JSL 2014 autumn auction 20th century chinese modern and asian contemporary art by JSL AUCTION 景薰樓

2014 AUTUMN AUCTION 20 世紀華人現當代藝術

20th CENTURY CHINESE MODERN & ASIAN CONTEMPORARY ART

Taipei 14 December 2014

3001

姚瑞中 (b.1948)

Yao Jui Chung

如夢令系列 - 夢中情人臨佚名「不懷好意」

Dreamy-Dream Lover

2008

手工紙本設色金箔

Ink and gold leaf on handmade paper

簽名左下 : 鋼印 YAO

Stamped lower left with an artist's steel seal

70x100 cm. (28x39 in.)

LITERATURE 出版《恨纏綿姚瑞中》，台北 : 田園城市，2010 年，頁 143。

Garden City Publishing House, Romance-YAO

Jui Chung, Taipei, Taiwan, 2010, P.143.

NT$ 150,000-220,000 US$ 4,950-7,260 HK$ 38,700-56,700

3002

楊識宏 (b.1947)

Yang Shi Hong

彎

Crook

1992

油彩畫布

Oil on canvas

65x50 cm.（ 25.5×19.6 in.） PROVENANCE 來源

Certificate of Authenticity by

附台北時代畫廊原作保證書

Contemporary Gallery, Taipei.

NT$ 240,000-350,000 US$ 7,920-11,550 HK$ 61,900-90,200

材質流變的影像表現 — 以唐海文水墨為例水墨繪畫具有深厚的傳統與歷史，長期以來，

The rheological behaviors of material in imaging —

筆、墨、韻一直是傳統文人繪畫極為講究的美學

take the ink and wash painting of Tang Hay Wen as

之一，書法性的用筆與繪畫的筆法劃上等號，這

an example.

種筆墨的純粹性造就一種封閉式的視覺語彙系統，深植於傳統水墨繪畫。

The manifestation of the lines differs between the east and the west probably in the indirect changes

在現今影像（ image）世代裡，我們是否能從傳

of techniques, but we can find Tang’s uniqueness if

統的審美慣性之中走出較具時代性的格局，重新

we observe his ink wash paintings in the prospective

看待水墨這項存在已久的媒材，藉以找尋屬於新

that an artist starts from scratch and finally completes

時代下的水墨新質韻，這個提問，以唐海文來繪

his works. The traditional ink wash paintings pursue

畫來做檢視，從其水墨媒材自身的表現問題，或

the idea that the art derives from the nature but the

許能提供我們觀看水墨的新路徑。

inspirations and the feelings of the artists are also indispensable. Compared with the traditional ones,

唐海文的作品，原則上包含三大類：早期的具

which emphasize the reproduction of the cultural

象、中期的寫意、晚期的抽象，其中又屬寫意與

memories and skillful brushwork and intend to create

抽象風格最為成熟。此外，唐海文作品還有一個

a world to walk in, observe, tourist in and reside in,

特色，是由二至三張畫紙所合組而成的聯作，作

Tang’s works instead are of temporary and impromptu

品尺寸一般都不大，或許與他喜愛旅行寫生，強

styles, casual and bold, and even have reckless

調即興、掌握剎那間的感覺有關。在他這些從自

dangerous tendency, especially in the organizing of

然的形象中去獲取靈感，將風景轉換成線條、符

the structure of paintings. His paintings, which break

號和色彩的構成裡，已跳脫形象，但又不全然地

away from the traditional aesthetics that the brushwork

抽象化，隱約能從中找出些與現實的連結；畫面沒

should reflect our own heart, makes full use of the ink

有固定形式風格，作品之間非脈絡性的發展，我

and wash to probe into the unpredictable future, jumps

們可以想像，他每次創作，都是從零開始的探索。

out of the shackles of cultural memories, returns to the meditation of the nature of paintings and creates an

東方線條跨越到西方線條的表現形式，可能只

ink-and-wash language of its own.

是技巧上的間接轉換，但以藝術家從未知到完成的創作發展的這個角度，來觀察唐海文的水墨表現，

Tang’s works are definitely rheological images

化中得心源」，重視文化記憶再現與筆法熟練，旨

which originate from the reality but jump out of the

在經營可行、可望、可遊及可居的世界，相較之

performance of image by using ink and wash. It may

下，唐海文的作品則帶有更高度的現時性，即興

be a little abrupt if two key words of image and ink

式的創作方向，隨興又大膽，特別對於畫面結構

and wash paintings are juxtaposed, but actually, if we

組織而言，甚至有種不計後果的危險傾向，這種

look into Tang’s life of ink and wash paintings, we

讓水墨進入對於未知的探索，突破傳統文人所主

can observe his nomadic painting character from his

張的心手相印美學，跳脫文化記憶的框架，回到

frame-like creation history.

繪畫的本質思考，建構出水墨媒材自身的語言。

From these clues, although based on sketching,

便能發現其難能可貴之處。傳統水墨追求「外師造

從這些線索來看，雖然以寫生為基礎，然而，

He breaks the fetter of pursuing the artistic conception

唐海文作品無疑是一種以現實物件所產生、卻又

and form as well as the ingrained language structures

掙脫形象表現、用水墨所創造出的流變影像。將

of ink and wash paintings and make rheological

「影像」與「水墨畫」兩個關鍵字並置似乎有些突

behaviors of the paintings happen without a central

兀，但事實上，將其一生水墨繪畫展開來閱讀，

nature or basis nor set in a fixed point. His paintings

從其如同影格般的創作歷程，即能察覺其繪畫游

never try to dig out the ultimate under the surface, nor

牧性格的所在。跳脫水墨表現的意境與形式追求，

do they have any fixed output orientation. They simply

越出其根深柢固的語言結構，在沒有一個中心本

come from a productive and diverse growth system

質或基礎之下，不固定在某一特定的定點，使繪

which only belongs to Tang’s unique creation history.

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，

In his painting Untitled , he boldly makes use of

只有一個多產、多樣化的成長系統，一個僅屬於

heavy ink to create a strong visual comparison in

唐海文的創作系譜。

the blank space and forms a spacious expansion of different layers by using light ink between the two. The

《無題》Lot3143 中，大膽的運用重墨在留白的

quick touch of the brush into the ink can enable the

空間裡造成視覺的強烈對比，再於兩者間清染淡

people to think of the coexistence of the hydrophyte

墨，形成不同層次的空間推展。快速的筆觸墨點

natantia on the water and the animals under the water,

裡，隱約可以讓人聯想到如水中漂浮性植物及水

displaying the poetic features by combining the

下動物共生的樣態。在抽象與具象間，展放詩性

beauty of both the abstract and the figuration. At the

的流露。乍然一看，頗似錯落擺設蘭花的《無題》

first glance, Untitled , which is seemingly a painting

Lot3005，畫面上到處灑落佈滿了長短粗細不一的

of well laid-out orchids, is covered with strokes of

線和大小墨點縱橫交錯，我們可以從線條張力中，

different lengths and widths and ink dots of different

感受筆墨的酣暢快感，深具一氣喝成的揮灑感，

sizes. We can easily feel the pleasure of completing

每一塊筆墨的片段都變成中性的造形與肌理元素，

his works in one stroke from the power of each stroke.

空寂的畫意帶有靜觀、詩境的冥想直覺。

Each fragment of the ink has its neutral shape and skin texture and the spacious and lonely image can easily

站在典範式微的當代藝術範疇中來觀看唐海文的作品，其創作不迷戀技法、不汲汲營營於建立

stimulate people’s tranquil and poetic meditation instinct.

個人定位，自在地生成流動的綿延，這種無所為而為的無目的性，或許就是藝術最動人之處。

In this contemporary art world of copying the model, Tang’s works never focus on techniques or eagerly form personal traits, and instead create the rheological effects naturally. This creation without a specific purpose itself is the most attractive power of the art.

3003

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

Tang Hay Wen Untitled Ink and color on paper (Triptych) Signed lower right: named T'ang in Pinyin and Hay Wen in Chinese

NT$ 180,000-260,000 US$ 5,940-8,580 HK$ 46,400-67,000

3004

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

Tang Hay Wen Untitled Ink and color on paper (Triptych) Signed lower right: named T'ang in Pinyin and Hay Wen in Chinese

NT$ 180,000-260,000 US$ 5,940-8,580 HK$ 46,400-67,000

3005

唐海文 (1929-1991)

Tang Hay Wen

無題

Untitled

水墨紙本 ( 雙聯作 )

Ink on paper (Diptych)

簽名右中： T'ang 海文

Signed middle right: named T'ang in Pinyin

70x100 cm.（ 27.5×39.3 in.）

and Hay Wen in Chinese

NT$ 550,000-750,000 US$ 18,150-24,740 HK$ 141,800-193,300

3006

唐海文 (1929-1991)

Tang Hay Wen

水果

Fruit

彩墨紙

Ink and watercolor on paper

簽名右下： T'ang 海文

Signed lower right: named T'ang in Pinyin

16.5×19 (6.5x7.4 in.)

and Hay Wen in Chinese

舟

Boat

水墨紙

Ink on paper

簽名右下： T'ang 海文

Signed lower right: named T'ang in Pinyin

24x33 cm.(9.4x12.9 in.)

and Hay Wen in Chinese

NT$ 160,000-300,000 US$ 5,280-9,900 HK$ 41,200-77,300

3007

唐海文 (1929-1991)

Tang Hay Wen

無題

Untitled

水墨紙（三聯幅）

Ink on paper( Triptych)

簽名右下： T'ang 海文

Signed lower right: named T'ang in Pinyin

12×21cm.（ 4.7×8.2 in.）

and Hay Wen in Chinese

NT$ 280,000-350,000 US$ 9,240-11,550 HK$ 72,200-90,200

3008

郭振昌 (b.1949)

Kuo Jen Chang

男人女人

Male with Female

1991

壓克力畫布

Acrylic on canvas

簽名右下：郭振昌 1991 KUO

Signed lower right: named Kuo Jen Chang in

65x80 cm. (25.6x31.5 in.)

Chinese, dated 1991, and KUO in Pinyin

展覽

EXHIBITED

「台灣藝術新生態 - 開幕聯展」，新生態藝術環境，

Phase Art of Taiwan , 1992.

出版

LITERATURE

《台灣藝術新生態聯展》，台南 : 新生態藝術環境， 1992，頁 28。

Tainan, Taiwan, New Phase Art Space Taiwan, New

台南，台灣，1992。

New Phase Art Space Taiwan, New Phase Art of

Taiwan , Tainan, Taiwan, 1992, P.28.

NT$ 350,000-420,000 US$ 11,550-13,860 HK$ 90,200-108,200

3009

郭振昌 (b.1949)

Kuo Jen Chang

愛情 -3

Love-3

1996

壓克力畫布

Acrylic on canvas

簽名右下：郭振昌 '96 J.C.KUO

Signed lower right: named Kuo Jen Chang in

60.5x50 cm. (23.8x19.7 in.)

Chinese, dated 1996, and J.C.Kuo in Pinyin

來源

PROVENANCE

附台北大未來畫廊藝術家親簽保證書

Certificate of Authenticity by Lin & Keng GALLERY (Taipei) and signed by artist.

NT$ 240,000-320,000 US$ 7,920-10,560 HK$ 61,900-82,500

3010

魏樂唐 (1921-2012) a. 黑暗來臨之前 ( 紅 ) 1966 油彩紙簽名右上： John Way '66 45x58.5 cm. (17.7x23 in.)

b. 抽象 ( 藍 ) 1966 油彩紙簽名右下： John Way '66 47.5x60 cm. (18.7x23.6 in.) 來源美國私人收藏

John Way

a. Moment before dark (Red) 1966 Oil on paper Signed upper right: named John Way in English and dated 1966

b. Abstract (Blue) 1966 Oil on paper Signed lower right: named John Way in English and dated 1966 PROVENANCE Private Collection, USA

NT$ 160,000-300,000 US$ 5,280-9,900 HK$ 41,200-77,300

3011

李錫奇 (b. 1938) 金色古文複合媒材簽名右下：錫奇 45x45 cm. (18x18 in.)

Lee Shi Chi Ancient gold words Mixed media Signed lower right: named Shi Chi in Chinese

NT$ 60,000-80,000 US$ 1,980-2,640 HK$ 15,500-20,600

3012

姚慶章 (1941-2000) 綠色構成 1993 粉彩紙簽名左下：姚 C.J. yao '93 46x35 cm. (18x14 in.)

Yao Ching Jiang Green Composition 1993 Pastel on paper Signed lower left: named Yao in Chinese, C. J. yao in Pinyin, and dated 1993

NT$ 60,000-80,000 US$ 1,980-2,640 HK$ 15,500-20,600

3013

朱銘 (b. 1938)

Ju Ming

人物 ( 三姑六婆 )

Character

1992

油彩畫布

Oil on canvas

簽名右下：朱銘 92

Signed lower right: named Ju Ming

41x53 cm. (16x21 in.)

in Chinese and dated 1992

來源

PROVENANCE Private Collection, USA

美國私人收藏

NT$ 120,000-200,000 US$ 3,960-6,600 HK$ 30,900-51,500 24

3014

吳昊 (b.1932)

Wu Hao

童戲

Children at play

1967

油彩畫布

Oil on canvas

簽名左下：吳昊 Wu Hao 1967.3

Signed lower left: named Wu Hao in Chinese

60.5x91 cm. (23.8x35.8 in.)

and Pinyin, and dated 1967.3

來源

PROVENANCE

美國私人收藏

Private Collection, USA

NT$ 160,000-260,000 US$ 5,280-8,580 HK$ 41,200-67,000 25

3015

丁雄泉 (1929-2010) a. 女人與鸚鵡 092-01 水墨壓克力紙 22x14 cm.（ 8.6×5.5 in.）

b. 女人鸚鵡馬 092-02 水墨壓克力紙 23x16 cm.（ 9×6.2 in.）

Walasse Ting a.Woman and Parrots 092-01 Ink and acrylic on the paper

b.Women parrots and horse Ink and acrylic on the paper

NT$ 300,000-400,000 US$ 9,900-13,200 HK$ 77,300-103,100

a 26

3016

龐均 (b.1936)

Pang Jiun

鬱金香

Tulip

2002

油彩畫布

Oil on canvas

簽名右下：龐均 2002

Signed lower right: named Pang Jiun

72.5x60.5 cm. (28.5x23.8 in.)

in Chinese and dated 2002

NT$ 500,000-650,000 US$ 16,570-21,450 HK$ 128,900-167,500 27

3017

陳銀輝 (b.1931)

Chen Yin Huei

西遊記

Journey to the West

1990

油彩畫布

Oil on canvas

簽名右下：銀 CHEN '90

Signed lower right: named Yin in

73x91 cm. (28.7x35.8 in.)

Chinese,Chen in Pinyin, and dated 1990

NT$ 600,000-700,000 US$ 19,800-23,090 HK$ 154,600-180,400 28

3018

陳銀輝 (b.1931)

Chen Yin Huei

暖陽

Warm Sunshine

1957

油彩木板

Oil on wooden board

簽名右下： y.chen 46

Signed on lower right: named y. Chen in Pinyin and dated 46

31.5×41 cm. (12.4×16.1 in.)

NT$ 240,000-300,000 US$ 7,920-9,900 HK$ 61,900-77,300 29

3019

沈哲哉 (b.1926)

Shen Che Tsai

芭蕾少女

Ballet girl

1990

油彩畫布

Oil on canvas

簽名左下： 1990 哲哉

Signed lower left: named Che Tsai in Chinese and dated

41x31.5 cm. (16.1x12.4 in.)

1990

來源

PROVENANCE

附大都會藝術環境原作保證書

Certificate of Authenticity by Metropolitan Art Space,

NT$ 180,000-260,000 US$ 5,940-8,580 HK$ 46,400-67,000

Tainan. 展覽「沈哲哉七五回顧展」，台南市文化中心，2002。

EXHIBITION Tainan, Taiwan, Municipal Cultural Center, Shen CheTsai 75

出版

Retrospective , 2002.

《沈哲哉七十回顧展》，台南 : 大都會藝術出版，頁 179。 LITERATURE 30

Metropolitan Art Space, Shen Che Tsai 70 Retrospective , Tainan, Taiwan, 1995, P179.

3020

李澤藩 (1907-1989)

Lee Tze Fang

玫瑰

Rose

一郎，主攻水彩。玫瑰花一直是李澤藩創作的最

1984

水彩紙

在層層疊疊的花瓣中整理出豐厚的層次，讓整體

Watercolor on paper

簽名右下：澤藩 1984

感呼之欲出。

Signed lower right: named Tze Fang in

鈐印右下：澤藩（朱文）

Chinese and dated 1984

53.5x38.5 cm.（ 21×15.1in.）

Stamped lower right with an artist's

色的瓶子上，頗有視覺色彩增補效果；細碎的筆觸

seal

猶如用之於山巒層次的疊造，是李澤藩靜物花卉

NT$ 650,000-800,000 US$ 21,450-26,390 HK$ 167,500-206,200

的特殊處理技巧；蓬鬆盛開的玫瑰花在生命最燦爛

李澤藩 1921 年進入台北師範學校，師事石川欽愛之一，尤其是處理玫瑰花瓣有獨到之處。他能

《玫瑰》畫面中紅色、粉紅色的玫瑰花插在深綠

之時，被李澤藩的彩筆捕捉下來，充分顯露出深厚而生動地功力。

3021

張萬傳 (1909-2003)

Chang Wan Chuan

閑

Leisure

1974

油彩木板

Oil on wooden board

簽名右下： 1974. Chang. 萬 .

Signed lower right: dated 1974, named Chang in

24x33 cm. (9.4x12.9 in.)

Pinyin and Wan in Chinese

NT$ 200,000-280,000 US$ 6,600-9,240 HK$ 51,500-72,200

3022

陳澄波 (1895-1947)

Chen Cheng Po

裸女

Naked woman

1932

水彩紙

Watercolor on paper

簽名右下： 1932 陳澄波 C.T.P.

Signed lower right: dated 1932,named Chen

26x38 cm. (10.2x15 in.)

Cheng Po in Chinese, and C.T.P.in Pinyin

NT$ 450,000-600,000 US$ 14,850-19,800 HK$ 116,000-154,600

3023

楊三郎 (1907-1995) 海邊油彩畫布簽名左下： S. Yang 40x52 cm. (16x21 in.)

Yang San Lang Seaside Oil on canvas

楊三郎與《海邊》合照。 Yang San Lang with《 Seaside》

Signed lower left: named S. Yang in Pinyin

NT$ 600,000-700,000 US$ 19,800-23,090 HK$ 154,600-180,400

楊三郎深受法國印象派的影響，色彩使用鮮豔多變，一生創作出許多經典的風景畫，其中以海景的表現最為擅長。藝評家林惺獄曾評論：「性格豪放爽朗、下筆奔放，不拘泥於細部描繪而追求大張力，因此能夠呈現大自然無比的氣勢」。《海邊》色彩豐富、張力十足，豪放的筆觸可看出楊三郎瀟灑的個性。畫中的油彩交疊，增加了海浪的層次感，堤岸從近延伸，與遠方的天空對比，更拉開畫中空間的距離。印象派特有的表徵和理論均在此作中顯而易見，充分呈現出藝術家嫻熟高超的油彩表現功力。

楊三郎創作《海邊》。 Yang San Lang with《 Seaside》.

3024

楊三郎 (1907-1995)

Yang San Lang

房屋

House

油彩畫布

Oil on canvas

簽名右下： S. Yang

Signed lower right:named S. Yang in Pinyin

62x50 cm.（ 24.4×19.6 in.）

NT$ 800,000-1,000,000 US$ 26,390-32,990 HK$ 206,200-257,700 楊三郎夫婦與《房屋》作品合照。 Yang San Lang couple with《 House》. 36

3025

張萬傳 (1909-2003)

Chang Wan Chuan

遠眺觀音山

Guanyin Mountain

1978

overlooking

油彩紙簽名左下： Chang. 萬 . 31.5x41 cm. (12x16 in.)

1978

張萬傳為台灣早期赴日學習西洋繪畫的重要前輩藝術家之一，受野獸派與表現主義影響，畫作筆觸狂放豪邁，強調形色交融的美感，展現感性的世界觀。張萬傳的創作題材主要為人物、風景、靜物，由素描中更可看出其速寫之功力。

Oil on paper Signed lower left: named Chang in Pinyin and Wan in Chinese

喜愛古樸趣味、斑駁的歲月痕跡的地方作為創作主題，因此淡水成為他一畫再畫的題材，畫面透著古樸而又粗礦的風味。《遠眺觀音山》中，強

NT$ 280,000-350,000 US$ 9,240-11,550 HK$ 72,200-90,200

而有力的黑色線條，捕捉翠綠蓊鬱的林木、紅瓦白牆的建築、山丘起伏的線條、飽滿蒼翠的樹葉、以及陽光灑落的河面及樹梢，將繪畫的生命力與這片土地緊緊聯繫在一起。 37

3026

吳昊 (b.1932) 黃葉人家 1992

吳昊是東方畫會及現代版畫會的創始人之一，亦為東方畫會『八大響馬』的一員，曾獲英國國際版畫雙年展「爵主獎」，以及中國版畫學會「金璽獎」、中華民國畫學會「金爵獎」等諸多殊榮。

油彩畫布簽名右下：吳昊 1992 90x90 cm. (35.4x35.4 in.)

吳昊的藝術創作來自中國民間藝術的啟發，尤其是線條使用甚為優越，色彩也別有趣意。《黃葉人家》中，以線條建構出繁複、茂盛的

來源

樹葉，這種技巧是吳昊經由版畫創作所提煉出

附龍門畫廊原作保證書

來的，為早期創作中虛懸的自動性技法線條注入一種生活的內驅力以及文化的連繫，也帶來

Wu Hao Yellow Leaves 1992 Oil on canvas Signed lower right: named Wu Hao in Chinese and dated 1992 PROVENANCE Certificate of Authenticity by Lung Men Art Gallery, Taipei.

NT$ 600,000-900,000 US$ 19,800-29,690 HK$ 154,600-232,000

造型的特色，成為其創作重要特色，豐盈飽和的色澤描繪出質樸、簡潔的生活記憶。

3027

伍步雲 (1905-2001)

Ng Po Wan

田陌

In the field

1963

油彩畫布

Oil on canvas

簽名左下：伍步雲 2/1963

Signed lower left: named Ng Po Wan in

64.5x81.4 cm. (25.4x32 in.)

Chinese and dated 2/1963

NT$ 400,000-600,000 US$ 13,200-19,800 HK$ 103,100-154,600 40

3028

伍步雲 (1905-2001)

Ng Po Wan

曇花盛開

Blooming Epiphyllum

維表現。其云：「我生平作畫，只有一個目的，就

1973

油彩畫布

國人畫的。換句話說，就是想在我的作品上，表

Oil on canvas

簽名左下：伍步雲 2/1973

現出中國的民族風格來」。因此，伍步雲的《曇花

Signed lower left: named Ng Po Wan

45x55cm（ 17.3×21.6 in.）

盛開》雖以更豐富的西畫油彩為媒介，粗曠雄渾

in Chinese and dated 2/1973

的筆觸，不著重於細膩刻畫而是著重於寫意，仍

來源

PROVENANCE

附甄雅堂原作保證書

Certificate of Authenticity by Gen Ya

伍步雲畫作的精神與本質，就是東方中國的思是希望看見我的畫的人，一眼看出，就知道是中

蘊含著深受的中國水墨意境與內涵。

Tang Art Gallery, Taipei.

NT$ 300,000-400,000 US$ 9,900-13,200 HK$ 77,300-103,100

3029

江明賢 (b.1942) 風景水彩紙簽名左中：明賢鈐印左中：江 54.5x39 cm. (22x15 in.) 來源美國私人收藏

Chiang Ming Shyan Landscape Watercolor on papar Signed middle left: named Ming Shyan in Chinese Stamped middle left with an artist's seal PROVENANCE Private Collection, USA

NT$ 50,000-80,000 US$ 1,650-2,640 HK$ 12,900-20,600

3030

吳學讓 (1924-2013) 嬉戲蠟染布繪簽名左下： 2012 年鈐印左下 45x30 cm.（ 17.7×11.8 in.）

Wu Hsueh Jang Recreation Batik on the cloth Signed lower right: dated 2012 Stamped lower left with an artist's seal

NT$ 140,000-180,000 US$ 4,620-5,940 HK$ 36,100-46,400 42

3031

劉其偉 (1912-2002)

Max Liu

朱紅霸鸝

Domineering vermilion oriole

2001

複合媒材棉布紙

Mixed media on cotton and paper

簽名左下：ㄌ一ㄡ ˊ ㄑ一 ˊ ㄨㄟ ˇ 11001

Signed lower left: named Max Liu in Mandarin Phonetic

35x50 cm. (14x16 in.)

Symbols and dated 2001 in Chinese number

來源

PROVENANCE

附首都藝術中心原作保證書

Certificate of Authenticity by Capital Art Center, Taipei.

NT$ 280,000-380,000 US$ 9,240-12,540 HK$ 72,200-97,900

3032

劉其偉 (1912-2002)

Max Liu

小丑人生

Clown´s life

2000

複合媒材棉布紙

Mixed media on cotton and paper

簽名左下：ㄌ一ㄡ ˊ ㄑ一 ˊ

Signed lower left: named Max Liu Max Liu in

ㄨㄟ ˇ 11000

Mandarin Phonetic Symbols and dated 2000

48x34 cm. (19x13 in.)

in Chinese number

來源

PROVENANCE

附首都藝術中心原作保證書

Certificate of Authenticity by Capital Art Center, Taipei.

NT$ 260,000-350,000 US$ 8,580-11,550 HK$ 67,000-90,200

3033

劉其偉 (1912-2002)

Max Liu

非洲犀鳥

African hornbill

1995

複合媒材棉布紙

Mixed media on cotton and paper

簽名右下：ㄌ一ㄡ ˊ ㄑ一 ˊ

Signed lower right: named Max Liu in Mandarin

ㄨㄟ ˇ 1995

Phonetic Symbols and dated 1995

簽名左上： GROUND

Signed upper left: titled GROUND HORNBILL

HORNBILL AFRICA

AFRICA

NT$ 180,000-240,000 US$ 5,940-7,920 HK$ 46,400-61,900

49x37 cm. (19.3x14.6 in.) PROVENANCE 來源

Certificate of Authenticity by King Ling Art Center,

附金陵藝術中心原作保證書

Kaohsiung.

3034

何懷碩 (b.1941) 小城印象 1974 彩墨紙本簽名左下：一九七四年三月何懷碩造境鈐印：何懷碩（朱文） 68×117 ㎝（ 26.7×46 in.）來源私人收藏購自水松石山房

Ho Huai Shuo Village 1974 Ink and color on paper Signed lower left: dated 1974. 3. and named Ho Huai Shuo in Chinese Stamped lower right with two artist's seals PROVENANCE Water Pine and Stone Retreat, Hong Kong, China Acquired from the above by the present owner.

NT$ 500,000-650,000 US$ 16,500-21,450 HK$ 128,900-167,500

3035

何懷碩 (b.1941)

Ho Huai Shuo

岑寂

Silence

1971

彩墨紙本

Ink and color on paper

簽名左下：何懷碩

Signed lower left: named

一九七一年闌矣

Ho Huai Shuo in Chinese

鈐印：懷斯多生餘（朱文）

and dated 1971

107×67.5 ㎝（ 42.1×26.5

Stamped lower right with

in.）

two artist's seals

來源

PROVENANCE Wa t e r P i n e a n d S t o n e Retreat, Hong Kong, China Acquired from the above by the present owner.

私人收藏購自水松石山房

NT$ 500,000-650,000 US$ 16,500-21,450 HK$ 128,900-167,500

3036

于彭 (1955-2014) 神仙伴侶 2010 水墨紙本簽名左上：神仙伴侶于彭庚寅年 98x16 cm. (39x6 in.)

Yu Peng Immortal Companion Ink on paper Signed upper left: titled and dated in Chinese

NT$ 100,000-200,000 US$ 3,300-6,600 HK$ 25,800-51,500

3037

于彭 (1955-2014) 菩提樹下 1999 水墨紙本簽名左上：于彭一九九九 51x23 cm. (20x9.1 in.)

Yu Peng Under the bodhi tree 1999 Ink on paper Signed middle right: named Yu Peng in Chinese and dated 1999

NT$ 80,000-180,000 US$ 2,640-5,940 HK$ 20,600-46,400

3038

朱德群 (1920-2014) 無題

朱德群的畫風演變受到印象派、野獸派、抽象畫的影響，希望藉由西方的創作語彙找到更自由的表達方式。在飽覽西方藝術的精妙絕品之後，他發現藝術要扣人心弦，絕不是表面形

1979

式的問題，內涵才是關鍵，而內涵最穩固的來

水墨紙

源，則是文化特質。於是他開始探索中國水墨

簽名右下：朱德群 CHU THE-CHUN.

畫的畫理與境界，在中國書法的韻律與精神中

46×35 ㎝ . (18.1×13.7 in.)

去尋找，中國文化深厚底蘊，成為其作品中自然流露出的沉靜之美。

來源歐洲私人收藏

以中國的水墨書法技法，朱德群融合西方傳統繪畫和抽象藝術，搭建起抽象繪畫和中國水

出版

墨藝術的精神橋樑。《無題》呈現強烈的狂草

此畫作將收錄於朱德群工作室出版圖錄

書法的線條感，但與中國書法擅長表現的是點與線，對面感的處理較弱，而《無題》則是取

Chu Teh Chun Untitled

其勢、放其形，行雲流水的線形筆跡、點線枝節間逸趣橫生、渲染氤氳有筆有墨的大塊色面，點、面、色塊所交融出的節奏感，時急時緩，

1979

觀者的視覺隨著書寫線條奔馳，跟著大氣流動，

Ink on paper

朱德群靈性化的筆觸，帶出中國山水的空間之

Signed lower right: named CHU TEH-

感，看似飄渺卻又實在的色彩操用，帶著點音

CHUN in Chinese and Pinyin

樂性的律動及節奏躍然於紙上，一種東方詩情畫意的氣氛也油然而生。

PROVENANCE Private Collection, Europe

Under the mutual changing of the light and the direction, the multiple space feeling of Chu's

LITERATURE

works comes with the tide of fashion. The

This work will be published by Chu Teh

location of the light not only decides the far

Chun's Studio

and near space gradations, but also influences the corresponding relationship between the ink

NT$ 1,200,000-1,500,000 US$ 39,590-49,490 HK$ 309,300-386,600

masses. In Chu's works, the up and down, left and right, and central and peripheral configuration of painting can often be seen. What connects the relationships among diverse districts is the dynamic expression among the shape, the ink and the body.

3039

陳庭詩 (1916-2002)

Chen Ting Shih

日與夜 #61

Day and Night#61

1981

版畫 (8/40)

Woodblock print on paper(8/40)

簽名右下： Chen Ting Shih Oct 1981

Signed lower right: named Chen Ting Shih

91x91 cm.（ 35.8×35.8 in.）

and dated Oct 1981

出版

LITERATURE

《大律希音 —陳庭詩紀念展》，臺北市立美術館，2002，頁 235。

Taipei Fine Arts Museum, Chen Ting-

Shih(1915-2000) : Sound of Rarity , Taipei, Taiwan, 2002, P.235.

NT$ 220,000-300,000 US$ 7,260-9,900 HK$ 56,700-77,300

3040

陳庭詩 (1916-2002)

Chen Ting Shih

意志 #3

Will#3

版畫

Woodblock print on paper

62x62 cm.（ 24.4×24.4 in.） LITERATURE 出版《大律希音 —陳庭詩紀念展》，臺北市立美術館，

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

Sound of Rarity , Taipei, Taiwan, 2002, P.148

2002，頁 148。

NT$ 240,000-300,000 US$ 7,920-9,900 HK$ 61,900-77,300 51

3041

陳庭詩 (1916-2002)

Chen Ting Shih

天籟 #3

God's song#3

1980

版畫 (7/40)

Woodblock print on paper (7/40)

簽名右下 : Chen Ting-Shin

Signed lower right: named Chen Ting Shin in Pinyin and dated 1980

61x61 cm.（ 24×24 in.）出版《大律希音 —陳庭詩紀念展》，臺北市立美術館，2002，頁 165。

LITERATURE Taipei Fine Arts Museum, Chen T ingShih(1915-2000 ) : Sound of Rarity, Taipei, Taiwan, 2002, P.165.

NT$ 240,000-350,000 US$ 7,920-11,550 HK$ 61,900-90,200

3042

陳庭詩 (1916-2002)

Chen Ting Shih

夢在冰河

Dreaming in the Glacier

1978

版畫 (5/40)

Woodblock print on paper (5/40)

簽名右下 : Chen Ting-Shin.Apr.1978

Signed lower right: named ChenTing Shin in

60.5x60.5 cm.（ 23.8×23.8 in.）

Pinyin and dated Apr. 1978

出版

LITERATURE Ta i p e i F i n e A r t s M u s e u m , Chen T ingShih(1915-2000) : Sound of Rarity , Taipei, Taiwan, 2002, P.232, No.175.

《大律希音 —陳庭詩紀念展》，臺北市立美術館，2002，頁 232，No.175。

NT$ 240,000-350,000 US$ 7,920-11,550 HK$ 61,900-90,200

3043

江明賢 (b.1942)

Chiang Ming Shyan

梅花 (A-134)

Plum blossom(A-134)

彩墨紙

Ink and color on paper

鈐印 : 江氏 ( 白文 )、明賢 ( 朱文 )、寒嚴書屋

Stamped with artist's seals

( 白文 ) 款釋 : 尋常依樣窗前月，才有梅花便不同。

PROVENANCE

己巳冬寒於千竹書屋江明賢並提宋人句。

Certificate of Authenticity by Asia Art

48×54 cm.（ 18.8×21.2 in.）

Center, Taipei.

來源

NT$ 350,000-400,000 US$ 11,550-13,3200 HK$ 90,200-103,100

附亞洲藝術中心原作保證書 54

3044

王暉（ b.1973）別樣嬌彩墨絹本鈐印右下 : 暉 140x38 cm.（ 55.1×14.9 in.）來源附藝．凱旋藝術空間原作保證書

Wong Huei Flirtatious Ink and color on silk Stamped lower left with an artist's seal PROVENANCE Certificate of Authenticity by Triumph Art Space , Beijing.

NT$ 300,000-400,000 US$ 9,900-13,200 HK$ 77,300-103,100

3045

阿弗烈德．巴斯天 (1873-1955)

Alfred Bastien

布魯日街景

Burges Street

油彩畫布

Oil on canvas

簽名左下： A.Bastien Burges

Signed lower left: named A.Bastien

35x53 cm.（ 13.7×20.8 in.）

in French and titled Burges

NT$ 120,000-200,000 US$ 3,960-6,600 HK$ 30,900-51,500

3046

阿弗烈德．巴斯天 (1873-1955)

Alfred Bastien

一帆風順

Bon Voyage

油彩畫布

Oil on canvas

簽名左下： A.Bastien Burges

Signed lower left: named A.Bastien

57x78 cm.（ 22.4×30.7 in.）

in French

NT$ 300,000-400,000 US$ 9,900-13,200 HK$ 77,300-103,100

3047

阿弗烈德．巴斯天 (1873-1955) 魚與檸檬油彩畫布簽名右下： A.Bastien 50x60cm.（ 19.6×23.6 in.）

Alfred Bastien Fish and lemon Oil on canvas Si gne d low e r r ight : n a m e d A.Bastien in French

NT$ 120,000-200,000 US$ 3,960-6,600 HK$ 30,900-51,500

3048

阿弗烈德．巴斯天 (1873-1955) 綠洲一隅油彩畫布簽名右下： A.Bastien 37.5x55 cm.（ 14.7×21.6 in.）

Alfred Bastien Oasis corner Oil on canvas Si gne d low e r r ight : n a m e d A.Bastien in French

NT$ 120,000-200,000 US$ 3,960-6,600 HK$ 30,900-51,500

3049

阿弗烈德．巴斯天 (1873-1955)

Alfred Bastien

池塘倒影

Pond reflection

油彩畫布

Oil on canvas

簽名右下： A.Bastien

Signed lower right: named A.Bastien in French

65x44 cm.（ 25.5×17.3 in.）

NT$ 160,000-240,000 US$ 5,280-7,920 HK$ 41,200-61,900

3050

陳蔭羆 (1913-1995) a. 雨中人群油彩畫布簽名左下： GEO CHANN 41x31.5 cm. (16x12 in.)

b. 街燈下的人群油彩畫布簽名右下： GEO CHANN 41x31.5 cm. (16x12 in.) 來源附藝術家家屬原作保證書美國私人收藏

George Chann a. Rainy Night Oil on canvas Signed lower left: named GEO CHANN in English

b. People Under Streetlight Oil on canvas Signed lower right: named GEO CHANN in English PROVENANCE Certificate of Authenticity by Artist`s Family member. Private Collection, USA

NT$ 260,000-400,000 US$ 8,580-13,200 HK$ 67,000-103,100

b 60

3051

陳蔭羆 (1913-1995)

George Chann

山水

Chinese Landscape with Sun

油彩畫布

Oil on canvas

簽名右下： GEO CHANN

Signed lower left: named GEO CHANN in English

NT$ 200,000-350,000 US$ 6,600-11,550 HK$ 51,500-90,200

56x122 cm. (22x48 in.) PROVENANCE 來源

Certificate of Authenticity by Artist`s Family member.

