JSL 2015 Spring Auction Chinese Modern and Contemporary Art by JSL AUCTION

二十世紀華人現·當代藝術

2015年景薰樓春季拍賣會藏品含括海內外，廣集臺灣前輩和中壯輩藝術家、旅外華人及海外大師的藝術作品。林風眠不僅是中國油畫創作重要奠基人之一，將中國畫革新並獨樹一幟，讓西方現代主義個人表現精神與傳統中國水墨畫詩意結合，創造出具現代感的中國畫風。旅居上海的五、六十年屬林氏創作黃金期。而此時靜物畫最能看出林氏借鑒現代派、走出新境的變化軌跡，《繡球花》即是這一時期的繪畫作品。沙耆的《紅衣裸女》以他擅用的西方古典主義構圖，表現女性姿態，極其唯美。用色更近似於印象派畫家雷諾瓦主要描繪題材的可愛女子，白皙皮膚與意若凝視的雙眸，展現體態的柔美。鮮明紅色的外衣，人體的光影，展現其掌握色彩的絕佳天賦。朱德群在六○年代開始，逐漸發展出稱為「寶石系列」的紅、藍、綠方塊，與五○至六○年代有一系列具書法性的墨黑作品。《構圖 No.127》充滿花園的意象，以色彩的抽象表現將花朵失焦的模樣表現在畫布上。畫面形色間的流光與波動，混沌湧動、運勢翻滾、溫柔詩意。整體畫面如水的流竄、如火的熾然、如土的沈雄、如風的涸飛，緩急輕重的各種交替，竭盡所能地瞬息萬變。席德進的《水鄉》，中景的舟帆與遠方房舍的空寂感，藉由近景的花、枝、葉融在他的意念中，而以抽象的手法寫出胸中的逸氣。席德進以他慣有的沉穩勾勒出畫面氣氛、並以近景活潑的黃色渲染，散發出平靜閒逸的格調。信手拈來而作了題為「不染塵處見清姿」的《水仙》，是中國人新年最喜歡作為居家佈置之用主題。《觀音山下》烘托出一份寂靜自然、大地蒼茫的永恆境界。從色彩繽紛的絢爛，歸於樸素沉雄的單純的水彩畫，表達出與西方迥異的風格，屬於中國繪畫特有的深邃與優韻的魅力。吳冠中《街景》將黑白色總合為一體，且以苔點的形式襯托黑白基調，不失深沉及莊嚴的質性。吳冠中說：「畫不盡江南村鎮，都緣鄉情，因此我的許多畫面上出現許多白牆黑瓦的江南民居。」這種思鄉情懷，深深反映出吳冠中藝術作品背後最重要的靈感。

陳蔭罷《回到唐朝》的風格更為灑脫自由，他將東方文化融入畫中，造就以文意為重的純粹感官呈現。作品凝練了古老的文字符號於其中，為畫面鋪陳更深奧的內心觀感，試圖體現他在抽象繪畫領域中的獨特性。《紅色意象》打破繪畫原有的形式框架和結構，自由且抽象地在畫布上揮灑內心的情感，堆疊的彩跡如富有歷史亙古的時空痕跡。在視覺上以接近混沌的狀態構成畫面，反應出藝術家創作當下心中幾近狂亂的強大力量，洋溢著他的無拘自在。前輩藝術家廖繼春的《淡水遠眺》，是臺灣地方畫景絕對經典的題材，畫面配色的東方意味濃厚，氛圍則溫潤可親。他以野獸派具有童趣的筆觸、簡單線條描繪他遠眺前方淡水小白宮與閩南式磚房的山丘景致。海風相伴河上扁舟，畫面吸引觀者凝視於那具充沛情感的景觀畫面，一種古樸、懷舊的城市光景，帶人心進入歷史古道中的溫情與逸趣。陳德旺的《觀音山遠眺》，將時間性整體畫一、有次序及和諧地運用在畫布空間當中。觀音山是日據時代無人不嚮往的臺灣風景，陳德旺延續這個母題，深耕於自己的土地風景。完全只用色彩，多使用柔和的中間色調，傳達心中的風景圖像。平衡的色調，已經捨棄他之前慣用的濃厚的用色，進入一個更高層次的繪畫實驗。現代水墨之父劉國松以獨有的「抽筋剝皮皴」，掀起臺灣六○年代後書墨風氣的革新。劉國松的《雨餘春樹》充滿流動的生命，給人周行不殆、生生不息、無始無終、無涯無盡的感受；畫面有限，卻予人無限的感覺。那是水的感覺，靈的感覺，風的感覺，有限對無限的嚮往，剎那對永恆的追求。回臺之後創作的「西藏組曲」系列作品，以拓墨印壓崎嶇交錯的山勢，墨色輕濃表現動靜相對的霧海與山巒。氣勢渾厚的山形，山水的布局與氛圍，氣韻流勢怡然自得。日本當代最偉大的藝術家草間彌生，10歲開始就常見幻覺，為了逃離不斷襲來的幻覺與幻聽，她描繪紀錄那些幻覺幻聽的畫面，從作品中可以看到，她企圖呈現的是一種自傳式的、深入心理的內容。童年幻想創造出來的代表性圖案「polka圓點」及「無限的網」，遂成為草間彌生的特色。本次春拍作品《Mt. FUJI》，即是透過她兩個最具象徵性的符號：「原點」和「無限的網」，堆疊編織而成日本精神象徵─《富士山》。朱銘的《太極系列》─單鞭下勢以厚實的體態帶動整件作品的力道與氣勢，簡潔的造形刻畫出主體。與以往銳利切面作品不同，材質較為光滑，紋理也較少，作品著重在整體的簡易造形與刻畫的力道，和常見的單邊下勢作品相較之下更為圓潤柔和，但卻不失其浩瀚的氣勢。生活化的《人間系列》─坐姿與立姿，展現現代生活的精神，以人間百態為主題創作，用形象平民化且憨實的形象，來表達他對社會的關注。

20th Century and Contemporary Art The JSL Spring Auction 2015 includes the artists overseas and Taiwanese precedent artists to present to all our honored guests the feast of beauty. Lin Fenmian, of whom the Chinese Paintings are innovative, was one of the important founders of Chinese oil painting. In Hydrangea, he combined the personal expressing spirit of the western Modernism with the poetry of tradition Chinese washing painting to create the Modern Chinese painting style. SA DJI uses the western classical composition in in Nude Girl, presenting the beautiful female gesture. His color is close to the Impressionist Renior, depicting adorable female with white skin and the gazing eyes. The rogue mantle and the shadow of light on the body show his talent of controlling colors. the works of 50s to 60s, Chu gradually develop the 'pearl series' with square of red, blue and green in his 1960s. His works full of the imageries of garden, presenting the flowers in vague position and with colours. In Composition No.127, it is an unspeakable pattern to arrange those big or small colorful spots with Chinese painting skill no matter in terms of formal or spatial aspect. In Swampy Regions of 1976, the quietness rendered within the boats in the middle and houses afar which are decorated with the idea of flowers, branches and leaves expresses the aura of ease by this abstract practice. SHIY inhabits in his calmness and moves with lively bright colours, in which his true spirit of the contented the unruffled mind dwells. Waterlily is the favorite subject for decoration that Chinese people use in New Year. In Under Mt. Guan Yin, he tries to transform Taiwan landscape into Taiwan scenery with water and colours rendering the whole island, containing the interest of ink stroke and calligraphy. He thoroughly intermingles Eastern ink and stroke with western watercolours for the purpose of pioneering simple and serene watercolour style. In Alley, our view is extended by the arrangement of the composition, particularly with the extraordinary small doors and curvy roads disappeared somewhere in the middle of the painting. The houses with white walls and black tiles represent his matrix of inspiration in his artworks. 12

Return to Tang Dynasty is more free and liberal. The manner of his creation became much more natural free. Furthermore, CHANN's energetic color just makes pure sense of cotton fabricliked, delicate and magnificent in this painting. The interweaving classic quaint and modern quintessential image creates a kind of art piece that was not emphasized on implication identification but solely for visual enjoyment. In Reddish Imagery, CHANN broke the original composition and structure to elaborate his thoughts in a released and abstract way. This masterpiece was spot-stained and through handwriting repeatedly, CHANN's kaleidoscopic colours show the eternal trail of history. The subject Mt Guan Yin belongs to Taiwan Landscape which is promoted by the artists in the era of Japanese Reign. This enables Taiwanese painters to deep plough on the development the local art and territory together with the rethinking of themselves in the realm of culture and geography. LIU KUO-SUNG is combined handwriting skills with ink-rubbing and Kuangcao. The Harmony of Nature contain 'Yin-Yang' conception from Chinese Daoism. The artist broke through the framework and painted on the long scroll to express unbridled mind, as well as represent the coiling-up aroma in extended mountains. His ink-rubbing made "Pangboche" impressed the terrain of rugged path in hills, and colour shade appears movements amid the cloud and the mountains. ă&#x20AC;&#x160;Mt.FUJIă&#x20AC;&#x2039; forms by circle spots, famous symbol as we knew, to understand weak but strong spirit in her soul with symbol of the Japanese spirit. The use of rich colors and absurd forms are just like KUSAMA's creative personality. She tried to transfer what she see into her artworks and brings all viewers into her distinctive and delicate mind. Tan Pien Hsia Shih has no doubt to be the most famous form in his Taichi Series. This piece captured the movement of Taichi boxing, Tan Pien Hsia Shih, and simplified human gestures. The volume of pavement without intentionally carves which naturally express the boxing gesture displaying the grand boldness and the launching spirit. Living World Series: Seated Position and Standing Position belong to Ju's favorite subjects. This human comedies vary from the facial expressions of wooden form with fast splitting and cutting to vividly present human movements. 13

001

朱銘（b.1938）人物彩墨紙本鏡框 2001 簽名右上：朱銘 2001.7 鈐印：朱銘（白文） 45.5×71 cm (17.9×27.9 in.)

JU Ming Figure Ink on paper frame 2001

NT$ 160,000-260,000 US$ 5,200-8,460 HK$ 41,500-67,400

002

朱銘（b. 1938）茄子彩墨紙本鏡框簽名左上：朱銘 98 鈐印：朱銘（白文） 30×45 cm (11.8×17.7 in.)

JU Ming Eggplant Ink on paper frame 1998

NT$ 35,000-60,000 US$ 1,140-1,950 HK$ 9,100-15,500

14 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

003

004

林玉山（1907-2004）

雉雞

鷺鷥

設色紙本鏡框

款識：時丁丑年夏月桃城散人玉山寫。

款識：鷺鷥習作玉山寫。

鈐印：玉山（朱文）

59.5×29.5 cm (23.4×11.6 in.)

LIN Yu Shan Pheasant

LIN Yu Shan Egret

Ink color on paper frame

NT$ 160,000-200,000 US$ 5,200-6,510 HK$ 41,500-51,800

NT$ 60,000-90,000 US$ 1,950-2,930 HK$ 15,500-23,300

005

林玉山（1907-2004）益壽延年設色紙本鏡框款識：肇嘉先生七秩雙慶，桃城林玉山恭祝。鈐印：桃城散人（朱文）、玉山（白文）、靜觀自得（朱文） 120×50.5 cm (47.2×19.8 in.)

LIN Yu Shan Prolong Life Ink color on paper frame

NT$ 300,000-450,000 US$ 9,760-14,640 HK$ 77,700-116,600

006

周澄（b. 1941）桃花源記設色紙本鏡框 1984年作款識：節桃花源記二段（略）。甲子孟春寫桃花源，註錄其文二段，蒪波周澄識於居山堂。鈐印：周澄私印（白文）、蓴波（朱文）、小隱（朱文） 44.5×52 cm (17.5×20.4 in.)

ZHOU Cheng The Peach Colony Tao Yuanming Ink color on paper frame 1984 16 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

NT$ 100,000-150,000 US$ 3,250-4,880 HK$ 25,900-38,900

007

郭雪湖（1908-2012）廈門虎頭山設色紙本立軸（附木盒）款識：廈門虎頭山所見，庚戌春，平形知一先生指正，雪湖。簽名：雪（白文）、湖（朱文） 39×44.5 cm (15.3×17.5 in.)

KUO Xue Hu Xiamen Hu Tou Mountain Ink color on paper scroll with wooden box

NT$ 180,000-260,000 US$ 5,860-8,460 HK$ 46,600-67,400

008

郭雪湖（1908-2012）蘇州河畔設色紙本鏡框 1961年作款識：辛丑秋，雪湖作。鈐印：郭（白文）、雪湖（朱文） 41.5×52 cm (16.3×20.4 in.)

KUO Xue Hu Riverside in Suzhou Ink color on paper frame 1961

NT$ 160,000-220,000 US$ 5,200-7,160 HK$ 41,500-57,000

009

010

溥儒（1896-1963）

層巒連黛色

回文詩

設色紙本鏡框

水墨紙本鏡框

款識：層巒連黛色，寒葉始經霜，

釋文：明月空窗寒樹秋，雁邊沙影水邊樓，聲歌聽盡花時去，落葉

玉檻遮松影，雕甍揜夕陽。心畬。

驚回夢裡愁。橫塞接天青湛湛，遠山環海碧悠悠，生平感遇多雜

鈐印：舊王孫（朱文）、溥儒（白文）

亂，行客隨雲還滯留。

87.5×34.5 cm (34.4×13.5 in.)

落款：辛丑孟春書回文詩溥儒。鈐印：心畬（朱文）

PU Ru Endlessly Rising Peaks in Dark Blue

39.5×27 cm (15.5×10.6 in.)

Ink color on paper frame

PU Ru Palindrome

NT$ 600,000-850,000 US$ 19,520-27,650 HK$ 155,400-220,200

Ink on paper frame

18 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

NT$ 220,000-350,000 US$ 7,160-11,390 HK$ 57,000-90,700

011

012

溥儒（1896-1963）

高峰寒見日

山徑連樵路

設色紙本鏡框

設色絹本鏡框

款識：高峰寒見日，遠樹暗生雲，樵逕知何處，天邊鳥道分。心

款識：山徑連樵路，濛濛鳥道深。不知雲落處，只見失前禽，心

畬。

鈐印：畊煙（朱文）、溥儒（白文）

鈐印：溥儒（白文）

43×27 cm (16.9×10.6 in.)

43.5×27 cm (17×10.6 in.)

PU Ru High Mountain in Cold Weather

PU Ru Continuous Path in the Mountain

Ink color on paper frame

Ink color on silk frame

NT$ 350,000-500,000 US$ 11,390-16,270 HK$ 90,700-129,500

NT$ 300,000-450,000 US$ 9,760-14,640 HK$ 77,700-116,600

013

014

丁衍庸（1902-1978）

傅狷夫（1910-2007）

花鳥工筆

復旦樓圖

設色紙本鏡框

題辭：依舊故園迷，燕子幾翻，春雨凍花，王孫芳草又天涯。

款識：傅狷夫寫於復旦樓。

款識：丙辰長夏，丁衍庸寫。

鈐印：傅狷夫印（白文），心香室主（朱文）

鈐印：丁庸（白文）

58×29 cm (22.8×11.4 in.)

33.5×93 cm (13.1×36.6 in.)

DING Yan Yong Meticulous Flowers-and-Birds Painting

FU Chuan Fu Fudan Tower Ink color on paper frame

Ink color on paper frame

NT$ 280,000-380,000 US$ 9,110-12,360 HK$ 72,500-98,400 20 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

NT$ 50,000-80,000 US$ 1,630-2,600 HK$ 13,000-20,700

015

董作賓（1895-1963）朱書甲骨文五言《別情》詩水墨紙本鏡框隸定釋文：華史龢春盡，人亦龢春老；見小兆時多，可日相逢好。題記：花事和春盡，人亦和春老；見少別時多，何日相逢好。落款：中華民國五十年二月七日，古曆庚子歲臘月廿二日辛未，書于平廬，董作賓。鈐印：董作賓（白文）、彥堂（朱文） 65×26 cm (25.5×10.2 in.)

DUNG Zuo Bin Oracle bone script ﬁve characters poem 'The Affection of Farewell' Ink on paper frame

NT$ 120,000-160,000 US$ 3,900-5,200 HK$ 31,100-41,500 21

016

鄭善禧（b. 1932）比翼設色紙本立軸題籤：鄭善禧。良禽齊肩並行永不離。鄭善禧。鑒藏章：魁星居鑑藏（朱文）題記：齊步並行，比肩而棲；良禽友愛，永不相離。二○十一年冬。鄭善禧題。款識：丙辰。善禧寫。跋文：此為民國六十五年丙辰。公曆一九七六年所作，已三十餘年矣。今又重見於鴻霖裝池，主人索余加題，歲月驚人，真不堪回首。民國一百年辛卯。善禧又識。鈐印：鄭善禧（白文）、鄭（朱文）、鄭善禧印（白文） 61.5×29 cm (24.2×11.4 in.)

ZHENG Shan Shi Happy Flying in Couple Ink color on paper scroll NT$ 180,000-250,000 US$ 5,860-8,130 HK$ 46,600-64,800 22 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

017

楊善深（1913-2004）無錫蠡園水墨紙本鏡框題記：無錫蠡園於江蘇南山處，長江下游瀕太湖，氣候溫和，風景優雅，范蠡與西施曾居於此。落款：善深。鈐印：楊善深（白文）、盡攜書畫到天涯（朱文）

YANG Shan Shen Wuxi Calabash Garden Ink color on paper frame

NT$ 180,000-260,000 US$ 5,860-8,460 HK$ 46,600-67,400

34.5×68 cm (53×26.7 in.)

018

李奇茂（b. 1925）牧牛（四）設色紙本立軸款識：奇茂。鈐印：李奇茂畫（朱文） 135×70 cm (53.1×27.5 in.) 出版國父紀念館出版，《李奇茂畫集》，臺北：1998，頁63。

LI Chi Mao Oxherding Ink color on paper scroll

NT$ 160,000-220,000 US$ 5,200-7,160 HK$ 41,500-57,000 24 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

20×120 cm (7.8×47.2 in.)

鈐印：鄭（白文）

落款：歲次戊午之夏，善禧畫。

設色紙本鏡框

青青河岸

鄭善禧（b. 1932）

019

NT$ 220,000-300,000 US$ 7,160-9,760 HK$ 57,000-77,700

Ink color on paper frame

ZHENG Shan Shi Green Grass by the River

NT$ 50,000-70,000 US$ 1,630-2,280 HK$ 13,000-18,100

Ink color on paper frame

ZHENG Shan Shi The Blessing of Buddha's Hands

26×26 cm (10.2×10.2 in.)

鈐印：自在（白文）、庚申（朱文）、鄭（白文）、善禧（白文）

款識：大福，平有年秋日，善禧於稻江。

設色紙本鏡框

大福佛手

鄭善禧（b. 1932）

020

021

葉公超（1904-1981）宋詞集句條幅水墨紙本立軸上款：石孝友。釋文：秦少游，作天涯孤客，聽黃鸝又啼數聲。落款：甲寅新春，集宋人詞句，葉公超，時年七十。鈐印：葉公超七十後所作（朱文） 110×17 cm (43.3×6.6 in.)

YE Gung Chau Poems of the Song Dynasty Ink on paper scroll

NT$ 50,000-100,000 US$ 1,630-3,250 HK$ 13,000-25,900

022

于右任（1879-1964）行草七言詩水墨紙本立軸釋文：門前石路徹中峰，樹影泉聲在半空；尋去未應勞己道，林寺居寄岳麓禪。二首之一。上款：少安弟正。落款：于右任鈐印：關中于氏（朱文） 132×65 cm (51.9×25.5 in.)

YU You Ren Calligraphy Ink on paper scroll

26 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

NT$ 150,000-200,000 US$ 4,880-6,510 HK$ 38,900-51,800

023

李少堂（b. 1948）牡丹圖設色紙本鏡框款識：戊子冬，李少堂。鈐印：李（白文） 31.5×44.5 cm (12.4×17.5 in.)

LI Shao Tang Peonies Ink color on paper frame

NT$ 30,000-60,000 US$ 980-1,950 HK$ 7,800-15,500

024

李少堂（b. 1948）文窗清供圖設色紙本立軸釋文：文窗清供圖，前人讀書寫字之餘寫案頭花菓，有感於時物之遷流也，擬一真意。款識：壬申三灣源海，李少堂。鈐印：妙悟（白文）、我自用我法（朱文）、李氏（白文）、少堂（朱文） 136×70 cm (51.1×27.5 in.)

LI Shao Tang Decoration with Literary Utensils Ink color on paper scroll

NT$ 120,000-160,000 US$ 3,900-5,200 HK$ 31,100-41,500

025

江明賢（b. 1942）黃山

Ink color on paper frame

彩墨紙本鏡框款識：一九八九年春月，於寒巖書屋北，臨明鐙（燈）下，江明賢并寄。題記：是夜宿於散花精舍，共合繪黃嶽雄姿，翌日登蓮花峰及天都峰，歸屋後因作此圖。時值戊辰長夏，首次神州之旅，於北京上海舉行個展，與藝術大師劉海粟會於黃山北海，明代徐霞客在其遊記中曾云，五嶽歸來不看山，黃山歸來不看嶽，登上黃山，始知天地有大美而不言也。鈐印：江氏（白文）、明賢（朱文）、無棄（白文）、江山入胸中（白文） 63.5×125.5 cm (25×49.4 in.) 附亞洲藝術中心原作保證書

28 JSL 2015 SPRING AUCTION

CHIANG Ming Hsien Yellow Mountain

CHINESE MODERN & CONTEMPORARY ART

NT$ 600,000-800,000 US$ 19,520-26,020 HK$ 155,400-207,300

渡海三家溥心畬張大千黃君璧近現代水墨大師溥心畬、張大千、黃君璧，三人在一九四九年後相繼來台，並稱為「渡海三大家」，不但成功傳承了水墨文人畫，也重新創造了國畫在台灣藝術教育中的地位，並為早期的台灣脫離日本化的影響，開啟藝術新風貌。三人當中最年長也為愛新覺後裔的溥儒，又名溥心畬，心畬先生才華卓越，絢爛繽紛，書畫發自性靈，將宋、元、明代之風格治於一爐，在渡海來台前早享有盛名，而被徐悲鴻讚礜「五百年一大千」的張大千，早年以文人逸筆和仿明末清初石濤畫作著稱，中年則是在敦煌臨摹歸來後，畫風一改而成為瑰麗壯闊，造就其個人顛峰之作，晚年獨創大片潑墨，潑彩所使用的半自動技法，更為大千先生帶來更多變的樣貌，使其畫域更為之寬廣。黃君璧除了在師範教育，而後曾任蔣夫人宋美齡的繪畫老師，因此成為台灣首位被譽以國師美稱的畫家，君璧先生認為學習山水畫的第一步，需先臨摹前人精華，再藉遊山玩水，體會天地萬物之無窮變化，最後以科學的態度觀之大自然神奇奧妙，將所見以寫生方式加以呈現，黃君璧走訪世界三大瀑布，並突破傳統技法，獨創倒人字形抖動搖擺形等方式逼真傳達了瀑布飛動的視覺效果，君璧先生博古好今，不愧為嶺南翹楚。三人是為早期來臺大師之最，墊下台灣深厚的水墨基礎，也讓其水墨傳統得以繼續傳承、發揚。大清乾隆後裔－文人書畫家溥心畬溥心畬（1896－1963），愛新覺羅氏，正紅旗人，大清雍正後裔，字輩溥，光緒帝賜名儒，字心畬，齋號寒玉堂。生於北京。因其詩、書、畫與張大千齊名，故後人將兩人並稱為「南張北溥」。溥儒自幼受到良好的教育，飽讀詩書，稍長後專心研究文學藝術，精通經史和書畫，溥心畬畫風並無師承，加以他出身皇室，早年習畫來自觀摹皇室大內之收藏入手，清代皇親貴裔大多雅好書畫與鑑藏之道，觀摹體悟並精研古畫的機會自遠過常人，因此他的畫風多從擬悟古人法書名畫以及書香詩文蘊籍而成，漸漸獨樹一格自成濃厚的文人風格。溥心畬畫作以山水名世，實則花卉、人物、草蟲、仕女、鞍馬、走獸、神怪、菩薩、翎毛，無不精擅，亦足為當世之宗。山水以北宗為基底，筆法以南宗為法，注重線條鉤摹，較少烘染。畫中可感受到其意境雅淡致遠，俊逸出塵，結構謹嚴，筆法挺

026

勁，並喜繪於絹布，染色層次多，而淡其花鳥畫，作品亦清逸雅

溥儒（1879-1964）

靜，比較之山水，筆法偏于柔秀，頗為生動。

昆明湖設色紙本鏡框款識：略。鈐印：溥儒（白文）、心畬（朱文） 60×26 cm (23.6×10.2 in.)

PU Ru Lake Kunming Ink color on paper frame

NT$ 800,000-1,000,000 US$ 26,020-32,530 HK$ 207,300-259,100 29

027

黃君璧（1898-1991）無人舟自橫水墨紙本鏡心題辭：橫看成嶺側成峰，遠近高低各不同，不識廬山真面目，只緣身在此山中，寫蘇東坡句。款識：壬子夏日於白雲堂，君璧。鈐印：黃君璧印（白文）、容翁（朱文）、白雲堂（朱文） 68×33.5 cm (26.7×13.1 in.) 出版藝術圖書出版，《黃君璧作品集》，何恭上主編，臺北，2007，圖版 38，頁58。

HUANG Jiun Bi The Boat Without Anyone on It Ink on paper

NT$ 450,000-600,000 US$ 14,640-19,520 HK$ 116,600-155,400 30 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

028

張大千（1899-1983）仕女水墨紙本鏡框款識：傳與絹絹弟，信筆白描葉韵（叶韻）轉勝（聲），甲申二月，大千爰（花押）。鈐印：張爰私印（白文）、大千居士（朱文） 80×45.5 cm (31.4×17.9 in.)

CHANG Ta Chien Lady Ink on paper frame

NT$ 800,000-1,200,000 US$ 26,020-39,040 HK$ 207,300-310,900

大千的仕女畫雅俗共賞，是他繪畫題材中最受歡迎的一類，早

意境充實了畫面。此外，上處留白亦與人物簡潔的筆風相吻合，

期有「張美人」之稱，大千在敦煌之後的十餘年間，產生不少人

圖中女子圓潤下顎，面貌秀美俏麗，細眉長目間暗含惆悵之情，

物畫精品，線條古雅優美且精準，白描工筆皆宜，勾染獨得古

體現出清朝中期文人畫家仕女所追求的審美取向，此幅用筆輕靈

法，早年的灑逸，一變而為精密。此時仕女的造型，由明清的纖

飄逸，以濃墨繪之眉毛，用淡赭輕描眼瞼鼓凸的弧線，再之勾出

弱，轉變為豐腴健美，此幅仕女圖作於1944年成都時期抗戰勝

瞳仁的輪廓，以淡墨渲染深淺，使畫中美女優雅含蓄之目光躍然

利前，這時大千的目標已是宋人及五代的名跡，作品採用寫意的

紙上，彷彿眉飛眼動，及具富有神采。

手法，頭髮濃墨層次分明，較為寫實，同時表現古畫中美女和現

人物神情似2008年北京嘉德拍出人民幣2,520,000的《青城催

實審美的集合體，他早期以小寫意仕女，不久便轉向飄逸寫意仕

生婦》，以及傅申在《張大千的世界》一書中所提及之《白描仕

女，此圖描繪一名女子，手持團扇，無繁複的構圖，上半部大面

女圖》及1945年以前的自創底稿《楊妃調鸚》，於1956年巴黎近

的留白，擴展了人物上部的空間，當觀賞此幅圖時，讓其暇想的

代美術館舉辦的「張大千畫展」展覽。 31

029

徐楨（1841-1915）四屏

Ink color on paper scroll

設色紙本立軸款識1：蒲塘真趣，摹陀江子畫意，徐楨。鈐印：克生（朱文）款識2：金粟枝頭十二紅。停雲館主人題句，克生徐楨。鈐印：徐楨長壽（白文）款識3：健翮凌雲，宣統元年，已酉夏午月，擬北宋魯宗貴畫意，克生徐楨。鈐印：克生甫（朱文）款識4：山鳥似嫌寒思重，春光已上海棠枝，擬漢陽太守孫雪居畫，克生徐楨。鈐印：客苼（朱文） 146×41 cm (57.4×16.1 in.)

32 JSL 2015 SPRING AUCTION

HSU Zhen Four Scrolls

CHINESE MODERN & CONTEMPORARY ART

NT$ 100,000-150,000 US$ 3,250-4,880 HK$ 25,900-38,900

030

031

032

吳平（b. 1920）

王軼猛（b. 1922）

陳立夫（1900-2001）

銀釭一點情

對聯

書法

設色紙本鏡心

水墨紙本立軸

水墨紙本鏡心

款識 1：銀釭一點情，丙子年秋日，鳴

釋文：萬物靜觀皆自得，四時佳興與人同。

款識：立足台北，建設台灣；胸懷大陸，

一寫意也。譚（朱文）、一鳴（白文）

落款：荊南王軼猛。

放眼天下。

題。

鈐印：王軼猛印（白文）、三力斋主（朱文）、

策羣同志雅屬，陳立夫，時年九十二，

款識 2：耐秋年兄清賞，丙子花三月，

翰墨緣（朱文）

八六、十、十一。

堪白吳平作。吳坪（白文）、堪白（朱

128×31.5 cm (50.3×1.3 in.)

鈐印：陳立夫印（白文）、弘毅齋（朱文） 78×31.8 cm (30.7×12.5 in.)

文）。鈐印：吉祥多寶既壽永康（朱文） 122×56.5 cm (48×22.2 in.)

WANG Yi Meng A Couplet Ink on paper scroll

WU Ping Hanging Bowl for Lamp Ink color on paper

NT$ 35,000-50,000 US$ 1,140-1,630 HK$ 9,100-13,000

CHEN Li Fu Calligraphy Ink on paper

NT$ 20,000-35,000 US$ 650-1,140 HK$ 5,200-9,100

NT$ 35,000-70,000 US$ 1,140-2,280 HK$ 9,100-18,100

腹有春秋

霽月風光

將軍諱銳（A.D.1917–A.D.2000），甘肅省武山縣洛門鎮人，

先生德配姚女史令嫻，乃湘省名媛，賢能練達，官拜「國民大

祖、父為清季貢生秀才，詩禮傳家，不求宦達。先生沖齡早慧，

會代表」，與先生結褵數十載，型于廟堂，御于家邦，徽行慈

尤擅經史，嘗與硯席同組「黃河、長城學會」。民國卅二年秋，

祥。

先生於上海大夏大學卒業，旋入「軍事委員會委員長侍從室第三

楊姚開府公暇之餘，頗好筆翰，日課不輟，夙與文壇耆老、黨

處」任事，驂隨黨國元老陳果夫之側。此後受層峰簡拔，歷試

國勳貴醻唱，多獲名人手澤，寶藏於官邸凡半世紀有餘。惟「太

「青年軍二○七師政治部上校秘書兼政治官、東北司令部上校秘

上立德，其次立功，其次立言」古有明訓，將軍伉儷功在朝堂，

書兼政工處第一科科長、江蘇省寶山縣縣長」等職，來臺後，受

言在庠序，雖屆不朽。然，德者，得事宜也。值有內明哲嗣，早

總政治部主任蔣經國策勵，領「五十二軍政治部主任、石牌訓練

悟「人不如物，物猶依人」之理，乃決意分享開府宿藏，化私為

班秘書、總政治部第一主任副組長、政工幹部學校訓導處長、澎

公，冀播遺德於後世也。

湖防衛司令部政治部少將主任、政工幹部學校副校長、中央黨

是批書畫，源流清晰，洵非一般名人副官、幕僚代筆之應酬字

部第六組副主任」等情治系統組訓事務，忠黨愛國、器識宏遠。

畫可比擬。且作品皆署有楊將軍伉儷上款，單品間可互為依託、

民國五十九年致仕後，戮力公益事業，復任甘肅文獻社副主任委

證成，倘能成批或三兩件搭配收藏，勢益顯文獻價值，殊勘措

員、甘肅同鄉會理事長、中興大學暨文化大學兼任教授，整理鄉

意！

邦文獻，可謂樹蕙百畝，懋績卓著。

楊銳將軍姚令嫻國大代表 ˙ 伉儷珍藏名人手澤

楊銳將軍全家合影

民國50年蔣公蒞臨澎湖防衛部巡視時奉召留影 34 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

姚令嫻女史國大代表職證

楊銳將軍姚令嫻國大代表 ˙

033

于右任（1879-1964）

伉儷珍藏名人手澤

題東谿公幽居中堂水墨紙本鏡框上款：令嫻女士正。釋文：杜陵賢人清且廉，東溪卜築歲將淹。宅近青山同謝脁，門垂碧柳似陶潛。好鳥迎春歌後院，飛花送酒舞前庭。客到但知留一醉，盤中只有水精塩。落款：于右任。鈐印：右任（朱文） 98×44 cm (38.5×17.3 in.)

YU You Ren Calligraphy Ink on paper frame

NT$ 260,000-350,000 US$ 8,460-11,390 HK$ 67,400-90,700 Lot033 于右任《題東谿公幽居中堂》，民國卅七年三月，于氏與孫科、李宗仁、程潛共同角逐副總統大位。孫李程皆為勳閥出身，多憑藉金圓交際，攏絡選票。于氏廉潔自持，經濟不況，遂以一周為期，書寫《橫渠四句》：「為天地立心，為生民立命，為

往聖繼絕學，為萬世開太平。」條幅近千張，贈呈各國大代表，用以拜票。中堂乃于右任於民國卅七年元月，競選副總統固樁前期，親自書贈姚令嫻國大代表之物。楊銳將軍伉儷為陳果夫、陳立夫系統出身，夙與于氏交好，于氏藉由此詩，自比謝脁、陶潛等清廉狷介之士，希望獲得姚氏支持賜票，值得玩味。 35

034

于右任（1879-1964）行草七言聯水墨紙本鏡框上款：銳之先生法正。釋文：道大隨人各有得，心平於世一無求。落款：于右任。印文：右任（朱）、太平老人（朱） 134×32 cm (52.7×12.5 in.)

YU You Ren Calligraphy Ink on paper scroll

NT$ 260,000-350,000 US$ 8,460-11,390 HK$ 67,400-90,700

楊銳將軍

Lot034于右任《行草七言聯》為卅九年四月，政工改制，楊開府調升七十五軍、五十二軍政治部主任之際，于右任親自書贈之物。于氏於上海主辦《民生報》期間，就中國地圖將朝鮮半島、西伯利亞間之太平海面稱為「日本海」，頗為不滿，遂於民國卅二年三月十五日，扼腕發表《太平

姚令嫻國大代表 ˙

海》專文指陳時弊，主張「大洋海即東洋大海，又名太平海」正名論點。此後，于氏便自號「太平老人」，並請楊千里冶朱文印一方。目前傳世于氏書跡中，鈐有「太平老人」印者極罕見，泰半係書於民國卅七至卅九年間，斯時書風將變未變，凡鈐有此印，定屬珍品。鈐「太平老人」印之作品四幅，可參考國父紀念館編印：《于右任辭世五十週年紀念大展書法文物專輯》（臺北：國立國父紀念館，2014.10），頁1417。 Lot 039于右任、楊銳將軍合照，本品為楊銳將軍任職澎湖防衛司令部政治部少將主任末期，奉召入國防研究院（第五期）受訓之際，趨謁于右任時合照。距離于氏別世（五十三年十一月十日）僅數月。除書跡老成外，于老晚照，切不可多得矣。搭配上揭楊銳將軍伉儷藏品，相得益彰。望識者寶之！

伉儷珍藏名人手澤 36 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

楊銳將軍姚令嫻國大代表 ˙ 伉儷珍藏名人手澤

035

036

037

梁寒操（1899-1975）

陳縱材（b. 1911）

節臨王陽明句

墨竹

風竹

水墨紙本鏡框

水墨紙本立軸

水墨紙本鏡框

釋文：險夷原不滯胸中，何異浮雲過太

釋文：寧可食無肉，不可居無竹；無肉令人

釋文：澎湖之風

空，夜靜海濤三萬里，月明飛錫天下

瘦，無竹令人俗。東坡詩。

上款：銳之仁兄，令嫻夫人，儷教。

風，王陽明句。

上款：銳之先生／令嫻女史，儷政。

落款：壬寅陳縱材寫。

上款：銳之先生屬書。

落款：壬寅冬陳縱材馬公。

鈐印：十万山人（白文）、陳氏（白文）、

落款：梁寒操。

鈐印：十万山人（白文）、陳氏（白文）、

十萬山人（朱文）

鈐印：寒操翰墨（白文）

十萬山人（朱文）

33×68.8 cm (13×27 in.)

41x95.5 cm (16.1x37.5 in.)

69×34 cm (27×13.3 in.)

LIANG Han Tsao Calligraphy

CHEN Tzung Cai Ink-bamboo

Ink on paper frame

Ink on paper scroll

NT$ 20,000-30,000 US$ 650-980 HK$ 5,200-7,800

無底價

CHEN Tzung Cai Bamboo in the Wind Ink on paper frame

無底價

039

于右任（1879-1964）楊銳將軍合照楊銳將軍

相紙鏡框上款：銳之仁弟存。落款：于右任，五十三年二月。鈐印：右任（朱文）。 29×36 cm (11.4×14.17 in.)

YU You Ren Picture with General Yang Printed paper frame

NT$ 20,000-30,000 US$ 650-980 HK$ 5,200-7,800

姚令嫻國大代表 ˙ 伉儷珍藏名人手澤

038

梁中銘（1907-1982）靈猴獻壽設色紙本鏡框上款：銳之先生雅正。落款：中銘。鈐印：中銘（白文）、富壽安康（朱文）

040

44×88 cm (17.3×34.6 in.)

于右任（1879-1964）

LIANG Chung Ming Clever Monkey Offers Birthday Homage Ink color on paper frame

相紙鏡框簽名：大千先生，于右任。鈐印：右任（朱文）。 19×27 cm (7.4×10.6 in.)

無底價 38 JSL 2015 SPRING AUCTION

照片與張大千

CHINESE MODERN & CONTEMPORARY ART

YU You Ren Picture with Chang Ta Chien Printed paper frame

NT$ 20,000-30,000 US$ 650-980 HK$ 5,200-7,800

041

李轂摩（b. 1941）壽者相設色紙本立軸款識：無量壽，丙辰夏，轂摩寫。鈐印：國謨（朱文）、轂摩書畫（朱文）、不弍齋李氏

LEE Kuo Mo Image of An Elderly Ink color on paper scroll

NT$ 55,000-85,000 US$ 1,790-2,770 HK$ 14,200-22,000

轂摩書畫記（朱文） 113×40.5 cm (53×9 in.) 39

042

高逸鴻（1908-1982）畫鳥設色紙本鏡心落款：高逸鴻。鈐印：高氏逸鴻（白文） 69×44.7 cm (27.1×17.5 in.)

GAO Yi Hung Birds Ink color on paper

NT$ 50,000-70,000 US$ 1,630-2,280 HK$ 13,000-18,100 043

蔣青融（1922-2015）東風不放閑桃李設色紙本鏡框釋文：東風不放閑桃李，先發江南第一花。落款：梅山蔣青融寫意。鈐印：五福（朱文）、蔣青融（白文）、貴無雕琢是天真（朱文） 68.9×45.2 cm (27.1×17.9 in.)

CHIANG Ching Jung The East Wind Never Blow Ink color on paper frame

NT$ 35,000-50,000 US$ 1,140-1,630 HK$ 9,100-13,000

40 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

044

梅蘭芳（1894-1961）花鳥工筆設色紙本鏡心款識：乙酉春月梅蘭芳於藝學軒。鈐印：梅蘭芳印（朱文） 92.8×42.5 cm (36.5×16.7 in.)

045 MEI Lan Fang Meticulous Flowers-andBirds Painting Ink color on paper

NT$ 60,000-100,000 US$ 1,950-3,250 HK$ 15,500-25,900

黃磊生（1928-2011）花鳥設色紙本鏡心款識：己未之夏，磊生時客臺北。鈐印：黃磊生（朱文）、李氏家福收藏之印（朱文） 105.2×34.5 cm (41.4×13.5 in.)

HUANG Lui Sang Birds and Flowers Ink color on paper

NT$ 80,000-130,000 US$ 2,600-4,230 HK$ 20,700-33,700

046

歐豪年（b. 1935）獅水墨紙本鏡框款識：丁未夏夜，豪年急就成此，以應安眾兄雅命。鈐印：歐（朱文） 38.5×58.5 cm (97.7×23 in.)

42 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

OU Hao Nien Lions Ink on paper frame

NT$ 100,000-150,000 US$ 3,250-4,880 HK$ 25,900-38,900

047

陳文希（1906-1992）喜雀設色紙本鏡框款識：文希指墨。鈐印：陳氏（朱文）、白宮（白文） 34×43 cm (13.3×16.9 in.)

CHEN Wan Shi Magpie Ink color on paper frame

NT$ 120,000-150,000 US$ 3,900-4,880 HK$ 31,100-38,900

048

江兆申（1925-1996）清閟閣詩圖景

Ink color on paper frame

設色紙本鏡框題詞：江渚暮潮初落，風林霜葉渾稀；倚杖柴門閑寂，懷人山色依微。落款：清閟閣詩寫奉，縱炎先生雅屬，乙卯秋日，茮原江兆申畫。鈐印：江兆申印（白文）、椒原鉥（朱文）、染于蒼（朱文） 69.5×136.5 cm (27.3×6.8 in.)

