2012景薰樓春季拍賣拍品介紹 by Newno5

洪瑞麟

HUNG Jui Lin 1937 年，洪瑞麟在日本各地寫生了一年，十二月抵達日本東北部山形縣的村莊。在此時創作了大量以雪景和北國山村人物生活為主題的作品。 Lot1《山形農村》以白雪覆蓋的山形農村為背景，將雪地的嚴寒風光以統一和諧的調子處理呈現，襯托出在寒冷中身披大氅的山村農民，流暢而樸拙的線條，點出鮮明的人物動態，在曠寒冷冽的大氣中凝聚著一股莊嚴而神聖的力量，

Lot1

全畫洋溢著寧靜安祥的和諧之美。作品中簡練的造型與粗獷精確的筆觸，顯露出洪瑞麟細膩動人的成熟畫風。這樣的藝術情感也一直延續影響到洪瑞麟以礦工生活為題材的作品。 Lot4《礦山人》是洪瑞麟最為著名的礦工系列時期的作品，洪瑞麟深刻的探討自然與人的生命之間的情感關係，在作品中透露了他藝術所追求的精神價值。他以簡練、粗獷的線條刻畫出辛勤工作的礦工，在大自然環境底下尋求卑微的生存空間，深沈而堅毅的表現內在的靈魂之美。洪瑞麟的繪畫風格充滿了悲天憫人的情愫，在三十五年的礦坑歲月裡，

無論是喜苦悲樂皆躍然於畫上，這樣的藝術思維來自於藝術家真實情感的生活體驗，平易樸實卻真實至深。洪瑞麟 Lot4

除了畫礦工生活外也畫了許多風景寫生，留下了許多充滿鄉土情懷的水彩作品，Lot5《山景》，描繪了礦山的風光，層層堆疊的山巒景致，色彩清新。礦山不僅創造了礦工，也成就了洪瑞麟這位動人的「礦工畫家」。洪瑞麟在黑不見底的礦坑退休之後，他便渴望追求陽光， Lot3《海岸》、Lot2 《荒原》是洪瑞麟晚年陽光時期，於 1980 年完成歌頌陽光的風景畫，表達對於大自然的尊敬與

HUNG Jui Lin

富含生機。遊歷各地的洪瑞麟，畫作視野不僅更為開闊，

洪瑞麟 (1912-1996) 山形農村

也啟發了其藝術創作的新境界。

綜合媒材棉布貼於木板 1937

Mixed media on cotton, mounted

簽名右下：1937 洪

on board 1937

23×39cm(9.1×15.3in.)

Signed lower right: 1937 Hung in

感恩。畫風輕快明朗，設色鮮明細膩，充滿希望與動力，

Lot5

亞洲私人收藏

Village of Yamagata

Chinese, 1937 Private Collection in Asia

NT$ 400,000-550,000 US$ 13,700-18,800 HK$ 105,300-144,700

Lot3

Lot2

洪瑞麟 (1912-1996) 荒原

HUNG Jui Lin

油彩紙 1980 簽名右下：JL. Hung 1980 鈐印右下：洪 37.5×52cm(14.7×20.8in.)

Oil on paper 1980 Signed lower right: JL. Hung 1980, with one seal of the artist

展覽「西潮東風—印象派在台灣」，高雄市立美術館，1997 年。

Exhibition: “When East meets West: Impressionism in Taiwan”, Kaohsiung Museum of Fine Arts, 1997

出版《西潮東風—印象派在台灣》，高雄市立美術館，1997 年，第 104 頁。

洪瑞麟 (1912-1996) 礦山人

Wasteland

Literature: When East meets West: Impressionism in Taiwan, Kaohsiung Museum o f F i n e A r t s , 1 9 9 7, P.104

炭筆淡彩紙 1957 簽名左下：1957 礦山人鈐印左下：洪 31×42.5cm(12.2×16.7in.)

HUNG Jui Lin Miners Charcoal and color on paper 1957 Signed lower left: 1957 Miners in Chinese, with one seal of the artist

NT$ 200,000-280,000 US$ 6,800-9,600 HK$ 52,600-73,700

NT$ 180,000-260,000 US$ 6,200-8,900 HK$ 47,400-68,400

洪瑞麟 (1912-1996) 山景

洪瑞麟 (1912-1996) 海岸

HUNG Jui Lin

油彩紙 1980 簽名右下：JL. Hung 1980 鈐印右下：洪 37.5×53cm(14.8×20.9in.)

Oil on paper 1980 Signed lower right: JL. Hung 1980, with one seal of the artist

展覽「西潮東風—印象派在台灣」，高雄市立美術館，1997 年。

Exhibition: “When East meets West: Impressionism in Taiwan”, Kaohsiung Museum of Fine Arts, 1997

出版《西潮東風—印象派在台灣》，高雄市立美術館，1997 年，第 105 頁。

Coast

簽名左上：1966.11. 鈐印左上：礦山人 21.3x26.3cm(8.39×10.4in.) 附印象藝術中心保證書

HUNG Jui Lin Mountain Scenery Watercolor on paper 1966 Signed upper left: 1966.11., with

Literature: When East meets West: Impressionism in Taiwan , Kaohsiung Museum o f F i n e A r t s , 1 9 9 7, P.105

NT$ 180,000-260,000 US$ 6,200-8,900 HK$ 47,400-68,400 12

水彩紙 1966

one seal of the artist With a certificate of authenticity issued by Impressions Art Center 5

NT$ 100,000-150,000 US$ 3,400-5,100 HK$ 26,300-39,500 13

LEE Tze Fan

李澤藩

Lot6

李澤藩說 :「眼睛生來是看美好的事物

的」。李澤藩以藝術家之眼觀察並體會自身土地之美，以寫生的形式畫出對於原鄉的敬意與感恩。 6

1963 年 Lot6《土城》、1967 年 Lot7《香江》及 1986 年 Lot8《溪中奇岩》是李澤藩用畫筆娓娓道來對於這片土地的深刻情感與眷戀。李澤藩曾說「我的老師

石川欽一郎先生的畫以中景遠景為主，我的畫則更加注意近景的處理」。李澤藩的空間觀念及表現手法是其個人的觀察體驗心得，而其空氣遠近法是他利用 Lot7

獨特的擦洗、重疊之技法為主要的特色表現。

LEE Tze Fan

畫作中生機茂密盎然，冷暖交錯的色調

李澤藩 (1907-1989) 土城

拉出了遠眺空間，氣勢雄偉宏觀，綿密

水彩紙 1963

Watercolor on paper 1963

細膩的筆觸用筆，加以華麗雅緻的色彩，

簽名右下：澤藩土城 63.6.29

Signed lower right: Tze Fan and

蘊含著一股樸拙、渾厚的況味。

51.5×77cm(20.2×30.3in.)

Tucheng in Chinese, 1963.6.29

李澤藩的水彩創作是抒發本土情感意識及鄉土人文情懷的出口，不但凝聚了其一生的精煉畫技，也顯現出李澤藩寄情

Tucheng

NT$ 260,000-350,000 US$ 8,900-12,000 HK$ 68,400-92,100

山水，熱切的表達對於台灣社會這塊土地風光和家園生活的觀察與真切深厚的體會，樸實真誠而動人。 Lot8

李澤藩 (1907-1989) 溪中奇岩水彩紙 1986 簽名左下：澤藩 1986 8-10 鈐印左下：李澤藩 37×54cm(14.6×21.3in.)

LEE Tze Fan An Unique Stone in a stream Watercolor on paper 1986 Signed lower left: Tze Fan in Chinese 1986 8-10, with one 8

seal of the artist

NT$ 180,000-240,000 US$ 6,200-8,200 HK$ 47,400-63,200

蕭如松風景 7

水彩紙

李澤藩 (1907-1989) 香江

LEE Tze Fan

水彩紙 1967

Watercolor on paper 1967

簽名右下：澤藩

Signed lower right: Tze Fan in Chinese

38×53cm(15×20.9in.)

With a certificate of authenticity signed

附好來藝術中心藝術家親屬

by the artist’s family and issued by Holly

親自簽名保證書

Affinity Gallerie

出版《台灣美術欣賞》，中華民國文物藝術

Literature: Taiwan Art Appreciation , Association of

品收藏家協會，1994 年，第 49 頁。

Chinese Art Collectors, 1994, P.49

10x15cm(3.9 x5.9in.)

Hong Kong

NT$ 350,000-450,000 US$ 12,000-15,400 HK$ 92,100-118,400 16

簽名右下：-J.S-

HSIAO Ju Sung Scenery Watercolor on paper Signed lower right: -J.S-

NT$ US$ HK$

王守英 (b.1934)

WANG Shou Ying

澎湖一景

Penghu Scenery

油彩畫布 1992

Oil on canvas 1992

簽名左下：S.Y. WANG

Signed lower left: S.Y. WANG

簽名畫背：王守英 1992 澎湖

Signed on reverse: WANG

一景 25F

Shou Ying and Penghu Scenery

65×80cm(25.6×31.5in.)

in Chinese, 25F, 1992

NT$ 350,000-500,000 US$ 12,000-17,100 HK$ 92,100-131,600

王守英，1934 年出生於鹿港，畢業於臺北師範藝術科。

度顏色運用，筆下的澎湖風光，空間遼闊而舒暢，毫不做

舉辦過多次個展，作品獲獎無數，深受許多藏家喜愛。

作的將自然表現出來，畫面產生一種浪漫抒情，圓融和諧

其強調「色」及「影」的佈局，藍灰色調及適度的高彩

的氛圍。

何肇衢 (b.1931) 北投風景

HO Chau Chu

油彩畫布 1967

Oil on canvas 1967

簽名左下：Ho. Chau Chu 1967.4

Signed lower left: Ho. Chau Chu

簽名畫背：北投風景何肇衢作

1967.4

一九六七

Signed on reverse: Beitou

73x91cm(28.7×35.8in.)

Scenery, HO Chau Chu painted

Beitou Scenery

and 1967 in Chinese

NT$ 450,000-550,000 US$ 15,400-18,800 HK$ 118,400-144,700

沈哲哉 (b.1926) 裸女 - 睡姿油彩畫布 1981 簽名左下：1981 哲哉 24.5×33cm(9.6×13in.)

SHEN Che Tsai Sleeping Nude Oil on canvas 1981 Signed lower left: 1981, Che Tsai in Chinese

NT$ 80,000-120,000 US$ 2,700-4,100 HK$ 21,100-31,600 12

沈哲哉 (b.1926) 夢中的風景油彩畫布 1980 14

簽名右下：1980 哲哉 24.3×33.4cm(9.5×13.1in.) 展覽「沈哲哉油畫展」，台北太

極畫廊，1980 年。

龐均 (b.1936) 淡雅的百合

PANG Jiun

油彩畫布 2004

Oil on canvas 2004

簽名左下：龐均 2004 7 月 11 日均

Signed lower left: PANG Jiun in Chinese,

60.5x45.5cm(23.8×17.9in.)

the 11th of July, 2004

展覽「龐均的東方表現主義」，台中由鉅藝

Exhibition: “The Eastern Expressionism of PANG

術中心，2005 年。

Jiun”, Taichung GSR Gallery, 2005

SHEN Che Tsai The Scenery in the Dream Oil on canvas 1980 Signed lower right: 1980, Che Tsai in Chinese Exhibition: “SHEN Che Tsai Oil Paintings E x h i b i t i o n”, Ta i p e i Ta i ch i Gallery, 1980

NT$ 80,000-120,000 US$ 2,700-4,100 HK$ 21,100-31,600

Elegant Lily

NT$ 250,000-350,000 US$ 8,500-12,000 HK$ 65,800-92,100

林克恭 (1901-1992) 燕安

LIM Kac Keong

油彩畫布 1972

Oil on canvas 1972

簽名左下：Lim

Signed lower left: Lim

61×51cm(24×20in.)

Peaceful

出版

Literature: Taiwan Fine Arts Series (16)— LIM Kac Keong ,

《台灣美術全集 16 — 林克恭》，藝術

Artist Publishing Co., 1995, P.170

家出版社，1995 年，第 170 頁。

Private Collection in Asia

亞洲私人收藏

NT$ 950,000-1,200,000 US$ 32,500-41,000 HK$ 250,000-315,800

1973 年林克恭是首位擔任巴西聖保羅

In 1949, Lim moved to Taiwan with the government. His wife said

雙年展國際評審的華人，1991 年榮獲

that when LIM left Amoy, he was too hurry to take his paintings

行政院文建會頒發國家文藝獎美術類成

with him, therefore, most of his paintings were ruined during the

就獎。Lot15《燕安》與 Lot16《羊質

revolution. Thus, the one who can see now is considered more than

虎皮》是他 1972 與 1973 年創作顛峰

precious.

時期的作品，他注重作品中的內在涵養及生命力與活力的自我精神表現，擅長觀察自然與人生的對應關係，無論寫實或抽象作品都有其獨特的藝術語言，林

In 1973, LIM was chosen to be the first Chinese judge in Brazil Sao Paolo Art Biennial. In 1991, he received the honorary academy award of art from Council of Cultural Affairs. Lot15 “ Peaceful ” and Lot16“Goats” and were painted in 1972 and 1973. During this period, he paid more attention to the inner essence and the

克恭將巧思寓意融入畫中，予人增添想

self-expression of vitality. He is good at observing the relation

像性的故事空間，更衍生了畫作的趣味

between nature and human beings and tried to use his own art

與娛樂性，也表現出林克恭對自身作品

language to create his artworks. Therefore, his artworks became

的高度期許。

more imaginative and entertaining and this also shows his high expectation to his paintings.

林克恭 (1901-1992) 羊質虎皮

LIM Kac Keong

油彩木板 1973

Oil on board 1973

簽名左下：Lim

Signed lower left: Lim

51×61cm(20×24in.) 出版

Goats

Literature: Taiwan Fine Arts Series (16)— LIM Kac Keong , Artist

《台灣美術全集 (16)—林克恭》，藝術家出版社，

Publishing Co., 1995, P.187

1995 年，第 187 頁。

A Solitary Peak in Taiwan’s Fine Arts Landscape– LIM

《台灣美術一座隱然的高峰：林克恭》，暉宇出

Kac Keong , Huei Yu Publishing with the sponsor of

版社、財團法人林本源中華文化教育基金會出版

The LIM Ben Yuan Chinese Culture and Education

補助，2008 年，第 144-145 頁。

Foundation, 2008, P.144-145

亞洲私人收藏

Private Collection in Asia

NT$ 800,000-1,000,000 US$ 27,300-34,200 HK$ 210,500-263,200

林克恭，1901 年生於台灣望族，為板橋林本源

LIM Kac Keong was born in 1901 and he was a descendant of

家族第六代子孫。家中的文人雅士進出頻繁，

Lim Ben Yuan family which was a respected family in Taiwan.

自小即沉浸於藝術的環境及薰陶，進而轉換成

Due to his growing background, with an inborn nature of

其爾後的創作本質。林克恭少時即接受過中國

kindness and intelligence, LIM's passion for art was influenced

傳統的教育，又經歷倫敦大學斯雷德美術學院、

by the way he was cultivated. He received Chinese traditional

法國巴黎朱麗安美術學院及瑞士日內瓦美術學院的進修深造。林克恭栽進藝術的領域中，其豐富的學識與文學涵養，使他的作品在西方文化的影響及中國文人精神的交融之中，凝結成其獨特優雅的氣質。 1949 年隨著政治易變遷移至台灣，他的太太海

education during his early years and also studied art in London, Paris and Switzerland. LIM's painting style and way of living are different from others. As a brilliant painter, LIM was not only a respectful gentleman but also a hard to get educator. Students of him were all benefited from his profound knowledge and impartial teaching manner. In 1949, Lim moved to Taiwan with the government. His wife

蒂夫人曾說過，離開廈門鼓浪嶼時，曾有數千

said that when LIM left Amoy, he was too hurry to take his

幅畫作來不及帶走，可能都在所謂的無產階級

paintings with him, therefore, most of his paintings were

大革命中被摧毀殆盡了。因此林克恭所遺留下

ruined during the revolution. Thus, the one who can see now is

的畫作可說是彌足的珍貴。

considered more than precious.

蔡雲程 (b.1929) 古松夕照油彩畫布 2002 簽名左下：CHUA HU 呈 2002 97×67.9cm(38.2×26.7in.)

CHUA Hu Pine Trees at Dusk Oil on canvas 2002 Signed lower left: CHUA HU, Chen in Chinese and 2002

NT$ 350,000-450,000 US$ 12,000-15,400 HK$ 92,100-118,400

《藍色交響曲 - 山水之二十六》是蔡

CHUA Hu

雲程藍色系列作，用藍色替代水墨的

Blue Symphony

墨，用油蠟筆繪畫產生的油畫效果，

1970 年代，蔡雲程受法國藝術家烏拉蒙克的影響，其

蔡雲程 (b.1929) 藍色交響曲 —山水之二十六

辦多次展覽，聲名遠播。早年與台灣藝壇接觸密切，趙

畫風轉變為以中國水墨意象和西方現代主義的理性美感

油蠟筆紙 1995

Crayon on paper 1995

無極、朱德群亦為其舊識，1990 年間隨女兒定居於台

所融合的作品，創造出不同於以往的作品。他說：「上

簽名左下：CHUA HU -1995. 呈 YA

Signed lower left: CHUA HU -1995.

灣宜蘭。

帝給我一雙熱愛繪畫的手和頭腦，我腦海裡盤旋的全是

78×110cm

Chen in Chinese and YA

蔡雲程曾獲英國劍橋「國際名人傳記協會」的傑出成就

藝術、色彩、空間與靈感，好像我的生命一般。」

(30.7×43.3in.)

獎，並登入世界名人錄，也曾獲錄於美國名人傳記學會

《古松夕照》，充分展現出東方的人文精神與雅緻情

出版的「榮譽榜」，比利時與西班牙協會也曾頒予創作

趣，在其營造的色彩氛圍中富有詩意的氣息，夕照餘暉

獎項等榮耀。1990 年，蔡雲程獲美國愛因斯坦學術基

與蒼勁古松在他的巧思安排之下形成有如太極的圖像，

金會頒給的和平大獎，該獎項一向是頒發給政治或宗教

周而復始，生生不息的生命泉源，是一幅耐人尋味的佳

界的影響人物，直到蔡雲程獲獎才打破此慣例，令全球

品。

蔡雲程 1929 年出生於中國福建，十歲時移居於菲律

慶舉辦的魯本斯國際藝術節中唯一獲獎的華人藝術家。

賓，1950 年代於馬尼拉藝術學院研習西畫， 1976 年

其一生獲獎無數，藝術成就顯著。

至 2001 年於中、英、法、美、比利時、菲律賓等地舉

－ Landscape 26

把東方水墨的詩意性融入西方藝術理論和科學精神中，再現古漢唐的山水意境，獨樹一格的創作風格，受到世界各地的藏家高度讚賞。

NT$ 350,000-450,000 US$12,000-15,400 HK$ 92,100-118,400

畫壇矚目。此外，1996 年，百年一屆的法國四百年國 26

龐均生於上海，為中國第一代留法藝術家龐薰琹之子。入學杭

龐均 (b.1936) 江流天地外山色有無中

州美術學院及北京中央美術學院，師承林風眠、潘天壽、黃

油彩畫布 2010 簽名右下：龐均 2010 均 72.7×91cm(28.6×35.8in.)

賓虹、徐悲鴻、吳作人、李可染等前輩，是徐悲鴻末代關門弟子。1987 年定居台灣，並任教於現今國立台灣藝術大學。多年來不斷從事油畫創作與教學，油畫個展三十餘次，超過半世紀的藝術生涯中，不斷探索東方油畫風格。他認為要藝術家必須要有人文修養內涵，才能轉化成獨特創意，在技巧上發揮新

附藝術家親自簽名保證書

特色。龐均的畫作中有著西方印象派與野獸派的綜合特點，展現西洋畫的熱情及表現力，並結合東方人文藝術哲學，融合展

PANG Jiun Guilin Landscape Oil on canvas 2010 Signed lower right: PANG Jiun in Chinese 2010

現出獨特的意境及畫品，堪稱是東方人文表現主義。在此次春拍中，推出了四張龐均精品，分別是 Lot21《木柵捷運 ( 窗外 )》、 Lot17《淡雅的百合》、Lot20《聚沙成塔》與 Lot19《江流天地外山色有無中》，從他的油畫作品中，看見龐均深厚紮實的功力。用筆瀟灑自在而強勁有力，細膩精緻而

With a certificate of authenticity signed

婉約。運用油彩的輕薄厚重，恰如其分的表達出空間、體積、

by the artist

質感、光線與色彩。

NT$ 750,000-1,100,000 US$ 25,600-37,600 HK$ 197,400-289,500

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。」灰色調的顏色是屬於龐均的，在《江流天地外山色有無中》此件作品中顯現「孤帆遠影碧山盡，唯見長江天際流」之浩瀚，可以看到龐均將灰色運用的淋漓盡致，在一層一層的色塊堆砌中，不僅推出江流山河的空間，也推出了氣韻生動的寫意，岸上江邊的幾戶人家房舍，黑白相間錯落有致，更添生意。作品中，成功創造出一波三折的畫趣，展現出鮮活的東方生命力。

21 20

PANG Jiun

油彩畫布 1998

Window)

簽名左下：均龐均 1998

Oil on canvas 1998

60.5×72.5cm(23.8×28.5in.)

Signed lower left: PANG Jiun 1998

Muzha Metro (Outside the

龐均 (b.1936) 聚沙成塔

PANG Jiun

油彩畫布 2007

Oil on canvas 2007

簽名右下：龐均 2007 均

Signed lower right: PANG Jiun in Chinese

附名揚九洲股份有限公司藝術家親自簽名

With a certificate of authenticity signed by

72.5×60.5cm(28.5×23.8in.)

2007

保證書

the artist

展覽

出版

「鄉情、視角」，江蘇常熟美術館，2007

Exhibition: “Affection for Homeland, Perspective

Literature: Techniques for Oil Painting , People’s Fine

年。

of Life”, Changshu Museum of Jiangsu,

《油畫論》，人民美術出版社，2007 年，第 159 頁。

Arts Publishing House, 2007, P.159

Pagoda

2007

NT$ 500,000-600,000 US$ 17,100-20,500 HK$ 131,600-157,900 30

龐均 (b.1936) 木柵捷運 ( 窗外 )

NT$ 500,000-600,000 US$ 17,100-20,500 HK$ 131,600-157,900 31

法蘭西斯 ‧ 培根 (Francis BACON，1909-1992) 和威

黃銘哲出征 ( 面對北京 )

廉 ‧ 得庫寧 (Willem DE KOONING，1904-1997) 是

油彩畫布 2007 簽名畫背：面對北京 182×182 油畫

影響黃銘哲最重要的兩位藝術家。培根因二次大戰結束，而隨之蔓延起人們厭戰心理的悲慘主義畫風，黃銘哲因其受婚姻的挫敗，看到培根的畫足以撫慰其心

2007 哲

靈。而在美國時期，德庫寧的繪畫有著強烈的表現主

182×182cm(71.7×71.7in.)

義色彩，亦引起黃銘哲內心的表現慾望。黃銘哲在視

出版《Huang Ming-Che》，旻谷藝術，2008 年，第 92-93 頁。

Michell HWANG

覺的造型思維中反覆撕裂自己，又不斷塑造自己，在作品隱喻著屬於他個人的自傳性色彩。法國詩人波特萊爾說：「人也許是不幸福的，但是深受繪畫慾念所撕裂的藝術家卻是幸福的！」

Campaign (Facing to Beijing)

現實生活中或許有太多不完美的缺憾，黃銘哲用溫柔

Oil on canvas 2007

的繪畫療傷，用狂野的想像去滋養，因不斷地發現其

Signed on reverse: Facing to Beijing 182×182 Oil on canvas in Chinese 2007

內在的需求，而催生出一件件屬於他獨特的藝術語言。

Che in Chinese Literature: Huang Ming-Che , Ming Art Gallery, 2008, P.92-93

NT$ 1,200,000-2,000,000 US$ 41,000-68,400 HK$ 315,800-526,300

黃銘哲 (b.1948) 愛花的女人

作品《愛花的女人》是黃銘哲於 1992 年的作品，其描述一位愛花的女人，線條運用瀟灑，色彩繽紛炫目，在線與色面不斷的運用重疊上，表現出許多肌理豐富

油彩畫布 1992

的層次感。女人的意象，在黃銘哲筆下的抽象與具象

簽名下方：哲 1992

之間，可愛的有如搖曳動人的花姿與色彩，畫面細膩

91×72.5cm (35.8×28.5in.)

而灑脫，是其經典精美之作。

附印象畫廊藝術家親自簽名保證書

Michell HWANG Woman Who Loves Flowers Oil on canvas 1992 Signed lower: Che in Chinese, 1992 With a certificate of authenticity signed by the artist and issued by Impressions Art Gallery

NT$ 550,000-750,000 US$ 18,800-25,600 HK$ 144,700-197,400

王攀元 (b.1912) 街景

WANG Pan Yuan

水彩紙

watercolor on paper

簽名右下：Wang p. y.

Signed lower right: Wang p. y.

Street Scene

55×79cm(21.7×31in.)

NT$ 300,000-400,000 US$ 10,300-13,700 HK$ 78,900-105,300 「沒有含淚吃過麵包的人，不足以談人生。」 1912 年出生於江蘇豪門世家的王攀元，因雙親逝世，家族爭產，使他歷盡滄桑，看透人世冷暖起落。畢業於上海美

王攀元：「繪畫一門，就是創作者的心靈反應，脫離了心

的表現，就是抄襲。也就是說，我這特殊的痛苦人生，借用了繪畫來表白我的內心苦水罷了。」

專。1949 年因時局動亂攜眷來台，遠離鄉土，再加上遭逢

作品中自我內心的觀照以簡潔的主題刻畫其細膩的情感詮

一連串艱困歲月，縱使生活困頓及現實窘迫，卻都不曾損

釋。孤寂的感觸與漂泊的情思，樹立其獨特深沉的生命哲

及他的自尊和創作上的嚮往，始終執著於繪畫之路。曾獲

思。色彩幽深，筆觸線條勾勒出了街景房舍的樸拙韻味，

中華民國畫學會金爵獎，國家文藝獎。作品獲台灣省立美

王攀元一生歷經大時代的動盪與生命的不安，卻也塑造出

術館、台北市立美術館典藏。2001 年應邀於台北國立歷史

其特殊的藝術語言風格，個人生命歷練的情感流露，真實

博物館國家畫廊舉行個展。

而動人。

伍步雲 (1904-2001) 田陌

NG Po Wan

油彩畫布 1963

Oil on canvas 1963

簽名左下：伍步雲 2/1963

Signed lower left: NG Po Wan in Chinese

64.5×81.4cm(25.4×32in.)

and 2/1963

出版《伍步雲畫集》，甄雅堂藝術、香港培藝

Literature: NG Po Wan Paintings , Zheng Ya Tang and

中心出版，1994 年，第 32-33 頁。

Hong Kong Pui Art Center, 1994, P.32-

In The Field

NT$ 450,000-600,000 US$ 15,400-20,500 HK$ 118,400-157,900 37

郭振昌 (b.1949) 羅漢五壓克力畫布 2003 簽名右下：郭振昌 2003 J.C. Kuo. 200×130cm(78.4×51in.)

