KINGSLEY AU T UM N AUCTION 2 0 1 4
KINGSLEY AUTUMN AUCTION 2014 TAIPEI AUCTION 2014.12.13 2:00pm
Dubai International Financial Building
1F, No.293 - 297, Sec. 2, Tiding Blvd., Neihu Dist., Taipei, Taiwan 杜拜國際金融大樓｜台北市內湖區堤頂大道二段 293-297 號 1 樓
PREVIEW Taipei
2014.12.10 -12 10:00am – 6:30pm Dubai International Financial Building
1F, No.293 - 297, Sec. 2, Tiding Blvd., Neihu Dist., Taipei, Taiwan 杜拜國際金融大樓｜台北市內湖區堤頂大道二段 293-297 號 1 樓 Taichung
2014.11.8 - 9 10:00am – 6:30pm
Fong Yi Culture and Education Foundation, Fong Yi Pavilion B1, No.110, Sec 1, WuChuang West Road, West Disdrict, Taichung, Taiwan 財團法人豐邑文教基金會 豐藝館｜台中市西區五權西路一段 110 號 B1
GRACE Y. T. TONG (TONG YANG-TZE) (b.1942)
Heng Kan Cheng Ling Ce Cheng Feng ink on paper 1995 138x254 cm with two seals of artist ILLUSTRATED: "GRACE Y. T. TONG, The Graphic Work" Eslite Publishing, 1997, p.66-67
董陽孜 橫看成嶺側成峰 水墨 紙本 1995 年 138x254 cm 鈐印：董印，陽孜 圖錄： 《董陽孜作品集》誠品股份有限公司，1997 年， 頁 66-67。
NT$ 1,500,000 - 1,800,000 US$ 50,000 - 60,000
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Many people have seen the calligraphy of Grace Tong before knowing her name. Her works, known for the bold and fluent power that contains rich rhythm as paintings, are exhibited throughout the United States, Canada, the United Kingdom, Japan and other countries, winning an international round of critical applause. Her arts, including the inscription of PTV's "The Outsiders," Lung Ying-Tai's "Wild Fire", "Cloud Gate Dance", "World Magazine", "Kingstone Bookstore" and Pai Hsien-Yung's Kunqu Opera "The Peony Pavilion," have become a part of people's life. Majoring in oil painting, Tong is unwilling to be defined or restrained by calligraphy disciplines. Her works often emphasize on the composition than the meaning of characters, expressing a strong sense of modernity. Pai Hsien-Yung once commented that the works of Tong contained soaring momentum that oversteps customs and fuses both Chinese and Western arts. Shih Shou-Chien, former president of the National Palace Museum, also commented that her calligraphy works deliberately went past the pattern and structure of characters, pursuing the visual effects with the change of density and hue of black and white, and presented calligraphy beyond traditional dots and lines. "It is peak from the end and a face from a side. It is seen differently from the far and the wide. Why can’t I tell the mountain’s true shape? It is I myself am here in the place." This piece is from the poem of Su Shi, whose bold and unconstrained manner is well demonstrated by the artist's calligraphy style.
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董陽孜，對於許多人而言在知道她的名字之前就已經見過她的書法了。她的 作品以雄渾奔放，洋溢連貫的氣勢見長，呈現出如同繪畫般豐富的律動感， 書法展覽遍及美國、加拿大、英國、日本等地，成就深獲國際藝壇肯定。公 視「孽子」、龍應台《野火集》、「雲門舞集」、「天下雜誌」、「金石堂 書店」與白先勇製作的崑曲「牡丹亭」之提字等，都是出自她手筆，墨跡深 入當代民眾的生活。由於不願被定義也不耐受拘束，主修油畫的董陽孜在書 法創作上展現了強烈的現代性，時常是畫面構圖先於文字意象。
白先勇曾表示董陽孜的字有股一飛沖天的氣勢與能量，突破傳統，融合中西。 前故宮博物院院長石守謙亦曾評論其書法作品在表現上有意識地超越行列格 局、字形輕重架構，追求一種平面疏密與黑白變化的效果，讓書法跳脫傳統 的點與線。「橫看成嶺側成峰，遠近高低各不同。不識廬山真面目，只緣身 在此山中。」此作書蘇詩，詩文本有豪傑之氣，與藝術家的書風相搭分外合襯。
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Lee Yih-Hong (b.1941)
Red Wall ink and color on paper 1993 96x178.5 cm signed left Lee Yih-Hong in Chinese with two seals of artist
李義弘 紅牆 彩墨 紙本 1993 年 96x178.5 cm 簽名左下：癸酉嘉平月，李義弘畫 鈐印：李義弘印，在川
NT$ 800,000 - 1,000,000 US$ 26,700 - 33,300
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Lee Yih-Hong was born as a son of farmers in Tainan, Taiwan and yearns to dedicate his life to arts. In his junior high school years, Lee won the first prize of traditional Chinese painting genre in National Student Art Competition and started his artist career henceforth. Lee applies new concepts along with traditional Chinese painting techniques to distinguish his arts from ordinary works. His paintings might appear a collage of old and new, yet well display his longtime efforts to explore and integrate traditional and modern techniques. To innovate modern ink paintings, artists