44 JSL 2015 SPRING AUCTION

CHIANG Chao Shen Pavilion Poem and Image

CHINESE MODERN & CONTEMPORARY ART

NT$ 1,500,000-1,800,000 US$ 48,800-58,560 HK$ 388,600-466,300

中國傳統文人的新典型–江兆申江兆申，字茮原，民1925年出生於安徽歙縣的書香世家，童年由雙親教導讀書習字，並由舅父黃賓虹指導作畫。在傳統家庭教育薰陶之下，孕育了日後藝術創作的基礎，1949 年間，渡海來台後擔任中學教師，次年從學於溥心畬研習詩文，為書畫、篆刻家，中國書畫的研究學者，並曾任臺北國立故宮博物院副院長兼書畫處處長。師承溥儒的江兆申，是台灣自成家派卓有影響的文人畫家，在他的藝術實踐進程中，對古傳統追源溯流，不斷融匯貫通而生變化，在面對大自然感受領悟中化出生機，他是一位具有代表性、從傳統中來而有開創性的山水畫大家，傳統文化藝術總是隨著時代遞變而發展，具有時代新意、別具風采的江兆申文人山水畫作，在傳統繪畫的長河中起著後浪推前浪的作用。江兆申先生曾說過，「我只是慢慢的畫畫，畫不好仍然繼

續慢慢的畫，便像一道淡淡的蝸涎，緩緩的橫過階際，其實再細想，我的一生遭際也莫不如此，何僅是繪畫。」樸素的話語，反映了江兆申謙和淡泊的品格和腳踏實地上下求索的精神，也與他的繪畫不謀而合，從此幅清閟閣詩圖景，便可見江兆申心中的境處，幽祕山林中存在一小屋，人煙稀少，前景山巒使用墨色其罩染，除了枝幹堆疊、再使用皴法加重其山頭部位來彰顯出立體，有畫龍點睛之妙也，細看江兆申筆下的山體，佈滿有如銀縷輕煙的線條，使畫面層次有別、韻味十分，而後景大片雲霧淡雅暈染，搭配其山峰使整幅更添完整性。江兆申不但是文人畫的最後一筆，更是中國傳統文人畫的新典範，開啟水墨文人畫新樣貌。

049

臺靜農（1902-1990）書杜甫《秋興》條幅水墨紙本立軸釋文：昆吾御宿自逶迤，紫閣峯陰入渼陂，紅豆啄餘鸚鵡粒，碧梧棲老鳳凰枝。佳人拾翠春相問，僊侶同舟晚更移，綵筆昔曾干氣象，白頭今望苦低垂，杜少陵秋興。落款：臺靜農書於龍坡。鈐印：靜香米壽（朱文）、靜農無恙（白文）、龍坡（朱文） 88.5×24 cm (34.8×9.4 in.)

TAI Jing Nong Tu Fu's scroll Ink on paper scroll

NT$ 350,000-450,000 US$ 11,390-14,640 HK$ 90,700-116,600 46 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

050

余承堯（1898-1993）漁隱圖水墨紙本鏡框落款：余承堯作鈐印：余承堯印 33×67 cm (12.9×26.3 in.)

YU Chen Yao Invisible Fishermen Ink on paper frame

NT$ 300,000-400,000 US$ 9,760-13,010 HK$ 77,700-103,600

051

052

王濟遠（1893-1975）

吳石僊（1845-1916）

竹石（二件一組）

森森勁節上雲霄（二件一組）

溪山煙雨圖

水墨紙本立軸

設色紙本立軸

款識：卅年七月，濟遠寫於香島。

款識：森森勁節上雲霄，不怕風吹與

題記：溪山煙雨。

鈐印：王氏濟遠（白文）

雨飄，卅年七七節旅居香島，兩遇

落款：乙酉夏日，仿米襄陽筆法，寫於申江，白下吳石

68×30 cm (26.7×11.8 in.)

颶風，寫仲老詩意於雅蘭亭酒店，濟

僊。

遠。

鈐印：石僊（朱文）

WANG Ji Yuan Bamboo and Rock (two of a set)

鈐印：王氏濟遠。

66×44 cm (25.9×17.3 in.)

Ink on paper scroll

WANG Ji Yuan Up to the Sky (two of a set)

68×30cm (26.7×11.8 in.)

NT$ 150,000-200,000 US$ 4,880-6,510 HK$ 38,900-51,800

Ink on paper scroll

WU Shih Xian Smoky Mountain Rain Ink color on paper scroll LITERATURE D.levy Associates, Selected Works from the Fine Arts Group Collection of Later Chinese Paintings, Daphne Large Rosenzweig, Jerusalem Israel, 1991, P.222.

NT$ 150,000-200,000 US$ 4,880-6,510 HK$ 38,900-51,800

48 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

053

于彭（1955-2014）清山幽遠圖水墨紙本鏡框款識：清山幽遠圖，于彭寫于壬午。鈐印：于彭（白文） 27×125 cm (10.6×49.2 in.)

YU Peng Clean Mountain Ink on paper frame

NT$ 160,000-260,000 US$ 5,200-8,460 HK$ 41,500-67,400

054

于彭（1955-2014）飲酒詩水墨紙本鏡框釋文：結廬在人境，也無車馬軒，問君何能爾？心遠地自偏。採菊東籬下，悠然見南山。山色日夕佳，飛鳥相與還。此中有真意，欲辯已忘言。落款：于彭寫于己丑年秋末。 67.5×136 cm (26.5×53.5 in.)

YU Peng Poem on Drinks Ink on paper frame

NT$ 220,000-300,000 US$ 7,160-9,760 HK$ 57,000-77,700 49

055

鄭善禧（b. 1932）牧童設色紙本立軸畫題：牧童攀樹尋鳥巢題辭：放任牛兒自喫草，清和天氣郊原好，或聞鳥鳴或蟬噪。落款：民國七十九清明前夕，鄭善禧畫於臺北。鈐印：鄭（白文）、善禧（朱文）、謙和堂心賞（朱文） 137.5×69.5 cm (54.1×27.3 in.)

ZHENG Shan-Shi Shepherd Boy Ink color on paper scroll

NT$ 800,000-1,000,000 US$ 26,020-32,530 HK$ 207,300-259,100 50 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

056

劉其偉（1912-2002）寵物咪咪複合媒材紙 1994 簽名右上：ㄌㄧㄡˊㄑㄧˊㄨㄟˇ 1994 34×47 cm (13.3×18.5 in.) 來源附飛皇藝術中心原作保證書

Max LIU Pet Mimi Mixed media on paper 1994 Signed upper right: named in Mandin Phonetic Symbols, dated 1994 PROVENANCE Certificate of Authenticity by Fei Hwang Art Center, Taipei

NT$ 180,000-280,000 US$ 5,860-9,110 HK$ 46,600-72,500

057

劉其偉（1912-2002）貓鷹

Max LIU Owl Twins Mixed media on paper 1984

複合媒材紙 1984 簽名左下：ㄌㄧㄡˊㄑㄧˊㄨㄟˇ 84 36×50 cm (14.1×19.6 in.)

Signed lower left: named in Mandin Phonetic Symbols, dated 1984 PROVENANCE

來源附飛皇藝術中心原作保證書

Certificate of Authenticity by Fei Hwang Art Center, Taipei

NT$ 180,000-280,000 US$ 5,860-9,110 HK$ 46,600-72,500

52 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

058

劉其偉（1912-2002）虎虎生風複合媒材紙 1998 簽名左上：ㄌㄧㄡˊㄑㄧˊㄨㄟˇ 98 39.3×54.5 cm (15.5×21.5 in.) 來源附飛皇藝術中心原作保證書

Max LIU Tiger Mixed media on paper 1998 Signed upper left: named in Mandin Phonetic Symbols, dated 1998 PROVENANCE Certificate of Authenticity by Fei Hwang Art Center, Taipei

NT$ 180,000-280,000 US$ 5,860-9,110 HK$ 46,600-72,500

059

馬白水（1909-2003）太魯閣

Watercolor on paper 1994

水彩紙 1994 簽名左下：白水一九九四 41×51.5 cm (16.1×20.2 in.)

54 JSL 2015 SPRING AUCTION

MA PAI-SUI Taroko

CHINESE MODERN & CONTEMPORARY ART

Signed lower left, with one seal of the artist

NT$ 300,000-400,000 US$ 9,760-13,010 HK$ 77,700-103,600

060

馬白水（1909-2003）黃山送客松彩墨紙 1982 簽名右下：白水 1982 鈐印右下：MA PAI SUI 40×51 cm (15.7×20 in.) 來源附亞洲藝術中心原作保證書

MA PAI-SUI Pine on Mount Huang Ink and color on paper 1982 Signed lower right: Pai Sui in Chinese Stamped lower right: MA PAI SUI PROVENANCE Certificate of Authenticity by Asia Art Center, Taipei

NT$ 180,000-260,000 US$ 5,860-8,460 HK$ 46,600-67,400

061

李澤藩（1907-1989）青草湖

LEE TZE-FAN Green Grass Lake Watercolor on paper

水彩紙

Signed lower left: named TZE-FAN and Ching Tsao lake in

簽名左下：澤藩青草湖 53×71.5 cm (20.8×28 in.)

Chinese

NT$ 350,000-450,000 US$ 11,390-14,640 HK$ 90,700-116,600

56 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

062

郭雪湖（1908-2012）暑夏夕涼水墨絹本鏡框 1971 款識：辛亥秋日，雪湖作。鈐印：雪湖（朱文）。 45×53 cm (17.7×20.9 in.) 來源附東之畫廊原作保證書

KUO Xue Hu Cool Sunset in Hot Summer Ink on silk frame 1971 PROVENANCE Certificate of Authenticity by East Gallery, Taipei

NT$ 600,000-700,000 US$ 19,520-22,770 HK$ 155,400-181,300

063

林之助（1917-2008）

LIN CHIN-CHU Flower and Bird Gouache color on silk 1993

花與鳥

Signed lower right: named Chih Chu in Chinese

膠彩絹布 1993

Stamped lower right with an artist's seal

簽名右下：之助鈐印右下：林之助 33×45.5 cm (12.9×17.9 in.)

NT$ 950,000-1,100,000 US$ 30,900-35,780 HK$ 246,100-285,000

林之助(1917-2008)，台中大雅人，台灣膠彩名家。自小就轉往

性，穩定、秀麗、審美且踏實。正如他自敘在我們悲哀時，好像

日本東京念書，直至青年，受其二哥影響，入帝國美術學校(舞藏

在安慰鼓勵我們，快樂時好像一起歡樂…我最感動的是他們並非

野美術大學) ，開始創作，作品常參加府展及美展。Lot063《花

表演給誰看，又盡量發揮個性的特徵，綻開美麗的花朵，不斷的

與鳥》描繪蘭花齊放之貌，於左側並有兩隻色彩艷麗的小鳥，朝

鳴唱悅耳的歌聲。這正是藝術家的創作態度。也在在表示他藝

著花叢凝望，似乎也在欣賞美景。花與鳥的對話，輕巧而透徹的

術世界的啟發與靈感，正是來自此幅作品的花與鳥，這一切是大

響聲，使得整個畫面圍繞著幸福和美滿的感覺。蘭花向著觀者開

自然的贈與，他也以畫筆與顏料餽贈與造物的主人。僅有在人以

放，間或白色與粉色系，葉片有青綠、黃綠，顯示已是盛開期後

感恩的態度參與自然，才能夠獲致這種無私的感情。他所應用的

了。畫家以寫實的精神記錄花卉，並不特別美化或遮掩現實，並

材料，如畫家所定義的「膠彩之美，美在用色…天籟交響，卻不

能從中提煉出花的香氣與人類觀畫時的態度，不僅美觀且和諧，

因用色之簡朗或繁複而掩蔽個人風格，美在造型，動靜各形皆入

更使人的心靈享受這有限生命中所刻劃出的無限圓滿。觀者與花

畫…，美在材質，膠與水、顏料和畫布，訴說著作者傾注生命力

卉之間的的互動，牽引著鳥類與花卉的互動，鳥語

的執著。」在這幅作品當中，我們更是能感受到畫家所體悟的藝

花香，人間福樂。藝術家採用西方透視結構與明暗效果，輔及東方的墨彩淡濃觀念進行創作，其作品如畫家個 58 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

術世界。

064

李石樵（1908-1995）八斗子漁港

LEE SHIH-CHIAO Badouzi Port Oil on canvas 1981

油彩畫布 1981 簽名左下：1981.11. 石樵 65×53 cm (25.6×20.9 in.)

Signed lower left: dated Nov. of 1981, Shih Chiao in Chinese

NT$ 1,600,000-2,000,000 US$ 52,050-65,060 HK$ 414,500-518,100

李石樵（1908-1995）為臺灣本土重要的第一代西畫藝術家，

地描繪八○年代基隆最大的港灣，和海濱人們休閒悠哉的模樣。

師承影響臺灣繪畫發展甚深的啟蒙教師石川欽一郎。李石樵擅人

在堤岸旁併列停泊的船隻，似乎暗示著漁獲豐收回港的滿足，藉

物、時局群像，寫景亦是他體會地方、時代刻劃的呈現，而他的

著堤旁垂釣的遊客，推測是假日的閑餘時刻。李石樵取景海濱一

風景畫亦有濃厚的鄉土情懷。除了地方景色，室內的靜物畫則常

角，由遠至近的色彩越趨豐富，畫中可見其獨有「擦筆」技法的

以用色來對比明豔的主角與素雅的背景。李石樵的繪畫風格歷經

筆觸。天空以金黃霞彩表示午後時分，牛稠嶺山巒半掩於群立的

多變，其作品以寫實為主，但也曾在五○年代嘗試立體主義的表

白色建築後，畫作前三分之二以漁船與海濱為主角，最前方則是

現方式，或結合印象派、抽象等元素，創作手法的轉變影響他晚

活動人群增添生動的氣氛。在如此具層次的安排中，天與地色彩

期作品的畫面氛圍。

呼應並成為畫面的框架，強調藍綠色調的海波與船。李石樵更以

寫景是李石樵在精神上對土地懷想的寄託，大自然美景則是他把實景轉化為藝術的靈感泉源。《八斗子漁港》（1981）誠樸

60 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

暖色朱紅點綴部分船身，畫面令人心曠神怡，表現他在用色上的鮮明特質。

065

李石樵（1908-1995）百合花油彩畫布 1977 簽名左下：1977 石樵 40×32 cm (15.7×12.5 in.) 來源海外私人收藏

LEE SHIH-CHIAO Lily

與彩度的詮釋。他曾言：「每個顏色都有很好的效果、最理想的

Oil on canvas 1977

表達方式，當我們在欣賞其作品之際，強烈的高彩度震懾了我們

Signed lower left: named SHIH-CHIAO in Chinese and dated

的視覺域。」《百合花》（1977）的構圖、色彩則都能見到李

1977

石樵藝術理論的實踐，其成作的時間巧處於他回歸寫實自然的階

李石樵專注於色彩特質與畫面空間的經營，特別是筆觸、明度

段。而他本就喜愛描繪花卉，雖然以相同的靜物為題材，卻表現 PROVENANCE

各次靜態植物不同面向的優雅姿態。與同為花卉靜物的構圖，

Private collection oversea

《百合花》以西方古典藝術的理性、平穩方式安排主角的中置。不同於李石樵一般「瓶身全入畫」的作法，此件畫作描繪半身青

NT$ 450,000-550,000 US$ 14,640-17,890 HK$ 116,600-142,500 62 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

花瓷瓶，亦不奪取主角絕對純淨的姿色，突顯朝氣待放的花苞與新放的生命力。象徵尊貴、沉著穩重的紫色以背牆襯托百合純淨白麗的身姿，瓷瓶輔之為聖潔的花朵增添恬靜清新的氣質。

066

王水金（1918-1985）臺大校園油彩畫布 1978 簽名左下：水金 53×41 cm (20.8×16.1 in.)

WANG SHUI-KING NTU Campus Oil on canvas 1978 Signed lower left: named SHUI-KING in Chinese

NT$ 260,000-350,000 US$ 8,460-11,390 HK$ 67,400-90,700

64 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

067

張萬傳 (1909-2003) 植物園油彩畫布 1989 33×24 cm (13×9 in.) 來源附哥德藝術中心原作保證書展覽「張萬傳個展」，臺北：哥德藝術中心，2003.03。出版哥德藝術中心，《哥德傳世經典─張萬傳》，臺北，1997，頁93。

CHANG WAN-CHUAN Botanical Garden Oil on canvas 1989 PROVENANCE Certificate of Authenticity by Goethe Art Center, Taipei EXHIBITION "Solo Exhibition", Goethe Art Center, Taipei, Taiwan, March, 2003. LITERATURE Goethe Art Center, The Legendary Classics of Goethe Art Center: Chang Wan-Chuan, Taipei, Taiwan, 1997, P.93.

NT$ 260,000-300,000 US$ 8,460-9,760 HK$ 67,400-77,700

068

張萬傳（1909-2003）裸女油彩畫布簽名左下：Chang. 萬. 34×25 cm (13.3×9.8 in.)

CHANG WAN-CHUAN Nude Oil on canvas Signed lower left: named Chang in Pinyin and Wan in Chinese

NT$ 240,000-280,000 US$ 7,810-9,110 HK$ 62,200-72,500

66 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

069

張萬傳（1909-2003）雙姝油彩木板簽名右下：Chang. 萬. 24×33 cm (9×13 in.)

CHANG WAN-CHUAN Two Girls Oil on wooden board Signed lower right: named Chang in Pinyin and Wan in Chinese

NT$ 240,000-280,000 US$ 7,810-9,110 HK$ 62,200-72,500

070

沈哲哉（b. 1926）月光少女油彩畫布 1980 簽名右下：哲哉 1980 80×65 cm (31.4×25.5 in. )

Oil on canvas 1980 Signed lower right: named CHE-TSAI in Chinese and dated 1980 Private Collection, USA

來源美國私人收藏

68 JSL 2015 SPRING AUCTION

SHEN CHE-TSAI Girl

CHINESE MODERN & CONTEMPORARY ART

NT$ 900,000-1,000,000 US$ 29,280-32,530 HK$ 233,200-259,100

071

沈哲哉（b. 1926）歐洲風景油彩畫布 1989 簽名右下：哲哉 1989 31.5×41 cm (12.4×16.1 in.)

SHEN CHE-TSAI The European Landscape Oil on canvas 1989 Signed lower right: named CHE-TSAI in Chinese and dated 1989

NT$ 200,000-260,000 US$ 6,510-8,460 HK$ 51,800-67,400

陳德旺(1910-1984)，台北

Chen Te Wang (1910-1984), born in Yuraku-cho, Taipei. His

永樂町人，在台灣時受教於石

painting career starts from his traveling to Japan for twelve years.

川欽一郎，1929年赴日，原本

Without limitation in the training of the academy, he studied in

計劃到東京美術學校學習，受

several private institutions for his self-learning and development.

制於殖民地身份而作罷，轉而

Therefore, the painter documents his lifetime study in his artworks

考進日本帝國美術學校，但因

and deliberately set his axil on personal comprehension towards

創作理論課程太多，創作課程

magnificent outcome. He didn't follow any trend or wasn't

太少而放棄就讀。不同於學院

influenced by any specific mainstream in the art world. Looking

訓練，乃遊歷各私塾，以陶成

Far into the Distance from Mt. Guan Yin gives the viewers a chance

及發展自身。在日本12年的習

to see into his soul and mind, imaging ourselves holding the paint

畫生涯，藝術家以記錄了繪畫

brush with the painter and feeling his orderly placement of time in

以及其個人的體悟為主軸之發

space. This personal painting scheme with the continuity of time

展，他並不特別師承任何派別

represents in the mixture of the landscape scene of Mt Guan Yin

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

and the movement of the painter's mind. The vivid focus on the

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

white spot amid the piles of colors construct a harmony.

筋想的求的是什麼，就是畫。更可見他擇畫固執的一面。

The subject Mt Guan Yin belongs to Taiwan Landscape which is

他不僅作畫更研究畫，由Lot072《觀音山遠眺》可看出其心靈

promoted by the artists in the era of Japanese Reign. This enables

與思想，在畫作中藝術家表現他的思想與畫筆並進，在做畫時，

Taiwanese painters to deep plough on the development the local

將時間性整體畫一、有次序及和諧地運用在畫布空間當中，陳德

art and territory together with the rethinking of themselves in

旺特有的時間連續性的繪畫方式，借由觀音山遠眺下景物的推移

the realm of culture and geography. In March 1974, Chen with

與藝術家本身思想的推移，交織於畫面之中。鮮明的留白聚焦與

his friends exhibited western paintings and show some of his

凝重的色塊堆疊，構成一種和諧，觀音山是日據時代無人不嚮往

landscape artworks; in the same year he retired from work and

的台灣風景，陳德旺延續這個母題，深耕於自己的土地風景，表

was in solitude to paint alone researching for the path of art.

現出本土畫家反思自身的文化與地理背景。陳德旺所呈現出眼中

This artwork is the fruit of the plough with the past cultivation

對風景的印象，這個時期的藝術家完全只用色彩，多使用柔和的

of studying western masters in Japan and with his mature

中間色調，傳達心中的風景圖像，Lot072的平衡色調，已經捨棄

retrospectives point of view. Later on, it's obvious to see the

他之前慣用的濃厚用色，進入一個更高層次的繪畫實驗。

painter is on the path of the Impressionist, Claude Monet.

1974年3月，陳德旺與友人合辦西畫小品欣賞會，展出風景靜

In the construction, Chen uses simple imagery just like what

物等作品，是年8月退休，開始遺世獨立，謝絕應酬，閉門作畫，

Monet paints in Musee de l'Orangerie, eg. Morning and Water Lily.

走純粹研究的道路，此幅作品更可說是身居於此情此景，而以在

In the application of color, he uses the same yellow, green and blue

日本所遊歷之西方繪畫表現手法，自身的反思堆砌而成的成熟之

but with some divergences in technique. Chen uses dry brush and

作，爾後，明顯見出畫家朝向印象派大師莫內的表現手法，並以

more experimental in the construction of colors. Among the series

此為實驗之方式，在風景畫方面，藝術家實行色彩分割的實驗，

of Mt Guan Yin, this 15F larger artwork completes his experiments

他為了運用純粹色彩來畫畫，先從印象派入手，了解光線和色彩

and in this painting Chen works out the dynamic relationship

的關係，以及表現光線與色彩的技術－所謂色彩分割；繼而配合

among these three colors in space. Monet's painting appears to

塞尚造型問題的研究，掌握了獨立的造型語言，最後皈依象徵

sensational liquids of expression while Chen's artwork concludes

派，內心詩意浮動，以調和的形與色探求能夠表現師的精神的一

his rigorous attitude and reflection. In Mt. Guan Yin, there's no

種和諧性的結合。

visible subjectivity; but instead, some certain of identification of the

在畫面的構成上，陳德旺所採用的精簡意像，相似於莫內在巴黎橘園美術館當中幾幅巨大的畫作，如《晨》(Morning)與《水仙》(Water Lily)，色彩的應用上呈現出黃、綠、藍色調，唯有技法上略有差異。陳德旺使用乾擦的手法，色塊的構成也較為實驗性，並將自己的思想和研究呈現在畫作當中。如果說莫內的畫作呈現出感官流動性的體悟，陳德旺的畫則是嚴謹反思之記錄總結。在他的畫作中，並不特別顯露出意象及主題，反而追求一種物我合一及最低限度的物質化，進而創造最高程度的精神性。在一系列的觀音山遠眺系列畫作，如台灣美術館所藏作品，景薰樓 2005年以$1770000拍出藝術家1號作品，這次拍賣呈現此幅15號較大型的畫作，更可稱為實驗之完成作品，值得行家出手典藏。

70 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

target object and the minimum of the matter create the utmost spirituality.

Claude Monet, Morning, 1920-1926, Musee de l’Orangerie, Paris, France 莫內《晨》 1920-1926年橘園美術館巴黎法國

Claude Monet, Waterlilies, 1920-1926, Musee de l’Orangerie, Paris, France 莫內《水仙》 1920-1926年橘園美術館巴黎法國

Chen De Wan, Looking Far into the Distance from Mt. Guan Yin, 1982, National Taiwan Museum of Fine Arts, Taichung, Taiwan 陳德旺《觀音山遠眺》 1982 國立臺灣美術館臺中臺灣

JSL Auction 2005 Autumn, Lot 44 Sold NTD 1,770,000 景薰樓2005年秋拍 Lot 44 尺寸 25.5 x 20 cm 成交價 NTD 1,770,000

072

陳德旺（1909-1984）觀音山遠眺油彩畫布 54×65 cm (20.4×16.1 in.)

CHEN TE-WANG Looking Far into the Distance from Mt. Guan Yin Oil on canvas

NT$ 4,200,000-5,000,000 US$ 136,630-162,650 HK$ 1,088,100-1,295,300

出版藝術家出版社，《臺灣美術全集15：陳德旺》，臺北，1995，頁219。南畫廊，《臺灣畫─臺灣美術100年特別企劃》（10/11月號），臺北，1994，頁41。 LITERATURE ARTIST, Taiwan Fine Arts Series 15: CHEN Te-Wang, Taipei, Taiwan, 1995, P.219. Nan Gallery, Taiwan School: Special Project of One Hundred Years in Taiwanese Art (October/November), 1994, P.41.

72 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

073

張義雄（b. 1914）風景

Oil on canvas 1964

油彩畫布 1964 簽名右下：Y. CHANG 64 45.5×53 cm (17.9×20.8 in.)

Signed lower right: named Y. CHANG in Pinyin and dated 64 PROVENANCE Certificate of Authenticity by Impression Art Gallery, Taipei

來源附印象畫廊原作保證書

74 JSL 2015 SPRING AUCTION

CHANG YI-HSIUNG Landscape

NT$ 500,000-600,000 US$ 16,270-19,520 HK$ 129,500-155,400

CHINESE MODERN & CONTEMPORARY ART

074

張義雄（b. 1914）橄欖樹下油彩畫布 1986 簽名左下：Y. CHANG 86 24×33 cm (9.4×12.9 in.)

CHANG YI-HSIUNG Under the Olive Trees Oil on canvas 1986 Signed lower left: named Y. CHANG in Pinyin and dated 86

NT$ 260,000-300,000 US$ 8,460-9,760 HK$ 67,400-77,700

075

張義雄（b. 1914）靜物版畫（99/220）1980 簽名左下：80 CHANT.Y 28×33.5cm (11×13 in.) 來源臺北哥德藝術中心

CHANG YI-HSIUNG Still life Lithograph (92/220) 1980 Signed lower left: named Y. CHANG in Pinyin and dated 80 PROVENANCE Certificate of Authenticity by Goethe Art Center, Taipei

NT$ 20,000-35,000 US$ 650-1,140 HK$ 5,200-9,100

076

楊三郎（1907-1995）櫻島火山油彩畫布簽名左下：S. Yang 45.5×53 cm (17.7×20.8 in) 來源附亞洲藝術中心原作保證書

YANG SAN-LANG Sakurajima

他厚實明快的筆觸，以及樸實的氛圍。前

Oil on canvas

輩畫家的筆下就如歷史紀錄，刻劃著年代

Signed lower left：named S. Yang in

的特色。Lot076《櫻島火山》的主角是日

Pinyin

本鹿兒島的象徵，楊三郎描繪的活火山在向上噴繞的灰色煙雲中暗示著大地鼓譟，

PROVENANCE

他便輔以亦綠既藍的天色和草蔭增添沉穩

Certificate of Authenticity by Asia Art

的氣勢。中景的白色建屋，則能為似若搖

Center, Taipei

動的景象，平衡幾分安靜心穩的情境。

NT$ 650,000-800,000 US$ 21,150-26,020 HK$ 168,400-207,300

76 JSL 2015 SPRING AUCTION

楊三郎的畫風總是充滿古意，作品可見

CHINESE MODERN & CONTEMPORARY ART

077

楊三郎（1907-1995）安平古堡油彩畫布 1978 簽名左下：S. Yang 53×65.5 cm (20.8×25.7 in) 來源附印象畫廊原作保證書

YANG SAN-LANG Anping Fort

築的紅瓦灰牆，使畫景滿溢臺灣的古早味

Oil on canvas 1978

與閒情逸致。湛藍天空和清新雲氣與點綴

Signed lower left：named S. Yang in

的樹影相隨，猶如道出鄉間的樸實情意。

Pinyin

楊三郎以高彩度的鮮明色調，能使人感到

在Lot077《安平古堡》中，閩南式舊建

身臨其境，又如有土地芳香及隨風飄傳的 PROVENANCE

鳥語圍繞身側，如此悠哉情景更是心曠神

Certificate of Authenticity by Impression

怡。

Art Gallery, Taipei

NT$ 750,000-900,000 US$ 24,400-29,280 HK$ 194,300-233,200

078

楊三郎（1907-1995）湖畔殘雪油彩畫布 1982 60.5×72 cm (23.8×28 in.) 來源附印象畫廊原作保證書出版國父紀念館，《楊三郎作品集 1986-1995》，臺北，1995，頁19（圖版）。

YANG SAN-LANG Unmelted Snow by the Lake Oil on canvas 1982 PROVENANCE Certificate of Authenticity by Asia Art Center, Taipei PROVENANCE Certificate of Authenticity by Impression Art Gallery, Taipei LITERATURE National Dr. Sun Yat-sen Memorial Hall, Yang Sun Lang 1986-1995, 1995, illustrated, P.19.

NT$ 1,500,000-1,800,000 US$ 48,800-58,560 HK$ 388,600-466,300

Lot078《湖畔殘雪》是楊三郎崇尚自然，表達自我性格的佳作，於畫中表現天闊地廣的安逸和寧靜。他寫生時的恣意享受，以當下的心境描繪眼前物景，筆觸較為隨性，而用色細膩，將光影透過不同色調顯得更為立體。蒼綠橡樹林立在白銀靄靄的雪山前，顯得朝氣蓬勃的模樣，隱約可聞春風將至，更能見藝術家當下的怡然閒適。

78 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

LIAO CHI-CHUN

廖繼春是以西方野獸派的藝術表現，創作具有地方特色作品的

LIAO CHI-CHUN is a Taiwanese veteran artist who had creative

臺灣前輩藝術家，若說他是「臺灣野獸派」的佼佼者也不為過，

masterpieces with native characteristic through the expression of

他的畫作透過絢麗吸睛的色彩，展現在創作上主觀的用色，如同

Western Fauvism. He is worthy of the name and outstanding one

野獸派著重視覺上活潑氛圍的塑造，他的作品兼容現代西方、日

of 'Taiwanese Fauvism'. LIAO's paintings always are bright and

本美術的特質，也蘊含印象派的風格和技法，重複地描繪相同題

colourful which present subjective conception of his intention.

材或風景，作品卻能有各自的情態，廖繼春於五○年代時，正受

He centred on the visual shape and vivid atmosphere as Fauvism

到舊、新思潮相互衝擊與激盪的時期，他的積極態度讓自身繪畫

artist did. And his works are compatible with modern western and

走向更具個人、感性的語調。

Japanese art. Furthermore, the artist painted the same landscape

《淡水遠眺》是臺灣地方畫景絕對經典的題材，而廖繼春的淡水景物更使人為之鍾愛和讚賞，他舉家遷居臺北後，也曾因在淡

topic repeatedly as Impressionism manner that he represented variety of spirits in each works.

江中學兼課，生活中的滬尾河海與觀音山景色，即成他專情描繪

"Tamshui" is an absolute classic theme of Taiwanese regional

的對象，此件畫作題材特殊，有別於畫家以往取景河岸雙色及八

landscape painting. Moreover, as far as collectors concerned,

里風光，也可推測當時廖繼春正於真理大學大禮拜堂旁的牧師樓

LIAO's Tamshui scenery is greatly attractive and praised. His life full

上，遠眺前方的清代淡水總稅務司官邸，將淡水小白宮與群集民

of 'Tamshui' after moving to Taipei city with family and taught in

居的和諧景幕併融於畫中。

Tamkang High School. That is became his leading motive which

對「色彩的魔術師」─廖繼春而言，繪畫之於生命最主要的養

he was keen on the River and Guan Yin Mountain scenery. There

分，包含了「簡潔強烈的色彩、以對比強調更多的色感，及線條

is a distinctive art piece within LIAO's Tamshui paintings. The

構成造形的趣味」，《淡水遠眺》的創作正值他於中山堂舉辦第

artist took view in differ ways from River and Bali bank where was

二次個展，豐富用色則為此時期作品的特點，畫作中的白堊色洋

conventional location he portrayed. LIAO was speculated on the

樓、紅棕色屋房，與蒼綠樹道、粉藍晨曦作為對比，畫面配色的

top of the House of Reverends where is next to the Grand Chapel

東方意味濃厚，氛圍則溫潤可親。他以野獸派具有童趣的筆觸，

of Aletheia University. He was overlooking the front of Residence

簡單線條描繪俯瞰西洋別莊與閩南式磚房的山丘景致，背景天色

of the Tax Bureau Officers (in the Qing Dynasty), and depicted

和山形彷如沐浴於淡水河上，徜徉遊意。

harmoniously with 'Little White House' and traditional dwellings in

廖繼春遠探的淡水情景裡，仍可見禮拜堂的磚紅建築和尖塔，

his landscape.

指示著老街舊路的方向；河上順流的雙艘木造扁舟，揚帆便透露

LIAO is known as a 'color magician' and what he interested

了海風相伴，《淡水遠眺》無處不吸引觀者凝視於廖繼春他那具

in is the integrant source of painting. He has emphasized "the

充沛情感的景觀畫面，一種古樸、懷舊的城市光景，帶人心進入

simple but strong colours and make paintings more colourful

歷史古道中的溫情與逸趣。

by employing more contrast. And pay attention to the form

景薰樓乃致力於發揚臺灣藝術，更是不遺餘力地推廣本土前輩

and composition." The gorgeous colour is a significant feature

藝術家，畫家筆下的世界蘊藏著土地之美，秉持著信念將如此感

with LIAO's work in this period when there was an exhibition in

動分享予眾，2001年至今持續推出廖繼春淡水題材之精品，此次

Taipei Zhongshan Hall. His "Tamshui" conveys vigorous Oriental

春拍作品則有畫家足立淡水別具一格的取景，風格亦具廖式野獸

atmosphere and molding warm ambience by chalk villa, barn

派表現的標幟，與2001年春拍作品Lot234《淡江風景》，以及

red houses with green grove and blue glimmering. As well as he

2008年秋拍作品Lot54《淡江風景》相較，描繪小白宮和群屋依

portrayed an aerial view of architectures and hills sight through

山傍水的《淡水遠眺》，則充滿了樸實恬靜的氣質。而2001年的

Fauvism childlike drawing and concise lines.

《淡江風景》，則是廖繼春「粉紅色時期」的創作，是繼2008年

In LIAO's "Tamshui", the scenery is captured audience attention

《淡江風景》後，承襲著野獸派風格的表現，畫面可見他喜愛活

with emotive creation. This masterpiece shows a quaint and

潑色彩的特質。不同於後期作品走向簡化抽象，《淡水遠眺》是

nostalgic urban scene, it brings people to wander in the history

廖繼春對比用色的前序，畫面的粉淡色調顯得景色清逸高雅，也

trail with warmth and leisure.

更為細緻，可謂是稀世可貴之佳作，更為值得珍藏的逸品。 80 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

2001春拍 Lot234《淡江風景》油彩畫布 1972 45.5×53 cm 出版：藝術家出版社，《臺灣美術全集：廖繼春》，臺北， 1992，圖版112。臺北市立美術館，《廖繼春逝世二十週年紀念展》，臺北， 1996，頁128-129。成交價 NTD 10,220,000

2011春拍 Lot75《淡水風景》油彩木板 1961 38×45.4 cm 成交價 NTD 8,260,000

2012春拍 Lot32《淡水觀音山》油彩木板 1959 32×41 cm 成交價 NTD 4,956,000

079

廖繼春（1902-1976）淡水遠眺油彩畫布 1953 簽名左下：繼春一九五三 53×65 cm (20.8×25.5 in.) 展覽「回到／家鄉─順天美術館收藏展」，臺北：臺北市立美術館，1999.07。「凝聚台灣生命力」，日升月鴻畫廊，臺北：圓山大飯店，2004。出版尊采藝術中心，《台灣前輩藝術家藏寶圖》，臺北，1998，頁18-19。

LIAO CHI-CHUN Tamshui Oil on canvas 1953 Signed lower left: named CHI-CHUN in Chinese and dated 1953 EXHIBITION "Togeher/To Gather: Sun Ten Museum Collection", Taipei Fine Arts Museum, Taipei, Taiwan, July, 1999. "Cohesion of Taiwanese Viltality", The Grand Hotel, Taipei, Taiwan, 2004. LITERATURE Respectable Art Center, Masterpieces of Taiwan Precursor Artists, Taipei, Taiwan, 1998, illustrated, PP.18-19.

NT$ 15,000,000-20,000,000 US$ 487,960-650,620 HK$ 3,886,000-5,181,300 82 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

080

陳銀輝（b. 1931）朝拜油彩畫布 1980 簽名右下：Y. CHEN 80 45×37 cm (17.7×14.5 in.)

CHEN YIN-HUI Pilgrimage Oil on canvas 1980 Signed lower right: named Y. CHEN in Pinyin and dated 1980

NT$ 260,000-300,000 US$ 8,460-9,760 HK$ 67,400-77,700

陳銀輝1931年生於嘉義，1954年國立台灣師範大學美術系畢業。1952年迄今曾在國內各大美展獲獎多次，包括1961年獲扶輪獎、1980年獲金爵獎、1986年獲中山文藝創作獎等。1966年起在國內外舉辦個展超過二十多次。作品廣為國內三大美術館及中外藏家收藏，亦曾獲「中山文藝創作獎」、「吳三連文藝獎」、「文建會文馨獎」等諸多榮譽。他的作品均有一主色調：平靜略帶憂傷的藍，鮮亮卻隱含微顯的黃，或是明亮炙熱卻埋伏玄機的紅，他總能靈活的運用對比色的交錯呼應，使畫面上的光線跟色彩得以交流，介於抽象與具象、感性與理性之間，儘管他的外型儒雅拘謹，但在創作上卻是毫無保留，不管是表現主義的主觀創作形式、野獸主義的奔放色彩、立體主義的造型觀念、超現實主義的幻想空間，以致抽象藝術的構成與音樂性，都是他充分表現自己創作力的方式。陳銀輝說：「我的畫是無聲的音樂，在畫面上可以感受到音樂性。」

84 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

081

陳銀輝（b. 1931）艷陽高照油彩畫布 1998 簽名右下：銀 CHEN 98 80×100 cm (31.5×39.3 in.) 來源附凡亞藝術中心原作保證書展覽「陳銀輝個展」，臺北：凡亞藝術中心，2000.01。出版凡亞藝術中心，《陳銀輝畫集─第三十次個展專輯》，陳銀輝著，臺北，2000，圖版3。

CHEN YIN-HUI Sunshine Oil on canvas 1998 Signed lower right: Yin in Chinese and CHEN, dated 1998 PROVENANCE Certificate of Authenticity by Fun Year National Art, Taipei EXHIBITION "Solo Exhibition of CHEN Yin Hui", Fun Year National Art, Taipei, Taiwan, January, 2000. LITERATURE Fun Year National Art, Oil Painting of Chen Yin Hui, Taipei, Taiwan, 2000, Plate.3.

NT$ 1,000,000-1,200,000 US$ 32,530-39,040 HK$ 259,100-310,900 85

082

葉火城（1908-1993）雅美得船

Oil on canvas 1978

油彩畫布 1978

Signed lower left: named Huo-Cheng 1978

簽名左下：火城 1978 80×100 cm (31.4×39.3 in.)

86 JSL 2015 SPRING AUCTION

YEH HUO-CHENG Yami Tribe Single-person Boat

CHINESE MODERN & CONTEMPORARY ART

NT$ 1,300,000-1,500,000 US$ 42,290-48,800 HK$ 336,800-388,600

083

王守英（b. 1937）港口油彩畫布簽名右下：S. Y. WANG 53×65.5 cm (20.8×25.7 in.)

WANG SHOU-YING Harbour Oil on canvas Signed lower right: named S. Y. WANG in Pinyin

NT$ 260,000-300,000 US$ 8,460-9,760 HK$ 67,400-77,700

084 WU HAO Flowers

吳昊（b.1932）瓶花

Oil on canvas 2001

油彩畫布 2001

Signed lower right: named Wu Hao in Chinese and dated 2001

簽名右下：吳昊 2001 50×50 cm (19.6×19.6 in.)

Certificate of Authenticity by the Artist and Signed

來源附藝術家親簽之作品保證書

88 JSL 2015 SPRING AUCTION

PROVENANCE

CHINESE MODERN & CONTEMPORARY ART

NT$ 160,000-220,000 US$ 5,200-7,160 HK$ 41,500-57,000

085

吳昊（b.1932）朵朵葵花油彩畫布 1989 簽名右方：吳昊 1989 81×81 cm (19.6×19.6 in.) 來源附龍門畫廊原作保證書

WU HAO Sunﬂowers Oil on canvas 1989 Signed right: named Wu Hao in Chinese and dated 1989 PROVENANCE Certificate of Authenticity by Lung Men Art Gallery, Taipei

NT$ 400,000-550,000 US$ 13,010-17,890 HK$ 103,600-142,500 89

086

陳景容（b. 1934）桔梗花油彩畫布 1993 簽名右下：景容 1993 72.5×60.5 cm (28.5×23.8 in.) 來源附印象畫廊原作保證書

CHEN CHING-JUNG Balloon Flower Oil on canvas 1993 Signed lower right: named CHING-JUNG in Chinese and dated 1993 PROVENANCE Certificate of Authenticity by Impression Art Gallery, Taipei

90 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

NT$ 700,000-800,000 US$ 22,770-26,020 HK$ 181,300-207,300

087

陳景容（b. 1934）歐小姐油彩畫布 1990 簽名右下：景容 90 100×80 cm (39.3×31.4 in.) 出版《陳景容畫集 (1)：油畫、濕壁畫》，陳景容著，臺北， 1991，圖版212。

CHEN CHING-JUNG Miss Au Oil on canvas 1990 Signed lower left: named CHING-JUNG in Chinese and dated 1990

NT$ 500,000-900,000 US$ 16,270-29,280 HK$ 129,500-233,200

LITERATURE Chen Ching-Jung, The Art of Chen Ching-Jung: oil paintings and fresco, Taipei, Taiwan, 1991, illustrated, Plate.212. 91

088

洪瑞麟（1912-2006）加州公園

HUNG JUI-LIN Park of California Oil on canvas 1982

油彩畫布 1982 簽名右下：洪 1982 31×40 cm (12.2×15.7 in.)

Signed lower right: named Hong in Chinese and dated 1982 PROVENANCE Certificate of Authenticity by Qing Yi Art, Taipei

來源附慶宜藝術原作保證書出版慶宜藝術出版，《當代繪畫精品》，臺北，1996，頁41。

LITERATURE Qing Yi Art Auction, Fine Modern Art Works, Taipei, Taiwan, 1996, P.41.

