景薰樓 2020秋季拍賣圖錄 by JSL AUCTION

2020

AUTUMN AUCTION

亞洲華人現當代藝術．中國書畫 TAIPEI, 27th Dec, 2020

ASIAN, CHINESE MODERN & CONTEMPORARY ART CHINESE PAINTING Sunday, 27 th Dec, 2020, TAIPEI P.M. 2:30

景薰樓 2020 秋季拍賣會亞洲華人現當代藝術 ˙ 中國書畫 JSL 2020 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART CHINESE PAINTING

拍賣日期 2020

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Sunday Dec 27th 2020 PM 2:30

2020 年秋季拍賣會景薰樓景薰樓 2020 年秋季拍賣會亞洲華人現當代藝術亞洲華人現當代藝術中國書畫中國書畫

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JSL 2020 AUTUMN AUCTION JSL 2020 AUTUMN AUCTION

ASIAN, CHINESE MODERN & CONTEMPORARY ART ASIAN, CHINESE MODERN & CONTEMPORARY ART CHINESE PAINTING CHINESE PAINTING

DEC 27th, 2020 SUNDAY PM 2:30 DEC 27th, 2020 SUNDAY PM 2:30 Fubon International Conference Center Fubon International Conference Center B2,No.108,Sec.1,Dun-Hua South B2,No.108,Sec.1,Dun-Hua South Road, Taipei, Taiwan Road, Taipei, Taiwan Service Tel:+886 4 2295 5528 Service Tel:+886 4 8771 2295 7989 5528 +886 2 +886 2 8771 7989

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TAIPEI Fubon International TAIPEI Fubon International Conference Center Conference Center Dec 25th (Friday) 10:00-19:00

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To purchase, please contact our sales. To purchase, please contact our sales. Boutique Appreciation Boutique Antiques Appreciation Antiques

景薰樓國際藝術拍賣公司景薰樓國際藝術拍賣公司

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景薰樓的辦事處，可協助閣下參與本次舉行拍賣會的競投外，並提供藝術品仲介服務，以及專業的藝術諮詢暨投資建議，詳情請洽景薰樓國際藝術拍賣公司。 JSL offices will assist clients in bidding of this auction, besides, we offer the services of agent and professional art investment consultation, please contact the company for further information.

創辦人董事長

林振廷陳碧真

Art and Sculpture

亞洲現當代藝術部執行總監行政主管藝術主管

古董珍玩部

執行總監諮詢專家

Chen Ting, LIN Jade, CHEN

Chief Executive Administrative Art Director

陳碧真林麗美吳翰儒

Jade, CHEN May, LIN Han Ru, WU

Chinese Ceramics & Works of Art

Chief Executive Jade, CHEN Advisory Consultant Han Ru, WU

陳碧真吳翰儒

Chinese Painting

近現代書畫部執行總監諮詢專家

Advisor Chairperson

Chief Executive Jade, CHEN Advisory Consultant Han Ru, WU

陳碧真吳翰儒

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

臺中總公司

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臺中市北區華美街二段262號B1 電話: +886 4 2295 5528 傳真: +886 4 2295 5529 台灣: 林麗美

臺北市松山區敦化南路一段102號電話: +886 2 8771 7989 傳真: +886 2 8771 7698 台北: 吳翰儒

JSL AUCTION.

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

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

www.jslauction.com service@jslauction.com

May, LIN

Index（按姓氏拼音排序） Artist / Lot Number A

Ai HAIBAR

灰原愛

1088

Andy WARHOL

安迪 · 沃荷

1003.1097

AOYAMA Gosho

青山剛昌

1009

B Banksy

班克斯

方延杰

1037.1038.1039. 1040.1041

FU Chuan Fu

傅狷夫

1117

Fujiwara Hiroshi

藤原浩

1014

Fujiko F Fujio

藤子· F·不二雄

1010

陳蔭羆

1054.1055.1056

HONG Ling

洪凌

1080

HSIAO Chin

蕭勤

1045.1046.1047

Hsieh Hsiao-Te

謝孝德

1125

1004.1006

Bang&Olufsen×Supreme

1089

Budi Kustarto

1048

布迪．庫斯塔圖

FANG Yan Jie

G George CHANN

CHANG Yi Hsiung

張義雄

1061.1063.1064

CHANG Wan Chuan

張萬傳

1060.1131.1132

CHEN Cheng-po

陳澄波

1069.1070.1071. 1072

CHEN Dan Chen

陳丹誠

1111

HSIUNG Ping Ming

熊秉明

1067

CHEN De Wang

陳德旺

1059

HUANG Da Shen

黃達生

1057

CHEN Huei Tung

陳輝東

1043.1044

HUNG Rui-Lin

洪瑞麟

1062

CHEN Yin-Huei

陳銀輝

1066

CHIANG Chao Shen

江兆申

1112

CHIU Ya Tsai

邱亞才

1081.1082

Jenny CHEN

陳張莉

1084

C. J. YAO

姚慶章

1124

莊喆

1016.1017.1018. 1019.1020.1126. 1127.1128.1129

尚 · 米歇爾 · 巴斯奎特

1098.1099

CHUANG Che

JEAN-MICHEL BASQUIAT Joan MIRO

喬安．米羅

1140

JU Ming

朱銘

1068.1133.1134. 1135.1142.1143

CHU Teh Chun

朱德群

1141

丹尼爾 · 阿瑟姆

1091

D Daniel Arsham

風靡日本的藝術潮物現今年輕人追求時尚美學感官的敏銳度，漸漸將其轉換成對流行潮物收藏的興趣上。當代藝術拍賣中，除了已入殿堂的大師外，還有一群備受年輕一輩追捧的明星級藝術家。在二十世紀中50年代和60年代，流行藝術橫跨時尚、音樂、電影、街頭領域。這些作品充分表現社會現象、自我主張、人際關係乃至於政治立場，透過幽默、詼諧、反諷的態度呈現對於當代社會甚至未來生活的觀察。普普藝術始祖，安迪沃荷（Andy Warhol, 1928－ 1987）在八十年代中期，安迪沃荷以世上最為著名的四位女王為題，創作一系列絲網印刷肖像畫作，包括英國女王伊麗莎白二世（Queen Elizabeth II）、荷蘭女王碧翠絲（Queen Beatrix）、丹麥女王瑪格麗特二世（Queen M a r g re t h e I I ）以及前史瓦濟蘭女王特瓦拉（ Q u e e n Ntombi Twala）。本次拍品中Lot 1003《瑪格麗特皇后（#1）》為其中一件版畫。二十世紀下半葉，班克斯（Banksy, b. 1974）與 KAWS（Brian Donnelly, b. 1974）的崛起，他們的相關作品也越來越受到收藏家關注。其中，班克斯神出鬼沒的街頭塗鴉作品，其作品中總不失幽默的批判性。藝術家以塗鴉、版畫等手法，在建築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。本次兩件公仔拍品Lot 1004《Kissing Coppers》與Lot 1006《擲花者》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。另一位世人所熟知的藝術家 KAWS（Brian Donnelly， b. 1974），是目前最具影響力的現代藝術家之一。由他自創的「XX」眼睛骷髏塗鴉，巧妙地藉由已知名的廣告明星將自己的作品傳遞出去，同時也是他將藝術理念具體成型的過程。本次有三件公仔拍品Lot 1005《休息－黑》、 Lot 1007《Clean Slate》與Lot 1092《休息－棕》，目前在市場上實屬珍稀、不易購得且鮮少有藏家釋出，機會難得。直至今日，大眾日常也逐漸能從餐廳、咖啡店、精品店之中找尋到藝術家的作品圖像。它們化為各種周邊商品、擺飾玩具、公仔、海報、模型等，深受大眾喜愛。

Popular Japanese Fashion Collections Nowadays, young people are pursuing the acuity of fashion aesthetics, and gradually turning it into an interest in the collection of trendy items. In contemporary art auctions, except the masters in classic arts, there are also a group of contemporary artists who are highly sought after by the younger generation. In the 1950s and 1960s, pop art spanned the area of fashion, music, film, and even on the street. These works fully express social phenomena, selfassertion, interpersonal relationships and even political stances, presenting observations of contemporary society and even future life through humor, sarcasm and irony. The origin of pop art, Andy Warhol (1928-1987) .In the mid1980s, Andy Warhol created a series of screen-printed portrait paintings with the four most famous queens in the world, including the Queen of England Queen Elizabeth II , Queen Beatrix of the Netherlands, Queen Margrethe II of Denmark and former Queen Ntombi Twala of Swaziland. Lot 1003 "Queen Margaret (#1)" is one of these famous prints. In the second half of the 20th century, Banksy (b. 1974) and KAWS (Brian Donnelly, b. 1974) rose, and their related works have attracted more and more attention from collectors. Among them, Banksy’s fascinating graffiti works are always humorous and critical. The artist used graffiti, printmaking and other techniques to draw concise images of people on the architecture, with witty political slogans or modern language, conveying a cynicism about war, politics, and capitalism, and began to gain great attention from the art world. The two doll lots Lot 1004 "Kissing Coppers" and Lot 1006 "The Flower Bomber" have made their famous graphic graffiti three-dimensional, which is worth collecting. Another well-known artist, KAWS (Brian Donnelly, b. 1974), is currently one of the most influential modern artists. The "XX" eye skull graffiti created by him, cleverly conveyed his work through well-known intellectual property, and it is also the process of completing his artistic concept. This time there are three doll lots ,Lot 1005 "Resting Place-Black", Lot 1007 "Clean Slate" and Lot 1092 "Resting Place-Brown", which are currently rare in the market, not easy to buy, and few collectors just release them, and this opportunity is rare. Until this day, the public can find images of artists' works in restaurants, coffee shops, and boutiques. They are transformed into various peripheral goods, ornamental toys, dolls, posters, models, etc., which are deeply loved by the public.

遠從1960年代自英國、美國興起的普普藝術（Pop Art）延伸，亞洲市場逐漸由日本漫畫、動畫、電影的推廣，漸漸影響大眾社會，甚至是當代藝術的創作思維代表。這些作品，充滿了可愛、夢幻與絢麗等各種多元風格，除了反映出年輕活力，也喚起大孩子們的童年記憶。二十世紀後半，日本卡通節目的興起，使得放學後收看卡通電視已成為臺灣孩童們的樂趣之一。由手塚治虫（1928－1989）連載1950年至1954年創作的漫畫《森林大帝》，日本富士電視台在1965 年根據手塚治虫原作漫畫改編首次動畫化，成為日本製作首部正式的彩色電視連續性質動畫，具有其日本動漫發展史上的重要意義。此次拍品Lot 1012 《森林大帝動畫拍攝用手繪賽璐珞原稿》一件，另附有畫家手稿2張，機會實屬難得。本次亦有Lot 1009《名偵探柯南》（附手稿7張）、Lot 1010 《哆啦A夢》等珍貴的動畫手繪原稿。漫畫世界的熱潮與大眾文化的推廣，使圖像藝術深植人心。而歷經漫畫的改編、周邊商品的量產，立體玩偶、公仔的出現，更帶起一波製造商與藝術家聯名的潮流。由空山基（b. 1947）與 MEDICOM TOY合作設計之BE@RBRICK公仔－ 1000%庫柏力克熊，限量、親簽已成為熱門收藏的經典之作。Lot 1093《空山基親簽 1000%》版本，特有的金屬質感與庫柏力克熊結合，兼具藝術性與造型裝飾美感，讓許多科幻迷、庫柏力克熊粉絲趨之若鶩。本次以聯名著名的拍品亦有Lot 1089 《Beoplay A9 MKIV第四代音響》由B&O、Supreme 與LV三方共同聯名的限量版音響以及Lot 1090《草間彌生×凱歌年份香檳限量版》，更不能錯過。當代藝術市場上，更有一批新興藝術家崛起。 Lot 1087《編織花冠的手》由來自日本北海道的飯田桐子（b.1970）所創作，其擅長描繪雪景與人物的特色，後期更將動物與植物融入作品其中，使畫布上的生命更為豐富生動。Lot 1088《我可以養它嗎？》為日本岡山縣雕刻藝術家灰原愛（b.1981）的創作，敘述一位母親與孩子在生活上的互動以及稚子展露對生命真誠的愛護，抒情之意完美展現於作品之中。Lot 1091《銅雕沙漏》是由視覺藝術家 Daniel Arsham（b.1980）所創作，其設計充滿詩意，搭配其精心挑選的素材，以富有禪意的方式重

Extending from Pop Art that emerged in the United Kingdom and the United States in the 1960s, the Asian market has gradually been promoted by Japanese manga, animation, and movies, and has gradually influenced the mass society, and even represented the creative thinking of contemporary art. These works are full of various styles such as cute, dreamy and gorgeous. In addition to reflecting youthful vitality, they also evoke childhood memories of adults. In the second half of the twentieth century, the rise of Japanese cartoon programs made watching cartoons one of the great joys after school of Taiwanese children. The manga "Forest King" created from 1950 to 1954 was serialized , the Japanese Fuji TV station was animated for the first time in 1965 based on the original manga by Osamu Tezuka, becoming the first official color TV serial animation produced in Japan. It is of great significance in the history of Japanese animation. This time, Lot 1012 "Hand-painted Celluloid Manuscript for the Animation Filming of the Forest King" is included, and it also contains 2 manuscripts of the artist. This is a rare opportunity. This time there are also precious hand-drawn animated manuscripts such as Lot 1009 "Detective Conan" (with 7 manuscripts) and Lot 1010 "Doraemon". The upsurge of the comics world and the promotion of popular culture make image art deeply rooted in people's hearts. After the adaptation of comics, the mass production of peripheral products, and the appearance of three-dimensional dolls ,rose a wave of manufacturers and artists crossover trends. The BE@RBRICK 1000% Kubrick bear, designed in collaboration with Hajime SORAYAMA (b. 1947) and MEDICOM TOY, has become a classic of popular collections in limited edition and signed. Lot 1093 "Hajime SORAYAMA Sign 1000%" version, the unique metal texture combined with the Kubrick bear, both artistic and decorative aesthetics, so many science fiction fans, Kubrick bear fans in droves. The joint-famous lot also includes Lot 1089 "Beoplay A9 MKIV 4th Generation Sound", a limited edition jointly named by B&O, Supreme and LV, and Lot 1090 "Kusama Yayoi X Veuve Clicquot Vintage Champagne Limited Edition", you definitely do not want to miss these . In the contemporary art field, a number of great artists have emerged. Lot 1087 "The Hand which Braids a Flower Crown" was created by Iida Kiriko (b.1970) from Hokkaido, Japan. She is good at depicting the characteristics of snow scenes and characters. In the later period, she drew animals and plants into the work, making the life on the canvas more rich and vivid . Lot 1088 "May I keep it? "It is the creation of Ai Haibara (b.1981), a sculpture artist from Okayama , Japan. It describes the interaction between a mother and a child in life and showing sincere love for life. The lyrical meaning is perfectly displayed in the work. Lot 1091 "Bronze Sculpture Hourglass" was created by visual artist Daniel Arsham (b.1980). Its design is full of poetry, with carefully selected materials, to re-deconstruct the definition of "time" in a Zen-like way.

新解構「時間」的定義。 2

1001

凱斯‧哈林（1958－1990）

Keith Haring

Naples Suite #04

Naples Suite #07

Naples Suite #11

Naples Suite #16 Naples Suite #27 版畫 1983 簽名右下：Keith Haring 簽名下方：Keith Haring MAY 10-83 NAPOLI 32.1×23.7 cm（12.6×9.3 in.）來源：美國私人收藏 La Galerie de Poche 為1989 年「Keith Haring 1983」展覽印製

Naples Suite #16 Naples Suite #27 Lithograph 1983 Signed lower right: Keith Haring Signed lower: Keith Haring MAY 10-83 NAPOLI Provenance: American private collection La Galerie de Poche printed for the exhibition "Keith Haring 1983" in 1989

NT$ 90,000-150,000 HK$ 24,600-40,900 US$ 3,150-5,250

1002

凱斯‧哈林（1958－1990）

Keith Haring

Fertility Suite #1

版畫 1983 限量200版簽名右側：Keith Haring 12.1×13.7 cm（4.8×5.4 in.）

Lithograph 1983 Edition of 200 Signed right：Keith Haring Provenance:

來源：美國私人收藏

American private collection Literature:

出版：克勞斯·李特曼：《凱斯·哈林：版畫發行1982-1990》（德國：坎茲出版社，1993年），頁31。

Klaus Littmann, Keith Haring: Editions on Paper 1982-1990 (Germany, Cantz Editions, 1993), P.31.

NT$ 40,000-80,000 HK$ 10,900-21,800 US$ 1,400-2,800

1003

安迪‧沃荷（1928－1987）

Andy WARHOL

瑪格麗特皇后（#1）

Queen Margrethe (#1)

版畫 1985 簽名左側：Andy 17.8×14.1 cm（7×5.6 in.）

Lithograph 1985 Signed left：Andy Provenance:

來源：紐約卡斯提里繪畫公司，VIP opening 貴賓限定限量親簽版畫

New York Castile Painting Company, VIP opening limited edition personally signed prints

出版： Feldman/Schellmann II.342.

Literature: Feldman/Schellmann II.342.

NT$ 80,000-160,000 HK$ 21,800-43,700 US$ 2,800-5,600

1004

班克斯（b. 1974）

Banksy

Kissing Coppers

寶麗石粉樹脂 2019 H：25.4 cm（10 in.）

Polystone 2019 Trademark:

註冊商標：印 BRANDALISED™ 商標 ©MMXIX Full Colour Black Ltd. （右邊copper的右褲管）

Printed with BRANDALISED™ logo ©MMXIX Full Colour Black Ltd.（The right pants of the right copper）

附作品保證書 Attached original certificate 附原包裝盒 With original box

NT$ 15,000-25,000 HK$ 4,100-6,800 US$ 520-870

1005

KAWS（布萊恩．唐納利）（b.1974）

Resting Place－Black

休息–黑

Painted Cast Vinyl 2013

彩繪搪膠 2013 21×30×23 cm （8.3×11.8×9.1 in.）

Edition of 500

限量500件製造商：MEDICOM TOY

KAWS（Brian Donnelly）

Manufacturer: MEDICOM TOY Trademark: ©KAWS..13 Printed MEDICOM TOY 2013

註冊商標： ©KAWS..13 印 MEDICOM TOY 2013 CHINA （左腳鞋底）附原包裝盒

CHINA (L) With original box

NT$ 70,000-90,000 HK$ 19,100-24,600 US$ 2,450-3,150

1006

班克斯（b. 1974）

Banksy

擲花者

Flower Bomber

寶麗石粉樹脂 2018 35.5×9×39 cm （14×3.5×15.4 in.）

Polystone 2018 Manufacturer: MEDICOM TOY

製造商：MEDICOM TOY

Trademark: ©MMXV Full Colour Black Ltd.(R) MEDICOM TOY 2018 CHINA (L)

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

With original box

NT$ 30,000-60,000 HK$ 8,200-16,400 US$ 1,050-2,100

1007

KAWS（布萊恩．唐納利）（b.1974）

Clean Slate

Vinyl 2018

搪膠 2018 36.2×17.8×17.8 cm （14.3×7×7 in.）製造商：MEDICOM TOY 註冊商標：印 MEDICOM TOY CHINA（右腳鞋底）印 KAWS..18 CLEAN STATE（左腳鞋底）附原包裝盒

KAWS（Brian Donnelly）

Manufacturer: MEDICOM TOY Trademark: Printed MEDICOM TOY CHINA (R) Printed KAWS..18 CLEAN STATE (L) With original box

NT$ 18,000-30,000 HK$ 4,900-8,200 US$ 630-1,050

1008

鳥山明（b.1955）七龍珠動畫拍攝用手繪賽璐珞原稿顏料賽璐珞片水彩手繪背景紙 a. 22×25.5 cm（8.7×10 in.） b. 23×34 cm（9.1×13.4 in.）

TORIYAMA Akira “Dragon Ball” Animation Shooting with Hand-Painted Celluloid Manuscript Anime Color on celluloid, watercolor on paper

NT$ 50,000-100,000 HK$ 13,600-27,300 US$ 1,750-3,500

b 1009

青山剛昌（b.1963）名偵探柯南動畫拍攝用手繪賽璐珞原稿顏料賽璐珞片水彩手繪背景紙 21.5×30 cm（8.5×11.8 in.）附手稿7張

AOYAMA Gosho “Detective Conan” Animation Shooting with HandPainted Celluloid Manuscript Anime Color on celluloid, watercolor on paper Attached 7 manuscripts

NT$ 30,000-60,000 HK$ 8,200-16,400 US$ 1,050-2,100

1010

1011

藤子‧F‧不二雄（1933－1996）

田尻智（b.1965）

哆啦A夢動畫拍攝用手繪賽璐珞原稿

精靈寶可夢動畫拍攝用手繪賽璐珞原稿

顏料賽璐珞片水彩手繪背景紙 19.5×24 cm（7.8×9.4 in.）

顏料賽璐珞片水彩手繪背景紙 18.5×24.5 cm（7.2×9.6 in.）

Fujiko F Fujio

TAJIRI Satoshi

“Doraemon” Animation Shooting with Hand-

“Pokemon” Animation Shooting with Hand-Painted

Painted Celluloid Manuscript

Celluloid Manuscript

Anime Color on celluloid, watercolor on paper

NT$ 30,000-60,000 HK$ 8,200-16,400 US$ 1,050-2,100

NT$ 13,000-22,000 HK$ 3,500-6,000 US$ 450-770

1012

1013

手塚治虫（1928－1989）

櫻桃子（1965－2018）

森林大帝動畫拍攝用手繪賽璐珞原稿

顏料賽璐珞片水彩手繪背景紙 20.5×25.5 cm（8.1×10 in.）

顏料賽璐珞片水彩手繪背景紙 21×23.5 cm（8.3×9.3 in.）附手稿2張

櫻桃小丸子動畫拍攝用手繪賽璐珞原稿

SAKURA Momoko “Chibimaruko Chan” Animation Shooting with Hand-

TEZUKA Osamu

Painted Celluloid Manuscript

“Jungle Emperor” Animation Shooting with Hand-

Anime Color on celluloid, watercolor on paper

Painted Celluloid Manuscript Anime Color on celluloid, watercolor on paper Attached 2 manuscripts

NT$ 20,000-40,000 HK$ 5,500-10,900 7 US$ 700-1,400

NT$ 50,000-100,000 HK$ 13,600-27,300 US$ 1,750-3,500

1014

藤原浩（b.1964） MEDICOM TOY BE@RBRICK 米奇1000% 合金 2020 25×34×70 cm（9.8×13.4×27.6 in.）製造商：MEDICOM TOY 註冊商標：印 MEDICOM TOY 商標（右腳底部）印 BE@RBRICK 商標（左腳底部） ©Disney （背面左腳跟）附原包裝盒

Fujiwara Hiroshi MEDICOM TOY BE@RBRICK MICKEY MOUSE REVERSE Version 1000％ Alloy 2020 Manufacturer: MEDICOM TOY Trademark： Printed with MEDICOM TOY logo (R) Printed with BE@RBRICK logo (L) ©Disney (Back left heel) With original box

NT$ 130,000 -180,000 HK$ 35,500 -49,100 US$ 4,550 -6,300 8

家喻戶曉的卡通「哆啦A夢」為日本漫畫家藤子． F．不二雄（本名：藤本弘）創作，並於1969年12月始連載。早期亞洲地區多以「叮噹」相關之名稱呼，源自於 1973年由香港刊物《兒童樂園》雜誌社長張浚華女士，首次將其引入華文市場並命名之。由於早期並無版權相關法令，隨著作品廣布，導致亞洲各地出現各式「小叮噹」名稱的變體。1996年，藤本弘先生逝世，據說其生前就想讓「ドラえもん」的中文譯名在華文世界有個統一名稱。其後，朝日電視台繼承「哆啦A夢」的著作權，並依

其遺願推行。促使台灣大然文化於1997年以「哆啦A夢」為中文名稱，並發行由小學館授權的「哆啦A夢」台灣中文版。後續華文各地出版社、發行代理商也陸續跟進。本次潮物拍品聯名系列中，Lot 1015《MEDICOM TOY，BE@RBRICK，哆啦A夢 50週年限定 1000%》為慶祝「哆啦A夢」創立50週年，今年與日本潮物玩具大廠 MEDICOM TOY合作的限量版本。商品僅限網路登記抽選限定名額，並於日本東京都哆啦A夢未來百貨公司進行販售。此次機會難得，錯過可惜。

1015

MEDICOM TOY BE@RBRICK

MEDICOM TOY BE@RBRICK Doraemon 50th

哆啦A夢50週年限定1000%

anniversary limited Version1000%

彩繪搪膠 2020 25×34×70 cm（9.8×13.4×27.6 in.）

Painted Cast Vinyl 2020 Manufacturer: MEDICOM TOY

製造商：MEDICOM TOY Trademark：註冊商標：印 MEDICOM TOY 商標（右腳底部）印 BE@RBRICK 商標 ©Fujiko-Pro（左腳底部）

Printed with MEDICOM TOY logo (R) Printed with BE@RBRICK logo and ©Fujiko-Pro (L) With original box

附原包裝盒

NT$ 120,000-180,000 HK$ 32,800-49,100 US$ 4,200-6,300

莊喆

CHUANG Che

莊喆1934年生於北京，其父親莊嚴為已故名書法家暨前北京故宮博物院副院長，莊喆自小培養出熱愛中國藝術興趣。1948年隨家人遷居台灣，1957年畢業於臺灣師範大學美術系。1958年受邀加入「五月畫會」，積極參與中國繪畫現代畫運動。於1963至1973 年於東海大學建築系任教。1966年獲美國洛克菲勒亞洲美術基金會資助，赴美考察當代國際藝術一年，曾赴紐約擔任抽象表現主義雕塑家西摩爾．立普頓（Seymour Lipton）的短期助手。1992年應台北市立美術館邀請回國舉辦四十年畫作回顧展，作品亦曾多次在國際展覽中出現，並廣為國內外美術館及私人珍藏。莊喆在父親莊嚴的引導下，練習水墨與書法，這兩種創作表現至今仍常存於他的作品中。如Lot 1019《靜物》，以東方水墨方式進行西方靜物主題的臨摹，筆觸師法東方，構圖師法西方。以虛實交織的線條構成圖像，整體畫面如中國水墨畫中的大量留白，底部最後的一筆墨線為整體作品增添出空間感。在整體作品中進行東西方藝術的結合。

In 1934, Chuang Che was born in Beijing, China. His father, Chuang Yen was the great calligrapher and the vicedirector of National Palace Museum in Beijing. Chuang Che was introduced to art by his father in his young ages. He moved to Taiwan in 1948, and graduated from Taiwan National Normal University in 1957. In 1958, he joined the “Fifth Moon Group” and actively pushed the modernization of Chinese painting. Between 1963 and 1973, he taught in the Department of Architecture at Tunghai University. In 1966, Chuang Che received a sponsor from the Rockefeller Foundation to study contemporary international art in the United States. He also used to be Seymour Lipton's shortterm assistant in New York. In 1992, he was invited by the Taipei Fine Art Museum to run a solo exhibition. Chuang's works have been exhibited widely and well known between many local, foreign museums and private collectors. Under the guidance of his father:Chuang Yen, Chuang Che practiced ink and calligraphy. These two creative expressions still exist in his works today. For example, Lot 1019 "Still-Life" uses oriental ink and wash to imitate the theme of Western still life. The brushwork follows the East and the composition follows the West. The image is composed of intertwined lines of virtuality and reality. The overall picture has a large amount of white space just like in Chinese ink painting. The ink line at the bottom adds a sense of space to the overall work. Combine Eastern and Western art for an overall atmosphere.

莊喆熱愛自然，時常回憶少時鎮日與自然為伍、以山林為伴的生活。他的作品在顏料與筆刷的交會下，總有著寫意自然的優雅情境，使觀者能沉醉在他所再造的抽象山水畫。西洋繪畫重視結構透視，而中國繪畫則是著重氣韻生動。莊喆以西方的繪畫手法來表現中國山水的大氣。如Lot 1016《一葉芭蕉一點愁》，莊喆透過中國水墨方式渲染出畫作基底，並以多重色彩鋪陳。然而，色調雖然多元，大量的深色調性也為作品帶出一點幽然惆悵之感。黑與綠之間，如自然山野的外在景象。流水般的白色線條勾勒出空間感，華麗變幻的色彩如美好的回憶渲染其中。此作品更是這次莊喆拍品中色彩最為多變與絢麗的其中一件。 1960年代是莊喆藝術成就的醞釀期，期間他不僅遊歐數國，於法國遇趙無極、朱德群、夏陽等人，並在西班牙結識為歐洲戰後藝術的重要代表藝術家安東尼‧塔皮埃斯（Antoni Tàpies）。莊喆在塔皮埃斯更接近於抽象的、具有雕塑性的作品中領略其神秘性與宗教性。

Chuang Che loves nature, and often recalls the life of a young age when he lived in nature and was accompanied by mountains and forests. Under the interaction of paint and brush, his works always have a free and natural and elegant atmosphere, so that the viewer can indulge in the abstract landscape paintings he recreated. Western painting emphasizes structural perspective, while Chinese painting emphasizes vividness. Chuang Che uses Western painting techniques to express the atmosphere of Chinese landscapes. For example, Lot 1016 "A Bit Sorrow", Chuang Che used Chinese ink and wash to render the base of the painting and spread it in multiple colors. However, although the color tones are diverse, the large amount of dark tones also brings a sense of melancholy to the work. Between black and green, such as the scene of natural mountains. The flowing white outlines the sense of space, and the gorgeous and changing colors render it like a good memory. This work is one of the most varied and colorful of Chuang Che’s work in this auction. The 1960s was a gestation period for Chuang Che’s artistic achievements. During this period, he not only traveled to European countries, but also met Zao Wou Ki, Zhu Chu Teh Chun, Xia Yang and others in France, and met an important representative post-war European artist- Anthony Tàpies in Spain. Chuang Che appreciates the mystery and religion of Tàpies in his abstract sculptural works.

此後，莊喆深入探索抽象藝術的世界，並將他對空間的演繹方式納入畫布當中。如Lot 1127《自畫像：一風一雨》虛實之間，以厚實的水墨基底架構出留白。筆墨飛濺下，墨點、墨色、墨線與墨暈流動間，將畫家的所見、所想在有意無意間下交互渲染，勾勒出莊喆的自畫像。應用其中國書畫的根源，重新詮釋西方當代世紀的抽象表現形式，重建了充滿中國形式的抽象表現。作為將中國藝術傳統內蘊於現代創作的藝術家，莊喆認為不需要替作品的風格定位。在創作概念上，抽象對他而言是屬於精神性的探索，是重建自然的架構和秩序，將平面與透視、虛與實、柔軟與堅硬等相對性融合在畫面之中。如Lot 1129《曇華現浮雲》若隱若現的山與雲所勾勒出中國山水的背景中，剛勁的墨暈與濃烈的色彩由底蓄力集中並向上綻放。水墨的濃淡之間，藉由獨特而強烈的個人色彩與佈局，創造出莊喆水墨畫獨有的動感與空間感。

Since then, Chuang Che has deeply explored the world of abstract art and incorporated his interpretation of space into the canvas. For example, Lot 1127's "Self-Portrait: Wind and Rain" uses a thick ink base to frame the white space between the real and the real. Under the splash of pen and ink, the ink dots, ink colors, ink lines and ink halo flow between the painter's seeing and thinking, intentionally or unintentionally, to interactively render Chuang Che's self-portrait. Applying the roots of Chinese calligraphy and painting, he reinterprets the abstract expressions of the contemporary century in the West and reconstructs the abstract expressions full of Chinese forms. As an artist who embeds the Chinese artistic tradition in modern creation, Chuang Che believes that there is no need to position the style of the work. In terms of creative concepts, abstraction is a spiritual exploration for him, rebuilding the natural structure and order, and integrating the relativity of plane and perspective, virtuality and reality, softness and rigidity into the picture. For example, in Lot 1129's "Here Today Gone Tomorrow", the looming mountains and clouds outline the background of the Chinese landscape. The thick ink halo and colors are concentrated from the bottom and bloom upward. Between the shades of ink and wash, through the unique and strong personal color and layout, Chuang Che's ink paintings have a unique sense of movement and space.

1016

莊喆（b.1934）一葉芭蕉一點愁

CHUANG Che

壓克力水墨紙本 1993 簽名右下：93 莊喆 94×129 cm（37×50.8 in.）

A bit sorrow Acrylic, ink and color on paper 1993 Signed lower right : 93, named CHUANG Che in Chinese

原收藏者購自藝術家本人 Acquired by the original collector from the artist

NT$ 300,000-450,000 HK$ 81,900-122,800 US$ 10,490-15,740

1017

莊喆（b.1934）

CHUANG Che

頂上悠舞

Dancing on the top

壓克力紙本水墨 1991 簽名右下：莊喆 91 111 ×91 cm （43.7×35.8 in.）

Acrylic, ink and color on paper 1991

原收藏者購自藝術家本人

Acquired by the original collector from the artist

Signed lower right: named CHUANG Che in Chinese, 91

NT$ HK$ US$ 15

280,000-380,000 76,400-103,700 9,800-13,290

1018

莊喆（b.1934）

CHUANG Che

湖鏡明心

Slient Lake

壓克力水墨紙本 1992 簽名右下：92 莊喆 92.5×110 cm（36.4×43.3 in.）

Acrylic, ink and color on paper

原收藏者購自藝術家本人

Acquired by the original collector from the artist

1992 Signed lower right : 92, named CHUANG Che in Chinese

NT$ 300,000-400,000 HK$ 81,900-109,200 US$ 10,490-13,990

1019

莊喆（b.1934）靜物紙本水墨 1990 簽名左下：莊喆 90 94 ×73.5 cm （37 ×28.9 in.）原收藏者購自藝術家本人出版：勝大莊：《莊喆水墨畫創作》（臺北市：暨美術館，1992 ），頁21 。

CHUANG Che Still Life Ink and color on paper

1990

Signed lower left : named CHUANG Che in Chinese,90 Acquired by the original collector from the artist Literature: Sheng Dazhuang, Chuang Che Ink Painting (Taipei: Ji Art Museum, 1992), p. 21.