附藝術家家屬原作保證書

Private Collection, USA

美國私人收藏

3052

陳蔭羆 (1913-1995)

George Chann

小男孩

Boy with Yellow Shirt

油彩畫布

Oil on canvas

簽名左下： GEO CHANN

Signed lower left: named GEO

50.5x40.5 cm. (20x16 in.)

CHANN in English

來源

PROVENANCE

附藝術家家屬原作保證書

Certificate of Authenticity by

美國私人收藏

Artist`s Family member. Private Collection, USA

NT$ 160,000-260,000 US$ 5,280-8,580 HK$ 41,200-67,000 61

3053

陳蔭羆 (1913-1995) 香港海景 1970 年代油彩紙本拼貼於畫布簽名右下： GEO. CHANN 65.3x80 cm. (25.7x31.5 in.) 來源香港佳士得 2009 春拍 Lot953

George Chann Harbor Scene in HK 1970s Oil on paper (collage on canvas) Signed lower right: named GEO. CHANN in English PROVENANCE Christie's Hong Kong 2009 Spring Auction, Lot953

NT$ 450,000-550,000 US$ 14,850-18,150 HK$ 116,000-141,800

堆疊著文化情感及歷史記憶的抽象表現在論及陳蔭羆的繪畫時，我們可以看到如下的話語：萃取饒富中國意蘊內涵的元素符號作為

The abstract performance filled with cultural emotions and historical memories

創作基底、中國的文字符號依稀可見、呼應抽象表現主義的精神旨趣、自由的抽象語彙。他的抽

When it comes to the paintings of George Chen,

象畫風有時不免直覺地使人聯想起屬抽象表現主

we often see the remarks like choosing the symbolic

義（ Abstract Expressionism）的帕洛克（ Jackson

elements as the fundamental base of his creation, a

Pollock 1912-1956）滴畫與潑灑的表現風格，然

clear view of Chinese characters and symbols, showing

而，若深入其畫中世界後，便會發現創作觀點、

the spirit of the abstract expressionism and free

思想、哲學，其實與波洛克有著極大的差異。

abstract vocabulary etc. His abstract style of painting sometimes unconsciously enables people to think of

帕洛克拋棄了西方傳統繪畫中使用的畫架和畫

the expression styles of Pollock’s drip paintings and

筆，把巨大的畫布平鋪在地上，用鑽有小孔的盒

splashing from the abstract expressionism. If probing

子、棒、噴霧器或畫筆，運用自動性技法把顏料

into the world of the painting, however, people will

滴濺在畫布上；作畫時和畫布的接觸不固定在一個

find that his views, thoughts and philosophical ideas of

位置，而是在畫布四周走動，或跨越過去，使構

painting have a dramatic difference from Pollock’s.

圖沒有中心、結構無法辨認；讓整個的身體無意識性、即興、隨意的自由運動，畫成複雜難辨、線

The abstract paintings that Chen display are not

條錯亂的網；畫面上線條縱橫曲扭，色彩變幻無

the liberation of oneself or memories but the pursuit

常。波洛克以行動繪畫的方式，逐漸突破物像和

of the Chinese culture. In his early painting history,

空間規律的束縛，以情感表現為基礎，解放了人

based on the handwriting of the Chinese characters, his

性底層無意識界與潛意識的部份能量，突破了文

black-and-white abstract style takes advantage of the

化的界限，使人回歸原始，進而與內在世界的深

copybook of the calligraphy and printings, transforms

沈自我和記憶溝通。

them into paper balls and scraps or transplant them into the painting cloth by cutting and combination. On

相較之下，陳蔭羆的抽象畫面所展現的，不是

this base, he does all the possible painting methods

原我或記憶的解放，是對中國文化的溯尋。陳蔭

by using the technique of brushwork such as walking

羆早期的黑白抽象表現風格，從漢字的符號書寫

script, cursive script, seal script and clerical script to

出發，使用書法字帖與印刷品，經過特殊的加工

exhibit the charms of different strokes and painting

與再製，使其成為破碎的紙團紙片，或是剪接變

textures. He also adds some strokes again and again to

造，再使用拼貼的技法，將其移植到畫布上。在

balance the combination of the form and the texture.

這層基底之上，再運用筆墨的技法，進行各種可

All the elements on the painting cloth are hardly

能的繪畫動作，以行、草、篆、隸書表現不同的

distinguishable as the up and the down or the base and

筆態趣味和畫面質感，一次次的補充書寫，平衡

the picture. Later, he starts to add some various colors

地結合形式構成和觸覺的肌理質感。畫布上的所

and skin textures to his works. He uses some fine sand

有元素，交融成為一種上、下難分、圖、底莫辨

to create a sense of history so that the paintings are

的狀態。在黑白抽象風格之後也開始在作品中融

full of the mottled historical colors, showing a realistic

入豐富的色彩與肌；為了營造出歷史感，陳蔭羆使

texture feeling that surpasses the abstract plane. By

用細沙等媒材，讓畫面產生歷史的斑駁色彩，給

his characters and calligraphy, Chen displays the

人一種超越抽象平面的真實質感。

power of culture and the beauty of civilization in his practice of abstract painting and this consciousness is

透過文字與書法的力量，陳蔭羆在抽象繪畫實

not simply out of restriction. This is why the abstract

踐上，將文化底蘊透過身體，傾訴著文化的力量，

expressionism works of Chen and Pollock differ

凸顯著文明的美感，這樣的意識，不是放浪形骸

greatly in both meaning and spirit.

的，使得陳蔭羆與帕洛克兩人的抽象表現主義畫作，在內在的意義、精神面貌上截然不同。

Abstract Calligraphy, based on the repeated handwriting and specking, forms a thick skin texture, where all the symbols disappear while the white lines

《抽象書法》Lot3054 以多次書寫與斑染成為畫

link the colorful dots in the painting. The handwriting

面的基底，堆疊成厚實的肌理，文字符號已全然

of dots, strokes and colors is more pure, free and

消失，紗白的線條，貫串在色點繽紛的畫面上，

organized. The paintings become really delicate and

點、線、色的書寫運用也變得更純粹、自由和有

deluxe like a brocade due to the dynamic colors,

機化。充滿活力的運色賦予畫面如織錦般的精緻

integrating the imagery of both antiquity and modern

華美，交織著古雅與現代淬鍊的意象，洋溢著創

refinement, full of the free evolving, reproductive and

作者無拘無束的演化繁衍，進而孳孳不息的生命

everlasting vitality.

力。 In addition to the abstract paintings, Chen’s 除了抽象繪畫外，陳蔭羆早年具象寫實風格，

figurative realistic painting style in his early life mainly

主要在表現人像和風景的題材。他喜歡描繪窮苦人

lies in the themes of depicting characters and views.

家、老人與小孩，《小男孩》Lot3052 整幅畫作籠

He loves delineating the poor, the old and children. The

罩在一片昏黃的暗赭色調，可能是描繪華人、黑

whole picture of The Little Boy is shrouded in a dim

人及墨西哥裔中下階級貧窮兒童，表現因種族歧

and dark ochre color. It seems to depict the overseas

視所造成的明顯社會階級與生活差距，濃厚的社

Chinese, negroes, poor Mexican children from the

會寫實畫風，一定程度透露出了悲天憫人的人道

lower middle class, revealing the discrepancy of

主義溫情與關懷。而二次世界大戰結束之後，陳

social classes and living standards caused by the race

蔭羆曾於 1947 年返回中國達三年之久，其間曾描

discrimination. The strong realistic painting style, to

繪一些在中國南方各地的風景與靜物寫生，《香港

some extent displays the sympathetic humane warmth

海景》Lot3053 以藍色調表現南方水氣氤蘊的空氣

and care. After the World War II, Chen returned to

感，近景則是以斑斕色塊描繪香港繁盛的城市樣

China in 1947 and stayed for three years, when he

貌與海上揚帆而行的船隻；《山水》Lot3051 同樣

sketched lots of paintings that delineate the views and

的空氣感表現，如夢境般的氛圍，暗藏著誘惑觀

still objects in various places in the southern China.

者投射想像的線索，水面上的船舟與船夫，作為

The Sea Sights of Hong Kong, makes use of the blue

與現實的一些連結。《雨中人群》《街燈下的人群》

color to show the moist air in the southern China and

Lot3050 則是展現其風景寫生的成熟功力。

mottled colors as a close-up to represent Hong Kong, a prosperous metropolis, and the sailing boats and ships

不管是具象或抽象，陳蔭羆的繪畫，總是堆疊

on the sea. Landscape shows the same moist air like

著濃厚的情感，傾注於現實社會關注、文化情感、

a dream to arouse people’s imagination, the boats and

或是歷史記憶，是形構自由及質感豐美的視覺提

boatmen on the water as a link to reality. People in

煉，讓觀者充份體驗到其精妙的色感和亂中有序

the Rain and People under the Streetlight also reveal

的佈局能力。

Chen’s mature sketching skills at landscape. No matter concrete or abstract, Chen’s paintings, always full of strong emotions concerning the real society, cultural feelings or historical memories, are the refined visual beauty of free structure and gorgeous texture, which enable the observers to fully experience from the paintings the delicate colors and the orderly layout of a seemingly chaotic one.

Jackson Pollock

Oil and lacquer on canvas 269.5 x 530.8 cm

One: Number 31

Collection at Museum of Modern Art, New York,

1950

United States. 65

3054

陳蔭羆 (1913-1995) 抽象書法

以這幅創作於 70 年代的《抽象書法》，就尺寸上、技法上、色彩取向等各方面而言都是一件絕佳的作品。我們看到陳蔭罷典型的碑銘構造，層層疊疊地覆蓋畫面，

油彩畫布

一筆一劃都是篤信耶穌的他對人間世無言

126x128 cm. (50.4x49.6 in.)

的注視。這些鮮紅、寶藍、暖黃、粉白的筆觸以紮實的結構彼此架接，形成一個

出版《陳蔭羆》，台北 : 大未來畫廊， 2000，頁 119。

極為穩定而均質的視覺體系，恰似陳蔭罷一生中滿滿的愛與信心，帶給世人盈盈希望。

George Chann Abstract Calligraphy Oil on canvas LITERATURE Lin & Keng Gallery Ltd., George

Chann , Taipei, Taiwan, 2000, P.119.

Calligraphy is the very unique concept from Chinese culture on making paintings, we don't see this on any other foreign art schools or it can be achieved by artists who just copied Impressionism, Fauvism or Expressionism. By the contrary, he needs to possess excellent calligraphy base as well as deep and still faith; these qualifications all

NT$ 5,500,000-6,500,000 US$ 181,460-214,450 HK$ 1,417,500-1,675,300

provide a solid ground for George Chann's abstract art. Similarly, there is a calligraphy trend worldwide in Chinese art. The Chinese contemporary artist, Xu Bing, utilizes calligraphy on his installation works that won

書法概念是華人藝術獨傲全球的繪畫應

a great reward in New York and Europe, and

用，這是其他國家的藝術流派所沒有的元

George Chann's calligraphy abstractionism

素，也非一昧師法印象畫派、野獸派、表

series is going popular on the market.

現主義派所能獲致的抽象風格，一方面它需要有絕佳的書法技巧、二方面它需要有

Take this "Abstract Calligraphy" as an

禪精竭慮的信仰厚度，這些都是鑄造陳蔭

example, we see the typical carved-character

罷抽象境界的必要條件。

structure on the frame that lied thousand times, each stroke means this devoted

無獨有偶的，近幾年海外華人藝術家吹

Christian artist's silent gaze into this world.

起一陣書法旋風，廣為歐美藝術界歌詠讚

These fresh red, royal blue, warm yellow and

嘆。中青輩的徐冰以書法概念創作的當代

pink white strokes tightly connect to each

藝術作品在紐約、歐陸獲得很大的回響，

other and form a very stable visual system.

陳蔭罷的書法抽象系列也直接說明了書法

We see George Chann's love between the

抽象的藝術定位。

lines and God's grace overwhelmed.

3055

莊喆 (b.1934) 霞谷飛澗 1983 壓克力畫布簽名右下：莊喆 83 105.5x137 cm. (41.5x54 in.)

Chuang Che Canyon landscape in the daybreak time 1983 Acrylic on canvas Signed lower: named Chuang Che in Chinese and dated 1983

NT$ 900,000-1,100,000 US$ 29,690-36,290 HK$ 232,000-283,500

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。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。抽象是精神上的探索，《霞谷飛澗》一作，莊喆運用渲染法，以水性的感覺繪出他心中的山水造形，中國筆法滲入西方繪畫，在畫面中，莊喆更是保留了中國畫留白的特色，讓整張畫有空氣在穿梭與流動，中國行草的運筆和中國潑墨山水的潑染，再結合西方抽象表現主義的自動性技法，這就是莊喆形式和空間上技法的運用。

3056

莊喆 (b.1934)

Chuang Che

虛實共生

Between illusive and truth

1992

壓克力紙裱於畫布

Acrylic on paper

簽名下方：莊喆 92

Signed lower: named Chuang Che in

92.5x91 cm.（ 36.4×35.8 in.）

Chinese and dated 1992

NT$ 300,000-400,000 US$ 9,900-13,200 HK$ 77,300-103,100

3057

莊喆 (b.1934)

Chuang Che

明晰的山色

Clear and Fresh Mountains

壓克力紙裱於畫布

Acrylic on paper

簽名右下：莊喆

Signed lower right: named Chuang Che in

91.5x76 cm. (36x30 in.)

Chinese

展覽

EXHIBITION

「莊喆創作展」，勝大莊美術館，1992 4 月。

Taipei, Taiwan, Kanders Art Museum,

Chuang Che Solo Exhibition , 1992, April.

NT$ 260,000-350,000 US$ 8,580-11,550 HK$ 67,000-90,200

3058

邱秉恆 (b.1948)

Chiu Bing Heng

夜曲

Nocturne

油彩畫布

Oil on canvas

簽名右下：秉恆

Signed lower: named Bing Heng in Chinese

91x72 cm.（ 35.8×28.3 in.） This work has been included in the 54th Taiwan 此作曾收錄於第五十四屆全省美展專輯 -

Provincial Fine Art Exhibition.

評審作品

NT$ 300,000-400,000 US$ 9,900-13,200 HK$ 77,300-103,100

3059

蘇旺伸 (b.1956)

Su Wong Shen

藝術家的春天

Springtime of artist

油彩畫布

Oil on canvas

80x100 cm.（ 31.4×39.3 in.） PROVENANCE 來源

Certificate of Authenticity by Han Hsiang Art Center, Taipei.

附漢相藝術中心原作保證書

NT$ 400,000-550,000 US$ 13,200-18,150 HK$ 103,100-141,800

3060

楊識宏 (b.1947)

Yang Shi Hong

植物之歌

Song of Planet

油彩畫布

Oil on canvas

140x100 cm. (55x39 in.)

NT$ 700,000-850,000 US$ 23,090-28,040 HK$ 180,400-219,100

3061

黃楫 (b.1953)

Huang Jyi

幽微之窗

Gloomy window

1993

油彩畫布

Oil on canvas

簽名下方：楫 1993

Signed lower: named Jyi in Chinese and dated 1993

91x91 cm.（ 35.8×35.8 in.） LITERATURE 出版《黃楫繪畫全集》，台北 : 愛力根畫廊，1996，

Galerie Elegance, Huang Jyi painting collection , Taipei, Taiwan, 1996, P.142-143.

頁 142-143。

NT$ 600,000-800,000 US$ 19,800-26,390 HK$ 154,600-206,200

3062

邱亞才 (1949-2013) 凝 1992 油彩畫布簽名右下： 92 邱亞才 80x65 cm.（ 31.4×25.5 in.）

Chiu Ya Tsai Gaze 1992 Oil on canvas Signed lower right: dated 1992 and named Chiu Ya Tsai in Chinese

NT$ 700,000-1,000,000 US$ 23,090-32,990 HK$ 180,400-257,700

「我們畫家用筆墨來描寫，來尋找心靈複雜的奧秘事，從這些喝醉了酒的，激情複雜的臉龐上來加以關照判斷。……我們觀察人事，要透徹的把那鬱暗又複雜的心思表露出來，向來就是我們寫作的正理。」有別於邱亞才畫作中所擅長細膩勾勒人物的線條，創造優雅卻又哀傷孤寂的氛圍，《凝》以粗曠的線條將人物的滄桑感表露無遺，斑駁的呈現整幅畫作的細節。眉宇間能感受到畫中人物的焦躁與世間墮落的氣息，粗糙的皮膚表面彷彿能看見歲月的皺痕。邱亞才的肖像作品中，人物目光往往不與觀者對視，安靜悠然，但觀者卻能從中感受到人生、人性的複雜和深沉。只有擁有獨立的人格，對人事的感驗才會如此之深，其作品才會表達得如此之真。

3063

邱亞才 (1949-2013) 姊姊 1996 油彩畫布 73x91 cm.（ 28.7×35.8 in.）來源附梵藝術中心原作保證書

Chiu Ya Tsai Sister 1996 Oil on canvas PROVENANCE Certificate of Authenticity by Fine Art Center, Tainan.

NT$ 1,200,000-1,500,000 US$ 39,590-49,490 HK$ 309,300-386,600

邱亞才總是以具象的人物來詮釋抽象的人性。 1949 年 6 月 6 日生於台灣宜蘭，非學院派畫家，自幼對正規學業不感興趣，退伍後才開展對文字藝術的追求，以及對人性的深刻觀察。中國歷史、莎士比亞、杜斯妥也夫斯基等大師巨著的閱讀經驗，豐富其往後繪畫中的人物深度。邱亞才筆下的台灣現代文人肖像，受唐代繪畫的影響頗深，如人物的鉤狀鼻、杏眼，鵝蛋臉，身材頎長纖瘦，雌雄莫辯，主題上傾向於孤寂、憂鬱、內斂而沈靜。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氣氛。完成於 1996 年的《姊姊》，邱亞才使用白描的手法，勾勒出姐姐的模樣。黑髮輕柔的向側邊梳整；豐潤的朱紅雙唇，細心描繪唇形，嘴角微微上揚；深邃的雙眼溫和注視著前方；臉龐色澤，膚色中淡淡的透出紅潤好氣色，深黑的背景、黑色的衣裳襯出潔白的肌膚，形成強烈的對比。雖然此幅畫色彩樸實，卻流露出溫柔婉約的氛圍。 78

3064

龐均 (b.1936) 宋代八字橋

龐均出生於上海，為中國第一代留法藝術家龐薰琹之子。龐薰琹所創立的「決瀾社」致力於倡導中國現代藝術運動，龐均在這種藝術世家的環境下成長，自然地對藝術有一份由衷的執著。曾入學杭州美術學院及北京中

2006

央美術學院，師承林風眠、潘天壽、黃賓虹、徐悲鴻、

油彩畫布

吳作人、李可染等前輩，是徐悲鴻末代關門弟子。在

簽名右下：龐均 2006

徐悲鴻寫實體系的訓練下，造就了他深厚的造形實力。

72.5x60.5 cm. (28.5x23.8 in.)

1987 年定居台灣，並曾任教於國立台灣藝術大學。

出版

龐均的畫以自由灑脫的筆觸和寫意風格著稱，他在古

《龐均的藝術：鄉情與視角》，常熟美術館，上海 : 人民美術出版社，2007，頁 31。

典和現代中尋找共通點，也試圖結合中國水墨和西方油彩的中心思想精神。畫作中有著西方印象派與野獸派的綜合特點，也融入了中國傳統繪畫注重氣韻的詩情畫意，

Pang Jiun Song Dynasty Bazi bridge

觀看龐均的油畫，是容易被那濃厚的、有筆趣的灰彩畫風吸引。他的灰調子不僅只是獨特的調色法所和合出

2006 Oil on canvas Signed lower right: named Pang Jiun in Chinese and dated 2006 LITERATURE Changshu Art Museum, Pang Jiun painting collection , Shanghai, China, 2007, P.131.

NT$ 500,000-650,000 US$ 16,500-21,450 HK$ 128,900-167,500

也因此開創了自己繪畫的領域。

中國無錫八字橋實景圖

的油彩灰調，更是歷經時代的波濤擺蕩後，將外在的世界內化成一幅幅景觀的再現，這個特色在《宋代八字橋》中明顯可見。龐均說 :「那時對於大陸的大山大水的觀察，我就覺得必須是灰調子，因為這也體驗了在中國詩詞裡的韻味與飄渺，以及中國人所隱藏收斂深沉的情感，這都是同一個精神性」。《宋代八字橋》描繪的是建於紹興、八百多年歷史的宋代石橋；在宋代，特別是在南方，由於經濟發達，使得水陸交通繁盛，各種貿易的發展促進橋梁建築技術呈現出高超的水準，八字橋即為此一時期的傑作。龐均採用了為人稱道的灰色調，油彩厚實並揉合他對中國傳統繪畫中對筆墨線條的偏好，以融會東西之所長的精神及技法，展現出如夢似幻的意境。

3065

龐均 (b.1936)

Pang Jiun

花

Flowers

2010

油彩畫布

Oil on canvas

簽名右下：龐均 2010

Signed lower right: named Pang Jiun

72.5x60.5 cm. (28.5x23.8 in.)

in Chinese and dated 2010

NT$ 500,000-650,000 US$ 16,500-21,450 HK$ 128,900-167,500

3066

高行健 (b.1940)

Gao Xing Jian

郊屋

Rural House

水墨紙本

Ink on paper

鈐印左下

Stamped lower left with an artist's seal

90x95 cm. (35x37 in.)

NT$ 350,000-420,000 US$ 11,550-13,860 HK$ 90,200-108,200

3067

毀滅與再生的宇宙迴圈

蔡國強 (b.1957) 混沌

蔡國強的創作，總一貫地表達東方哲學和現代宇宙論的思索。二十多年來，他的藝術足跡幾乎遍及所有國際

火藥爆破紙本

大展，在眾多世界著名的藝術殿堂舉辦過展覽，是最受

簽名下方：蔡國強

矚目的中國藝術家之一。在國際藝壇上蔡國強屢獲殊榮，

109×75 ㎝（ . 42.9×29.5 in.）

包括 1999 年獲第 48 屆威尼斯雙年展國際金獅獎、2001 年獲美國歐柏特藝術獎、2005 年獲國際美術評論家聯盟

展覽「蔡國強 : 混沌」，日本東京世田榖美術館，1994。

最佳作品獎、亦是第一位在中國國立美術館舉辦個展的當代華人藝術家、第一位在紐約古根漢美術館舉辦個人展的華人藝術家，成就卓越非凡。

「蔡國強 : 泡美術館」，台灣台北市立美術館，2009。

1984 年蔡國強開始以火藥做為創作素材，爆破給人一種瞬間毀滅的震撼，人們往往只有注意爆破瞬間所產

Cai Guo Qiang Chaos

生炫目的光影效果和巨大聲響。蔡國強認為火藥是一種不可預測與無法控制的有機創作材質，當越想控制創作結果，往往越是事與願違。蔡國強不斷地致力於探索這

1994

爆炸性的美感，讓爆炸的瞬間以及爆炸後所產生的痕跡

Gunpowder on paper

變成永恆的藝術。

Signed lower: named Cai Guo Qiang in Chinese

爆炸也如同宇宙誕生初始的狀態，在他眼中火藥包含著宇宙的力量，指向我們從何而來、宇宙從何而來的提

EXHIBITION

問。在《混沌》裡，如手稿般隨興的文字，是一種片斷

Tokyo, Japan, Setagaya Art Museum,

的時間記憶、歷史軌跡，蔡國強認為混沌的思考皆源自

Cai GuoQiang Chaos , 1994

爆炸，一切未明之時也是能量隱然匯聚的開始，傳達了

Ta i p e i , Ta i w a n , Ta i p e i F i n e A r t s

蔡國強獨特的宇宙觀，嘗試著以藝術與宇宙的能量對話。

Museum, Cai GuoQiang - Hanging

Out in the Museum , 2009.

NT$ 1,100,000-1,600,000 US$ 36,290-52,790 HK$ 283,500-412,400

展覽現場 84

3068

熊宇 (b.1975)

Xiong Yu

蠟梅花神

Chimonanthus

2006

油彩畫布

Oil on canavs

簽名右下：熊宇 2006

Signed lower right: named Xiong

71.5×81.5 ㎝（ 28.1×32 in.）

Yu in Chinese and dated 2006

NT$ 220,000-350,000 US$ 7,260-11,550 HK$ 56,700-90,200

3069

章劍 (b.1968)

Zhang Jian

天安門

Tiananmen

2007

油彩畫布

Oil on canvas

100×80 ㎝（ 39.3×31.4 in.）

NT$ 260,000-400,000 US$ 8,580-13,200 HK$ 67,000-103,100

3070

1963 年生於韓國，多次獲得韓國美術展特選，以「毛

李錠雄 (b.1963)

筆系列」畫作享譽國際。李錠雄的毛筆畫，是所謂「行

毛筆

為藝術－抽象美學－現實主義」等現代美學的集合體，作品融入了東方文化的意藴，形式簡練而又意味深長，

2006

如此靜寧的畫面彷彿訴說著畫家一心一思的靈魂，面對

油彩高麗紙

他的作品不時能感受到內心的平靜，真可謂妙不可言。

121x200 cm. (47.6x78.7 in.) 畫作大膽的選擇中心位置做構圖，能立刻就吸引住大展覽「墨韻中的禪靜」，GSR Gallery，北京，2007.12.82007.12.29。

家的目光。創作於質地柔軟的傳統韓紙上，墨色渲染與顏料的重疊增加畫面立體感，與紙張原有的紋理做了最自然完美的結合。旁邊留白的部分強而有力的襯托出畫作，使毛筆和墨成為視覺焦點。而在描繪物體的筆觸上

出版《墨韻中的禪靜》，北京 :GSR Gallery 出版，頁 9-10。

Lee Jung Woong Brush

逼真呈現，比起照片的真實性，彷彿讓人伸手可觸，更挑起觀賞者視覺上的觸動。 Born in Korea in 1963, he has awarded special awards for Korea Art Exhibition in the year of 1985, 1992 and 1993, and has so far held over twenty solo exhibitions in Korea.

2006

In addition to participating in the Shanghai Art Fair three

Oil on Korean paper

years in a row, Lee also took part in the "Start 2005" Art Fair in France, ARCO Art Fair in Spain, which made him a high

EXHIBITION

reputation artist in the international Art world. Lee made a

Beijing, China, GSR Gallery, Lee Jung Woong Solo

name for himself internationally with his series of hyper and

Exhibition , 2007.

photo-realistic "Brush" Paintings

LITERATURE GSR Gallery, Lee Jung Woong Solo Exhibition , Beijing, China, 2007, P.9-10.

art, abstract art and realism. Using Chinese ink and oil paint

Lee's artworks represent a combination of performance on Korean paper, Lee imbues a convergence of Eastern and Western influences. Lee's works embraces certain

NT$ 1,300,000-1,600,000 US$ 42,890-52,790 HK$ 335,100-412,400

formative principles, seeking to make dual structure based on the Orient's yin and yang thoughts, opposing concepts such as calligraphic paintings and oil paintings, forms and silhouettes, dynamic and still images, reality and false image, oil and water colors. This creates a sense of visual tension in a conflicting state, simultaneously pursuing a dramatic reconciliation and harmony to attain a sense of formative beauty He continues to surprise the viewer with the extremely meticulous reality of his works. So real, people unwittingly try to ascertain if they are real photos by using a magnifying glass. This technique is at the level of magic.

3071

黃鋼 (b.1961) 經文複合媒材 108x108 cm.（ 42.5×42.5 in.）

Huang Gang Scripture Mixed media

NT$ 1,000,000-1,300,000 US$ 32,990-42,890 HK$ 257,700-335,100 帶有文化融合氣息及強烈鮮明的風格，

The way that HUANG Gang expresses

這是黃鋼作品給人的深刻印象。1990 年

in his art is not by colors or lines, but he

代初期在法國看了西藏藝術展覽後，便對

more emphasized on the abstract concept

西藏藝術產生濃厚興趣。黃鋼近十年所創

like sociality and criticism. He started

作的作品，無論是雕塑或是繪畫，均涉及

creating abstract paintings from 2002.

宗教文化等層面。他以西藏文化符號作為

HUANG went to an exhibition of Tibetan

其創作的元素，將西藏的傳統木刻佛經印

art in Paris at the beginning of 1990 and

版、手抄佛經和古老的氂牛皮做複合式組

that was when he first met Tibetan art.

合，加上抽象表現主義之韻律、線條等

Afterwards, he used mixed media to create

技法，闡釋邊疆民族豐富的社會，宗教，

his artworks including Sanskrit and sutra

與哲學背景。

in order to cherish the Buddhist culture of Tibet. From its composition,“ Scripture”

《經文》將西藏寺院僧人所刻製的佛經刻

represents a world view of Buddhism.

版排列組合，以懷舊復古之色彩作為畫中

The Sanskrit prayed silently for all human

主要色調，層次色彩的堆疊與承載歷史的

beings. He also used lots of red color

佛經刻版，一起呈現積累時間沖刷的豐富

on the background to convey a beauty of

質感，傳遞出儀式般的氛圍。佛經刻版的

profoundness and great.

運用，加上自己的理念、技法，重新啟動了它古舊的意義及潛在的價值。觀者除了感受到其神秘的宗教性，更加感動於僧人虔誠誦經、刀刀刻畫、傳頌經書的巨大無形力量，充分展現出東方文化的歷史情感。

3072

石川欽一郎 (1871-1945)

Kinichiro Ishikawa

雲端

Above the clouds

彩墨絹本

Ink and color on silk

簽名左下：雲表欽

Signed lower left: titled Above the clouds and named in

34.2x56.4 cm. (13.5x22.2 in.)

Japanese Stamped lower left with an artist's seal

來源香港佳士得 2012 秋拍 Lot304

PROVENANCE Christie's Hong Kong 2012 Autumn Auction, Lot304

NT$ 300,000-380,000 US$ 9,900-12,540 HK$ 77,300-97,900

3073

石川欽一郎 (1871-1945)

Kinichiro Ishikawa

秋色

Landscape of autumn

水彩紙

Watercolor on paper

簽名右下： Ishikawa Kin

Signed lower right: named Ishikawa Kin in English

25.5x35.5 cm. (10x14 in.)

NT$ 240,000-350,000 US$ 7,920-11,550 HK$ 61,900-90,200

3074

林玉山 (1907-2004)

Lin Yu Shan

雙雉圖

Two Pheasants

膠彩紙本

Gouache on paper

鈐印右上及左下

Stamped upper right and lower left

款釋 : 梅雨晴時神氣爽，即興揮毫雙雉

with two artist's seals

圖。丙寅年四月桃城散人玉山。 56x68 ㎝（ 22×26.7 in.）

NT$ 550,000-650,000 US$ 18,150-21,450 HK$ 141,800-167,500

3075

陳進 (1907-1998)

Chen Jin

秋塘

Autumn Pond

1983

水彩紙

Watercolor on paper

簽名右下：陳進

Signed lower right: named Chen Jin in Chinese

鈐印右下：陳進

Stamped lower right with an artist's seal

簽名畫背： 1983.10.22.

Signed on the reverse: dated 1983.10.22

38x45.5 cm. (14.9x17.9 in.) PROVENANCE 來源

Private Collection, Asia

亞洲私人收藏

NT$ 200,000-280,000 US$ 6,600-9,240 HK$ 51,500-72,200 95

3076

陳進 (1907-1998) 花膠彩簽名右下：陳進鈐印右下：陳進 51x44 cm (19.8 x 17.6 in)

Chen Jin Flowers Gouache color on paper Signed lower right: named Chen Jin in Chinese Stamped lower right with an artist's seal

青年時的陳進。圖片引自《台灣美術全集（ 2）陳進》，頁 210 。

NT$ 600,000-700,000 US$ 19.800-23,090 HK$ 154,600-180,400

Adolescent Chin Jin. Picture taken fromTaiwan Fine Arts Series (2) Chin Jin, P210

陳進十九歲前往日本進修藝術，進入東京女子美術學校學習日本畫，為台灣第一位赴日學畫的台灣籍女子，同時也是台灣美術史上第一位東洋女畫家。熱愛繪畫的她以三件膠彩畫作品入選了第一屆台展，和郭雪湖、林玉山並稱「台展三少年」，可說是當時台灣畫界東洋畫的閃耀之星。1934 年，入圍第十五屆帝展，獲得日本畫家最高榮譽，之後不但在台灣的學校任教，也擔任過三屆的台展審查員，不過仍埋首於藝術創作，五 0 年代後期舉辦第一次個展，並以繪畫為其志業，成為一位職業女性畫家。《花》為膠彩作品，畫面色度比彩墨鮮明，生命力十足的蘭花搭配上靛藍漸層的背景，好似在月光下搖擺歌唱

青年時的陳進。圖片引自《家庭美術

一般的高雅柔和。

館前輩藝術家叢書－閨秀．時代．陳進》，雄獅圖書股份有限公司，頁 57。 Adolescent Chin Jin. Picture taken from Family Art Gallery Artist Series predecessors - Lady．Era．Chen Jin, Hsiung-Shih Art Book Ltd, P.57.

3077

林之助一向擅用膠彩顏料的特性，充分表達曇花的雅

林之助 (1917-2008)

緻與神韻。《夜香（二）》細長的花莖深垂而下，暗褐的

夜香 ( 二 )

花萼托著一瓣瓣造型圓轉流利的曇花，花瓣以白色胡粉

膠彩絹本

與粉黃四射的花藥形成全畫視覺的焦點。暗香浮動，典

簽名右中：之助

雅浪漫，《夜香（二）》在林之助的花卉作品中，實屬上

鈐印右中：林之助

品之作。

層層施敷其上，朦朧輕逸，化入空氣。細緻如絲的花絲

46x38 cm. (18x15 in.) 出版《台灣美術全集 20 林之助》，台北 : 藝術家出版，1998，頁 105。

Lin Chih Chu The Fragrance in Night Gouache color on silk Signed middle right: named Chih Chu in Chinese Stamped middle right with an artist's seal LITERATURE Artist Co Ltd., Taiwan Fine Art Series 20 Lin Chih Chu , Taipei, Taiwan, 1998, P.105. 林之助作畫照片，攝於 1694 年。圖片引自《台灣膠彩

NT$ 800,000-1,000,000 US$ 26,390-32,990 HK$ 206,200-257,700

畫之父 - 林之助》，林之助膠彩藝術基金會編印，頁 2-3。 Picture taken from Lin Chih Chu,the Father of Taiwan Glue Color Painting,P2-3.

3078

廖繼春 (1902-1976) 威尼斯

廖繼春一生的作畫題材，經常取材日常生活的點滴，隨心所欲賦予景物主觀色彩，亦能讓變化萬千的色彩相互調和，同時追求造型的自由奔放感。他曾說：「我利用簡潔強烈的色彩，以對比和強調來賦予更多的色彩，

1962

同時在線條的構成中注意造形的趣味。不是描繪某一個

油彩畫布

時間內的印象，而是把希望表現的色彩表現出來」。

簽名右下：繼春 C. LIAO 25×33.5 ㎝（ 9.8×13.1 in.）

提取自台灣民間藝術鮮豔色彩的誇張運用，也催化造型的簡化，《威尼斯》是廖繼春在歐美之旅後，深受威

來源

尼斯水都的影響，創作出一系列亮麗且饒富異國情趣的

附東之畫廊原作保證書

作品。徜徉於粼粼波光的船隻與水氣充沛的水都之光，廖繼春以自如發揮灑脫個性化筆觸，繪出風格浪漫愜意

Liao Chi Chun Venice

的威尼斯水都，整體展現出一片明朗開闊而富層次空間的景緻。突出形與色的繪畫性機能的演變，讓創作更跳脫題材回歸到自主性表現。

1962 Oil on canvas

From the development of Liao Chi Chun's paintings, the

Signed lower right: named Chi Chun in Chinese and

strident colors and unconstrained brushstrokes of Fauvism

C.C LIAO in Pinyin

have created a brilliant world of colors. He created series of bright and exotic works results from his trip to Venice City of

PROVENANCE Certificate of Authenticity by East Gallery, Taipei.

Water. Liao combines Impressionism and Fauvism. using bold

NT$ 2,600,000-3,300,000 US$ 85,780-108,870 HK$ 670,100-850,500

and rich colors on his paintings and thus increases the interestingness of the picture. Liao portraits the boats on the sparking water in Venice. and with the abstract landscape he presents a romantic spacious. and sense of layers of scenes.

東京美術學校台灣留學生合影 ( 前排左一為顏水龍、左二為廖繼春、左四為陳植棋、後排居中者為陳澄波 )。圖片引自《台灣美術全集（ 4）廖繼春》，頁 199。 Tokyo School of Fine Arts students from Taiwan (front row, from left： Yen Shui Long, Liao Chi Chun, left four： Chen Zhi Chi, Back row in middle： Chen Cheng Po).Picture taken fromTaiwan Fine Arts Series (8) Liao Chi Chun, P199.