NT$ 300,000-400,000 US$ 9,760-13,010 HK$ 77,700-103,600 洪瑞麟為「紀元畫會」創始者之一，1912 年出生於台北

「礦工畫家」也成為洪瑞麟的註冊商標，在三十五年的礦坑

市大稻埕淡水河岸的船頭行街，由於父親對傳統文人畫的素

歲月裡，洪瑞麟留下許多珍貴的手跡，無論是悲、是苦、是

養，自小也啟發了他對藝術的興趣。1927與張萬傳、陳德旺

喜、是樂，情感往往躍於畫面，作品也永傳後世為人所津津

等人受石川欽一郎的指導，開始學習正規的藝術技法。爾後

樂道。1978年創作一系列以美國加州海景為題材之水彩作

更到日本鑽研更高深的藝術領域。1938 年後回到台灣，開

品，色彩亮麗。以人物於景象中的活動作為旅遊中的記憶，

始投身於瑞芳的煤礦場工作長達三十年，也因環境的影響，

是他心中對生活的描述。洪瑞麟在十多年的加州生活中，存

開始以礦工作為創作題材，描寫許多在基層下勞動的人物。

在著故鄉的思緒，與理想的期待。

92 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

TANG HAI-WEN 唐海文(曾海文)的創作，分由1960年代早期的具象、70年代中期的寫意以及80年代以後的抽象作品，而以中晚期寫意與抽象風格最為熟知。另外，唐海文的作品還有一個特色，是由二至三張畫紙所組合而成的聯作。作品尺寸一般都不大，或許與他喜愛旅行寫生，強調即興、掌握剎那間的感覺有關。在他這些從自然的形象中去獲取靈感，將風景轉換成線條、符號和色彩的構成裡，已跳脫形象，但又不全然地抽象化，隱隱約約地能從中找出些與現實的連結；畫面沒有固定形式風格，作品之間非脈絡性的發展，我們可以想像，他每次創作，都是從零開始的探索。東方線條跨越到西方線條的表現形式，可能只是技巧上的間接轉換，但以藝術家從未知到完成創作發展的這個角度，來觀察唐海文的水墨表現，便能發現其難能可貴之處。唐海文的作品帶有更高度的現時性，即興式的創作方向，隨興又大膽，特別對於畫面結構組織而言，甚至有種不計後果的危險傾向，這種讓水墨進入對於未知的探索，突破傳統文人所主張的心手相印美學，跳脫文化記憶的框架，回到繪畫的本質思考，建構出水墨媒材自身的語言。雖然以寫生為基礎，然而，老師作品無疑是一種以現實物件所產生、卻又掙脫形象表現、用水墨所創造出的流變影像。將「影像」與「水墨畫」兩個關鍵字並置似乎有些突兀，但事實上，將其一生水墨繪畫展開來閱讀，從其如同影格般的創作歷程，即能察覺其繪畫遊牧性格的所在。跳脫水墨表現的意境與形式追求，越出其根深柢固的語言結構，在沒有一個中心本質或基礎之下，不固定在某一特定的定點，使繪畫自身不斷地產生流變。他的繪畫並不試圖在表象下挖掘出終極地存在，沒有固定的產出取向，只有一個多產、多樣化的成長系統，一個僅屬於唐海文的創作系譜。大膽的運用重墨在留白的空間裡造成視覺的強烈對比，再於兩者間清染淡墨，形成不同層次的空間推展。快速的筆觸墨點裡，隱約可以讓人聯想到如水中漂浮性植物及水下動物共生的樣態。在抽象與具象間，展放詩性的流露。我們可以從線條張力中，感受筆墨的酣暢快感，深具一氣喝成的揮灑感，每一塊筆墨的片段都變成中性的造形與肌理元素，空寂的畫意帶有靜觀、詩境的冥想直覺。

The manifestation of the lines differs between the east and the west probably in the indirect changes of techniques, but we can find Tang’s uniqueness if we observe his ink wash paintings in the prospective that an artist starts from scratch and finally completes his works. The traditional ink wash paintings pursue the idea that the art derives from the nature but the inspirations and the feelings of the artists are also indispensable. Compared with the traditional ones, which emphasize the reproduction of the cultural memories and skillful brushwork and intend to create a world to walk in, observe, tourist in and reside in, Tang’s works instead are of temporary and impromptu styles, casual and bold, and even have reckless dangerous tendency, especially in the organizing of the structure of painting. His paintings which break away from the traditional aesthetics that the brushwork should reflect our own heart, makes full use of the ink and wash to probe into the unpredictable future, jumps out of the shackles of cultural memories, returns to the meditation of the nature of paintings and creates an ink-and-wash language of its own. From these clues, although based on sketching, Tang’s works are definitely rheological images which originate from the reality but jump out of the performance of image by using ink and wash. It may be a little abrupt if two key words of image and ink and wash paintings are juxtaposed, but actually, if we look into Tang’s life of ink and wash paintings, we can observe his nomadic painting character from his frame-like creation history. He breaks the fetter of pursuing the artistic conception and form as well as the ingrained language structures of ink and wash paintings and make rheological behaviors of the paintings happen without a central nature or basis nor set in a fixed point. His paintings never try to dig out the ultimate under the surface, nor do they have any fixed output orientation. They simply come from a productive and diverse growth system which only belongs to Tang’s unique creation history. He boldly makes use of heavy ink to create a strong visual comparison in the blank space and forms a spacious expansion of different layers by using light ink between the two. The quick touch of the brush into the ink can enable the people to think of the coexistence of the hydrophyte natantia on the water and the animals under the water, displaying the poetic features by combining the beauty of both the abstract and the figuration. We can easily feel the pleasure of completing his works in one stroke from the power of each stroke. Each fragment of the ink has its neutral shape and skin texture and the spacious and lonely image can easily stimulate people’s tranquil and poetic meditation instinct. 93

089

唐海文（1929-1991）雙鳥水墨紙簽名右下：T'ang 海文 25×33 cm (9.8×12.9 in.)

TANG HAI-WEN Two Birds Watercolor on papar Signed lower right: named T'ang in Pinyin and Hay Wen in Chinese

NT$ 110,000-150,000 US$ 3,580-4,880 HK$ 28,500-38,900

090

唐海文（1929-1991）無題（兩件一組）彩墨紙（三聯幅）簽名右下：T'ang 海文 12×19 cm (4.7×7.4 in.)

TANG HAI-WEN Untitled (two of a set) Ink and color on paper (Triptych) Signed lower right: named T'ang in Pinyin and Hay Wen in Chinese

唐海文（1929-1991）無題（兩件一組）彩墨紙（三聯幅）簽名右下：T'ang 海文 12×19 cm (4.7×7.4 in.)

TANG HAI-WEN Untitled (two of a set) Ink and color on paper (Triptych) Signed lower right: named T'ang in Pinyin and Hay Wen in Chinese

NT$ 300,000-400,000 US$ 9,760-13,010 HK$ 77,700-103,600 94 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

091

唐海文（1929-1991）無題（三件一組）水墨紙（雙聯作）簽名右下：T'ang 海文 29×42 cm (11.4×16.5 in.)

TANG HAI-WEN Untitled (three of set) Ink on paper (Diptych) Signed middle right: named T'ang in Pinyin and Hay Wen in Chinese

唐海文（1929-1991）無題（三件一組）水墨紙（雙聯作）簽名右下：T'ang 海文 29×42 cm (11.4×16.5 in.)

TANG HAI-WEN Untitled (three of set) Ink on paper (Diptych) Signed middle right: named T'ang in Pinyin and Hay Wen in Chinese

唐海文（1929-1991）無題（三件一組）水墨紙（雙聯作）簽名右下：T'ang 海文 29×42 cm (11.4×16.5 in.)

TANG HAI-WEN Untitled (three of set) Ink on paper (Diptych) Signed middle right: named T'ang in Pinyin and Hay Wen in Chinese

NT$ 350,000-450,000 US$ 11,390-14,640 HK$ 90,700-116,600 95

092

陳蔭羆（1913-1995）回到唐朝綜合媒材拼貼畫布 1970年代簽名左下：GEO CHANN 簽名畫背：133, 70's 133×133 cm (52.3×52.3 in.) 來源附藝術家家屬原作保證書

George CHANN Return to Tang Dynasty Mixed media on canvas, framed 1970s Signed lower left: named GEO CHANN in English Signed on the reverse: 133, 70's PROVENANCE Certificate of Authenticity by Artist's Family member

NT$ 8,000,000-10,000,000 US$ 260,250-325,310 HK$ 2,072,500-2,590,700

陳蔭羆是現代抽象繪畫知名藝術家之一，早期的創作以中下階層的孩童或以充滿溫情關懷的社會寫實為主，五○年代可作為他創作型態轉換的重要分野，以繪畫風格分期，依序為社會寫實、抽象表現、變體抽象等三個階段，陳蔭羆秉持著作為一個「中國人」的身分，對母系文化竭力守望，又以完整的西方藝術養成其繪畫特質，造就後世為人熟知其典型的「陳氏風格」創作表現。歐美興起的抽象表現主義風潮，對陳蔭羆創作風格的轉型影響鉅深，他的繪畫手法彷彿歷經浴火重生般的蛻變，讓世人目光為之一驚，此時期他借用青銅古器的銘文，或甲骨文、篆、隸、草、行、楷等書法道統中，萃取饒富中國意蘊內涵的元素符號作為創作基底，結合材質實驗，體現其抽象繪畫的

96 JSL 2015 SPRING AUCTION

獨特性、豐富的視覺層次與肌理的張力美感，藝術

"Return to Tang Dynasty" is the masterpiece

家與早期寫實風格離後，開始以抽象的語法，輔

of CHANN in 70's, the manner of his creation

以對傳統書法的強烈興趣，凝集東方精神的視覺元

became much more natural free. Furthermore,

素，抽絲剝繭地呈現抽象畫面，構成其中國意韻與

CHANN's energetic color just makes pure sense

特色。

of cotton fabric-liked, delicate and magnificent in

《回到唐朝》是陳蔭羆七○年代的作品，風格更

this painting. The interweaving classic quaint and

為灑脫自由，他將東方文化融入畫中，造就以文意

modern quintessential image creates a kind of

為重的純粹感官呈現，畫作的運色如織棉般精緻華

art piece that was not emphasized on implication

美，古雅與現代焠煉的意象相互交織，畫中文字消

identification but solely for visual enjoyment.

失在交錯的線條和結構裡，以抽象表達並將文字符

This art piece of CHANN implicitly spread out his

號變得純粹和有機，使觀者對中國文字有更深的體

identification as an Eastern artist, however, his

會和感觸，陳蔭羆雖經西方藝術的孕育為基底，而

cultivation based on Western fine arts. CHANN's

他畫作裡中國紋式脈絡的展現，隱約透露他身為一

works concise ancient text symbols in which the

個東方人的身分認同。陳蔭羆的作品凝練了古老的

picture laid a more profound inner perception; he

文字符號於其中，為畫面鋪陳了更為深奧的內心觀

also tried to reflect the unique of his masterpiece in

感，也試圖體現出他在抽象繪畫領域中的獨特性。

abstract art.

CHINESE MODERN & CONTEMPORARY ART

98 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

編號 5136）

香港蘇富比拍賣會：二十世紀中國藝術（2014年10月6日，拍品

來源

31.5×98.5 cm (12.2×38.7 in.)

簽名左下：GEO CHANN

彩墨紙本

山風水色

陳蔭羆（1913-1995）

093

NT$ 550,000-700,000 US$ 17,890-22,770 HK$ 142,500-181,300

2014, Lot 5136

Sotheby's Hong Kong 20th CENTURY CHINESE ART, October 6,

PROVENANCE

Signed lower left: named GEO CHANN in English

Color and ink on paper

George CHANN Landscape

094

陳蔭羆（1913-1995）雨中市集（二件一組）油彩畫布約1950年代簽名右下：GEO CHANN 30.5×40 cm (14×18 in.) 來源附藝術家家屬原作保證書美國私人收藏

George CHANN Market (two of a set) Oil on canvas circa 1950s Signed lower left: named GEO CHANN in English PROVENANCE Certificate of Authenticity by Artist's Family member Private Collection, USA

陳蔭羆（1913-1995）暴風雨前夕（二件一組）油彩畫布約1940年代簽名左下：GEO CHANN 35.5×45.5 cm (14×18 in.) 來源附藝術家家屬原作保證書美國私人收藏

George CHANN The coming storm (two of a set) Oil on canvas circa 1940s Signed lower left: named GEO CHANN in English PROVENANCE Certificate of Authenticity by Artist's Family member Private Collection, USA

NT$ 220,000-350,000 US$ 7,160-11,390 HK$ 57,000-90,700 99

095

陳蔭羆（1913-1995）男孩油彩畫布簽名左下：GEO CHANN 51×41 cm (20×16.1 in.)

Oil on canvas Signed lower left: named GEO CHANN in English PROVENANCE Purchased from the member of Artist

來源現收藏者購自藝術家家屬

100 JSL 2015 SPRING AUCTION

George CHANN Boy

CHINESE MODERN & CONTEMPORARY ART

NT$ 120,000-180,000 US$ 3,900-5,860 HK$ 31,100-46,600

096

陳蔭羆（1913-1995）跳繩的女孩（二件一組）油彩畫布簽名左下：GEO CHANN 25.5×35.5 cm (10×13.9 in.) 來源附藝術家家屬原作保證書美國私人收藏

George CHANN Rope Jumping Gril (two of a set) Oil on canvas Signed lower left: named GEO CHANN in English PROVENANCE Certificate of Authenticity by Artist's Family member Private Collection, USA

陳蔭羆（1913-1995）夕歸（二件一組）油彩畫布簽名左下：GEO CHANN 35.5×45.5 cm (13.9×17.9 in.) 來源附藝術家家屬原作保證書美國私人收藏

George CHANN Going to Market (two of a set) Oil on canvas Signed lower left: named GEO CHANN in English PROVENANCE Certificate of Authenticity by Artist's Family member Private Collection, USA

NT$ 120,000-220,000 US$ 3,900-7,160 HK$ 31,100-57,000 101

097

陳蔭羆（1913-1995）紅領巾的小女孩油彩畫布簽名左下：GEO CHANN 50.5×40.5 cm (19.8×15.9 in.)

Oil on canvas Signed lower left: named GEO CHANN in English PROVENANCE

來源附藝術家家屬原作保證書美國私人收藏

102 JSL 2015 SPRING AUCTION

George CHANN Little Eyed Girl with Red Scarf

CHINESE MODERN & CONTEMPORARY ART

Certificate of Authenticity by Artist's Family member Private Collection, USA

NT$ 110,000-160,000 US$ 3,580-5,200 HK$ 28,500-41,500

098

陳蔭羆（1913-1995）戴著珍珠項鍊的女人油彩畫布約1940年代簽名右下：GEO CHANN 49.5×39 cm (20×16 in.) 來源附藝術家家屬原作保證書美國私人收藏

George CHANN Woman with Pearl Necklace Oil on canvas circa 1940s

NT$ 120,000-200,000 US$ 3,900-6,510 HK$ 31,100-51,800

Signed lower left: named GEO CHANN in English PROVENANCE Certificate of Authenticity by Artist's Family member Private Collection, USA

103

099

陳蔭羆（1913-1995）紅色意象油彩畫布簽名左下：GEO CHANN 簽名畫背與鈐印：288, 陳蔭羆印 134.5×133.5 cm (53×52.6 in.) 來源附藝術家家屬原作保證書

George CHANN Reddish Imagery Oil on canvas Signed lower left: named GEO CHANN in English Signed on the reverse: 288, with one seal of the artist PROVENANCE Certificate of Authenticity by Artist's Family member

NT$ 6,500,000-8,500,000 US$ 211,450-276,510 HK$ 1,683,900-2,202,100

"Reddish Imagery" is a brilliant art piece of George CHANN has pursued abstract form in 1960s. Although His works were influenced by American contemporary art such as OP Art and Pop Art,

104 JSL 2015 SPRING AUCTION

《紅色意象》，是陳蔭羆在六○年代後追求的抽

the creation from him is not like giants who are

象形式的佳作，雖然他受到美國藝術潮流：歐普藝

known by now, Jason Pollock, Willem De Kooning

術（OP Art）、普普藝術（Pop Art）等當代風格

or Mark Tobey. In the work "Reddish Imagery" was

的影響，但他的作品表現，不同於帕洛克（Jason

composed with such visually confusing status to

Pollock）、德庫寧（Willem De Kooning）或馬克．

reflect the soul of artist by the uncontrollable,

托比（Mark Tobey）的創作，而以內在的含蓄、沉

strong and contradictory power; moreover, this

靜，書法筆墨的豐富變化與色彩的和諧變奏，來彰

art work ran over with creator's carefree style. As

顯他與西方藝術家的巨大差異，陳蔭羆在《紅色意

if a vanished ancient culture reappeared on the

象》中以一種視覺上接近混沌的狀態構成畫面，反

world with unknown constructions but refreshing

應出藝術家創作當下心中幾近狂亂的強大力量，洋

images. CHANN broke the original composition and

溢著他的無拘自在。又彷彿是湮滅的古文明重現於

structure to elaborate his thoughts in a released and

世，在入世意義隱匿之際，意象卻極為鮮明。陳蔭

abstract way. This masterpiece was spot-stained

羆打破原有的形式框架和結構，自由且抽象地在畫

and through handwriting repeatedly, CHANN's

布上揮灑內心的情感，在作品中以多次書寫與斑染

kaleidoscopic colours show the eternal trail of

為底，堆疊的彩跡如富有歷史亙古的時空痕跡。

history.

CHINESE MODERN & CONTEMPORARY ART

105

阿佛雷德．巴斯天是比利時印象派大師，也是沙耆及吳作人在比利時留學時的指導教授。他早年進入根特學院─比利時最古老的藝術學院（L'Académie royale des Beau x -Arts de Gand），師從擅長動物風景畫的尚．戴爾文（Jean Delvin）；爾後巴斯天入選布魯塞爾皇家藝術學院，轉向以東方主義藝術著稱的畫家尚．弗朗索瓦．波戴爾（JeanFrançois Portaels）習畫。其一生兼具多樣身分，包括軍人、學者以及藝術家，都影響著他創作的題材或風格，特別是他曾自行請纓服役於當時的比利時國王阿爾伯特一世（Albert I of Belgium），為其出征第一次世界大戰。巴斯天的軍役歷程，使他亦有「戰爭藝術家」的別稱。巴斯天可說是西方現代的藝術奇才，自《林徑》作品中，可見他掌握光影的熟練表現，更在技法和筆觸上，以簡潔的配色和快速的描繪，來記錄陽光為樹林間添色的一刻。著重並追逐陽光遷移萬變的印象派畫家，時常以相似的題材來表達對大自然的崇慕。而巴斯天作品更為特殊的是，因他曾為皇家服務而經學院派、古典形式的訓練，且將之應用於作品的構圖上，透視空間與綿延小路，觀者有如親臨畫中的樹間徑途，彷彿能輕聞隨著微風飄拂而過的木香，更使人感到清新滿足、心曠神怡。風景畫是巴斯天的強項之一，他以視覺直觀來選擇題材的用色，因此日暮時節的變化在巴斯天畫作裡，各有不同的情調。他時常在布魯塞爾南部歐德艮區（Auderghem）的居所附近作畫，《河邊林屋》是他筆下極富溫馨的作品，縱向與景深鋪陳營造主角歸心的嚮往。卷雲晴朗的天空與褐金色葉群、綠茵草皮互伴，河面的倒映顯得流水細慢，備感愜意寧靜。《巴斯天家的雪景》描繪他的故屋在風雪過後、黎明正起時的景色。

100

畫中積雪銀光皚皚，天色則棕灰沉穩，散發著冬日祥和的氣氛。巴斯天

阿佛列德．巴斯天（1873-1955）

只以簡單的數筆點落，即成覆蓋於斜屋頂與煙柱口上、綿厚潔白的霜雪。背景林立枯樹的靜止，對比家門前留下馬車行經的痕跡，隱約意語

林徑

人們生活的動態與生氣。

油彩畫布

《戶外寫生的巴斯天》刻劃其居所附近大自然一隅，而主角與出色的

簽名右下：A. Bastien 100×80cm (39.3×31.4 in.)

林間景色共伴，他身著淺褐色大衣，在綠叢中顯得醒目。即景的描繪、溫厚的色調，透過輕盈揮灑的筆觸，共構作品中山間的蓬勃朝氣，與巴斯天背影悠然怡得的模樣。

Alfred Bastien Path in forest

巴斯天除了山林，亦描繪海河等水景，他曾創作長達150公尺的伊瑟河全景畫（Panorama de l'Yser），可見其繪畫功力深厚。《船泊》是

Oil on canvas Signed lower right: named A. Bastien in French

NT$ 300,000-400,000 US$ 9,760-13,010 HK$ 77,700-103,600

他海景作品中令人印象深刻的畫作，呈現出位於低地國特有的海平線構圖，蒼穹與水姿相映，薄霧漫漫於遠處海口。高明度的藍綠色水紋和雲氣遊走於海面及天空，水色天光相連且明亮，水波粼粼，舟身搖曳，海藍色的船隻藉此躍出。畫面猶如述說巴斯天歷經征戰後的悠哉。觀者好似能體會閒暇時的輕鬆，如臨當下地感受海風吹拂的自在。《海景》則具磅礡之氣，且可見其宏偉之勢。巴斯天的海船題材以古典主義表現為主，但可見畫作中蘊含英國浪漫主義風景畫家透納（William Turner）描繪海景的廣闊氣魄，也具印象派畫家處理光色的活潑用彩。他透過簡約的線條，便能表達大自然的崇高與力量。除了風景畫表現，曾為皇家服務的巴斯天繪有不少深具高貴氣質的靜物畫作。《室內靜物》為皇宮廳室的小景，記錄著房間角落的細節，貴氣的陳設、高雅的瓶花，與裝飾牆面的畫作。室內深棕色木材設計的傢俱，以及壁爐、櫥櫃上的細琢雕飾，都能透露出廳間主人的高貴身份。《靜物花瓶》是極具優雅氣質的靜物畫作，整體的褐色調呈現西方古典藝術的莊嚴。巴斯天以灑脫亦細膩的筆觸，描繪皇宮裡某處綻放且令人驚艷的美麗生命。墨綠提瓶的內斂性格，襯托花卉嬝娜的身姿，在富麗堂皇的家飾中顯現她的沉穩與成熟。令人賞心悅目的靜物之作，為巴斯天以他擅熟的印象派技法，展現創作時的愉悅心情。

106 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

107

101

阿佛列德．巴斯天（1873-1955）靜物花瓶油彩畫布簽名背面木框：Bastien 50×40 cm (19.6×15.7 in.)

Alfred Bastien Vase Oil on canvas Signed reverse on the frame: named Bastien in French

NT$ 120,000-180,000 US$ 3,900-5,860 HK$ 31,100-46,600

108 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

102

阿佛列德．巴斯天（1873-1955）船泊油彩畫布簽名左下：A.Bastien 36×54 cm (14.1×21.25 in.)

Alfred Bastien Anchor Oil on canvas Signed lower left: named A. Bastien in French

NT$ 120,000-180,000 US$ 3,900-5,860 HK$ 31,100-46,600

103

阿佛列德．巴斯天（1873-1955）河邊林屋油彩畫布簽名左下：A. Bastien 50×35 cm (19.6×13.7 in.)

Alfred Bastien Houses with river Oil on canvas Signed lower left: named A. Bastien in French

NT$ 120,000-180,000 US$ 3,900-5,860 HK$ 31,100-46,600

109

104

沙耆（1914-2005）紅衣裸女油彩畫布簽名右下：沙耆 78×35.5 cm (30.7×13.9 in.)

SA DJI Nude Girl

雷諾瓦《酣睡的沐浴者》

Oil on canvas

80 x 62公分

Signed lower right: named Sa Dji in Chinese

瑞士，奧斯卡．萊因哈特博物館藏

油彩畫布 1897年

Pierre-Auguste Renoir, "Sleeping Baigneuse"

NT$ 2,600,000-3,000,000 US$ 84,580-97,590 HK$ 673,600-777,200

Oil on Canvas 1897 Oskar Reinhart Collection, Switzerland （Peter H. Feist, Pierre-Auguste Renoir 1841-1919: A Dream of Harmony, Cologne: TASCHEN, 1987, Cover page.）

沙耆素有「中國的梵谷」之稱，其一生也與梵谷有些相似。他師事徐悲鴻，也因其有機會在比利時授教於巴斯天（Alfred Bastien），更甚在1940年曾與畢卡索（Pablo Picasso）共同展出。沙耆也具典型的藝術家命運，其畫風因精神疾病來襲而丕變，自寫實轉變為印象派、野獸派的表現方式。中央美院教授兼藝評家鍾函，對沙耆作品的特質曾述：這是「傷痛之末或傷痛之後至深的情結的表露」，也是「精神得到淨化的一種高度昂奮」，他將情緒全部抒發在他的畫作上，作品也都充滿著象徵的寓意。《紅衣裸女》為沙耆以他在裸女畫作中擅用的構圖，以西方古典主義的女性姿態表現唯美的性格；用色更近似於印象派畫家雷諾瓦主要描繪題材的可愛女子，白皙皮膚與意若凝視的雙眸，微噘唇瓣在紅潤雙頰中看似羞赧，但女子卻自在地展現體態的柔美。畫中裸女身抑鮮明紅色的外衣，人體的光影表現較後景來得細緻，風格則更近野獸派喜愛以強烈對比來襯托主角。沙耆以明度較低且粗獷的筆觸描繪女子的背景，展現其掌握色彩的絕佳天賦，而與主角裸女的細緻相較，後方大自然中天與草地景色的用筆狂放，亦表達藝術家心中若隱欲藏的悲狂情緒。

110 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

111

105

丁雄泉（1929-2010）鸚鵡

Watercolor on paper

水彩紙

Stamped upper right with one artist's seal

鈐印右上：採花大盜 50×51 cm (19.6 x 20 in.)

112 JSL 2015 SPRING AUCTION

Walasse TING Parrots

CHINESE MODERN & CONTEMPORARY ART

NT$ 300,000-400,000 US$ 9,760-13,010 HK$ 77,700-103,600

106

丁雄泉（1929-2010）連根拔起的動力油彩畫布 1961 簽名右上：Ting 簽名畫背：Uprooting Dynamic 連根拔起的動力 WALASSE TING 丁雄泉筆 1961 116×89.2 cm (45.5×35.1 in.) 來源香港蘇富比拍賣會：二十世紀華人藝術（2013年10 月6日，拍品編號 569）畫背貼有安特衛普 De Wieuw標籤

Walasse TING Uprooting Dynamic Oil on canvas 1961 Signed upper right: Ting in Punyin Signed on the reverse: signed in Pinyin and Chinese, titled and dated 1961 PROVENANCE Sotheby's Hong Kong 20th CENTURY CHINESE ART, October 6, 2013, Lot 569 DE WIEUW, ANTWERP LABEL AFFIXED to the reverse

NT$ 950,000-1,500,000 US$ 30,900-48,800 HK$ 246,100-388,600

畫背簽名(Signed on reverse)

113

107

丁雄泉（1929-2010）女人與鸚鵡壓克力紙約1970年代鈐印左上：採花大盜 178.5×96 cm (70.2×37.7 in.)

Walasse TING Lady with Parrots Acrylic on paper circa 1970s Stamped upper left with one artist's seal

NT$ 1,900,000-2,200,000 US$ 61,810-71,570 HK$ 492,200-569,900

114 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

108

伍步雲（1905-2001）秋天的水果油彩畫布 1998 簽名左下：伍步雲 1/1968 63×79 cm (24.8×31.1 in.) 出版甄雅堂藝術，《伍步雲的藝術》，臺北，1993，頁68-69。

NG PO WAN The Autumn Fruits Oil on canvas 1998 Signed lower left: NG PO WAN in Chinese and dated 1/1968 LITERATURE Gen Ya Tang Art Gallery, The Art of WU BU YUN, Taipei, Taiwan, 1993, PP.68-69.

NT$ 500,000-600,000 US$ 16,270-19,520 HK$ 129,500-155,400

115

CHEN TING-SHIH

陳庭詩老師的藝術創作含括了版畫、鐵雕、壓克力及水墨書法等，藝術語言鮮明且獨樹一幟，被認為是近百年來亞洲最優秀的國際級藝術家，更曾於1959年起連續五屆受邀參展巴西聖保羅雙年展。陳庭詩於七歲時因意外失聰，幸而從小已注入傳統文化的學養，也因此踏上藝術創作之途；十七歲時受到徐悲鴻繪畫的影響，決心走向現代藝術西畫的創作。 1964年開始至1980年代中後，是陳庭詩抽象版畫最具清晰個人風格的時期。他於五○年代時參與「現代版畫會」，亦以臺灣藝術發展的抽象形式為主導，促使他版畫創作手法的改變。《晝與夜#89》（1985）是七至八○年代最著名的版畫系列作品之一，他採用蔗板創作而放棄木刻手法，以撕或折的方式，在蔗板上產生罅隙的效果，再另以排列和印壓完成抽象畫作。畫作中的元素以中國五行色彩代表各自的形象，分別象徵日月、大地或水。繞行太陽的月盈圓缺，透過由小至大的節律變化來表示宇宙的運行。系列作品中的《晝與夜#66》（1981）只以簡單的雙色與造形為主，凝聚日出前曙光乍現的一刻。等待晨曦的暗夜黑空幾乎佔據了大部分的畫面，拓印留下的白色罅跡猶如在浩瀚無垠星空中的銀河，而藏角金色的圓球似將冉冉升起的太陽。畫作的氣質原拙古樸，在動靜與虛實間巧妙布局，陳庭詩畫作的抽象境域，兼容並蓄現代與傳統、東西方的文化特色。《夢在冰河#13》（1978）則為較早期的蔗板版畫，其獨特性亦可見其耐味的收藏價值。他以不規則狀的塊面表示冰山浮水的意象，既抽象也具有立體派將山形解構的概念，同時彰顯其作品裡中國禪宗與老莊順應自然之道的思想。壓克力創作《抽象》（1975），是他一本初衷地就不同媒材來表現非具象的圖面。也因壓克力顏料材質可調以濃稠或稀釋的特性，色彩能層疊暈染，看似厚重卻具豐富層次。畫作中綴以白色顏料，如燭光爍亮，其中詩意瀟灑，宛若宇宙天籟曲聲，形與色能穿透雙眼，傳述著藝術家心靈動態，觸使觀者心底低迴不已。自八○年代至兩千年初，是陳庭詩繼以抽象表現在媒材上突破的鐵雕創作時期，因起旅美期間親臨「現成物」創作的風潮，回國後他全心投入立體雕塑的領域。《柱》（1999）留存了物項粗獷的形狀，再將其焊接、綑綁、敲打，是藝術家突破二次元的限制並進入三度立體空間的表現。如此費力耗時的過程，對年逾八十的陳庭詩而言，更能代表其豐富而獨特的藝術心靈。鐵雕經歲月風霜腐蝕出了鏽跡斑斑，與陳庭詩大氣魄或微觀的造形相結合後，更強力地撞擊出內心深處對人生的詠嘆追想。 116 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

109

陳庭詩（1916-2002）抽象壓克力紙 1975 簽名右上：一九七五年陳庭詩鈐印一枚 70×91 cm (27.6×35.8 in.)

CHEN TING-SHIH Abstract Acrylic on paper 1975 Signed upper right: named Chen Ting Shih and dated 1975 in Chinese, with one seal of the artist

NT$ 300,000-400,000 US$ 9,760-13,010 HK$ 77,700-103,600

117

110

陳庭詩（1916-2002）秋風引水墨紙本鏡框釋文：何處秋風起，蕭蕭送雁群，朝來入庭樹，孤客最先聞。落款：七十年，庭詩。鈐印：無盡藏（朱文）、陳庭詩（白文） 68×43 cm (26.7×16.9 in.)

Chen Ting Chi Autumn Wind Ink on paper frame

NT$ 60,000-90,000 US$ 1,950-2,930 HK$ 15,500-23,300

118 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

111

陳庭詩（1916-2002）晝與夜＃89 版畫 (16/60) 1985 簽名下方：Day and Night #89 16/60 Chen Ting Shih 1985 90×90 cm (35.4×35.4 in.) 出版臺北市立美術館，《大律希音─陳庭詩紀念展》，臺北，2002，頁238。

CHEN TING-SHIH Day and Night ＃ 89 Woodblock print on paper (16/60) 1985

NT$ 200,000-280,000 US$ 6,510-9,110 HK$ 51,800-72,500

Signed lower: Day and Night #89 in English, edited 16/60, named Chen Ting Shin in Pinyin and dated 1985 LITERATURE Taipei Fine Arts Museum, Chen Ting-Shih (1915-2000): Sound of Rarity, Taipei, Taiwan, 2002, P.238. 119

112

陳庭詩（1916-2002）夢在冰河＃13 版畫 (14/40) 1978 簽名下方：Dreaming in the Glacier #13 14/40 Chen Ting Shih 1978 60.6×60.6 cm (23.8×23.8 in.) 出版臺北市立美術館，《大律希音─陳庭詩紀念展》，臺北，2002，頁238。

CHEN TING-SHIH Dreaming in the Glacier #13 Woodblock print on paper (14/40) 1978 Signed lower: Dreaming in the Glacier #13 in English, edited 14/40, named Chen Ting Shin in Pinyin and dated 1978 LITERATURE Taipei Fine Arts Museum, Chen Ting-Shih (1915-2000): Sound of Rarity, Taipei, Taiwan, 2002, P.232.

NT$ 160,000-200,000 US$ 5,200-6,510 HK$ 41,500-51,800

113

陳庭詩（1916-2002）晝與夜＃66 版畫 (4/40) 1981 簽名下方：Day and Night #66 4/40 Chen Ting Shih 1981 61×61cm (24×24 in.) 出版臺北市立美術館，《大律希音─陳庭詩紀念展》，臺北，2002，頁238。

CHEN TING-SHIH Day and Night ＃ 66 Woodblock print on paper (4/40) 1981 Signed lower: Day and Night #66 in English, edited 4/40, named Chen Ting Shin in Pinyin and dated 1981 LITERATURE Taipei Fine Arts Museum, Chen Ting-Shih (1915-2000): Sound of Rarity, Taipei, Taiwan, 2002, P.236.

NT$ 160,000-200,000 US$ 5,200-6,510 HK$ 41,500-51,800 120 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

114

陳庭詩（1916-2002）柱鐵雕 1999 簽名底座：Chen Teng-Shin 99

CHEN TING-SHIH Abstract Column Sculpture 1999 Signed on base: named Chen Ting Shin in Pinyin and dated 1999

25×45.5×94 cm (9.84×17.9×37 in.) 來源現收藏者購自陳庭詩現代藝術基金會成員

PROVENANCE Purchased from the member of Chen Ting-Shin Modern Art Foundation

NT$ 500,000-700,000 US$ 16,270-22,770 HK$ 129,500-181,300

121

115

吳冠中（1919-2010）街景油彩木板 1984 簽名左下：荼八四 46.5×40 cm (18.3×15.7 in.)

WU GUAN ZHONG Alley

1980s was the period when Wu GuanZhong turned his art from concrete painting to simplified abstract expression. He aimed at

Oil on board 1984 Signed lower left: TU in Chinese and dated in 1984

NT$ 8,500,000-12,000,000 US$ 276,510-390,370 HK$ 2,202,100-3,108,800

the real 'form' as to be the pure visualization and saw his painting as pure aesthetics form, giving up all the material content and meanings. He considered that the beauty of form as independent concept towards abstraction, the soul of the painter still contained in the form. He once said, 'to discover in the eyes of painting is the center of my artistic life.' In the world of colors, Wu especially adores black and white and these are the two colors which Chinese painting conforms to. He unties black and white and uses mottled moss for complement without losing profundity and dignity. Wu is an expertise in Jiang Nan village. The white walls with black tiles are Wu GuanZhong's personal description for Jiang-Nan landscapes; this forms our impressions over Wu's style. In Lot115 Alley, our view is extended by the arrangement of the composition, particularly with the extraordinary small doors and curvy roads disappeared somewhere in the middle of the painting. We especially see Wu GuanZhong's delicate manner on the variations

1980年代正值吳冠中繪畫風格從具象的寫意過渡至更簡化傾

of the white wall; it totally reveals artist's taste. The real life in Jiang Nan scatters in the stalls inside the house and the passengers

向抽象的表現階段。他以「形式」為創作目標的觀點，可以說是

of the narrow lanes. Wu says that it's no limit to paint the village,

「純視覺主義」的創作觀，將繪畫看成純粹形式美的表現。他認

and it's out of his nostalgia towards homeland; thus the houses

為形式美的獨立性發展到抽象性時，形式之中仍有作者的靈魂存

with white walls and black tiles represent his matrix of inspiration

在。吳冠中說：「用繪畫的眼睛去挖掘形象的意境，這就是我藝

in his artworks.

術生涯的核心」。在色彩世界中，吳冠中特別鍾愛黑與白兩色，也是中國繪畫所遵奉的顏色。他將黑白色總合為一體，且以苔點的形式襯托黑白基調，不失深沉及莊嚴的質性。吳冠中善於江南鄉村寫生，白牆、黑瓦，尤其對於江南風光的鍾情典型描寫，也是我們對他作品常慣有的印象。Lot115《街景》畫幅中視角被延伸拉距的極為廣闊，門戶被刻意縮小，蜿蜓的石板路消失在畫幅中央處，猶然可以注意到在白牆面上還施以細微的肌理變化。乍看下極為輕鬆的色彩，再其中仔細的尋覓藝術家巧佈的妙思，得以細細品味。在現實生活的巷弄裡，有些人家自己販賣小吃，也有行人熙攘來往。吳冠中說：「畫不盡江南村鎮，都緣鄉情，因此我的許多畫面上出現許多白牆黑瓦的江南民居。」這種鄉情情懷深深反映出吳冠中藝術作品背後，最重要的靈感來源。

122 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

123

116

劉國松（b. 1932）雨餘春樹

LIU KUO-SUNG Spring Trees after Rain Ink and color on paper 1967

設色紙本 1967 簽名右下：劉國松一九六七 88×57.5 cm (34.6×22.6 in.)

Signed lower right: named LIU KUO-SUNG 1967 in Chinese EXHIBITION "The Retrospective of 60-Year-Old Liu Kuo-sung", Taiwan

展覽「劉國松─六十回顧展」，臺中：臺灣省立美術館，1992。出版臺灣省立美術館，《劉國松六十回顧展》，臺中，1992，頁95。國立歷史博物館，《劉國松研究》，蕭瓊瑞撰，臺北，1996，圖版76，頁125。

Museum of Art, Taichung, Taiwan, 1992. LITERATURE Taiwan Museum of Art, The Retrospective of 60-Year-Old Liu Kuo-Sung, Taichung, Taiwan, 1992, illustrated, P.95. National Museum of History, Research of Liu Kuo-Sung, Taipei, Taiwan, 1996, illustrated, Plate.76, P.125.

NT$ 2,000,000-2,600,000 US$ 65,060-84,580 HK$ 518,100-673,600

劉國松被譽稱為「現代水墨之父」，在二十世紀藝壇掀起現代美術運動，提倡水墨突破守舊的表現。他以獨創帶有粗筋的「國

裱貼表現山崚石峰的地形勢態，抽象的意味濃趣。墨彩多變表現林間的蓬勃生氣，雨後氤氳之色在大氣揮毫下更顯朝氣。

松紙」和「抽筋剝皮皴」技法，革新六○年代後的書墨風氣。支

《潘波崎：西藏組曲之六十五》（2005）是劉國松2000年應

持五月畫會的余光中，對劉國松的現代水墨山水曾有貼切的形

邀西藏大學，並有機會觀覽喜馬拉雅山，回臺後創作的「西藏組

容：「充滿流動的生命，給人周行不殆、生生不息、無始無終、

曲」系列作品之一。他以拓墨印壓崎嶇交錯的山勢，墨色輕濃表

無涯無盡的感受；畫面有限，卻予人無限的感覺」。更是有以詩

現動靜相對的霧海與山巒；從撕筋法產生的白色線條，為氣勢渾

記：「那是水的感覺，靈的感覺，風的感覺，有限對無限的嚮

厚的山形描繪雪跡，線條掌控山水的布局與氛圍，氣韻流勢怡然

往，剎那對永恆的追求」。

自得。劉國松的山水景深不同於傳統的作畫方式，他不由近景繪

劉國松的水墨蘊含東、西方的文化調性，抽象性的書法元素融合傳統與現代特質。其作品有「如魂附身」的氣質，以粗筋紙與

至遠方，而從遠處逐向近身完成山水景色，猶像是將巍峨景色近收眼底「入心」的作畫方式。

撕紙皴法表現隨意、自然。其山水顯現東方的哲學思維，並充滿

劉國松的山水景，無岸無樹、無船無房，在闊景中著重「氣的

玄想的寧靜和平和。2000年後的「西藏組曲」系列至2010年的

表現」，描繪宏偉群山的磅礡氣勢，將永恆時空凝結於畫面中。

作品，可見劉國松在創作上的「回顧」現象，回歸其在六○年代

《氣韻環生》（2010）更具中國道家陰陽相輔對應的哲思，以橫

時，以獨創山水技法的表現。

向揮毫、布局恣意的長卷水墨，一表靈動山氣與生命力。其外放

《雨餘春樹》（1967）為「拓墨」及「大筆觸」兩種創作技法

的書寫筆觸表現蓬勃生息，山景綿延不受限畫面框架，以漬墨法

的集合，具有美國抽象表現主義的性格，並以抽象形式表現中國

暈染群山表達氣勢的流轉。抽筋剝皮皴在國松紙上留下的力道，

的傳統山水哲理，保留墨韻哲思及呈現中西交匯的意象。畫中可

展現山稜上的冰跡，抑或是雷電的動勢，大自然的爆發力一覽無

見狂草興致的運墨，也能細研端倪畫中巧隱的立體山水。劉國松

遺。

取法當時代西方藝術潮流，也見到中國傳統藝術的剪紙手法，以 124 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

125

LIU KUO-SUNG

劉國松被譽為「現代水墨之父」，他的水墨蘊含東、西方的文

"Spring Trees after Rain" of LIU KUO-SUNG is combined

化調性，抽象性的書法元素融合傳統與現代特質。他以獨有的

handwriting skills with ink-rubbing and Kuangcao. The art piece

「抽筋剝皮皴」在自創帶有粗筋的「國松紙」上創作，掀起臺灣

represents the character of American expressionism; and depicts

六○年代後書墨風氣的革新。支持五月畫會的余光中，對劉國松

the philosophy in Chinese traditional landscape by abstract

的現代水墨山水曾有貼切的形容：「充滿流動的生命，給人周行

manifestations. There is an imagery connection between Eastern

不殆、生生不息、無始無終、無涯無盡的感受；畫面有限，卻予

and Western cultures in LIU's modern landscape painting. And

人無限的感覺」；也曾以詩記：「那是水的感覺，靈的感覺，風

the changeable ink colours to show the entirety full of vitality in

的感覺，有限對無限的嚮往，剎那對永恆的追求」。

mountains, as well as seen the misty atmosphere after rain would

劉國松的現代水墨作品有如魂附身的氣質，粗筋紙與撕紙皴法

became more energetic through the wild cursive calligraphy.