NT$ HK$ US$

160,000-260,000 43,700-71,000 5,600-9,100

1020

莊喆（b.1934）解冠歸隱紙本壓克力水墨 1993 簽名右下：莊喆 93 151×93 cm （59.4×36.6 in.）原收藏者購自藝術家本人

CHUANG Che Leaving the glory Acrylic, ink and color on paper 1993 Signed lower right: named CHUANG Che in Chinese,93 Acquired by the original collector from the artist

NT$ 360,000-500,000 HK$ 98,300-136,500 US$ 12,590-17,490

「春盡花已老，情郎不須歸，白雲飛孤雁鳴，我欲乘風歸去，不勝寒。英雄名馬，君臨毛舍，來自何方，出身名門，無父無母，來自西方，日落東方」－王攀元

WANG Pan Youn

王攀元

王攀元老師的自題詩，緩緩道出自身的

直到1952年受聘前往宜蘭羅東中學教書，從此宜

經歷，透露濃濃的孤寂感，就如同他一生的

蘭成了他的第二個故鄉，在宜蘭純樸的人情味與穩定

寫照，隨著戰亂1949年獨身來到台灣定居於

的校園執教生活，漂泊超過半個世紀，才終於塵埃落

宜蘭落底生根，思念遙遠的故鄉及家人，在

定，王攀元將人生際遇的悲喜之情交融，創作出內心

作品中反映自我內心的觀照，以簡潔的主題

糾結最深沉的吶喊，且富含詩意的獨特畫風。

刻畫其細膩的情感詮釋。

王攀元對水墨的感情是對祖國文化的驕傲，也是

王攀元1908年出生於江蘇大戶人家，3

對家鄉的想念。在《孤獨情深》一書中記錄為何王攀

歲時父親過世，家族便由叔叔掌權。母親在

元的水墨不被世人熟知，以下為節錄：其中水墨，除

失去家族地位的情況下，必須獨力扶養兒子

了民國七十六年在台北雄獅畫廊舉辦過一次個展外，

倆、更要面對大家族的勾心鬥角，不久便積勞成疾，在王攀元13歲時逝世。由於寄人籬

卻不曾再展出過，原因是有個或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

下，家族成員的冷言冷語及爾虞我詐，自幼

了，水墨讓我來就好。」為了給別人生存空間，自此

如同被世界所遺棄，承受巨大的孤獨感，培

不再舉辦水墨展覽。…事實上，所有創作媒材中，王

養出沉默隱忍的低調個性。所幸，在高中那

攀元對水墨最有感情，他說，那才真正是中國人的東

年，王攀元遇見賞識他藝術天分的吳茀芝老

西。

師，在藝術的世界裡，他找到消失已久的歸屬感。

從王攀元的畫作中，不難發現他是一個從一而終、追求安定的人，王攀元不斷地重複著相同的符

總是逆來順受的王攀元，唯獨對藝術這

號—除了龜山島，還有紅通通的太陽、江海中飄盪的

條路不願妥協，家族希望他念法律，但念了

船隻、紅色的女子，這些敘事符號的背後都有其深刻

一個學期，王攀元便轉念美術。如此更使家

的意義。自1949年來台後便不曾返鄉，濃得化不開

族成員的不諒解，斷絕經費，王攀元只好打

的鄉愁成為紙上的墨，懷念遠方的家鄉故人，感慨昔

工賺錢，強忍周遭的奚落中，勉勵求生。

日的徬徨困苦，走過的漫漫長路，都將化作紙上的墨

1936年王攀元畢業於上海美專，原本計畫和

印，永久珍藏。

女友相隨潘玉良赴法學習繪畫，卻因籌措不到旅費無法成行。後因戰亂王攀元與女友失聯，開始過著顛沛流離的日子。至二戰結束

「對命運，我無法抗拒，但對藝術工作，我的決心總是不變，永不放棄。」

後，1949年王攀元攜家帶眷抵達高雄鳳山，

王攀元是為了藝術而生的人。儘管晚年身體狀況

為了生計，王攀元不惜以勞力換取全家溫

並不好，仍堅持作畫；即便身世坎坷，從不怨天尤

飽，開始在碼頭當搬運工人。

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。

王攀元將傳統的精隨融合現代的表現手法，透過顛沛流離的一生賦予作品獨特的氣質，流露於筆觸間的寫意抒情，複雜而矛盾，乍看之下是寂寥沉靜的孤獨美學，隱藏在平和簡約的構圖之下是濃烈的情感。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，即意到筆不到。」在他的水墨畫完美重現了此段話，畫面大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。

Lot 1021《棹雪訪岱》拍品氛圍恬淡宜人，嫻熟的運用墨色深淺描繪江水波紋，波光粼粼，自然且別緻，小帆遊走其間，依稀可見流動的水痕。船，是王攀元作品中常見的元素，單影隻的船隻，訴說老師的孤寂感，廣闊的背景展現曠達的心境，畫面平靜、和諧，沒有過多傳統的光影渲染。

Lot 1024《走關山》簡單明快，畫面布局為黑色山巒挺立於大面積的背景，高低起伏綿延不絕，加上天際留白，筆觸不急不徐，漸層的墨色宛如氤氳瀰漫群山，更顯得山景的廣闊。山巒之前，痀僂的身影停留於此，一人幽謐沉思立於大地，渺小而微不足道，頗有遺世獨立之感，筆觸自然隨意，人與山的大小對比呼應空間的遠近差異，視覺上更為立體且富有深度。抹去色彩，獨留黑灰白的世界，更聚焦在每一痕墨跡，王攀元精煉閑熟的筆畫描摹一幅幅風景，收放自如的筆觸，變化萬千的墨色，天地山水巧妙浮於紙上。

Lot 1026《中流閒次》王攀元曾說：「一個畫家必須要有自己的體系與風格，那就是孤獨。」湖面平靜，水面上的船隻緩慢的前行，物體沒有刻意以線條描繪輪廓，迷濛的畫面令人想起印象派畫家透納所帶來的通透景色，前方就像罩了十幾層的霧氣，動物、地面、山景都要融為一體了，在王攀元的畫作中，同樣能夠感受如此的通透感，並添加一股中國文人味的惆悵。

Lot 1027《沼沚覓菱》墨色的暈染將平靜的湖面掀起漣漪，畫面布局中黑色的山巒，讓整體畫面更顯，巧妙的運用水分模糊山的界線面。構圖精簡卻富有巧思，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；輕舟與山的大小對比呼應空間的遠近差異，視覺上更為立體且富有深度。輕點暈染的墨色刻劃水面的漣漪，淡墨細筆勾勒小舟的輕巧，重筆濃墨塗抹山體的高大，王攀元展現他獨有的表現手法，融合文人寫意與現代感。

Lot 1031《一葉所如》風格樸實無華，娓娓道來內心風景，畫面下方描繪著山叢草，畫面中間大面積的留白，以簡單的濃淡墨色呈現清澈平靜的水面，水面無垠上接遙遠的山巒，佇立於山前渺小的人，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。

1021 1021

1022

王攀元（1912－2017）

棹雪訪岱

筆墨千秋

水彩紙鈐印：王攀元（白文） 19×35 cm（7.5×13.8 in.）

紙本墨書立軸鈐印：王后（白文） 95×31 cm（37.4×12.2 in.）

檢附購買證明

附藝術家與畫作合照

WANG Pan Youn

Calligraphy Ink on paper, hanging scroll

Visiting Dai in Snowy Night

Inscribed and signed, with one

Watercolor on paper, framed

seal of the artist

Inscribed and signed, with one seal of the artist With proof of purchase With proof of purchase Attached photos of the artist and works

NT$ 200,000-320,000 HK$ 54,600-87,300 US$ 7,000-11,190

NT$ 40,000-80,000 HK$ 10,900-21,800 US$ 1,400-2,800

1023

王攀元（1912－2017）

WANG Pan Youn

孤帆遠流

Lonely Sail

紙本水墨立軸鈐印：王攀元（白文） 60×47.2 cm（23.6×18.6 in.）

Ink on paper, hanging scroll

檢附購買證明

NT$ 60,000-120,000 HK$ 16,400-32,800 US$ 2,100-4,200

With proof of purchase

1022

1024

王攀元（1912－2017）

WANG Pan Youn

走關山

Walking Through Moutain Guan

紙本水墨立軸鈐印：攀元書畫（白文） 68×57 cm（26.8×22.4 in.）

Ink on paper, hanging scroll

檢附購買證明

NT$ 120,000-260,000 HK$ 32,800-71,000 US$ 4,200-9,100

Inscribed and signed, with one seal of the artist With proof of purchase

1025

王攀元（1912－2017）蘭陽春曉水彩紙鈐印：王攀元（白文） 21×28 cm（8.3×11 in.）檢附購買證明

WANG Pan Youn Spring in Lan Yang Watercolor on paper Inscribed and signed, with one seal of the artist With proof of purchase

NT$ 130,000-220,000 HK$ 35,500-60,000 US$ 4,550-7,700

1026

王攀元（1912－2017）中流閒次水彩紙鏡框右下簽名：WANG P.Y. 鈐印：王攀元（朱文） 24×25 cm（9.4×9.8 in.）檢附購買證明

WANG Pan Youn Mid-Stream Scenary Watercolor on paper, framed Signed lower right : WANG P.Y. Inscribed and signed, with one seal of the artist With proof of purchase

NT$ 150,000-280,000 HK$ 40,900-76,400 US$ 5,250-9,800

1027

王攀元（1912－2017）沼沚覓菱紙本水墨鏡框鈐印：王后（白文） 58×59 cm（22.8×23.2 in.）檢附購買證明附藝術家作畫合照

WANG Pan Youn Searching in the pond Ink on paper, framed Inscribed and signed, with one seal of the artist With proof of purchase Attached photos of the artist and works

NT$ 120,000-200,000 HK$ 32,800-54,600 US$ 4,200-7,000

1028

王攀元（1912－2017）水渚思慕水彩紙左下年款：一九六五鈐印：王攀元（朱文） 25×25 cm（9.8×9.8 in.）檢附購買證明附藝術家與畫作合照

WANG Pan Youn Yearning Watercolor on paper Lower left year: 1965 Inscribed and signed, with one seal of the artist With proof of purchase Attached photos of the artist and works

NT$ 150,000-300,000 HK$ 40,900-81,900 US$ 5,250-10,490 24

創作靈感源自於王攀元在宜蘭蘇澳港時，觀察海中悠游的魚群，感受魚兒的自在，自得其樂，因而將其畫下作為作品。黃綠色調的平靜海面佔據畫面背景，透過大比例的的空間劃分與黃綠色系並置結構，在靜謐的氛圍中沈澱心靈的平靜。畫面以簡逸的筆刷勾勒出湖面，隨著魚群的悠遊而泛起一波波的漣漪，細看畫面右下角可以發現，有隱約地輪廓線，好似魚兒躲藏於水面下，讓人不禁感受到作品中活潑的氛圍。「就我知道，自己的心情。似有若無，翻身成鯤，恆是悠遊。」–王攀元人生漫漫，一路走來對於孤寂的感觸與漂泊的情思，樹立王攀元獨特深沈的生命哲思，色彩幽深，其中歷經大時代的動盪與生命的不安，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。自1949 年來到臺定居於宜蘭，王攀元自此從未回訪家鄉，故喜愛描繪自然景色，也在晚年以多幅畫作紀錄風景怡人的宜蘭山水。此件拍品曾受邀於2005年「中華民國第十七屆全國美術展覽」展出，顯得彌足珍貴。

1029

王攀元（1912－2017）

WANG Pan Youn

魚樂圖

Happiness of the Fish

油彩畫布 1990 91×91 cm（35.8×35.8 in.）檢附購買證明

Oil on canvas 1990 With proof of purchase Literature:

出版：形而上畫廊：《老天爺的劇本–王攀元的故事》（臺北市：形而上畫廊，1996），頁67。王攀元：《王攀元畫集》（宜蘭：王攀元，1998），頁166。

Metaphyscial, God's script-Wang Pan Youn's story (Taipei:

展覽：「中華民國第十七屆全國美術展覽」，國立臺灣藝術教育館，臺北，2005年。

Exhibition:

中華民國第十七屆全國美術展覽標籤形而上畫廊：《老天爺的劇本–王攀元的故事》（臺北市：形而上畫廊， 1996）。 25

Metaphyscial, 1996), P.67 Wang Panyuan, Wang Panyuan Painting Collection (Yilan: Wang Panyuan, 1998), p.166.

"The 17th National Art Exhibition of the Republic of China", National Taiwan Art Education Center, Taipei, 2005.

NT$ 3,600,000-4,500,000 HK$ 982,500-1,228,200 US$ 125,940-157,420

1030

王攀元（1912－2017）日日新水彩紙鏡框畫背鈐印：王攀元（白文） 20.5×18 cm（8.1×7.1 in.）檢附購買證明

WANG Pan Youn Day By Day Watercolor on paper, framed Inscribed and signed, with one seal of the artist With proof of purchase

NT$ 110,000-190,000 HK$ 30,000-51,900 US$ 3,850-6,650

1031

王攀元（1912－2017）一葉所如青苔宣紙水墨鈐印：王后（白文） 92.5×55.5 cm（36.4×21.9 in.）檢附購買證明

WANG Pan Youn As the leaf knows Ink on paper Inscribed and signed, with one seal of the artist With proof of purchase

NT$ 100,000-200,000 HK$ 27,300-54,600 US$ 3,500-7,000

張炳堂（1928-2013）台南市人，是廖繼春、郭柏川之後典型野獸派畫家。1942年少年張炳堂在第五屆府展綻放光彩，成為戰前最年輕的美展入選者。自1904-1907年馬諦斯，野獸派在各地奔放，張炳堂以台灣景物出發，揮灑狂野的畫筆，用色大膽鮮豔，呈現自由奔放的原始生命力。拍品Lot 1021《廟前》作為台北時代畫廊所出版的《張炳堂畫集》之封面，以強烈的紅色描繪廟宇，源自於有天張炳堂發現在正午前的陽光下，廟宇的建築映出強烈的正紅色，就如同未添加任何色料的原色，自此，他便拋棄所有中間色顏料，只保留原色。此作整體畫風強烈，使用平塗式的強烈原色，不強調物體的明暗性，以彎曲起伏的輪廓線，將描繪的景物予以簡化，脫離對於自然的臨摹。背景天空的淡藍色和畫中景物形成對比，如：藍色的樹幹、鮮綠色的樹葉、鮮黃色的稻田以及正紅色的廟宇。

1032

張炳堂（1928－2013）

ZHANG Bing Tang

廟前

In Front of the Temple

油彩畫布 1991 簽名左下：炳堂 91 61×73.2 cm（24×28.8 in.）

Oil on canvas 1991 Signed lower left: Bing Tang in Chinese, 1991 Attached gallery certificate

附畫廊保證書 Exhibited: 展覽：「張炳堂油畫個展」，台北時代畫廊，台北，1991年。出版：台北時代畫廊：《張炳堂畫集》（臺北市：台北時代畫廊， 1991），封面。

"ZHANG Bing Tang Oil Painting Solo Exhibition", Taipei Times Gallery, Taipei, 1991. Literature: Taipei Times Gallery, Zhang Bingtang Painting Collection (Taipei: Taipei Times Gallery, 1991), cover.

NT$ 160,000-220,000 HK$ 43,700-60,000 US$ 5,600-7,700

台北時代畫廊：《張炳堂畫集》（臺北市：台北時代畫廊，1991），封面。 Taipei Times Gallery, Zhang Bingtang Painting Collection (Taipei: Taipei Times Gallery, 1991), cover. 28

1033

張炳堂（1928－2013）入德之門油彩畫布 1990 簽名左下：炳堂 90 31.8×41 cm（12.5×16.1 in.）附畫廊保證書展覽：「張炳堂油畫個展」，台北時代畫廊，台北，1991年。

ZHANG Bing Tang The Gate of Ru-De Oil on canvas 1990 Signed lower left: Bing Tang in Chinese, 1990 Attached gallery certificate Exhibited: "ZHANG Bing Tang Oil Painting Solo Exhibition", Taipei Times Gallery, Taipei, 1991.

NT$ 50,000-70,000 HK$ 13,600-19,100 US$ 1,750-2,450 1034

劉國東（b.1926）霧社春曉油彩畫布 1991 簽名右下：國東 1991 45.5×53 cm（17.9×20.9 in.）

LIU Kuo Tung Spring moring at Wushe Oil on canvas 1991 Signed lower right: Kuo Tung in Chinese, 1991

NT$ 50,000-80,000 HK$ 13,600-21,800 US$ 1,750-2,800

劉國東1926年生於台中新社，因居住環境靠近山區，「山」也就成為他筆下常見的題材。描繪層巒起伏的山脈時，表現山勢的穩重質感，透過前中後景的堆疊營造空間的遠近感，正是劉國東擅長的繪畫方式；作畫時，劉國東極少使用正色，偏愛紫羅蘭花色（Violet），能夠呈現乾亮、更黃、更豔的色彩。Lot 1023《霧社春曉》整體畫作色彩明亮，中景山坡高低有致，田野間零星錯落的房舍，延伸至遠方 29

層層的山巒，呈現山景的廣闊﹔春天的清晨，一縷陽光照向睡夢中的大地，描繪著清晨之時一片靜謐祥和的氛圍，讓觀者感受到山景帶來的心曠神怡，亦呼應畫題春曉的意境。

1035

楊興生（1938－2013）海之歌 2 油彩畫布 1995 簽名左下：楊興生 1995 65.5×80.5 cm（25.8×31.7 in.）附藝術家親簽之畫廊保證書

YANG Hsing Sheng The Song of the Ocean-2 Oil on canvas 1995 Signed lower left: YANG Hsing Sheng in Chinese, 1995 Attached gallery certificate signed by artist

NT$ 100,000-200,000 HK$ 27,300-54,600 US$ 3,500-7,000

1036

楊興生（1938－2013）田野油彩畫布 1988 簽名：楊興生 1988 45×53 cm（17.7×20.9 in.）

YANG Hsing Sheng Vast fields Oil on canvas 1988 Signed lower left: YANG Hsing Sheng in Chinese, 1988

NT$ 65,000-100,000 HK$ 17,700-27,300 US$ 2,270-3,500

楊興生為台灣鄉土繪畫的主要代表人物，擅長風景畫，在台北就學時，常於近郊四處寫生，看到臺灣最自然的原始風貌，在這幾十年間，楊興生走遍臺灣許

多小鎮及村落，把一片片田園美景栩栩如生呈現給觀者。Lot 1025《田野》屬於鄉土寫實，描繪一望無際的田地、一間農舍坐落於旁以及濃密樹林，這都是臺灣常見的鄉村景色，正因為平凡的景色，沒有過多華麗的渲染，在楊興生的筆下都覆上溫馨的氛圍，努力用畫筆刻畫下對於本土景色的熱愛，讓觀者為畫中的清新自然而動容。

方延杰為中國浙江崇德人，擅長水彩、油彩、雕塑。抗戰時期方延杰曾向名醫沈杰先生學習醫術，由於沈杰視方君如己出，便將其原名延傑改成現名延杰，無論是醫術或繪畫皆全力傳授給方延杰。來台之後，方延杰做過許多工作，多采多姿的人生經驗更加深其繪畫作品的內涵，致使方延杰放棄優渥工作並專心致力於藝術創作，不僅是繪畫，對於雕塑也下功夫研究。自1973年旅居美國，方延杰的藝術領

FANG Yan Jie

方延杰

域更為廣闊，其作品意涵更加豐富。其成

Jack Fang was born in Zhejiang in China. Fang’s talent is not only watercolor but oil paintings, sculpture as well. During the period of war, he learned medical skill from Shan Jay, the famous doctor, at that time. Shan treated Jack Fang as his own child, he renamed Fang’s Chinese name. In addition, Shan taught everything he got to Fang in both medical and art field. When Fang came to Taiwan, Fang’s changed many different work experiences in order to add his thought in the artworks. After that, he focused on art to be an artist including paintings and sculptures. Since he settled in America, he had practiced his paintings skills. In addition, his artworks became famous and was award in overseas.

就非凡並揚名國外獲得藝壇的肯定。

1037

方延杰（1926－1990）

FANG Yan Jie

巷

The Alley

水彩紙簽名右下：Jack FANG 鈐印：杰 37×46.5 cm（14.6×18.3 in.）

Watercolor on paper Signed lower right: Jack FANG Inscribed and signed, with one seal of the artist

NT$ 90,000-160,000 HK$ 24,600-43,700 US$ 3,150-5,600 31

1038

方延杰（1926－1990）墨西哥古街水彩紙簽名右下：Jack FANG 1963 39×54 cm（15.4×21.3 in.）

FANG Yan Jie Acient Street of Mexico Watercolor on paper Signed lower right: Jack FANG 1963 Inscribed and signed, with one seal of the artist

NT$ 90,000-150,000 HK$ 24,600-40,900 US$ 3,150-5,250

1039

方延杰（1926－1990）暮色水彩紙簽名左下：Jack FANG 鈐印：杰 54×39 cm（21.3×15.4 in.）

FANG Yan Jie The Dawn Watercolor on paper Signed lower left: Jack FANG Inscribed and signed, with one seal of the artist

NT$ 90,000-160,000 HK$ 24,600-43,700 US$ 3,150-5,600

1040

方延杰（1926－1990）美國伊斯蘭回教堂水彩紙簽名右下：方延杰 Jack FANG 鈐印：杰 59×44 cm（23.3×17.3 in.）

FANG Yan Jie Mosque in United State Watercolor on paper Signed lower right: FANG Yan Jie Chinese, Jack FANG Inscribed and signed, with one seal of the artist

NT$ 90,000-160,000 HK$ 24,600-43,700 US$ 3,150-5,600

1041

方延杰（1926－1990）晚歸水彩紙簽名右下：方延杰 Jack FANG 鈐印：杰 38×55 cm（15×21.7 in.）

FANG Yan Jie Home Late Watercolor on paper Signed lower right: FANG Yan Jie Chinese, Jack FANG Inscribed and signed, with one seal of the artist

NT$ 100,000-160,000 HK$ 27,300-43,700 US$ 3,500-5,600 33

1042

吳隆榮（b.1935）

WU Lung Jung

白馬

Horses

油彩畫布簽名左下：L.R.Wu 45.5×53 cm（17.9×20.9 in.）

Oil on canvas Signed lower left: L.R.Wu

NT$ 120,000-200,000 HK$ 32,800-54,600 US$ 4,200-7,000

吳隆榮自小就熱愛繪畫，真正開始接受正規藝術教育是在台北師專藝術科求學的時，之後確立自身對於藝術的狂熱便全心投入創作，現任全國油畫學會、台陽美術協會理事長。吳隆榮擅長以創作來傳達真摯的情感，在近七十載的創作歲月中，累積豐厚的作品風格。拍品Lot 1042

《白馬》在彩度和線條的處理，都帶有「柔」的特質，用線條勾勒兩隻雪白的馬匹，安靜的佇立於畫面中央，以簡單線條的表現林間坡地的起伏，整體構圖簡潔而單純，色塊間的線條表現出動感與和諧的律動，讓人感受到樹林間安靜祥和的氛圍。 34

陳輝東

CHEN Huei Tung

1043

陳輝東（b.1938）

CHEN Huei Tung

藍天、白雲、風帆－揚帆系列

Blue Skies, White Clouds-Sailboat Series

油彩畫布 1997 簽名右下：H.T.CHEN 1997 60.5×72.5 cm（23.81×28.5 in.）

Oil on canvas 1997 Signed lower right: H.T.CHEN 1997 Literature:

出版：陳輝東：《陳輝東畫集》（台南市：陳輝東畫室， 2003年），頁314。

Chen Huidong, Chen Huidong Painting Collection (Tainan: Chen Huidong Studio, 2003), p.314. Attached gallery certificate

附畫廊保證書

NT$ 180,000-300,000 HK$ 49,100-81,900 US$ 6,300-10,490 陳輝東於1938年出生台南市的陳輝東，畢業於台南師專，非科班出身，亦無師承，僅憑自己對於繪畫的熱愛與認真自學的態度、對於古典技法的鑽研，可說在台灣同輩中無人能出其右，堪稱台灣當代視覺藝術中寫實油畫的最重要代表人物之一。1976年獲中華民國畫學會金爵獎、1979年獲中國文藝協會文藝獎章。1981年獲中山文藝創作獎等 35

無數獎項，於2013年獲頒「台南文化獎」。致力於美術教育長達半世紀的陳輝東，在1988年由教職退休之後專職油畫創作，曾任職首屆台南市美術館董事長。八○年代後期，陳輝東則選擇了台灣當代在技術上最艱難也最費心力的寫實繪畫作為其一生的最愛，以故鄉台南為根據地，藉此發掘生活周遭風土人情之美，作品以人物、風景、帆船景物居多，數十年來活躍於畫壇。他憑藉著自己旺盛的創作熱誠，畫為感動眾人的作品。並建立起自己的一種獨特韻味的風格。

1044

陳輝東（b.1938）

CHEN Huei Tung

牡丹花

Peony

油彩畫布 1992 簽名右下：H.T.CHEN 1992 46.5×53 cm（18.3×20.9 in.）

Oil on canvas 1992 Signed lower right: H.T.CHEN 1992 Attached gallery certificate signed by artist

附藝術家親簽之畫廊保證書

NT$ 80,000-150,000 HK$ 21,800-40,900 US$ 2,800-5,250

1980年代起，隨著子女赴笈海外，陳輝東也有多年時間舉家旅居美國西岸及法國巴黎，從舊金山的漁人碼頭、加州港灣，到歐陸的山水與鄉間，畫家的藝術視野大幅擴展，其中，帆船也開始成為嶄新的繪畫主題之一。描繪帆船，同時反應陳輝東藝術生涯中充滿勇氣與毅力的實現。Lot 1043《帆船》以充滿力道的筆觸，展現乘風破浪的生命力，「我希望人們看這些畫，聽得到水聲、看得到風的擺動，還聞得到海水的氣味。」陳輝

東以古典技法，構圖平衡且高度協調，筆法洗鍊且畫面鋪陳結構嚴謹，為畫面帶來極具動感卻又平穩的效果。台灣戰後純粹以對藝術的熱情與繪畫的執著而孜孜不倦的努力，從而成就這位國寶級寫實繪畫大師。 Lot 1044《牡丹花》，雖為靜物畫作，卻展現了充沛的活力，畫面和諧美麗，為陳輝東最具經典代表的寫實油畫之作。

生命之始，創作之初

HSIAO Chin

蕭勤

「對我來說，作畫這件事的第一重要性，並非「作畫」，而是透過作畫來對自己的人生始源的探討，人生經歷的記錄及感受和人生展望的發揮。」－蕭勤總是在開創先河的蕭勤，帶領台灣美術進入現代化功不可沒，1935年出生於上海，父親為創立上海音樂專科的蕭友梅，只可惜蕭勤年幼時便失去雙親，爾後追隨著姑父來到台灣，進入台北師範學院藝術科就讀，但學院派的教學方式無法契合蕭勤的創作理念。直至拜師於李仲生，強調「腦、眼、心、手」配合的創作方式，奠定了蕭勤一生的創作思想主軸。於1950年代，社會封閉的年代，蕭勤開先例以相當於高中畢業的台北師範學院的學歷，獲得了遠赴歐洲留學的機會，也破天荒的在抵達西班牙之後拒絕入學，但他並沒有因此放棄學習，更是將在歐洲的所見所聞以投書聯合報副刊的方式帶回台灣，進而成為了當時台灣藝文社會窺視歐洲藝術脈絡的一雙眼睛，促進了台灣美術開啟新的一頁歷程。常年將自已放逐於學院牆門之外的蕭勤，以超脫世俗的抽象美學，創作於形而上，且隨其心之所向。

The Beginning of Life and the Origin of Creation ‘’For me, the first thing of drawing is not ‘drawing ’itself, it is to explore the origin of life, to experience, feel and exert the life.” Hsiao Chin, who has always pioneered everything, has contributed to leading Taiwan’s fine arts into modernization. Born in Shanghai in 1935, his father, Hsiao You Mei, who founded the Shanghai Music College, but unfortunately, Hsiao Chin lost his parents when he was young and followed his uncle to Taiwan, entered into Taipei Education College (now National Taipei University of Education), but academic system of teaching art was not the way Hsiao Chin wanted, just until he acknowledge Li, Chun Shan’s master.Li’s teaching method is to emphasize the mind, eye, heart and hands coordinated harmoniously, this kind of method set up the main creation idea of Hsiao Chin. In 1950, the age of social closure, Hsiao Chin set a precedent with the equivalent of a high school graduate of Taipei Education College, and obtained the opportunity to study abroad in Europe. He also the first one refused to enroll after arriving in Spain, but he did not give up studying because of this, he brought back what he saw and heard to Taiwan in the form of a joint newspaper, which became a pair of eyes for Taiwan's art and culture society at the time to peek into the context of European art, which promoted the opening of a new page in Taiwan's art history. Hsiao Chin, who has exiled himself outside the wall of the academic system for a very long time, creates metaphysically with abstract aesthetics that transcends the world, and follows his heart.

在經歷過歐洲非形象主義的洗禮，行動藝術的實踐到領悟生命真諦，蕭勤人生每一次的轉折都形成了不一樣的創作樣貌，西方的創作形式中內化了東方哲學思想，靜觀其心，並探討人生。 Lot1047《北京之春之4 》，此系列創作於1989年，以紀念歷史上的巨大悲劇六四天安門事件，蕭勤用畫作紀錄了那些逝去的年輕靈魂。然而命運毫不留情地讓蕭勤在隔年經歷了喪女之痛，在沉澱了這些哀痛之後，再度提筆之時開啟了「度大限」經典系列的創作，這些人間悲劇讓蕭勤在回歸創作之時超越了自己，作品色彩豐富而畫面簡練，揮灑出恢宏的氣勢及內省的深度，是在大徹大悟了一切不過是生命形式的轉換之後，達到了另一個創作的境界。此作Lot1046《度大限之5》，溫潤鮮明的色塊，其中的的線條宛若生命的長河，無垠的延伸至畫布之外，整體畫面洗鍊簡要。作品之中分明的色塊和中間的留白，彷若是在靜靜流淌的生命中，本質轉換過程中的虛無，是超脫了世俗概念的永恆。 Lot1045《日昇》，創作於1996年，自此之後的系列創作跨越了新的世紀，充滿了新希望與祝福，一生不停探索宇宙及生命，已成就蕭勤風格的語彙，思維成熟圓滿，如同這幅作品日昇一般，溫暖的色調緩緩升起，畫面暖心且充滿希望。此幅日昇為近年來難得少見的大幅尺寸之作品，收藏價值實屬難得。

After experiencing the baptism of European non figuratif, the practice of action art and the realization of the true meaning of life, Hsiao Chin's creation has formed a different appearance at every turn in his life. Eastern philosophical thoughts have been internalized in Western creative forms, and you can feel it and explore life. Lot 1047 "Spring in Beijing-4" the series was created in 1989 to commemorate the great tragedy of Tiananmen Square on June 4th in history. Xiao Qin used his paintings to record those young souls who had passed away in this tragedy. However, destiny relentlessly caused Xiao Chin to experience the pain of bereavement the following year. After accumulating these sorrows, he started the creation of the "Beyond Destiny" classic series when he once again returned to creation. These human tragedies made Xiao Chin back to reality. At this time, he surpassed himself,the works are rich in color and concise in the pictures, showing a magnificent momentum and depth of introspection. After realizing that everything is just the transformation of life forms, he reached another creative realm. This work is Lot1046 "Beyond Destiny-5", with warm and bright color blocks, and the lines are like a long river of life, extending beyond the canvas infinitely, and the overall picture is clear. The distinct color and the white space in the middle of the work seem to be in the quietly flowing life, the nihility in the process of essence transformation is an eternity that transcends the secular concept. Lot 1045 "Rising Sun" was created in 1996, since then, the series of creations have spanned the new century and are full of new hopes and blessings. He has been exploring the universe and life throughout his lives, he has achieved another level. Just like this work is rising sun, the warm tone rises slowly, and the picture is warm and hopeful. This piece is a large-scale work that is rare in recent years of Hsiao Chin, and it is a great opportunity to collect in this time.

1045

蕭勤（b.1935）

HSIAO Chin

日昇

Rising Sun

壓克力畫布 1996 畫背簽名：HSIAO CHIN 一九九六日昇 Rising Sun 162×286 cm（63.8×112.6 in.）

Acrylic on canvas 1996 Signed on the reverse: HSIAO CHIN 1996, Rising Sun in Chinese, Rising Sun Signed lower: HSIAO, Chin in Chinese, 1996

畫作下方簽名：HSIAO 勤 1996

NT$ 3,200,000-4,200,000 HK$ 873,400-1,146,300 US$ 111,940-146,930 39

1046

蕭勤（b.1935）

HSIAO Chin

度大限之5

Beyond Destiny-5

壓克力顏料 1991 簽名右下：HSIAO 勤 91 58.5×69 cm（23×27.1 in.）

Acrylic on canvas 1991 Signed lower right: HSIAO, Chin in Chinese, 91 Attached gallery certificate signed by artist

附藝術家親簽之畫廊保證書

NT$ 450,000-600,000 HK$ 122,800-163,800 US$ 15,740-20,990

1047

蕭勤（b.1935）

HSIAO Chin

北京之春之4

Spring in Beijing-4

壓克力畫布 1989 58.5×73.5 cm（23×28.9 in.）

Acrylic on canvas 1989 Attached gallery certificate

附畫廊保證書

NT$ 300,000-500,000 HK$ 81,900-136,500 US$ 10,490-17,490

布迪．庫斯塔圖（Budi Kustarto）1972

Budi Kustarto

布迪．庫斯塔圖

年出生於印尼，2003年畢業於印尼藝術學院雕塑系，目前生活於印尼日惹，是印尼當代藝術家的聚集地。布迪擅長將自己的形象融入繪畫，由於畢業於雕塑系加上自身對於空間的敏銳觀察，針對畫布上的細節具表現力，作品帶有強烈的雕塑立體風格。布迪的繪畫常描繪物體對於重力的反應，他認為空間是作品中不可或缺的一部份，正因為雕塑和空間兩者相輔相成，更增添作品的價值。此外，在布迪的作品最獨特是對於「綠色」的應用，他沒有明確給出其中的涵義，但顏色帶有轉喻：代表著自然和生命，與生活和文化息息相關，這大概是布迪對於自我的詮釋及對生活的獨特思考。擁有豐富的參展經驗，如：2004年於中國四川美術館舉辦印度尼西亞《當代藝術：變換的水果》聯展、2006年雅加達雙年展biennial《超越，限制與挑戰》、2007年曾參加雅加達《被人所知的印尼藝術》及日惹雙年展VIV 《Neonation》等多項國際聯展。布迪擅長將自己的形象入作品，並將對社會、人性的觀察，明確且有形象的放入作品中，是印尼當代藝術之中形象鮮明的一位藝術家。此外布迪的作品之中，事物的本體所代表的意義就是無窮無盡的自我解析，對於社會問題及政治觀點運用強烈的視覺效果展現。

Budi Kustarto was born in Indonesia in 1972 and graduated from the Sculpture Department of the Indonesian Art Institute in 2003. He currently lives in Yogyakarta, Indonesia and is a gathering place for contemporary Indonesian artists. Budi is good at integrating his own image into painting. Due to his graduation from the Department of Sculpture and his keen observation of space, he is expressive for the details on the canvas, and his works have a strong three-dimensional sculpture style. Budi’s paintings often depict the reaction of objects to gravity. He believes that space is an indispensable part of the work, precisely because sculpture and space complement each other and add value to the work. In addition, the most unique application in Budi's work is the application of "green". He did not clearly give the meaning, but the color has metonymy: it represents nature and life, and is closely related to life and culture. This is probably Budi Interpretation of self and unique thinking about life. He has extensive experience in exhibitions, such as: Indonesia's "Contemporary Art: Transformed Fruits" joint exhibition held at Sichuan Art Museum, China in 2004, 2006 Jakarta Biennial "Beyond, Limits and Challenges", and in 2007, he participated in Jakarta's "Being by Others" Known Indonesian Art" and Yogyakarta Biennale VIV "Neonation" and other international joint exhibitions. Budi is good at putting his own image into his works, and putting his observations of society and human nature into his works clearly and vividly. He is an artist with a vivid image among Indonesian contemporary art. In addition, in Budi's works, the meaning represented by the body of things is endless self-analysis, using strong visual effects to show social issues and political views.

與全球十大收藏家齊名，在《ArtNews》中連續三年登上Top 10藝術收藏家榜單，全球讚譽有加的亞洲收藏家－陳泰銘，也是布迪‧庫斯塔圖的藏家之一，他每回出手收藏都是動見觀瞻，甚至全球的國際拍賣行也都密切留意著他所關注的藝術家，因為他已證明他所出手收藏的藝術品，許多都後勢看漲。這次拍品Lot 1048《帶我上天堂》，以立體派雕塑訓練的思維呈現在二維的平面之上，大膽的用色及超脫框架的構圖，單色寫實的技法繪製，詼諧而不真實卻又不過於衝突的畫面構成，展現了布迪的洞察力及對於社會的處境，帶我上天堂一詞發人深省。

As famous as the world’s top ten collectors, he has been on the Top 10 art collector list in "ArtNews" for three consecutive years, and has won global acclaim as an Asian collector and a successful entrepreneur-Pierre Chen is one of Budi Kustarto ‘s collector, his collections are always insightful, and even international auction company around the world are paying close attention to the artists he pays attention to, because he has proven that many of his collections of art are growing its value in the market. This time Lot 1048 "Take Me to Heaven" is presented on a two-dimensional plane with a mind trained in sculpture. The bold use of color and detached frame composition, monochrome realistic drawing techniques, witty and unreal but yet the composition of the conflicting picture shows Budi's insight and social situation, and the term "Take me to heaven" is thought-provoking

1048

布迪．庫斯塔圖（b.1972）帶我上天堂油彩畫布 2006 200×150 cm（78.7×59.1 in.）來源： 2008年12月30日，香港佳士得，《東南亞現代與當代藝術》Lot 349

Budi Kustarto Take me to heaven Oil on canvas 2006 Provenance: December 30, 2008, Christie's HONG KONG, Southeast Asian Modern and Contemporary Art, Lot 349.

NT$ 3,200,000-4,000,000 HK$ 873,400-1,091,700 US$ 111,940-139,930 44

圖片轉載自《典藏雜誌社》。背景為布迪．庫斯塔圖之作品《拆馬車》。

全球頂尖之收藏家－陳泰銘Pierre Chen 「研究藝術和音樂可以讓心情平靜下來。」－陳泰銘陳泰銘不僅是在企業界成為頂尖，更在藝術收藏上創造巔峰。收藏橫跨亞洲、歐洲，被陳泰銘納入典藏的都是絕頂之作，更是前景無可限量的藝術家，儼然已是藝術市場的指標。布迪．庫斯塔圖正是陳泰銘納入收藏的當代藝術家之一，其作品特殊的風格及語彙，讓許多藏家驚艷且爭相收藏。

The World's Top Collector Pierre Chen "Art and music can calm the mood."- Pierre Chen Pierre Chen not only became the top in the corporate world, but also a top collector in art. The collection spans Asia and Europe, and the works included by Pierre Chen in the collection are all superb works, and even to be seen as promising artists,he is already an indicator of the art market. Budi Kustarto is one of the contemporary artists officially included in the collection of Pierre Chen. The special style and vocabulary of his works have made many collectors amazed and eager to collect his works.

