Ravenel Autumn Auction 2007 羅芙奧2007年秋季拍賣會 by Ravenel International Art Group

AUTUMN AUCTION 2007

MODERN

CONTEMPORARY

ART

RAVENEL AUTUMN AUCTION 2007 The 20th & 21st Century Chinese Art Korean Contemporary Art AUCTION Sunday, December 2, 2007, 2:30pm – 6:30pm Fubon National Conference Center B2, No. 108, Section 1, Tun-Hwa South Road, Taipei, Taiwan

PREVIEWS Taichung Saturday, October 27– Sunday, October 28, 2007, 1:00pm – 7:00pm GSR Gallery 1F, No.83, Gong Zheng Road, Taichung, Taiwan

Beijing Sunday, November 11 – Monday, November 12, 2007, 10:00am – 7:00pm Grand Hyatt Beijing – The Residence 1 East Chang An Avenue, Beijing, China

Hong Kong Friday, November 23 – Saturday, November 24, 2007, 10:00am – 7:00pm Sunday, November 25, 2007, 10:00am –1:30pm Grand Hyatt Hong Kong – Salon 1 Harbour Road, Wanchai, Hong Kong

Taipei Friday, November 30 – Saturday, December 1, 2007, 10:00am – 7:00pm Fubon National Conference Center B2, No. 108, Section1, Tun-Hwa South Road, Taipei, Taiwan (The intersection of Tun-Hwa South Road and Civic Boulevard)

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As requested by the Buyer, we are delighted to offer the condition reports of all the auction items, provided, however, such items will be sold “as is”. In addition, the Buyer is requested to take note of the transaction agreement and the explanations of the provisions regarding the notice of no-guarantee. If you would like to subscribe the auction catalogue (NT$2,000 per copy), please contact Ms. Jamie Liao at TEL:(886 2) 2708 9868 ext. 685

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羅芙奧 2007 秋季拍賣會 20 與 21 世紀華人藝術韓國當代藝術拍賣日期 / 地點 2007年12月2日(日) PM2:30至PM6:30 富邦人壽大樓國際會議中心台北市敦化南路一段108號B2 預展日期 / 地點台中 2007年10月27日(六)至10月28日(日) PM1:00至PM7:00 由鉅藝術中心(月光流域大樓) 台中市公正路83號1樓北京 2007年11月11日(日)至11月12日(一) AM10:00至PM7:00 東方君悅酒店 (君府廳) 中國北京市東長安街1號香港 2007年11月23日(五) 至11月24日(六) AM10:00至PM7:00 11月25日(日)AM10:00至PM1:30 香港君悅酒店 (君悅廳) 香港灣仔港灣道1號台北 2007年11月30日(五)至12月1日(六) AM10:00至PM7:00 富邦人壽大樓國際會議中心台北市敦化南路一段108號B2 (市民大道口)

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羅芙奧 2007 秋季拍賣會服務部門及連絡人

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Contents / 目次 2

Sale Information / 羅芙奧春季拍賣會

Ravenel Services / 羅芙奧之服務

Index / 藝術家索引

The 20th & 21st Century Chinese Art, Korean Contemporary Art 20與21世紀華人藝術韓國當代藝術

426

Artist Biographies / 藝術家簡歷

466

Transaction Agreement / 業務規則

479

The Absentee Bid Form / 委託競投表格

Front Cover: Lot 068 Inside Cover: Lot 066 Opposite: Lot 056

Index

Artist / Lot Number

A AI Xuan

艾軒

102, 108

CAO Jingping CAO Li Caroline Yu Yin CHIU CHANG Chih-cheng George CHANN CHEN Danqing CHEN Wenling CHEN Yi-lang CHEN Yu CHENG Tsai-tung CHIU Ya-tsai CHU Chen-yung CHU Teh-chun

曹靜萍曹力趙汝賢張志成陳蔭羆陳丹青陳文令陳義郎陳渝鄭在東邱亞才初陳勇朱德群

CHUA Hu CHUANG Che CHU Ko

蔡雲程莊喆楚戈

132 144 193 022 030 107 113 186 195 006, 007, 010, 011 179, 201 128 031, 052, 053, 063, 067, 068, 072, 073 036, 098 004, 005, 084, 162 096

DUAN Jianwei

段建偉

167

FANG Hui Alixe FU

房輝傅慶豊

119 177

JAN Chin-shui JI Dachun JIANG Shuo JIAO Xingtao JU Ming

高惠君關良

035, 171, 173 032, 038

弘京澤洪凌侯俊明蕭勤蕭如松胡向東黃致陽黃鋼黃宇興黃楫黃銘哲

197 057, 080, 083 019, 020 003 086, 087, 088 194 017 137, 158 175 021 018

H HONG Kyong-tack HONG Ling HOU Chun-ming HSIAO Chin HSIAO Ju-sung HU Xingdong HUANG Chih-yang HUANG Gang HUANG Yuxing HWANG Jyi Michell HWANG

163, 202 126, 127 183 181 054, 066, 074, 099, 100

KIM Tschang-yeui KUO Wei-guo KWON Ki-soo

金昌烈郭維國權奇秀

198 013, 014 196

LEE Jung-woong LEE Yong Deok LI Chen LI Jikai LI Kai LI Lei LI Shan LI Shuang LI Song LI Yibing LIAO Chi-chun LIEN Chien-hsing LIN Fengmian

李錠雄李容德李真李繼開李凱李磊李山李爽李松李一丙廖繼春連建興林風眠

LIU Chunhai LU Shun LUO Fahui LUO Qing

劉純海呂順羅發輝羅清

199 200 081, 082 130 109, 203 085 001 110 172 117 061, 076, 079 008, 012, 016 039, 040, 041, 042, 043, 044, 045, 046, 047, 048, 049, 050 115 134 146 166

毛同強毛焰

124 135

歐陽春

125

龐均龐永杰彭光均

059 129, 169 189

G GAO Huijun GUAN Liang

詹金水季大純蔣朔焦興濤朱銘

M MAO Tongqiang MAO Yan

O OUYANG Chun

P PANG Jiun PANG Yongjie PENG Kuan-jun

YANG Hsing-sheng YANG Mao-lin YANG Ren-ming YANG San-lang YANG Xiaobing Yuyu YANG YEN Shui-lung YIN Jun YIN Kun YIN Zhaoyang YU Shou-chung

R REN Sihong REN Xiaolin REN Zhe

任思鴻任小林任哲

027, 114, 170 139 185

SANYU SHI Hu SHIY De-jinn

常玉石虎席德進

SONG Yonghong SUN Weimin

宋永紅孫為民

033 140, 141 089, 090, 091, 092, 093, 094, 095 138 055

丁雄泉曾清淦莊普屠宏濤

023, 028, 029 142 180 160

王懷慶王克平王岩王沂東王向明魏樂唐韋爾申翁國珍吳大羽武德淳吳冠中

069 190 165, 168 103, 104 034, 192 097, 164 123 184 075 188 051, 064, 065

夏俊娜向京向慶華蕭瑟熊宇

024, 025, 026, 058 112 148 111 133

嚴培明楊識宏楊登雄楊帆楊飛雲

156 002 009, 145, 174 116 106

W WANG Huaiqing WANG Keping WANG Yan WANG Yidong WANG Xiangming John WAY WEI Ershen WONG Kuo-chen WU Dayu WU De-chun WU Guanzhong

X XIA Junna XIANG Jing XIANG Qinghua XIAO Se XIONG Yu

Y YAN Pei Ming YANG Chihung YANG Din YANG Fan YANG Feiyun

178 182 131 060 118 101, 187 062 121 120, 122, 143 157 191

ZAO Wou-ki ZENG Fanzhi ZHANG Donghong ZHANG Handong ZHANG Hui ZHANG Jian ZHAO Nengzhi ZHOU Chunya

趙無極曾梵志張東紅張漢東張慧章劍趙能智周春芽

ZHU Fuxing ZHU Qizhan

祝福新朱屺瞻

070, 071, 077, 078 159 015 161 147, 149 136 176 150, 151, 152, 153, 154, 155 056, 105 037

T Walasse TING TSENG Ching-kan TSONG Pu TU Hongtao

楊興生楊茂林楊仁明楊三郎楊小兵楊英風顏水龍尹俊尹坤尹朝陽游守中

001

李山

LI Shan

擴延之二

(b. 1944)

1985 油彩畫布 81 x 142 cm

Extension 2

簽名左上：李山上海 1985.2.6 1985 Oil on canvas 81 x 142 cm Signed upper left Li Shan, Shanghai in Chinese and dated 1985.2.6 EXHIBITED: Li Shan: Building the Rouge Empire Paintings from 1976 to 1992, Alisan Fine Arts at the Hong Kong Arts Centre, Hong Kong, Oct. 13-21, 1994 Li Shan: Building the Rouge Empire Paintings from 1976 to 1992, Lin & Keng Gallery, Taipei, 1995

展覽：「李山—通往胭脂帝國之路1976-1992 年作品」，藝倡畫廊主辦、香港藝術 ILLUSTRATED: Li Shan: Building the Rouge Empire Paintings from 1976 to 1992, Alisan Fine Arts Alice King Gallery, Hong Kong, 1992, color illustrated

NT$ 220,000-400,000 US$ 6,700-12,100 HK$ 51,900-94,400

中心展出，香港，展期自1994年10月 13日至10月21日「李山個展─通往胭脂帝國之路 19761992作品」，大未來畫廊，台北， 1995年12月圖錄：《李山—通往胭脂帝國之路：19761992年作品》，藝倡畫廊，香港， 1992，彩色圖版

002

YANG Chihung (b. 1947)

Tendril 1987-1988 Charcoal and pastel on paper 126.6 x 97 cm Signed lower center C. Yang and dated 87-88

NT$ 320,000-420,000 US$ 9,700-12,700 HK$ 75,500-99,100

楊識宏植物 1987-1988 粉彩紙本 126.6 x 97 cm 簽名中下：C. Yang 87-88

003

HSIAO Chin (b. 1935)

Untitled 1959 Ink and color on paper 65 x 40.5 cm Signed lower left Hsiao in Chinese and in English and dated 59-II

蕭勤無題

With one seal of the artist

1959 彩墨紙本

NT$ 40,000-90,000 US$ 1,200-2,700 HK$ 9,400-21,200

65 x 40.5 cm 簽名左下：Hsiao 蕭勤 59-II 鈐印左下：蕭勤

004

CHUANG Che (b. 1934)

89-A18 1989 Oil on canvas, collage 43 x 58 cm Signed lower center Chuang Che in Chinese

莊喆 The painting is to be sold with a certificate

89-A18

of authenticity issued by Lungmen Art Gallery, Taipei.

1989 油彩畫布拼貼

NT$ 220,000-400,000 US$ 6,700-12,100 HK$ 51,900-94,400

43 x 58 cm 簽名中下：莊喆附龍門畫廊所開立之原作保證書

005

CHUANG Che (b. 1934)

Abstract Oil on canvas 84.5 x 119 cm Signed lower right Chuang Che in Chinese

莊喆抽象

NT$ 340,000-450,000 US$ 10,300-13,600 HK$ 80,200-106,200

油彩畫布 84.5 x 119 cm 簽名右下：莊喆

006

CHENG Tsai-tung (b. 1953)

East Coast Episode of a Trip to Hualien 1992 Oil on canvas

展覽：「鄭在東油畫展－花蓮遊記」，花蓮縣立文化中心，花蓮，1992

65 x 80 cm Signed lower left Cheng Tsai-tung in Chinese and dated '92 EXHIBITED: Cheng Tsai-tung-A Trip to Hualien, County Culture Center, Hualien, 1992

NT$ 160,000-280,000 US$ 4,800-8,500 HK$ 37,800-66,100

鄭在東花蓮遊記之東海岸 1992 油彩畫布 65 x 80 cm 簽名左下：鄭在東 '92

1991年，鄭在東開始用人文觀照的角

In 1991, Cheng Tsai Tung started to paint Taiwan landscapes with regional features and culture essences from a humanist perspective. After “Northern Wilderness” from 91 and “Pei Tou Affairs” which received Hsiung-Shih Creative Award

度，創作出具區域特色和人文內涵的台灣風景新形貌。繼91年的《北郊遊》和92年獲雄獅創作獎展出的《北投風月》之後，鄭在東來到高山闊水的東海岸－花蓮，創作了「花蓮遊

in 92, Cheng went to Hualien where lies within a vast expanse of sea and sky at the

記」系列作品。

This piece has adapted the layered coloring technique, barely visible lines filled

這件作品除沿用其一貫壓層式上色方

within the picture, separate the canvas into different blocks with base colors in blue and green, those charming sienna and bright green entwined, as if the time stopped at that moment, allowing the

法外，整個畫面以若有似無的線條，區隔成簡單的塊面，以藍、綠為主調，迷人的粉赭和輕快的翠綠毗連交織，時空彷彿暫時停止，讓觀者有足夠的時間融入其中與畫裡的景緻銜接，如置身畫中的人物般，喚起那浸淫於碧海藍天、寬山闊地的想望。

east shore of Taiwan, and created “Hualien Traveling” series or works.

viewer having enough time to connect himself into the picture, being the character of the picture, dreams under the blue sky.

007

CHENG Tsai-tung (b. 1953)

Flower 1999 Oil on masonite 77 x 54 cm Signed lower left Cheng Tsai-tung in

鄭在東

Chinese and dated ‘99

花

NT$ 130,000-220,000 US$ 3,900-6,700 HK$ 30,700-51,900

1999 油彩纖維板 77 x 54 cm 簽名左下：鄭在東 '99

008

LIEN Chien-hsing (b. 1962)

Jinguashih, Gold and Copper Mine

連建興金瓜石與金銅礦 1992

1992 Oil on canvas 80 x 116 cm Signed lower left Lien Chien-hsing in Chinese and dated 1992.9 Signed on the reverse Taiwan R.O.C Lien Chien-hsing in Chinese and dated 1992.8, Jinguashih, Gold and Copper Mine in Chinese

ILLUSTRATED: Lien Chien-hsing Works 1976~1993, E s l i t e G a l l e r y, Ta i p e i , 1 9 9 3 , c o l o r

油彩畫布 80 x 116 cm

illustrated, no.20, p. 47

簽名右下：連建興1992.9 簽名畫背：台灣R.O.C 連建興 1992.8 金瓜石與金銅礦

NT$ 180,000-300,000 US$ 5,400-9,100 HK$ 42,500-70,800

圖錄：《連建興》，誠品畫廊，台北， 1993，彩色圖版，編號20，頁47

009

楊登雄

YANG Din

組成 (四)

(b. 1958)

Composition IV 1993 Oil on canvas 89 x 116 cm Signed lower right Yang Din in English Signed on the reverse Yang Din, dated 1993.7-11, “Composition IV” 93

1993 油彩畫布 89 x 116 cm

ILLUSTRATED: Yang Din, Willy D'Huysser Gallery, Bruxelle, 1993, color illustrated

簽名右下：Yang Din 簽名畫背： Ya n g D i n 1 9 9 3 . 7 - 11 Composition IV 93

NT$ 280,000-350,000 US$ 8,500-10,600 HK$ 66,100-82,600

圖錄：

《楊登雄》，威利‧杜塞畫廊，布魯塞爾，1993，彩色圖版

010

CHENG Tsai-tung (b. 1953)

Landscape I Cheng Tsai-tung06

NT$ 200,000-360,000 US$ 6,100-10,900 HK$ 47,200-85,000

簽名右下：鄭在東 '06

鄭在東風景一 2006 油彩畫布 89 x 78 cm

011

CHENG Tsai-tung (b. 1953)

Landscape II 2006 Oil on canvas 120 x 120 cm Signed lower left Cheng Tsai-tung in Chinese and dated '06

NT$ 380,000-500,000 US$ 11,500-15,100 HK$ 89,700-118,000

鄭在東風景二 2006 油彩畫布 120 x 120 cm 簽名左下：鄭在東 '06

012

LIEN Chien-hsing (b. 1962)

A Surprising Encounter 2004 Oil on canvas 65 x 91 cm Signed lower left Lien Chien-hsing in Chinese and dated 2004 ILLUSTRATED: Lien Chien-hsing, Keelung City Cultural Affairs Bureau, Keelung, 2004, color illustrated, cover & p. 9, p. 63

NT$ 120,000-200,000 US$ 3,600-6,100 HK$ 28,300-47,200

連建興驚奇的偶遇 2004 油彩畫布 65 x 91 cm 簽名左下：2004 連建興圖錄：《抽象與寫實的對話－連建興作品集》，基隆市立文化中心，基隆， 2004，彩色圖版，封面&頁9、63

《抽象與寫實的對話－連建興作品集》，基隆市立文化中心，封面 Lien Chien-hsing, Keelung City Cultural Affairs Bureau, coverpage (exhibition catalogue)

013

KUO Wei-guo (b. 1960)

Nostalgia 2001 Oil on canvas 145 x 84 cm Signed lower right Kuo in English and dated 2001 This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 220,000-500,000 US$ 6,700-15,100 HK$ 51,900-118,000

郭維國憶鄉人 2001 油彩畫布 145 x 84 cm 簽名右下：Kuo.2001 附藝術家親筆簽名之原作保證書

014

KUO Wei-guo (b. 1960)

郭維國 Sweet Home 2005 Oil on canvas 145 x 112 cm Signed lower left Kuo’s 2005 in English Signed on the reverse Kuo Wei-guo, 2005. Sweet Home in Chinese

甜蜜的家 This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 280,000-580,000 US$ 8,500-17,600 HK$ 66,100-136,900

2005 油彩畫布 145 x 112 cm 簽名左下：Kuo's 2005 簽名畫背：郭維國二○○五甜蜜的家附藝術家親筆簽名之原作保證書

015

ZHANG Donghong (b. 1967)

Flower 2006 Oil on canvas 150.5 x 110.5 cm Signed lower center Dong Hong in English and Chinese and dated 06

NT$ 620,000-700,000 US$ 18,800-21,200 HK$ 146,300-165,200

張東紅花 2006 油彩畫布 150.5 x 110.5 cm 簽名中下：東紅 Dong Hong 06

016

LIEN Chien-hsing (b. 1962)

Awaking Spring by the Lake Bank

為其生活成長的北台灣，因時空的轉換，從過去豐饒的民情文化轉變為機械文明的單調與冷漠，透過記錄消逝的景

the martial law and its economy had just started to develop. His creation was originated from the huge impact between

1997-2001 Oil on canvas 130 x 89.5 cm

象，表述他對生命與時空的觀察。

Signed lower right Lien Chien-hsing in Chinese and dated 1997-2001 The painting is to be sold with a certificate of authenticity issued by Metropolitan

實與魔幻的對比，大量呈現廢墟，除已成廢墟的礦場、坑道，斑駁的建築鐵架，還以看似荒廢角落中的石塊、牆面、木架、水源、動植物等入畫，把荒廢的風景變形為一個幻想空間，

opening up and self-seclusion. Starting from nostalgic realism, injecting his own feeling and idea, he endowed the nostalgic realism with a new meaning. The sceneries he described in his paintings

Gallery, Tainan.

藉由俯視、廣角的空間呈現，使風

NT$ 480,000-580,000 US$ 14,500-17,600 HK$ 113,300-136,900

連建興春醒湖畔 1997-2001 油彩畫布 130 x 89.5 cm 簽名右下：連建興 1997-2001

進入1990年代，連建興的作品呈現真

景、廢墟、動物交織成一片虛虛實實的幻景，來象徵虛幻的現實世界並暗示生命的渺小與無常。

were mostly in Northern Taiwan where he lived and grew up and had transformed from the previous plentiful folk culture to the blankness and apathy of mechanical civilization, due to the transition of time and space, expressing the view towards life and space-time through recording the elapsing sceneries.

《春醒湖畔》創作於1997至2001年，作品以我們所熟悉的青山綠水構組出凝滯時間裡的自然原生景象，漫布著神秘、靜謐、含蓄悲憫的氣息，隱隱自然滲透出鄉愁，反射出畫家所歸屬的地緣情感。 Ta i w a n p a i n t e r L i e n C h i e n - h s i n g

Entering into the 1990s, the works of Lien Chien-hsing revealed the contrast between relity and delusion and largely presented ruins. Apart from the ruined mines, saps, mottled architectural hobs, in his paintings, he transformed the

famous for "magic realism" has won the acknowledgment of art community with his unique creative style in recent years. Through the severe test of such

ruined sceneries into imaginary space by adopting blocks, walls, wooden racks, water sources, animals and vegetations located at the seemingly ruined corner. By the space presentation from top view and

建興，近年來以其獨樹一幟的創作風格贏得了藝術界的肯定。曾歷經照相寫實主義及新表現主義的創作形式的洗禮，經過數十年的辛苦耕耘，連建興所醞釀發展出具有沈靜內斂的人文省思的魔幻

creative forms as photo-realism and new expressionism and through decades of

vast view, the sceneries, ruins and animals were interwined into partially realistic

hard work, the magic realistic style Lien Chien-hsing has brewed and developed, which boasts calm and humanist

and partially virtual illusion to symbolize the visional real world and suggest the insignificance and uncertainty of life.

寫實風格已愈發深植人心。

consideration features has been deeply rooted in the people’s hearts.