的結合表現出他隨意、自然的創作風格，他的山水顯現東方的哲

"Tibet Series No.65: Pangboche" is an excellent art piece of LIU's

學思維，並充滿玄想的寧靜和平和，在劉國松各系列繪畫中，尤

"Tibet Series". He has been visited Himalayas when he was invited

以「西藏組曲」至2010年後的作品，可以見到他在創作上「回

to Tibet University in 2000. Beside, he created these masterpieces

顧」的現象，他在技法和構圖上回歸六○年代時，以獨特的山水

after returning to Taiwan. His ink-rubbing made "Pangboche"

技法和表現，創造更富有人生經驗的永恆意味。

impressed the terrain of rugged path in hills, and colour shade

《雨餘春樹》為「拓墨」及「大筆觸」兩種創作技法的集合，

appears movements amid the cloud and the mountains. The

具有美國抽象表現主義的性格，並以抽象形式表現中國的傳統山

exclusive strand-peeling skill with 'Kuo-Sung paper' from the artist,

水哲理，保留墨韻哲思及呈現中西交匯的意象。畫中可見狂草興

he carved the white lines to portray the snow trails. The method

致的運墨，也能細研端倪畫中巧隱的立體山水。劉國松取法當時

of LIU's landscape is already distinct from traditional drawings.

代西方藝術潮流，也見到中國傳統藝術的剪紙手法，以裱貼表現

LIU's composition of huge depiction is completed from far to near,

山崚石峰的地形勢態，抽象的意味濃趣。墨彩多變表現林間的蓬

as audiences hold the picturesque scenery by painting manner of

勃生氣，雨後氤氳之色在大氣揮毫下更顯朝氣。

entering inner spirits.

《潘波崎：西藏組曲之六十五》是劉國松在2000年應邀西藏

"The Harmony of Nature" contain 'Yin-Yang' conception from

大學講學，並有機會觀覽喜馬拉雅山，回臺之後創作的「西藏組

Chinese Daoism. The artist broke through the framework and

曲」系列作品之一，他以拓墨印壓崎嶇交錯的山勢，墨色輕濃表

painted on the long scroll to express unbridled mind, as well as

現動靜相對的霧海與山巒；撕筋產生白色迂迴的紋路，為氣勢渾

represent the coiling-up aroma in extended mountains. LIU also

厚的山形描繪雪跡，線條掌控山水的布局與氛圍，氣韻流勢怡然

makes ice traces on the hill side or thunder motion by peeling

自得。劉國松的山水景深不同於傳統的作畫方式，他不由近景繪

strands off Kuo-Sung paper in this work. The explosion of nature

至遠方，而從遠處逐向近身完成山水景色，猶像是將巍峨景色近

in the LIU's modern Ink landscape is must took in everything at a

收眼底「入心」的作畫方式。

glance from remarkable art piece.

劉國松的山水景，無岸無樹、無船無房，在闊景中著重「氣的表現」，描繪宏偉群山的磅礡氣勢，將永恆時空凝結於畫面中，《氣韻環生》更具中國道家陰陽相輔對應的哲思，以橫向揮毫、布局恣意的長卷水墨，表現靈動山氣與生命力。外放的書寫筆觸表現蓬勃生息，山景綿延不受限畫面框架，以漬墨法暈染群山表達氣勢的流轉，抽筋剝皮皴在國松紙上留下的力道，展現山稜上的冰跡，亦或是雷電的動勢，大自然的爆發力一覽無遺。 126 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

117

劉國松（b. 1932）潘波崎：西藏組曲之六十五設色紙本 2005 簽名左側：劉國松二○○五 179×92 cm (70.4×36.2 in.) 展覽「宇宙心印─劉國松回顧展」，桃園：桃園縣立文化中心，2007。「宇宙心印─劉國松繪畫一甲子」，北京：故宮博物院，2007。出版桃園縣立文化中心，《宇宙心印─ 劉國松回顧展》，桃園，2007，頁87。故宮博物院，《宇宙心印─劉國松繪畫一甲子》，北京，2007，頁127。

LIU KUO-SUNG Tibet Series No.65: Pangboche Ink and color on paper 2005 Signed lower left: named LIU KUO-SUNG in Chinese EXHIBITION "The Universe in the Mind: A Retrospective of Liu Kuo-Sung", Taoyuan County Cultural Affairs Bureau, Taoyuan, Taiwan, 2007. "The Universe in the Mind: 60 Years of Painting by Liu KuoSung", Palace Musuem, Beijing, China, 2007. LITERATURE Taoyuan County Cultural Affairs Bureau, The Universe in the Mind: A Retrospective of Liu Kuo-Sung, Taoyuan, Taiwan, 2007, P.87. Palace Musuem, The Universe in the Mind: 60 Years of Painting by Liu Kuo-Sung, Beijing, China, 2007, P.127.

NT$ 7,500,000-9,000,000 US$ 243,980-292,780 HK$ 1,943,000-2,331,600 127

118

劉國松（b. 1932）氣韻環生

Ink and color on paper 2010

設色紙本 2010 簽名左下：劉國松二○一○ 46×186 cm (18.1×73.2 in.)

Signed lower left: named LIU KUO-SUNG in Chinese PROVENANCE Certificate of Authenticity by Capital Art Center, Taipei.

來源附首都藝術中心原作保證書

128 JSL 2015 SPRING AUCTION

LIU KUO-SUNG The Harmony of Nature

CHINESE MODERN & CONTEMPORARY ART

NT$ 3,300,000-4,200,000 US$ 107,350-136,630 HK$ 854,900-1,088,100

129

119

林風眠（1900-1991）繡球花彩墨紙本約1960年簽名左下：林風眠鈐印左下：林風眠印 67×67.5 cm (26.3×26.5 in.) 來源附帝門藝術中心原作保證書

LIN FENG-MIAN Hydrangea Ink and color on paper circa 1960s Signed lower left: named LIN FENG MIAN in Chinese, with one seal of the artist PROVENANCE Certificate of Authenticity by Dimensions Art Center, Taipei

NT$ 2,600,000-3,500,000 US$ 84,580-113,860 HK$ 673,600-906,700

林風眠不僅是中國油畫創作重要奠基人之一，將中國畫革新並

Lin Fenmian, of whom the Chinese Paintings ere innovative, was

獨樹一幟，讓西方現代主義個人表現精神與傳統中國水墨畫詩意

one of the important founders of creating Chinese oil painting. He

結合，創造出具現代感的中國畫風。旅居上海的五、六十年屬林

combined the personal expressing spirit of the western Modernism

氏創作黃金期。而此時靜物畫最能看出林氏借鑒現代派、走出新

with the poetry of tradition Chinese washing painting to create the

境的變化軌跡《繡球花》即是這一時期的繪畫作品。

Modern Chinese painting style.

《繡球花》可見林氏從立體派空問概念出發，簡化的瓶花造形

During the 50 to 60 years when he stayed in Shanghai was his

上，運用白粉厚薄差異產生豐富的層次感，以濃淡有致的粉紫、

golden ago of creation. Still life paintings at the time showed the

粉藍堆疊出飽滿花容。

changing tract of taking Modernism to create new style such as

林風眠擅長將水粉、水墨兩種材料相結合，渾厚柔和水粉與淋漓快意水墨，兩者互補互用、色墨交融，瓶花周圍特有的逆光處理，使繡球花富含晨曦將出、迎接朝陽剎那的無限生機。

Hydrangea giving endless rich and prosperous vitality. We could tell that Lin started with the space concept of cubism from Hydrangea. The simplified bottled flowers used the covering levels made by the different thickness of white powder, and recolored strong and light pink purple and pink blue to create full flowers. Lin was good at combining gouache and washing painting. Heavy and softgouache and complete and pleased washing painting interacted with each other. The special backlight around the bottled flowers made hydrangea full of limitless vitality.

130 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

131

絕對的細緻與大氣的磅磚並生有別於1950至1960年代一系列具書法性的墨黑作品，

From the first sight of CHU THE CHUN's paintings,

朱德群在1960年代開始逐漸發展出稱為「寶石系列」的

everyone can see that they deal something with Chinese

方塊紅、藍、綠。他的作品充滿花園的意象，將花朵失焦

calligraphy. At the second sight, we then realize that

的模樣表現在畫布上，僅以色彩與意象表示。看第一眼朱

the grand and gorgeous manner is above ink skill and is

德群的畫，識與不識，都會知道跟中國書法有關；再看第

something more than Chinese tradition. Different from the

二眼之後，畫面間恢宏壯闊的筆蹤和壯麗高貴的氣勢更在

works of 50s to 60s, Chu gradually develop the 'pearl series'

傳統墨分五彩的黑白之上，就知已然不僅是中國傳統的一

with square of red, blue and green in his 1960s. His works

隅而已。中國畫法形神俱美的大小點畫、上下揖讓與左右

full of the imageries of garden, presenting the flowers

縱橫的實質畫意，讓朱德群的畫，不論形色與畫面間的空

in vague position and with colours. It is an unspeakable

CHU THE CHUN

間張力都成一種不落言詮的格局。晚近十年作品中，音樂性的旋律與穿透性的空間層次共同衝撞出來的整體畫意，呈現東方細膩與西方透明的融合，一種叫中國人看起來親切，西方人看起來驚艷的遨遊與忘我。這種高度完整性的特質裡面，有著的是植根於西方五十多年，都不忘卻的中國人各式生命情境的底蘊在：由王羲之始，穿過王維、李白、李商隱、蘇東坡、陸游的「斯文與風流」到莊子與禪的「靜虛與沈落」：由懷素的「狂草醉意」到黃庭堅的「春來詩思」，由范寬「線；暴壯氣」

pattern to arrange those big or small colorful spots with Chinese painting skill no matter in terms of formal or spatial aspect. Works done within the latest 10 years, a musical rhythm and penetrative air perform together a new conclusion fused oriental delicacy with western transparent harmony, which that Chinese audience would feel familiar while western seem amazed. This highly complete character should be stemmed back from "gentle & romantic style" among Wang S i - C h i ( 王義之 ) , W a n g W e i （王維）' L e e B a i （李

到郭熙的「早春溼霧」，由「水調歌頭」的悲懵到「春江

白）, Lee Shoan-Yin（李商隱）down to Su Dong-

花月夜」的軟凝，所有的風流盡在這樣的斯文裡，所有的

Puo（蘇東坡）and Lu Yo (陸游) , also is associated

斯文盡在朱德群畫面形色間的流光與波動，如雲、如潮混

with Zhuang Zi (莊子) and Zen's "humbleness and

沌湧動的宇宙冥思，運勢翻滾的各款色顏與溫柔詩意，這

silence." From Huei Su's (懷素) "drunken liberation" to

位內裡的拍岸驚奇大異於外在的一如沈默的畫家，豐饒的

Huang Tin-Jian's (黃庭堅) "spring poetics" ; from Fan

內在心象難輕易流洩的韻影；直叫傳統中國式「人與自

Kuan's (范寬) "pouring magnificence" to Kuo Si's (郭熙)

然」間永遠互動的信仰在西方畫壇呈現著一種自在從容的

"tender mist": from "Shui-Tiao-Ge-Tao" （水調歌頭）'s

穿越。整體畫面如水的流竄、如火的熾然、如土的沈雄、

"ambiguous sorrow" to "Chun-Jian-Hua-Yue-Ye" （春江花

如風的涸飛，緩急輕重的各種交替，竭盡所能地瞬息萬

月夜）'s "soft congeal-ment" we see all the romanticism

變；是熱情而可以婉約：沈默的色澤經過光線的穿透。

existed in Chu's works. The lights and the waves

參考圖錄

are flowing like clouds

《重要抽象畫與當代》，盧德梅，德奥飯店，1993，巴黎

and cosmos-meditations;

Importants Tableaux Abstraits et Contemporains,

they are traveling like

LOUDMER, Hotel Drouot, 1993, PARIS.

tender colors. The inner wonder beneath the deep drawn ink on CHU THE CHUN's paintings examples the dialogue between human and nature. On the screen, we see water's flow, fire's passion, earth's solidity and wind's freedom; as if we see the grace of the souls that will transcend any harm.

132 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

第一百零九號朱德群 55×100 cm 成交金額港元7,240,000拍賣編號 3255 2013年11月23日香港佳士得 No.109 CHU THE CHUN Christie's HK 2013 Spring HKD 7,240,000

第二二一號朱德群 73.4×116 cm 成交金額港元8,440,000 拍賣編號 3307 2014年5月24日香港佳士得 No.221 CHU THE CHUN Christie's HK 2014 Spring HKD 8,440,000

第二二九號朱德群 130×195 cm 成交金額港元23,640,000 拍賣資料拍賣編號 3307 2014年5月24日香港佳士得 No.229 CHU THE CHUN Christie's HK 2014 Spring HKD 23,640,000

構圖 No.170 朱德群 65×81 cm 成交價 4,820,000 HKD 拍賣編號 12 2012年12月3日香港蘇富比 No.170 CHU THE CHUN Sotheby's HK 2012 Autumn HKD 4,820,000

133

120

朱德群（1920-2014）構圖 No.127

CHU THE CHUN Compisition No.127 Oil on canvas 1962

油彩畫布 1962年簽名右下：朱德群 CHU THE CHUN 簽名背後：朱德群 CHU THE CHUN 1962 No.127 30M. 60.5×92.5 cm (23.8×36.4 in.) 展覽「大象無形—朱德群作品展」，東京：上野之森美術館，2007。「朱德群八十八回顧展」，臺北：國立歷史博物館，2008。出版上野之森美術館，《大象無形─朱德群作品展》，東京，2007，頁131。國立歷史博物館出版，《朱德群八十八回顧展》，臺北，2008，頁110。

Signed lower right: named CHU THE CHUN in Chinese and Pinyin Signed on the reverse: named CHU THE CHUN in Chinese and Pinyin, No.127 30M, dated 1962 EXHIBITION Importants Tableaux Abstraits et Contemporains, LOUDMER, Hotel Drouot, Paris, France, 1993. "Solo Exhibition of CHU THE-CHUN", Ueno Royal Museum, Tokyo, Japan, 2007. "Chu Teh Chun 88 Retrospective", National Museum of History, Taipei, Taiwan, 2008. LITERATURE Ueno Royal Museum, Solo Exhibition of CHU THE-CHUN, Tokyo, Japan, 2007. National Museum of History, Chu Teh Chun 88 Retrospective, Taipei, Taiwan, 2008, illustrated, P.110.

NT$ 33,000,000-38,000,000 US$ 1,073,520-1,236,170 HK$ 8,549,200-9,844,600 134 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

135

本圖取自草間彌生台灣巡迴展官網

被日本視為當代最偉大的藝術家 Japan's Greatest Living Artist-Yayoi KUSAMA

「對於一個想要終身投入創作生涯的人來說，創造從自己內在培養出來的原創作品是最重要的一件事。」草間彌生在不斷重複

再創高峰。在2015年，草間彌生亞洲巡迴展於台中、高雄兩地展出，再度掀起草間旋風。

的幻覺中尋求宣洩的管道，以直視自我的恐懼，用反覆無盡的圓

草間彌生的創作概括了相當多的藝術派別，其中包含了女權主

點與不斷連結的網線，表現內在的曲扭，企圖與一直存在她心中

義、極簡主義、超現實主義、原生藝術（Art Brut）、普普藝術和

的不安與焦慮共處:

抽象表現主義等。從她的作品中可以看到，她企圖呈現的是一種

老師長年為精神疾病所苦，十歲開始就常見幻覺，為了逃離不

自傳式的、深入心理的、性傾向的內容，草間認為整個生命皆由

斷襲來的幻覺與幻聽，他開始描繪紀錄那些的畫面，從她的作

圓點及網線所構成，並藉由創作來表達她所看到的世界；圓點及

品中可以看到，她企圖呈現的是一種自傳式的、深入心理的內

網線的無限蔓延，破壞真實及幻想的藩籬，使觀者漸漸陷入空間

容。她童年幻想創造出來的代表性圖案「polka圓點」及「無限的

認知的錯亂，難以捉摸真實或虛幻；「如果不是為了藝術，我應

網」，遂成為草間彌生的特色。現在，草間彌生被視為日本現存

該很早就自殺了。」道盡一生的傳奇神話。

最偉大的藝術家，但在草間對自己的描述中，她僅是一位「精神病藝術家」

本次春拍作品Lot121《Mt.FUJI》即是透過她兩個最具象徵性的符號：「原點」和「無限的網」，堆疊編織而成日本精神象徵–

1956年草間彌生移居紐約16年，在紐約畫室她創作出許多跨媒

《富士山》。草間彌生使用自己的語彙來詮釋，透過不規則、不

體與不同風格的作品，自此大放異彩，開始嶄露她佔有領導地位

斷增生的網線以及無盡擴張的圓點，讓我們窺探草間看似脆弱卻

的前衛藝術創作。

堅強的藝術靈魂融入之中。鮮明的色彩與造形風格展現大膽而創

她與當代卓越藝衛家安迪．沃荷（Andy WARHOL)、克勒斯．歐登柏格《Claes OLD日NBURG)、賈斯培．瓊斯（Jasper JOHNS）一

新的藝術性格，此件作品轉化並再現藝術家眼睛所觀看的世界，將觀者的視覺瞬間聚焦進入她獨特而細膩的深沉內心。

起聯展，足以見她在藝壇上的國際地位。草間彌生在2011年，不

水玉在日文中是指原點的圖案，草間彌生驅使著反覆增殖的水

僅輪番在巴黎龐畢度中心（Centre Georges-Pomp idou de Paris）

玉和無限擴張的蜘蛛網，永遠不倦地，多樣化地奔跑在現代藝術

及英國泰德美術館（Tate Modern Museum）盎然綻放，也跨界與

的最前線。

Louis Vuitton合作，使她在歐洲的曝光率明顯地增加，藝壇地位

136 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

EXHIBITION KUSAMA YAYOI, Exhibition view, Centre Pompidou, photograph courtesy of P. Migeat, 2011.

《南瓜系列》一向是草間彌生作品中最為精彩的系列，此次春

Andy WARHOL, Claes OLDENBURG and Jasper JOHNS, and became

拍帶來一系列的南瓜版畫，經典的圓點是她一貫最具風格的創作

a prominent figure on the international art scene. Yayoi KUSAMA

手法，帶以鮮豔的黃、紅、綠等顏色，豐富觀者的視覺，突顯在

had exhibition in Centre Georges-Pompidou de Paris and Tate

不安與焦慮的點線之間，將觀者的視覺瞬間聚焦，透過南瓜讓人

Modern as well as Louis Vuitton made KUSAMA's exposure rate

想一同進入那夢幻的境界。

raises in art field again. Creation of KUSAMA includes Feminism,

《鏡盒》作品利用萬花筒的形式，反映了生命力的無限廣博以

Minimalism, Surrealism, Art Brut, Pop Art and Expressionism.

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

KUSAMA considers lives are made from circle spots and lines that

和破碎，是對自己的淹沒和對無形宇宙的回想。用多種形式和材

to convey what she saw in this world. By circle spots and lines

料探索無此境的網狀結構，蘊含獨特的感知經驗和不可觸摸的神

extend infinitely to break the boundary between reality and fancy,

秘。

she hopes people come into chaos of spatial cognition. There's the legend about Yayoi Kusama "I should be killed by myself if I can't

"For a man who wants to devote his who wants to devote his

he for art."

whole life to the creation, the most important thing is how to

Lot121 《Mt.FUJI》 are form by circle spots, famous symbol as

create your own originality" .KUSAMA never stops looking for

we knew, to understand weak but strong spirit in her soul with

a way to unleash herself from her illusion and to face her own

symbol of the Japanese spirit. The use of rich colors and absurd

fear. She uses nonstop polka dots and successive lines to express

forms are just like KUSAMA's creative personality. She tried to

the twist and the anxiety on her mind. She intends to convey an

transfer what she see into her artworks and brings all viewers into

autobiographic, psychologic way to content, she described herself

her distinctive and delicate mind.

as an obsessive artist. Therefore, "Polka Dots" and "Infinity Nets" has become the signature of KUSAMA. She moved to New York in 1956 and since then tried to create more artworks with different medium and characteristics. She held joint exhibition with leading Western artists of the day such as 137

121

草間彌生（b. 1929） Mt.FUJI (QPWE)

Acrylic on canvas 2005

壓克力畫布 2005 91×116.7 cm (35.8×45.9 in.)

LITERATURE Karuizawa New Art Museum, I Love Myself Too Much!!-Yayoi

出版輕井澤新藝術博物館，《わたし超スキッ!! 草間彌生─世界を感動させた自己愛─》，東京：株式会社美術出版社，2013，圖版 89，頁118。

138 JSL 2015 SPRING AUCTION

YAYOI KUSAMA Mt.FUJI (QPWE)

Kusama, Bijutsu Shuppan-Sha Co., Ltd., Tokyo, Japan, 2013, illustrated, Plate.89, P.118.

NT$ 20,000,000-25,000,000 US$ 650,620-813,270 HK$ 5,181,300-6,476,700

CHINESE MODERN & CONTEMPORARY ART

139

122

楊英風（1926-1997）龍嘯太虛不鏽鋼 (20/20) 1991 簽名底座：楊英風 Yuyu YANG Yangyf '91 20/20 60×60×30 cm (26×23.6×11.8 in.)

Yuyu YANG Dragon Shrill in the Cosmic Void Stainless steel (20/20) 1991 Signed on base: YANG Ying Feng in Chinese, Yuyu YANG, Yangyf, 1991 20/20

NT$ 280,000-380,000 US$ 9,110-12,360 HK$ 72,500-98,400

展覽

EXHIBITION:

「春夏季楊英風雕塑個展」，紐澤西雕塑大地美術館，1995。

"Yuyu Yang Solo Exhibition", New Jersey Grounds of Sculpture, New Jersey, USA, 1995.

出版楊英風美術館／臺北漢雅軒／新光三越百貨股份有限公司，《楊

LITERATURE:

英風不銹鋼景觀雕塑專輯》，臺北，1992，頁2。

Yuyu Yang Lifescape Sculpture Museum, Taipei Hanart Gallery &

楊英風美術館，《呦呦楊英風─豐實的 '95》，臺北，1995，頁

Shin Kong Mitsukoshi Department Store Co., Ltd., In Stainless Steel:

22-23。

Sculptures by Yuyu Yang, Taipei, Taiwan, 1992, P.2.

天下遠見出版，《景觀自在：雕塑大師楊英風》，臺北，2000，

Yuyu Yang Lifescape Sculpture Museum, Yuyu Yang Lifescape

頁300。

Sculpture, Taipei, Taiwan, 1995, PP.22-23.

雄獅圖書，《景觀．自在．楊英風》，臺北，2004，頁16。

Commonwealth Publishging Co., Landscape Free: the Sculpture

臺北市立美術館，《楊英風 Yuyu Yang》，臺北，2005，頁130-

Master-Yuyu YANG, Taipei, Taiwan, 2000, P.300.

131。

Hsiung Shih Books Pte. Ltd., Landscape Architecture．Free．Yuyu

正因文化，《天地永恆雕塑藝術家楊英風》，臺北，2009，頁56。

Yang, Taipei, Taiwan, 2004, P.16. Taipei Fine Arts Museum, Yuyu Yang, Taipei, Taiwan, 2005, PP.130-131. Chengyi Culture, Eternity of Heaven and Earth: Sculptor Yuyu Yang, Taipei, Taiwan, 2009, P.56.

140 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

以「速度」捨棄自我包袱的藝術家–朱銘的靜修之道 1968年入恩師楊英風門下，朱銘開始學習太極拳，來鍛鍊雕刻所需的體力，亦從太極領略到精義與哲理而發展出《太極系列》作品。太極拳是中國傳統與文化的精華，其拳法瀟灑飄逸，朱銘在其中體會到自然間大氣運作的力道以及運行的法則，並將領悟得之道理轉化為創作的精神。在《太極系列》中可見朱銘從寫實風格走出自己的道路，以極簡的形體表現擺脫寫實，直接以雕塑寫意。作品旨在探求速度與力量以及人與自然的結合，在收放自如的起落數刀之間，構成倉勁有力的切面，傳達太極拳法的文化精髓。朱銘的太極系列受到外界的極高肯定，使得朱銘的藝術名聲扶搖直上，也造就了其在國際藝術市場的地位。大師的作品能如此受歡迎，反映他的作品滿足了一定的文化需求，表達了某種在文化界醞釀已久的現象。相較於藝壇的學術與菁英文化路線，他既非文人型藝術家，作品流露的濃濃草根性，能合於大眾。《單鞭下勢》無疑是朱銘太極系列中最經典的作品，也一直是拍場上競價激烈的拍品。高美館藏有一件與此類似的作品(圖1)，景薰樓2006年秋拍一件《單鞭下勢》木雕創下佳績(圖2)。今年春拍再接再厲呈現給藏家另一件值得珍藏的大師精品，Lot 123 厚實的體態帶動整件作品的力道與氣勢，以簡潔的造形刻畫出主體。朱銘的雕塑運用多種素材為轉換，此作與以往銳利切面作品不同，材質較為光滑，紋理也較少，作品著重在整體的簡易造形

高雄市立美術館藏 KAOHSIUNG MUSEUM OF FINE ARTS 朱銘單鞭下勢雕塑樟木

1991

123×71×51 cm 1991 JU Ming The Taichi Series-Tan Pien Hsia Shih Camphor wood

與刻畫的力道，和常見的單邊下勢作品相較之下更為圓潤柔和，但卻不失其浩瀚的氣勢，這正與2011年秋拍一組成太極系列作品風起雲湧的架式、神韻之靈動有異曲同工之妙(圖3)。太極系列深受國際藝壇與藏家肯定與喜愛。朱銘的太極藝術是將中國的文化和美學相融，將深奧而繁瑣的太極哲理以具體的藝術形態表現出來；而乾淨俐落的刀法以及作品的靈性與神韻，使大師的雕塑能在國際間立足，亦也將他推向另一個高峰。朱銘的《太極系列》創作，是從傳統木刻雕塑轉化到現代雕塑的轉折時期，猶如他的個性與創作理念－不願意重複－走向一種「捨棄」的藝術之路。藝術是從最根柢的地方徹底改變，朱銘稱之為「移轉工程」，也就是古人所說的「脫胎換骨」。他的人生哲學與藝術理想在生命矛盾的隱晦中，立即表現出永遠的樂觀與抉擇的勇氣。正如藝術家自己所言：「地獄在人間，人間有天堂，問君何處去，但憑一念間。」在太極系列之後，朱銘進而轉換心境，朝向更貼近人性的方向去創作，他觀察到小角落裡樸實的人們，發展出「人間系列」。朱銘曾說：「不少人問過我人間系列與太極系列的關係，如果要譬喻的話，我會用毛毛蟲與蝴蝶來形容－他們的造型、生活型態都不一樣，然而卻是同一個生命體。人間與太極的外表或許差異極大，然而它們在創作態度和精神上，卻有相承的關係。人間系列讓我可以自由發揮，我什麼材料都拿來運用，讓我充分展現，較生活、較柔軟可愛的一面，來彌補太極系列無法表達的東西。」

景薰樓2006秋季拍賣會 Lot 041 NTD 11,380,000 成交 JSL Autumn Auction 2006, Lot 041 JU Ming, The Taichi Series-Tan Pien Hsia Shih Wood 1981 54×34×36 cm

141

123

As one of the most famous international artists in Taiwan, JU

朱銘（b. 1938）

Ming has been devoting himself a lot in Taiwan art field. Ever since 1984, JU has participated many international sculpture fairs

太極系列木雕（僅此一件） 1993 簽名底座：朱銘 '93

and received invitations for solo exhibitions from significant art museums, for example, Hong Kong Arts Centre, Singapore History Museum, Hakone Museum of Art, art museums in Paris and other

45×25.2×42 cm

European cities. Taichi Series is his creation of transition from

(17.7×9.84×9.44 in.)

traditional wood curving to modern sculpture. This accords with his personality and ideal, not willing of repetition, which leads a

來源附財團法人朱銘文教基金會─朱銘美術館原作保證書

path of self-abandonment in art. For Ju, art alters in the deepest foundation which he named 'transformation' as well as 'rebirth' in the ancient sayings. The philosophy of vita dwells in the turning of

JU MING Taichi Series

the veiled contradiction of life into the courageous option towards

Wood (only one) 1993 Signed Bottom: named Ju Ming in Chinese and dated 93

optimism, just as his saying 'inferno refers to this world which create paradise; upon your instant decision indicates in which place you would dwell.' Undoubtedly "Tan Pien Hsia Shih" (Single Whip) is the most

PROVENANCE Certificate of Authenticity by Juming Culture & Education Foundation, Taipei

classic of works in Tachi Series, competitive bidding NO.1, the weighty feel brings out energy and spiritual charm with few simple cuts and cracks. Exchanging sorts of materials for JU's sculptures,

NT$ 8,800,000-11,000,000 US$ 286,270-357,840 HK$ 2,279,800-2,849,700

this work differs from other classic Single Whip. It's much smooth, less grain, focusing on plain form and strength of cut. Comparing with classic ones, it's mellow and full but maintaining boundless coherence. Tan Pien Hsia Shih has no doubt to be the most famous form in his Taichi Series. This piece captured the movement of Taichi boxing, Tan Pien Hsia Shih, and simplified human gestures. The volume of pavement without intentionally carves which naturally express the boxing gesture displaying the grand boldness and the launching spirit. Though different in material and size, the lot wooden sculpture represents more artistic conception and liberal creation. The idea of modern sculpture was built by the third phase of Ju Ming's art, Living World Series. This piece with wood carving is no doubt a sign of mature artistic style and the language of sculpture. After Taichi Series, he pays more attention to humanity, observing the down-to-earth civilian lives and thus creates Living World Series, JU Ming once said many people had asked me the relationship between Living World Series and Taichi Series, I would take worms and butterflies as example. Although their looks and lifestyles are dissimilar, they belong to the same organism. The outside looking with enormous distinctions exists in both Series, but both Series are quite connected with the attitude and spirit of composing. I did whatever I like in Living World Series with materials which are available to let me unlimitedly convey some malleable parts of life, which cannot be conveyed in Taichi Series.

142 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

143

124

朱銘（b. 1938）人間系列（坐姿）木雕（僅此一件，不含底座） 2004 簽名底座：朱銘 2004 18.5×10.5×31.7cm (7.28×4.13×12.4 in.) 來源附藝術家親簽作品保證書

JU MING Living World Series-Sitting Wood (only one) 2004 Signed Bottom: named Ju Ming in Chinese and dated 2004 PROVENANCE Certificate of Authenticity by the Artist and Signed

NT$ 350,000-450,000 US$ 11,390-14,640 HK$ 90,700-116,600

景薰樓接續先前「人間系列」作品的好評，今年春拍再度蒐集朱銘大師的精品《人間系列》－坐姿與立姿，相較於較為嚴肅的「太極系列」，《人間系列》則是柔軟可愛。Lot125〈立姿〉刻劃出一名母親揹著小孩，兩人頭部依偎的姿態表達出親情的聯繫。以「母與子」為主題，人物神情有種安定喜樂的幸福感。人間系列屢創佳績（圖4)，Lot124〈坐姿〉描寫一名女性閒適地坐著，溫柔的粉紅色令人眼睛一亮。對朱銘來說，在創作這系列作品時，可用任何材料自由發揮，充分展現自己的本性。由具磅礡氣勢的太極系列邁向更生活化的人間作品，展現現代生活的精神。朱銘以人間百態為主題的系列創作，並以平民化且憨實的形象，來表達他對社會的關注。隨著人間內容的多樣性，木材的造型語也跟著產生豐富的表情。利用快速地劈鋸、撕開等方式俐落剖出人體折面，以簡化的語言生動地刻畫出動態美感；木刻表面保留刀鋸經過的痕跡及木材切面孔隙，並以顏色妝點衣飾、髮色，在順應木質自然紋理的前提下，呈現風華絕色的人間。朱銘以「人間系列」演繹你我共譜的臉龐，用創作形式記錄自我內心的美學造型與人生觀感。朱銘與齊白石背景頗為相似，都是以木工起家且原本不屬於文人圈，刀法如筆法，呈現另一種有別於傳統經典的趣味，能讓文人知識界接受，更是值得細細品味與收藏。 144 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

125

朱銘（b. 1938）人間系列（立姿）木雕（僅此一件） 2005 簽名底座：朱銘 2005 13.5×9.5×36.5cm (5.31×3.74×14.3 in.) 來源附藝術家親簽作品保證書

JU MING Living World Series-Standing Wood (only one) 2005 Signed Bottom: named Ju Ming in Chinese and dated 2005 PROVENANCE Certificate of Authenticity by the Artist and Signed

NT$ 350,000-450,000 US$ 11,390-14,640 HK$ 90,700-116,600

Living World Series: Seated Position and Standing Position belong to Ju's favorite subjects. Compared to his serious Taichi Series, Living World Series is more adorable. For Ju, while creating the living world series, he could use any material to show his personality and the spirit of modern life. This human comedies vary from the facial expressions of wooden form with fast splitting and cutting to vividly present human movements. The touch of cutting and the colors applied were left on the sculpture to form the magnificent style. Ju deduces the sum of people, their faces on the Living World Series and documents his aesthetics of form and his opinions of life.

145

126

林良材（b. 1947）行走的男人銅雕 14×16.5×38 cm (5.5×6.4×14.9 in.)

LIN LIANG-TSAI Walking Man Bronze

NT$ 70,000-11,000 US$ 2,280-3,580 HK$ 18,100-28,500

127

天野喜孝（b. 1952） Pop Art Collection 3 壓克力紙 12×12 cm (4.7×4.7 in.)

AMANO YOSHITAKA Pop Art Collection 3 Acrylic on paper

NT$ 70,000-100,000 US$ 2,280-3,250 HK$ 18,100-25,900

146 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

128

李奇茂（b. 1925）吉羊如意高溫燒白瓷 2004 40×40×60 cm (15.7×15.7×23.6 in.)

來源附藝術家親簽之作品保證書

LI QI-MAO Lucky Ram Porcelain 2004 PROVENANCE Certificate of Authenticity by the Artist and Signed

NT$ 120,000-180,000 US$ 3,900-5,860 HK$ 31,100-46,600

129

于彭（1955-2014）眾生相複合媒材鏡框簽名右上：于彭寫2006完成草稿。 106×76.5 cm (41.7×30.1 cm)

Yu Peng All Living Creatures Mixed media frame

NT$ 160,000-260,000 US$ 5,200-8,460 HK$ 41,500-67,400

147

130

朱德群（1920-2014）無題瓷盤 (F15 9/40) 簽名下方：朱德群 CHU THE-CHUN 作品背面：ENRICO NAVARRA LA TUILERIE 89250 TREIGNY F15

CHU THE-CHUN SANS TITRE CéRAMIQUE PEINTE (F15 9/40) Signed lower: named CHU THE-CHUN in Pinyin and Chinese Inscribed on the reverse: ENRICO NAVARRA LA TUILERIE 89250 TREIGNY F15 10/40

10/40 52×52 cm (20.5×20.5 in.)

PROVENANCE ENRICO NAVARRA LA TUILERIE 89250 TREIGNY F15 10/40

來源作品背面刻有法國Enrico Navarra畫廊出品印記 148 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

NT$ 420,000-500,000 US$ 13,660-16,270 HK$ 108,800-129,500

131

蕭勤（b.1953）天地相會（二件一組）彩墨紙 1976 簽名右方：Hsiao 勤 76 鈐印左方：蕭勤（朱文） 67×56 cm (26.3×22 in.)

HSIAO CHIN Become One with Nature (two of a set) Ink and color on paper 1976 Signed right: named Hsiao in Pinyin, Chin in Chinese, and dated 1976 Stamped left with an artist's seal

蕭勤（b.1953）我心自有佛（二件一組）水墨紙 1977 款識：自佛是真佛我心自有佛簽名下方：Hsiao 勤 77 鈐印左方：中山蕭勤（朱文） 67×54 cm (26.3×21.2 in.)

HSIAO CHIN Meditation (two of a set) Ink on paper 1977 Signed lower: named Hsiao in Pinyin, Chin in Chinese, and dated 1977 Stamped right with an artist's seal

NT$ 300,000-400,000 US$ 9,760-13,010 HK$ 77,700-103,600

149

132 HSIAO CHIN New Hope

蕭勤（b.1953）新希望

Acrylic on canvas 2014

壓克力畫布 2014 簽名畫背：Hsiao 勤 2014 200×270 cm (78.7×106.2 in.)

Signed on the reverse: named Hsiao in Pinyin, Chin in Chinese, and dated 2014 PROVENANCE

來源附蕭勤國際藝術基金會藝術家親簽之原作保證書

Certificate of Authenticity by Hsiao Chin International Foundation of Fine Art, Taipei

NT$ 2,600,000-3,500,000 US$ 84,580-113,860 HK$ 673,600-906,700

（本圖取自蕭勤官網）

生命是永恆的創作，一項永恆成長的挑戰。 —蕭勤對蕭勤來說，在畫布上情感的抒發是對生命的吁嘆，他的創作

「度大限」，則是他想念驟逝的摯愛女兒莎芒妲所繪的系列作

信念以「透過作畫來對自已的人生始源的探討，人生經歷的記錄

品。他轉化自己極度悲痛的情緒，在精神上自死亡的哀戚中頓

及感受，和人生展望的發揮」。他曾受到西方六○年代「極限藝

悟，將體驗到重生與永恆的心境蘊藏於線條的遊走中。「度大

術」的影響，也因其在米蘭參與的「龐圖運動」（Punto），使之

限」作品上循遊於附幾何色塊的曲線，彷彿呈現日本枯山水安逸

更重視藝術的傳達，主張靜觀及內省，認為藝術應從個人的思想

的意境。蕭勤自此後的作品多以充滿希冀的主題，表達對能量與

及體悟出發，成為人類精神傳遞的媒介。

永恆「無限大∞」的生命力。

他的抽象表現蘊含東方文化的思維，運用簡易的造形語彙、近

《新希望》為蕭勤融合並內化以往各系列特徵的作品，包含

乎書法的抽象性符號，結合了美學哲思，以飽滿色彩做記的曲線

七、八○年代具有東方觀想的「禪」與「炁」，以及「新世界的

和圓點，如氣運行地在畫布上流動。七○年代後的畫風走向「禪

誕生」、宇宙等系列的創作手法。畫作藉著豐富且高彩度的用

意味」，畫面滿佈自在的氣氛，體驗浩瀚無垠的心境更是將蕭勤

色，以嗷嗷待孕般、跳躍的曲線象徵無窮的生命力。畫作上大塊

的創作引入廣袤無邊的宇宙大調；八○年代的作品則描繪宇宙世

面的湛藍如深不可測的宇宙，潑灑自如的斑點象徵宇宙中新生的

界觸無邊際的景色，天空中星點運作如雨或漩渦、彗星訪探的足

爆發，或已在星際運行已久的星空，使人仰首讚嘆。在蕭勤作品

跡，皆能視為詮釋生亡輪迴、機緣聚散的體悟。

中所表現的「無限」，已是他對生命的體會，用其最為單純、簡

九○年代對蕭勤而言是人生最大的轉折點，深受藏者喜愛的 150 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

潔的技法與筆觸來表達樂觀的人生態度。

151

133

陳幸婉（1951-2004）無題（二件一組）複合媒材 1987 簽名下方：'87 婉 22×40 cm (8.6×15.7 in.)

陳幸婉（1951-2004）無題（二件一組）複合媒材 1987 簽名下方：'87 婉 22×38 cm (14.9×8.2 in.)

CHEN HSING-WAN Untitled (two of a set) Mix media 1987 Signed lower: named WAN in Chinese and dated 1987

NT$ 50,000-80,000 US$ 1,630-2,600 HK$ 13,000-20,700 152 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

134

王攀元（b.1911）望月油彩畫布簽名右下：P. Y 45×38 cm (17.7×14.9 in.)

WANG PAN-YOUN Admire the Moon Oil on canvas Signed lower right: P. Y in English

NT$ 320,000-400,000 US$ 10,410-13,010 HK$ 82,900-103,600

王攀元1912年生於江蘇，上海美術專科學校畢業，來台後於羅東中學任教，與畫友組成「蘭陽畫會」，1973年退休後全心投入繪畫創作，居蘭陽平原數十餘載。自幼失怙恃的王攀元，以繪畫映照一生的苦難，豪門遺孤的青春歲月、歷經戰亂動盪的流離人生，都反映在他的作品中，其創作即生命凝結的表現。他畫中的太陽從不下山，即使天黑，也要變成月亮；他的夕陽恆紅潤潤地掛在地表的那端，即使亂雲遮掩，也要恣絢爛。太陽對於王攀元，是他可望而不可及的夢想，至少，在畫布上，它可以紅紅地圓在天邊。孤獨是天性特質，也是際遇使然，宿命造成他孤傲的必然，也成就他藝術的寬闊境域，無邊無際無罣無礙，穹宇蒼茫，這也是為何王攀元的畫像謎一樣，令人費解，他以虛空創造距離，在似有似無之間，用他人生中血淚交織的熱情撥動著觀者的心弦。

153

135

莊喆（b. 1934）細雪紛飛油彩畫布 1983 簽名右下：莊喆畫作背面：1983 98×123 cm (38.5×48.4 in.)