KUO Jen Chang Lohans 5 Acrylic on canvas 2003 Signed lower right: KUO Jen Chang in Chinese, 2003 and J.C. Kuo

NT$ 1,000,000-1,600,000 US$ 34,200-54,700 HK$ 263,200-421,100

郭振昌，是位熱愛以台灣意象與觀察社會現象為創作題材的藝術家。《羅漢五》與 Lot27《可口可樂》是郭振昌以羅漢為主題的畫作，「羅漢」是一種內造的價值典範，在作品中顯露出「羅漢」對生活的期許或甚至理想的慾望。《羅漢五》中，郭振昌使用大量的平塗技法與大面積的色塊，形象與色彩均呈現高度鮮明化，在羅漢的系列畫作中，郭振昌借取友人的生活經歷與社會的角色形象，經過轉化再現後，變為台灣社會眾生相的各種表徵，這些羅漢有著不同面向的人文意涵與社會價值。郭振昌一反往常的激烈批判口吻，以冷靜內斂的穩定感，刻意的表達出自律性的道德與自發性的價值觀，藉此反應台灣當前社會發展的生活意義。 Lot28《圖騰與禁忌 - 老子 ‧ 莊子》為郭振昌「圖騰與禁忌」的系列作品之一，郭振昌試圖從台灣人普遍的儀式、禮俗文化與教條信仰中，探索人們長期以來共通的生活認同與文化記憶。在《圖騰與禁忌 - 老子 ‧ 莊子》中以草書的元素為背景，古代聖賢的道家圖像結合台灣廟宇式的神明臉譜，郭振昌在其意義上加以衍生，道出他對台灣社會關懷與批判精神的所在。

28a

28b

28a~b 27

KUO Jen Chang

( 兩件一組 )

(A Set of Two Pieces)

圖騰與禁忌 - 老子．莊子

Totem and Taboo - Laozi and Zhuangzi

複合媒材 2003

Mixed media 2003

簽名右下：郭振昌 2003 J.C.Kuo

Signed lower right: KUO Jen Chang in Chinese, 2003

40×30.5cm(15.7×12in.)×2

and J.C. KUO With a certificate of authenticity issued by William

郭振昌 (b.1949) 可口可樂

KUO Jen Chang

壓克力油彩複合媒材 2003

Acrylic, oil and mixed media 2003

附威廉藝術中心保證書

簽名左下：郭振昌 2004 J. C. Kuo

Signed lower left: KUO Jen Chang in Chinese

展覽

簽名畫背：此畫為 2003 畫而非 2004 原因 : 簽

2004 and J.C. KUO

「圖騰與禁忌：郭振昌個展」，台北市立美術館，

錯日期郭振昌 2003

Signed on reverse: This painting was painted in

2008 年。

76×61cm(29.9×24in.)

2003 not 2004 due to the signing mistake KUO

附大趨勢畫廊保證書

Coca Cola

Jen Chang in Chinese, 2003 With a certificate of authenticity issued by Main

郭振昌 (b.1949)

出版《圖騰與禁忌：郭振昌個展》，台北市立美術館， 2008 年，第 105 頁。

Art Salon Exhibition: “Totem and Taboo 2008 KUO Jen Chang”, Taipei Fine Arts Museum, 2008 Literature: Totem and Taboo 2008 KUO Jen Chang , Taipei Fine

Trend Gallery

Arts Museum, 2008, P.105

NT$ 220,000-350,000 US$ 7,500-12,000 HK$ 57,900-92,100

NT$ 260,000-400,000 US$ 8,900-13,700 HK$ 68,400-105,300 41

「我的技巧到此已無問題，今後所要著重的是如何呈現靈感，我覺得這是一

幅好畫的精華所在，靈感是一種鮮活而有生命力的東西，它在你繪畫的當兒滋生成長……自然界諸種色澤與光線的記憶，將在我的藝術中扮演重要的角

劉啟祥 (1910-1998) 美濃巷路油彩畫布 1976 簽名右下：C. LIOU. 116×90cm(45.7×35.4in.) 亞洲私人收藏

色。我愈以單純的色彩繪出色感豐富的圖，好比一闕清麗有致的曲子。我盼望落筆無幾，而畫出能夠訴說一切的作品，仿如一首意味盎然的詩。」劉啟祥說。劉啟祥出身台南柳營的書香望族，為地方聲望卓著的仕紳。家世淵源的背景也造就了他優雅而抒情不凡的氣質及溫和恬靜的個性。劉啟祥於 1928 年赴日本文化學院美術部，又於 1932 年至法國巴黎精進其藝術涵養，是台灣早期畫家中，接受西方文化滋養最深的一位。 60 年代至 70 年代堪稱劉啟祥的創作顛峰期，作品多風景與靜物，筆法更為

出版

灑脫自在，誠如作於 1976 年作品《美濃巷弄》，描繪美濃地方純樸的生活

《台灣美術全集 (11)—劉啟祥》，

寫照，人物往來點綴於畫面上，跳動的筆觸與節奏的色彩帶動了這幅作品的

藝術家出版社，1993 年，第 244

朝氣，空間不停地推敲延伸至深處，光線灑落在紅色的斜簷與美濃房舍的白

頁。

LIOU Chi Hsiang

牆上，如同回到台灣土地早期的質樸記憶中。澄朗鮮明的晴空照亮在聳立的高山上，愈趨遠方而愈益明亮的遠景，透露著劉啟祥對於未來充滿著光明與希望，是其關照大自然乃至於人生哲思的最佳寫照。全幅畫作在和諧寧靜中

Meinung Street

生意盎然、優雅自適，充分顯現其抒情別緻的雅士氣質。色彩淡雅而調和，

Oil on canvas 1976

富有浪漫幻想的趣味性，造型典雅自然，空間佈局多重而突出，使觀者產生

Signed lower right: C. LIOU.

視覺上的游移感及畫面的擴張性，實為劉啟祥相當難得的一幅精品傑作。

Private Collection in Asia

劉啟祥熱愛鄉土，熱愛台灣這塊土地，為台灣美術教育及文化風氣的推動不

Literature: Taiwan Fine Arts Series (11)—

遺餘力，因他的努力使南臺灣的美術文化幼苗始得以茁壯成長。劉啟祥遂定居高雄，並成為南台灣畫壇精神上的靈魂人物。他一生的創作為數稀少，絕

LIOU Chi Hsiang , Artist Publishing

大部分的畫作皆為高雄市立美術館所珍藏，因此劉啟祥如此巨幅精美的畫作

Co., 1993, P.244

現身市場，實為相當難能可貴。

NT$ 3,000,000-4,000,000 US$ 102,500-136,700 HK$ 789,500-1,052,600

LIOU Chi Hsiang once said, “My painting skill is already mature enough, but

what I need to focus is how to express my ideas. I think it is the essence of a good painting. Ideas are live and vital and they grow up in your paintings…. The colors and the lights of nature play a an important role in my art. I use simple colors to paint colorful paintings and it is just like a delighted melody. I hope that my painting can speak for me just like a flowing poetry. ” LIOU grew up in a reputed family in Tainan. The special living background made him become an elegant and peaceful man. Among all the Taiwanese artists, he is also the one who has the most Western influence. He also devoted himself to promoting Taiwanese art education especially in Southern Taiwan. Therefore, he became an irreplaceable person in Taiwanese art history. 1960’s to 1970’s can be considered the best period of his art life. He painted mostly landscape and still lives. “Meinung Street” was painted in 1976and depicted the local life of Meinung. The use of vivid colors and lights brings out the vigor of the whole painting. The light reflected on the red roof and old house’s wall shows the direction to the early age’s memory. Clear sky and sun shine the mountain on the background; the further shines the most and this reveals hope and splendid future of the artist. The whole painting looks elegant and harmonious and the composition gives the viewers more various visions toward this painting. 29

張萬傳 1909 年出生於淡水，2003 年以 95 歲高壽辭世。張萬

張萬傳 (b.1909) 桌上靜物

傳的作品著重質感與量感的表現，早期受日本藝術家鹽月桃甫

油彩畫布 1980 簽名左下：1980. CHANG. 万 . 53×65cm(20.9×25.6in.)

的影響，畫風傾向「野獸派」與「表現主義」。19 歲受石川欽一郎的洋畫研究所的指導，並結識洪瑞麟、陳德旺等人，並一同赴日習畫，返國成立「Mouve 美術協會」，也與張義雄、廖德政等人組成「紀元美術展」，成就當時的藝術盛況，為台灣近代藝術史上重要的角色。

附印象畫廊保證書出版：《張萬傳的繪畫世界—張萬傳》，印象畫廊，1994 年，第 104-105 頁。

CHANG Wan Chuan Still Life on the Table Oil on canvas 1980 Signed lower left: 190. CHANG. and Wan in simplified Chinese With a certificate of authenticity issued by Impressions Art Gallery Literature: CHANG WAN CHUAN , Impressions Art Gallery, 1994, P.104-105

張萬傳說 :「生活中產生的藝術才是真實的。」他以生活周遭的事物入畫，足見他創作的誠懇態度與生活樸素的一面。《桌上靜物》是張萬傳於 1980 年所創作的作品，這時他已經退休，在創作上進入一個完全自由揮灑的時期，無論在運筆亦或是用色，儼然已至成熟的最高境界。他致力於主觀色彩與形體解構的揮灑，表現出強烈獨特的藝術面貌，在豪邁奔放的筆觸中，點出華麗細膩的色彩，流露出藏於畫中的生命力。而強而有力的黑色線條牽引出物體結構，以綠色調統整畫作的張力表現，恣意的筆觸勁勢與速度感的掌握，以其家人為主角，綴以彩點般的桌上靜物，如同在綠色交響曲中跳躍的音符，形色交融、肌理豐美的畫面效果，營造出氣韻流動的空間。在台灣第一代畫家中，張萬傳將油彩的特質與形色的掌握，發揮得如此瀟灑淋漓，是極少數中的一位，他以這樣的特質為台灣美術史上譜出屬於他的篇章。

NT$ 1,400,000-1,800,000 US$ 47,800-61,500 HK$ 368,400-473,700

廖繼春 LIAO Chi Chun

Lot32

郭柏川 (1901-1974) 風景

KUO Po Chuan

油彩木板 1934

Oil on board 1934

簽名左下：H. Kahu -1934-

Signed lower left: H. Kahu -1934-

Landscape

33x24cm(12.9 x9.4in.)

NT$ US$ HK$

台灣前輩畫家郭柏川，字少松，1928 年考入東京美術學

以迅速地筆法捕捉眼前的景緻，筆觸活潑靈動、造型簡約、

校，師事岡田三郎助並受正統外光派訓練，使其在野獸派

色感豐富飽滿，以鄉間的小道一路將畫面的空間推出深遠

和梅原龍三郎熱情豪放的風格影響之餘，仍保有其獨特的

層次，傳神地呈現出其藝術繪畫本質，並重現當時的陽光

藝術韻致。1937 年離日直接前往中國，定居於北平十二年

熱度與泥土芬芳氣息的清新氛圍。

之久，並受邀擔任北平藝專教授，在當時也受到同事黃賓

除了藝術創作外，郭柏川也致力於推動藝術發展，與同好

虹諸多的影響，以「亂柴皴」描繪了許多東北風光。

共同創立「台灣美術研究會」，在南部培育出不少出色的

《風景》是郭柏川早期 1934 年在日本留學期間的作品，

藝術家。

保羅 ‧ 賽尚，《聖維克多山》，19041905，油彩畫布 “Mont St. Victoire” by Paul CEZANNE, 1904-1905, oil on canvas

景薰樓 2001 春季拍賣，Lot234 廖繼春《淡江風景》，油彩畫布，成交價 NT$10,220,000 JSL 2001 Spring Auction, Lot234 “Tamsui Scenery” by LIAO Chi Chun, oil on canvas, sold for NT$10,220,000

景薰樓 2011 春季拍賣 Lot75 廖繼春《淡水風景》，1961，油彩木板，成交價 NT$8,260,000 JSL 2011 Spring Auction, Lot75 “ Ta m s u i S c e n e r y ” by L I AO C h i Chun, 1961, oil on board, sold for NT$8,260,000

廖繼春 (1902-1976) 淡水觀音山

LIAO Chi Chun

油彩木板 1959

Oil on board 1959

簽名左下：繼春 1959.9.

Signed lower left: Chi Chun in

32x41cm(12.6×16in.)

Chinese, September 1959.9.

NT$ 4,500,000-6,000,000 US$ 153,800-205,100 HK$ 1,184,200-1,578,900

廖繼春絢麗鮮明的色彩，奔放熱情的線條，是他作

LIAO Chi Chun’ s work contains vibrant colors. The enthusiastic lines are the

品的魅力所在。廖繼春於 1924 年至 1927 年赴日

charm of his work. LIAO Chi Chun studied in Japan during 1924-1927. After

留學，返台後，沉浸於台灣的陽光與色彩中，開創

returning to Taiwan, he immersed himself under the sunlight and the color

他狂野筆觸與色彩的對比運用。1947 年舉家遷居

of Taiwan, and created his wild strokes and contrast in color use. In 1947,

台北，一方面於大學美術系裡教書，一面則孜孜不

his family moved back to Taipei. He then taught in the art department in the

倦於藝術創作中。這個時期的寫生對象轉移到北部各個名勝，他曾經於現今的淡江中學兼課，淡水風光與觀音山遂成為他最為鍾愛的景點，直到過世前不久，仍然不斷以此為主題創作。在《淡水觀音山》，其擅於掌握筆觸與色彩的工夫，在此作品上

university while producing his artwork enthusiastically. The sketch objects of this period transferred to the various attractions of the northern part. He had been teaching part time at today’s Tamkang Middle School, and it was when Guanyin Mountain became his most beloved attraction the theme of creation until shortly before he died. In “Tamsui Guanyin Mountain”, LIAO’s skillful strokes and color work are completely shown. LIAO Chi Chun overlooked the

一覽無遺。廖繼春從熟悉的淡水景色中遠眺觀音

Guanyin Mountain from his familiar water. The rhythm of movement of the

山，以藍綠色與粉紅色調的繽紛色彩描繪出淡水風

Tamsui River was depicted in light blue and pink colors. An embellishment

景的節奏樂章，將幾艘帆船點綴於淡水河畔上，更

of few sailboats on the Tamsui River creates an impressive and enjoyable

顯動人而愉悅。畫作呈現恬靜和諧之美，使觀者也

atmosphere. The painting presents a quiet and harmonious beauty that gives

能感受到這份自在祥和的寧靜氛圍。保羅．塞尚 (Paul CEZANNE1839-1906)：「自然呈

the viewer a feel of comfortable and peaceful tranquility. Paul CEZANNE: “What natural presents to us is not permanent, and is going

現給我們的一切都不是長久的，皆會消逝的。因

too disappear eventually. Therefore, our art is to record all of her quality. Our

此，我們的藝術在記錄她的種種質素，記錄她的一

art work should not only record the phenomena, but should also be able to show a sense of permanence of the nature.” LIAO Chi Chun to Tamsui

切現象之外，也必須要能留住她那永恆的一面。我們的藝術必須要能給我們一種大自然的永恆感。」廖繼春之於淡水觀音山就如同塞尚之於聖維克多山一般，淡水觀音山是許多台灣前輩藝術家最為鍾愛的景點之一，對於台灣畫家來說有著深刻且不可抹

River and Guanyin Mountain is like Cezanne to St. Victoire. Tamsui River and Guanyin Mountain are one of the most beloved attractions of Taiwanese senior artists. Taiwanese painters have a profound and indelible memory about Tamsui River and Guanyin Mountain. LIAO Chi Chun imposed modern art on Tamsui River and Guanyin Mountain. He was not only obsessed with

滅的精神性記憶。廖繼春將其對現代藝術的推崇加

the beauty of them, but also drew them as the projection of his respect for

諸於淡水觀音山上，不僅是醉心於淡水觀音山的美

Cezanne and St. Victoire Mountain.

景之中，也是其對塞尚與聖維克多山的崇敬投射。

Art critic, professor XIE Li Fa says, “Taiwan's first generation and second

藝評家謝里法教授：「台灣的第一代與第二代畫家，

generation of painters had merely come to Tamsui River and used Guanyin

幾乎沒有人不到淡水來畫過以觀音山為背景，紅色

Mountain as the background, and the red church in the front. We can even

教堂為前景的風景寫生。甚至可以說：『沒有畫過淡水教堂的，不能算是台灣畫家。』近年許多人以

say that he who has never drawn the Tamsui River Church can not be regarded as a Taiwanese painter.” In recent years, art works by Taiwanese

台灣畫家作品為收藏對象，因此又可以說：『沒有

painters are popular objects to collectors. Therefore, we can also say that he

收藏過淡水教堂的，不能算是台灣收藏家。』廖繼

who has never had a painting of the Tamsui River Church can not be regarded as a collector who collects Taiwanese art. LIAO Chi Chun’s painting is a

春的畫，在台灣美術史上是一種典型的標誌，不論題材和造形都足以為台灣美術的象徵，是難得的經典之作。」 48

Tamsui Guanyin Mountain

classic symbol in the Taiwanese art history regardless of the subject matter and form. LIAO’s works are truly rare and classic.” 49

LI Mei Shu

李梅樹

李梅樹出生於台灣三峽，作品曾多次

leaving the immortal mark of scenery

入選台、府展，並參與台陽美術協會

and culture of Taiwan's.

的創立。他以寫實路線來擁抱台灣鄉

During the Japanese colonial period in

土之美，為台灣風景、人文歲月留下

Taiwan, there were no the Academy of

不朽的印記。

Fine Arts nor college art department.

日據時代的台灣，沒有美術學院或大專美術科系，想進一步鑽研藝術繪畫者就不得不到日本留學。1920 年代，台灣藝術青年興起留學日本的熱潮，李梅樹於 1928 年赴日本東京美術學

本式的折衷印象畫風，並不完全的信服，仍寄望醉心於法國印象派大師的

who were studying in Japan during

者的樣貌，畫筆將時間停留在那思索

簽名畫背：水田蕭如松作

Signed lower right: -J.S-

53×72cm(21×28.3in.)

Signed on reverse: Farmland, by HSIAO

展覽

Ju Sung painted in Chinese

「第五十一屆台陽美展」，1988 年。

Exhibition: “51st Tai Yang Fine Art Exhibition”, 1988

NT$ 350,000-500,000 US$ 12,000-17,100 HK$ 92,100-131,600

painters froze the time at the moment

韻味，淡淡的菸草香依稀還存留在那

of contemplation, filled it with an

令人懷舊的時空中，如出一轍般的巧

ineffable deep quiet. Two men share

塞尚《玩牌者》這張畫作於 2011 年 4 月由波斯灣卡達王國 (Qatar) 以 73

保羅．塞尚《玩牌者》，1890-1895，油彩畫布， 97×130cm，卡達國家博物館典藏 “The Card Players” by Paul CEZANNE, 18901895, oil on canvas, 97x130cm, The Collection of Qatar National Museum

“ A Contemplating Man Smoking Pipe ” and the man on the left side

depicts the faces of two men; the

靈傾訴，令人驚訝也不禁令人莞爾。

Watercolor on paper about 1960

There is an interesting common between the character in LI’s painting,

洗禮的容顏，那同樣抽著白色煙斗的

弈鬥智，更像是難得覓見知音般的心

簽名右下：-J.S-

French impressionist masters.

的是那深邃凝視的眼神與那歷經歲月

與塞尚的相遇般，不只是彼此間的博

River

emerge within the painting style of

in CEZANNE famous painting, “ The Card Players ” . The depression look

遇，就如同兩位跨時代的天才李梅樹

水彩紙約1960年

the time. Those students still hope to

層寧靜，不復見的時代背景中，不變

的空間裡，瀰漫著一股不可言喻的深

The Farmland Behind Toucian

Shu attended Japan Tokyo Fine Arts

type of impression style ” , which wasn’t convincing to those students

時留日的台灣美術學生，對於這種日

妙。在那抑鬱的神情中描繪出了沉思

Lot34

to Japan for further study. LI Mei

time, such as Fujishima Takeji and Tian Ying, mostly hold a “compromise

種「折衷式的印象主義風格」，而當

Players) 裡左側人物有著異曲同工之

HSIAO Ju Sung

many artistic youth of Taiwan went

School in 1928, the professors at that

塞尚著名畫作《玩牌者》(The Card

蕭如松 (1922-1992) 頭前溪的水田

study abroad in Japan. In the 1920s,

武二、和田英作等人，大抵都走著一

《叼著煙斗沉思的男子》其中主角與

further about the art of painting had to

校就讀，當時的東美教授，如 : 藤島

筆韻中。

Pe o p l e w h o wo u l d l i ke t o s tu d y

the same deep gazing eyes and aged faces, same smoking a white pipe, in a nostalgic time and space, it’s as if a scent of tobacco still remains. The common in the two pictures is like an encounter of two geniuses, LI Mei Shu and CEZANNE. It is not only a

億台幣天價收購。相信如果能夠擁有

game battle of wits between the two

李梅樹的此張精美之作《叼著煙斗沉

but also a heart to heart dialog with an

思的男子》，不僅能夠讓我們一次同

understanding friend. The coincidence

時擁有品味李梅樹與塞尚的經典，更能讓我們一解未能夠擁有塞尚作品之

is surprisingly and sweet. The painting, “The Card Players” by CEZANNE, was

憾。李梅樹《叼著煙斗沉思的男子》

acquired by the King of Persian Gulf

實為瑰寶，今現身市場，甚為難得。

the Kata Kingdom (Qatar) in April, 2011

LI Mei Shu was born in San-Shia,

that owning this wonderful painting of

Taiwan. His works have been selected

LI Mei Shu not only allows us to savor

to Taiwan and Tainan art exhibition, and to participate in the charter of the

the classic of CEZANNE at the same time. This fine work of LI Mei Shu, “A

Taiyang Art Association. He embraced

Contemplating Man Smoking Pipe ”

the beauty of the local Taiwanese

is surely a very rare treasure in the

culture through realistic expression,

market.

at a price of NT $ 7.3 billion. We believe

李梅樹 (1902-1983) 叼著煙斗沉思的男子油彩畫布簽名左下：RI. BAI. JIYU. 72.5×60.5cm(28.5×23.8in.) 附藝術家家屬李景暘親自簽名保證書

LI Mei Shu A Contemplating Man Smoking Pipe Oil on canvas Signed lower left: RI. BAI. JIYU. With a certificate of authenticity signed by the artist’s son

NT$ 2,500,000-3,500,000 US$ 85,400-119,600 HK$ 657,900-921,100

李梅樹出生於台灣三峽，作品曾多次入選台、府展，

裡不論人物的造型、帽子衣物、桌子都以塊體的樣式

並參與台陽美術協會的創立。他以寫實路線來擁抱台

呈現，強調厚重沉穩的體積感，色彩飽和，空間感突

灣鄉土之美，為台灣風景、人文歲月留下不朽的印記。

出，整體畫面營造出塞尚永恆存在的氛圍。

日據時代的台灣，沒有美術學院或大專美術科系，想進一步鑽研藝術繪畫者就不得不到日本留學。1920 年代，台灣藝術青年興起留學日本的熱潮，李梅樹於 1928 年赴日本東京美術學校就讀，當時的東美教授，如 : 藤島武二、和田英作等人，大抵都走著一種「折衷

LI Mei Shu’s work, “A Contemplating Man Smoking Pipe” is a token of his reverence for the French postimpressionist painter, Paul Cezanne (Paul CEZANNE ,1839-1906). Although LI had never lived in Europe or the United States, during his stay in Japan, being influenced

式的印象主義風格」，而當時留日的台灣美術學生，

by the Western culture, he was inspired much by of

對於這種日本式的折衷印象畫風，並不完全的信服，仍寄望醉心於法國印象派大師的筆韻中。

Cezanne. In his works, regardless of the style of the characters, the characters’ hats, clothing, and table in

《叼著煙斗沉思的男子》是李梅樹對於法國後期印象

the paintings, all come in block style of presentation,

派畫家保羅 ‧ 塞尚（Paul CEZANNE，1839-1906）

emphasizing on heaviness and steadiness, the sense of

信仰般的崇敬。李梅樹雖然未曾旅居歐美，但留日期

volume, the color saturation; highlighting the sense of

間西潮東進的風氣瀰漫，受到塞尚許多的啟發。畫作

space. Overall, his paintings create an atmosphere of an everlasting exist of Paul CEZANNE. 34

楊三郎，早年離鄉背井，飄洋過海至日本習畫，進入關西美術學院，之後曾遊學歐洲，並入選法國秋季沙龍，楊三郎一生堅持自我信念，用畫筆追求其藝術的精神價值，為台灣藝文風氣的推動積累出豐沛的果實。

晚年的楊三郎常至國外寫生，作品《香港遠眺》，描繪港口來往的船隻，海平面

楊三郎 (1907-1995) 香港遠眺

上的繁華風光，從遠方眺望港邊的景色，一覽無遺的盡收眼底，色彩絢爛豐富，

油彩畫布約 1970 至 1980 年代

描繪的香港風光，再再地呈現藝術家對於香港風情的熱愛。

光影變化展現的淋漓盡致，這幅作品也是景薰樓三年以來，推出第三幅由楊氏所

簽名左下：S. Yang

莫內 Claude MONET(1840-1926) 說 :「試著忘卻你眼前的一切，不論他是一株

45.5×60 cm(17.9×23.6in.)

樹，或是一片田野；只要想像這是一小方塊藍，那是長方形的粉紅…並依照你認為的去畫便是…。」楊三郎受莫內的影響，注重光影與色彩間的變化，以香江海

YANG San Lang

岸的氛圍為基調，輔以流暢的筆觸，同時滲入莫內的色調處理，將船隻與房舍以

Hong Kong Overlook

跳動的色塊描繪，勾勒出活潑動人的《香港遠眺》。

Oil on canvas 1970s-1980s

In YANG’s early age, he left home to study painting in Japan the Kansai Academy

Signed lower left: S. Yang

of Fine Arts in Japan. His works were selected to French Autumn Salon during his time in Europe afterwards. For his whole life, YANG’s had stayed true and persistent

NT$ 900,000-1,400,000 US$ 30,800-47,800 HK$ 236,800-368,400

to his self-belief, pursuing the spiritual value of art with his paintings, and had accumulated contribution to Taiwanese Arts. In Yang’s later years, he often did overseas paintings. Yang’s work, “Hong Kong Overlook”, depicts the bustling scenery of the port and the flourishing atmosphere at the harbor. Overlooking the harbor views from afar, there is a panoramic view in rich colors accompanied by the vivid changes in the lighting. JSL Auction has already presented two paintings of YANG’s in the subject of Hong Kong scenery in the past three years, and this painting is the third one in relating subject. It’s not hard for us to learn YANG's love for Hong Kong scenery. A saying by MONET goes, "Trying to forget everything in your eyes, whether it is a tree or a field; just imagine that this is a small box of blue while that is a rectangular pink ... and draw whatever you think it is.... "YANG was influenced by Monet and resembled MONET’s emphasis on the color changes in lights and shadows. The

藝術家與作品合影 The photo of the artist and his artwork 54

atmosphere of the coast was embellished by smooth strokes and Monet's style of dealing with color tones; the vessels and houses was depicted as vivid color blocks, a lively picture of “Hong Kong Overlook” it is. 55

李石樵 (1908-1993) 野柳風光油彩畫布 1988 簽名左下：1988. 石樵 72×90cm(28.3×35.4in.)