100

101

3079

廖繼春 (1902-1976) 春秋閣

廖繼春是對台灣美術最具影響力的前輩藝術家，他隨心所欲賦予景物主觀色彩，亦能讓變化萬干的色彩相互調和，同時追求造形的自由奔放感。對於色彩造形的運用，廖繼春有著其看法，他曾說：「我利用簡潔強烈的

油彩木板

色彩，以對比和強調來賦予申多的色彩，同時在線條的

簽名右下：繼春

構成中注意造形的趣味。不是描繪某一個時間內的印象，

16.3×18.7 ㎝（ 6.4×7.3 in.）

而是把希望表現的色彩表現出來。」在 1962 年以前，廖繼春已經開始嘗試運用主觀的色彩，賦予客觀描繪景物

來源

的想像空間，在濃艷的對比中，調和出台；彎民間的基

亞洲私人收藏

底色彩紅、綠、黃、群青為主與衍生出相關的子系色彩。進而，廖繼春在 1 962 無考察返國後，他的作品申成功

Liao Chi Chun Sping-autumn Pavilion Oil on wooden board Signed lower right: named Chi Chun in Chinese

地在主觀色彩與趨於抽象表現主義兩者間找到平衡點，其中也蘊含著塞尚的立體結構理論。《春秋閣》為一對景寫生的小品佳作，描繪台灣高雄蓮池潭的名勝「春秋御閣」，體現出廖繼春晚期的代表風格：筆觸大膽琢璞、線條粗獷有勁、主觀性的色彩掌握、

PROVENANCE

帶有高度的音樂性，僅是幾筆之間，藍天碧水映襯朱紅

Private Collection, Asia

塔樓，層次分明，不但突顯台灣南方的鄉土風情，也達到意到筆隨的藝術情境。

NT$ 850,000-1,100,000 US$ 28,040-36,290 HK$ 219,100-283,500

Liao was the most influential artist for junior artists of Taiwan; he enriched colors in paintings through a very unique way. The colors melted spontaneously in Harmony under his touch and joyful sensation was presented to the viewers. As for the use of color, Liao had his own interpretation as well, he once said; "I use simple but string color to emphasize the sense of color and the contract effect it created. Meanwhile, lines are crucial in my composition to create forms interestingly. Instead of depicting an image in a certain time frame, my main concern is to work the color out." Before 1 962, Liao already tired to apply subjective colors to give objective scenic painting with imagination, in rich and gaudy contrast. They blended special fragrant Taiwanese subtropical zone colors, especially colors widely seen in local Taiwan: red, green, yellow and ultramarine as base color and ultimately develop more color from them. His works matured and found balance between objective colors and abstract tendency after his trip aboard Spring-autumn Pavilion is classic work of Liao for its' bold and yet delicate touches, unconstrained and powerful lines. The scenery of the pavilion was depicted by Liao with Fauvism to create a sense of cozy, spirited, elegant and passionate mood. The sunny and cloudless sky of Sothern Taiwan is manifested by Liao's

102

exclusive style perfectly.

103

3080

廖繼春 (1902-1976)

Liao Chi Chun

《雲海》使用粉彩作為繪畫的媒介，其繽紛

雲海

Plains Cloud

強烈的色彩，以及簡潔大膽的筆觸，以對比

粉彩紙板

Pastel on paper

簽名右下： C. LIAO

渺，同時在線條的構成中以游走的方式抹畫出

Signed lower right:named C.

14x19.5cm. (6x8 in.)

雲海的層次之感。

LIAO in Pinyin

NT$ 260,000-300,000 US$ 8,580-9,900 HK$ 67,000-77,300

104

的方式使畫面呈現出山脈的粗曠感與雲霧的飄

3081

廖繼春 (1902-1976)

Liao Chi Chuni

《觀音山》以紅、藍、綠、黃等鮮豔油彩敷

觀音山

Guanyin Mountain

色，筆觸大膽率意，強烈對比的色彩和自由豪

水彩蠟筆紙

Watercolor and crayons on the paper

簽名右下： C.C LIAO

爛的色彩世界，表現靈感沐浴在台灣亞熱帶氣

Signed lower right: named C.C LIAO in

24x33 cm. (9.4x13 in.)

候的陽光下、那片充滿歡樂的心境。

Pinyin

放的筆觸作為繪畫表現的手法，拓展出一個燦

NT$ 350,000-420,000 US$ 11,550-13,860 HK$ 90,200-108,200

105

3082

王守英的風景畫為數甚多，其中以秋楓入畫

王守英 (b.1937)

為題的作品在各個時期皆有可觀。他在風景畫

奧萬大之秋 ( 秋陽 )

上用心思觀察，追求本土風景的特質，他更擅

2004

賦的敏感用在畫布上，使許多人陶醉在他的抒

油彩畫布

情氣氛之中。

長於靠空氣中的味道來分辨季節，並將這份天

162x130 cm. (64x51 in.) 《奧萬大之秋》富流動感和朦朧的趣味，為來源

此作品的一大特色，色彩從深鬱逐漸轉化到亮

附印象畫廊原作保證書

麗的調子，在光影上的琢磨撲朔迷離、詭譎多變，筆觸上層次感細膩、回味無窮，讓人想走

Wang Shou Ying Aowanda autumn

進畫裡的世界一探究竟。王守英自述：「一切題材都來自於自然，就

2004

是你的話不管怎麼畫，最後還是要符合這個自

Oil on canvas

然的要件，尊重自然」。道盡出超脫世俗煩囂與自然同工的生命觀，是為台灣抒情印象繪畫

PROVENANCE Certificate of Authenticity by Impression Art Gallery, Taipei.

NT$ 1,600,000-2,000,000 US$ 52,790-65,980 HK$ 412,400-515,500 106

極具代表性的重要畫家。

107

3083

王守英 (b.1937)

Wang Shou Ying

花

Flowers

油彩畫布

Oil on canvas

簽名左下 : S.Y.WANG

Signed lower left: named S.Y.WANG in Pinyin

60.5x50 cm.（ 23.8×19.6 in.）

NT$ 260,000-350,000 US$ 8,580-11,550 HK$ 67,000-90,200 108

3084

陳陽春 (b.1946) 中國美女系列 1990 彩墨紙本簽名右下：一九九 0 陽春 Chen Yang Chun 鈐印右下：陳 55x37 cm. (21.6x14.5 in.) 1990 彩墨紙本簽名右下：一九九 0 陽春 Chen Yang Chun 鈐印右下：陳 37x55 cm.(14.5x21.6 in.)

Chen Yang Chun Chinese beauties series 1990 Ink and color on paper Signed lower right: dated 1990,named Yang Chun in Chinese,and Chen Yang Chun in Pinyin Stamped lower right with an artist seal 1990 Ink and color on paper Signed lower right: dated 1990,named Yang Chun in Chinese,and Chen Yang Chun in Pinyin Stamped lower right with an artist seal

NT$ 160,000-260,000 US$ 5,280-8,580 HK$ 41,200-67,000

109

3085

洪瑞麟 (1912-1996) Hong Rui Lin 礦工速寫

Miners sketch

1948

鉛筆紙

Pencil on paper

簽名左下： 1948

Signed lower left: dated

鈐印左下：洪（白文）

1948

20x29 cm. (8x11 in.)

Stamped lower left with an artist's seal

NT$ 60,000-100,000 US$ 1,980-3,300 HK$ 15,500-25,800

3086

劉其偉 (1912-2002) Max Liu a. 台灣野豬

a. Taiwan Boars

1998

水彩紙

Watercolor on paper

簽名右下：ㄌ一ㄡ ˊ

Signed lower right: named

ㄑ一 ˊ ㄨㄟ ˇ 1998

Max Liu in Mandarin

簽名左上： TAIWAN

Phonetic Symbols and

BOARS

dated 1998

鈐印右下： Max

Signed upper left: titled

24x31 cm. (9.5x12.2 in.)

TAIWAN BOARS Stamped lower left with an

b. 小馬 1993

artist's seal a

水彩紙

b. Pony

簽名右上：ㄌ一ㄡ ˊ

1993

ㄑ一 ˊ ㄨㄟ ˇ 93

Watercolor on paper

簽名左下： Ihongolion

Signed upper right: named

Pony

Max Liu in Mandarin

鈐印右上： Max

Phonetic Symbols and

19x26 cm. (7.5x10.2 in.)

dated 1993 Signed upper right: titled Ihongolion Pony Stamped upper right with an artist's seal

NT$ 80,000-160,000 US$ 2,640-5,280 HK$ 20,600-41,200 110

3087

劉其偉 (1912-2002) 斑馬水彩色鉛筆紙 28x20 cm. (11x7.9 in.) 來源附金陵藝術中心原作保證書

Max Liu Zebra Watercolor and color pencil on paper PROVENANCE Certificate of Authenticity by King Ling Art Center, Kaohsiung.

NT$ 60,000-90,000 US$ 1,980-2,970 HK$ 15,500-23,200

3088

席德進 (1923-1981) 養雞 1976 水墨紙本簽名右上：席德進 1976 鈐印右上及左上：席德進畫 ( 朱文 )、席氏書畫 ( 白文 ) 24x22 cm. (10x9 in.)

Shiy De Jinn Raising chickens 1976 Ink on paper Signed upper right: named Shiy De Jinn in Chinese and dated 1976 Stamped upper right and left with two artist's seals

NT$ 80,000-160,000 US$ 2,640-5,280 HK$ 20,600-41,200 111

席德進畢生致力於研究創作，最初受到留法藝術家龐薰琹的啟發，認識了馬蒂斯（ Henri Matisse 1869-1954）、畢

獵，1973 年更發表文章介紹中國傳統民間藝術，如門神、

卡索（ Pablo Picasso 1881-1973）等畫家作品；接著進入重

皮影戲、漢磚畫、陶俑，希望從了解中國的過去，發現未

慶國立藝專，受教於林風眠； 1950 年代受普普、歐普、

來藝術創作應走的方向。本次拍品《大榕樹下》即為晚期

硬邊藝術的影響，作品中加入許多歐普和硬邊主義的形色

回歸本土之作，表現渾厚樹幹與繁雜但層次細緻的樹枝，

表現。在多重影響下，席德進發展出剛勁有力、粗黑線條

大樹之下，古屋，牛與人的姿態，樹木龍飛鳳舞地延展，

的個人繪畫風格。直到歐遊返台後，觀察對象轉而偏重台

牛隻歇坐休息，兩牧人近身細語，遠景氤氳迷矇水氣充滿，

灣鄉土與民俗的描寫，回歸到他最原始而自然的本土家鄉，

顯現臺灣山水南島獨特的屬性。

他四處寫生，對台灣古屋、建築器物、風俗民情多所涉

記錄戰後台灣早期建築與民俗藝術成為其創作的底蘊。席德進的繪畫創作類型多樣化，從不同的題材及媒材創 1970 年代開始，席德進的作品充滿著昂然矗立在天地

造出完全不同的感動。油畫作品中顯見他吸取西方藝術精

間的古厝、古廟，臺灣民間廟宇民房和民俗物品成為他汲

髓，水彩山水畫呈現他取法東方水墨傳統、結合鄉土民俗

取不盡的靈感泉源。有時以獨特方式強調某些具有特殊性

與文人的表現，兼納東方與西方繪畫的特長，開創出他個

的主題，如描寫屋舍的一隅，或建築正面莊嚴的結構氣勢，

人雄渾動人氣魄的獨特風貌。

有時是單純的傳統民藝如太師椅，或民間戲偶，從單純物件中去透顯台灣的傳統文化特色。 112

3089

席德進 (1923-1981) 大榕樹下 1978 彩墨紙本簽名左下：席德進一九七八年鈐印：席德進 ( 朱文 ) 釋文：亞熱帶南方大榕樹下我們常來這裡 68x136 ㎝（ . 26.7×53.5 in.）來源現收藏者購自台北太極畫廊

Shiy De Jinn Under a large banyan tree 1978 Ink and color on paper Signed lower left: named Shiy De Jinn in Chinese and dated 1978 Stamped low left with an artist's seal PROVENANCE Tai Ji Gallery, Taipei, Taiwan Acquired from the above by the present owner

NT$ 3,000,000-4,000,000 US$ 98,980-131,970 HK$ 773,200-1,030,900

Shiy grows up in a wealthy family; he is first enlightened by

Shiy composes with great diversity; he fuses classicalism,

master Pang Xun Chin and thus introduced to western masters

nativism and modernism to make his own unique style. The

like Matisse and Picasso. Then Lin Feng Mian as his mentor

combination of water color, color ink and oil successfully

inspires him. And by associated with great artists such as CHU

represent the original characteristic of his own

The Chun and ZAO Wou KI, he makes up his mind to be a artist. Shiy is in America for research once, and from there he acquainted himself with Pop and OP art. His painting style therefore is not merely effective with bold black lines but with a spirit of OP and Hard Edge art. His composing journey goes form China, Taiwan, America to Europe. China teaches him to remember the elegancy of traditional beauty, Taiwan teaches him the idea of nativism, and American and Europe teach him to develop his own modern art.

113

3090

Shiy De Jinn

席德進

Brightest moon

(1923-1981) 月是故鄉明 ( 書法題字 )

over my home village Calligraphy

書法

Signed lower left:

左下簽名 : 席德進

named Shiy De Jinn in

鈐印 : 席德進印 ( 白文 )

Chinese

18x48cm.（ 7×18.8 in.）

Stamped low left with an artist's seal

來源現收藏者購自台北太極畫廊

PROVENANCE Tai Ji Gallery, Taipei, Taiwan Acquired from the above by the present owner

NT$ 150,000-250,000 US$ 4,950-8,250 HK$ 38,700-64,400

3091

Shiy De Jinn

席德進

Endless

(1923-1981)

autumn wind

秋風吹不盡

Calligraphy

( 書法題字 )

Signed lower left:

書法

named Shiy De Jinn in

左下簽名 : 席德進鈐印 : 席德進印 ( 白文 ) 24x27cm.（ 9.4×10.6 in.）來源現收藏者購自台北太極畫廊

Chinese Stamped low left with an artist's seal PROVENANCE Tai Ji Gallery, Taipei, Taiwan Acquired from the above by the present owner

NT$ 80,000-160,000 US$ 2,640-5,280 HK$ 20,600-41,200

114

3092

席德進 (1923-1981)

Shiy De Jinn

雙牛

Two Buffalos

彩墨紙本

1980

簽名左下 : 席德進一九八 0

Ink and color on paper

38X45 ㎝（ . 14.9×17.7 in.）

Signed lower left: named Shiy De Jinn in Pinyin and dated 1980

來源

PROVENANCE

現收藏者購自台北太極畫廊

Tai Ji Gallery, Taipei, Taiwan Acquired from the above by the present owner

NT$ 300,000-500,000 US$ 9,900-16,500 HK$ 77,300-128,900 115

虛實能量的互動－蕭勤藝術創作的內在精神性綜觀蕭勤的藝術創作，清晰可見其生命經歷所

點狀和細線隨心綿延、自由流動，之後再以這個

刻畫下至深的影響，其作品體現的是一種生命的

雛型逐次整理、構成畫面，這些騷動不安的點和

記憶。依照其歷程而漸次產生的創作發展轉折大

線，充滿爆發力與原生性，顯現出動靜的衝突與

至可分成三個階段：

調和。（二）在廣大空白的背景中，以似草書飛白的連續扭曲線條或排筆畫出緩和的帶狀曲線，分

一、創作的能量醞釀

割空間的靜態界線，配合一或兩點具有平衡與點化作用的圓點或方形，造型語彙極簡。（三）受

蕭勤進入台北師範學校藝術科系後，在學長霍剛介紹下，進入李仲生畫室學習，也因此決定了

到西藏密宗與印度檀城（ Mandala）宗教畫的影響，以對稱、幾何、艷麗的色彩為主。

他一生藝術的走向。蕭勤是這樣談及李仲生的教學：二、幾何抽象的實驗在教基本素描的時候，他就告訴我們要用腦去配合眼，對物象作敏銳仔細的觀察，用心去感受物象的「實感」，通過手去表達出來。這腦、眼、

1967 年蕭勤前往美國，受到當時極限藝術（ Minimal Art）、美國工業文明的影響，以及對壓

心、手四個器官如何能緊密一致的配合，這就是

克力顏料的認識，讓他的創作又進入另一個系列。

功夫，這就是表現能力的訓練，也就是藝術創作

極限主義以極簡潔的非具象造型，開放作品自身

的起步。在他這樣的教學法下，我們八個人所畫

在藝術概念上的想像空間，讓觀者主動參與對作

的同一個石膏像，沒有一個是一樣的 1。

品的詮釋。其極端的反對有著浪漫和幻想意味的具象藝術，排斥一切自然再現的畫面，而是以極

李仲生重視個別差異與引導式的教學，為蕭勤

為簡單的幾何造型，或數個單一形體的連續反覆

打下自主學習與探索的基礎，這樣的訓練，讓蕭

創作，色彩使用更加明亮，強調物體的固有本質

勤一開始就進入了「創作」的領域。

和單純造型的構成美，以相互之間的秩序來統整畫面，和抽象表現主義奔放飛舞的筆觸、模糊不

1956 年，蕭勤與吳昊、霍剛、夏陽、秦松、

清的輪廓，有很大的差別。與極限主義繪畫不同

李錫奇等人創立東方畫會，標榜「形象解放」的創

的是，蕭勤的作品不以精準的計算構圖空間、劃

作風潮，重新以現代的眼光去看中國傳統繪畫的

分畫面，而是以直覺的方式切入，意圖在畫面組

面目，讓當時台灣的藝壇注入一股新的氣象，成

構一個象徵性的宇宙。

為影響台灣美術現代化的重要推手之一。同年，蕭勤前往西班牙留學，雖然蕭勤最後選擇放棄進

從東方主觀抒情跨至西方現代主義之幾何抽

入西班牙的美術學院，不過，在李仲生畫室學習

象，墨色被繽紛燦爛的壓克力顏色所取代，留白

啟蒙的基礎，已指引了他個人藝術追求的方向，

的被具感染性的鮮豔色彩所覆蓋，在精簡、有力，

他對前衛藝術作品與理論的瞭解，更提供了他和

秩序的幾何結構裡，平塗、純粹、內斂、冷暖調

西班牙巴塞隆納前衛藝術家溝通相處的管道 2。蕭

對照性的色域切割，非比尋常地張顯出色相場域

勤不但將歐洲現代藝術的作品送至台灣國內展覽，

的能量。

同時也在歐洲各地展覽了許多東方畫會的作品，他也定期將國外前衛藝術的資訊，以歐洲通訊的

三、原生性的溯源

專欄提供台灣最新的藝文資訊，不遺餘力的向台灣推介現代藝術，對台灣現代繪畫運動多有貢獻。

七 0 年代末開始，蕭勤結束長達十年的階段性探索，再度回到六 0 年代「道」與「禪」本源的探

出國是一個重要轉折，「形象」已不復存在於蕭

討。《禪系列》從濃熾色彩轉為澹泊色調，大面積

勤往後的藝術創作中。蕭勤開始從道家思想、神

留白呈現浩瀚無際的空間，以草書線條所構成的

祕主義、玄思哲學之間，尋求思想上的養分。這

畫面形式，墨中的水分更為飽滿，在禪意的思想

時期的作品包含幾種類型：（一）類似於中國文字

下，畫面更為簡潔內斂，藉緘默與靜謐營造極致

結構或草書線條的律動感，稍壓抑畫面的色彩， 116

宛然的動態。《炁系列》、《大炁系列》等著力於闡釋宇宙自然間蘊藏的無窮能量，使用寬版的羊毫排筆在布上重覆運筆，試圖詮釋漩渦、銀河等

The interaction between the virtual and real energy－the internal spirit of Hsiao Chin’s works of art

壯觀的自然景象，為的是以謙卑的心向宇宙大道致上最高敬意。

With an overview of Hsiao’s works of art, it’s easy to find that his life experiences have greatly influenced

1990 年，歷經獨生女意外離世，重大打擊讓蕭

his works which reflect his memories of life. The

勤很長一段時間無法提筆作畫。歷死別劫難並經

development of his creation life can be divided into

沉澱後，蕭勤創作出高彩度的《度大限系列》，將

three periods according to his related experiences.

人間現實、心靈狀態全都轉化為直接可感受的感覺力量，體現對藝術及人生徹悟的一種超然心境，

I. The energy fermentation for his creation

主觀抒情的色面形式組合，生機盎然召喚詩性的色彩。《永久的花園系列》延續著《度大限系列》，

After Hsiao Chin was admitted into the art

暗示生命的淨土及伊甸園，揭示宇宙本體就像五

department of the Taipei Normal University, he entered

彩繽紛的花園，生命永恆的場域，激起色彩不同

the Lee Zhong Sheng Art Studio introduced by his

尋常的情感及張力。九 0 年代末在世紀末大氛圍籠

senior Huo Gang, which determined the development

罩下，創作的《三昧地》示現了止息雜念、及中

trend of his art life. Lee Zhong Sheng stresses

思慮，使禪定者進入更高靜界並完全改變生命狀

individual difference and conducive teaching and

態的神祕力量。2000 年後以《宇宙系列》探討人

helped Xiao set solid foundation of self-learning and

類或宇宙未知的世界，體現那浩瀚無邊的宇宙大

exploration. This kind of training, led Xiao into the

能及無限力量。

field of creating at the very beginning.

蕭勤提到：「對我來說，作畫這件事的地一重

In 1956, Hsiao Chin, together with Wu Hao,

要性，並非『作畫』，而是透過作畫來對自已的人

Huo Gang and Lee Shi Chi founded the Eastern Art

生始源的探討，人生經歷的記錄及感受，和人生

Association, which was aimed at pursuing the creating

展望的發揮 3」。蕭勤的創作裡流暢自如的多變樣

fashion of liberating the image and understanding

態、洋溢性的筆觸建構獨特性符號、深沉而穩重

the traditional Chinese painting in a new and

氣勢、闡述宇宙大能及宏觀的愛，展現他融合東

modern perspective. This infused new vitality into

方宗教、玄學等內在性思維及西方現代主義，交

the art circle in Taiwan and became one of the most

織成別開生面的多元風格面貌，也體現他對藝術

important driving forces that exerted influence over the

及人生徹悟的一種超然心境。

modernization of the art in Taiwan. In the same year, Hsiao went to Spain for further studies. Although he gave up the chance of entering the art college of the

1. 蕭勤（ 1993），＜給青年藝術工作者的作（二）

Spain in the end, he still got the solid foundation from

＞，《藝術家》95 期

his learning in the Li Zhong Sheng Art Studio, which

2. 蕭瓊瑞（ 1995），＜流動的生命－以象成道的蕭

guided him to his road of pursuing art.

勤＞，《蕭勤的歷程 1953-1994》，台北：北美館，頁 11。

Going to Spain was an important turning point to

3. 引自蕭瓊瑞（ 1995），＜流動的生命 - 以象成

Hsiao for image no longer exists in his later works

道的蕭勤＞，《台北市市立美術館 - 蕭勤的歷程：

of art. Instead, Hsiao started to take in the spiritual

1953-1994》，頁 19。

nutrients from the Taoism, mysticism and metaphysics. During this period, his works are divided into the following types:

117

(i). They are similar to the structure of the Chinese characters or the

In 1990, Hsiao’s only daughter died unexpectedly and this

sense of movement in the cursive script. The restless dots and the

heavy below made him unable to paint for a very long time. After

fine lines in them are stretching and flowing freely, very explosive

his recovery from this deadly below, Hsiao created the colorful The

and original, displaying the conflicts and harmony of both stillness

Series of Getting through the Death, which changes the realities

and movements.

in the world and the spiritual conditions into the power of sense

(ii). They are the continuous and contorted lines like the cursive

that can be easily felt. This painting contains the combination

script or the gentle fillet curves drawn by the broad brush under the

of the color planes to express his subjective lyric, in which the

vast and blank background, separating the space in still boundary

lively colors appear poetic and vivid, showing his supernatural

line, together with one or two round dots or squares as a balance or

attitude towards both the art and life. Following the footstep of

adornment with very simple shaping vocabulary.

The Series of Getting through the Death, The Series of Everlasting

(iii). Influenced by the religious paintings of the Tibetan Esoteric

Gardens implies a pure land of life as well as the Garden of Eden,

Buddhism and Mandala in India, they are featured in symmetry,

suggesting that the universe itself is a colorful garden. The spirit

geometric and flamboyant colors.

of eternal life creates the extraordinary emotional power of the colors. At the end of the 1990s, at the atmosphere of farewell to

II. The experiment on the geometric abstraction

the 20th century, Samadhi was created, showing that the meditator was endowed with the great power to enter a higher spiritual world

In 1967, Hsiao went to America. Influenced by the Minimal Art,

and completely change his state of life by stopping distracting

the American industrial civilization and his knowledge of acrylic

thinking and concentrating on the meditation. After the year 2000,

pigments, his creation changed into another style. Different from

The Series of the Universe probes into the human beings and the

the paintings of Minimalism, Hsiao’s works gives up accurately

unpredictable universe, showing the inexhaustible power of the vast

calculating the space or the layout of the paintings but created a

universe.

symbolic universe by his instinct in his painting. Hsiao referred, “Personnally, the importance of painting lies His style changed from the eastern subjective lyric into the

not in the painting itself but in discussing the origin of one’s life,

modern western geometric abstraction. In his paintings, ink was

recording our life experiences and feelings and looking into thr

replaced by the colorful acrylic pigments and blank space was

future through painting. ” His works are characteristic by the

covered by contagious and bright colors. In the compact, powerful

naturally changeable forms, unique symbols created by enthusiastic

and orderly geometric structure, the division of the tonal range

brushwork, a profound and prudent momentum, his explanation

was flat-painted, pure, restrained and fully took advantage of the

on the power and love of the universe, diverse styles woven by

comparison effects of both the cool and warm color tones, which

the integration of the eastern internal thoughts like religious and

very much displayed the strong power of hue field.

metaphysical ideas and the western modernism as well as his supernatural attitudes towards the art and life.

III. The origin of the originality At the end of the 1970s, Hsiao put an end to his ten-year-long temporary exploration and returned to the discussion in the 1960s on the origin of the Tao and Zen. The Series of Zen changes from heavy and ablaze colors to light and plain colors where large blank space presents a spacious and boundless picture. Formed by the strokes of the cursive script, the wash in the ink is much heavier. Under the influence of Zen, the picture appears more compact, restrained, forming a dynamic scenery by creating a silent and tranquil atmosphere. The Series of Chi, The Series of the Great Chi etc. focus on elaborating the inexhaustible power from the universe. By repeated brushwork with the broad brush made of goat hair, these works try to delineate the magnificent natural phenomena such as whirlpools and the Milky Way in order to show utmost respect for the universe with a humble heart.

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3093

蕭勤 (b.1935)

Hsiao Chin

《度大限 -122》以排筆畫出藍綠色緩和的帶狀曲線，如滾動巨浪陣陣翻湧，激起點點浪

度大限 -122

Passage Through the Great

1992

Threshold-122

雖近，仍舊是兩相分離。為紀念愛女的《度

1992

大限》系列，展現了他參悟靈魂的無盡無涯，

Acrylic on canvas

將信念寄於死生大限度過後的化外彼岸，標示

壓克力畫布 150×200 cm.（ 59×78.7 in.）

花，一抹對比的紅，畫出了另一個空間界線，

著蕭勤看破死生制限的體認，是相當令人動容之作。

NT$ 1,800,000-2,200,000 US$ 59,390-72,580 HK$ 463,900-567,000

119

3094

蕭勤 (b.1935)

Hsiao Chin

綠色的震動

The Green Vibration

1964

壓克力畫布

Acrylic on canvas

簽名下方： Hsiao 勤 1964.

Signed middle lower: named Hsiao in

130x160 cm. (51.2x63 in.)

Pinyin,Chin in Chinese, and dated 1964

出版

LITERATURE Taipei Fine Art Museum, Hsiao Chin: The Odyssey 1953-1994 , Taipei, Taiwan, 1995, P.98.

《蕭勤的歷程 :1953-1994》，台北市立美術館出版，1995，頁 98。

120

《綠色的震動》以濃烈的藍綠純色為底，以圓為中心，放射出數條筆直線條及尖銳折線，構成「太陽」的意象，意謂一種未知的、震盪卻又平靜擴張的宇宙玄想；平整的色面綴以白點，象徵著恆靜與變動之間的永恆對比。

NT$ 1,200,000-1,500,000 US$ 39,590-49,490 HK$ 309,300-386,600

3095

蕭勤 (b.1935)

Hsiao Chin

大炁之三三

Chi-33

1999

壓克力紙裱於畫布

Lot3096《大炁 -26》借助筆觸的氣勢節奏、

Acrylic on paper

簽名左下： Hsiao 勤 99

空間的虛實動靜、水墨的滋潤酣暢等富有

Signed lower left: named Hsiao in Pinyin

背面 : 大炁之三三 1999

感情色彩的藝術語言，蕭勤在作品的氣韻

and Chin in Chinese, and dated 99

145x80 cm.（ 57×31.4 in.）

及動能中，開展了一個能量豐沛的精神場

Signed on reverse : titled The Great Chi-

域。以持寬版的中式羊毫排筆，在畫面上

33 and dated 1999

重覆運筆，隨著筆勢運行的是一股股充溢

中國傳統美學強調追求「氣、韻、生、動」，缺乏氣就無法開展出生機、氣勢、節奏和意蘊，也就無法生動。《大炁 -33》、

於宇宙間的氣，是構成萬物與生命的基本

NT$ 1,200,000-1,600,000 US$ 39,590-52,790 HK$ 309,300-412,400

原質。畫中廣布著一種緩慢、但不凝滯的時間感，神秘性降低，精神的永恆性提高了，是蕭勤頗具代表性的藝術構成面貌。

121

3096

蕭勤 (b.1935)

Hsiao Chin

大炁之二六

The Great Chi-26

1998

壓克力紙裱於畫布

Acrylic on paper

簽名下方： Hsiao 勤 98

Signed lower: named Hsiao in Pinyin,Chin in

簽名左下：大然之廿六

Chinese, and dated 1998

91x65 cm.（ 35.8×25.5 in.）

Signed lower left: titled in Chinese

NT$ 800,000-900,000 US$ 26,390-29,690 HK$ 206,200-232,000

122

3097

蕭勤 (b.1935)

Hsiao Chin

升

ELEVAZIONE

1963

油彩畫布（雙聯幅）

Oil on canvas (Diptych)

簽名下方： HSiAO 勤 1963

Signed lower: named Hsiao in Pinyin, Chin in Chinese,

簽名畫背： HSiAO 勤 1963

and dated 1963

Elevazione

Signed on reverse: named Hsiao in Pinyin, Chin in

100x60 cm.（ 39.3×23.6 in.）

Chinese, dated 1963, and titled Elevazione in Italian

來源

PROVENANCE Certificate of Authenticity by East Gallery, Taipei.

附東之畫廊原作保證書

NT$ 800,000-1,100,000 US$ 26,390-36,290 HK$ 206,200-283,500

123

3098

林風眠 (1900-1991) 靜物

不少有代表性的中國書畫家曾跟他學過畫，包括趙無極、吳冠中、朱德群等，可見其影響有多大。中國水墨的新嘗試

1980 年代彩墨紙本

林風眠的出身和經歷，使他吸收了民間傳統的藝術；

簽名左下：林風眠

歐洲留學期間，正值德國表現主義藝術盛行，誇張的變

鈐印左下：林風眠

形、強烈的色彩、張揚的情緒性，表現主義的種種特質給予林風眠豐沛的激發和啟示；繪畫觀念受到西方的影

65x63 cm. (26x25 in.)

響，認為「放棄模仿和抄襲觀念」是為改變中國繪畫前來源

途的大原則之一。林風眠大膽地解放顏色，並且放心讓

現收藏者於 1983 購自台中名門畫廊

筆墨自由揮灑，使其在畫面上留下厚重淋漓的酣暢感，整體造型趨於簡括，有些「寫意」味道。

Lin Feng Mian Still Life 1980s Ink and color on paper Signed lower left: named Lin Feng Mian in Chinese Stamped lower left with an artist's seal PROVENANCE Great Gallery, Taichung, Taiwan ,1983 Acquired from the above by the present owner

NT$ 5,500,000-6,500,000 US$ 181,460-214,450 HK$ 1,417,500-1,675,300

靜物畫在其創作脈絡的意義靜物是林風眠盛期繪畫的主要體裁之一，林風眠運用水墨，將這個在中國繪畫中被視為是非主流的範疇，重新融入西方繪畫技巧，東西方文化異質交融，嘗試將東方繪畫代入現代意識。從四 0 年代結構探索、五 0 年代中期後把注意力集中於色彩表現，筆觸的寫異性和構圖的創造。林風眠的靜物繪畫一方面接近觀者的直觀視覺習慣，另一方面，又與寫實主義有極大差異，保持著自己的唯美特質和高雅性，堅持著形式和技巧的探索，情緒表現的單純和獨特。這些靜物沒有吸取立體主義的戲曲系列那樣大跨度的形式試驗，但更講究精緻和微妙，更追求豐富、多變與完美。林風眠《靜物》跳脫傳統透視法及寫實性造型，運用

東方繪畫現代意識的探詢－林風眠作為第中國第一代留學法國的畫家，林風眠及其作品在中國繪畫的歷史意義中所指涉的時代轉折性，從英國藝術史學者蘇立文（ Michael

了如立體主義的構圖方式，從好幾個不同的角度來表現物體大小結構，嘗試著圓柱體、圓形、方形的平面關係的配置；水墨筆觸的厚實感，加強了紅、綠、黃色調的對比表現。從林風眠的靜物繪畫表現中，讓我們看見東方水墨的現代性視野，極具時代意義。

Sullivan 1916-2013）的研究中可以了解：林風眠在中國現代繪畫史上佔有獨特地位是世界公認。雖然徐悲鴻建立了一個牢固的西方學院派的繪畫基礎，劉海粟帶入了印象派和後印象派到中國，但林風眠卻建樹更多。他開創了中國的新繪畫，以富有表達力的毛筆，將中國傳統繪畫和書法的基礎，與西方的形式、色彩和構圖的意識結合起來。這種既自由又自然的結合，是林風眠的獨到之處。因為他的開創，使中國的藝術家們能以現代的手法表達出完全中國化的感受，從西方藝術理念的影響中得到解脫。

124

1. 蘇立文＜林風眠－中國現代繪畫的先驅者＞，《林風眠研究文集》。 2. 郎紹君（ 2004），《中國名畫家全集（ 9）林風眠》，台北：藝術家出版，頁 65。

125

3099

整體而言，朱德群的作品與自然現

朱德群 (1920-2014)

象，特別是與光，有著密切的聯繫，

Le 3 juillet 1995

每一種顏色、每一點光線的流動交會，

1995

如交響樂般的詩情抽象繪畫，色彩正

壓克力紙

是其構築出作品的棟樑，他藉此表達

簽名右下：朱德群 CHU THE-

力量，最細緻的差別也會產生強烈對

CHUN.95.

比，遠距之外，洗煉的書法線條，竄

簽名背面： Le 3 juillet 1995

動跳躍的斑點，氣勢磅礡的塊面，這

朱德群 CHU TEH CHUN

些元素透過各自的節奏，架構出縱橫

27x35 cm. (10.6×13.7 in.)