CHUANG CHE Downy Flake Oil on canvas 1983 Signed lower right: named Chuang Che in Chinese, and dated 1983 on the reverse

NT$ 550,000-700,000 US$ 17,890-22,770 HK$ 142,500-181,300

西洋繪畫重視結構透視，而中國繪畫則是著重氣韻生動，莊喆以西方的繪畫素材來表現中國山水的大氣。莊喆1934年出身於北京，他的父親莊嚴是著名的書法家，也是前北京故宮博物院副院長，從小就培養莊喆對於中國藝術的興趣。莊喆在父親莊嚴的引導下，練習水墨與書法技巧，這兩種創作表現至今仍常存於他的作品中。莊吉吉熱愛自然，時常回憶少時鎮日與自然為伍∼以山林為伴的生活，使他的作品在顏料與筆刷的交匯下，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繪書。自1962之後，莊喆開始探索抽象藝術，他將中國山水的形式重新詮釋，重建了自然的法則與秩序。 CHUNAG Che practiced ink painting and calligraphy skills under the guidance of his father, CHUANG San Yan. The two creative performance, painting and calligraphy, are still often seen in his works. CHUANG Che loves nature, and often recalls the time when he was emerged in the natural life in the mountains. His works contain a freehand natural elegance that the viewers indulge in by seeing his recreation of abstract landscape painting "Variation on Sheshu's Broken Ink Landscpae II" is the biggest sized work among the Variation on Sheshu's Broken Ink series With a upright composition, like a thunder striking to the ground, the surrounding colorful lightning forecasts the arrival of spring The rain and the breeze of freshness lightly hit, the whole picture s a large area of grass-green tone that the viewer can feel a sense of coolness just like being in the mountains and riverbank, where dragonflies lingering by the ear whispering. As if you can feel a soothing early spring snowmelt on your fingertips. CHUNAG Che painted basing on his childhood memories, and has presented sincere in his drawings, showing an oriental landscape in ink. 154 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

155

136

莊喆（b. 1934）暖春壓克力紙 1991 簽名右下：莊喆 91 117×91 cm (46×35.8 in.) 出版勝大莊出版，《莊喆水墨畫創作》，臺北，

CHUANG CHE Warm Spring Acrylic on paper 1991 Signed lower right: named Chuang Che in Chinese, and dated 1991 LITERATURE Kanders Art, Chuang Che Collection, Taipei, Taiwan, 1992, P.42.

1992，頁42。

156 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

NT$ 280,000-380,000 US$ 9,110-12,360 HK$ 72,500-98,400

137

莊喆（b. 1934）永恆的宙士壓克力紙 1992 簽名右下：莊喆 92 115×92 cm (45.2×36.2 in.)

CHUANG CHE Immortal Acrylic on paper 1992 Signed lower right: named Chuang Che in Chinese, and dated 1992

NT$ 280,000-380,000 US$ 9,110-12,360 HK$ 72,500-98,400

157

138 CHUANG CHE Swirling Coud

莊喆（b. 1934）飛揚的捲雲

Acrylic on paper 1991

壓克力紙 1991

Signed lower right: named Chuang Che in Chinese, and dated

簽名右下：莊喆 91 91×109 cm (35.8×42.9 in.)

LITERATURE

出版勝大莊出版，《莊喆水墨畫創作》，臺北，1992，頁42。

158 JSL 2015 SPRING AUCTION

1991

CHINESE MODERN & CONTEMPORARY ART

Kanders Art, Chuang Che Collection, Taipei, Taiwan, 1992, P.23.

NT$ 260,000-350,000 US$ 8,460-11,390 HK$ 67,400-90,700

139

席德進（1923-1981）海棠花水彩紙 1975 簽名左下：席德進 1975 69×50 cm (27.2×19.7 in.)

SHIY DE-JINN Malus Spectabilis Water color on paper 1975 Signed lower left: SHIY DE-JINN in Chinese, dated 1975

NT$ 550,000-800,000 US$ 17,890-26,020 HK$ 142,500-207,300

159

席德進 SHIY DE-JINN 1980 Lot140《觀音山下》，畫題充分顯現出創作者必須畫出

Under Guanyin Shan of 1980 reveals Shiy’s thought of what

代表今日生活的真實一面，也符合他的現代國畫理念，要描繪真

artists should paint in representation of today’s real life. This also

山實水。他嘗試將台灣風景轉化成台灣山水畫，以水、彩渲染大

accords with his idea of modern Chinese painting, to depict real

地，具有水墨的韻味和書法的筆趣。他將東方的水墨意趣融入西

landscape, the scenery. He tries to transform Taiwan landscape

方的水彩畫中，開拓出一種簡約、靜蘊的水彩畫風。在此幅作品

into Taiwan scenery with water and colours rendering the whole

中，他以沉穩的線條、雄渾、沉著有力描繪觀音山的風景。80年

island, containing the interest of ink stroke and calligraphy. He

代的水彩作品中，那些綿亙的山勢或平直的水田，都暗藏著書法

thoroughly intermingles Eastern ink and stroke with western

的筋骨，大片渲染而成的山形，具有厚重感而不單薄。席德進常

watercolours for the purpose of pioneering simple and serene

描寫中部的山水風景，近景幾抹褐色的田野、中景點點小舟以及

watercolour style. In this artwork, he depicts the scenery of Guanyi

遠處黛色的層巒疊嶂，構成一幅人間至善至美的風景。

Shan with calm, powerful and steady lines. In his watercolour

席德進在1979年以後，那些黑白對比強烈的海岸岩石，逐漸轉

works of 1980’s, those stretching mountains or the vertical paddy

向層層青山的掌握，山的層次越來越豐富，突奇的構圖與說明式

fields indicates the brush of calligraphy in the wide rendering

的語彙已經漸漸演變成為水乳交融、氣韻流動的無限生機。這種

mountains, thick but not weak. Shiy always paints the scenery of

晚年的心境映照在他的繪畫中，一層孤寂，面對滄茫的人生，猶

middle Taiwan so this piece is very rare. The brown field in the

如孤獨的巨人。畫面中的逆光效果，正如他對人生的看法，心中

nearest, the dots of bots in the middle and the dark blue mountain

始終熱情洋溢，喜愛生命。《觀音山下》烘托出一份寂靜自然、

constructs the perfect view.

大地蒼茫的永恆境界。席德進的水彩畫是從色彩繽紛的絢爛，歸

The artworks created 3 years before his passed away is mature

於樸素沉雄的單純，他希望用這個他所深刻了解的素材，表達出

masterpieces depicting Taiwanese scenery in his solitude mindset

與西方迥異的風格，那種中國繪畫特有的深邃與優韻的魅力。

and intimacy with nature. The lots in this spring auction have this aesthetic perspective, heavy, tremendous, austere, shriveled and simplified attitude. Spectators find the mountain afar rendering above the horizon as well as the brevity and boldness. It seems to us that Shiy De Jinn is about to wave his brush strokes, painting the everlasting Taiwanese sceneries. The later part of his life, the discovery of Taiwan, is mixed up with nostalgia, encounters and the land. This prompts in his life as unusual leap to collaborate with his words, ‘only if the life of art could be persevere and with value, it would last forever.’

160 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

140

席德進（1923-1981）觀音山下水彩紙 1980 簽名右下：席德進 1980 鈐印右下：席氏書畫（白文）、席德進印（白文） 68.5×96.5 cm (54.1×13.7 in.)

SHIY DE-JINN Looking far into the Distance from Mt. Guan Yin Water color on paper 1980 Signed lower right：SHIY DE-JINN in Chinese, with one seal of the artist, dated 1980

NT$ 1,100,000-1,500,000 US$ 35,780-48,800 HK$ 285,000-388,600

161

141

席德進（1923-1981）水鄉彩墨紙 1979 簽名左上：水鄉席德進鈐印二枚：席德進（白文）、平安是福（白文） 138×35 cm (54.3×13.7 in.) 出版臺灣省立美術館編輯委員會，《席德進紀念全集III 水墨畫》，臺中：臺灣省立美術館，1995，頁338。席德進著，《席德進：水彩山水．現代國畫》，臺北：席德進畫室，1981，頁52。《雄獅美術月刊》117期，1980.11，臺北，頁106。宋晶宜，〈為了藝術．他要活下去！〉，《民生報》70.06.11，第九版。

SHIY DE-JINN Swampy Regions Ink and color on paper 1979 Signed upper left: SHIY DE-JINN in Chinese, with two seals of the artist LITERATURE Taiwan Museum of Art, The Commemorative Collection of Shiy De-jinn, III: ink painting, Taichung, Taiwan, 1995, P.338. The Studio of Shiy De Jinn, Shiy De Jinn: water-colors, Taipei, Taiwan, 1981, P.52. Hsiung Shih Art Monthly, vol.117 (1980.11), Taipei, Taiwan, P.106. SUNG JIN YI, "He wants to LIVE, for ART!", Min Sheng Daily (1981.06.11), Taiwan, P.9.

NT$ 2,000,000-2,600,000 US$ 65,060-84,580 HK$ 518,100-673,600

162 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

繼往開來－走入真實生活的探險家席德進於1942年入杭州藝專，在學期間受兩位恩師龐薰琹（1906-1985）、林風眠（1900-1991）影響極大，爾後受表現主義畫家畢費（Bernard Buffet）的影響，發展出粗黑線條的繪畫風格。1948年畢業於杭州國立藝專，隨軍隊來台，之後遊歷美國，西班牙以及法國。1966年到台灣以後，他寫書法並展現新式的水彩風格。如全島寫生，描繪民間風物與生活百態。他不斷的探索自己情感的依歸以及創作的泉源。席德進開始使用日本宣紙，並於70年代開始發展出大筆渲染的的台灣古厝、山水、田野等系列，畫面的線條較為精簡，更注重畫面的渲染效果及整體氣氛的營造。他以水彩畫研究素描結構、空間、油畫的用色強度、變化，並有水墨畫用筆和氣韻，加上畫家對自然的體會和觀察。席德進早年對西方藝術懷有強烈憧憬，而後逐漸受到東方意境的影響，接受東方寫意畫的原則，尤其在1970年代以後，發展出現代國畫觀念並且創作出許多膾炙人口的作品。他在〈現代國畫試探〉一文中，表示國畫受到現代思潮衝擊而與傳統發生分離的現象，如同父子關係一樣，是從中國傳統裡脫胎出來。但此種現代國畫卻不能脫離中國書畫傳統的工具以及作畫方式，不僅需要反映中國人文精神，兼併現代思想及感情與色彩。是東方思維的，也是西方現代的。1976年Lot141《水鄉》中景的舟帆與遠方房舍的空寂感，藉由近景的花、枝、葉融在他的意念中，而以抽象的手法寫出胸中的逸氣。席德進以他慣有的沉穩勾勒出畫面氣氛、並以近景活潑的黃色渲染，散發出平靜閒逸的格調。 Shiy De Jinn once studies in Hangzhou Vocational art School and was influenced by two masters, Pang Xunqin and Lin Fengmian. He then had been affected by the expressionist, Bernard Buffet, and had developed a painting style with thick black lines. Later he started to sketch from nature around the whole island, depicting rural village lifestyles. He continually discovered his affections as guidance as well as the fountain of his creation; ever since coming back to Taiwan in 1966, he, at the same time, learned calligraphy and new style of watercolour painting. He started to use Japanese Xuan paper for rendering a series of Taiwanese historical residences, landscape and fields since the 70’s with simpler lines, more rendering effects and the allowing of an ambience to be harmoniously created. He studied the construction of sketch and the space, volume, intensity, variety of oil paints both with

watercolour and Chinese brush and ink. He admired Western Art in his earlier life and looked down Chinese Painting. After 1970s, he gradually accepted the principles of Eastern aesthetic characterization and developed the modern Chinese Painting to practice. In ‘Research on Modern Chinese Painting,’ SHIY investigated that the Chinese painting was split from tradition. They have the same origin, just like father and son. Modern Chinese painting cannot be separated from traditional utilities. It needs to reflect not only the spirit of Chinese Humanity but the modern thoughts and feelings. Hence, this Modern Chinese painting is modern but not western. SHIY forged ahead from Western culture to Chinese identity by practicing the modernity of Chinese painting and was impelled to promote the influence of Chinese tradition. As he said in the same article, For SHIY, Chinese painters demand ‘strength in softness’ as the highest value of lines. The wide/ narrow, active/still and fast/delayed characteristics of ink stroke represent the attitude of lines. The correspondence with his early favour of lines make him use brushes declaring the balance between softness and strength, forwardness and inwardness and together with the flexible rendering to depict the ultimate transformation. He found out the new direction in creativity with Chinese ink and brush and lofted his dream into this journey using this “Bone-liked Style of Drawing” to depict not only the mass, the form and the spirit of matter but the inner power made by hollow strokes, as if done with a half-dry brush. All these together made a natural glimmers of light. The dye of ink is liberally and spontaneously applied on the paper without limitation. The hue of ink varies from serenity, profundity, purity, elegance, mystery and detachment. SHIY pursues the boundary in between the void and the solid phases which provides the representation of abstract realm. SHIY desires less and has his own heart cleansed to the extent that he almost becomes an unworldly being, even above the nature. Swampy Regions exemplifies this serenity and transcendence, allowing the state of seclusion.

《雄獅美術月刊》117期，1980.11，臺

席德進，《席德進：水彩山

〈為了藝術．他要

《席德進紀念全集III 水墨畫》，臺灣

北，頁106。

水．現代國畫》，臺北：席

活下去！〉，《民

省立美術館編輯委員會，臺中：臺灣

Hsiung Shih Art Monthly, vol.117 (1980.11),

德進畫室，1981，頁52。

生報》70.06.11，

省立美術館，1995，頁338。

Taipei, Taiwan, P.106.

The Studio of SHIY De Jinn,

第九版。

Taiwan Museum of Art, The

SHIY De Jinn: water-colors,

"He wants to LIVE,

Commemorative

Taipei, Taiwan, 1981, P.52.

for ART!", Min Sheng

Collection of SHIY De-jinn, III: ink

Daily (1981.06.11),

painting, Taichung, Taiwan, 1995,

Taiwan, P.9.

P.338. 163

席德進從早年的西化，晚年回歸自己中國人的身分，不僅實踐中國畫的現代性，也激勵與提升中國傳統對現代文化的影響。就如他所言：「這是更為真誠，切實的一條路，來創造自己的新文化。我們繼往開來，必然是站在自己傳統文化的基礎上去做。」《水鄉》即是屬於此言論的實踐。對席德進來說，書畫家要求最高的線條是「綿裡帶剛」。毛筆線條的粗細、動靜、疾遲、嶄露出線條的個性。這正與他早年對於線條的熱愛形成呼應，在現代國畫裡以毛筆的柔剛並濟、能屈能伸，更能渲染，其彈性之強，變化無窮無盡。他從水墨裡頭找到自己創作的新方向，臥遊其中，運用「骨法用筆」表現物體的質量、神形，描繪出內在力量，破筆飛白，產生自然的光的閃耀。染墨色彩，靈活運用，變幻無窮。墨色有恬淡、幽遠、清靜、高雅、神秘、超逸之氣質。他用墨追求介於虛與實之間，具有抽象意趣的境界。席德進清心寡慾、超脫塵俗與自然，《水鄉》這幅作品，正能達到恬淡致遠，隱逸忘我之境。席德進於1981去世前三年，留下大量創作。這時期正是他以寂靜的心境去看「台灣山水」，並以一種悠然、恬澹胸懷去擁抱大自然。具備這種純熟的美學向度：厚重、大氣磅礡、天生拙稚、蒼老以及以簡馭繁。當觀者凝視作品時，一抹濃鬱的遠山從地平線上暈染開來，蒼茫中卻有一股雄渾而動人的氣魄，撲面而來，我們彷彿又看到熱情洋溢的席德進正揮動著彩筆，繪出平凡雋永的台灣山水。畫家生命旅程的後半部－發現台灣之旅－將鄉愁、際遇與土地揉合成畫作，促成他生命步伐中不同凡響的跳躍，正能呼應席德進自己所說的：「只要藝術生命夠堅韌，有價值，一定會流傳歷史。」本拍品展覽圖錄與著錄甚多：1980年的《雄獅美術月刊》報導了「現代國畫試探展」展覽當中展出的Lot141 《水鄉》(圖1)；1981年席德進於畫室自行出版的《席德進畫集》中(圖2)，收錄55幅畫作，分成山水（水彩畫）與現代國畫兩部，《水鄉》為所列作品之一，1981年的《民生報》也刊登此拍品(圖 3)，1995年臺灣省立美術館編纂的席德進畫冊中也收錄了本拍品 (圖4)，實屬難得一件的精品，值得喜愛席德進的藏家珍藏。 The artworks created 3 years before his passed away in 1981 is mature masterpieces depicting Taiwanese scenery in his solitude mindset and intimacy with nature. The lots in this spring auction have this aesthetic perspective, heavy, tremendous, austere, shriveled and simplified attitude. It seems to us that SHIY DEJINN is about to wave his brush strokes, painting the everlasting Taiwanese sceneries. The later part of his life, the discovery of Taiwan, is mixed up with nostalgia, encounters and the land. This prompts in his life as unusual leap to collaborate with his words, ‘only if the life of art could be persevere and with value, it would last forever.’ Lot141 exhibited and published as follows: 1980, Hsiung Shih Art Monthly; 1981, SHIY De Jinn: water-colors and Min Sheng Daily; 1995, The Commemorative Collection of SHIY De-jinn. Lot141, a rare artwork of SHIY presented by JSL Auction, deserves for a notable place in your collection.

164 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

142

席德進（1923-1981）水仙彩墨紙 1980 題識 : 不染塵處見清姿簽名左方：席德進一九八○ 鈐印左方：席氏書畫（白文）、席德進印（白文） 137.5×35 cm (54.1×13.7 in.)

SHIY DE-JINN Chinese Narsissus Ink and color on paper 1980 Signed left: SHIY DE-JINN in Chinese, with one seal of the artist, dated 1980

NT$ 600,000-800,000 US$ 19,520-26,020 HK$ 155,400-207,300

完成於1980年代Lot142《水仙》是中國人新年最喜歡作為居家佈置之用主題。應該是席德進新春在朋友家作客時，與朋友相聚，所留下此件作品。佐以美食相伴，信手拈來而作了題為「不染塵處見清姿」的水仙畫作。 165

143 CHIU, YA-TSAI Vigorous

邱亞才（1949-2013）神氣

Oil on canvas

油彩畫布

Signed in lower right: named YA-TSAI in Chinese

簽名右下：亞才 130×97 cm (51.1×38.1 in.)

NT$ 2,000,000-2,600,000 US$ 65,060-84,580 HK$ 518,100-673,600

邱亞才的畫作充滿文人質地的特性，始於他退伍後對文學及文字藝術的追求。他有著中國歷史、英國莎士比亞、俄國杜斯妥也夫斯基等文學巨擘的閱讀經驗，豐富了自己筆下人物意象的深度。邱亞才也對人物個性有深刻的觀察，因此在肖像人物的表現上，有著如書寫家筆下的質樸，精準地呈現對主角的描繪。邱亞才畫中的臺灣現代文人肖像，可說是受到唐代繪畫的影響，包含人物的鵝蛋臉、杏眼及鉤鼻，以及頎長纖瘦的身材，難辨雌雄。他的人物面部不具光影或立體描繪，而是以似中國傳統白描的方式來線刻外形，表現人物的素雅。八○年代時，邱亞才常居於臺北知名的文化沙龍「紫藤廬」一隅創作，他習以觀察周遭的人物，且不以客觀的角度描繪人像，將對方的舉手投足與個性凝聚在印象裡，便以簡單的構圖與簡潔線條，充分表現主角的特質。邱亞才鍾情於人物的描繪，以形似分析心理的印象畫，記錄觀察對象既恬淡且富有故事性的一刻。《神氣》則是在他作品中取於獨特神情表現的絕妙佳作，乍看下邱亞才的人物有些頹廢與脆弱，但實則為優雅、洋溢著文人的沉靜氛圍。《神氣》畫中人物的主角微微抬起下頷述說著當刻的心情，有些得意、歡愉的容貌。靛藍色背景與深黑衣著襯托著白皙的臉龐，嘴角則細膩的勾勒出似笑非笑的唇形，意顯得朱唇豐潤。雙眼彷彿凝眸遠視，表現自信的模樣與觀者對望，悠然地呈現主角愉悅的情緒。邱亞才以顯目色彩的對比來表現人物，以樸實的用色顯現畫作中溫柔婉約的氣質。《男子》呈現邱亞才個人顯著的特色，跳脫肖像畫本來特意的裝飾或地位美化，他剔除了在人物身上多餘的形容，讓畫面自己敘說主角的特徵。他的肖像人物總懷有落寞的文人氣質，如將他的作品與莫迪里安尼（Amedeo Modigliani）的人物相較，邱亞才雖也不否認曾受到莫迪里安尼描繪面部手法的影響，但心境上的感觸則更為相似。在邱亞才的人物表情中所能看到的，是生活化、不受限時空的記述，如《男子》以低彩度的暖色調象徵沉穩，卻不脫如見畢卡索藍色時期對人物描繪的憂鬱，但極具有時間的紀念性。

CHIU YA-TSAI's portrait paintings full strongly of characteristic of literati. CHIU also has extensive reading experiences, including Chinese history, William Shakespeare, Fyodor Dostoevsky and other literary giants. It is a base that he could enrich the depth of figure's imagery in drawing. CHIU was interested in observing people with each own humanity and personality. Taiwanese Modern portrait of literati is the most notable art work of CHIU. His paintings could be told that affected by the taste of Tang Dynasty. There are some particular traits in his portraits, such as oval face, almond-shaped eyes, hook nose and slender stature. CHIU's figures were drawn by the traditional description of Chinese painting and engraved line; the pictures represent its unadorned and elegant. "Vigorous" is told the protagonist who is in the mood with raising jaw slightly, seems a bit delighted on his face. The indigo background and black suit accentuate his fair-skinned face. And the shape of mouth was sketched out delicately with a spurious smile and red lip. The "Vigorous" man turned his gaze into the audiences with self-confidence and expressed his joyful emotion. CHIU exposed the feelings of figures by contrast with conspicuous colours, and painted plainly to reveal gentle and graceful disposition in this portrait. "Man" is the masterpiece of CHIU's remarkable paintings. He eliminated some unnecessary description from the main role. His paintings always send out the sense of depression and quietness. CHIU's portrait is often compared with figures of Amedeo Modigliani, but there was much more loneliness in mind to closer. The painting symbolizes mature by lower saturation of "Man", as well as similar to the grand art pieces of the Blue Period work from Picasso. Furthermore, there would be eternal memorials with CHIU's painting.

莫迪里安尼《Hanka Zborowska》油彩畫布 1919 55×39 cm 私人收藏 Amedeo Modigliani, "Hanka Zborowska" Oil on Canvas 1919 Private Collection (Doriana Comerlati ed., Modigliani: the Melancholy Angel, Milano: Skira, 2002, P.375.)

畢卡索《自畫像》油彩畫布 1901 80×60cm 巴黎，畢卡索美術館 Pablo Picasso, "Self-Portrait" Oil on Canvas 1901 Musée Picasso, Paris (William Rubin, Picasso and Portraiture: Representation and Transformation, London: Thames & Hudson, 1996, P.127.)

166 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

167

144

邱亞才（1949-2013）男子油畫彩布簽名右下：亞才 80×65 cm (31.4×25.5 in.)

168 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

CHIU YA-TSAI Man Oil on canvas Signed in lower right: named YA-TSAI in Chinese

NT$ 800,000-1,000,000 US$ 26,020-32,530 HK$ 207,300-259,100

145

楊識宏（b.1947）化石的傳說油彩畫布 1992 簽名左下：c. yang 92 65×53 cm (25.5×20.8 in.) 來源

YANG CHI-HONG Fossil Oil on canvas 1992 Signed lower left: named c. yang in Pinyin and dated 1992 PROVENANCE Certificate of Authenticity by Contemporary Gallery, Taipei

附時代畫廊原作保證書

NT$ 220,000-280,000 US$ 7,160-9,110 HK$ 57,000-72,500

169

146

楊識宏的畫作深富神秘又具有東方感懷的逸趣，有時又如見古

楊識宏（b.1947）

是他對時間永恆的體會，生命的足跡終將會在世界上的某個角落

花之歌

留下。他深稔藝術精神不滅，透過金黃、銀灰色調來讚嘆遠古的

油彩畫布 1994 簽名畫背：葬花之歌 II，Chihung Yang Song of Burying Flowers II 1994 145.5×115 cm (57.2×45.2 in.)

宏偉，將消逝的感傷凝聚心中，昇華為對宇宙的崇敬。《花之歌》是楊識宏以畫筆詠嘆無語靈魂，紀念世事萬遷，足需把握當下的情境。而葬花看似無情、實為感受豐沛有意，無論愛情或人間情欲，皆有來去。斜倚石上花瓣的傷悲，被新生潤草溫柔地纏扶，囈語彷彿裊繞其間。植物多彩為畫面綴飾富饒的生

來源附日升月鴻畫廊原作保證書

YANG CHI-HONG Song of Burying Oil on canvas 1994 Signed on the reverse: Song of Burying and named Chihung Yang Song in Chinese, dated 1994 PROVENANCE Certificate of Authenticity by Ever Harvest Art Gallery, Taipei

NT$ 1,500,000-1,800,000 US$ 48,800-58,560 HK$ 388,600-466,300

170 JSL 2015 SPRING AUCTION

代佳人的美與靈氣，不自覺地散發浪漫的氣息。《化石的傳說》

CHINESE MODERN & CONTEMPORARY ART

命力，也隱喻著命有輪迴、湧現憐惜的氣息。

171

147

呂榮琛於九○年到法國深造，作品中流露出抗衡與求取和諧之

呂榮琛（b. 1963）

呂榮琛說：「我的作品通常是在表現光與大自然的變化，由其

紫的記憶

是空中鳥瞰下的夜景森林城市人物等，而這些題材也帶有我的生

油彩畫布 2013 129×193 cm (50.7×75.9 in.)

LU RONG-CHEN Memory of Purple Oil on canvas 2013 Signed lower right: named RONG-CHEN in Chinese and LU in Pinyin, dated 2013

NT$ 600,000-800,000 US$ 19,520-26,020 HK$ 155,400-207,300

172 JSL 2015 SPRING AUCTION

間，用筆細膩但卻有東方書道的內斂含蓄。

CHINESE MODERN & CONTEMPORARY ART

活經驗和情緒感受，將思緒和情感藉由作品傳達或宣洩，簡易來說創作是我生活和品味的總和。」

148

郭振昌（b. 1949）撐複合媒材 2007 簽名右下：2007 J.C. KUO 91×117 cm (35.8×46.1 in.) 展覽「圖騰與禁忌2008郭振昌個展」，臺北：臺北市立美術館， 2008。出版臺北市立美術館，《圖騰與禁忌2008郭振昌個展》，臺北， 2008，頁63。

KUO JEN-CHANG Support Mixed media 2007 Signed lower right: 2007, J. C. KUO EXHIBITION Totem and Taboo 2008 KUO Jen Chang, Taipei Fine Arts Museum, Taipei, Taiwan, 2008. LITERATURE Taipei Fine Arts Museum, Totem and Taboo 2008 KUO Jen Chang, Taipei, Taiwan, 2008, P.63.

NT$ 700,000-900,000 US$ 22,770-29,280 HK$ 181,300-233,200

173

149

楊仁明（b. 1962）從黑水長出來的新植物─於換日線上油彩畫布 1993 72.5×91 cm (28.5×35.8 in.)

Yang Jen-Ming The New Plant Grew from the Black Water: On the Date Line Oil on canvas 1993 PROVENANCE Certificate of Authenticity by Impression Art Gallery, Taipei

來源

EXHIBITION

附印象畫廊原作保證書

Solo Exhibition of Yang Jen Ming, Impressions Art Gallery,

展覽「楊仁明個展」，臺北：印象畫廊，2008。

Taipei, Taiwan, 2008.

NT$ 200,000-350,000 US$ 6,510-11,390 HK$ 51,800-90,700

174 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

150

葉子奇（b. 1957）來亨雞卵彩油彩亞麻布 2005 簽名右下：子奇 2004-'05 61×61 cm (24×24 in.)

YEH TZE-CHI Leghorn Chicken Tempera and oil on linen 2005 Signed lower right: TZE-CHI in Chinese and dated 2004-'05

NT$ 500,000-700,000 US$ 16,270-22,770 HK$ 129,500-181,300

175

151

葉子奇（b. 1957）去夏

Tempera and oil on linen 1991

卵彩油彩亞麻布 1991

Signed lower right: YEH TZE-CHI in Chinese and dated 1991

簽名右下：子奇葉 1991 30.5×51 cm (12×20 in.)

PROVENANCE Certificate of Authenticity by Jia Art gallery, Taipei

來源

LITERATURE

附家畫廊原作保證書

The Gate Gallery, Tzu-Chi YEH, Taipei, Taiwan, 1992, PP.10-11.

出版玄門藝術中心，《葉子奇畫冊》，臺北，1992，頁10-11。

176 JSL 2015 SPRING AUCTION

YEH TZE-CHI Last Summer

CHINESE MODERN & CONTEMPORARY ART

NT$ 300,000-350,000 US$ 9,760-11,390 HK$ 77,700-90,700

152

阿佛列德．巴斯天（1873-1955）室內靜物油彩畫布簽名右下：A. Bastien 90×70 cm (35.4×27.5 in.)

Alfred Bastien Still Life Oil on canvas Signed lower right: named A. Bastien in French

NT$ 300,000-400,000 US$ 9,760-13,010 HK$ 77,700-103,600

153

阿佛列德．巴斯天（1873-1955）玫瑰瓶花油彩木板簽名左下：A. Bastien 35×27 cm (13.7×10.6 in.)

Alfred Bastien Rose on the Vase Oil on wood Signed lower left: named A. Bastien in French

NT$ 60,000-100,000 US$ 1,950-3,250 HK$ 15,500-25,900

177

154

阿佛列德．巴斯天（1873-1955）戶外寫生的巴斯天油彩畫布簽名右下：A. Bastien 32.5×40 cm (12.7×15.7 in.)

Alfred Bastien Sketching Artist Oil on canvas Signed lower right: named A. Bastien in French

NT$ 80,000-120,000 US$ 2,600-3,900 HK$ 20,700-31,100

155

阿佛列德．巴斯天（1873-1955）巴斯天家的雪景油彩木板簽名右下：A. Bastien 18.5×27.3 cm (7.2×10.7 in.)

Alfred Bastien Snowscape Oil on wood Signed lower right: named A. Bastien in French

NT$ 60,000-100,000 US$ 1,950-3,250 HK$ 15,500-25,900

178 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

156

阿佛列德．巴斯天（1873-1955）海景油彩畫布簽名左下：A. Bastien 47.5×60 cm (18.7×23.6 in.)

Alfred Bastien Seascape Oil on canvas Signed lower left: named A. Bastien in French

NT$ 120,000-200,000 US$ 3,900-6,510 HK$ 31,100-51,800

179

157

唐海文（1929-1991）無題

TANG HAI-WEN Untitled Ink on paper (Diptych)

水墨紙（雙聯作）

Signed middle right: named T'ang in Pinyin and Hay Wen in

簽名右下：T'ang 海文 70×100 cm (27.5×39.3 in.)

Chinese

NT$ 480,000-600,000 US$ 15,610-19,520 HK$ 124,400-155,400

180 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

158

唐海文（1929-1991）無題水墨紙（雙聯作）簽名右下：T'ang 海文 70 x 100cm(27.5x 39.3 in.)

TANG HAI-WEN Untitled Ink on paper (Diptych) Signed middle right: named T'ang in Pinyin and Hay Wen in Chinese

NT$ 350,000-450,000 US$ 11,390-14,640 HK$ 90,700-116,600

181

159

1994年出生的黑根是周春芽在德國遊歷時所飼育的純種德國狼

周春芽（b.1955）

犬，雖然他倆緣分只有短短幾年，但是卻對其藝術歷程激盪出非凡靈感，無論是《黑根》系列、《紅人》系列、《綠狗》系列，

黑根

可看出他對顏色掌握是敏感和精確的。作品《跳黑根》，描繪黑

油彩畫布 2004 簽名右下：2004 周春芽 Zhou Chunya 100×80 cm (39.3×31.4 in.)

根活潑開朗的鮮明形象，可以想見黑根與周春芽同父子般地互動良好，情感相通，因此留下黑根一系列的型態表現作品。黑根離開後，周春芽在悲慟之餘一度無法下筆畫出記憶中的犬子，直到 2001年，黑根才重新躍上紙本，幻化成為其藝術上精神的力量。

ZHOU CHUN-YA Heigen

Zhou Chun Ya is famous for his 'Green Dog Series'. The dog

Oil on canvas 2004 Signed lower right: named Zhou Chun-Ya in Chinese and Pinyin, dated 2004

here was actually his own dog, Heigen. It was a German shepherd born in 1994. Although he only spent few years with Heigen, it became his chief subject for more than ten years Zhou describes

NT$ 4,800,000-5,500,000 US$ 156,150-178,920 HK$ 1,243,500-1,424,900

the green dog as a sort of symbolic self portrait. He interprets the background as a field of uncertainty, loneliness, and distance between people. In the work "Heigen", it describes an happy and energetic Heigen which often plays around the artist. After Heigen passed away, there was a period of time that Zhou could not paint anything related to his dog until 2001. He restarted painting Heigen and turned his sadness to the great vitality of art on the canvas.

182 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

183

160

孫雲台（1913-2005）濤濤江河水涵天

Oil on canvas 1998

油彩畫布 1998 簽名右下：孫袁台 1998 73×53.5 cm (28.7×135.8 in.)

184 JSL 2015 SPRING AUCTION

SUN YUN-TAI Landscape

CHINESE MODERN & CONTEMPORARY ART

Signed lower right: named YUN TAI in Chinese and dated 1998

NT$ 260,000-350,000 US$ 8,460-11,390 HK$ 67,400-90,700

161

楊興生（1938-2013）油麻菜籽

YANG SHIN-SHENG Flower Scenery Oil on canvas 1997 Signed center right: Yang

油彩畫布 1997

Shin Sehen in Chinese and

簽名右中：楊興生 1997年

dated 1997

簽名畫背：油麻菜籽宜蘭三星鄉 1997年

PROVENANCE

51.5×44 cm

Certificate of Authenticity

(20.0×17.3 in.)

by Asia Art Gallery, Taipei EXHIBITION

來源

"Solo Exhibition of YANG

附亞洲藝術中心原作保證書

Shin-Sheng", Asia Art

展覽

Gallery, Taipei, Taiwan,

「楊興生個展」，臺北：亞

April, 1998.

洲藝術中心，1998.04。

NT$ 100,000-150,000 US$ 3,250-4,880 HK$ 25,900-38,900

162

張京生（b.1940）窗前瓶花油彩畫布 2001 簽名右下：張京生 2001 58×48 cm (22.8×18.8 in.)

ZHANG JING-SHENG Flowers Oil on canvas 2001 Signed lower right: named Zhang Jing Sheng in Chinese and dated 2001

NT$ 120,000-160,000 US$ 3,900-5,200 HK$ 31,100-41,500

185

163

高惠君（b.1966）山雨欲來油彩畫布 2005 簽名畫背：山雨欲來河上 Huijun 2005 120×100 cm (47.2×39.3 in.)

KAO HUI-JUN Rising Storm in the Mountains Oil on canvas 2005 Signed on the reverse: shan-yu-yu-lai and he-shang in Chinese, Huijun in Pinyin, dated 2005

NT$ 380,000-500,000 US$ 12,360-16,270 HK$ 98,400-129,500 186 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

164

吳冠中（1919-2010）春風桃柳版畫 (48/200) 1995 簽名下方：吳冠中 48/200 一九九五吳冠中鈐印二枚（朱文） 70×140 cm (27.6×55.1 in.)

WU GUAN-ZHONG Peach and Willow in Spring Print (48/200) 1995

NT$ 300,000-380,000 US$ 9,760-12,360 HK$ 77,700-98,400

Signed lower: named, edited 48/200, named and dated in Chinese, with two seals of the artist

165

李娟娟（b.1942）紫色百合花油彩畫布 1988 簽名：娟娟 Lee '88 53×45.5 cm (20.8×17.9 in.)

LI CHUAN-CHUAN Lily Oil on canvas 1988 Signed lower left: named Chuan-Chuan in Chinese and Lee in English, dated 88

NT$ 60,000-90,000 US$ 1,950-2,930 HK$ 15,500-23,300 187

166

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 Edition Heede & Moestrup，《ZAO WOU KI, The Graphic Work: a catalogue raisonnaé, 1937-1995》，丹麥，哥本哈根，1994，圖版354，頁196。

ZAO WU-KI Hommage to Nobutaka Shikanai Lithograth 1991 Signed lower: Hommage to Nobutaka Shikanai, named, dated 1991 LITERATURE Edition Heede & Moestrup, ZAO WOU KI, The Graphic Work: a catalogue raisonnaé, 1937-1995, Copenhagen, Denmark, 1994, illustrated, Plate.354, P.196.

NT$ 100,000-120,000 US$ 3,250-3,900 HK$ 25,900-31,100 167

趙無極（1921-2013）凹版蝕刻 (49/95) 1965 簽名下方：49/95 無極 Zao 65 28.8×35.5 cm (11.3×13.9 in.) 出版 Edition Heede & Moestrup，《ZAO WOU KI, The Graphic Work: a catalogue raisonnaé, 1937-1995》，丹麥，哥本哈根，1994，圖版163，頁98。

ZAO WU-KI Etching with aquatint (49/95) 1965 Signed lower: edited 49/95, named, dated 1965 LITERATURE Edition Heede & Moestrup, ZAO WOU KI, The Graphic Work: a catalogue raisonnaé, 1937-1995, Copenhagen, Denmark, 1994, illustrated, Plate.163, P.98.

NT$ 180,000-260,000 US$ 5,860-8,460 HK$ 46,600-67,400 188 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

168

趙無極（1921-2013）版畫 (85/99) 1970 簽名下方：85/99 無極 Zao 70 45×64.5 cm (17.7×25.3 in.) 出版 Edition Heede & Moestrup，《ZAO WOU KI, The Graphic Work: a catalogue raisonnaé, 1937-1995》，丹麥，哥本哈根，1994，圖版205，頁123。

ZAO WU-KI Lithograth (85/99) 1970 Signed lower: edited 85/99 named, dated 1970 LITERATURE Edition Heede & Moestrup, ZAO WOU KI, The Graphic Work: a catalogue raisonnaé, 1937-1995, Copenhagen, Denmark, 1994, illustrated, Plate.205, P.123.

NT$ 180,000-260,000 US$ 5,860-8,460 HK$ 46,600-67,400

169

趙無極（1921-2013） Montagnes et Soleil 版畫 1951 38×56 cm (14.9×22 in.) 來源 Galerie Raymond Dreyfus, France 出版 Edition Heede & Moestrup，《ZAO WOU KI, The Graphic Work: a catalogue raisonnaé, 1937-1995》，丹麥，哥本哈根，1994，頁45。

ZAO WU-KI Mountain and Sun Lithograth 1951 PROVENANCE Galerie Raymond Dreyfus, France LITERATURE Edition Heede & Moestrup, ZAO WOU KI, The Graphic Work: a catalogue raisonnaé, 1937-1995, Copenhagen, Denmark, 1994, P.45.

NT$ 420,000-480,000 US$ 13,660-15,610 HK$ 108,800-124,400 189

170

朱德群（1920-2014） 2000D

版畫（EA） 2000 105×73 cm (41.3×28.7 in.) 來源附比利時布魯塞爾 J. Bastien Art 畫廊原作保證書展覽「巴黎國際當代藝術博覽會」，法國：巴黎大皇宮，2008.10。出版霍克國際藝術，《朱德群石版畫》，臺北，2008，頁30。

171

朱德群（1920-2014）版畫（EA） 74×52 cm (29.1×20.4 in.) 來源附比利時布魯塞爾 J. Bastien Art 畫廊原作保證書展覽「巴黎國際當代藝術博覽會」，法國：巴黎大皇宮，2008.10。

172

朱德群（1920-2014）版畫 (41/100) 照相凹版印刷 50×40 cm (19.6×15.7 in.) 展覽「巴黎國際當代藝術博覽會」，法國：巴黎大皇宮，2008.10。

190 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

CHU THE-CHUN 2000 D Lithograth (EA) 2000 PROVENANCE Certificate of Authenticity by J. Bastien Art Gallery, Brussel, Belgium EXHIBITION "Foire Internationale d'Art Contemporain (FIAC)", Grand Palais, Paris, France, October, 2008. LITERATURE Hoke Art, CHU TEH-CHUN The Graphic Work 2000-2008, Taipei, Taiwan, 2008, P.30.

NT$ 200,000-280,000 US$ 6,510-9,110 HK$ 51,800-72,500

CHU THE-CHUN Lithograph (EA) PROVENANCE Certificate of Authenticity by J. Bastien Art Gallery, Brussel, Belgium EXHIBITION "Foire Internationale d'Art Contemporain (FIAC)", Grand Palais, Paris, France, October, 2008.

NT$ 200,000-280,000 US$ 6,510-9,110 HK$ 51,800-72,500

CHU THE-CHUN Lithograph (41/100) Black Heliogravure EXHIBITION Foire Internationale d'Art Contemporain (FIAC), Grand Palais, Paris, France, October, 2008.

NT$ 100,000-160,000 US$ 3,250-5,200 HK$ 25,900-41,500

173

王沂東（b.1955） a.待嫁女孩（四件一組）

b.回娘家

c.返娘家

d.牡丹

版畫 (57/99) 2007

簽名下方：57/99 待嫁女孩王

簽名下方：57/99 回娘家王沂

簽名下方：57/99 返娘家王沂

簽名下方：57/99 牡丹王沂東

沂東 Wang yidong 2007

東 Wang yidong 2007

Wang yidong 2007

61.5×41 cm (24.2×16.1 in.)

51.5×45 cm (20.3×17.7 in.)

41×41 cm (16.1×16.1 in.)

53×41 cm (20.9×16.1 in.)

WANG Yi Dong Fiancée

Daughter's Coming

Daughter's Returning

Peony

Print (57/99) 2007

Singed lower: edited 57/99,

Fiancée, named in Chinese,

Daughter's Coming, named in

Daughter's Returning, named

Peony, named in Chinese,

dated 2007

Chinese, dated 2007

in Chinese, dated 2007

dated 2007

NT$ 350,000-450,000 US$ 11,390-14,640 HK$ 90,700-116,600

來源

PROVENANCE

附藝術家親簽之作品保證書

Certificate of Authenticity by the Artist and Signed 191

174

洪瑞麟（1912-2006）人物粉彩紙本 1954 鈐印右下：洪（白文） 24×34 cm (9.4×13.3 in.)

HONG RUI-LIN Figure Pastel on paper 1954 Stamped lower right with an artist's seal

NT$ 100,000-150,000 US$ 3,250-4,880 HK$ 25,900-38,900

175

洪瑞麟（1912-2006）礦工粉彩紙本 1951 鈐印左下：洪（白文） 24×16.3 cm (9.4×13.3 in.)

HONG RUI-LIN Miner Pastel on paper 1951 Stamped lower left with an artist's seal

NT$ 50,000-80,000 US$ 1,630-2,600 HK$ 13,000-20,700

192 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

177

176

席德進（1923-1981）男子炭筆素描紙約1966 簽名左方：席德進

SHIY DE-JINN Figure Charcoal sketch on paper circa 1966

（1923-1981）人物

SHIY DE-JINN Figure Charcoal sketch on paper circa 1956

Signed left: SHIY DE-JINN in

炭筆素描紙約1956

Signed left: SHIY DE-JINN in

Chinese

簽名左方：席德進

Chinese

37.5×26 cm (14.7×10.2 in.)