LI Shi Chiao Yehliu Scenery Oil on canvas 1988 Signed lower left: 1988. Shi Chiao in Chinese

NT$ 3,500,000-4,000,000 US$ 119,700-136,700 HK$ 921,100-1,052,600

美術史學者謝里法先生曾說：「李石樵在美術運動的階段裏，發揮功能好比一座橋樑，將西洋大師繪畫中的特殊性，釋譯成為普遍性的常理，讓後起的畫家通過它帶到繪畫之可知性領域」，由此可知他在台灣美術界之重要貢獻。 1970 年代以後，李石樵的在形體解放後，開始反向的回歸寫實，回到以自然風景為主的畫作，專注於色彩特質與畫面空間的經營，特別是筆觸、明度與彩度的詮釋。李石樵曾說：「每個顏色都有很好的效果、最

理想的表達方式，當我們在欣賞其作品之際，強烈的高彩度震懾了我們的視覺域。」台灣大自然的美吸引著李石樵，野柳的麗緻風光多次在他的筆下出現。李石樵《野柳風光》作品中可見其運用色彩質性的實踐，冷暖色調的交錯及厚薄輕重的筆觸運用，不僅開闊了畫面的視覺空間，更令人心曠神

怡仿如置身於野柳風光之中，點綴於其上的人物生動而活潑，鮮明的色彩風景是他內化後的再現，薄塗乾擦的技法是李氏獨有的筆觸，此張畫作可見李石樵一生對藝術努力不懈的精神與追求的最高境地，更是他對台灣自然之美與對這塊土地的情感致上最高的敬意。

當代寫實藝術

Contemporary Realism Art

在美術發展史上，寫實繪畫有著兩層意義，來自

In Art History, Realism paintings have two different

於「內容」的寫實與「形式」上的寫實。當 19

meanings: one based on the content and one based

世紀的浪漫主義演變成一種煽情浮誇後，為了向

on the form. When 19th Century Romanticism

真實探索，人們便期待藝術能回到生活現實中，

became flamboyance, for exploring the reality,

將平民的生活與真實的社會面貌坦然呈現，而後

people started to expect the Art can return to the

的自然主義，則以追求回歸自然原始的真實，發

life reality. Showing people’s real life and real social

展至後期印象派，雖以抽象的筆法描繪外在的景

appearance and pursuing the nature of everything,

象，卻是抒發其內心的真實表達。

and this became post-impressionism. Although the artists paint the real things they see, what they

而在形式上的寫實，則是藝術家以其高超的「擬真手法」，充分透徹對象的特徵，細膩地將之描繪，意指作品若就再現而言，能帶領觀眾進入其日常生活之意義的虛構領域。如葉子奇 Lot37《去夏》以一塊吃剩的西瓜，傳達隱喻式的生活記憶，李錠雄 Lot38《筆》將其生活的物件，細膩的描繪空間與時間，黃坤伯 Lot39《花開花落》利用茶花的外在花貌，表達一個生命的循環，在「變」與「不變」之間，體悟生命的真義。李詩文 Lot41《通話》則表現出現代都市人生活的紀錄。幾位當代寫實藝術家，對於寫實與想傳達的概念

want to express is their true feelings. However, realism in terms of form means that artists use skillful technique of realism to depict the subject. Recreating the subject can bring the viewers into daily life’s fictitious field. Lot37”Last Summer” of YEH Tze Chi implies the memory of life with a remaining watermelon. Lot38”Brush”

YEH Tze Chi

space and time. Lot39“The Flowers Blossom

葉子奇 (b.1957) 去夏

and Wither” of HUANG Kuen Po expresses a life

卵彩油彩亞麻布 1991

Tempera and oil on linen 1991

circle by painting a flower. Lot41”Calling” of LI

簽名右下：子奇葉 1991

Signed lower right: Tze Chi YEH in Chinese,

30.5×51cm(12×20in.)

1991

of LEE Jung Woong shows exquisite details of

Last Summer

皆因其生活思維、記憶與經驗而各有所不同，表

Shi Wen reveals modern times busy life. These

達出歧見各異的寫實風格，也造就藝術家在不同

contemporar y realism painters have different

出版 :

時代中，以不同的形式手法與內容，而呈現出寫

experiences and styles according to their thoughts

《葉子奇畫冊》，玄門藝術中心，1992 年，

Literature: Tzu-Chi YEH , The Gate Gallery, 1992, P.10-11

實主義各異其趣的多元精神樣貌。

and memories.

第 10-11 頁。

With a certificate of authenticity issued by

附家畫廊原作保證書

Jia Art Gallery

NT$ 160,000-240,000 US$ 5,500-8,200 HK$ 42,100-63,200

李錠雄 (b.1963) 筆

LEE Jung Woong

油彩高麗紙

Oil on Korean paper

簽名右下：李錠雄

Signed lower right: LEE Jung Woong in

130×202cm (51.2×79.5in.)

Korean

出版《墨韻中的禪靜》，台中由鉅藝術中心，

Literature: Static Brush with Splash Ink , Taichung GSR

2007 年，第 11 頁。

Gallery, 2007, P.11

Brush

NT$ 1,300,000-1,600,000 US$ 44,400-54,700 HK$ 342,100-421,100

1963 年生於韓國，分別在 1985、1992、

Born in Korea in 1963, he has awarded special awards for Korea Art

1993 年獲得韓國美術展特選，至今已舉行

Exhibition in the year of 1985, 1992 and 1993, and has so far held

逾 20 次個展。連續五年參與上海藝術博覽

over twenty solo exhibitions in Korea. In addition to participating

會及法國 Start 展、西班牙 ARCO 展、日本

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

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。

LEE made a name for himself internationally with his series of hyper and photo-realistic “Brush” Paintings.

李錠雄的作品是行為藝術、抽象藝術、寫實

LEE ’ s artworks represent a combination of performance art,

主義等現代美學的集合體，沿用西方美學並

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

融合東方媒材的真實情感，簡潔而有力的傳狀的開拓精神，主導並鋪陳尋求更多水墨形

Korean paper, Lee imbues a convergence of Eastern and Western influences. LEE’s works embraces certain formative principles, seeking to make dual structure based on the Orient’s yin and yang

意之間的可能性，西方的寫實精神與東方的

thoughts, opposing concepts such as calligraphic paintings and oil

達了東方文化及禪意的氣韻。以不滿自我現

水墨寫意促成李氏的藝術創作語彙。作者自我風格的強烈語言結合超寫實的毛筆與黑白墨韻，東方虛實的空間表現及靜態毛筆與墨韻之間的聯結，恣意流暢的水墨暈染濺灑，

made him a high reputation artist in the international Art world.

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

顯現蘊藏其後的勁力與氣勢，細緻的筆觸與

reality of his works. So real, people unwittingly try to ascertain if

精練的畫面構成，不僅挑戰觀賞者的視覺神

they are real photos by using a magnifying glass. This technique is

經也牽動心靈上的震撼。

at the level of magic.

黃坤伯 (b.1974) 花開花落油彩畫布 2012 簽名左下：Huang 坤伯 2012 162×227cm(63.8×89.4in.) 附雲清藝術中心藝術家親自簽名保證書

HUANG Kuen Po The Flowers Blossom and Wither Oil on canvas 2012 Signed lower left: Huang, Kuen Po in Chinese,2012 With a certificate of authenticity signed by the artist and issued by Elsa Art Gallery

NT$ 700,000-900,000 US$ 23,900-30,800 HK$ 184,200-236,800

生命循環的思維透過花卉的開合、凋零，展現生命物象的的啟承轉合。看似茂盛的樹叢隱約在訴說「花無百日紅」的事態變化，利用茶花的外在花貌表達一個生命的循環，唯有樹叢的樣貌在四季時節的轉換下能維持不變（穩定），心有所悟、外在表象亦如般若。在這「變」與「不變」之間體悟生命的真義，茶花生命的短暫如同禪宗美學「一切有為法如夢幻泡影如露亦如電應作如是觀」《金剛經》無常之美的體悟。作品所表現的無關宗教信仰，但求一生命智慧的啟迪。藝術家黃坤伯創作自述

曾仕猷 (b.1944) 甜蜜一瞥

TZEN Sieur

曾仕猷，1967 年以油畫第一名畢

Sweet Glance

業於台灣師範大學藝術系。隨即主

LI Shi Wen (b.1972)

油彩畫布 2001

Oil on canvas 2001

李詩文 (b.1972) 通話

簽名右下：TZEN

Signed lower right: TZEN

油彩畫布 2009

Oil on canvas 2009

76×60.5cm(29.9×23.8in.) 展覽「曾仕猷油畫個展」，景薰樓藝文

Art Space, 2001

出版

Literature : TZEN Sieur , JSL Auction, 2001,

《曾仕猷》，景薰樓出版，2001 年，

Plate13

圖版 13。

北市立美術館個展。2002 年在紐約格蘭畫廊，2003 年在紐約莫尼克以及瓦特畫廊展出，2006 年在美國明尼蘇達大學個展。作品廣被國內外美術館及私人收藏。

150×120cm (59×47.2in.)

Calling

展覽

Exhibition: “Changing．LI Shi Wen”, Shanghai Cheng

「遷城—李詩文作品展」，上海澄藝術、

Art and Elsa Art Gallery, 2011

雲清藝術中心，2011 年。出版

Literature: Changing ．LI Shi Wen , Shanghai Cheng Art

《遷城－李詩文作品》，上海澄藝術、雲

and Elsa Art Gallery, 2011, P.53

清藝術中心，2011 年，第 53 頁。

NT$ 240,000-350,000 US$ 8,200-12,000 HK$ 63,200-92,100 64

現代藝術運動。1991 年臺灣省立美術館邀請回顧展。1994 年在臺

Exhibition: ‘’TZEN Sieur Solo Exhibition’’, JSL

空間，2001 年。

持國家畫室，組成畫外畫會，推展

NT$ 400,000-550,000 US$ 13,700-18,800 HK$ 105,300-144,700 65

LIN Yu Shan

林玉山

林玉山 1907 年出生於嘉義。自幼受到臺灣傳統藝術文化和日本美術的交互影響，其一生繪畫藝術創作之發展過程，反映著台灣歷史與文化的轉變。1926 年赴日留學就讀於東京川端畫學校西畫科。1927 年參加首屆台灣美術展覽會即獲入選，並與郭雪湖、陳進同譽為「台展三少年」。林玉山在台灣國立師範大學任教多年，縱觀一生創作，提倡自然寫生、強調寫生的重要性，不只精確描寫物象的外形，更要捕捉所描繪對象的內在精神，寫其姿態、生命，得其神韻。Lot43《回首猛虎》為林玉山於 1986 年虎年元旦開筆所畫，是件極具意義的作品。林玉山擅於畫虎，以其畫中之虎獨步畫壇，曾於「畫虎漫談」文中述及他因「神態威武，氣質高尚，配以金黃色的皮毛與黑紋，構成

Lot42

斑斕紋采。」而愛虎之美、虎之紋采也是能徹底洞見筆墨精彩發揮之處。《回首猛虎》表現出老虎細膩的生動神情，氣勢威猛，齒似鉅、爪如勾，虎虎生風的態勢，神氣十足。虎蹲坐而回首凝視，雙眼炯炯有神，其斑紋與肌肉、筋骨強健有力的描繪，呈現蓄勢待發的力量感，勾勒的線條流暢自然，剛柔之間的巧妙搭配正是林玉山畫虎的迷人之處。 2012 年文建會所屬國立台灣美術館舉辦「典範傳移－林玉山繪畫藝術特展」，彰顯林玉山一生的藝術成就及繪畫理念，學子遍及各地，受眾人景仰，對台灣畫壇影響深遠。 42

Lot43

SHEN Che Tsai

油彩畫布 1980

Oil on canvas 1980

簽名右下：哲哉

Signed lower right: Che Tsai in Chinese

53×45.5cm(20.9×17.9in.)

Nude Woman

展覽

Exhibition: “SHEN Che Tsai 75 Years Retrospective Exhibition”,

「沈哲哉七十五回顧展」，台南市立藝術中心，2002

Tainan Municipal Cultural Center, 2002

年。出版

Literature: SHEN Che Tsai 75 Years Retrospective Exhibition ,

《沈哲哉七十五回顧展》，大都會藝術有限公司，2002

Metropolitan Art Space, 2002, P.86

年，第 86 頁。附大都會藝術有限公司保證書

With a certificate of authenticity issued by Metropolitan Art Space

NT$ 260,000-400,000 US$ 8,900-13,700 HK$ 68,400-105,300 66

Kuo Hsueh Hu

沈哲哉 (b.1926) 裸女

郭雪湖

郭雪湖，1908 年生於北市大稻埕，19 歲以《松豁飛泉》一作入選日治時期第一屆「台展」，與林玉山、陳進，共同締造「台展三少年」的傳奇，1928 年更以《圓山附近》獲第二屆台展特選，其後更連續多年榮獲特選與「台展賞」、「台日賞」、「朝日賞」等多項佳績，為台灣美術史上膠彩畫的重要先驅。Lot45《鴛鴦》以細膩典雅的表現手法，在春暖花開的背景，傳神的描繪出鶼鰈情深、成雙成對的鴛鴦圖，生動活潑的圖像，直叫人不禁「只羨鴛鴦不羨仙」的情趣。郭雪湖一生創作不綴，於今年 2012 年安詳逝世，享年 104 歲。今推出其作品特別深具意義，不僅讓我們透過作品欣賞郭雪湖的百年畫藝，更讓我們緬懷其大師的精神風範。

Lot44

林玉山 (1907-2004) 回首猛虎

林玉山 (1907-2004) 喜雀圖

彩墨紙 1986

設色紙本立軸

款識：回首眈眈如電閃，磨牙未嘯起寒風。丙

款識：簡澹超逸已亥暮冬傅狷夫書于心香室

寅元旦桃城玉山寫。

慧山寫崖樹玉山補雀

( 虎年元旦開筆畫虎。虎蹲坐而回首凝視。畫虎

鈐印：傅狷夫印慧山玉山

之妙在於其雙眸。瞋目處先染以黃，復施以金

120×40cm(47.2×15.7in.)

綠，生出陰寒嚴峻之氣，再用膠墨點珠，旁留

2012 年國立台灣美術館舉辦「典範傳移－林玉

白圈，閃亮如電，逼人如劍。)

山繪畫藝術特展」

鈐印：諸羅山人、容膝草堂 75×61cm(29.5×24in.)

LIN Yu Shan

亞洲私人收藏

Magpie

出版

Ink and color on paper

《林玉山回顧展》，台北市立美術館，1991 年，

Signed, with four seals of the artist “Passing on a Lasting Legacy: Paintings by

第 133 頁。《台灣美術全集 (3)—林玉山》，藝術家出版社， 1992 年，第 188 頁。

Lin Yu-Shan” was exhibited in National Taiwan Museum of Fine Arts in 2012

《中國巨匠美術週刊 067 林玉山》，錦繡出版社， 1995 年，第 25 頁。 2012 年國立台灣美術館舉辦「典範傳移－林玉山繪畫藝術特展」 43

NT$ 160,000-220,000 US$ 5,500-7,500 HK$ 42,100-57,900

LIN Yu Shan The Ferocious Tiger that Looks back Ink and color on paper 1986 With two seals of the artist Private Collection in Asia Literature: The Retrospective Exhibition of LIN Yu Shan , Taipei Fine Arts Museum, 1991, P.133

Taiwan Fine Arts Series (3)— LIN Yu Shan , Artist Publishing Co., 1992, P.188

Chinese Masters Weekly 067 LIN Yu Shan , SF Books, 1995, P.25 “Passing on a Lasting Legacy: Paintings by Lin Yu-Shan” was exhibited in National Taiwan Museum of Fine Arts in 2012 作品《回首猛虎》收錄於《台灣美術全集 (3)- 林玉山》，藝術家出版社，1992 年，第 188 頁。 The artwork was illustrated in Taiwan Fine Arts Series(3)— Lin Yu Shan. 68

NT$ 550,000-800,000 US$ 18,800-27,300 HK$ 144,800-210,500 44

郭雪湖 (1908-2012) 鴛鴦膠彩絹 1937 簽名右上：雪湖作鈐印右上：雪湖 136x41.8cm(53.5×16.5in.)

KUO Hsueh Hu Mandarin Ducks Gouache on silk 1937 Signed upper right: Executed by Hsueh Hu, with one seal of the artist

NT$ 450,000-650,000 US$ 15,400-22,200 HK$ 118,400-171,100

朱銘 (b.1938) 全家福

JU Ming

彩墨紙 1986

Ink and color on paper 1986

簽名左上：朱銘 ’86

Signed upper left: JU Ming in Chinese,

鈐印左上：銘

1986, with one seal of the artist

69.5×136.5cm(27.4×53.7in.)

The Family

NT$ 220,000-300,000 US$ 7,500-10,300 HK$ 57,900-78,900

《全家福》，作品中線條簡潔、剛健，融入了其大刀闊斧

與「家」的同音，故有「起家」之意，「公雞」又有諧音

的氣勢，一撇一捺的渾厚力道，成熟而獨特。如同太極雕

「功績」象徵著功成名就。畫作中大雞、小雞的緊密互動，

刻一般，以簡去繁的寫意水墨精神透過簡單的線條及大色

雞隻成群以及成堆的雞蛋，旺盛的新生命，多子多孫的意

塊的筆墨，寫足了雞群生動活潑，英氣煥發神采奕奕的韻

涵亦在其中，就如同一幅活潑而有朝氣的全家福，是一幅

味與神態，羽毛華麗豐美，簡約而非凡，足以代表朱銘大

相當富有趣味性及幸福寓意的畫作。

師的藝術精神和風範

朱銘的藝術飽含充沛的生命力，藝術的創作顯現出他的思

《全家福》作品題材上帶有濃厚的鄉土情味，「雞」與

索與體悟，不斷的挑戰並發掘自我的藝術語言。

「吉」的相同諧音隱喻著「吉祥」，又以閩南語中「雞」 45

綜觀朱銘的藝術歷程，以台灣傳統精神默默的為藝術園地進行耕耘，也是台灣藝術家中最具國際代表性的藝術家之一，從 1984 年以來朱銘巡迴各國的重要國際

雕塑大展，並接受知名美術館的邀請展，例如香港藝

朱銘 (b.1938) 凝望

術中心、新加坡歷史博物館、日本箱根美術館、法國

木雕 1978

在國際藝術市場的地位。

28×48×28cm(11×18.9×11in.) 簽名：朱銘 ’78 Ju Ming

朱銘的作品如今已廣受歡迎，不論是太極系列或是人

來源

露出濃濃的草根性，也象徵著台灣質樸醇厚的性格。

現收藏者於 1978 年購於春之藝廊

1938 年出生於苗栗農家的朱銘，務農與牧牛的生活伴

登克爾克現代美術館、巴黎凡登廣場、盧森堡市政府廣場…等，朱銘的藝術聲名扶搖直上，也造就了朱銘

間系列，都是深受全世界注目的焦點。朱銘的作品流

隨著他的年少時期。十三歲拜師學習木雕，早期刻了

JU Ming

許多民間傳說人物、寺廟人像與中國歷史人物，1968

Contemplation

年，朱銘則拜師於楊英風的門下。年少時期的農村生

Wood Carving 1978

活也促使朱銘於 70 年代的創作多以此生活記憶為題

Signed: JU Ming in Chinese and English, 1978

材，顯現出其濃厚的質樸性格。1978 年的《凝望》以

Provenance: Acquired from Spring Gallery by the current collector in 1978

NT$ 2,000,000-2,800,000 US$ 68,400-95,700 HK$ 526,300-736,800

粗獷的刀法表現出水牛的壯碩身形，一步一腳印的辛勤耕耘，傳達出刻苦踏實的台灣牛精神。此作品保存完整，木色盈亮，是相當珍貴的作品。 JU Ming, born in countryside of Miaoli, grew up with farming and cattle in his childhood. This also contributed to his creation in the 70s, which are abundant of a theme of the rural life that show a strong local touching. In “Contemplation” created in 1978, JU used rough blade to show the bulkiness of the buffalo, conveying the hardworking and grounded spirit of Taiwanese cattle. This work piece is intact with great color of wood, truly a very valuable work piece.

局部簽名 Detailed Signature

朱銘

1977 年，朱銘徹底回到材質與形式的原始思考，跳脫相對於帶有較細膩與感性的鄉土系列作品；朱銘開始在太極拳中領略其中的精義，進而發展出「太極系列」作品。朱銘將中國的文化和美學相融，將深奧而繁瑣的太極哲理以具體的藝術形態表現出來，乾淨俐落的刀法以及作品的靈性與神韻，使朱銘的雕塑能在國際間立足，也將他推向另一個高峰。朱銘說 :「我在下刀後，噎，忽然發現另一種方式更好，不是原來想好的，是瞬間的，

JU Ming

微小的岔出，我就順其自然，隨遇而安地做下去，好比雕刻遇到木材上有一個瘤，我就留下來，一點一滴從這個瘤開始發展下去，找到新感覺，做出超越想像的作品。」這樣的藝術創作思維不同於西方精準理性的計算，是經營本性的自我開發，渾然天成，順而發揮獨特的風格。「太極」是中國傳統幾千年的文化精華，從宇宙的緣起到生命的運行、身體的調息再到藝術的展現，由於老師楊英風曾建議他學習太極以強健體魄，朱銘從練習過程中領悟出太極的精神，並成功的將這複雜而深奧的哲理，凝鍊成現代的藝術語彙，將之內化成為創作題材。朱銘說：「太極拳是古代中國人所創造的一種健身術，他是我所知

道人與自然結合的最好例子，是人用自己的身體來接觸和模仿宇宙的自然現象。」此次春拍中 Lot48《單鞭下勢》與 Lot49《太極─起式》皆為朱銘太極系列中最為經典的作品。《太極─起式》為太極拳法中的第一式，是學拳中最為關鍵的第一步，太

thinking of materials and forms, and escape from a

is a cultural essence of thousands years of Chinese tradition. JU’s teacher, Yuyu Yang had recommended

more delicate and emotional local series of works; JU

him to learn Tai Chi to build up a strong and healthy

Ming started to taste of the essence of Tai Chi, and has developed the “Tai Chi" series. JU Ming integrates

body. During the process of learning Tai Chi, JU Ming has understood and Tai Chi, and was inspired by its

Chinese culture and aesthetic, and present profound

underlying complex and esoteric philosophy which JU

極起式含有無極而至太極之意涵，「氣機既動，陰陽將判，轉掌曲膝，太極之象。垂

and complicated philosophy of Tai Chi with a specific art

手肅立，順其自然，以待其動。」朱銘練太極也雕塑太極，將太極的精神一分一毫的

form. The clean and neat cutting skill and the spirituality

has turned into a modern artistic presence. JU Ming said, “Tai Chi Chuan is a exercise created by the ancient

注入作品中，展現出生動與大氣魄的量感，以厚實的體態帶動整件作品的力道與氣勢，

and charm of works proves that JU Ming has what it takes to shine in the international art world, and this “Tai

簡潔的刀法劈畫出主體，顯現出其自然神韻。「心中一物無所著，一念無所思，穆穆皇皇，渾然如大混沌無極之象」，在氣沉丹田的沉靜外表下蘊含著巨大的能量，展現天人合一的博大精深思維。

In 1977, JU Ming completely returned to the original

Chi series” has also brought him to a higher level. JU Ming said, “During my time carving the sculpture,

Chinese. Tai Chi is the best way for human to combine with nature, since it is a natural way of imitating and interacting with the natural phenomena of the universe. ”

sometimes I’d go with an unplanned way. It was a

Lot48 “Single Whip” and Lot49 “Enter Taichi” are the most classic pieces of Ju Ming’s Tai Chi series. “Enter

sudden of inspiration, a better one than my original plan.

Taichi ” is the first move of the Tai Chi Chun, and is

In that situation, I would go with the flow. For example,

the most critical first step in learning Tai Chi. The arise

when I encounter a wood tumor, I’d keep it that way,

position of Tai Chi contains the meaning of going with

and step by step, I would find a new feeling about what

the flow and staying still before the next movement. JU

I can do with the tumor, and create a work beyond my imagination. ” This kind of creative thinking is different

Ming practices Tai Chi and created Tai Chi sculpture. He

from the Western way of being precise and sticking to

vivid and thick volume. The clean cut of carves outline

rational calculation, and emphasis more on the unique

the body and reveal a natural charm. Under the serene

style carried out by a natural self-development.

presence lies a huge energy that shows the profound

From the origin of the universe to the circle of life; from the adjustment of body to the present of art, “Tai Chi”

thinking in reaching harmony between human and

inserts the spirit of Tai Chi into his works, and shows a

nature.

《單鞭下勢》作品化繁為簡，取其精神，重其氣韻，取自太

朱銘 (b.1938) 單鞭下勢

極武學「單鞭下勢」的動作，以粗獷的塊面處理，不刻意修

木雕 1991 簽名：朱銘 ’91 97.8×38.5×49.8cm(38.5×15.2×19.6in.)

鑿的刀痕，自然質樸的質性如同朱銘的性格一般。此作木質緊實、發色深沉而有韻，環繞四周觀之，各視點均呈現劍拔弩張，謀定而後動之氣勢展現，彷彿可見到來自作品內在的能量不斷迸發，散發著風雨欲來前的沉凝情狀，攻守收放之間充分表現出朱銘對於太極的參透與內化體悟。

附財團法人朱銘文教基金會作品鑑定報告書

朱銘所雕刻的太極並無個別的樣相，代表的是形而上的精神共向，傳達出來自於古代中國順崇自然的藝術境界。朱銘的

JU Ming Single Whip

雕塑著重在整體的簡易造型與刻畫力道上，在蒼勁有力的切面構成下，寓動於靜，靜中求動中讓觀者領略東方文化千年的文化精髓。

Wood Carving 1991 Signed: JU Ming in Chinese, 1991 With the identification report of authenticity issued by Nonprofit Organization JU Ming Culture & Education Foundation

“Single Whip” carries out a simplified presence. Focusing on the spirit, the “Single Whip” posture from the Tai Chi martial action was depicted by rough block surface treatment and natural chisel marks, from which we can see Ju Ming’s simple and natural character. The wood this work piece is made of

NT$ 38,000,000-45,000,000 US$ 1,298,700-1,537,900 HK$ 10,000,000-11,842,100

is firm and strong with deep intriguing color. Through each angle, we can see calm underneath a great momentum. It’s as if the inner power is revealing and would burst out anytime. The sereneness and underlying power of this work fully demonstrated Ju Ming’s understanding about the offensive and defensive strengths of Tai Chi. Each sculpture from the Tai Chi series was not given an individual look. It is to share a common metaphysical spirit and to convey pursuit of nature from ancient China. JU Ming’s sculptures focus on an overall simplicity of shape and the

power of carving. Under the vigorous and powerful surface, JU combined movement in calm and steady, presenting the cultural essence of thousands of years of Oriental culture for the viewers to appreciate.

局部簽名 Detailed Signature

朱銘太極—起式

JU Ming

銅雕 (5/6) 1990

Bronze (5/6) 1990

簽名 : 朱銘 5/6

Signed :JU Ming in Chinese,5/6

180x145x95cm(70.8×57×37.4in.)

Enter Taichi

With a certificate of authenticity issued by Hanart TZ

附漢雅軒畫廊保證書

Gallery

展覽

Exhibition: “JU Ming Solo Exhibition”, Hakone Open-Air Museum,

「朱銘個展」，箱根雕刻森林公園，1995 年。出版

1995

《朱銘》，新加坡美術館，2004 年，第 43 頁。

Literature: JU Ming Taichi Sculptures , Hanart TZ Gallery, 1991, plate

《朱銘太極雕塑》，廣西美術出版社，2006 年，第

JU Ming, Singapore Art Museum , 2004, P.43

30 頁。

JU Ming Taichi Sculptures , Guangxi Fine Arts Publishing,

《朱銘太極雕塑》，漢雅軒，1991 年，圖版。

2006, P.30

NT$ 17,000,000-26,000,000 US$ 581,000-888,600 HK$ 4,473,700-6,842,100 78

「人間系列」是朱銘觀察人間百態為主題的系列創作，利用快速刀法剖出人體折面，簡化而生動地刻畫出人物的動態美感；木刻表面保留刀鋸痕跡及木材切面孔隙，並以顏色妝點人物的衣物與髮色，在順應

木質自然紋理的前提下，呈現活潑生趣的人間系列。

朱銘 (b.1938) 人間系列

朱銘：「不少人問過我人間系列與太極系列之間的關係，如果要譬喻

的話，我會用毛毛蟲與蝴蝶來形容，他們的造型、生活型態都不一樣，然而卻是同一個生命體。人間與太極的外表或許差異很大，然而他們

木雕 2006

在創作態度和精神上，卻有相承的關係。人間系列讓我可以自由發

簽名：朱銘 2006 29×20×20cm(11.4×7.9×7.9in.)

揮，我什麼材料都拿來運用，讓我的本性充分展現，展現較生活、較柔軟可愛的一面，來彌補太極系列無法表達的東西，那是一種轉變」

註：此作品不包含木頭底座朱銘《人間系列》，色彩在作品中是自由而繽紛的，透過顏色的主題詮釋，更加貼近地帶出人物身分及情境說明。朱銘以素面青藍服飾詮

JU Ming

釋早期民家純樸氣息的傳統女性。角色為年輕的少婦織衣的模樣，生

Living World Series

動地顯出靦腆的動態感，恬靜祥和的面容，在溫柔中透露出堅毅的生

Wood Craving 2006

活精神。

Signed: JU Ming in Chinese, 2006 Note: The wooden base is not included in the artwork

“Living World Series” was based on JU Ming’s observation of the world. He used fast carving technique to dissect people’s faces and shapes. The viewers can still see the carving marks and gaps on his artworks with some colors to decorate these figures. By following the

NT$ 1,200,000-1,800,000 US$ 41,000-61,500 HK$ 315,800-473,700

natural wood texture, he succeeded in creating this lively series. JU Ming, “Many people ask me the relationship between Living World

Series and Taichi Series. I would say that they are like caterpillar and butterfly. Even though their shapes and living style are style, they belong to the same life. Maybe their appearances look totally different, but in terms of creating attitude and spirit, they complement each other perfectly. While executing Living World Series, I try with every material and it fully shows my personality which is softer and cutter side of me. All of this can make up what Taichi Series lacks and this is a great transition. ” “Living World Series”, through the different colors, JU tried to bring out more personality and context of this artwork. JU employed plain blue cloth to depict a traditional woman at early age. While knitting the clothes, the woman shows her shy but peaceful face which reveals the determination towards her life.