「 ......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1947出生於桃園，1965年於國立

YANG Chi hung

楊識宏

藝專美術科就讀，讀書期間受到許多台灣前輩藝術家的教導，擁有良好的油畫基礎，同時參加當時許多繪畫活動，此時他接觸到紐約的藝術潮流，如抽象表現主義，原本內心對於保守的台灣藝術就不太認同，他便開始改變創作路線，此幅Lot 1049《72.A27》創作於1972年，是非常少見早期的油畫作品，用色鮮豔，繪畫許多富有個人風格的作品，奠定日後至紐約的決心。 1979年移居美國，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，擅長以主觀的方式表達形狀和顏色，色彩與光影強烈對比，結合各種具象及抽象的線條造型，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。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，靈感來自於由臺灣帶至美國卻被忽略兩年之久的種籽，沒想到的是當種籽種下，竟奇蹟般的發芽，植物的生命力讓他感到深深震驚。

Yang Chi Hung was born in Taoyuan in 1947. He studied art at the National College of Art in 1965. During his studies, he was taught by many Taiwanese senior artists. He had a good foundation in oil painting. At the same time, he participated in many painting activities at that time. Abstract expressionism. He didn't agree with conservative Taiwanese art in his heart. He began to change his creative line. This Lot 1049 "72. A27" was created in 1972. It is a very rare early oil painting. It uses bright colors and paints. Many works with rich personal style have laid the determination to go to New York in the future. When he moved to the United States in 1979, Yang Chi Hung chose to come to New York and began to challenge himself, absorbing a large amount of new international art knowledge and seeking motivation for new directions, inheriting the concept and style of abstract expressionism, and his paintings merged the natural views and values of the East and the West. Through the image language of "symbols" and the symbolic space of understanding from Chinese philosophy, a revelatory tension between Eastern and Western thoughts is expressed. Eastern cultural symbols are often integrated into the structure of Western paintings. He is good at expressing shapes and expressions in a subjective manner. Color, color, light and shadow are in strong contrast, combined with various concrete and abstract line shapes, no longer focus on depicting the objective external world, but instead interpret the space and world that the painter perceives in his heart. Due to the constant pursuit of presenting the works he thought in his heart, Yang Chi Hung’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 on the prosperity and decline of life. The natural cycle was inspired by the seeds that were brought to the United States from Taiwan but were neglected for two years. Unexpectedly, when the seeds were planted, they sprouted miraculously. He was deeply shocked by the vitality of the plants.

"...In fact, 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, the kind of "screaming" works may be able to win the crowd for a while, but it won't really move people's hearts."- Yang Chih Hung

本次拍品Lot 1050《淡紫藍》、Lot 1051《荷蘭百合》、Lot 1052《源起》及Lot 1053《獨白》創作時間落在1991－1994年間，有這四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。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。楊識宏更擅長使用大量的黑，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。

The creation time of Lot 1050 "Purple Orchid", Lot 1051 "Netherland Lily", Lot 1052 "The Origin " and Lot 1053 "Monologue" created in 1991-1994. These four works can be seen in Yang Chi Hung’s plants still-life painting different than a regular one, it does not adhere to the authenticity of plant , but 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. Afterwards, Yang Chi Hung moved towards the "organic abstraction period" as a turning point for abstract creation, expanding from plants to depicting nature, breaking away from concrete figures, and using the fluidity of lines, light and colors to interpret the inner nature, but the outlines of the scenery are still faintly discernible. Form a scene like nothing. Yang Chi Hung is better at using a lot of black, using oriental ink and wash to integrate western light and color. The main theme of his works always revolves around the rise and fall of natural life and the sentimentality of the passage of time, expressing the passage of time through the gaze of the mind and the flowing lines The sense of speed closely connects works and life.

1049

楊識宏（b.1947）

YANG Chi hung

72.A27

油彩畫布 1972 簽名右上：識宏 1972 90.5×117 cm（35.6×46.1 in.）

Oil on canvas 1972 Signed Upper right: Chi hung in Chinese, 1972 Attached gallery certificate signed by artist

附藝術家親簽之畫廊保證書

NT$ 250,000-450,000 HK$ 68,200-122,800 US$ 8,750-15,740

1050

NT$ 110,000-200,000 HK$ 30,000-54,600 US$ 3,850-7,000

1051

NT$ 110,000-220,000 HK$ 30,000-60,000 US$ 3,850-7,700

1052

楊識宏（b.1947）

YANG Chi hung

源起

Origin

Oil on canvas1994

附藝術家親簽之畫廊保證書

Attached gallery certificate signed by artist

NT$ HK$ US$ 51

240,000-450,000 65,500-122,800 8,400-15,740

1053

楊識宏（b.1947）

YANG Chi hung

獨白

Monologue

Oil on canvas

附藝術家親簽之畫廊保證書

Attached gallery certificate signed by artist

NT$ 200,000-360,000 HK$ 54,600-98,300 US$ 7,000-12,590 52

陳蔭羆（1913－1995）是現代抽象繪畫知名藝術家之一，為中國廣東中山縣人，其作品舉辦過多次個展，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。創作以中下階層的孩童或充滿溫情關懷的社會寫實為主，通過對貧困與無力的形象描繪，展現他

CHANN George

陳蔭羆

對移民環境的切身感受與社會生活經歷的反射。作品中充滿了悲天憫人的人道主義及對社會的關懷，也同時表現了他在美國學院所受的後印象派主義的影響。陳蔭羆早年以人像畫聞名，偏好描寫黑人、亞裔、或窮苦的老弱婦孺，帶有濃厚的人道關懷，風格以後印象派及表現主義為主。本拍品Lot 1056《持小白花的綠衣少女》，以女孩半身像為主體，背景覆上厚重的褐色調，色彩較為濃厚的綠色衣裳，凸顯女孩面部的神情，但卻沒有過多刻劃人物表情，而是以簡單的線條勾勒女孩臉部的神態。自1925年隨父親移民美國加州，並於 1942年自士德頓遷往洛杉磯。Lot 1054《士德頓街景》應繪於1942年之前，士德頓位於加州中央山谷，早期由於開採礦石和淘金，為華人在美聚集最多的城市之一，可見畫面中來來往往的人潮和人力車，應是描繪當年士德頓的日常的熱鬧街道。 Lot 1055《靜物》靜物為陳蔭羆稀少且不常見的作品，畫中描繪靜置於桌面的蔬果，畫面構圖平穩完整，袋中的蔬菜依稀可見其形貌，而前景的番茄稍微扭曲變形，重神不重形，為後期印象派畫法。

George chann (1913-1995) is one of the well-known modern abstract painting artists. He was from Zhongshan County, Guangdong, China. He has held many solo exhibitions. During 1969-73, he held a solo exhibition at the invitation of the Pasadena Museum of Art in Southern California, 50 abstract works are exhibited. His works are in the permanent collection of the San Diego Museum and several municipal art museums in the United States. The creation focuses on children of the middle and lower classes or social realism full of warmth and care. Through the depiction of poverty and powerlessness, he shows his personal experience of the immigration environment and reflection of his social life experience. His works are full of compassionate humanitarianism and care for society, and also show the influence of postimpressionism he received in American academia. In his early years, George chann was famous for his portrait paintings. He preferred to depict black, Asian, or poor women and children, with a strong human care, and his style was mainly Impressionist and Expressionist. This Lot1056 "Girl in Green with Little White Flowers" takes the bust of the girl as the main body, the background is covered with heavy brown tones, and the green clothes with thicker colors highlight the girl's facial expression, but it does not depict the expressions of the characters too much. Instead, it outlines the look of the girl's face with only simple lines. Immigrated to California with his father since 1925, and moved to Los Angeles from Stockton in 1942. Lot1054 "Stockton Street View" should be painted before 1942. Stockton is located in the Central Valley of California. In the early days, due to mining and gold panning, it was one of the cities with the most Chinese gatherings in the United States. You can see the crowds and rickshaws in the picture. It should depict the daily streets of Stockton. Lot1055 "Still-Life" is a rare and uncommon work by George chann. The painting depicts fruits and vegetables resting on the tabletop. The composition of the picture is stable and complete. The vegetables in the bag are faintly visible, while the tomatoes in the foreground are slightly distorted .He did not emphasize form, it is a postimpressionist painting method.

1054

陳蔭羆（1913－1995）

George CHANN

士德頓街景

Stockton

油彩畫布 1940年代簽名左下：GEO CHANN 30×40 cm（11.8×15.7 in.）

Oil on canvas 1940's Signed lower left: GEO CHANN A letter of guarantee for the original work signed by the family of the

附藝術家家屬親簽原作保證書

artist

NT$ 100,000-150,000 HK$ 27,300-40,900 US$ 3,500-5,250

1055

陳蔭羆（1913－1995）

George CHANN

靜物

Still-life

油彩畫布 1974 簽名左下：GEO CHANN 40×50 cm（15.7×19.7 in.）

Oil on canvas 1974 Signed lower left: GEO CHANN A letter of guarantee for the original work signed by the family of the

附藝術家家屬親簽原作保證書

artist

NT$ 100,000-150,000 HK$ 27,300-40,900 US$ 3,500-5,250

1056

陳蔭羆（1913－1995）

George CHANN

持小白花的綠衣少女

A Girl in Green with little White Flower

油彩畫布 1940年代簽名左下：GEO CHANN 50×40 cm（19.7×15.7 in.）

Oil on canvas 1940's Signed lower left : GEO CHANN A letter of guarantee for the original work

附藝術家家屬親簽原作保證書

signed by the family of the artist

NT$ 130,000-180,000 HK$ 35,500-49,100 US$ 4,550-6,300 56

1057

黃達生（約清末）仕女油彩木板簽名左上：嶺南黃達生繪 67.4×45 cm （26.5×17.7 in.）來源： 2003年11月，《博漢斯亞洲藝術拍賣》Lot 232

HUANG Da Shen Lady Oil on board, framed Signed higher left: Illustrated by Lingnan Huang Dasheng in Chinese Provenance: November 2003, Bohans Asian Art Auction, Lot 232

NT$ 200,000-280,000 HK$ 54,600-76,400 US$ 7,000-9,800

1058

韋啟義（b.1964）

WEI Chi I

歲月靜好

About Time

油彩畫布 1999 簽名右下：Wei Chi－l 99 49×63.5 cm（19.3×25 in.）

Oil on canvas 1999 Signed lower right: Wei Chi－l 99

NT$ 65,000-95,000 HK$ 17,700-25,900 US$ 2,270-3,320

紀元畫會五○年代的台灣美術展覽會大致分為兩類，一是由省教育廳所舉辦的「省展」，另一個是在日治時代由民間菁英所創辦的「台陽美展」，這兩種美術展覽會的體系都屬於公募審查制度，且審查的過程都不對外公開，審查委員的位置又長年為畫壇先進所居，導致經年下來畫展展出內容及風格都有所限制。1954年由陳德旺、張義雄、張萬傳、金潤作、廖德政、洪瑞麟等六人組成的「紀元畫會」顛覆了長久以來的傳統與困滯，以創造台灣藝術的新紀元、挑戰體制僵化的台灣藝壇為宗旨。「紀元」由廖德政所取的。日文發音是 KIGEN，與奇險KIKEN很相近。畫會的成立一方面想要創台灣美術的新「紀元」，一方面也想向官僚制度作挑戰的奇險動作。該會揣摩西洋各派的新法，以其融會而樹立獨特之風格，他們認為創作必須要日新又新，迎合時代，所以展出之作品頗能表現出作者之性格。

The fine arts exhibitions in Taiwan in the 1950s were roughly divided into two categories. One was the "Provincial Exhibition" organized by the Provincial Department of Education, and the other was the "Taiyang Art Exhibition" established by private elites during the Japanese rule. The system of all kinds of art exhibitions belongs to the public offering review system, and the review process is not open to the public. The position of the review committee has been the advanced residence of the art circle for many years, resulting in restrictions on the content and style of the exhibition over the years. In 1954, the "Era Art Association" composed of six people, including Chen Dewang, Zhang Yixiong, Zhang Wanchuan, Jin Runzuo, Liao Dezheng, and Hong Ruilin, overturned long-standing traditions and difficulties to create a new era of Taiwanese art and challenge the ossified Taiwan The art world is its purpose. "Era" was taken by Liao Dezheng. The Japanese pronunciation is KIGEN, which is very similar to KIKEN. On the one hand, the establishment of the Art Club wanted to create a new "epoch" of Taiwanese fine arts, and on the other hand, it also wanted to challenge the bureaucracy with dangerous moves. The society tries to figure out the new methods of various Western schools and establishes a unique style with their integration. They believe that creation must be updated and updated to meet the times, so the works on display can quite show the author's character.

▎ 洪瑞麟洪瑞麟同為「紀元畫會」創始者之一， 1912年生於台北大稻埕淡水河岸船頭行街。自小受雅擅詩畫的父親薰陶，所受藝術啟蒙甚早。1927年與張萬傳、陳德旺等人受石川欽一郎指導、並至倪蔣懷「台灣繪畫研究所」學習，開始接受傳統學院藝術訓練，受陳植棋鼓勵前往日本深造，入「川端畫學校」並考取帝國美術學校（今五藏野大學）。畢業後返台任職於瑞芳煤礦直至退休。洪瑞麟在礦坑的多年工作經驗，帶給他的藝術創作豐富靈感與明確的風格影響。庶民及日常風景都是他筆下精彩的題材。 Lot 1062《香蕉園》香蕉園的風光在洪瑞麟簡練、流暢的筆觸之下生動明亮，將台灣日常的景色用畫筆記錄下時代的樣貌，筆觸真誠而樸實。洪瑞麟之子洪鈞雄將逾百件創作贈與給台北市立美術館，預計於2022年舉辦回顧展。

Hong Ruilin was also one of the founders of the "Era Painting Society", born in 1912 in Taipei's Dadaocheng Tamsui River Chuantouhang Street. Since childhood, he was influenced by his father who was good at poetry and painting, and received art enlightenment very early. In 1927, with Zhang Wanchuan, Chen Dewang and others, under the guidance of Ishikawa Kinichiro, they went to Ni Jianghuai "Taiwan Painting Research Institute" to study, began to receive traditional art training, and was encouraged by Chen Zhiqi to go to Japan for further study, entered the "Kawabata School of Painting" and passed the Imperial Art School (now Gokano University). After graduation, he returned to Taiwan and worked in Ruifang Coal Mine until his retirement. Hong Ruilin's many years of working experience in the mine have brought rich inspiration and clear style influence to his artistic creation. The common people and everyday landscapes are all wonderful subjects in his writing. Lot1062 "Banana Garden" The scenery of the banana garden is vivid and bright under Hong Ruilin's concise and smooth brush strokes. The daily scenery of Taiwan is recorded with the brush of the appearance of the times. The brush strokes are sincere and simple. Hong Junxiong, the son of Hong Ruilin, donated more than one hundred works to the Taipei Fine Arts Museum, which is expected to hold a retrospective exhibition in 2022.

▎ 張義雄張義雄1914年出生於嘉義市。曾從學於陳澄波，並斷續接受過美術學院教育，但其創作大多源於自我的探索，而非名師或畫派之指引。自1930年代於東京生活期間起，張義雄曾長期在街頭為人畫像或作剪紙剪影，以維持生計，但這也深化他素描與造型之技巧。二次大戰後，張義雄返台於台北成立私人教學畫室，教育許多藝術後進。此時他雖然生活困苦，屢次搬遷住家，但也逐漸形成個人繪畫風格，並於台灣省全省美術展覽會與台陽美術展覽會屢次獲獎，而奠立其名聲。 1964年移居日本後，張義雄除於東京舉行數次個展，仍不時回國舉行展覽。因嚮往法國的藝術生活，張義雄1980年開始居住於巴黎，直至2003年重回日本定居。巴黎生活期間，張義雄亦屢次入選法國藝術家沙龍展（春季沙龍展）與秋季沙龍展，享譽於國際。 Lot 1061《孔雀公園》、Lot 1063《靜物》、Lot 1064《威尼斯A》創作於1980－1990年代，即是他旅居巴黎的時期。有別於早期張義雄的創作，一生漂泊流浪的生命歷程，使得早期的創作以黑色線條及灰暗的色系為主，浪跡天涯直到晚年畫風漸漸趨向明亮的色彩，但是在變化之中他仍有一貫的堅持，即對於作品完成度的追求。張義雄作品的風格，並不限於印象派，部分更吸收野獸派、立體派或表現主義之畫風，但在變化之中，其構圖、造型與色彩的統整性，以及畫面質感肌理的表現，都可看出其苦心經營與個人獨具之特色，且不論風景、靜物或人物畫皆然。

Zhang Yixiong was born in Chiayi City in 1914. He studied at Chen Cheng Po and received intermittent education in the Academy of Fine Arts, but most of his creations stem from self-exploration rather than the guidance of famous teachers or painting schools. Since living in Tokyo in the 1930s, Zhang Yixiong has been on the street for a long time to make portraits or paper-cut silhouettes to make ends meet, but this also deepens his sketching and modeling skills. After the Second World War, Zhang Yixiong returned to Taiwan to set up a private teaching studio in Taipei to educate many young artists. Although his life was difficult and he moved home many times, he gradually formed a personal painting style. He won numerous awards at the Taiwan Provincial Fine Arts Exhibition and the Taiyang Fine Arts Exhibition, and established his reputation. After moving to Japan in 1964, Zhang Yixiong, apart from holding several solo exhibitions in Tokyo, still returned to China from time to time to hold exhibitions. Longing for artistic life in France, Zhang Yixiong began to live in Paris in 1980 and returned to Japan to settle in 2003. During his time in Paris, Zhang Yixiong was also repeatedly selected for the French Artist Salon Exhibition (Spring Salon Exhibition) and Autumn Salon Exhibition, which is well-known internationally. Lot 1061 "Peacock Garden", Lot 1063 "Still Life", Lot 1064 "Venice A", were created in the 1980s-1990s, that is, when he lived in Paris. Different from the early creations of Zhang Yixiong, his life journey of wandering and making his early creations dominated by black lines and dark colors. Wandering around the world until his later years, the painting style gradually became brighter, but he was still changing. There is a consistent persistence, that is, the pursuit of completion of the work. The style of Zhang Yixiong’s works is not limited to Impressionism. Some of them absorb the styles of Fauvism, Cubism or Expressionism, but in the process of change, the composition, modeling and color integration, as well as the expression of the texture of the picture, You can see his painstaking work and his unique characteristics, regardless of landscape, still life or figure painting.

陳德旺（1910-1984），台北永樂町人，在台灣時受教於石川欽一郎，1929年赴日，原本計劃到東京美術學校學習，受制於殖民地身份而作罷，轉而考進日本帝國美術學校，但因創作理論課程太多，創作課程太少而放棄就讀。不同於學院訓練，乃遊歷各私塾，以陶成及發展自身。在日本12年的習畫生涯，藝術家以記錄了繪畫以及其個人的體悟為主軸之發展，他並不特別師承任何派別或是受到任何主流藝術的影響，堅毅不懈地以研究精神來解決對於繪畫的疑惑。他曾說：「我從小就喜歡畫畫，沒有別的嗜好，我腦筋想的求的是什麼，就是畫。」

陳德旺《風景》畫背簽名 Signed on the reverse of Chen Dewang "Landscape"

2020年適逢陳德旺冥誕110歲，阿波羅畫廊舉辦「陳德旺紀念個展」展出其晚年所創作的風景油畫。 Lot 1059《風景》畫面精簡，純粹的色彩作畫，陳德旺透過印象派了解了光影及色彩的關係，以象徵性的畫面構成，達到充滿詩意的境界，畢生追求油畫創作極致之作品，絕對是經典收藏。畫面優美彷若阿里山上的日出一般的仙境。

1059

陳德旺（1910－1984）風景油彩畫布畫作背簽：風景陳德旺作 50×60.5 cm（19.7×23.8 in.）附畫廊保證書

CHEN De Wang Scenery Oil on canvas Signed on the reverse: Scenery CHEN De Wang in Chinese Attached gallery certificate

NT$ 2,600,000-3,000,000 HK$ 709,600-818,800 US$ 90,950-104,950

張萬傳

CHANG Wan Chuan

「生活中展現的藝術才是最真實的。」－張萬傳張萬傳，1909年生於台北淡水，士林公學校高等科畢業。1929年進入倪蔣懷創辦之「台灣繪畫研究所」，結識陳植棋，並與洪瑞麟、陳德旺結為至交。1930年赴日本留學，並進入川端畫學校及本鄉繪畫研究所進修，除了在留日期間累積扎實繪畫技巧外，也大量參觀美展，受到東京在野派、野獸畫派、表現主義畫家之影響，造就了藝術家獨立而奔放的個人主義風格。 Lot 1060《淡水白樓》，張萬傳以揮毫的筆觸及濃烈色彩繪製淡水蜿蜒的小徑，畫面中的傳統矮房及淡水經典洋樓－淡水白樓形成對比，風格狂放，色彩堆疊細膩。淡水白樓正名為嚴清華宅邸，嚴清華為第一屆馬偕醫院的學生，西方樣式的宅邸，佇立於淡水河岸旁，優雅美麗的身影，成為許多藝術家寄情於淡水的重要標的。其中對淡水家鄉情有獨鍾的張萬傳更是創作了許多幅與淡水白樓相關的作品，十分具有代表性。

Zhang Wanchuan, born in Tamsui, Taipei in 1909, graduated from Shilin College. In 1929, he entered the "Taiwan Painting Research Institute" founded by Ni Jianghuai, met Chen Zhiqi, and became close friends with Hong Ruilin and Chen Dewang. In 1930, he went to Japan to study and entered the Kawabata School of Painting and Hongo Painting Research Institute. In addition to accumulating solid painting skills during his stay in Japan, he also visited a large number of art exhibitions. He was influenced by the Tokyo Rebel School, Beast School, and Expressionist painters. The artist's independent and unrestrained individualism style. In Lot1060 "The White House of Tamsui", Zhang Wanchuan painted the winding paths of Tamsui with his brushstrokes and strong colors. The traditional low house in the picture contrasts with the classic Danshui building-Danshui White House. The style is wild and the colors are stacked delicately. The Tamsui Bailou is named Yan Qinghua Mansion. Yan Qinghua was a student of the first Mackay Hospital. The Western-style mansion stands on the bank of Danshui River. The elegant and beautiful figure has become an important target for many artists to put their love to Danshui. Among them, Zhang Wanchuan, who has a special liking for Danshui's hometown, has created many works related to Danshui White House, which are very representative.

1060

張萬傳（1909－2003）

CHANG Wan Chuan

淡水白樓

Foreign Building in Tamshui

油彩畫布 1978 簽名右下：CHANG. 万簽名畫背：淡水白樓 CHANG. 万 1978 37.8×45.3 cm（14.9×17.8 in.）

Oil on canvas 1978

附畫廊保證書

Attached gallery certificate

張萬傳《淡水白樓》畫背簽名

Signed lower right: CHANG. Wan in Chinese Signed on the reverse: Foreign Building in Danshui in Chinese, CHANG. Wan in Chinese, 1978

NT$ 600,000-700,000 HK$ 163,800-191,000 US$ 20,990-24,490

Signed on the reverse of Zhang Wanchuan's " Foreign Building in Tamshui "

1061

張義雄（1914－2016）孔雀公園油彩畫布 1991 簽名右下：CHANG.Y 91 28×35.5 cm（11×14 in.）附藝術家親簽之畫廊保證書與合照

CHANG Yi Hsiung Peacock Garden Oil on canvas 1991 Signed lower right: CHANG.Y 91 Attached gallery certificate signed by artist and photo

NT$ 140,000-200,000 HK$ 38,200-54,600 US$ 4,900-7,000

1062

洪瑞麟（1912－1996）香蕉園水彩紙 1968 簽名：1968 鈐印：洪 39.5×54.5 cm（15.6×21.5 in.）

HUNG Rui-Lin Banana garden Watercolor on paper 1968 Signed lower right: 1968 Inscribed and signed, with one seal of the artist

NT$ 36,000-50,000 HK$ 9,800-13,600 US$ 1,260-1,750

1063

張義雄（1914－2016）

CHANG Yi Hsiung

靜物

Still-life

油彩畫布 1981 簽名左下：Y.CHANG 81 65.5×50.5 cm（25.8×19.9 in.）

Oil on canvas 1981 Signed lower left: Y.CHANG 81 Attached gallery certificate signed by artist and photo

附藝術家親簽之畫廊保證書與合照

NT$ 550,000-650,000 HK$ 150,100-177,400 US$ 19,240-22,740 66

1064

張義雄（1914－2016）

CHANG Yi Hsiung

威尼斯 A

Venice A

油彩畫布 1990 簽名右下：CHANG.Y 90 33×45.5 cm（13×7.9 in.）

Oil on canvas 1990 Signed lower right: CHANG.Y 90 Attached gallery certificate signed by artist and photo

附藝術家親簽之畫廊保證書與合照 Exhibited: 展覽：「張義雄、李金祝師生聯展」，台北時代畫廊，台北，1992年。「張義雄個展」，心晴美術館，台北，2017年。

"Chang Yi Hsiung and Li Jinzhu Joint Exhibition of Teachers and

出版：台北時代畫廊：《張義雄‧李金祝師生聯展畫集》（臺北市：台北時代畫廊，1992），頁8。

Literature:

Students", Taipei Times Gallery, Taipei, 1992. "Chang Yi Hsiung solo Exhibition", Wellington Gallery, Taipei, 2017.

Taipei Times Gallery, The Paintings of Chang Yi Hsiung and Li Jinzhu Joint Exhibition of Teachers and Students (Taipei: Taipei Times Gallery, 1992), p. 8.

NT$ 280,000-360,000 HK$ 76,400-98,300 US$ 9,800-12,590

1065

劉文裕（b.1944）

LIU Wenyu

意象山水

Imagery landscape

油彩畫布 1985 簽名右下：MiFUNE Yujiro-Bunia 1985 88.5×234 cm（34.8×91.2 in.）

Oil on canvas 1985 Signed lower right: MiFUNE Yujiro-Bunia 1985 With certificate of gallery

附畫廊保證書

NT$ 160,000-250,000 HK$ 43,700-68,200 US$ 5,600-8,750

2020年是陳銀輝老師九十高壽，臺中市文化局特舉行「悠遊於形色樂章－陳銀輝90回顧展」，回顧陳銀輝歷年來的創作，以鮮豔活潑的色彩跳動，自然不造作的筆觸，面對不同藝術觀念思維的衝擊，依舊保持極具個人特色的繪畫風格，展現對於藝術無限的熱忱及澎湃的情感。陳銀輝出生於嘉義縣。畢業於國立臺灣師範大學美術系，師事吳學讓、席德進、廖繼春、趙春翔、陳慧坤等多位臺灣前輩藝術，加上受到當時西方前衛藝術的熱潮，陳銀輝開始踏入創作的世界。1957年任教師大美術系，開啟長達四十年的教育生涯，培育無數臺灣藝術的人才及畫壇的菁英，為人敦厚深受學生的愛戴。陳銀輝退休後捐出退休金，成立「陳銀輝油畫創作獎學金」，提供獎金供全國油畫展設立「陳銀輝獎」，提攜後輩，除了自身擁有的藝術內涵，其作品更被收藏界的喜愛收藏。 Lot 1066《日光浴》創作於1992年，用色鮮豔大膽，黑色的軀幹、紅色的輪廓線條以及太陽光芒的黃色背景，

在視覺形成強烈的明度對比，更凸現出前景中的兩位女子曼妙的姿態。透過畫面上方的日光作為光源，提高整張畫作的明度，以聚焦的表現手法展示畫作的張力。對於畫作主體的女性描繪予以簡化，用彎曲的輪廓線，去除畫面的繁雜細節，使線條與色彩更能生動地表現其魅力。畫面前景斜躺的女性，以背面對觀者，藉由勾勒的黑色線條，展現出女性臀部到大腿的曲線美，畫家認為這是女人最美且最具女人味的部位；而另一位女子則以屈膝的姿態享受溫暖的日光，以簡單的線條保有可辨識的相貌，呈現慵懶的氛圍。整體畫作帶有些許紅色調，加強符合主題日光浴的炙熱氣氛，以流動的線條展現為畫面注入力度，畫家為表達主觀的感受，不強調物體的明暗表現，改以鮮豔強烈的原色表現，使整幅畫作富於裝飾性。以大膽的色彩堆疊出陽光的炙熱，前後人物的層次使畫面充滿立體感，為經典「陳銀輝風格」的創作。

1066

陳銀輝（b.1931）

CHEN Yin-Huei

日光浴

Sunbathing

油彩畫布 1992 簽名左下：銀 CHEN'92 90.9×72.7 cm（35.8×28.62 in.）

Oil on canvas 1992 Signed lower left: "Yin" in Chinese. CHEN'92 Exhibited:

展覽：「陳銀輝第廿四次個展」，高格畫廊，臺中，1992。出版：魏肇真：《陳銀輝畫展–第廿四次個展專輯》（臺北市：高格美術雜誌社，1992年）。

"Chen Yin-hui's Twenty-forth Exhibition", Gaguin gallery, Taichung, 1992. Literature: Wei Zhaozhen, Chen Yin-hui's Twenty-forth Exhibition Album (Taipei, Gaguin Gallery), 1992.

NT$ 800,000-950,000 HK$ 218,300-259,300 US$ 27,990-33,230

熊秉明，1922年出生於中國，著名法籍華人藝術家，集哲學、文學、繪畫、雕塑、書法之修養於一身，旅居法國50年，無論對人生哲學的體悟還是對藝術創作的實踐，都貫穿東西融合了中國的人文精神。1947年熊秉明以哲學考取公費前往法國留學，但在巴黎藝術之都的影響下以及一次拜訪巴黎美術

HSIUNG Ping Ming

熊秉明

學校雕塑教授紀蒙先生的機緣下，他深深受到雕塑創作的感動，「使我悟到這樣的雕塑也即是哲學，打鑿出這樣的雕塑比寫出一篇哲學論文更給人滿足。這裡不只有大智慧的光芒，虔誠的信念，還瀰漫著活潑靈動的生機。」一年後熊秉明即更改申請學習雕塑。熊秉明曾說：「我想用最簡潔的幾何形體構成一個明朗靜止的形式，試著造成『罷如江海凝青光』的感覺。」可見其作品欲以簡單的形式來啟迪人們。他的雕塑主題多半以人物和動物為主。拍品Lot 1067《背手裸女》創作於1952年的銅雕，承襲西方傳統對於人體的描繪，以飽滿的線條勾勒出女性柔美的曲線，這樣的線條看似簡單，但由於不同的人體，在比例的拿捏是較為複雜，堅實的體態讓整體雕塑富有動態感。 1954年開始，熊秉明先生嘗試西方的現代手法，在雕塑中加入一些哲學理念，將哲學與藝術雕塑融合在一起，他成功的賦予中國傳統哲學意境一個新的樣貌和聲音，有別於西方對於人體雕塑的厚重感，而是讓觀者藉由雕塑以東方含蓄的角度，欣賞人體姿態的美妙。

Hsiung Ping Ming,Born in China in 1922, he is a wellknown French Chinese artist who has cultivated philosophy, literature, painting, sculpture, and calligraphy. He has lived in France for 50 years. Whether he has a philosophy of life or his practice of artistic creation, he has integrated the East and the West. The humanistic spirit of China. In 1947, Hsiung Ping Ming got the government fellowship of study abroad and went to France to study in the philosophy area. However, under the influence of the art capital of Paris and the opportunity of a visit to the sculpture professor of the Paris School of Fine Arts, Mr. Gimond, he was deeply moved by the sculpture creation, "I realized such a sculpture is also a philosophy. It is more satisfying to sculpt such a sculpture than to write a philosophical essay. Here is not only the light of great wisdom, pious belief, but also lively and agile vitality.", One year Later, Hsiung Ping Ming changed his application to study sculpture. Hsiung Ping Ming once said" I want to use the most simple geometric shape to create the bright and silent form,and attempt to make the feeling of calm as the wave in the silent lake." It can be seen that his works intend to enlighten people in simple forms. Most of his sculpture themes are people and animals. Lot 1067 "Nude Woman with Hands the Back" was a bronze sculpture created in 1952. It inherits the Western traditional depiction of the human body, and outlines the feminine soft curves with plump lines. Such lines seem simple, but due to the different human bodies, the proportions are more complicated, and the posture makes the overall sculpture full of dynamics. Beginning in 1954, Hsiung Ping Ming tried Western modern techniques, adding some philosophical concepts to sculpture, fusing philosophy and art sculpture together. He successfully gave Chinese traditional philosophy a new appearance and voice, which is different from the Western attitude towards The heaviness of the human body sculpture allows the viewer to appreciate the beauty of the human body posture through the sculpture from the implicit perspective of the East.

1067

熊秉明（1922 －2002 ）背手裸女銅 1952 13 ×12.5×49 cm （5.1×5×19.3 in.）簽名左後：HSIUNG 4/8 版數：4/8 附畫廊保證書

HSIUNG Ping Ming Nude Woman with Hands in Back Bronze 1952 Signed back left: HSIUNG 4/8 Edition: 4/8 Attached gallery certificate

NT$ HK$ US$

1,200,000-1,350,000 327,500-368,400 41,980-47,230

朱銘

JU Ming

自30歲時拜入了楊英風老師門下，朱

初期較偏向「形」象模擬的嘗試，走過力道外顯的

銘開始從工藝雕刻正式踏入藝術創作領域。

「意」象表現，在廿世紀之末的九○年代，以「拱」系列的作品，回歸太極無形、流轉不息的精義「神」

在楊英風門下八年，朱銘逐步掌握了藝術的本質，更奠定他在藝壇的位置，逐步發展出知名的「太極系列」。這一系列新的創作，源自學習太極的過程，讓朱銘體悟簡化了「形」，增加「精神」的內涵。如此一來，朱銘作品有了精神性的面貌與內涵，更獨創出個人的雕塑風格。「太極」是中國傳統文化的精華，從宇宙起源、生命運行、乃至人身消長，都是太極。他的「太極」系列在國內雕塑史上佔有

韻。太極系列從有形的雕鑿到無形的寫意，達到了神形兼備的境界，也是朱銘現代雕塑的極致表現。拍品Lot 1068《太極拱門》看似拱門其實並非拱門，而是由兩人對招的姿勢演變而來，在一陰一陽之中達到平衡，而行成拱門的形制。朱銘將動作簡化到只剩抽象的運動形體，以刀斧劈展現過招時的氣魄與力度，藉此形構成拱門在透空的虛空間中，表現出重量感及速度感，抽象形式的「太極拱門」完美詮釋太極氣韻流轉的深意，為太極系列劃下圓滿的句點。

重要地位，也使他享譽國際。太極系列，從

可參閱：臺北市榮總醫院中正樓門口，太極拱門系列意喻健康之門。 Please refer to: Tai Chi arch series at the entrance of Zhong zheng Building, Taipei Rong General Hospital, symbolizing the door to health. 73

1068

朱銘（b.1983）

Ju Ming

太極系列－太極拱門

Tai Chi Series - Tai Chi Arch

銅雕約莫1990年代簽名雕刻右側下方：朱銘 10/10 88 ×42 ×56 cm （34.6×16.5×22 in.）

Bronze

Circa 1990s

Signed engraving lower right: Zhu Ming 10/10 With certificate of gallery

附畫廊保證書

NT$ HK$ US$

3,600,000-4,600,000 982,500-1,255,500 125,940-160,920

「我在畫面所要表達的便是線條的動態，並且以擦筆使整個畫面活潑起來，或者是言語所無法傳達的某種神秘力滲入畫面吧，這便是我作畫的用心之處……」 – 陳澄波自清代以來臺灣便開始築城，最開始

CHEN Cheng-po

陳澄波

的目的是為防亂，盡量減少財政的龐大負擔，由於清代民亂不斷，乾隆皇帝認為臺灣各城的防衛功能不佳，便開始修改城門形式的轉變，由最早的竹城、土城、石城演變到最終的磚城，間接反映出臺灣歷史文化的特色。新竹的古稱為竹塹，1826 年鄭用錫提議興建磚石城及四城門樓，獲得清朝朝廷准許，於1828年動工興建以城隍廟為中心，東門為迎曦門、西門為挹爽門、南門為歌薰門、北門拱宸門，而在東西南三門各設有砲臺一座；直到1902 年，總督府為實施市區改正，開始拆除城牆與城樓，直至最後僅剩東門（迎曦門）留存至今，迎曦門現已定為國定古蹟。隨著時代的推進，科技日新月異，城門的用途開始式微，直到日治時期，因應都市的發展城門被拆毀，而1982年臺灣開始實施文化資產保存法，現存的歷史城門得以文化遺產的身份而保存。陳澄波的藝術風格受到日治後期的現實關懷與1920年代中後期興起的臺灣「新美術運動」中外光派、西方印象派與後印象派等自然寫實派影響，將創作重心擺置臺灣地方色彩的挖掘，歌頌自然、追求藝術的純粹性。陳澄波經過嚴格的正統學院訓練，嚴謹的構圖，卻又不失純稚樸拙；特有的筆觸，大膽的用色，成了他深深為自己烙印下的印記，也是其獨特之處。而其在1921年所寫的《藝術觀》自道自己的藝術哲學：「作為一個藝術家，必須擴大生活領域，更需寬容關懷事物。因真正的藝術家之感受性太敏銳了，若無寬大的包含量來容納，感受進來的很快就超出平常的飽和點。」

Since the Qing Dynasty, Taiwan has begun to build cities. The original purpose was to prevent chaos and minimize the huge financial burden. Due to the continuous civil chaos in the Qing Dynasty, Emperor Qianlong believed that the defense functions of Taiwan’s cities were not good, so he began to modify the form of the city gates. The transformation, from the earliest bamboo city, earth city, and stone city to the final brick city, indirectly reflects the characteristics of Taiwan's history and culture. The ancient name of Hsinchu was the Bamboo Graft. In 1826, Zheng Yongxi proposed to build a masonry city and four gate towers, and obtained permission from the Qing court. In 1828, construction started with the Chenghuang Temple as the center. Ge Xun Gate and North Gate Gongchen Gate, and three gates in the east, west and south each have a fort; until 1902, the Governor's Mansion began to demolish the city walls and towers in order to implement urban corrections, until finally only the East Gate (Yingxi Gate) remained. , Yingxi Gate has been designated as a national monument. With the advancing of the times and the rapid development of science and technology, the use of city gates began to decline. It was not until the Japanese rule that the city gates were demolished in response to the development of the city. In 1982, Taiwan began to implement the cultural assets preservation law, and the existing historical city gates were preserved as cultural heritage. . Chen ChengPo’s artistic style was influenced by the realism in the late Japanese occupation and the natural realism of Taiwan’s "New Art Movement" that emerged in the mid-to-late 1920s, Western Impressionism, and Post-Impressionism. He focused his creation on the exploration of local colors in Taiwan. Praise nature and pursue the purity of art. Chen Cheng Po has undergone strict college training, rigorous composition, yet naive and simple; his unique brushstrokes and bold use of colors have become the imprints of his work, which is also unique. And in "Art View" he wrote in 1921 reflected his own philosophy of art: "As an artist, you must expand your life and you need to be tolerant and caring about things. Because the real artist's sensibility is too keen, if there is no generous inclusion To accommodate, feel that what comes in soon exceeds the usual saturation point."