Created during 1997 to 2001, the works

In the early 1980s, photo-realism had been in vogue. Lien Chien-hsing, the

of "Awaking Spring by the Lake Bank" reveals natural and virgin sceneries combined by our familiar green hills and

sophomore with major subjects of fine arts in Culture University, kept up with

clear water, spreading out the mysterious, t r a n q u i l , i m p l i c i t a n d s a d f l a v o r,

the tide also and was awarded the Hsiung Shih young artist prize of fine arts. Lien Chien-hsing lived in Taiwan during the period when Taiwan had not shaken off

indistinctly and naturally infiltrating nostalgia and reflecting the geographical attachment towards the place the painter belongs to.

附大都會藝術環境所開立之原作保證書

以「魔幻寫實主義」著稱的台灣畫家連

1980年代初期，照相寫實主義蔚為風潮，文化大學美術系二年級的連建興也隨這波潮流浮沈，並獲得雄獅美術新人獎。這一時期的連建興，身處台灣尚未走出戒嚴又在經濟起飛之時，開放與閉鎖之間形成的巨大撞擊形成他的創作本源。他從鄉土寫實出發，注入自身的情感與理念，賦予鄉土寫實新的內涵。他的畫中所描述的景觀多

017

HUANG Chih-yang (b. 1965)

Lover’s Library

展覽：「戀人絮語」，漢雅軒，香港，1999

1999 Ink on silk paper mounted onto board

「戀人絮語」，伊桑‧科恩畫廊，紐約，2000 「戀人絮語」，漢雅軒，台北，2001

243 x 121 cm Signed lower center SuSu + Felix Taipei, 99, No.3 in English and Chih-yang in Chinese With one seal of the artist EXHIBITED: Lover’s Library, Hanart TZ Gallery, Hong Kong, 1999 Lover’s Library, Ethan Cohen Gallery, New York, 2000 Lover ’s Library, Hanart TZ Gallery, Taipei, 2001 ILLUSTARATED: Modern Art, Taipei Fine Arts Museum, Taipei, 2004 April Lover’s Library, Taipei Hanart Gallery, Taipei, 2005

NT$360,000-520,000 US$ 10,900-15,700 HK$ 85,000-122,700

黃致陽戀人絮語系列 1999 水墨絹布裱於木板 243 x 121 cm 簽名中下：Susu + Felix 致陽Taipei 99 No.3 鈐印中下：黃致陽 Huang Chih-yang 戀人絮語 Lover's Library

圖錄：《現代美術》雜誌，台北市立美術館，台北，2004年4月《戀人絮語》，台北漢雅軒，台北， 2005年 1988年起，黃致陽就不斷營塑一系列以植物形體為原創的「母題零件」。他透過誇張、放大，或是風格化的變形手段，將這些取自自然界植物肌理與紋路的形象，轉化為半抽象的筆意和形象。而後再將單一的形象原型視為細胞般的基本零件，令其不斷分裂、複製與再生。這種繁殖、蔓延與擴生的生長形態，最終演化為富含生命有機感的突變生物體。如此轉自然形象為藝術造形的做法，也成為黃致陽基本的創作手段了。1995年「威尼斯雙年展」及1996年德國阿亨的「路德威美術館」邀請展，無疑使黃致陽更加自覺於自己創作的來源與傳統。

形象的經營，以概念化和議題性為主，而並不針對個別形象作個性化的描述。 Huang Chih-yang has been continually creating a series of original “theme spare parts” in plants’ forms since 1988. Through exaggerate, magnifying, characterized transform measures, he transformed the lines, shapes and cracks of plants into semi-abstract brush strokes and images. He treated these image prototypes as spare parts, as cells, make them divided, duplicated, and recreated. This kind of reproduction eventually evolves to a mutated organic life form. And by transforming natural images into art is Huang’s basic creation approach. The participation in "Venice Biennial", 1995 and exhibition in Ludwig Museum, Germany, 1996 made Huang even more aware of the source and tradition of his own creations. “Lover’s Library” is finished via water ink techniques on silk papers, as the artist realized water ink art in an irreplaceable core in Chinese art traditions, the aesthetic

「戀人絮語」系列選擇以水墨技法在細絹上完成，乃是藝術家體認到水墨藝術作為中國藝術傳統無可取代的核心，其所訴求的根本美學，正在於筆墨與絹面上之間所形成的一種細緻

this kind of art pursues is how an detailed or free and easy feeling of time and trails realized through inks spat on the papers. In order to present “Discourse”, he'd chosen two models to redefine men’s

或灑脫的時間感與痕跡感。而在《絮語》取材上，黃致陽顯然有意透過一對又一對自願作為模特兒的雙人組合關係，重新為人存在的意義，人文的價值與精神，賦予其儀式化的尊嚴。

existence, the value and spirit of culture, given them a ritualized respect. Unlike his previous series, images were created based on concept and topics, not based on the characteristic of each individual

有別於在過往的繪畫系列當中，對於

image.

018

Michell HWANG

(Hwang Ming-che, b. 1948)

Bird 1992 Oil on canvas 180 x 90 cm Signed lower right Che in Chinese and dated 1992 ILLUSTRATED: Michell Hwang, Shanghai Art Museum, Shanghai, 2001, color illustrated, p. 77

NT$ 320,000-420,000 US$ 9,700-12,700 HK$ 75,500-99,100

黃銘哲鳥 1992 油彩畫布 180 x 90 cm 簽名右下：哲 1992 圖錄：《黃銘哲》，上海美術館，上海， 2001，彩色圖版，頁77

019

HOU Chun-ming (b. 1963)

Fertile Man ( A Buddha in Love) 2003 Watercolor on paper mounted onto the board 150 x 115 cm Signed lower right A-Li Temple in Chinese and dated 2003 EXHIBITED: Fertile Man - Hou Chun-ming, Chang Liyeh, Chen Yi-lang Cooperate Creation, Art Taipei, Homerlee Art International Corp, Taipei, March 5-14, 2004

NT$ 280,000-420,000 US$ 8,500-12,700 HK$ 66,100-99,100

侯俊明強力肛交（戀愛佛） 2003 油彩紙本裱於木板 150 x 115 cm 簽名右下：阿麗神宮 2003年

侯俊明歷年的創作不僅能從民俗、古籍之中汲取靈感（如《搜神記》、《極樂圖懺》），並且在與前衛劇場的合作中激發出另類作品（如《侯府

郎交插創作」，台北國際藝術博覽會，黎明藝文空間，台北，展期自 2004 年3月5日至14日

avant-garde theatres. “Fertile Man” series were created by closely interacting with other contemporary artists.

喜事》），「強力肛交」系列作品則是在與同為當代創作的朋友之間密切互動中產生的。自古「文人相輕」、「尊古賤今」，刻意要與同儕保持距離，唯恐自己的創作有他人的影子，或創作被抄襲。但侯俊明卻認為在共同的時空背景下成場的同儕可有更多的共鳴、借鑑之處。侯俊明不僅與藝術家同儕舉行讀書會，更企劃了一次指名為「強力肛交」的集體創作。與陳義郎、張立曄以往返傳真的方式發展圖像的接龍，也彼此以對方既有的作品為自己創作的根源，發展系列作品。在大膽的抄襲之中轉化、豐厚著自己創作的語彙。

展覽：「強力肛交－侯俊明、張立曄、陳義

were also inspired by collaborating with

Hou Chun-ming’s creation throughout these years were inspired not only by folk custom, ancient books (like In Search of Gods, Pleasure Pictures), some of them (like "The Wedding of the Hou Family")

It has been a Chinese tradition to keep certain distance with those who came from the same generation as you; it is to prevent them from affecting or making influences on you and your works, also to prevent your work from being plagiarized. But Hou thinks that working together with them might bring out more sparks, and may advance each other. Hou not only held a study group with other artists, he also planned a group composition named "Fertile Man". With Chen Yi-lang, Chang Li-yeh, they developed their way to create images by faxing each other their own images, one took the other two’s images as sources of his creation, developed a series of work, and further enriches, transforms one’s creative vocabularies through bold plagiarizing.

020

HOU Chun-ming (b. 1963)

Chakra, Clone Technique 1997 Paper, ink, carving 188 x 215.5 cm Signed lower left Hou in Chinese and dated May 6, 1997 in Chinese EXHIBITED: Contemporary Taiwanese Art Exhibition, Part 2: Hou Chun Ming, Chen Chien Pei. Mitsubishi-jisho Artium, Fukuoka, Japan. Sep. 18 to Oct. 4, 1998 ILLUSTRATED: Contemporary Taiwanese Art Exhibition, MOMA Contrmporary Co., Ltd, Fukuoka, 1998, p. 27 Chinese Woodcut: the Creation of Image, Ed. Alternatives, Paris, 2004, p. 177 On the Chinese Paintings of Male Body, Ed. Christophe Gendron, Paris, 2006, p. 87

NT$ 300,000-500,000 US$ 9,100-15,100 HK$ 70,800-118,000

侯俊明分身術 1997 紙板油墨雕刻 188 x 215.5 cm 簽名左下：丙子年六腳侯氏志（一九九七年五月六腳侯氏垂刻於中和）

展覽：「台灣現代美術展，第二部：侯俊明、陳建北」，三菱地所畫廊，日本福岡，展期自1998年9月18日至10月4日圖錄：《台灣現代美術展》，MOMA畫廊，日本福岡，1998，頁27 《中國版畫：圖案的發明》，另類出

Some religious masters claimed that they knew the Chakra, clone techinique and had pictures to prove that these wonders were true. Such events became w i d e l y k n o w n i n Ta i w a n a n d t h u s engendered a just controversy in both religious and political terms. About the same period, many similar cases were revealed.

版社，巴黎，2003，頁177 《關於中國男性人體畫》，克里斯多夫詹德隆出版社，巴黎，2006，頁87

Using these social events as a blueprint,

宗教大師宣稱自己擁有分身術，並且有發光照片為證，在90年代的台灣喧騰一時，成為宗教、政治上的司法糾紛。同一時期，也還有許多類似的案件被舉發。

of notification and pictorial, created his series of works: “Bitch Couple,” “Fraudulent Sorcerer,” “Chicken” and “Chakra, Clone Technique.” Each carving shows his determination, and the bold lines reinforce the publicity of the art work and its intention of exhibit its

Hou Chun-ming, imitating the form

侯俊明依當時的社會事件為藍本，仿告示、畫報的形式，創作了系列作品「狗男女」、「神棍」、「孬種」以及「分身術」。版面一刀刀刻出果決、明確的粗黑線條，強化了作品的

viewpoint.

公眾性，以及宣示特定立場的企圖。作品的目標不在於反映社會現狀，或是去紀錄一個時代，而是要在這些事件中去揭發最深層的，關於人的慾

desires, fears, distress, and the nature of evil within these events. Therefore, Hou rewrites the news stories, neglecting the truth and questions the morality itself with the fabrication and subversion of the

望、恐懼、困頓與邪惡的本質。所以侯俊明改寫了新聞故事，無所謂真相

social events. He is telling the life story of everyone in this era.

的存在，卻在瞎掰、顛覆社會事件，對道德提出質疑，講的是這個時代大家共同的生命故事。

The aim of the work is neither to show present society itself nor to record an era, but to uncover the deepest human

020

021

HWANG Jyi (b. 1953)

Fault in a Colony- Three Graces 1982-1985 Oil on canvas 130 x 161.5 cm Signed upper right Jyi in Chinese and

八○年代在文化上是「大眾文化的時代」，公眾意識的抬頭，環保運動、

描繪超越時空的幻想世界，以精靈或是裸體少女，有時則是以三美神的方

消費者運動的蓬勃，寫實電影的普遍，文化清流刊物之流行，後現代思潮的出現，種種多元現象的並存，為

式出現，乍看豐腴誘人，似乎是畫家想表達少男對於愛情的憧憬，但在細看後會發現這些少女的表情木然，彼

pp. 44-45 & p. 179

文化的發展騰出相當前瞻的空間。社會價值觀的多元化，使得藝術的發展

此沉溺在同性愛或自戀中，用以來暗示頹廢的美感。另一方面畫家也對各

NT$ 2,300,000-3,300,000 US$ 69,600-99,900 HK$ 542,800-778,900

領域呈現多樣性、多變性，藝術的殿堂擁有更大的包容空間，除抽象主義外，還有超現實主義、新抽象、新構成、新材質、新表現、表演藝術、觀

種畫面的技巧多方嘗試，有時先用壓印技巧，有時則用抽象筆觸或暈染的效果將畫面大致勾勒出來，再用細筆將每一個空隙角落以貝殼、化石、魚

念藝術等等。八○年代的台灣畫壇已與西方美術思潮息息相關，自由開放的創作空間激勵了更多的藝壇生力軍全力投入。

群或是人的臉孔填滿每吋空間，以襯托主題。

dated 82-85 ILLUSTRATED: Hwang Jyi 1996, Galerie Elegance, Taipei, 1996, color illustrated, no. 011,

黃楫殖民地的斷層－頹廢的美神 1982-1985 油彩畫布 130 x 161.5 cm 簽名右上：楫 82-85 圖錄：《黃楫繪畫全集》，愛力根藝術有限公司，台北，1996，彩色圖版，編號 011，頁44-45，頁179

《殖民地的斷層－頹廢的美神》，這是沈積岩系列作品之一，畫家以壓印

黃楫在經歷過神秘氣氛的追求及心靈世界的探索的過程，1984-1989年黃楫漸漸開始嘗試將甜美的女性形象及海底景物或森林主題做結合，畫家將複雜而難以解讀的畫面退居於背景的地

（用布或是衛生紙沾染顏料印於畫布）的方式來呈現沈積岩不規則的紋路肌理，岩石隙縫中又以細筆來描繪各種貝殼、化石、動植物斷片，以及像岩之精靈造型來填滿畫面。主題中

位。這一系列作品是黃楫研究各種油畫技巧的巔峰時期，一方面在畫面中

的三美神雖有勾身、搭肩、撫摸的親密動作，但呈現出來的眼神及表情並

021

黃楫《沈積岩》 HWANG Jyi, Sedimentary Rocks 1986, oil on canvas, 116.5 x 91 cm

不友善，而是遙望遠方，若有所思，是畫家用來借喻人性之作。豐腴的女性身體很吸引人，仔細地看，卻是像化石般的木然，她們被一種經歷億萬年的地層所圍繞，在那裡被密密的的魚貝、鳥獸、殘留的花草化石所封閉。這些沈積岩寺的環境，帶有腐蝕斑駁的色彩，又有如在深海中所見的奇景。女性誘人的裸體，睜眼或閉目，沈溺在自戀式的，或是陶醉在同性相愛的情境裡，神秘而引發人的幻想。畫家回憶這一時期，他說：「當時自己的心境真像個近乎自閉的憂鬱詩人，經濟上很困難，每個月只用兩千塊，作畫的決心雖十分堅定，但是與世隔絕的孤獨感不可避免。」 (摘錄自〈幽微之窗〉，《黃楫繪畫全集》，愛力根畫廊， 1996年，頁37)

人們稱黃楫為超現實的夢幻幽靈，作品探觸現實與超現實間游離的灰色地帶，延展出多樣化的風格實驗。細膩飽滿的肌理、活躍圓熟的筆觸，線條的律動感表現之外，更著力於主題意念的構築營造；虛實盤桓拉鋸的異質時空，開拓繪畫藝術張力的極大值。

The cultural 80’s is an era of “popular culture”, the rise of public awareness, environmental protection movements,

the picture, we might discover stupefied faces on those girls, because they are drowned in their own beauty or sometimes

consumer movements, the prevailing of realistic movies, cultural publications,

homo loves, hinting a sense of dispirited beauty. On the other hand, the artist also

and postmodern thinking etc., all of them co-existed and developed a clearsighted room for the culture. The variety

tried various techniques to present the picture, sometimes he first used printing press techniques, sometimes he used

of society values has made art diverse and changeful, made art even more

abstract brush strokes or pigmentations to briefly create the dimension in the picture,

tolerable than ever. Besides Abstracts, there are also Surrealism, Neo-Abstracts, new developments, new materials,

and later used thinner brushes to fill the empty spaces with shells, fossils, fishes or human faces to set off the main theme or

new presentations, performance arts, and concept arts etc. Back in the 80’s,

subject.

Taiwan's art circle has already connected to western thinking, that unrestrained open space for creation has stimulated more and more new artists to step into the

“Fault in a Colony – Three Graces” is one of the works from the Sedimentary Rocks series, the artist used cloth or tissues with the printing press technique to present the grains or the rocks, he used shells,

field. Hwang Jyi had been through a period of mysterious aura pursuit and inner s p i r i t d i s c o v e r y, d u r i n g 1 9 8 4 a n d

fossils, or fragments of animals or plants, as well as elves of rock figures to fill the apertures. Even though the Three Graces entwine, but the look and express on their

1989, he began to try combining subjects like lovely females and deep ocean scenes or forests, the artist pushed complex and hard-tounderstand pictures to the background. This series represents Hwang's best oil paintings; he paints an imaginary world with elves or naked adolescent girl, sometimes three Graces, as if he is trying to express the desire of any boy for love. But if you look carefully into

波蒂切利《春》翡冷翠烏菲茲美術館藏 Botticelli, Spring, 1482, 203 x 314 cm Galleria degli Uffizi, Firenze

faces aren't friendly, as if they look at the afar, with something on their minds, they are used by the artist to present humanity. The body of these women are attractive, but look carefully, they look as still as fossils, as if they have been in u n d e rg r o u n d f o r b i l l i o n s o f y e a r s , surrounded by shells, animals and plant fossils. The environment in the temple of Sedimentary Rocks is corroded and colorful; itâ&#x20AC;&#x2122;s like what we might deep under the ocean. Their beautiful bodies, with their blinking eyes are downing in an environment of narcissism or homo loves, the whole picture is mysterious and imaginative. When the artist looks back to the period when this painting was created, he mentioned: â&#x20AC;&#x153;My inner self was almost like a autistic depressed poet, I had financial difficulties, I spent only 2,000 dollars a month, my determine to paint was unshakable, but solitary was inevitable.â&#x20AC;? (From The Window of Tranquilization, Huang Jyi collection, Galerie Elegance Taipei, 1996, p. 37)

People praised Hwang as a surreal phantom of fantasies, his works touched the boundary between reality and surreal, yield various experiments. Full grains, active yet mature brush strokes, the rhythms of lines, the construction of the theme, the place between reality and nil had pushed the tension of how art could reach to an extent.

022

CHANG Chih-cheng (b. 1954)

Red Bottles 2002-2003 Oil on canvas 80 x 130 cm Signed on the reverse CHANG CHIHCHENG in Chinese and in English, dated 2002-2003, media oil on canvas, size 60M and titled Red Bottles

NT$ 180,000-220,000 US$ 5,400-6,700 HK$ 42,500-51,900

張志成紅色瓶子 2002-2003 油彩畫布 80 x 130 cm 簽名畫背：張志成 C H A N G C H I HCHENG 2002-2003 油畫畫布 60M 紅色瓶子

023

Walasse TING

(DING Xiongquan, b. 1929)

Woman with Flowers 1992 Watercolor on paper 31.5 x 45 cm With one seal of the artist

丁雄泉 The painting is to be sold with a certificate of authenticity issued by Lung Men Art Gallery, Taipei.

NT$ 260,000-360,000 US$ 7,900-10,900 HK$ 61,400-85,000

女人與花 1992 水彩紙本 31.5 x 45 cm 鈐印右上：採花大盜附龍門畫廊所開立之原作保證書

024

XIA Junna (b. 1971)

夏俊娜

F l o w e r s i n Va s e f o r F o u r Seasons II 2002 Oil on canvas 50 x 50 cm Signed lower right XJN and dated 2002 This painting is to be sold with a certificate of authenticity signed by the artist.