局部簽名 Detailed Signature

楊英風，國際知名雕塑大師，出生於台灣宜蘭縣。

YANG is an internationally renowned sculptor. He was born

早期作品有人文主義的風格，後期則以現代主義的

in Yilan County, Taiwan. His early works contain humanist

抽象組合造型結合不銹鋼材質和中國式的藝術思維

style, while those of the later stage are famous for the

聞名於世。六十年代在義大利旅居三年的經驗，使

combination of modernist abstract modeling in stainless

楊英風體認到東、西文化及美學的差異，捨西方科

steel and the Chinese perspective in art. From three-year

技及物質的過度使用與發展，領悟追求人類與自然環境交融、和諧共生的之哲理。

experience of living in Italy during the 1960s, Yuyu Yang recognized the cultural and aesthetic differences between the East and the West. He pursued the harmony within

《太極 ( 一 )》銅雕作品完成於一九七二年。「此

human and the natural environment over the over-using and over-developing of Western science and technology.

件雕刻的是太極拳的姿勢，凸面是臂，凹面是兩手抱一個抽象的圓球即太極，拳名是『太極起勢』。

“Taichi (I)” bronze sculpture was completed in 1972. This

大自然的氣是來自圓弧形運轉，正好是人與大自然

sculpture presents the movement of tai chi posture. The

的氣融合產生最和諧，最有力的運動的開始。」摘

convex surface of arms and the concave surface of hands

自「楊英風數位美術館」之作品摘要欄。

rounding an abstract circle, namely, Tai Chi. The atmosphere began in an arc-shaped tai chi, processing the most

此作是楊氏受太極拳啟發而創作出來的作品，在作

harmonious intermix of human and the nature; the strength

品中不僅以抱虛的抽象意念呈現太極精神的領略，

of movement conveys the philosophy of the harmony

也表現出二元對立的概念，陰陽調和、兩儀平衡的

between human and nature. This work piece is an outcome

能量，運轉出虛實相生中生生不息的生命力，藉此

of Young being inspired by Tai Chi Chuan. This work not only

傳達天人合一的哲思精神。

shows a taste of Tai Chi but also the concept of dualism, known as the energy balance of yin and yang.

楊英風 (1926-1997) 太極 ( 一 )

Yuyu YANG

銅雕 (14/20) 1972 簽名：英風 ’72 台北 14/20 YUYU YANG

Bronze (14/20) 1972

50.5×52×47.5cm(19.9×20.5×18.7in.)

14/20 and YUYU Yang

出版《楊英風全集創作篇第一卷》，藝術家出版社，

Literature: Yuyu Yang Corpus Volume 1 , Artist Publishing

2005 年，第 248 頁。

Co., 2005, P.248

附財團法人楊英風藝術教育基金會保證書

With a certificate of authenticity issued by Yuyu

Taichi (I) Signed: Ying Feng and Taipei in Chinese, 1972,

YANG Artistic and Educational Foundation

NT$ 270,000-420,000 US$ 9,200-14,400 HK$ 71,100-110,500 83

德之翔》與 Lot53《龍嘯太虛》，以簡潔、抽

YANG’s “stainless steel series” in the latter phase, such as Lot52 "The Flight of Absolute Virtue ” and Lot53 “ Dragon Shrill in the

象的造型融合中國生態美學與佛家哲思於現代

Cosmic Void”, are sculptures of abstract shapes that integrate Chinese

材質中，不鏽鋼的反射特質，將觀者納入作品

ecological aesthetics and Buddhist philosophy within the modern material. The reflective quality of stainless steel take the viewer’s image

楊英風晚期的「不銹鋼系列」，如 Lot52《至

中，體現創作者、環境、觀者三者融合之東方人文精神。《至德之翔》完成於 1989 年，據楊氏陳述的創作理念：「鳳是中國人最為喜愛

的靈禽瑞鳥，其擇至德之世而降的韻格，傳達出對於理想境界的憧憬，彷彿一切美與善均乘鳳翼翩然而來。婉暢凝練的曲度及冰潔表面所

into the work, and reflect the fusion of three Oriental human spiritthe creators, the environment, and the viewer. “The Flight of Absolute Virtue”was completed in 1989, according to the concept stated by Young, “Phoenix is Chinese ’s most favorite spiritual birds, its chose to

be born in a most idealistic and peace era. This work entails the longing for an ideal world, as if all the merits and beauty are coming with this

紋之雲水，象徵了翱翔在山巔水間的自在悠

phoenix. The smooth yet concise curve and the pattern of cloud and

然。」

water on the clean surface symbolize a leisurely and comfortable flying in the mountains and rivers. ”

楊英風形塑的公眾藝術佇立於國內外各大廣場與街頭，為時代塑造「藝術即生活、生活即藝術」的文化永恆意象。

Yuyu YANG ’ s public art works standing in major domestic and international plaza and street shapes the timeless “Art is life, life is art” cultural image

楊英風 (1926-1997) 至德之翔

Yuyu YANG

不銹鋼 (20/20) 1989 簽名：英風 ’89

Stainless Steel (20/20) 1989

簽名底座：楊英風 ’89 Yuyu YANG Yangyf

Signed on base: YANG Ying Feng in Chinese, 1989, Yuyu

75x40x72(H)cm(29.5×15.7×28.3in.)

YANG and Yangyf

展覽「春夏季楊英風雕塑個展」，紐澤西雕塑大地美術館，

Exhibition: “Yuyu Yang Solo Exhibition“, New Jersey Grounds of

1995 年。

Sculpture, New Jersey, 1995

出版《楊英風不銹鋼景觀雕塑專輯》，楊英風美術館 / 台北漢雅

Literature: In Stainless Steel: Sculptures by Yuyu Yang , Yuyu Yang

軒 / 新光三越百貨股份有限公司，1992 年，第 11 頁。

Lifescape Sculpture Museum, Taipei Hanart Gallery and Shin

The Flight of Absolute Virtue Signed: Ying Feng in Chinese, 1989

《景觀自在 --- 雕塑大師楊英風》，天下遠見出版股份有限

Kong Mitsukoshi Department Store Co., Ltd., 1992, P.11

公司，2000 年，第 324 頁。

Landscape Free-The Sculpture Master -Yuyu YANG ,

《楊英風全集創作篇第一卷》，藝術家出版社，2005 年，

Commonwealth Publishing Co., 2000, P.324

第 312、462 頁。

Yuyu Yang Corpus Volume 1 , Artist Publishing Co., 2005,

《天地永恆雕塑藝術家楊英風》，正因文化，2009 年，

P.312, 462

第 51 頁。

Eternity of Heaven and Earth: Sculptor Yuyu Yang , Chengyin

來源美國私人收藏（購自上述展覽）

Culture, 2009, P.51 Provenance: Private Collection in U.S. (Acquired from the exhibition mentioned above)

NT$ 450,000-650,000 US$ 15,400-22,200 HK$ 118,400-171,100

楊英風 (1926-1997) 龍嘯太虛

Yuyu YANG

不銹鋼 (20/20) 1991

Stainless steel (20/20) 1991

簽名底座：楊英風 Yuyu YANG Yangyf ’91 20/20

Signed on base: YANG Ying Feng in Chinese, Yuyu YANG,

66×60×30cm(26×23.6×11.8in.)

Yangyf, 1991 20/20

展覽「春夏季楊英風雕塑個展」，紐澤西雕塑大地美術館，

Exhibition: “Yuyu Yang Solo Exhibition”, New Jersey Grounds of

1995 年。

Sculpture, New Jersey, 1995

出版《楊英風不銹鋼景觀雕塑專輯》，楊英風美術館 / 台北漢雅

Literature: In Stainless Steel: Sculptures by Yuyu Yang, Yuyu Yang

軒 / 新光三越百貨股份有限公司，1992 年，第 2 頁。

Lifescape Sculpture Museum, Taipei Hanart Gallery and Shin

《呦呦楊英風—豐實的 '95》，楊英風美術館，1995 年，

Kong Mitsukoshi Department Store Co., Ltd., 1992, P.2

第 22-23 頁。

Yuyu Yang Lifescape Sculpture , Yuyu Yang Lifescape

《景觀自在—雕塑大師楊英風》，天下遠見出版股份有限

Sculpture Museum, 1995, P.22-23

公司，2000 年，第 300 頁。

Landscape Free-The Sculpture Master -Yuyu YANG ,

Dragon Shrill in the Cosmic Void

《景觀．自在．楊英風》，雄獅圖書股份有限公司，2004

Commonwealth Publishing Co., 2000, P.300

年，第 16 頁。

Landscape Architecture-Free-Yuyu Yang , Hsiung Shih Books

《楊英風 Yuyu Yang》，台北市立美術館，2005 年，第

Pte. Ltd., 2004, P.16

130-131 頁。

Yuyu Yang , Taipei Fine Arts Museum, 2005, P.130-131

《天地永恆雕塑藝術家楊英風》，正因文化，台北，2009

Eternity of Heaven and Earth: Sculptor Yuyu Yang , Chengyin

年，第 56 頁。

Culture, 2009, P.56

來源

Provenance: Private Collection in U.S. (Acquired from the exhibition

美國私人收藏（購自上述展覽）

mentioned above)

NT$ 450,000-600,000 US$ 15,400-20,500 HK$ 118,400-157,900

際的雕塑家。《龍嘯太虛》用剛勁有力的線條一筆勾

Yuyu YANG is the first artist who used stainless steel to create his reputed sculptures. “Dragon Shrill in

勒出翱翔騰躍於宇宙太虛的蛟龍型態，褪去繁縟特

the Cosmic Void” was carved by a powerful line in

徵，以流暢延展的帶狀線性變化，顛覆了人們對金屬

order to depict a dragon flying in cosmic fantasyland.

材料堅硬的既有印象。象徵性的手法表達龍的符號圖

The flowing lines overthrow the stereotype of

楊英風是國內最早以不鏽鋼材質進行創作，並揚名國

像，不銹鋼簡潔的特質，明亮華麗的鏡面質感，由柔軟、曲折的造型，將環境自然全然攝入其中，尋求靜態雕塑中的動態韻律與變化，營造出氣勢高昂的態 53

勢，呈現具有無限變化的色彩與景物。

metal medium. He used a symbolic sign to depict this dragon and employed neat stainless steel to create a mirrorlike texture which can contain the environmental scenery inside the work.

蒲添生 (1912-1996) 回憶銅雕 (4/10) 1987 簽名：蒲添生作 1987 55x24x41cm(21.6 x9.4 x16.1in.)

蒲添生：「人生就像花朵，每朵都有她綻放的姿態

與表情。」蒲添生百歲紀念展，於民國 100 年在國立台灣美術館、高雄市立美術館和嘉義市文化中心巡迴展覽。蒲添生其一生創作了保留有二百多件的雕塑作品，蒲添生在人物雕塑方面，其長期的耕耘為台灣早期

出版《以技入道藝無止境—蒲添生．蒲浩明父子雕塑集》，景薰樓藝文空間，2010 年，第 18 頁。

保守的社會打破禁忌，開拓人物胸像風氣先河。其作品有著羅丹所強調的內在真理，作品從內部綿延不斷地散發出溫柔的情感與飽滿的生命力特色，讓

註：2012 新光三越大師系列二「藝無止境」蒲添生

人不禁品味再三。蒲添生曾以「詩人」一作獲得法

家族故事展封面作品

國沙龍入選，其子蒲浩明則以「伏羲氏」作品，贏

附蒲添生雕塑紀念館保證書

得 1982 年法國藝術家沙龍雕塑類銀牌獎。

PU Tien Sheng

蒲添生認為塑像時要直接面對模特兒自然的感官與

Recollection

本性才能激發藝術家對美的發現，才能從中激發藝

Bronze (4/10) 1987

術家對美的發現，他的女體系列在 80 年代屢獲國

Signed: PU Tien Sheng executed, 1987

際大獎並被各大美術館典藏。《回憶》是蒲添生於

Literature: The Sculptures of PU Tien Sheng and PU Hao Ming , JSL Art Space, 2010, P.18 Note: This sculpture was chosen to be the cover of 2012 Shin Kong Mitsukoshi Master Exhibition II: The Story of PU Tien Sheng’s Family

1987 年的作品，取材於法國女體，這件作品造型在空間上著墨甚多，其秀髮溫柔的垂落於胸口，為引人遐思的視覺焦點，並將臉部表情在造型的強弱需求下刻意虛化了，模糊的面容也對應出「回憶」的意義，虛實的相互交融下，充滿了韻律的美感與詩意。

With a certificate of authenticity issued by PU Tien Sheng Memorial Sculpture Museum

NT$ 550,000-680,000 US$ 18,800-23,200 HK$ 144,700-178,900

蒲浩明 (b.1944) 那天 III 不銹鋼 (6/8) 2008 簽名：蒲浩明作 2008 6/8 75×18×6.5cm(29.5×7×2.55in.)

蒲浩明的雕塑藝術受教於父親蒲添生與東洋美學薰陶之外，其於 1963 年考取今中國文化大學美術系系榜首，並於 1966 至 67 年間拜日本雕塑家木內克先生為師，還曾於 1980 年赴比利時皇家藝術學院暨 1982 年在法國巴黎美術學院深造研究，從古典到現代的通盤學習，也奠定了其紮實的雕塑功夫，其尊敬前輩、傳統的謙遜態度，在不斷的探索與多元發

展覽「透明空間－另一個造形的思考方向：蒲浩明雕塑個展」，國立臺北科技大學，2011 年。出版《自在的轉化－蒲浩明雕塑個展專輯》，景薰樓藝文空間，2008 年，P.70。

展下，亦為他的藝術帶來更多的生機與活力。蒲浩明作品獲獎無數，尤以其「伏羲氏」一作或得法國藝術家沙龍雕塑類銀牌獎，並於 1983 年，作品「情深深」與父親蒲添生作品「詩人」同時入選法國藝術家沙龍。《那天Ⅲ》是蒲浩明透明空間系列的作品，探討存

PU Hao Ming

在於繪畫與立體雕塑之間的空間關係，壓扁的人體

That Day-III

仍存在前後的關係位置，在縷空與外在實體的邊緣

Stainless Steel (6/8) 2008

線條中可以感受到其造型的變化與美，在虛實交錯

Signed: PU Hao Ming executed, 2008, 6/8

間產生的錯覺，予人想像的空間與神祕感。其用不

Exhibition: “PU Hao Ming Solo Exhibition: Transparent Space Another Concept of thinking About Forms”, National

同的角度來思考空間與線條，用空來反觀實，從實體會虛，呈現出幻滅及時空轉化的生命本質，進而提供另一個造型的思考方向。

Taipei University of Technology, 2011 Literature: The Sculptures of PU Hao Ming , JSL Art Space, 2008, P.70 55

NT$ 150,000-180,000 US$ 5,100-6,200 HK$ 39,500-47,400

虛空能量新造像─李真

Time is life.

時間既是生命

It pulsates in those past years,

在流失歲月中

And collects Numberless touching memories.

脈動著…

In this universe of infinite Buddhist world.

卻在記憶裡典藏了無數

Beings can be trivial and great as well.

感動…

Li Chen, 1996 ─《LI CHEN 1992-2002 SCULPTURE》,

如今處在無量佛界宇宙

Asia Art Center, 2004

是何等微細也是同體的偉大

LI Chen, born in 1963, he was familiar with carving traditional Buddhist statues. Afterwards, LI tries to blend

李真，1996 ─節錄自《李真雕塑》，亞洲藝術中心，2004 年

his own philosophy into his art. He withdraws from society and lives in obscurity, trying to figure out the

李真，1963 年生，早期即對於傳統佛像的製作相當熟稔。

meaning and the responsibility of being a human. Hence,

其後李真不斷融入自我悟思，誠心皈依的他廣涉佛道經典，

his works can always make people feel harmonious and

並拋開喧囂、隱居山林，重新審視做為現代人所應承載的文

peaceful. From the essence of nature to the external

化意涵與責任，讓他的作品能明顯使人感受到生命的和諧及

appearance and from the classic to the modern, his

平靜。李真在藝術的追求上，師法自然，由大自然萬象至外

works look generous and consummate. His artworks

在形貌，在古典中又鎔鑄現代元素，讓作品看來大器而圓滿、

show the new oriental conception and prospect,

不凡挾有禪意，更在創作的變化上加入活潑童趣的一面，表

therefore his artworks are acknowledged in international

現獨特的新東方氣韻與意境，深獲國際藝壇肯定。

art scene.

李真 (b.1963) 無量壽

LI Chen

銅雕 (6/8) 1998

Bronze (6/8) 1998

簽名：Li Chen 6/8 1998

Signed: Li Chen 6/8 1998, with one seal of the artist

鈐印雕刻：李真

Amitayus

25×22×22cm(9.8×8.6×8.6in.)

Exhibition: “52nd International Art exhibition – La Biennale di

展覽

Venezia’’, Telecom Italia Future Centre, 2007

「第 52 屆威尼斯雙年展」，未來展望美術館，2007 年。出版

Literature: Li Chen in 52nd Venice Biennale – Energy of Emptiness ,

《第 52 屆威尼斯雙年展－虛空中的能量》，亞洲藝術中

Asia Art Center , 2007, P.48-49

心，2007 年，第 48-49 頁。

Li Chen 1992-2002 SCULPTURE , Asia Art Center , 2004,

《李真雕塑 1992-2002》，亞洲藝術中心 , 2004 年，第

P.43-44

43-44 頁。

With a certificate of authenticity signed by the artist

附藝術家親自簽名保證書

NT$ 650,000-850,000 US$ 22,200-29,100 HK$ 171,100-223,700 93

「虛空中的能量」系列作品中，突破千年來佛教雕塑既有的形式藩籬，呈現一種渾然天成的道家氣質，常可隱約見到「氣」與「能量」不斷環繞其上，精簡的刀法或疾或徐的遊

走於丘壑之間，恣意流暢的圓潤外形，得自作者「中得心

李真 (b.1963) 雲中佛

源」之心象，意到斧到、言簡意賅，使其輕如鴻毛的圓融體態凌駕銅塑材質的量感，創造「既重又輕」的李氏創作語彙。

銅雕 (5/8) 1998

作者藉由鏡面質感與粗糙土質表面，營造出對立元素的碰撞

簽名：李真 5/8 1998 二五四二

美感，巧妙憑藉交界邊緣塑造新的視覺動線，時而柔潤，時

鈐印雕刻二枚：李真

而悸動，帶出另一股美感賞析途徑。

58×22×17cm(22.8×8.6×6.6in.)

Lot57《雲中佛》、Lot56《無量壽》皆為此時期重要作品，

作品《雲中佛》輕踩雲端，婆娑而立，端滿莊嚴慈悲的笑顏

出版

注視人間，左手結印、右手施予，此聖德之像十分溫潤輕盈，

《李真雕塑 1992-2002》，亞洲藝術中心 , 2004 年，

仿若雲中之佛翩翩降臨人世，瞬間散盡一切繁雜惡事，清淨

第 21 頁。

人間，快意自然，使觀者感受前方一片無限美好，是一尊令

附藝術家親自簽名保證書

人充滿希望之蔚然聖像。而作品《無量壽》同樣的施予手勢，仰觀之如雲岡大佛般巍峨挺立，面像平靜安祥，仿若陷入長

LI Chen

思，思考著如何帶領人們走向「涅槃」之康莊大道，無為、

Buddha on the Cloud

灑脫、自在的處事態度，將是世人未來最需努力的目標。這

Bronze (5/8) 1998 Signed: Li Chen in Chinese 5/8 1998, 2542 in Chinese, with two seals of the artist Literature: Li Chen 1992-2002 SCULPTURE , Asia Art Center, 2004, P.21

些作品試圖回應當下，並傳遞李真對於當代社會人文本質的真切關懷，深具跨時代意義。 In the series of “ Energy of Emptiness ” , LI makes a breakthrough of thousand years ’ traditional Buddhist statues’carving forms. In his artworks, the viewers can easily feel “Chi (a mental status)” and “energy” surrounding. LI

With a certificate of authenticity signed by the

uses rounded form and soft line together with contemporary

artist

method to convey profoundly classical Chinese spirit. Lot57“Buddha on the Cloud” and Lot56“Amitayus” can be

NT$ 800,000-1,000,000 US$ 27,300-34,200 HK$ 210,500-263,200

seen as very important pieces of this period. LI tried to use two different materials to create an opposing beauty. Besides, the lines on the edge are soft but vigorous and this shows a new beauty of his sculptures. “Buddha on the Cloud”, Buddha slightly steps on the cloud and stands straight with a merciful smile to the world. This statue is like a Buddha coming to the world, trying to stave off all of the bad things and to clean the world. It makes the viewers feel all the best toward the future. “Amitayus” has the same offering gesture and the Buddha’s face looks unruffled just like he falls into a profound thinking. He thinks about how to lead people to an inactive and free state of mind. These artworks convey the true concern of the artist to the society which means a lot to this epoch.

常玉

海外華人藝術

Overseas Chinese Artists

them has his own artistic language which was favored

美的風潮，此後，負笈他鄉吸取西方養分的留學生們，

by many collectors. These artists’ works are mostly

都泛稱為「海外華人藝術家」。這些留學海外的藝術家

managed by foreign art dealers, therefore, they have

們，離鄉背景的追求藝術的本質，為藝壇留下許多美麗

more opportunities to be seen in international art scene

的篇章。「海外華人藝術家」如林風眠、常玉、趙無極、

and have more added values of collection. The price of

朱德群、趙春翔、陳蔭羆、魏樂唐、丁雄泉、蔡雲程等

senior overseas Chinese artists’ artworks has already

大師級人物，另有中青輩的藝術家莊�、唐海文、蕭勤、

reached a new high in recent years. Moreover, those

楊識宏等…他們長年異居他鄉，作品皆有其獨特的藝術語彙，深得許多藏家的鍾愛。在此次春拍中趙無極油彩作品 Lot65《12.11.85》展現大氣勢的氛圍，畫中所映射出的色彩深邃澄澈，變化細膩，迴盪著一股浩瀚蒼茫的撼人氣勢。水彩作品 Lot66《抽象》可一覽趙氏的藝術語言表現，在灰藍色調的豐富變化中快意取決畫面的柔弱疏放，是藏家值得珍藏的經典

SAN Yu

1919 年，中國在「勤工儉學」政策下，掀起一股留學歐

middle-aged artists’ works are worth to be expected, too. ZAO Wou Ki and CHU Teh Chun have spent their lives in Paris and both of them graduated from Hangzhou College of Art. ZAO is one year older than CHU but both of them have lots of similar educational background. They both became famous for their abstract painting style: ZAO’s boundless power and CHU’s poetic movement. In

之作。

this spring auction, ZAO’s oil painting, Lot65”12.11.85”

其他的海外華人畫家，例如陳蔭羆石碑式的刻文意象

shows an atmosphere of great momentum. The colors

Lot60《抽象系列 537》、丁雄泉筆下柔情嬌媚的彩墨圖

reflecting from the canvas are profound but clear. His

像 Lot63《七美圖》、魏樂唐書法式的快意揮灑油彩作

watercolor painting, Lot66”Sans Titre” expresses the

品 Lot67《抽象》，趙春翔自成一格的表現繪畫 Lot59《抽

best of ZAO’s art language. Both precious paintings are

象》、將中國傳統和西洋抽象以生動的融合的莊� Lot96

worthy of your collection.

《雪舟破墨山水變奏 II》、《霞飛秀嶺》，楊識宏舞動

SAN Yu, a legendary artist. He only painted 200 oil

抽象的 Lot104《倒敘》，蕭勤東方趣意的 Lot102《道

paintings in his life, thus, his artworks are highly

曲然》，藝術造詣深厚的唐海文 Lot69《大地》的藝術

appreciated and inquired. SAN’s flower is his classical

家等，在 2012 年景薰樓的春季拍賣中，一並徵得許多

series. Lot58”Chrysanthemums” of 1930’s was very

當代的海外華人藝術家的作品，實為精彩可期。

rare at the time and it is still well-preserved, therefore, this painting is more than precious.

In 1919, the policy of “working and studying abroad” became a trend in China. No matter studying in Paris or New York, these students chose this path to be educated in Western way. Afterwards, they were called “Overseas Chinese Artists”. “Overseas Chinese Artists”, including SAN Yu, CHAO Chung Hsiang, ZAO Wou Ki, CHU Teh Chun, George CHANN, John WAY and Walasse TING. Apart from them, there is a group of middle-aged artists such as CHUANG Che, TANG Hai Wen, YANG Chi Hung and HSIAO Chin. They have stayed abroad for a long time and each of

Others overseas Chinese artists’ works, such as Lot60”Abstract Series 537” of Georde CHANN, Lot63”Seven Beauties” of Walasse TING, Lot67”Abstraction” of John WAY, Lot59”Abstract” of CHAO Chung Hsiang, Lot96”Variation on Sheshu’s Broken Ink Landscpae II” and Lot97”Sunset Ridge” of CHUANG Che, Lot104”Flashback” of YANG Chi Hung, Lot102”The Winding Tao” of HSIAO Chin and Lot69”The Earth” of TANG Hai Wen, all of them have their own

菊花油彩木板 1930

position in art world and they are highly potential investments.

Chrysanthemums Oil on board 1930 58

東方的馬諦斯」常玉，一九二一年在北大校長蔡元

SAN Yu, acknowledged as “Chinese MATISSE”. In 1921, he

培提倡「勤工儉學」計畫下，隨著這股留學熱潮前

decided to travel to France under a government-sponsored

“French Window at Collioure”. ZAO Wou Ki also respects

往巴黎學習藝術。

work-study program. Here in Paris, he absorbed every kind of

三○年代常玉有許多花卉靜物創作出現，如附圖 1

painting styles and discovered what he really longed for and

MATISSE a lot, from his painting of 1986, “Hommage à Matisse I - 02.02.86”, we can see the similar composition. ZAO has

《粉菊與玻璃瓶》。常玉早期作品多以粉色及白色入畫，偶有黑色加入畫中。《菊花》是常玉 1930 年代所畫的作品，藉由描繪象徵遠方故鄉的菊花，一解異鄉遊子內心世界的思鄉之情。畫作中利用黑與黃的色彩搭配呈現菊花，是他當時少見的創作風

works mostly contained pink and white, sometimes with black. “Chrysanthemums” was also the creation of 1930’s.

door? That is a dark and big space. It is just like a door which leads you to the real painting.” In SAN Yu’s “Chrysanthemums”,

vacuously and substantially, in front of that, we can find lives, dusts and air to breath. However, what happens behind that

the big composition was inspired by MATISSE ’s colors and

he was abroad, he painted chrysanthemums to express his

spaces and it exceeded the spiritual admiration of Matisse.

形式，以虛的線條帶出實的菊花，虛實相生的融合

nostalgic feelings. The combination of black and yellow was

That door leading to the real painting is even more inward and

轉化隱身在花卉的輪廓之中。常玉以富於書法性的

even rarer during this time. SAN Yu loved to minimize the lines

wide. SAN employs the simple lines to discover Oriental culture

筆意趣味、古拙質樸的造型傳達出東方文人的特質，

of his paintings. In this painting, he erased the extra lines

體現元朝倪瓚「逸筆草草，不求形似」的創作風格。

and tried to use simple lines to form the flowers. The simple

profoundly and also broad tranquil space to reveal simple and unadorned flower’s language. Just like LIN Feng Mian’s “Prickly

常玉的畫受到馬諦斯等野獸派的影響，其直式構圖

background and the chrysanthemums in the front show an

Pears”, the essence doesn’t only blend Chinese man of letters’

及畫面構成，可從附圖 2 馬諦斯《科利尤爾的法式

infinite imagination and peaceful spirit

elegance and poetic taste, but also build a bridge between

窗子》畫作中見到淵源。趙無極對於馬諦斯也是相

The trained calligraphic stroke, with its varying innuendos,

Western and Eastern cultural changes.