cannot solely rely on imitating the composition of photography. The essence of ink painting - brushes and inks - is its key to standing upright by the tides of modern art. The painting "Red Wall" was created in 1993 (GuiYou year in Chinese era). A red wall across the picture in the foreground composes one third of the entire composition, along with four old trees. The blank space in the top center finely indicates the depth of fields. The space for signature beside the tree on the left delicately balances the picture. The trees are embellished with skillful, heavy texture strokes to give them the touch of solid weight. The architectures, especially the roof tiles, are done with exquisite brushwork that demonstrates Lee's meticulous skill. The man has an eccentric figure. The quaint and innovative atmosphere highlights the composition and the tones of colors.
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李義弘，出生於台灣台南，以農家子弟而欲終身投於藝術工作領域。初中 時期，獲得學生美展國畫組第一名，此刻開啟了李義弘先生的藝術道路。 其在傳統國畫技法中，加入了不少新的觀念，使他的畫表現得截然不同流 俗。畫面上，難免有新舊雜陳的感覺，卻也正彰顯了他在「傳統」、「現 代」之間，幾經努力探究、追尋、融合的功力。現代水墨的創新並不能以 仿效攝影構圖為依靠，水墨畫講究的筆墨本質依然是水墨在現代藝術浪潮 中屹立不搖的根本。
這幅作品〈紅牆〉，創作於 1993 癸酉年，永遠運用著已以一片紅牆橫貫 整個畫面，以紅牆佔去畫面的三分之一為前景，與四棵老樹並排著，中間 上方的留白，恰巧留出空間感的層次，左方的老樹留著一處為落款位置， 有著恰當的平衡和諧感，樹的皴法可看出皴擦筆法的紮實，局部點綴出樹 的實重感。建築物的筆法雖小但卻細膩，屋瓦的筆法堆疊，看出李老師的 細膩之處，人物造型亦有古怪奇貌之狀。用著古雅而創新的氛圍，使畫面 構圖與色彩的輕重凸顯。
〈局部〉
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YU CHENG-YAO (1898-1993)
Intermountain and Waterfall ink on paper 248x123 cm signed upper left Yu Cheng-Yao in Chinese with one seal of artist ILLUSTRATED: "The Graphic Work Of Landscape in 20th Century" Shanghai Chinese Painting & Calligraphy Publishing, 2006, p.103 -131
余承堯 千岩萬壑 水墨 紙本 248x123 cm 簽名左上：余承堯作 鈐印：余承堯印 圖錄： 《二十世紀山水畫集》上海書畫出版社，2006 年， 頁 130 -131
NT$ 8,500,000 - 10,000,000 US$ 283,300 - 333,300
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Yu Cheng-Yao,a native of Yongchun in Fujian, had been in the military service until he retired and went into business to make a living. After coming to Taiwan in his late years, he decided to discard the material wellbeing and return to the simplicity. He became a hermit in mountains and started to study painting at the age of 56. Yu traveled thousands of miles in his early years by participating in wars throughout mainland China, with his heart vibrating vehemently with the magnificent natural landscapes. He had walked up steep trails in wild alps, felt the beats of earth with his feet, and glimpsed the eternal vitality in the rhythm of mountain rocks and rivers. All these experiences left a strong impression on his memory of youth. Though he never tried painting then, he might already establish a prototype of what was called "the landscape in heart." After he began to study painting, Yu has read through ancient classics and visited the National Palace Museum. However, he is indifferent to the aesthetics and compositions of traditional landscape painting, and considered none of those paintings "real mountains." This is why his works hardly bear any resemblance to his predecessors. While landscape paintings not nourished by classics are considerably rare in Chinese history, Yu's seemingly rebellious concept actually echoes with the essence of art, which is freedom and individuality. Yu deploys his coarse and rustic strokes, which are even far from any "techniques", meticulously depicting the majestic mountains in his mind. In this giant work of "Intermountain and Waterfall", the stratums stack up the texture of mountains with streams flowing in between. The rock blocks are portrayed with pure inks, conveying a natural rich feeling of layers. The dark color blocks and little blank space contain a converging power that is coarse, stagnant and dense without moisture. Admiring the painting, viewers cannot prevent themselves from being absorbed into the overwhelming landscape and deeply moved by the true naivety the artists embeds in this exquisite masterpiece.
