台北師範學校（今國立台北教育大學）藝術科。1958年 與前輩陳庭詩、楊英風等人共組「現代版畫會」，亦為「東方畫會」中後期重要成員。早年以達達派及歐 普派的藝術思維展開其創作實踐，將牌九、骰子等現成物轉換為創作媒材，是1960年代最早運用民間賭具 進行「後現代」創作的藝術家。李錫奇的創作以風格多變著稱，除了融合東方傳統與西方現代思潮，創作 形式從版畫、水墨、抽象書法、漆畫、複合媒材至裝置皆有涉獵，甚至與文學界現代詩人多次跨領域合 作，在台灣藝壇有「變調鳥」的美名。 LEE Shi Chi was born in Guningtou, Kinmen, in 1938. He graduated from the Art Department of Taiwan Provincial Taipei Normal School (now National Taipei University of Education). In 1958, he organized the "Modern Printmaking Association" with his predecessors, CHEN Tingshi, YANG Yingfeng and others, and was also an important member of the "Oriental Painting Association” Lot 1013 in the middle and late stages. In his early years, he started his creative practice with Dadaist and Opist art thinking, and converted ready-made objects such as Pai Gow and dice into creative media. He was the first artist to use folk gambling equipment to create "post-modern" creations in the 1960s.

LEE Shi Chi’s creation is known for his varied styles. In addition to fusing Eastern traditions and Western modern thoughts, his creations range from prints, ink paintings, abstract calligraphy, lacquer paintings, composite media to installations, and he has even collaborated with modern poets in the literary world. Has the reputation of "mockingbird " in the Taiwanese art field.

172

LEE Chi Mao 李奇茂 (b. 1925)

Lot 1112

生於中國安徽省渦陽縣。復興岡大學美術系畢業，韓國檀國大學文學博士。1976年擔任國立台 灣藝術大學美術系專任教師及系主任。李奇茂畫風獨特，一氣呵成，作畫筆酣墨飽，善用節奏 和韻律表現時間速度和聲音。作品除了表現出水墨既有的技法外，他能順應時代變化，反映市 井小民現實生活，藉由他簡單、隨意的筆端，充分展現基層民間生活，同時將水墨畫與台灣鄉 土文化融為一體。作品曾獲第七屆國家文藝創作獎及第二屆中山文藝創作獎殊榮。

LEE was born in Anhui, China. He graduated from the Dept. of Fine Arts of Fuxingang University, after that, he got PHD of Literature of Dankook University in Korea.

In 1976, he became full-time tutor as well as chairman of department of National Taiwan University of Arts. LEE’s unique painting skill, line in drawing with the sound of rhythm and rhyme. His artworks are full of ink painting skills, with time passing by, reflecting real life of everyday people. He was awarded the 7th Creation of National Arts and the 2nd Chongshan Arts Award.

LI Mei Shu 李梅樹（1902–1983） 李梅樹 LI Mei Shu（1902-1983）台北三峽人，專長油畫。1918年入台北國語學校師範部，1928年赴日深造，進 入東京美術學校西畫科。學成回國後，1934年與畫友創立台陽美術協會及1974年中國油畫學會。李梅樹作品曾 多次入選台展及省展，並且於1935年獲第九屆台展及特選總督獎。此外，他亦任教於國立藝專、中國文化大學 及國立台灣師範大學。1983年逝世，李梅樹美術館於1990年在三峽故鄉成立，其寫實而獨特的畫風及描繪鄉情 的作品，成為台灣西洋美術史的佼佼者。

Lot 1070

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

LI Shih Chiao 李石樵（1908–1995） 李石樵，1908 年出生於台北新莊，1923 年考入台北師範學校，當時的美術老師正是石川欽一 郎，影響並啟迪李石樵日後的繪畫發展。1929 年到東京求學，經三度應考後考入東京美術學 校，後因家庭遭逢變故，面對家庭方面與經濟上的巨大壓力，最終努力排除萬難，得以在日本 及台灣畫展中嶄露頭角，以七次入選日本帝展、新文展之優異表現，榮獲新文展「無鑑查（免 審查）」展出資格，為第一位獲此特殊的台灣畫家。美術史學者謝里法：「李石樵在美術運動 的階段裏，發揮功能好比一座橋樑，將西洋大師繪畫中的特殊性，釋譯成為普遍性的常理，讓 後起的畫家通過它帶到繪畫之可知性領域」，由此可見李石樵對台灣美術界的重要貢獻。李石 Lot 1048 Lot 1054 樵的繪畫以寫實為主，加入立體主義、古典主義的特色，並且著重於思考與理性的圖像表達。 1970年代以後，李石樵回歸以自然景物及人體群像為主的畫作，專注於色彩特質與畫面空間的經營，特別是筆觸、明度與彩度的詮釋。李 石樵曾說：「每個顏色都有很好的效果、最理想的表達方式，當我們在欣賞其作品之際，強烈的高彩度震懾了我們的視覺域。」

LI Yi Hong 李義弘（b.1941） 字在川，1941生於台南西港，師承江兆申，其作品深具文人氣息，技巧卓妙，加上對於紙材的講究，甚至將紙材之 特性直接轉用在創作中，使其書畫作品除展現文人丘壑外，更別具對於材質應用而產生的精緻趣味。對於旅行的熱 愛，使李義弘先生走訪各地景點，創作出精采的攝影及台灣意象書畫，展現出他對自然景物的觀察，以及在風景構 圖上的不同視點。李義弘以攝影、繪畫、書法等記錄自然，更以攝影入畫，加入層次精準的意象，使作品顯得奇特 且創新。近年來的山水創作，更著力將山色、光影、雲氣、質感兼容於一，已然演繹出自我存在於自然狀態下的體 悟，其作品深入傳統中去理解筆墨與自身的關係，並具有台灣水墨風格的創作理念，同時也彰顯「島嶼色彩」的水 墨新境，李義弘在水墨畫中開創出嶄新的表現思維和現代詞彙，具體地實踐藝術家自我挑戰的種種可能。 ZAI Chuan is also his name, born in Tainan in 1941, division JIANG Zhao Shen, his works with a scholarly atmosphere, skills, wonderful, coupled with the paper for the stress, and even the characteristics of the paper directly in the creation, so that painting and calligraphy works in addition to Show the literati Qiu, the more unique for the application of materials produced by the exquisite taste. For the love of travel, Mr. LI Yi Hong visited the local attractions, creating a brilliant photography and Taiwan image painting and calligraphy, showing his observation of the natural scenery, as well as in the landscape composition of different views. LI Yi Hong to photography, painting, calligraphy and other Lot 1111 natural records, but also to the photo into the painting, adding the level of accurate image, so that works seem strange and innovative. In recent years, landscape creation, more focused on the mountains, light, clouds, texture, texture is compatible with one, already deduced from the existence of the natural state of my understanding, his works in depth to understand the relationship between ink and their own, and Taiwan ink Style creative ideas, but also highlight the "island color" of the ink environment, LI Yi Hong in ink painting to create a new performance thinking and modern vocabulary, the specific practice of the artist's own challenges possible.

173

LIN Feng Mian 林風眠（1900–1991） 中國廣東梅縣人，1918年參加政府赴法勤工儉學。分別在第戎藝術學校研習西洋畫，後轉入巴黎 高等美術學校深造。林風眠在學校所受的教育是學院派的，但在校外深受當時流行的現代流派影 響，如後印象主義，野獸主義及原始主義。他們的影響表現於林氏中西結合的畫風之中，其作品 曾入選法國秋季沙龍。林氏於1925年返國，被聘任為北平國立藝專校長。後受蔡元培之邀赴杭州 藝專任校長。該校成為鼓吹新藝術運動的大本營。林氏亦經常撰文宣傳他本人中西合併的藝術創 作經驗和理論。林氏於1977年移居香港後，仍孜孜不倦地從事藝術創作直至晚年。是享有國際聲 望及地位的中國畫家之一。 LIN was Born in Guangdong, China. In 1918, LIN went to France under a government sponsored working and study program. LIN studied at the L’Ecole National Superieure in Paris and Dijon to learn Western drawing and painting techniques during seven years in France. LIN was educated in school by academicism. However, outside the class LIN was affected by the school of art at that time, such as Post-Impressionism, Fauvism and Primitivism. The works of Matisse and Modigliani impressed the young artist, whom began to develop his own style and blending Western Lot 1032 and Chinese traditions. His works were selected into an exhibition of the Salon d’Automne in Paris 1924. In 1925, LIN returned to China where he was appointed to be the Principal of Peiping National Art College (a precursor to the Central Academy of Fine Art.) Then CAI Yuan Pei invited LIN to be the Principal of Hangchow National Art College. The college soon became a stronghold of New Art movement. LIN also usually write down his personal experiences and theory about blending Western and Chinese traditions of artistic creation. After LIN migrating to Hong Kong at 1977, he still continuous concentrated effort on artistic creation till his later years. He is one of the Chinese artists that have international popularity and status.