當的崇敬，他於 1986 年的作品附圖 3《向亨利 ‧

afforded SAN Yu a unique chance to delineate the flowers, as

SAN Yu’s paintings are very popular in nowadays art market

a means of expressing the beauty and sensitivity of a flowing

and the price breaks the new record every year. Mrs. CHEN, the president of JSL Auction is also an admirer of SAN Yu ’s

面，我們可以找到生命、灰塵和我們呼吸的空氣。然而，在他的後面發生著甚麼事 ? 那裏是黑暗的、

常玉 (1901-1966) 菊花

commented on MATISSE ’ s painting, “ A door which exists

The chrysanthemum is a symbol of far-away hometown. When

下論述 :「一個空虛和充實同時存在的門，在那前

finally accomplished his unique language. During 1930’s, SAN Yu painted many flowers including “Pink Chrysanthemums in a White Vase”, shown below. His early

格。利用刮除顏料表現線條的手法，假借中國篆刻

馬諦斯致敬 1-02.02.86》，曾對於馬諦斯該作有如

This painting was composed vertically just like MATISSE’s

line. With only a few strokes, relying on the fluidity and innate qualities of brush and ink, he was able to capture the essence of his subject. “Chrysanthemum” symbolizes elegant Chinese man of letters, it doesn’t only convey abstract philosophy and

paintings. In early 1990’s, Mrs. CHEN saw this painting in an architect’s office and was affected by it profoundly. After many

門。」常玉的此件作品《菊花》中的大塊面構圖就

with boundless space, simple colors and lines and also

years, she saw this painting again in the catalogue published by Dimension Art Center, “Modernity Exoticism of Orientals, Dimensions Art Center”. JSL Auction has established for 19

如同得自於馬諦斯的色彩與空間的領悟，並超脫對

complete composition.

years and we are pleased to share this fine painting of SAN Yu

於馬諦斯的精神性崇拜，那一扇敞開之門，更為靈

SAN Yu was influenced mostly by Henri Matisse’s Fauvism.

with all of you.

巨大的空間。他像是一扇朝向真正繪畫的敞開之

aesthetic, but also shows the artist’s true subjective feelings

性、廣大無垠而浩瀚。常玉的畫作以簡約率性的線條，深刻的直探東方底蘊，訴說空靈質樸的花卉語調，其深幽的構圖形式如附圖 4《仙人球》林風眠

油彩木板 1930

所畫的花卉精神一般，其精神不僅融貫中國文人清

簽名右下：玉 SANYU

雅恬淡品味，更架起中西藝術文化的橋樑，開拓更

80×45cm(31.5×17.7in.)

為寬廣自由的創作之路。

出版

常玉的畫作現今已是眾藏家競相追逐的藝術品之

《另類現代 : 東方人的異國情調》，帝門藝術

一，畫作價格也屢屢創下新高。景薰樓拍賣公司陳

中心，2002 年，第 16 頁。

碧真董事長也是常玉的畫迷，非常喜愛常玉的畫作，對其作品亦是如數家珍，甚至與《菊花》這張畫作

SAN Yu

有著一段巧妙緣分。早於 90 年代，陳董事長在一位

Chrysanthemums

留日建築師朋友的辦公室中赫見此幅畫作，當時即

Oil on board 1930

深刻的感受到常玉畫作的魅力。02 年帝門藝術中心

Signed lower right: SANYU

出版《另類現代：東方人的異國情調》一書中收錄此作，又再一次因緣際遇之下巧見這幅畫作。前後

Literature: Other Modernity Exoticism of Orientals , Dimension Art Center, 2002, P.16

NT$ 8,000,000-12,000,000 US$ 273,400-410,100 HK$ 2,105,300-3,157,900 98

相隔數十年的光陰，常玉的畫作依舊動人如昔，深刻人心，2012 年景薰樓將邁入第 19 年，萬般有幸徵集到常玉《菊花》這件精彩難得的佳作，三次巧遇的緣分實屬可貴，在此也非常感謝藏家的割愛，一同與更多朋友來分享常玉的藝術之美。

附圖 1 香港佳士得 2011 春季拍賣，常玉《粉菊與玻璃瓶》，約 1930-1940 年代，油彩畫布，成交價 NT$38,684,000 Hong Kong Christie’s 2011 Spring Auction, “ Pink Chrysanthemums in a White Vase” by SAN Yu, about 1930-1940, oil on canvas, sold for NT$38,684,000

附圖 2 馬諦斯《科利尤爾的法式窗子》，1914，油彩畫布 French Window at Collioure by Henri MATISSE, 1914, oil on canvas

附圖 3 趙無極《向亨利 ‧ 馬諦斯致敬 I - 02.02.86》，1986，油彩畫布 Hommage à Matisse I – 02.02.86 by ZAO Wou Ki, 1986, oil on canvas

附圖 4 林風眠《仙人球》， 1960，油彩畫布 Prickly Pears by LIN Feng Mian, 1960, oil on canvas

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101

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103

陳蔭羆 (1913-1995) 香港海景

George CHANN

油彩紙本拼貼畫布 1970 年代

Oil and paper collage on canvas

簽名右下：GEO. CHANN 65.3×80cm(25.7×31.5in.)

Harbor Scene

Walasse TING

1970s

丁雄泉 (1929-2010) 鸚鵡

Signed lower right: GEO. CHANN

壓克力水彩紙

Acrylic and watercolor on paper

鈐印右下：採花大盜

With one seal of the artist

香港佳士得 2009 年春季拍賣會

Provenance: Christie’s Hong Kong 2009 Spring

Lot953

Auction, Lot953

來源

NT$ 260,000-380,000 US$ 8,900-13,000 HK$ 68,400-100,000 104

Parrots

45×57.5cm(17.7×22.6in.)

NT$ 300,000-400,000 US$ 10,300-13,700 HK$ 78,900-105,300

105

丁雄泉於 1958 年移居紐約，受到抽象表現主義與普普藝

Walasse TING moved to New York in 1958, under

術氛圍的影響，他採用大膽潑灑技巧與西方文化的交滲，

the influence of Abstract Expression and Pop

逐步篩融出他作品中繽紛色感的雛型。1970 年，他將中

Art, he employed Chinese calligraphy and vivid

國書法性融入繪畫，狂草的律動和勾勒的輪廓，加上亮麗

colors to create his own signature. In 1974, he

的色彩與鮮明的對比，成就其丁氏風格。1974 年常居住於

often moved between New York and Paris and

紐約與巴黎，在國際畫壇上開始有了名聲。2001 年定居於荷蘭阿姆斯特丹。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。丁雄泉愛女人，也擅長畫女人，鸚鵡、貓兒、花卉與水果

that was also when he first became famous. In 2001, he moved to Amsterdam. His artworks were collected in many greatest museums, including the Museum of Modern Art (MOMA) in New York and the Guggenheim Museum.

都是他經常入畫的主題，畫作上經常趣味性的落款「採花

TING adored women and he excelled in painting

大盜」。「多麼醜陋的女人都有她的美處，我不停地觀看

women. Besides, parrots, cats, flowers and fruit

女人，在公車上、在路上，不停地看，然後回家盡情的作畫。」丁雄泉不造作、不偽飾的真性情色彩，完整的將女

were also often included in his artworks. He once said, “Even a ugly woman has her own beauty,

人的媚柔嬌豔呈現於畫上。以嫩綠、豔紅、鮮黃和亮藍等

I can ’t stop observing women no matter in bus

繽紛色彩所構成的畫面，視覺語言強烈鮮明的繪畫風格，充滿活潑熱情的生命力及彰顯其樂觀趣意的人生態度，洋

or on the street. Then I paint what I see while at home. ” TING used light green, bright red, yellow

溢著滿是春意的丁氏畫風。

and blue to compose his artworks which showed

Lot62《鸚鵡》與 Lot70《西瓜》的作品中，以艷麗的色

the vitality of enthusiasm and the positive life

彩及大膽的造型表達並結合東方性的線條是丁雄泉畫作中重要的元素。在《七美圖》作品中，丁雄泉以中國仕女的姿態，展現眼神柔媚欲語還休的氣質，各是千嬌百媚，律動的體態綽約多姿，寫意的歌頌女人的嬌、媚、情，瀟灑暢快的筆觸以及恣意大膽的色彩表現出東方女性的風情萬

attitude. Lot62 “ Parrots ” and Lot70 “ Watermelon ” , TING uses two important elements of his works which are brilliant colors and outrageous forms to depict animals and fruit. “Seven Beauties” conveys the myriad dispositions and the shyness of beautiful

種，搭配可愛嬌媚的鸚鵡，呈現濃烈的東方態勢與趣味性，

women and communicates vividly the energy and

也樹立了丁雄泉獨立於主流畫風之外的特殊風格。

the passion by spreading gorgeous acrylic colors

丁雄泉以豪放熱情、不拘成俗的創作性格，大膽將東方水

on the paper. His seductive, magical world is one

墨精神融於西方藝術創作，橫跨國界的藩籬，風靡了全世

of sensory pleasure, appealing to all those who

界愛好藝術的藏家們，為華人的藝術史上增添了一筆華麗

share his passion for the beauty of the natural

絢爛的丁氏色彩。

world.

丁雄泉 (1929-2010) 七美圖

Walasse TING

彩墨紙 1980 年代

Ink and color on paper 1980s

鈐印左上：採花大盜

With one seal of the artist

Seven Beauties

71x112cm(28×44in.)

NT$ 1,600,000-2,200,000 US$ 54,700-75,200 HK$ 421,100-578,900

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最具魅力的天才畫家、美術教育家和理論家─林風眠林風眠，1900 年生於廣東。祖父是石匠、父親林雨農是民間畫師，家庭

林風眠金秋彩墨紙 1980 年代簽名右下：林風眠鈐印右下：林風暝印 51x48.5cm(20 x19in.) 來源

背景使林風眠從小對繪畫產生濃郁的興趣。20 歲的林風眠在五四運動精神的鼓舞下，懷著振興祖國藝術的信念，參加了留學出國的隊伍，1919 年，於梅州中學畢業後，林風眠和同窗好友林文錚一同作為第六批前往法國勤工儉學的學生。在留學期間，由於其天資聰敏，很快就顯露出令人矚目的藝術成就，在巴黎舉辦的中國畫家作品展覽會上嶄露頭角，被法國《東方雜誌》記者評為「中國留學美術者的第一人」，1925 年，應蔡元培之邀回國，任北平國立美術專科學校校長。因林風眠推廣「藝術平民化運動」與當時的中國政治情勢形成矛盾，而致

現收藏者於八○年代購自香港中僑

使其不斷遭受挫敗。1938 年杭州藝專與北平藝專合併，並改稱國立藝術

國貨公司

專科學校。而林風眠也逐漸退出中國近代美術教育主流，回歸畫家本位，潛心繪畫，並以西方現代藝術思潮深入中國繪畫。1966 年，文化大革命

LIN Feng Mian

開始，期間林風眠備受迫害，不僅被拘留於上海看守所近四年，其畫作更

Golden Autumn

被批為「黑畫」。林風眠為自保，把自己千餘張畫作，親手一張張的溶為

Ink and color on paper 1980s

紙漿以水沖掉，或付之一炬，其大半生心血俱付灰劫。1977 年，78 歲的

Signed lower right: LIN Feng Mian

林風眠，始獲准出國探親，並在香港中僑國貨公司舉辦畫展。而後他定居

in Chinese, with one seal of the

香港並於各國展覽，將其餘年和藝術重新獻給了整個世界，而藝術世界也

artist Provenance： Acquired from Hong Kong Chung

還給了他一個最高的評價。林風眠於 1991 年逝世於香港，當今聞名世界的藝術家趙無極、朱德群與吳冠中等都是出自於他的門下，影響中國現代繪畫觀念之深遠，為二十世紀最高成就的中國畫家。

Kiu Chinese Product Company by

《金秋》描繪了逐漸轉入秋天的景色，以黃橙色調與深藍色調做了一種對

the current collector in 1980s

比，呈現很強的表現主義色彩，是其終生探究以西方觀念打入東方繪畫的經典表現。在錯落的瓦舍與其斑駁的白牆中，透出特有的一種孤寂與寧

NT$ 1,100,000-1,500,000 US$ 37,600-51,300 HK$ 289,500-394,700

靜，是林風眠內在祥和的內斂之美。林風眠的一生就如同一部中國近代史，歷經大苦大悲的時代背景，日本侵華、軍閥混戰、民不聊生的文革時代與無數惡意的貶低，甚而天安門事件的種種磨難，卻不曾停卻他對於藝術的探索推廣與人道的深切關懷。在 20 世紀末的 20 年中，香港和大陸開始舉辦林風眠的畫展和研討會，重新發現其藝術魅力，並認同其對中國藝術的巨大貢獻。

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109

無極之極．象外之象

趙無極 1980 年代後，由於婚姻上的美滿與生活上的穩定，趙無極

After the 1980s, ZAO Wou Ki’s paintings went

的繪畫進入一種優雅的狀態，畫面注入更多的感性，多一點

into a state of elegant. The screen a leaner, and

空間與空靈上的探索。1984 年趙無極獲得法國政府頒發的

this leaves a little more space for an ethereal

榮譽勳章，是對其一生藝術創作的肯定。其 1985 年的作品

exploration. ZAO Wou Ki said in regard to Lot62 “12.11.85”, his work in 1985, “What I focus on

《12.11.85》，趙無極︰「要看的是空間，空間的伸展、扭

轉，我常在心裡揣摩的是︰如何畫風？怎樣表現空白？表現光的明朗、純淨？」，以稀釋透明的方式來運用色彩，顏料的滴濺、散流亦呈現瀟灑的律動，書法線性式的筆觸、開放式的構圖、展現大氣勢的氛圍，畫中所映射出的色彩深邃澄澈，變化

often try to figure out with my heart about how to draw winds? How the show of the blank? How to show the brightness and pureness of light? ” By using diluted and transparent color, and using

細膩，迴盪著一股浩瀚蒼茫的撼人氣勢，趙無極的作品，清楚

drops splash and diffuser of color pigments

地表明中國人的宇宙論，並將其昇華成全球性的現代觀點。

to present a chic rhythm with the calligraphy

藝術史學家蘇立文 (Michael SULLIVAN) 在《東方與西方的藝術》一書中表示：「在中國人的眼中，陰陽不是結合的，而是

linear brush strokes on open composition, ZAO Wu Ki ’ s paintings show a momentum without

透過兩極的強大交互作用而產生相輔相成的生命體。因此我們

constraint. The color mapped deep clarity and

也應該用這種態度來看待東方與西方的交互作用；兩種偉大的

delicate variation. The echo of the momentum in

文化，各自保留自己的特色，互相刺激與滋潤。」這段文字和

the works of Zao Wou Ki clearly shows Chinese

趙無極的藝術相互印證，東西方融合的藝術，也奠定了趙無極

cosmology, and elevated it into a globalized

在華人藝壇中頂尖的地位。

modernized perspective.

貝聿銘曾在其畫展所作前言中寫道：「我覺得他的油畫和石版

Michael SULLIVAN, art historian, in ORIENTAL AND WESTERN ART, he mentioned “In Chinese

畫十分迷人，使我同時想起克利繪畫的神秘和倪瓚山水的簡練，我可以毫不誇張地說，趙無極是歐洲畫壇當今最偉大的藝術家之一。」

viewpoint, through alternation in polarity of YIN and YANG, formed one organic by complementing

趙無極雖長年身處巴黎，但其骨子裡仍受著中國千年的文化薰

each other. Two great spirits surges and possess each other.” This words is proved with ZAO’s Art,

陶，使得他始終在西方繪畫語彙裡追求著東方的審美境界，建

Oriental-Western art is integrated, marked his

立起抽象與意象世界的橋樑。在不依循客觀的規則下，持續保

趙無極 (b.1921) 12.11.85

ZAO Wou Ki

油彩畫布 1985

Oil on canvas 1985

簽名畫背：ZAO Wou-Ki 12.11.85

Signed on reverse: ZAO Wou-Ki

60×73(23.6×28.7in.)

12.11.85

附藝術家親自簽名保證書

With a certificate of authenticity

12.11.85

有自我的自由度。趙無極在 1985 年時回憶道：「我從 1935

highly statue in International art field. “Space of Chinese” and “Light of Western”, Zao

年畫油畫，到 1964 年用了三十年才真正懂得油畫自由的方

Wou Ki not only combines the essence of art in

法。」

signed by the artist

「中國的空間」和「西方的光」，趙無極不僅融合了兩大文化

two major culture, but also successfully relays the commonality. ZAO Wou Ki once said, “If there is

的藝術本質，更成功的轉述了它們的共通性，趙無極曾說；「如

an undoubtedly influence of Chinese culture in my

果說我的整個藝術修養中有無可否認的中國影響，我也必須說

art knowledge, I have to say, my real personality is closer to mature as I re-found Chinese culture.”

NT$ 12,000,000-16,000,000 US$ 410,100-546,800 HK$ 3,157,900-4,210,500

明，我的真正人格，隨著重新發現中國而晉於成熟。」 110

are the space, spatial extension and torsion. I

畫背簽名 Signature on the reverse

111

趙無極的繪畫歷程總在不斷地轉換與蛻變，早期的寫

ZAO Wou Ki’s painting style is always transforming,

實風格以及在歐洲所發展出的克利時期、甲骨文時期，再到抒情抽象以及雄偉磅礡的氣勢作品，都訴說趙無

from the realistic to symbols and lyrical abstraction, every single period shows ZAO’s achievement.

極每一時期的藝術成就。

“Abstract” is ZAO’s work in 1967. It is a continuation

《抽象》是趙無極 1967 年成熟時期的作品，完美地展

of the creation in the abstract nature since the creation in 1956. This work is not limited to the

simulation of natural but expresses the space,

趙無極 (b.1921) 抽象

ZAO Wou Ki

intense, and this period became the most fruitful

水彩墨紙 1967

Watercolor and ink on paper 1967

簽名右下：無極 ZAO 67

Signed lower right: Wou Ki in

稀釋暈染，筆鋒的速度飛白，帶著傳統水墨的筆法韻

creative golden age. The work is filled with strong emotional shock. A state of “ethereal”, “essencial”,

40×56cm(15.7×22in)

Chinese and ZAO, 1967

味，傳達抽象的自由。在這一個藍、白、褐相間的筆

and“ blank” in Chinese culture are shown in strokes

來源

勢裡，表現了中國文化中的「空靈」、「精粹」與「留

of blue, white, and brown. The blue tone in the

巴黎佳士得 2009 年秋季拍賣會，

Provenance: C h r i s t i e’s Pa r i s 2 0 0 9 Au tu m n

白」的境界。在構圖上與色彩的襯托下，更突題其內

center is emphasized more under the composition

Lot46

Auction, Lot46

在的色調。摒棄了敘事性，甚至隱喻性，留下的只是

and color backdrop. Under the fusion and the

瞬間的內心情感激盪，在藍色和白色的交互融合之下，

interaction of blue and white, the background and

背景與前景的相互交疊，使作品呈現更為引人入勝的

foreground overlap and present a more compelling

層次感，完全深邃的令人沉醉。

sense of depth.

現他的個人風格。延續 1956 年以來的抽象自然創作，並不侷限於模擬自然，而是從自然變化，表達一種空間、生機與氣韻。趙無極的創作在 60 年代時變得更為強烈，並成為其創作成果最為豐碩的一段黃金時代，作品中充斥著他在情感上受到強烈激盪的震撼。色的

112

vitality and artistically within the natural changes. In the 1960s, ZAO Wou Ki's creation has become more

Abstract

NT$ 2,600,000-3,500,000 US$ 88,900-119,600 HK$ 684,200-921,100 113

魏樂唐 (1921-2012) 抽象

John WAY

綜合媒材畫布 ( 三聯幅 ) 2001

Mixed media on canvas 2001 (Three Pieces)

164×336.5cm(64.6×132.5in)

Signed lower right: John Way 2001

簽名右下：John Way 2001

Signed on reverse: John Way 2001

簽名畫背：John Way 2001

Abstraction

展覽

Exhibition: “John WAY Retrospective: 80 Years of Painting,

「魏樂唐八十回顧展」，上海美術館，2001 年。

Shanghai Art Museum, 2001

出版「魏樂唐八十回顧」，上海美術館出版，2001 年，

Literature: John WAY , Shanghai Art Museum, 2001, P.284-

第 284-285 頁。

285

NT$ 4,500,000-6,000,000 US$ 153,800-205,100 HK$ 1,184,200-1,578,900 67

114

魏樂唐 (1921-2012) 抽象

John WAY

TANG Hai Wen

Abstract

唐海文 (1927-1991) 大地

油彩畫布 1992

Oil on canvas 1992

壓克力紙板 1970

Acrylic on board 1970

簽名左下：John Way II XII ’92

Signed lower left: John Way II XII,

簽名左下：TANG 海文

Signed lower right: TANG, Hai

132×107cm(52×42in.)

1992

70×50cm(27.6×19.7in.)

Wen in Chinese

NT$ 700,000-1,000,000 US$ 23,900-34,200 HK$ 184,200-263,200

The Earth

NT$ 240,000-350,000 US$ 8,200-12,000 HK$ 63,200-92,100 117

陳浚豪 (b.1971) 臨摹五代後梁荊浩匡盧圖局部

思考後，再根據自己的經驗，以一定研究與實驗方法和技

不鏽鋼蚊釘畫布木板 2010

巧，人工的、勞力密集地再現原作的外在形態及內在精神。

簽名右下：浚豪 2010

這種人工的摹仿與商業複製行為如印刷輸出、版畫複印、

60×60cm(23.6×23.6.in.)

攝影翻拍等複製方式有著本質的不同。前者，在過程中需

丁雄泉 (1929-2010) 西瓜

Walasse TING

彩墨紙

Ink and color on paper

CHEN Chun Hao

鈐印左上：採花大盜

With one seal of the artist

Imitating the Ching Hao ’ s Mount

Watermelon

36×48cm(14.2×18.9in.)

NT$ 150,000-250,000 US$ 5,100-8,500 HK$ 39,500-65,800

要作者相當的專注力、經驗累積，重點並不在於客體的完全的拷貝；而是在原作的限制因素下進行超越的可能。」

Kuang-lu painting of Five Dynasties (Detailed) Mosquito nail on canvas and wood 2010 Signed lower right: Chun Hao in Chinese, 2010

NT$ 150,000-200,000 US$ 5,100-6,800 HK$ 39,500-52,600 118

陳浚豪：「我的臨摹實際上是由通過對原作的觀察、體會、

荊浩《匡廬圖》( 局部 )，五代，台灣，國立故宮博物院藏 Ching Hao, Mount Kuang-lu (Detailed), Five Dynasties, Ta i w a n , N a t i o n a l Pa l a c e Museum 119

西方現代藝術精粹

Highlights of Western Modern Art

西方美術史是一部不斷革新邁進的藝術史，19 世紀後期在後期印象派，保羅．

The History of Western Art is a non-stop renovating history. The representative

塞尚 (Paul CEZANNE)、文生．梵谷 (Vincent VAN GOGH) 和保羅．高更 (Paul

of 19th Century post-impressionist painters including Paul CEZANNE, Vincent

GAUGUIN)，著力於面對自己強烈的情感與藝術本質時，也帶出 20 世紀以來，現

VAN GOGH and Paul GAUGUIN, all of them faced their own strong emotion and

代美術流派各領風騷，百家爭鳴的局面。

created the essential of art. They also led the new artistic trend of 20th Century.

畢卡索為代表的立體派繪畫繼承了塞尚的造形法則，如畢卡索的 Lot78《騎士與戰

Pablo PiCASSO inherited Cezanne’s forming rules while creating Cubism.

馬》，將自然物象分解成幾何塊面，從根本上掙脫傳統繪畫的視覺定律和空間概念。

Lot78”Cavaliers and Warhorse”, he broke the natural images into geometric

而隨著達達主義運動的消退，出現了超現實主義藝術思潮。薩爾瓦多 ‧ 達利以弗

figures and tried to get away from traditional painting’s visual laws and spacial

洛伊德的精神分析學和心理學為理論基礎進行創作。其此次春拍的作品薩爾瓦多．

concept. Surrealism appeared after Dadaism. Salvador DALI’s creation was

達利 Lot80《旋風的勝利》與 Lot81《獨角獸》即是其力圖展現潛意識的世界，表

based on Freudian psychoanalysis. Lot80”Stormy Victory” and Lot81”Unicorn”,

現夢境和幻覺的景象再現。第二次世界大戰後歐美各地皆產生抽象表現主義繪畫，在當時蔚為風潮，在此藝術潮流下，畢費卻始終執著於具象繪作，為反抽象主義中的具象畫家代表人物，其 1958 年的油畫作品 Lot72《瓶花》及 1960 年的水彩作品 Lot73《瓶花》與 Lot74《唐吉訶德》、Lot75《馬戲團舞者》、Lot77《小丑》，瘦長的表現手法及粗獷有力的粗黑線條交錯的描繪為其著名代表風格。西洋美術史在為反對而反對的藝術思維與傳統藝術的磨合之下，不斷的茁壯成長，在藝術創作上以承先啟後的開展出許許多多的面貌與風格，也造就西方藝術史的多

DALI tried to recreate the scene of his dream and fantasy in order to show his subconscious. After the Second World War, Abstract Expressionism became the main trend in Europe and States. Under this phenomenon, Bernard BUFFET still insisted in his Realist paintings. Lot72”Fleurs de Vase” is his oil painting of 1958 and Lot73”Fleurs de Vase” is his watercolor of 1960, Lot74”Don Quixote” and Lot75”Mme Mademoiselle From Mon Cirque” were all expressed with his strong and powerful black lines. The History of Western Art became stronger after the mixture of new thinking

元性與蓬勃發展，不僅影響著全世界的藝術觀，也使世界的藝術色彩更加的絢麗燦

and traditional art. It contains many different techniques and characteristics and

爛。本次春拍景薰樓呈現出不僅有畢卡索、達利與畢費的作品，還有維士巴修、浪

this is why the Western Art can flourish and have influence in the whole world.

漫夢幻的夏卡爾、普普大師安迪沃荷等西方藝術家之精彩作品。

120

121

貝納 ‧ 畢費說：「繪畫，我們不談它，我們不分析它，我們感覺它。」

貝納 ‧ 畢費 (1928-1999) 瓶花

1955 年，年僅 27 歲的畢費，即被當時的《藝術鑒賞雜誌》評選為戰後

油彩畫布 1958

作，為反抽象主義中，具象畫家之代表人物，並於 1958 年的巡迴展時，

簽名右下：Bernard Buffet 58

被譽為法國寫實主義繪畫的接班人，畢費以其獨特的繪畫語言，流露出

65×46cm(25.5×18.1in.)

其不凡的藝術天性。由於成長於歐洲戰火的時代背景之下，其以存在主

來源

義與人道主義的思維，描繪出社會的醜陋樣貌以及人生的苦悶表情。枯

巴黎 David et Garnier 畫廊

瘦、焦慮的人物形象與粗獷有力的粗黑線條交錯描繪為其代表風格。

紐約佳士得 1993 年春季拍賣會

初期，他的作品畫面呈現多是冷淡黑褐的單一色調，而此特徵也一直延

Lot318 澳洲私人收藏

十大傑出的藝術家之首，畢費於抽象畫泛濫的潮流中始終執著於具象創

續到他的晚期作品。1960 年代，其創作線條逐漸越趨強烈而直接，也開始運用純色的鮮明色彩，畫室靜物、街景大樓與人物等日常生活皆成了他創作的題材。而他以擅長的敘事性手法展現出不同的圖像作品，更讓

Bernard BUFFET

人得以探見畢費其一生的藝術歷程。

Vase de Fleurs Oil on canvas 1958

Bernard BUFFET said, “About painting, we should not talk about it nor analyze it but we feel it. ”

Signed lower right: Bernard Buffet,

In 1955, BUFFET was only 27 and was selected as one of ten greatest

1958

post-war artists by an art magazine. In 1958, he was recognized

Provenance: David et Garnier Gallery, Paris

as successor of French Realism. Because BUFFET grew up under

Christie’s New York 1993 Spring

show his spectacular art characteristic. Based on Existentialism and

Auction, Lot318

Humanitarianism, he depicted the ugly and depressed sides of this

Private Collection in Australia

NT$ 1,800,000-2,000,000 US$ 61,500-68,400 HK$ 473,700-526,300

European war period, he used his particular painting language to

society. BUFFET never gave up in realism paintings even though it was against the main trend at the time. Emaciated and anxious figures and rough but powerful black lines crossing on the canvas became his unique characteristic. At the beginning, he mainly used cold and dark colors and he continued this signature to his late years. During 1960’s, the lines became even stronger and direct. He began to use some bright colors and emphasized on painting still life, street scene and figures of life.