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余承堯，福建永春人，早年戎馬生涯，退伍後為生計從商，晚年渡台後放棄物質 生活，自覺回歸樸質，選擇在山間隱居，五十六歲才開始自習作畫。早年大陸征 戰時期中余承堯走遍千山萬水，中國壯闊的山水自然景觀在余承堯心裡引起極大 的激盪與震撼，他曾親身行走於深山裡險峻的野徑，用腳底感受厚實土壤的脈動， 山石河川搏動中見永恆的生命力，在他青年時期記憶中留下深刻痕跡。即使當時 未曾嘗試作畫，但何謂「胸中山水」，也許在當時余承堯心中早有雛形。開始習 畫後，余承堯閱讀過去古人經典作品，亦曾走覽故宮，但他對傳統山水的審美與 結構不以為意，認為這些皆非真正的山，這也是為什麼余承堯的山水畫作中絲毫 不見前人影子。
不汲前人養分的山水藝術，這在中國過去歷史上相當罕見，余承堯這觀念看似顛 覆傳統，事實上是那麼地合乎創作本質，因為藝術是如此自由，如此個人化，余 承堯只有他稚拙質樸的筆觸，甚至無法稱之技法，只憑一筆筆細密的描繪，步步 營造出他心中雄渾壯觀的山，如此作〈千岩萬壑〉尺幅高闊巨制，岩層往上堆疊 出山脈肌理，居間有溪泉汨流，純以墨色描繪出山形岩塊，層次感彷彿渾然天成， 餘白甚少，予人不以濃郁濕潤，而是粗礪、澀滯、沉鬱、恢弘的勁力，如塊狀融 入視覺當中，站在畫作前欣賞的觀者，很難不被這個壯大嚴峻的世界吸引進去， 最讓人動情卻須歸因於他繁複筆觸中難得的童稚與真心。
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LIU GUO-SONG (b.1932)
Sunrise at the East Hill ink and color on paper 2006 42x93.5 cm signed lower left Liu Guo-Song 2006 in Chinese with one seal of artist the lot is to be sold with a certificate of authenticity with artist's signature ILLUSTRATED: "Infinity and Beyond - LIU GUO-SONG" Modern Art Gallery Publishing, 2013, p.49 Exhibition: "Infinity and Beyond - LIU GUO-SONG Solo Exhibition" Modern Art Gallery, 2013.11.03-2013.11.30
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劉國松 日出東山頭 水墨 設色 紙本 2006 年 42x93.5 cm 簽名左下：劉國松 二〇〇六 鈐印：劉國松 附現代畫廊開立之藝術家親簽原作保證書 圖錄： 《極觀無垠 - 劉國松》現代畫廊，2013 年，頁 49 展覽： 「極觀無垠 - 劉國松個展」現代畫廊，2013.11.03-2013.11.30
NT$ 1,700,000 - 2,200,000 US$ 56,700 - 73,300
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Lui Guo-Song, praised as the father of the modernization of ink painting, played a significant role in the Taiwan's modern art movements. He founded "Fifth Moon Group" in the 50s and further proposed the idea of "ink revolution," stating that ink paintings should be innovative and modern in the 60s. In the circle of contemporary art, Liu manages to create novel visions and effects with pioneering skills and his unique invention of "Guo-Song sheet." This piece, while not impressive in its size, conveys an imposing spirit with the fluid smears of blue underpainting. The shimmering light in the center indicates a sunrise. The outline of mountain peaks is enhanced with the use of "pull and peel" technique. The artist deploys rather dense inks, as can be seen in the painting details. The texture of Guo-Song sheet stretches freely, producing unexpected hills in the process of painting, which together present a picture of mountains at a tranquil dawn.