NT$ 280,000-350,000 US$ 9,110-11,390 HK$ 72,500-90,700

1966年Lot176《男子》，席德進開始在速寫的俐落的線條上，只以線條創造立體感，定義出空間，猶如國美館藏1956年的《人物》，另加上幾乎同色調的平塗，如歷史博物館藏1955年的《牛》。1950年代的素描較以剛硬線條在每個身體轉折處造成銳利的角度，稍晚則較為柔和不誇張，但類似前述的用筆在頭髮、鼻唇與臉型中依稀可見。正是從Bernard Buffet的筆觸，逐漸沉澱成為自己的風格代表。

席德進

NT$ 220,000-300,000 US$ 7,160-9,760 HK$ 57,000-77,700

In Figure, Shiy De Jinn defines geometric space with thick lines in sketches and drawings as his earlier work Figure in 1956 along with the rendering of the hue in Ox of 1955. It's a transition of style from then on. By applying thick and firm lines, depicted on every turning points of human bodies in his sketches and drawings in early 50s, SHIY transforms this sharpen edges into smoothed and non-exaggerated touching. Nevertheless, the former traces can still be found on the portraying of hair, nose, lip and the outline of face. This piece Figure testifies against himself by inheriting Bernard Buffet's touch on the sketches and forging ahead into his style of representation. 193

178

席德進（1923-1981）人物速寫炭筆素描紙簽名左方：席德進 25×17 cm (9.8×6.6 in.)

SHIY DE-JINN Figure Charcoal sketch on paper Signed left: SHIY DE-JINN in Chinese

NT$ 60,000-80,000 US$ 1,950-2,600 HK$ 15,500-20,700

179

席德進（1923-1981）隸書水墨紙 1980 鈐印右下：席德進印（白文） 67.2 × 69.4 cm (26.4 × 27.3 in.)

SHIY DE-JINN Clerical script Ink on paper 1980 Signed lower right: one seal of the artist, dated 1980 10/18

NT$ 70,000-100,000 US$ 2,280-3,250 HK$ 18,100-25,900

194 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

180

蕭勤（b.1953）

版畫（14/50）（兩件一組）

壓克力紙

簽名下方：14/50 Hsiao 勤

35×24.5 cm (13.7×9.6 in.)

HSIAO CHIN Lithograth (14/50) (two of set)

Acrylic on paper

Signed lower: edited 14/50, named Hsiao in Pinyin, Chin in

Chinese

NT$ 50,000-80,000 US$ 1,630-2,600 HK$ 13,000-20,700

195

181

霍剛（b.1932）抽象（三件一組）複合媒材 2012 簽名下方：HO KAN 2012 20×13 cm (7.8×5 in.)

HO KAN Abstract (Three of a set) Mix media 2012 Signed lower: named HO KAN in Pinyin and dated 2012

霍剛（b.1932）抽象（三件一組）複合媒材 2011 簽名下方：HO KAN 2011 14×19 cm (5.5×7.4 in.)

HO KAN Abstract (Three of a set) Mix media 2011 Signed lower: named HO KAN in Pinyin and dated 2011

霍剛（b.1932）抽象（三件一組）複合媒材簽名下方：HO KAN 8.5×9 cm (5.5×7.5 in.)

HO KAN Abstract (Three of a set) Mi x media Signed lower: named HO KAN in Pinyin

NT$ 80,000-120,000 US$ 2,600-3,900 HK$ 20,700-31,100

196 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

182

草間彌生（b. 1929）鏡盒類型B 複合媒材 (78/280) 2001 簽名側面：Yayoi Kusama 簽名底部：MIRROR BOX YAYOI KUSAMA 2001 TYPE B: No. 78/280 Okabe Print Editions Ltd. 2-2-3 timura, hadano, kanagawa, 25-1324 JAPAN tel 0463-88-0743 fax 0463-88-7313 14×14×17 cm (5.51×5.51×6.69 in.)

YAYOI KUSAMA Mirror Box Type B Mixed media (78/280) 2001 Signed on the side: Yayoi Kusama Signed on the bottom: MIRROR BOX YAYOI MIRROR BOX YAYOI KUSAMA 2001 TYPE B: No. 78/280 Okabe Print Editions Ltd. 2-2-3 timura, hadano, kanagawa, 25-1324 JAPAN tel 0463-88-0743 fax 046388-7313

NT$ 60,000-90,000 US$ 1,950-2,930 HK$ 15,500-23,300

183

草間彌生（b. 1929） A PUMPKIN YB-B 絲網版畫 (102/120) 2004 簽名下方：102/120 かぼちゃ YB-B 2004 Yayoi Kusama 24×28.5 cm (9.4×11 in.) 出版阿部出版株式會社，《草間彌生全版畫：1979-2011》，草間彌生著，東京，2011，圖版327，頁188。

YAYOI KUSAMA A PUMPKIN YB-B Screenprint (102/120) 2004 Signed lower: edited 102/120, titled, dated 2004, named LITERATURE ABE Publishing Ltd., YAYOI KUSAMA PRINTS 1979-2011, Tokyo, Japan, 2011, illustrated, Plate.327, P.188.

NT$ 160,000-240,000 US$ 5,200-7,810 HK$ 41,500-62,200

197

184

草間彌生（b. 1929）南瓜絲網版畫（28/50） 1982 簽名下方：28/50 PUMPKIN 1982 Yayoi Kusama 68.6 x 55 cm (26.7×21.6 in.) 出版阿部出版株式會社，《草間彌生全版畫：1979-2011》，草間彌生著，東京，2011，圖版16，頁20。

YAYOI KUSAMA Pumpkin Screenprint (28/50) 1982 Signed lower: edited 28/50, titled, dated 2004, named LITERATURE ABE Publishing Ltd., YAYOI KUSAMA PRINTS 1979-2011, Tokyo, Japan, 2011, illustrated, Plate.16, P.20.

NT$ 240,000-300,000 US$ 7,810-9,760 HK$ 62,200-77,700

185

草間彌生（b. 1929）無限的網（YOR）絲網版畫 (49/80) 2004 簽名下方：49/80 Infinity Nets (YOR) 2004 Yayoi Kusama 43×35 cm (16.9×13.7 in.) 出版阿部出版株式會社，《草間彌生全版畫：1979-2011》，草間彌生著，東京，2011，圖版322，頁186。

198 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

YAYOI KUSAMA Inﬁnity Nets（YOR） Screenprint (49/80) 2004 Signed lower：edited 49/80, titled, dated 2004, named LITERATURE ABE Publishing Ltd., YAYOI KUSAMA PRINTS 1979-2011, Tokyo, Japan, 2011, illustrated, Plate.322, P.186.

NT$ 160,000-200,000 US$ 5,200-6,510 HK$ 41,500-51,800

186

草間彌生（b. 1929）長頸鹿之夢杯盤組（八組）瓷（限量500組） 1998 簽名（杯）：Yayoi Kusama Grappi- Edition Limited 158, 161, 311, 412, 429, 433, 469, 497/500 1998 JAPAN 簽名（碟）：Yayoi Kusama Grappi- Edition Limited AP, 10, 44, 82, 210, 240, 258, 391/500 1998 JAPAN 簽名（盤）：Signed on the Plate: Yayoi Kusama Grappi- Edition Limited 204, 231, 242, 2 杯：10×8×5.6 cm 碟：14.3×14.3×2 cm 盤：19.3×19.3×2 cm

YAYOI KUSAMA Inﬁnty Nets (8 sets) Porcelain 1998 Signed (Cup): Yayoi Kusama Grappi- Edition Limited 158, 161, 311, 412, 429, 433, 469, 497/500 1998 JAPAN Signed (Dish): Yayoi Kusama Grappi- Edition Limited AP, 10, 44, 82, 210, 240, 258, 391/500 1998 JAPAN Signed (Plate): Yayoi Kusama Grappi- Edition Limited 204, 231, 242, 2

NT$ 240,000-260,000 US$ 7,810-8,460 HK$ 62,200-67,400

199

187

草間彌生（b. 1929）花絲網版畫 (22/125) 1997 簽名下方：22/125 花 1997 Yayoi Kusama 33×24 cm (13.1×9.4 in.) 出版阿部出版株式會社，《草間彌生全版畫：1979-2011》，草間彌生著，東京，2011，圖版235，頁140。

YAYOI KUSAMA Flowers Screenprint (22/125) 1997 Signed lower: edited 22/125, titled, dated 1997, named LITERATURE ABE Publishing Ltd., YAYOI KUSAMA PRINTS 1979-2011, Tokyo, Japan, 2011, illustrated, Plate.235, P.140.

NT$ 220,000-280,000 US$ 7,160-9,110 HK$ 57,000-72,500

188

草間彌生（b. 1929） A PUMPKIN RB-B 絲網版畫 (65/80) 2004 簽名下方：65/80 A PUMPKIN RB-B 2004 Yayoi Kusama 24×28.5 cm (9.4×11 in.) 出版阿部出版株式會社，《草間彌生全版畫 1979-2011》，草間彌生著，東京：2011，圖版328，頁188。

YAYOI KUSAMA A PUMPKIN RB-B Screenprint (65/80) 2004 Signed lower: edited 65/80, titled, dated 2004, named LITERATURE ABE Publishing Ltd., YAYOI KUSAMA PRINTS 1979-2011, Tokyo, Japan, 2011, illustrated, Plate.328, P.188.

NT$ 160,000-240,000 US$ 5,200-7,810 HK$ 41,500-62,200 200 JSL 2015 SPRING AUCTION

CHINESE MODERN & CONTEMPORARY ART

BASTIEN, Alfred 阿弗列德．巴斯天（1873–1955）阿弗列德．巴斯天是比利時籍的藝術家，1897 年贏得 Godecharle 基金會獎學金而得以進入巴黎藝術學院深造。1927 年進入比利時皇家學院任教並三度擔任藝術學院院長。巴斯天是吳作人 (1930) 和沙耆 (1937) 留學時的指導教授，早於兩人留學之前他已經被公認是比利時印象派的代表畫家之一，並為比利時國王亞爾佩一世作畫。其中《騎馬肖像》和《花籃與水果盤》等作品在 1934、1935 年間曾巡迴展出於上海與南京「比利時現代繪畫展」，此一展覽被國外藝術史家看作 20 世紀前期在華舉行的最大規模歐洲畫展。在他執教的班上曾同時有過 11 個不同國籍的學生，吳作人就是其中之一，一戰後曾隨恩師參與創作周長 150 餘米的戰場全景壁畫。

Lot 100

Alfred BASTIEN was a Belgian artist, academic and soldier. He won the Prix Godecharle in 1897 which helped him he enroll in the École des Beaux- Arts in Paris. After that, Bastien enrolled in the Académie Royale des Beaux-Arts in Brussels in 1927. He served as director three times in these years. Before Wu Zuo Ren(1930) and Sha Qi (1937) went studying abroad as Bastien’s students, Bastien had already been recognized as one of the representative impressionist in the Belgian, and had painted for the King of Belgium. The "Horse Riding Portrait" and" Flowers and Fruit Bowl" and other works had been exhibited in series of "The Belgian Modern Painting Exhibition" in Shanghai and Nanjing during 1934 and1935. "The Belgian Modern Painting Exhibition” is seen as the largest European exhibition by the foreign art historians in China in the early 20th century. He had coached 11 students of different nationalities in the same class. And Wu Zuoren was one of the 11 students; after the war, Wu joined his teacher, Bastien, and participated in the creation of the battlefield panorama murals of 150 meters perimeter.

Lot 103

Lot 154

Lot 101

Lot 152 Lot 155

Lot 102

Lot 153

Lot 156

201

CHIANG Ming Hsien 江明賢（b. 1942）生於臺灣臺中縣，1968 年畢業於臺灣師範大學藝術系，2002 年到 2005 年於臺灣師大美術系主任暨美術研究所所長；1997 到 2012 年任臺灣師大美術系教授。現任臺灣美術院常務副院長、中國國家畫院院務委員暨研究員、北京中國畫學會顧問、臺灣師範大學美術研究所名譽教授；1990 到 2009 年出版過數本著作探討水墨畫作。臺灣總統府、國立臺灣美術館、臺北市立美術館、高雄市立美術館等都有典藏江明賢的畫作；北京故宮博物院、北京中國美術館也典藏江氏水墨作品。將中國水墨畫的意境氣運和傳統筆墨技法結合西洋繪畫的構圖、色彩、透視、技法以及現代繪畫理念，創造出甚具個人特色的藝術風格。

Lot 025

Born in Taichung. In 1968, Chiang graduated from Department of Fine Arts, National Taiwan Normal University. Between 2002 and 2005, he was the chairman of Department of Fine Arts, National Taiwan Normal University. And he is the professor of Department of Fine Arts, National Taiwan Normal University between 1997 and 2012. He had published many books about Chinese ink wash painting. Chiang’s works were collect by Office of Taiwan President, National Taiwan Museum of Fine Arts, Kaohsiung Museum o Fine Arts and Taipei Fine Arts Museum, etc. Chiang is combining the conception and traditional ink wash painting techniques with western paintings’ composition, color, technique and the idea of contemporary painting to create a new artistic style of his own.

CHIANG Chao Shen 江兆申（1925–1996）生於安徽歙縣，幼承庭訓，身受傳統書畫詩文薰陶，曾被溥心畬先生錄為詩文弟子。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，長時間投入明代唐寅的研究。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 年自故宮退休；1996 年逝於瀋陽魯迅美術學院演講席中。江兆申先生被藝術界稱頌為「天上的文曲星」、「中國文人畫的最後一筆」，兼善詩、書、畫、印。江兆申先生多方面的藝文成就，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。

Lot 048

CHANG Ta Chien 張大千（1899–1983）原名張正權，又名爰，字季爰，號大千，別號大千居士，四川內江人，從小隨母親學畫， 1917 年與兄長同赴日本京都，學習繪畫及織染工藝，1919 年返上海，拜曾農髯、李梅庵為師，學習詩文書畫，受石濤跟八大山人的影響很深。 1927 年始遍游名山大川，包括黃山，峨眉山，敦煌，1929 任第一屆全國美展幹事，1933 年任南京國立中央大學藝術系教授一年，1941 年至 1943 年間赴敦煌，臨摹敦煌壁畫，他描摹壁畫時，發現部分壁畫有內外兩層後便揭去外層以觀賞內層，被揭露後又抵賴辯解，且自稱對敦煌壁畫的文物保存也有相當多的貢獻，1943 年張大千出版的《大風堂臨摹敦煌壁畫》讓藝術界開始重視中國文物的保存和精華。

202

Lot 048

CHANG Wan Chuan 張萬傳（1909–2003）臺北縣淡水人。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，且加入臺灣水彩畫會。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 年後學成返臺，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 年於臺北市立美術館舉行「張萬傳八八回顧展」，2003 年逝於臺北。「臺灣風景」入選日本第一美術展，作品廣為各地美術機構及私人收藏。

Lot 067

Lot 068

Born in the Tienshui, Taipei City. During his stay in Japan, CHANG was inspired by Fauvism and afterwards developed his style into Fauvism way. CHANG returned to Taiwan in 1938 and taught several schools. He withdrew from Taiyang Association and then co-founded MOUVE Association with CHEN Te Wang and HUNG Jui Lin in 1938. 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.

Lot 069

CHANG Yi Hsiung 張義雄（1914–2013）臺灣嘉義市人。1926 年開始跟隨陳澄波學習油畫， 1931 年返臺入嘉義中學，來年赴日考入東京帝國美術學校，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」，持續於川端畫校進修。1948 年任教於臺灣師範學校，翌年先後在臺陽美展獲三次首獎，省展獲美術高榮譽獎，免審查資格。1954 年與陳德旺、張萬傳、洪瑞麟等合組「紀元美術會」。1980 年後永居巴黎，在巴黎春季沙龍獲 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，為臺灣第一人獲此殊榮，隔年成為巴黎秋季沙龍正式會員。1994 年臺北市立美術館舉辦「張義雄八十回顧展」。1995、97 年皆在臺中歌德舉辦個展。1999 年臺北、臺中、嘉義、臺南「繪畫生涯演講會」。2004 年於國立歷史博物館、哥德藝術中心舉辦九十回顧經典展。

Lot 073

Lot 074

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.

Lot 075

203

CHEN Ting Shih 陳庭詩（1915–2002）福建人。1948 年來臺，年幼失聰反使他更專注於創作。三十餘歲活躍於美術團體如五月畫會、現代版畫會及現代眼畫會等。曾多次參與歐美亞等地海外聯展，並定期參與五月畫會展覽及多項個人展覽。作品曾獲 1970 年韓國國際版畫雙年展的東亞日報大展。其版畫作品廣受海內外美術館及私人機構所收藏，如洛克斐勒基金會、辛辛那提美術館、國立臺灣美術館等。

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

Lot 109 Lot 111

Lot 110

Lot 112

Lot 113

Lot 114

CHEN Te Wang 陳德旺（1909–1984）

Lot 072

204

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；1929 至 1940 年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，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，返臺後任教於大同、延平中學。退休後閉門作畫，走純粹研究路線；1984 年逝世於臺北。

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.

CHEN Yin Huei 陳銀輝（b. 1931）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。曾得奬無數，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。於北美館展出形色音韻─陳銀輝八十回顧展。

Lot 080

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.

Lot 081

CHEN Ching Jung 陳景容（b. 1934） 1934 年生於彰化。就讀於國立臺灣師範大學時，老師是張義雄。1956 年與畫友創立「五月畫會」，畢業後赴日留學，1963 年武藏野美術大學畢業，1965 年東京學藝大學畢業，1967 年於東京藝術壁畫研究所畢業。回臺後任國立藝專美術科主任、文化大學教授、師範大學美術系教授。1975 年赴巴黎參加世界美術教育會議，1976 年獲中國畫學會金爵獎， 1977 年應紐約聖若望大學之邀舉行畫展。1998 年獲法國藝術家沙龍油畫銅牌獎，及 1999 法國藝術家沙龍油畫銀牌獎；亦為春、秋季沙龍會員。

Lot 086

Lot 087

CHEN Ching Jung born in Changhua. Chen followed Yoshio Yang to study drawing after entering the National Taiwan Normal University. In 1956, Chen founded the Salon de Mai with fellow artists. After graduation, Chen decided to make further research in Japan. He respectively graduated from Musash ino Art University (1963), Tokyo Gakugei University (1967) and Tokyo Fresco Paintings School (1967). After his return to Taiwan, Chen occupied successively as Director of the Fine Art Department of National Art Academy, professor of Culture University and of National Taiwan Normal University. In 1975 he was invited to participate in a global art education conference. In 1976, his work was ever awarded for the Golden Award of Chinese Painting Association. In the second year, Saint John's University held a solo exhibition for Chen. His work won espec- tively a bronze medal and a silver medal of the Salon des Artistes Fran ais. Now he is member of the Salon du Printemps and Salon d'Autumn.

205

CHANN, George 陳蔭羆（1913–1995）廣東中山縣人，十二歲時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，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，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 至 1949 年返回中國，於廣州市文獻館及上海舉辦個展。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。1969 至 1973 年期間，應南加州帕撒狄納美術館之邀舉行個展，展出五十件抽象作品。其作品於聖地牙哥博物館及美國數間市立美術館皆收為永久典藏。

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

Lot 092

Lot 093

Lot 095

Lot 097

Lot 098

Lot 099 206

Lot 094

Lot 096

CHEN Hsing Wan 陳幸婉（1951–2004）生於臺中，為臺灣傑出雕塑家陳夏雨之女，1981 年始師承李仲生，隨師三年；畢業於臺灣國立藝術專科學校西畫組。1970 年代她開啟自已的現代畫創作，1980 年代受到李仲生繪畫技法的影響，主要以抽象表現主義展開複合媒材的作品。1984 年獲得臺北市立美術館的首屆新展望獎；1990 年於臺中省立美術館舉辦個展，1997 年臺北市立美術館個展。2000 至 2003 年於臺中科元藝術中心曾有個展與聯展，2004 年時則因病驟逝法國巴黎。2005、 2008 年分別於臺北市立美術館與科元藝術中心曾舉辦「陳幸婉紀念展」。

Lot 133

CHEN, Chin 陳立夫（1900–2001）名祖燕，字立夫，浙江省吳興縣東林澤河裡（現屬湖州吳興區東林鎮）人；1924 年獲美國匹茲堡大學採礦學碩士學位。陳立夫另外曾化名李融清、辜君明。陳立夫九十歲時，以一生寫書法募款所得成立財團法人立夫醫藥研究文教基金會，用以鼓勵國內外從事中醫藥及文化學術高深之研究及推廣，在當時中醫不被相信以及被打壓的情況下極力推崇中醫，因此有「中醫保鑣」的稱號，對中華文化以及儒家思想也有極大貢獻。

Lot 032

CHEN Tzung Cai 陳縱材（b. 1910）出生於廣西貴港市東龍振農村，投考黄埔軍校第七期，畢業後參加八年抗日戰爭，指揮作戰，功勛顯卓。1965 年由臺北遷居高雄市，弘揚祖國文化藝術，先後在臺北、高雄各大專院校任國畫教授，並在高雄設立「九天畫樓」傳國畫、書法，其門生遍及英、美、法、德、日本、瑞士、以色列等國。他經過一番長期的奮鬥，解甲之後，他又以七年的光陰，投身臺北師大研究「詩書畫」，為十分出色的畫家，且環遊世界五大洲，將五大洲名山大川寫出來，臺北「榮光周刊」評論說道 :「陳縱材先執干戈，後揮畫筆，論事功，論藝術，俯仰均無愧」，陳縱材被喻為「能畫、能書、能詩 " 的將軍畫家」。

Lot 036

Lot 037

207

CHEN Wan Shi 陳文希（1906–1992）出生於中國廣東，1948 年移居新加坡，1992 年逝於新加坡。中學畢業後，便決定到上海美術專科學校專攻美術，後因故轉校新華藝術專科學校，受教于潘天壽等名師，四年後，學成回鄉娶妻，然後往汕頭中學教美術，還組織春陽畫社，教導有志於藝術的年輕人。陳文希可說是個謹嚴的畫家，每日六時起床作畫，數十年如一日，逢學校假期，更是他專心作畫的好機會；若有晚宴應酬，也常早退以返家作畫。勤勞自學，使他的畫藝不斷更新、進步。陳文希以他獨特的中西結合的畫風，奠定了在國際藝壇上的基礎。在其諸多作品中，以猿猴和鷺鷥為其代表佳作。 Lot 133

CHIANG Ching Jung 蔣青融（1806–2015）又名峨誠，湖南常德人。畢業於國立南京美專，民國 38 年隨政府來臺後從事教職。民國 51 年因愛梅、畫梅而定居嘉義縣梅山鄉，同時任教於梅山國中擔任美術老師，退休之後，隱居梅山晚睛畫室專心作畫。後定居於臺灣嘉義梅山鄉。作者擅於用墨畫梅，其畫作氣勢磅礡，墨韻渾厚，枝幹蒼勁有力，朵朵梅花婉約動人，將梅花的高尚情操表現的相當有意境，獨特的風格素有「蔣氏梅花」之稱，作畫時，喜歡閉目沉思，端坐畫室，倏然而起，用筆運墨一氣呵成，乃寫胸中逸氣耳，著有「影」、「孤山心吟」、「梅心」、「青融書畫記」。

Lot 133

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 年遷居臺灣，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，後返臺任教於東海大學。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 年應臺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。

Lot 135

208

Lot 136

Lot 137

Born in Beijing, Chuang's father was the great calligrapher, who was the vice-director of National Palace Museum in Beijing, Chuang was introduced to art by his father when he was little,He moved to Taiwan in 1948,after graduating from Taiwan National Normal University in 1958, Chuang taught at Tunghai University. He joined the Fifth Moon Association and actively pushed the modernization of Chinese painting. Received a scholarship from the Rockefeller Foundation, left Taiwan and settled in Ann Arbor; Michigan. In 1988, moved to New York- concentrated on his abstract paintings, and was invited by the Taipei Fine Art Museum to hold a solo exhibition in 1992. Chuang's works have been exhibited widely0Aand housed by many local and foreign museums and private collectors.

Lot 138

CHIU Ya Tsai 邱亞才（1949–2013）

Lot 143

1949 年生於臺灣宜蘭，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。邱亞才筆下的臺灣現代文人肖像，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 年代他經常於臺北知名文化沙龍「紫藤廬」一隅創作，以成無數畫作及小說。作品曾於臺北春之藝廊、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，享年六十七歲。

Chiu Ya Tsai was born in Ilan. He was not interested to formal education and developed his interests in literature after he discharged from military. His massive reading experience made 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.

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 年在臺北任敎於師大美術系，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、臺北市立美術館等。1997 年底榮膺法蘭西研究學院藝術院士。 2006 獲頒歐洲傑出人材奬。2014 年 3 月 26 日在巴黎家中逝世，享年九十四歲。

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 26 March 2014, Chu Teh-Chun died in Paris at age 94.

Lot 144

CHU Teh Chun 朱德群（1920–2014）

Lot 120

Lot 130

Lot 170

Lot 171

Lot 172

209

DING Yan Yiong 丁衍庸（1902–1978）廣東人，後改名丁鴻，字叔旦，號肖虎、丁虎。早年留學日本，專攻油畫，在日本川端畫學校、東京美術學校習畫，受野獸派風格的影響甚深，1925 年回到中國展開教學生涯， 1949 年遷居香港晚年致力於中國畫，並且經營出一種自然的表現主義風格，將古典的篆刻趣味帶進他的繪畫作品中。終身從事藝術教育，為新亞書院藝術專修科（後發展為香港中文大學藝術系）創辦人之一，他的作品多次於香港及海外展覽，也曾經在香港、澳洲、臺灣舉辦個展。丁衍庸為中國現代美術的重要倡導者之一，現代著名國畫家、油畫家、篆刻家、美術教育家，在中國畫壇與林風眠、關良素有「廣東三傑」之稱，三人在畫壇各佔有一席之地。

Lot 013

DUNG Zuo Bin 董作賓（1895–1963）原名作仁，字彥堂，一字雁堂，號平廬，河南南陽人。1923 至 1924 年入北京大學研究所國學門為研究生。1928 年中研院史語所成立後，他歷任通信員、編輯員、研究員及代理所長等職，並在 1948 年被選為中央研究院院士。1947 至 1948 年，他應美國芝加哥大學之聘，擔任中國考古學客座教授，1949 年後擔任臺灣大學教授，1956 年任香港大學、崇基學院、新亞書院和珠海書院研究員、教授。1958 年返臺後，續任臺灣大學考古人類學系教授，並應聘擔任中研院史語所增設的甲骨文研究室主任一職。除考古學外，董作賓對中國甲骨文的研究有卓然貢獻，並顯赭於國際間。

Lot 015

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」。傅狷夫根據臺灣山水特色，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，是開拓臺灣水墨新境的導師之一。其為人處事謙和，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。

210

Lot 014

GAO Yi Hung 高逸鴻（1908–1982）本名崇堯，以字行，堂號「蘭香館」，自號蘭香館主，別署雁高軒，浙江臨安人。入浙江大學時加入「西泠書畫研究社」與唐雲、余紹宋、傅狷夫、武曾保等為畫友，先後結識潘天壽、沙孟海，在重慶畫展時，受徐悲鴻贊譽。抗戰勝利後，赴上海與白蕉、唐雲、來楚生共創「天風書畫社」，畫名已具。渡臺後，為「中國藝苑」、「七友畫會」、「壬寅畫會」成員，畫風承襲海上畫派，擅大寫意的書畫創作。以花鳥蟲魚及行草書聞名當世，也為蔣經國繪畫老師。

Lot 042

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

Lot 027

HUANG Lui Sang 黃磊生（1928–2011）生於廣東臺山縣，自幼酷愛書畫，浸淫古典名籍，並師事嶺南派大師趙少昂先生，作品廣為各國美術館收藏。民國 46 年獲「亞洲第一屆青年畫展」水墨畫首獎及美國獎金委員會頒發之藝術獎金，民國 76 年獲臺灣省文藝作家協會「中興文藝獎章」，曾任美國東方藝術協會永久最高榮譽顧問、美國中華藝術學會名譽會長、紐約國際華人藝術協會顧問、中華民國三石畫藝學會理事長，以及臺灣省立美術館國畫審查委員、亞太地區藝展國畫評審委員等。也曾任全國及全省美展籌備評審委員、中國文化大學專任教授。黃教授是一位深入傳統，精通嶺南畫派神髓，兼具現代精神的畫家，其繪畫，取材廣博，舉凡花卉翎毛蟲魚山水和走獸，無所不能，亦無所不精。風格波瀾壯闊，書法則隨興遍臨各家，卓然成家，才氣橫溢。

Lot 045

211

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

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

Lot 131

Lot 132

Lot 180

HSU Zhen 徐楨（1841–1915）字克生，江蘇吳江人，善花卉，翎毛，為王秋言入室弟子，與徐祥並稱二徐。擅畫花鳥，筆墨勁建，風神靈逸；間作山水，稍嫌清疏，未能入妙。

212

Lot 029

HUNG Jui Lin 洪瑞麟（1912–1996）臺北大稻埕人。父親擅長詩畫以致於自小受其影響。曾參加石川欽一郎及倪蔣懷的「臺灣繪畫研究所」並在陳植棋鼓勵下赴日。於日期間入「川端畫學校」、「本鄉繪畫研究所」，隨後考入帝國美術學校〈今武藏野大學〉。畢業後返臺，任職於倪蔣懷之瑞芳煤礦。退休後至歐、美、日旅遊寫生並定居美國。

Lot 088

Lot 174

HUNG was born in Taipei. He was influenced by his father, who was also an artist. He studied in Taiwan Institute of Painting under Ishikawa Kinichiro and Ni Jiang Huai. Chen Chih-Chi encouraged him to go to Japan. He had studied painting in Kawabata Drawing Institute, Opening Sketch Drawing Institute, and Imperial School of Fine Arts (now the Musashino Art University). He worked as a miner after his graduation. Since then, he lived with collier and continually recorded their lives. In these paintings, it seemed that humanity is his deepest concern. Hung had traveled to Europe, America, and Japan and then moved to U.S.A. later on.

Lot 175

HO Kan 霍剛（b. 1932）生於南京，本名霍學剛，1963 年改名為霍剛。1949 年時來臺，1950 年進入臺北師範學校藝術科就讀，隔年進入李仲生的畫室。霍剛亦曾任省政府教育廳輔導員，推動臺灣戰後兒童美術教育啟蒙。霍剛受李仲生指導，自超寫實主義開啟創作，後則以幾何抽象確立其藝術風格；又因家學淵源，書法對霍剛的創作也有深刻的影響。1964 年時離開臺灣，移居義大利，受到硬邊藝術與空間派影響，也受到當時波洛克（Pollock）、克來因（Kline）、克利（Klee）對東方文字藝術的挪用的衝擊，作品常出表現單一及全體、部分或完整間不可分解的對應關聯。他取材於商周的禮器及漢代磚瓦圖騰，以物理性思維來解構圖像並充滿東方虛實空間的對應，而且輕重交迭合鳴的韻律感及玄想幽思的特質。

Lot 181

213

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，獲選臺灣十大青年，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，朱銘在臺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。2005 年發表「人間系列─三軍」作品，包含了抗戰英雄、現代的陸、海、空三軍四種主題，整個創作時間歷時四年，作品總件高達數三百餘件。 2007 年開始，朱銘「人間系列」的色彩開始轉變，轉為白色。朱銘：「以後，我的雕刻上色只用白色…，這是一種成長！」白色的色彩嚐試，抽離了朱銘以往利用彩色的說明性與裝飾性來描述作品身分與情境的表現方式，宣示著朱銘的藝術創作，將以呈現更純粹的造型世界，更力求透視本質的材質語彙為新方向。

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

Lot 123

Lot 001

214

Lot 002

Lot 124

Lot 125

KAO Hui Jun 高惠君（b. 1966）生於河北保定。1986 年畢業于河北輕工業學校，1992 畢業於中央工藝美術學院（今清華大學美術學院）。1994 年成為職業畫家，翌年參加北京中國藝術博覽會，與德國中國現代藝術展。1996 年先後在北京、新加坡舉辦個展，2003 年於新加坡、2004 年於雅加達、 2005 年於北京、臺灣，2008 年在北京的皆有個展。高惠君借用傳統來尋找出自己在當代藝術領域裡的立足點，以傳統文化中的山水形象做為實現他藝術的一種當代表達語彙，作品內涵具有一種對人文價值的關懷。

Lot 163

KUO Xue Hu 郭雪湖（1895–1963）原名金火，生於臺北大稻埕，九歲在日新公學校就讀，被導師發現具有繪畫方面的才華，開始指導他學習藝術，在校期間郭雪湖的美術、工藝才華出眾。畢業後考取臺北州立工業學校，後來發現與志趣不合，便退學在家自修繪畫，十六歲時由母親帶引拜蔡雪溪為師，入雪溪館習藝，蔡師多才多藝，是當時有名的職業畫師，他並為郭氏取名「雪湖」，傳授其描繪觀音、帝君等神像及裱褙的技藝，開啟了郭雪湖走向藝術之路的大門。郭雪湖與林玉山、陳進參加第一屆「臺展」，亦有「臺展三少年」的美名。影響其重要的人物還有日籍畫家鄉原古統。他欣賞鄉原的作品，後來相識並建立亦師亦友的關係，鄉原曾力勸郭雪湖要做一位職業畫家，郭氏也記取此話，一生獻身藝術。

Lot 007

Lot 008

Lot 062

KUO Jen Chang 郭振昌（b. 1949）

Lot 148

畢業於臺北文化大學美術系，曾在李仲生畫室習畫。1947 至 1979 年間曾獲美國亞洲基金會贊助，全心投入臺灣民俗藝術的研究，並實際參與民間藝術田野調查工作。作品自七○年代起便受普普藝術影響，乃至八○年代出現大量擷取中國漢唐時期人物造型，及中國民間藝術中的圖騰符號，形成獨特的個人色彩，而後九○年代作品題材擴大至山水風景及中國古典神話。其作品亦獲日本原美術館收藏。曾於韓國現代美術館、雪梨當代美術館、北京中國美術館等舉行展覽。

Kuo graduated from the Fine Arts Department of the Chinese Culture University, and studied under LI Zhong Sheng. From 1947 to 1979 he received backing from the US Asia Foundation, involving himself in research into Taiwanese folk art, and he has also done field research in the same area. His works in the 70's began to be influenced by pop art, and in the 80's began to feature subjects based on Han and Tang dynasty characters as well as totemic symbols from Chinese folk art, all helping shape his individual style. In the 90's his subject matter stretched to include landscapes and chinese mythical subjects. His works are in the collection of Japan's Hara Art Museum. He has exhibited at the Korean Modern Art Museum, Sydney's Museum of Contemporary Art, and Beijing's Chinese Fine Arts Museum. 215

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

Lot 121

Lot 182

216

Lot 183

Born on 22nd, March, 1929. She was called the classic artist still alive in Japan. She was born in Matsumoto City in Nagano, Japan. In 1956 she moved to New York, U.S.A. and began to show her unique avant-courier artistic creation which takes a dorminant place. She once held exhibition with some current brilliant artists such as Andy Warhol, Claes Oldenburg and Jasper Johns together. She lives in Tokyo in Japan now. She has a wide artistic practice, including painting, collage, sculpture, acting, filming, decorating and writing novels, poems and music. When she was ten years old, she got acousma and heteroptics because she was ill. When she was in America, it was the period of radical, commercial and retrospective. She thinks that the net form means the vividness of life. In 1966 her decorating work “Endless Mirror Room” reveals the endless and the uncontrollable of life.

Lot 184

Lot 185

Lot 186

Lot 187

Lot 188

LEE Shih Chiao 李石樵（1908–1995）臺北縣新莊人。1922 年讀臺北師範學校，受教石川欽一郎，1927 年入選臺展後持續入選，1929 年畢業後赴日，受陳植棋照顧入「川端畫學校」、「本鄉洋畫研究所」，1931 年經多次應考入東京美術學校五年制油畫科，1933 年第七屆臺展西畫科特選並獲大阪朝日新聞社設置的朝日賞，1935 年東美畢業後續留日本。1936 年臺陽展《橫臥裸女》被禁展出， 1941 年為首位獲得官辦文展「免審查」資格的臺籍畫家。1958 年在臺北市中山堂舉辦個展，1974 年自師大退休並在文化學院及國立藝專兼課。1984 年其旅居美國拓展玫瑰花園與櫻花兩系列，其玫瑰花園題材極適合高彩度的寫實風格，再者近景玫瑰花，發揮描繪靜物多年的功力，這類作品不見拘謹，頗為富麗堂皇。

Lot 064

LEE was born in Xinzhuang, Taipei County. In 1922, Lee educated at Taipei Normal School, and he went to Japan in early 1929, aspiring to study at the Tokyo School of Fine Arts. At the Tokyo School of Fine Arts Lee studied with Okada Saburosuke from 1933. In 1942, Lee was granted the honor of being “Exempt from Exam” in the official exhibition in Japan, as the first Taiwanese who had ever achieved this honor. Nude of 1936 and Chorus of 1943 deserve special attention. Nude was intended for the 2nd Annual Exhibition of the Nanyang Art Association, a local art group consisting mainly of Taiwanese painters founded in 1934. Lee accepted the appointment as full professor at the National Taiwan Normal University in 1960, and improved his financial improvement. Since Lee retired from the National Taiwan Normal University in 1974, Lee captured the blossoms and flowers in an effortless manner, as seen in Cherry Blossoms of 1968 and Rose Garden of 1988.

Lot 065

LEE Tze Fang 李澤藩（1907–1989） 1907 年生於新竹。畢業於臺北師範專科學校，隨石川欽一郎習畫。1929 年作品《日落》獲得臺灣水彩學會頒獎而首次受到矚目。1930 年赴日深造，回臺後則旅遊各地並專心從事繪畫，並任教於新竹師範學校。歷任全國、全省美展評審，作品多次獲獎。 1989 年逝世，享年八十二歲。

Lot 061

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

217

LEE Kuo Mo 李轂摩（b. 1941）出生於臺灣南投縣草屯鎮，畫室原名不二齋，現遷居鄉下又易名「一介山房」，自幼曾牧牛務農，成長在山居大自然的懷抱中，養成淡泊清雅、誠樸自勵的習性。早年受余清潭、夏荊山啟迪學畫，秉其天賦，苦修有成，在國內已然是眾所皆知而具有傳奇性的名畫家，此外他對書法、篆刻亦有相當成就。每次展出，常不在畫品之下，就其內在的涵養而言，實歸功於他善於讀書、長於領悟，時下從事繪畫工作者，能兼具以上三科素養的人殊不多見，而李轂摩能一一皆精，尤其佐以深厚、諧趣、哲理的「題畫文學」，每在畫面題寫精妙的詞句，如畫龍點睛，生動活現，令人會心一笑。李轂摩作品技法嫻熟、內容豐富、意趣深遠，不僅一般觀眾無不嘆服，前總統經國先生亦為之感動，曾數次造訪其畫室。

Lot 041

LI Chi Mao 李奇茂（b. 1925）

Lot 018

Lot 128

生於中國安徽省渦陽縣。復興岡大學美術系畢，韓國檀國大學文學博士；1976 年擔任國立臺灣藝術大學美術系專任教師及系主任。1977 年獲韓國檀國大學設立「李奇茂畫伯獎學金」；1987 年，獲美國舊金山市訂定 11 月 29 日為「李奇茂日」。李奇茂畫風獨特，一氣呵成，作畫筆酣墨飽，善用節奏和韻律表現時間速度和聲音。作品除了表現出水墨既有的技法外，他能順應時代變化，反映市井小民現實生活，藉由他簡單、隨意的筆端，充分展現基層民間生活，同時將水墨畫與臺灣鄉土文化融為一體。作品曾獲第七屆國家文藝創作獎及第二屆中山文藝創作獎殊榮。

Lee was born in Anhui, China. He graduated from the Dept. of Fine Arts of Fuxingang University, after that, he got PHD of Literature of Dankook University in Korea. In 1976, he became full-time tutor as well as chairman of department of National Taiwan University of Arts. In 1977, Scholarship of LI Chi Mao was set up of Dankook University. Day of LI Chi Mao is set on Nov.29th by San Francisco in USA in 1987. LI’s unique painting skill, line in drawing with the sound of rhythm and rhyme. His artworks are full of ink painting skills, with time passing by, reflecting real life of everyday people. He was awarded the 7th Creation of National Arts and the 2nd Chongshan Arts Award.

LI Shao Tang 李少堂（b. 1948）本名李源海，苗栗造橋人。及長，卜居苗栗三灣。1975 年，隨萬玉其習花鳥畫；嘗經營甄雅堂畫廊。 1991 年，拜入廣東嶺南派巨擘楊善深門下，親炙教澤，并同赴後山遊歷，師自然造化，寫花東山川景色。李少堂因襲嶺南派清新之筆意，折衷融和，自出機杼，別有逸趣。其作品受新竹、苗栗、嘉義等地方縣市政府單位收藏，畫中有詩，文人氣息盎然。

218 Lot 023

Lot 024

LI Chuan Chuan 李娟娟（b. 1942）生於臺灣南投草屯鎮，1965 年國立藝專美術科畢業，1968 年任臺北市金華女中美術老師。 1982 年與畫家夫婿陳虞弘創辦「鄉根西餐廳」；1984 年便辭去金華女中教職，專心從事油畫創作，同年籌組了臺北市西畫女畫家的聯誼。1991 年於臺北市立美術館與東之畫廊舉辦首次個展，且 1989 年時，作品已為臺北市立美術館收為典藏。

Lot 165

LIAO Chi Chun 廖繼春（1902–1976） 1902 年出生於臺中豐原附近的農耕家庭，其父母早亡，家境清寒。1918 年入臺北師範學校，並參加日本的函授學校，開始摸索油畫的技法。1922 年畢業後回母校豐原公學校服務。為了爭取豐原鄉紳家庭的女兒林瓊仙接受婚約，遂與她立下盟約前往東京繼續深造。行前先到臺北入田村畫室練習素描。1924 年 3 月下旬，其與陳澄波同船抵東京，同時考入東京美術學校圖畫師範科。畢業後更幸運地受聘為臺南私立長老教會的中學及女校（今長榮中學、女中）美術教員。同年 10 月臺展第一回開幕，他以《靜物》獲得特選，次年再以《芭蕉之庭》入選第八回東京帝展，就此奠定他在臺灣油畫界的領導地位。戰後任教於國立師範大學藝術系，鼓勵學生自由創作，極受愛戴。他一生忠實於創作與教書，先後達五十多年，教育英才無數。

Lot 079

LIAO Chi Chun was born in 1902 in Fenguan, Taichung. LIAO graduated from Taiwan territorial Japanese school .In 1992,he graduated from national Taiwan Normal University. In 1924 LIAO entered Tokyo fine art institute. After his graduation, he co-founded Chiyang Fine art association with Chen Cheng Po, Yen Shui Long, and Yan San Lang. In 1928 his work named The garden with banana trees, with was selected for the imperial exhibition, donated to Taipei fine art museum. In 1934 Liao co-founed the Taiyang Fine Art association with Chen Cheng Po, Yen Shui Long and Yan San Lang. Liao continued to create art and contribute the field of art education. In 1962 LIAO was invited to American and held solo exhibition in Chicago. In 1964 LIAO was award by ROC painting society. In 1968 LIAO was selected the first ten outstanding teachers of Taichung county. In 1976 LIAO passed away and awarded by Ministry of Education for LIAO’s contribution.