122

123

沈默寡言的貝納 ‧ 畢費，透過生命中最熱愛的創作來擁抱他對

貝納 ‧ 畢費 (1928-1999) 瓶花

世界的關懷，其藝術才華的魅力，也使得日本人在 I973 年為其

水彩紙 1960

籌建美術館。其嚴謹的創作態度與獨特細膩的筆法，在那既錯縱複雜又堅毅的黑色線條下，蘊藏著一股溫暖人心的能量。

簽名右上：Bernard Buffet 60

畢費一生致力於繪畫創作，以社會寫實為主，愁苦的人物生活和

66.4×50.5cm(26.1×19.8in.)

扭曲的靜物始終為其題材，深刻的描寫戰後的哀愁與對戰爭的恐

來源

慌與孤獨感。1960 年的水彩作品《瓶花》與 1958 的油彩作品《瓶

紐約 Herman C. Goldsmith 畫廊

花》，另外包括多件石版畫作品《小丑》、《馬戲團舞者》、《唐

紐約佳士得 1993 年春季拍賣會

吉訶德》、《花》，皆各為其典型代表之作，畫面豐富逗趣，敘

Lot331

事性強，值得藏家細細品味。

澳洲私人收藏

Even though Bernard BUFFET was silent, he expressed his concern to the world by painting. His talents were recognized by

Bernard BUFFET Vase de Fleurs Watercolor on paper 1960 Signed upper right: Bernard Buffet, 1960

Japanese people. Thus, his museum was built in Japan in 1973. His works not only have complicated and persistent lines, but also an energy which can warm people’s mind. BUFFET spent his whole life in painting, especially realism paintings. Depressed figures and twisted still life are always the main subjects of his artworks. He was good at depicting sadness

Provenance: Herman C. Goldsmith Gallery, New

and lonesome after the wars. In our spring auction, we offer two

York

can be considered as the classic of his creation.

Christie’s New York 1993 Spring

original paintings and three lithographs of BUFFET. Each of them

Auction, Lot331 Private Collection in Australia

NT$ 1,000,000-1,200,000 US$ 34,200-41,000 HK$ 263,200-315,800

124

125

貝納 ‧ 畢費 (1928-1999) 唐吉訶德

貝納 ‧ 畢費 (1928-1999) 小丑

石版畫 (56/200)

石版畫

簽名下方：56/200 Bernard Buffet

72X102cm(28X40in)

72×52.5cm(28.3×20.7in.)

Bernard BUFFET Don Quixote

Bernard BUFFET Clown Lithograph

Lithograph (56/200) Signed lower: 56/200 Bernard Buffet

NT$ 80,000-120,000 US$ 2,700-4,100 HK$ 21,100-31,600

NT$ 150,000-200,000 US$ 5,100-6,800 HK$ 39,500-52,600 76

126

貝納 ‧ 畢費 (1928-1999) 馬戲團舞者

貝納 ‧ 畢費 (1928-1999) 花

石版畫 (63/120)

石版畫 (118/200) 1969

簽名下方：63/120 Bernard Buffet

簽名下方：118/200 Bernard Buffet

71×49.5cm(28×19.5in.)

76x53cm(29.9×20.9in.)

Bernard BUFFET

Mme Mademoiselle from Mon Cirque

Flowers

Lithograph (63/120)

Lithograph (118/200) 1969

Signed lower : 63/120 Bernard Buffet

Signed lower : 118/200 Bernard Buffet

NT$ 100,000-180,000 US$ 3,400-6,200 HK$ 26,300-47,400

NT$ 100,000-150,000 US$ 3,400-5,100 HK$ 26,300-39,500

127

畢卡索 (1881-1973) 騎士與戰馬

薩爾瓦多．達利 (1904-1989) 旋風的勝利

石版畫 1954

石版畫 (31/300)

54×71.5cm(21.3×28.1in.)

簽名下方：31/300 Dali

來源現收藏者購自日本每日拍賣會

Salvador DALI

Pablo PICASSO

Stormy Victory

Cavaliers and Warhorse

Lithograph (31/300)

Lithograph 1954 Provenance: Acquired from Japan Mainichi Auction by the current collector 78

51×61cm(20×24in.)

Signed lower: 31/300 Dali

NT$ 60,000-80,000 US$ 2,100-2,700 HK$ 15,800-21,100 80

NT$ 80,000-160,000 US$ 2,700-5,500 HK$ 21,100-42,100

維士巴修 (b.1927) 鬪犬士

薩爾瓦多．達利 (1904-1989) 獨角獸

石版畫 (E.A. 12/30)

石版畫 (110/300)

75.7x 57.7cm(29.8×22.7in.)

簽名下方：110/300 Dali 51×61cm(20×24in.)

簽名下方：EAXII / XXX Weisbuch 簽名畫背：2300/10/208 “Polichinelle et ses chiens”

Claude WEISBUCH Polichinelle et Ses Chiens

Salvador DALI Unicorn Lithograph (110/300) Signed lower: 110/300 Dali

Lithograph (E.A. 12/30) Signed lower: E.A.XII/XXX Weisbuch Signed on reverse: 2300/10/208 “Polichinelle et ses chiens“

NT$ 100,000-180,000 US$ 3,400-6,200 HK$ 26,300-47,400

NT$ 60,000-80,000 US$ 2,100-2,700 HK$ 15,800-21,100 81

128

129

龐永杰 (b.1968) 思

PANG Yong Jie

油彩畫布 2005

Oil on canvas 2005

簽名右下：永杰 200510

Signed lower right: Yong Jie in

100×80cm (31.5×39.4in.)

Chinese, 200510

Thinking

楊登雄 (b.1958) 遊子

YANG Din

油彩畫布 1993

Oil on canvas 1993

簽名右下：Yang Din

Signed lower right: Yang Din

簽名畫背：Yang Din 1993.10 “Le Voyage” 遊子 162×114cm

Signed on reverse: Yang Din 1993.10

114×162cm(44.9×63.8in.)

and 162x114cm

Le Voyage

Le Voyage in French and Chinese

楊登雄為旅法藝術家，1958 年出生於中國廣東，畢業於巴黎國家高等藝術學院，以優異的表現榮獲特羅瓦省歐伯藝術沙龍首獎。簡單精巧的構思，隱喻式的手法，敘事性的物件，細膩地傳達出引人想像的空間。

NT$ 500,000-600,000 US$ 17,100-20,500 HK$ 131,600-157,900

NT$ 180,000-240,000 US$ 6,200-8,200 HK$ 47,400-63,200 130

131

毛旭輝 (b.1956) 黑白剪刀—斜放

MAO Xu Hui

油彩畫布 2007

Oil on canvas 2007

簽名畫背：黑白剪刀．斜放 180×250cm 毛旭暉

Signed on reverse: Inclined Scissors in Black and White

2007

180×250cm Mao Xu Hui in Chinese 2007

180×250cm(70.9×98.4in.)

With a certificate of authenticity issued by Caves Gallery

附敦煌畫廊保證書展覽

Exhibition: “Intimate Trend-Painting fome Sichuan and Taiwan”, Kuandu

「親潮—兩岸架上繪畫新流向」，國立台北藝術大

Museum of Fine Arts, National University of the Arts, Taipei,

學關渡美術館，台北，2008 年，第 32 頁。

2008

出版《親潮—兩岸架上繪畫新流向》，國立台北藝術

Literature: Intimate Trend-Painting fome Sichuan and Taiwan , Kuandu

大學關渡美術館，台北，2008 年，彩色圖版，第

Museum of Fine Arts, National University of the Arts, Taipei,

32-33 頁。

2008, color illustrated, P.32-33

Inclined Scissors in Black and White

NT$ 2,200,000-2,800,000 US$ 75,200-95,700 HK$ 578,900-736,800

被稱為「剪刀藝術家」的毛旭輝 :「藝術家一輩子

能創造幾個有力量的形象，就無愧於自己的一生，創造有力量的形象，這是我們的價值。」 1994 年左右，毛旭輝開始將剪刀的形象作為單獨的畫面主體。剪刀最初的社會性意涵象徵一種深沉權勢的表徵，最後剪刀的功能被抽離了出來，成為單純的抽象形態。1990 年代末，毛旭輝認為表現主義已不合於自己的表達，轉而改以平塗的手法，運用剪刀的符號意象進行創作，冷暖色調的配置及空間上的布局，透過對剪刀物件的結構性轉換衍生出的圖像關係，進而走向了自我心理及精神層面的藝術探索。《黑白剪刀—斜放》對生命內在以及人類本質情感

132

MAO Xu Hui, who is generally recognized to be the artist of scissors said, “If an artist is able to create several powerful

images, he will therefore have no regrets in his life. Creating a significant image is our value. ” In 1994, MAO began to use scissors as the main subject of his creation. At the beginning, scissors represent a deep authority; however, the function of scissors is taken away at the end and became a simple abstract figure. At the end of 1990’s, MAO believes that expressionism didn’t suit him and he tried to use

the symbol of scissors to create. The disposition of cold and warm colors and the composition of space, both show the artist’s exploration in psychological way. “ Inclined Scissors in Black and White” shows the artist ’ s

的表現，毛旭輝拋離浮躁的社會表象，而對時代進

interior observation to an era, he abandons impetuous social presentation and tries to discover the essential of human’ s

行更深層的心靈觀察，毛旭輝顯然已成為當代繪畫

feelings. MAO apparently has become a pioneer of contemporary

的思想先驅。

art.

133

85 86

尹坤 (b.1969) 伏擊

YIN Kun

尹坤，中國當代畫家，其作品以普普

Ambush

藝術、享樂主義色彩等藝術形式亦傳

油彩畫布 2007

Oil on canvas 2007

簽名右下：尹坤 2007.12 簽名畫背：伏擊布面油畫 120× 150cm 2007 尹坤 2007 120×150cm(47×59in.) 出版《尹坤—呆得那麼可愛》，藏新藝術有限公司，2008 年，第 188 頁。

YIN Jun

達出當代人價值的迷茫和失落，並揭

尹俊 (b.1974) 母與子系列

Signed lower right: YIN Kun in Chinese,

示社會異常現象的問題，旨在反思並

油彩畫布 2008

Oil on canvas 2008

December 2007

喚起希望和樂觀的生活意義。其作品

簽名右下：尹俊 2008.5

Signed lower right: YIN Jun in

Signed on reverse: Ambush Oil on

多次參加國內外大展，深獲許多海內

簽名畫背：Crying Oil on Canvas

Chinese, May 2008

canvas 120x150cm 2007 YIN Kun in

150×150cm 2008. 尹俊 .

Signed on reverse: Crying Oil on

率的人。我畫面所採用的色調符

外人士的喜愛與收藏。

150x150cm(59×59in.)

canvas 150×150cm 2008. YIN Jun

合我的個性，簡單、明快。我採

in Chinese

用強烈的對比色彩，使其更加個

Chinese 2007 Literature: Eminent Chinese Artist Yin Kun-Natural , PING Art Space, 2008, P.188

出版

Mother and Child Series

藝術有限公司，2008 年，第 112

Literature: Eminent Chinese Artist Yin Jun-

頁。

Uninhibited , PING Art Space,

《尹俊—哭得那麼暢快》，藏新

中國當代畫家尹俊說：「在我的

作品中，我多引用發生在自己身邊的事，將其卡通化，淚珠、鼻涕、口水漫天飛，讓其瞬間定格。我是個不折不扣的，簡單的，直

性化。」

2008, P.112

NT$ 450,000-550,000 US$ 15,400-18,800 HK$ 118,400-144,700 134

NT$ 300,000-400,000 US$ 10,300-13,700 HK$ 78,900-105,300 135

陳流 (b.1973) 新天空界 - 孔雀王之萬鳥齊奔

CHEN Liu

油彩畫布 2008

Peacock and the BIrds

簽名左下：陳流 2008.

Oil on canvas 2008

200×140cm(78.7×55.1in.)

Signed lower left: CHEN Liu 2008.

出版

Literature: Eminent Chinese Artist CHEN Liu —The

《陳流－天降大任》，藏新藝術有限公司，2008 年，第 160 頁。

The New Celestial Series – The

CHANG Ling

油彩畫布 2006

Night Running Flesh Landscape

簽名畫背：五花肉系列－肉山水夜奔肉山海

Oil on canvas 2006

常陵 2006

Signed on reverse: Pork Belly Series-Flesh

130×194cm(51.2×76.4in.)

Landscape-Night Running Flesh Landscape,

附非常廟藝文空間保證書

CHANG Ling, 2006

Pork Belly Series - Flesh Landscape -

With a certificate of authenticity issued by VT Artsalon

NT$ 350,000-500,000 US$ 12,000-17,100 HK$ 92,100-131,600

Celestial , PING Art Space, 2008, P.160

NT$ 600,000-850,000 US$ 20,500-29,100 HK$ 157,900-223,700 136

常陵 (b.1975) 五花肉系列 - 肉山水 - 夜奔肉山海

常陵的《五花肉系列─肉山水─夜奔肉山海》，以大量的

調與慾望社會的奇觀，並正視慾望的根源在於認清虛幻

肉塊堆疊成粉紫色的山巒意象，鮮豔的顏色如血水又似瀑

性，進而昇華不受貪、嗔、癡所支配的自由意志。

布般的流動，帶給觀者強烈的感官刺激。作者以窺探世俗

常陵說 :「我們的山與水早已被人性私慾剝奪，我只是將

的權力遊戲與生存法則，嘲諷式的描繪台灣自然環境的變

殘存的現實，單純的表現出來而已」。 137

巴斯天

黃鋼 (b.1961) 仙人歸來

巴斯天被公認是比利時印象派的代表畫家

A l f r e d B AST I E N wa s o n e o f t h e l e a d i n g a r t i s t s o f

之一，1897 年贏得 Godecharle 基金會獎

Impressionism in Belgium. In 1987, he won the prix Godecharle

學金而得以進入巴黎藝術學院深造。1927

and therefore studied in Ecole des Beaux-Arts in Paris. He

年進入比利時皇家學院任教並三度擔任藝

joined the faculty of academy in 1927 and he was a professor

術學院院長。巴斯天對於中國第一代前輩畫家影響深遠，著名的藝術家吳作人、沙耆和張充仁等人皆為其學生，在藝術史上

銅雕 (3/10)

有其重要的歷史定位，其作品為收藏家競

Alfred BASTIEN

簽名：Huang Gang 黃鋼 3/10 83×47×25cm(32.7×18.5×9.8in.)

HUANG Gang Ancestor Coming Back Bronze (3/10) Signed: Huang Gang in English and Chinese 3/10

NT$ 480,000-550,000 US$ 16,400-18,800 HK$ 126,300-144,700

沙耆

書法為題材的創作，之後風格轉變，

SHA Chi

術，並學習繪畫與書法。早期以中國

White Wine” were sold with a price four times higher than

魚》、Lot22《水果與花的靜物》與 Lot23《生

estimation. First appeared in Taiwan Art Market, his artworks immediately drew collectors’ attention.

蠔與白酒》皆以高於預估價的四倍拍出，在台灣的藝術拍賣市場上，驚艷眾人目光。此次春拍作品 Lot93《雪景》中，巴斯天簡潔恣意的筆法，豐富奇幻的光色，用細膩而銳利的筆鋒，捕捉物體在光影下的微妙變化。落葉遍地轉紅的森林，荒蕪靜默的孤涼蕭瑟感，巴斯天不僅刻畫出家鄉冬

Lot93 “Snow Scene” of this spring auction, BASTIEN employed succinct technique, colorful lightning and exquisite stroke to depict slight changes of subject under lights. Through the snowy forest, BASTIEN tried to paint not only the winter scenery of his hometown but also expressed his loneliness and feelings in his own mind.

景的寂靜氛圍，也描繪出自我內心的情感。

1936 年底，深得恩師徐悲鴻的賞識，懷揣

The end of 1936, being appreciated by mentor, XU Bei Hong,

著徐氏與學長吳作人的推薦信，毅然決然

SHA Chi resolutely went to Belgium for further study under

遠赴比利時深造，入學比利時皇家美術學

the recommendation of XU and his seniors, WU Zuo Re, and

院，當起巴斯天院長的門生與吳作人的學

got admitted to the Belgian Royal Academy of Fine Arts. He

弟。沙耆的藝術天分在比利時瞬間迸發，

was then a protege of the president, Bastien, and a junior

1937 至 1939 年間連續獲得油畫、泥塑、素描三項首獎，其後更以「優秀美術金質獎章」畢業，其當時如日中天的氣勢與繪畫功力讓比利時美術界驚嘆不已。作品曾

of WU Zuo Ren. SHA Chi's artistic talent instantly burst in Belgium, and had won the first prize in painting, clay sculpture, and sketching consecutively from 1937 to1939. He was subsequently graduated “Outstanding Artists Gold Medal”. His high momentum and painting skills was marveled greatly by the Belgium art world during the time. SHA Chi work has been exhibited with PICASSO, “The Girl Playing Flute” in 1944 was

們無須再論了。他作品的藝術價值、他橫

subject to Queen of Belgium’s favor and was included in her collection art. Art critic, Stefan, praised that, “We do not need

溢的才華、他在創作中表現出來的頑強和

to discuss about SHA Chi anymore. The artistic value of his

超凡的氣質，使他贏得了一致的讚賞與好

work, his talent, and the strong and exceptional temperament

感。」沙耆的藝術魅力由此可見一斑。不幸的是，妻子離他而去後，他在憂心與刺

shown in his creation had won him unanimous appreciation. ”SHA Chi’s artistic charm is evident. Unfortunately, SHA Chi

激的雙重打擊下，歐洲確診為精神分裂症，

suffered greatly after his wife left him, and was diagnosed of

由大使館安排乘郵輪回國養病，而從此布魯塞爾再也看不到沙耆的影子了。

schizophrenia in Europe. He then returned home by cruise under the arrangement by the embassy seeking recuperate. And from then on, SHA Chi was no longer seen in Brussels.

改以西藏傳統的木刻佛經印版的裝置

雖疾病殘身，但沙耆寄生窮鄉「沙村」

性藝術。因其生長背景，黃鋼也創作

30 年，持續不懈潛心創作，以繪畫抵抗

了許多有關毛澤東的雕塑作品，其藝

Although being ill, SHA Chi lived in a ghetto neighborhood, “SHA village”, for 30 years, relentlessly devoted himself in

病魔侵襲，藉由作畫來宣洩心中滿溢的情緒，如著名畫家文生．梵谷 (Vincent VAN

create paintings and fighting sickness. Just as the famous

術作品在世界各地多次展覽，得到許多的認同與高度評價。

GOGH) 一般，經由畫筆的塗抹、藝術的滋

through painting, and projected of the inner world through

養，投射內心世界，創作出一幅幅動人的

arts. SHA Chi had created a good many of works that won him a reputation of “the VAN GOGH in China”.

作品，也贏得了「中國的梵谷」的美譽。 138

Chong Ren.

2011 年景薰樓春季拍賣 Lot21《靜物與

的收藏，藝評家史蒂凡盛讚其 :「沙耆，我

的動亂時間。他從小接觸中國傳統藝

senior artists, including WU Zuo Ren, SHA Chi and ZHANG In our spring auction of 2011, lot21 “Still Life and Fish”, lot22 “Still Life – Fruit and Flowers” and lot23 “Oyster and

個展的同時《吹笛女》更受到比利時皇后

年到青年時期正值中國社會處於文革

these years. BASTIEN has great influence on the Chinese

相收藏之作。

經與畢卡索同時展出之外，1944 年在比國

黃鋼 1961 年出生在中國北京，其童

of painting until 1945. He served as director three times during

painter, Vincent VAN GOGH, SHA Chi released emotions

139

91a~c

巴斯天 (1873-1955) ( 三件一組 )

a. 屋內一隅素描紙簽名右下：a Bastien 11x17cm(4.3x6.6in.)

b. 馬銅版畫 1925 簽名右下：alfred Bastien

91a

25.5x29.5cm(10x11.6in.)

c. 風景素描紙 1943 簽名右下：a.B 20x27cm(7.8x10.6in.)

Alfred BASTIEN (A Set of Three Pieces)

a. A corner in the house Pencil on paper Signed lower right: a Bastien

b. Horses Etching 1925 Signed lower right: alfred Bastien

c. Scenery

91b

Pencil on paper 1943 Signed lower right: a.B 90

NT$ 45,000-55,000 US$ 1,500-1,900 HK$ 11,800-14,500

沙耆 (1914-2005) 瓶花

SHA Chi

油彩畫布 1984

Oil on canvas 1984

簽名右下：沙耆八四年秋

Signed lower right: SHA Chi Autumn

55x46cm(21.6 x18.1in.)

1984, in Chinese

Flowers in vase

NT$ 800,000-900,000 US$ 27,300-30,800 HK$ 210,500-236,800 140

91c

141

92a~c

巴斯天 (1873-1955) ( 三件一組 )

a. 騎士素描紙 1916 簽名右下：a Bastien 1916 13x17cm(5.1x6.6in.)

b. 塞納河畔素描紙簽名右下：aB 18.5x26.5cm(7.2x10.4in.) 92a

c. 凝視素描紙 1925 簽名右下：Ab 20 june 1925 16x24cm(6.2x9.4in.)

Alfred BASTIEN (A Set of Three Pieces)

a. Cavaliers Pencil on paper 1916 Signed lower right: a Bastien 1916

b. La Seine Pencil on paper

Signed lower right: aB

c. Contemplation 92b

Pencil on paper 1925 Signed lower right: aB 20 june 1925

NT$ 45,000-55,000 US$ 1,500-1,900 HK$ 11,800-14,500

巴斯天 (1873-1955) 雪景

Alfred BASTIEN

油彩畫布

Oil on canvas

簽名右下：A Bastien.

Signed lower right: A Bastien.

Snow Scene

80×100cm(31.5×39.4in.)

NT$ 350,000-500,000 US$ 12,000-17,100 HK$ 92,100-131,600

92c

142

143

丁紹光 (b.1939) 落日之舞

TING Shao Kuang

畢業於中央工藝美術學院。1979 年為

Dancing in the Sunset

北京人民大會堂創作大型壁畫《美麗、

線描紙 1990

Line Drawing on paper 1990

簽名右下：TING SHAO KUANG 丁紹

Signed lower right: TING Shao Kuang in

光

English and Chinese

124×82cm(48.8×32.3in.)

豐富、神奇的西雙版納》，雲南西雙版納使丁紹光重新回歸發現自我內在，並成為他藝術生涯的重要轉折點。丁紹光以線描和綺麗浪漫的重彩為特

With a certificate of authenticity issued by

附丁紹光國際藝術中心保證書

色，精彩呈現出民族風格與世界文化

TING Shao Kuang International Art Center

內容的交融，進而創作出其獨特風格，

巴斯天 (1873-1955) 玫瑰花

Alfred BASTIEN Roses

出版

油彩木板

Oil on board

Literature: Idealism–The Collection of TING Shao

被法國評論家稱為來自東方的奇蹟。

《理想主義丁紹光作品集》，丁紹光

簽名右下：A. Bastien

Signed lower right: A. Bastien

國際藝術中心，2008 年，圖版 107。

Kuang , TING Shao Kuang International Art

光日。1993 年受邀創作《人權之光》

Center, 2008, plate107

限量版畫，由聯合國郵政發行，是當

58.5×48.5cm(23×19in.)

NT$ 120,000-200,000 US$ 4,100-6,800 HK$ 31,600-52,600 144

丁紹光，1939 年出生於中國陝西省，

1992 年七月三十日，訂定該日為丁紹

年五位入選者中唯一的東方畫家。其

NT$ 1,800,000-2,500,000 US$ 61,500-85,400 HK$ 473,700-657,900

一生獲獎無數，藝術成就非凡。

145

莊喆 (b.1934) 雪舟破墨山水變奏 II

CHUANG Che

壓克力油畫畫布 2005

Acrylic and oil on canvas 2005

簽名左下：莊喆 05

Signed lower left: CHUANG Che in Chinese, 2005

簽名畫背：雪舟破墨山水變奏Ⅱ 167×127cm

Signed on reverse: Variation on Sheshu’s Broken Ink Landscape II

2005

167x127cm 2005

Variation on Sheshu’s Broken Ink Landscpae II

167×127cm(50×66in.)

NT$ 1,000,000-1,600,000 US$ 34,200-54,700 HK$ 263,200-421,100

莊喆在父親莊嚴的引導下，練習水墨與書法

CHUNAG Che practiced ink painting and calligraphy skills under

技巧，這兩種創作表現至今仍常存於他的作品

the guidance of his father, CHUANG San Yan. The two creative

中。莊喆熱愛自然，時常回憶少時鎮日與自

performance, painting and calligraphy, are still often seen in his

然為伍、以山林為伴的生活，使他的作品在顏

works. CHUANG Che loves nature, and often recalls the time

料與筆刷的交匯下，總有著寫意自然的優雅情

when he was emerged in the natural life in the mountains. His

境，使觀者能沉醉在他所再造的抽象山水繪畫。作品《雪舟破墨山水變奏 II》是雪舟破墨系列最大幅之作，在直立式的構圖中，猶如春雷直

works contain a freehand natural elegance that the viewers indulge in by seeing his recreation of abstract landscape painting. “Variation on Sheshu’s Broken Ink Landscpae II” is the biggest sized work among the Variation on Sheshu’s Broken Ink series. With a upright composition, like a thunder striking to the ground,

奔地面般的驚天一擊，環繞其身的彩色閃電預

the surrounding colorful lightning forecasts the arrival of spring.

告著春天的到來，也挾著令人舒爽的細雨與輕

The rain and the breeze of freshness lightly hit, the whole picture

風翩翩襲來，整幅畫面以大面積草綠為基調，

is a large area of grass-green tone that the viewer can feel a sense

使觀者能近身感受片片涼意，如親臨山中野溪

of coolness just like being in the mountains and riverbank, where

畔、巨石間，蜻蜓縈繞耳邊絮語，指間感觸初

dragonflies lingering by the ear whispering. As if you can feel a

春融雪的沁涼山泉，直透心頭。莊喆以兒時記

soothing early spring snowmelt on your fingertips. CHUNAG Che

憶入畫，將所見所體用畫筆真誠的呈現在畫布

painted basing on his childhood memories, and has presented

上，以其文人底蘊繪出屬於東方的破墨山水。

sincere in his drawings, showing an oriental landscape in ink. Different from “ Variation on Sheshu’s Broken Ink Landscpae II”, Lot97“Sunset Ridge” is much darker. It depicts the scenery of the

而不同於《雪舟破墨山水變奏 II》，Lot97《霞飛秀嶺》則顯得較為深沉，其描繪彩霞時分將暗未暗的景緻。畫面中兩塊被褐色線條所界定的色塊，時而輕透時而緊密，如同佈於漫天灰褐天光中的兩片雲朵，莊喆充分運用水份的特性，濃淡枯潤並重，使深褐、深黑色塊呈現清

pink clouds during sunset. The two blocks of color divided by the brown line are sometimes light and penetrating, and sometimes close each other, looking like two clouds in the gray brown sky. CHUANG Che made full use of the characteristics of the water, keeping a great balance in shades of dark and light, dry and

澈透淨，以行草的運筆重塑山川萬物，豈不美

moisture. The deep brown and dark black blocks of colors were

哉?

shown clean and clearly. The mountains and the living beings were reformed under the Cursive, isn’t it beautiful? 96

146

147

吳學讓 (b.1924) 拜拜彩墨紙本 1977 前款：拜拜六十六年退伯畫簽名右上：一九七七退白筆鈐印右上：吳 134x69cm(52.8×27.2in.)