水墨現代化之父 — 劉國松，於五○年代成創立「五月畫會」，同時 也是台灣現代藝術運動的重要推手，再當時在六○年代，提出了水墨 必須創新、現代化，「革筆墨的命」，而劉國松在當代的水墨藝術圈 中，以創新的技法與特製的粗筋棉紙「國松紙」，去創作出新穎的畫 面及效果。此件作品雖不是巨型作品，但整體方向以藍色色系去當作 底色，卻依然有著大將之風。畫面中間的微光，隱約透出早晨日出的 印象，在山脈的頂端邊緣線運用了「抽筋剝皮皴」將山脈紋理明顯化， 墨色細節中，可看出用墨的密度甚高，抽筋的皴法恣意生長，在繪製 過程中也促使出許多意想不到的寧靜晨曦山頭。
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LIU GUO-SONG (b.1932)
Diffused moonlight ink on paper 1979 45x24.4 cm signed middle right Gou-Song 1979 in Chinese
劉國松 灑落的月色 水墨 紙本 1979 年 45x24.4 cm 簽名右中：國松一九七九
NT$ 400,000 - 600,000 US$ 13,300 - 20,000
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TANG HAY-WEN (1929-1991)
Abstract ink on paper 59.5x59.5 cm signed lower right Tang in English and Hay Wen in Chinese
唐海文 抽象 水墨 紙本 59.5x59.5 cm 簽名右下：Tang 海文
NT$ 500,000 - 700,000 US$ 16,700 - 23,300
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"It was the best of times, it was the worst of times." Tang was born into a rich merchant family in Xiamen in the early 20th century. He kept ordinary memories during the years of conflicts. Learning calligraphy from his grandfather in childhood, Tang immersed himself in the traditional brushes and inks. He can still recall the exhortations of his grandfather with deep emotion after decades. As the anti-Japanese wars broke out in 1937, Tang family moved to Vietnam to take refuge. Growing up as the eldest son, Tang took off to France to study medicine, which was what his father had anticipated. However, the French culture not only broadened his horizon but also moved him so deeply that he decided to devote himself to art. Losing all financial support from his father, he hovered between friends while he studied western philosophy and art. The abstract art in France then depict formless emotions with actual lines, corresponding to the Chinese Taoist concept of "empty/full" and "Yin/ Yang." Tang gradually developed his abstract art with this prototype. In this work, Tang uses light ink to create an underpainting that appears to be a mountain landscape, and then applies dark ink to draw mysterious abstract lines that bear a resemblance to the shape of Bagua. It shows a deeper contemplation than his former free and joyful works. While art is the epitome of the time, Tang's abstract art reflects his life. ｢ 那是最好的年代，也是最壞的年代 ｣
20 世紀初唐海文生於廈門富商家中，動盪的局面下，藏著多少平凡的回憶。幼時圍 繞在祖父身旁學習書法，筆墨交雜的是傳統，是祖父言猶在耳的叮嚀，更是幾十年 揮不去的感觸。1937 年隨抗日戰爭爆發，唐家遷往越南避難。成年後，身為長子 在父親期待下前往法國學醫，到了法國打開眼界，更被當時文化深切憾動，毅然投 身藝術，遭受父親斷絕資金的狀況下，漂泊於朋友間並學習西方哲學與藝術。當時 法國抽象藝術以有形的線條描繪出無形的情緒，似於中國道家虛實陰陽的概念，由 此醞釀出唐海文抽象雛型。此件作品，以淡墨繪出似景非景，見山非山的底，深墨 印於上的是似卦非卦，暗藏玄機的虛實線條，一擺以往灑脫，表現出更深沉的創作， 倘若藝術是時代的縮影，唐海文的抽象則映照出他的一生。
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TANG HAY-WEN (1929-1991)
Between Abstract and Concrete ink on paper 59.5x59.5 cm signed lower right Tang in English and Hay Wen in Chinese
唐海文 虛實 水墨 紙本 59.5x59.5 cm 簽名右下：Tang 海文
NT$ 500,000 - 700,000 US$ 16,700 - 23,300
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HU NIEN-TSU (b.1927)
Autumn In The Yellow Mountain ink and color on paper 1997 73x70.5 cm signed lower right Hu Nien-Tsu in Chinese with three seals of artist
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胡念祖 黃山秋色 彩墨 紙本 1997 年 73x70.5 cm 簽名右下： 黃山秋色 時在丁丑夏日寫於麗水精 舍石牛老牧胡念祖 鈐印：石牛老牧、胡、念祖
NT$ 280,000 - 400,000 US$ 9,300 - 13,300
HU NIEN-TSU (b.1927)
Sunset in Autumn ink and color on paper 1961 55x26.5 cm signed upper Hu Nien-Tsu in Chinese with one seal of artist
胡念祖 秋林夕照 設色 紙本 1961 年 55x26.5 cm 簽名右上： 秋林夕照 民國五十年夏畫於臺島麗 水精舍胡念祖 鈐印：胡念祖
NT$ 80,000 - 160,000 US$ 2,700 - 5,300
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HSIA YI-FU