LIN Hsin Yueh 林惺嶽（b.1939） 林惺嶽出生於台中市，一位在藝術領域裡耕耘五十年的藝術家，他身兼畫家、美術教育、文化評論、藝術 史詩的集大成者，從神秘超現實發展到具象表現，題材由夢幻田園到巨碑式的風景，特別鍾情探索台灣山 水的意境，描繪臺灣山川的雄偉與生命力，展現個人與土地澎湃的情感。舉辦過數十次個人畫展，曾獲邀 至美國、法國、日本、澳洲、阿根廷、中國等地舉辦個人畫展與發表美術論述，完成中國油畫百年史、臺 灣美術風雲四十年等美術鉅作，目前繪有二百多幅畫作，多幅由臺北市立美術館、國立臺灣美術館典藏。 Born in Taichung, Taiwan, LIN Hsin Yueh has worked in the field of fine art for 50 years. He is an artist as well as an art educator, a culture critic, and an art historian. The subject matter of his works ranges from dreamy countryside to monumental landscapes. He particularly enjoys exploring the artistic conception of Taiwan's mountains and rivers, depicting the majesty and vitality of Taiwan's mountains and rivers, and showing the surging emotions of the individual and the land. He has held dozens of solo exhibitions, and has been invited to the United States, France, Japan, Australia, Argentina, China and other places to hold solo exhibitions and publish art discourses. He has compiled masterpieces including “A Century of Chinese Oil Painting” and “40 Years of Taiwanese Art”. There are currently more than 200 paintings of LIN Hsin Yueh, many of which are in the collections of the Taipei Fine Arts Museum and the National Taiwan Museum of Fine Arts.

Lot 1031

LIN Yu Shan 林玉山（1907–2004） 林玉山1907年生於嘉義的美村，自幼即因家庭環境而與繪畫結緣，從民間畫師蔡禎祥學畫，培養出對色彩的感性與 繪畫的興趣。與陳澄波研習水彩與速寫的表現技法，寫生與素描的訓練，影響其日後創作理念甚鉅。1926赴日本東 京川端畫學校日本畫科，刻苦求學三年，學習石膏像與人體素描練習，奠下堅強實力。返台後除致力於推廣台灣美 術運動外，並潛修經學詩文，認為「作畫必求詩意」，可「藉物與志」、「藉畫述志」。 1935年復入日本畫家堂本印象的東丘社畫塾，該畫塾以教導寫生自然，應用自然事物改變創作為主，重視構圖與取 景訓練。後自嘉義北上任教，逐漸注重自然題材的選取，並改變筆法的運用，由精謹穠麗而轉重筆墨的趣味，以營 造出有內涵的畫面。 LIN Yu Shan was born in 1907 in Chiayi. Because of his family, he became the student of a local painter and created high interests in paintings.

Studied in water color sketch techniques with CHEN Chen Po who had a profound influence on his later works. In 1926, he went to the Japanese Painting Department of Kawabata School of Painting in Tokyo, Japan, and studied hard for three years, learning plaster statues and human body sketching exercises, and established a strong foundation in art making. After returning to Taiwan, he devoted himself to promoting Taiwan's fine arts movement, and also submerged in the study of classics and poetry. He believed that "painting must seek poetry," and he could "borrow objects and ambitions" and "borrow paintings to describe the ambitions".

Lot 1125

174

LIU Ruo Wang 劉若望（b.1977） 劉若望在山西的一個小村莊長大。童年時期，村莊沒有電，沒有充足的食物 和暖氣，基本生活都是個問題。他小時候最大的快樂之一就是聽祖父講故 事。祖父是一個博學多才的人，在其影響下，劉若望在中國經典著作中成 長，尤其是夢幻英勇的「三國演義」、「西遊記」和「水滸傳」。小時候的 他，崇拜這些故事的英雄，並繪製了無數張關羽、孫悟空、魯智深和其他傑 出英雄的圖畫。他的童年不是只有憂愁和艱辛，奇想和夢想也伴隨著他 成長。 劉若望的創作主要以青銅為媒材。早期作品中有一些是以玻璃纖維製成的， 但很快他就對材質的侷限感到不滿，也很少使用現代工業的不銹鋼。許多雕 刻家會看重青銅的光澤美，然而劉若望並不看重青銅的視覺特性。取而代之 的是，他嘗試在傳統青銅雕刻中經常被忽略的色彩上去突破，掌握了色彩的 應用。 他使用的泥土色調和色彩也讓人聯想到考古挖掘出土的中國古代雕塑。《太 極》系列的雕塑讓人回想起中國第一任皇帝秦始皇的兵馬俑。同樣，《天 兵》系列被塗成泥土色，好像剛從地裡挖出來一樣。該系列描繪了身著現代 軍裝的士兵，但其姿勢卻使人想起了古代的武士。 LIU Ruo Wang grew up in a small village in rural Shanxi. During his childhood, his village did not have electricity and the basics of adequate food and warmth was still a problem. One of the great joys of his childhood was listening to his grandfather tell stories. His grandfather was a learned man, and under his influence, LIU grew up with the great Chinese classics – in particular the fantastically heroic ‘Romance of the Three Kingdoms’, ‘Journey to the West’ Lot 1099 and ‘Outlaws of the Marsh’. As a child, he worshipped the heroes of these stories and he made countless paintings of GUAN Yu, The Monkey King, LU Zhi Shen and other prominent heroes. His childhood was not one of all gloom and hardship; it was also fueled by imagination and dreams. LIU Ruo Wang’s creations are executed primarily in bronze. Some of his earlier creations were done in fiberglass, but he very quickly became dissatisfied with the limitations of the medium. He very rarely uses modern industrial stainless steel. Where many sculptors would have valued the aesthetics of the metallic bronze sheen, LIU does not focus on the visual properties of bronze. Instead, he experiments with colors and has mastered the application of color in an area traditionally neglected in bronze sculpting.

The earthy tones and colors he used was also reminiscent of old Chinese sculptures unearthed from archaeological digs. The sculptures in the Tai Chi series are very reminiscent of the terracotta armies of China’s first emperor, QIN Shihuang. Similarly, the Heavenly Soldiers are colored in an earth tone as if they had just been dug up from the ground. This series depict soldiers in modern military uniform but their pose reminds one of a dynastic period warrior.

LIU Wei 劉煒（b.1965） 劉煒 LIU Wei（b. 1965）生於中國北京。1989年畢業於中央美術學院版畫 系，現居北京。1994年參加「第45屆威尼斯雙年展」、「第22屆聖保羅雙 年展」、澳大利亞「毛澤東走向波普」展；1995年參加德國「中國新藝術 展」；1996年參加德國「中國！」展；1998年參加德國柏林「中國製造—中 國當代藝術展」；1999年參加舊金山「新千年的新現代主義」展；2000年參 加雪梨「中國的新面孔展」；2001年於巴黎Loft畫廊舉辦個展。

Lot 1088

175

Born in Beijing. 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.