瓶花四季（二） 2002

ILLUSTRATED: Paintings by Xia Junna, Chin Der Jyu

油彩畫布 50 x 50 cm 簽名右下：XJN 2002

Gallery, Taipei, 2002, color illustrated, p. 86

附藝術家親筆簽名之原作保證書

NT$ 220,000-320,000 US$ 6,700-9,700 HK$ 51,900-75,500

圖錄：《夏俊娜畫集》，沁德居藝廊，台北，2002，彩色圖版，頁86

025

XIA Junna (b. 1971)

Theatrical Performance of Spring and Autumn III ; Morning Makeup 2002 Oil on paper 42 x 29.5 cm (x 2) Signed lower right XJN in English, dated 2002 (x 2) ILLUSTRATED: Paintings by Xia Junna, Chin Der Jyu Gallery, Taipei, 2002, color illustrated, p. 9 & p. 96

夏俊娜舞台春秋-3；晨妝 2001 ; 2002 Famous Artist Famous Works, Zhejiang

油彩紙本 42 x 29.5 cm (x 2)

People’s Fine Arts Publishing House, Hangzhou, 2002, color illustrated Drawing World of Xia Junna, Liaoning Fine Arts Press, Shenyang, 2003, color

簽名右下：XJN 2002 (x 2)

illustrated, p. 48

北，2002，彩色圖版，頁9、頁96 《名家名品‧夏俊娜》，浙江人民美術出版社，杭州，2002，彩色圖版《夏俊娜的繪畫世界》，遼寧美術出

NT$ 320,000-420,000 US$ 9,700-12,700 HK$ 75,500-99,100

圖錄：《夏俊娜畫集》，沁德居藝廊，台

版社，瀋陽，2003，彩色圖版，頁48

026

XIA Junna (b. 1971)

The Taste of Happiness and Bliss

夏俊娜幸福的滋味 ILLUSTRATED: Paintings by Xia Junna, Chin Der Jyu

2002

Gallery, Taipei, 2002, color illustrated, p. 90

Oil on canvas 49.5 x 49.5 cm Signed lower left XJN in English, dated 2002

NT$ 260,000-360,000 US$ 7,900-10,900 HK$ 61,400-85,000

2002 油彩畫布 49.5 x 49.5 cm 簽名左下：XJN 2002 圖錄：《夏俊娜畫集》，沁德居藝廊，台北，2002，彩色圖版，頁90

027

REN Sihong (b. 1967)

Dancer on the Roof II Oil on canvas 150 x 200 cm Signed on the reverse Ren Sihong and titled Dancer on the Roof II in Chinese,

任思鴻

size 200 x 150 cm

屋頂舞蹈者之二

NT$ 380,000-600,000 US$ 11,500-18,200 HK$ 89,700-141,600

油彩畫布 150 x 200 cm 簽名畫背：《屋頂舞蹈者之二》作者任思鴻 200 x 150 cm

028

Walasse TING

(DING Xiongquan, b. 1929)

Sweet Milky Way 1969 Acrylic on canvas 76 x 102 cm Signed on the reverse Ting in English and dated 69, titled Sweet Milky Way

NT$ 720,000-980,000 US$ 21,800-29,700 HK$ 169,900-231,300

丁雄泉甜蜜銀河 1969 壓克力畫布 76 x 102 cm 簽名畫背：Ting 69, Sweet Milky Way

028

029

Walasse TING

(DING Xiongquan, b. 1929)

Woman with Portraits Ink and color on paper 180 x 96.5 cm With one seal of the artist

NT$1,700,000-2,300,000 US$ 51,500-69,600 HK$ 401,200-542,800

丁雄泉女子與肖像畫彩墨紙本 180 x 96.5 cm 鈐印左上：採花大盜

030

George CHANN (1913-1995)

Modern Writing 1960s-1970s Oil on canvas 130 x 138 cm Signed lower left GEO CHANN in English EXHIBITED: George Chann, Shanghai Art Museum, Shanghai, July 19-31, 2005 ILLUSTRATED: George Chann, Lin & Keng Gallery, Taipei, 2005, color illustrated, p. 153

NT$ 3,600,000-4,800,000 US$ 109,000-145,300 HK$ 849,700-1,132,900

陳蔭羆現代天書 1960年代－1970年代油彩畫布 130 x 138 cm 簽名左下：GEO CHANN 展覽：「陳蔭羆」，上海美術館，上海，展期自2005年7月19日至7月31日圖錄：《陳蔭羆》，大未來畫廊，台北， 2005，彩色圖版，頁153

031

CHU Teh-chun (b. 1920)

朱德群是一位將中國美學中「從抽象讀出有象」的獨特觀點在繪畫上發揮最淋漓盡致也最灑脫的藝術家，誠如

Composition in Red

中國境內各處名勝，時常有著歷史上顯著文人的題詞，景觀與心境，象與

1979 Oil on canvas

思緒，相互牽引呼應，而朱德群在繪畫上實踐此觀點時，並非以一種後天習得的態度來達到他所欲在畫布空間散發的和諧，而是混合了自身獨有的

65 x 81 cm Signed lower right CHU TEH-CHUN in Chinese and English, dated 79. Signed on the reverse CHU TEH-CHUN in English and Chinese and dated le 30 mars 1979 This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 2,400,000-3,600,000 US$ 72,700-109,000 HK$ 566,400-849,700

朱德群

感知力及現實世界之延伸，進一步呈現色彩以及空間，幾乎是冥冥之中注定的交合方式。

in China, and the poetry that hinted these sights together, the view and the state of mind, the seeing the feeling together. He chose an attitude which he accumulated from his life experiences to layout the space and harmony on the canvas, mixed with his own unique sensitivity and the reality, and further merged the color and the space as if that’s how they destined to be. It is with certain difficulties to find

在朱德群所有的作品之中，不甚容易找到一般古典透視的空間感，反而是從畫布周圍各個點線面去切入，甚至於從畫面的後方，顏色在此種方式注入後，營造出來的空間比立體來得更為果斷，卻仍然不失其柔和，色彩在朱德群的決定下有了它們立身的位置，奇異的是，它們還能保有充分的自由，於畫布空間中，放肆的即興演出。

general transparent dimensions in all of his works, he poured the colors from the points, lines, planes and even from the back of the canvas, this approach made the dimension even more determined, without losing the softness, they found their specific spot on the canvas through his decision, and surprisingly, they remain free on the canvas, they are like free notes in a ad-lib.

紅色構圖

此拍品為1979年的《紅色構圖》，這幅畫理性地說來，是抽象性的，但當

1979 油彩畫布 65 x 81 cm

我們視線端詳畫面中的任意角落，可以感覺到似乎有什麼正在發生著，似火山熔岩的紅、橘紅或凝結後沉重

簽名右下：朱德群 CHU TEH-CHUN 79 簽名畫背：CHU TEH-CHUN 朱德群 le 30 mars 1979

的灰黑，令人感覺到自然的奧妙，換言之，一位藝術家心境奔馳的意志是那麼樣地燦爛，色澤及區塊巧妙的配置方式，使得每一方寸畫布都可自行再構成一幅完整的畫作，而明暗的調

附藝術家親筆簽名之原作保證書

most free and easy one. When he paints, he put the connection between great sights

This “Composition in Red” was dated back to 1979, rationally speaking, it's an abstract piece, but if we look at the corners in the picture, we might sense there’s something happening, the lavalike red color, orange red, or the clouted and heavy black and grey, they all look naturally profound. In other words, this

Chu is the artist who elaborates the

reflects how the artist’s mind shines, the way he layout the color and the blocks are so ingenious, made every inch on this canvas can be yet another completed picture. The lights and shades pull

“deriving concrete from abstract” concept from Chinese aesthetic; he is also the

the viewers into the deep of it, as if it suddenly draws out our state of mind.

節，又將觀者拉進無止境的畫面深處，心境頓時抽離。

031

032

GUAN Liang (1900-1986)

Chinese Opera Figure 1977 Ink and color on paper 20.5 x 36.5 cm (calligraphy) 33.5 x 36.5 cm (image) Signed lower right Guan Liang, titled and dated October 1977 With one seal of the artist This piece was dedicated to Qirong, a friend of the artist.

NT$ 120,000-180,000 US$ 3,600-5,400 HK$ 28,300-42,500

關良吞丹圖 1977 彩墨紙本 20.5 x 36.5 cm（題跋） 33.5 x 36.5 cm（圖）鈐印右下：良公落款：吞丹圖一九七七年十月啟榮弟屬關良畫題跋：閃耀昇華關良先生戲曲精品震堅題

033

SANYU (1901-1966)

Nude 1966 Ink on paper 21 x 44 cm Signed lower right YU in Chinese and SANYU in French

常玉裸女 1966

PROVENANCE: Hôtel Drouot, Paris, 1966

水墨紙本 21 x 44 cm 簽名右下：玉 SANYU

NT$ 200,000-280,000 US$ 6,100-8,500 HK$ 47,200-66,100

來源： 1966年巴黎德福奧拍賣

034

WANG Xiangming (b. 1957)

May I Help You? 1993 Oil on canvas 73 x 60 cm Signed upper left Wang Xiangming in

王向明

English

要我幫忙嗎？

NT$ 320,000-480,000 US$ 9,700-14,500 HK$ 75,500-113,300

1993 油彩畫布 73 x 60 cm 簽名左上：Wang Xiangming

035

GAO Huijun (b. 1966)

Huang Tingjian - Autumn

高惠君黃庭堅－秋意

2005 Oil on canvas 120 x 100 cm Signed on the reverse G. Huijun in English and dated 2005 An Inscription of Huang Tingjian's poetry on the reverse.

NT$ 460,000-550,000 US$ 13,900-16,700 HK$ 108,600-129,800

2005 油彩畫布 120 x 100 cm 簽名畫背：G. Huijun 2005 題款畫背：誰道秋來煙景素，任游人不顧。一番時態一番新，到得意、皆歡慕。紫萸黃菊繁華處，對風庭月漏。愁來即便去尋芳，更作甚、悲秋賦。黃庭堅一落索千歲老人河上於小徑天殘地缺

036

CHUA Hu

出生於1929年、旅居菲律賓達半世紀之久的華人畫家蔡雲程，近幾年來經拍賣公司的挖掘「出土」，在畫壇彷

published in Switzerland, which carefully and strictly selects and introduces famous and important international contemporary

A Scene in Manila

如一顆愈來愈亮的明星，冉冉升起。事實上，蔡雲程的資歷非常顯赫，如

1971 Oil on masonite 60 x 92 cm

評選極嚴格由瑞士出版的國際藝術名人錄，在1994及1996年版推介趙無極之前，於1991及1992年版就持續刊出蔡雲程的畫歷，與他同時入榜的華裔畫家還有在法國的朱德群。後來畫壇

artists, has listed Chua Hu in the 1994 and 1996 edition, his ranking were higher than Zao Wou-ki during that time. His curriculum vitae were already published in the 1991 and 1992 edition; other

(TSAI Yun-cheng, b. 1929)

Signed lower left CHUA in English This painting is to be sold with a photograph of the artist with this lot. ILLUSTRATED: International Painter - Album of Chua Hu, Association of Chinese Cultures, color illustrated, p. 26

NT$ 580,000-700,000 US$ 17,600-21,200 HK$ 136,900-165,200

蔡雲程馬尼拉街景 1971 油彩纖維板 60 x 92 cm 簽名左下：CHUA 附藝術家與本拍品合影照片圖錄：《國際畫家－蔡雲程畫集》，中華民國文化推展協會，彩色圖版，頁26

之所以會對蔡雲程比較陌生，那是因為他不愛交際，封閉自己，有時竟會突然成為畫壇的「失蹤人口」。而本件拍品《馬尼拉街景》即是他 1960年從畫壇消失十年之後的復出力作，更是他在藍色鐵橋時期極其罕見的「街景」作品，曾參展1971年由菲華藝術家聯盟在台北國家文藝中心所舉辦的「十人美展」，並曾著錄於由

selected Chinese artist at the same time also includes CHU Teh-chun who lives in France. The reason why the art scene isn’t familiar with Chua Hu afterwards is because he does not into social; sometimes he shut him down completely and suddenly becomes the “missing person” in the art scene. "A Scene in Manila" is his "comeback" piece of work after he disappeared from the art scene since 1960 for ten years;

中華民國文化推廣協會所刊印的國際畫家蔡雲程畫集。

it is also his rare "street scene" painting from his "blue iron bridge" period, it participated the "Joint Art Exhibition of

藝術家雜誌發行人何政廣當年於〈我

Ten Artists" in Taipei National Cultural Art Center held by the Philippine-Chinese

看蔡雲程的畫〉一文中曾提及「在形象的刻劃上，他已經逐漸不重視自然的外在輪廓，而嘗試以各種符號，表現內在的基本造形。例如他的許多近作，已經運用＋、－、×、÷、 △、□、○等符號或一些文字，組成自然的物體。這種嘗試大有發展的餘地。」即使36年後的今天，我們重讀此畫，似乎仍然可以感受到蔡雲程在藝術時空裡的前衛和當代。 Born in 1929, Chua Hu is a Chinese artist who lived in Philippine for over half a century; he is the rising star in the art scene, whose works are also considered treasures on the art market. In fact, Chua Hu has quite an eminent work experience and qualifications, Who's Who in International Art Edition,

Artist Alliance, it was also published in the International Artist: Chua Hu collection by Chinese Culture Association. The publisher of The Artist magazine, Ho Cheng-Kuang once mentioned in the article The way I look Chua Hu’s paintings: “When it comes to create the form, Chua Hu no longer pay attentions to the physical shapes, he tried to present the essences of them by using various symbols such as ＋, －, ×, ÷, △, □, ○ or use some texts to create a natural object. This kind of approach can be expanded.” Although it was 36 years ago, as we look into the painting now, we can still sense Chua Hu’s avant-garde and progression during that time.

036

037

ZHU Qizhan (1892-1996)

Landscape with Clouds 1976 Oil on board 38 x 51 cm Signed lower left Qizhan in Chinese and dated 1976

朱屺瞻

The painting is to be sold with a certificate

雲深不知處

of authenticity issued by Soka Art Centre, Tainan.

1976 油彩木板

NT$ 800,000-1,200,000 US$ 24,200-36,300 HK$ 188,800-283,200

38 x 51 cm 簽名左下：屺瞻 1976 附索卡藝術中心開立之原作保證書

037

038

GUAN Liang (1900-1986)

German Scenery 1950s Oil on board 40 x 26 cm Signed lower left Guan Liang in Chinese

西方人作畫，強調以塊面的色彩造型，而東方人傾向於線條，以線作為結構。在關良的作品中，很容易看到這兩種東西方的結合。這幅《德國風景》，是關良在德國創作的一處寫生實景。面對隨意一景，畫家抓住「藍綠」的色彩主題，不同色調同一色系

landscape, the painter seized the thematic color of “blue and green”. Random application of different hues of the same color group has typical elegant disposition of paintings of impressionism. His sense to the objective nature is reflected in each hairline stroke, meanwhile, reflecting

The painting is to be sold with a certificate of authenticity issued by Soka Art Centre,

的率意地鋪陳，極具印象派畫作的優雅氣質。他對客觀自然的感受力，被

Tainan.

體現到畫面的每一個細微的筆觸中。也展現出關良在油畫方面重神似、有意境的特點。色彩與線條勾勒的塊狀

emphasizing alikeness in spirit and artistic conception. The patch form outlined by color and line as well as the structure and spirit integrated together reflects the

形態，融會貫通的結構與精神，體現了藝術家在西方藝術風格中融入了中

artist’s allegation to incorporate sentiment of Chinese arts into western arts. Guan

國藝術情思的主張。關良的小幅風景，就像雋永的短篇散文，言簡意賅，意境悠長。

Liang's small landscape paintings resemble meaningful short essay, concise and conception long.

近兩年，關良獨具特色的戲劇人物水

Over the two years, Guan Liang's

墨畫在拍場上備受推崇，拍賣成交價格早己突破了百萬元大關，但是他的油畫因為數量稀少，拍場上較為少見，特別是重要時期的重要作品。

unique ink paintings of drama figure are especially favored in auction market and the rock-bottom price for auction has

４０年末期到６０年代中期是關良油畫創作的第二個時期。這一時期，關

rare in the auction market, especially the important works out of important period.

良作品取得了很高成就，作品色調明快，意境清新。特別是在1957年出訪德國期間，創作的大量油畫作品，畫

The period from later 1940’s to the mid 1960’s was the second period for

NT$ 700,000-1,200,000 US$ 21,200-36,300 HK$ 165,200-283,200

關良德國風景 1950年代油彩木板 40 x 26 cm 簽名左下：關良附索卡藝術中心所開立之原作保證書

面雅緻秀美、頗具異國風情；畫風純樸、率真，具有鮮明的藝術個性。同時，亦具有極高的收藏價值。 Western painting emphasizes colored profile in patches; while orient painting is inclined to lines taken as structure. In Guan Liang’s works, combination of Western and orient styles is distinctive. The painting, “German Scenery” is a sketched actual landscape Guan Liang created in Germany. Facing the casual

Guan Liang's feature in oil painting,

broken through RMB 1 million. However, his oil paintings are less in amount and

Guan Liang’s creation of oil paintings. During this period, Guan Liang’s works reached up to a very high achievement, hues bright and artistic conception fresh and lucid. Especially during his visit to Germany in 1957, he created large amount of oil painting works, fine and elegant, characterized by outlandish flavor; the painting style is pure and sincere, with distinctive artistic personality, and at the same time has very high value for collection.

學術價值與市場價值的完美結合－析林風眠的藝術及行情悲愴而輝煌的藝術人生林風眠現代畫家、美術教育家。原名林鳳鳴，生於廣東梅縣，自幼喜愛繪畫，19歲赴法勤工儉學。先在第戎美術

清苦的生活。除了美協組織他到農村、山區、漁場深入生活外，他就閉門作畫，每天子時已過，鄰居仍能看到林風眠畫室裡的亮光。十幾個春秋過去，藝壇幾乎淡忘了林風眠，然而

學校進修西洋畫，後又轉入巴黎國立高等美術學校深造。在學校裡所受的教育是學院派的，但在校外深受當時流行的現代流派的影響，如後印象主義、野獸主義及原始主義，其中又以馬蒂斯、莫

這正是他藝術的黃金時代，「林風眠格體」在寂寞耕耘中臻於爐火純青。 50年代，他的藝術更受到貶抑，生活拮据，每月只得上交兩幅畫以換取一點生活費。10年動亂期間，面對一次

迪葛里亞尼最為突出。他們的影響體現

次抄家，無奈之中的林風眠將其數十

於林風眠中西結合的畫風之中，其作品曾入選法國秋季沙龍。

年的心血千餘張精心之作浸入浴缸，從抽水馬桶中沖出去。

1925年林風眠回國後出任北平藝術專

1977年林風眠移居香港，在香港過著

科學校校長兼教授。1928年林風眠受

隱居般的生活，仍孜孜不倦地從事藝

蔡元培之邀赴杭州創辦國立藝術院（後來的浙江美術學院）任校長。抗戰期間，林風眠輾轉西南，生活清苦，每天面壁作畫，極力試圖打破傳

術創作直至晚年，其作品畫面色彩更熱烈、筆墨更放縱、韻味更醇厚。 1979年林風眠在巴黎舉辦個人畫展，取得了極大的成功。其間林風眠曾任

統繪畫形式。1950年林風眠辭去杭州

上海美術家協會主席，上海中國畫院

中央美術學院華東分院教授之職，遷居上海南昌路的一幢法國式的二層樓房裡，專門從事繪畫求索。不久，法籍妻子攜女離國，他孑然一身，過起

畫師，為上海乃至全國的美術事業作出了巨大的貢獻。在赴港前將其在上海時創作的105幅作品存放於上海中國畫院，不久又將這批存畫全部捐獻給國家。

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到了晚年，1988年林風眠應邀在台灣歷史博物館舉辦「林風眠九十回顧展」，「林風眠藝術研討會」也在北京中國藝術研究院召開，同年「林風眠畫展」在中國美術館舉行。 1989 年林風眠在台北展示了一批如《屈原》、《南天門》、《火燒赤壁》、《惡夢》、《痛苦》、《基督之死》等作品，一改往日的和平優美，畫面更趨激烈慘澹，墨線強勁而多斜勢，多折落，多擊撞，充滿不安和張力，情感如狂風暴雨，激盪、衝撞著胸中

暴烈的火花。1991年8月12日在香港港安醫院逝世，終年92歲。林風眠以獨立特行的美術天賦，勇猛精進的求索精神，深入體悟西方美術的精髓，西為中用，萬法歸一，以其開拓革新的精神，開創了迥異於古今他人、令人耳目一新的嶄新畫風。成為融會中西、凸顯民族精神的傑出美術家。無論世人的審美有何差異，而林風眠是公認的二十世紀不可或缺的美術大師，則是不爭的事實。

融會中西而彰顯民族精神的「林氏格體」作為中國近現代美術史上最重要的藝術家之一，林風眠是在融合中西基礎上的中國現代繪畫開創者。林風眠對中國傳統藝術的理解，與同時代的其他畫家不同。他對待外來藝術的態度並不是「西體中用」，可以說是「西器中用」。雖然有人認為他是以西方藝術的視角切入本土繪畫，在歐洲繪畫觀念的基礎上運用傳統繪畫資源，但不能不承認，林風眠的繪畫確實是具有鮮明中國文化精神、強烈現實情懷的中國現代藝術。作為「中西融合」這一藝術理想的宣導者、開拓者和最重要的代表人物，有人也稱他為「中國的塞尚」，「中國現代繪畫之父」。林風眠吸收了西方印象主義以後的現代繪畫的營養，與中國傳統水墨和境界相結合，並融入了個人的人生經歷，探索出風格鮮明的「林氏格體」，是已經接近了「東西方和諧和

這些特點對當代畫家有深遠的影響。

相容並包、學術自由的藝術教育林風眠也是中國現代美術教育的主要奠基者之一，在中國藝術發展中，林風眠的藝術教育觀和藝術功能論同樣具有特殊的意義。同時我們也能夠從他的藝術教育主張中更加深入的理解他的藝術風格。精神融合的理想」的畫家。林風眠擅長描寫仕女人物、京劇人物、漁村風情和女性裸體以及各類靜物畫和其他種類的風景畫。從作品內容上看有一種悲涼、孤寂、空曠、抒情的風格，正是這種哀怨和孤寂使他的作品具有一種審美情趣的悲劇美。這與畫家本人顛簸曲折的一生有關。從形式上看一是正方構圖，二是無標題，他的畫特點鮮明，觀者一望即知。他試圖努力打破中西藝術界限，造就一種共通的藝術語言。弟子吳冠中曾借用京劇的腔來說明林風眠的藝術特色：林風眠的腔是獨特而鮮明的，他寓圓於方。他基本採用