WU Hsueh Jang Praying Ink and color on paper 1977 Signed: Praying and painted by Tuei Po and year of 66 in Chinese Signed upper right: 1977 Tuei Bai executed in Chinese, with one seal of the artist

NT$ 380,000-500,000 US$ 13,000-17,100 HK$ 100,000-131,600

莊喆 (b.1934) 霞飛秀嶺

CHUANG Che

壓克力油彩畫布 1979

Acrylic and oil on canvas 1979

簽名左下：莊喆 79

Signed lower left: CHUANG Che in Chinese, 1979

簽名畫背：79-136

Signed on reverse: 79-136

125×99cm(49.2×39in.)

Sunset Ridge

吳學讓，1948 年畢業於國立杭州藝專，受教於林風眠、潘天

是明清時期經典的抽象線性「花窗」，又像是中國筆墨下的結

壽、黃賓虹、李可染、傅抱石、陳之佛等前輩大師，藝術造詣

字，有種清逸舒淡的文人雅韻，引人遙想遐思。

極為深厚。1960 年代台灣水墨受抽象狂潮的席捲影響下，產

吳學讓謙和的儒學典範，深厚的文化涵養，一生致力於水墨繪

生發展相當巨大的變化，而身處於這個文化動盪和政治轉變的

畫，從傳統水墨走向現代抽象，不斷求新求變，開創渾然天成

遷徙下，其開創藝術歷程中「現代畫」的里程碑，吳學讓的創

的現代水墨風格，為傳統國畫傾注現代創新活水，為台灣「現

展覽

Exhibition: “ CHUANG Che—Deep Ridge‧Remote Way” ,

「莊喆 —嶺山道遠 2007 北京中國美術館個展」，

National Art Museum of China, 2007

中國美術館，2007 年。出版

Literature: “CHUANG Che—Deep Ridge ‧Remote Way” , Asia

《莊喆 —嶺山道遠 2007 北京中國美術館個展》，

Art Center, 2007, P.30

作無疑是代表這個時代水墨繪畫的典型。

代水墨」之先驅。

吳學讓 1977 年的作品《拜拜》以流暢的書法線條與塊面墨色

2011 年景薰樓秋拍作品 Lot46《凝神》，在競拍過程中相當

NT$ 650,000-800,000 US$ 22,200-27,300 HK$ 171,100-210,500

的構成，畫面以象徵性的造型與圖騰記號傳達出傳統習俗中的

激烈，在數位藏家的相爭下，最終以超越預估價 13 倍之高落

拜拜意涵，幾何形體及不定型的組合，如米羅的抽象線型，又

槌，是藏家競相爭逐的搶手作品之一。2012 年景薰樓再度推

讓人聯想到蒙德里安的切割畫面，但是卻多了一份中國味，像

出吳學讓的精彩之作，勢必會受到藏家的重視與青睞。

亞洲藝術中心有限公司，2007 年，第 30 頁。

148

149

劉國松 (b.1932) 距離的組織之四十

LIU Guo Sung

複合媒材 2009

Mixed media 2009

簽名左下：劉國松 2009

Signed lower left: LIU Guo Sung in Chinese 2009, with

鈐印左下：劉、國松

two seals of the artist

72.3x39.4cm(28.5×15.5in.)

“80th Birthday Retrospective Exhibition of LIU Guo

2012 年於國立台灣美術館展出「一個東西南北人－劉

Sung: A Man of East, West, South and North” was held

國松 80 回顧展」。

in National Taiwan Museum of Fine Arts in 2012

The 40th of Organizational Distance

NT$ 600,000-800,000 US$ 20,500-27,300 HK$ 157,900-210,500

劉國松於 1949 年隨國民政府來台，1956 年畢業於師

在此畫作中，可以見到「太空系列」的月球符號以及

範大學美術系，創立五月畫會，掀起現代藝術運動，

他以狂草入畫，創造筆法獨特抽象的「抽筋剝皮皴」，

並竭力倡導「中國畫現代化」，是現代水墨運動重要

美國的中國藝術史學家麥可．蘇立文形容劉國松的「抽

的推手。他在 60 年代就曾說「革筆墨的命」，提出

筋剝皮皴」時說：「他運用紙張本身的紋理，在紙上

水墨必須創新及現代化，劉國松一生致力於將歐美藝

撕下粗糙的紙筋，因此在畫中就顯出絲絲宛如電光火

術的新觀念與技巧引入，以建立中國繪畫新傳統為己

花的紋路，在巉岩中穿越併發。這些作品不只看來栩

任，享有「水墨現代化之父」美譽，不僅在世界各地

栩如生，而且肌理優美動人。」

舉辦過上百次的展覽，更獲多項國際性大展及殊榮，

劉國松以中華文化為底蘊，卻沒有一味抄襲古人或模

藝術成就斐然。

仿西方，而堅決的走自己的創作之路。他說：「我們

此次春拍中作品《距離的組織之四十》即為其著名的

既不是生長在古代的中國，也不是生長在現代的西

「太空系列」主題，「太空系列」是劉國松由美國阿

方。」其不斷地探索，以完全不同於傳統水墨的技法

波羅號登陸月球得到的靈感，也讓他在美國得到「最

作畫，在表現的形式上極具西方現代感，但傳達出東

敏感的現代畫家」美譽。

方的哲學思想和審美趣味，形塑出極具深度與廣度的開創性作品。

150

151

100

陳庭詩 (1915-2002) 晝與夜 #40

CHEN Ting Shih

版畫 (9/40) 1978

Woodblock print (9/40) 1978

簽名下方：Day and Night #40, 9/40, Chen Ting-Shih

Signed lower: Day and Night #40, 9/40, Chen Ting-Shih

1978

120×123cm(47.2×48.4in.)

“Immersed in Poetic Grace: the 10th Anniversary

2012 年於國立台灣美術館展出「滿庭詩意 – 陳庭詩逝

Memorial Exhibition of CHEN Ting-Shih” was held in

世 10 周年紀念展」

National Taiwan Museum of Fine Arts in 2012

出版《大律希音》，台北市立美術館出版，2002 年，第

Literature: Chen Ting Shih (1915-2002): Sound of Rarity , Taipei Fine

147 頁。

Arts Museum, 2002, P.147

Day and Night #40

NT$ 800,000-1,200,000 US$ 27,300-41,000 HK$ 210,500-315,800

陳庭詩，台灣現代藝術發展先趨的代表性人物之一，

CHEN Ting Shih, one of the representatives of Taiwan

蔗版版畫與鐵雕作品為其一生的代表。現代性的表現

Modern Art Pioneers. Woodblock prints and Iron

手法極具個人風格，藝術語言鮮明且獨樹一幟。

Sculptures defined who he was in Art Field. The unique

在陳庭詩《晝與夜》的系列版畫作品中，《晝與夜

art language and modern expressive style made him

#40》與 Lot101《晝與夜 #25》，都是其生平最經典

different from the others.

的著名之作。《晝與夜 #25》色彩與造型間的原拙古樸，動靜與虛實間的巧妙佈局，在陳庭詩浩瀚無垠的抽象境域中，兼容並蓄了現代和傳統、東方與西方之特色，彰顯其中國禪宗與老莊順應自然之道的思想。

Among the series of Day and Night prints, he used the simplest figures to create the vast cosmic space. In CHEN’s works, they embrace perfectly the modernity and the tradition, the east and the west for showing forth the thinking of Chinese Zen and Taoizen.

陳庭詩終其一生在寂靜無聲的世界中與藝術進行自我內心的對話，表達在藝術創作上，展現了強而有力的東方生命力。

152

100

153

101

陳庭詩 (1915-2002) 晝與夜 #25 三聯幅版畫 (13/25) 1973 簽名下方：Day and Night #25, Chen Ting-Shih 1973 鈐印左下：陳氏 121x180cm(47.6x70.8in.)

《晝與夜 #25》如此大氣的三聯幅作品，實屬難得可貴。在大塊的蔗版上刻畫簡約而抽象的幾何構圖，自然的崩裂紋路製造出樸素的質地。月的形象意涵，由小至大節律變化，如時間的遞嬗，簡單的造型塑造出宇宙空間的至大浩瀚，蘊藏著陳庭詩對於自然中生生不息的造物法則與宇宙恆久的運行之道。

出版《大律希音》，台北市立美術館出版，2002 年，第 144-145 頁。《大器無言—陳庭詩遺作彙編》，國立台灣美術館出版，2003 年，第 273 頁。《藝術家 4 月號》，藝術家雜誌社，2012 年，第 300 頁。

CHEN Ting Shih Day and Night #25 Three pieces of woodblock print (13/25) 1973

“Day and Night #25” is considered very precious due to its size. On the huge woodblock, the simple geometric figures and natural texture composed the whole print. The forms of moon vary from the smallest to the biggest and show the vicissitude of time. He used the simplest figures to create the vast cosmic space. In CHEN’s works, they embrace perfectly the modernity and the tradition, the east and the west for showing forth the thinking of Chinese Zen and Taoizen.

Signed lower: Day and Night #25, Chen Ting-Shih 1973, with one seal of the artist Literature: Chen Ting Shih (1915-2002): Sound of Rarity , Taipei Fine Arts Museum, 2002, P.144-145

Speechless Great Talent: Chen Ting Shih Posthumous Art Works , National Taiwan Museum of Fine Art, 2003, P.273

Artist Issue April , Artist Publishing Co., 2012, P.300

NT$ 1,300,000-1,800,000 US$ 44,400-61,500 HK$ 342,100-473,700

154

101

155

102

蕭勤 (b.1935) 道曲然

HSIAO Chin

彩墨畫布 1962

Ink and color on canvas 1962

簽名右側：Hsiao 蕭勤 62.

Signed on right: Hsiao, Hsiao Chin in

簽名左側：道曲然

Chinese, 1962.

80×140cm(31.5×55.1in.)

Signed on left : The Winding Tao in Chinese

呈現在國際前衛藝術的殿堂上，更為東方

展覽

傳統的媒材與思維，尋找到了一條嶄新的

「群展」，米蘭迦達里奧畫廊，1962

Exhibition: “Group Exhibition”, Galleria Cadario, 1962

年。

“Solo Exhibition”, Galleria S. Luca, 1962

「個展」，羅馬聖路加畫廊，1962

“Solo Exhibition”, Galleria Luca Scacchi

年。

Graco, 1962

「個展」，米蘭司加奇，葛拉可畫廊，

“Retrospective Exhibition”, Galleria Marconi,

1962 年。

1988

「回顧展」，米蘭馬爾各尼畫廊， 1988 年。

Literature: Hsiao Chin , Editore Mazzotta (Milano), 1988

出版

Hsiao Chin’s Journey: 1953-1994 , Taipei Fine

《蕭勤》，馬卓答出版社 ( 米蘭 )，

Arts Museum,1995

1988 年。

H s i a o C h i n , D i m e n s i o n A r t G a l l e r y,

《蕭勤的歷程》，台北市立美術館，

1996

The Winding Tao

1995 年。《蕭勤》，帝門藝術中心，台北， 1996 年。

156

NT$ 500,000-650,000 US$ 17,100-22,200 HK$ 131,600-171,100

蕭勤：「我不是一個創作家，我只是一個傳達者。」 103

在「美術現代化運動」的大時代背景下，蕭勤的藝術語言影響台灣現代美術運動的推動及發展，將特有的東方性觀點與畫面

道路。 HSIAO Chin: “I am not a creator, I am just a communicator. ” Hsiao Chin’s artistic language has p r o m o t e d a n d d e v e l o p e d Ta i w a n ’ s modern art under“the art modernization m ove m e n t ” . H e p r e s e n t s a u n i q u e perspective of the East to the hall of the international avant-garde art; moreover, he to find a new way in the oriental traditional media and thinking method.

103

趙無極 (b.1921) 騷動 ( 內含四張銅版畫及十三頁法國詩人伊夫．彭乃華的長詩 ) 詩畫集 (61/80) 2004 簽名：Yves Bonnefoy 61/80, 無極 ZAO 27×37.5cm(10.6×14.8in.)

ZAO Wou Ki Le Désordre A set of four etchings and 13 pages of poems of Yves Bonnefoy (61/80) 2004 Signed : Yves Bonnefoy 61/80, Wou Ki in Chinese and ZAO

NT$ 120,000-180,000 US$ 4,100-6,200 HK$ 31,600-47,400

157

104

楊識宏 (b.1947) 倒敘

YANG Chi Hung

壓克力畫布 2005

Acrylic on canvas 2005

Flashback

楊識宏是一位觀察敏銳、情感豐富的藝術家，

化科技時代，繪畫也許顯得遲緩，但它仍是深

Signed on reverse: Chihung Yang Flashback

他的創作和他的人生一樣幾經轉折，其旅居於

沉而有份量，而經由科技製作出來的作品，總

紐約超過三十年，以文筆反省自我藝術與傳播

覺是表面化而缺乏人文的重複；如果說它像穿

藝術思潮，也讓自己免於流俗之中，進而找到

梭樹稍輕快靈活的麻雀，那麼繪畫就像浩瀚藍

自己的創作語彙。

天緩緩翱翔的蒼鷹了。」

楊識宏：「繪畫是一種『緩慢』的藝術，如春

楊識宏的繪畫作品《倒敘》，聚焦於生命的枯

蠶吐絲，緩緩生成。許多美好東西的產生，都

榮，自然的循環，生與死的大命題裡，筆觸自

是需要經過緩慢的過程；像生命的孕生、花朵

由寫意奔放，以速度的線條帶出自然與中國的

的綻放、美酒的醅釀 ...。在追求速度的數位

山水，給予觀者心靈上極大的震撼與感動。

With a certificate of authenticity issued by Asia Art Center Literature: YANG Chi Hung , Asia Art Center, 2005, P.32

NT$ 700,000-850,000 US$ 23,900-29,100 HK$ 184,200-223,700 158

159

105

張劍瓶花

ZHANG Jian

來自於中國的張劍，是當代抽象

私語

Murmur

畫中備受矚目的藝術家。張劍以

油彩畫布 2005

Oil on canvas 2005

簽名左下：2005. Zhang Jian.

Signed lower left:2005. Zhang Jian.

140×120cm(55.1×47.2in.)

目的，訴求他的心路歷程與生存磨礪的印跡。

Exhibition: “Zhang Jian’s Solo Exhibition in Shanghai”,

張劍的畫作《私語》以自然純粹

「看見．張劍」，上海南岸藝術中心，

River South Art Center , Shanghai ,2008

而精煉的藝術質性，如同封閉隔

2008 年。

“The Echo of Soul”, Babu Callery, Shenzhen ,

絕外在的紛擾世界，以內在純真

「空間的迴響」，深圳 babu 畫廊，

2009

的創作能量結合了其生活文化背

2009 年。

“Shanghai Art Fair”, Shanghai, 2011

景與藝術涵養，一點一滴的吐露

「上海藝術博覽會」，2011 年。

於畫布上，融匯了意象之道並藉

出版

Literature: ZHANG Jian Art Collection, Taichung JSL Art

《張劍當代藝術家作品集》，台中景

Space, 2012, P.68

識，使畫面意境遼闊而遠大，傳

展覽

其感知的本能與靈性深處的潛意達出冷逸抒情的抽象性繪畫。

薰樓藝文空間，2012 年，第 68 頁。

NT$ 350,000-450,000 US$ 12,000-15,400 HK$ 92,100-118,400n canvas 1984HK$ 160

不定型的抽象手法為其主要表達

106

呂榮琛 (b.1963) 有彩虹的雨天

LU Rong Chen

呂榮琛於九 ○ 年到法國深造，作品中

Rainy Day with Rainbows

流露出抗衡與求取和諧之間，用筆細

油彩畫布 2006

Oil on canvas 2006

簽名右下：榮琛 Lu 2006

Signed lower right: Rong Chen in Chinese and

呂榮琛說：「我的作品通常是在表現

簽名畫背：呂榮琛 Paris 2006,

Lu 2006

光予大自然的變化，尤其是空中鳥瞰

130×89cm 60P Lu Rong Chen,

Signed on reverse: LU Rong Chen in Chinese

下的夜景、森林、城市、人物等，而

有彩虹的雨天 Rainy day with

Paris 2006, 130×89cm 60P Lu Rong Chen Rainy day with rainbows in Chinese and English

這些題材也帶有我的生活經驗和情緒

rainbows 130×89cm(51×35in.)

NT$ 350,000-450,000 US$ 12,000-15,400 HK$ 92,100-118,400

膩但卻有東方書道的內斂含蓄。

感受，將思緒和情感藉由作品傳達或宣洩，簡易來說創作是我生活和品味的總和。」

161

兼容並蓄•意趣相承 ─日本現當代藝術發展

162

Passing Down the Tradition & Blending with the Innovation ─ Japanese Contemporary Arts Development

日本現代藝術的發展受歐洲印象派以降之藝術發

的領導之下，於 1954 年形成了「具體群藝術協會

The development of Japanese modern art is influenced

The members include a few most active artists at that

展影響甚鉅。明治維新的改革開放，對於日本文

( 世稱具體派 )」(Gutaï)，成員包括幾位當時最為活

greatly by the European Impressionism. Meiji

time, which includes, SHIMAMOTO Shôzô , Tsuruko

化的發展影響重大，各方面均多元、兼容並蓄的

躍的藝術家：島本昭三 (SHIMAMOTO Shôzô)，山

Restoration of brought reformation to opening up for

YAMASAKI, and the latter Shiraga KAZUO, Tanaka

蓬勃發展。與台灣現代藝術發展相似，日本藝術

崎鶴子 (Tsuruko YAMASAKI)，再銜接上的有：白髮

major development in Japanese culture with all aspects

ATSUKO, Saburo MURAKAMI, and so on.

家遠渡重洋來到前衛藝術發展重鎮─巴黎，學習

一雄，田中敦子，村上三郎 (Saburo MURAKAMI)

of diversity and flourish. Same as the development

The original meaning of the Gutaï is: Gu - is a kind

西方藝術精神與思維，並於博物館中飽覽世界知

等。

of modern art in Taiwan, the Japanese artists traveled

of tools or musical instruments; taï - refers to tools.

名巨匠們的作品，一時大開眼界，對其自身藝術

Gutaï 的原意是：Gu ─是工具或樂器之意，taï ─

far away to come to the city where avant-garde art

Adverb, Gutaïteki – means specifically and completely

語彙發展產生重要啟發，而後藉由成功融匯東西

泛指工具，它的副詞 Gutaïteki ─意為具體、具現

develops, Paris, to learn the spirit of Western art and

shown. Gutaï claims the importance of developing

藝術語言，創造自我風格立足於巴黎藝壇的畫家

之意涵。其訴求為發展對媒材的歧異性與多元性認

thinking; moreover, to broaden the view by seeing the

understanding towards discrepancies and diversity

包括藤田嗣治 (Tsuguharu FOUJITA)、白髮一雄

知，順從各媒材之特性進行創作，亦使其本質發展

world-renowned masters’ works in the Museum, and

of medias. Create by obeying the characteristics of

(Kazuo SHIRAGA)、今井俊滿 (Imai TOSHIMITSU)

至最大極限，挑戰視覺張力。此流派也帶起了日本

to develop their own artistic style and successfully

all media, and make the development of its nature to

與平賀敬 (Key HIRAGA)，另外還有日後回到母

五零年代後的抽象表現畫風，拉寬傳統東洋畫與西

integrate Eastern and Western art to create their own

the maximum limit, and challenge visual tension. This

國持續創作並帶領日本走向藝術強國的畫家如黑

洋畫的距離，古典與現代並存的文化特質再再展現

style. These artists includes the painter Tsuguharu

genre also brought up the abstract expressionist style

田清輝 (Kuroda SEIKI)、梅園龍三郎 (Umehara

出日本島國特性。在此同時，旅外的華人藝術家如

FOUJITA, Kazuo SHIRAGA, Imai TOSHIMITSU, and

in Japan after the 50s, and broadened the difference

RYUUSABUTOU)、安井曾太郎 (Yasui SOTARO)、

趙無極、朱德群、趙春翔、莊喆、唐海文等人更是

Key HIRAGA, in addition to those who returned their

between the traditional oriental paintings and Western

田中敦子 (Atsuko TANAKA) 等人。

首當其衝，直接受「非定形藝術」的滋潤與啟發，

homeland, Japan, to continue creating and leading

paintings. The characteristics of Japan being an island

由早期旅法歸日的藝術家群所成立的在野美術團體

創作出一幅幅動人的「非定形」繪畫作品，將其精

Japan to become a powerful of country of art, for

country are shown in the coexistence of the classical

「二科會」，致力於發展當時所謂的「新」西洋畫，

神永留於畫布中。

example, Kuroda SEIKI, Umehara RYUUSABUTOU,

and modern culture. In the meantime, the Chinese

在一、二零年代初對日本保守畫壇造成重要衝擊，

本次春拍，景薰樓特別推出日本海歸派重要前輩藝

Yasui SOTARO, and Atsuko TANAKA).

artists like ZAO Wou Ki, CHU The Chun, CHAO Chung

由梅園龍三郎等人領軍的「野獸派」畫風席捲藝

術家作品，如今井俊滿作品《加爾瓦略山》、平賀

The art group set up by a group of artist who returned

Hsiang, CHUANG Che, TANG Hai Wen directly affected

from France in the early stage committed to the

and inspired by the “non-amorphous art”, and had

壇，開啟日人對於歐洲現代藝術的新視野。其後，

敬《編物》與塙賢三《馬戲團》等，另外更結合

development of the so-called the “new” Western

created pieces of “non-finite paintings, keeping the

一九五零年代於法國爆發的「非定形藝術」風格，

日本當代藝術家作品，草間彌生《柳橙汁》、奈

painting , resulting in significant impact on the

spirit on the canvas forever.

迅速蔓延至全歐洲，長年旅居巴黎創作的日本藝術

良美智《Be Careful》、櫻井理惠子《Littleone’s

conservative Japanese art world in the early 1920s.

In JSL 2012 Spring Auction, we specially introduce

家們也受其理念感召，繪起發展媒材特質的不定形

home》與木下雅雄《鳥獸戲畫─蛙》等精彩創作，

The “Fauvism”style led by Umehara RYUUSABUTOU

art works of important artists who returned to Japan

抽象繪畫。其中，在吉原治良 (YOSHIHARA Jiro)

讓我們一窺日本現當代藝術發展的脈絡與傳承。

impacted the art world and opened the Japanese new

after years abroad. The related works includes Imai

vision for modern art in Europe. Subsequently, the

TOSHIMITSU’s “CALVAIRE“, Key HIRAGA’s “Knitting”,

outbreak of “non-amorphous art style” in the 1950s

and Kenzo HANAWA’s “Circus”. With the presence of

in France quickly spread to the whole Europe. The

Japanese contemporary art works, Yayoi KUSAMA’s

Japanese artists who had lived in Paris for a long time

“Orange Juice”, “Be Careful” by Yoshitomo Nara,

was moved by it and painted amorphous abstract

“Littleone’s home” by Rieko Sakurai, and Masao

painting emphasis on the media characteristics.

Kinoshita’s “Animals - Frog”, we provide you a glimpse

Under the leadership of YOSHIHARA Jiro, in 1954, a

of Japan’s the development and heritage of the

specific group of Art Association, Gutaï, was formed.

Japanese contemporary art. 163

107

草間彌生 (b.1929) 柳橙汁

Yayoi KUSAMA

壓克力畫布 1993

Acrylic on canvas 1993

簽名畫背：Yayoi Kusama 1993

Signed on reverse: Yayoi Kusama 1993

33×24.3cm(13×9.6in.)

Orange Juice

來源：

Provenance: Acquired from Japan Oida Art by the current

現收藏者購自 Oida Art

collector

NT$ 1,000,000-1,500,000 US$ 34,200-51,300 HK$ 263,200-394,700

被日本視為現存最偉大的藝術家—草間彌生

Japan’s Greatest Living Artist—Yayoi KUSAMA

草間彌生說：「對於一個想要終身投入創作生涯的人

KUSAMA said, “For a man who wants to devote his

來說，創造從自己內在培養出來的原創作品是最重要的一件事」。她在不斷重複的幻覺中尋求宣洩的管道，

whole life to the creation, the most important thing is how to create your own originality. ” She never stops

以直視自我的恐懼，用反覆無盡的圓點與不斷連結性

looking for a way to unleash herself from her illusion

的線網，表現內在的曲扭，企圖與一直存在她心中的

and to face her own fear. She uses nonstop polka

不安與焦慮共處。她童年幻想創造出來的代表性圖案「Polka 圓點」及「無限的網」，遂成為草間彌生的特色。 1956 年草間彌生移居紐約，在紐約畫室她創作出許

She moved to New York in 1956 and since then tried to create more artworks with different medium and

多跨媒體與不同風格的作品，自此大放異彩，開始嶄

characteristics. She held joint exhibition with leading

露她佔有領導地位的前衛藝術創作。她與當代卓越藝

Western artists of the day such as Andy WARHOL,

術家安迪 ‧ 沃荷 (Andy WARHOL)、克勒斯 ‧ 歐登

Claes OLDENBURG and Jasper JOHNS, and became a

柏格 (Claes OLDENBURG)、賈斯培 ‧ 瓊斯 (Jasper JOHNS) 一起聯展，足以見她在藝壇上的國際地位。

prominent figure on the international art scene. “ Orange Juice ” is a special artwork of KUSAMA.

《柳橙汁》是草間彌生非常特殊的一件作品，以增生

She employs increasing dots and interleaved lines to

的點與線為元素，在作品中央不斷覆滿圓點圖案，舖

compose a form of green orange juice with red lemon

天蓋地的延生調配出一杯搭以紅色檸檬片與黃色吸管的「鮮綠」柳橙汁，鮮明的色彩與造型風格如同草間

slice and yellow straw. The use of rich colors and absurd forms are just like KUSAMA’s creative personality. She

彌生本人大膽而創新的藝術性格。草間彌生由轉化再

tried to transfer what she see into her artworks and

現藝術家眼睛所觀看的世界，將觀者的視覺瞬間聚焦進入她獨特而細膩的深沉內心，邀您一同品嘗這杯迷幻離奇而刺激視網神經的「柳橙汁」。 164

dots and successive lines to express the twist and the anxiety on her mind. Therefore, “Polka Dots” and “Infinity Nets” has become the signature of KUSAMA.

brings all viewers into her distinctive and delicate mind. Now, we invite all of you to try this hallucinatory orange juice.

107

165

108

今井俊滿 (1928-2002) 加爾瓦略山油彩畫布 1951 簽名畫背：今井俊滿 99.8×80.2cm(39.3×31.6in.) 展覽「第 3 回日本獨立展」，日本美術會。

喬治 ‧ 盧奧《耶穌在貧民窟》，1920-1924 ，油彩畫布 “Christ on the Outskirts” by G e o r g e s Ro u a u l t , 1920-1924, oil on canvas

Imai TOSHIMITSU Calvaire Oil on canvas 1951 Signed on reverse: Imai TOSHIMITSU in Japanese character Exhibition: “Nihon Bijyutsu Kai”, Japan Art Association

NT$ 550,000-800,000 US$ 18,800-27,300 HK$ 144,700-210,500 今井俊滿出生於日本，1948 年完成學業後進入東京

Imai TOSHIMITSU was born in Japan. In 1948, he entered

國立美術學院學習。1955 年在「非定形藝術」領袖讓 ‧ 杜布菲 (Jean DUBUFFET) 的影響下，今井俊

the Tokyo National Art Academy after completing his study. In 1955, under the influence of the “ non-amorphous ” arts

滿的畫作以厚重的肌理，極具東方性的表現風格，確

leaders Dubuffet, Imai TOSHIMITSU established his artistic

立了其藝術地位。不僅在藝術上有極大的成就，今井

status by his paintings with heavy texture and strong oriental

俊滿對日本社會也有巨大的貢獻。1957 年「非定形藝術」運動在今井俊滿的影響下，於日本藝術界掀起

style. TOSHIMITSU not only had great achievement in art but had also made tremendous contributions to Japanese society.

了狂熱的風潮，也推進了藝術團體之間的交流。

In 1957, TOSHIMITSU made a big influence in the Japanese art world through the “Non-amorphous art” movement, and

《加爾瓦略山》是今井俊滿 1951 年早期旅居巴黎時

this movement also generates the exchanges between art

所創作，有著野獸派的風格，人物形象的外輪廓以非

organizations.