Master of Water, Pine and Stone Retreat 水松石山房主人（b.1943） 水松石山房主人為英國人，本名Hugh MOSS，收藏家、骨董商和學者，並在水墨繪畫上探索 出自己的風格。他於90年代時代理了劉丹、劉國松、何懷碩等藝術家，可說是中國當代水墨 的重要推手。 水松石山房主人最早於1979年開始從事水墨畫，建議他的人是著名水墨畫家及藏家王季遷， 身為中國畫家的代理人，他與他所代理的畫家一起學習，先是觀察他們作畫，直到後來能跟 他們一起作畫，甚至共同創作。他的作品蘊含中國古風、又顯露西方理性哲學與美學。 Collector, dealer and scholar Hung MOSS, also known as the Master of Water, Pine and Stone Retreat has had a Lot 1115 lifelong obsession with Chinese art and discovered his own artistic voice through ink painting. In the 1990s, he represented artists such as LIU Dan, LIU Guo Song, and HE Huai Shuo and can be said to be the key promoter of contemporary Chinese ink painting. The Master of Water, Pine and Stone Retreat first started to engage in ink painting in 1979 and was suggested by the famous ink painter and collector WANG Ji Qian. As the agent of the Chinese painter, he studied with the painters he represented by observing their paintings at first and later painted or even created with them. His works imply both ancient Chinse style and Western rational philosophy and aesthetics.

Max LIU 劉其偉（1912–2002） 中國福建福州人，原名劉福盛。1920年移居日本，畢業於東京鐵道教習學院。 1945年來台，自修繪畫，1951年舉行首次個人水彩畫展，1962年獲得中國畫學 會第一屆水彩畫家金爵獎。曾多次前往中南美、波羅州、菲律賓、越南等地 採集原始文化資料，對原始藝術研究深具心得，著有《現代藝術研究基本理 論》、《水彩技巧與創作》及《台灣土著文化藝術》等書。早期作品多為風 景寫生與人物畫，其後，台灣山胞傳統祭禮、服飾、建築成了繪畫的靈感與 題材。及至烽火漫天的中南半島，除了淡彩風景寫生的作品外，並完成造型樸 拙、色彩神祕的「中南半島一頁史詩」作品。返台後，創作題材愈廣，或以精 簡的形象、線條與色彩表達，或以抽象聯想將主題形象化，作品面貌呈現多樣 性與思考性。早期作品多以英文簽名和西元紀年：其後則與眾不同地，多以注 音符號簽名和中國數碼記載時間，其作品更具趣味。1990年於台灣省立美術館 舉行八十回顧展。

Lot 1066

Lot 1067

Born in Fujian, his given name was LIU Fu-Sheng. In 1920 he moved to Japan and completed the education in Japan. LIU came to Taiwan in 1945 and began to learn painting by himself. In 1951 he held his first watercolor painting exhibition. In 1962 he was awarded First Prize in watercolors by the Art Society of China in Taiwan. LIU was wellexperienced and knowledgeable with the aboriginal art researching and had been to Central America and South East Asia to collect the art resource and published “The Theory of Modern Painting”, “Watercolor Techniques and Compositions” and “Aboriginal Art and Culture in Taiwan”. Landscape and portrait appealed in his early works and later he was inspired by traditional aboriginal ceremony, clothes and architecture. In addition to pastel landscape painting of the works, he completed "An epic of Indochina" with simple but mysterious colors. After returning to Taiwan, the subject of his work is more extensive. He streamlined the image, lines and color expression, and to visualize the abstract theme into concrete image and giving the work diversity and humanity. His signature of early works were in English and AD Chronicles but later mostly with phonetic symbols and Chinese number to record the time with more fun and humor. In 1990 he held a restropective exhibition of 80th in National Taiwan Museum of Fine Arts.

Mr. (岩本正勝)（b.1969） Mr.本名岩本正勝，他的名字Mr.來源於「Mister Giants」（巨人先生）: 戰後讀 賣巨人棒球隊的超級巨星球員，為了加入動漫界，1996年畢業於東京創形學校 美術系後，擔任村上隆助手，甚至成為他的首席弟子，他深受日本動漫文化影 響，作品充滿色彩與日本味的卡漫人物、以及蘿莉控和御宅族風格。他的畫風 主要是專注於日本住宅區中，隨處可見的可愛少女，繪製成動畫風格或電玩角 色風格。 Lot 1143

Mr.'s real name is IWAMOTO Masaatsu. His name is derived from "Mister Giants": a superstar player of the Yomiuri Giants baseball team after the World War II. In order to join the animation industry, he studied and graduated from the Art Department of Tokyo Creation School in 1996.

Serving as MURAKAMI Takashi's assistant and even his chief disciple. He is deeply influenced

by Japanese animation culture which his works are full of colorful characters as well as lolicon and otaku styles. His style of painting is mainly focused on the cute girls that can be seen everywhere in Japanese residential areas, drawn in the style of animation or video game characters.

Lot 1142

Lot 1144

176

Mr Doodle （b.1994） 英國Pop Art藝術家Mr Doodle原名叫Sam COX，2、3歲左右開始繪畫，9歲時把畫滿塗鴉圖案的畫紙貼滿臥室牆 壁，喜歡用密集線條塗鴉，仔細一看魔鬼藏在細節裡，裡面從人物、建築、電器、數目，沒有特定的主題限制， 而每個看似獨立的物件卻又都糾纏在一起，帶點街頭塗鴉的意境，因此他形容自己的風格為「塗鴉意粉」，以其 獨特的塗鴉風格而聞名。他在牆壁、房間、家具、車輛、建築物及任何可以繪畫的東西上都能畫上一筆，在人群 中一眼就能認出來這位瘋狂藝術家。Mr Doodle的塗鴉並非亂來，他曾在西英格蘭大學修讀藝術，作品以密集的 線條構圖，他的夢想是喚起世人用輕鬆、幽默的方式看藝術。 Lot 1046 British Pop Art artist Mr. Doodle was originally named Same COX. He started painting art the age of 2 or 3. When he was 9 years old, he covered the walls of his bedroom with drawing paper filled with graffiti patterns. There are no specific thematic restrictions in terms of characters, architecture, electrical appliances, and number. Each seemingly independent object is entangled with a graffiti mood. Therefore, he describes his style as "graffiti spaghetti". , Is famous for its unique graffiti style. He can draw a stroke on walls, rooms, furniture, vehicles, buildings and anything that can be painted, and he can recognize this crazy artist at a glance in the crowd. Mr Doodle's graffiti is not messy. He studied art at the University of the West of England. His works are composed of dense lines. His dream is to arouse the world to look at art in a relaxed and humorous way.

MURAKAMI Takashi 村上隆（b.1962）

Lot 1137

村上隆1962年出生於日本東京，並於東京國立大學完成美術學士、碩士和博士學位。1996 年於東京創立HIROPON工廠，其後演變為大型藝術創作和藝術管理的Kaikai Kiki有限公 司，除了作品和項目的製作與推廣之外，更管理年輕藝術家的職業生涯、組織國際藝術 項目。村上隆同時也身為策展人、企業家，以及日本當代社會的觀察員。在1996年第二 屆亞太三年展《Present Encounter》中，村上隆以作品《Mr DOB》發表《超扁平宣言》。 他說到：「將來的社會、風俗、藝術、文化，都會像日本一樣，都變得極度平面（twodimensional）……今天，日本電玩和卡通動畫最能表現這種特質，而這些又在世界文化中 具有強大的力量。」超扁平（Superflat）自此成為村上隆的代名詞。

村上的作品已廣泛地在世界各地巡迴展覽，如波士頓美術館（2001年）、 洛杉磯當代藝術美術館（2007年），先後於紐約布魯克林博物 館、法蘭克福現代藝術美術館和畢爾包古根漢博物館舉辦回顧展（2008、2009年）。並於2010年在法國凡爾賽宮展覽。2019年在香港大館 當代美術館舉辦個展，擔任開幕首展。村上隆的作品也獲得流行時尚產業的青睞，與Louis Vuitton合作長達十多年，為其創作的彩色圖案 手袋成為品牌經典紋樣之一，2019年與歌手怪奇比莉(Billie EILISH b.2001)合作推出MV，2020年也與Uniqlo聯名衣服吸引眾多粉絲。 MURAKAMI Takashi was born in 1962 in Tokyo, Japan, and received his BFA, MFA and PhD at Tokyo National University. He founded a HIROPON factory in Tokyo in 1996, which then became Kaikai Kiki Co., a large-scale art production and art management corporation. Kaikai Kiki Co. supports and fosters young Japanese artists.