LIANG Han Tsao 梁寒操（1898–1975）原名翰藻，號君默、均默，廣東高要人。國民革命軍成都中央軍校中將政治總教官，後任國民黨中央執行委員、中央宜傳部部長。四歲識字，六歲能書，有「高要才子」之稱。渡臺後任中華日報及中國廣播公司董事長，退休後任國策顧問。草書迭宕奇逸，評價極高。

Lot 035

219

LIANG Chung Ming 梁中銘（1907–1982）廣東順德人，字協武，與梁又銘同日生於上海，國民黨員，黃埔軍校黃埔畫刊主編，後任國民政府國防部新聞局政工處少將專員。梁氏兄弟（梁鼎銘、梁中銘、梁又銘）於 1949 年來台後，首創八開本的《圖畫時報》五日刊，刊載了梁中銘的「空中六騎士」、梁又銘的「土包子下江南」等作。梁中銘於 1954 年出版的《中銘漫畫集》，則蒐錄了 426 幅他專長的反共漫畫。梁中銘的評論漫畫畫風相當洋化，筆處極為細膩，人物造型變化多端，叱吒風雲的世界政治領袖在他的筆下的粗細線條之間，各各神靈活現。他以特有的敏銳觀察力，洞知事局的變化而予以批判性的諷喻。儘管他是以反共的立場對共產黨徒做無情的撻伐，但仍不失漫畫家幽默的特質；其作品淋漓盡致的演出，讓人讀來十分痛快。

Lot 038

LIN Yu Shan 林玉山（1907–2004） 1907 年生於嘉義的美村，自幼即因家庭環境而與繪畫結緣，從民間畫師蔡禎祥學畫，培養出對色彩的感性與繪畫的興趣。與陳澄波研習水彩與速寫的表現技法，寫生與素描的訓練，影響其日後創作理念甚鉅。1926 赴日本東京川端畫學校日本畫科，於臨稿外，配合實地寫生，並做石膏像與人體素描練習，刻苦求學三年，奠下堅強實力。返臺後除致力於推廣臺灣美術運動外，並潛修經學詩文，認為「作畫必求詩意」，可「藉物與志」、「藉畫述志」。旅遊寫生與詩文活動成為教課作畫外的生活課題。 1935 年復入日本畫家堂本印象的東丘社畫塾，該畫塾以教導寫生自然，應用自然事物改變創作為主，重視構圖與取景訓練。後自嘉義北上任教，逐漸注重自然題材的選取，並改變筆法的運用，由精謹穠麗而轉重筆墨的趣味，以營造出有內涵的畫面。「使寫生之法，以傳統筆墨，運今人丘壑」，致力於「外師造化，中得心源」的繪畫理想，是林玉山窮畢生之力於繪畫所秉持不渝的創作觀。

Lot 003

220 Lot 004

Lot 005

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

LIN Feng Mian 林風眠（1900–1991）

Lot 115

廣東梅縣人，1918 年時參加政府赴法勤工儉學。分別在第戎藝術學校研習西洋畫，後轉入巴黎高等美術學校深造。林風眠在學校所受的教育是學院派的，但在校外深受當時流行的現代流派影響，如後印象主義，野獸主義及原始主義。他們的影響表現於林氏中西結合的畫風之中，其作品曾入選法國秋季沙龍。其於 1925 年返國，被聘任為北平國立藝專校長。後受蔡元培之邀赴杭州藝專任校長。該校成為鼓吹新藝術運動的大本營。林氏亦經常撰文宣傳他本人中西合併的藝術創作經驗和理論。1977 年移居香港後，仍孜孜不倦地從事藝術創作直至晚年。是享有國際聲望及地位的中國畫家之一。

Born in Guangdong, China, LIN traveled to France on a government sponsored work study program in 1918. During his seven years in France, LIN studied at the L’Ecole National Superieure in Paris and in Dijon to learn Western drawing and painting techniques. Augmenting his academic training, his experience outside the classroom brought him in touch with the modern western art movements of the day, such as Post-Impressionism, Fauvism and Primitivism. The works of Matisse and Modigliani in particular impressed the young artist, who began developing his own style, blending Western and Chinese traditions. His works were selected for exhibition in the Salon d’Automne in Paris 1924. LIN returned to China in 1925 where he was appointed Director of Beijing National College(precursor to the Central Academy of Fine Art).

臺中縣大雅人，1928 年即赴日就讀小學六年級隔年入新宿日本中學， 1934 年入東京帝國美術學校（今武藏野大學），1939 年畢業後《米店》入選日本畫院展，1940 年《朝涼》入選帝展（紀元 2600 年奉祝展）。 1941 年返臺，1942 年連續二年獲第 5、6 屆府展總督獎，1945 年定居臺中市，1946 年受聘臺中師專任教，任全省美展評審委員。1954 年創立中部美術協會，當選理事長，1963 年受聘臺北實踐家專教授，1972 年成立參與「長流畫會」，1977 年為「膠彩」畫「正名」，並舉辦首次膠彩畫展。1979 年任日本 I.F.A 國際美協臺灣本部長，1981 年省立臺灣省膠彩協會當選理事長，1982 年獲第七屆國家文藝特別美術獎，1985 年受聘東海大學美術系教授，並傳授膠彩畫課程，1986 年臺中市文英館舉辦七十回顧展。1989 年獲中縣十大資深藝術家「金穗獎」，1990 年全省膠彩臺北哥德藝術中心每年展出，1997 年省美館八十回顧展，於去年（2006）五月獲行政院文化獎。

Born in Taya, Taipei county. In 1928 Lin graduated from the fifth grade of the Taya public school. He moved to Japan. After graduation from secondary school and entered the Japanese Painting class of the Imperial College of Fine Arts. In 1940 Lin participated in the 4th Kodama Kibo studio exhibition with Leisure. In the same year, he signed up for the Imperial Art Academy Exhibition, to be held in honor of the Emperor, in celebration of 2600 years of existence of the state of Japan. In 1942 his work named Mother and Child received the 1st governors prize in the 5th prefectural exhibition, and in 1943 his work named Good Day the 1st prize in the 6th exhibition. In 1946 Lin was appointed professor at the Taichung Normal School, a post he has held until his retirement in 1979. In 1954 he founded Art Association of Central Taiwan and acted as president of the association forirty-five years. In 1979 Lin was invited to join the IFA International Art Association. The following years, he organized the 1st China-Japan Amity Art Exhibition. In 1985, Lin was invited to hold weekly seminars on Glue Painting at the Faculty of Art of Tunghai University. In 1997, Lin held his first solo exhibition at the Taiwan Provincial Art Museum. He received the honor of National Culture Award in last year (May, 2006). 221

LIN Chih Chu 林之助（1917–2008）

Lot 063

LIN Liang Tsau 林良材（b. 1947）臺灣彰化二林人，林良材一出世，就是天生聾啞，由於聽障因素，多少影響年少林良材和同伴的關係，而鄉下恬淡的農村景緻，反而成為林良材用以治療失聰苦悶童年的良藥；而且因為這樣的生活經驗，他早期的繪畫，大多沉浸在鄉土寫實的風格裡，甚至出現宛如真物的超寫實作品，1971 年國立臺灣藝專美術科西畫組畢業，1984 年入比利時布魯爾皇家藝術學院美術系深造，翌年轉雕塑系。1989 年畢業並獲比利時皇家專業畫家獎，及比利時阿杭桑丹（皇家美術學院獎）。研究雕塑，對雕塑的現代性有他獨特的看法。林良材四十歲以前，以油彩為主要的創作媒材；四十歲以後，以生鐵和銅板為媒材的雕塑世界，並以那些兼具柔情與剛毅的人體作品，驚艷藝壇，目前是國內少數金屬類雕塑的高手。

Lot 126

LIU Kuo Sung 劉國松（b. 1932）祖籍山東青州，1949 年定居臺灣。十四歲開始學習傳統國畫，二十歲改習西畫。1956 年臺灣師範大學畢業後，隨即創立「五月畫會」，發起現代藝術運動。1961 年有感於一味追求模仿西洋現代藝術思潮與畫風之不當，更對於我民族文化傳統的發展與宣揚產生了強烈的責任心與使命感，故作一百八十度的大轉變，回歸本土，重拾東方畫系的水墨媒材，從事水墨的革新倡導中國畫的現代化。 Lot 116

Lot 118

222

Lot 117

Native of Qingzhou, Shangdong, LIU Kuo Sung moved to Taiwan in 1949. He began to learn traditional Chinese painting when he was 14, and switched to Western painting when he was 20. Graduated from National Taiwan Normal University in 1956, he established May Association of the Art, and promoted the campaign of modern art. In 1961, he realized that it was not appropriate to imitate Western and pursue Western art theory painting blindly; likewise, he gave himself a strong mission and a sense of responsibility to promote the development of traditional and folk art. He changed drastically by returning to local in style. The, he picked up water-ink the media of Chinese art. Engaging in the innovation of water ink painting, he was determined to advocate modernizing Chinese painting.

LIU, Max 劉其偉（1912–2002）

Lot 056

Lot 057

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

Born in Fujian, his given name was Liou Fu-Sheng. In 1920 he moved to Japan and completed the education in Japan. Liu began to learn painting by himself. In 1951 he held his first watercolor painting exhibition. In 1962 he was awarded First Prize in watercolors by the Art Society of China in Taiwan. Liu was well-experienced and knowledgeable with the aboriginal art researching and had been to Central America and South East Asia to collect the art resource and published “The Theory of Modern Painting”, “Watercolor Techniques and Compositions” and “Aboriginal Art and Culture in Taiwan”. Landscape and portrait appealed in his early works and later he was inspired by traditional aboriginal ceremony, clothes and architecture. In addition to pastel landscape painting of the works, he completed "An epic of Indochina" with simple but mysterious colors. After returning to Taiwan, the subject of his work is more extensive. He streamlined the image, lines and color expression, and to visualize the abstract theme into concrete image and giving the work diversity and humanity. His signature of early works were in English and AD Chronicles but later mostly with phonetic symbols and Chinese number to record the time with more fun and humor. In 1990 he held an review exhibition of 80th in National Taiwan Museum of Fine Arts.

Lot 058

LU Rong Chen 呂榮琛（b. 1963） 1963 年出生於臺灣屏東。1987 年畢業於臺灣文化大學美術系；1993 年於巴黎第八區 BOULAKIA RIVE DROlTE 畫廊舉辦首次個展；2003 年於巴黎 ART FAN 展覽。 2005 年臺灣新苑畫廊個展、2006 年巴黎 ART FAN 展覽。臺灣現代藝術空間聯展、巴黎 LANSBERG 畫廊聯展。2007 年巴黎 LEE 畫廊個展、巴黎 ST GERMAL DES PRES 現代藝術個展。香港現代藝術博覽會。2010 台北景薰樓藝文空間個展。

Lot 147

Born in Taitung, Taiwan. He graduated from Chinese Culture University-Taiwan, major in Fine arts. In 1993, he had his first solo exhibition at BOULAKIA RIVE DROITE gallery in 8th district in Paris. In 2003, he exhibited in Paris ART FAN. In 2004, he had solo exhibition at Shin Yuen gallery in Taiwan. In 2006 he again exhibited in Paris ART FAN, united exhibition in Taiwan modern art space and attended Paris LANSBERG gallery exhibition. In 2007 he had solo exhibition in LEE gallery, Paris. He is having a solo exhibition in Paris ST. GERMAL DES PRES modern art. He is attending Hong Kong Modern Art Fair.

MEI Lan Fang 梅蘭芳（1894–1961）名瀾，又名鶴鳴，小名裙子、群子，字畹華，別署綴玉軒主人，祖籍江蘇泰州，清光緒 20 年出生在北京的一個梨園世家，是中國近代傑出的京昆旦行表演藝術家，舉世聞名的中國戲曲藝術大師。

Lot 044

223

MA Pai Sui 馬白水（1909–2003）

Lot 059

Lot 060

1909 生於遼寧省本溪縣，1929 年畢業於瀋陽遼寧省立師範美術科，曾於中國大陸執教多年，曾任美術和音樂教師，擅長旅行寫生作畫。來臺後先後任教於師範大學、國立藝專、中國文化學院等，為中國畫學會理事，曾受聘為省展評審委員、教育部文藝獎美術組審查委員，1949 年至 1975 年任國立臺灣師範大學美術系教授期間，出版《水彩畫法圖解》，也為教育部主編中學美術課本，培育了很多優秀的藝術人才。1964 年獲歷史博物館主辦第一屆全國水彩畫展金罍獎，1965 年教育部頒發文藝獎章， 1979 年美國水墨畫協會年展榮獲華盛頓金牌獎。1999 年於國立歷史博物館舉辦《彩墨千山─馬白水九十回顧展》。2003 年逝世於美國。馬白水為著名之水彩畫家和美術教育家，以「中西融匯，古今貫通」為創作中心思想，把西方的水彩和東方的水墨，融貫成為一體。

Ma Pai-Sui was born in Liaoning, China, in 1909. He graduated from Liaoning Normal College in 1929 and had taught in several colleges in China and Taiwan for years. He used to be a member of Art Society of China in Taiwan, and was frequently invited to be a judge of art exhibitions. During 25 years of teaching period in National Taiwan Normal University, he attributed his watercolor techniques into a publishing book that is still widely used for art education nowadays. Furthermore, the awards he had received are countless. Altogether, they came from not only Taiwanese Government but also U.S.A. and European institutes. Ma liked to paint while traveling; therefore, many of his works are created during the journey. He intended to build a bridge between the Eastern and Western cultures through mixing media and the techniques of watercolor and traditional ink painting, which is also the core concept of his art. In order to honor Ma Pai-Sui's respectful position, National Museum of History held a thematic exhibition- "A Retrospective of Ma Pai-sui at Ninety" in 1999. The exhibition rounded out the artist’s dream, and four years later (2003), Ma Pai-Sui passed away in the United States.

NG Po Wan 伍步雲（1905–2001）

Lot 108

224

出生廣東臺山，年輕時期家境清苦，在故鄉接受教育後，在一次偶然機會，自友人處見到油畫而產生興趣，因此決定修習藝術。又因父親為菲律賓華僑，所以赴菲律賓藝術大學深造，在校期間受到素描、水彩、油畫技法劄實的磨練，返回香港時，即全心投入油畫創作，成為專業畫家。 1966 年開始便到黃山、杭州、西湖等地進行寫生旅行。伍步雲自三○年代起創作至今，已累積超過四百多幅作品。但早期作品在一次由廣東中山開往香港的沈船事件遭到全毀。而其創作力的巔峰可謂是六○至七○年代作品。在六○年代他至大陸各地旅行寫生，那些壯麗的河山，純樸的風景如紹興、廣東、成為創傷的泉源。在多次的寫生經驗中，他領悟中國大山大水之美。此期他除了油畫之外，還兼畫國畫，逐漸地他喜歡用西畫方式，表現中國水墨畫的意境與內涵。畫法上他的筆觸粗獷跳動，準確地將山村、遠山、浮雲勾勒出來，筆端透露歡愉的氣氛。用色上雖保持藍及墨的主色，但溫暖的色調點綴其中，色彩層次增加而豐富。

NG Po Wan was born in 1904 in Taishan, Guangdong, the young family was impoverished period, after receiving education in the home, in a fortuitous opportunity - he saw the painting from a friend there he decided to study art. He went to the Philippines University of the Arts, at school by drawing, watercolor, oil painting techniques honed real Sapporo,after he return to Hong Kong, the heart and soul into painting creation, to become a professional painter. Beginning in 1966 to Huangshan, Hangzhou, West Lake and other places for painting trips. NG Po Wan from 30 years since the creation date, has accumulated more than four pieces of work. However, early works by the Guangdong Zhongshan in a shipwreck in Hong Kong was bound completely destroyed. The peak of its creativity can be described as works of 60 to 70 years.To the mainland in the 60 years he travels around sketching, those magnificent rivers and mountains, pristine scenery, such as Shaoxing, Guangdong, became a source of trauma. Experience in the many sketches, he realized the beauty of great mountains and rivers of China. The addition of his paintings , but also painting and painting, and gradually he likes painting with Western ways, the performance of Chinese ink painting in the mood and meaning. Drawing on his strokes rough beating, accurately village, mountains, clouds outlined, his writings reveal the festive atmosphere. Although the use of color, and blue ink to keep the main colors, but dotted with warm colors, rich color levels increase.

OU Hao Nien 歐豪年（b. 1935）生於廣東吳川，室名移竹軒，畢業於嶺南藝院，1970 年定居臺灣，任中國文化大學美術學系，藝術研究所專任教授，國立臺灣藝術大學研究所兼任教授，中央研究院嶺南美術館榮譽館長，歐豪年文化基金會董事長，香港珠海大學董事，香港（海外）文學藝術家協會永久榮譽會長，美國國際科技大學董事，美國舊金山中華藝術學會監事長。歐豪年擅以山馬筆作畫，畫中山水岸壁的層次自沉鬱轉至紋理清晰分明，展現出微妙的墨彩和墨色的「濃、淡、幹、濕、黑」等多變效果，他也經常使用中國傳統的留白來傳送畫中虛無的精神面涵意，作品充滿啟發性，更充滿生命力及情感，令人易於共鳴。一生創作與教學，提拔後進，藝壇公認為嶺南畫派傳人。

Lot 046

PU Ru 溥儒（1896–1963）出身清室皇族，姓愛新覺羅，字心會，又號羲皇上人、西山逸士，堂號為「寒玉堂」。曾留學德國，篤嗜詩文、書畫，畫工山水，兼擅人物、花卉及書法，與張大千有「南張北溥」之譽，與吳湖帆并稱「南吳北溥」。渡臺後專心書畫詩文，恬淡無爭，溥心畬的畫風並無師承，全由擬悟古人法書名畫以及書香詩文蘊育而成，加以他出身皇室，靠著大內許多珍藏，自然多有觀摹體悟的機會，所作山水遠追宋人劉李馬夏，近則取法明四家的唐寅，用筆挺健勁秀，所謂鐵劃銀鉤，將北宗這一路剛勁的筆法─斧劈皴的表現特質闡發無餘，並兼有一種秀麗典雅的風格，再現了古人的畫意精神。

Lot 009

Lot 010

Lot 011

Lot 012

Lot 026

SA Dji 沙耆（1914–2005）生於浙江。原名沙引年，1932 年就讀於上海美專，而後進入中央大學藝術系。1937 年進入比利時皇家美術學院。1942 年其作品《吹笛女》，於柏蒂畫廊美術館展覽，並獲皇室所收藏。1978 年，將在比利時創作的作品，全數捐贈浙江省博物館。浙江美術學院及中國美術家協會共同籌辦沙耆個展，於上海、浙江、北京等地巡迴展出。1984 年，受聘為上海文史研究館館員，1985 年遊覽中國各地，創作了一系列風景畫。 Lot 104

Originally named SA Yin Nian , SA was born in Zhejiang and in 1932 began studies at the Shanghai Arts School, later entering the art department of the Central University of China. In 1937 he entered the Belgium Royal family. In 1978, he donated all his works from the period in Belgium to the Zhejiang Provincial Museum. lnl983, at touring exhibition of his works organized by the Zhejiang Provincial Museum, the Zhejiang Institute of fine Art and the Chinese Association of Artists was shown in Beijing, Shanghai, and Zhejiang. 1n1984, he was engaged as a fellow at the Shanghai Cultural-Historical Research Society. In 1985, he exhibited throughout China and created a series of landscapes.

225

SHEN Che Tsai 沈哲哉（b. 1926）

Lot 070

臺灣臺南市人，1938 年入省立臺南一中，師事郭柏川與廖繼春。曾任臺南美術研究會評議員、臺陽美術學會會員、省展評議院、臺南家專美術系教師、服務教育界四十餘年，目前已退休，專事創作，並旅居日本、美國兩地。就讀中學時，作品曾入選府展、臺陽展，嶄露頭角，歷來參加國內各項展出，深獲好評，曾獲中國油畫學會金爵獎、國立歷史博物館榮譽金獎章等榮譽。1995 年國立臺灣美術館舉辦「沈哲哉七十回顧展」。作品收藏有國立臺灣美術館等。

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

四川南郜縣人。就讀於杭州藝專，受教於林風眠、吳大羽而發展出粗黑線條的繪畫風格。1941 年因習留法畫家龐薰勤和馬蒂斯而喜歡強烈色調。後赴美考察，受普普、歐普、硬邊藝術的影響並在作品中加入歐普和硬邊主義的形色表現。晚期回歸到他最原始而自然的本土家鄉。立志以中國人的情感來表達中國的藝術，開始全島寫生，描繪民間風物與生活百態。席德進的繪畫創作融合傳統與鄉土、使用水彩、水墨與油畫，兼納東方與西方繪畫的特長，開創出他個人雄渾動人的獨特風格。獲中山文藝創作獎，並舉行個展多次，作品廣為各界收藏。

SHIY De Jinn was born in Szechwan. He learned under Pang Syun-Chinn who had studied in France. SHIY followed Matisse’s color palette. He had experimented with Pop Art, Op Art, and Hard Edge, but he returned to country style with which he felt most comfortable with later period in his career. When he moved to Taiwan, he started to use folk matters and state of livelihood as his subjects in paintings. He united western and eastern media and styles to take Chinese art to a new dimension. He had held many exhibitions. In foreign countries, he started to think about the beauty of Chinese Art. SHIY De Jinn believes that art should reflect reality. At this time, he came up the idea of “present” and used it in his works. After he returned to Taiwan, SHIY De Jinn focused on studying Chinese Art. He uses Taiwan as his subject, such as traditional architectures in Taiwan and scenery. SHIY De Jinn takes his feeling and love from place and life as his inspiration and depicts Taiwan with devoutness.

Lot 071

SHIY De Jinn 席德進（1923–1981）

Lot 071

226

Lot 071

SUN Yun Tai 孫雲台（1913–2005） 1931 年前往俄羅斯，進入莫斯科白俄貴族畫家洛巴諾夫畫室習畫。1930 至 1950 年代曾辦過多次師生聯展，也於莫斯科及日本東京舉辦個展。1943 年偕同恩師洛巴諾夫避居黑龍江，他所創作的作品《森林》、《松花江》陳列於人民大會堂黑龍江館。1965 年遇上文化大革命被批判，因此隱居。 1992 年在臺北福華飯店舉辦返中國後第一次個展；1993 年在香港藝術中心舉辦第二次個展。1994 年，在「在臺灣─國際藝術博覽會」，他的十一幅作品與畢加索等國際藝術大師的作品並列展出。 1995 年在臺北長江藝術中心舉行第三次個展。1996、1997 年於臺南、臺北索卡藝術中心舉行第四、五次個展。他晚年獲得省政府頒發的榮譽證書，被授予哈爾濱終身藝術家稱號。 Lot 160

TANG Hay Wen 唐海文（1927–1991）生於福建廈門，自幼跟隨祖父習寫書法， 1937 年舉家遷居越南，因其對藝術的執著，於 1948 年赴藝術之都巴黎遊學，他以自修的方式遊覽巴黎各大美術館，而於 1955 年首次舉辦展覽，之後陸續於歐美各國展出， 1997 年 8 月台北市立美術館為其舉辦「作品回顧展」。於 2002 年 9 月法國巴黎的亞洲藝術館舉行大型的回顧展，並於同年日本東京資生堂基金會也舉行了唐海文個展。完整地呈現其繪畫風貌，作品為多所法國現代美術館及私人收藏。

Born in Amoy, Fujian. T'ang studied Chinese calligraphy under the instruction of his grandfather. In 1937, T'ang moved irst to Vietnam and then to Paris in 1948 to further his studies. A self-taught artist, T'ang held his first exhibition in 1955 and since then his works have been widely exhibited in Europe and America. In August 1997, the Taipei Fine Arts Museum organized a retrospective exhibition of his work entitled "The Tao of Painting." From June to September 2002 the Musée des Arts AsiatiquesGuimet in Paris has presented a retrospective of T'ang works entitled "Paths of Ink" In August 2002 the Shiseido Foundation in Tokyo has also exhibited the work of T'ang. T'ang's work is either held privately or in the collections of several museums in Europe and America. Among them are The Menil Collection, Houston, Texas; the Musée National des Art Asiatiques-Guimet in Paris and The Musée d'Art Moderne de la Ville de Paris.

Lot 089

Lot 157

Lot 090

Lot 091

Lot 158

227

TING, Walasse 丁雄泉（1929–2010）江蘇無錫人，成長於上海，在街頭作畫維生。曾入上海美術專科學校學習，1946 年遷居香港。1952 年前往巴黎，期間和眼鏡蛇畫派成員結為好友。1960 年移居紐約，發展出新畫風，成為美國普普藝術家一員。出版一本名為《一分人生》（One Cent Life）的詩集，內容並包括了多位美國及歐洲藝術家的版畫原作。1977 年獲得古根漢紀念基金會的獎助學金，並出版了一本以女性為題材的情色素描與繪畫書籍，名為《朱唇》（Red Mouth）。2001 年起定居於荷蘭阿姆斯特丹。其色彩鮮豔之作品為各大博物館收藏，包括美國大都會美術館，及古根漢美術館等。

Lot 105

Lot 107

Lot 106

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

TAI Jing Nong 臺靜農（1903–1990）字伯簡，安徽霍邱人，著名作家、文學評論家、書法家。早年系「未名社」成員，與魯迅有過交往，先後執教於輔仁、齊魯、山東、廈門諸大學及四川江津女子師院，後為臺灣大學中文系主任。其書義廣泛涉獵金文、刻石、碑版和各體，真草篆隸皆精，尤以書風近似倪元璐而自成家數，亦擅篆刻、繪畫，有《臺靜農書藝集》及小說、散文等書出版。

Lot 049

WANG Yi Meng 王軼猛（b. 1922）湖北監利縣人，現定居於美國，瑞典聖奧拉發大學藝術學名譽博士，1981 年名登「世界名人錄」、「中華民國現代名人錄」及「中華民國當代名人錄」。書法作品號稱「獨門之王」，在海內外展出次數之多，尤其是他的行草自成一格，行行有活法，字字俱生動，備受讚譽，藝壇推崇他的字有蒼莽沉雄之勢，亦饒飄逸灑脫之姿，剛柔並蓄，其書法在兩岸都享有很高地位，並為多國藝術館收藏。他以傑出書法之成就，列入英國康橋大學編寫的世界名人錄，整個二十世紀，海峽兩岸書法家只有王軼猛先生一人獲此殊榮，王軼猛書法作品經常在世界展出，展出地點有日本東京、南韓首爾、美國加州、加拿大多倫多、烏拉圭、阿根廷、印度，尤以美國舊金山展出次數最多。 228

Lot 031

WANG Shou Ying 王守英（b. 1934）出生於台灣鹿港。台北師範藝術科畢業。曾於 1971 年獲全省教員美展第一名；1984 年於台北國立歷史博物館舉辦個展。作品有一種強烈的特色：以狂放的筆觸營造出極端浪漫的情境。在他的畫面上沒有物體的輪廓，但筆觸卻穩重嚴謹。作品中最傳神的莫過於淡紅色香水百合，而俐落的「粹落筆花」，則是僅用數筆便勾勒出百合在風中搖曳的曼妙姿態。 Lot 083

WANG Shou Ying was born in Lugang, Taiwan. WANG graduated from the Art Department of National Taiwan Normal University. He was awarded the first prize at National Teacher Art Exhibition. Wang held his solo exhibition at Taiwan National Museum of History in 1984 and at Galerie Moustache, Osaka, Japan, in 1992. With his characteristic of sloppystyle stroke, he created an ultimate romantic and exotic sensation. In his painting of flowers, WANG used his exceptional stroke to indistinctly represent his main objects. Yet, he could still reveal flower’s expressive gesture. WANG used the same technique in his scenery painting. With just a few strokes, he could well execute his paintings with secret but peaceful touch.

WANG Ji Yuan 王濟遠（1893–1975）現代畫家，祖籍安徽，生於江蘇武進，中國早期水彩畫家，1912 年江蘇第二高等師範學校畢業后，曾到鄉間小學教美術，後靠勤奮自學而成為二三十年代有名的油畫家、水彩畫家，曾任上海美專教授和教務長，長達 12 年之久；1920 年于上海參加西洋畫社團「天馬會」。 1927 年創辦「藝苑繪畫研究所」，1928 年赴日本東京、法國巴黎考察西洋美術。1941 年又赴美國，創辦華美畫學院，傳授中國畫和書法。善中西繪畫，以水彩畫見長。西畫風格受塞尚影響，又具東方藝術氣質國畫重寫生，墨色淋漓，自具風貌，早年編有高中水彩畫教本，《濟遠水彩畫集》等。1973 年返回臺灣定居，1975 年逝世。

Lot 051

WANG Shui King 王水金（1918–1985）出生於日治時代的臺北廳艋舺。王水金在日治時代，便以多項廣告設計獲獎嶄露頭角；其中開設的「東和號」，在當時更是臺北唯一的一家廣告設計公司。尤其承其師藝的廣告繪製技藝者，更是分支流傳甚廣，可說是臺灣廣告設計界，重要的前輩人物。其最擅長肖像畫，最有名的人像作品，則為《中山堂的國父遺像》。 1949 年第四屆省美展作品入選，1950 至 1952 年省美展皆得名；1950 至 1953 年於臺陽美展獲得佳作或入選。1980 年時創辦「創辦大自然畫會」，翌年舉辦臺灣省文藝季巡迴展，邀請歷屆省展得獎作家作品展出。1982、1983 年作品皆至日本參展。1988 年於臺北東之畫廊為第一次個展，2004 年則在國立歷史博物館有其紀念展覽。

Lot 066

229

WANG Pan Youn 王攀元（b. 1912）

Lot 134

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

WANG Pan Youn was born in a wealthy family in Jiangsu, China, 1912. He graduated from Shanghai Training School of Fine Arts and lived most of his teenage in war. Ever since he came to stay in Taiwan in 1949, life has been difficult. However, WANG insisted that he keep painting so as to reflect his inner self. Wang’s artwork is depicted through sensitive feelings and clear subjects. The brushwork, which is full of compassion, builds up a highly refined style; moreover, the warm colors and dim outlines give audience a carefree atmosphere. Several of his works were collected by National Taiwan Museum of Fine Arts and Taipei Fine Arts Museum shows the importance of Wang Pan Youn’s art. In 2001, he was invited by National Museum of History to hold a solo exhibition -"In Pursuit of Solar Perfection: Exhibition of Self-Selection by Wang Pan Youn at Ninety." Last but not least, he was awarded for several national prizes in recent years.

WANG Yi Dong 王沂東（b. 1955）生於山東。畢業於中央美術學院油畫系，現為專業美術在北京藝術學院。曾參加 1993 年香港國際藝術博覽會， 1997 年赴美國參加「中國油畫回顧展」開幕儀式，2003 年中國北京首屆「國際美術雙年展」，2004 年「北京寫實畫派首屆油畫展」，1999 年於香港舉辦個人畫展。

Wang Yi Dong was born in Shandong Province. He graduated from the Central Academy of Fine Art, and now is a specialist of fine art in the Beijing Art Academy. He has participated in the "Hong Kong International Art Expo". The opening ceremony of the "Reviewing Exhibition of China's Oil Painting" in USA; the 1st "Beijing International Art Biennale"; the 1st "Oil Painting Exhibition of Beijing Realism"; has held solo exhibition in Hong Kong in 1999.

Lot 173

WU Guan Zhong 吳冠中（1919–2010）

Lot 119

230

Lot 164

出生於江蘇省宜興縣。1942 年畢業於國立藝術專科學校，1946 年考取公費留學，1947 年到入法國巴黎國立高等美術學院。1948 年作品參加巴黎春季沙龍展和秋季沙龍展。1950 年返國，先後任教於中央美術學院、清華大學建築系、北京藝術學院、中央工藝美術學院、中央工藝美術學院。1991 年，法國文化部授予其法國文藝最高勳位。 1993 年榮獲巴黎市金勳章。2000 年入選法蘭西學院藝術院通訊院士，是首位獲此殊榮的中國籍藝術家，這也是法蘭西學院成立近二百年來第一位亞洲人獲得這一職位。吳冠中在美術創作和美術教育上取得了巨大成就，致力於油畫民族化和中國畫現代化的探索，繪畫面向反映了中國繪畫面貌的特點，呈現東西方藝術的匯合，在海內外享有很高的聲譽。

Wu Guan Zhong was born in Jiangsu Province, China he graduated from National College of Art in Hangzhou. In 1947 Wu traveled to Paris to study at the École Nationale Supérieure des Beaux Arts on a government scholarship, and then participated in The Paris Spring and Autumn Salon Exhibition. Since his coming back to China from 1950, he has lectured at numerous major art colleges. Recently, he was honored “Officier de l’Ordre des Arts et des Lettres” from the French Ministry of Culture (1991), “Gold Medal” from the Paris Municipal Government (1993); and lastly, the Corresponding member of Academie des Beaux-Arts de l’Institut de France (2000), which is the first Chinese artist to be awarded with this title in 200 years of establishment of the institute. Wu Guan-Zhong obtains great achievements on not only art creation, but education as well. He dedicates himself to explore and integrate oil painting and Chinese painting’s characteristics. As a result, Wu receives a respectful standing in international art field.

WU Hao 吳昊（b. 1932）

Lot 084

1932 年生於中國南京市，是當代旅法華人畫家。1996 年畢業於中央工藝學院裝飾藝術設計系，1988 年考入法國巴黎國立高等美術學院，在昂德里繪畫工作室萊斯格納多媒體工作室學習現代繪畫，2001 年獲得法蘭西國立造型藝術學最高等學位。他精通油畫及版畫，作品中包含了兩種畫型的特色，畫評家認為他「油畫中蘊含著版畫的趣味，版畫中透露著油畫的肌理」。而繪畫的題材大多從歷史和生活中擷取靈感，在觀察自然的同時用細膩的色彩表現情感。運用薄而透明的東方式油畫、獨特的暈染技巧，加上民俗的造型、神采飛揚的人物，畫面中展現了歡愉、極具生命力的氣度，具有強烈的中國風及個人特色。

Wu Hao was born in Nanjing, China, in 1932. His grandfather was a Chinese ink painter. And then he followed his relative coming to Taiwan, then serviced in military till 1971. Wu Hao specializes in oil painting and printmaking, both of the features are contained in his work. Critics consider his oil painting has a kind of delight of printmaking; and that the latter reveals the former’s limning. Wu extracts inspiration mostly from history and life, using delicate colors to express feeling. With thin and bright Eastern oil painting skills, and folk design, spiritual figure, Wu’s paintings express cheerful, vital, and his own style.

Lot 085

WU Shih Xian 吳石僊（1845–1916）名慶雲，字石遷，晚號潑墨道人，南京人，流寓上海，擅山水，山水氣勢雄厚，丘壑幽奇，初不為人重，既赴日本歸，乃長煙雨法，墨暈淋漓，煙雲生動，峰巒林壑，陰陽向背處，皆能渲染入微，吳石遷參用西法，別出以往，故在當時有耳目一新之感，尤為滬上粵商所喜，早年參加了滬上著名畫會「萍花書畫社」，與吳大徽、顧若波、胡公壽、錢慧安、倪墨耕、吳秋農、金心蘭、陸恢等名家並稱近代國畫中的「萍花九友」。

Lot 052

WU Ping 吳平（b. 1920）字堪白，浙江餘姚人，渡臺候曾任職故宮博物院書畫處處長，幼承家學，隨父親習字作畫，書法植基于唐楷，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，今年以九五高齡，仍持續書畫創作與教學，提攜後進具長者風範，在寫實或寫意都有自己風格的吳平先生，在書畫印界都有很高的知名度與影響力。

Lot 033

231

YANG Shi Hong 楊識宏（b. 1947）

Lot 145

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。

Yang Shi Hung 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 his canvas and made his work responsive to feedback. Such responsiveness means more than an acute sense and courage, it also challenges the artist’s character. It is therefore that his works always convey poetic as well as elegant style, and receive high recommendation and praise from art field.

臺北永和人。1915 年時入艋舺公學校， 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。1931 年赴法國留學，次年其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，回臺後成為一個專業畫家，推動各項美術活動。1934 年返臺創辦「洋畫研究所」於太平町，與陳澄波、廖繼春、顏水龍、李梅樹、李石樵等人成立「臺陽美術協會」，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 年恢復臺陽展，成為該展最大支持者。1985 年臺陽展與春陽會於史博館合辦「中日美術展」， 1986 年獲國家文藝獎，1989 年臺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。楊氏舉行過多次個展，並多次在臺灣美術展上獲獎。其中比較重要的展覽有 1973、1983 年分別在國立歷史博物館舉行的「楊三郎油畫個展」和「楊三郎油畫回顧展」。楊氏以其在畫壇上卓越的成就，曾於 1986 年榮獲國家文藝特別貢獻獎。

YANG was born in Taipei, Taiwan. YANG moved to Japan in 1924 where he studied at the Kyoto School of Arts and Crafts. He then transferred to the Western Painting Department in the Kansai Art Academy to receive academic training. He returned to Taiwan in 1927, and founded the Ruddy Island Association together with NI Jiang Huai and LIAO Chi Chun. In 1929, he won the first prize at the Taiwan Art Exhibition. YANG went to France in 1931, spending time to visit museums and study European paintings. In the following year, his works were selected for the Autumn Salon in Paris. In 1924, he returned to Taiwan and held a solo show at the Hall of Education. At the same time, he established the Taiyang Art Association along with other notable artists such as CHEN Cheng Po and LIAO Chi Chun. YANG has received numerous awards and held various important solo shows, including Oil Paintings by YANG San Lang (1979) and Retrospective Exhibition of YANG San Lang 's Paintings (1983), both held at the National Historical Museum. YANG received a special national art award in 1986 for his tremendous contribution to Taiwan's art world.

Lot 146

YANG San Lang 楊三郎（1907–1995）

Lot 076

Lot 077

232

Lot 078

YANG, Yuyu 楊英風（1926–1997）

Lot 122

楊英風宜蘭人，生於 1926 年，是臺灣乃至於世界知名的景觀雕塑與環境造型藝術專家。楊英風唸過三所大學：日本東京美術學校（現東京藝大）、北京輔仁大學美術系、國立臺灣師大藝術系，其後負笈羅馬藝術學院專攻雕塑，學習近代西方藝術，面臨西方文化的激盪，使他更體認出東西文化的特質和差異。而後窮其一生，均致力於調和建築與環境的景觀雕塑。六○年代間獲頒義大利奧林匹克繪畫金章獎、雕塑銀章獎與第二屆世界和平文化藝術大獎。

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

YANG Shan Shen 楊善深（1913–2011）

Lot 017

字柳齋，廣東赤溪縣人。徐悲鴻對他極為器重，並為他的畫展作序，自東南亞之行後回國，先留於澳門暫居。期間與高劍父、馮康侯等共組協社，一同從事藝術研究，回港發展後，先後在香港、澳門、台灣、日本及美國、加拿大各大城市舉辦個人畫展。對推廣中國繪畫藝術及介紹嶺南畫派，建樹良多。1970 年為推廣嶺南畫派藝術，在香港創立「春風畫會」，不少從學者已在繪畫方面具有自己的面貌，可謂桃李滿天下。楊善深注重遊歷和寫生，足跡遍及中國各地和世界各國。其繪畫表現形式與高劍父有許多共通處，而藝術思想亦深受其影響，因此畫風也是以嶺南畫派為基礎。動物、花鳥、人物、山水均是其筆下題材。人物常以白描來描繪輪廓和表情，再以淡彩或粗闊的背景來呈現，山水畫多先以潑墨定大局，依勢加上皴法，將環境氣氛烘托，個人風格非常突出，他的書法亦獨具風格。

YANG Jen Ming 楊仁明（b. 1962）

Lot 149

生於臺灣高雄，1985 年文化大學美術系西畫組畢業，同年亦獲選雄獅新人獎，並於南畫廊舉辦第一次個展「立方體的再現」。而後進入臺北藝術大學美研所，又於 1988 年赴法國研習。1991 年於臺北美國文化中心的個展「在想像與現實之間」；1993 年展覽甚多，含臺北印象畫廊、芝加哥畫廊博覽會雙個展，以及參加日本第八屆福岡亞細亞國際美展。回台後，1994、1996 年於臺中臻品藝術中心舉辦個展「從黑水長出來的新植物」及「人性太人性的─大光環」。其創作活動亦於 2013 年於臺北印象畫廊個展與 2014 年在高雄新思惟藝術空間與駁二藝文特區參與聯展。楊仁明的創作建立在他不斷地嘗試，探討不同的形式和表現方法，透過風格的轉變來記錄他的人生和內心的歷程，作品呈現他對藝術的執著。

YANG Shin Sheng 楊興生（b. 1938）

Lot 161

楊興生生於江西。師大美術系畢業後赴美，於密蘇里州立師範學院藝研所及新墨西哥州立高原大學藝研所研究。1965 年起，曾在西班牙、日本等國及國內各畫廊舉辦多次個展及聯展，也先後創辦龍門、大陸畫廊，現為專業畫家。曾獲中華民國畫學會油畫金爵獎、中國文藝協會二十八屆油畫繪畫文藝獎章。擔任過畫學會、北市美展、全省美展評審委員及省立美術館典藏委員。

Born in Chianghsi. Yang is a graduate of the National Taiwan Normal University. Since 1965 he has held many solo and joint exhibitions in Spain, Japan and Taiwan. He founded the Lung Men Fine Arts Gallery and Continental Fine Arts Gallery and is now the proprietor of the Seventh Fine Arts Gallery. He has earned Golden Cup Award for Oil Painting from the Chinese Painting Society and the Chinese Literary Association's 28th Oil Painting and Literary Medal. He has been committee members of China Painting Association, Taipei Fine Arts, and Provincial Fine Arts Exhibitions and served as a member of the Taiwan Provincial Fine Arts Museum's Classics Curatorial Committee. 233

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 年追隨孫中山來臺灣，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 年臺灣病故。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、臺北國立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、書法版本等一百五十多套件，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三十餘件。

Lot 022

Lot 033

Lot 034

Born in Shaanxi, China. He is modern poet and calligrapher. In 1903, he is a candidate of provincial examinations. In 1906, Yu followed the 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 NationPacifying 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 You jen's Calligraphy Museum.