(b.1942) Creek Cliffrock ink on paper 2001 34.5x32 cm signed lower left 2001 Yi Fu in Chinese the lot is to be sold with a certificate of authenticity with artist's signature
夏一夫 溪岩 水墨 紙本 2001 年 34.5x32 cm 簽名左下：二〇〇一一夫 附藝術家親簽保證書
NT$ 220,000 - 260,000 US$ 7,300 - 8,700 This work of Hsia Yi-Fu is weaved with subtle strokes and intricate texture. Not applying wet-brush techniques, he depicts the mountains and rocks with dry brushes to preserve the beauty and rhythm of lines. The grand landscape composed of innumerable stokes brings out a calm sense of immensity, making the viewers feel their smallness while watching. The artist's indifference to fame can be seen in his tiny signature, well-hidden among the rocks and hard to discover unless viewers carefully examine the whole picture. The artist's dry-brushed landscape brings a new viewing experience to ink painting. It's both magnificent and illusory; tranquil and profound. His nearly pious depiction, along with dreamlike composition, endows a modest attractiveness to his work, which is fairly modern but not at all mundane. 夏一夫的作品筆觸嚴謹細膩，畫面肌理縝密。技法表現上，有別於濕筆的使用，他以皴擦的手 法造山化石，保留了筆路與線條的美感和節奏。畫作裡由萬千小筆劃所建構的大山水使人在觀 看之際倍感渺小，引帶出一種淡然的開闊感，藝術家淡泊的心性亦見於此作〈溪岩〉的落款之 上，遍尋畫中才見細小低調地寫於石間，如非細觀則難以洞曉。藝術家以枯筆焦皴創作的山水 為水墨畫帶來了嶄新的觀賞經驗，磅礡壯觀而虛幻，靜謐且深層。這種近乎虔誠的寫畫搭配上 如真似幻的構圖更賦予了他的作品一種內歛的吸引力，使其具有十足的現代感，但非俗裡物。
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CHU TEH-CHUN (1920-2014)
Mar 08 No.9 ink and color on paper 2008 91x67.5 cm signed lower right Chu Teh-Chun in Chinese, CHU TEH-CHUN in English and dated 2008 the lot is to be sold with a certificate of authenticity
朱德群 Mar 08 No.9 彩墨 紙本 2008 年 91x67.5 cm 簽名右下：朱德群 CHU TEH-CHUN 2008 附畫廊保證書
NT$ 3,000,000 - 4,000,000 US$ 100,000 - 133,300
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HSIAO CHIN (b.1935)
Variazione del Tao acrylics on canvas 1963 81x130 cm signed lower right HsiAo in English, Chin in Chinese, and dated 1963 signed HsiAo in English, Chin in Chinese, dated 1963, HsiAo in English, Chin in Chinese, dated 2011.10.28, "Variazione del Tao" in Italian, and "Variazione del Tao" in Chinese on the reverse PROVENANCE: Christies's Hong Kong, 2010 Spring Auction, lot 1421
蕭勤 道之變異 壓克力 畫布 1963 年 81x130 cm 簽名右下：HsiAo 勤 1963 簽名畫背： HsiAo 勤 1963，HsiAo 勤 2011.10.28，
"Variazione del Tao"「道之變異」 來源： 香港佳士得 2010 春拍，Lot 1421
NT$ 2,000,000 - 3,000,000 US$ 66,700 - 100,000
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Before 1960, Hsiao focused more on the traditional Chinese art forms and the structure of characters, but turned to Zen and Taoism afterwards. He further infuses his works with philosophical thoughts, mysticism, and elements of the universe. His works between 1963 and 1966 are known as the Sun Series. Hsiao's paintings in 1962 are influenced by Tibetan Tantric and Hindu religious paintings, featuring symmetrical composition and bright colors. Geometric circles, straight lines, radial poly lines compose an image of the sun. In Lao Zi's ideology, the universal law is "Tao", the connotation of which is "action through inaction," meaning that we should act according to the nature instead of constrained by any forms of regulation. This work is done in 1963, entitled "Variazione del Tao". The splashing blue and purple pigment is as splendid as galaxy. The shuttling dense red ink distinguishes squares and circles, which are at the same time different and alike, as the innumerable units in the universe. The picture corresponds finely to the title, presenting the abstruse actions and inactions in Tao.