MURAKAMI is an artist, also curator, entrepreneur, and critical observer of contemporary Japanese society. In 1996, MURAKAMI gave a speech titled “Superflat” as well as published his work MrDoB in the second Asia triennial exhibition, Present Encounter. He mentioned “In the future, society, culture and art will become twodimensional like Japan. Today, Japanese video games and anime present this characteristic most and they are influential in the world.” Then, “Superflat” became a synonym for MURAKAMI. MURAKAMI's works have been shown frequently in leading institutions and exhibitions around the world, such as Museum of Fine Arts, Boston (2001), Museum of Contemporary Art, Los Angeles (2007). A retrospective presents at Brooklyn Museum, Museum für Moderne Kunst, and Guggenheim Museum Bilbao in 2008 and 2009.

An exhibition opened at the Château de Versailles, France in 2010. MURAKAMI Takashi held a solo exhibition at Hong Kong Tai Kwun Contemporary as the opening of the museum in 2019. MURAKAMI Takashi’s works are also popular in fashion industry, for instance, he has cooperated with Louis Vuitton for more than ten years, and colorful iconic LV logo print MURAKAMI redesigned has became one of Louis Vuitton’s classic patterns. Besides, MURAKAMI designed a music video “you should see me in a crown” for Billie EILISH (b.2001) in 2019. Uniqlo also made collaboration with MURAKAMI and attracted many fans in 2020.

OU Hao Nien 歐豪年（b.1935） 出生於廣東吳川，室名移竹軒，畢業於嶺南藝院，1970年定居台灣，任中國文化大學美術學系，藝術研究所專任教授，國立台灣藝術大學 研究所兼任教授，中央研究院嶺南美術館榮譽館長，歐豪年文化基金會董事長，香港珠海大學董事，香港(海外)文學藝術家協會永久榮譽 會長，美國國際科技大學董事，美國舊金山中華藝術學會監事長。歐豪年擅以山馬筆作畫，畫中山水岸壁的層次自沉鬱轉至紋理清晰分 明，展現出微妙的墨彩和墨色的「濃、淡、乾、濕」等多變效果，他也經常使用中國傳統的留白來傳送畫中虛無的精神面涵意，作品充滿 啟發性，更充滿生命力及情感，令人易於共鳴。一生創作與教學，提拔後進，藝壇公認為嶺南畫派傳人。

Lot 1112 177

Lot 1124

Lot 1130

Pablo PICASSO 巴勃羅．畢卡索（西班牙，1881-1973） 全名巴布羅．路易茲．畢卡索（Pablo Ruiz PICASSO），1881年生於西班牙，自幼受教於身為藝術 教師的父親。畢卡索在所有二十世紀的藝術家中，肯定是知名度最高的，以他為主題的書籍、報 導、影片不計其數。畢卡索為西元1900年開始就一直站在歐洲藝術的最前線，他終躋身成為現代藝 術最有影響力及獨特創造力的一位藝術家。 Pablo Ruiz PICASSO born in Malaga on October 25, 1881. PICASSO was under his father’s instruction and became artist. PICASSO is no doubt the most famous artist of the 20th Century. In his artistic life, lasting more than 75 years, he created tens of thousands of works, including paintings, drawings, sculpture, original lithographs, etchings, linoleum cuts and ceramics. No single artist has had a greater influence on Modern Art and has changed art more profoundly in the 20th Century than PICASSO did.

Lot 1134

Ronald APRIYAN 隆那．阿普里揚（b.1979） 隆那‧阿普里揚是印尼著名的藝術家，以其獨特的繪畫技法和具識別性的圖樣聞名。隆那‧阿普里 揚經常描繪兒時的記憶和夢想領域，藉著繽紛如糖果的色彩，使作品成為通往童年的橋樑，傳遞的 情感。讓人聯想兒時的繪畫並喚起那股童心-嬉戲及與生俱來的幽默感。 在隆那最新的「復古與流行」系列中，作品融入了過去幾十年的流行娛樂、音樂和廣告的懷舊特 色。視覺上，它融合了明亮而大膽的色調，並巧妙地使用霓虹色線條來強調和突顯主題，並營造美 國戰後日益增長的消費主義背景。霓虹般的調性是對1940年代新媒體廣告所達到的高度致敬，當時 的城市景觀被閃爍迷人的霓虹燈照亮且轉化了。波普藝術大師安迪‧沃荷(Andy WARHOL)也特別在 瑪麗蓮‧迪普蒂奇(Marilyn DIPTYCH)等作品中使用霓虹色。在這個系列中，隆那對當時使人心動的 媒體的隱約致意，抓住了那個時代的精神。 Ronald APRIYAN is a well-known Indonesian artist, famous for his distinctive approach in painting and his recognizable imageries. Ronald APRIYAN often refers to the realm of memories and dreams of a child and in his works, he aims to create a bridge to childhood, sentiments conveyed through his myriad of pastel and candy shades, that is reminiscent of children’s drawings and evoking the innocence of childhood—playfulness and their innate humor, returning us to a childlike state of mind.

Lot 1011

In Ronald’s latest Vintage Pop series, his artworks are characterized by a nostalgic engagement with the popular entertainment, music, and advertisement of previous decades. Visually, it incorporates bright, bold hues coupled with the skillful use of neon lines to emphasis and highlight the subject matter and situating it in the context of increased consumerism in Post-war America. The use of neon accents is a homage to the height of new media advertising in the 1940s, where the cityscapes were illuminated and transformed by flickering, glamorous neon signage. Pop art maestro Andy WARHOL also heavily featured the use of neon colors in works such as the Marilyn DIPTYCH. In this series, Ronald captures the zeitgeist of the era with a subtle nod to this electrifying medium.

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SHEN Che Tsai 沈哲哉（1926–2017） 沈哲哉為臺灣臺南市人，1938年入省立臺南一中，師事郭柏川與廖繼 春。曾任臺南美術研究會評議員、台陽美術學會會員、省展評議院、 臺南家專美術系教師、服務教育界40餘年，退休後專事創作，並旅居 日本、美國兩地。就讀中學時，作品曾入選府展、台陽展，嶄露頭 角，曾獲中國油畫學會金爵獎、國立歷史博物館榮譽金獎章等榮譽。 1995年國立臺灣美術館舉辦〈沈哲哉七十回顧展）。 Born in Tainan, Taiwan. SHEN Che Tsai entered Provincial Tainan First Senior High School and studied with KUO Po Chuan and LIAO Chi Chun. He has served as the councilor of Tainan Art Research Association, member of Taiyang Fine Arts Lot 1050 Lot 1056 Association, judge of Taiwan Provincial Fine Arts Exhibition, professor of Tainan Woman's College of Arts and Technology. He taught for 40 years and retired only recently. He currently lives in both Japan and USA. While studying in high school, his paintings were selected into the Palace Fine Arts Exhibition and Taiyang Fine Arts Exhibition. SHEN has been awarded by the China Oil Painters Association and National Museum of History in Taiwan. His 70 years retrospective exhibition was held in National Taiwan Museum of Fine Arts in 1995.His works can be found in the public collection of the National Taiwan Museum of Fine Arts.

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SHIY De Jinn 席德進（1923–1981） 四川南郜縣人。就讀於杭州藝專，受教於林風眠、吳大羽而發展出粗黑線條的繪畫風格。1941年受教於留法畫家龐薰琹和馬諦斯影響而喜 歡強烈色調。後赴美考察，受普普、歐普、硬邊藝術的影響，並在作品中加入歐普和硬邊主義的形色表現。晚期回歸到他最原始而自然的 本土家鄉。立志以中國人的情感來表達中國的藝術，開始全島寫生，描繪民間風物與生活百態。席德進的繪畫創作融合傳統與鄉土、使用 水彩、水墨與油畫，兼納東方與西方繪畫的特長，開創出他個人雄渾動人的獨特風格。獲中山文藝創作獎，並舉行個展多次，作品廣為各 界收藏。 SHIY De Jinn was born in Szechwan. He learned under PANG Syun-Chinn who had studied in France. SHIY followed Matisse’s color palette. He had experimented with Pop Art, Op Art, and Hard Edge, but he returned to country style with which he felt most comfortable with later period in his career. When he moved to Taiwan, he started to use folk matters and state of livelihood as his subjects in paintings. He united western and eastern media and styles to take Chinese art to a new dimension. He had held many exhibitions.In foreign countries, he started to think about the beauty of Chinese Art. SHIY De Jinn believes that art should reflect reality. At this time, he came up the idea of “present” and used it in his works. After he returned to Taiwan, SHIY De Jinn focused on studying Chinese Art. He uses Taiwan as his subject, such as traditional architectures in Taiwan and scenery. SHIY De Jinn takes his feeling and love from place and life as his inspiration and depicts Taiwan with devoutness.