Lot 039

Lot 040

YU Peng 于彭（1955–2014）生於臺灣。曾於陳亦耕老師畫室學習。于澎的作品常以四周真實的生活淌主題，畫風隨意天真而友善。他將畫中的人物、怪石、鳥、花及其它動物以平面式的排列以呈現近似鳥瞰式的視野。用色鮮活，筆由寫意而不矯飾。于彭的作品曾展於歐美、俄國、香港及臺灣。所參加過的展覽概括：1988 年起由漢雅軒所主辨一連串於香港、紐約、臺北的個展；1991 年由美國馬里蘭大學亞洲藝術中心的邀展； 1992 年於德國卡塞爾的「K–18」聯展；1993 年於俄羅斯列寧格勒州博物館「中國現代舉彩書大展」；1994 年於臺北太平洋文化基金會藝術中心「西方繁材中國情」等。

Lot 053

Lot 129 234

Lot 054

Yu born in Taiwan, learned to paint with Chen Yigeng. His works have been shown in Europe. America, Russua, Hong Kong and Taiwan. Selected solo exhibitions including: Chiu Yuan Gallery, Taipei (1980); Hanart 2 Gallery, Hong Kong (1988); Hanart (Taipei) Gallery, Taipei; Asian Arts Center, Towson State University, U.S.A. (1991); Pacific Cultural Foundation Art Center, Taipei (1994); and so on. His has participated many group exhibitions including: Shang Ya Gallery, Taipei (1982); Pai Chia Gallery and San Tsai Art Center, Taipei(1984); Hong Kong Art Center, Hong Kong (1991); Kassel, Germany (1992); Leningrad Museum, USSR (1993); Up Gallery, Kaohsiung (1993); Hanart (Taipei) and Hanart TZ Gallery, Taipei and Hong Kong (1993); Metropolitan State College of Denver, Colorado, U.S.A. (1994). Yu paints subjects form daily live. Instead of duplicating real life in western perspective, he shows us a flat world in bird's-eye View with personalized feel in traditional ink-based brushwork.

YU Chen Yao 余承堯（1898–1993）福建永春人，早年投筆從戎，1920 年東渡日本，於早稻田大學攻讀經濟，又轉入日本陸軍士官學校鑽研戰術。返國後服務軍旅，1946 年以中將退伍，1950 年輾轉來臺，經營藥材生意，餘暇則讀書、作詩、作畫、寫字自娛。他從五十六歲開始作畫，沒有師承，僅以大自然為師，以細碎密結的筆法，皺擦出山岩，再由多塊山石或山峰結組密實的山形。他的自家山水，展現獨特的創作語言，余氏淡泊一生，深居簡出，有隱士之德，他的山水畫寫實中帶有詩意，是開創獨特山水畫法的大家。 Lot 050

YE Gung Chau 葉公超（1904–1981）原名崇智，字公超，後以字行，原籍廣東番禺，生于江西九江。為新月派代表人物之一。曾任西南聯大外文系主任，清華大學、北京大學外文系教授，外交部長、駐美大使、總統府資政，有「文學的天才，外交的奇才」美譽，能書擅畫，畫以墨竹所見長。 Lot 021

YEH Huo Cheng 葉火城（1908–1993）

Lot 082

生於臺中。臺北第二師範學校畢業，曾任國民學校教員及校長，南亞塑膠工業股份有限公司美術顧問。1927 年起，作品多次入選臺展及府展。1959 年擔任全省美展審查委員，第 14 至 27 屆。1965 年任私立明志工專董事。曾任臺陽美術協會會員、中國美術家協會會員、中華民國油畫學會理事長。1993 年逝世。

Born in Taichung . Yeh was graduated from the Taipei Second Normal College in 1928. Since 1927, his painting was frequently selected in Taiwan Exhibition and Taiwan Governor-General Exhibition. In1959, he held a post at provincial Fine Arts Exhibition, since the 14th to 27th session. In 1965, Yeh occupied as a trustee of Mingchi Institute of Technology. He was one of the adjudicator members from Taiyang Fine Art Association, Chinese ARTISTS association and ROC Oil Painting Association. Yeh passed away at age of 85 in 1993.

花蓮玉里鎮人，1981 年葉子奇自文化大學美術系西畫組畢業。翌年底加入中華民國現代畫學會，他熱情的發起組織「一○ 一現代藝術群」。1983 年舉辦「一○一現代藝術群」第一次聯展，自軍中退役後設立個人畫室，教畫為生。1987 年赴美，入紐約市立大學布魯克林學院藝術研究所。 1989 年為藝術創作碩士，開始「獨白」系列的創作。1992 年「獨白系列紀念父親個展於臺北玄門藝術中心」，亦為離國五年首度返臺之首展。作品廣為國內外收藏機構及私人收藏。2007、2009 年於誠品畫廊舉辦「走過風景的心情」、「風景．臺灣」個展。

Born in Hualian county. YEH graduated from Hualian senior high school in 1975 and held an exhibition in Personal Service Center in Hualian. In 1975, YEH graduated from Fine Art Department of Chinese Culture University and entered military service. In 1982, he is a member of R.O.C Painting Society, and organized 101 Artgroup. In 1983, YEH held exhibition of 101 Art-group and set up his own studio. In l987, YEH entered Brooklyn College of the City University of New York. Some of his paintings are in the collection of art institutes and privates worldwide.

YEH Tze Chi 葉子奇（b. 1957）

Lot 150

Lot 151

235

YOSHITAKA Amano 天野喜孝（b. 1952）出生於日本靜岡。1967 年十五歲就已參與製作動畫，有許多都是七○、八○年代當紅的電視卡通，例如「科學小飛俠」的 Gatchman 和「小蜜蜂」，直至三十歲便正式辭職並自資推出個人作品。天野喜孝於幻想類創作的知名度與創作實力已經是一種藝術境界的層次。其作品散見各種藝術創作活動中，有動畫人物設計、電玩遊戲視覺概念設計、書籍的封面設計與內頁插畫、舞蹈、戲劇、電影的場景設計、背景美術設計、服裝設計等。

Yoshitaka AMANO was born in 1952 in the small Japanese town of Shizuoka. In 1967, since he is 15-year-old, he started participating the creation of characters for cartoons, such as "Gatchaman" and "Hutch the Honeybee." At the age of 30, Amano grew restless and decided to leave the stability of Tatsunoko for freelance work which allows him explore new styles and subjects. Amano's fame and creating ability of imagination creations has reached the layer of arts. His works could be viewed at various of creating activities, in the forms of animation, video games visual design, graphic cover pages design, dance, drama and movie slots design, costumes design and much more.

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 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，成為第二次世界大戰後的巴黎畫派最具影響力的畫家之一，也是西方藝壇上成就最傑出的一位中國藝術家。1981 在法國大皇宮展出，並獲得「榮譽軍團司令勛章」。2002 年榮膺為法蘭西學院院士。他的作品廣被世界各地的私人藏家及博物館珍藏。趙無極大師於 2013 年在巴黎辭世。

Z h a o Wo u - K i wa s b o r n i n B e j i n g . H e graduated from Hangzhou Fine Art College. He was mentored by Lin Feng-Mian and Wu Da-Yu. Influenced by abstractionism, he explored Western modern paintings and immediately held exhibitions in Paris, England, America, and Switzerland. He adopted the spirit of tradition by join Chinese brush strokes into paintings. He described concrete images in abstract forms. In the painting of 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.

Lot 127

ZAO Wou Ki 趙無極（1921–2013）

Lot 166

236

Lot 167

Lot 168

Lot 169

ZHOU Cheng 周澄（b. 1941）臺灣宜蘭人，為靈漚館江兆申入室弟子，詩書畫印四絕皆擅，山水畫和書法多有文人氣。周澄的山水畫，撲面而來的是一股強烈的個性意趣，一種出自肺腑的筆墨抒情色彩，在造化裏修煉而成的道骨仙風。他有很高的筆墨造詣，也十分注意精到的點劃和修飾；他有行雲流水般的線條，有鐵劃銀勾式的筆觸，卻無法掩藏心中的審美好惡。任性、隨意，在畫裏堅持自己的藝術主張，發自已想發的感歎，吐自己胸中的壘塊，由此，他構築起自己的風格框架。曾任臺灣印社社長、江蘇省國畫院特聘畫師。

Lot 151

ZHENG Shan Shi 鄭善禧（b. 1932）生於福建漳州，自小喜色彩濃艷、線條流暢的民俗藝術，常在空暇時到戲臺、廟宇觀看匠師雕神像、漆門神，為之後的鄉土風格打下了基礎。其畫作融合民間藝術與文人畫風，使他的作品既有民間的華麗也有古樸雅致的文人風骨，創作題材多變，尤喜寫生，在師大求學與出國時，受到西洋繪畫色彩的衝擊，引領他突破傳統水墨與黑白藩籬。由於經常出入山林，他發現臺灣山形地貌與中國大陸有明顯的差異，而非傳統國畫的紙上雲煙，於是將身歷其境的親身感受，畫出了渾圓不峻、翠綠的「臺灣山」，畫出了臺灣風味的中國畫，除了山水畫之外，鄭善禧師法齊白石，將民間藝術融入畫作中，所畫皆是眼前所見及生活感受，趣味橫生，雅俗共賞。

Lot 016

Lot 019

Lot 020

Lot 055

ZHOU Chun Ya 周春芽（b. 1955）

Lot 159

四川成都人，1982 年畢業於四川美術學院油畫系。1988 年畢業於德國卡賽爾綜合大學美術學院自由藝術系。現為專職畫家。1980 年入選第二屆全國青年美展獲二等獎、1982 年參加紐約中國當代油畫展、 1984 年參加香港四川油畫展與前進中的中國青年展，1987 年於德國舉辦個展，來年於奧地利林茨舉辦個展意參加德國比勒菲爾德國際五人作品展、1992 年入選廣州九十年代藝術雙年展學術展、1993 年香港後八九中國新藝術展、1996 年應邀參加第一屆上海雙年展。作品為奧地利林茨美術館收藏。

ZHOU Chun Ya was born in Chengdu, Sichuan Province. ZHOU graduated from the Department of Oil Painting of the Sichuan Art Institute in 1982, and also graduated from the Fine Arts College of German Kassel University in 1988. He is a professional artist, and currently works as an artist at the Chengdu Academy of Painting. In 1993, his works took part in "The China's New Art Exhibition- Post 1989" in Hong Kong, and in the first "Shanghai Biennial Exhibition" in 1996. ZHOU's works can be found in the Austria Linz Art Museum. 237

ZHANG Jing Sheng 張京生（b. 1940）生於中國北京，1967 年中央美術學院畢業，擅長油畫。1973 年曾在天津美術學院任教師，曾任繪畫系副主任；也曾任「中國青年美術展覽」評選委員、天津美術家協會常務理事。作品《沒有共產黨就沒有新中國》獲第五屆全國美展銀獎（與王元珍合作 )，《美國印象系列油畫》，被中國美術館等處收藏。1980 年獲「中國美術大展」銀獎，作品《古城春色》由中國美術館收藏。其重要展覽包括：日本「現代中國精銳畫家三人聯展」、臺北「張京生油畫展」。

Lot 162

238

業務規則

第一節總則一、景薰樓股份有限公司（以下簡稱本公司）執行業務，均依據以下條款及每次拍賣時各拍賣型錄之特別訂定條款。二、本條款所指之金額均以新台幣計算之。本拍賣會以新台幣結算。本公司同意以新台幣以外之其他外幣結算，惟請依當日匯率核實計算折合等值之新台幣。本拍賣會中，提供匯率轉換顯示螢幕供競投者參考。其匯率係依拍賣日前一營業日台灣銀行公告之卅天遠期匯率計算。然而競投仍以新台幣進行。匯率轉換顯示螢幕所示之相關資訊，其準確度可能出現非本公司所能控制之誤差。競投者因依賴匯率轉換顯示螢幕資訊參與競投而導致蒙受任何損失，本公司概不負責。三、競標者之定義（一）喊價行為者皆視為競標者，如以書面通知本公司並經確認者得指定代理人為喊價行為。（二）拍賣官得以低於底價的金額開始拍賣，並有權代賣家以連續競標或以回應其他競標者的競價而競標的方式，繼續競投到底價的金額，拍賣官毋須特別表示其為代替賣家競投。在任何情況下拍賣官不會代表賣家作出等同或高於底價之出價。（三）如準買家以電話參與競投，本公司將盡適當之努力聯絡競投者，使其能以電話參與競投，但在不可抗力情況之下，如未能聯絡，本公司對賣家或任何買家均不負任何責任。（四）競標者應於拍賣開始前填具登記表，並提供身份證明。並經本公司核對身份證明後始得進行喊價。（五）喊價過程若有爭議時，依拍賣主持人之意思解決之，競標者不得異議。四、型錄閱讀未經本公司同意，不得任意轉載型錄圖檔。競標者應於拍賣前詳閱拍賣型錄及第四節交易條款有關拍賣型錄之規定，自行瞭解並參考其他資訊以判斷拍賣物與型錄說明之差異。五、特定名詞之定義，規定於第卅九條。第二節買方六、拍賣進行中喊價最高經拍定之競標者稱為買方。七、登記競投/保證金（一）未曾於景薰樓競投或託售拍賣品的準買家，須備：（1）a 個人：政府發出附有相片的身分證明文件（如國民身分證或護照）及現居住址證明（如身分證明文件未有顯示現居住址），可出示公用事業帳單或銀行結單等證明文件。 b 公司：註冊登記證書（2）財務狀況證明：可為近期銀行結單或銀行開立證明書。登記代表未曾於景薰樓競投或託售拍賣品者為競投者，除須備本身的身分證明文件外，尚須備其所代表競投一方之身分證明文件，以及該方簽發之授權書。登記競投者，需繳納競投保證金；競投保證金為新台幣貳拾萬元整（或美金捌仟元、或人民幣陸萬元整）。如競投拍品金額超過佰萬元者，保證金金額本公司得依競投金額比例計算。競投成功後，保證金將自動轉為成交作品應付價款之一部份。若未能順利拍得作品，則該保證金於拍賣結束後十個工作天內無息返還予登記競投者。準買家須於拍賣開始前至少30分鐘辦理登記手續並索取競投號碼牌。取得號碼牌後請妥善保管並為持該號碼牌所為之行為及所生費用負全部責任。八、

買方佣金買方應支付本公司佣金，計算方式如下：（一）拍定價少於或等於新台幣（以下同）貳仟萬元時，為拍定價之20%。 239

108

（二）拍定價高於新台幣貳仟萬元者，貳仟萬以內之部分為20%，超過貳仟萬元之部份12%計算。（三）買方同意本公司，亦可依第廿條及第廿一條之規定向賣方收取佣金。九、

付款方式（一）拍定之買方應立即提供姓名、地址及往來銀行等相關資料予以本公司。但從未與本公司往來者，應於拍賣日前與本公司約定付款及交付拍定物方式。（二）除另有約定外，買方應於拍定後七個工作天內付清總價款。買方如以新台幣以外之貨幣支付，因此所致之任何外匯費用；包括銀行收費與兌換貨幣之規費及匯差等，皆由買方負擔。十、約定付款買方得於拍賣前與本公司另行約定付款條件。十一、給付順序買方給付之任何款項，本公司得自由選擇優先抵充之應付項目，而不受買方及其代理人指示之限制。十二、拍定物之交付買方非於拍賣過程全程結束後並付清應付總價款前，不得請求交付拍賣物。但依第十條規定另行約定付款條件者，得於付清約定之一部份價款，並依中華民國動產擔保交易法登記為附條件買賣後，先取得拍定物之占有，於付清全部價款後取得所有權。登記所需費用由買方自行負擔。十三、拍定物交付之費用（一）拍定物交付所生之費用，由買方負擔。（二）買家應支付景薰樓之所得款項均不包括任何貨物稅或服務稅或其他加值稅（不論是由香港或其他地區所徵收）。如有任何此等稅項適用，買家需依有關法律所規定之稅率及時間繳付此等稅款。凡進口藝術品由買方在台取貨者，買方依規需另繳交『落槌價』之百分之五（加值）營業稅。若拍品係於中華民國境外交付買方，並由景薰樓處理運輸等相關事宜，買方則無需負擔該筆稅費，惟買方若欲於中華民國境外取貨，應於拍賣後三個工作天內通知本公司（上述進口藝術品為目錄內有*符號標示者）。（三）依第九條付款者，買方最遲應在拍定日後七個工作天內取走拍定物，否則應負擔任何本公司所為之搬運、保存及保險費用，不得異議。（四）付運及運送保險：付運所需費用概由買方支付。已購物品將於下述狀況儘快送出：買方繳足該拍賣品之款項全部結清、取得買方之書面付運指示，任何出口認可證以及其他可能需要之許可證或證書。十四、危險負擔拍定物之利益及危險自交付時起均由買方承受，縱本公司應買方之要求代為包裝或處理拍定物亦同。但逾拍定日後七個工作日仍未取走者，自該七個工作日屆滿後其利益及危險亦由買方承受負擔。十五、違約條款違反本節規定者，本公司得以拍賣人或經賣方授權之代理人身份，任意選擇下列一種或數種方法請求賠償：（一）對違約之買方提起賠償訴訟。（二）對違約之買方，解除其於本次或他次拍賣之交易。（三）將原拍定物於公開或非公開之拍賣中，再予出售。再次出售之拍定價，若較原「應付總價款」於扣除已付款部份加上再出售費用後之金額低，其差額應由違約之買方負擔；若再出售之拍定價額較高，則超出部份歸於賣方所有。（四）再次出售前拍定物之搬運、保存及保險，均依本公司選擇之方式處理理，其有關費用應由違約之買方負擔。（五）尚未付清之「應付總價款」餘額，應自拍定日後五個工作日屆滿時起至支付日止，按每月2% 之利率計息。（六）留置買方於本次或他次拍賣之拍定物，至「應付總價款」付清後才由買方領回。（七）拒絕接受違約之買方或其代理人，於未來拍賣方之喊價，或於接受其喊價前，先取得與本公司約定之押金。 240

109

（八）違約之買方若對本公司有任何已到期或未到期之應收拍賣所得，應以之抵償其「應付總價款及其他費用」，不足之部份並對其交由本公司保管之任何物品設定質權。（九）對違約之買方提起賠償訴訟並要求買方賠償該次拍賣會所拍得標地物之落搥價百分之三十違約金及其違約所遭受的一切損失及該次訴訟之全數開支。十六、本公司取得所有權前項情形，買方於拍定日後二十一日內仍未付款者，若本公司願意付款，則拍定物之所有權於本公司將拍賣所得，匯予賣方時取得所有權。十七、拍定物為膺品之處置買方於本公司將拍賣所得匯予賣方前，如認定拍賣物系膺品，得於拍定日後二十一日內，以書面通知本公司，並於發出通知後十四日內將與拍賣時保持同一狀況之拍定物退回本公司，經本公司認定確有買方所述之情形時，買方得解除本件交易，本公司並無條件退還買方已支付之任何款項，然買方不得再請求其他賠償。十八、買方注事項依中華民國法律所規定，超過百年歷史藝術品，是禁止出口的。本委託單所生之爭議適用中華民國法律，如因而涉訟雙方合意由台灣台中地方法院為第一審轄法院。第三節賣方十九、權利瑕疵擔保（一）賣方應擔保第三人就買賣標的物，不得對於本公司或買方主張任何權利。（二）拍賣之物若未交由本公司保管者，賣方應保證於買方請求時，立即交付拍定物。（三）賣方不履行前二項義務時，本公司得請求其負債務不履行之責。廿、買方因第十七條之情形而解除本件交易時，賣方應支付本公司已發生之所有相關費用及佣金（包括買方及賣方）。廿一、佣金及費用（一）未能拍出者，應依底價2%計算給付佣金並給付相關費用。（二）拍出者，本公司自「拍定價」中扣除依「規定比率」計算之佣金及相關費用，因未能拍出而私下議價者亦同。（三）本公司雖為賣方之代理人，本公司亦得依第八條向買方收取佣金。廿二、保險（一）本公司對所有受委託拍賣或保管之物皆予以投保，另有約定者，不在此限。（二）保險費用由賣方或委託人負擔，保險金額依本公司對拍賣物之估計定之，但該估計之金額，非本公司保證之拍定價。（三）保險期間至拍賣物交付予買方、買方應付款之到期日（以先屆至者為準），若未能拍出者，至賣方委託人應取回拍賣物之時。（四）保險事故發生時，領得之保險金扣除相關費用後，全數歸於享有所有權之一方。（五）本公司依第一項約定未予保險者，除本公司或其僱用人、代理人故意或重大過失所致之損害外，賣方或委託人應自行負擔危險，若致本公司受有損害者亦應負賠償責任。廿三、撤銷委託（一）（一）賣方委託本公司拍賣後，不得任意撤銷，但經本公司同意者不在此限。（二）撤銷委託者仍應支付底價20%之款項及相關費用予本公司。廿四、撤銷委託（二）（一）賣方委託拍賣後，如有下列原因，本公司得撤銷委託。（1）對拍賣物之歸屬或真實性有懷疑者。（2）對賣方所做之說明或保證之內容有懷疑者。（3）賣方有違反本交易條款內容之情事者。（4）其他合理原因。（二）如依前項第二、三款撤銷委託者，賣方應依前項約定給予底價20%之款項與相關費用予本公司。廿五、交付價款（一）除另有約定外，本公司應於拍定日後第三十五日內，將拍賣所得匯予賣方，但以買方已支付完畢為限，否則應於買方付清應付總價款五個工作日內匯予賣方。 241

110

（二）可歸責於本公司而延遲者，應加計依月息2%計算之利息付予賣方。廿六、未能拍出之拍賣物（一）拍賣物未能拍出時，賣方應於接到本公司通知後三日內與本公司聯絡，欲取回者，應於通知送達後五日內取回，通知後至取回前所發生之相關費用及危險、利益均由賣方負擔。（二）除另有約定外，本公司不再繼續為拍賣物投保。（三）欲繼續拍賣者，另與本公司成立新的委託契約。（四）通知送達後逾三日，尚未與本公司聯絡或逾五日仍未領取者，本公司得以公開拍賣或私下協議方式出售拍賣物，出售價金額不受底價限制，且均應自出售價款中扣除先前積欠之佣金及相關費用後始將餘款匯予賣方。賣方所在不明者，則將前項款項存入以本公司名義開設之銀行帳戶代為保管。（五）任何拍賣品如未能成功拍賣，或不包括在拍賣之內，或因任何理由而撤回拍賣，則在本公司發出通知予賣家要求賣家領回拍賣品之35天內，賣家必須領回拍賣品。任何此等拍賣品如在 35天期過後仍未領回，則每天每件將徵收新台幣2000元貯存費，並收取額外費用以購買保險。賣家須在付清所有未付費用後，方可領回拍賣品。第四節交易條款廿七、除本公司於拍賣前聲明該拍賣物為本公司所有者外，本公司只為賣方拍賣事物之代理人。賣方或買方自身之違約行為，應自負其責，與本公司無關。廿八、本公司有權拒絕任何人進入拍賣場所或參加拍賣。廿九、所有拍賣物皆定有底價，底價由本公司與賣方協議並以書面定之，底價經雙方協議後，非經本公司同意，不得更改。卅、本公司得依買方之請求代買方喊價，但因過失致喊價有誤或未為喊價者，本公司及其僱用人或代理人不負任何責任。本公司如同時受到多人委託代為喊價，而喊價相同者有數人，又皆為最高價者，以本公司最先收到委託書者為拍定人。卅一、本公司之拍賣型錄對拍賣物之圖示、影像、作者、來歷、出處、年代、尺寸、材質、損壞或修復情形及其他相關說明僅供參考，不在本公司保證之範圍。卅二、（一）拍賣物悉依拍賣時之現狀出售，本公司不對拍賣物之種類、性質為任何明示或暗示之保證或負擔任何瑕疵擔保責任。（二）本公司對拍賣物所為之任何陳述或書面，均不得視為保證或擔保，本公司之僱用人或代理人所為者亦同。卅三、本公司不保證買方於買受拍定物後，當然取得其著作權。卅四、未高於前次喊價5%或其他由拍賣主持人決定之比例之喊價，拍賣主持得拒絕之。卅五、因本交易所生之損害賠償，若請求權人為本公司之僱用人或代理人，本公司得代為全權處理。卅六、本公司依本約所為之通知均以書面為之，如交付郵政機關者，以郵寄後一星期視為送達收信人，但收受日期早於一星期者，以實際收日為送達日。卅七、本公司得對拍賣物拍照或攝影，並隨時使用該圖片或影像，不以此次拍賣為限，賣方所提供者亦同。卅八、未具中華民國國籍之賣方，亦應依中華民國稅法申報所得稅。卅九、名詞定義：（一）「拍賣型錄」：係包含廣告目錄、展示錄影帶、估價、標價及其他有關拍賣物品性質之說明。（二）「拍定價」：指出價最高且拍得物品之價格。（三）「應付總價款」：包含拍定價、佣金之相關費用及依第十五條得請求之損害賠償。（四）「拍賣所得」：係指拍定價扣除應付之佣金，相關費用及其他賣方應付予本公司金額後之餘額。（五）「拍定比率」：於每次拍賣後公佈。四十、本條款所未說明之特殊名詞，其特殊定義將於每次拍賣型錄上說明。四一、本條款依中華民國法律解釋之，若有未盡事宜，均依中華民國法律定之，本公司與交易之他方因本契約所生之爭訟，合意由台灣台中地方法院第一審管轄法院，其他買賣雙方未涉及本公司之爭訟者，不在此限。四二、本交易條款以中文版為準。 242

111

JSL International Art Auctions Co., Ltd. Conditions of Business Part I. General Provisions

Article 1. Ching Shiun International Auctions Co., Ltd.(hereafter referred to as “the Company” ) carries on business on the following terms and conditions and on such other terms conditions and notices as may be set out of any relevant catalogue in every auction. Article 2. Any dollar amount referred to in these provisions is denominated in New Taiwan Dollars. The sale will finally be settled in New Taiwan Dollar. If any sale is settled in other currencies, it will be calculated in the exchange rate of the day of sale.In auction, the exchange rate shown on the screen is only for referral. The exchange rate of currency is calculated on the day before the auction day. However, the bidding is still conducted by New Taiwan Dollar. The inaccuracy of the exchange rate which shown on the screen can’t be controlled by JSL Auction. We will not take any responsibilities for any error or failure due to the screen information. Article 3. Definitions (1) Every bidder shall be deemed to act as a principal unless there is in force a written acknowledgement by the company that he acts as an agent on behalf of a named principal. (2) The auctioneer must start the bid with the price lower than the reserve price and has rights to bid successively for the seller or respond the other bidders in order to reach the reserve price. However, the auctioneer doesn’t need to indicate that in the auction. Under any circumstances, the auctioneer will not offer the same price or the price higher than the reserve. (3) Bidding The auctioneer accepts bids from those present in the saleroom, from telephone bidders, or in advance of the auction. The Company offers all telephone and absentee bidding services as a convenience to our clients, the Company will do the best to serve our clients but will not be responsible for errors or failures to execute bids. • Telephone bids Prospective buyers may bid by telephone during the course of the auction. Arrangements for this service must be confirmed with the Bid Department at least 24 hours prior to the auction. Telephone bids will be recorded. By bidding on the telephone, prospective purchasers consent to the recording of their conversation. The company will not be responsible for any failure telephone contact in cases of force majeure. • Absentee bids Absentee bids are written instructions from prospective buyers directing to bid on their behalf up to a maximum amount specified for each lot. If identical bids are received from two or more parties, the first bid received will take priority. • Bidder Registration Prospective buyers should register for a numbered bidding paddle at least 30 minutes before the auction. (4) No bidder can make a bid unless the registration form has been filled in by the very person and the identification there of has been verified by the Company. (5) If any disputes happen while bidding, bidders should follow the judgment and decision of the auctioneer. Article 4. Catalogue Illustration The copyright of all images, illustrated and written material relating to a lot is and shall remain at all times. Our property shall not be used by the buyer nor anyone else without our prior written consent. Illustrations in catalogues are for reference only. Buyers should satisfy themselves prior to the sales as to the condition of each lot and should exercise and rely on their own judgments as to whether the lot accords with its description. condition of each lot and should exercise and rely on their own judgments as to whether the lot accords with its description. Article 5. The definition of words and phrases with special meanings appear in Article 39.

Part II. Conditions Concerning Buyers

Article 6. The highest bidder at the "hammer price" in auction shall be the buyer. Article 7. Bidder Registration/Bid Bond Prospective buyers who have not previously bid or consigned with JSL should bring: (1a) Individuals: government-issued photo identification such (such as national ID card or passport) and, if not shown on the ID documents, the proof of current address, a document as utility bill or bank statement is acceptable. 243

112

(1b) A financial reference in the form of a recent bank statement or a reference from your bank. Persons who register to bid on behalf of someone who has not previously bid or consigned with JSL should bring identification documents not only for themselves but also for the party on whose behalf they are bidding for, together with a signed letter of authorization from that party. Registered bidders are required to pay a bid bond of NTD 200,000 (or USD 8,000, RMB 60,000). If the estimate of Lot exceeds NTD3,000,000, the amount of bid bond shall expect a proportional increase. After becoming successful bidders, the bid bond will automatically be converted to parts of deposit for Lot which you bid. If bidder bid the work unsuccessfully, the bid bond will return to registered bidder within ten working days. Prospective buyers should register for a numbered bidding paddle at least 30 minutes before the auction. Any liability or fee accured holding the paddle goes to whose name the paddle is registered under. Article 8. The Company is entitled to charge premium from the buyer in accordance with the following terms: (1) The buyerâ&#x20AC;&#x2122;s premium payable by the buyer of each lot is at the rate of 20% on the first NT$ 20,000,000 of the hammer price (2) The buyerâ&#x20AC;&#x2122;s premium payable by the buyer of each lot is at the rate of 12% on the amount by which the hammer price exceeds NT$ 20,000,000. (3) The buyer agrees to pay the Commission and Expense prescribed in Article 20 and Article 21. Article 9. Payment: (1) The buyer shall immediately provide the Company with information of personal name, address and relevant bank. The buyer without and prior relation with the Company shall come to an agreement with the Company concerning Payment and Collection of Purchases prior to the auction date. (2) Unless agreed upon, the buyer shall pay of the total amount in 7 working days after the auction. If there is any other extra fees including bank charges and the difference of exchange rate by paying in other foreign currency, the buyer needs to be responsible for this. Article 10. The buyer may otherwise come into a payment agreement with the Company prior to the auction. Article 11. Any payment by a buyer to the Company may be applied by the Company as any sum due from that buyer to the Company on any account without regard to any direction of the buyer or his agent. Article 12. Delivery of Lots The buyer shall not request for the delivery of the lots purchased unless the auction has concluded and the total price due has been paid in full. The buyer having entered into payment agreement with the Company pursuant lo Article 10, may take the possession of the lots after payment of the agreed partial amount as well as the completion and execution of all documents and forms as required to register the sale as conditional sale under the Chattel Secured Transactions Act of the Republic of China. The ownership of the lot purchased passes to the buyer after the full payment has been paid to the Company. Any fee required for the registration above mentioned shall be borne by the buyer. Article 13. Fees and Expenses of the Delivery of the Lots (1) The buyer shall at his own expense take the delivery of the lots purchased. (2) All sums payable by the buyer to JSL are exclusive of any goods or service tax or other value added tax (whether imposed by Hong Kong or otherwise). If any such tax applies, the buyer shall pay such tax at the rate and time as required by the relevant law. The buyer shall pay value added sales tax in the amount of 5% of the hammer price with respect to imported works of art collected by the buyer in Taiwan. The buyer shall not pay the value added sales tax if collected by the buyer abroad and the buyer shall contact the company within 3 days after the auction for the matter of delivery. (3) In case of payment made in accordance with Article 9, the buyer shall take the delivery of the lot no later than 7 working days after the auction, any removal, insurance, storage and custody fees and expenses attributed to the late delivery shall otherwise be borne by the buyer with no dissent. (4) Dispatch and transit insurance: Purchases will be dispatched as soon as possible upon receipt of full payment for the lots received in cleared funds and receipt of your written dispatch instructions and any export licenses or 244

113

certificates that may be required. Dispatch will be arranged at the buyerâ&#x20AC;&#x2122;s expense. Article 14. Risk of Loss Any interest and loss of the lots purchased shall be borne by the buyer upon the delivery with no exception of the condition when the Company packs or handles with the lots at the request of the buyer. The interest and loss of the lots not delivered 7 days after the auction date shall be borne by the buyer likewise. Article 15. Default or Breach of the Conditions Any violation of the Conditions in Part II happens, the Company, as auctioneer or authorized agent of the seller, shall be entitled to exercise one or more of the following rights and remedies: (1) To proceed against the buyer for damages for breach of the conditions. (2) To rescind the sale of that or any other lots sold to the defaulting buyer at the same or any other auction. (3) To sell the lot by public auction or private sale and the defaulting buyer shall pay to the Company any resulting deficiency in the "total amount due" (after deduction of any partial payment and addition of resale costs) and any surplus shall belong to the seller. (4) Remove, store and insure the lot discretionarily prior to the resale at the expense of the defaulting buyer. (5) To charge interest at a rate of 2% per month on the total amount due to be paid 7 working days after the auction date. (6) To retain that or any other lots sold to the same buyer at the same or any other auction and release it only after payment of the total amount due. (7) To reject any bids made by or on behalf of the defaulting buyer at any future auction or obtain a deposit before accepting any such bid in the future. (8) To apply any proceeds of the sale then due or at any time thereafter becoming due to the defaulting buyer towards the settlement of the total amount due and to exercise a lien on any property of the defaulting buyer which is in the Company's possession for any purpose. (9) To proceed against the buyer, charging the buyer 30% amount of hammer price and all damages caused by breach of the conditions. Article 16. If the buyer fails to pay to the Company the total amount due 21 days after the auction, the buyer and the seller agree that the ownership of the lot shall pass to the Company upon the Company's payment of the sale proceeds to the seller at the Company' discretion. Article 17. Prior to the remittance of the sale proceeds to the seller by the Company the buyer may make a written notice of the forgery of the lot to the Company 21 days after the auction and return to the Company the lot in the same condition as it was at the time of the auction 14 days after the notice. The buyer may rescind the deal after the lot is proved to be a forgery by the Company and any amount paid in respect of the lot will be refunded unconditionally to the buyer accordingly. The buyer is not entitled to make any other claim than the amount paid in the respect of the lot. Article 18. Notice to Buyers According to the law of Taiwan (R.O.C.), artistic works that determined as over-100-year historical works are forbidden for export.

Part III. The Seller

Article 19. Warranty of Title (1) The seller must warrant that the lot is free from any right enforceable by the third parties against the buyer. (2) The seller must warrant that immediate delivery of the lot upon the request of the buyer if it is not in the custody of the Company. (3) If the seller fails to perform the liabilities prescribed in the proceeding two paragraphs, the Company may demand compensation for the nonperformance of the entire obligation. Article 20. The seller shall pay to the Company all the fees, expenses and commission accrued (both for the seller's and the buyer's sides), if the deal is rescinded by the buyer under the condition of Article 17. Article 21. Commission and Expenses (1) If the auction fails, the commission and expenses shall be 2% of the reserve price, which is the minimum hammer price. (2) If the auction succeeds or a private deal is done, the Company shall deduct from the "hammer price" at a 245

114

"regulated rate" as the commission and expenses. (3) The Company, although as the agent of the seller, may charge commission and expenses from the buyer in accordance with Article 8. Article 22. Insurance (1) Unless otherwise negotiated, the Company will insure any property consigned to it or put under its custody for any other purpose. (2) The insurance will be at the expense of the seller or the consignor and the amount of which will be decided in accordance with the Company's estimation of the value of the lot. The estimated value cannot be deemed as an insured "hammer price" however. (3) The insurance period subsists to the delivery of the lot to the buyer, the last day the buyer should pay (whenever comes first) or the day before which the seller or consignor should take back the lot due to failure of the auction. (4) If the insurance is to be collected, the full amount of the insurance compensation after deduction of related commission and expenses shall be given to the owner of the lot. (5) The seller or the consignor is liable for the loss or damage of the lots without insurance under special negotiation in accordance with the proceeding paragraph(l) unless the loss or damage is caused by the Company, its employee or agent. Any loss or damages of the Company therefore shall also be borne by the seller or the consignor. Article 23. Rescission of the Consignation (I) (1) Unless consented by the Company, the seller shall not rescind the consignation. (2) Upon rescinding of the consignation, the consigner shall pay 20% of the reserve (which is the minimum hammer price) as the related expenses to the Company. Article 24. Rescission of the Consignation (II) (1) The Company may rescind the consignation under the following conditions: (a) The ownership or the authenticity of the lot is questionable; (b) The description or insurance of the lot by the seller is questionable; (c) The seller violates the Business Conditions; (d) Other reasonable reason occurs. (2) The seller shall pay 20% of the reserve (which is the minimum "hammer price") to the Company as related commission and expenses, if the consignation is rescinded in accordance with the preceding b.c. paragraphs. Article 25. Payment of Sale Proceeds (1) Unless otherwise agreed upon, the Company shall remit the sale proceeds to the seller during the 35th days after the auction. If by that date, the Company has not received the total amount due from the buyer, the Company will remit the sale proceeds within 5 working days after the date on which the total amount due is received from the buyer. (2) Late remittance caused by the Company, an interest of 2% per month shall be paid to the seller by the Company. Article 26. Unsold Lots (1) Where any lot fails to sell, the Company shall notify the seller accordingly. The seller shall make arrangements either to re-offer the lot or to collect the lot within two days after receiving of the notification. The collection of the lot shall be completed within 5 days after arrival of the notice. Any fees and expenses, risk, and interest accrued between the arrival of the notice and the collection of the lot shall be borne by the seller. (2) Unless otherwise agreed upon, the Company shall not insure the lot re-offered for sale. (3) The seller shall make a new resignation contract with the Company for re-sale of the lot. (4) If the seller has not contacted with the Company three days after the arrival of the notice or has not collected the lot 5 days after the arrival, the Company shall have the right to sell the lot at public auction or private sale without reserve and to deduct from the sale proceeds any sum owing to the Company before remitting the balance to the seller or, if the seller cannot be traced, placing it in bank account in the name of the Company for the seller. (5) Any lot fails to sell, not included in auction or rescinded for any reasons, the seller shall collect the lot within 35 days after receiving the notice from the Company. If not, seller will be charged NT$ 2,000 per lot for each overdue day without the extra charge of insurance. Seller can collect the lot after the all payment done. 246

115

Part IV. General Conditions

Article 27. Unless the lot is proclaimed as owned by the Company prior to the auction, the Company acts as the agent for the seller. The Company is not liable for any default by the seller or the buyer. Article 28. The Company shall have the right at its absolute discretion to refuse admission to its premises or attendance at its auctions by any person. rticle 29. The Company shall negotiate with the seller for every lot and place for it a reserve, being the minimum "hammer price" at which the lot may be treated as sold, in written form. Once being placed, the reserve shall not be changed unless agreed upon by the Company. Article 30. The Company may make a bid for the seller upon request, but the Company, its employee or agent shall not be responsible for any mistake or miss of the bid by negligence. If more than one consigner make the same highest bid, from whom the consignation letter first arrives the Company shall be the buyer. Article 31. Any illustration, images, authorship, origin, provenance, age, size, material, damage or repair condition and other related statement of the lots in the Company's catalogue is for reference only. They are not under the warranty of the Company. Article 32. (1) All lots shall be sold in their present state, and the Company does not expressly or impliedly warrant that the type and quality of the lot sold are free from any defect which may impair or destroy its value. (2) Any illustration or written statement of the lots made by the Company and its employee, agent shall not be regarded as the guaranty or warranty. Article 33. The Company does not guarantee the obtainment of the copyright of the lot sold by the buyer. Article 34. The auctioneer may refuse any bid lower than 5% (or any rate decided by the auctioneer) above the previous bid. Article 35. The Company may, at its absolute discretion, represent its employees or agent for claims of the rights resulting from any sale in the auction. Article 36. Any notice made by the Company in accordance with the Business Conditions shall be in written form. Any notice by post shall be deemed as having been received by the addressee one week after dispatch. If received earlier than seven days after dispatch, the actual receiving day shall be the arrival day of the notice. Article 37. The Company shall be entitled to make photos of every lot and use the photos or images freely during and not limited in the auction. The Company has the same said right fro photos or images provided by the seller. Article 38. Sellers of nationality other than Republic of China are also subject to the Republic of China income tax and are required by the Republic of China law to file income tax with respect to sales proceeds from the auction. Article 39. Definition of the Terms (1) "Catalogue" includes any advertisement brochure, display videos, price estimation, tagged price, and other illustration of the lots. (2) "Hammer price" means the highest price at which a lot is knocked down by the auctioneer to the buyer. (3) "Total amount due" includes the hammer price in respect of the lot sold together with the commission, any related fees and expense plus rights and remedies in accordance with Article 14. (4) "Sale proceeds" means the balance of the "hammer price" less the total amount of the commission at the "stated rates" and any other related fees and expenses due to be paid by the seller to the Company. (5) "Stated rates" shall be proclaimed posterior to every auction. Article 40. Definition of any other special terms not covered in the Business Conditions shall be defined in the sale catalogue of every auction. Article 41. The effectiveness, interpretation, performance and any other related matter of this Business Conditions shall be governed by the laws and regulations of the Republic of China. For all litigations arising or derived from the Business Conditions, except for those between the seller and the buyer without any involvement of the Company, the Taichung District Court shall have jurisdiction in the first instance. Article 42. Any discrepancy between the Chinese version and any other language version of this Business Conditions, the Chinese version shall prevail.

247

116

248

249