從日治時期到戰後初期，陳澄波在其逾半世紀的生平歲月中，創下二十世紀前半葉台灣藝壇上無數之特殊「紀錄」，1926年他以畫作《嘉義街外》首次入選日本第七屆「帝國美術展覽會」。1913年進入臺北國語學校公學師範部時，受日本水彩畫家石川欽一郎啟蒙，深刻觸動陳澄波學畫的堅持，因此早期在臺灣的創作作品多以水彩為主。 Lot 1071《古亭庄芭蕉田》創作於1916年，屬於陳澄波早期的水彩作品，畫法仍可以看出石川欽一郎對他的影響，水彩的色彩表現較淺淡，不像油彩畫那樣華麗搶眼，帶有些許畫面透明感，筆觸較為細碎。採取三分法的構圖，繪畫主體簡單，以簡單的線條描繪田景的輪廓，中間以色彩較重的樹木及右側的樹林後方的農舍建築，令畫面達成平衡及穩定感，上方留白空間減少視覺壓迫感，整體畫作呈現田野寬闊自然的空間感。 Lot 1072《台灣農家》創作於1921年，描繪樸實的農家生活，一改之前清淡的色彩，改成暗沉藍褐色調，筆法簡逸不著重線條感，以圓弧線條圈出前景的湖面，建築以正面呈現佔據畫面中心，以單點透視於房屋正中心，營造畫面的深度及空間感；前景點綴的兩隻鴨子，將整體鄉村的靜謐氛圍增添一絲活潑及生命力。到公學校任教時，陳澄波的繪畫風格逐漸改變，脫離石川欽一郎淡雅的風格，色彩轉為厚實，多以藍綠色調為主，Lot 1070《公園》正是這時期的典型，色彩濃厚類似油畫的表現，陳澄波對於林木的描繪著重於神韻的寫意，右前方的樹型高佻，撐起畫面前側，圓弧形筆觸將樹葉以重複堆疊的點狀描繪；左側的樹林濃密，層層堆疊，幾乎無縫隙，色彩厚重卻恰好與右側樹木達成視覺平衡。整幅作品線條筆觸瀟灑，前景的河流倒映出樹叢茂密，讓觀者感受水面的平靜，對比線條複雜的樹林，增加畫面視覺的流動感，使畫面層次感豐富。陳澄波的藝術生涯中造詣極高，無論在油畫、水墨、素描及水彩方面均有所涉獵，其中水彩作品僅有 78件，可見此三件作品的珍貴及稀少，此外本次拍品中Lot 1072《台灣農家》及Lot 1070《公園》均創作於 1921年，面對即將迎來的2021年，從創作至今邁入百歲，畫作保存完好，彌足珍貴，難得一見。從戰前到戰後，陳澄波的一生雖波瀾起伏卻豐富精彩，反映台灣美術在不同政治實體統治下所經歷之曲折過程，仍舊不願屈服的繪畫之心，對創作的執著與熱愛，備受世人懷念。

In 1913, when he entered the Public School Teachers Department of Taipei Mandarin School, he was enlightened by the Japanese watercolor painter Ishikawa Kinichiro. The teacher was good at watercolor depiction of Taiwan’s beautiful landscapes, which deeply touched Chen Chengbo’s persistence in learning painting. Therefore, his early works in Taiwan were mostly watercolor. . Lot 1071 "Gutingzhuang Basho Field" was created in 1916 and belongs to Chen Chengbo's early watercolor works. The painting method can still see the influence of Ishikawa Kinichiro on him. The color of the watercolor is lighter, not as gorgeous and eye-catching as the oil painting. There is a sense of transparency in the picture, and the brushstrokes are relatively fine. The composition is based on the rule of thirds. The main body of the painting is simple, with simple lines depicting the outline of the field, with heavy colored trees in the middle and the farmhouse building behind the forest on the right to achieve a sense of balance and stability in the picture, and reduce the white space above. A sense of visual oppression, the overall painting presents a wide and natural sense of space in the fields. Chen Chengbo’s artistic style was influenced by natural realism such as Waiguang, Western Impressionism, and PostImpressionism. He focused his creation on the excavation of Taiwan’s local colors, praising nature, pursuing artistic purity, and rigorous composition without losing purity. Naive. Lot 1072 "Taiwan Farmhouse" was created in 1921. It depicts a simple farm life. It changed the previous light color and changed to a dark bluebrown tone. The brushwork is simple and easy and does not emphasize the sense of lines. The lake in the foreground is circled with arc lines. The building occupies the center of the picture with a frontal presentation, and uses a single-point perspective in the center of the house to create a sense of depth and space in the picture; the two ducks in front of the scenic spots add a touch of liveliness and vitality to the tranquil atmosphere of the overall countryside. When he taught in a public school, Chen Cheng Po's painting style gradually changed. He broke away from Ishikawa Kinichiro's elegant style, and his colors became thicker, mostly in blue-green tones. Lot 1070 "Park" is a typical work of this period, with strong colors similar to oil paintings. Representation, Chen Cheng Po’s depiction of the forest focuses on the freehand brushwork of charm. The tree-shaped high on the right front supports the front side of the picture, and the arc-shaped brush strokes depict the leaves in repeated stacked dots; the forest on the left is dense, layered and almost stacked. There is no gap, the color is thick but it just reaches a visual balance with the trees on the right. The lines of the whole work are chic, the river in the foreground reflects the dense trees, allowing the viewer to feel the calm of the water, and the contrasting woods with complex lines increase the visual flow of the picture and enrich the layering of the picture.

臺灣總督府內務局。[竹塹城]迎曦門（東門）。臺大總圖

國家圖書館。新竹東門，日據時期臺灣地區明信片。國家

書館–臺灣舊照片資料庫。史蹟調查報告(第二輯)。昭和11

圖書館臺灣記憶。約1910年代。17-11-2020。

年（1936年）。17-11-2020。

Lot 1069《新竹迎曦門》創作於1935年，將城門置於畫面中央，前景兩側的樹木左右對比巧妙的使畫面達到平衡，且讓觀者的視點更加集中於中央的主體，而筆直進入城門內的紅土步道延伸至畫面消逝點，整體構圖嚴謹，由中央向兩側延伸展開的構圖為陳澄波常使用的構圖形式。當時受到新美術運動中外光派、西方印象派與後印象派等自然寫實派影響，陳澄波常言：「大自然就是我的畫室。」可見他時常室外作畫，透過實地觀察直接在日光下作畫，將大自然最真實的容貌描繪下來。《新竹迎曦門》中筆觸肌理著重於光影的變化，全幅以紅、綠、藍作為主色調，紅色城門、藍天、綠樹形成強烈對比，以書寫性的線條勾勒城門輪廓，讓整體建築帶有些許動感。陳澄波將1930年代的景致繪於創作之中，作為一個時代的紀錄者，如同城門逐漸消失於歷史。在他的畫作中緊緊相連著你我與臺灣這片土地，而歷史的痕跡成了記憶深處。陳澄波曾說：「一個以藝術創作為己任的人，若不能為藝術而生、為藝術而死，還能夠算是個藝術家嗎？」將情感與生命投入於畫作之中，雖然時間不斷流逝，但情感的力量卻是永恆不變。陳澄波將他這一生的故事寫入作品中，更刻劃了臺灣的轉變。雖然他已消逝成為油彩的化身，盡情揮灑生命，在歷史的洪流中為臺灣藝術發展留下了無法抹滅的印記。

Lot 1069 "The Gate of Yingxi in Hsinchu" was created in 1935. The city gate is placed in the center of the picture. The contrast between the trees on both sides of the foreground makes the picture balanced and allows the viewer's point of view to be more concentrated on the central subject, while entering straight,the red earth path in the city gate extends to the disappearing point of the picture, and the overall composition is rigorous. The composition extending from the center to the sides is the composition form often used by Chen ChengPo. At that time, influenced by the natural realism of the New Art Movement, the Western Impressionism, the Western Impressionism, and the PostImpressionism, Chen Cheng Po often said: "Nature is my studio." It can be seen that he often paints outdoors and paints directly under the sunlight through his observation. The most real appearance of nature is depicted. The texture of the brushstrokes in "Hsinchu YinXi Gate" focuses on the changes of light and shadow. Red, green, and blue are used as the main colors throughout the entire painting. The red gate, blue sky and green trees form a strong contrast. The outline of the gate is outlined and the overall architecture is dynamic. Chen Cheng Po painted the scenery of the 1930s in his creation, as a recorder of the era, as if the gates of the city gradually disappeared in history. In his paintings, you and I are closely connected with the land of Taiwan, and the traces of history have become the depth of memory. Chen Cheng Po once said: "A person who takes art creation as his own responsibility, if he can't live and die for art, can he still be an artist?" Dedicating emotion and life into the painting, although time goes by, but The power of emotion is eternal. Chen Cheng Po writes the story of his life into his works, and even portrays the transformation of Taiwan. Although he has gone, he slid his life to his heart, leaving an indelible mark on the development of Taiwan's art in history.

1069

陳澄波（1895－1947）

CHEN Cheng-po

新竹迎曦門

Gate of Castle in Shinchu

油彩木板 1935 簽名右下：澄波一九三五 25.5×38 cm（10×15 in.）

Oil on wooden board 1935 Signed lower right: named Cheng Po in Chinese, date 1935

NT$ 3,600,000-4,200,000 HK$ 982,500-1,146,300 US$ 125,940-146,930

1070

陳澄波（1895 －1947 ）

CHEN Cheng-po

公園

Park

水彩紙本 1921 簽名右下：1921.10 TO.HA.CHiN 24.5×19 cm （9.6×7.5 in.）

Watercolor on paper 1921 Signed lower right: 1921.10 TO.HA.CHiN Attached certificate of original work signed by the family of the artist

附藝術家家屬簽署原作證明書 Literature: 出版：余彥良：《陳澄波作品集-藏寶圖肆》（臺北市：尊采國際藝術有限公司，2005 年），頁140 。

Yu Yanliang, CHEN CHENG-PO Art Treasures Collection (Taipei, Respectable Art Center, 2005), P.140.

NT$ HK$ US$ 79

350,000-500,000 95,500-136,500 12,240-17,490

1071

陳澄波（1895 －1947 ）

CHEN Cheng-po

古亭庄芭蕉田

Plantain Field in Guting Village

水彩紙本 1916 簽名左下：5.3.30 23 ×31 cm （9.1×12.2 in.）

Watercolor on paper 1916

附藝術家家屬簽署原作證明書

Signed lower left: 5.3.30

Attached certificate of original work signed by the family of the artist Literature:

出版：余彥良：《陳澄波作品集-藏寶圖肆》（臺北市：尊采國際藝術有限公司，2005 年），頁130 。

Yu Yanliang, CHEN CHENG-PO Art Treasures Collection (Taipei, Respectable Art Center, 2005),

NT$ HK$ US$

P.130.

300,000-500,000 81,900-136,500 10,490-17,490 80

1072

陳澄波（1895 －1947 ）

CHEN Cheng-po

台灣農家

Taiwan Farmhouse

水彩紙本 1921 簽名左下：1921.8 TO.HA 23.5×31 cm （9.3×12.2 in.）

Watercolor on paper 1921 Signed lower left: 1921.8 TO.HA Attached certificate of original work signed by the family of the artist

附藝術家家屬簽署原作證明書 Literature: 出版：余彥良：《陳澄波作品集-藏寶圖肆》（臺北市：尊采國際藝術有限公司，2005 年），頁126 。

Yu Yanliang, CHEN CHENG-PO Art Treasures Collection (Taipei, Respectable Art Center, 2005),

NT$ HK$ US$

300,000-500,000 81,900-136,500 10,490-17,490

P.126.

楊三郎為台北永和人。1923年赴日本留學，就讀京都市立美術工藝學校。1924年轉學京都關西美術學院西洋畫科，接受嚴格的學院派訓練。本次拍品中Lot 1075 《靜物花》，楊三郎赴日習畫期間，由於日本學院注重寫實技巧的「外光派」訓練，進而奠定其基本繪畫的技法並培養出細膩的觀察力。其後，深受法國印象派畫風的影響，對於柯洛（Jean-Baptiste Camille Corot, 17961875）以及莫內（Oscar-Claude Monet, 1840-1926）的欣賞，逐漸將瞬息萬變的光影技巧、以及鮮麗多變的色彩表現融入其畫作之中，而《靜物花》以此花卉為主題的作品更是難得少見。 1928年畢業回臺灣，與倪蔣懷、廖繼春等人共組「赤島社」。1929年作品《靜物》榮獲臺灣美術展覽會特選第一名。楊氏於1932年赴法國留學，其作品《塞納河》入選當年度法國秋季沙龍，與當時留法顏水龍同為早期留法畫家。本次拍品Lot 1074《巴黎街頭》整體作品呈現潔白明亮的色調，溫暖陽光灑在白色牆面，綠窗、紅雨遮，行人、店家與住宅佇立於街道上。目光隨著寫實的街道風光延伸至底，畫面後方的制高點顯現，那是一座藍屋頂白牆面的高塔，延伸至輕盈的白雲湛藍的天。整體畫面呈現愜意的街景生活，色彩上十分豐富且和諧。

YANG San-Lang was born in Taipei, Taiwan. YANG moved to Japan in 1923 where he studied at the Kyoto School of Arts and Crafts. In 1924 he transferred to the Western Painting Department in the Kansai Art Academy to receive academic training. He returned to Taiwan in 1928, and founded the "Red Island Association" with NI Jiang-Huai and LIAO ChiChun. In 1929, he won the first prize at the Taiwan Art Exhibition. YANG went to France in 1932, spending time to visit museums and study European paintings. In the same year, his painting was selected for the Autumn Salon in Paris. The overall work of Lot 1074 "The Streets of Paris" presents a bright white color, warm sunlight on the white wall, green windows, red rain cover, pedestrians, shops and houses standing on the street. Following the realistic street scenery, the gaze extends to the bottom, and the commanding height behind the picture appears. It is a high tower with a blue roof and white walls, extending to the light white cloud and blue sky. The overall picture presents a comfortable street life with rich and harmonious colors. In 1934, he returned to Taiwan and held a solo show at the Hall of Education. At the same time, he established the Taiyang Art Association with the other 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 (1987), both held at the National Historical Museum. YANG received a special national art award in 1986 for his tremendous contribution to Taiwan's art world.

「見我所見，描我所見」。

"See what I see, draw what I see."

楊三郎在創作之時，強調醞釀自我對自然

When Yang Sanlang was creating,Emphasizing the feeling and sensation through the world, he put himself into nature and kept connecting with it.Not deliberately seeking, but from the desire for nature and from the simplicity and innocence.

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。 Lot 1073《秋景》描繪鄉村秋季下的一

YANG San Lang

楊三郎

景。屋舍一隅橘黃的林木相互交錯，秋風颯颯，黃葉飄零。林野後方白雪靄靄，刻畫出終年被白雪覆蓋的山景。構圖平穩，遠近有別，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。楊三郎留法回臺後成為專職畫家，推動各項美術活動。1934年，返臺創辦「洋畫研究

Lot 1073 "Autumn Scenery" depicts a scene in the countryside in autumn. The orange trees in the corner of the house are intertwined, the autumn wind is rustling, and the yellow leaves are falling. Behind the forest, the mountain scenery is covered by snow all year round. The composition is stable, and the distance is different. The bright and bright colors are contrasted with the cold tones, and the coolness is a little warm. The thick oil paint also brings out the simplicity and roughness of the natural scenery.

所」於太平町，與陳澄波、廖繼春、顏水龍、李梅樹、李石樵等人成立「臺陽美術協會」，並在教育會館舉行個展。1945年後，受聘為「臺灣省美術展覽」的籌備委員，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年恢復臺陽展，成為該展最大支持者。1979年和1987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」。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。

1073

楊三郎（1907－1995）

YANG San Lang

秋景

Autumn Scene

油彩畫布 1991 簽名左下：S.Yang 45.5×53 cm（17.9×20.9 in.）

Oil on canvas 1991 Signed lower left: S.Yang Attached gallery certificate signed by artist

附藝術家親簽之畫廊保證書展覽：「楊三郎油畫個展」，台北時代畫廊，台北，1993 年。

Exhibited: "Yang Sanlang Oil Painting Solo Exhibition", Taipei Times Gallery, Taipei, 1993.

NT$ 450,000-600,000 HK$ 122,800-163,800 US$ 15,740-20,990 83

1074

楊三郎（1907－1995）

YANG San Lang

巴黎街頭

Street in Paris

油彩畫布 1985 簽名右下：S.Yang 50.5×60.5 cm（19.9×23.8 in.）

Oil on canvas 1985 Signed lower right: S.Yang Attached gallery certificate signed by artist

附藝術家親簽之畫廊保證書 Exhibited: 展覽：「楊三郎油畫個展」，台北時代畫廊，台北，1993年。出版：台北時代畫廊：《楊三郎畫集》（臺北市：台北時代畫廊， 1993），頁21。

"Yang Sanlang Oil Painting Solo Exhibition", Taipei Times Gallery, Taipei, 1993. Literature: Taipei Times Gallery, A Collection of Yang Sanlang's Paintings (Taipei: Taipei Times Gallery, 1993), p. 21.

NT$ 550,000-650,000 HK$ 150,100-177,400 US$ 19,240-22,740 85

1075

楊三郎（1907－1995）

YANG San Lang

靜物花

Flowers

油彩畫布簽名右下：S.Yang 46×38.5 cm（18.1×15.2 in.）

Oil on canvas Signed lower right: S.Yang Attached gallery certificate signed by artist

附藝術家親簽之畫廊保證書

NT$ 550,000-650,000 HK$ 150,100-177,400 US$ 19,240-22,740 86

李義弘

LI Yi Hong

李義弘（b. 1941），字在川，臺南西港人。國立藝專求學期間，師事高一峰、傅狷夫、胡克敏等自中國來台的水墨大師，磨練出堅實的傳統水墨畫技巧。畢業後師承江兆申，並以鄉間土地為核心，開展出各種不同的表現型式，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。Lot 1077《黃山履痕冊》中，包含山水水墨畫 12張、序文2張與跋文1張。冊頁外盒精美、設計頗具巧思，內頁紙張帶有些許金箔質感，增添收藏價值。12張山水水墨畫皆為李義弘用心之作，其中作者更為每張山水畫親自題名或題詩，書畫筆墨之間，更富寓意。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

Lot 1077李義弘《黃山履痕冊

攝影入畫，加入層次精準的意象，使作品顯得奇特

（畫12張、跋3）》

且創新。近年來的山水創作，更著力將山色、光影、雲

（澳門：華輝印刷公司，2014

氣、質感兼容於一，已然演繹出自我存在於自然狀

年）。

態下的體悟，其作品深入傳統中去理解筆墨與自身

Civil and Municipal Affairs Bureau Gallery, The World is Boundless (Macau: Huahui Printing Company, 2014).

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。Lot 1076《華巖》一作，山巖具象如西畫，牡丹芍藥纖柔，有種陰陽調和不乖違的撞擊感，恰似蘊藉中西藝術技法的新形態，實屬畫家迸然勃發之妙作。 Lot 1076《山巖》山巖具象如西畫，牡丹芍藥纖柔，有種陰陽調和不乖違的撞擊感，恰似蘊藉中西藝術技法的新形態，畫家迸然勃發之妙作。 87

民政總署畫廊：《天地無垠》

蕭瓊瑞：《磊石縱浪》（臺北市：藝術家出版社，2015 年）。 Xiao Qiongrui, Lei Shi Chong L a n g ( Ta i p e i C i t y : A r t i s t Publishing House, 2015).

1076

李義弘（b.1941）華巖紙本水墨款文：華巖二O一O年七月李義弘。鈐印：水流雲在（朱文）李（朱文）義弘（白文）歡喜無量（朱文） 95×42.5 cm（37.4×16.7 in.）附畫作保證書出版：民政總署畫廊：《天地無垠》（澳門：華輝印刷公司，2014年），頁56。蕭瓊瑞：《磊石縱浪》（臺北市：藝術家出版社，2015年），頁171。

LI Yi Hong Huayen Ink on paper Inscribed and signed, with four seals of the artist Attached certificate Literature: Civic and Municipal Affairs Bureau Gallery, The World is Boundless (Macau: Huahui Printing Company, 2014), p.56. Xiao Qiongrui, Lei Stone Waves (Taipei: Artist Publishing House, 2015), p. 171.

NT$ 360,000-450,000 HK$ 98,300-122,800 US$ 12,590-15,740 88

1077

李義弘（b.1941）黃山履痕冊（畫12張、跋3）紙本墨書冊頁釋文：（略，詳本品）題籤：黃山履痕己卯夏日李義弘題耑義弘染翰（白文）在川小記（朱文） 50.8×46×4.7 cm（20×18.1×1.9 in.） 89

LI Yi Hong Trace in Mountain Huang Ink and color on paper, album of sheets

NT$ 700,000-900,000 HK$ 191,000-245,600 US$ 24,490-31,480 90

常玉生於四川，少年時就讀上海美術學校。1919 年至日本留學，1920 年轉赴法國留學，成為中國最早期的留法學生之一，之後留居巴黎。1925 年起，其作品屢見於巴黎的沙龍美展及各大畫廊。二次大戰前曾回到中國，後轉至紐約生活兩年。1948 年紐約現代美術館替他舉辦個展。 1966 年於巴黎逝世後，台北國立歷史博物館曾分別於1978 、1984 、1990 年共舉辦三次他的回顧展。2001 年常玉百歲冥誕時，歷史博物館又展出常玉百歲紀念大展，2004 年6月巴黎國立居美東方美術館舉辦常玉回顧

SAN Yu

展，展出60 餘件作品。足見其作為海外華人藝術家在中國畫壇的重要性。主要收藏機構有：台北國立歷史博物館、北京中國美術館等。常玉的素描與水彩，有時比油畫作品更具吸引，因為油畫的層疊交替容易分散線條的純粹，而透過素描與水彩，則更能直接且毫無保留常玉熟練的線條筆觸，創造出優美隨興的作品。常玉專精於中國水墨，寥寥幾筆便能捕捉主角的神韻，觀察人臉表情的變化尤為傳神，Lot1078 《閱讀中的女士》描繪

Born in Sichuan. SAN Yu attended the Art College in Shanghai and went to Japan in 1919. In 1920, he went to France as part of the first Wave of Chinese artists to study in France. Unlike most of his contemporaries, SAN Yu decided to remain in Paris. Since 1925, SAN Yu exhibited His work regularly at the Paris salons and in local galleries. Before World War II, SAN Yu returned to China briefly and then moved on to New York where he lived for two years. In 1948, the Museum of Modern Art in New York held an Exhibition of his work. Since SAN Yu＇s death in Paris in 1966, the National Museum of History In Taipei has held three retrospective exhibitions of his works. To celebrate the 100th anniversary of SAN Yu, the National Museum of History held a grand exhibition of over 129 oil paintings. Since June 2004, the Musee National des Arts AsiatiquesGuimet held a retrospective show of SAN Yu＇s 60 works. SAN Yu specializes in Chinese ink painting, and can capture the protagonist's charm in a few strokes. Observing the change of facial expression is especially vivid. Lot 1078 “Reading Woman＂ depicts the face and body of women, in order to expand the expression of sketching. The "dry pen" SAN Yu commonly used in Chinese landscape paintings increases the contrast between light and dark and the sense of volume, and then applies simple colors. The figure of woman reading looks natural and simple and powerful.

女士的側身，為了拓展速寫的表現手法，常玉以中國山水畫常用的「乾筆」增加明暗對比與體積感，再施以簡單的色彩，女士低頭閱讀的側影，線條簡單顯得自然優美又簡潔有力。

1078

常玉（1895 －1966 ）

SANYU

閱讀中的女士

Reading Woman

紙本簽名右下：玉 SANYU 43.5×25.5 cm （17.1×10 in.）

paper Signed lower right: named YU in Chinese and SANYU Literature:

出版：衣淑凡：《常玉素描及水彩全集》（臺北：立青文教基金會，2015 年），圖版D3029，頁117。

Yi Shufan, The Complete Works of Sanyu's Sketches and Watercolors (Taipei, Liqing Culture and Education Foundation, 2015), p. 27.

NT$ HK$ US$ 91

1,100,000-1,300,000 300,200-354,800 38,480-45,480

「我一直覺得藝術的根本意義是在追求不同，藝術絕對是自我意念的活動，每個人都會因生活背景不同、思考方式不同而發掘不同的生活情感。真正的創作理念，應該是結合生活中真實的情感，成長過程中不斷累積的經驗及個人的修養。」－龐均。龐均採納寫實主義及文人畫的傳統又加以轉化，藉由對色彩的高妙運用鎔鑄出一套獨樹一格的藝術語彙。自述：「我的風景畫就是因為這個灰色調的表現而被人喜歡。因

PANG Jiun

龐均

為這也應驗了在中國詩詞裡的韻味和飄渺，和中國人所隱藏的情感收斂深沉，這都是同一個精神性。」大量的寫生造就下筆胸有成竹，自由寫意的詩意筆觸與韻律感，猶勁靈動的線條與簡單俐落的輪廓。灰色調的顏色是屬於龐均的，對於灰色巧妙的運用，點綴出中式水墨一般的意境卻不失油畫厚重的質感，使得繪畫過程融匯真情實感，對於景物元素的把握亦更為準確。龐均的筆法流暢、用色熟練，清新、俐落、浪漫、多元，舉凡是日常一景，都可用他獨到的畫風呈現，讓整幅作品色調看起來又是如此的平衡。龐均作品中集結之作，畫面盎然新生，筆觸嫺熟、色彩鮮明、大膽而巧妙地運用黑白灰，十分華美奔放。拍品Lot1079《春在枝頭》為2020龐均老師的新作，前景盛放的桃花有如帷帳般拉開春的序幕，前方湖面幾艘小舟停靠，波光雲影粼粼瀲影；中景的桃花枝纖細相得益彰，兩並開來中無雜樹，左側的桃花繁盛，落英繽紛。高底起伏得山巒，坐落幾戶人家，錯落有致，使人得到一種明朗素雅和層次分明的韻律美的享受。在漫長的藝術創作生涯中，希望將西方藝術的熱情、表現力與爆發力和東方的寫意哲思完美融合在一起。右下角特殊的書法體簽名與自創的手繪印章式落款，更增添東方文人氣息，整體濃淡勻淨、氣韻雅致。所謂的「妙在似與不似之間，不似為欺世，太似為媚俗」。因此，他的畫作融合古典與現代，時間雖然變幻無常，卻在此處化作詩意無窮的平和景緻，涵東方文人畫的詩情畫意。龐均的畫作，注重將觀察到的現實世界表達出來，同時也體現出他內心深層的思想、靈感和感受。

"I have always felt that the fundamental meaning of art is to pursue differences. Art is definitely an activity of selfconcept. Everyone will discover different life emotions due to different life backgrounds and different ways of thinking. The true creative concept should be combined with the truth in life. The emotions, accumulated experience and personal cultivation in the process of growing up. "-Pang Jiun Pang Jiun adopted the traditions of realism and literati painting and transformed them, using the clever use of colors to forge a unique artistic vocabulary. Self-report: "My landscape paintings are liked because of the gray tone. Because it also fulfills the charm and misty in Chinese poetry, and the deep emotions hidden by the Chinese are the same spirituality. "A large number of sketches have created a clearcut, free-hand poetic brushstroke and sense of rhythm, vigorous and flexible lines and simple and neat outlines. The colors of gray tones belong to Pang Jiun. The clever use of gray embellishes the general artistic conception of Chinese ink and wash without losing the heavy texture of oil paintings, which makes the painting process blend with true feelings and grasp the elements of the scenery more accurately. Pang Jiun’s brushwork is smooth, his color is skillful, fresh, neat, romantic, and diverse. Every day scene can be presented with his unique style of painting, which makes the entire work look so balanced. Among the works of Pang Jiun, the pictures are full of freshness, with skillful brushstrokes, bright colors, bold and clever use of black and white, and they are very gorgeous and unrestrained. Lot 1079 "Spring on the Branches" is a new work by Teacher Pang Jiun in 2020. The flower blossoms in the foreground are like a curtain to open the prelude to the spring. Several small boats dock on the lake in front, and the waves and clouds are shining; the flower blossoms in the middle , the branches are slender and complement each other. The up and down is undulating over the mountains, and there are several houses located in the mountain, giving people the enjoyment of a clear, elegant and layered rhythmic beauty. In the long career, I hope to perfectly blend the passion, expressiveness and explosive power of Western art with the free philosophy of the East. After thousands of sketching practices. The special calligraphic signature and the self-made painted seal signature in the lower right corner add to the charm of oriental writing, and the overall density is uniform and elegant. The so-called "Wellness lies between the like and the not like, not like deceiving the world, but too like kitsch." Therefore, his paintings are a fusion of classical and modern. Although time is fickle, it is transformed into a peaceful and poetic scene here, which embodies the poetic and artistic flavor of oriental literati painting. Pang Jiun’s paintings focus on expressing the real world he has observed, while also reflecting his deep inner thoughts, inspiration and feelings.

1079

龐均（b.1936）

PANG Jiun

春在枝頭

Spring on the branch

油彩畫布 2020 簽名右下：龐均 2020 手繪鈐印：均 73×91.5 cm（28.7×36 in.）

Oil on canvas 2020 Signed lower right: PANG Jiun in Chinese, 2020 Inscribed and signed, with one seal of the artist Attached certificate signed by artist

附藝術家親簽保證書

NT$ 1,900,000-2,400,000 HK$ 518,600-655,000 US$ 66,470-83,960

「中國畫往往不太重視外表的真實，它講究的是一種哲學，是透過真實通往更深、更裡的層次，所有畫家敢於將外表的真實進行主觀的概括。中國畫對於色彩，也不追求真實，它更重要的是對於主觀、情境所賦予的顏色。通過外在的感覺，還原到生命的本質。」－洪凌

HONG Ling

洪凌

由心出發，寄情於山水之間，正是這樣的心境，讓我們能一探洪凌觀看世界的不同角度，藉由揮灑於畫布的色彩及筆觸，傳達對於自然的熱愛。洪凌出身於書香世家， 1979年畢業於北京首都師範大學美術系， 1987年畢業於中央美術學院油畫系研修班，現任中央美術學院油畫系第三工作室副教授。洪凌在創作上突破傳統的框架，由寫實經過寫意而逐漸走向意象，在既有的藝術世界揮灑出屬於洪凌獨有的色彩。由於不斷的努力與堅持，加上富含著中國文化強大的底蘊，在1997年即獲得威尼斯雙年展評委會的肯定，更奠定了自己的藝術地位。早期洪凌習中國山水，隨著求學過程他開始接觸油畫，不斷讓自己在繪畫反覆的創作與學習，當時1985－1988經歷中國八五新潮美術運動，頓時大量外國新知識襲來，外在眾多新穎的資訊，讓許多中國畫家開始向新潮流的前衛藝術邁進，然而這個現象卻讓洪凌選擇停下腳步，花費大量的時間鑽研新技法、新潮流，但卻不能確立自己的心性在何處。在這樣的疑惑之下，洪凌開始認真探討自我的內心，在藝術創作找到專屬於洪凌的秘境。由於某次旅遊途經對於黃山，特別鍾愛這個地方於是在1993年洪凌便在黃山山腳成立個人工作室，透過窗外聽到滾滾的流水聲，眺望遠處黃山的山巒景色，讓其繪畫增添對於自然與山水的表現及感悟，將真切的情感融入畫作。

"Chinese paintings often don't pay much attention to the reality of appearance. It pays attention to a philosophy that leads to deeper and deeper levels through reality. All painters dare to generalize the reality of appearance subjectively. Chinese painting does not pursue reality in terms of color. More importantly, it is the color given to subjectivity and situation. Through external feelings, it is restored to the essence of life."-Hong Ling Starting from the heart and placing affection between the mountains and rivers, it is this state of mind that allows us to explore the different angles of Hong Ling's view of the world. Through the colors and brushstrokes swaying on the canvas, he conveyed love for nature. Born into an academic family, Hong Ling graduated from the Fine Arts Department of Beijing Capital Normal University in 1979, and graduated from the oil painting department of the Central Academy of Fine Arts in 1987. He is currently an associate professor in the third studio of the oil painting department of the Central Academy of Fine Arts. Hong Ling breaks through the traditional boundary in his creation, and gradually moves from realism to imagery through freehand brushwork, showing the unique colors of Hong Ling in the existing art world. Due to continuous efforts and persistence, coupled with the strong background of Chinese culture, he was affirmed by the jury of the Venice Biennale in 1997 and established his artistic status. In the early years, Hong Ling studied Chinese landscape. As he studied, he began to learn about oil painting. He continued to create and study painting repeatedly. At that time, he experienced China's Eighth Five-Year Art Movement from 1985 to 1988. Suddenly a large amount of new foreign knowledge came in. Information has allowed many Chinese painters to move towards the new trend of avant-garde art. However, this phenomenon has made Hong Ling choose to stop and spend a lot of time studying new techniques and new trends, but he cannot establish where his heart is. Under such doubts, Hong Ling began to earnestly explore the inner self and found the secret realm exclusive to Hong Ling in his artistic creation. Since a certain trip to Huangshan Mountain, he especially loved this place, so in 1993, Hong Ling set up a personal studio at the foot of Huangshan Mountain. He heard the sound of rolling water through the window and overlooked the mountain scenery of Huangshan Mountain in the distance. The expression of landscapes integrates real emotions into the paintings.