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OBATA Taku 小畑多丘（b.1980） 小畑多丘1980年生於埼玉縣，1999年組成UNITYSELECTIONS (HIPHOP TEAM) 團隊，2006年畢業於東京 藝術大學雕刻系，2007年組成HIPHOP戰隊BBOYGER。 2008年畢業於東京藝術大學美術研究所，主修雕 刻。同年獲頒 「2008年Tokyo Wonder wall」獎。他的作品以HIP HOP文化為自身創作最重要的元素！ 由 MEDICOM TOY 發行的「B-GIRL Down Jacket NAGAME」採用 Polystone 材質打造，展現出 Breaking 舞者 常常擺出的雙手環抱胸姿態，蓋住眼睛的頭髮保持了他一貫不露出眼睛的設計特色，服裝的雕紋與整體呈 現出來的塊狀線條相當有型。 Lot 1001

OBATA Taku was born in Saitama Prefecture, Japan in 1980. He formed the UNITSELECTIONS (HIPHOP TEAM) team in 1999, graduated

from the Sculpture Department of Tokyo University of the Arts in 2006, and formed another HIPHOP team BBOYGER in 2007. Majoring in Sculpture, OBATA graduated from the Art Institute of Tokyo University of The Arts in 2008. In the same year, he was awarded the “2008 Tokyo Wonder Wall”. Hip Hop Culture is the most important element of his artistic creation. The “B-GIRL Down Jacket NAGAME” issued by MEDICOM TOY is made of Polystone material, showing the gesture that creaking dancers often put their hands around their chests. Figures with long hair bangs is his common design feature of hiding the eyes. The craving patterns and the block-like lines that appear as a whole are quite stylish.

TEZUKA Osamu 手塚治虫（1928-1989） 手塚治虫，本名手塚治，是日本漫畫家、動畫製作人，也是醫學博士。因自幼喜愛昆蟲，故取了「手塚治虫」的筆名，由於「步行蟲」 (osamushi) 與 「治」(osamu)的日文發音只差尾音「shi 」，他便在名字後加上一「虫」字，漢字寫作「治虫」(osamushi)。手塚治虫是位多 產的創作者，40多年的創作生涯中，共畫了400多部漫畫作品，及60多部動畫作品。其作品題材豐富多樣，包 括兒童生活、科幻、偵探、歷史、傳說，文學、醫學、宗教、音樂、哲學...等，代表作如《藍寶石王子》、 《森林大帝》、《原子小金剛》、《怪醫黑傑克》、《三眼神童》等。這些作品深深影響了後來的漫畫家的 創作題材，所以手塚治虫被尊稱為日本漫畫之父、漫畫家之神。

Walasse TING 丁雄泉（1929–2010）

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丁雄泉於1929年在中國江蘇省無錫市出生，成長於上海，青年時曾入讀上海美術專科學校。1946年移居香港，1952年前往法國。在巴黎 時期丁雄泉認識了阿貝爾(Karel APPEL，1921-2006)、瓊恩(Asger JORN，1914-1973)、阿雷欽斯基(Pierre ALECHINSKY，b.1927)和柯奈 爾(CORNEILLE，1922-2010) 等眼鏡蛇畫派(CoBrA)藝術家，聯合舉辦了不少展覽。當時他的創作較為抽象，隱含著濃厚的東方精神的情 感。1958年丁雄泉前往紐約，受到抽象表現主義的影響，他開始把顏料滴濺在畫布上。70年代其絢爛的色彩配以女性為題材的的風格逐漸 形成，作品融合東西方繪畫表現的精神，80年代這風格達至高峰。1970年丁雄泉獲得古根漢紀念基金會的繪畫類獎助金，作品典藏於許多 世界級的美術館。80年代中他在荷蘭阿姆斯特丹設立工作室，2001年起定居於荷蘭阿姆斯特丹，2002年中風後便無法創作，2010年5月17 日於美國紐約病逝，享年81歲。 Self-taught artist Walasse TING was born in Wuxi, Jiangsu, China, raised in Shanghai, where he briefly attended the Shanghai Art Academy. He moved to Paris in 1952 where he became acquainted with members of the avant-garde group CoBrA, including artists such as Karel APPEL, Asger JORN, and Pierre ALECHINSKY. Influenced by the modernist Western movements he encountered in Paris as well as traditional Chinese ink painting, Walasse TING developed his unique, colorful style in Paris before moving to New York in 1958.

The artist was awarded the Guggenheim Fellowship Award for Drawing in 1970, along with numerous exhibitions and collections in museums world-wide. After suffering a stroke in 2002, Walasse TING spent the remainder of his life in the Netherlands until his death in 2010.

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WANG Chung 汪中（1925–2010） 汪中，字履安，號雨盦，亦常自署雨公、愚公等，安徽桐城人。1925年生於安慶，晚年落籍於安徽懷寧縣。汪中為台灣 重要書法家、古典詩人、中文學者。1949年隨國民政府遷居臺灣，曾在民本廣播電臺擔任編輯至1950年，離職後轉學進 入臺灣省立師範學院國文專修科，於1952年畢業。長年任教於國立臺灣師範大學國文學系。自台灣師大退休後，又應聘 為東海大學中國文學研究所講座教授。曾舉辦多次書法個展，劉太希先生嘗評云：「雨盦之書，或奇矯如鷹隼搏空，或 淡雅如秋霄片雲，或挺拔如峰巒突起，扇清風於毫素，瞻壁上之龍蛇。」

Lot 1084

180

WANG Pan Youn 王攀元（1909–2017） 王攀元生於1909年中國江蘇北部的徐家洪望族，1936年畢業於上海美專。大學時原本計畫隨潘玉良赴法學習繪畫，卻因無法籌措足夠旅 費，加上時代戰亂的緣故，1949年來台落腳高雄，生活困頓，幾經波折，終於來到宜蘭羅東中學教書，奠定他在台灣的穩定生活，也重拾 繪畫的樂趣。1973年從學校退休後，王攀元更全心全意投入最愛的繪畫創作。曾獲中華民國畫學會金爵獎，國家文藝獎。作品獲台灣省立 美術館、台北市立美術館典藏。1987年於台北國立歷史博物館及1992年台灣省立美術館舉行重要個展。作品並被邀於全國美展及亞洲國 際美展中展出。2001年應邀於台北國立歷史博物館國家畫廊舉行個展。2003年6月時報公司發行李奎忠撰寫的王攀元傳記《孤獨情深》。 2017年王攀元以百餘歲高齡逝世，國立歷史博物館在2018年舉行「過盡千帆－王攀元個展」。 王攀元的畫作用色簡單大膽，孤絕中蘊藏著許多動人故事。濃重的油彩在其筆下，反覆運用細密的筆觸堆疊出各式隱喻畫家自我生命的符 號、代表熱情的火紅落日、內心世界的紅衣女郎、盪漾於江海之間的孤舟、或是斜風細雨下的迷濛的龜山島與蘇澳港，總可歸納出屬於王 攀元個人獨特魅力，構圖簡約，筆觸凝鍊，而畫面卻富含張力的情感與詩意。

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WANG Shou Ying 王守英（b.1934） 出生於臺灣鹿港。臺北師範藝術科畢業。曾於1971年獲全省教員美展第一名；1984年於臺北國立歷 史博物館舉辦個展。上世紀70年代中期，面對現代藝術形式主義的衝擊，王守英與他的畫家好友組 成「具象畫會」。他們重拾日治時期前輩畫家所遵行的信念，四處旅行寫生，以實地觀察本鄉本土 的山川風物，作為抒發主觀意念的藝術實踐。然而，王守英的「具象」不在強調客觀真實的再現， 也與印象派對光的物理性分析有所區隔，而是消化現代主義繪畫觀念與形式探索，在具象的基礎上 掌握造形的簡約與變化，呈現出純粹的內在感受。這些努力讓王守英樹立起另一種典範形式。 WANG Shou Ying was born in Lugang, Taiwan. Graduated from the Art Department of National Taiwan Normal University, he was awarded the first prize at National Teacher Art Exhibition in 1971 and a solo exhibition at Taiwan National Museum of History in Taipei in 1984. Facing the impact of modern art formalism in the mid 70s, WANG and his peers founded the Lot 1074 Representative Painting Society. Upholding the teachings of their predecessors of the Japanese colonial period, these artists travelled extensively to go on plein-air painting expeditions, creating art on the basis of close observation of the landscapes and objects of the native land. That said, WANG's representative paintings do not emphasize much on visual objectivity and realism; nor do they investigate the physical laws of light and color which characterizes many impressionists. WANG absorbs the artistic concepts and forms of modernism and re-works the puristic formalism of modern art into his representative paintings to express the purity of the artist's inner world. Such efforts have made WANG Shou Ying an important figure for a new paradigm of modern painting.