林風眠受蔡元培美育思想的影響，承五四新文化運動之波瀾，宣導新藝術運動，積極擔負起以美育提高完善民眾道德，進而促成社會改造與進步的重任。他銳意革新藝術教育，請木匠出身的畫家齊白石登上講臺，聘請法國教授克羅多講授西畫，並提出了「提倡全民族的各階級共用的藝術」等口號，全國藝壇為之歡呼。林主張「相容並包、學術自由」的教育思想，不拘一格廣納人才。培養出李可染、吳冠中、王朝聞、艾青、趙無極、趙春翔、朱德群、席德進等一大批文化藝術名家。

國畫系合併。體現林風眠和林文錚共同藝術思想的《藝術教育大綱》中，就有明確記錄：本校繪畫系之異於各地者即包括國畫西畫於一系之中。我國一般人士多視國畫與西畫有截然不同的鴻溝，幾若風馬牛之不相及，各地藝術學校亦公然承認這種見解，硬把繪畫分成國畫系與西畫系，因此，兩系的師生多不能互相瞭解而相輕，此誠為藝術之不幸！我們要把頹廢的國畫適應社會意識的需要而另闢途徑，則研究國畫不宜忽視西畫的貢獻；同時，我們假如又把油畫脫離西洋的陳式而足以代表民族精神的新藝術，那麼研究西畫者亦不宜忽視千百年來國畫的成績。林風眠以最大的誠懇向中國畫界提出：「在現在西洋藝術直衝進來的環境中，希求中國的新畫家，應該儘量吸收他們所貢獻給我們的新方法；傳統、模仿和抄襲的觀念不特在繪畫上給予致命的傷害，即中國藝術衰敗至此，亦為這個觀念來束縛的緣故。我

「介紹西洋美術，整理中國藝術，調和中西藝術，創造時代藝術」，這是林風眠為國立藝

方形畫面，追求最大的擴展與最嚴謹的緊縮，在脹與縮的矛盾搏鬥中構成力的平衡。裸女、古裝仕女、修女、縮頸的烏鴉、貓頭鷹、蓮花、浮萍、團扇、檸檬、秋葉等等弧曲之美的形

術院制定的辦院宗旨。林風眠的這一辦學思想和藝術思想，可以說萌發於留學的法國，清

象都譜入了林風眠的唱腔。但他又不僅僅局限於圓，在使用圓這個盾牌的同時，不斷揮舞長矛：鋒利的葦葉、飄拂的柳絲、橫斜的枝葉、白鷺的腿、漁翁的竿……，形成既對照又和

晰於北京辦國立藝專及藝術運動，到杭州辦國立藝術研究院就更加明確，不但自己要朝著這個方向走，而且要朝著這個方向培養學生。國立藝術院開

諧，統一在一幅畫面之中。林風眠的

學不久，他就提出西洋畫和中

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們應該衝破一切束縛，使中國繪畫有復活的可能。」

持續高走的市場行情正是由於林風眠在美術史上的重要位置，以及其作品在目前市場上流通的稀缺性，林風眠作品的價格在近幾年持續高走。據不完全統計，中國拍賣市場中成交價超過100萬港元的作品達 200餘件，超過400萬港幣的作品則有 20餘件。整體看來，林風眠的作品一直受到的市場的讚許，價格一直高居不下。從創作材質來看，彩墨畫是林風眠藝術生涯中最主要也是比重最大的繪畫種類，而林風眠的油畫創作主要集中

現了創作於約1940至1950年代的《山村》，引起市場極大的關注，並最終以728.8萬港元高價成交。從創作題材來看，仕女人物、京劇人物、漁村風情、女性裸體、各類靜物畫以及其他風景畫中，仕女人物和京劇人物種類的價格相對較高。在2005年香港拍賣市場上，一件《四美圖》驚豔全場，引起藏家競相角逐，最終以773.6萬港元的成交價一舉刷新其本人拍賣成交價格的紀錄。除人物題材外，其他題材也有相當不

的藏家勢必會傾囊而出，志在必得。例如，在2005年香港拍賣市場上，出

的多幅林風眠作品曾多次借給博物館

錯的拍賣成績。在羅芙奧2006年春季拍賣會中，林風眠創作於1950年代的

展出，例如1988年台北市立美術館的「中國—巴黎」聯展、1990年代香港藝術中心的林風眠特展，1999年上海美術館「林風眠藝術之路」百歲回顧

彩墨作品《秋嵐》便拍得547.1萬港元的不俗成績。

展等；而天津人民美術出版社於1994 年出版的知名《林風眠全集（上、下

從收藏市場來看，此前香港、台北一

卷）》中，有許多作品都曾經是三槐堂堂主的收藏，他的藝術收藏品味自然不在話下，也可以稱作是林風眠的

於其創作早期，創作量較少，再加上文革時期的大量毀壞，其油畫作品留存於世的量就更小了，而到香港之後幾乎不再創作油畫，所以說一旦市場上出現流傳有緒的油畫作品，林風眠

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直是兩大主力市場，兩地都有專注收藏林風眠的藏家，尤其是香港。隨著近兩年大陸市場的迅速崛起，北京、上海兩地的市場分額也在不斷增長，並已超過台灣地區的市場佔有額。林風眠晚年遷居香港，在此居住十餘年時間，並且持續創作不懈，因此他在香港擁有不少知音，目前幾位重要的林風眠收藏家多來自於香港。特別值得介紹的是，在今年春季拍賣中，推出的「三槐堂之林風眠收藏」主題拍賣，取得了極大的成功。九幅彩墨作品悉數拍出，其中《湖岸春柳圖（柳）》拍出437.9萬港幣，《黃山松濤圖》拍出345.2萬港幣，兩幅作品在預展期間便引來眾多買家詢價。三槐堂堂主，即是香港知名的林風眠收藏家，收藏的歷史近三十年。過去他收藏

鑒定行家。而此次秋拍推出的「林風眠專場」，我們又很榮幸得到了三槐堂堂主的大力支持，割捨出了六幅珍藏多年的佳作：1950年代的《東坡賞竹圖》、 1960年代的《盆花》、1980年代中期的《秋林山居》，以及《秋林圖》、《海邊裸女圖》、《蘆蕩飛雁圖》；再加上我們為此次「林風眠專場」精心甄選的其他珍品：1940年代的《對鏡仕女》、1950 年代的《瓶花》、 1977年的《鳥》、1980年代初的《靜物》，以及《仕女》和《花鳥》，此次高水準的專場拍賣勢必會掀起新一輪的林風眠熱潮。

Perfect Combination of Academic Value and Market Value - analysis about Lin Fengmian’s art and market Tragic and splendid life of art Lin Fengmian (1900-1991) is a modern painter and fine arts educator. His former name is Lin Fengming. He was born in Meixian County of Guangdong Province. Since childhood he was fond of painting. At the age of 19 he went to France where he worked his way through study. Firstly he conducted western painting study in Dijon Arts School and then shifted to Ecole national scupérieure des beauxarts of for further study. In school he was exposed to the education of institutional school. Outside the school, he was deeply influenced by modern schools on the trend at that time, such as postimpressionism, Fauvism and Primitivism, with Matisse and Modigliani as the most prominent figures. Their influence is reflected in the painting style of Lin Fengmian which specialized in combining Chinese element with the Western one. His works have been selected into French Autumn Salon. In 1925, after Lin Fengmian returned to homeland, he, as a professor, took the post of president of Beiping Art College. In 1928, Lin Fengmian was invited by Cai Yuanpei and went to Hangzhou to

a bid to break through traditional painting procedure. In 1950, Lin Fengmian resigned the post of professor in East

recluse life and was studiously engaged in art creation till his late years. Appearance of his works has more enthusiastic color,

China Branch of Hangzhou Central Fine Arts Institute. He removed to the room on 2/F of a French building on Nanchang Road, Shanghai and was engaged in

more uninhibited strokes and more mellow appeal. In 1979 Lin Fengmian held an individual exhibition in Paris and got a great success. During the period

exploration into painting. Before long, his French wife left China with her daughter

Lin Fengmian was Chairman of Shanghai Artists Association and painter of SH

and thus he led a lonely poor life. Except the life in rural area, mountain area and fishing ground, he closed in the door for painting. Every early morning after 1

China Gallery, making great contribution to fine arts cause in Shanghai and the country as a whole. Before going to Hong Kong, he stored his 105 paintings he

a.m., the neighbor could see light in Lin

created in Shanghai in Shanghai Chinese

Fengmian’s drawing studio. After over a decade, the art circle is almost oblivious of Lin Fengmian. However, it was in his prime time of art that “Lin Fengmian

Painting Institute, and shortly after, presented this batch of paintings to the state.

Style” evolved to consummate level in

During his late years, in 1988, Lin

the silent cultivation. In 1950s, his art was negated and he was in financial strait. Every month he had to exchange some living expenses with two paintings. During the 10 years of turbulent Cultural Revolution, facing times of confiscation, the helpless Lin Fengmian soaked in the bathtub over a thousand of his works that were his

found the state-run art institute (later the Zhejiang Fine Arts Institute). During Anti-

efforts for decades and flushed them off from the lavatory.

Japanese War, Lin Fengmian moved to the southwest, where he led a poor life and indulged himself in painting everyday in

In 1977 Lin Fengmian migrated to Hong Kong, where he led a

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12, 1991 he was dead in Hong Kong Adventist Hospital at the age of 92. With distinguished artistic talents and pioneering spirit, Lin Fengmian has got in-depth comprehension about the essence of Western arts. Western style is applied in combination with Chinese style and wide range of techniques is conglomerated. With his spirit of exploration and innovation, he has created a brand new style of painting that is different from others in the ancient time and at present and makes people refreshing. Thus he has become the eminent artist integrating Chinese and Western styles and demonstrating national spirit. No matter how the difference in the people's aesthetic

Fengmian was invited to launch "Retrospective exhibition of Lin

philosophy is, Lin Fengmian has been accepted as the indispensable artist in 20th Century. That is the essential fact.

Fengmian's 90th birthday" by National Museum of History in Taiwan. Lin Fengmian Art Symposium was held in Beijing China Art Research Institute. In the same year,“Lin Fengmian Painting Exhibition” was held in National Museum of China in Beijing. In 1989, Lin Fengmian displayed in Taipei a batch of works, including "Quyuan", "Southern Heaven Gate", "Cao Cao Gets Burnrd at Chibi", "Nightmare", "Pain", "Death of Christ" etc., in which he changed his previous peacefulness and elegance and trends to vehemence and gloominess. Ink lines in the paining are powerful with many slanting, breaks and clashes, full of uneasiness and tension. His emotion is like gust of wind and storm that rages and bumping in the spark in mind. On August

Style of Lin’s integrating Chinese and Western styles and demonstrating national spirit

angle of Western art and made use of traditional painting resource on the basis of European idea about painting, it cannot be negated that Lin Fengmian’s painting is really the modern Chinese art with distinguishing Chinese cultural spirit and strong realistic sentiment. As a pioneer, trailblazer and the most important representative of the art philosophy of “Chinese and Western integration", he is also titled "Cézanne in China" and "father of modern Chinese painting". Lin Fengmian has absorbed nutriment of modern painting after impressionism in the west and integrated traditional Chinese ink style and level, and added his personal experience and explored out distinctive "Style of Lin's" He is a painter closed to "the ideal of harmony and spiritual integration of Eastern and Eestern styles". Lin Fengmian is good at depiction of ladies, characters in Beijing Opera, aroma of fishing village, nude of the woman as well as various still lives and other kinds of landscape paintings. In term of contents of the works, there is a kind of

As one of the most important artists i n m o d e r n C h i n e s e h i s t o r y, L i n Fengmian is the trailblazer in modern Chinese painting based on integration of Chinese and Western styles. Lin Fengmian’s understanding about traditional Chinese art is different from other contemporary painters. Rather than "Western style used by Chinese", his attitude toward foreign art is "Western tool used by Chinese". Though there is idea that he has got into local painting from the visual

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in paintings like nude of woman, nun, crow withdrawing neck, owl, lotus, duckweed, on-thefan painting, lemon, autumn leaves have been included into Lin Fengmian's tune. Then he has not got limited in the round. While using the shield of "round", he keeps brandishing the lance: sharp reed leaves, floating willow, slanting twigs, legs of the egret, pole of the fisher…. All these have composed

melancholy, lonely, hollow and emotional style. It is just such gloominess and loneliness that add some aesthetic tragedy charm in his works. That is attributable to the painter’s arduous life. In form, his painting features square composition and absence of title. His painting has unique

comparison and harmony integrating into the painting. These features of Lin Fengmian have cast a far-reaching impact upon contemporary painters.

Art education with allinclusiveness and free academic pursuit

feature and the viewer can distinguish at the first glance. He has been striving to break through the demarcation between

Lin Fengmian is also one of the main

the Chinese and Western art and create a common language of art.

founders of modern Chinese fine arts education. In development of Chinese

Wu Guanzhong, his disciple, has used tune of Beijing Opera to compare Lin Fengmian’s art features: Lin Fengmian's tune is unique and distinctive. He integrates the round and the square. Basically he adopted square composition of painting and pursues the maximal expansion and the strictest contraction, so as to compose the balance of force in the contradiction of expansion and contraction. Images of lonely charm

art, Lin Fengmian’s art education and philosophy about art function have the equivalent special significance. At the same time we are able to get an in-depth undertaking about his style of art from his allegation about art education. Influenced by Cai Yuanpei’s idea about aesthetic education, Lin Fengmian has inherited the wave of the May Fourth New Cultural Movement, advocated the New Art movement and actively

undertook the heavy task of improving the people's spirit with aesthetic education, so as to promote social remolding and progress. He endeavors to innovate in art education. He has invited Qi Baishi, the painter originating from a carpenter, onto the lectern and employed French Professor to give lecture on western painting. Then he presented the slogan of “promoting the art shared by all nations among all classes”, which received hurrah from the national art circle. Lin advocates the educational idea of “all-inclusiveness and free academic pursuit” and absorbing a wide range of talented people with uninhibited style. He has cultivated a batch of renowned artists like Li Keran, Wu Guanzhong, Wang Chaowen, Ai Qing, Zao Wou-ki, Chao Chun-hsiang, Chu Tehchun and Shiy De-jinn, etc. “Introduce Western fine arts, rationalize Chinese art, harmonize Chinese and Western art and create art of the epoch”. That is the motto formulated by Lin Fengmian for the national art college. Lin Fengmian’s idea about school running and art thought can be said to have been originated from France where he had studied, made clear in time when Beijing set up the national art college and arts movement, and clearer when Hangzhou set up state-run art research institute. Not only had he developed in this orientation, but had also cultivated his students in this direction. Shortly after state-run art research institute began academic semester, he proposed combination of western painting and Chinese painting. The Syllabus of Art Education reflecting common thought of Lin Fengmian and

Lin Wenzheng has clear record: Painting department in this school is different from that in other places, for it has at

painting for hundreds of years.

least combined Chinese painting with western paining. Common people in China generally think that there is a sharp gap between Chinese painting and western painting, and they are almost irrelevant. Art schools over the country have accepted

Fengmian proposed in Chinese painting circle that: “in present environment where western art rushes in, new Chinese painter is in urgent need and we should make best use of the new method

such idea and draw a man-made painting demarcation between Chinese painting school and western painting school. Therefore, teachers and students of the two

they contribute to us; traditional, imitating and copying ideas has not only dealt a fatal blow upon painting, but has caused

schools have mutual slighting against each

decadence of Chinese art.

other, because of the misunderstanding. That has become the misfortune of art! We need to blaze other trail for adapting the decadent Chinese painting to the social

We should endeavor to break through all inhibition and make resurgence of Chinese painting possible.”

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With the greatest sincerity, Lin

sense. Research into Chinese painting allows no negligence of contribution of the western painting. If we want to make oil painting break way from the stale western style and it could represent the new art of national spirit, the paint researcher cannot neglect achievements made by Chinese

Continuous increase in market Thanks to Lin Fengmian’s key position in the history of fine arts as well as scarcity of his work in current market, price of Lin Fengmian’s works has kept increasing in recent years. According to incomplete statistics, in domestic auction market, there are over 200 of his works with closing bargain beyond HK$ 1 million and over 20 of his works with closing bargain beyond HK$ 4 million. In overall view, Lin Fengmian’s works have long received praise on the market and the price has kept high. In view of material of creation, colored ink painting is the most i m p o r t a n t a n d t h e l a rg e s s e category in Lin Fengmian’s

career of art, while Lin Fengmian’s creation of oil paintings are mainly focused on painting in his early years, when his works are few in amount. Then after large amount of damage in the Cultural Revolution, fewer of his oil paintings are extant. After he went to Hong Kong, he almost created no oil painting. Therefore, once there is oil painting appearing in the market, collectors of Lin Fengmian's works are bound to spend all they have and fulfill their wish. For instance, in Hong Kong auctions in 2005, there is “Village”created from about 1940s to 1950s, arousing great concern and finally the work has been bargained at high price of HK$ 7,288,000. In view of topics, among the topics of ladies, characters in Beijing Opera, aroma of fishing village, nude of the woman as well as various still lives and other kinds of landscape paintings, the price of ladies and characters in Beijing Opera is relatively high. In the Hong Kong auction in 2005, the Four Beauties

stunned the presence and caused mutual competition among the collectors. Finally it was closed at the price of HK$

creation was unrelenting, so he has many confidants in Hong Kong. Currently, most of the key collectors of Lin Fengmian's

In the "Collection of Lin Fengmian" in this autumn auction, we are lucky to get great support from the Master of Sanhua

7,736,000, breaking the record of closing price for auction in person. Apart from the topic of character, other topics have demonstrated excellent achievements. In spring auction of Ravenel in 2006, Lin Fengmian's "Autumn Haze" created

works are from Hong Kong. What worth of introduction is that in the spring auction of this year, the topic auction of Lin Fengmian Collection of Sanhuai House have won great success. Nine color ink paintings are all sold out. Among

House, who parted with his six fine works collected for many years: "Dongpo Appreciating Bamboo" in 1950s, "Pot of Flowers" in 1960s, as well as "Village in the Maple Forest", "Autumn Forest”, “Reclining Nude in Modigliani’s Style”

in 1950s was closed at the high price of HK$ 5,471,000. In view of the collection market,

them, his "Green Willows, West Lake" was closed at the price of HK$ 4.379 million and "Pines of Mount Huang" was closed at the price of HK$ 3.452 million.

and “Reeds and Wild Geese” in the mid of 1980s. In addition, Special Auction of Lin Fengmian held by us this time has displayed other rare collections carefully

p r e v i o u s l y H o n g K o n g a n d Ta i p e i

In the preparatory exhibition, the two

selected: “Lady in Front of Mirror” in

have been two major markets. There are collectors concerning about Lin F e n g m i a n ’s w o r k s i n b o t h p l a c e s , especially Hong Kong. In recent years,

works have attracted many purchasers to inquire. Master of Sanhuaitang is the famous Lin Fengmian collector in Hong Kong. History of his collection has been

1940s, “Flowers in Vase” in 1950s, “Bird” in 1977, “Still Life” at the beginning of 1980s, and exquisite “Lady” and “Flowers and Bird”. Thus the high-grade special

with rapid growth of market in Mainland

nearly 30 years. Many of Lin Fengmian’s

auction is bound to rise up a new round of

China, market shares in Beijing and Shanghai are also burgeoning and have exceeded market share in Taiwan. Lin

works he collected in the past have been lent to the museum for exhibition, such as the Chinese-Paris joint exhibition at

Lin Fengmian upsurge.

Fengmian removed to Hong Kong in his later years. During the decade then, his

the Taipei Fine Arts Museum, the special exhibition of Lin Fengmian’s works in Hong Kong Art Center in 1990s, The Approach of Lin Fengmian review exhibition for hundred years of age of Lin Fengmian at Shanghai Art Museum in 1999, etc. In the renowned The Collected Works of Lin Fengmian, (I and II) published by Tianjin People’s Fine Arts Press in 1994, many works were the collection of the Sanhua House. His taste of art is naturally genuine and fine and he can be regarded as the accreditation expert of Lin Fengmian's works.

039

LIN Fengmian (1900-1991)

Lady in Front of Mirror Early 1940s Ink and color on paper 32.5 x 22.5 cm Signed lower left Lin Fengmian in Chinese With one seal of the artist ILLUSTRATED: Colours of East and West - Paintings by Lin Fengmian, University Museum and Art Gallery HKU, Hong Kong, 2003, color illustrated, pp. 44-45

NT$ 580,000-800,000 US$ 17,600-24,200 HK$ 136,900-188,800

林風眠對鏡仕女 1940年代初彩墨紙本 32.5 x 22.5 cm 簽名左下：林風眠鈐印左下：林風瞑印圖錄：《絕色人家－林風眠繪畫》，香港大學美術博物館，香港，2003，彩色圖版，頁44-45

040

LIN Fengmian (1900-1991)

Flowers and Bird 1989 Ink and color on paper 33.5 x 43.5 cm Signed lower left Lin Fengmian in Chinese and dated 1989 in Chinese PROVENANCE: Private collection, Taipei (A gift from the artist, 1989)

NT$ 500,000-700,000 US$ 15,100-21,200 HK$ 118,000-165,200

小鳥系列可以說是林風眠最具傳播的作品系列，各類印製複製品經常出現在各類刊物雜誌上。林風眠的小鳥常是用輕鬆的筆墨畫一隻立在枝頭上的孤零零的小鳥，有些研究者認為這些作品更多的只是一幅普普通通的畫，有些則認為是表現畫家獨立不羈，悲憤厭世的內心世界。此幅作品構圖簡潔有力，處於畫面右方的主角，看起來倔強堅持，童真趣味的形態表現突顯了藝術家患難中不變的真性情。

林風眠花鳥 1989 彩墨紙本 33.5 x 43.5 cm 簽名左下：林風眠一九八九年來源：現有收藏者直接得自畫家贈與，1989

此作品為1989年林風眠第一次來到台灣，當時透過台灣藝文界友人，協助展覽相關事宜，林氏為感謝台灣友人熱情招待，特地揮毫贈與。

Lin’s Birds are were usually easily painted with inks showing a lonely little bird standing on a branch, some of the scholars consider these paintings are just ordinary paintings, the others thinks that they somehow reveal the independence, unrestraint, grief, indignation and misanthropy of the artist. The Composition in this painting is clean, simple and strong; the character at the right of the picture looks perverse and persisted, such innocence and interesting form shows the artist’s true self in misfortunes.