虛實的空間，並且彼此相互呼應，蘊

都是藝術家心沉澱後的體悟。朱德群

釀著巨大的感情力量，如同自行發光來源

發熱的無極象限。他曾說：「我繪畫的

歐洲私人收藏

靈感泉源是完全從自然而來的，我所畫的，是我對大自然的感覺，也是大

Chu Teh Chun Le 3 juillet 1995

自然賦予我的感覺，更徹底地的說，是自然與我靈性的結晶」。對自然景色所見所聞融於畫作之中，抒發心中對

1995

於自然深處的情感，但又跳脫出人們

Acrylic on paper

對於自然的既有印象，從他的作品畫

Signed lower right: named

面中可以看到宛如色彩在歌唱的澎派，

CHU TEH-CHUN in Chinese

光影在舞動的韻律，讓人看到自由奔

and Pinyin , dated 1995

放筆觸下那份豪邁不拘的真性情。

Signed on reverse: titled le 3 juillet and named CHU TEHCHUN in Chinese and Pinyin

《 LE 3 JUILLET 1995》調和熱情橘紅、艷麗朱紅、沉靜鐵灰和憂鬱湛藍等色，猶如聽到巴黎賽納河之聲合唱

PROVENANCE Private Collection, Europe

團精彩的演出，讓人歷經一場優美的視覺饗宴。畫作更融合了中國繪畫美學思想和西方抽象技法，化繁為簡的

NT$ 1,800,000-2,800,000 US$ 59,390-92,380 HK$ 463,900-721,600

美感，恣意遊走的線條，絢麗濃烈的色彩，這些元素都自然地裝載在他創作的宇宙中，物象在空間裡悠悠顫動、飛揚、流轉，表現出獨樹一幟的恆久美感。以熾熱的特效與色彩取代了形象捕捉的真實，以律動和節奏表現中國山水的空間之感，一種既誇張又抒情手法表現出強烈又雋永的印象，同時兼具夢幻意味與戲劇性效果，實為朱德群的經典之作。

126

127

年少時，朱德群在中國杭州藝專圖書館內，翻閱許多關於莫內（ Claude Monet 1840-1926）、塞尚（ Paul Cézanne 1839-1906）、馬蒂斯（ Henri Matisse 1869-1954）的印刷品，浸潤在法國藝術創作之中，日積月累不斷地影響著、牽引著他。終於在 1955 年初，輾轉搭船旅行抵達法國巴黎。法國習畫一直是朱德群一生中的夢想之一，初次踏上法國這塊土地的他，每日參觀羅浮宮博物館以及巴黎各式各樣的美術館，前所未有的藝術衝擊，似乎即將醞釀相對以往不同的朱德群。《風景》是他於 1955 年初與巴黎鄉村初遇時所畫。法國田野金色輝煌、芳草搖曳於風中；異鄉的天空，冉冉白雲，沾染的是普魯士藍或天青色的明亮色彩。季節正值冬迎春，氣候微寒，清風迎面吹拂，身著輕裝的人們各自聚散在田邊小徑，映入眼簾的鄉村美景，好似慵懶的抒情鄉村小調。朱德群初抵藝術之鄉的新鮮感動，可藉由細細咀嚼此畫，令觀者感同身受。具象畫是朱德群在法國習畫的開始，時期有些短暫。1956 年因朱德群參觀尼古拉斯．德．斯塔爾 (Nicolas de Staël) 去世一年回顧展，給了他極大的衝擊，成為他繪畫上的轉捩點。斯塔爾是 20 世紀中期歐

3100

洲頗具影響力的畫家，其抽象與具象的探索精神，啟示了朱德群對繪

朱德群 (1920-2014)

Chu Teh Chun

風景

Landscape

種境界。斯塔爾的影響，使得朱德群放棄早已嫻熟的古典寫實風格，

1955

擺脫了物體具象的形態束縛，掉進了探索抽象藝術的漩渦之中。我們

油彩木板

Oil on wooden board

得已知道，朱德群在 1956 年後，具象作品已逐漸消逝，更因此，也

簽名左下：朱德群 1955.1

Signed lower left: named CHU

顯現了此幅《風景》的珍貴稀有之處。

38X45 cm.（ 14.9×17.7 in.）

畫的自由態度。自由，但又恰到好處而不失內涵，達到藝術追求的一

TEH-CHUN in Chinese, dated 1955.1

At the beginning of the year 1955, Chu went to Paris in France. Learning painting in France was one of Chu’s biggest dreams. As he set foot on this

來源附藝術家親簽之作品保證書展覽

PROVENANCE Certificate of Authenticity by the artist and signed

出版《朱德群八十八回顧展》，台北 : 國立歷史博物館出版，2008，頁 80。

of art galleries in Paris and was amazed by this unprecedented beauty of art. All these were wealth that would shape another different Chu. Chu painted Scenery at the beginning of 1955 when he first visited the

「朱德群八十八回顧展」，台北 : 國立歷史博物館，2008。

French land for the first time, he visited the Louvre Museum and all kinds

EXHIBITION Taipei, Taiwan, Chu Teh Chun 88 Retrospective , National Museum of History, 2008. LITERATURE National Museum of History, Chu Teh Chun 88 Retrospective , Taipei, Taiwan, 2008, P.80.

countryside in Paris. The field in France then was shiny with green grass swaying in the air. The sky in this foreign land was painted with the bright Prussian blue or celeste. It was a little cold at the end of winter when people were welcoming the spring. The gentle wind was blowing the faces, people in light suits gathering at the paths of the field. All the charming views of the countryside depicts a lazy countryside lyric. People can feel the curious and touched sentiments through appreciating this painting carefully. The period of figurative painting was the start of his learning in France but lasted only a short time. In 1956, Chu attended a retrospective as a oneyear anniversary in memory of Nicolas de Staël’s passing away, which

NT$ 10,000,000-15,000,000 exerted great impact on him and was marked as a turning point of his US$ 329,920-494,890 painting history. The exploring spirit of abstraction and figuration in Staël’s HK$ 2,577,300-3,866,000

works enlightened Chu to the free attitude towards painting. Having freedom in a proper manner and maintaining the connotation at the same time has reached another realm of pursuing the art. Influenced by Staël, Chu gave up his experienced classic figurative painting style, ran away from the forms of the objects and started to pursue the abstract art. As we all know, Chu’s

128

abstract paintings became fewer and fewer after 1956, and therefore, the Scenery is of paramount value.

129

3101

趙無極的藝術歷程從 14 歲進入杭州藝術專科學校接受

趙無極 (1921-2013)

學院繪畫訓練，之後受雷諾瓦、塞尚、馬蒂斯、畢卡索

29.08.88

等藝術家在結構、顏色、藝術觀念的啟發，影響了他對

1988

年在伯恩的一個展覽上發現克利（ Paul Klee 1879-1940）

油彩畫布

的繪畫，從這一創作中使他意識到與其內心尋求意象的

簽名右下：無極 ZAO

某種契合。克利那些色彩夾雜著線條和符號的繪畫給了

簽名畫背： ZAO WU-KI 29.8.88

趙無極啟示，他的畫作開始排除敘事性因素，從此躍入

97x130 cm. (38x51 in.)

抽象畫世界。同時，他又回頭研究中國甲骨文、鐘鼎文

空間自由處理能力。1948 年前往法國繼續深造。1951

樣的抽象帶入畫中，打開了趙無極通往對自身文化理解來源

的一扇窗。六 0 年代，他轉向大自然的抽象形式，以自

附藝術家工作室之作品保證書

由的筆觸大筆揮灑，巧妙的轉換光線與複雜的空間結構，演變成個人的抒情抽象風格。畫面裡色彩的多重振動使

展覽

畫布躍動了起來，在畫筆的揮灑之間，觀者可以感受畫

1990 年 4 月 26-5 月 31 日「趙無極」Krugier

家完全的投入，以及那如風馳電擎的動感與張力，帶給

Ditesheim 畫廊日內瓦瑞士。

人虛與實、輕盈與渾厚共織的想像。七 0 年代以後，趙無極進入他的蛻變期。重新思考中國繪畫的根本後，作

1990 年《趙無極》Krugier Ditesheim 畫廊

品具有大山大水的氣勢，其藝術風格從磅礡浩然的霸氣

日內瓦瑞士。

見見邁入空靈意境中，自由調度畫面時空，或聚或散，或虛或實，真正進入一種淩虛禦空的自由境界。在更之

Zao Wou Ki

後的晚期作品裡，又將顏料稀釋，在畫中融入了更多的水墨趣味，將西方的抽象融入東方的意象之中，趙無極

29.08.88

的創作不但傳遞出自然力量之精隨，表現富涵文化底韻

1988

的中國美學思想，更為現代繪畫開創出一個新的領域。

Oil on canvas Signed lower right: named Wu Ki in Chinese and ZAO in Pinyin Signed on the reverse: named ZAO WU-KI in Pinyin,

七 0 年代開始重拾中國水墨畫，這個全新的方式給予趙無極更多創作的自由與靈活度，紙本上恣意塗抹的律動與感動，再次開創了油彩的可塑性。《 29.08.88》上半

titled and dated 29.8.88

部大片淺藍淡粉，如泰納（ J. M. W. Turner 1775-1851）

PROVENANCE Certificate of Authenticity by Zao Wou Ki's Studio

如張大千筆下的潑墨山水，在近乎抽象的形象中，蘊含

作品中光線及水氣氤蘊的表現；下方多層次的綠色重疊，著具象的筆墨，給觀者留下感受自然意境的廣闊想像空間。此作恬靜中帶些律動，抒情又隨性自在，透過自然

EXHIBITION Zao Wou Ki , Galerie Krugier Ditesheim, Geneva, Switzerland, April 26-May 31,1990.

山水的詩意，內在的情愫也因此釋放，這也是趙無極作品吸引人之處。前景和背景的二種不同質感，做出厚重油彩與透明感間的完美平衡，是件完整呈現藝術家和諧地融合抽象畫與水墨畫的獨特作品。

LITERATURE Zao Wou Ki (Plate 7) , Galerie Krugier Ditesheim,exh. cat, Geneva, Switzerland,1990.

NT$ 38,000,000-50,000,000 US$ 1,253,710-1,649,620 HK$ 9,793,800-12,886,600

130

131

132

Zao Wou Ki’s artistic life started from receiving

In the 1970s, Zao picked up the Chinese ink and

painting training at the National Art College of

wash paintings again. This new way of painting

Hangzhou at the age of 14. Later, he was enlightened

enabled him to paint with more freedom and

by the artists such as Renoir, Cezanne, Matisse,

flexibility. The random rhyme and movement on the

Picasso etc. in terms of structure, color and artistic

paper created the plasticity of oil paint once again. The

ideas, which influenced his ability to deal with the

upper half of 29.08.88 is mostly in light blue and light

space. In 1948, he went to France for further study. In

pink, similar to the display of light and the moisture

1951, at an exhibition of Bern, Zao found a painting

in Turner’s works. The lower half is in multi-layered

by Klee, which had a connection with the image

green, just like the splashed ink landscape by Zhang

he pursued in his heart. The colors of this painting,

Daqian, leaving observers to the vast imagination

together with its lines and symbols enlightened Zao

of the natural imagery through its abstract form and

and his paintings started to enter the abstract artistic

concrete ink. This painting conveys tranquility as well

world by discarding the lyric elements.

as movement, in a lyric but free way. In his painting, inner feelings are relieved through depicting the poetic

At the same time, he returned to the research

beauty of natural mountains and rivers, which is why

on how to apply the Chinese oracle bone script and

Zao’s works of art are all very attractive. The two

inscriptions on ancient bronze objects to the abstract

different textures of its foreground and background

paintings, which was a bridge to his understanding

well balanced the thickness of oil paint and the sense

of the Chinese culture. In the 1960s, he turned to the

of transparency, making it an unique works of art

abstract form of the nature, wisely change the light

which harmoniously integrates the abstract paintings

and the complicated structure of space by his free

and ink and wash paintings.

and flowing brushwork, forming a personal abstract lyric style. The multi-sensation raised by colors activates the painting. Observers can feel his complete dedication, the momentum and power like winds and lightening from his flowing brushwork and imagine the combination of the virtual and the real as well as the light and heavy. After the 1970s, Zao underwent a metamorphosis. Having reconsidered the essential of the Chinese painting, his works absorbed the momentum of the high mountains and long rivers. His artistic style gradually changed from being magnificent

J. M. W. Turner《 Rain Steam and Speed the

and imposing to being ethereal and intangible. Zao

Great Western Railway》，1844，典藏於英國

freely arranged the space of the painting, gathered or

國家美術館。

scattered, virtual or real, all depicting a free world to rise to the air and ride on the wind. Among his paintings late in his life, he diluted the paint and added more ink to the paintings, integrating western abstraction into the eastern images. Zao’s works of art not only conveyed the essence of the power of nature as well as Chinese aesthetic thoughts filled with rich culture heritage, but also created a new field for the modern painting. 張大千《山路元無雨》，1979 年作品。2014 年 1 月展覽於中國美術館「江山萬里 —張大千藝術展」。 133

135

陳澄波 1929 年於東京美術學校畢業後赴中國上海，先後任教於新華藝術大學、藝苑繪畫研究所、昌明藝術專科學校，直到 1933 年因政局不穩而返台。旅滬期間作品主要是描繪上海都會風光、江南名勝風景與人體畫像，當中以描繪西湖、太湖名勝之作為數最多。這些江南景物大多是自然風光與人文景觀，也是他主要參加臺展與帝展的創作內容，例如 1933 年臺展的《西湖春色》描繪在西湖舉辦博覽會時，於葛嶺與孤山間為方便遊客參觀而建的木橋與橋亭； 1929 年帝展的《早春》， 1934 年帝展的《西湖春色》。這個階段的作品表現，傾向於西洋畫中融入中國書畫技法，使用南

陳澄波，《西湖春色》1934 年。圖片引自《台灣

畫技巧，不拘泥於外形的寫實，隨心性所致，使

美術全集（ 1）陳澄波》。Picture taken from Taiwan

用書法筆觸、重複、變形等抽象的形式來表現個

Fine Arts Series (1) Chen Cheng-Po.

人性情，以草書之意筆著眼於色彩之表現，《上海風車》、《上海造船廠》等作中，都能見到他以各種筆法描繪枯樹、草木、岩石等 1。 1934 年陳澄波曾自述：倪雲林運用現描畫面生動；八大山人則不用線描，而是表現偉大的擦筆技巧。我近年來的作品便受這兩位影響而發生大變化。我在畫面所要表現的，便是線條的動態，並且以擦筆使整個畫面活潑起來，或者說是，言語無法傳達的，某種神秘力滲透畫面吧，這便是我作畫用心處。我們東洋人是不可以生吞活剝地接受西洋人的畫風。自

陳澄波，《上海風車》1930 年。圖片引自《台

從去年以來，一條條地線條在畫面夠突上扮演了

灣美術全集（ 1）陳澄波》。Picture taken from

重要的角色，但以我的個性或描寫法而言，此法

Taiwan Fine Arts Series (1) Chen Cheng-Po.

效果弱，所以我最近覺得，隱藏線條於擦筆之間來描繪恐怕最好，然而從今已後便是以我曾常是的方針，配合雷諾線條的動態，梵谷的擦筆及筆勢運用方法，加上東方較濃厚的色彩，別無其他 2

。觀察中西繪畫中使用線條與筆觸的方式，陳

澄波從喜愛的元朝畫家倪瓚（ 1301-1374）、清朝畫家八大山人（ 1626-1705）、法國印象派畫家雷諾瓦（ Pierre-Auguste Renoir 1841-1919）、梵谷（ Vincent van Gogh 1853-1890）等人的特色中汲取養分，摸索出可同時呈現線條與色塊的擦筆，《太湖》即見融合地運用。以側鋒畫出的線條，相較於印象派多飾以色點、色塊來組合；以俯視的角度由近拉高拉遠，起伏流

136

暢的山坡、畫幅中段的小徑、點綴的樹叢，構築

陳澄波 ( 左上 ), 與友人在蘇州虎丘寫生 , 約 1930

空間蜿蜒的韻律感；近景的植物筆觸奔放、生意盎

年。圖片引自台灣美術全集（ 1）陳澄波，頁 38。

然；在這自然景色中配置的點景水池，增添些許趣

Chen Cheng Po (top right), and his friends in Suzhou

味，讓畫面安排粗中帶細。

Tiger Hill sketch,1930. Picture taken from Taiwan

Fine Arts Series (1) Chen Cheng-Po , P38.

3103

陳澄波 (1895-1947)

Chen Cheng Po

太湖

Tai Lake

1934

簽名右下：澄波一九三四

Signed lower right: named Cheng-Po in Chinese

38x45.5 cm. (15x18 in.)

and dated 1934

NT$ 16,000,000-20,000,000 US$ 527,880-659,850 HK$ 4,123,700-5,154,600

The rolling but smoothly-painted mountains, the paths in the middle and the adorning bushes, all have a sense of rhyme in terms of the winding space. The brushwork of the near plants is very enthusiastic and vivid. In the natural scenes also exists a dot-like view of a pavilion, which not only brings some fun but also makes the painting a combination of both the broad view and detailed view. Compared with the landscape paintings such as Villa of Taihu and the Boat Rowing

Over the West Lake , Taihu Lake emphasizes more on lyric than narration and contributes to the interaction and interchanges between its body and background by leaving the skin texture by the clear brushwork from different directions. In addition, the mutual permeation also promotes the interaction between the inside and outside outlines. The thick oil paint and exaggerated circular brushwork express the dynamic life, the

就讀東京美術學校三年級的陳澄波，第一

enthusiastic and uninhibited momentum, which reveals

次入選帝展接受記者的採訪攝影，攝於

that Chen was dedicated to creating his own cultural

1926 年。家庭美術館 -《家庭美術館前輩藝

characteristic in both the eastern and western paintings.

術家叢書－油彩．熱情．陳澄波》，雄獅圖書股份有限公司，頁 34。 Chen Cheng Po studied in Tokyo Fine Arts School. Chen's first elected The Teiten Chpater. Picture taken from Family Art Gallery

Artist Series - Paint．Enthusiasm．Chen Cheng Po , Hsiung-Shih Art Book Ltd,P.34.

陳澄波與作品《西湖春色》( 第七回台展出品現已佚失 )。圖片引自台灣美術全集（ 1）陳澄波，頁 38。 Chen Cheng Po with《 Spring in the West Lake》. Picture taken from Taiwan Fine Arts Series (1) Chen

Cheng-Po , P38.

相較於《太湖別墅》、《西湖泛舟》等風景畫作，《太湖》全幅敘述性減弱而抒情意味增強，由不同方向的清晰筆觸所留下的肌理，促成主體與其背景之間的交流動勢，顏色間的互滲也加強輪廓裡外的動勢的交流。厚塗的油彩及誇張的圓弧形筆觸表現出躍動的生命力，奔放不羈的態勢，也呈現陳澄波致力於從西東方繪畫中走出屬於自己的文化特質。 1. 參閱黃東富（ 2012），＜陳澄波畫風中的華夏美學意識－上海任教時期的發展契機＞《台灣美術》第 87 期，頁 4-31。

陳澄波，《太湖別墅》1929 年。圖片引自《台

2. 陳澄波（ 1934），＜隱藏線條的擦筆（ Touch）畫

灣美術全集（ 1）陳澄波》。Picture taken from

＞，《台灣新民報》。轉引自顏娟英《台灣美術全

Taiwan Fine Arts Series (1) Chen Cheng-Po.

集 1 陳澄波》，頁 44。 Chen Cheng Po took up teaching in Shanghai of China after his graduation from the Tokyo University of the Arts and returned to Taiwan due to the political instabilities in 1933. During his visit in Shanghai, he mainly painted the metropolitan scenery, the landscape of the tourist attractions in the regions south of the Yangtze River and the human figures, among which the most are paintings of the West Lake and the Taihu Lake . These scenes mainly are natural sights and cultural landscape, which are also the main contents of his art exhibitions in Taiwan and Japan. His paintings

陳澄波，《上海造船廠》1933 年。圖片引自《台

during this period tend to integrate the Chinese

灣美術全集（ 1）陳澄波》。Picture taken from

painting techniques into the western paintings. He

Taiwan Fine Arts Series (1) Chen Cheng-Po.

adopted This Lingnan style of painting’s technique to express his personal dispositions by the abstract form of the brushwork of the calligraphy, repetition and changes, away from the limit of appearance, focusing on the colorful expression with the cursive script. Chen adores many artists such as Ni Zan of the Yuan Dynasty in China, Badashanren in the Qing Dynasty, the impressionist painter Renoir of France and Van Gogh from the Holland. He learned a lot from these artists and developed a brush to paint strokes and color lumps. Taihu Lake can show this harmonious integration. He painted the strokes with the side of the brush, different from the impressionists who often combine the color dots and color lumps. The painting is painted with an overlook from the near sights to the high and faraway places. The rolling but smoothly-

陳澄波於太湖寫生照片。圖片引自台灣美術全集（ 1）陳澄波，頁 39 Chen Cheng Po was painting pictures in the Taihu Lake. Picture taken from Taiwan Fine Arts Series (1)

Chen Cheng-Po , P9

painted mountains, the paths in the middle and the adorning bushes, all have a sense of rhyme in terms of the winding space. 137

回顧二十世紀中國美術界，沙耆總像一顆璀燦的流星，耀眼明亮地劃過人們眼前，卻又很快地被人遺忘。原因在於沙

他的不解，幾乎忘記這位早年得志、獨樹一格的藝術家。 1914 年出生於浙江，沙耆曾在上海美術專科學校、西湖

耆早年留學比利時，與中國畫壇接觸甚少，中、晚年歷經文

藝專和中央大學藝術系求學，師事徐悲鴻。經徐悲鴻推薦，

化革命、病痛折磨，又長年隱居鄉野，命蹇時乖加深世人對

留學比利時國立皇家美術學院，師從比利時畫家巴斯天（ A.

138

3104

沙耆 (1914-2005) 八駿圖 1990 油彩畫布簽名右下 : 沙耆庚午年六月八日 81x115 cm.（ 31.8×45.2 in.）來源附畫廊保證書

Sa Dji Eight Horses 1990 Oil on canvas Signed lower right: named Sa Dji in Chinese and dated 1990.6.8. PROVENANCE Certificate of Authenticity by art gallery

NT$ 8,500,000-10,000,000 US$ 280,440-329,920 HK$ 2,190,700-2,577,300

人能懂的內在心情，精神病態的缺陷弔詭地成為驅使創作的魔力，跳脫常理的非理性邏輯思惟，牽動著每一個觀賞者潛意識的神經，原始直接的情緒表白是你我禮教束縛後的夢境，在此，夢囈成為真實、幻想即是生活，我們在一個又一個的虛幻與真實間遊走。《八駿圖》用色傾向於西方古典寫實主義的褐色調，同類色、中性色的處理，達到濃而不豔、深而不板的效果；畫面中的灰色調有一種含蓄的美感；大筆揮灑，輕重有度，厚薄有致。從這些作畫軌跡中能理解，沙耆注重整體意蘊的把握，對於細節的刻畫往往是點到為止，並不太多地花費筆墨和刻意雕琢，使得作品具有形散神聚的品味。東、西方文化的深厚積澱，使沙耆能遊刃 Bastien）。身為徐悲鴻、巴斯天的弟子，沙耆從早年寫實風

有餘地在藝術的汪洋大海裏自由馳騁。兼融東

格轉向表現主義，在當時中國油畫發展上開創嶄新路數，畫

西方美學，並把個人對生命環境的感受有機地

面充滿象徵寓意，主題表現多以裸女、老虎、風景靜物為主，

揉和到藝術語言之中，正是沙耆藝術創作的價

愈到晚年畫風愈趨狂放，解離的色斑、跳躍的筆觸述說著無

值所在。 139

3105

沙耆 (1914-2005)

Sa Dji

雞冠花

Cockscomb

油彩畫布

Oil on canvas

簽名左下：沙耆九六三

Signed lower left: named Sa Dji in

55x46 cm. (21.7x18.1 in.)

Chinese and dated 1963

來源

PROVENANCE

現收藏者購自中國杭州

Acquired from the HANGZHOU by the present owner

140

NT$ 650,000-850,000 US$ 21,450-28,040 HK$ 167,500-219,100

3106

沙耆 (1914-2005)

Sa Dji

老虎

Tiger

1995

油彩畫布

Oil on canvas

簽名右下：沙耆一九九五、元

Signed lower right: named Sa Dji

77.5x60 cm. (30.5x23.6 in.)

in Chinese and dated 1995

來源

PROVENANCE

現收藏者購自中國杭州

Acquired from the HANGZHOU by

NT$ 800,000-1,100,000 US$ 26,390-36,290 HK$ 206,200-283,500

the present owner

141

3107

朱銘 (b. 1938) 太極系列－拱門

享譽國際的雕塑大師朱銘，對於藝術的

Nurtured and influenced unconsciously

探求，總一再的強調：「藝術不是學習，藝術是修行；想種活藝術的種子，要修行」。

Throughout the history of Ju Ming’s artistic

修行並不玄奧，朱銘運用這個詞彙象徵一

1988

creation, the process can be divided into three

種全身心的淬煉，就是這樣的淬煉，暢通

木雕

periods.

了他的創造智慧，顛覆一般認定的藝術養

簽名底部：朱銘‘ 88

(a) The Series of the Local Community ,

成過程，造就了他走向藝術大師之路。

focusing on the themes of bull and Confucius

24x47.5x60 cm.

etc. 1938 年出生於台灣苗栗通霄，朱銘早年

(b) The Series of Tai Chi , an abstract sculpture.

來源

接受傳統木雕訓練，1968 年拜師於雕塑家

附真善美畫廊原作保證書

楊英風。楊英風重精神、重靈性的創作理

painting painted by several materials.

念深深地影響到朱銘，朱銘習得拋開模仿，擺脫技術，保留神韻的技法，在楊英風門

Ju Ming Taichi Series - Arch 1988 Wood Signed Bottom: named Ju Ming in Chinese and dated 1988 PROVENANCE Certificate of Authenticity by Kalos Gallery , Taipei.

NT$ 13,000,000-16,000,000 US$ 428,900-527,880 HK$ 3,350,500-4,123,700

下八年，逐步掌握了藝術生命的本質。

In 1976, Ju’s first solo exhibition at the National Museum of History focused on the theme of buffalo, which made him famous

八 0 及九 0 年代，朱銘和張頌仁先生合

overnight in the art field of Taiwan. His

作，將作品推上國際藝壇。從 1984 年以

experience of growing up in the countryside

來，朱銘巡迴各國的重要國際雕塑大展，

and being a cowboy gave him an intimacy with

並接受知名美術館的邀請展，例如香港藝

nature. In his painting The Cowboy and the

術中心、新加坡歷史博物館、日本箱根美

Buffalo, a cute and outgoing boy and a buffalo

術館、法國登克爾克現代美術館、巴黎凡

altogether form a sense of symmetry in terms of

登廣場、盧森堡市政府廣場 …. 等，受到外

the visual proportion, which attracts the people

界的極高肯定，使得朱銘的藝術聲名扶搖

very much. Ju’s ability to naturally combine the

直上，也造就了朱銘在國際藝術市場的地

local characteristics with the traditional culture

位。

can very much present his vitality as a common person and his unique painting style. Therefore,

滋養在潛移默化中綜觀朱銘的藝術歷程，主要可分成三個

the series of cowboy and buffalo become his most typical representatives of the Series of the Local Community .

階段：1、表現「牛」、「孔子」等題材的《鄉土系列》； 2、抽象雕塑的《太極系列》； 3、多樣材質抽象表現的《人間系列》。

The Series of Tai Chi originates from Ju’s learning of shadowboxing which was suggested by Yang Ying Feng so as to

《太極系列》的產生，是由於楊英風建

cultivate his strength to sculpture. Ju realized

議朱銘學習太極拳來鍛鍊雕刻所需的體力，

the connotation and philosophy from the

而朱銘從太極領略到精義與哲理所發展出

shadowboxing and then created the series. This

的系列作品。這一系列是他風格的起點，

series was also the starting point of his creating

並因此在國際藝壇打響名號。

style and he was famous from then on in the international artistic circle.

太極拳是中國傳統與文化的精華，其拳

局部簽名 Signature 142

法瀟灑飄逸，朱銘在其中體會到自然間大

Shadowboxing is the essence of the tradition

氣運作的力道以及運行的法則，並將領悟

Chinese cultures. Its unrestrained and flowing

的道理轉化為創作的精神在《太極系列》中

boxing taught Ju to experience the power and

可見朱銘從寫實風格走出自己的道路，以

operating principles of qi in the nature, and

極簡的形體表現擺脫寫實，直接以雕塑寫

helped Ju to apply his understanding to his

意，作品旨在探求速度與力量以及人與自

creating spirit. In The Series of Tai Chi , Ju got

然的結合，在收放自如的起落數刀之間，

out of the limit of the realistic style and created

構成倉勁有力的切面，傳達太極拳法的文

a style of his own.

化精髓。

143

《太極系列》裡可區分為個體與對招的呈現，個

He took advantage of extremely simple form

體的表現著重於造形，而對招是在講求個體與個

and structure to break away from the realistic style,

體之間的相對關係，也就是以抽象的型態來表現

directly expressing his feelings by sculpture. In his

太極拳的動勢以及空間的對應與平衡關係。《太極

works of art, he pursues the combination of speed and

系列》初創作之時，採用較為寫實的手法，隨著

power as well as that of man and nature. He carved

對太極認識加深，逐漸打破固定招式的侷限，表

the powerful section by the free and skillful rise and

現運動變化過程中的某些動作特徵，最後，則是

fall of the graver, conveying the cultural essence of the

做進一步簡化，《太極－拱門》Lot3107 即是完全

shadowboxing.

拋開太極拳招式，精煉動 / 靜、緩 / 急、虛 / 實、剛 / 柔等太極拳所講求的奧義而演化來。此次拍賣的《太極系列－拱門》，屬唯一木雕，極具收藏價值。

The Series of Tai Chi can be divided into the individual movements and the counter movements. The individual ones focus on the shape while the

太極系列的成就後，朱銘並未於自滿，他再度

counter ones emphasize the interrelationship between

前往紐約繼續新的創作，受到普普藝術的影響，

the individuals, i.e. expressing the momentum of the

開始轉變心境，朝更貼近人性的方向創作。《人間

shadowboxing and the correspondence and balance of

系列》提煉自日常生活中的芸芸眾生相，觀察城

the space through abstract patterns. At the beginning

市中小角落裡樸實的人們，展現當今社會的一切

of the creation of this series, Ju adopted the realistic

形貌，自由、隨興、不刻意，充滿現代感。從彩

style. Later, with the deepening understanding of the

繪木雕開始，媒材上舉凡於木質材料，陶土、海

Tai Chi, he broke away from the fixed movements

綿、青銅、不鏽鋼等等，盡為他所用。

and conveyed some movements features during its changing and moving process. Finally, he carried out

朱銘曾說：「人間與太極的外表或許差異極大，

further simplification. The Series of Tai Chi-Archway

然而它們在創作態度和精神上，卻有相承的關係。

was created by leaving behind the movements of the

人間系列讓我可以自由發揮，我什麼材料都拿來

shadowboxing and refining the profound meaning of

運用，讓我的本性充分展現，展現較生活、較柔

movement and stillness, slowness and hurry, the virtual

軟可愛的一面，來彌補太極系列無法表達的東西，

and the real, hardness and gentleness etc. The Series

那是一種轉變」。對於材質操作的嘗試，在《人間

of Tai Chi-Archway is the only wood carving in this

系列》的繪畫中也能見到。《三姑六婆》Lo3013 採

auction, which is well worth collecting.

大寫意式的表現，捕捉人群或站或坐的姿態；相似於「人間系列」雕塑作品的人物簡化描寫手法，塊面色彩和形體外輪廓勾勒，相似於木雕的肌理處理，儘管全畫看來數筆草草，但色彩線條間大膽地渲染寫意，能將歡愉感直接而素樸地傳遞給觀者。重構自我二十多年來努力將朱銘推向國際舞台的策展人張頌仁說：「如果《太極》的藝術特徵是近乎宗教藝術的超人力量，那麼《人間》系列就是飽食人間煙火的世俗眾生相。創作《太極》，需要大氣魄，塑造《人間》，則必須細膩的感觸和熟嫻的技巧。《太極》和《人間》這兩組作品，可以說是相輔相成的一個整體」。朱銘的作品，以台灣傳統的雕刻技法為底蘊，生命探索為路徑，在蒼勁有力的切面構成下，欲動於靜，靜中求動，蘊涵著巨大的能量，展現著天人合一的精神思維。背面 Reverse 144

3108

朱銘 (b. 1938)

Ju Ming

水牛

Buffalo

1981

銅 (19/20)

Bronze (19/20)

簽名背面：朱銘 19/20 '81

Signed on the reverse: named Ju Ming in Chinese, numbered 19/20 and dated 1981

16.3x10.7x20.5 cm. (6.42x4.2x8.1 in.) 來源附財團法人朱銘文教基金會 - 朱銘美術館原作保證書

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

NT$ 220,000-320,000 US$ 7,260-10,560 HK$ 56,700-82,500

145

3109

朱銘 (b. 1938) 童牛 1994 銅 (7/20) 簽名背面：朱銘 55x67x35 cm.（ 21.6×26.3×13.7 in.）來源附敦煌藝術中心開立之藝術家親簽作品保證書

Ju Ming Child and Buffalo 1994 Bronze (7/20) Signed on reverse: named Ju Ming in Chinese PROVENANCE Certificate of Authenticity by Caves Art Cente (Taipei) and signed by the artist.

NT$ 1,200,000-1,600,000 US$ 39,590-52,790 HK$ 309,300-412,400

在 1976 年於國立歷史博物館舉辦的生平第一次個展中朱銘，是以「水牛」為主題，這次展覽讓他在台灣藝壇上一夕成名。在農村長大，又當過牧童的朱銘，童年的經驗使他對自然始終抱有一份親切感，《童牛》中，俏皮活潑的童子與水牛視覺比例上的對稱性，讓作品饒富趣味；自然地融合鄉土和傳統文化的底韻，具體而微地展現了朱銘源自草根的生命力和創作風格，使得童子與水牛成為鄉土系列中最具代表性的作品。

146

147

3110

阿曼．費南德茲 (1928-2005)

Arman Fernandez

小提琴

Violin

銅

Bronze

簽名底座前方： arman

Signed in front base: named arman in French

簽名底座後方： bocquel p.a. VI/XXX

Signed in bear base: bocquel p.a. VI/XXX

72x24x18.5 cm. (28x7 in.) 來源附 Taglialatella Galleries 原作保證書

NT$ 400,000-500,000 US$ 13,200-16,500 HK$ 103,100-128,900

148

PROVENANCE Certificate of Authenticity by Taglialatella Galleries (Paris) and signed by the artist.

3111

彭光均 (b.1961) 天使 2007 銅 (6/6) 簽名底座後方： 2007 光均 6/6 148x60x55 cm. (58.3x23.6x21.7 in.) 來源附敦煌藝術畫廊開立之藝術家親簽作品保證書

Peng Kuang Chun Angel 2007 Bronze (6/6) Signed on the rear base: dated 2007, named Kuang Chun in Chinese,and numbered 6/6 PROVENANCE Certificate of Authenticity by Art Caves Gallery (Taipei) and signed by the artist.

NT$ 450,000-550,000 US$ 14,850-18,150 HK$ 116,000-141,800

149

3112

蕭一 (1956-2006)

Hsiao Yi

菩提老祖

Bodhi

銅 (9/24)

Bronze (9/24)

簽名背面：蕭一

Signed on reverse: named Hsiao Yi in Chinese

33x17x14 cm. (13x6.7x5.5 in.) PROVENANCE 來源

Certificate of Authenticity by artist relatives

附藝術家家屬原作保證書

NT$ 100,000-200,000 US$ 3,300-6,600 HK$ 25,800-51,500

150

3113

蔣朔 (b.1958)

Jiang Shuo

羊面紅衛兵

Red Guards, Sheep

銅 (6/12)

Bronze (6/12)

簽名背面：朔 Jiang 6/12

Signed on reverse: named Shuo in Chinese,Jiang

30×20×12 cm.（ 11.8×7.8×4.7 in.）

in Pinyin, and numbered 6/12

來源

PROVENANCE

附萬玉堂原作保證書

Certificate of Authenticity by Plum Blossoms, Hong Kong.

NT$ 220,000-320,000 US$ 7,260-10,560 HK$ 56,700-82,500

151

3114

楊英風 (1926-1997)

Yuyu Yang

茁壯 ( 二 )

Thrive (Two)

不鏽鋼 (12/20)

Stainless steel (12/20)

簽名背面： '88 英風 12/20

Signed on reverse : dated 1988,named Yuyu Yang

63x53x50 cm. (24.8x20.9x19.7 in.)

in Chinese,and mumbered 12/20

來源

PROVENANCE

附財團法人楊英風藝術教育基金會 - 呦

Certificate of Authenticity by Yuyu Yang

呦藝術事業有限公司保證書

Foundation, Hsinchu.

NT$ 180,000-350,000 US$ 5,940-11,550 HK$ 46,400-90,200

152

3115

楊英風(1926-1997)

Yuyu Yang

a. 後台

a. Backstage

1952

版畫 (190/200)

Lithograph (190/200)

簽名下方：後台 190/200

Signed lower:titled

楊英風 Yuyu Yang '52

Backstage,numbered

46x50 cm. (18.1x19.7 in.)

190/200, named Yuyu Yang in Chinese, and dated 1952

b. 嬉 1959

b. Amusement

版畫 (159/200)

1959

簽名下方：嬉 159/200 楊

Lithograph (159/200)

英風 Yuyu Yang '59

Signed lower:titled

46x60 cm. (18.1x23.6 in.)

Amusement,numbered 159/200, and named Yuyu

來源 b

Yang in Chinese

附財團法人楊英風藝術教育基金會 - 呦呦藝術事業

PROVENANCE

有限公司保證書

Certificate of Authenticity by Yuyu Yang Foundation,

展覽

Hsinchu.

《後台》曾於 1959 年參加巴西「巴西聖保羅現代藝

EXHIBITION

術雙年展」。

Backstage was exhibited in the Sao Paulo Biennial in

出版

1959.

《楊英風（ 1926-1997）：站在鄉土上的前衛》，高

LITERATURE

雄：高雄市立美術館，

Kaohsiung Museum of Fine

2006，頁 60-61.66-67。

Arts, Yuyu Yang: vanguard

on native soil , Kaohsiung, 3116

2006, P60-61.66-67.

楊英風(1926-1997) 成長版畫 A.P.