YANG Chi Hong 楊識宏（b.1947） 1947年出生於臺灣桃園，1968年畢業於國立藝專美術科西畫組，1979年便移居美國。楊識宏的畫作 呈現了強烈純粹的「繪畫性」與「表現性」，色相強烈的對比，常營造出一種黝暗中神秘的光影。 作品富涵濃厚東方情懷、充滿人文氣息，多以漂浮漫生植物為主題，他的繪畫融合東西兩方的自然 觀與價值觀，透過「象徵」的圖像語言與從中國哲學的體悟之象徵性空間，表現了東西思想之間一 種啟示性的張力。他作品的主旨總是圍繞於自然的榮枯、生命的興衰以及對時間消逝的感傷。自然 界循環與生生不息的意涵，映照畫家的生命情境、生活體驗和形象思維，使他的作品散發著詩意而 雋永的優雅風格，極受藝壇的推崇與肯定。 Lot 1059

YANG Chi Hong was born in Taoyuan, Taiwan. Graduated from National Taiwan College of Art in 1968. In the early 1980s, he was living in New York; he was one of the second generation overseas artists. During the first few years in New York, he frequently visited major galleries and art museums in an effort to expand his horizon and gather information. He became very familiar with the works and background of New Painting Artists; meanwhile, his effort fuel passion into his canvas and made his work responsive to feedback. Such responsiveness means more than an acute sense and courage, it also challenges the artist’s character. It is therefore that his works always convey poetic as well as elegant style, and receive high recommendation and praise from art field.

YANG San Lang 楊三郎（1907–1995） 台北永和人。1915年入艋舺公學校，1923年赴日本留學，首先進入京都工藝學校，後轉入關西美術學院西 洋畫科，接受嚴格的學院派訓練。1927年回臺灣，與倪蔣懷、廖繼春等人共組「赤島社」。1929年榮獲臺 灣美術展覽會特選第一名。楊三郎於1931年赴法國留學，次年作品《塞納河畔》入選法國秋季沙龍，與 當時留法顏水龍同為早期留法畫家，回台後成為專業畫家，推動各項美術活動。1934年返台於太平町創辦 「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」，並在教育會 館舉行個展。光復後籌辦「全省美展」全力參與並展出，奠定其畫壇地位，並獲國家文藝獎的殊榮。1948 年恢復台陽展，成為該展最大支持者。1985年台陽展與春陽會於史博館合辦「中日美術展」，1989年台北 市立美術館舉辦回顧展。1991年楊三郎美術館正式開幕，1992年獲頒行政院文化獎卓越藝術家獎章，1995 年逝世家中。楊三郎舉行過多次個展，並多次在臺灣美術展上獲獎。其中比較重要的展覽有1973年和1983 年分別在國立歷史博物館舉行的「楊三郎油畫個展」和「楊三郎油畫回顧展」。楊三郎以其在畫壇上卓越 的成就，曾於1986年榮獲國家文藝特別貢獻獎，1995年獲頒總統褒揚令與華夏一等獎章。

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YANG was born in Taipei, Taiwan. YANG moved to Japan in 1924 where he studied at the Kyoto School of Arts and Crafts. He then transferred to the Western Painting Department in the Kansai Art Academy to receive academic training. He returned to Taiwan in 1927, and founded the Ruddy Island Association together with NI Jiang Huai and LIAO Chi Chun. In 1929, he won the first prize at the Taiwan Art Exhibition. YANG went to France in 1931, spending time to visit museums and study European paintings. In the following year, his works were selected for the Autumn Salon in Paris. In 1924, he returned to Taiwan and held a solo show at Lot 1072 the Hall of Education. At the same time, he established the Taiyang Art Association along with other notable artists such as CHEN Cheng Po and LIAO Chi Chun. YANG has received numerous awards and held various important solo shows, including Oil Paintings by YANG San Lang (1979) and Retrospective Exhibition of YANG San Lang's Paintings (1983), both held at the National Historical Museum. For YANG’s tremendous contribution to Taiwan's art world, he received a special national art award in 1986 and First Degree Huahsia Award by Presidential Order in 1995.

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YANG Shan Shen 楊善深（1913-2004） 楊善深（1913 - 2011），字柳齋，廣東赤溪縣人。徐悲鴻對他極為器重，並為他的畫展作序。自 東南亞之行後回國，在澳門住了一段時期，其間與高劍父、馮康侯等共組協社，一同從事藝術方 面的研究。回港發展後，先後在香港、澳門、台灣、日本及美國、加拿大各大城市舉行個人畫展 非常成功，對推廣中國繪畫藝術及介紹嶺南畫派，建樹良多。1970年，為推廣嶺南畫派藝術，在 香港創立「春風畫會」，不少從學者已在繪畫方面具有自己的面貌，可謂桃李滿天下。

Lot 1123

楊善深注重遊歷和寫生。足跡遍及中國各地和世界各國，除寫生外，參觀各地博物館和美術館， 欣賞著名藏品，從中汲取養份，亦是他畫風不斷改進及提高的原因之一。其繪畫，不但表現形式 與高劍父有許多共通的地方，而藝術思想亦深受高劍父的影響，因此畫風也是以嶺南畫派為基礎 而發展起來的。動物、花鳥、人物、山水均是他筆下的題材。善於捕捉動物剎那間的神態，利用 描繪及渲染等多種技法與巧妙的構圖相結合。 花鳥分工筆及寫意兩種，工筆多以雙鉤方法將畫面畫好，再進行色彩的渲染。寫意以他蒼勁的筆 觸，藉墨彩或顏色相互配合，這種表現形式，很得欣賞者的喜愛。人物常以白描來描繪輪廓和 表情，再以淡彩或粗闊的背景來呈現。山水畫多先以潑墨定大局，依勢加上皴法，將環境氣氛烘 托，個人風格非常突出。他的書法亦獨具風格，題款的字與畫風配合得十分融洽。

Lot 1131

YEN Shui Long 顏水龍（1903–1997） 在台灣前輩畫家當中，顏水龍可謂是具備多方位才能的一位藝術家。除了繪畫本身的造詣之 外，對於台灣的美術教育、工藝美術的推動，都有相當程度不可磨滅的貢獻。顏水龍一生勤 奮、執著，早年留學日本、法國。回台後，於 1933 年和陳澄波、廖繼春、李梅樹、楊三郎、 李石樵等人創立了「台陽美術協會」。

Lot 1069

1936 年起，顏水龍在藝術方面的興趣開始轉向於工藝美術，直到七十四歲時，才見到他再度 舉行油畫個展。1950 年起，顏水龍作畫逐漸趨於某些特定的題材，以台灣原住民為題材的創 作是一大特色，他的山胞畫像、蘭嶼風景等系列，至今都膾炙人口，其後又以一系列台灣風景 為主的作品呼籲環境保護問題，反應出他人文關懷的一面。這也和他提倡發揚本土藝術、保留 民俗工藝的精神是一致的。顏水龍的原住民繪畫並非完全寫實，他多半用多層次平塗的筆觸、 概念性的畫法來畫出皮膚部分；而衣飾則鮮麗多變化。從他的畫作中，我們見到質樸與堅毅的 原住民特質與台灣文化的純淨。

Among the predecessor painters in Taiwan, YEN Shui Long can be described as a multi-talent artist. In addition his accomplishments of painting, he has made indelible contributions to Taiwan's art education and the promotion of arts and crafts. After returning to Taiwan, in 1933, he founded the "Taiyang Fine Arts Association" with CHEN Cheng Bo, LIAO Ji Chun, LI Mei Shu, YANG San Lang, LI Shi Qiao and other peers.