The Birds series could be Lin Fengmian's

This piece was executed in 1989 when Lin Fengmian first visited Taiwan, he gave it to a friend in the art circle of Taiwan as

most popular series of works; they are reprinted on all kinds of publications.

a gift to express his gratitude for friends’ supports on the exhibition arrangements.

040

041

LIN Fengmian (1900-1991)

Pot of Flowers 1960s Ink and color on paper 34 x 34.5 cm With one seal of the artist PROVENANCE: Collection of Sanhuai House, Hong Kong ILLUSTRATED: Album of Chinese Art Grand ExhibitionL in Fengm ian , S h a n g h a i F i n e A r t s P u b l i s h e r, S h a n g h a i , 1 9 9 7 , c o l o r illustrated, p.37 The Approach of Lin Fengmian, China Academy of Art Publishing House, Hangzhou, 1999, color illustrated, p. 218 Zhou Weiming ed., Collection of Art Garden Studio No. 72: Sanhuai House’s Modern Chinese Paintings, People Fine Arts Publishing House, Shanghai, 2004, color illustrated, no. 29, p. 18

NT$ 1,400,000-2,200,000 US$ 42,400-66,600 HK$ 330,400-519,200

林風眠盆花 1960年代彩墨紙本 34 x 34.5 cm 鈐印左下：林風瞑印來源：香港三槐堂收藏圖錄：《中國藝術大展作品全集：林風眠卷》，上海書畫出版社，上海， 1997，彩色圖版，頁37 《林風眠之路百歲誕辰紀念》，中國美術學院出版社，杭州，1999，彩色圖版，頁218 周衛明編，《藝苑掇英第七十二期：三槐堂藏現代書畫專輯》，上海人民美術出版社，上海，2004，彩色圖版，編號29，頁18

042

LIN Fengmian (1900-1991)

Reclining Nude in Modigliani's Style c. 1979 Ink and color on paper 34.5 x 35 cm Signed lower left Lin Fengmian in Chinese

《海邊裸女圖》是林風眠採用莫迪葛里亞尼裸女臥姿的一幅漂亮彩墨畫，

林風眠海邊裸女圖

PROVENANCE: Ancient collecion of Jin Dongfang, Hong Kong (a gift from the artist, c. 1979)

約1979 彩墨紙本

Collection of Sanhuai House, Hong Kong

34.5 x 35 cm 簽名左下：林風眠

ILLUSTRATED: Jin Dongfang, Modigliani, Cosmos Book

來源：香港金東方舊藏（直接得自畫家贈

Ltd., Hong Kong, 1979, color illustrated,

與，約1979年）香港三槐堂收藏

coverpage. Zhou Weiming ed., Collection of Art Garden Studio No. 72: Sanhuai House’s Modern Chinese Paintings, People Fine Arts Publishing House, Shanghai, 2004, color illustrated, no. 6, p. 5

NT$ 2,400,000-3,600,000 US$ 72,700-109,000 HK$ 566,400-849,700

圖錄：金東方，《莫迪良尼》，天地圖書有限公司，香港，1979，彩色圖版，封面周衛明編，《藝苑掇英第七十二期：三槐堂藏現代書畫專輯》，上海人民美術出版社，上海，2004，彩色圖版，編號6，頁5

創作於1979年左右。此作是畫家特地為金東方女士《莫迪良尼》著作之發表而繪，1979年該書在香港出版，《海邊裸女圖》正是封面的插圖，後來此畫也贈予金東方留念。金東方在書中自序寫道：「偉大畫家生前被誤解之深、死後被推崇之甚，以莫迪良尼為最；愚如筆者亦不免有感，提出管見，於七六至七七年間在華僑日報美術版逐期發表；當時蒙諸友好錯愛剪存，剪存不全者以為憾，建議出版成書。欣逢當代名家林風眠老師自滬抵港，為本書設計封面，幸運之至。一九七九年愚人節」而封底也有「林風眠先生特為此書畫封面」的字樣。金東方為知名的戲曲人物畫家，亦擅

長小說、散文和藝評等寫作。她出生於1930年，江蘇常州人，浙江美術學院油畫系（即杭州藝專）肄業，曾師事林風眠與關良七年。1950年代林風眠潛居上海期間，往來密切，不少畫家的仕女畫曾以金東方為模特兒。 1966年金東方定居香港。林風眠在文革期間受壓迫，1977年透過金東方及友人的協助，自上海途經從廣州、澳門，抵達香港。林風眠的上海時期友人袁湘文女士，在2005年一次訪談中曾提及林風眠與金東方（本名金碧芬）的過往。（參閱蕭富元，〈林風眠上海藝事記實：袁湘文訪談錄〉，《中國現代主義繪畫大師—林風眠》，天津人民美術出版社，2005出版）

人物畫是林風眠重要的題材之一，揉合有中西藝術之長的獨特美感，他的中國仕女畫坐姿採取觀音端坐，戲曲人物則融合立體派和皮影戲的造型；彎曲旋身的女子、裝飾色彩則是採取馬蒂斯式的，斜倚臥姿的儀態則受莫迪葛里亞尼的啟發。此幅《海邊裸女圖》就是採取莫氏最典型的裸女臥姿。而後方海景的空間穿透表現則是極為典型的林風眠風格體，少許粉色添加畫面的柔和感，裸女的白描線條簡潔、俐落，若非有極佳的書寫功力，無法表現如此酣暢淋漓。莫迪葛里亞尼的裸女畫是情慾的展現，眼神迷濛充滿挑逗魅力；而林風眠的裸女畫則表現含蓄，屬於一種纖柔的東方情懷。林風眠的繪畫反映出他的審美風格，其女人畫像多借自妻子、女兒、學生、情人等熟悉的容貌，有時未必是寫生的肖像，其實更多是對青春容顏的眷戀與懷想。林風眠因早年留學法國、德國，感受過西方任情縱能的自

由風調，擁有熱情但開放自由的靈魂。中國美術史學者丁羲元分析，林風眠的裸女畫早在1940年代已偶見，而到了1980年代晚期更放筆抒寫，在中國畫史上具有開創意義。「很難確考，在中國畫中最早畫裸女者為誰，但林風眠年至耄耋仍揮筆樂此不倦，這在中外繪畫史上確不多見。林風眠應是中國畫史上迄今畫裸女最多而出色的畫家。雖然古代也有龜茲壁畫的唐代裸女圖，或是宋代的《春宮祕戲圖》，其中大多仍是所謂春宮畫，與現代意義上的裸體畫有別。看林風眠這類作品，有一種高尚之氣，其仕女都神情姣好，壯實而蓬勃著生命力，雖然是年暮的老人仍下筆有如此的青春氣息，確實是畫壇的奇蹟。林風眠從西畫中廣為吸取，驅遣筆端，這類裸女圖補充和豐富了中國畫的畫面和表現力，應該說是成功的嘗試。」（參

lifetime and so highly venerated after their death. The author could not refrain from feeling for the painter and giving my humble thoughts, which were compiled into articles and published in the art pages of Overseas Chinese Daily in separate issues between 1976 and 1977. The articles were fortunately well received and clipped for collection by readers. Those who lacked a complete collection of the article clips later suggested the publication of a book complied with the articles. The author was grateful that the publication of the book coincided with the arrival of contemporary master painter Lin Fengmian from Shanghai to Hong Kong, who agreed to design the front cover for the book. The preface is written on April’s Fool Day, 1979.” The back cover is also marked “Mr. Lin Fengmian

閱丁羲元〈林風眠論稿〉，《名家翰墨：林風眠特集》Han Mo No. 24，香港，1992，頁86）

made a painting especially for the front cover of the book”.

"Reclining Nude in Modigliani's Style" is a rapturous watercolor created by

Jin Dongfang was an acclaimed painter of traditional Chinese drama characters,

Lin Fengmian around 1979 that adopts the reclining pose of the female nude

and also excelled at writing novels, essays and art criticisms. Born in Changzhou, Jiansu Province in 1930, she attended the Department of Oil Painting at Zhejiang

in Modigliani's Reclining Nude. It was painted especially for the publication of a biography of Modigliani by Ms. Jin Dongfang in Hong Kong. The painting was the front cover illustration for the book and was later given to Ms. Jin as a token of remembrance. Jin wrote in her own preface to the book, “Modigliani was dealt with to the greatest extent among great painters, who were so profoundly misunderstood during their

Academy of Art (i.e. Hangzhou College of Art) and studied with Lin Fengmian and Guan Liang for seven years. She maintained close contact with Lin during the years he lived in seclusion in Shanghai in the 1950s. Many painter's portraits of ladies were modeled after Jin. In 1966, Jin settled down in Hong Kong. Lin was persecuted during the Cultural Revolution and arrived in Hong Kong in 1977 via

who painted nudes in Chinese history, but Lin continued to enjoy painting nudes into his old age. This is indeed rare in

Guangzhou and Macao with the help of Jin and friends. Ms. Yuan Xiangwen, a friend of Lin during his stay in Shanghai, talked about the past relationship between Lin and Jin (whose real name was Jin Bifen) in an interview in 2005. (Please refer to 'An Account of Lin

the history of both Chinese and Western paintings. Lin is by far, the painter who has done the largest number of nude paintings in a distinguished way in the

Fengmian’s Artistic Anecdotes in Shanghai: An Interview with Yuan Xiangwen by Xiao Fuyuan', Chinese Modernist Painting Master – Lin Fengmian, published by Tianjin People’s Fine Arts Publishing House, 2005.)

Portraits remained one of the important themes in Lin's works and cast a unique aesthetic that blends the merits of Chinese and Western arts. He portrayed Chinese ladies seated in the same vajra posture as Bodhisattva. Characters in traditional Chinese drama combined cubism and the style of shadow puppetry. His bending and twisted postures and decorative coloring were adapted from Matisse’s style. The reclining posture was inspired by Modigliani. The work “Reclining Nude in Modigliani’s Style” adopted exactly the reclining nude posture typical of Modigliani. The spatial penetration represented in the background sea scene was typical Lin's style. A few pastel touches add softness to the picture. The white line contour sketch of the nude is concise and crisp. Such exhilaratingly effortless and thorough representation required superior mastery of depiction. While Modigliani's nude painting represents desire with a hazy gaze, full of seductive charms, Lin’s portrays an implicative delicate and tender Oriental

莫迪葛里亞尼，《倚在白色椅墊上的裸婦》德國司圖加特美術館藏 Amedeo Modigliani, Reclining Nude 1917, oil on canvas, 60 x 92 cm Staatsgalerie, Stuttgart, Germany

history of Chinese paintings. It is undeniable that there are paintings like Portrait of Nudes of the Tang Dynasty found in the wall painting of the Guizi civilization, and” the Secretive E ro t i c G a m e s ” i n t h e S o n g Dynasty. Most of these are erotic paintings and are different from nude

sentiment.

paintings in the modern sense. In Lin's works in this category, an atmosphere of

Lin’s paintings reflected his aesthetic

nobility prevails. All the ladies portrayed have nice features and radiate with robustness and vitality. It is considered a miracle in the realm of painting that a

view. Most of his portraits of women were modeled after the familiar looks of his wife, daughter, students and lovers. They were not necessarily faithful reflections of the persons portrayed, but more likely the manifestations of admiration for, and reminiscence of youthful looks. Lin had a passionate, open and liberal spirit because he experienced the free style of unrestricted passion in the West during

man at such an advanced age should be able to command such youthful vibrancy with the strokes of his brush. Lin learned extensively from Western paintings and effortlessly commanded the knowledge with his brush. His nude paintings have

his earlier years of study in France and Germany. According to the analysis by

complemented and enriched the picture and expressiveness of Chinese paintings. This is considered a successful attempt.”

Chinese art historian, Ding Xiyuan, Lin already occasionally painted nudes as early as in the 1940s and became completely

(cf. 'A Study on Lin Fengmian' by Ding Xiyuan, "Mastery Work's: A Featured Collection of Lin Fengmian’s Works", Han Mo No. 24, Hong Kong, 1992, p. 86.)

devoted to such depictions in the late 1980s. This opened a new chapter in the history of Chinese paintings. “It is difficult to precisely determine the first artist

043

LIN Fengmian (1900-1991)

Reeds and Wild Geese Ink and color on paper 35 x 35 cm Signed lower right Lin Fengmian in Chinese With one seal of the artist

林風眠

PROVENANCE:

蘆蕩飛雁圖

Chung Kiu Chinese Products Emporium Ltd., Hong Kong

彩墨紙本 35 x 35 cm

Collection of Sanhuai House, Hong Kong

簽名右下：林風眠鈐印右下：風

ILLUSTRATED: Zhou Weiming ed., Collection of Art Garden Studio No. 72: Sanhuai House’s Modern Chinese Paintings, People Fine Arts Publishing House, Shanghai, 2004, color illustrated, no. 12, p. 9

NT$ 1,400,000-2,000,000 US$ 42,400-60,600 HK$ 330,400-472,000

來源：香港中僑國貨公司藝廊香港三槐堂收藏圖錄：周衛明編，《藝苑掇英第七十二期：三槐堂藏現代書畫專輯》，上海人民美術出版社，上海，2004，彩色圖版，編號12，頁9

044

LIN Fengmian (1900-1991)

Bird 1977 Ink and color on paper 35.5 x 35.5 cm Signed lower left Lin Fengmian in Chinese and dated 1977 in Chinese Wi t h o n e s e a l o f t h e a r t i s t a n d t h e collector’s seal ILLUSTRATED: Colours of East and West - Paintings by Lin Fengmian, University Museum and

鳥 1977 彩墨紙本 35.5 x 35.5 cm 簽名左下：林風眠一九七七年鈐印左下：林風瞑印藏印右下：灤齋鑒賞

Art Gallery HKU, Hong Kong, 2003, color illustrated, pp. 152-153

圖錄：《絕色人家－林風眠》，香港大學藝

NT$ 1,200,000-1,800,000 US$ 36,300-54,500 HK$ 283,200-424,800

術博物館，香港，2003，彩色圖版，頁152-153

林風眠

045

LIN Fengmian (1900-1991)

Dongpo Appreciating Bamboo 1950s Ink and color on paper 36.5 x 36.5 cm Signed lower right Lin Fengmian in Chinese With one seal of the artist PROVENANCE: Ancient collection of Shen Zhiyi, the

林風眠

artist’s friend Collection of Sanhuai House, Hong Kong

1950年代彩墨紙本

ILLUSTRATED:

36.5 x 36.5 cm 簽名右下：林風眠鈐印右下：林風瞑印

Biography of Lin Fengmian, East Publishing Centre, Hong Kong, 1990, p. 1 Gu Zhujun & Mu Meihua ed., Chinese Modern Painters Series – Lin Fengmian, Chin Hsiu Cultural Enterprises & Tianjin

東坡賞竹圖

來源：林風眠舊友沈智毅舊藏香港三槐堂收藏

People’s Publishing House, Taipei & Tianjin, September 1993, color illustrated, no. 28 The Collected Works of Lin Feng Mian, Tianjin People’s Publishing House, Tianjin, October 1994, color illustrated, pp. 84-85 Zhou Weiming ed., Collection of Art Garden Studio No. 72: Sanhuai House’s

圖錄：鄭重，《林風眠傳》，東方出版中心，香港，1990，頁1 顧祝君、穆美華編，《中國近現代名家畫集：林風眠》，錦繡文化企業、天津人民美術出版社，台北與天津，

color illustrated, no. 39, p. 24

1993年9月，彩色圖版，編號28（原名《老翁》）《林風眠全集》，天津人民美術出版社，天津，1994年10月，彩色圖版，頁84-85，（原名《老翁》）

NT$ 1,400,000-1,800,000 US$ 42,400-54,500 HK$ 330,400-424,800

周衛明編，《藝苑掇英第七十二期：三槐堂藏現代書畫專輯》，上海人民美術出版社，上海，2004，彩色圖版，編號39，頁24

Modern Chinese Paintings, People Fine Arts Publishing House, Shanghai, 2004,

046

LIN Fengmian (1900-1991)

Autumn Forest 1950s-1960s Ink and color on paper 66.5 x 66 .5 cm Signed lower right Lin Fengmian in Chinese With one seal of the artist PROVENANCE: Collection of Sanhuai House, Hong Kong ILLUSTRATED: Zhou Weiming ed., Collection of Art Garden Studio No. 72: Sanhuai House’s Modern Chinese Paintings, People Fine Arts Publishing House, Shanghai, 2004, color illustrated, no. 22, p. 14

NT$ 2,500,000-3,800,000 US$ 75,700-115,00 HK$ 590,000-896,900

此幅作品《秋林圖》，林風眠創作於

turned his depression into lucidity and

1950年代至1960年代，此時期林風眠的經濟條件轉好，先後參加了兩次全國文代會，又出任上海美術家協會副主席，首次在上海、北京和香港舉辦了個展，1950年代初以來的壓抑心情

joviality since the beginning of 1950’s, Lin Fengmian created a batch of autumn scenery series with splendid tune as the leading tune. Of course, except for that, he also created some works with other

轉而為明朗和愉悅，林風眠創作了一批以燦爛為主調的秋景系列。當然，除此之外，還創作了其他風格與色調的作品，如此幅風格較為凝重的《秋

styles and hues; the painting Autumn Forest with a dignified style was just created in this period. Since the late 1950’s, Lin Fengmian started to be fond

林圖》就是創作於此時期。從1950年代後期起，林風眠愈來愈喜愛描繪秋

of autumn scenery depiction more and more, not only the red leaves in autumn,

景，不僅是秋天的紅葉、河岸、村莊、農舍等，還有色彩和光的變化萬千。郎紹君認為，秋景、秋鶩和西湖

banks, villages, farmhouses, etc. but also diversifying change of color and light. In view of Lang Shaojun, autumn scenery,

系列同為林風眠成熟期風景畫最具特色、最富感染力的作品。

autumn ducks and West Lake series are the most distinctive and inspirational

林風眠這幅《秋林圖》，描繪的不是

works among the landscape paintings in Lin Fengmian’s mature period.

秋景山水，而是平原上的秋色風景。我們從高大、挺拔的枝幹中感受到了秋的力量，樹上的黃葉及紅葉與天空

In "Autumn Forest", what Lin Fengmian depicted was an autumn view on plain

林風眠秋林圖 1950-1960年代彩墨紙本 66.5 x 66 .5 cm 簽名右下：林風眠鈐印右下：林風瞑印來源：香港三槐堂收藏圖錄：周衛明編，《藝苑掇英第七十二期：三槐堂藏現代書畫專輯》，上海人民美術出版社，上海，2004，彩色圖版，編號22，頁14

的留白形成了鮮明的對比。墨與純朱砂、純中黃的對比，散發出了濃厚的雄渾，讓人感到莫名的力量。整幅作品的色調、自然光、強調面而不強調線的特點，都和西畫有著更密切的聯繫，但它的基調是水墨，它的意境也和傳統繪畫一脈相通，從中也折射出了林風眠融會中西而彰顯民族傳統的繪畫風格。 The "Autumn Forest" was created by Lin Fengmian from 1950’s to 1960’s, during which Lin Fengmian’s economic conditions got better, participated in the National Cultural Congress twice, took up the post of vice chairman of Shanghai Artist Association and launched personal exhibition in Shanghai, Beijing and Hong Kong, of his first time. Having

instead of mountains and water in autumn. We can feel the strength of autumn from the tall and straight limbs, yellow leaves and red leaves forming a sharpcut contrast against the plain white sky. Contrast between ink, pure vermillion and pure middle yellow, so glamorous, presents indescribable strength. Hue and natural light of the entire painting gives emphasis on the whole scene in stead of lines, reflecting a character related to western paintings. However, its keynote is still Chinese paintings, meanwhile, its artistic conception inheriting traditional paintings, reflecting Lin Fengmian’s creation style integrating Chinese style with the Western and demonstrating out national tradition.