日積月累的習畫經歷，洪凌將西方油彩帶入中國的水墨山水，西方油畫強調科學及細膩的觀察力，而傳統中國山水則是將色彩回歸到黑與白，以單一的的色彩及概括的線條勾勒出最純粹的形式。在洪凌的油畫作品中，抽象作為繪畫思維基礎，著重表達作品物象之外的意境，濃烈厚重的色彩，配合墨線勾勒的輪廓，筆法結合中西方元素技法，巧妙的運用點及線條強化畫面的張力，在他的藝術世界中帶有文化深意，以西畫筆法展現心中宏偉的山水，構築獨樹一幟的精神繪畫空間。 Lot 1080《瀟湘煙雨》創作於1993年，為洪凌少數大尺幅作品，極為難得，可謂創作生涯早期的精品之作，且於1994年《批評家提名展》的提名作品之一。 1994年《批評家提名展》由知名藝評家水天中主持，為當代藝術發展史上非常重要的學術展覽，當年於中國美術館展出後，即獲得非常大的反響，其中獲得提名的藝術家之作品，後來皆創下藝術家的拍賣紀錄，包括曾梵志的《協和醫院》，周春芽的山石系列等。畫面描繪瀟湘山林的煙雨朦朧，有著文人與自然共生息之心境。瀟，指湖南省境內的瀟水河；湘，指的是橫貫湖南的河流，湘江。瀟湘一詞，最早見於《山海經．中山經》：「澧沅之風交瀟湘之浦。」此後，瀟湘一詞廣為流傳，並不斷賦予新內容，作為美的象徵。此作洪凌老師改變中國傳統山水大面積留白的構圖方式，覆上平塗的色彩，由於早期習山水的緣故，依舊以點與線為主的皴法技巧，簡單的線條描繪山勢起伏。畫面下方的樹林以點狀的筆法堆疊，在畫面疏密的對應之下，複雜的筆觸襯托出空間的舒緩。細看畫面左側的林間，融合傳統中國山水畫的特點，茂密的樹林間，零星的房舍佇立，輕巧的船隻停靠於此，白色的雲霧氤氳著山水靈氣，映照後方朦朧的山勢，好似隱居山林的世外桃源，讓人不禁感受到山林的廣闊。

After accumulating painting experience, Hong Ling brought western oil paintings into Chinese ink landscapes. Western oil paintings emphasize science and delicate observation, while traditional Chinese landscapes return colors to black and white, using a single color and generalization. The lines outline the purest form. In Hong Ling's oil paintings, abstraction serves as the basis of painting thinking, focusing on expressing the artistic conception outside the image of the work. The strong and heavy colors are matched with the outline drawn by the ink line, with profound cultural significance in his art world, uses Western brush techniques to show the magnificent landscape in his heart, and build a unique spiritual painting essence. Lot1080 ‘’Light Rain in the South’’was created in 1993, it is comparatively rare big scale work of Hong Ling, extremely rare,it could be described as a masterpiece of the early creative career of Hong Ling. The picture depicts the misty rain of the Xiaoxiang mountains and forests, with the mood of symbiosis between humanity and nature. Xiao refers to the Xiaoshui River in Hunan Province; Xiang refers to the river across Hunan, Xiangjiang. The word Xiaoxiang was first seen in the "The Classic of Mountains and Seas": "The wind of Liyuan crosses the Pu of Xiaoxiang." Since then, the word Xiaoxiang has been widely passed through, and new content has been continuously given as a symbol of beauty. In this work, Hong Ling changed the traditional Chinese landscape composition with a large area of white space, and covered it with flat-painted colors. Due to the early learning of landscapes, the technique of dots and lines is still the main method, and simple lines depict the ups and downs of the mountains. The woods at the bottom of the picture are stacked with trivial brushwork. Under the corresponding density of the picture, the complex brushstrokes bring out the soothing space. Take a closer look at the forest on the left side of the picture, blending the characteristics of traditional Chinese landscape paintings. The dense woods and scattered houses , and light boats dock here. The white clouds and mist envelop the spirit of the mountains and waters, reflecting the hazy mountains in the rear, seeming to be hidden in the mountains. People can't help but feel the vastness of the mountains and forests.

馬嘯鴻：《HONG LING:

洪凌口述、鄭心騫著：

A RETROSPECTIVE 洪

《凡塵中的隱士－意象山

凌回顧展》（英國：倫

水大師洪凌的人生體驗》

敦亞非學院美術館，

（臺北市：天下遠見出版

2016年）。

公司，2012年）。

1080

洪凌（b.1955）

HONG Ling

瀟湘煙雨

Light Rain in the South

油彩畫布 1993 130×170 cm（51.2×66.9 in.）

Oil on canvas 1993 Literature:

出版：洪凌口述、鄭心騫著：《凡塵中的隱士－意象山水大師洪凌的人生體驗》（臺北市：天下遠見出版公司，2012年），頁41。香港少勵畫廊：《山水精神－洪凌畫集》（香港：香港少勵畫廊，1995年），頁56。水天中：《美術批評家年度提名展1994.油畫》（中國四川省：四川美術出版社，1994年），頁54。食指、許江：《中國當代藝術家畫傳：洪凌-山水精神》（中國河北省：河北教育出版社，2006年），頁158-159。馬嘯鴻：《HONG LING: A RETROSPECTIVE 洪凌回顧展》（英國：倫敦亞非學院美術館，2016年），頁80-81。展覽：「山水精神－洪凌個展」，香港少勵畫廊，香港，1995年。「天地大美：洪凌個展」，中國美術館，北京，2015年。「洪凌回顧展：世界巡迴展」，倫敦亞非學院美術館，倫敦， 2016年。「洪凌回顧展：世界巡迴展」，切斯特比提博物館，愛爾蘭， 2016年。「洪凌回顧展：世界巡迴展」，巴斯東亞藝術博物館，英國， 2017年。

Oral by Hong Ling and by Zheng Xinqian, The Hermit in the Mortal Dust: The Life Experience of Hong Ling, the Master of Imagery Landscape (Taipei: World Vision Publishing Company, 2012), p. 41. Shaoli Gallery, Hong Kong, The Spirit of Landscape-Hong Ling Painting Collection (Hong Kong: Shaoli Art Gallery, Hong Kong, 1995), p.56. Shui Tianzhong, Art Critics Annual Nomination Exhibition 1994. Oil Painting (Sichuan Province, China: Sichuan Fine Arts Publishing House, 1994), p. 54. Shi Zhi, Xu Jiang, The Painting Biography of Contemporary Chinese Artists: Hong Ling-The Spirit of Landscape (Hebei Province, China: Hebei Education Publishing House, 2006), pp. 158-159. Ma Xiaohong, HONG LING: A RETROSPECTIVE Hong Ling Retrospective Exhibition (UK: London School of Oriental and African Art Gallery, 2016), pp. 80-81. Exhibition: "The Spirit of Landscape-Hong Ling Solo Exhibition", Hong Kong Siu Li Gallery, Hong Kong, 1995. "Beauty in Heaven and Earth: Hong Ling Solo Exhibition", National Art Museum of China, Beijing, 2015. "Hong Ling Retrospective: World Tour Exhibition", Art Gallery of the Academy of Asian and African Studies, London, 2016. "Hong Ling Retrospective: World Tour Exhibition", Chester Beatty Museum, Erland, 2016. "Hong Ling Retrospective: World Tour Exhibition", East Asian Art Museum, Bass, UK, 2017.

NT$ 5,000,000-6,000,000 HK$ 1,364,600-1,637,600 US$ 174,910-209,890

「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1949年出生於台灣宜蘭，幼時成績不佳放棄升學，服兵役時大量閱讀古今中外的文學經典，如莎士比亞（William Shakespeare,1564-1616）、杜斯妥也夫斯基（Fyodor Mikhailovich Dostoevsky, 18211881）及司馬遷（145 B.C.-86 B.C.）的文學作品，學習書中細膩的人物描寫與人性的深刻觀察，開啟邱亞才對藝術創作的追求，並豐富其繪畫中對於人物深度的描繪。邱亞才在30歲左右才開始創作，直到因病放下畫筆，共歷時20年的歲月；1981 年前邱亞才常出沒於當時的藝文聚集之地台北紫藤蘆，他總在角落默默觀察著來往的人群，細細刻畫形形色色的舉止、相貌、氣質和姿態，將所見所聞內化成創作素材，因此小說與畫作皆圍繞在人物主題上。在2019年宜蘭美術館舉行的《人生浣腸——邱亞才回顧展》，是邱亞才首度於故鄉展覽，自2013年辭世後留下許多精采的作品，透過宜蘭美術館舉行的回顧展，讓更多的觀者欣賞邱亞才自身獨特的藝術視野，並回顧他這一生對於人生的體悟及創作。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，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、原點及格子的圖樣。拍品Lot 1081《謐》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。

"When people see my paintings and novels, they often think of pain in life. There are many ways to interpret the pain in life, but I use paintings and words to express it."-Chiu Ya Tsai The "Lifetime Colon -Chiu Ya Tsai Retrospective Exhibition" held at Yilan Art Museum in 2019 was the first exhibition of Chiu Ya Tsai in his hometown. Since his death in 2013, he has left many brilliant works. Through the retrospective exhibition held by Yilan Art Museum, the viewer appreciates Chiu Ya Tsai's own unique artistic vision, and reviews his experience and creation in this life. Chiu Ya Tsai's oil paintings focus on portraits, and are single portraits. It is most common to be placed in the center of the scene in a half-length position, focusing on the facial features of the characters. The body hidden outside the screen makes it easier for the viewer to focus on the face, portraits It presents a state of standing stiff, with both eyes looking straight at the viewer with determination, allowing the viewer to feel the painter's inner loneliness and gloomy but unwilling spirit. The backgrounds of the paintings are mostly dark and cold tones, highlighting the melancholy and gloomy atmosphere in the paintings, and the characters are mostly dressed in monochrome clothing to highlight the cool personality. In the later period, the colors begin to become brighter, and clothing with patterns and patterns gradually appear, such as: The pattern of stripes, origin and grid. Lot 1081 "Quietness" is a typical half-length portrait of Chiu Ya Tsai. The face of the character is relatively elongated. The facial features are drawn with simple lines. The eyes are fixed on the viewer. If there is a seemingly non-existent 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 figure painting style of the Tang Dynasty in China, such as the figure’s hook-shaped nose, apricot eyes, and oval face. The figure is mostly slender. Lines are used to depict the contours of the face. Gradually become an elongated form, gradually simplifying from complex and detailed lines, showing a rich and diverse face.

1081

邱亞才（1949－2013）

CHIU Ya Tsai

謐

Quietness

油彩畫布 1992 簽名右下：邱亞才 114.5×90.5 cm （45.1×35.6 in.）

Oil on canvas 1992 Signed lower right: CHIU Ya Tsai in Chinese Literature:

出版：鄭玠旻、鄭亘翔：《邱亞才》（臺北市：旻谷藝術，2009 年），頁118。

Zheng Yongmin, Zheng Genxiang, CHIU Ya Tsai (Taipei, Ming Art Gallery, 2009), P.118.

NT$ 1,500,000-2,200,000 HK$ 409,400-600,400 US$ 52,470-76,960

100

美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 1082《一朵花》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，改以以明亮的黃色及綠色調作為主體，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。黃色的鮮花向著畫面上方綻放，旁邊以綠色的枝葉作為點綴，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。

The American collector Anna Maria Jagdfeld collected several works by Chiu Ya Tsai and described his paintings: "Chiu Ya Tsai’s intentions in painting are not limited to depicting the protagonist’s figure and appearance, but also embodying features of Chinese art. regard painting as an extension of "self-existence"." Besides portraits, Chiu Ya Tsai began painting still-life after 2005. There are not many works, among which flowers are the most common. The colors and techniques of these works are bolder, and the backgrounds mostly use fluid lines. For example, Lot 1082 "A Flower" is different from the gloomy colors in the portrait works, the rhythm of the curve and simple composition, instead of using bright yellow and green as the main body, the colors are bold and unrestrained, and the brush strokes are wild. except the reality there are more imagination beyond . Yellow flowers bloom towards the top of the painting, with green branches and leaves on the side as embellishments. The winding lines make the viewer feel the vitality of the flowers. The whole work is not depicted objectively and realistically, but directly expresses the painter's inner feelings. Chiu Ya Tsai's enthusiasm for literary creation creates a unique charm in his paintings. He get the inspiration of colors from reading, and adds life connotations to paintings from words.

1082

邱亞才（1949－2013）

CHIU Ya Tsai

一朵花

A Flower

油彩畫布簽名左下：邱亞才 131×97 cm（51.6×38.2 in.）

Oil on canvas Signed lower left: CHIU Ya Tsai in Chinese Literature:

出版：鄭玠旻、鄭亘翔：《邱亞才》（臺中市：哥德藝術中心，2013年），頁206。

Zheng Yongmin, Zheng Genxiang, CHIU Ya Tsai (Taichung, Goethe Art Center, 2013), P.206.

NT$ 950,000-1,300,000 HK$ 259,300-354,800 US$ 33,230-45,480

101

102

1083

李錫奇（1938－2019）

LEE Shi Chi

臨界點之2

Critical Point -2

油彩畫布 1990 簽名右下：李錫奇 1990 90.5×89.5 cm（35.6×35.2 in.）

Oil on canvas 1990 Signed lower right: LEE Shi Chi in Chinese, 1990 Attached gallery certificate signed by artist

附藝術家親簽之畫廊保證書

103

NT$ 220,000-300,000 HK$ 60,000-81,900 US$ 7,700-10,490

1084

陳張莉（b.1956）

Jenny CHEN

心境之美#96－8

Peace in mind #96-8

壓克力畫布 1996 152.5×122.5 cm（60×48 in.）

Acrylic on canvas 1996 With certificate of gallery

附畫廊保證書 Literature: 出版：王賜勇：《陳張莉畫集》（臺北市：家畫廊， 1996），頁14－15。

Wang Ciyong, Chen Zhangli Painting Collection (Taipei: Jia Gallery, 1996), pages 14-15.

NT$ 350,000-500,000 HK$ 95,500-136,500 US$ 12,240-17,490 104

Haring, 1958－1990）透過簡潔的線條、符

Mr.doodle曾在專訪說道：「這些帶有傻氣的類卡通塗鴉，其實背後並沒有深層意義，對我來說創作

號、圖案與鮮豔的色彩創作，用以表達其複

最大的目的是為大家帶來歡樂，純粹希望觀眾看了

雜的批判訊息，如Lot 1001《Naples Suite》系列與Lot 1002《Fertility Suite #1》版畫

能感到開心。」Lot 1085《黃花、橘色魚、粉紅鳥、藍色機器人》一套四幅的絲網印刷紙本，作品充滿

作品。在其之後，來自英國的新興藝術家

Mr.Doodle獨有的流暢線條、趣味的圖騰與鮮豔的色

Mr.Doodle（Sam Cox, b.1994）以密集的黑

彩，完全反映出其快樂且純樸的性情。近期更於2019

白、如同迷宮般的塗鴉為個人特色。其創作領域非常廣泛，舉凡街道設施、隧道牆面、

年由香港蘇富比與他合作，共同舉辦的個人銷售展《Mr. Doodle 逆襲蘇富比展售會》中，所有登錄作品

家具、服飾到電器表面不等，只要能上色之

於拍賣會開始前便已完售之舉，更使其在藝術市場上

處皆能即興進行創作。由於其每日大量進行

聲名大噪。

美國塗鴉藝術家凱斯．哈林（Keith

MR DOODL

塗鴉的創作過程，使他不需多作思考且作畫速度快速下，畫作結構亦能達到完美和諧。

1085

MR DOODLE（b.1994）

MR DOODLE

黃花

YELLOW FLOWER

橘色魚

ORANGE FISH

粉紅鳥

PINK BIRD

藍色機器人（一套四幅）絲網印刷紙本 2019 簽名：（左上） MR DOODLE!，2019，82/100 （左下） MR DOODLE!，2019，91/100 （右上） MR DOODLE!，2019，19/100 （右下） MR DOODLE!，2019，94/100 35×35 cm（13.8×13.8 in.）

105

BLUE ROBOT（SET OF FOUR） screenprint on paper 2019 Signed: (Higher left) MR DOODLE!，2019，82/100 (Lower left) MR DOODLE!，2019，91/100 (Higher right) MR DOODLE!，2019，19/100 (Lower right) MR DOODLE!，2019，94/100

NT$ 300,000-450,000 HK$ 81,900-122,800 US$ 10,490-15,740

106

山口歷1984年出生於東京澀谷區，2007 年移居美國，目前為紐約布魯克林的當代藝術家。早期創作之初，他便致力於表達繪畫中的基本元素「筆觸」。山口歷一直在做的是基於“ 在既有的概念、規則，跨越邊界與為繪畫作擴展 ”的概念，創建三維度的繪畫

Meguru Yamaguc hi

山口歷

作品。筆跡本身彷彿超越了畫布的框架並存在於畫布外的空間之中。其個人的創作技術（稱為“剪切與黏貼 ”）創造在一個獨特的混亂之中，展現出充滿活力的視覺效果和剛健的抽象表現。通過分層和排列的過程，看似無關的顏色彼此融合成為一個高度複雜的畫面，讓人聯想到懷舊的人像或風景，但表現的方式卻是新鮮、融洽並具有節奏的。山口歷的作品中，塗料潑灑的自主性、繪畫手勢的自由性以及對繪畫性的表演探索，令人想起日本行動繪畫的先驅白髮一雄（Kazuo Shiraga, 1924－2008），其以「足繪」方式尋求新型繪畫方式的可能性。山口歷的作品不只有在方形的畫布內，更可以在不同的表面和媒材上找到其創作空間。從城市塗鴉壁畫到滑板雕塑設計，從街頭服飾的T 恤聯名合作到混合媒體素材創作，他的創作汲取了各種混合概念，在次文化、大眾文化和高級文化之間快速穿梭，同時間充滿其獨到的風格與說服力。

Meguru Yamaguchi was born in Shibuya, Tokyo in 1984, and moved to the United States in 2007. He is currently a contemporary artist in Brooklyn, New York. At the beginning of his early creation, he devoted himself to expressing the basic element "brushstroke" in painting. What Yamaguchi has been doing is to create threedimensional paintings based on the concept of "crossing boundaries and extending paintings based on existing concepts and rules." The handwriting itself seems to transcend the frame of the canvas and exist in the space outside the canvas. His personal creative technique (called "cut and paste") creates a unique chaos, showing vibrant visual effects and strong abstract expressions. Through the process of layering and arrangement, seemingly unrelated colors merge with each other into a highly complex picture, reminiscent of nostalgic portraits or landscapes, but the way of expression is fresh, harmonious and rhythmic. In Yamaguchi’s works, the autonomy of paint splashing, the free style painting , and the exploration of painterly performance are reminiscent of Japanese action painting pioneer Kazuo Shiraga ( 1924-2008). "The method seeks the possibility of a new style of painting. The works of Yamaguchi are not only in the square canvas, but also can be found on different surfaces and media. From urban graffiti murals to skateboard sculpture design, from streetwear T-shirt co-branding to mixed media material creation, his creations have absorbed various mixed concepts, and quickly shuttled between subculture, popular culture and advanced culture, and full of them at the same time unique style and persuasiveness.

1086

山口歷（b. 1984）

Meguru Yamaguchi

RD NO.1

壓克力樹脂 28×73.5×2.5 cm（11×28.9×0.9 in.）

Acrylic, epoxy resin

NT$ 220,000-350,000 HK$ 60,000-95,500 US$ 7,700-12,240

107

108

1087

109

飯田桐子（b.1970）

KIRIKO IIDA

編織花冠的手

The Hand which Braids a Flower Crown

油彩畫布 2010－2020 畫背簽名：KIRIKO Iida 2020 畫框簽名：KIRIKO Iida 2010 80.3×65.2 cm （31.6×25.7 in.）

Oil on canvas 2010-2020 Signed on the reverse: KIRIKO Iida 2020 Signed on the framed: KIRIKO Iida 2010

NT$ HK$ US$

200,000-280,000 54,600-76,400 7,000-9,800

1088

灰原愛（b.1981）我可以養它嗎？樟木高：21.5 cm（8.5 in.）作者親簽原裝木盒包裝

Ai HAIBAR May I Keep it? Camphor wood Artist signed Original wooden box packaging

NT$ 180,000-280,000 HK$ 49,100-76,400 US$ 6,300-9,800

110

1089

Bang&Olufsen × Supreme Beoplay A9 MKIV 第四代限量版 Supreme 音響藍芽喇叭木材、布料、鋁材與塑膠 41 ×70 ×90.8 cm （16.2×27.6×35.7 in.）

Bang&Olufsen×Supreme Beoplay A9 MKIV Linited Editon B&O X Supreme Wood, fabric, aluminum and plastic

NT$ HK$ US$

220,000-350,000 60,000-95,500 7,700-12,240

1090

草間彌生（b.1929）草間彌生X 凱歌年份香檳限量版 750ml （兩支一組） 2012 34.5×16 ×12 cm （13.6×6.3×4.7 in.）全球限量1000 套限量

KUSAMA Yayoi Veuve Clicquot La Grande Dame 750ml 2012 Edition of 1000

NT$ HK$ US$

圖片來源： Veuve Clicquot, La Grande Dame 2012 by Yayoi Kusama,

111

35,000-42,000 9,600-11,500 1,220-1,470

早在2006 年，草間彌生（Yayoi Kusama ）為了一場在東京舉辦的慈善拍賣會，將她著名的波爾卡圓點（ polka dots）為凱歌（ Veuve Clicquot）夫人的肖像畫進行重塑。因此，藝術家與凱歌品牌之間的對話從未間斷，並且以其最富啟發性和共享性的方式達成新的里程碑。草間彌生與凱歌夫人雖然相距150 年，但幾乎有許多共同點使他們獨特而迷人的命運融為一體。富有標誌性的日本藝術家草間彌生專門為凱歌香檳瓶身創作獨特、趣味且多彩的圖像，向全世界傳遞歡樂的訊息。以其標誌性的符號為

「La Grande Dame 2012 」年份的貴婦香檳設計限定版的外盒與酒標，點綴著這款如繁星般細緻泡沫的香檳。綻放的花朵象徵著活力、愛與對生活的慶祝。草間彌生標誌性的圓點圖像如同香檳細緻的泡沫為「La Grande Dame 2012 」蛻變。草間彌生這次將招牌的「波爾卡圓點」結合花朵，設計出全球限量 1000 支的禮盒。除了傳達花朵代表生命、愛、和平的設計意念外，更是呼應了「La Grande Dame 2012 」香檳以茉莉為前調，並帶了金銀花、蘋果、梨子、桃子、乾果、蜂蜜等香氣的酒款特性。

1091

丹尼爾‧阿瑟姆（b.1980）銅雕沙漏銅雕 2019 38.7×15.9×15.9 cm（15.2×6.3×6.3 in.）限量100件附藝術家親簽之作品保證書

Daniel Arsham Bronze Hourglass Bronze 2019 Edition of 100 Attached work certificate signed by artist

NT$ 220,000-380,000 HK$ 60,000-103,700 US$ 7,700-13,290

1092

KAWS（布萊恩．唐納利）（b.1974）休息–棕彩繪搪膠 2012 21×30×23 cm（8.3×11.8×3.5 in.）限量500件註冊商標： © KAWS..12 MEDICOM TOY 2012 CHINA （左腳底部）附原包裝盒

KAWS（Brian Donnelly） Resting Place-Brown Painted Cast Vinyl 2012 Edition of 500 Trademark： © KAWS..12 MEDICOM TOY 2012 CHINA (L) With original box

NT$ 70,000-90,000 HK$ 19,100-24,600 US$ 2,450-3,150

112

1093

Hajime SORAYAMA MEDICOM TOY BE@RBRICK SEXY ROBOT Hajime Sorayama signed Version 1000% Mixed media Signed Back: Sorayama Manufacturer: MEDICOM TOY Trademark： Printed with MEDICOM TOY logo (R) Printed with ©2017 SORAYAMA (Left arm) Printed with BE@RBRICK logo (L) With original box

NT$ 100,000-180,000 HK$ 27,300-49,100 US$ 3,500-6,300 113

1094

村上隆（b.1962）

MURAKAMI Takashi

Mr DOB雕塑（金黃、紅藍，兩件一組）

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

PVC（聚氯乙烯）雕塑 23.5×27.5×19.5 cm（9.3×10.9×7.7 in.）金黃限量250件紅藍限量750件註冊商標：TM/KK COMPLEXCON BAIT SWITCH

PVC（Polyvinyl Chloride） Gold-silver Edition of 250 Red-blue Edition of 750 Trademark: TM/KK COMPLEXCON BAIT SWITCH With original box

附原包裝盒

NT$ 90,000-160,000 HK$ 24,600-43,700 US$ 3,150-5,600 1095

MEDICOM TOY BE@RBRICK×FUJIYA 不二家奶油妹1000% PVC（聚氯乙烯）雕塑 25×34×70 cm（9.8×13.4×27.6 in.）製造商：MEDICOM TOY 註冊商標：印 MEDICOM TOY 商標（右腳底部）印 BE@RBRICK 商標（左腳底部） © FUJIYA（背面左腳跟）附原包裝盒

MEDICOM TOY BE@RBRICK FUJIYA Peko Version 1000% PVC (Polyvinyl Chloride) Manufacturer: MEDICOM TOY Trademark： Printed with MEDICOM TOY logo (R) Printed with BE@RBRICK logo (L) Printed with © FUJIYA (Back left heel) With original box

NT$ 30,000-45,000 HK$ 8,200-12,300 US$ 1,050-1,570

114

1096

凱斯‧哈林（1958－1990） MEDICOM TOY BE@RBRICK 凱斯哈林#5 1000% PVC（聚氯乙烯）雕塑 2020

25×34×70 cm （9.8×13.4×27.6 in.）製造商：MEDICOM TOY 註冊商標：印 MEDICOM TOY 商標（右腳底部）印 BE@RBRICK 商標©Keith Haring Foundation Licensed by Artestar, New York （左腳底部）印 Keith Haring™（作品背面）附原包裝盒

Keith Haring MEDICOM TOY BE@RBRICK Keith Haring #5 Version 1000% PVC（Polyvinyl Chloride） 2020 Manufacturer: MEDICOM TOY Trademark： Printed with MEDICOM TOY logo (R) Printed with BE@RBRICK logo and Keith Haring Foundation Licensed by Artestar, New York (L) Printed with Keith Haring™ (Back) With original box

NT$ 35,000-55,000 HK$ 9,600-15,000 US$ 1,220-1,920

1097

安迪‧沃荷（1928－1987） MEDICOM TOY BE@RBRICK 安迪·沃荷－花 1000% PVC（聚氯乙烯）雕塑 2020

25×34×70 cm （9.8×13.4×27.6 in.）製造商：MEDICOM TOY

Andy WARHOL MEDICOM TOY BE@RBRICK ANDY WARHOL Flowers Version 1000% PVC（Polyvinyl Chloride） 2020 Manufacturer: MEDICOM TOY Trademark：

註冊商標：印 MEDICOM TOY 商標（右腳底部）印 BE@RBRICK 商標（左腳底部）印 Andy Warhol的印刷簽名與LOGO（作品背面）印©/®/TM AWF（背面左腳跟）附原包裝盒

Printed with MEDICOM TOY logo (R) Printed with BE@RBRICK logo (L) Printed with Andy Warhol's printed signature and LOGO (Back) Printed with ©/®/TM AWF (Back left heel) With original box

NT$ 30,000-50,000 HK$ 8,200-13,600 US$ 1,050-1,750

115

1098

尚‧米歇爾‧巴斯奎特（1960－1988） MEDICOM TOY BE@RBRICK 尚·米歇爾·巴斯奎特#6 1000% PVC（聚氯乙烯）雕塑 2020 25×34×70 cm （9.8×13.4×27.6 in.）製造商：MEDICOM TOY 註冊商標：印 MEDICOM TOY 商標（右腳底部）印 BE@RBRICK 商標©Estate of JeanMichel Basquiat Licensed by Artestar, New York（左腳底部）印 Jean-Michel Basquiat™ 與LOGO（作品背面）附原包裝盒

JEAN-MICHEL BASQUIAT MEDICOM TOY BE@RBRICK JEAN-MICHEL BASQUIAT #6 Version 1000% PVC（Polyvinyl Chloride） 2020 Manufacturer: MEDICOM TOY Trademark： Printed with MEDICOM TOY logo (R) Printed with BE@RBRICK logo and ©Estate of Jean-Michel Basquiat Licensed by Artestar, New York (L) Printed with Jean-Michel Basquiat™ and LOGO (Back) With original box

NT$ 20,000-30,000 HK$ 5,500-8,200 US$ 700-1,050

1099

尚‧米歇爾‧巴斯奎特（1960－1988） MEDICOM TOY BE@RBRICK 尚·米歇爾·巴斯奎特#5 1000% PVC（聚氯乙烯）雕塑 2020

25×34×70 cm （9.8×13.4×27.6 in.）製造商：MEDICOM TOY 註冊商標：印 MEDICOM TOY 商標（右腳底部）印 BE@RBRICK 商標©Estate of JeanMichel Basquiat Licensed by Artestar, New York（左腳底部）印 Jean-Michel Basquiat™ 與LOGO（作品背面）附原包裝盒

JEAN-MICHEL BASQUIAT MEDICOM TOY BE@RBRICK JEAN-MICHEL BASQUIAT#5 Version 1000% PVC（Polyvinyl Chloride） 2020 Manufacturer: MEDICOM TOY Trademark： Printed with MEDICOM TOY logo (R) Printed with BE@RBRICK logo and ©Estate of Jean-Michel Basquiat Licensed by Artestar, New York (L) Printed with Jean-Michel Basquiat™ and LOGO (Back) With original box

NT$ 30,000-50,000 HK$ 8,200-13,600 US$ 1,050-1,750

116

顛沛流離的一生賦予王攀元的作品獨

Lot 1104《林居疊翠》

特的氣質，它是複雜而矛盾的，乍看以為是寂寥沉靜的孤獨美學，同時間卻又翻滾著濃烈的情感，這股熱情被平和簡約的構圖掩蓋住了，但待細細品味，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。對於王攀元的孤獨美學，國立歷史博物館館長廖新田曾形容「這是一種都會人的孤獨感所導致的共鳴，我們在都市裡，卻感覺被都市拋棄，所以他能打動現代人的心。」

遠山擬米家皴筆意，以橫筆墨點重疊鋪陳，山頭染色重黑，往山腰層遞色淡，數座山峰連成一座，自在寧靜浮現在厚實的白雲之上。近景有樹林、矮房參差分布山麓岩石間，每一小叢林皆能清淨挺直屹立著，展現自我深邃涵養姿態。此作全開巨作，頗具文人水墨又饒當代簡潔意境。

Lot 1106 《紅花縹緲》「太陽代表著『永恆』，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。」永恆以及太陽的紅色是王攀元喜愛太陽的原因。以對角線構圖突出

WANG Pan Youn

王攀元在2001 年獲得國家文藝獎肯定「在當今眾聲喧嘩的時代，始終自我觀

空間，一丸紅日佔據左上方，與佔據畫面大半的山稜兩相

照，以細膩深邃的情感詮釋簡潔的主題，

他畫中的太陽從不下山，即使天黑，也要變成月亮；他的

在台灣特定的時空下，呈現出獨特精煉的

夕陽恆紅潤潤地掛在地表的那端，即使亂雲遮掩，也要

風格。」，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

恣絢爛。紅日一向是王攀元經常描繪的符號，2001 年在國立歷史博物館的王攀元九十自選展，也以「攀圓追日」命

畫筆之濃彩。

名，追日的傳說源於夸父，馬不停蹄且孤獨的身影如同王

拍品Lot 1100《紅塵滾滾》難得描繪置身人群中的孤單與寂寞，以大範圍的黃綠色調覆蓋整體背景，暈染的色彩帶出畫面的朦朧感，用色渾厚大膽。以簡單的色

照應，透過對比強調意境，也以對比色彩加深紅日印象。

攀元一生的寫照，天邊紅豔豔的太陽宛如王攀元對繪畫與生命的熱忱，永不停息的發光發熱。

Lot 1108《月圓懷舊》

彩及主體，卻吸引著觀者內心深刻的情

黃綠色調的廣闊天地，是王攀元童年家鄉無邊的草

感，就好比進入畫中的世界，化身為畫作

原，當時沒有朋友的他經常獨自在草地上自己玩。一輪高

中形單影隻的路人，遊走在熱鬧的都市中，卻擁有強烈的孤獨感。王攀元的作品

掛的明月，孤獨佇立的房舍，單純且俐落，整體濃厚的色彩，朦朧的畫面，讓人好似身處在回憶。「清風明月，花

鮮少出現人群，大多都是形單影隻的人

落成塚，人生幾何，無定春秋。西山紅葉，攜手同歡，何

影，此作背景渲染出一個世俗的空間，茫

時歸去，還如夢中。天寒風冷，歸思已濃，雲霞呼喚，不

茫人海中，人與人相互沒有交集，只是路

知所蹤。遙想當年，心靈已碎，悠悠天地，何必當初。」

過、經過，然後別過，矮小的人物無法

王攀元曾寫下此詩，道盡終將無法抹滅的思念，如同此件

辨明其五官，卻傳神的訴說人與人間的疏

拍品，更滿懷思想，令人久久不忘。

離，利用人群凸顯人世間的孤寂。

1100

王攀元（1912 －2017 ）

WANG Pan Youn

紅塵滾滾

Billowing Blasting Place

水彩紙畫背鈐印：王攀元（朱文） 39.5×55 cm （15.5×21.6 in.）

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

檢附購買證明

NT$ HK$ US$ 117

480,000-700,000 131,000-191,000 16,790-24,490

118

1102

王攀元（1912－2017）蕉雨情韻紙本水墨立軸鈐印：王攀元（白文） 83.2×34.8 cm （32.8×13.7 in.）檢附購買證明

WANG Pan Youn Rainy Day Under the Banana Tree Ink on paper, hanging scroll With proof of purchase

NT$ 60,000-90,000 HK$ 16,400-24,600 US$ 2,100-3,150

1101

1103

王攀元（1912－2017）

行書五言聯

遠渡幽處

仿古瓦當色宣立軸釋文：大雅能容物，至誠乃動人款文：王攀元鈐印：王后（白文） 101×31.6 cm（39.8×12.4 in.）

紙本水墨立軸鈐印：王攀元（白文） 65×45.5 cm（25.6×17.9 in.）

檢附購買證明

WANG Pan Youn

本拍品為王氏對聯作品，存世數量不多。

WANG Pan Youn Calligraphy Ink on paper, hanging scroll

檢附購買證明

Flow cross the distance Ink on paper, hanging scroll Inscribed and signed, with one seal of the artist With proof of purchase

Inscribed and signed, with one seal of the artist With proof of purchase

NT$ 80,000-120,000 HK$ 21,800-32,800 US$ 2,800-4,200 119

NT$ 80,000-160,000 HK$ 21,800-43,700 US$ 2,800-5,600

1104

王攀元（1912－2017）林居疊翠紙本水墨鏡框鈐印：元翁古稀后作（白文）攀元書畫（白文） 137×69 cm（53.9×27.2 in.）檢附購買證明附藝術家與畫作合照本拍品為王氏十才大畫，存世數量不多。出版：宜蘭縣美術學會：《2018宜蘭縣美術學會會員展作品集》（宜蘭縣，2018 年），頁23。

WANG Pan Youn Forest and Mountain Ink on paper, framed Inscribed and signed, with one seal of the artist With proof of purchase Attached photos of the artist and works Literature: Yilan County Fine Arts Society, 2018 Yilan County Art Society Member Exhibition Collection (Yilan, 2018), p. 23.

NT$ 360,000-450,000 HK$ 98,300-122,800 US$ 12,590-15,740

宜蘭縣美術學會：《2018宜蘭縣美術學會會員展作品集》（宜蘭縣， 2018年）。 Yilan County Fine Arts Society, 2018 Yilan County Fine Arts Society Member Exhibition Collection (Yilan County, 2018). 120

1105

王攀元（1912－2017）金秋蟹腳響紙本墨鏡框鈐印：王后（白文） 44.5×44.5 cm（17.5×17.5 in.）檢附購買證明

WANG Pan Youn Crab of Golden Autumn Ink on paper, framed Inscribed and signed, with one seal of the artist With proof of purchase

NT$ 50,000-80,000 HK$ 13,600-21,800 US$ 1,750-2,800

1106

王攀元（1912－2017）紅花縹緲水彩紙畫作後背簽名：WANG.P.Y 21.5×21 cm（8.5×8.3 in.）檢附購買證明

WANG Pan Youn Misty Red Flower Watercolor on paper Signed on the reverse: WANG.P.Y With proof of purchase

NT$ 130,000-220,000 HK$ 35,500-60,000 US$ 4,550-7,700

王攀元《紅花縹緲》畫背簽名 Signed on the reverse of Wang Panyuan's " Misty Red Flower " 121

1107

王攀元（1912 －2017 ）春光一葉浮彩墨鏡框鈐印：攀元書畫（白文） 45.5×44.5 cm （17.9×17.5 in.）檢附購買證明本拍品為王氏彩墨作品，存世數量不多。

WANG Pan Youn Spring Leaf Watercolor on paper, framed Inscribed and signed, with one seal of the artist With proof of purchase

NT$ HK$ US$

100,000-200,000 27,300-54,600 3,500-7,000

1108

王攀元（1912 －2017 ）月圓懷舊水彩紙畫背鈐印：王攀元（朱白文共印） 25.5×26 cm （10 ×10.2 in.）檢附購買證明

WANG Pan Youn Nostalgia of Full Moon Watercolor on paper Inscribed and signed, with one seal of the artist With proof of purchase

NT$ HK$ US$

130,000-220,000 35,500-60,000 4,550-7,700

122

1109

王攀元（1912－2017）大道既隱紙本水墨鏡框鈐印：攀元書畫（白文） 69×33 cm（27.2×13 in.）檢附購買證明附藝術家與畫作合照本拍品為王氏彩墨作品，存世數量不多。出版：宜蘭美術學會：《宜蘭美術》第57期（2017年6 月），期刊封面。作品與畫家本人合照保證書

WANG Pan Youn The Road is Hidden Ink on paper, framed Inscribed and signed, with one seal of the artist With proof of purchase Attached photos of the artist and works Literature: Yilan Fine Arts Society, Yilan Fine Arts Issue 57 (June, 2017), cover of the journal.