1960 年以前，蕭勤比較專注於探討中國傳統藝術形式、文字的結構等，但在這一 年之後，老師轉由思想方面帶入「禪」、「道」等內涵，更融入了許多哲學思想、 神祕主義、宇宙萬物等元素於其創作之中。大抵從 1963 年至 1966 年的這段時期 為「太陽系列」，1962 年時老師受到西藏密宗及印度宗教畫的影響，在構圖上又 回復到對稱性，用色也越發鮮麗多元，基本上以幾何圓形、筆直線條，或放射狀 的折線等，構成一個太陽的意象。宇宙萬物之普遍法則「無為」即為道，老子一 派思想中「道」與「無」同義，應順應自然，不拘於任何規定形制。本件拍品為 老師 1963 年的作品，題名為〈道之變異〉，潑灑的藍色、紫色有如宇宙星河般 的絢麗，濃紅穿梭、分隔出方與圓，如浩瀚宇宙中的各種個體，不盡相同卻並非 完全不同，就像老師所題的名稱一樣，在「道」之中，定與不定都順著所體悟到的， 自然地變幻莫測。
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GEORGE CHANN (CHEN YIN-PI) (1913-1995)
Landscape mixed media on canvas 41x51 cm signed lower right GEO. CHANN in English
陳蔭羆 風景 複合媒材 畫布 41x51 cm 簽名右下：GEO. CHANN
NT$ 100,000 - 200,000 US$ 3,300 - 6,700
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GEORGE CHANN (CHEN YIN-PI) (1913-1995)
Girl in Red oil on canvas 51x41 cm signed lower left GEO. CHANN in English the lot is to be sold with a certificate of authenticity
陳蔭羆 紅衣少女 油彩 畫布 51x41 cm 簽名左下：GEO. CHANN 附保證書
NT$ 150,000 - 300,000 US$ 5,000 - 10,000
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In 1913, on the end of the golden age and the eve of First World War, a thundering cry was heard in Chann's house in Zhongshan County of Guangdong Province. It was George Chann, the artist that speaks out loud for humanity. Chann graduated from high school in 1925, when the unsettling political situation in China prompted many Chinese people to build their dream on the new United States. It was then that Chann and his father boarded the ferry for California with the dream of freedom. In 1934, he was enrolled by the Otis Art Institute in Los Angeles, studying traditional western painting techniques and theory. His life experience in the Los Angeles Chinese Congregational Church and the AfricanAmerican community has an impact on the theme of his early works, which are mainly portraits of black, Chinese and Mexican children, reflecting the social issues such as racial discrimination and economic inequality in the immigrant society in the U.S.. He held a solo exhibition with his realistic works in 1941. Recommended by McKinney, former head and curator of The Los Angeles County Museum of Art, Chann became the first Chinese artist that held a solo exhibition in LACMA and impressed the American art society. Returning to China in 1947, he found catharsis for his inexplicable emotions concerning identity and bond with motherland through abstract art and Chinese characters. He has developed his own abstract art style henceforth. In this portrait of a girl, the folds of her clothes are depicted with fastidious care to accentuate the unnatural pose of her shoulder. The light and shadow upon the girl's face and the background further display the spirit of her and give a great example of the artist's superb skill.