Since 1936, YEN Shui Long's interest in art began to turn to arts and crafts. It was not until the age of seventy-four that he held his second solo exhibition of antique oil paintings. Since 1950, Yan’s paintings have gradually tended towards certain specific substitutions, featuring the theme of the aborigines in Taiwan. His portraits of aborigines, Lanyu landscapes and other series are the most popular topics he depicted. In addition, the environmental protection issues of various Taiwanese landscape works reflect the caring side of others. This is also consistent with his advocacy of promoting local art and preserving the spirit of folk crafts.

YEN Shui Long’s aboriginal paintings are not completely realistic as he mostly uses multi-level flat brushstrokes and conceptual paintings to draw the skin parts while the clothes and decorations are colorful and varied. From his paintings, we see the simplicity and perseverance of the aboriginal characteristics and the purity of Taiwanese culture.

183

NARA Yoshitomo 奈良美智（b.1959） 奈良美智NARA Yoshitomo（b.1959）生於日本青森縣弘前市，現居住於東京。早期的作品以插畫性質 為多，但在1980年代後期即發展出他以小人頭像為主的風格；奈良美智對於大頭和大眼型的小人相當 著迷，他的特色在於塑造各種帶有情感的眼神，其中最知名的是斜視的眼神（有人說是代表憤怒、有 人則說是代表了邪惡）。在1990年代後期，他也開始創作立體作品，並採用不同媒材拼組的方式。今 日他的作品已被許多博物館收藏，如紐約現代藝術博物館和洛杉磯當代藝術博物館等。 Born in Hirosaki City, Aomori, Japan, Yoshitomo now lives in Tokyo. Having most of his early works in illustrations, Yoshitomo developed in the late 1980s portraits of seemingly innocuous children, which have now become his main art style. The artist is infatuated with subjects with big heads and big eyes; he is well-known in depicting the variety of emotions showing through the character's eyes, especially his famous squint look (as some see it as a demonstration of anger, and some think of it as the representation of evil). In the late 1990s, Yoshitomo also began to create three-dimensional works, and implemented different media into his artworks. Today, his works are in collections of the Museum of Modern Art in New York and Museum of Contemporary Art in Los Angeles among many other well-known museums in the world.

ZAO Wou Ki 趙無極（1921–2013）

Lot 1138

Lot 1140

Lot 1139

趙無極出生於北京，1941年畢業於杭州藝專，曾任該校講師，受業於林風眠、吳大羽。1948年赴巴 黎，受當時抽象主義的影響，探討西方現代藝術，旋即在巴黎、美、英、瑞士舉辦個展。他承襲中 國傳統的內涵，取中國書法優美的線條和山水畫的氣韻，巧妙地融入畫布空間中，流動的氣韻推動著 畫面，用抽象方式表達真實的事物，創造出現代繪畫的新領域，避開抄襲與舊有形式，不蓋章、不題 款，傾心領悟古人對自然與生命的讚頌之情，以一種嶄新的姿態形式呈現出他個人含蓄、沉穩、生 動、意趣高遠的藝術新領域，馳名國際，成為第二次世界大後的巴黎畫派最具影響力的畫家之一，也 是西方藝壇上成就最傑出的一位中國藝術家。1981年在法國大皇宮展出，並獲得「榮譽軍團司令勛 章」。2002年榮膺為法蘭西學院院士。他的作品廣被世界各地的私人藏家及博物館珍藏。 趙無極的繪畫歷程總在不斷地轉換與蛻變，早期的寫實風格以及在歐洲所發展出的克利時期、甲骨文 時期，再到抒情抽象以及雄偉磅礡的氣勢作品，都訴說趙無極每一時期的藝術成就。趙無極汲取中國 文化的藝術精髓，以傳承中國藝術內涵為目標，透過稀薄的油彩潑墨與乾澀的筆法皺染，將中國書法 線條和山水畫的氣韻融入油畫中，成功的以西方媒材傳達中國山水的意境，亦把中國對於畫境、意境 的追求和西方對時空意念的探討融為一體。趙無極將中西藝術融會貫通，發展獨樹一格的畫風，終躍 上國際，在國際藝壇大放異彩，成為一代繪畫大師。

Lot 1145

ZAO Wou Ki was born in Bejing. He graduated from Hangzhou Fine Art College. He was mentored by LIN Feng Mian and WU Da Yu. Influenced by abstractionism, he explored Western modern paintings and immediately held exhibitions in Paris, England, America, and Switzerland. He adopted the spirit of tradition by join Chinese brush strokes into paintings. He described concrete images in abstract forms. In the painting of ZAO, there is no stamp and no signatures so to show his ideal of art making in new dimension. ZAO is one of the influential painters in modern art and the most successful Chinese artist in the Western world. In 1981, his works were showed in Galeries Nationals du Grand Palais and was awared Commandeur de la lgiond Honneur. In 2002, he was selected as a member of the Academie Francaise.

ZAO Wou Ki’s painting style is always transforming, from the realistic to symbols and lyrical abstraction, every single period shows ZAO’s achievement. ZAO absorbs the essence of Chinese culture and blends the lines and artistic conception in Chinese calligraphy and Chinese water ink painting respectively into his oil paintings. Moreover, the diluted pigments and cracked stained brushstrokes with his goal of passing the spirit of Chinese art down, he successfully communicates the Chinese painting’s poetic imagery through different Western media. ZAO Wou Ki digests Chinese and Western art to form his unique style, and becomes one of the greatest contemporary Chinese artists.

Lot 1146

184

ZHANG Bing Tang 張炳堂（1928–2013） 台灣台南人。1945年畢業於省立台南商職。第五屆府展入選（14歲）。台南美術研究會創辦人之一。 1980年獲台南市文化功勞獎，曾在省展、台陽展等展覽中獲獎。並舉辦多次個展。曾擔任全國油畫學會 監事、台陽美術協會監事、南美會評議員。1952年南美會創辦人之一，1955年第四屆教員展免審查， 1976年台陽美協會員，參加史博館的當代美展。1980年獲台南市文化功勞獎，1981年參加文建會台灣地 區美術回顧展，1987年南畫廊個展，獲文建會美育獎。1988年，史博館個展並獲頒金質獎章，1990年參 展省美館台灣美術三百年。

Lot 1051

Taiwan Tainan people. In 1945 graduated from the provincial Tainan business. The fifth official election (14 years old). Tainan Art Research Association, one of the founders. In 1980 by the Tainan City Cultural Award, in the provincial exhibition, Taichang exhibition and other exhibitions in the award. And held a number of solo exhibitions. He served as supervisor of the National Oil Painting Society, supervisor of the Taiwan Art Association, and a member of the South American Association. 1952, one of the founders of South America, 1955, the fourth faculty exhibition free of examination, in 1976, Taiyang Association members, to participate in the history of contemporary art exhibition. In 1980 by the Tainan City Cultural Award, in 1981 to participate in the text of the Taiwan region art retrospective exhibition, 1987 Southern Gallery solo exhibition, won the construction will be aesthetic education award 1988, the history of the museum and won the gold medal, 1990 participating provinces Taiwan Museum of Fine Arts three hundred years.