NT$ 80,000-180,000 HK$ 21,800-49,100 US$ 2,800-6,300

宜蘭美術學會：《宜蘭美術》第57期（2017年6月），期刊封面。 Yilan Fine Arts Society, Yilan Fine Arts Issue 57 (June 2017), cover of the journal.

123

1110

朱屺瞻（1892－1996）萬里翠嵐蔚青天紙本設色立軸釋文：萬里翠嵐蔚青天千峯靈秀蕩烟波庚申三月畫于上海梅花草堂鈐印：朱（朱文）屺瞻（白文）梅花草堂（白文） 126.5×89 cm（49.8×35 in.）

ZHU Qi Zhan Boundless Blue Sky Ink and color on paper, hanging scroll

NT$ 120,000-180,000 HK$ 32,800-49,100 US$ 4,200-6,300

1111

陳丹誠（1919－2009）玉蘭紙本水墨設色款文：丹誠鈐印：陳 64×34 cm（25.2×13.4 in.）

CHEN Dan Chen Flowers Ink on paper Inscribed and signed, with one seal of the artist

NT$ 22,000-35,000 HK$ 6,000-9,600 US$ 770-1,220

124

1112

125

江兆申（1925－1996）

CHIANG Chao Shen

山中幽棲

Hidden in the Mountain

紙本水墨托片釋文：夜鶴曉猿時復聞，寥寥長似耿離羣。月中未要恨丹桂，嶺上且來看白雲。棋子不妨臨水着，詩題兼好共僧分。所憂他日榮名後，難得幽棲事靜君。和靖詩，戊辰（1988年）椒原江兆申畫。鈐印：印：老椒行一（白文）雙菩提樹盦（白文）一琴一硯成雙宋（朱文） 62.5×99 cm（24.6×39 in.）

Ink on paper Inscribed and signed, with three seals of the artist

NT$ 600,000-750,000 HK$ 163,800-204,700 US$ 20,990-26,240

1113

李義弘（b.1941）

LI Yi Hong

山海居

Mountain and Sea

設色紙本釋文：山海居。台灣北海岸與東海岸頗有此中景意，余曾往還期間而得此稿。己巳（1989 年）仲冬李義弘于笛音凝室雨。鈐印：李義弘印（白文）在川（朱文）在川手眼（朱文）豈有此理（朱文） 112×96 cm（44.1×37.8 in.）

Ink and color on paper

附藝術家親簽保證書

Inscribed and signed, with four seals of the artist Attached certificate signed by artist

NT$ 480,000-600,000 HK$ 131,000-163,800 US$ 16,790-20,990 126

1114

李義弘（b.1941）霧滿春山紙本水墨立軸款文：采香涇上雨如絲，蕭寺春深人未知霧滿空山啼百舌，春風已過杏花枝，庚申 (1980 年)寫南田詩李義弘畫。鈐印：李義弘印（白文）在川（朱文）義弘造境（朱文） 98×61 cm（38.6×24 in.）

LI Yi Hong Foggy Spring Mountain Ink on paper, hanging scroll Inscribed and signed, with three seals of the artist

NT$ 200,000-300,000 HK$ 54,600-81,900 US$ 7,000-10,490

1115

吳士偉（b.1957）江南香影紙本水墨立軸釋文：周庄是中國江南古鎮，環境清幽，建築古樸，歷經九百多年的歲月仍完整的保存著水鄉古鎮的完整風貌，其中葉楚滄故居庭院內花木扶疏錯落有致，天井處高盈數尺，逾兩層樓高枝腊梅盛開，令人驚艷不已歸來入畫以誌紀念。二 0一三年三月吳士偉畫。鈐印：吳（朱文）士偉（白文）照見山河萬朵（朱文）凝香（白文） 135.5×69 cm（53.3×27.2 in.）

WU Shi Wei Jiang Nan Scene Ink on paper, hanging scroll Inscribed and signed, with four seals of the artist

NT$ 220,000-300,000 HK$ 60,000-81,900 US$ 7,700-10,490

127

1116

于右任（1879－1964）草書軸紙本墨書立軸釋文：清明在躬氣志如神耆欲將至有開必先鈐印：右任（朱文） 97.5×40 cm（38.4×15.7 in.）文出自《禮記·孔子閒居》

YU You Ren Calligraphy Ink on paper, hanging scroll Inscribed and signed, with one seal of the artist

NT$ 150,000-280,000 HK$ 40,900-76,400 US$ 5,250-9,800

1117

傅狷夫（1871－1937）行書軸紙本墨書立軸釋文：好雨知時節，當春乃發生。隨風潛入夜，潤物細無聲。野徑雲俱黑，江船火獨明。曉看紅溼處，花重錦官城。款文：克仁先生雅正甲辰春二月書杜詩傅狷夫鈐印：山野自喜（白文）傅狷夫（白文）雪華村人（朱文） 68.5×33 cm（27×13 in.）文出自唐代·杜甫《春夜喜雨》

FU Chuan Fu Calligraphy Ink on paper, hanging scroll Inscribed and signed, with three seals of the artist

NT$ 20,000-30,000 HK$ 5,500-8,200 US$ 700-1,050

128

1118

1119

宗孝忱（1891－1979）

李超哉（1907－2004）

篆書軸

行書軸

紙本墨書立軸釋文：伯夷聖之清柳下惠聖之和孔子聖之時者也款文：克仁仁兄正之宗孝忱鈐印：宗孝忱印（白文）敬之摩金石文（朱文） 78×34 cm（30.7×13.4 in.）

紙本墨書立軸釋文：瀟湘何事等閒回水碧沙明兩岸苔二十五弦彈夜月不勝清怨卻飛來款文：克仁先生正之李超哉鈐印：超哉（朱文） 68×33 cm（26.8×13 in.）

ZONG Xiao Chen

Li Chao zai

Calligraphy

Ink on paper, hanging scroll

Inscribed and signed, with two seals of the artist

Inscribed and signed, with one seal of the artist

NT$ 10,000-20,000 HK$ 2,700-5,500 US$ 350-700

NT$ 9,000-18,000 HK$ 2,500-4,900 US$ 310-630 1120

汪中（1925－2010）

WANG Chung

行書中堂

Calligraphy

雲紋色宣墨書鏡框釋文：雲開遠見漢陽城，猶是孤帆一日程。估客晝眠知浪靜，舟人夜語覺潮生。三湘愁鬢逢秋色，萬里歸心對月明。舊業已隨征戰盡，更堪江上鼓鼙聲。盧綸晚次鄂州。款文：恭祖吾兄雅屬辛己（2001年）仲春雨盦鈐印：汪中之印（白文）桐城雨壇鄉人（朱文）几淨窗明筆精墨妙（白文） 68×34 cm（26.8×13.4 in.）

Ink on paper, framed

說明上款人恭祖：林恭祖（1923～2017）字思謙，福建莆田市仙遊人。國立臺灣大學文學學士，美國世界藝術文化學院榮譽文學博士。

129

Inscribed and signed, with three seals of the artist

NT$ 20,000-30,000 HK$ 5,500-8,200 US$ 700-1,050

1121

1122

吳平（b.1920）

汪中（1925－2010）

行書十二聯

隸書七言聯

灑金色宣墨書立軸釋文：岸柳弄嬌黃春漲一篙添水面，芳草滿雴碧夕陽千丈映簾

白宣墨書立軸釋文：陳黍稷明神歆感，舉珪壁同寅協恭。款文：庚午（1990 年）春雨盦汪中鈐印：長樂（白文）汪中之印（白文）愚公（朱文） 93×16.5 cm（36.6×6.5 in.）

鈎。款文：娉華媚竹館宋詞集聯，己未（1979 年）春朝堪春朝堪白吳平書於我思齋之南窓。鈐印：我思齋（白文）吳平之印吳平之印（白文）堪白長年白長年（朱文） 127×16.6 cm （50×6.5 in.）

WU Ping

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

NT$ 22,000-32,000 HK$ 6,000-8,700 US$ 770-1,120

Calligraphy Ink on paper, hanging

1123

scroll

汪中（1925－2010）

Inscribed and signed, with

行書七言聯

three seals of the artist

NT$ 30,000-50,000 HK$ 8,200-13,600 US$ 1,050-1,750

紙本墨書立軸釋文：水映斜林寒落月，天連遠岫晚生雲。款文：雨盦鈐印：桐城汪中（白文）履安長壽（朱文）攝提生（朱文） 135.5×34.5 cm （53.3×13.6 in.）《攝提格》，簡稱《攝提》，為上古時代歲星紀年中的年歲名，對應簡化後十二地支中的《寅》。

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

NT$ 20,000-30,000 HK$ 5,500-8,200 US$ 700-1,050

130

1124

姚慶章（b.1941）鳥‧大地91－16 壓克力顏料 1991 簽名右下：C.J.YAO '91 72×59.5 cm（28.3×23.4 in.）附畫廊保證書展覽：「姚慶章個展」，台北時代畫廊，台北，1991年。出版：台北時代畫廊：《姚慶章畫集》（臺北市：台北時代畫廊，1991），頁25。

C. J. YAO The Bird and Earth 91-16 Acrylic on canvas 1991 Signed lower right: C.J.YAO '91 Attached gallery certificate Exhibited: "C. J. YAO Oil Solo Exhibition", Taipei Times Gallery, Taipei, 1991. Literature: Taipei Times Gallery, Yao Qingzhang Painting Collection (Taipei: Taipei Times Gallery, 1991), p. 25.

NT$ 60,000-100,000 HK$ 16,400-27,300 US$ 2,100-3,500 1125

謝孝德（b.1940）風景水彩紙簽名右下：2011 謝孝德 55.2×74.4 cm（21.7×29.3 in.）

Hsieh Hsiao-Te Landscape Watercolor on paper Signed lower right: 2011, Hsieh Hsiao-Te in Chinese

NT$ 20,000-30,000 HK$ 5,500-8,200 US$ 700-1,050

131

1126

莊喆（b.1934）

CHUANG Che

恍若明鏡

Seems like mirror

壓克力水墨紙本 1992 簽名左下：92 莊喆 112×91 cm（44.1×35.8 in.）

Acrylic, ink and color on paper 1992 Signed lower left : 92, named CHUANG Che in Chinese Acquired by the original collector from the artist

原收藏者購自藝術家本人

NT$ 300,000-400,000 HK$ 81,900-109,200 US$ 10,490-13,990 132

1127

莊喆（b.1934）

CHUANG Che

自畫像—一風一雨

Portrait: Wind and Rain

壓克力水墨紙本 1991 簽名右下：91 莊喆 120×92 cm（47.2×36.22 in.）

Acrylic, ink and color on paper 1991

原收藏者購自藝術家本人

Acquired by the original collector from the artist

Signed lower right: 91, named CHUANG Che in Chinese

NT$ 300,000-450,000 HK$ 81,900-122,800 US$ 10,490-15,740 133

1128

莊喆（b.1934）

CHUANG Che

群山間望浮華

Glory flashed in the mountains

壓克力水墨紙本 1991 簽名右下：莊喆 91 92×119 cm（36.2×46.9 in.）

Acrylic, ink and color on paper 1991

原收藏者購自藝術家本人

NT$ 320,000-450,000 HK$ 87,300-122,800 US$ 11,190-15,740

Signed lower right: named CHUANG Che in Chinese, 91 Acquired by the original collector from the artist

134

1129

135

莊喆（b.1934）

CHUANG Che

曇華現浮雲

Here today gone tomorrow

壓克力水墨紙本 1993 簽名右下：93 莊喆

Acrylic, ink and color on paper 1993

117×94 cm（46.1×37 in.）

Acquired by the original collector from the artist

原收藏者購自藝術家本人

NT$ 320,000-450,000 HK$ 87,300-122,800 US$ 11,190-15,740

Signed lower right : 93, named CHUANG Che in Chinese

1130

王秀杞（b.1950）忘憂童子銅雕簽名左側：王秀杞 2008 A 1／8 20×30×40 cm（7.9×11.8×15.7 in.）

WANG XIU-QI Worriless children Bronze Signed left: WANG XIU-QI in Chinese 2008 A 1／8

NT$ 100,000-190,000 HK$ 27,300-51,900 US$ 3,500-6,650

簽名左側：王秀杞 2008 A 1／8

136

1131

張萬傳（1909－2003）裸B 版畫紙本 1987 簽名右下：CHANG－萬簽名左下：裸B 28/100 87.3 鈐印：萬（朱文） 39.5×27.5 cm（15.6×10.8 in.）

Chang Wan Chuan

1134

朱銘（b.1983）

Ju Ming

盡興即可

Calligraphy

紙本墨書鏡框 Naked B 款識：朱銘 Lithograph 1987 鈐印：朱銘（白文） Signed lower right: CHANG－Wan in 22.5×67 cm（8.9×26.4 Chinese in.） Signed lower left: Naked B in Chinese

NT$ 9,000-15,000 HK$ 2,500-4,100 US$ 310-520

28/100 87.3 Inscribed and signed, with one seal

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

NT$ 20,000-30,000 HK$ 5,500-8,200 US$ 700-1,050

of the artist

1132

張萬傳（1909－2003）魚C 版畫紙本 1987 簽名右下：CHANG－萬簽名左下：魚C 28/100 87.3 鈐印：萬（朱文） 26.5×39 cm（10.4×15.4 in.）

NT$ 9,000-15,000 HK$ 2,500-4,100 US$ 310-520

Chang Wan Chuan Fishes C Lithograph 1987 Signed lower right: CHANG－Wan in Chinese Signed lower left: Fish B in Chinese 28/100 87.3 Inscribed and signed, with one seal of the artist

1133

朱銘（b.1983）魚紙本設色鏡框簽名右側：朱銘鈐印：銘（白文） 30.5×40 cm（12×15.7 in.）

NT$ 20,000-30,000 HK$ 5,500-8,200 US$ 700-1,050

Ju Ming

朱銘（b.1983）人間系列版畫簽名左下：朱銘 ’93 97/100 34×24 cm（13.4×9.4 in.）

Ju Ming Human Series Lithograph Signed lower left: Ju Ming in Chinese, ’93 97/100

Fishes Ink and color on paper, framed Signed right: Ju Ming in Chinese Inscribed and signed, with one seal of the artist

137

1135

NT$ 15,000-20,000 HK$ 4,100-5,500 US$ 520-700

1136

保羅．賈曼（1926－2007）

Paul Guiramand

花與提琴

Flowers and a Fiddle

水彩紙 1926 簽名右下：Guiramand 40.5×65.5 cm（15.9×25.8 in.）

Watercolor on paper 1926 Signed lower right: Guiramand

NT$ 100,000-160,000 HK$ 27,300-43,700 US$ 3,500-5,600

138

1137

保羅‧賈曼（1926－2007）

Paul Guiramand

夜間騎手

Night of The Knight

油彩畫布簽名右下：Guiramand 62×50 cm（24.4×19.7 in.）

Oil on canvas Signed lower right: Guiramand

NT$ 120,000-200,000 HK$ 32,800-54,600 US$ 4,200-7,000

139

1138

趙無極（1921 －2013 ）秋天的旅行版畫 1967 限量 95 件簽名下方：Wou-ki Zao 47 ×42 cm （18.5×16.5 in.）出版：名人畫廊Ⅱ：《趙無極版畫選集》（高雄市：名人畫廊Ⅱ， 1992 ），頁25 。趙無極、Jørgen Ågerup、朵拉·瓦利埃：《Zao wou ki The Graphic Work A Catalogue Raisonné 1937-1995 》（丹麥： Heede & Moestrup ，1994 ），頁102 。

ZAO Wou Ki Journey in Autumn Lithograph 1967 Edition of 95 Signed lower right: Wou-ki Zao Literature: Celebrity Gallery II, Selected Works of Zao Wou-Ki Prints (Kaohsiung: Celebrity Gallery II, 1992), p. 25. Wou-ki Zao, Jørgen Ågerup, Dora Vallier, Zao wou ki The Graphic Work A Catalogue Raisonné 1937-1995 (Denmark: Heede & Moestrup, 1994), p. 102.

NT$ HK$ US$

100,000-160,000 27,300-43,700 3,500-5,600

1139

趙無極（1921 －2013 ）向鹿內信隆致敬版畫 1991 簽名下方：Hommage to Nobutaka Shikanai 無極 Zao 91 67 ×51.3 cm （26.4×20.2 in.）出版： VALLIER Dora AGERUP Jorgen ：《ZAO WOU KI, The Graphic Work: a catalogue raisonnaé, 1937-1995 》（丹麥：EDITION HEEDE & MOESTRUP ，1994 年），頁196 。

ZAO Wou Ki Hommage a Nobutaka Shikanai Lithograph 1991 Signed lower right ：Hommage a Nobutaka Shikanai Wou-ki Zao, 91 Literature: VALLIER Dora AGERUP Jorgen, ZAO WOU KI, The Graphic Work: a catalogue raisonnaé, 1937-1995 (Denmark ：EDITION HEEDE & MOESTRUP, 1994), p.196 。

NT$ HK$ US$

90,000-150,000 24,600-40,900 3,150-5,250 140

1140

喬安．米羅（1893 －1983 ）無題版畫 1981 限量 1950 件 67 ×48 cm （26.4×18.9 in.）簽名下方：673/1950 Miró 1981

Joan Miró Untitled Lithograph 1981 Edition of 1950

Signed lower: numbered (673/1950), Miro, 1981 NT$ HK$ US$

90,000-160,000 24,600-43,700 3,150-5,600

1141

朱德群（1920 －2014 ）藍色季節版畫限量 150 件簽名右下：朱德群 CHU TEH-CHUN 72.5×52.5 cm （28.5×20.7 in.）

CHU Teh Chun Blue Season Lithograph Edition of 150 Signed lower right: CHU TEH-CHUN in Chinese, CHU TEHCHUN

NT$ HK$ US$

141

90,000-130,000 24,600-35,500 3,150-4,550

1142

朱銘（b.1983）人間系列－彩繪木雕（兩件一組） a.樹脂 1996 b.樹脂 1996 a. 10×10×26 cm（3.9×3.9×10.2 in.） b. 8×11×23 cm（3.1×4.3×9 in.）附朱銘美術館開立之複製藝術品證明書

Ju Ming Living World Series - Painted Wood Carving (A set of two) a. Resin 1996 b. Resin 1996 Attached with a copy of the artwork certificate issued by Juming Art Museum

NT$ 20,000-30,000 HK$ 5,500-8,200 US$ 700-1,050

1143

朱銘（b.1983）

Ju Ming

人間系列－排隊

Living World Series – Lining Up

鉛錫合金 2002 Pewter 2002 72×18.5×19.4 cm（28.3×7.3×7.6 in.）

Attached with a copy of the artwork certificate issued by Juming

附朱銘美術館開立之複製藝術品證明書

Art Museum

NT$ 60,000-90,000 HK$ 16,400-24,600 US$ 2,100-3,150

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Ai HAIBAR 灰原愛（b.1981）灰原愛出生岡山縣，2004年畢業於東京藝術大學美術系，主修雕刻，於2006年取得碩士學位。其作品舉辦過個展「記憶的旅程」（2006，岡山）、「悸動」（2007，東京）。漫畫及動畫影響日本年輕藝術家的創作，出現「雕刻繪畫化」的新風格，灰原愛的木雕創作便出現漫畫般的少女立像。灰原愛所創作的少女雕像不僅可愛，其散發的抒情更帶有療癒的力量。Lot2052《THE SUN AND THE MOON ARE DANCING》(太陽與月亮在跳舞)兩位小女孩攜手相伴而立，以「星月相伴」之意起名，少女之間的友情、動漫風格中的兒少稚氣，在現今充滿感官衝擊的當代藝術市場中留下一頁清新。 Ai HAIBAR was born in Okayama ken, Japan. Ai HAIBAR was graduated from Tokyo University of the Arts and major in Sculpture. She obtained her master’s degree in 2006. Ai HAIBAR’s artworks had hosted a solo exhibition in Okayama (2006) and Tokyo (2007). Comics and animation influenced the creation of Japanese artists, the emergence of curving painting in a new style, and the wood carving creation of Ai HAIBAR show up a comic-like girl statue. The girl statue created by Ai HAIBAR is not only lovely, but also has healing power in its lyricism. Lot2052 “THE SUN AND THE MOON ARE DANCING”, there’s two little girls stand hand in hand, with the conception of “star moon accompanied” , the friendship between two girls and animation style of childishness, in today’s sensory impact of the contemporary art market left a fresh breeze.

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Andy WARHOL 安迪．沃荷（1928-1987）生於美國賓夕威尼亞州，為普普藝術著名代表人物。1949年畢業於現今的卡內基美隆大學，獲平面設計學士學位。1952年赴紐約，以設計商業廣告維生，同時嘗試藝術創作。1950年代，沃荷以插畫家身分立足紐約；自1960年代，他開始投身繪畫創作，以通俗用品、漫畫與廣告為題材繪製作品，將藝術創作焦點轉到大眾文化，著名的康寶湯罐頭系列即誕生於此時期。同時，沃荷也涉足電影拍攝、成立「工廠」工作室，並登上各大主流雜誌與媒體。1970年代後，他創作了一系列名人的絹印肖像，著名包括伊麗莎白泰勒（Liz Taylor）、傑克甘迺迪（Jackie Kennedy）、詹姆士狄恩（James Dean）、馬龍白蘭度（Marlon Brando）、瑪麗蓮夢露（Marilyn Monroe）、「貓王」艾維斯普萊斯利（Elvis Presley）與毛澤東等；更於1986年創作出其最具紀念性的作品「最後的晚餐」。安迪．沃荷身兼畫家、攝影師、商人、導演、明星與作家，一生創舉無數，於西洋藝術史中占有一席之地，名聲更響徹國際藝壇，作品也為世界頂級藏家爭相蒐藏。

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Andy Warhol was born in Pittsburgh, Pennsylvania. Andy Warhol was an American painter, printmaker, and filmmaker as well as the leading figure in the visual art movement known as pop art. Graduated from Carnegie Mellon University in 1949, earning a Bachelor of Fine Arts degree in Pictorial Design, he moved to New York in 1952, and became one of the most successful commercial illustrators of the 1950s. From 1960, Warhol devoted more energy to painting. He based on comics and ads to create artworks that suited popular culture. The famous Campbell’s Soup Can series was debuted during this period. At the same time, Warhol started dabbled in film making, and establish “The Factory” studio. By the mid-1960s he was a frequent presence in magazines and the media. Throughout the 1970s and 1980s, Warhol was a prolific artist, producing numerous works, creating many celebrities’ portraits in silk prints. Warhol’s final two exhibitions were his series of “Last Supper” paintings. Warhol became famous worldwide for his work as a painter, avant-garde filmmaker, record producer, author, and member of highly diverse social circles. His name is written in the Western art history, and his status in the international art scene is high. Works by Warhol are chased and collected by many top-notch collectors around the world.

AOYAMA Gosho 青山剛昌（b.1963）名偵探柯南之父，因創作柯南而成為亞洲漫畫界不可或缺的人物，他的漫畫內容溫馨而又充滿意義，所以極受廣大的觀眾歡迎。青山的漫畫作品風格比較西方化，這從他的漫畫作品裡就可以看出來。 1963年生於大榮町由良宿。在當地由良育英高中畢業後，進入日本大學藝術學院。青山老師從小學開始便喜愛閱讀推理小說，崇拜福爾摩斯。第一篇他所閱 Lot 1009 讀的柯南．道爾作品是《血字的研究》，至今他印象最深刻的福爾摩斯探案為《跳舞的人偶》，也因為受到福爾摩斯的影響，他特別喜歡理科（尤其是實驗）。青山愛好廣泛，但第一次開始接觸漫畫，是大學時代加入漫研社時的事。他還是新人時，一邊打工、一邊給大學漫研社學長阿部豐等人當助手以積累經驗。首次給國小館投稿漫畫作品，也是受阿部豐的鼓勵。投了兩次，第三篇作品《約定》才終于受到了國小館的青睞，正式入選。《名偵探柯南》的成功，青山老師認為應歸功於日本人喜好推理故事之故，他稱讚《名偵探柯南》能以小孩的身份來詮釋案情，確實拉近了觀眾與偵探間的距離，即使觀眾非資深推理愛好者，亦能很容易理解《名偵探柯南》所給予的線索與手法。更重要的是，《名偵探柯南》加入了許多以往推理小說不會加入的友情與戀愛等要素，這使得《名偵探柯南》不會只專注於解決事件，擁有更多元化的劇情與感受。 AOYAMA Gosho, the creator of Detective Conan, has become an indispensable character in the Asian comics because of his creation, and his comic content is warm hearted and full of meaning, so it is very popular with the audience. AOYAMA’s comic style is more westernized, which can be seen from his comic works. AOYAMA was born in 1963, Hokuei cho in Japan. After he graduated from Yura Ikuei secondary school, he entered Nihon University College of Art. AOYAMA teacher loved reading detective novels and he admired Sherlock Holmes beginning from his primary school. The first chapter of Conan Doyle he readed is “A Study in Scarlet”. By far his most impressive Sherlock Holmes detective was “The Dancing Man”, and he had a particular fondness for science(especially experimentation) influenced by Sherlock Holmes detective. AOYAMA has a wide range of hobbies, but the first time he began to get in touch with comics, it was a matter of joining the Institute in college. When he was a newbie, he worked part time and worked as an assistant to Abe Yutaka, the senior of the University’s Institute of Comics Club, and others to accumulate experience. The first time he submitted his comic to Shogakukan was encouraged by Abe Yutaka. AOYAMA had submitted twice, but the third work “Convention” was finally favoured by Shogakukan and formally selected. AOYAMA teacher believed that the success of “Detective Conan” was due to the Japanese preference for detective stories, and he praised “Detective Conan” can rely on a child to interpret the case, indeed shortens the distance between the audience and detectives, even if the audience is not a senior detective enthusiast and it is easy to understand the clues and techniques given by “Detective Conan”. What’s more, “Detective Conan” adds many elements such as friendship and love that were not found in previous detective novels, which makes “Detective Conan” not only focus on solving the incident, but also have a more diverse plot and feeling.

Bang&Olufsen×Supreme Bang&Olufsen×Supreme 丹麥頂級視聽品牌B&O（Bang&Olufsen）聯名Supreme。B&O音響公司早在數十年前就以前衛簡潔設計、以及驚人的「超貼心使用者介面」而聞名。 B&O BeoPlay A9不僅採用較容易擺放的一體式設計，在音量控制的部分也特別做了優化處理，用他那數十年累積的音響技術解決藍牙音源聲音單薄、中低頻無力的問題。B&O以極度貼近一般人生活情境的測試過程，創造出形體碩大、聲音宏亮且低頻氣勢強的聲音表現。巨大的外型就能塞入比一般藍牙喇叭更多更大的喇叭單體、功率更大的擴大機、以及空間更大的共鳴腔，因此能提供更渾厚、中低頻表現更佳的聲音。 Denmark’s top audio-visual brand, Bang&Olufsen crossover with Supreme. Decades ago, the company was known for its previously simple design and

Lot 1089

amazing “ultra-intimate user interface”. Not only does the B&O BeoPlay A9 feature an easy to place and all in one design, but it’s also optimized in the volume control section, using their decades-long cumulative sound technology to solve the problem of thin and the powerless of low-frequency sound from Bluetooth sources. The testing process, which is extremely close to the average person’s life situation, creates a large, loud and low-frequency performance. The huge form shape can be plugged into more and larger speaker drivers than a typical Bluetooth speaker, with a highpower amplifier, and a larger resonance cavity in space.This provides a sonorous, low and medium frequency sound in good performance.

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牟利的用途，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。

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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.

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Budi KUSTARTO 布迪．庫斯塔圖（b.1972）布迪．庫斯塔圖（Budi Kustarto）1972年出生於印尼，2003年畢業於印尼藝術學院雕塑系，目前生活於日惹，是印尼當代藝術家的聚集地。布迪擅長將自己的形象融入繪畫，由於畢業於雕塑系加上自身對於空間的敏銳觀察，針對畫布上的細節具表現力，作品帶有強烈的雕塑立體風格。布迪的繪畫常描繪物體對於重力的反應，他認為空間是作品中不可或缺的一部份，正因為雕塑和空間兩者相輔相成，更增添作品的價值。此外，在布迪的作品最獨特是對於「綠色」的應用，他沒有明確給出其中的涵義，但顏色帶有轉喻：代表著自然和生命，與生活和文化息息相關，這大概是布迪對於自我的詮識及對生活的獨特思考。擁有豐富的參展經驗，如：2004年於中國四川美術館舉辦印度尼西亞《當代藝術：變換的水果》聯展、2006年雅加達雙年展biennial《超越，限制與挑戰》、2007 年曾參加雅加達《被人所知的印尼藝術》及日惹雙年展VIV《Neonation》等多項國際聯展。 Lot 1048 Budi Kustarto was born in 1972 in Indonesia. In 2003, Budi Kustarto graduated from Indonesian State College of Arts and major in Sculpture, he’s currently living in Yogyakarta and it’s a rendezvous to Indonesian contemporary artists. Budi is good at integrating his own image into painting, because of his graduated from sculpture department and his own keen observation of space, for the details on the canvas is expressive, his work has a strong three-dimensional style of sculpture. Budi’s paintings often depict the reaction of objects to gravity, and he believes that space is an integral part of the work, precisely because sculpture and space complement each other, adding value to the work. Moreover, the most unique feature of Budi’s work is the application of “green”, which he does not give the clear meaning to, but the color with a metaphor representing nature and life, which are closely related to life and culture. This is probably Budi’s understanding of oneself and the unique thinking of life. Budi’s paintings had extensive exhibition experience, such as: In 2004 at the Sichuan Art Museum of China, Indonesia’s “Contemporary Art: Transformed Fruits” exhibition, the 2006 Jakarta Biennial “Beyond, Limitations and Challenges”, In 2007 in Jakarta, “Known Indonesian Art” and Yogyakarta Biennial VIV “Neonation” and many other international exhibitions.

C. J. YAO 姚慶章（1941-2000）姚慶章1941年出生於雲林西螺，四歲遷居臺中，中學已決心走上藝術之路，曾在廖繼春門下學畫，1961年考進臺灣省立師範大學藝術系，1964年曾與同學江賢二、顧重光創辦「年代畫會」，並在台灣省立博物館舉辦第一屆年代畫會展，展出作品以抽象派風格為主。1970年參加巴西聖保羅國際美展後赴美國紐約發展，居住在蘇荷區（Soho）數十年間，從抽象畫轉變進入超寫實，描繪在紐約感受到的都市風華，精準呈現現代建築的反光、鏡映景象，照相寫實風格獲得極大迴響與肯定，亦是台灣第一代在紐約華人畫家的重要代表。1980年代中期以後姚慶章開創了「第一自然系列」，脫離超現實主義，回歸內在心靈主題，探索生命宇宙源頭，以及《易經》天道思想。1990年代之間，姚慶章往來於紐約、台北，創作不懈，晚期孕育出他成熟精彩的「生命系列」隱喻宇宙生命能量，2000年病逝紐約，2001年台北國立歷史博物館舉辦紀念畫展。 Lot 1124 C. J. Yao was born in Yunlin, Taiwan in 1941 and moved to Taichung at four, he was determined to be an artist at junior high school and had been a student of LIAO Chi Chun. He entered Fine Art Department at National Taiwan Normal University in 1961, cofounded Year Society with Paul Chiang and Gu Chong-Guang. They held their first exhibition at Taiwan Provincial Museum, and most works were abstract style. After participating in the Sao Paulo International Art Exhibition in 1970, Yao went to New York to develop. Living in Soho for ten years, Yao turned abstract painting to hyper-realism and depicted the urban scenery he felt in New York. Yao’s photorealism style has received great response because he accurately presents the light and reflection of skyscrapers. Yao was also an important representative artist among the first generation of Asian American artists in New York. After the mid-1980s, Yao created Nature Series, left surrealism, returned the inner spiritual theme, and explored the origin of the universe and thought of Chinese Yijing. Although this change seemed abrupt, there were signs and indications. Abstract images became a new way because it’s hard to transcend when hyperrealism came to an end. Besides, it could be a result of his deep cultural genes woke up. Back to early abstract style, Yao used mature techniques, integrated more emotions, and created with deep and profound thoughts. Between the 1990s, Yao kept creating between New York and Taipei. In later period, Yao developed a mature and wonderful Life Series to depict energy of the universe. Yao passed in New York in 2000, and National Museum of History held a memorial exhibition in 2001.

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。 Lot 1131 Lot 1132

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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 cofounded 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.

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「青辰美術為會」，隔年約五次投考東京美術學校失敗。持續在川端畫校進修；1948年任教於台灣師範學校（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年皆在台中歌德舉辦個展。1999年台北、台中、嘉義、台南『繪畫生涯演講會』，畫冊同時出版。2004年於國立歷史博物館舉辦九十回顧展，於台中哥德藝術中心舉辦九十回顧經典展。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.

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In 2013, the National Taiwan Art Museum held a “100-years-old retrospective exhibition”, and Chang’s works had exhibitions at Art Taipei 2017 and Art Taipei 2019.

CHEN Cheng-po 陳澄波（1895 - 1947）自台北師範學校畢業後，在家鄉曾擔任小學教員的工作。至1923年才赴日留學，並進入東京美術學校就讀習畫，爾後又進入研究科專攻西畫。在日求學期間，作品曾入選帝展，並於1929至1933年間居留於中國大陸，並擔任多項職位。1933年，因台陽美術協會的籌備工作，而決定返國。1947年遭遇「228事件」之政治迫害，而被槍決。 After graduating from the Teaching Department of the Taipei Japanese School in 1917, he worked as primary school teacher. In 1923, Chen went to Japan and studied at the Tokyo Fine Arts Institute. While he was a student, Chen's works were selected by the Imperial College of Fine Arts. Chen was sponsored by the Japanese government to study in France in 1897. Chen was in Mainland China from 1929 to 1933 and taught at several schools. After returning to Taiwan. He co-founded the Taiyang Fine Arts Association. Chen devoted himself to painting until his death in 1947.

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CHEN Dan Cheng 陳丹誠（1919~2009）名衷，號雙餘，別署餘叟，天曉樓主，山東即墨人。幼讀詩書，從袁光鑑、宮來儀先生等習古文，從尹耕莘先生習繪事，並私淑任伯年、吳昌碩、齊白石三家。作品曾展於北京、濟南、青島、台灣。及美、日、韓、歐、澳州等國。來台後投身於美術教育工作，曾任台北建國中學教師、文化大學美術系教授兼主任，國立藝專美術科教授兼主任，一九九○年應邀赴法國講學，任巴黎高等美術學院客座教授，講授我國書畫及篆刻之學，深獲當地學者讚譽，為我國第一位講學巴黎之書畫篆刻藝術家。榮獲中華學術院「院士」列入「當代名人錄」、「當代書畫家名鑑」。並於一九五二年應于右任及賈景德之邀，參加為砥礪詩書畫研究而成立之「韜社」。一九六○年與馬紹文、王展如、林玉山、鄭月波、胡克敏、傅狷夫、季康先生等組成「八朋畫會」定期雅集，蔚為藝壇風範。 Shandong Jimo people. Young reading poetry and calligraphy, from Yuan Guangjian, palace to Mr. Yi and other ancient language, from Mr. Yin Gengxian to learn things, and private Shu Renbo years, Wu Changshuo, Qi Baishi three. Works have been exhibited in Beijing, Jinan, Qingdao, Taiwan. And the United States, Japan, Korea, Europe, Australia and other countries. He was a professor and director of the Fine Arts Department of the National University of Fine Arts, and was invited to give lectures in France in 1990. He was a visiting professor at the School of Fine Lot 1111 Arts in Paris. , Teaching Chinese painting and calligraphy and seal of the school, deeply praised by local scholars, for my first lectures in Paris, painting and calligraphy and painting artists. Was awarded the title of "Contemporary Celebrity Record", "Contemporary Painting and Calligraphy". And in 1952 should be invited to the right and Jia Jingde, to participate in the study of painting and painting for the establishment of the "Tao Society." In 1960, he was composed of Ma Shaowen, Wang Zhanrui, Lin Yushan, Zheng Yuebo, Hu Keming, Fu Qifu and Mr. Ji Kang.

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CHEN De Wang 陳德旺（1910-1984）臺北人。1924 年入臺北一中，師承鹽月桃甫，1927 年入臺灣繪畫研究所，受教於石川欽一郎。在陳植棋的鼓勵下赴日，多受其照顧。 1929至 1940年赴日先後在本鄉繪畫研究所、川端畫學校及二科會研究所等習畫。又受教安井曾太郎。1935年被推薦為『臺陽美協會員』來年入吉村芳松畫室。1938年退出臺陽美協，在東京租畫室，並與畫友洪瑞麟、張萬傳等組成行動畫會。 1941 年返臺定居。行動美術會改名『臺灣造型美術協會』。1951年重新加盟臺陽美協，1952 年任教開南商工夜間部，1954 年與洪瑞麟、張萬傳、廖德政、張義雄、金潤作組『紀元美術會』，前後十二年滯日，返臺後任教於開南商工、大同、延平中學，退休後閉門作畫，走純粹研究路線。1975年三重舊宅（兼畫室）遭火災，部分作品遭波及，1984年胰臟癌逝世於臺北。 Born in Taipei, Taiwan, Chen studied painting with Yenge Momoko when he was young. He attended the Dadaocheng Institute of Western Painting in 1927 and was taught by Kinichiro Ishikawa. From 1929 to 1940, he went to Japan and studied art at Hongu Art Institute and Nika Art Institute. Upon returning to Taiwan he joined the Taiyang Fine Art Association. Then, he co-founded MOUVE Association with CHANG Wan Chuan and HUNG Jui Lin in 1938. CHEN passed away in 1984.