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1913 年繁華落盡的黃金時代，即將掀開一戰的前夕，廣東省中山 縣陳家中，傳來一聲劃破天際的聲音，是陳蔭羆，為人道關懷發聲 的藝術家。中學畢業後，1925 年中國動盪不安，新建的美國，承 載了多少人的夢。於此，陳蔭羆與父親乘上呼喊著自由夢想的輪船 移民美國加州。1934 年，進入洛杉磯奧蒂斯藝術學院，學習西方 傳統的繪畫技術與理論。曾生活於洛杉磯的基督教「中華公理教 會」與黑人區，間接影響他在早期題材多以黑人、華裔與墨西哥裔 孩童的肖像畫為主，反映當時美國移民社會下存在著種族歧視與貧 富不均的社會問題。1941 年以社會寫實風格的肖像畫舉辦個展， 在洛杉磯美術館長麥堅尼推薦下，不但成為首位在「洛杉磯美術 館」舉辦個展的華人藝術家，更驚艷美國藝壇。1947 年回到中國， 對於身份認同與祖國的聯結性，這樣難以言喻的思緒，再接觸到 抽象藝術與中國文字後得到解放，進而發展出屬於他的抽象藝術。 此幅女孩肖像，藉著衣紋陰影細膩描繪顯示出女孩肩膀不自然的擺 放，再配合著背景與女孩臉部呈現的光影，進一步突顯出女孩神韻 與畫家精湛的畫功。
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JOHN WAY (WEI LE-TANG) (1921-2012)
Beautiful Hill in the Window oil on canvas 2007 79x60.5 cm signed lower right John Way in English and dated 2007
魏樂唐 丘壑之窗 油彩 畫布 2007 年 79x60.5 cm 簽名右下：John Way 2007
NT$ 400,000 - 500,000 US$ 13,300 - 16,700
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Since his first contact with western painting in 1964, John Way has combined abstract techniques with Chinese painting. There are many abstract paintings in Way's work. He constructs them calmly and rationally to create tension in his art. Being an oil painting, this work consists of imposing strokes like billowing tides. The frame of windows are presented with red, blue, green and brown pigment on the solid white underpainting. The pigment in the bottom of the picture is diluted with oil, creating an effect of flowing downward. The texture of blankness is different from that in oil paintings. The dark lines and patches, giving a sense of speed, bring up the beauty of the mountain hills.
魏樂唐在 1694 年接觸西方繪畫，將抽象技法與中國書畫結合，因此魏樂唐 的作品當中可以看到許多抽象藝術的影響之下的中國繪畫，或者融入中國水 墨元素的抽象繪畫。在畫作的構圖上，多以冷靜且理智構圖出具有張力的作 品。此作品雖為油畫，但畫面的線條筆觸相當有氣勢，宛如驚濤裂岸之覺。 以大量的白色色系鋪陳畫面基底，運用紅、藍、綠、棕色系陪襯內容，窗的 具體輪廓顯之，畫面下方運用油與顏料的稀釋，製造由上往下流的水流感， 顯現出不同於油畫上的留白肌理，暗色系的線條及色塊，充滿了速度感， 故造就了畫面的丘壑之美。
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JOHN WAY (WEI LE-TANG) (1921-2012)
Riddle of Beethoven oil on canvas 1989 59x47 cm signed lower left John Way in English and dated '89
魏樂唐 貝多芬之謎 油彩 畫布 1989 年 59x47 cm 簽名左下：John Way '89
NT$ 200,000 - 300,000 US$ 6,700 - 10,000
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CHUANG CHE (b.1934)
Abstract oil on canvas 1975 111.5x96.5 cm signed lower left Chuang Che in Chinese and dated 75
莊喆 抽象 油彩 紙本 1975 年 111.5x96.5 cm 簽名左下：莊喆 75
NT$ 800,000 - 1,000,000 US$ 26,700 - 33,300
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Chuang Che was born in Beijing in 1934. People in his generation spent their childhood in poverty and enjoy the fruit of economic growth and social stability only after maturity. Graduating from the Department of Art at National Taiwan Normal University in 1958, he was about to find his own way to study abstract art. It was the time when abstractionism set off a storm in Taiwan art society. He found abstract painting more difficult than realistic depiction of scenery. He tried to portray nature in an abstract way, explored the rules of it, and transformed them into his own techniques. Chuang applies mainly oil paint and acrylic paint as media. They are used as thick layers of paint as well as diluted and mixed colors. His canvas can be a microcosm of culture, history and universe. He is skilled in demonstrating the core of Taoist aesthetics - the beauty of ink painting - with western media. This work " Abstract" was created in 1975. The patches of milk yellow and orange red colors divide the whole picture into two. Dry ink strokes present a mountain-like image. The S-shape strokes spreading toward the horizon further embody a spirit of power and strength.