NT$ 80,000-160,000 US$ 2,640-5,280 HK$ 20,600-412,200

簽名下方：成長 Growth A.P. 呦呦楊英風 Yuyu Yang '58 ('94) 55x66 cm.（ 21.6×25.9 in.）

Yuyu Yang Growth Lithograph A.P. Signed in lower : titled Growth in Chinese and English, numbered NT$ 50,000-90,000 159/200, named Yuyu Yang in US$ 1,650-2,970 Chinese,and dated 1958

HK$ 12,900-23,200 153

日治時期台灣藝術發展樣貌從台灣歷史的發展來看，外來政權的變動更替，

當時經過重重關卡赴日留學習藝的台灣青年，

對整個社會、生活、文化型態都產生衝擊與改變，

通常都是以唯一的官立美術學校－東京美術學校

而美術發展亦與台灣歷史息息相關。1895 年台灣

（現為東京藝術大學）為第一優先志願。這所藝術

成為日本殖民地後，在其統治下引進了近代制度

殿堂在 1889 年成立後不久，即成為日本美術界的

和設施，其中新式的現代化教育讓台灣人進一步

翹楚，隨著日本勢力的擴張，也成為東亞美術的

接觸和認識新知識、新文化，這個刺激與轉變促

權威，不僅在台灣，許多中國和朝鮮等地的優秀

使新舊社會階層與文化的更替，不但開啟台灣教

藝術家亦出身於此校。日治時期畢業於東京美術

育史的新紀元，也是台灣近代文化與社會變遷的

學校的台籍生有陳澄波、廖繼春、李石樵等 21 位

主要動力，美術界也這在這股西化潮流中循著西

，他們的作品吸收了日本的法式印象派的風格和題

洋美術的軌跡而行。

材，創作反映出所處年代與生態，回台後陸續成為台灣重要藝術家。

1872 年日本將「圖畫」納入普通學校教育科目中的必修科，總督府在台亦跟隨此步伐推行圖畫

陳澄波 1926 年以《嘉義街外》成為台灣入選帝

教育，讓台人的美術視野也擴及到過去幾乎未曾

展的第一人。1929 年自日本東京美術學校畢業後，

接觸的近代西洋美術。然而，當時台灣並沒有美

應聘到上海新華藝專擔任西畫科主任，成為中國

術專門學校，想深究藝術領域者只好負笈異鄉學

美術聘請的少數臺灣藝術學者之一，直到 1933 年

習，在語言、交通等各項因素的考量下，以前往

返回嘉義。

日本學習者居多。西洋美術在台灣立足，除歸功

154

於圖畫教育的實施外，日治時期留學習藝的美術

回到故鄉定居後，陳澄波開始對台灣風景展開

青年亦功不可沒，他們經過學院的淬煉後，將新

一系列的寫生。除此之外，為了培育更多臺灣美

的藝術觀念和技巧帶回台灣。除繼續創作、參加

術青年，他結合了美術同好共同創辦了「台陽美術

展覽外，並組織美術團體相互交流，其中在「台

協會」。透過陳澄波風景系列畫作，可以感受到本

展」和「府展」的推波助瀾下，更掀起了台灣新美

土情懷與獨特風格：筆觸簡短有力，直率扭曲近似

術運動，戰後在美術教育方面亦貢獻良多。可以

梵谷的狂熱；紅綠暖冷對比強烈的色調，一方面是

這麼說，從他們學習、探索藝術的過程，可以了

臺灣亞熱帶風土的寫實，同時也是畫家性格的投

解台灣近代美術發展的脈絡。

射；畫面空間飽滿，散發著向四邊延伸的潛在張力

日本東京美術學校學生合照 - 前排左起一為陳澄

波，第二排左起二為廖繼春。圖片引自台灣美術

全集（ 1）陳澄波，頁 210。

Japan Tokyo School of Fine Arts students –Chen

is the first row,the first one from left; Liao is the

second row,the second one from left.Picture taken

from Taiwan Fine Arts Series (1) Chen Cheng-Po ,

P210.

，可視為臺灣土地與畫家生命力的連結表現。

畢業於東京女子美術學校的陳進，就讀川端畫學校的林玉山、張義雄、張萬傳。

廖繼春 1926 年畢業，返台之後積極參與畫壇的活動，三十歲以前便已經嶄露頭角，在「台展」、

2014 年 9 月 12 日，東京藝術大學美術館即以

「帝展」等官方重要展覽會中常獲入選與獎賞。他

台灣留學生為主題，舉辦「台灣近代美術－留學

也與李石樵、顏水龍、楊三郎等其他台籍畫友共

生的青春群像（ 1895-1945）」展，匯集十四位日治

同組織了「赤島社」、「台陽美術協會」等團體，

時期留學東京美術學校的台灣前輩藝術家的代表

相互切磋砥礪。1947 年執教於台灣師範大學美術

作，呈現台灣近代美術的樣貌。

系，也擔任各種美術競賽的審查委員，為台灣的藝術教育貢獻良多。廖繼春一生的作畫題材，經常取材日常生活的點滴，藉由燦爛亮麗的色彩，傳達出奔放明朗的活潑情調。李石樵 1935 年畢業，1941 年為首位獲得官辦文展「免審查」資格的台籍畫家。1960 年任教於國立台灣師範大學，直至 1974 年退休，之後在文化學院及國立藝專兼課。1982 年辭去一切教職移居美國。李石樵早期風格以寫實為主，50 年代以後受到立體主義的啟示，強調造型簡化並運用反透視的技法，畫面明暗對比強烈，晚期以人物群像、風景為主題，粹煉過的造型配以明亮的色彩。東京美術學校人體寫生課上課情形 ( 日據時代 )。圖除了就讀東京美術學校的台籍學生外，尚有畢業於關西美術學院的楊三郎，畢業於東京文化學

片引自台灣美術全集（ 1）陳澄波，頁 210。 Tokyo School of Fine Arts painting class.Picture

院美術部的劉啟祥，畢業於日本帝國美術學校（後

taken from Taiwan Fine Arts Series (1) Chen Cheng-

改為武藏野美術大學）的洪瑞麟、林之助等。

Po , P210.

東京美術學校雕塑課上課情形 ( 日據時代 )。圖片引

陳澄波 ( 右二 ) 與旅日水墨畫家王逸雲 ( 左三 ) 東京

自台灣美術全集（ 1）陳澄波，頁 210。

美術學校門口合影，1921。圖片引自台灣美術全

Tokyo School of Fine Arts sculpture class. Picture

集（ 1）陳澄波，頁 210。

taken from Taiwan Fine Arts Series (1) Chen Cheng-

Chen Cheng Po (second from right) and Ink painter

Po , P210.

Wang Yi Yun (third from left) in front of Tokyo School of Fine Arts,1921. Picture taken from Taiwan

Fine Arts Series (1) Chen Cheng-Po , P 210. 155

3117

李石樵 (1908-1995) 玫瑰花與靜物

李石樵晚期作品《玫瑰花與靜物》，能見到他隨心所欲地運用色彩的表現性：黃色桌布烘托出桌面上成熟飽滿的水果與細緻的瓷器，藍橘相間的背景讓暖色調的花朵躍然於畫布上。

1987

李石樵擅用乾擦的手法，使底層色彩得以透過

油彩畫布

表層色彩顯露來提高亮度。整體流露清新與恬

簽名右下： 1987 石樵

靜的氣質，筆法細膩，與早期較粗曠的靜物作

60.5x73 cm. (23.8x28.7 in.)

品大相逕庭，在這種透明感與力道的掌握之下，顯現了和諧、娟秀的美感。

出版《李石樵畫集 (1)》，李石樵美術館出版，1996，頁 384 《台灣美術全集 (8) 李石樵》，藝術家出版社，1993，頁 257。

Lee Shih Chiao Roses and Fruits 1987 Oil on canvas Signed lower right:dated 1987 and named Shih Chiao in Chinese LITERATURE Lee Shih Chiao Fine Art Museum, Lee Shih Chiao Fine Art Series(1) , Taipei, Taiwan, 1996, P.384. Lee Shih Chiao,Artist Co.Ltd.,Taiwan Fine Art Series (8) Lee Shih Chiao Taipei, Taiwan, 1993,P257.

李石樵攝於 1985 年。圖片引自《台灣美術全集（ 8）李石樵》，頁 242。 Picture taken from Taiwan Fine Arts

Series (1) Chen Cheng-Po , P242.

NT$ 3,500,000-4,500,000 US$ 115,470-148,470 HK$ 902,110-1,159,800

156

157

3118

劉啟祥 (1910-1998) 鄉村街景

劉啟祥是南台灣畫壇的靈魂人物，作品中一貫出現溫潤、明亮的色彩，有如南台灣的春日；寬闊無垠的畫面，緩緩地流動著真實自然的生命力；簡潔沉靜的繪畫語言，讓我們自在

油彩畫布

而喜悅地聆聽、觀賞，體認藝術啟發人類，提

簽名右下： C.Liou

昇情感的可貴。

60.5x50 ㎝（ 23.8×19.6 in.） 1977 年，劉啟祥面臨一次血栓的生命威脅，來源

病後右半身行動不便，但他以堅毅的意志力，

附敦煌藝術中心原作保證書

不斷練習小提琴，快速地恢復了創作的活力。八 0 年代的風景之作，不同於七 0 年代的活潑

Liu Chih Siang

順暢，是以更為細膩的筆法，表現出如夢似幻

Village street

的氛圍，展露了藝術家另外一面的心靈特質。

oil on canvas Signed on lower right: named C.Liou in Pinyin PROVENANCE Certificate of Authenticity by Caves Art Center, Taipei.

1980 年創作的《鄉村街景》，溫暖的金黃色光輝籠罩著鄉村的屋舍、街道，交錯灑落的金黃色調成了畫家寫意表情的記號。畫家用灑落粗放的筆觸、豔熱的陽光，讓畫面表現內在的生命力與莊重感，詠嘆出寧靜樸素之美。

NT$ 1,500,000-1,800,000 US$ 49,490-59,390 HK$ 386,600-463,900

劉啟祥作畫圖。圖片引自《家庭美術館前輩藝術家叢書－抒情．韻律．劉啟祥》雄獅圖書股份有限公司，頁 6。 Picture taken from Family Art Gallery

Artist Series - Lyric．Rhythm．Liu Chih Siang , Hsiung-Shih Art Book Ltd,P.6.

158

159

3119

張義雄 (b.1914) 靜物花

1914 年出生於嘉義市。張義雄自幼即喜愛塗鴉，十歲時親見陳澄波於嘉義圓環一帶寫生作畫，因而萌發欲為畫家的志願。曾從學於陳澄波，並斷續接受過美術學院教育，但其創作大多源於自我的探索，而非名師或畫

1992

派之指引。自 1930 年代於東京生活期間起，張義雄曾長

油彩畫布

期在街頭為人畫像或作剪紙剪影，以維持生計，但這也

簽名右下： Chang.y.92

深化他素描與造型之技巧。二次大戰後，張義雄返台於

60.5x50 cm.（ 23.8×19.6 in.）

台北成立私人教學畫室，教育許多藝術後進。此時他雖然生活困苦，屢次搬遷住家，但也逐漸形成個人繪畫風

Chang Yi Hsiung(b.1914) Still Life 1992

格，並於台灣省全省美術展覽會與台陽美術展覽會屢次獲獎，而奠立其名聲。 1964 年移居日本後，張義雄除於東京舉行數次個展，

Oil on canvas

仍不時回國舉行展覽，並成為台灣首位畫廊經紀畫家。

Signed on lower right: named Chang y.

因嚮往法國的藝術生活，1980 年開始居住於巴黎，直至

in Pinyin and dated 1992

2003 年重回日本定居。巴黎生活期間，張義雄亦屢次入選法國藝術家沙龍展（春季沙龍展）與秋季沙龍展，獲

NT$ 850,000-1,000,000 US$ 28,040-32,990 HK$ 219,100-257,700

國際性聲譽。張義雄是位勇於嘗試且求新求變的藝術家，風格並不限於印象派，部分更吸收野獸派、立體派或表現主義之畫風，他甚至亦創作過數件抽象繪畫，但在變化之中，其構圖、造型與色彩的統整性，以及畫面質感肌理的表現，都可看出其苦心經營與個人獨具之特色，且不論風景、靜物或人物畫皆然。張義雄的繪畫很大部分是瓶花與風景。不同於日治時期台灣省展多為描繪寫實靜物畫的作品，其靜物畫超越了再現的層次，《靜物花》可見張義雄處理畫面的色彩與肌理，野獸派的簡潔與平面性，黑色線條對色彩的壓抑和反襯，像色彩魔術師馬諦斯一般。然而，特別的是，張義雄靜物畫的顏料和筆觸肌理，卻是從印象派的自由

《張義雄 80 回顧展》，台北市立美術館出版， 1994，頁 15。 Picture taken from Chang Yi-hsiung 80

Retrospective , Published by Taipei Fine Arts Museum,1994, P15.

160

筆觸到顏料和肌理厚實材質運用，顯示從印象派到現代藝術，對不同世代間的興趣。

161

3120

張萬傳 (1909-2003)

Chang Wan Chuan

魚

Fishes

油彩紙板

Oil on paperboard

簽名右上： Chang. 萬 .

Signed upper right: named Chang in Pinyin and Wan in

背面簽名：魚張萬傳 Chang. 萬 .

Chinese

24x33 cm.（ 9.4×12.9 in.）

Signed on reverse: titled Fish, named Chang Wan Chuan in Chinese, Chang in Pinyin, and Wan in Chinese

NT$ 240,000-300,000 US$ 7,920-9,900 HK$ 61,900-77,300

162

雙裸女

附藝術家家屬開立之原作保證書

3122

黃銘昌 (b.1952)

Huang Ming Chang Fluttering-Rice Field Series

翩翩 - 水稻田系列

1998

Oil on canvas

油彩畫布

Signed:named Huang Ming Chang in Chinese

簽名：黃銘昌 Huang M.C.'98

and in Pinyin, and dated 1998

112x162 ㎝（ . 44×63.7 in.）展覽「二二八美展 - 歷史現場與圖像」，台北市立美術館，1999。「行雲流之歌 - 台灣新寫實繪畫 30 年」，亞洲藝術中心，2002。出版《行雲流之歌 - 台灣新寫實繪畫 30 年》，台北 : 亞洲藝術中心出版，2002，頁 123。

EXHIBITION Taipei, Taiwan, Taipei Fine Arts Museum, 228 Exhibition-History scene and image , 1999 Taipei, Taiwan, Asia Art Center, To Systematize the development of realist paintings in Taiwan for the past 30 years , 2002. LITERATURE Asia Art Center, To Systematize the development of realist paintings in Taiwan for the past 30 years , Taipei, Taiwan, 2002, P.123.

NT$ 2,600,000-3,200,000 US$ 85,780-105,580 HK$ 670,100-824,700 《翩翩》畫中重要的元素有椰樹、新移

To me, the coconut trees, which stand still

秧的水田，以及晨光中翩舞的蝴蝶等，它

under the sky of southern country swinging

們都不只是外在形象，我畫它們是根據童

with wind, are the strongest and one of the most

年記憶以及隨歲月加深的理解和情感來形

typical plants presenting Taiwan's vitality. After a

諸筆端的。椰子樹挺立在南國天空下隨風

typhoon, these trees can only be seen to stand still

搖曳。它是我心目中最強韌，最能代表台

at the renitent and proud gesture very often.

灣生命力的植物之一。往往在一場颱風過

The neat and fresh paddy fields please our senses

後，狼藉風景中唯有椰樹依舊兀立州可其

and also hide the sweat dropping from diligent

頑強，驕傲的身姿！整齊清爽的稻田，悅

peasants. I used the marten brush of great tenacity

人眼目中涵藏多少農民辛勞汗水。我便也

to grow my rice seedlings one by one on my

用最富韌性的貂毛細筆，在畫布上一根根

canvas.

種下我的秧苗。水田風景在晨光中漸漸呈現，遠方林

clear in the morning light, the birds in distant

中宿鳥盤飛而起，隨晨曦迎風展翅飛向遠

swept by wind forest soar spirally and fly with

方；而水田近處，陌上凝露草叢間有蝴蝶

stretching wings to the faraway place. Near the

翩飛比翼。至此，萬物經一夜風露洗滌，

paddies is the road which the dew is on and

呈現大地無限生機。

the butterflies fly lightly among the grass. All

--- 藝術家：黃銘昌老師「翩翩」的自述

creatures now show the infinite vitality of the

2003 年 9 月

world after being washed by wind and dew at

The coconut trees, the paddies with rice

night.

seedlings and the flying butterflies in sunlight,

---Artist: Mr. Huang Ming Chang, the

all these important elements in "Fluttering"

narration of "Fluttering-Rice field" , September,

are beyond their external images; they were

2003.

formed through my childhood memories and the understanding and emotions deepened with time. 164

The view of paddy fields gradually become

進出於幽暗地底的靈魂描繪－洪瑞麟洪瑞麟的創作，和他的生命一樣，都是站在社

關於社會意識主題的描寫，在西方繪畫史中，

會底層的場景中，默默地注視著，拿這些現實人

有幾位藝術家也多以此題材表現。杜米埃（ Honoré

生的感懷來創作藝術，以一股深沉底蘊，表現對

Daumier 1808-1879）畫作反映人生相，尤其對窮

勞苦階層大眾的同情與關懷。

苦者的同情與關愛，對不合理的人間提出控訴。《三等車廂》（ 1863-1865）描繪擠在火車三等車廂

洪瑞麟出生於台北市大稻埕淡水河岸的船頭行街，其父親洪鶴汀雖在商場作事，但卻喜好文

乘客的疲憊與鬱憤。作品表現對人生百態銳利的嘲諷。

藝又擅長書畫，因而影響了洪瑞麟的藝術興趣。 1927 年進入由倪蔣懷設立、石川欽一郎教授的「台灣繪畫研究所」。1930 年赴日求學，畢業於日本

杜米埃《三等車廂》，

帝國美術學校（現為武藏野美術學校）。1938 年 7

1862。典藏於紐約大

月回到台灣，並進入倪蔣懷經營的瑞芳煤礦工作，

都會博物館。

除 1960 年代間曾受邀於今國立臺灣藝術大學任教外，1965 年又受倪蔣懷邀請擔任臺灣大溪煤礦場礦長，多年的礦場工作經驗，他以礦工為創作題材，建立出與眾不同的繪畫風格。

珂勒惠支（ Käthe Kollwitz 1867-1945），一輩子都不停地描繪著普通人民的貧苦生活，以尖銳的形式把在資本主義制度下工人階級的悲慘命運、

「和礦工相處越久越發現他們各種坦率無偽的人性表現，那樣契合我的心靈，使我時刻想揮動畫 1

備受欺凌的農民、飢餓的兒童、飽經磨難的母親、無所畏懼的反抗者勇於鬥爭的精神傳達出來，如

筆捕捉下來」。洪瑞麟畫入坑前的張望等待、搭

實反映了 19 世紀末 20 世紀初德國底層人民的悲慘

乘礦車、各種礦坑內的工作情形、遇事研議的商

狀況。

量情景、發餉日、眾多礦工的肖像，注重樸實真切的表現。洪瑞麟認為，處於隨時可能因瓦斯爆炸而失去生命的坑道中，礦工們的面孔是堅毅的，珂勒惠支《織工的隊

以生命為賭注的勞動是非常嚴肅。

伍》，1897。典藏於柏林柯勒惠支博物館。

限於礦坑內的工作環境，除了少許大幅有關礦工的油畫是在畫室整理完成之外，他多以鉛筆速寫簿、或粉蠟筆圖畫紙、或宣紙和毛筆等最簡單

人道主義情懷的三十年養成

的方式，採用黑色線條勾勒或是水墨加淡彩，完成現場畫的礦工速寫。《礦工速寫》Lot3085 可看

在此三十年的時間中，洪瑞麟與礦工們一起

出洪瑞麟對採礦工作中人體動作細節的注意，他

生活與工作，以速寫的方式，近身記錄下礦工們

此後重要的油畫與彩墨作品多從這種人體架構中衍

最真實的身影與生活環境。洪瑞麟的礦工畫，以

發而出。《礦工》Lot3123 以褐紅的膚色，試圖在

簡練、流暢又粗獷的筆觸勾畫線條，礦坑內獨特

暗黑的色系中表現勞動的張力，以黑色勾勒出礦

的情景、礦工們一張張飽經風霜的臉孔、黝黑緊

工們因長期勞動而顯得肌肉發達的身體線條。

繃的肌肉，就在畫家的彩筆下鮮活起來。由於他的畫中散發出一股強烈悲天憫人的情感，傳達出

可以看得出，洪瑞麟的這些速寫畫得很快，沒

他對勞苦小民及老年人的由衷關懷，往往不自覺

有修飾的餘地，最主要在表達動態，用筆之際全

就打動了每一位觀賞者。天生的人道主義情懷使

靠熟練。「雖然畫中表現不出礦工們的辛勞，但總

他建立出與眾不同的路線，也讓「礦工系列」繪畫

能表現出他們工作是神聖的。我覺得自己的畫必

在臺灣美術史上擁有不可忽視的價值。

須和現實生活聯繫起來才有意義。將礦工們的神聖工作表現在畫幅中，這是藝術賦予我的使命 2」。

1. 廖雪芳（ 1979），＜到泥土裡和勞動中會見藝術的洪瑞麟＞，《美術家專輯（四）洪瑞麟》，台北：

為受苦者造像

雄獅美術。 2. 同上註。

3123

洪瑞麟 (1912-1996)

Hong Rui Lin

礦工

Miners

1954

油彩畫布

Oil in canvas

簽名左下： J.L.Hung

Signed lower left: named J.L.Hung

33x43 cm. (13x16.9 in.)

in Pinyin

來源

PROVENANCE Private Collection, Asia

亞洲私人收藏

NT$ 3,000,000-3,600,000 US$ 98,980-118,770 HK$ 773,200-927,800

165

3124

巴斯天的居所，位於布魯塞爾南部歐德根區

阿弗列德．巴斯天

(Auderghem) 的 Rouge Cloitre 森林區，是蘇瓦尼森林

(1873-1955)

(Soigne Forest) 的一部分─布魯塞爾最優美與最寬廣的森

池邊雪景

來作畫，這是 Rouge-Cloitre 畫風稱呼的由來。

林，吸引許多對大自然、森林與田野風光喜好的畫家前

油彩畫布簽名右下： A. Bastien. 110x181 cm. (43x71 in.)

此處是巴斯天作畫的靈感泉源，這裡的一景一物都呈現在他的作品中。他時常帶著畫具到處作畫，透過古典技巧純熟的筆觸，描繪出森林之美，因此巴斯天是

來源

Rouge-Cloitre 畫風的代表。

歐洲私人收藏此次有二幅以此森林為主題的畫，印象派的畫風，運

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

用光線的變化與色彩的搭配，再加上收放自如的細膩筆觸，帶給我們絕然不同的情境。《池邊雪景》在 Rouge-cloitre 最經典的代表作，也是巴斯天少見的大篇幅巨作 (110x180cm)。整幅呈現寧靜的色彩，典雅的著色，以及柔軟的筆觸，使畫面充分散發出歐洲雪後空曠與祥和的美。

PROVENANCE Private Collection, Europe

《暖陽下的森林》Lot3125 是巴斯天送給好朋友的禮物 ( 畫背面有提名送給 Jul)，此畫運用輕盈揮灑的筆觸，勾畫

NT$ 700,000-1,000,000 US$ 23,090-32,990 HK$ 180,400-257,700

出活潑自然的樂章，溫暖的陽光以及豐富的色彩層層相疊，散發出溫馨之美。《母女圖》Lot3126 巴斯天也擅長畫人物，但很少以中國人為主體，此畫乃難得的收藏品。巴斯天遊歷了許多國家，也去過中國，據說此幅畫是在旅遊中國時畫的。人物描繪使用簡潔的筆觸，鮮明對比的色彩，畫面呈現和諧與平衡的美感。《北海海岸風情》Lot3127 巴斯天 1914 年從軍負責 Niewport( 字譯是新港 , 音譯是尼烏波爾特 ) 港口的藝術部門工作，位於北海 (Mer du Nord) 和伊瑟河 (Yser) 港灣，他鍾情於此港口的優雅情調。《農村風光》Lot3128 是巴斯天 1945 年到鄉間作畫的一景 ( 畫背面有標明 )，藍天白雲，一間間農舍相連，門前清澈小溪，一群小豬戲水，整幅畫沐浴於歐洲田野自然溫暖的氣氛中。

166

167

3125

阿弗列德．巴斯天 (1873-1955) 暖陽下的森林油彩畫布簽名右下： A. Bastien. 51x80 cm. (21x35 in.) 來源歐洲私人收藏

Alfred Bastien Forest in sunshine Oil on canvas Signed lower right: named A. Bastien in French PROVENANCE Private Collection, Europe

3126

阿弗列德．巴斯天 (1873-1955) 母女油彩畫布簽名右下： A. Bastien. 36x42 cm. (14x17 in.) 來源歐洲私人收藏

Alfred Bastien Mother and daughter Oil on canvas Signed lower right: named A. Bastien in French PROVENANCE Private Collection, Europe

NT$ 60,000-80,000 US$ 1,980-2,640 HK$ 15,500-20,600 168

NT$ 100,000-150,000 US$ 3,300-4,950 HK$ 25,800-38,700

3127

阿弗列德．巴斯天 (1873-1955) 北海海岸風情油彩畫布簽名右下： A. Bastien. 35x52 cm. (14x21 in.) 來源歐洲私人收藏

Alfred Bastien North Sea coastal scenery Oil on canvas

NT$ 120,000-180,000 US$ 3,960-5,940 HK$ 30,900-46,400

Signed lower right: named A. Bastien in French PROVENANCE Private Collection, Europe 3128

阿弗列德．巴斯天 (1873-1995) 農村風光油彩畫布簽名右下： A. Bastien. 50x60.5 cm. (20x24 in.) 來源歐洲私人收藏

Alfred Bastien Rural village Oil on canvas Signed lower right: named A. Bastien in French PROVENANCE Private Collection, Europe

NT$ 130,000-180,000 US$ 4,290-5,940 HK$ 33,500-46,400 169

3129

劉國松 (b.1932) 寒山風雪夜 1991

雖然劉國松畫的是抽象畫，但他的作品是具有中國水墨的意境，這是因為在墨與色的細韻剔透暗示了流動與變化，蘊藏了變化和運動的感覺，狂草般在畫面上的線條展延以及虛實互動的構成，表現出中國山水畫的氣韻生動與生生不息的意境，充滿著靈動之妙。

設色紙本簽名右下：劉國松一九九一

傳統水墨繪畫原來都是精鍊、凝縮的，而劉國松卻是

鈐印右中：劉國松 ( 白文 )

外揚、向外尋求不確定性。《寒山風雪夜》融合了破筆狂

90x90 cm. (35.4x35.4 in.)

草的筆勢和東方繪畫中的虛實意境，表現山巒的壯闊；撕去紙筋所顯露出錯落雜陳的白線，表現出雪景細緻的

出版《劉國松 60 歲回顧展》，台中省立美術館出版，1992，頁 112。

肌理，隨意噴灑的白點，形成大雪紛飛的意象。黑色透著力量，藍色輕忽飄渺，以現代精神與抽象意味的墨韻為架構，整體氣勢雄渾，革新當代理論在此畫作中展現無疑。劉國松以完全不同於傳統水墨的技法作畫，傳達

Liu Kuo Sung

出東方的哲學思想和審美趣味，形塑出極具深度與廣度

Blizzard night

的開創性作品。

1991 Ink and color on paper Signed middle right: named Liu Kuo Sung and dated 1991 Stamped lower right with an artist's seal LITERATURE National Taiwan Museum of Fine Arts, Liu Kuo Sung 60 Retrospective , Taichung, Taiwan, 1992, P.112.

Although Liu Kuo Sung’s paintings are abstract, his works of art have the feeling of the Chinese ink and wash paintings. This is because the application of ink and color to his paintings implies the flowing and changes. This feeling as well as the stretched strokes like cursive script and the interchanges between the virtual and the real world, evinces the flowing spirit of the Chi, rhyme, vividness, changes and eternal life in the Chinese landscape paintings. The traditional ink and wash paintings are all refined and condensed while Liu’s paintings are characteristic by

NT$ 3,000,000-4,000,000 US$ 98,980-131,970 HK$ 773,200-1,030,900

expressing his feelings and exploring all the uncertainties in the world. Blizzard Night integrates the brushwork of the extremely free cursive script and the atmosphere of both the virtual and the real world, depicting the magnificence of the mountain ranges. It has ripped off the scattered and disorderly white lines of the rice paper, and instead appears the skin texture of the snow, the randomly painted white dots creating an atmosphere of the snow flowing and swirling in the air. The dark shows the power and the blue expresses the ethereal beauty. The whole painting is of strong momentum, with the modern spirits and abstract ink as its frame, expressing the innovation of the contemporary theories. Liu conveys the eastern philosophical thoughts and aesthetic taste with a technique which is totally different from that of the traditional ink and washing paintings, creating pioneering and profound works of art in terms of the depth and width.

170

171

3130

劉國松 (b.1932) 寒江漫雪

近幾年當代水墨崛起於收藏市場，成為新的拍賣熱門品項，其中素有水墨創新之父之稱的劉國松，作品更是追逐的焦點。劉國松以創新水墨皴法和技巧，賦予傳統繪畫新生命，並且倡導「筆的革命」，奠定其學術的地位。

1969 設色紙本

在劉國松的藝術創作歷程中，一直孜孜不倦地探索和

簽名右下：劉國松一九六九

實驗各種新的技巧和方法，曾以報紙、塑膠布、布料等

鈐印右下：劉國松

作為畫筆，或以拓墨、漬墨、水拓等手法展開針對水墨

78x114 cm. (30.7x44.9 in.)

表現的新嘗試。《寒江漫雪》是 1969 年之作，採用經他

Liu Kuo Sung Snowy river and flying snow 1969 Ink and color on paper Signed lower right: named Liu Kuo Sung and dated 1969 Stamped lower right with an artist's seal

NT$ 3,500,000-5,000,000 US$ 115,470-164,960 HK$ 902,100-1,288,700

長期的研究和試驗而研發的撕筋紙，這是他特別請棉紙廠將原本糊燈籠的薄棉紙改良製作，在這種棉紙上繪墨後，然後再將紙筋撕掉，產生留白的紋理和肌理。這種肌理，連同狂草般粗壯的線條和濃淡乾濕的渲染，兩者共同促成了水墨的抽象畫形成獨特的意境氛圍，一種徜徉於太虛之間的悠遊感。 During Liu Kuo Sung’s creation of art, he spared no efforts to explore and experiment on all kinds of new techniques and methods. Snow Over the Cold River applies the paper that he has developed after lots of researches and experiments. He particularly asked the cotton paper factory to improve the thin cotton paper that used to make lanterns, and rip off the rice paper after painting ink on it, leaving the texture and skin pattern in the blank space. This skin texture, together with the thick strokes like the excessively free cursive script and the rendering of the both the heavy and the light, the dry and moist ink, creates the unique atmosphere of the abstract ink and wash painting, a feeling of flying freely in the universe.

172

173

3131

吳昊 (b.1932) 瓶花水果 1984 油彩畫布簽名右中：吳昊 1984 122x70 cm. (48x28 in.)

Wu Hao Flowers and Fruit 1984 Oil on canvas Signed middle right: named Wu Hao in Chinese and dated 1984

NT$ 500,000-700,000 US$ 16,500-23,090 HK$ 128,900-180,400

雖「花」為吳昊創作中重要主題之一，來自民間藝術的轉換脈絡，呈現了繁複性、裝飾性、平面性。《瓶花水果》透過俐落洗練的黑色線條勾勒描繪，一朵、一叢、一整個眼前色彩歡愉的繁花盛開，朵朵綻放的都是存在的喜悅。沉金花瓶上嬌豔的玫瑰花與散落在織錦花布桌面的柿子梨子，滿得快溢出來的花，讓視覺充滿無限春色。造形意象豐饒的構圖，充滿了年節喜慶味道，雋永而耐人尋味。

174

175

73x97cm.( 29x38i n. )

177

3133

丁雄泉 (1929-2010) 美女群組水墨紙鈐印右下：採花大盜（朱文） 23x22 cm. x7 (9.1x8.7 in. x7) 來源歐洲私人收藏

Walasse Ting Beauties Ink on paper Stamped lower right with an artist's seal PROVENANCE Private Collection, Europe

NT$ 500,000-650,000 US$ 16,500-21,450 HK$ 128,900-167,500

178

3134

丁雄泉 (1929-2010)

Walasse Ting

仕女

Lady

水墨紙

Ink on paper

鈐印左下：採花大盜

Stamped lower left with an artist's seal

47x41 cm. (19x16 in.) 來源

PROVENANCE Private Collection, Europe

歐洲私人收藏

NT$ 240,000-350,000 US$ 7,920-11,550 HK$ 61,900-90,200

179

3135

沈哲哉 (b.1926)

Shen Che Tsai

少女

Young Girl

1980

油彩畫布

Oil on canvas

60.5x50 ㎝（ . 23.8×19.6 in.） PROVENANCE 附日升月鴻藝術畫廊保證書

Certificate of Authenticity by Ever Harvest Art Gallery, Taipei.

180

NT$ 400,000-500,000 US$ 13,200-16,500 HK$ 103,100-128,900

3136

李博 (b.1982)

a. 系列：粉紅色 2007 複合媒材簽名背面：李博 Li Bo 2007.4. 40×54 cm. (15.8×21.3 in.)

b. 系列：粉紅色 2007 複合媒材簽名背面：李博 Li Bo 2007.4. 40x54 cm. (15.8x21.3 in.)

Li Bo a. Pink Series Mixed media a

Signed on reverse:named Li Bo in Chinese and Pinyin,dated 2007.4.

b. Pink Series Mixed media Signed on reverse:named Li Bo in Chinese and Pinyin,dated 2007.4.

NT$ 80,000-150,000 US$ 2,640-4,950 HK$ 20,600-38,700

181

3137

陳景容 (b.1934)

Chen Ching Jung

思鄉

Nostolgia

1993

油彩畫布

Oil on canvas

簽名右下：景容 CHEN 93

Signed lower right: named Ching Jung in

53x73 cm.（ 30.2×28.7 in.）

Chinese, CHEN in Pinyin, and dated 1993

NT$ 350,000-450,000 US$ 11,550-14,850 HK$ 90,200-116,000

182

3138

何肇衢（ b.1931）窗外 ( 異鄉之月 ) 1988 油彩畫布 60.5x50 cm. (23.8x19.7 in.) 簽名左下

Ho Chau Chu Outside the Window 1988 oil on canvas Signed lower left: named and dated 1988

NT$ 70,000-120,000 US$ 2,310-3,960 HK$ 18,000-30,900

3139

周于棟 (b.1950) 一瓶花 1989 油彩畫布 45.5x38 cm. (17.9x15 in.)

Chu Yu Don Vase of flowers 1989 Oil on canvas

NT$ 40,000-80,000 US$ 1,320-2,640 HK$ 10,300-20,600

183

3140

184

唐海文 (1929-1991)

Tang Hay Wen

蔥蘢挹翠

Verdant

水彩紙

Watercolor on paper

簽名右下： T'ang 海文

Signed lower right: named T'ang in

50x35 cm.（ 19.6×13.7 in.）

Pinyin and Hay Wen in Chinese

來源

PROVENANCE

歐洲私人收藏

Private Collection, Europe

NT$ 450,000-650,000 US$ 14,850-21,450 HK$ 116,000-167,500

3141

唐海文 (1929-1991)

Tang Haywen

無題

Untitled

水墨紙本 ( 雙連幅 )

Ink on paper (Diptych)

70x100 cm.（ 27.5×39.3 in.） LITERATURE 出版《唐海文作品集》，標竿藝術事業有限公司， 1993.6.，頁 31。

B e n c h m a r k a r t s C o , Ta n g

Haiwen Collections , 1993.6, P.31.

NT$ 300,000-400,000 US$ 9,900-13,200 HK$ 77,300-103,100

185

3142

唐海文 (1929-1991) 無題（二幅）水彩紙簽名右下： T'ang 海文 18.5x18.5 cm. (7.2x7.2 in.) 水墨水彩紙簽名右下： T'ang 海文 26.8x34.5cm. (10.5x13.5 in.)

Tang Hay Wen Untitled（ Two works） Watercolor on paper Signed lower right: named T'ang in Pinyin and Hay Wen in Chinese Ink and watercolor on paper Signed lower right: named T'ang in Pinyin and Hay Wen in Chinese

NT$ 160,000-300,000 US$ 5,280-9,900 HK$ 41,200-77,300

186

3143

唐海文 (1929-1991)

Tang Hay Wen

無題

Ink on paper (Diptych)

水墨紙本 ( 雙聯幅 )

Ink on paper

簽名右下： T'ang 海文

Signed lower right: named T'ang in Pinyin and

70x100 cm.（ 27.5×39.3 in.）

Hay Wen in Chinese

NT$ 700,000-1,000,000 US$ 23,090-32,990 HK$ 180,400-257,700

187

3144

唐海文 (1929-1991)

Tang Hay Wen

無題（四幅）

Untitled（ Four works）

水彩紙簽名右下： T'ang 海文 12x11 cm. (5x4 in.)

Watercolor on paper Signed lower right: named T'ang in Pinyin and Hay Wen in Chinese

NT$ 220,000-350,000 US$ 7,260-11,550 HK$ 56,700-90,200 188

3145

費爾南多．波特羅 (b.1932)

Fernando Botero

鬥牛

Bullfighting

1991

複合媒材紙

Mixed media on paper

簽名右下： Botero 1991

Signed lower left: named Botero in Spanish and dated 1991

48x65 cm. (19x26 in.) 來源附 Museo de Arte Moderno 原作保證書

PROVENANCE Certificate of Authenticity by Museo de Arte Moderno, Bogota, Colombia.

NT$ 260,000-350,000 US$ 8,580-11,550 HK$ 67,000-90,200 189

3146

傑夫昆斯 (b.1955)

Jeff Koons

原作速寫

Original sketches

速寫

Sketch

簽名於右圖 :K 77/9/13

Signed : K 77/9/13

30.5×25.5cm（ 12×10 in.）

NT$ 80,000-120,000 US$ 2,640-3,960 HK$ 20,600-30,900

190

3147

貝納．畢費 (1928-1999)

Bernard Buffet

人像

Portrait

複合媒材紙

Tempera, watercolor and Indian ink on

簽名右中： Bernard Buffet

paper

27x20 cm. (11x8 in.)

Signed middle right: named Bernard Buffet in English

附愛爾蘭 Gallery 64 保證書 PROVENANCE Certificate of Authenticity by 64 Gallery , Ireland.