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CHEN Huei Tung 陳輝東（b.1938）生於台灣台南，畢業於台東師範學校，為自學型成功畫家，在畫壇上具有舉足輕重的地位，除了個人創作，更致力於美術教育三十年，是真正熱愛藝術、推動藝術的藝術家，1988年由教職退休之後專事油畫創作。他的作品量豐富，且始終把持著質感的堅持、創作的理念，至今獲獎無數。曾榮獲中華民國畫學會頒發「金爵獎」（1976）、中國文藝協會頒發藝術類「文藝獎章」（1979）、「中山文藝創作獎」（1981）等。 Born in Tainan, Taiwan, graduated from Taitung Teachers College, though Chen has never accepted formal art education, he still proves self-diligence and persistent passion for art can reach his dream. Now he is recognized across the art and education communities for professional accomplishments and contribution to children’s art. His energy and creativity seems endless by the vastness of his output. However, he never compromise quality and selfadherence. He is awarded: ”Golden Duke Award” by ROC Painting Association, “Art and Cultural Medal” by Chinese Arts and Culture Association, “ Chungshan Arts Creative Award” by Chungshan Scholastic Cultural Foundation.

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CHEN Yin-Huei 陳銀輝（b. 1931）陳銀輝出生於嘉義縣。陳銀輝畢業於國立臺灣師範大學美術系。1957年任教師大美術系。得獎無數，其中包括：1975年烏拉圭國際雙年展、1991年法國秋季沙龍展、1994年法國現代藝術展及1995年全省美展五十年回顧展。他的作品均有一個主色調：平靜略帶憂傷的藍、鮮亮卻隱含危險的黃，或是明亮熾熱卻埋伏著玄機的紅。他靈活運用對比色的交錯呼應，而使得畫面上的光線與色彩形成交流。線在主色調的色塊中交織出富於詩意與旋律風景；在不經意的強調下，物體的輪廓有不造作的表現。

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Born in Taiwan, he taught in National Taiwan Normal University Art Department in 1957 after graduating from the same school. He was selected into many exhibitions. In his painting, there is always a main hue to express emotions. It can be blue for sadness, yellow for danger, or red for passion. He also uses complementary colors to contract the main color to create a rich pallet. Variety of lines is another important character of his paintings. He uses lines to add movement to the composition and also gives subjects lose outlines. The Rhythm of Forms and Colors—Yin Hui Chen: A Retrospective Exhibition at Taipei Fine Arts Museum.

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年陞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 Lot 1112 休。1996年逝於瀋陽魯迅美術學院演講席中。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。 Born in Qixian County, Anhui Province, China, educated by traditional paintings, calligraphies and poems. Chiang was once praised as a poetry disciple by PU Xinyu, 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 Gongchao and Chen Xueping 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 paintin. 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 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.

CHUANG Che 莊喆（b. 1934）生於北京，其父親莊嚴為已故名書法家暨前北京故宮博物院副院長，莊喆自小培養出熱愛中國藝術興趣。 1948年遷居台灣，1958年畢業於國立師範大學美術系，加入五月畫會，積極參與中國繪畫現代畫運動。 1966年貨美國洛克斐勒基金會的贊助，赴美考察國際當代藝術之發展，後返台任教於東海大學。1973年移居美國密西根州，於1988年遷居紐約，專注於抽象繪畫之創作，1992年應台北市立美術館邀請回國舉辦個展，也曾多次在國際展覽中出現，作品廣為國內外美術館及私人珍藏。

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

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paintings, and was invited by the Taipei Fine Art Museum to hold a solo exhibition in 1992. Chuang's works have been exhibited widely0Aand housed by many local and foreign museums and private collectors.

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CHU Teh Chun 朱德群（1920-2014）中國江蘇人。1941年畢業於杭州藝專且留校任職，而後受聘於南京中央大學。1949年在台北任教於師大美術系，1955年赴巴黎深造。1958年於巴黎舉行個展後，1964年應美國匹茲堡卡內基美術博物館之邀參加國際畫展，1987年由法國文化部協辦展開亞洲巡迴展包括北京中國美術館、香港藝術中心、台北市立美術館等。1997年底榮膺法蘭西研究學院藝術院士。2006年獲頒歐洲傑出人材獎。2014年3月26日在巴黎家中逝世，享年94歲。 1961年朱德群獲邀參加巴黎「五月沙龍」，1997年成為世界華人兩百年來首位獲選為「法蘭西研究院美術院士」。1955年赴巴黎留學時受到Nicolas de Steal的啟迪使其創作由具象轉為抽象，至此畫作開始融入中國水墨寫意和獨特抽象畫風，恣意地在紙本上表現豪放不拘情感和對自然山水的喜愛，流暢筆觸下的非定形世界，變化萬千的構圖、蒼勁的線條、絢麗的色彩，在在都刻劃出中國人文「詩中有畫、畫中有詩」的夢幻意境。 Chu graduated from the National Academy of Arts in Hangzhou in 1941. He taught drawing at the Central University in Nanjing and the National Taiwan Normal University in Taipei. In 1955, Chu moved to Paris where he held numerous solo exhibitions. In 1964, Chu was invited to show his work at the International Art Exhibition at the Carngie Institute, Pittsburgh. In 1987, Chu most touring exhibitions was organized by the French Ministry of Culture and Shown throughout Asia, incluing the Chinese Art museum in Beijing, the Hong Kong Arts Centre and the Taipei Fine Arts Museum, in 1977, Chu was honored by the Academie des Beaux-Arts de France and elected as a member of institute. On Lot 1141 26 March 2014, Chu Teh-Chun died in Paris at age 94. In 1961, CHU Teh Chun was invited to the Salon of May in Paris. In 1997, he became the first Asian member of Académie des Beaux-Arts. During his stay in Paris, he was inspired by Nicolas de Steal’s painting style. That was when he began to fuse the tradition Chinese colors and the freely formed abstract works in Western paintings and this fusion allowed him to express his appreciation toward the nature on the canvas. Calligraphic lines with flowing artistic structure and a wide spread of bright colors made his paintings look like dreams.The lines and colors in his work are all carefully planned and are to achieve on goal in harmony: to create the ray of light and bring out the image and the rhythm. The work “Composition No.76” was completed in 1961 and it shows nature itself is his inspiration. The deep blue color in the middle can be seen as the cosmic swirl of Chaos at the beginning of the world, full of mance and poetry.

Daniel Arsham 丹尼爾．阿沙姆（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，仿佛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。

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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: an 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 statetime space, fully shows the core value of his creation.

FANG Yan Jie 方延杰〈1926-1990〉浙江崇德人是我國著名的水彩兼油畫家，他亦擅長雕塑。抗戰時期方延杰曾向名醫沈杰先生學習醫術，由於沈杰視方君如己出，便將其原名延傑改成現名延杰，無論是醫術或繪畫皆全力傳授給方延杰。來台之後，方延杰做過許多工作其多姿多采的人生經驗更加深其繪畫作品的內涵，致使方延杰放棄優渥工作並專心致力於藝術創作，不僅繪畫對於雕塑也下功夫研究。自民國六十二年旅居美國，方延杰的藝術領域更為廣闊，其作品意涵更加豐富。其成就非凡並揚名國外獲得藝壇的肯定。 Jack Fang was born in Zhejiang in China. Fang’s talent is not only watercolor but oil paintings, sculpture as well. During the period of war, he learned medical skill from Shan Jay, the famous doctor, at that time. Shan treated Jack Fang as his own child, he renamed Fang’s Chinese name. In addition, Shan taught everything he got to Fang in both medical and art field. When Fang came to Taiwan, Fang’s changed many different work experiences in order to add his thought in the artworks. After that, he focused on art to be an artist including paintings and sculptures. Since he settled in America, he had practiced his paintings skills. In addition, his artworks became famous and was award in overseas.

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FU Chuan Fu 傅狷夫（1871-1937）本名抱青，又名唯一，字覺翁，號雪華邨人、心香室主，浙江杭州人。西泠書畫社社員，抗戰入蜀，受業于陳之佛，工書擅畫，狂草造詣極高，人稱「書畫雙絕」。他以行草為主的創作，下筆力道、氣勢，拿捏得恰到好處，有如繪畫之布局、章法、結構。以畫法入書的「連綿草」常數十字一氣呵成，動勢、行氣與留白空間形成強大的力量。篆、隸、楷的厚重與行草書的豪邁，可說是傅狷夫個性與見解的抒發。欣賞他的書法，不自覺的會被一股氣勢震懾。傅氏根據臺灣山水特色，自創「裂罅皺」、「點漬法」，以其獨創風格描繪臺灣風景，開一派畫風，是開拓台灣水墨新境的導師之一。傅氏為人處事謙和，教學態度認真，是學生敬重的良師，曾任教於政治作戰學校、國立藝專及國立藝術學院等，門下弟子眾多，對臺灣水墨畫壇影響深遠。晚年獲文建會頒發國家文藝獎、文馨獎，獲行政院文化獎章等，正是對其人格畫品的肯定。

Lot 1117

Fujiko F Fujio 藤子．F．不二雄（1933-1996）本名藤本弘，日本漫畫家。富山縣高岡市人、畢業於富山縣立高岡工藝高等學校電氣科。受到漫畫大師手塚治虫啟發，立志成為兒童漫畫家，其最開始與小學同學安孫子素雄共用筆名藤子不二雄，後兩人風格出現差異，於1987年正式分拆筆名，稱為藤子不二雄Ⓕ，F即其本名姓氏開頭首字母。 1989年2月，經過藤本的友人石森章太郎先生的建議，其將筆名改為現筆名「藤子·F·不二雄（Fujiko F Fujio）」。代表作有《哆啦A夢》、《小超人帕門》、《奇天烈大百科》、《超能力魔美》等。 His real name is Hiroshi Fujimoto, a Japanese cartoonist. Born in Takaoka City, Toyama Prefecture, graduated from the Electrical Engineering Department of Toyama Prefecture Takaoka Technical College. Inspired by the manga master Osamu Tezuka, he became determined to become a children's cartoonist. He first shared the pseudonym Fujiko Fujio with his elementary school classmate Abiko Motoo. The latter two had different styles. In 1987, the name was officially split and called Fujiko FujioⒻ, F is The first letter of his real name and last name. In February 1989, after Fujimoto's friend Mr. Ishinomori Shōtarō suggested, he change his name to his currentname "Fujiko F Fujio (Fujiko F Fujio)". Representative works include "Doraemon", "Little Superman Parmen", "Qi Tianlie Encyclopedia'', "Super Power Magic Beauty" and so on.

Lot 1010

Fujiwara Hiroshi 藤原浩（b.1964）藤原浩是日本街頭風格穿搭的教父，也是裏原宿潮流文化的開創者，對於當代的時尚、音樂、設計都身有影響，是一位全方位的人才。。早在1980年代初期，還是青少年的藤原浩就與英國龐克音樂人、服裝設計師Malcolm McLaren還有時尚教母Vivienne Westwood合作，之後他結合了龐克、嘻哈、滑板文化，引領了日本的流行時尚，他的作品深獲收藏家喜愛，十分搶手，不止在日本只要是亞洲地區的人也深受著藤原浩的影響。 Fujiwara Hiroshi is the godfather of Japanese street style dressing and the pioneer of Ura Harajuku trend culture. He has an influence on contemporary fashion, music, and design. He is an all-round talent. As early as the early 1980s, as a teenager, Hiroshi Fujiwara collaborated with British punk musician, costume designer Malcolm McLaren and fashion godmother Vivienne Westwood. After that, he combined punk, hip-hop, and skateboarding culture to lead Japanese fashion. His works are deeply loved by collectors and are very popular. Not only in Japan, but also people in Asia are also deeply influenced by Fujiwara Hiroshi.

Lot 1014

150

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 1054

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 Lot 1056 Lot 1055 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.

HONG Ling 洪凌（b.1955）雲南白族人，1955年出生於北京，1979年畢業於北京首都師範學院美術系，專長油畫。1985年入中央美術學院油畫系研究所，目前為中央美術學院油畫系副教授。油畫作品曾參加第七屆全美展、首屆中國油畫展、第一第二借中國油畫年展以及1994年美術批評家年度提名展等展覽， 1955年在香港舉辦個展並參加第47屆義大利威尼斯雙年展。 Born in Beijing, China, 1955. Hong Ling graduated from the Fine Arts Department of Beijing Normal College in 1979. In 1985, he entered the Oil Painting Department of the Central Academy of Fine Arts and currently holds the position of associate professor. His oil paintings have been exhibited in the first and second annual exhibition of Chinese Oil Paintings and the 1994 Critics Nomination Exhibitions. Hong has also participated in the 47th Venice Biennale in 1997

Lot 1080

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. Xiao has been different from early Eastern artists’ imitation of Western art because Xiao developed his own style. Xiao 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 1045 151

Lot 1046

Lot 1047

Hsieh Hsiao-Te 謝孝德（b.1940）台灣桃園人，國立台灣師範大學美術系畢業。1967年油畫獲台陽美展及台灣省展第一獎。1973至1974年旅居法國入學巴黎羅浮藝術學院研究，1975年旅居美國紐約研究現代藝術。七〇年代，分別在日本東京及大阪、美國舊金山以及省立博物館舉辦個展，也參加巴西聖保羅國際雙年展、紐西蘭國際展及歐州巡迴藝展，還在法國坎城國際展獲得「國際獎」。1973年獲得教育部文藝獎，1979年英國克里夫蘭國際素描雙年展，並得「優選獎」，1983年先後被列入英、美世界名人錄中。 Born in Taoyuan, Taiwan. Hsieh received his B.F.A. from National Taiwan Normal University. From 1973 to 1974, he lived in Paris and entered École du Louvre, then moved to in New York in 1975 to continue his avant-garde experiments. Solo exhibitions held in Taiwan and aboard, including Tokyo and Osaka in 1967, National Taiwan Museum in 1973, San Francisco in 1974, National Taiwan Museum in 1976 and Tokyo in 1977. He received “National Honor Award” in French Cannes International Biennale in 1971, and the Award of Literature and Art by Ministry of Education in 1973. His works were participated in varies group exhibitions, including the Sao Paulo Art Biennale, art fairs in New Zealand and in Europe in 1970, and the Sao Paulo Art Biennale in 1974. Showed in the Cleveland International Drawings Biennale in 1979 and was one of the prize winning artists. In 1983, Hsieh was listed as one of World Who’s Who in Britain and in America.

Lot 1125

Hsiung Ping Ming 熊秉明(b.1922-2002）熊秉明，1922年出生於中國，著名法籍華人藝術家、哲學家，中國數學家熊慶來之子。熊秉明集哲學、文學、繪畫、雕塑、書法之修養於一身，旅居法國50年，無論對人生哲學的體悟還是對藝術創作的實踐，都貫穿東西，融合了中國的人文精神。 Born in China, 1922. Chinese famous artist, philosopher, mathematician Hsiung Chi Lai’s son. Hsiung Ping Ming knows philosophy, literature, painting, sculpture and calligraphy. He lived in France for fifty years. His painting style is within East and West human spirit.

HUANG Da Shen 黃達生（約清末）

Lot 1067

黃達生，清末廣東有名的外銷畫家。貿易畫是十九世紀後期西方列強進入以後的產物，也是近代美術發展史上的一個重要階段。鴉片戰爭以後，香港、澳門、廣東、福建、上海和南京等開埠通商口岸出現一批畫匠開始學習西畫技法，並嘗試創作反映當時風土人情的油畫作，寫實手法高超，人物和衣飾栩栩如生，顏色歷經百多年滄桑之變仍光彩照人。黃達生的油畫有著很高的藝術欣賞價值和歷史文獻價值，深受收藏家的青睞。

HUNG Rui-Lin 洪瑞麟（1912-1996）

Lot 1057

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

Lot 1062

152

JEAN-MICHEL BASQUIAT 尚．米歇爾．巴斯奎特（1960-1988）活躍於1980年代的美國畫家、雕塑家及街頭塗鴉藝術家，1960年出生于紐約，父親是海地人；母親則為波多黎各後代。巴斯奎特自小顯露繪畫的興趣，由於母親喜愛時尚設計、素描，父親又經常帶回紙張禮物，都是他重要的鼓勵與支持的源泉。1965年時母親經常帶他參觀紐約博物館，1966年時成為布魯克林美術觀的小小博物館之友。早期對巴斯奎特的藝術產生影響的因素包括：勤讀法文、西班牙和英文讀物，酷愛希區考克的電影、汽車和漫畫書等。1980年之後巴斯奎特開始參加畫展。1981年詩人藝術家瑞內．裡卡德在美國〈藝術論壇雜誌〉以光芒四射的孩子的標題介紹巴斯奎特，而這成為他藝術生涯的催化劑。1982年參加國際策展人歐利瓦策劃的義大利、美國超前衛畫家聯展，先後入選惠特尼雙年展、德國檔大展，開始和安迪．渥荷往來 Lot 1098 Lot 1099 及合作，一位女畫商甚至提供空間讓他創作大幅作品。1984年佳士得以1萬9000美元售出。2002年全年度當代藝術項目表現最好的藝術家就是巴斯奎特。在2002年紐約佳士得拍出550萬9500美元的價格，則創下巴斯奎特最高畫價記錄。 An American painter, sculptor and street graffiti artist active in the 1980s. Born in New York in 1960, his father is a Haitian; his mother is a descendant of Puerto Rico. Basquiat showed interest in painting since he was a child. Because his mother loved fashion design and sketching, his father often brought back paper gifts, which were all his important sources of encouragement and support. In 1965, his mother often took him to visit the New York Museum. In 1966, he became a friend of Brooklyn's small museum of fine arts. Early factors that influenced Basquiat’s art included: diligent reading of French, Spanish and English books, and a passion for Hitchcock’s movies, cars, and comic books. After 1980, Basquiat began to participate in painting exhibitions. In 1981, poet and artist Rene. Ricard introduced Basquiat under the title of Radiant Child in "Art Forum Magazine" in the United States, and this became a catalyst for his artistic career. In 1982, he participated in a joint exhibition of Italian and American ultra-avant-garde painters curated by the international curator Oliwa. He was selected for the Whitney Biennale and the German Exhibition. Woho exchanges and cooperates, and a female art dealer even provides space for him to create large-scale works. Christie sold it for $19,000 in 1984. Basquiat was the artist who performed best in contemporary art projects in 2002. In 2002, Christie's New York sold a price of $5.59,500, setting a record for Basquiat's highest painting price

Jenny CHEN 陳張莉（b.1956）臺灣藝術家陳張莉，1944年出生於中國重慶，後隨父母移居台灣，台灣政治大學文學士1968畢業於台灣國立政治大學文學院，1970年代中期開始研習繪畫，1990年獲取紐約普拉特學院藝術碩士，於同年在普拉特學院舉辦個展，現居台北從事職業藝術創作，自1987年起分別在台北市立美術館、關渡美術館、美國紐約林肯中心、法國巴黎國際畫廊、巴黎大皇宮及2002年韓國漢城的「第十七屆亞洲國際美展」，2003年上海美術館、2010年台北關渡美術館等機構及私人畫廊展覽。作品獲美國普拉特學院、國立臺灣美術館、臺北市立美術館、高雄市立美術館、上海美術館等地收藏。陳張莉，以瀟灑流暢與鮮明的抽象繪畫，創造出具代表性的個人風格，厚重分明的肌理層次將自己的情感與生命經驗映照在畫布上。從大自然動人的流動狀態獲得創作靈感，透過抽象繪畫、錄像與立體雕塑等創作方式，細膩 Lot 1084 地記錄每一瞬間的變化。她擅長運用西方藝術語彙襯托出她的風格與中國繪畫之間的密切關係，追求創作精神上的風格改變，以多元的媒材形式，嘗試將內在的感性轉化到真實世界。 Taiwanese artist Jenny Chen was born in Chongqing, China in 1944, and moved to Taiwan with her parents. She graduated with a Bachelor of Arts degree from National Chengchi University, Taiwan in 1968. She began to study painting in the mid-1970s and received her Master of Arts from Pratt Institute in New York in 1990. In the same year, he held a solo exhibition at the Pratt Institute. Now he lives in Taipei and is engaged in professional art creation. Since 1987, he has been in Taipei Fine Arts Museum, Guandu Museum of Art, Lincoln Center, New York, United States, Paris International Gallery, Paris, Grand Palace, and Seoul, South Korea in 2002. "The Seventeenth Asian International Art Exhibition" was exhibited by institutions and private galleries in Shanghai Art Museum in 2003 and Guandu Art Museum in Taipei in 2010. Her works have been collected by Pratt Institute, National Taiwan Museum of Fine Arts, Taipei Fine Arts Museum, Kaohsiung Fine Arts Museum, Shanghai Art Museum and other places. Jenny Chen creates a representative personal style with chic, smooth and vivid abstract paintings. The thick and distinct texture layers reflect her emotions and life experiences on the canvas. Get creative inspiration from the moving state of nature, and meticulously record every moment of change through creative methods such as abstract painting, video and threedimensional sculpture. She is good at using Western artistic vocabulary to bring out the close relationship between her style and Chinese painting, pursuing the change of creative spiritual style, and trying to transform the inner sensibility into the real world with multiple media forms.

Joan Miró 喬安‧米羅（1893-1983） 1893年米羅出生於西班牙巴塞隆納，自小米羅就對於大自然的風景非常熱愛。畫畫對於安靜及敏感的他來說，似乎是一種習以為常的工作。14 歲時，米羅進入巴塞隆納的 St. Luke 藝術學院。他的畫通常是架構於平面的底層加上明亮的色彩，尤其是藍、紅、黃、綠、黑這幾種顏色，無形狀的阿米巴圖﹝Amorphous Amoebic﹞成形於銳利的線條、點及花色，完全以不協調的架構成圖。米羅的畫風，總是有一種天真、無邪、貪玩的風格。他以有限的記號要素做畫，達到現代畫自由表現的境地，其作品幻想雖然神秘，表現卻是明晰，畫面充滿了隱喻、幽默與輕快，表現孩童般的純樸天真，並且富有詩意。他主張繪畫所表現的神秘，必須以具體的自然形象作基礎。 Spanish Catalan painter, sculpture, and ceramist who born in the sea port city of Barcelona. His works before 1920(the date of his first trip to Paris) reflect the influence of difference trends, like the pure and brilliant colors used in Fauvism, shapes taken from cubism, influences form folkloric Catalan art and Roman frescos from the churches.

Lot 1140 153

JU Ming 朱銘（b.1938）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 collected by the Sculpture and Art Museum of Japan. In 1981 he went to study in New York, where the following year, in direct result of the tremendous success his Living World Series, JU experienced a major turning point in his artistic career. In 1989, he worked in conjunction with a famous architect to recreate the Living World Series, cast in bronze, to stand in front of the Hong Kong Bank of China. The JU Ming Art Museum in Taipei, housing many of his works of modern sculpture, was built in 1999 and in 2000, on the basis of managing the JU Ming Art Museum for ten years; he won the Tokyo Creation Award.

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KAWS（Brian Donnelly）布萊恩．唐納利（b. 1974） KAWS 生於美國新澤西州，本名布萊恩．唐納利，現生活和工作於紐約布魯克林。曾於紐約視覺藝術學院

學習並專精於插圖，並於1996年取得該校學士學位。曾擔任過迪士尼公司動畫師。身為街頭藝術創作者的KAWS經常直接創作於街頭既有的廣告之上，試圖顛覆其原始意象。1999年，KAWS與日本品牌realmad Hectic以及Bounty Hunter合作的小型乙烯基玩具《同伴》在流行藝術的商業圈引起了潮流，KAWS隨後製作的《同伴》之數種衍伸版本更在世界各地的美術館展出。藝術家持續與各知名品牌合作推出的商品均極俱話題性，更使得更動既有的知名人物角色並加上XX圖樣的創作模式成為他的註冊商標。當今活躍範圍從美國紐約擴及至日本東京、英國倫敦、法國巴黎等歐洲及亞洲城市。 KAWS, Brian Donnelly, was born in New Jersey, now lives and works in Brooklyn, New York. He studied illustration at School of Visual Arts in New York, and obtained the Bachler’s degree in 1996. He used to be an animator of Disney. As a street artist, KAWS often work directly on the existing street commercials which subvert the original image. In 1999, the small vinyl toys “Companion” by KAWS made with the collaboration with Japanese Brand realmad Hectic and Bounty Hunter had cause a trend in the business sector of art. Many other various editions of “Companion” have been exhibited by the museums around the world. The art products that KAWS continues to make in cooperation with well-known brands garnered attentions with his trademark: the ironic modifications of familiar characters with XX pattern on them. The name KAWS is now active in New York, Tokyo, London, Paris, and many other cities in Europe and Asia.

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KIRIKO Iida 飯田桐子（b.1970） 1970年出生於日本北海道，1991年畢業於北海道造形設計學校。成長於時常被白雪包圍的家鄉，讓飯田對於白色有特別的情感，她曾表示：「白色是最有包容力的顏色，能反映出其它顏色的深度。」，作品經常可見大面積的留白、地上層層的雪堆或飄落的雪花，整體氛圍充滿寧靜又神秘的美感。飯田桐子繪畫中常以人物作為主體，之後開始出現對於植物及動物的描繪，背景則多是冰天雪地，讓人不禁感受到寒冷的氣候，但透過飯田細膩柔和的筆觸，畫面卻是帶著柔情及溫暖，也傳達藝術家對於環境的深愛。 Born in Hokkaido, Japan in 1970, she graduated from Hokkaido School of Design and Design in 1991. Growing up in a hometown that is often surrounded by snow, Iida has a special feeling for white. She once said: "White is the most tolerant color, reflecting the depth of other colors." Her works often see large areas of white space. Layers of snow or falling snow on the ground, the overall atmosphere is full of tranquil and mysterious beauty. Iida Kiriko’s paintings often use figures as the main body, and then began to depict plants and animals. The background is mostly ice and snow, which makes people can not help feeling the cold climate. But through Iida’s delicate and soft brushwork, the picture is tender and warm. It also conveys the artist's deep love for the environment.

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Keith Haring 凱斯．哈林（1958-1990）美國新普普藝術家，活躍於20世紀80年代。哈林最早是街頭塗鴉畫家，電線桿、水泥柱、廣告牌、指示牌都成為他作畫的畫布，而畫筆則從鉛筆到噴漆罐、刷子都有，隨處拈來。簡單直接，往往反覆重複幾種圖案，內容常常是卡通式的。嬰兒、狗、飛碟、電視和圖形經常出現於畫中。1983年美國哥倫比亞電視台採訪他在地鐵站塗鴉，以及被逮捕的現場狀況，使得他一夕間家喻戶曉，隨後在不斷的展覽與創作下，以塗鴉畫家之姿進入了博物館，作品價錢水漲船高。他的畫作自此成為20世紀醒目的視覺藝術代表之一。 American Neo Pop artist, active in the 1980s. Harlem was the first street graffiti painter. Telephone poles, concrete pillars, billboards, and sign boards have all become the canvases for his paintings. Paintbrushes range from pencils to spray paint cans and brushes. Simple and direct, often repeating several patterns over and over again, and the content is often cartoonish. Babies, dogs, UFO, television and graphics often appear in the paintings. In 1983, Columbia Television interviewed him for graffiti at Lot 1001 Lot 1002 Lot 1096 the subway station and the situation of his arrest, which made him a household name overnight, and then entered the museum as a graffiti painter under constant exhibitions and creations, and the price of his works went up. His paintings have since become one of the eye-catching representatives of visual art in the 20th century.

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 Lot 1090 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。 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.

LEE Shi Chi 李錫奇（1938-2019）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。

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Li Xiqi 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" 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. Li Xiqi’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.

Li Chao zai 李超哉（1907－2004）李超哉，江西廬陵（新淦）人，初名華國，本名驟括，字減齋，號左右堂主，筆名糟超、孟媽、孟嫣。為書法大師于右任嫡傳弟子。早年畢業于武昌中華大學，加入中國國民黨，歷任國民政府專員、處長、黨代表。1952年來臺，歷任書法學會常務理事及秘書長、標準草書研究會總幹事；中國文化學院、世界新聞專科學校及香港華僑書院教授，獲韓國建國大學名譽文學博士。曾在臺灣、東南亞、東北亞和歐美各國舉行書畫展，擅長書法，著有《標準草書千字文》、《草書聖教序》和《草書滕王閣序》等。 Lot 1119

LIU Kuo Tung 劉國東（b.1926）臺灣中堅輩油畫家劉國東先生1926年生於台中縣新社，一生奉獻給教育，和繪畫，因住所靠山，便於日常生活中探究山的氣韻，因此，作品多以「山」為主題，山的穩重質感及空間的遠近感，為其所擅長。劉國東師事李石樵、葉火城兩位大師1951-1973在全省美展與省教員美展中嶄露頭角。尤以1955中部美展特選第一名、第十六屆省展入選成為全國性畫家。1988年首次個展於南畫廊，1989年第二次個展於台中縣藝術薪火相傳接力展、第三次個展於南畫廊，1998年第五次個展於南畫廊。作畫時很少使用正色，因為偏愛Violet-乾亮、更黃更艷的色彩。捕捉的光線，區分著早上、中午與下午。獨到的色感處理，使作品的呈現受到臺灣資深藝術家葉火城先生的稱讚，「具有一股靜謐祥和的氣息」。自民國74年開始（西元1985年）開始，作品有極大的轉變，先後十多次到日本、歐洲、東南亞、韓國、紐西蘭、加拿大、尼泊爾及大陸等地區旅遊寫生及風土考察。不但視野寬闊、題材豐富，連色彩也變活潑、構思精密、筆觸自由大膽，從鄉居所見到本島所見，再跨越國界到國外所見；可以說豐富和滿足了創作的內涵，也突破了重複性的技法及色調，無論用筆用色，都有了新穎的表達方式，不但色的層次厚實，筆觸也輕鬆而具有生命力，在色與色的呼應上，已融合了視覺與心象的高度契機。 Mr. Liu Guodong, a leading Taiwanese oil painter, was born in Taichung County Xinshe in 1926. He dedicated his life to education and painting. Because his residence is backed by mountains, it is convenient to explore the charm of mountains in daily life. Therefore, most of his works are based on the theme of "mountain" and the mountain is stable. The texture and the sense of distance and space are good at it. The two masters of Liu Guodong, Li Shiqiao and Ye Lot 1034 Huocheng from 1951 to 1973, made their debut in the Provincial Art Exhibition and Provincial Teacher Art Exhibition. In particular, he won first place in the 1955 Central Art Exhibition and was selected as a national painter in the 16th Provincial Exhibition. In 1988, his first solo exhibition was at Nan Gallery. In 1989, his second solo exhibition was at Taichung County's Relay for the Passing of Art, his third solo exhibition at Nan Gallery, and his fifth solo exhibition in 1998 at Nan Gallery. Ortho colors are rarely used when painting, because I prefer Violet-dry, brighter, yellower and more vivid colors. The captured light distinguishes morning, noon and afternoon. The unique color processing makes the presentation of the work praised by the senior Taiwan artist Mr. Ye Huocheng, "has a quiet and peaceful atmosphere." Since the Republic of China in 1974 (1985), his works have undergone tremendous changes, and he has traveled to Japan, Europe, Southeast Asia, South Korea, New Zealand, Canada, Nepal and the mainland for more than a dozen travel sketches and terroir investigations. Not only is the vision broad and the subject matter rich, but the colors also become lively, the conception is precise, and the brushstrokes are free and bold. You can see what you see on the island from your hometown, and then you see what you see abroad. It can be said that it enriches and satisfies the connotation of creation and breaks through repetition Sexual techniques and tones, regardless of the pen and color, have a novel way of expression. Not only the color is rich in layers, but the brush strokes are also relaxed and vital. In the echo of color and color, it has integrated the high opportunity of vision and mental image.

LIU Wenyu 劉文裕（b.1944）

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15歲時由台灣遷居日本，與父親合辦了第一次父子展，旋即受到了好評，被讚為「來自台灣的天才小畫家」。20歲時得到日本「第一展」銅牌獎，與會的台灣現代畫家等前輩全都稱讚不已，22歲時即由父母安排前往巴黎求學，來回諾曼第與巴黎藝術學院之間，他的創作轉向試探現代繪畫精神的抽象作品，1984年後劉文裕可說是延續了歐洲50年代抽象繪畫帶有東方書法概念式氣韻空間的探討，同時受到長年浸淫在法國不列塔尼半島鄉居歲月，由真實的客觀具象中汲取靈感，擷取其自然的造形、跡痕及象徵。襲法國巴黎學派的優雅氣息，將其細膩講究落實於畫境中，畫面中所呈現出的弧度、線條、筆觸等各種元素，皆呼應作者本身因其真實觸動而與內心景象進行的一種再詮釋。 When he was 15 years old, he moved from Taiwan to Japan and co-exhibited the first father-son exhibition with his father. It was immediately praised as a "little genius painter from Taiwan." At the age of 20, he won the bronze medal of Japan's "First Exhibition". The Taiwanese modern painters and other seniors who participated in the meeting were highly praised. At the age of 22, his parents arranged to go to Paris to study. He went back and forth between Normandie and the Paris Academy of Art.

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Abstract works that explore the spirit of modern painting. After 1984, Liu Wenyu can be said to have continued the exploration of European abstract paintings in the 1950s with the conceptual style of oriental calligraphy. At the same time, he has been immersed in the French Brittany peninsula for many years. Inspiration is drawn from the real objective concreteness, and the natural shapes, traces and symbols are extracted. Following the elegance of the Paris School of France, and putting it into the painting environment, the radian, lines, brushstrokes and other elements presented in the painting all echo the author's reinterpretation of the inner scene due to his true touch.

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 Zhaoshen, 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 Yikhong visited the local attractions, creating a brilliant photography and Taiwan image painting and Lot 1076 Lot 1077 Lot 1113 Lot 1114 calligraphy, showing his observation of the natural scenery, as well as in the landscape composition of different views. Li Yigong to photography, painting, calligraphy and other 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 in ink painting to create a new performance thinking and modern vocabulary, the specific practice of the artist's own challenges possible.

Meguru Yamaguchi 山口歷（b.1984） 1984年出生於東京澀谷，從小對不同繪畫藝術產生濃厚興趣。繪畫技巧深深受到印象派主義莫奈的影響，融合浮世繪、日式庭園花園畫作，創作出自的獨特風格。山口歷2007年旅居紐約，其間繪畫生涯受到歐洲和美國的涂鴉文化和普普大眾藝術的洗滌。以自由型態的方式展現出豐富想像的抽象 Lot 1086 視覺，多層次的混合風格，表現出令人激昂的力道！藝術作品有時用複合材料拼貼，以塑料、油漆或切割等技巧把顏料轉拓到另一素材的表面。這種帶著流動形式的新雕塑繪畫作品，令山口歷深受藝術界關注，包括日本時裝大師三宅一生。目前在紐約布魯克林從事藝術工作，是一活躍的當代藝術家，他以 HIPHOP 文化發源地布魯克林作為根據地，當地街道與地下鐵往來多樣交錯的人們都是他的藝術靈感，山口歷也將身為日本人特有的纖細美感加諸於作品之上，讓創作富有多樣性的豐富能量。 Born in Shibuya, Tokyo in 1984, he had a keen interest in different painting arts since childhood. The painting technique was deeply influenced by the impressionist Monet, combining Ukiyo-e and Japanese garden paintings to create a unique style. Yamaguchi Li lived in New York in 2007, during which his painting career was washed by graffiti culture and popular art in Europe and the United States. Show the abstract vision of rich imagination in a free-form way, multi-level mixed style, showing exciting power! Art works are sometimes collaged with composite materials, and the paint is transferred to the surface of another material with techniques such as plastic, paint or cutting. This new sculpture and painting work with a flowing form has attracted the attention of the art world, including the Japanese fashion master Issey Miyake. He is currently engaged in art work in Brooklyn, New York, and is an active contemporary artist. He uses Brooklyn, the birthplace of HIP HOP culture, as his base. The diverse and intertwined people on the local streets and subways are his artistic inspirations, and Yamaguchi will also be his inspiration. The delicate beauty peculiar to the Japanese is added to the work, giving the creation a rich variety of energy.