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莊喆，生於 1934 年北京，那是個童年艱辛，壯年得嘗社會 穩騰達起步的年代。1958 年自國立師範大學藝術系畢業， 他正開始找尋自己的路子—研究抽象繪畫，那時也正是抽象 主義在台灣畫壇掀起風波的時期。對他來說畫抽象比將景物 真實描繪出來還要困難，他練習將自然以抽象方式表現，尋 覓其中規則，轉而成為自身語彙。
他主要運用油彩及壓克力為創作媒材，顏料或堆疊積成厚 度，或稀釋調和，將宇宙、人文、歷史濃縮於畫布之上， 熟練地以西方媒材描繪道家美學中心思想—水墨之美。這件 〈抽象〉創作於 1975 年，奶黃與橘紅色塊將畫面分割為二， 墨筆皴擦出仿佛山巒景色，揮染至天際的 s 型筆觸，更是展 現力與勁的精神。
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YANG CHI-HUNG (b.1947)
Song of Buryung Flowers. II oil on canvas 1994 141x102.5 cm signed Song of Buryung Flowers. II in Chinese, Chihung Yang Song of Buryung Flowers. II in English and dated 1994 on the reverse the lot is to be sold with a certificate of authenticity with issued by Ever Harvest Art Gallery
楊識宏 花之歌 II 油彩 畫布 1994 年 141x102.5 cm 畫背簽名：葬花之歌 II，Chihung Yang Song of Buryung Flowers. II 1994 附日升月鴻畫廊開立之保證書
NT$ 1,700,000 - 2,000,000 US$ 56,700 - 66,700
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Yang Chi-Hung graduated from the College of Fine Arts at National Academy of Arts in 1968, majoring in western painting. After graduation, he served as an art teacher in high schools and then a lecturer in the College of Fine Arts at National Academy of Arts. Starting from 1976, he traveled and held solo exhibitions in Japan, the United States, Southeast Asia and Hong Kong, and moved to the United States in 1979. Yang usually paints his work with sharp color contrast that brings out the pure essence of art and expression, applying numerous rays and shades to the dark picture. Plants are a reoccurring theme of Yang's work. He grows many plants in his studio. By watering, fertilizing and caring for them day by day, he gains much inspiration in return. The rise and fall of nature, the gains and losses in life, and the passage of time are all symbols embodied in his paintings. Yang's creation holds a refined literati spirit. His paintings are endowed with a saddening reminiscence charm like poetry. This work "Song of Buryung Flowers.II" resonates with the poem "Lang Tao Sha (Waves Scouring Sands)" of Li Yu: "The fallen flowers ride away with flowing waters, and the spring has gone. Where is it going? This world or the heaven above?" The flowers floating in the center bloom vigorously, yet the branches in the upper right part have already withered. The artist uses a metaphoric contrast to express the marvelous circle of life, applying dark and light color that symbolize growth and decline. Two thirds of the picture consists of dark colors. Purple, yellow, white, red and green colors spread layer upon layer, creating a mysterious depth like the chaotic origin of life. Artists are the best observers of nature, watching the bloom and fall of flowers and transforming their beauty into a poem or a paining to preserve the ever-lasting elegance.
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1968 年楊識宏畢業於國立藝專（現國立臺灣藝術大學）美術科西畫組， 畢業後曾先後任中學美術教師、國立藝專美術科講師，1976 年開始赴日 本、美國、東南亞、香港等旅行及舉辦個展，1979 年移居美國。楊識宏 的作品色相常帶有強烈對比，一種純粹的繪畫性及表現性，在黝暗的畫 面之中賦予無限神秘光影。楊識宏大多以植物作為繪畫的主題，他在畫 室裡栽種了許多植物，每日澆水施肥，照料生命，而植物也回饋般的給 了楊識宏許多創作的靈感養份，大自然的欣榮衰竭、生命的消長與時間 的消逝，這些象徵都在在融合進他的畫作裡。
楊識宏的創作富含了文人雅逸感，欣賞他的畫就像在讀一首詩詞般，帶 了點感懷憂傷的吸引力，此件作品〈花之歌 - 貳〉就如同李煜〈浪淘沙〉 一詞：「流水落花春去也，天上人間。」飄浮於中心的花兒生命力正是 盛開，而畫面右上的部分卻只剩枯枝，用色上以深淺來象徵消與長，雙 雙運用了對比的隱喻來表達出生命流轉的絕妙，整個畫面有三分之二用 了較深的色彩，紫、黃、白、紅、綠層層疊疊出魔幻神秘的空間感，有 如生命起源的那一團渾沌。藝術家都是最好的自然觀察者，看著花起花 落而感悟自我，將這些美好換化成筆下的一首詩詞，一幅畫作，留下那 些優雅雋永。
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