NT$ 260,000-350,000 US$ 8,580-11,550 HK$ 67,000-90,200

191

3148

方延杰 (1926-1990) 四幅一組 a. 小碼頭

b. 寺院

c. 拱橋

d. 舢舨

水彩紙

1986

簽名左下： Jack Fang

簽名右下：方延杰 Jack

簽名右下：方延杰 Jack Fang

水彩紙

55x77 cm.（ 21.6×30.3 in.）

Fang

55x77 cm.（ 21.6×30.3 in.）

簽名右下：方延杰 Jack

Fang Yan Jie

鈐印右下

Fang 1986

55x77 cm.（ 21.6×30.3 in.）

Four Works a. Small Pier

b. Temple

c. Arch

d. Sampan

Watercolor on paper

Watercolor on pape

Watercolor on paper

1986

Signed lower left: named

Signed lower left: named Jack

Signed lower left: named

Watercolor on paper

Jack Fang in English

Fang in Chinese and English

Jack Fang in Chinese and

Signed lower left: named Jack

Stamped lower right with an

English

Fang in Chinese and English,

NT$ 400,000-600,000 US$ 13,200-19,800 HK$ 103,100-154,600

artist's seal

dated 1986

3149

方延杰 (1926-1990) 四幅一組 a. 漁

b. 湖畔建築

c. 船塢

d. 唐人街

水彩紙

1988

水彩紙

1986

簽名右下：方延杰 Jack Fang

水彩紙

簽名右下：方延杰 Jack Fang

水彩紙

55x77 cm.（ 21.6×30.3 in.）

簽名右下：方延杰 Jack

55x77 cm.（ 21.6×30.3 in.）

簽名右下： Jack Fang 1986 55x77 cm.（ 21.6×30.3 in.）

Fang 1988

Fang Yan Jie

55x77 cm.（ 21.6×30.3 in.）

Four Works a. Fisherman

b. Building beside a Lake

c. Dock

d. Chinatown

Watercolor on paper

1988

Watercolor on paper

1986

Signed lower left: named Jack

Watercolor on paper

Signed lower left: named

Watercolor on paper

Fang in Chinese and English

Signed lower left: named

Jack Fang in Chinese and

Signed lower left: named Jack

Jack Fang in Chinese and

EnglishWatercolor on paper

Fang in English and dated

English, dated 1988

Signed lower left: named Jack

1986

NT$ 400,000-600,000 US$ 13,200-19,800 HK$ 103,100-154,600

Fang in Chinese and English 193

3150

安迪．渥荷 (1928-1987) HEART 速寫簽名下方： Andy Warhol 26.3x20.5 cm.（ 10.3×8 in.）

Andy Warhol HEART Sketch Signed lower: named Andy Warhol in English

NT$ 50,000-80,000 US$ 1,650-2,640 HK$ 12,900-20,600

3151

安迪．渥荷 (1928-1987) 康寶男孩速寫簽名下方： Andy Warhol 28.7×20 ㎝（ 12×7.8 in.）

Andy Warhol Campbell's Boy Sketch Signed lower: named Andy Warhol in English

NT$ 80,000-150,000 US$ 2,640-4,950 HK$ 20,600-38,700

194

3152

安迪．渥荷 (1928-1987)

Andy Warhol

AMERICA( 十幅 )

AMERICA(Ten works)

石版畫

Lithograph

封面及 3 張版畫親簽

Signed in cover and three lithographs

17.8x14 cm.（ 7×5.5 in.）

NT$ 100,000-200,000 US$ 3,300-6,600 HK$ 25,800-51,500

195

3153

貝納．畢費 (1928-1999) 馬版畫 (97/120) 簽名下方： Bernard Buffet 97/120 71x101 cm. ×2 (28x40 in.) ×2

Bernard Buffet Mon cheval Lithograph (97/120) Signed lower: named Ber nard Buffet in French and numbered 97/120

NT$ 60,000-100,000 US$ 1,980-3,300 HK$ 15,500-25,800

3154

貝納．畢費 (1928-1999) 滑稽之人版畫 (97/120) 簽名下方： Bernard Buffet 97/120 71x101 cm. ×2 (28x40 in.) ×2

Bernard Buffet L`homme et Ridicule Lithograph (97/120) Signed lower: named Ber nard Buffet in French and numbered 97/120

NT$ 60,000-100,000 US$ 1,980-3,300 HK$ 15,500-25,800

196

3155

法蘭西斯．培根 (1909-1992) 路西安．弗洛依德肖像三習作版畫 (16/50) x3 簽名下方： 16/50 Francis Bacon 43x35 cm. ×3 (16.9x13.7 in. ×3)

Francis Bacon Three Studies For Portrait of Lucian Freud Lithograph (16/50) x3 Signed lower: numbered 16/50 and named Francis Bacon in English

NT$ 350,000-450,000 US$ 11,550-14,850 HK$ 90,200-116,000

197

3156

榎本耕一 (b. 1977) 無題 2007 油彩畫布簽名畫背： 2007 Koichi Enomoto 60.5x50 cm. (24x20 in.)

Koichi Enomoto Untitled 2007 Oil on canvas Signed on the reverse: named Koichi Enomoto in English and dated 2007

NT$ 160,000-260,000 US$ 5,280-8,580 HK$ 41,200-67,000

3157

飯田桐子（b.1970）女孩油彩畫布 60×71 ㎝（ . 23.6×27.9 in.）

Idda Kiriko Girl Oil on canvas

NT$ 80,000-150,000 US$ 2,640-4,950 HK$ 20,600-38,700

198

3158

草間彌生 (b.1929) 南瓜 1992 版畫 (35/150) 簽名下方： 35/150 かぼちゃ 1992 Yayoi Kusama 16x23 cm. (6x9 in.) 出版《草間彌生全版畫 1979-2011》，東京 : 阿部株式會社出版，2011，頁 99

Yayoi Kusama Pumpkin 1992 Lithograph (35/150) Signed lower: numbered 35/150, titled Pumpkin in Japanese , dated 1992, and named Yayoi Kusama in English LITERATURE Abe corp, Yayoi Kusama prints 1979-

2011 , Tokyo, Japan, 2011, P.99.

NT$ 160,000-220,000 US$ 5,280-7,260 HK$ 41,200-56,700 3159

天野喜孝 (b.1952) 大魔王 2006 水彩紙簽名中下： Y.Amano 2006 28x19cm. (11x7.5 in.)

Yoshitaka Amano Devils 2006 Watercolor on paper Signed lower left: named Y.Amano and dated 2006

NT$ 50,000-80,000 US$ 1,650-2,640 HK$ 12,900-20,600

199

3160

劉國松(b.1932) 雪景版畫 (A.P.) 簽名右下：劉國松鈐印右下 42X85 cm.（ 17.1×33.4 in.）

Liu Kuo Sung Snow scenery Lithograph (A.P.) Signed lower right: named Liu Kuo Sung in Chinese Stamped lower right with an artist's seal

NT$ 80,000-150,000 US$ 2,640-4,950 HK$ 20,600-38,700

3161

廖修平(b.1936) 山湖竹(二) 版畫 26/30 簽名右下： 1987 Liao 43x59 cm.（ 16.9×23.2 in.）

Liao Shiou Ping Mountains Lake Bamboo (2) Lithograph (26/30) Signed lower right: dated 1987 and named Liao in Pinyin

NT$ 30,000-50,000 US$ 990-1,650 HK$ 7,700-12,900

200

91X58cm(35. 8X22. 8i n. )

3164

趙無極 (1921-2013)

Zao Wu Ki

版畫

Lithography

22x18 cm. (8.7x7.1 in.)

Stamped lower with an artist's

鈐印下方

seal

出版

LITERATURE

《 ZAO WOU KI The Graphic

Edition Heede & Moestrup,

Work： A Catalogue Raisonn

ZAO WOU KI The Graphic

1937-1995》，Edition

Work: A Catalogue Raisonné

Heede & Moestrup，哥本哈

1937-1995 ,Copenhagen,

根，丹麥，1994，頁 36，

Denmark, 1994, P.38, Plate44.

圖版 44。

NT$ 180,000-260,000 US$ 5,940-8,580 HK$ 46,400-67,000

3165

趙無極 (1921-2013)

ZAO Wou Ki

版畫 (E.A)

Lithography (E.A)

簽名背面：無極 ZAO

Signed on the reverse: named

31x23 cm. (12.2×9 in.)

WU-KI in chinese and ZAO in Pinyin

出版《 ZAO WOU KI The Graphic

LITERATURE

Work： A Catalogue Raisonn

Edition Heede & Moestrup,

1937-1995》，Edition

ZAO WOU KI The Graphic

Heede & Moestrup，哥本哈

Work: A Catalogue Raisonné

根，丹麥，1994，頁 74，

1937-1995 , Copenhagen,Den

圖版 113。

mark,1994,P.74,Plate113.

NT$ 150,000-200,000 US$ 4,950-6,600 HK$ 38,700-51,500

202

3166

趙無極 (1921-2013) 蘭花抽象彩繪瓷盤 ( 全球限量 ) 1986 水彩瓷簽名 : 無極 ZAO 86 直徑 25cm(9.8in.) 來源附趙無極為紀念 BSN 所繪製瓷盤的作品卡附註此作品為趙無極 1986 年為慶祝 BSN( 法國玻璃及食品知名企業 )，成立二十周年所繪製限量抽象蘭花瓷盤。

ZAO Wou Ki Orchid（ Limited Orchid Porcelain） NT$ 80,000-120,000 US$ 2,640-3,960 HK$ 20,600-30,900

1986 Watercolor on porcelain 1986 Signed lower: named Wou Ki in Chinese and ZAO in Pinyin, and dated 1986 PROVENANCE With a Letter of certificate

3167

趙無極 (1921-2013) 版畫 (11/30) 簽名右下：無極 ZAO 21.5×16 ㎝（ 8.4×6.2 in.）

Zao Wou Ki Lithography(11/30) Signed in lower right: named Wou Ki in Chinese and Zao in Pinyin

NT$ 150,000-200,000 US$ 4,950-6,600 HK$ 38,700-51,500 203

3168

朱德群 (1920-2014) 2000A 版畫 (14/150 ) 簽名左下 : 14/150 簽名右下 : 朱德群 CHU TEH CHUN 60x80 cm.（ 23.6×31.4 in.）

出版《龍在西方迤邐東還 - 朱德群石版畫 20002002》，台北霍克國際藝術，頁 24-25。

Chu Teh Chun Dock lithograph (14/150) Signed lower left: numbered 14/150 Signed lower right: named CHU TEHCHUN in Chinese and Pinyin LITERATURE Hoke Art, CHU TEH-CHUN The Graphic

Work 2000-2002 , Taipei, Taiwan, 2002,

NT$ 100,000-160,000 US$ 3,300-5,280 HK$ 25,800-41,200

P.24-25 3169

朱德群 (1920-2014) 2000D 石版畫 (E.A) 簽名左下 : E.A 簽名右下 : 朱德群 CHU TEH CHUN 80x60 cm（ 31.4×23.6 in.）

出版《龍在西方迤邐東還 - 朱德群石版畫 20002002》，台北霍克國際藝術，頁 30-31。

Chu Teh Chun 2000D lithograph (E.A) Signed lower left: E.A Signed lower right: named CHU TEHCHUN in Chinese and Pinyin LITERATURE Hoke Art, CHU TEH-CHUN The Graphic Work 2000-2002, Taipei, Taiwan, 2002, P.30-31.

NT$ 100,000-160,000 US$ 3,300-5,280 HK$ 25,800-41,200

3170

朱德群 (1920-2014) 版畫 (42/90) 簽名左下： 42/90 簽名右下：朱德群 CHU TEH CHUN 66.5x49.5 cm. (26x20 in.)

Chu Teh Chun Lithograph (42/90) Signed lower left: numbered 42/90 Signed lower right: named CHU TEH CHUN in Chinese and Pinyin

NT$ 150,000-200,000 US$ 4,950-6,600 HK$ 38,700-51,500

3171

蘇笑柏 (b.1949) 版畫 (14/50) 1990-1991 簽名右下： Xiaobai 簽名左下： 14/50 62.5x63 cm. (25x25 in.)

Su Xiaobai Lithograph (14/50) 1990-1991 Signed lower right: named Xiaobai in Pinyin Signed lower left: numbered 14/50

NT$ 50,000-90,000 US$ 1,650-2,970 HK$ 12,900-23,200

205

3172

蕭勤 (b.1935) 雲雲然 1962 水墨紙貼於畫布簽名右下： Hsiao Chin. 簽名右中：雲雲然鈐印右下：蕭勤 37x46 cm. (15x18 in.) 來源歐洲私人收藏

Hsiao Chin Endlessly day and night 1962 Ink on paper Signed lower right: named Hsiao Chin in Pinyin Signed lower right: titled Endlessly day and night in Chinese Stamped lower right with an artist's seal PROVENANCE Private Collection, Europe

NT$ 160,000-260,000 US$ 5,280-8,580 HK$ 41,200-67,000 3173

蕭勤 (b.1935)

Hsiao Chin

一個進入的過程

An Entering

1972

Process

石版畫 (50/75)

1972

1972(9 件 1 組 )

Lithograph (50/75)

25x25 cm. ×9

(Cover and 9pcs)

（ 9.8×9.8 in. ×9）

Signed lower:numbered

出版《蕭勤的歷程 :1953-

50/75,named Hsiao in Pinyin,Chin in

1994》，台北市立美

Chinese, and dated

術館出版，1995，

1972

頁 100。 LITERATURE Ta i p e i F i n e A r t Museum, Hsiao Chin:

The Odyssey 19531994 , Taipei, Taiwan, 1995, P.100.

NT$ 100,000-200,000 US$ 3,300-6,600 HK$ 25,800-51,500 206

3174

蕭勤 (b.1935)

a. 1962 版畫 (44/80) 簽名下方： 44/80 Hsiao 勤 62 鈐印右下：蕭勤 49x56 cm. (19x22 in.)

b. 1962 版畫 (44/80) 簽名下方： 44/80 Hsiao 勤 62 鈐印左下：蕭勤 59x49 cm. (23x19 in.)

Hsiao Chin a. 1962 a

Lithograph (44/80) Signed lower: numbered 44/80, named Hsiao in Pinyin, Chin in Chinese, and dated 1962 Stamped lower right with an artist's seal

b. 1962 Llithograph (44/80) Signed lower: numbered 44/80, named Hsiao in Pinyin, Chin in Chinese, and dated 1962 Stamped lower left with an artist's seal

NT$ 60,000-100,000 US$ 1,980-3,300 HK$ 15,500-25,800

b 207

b b

3176

3175

蕭勤 (b.1935)

Hsiao Chin

丁雄泉(1929-2010)

Walasse Ting

a. 紀念毛澤東逝世 - 白

a. Commemorate

a. 雙嬌

a. Two girls

1979

the death of Mao

版畫 (173/200)

Lithograph (173/200)

Zedong-White

簽名右下： 173/200 Ting

Signed lower right:

51.5x71 cm. (20x28 in.)

numbered 173/200

版畫 (12/99) 簽名下方： 12/99 A Riccairla Hsiao 勤 '79 48.5x69 cm. (19x27 in.)

b. 紀念毛澤東逝世 - 紅 1976 版畫 (155/250) 簽名下方： 155/250 Hsiao

1979 Lithograph (12/99) Signed lower: numbered 12/99,

b. 花鳥

A Riccairla, named Hsiao in

版畫 (63/200)

Pinyin, Chin in Chinese, and

簽名右下： 63/200 Ting

dated 1979

52x65 cm. (21x26 in.)

b. Commemorate the death of Mao

47.5x67.5 cm. (19x27 in.)

Zedong-Red 1976 Lithograph (155/250) Signed lower: numbered 155/250,named Hsiao in Pinyin, Chin in Chinese, and dated 1976

208

Pinyin

b. Flowers and birds Lithograph (63/200)

勤 '76

NT$ 60,000-100,000 US$ 1,980-3,300 HK$ 15,500-25,800

and named Ting in

NT$ 60,000-120,000 US$ 1,980-3,960 HK$ 15,500-30,900

Signed lower right: numbered 63/200 and named Ting in Pinyin

209

ARMAN, Fernandez 阿曼．費爾戴儂 (1928 - 2005) 美裔法籍。1928 年生於法國尼斯，阿曼曾就讀於尼斯國立裝飾藝術學院和巴黎羅浮學院。阿曼深受達達主義及普普藝術主義影響，創立了新現實主義，並成為在國際上舉足輕重的物體藝術家。他以「堆積」物件著名，曾受法國總統邀請創作國旗「堆積」作品放置於皇宮內。阿曼的作品被紐約大都會藝術博物館、倫敦泰特美術館和巴黎蓬皮度藝術中心等世界級美術館收藏。

Lot 3110

自 1954 年起，阿曼便在世界各地舉辦展覽，包括：1975 年「阿曼：1971-1974 年武裝物品」，巴黎；1991 年「阿曼雕塑展」，東京； 1992 年「阿曼：1955-1991 年回顧展」，紐約；1996 年「國際大師雕塑：阿曼」，台中； 2000-2001 年「阿曼：紙上作品」，科布倫茨；2001-2002「阿曼：橫越物體間」，佛羅里達州；2003 年「阿曼：阿曼」，伊朗； 2006 年「給阿曼的稱頌」，紐約；20102011 年「阿曼」，巴黎。

Arman was an American-French. He was born in 1928 in Nice, France, he studied as École Nationale des Arts Décoratifs in Nice and the École du Louvre in Paris. He was strongly influenced by Dadaism and Pop Art, and was a co-founder of Nouveau Réalisme (New Realism). He became an important international artist and is renowned for his "accumulations" of found objects. Arman was invited by the President of France to create an "accumulation" of national flags to be placed in a palace. Arman's works are in the collections of international museums such as the Metropolitan Museum of Art in New York, the Tate Gallery in London and the Centre Pompidou in Paris. S i n ce 1 9 5 4 , A r m an h ad h el d n u m er o u s exhibitions worldwide, including 1975 "Arman: Objets Armés 1971-1974", Paris; 1991 "Arman Sculpture", Tokyo; 1992 "Arman 1955-1991: Retrospective", New York; 1996 "Arman: The exhibition of International S c u l p t u r e M a s t e r " , Ta i c h u n g ; 2 0 0 0 - 2 0 0 1 " A r m a n : We r k e a u f P a p i e r " , C o b l e n z ; 2 0 0 1 - 2 0 0 2 " A r m a n : Through and Across Objects", Florida; 2006 "A T r i b u t e t o A r m a n " , N e w Yo r k a n d 2 0 1 0 - 2 0 1 1 "Arman", Paris.

Bacon, Francis 法蘭西斯·培根 (1909-1992) 培根是一位生於愛爾蘭的英國畫家。其作品以粗獷，犀利，具強烈暴力與噩夢般的圖像著稱。中後期作品主體為在狹小空間內的玻璃或金屬幾何籠子里的抽象雄性肖像，背景通常為極平坦的平面。培根於 20 年代開始繪畫，直到 30 年代初，僅有零星創作，繪畫只是他的興趣，當時他是一位室內、地毯和傢具設計師。他的突破作品是 1944 年的三聯畫《以受難為題的三張習作》，就是這一件作品和其從 40 年代末期到 60 年代初期的抽象頭部肖像和身體肖像為其本人奠定了他抽象肖像始祖級的大師地位。培根在世時是泰特美術館兩度回顧展的主角，並於 2008 年在同一間美術館得到了他第三次的回顧展。培根堅稱自己從不對其創作草圖準備，只有即興創作；可是他死後有部分草圖被大眾發現。雖然泰特美術館肯定了這些草圖的真偽及其合理性，藝術市場還未能承認這些作品。1990 年代初期，幾張被認為已經毀掉的作品，包括 50 年代初期的教宗和 60 年代的頭像重新浮現在藝術市場，這些作品同樣得到了大眾的肯定。

Lot 3155 210

Francis Bacon was an English painter who was born in Ireland. His works were crude and sharp, and famous by the force power and image of nightmare. Bacon started painting in 20’s, and until 30’s, he only had some sporadic artworks, the painting was only an interest to him. The most popular work of him is Three Studies for Figures at the Base of a Crucifixion in 1944 and the painting made him the master of abstract portrait. Before Bacon died, he was the topic of two retrospective exhibitions in Tate Britain Museum in London and had his third retrospective exhibition in 2008 in the same museum. Even Bacon insisted never do the draft sketch before he painted, only improvisation, there were still many drafts had b e e n f o u n d a f t e r h i s d e a t h . A l t h o u g h Ta t e B r i t a i n Museum had proof these drafts are authentic, the art markets are not ready to admit them.

BASTIEN,Alfred 阿弗列德．巴斯天 (1873-1955)

Lot 3045

Lot 3046

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。

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” i s s e e n a s t h e l a rg e s t E u r o p e a n e x h i b i t i o n b y t h e foreign art historians in China in the early 20th c e n t u r y. H e h a d c o a c h e d 11 s t u d e n t s o f d i ff e r e n t nationalities in the same class. And Wu Zuoren was one of the 11 students; after the war, Wu joined his t e a c h e r, B a s t i e n , a n d p a r t i c i p a t e d i n t h e c r e a t i o n of the battlefield panorama murals of 150 meters perimeter.

Lot 3047

Lot 3124

Lot 3127

Lot 3048

Lot 3125 Lot 3128

Lot 3126

Lot 3049

211

BUFFET,Bernard 貝納．畢費 (1928-1999)

Lot 3147

Lot 3153

1928 年出生於巴黎，1943 年進入巴黎國立藝術學院。1947 年於「藝術圖書書店」舉行他個人第一次個展，之後陸續在巴黎、日內瓦、紐約、哥本哈根等地展出。1948 年獲第一次格雷特獎、此年開始製作石版畫。 1955 年年僅 27 歲的畢費，被當時的《藝術知識》選為戰後最傑出的十大藝術家之首。畢費為反抽象主義中具像畫家之代表人物，瘦長的粗獷有力黑輪廓線為其風格。初期作品多為單色調，以社會寫實為主，深刻描寫戰後的哀愁、苦悶。之後開始出現少許色彩，白灰底色襯托強烈黑黃紅，張力十足，而粗線條為其特色。

In 1928, Bernard Buffet was born in Paris. In December, he entered the École Nationale Superieure des Beaux-Arts where he studied for two years. In 1947, he had his first solo exhibition at the Art Impressions book shop in Paris, and later conducted exhibitions in Paris, Geneva, New York, Copenhagen, and etc. 1948 he won the Prix de la Critique; and t h e s a m e y e a r, h e s t a r t e d t o c r e a t e i n t h e m e d i u m of lithography. In 1955, at the age of 27, he was awarded the first prize by the magazine Connaissance des arts, which named the 10 best post-war artists. Buffet was the representative artist of antiabstraction figurative art, and the thin, rough, and black outline was his personal style. His early stage artworks were mainly mono-tone and based on social realism to depict the sorrow and depression after war. Afterwards, he used white and gray background color to emphasize the strong black, yellow and red color and thick online was the main characteristic; which results the dramatic tension on the canvas.

Lot 3154

BOTERO,Fermando 波特羅 (b.1932)

Lot 3145

波特羅被譽為世界藝術家「巨匠」(maestro)。以其獨特的具象繪畫風格，在 1950 與 1960 年代當時抽象表現主義 (Abstract Expressionism) 大行其道時獨樹一格。他也被稱為是「文藝復興最後的偉大藝術家」。波特羅最讓人印象深刻的是他畫中的人物及物體都是圓圓胖胖的，這也是和他出生於南美洲的文化背景多少有點相關。波特羅的創作主要是強調「體積」，是無意識的，試圖要創造出一種濃縮的、強調的形體。肥胖圓滾只是一種視覺上的展現，是因為畫面上沒有其他東西可以替代的可能性。這種變形，就是由於他認為「巨大的東西」在感官上是刺激的，所追求的是一種「形式上的豐富飽滿」(formal fullness, abundance)。

Botero is known as the world's artists 'master' (maestro). With its unique style of figurative painting at the time when abstract expressionism (Abstract Expressionism),he is also known as "the last great Renaissance artist." Chubby objects is the most impressive figures in his paintings Botero's creation emphasize "volume" and t r y t o c r e a t e a c o n c e n t r a t e d b o d y. H e b e l i e v e s t h e deformations are stimulated, the pursuit of a "form of rich and full".

CAI Guo Qiang 蔡國強 (b.1957)

Lot 3167 212

1957 年出生於中國福建省泉州市，1985 年畢業於上海戲劇學院舞台美術系，1986 年至 1995 年旅居日本，80 年代中期開始使用火藥創作作品，目前在美國紐約居住和工作。「火藥，是中國四大發明，到了中國著名現代藝術家蔡國強手裏，火藥是一種水墨創作。蔡國強是國際矚目的現代藝術家，其跨媒介作品不僅開拓了現代藝術之新視野，同時展現「美學」與「哲學」完美結合的深湛境界。蔡國強的創作一貫表達了一種從東方哲學和現代宇宙論所引伸的形而上思索，其氣勢磅礡的大型爆破作品和裝置藝術立足國際藝壇。

Cai Guo-Qiang's practice draws on a wide variety of symbols, narratives, traditions and materials such as fengshui, Chinese medicine, shanshui paintings, science, flora and fauna, portraiture, and fireworks. H e w o n t h e 4 8 t h Ve n i c e B i e n n a l e I n t e r n a t i o n a l Golden Lion Prize and 2001 CalArts/Alpert Award. In 2008, he was subject to a large-scale mid-career retrospective, I Want To Believe, at the Solomon R. Guggenheim Museum in New York, which eventually traveled to the National Art Museum of China in Beijing and the Guggenheim Museum in Bilbao. He also gained widespread attention as the Director o f Vi s u a l a n d S p e c i a l E ff e c t s f o r t h e o p e n i n g a n d closing ceremonies of the 2008 Summer Olympics in Beijing.

CHANG Wan Chuan 張萬傳 (1909-2003)

Lot 3120

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

B o r n i n t h e T i e n s h u i , Ta i p e i C i t y. D u r i n g h i s stay in Japan, CHANG was inspired by Fauvism and afterwards developed his style into Fauvism w a y. C H A N G r e t u r n e d t o Ta i w a n i n 1 9 3 8 a n d tau g h t sev er al sch o o ls. H e w ith d r ew f r o m Taiyang Association and then co-founded MOUVE Association with CHEN Te Wang and HUNG Jui Lin i n 1 9 3 8 . I n 1 9 9 7 h e h a d s o l o e x h i b i t i o n a t Ta i p e i 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 d ev o t ed h is li f e t o t h e ar t o f p ai n t i n g , and w as an influential figure in promoting the aesthetic concepts behind Fauvism in Taiwan.

Lot 3121

Lot 3021

Lot 3025

CHANG Yi Hsiung 張義雄 (1914-2013)

Lot 3119

台灣嘉義市人。1926 年開始跟隨陳澄波學習油畫。1931 年返台入嘉義中學，來年赴日考入東京帝國美術學校 ( 今武藏野美術大學 )， 1933 年轉至京都兩洋中學，晚間至關西美術學校練習作畫，1935 年與陳澄波組「青辰美術為會」，隔年約五次投考東京美術學校失敗。持續在川端畫校進修；1948 年任教於台灣師範學降 ( 師大前身 )，1949 年先後在台陽美展獲三次首獎。省展獲美術高榮譽獎，免審查資格，1954 年與陳德旺、張萬傳、洪瑞麟、廖德政、金潤作合組『紀元美術會』。 1980 年決心永居巴黎，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，為台灣第一人獲此殊榮 ; 隔年成為巴黎秋季沙龍正式會員，1994 年台北市立美術館舉辦「張義雄八十回顧展」。 1995、1997 年皆在台中歌德舉辦個展。 1999 年台北、台中、嘉義、台南『繪畫生涯演講會』，畫冊同時出版。2004 年於國立歷史博物館舉辦九十回顧展，於台中哥德藝術中心舉辦九十回顧經典展。

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 U n i v e r s i t y, K a n s a i F i n e A r t C o l l e g e , K a w a h i t a Painting Institute and the Tokyo Fine Art institLite. Chang spent two years in Beijing after graduation b e f o r e m o v i n g b a c k t o Ta i w a n i n 1 9 4 5 . W h i l e i n 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 i n Ta i y a n g F i n e A r t E x h i b i t i o n s . I n 1 9 9 4 , t h e R e t r o s p e c t i v e E x h i b i t i o n o f C h a n g ’s w o r k . C h a n g mo ved to Japan in 1960 and subsequently to P ar is i n 1 9 8 0 w h e r e h e r e s i d e s t o t h i s d a y. H e h a s h e l d several solo exhibitions in Paris and is a regular participant of the Paris Salon.

213

CHEN Ching Jung 陳景容 (b.1934)

Lot 3137

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

CHEN Ching Jung born in Changhua. Chen followed Yo s h i o Ya n g t o s t u d y d r a w i n g a f t e r e n t e r i n g t h e National Taiwan Normal University. In 1956, Chen founded the Salon de Mai with fellow artists. After graduation, Chen decided to make further r es ear ch i n J ap an . H e r es p ect i v el y g r ad uated f r om M u s a s h i n o A r t U n i v e r s i t y ( 1 9 6 3 ) , To k y o G ak ugei U n i v e r s i t y ( 1 9 6 7 ) a n d To k y o F r e s c o P a i n t i n g s S c h o o l ( 1 9 6 7 ) . A f t e r h i s r e t u r n t o Ta i w a n , C h e n 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.

Lot 3163

CHEN Cheng Po 陳澄波 (1895 - 1947) 自台北師範學校畢業後，在家鄉曾擔任小學教員的工作。至 1923 年才赴日留學，並進入東京美術學校就讀習畫，爾後又進入研究科專攻西畫。在日求學期間，作品曾入選帝展，並於 1929 至 1933 年間居留於中國大陸，並擔任多項職位。1933 年，因台陽美術協會的籌備工作，而決定返國。1947 年遭遇「228 事件」之政治迫害，而被槍決。 Lot 3022

Lot 3103

214

After graduating from the Teaching Department of t h e Ta i p e i J a p a n e s e S c h o o l i n 1 9 1 7 , h e w o r k e d a s primary school teacher. In 1923, Chen went to Japan and studied at the Tokyo Fine Arts Institute. While he was a student, Chen's works were selected by the Imperial College of Fine Arts. Chen was sponsored by the Japanese government to study in France in 1897. Chen was in Mainland China from 1929 to 1933 and taught at several schools. After returning t o Ta i w a n . H e c o - f o u n d e d t h e Ta i y a n g F i n e A r t s Association. Chen devoted himself to painting until his death in 1947.

CHEN Jin 陳進 (1907 - 1998)

Lot 3075

生於新竹。陳家是新竹當地望族，也是書香世家。在陳進女士的畫作中，始終維持著一分優雅和悠哉的情調。1922 年入台北第三女高，在校期間繪畫才能受日籍畫家鄉原古統賞識。1925 年入日本東京女子美術學校，為台灣第一位留日女藝術家。1927 年入選第一屆「台展」，有「台展三少年」之稱，並曾獲「帝展」殊榮，是在台灣前輩畫家中，受到大眾肯定的女性畫家。並曾任台陽美協東洋畫部會員，並多次擔任各項美展評審委員。其作品構圖清麗脫俗、典雅氣質表露無遺，為畫壇中膠彩畫之先驅者。她於 1934 至 38 年間，完成原住民生活題材鉅幅作品。她一生對繪畫執著，尤其是膠彩畫，不管外界的環境如何變化，她始終未曾放下過畫筆，也從未放棄過對美的追求。

Chen Jin was born in 1907 in Hsinchu. Her family was really famous in the area and had good reputations. In 1922, she entered the third high school for girls in Taiwan and the paintings of hers w er e n o t i ced b y J ap an es e p ai n t er, G o u h a r a K otou. In 1925 Chen went to Japan to study art and she was the first female artist from Taiwan to study in Japan. She won the price of the First Taiwan Art exhibition a n d b e n a m e d a s ‘ T h r e e y o u n g p e o p l e o f Ta i w a n Art Exhibition’ in 1927 and she also honored in the Empire Exhibition. She was no doubt the female painter with the most recognition and appreciation. Her paintings were fresh and detached and had the sense of grace and classic. She was attached to paint, especially the Japanese painting, no matter how the outside world had changed, she never put down the brush nor gave up to seek the beauty of art.

Lot 3076

CHOU Yu Don 周于棟 (b.1989) 1952 年生於彰化。1972 年畢業於文化大學美術系。創作從太極道家思想來獲取精神的能量。1979 年起陸續在台中文化中心、美國文化中心、台北市立美術館、桃園文化中心、國立台灣美術館、台北國際藝術博覽會、德國波昂、美國休士頓、美國奧勒岡、美國鳳凰城、澳洲墨爾本、香港舉辦展覽。

Born in 1952,Changhua. Graduated from the Department of Fine Arts and Culture University in 1 9 7 2 . I n s p i r a t i o n f r o m Ta i j i a n d Ta o i s m , C h o u Yu D o n h e l d e x h i b i t i o n s i n Ta i c h u n g C u l t u r al C en ter, American Cultural Center, Taipei Fine Arts Museum, Taoyuan Cultural Center, National Taiwan Museum of Fine Arts, Taipei International Art Fair, Germany Bonn, the United States Houston, Oregon, Phoenix, , Australia Melbourne, Hong Kong.

Lot 3139

215

CHANN, George 陳蔭羆 (1913-1995) 廣東中山縣人，12 歲於中國完成中學後隨父親赴美。於 1934 年進入美國洛杉磯奧蒂斯藝術學院就讀，於 1940 年取得美術碩士學位，次年於洛杉磯加州藝術俱樂部舉行首次個展，而後受到洛杉磯郡立美術館館長麥堅尼的推薦於 1942 年在舊金山榮勳宮舉行個展，同年參加奧蒂斯藝術學院年度展，獲得油畫類第一名。1947-49 年返回中國，個展於廣州市文獻館及上海。1950 年返美並開始研究抽象畫，1951 年參加詹姆士．維吉維諾藝廊舉辦的「法美兩國名家小畫展」聯展，其中參展畫家包括：梵谷、雷諾瓦、夏卡爾等。於 1969-73 年期間應南加州帕撒狄納美術館之邀舉行個展，展出 50 件抽象作品。其作品被聖地牙哥博物館及美國數個市立美術館永久典藏。

Lot 3050

Lot 3051

Lot 3053

Lot 3052 Lot 3054

216

G e o r g e C H A N N w a s b o r n i n C h u n g s h a n c o u n t y, 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 o f A r t s i n L . A . H e e a r n e d h i s M . F. A . i n 1 9 4 0 , holding his first solo exhibition the following year at the California Art Club in Los Angeles. At the r e c o m m e n d a t i o n o f R o l a n d M c k i n n e y, t h e c u r a t o r 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.

CHEN Ting Shih 陳庭詩 (1915-2002)

Lot 3039

福建人。1948 年來台，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、國立台灣美術館等。

CHEN was born in Fujian, China. He lost his hearing a t e a r l y a g e , o n t h e c o n t r a r y, h e f o c u s o n h i s a r t 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 3040

Lot 3041

Lot 3042

CHEN Yang Chun 陳陽春 (b.1946) 1946 年出生於雲林縣，有「水彩畫大師」、「儒俠」、「文化大使」之美譽。父親陳輕杉、母親吳素梅，七歲時，父親請黃傳心老師教導書法開始學寫毛筆字，小學、初中代表學校參加雲林縣的校際比賽榮獲書法、水彩第一名。在十四歲的初中時期，每天上下學都會經過一家裱畫店，一放學就跑到店裡看畫，日子久了，畫師王家良先生就這樣教陳陽春習畫。陳陽春回首揚名國際心路歷程，他認為主要是靠著摸索，勇氣、堅持、努力和一點運氣，畢業於國立台灣藝術大學 ( 前國立台灣藝專 )，沉浸水彩藝術創作四十餘載，獨創「迷離夢幻」之技法，「飄逸出塵」之畫風。其貫通古今、結合中西的繪畫理論及技巧，將傳統東方抒情氣韻融入仕女及水影山光，細觀其作，情韻綿緲，淡雅悠遠，輕盈曼妙，畫面留白獨到，尤其藉著水份的流動，掌握生動的瞬間，讓觀者心閒氣定而回味無窮，並感受到作者已將藝術、宗教、思想、感情、生活融於一爐。

Lot 3084

M r. C h e n , Ya n g - C h u n w a s b o r n i n 1 9 4 6 , a n d w a s from Yunlin Hsien of Taiwan. He is having beautiful reputations such as “Master of Color Painting”, “Swordsman of Ruism”, and “Cultural Ambassdor”. Starting his character writing lesion at 7 and painting lesion at 14 years old. He has been a visiting professor in the Tennessee University of the United States, and is having the honors to include Honorary Citizen & Key of the city from Knoxville of Tennessee State in the United States, National Yunlin U n i v e r s i t y o f S c i e n c e a n d Te c h n o l o g y P a r t - Ti m e P r o f e s s o r, Q i q i h a r U n i v e r s i t y Vi s i t i n g P r o f e s s o r, T r a n s w o r l d I n s t i t u t e o f Te c h n o l o g y H o n o r a r y P r o f e s s o r, a n d N a t i o n a l Ta i w a n U n i v e r s it y o f A r ts Part-Time Professor. He is also as National Beigang Senior High School outstanding Alumnus, and 50th Anniversary of Outstanding Role Model Alumnus from National Taiwan University of Arts, moreover, h e h a s r e c e i v e d “ L i t e r a r y A r t Wo r k s Aw a r d ” f r o m Chinese Writers' & Artists' Association, been awarded with “Cultural Person in Seniority” from Council for Cultural Affairs, been awarded with “ Friend s of Diplomacy Commemorative Model “from Ministry of Foreign Affairs. 217

CHEN Yin Huei 陳銀輝 (b.1931)

Lot 3017

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。

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 t o c r e a t e a r i c h p a l l e t . Va r i e t y o f l i n e s i s a n o t h e r 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 3018

CHIANG Ming Shyan 江明賢 (b.1942)

Lot 3029

Lot 3042

218

1942 年生於台灣台中縣。1968 年畢業於台灣師範大學藝術系。2002 年到 2005 年於台灣師大美術系主任暨美術研究所所長。1997 年到 2012 年任台灣師大美術系教授。现任台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、台灣師範大學美術研究所名譽教授。從 1990 年到 2009 年出版過數本著作探討水墨畫作。台灣總統府、國立台灣美術館、台北市立美術館、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。

Born in 1942 in Taichung. In 1968, Chiang graduated f r o m D e p a r t m e n t o f F i n e A r t s , N a t i o n a l Ta i w a n 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. C h i a n g ’s w o r k s w e r e c o l l e c t b y O ff i c e o f Ta i w a n P r e s i d e n t , N a t i o n a l Ta i w a n M u s e u m o f F i n e A r t s , 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.