Lot 1055

ZHANG Daqian 張大千（1899–1983） 本名為張正權，生於四川省內江，原籍廣東番禺，後改名為張爰，號大千居士，為中國近代 知名藝術家。在書畫、篆刻與詩詞領域具有傑出表現。自小開始學習傳統中國繪畫技法，至 1917年赴日本京都藝術專門學校留學，並學習三年染織技術，1920－30年代時，在上海等地 舉辦個展並受到注目，與書畫名家齊白石並稱「南張北齊」，和溥心畬合稱「南張北溥」。 晚年移居來台，與黃君璧、溥心畬以「渡海三家」齊名。1936年上海書局出版《張大千畫 集》，徐悲鴻為其撰寫之序言中，讚譽「五百年來一大千」。國共內戰開始後，1948年移居 香港，爾後在巴西、美國等地滯留二十年以上，並接觸到印象派與立體派的繪畫，自此，張 大千開始嘗試於中國繪畫當中加入西洋的抽象主義理念，雖張大千自稱其潑墨潑彩風格是受 唐代王洽之潑墨畫法啟發，但作品已發展出獨樹一格的潑墨山水風格。張大千在晚期時移居 台灣，並專注於創作水墨畫。繪畫特色方面，可從其創作中鑑賞到張大千的各項技法，如工 筆、沒骨、青綠、白描等皆能融會貫通，而各領域中皆是高人一等，香港畫家呂壽崑評張大 千為「一代能手」，其作品並不落文人畫末期常見之空洞格局，這也是因為張大千遊歷世界 且見識宏廣，突破中國既有之水墨畫框架，並於中國近代藝術史上留下輝煌紀錄。 Lot 1108

Lot 1109

ZHAO Er Dai 趙二呆（1917–1995） 趙二呆，本名趙同和，1916年生於江蘇，自幼木訥寡言、舉止異於一般孩童，在家排行老二，家人以 「二呆」暱稱，當同齡的孩子們正活蹦亂跳、四處遊玩時，他常一個人悄悄的坐在廊中簷下濡筆研墨。 想考蘇州藝專，被家人反對，後來畢業於北京大學法商學院，30歲就任林森縣長，戰後隨政府來台， 1963年任台灣企業總經理，期間兩位妙齡女兒意外身亡，1969年提前退休隱居鄉下畫游四方。 1965年義大利舉辦現代中國畫展，由羅馬現代美術館選展七人作品，僅他一人居於台灣，其他藝術家都 旅居歐洲，趙二呆因此名震國際畫壇，他孤寂自賞淡泊寧靜，他的畫無師承亦無派別，蘊藏著耐人品味 的淒滄之美，了悟人世間虛實，是一位遺世忘俗的藝術家，1990年落腳澎湖馬公市海濱，做為終身與藏 展作品處，捐資興建「藝奴居」產權歸文化局作為公眾展場，並將他生前所創作的水墨、書法、素描、 西畫、篆刻、雕塑、陶藝等作品捐給縣府，每年定期展出。

Lot 1133

185

ZHENG Shan Shi 鄭善禧（b.1932） 生於福建漳州，自幼喜好色彩濃艷、線條流暢的民俗藝術，常於空暇時到戲台、廟 宇觀看匠師雕神像、漆門神，為之後的鄉土風格打下了基礎。其畫作融合民間藝術 與文人畫風，使作品既有民間的華麗，也有古樸雅致的文人風骨，創作題材多變， 尤喜寫生，在師大求學與出國時，受到西洋繪畫色彩的衝擊，引領他突破傳統水墨 與黑白藩籬。由於經常出入山林，他發現臺灣山形地貌與中國大陸有明顯的差異， 而非傳統國畫的紙上雲煙，便將身歷其境的感受描繪出來，畫出了渾圓不峻、翠綠 的「臺灣山」，畫出了臺灣風味的中國畫。除了山水畫之外，鄭善禧師法齊白石， 將民間藝術融入畫作中，所畫皆是眼前所見及生活感受，趣味橫生，雅俗共賞。

Lot 1116

Lot 1117

Lot 1121

Lot 1127

Lot 1119

Lot 1120

Lot 1118

ZHOU Chun Ya 周春芽（b.1955） 周春芽，四川成都人，1982 年畢業於四川美術學院油畫系。1988 年畢業於德國卡賽爾綜合大學 美術學院自由藝術系。現為專職畫家。1980年入選第二屆全國青年美展獲二等獎、1982年參加紐 約中國當代油畫展、1984年參加香港四川油畫展與前進中的中國青年展，1987年於德國舉辦個 展，來年於奧地利林茨舉辦個展參加德國比勒菲爾德國際五人作品展、1992 年入選廣州九十年代 藝術雙年展學術展、1993年香港後八九中國新藝術展、1996年應邀參加第一屆上海雙年展。作品 為奧地利林茨美術館收藏。 ZHOU Chun Ya was born in Chengdu, Sichuan Province. He graduated from the Department of Oil Painting of the Sichuan Art Institute in 1982, and also graduated from the Fine Arts College of German Kassel University in 1988. He is a professional artist, and currently works as an artist at the Chengdu Academy of Painting. In 1980, he was selected for the second National Youth Art Exhibition and won the second prize. In 1982, he participated in the New York Chinese Contemporary Oil Painting Exhibition. In 1984, he participated in the Hong Kong Sichuan Oil Painting Exhibition and the Moving Chinese Youth Exhibition. He held a solo exhibition in Germany in 1987, and held a solo exhibition in Linz, Austria in the following year, participating in the Bielefeld International Five Artists Exhibition in Germany. In 1992, he was selected for the Academic Exhibition of the 1990s Art Biennale in Guangzhou. In 1993, Hong Kong Post 1989 Chinese New Art Exhibition. In 1996, he was invited to participate in the first Shanghai Biennale. His works are collected by the Linz Museum of Fine Arts, Austria.

Lot 1089

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銀行證明

+886 +886 +886 +886

4 4 2 2

2295 2295 8771 8771

5528 5529 7989 7698

NT$ 拍賣品編號(按數字順序)

簽署/日期 (本公司取得閣下之簽名後始能接受競投) 196

The Absentee Bid Form

Client Information

JSL 2021 Spring Auction

Client ID (if any)

Modern and Contemporary Asian Art Chinese Paintings and Calligraphy

Name (Please fill in CAPITAL)

Auction Date/Venue

ID Numbber/Paspport No.

2:30PM, August 29th (Sun), 2021 Fubon International Conference Center (B2, No. 108, Sec.1, Dun-Hua South Road, Taipei) Account for NTD Account Name: JSL Auction Bank Name: BANK OF TAIWAN TAICHUNG BRANCH Account Number: 010001173267 The buyer entrusts JSL Auction to bid for the following lot(s) within the price range agreed below.

Date

Company City

Country

Phone (AM) (PM)

Cellphone

Fax Number

Email

Payment

CASH

REMIT

CHECK

The buyer has read carefully the Conditions of Business published in the catalogue, and agreed to abide by all terms.

* Bank Reference (if you have never participated in JSL Auction, please provide a government-issued ID with photo and address)

The buyer should complete and issue this bidding form to JSL Auction 48 hours before the sale; meanwhile, the buyer must pay a deposit of NT$ 200,000 (or US$ 8,000/RMB$60,000). If the estimate of lot(s) price exceeds NT$ 3,000,000, the margin amount will be adjusted in accordance with the ratio specific by JSL Auction. If the deposit payments are not completed within the specified period, this commission shall be deemed invalid.

Bank Name

Account

Contact

Telephone

If the auction lot(s) is successfully bid, the buyer shall agree that the deposit will be automatically converted into a part of the final price and the payment will be completed within 7 days from the sale date. The final price is the hammer price plus the premium. If the hammer price is less than or equal to NT$20,000,000, the premium is calculated at 20%; if the hammer price is higher than NT$20,000,000, the premium will be calculated at 20% of the amount less than or equal to NT$20,000,000 plus 12% of any amount in excess of NT$20,000,000.

If the bid is not successful, the buyer shall agree that the deposit will be refunded without interest after the sale ends. If due to the buyer’s breach of contract, JSL Auction may not refund the deposit paid, and the buyer shall bear the relevant legal liabilities.

Contact Taichung TEL: +886 4 2295 5528 FAX: +886 4 2295 5529 TEL: +886 2 8771 7989 Taipei FAX: +886 2 8771 7698 197

Lot No.

Title

Bidding Price (NT$/Premium not included) NT$ NT$ NT$ NT$ NT$ NT$ NT$ NT$ NT$ NT$ Lot No. (in numerical order)

Signed/Dated (JSL Auction can only accept bids after obtaining your signature)

198

199

200

201