047

LIN Fengmian (1900-1991)

Still Life Early 1980s Ink and color on paper 67 x 67 cm Signed lower right Lin Fengmian in Chinese With one seal of the artist An Inscription by Shen Roujian, Shanghai, 1995 and a seal of Roujian ILLUSTRATED: Colours of East and West - Paintings by Lin Fengmian, University Museum and Art Gallery HKU, Hong Kong, 2003, color illustrated, pp. 102-103 An inscription by Shen Roujian, Shanghai, 1995 and a seal of Shen Roujian

NT$ 4,200,000-6,000,000 US$ 127,200-181,700 HK$ 991,300-1,416,100

林風眠繪畫的最大特點是用色大膽，

as strong as that in water-powder, which

極富創造性。為了強化作品的表現力，他創造性地將水墨與水粉、水彩

is thick and strong. Lin Fengmian gave a harmonious combination of ink and heavy-tune color, making the painting massive and concise at the same time, full of sense of rhythm. On composition,

交替複合使用，產生渾厚強烈、豐富多變的藝術效果。中國畫的色彩大多薄而淡，遠不如水粉，水粉厚而重，林風眠將水墨與重色交織和諧在一起，畫面既厚重豐富又空靈洗練，富有節奏感。在構圖上林風眠也獨具一格，充滿新意，具有高度的形式美感。他有意同傳統的用法拉開距離。他的畫講究構成，強調裝飾性，吸收了西畫馬蒂斯、塞尚的長處，他畫的許多靜物明顯有此二人的影子。

Lin Fengmian is also distinctive and full of innovation, with high formal aesthetic feelings. He intended to go apart from the traditional way. His painting emphasizes overall composition and decorativeness. He absorbed merits of Western artists, Matisse and Cézanne, whose shadow is obviously contained in many of his paintings of still lives.

靜物作品是林風眠先生創作旺盛期的最愛題材，它標誌著藝術家早期對於形式結構探索的延續。在此作品《靜

Works of still lives are Lin Fengmian's most favorite topic in his heyday of

靜物

物》中，構圖及顏色變化極其簡單的梨子以及那略帶幾何形態的水果盤，置於靜謐、安詳的背景之中，給人以

creation. It symbolizes extension of the artist’s early exploration into form and structure. In his works "Still Life", pears

1980年代初彩墨紙本

無窮無盡的審美享受。此作為林風眠八十年代初所作，在畫面中我們可

with very simple composition and color change as well as the fruit tray with a

67 x 67 cm 簽名右下：林風眠

以看到作者已不再追求幾何形體式的切割，而是更重視直觀的直覺印象，將色彩的渲染和筆觸的寫意性作為主要的表現語言。作品中黃色處於畫面

little geometric shape are placed in serene and peaceful background, presenting an endless aesthetic enjoyment. Lin

林風眠

鈐印右下：林風瞑印題跋：沈柔堅圖錄：《絕色人家－林風眠》，香港大學藝術博物館，香港，2003，彩色圖版，頁102 題跋右側：此乃林風眠先生之珍品拜讀後因題乙亥冬（1995）沈柔堅書上海鑑賞鈐印：柔堅

的中心位置，在深沉靜默的灰色背景中更加顯示出林氏唯美高雅的審美特質，畫面冷暖色調的對比、映襯，達到了精緻、微妙的完美和諧。作者在若即若離之間，將中西繪畫語言巧妙融合豐富了觀者的審美感受，同時也是林風眠高標自許的人格體現。 In his paintings, Lin Fengmian’s most typical feature is bold application of color with outstanding creativity. In order to intensify expressiveness of the works, he innovatively made use of ink, water-powder and watercolor, alternately and compositively so as to produce the mellow and strong, rich and variable effect. Color of Chinese painting is mostly thin and pale, far less

Fengmian created the works at the beginning of 1980’s. In the painting we can find that the painter stopped pursuing geometric division, but paid more attention to intuitive impression. He took color application and stroke depiction as a main language of expression. In the works, yellow is placed at the center of the paining in the deep and tranquil grey background, showing Lin’s elegant aesthetic disposition. Contrast of cold and warm hues, on the painting, has attained dainty, subtle and perfect harmony. In slightly aloofness, the painter artfully integrated languages of Chinese and western paintings and enriched the viewer’s aesthetic sense, meanwhile, was a mirror to Lin Fengmian’s high-flying and self-assumed personality also.

048

LIN Fengmian (1900-1991)

Flowers in Vase

靜物是林風眠40年代晚期至60年代最

Early 1950s Ink and color on paper 68.5 x 69 cm

愛畫的題材：大多畫瓶花、盆花、玻璃器皿、杯盤、水果等。在這一些靜物作品中，他探索構圖、色彩、線描與色光的結合；探求水墨與水粉、東方神韻與西方形式的統一。在形式求

Signed lower left Lin Fengmian in Chinese With one seal of the artist ILLUSTRATED: Colours of East and West - Paintings by Lin Fengmian, University Museum and Art Gallery HKU, Hong Kong, 2003,

索背後，是對美和生命活力的無窮追求。觀賞這些靜物，猶如面對一處寧靜而燦爛的「桃源」，一片充滿情和愛的光焰，一個變化著感覺、心境和情緒的內在世界。在中國藝術家中，還沒有人能把靜物畫得如此豐富、精

瓶花 1950年代初彩墨紙本 68.5 x 69 cm 簽名左下：林風眠鈐印左下：林風瞑印圖錄：《絕色人家－林風眠》，香港大學藝術博物館，香港，2003，彩色圖版，頁110-111

artists, no second has painted the still life so rich and delicate, meantime, with such a kind of psychological contents. "Flowers in Vase" was created by Lin

此幅作品《瓶花》是林風眠創作於

林風眠

these still lives is just like facing a both tranquil and splendid “Peach Blossom Garden”, a flame teemed with emotion and love, and an inner world with variable senses, minds and moods. Among Chinese

緻，如此具有心理性。

color illustrated, pp. 110-111

NT$ 5,800,000-8,000,000 US$ 175,600-242,200 HK$ 1,368,900-1,888,100

of ink and water-powder as well as orient verve and western form. Behind exploration of form is his endless pursuit for beauty and life energy. Appreciating

1950年代，對比藝術家此前的作品，我們能夠看出其作品的變化，色調轉為明朗，情緒轉為平和，對現實人世的實感演化為對自然和虛幻人物情境的描繪；水墨和彩墨成為主體形式，油畫漸少甚至不見了。激越的吶喊和沉重的悲哀轉換為寧靜的遐思和豐富多彩的抒寫。郎紹君在《論中國現代美術》一書中對他這時期的審美情調曾作過簡單概括，說它們「有明快、豔麗、熱烈、清淡、幽深、憂鬱、寂寞、孤獨、活潑和寧靜」，並在總體上「湧動著大自然的生命，編織著美和善的夢境」。林風眠長達40年的探索也經歷了變化，如畫題漸次廣泛，情感漸次深摯，形式語言漸次成熟完整等，但基本的審美追求是一致的，那就是美與和諧、內在抒情性。 Still life was Lin Fengmian’s most favorite theme form later 1940’s to 1960’s, including "Flowers in Vase", pot flowers, glassware, cup trays, fruits and etc. In these still life works, he explored combination of composition, color, depiction and light, pursuing integration

Fengmian in 1950’s. Compared to the artist’s previous works, we can find some changes in his works, hue turning to be bright and mood to peace. Real sense to real life was evolved into depiction to the nature and the illusive circumstances, ink and color ink turning to be a principle form, and oil paintings were gradually reduced and even gone. Vehement yell and plaintive groan was transferred into serene reminiscence and colorful expression. Lang Shaojun made a simple outline about his aesthetic sentiments in this period in Discussion about Modern Chinese Fine Arts: They “include lucidness, brightness, a rd e n c y, p l a i n n e s s , p ro f o u n d n e s s , depression, loneliness, vividness and tranquility”, “surging, as a whole, with the life of the nature and weaving dreams of beauty and kindness”. Lin Fengmian’s exploration as long as 40 years underwent change also, for instance, topics gradually going wide; emotion deepening; the fashion language going to be mature and complete and etc. but keeping a basic aesthetic pursuit, i.e. beauty and harmony, and internal lyricism.

049

LIN Fengmian (1900-1991)

Lady 1980s Ink and color on paper 67 x 67 cm Signed lower left Lin Fengmian in Chinese With one seal of the artist EXHIBITED: Lin Fengmian, Chung Kiu Chinese Products Emporium Ltd., Hong Kong, 1990 Lin Fengmian, Dragon Art Museum, Kaohsiung, 1993 Lin Fengmian, Sun Yat-sen Memorial Hall, Taipei, 1995 ILLUSTRATED: Album of Lin Fengmian, Mountain Arts Culture and Education Foundation, Kaohsiung, 1995, color illustrated, p. 28 Selection of The Mountain Group Museum - Treasure in the Mountain, The Mountain

圖錄：《林風眠畫集》，山藝術文教基金會，高雄，1995，彩色圖版，頁28 《山美術館典藏精選－山中塊寶》，山美術館，高雄，2000，彩色圖版，頁30 林風眠筆下的仕女畫法風格大體可分為兩類，一是以墨筆勾勒，再染以墨、色，其風格近於傳統仕女；一是用彩墨畫，略有光的表現，肌體大都用平塗，講究統調，而以墨與白粉勾勒衣紋，以刻畫半具體半抽象的環境，營造一種朦朧的情調。很明顯，此幅《仕女》的創作風格便屬於後者。林風眠用毛筆、宣紙以及典雅的色澤捕捉一種可望不可及的美，並由姿情和氣質傳達東方女性的溫柔閒

整體看來，林風眠筆下的仕女形象具

白皙，林風眠又喜用白粉勾勒衣紋，以表現紗衣材質的輕盈透明，寫出薄衣輕籠的女人體之體量感，寥寥數筆便將透明感很好地表現出來。在此幅《仕女》中，林風眠主要探索的是形

展覽：

式語言問題，仕女、瓶花以及陳設等都在色彩、構成方面獲得了相對獨立的審美內涵，並最終趨向於抽象的意趣，具有濃郁的抒情性和很強的表現主義色彩。

「林風眠個展」，中僑國貨公司藝廊，香港，1990

The lady painting style under the brush

鈐印左下：林風瞑印

「林風眠個展」，炎黃藝術館，高雄，1993 「林風眠個展」，國父紀念館，台北，1995

as well as the sense of form and sentiment was relevant to the painter’s absorption of transparency and purity of porcelain of

the beautiful woman should be relevant to physiological experience and remote reminiscence of his youth.

有某種程式化特點，大多為鵝蛋臉、細長眼、修眉、小口、長頸，且膚色

67 x 67 cm 簽名左下：林風眠

but elegant, as charming as a poem and dream; his picturesque style of painting

透明性、純潔感有關，畫中仕女的迷人色彩、現代感和神韻，則與畫家的

NT$ 5,600,000-8,000,000 US$ 169,500-242,200 HK$ 1,321,700-1,888,100

1980年代彩墨紙本

and elegant color to capture a seeable yet untouchable beauty, transmitting gentleness and elegance of orient women through posture and disposition, simple

Song Dynasty. In the painting, charming elegance, sense of modernism and airs of

心理經驗和遙遠的青春記憶有關。

仕女

white powder used to outline the clothes, depicting a semi-concrete and semiabstract environment and creating a hazy sentiment. Obviously, the creation style of this "Lady" belongs to the latter. Lin Fengmian made use of brush, rice paper

雅、清淡秀媚、如詩如夢的畫法，其形式感和情調感，與畫家吸取宋瓷的

Group Museum, Kaohsiung, 2000, color illustrated, p. 30

林風眠

lady. The other is colored ink painted, with a tint of shine, body daubed plane for emphasizing consistency and ink and

of Lin Fengmian is generally divided into two categories. One is outlined with ink, before being dyed with ink and color. Its style is close to traditional

Generally, image of lady under the brush of Lin Fengmian has some features of formality. Most appear goose-egg face, slight eyes, slender eyebrows, small mouth, long neck and white skin. Lin Fengmian also liked outlining the clothes with white powder, so as to present lightness and transparency of the gauze clothes, depicting the typical women with thin clothes and light weight, which is just presented by a few strokes. In "Lady", what Lin Fengmian mainly explored is a formal language. All the ladies, vase flowers and furnishings obtains relatively independent aesthetic connotation in terms of color and composition and ultimately tends to abstract interest, presenting mellow sense of lyricism and strong color of expressionism.

050

LIN Fengmian (1900-1991)

Village in the Maple Forest Mid 1980s Ink and color on paper 67 x 68.5 cm Signed lower right Lin Fengmian in Chinese With one seal of the artist

林風眠

PROVENANCE: Collection of Sanhuai House, Hong Kong

秋林山居

EXHIBITED: The Art of Lin Feng Mian, Hong Kong Arts Centre, Hong Kong, December 12-

67 x 68.5 cm 簽名右下：林風眠鈐印右下：林風瞑印

1980年代中期彩墨紙本

美術評論家林惺嶽曾以一顆閃亮的星

29, 1992 A R e t ro s p e c t i v e E x h i b i t i o n o f L i n Fengmian’s 100 years, Lin & Keng Gallery, Taipei, August 14-September 7, 1999

來源：香港三槐堂收藏展覽：

ILLUSTRATED: Artslink Volume 2 No. 8, Hong Kong Arts Centre, Hong Kong, December 1992, coverpage

「林風眠作品展」，香港藝術中心，香港，1992年12月12日至29日「林風眠百年紀念展：風景」，大未來畫廊，台北，1999年8月14日至9月7 日

A R e t ro s p e c t i v e E x h i b i t i o n o f L i n Fengmian's 100 Years, Lin & Keng

圖錄：

Gallery, Taipei, 1990, color illustrated, p. 37

NT$ 13,500,000-22,000,000 US$ 408,700-666,100 HK$ 3,186,200-5,192,400

座形容徐悲鴻，說他的畫光采四射，桃李遍地，名貫大江南北。而他眼中的林風眠，則如同一顆更高遠的寒星。「因為他的開拓步伐比徐悲鴻來得快走得遠。他的舊傳統底子不差，而又能快速的接受新的觀念與技術，加上他個人豪放的氣質，使他的創造衝動異常活潑，畫筆尖銳十足。毫無疑問的，林風眠是民國以後所出現過的真正繪畫天才之一。他生前雖不像徐悲鴻那麼鋒芒畢露，但他遺留的藝術對後代的啟發潛能，絕不在徐悲鴻之下，甚且還有過之。時代的推進將縮短林風眠的繪畫與國人之間的距離。人們會漸漸的發現這顆寒星，原來有其不同凡響的奇光異彩。」（參

《藝訊第二卷第八期》，香港藝術中心，香港，1992年12月，封面作品《林風眠百年紀念專集：風景》，大

閱林惺嶽〈一顆奇光異彩的寒星—追昔撫今話風眠〉，《藝術家雜誌》24期，台北，1977年5月號，頁26）

未來藝術有限公司，台北，1999，彩色圖版，頁37

席德進也讚譽恩師林風眠是「改革中國畫的先驅」，他說：「林風眠在中

林風眠將20世紀中國畫帶入全新的境界，在藝術史學家一一介紹之後，中國美術史會逐漸恢復他的地位。多位評論家一致認為，林風眠的山水畫展現了他真誠的心性，雄偉的襟懷，他不臨摹對象，筆下所繪的對象，都在表達內在的情感。他用色燦爛熱情、造型新穎多變，所賦予的創新是藝術性極高的成就。山水畫向來是中國畫裡最成熟的畫種，自魏晉時期的開

《藝訊第二卷第八期》，香港藝術中心香港，1992年12月，封面作品 Artslink Volume 2 No. 8, Hong Kong Arts Centre Hong Kong, December 1992, coverpage.

國畫的新領域裡，獨自衝向了一個高峰，把所有的人拋得遠遠的。他顯得奇異、分離，像一個巨人，使同道者無法與他並列，無法企及。」（參閱席德進，《改革中國畫的先驅—林風眠》，雄獅圖書出版公司，台北，1979年，頁12）

巴黎塞爾努西博物館館長瓦迪．埃利賽夫是漢學專家，對林風眠的藝術同樣給予好評：「半個多世紀以來，在所有使中國人熟悉與了解西畫及其繪畫技藝，而做出貢獻的畫家中，林風眠是首屈一指的，也就是說，從1924 年以來，他是唯一已經接近了東、西方和諧與精神融合典範的畫家。」（參閱1979年塞爾努西博物館《中國當代畫家林風眠個展》目錄前言）

展，到唐宋元明的高峰，無不講求構造、筆墨和意境之美。中國山水畫首重意境，古有「詩是無形畫，畫是有形詩」，「詩中有畫，畫中有詩」之說，都在講究一種意境之美。而西方傳統的風景畫，從古典主義、寫實主義到印象派，強調自然美，類似於中國山水的構造美；而後印象派以及20 世紀諸新畫派，則講究形式美，接近中國山水的筆墨美。西方風景畫較看重視覺的傳達，是外顯的美感；而中國山水畫則偏重在意境，也就是人的心靈，教觀者砰然心動反思，是內隱的情感。林風眠學貫中西，自然早已體悟中西繪畫的優勢，在他從事教育時期，極力鼓吹自由創作的思潮。從重慶時期、杭州時期、上海時期，到晚年的香港時期，超過一甲子的藝術生涯，風景畫一直是林風眠最重要的創作之一。他在中國山水意境之外，揉合了西畫的方法，如焦點透視，水彩和重彩的淡化渲染，光線的處理，空間氣氛營造。他的風景畫多半是回憶之作，個人情感理想的發抒，因此他的

100

山水風景具有十足的獨特魅力，詩人艾青欣賞過林風眠的畫而寫出「彩色的詩」的喟嘆。知名美術史學家郎紹君並認為，「秋景」、「秋鶩」和「西湖」系列，同為林風眠成熟期風景畫最具特色以及最富感染力的作品。（參閱郎紹君〈林風眠的藝術歷程〉一文）《秋林山居》是完成於1980年代中期的代表作，畫面塗滿色彩，構圖上採取採用了三分法的形式。上方是墨韻十足的層層山巒，雲霧遮蔽，水氣淋漓，遼闊悠遠；中段是秋天染紅的楓林，燦爛耀眼，形成強烈對比，低矮的小屋錯落期間，氣氛融入更輕快、繽紛的色彩；下方是寫意式的土地，黑線條所勾勒隱喻的亂石，蒼勁粗獷。整幅畫的亮點在中段，使觀者立即感受主從關係，獲得美的感受。林風眠歷經了文化大革命的折磨，遷居香港之後，色彩、造型更奔放自由，內在的壓抑充分得到釋放。《秋林山居》達到了中國山水畫中講究的構造美、筆墨美以及意境美，實為林風眠純熟經典之作。 1992年，香港藝術中心為了紀念林風眠逝世屆週年，舉辦了一場盛大的「林風眠作品展」，在當時引起一陣迴響。展覽中約展出50件作品，《秋林山居》即是當時重點參展作品。香港藝術中心特別挑選此作品刊印於《藝訊》封面，以為展覽介紹。香港三槐堂堂主的多幅收藏都在這次畫展展出，如2007年羅芙奧春拍編號050的《湖岸春柳圖》亦同為展品之一。

Art critic Lin Hsing-yueh once described Xu Beihong as a bright constellation, saying that his paintings emit light in

is one of the truly talented painters emerging after 1911. Though he did not demonstrate his ability during his lifetime

all directions, his pupils are found all over the place and his name is famous everywhere. However, in the critic’s eyes, Lin Fengmian is like a cold and distant star “because his career steps are quicker

as much as Xu, the art he left behind has no less, maybe more, potential to be enlightening for the later generations as compared to Xu’s paintings. The passage of time will close the distance

and go farther than those of Xu Beihong. His foundation of the old traditions is not bad, and he can accept new concepts

between Lin’s paintings and the people, who will gradually discover that this cold star has, as it turns out, a wonderful and extraordinary splendor.”

the Present', Artist Magazine, issue 24,

a avoir approché cet « idéal de fusion

Taipei, May 1977, p. 26)

spirituelle et harmonieuse de l’Orient et de l’Occident » qu’il avait lui-même défini dès 1924. (Vadime Elisseeff, Preface of 'Lin

Shiy De-jinn also praised Lin Fengmian as the “innovation pioneer of Chinese painting”. He said, “Lin Fengmian singlehandedly charged toward the peak in the sphere of Chinese painting, throwing everyone else at a distance. He seems unusual and isolated like a giant, making it impossible for fellow painters to stand side by side with or reach him.” (Shiy De-jinn, Innovation Pioneer of Chinese Painting – Lin Fengmian, Hsiung Shih Art Book Co. Ltd., Taipei, 1979, color illustration, p. 12)

creations impulsive and exceptionally lively, and his brush strokes are full of intensity. Without a doubt, Lin Fengmian

et ses techniques, Lin Fong-mien ou Lin Fon ming sous la forme française

Reflections on Fengmian in the Light of

Extraordinarily Splendid Cold Star –

and technology quickly. In addition, his bold and liberal temperament makes his

example of a harmonious integration of the essence of the east and the west.” (Dans tous les peintres qui ont contribué depuis d’une demi-siècle à mieux faire connaître en Chine la peinture occidentale

qu’il adopta pour se plier au goût de Montparnasse) se place au plus haut range. Il est, de plus, le seul sans doute

(Lin Hsing-yueh, 'A Wonderful and

林風眠《湖岸春柳圖》羅芙奧2007春季拍賣會，編號 050，1852萬台幣成交 LIN Fengmian, Green Willows, West Lake Ravenel Sping Auction 2007, lot 050 NT$ 18,520,000 sold c. 1950-1960s, ink and color on paper, 69 x 69 cm

understand it and its artistry, and made contributions over the past 50 years or more, Lin Fengmian is one to be mentioned. In other words, he is the only artist since 1924 to approach the