CHIU Bing Heng 邱秉恆 (b.1948)

Lot 3058

生於嘉義。1972 年畢業於國立臺灣師範大學美術系，畢業後曾擔任教職二十六年，期間舉辦多次個展及聯展，並榮獲 1987 年中國畫學會「金爵獎」及 2001 年「中興文藝獎」油畫獎。他的繪畫一貫以抽象風格傳達具體的東西，用一種高度抽象的表現手法，傳達出深沉具象的感覺，採取了中國文人畫的意境空間，卻大膽地運用了西方素描及抽象繪畫中的筆觸和構圖，但是筆觸卻很注意肌理的構成、速度感及色域的對比和均衡。近期作品以粉彩和油畫為主，以其特有的短勁筆觸，堆疊繽紛的色彩，幾何分割的色塊使得畫面中的風景存在著時光的流動感。

Chiu was born in Chiayi. He graduated from the N a t i o n a l Ta i w a n N o r m a l U n i v e r s i t y F i n e A r t s Department in 1972. After graduation, He served as faculty for twenty-six years. During this period, he held several solo and group exhibitions, and won the 1987 China Institute of Painting, "Jin Jue Award" and the 2001 "ZTE Literary Award" Painting Prize . In recent years, His works often use pastel and o i l p a i n t i n g s m e d i u m s . Wi t h u n i q u e f r e s h s t r o k e s short stack colors, geometric blocks of color segmentation,his works appear a sense in the scenery flow of time.

CHIU Ya Tsai 邱亞才 (1949-2013)

Lot 3062

1949 年生於台灣宜蘭，非學院派畫家，自幼對正規學業不感興趣，退伍後才開展對文字藝術的追求，以及對人性的深刻觀察。中國歷史、莎士比亞、杜斯妥也夫斯基等大師巨著的閱讀經驗，豐富其往後繪畫中的人物深度。邱亞才筆下的台灣現代文人肖像，受唐代繪畫的影響頗深，如人物的鉤狀鼻、杏眼，鵝蛋臉，身材頎長纖瘦，雌雄莫辯，主題上傾向於孤寂、憂鬱、內斂而沈靜。1980 年代他經常於台北知名文化沙龍「紫藤廬」一隅創作，以成無數畫作及小說。作品曾於台北春之藝廊、歷史博物館及省立美術館等處展出。以肖像畫著稱，藉由畫筆直嘆身埋人類理性面具下的卑微、傲慢、頹廢與脆弱，細膩優雅中洋溢著文人感懷落寞的頹靡氛圍。 2013 年辭世，享年 67 歲。

Chiu Ya Tsai was born in Ilan. He was not interested to formal education and developed his interests in l i t e r a t u r e a f t e r h e d i s c h a r g e d f r o m m i l i t a r y. H i s 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 i n N e w Yo r k . I n 1 9 8 9 , 3 0 0 Ye a r s o f F i n e A r t s – Taiwan, National Museum of History, 2004, The New M o v e m e n t o f t h e 8 0 ’s R e t r o s p e c t i v e : Z H E N G Z a i Dong, CHEN Lai Xing, CHIU Ya Tsai, Art Centre of Jingyi University.

Lot 3063

219

CHUANG Che 莊喆 (b.1934)

Lot 3055

生於北京，其父親莊嚴為已故名書法家暨前，北京故宮博物院副院長，莊喆自小培養出熱愛中國藝術興趣。1948 年遷居台灣， 1958 年畢業於國立師範大學美術系，加入五月畫會，積極參與中國繪畫現代畫運動· 1 966 年貨美國洛克斐勒基金會的贊助，赴美考察國際當代藝術之發展，後返台任教於東海大學。1973 年移居美國密西根州，於 1988 年遷居紐約，專注於抽象繪畫之創作， 1992 年應台北市立美術館邀請回國舉辦個展，也曾多次在國際展覽中出現，作品廣為國內外美術館及私人珍藏。

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 t o Ta i w a n i n 1 9 4 8 , a f t e r g r a d u a t i n g f r o m Ta i w a n National Normal University in 1958, Chuang taught a t Tu n g h a i U n i v e r s i t y. H e j o i n e d t h e F i f t h M o o n 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 Yo r k - c o n c e n t r a t e d o n h i s a b s t r a c t p a i n t i n g s , a n d 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 3056

Lot 3057

CHU Weibor 朱為白 (b.1948)

Lot 3162

220

生於南京，1949 年隨軍來台。1953 年先在廖繼春的「雲和畫室」習畫。1958 年加入「東方畫會」，以抽象繪畫之理念，探索中國人文精神價值與內心情感，畫面多受書法造形的影響，作自由心靈的表現。1960 年代，朱為白的創作突破材質的平面限制，邁入以材質構成為主的異度空間美學，此一轉變對朱為白追求哲學性的藝術表述，提供另一階段的心靈寄托。嘗試「以刀代筆」的實驗性媒材技法，運用布料、紙，以剪、貼、裱、割，在平面素材上刻畫出風格獨特的立體空間，突破二度空間的侷限，讓創作突破平面，創作出既非雕塑又似雕塑的藝術作品，在平面繪畫與雕塑間游走，超越二度進入新的三度空間，形成強烈的獨特風格。

Born in 1929, Nanjing.Chu Weibo has ever studied painting in Liao Chi Chun’s art studio. As one of the members of the Ton-Fan Group, Chu Weibor viewed the Oriental Spirit as the most important inspiration f o r h i s c r e a t i o n . T h r o u g h o u t C h u ’s a r t w o r k o v e r a period of six decades, it is apparent that the impact of facing Western art triggered his "self-consciousness", which led him to turn to an Oriental philosophy as the only way by which to shape his artistic thinking. C h u We i b o r e m p l o y e d t h e a p p r o p r i a t i o n a n d transformation of symbols and imagery as a means to convey his Oriental philosophy as a spiritual process. His art works, between painting and sculpture,from 2D to 3D,create a strong unique style.

CHU Teh Chun 朱德群 (1920-2014) 中國江蘇人。1941 年畢業於杭州藝專且留校任職，而後受聘於南京中央大學。1949 年在台北任敎於師大美術系，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、台北市立美術館等。1997 年底榮膺法蘭西研究學院藝術院士。2006 獲頒歐洲傑出人材奬。2014 年 3 月 26 日在巴黎家中逝世，享年 94 歲。 Lot 3038

Lot 3169

Lot 3099

Lot 3170

Lot 3100

Chu graduated from the National Academy of Arts in Hangzhou in 1941. He taught drawing at the Central U n i v e r s i t y i n N a n j i n g a n d t h e N a t i o n a l Ta i w a n N o r m a l U n i v e r s i t y i n Ta i p e i . I n 1 9 5 5 , C h u m o v e d t o P ar i s w h er e h e h el d n u m er o u s so l o exhibitions . In 1964, Chu was invited to show his work at the International Art Exhibition at the Carngie Institute, P i t t s b u rg h . I n 1 9 8 7 , C h u m o s t t o u r i n g e x h i b i t i o n s w a s o rg a n i z e d b y t h e F r e n c h M i n i s t r y o f C u l t u r e 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 3168

221

Fang Yan Jie 方延杰 (1926-1990) 浙江崇德人是我國著名的水彩兼油畫家，他亦擅長雕塑。抗戰時期方延杰曾向名醫沈杰先生學習醫術，由於沈杰視方君如己出，便將其原名延傑改成現名延杰，無論是醫術或繪畫皆全力傳授給方延杰。來台之後，方延杰做過許多工作其多姿多采的人生經驗更加深其繪畫作品的內涵，致使方延杰放棄優渥工作並專心致力於藝術創作，不僅繪畫對於雕塑也下功夫研究。自民國六十二年旅居美國，方延杰的藝術領域更為廣闊，其作品意涵更加豐富。其成就非凡並揚名國外獲得藝壇的肯定。

Lot 3148

Lot 3149

222

Jack Fang was born in Zhejiang in China. Fang's talent is not only watercolor but oil paintings, s c u l p t u r e a s w e l l . D u r i n g t h e p e r i o d o f w a r, h e l e a r n e d m e d i c a l s k i l l f r o m S h a n J a y, t h e f a m o u s doctor, at that time. Shan treated Jack Fang as his own child, he renamed Fang's Chinese name. In addition, Shan taught everything he got to Fang in both medical and art field. When Fang came t o Ta i w a n , F a n g ' s c h a n g e d m a n y d i f f e r e n t w o r k experiences in order to add his thought in the artworks. After that, he focused art to be an artist including paintings and sculptures. Since he settled in America, he had practiced his paintings skills. In addition, his artworks became famous and was award in overseas.

Gao Xing Jian 高行健 (b.1940)

Lot 3066

祖籍江蘇省泰州市，華裔法國劇作家、小說家、畫家、導演，1980 年代末前往歐洲，現為法國公民。因「其作品的普遍價值，刻骨銘心的洞察力和語言的豐富機智，為中文小說和藝術戲劇開闢了新的道路」而榮獲 2000 年諾貝爾文學獎，並因此成為首位獲得諾貝爾文學獎的華語作家。高行健的水墨畫融合了中國水墨意境傳統與西方抽象繪畫，呈現現代主義美學和當代人的實存狀況之中的情狀。以水墨與圖像的層次變化，來呈現心象與境界，創生意與境的互動，渾化宇宙。以無為靜觀的內心來呈現一迴環遊動的圖像，在綿延不斷的差異化活動之中，開啟了文人畫的新意境。

G a o X i n g J i a n ' s o r i g i n a l h o m e t o w n i s Ta i z h o u , Jiangsu, China. Gao has been a French citizen since 1998. In 1992, he was awarded the Chevalier de l'Ordre des Arts et des Lettres by the French government. In 2000,he was awarded the Nobel Prize for Literature. In addition to his writing, Gao Xing Jian is a painter. His early paintings express a stubbornly pervasive threat made by the dark masses, but they claim the ultimate victory of clarity, as a therapy to end China's traumatic childhood.

HO Chau Chu 何肇衢 (b.1931)

Lot 3138

台灣新竹人。自幼即對繪畫感興趣。1952 年省立台北師範學校藝術科畢業，專任美術教師，公洽之餘，勤於繪畫，未曾間斷，奠定深厚繪畫根基。任中華民國油畫學會常務理事、台陽美術協會、中國畫學會、中國美術協會會員。獲省展前 3 名有 8 次，1971 年法國坎城第 6 屆國際展國家榮譽獎、1982 年東京亞細亞現代美術展國際獎、1984 年中山文藝基金會油畫創作獎等。曾舉行數十次個展。2001 年巴黎台北新聞文化中心展出其歷年油畫創作。

I n 1 9 3 1 , H O w a s b o r n i n H s i n c h u . H i s early w ork was in realism impression that presented concrete scenery. After the early stage, his painting tends to be abstract, and began to emphasize on shape and color expression as an evolution. He works reflect Taiwan's painting evolution since 1930 His paintings mostly describe the ordinary landscape scenery due to his childhood memories in the village. He was the m e m b e r o f Ta i Ya n g F i n e A r t A s s o c i a t i o n , a n d h e spared no efforts in promoting fine arts.

HO Huai Shuo 何懷碩 (b.1941)

Lot 3034

1941 年生，台灣師範大學美術系畢業，現任台灣師範大學美術系及研究所教授，其繪畫作品在歐美、中港臺展出多次，廣為中外美術界所知曉。創作構思多年來自內心的冥想，展示超越現實之心象造鏡，營造鬱勃、深沉、幽邈之氣氛與境界。出版多部繪畫作品集，著述有《懷碩三話》、《苦澀的美感》、《繪畫獨白》、《何懷碩文集》等 20 部。

Born in 1941, graduated from the Art Department of National Taiwan Normal Universit,currently teaching a t Ta i w a n N o r m a l U n i v e r s i t y, D e p a r t m e n t o f F i n e Arts. His creative ideas from the heart of meditation for many years,the works present a deep, quiet atmosphere .Published many paintings collection, writings.

Lot 3035 223

HSIAO Chin 蕭勤 (b.1935)

Lot 3093

1935 年出生於中國上海，1954 年畢業於台灣省立台北師範學校藝術科，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、台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 1 9 5 6 a n d l a t e r i m m i g r a t e d t o I t a l y. F u r t h e r m o r e , 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 i n I t a l y, S p a i n , H o l l a n d , R u s s i a , a n d Ta ipei. 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 3094

Lot 3095

Lot 3096

Lot 3175

Lot 3173

Lot 3174

Lot 3097

224

HUANG Gang 黃鋼 (b.1961) 中國北京人，畢業於中央工藝美術學院。八十年代，黃鋼對於西藏文化、宗教等產生興趣，便開始研究其背景。之後便創作西藏文字系列作品，以一種前所未有的創作手法。黃鋼的藝術品在世界各地多次展覽，亦在德國、法國、瑞士等國家舉辦過個人展覽。獲得不同國家不同文化背景的認同。

Lot 3071

Born in Beijing. Huang graduated from the Central Industrial Art Institute. During the 80’ s, Huang began interested to the culture, religion, and art of Ti b e t . H u a n g s t u d i e d b a c k g r o u n d o f Ti b et culture. He created the Tibet writing series work afterwards, but he used an unique artistic way to carry on the creation. Huang’ s work had exhibited many times in world. His solo exhibition was held in Germany, France, and Switzerland and obtained an enormous success.

HUNG Rui Lin 洪瑞麟 (1912-1996)

Lot 3085

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。

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 3123

WAY, John 魏樂唐 (1921-2012) 中國上海人。1937 年即於上海畫廊展出，從 1951 年開始連五年入選香港美術協會年展。 1956 年移居美國，魏樂唐作品將中國書法的活力移至現代藝術的形式中，為當代華人藝術家中最早專研抽象繪畫者之一。1960 年起曾在波士頓舉行多項展覽，包括 1960 年在納斯畫廊、1968 年在麻省學院藝術館之個展。1965 年與西方當代大師哈同、帕洛克、丁格利等參加波士頓現代美術館之「不用畫筆的畫作」聯展，1985 年入選法國「國際沙龍展」，1998 年獲義大利藝術學院頒贈最高榮譽教授頭銜，其作品為美國史丹佛美術館及舊金山美術館等典藏。

Lot 3009

Wa y w a s b o r n i n S h a n g h a i C h i n a . H e s t a r t e d t o hold his own exhibitions in Shanghai since 1937. F r om 19 5 1 his w o rk s hav e been selected to attend at the Hong Kong Art Club Annual Exhibition for f i v e c o n s e c u t i v e y e a r s . WAY w a s o n e o f t h e e a r l y contemporary Chinese artists who specialize in abstract painting and bring up vitality of Chinese calligraphy in the form of modern art. Throughout the 1960s WAY had held many solo shows in Boston, including the one in Nexus Gallery in 1960 and the other in MIT’s Art Museum in 1968. In 1965, WAY was invited to show his painting with renowned artists Hans Hartung, Jackson Pollack, and Jean Tin g u ely in a jo in t ex h ib itio n “P ain tin g Without a Brush” held by the Boston Fine Arts Museum. He was selected for "International Art Salon" in France in 1985. In 1998, he was honored with the highest title by the Accademiadel Verbano in Italy. His works are in the collections of both the Stanford University Art Museum and the San Francisco Art Museum. 225

HUANG Jyi 黃楫 (b.1953)

Lot 3061

1953 年出生於雲林，1974 年國立藝專美術科畢業並獲得第七屆全國美展油畫類第一名。1980 年參展國立歷史博物館中日交流展；1982 年應日本關西美協邀請在上野、京都等美術館展覽；1984 年台北市立美術館「新展望展」；台北蔚茵藝術中心「反省與超越」聯展；1987 台北愛力根畫廊個展； 1988 年台灣省立美術館開館展；1989 年法國巴黎高等美術學院展出；1992 年台中新展望畫廊「與潛意識密談」聯展、韓國漢城藝術家會議國際交流展；1993 年參展台中畫廊博覽會；1994 年台北愛力根畫廊「琴瑟之繪」專題展；1995 年台中臻品藝術中心「台灣傳奇：1980-1995 現代繪畫在台灣」；1996 年參展台北市立美術館「一九九六雙年展：台灣藝術主體性 - 當代議題：情慾與權力」。曾國立藝專教師及廣告公司設計師。在他的作品中表現出描寫能力與神秘氣氛的追求，並帶有超現實史詩的內涵，在現實與夢境間充滿多層時空交替的藝術風格。

Born in Yunlin,1953. In 1974, he won First prize of t h e S ev en t h N at i o n al A r t E x h i b i t i o n , h e gr aduated the National Taiwan Academy of the Arts. In 1982, he invited by Japan Kansai Art Association to Have Exhibition at Museums in Ueno and Kyoto in Japan. I n 1 9 8 4 , ” C o n t e m p o r a r y Tr e n d s i n C h i n e s e A r t ” Ta i p e i F i n e A r t s M u s e u m s , Ta i w a n . “ R e f l e c t i o n & H o p e ” G a l e r i e Wi e n , Ta i p e i . I n 1 9 8 7 , T h e f i r s t solo Exhibition, Galerie Elegance, Taipei. In 1988, h e j o i n e d T h e o p e n i n g E x h i b i t i o n o f t h e Ta i w a n P r o v i n c i a l F i n e A r t s M u s e u m . I n 1 9 8 9 , Ex h ib itio n ar the Higher Academy of Arts in Pairs, France. I n 1 9 9 2 , “ C o n v e r s a t i o n w i t h Yo u r I n n e r S e l f ” , N e w Tr e n d s G a l l e r y, Ta i c h u n g . “ I n t e r n a t i o n a l A r t Exchange Exhibition” Seoul, Korea. In 1993, “Art G a l l e r i e s F a i r R . O . C . 1 9 9 3 ” Ta i c h u n g , Ta i w a n . I n 1994,” Erotic Paintings” Galerie Elegance, Taipei. In 1995,”TAIWAN LEGEND-Contemporary Painting in Taiwan” Galerie Pierre, Taichung. In 1996,”1996 Biennial: Quest for Identity- Sexual and Power”, Taipei Fine Arts Museum, Taipei. HWANG’s works present high depiction and mysterious atmosphere, and contain surreal epic sense. In general, Huang Jyi’s artistic style is intertwined between reality and dreams.

HUANG Ming Chang 黃銘昌 (b.1952)

Lot 3122

226

畢業於中國文化大學美術系，1977 年赴法國，並進入國立高等巴黎美術學院深造。 1984 年畢業獲高等油畫文憑，同時作品被巴黎市政府文化部收藏。留法期間，其作品多次參加重要聯展：如 1979 年的「法國秋季沙龍展」，1980、1982 年的「紅山（Montrouge）沙龍展」，1983 年巴黎大皇宮「國際當代藝術展 FIAC」等。1985 年返國定居，任教於國立藝術學院，並於 1985 年及 1991 年舉辦個展。黃氏曾於 1978 年獲得第三屆雄獅新人獎，擅長以細緻的筆法描繪鄉間田野景象，深受藝評及美術館和海內外私人藏家的喜愛。是台灣 90 年代接續鄉土寫實詩情，而又賦以大格局式觀照的畫家，一貫保持了藝術本質的純粹性。於 2000 年應邀參加北京、上海「20 世紀中國油畫展」及 2001 年台北、台中「台灣美術百年展」，作品經常在歐、美、加等地展出。 2010 年作品參加北京《改造歷史：20002009 年的中國新藝術》大展及兩岸繪畫界聯合舉辦的《百年華人繪畫大觀》世界巡迴大展。2010 年台灣當代現代美術展、韓國慶南道立美術館。

HUANG graduated from the Fine Art Department at the Chinese Culture University. In 1977, he went to France to continue his study at the CEcole National Suprieure in Paris, from which he received a diploma i n o i l p a i n t i n g i n 1 9 8 4 . I n t h e s a m e y e a r, o n e o f h i s p ai n t i n g s w as acq u i r ed b y t h e C u l t u r al A ff air s Division of the City Hall of Paris. He participated in many Exhibition Salons while in Paris, and upon h i s r e t u r n t o Ta i w a n i n 1 9 8 5 b e c a m e a n ins tructor in the National Institute of Art. In 1985 and 1991, he participated in the Exhibitions of the 25th and 27th Montrouge Salon in France, and in 1990, in the Three Hundred Years of Taiwan Art exhibition at the National Museum of Art in Taichung. HUANG prefers countryside scenery and specializes in meticulously detailed landscapes. He participated in the Exhibition of 20th Century Chinese Painting shown at the Beijing and Shanghai Art Museum, as well as A Hundred Years of Taiwan Art at the National Museum of Art in Taichung in 2001. Huang was awarded the 3rd Lion New Artist Award in 1978, and his works are in the permanent collection of the Paris City Government Cultural Affairs Department, the Taipei N a t i o n a l M u s e u m o f A r t a n d t h e Ta i w a n M u s e u m o f A r t i n Ta i c h u n g . H e a t t e n d e d R E S H A P I N G H I S TO RY- C h i n a Yo u t h N e w A r t i n B e i j i n g a n d A Century of Chinese Paintings World Tour Exhibition, Taiwanese contemporary modern art fair and Korean Gyeongnam Art Museum in 2010.

JIANG Shuo 蔣朔 (b.1958) 北京人。1985 年畢業於中央工藝美院裝飾雕塑系研究所（現清華大學美術學院），後任教於工藝美術學院。1989 年移居奧地利，設立工作室並加入奧地利職業藝術家協會。 1993 年獲取奧地利國籍。曾參加 2002 年奧地利首屆國際當代藝術雙年展、2003 年美國紐約亞洲藝術博覽會。2006 年設立北京工作室，生活和工作於北京和奧地利兩地。

Born in 1958,Beijing. Graduated from the Central Academy of Fine Arts Department of decorative s c u l p t u r e I n s t i t u t e ( Ts i n g h u a U n i v e r s i t y n o w ) in 1985, after graduation, Jiang Shuo teached at the Academy of Fine Arts.In 1989,she moved to Austria and set up a studio.In 1993, he got Austrian n a t i o n a l i t y. E x h i b i t e d A u s t r i a F i r s t I n t e r n a t i o n a l Biennial of Contemporary Art 2002, New York Asian Art Fair 2003.Since 2006,she set up a studio in Beijing, live and work in Beijing and Austria.

Lot 3113

KINICHIRO Ishikawa 石川欽一郎 (1871-1945)

Lot 3072

石川欽一郎為公認對台灣美術步入近代史的啟蒙最具貢獻的藝術家。先後兩度來台灣共居留 19 年奠定其在台灣美術史「導師」的地位，積極扶植日治時期的「台灣水彩畫會」、「西洋畫研究會」和「台灣繪畫研究會」促進台灣西洋畫的啟蒙，撒播繪畫的種子。陳澄波、廖繼春、李澤藩、李梅樹、張萬傳等台灣前輩藝術家均出自石川欽一郎的門下。

Kinichiro Ishikawa was born in Shizuoka, Japan. He came to Taiwan for educational purpose various times, and is recognized as the torchbearer of modern Ta i w a n e s e We s t e r n a r t . H e w a s o n e o f t h e m o s t r e m a r k a b l e J a p a n e s e a r t i s t s i n Ta i w a n a t w e s t e r n art history field. Some of his pupils became to the extraordinary artist such as Li Mei-Shu, Li ShihChial, Lee Taz-Fan, and Chang Wan-Chuan.

Lot 3073

KIRIKO Idda 飯田桐子 (b.1970) 飯田桐子，1970 年出生於日本北海道，1991 年畢業於北海道造形設計學校。曾舉辦個展「平台工作室」 (2004，東京）、「藝術饗宴」 (2006, 東京）；以及參加多項聯展「藝術家聯展」 (2007，名古屋，日本）、「台北藝術博覽會」 (2008，台北）、「大阪藝術博覽會」 (2008, 大阪）、「東京新當代藝術博覽會」 (2008，東京）。 Lot 3157

Born in 1970 in Hokkaido, Japan, IIDA Kiriko graduated from the Hokkaido Institute of Design in 1991. Her works have been shown in solo exhibitions "Platform Studio" (2004, Tokyo); "Art Dish" (2006, To k y o ) ; a n d g r o u p e x h i b i t i o n s i n " P i c k u p A r t i s t s Exhibition" (2007, Nagoya, Japan); "Art Taipei 2008" (2008, Taipei) ; "Art Osaka" (2008, Osaka);"Tokyo Contemporary Art Fair 2008" (2008, Tokyo).

227

JU Ming 朱銘 (b.1938)

Lot 3013

Lot 3107

Lot 3108

Lot 3109

228

朱銘生於苗栗縣通霄鎮。本名朱川泰，童年時小名「九二」。上有五兄姐，為家中老么，家境貧寒。1953 年在父親帶領下，到通霄鎮上的媽祖廟向雕刻師傅李金川拜師，1955 年出師，1956 年北上到基隆的佛具店工作。 1968 年拜雕塑家楊英風為師。早期以鄉土主題，如《牛》、《牧童》等雕刻出名，近期則以融合了中國哲學如《太極》等的現代雕刻名作。1976 年在國立歷史博物館舉辦個展，廣受藝術界的重視。同年，獲選台灣十大青年，又獲國家文藝獎章。1978 年，朱銘在日本東京中央美術館展出，作品《單鞭下勢》被日本雕刻之森美術館收藏。1981 年，獨自一人到美國紐約市學習，這一年後，所創作的《人間》系列作品，成為他生涯中最受讚譽的經典代表。1989 年，他與建築師貝聿銘合作，在香港中國銀行大廈前使用青銅為材質，創作《和諧共處》的人間系列作品，位於大樓入口大門的左側。1999 年，朱銘在台北縣金山鄉西勢湖成立朱銘美術館，收藏許多現代雕塑作品。2000 年，花了幾十年規劃成立的朱銘美術館，獲得日本東京創新大獎 Tokyo Creation Award 海外獎。 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 l ear n i n g w i t h t h e f am o u s cr af t sm an f o r tw o year s , L I J i n C h u a n , a t M a z h u m i a o i n To n g x i a o To w n , where he studied wood carving. The following year, he secured gainful employment in a shop that dealt i n B u d d h i s t To o l s , i n K e e l u n g . I n 1 9 6 8 h e b e g a n h i s l e a r n i n g u n d e r YA N G Yi n g F e n g . E a r l y i n h i s 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 i n t e g r a t e t h e p h i l o s o p h y o f Ta i j i . I n 1 9 7 6 , h e w a s 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 t h e To k y o C e n t r a l M u s e u m o f A r t i n 1 9 7 8 a n d h i s 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.

KOICHI Enomoto 榎本耕一 (b.1977) 1977 年出生於大阪。畢業於金澤市工藝美術大學碩士。曾參加 2006 年「After The Reality」(Deitch Projects、NY)、2006 年「福武ハウス in 越後妻有アートトリエンナーレ 2006」( 新潟 ) 、2008 年「ECHO」（ZAIM、神奈川縣）、2011 年「カウボーイとフォトン」(Capsule、東京 ) 等展覽。

Born in 1977, Odai Osaka Japan. Graduated from Kanazawa College of Art. Selected exhibitions"After The Reality" 2006 (Deitch Projects,NY), "Fukutake House in Echigo Tsumari Art Triennial 2006" 2006 (Niigata), "Echo" 2008 (ZAIM, Kanagawa Agata), and "Cowboy photon " 2011(Capsule, Tokyo).

Lot 3156

KOONS Jeff 傑夫•昆斯 (b.1955)

Lot 3146

傑夫•昆斯，美國藝術家，1955 年出生於美國賓夕法尼亞州，其作品往往由極其單調的東西堆砌而成，例如不鏽鋼骨架、鏡面加工過的氣球獸，常常染以明亮的色彩。傑夫• 昆斯用現成物的俗艷美感取代歐洲傳統的貴族華麗，他取法王路易十四為華貴典範，卻尋求品味的俗世化，藉以代表美國文化與歐洲切斷臍帶、顛覆高尚與大眾文化之區別。

Jeff Koons was born January 21, 1955) is an American artist known for his reproductions of banal objects—such as balloon animals produced in stainless steel with mirror-finish surfaces. He lives and works in both New York City and his hometown of York, Pennsylvania. His works have sold for substantial sums of money, including at least one world record auction price for a work by a living artist. On November 12, 2013, K o o n s ’s B a l l o o n D o g ( O r a n g e ) s o l d a t C h r i s t i e ' s P o s t - Wa r a n d C o n t e m p o r a r y A r t E v e n i n g S a l e i n New York City for $58.4 million, above its high $55 million estimate, becoming the most expensive work by a living artist sold at auction. The price topped K o o n s ’s p r e v i o u s r e c o r d o f $ 3 3 . 7 m i l l i o n a n d t h e record for the most expensive living artist.

KUSAMA Yayoi 草間彌生 (b.1929)

Lot 3158

草間彌生被稱為日本現存的經典藝術家，出生於日本長野縣松本市，在 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。

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 O l d e n b u rg a n d J a s p e r J o h n s t o g e t h e r. S h e l i v e s i n 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 viv idness of life. In 1966 her decorating w ork “Endless Mirror Room” reveals the endless and the uncontrollable of life. 229

KUO Jen Chang 郭振昌 (b.1949)

Lot 3008

畢業於台北文化大學美術系，曾在李仲生畫室習畫。1947 年至 1979 年間曾獲美國亞洲基金會贊助，全心投入台灣民俗藝術的研究，並實際參與民間藝術田野調查工作。作品自 70 年代起便受普普藝術影響，乃至 80 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 90 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 C h i n e s e C u l t u r e U n i v e r s i t y, a n d s t u d i e d u n d e r L I Zhong Sheng. From 1947 to 1979 he received backing from the US Asia Foundation, involving himself in r e s e a r c h i n t o Ta i w a n e s e f o l k a r t , a n d h e h a s a l s o 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.

Lot 3009

LEE Jung Woong 李錠雄 (b.1963)

Lot 3070

1963 年生於韓國，分別在 1985、1992、 1993 年獲得韓國美術展特選，至今已舉行逾 20 次個展。連續五年參與上海藝術博覽會及法國 Start 展、西班牙 ARCO 展、日本 NICAF 展等，在國際藝術界享有極高的聲譽。「毛筆系列」畫作為其奠定國際聲譽之代表作。

Born in Korea in 1963, he has awarded special awards for Korea Art Exhibition in the year of 1985, 1992 and 1993, and has so far held over twenty solo exhibitions in Korea. In addition to participating in the Shanghai Art Fair three years in a row, Lee also took part in the “Start 2005” Art Fair in France, ARCO Art Fair in Spain, which made him a high reputation artist in the international Art world. LEE made a name for himself internationally with his series of hyper and photo-realistic “Brush” Paintings.

LEE Shi Chi 李錫奇 (b.1938) 1938 年出生於金門古寧頭北山村，1955 年保送入台北師範學校藝術科，1958 年組織「現代版畫會」，1963 年正式加入「東方畫會」為會員，並成為該會中後期重要成員之一。1959 年開始參加國際性大展，並多次獲得國際性藝術大獎。是一位嗅覺靈敏的藝術家，深具生活性，且善於運用這稟賦，故經常被稱為畫壇變調鳥。 Lot 3070

230

Lee, Shi-Chi was born in 1938 in Pei-shan Village, Ku Ling-to, Kinmen. He was sent to the arts d e p a r t m e n t o f Ta i w a n N o r m a l C o l l e g e i n 1 9 5 5 . I n 1958, he organized the“Modern Print Association.” He began to participate in international exhibitions in 1959. He first joined the “Painting Association of the East” in 1963, going on to become one of its most important members. Lee is an artist with a keen appreciation of life. This has been a major aspect of his talent, and has earned him the label “Bird of Artistic Variations.”

LEE Shih Chiao 李石樵 (1908-1995)

Lot 3117

台北縣新莊人。1922 年讀台北師範學校，受教石川欽一郎，1927 年入選台展後持續入選，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 年第七屆台展西畫科特選並獲大阪朝日新聞社設置的朝日賞，1935 年東美畢業後續留日本。1936 年台陽展《橫臥裸女》被禁展出，1941 年為首位獲得官辦文展「免審查」資格的台籍畫家。1958 年在台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。

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 S c h o o l o f F i n e A r t s . A t t h e To k y o S c h o o l o f F i n e 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 f i r st Tai w an ese w h o h ad ev er ach i ev ed 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 a r t g r o u p c o n s i s t i n g m a i n l y o f Ta i w a n e s e p a i n t e r s founded in 1934. Lee accepted the appointment a s f u l l p r o f e s s o r a t t h e N a t i o n a l Ta i w a n N o r m a l University in 1960, and improved his financial improvement. Since Lee retired from the National Ta i w a n N o r m a l U n i v e r s i t y i n 1 9 7 4 , L e e c a p t u r e d the blossoms and flowers in an effortless manner, as seen in Cherry Blossoms of 1968 and Rose Garden of 1988.

1982 年出生於北京。2006 年畢業於中央美術學院壁畫系，自 2006 年以來，多次在北京、上海、臺北、新加坡、倫敦等地舉辦個人展覽，並曾獲得瑞士巴塞爾“明日之星”，巴黎皮爾卡丹藝術中心“ 最佳國外藝術家 ” 等獎項。李博涉足視覺、聽覺和文學創作等多個領域。

Born in Beijing in 1982. Graduated from the Central A cad emy o f F in e Mu r al D ep ar tmen t in 2006.S ince 2006, he has held several solo exhibitions in Beijing, Shanghai, Taipei, Singapore, London …etc, and won in Basel, Switzerland, "New Star"award, Paris Pierre Cardin art Center "Best Foreign Artist" award. Lee involved in a number of domain of visual, auditory and literary creation.

LI Bo 李博 (b.1938)

Lot 3136

LEE Tze Fang 李澤藩 (1907-1989) 1907 年生於新竹。畢業於台北師範專科學校，隨石川欽一郎習畫。1929 年作品「日落」獲得台灣水彩學會頒獎而首次受到矚目。1 930 年赴日深造，回台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 82 歲。

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" w a s h o n o r e d b y Ta i w a n Wa t e r c o l o r P a i n t i n g 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.

Lot 3020 231

LIAO Chi Chun 廖繼春 (1902-1976)

Lot 3078

廖繼春 1902 年出身於台中豐原附近農耕家庭，父母早亡，家境清寒。1918 年入台北師範學校，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。行前先到台北入田村畫室練習素描。 1924 年 3 月下旬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台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 月台展第 1 回開幕，他以「靜物」獲得特選，次年再以「芭蕉之庭」入選第 8 回東京帝展，就此奠定他在台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 50 多年，教育英才無數。

Lot 3079

Lot 3080

LIAO Chi Chun was born in 1902 in Fenguan, Ta i c h u n g . L I A O g r a d u a t e d f r o m Ta i w a n t e r r i t o r i a l Japanese school .In 1992,he graduated from national Ta i w a n N o r m a l U n i v e r s i t y. I n 1 9 2 4 L I A O e n t e r e d Tokyo fine art institute. After his graduation, he cofounded 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.

Lot 3081

LIAO Shiou Ping 廖修平 (b.1936)

Lot 3161

232

1936 年生於台北。1959 年畢業於國立台灣師範大學美術系。1964 年日本國立東京教育大學繪畫研究科畢業。1965-1968 年旅居巴黎，進入法國國立巴黎美術學院油畫教室。在台灣提倡現代版畫，任教於台灣師大、台北市立教育大學、國立台北藝術大學造形所、台灣藝術大學版畫研究所。

Born in 1936 ,Taipei. Graduated from the National Taiwan Normal University Fine Arts Department in 1 9 5 9 a n d To k y o N a t i o n a l U n i v e r s i t y o f E d u c a t i o n in 1964. 1965-1968 lived in Paris, in the French National School of Fine Arts in Paris painting classrooms.He promote modern prints, taught a t Ta i w a n N o r m a l U n i v e r s i t y, Ta i p e i M u n i c i p a l University of Education, Taipei National University of the Arts,National Taiwan University of Arts.