常重的粗黑線勾畫，用來限定形式和控制結構。依靠

“Calvaire” was created by TOSHIMITSU in 1951, during his

結構上的原則，省略體積、細節和明暗描繪，只用純

early stage in Paris. Fauvist style, heavy thick black outliners

單色來代替透視。象徵式的圖像與厚塗的筆觸色彩來

used to limit the form and control structure. Based on structural

表現耶穌受難圖，畫面色調深邃憂鬱，濃重的黑色輪

principles, regardless of size, objects, and light and shade,

廓線並採用剪影的原理把整個身體分成塊面，粗獷而

a pure monochrome is used instead of perspective. The

有力度，具有莊嚴的感覺。今井俊滿的畫作風格不禁

symbolic image with thick strokes of color hue of the screen

也讓我們感受到野獸派畫家喬治 ‧ 盧奧的創作手法，

deep melancholy presents the crucifixion of Jesus. Thick black

其層層堆疊的色塊，處理出表面豐厚的肌理質感，恣

contour and the silhouette divided the whole body to pieces of chucks, rough, strong, and with a solemn feeling. Imai’s

意情感與直接敘事的畫作風格，就如同今井俊滿的作品裡隱含著寧靜和虔誠的宗教精神，卻也帶出救世降臨的希望浮現於畫中，上帝之子表情平靜地等待著升天得道的一刻，令人動容。

166

喬治 ‧ 盧奧《顯靈》， 1935-1963，油彩畫布 “Crucifixion” by Georges Rouault, 1935-1963, oil on canvas

paintings always make us think of the creation of Fauvism artist, Georges ROUAULT He used a pile of colors to create thick texture on his canvas. The narrative painting style without any affectation is similar to Imai’s.

108

167

塙賢三是日本昭和時代後期的畫家，1916 年出生於日本茨城縣土

111

浦市，1958 年即赴歐美等地展開

109

個展並於 1962 年成為日本二科

塙賢三 (1916-1986) 馬戲團

會的會員。1986 年因病辭世，享壽 70 歲。日本於 1988 年為其舉

Untitled

油彩畫布 1970

Acrylic on paper 1970

簽名右下：Key Hiraga 70

S i g n e d l owe r r i g h t : Key

簽名右下：K. HANAWA

重要人物。

26x32cm(10.2×12.6in.)

Hiraga, 1970

45x37cm(17.7×14.6in.)

塙賢三以繪畫為心靈的寄託，其

來源

Provenance: YATAYA Gallery, Japan

作品呈現了童話故事般的畫面營

Kenzo HANAWA Circus

日本 YATAYA 畫廊

造，主要是描繪年輕戀人與馬戲團裡的小丑，如《馬戲團》與《人

NT$ 120,000-220,000 US$ 4,100-7,500 HK$ 31,600-57,900

物》，在他的筆下的人物有著純

Oil on canvas

真、幽默、詼諧以及充滿愛與魅

Signed lower right:

力的特質呈現，浪漫可愛的情愫，

K. HANAWA

蘊藏了其童趣特質的藝術風格。

NT$ 160,000-260,000 US$ 5,500-8,900 HK$ 42,100-68,400

111

在塙賢三的作品裡最重要的不是技巧，而是如何傳遞一份真摰的情感，如能細細品味，相信你一

1936 年出生於日本東京的平賀敬以強烈鮮豔色彩描繪大膽的

定會被他的作品所吸引。

狂歡場景，其作品深受日本傳統浮世繪與歐洲現代繪畫的影響，作品中體現了其歡愉生活的浮奢異想，是繼藤田嗣治以來

109

Kenzo HANAWA is the painter

享譽歐美的第二代日本現代藝術家。

of the late Japanese Showa era.

平賀敬成長於日本及受歐洲文化薰陶的背景特色，融合當代色

He was born in 1916 in Tsuchiura

彩形式和日本傳統繪畫技巧，衍生出其生動活潑的構圖造型與

City, Ibaraki Prefecture, Japan. In

充滿大膽鮮豔色彩的狂想曲。

1958, HANAWA held exhibition in

1970 年代他挑戰觀者的視覺，創作挾帶超現實主義色彩的奇

Europe and America and became

幻異想世界，平賀敬用藝術刻畫出他早年生活在歐洲的感官刺

a member of the Japanese

激與真實情感，體現自由、放浪不羈的享樂主義。作品中暗示

110

Science Council in 1962. In 1986,

塙賢三 (1916-1986) 人物

he passed away at the age of exhibition for him in 1988 as he

享受、興奮的極樂世界，浮誇而奢靡，怪誕而不拘，鮮豔明亮

油彩畫布

was an important figure in the

的色彩用以描繪男女間誇張的造型體態與面部表情，裝以細微

簽名右下：K.HANAWA

Japanese art world.

且精緻的裝置性圖騰，創造出多樣性且富有獨特風格的畫作。

17×14cm(6.7×5.5in)

Kenzo HANAWA paints as his

性的隱喻敘事，是作者對法國思想崇尚歡愉迷惘的生活縮影，象徵式的意象涵義，探討著兩性之間與當下生活的關係，充滿

70. Japan held a posthumous

Born in Tokyo in 1936, Key HIRAGA divided his career between

spiritual sustenance. His works

Kenzo HANAWA Figure Oil on canvas Signed lower right: K. HANAWA

NT$ 100,000-180,000 US$ 3,400-6,200 HK$ 26,300-47,400

Japan and Europe. His provocative, exuberant canvases explore

present a fairy tale-like pictures, mainly depicting young lovers

a world laced with erotic joie de vivre.

112

Combining a contemporary palette with traditional Japanese

and circus clown. For example, the characters in “ Circus ” and “Figure” show innocence, humor, and characteristics full of love and

techniques, thus he was considered as the most reputed

112

Japanese contemporary artist in Europe after Leonard Foujita. He was fond of challenging viewers ’ vision while creating

Key HIRAGA

affair bears in the childish artistic

平賀敬 (1936-2000) 編物

style. The most important skills in

壓克力畫布 1979

Acrylic on canvas 1979

France. The story hidden under his paintings implied the

HANAWA works is not skills, but

簽名左下：Key Hiraga ‘79

Signed lower left: Key

relationship between men and women and also the Western

40.5×31.5cm(15.9×12.4in.)

Hiraga, 1979

Paradise with joy and pleasure. The use of bright colors and the

Savoring it nicely, I believe you will

outrageous form of human body created the diversity and the

be attracted to his work.

NT$ 150,000-250,000 US$ 5,100-8,500 HK$ 39,500-65,800

peculiarity of his artworks.

charm. The romantic and lovely

genuine emotions he conveys.

168

Key HIRAGA

辦回顧遺作展，是日本畫壇上的

油彩畫布

110

平賀敬 (1936-2000) 無題

Knitting

a fantastic world with surrealism. He expressed his visual excitement and his true feelings to depict his liberal life in

169

113

114

113

奈良美智 (b.1959) Be Careful

Yoshitomo NARA

壓克力紙 1992 簽名：な ‘92

Acrylic on paper 1992

Be Careful

Yoshitomo NARA

Signed: The character of Na in Japanese, 1992

奈良美智 (b.1959) 天真無邪

22×16cm(8.7×6.3in.)

With a certificate of authenticity issued by Tomio

色鉛筆廣告紙 1997

Pencil on paper 1997

附日本小山登美夫畫廊 (TOMIO KOYAMA GALLERY)

Koyama Gallery

簽名：YOSHITOMO NARA ‘97

Signed:YOSHITOMO NARA, 1997

保證書來源：

Provenance: Acquired from Japan Ginza Shinwa Auction by the

現收藏者購自日本親和拍賣會

current collector

NT$ 500,000-700,000 US$ 17,100-23,900 HK$ 131,600-184,200 170

114

20.8×14cm(8.2×5.5in)

Innocent

奈良美智早期以插畫性質為主的作品，在 1980 年代後期即發展出其個人風格的角色，奈良美智對於有著大眼睛和大頭的兒童形象相當著迷，在他的作品裡，不含有透視的背景，而關注在

來源：

Provenance: Acquired from Japan Ginza Shinwa

現收藏者購自日本親和拍賣會

Auction by the current collector

各種帶有表情的人物眼神，其作品被許多博物館收藏，深獲藏家喜愛。

NT$ 200,000-300,000 US$ 6,800-10,300 HK$ 52,600-78,900 171

116

木下雅雄 (b.1971) PEGA

115

Masao KINOSHITA was born in 1971 and

大學雕塑系，2003 年在 GEISAI「藝

graduated from Tokyo Zokei University.

玻璃纖維 2004

祭」美術展獲得最優秀獎，堅實的雕

In 2003, he was awarded Grand Prix at

簽名底座：MASAO KINOSHITA

塑技巧和精湛的表現能力備受推崇。

Geisai Museum because of his great

21(H)x27x10.5cm

木下雅雄：「將了解空間比喻為山頂

(8.3×10.6×4.1in.)

的話，我總是仰望著端坐於山頂的前輩大師。雖然自己一直在山腳下排

櫻井理惠子 (b.1977) Littleone’s home

Rieko SAKURAI

櫻井理惠子生於日本茨城縣，畢業

Littleone’s home

於名古屋藝術大學繪畫系。為當代

油彩棉布裱貼於木板 2006 簽名畫背：Littleone’s home 2006

Oil on cotton, mounted on panel 2006

Rieko Sakurai

2006, Rieko Sakurai

Signed on reverse: Littleone’s home

知名藝術家，2002 年於水井市泉畫廊推出「00 世代的表達」，2006 年由 KaiKai Kiki 策劃的「東京 GG 夜」及 2007 年文京藝術畫廊推出

123×92cm(48.4×36.2in.)

NT$ 250,000-350,000 US$ 8,500-12,000 HK$ 65,800-92,100 172

木下雅雄於 1991 年畢業於東京造型

的「甜蜜狂熱」。作品生動有趣，深獲藏家喜愛。

Masao KINOSHITA

徊，但還是繼續在雕刻的領域中不斷

PEGA

地探索著。」

sculpture skills. KINOSHITA said, “If the

understanding of space is a mountain, I always look at the senior masters sitting on the top of mountain. Even though I am still wondering under the mountain, I don’t

《PEGA》則是以馬的型態呈現，背

stop exploring in sculpture field.” “ PEGA ” , shown as a horse with a pair

Signed on the base: MASAO KINOSHITA

上長出一雙爪子，像是一隻神獸的解

of claws on its back. The whole body can

剖標本般，其骨骼肌理的紋路與血管

be seen as a specimen and its bones

NT$ 280,000-400,000 US$ 9,600-13,700 HK$ 73,700-105,300

細膩分明的表現，常使觀者的眼睛為

structures and blood vessels are well

之一亮。木下雅雄的作品充滿玩味性

carved. His interesting and delicate works

與極高的精緻度，是值得藏家一再收

are worth to be collected continuously.

Fiberglass 2004

藏的作品。 173

117

周春芽 (b.1955) 綠狗

ZHOU Chun Ya

銅雕 (7/8) 2005

Bronze (7/8) 2005

簽名雕刻：7/8 周春芽 05

Signed: ZHOU Chun Ya in Chinese, 7/8, 2005

Green Dog

H96cm (H37.8in.)

NT$ 3,000,000-4,000,000 US$ 102,500-136,700 HK$ 789,500-1,052,600

藝術評論家呂澎在《綠狗敘事》一文中評述：「狗在畫家的生活中是潛在的需要，

Art critic Lu Peng, comments in “The Green Dog Narrative”,“Dogs are potential need in the artist’s life. Although dogs might seem

為逐漸減少自然性的都市環境中人的一種

unconscious of life compared with people, they have become a human’s desire in the urban environment which is gradually lacking

渴望。事實上，只有一種通情理的、具有

of natural. In fact, dogs may be the only one kind of reasonable,

這樣與人相比看來似乎無意識的生命，成

依附性的生命也許可以讓人感受到慰藉，使你在枯燥和空乏的社會環境裡沾染一點自然與淳樸的氣息。」《綠狗》是周春芽最負盛名的綠狗系列作品，1994 年出生的黑根，是周春芽在德國

dependent life that can make people feel comfort and sense a little natural and honest atmosphere despite in a boring social environment. ” “Green Dog” is a work from ZHOU Chun Ya’s most prestigious green dog series. Born in 1994, the dog, Black Root, is the

遊歷時所飼養的純種德國狼犬。為了留下

purebred German shepherds Zhou Chun Ya kept while he traveled in Germany. In order to leave the memories of the dead “Black

對於死去的「黑根」回憶，周春芽創作出

Root”, ZHOU Chun Ya creates a Green Dog series to commemorate

綠狗系列來紀念牠，將反自然的主觀色彩

it. Using an anti-natural subjective use of color in a green, ZHOU

運用在一隻綠色且形態各異的狗上。此雕

depicts the dog in different postures. This sculpture is full the

塑充滿著黑根的鮮明形象，蹲坐在地上，低頭側望的樣貌惹人憐愛，「綠狗系列」

image of Black Root. Squatting on the ground with lovable sidelooking faces, the “Green Dog Series” is not only the Muse in the

是周春芽回憶裡的謬思，也是激發他創作

memories of ZHOU Chun Ya, but also the source of his inspiration.

靈感的泉源。 117

174

175

118

木下雅雄 (b.1971) 鳥獸戲畫 - 蛙

Masao KINOSHITA

木下雅雄的作品《鳥獸戲畫 - 蛙》是以人身

Animals - Frog

獸面的造型雕塑，英姿拔擢的蛙面人身猶如

119

銅雕 (1/6)

Bronze (1/6)

健美先生的姿態，直挺的展現出雄風，將其

Signed: 1/6 M. Kinoshita

彭光均 (b.1961) 春暖

PENG Kuang Chun

完美的身形線條與肌肉紋理，鉅細靡遺的充

銅雕 (5/8) 2008

Brone (5/8) 2008

簽名：2008 光均 5/8

Signed: 2008, Kuang Chun in Chinese, 5/8

簽名：1/6 M. Kinoshita H53cm(H20.9in.)

With a certificate of authenticity signed by

附日本 Unseal Contemporary

the artist and issued by Unseal Contemporary

藝術家親自簽名保證書

Gallery

NT$ 300,000-400,000 US$ 10,300-13,700 HK$ 78,900-105,300 176

119

分展現出來。 “Animals – Frog” was based on a frog with a human face. This frog has a great body just like a muscle man. The texture of muscle and veins are shockingly exquisite as if the work piece can only be seen in mythology.

Spring

80×53×27cm(31.5×20.9×10.6in.)

NT$ 380,000-480,000 US$ 13,600-16,400 HK$ 100,000-126,300 177

120 121

120

121

劉野 (b.1963) 小孩看船

LIU Ye Kid Looking at a Boat

周春芽 (b.1955) 綠狗

限量版畫 (19/60) 2009

Limited print (19/60) 2009

限量版畫 (26/50) 2007

Green Dog

簽名下方：19/60 野 09

Signed lower: 19/60, Ye in Chinese,

簽名下方：2007 周春芽 zhou chun

Limited print (26/50) 2007

90×77cm(35.4×30.3in.)

2009

Signed lower right: ZHOU Chun Ya in

87×70cm(34.2×27.6in.)

Chinese and english, 2007

NT$ 160,000-220,000 US$ 5,500-7,500 HK$ 42,100-57,900

178

ZHOU Chun Ya

NT$ 160,000-220,000 US$ 5,500-7,500 HK$ 42,100-57,900 179

124

朱德群 (b.1920) 抽象石版畫 (27/60) 簽名右下：朱德群 CHU TEH-CHUN 43×64cm(16.9×25.2in.)

CHU Teh Chun Abstraction Lithograph (27/60) Signed lower right: CHU TEH-CHUN

122

in Chinese and English

122

陳庭詩 (1915-2002) 晝與夜

CHEN Ting Shih

版畫 (2/6) 1966

Woodblock print (2/6) 1966

簽名右下 :2/6 Chen Ting Shin,66

Signed lower right:2/6 Chen Ting Shin,1966,with

鈐印右下 : 陳

one seal of the artist

NT$ 260,000-350,000 US$ 8,900-12,000 HK$ 68,400-92,100

Day and Night

60x124cm(23.6×48.8in.) 出版

Literature: Graphic Art by The Contemporary Artist Chen

《陳庭詩版畫集》，國立台灣藝術館，

Ting Shih , National Taiwan Arts Center, Taipei,

1967 年，圖版 12。

1967, Plate 12

125

《大律希音》，台北市立美術館，2002

Chen Ting Shih (1915-2002): Sound of Rarity ,

年，第 221 頁。

Taipei Fine Arts Museum, 2002, P.221

朱德群 (b.1920) 舒暢

123

石版畫 (41/180) 1998

陳庭詩 (1915-2002) 懸崖

80×60cm(31.5×23.6in.)

版畫 (3/12) 1968 簽名右上：3/12 Chen Ting-Shih ’68 鈐印左下：陳 60x60cm(23.6×23.6in.)

CHEN Ting Shih Precipice Print (3/12) 1968 Signed upper right: 3/12 Chen Ting-Shih, 1968, with one seal of the artist

NT$ 120,000-220,000 US$ 4,100-7,500 HK$ 31,600-57,900 123

180

NT$ 180,000-280,000 US$ 6,200-9,600 HK$ 47,400-73,700

124

簽名下方：41/180 朱德群 CHU TEH-CHUN

出版《名家珍藏石版畫集》，首都藝術中心，2010 年，第 66 頁。

CHU Teh Chun Comfort Lithograph (41/180) 1998 Signed lower: 41/180 CHU TEH-CHUN in Chinese and English Literature: The Collection of Masters’ Lithographs , Capital Art Corporation, 2010, P.66

NT$ 120,000-180,000 US$ 4,100-6,200 HK$ 31,600-47,400

125

181

126

128

朱德群 (b.1920) CHU Teh Chun Brilliance 燦爛

趙無極 (b.1921) ZAO Wou Ki N289 N289

石版畫 (93/180) 1998

Lithograph (93/180) 1998

石版畫 (E.A.) 1978

Lithograph (E.A.) 1978

簽名下方：93/180 朱

Signed lower: 93/180 CHU

簽名右下：E.A. 無極

Signed lower: E.A. Wou Ki in

德群 CHU TEH-CHUN

TEH-CHUN in Chinese and

ZAO 78

Chinese and ZAO, 1978

68×96cm

English

45×60cm

(26.8×37.8in.)

(17.7×23.6in.)

Literature: The Collection of Masters’

出版

Lithographs , Capit al Art

出版

Literature: The Collection of Masters’

《名家珍藏石版畫

Lithographs , Capit al Art

《名家珍藏石版畫

Corporation, 2010, P.81

集》，首都藝術中心，

Corporation, 2010, P.67

集》，首都藝術中心，

ZAO Wou-Ki The Graphic

2010 年，第 81 頁。

Work A Catalogue Rasisonné

《趙無極版畫集 1937-

1937-1995 , Edition Heede &

19 9 5 》， H e e d e &

Moestrup, 1994, P.160

2010 年，第 67 頁。

NT$ 120,000-180,000 US$ 4,100-6,200 HK$ 31,600-47,400

126

128

Moestrupt 出版社， 1994 年，第 160 頁。

127

129

朱德群 (b.1920) CHU Teh Chun Autumn 秋

趙無極 (b.1921) ZAO Wou Ki N288 N288

石版畫 (164/180) 1998

Lithograph (164/180) 1998

石版畫 (E.A.) 1977

Lithograph (E.A.) 1977

簽名下方：164/180 朱

Signed lower: 164/180 CHU

簽名下方：E.A. 無極

Signed lower: E.A. Wou Ki in

德群 CHU TEH-CHUN

TEH-CHUN in Chinese and

ZAO 77

Chinese and ZAO, 1977

65×100cm

English

43×67.5cm

(25.6×39.4in.)

127

(16.9×26.6in.)

Literature: The Collection of Masters’

出版

Lithographs , Capit al Art

出版

Literature: The Collection of Masters’

《名家珍藏石版畫

Lithographs , Capit al Art

《名家珍藏石版畫

Corporation, 2010, P.80

集》，首都藝術中心，

Corporation, 2010, P.65

集》，首都藝術中心，

ZAO Wou-Ki The Graphic

2010 年，第 80 頁。

Work A Catalogue Rasisonné

《趙無極版畫集 1937-

1937-1995 , Edition Heede &

19 9 5 》， H e e d e &

Moestrup, 1994, P.159

2010 年，第 65 頁。

NT$ 120,000-180,000 US$ 4,100-6,200 HK$ 31,600-47,400

129

Moestrupt 出版社， 1994 年，第 159 頁。

182

NT$ 140,000-200,000 US$ 4,800-6,800 HK$ 36,800-52,600

NT$ 140,000-200,000 US$ 4,800-6,800 HK$ 36,800-52,600 183

130

132

趙無極 (b.1921) N335

ZAO Wou Ki N335

趙無極 (b.1921) ZAO Wou Ki N390 N390

石版畫 (192/300) 1998

Lithograph (192/300) 1998

石版畫 (E.A. 17/25)

Lithograph (E.A. 17/25) 1998

簽名下方：192/300 無極

Signed lower: 192/300 Wou

1998

Signed lower: E.A.12/25

ZAO

Ki in Chinese and ZAO

簽名下方：E.A.17/25

Wou Ki in Chinese and ZAO,

無極 ZAO 98

1998

76×56cm(29.9×22in.) 出版

Literature: The Collection of Masters’

《名家珍藏石版畫集》，首

Lithographs , Capital Art

(215.5×17.8in.)

Literature: The Collection of Masters’

都藝術中心，2010 年，第 87

Corporation, 2010, P.87

出版

Lithographs , Capit al Art

《名家珍藏石版畫

Corporation, 2010, P.92

64.8x45.4cm

頁。

NT$ 140,000-200,000 US$ 4,800-6,800 HK$ 36,800-52,600

集》，首都藝術中 132

心，2010 年，第 92 頁。

NT$ 150,000-200,000 US$ 5,100-6,800 HK$ 39,500-52,600

133a~b

趙無極 (b.1921) ( 兩件一組 ) 130

a. 抽象

a.Abstract Lithograph (46/99) 1978

簽名下方：無極 ZAO 78

Signed lower: Wou Ki in Chinese and

28x48cm(11 x18.8in.)

ZAO, 1978

出版

Literature: ZAO Wou-Ki The Graphic Work A

1995》，Heede & Moestrupt 出版社，1994

Catalogue Rasisonné 1937-1995 , Edition Heede & Moestrup, 1994,

年，第 168 頁。

P.168

b. 抽象

b.Abstract

石版畫 (29/100) 1998

石版畫 (29/99) 1976

簽名下方：29/100 無極 ZAO 98

Lithograph (29/99) 1976

簽名下方：無極 ZAO 76

Signed lower: Wou Ki in Chinese and

40x67cm(15.7 x26.3in.)

ZAO Wou Ki

ZAO, 1976

出版

Abstract

《趙無極版畫選集》，名人

Lithograph (29/100) 1998

畫廊，1992 年，第 20 頁。

Literature: ZAO Wou Ki Plate Paintings Selection ,

Signed lower: 29/10 0 Wou Ki in

《趙無極版畫集 1937-

Chinese and ZAO, 1998

1995》，Heede &

趙無極 (b.1921) 抽象

Moestrupt 出版社，1994 年，第 156 頁。

NT$ 110,000-150,000 US$ 3,800-5,100 HK$ 28,900-39,500 131

184

(A Set of Two Lithographs)

石版畫 (46/99) 1978

《趙無極版畫集 1937-

131

ZAO Wou Ki

133a

Ming Ren Gallery, 1992, P.20

ZAO Wou Ki The Graphic Work A Catalogue Rasisonné 1937-1995 , Edition Heede & Moestrup, 1994, P.156

NT$ US$ HK$

133b

185

135

村上隆 (b.1962) Jelly Fish 限量版畫 (68/300) 2003 簽名右下：03 68/300 63.8×63.8cm(25.1×25.1in.) 出版《Takashi Murakami Prints: “ My First Art ” Series》, 日本 Kaikai Kiki Gallery 出版，2008 年，第 23 頁。

Takashi MURAKAMI Jelly Fish Limited print (68/300) 2003 Signed lower right: 03 68/300 Literature: Takashi Murakami Prints: "My First Art" Serie s,

135

Japan Kaikai Kiki Gallery, 2008, P.23

NT$ 60,000-80,000 US$ 2,100-2,700 HK$ 15,800-21,100

134

草間彌生 (b.1929) 上海南瓜

Yayoi KUSAMA

絲網版畫 (49/200) 2010

Yoshitomo NARA

Screenprint (49/200) 2010, Lamé

奈良美智 (b.1959) 宇宙女孩

簽名下方：49/200 上海南瓜 2010 Yayoi Kusama

Signed lower: 49/200 Shanghai Pumpkin 2010 Yayoi

限量版畫 (ed. 500) 2008

Offset lithograph (ed.500)

鋼印右下：上海萬國博覽會鋼印兩枚

Kusama, with two seals of Shanghai Expo

53.5×45cm(21×17.7in.)

A Pumpkin

註：此作品為奈良美智 2008

Cosmic Girls 2008

76x56cm(29.9×22in.)

Literature: Yayoi Kusama Prints 1979-2011 , ABE Publishing Ltd.,

年在英國 Baltic Centre for

Publisher: Baltic Centre

Contemporary Art 個展所創

for Contemporar y Art,

出版

2011, P.205

作的 500 張限量版畫之一。

Gateshead, UK

Shanghai Expo Commemoration Prints Committee

72×52cm(28.3×20.5in.)

Private Collection in Asia

亞洲私人收藏

《草間彌生全版畫》，ABE 出版社，2011 年，第 205 頁。上海萬國博覽會紀念版畫製作執行委員會

186

136

NT$ 180,000-280,000 US$ 6,200-9,600 HK$ 47,400-73,700

NT$ 26,000-30,000 US$ 900-1,000 HK$ 6,800-7,900

136

187

137

139

畢卡索 (1881-1973) 莎士比亞 #4

馬克 ‧ 夏卡爾 (1887-1985) 看見和平 No.830

石版畫 (24/125) 1964

石版畫

簽名右下：17.4.64 III

45×67cm(17.7×26.3in.)

24×27cm(9.4×10.6in.)

亞洲私人收藏

Pablo PICASSO Shakespeare #4 Lithograph (24/125) 1965 Signed lower right: 17.4.64 III Private Collection in Asia

NT$ 80,000-15,000 US$ 2,700-5,100 HK$ 21,000-39,500

137

Marc CHAGALL Seeing Peace No.830 Lithograph Private Collection in Asia

139

NT$ 50,000-80,000 US$ 1,700-2,700 HK$ 13,200-21,100

140

馬克 ‧ 夏卡爾 (1887-1985) 紅玫瑰和情人石版畫 (1855/2000) 1985 簽名下方：1855/2000 Marc Chagall 78×53cm(30.7×20.8in.) 亞洲私人收藏 138

Marc CHAGALL

138

安迪 ‧ 沃荷 (1928-1987) 毛澤東

Andy Warhol

Red Roses and lovers

MAO

Lithograph (1855/2000) 1985

石版畫

Lithograph

簽名左方：Andy Warhol

Signed on left: Andy Warhol

17×17cm(6.6×6.6in.)×2

Private Collection in Asia

亞洲私人收藏

NT$ 30,000-50,000 US$ 1,000-1,700 HK$ 7,900-13,200 188

Signed lower: 1855/2000 Marc Chagall Private Collection in Asia

NT$ 50,000-80,000 US$ 1,700-2,700 HK$ 13,200-21,100 140

189

141

黃坤伯 (b.1974) 家庭觀

HUANG Kuen Po

美柔汀版畫 (2/30) 2005

Mezzotint print 2/30 2005

簽名下方：2/30 家庭觀 Huang 坤伯 2005

Signed lower: 2/30 Concept of the Family,

86×60cm(33.8×23.6in.)

HUANG and Kuen Po in Chinese,2005

附雲清藝術中心藝術家親自簽名保證書

With a certificate of authenticity signed by the

入選第 13 屆中華民國國際版畫雙年展

Concept of the Family

artist and issued by Elsa Art Gallery This print was elected in the 13th International Biennial Print Exhibition

NT$ 45,000-60,000 US$ 1,500-2,100 HK$ 11,800-15,800 190