Vadime Elisseeff (1918-2002), director of Musée Cernuschi in Paris, is a sinologist who also holds a favorable view of Lin Fengmian’s art, “Of all artists who familiarized Chinese people with western painting, helping them

101

Fon Ming, preintre chinois contemporain' exhibition catalogue, Musée Cernuschi, Paris, 1979)

Lin Fengmian has taken twentieth century Chinese painting into a whole new realm. After the introduction by art historians, the history of Chinese painting gradually regained its status. A number of critics unanimously hold the opinion that Lin’s landscape painting exhibition is a sincere presentation of his character. His majestically impressive ideas are not imitations of any object. All subjects painted by him are expressions of his innermost feelings. Landscape painting has always been the most developed form of Chinese painting. From its conception in the Epoch of Warring States to the heights of its development during the

Having learned Chinese and Western paintings, Lin obviously realized their advantages at an early stage. During his teaching period, he put in every effort to promote the trend of free creation. Landscape painting has always been one of the most important works in his artistic

林風眠《秋嵐》羅芙奧2006春季拍賣會，編號037 2261萬台幣成交 LIN Fengmian, Autumn Haze Ravenel Sping Auction 2006, lot 037 NT$ 22,610,000 sold 1950s, ink and color on paper, 70 x 66 cm

Tang, Song, Yuan and Ming Dynasties, emphasis was invariably laid on the beauty of form, ink and brush and artistic conception. Artistic conception is of primary significance in Chinese landscape painting. The beauty of nature, which is similar to the beauty of form in Chinese painting, is highlighted by the ancient saying, “Poetry is an invisible painting, whereas painting is a concrete poetry” and “Painting exists in poetry and poetry lives in painting”. Post-Impressionists and new schools of painting in the twentieth century are also particular about the beauty of form, which is close to the beauty of ink and brush in Chinese landscape painting. Western landscape paintings give more importance to visual communication, that is, the external aesthetic perception; whereas Chinese landscape paintings stress on artistic conception, or frame of mind, moving the audience and engaging them in introspection, and on internal sentiment.

are contoured in a disorderly fashion using black lines. The light of the entire painting, which lies in the midsection, enables the onlooker to immediately experience the relation between the primary and the secondary and find the

career, which extended more than sixty years from the Chongqing, Hangzhou and Shanghai periods to the later Hong Kong period. Apart from landscape and

experience of beauty. After going through the torment of the Cultural Revolution, Lin moved to Hong Kong, where his inhibitions are adequately released as his paintings became more colorful

artistic conception, he subtly combined Western painting methods such as focal perspective, watercolours, lightening of dark shades, light treatment and ambience

and freer in form.“Village in the Maple Forest”met the three beauty requirements of Chinese Landscape painting in terms of its structure, brush skill and concept. It is

creation. His landscape paintings mostly consist of recollections and expressions of

truly the master piece of Lin’s.

individual sentiments and ideals. Hence there is a unique charm in the landscapes. Poet Ai Qing once wrote of his paintings

To commemorate Lin’s death anniversary in 1992, a grand exhibition“Works of Lin Fengmian”was held by the Hong

as “colorful poetry” in admiration. According to renowned art historian Lang

Kong Arts Centre, bringing about much excitement at that time. Of the 50

Shaojun, the “Autumn Scenery”, “Autumn Ducks” and “West Lake” series are the most distinctive and captivating landscape

paintings were exhibited, “Village in the Maple Forest”is the most important work. It was selected for the cover of ArtsLink

paintings of Lin's mature period. (Chapter in Lang Shaojun, 'The Artistic Career of Lin Fengmian')

by the Arts Centre to serve as introduction to the exhibition. A number of collections

" Vi l l a g e i n t h e M a p l e F o r e s t " i s a representative work completed in the mid 1980s. The colorful canvas is

held at Hong Kong’s Sanhuai House were also displayed in the exhibition, and one of them was “Green Willows, West Lake” lot 050, Ravenel Spring Auction, 1997.

composed in the trisection style. The dark upper section consists of small and steep ranges hiding behind misty clouds at the extensive distance. The middle section, which comprises a maple forest colored red by autumn, is resplendent and dazzling in stark contrast to the upper part. Low cottages are strewn at random in a lively atmosphere rendered in a riotous profusion of colors. Freehand brushwork is used to paint the land at the lower section where dark, rugged stones

102

103

051

WU Guanzhong (b. 1919)

Mountain Bamboo 1975 Oil on board 49.5 x 44.5 cm Signed lower right Tu and dated 1975 in Chinese PROVENANCE: Ancient collection of Wu Guiping, the artist's friend (a gift from the artist, c. late 1970s) ILLUSTRATED: Wu Guanzhong, Beijing Deep Alley Gallery, Beijing, 2006, color illustrated, p. 36

NT$ 16,000,000-20,000,000 US$ 484,400-605,500 HK$ 3,776,300-4,720,300

是創作而非寫生 2006年夏，在吳冠中合作了大半生的裱畫師開設的畫廊裡，未等藏家將《山竹》打開，坐在沙發上的吳冠中即將手揚了起來，「假的！秦皇島不可能有我的油畫。」藏家的助理不懂規矩地舉起了手上的相機，被老先生嚴令喝下，原本定了5分鐘的會面，在最初的兩分鐘裡，眼看就要結束了。已經先行看過作品的裱畫師，同時也是藝術家非常信任的朋友，說了句，

吳冠中作為一位藝術家最可貴可敬的品格—為藝術而忘一切！這幅近乎被遺忘的作品在吳冠中的眼中異常珍貴：「這是我創作，而不是寫生！」吳冠中作品風格多樣，但作品素材多取材自實景寫生，這一幅，藝術家將自己生活過的幾地風景融合在一張畫面中，山水置後，山竹居前，畫面層次豐滿迭起，遠近品讀風格各異，意趣無窮。

1975 油彩木板

「您再看看。」藏家將畫框拆掉，直接將畫在木板上的作品交到藝術家手上，提到了一個可以讓藝術家回想起作品的名字。「對對對，畫是我給他的。」距離作品的贈與已經過去30多

藏家一直疑惑於畫面上出現的七二三，是不是指1972年3月的創作落款，藝術家甚少在作品中標上月份。原來，這也是藝術家的特別創作，七二三指的不是1972年3月，而是1975

49.5 x 44.5 cm 簽名右下：荼七二三

年了，如果不是這一次，藝術家甚至已經將這幅作品忘記了。從回想起作

年，將二三拆開合為五，是為了讓畫面看起來更有圓滿。

來源：畫家友人吳桂平舊藏（約1970年代後

品的那一刻開始，這幅畫在他的手中拿起放下，再拿起再放下，原定5分鐘的會面因為回想起了這幅作品的種種背景和緣由，延長到了近兩個小時。

山石的肌理，山竹的挺拔和秀麗，激起了藝術家對那個時代無限的回想。

吳冠中山竹

期得自藝術家的贈與）圖錄：《吳冠中畫展》，北京深巷畫廊，北京，2006，彩色圖版，頁36

被呵斥的助理拿起相機，哪怕是近距離的拍攝也沒再遇到任何阻擋—吳冠中全身心地投入到欣賞久違的畫作裡，已經顧不得周遭的人與事。這是

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畫面處因為畫在木板上年代久遠，加之當時的油彩品質的問題，有細微的裂痕，也被藝術家制止了修復的提議，「不要修，就讓它在那裡，不影響畫面，沒問題。」在放下拿起的過

程中，幾次看出了神，一言不發。這一段回憶，需要穿透的時光30年有餘，已經是近40年的歲月。

架子，畫就放在架子裡面，這樣背著就下地了。下地多在麥地裡畫，誰也看不見。」

時光的聚首

雖然沒有人看見，但是吳先生的大名和藝德還是感染了一位原本肩負著監

1970年代，特別是在中期，吳冠中相當一部分作品都是以木板為創作底材。那時候的藝術家，即使是找到一塊木板也是非常不易的。

管他們的小兵的敬重，這就是藏家提到的讓吳冠中回想起這幅畫的緣起的吳桂平。肩負著監管職責的吳桂平當時是一個對藝術一無所知的來自河北唐山的小夥子，僅僅因為對吳先生的敬重，不但談不上監管，甚至省下自己的口糧給實現不了基本生活品質的

1970年，受文化大革命的影響，任教於原中央工藝美術學院（現清華美術學院）的吳冠中和全體師生到被下放到河北石家莊的李村勞動，開始種水稻、拉煤、批判、鬥爭…就是不許作畫的生活。這樣的日子持續了兩年，

吳冠中。患難之情是人一生中最被珍視的情感。在下放的那四年，吳冠中和吳桂

才被允許在星期天作畫。

平成為莫逆之交，吳桂平成為吳冠中的田野弟子，開始了無校舍的繪畫課

這些黃金的星期天，沒有畫具材料的吳冠中，買了一兩塊一個的農村簡易

程。這樣的師生關係一直到吳冠中被調回北京參加賓館畫的製作。在法國吳冠中接受當地記者採訪時，特別提到這段下放的日子和吳桂平其

黑板，刷上膠後，便可在上面作油

人。吳桂平當時想不到自己的一番敬意會引發如此多的故事，吳冠中更想不到自己的一己回應，會給畫壇多帶出一位名叫吳桂平的人物，因為這個人物已讓從未重視過繪畫藝術的秦皇島擁有了美術學習班進而成立美術院校，讓藝術有了更深遠的基礎。離開時，吳冠中送了兩幅作品給吳桂平作為紀念。這兩幅作品，都與《山竹》無關，那時候《山竹》甚至還沒有創作出來。吳冠中《黔靈山》 WU Guanzhong, Mountain Qianling 1972, oil on board, 46 x 46 cm

畫。那一段生活，在吳冠中的自述中如此描述：「家裡去有時候帶顏料，畫板也沒有。農民地頭上有黑板，輕便黑板，每天下地，上面都有毛主席語錄，那個板一塊，我就買了一批。買了一批板，上面刷膠，刷了膠上面畫油畫。沒架子有背筐，那個筐有很高的把，又背菜又背糞，就拿這個當

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1976年，吳桂平復員來到秦皇島，開始從事美術的相關工作，一直到位居秦皇島美協主席。那一年，將兩幅吳冠中贈與之作留在唐山老家的吳桂平和所有的中國人一樣，絕對想不到會發生唐山發生大地震，這場地震造成了15886戶家庭解體，災難過後，家園變成廢墟，整個城市全部坍塌。兩幅作品被深埋地下，徹底消失。地震之後，偶然來到北京的吳桂平來

到北京跟吳冠中碰面，遺失的兩幅畫作儘管可惜，吳先生仍毅然絕對再贈一幅作品給吳桂平。在藝術家的家裡，吳桂平自己挑選了這幅老師難得的創作作品，收藏了近三十年。而吳冠中對情緣的珍惜，對舊友的憐愛，為人為藝，在此之中，皆有定斷。

珍貴緣自於創作 30年來，在吳冠中數不清的畫冊和報導中，沒有提及這件作品。吳冠中重睹舊畫，之所以心緒萬千，除了創作本身，除了藝術品引發的回憶，更多的來自於人生和藝術巨大變遷的感慨。1975年是吳冠中創作力作的一年，包括著名的《乞力馬札羅雪山》等皆在這一年創作。這一年的作品色彩都比較明麗、輕快，形式亦多具像，寫實的。1975年是畫家重要的一年，是年所作墨彩畫《北京松》是他跨入水墨之鄉較早的一幅代表作，此後，吳冠中風格的江南水鄉、江南民居系列深入人心。而1975 年則可以看作兩種風格的分界點。《山竹》描繪了山、水、竹的和諧景色，構圖的延展和縱深給了人美好的憧憬和想像，有關自然的靜謐和生機，色彩的明靜，安詳的環境，精心的構圖，細膩的筆觸，都可以感受到畫家創作作品的美好心情，亦可謂得意之作。

吳冠中《竹林》 WU Guanzhong, Bamboo Forest 1985, oil on canvas, 76 x 76 cm

在河北下放的吳冠中，每畫完一幅這樣的作品，吳冠中都會拿給周圍的鄉親們看。吳冠中說：「那是非常有意思的，他們都來看，評頭評腳，這個好這個不好。我在這裡面學了不少東西，因為我覺得文盲不一定是美盲。比如說有一張畫，當然都很具象了，麥子是麥子、高粱是高粱，他說這畫得不好。我自己知道這方面不好，但是像還是很像，拿回來他們看，評論很像。有一次我畫好了，畫的很有意思，題材也好，他們一看很美，反應就很簡單，一個說很像，一個說很美，這就反映出來了。對我的批評，實際上他們並不是有意的，但是我覺得是一個貶斥，我覺得很壞。他們覺得很像，我覺得很好。他們覺得很美，所以我信服他們不是美盲，他們是有看法的。所以這個也許是促使我要畫的東西，不僅專家點頭鼓掌，而

「我研究過莫內的池塘睡蓮垂柳，我研究過塞尚的綠色叢林，我喜愛他們的作品，但他們的技法都不能用來表

且需要全中國人點頭的，所以這個也是從老鄉那裡考驗我的。」

現我的垂柳與竹林。油畫的色感和濃郁與國畫的流暢和風韻，彼此可以補

情字一生

充嗎？是的，應該是可以的，但其間存在著各種矛盾，矛盾如何解決？只能在不斷的實踐中去體驗甘苦吧！」

《我負丹青》是吳冠中創作書的書名，這本書四個字傳達出了藝術家難解的「情」字。藝術是為了什麼？創作又為了什麼？這些是塵世的哲學難題，在吳冠中這裡，早有了自己的定義。

（吳冠中摘自《油畫民族化雜談：土土洋洋、洋洋土土》）

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2006年年初，吳冠中為上海美術館為自己舉辦的畫展開幕寫下了這樣一段話：「學藝之始，我崇拜古今中外的名家與名作，盲目的。歲月久了，識見廣了，漸漸有了自己的識別力：名家不等於傑出者，名畫未必是傑出之作。人死了，哪怕你皇親國戚，唯作品是溝通古今中外的文脈。偽造了大量的廢物欺世，後人統統以垃圾處理。我分析自己對名家與名作看法的轉化因由，要害問題是著意於其情之真偽及情之素質，而對技法的精緻或怪異已不再動心。情之傳遞是藝術的本質，一個情字了得。藝術的失落同步於感情的失落，我不信感情的終於消亡。」而作為一個觀者，僅通過繪畫上的成就來概括吳冠中的其人其藝顯然是不夠的。應該說他不僅是一個在中西藝術融合的實踐中作出巨大貢獻的著名畫家，是一個對中國當代美

30 years since the works was given. If it is not on this occasion, the artist would even have forgotten the works. From the moment he remembered the painting, he took up the painting and then put it down, and he did it once and again. The previously set 5 minutes of meeting was extended for 2 hours due to his memory. The refused assistant then took up the camera. Even the shooting closed at hand was not impeded—Wu Guanzhong put his whole heart into the painting he had not seen for a long time, oblivious of persons and things around. That is the most respectable disposition of Wu Guanzhong as an artist. That is to forget anything for arts! This nearly forgotten works is especially

術發展進程產生過理論影響的人物，更是充斥著人格力量的精神導師。

precious in the eye of Wu Guanzhong: “It is my creation rather than sketch!” Wu Guanzhong’s works goes in various

Not sketch, but creation

styles, but materials of the works are mostly derived from sketching. In this painting, the artist has integrated the

In summer of 2006, in the gallery established by the picture mounting artist with whom Wu Guanzhong has cooperated for half of his life, before the collector unrolled his "Mountain Bamboo", Wu Guanzhong, seated on the sofa, immediately raised his hand, “Faked! It is impossible to find my oil painting in Qin Huangdao.” Without prudence, assistant of the collector raised the camera in hand but was refused sternly by the old gentleman. The previously planned meeting for 5 minutes seemed about to end in the first 2 minutes. The picture mounting artist, who has seen the works in advance and is the trustworthy friend of the artist, said, “Have a look anyway.” The collector removed the picture frame and directly handed the works painted on the wooden plate to the artist and mentioned a name that enable to remind the artist of the work. “Oh, yes, I have given him the painting.” It has been over

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paintings of landscapes in various places into one. Mountains and waters were set on the background of landscape. Mountain bamboos are in the front. There are meaningful layers on the painting. Viewing closely or at a distance, you can get various tastes and boundless interests. The collector has been confused about the ‘723’ on the painting. Whether it means the inscription of the month, namely, March 1972, the artist seldom marks month on the works. In fact, that is also a special point of the artist, ‘723’ does not means March 1972, but 1975. He separated 5 into 2 and 3, in order to make the painting plentiful. Texture of the mountain rock as well as straightness and elegance of the mountain bamboo have stirred the artist's endless reminiscence of those ages. As the painting has been on the wooden plate for a long time and due to quality of the

oil pigment at that time, there are small cracks on the surface. The proposal for restoration has been stopped by the artist, "Don’t repair it. It doesn’t matter as it does not impact the painting." In the course of taking up and putting down, he got in trance for times without any utterance. Such reminiscence goes across over 30 years, almost 40 years.

allowed to paint on Sunday. On these golden Sundays, Wu Guanzhong without tools for painting bought a makeshift backboard used in countryside. After pasting glue, he began to paint on it. For that period of life, Wu Guanzhong described in his own account, “In the house, there was pigment sometimes, without painting board. There was blackboard on the farmland. It was portable and on it was Chairman Mao's Quotation. I bought a batch of the blackboard. I brushed glue on the board and made oil painting. Without easel, I used pannier. The pannier had very high handle and was used to carry both vegetable and dung. I used it as easel and carried it to the field. For most of the time I was in the wheat

吳冠中《竹林》 Bamboos

field and no one saw me.” Tough no one has seen

Gathering of times In 1970's, especially in mid-1970's, a considerable amount of Wu Guanzhong's works have wooden board as the base material for creation. It is not easy for artists at that time even to find a wood block. In 1970, influenced by the Cultural Revolution, Wu Guanzhong, who taught in Central Craft and Fine Art Academy (present Fine Art Academy of Tsinghua University), and all teachers and students were transferred to Licun Village of Shijiazhuang in Hebei Province to labor in the fields. A life with planting paddy, carrying coal, criticizing, struggling, etc. had begun, but no painting anyway. Such time lasted for two years before he was

him, the fame and moral of Mr. Wu has influenced a little soldier who previously supervised over them. That is Wu Guiping mentioned by the collector and reminded Wu Guanzhong of the origins of the painting. Wu Guiping who in charge of supervision was at that time a lad from Tangshan of Hebei Province and he was ignorant about arts. Due to his respect to Mr. Wu, his relationship with Wu is deviated from supervision. He even saves his grain portion for Wu Guanzhong who was unable to realize the basic needs for life. The emotion in time of plight is the most worthy emotion in life. In the four years of countryside life, Wu Guanzhong and Wu Guiping become the sworn friends. Wu Guiping is Wu Guanzhong’s disciple in the field and began the painting class

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without classroom. Such relationship of teacher and student has lasted till Wu Guanzhong was assigned to Beijing to

Wu Guanzhong’s value about affection and friendship has been evaluated affirmatively as personality or artistic

participate in fabrication of the hotel painting. When Wu Guanzhong accepted interview of the reporter in France, he especially mentioned about the period and Wu Guiping in person. Wu Guiping had not expected that his respect would give

cultivation.

rise to so many stories. Wu Guanzhong had also not expected that his own response unilaterally would add a figure named Wu Guiping in the painting circle. The figure had added fine arts class in Qihuangdao where painting art had never been respected, and then Fine Arts School was established, laying further foundation for arts. When leaving, Wu Guanzhong gave Wu Guiping two works as keepsake. Both works have nothing to do with "Mountain Bamboo", which was not yet created by then. In 1976, Wu Guiping was demobilized and came to Qinhuangdao and began to be engaged in relevant works about fine arts, till he rose to the post of Chairman of Qinhuangdao Fine Arts Association. In that year, Wu Guiping and all other Chinese had not expected that two paintings presented by Wu Guanzhong w o u l d b e b u r i e s u n d e rg r o u n d a n d disappeared for ever after the gigantic earthquake in Tangshan causing ruin of 15,886 households. After the disaster, the homestead became ruins and the entire city got dilapidated. After the earthquake, Wu Guiping who happened to come into Beijing met Wu Guanzhong. Though it was a pity to lose two paintings, Mr. Wu presented another painting to Wu Guiping. In the artist’s house, Wu Guiping himself picked out this rare works of the teacher and collected for nearly 30 years. Meanwhile,

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Preciousness comes from creation Over 30 years, among Wu Guanzhong's numerous painting albums and reports, there is no mention about the works. As Wu Guanzhong viewed the painting again, his complexity of emotion has, besides the creation itself, originated from the reminiscence stirred up by the works, and more from sign about great change in life and arts. 1975 is the year when Wu Guanzhong created his most excellent works, including the "famous Kilimanjaro Snow Mountain". Works created in the year have bright and airy features and go into many forms. 1975 is a key year for the artist. His color ink painting, "Beijing Pine" created in the year is a representative works for his entry into the field of ink painting. Thereafter, Jiangnan Water Town and Jiangnan Civil Residences with Wu Guanzhong's style are deeply rooted among the people. The year 1975 could be regarded as the demarcation point of the two styles. "Mountain Bamboo" has depicted harmonious landscapes of mountain, water and bamboo. Expansion and depth of the composition have left people with fine expectation and imagination. Natural tranquility and vividness, cleanness of the color, sound environment, elaborated composition and fine-elaborated strokes enable you to feel fine mood of the artist when creating the works. It can be termed as the artist's works worthy of being proud of. “I have researched into Monet’s pond water lily and weeping willow as well as Sai Cézanne's green jungle. I love their works, but neither of their techniques can

be used to present my weep willow and bamboo forest. Can the color and strong sense of the oil painting complement the smoothness and tune of Chinese painting? Yes, it should be able to complement. But how to solve the contradiction contained in it? You can only experience the feeling in practice!” (Wu Guanzhong from About Nationalization of Oil Painting: Local and Fashion)

Wu G u a n z h o n g w a s t r a n s f e r r e d t o countryside in Hebei. For every painting finished, Wu Guanzhong would present it to surrounding local people. Wu Guanzhong said: “That is very interesting. They came to view the painting and commented about it. I have learnt a lot from them, because I think that illiteracy is unnecessarily aesthetic illiteracy. For instance, a painting was very concrete. The wheat is wheat and the sorghum is sorghum. He said it was not good. I know that it is not good in this aspect, but it resembled the real thing very much. When I took it back, they evaluated that it resembled the real thing very much. Once I finished the painting, which has interest flavor and fine theme, they said it was beautiful. The response is simple, or resembling, or beautiful. That is reflected. Actually their criticism against me is not intentionally, but I feel it is negation. I feel it bad. They felt resembling and I felt good. They felt it beautiful, so I am convinced that they are not aesthetic illiteracy. They have their own opinion. Therefore, that is what I wanted to paint. I need nodding of both the experts and all Chinese. That is test of the local fellow villagers.”

secular philosophical problem. However, as far as Wu Guanzhong is concerned, he has had his own definition. At the beginning of 2006, Wu Guanzhong wrote such an inscription on the opening ceremony of the painting exhibition launched in Shanghai Art Museum: "At the beginning I studied arts, I blindly respected famous artists and works at all times and in all over the world. As times goes by, I gradually have my own discernment: Famous artist does not equal to the eminent figure and famous painting is unnecessarily the eminent works. Man will die. Only the works are the link communicating the cultures at all times and in all over the world. Large amount of fake deceiving the world have been treated as garbage by descendents. My opinion of the changing factors of famous painter and famous painting is that the trueness and quality of the emotion, rather than its extraordinary or weird skill. Emotion conveyance is the essence of art crafts. Depression in the art is in the same pace with emotional depression. I do not believe in ultimate death of emotion." As a viewer, it is not enough only to use achievement in painting to outline Wu Guanzhong's personality and art. In a sense, he is not only a famous painter with great contribution in integration of Chinese and western arts, but a figure with theoretic influence upon developmental course of contemporary Chinese fine arts as well as the spiritual mentor full of personality power.