LIN Feng Mian 林風眠 (1900-1991)

Lot 3098

廣東梅縣人，1918 年參加政府赴法勤工儉學。分別在第戎藝術學校研習西洋畫，後轉入巴黎高等美術學校深造。林氏在學校所受的教育是學院派的，但在校外深受當時流行的現代流派影響，如後印象主義，野獸主義及原始主義。他們的影響表現於林氏中西結合的畫風之中，其作品曾入選法國秋季沙龍。林氏於 1925 年返國，被聘任為北平國立藝專校長。後受蔡元培之邀赴杭州藝專任校長。該校成為鼓吹新藝術運動的大本營。林氏亦經常撰文宣傳他本人中西合併的藝術創作經驗和理論。林氏於 1977 年移居香港後，仍孜孜不倦地從事藝術創作直至晚年。是享有國際聲望及地位的中國畫家之一。

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’ E c o l e N a t i o n a l S u p e r i e u r e i n P a r i s a n d in D ijon t o l ear n West er n d r aw i n g an d p ai n t i n g t echniques . 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).

LIN Yu Shan 林玉山 (1907-2004)

Lot 3074

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。返台後除致力於推廣台灣美術運動外，並潛修經學詩文，認為「作畫必求詩意」，可「藉物與志」、「藉畫述志」。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。

L i n Yu S h a n w a s b o r n i n 1 9 0 7 i n C h i a y i . B e c a u s e 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.

233

LIN Chih Chu 林之助 (1917-2008)

Lot 3077

台中縣大雅人，1928 年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 年返台，1942 年連續二年獲第 5、6 屆府展總督獎，1945 年定居台中市，1946 年受聘台中師專任教，任全省美展評審委員（連任 34 年）,1954 年創立中部美術協會，當選理事長（連任 34 年）,1963 年受聘台北實踐家專教授， 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 國際美協台灣本部長，1981 年省立台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 年台中市文英館舉辦 70 回顧展，1989 年獲中縣十大資深藝術家「金穗獎」，1990 年全省膠彩台北哥德藝術中心每年展出，1997 年省美館 80 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 w i t h L e i s u r e . I n t h e s a m e y e a r, h e s i g n e d u p f o r 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. T h e f o l l o w i n g y e a r s , h e o rg a n i z e d t h e 1 s t C h i n a 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).

LIU KUO SUNG 劉國松 (b.1932)

Lot 3130

Lot 3129

Lot 3160 234

祖籍山東青州，1949 年定居台灣。14 歲開始學習傳統國畫，20 歲改習西畫。1956 年台灣師範大學畢業後，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 180 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。

Native of Qingzhou, Shangdong, LIU Kuo Sung m o v e d t o Ta i w a n i n 1 9 4 9 . H e b e g a n t o l e a r n traditional Chinese painting when he was 14, and s w i t c h e d t o We s t e r n p a i n t i n g w h e n h e w a s 2 0 . 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 t o i m i t a t e We s t e r n a n d p u r s u e We s t e r n a r t t h e o r y 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. T h e , h e p i c k e d u p w a t e r- i n k t h e m e d i a o f C h in es e 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 3031

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 年來台，自修繪畫，1951 年舉行首次個人水彩畫展，1962 年獲得中國畫學會第一屆水彩畫家金爵獎。曾多次前往中南美、波羅州、菲律賓、越南等地採集原始文化資料，對原始藝術研究深具心得，著有《現代藝術研究基本理論》、《水彩技巧與創作》及《台灣土著文化藝術》等書。早期作品多為風景寫生與人物畫，其後，台灣山胞傳統祭禮、服飾、建築成了繪畫的靈感與題材。及至烽火漫天的中南半島，除了淡彩風景寫生的作品外，並完成造型樸拙、色彩神祕的「中南半島一頁史詩」作品。返台後，創作題材愈廣，或以精簡的形象、線條與色彩表達，或以抽象聯想將主題形象化，作品面貌呈現多樣性與思考性。早期作品多以英文簽名和西元紀年：其後則與眾不同地，多以注音符號簽名和中國數碼記載時間，其作品更具趣味。1990 年於台灣省立美術館舉行八十回顧展。

Lot 3032

Lot 3033

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 wellexperienced and knowledgeable with the aboriginal art researching and had been to Central America and South East Asia to collect the art resource and published “The Theory of Modern Painting”, “ Wa t e r c o l o r Te c h n i q u e s a n d C o m p o s i t i o n s ” a n d “Aboriginal Art and Culture in Taiwan”. Landscape and portrait appealed in his early works and later he was inspired by traditional aboriginal ceremony, clothes and architecture. In addition to pastel landscape painting of the works, he completed "An epic of Indochina" with simple but mysterious colors. After returning to Taiwan, the subject of his work is more extensive. He streamlined the image, lines and color expression, and to visualize the abstract theme into concrete image and giving the work diversity and humanity. His signature of early works were in English and AD Chronicles but later mostly with phonetic symbols and Chinese number to record the time with more fun and humor. In 1990 he held a n r e v i e w e x h i b i t i o n o f 8 0 t h i n N a t i o n a l Ta i w a n Museum of Fine Arts.

Lot 3087

Lot 3086 235

LIU Chih Siang 劉啟祥 (1910-1998) 劉啟祥是早期台灣畫家中，最具有西方文化涵養的藝術家之一，有著仕紳家庭的背景，留學日、法的經歷，他的畫如其人流露出來的盡是雅致沉寂的意境。作品構圖簡潔，常使用黃、綠色調及簡單的形體畫出大自然的寧靜世界。

Lot 3118

In the early stages of the artists, Liu Chih Siang is the one who has the most western background and a well family background. He studied aboard in Japan and France. His paintings, like himself ,express a classic and quiet atmosphere,with simple and clear c o m p o s i t i o n a n d s h o w s L i u ' s u n i q u e p e r s o n a l i t y. H e u s e s y e l l o w, g r e e n a n d s i m p l e c o l o r s t o d r a w the landscape and bring the views into a quiet atmosphere of the nature.

NG Po Wan 伍步雲 (1905-2001)

Lot 3027

Lot 3028

236

伍步雲於 1904 年出生廣東臺山，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 30 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 60 至 70 年代作品。在 60 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, w a t e r c o l o r, o i l p a i n t i n g t e c h n i q u e s h o n e d r e a l 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 L ak e an d o t h er p l aces f o r p ai n t i n g tr ips . N G P o Wa n f r o m 3 0 y e a r s s i n c e t h e c r e a t i o n d a t e , 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 r i v e r s a n d m o u n t a i n s , p r i s t i n e s c e n e r y, s u c h a s 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 a n d p a i n t i n g , a n d g r a d u a l l y h e l i k e s p a in ting w ith We s t e r n w a y s , t h e p e r f o r m a n c e o f C h i n e s e i n k 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.

PENG Kuang Chun 彭光均 (b.1961) 1961 生於新竹竹東，1990 年，國立藝術學院畢業。參展及獲獎：1992 年“第四屆臺北縣美展 ”，雕塑類第一名；” 第十三屆全國美展”，雕塑類第一名；“第四十七屆省展”，雕塑類優勝。 1993 年“ 第五屆台北縣美展”，台北；1994 年”臺北市美展”，雕塑類首獎；“畫廊博覽會”，台北：”得意忘形” 個展，杜象藝術空間，高雄。 1995 年“現代雕塑五行一金木水火土之Ⅲ " ．金－金屬雕塑，玄門藝術中心，臺北。 1996 年參加臻品藝術中心個展，臺中：“畫廊博覽會”，臺北。

Lot 3111

Born in Zhudong (in central Hsinchu County). He graduated from National Academy of the Arts in 1990. He won the first place of 4th Taipei Exhibition on sculpture, and the rs: place of 13th National Fine Arts Exhibition on sculpture, the excellent awards of 47th County Exhibition on sculpture in 1992. In 1993 he won the excellent awards of 5th Taipei Exhibition on sculpture, and joined the “Pocket-Size Sculpture” E x h i b i t o n X u a n M e n A r t s C e n t e r, Ta i p e i . I n 1 9 9 4 , he won the first place of Taipei County Exhibition on sculpture, and joined the Gallery Exposition, Ta i p e i : h e h e l d t h e s o l o e x h i b i t i o n o f “ N e g l e c t i n q the appearance exultingly” in DuXirig Art Space, Kaohsiung. In 1995. he joined the Exhibition of Contemporary Five Elements Sculpture of Gold, Wo o d , Wa t e r , F i r e a n d E a r t h - I l l , “ G o l d — M e t a l Sculpture” in XuanMen Arts Center, Taipei. ln 1996, he joined the solo exhibition in GALERIE PIERRE, T3iwan and the Gallery Exposition in Taipei.

PANG Jiun 龐均 (b.1936) 出生於上海，畢業於北京中央美術學院。 1954-1980 年間參加七次全國美術展覽，八次北京美術展覽。80 年代起在香港藝術中心舉行個展，及「當代香港藝術雙年展」，深受好評。龐氏於藝術創作之餘，並積極推廣藝術教育，著作《油畫技術哲學》等。1994 年納入大陸出版之《中國當代藝術界名人錄》，次年並列入《英國劍橋世界名人錄》。龐氏作品廣為海內外美術館及私人收藏。 Lot 3016

PA N G w a s b o r n i n S h a n g h a i a n d g r a d u a t e d f r o m Beijing Central Art Institute. From 1965 to 1980, his works were widely exhibited in China. He has held solo exhibitions in Hong Kong Arts Center since 1980 and also participated in Biennial Exhibition of Contemporary Chinese Art in Hong Kong. PANG has also been a strong force in promoting fine arts education and has published books such as “ Te c h n i q u e s f o r O i l P a i n t i n g ” . H i s n a m e h a s b e e n included in several major publications of Who’s Who in Contemporary Art World. PANG’s works were held in numerous private and museum collections.

Lot 3064

Lot 3065

237

SA Dji 沙耆 (1914-2005)

Lot 3104

Lot 3105

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。

O r i g i n a l l y n a m e d S A Yi n N i a n , S A w a s b o r n i n 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 w o r k s f r o m t h e p e r i o d i n B e l g i u m t o t h e Z h e j ia n g 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.

Lot 3106

SHEN Che Tsai 沈哲哉 (b.1926) 台灣台南市人，1938 年入省立台南一中，師事郭柏川（1901-1947）與廖繼春。曾任台南美術研究會評議員、台陽美術學會會員、省展評議院、台南家專美術系教師、服務教育界 40 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、台陽展，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 年國立台灣美術館舉辦 " 沈哲哉七十回顧展 "。作品收藏有國立台灣美術館等。 Lot 3019

Lot 3135 238

B o r n i n Ta i n a n , Ta i w a n . S H E N C h e Ts a i e n t e r e d P r o v i n c i a l Ta i n a n F i r s t S e n i o r H i g h S c h o o l a n d studied with Kuo Po-chuan (1901-1974) and Liao Chi-chun. He has served as the councilor of Tainan Art Research Association, member of Taiyang Fine A r t s A s s o c i a t i o n , j u d g e o f Ta i w a n P r o v i n c i a l F i n e A r t s E x h i b i t i o n , p r o f e s s o r o f Ta i n a n Wo m a n ' s C o l l e g e o f A r t s a n d Te c h n o l o g y. H e t a u g h t f o r 4 0 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 A r t s E x h i b i t i o n a n d Ta i y a n g F i n e A r t s E x h i b i t i o n . SHEN has been awarded by the China Oil Painters Association and National Museum of History in Ta i w a n . H i s 7 0 y e a r s r e t r o s p e c t i v e e x h i b i t i o n w a s h e l d i n N a t i o n a l Ta i w a n M u s e u m o f F i n e A r t s i n 1995.His works can be found in the public collection of the National Taiwan Museum of Fine Arts.

SHIY De Jinn 席德進 (1923-1981)

Lot 3088

四川南郜縣人。就讀於杭州藝專，受教於林風眠、吳大羽而發展出粗黑線條的繪畫風格。1941 年受教於留法畫家龐薰勤和馬蒂斯影響而喜歡強烈色調。後赴美考察，受普普、歐普、硬邊藝術的影響並在作品中加入歐普和硬邊主義的形色表現。晚期回歸到他最原始而自然的本土家鄉。立志以中國人的情感來表達中國的藝術，開始全島寫生，描繪民間風物與生活百態。席德進的繪畫創作融合傳統與鄉土、使用水彩、水墨與油畫，兼納東方與西方繪畫的特長，開創出他個人雄渾動人的獨特風格。獲中山文藝創作獎，並舉行個展多次，作品廣為各界收藏。

Lot 3090

SHIY De Jinn was born in Szechwan. He learned under Pang Syun-Chinn who had studied in France. S H I Y f o l l o w e d M a t i s s e ’s c o l o r p a l e t t e . H e h a d experimented with Pop Art, Op Art, and Hard Edge, but he returned to country style with which he felt m o s t c o m f o r t a b l e w i t h l a t e r p e r i o d i n h i s c a r e e r. W h e n h e m o v e d t o Ta i w a n , h e s t a r t e d t o u s e f o l k 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 h e r e t u r n e d t o Ta i w a n , S H I Y D e J i n n f o c u s e d o n studying Chinese Art. He uses Taiwan as his subject, s u c h a s t r a d i t i o n a l a r c h i t e c t u r e s i n Ta i w a n a n d s c e n e r y. S H I Y D e J i n n t a k e s h i s f e e l i n g a n d l o v e from place and life as his inspiration and depicts Taiwan with devoutness.

Lot 3092

Lot 3091

Lot 3089

SU Xiaobai 蘇笑柏 (b.1949)

Lot 3171

蘇笑柏旅居德國二十年，他經歷過西方文化的洗禮，學會以新的觀察角度認識周遭的事物，重新了解繪畫材料間的互動關係，進而對中國傳統文化有了更深的體會與依戀。嚴謹的畫面形式與極富表現力的色彩相結合，創作出充滿細微多變且飽含著深情與智慧的作品。然而蘇笑柏在近三年作品的表現上，也出現微妙的變化；收起了銳利，透過時間的移轉推移與自省，尋求心靈的解放，慢慢磨出自在與圓潤，運用的色彩則更為純粹，更顯敦厚。

D u r i n g S u ' s 2 0 y e a r s i n G e r m a n y, u n d e r t r e n d o f We s t e r n C u l t u r e , h e l e a r n e d t o o b s e r v e i t e m s around daily lives with new viewpoints. Refresh the connection among materials of painting in order to convey deeper understanding and sentiment. Combine strict patterns with contrast colors to express abundant feelings from his paintings. Some s u b t l e d i ff e r e n c e i n c o n v e y i n g n e w c o n t e n t o f h i s paintings in 3 years lately, he intended to focus on introspective ego with time in order to research truly freedom in his mind. A new painting style by applying colors with leisure, gentle and meaningful

239

SU Wong Shen 蘇旺伸 (b.1953)

Lot 3058

台灣嘉義人，目前居住於高雄。1979 年畢業於文化大學美術系。1985 年首次個展於美國文化中心，1988 年台北市立美術館個展，歷年舉辦多次個展及聯展。其作品從早期切割畫面的構成，至近期以「狗」為隱喻手法，表現當今社會現象。收藏機構：台北市立美術館、國立台灣美術館等。

Born in 1956, he graduated from Chinese Culture University. in1979. He had lived in Dan Shui for over ten years. Since 1984, he had held many exhibitions in many countries. The most recent exhibitions include “Landform: The Land on the Mind” at National Arts Club, New York(1999); East Gallery of the State Capital of Oklahorma(1999); Solo Exhibition at Eslite Gallery, Taipei(2000/2003); etc.. The early period of his style closes with abstract. After 1988, the paintings appear innocent and almost childlike. He futhur uses distinct colors to form an unfamiliar atmosphere. He uses this indirect approach to mirror the phenomenon of Taiwan society.

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 3015

Lot 3133

Lot 3176 Lot 3132

240

Lot 3133

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.

TANG Hay Wen 唐海文 (1927-1991)

Lot 3003

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。

Lot 3004

Lot 3005

B o r n i n A m o y, F u j i a n . T ' a n g s t u d i e d C h i n e s e calligraphy under the instruction of his grandfather. I n 1 9 3 7 , T ' a n g m o v e d i r s t t o Vi e t n a m a n d t h e n t o 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 3140

Lot 3141

Lot 3143

Lot 3142

Lot 3144

Lot 3006

Lot 3007

241

WARHOL, Andy 安迪．沃荷 (1928-1987)

Lot 3150

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

Lot 3151

Born in Pittsburgh, Pennsylvania. Andy Warhol was an American painter, printmaker, and filmmaker as well as the leading figure in the visual art movement known as pop art. Graduated from Carnegie Mellon University in 1949, earning a Bachelor of Fine Arts degree in Pictorial Design, he moved to New York in 1952, and became one of the most successful commercial illustrator of the 1950s. From 1960, Wa r h o l d e v o t e m o r e e n e rg y t o p a i n t i n g . H e b a s e d on comics and ads to create artworks that suited the popular culture. The famous Campbell’s Soup Can series was debuted during this period. At the same t i m e , Wa r h o l s t a r t e d d a b b l e d i n f i l m m a k i n g , a n d establish “The Factory” studio. By the mid-1960s he was a frequent presence in magazines and the media. Throughout the 1970s and 1980s, Warhol was a prolific artist, producing numerous works, creating m an y cel eb r i t i es’ p o r t r ai t s i n si l k p r i n t s. War hol’s final two exhibitions were his series of “Last Supper” paintings. Warhol became famous worldwide for his w o r k a s a p a i n t e r, a v a n t - g a r d e f i l m m a k e r, r e c o r d p r o d u c e r, a u t h o r, a n d m e m b e r o f h i g h l y d i v e r s e social circles. His name is written in the Western art history, and his status in the international art scene is high. Works by Warhol are chased and collected by many top-notch collectors around the world.

Lot 3152

WONG Huei 王暉 (b.1973)

Lot 3044

242

1973 年生於大連。畢業於中央工藝美術學院（現清華大學美術學院）。先後進修於中國藝術研究院李魁正花鳥畫工作室、中央美術學院蔣采蘋重彩畫工作室。現為國家一級美術師、中國美協重彩畫研究會會員、中國工筆劃學會會員、北市美術家協會會員、北京重彩畫會會員。

Born in 1973, Dalian China.Graduated from the Central Academy of Craft Art (now The Academy of Arts & Design of Tsinghua University).Wang Huei has studied at the Chinese National Academy of Arts by Kuizheng Li bird and flower painting studio, China Central Academy Of Fine Arts by Caiping Jiang Color Painting Studio.She is also the member of China Artists Association Color Painting Research Association, China Hue Art Society, Beijing Artists Association, and Beijing Art Institut of Traditional Chinese fine Arts Painting.

WANG Shou Ying 王守英 (b.1934)

Lot 3082

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。

WA N G S h o u Yi n g w a s b o r n i n L u g a n g , Ta i w a n . WA N G g r a d u a t e d f r o m t h e A r t D e p a r t m e n t o f National Taiwan Normal University. He was awarded t h e f i r s t p r i z e a t N a t i o n a l Te a c h e r A r t E x h i b i t i o n . Wa n g h e l d h i s s o l o e x h i b i t i o n a t Ta i w a n N a t i o n a l Museum of History in 1984 and at Galerie Moustache, O s a k a , J a p a n , i n 1 9 9 2 . Wi t h h i s c h a r a c t e r i s t i c o f sloppy-style stroke, he created an ultimate romantic and exotic sensation. In his painting of flowers, WA N G u s e d h i s e x c e p t i o n a l s t r o k e t o i n d i s t i n c t l y represent his main objects. Yet, he could still reveal flow er ’s expressive gestu re. WA N G used the s ame t e c h n i q u e i n h i s s c e n e r y p a i n t i n g . Wi t h ju s t a f ew strokes, he could well execute his paintings with secret but peaceful touch.

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 H ao w as bo rn in N an jing , C hina, in 1932. H is 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 3183

WU Hao 吳昊 (b.1932)

Lot 3134

Lot 3014

Lot 3026 243

WU Hsueh Jang 吳學讓 (1924-2013) 吳學讓，字退伯，一生致力水墨繪畫。1948 年畢業於國立杭州藝專國畫科，受教於林風眠、潘天壽、黃賓虹、李可染等前輩大師，造就水墨寫意與工筆繪畫的紮實功底。吳學讓在台灣任教長達半世紀，尤其東海大學美術系，影響深遠，1997 年退休後定居美國。綜觀吳學讓一生創作軌跡，有傳統寫意工筆，有現代抽象表現，其成就均歸功於年輕時紮下的堅實根柢，以及晚年不拘泥古典框架，敢於衝破傳統的勇氣。

Lot 3030

Wu , w h o s e p e n n a m e i s Tu e h - P o u , w a s b o r n i n Szechwan province in China in 1924. Shortly after graduation from the National Hanchow Art College i n 1 9 4 8 , h e m o v e d t o Ta i w a n a n d h a s t a u g h t a s a professor of art for 50 years at Cultural University, Tu n g h a i U n i v e r s i t y a n d M i n c h u a n U n i v e r s i t y i n Taiwan. W u h a s h e l d m a n y s o l o e x h i b i t i o n s i n Ta w a i n g al l er i es an d at t h e N at u r al Mu seu m o f H is tor y in Taipei.Wu has also exhibited worldwide. Locally, he has also exhibited at the University of California at Berkeley, Stanford University and the Palm Springs Desert Museum in California.

HSIAO Yi 蕭一 (1956-2006) 台灣嘉義人。1973 年習傳統雕刻於屏東，接受傳統佛像雕刻的啟蒙。1977 年脫離傳統轉於自由創作，以真實生活的體會，思索人性與佛性的對立與矛盾。1981 年首次個展於春之藝廊。1987 年台中文化中心個展。1992 年受邀於新加坡國際藝術展。他的作品包括許多主題與對象物，有人體、頭像、動物、摩托車等，在台灣民間生活中，融入現代簡約的元素。1997 年首次嘗試以不鏽鋼金屬線作為創作媒材，1998 年更嘗試鐵雕創作。晚年潛居台北縣三芝鄉山間創作，仍以人物的木刻創作為多。作品風格洋溢樸拙，造型多變，極富禪意。 Lot 3112

XIONG Yu 熊宇 (b.1975)

Lot 3068

244

生於四川成都，熊宇從四川美術學院油畫部取得學士跟碩士學位。2002 年獲得「四川省藝術院校碩士研究及導師美術作品展」的傑出作品獎；2004 年得到深圳何香凝美術館「少年心氣一中國新銳繪畫獎」的銅牌。熊宇被譽為年輕中國當代藝術家「卡通一代」的成員之一。熊宇的作品洋溢著濃厚的幻想感，似有受到超現實主義的影響，畫裡的人物都代表著現今中國社會的青少年。參與過的群展有：2005 年北京 38188 庫畫廊的「低和淺的遊戲」及 2006 年上海証大美術館舉辦的「自我造局」等。

B o r n i n C h i a y i , Ta i w a n . H s i a o s t a r t e d o f f a s a n a p p r e n t i c e t o c r a f t s m e n a t B u d d h i s t a n d Ta o i s t t e m p l e s a r o u n d s o u t h e r n Ta i w a n a n d l a t e r b e g a n to create his own woodcarvings of the deities that decorate temples. Daily life experience helps him to ponder on the differences and contradiction between humanity and Buddha nature. Spring Gallery held his solo exhibition in 1981. After then, his art is also frequently in galleries and art centers I n 1 9 8 7 , Ta i c h u n g C u l t u r e C e n t e r o r g a n i z e d h i s solo exhibition in 1987. In 1992, his sculptures are included in the International Art Fair in Singapore. Hsiao has tried several themes and objects, such as figures, head portraits, animals and motorcycles in a mixed style with Taiwan folk custom and modem s i m p l i c i t y. H e s t a r t e d t o t r y t o u s e s t a i n l e s s s t e e l and wire for creative material in 1997 and then also use iron as one of his media. Currently he isolated himself to create mainly wooden sculpture in the mountain of Sanchih, Taipei County. His various and talented sculptures shows with simple and unadorned quality to express a Zen style.

B o r n i n C h e n g d u , S i c h u a n P r o v i n c e . X i o n g Yu acquired both his B.F.A. and M.F.A. in oil painting form the Sichuan Academy of Fine Arts. In 2002, he was awarded the Excellent Works Prize at the "Young Artists Exhibition of Sichuan Province" in 2004 the Bronze Medal at the Ideal of New Generation: C h i n e s e N e w G e n e r a t i o n A r t i s t s Aw a r d E x h i b i t i o n in Shenzhen. Considered to be a member of the new " C a r t o o n G e n e r a t i o n , " X i o n g Yu f e a t u r e s h u m a n figures heavily in his paintings, depicting the stratus of youth in today's Chinese society. A silent reverie characterizes his images, where everything seems to be distorted in a surrealist manner.

YANG Shi Hong 楊識宏 (b.1947)

Lot 3002

1947 年出生於桃園，1968 年畢業於國立藝專美術科西畫組，1979 年移居美國。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。

Ya n g C h i H u n g w a s b o r n i n Ta o y u a n , Ta i w a n i n 1947, and graduated from National Taiwan College of Art in 1968. In the early 1980s, Yang Chi-Hung 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; m e a n w h i l e , h i s e ff o r t f u e l p a s s i o n i n t o h i s c a n v a s 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.

Lot 3060

YANG San Lang 楊三郎 (1907-1995)

Lot 3023

Lot 3024

台北永和人。1915 年入艋舺公學校，1923 年赴日本留學，首先進入京都工藝學校，後轉入關西美術學院西洋畫科，接受嚴格的學院派訓練。1927 年回台灣，與倪蔣懷、廖繼春等人共組「赤島社」。1929 年榮獲台灣美術展覽會特選第一名。楊氏於 1931 赴法國留學，次年他的作品塞納河畔入選法國秋季沙龍，與當時留法顏水龍同為早期留法畫家，回台後成為一個專業畫家，推動各項美術活動。1934 年返台創辦「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「台陽美術協會」，並在教育會館舉行個展。光復後籌辦「全省美展」全力參與並展出，奠定其畫壇地位，並獲國家文藝獎的殊榮。1948 年恢復台陽展，成為該展最大支持者。1985 年台陽展與春陽會於史博館合辦「中日美術展」1986 年獲國家文藝獎，1989 年台北市立美術館舉辦回顧展。1991 年楊三郎美術館正式開幕，1992 年獲頒行政院文化獎卓越藝術家獎章，1995 年逝世家中。楊氏舉行過多次個展，並多次在台灣美術展上獲獎。其中比較重要的展覽有 1973 年和 1983 年分別在國立歷史博物館舉行的「楊三郎油畫個展」和「楊三郎油畫回顧展」。楊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 r e c e i v e a c a d e m i c t r a i n i n g . H e r e t u r n e d t o Ta i w a n in 1927, and founded the Ruddy Island Association together with NI Jiang Huai and LIAO Chi Chun. I n 1 9 2 9 , h e w o n t h e f i r s t p r i z e a t t h e Ta i w a n A r t 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. A t t h e s a m e t i m e , h e e s t a b l i s h e d t h e Ta i y a n g A r t Association along with other notable artists such a s C H E N C h e n g P o a n d L I A O C h i C h u n . YA N G 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.

245

YAO Ching Jiang 姚慶章 (1941-2000)

Lot 3012

出生於臺灣台中。1965 年畢業於國立師範大學藝術系，早期曾與畫友合組年代畫會，作品以抽象風格見長。1970 年時移居美國，接著開始他的超寫實主義繪畫創作，成為台灣此畫派的重要代表，亦是台灣第一代在紐約華人畫家的重要代表。2000 年病逝紐約。 2001 年於台北國立歷史博物館舉辦紀念畫展。姚慶章一生的創作雖然以西洋現代畫為主，但他卻常沉浸於老莊的道家哲學中，因為他希望在作品中融合國際繪畫潮流與中國繪畫傳統，並建立特有的繪畫語言以及強調時代的精神面貌。

Ya o C h i n g J a n w a s B o r n i n Ta i c h u n g , Ta i w a n i n 1941.He Graduated from Art department of Nation Taiwan Normal University. C e n t e r, a n d t h e G u a m U n i v e r s i t y i n t h e U S ; a l s o attended the Art Gallery Exhibition ROC and held an art show at Tungchin Art Gallery, Taiwan Cultural Center. 1999Participated in the 15th National Art Exhibition ROC and invited exhibitions at Hsin Chu Hsien Cultural Center. 2000Art show at the Lungmen Art Gallery, Taiwan.

YAO Jui Chung 姚瑞中 (b.1969)

Lot 3001

246

1969 年生於台灣台北，1994 年國立藝術學院（國立台北藝術大學）美術系理論組畢業，曾代表台灣參加 1997 年威尼斯雙年展、 2005 年橫濱三年展以及 2009 年亞太三年展，海內外聯展百餘次，也曾從事過小劇場、電影、美術史教學、藝術評論、策展等工作，曾赴舊金山「海得嵐藝術中心」(1997)、倫敦「蓋斯沃克藝術家工作室」(2001)、紐約 ISCP(2006）及蘇格蘭 Glenfiddich(2007) 駐村。作品曾被台北市立美術館、高雄市立美術館、國立台灣美術館、澳洲昆士蘭美術館、美國康乃爾大學美術館、法國國家圖書館以及許多國內外私人單位典藏。目前為專業藝術家、藝評家兼策展人，並任教於國立台北藝術大學美術系及國立臺灣師範大學美術系。

Ya o J u i - C h u n g w a s b o r n i n 1 9 6 9 i n Ta i p e i . H e graduated from The National Institute of The A r t s ( Ta i p e i N a t i o n a l U n i v e r s i t y o f t h e A r t s ) w i t h a d e g r e e i n A r t T h e o r y. I n 1 9 9 7 , h e r e p r e s e n t e d Ta i w a n i n " F a c i n g F a c e s - Ta i w a n " a t t h e Ve n i c e Biennale and took part in the International Triennale o f C o n t e m p o r a r y A r t Yo k o h a m a i n 2 0 0 5 . H e a l s o p a r t i c i p a t e d i n n u m e r o u s o t h e r l a rg e i n t e r n a t i o n a l exhibitions. Apart from working in the fields of theatre and film, he has taught art history, wrote art criticisms and curated exhibitions. His works have b e e n c o l l e c t e d b y t h e Ta i p e i F i n e A r t s M u s e u m , Taipei, Taiwan; the Kaohsiung Museum of Fine Arts, K a o h s i u n g , Ta i w a n ; t h e N a t i o n a l Ta i w a n M u s e u m o f F i n e A r t s , Ta i c h u n g , Ta i w a n ; Q u e e n s l a n d A r t G a l l e r y, B r i s b a n e , A u s t r a l i a ; H e r b e r t F. J o h n s o n Museum of Art Collection, Cornell University, USA; Bibliotheque National de France, Paris ( French National Library, Paris), and many private collectors. Ya o J u i - C h u n g i s a n a r t i s t , c r i t i c a n d c u r a t o r. H e t e a c h e s a t t h e Ta i p e i N a t i o n a l U n i v e r s i t y o f t h e A r t s a n d t h e N a t i o n a l Ta i w a n N o r m a l U n i v e r s i t y Department of Fine Arts.

YU Peng 于彭 (1955-2014) 1955 年生於台灣。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、香港及台灣。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，台北的個展： 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 一 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〉 ; 1 994 年於台北太平洋文化基金會藝術中心〈西方繁材中國情〉等。

Lot 3036

Born in 1955, Yu learned to paint with Chen Yigeng. His works have been shown in Europe. America, R u s s u a , H o n g K o n g , a n d Ta i w a n . S e l e c t e d s o l o exhibitions including: Chiu Yuan Gallery, Taipei(1 980); Hanart 2 Gallery, Hong Kong(1 988); Hanart (Taipei)Gallery, Taipei; Asian Arts Center, Towson S t a t e U n i v e r s i t y, M a r y l a n d , U . S . A . ( 1 9 9 1 ) ; P a c i f i c Cultural Foundation Art Center, Taipei(1 994); and so on. His has participated many group exhibitions including: Shang Ya Gallery, Taipei(1982); Pai Chia G a l l e r y a n d S a n Ts a i A r t C e n t e r, Ta i p e i ( ’ 1 9 8 4 ) ; Hong Kong Art Center, Hong Kong (1991); Kassel, Germany (1992); Leningrad Museum, USSR(1 993); Up Gallery, Kaohsiung (1993); Hanart (Taipei) and H an ar t T Z G al l er y, Tai p ei an d H o n g K o n g ( 1993) ; M e t r o p o l i t a n S t a t e C o l l e g e o f D e n v e r, C o l o r a d o , U . S . A . ( 1 9 9 4 ) . Yu p a i n t s s u b j e c t s f o r m d a i l y 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.

Lot 3037

YOSHITAKA Amano 天野喜孝 (b.1952) 日本靜岡市出身的畫家、人物設計師及插圖畫家，擅長舞台美術及服裝設計。其作品散見各種藝術創作活動中，天野喜孝軽妙的漫畫式人物設計使他在同行中獨當一面。纖細、妖艷及富幻想性的風格，使他在歐美地區的頗負盛名，紐約、倫敦、巴黎、里昂、科隆、香港等地均曾舉辦巡迴畫展。

Lot 3159

Yo s h i t a k a A m a n o i s a J a p a n e s e a r t i s t , c h a r a c t e r d e s i g n e r, i l l u s t r a t o r a n d a t h e a t r e a n d f i l m s c e n i c d e s i g n e r a n d c o s t u m e d e s i g n e r. H e f i r s t c a m e into prominence in the late 1960s working on the anime adaptation of Speed Racer. In 1982 he went independent and became a freelance artist, finding success as an illustrator for numerous authors, and worked on many best selling novels such as The Guin Saga and Vampire Hunter D. He is also known for his commissioned illustrations for the popular videogame franchise Final Fantasy. Since the 1990s Amano has been creating and exhibiting paintings featuring his iconic retro p o p i c o n s i n g a l l e r i e s a r o u n d t h e w o r l d , p r imar ily painting on aluminium box panels with acrylic and automotive paint. He is a 5 time winner of the Seiun Award, and also won the 1999 Bram Stoker Award. A m a n o ' s i n f l u e n c e s i n c l u d e e a r l y We s t e r n c o m i c books, art nouveau, and Japanese woodblock prints.

247

YANG, Yuyu 楊英風 (1926-1997) 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。六十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。

1 9 2 6 , YA N G w a s b o r n i n Y i l a n . H e s t u d i e d 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 O l y m p i a d . H e w a s a l s o a w a r d e d t h e Wo r l d P e a c e Prize for culture and Arts by the Roc’s Literature and Art Society.

Lot 3114

Lot 3115

ZHANG Jian 章劍

Lot 3069

248

Lot 3116

(b.1968) 北京人，1933 年畢業於中央美術學院壁畫系。1995 年參加國際藝苑入境三人展。1996 年與北京雲峰畫苑舉辦章劍繪畫作品展。 1997 年作品《甜蜜事業》入選走向新世紀中國青年油畫展獲優秀獎提名。1998 年與北京中國美術館第九屆美展。1999 年作品《陽光燦爛的日子》人選北京市慶祝建國五十周年：書法、攝影展及第九屆全國美展，同年亦參加於北京國際藝苑美術館與深圳何香凝美術館舉辦的新銳的目光聯展。2000 年北京藝術博覽會、上海藝術博覽會。2001 年於義大利帕多瓦青年博物館巴匣現代藝術館舉辦對話一中國現代藝術巡迴展。2002 年於炎黃藝術館藝術夏至。2003 年於上海亦安藝術舉辦早春二月章劍個展。

Born in Beijing. In 1993, he graduated from the Central Arts Academy, Wall Painting Department. In 1995 he participated in a Three-man International Art Exhibition. In 1997 his work "Sweet Career" earned his a nomination for outstanding work in the Walking Towards a New Century-Chinese Young Oil Painters Exhibition. In 1999, he work "Days of Bright Sunshine" was selected to be exhibited i n B e i j i n g C e l e b r a t e s 5 0 t h Ye a r o f t h e R e p u b l i c : Scrolls, Photography, and the Ninth Nationwide Art Exhibition. In the same year, he participated in The New Visions joint exhibition. In 1999 New SightBorn in 1970' s in Beijing International Gallery and He Xiangning Musuem in Shengzhen. In 2001 D i a l o o g u e : C o n f l i c t & To l e r a n c e h e l d b y t h e M a n d o v a Yo u t h M u s e u m o f P a d u a , I t a l y a n d t h e Paris Modern Arts Museum.

ZAO Wou Ki 趙無極 (b.1921-2013)

Lot 3101

Lot 3165

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，享年 92 歲。

Z h a o Wo u - K i w a s b o r n i n B e j i n g . H e g r a d u a t e d from Hangzhou Fine Art College. He was mentored b y L i n F e n g - M i a n a n d W u D a - Yu . I n f l u e n c e d b y a b s t r a c t i o n i s m , h e e x p l o r e d We s t e r n m o d e r n 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 C h i n e s e a r t i s t i n t h e We s t e r n w o r l d . I n 1 9 8 1 , h i s 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 3166 Lot 3164

Lot 3102 Lot 3167

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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。

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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

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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。（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

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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 253

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。（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

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。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。

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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. 256

(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. (2) Online Bids If the bidder cannot attend the auction, it may be possible to bid online via Live Auctioneers. Bidders using the Live Auctioneers service are subject to the additional terms and conditions for online bidding via Live Auctioneers and JSL conditions of business. 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 buyer’s premium payable by the buyer of each lot is at the rate of 18% on the first NT$ 20,000,000 of the hammer price (2) The buyer’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 certificates that may be required. Dispatch will be arranged at the buyer’s expense. 257

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 "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.

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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.

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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.

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