MR DOODLE 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。

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British Pop Art artist Mr.Doodle was originally named Sam Cox. He started painting at 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）村上隆1962年出生於日本東京，並獲得了他的學士，碩士和博士學位東京國立大學美術和音樂。1996年在東京於創立了Hiropan廠，後來 Lot 1094 演變成凱凱琪琪有限公司的大型藝術創作和藝術管理公司。除了生產和銷售村上的工作，凱凱琪琪公司職能作為一個支持環境，為培育日本年輕藝術家。村上也是策展人、企業家，以及關鍵觀察員當代日本社會。2000年，他組織了一個典範日本藝術展覽名為「超平面」，它的起源追溯到日本當代視覺歷史的日本流行文化的藝術。他繼續這項工作，隨後影響力的展覽，例如「顏色」（卡地亞基金會當代藝術倒歐萊雅，巴黎，2002年）和「小男孩：藝術日本的爆炸亞文化」（日本文化協會，紐約，2005年）。村上的工作已廣泛地集團在世界各地展覽，如卡地亞基金會當代藝術倒歐萊雅，巴黎倫敦和蛇形畫廊（2002年）;東京當代藝術博物館（ 2001年）；波士頓美術館（2001年）和洛杉磯當代藝術博物館（2007年），其中前往布魯克林博物館，美術館獻給摩登孔斯特，法蘭克福和古根海姆博物館揭幕，畢爾巴鄂二月2009。他2010年的展覽在法國凡爾賽宮。 Takashi Murakami was born in 1962 in Tokyo, and received his BFA, MFA and PhD from the Tokyo National University of Fine Arts and Music. He founded the Hiropan factory in Tokyo in 1996, which later evolved into Kaikai Kiki Co., a large-scale art production and art management corporation. In addition to the production and marketing of Murakami's work, Kaikai Kiki Co. functions as a supportive environment for the fostering of young Japanese artists. Murakami is also a curator, entrepreneur, and a critical observer of contemporary Japanese society. In 2000, he organized a paradigmatic exhibition of Japanese art titled "Superflat," which traced the origins of contemporary Japanese visual pop culture to historical Japanese art. He has continued this work in subsequent impactful exhibitions such as "Coloriage" (Fondation Cartier pour l'art Contemporain, Paris, 2002) and "Little Boy: The Art of Japan's Exploding Subcultures" (Japan Society, New York, 2005). Murakami's work has been shown extensively in group exhibitions around the world, and in one-person exhibitions at leading institutions such as Fondation Cartier pour l'art contemporain, Paris and the Serpentine Gallery, London (2002); Museum of Contemporary Art, Tokyo (2001); Museum of Fine Arts, Boston (2001); and Museum of Contemporary Art, Los Angeles (2007), which traveled to the Brooklyn Museum, the Museum für Moderne Kunst, Frankfurt and opens at Guggenheim Museum, Bilbao February of 2009. His exhibition at the Château de Versailles, France was on view in 2010

PANG Jiun 龐均（b. 1936） 1936年出生於上海的文人世家和藝術家庭，十三歲時，考入杭州美院，再轉入北京中央美術學院，十八歲即以優異成績畢業，為當時最年輕的大學畢業生，從此開始專業創作的藝術生涯。1987年定居臺灣，於國立臺灣藝術大學擔任教授，任教至今將近二十年，展出油畫個展三十餘次。在油畫色彩運用上，展現西洋畫的熱情及爆發力，並結合中國人文，東西融合展現出獨特的意境，在畫技上走向平面二度或二度半的空間，線條既有西畫所強調形體的力度，也有東方畫一波三折的含蓄意境。1997年，列入英國劍橋世界名人錄（IBC），2004年更榮獲IBC終生成就獎，作品廣為兩岸三地多處知名博物館、美術館及藝術學院所收藏。 Pang Jiun was born in an artistic family in Shanghai. He studied at Beijing Central Art Institute, and graduated with outstanding 1079 in 1987. Till grades at the age of eighteen, which became the youngest college graduate. Since then, Pan initiated his professional art career. Pan Jiun moved Lot to Taiwan now, he worked as a professor for almost twenty years. Upon oil painting, Pan Jiun presents passion and explosion of Western art, and combines Chinese elements into it. His limning contains dynamic of Western painting, and inner poetic aura of Oriental painting. In 1997, Pan was listed into the International Biography Center, Cambridge, England (IBC); moreover, received its “Lifetime Achievement Award” in 2007. His works are widely collected by many respectful museums, galleries, as well as art colleges around the world.

Paul Guiramand 保羅．賈曼（1926－2007）保羅．賈曼（1926-2007）為活躍於戰後抽象繪畫風潮裡少數的具象畫家，1926年出生於法國 Saint-Quentin。曾追隨布立風頌習畫，同時他從馬蒂斯描繪人物鮮豔亮麗的色彩及波 Lot 1137 Lot 1136 納爾畫面獨特的光線安排得到靈感，創作出介於具象又抽象的浪漫國度。1952年獲頒羅馬大獎後，曾居於羅馬麥迪奇莊園創作，1957年並榮獲蒙頓雙年展獎、青年繪畫沙龍獎，更鞏固了賈曼至高的國際地位。大戰後社會蕭條紛亂，苦澀的線條與曖昧的色彩浮現在畫家畫布上，抽象畫風也在此時如大浪般襲捲全歐洲。然而，賈曼仍堅持初衷，認為具象繪畫更能完全體現他豐富而內斂的心境。賈曼喜愛的主題中，音樂、花束、女人、馬群及羅馬與威尼斯的風景等，幸福的色彩散發出浪漫的迷人氣氛，簡潔柔美的線條與色塊勾勒形體的輪廓，融合在無盡的空間中，幅幅是他的美好回憶，朦朧的光線下，透露了夢境與現實世界的交錯重疊。 Paul Guiramand (1926-2007) was one of the few figurative painters active in the post-war abstract painting trend. He was born in Saint-Quentin, France in 1926. He once followed Bu Lifeng to practice painting, and at the same time he got inspiration from the bright colors of Matisse's depiction of characters and the unique light arrangement of Bonnard's paintings, creating a romantic country that is between concrete and abstract. After receiving the Rome Prize in 1952, he once lived and created at the Medici Manor in Rome. In 1957, he won the Monton Biennale Award and the Youth Painting Salon Award, which consolidated Jarman's supreme international status. After the

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war, the society was depressed and chaotic, bitter lines and ambiguous colors appeared on the painter's canvas, and the abstract style of painting was also sweeping across Europe at this time. However, Jarman still insists on his original intention, thinking that figurative painting can fully reflect his rich and introverted mood. Among Jarman’s favorite themes, music, bouquets, women, horses, and the scenery of Rome and Venice, happy colors exude a romantic and charming atmosphere, simple and soft lines and color blocks outline the contours of the body, fusing in endless space In the middle, the frames are his fond memories, under the dim light, it reveals the overlapping of dreams and the real world.

SAKURA Momoko 櫻桃子（1965-2018）日本女漫畫家、作家，出生於靜岡縣，1984年正式出道後，1986年以筆名「櫻桃子」，以童年時期的經歷為藍本開始繪畫漫畫《櫻桃小丸子》。櫻桃子生動、詼諧的寫作手法，令《櫻桃小丸子》在日本及日本以外的亞洲地區都受到歡迎。1984年在靜岡英和女學院短期大學修讀國文科時，在 Lot 1013 《RIBON ORIGINAL 冬季號》以一篇以教師為主題的短篇出道，1986年開始在雜誌《RIBON》連載漫畫《櫻桃小丸子》，1991年發表第一本隨筆集《桃子罐頭》（集英社），1999年創立雜誌《富士山》（新潮社），2005年為出道20周年的紀念、到各地進行原畫展「櫻桃子世界 20年之軌跡展」，2006年時為《櫻桃小丸子》電視真人版連續劇編輯第一話劇本。 A Japanese female manga artist and writer born in Shizuoka Prefecture. After her official debut in 1984, she began to draw the manga "Sakura Maruko" based on her childhood experience in 1986 under the pen name "Cherryko". Cherryko's vivid and humorous writing style has made "Sakura Maruko" popular in Japan and other Asian regions outside of Japan. In 1984, when he was studying Chinese liberal arts at Shizuoka Eiwa Women’s College Junior College, he debuted in the "RIBON ORIGINAL Winter Issue" with a teacher-themed short story. In 1986, he began serializing the manga "Sakura Maruko" in the magazine "RIBON". Published the first collection of essays "Canned Peach" (Shueisha) in 1991, and founded the magazine "Mount Fuji" (Shinchosha) in 1999. In 2005, to commemorate the 20th anniversary of his debut, he went to various places for the original painting exhibition "Cherry World 20 Years Track Exhibition" "In 2006, he edited the first script for the live TV series "Sakura Maruko".

SANYU 常玉（1895-1966）生於四川，少年時就讀上海美術學校。1919年至日本留學，1920年轉赴法國留學，成為中國最早期的留法學生之一，之後留居巴黎。1925年起，其作品屢見於巴黎的沙龍美展及各大畫廊。二次大戰前曾回到中國，後轉至紐約生活兩年。1948年紐約現代美術館替他舉辦個展。1966年於巴黎逝世後，台北國立歷史博物館曾分別於 1978、1984、1990年共舉辦三次他的回顧展。2001年常玉百歲冥誕時，歷史博物館又展出常玉百歲紀念大展，2004年6月巴黎國立居美東方美術館舉辦常玉回顧展，展出60餘件作品。足見其作為海外華人藝術家在中國畫壇的重要性。主要收藏機構有:台北國立歷史博物館、北京中國美術館等。 Born in Sichuan. SAN Yu attended the Art College in Shanghai and went to Japan in 1919. In 1920, he went to France as part of the first Wave of Chinese artists to study in France. Unlike most of his contemporaries, SAN Yu decided to remain in Paris. Since 1925, SAN Yu exhibited His work regularly at the Paris salons and in local galleries. Before World War II, SAN Yu returned to China briefly and then moved on to New York where he lived for two years. In 1948, the Museum of Modern Art in New York Lot 1078 held an Exhibition of his work. Since SAN Yu’s death in Paris in 1966, the National Museum of History In Taipei has held three retrospective exhibitions of his works. To celebrate the 100th anniversary of SAN Yu, the National Museum of History held a grand exhibition of over 129 oil paintings. Since June 2004, the Musee National des Arts Asiatiques-Guimet held a retrospective show of SAN Yu’s 60 works.

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·阿沙姆(Daniel Arsham, 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。 Hajime Sorayama 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. Hajime Sorayama’s Lot 1093 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, Hajime Sorayama has been considered an erotic mechanical master in Japan. Sorayama’s works are modern and futuristic based on metallic materials. Sorayama

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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 Arsham (b.1980) in Tokyo, the conflict between mechanical robots and eroded texture amazed the audience. Hajime Sorayama’s popularity spans illustration, film, and fashion. In 2014, Hajime Sorayama 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.

TAJIRI Satoshi 田尻智（b. 1965）日本著名電子遊戲製作人，1989年成立株式會社Game Freak，是個昆蟲採集和街機遊戲的愛好者，他將興趣結合，創造了《精靈寶可夢》系列遊戲於1996年正式發售，不久便開始暢銷，更得到任天 Lot 1011 堂的重視，公司正式步入軌道。之後《精靈寶可夢》更衍生一系列的跨界作品，除精靈寶可夢之外，田尻智也參與了其他的遊戲，如瑪莉歐系列和薩爾達傳說，其中動畫版精靈寶可夢的主角「小智」的命名就是來自田尻智本人。 A well-known Japanese video game producer, founded Game Freak Co., Ltd. in 1989. He is a fan of insect collection and arcade games. He combined his interests and created the "Pokemon" series of games. It was officially released in 1996 and soon began to sell well. , And got Nintendo’s attention, and the company officially entered the track. Later, "Pokemon" has derived a series of cross-border works. In addition to Pokémon, Tajiri has also participated in other games, such as the Mario series and The Legend of Zelda, among which the animated version of Pokémon The name of the protagonist "Xiaozhi" comes from Tajiri Tomo himself.

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。手塚治虫強調「不尊重生命與忽視精神世界的科技發展，一定導致人類和地球的滅亡！」重視生命和心靈的探索，是手塚作品的一貫特徵，更是給後世的啟示。這是他從戰爭中所體會到的覺悟。手塚製作公司社長松谷孝征表示，每一部手塚作品都在訴說「生命的尊嚴」、「和平的重要」以及「戰爭的悲慘」；手塚的作品圍繞著關懷人性，期許世人們不管在任何情況下，都要對未來充滿愛與希望。 Osamu Tezuka, whose real name is Osamu Tezuka, is a Japanese cartoonist, animator and a doctor of medicine. Since he loved insects since he was a child, he took the pen name "Tezuka Osamu". Because the Japanese pronunciation of "walking bug" (osamushi) and "治" (osamu) only had the final sound "shi", he added "after the name" The Chinese character is written as "治虫" (osamushi). Osamu 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. His works are rich and diverse, including children’s life, science fiction, detectives, history, legends, literature, medicine, religion, music, philosophy... etc. Representative works such as "Sapphire Prince", "Forest King", "Atomic Little King Kong", Medical Black Jack, "Three-Eyed Prodigy", etc. These works deeply influenced the creative themes of later manga artists, so Osamu Tezuka is honored as the father of Japanese manga and the god of manga artists. Osamu Tezuka emphasized that "disrespect for life and ignoring the technological development of the spiritual world will definitely lead to the destruction of mankind and the earth!" Paying attention to the exploration of life and soul is a consistent feature of Tezuka's works, and it is an inspiration to future generations. This is the enlightenment he experienced from the war.

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Tezuka Production Company President Matsutani Takasei said that every Tezuka work tells the "dignity of life", "the importance of peace" and "the tragedy of war"; Tezuka's work revolves around caring for humanity, and hopes that the world will be in any situation Next, we must be full of love and hope for the future.

TORIYAMA Akira 鳥山明（b. 1955） 1955年出生於日本愛知縣名古屋市，是知名的漫畫家，以設計風趣幽默的角色人物著稱。代表作有《七龍珠》、《怪博士與機器娃娃》等，亦為《勇者鬥惡龍》、《Tobal No.1》、《超時空之鑰》、《藍龍》等著名遊戲擔當角色設定。其最著名的作品《七龍珠》一部是格鬥冒險漫畫，於1984年到1995年間在集英社《週刊少年Jump》週刊上連載，2013年開始發售全採版，風靡全球歷久不衰，歷經數十年人氣仍然高漲，現今更是推出動漫、遊戲、設定集等相關周邊商品。

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Born in Nagoya City, Aichi Prefecture, Japan in 1955, he is a well-known cartoonist who is known for designing funny and humorous characters. Representative works include "Dragon Ball", "Doctor Strange and Robot Doll", etc., and also play role settings for famous games such as "Dragon Quest", "Tobal No.1", "Key of Time and Space" and "Blue Dragon". One of his most famous work "Dragon Ball" is a fighting adventure comic, which was serialized in Shueisha's "Weekly Shonen Jump" weekly magazine from 1984 to 1995. The full-collected version was released in 2013 and it has been popular all over the world for decades. The popularity is still high, and nowadays, related merchandises such as animation, games, set collections are launched.

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： Lot 1120 Lot 1122 Lot 1123 「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。」

WANG XIU-QI 王秀杞（b.1950）

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台灣男性雕塑家，畢業於國立台灣藝術大學雕塑系，自小成長於農村，因此堅忍執著、不辭勞苦的農村生活經驗便成為他雕刻石材的創作靈感。主題圍繞在人與自然、人與人之間情感互動的表現上，作品意涵在於表達對鄉土以及社會的關懷，呈現人性真善美的一面。在造型上，王秀杞著重在細膩精準與寫實傳神。以「人像雕刻」為例，人物的表情與肢體動作為重點表現之處，因為表情神態與肢體動作最能透露出人的想法與個性。其作品有位於台灣北部「觀音山風景旅遊服務中心」石雕公園的「龍的傳人」，由觀音石切割雕刻而成，高10公尺，直徑1.5公尺，是全台灣最大的石雕作品，另外還有位於台灣淡江大學與亞洲大學的校園中的「海豚吉祥物里程碑」、「五虎碑雕塑」、「牧童 Shepherd」等著名作品。作品《老人與月琴》被台北市立美術館典藏，《慈愛》、《展望未來》獲選慈濟災區認養學校公共藝術品，在雙園國中及士林福林公園亦可見到他的公共藝術作品。其中於2009年2月新春之日所發表的代表性作品「正統五路財神廟招財進寶聚寶盆」一作被認為能特別表現出台灣與大陸各地之鄉土宗教文化氣息的藝術作品。

A Taiwanese male sculptor graduated from the Sculpture Department of National Taiwan University of the Arts. He grew up in the countryside since he was a child. Therefore, his perseverance and hard working experience in rural life became his inspiration for carving stone. The theme revolves around the expression of emotional interaction between man and nature and between humans. The meaning of the work is to express care for the countryside and society, and present the truth, goodness and beauty of human nature. In terms of styling, Wang Xiuqi focuses on delicate, precise and realistic. Take "Portrait Sculpture" as an example, the expressions and body movements of the characters are the key points of expression, because the expressions and body movements can best reveal the person's thoughts and personality. His works include the "Dragon's Descendants" located in the "Kuanyin Mountain Scenic Tourism Service Center" stone carving park

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in northern Taiwan. It is cut and carved from Guanyin stone. It is 10 meters high and 1.5 meters in diameter. It is the largest stone sculpture in Taiwan. There are also famous works such as "Dolphin Mascot Milestone", "Five Tiger Monument Sculpture" and "Shepherd" on the campuses of Tamkang University and Asia University in Taiwan. His work "Old Man and Yueqin" was collected by the Taipei Municipal Art Museum, and "Love" and "Looking to the Future" were selected as public art works of Tzu Chi adoption schools in disaster areas. You can also see his public art works in Shuangyuan Middle School and Shilin Fulin Park. Among them, the representative work "Orthodox Five-Road Wealth Temple Lucky and Treasure Cornucopia" published on the New Year's Day in February 2009 is considered to be an artistic work that particularly expresses the local religious culture of Taiwan and the mainland.

WANG Pan Youn 王攀元（1912-2017）王攀元生於1912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年于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。 Wang Panyuan was born in 1912 in Xujiahong, a prominent family in northern Jiangsu, China. In 1936, he graduated from Shanghai Art College. When he was in college, he originally planned to go to France with Pan Yuliang to study painting, but because he could not raise enough travel expenses and the wars of the times, he came to Taiwan in 1949 and settled in Kaohsiung. After many setbacks, he finally came to Yilan Luodong Middle School to teach. The stable life in Taiwan has also regained the joy of painting. After retiring from school in 1973, Wang Panyuan devoted himself wholeheartedly to his favorite painting creation. He has won the Golden Goblet Award of the Chinese Painting Society of the Republic of China and the National Art Award. His works are collected by Taiwan Provincial Museum of Art and Taipei Municipal Art Museum. In 1987, he held important solo exhibitions at the National Museum of History in Taipei and the Taiwan Provincial Museum of Art in 1992. His works were invited to be exhibited in the National Art Exhibition and the Asian International Art Exhibition. In 2001, he was invited to hold a solo exhibition at the National Gallery of the National Museum of History in Taipei. In June 2003, The Times published Wang Panyuan's biography "Lonely Love" written by Liao Kuizhong. In 2017, Wang Panyuan passed away at the age of over a hundred years. The National Museum of History held the "Exhausted Thousand Sails-Wang Panyuan Solo Exhibition" in 2018. Wang Panyuan's painting is simple and bold, and there are many moving stories in his isolation. The thick oil paints in his brush repeatedly use fine brushstrokes to stack up various metaphorical symbols of the painter’s self-life, the fiery red sunset that represents passion, the red girl in the inner world, the lone boat rippling between the river Lot 1023 1021 Lot and 1024Suao Port under Lot 1025 Lotbe1026 1027 to Wang and the sea, Lot or the slanting wind. The misty Guishan Island the rain can always summed up asLot belonging unique charm. LotPanyuan's 1028 Lot 1105 The composition is simple and the brushstrokes are condensed, but the paintings are full of emotional and poetic tension.

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WEI Chi I 韋啟義（b.1964）韋老師是台灣知名專業畫家，習於強調西方油畫的收放張力，也偏好融入東方水墨的氣韻生動，賦予作品的獨特氣質與頗高的辨識度，不只是關注在畫面的題材與故事性，還包含了墨線與刀筆在虛實收放並濟的畫面架構中所產生的「節奏」與「取捨」，練就筆觸如神經反應般的敏感精準；或可 Lot 1058 說是一種心靈樂章的圖像在其創作的內容裡，除了關注題材之當代精神反映，還包含了墨線與刀筆在虛實收放的畫面架構中所產生的「節奏」與「取捨」，渾然成心靈樂章的圖像呈現！ Teacher Wei is a well-known professional painter in Taiwan. He is accustomed to emphasizing the tension of Western oil paintings. He also prefers to incorporate the vivid charm of Eastern ink painting, giving his works a unique temperament and a high degree of recognition, not just focusing on the subject matter and story of the picture. It

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also includes the "rhythm" and "choices" produced by the ink line and the knife and pen in the frame of the virtual and real picture structure, which cultivates the sensitivity and precision of the brush strokes like a neural response; or it can be said that it is a kind of image of spiritual movement. In the content of his creation, in addition to focusing on the contemporary spiritual reflection of the subject matter, it also includes the "rhythm" and "choices" generated by the ink line and the knife and pen in the frame of the virtual and real retractable picture, which become the image of the soul movement!

WU Lung Jung 吳隆榮（b.1935）臺北萬華人，臺北師範學校（今國立台北教育大學）藝術科畢業，日本國立兵庫大學教育研究所碩士。自小就和繪畫結下了不解之緣，小時候就喜歡塗鴉，但真正開始接受正規藝術教育，且真正確認將以繪晝做為終生事業，是在台北師專藝術科求學的時候奠立的，因為在師專藝術科求學，發現自己確有藝術狂熱，且對藝術的繪畫表現，確有不錯的素質表現，因此走上藝術創作的 Lot 1042 道路至今。1971年於臺北市民族國小校長任內，成立第一個美術實驗班。致力推動兒童美術教育，也是著名的油畫家。作品早期以寫實為主，大多為自然題材；中期之後畫風漸脫形象的逼真，近期以畫面分割的風格表現，深入觀察特定對象，並加以解體、重疊，具象中加入了抽象的元素，簡潔而單純，色塊間的線條表現出動感與和諧的律動。吳隆榮，是亞洲畫壇上的中堅之士，他以純熟的西畫技巧、表現出東方詩意的境界，畫風自具一格，作品構思深刻，而筆調輕鬆，曾在國內先後獲得二十幾次大獎，實為不可多得的一名藝界健將，且無數次參加巴西、日本、美國、歐洲、澳洲的藝術展覽，是享譽國際的台灣畫家之一。 A native of Taipei Wanhua, he graduated from Taipei Normal School (now National Taipei University of Education) with a master's degree from the Institute of Education, National Hyogo University, Japan.he has forged an indissoluble bond with painting since he was a child. he liked graffiti when he was a child, but he really started to receive formal art education, and really confirmed that will take the painting day as a lifelong career, which was established when he was studying in the Art Department of Taipei Teachers College. Because he was studying art in a teacher’s college, he found that he did have an artistic enthusiasm, and he did have a good quality performance in artistic painting, so he embarked on the road of artistic creation. In 1971, he established the first art experimental class as the principal of the National Elementary School in Taipei City. Committed to promoting children's art education, he is also a famous oil painter. Early works were mainly realism, mostly natural themes; after the mid-stage, the painting style gradually deviated from the vividness of the image. In the recent period, it is expressed in the style of segmentation of the screen, in-depth observation of specific objects, and disintegrated and overlapped. Abstract elements are added to the concrete, concise But simple, the lines between the color blocks show a dynamic and harmonious rhythm. Wu Long rong is the backbone of the Asian painting scene. With proficient western painting skills, he expresses the realm of oriental poetry, his style of painting is unique, his works are profound in concept, and his style is relaxed. He has won more than 20 awards in China. He is really a rare artist in the art world, and has participated in numerous art exhibitions in Brazil, Japan, the United States, Europe, and Australia. He is one of the internationally renowned Taiwanese painters.

WU Ping 吳平（b.1920）吳平，字堪白，中國浙江餘姚人，渡台後曾任職故宮博物院書畫處處長。自幼承家學，隨父親習字作畫，書法植基於唐楷，上溯周秦篆籀，精通篆、隸、楷、行、草各體，日日臨書不懈，筆勢結構成自家路數。篆刻得鄧散木函授，亦自獨具風格。曾從高逸鴻、唐雲習畫，以花鳥為主，融合傳承與體驗觀察，擅以花青入畫，呈現簡練而險峻的奇氣，早年曾參與「七修畫會」、「海嶠印集」、「六六畫會」，追求傳統奠基，但不拘泥於傳統的個人風格，晚年仍持續書畫創作與教學，提攜後進具長者風範，在書畫印界都有很高的知名度與影響力。 Lot 1121

WU Shi Wei 吳士偉（b.1957）出生於臺灣台北市，祖籍福建福安。1979年畢業於國立藝專（現國立台灣藝術大學）美術工藝科應用美術組，1985 年畢業於中國文化大學美術學系國畫組，1998年畢業於東海大學美術研究所碩士班。擅長以植物花卉為描寫題材的吳士偉，是中生代水墨畫家中的佼佼者，以精緻的筆觸、細謹的烘染、或雅或艷的敷彩，以及異於傳統的構圖，在在展現水墨繪畫的當代新貌。曾舉辦個展十四次，國內外聯展一百餘次，出版畫集七本。作品以精緻的筆觸、細謹的烘染、雅艷的敷彩，營造出萬物皆入畫的至美情境，兼具文人清雅內涵與筆墨重彩交融，雅逸清健的筆情墨趣，傳達出水墨繪畫面向當代的內斂新徑。 Born in Taipei, Taiwan, his origin home is Fu'an, Fujian. In 1979, he graduated from the Applied Art Group of the Arts and Crafts Department of the National College of Arts (now National Taiwan University of the Arts). In 1985, he graduated from the Chinese Painting Group of the Department of Fine Arts of China Culture University. Wu Shiwei, who specializes in the description of plants and flowers, is a leader among Lot 1115 Mesozoic ink painters. With exquisite brushstrokes, meticulous drying and dyeing, elegant or colorful coloring, and different traditional compositions, he is showing the

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ink painting. Contemporary new look. He has held 14 solo exhibitions, more than 100 joint exhibitions at home and abroad, and published seven albums. The work uses exquisite brushwork, meticulous baking and dyeing, and elegant application of colors to create a beautiful situation in which everything is painted. It combines the elegant connotation of the literati with the heavy color , and the elegant, clean and healthy pen and ink conveys Ink painting is a new and introverted approach facing the contemporary era.

YANG Hsing Sheng 楊興生（1938-2013） 1938年出生於江西。師大美術系畢業，後赴美於密蘇里州立師範學院藝研所及新墨西哥州立高原大學藝研所研究。 1965年起，曾在西班牙、日本等國及國內各畫廊舉辦多次個展及聯展，也先後創辦龍門、大陸畫廊。楊興生為台灣鄉土繪畫的主要代表人物，擅長風景畫，作品主要分兩種風格，鄉土寫實與抽象表現。考上美術後常利用閒暇時間，在台北近郊四處寫生，看到臺灣最自然的原始風貌，讓他決定要將這最樸實的臺灣景色紀錄下來；在這幾十年間，楊興生走遍臺灣許多小鎮及村落，把一片片田園美景栩栩如生呈現給觀者。

Lot 1035

Born in Chianghsi. Yang is a graduate of the National Taiwan Normal University. Since 1965 he has held many solo and joint exhibitions in Lot 1036 Spain, Japan and Taiwan. He founded the Lung Men Fine Arts Gallery and Continental Fine Arts Gallery and is now the proprietor of the Seventh Fine Arts Gallery. YANG Shin Sheng is the main representative of Taiwan's local paintings. He is good at landscape painting. His works are mainly divided into two styles, local realism and abstract expression. After he was admitted to fine arts, he often used his free time to sketch around in the suburbs of Taipei, and saw the most natural and primitive scenery of Taiwan, which made him decide to record the most simple Taiwanese scenery. In the past few decades, Yang Xingsheng has traveled to many small schools in Taiwan. The towns and villages vividly present the sceneries of pastoral beauty to the viewers.

YANG Chi hung 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」的圖象語言與從中國哲學的體悟之象徵性空間，表現了東西思想之間一種啟示性的張力。他作品的主旨總是圍繞於自然的榮枯、生命的興衰以及對時間消逝的感傷。自然界循環與生生不息的意涵，映照畫家的生命情境、生活體驗和形象思維，使他的作品散發著詩意而雋永的優雅風格，極受藝壇的推崇與肯定。

Lot 1049

Lot 1050

Yang Chihung was born in Taoyuan, Taiwan. and graduated from National Taiwan College of Art in 1968. In the early 1980s, he was living in New York; he was one of the secondgeneration overseas artists. During the first few years in New York, he frequently visited major galleries and art museums in an effort to expand his horizon and gather information. He became very familiar with the works and background of New Painting Artists; meanwhile, his effort fuel passion into Lotand 1051 Lot 1052 Lot 1053 the his canvas and made his work responsive to feedback. Such responsiveness means more than an acute sense courage, it also challenges 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 Lot 1075 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。 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 Lot 1073 Lot 1074 were selected for the Autumn Salon in Paris. In 1924, he returned to Taiwan and held a solo show at the Hall of Education. At the same time, he established the Taiyang Art Association along with other notable artists such as Chen Cheng Po and LIAO Chi Chun. YANG has received numerous awards and held various important solo shows,

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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.

YU You Ren 于右任（1879－1964）生於中國陝西，原名伯循。現代詩人、書法家。1903年（清光緒29年）舉人。1906年追隨孫中山來台灣，加入同盟會。1910年曾與宋教仁等辦《民力報》。1912年任南京臨時政府交通部次長。曾致力反對袁世凱稱帝的野心。1918 年返陝西，任靖國軍總司令。後曾任上海大學校長等；1931年後長期任國民政府監察院院長。1964年台灣病故。擅長書法，得力於《鄭羲碑》《石門銘》精於筆法，善草書，以碑入草，尤以唐代懷素的小草千字文用功甚勤，造詣甚深。用心佈白。曾創標準草書社，並出版月刊，編撰《標準草書》。著有《右任文存》《右任詩存》等。其作品典藏於臺北市立美術館、高雄市立美術館、臺北歷史博物與于右任書法藝術館等。于右任是復旦大學，上海大學，西北農林科技大學的創辦人、校長，中國近現代高等教育重要奠基人之一。于右任先生墨品展：陳列于右任先生各個時期的楷、行、草書作品、親筆書稿、海內外出刊的于先生詩文、書法版本等150多套件，習仲勳、馬文瑞、屈武、趙朴初、張愛萍及臺灣陳立夫、蔣緯國、林洋港、孔德成、原標準草書社成員等名流大家的題詞書法等30餘件。 Born in Shaanxi, China. He is modern poet and calligrapher. In 1903, he is a candidate of provincial examinations. In 1906, Yu followed the Lot 1116 Sun Yet-sen to Taiwan to join the United League. In 1910,Yu founded " Financial resources of the people reported "with Song Jiao Ren. In 1912, he served as Ministry of Communications of Nanjing Provisional Government. He have committed oppose Monarchy ambitions.In 1918, he returned to Shannxi and he became the supreme of Nation-Pacifying Army at Shaanxi. Then he served as Shanghai University Presidents and The president of the Control Yuan Republic of the National Government. In 1964,he died in Taiwan. He is good at calligraphy especially Cursive that mixed inscription into the cursive. He learned from Huai Su's calligraphy. His works are collected in Taipei Fine Art Museum, Kaohsiung Museum of Fine Art, National Museum of History and Yu Yujen's Calligraphy Museum.

ZAO Wou Ki 趙無極（1921-2013）

Lot 1138

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。藝術史學家蘇立文表示：「在中國人的眼中，陰陽不是結合的，而是透過兩極的強大交互作用而產生相輔相成的生命體。因此我們也應該用這種態度來看待東方與西方的交互作用；兩種偉大的文化，各自保留自己的特色，互相刺激與滋潤。」這段文字和趙無極的藝術相互印證，東西方融合的藝術，也奠定了趙無極在華人藝壇中頂尖的地位。趙無極不僅融合了兩大文化的藝術本質：「中國的空間」和「西方的光」，更成功的轉述了它們的共通性，趙無極曾說；「如果說我的整個藝術修養中有無可否認的中國影響，我也必須說明，我的真正人格，隨著重新發現中國而晉於成熟。」

Zhao 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 Lot 1139 concrete images in abstract forms. In the painting of Zhao, there is no stamp and no signatures so to show his ideal of art making in new dimension. Zhao is one of the influential painters in modern art and the most successful Chinese artist in the Western world. In 1981, his works were showed in Galeries Nationals du Grand Palais and was awared Commandeur de la lgiond Honneur. In 2002, he was selected as a member of the Academie Francaise.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. Michael Sullivan, art historian, in ORIENTAL AND WESTERN ART, he mentioned “ In Chinese viewpoint, through

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alternation in polarity of YIN and YANG, formed one organic by complementing each other. Two great spirits surges and possess each other.” This words is proved with ZAO’s Art, Oriental-Western art is integrated, marked his highly statue in International art field."Space of Chinese "and "Light of Western”, Zao Wou Ki not only combines the essence of art in two major culture, but also successfully relays the commonality. ZAO Wou Ki once said," If there is an undoubtedly influence of Chinese culture in my art knowledge, I have to say, my real personality is closer to mature as I re-found Chinese culture.

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 Lot 1032 Lot 1033 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2013年 5月2日逝世。 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 May 2, 2013 died.

ZHU Qi Zhan 朱屺瞻（1892-1996）出生於江蘇太倉，名增鈞，號起哉，又號二瞻老民，齋名:梅花草堂、癖斯居、養菖蒲室、修竹吾廬等。現代中國畫家，融會中西，兩次東渡日本學習油畫。五十年代後主攻中國畫，擅山水，花卉，尤精蘭、竹、石。創作繼承傳統，致力創新，所作筆墨雄勁，氣勢磅礡，具有鮮明的民族特色和個人風格，善於融合西洋畫的長處。生前曾任上海美術專科學校教授、上海新華藝術專科學校繪畫研究所主任、中國美術家協會顧問、中國書法家協會理事、上海美術家協會常務理事、上海市文史研究館館員、西泠印社顧問、上海中國畫院畫師、上海師範大學藝術系教授等職。出版有《朱屺瞻畫集》、《癖斯居畫談》、《朱屺瞻畫選》等。1995年在上海設立朱屺瞻藝術館。 Lot 1110

ZONG Xiao Chen 宗孝忱（1891－1979）字敬之，世居如城，民國初年（1912年）如皋縣立師範學校畢業後赴日本東京大學法學系留學。宗孝忱學問淵博，詩文詞典、文字音韻.經史之作.無不深曉。他自幼酷愛書法，五體具精，尤精小篆，書名墨蹟遠播大江南北。其篆書取法秦小篆，如《泰山刻石》、《嶧山石刻》等，用筆婉轉流暢，線條勻淨溫潤，圓秀細勁。字形修長，但竭力避免外廓的平直整齊，在縱橫兩個方面向上，使線條的長短、字形的廣狹參差不齊，或上寬下窄，或下闊上收，或左長右短，不一而足。在處理彎轉時也匠心獨具，有意地拉開差距，從而造成觀者在視覺上感受到了線條的流走有了節奏的變化，並且每每與常法相違，奇趣橫生。 Lot 1118 在臺灣發行的郵票上也有他的書法。

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景薰樓2020秋季拍賣會亞洲華人現當代藝術近現代書畫拍賣日期 2020年12月27日（星期日）下午2:30 富邦人壽大樓國際會議中心台北市敦化南路一段108號B2

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2020 AUTUMN AUCTION Asian, Chinese Modern & Contemporary Art Chinese Painting

2:30pm, Dec 27th, 2020 (Sunday)

The buyer should complete this idding dorm and hand it to JSL 48 hours before the auction. In meanwhile, the guarantee of NTD$ 200,000 (US$ 8,000/RMB$ 60,000). If the estimate of Lot exceeds NTD 3,000,000, the amount of bid bond shall expect a proportional increase. If the guarantee could not be paid before the deadline, this form will be invalid. Please bid on my behalf at the above sale for the following lot(s)up to the price mentioned below. These bids are to be excuted as cheaply as is permitted by other bids or reserves if any. I agree to comply with the Conditions of Business as printed in the catalogue. I understand that in the case of a successful bid, a premium of 20% on the hammer price up to and including NT$20,000,000 and 12% on any amount in excess of NT$20,000,000 willbe payable by me.

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AUTUMN AUCTION

亞洲華人現當代藝術．中國書畫 TAIPEI, 27th Dec, 2020

ASIAN, CHINESE MODERN & CONTEMPORARY ART CHINESE PAINTING Sunday, 27 th Dec, 2020, TAIPEI P.M. 2:30