Emotion for life What I owe to Painting is the title of the book written by Wu Guanzhong, in four characters the artists conveyed the artist’s unfathomable "emotion". What is art for? What is creation for? These are the hard

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052

CHU Teh-chun (b. 1920)

Ombres bleues (Blue Shadows) 1989 Oil on canvas 195 x 130 cm Signed lower right CHU TEH-CHUN in Chinese and in English, dated 1989 Titled on the reverse "Ombres blues" in French, signed CHU TEH-CHUN in Chinese and in English, dated 1989

朱德群

1980年代中期之後，朱德群創作出以白色調為主的雪景系列作品，使他的繪畫成就攀上高峰。一般的抽象畫

藍影 PROVENANCE: Galerie Gabrielle Fliegans, Strasbourg, France Private collection, Paris (acquired directly

1989 油彩畫布

from the above, December 1989)

簽名畫背："Ombres blues" CHU TEH-CHUN 朱德群 1989

EXHIBITED: Chu Teh-chun Exhibition Tour 1988-1989, R. O. C, Taiwan Provincial Government Department of Education, Taiwan, 1988-

195 x 130 cm 簽名右下：朱德群 CHU TEH-CHUN 89

來源︰加比愛爾畫廊，斯特拉斯堡，法國

1989

私人收藏，巴黎（1989年12月得自上述來源）

ILLUSTRATED:

展覽：

Chu Teh-chun, King Ling Art Center, Taipei, 1989, color illustrated, p. 153

「朱德群中華民國巡迴展」，台灣省政府教育廳，台灣，1988-1989

Pierre-Jean Rémy, Chu Teh-chun, Editions de La Différence, Paris, 2006, color illustrated, p. 177

圖錄：《朱德群畫集》，金陵藝術中心，台

NT$ 9,500,000-12,000,000 US$ 287,600-363,300 HK$ 2,242,200-2,832,200

北，1989，彩色圖版，頁153 皮耶－尚˙雷米，《朱德群畫集》，拉迪夫羅斯出版社，巴黎，2006，彩色圖版，頁177

112

的靈感多來自音樂或自然，對朱德群而言亦復如此。如果我們說，「雪白色」是他對高山雪景的讚嘆，那麼「寶藍色」或許就是對海洋與長天的沈吟吧！平日喜愛閱覽唐詩宋詞，「寶藍色系列」是朱德群神遊中國古典詩詞後的結晶。作家祖慰的《朱德群傳》曾提到畫家對藍色的偏愛及由來。朱德群說：「王維的詩，就是五彩繽紛的畫，色彩豐富的不可思議，所以蘇東坡說他詩中有畫，畫中有詩，詩畫同體。…我除了迷醉於王維的色彩，還流連於李清照、李後主的濃情。詩意的斑斕和濃情，在我的心靈調色板上，調出了我的寶石藍色調。我畫了很多寶藍作品。」朱德群認為藍色調是大自然中最具氣魄的色調：萬里長天是藍的，無垠大海是藍的。但是，這種大氣魄的藍，卻有著詩意的含

蓄，有著博大的親和性。藍色，是屬於全人類的，屬於整個生命界的。最早的生命其實就發祥於藍色之中—原始海洋裡。這是畫家偏愛藍的理由。（參閱祖蔚〈第九章神遊詩詞：重複即關閉的逼近〉，《朱德群傳》，文匯出版社，上海2001，頁 177-178）

朱德群的藍色從1960年代開始出現，例如羅芙奧2005年秋季拍賣編號037的《奧瀛》，即是早期代表作之一。1970 年代也偶有藍色調的油畫創作。不過 1986-87年左右，畫家坦言因次子在香港旅遊時槍擊事件，見到孩子堅強以對的精神狀態而有深深感悟，轉化為著名的寶藍色系列繪畫。1980年代朱德群的繪畫走向生涯的巔峰，尤其是中期以後發展出的「雪景系列」與「寶藍色系列」，更加奠定他的地位。

抽象畫都擁有一個題目。而其實詩詞般的畫題裡，亦傳達出朱德群對的人生觀，道出內在真實之感受。他的中

imagining their stories. Zu Wei, the writer

國文化背景及法國的生活點滴，在作畫時，則無意識地流露出其中的連結，不僅僅是畫題的提示而已。畫家的杭州藝專同窗李霖燦曾寫過〈標題抽象畫新詮〉，為朱德群台北畫展寫序，李霖燦說，在樂壇上有所謂的標

artist once said, “The poems of Wang Wei (a Chinese poet) are like paintings, full of exuberant colors. The richness of

群如何看他的抽象畫，畫家回道：「看一張畫就像聽音樂一樣。」（參閱蘇立文〈朱德群的藝術〉，《朱德群畫集》，歷史博物館，台北，1987年，頁11）如果看畫像聽

音樂，那麼繪畫就像作曲般了。關於藝術上對藍色的詠嘆：奧地利約翰．史特勞斯編寫《藍色多瑙河》圓舞曲；美國蓋希文譜出《藍色狂想曲》爵士鋼琴曲；現在則有朱德群繪畫的「寶藍色的畫詩系列」。這些都是「藍色」的傳世作品！（參閱祖蔚〈第九章神遊詩詞：重複即關閉的逼近〉，《朱德群傳》，文匯出版社，上海2001，頁178-179）

創作於1989年的《藍影》是一幅色彩變化細膩的藍色調作品，其優雅的法

colors is really marvelous. Another wellknown Chinese poet named Su Dong-

題音樂的詮釋，那麼朱德群「有標題的抽象繪畫」也是得來不易。

po also made a similar remark and said that Wang’s readers could see the pictures in the poems, and read the poems in the

《藍影》的直幅形制，給人深邃高遠的

pictures. Pictures and poems act in unity, two in one. Not only do I feel bewitched

感受，雖是一幅抽象油畫，其實貼近中國山水畫裡的壯遊景象，藉此反映出人與自然、人與宇宙的對應關係。其構圖顯得輕快流暢，深沈的藍黑陰暗處，有光線穿透，洋溢神祕飄渺之感，就如同樂曲的轉折變化。大筆刷的拂掠宛如行

英國近代藝術史學家蘇立文曾問朱德

of Chu Teh-chun Biography, mentioned the painter’s love of blue colour. The

雲流水，那是畫家擅長的書法性表現。畫面細膩感性，充滿畫家內在衝動，像是飲下一口醇酒後，微醺的感覺，暢然快意地道出寄懷。 Since the mid-1980s, Chu Teh-chun, has created a series of artworks featuring white-tone snow scenery. This series of works shows his artistic achievement at his apex. Normally, abstract paintings are inspired by music or nature. This applies the same to Chu Teh-chun. We suppose that “snow white colour” expresses how he is amazed by the snow scenery on high mountains. Then, what “royal blue colour” implies is his meditation towards the eternal ocean and sky.

文題目Ombres bleues是朱德群自己起的，並題寫在畫背上。Ombres指的是

Chu Teh-chun enjoys reading classical Chinese poetry (the poems written during

繪畫中的陰影，bleues是藍色的意思。畫家認為按自己的畫意來起名，並沒有妨礙觀眾的自由解讀，因此後期的

the Tang Dynasty and the Song Dynasty). 'Royal Blue Series' is his artwork resulting from reading these classic poems and

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by the rich colors in Wang’s poems, I also like to ponder in the profound love of Li Qingzhao and of Li Yu. So I put this poetic bright colors and profound love in my paintings. In the palette of my mind, I have mixed out the royal blue which I like very much, and did many paintings with.” Chu Teh-chun thinks that royal blue represents the most magnificent tone of nature. For example, the color of the boundless sky is blue. The immeasurable o c e a n i s a l s o b l u e . H o w e v e r, t h e magnificent color of royal blue in the paintings of Chu Teh-chun gives poetic implications which give the viewer feelings of generosity and friendliness. The color of blue, in the artist’s mind, belongs to all human beings. It is of the world. As is known, the earliest life on the earth started in the “blue” ocean. This is the reason why the artist loves the color blue (The reference is taken from Zu Wei (2001), Chu Teh-chun Biography, Chapter 9 “Wondering around in the World of Poems: Repetition is Upcoming Closeup”, Wenhui Publisher, Shanghai, pp 177-178.)

T h e c o l o r o f C h u Te h - c h u n ' s b l u e appeared from the 1960s, for instance

in Ravenel 2005 Autumn Auction Lot 037: "Eaux profondes" is one of his early paintings. In the 1970s, occasionally the painter also did some oil paintings in blue tone. In the year of 1986-87, when the artist’s second son encountered a shooting incident during his trip to Hong Kong, the artist admitted that he was deeply affected by his son’s strong spirit. He candidly explained why he chose the color of royal blue to start a series of paintings which become famous now. At the end of the 1980s, Chu Teh-chun's paintings reached to the highest stage in his career, especially in the mid-1980s, his "Snow Scenery Series" and "Royal Blue Series" both laid the foundation of his status in the art cycle.

(1989), is an artwork based on variable fine blue colors. Chu Teh-chun gave

the influences of his Chinese background and his life experience in France that

this painting a name in French, Ombres bleues, and wrote it on the back of the

has on him. A former colleague of the painter, Li Lin-tsan, wrote the “New

painting. "Ombres" means the shadows in the painting; "bleues" means the color blue. The painter believes that naming

Interpretation of Abstract Paintings with Names” in the preface he did for Chu Tehchun's exhibition in Taipei. He said that

a painting according to its real context will not disturb the viewer’s own free

in music there is so-called interpretation of program music. Thus, Chu Teh-chun's

interpretation. Therefore, he always gives a name to his later abstract paintings. In fact, the poetic names of his paintings

"abstract paintings with names" is indeed very remarkable.

very often imply his philosophy of life. They directly express his feelings and

The vertically framed "Ombres bleues" gives the viewer a perspective of

thoughts. Apart from the names of his paintings, when he paints, he also reveals

deep and profound feeling. Though it is an abstract oil painting, the broad perspective is similar to magnificent scene in the Chinese Landscape paintings. The painting reflects the interactive

Michael Sullivan, a British historian of modern art, once asked Chu Teh-chun how he looked at his own abstract paintings.

relationship between mankind, nature and the universe. The structure is lively and smooth. The light penetrates the deep

He replied, “Looking at a painting is like listening to music” ('Art of Chu Teh-chun',

blue and grimy shadow revealing a sense of mystery and remoteness. It is like the

Collection of Chu Teh-chun's Paintings, by Michael

turning points in music. The big strokes wiping over the canvas are like floating clouds and running streams, which is the

Sullivan, Museum of History, Taipei, 1987, p.11).

If we look at a painting like listening to music, painting would be as if composing music. We can find similar artistic compliments on the color of blue in music, for instance“Blue Danube”composed by the Austrian musician, Johann Strauss II (1825-1899), and “Rhapsody in Blue”a piece of jazz piano music by the American musician, George Gershwin (1898-1937). Now there are Chu Teh-chun’s paintings, Royal Blue Series. These all represent the best works on “blue colour”. (Zu Wei (2001), Chu Teh-chun Biography, Chapter 9 “Wondering around in the World of Poems: Repetition is Upcoming Close-up,” Wenhui Publisher, Shanghai, pp 178-179.)

best presentation of the painter’s expertise in calligraphy. Delicate and perceptual, the painting is full of the inner impulses of the painter. It is like after indulging himself in a glass of fine wine, he then expresses his feeling freely and merrily.

朱德群《奧瀛》羅芙奧2005秋季拍賣會，編號037 2261萬台幣成交 CHU Teh-chun, Eaux profondes(Deeps Waters) Ravenel Autumn Auction 2005, lot 037 NT$ 22,610,000 sold 1960, oil on canvas, 146 x 97 cm

The painter's creation, "Ombres bleues"

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053

CHU Teh-chun (b. 1920)

L’ombre s'éclaircit II (Lightening Shadow II) 1988 Oil on canvas 162 x 130 cm Signed lower right CHU TEH-CHUN in Chinese and English Titled on the reverse "L'ombre s'éclaircit II" in French and dated 1988, signed CHU TEH-CHUN in English and Chinese EXHIBITED: Chu Teh-chun, Musée de Salle Georges, Liège, Belgium, November 25 December 31, 1988 ILLUSTRATED: Chu Teh-chun, Musée d'Art Moderne de la ville de Liège, Belgium, 1988, color illustrated, p. 22 Chu Teh-chun, Cercle d'Art, Paris, 1993, color illustrated, no. 54, p. 101

NT$ 9,800,000-16,000,000 US$ 296,700-484,400 HK$ 2,313,000-3,776,300

朱德群暗影光照 II 1988 油彩畫布 162 x 130 cm 簽名右下：朱德群 CHU TEH-CHUN 簽名畫背："L'ombre s'éclaircit II" 1988 CHU TEH-CHUN 朱德群展覽：「朱德群畫展」，列日市現代美術館，比利時，展期1988年11月25日至 12月31日圖錄：《朱德群》，列日市現代美術館，比利時，1988，彩色圖版，頁22 《朱德群》，藝術圈出版社，巴黎， 1993，彩色圖版，編號54，頁101

「我作畫時，都是我平生壯遊的感覺。有些畫就是我當時不能抑制的衝

站在畫布前，畫家內在的真實情感也不再隱匿；對於觀畫者來說，他們的

動; 有些則是過了很久，甚至遺忘了的壯遊記憶，而被畫布喚醒出來。不管是被外在的美景直接激發，或被內在的某種沉澱記憶中的東西所觸動，我

私人情緒是被充分鼓勵的，即使朱德群的抽象畫作時常會有標題，但觀眾們可以保有其個人的感知方式，去挖

只要面對畫布，感性就會爆滿膨脹起來。這時我有點像喝了酒一般，會激情地在畫布上一口氣畫出我那新鮮的第一遍。也許第二、第三遍會乘興畫下去，但通常我是把它掛在牆上，遠一點來審視它，然後畫第二遍，或不斷的補充、修改下去。我想，畫家作畫，第一遍就會決定作品的命運，第一遍也容易看出他的才情。第二遍之後，要看的便是畫家的經驗了。…在我六十年的畫畫過程中，我也曾在第二遍把畫改壞掉了的經歷。雖然使人懊惱，但也絕非浪費，因為它可增加作畫的經驗教訓，可以避免下一次把一幅稱心如意的畫改糟。」朱德群於 1988年接受楚戈專訪時描述其繪畫創作過程。（祖慰，《朱德群傳》，霍克國際藝術股份有限公司，台北，2003年8月，頁195-196）

掘，去奔馳，甚至鑽研，而朱德群所建造出的畫布是個有機的環境，任不同的性情及思維方式都找到抒發的角落。在此幅1988年完成的《暗影光照 II》，我們可以輕易感受到畫家富有生氣與寬闊的性格，在畫面的兩處底角，中心以及上方，光線以絲絨般的雪白引入，效果特出，但確完全不刺眼或搶了其他區塊的鋒芒，這和真正的大自然是殊途同歸的，而這樣恰如其分的白也引發出接續的空間層次，色彩伴隨著此層次，揉合成似舞蹈般的韻律，醒目的線條絲毫不生硬，反而可以維持住在此動態中暗地裡的和諧，寧靜且細膩。畫布上的氛圍，清楚傳遞著朱德群抽象繪畫所懷抱的人性，當然他的方式是隱諱的，但不失其誠摯之心。

朱德群作畫的開端，並不像大部份的藝術家一樣，會有一個預先設定的主題或是約略構思的雛型，但過度的隨意也絕非是他這位將繪畫視為首要的藝術家之態度，他的繪畫根源於對大自然的悟性，而從中覓得對萬物的深情款待，則也刺激其繪畫的欲望，

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朱德群一生遊歷居住過不同地方，他的繪畫如他的人，早已混合著相異的歷史、歲月、社會，人文，他在繪畫上的表現，不是將單一理論實踐出來，而是將所有世上的可能性「有可能地」融入他自身的心性，再寄託到

畫布上，他的抽象倒不像西方繪畫發展是對具象的捨棄，只是抽象令現代繪畫的形貌意圖有了淬煉後的質地，加上朱德群長久在中國哲學及書畫上的造詣的基礎，無論東西方，都可以發現繪畫上文化匯聚的美好。西方繪畫勾勒出的空間性及建築感融入東方的簡約調和，使我們對眼前的作品多了值得玩味的意圖。看著朱德群一張一張的畫作，你會驚訝於他竟然能點出千百種意境，嗅不出凡夫俗子會想到的「靈感枯竭」之慮，這在其80年代後的繪畫有了極佳的應證，有了年歲的藝術家便是以他多經歷過的歲月來決定其價值，描繪

When Chu Teh-chun interviewed by Chu Ko on his painting process, he mentioned: “When I paint, I painted my

to paint, he doesn’t set a theme or create a scratchy form beforehand, but absolutely free and unrestrained isn’t the attitude for

travel experiences on the canvas. Some of the paintings are about the impulse I couldn’t restrain at the time; some of them are about travel memories from long time ago, or even forgotten ones which

such a artist who placed paintings as the most important thing in his life as well, the source of his paintings came from his understandings of nature, he discovered his love for nature, and this stimulates

brought into memory by the canvas. It doesn’t matter that whether they are stimulated by the beautiful sights I’ve seen, or old memories being touched by something inside, as long as I’m in front

him to paint. When standing in front of the canvas, the artist can no longer hide his feelings, from a viewers point, their private feelings could be encouraged, although there are titled for each of Chu's

of the canvas, my sensitivity will rise. As

paintings, however the viewer's can still

if I’m drinking wine, I will passionately draw my fresh first sip on the canvas. Maybe I’ll subsequently paint the second or third paints, but normally I just hang

keep their own way of sensing, to dig, to run in, or even to study it, and what Chu created is an organic environment on the canvas, all the characteristics or ways

it on the wall, and I look at it from a

of thinking could find their place to be

certain distance, then I paint for the second time, or renew, modify my first paint. In my opinion, as a painter, the

released.

first paint determined the destiny of the work, and the genius of the artist. But the second paint tells the experiences of the artist. During my 60 years of painting experiences, I did modify badly on the second paint. This although bothers, but

1988, we can easily discover the lively and broad characteristic of the artist, there are velvet lights coming over from two corners, middle, and above of the picture, unique effects but they are complete mild and exist peacefully and naturally

never a waste, it helps me accumulating my experiences, and teaches me how to do

with other blocks in the picture, this is like nature; and these velvet white lights

it right on the next painting.”

"L’ombre s'éclaircit II" was finished in

出的記憶也好，心情也罷，都令其創作更貼近他的個人內在，物我合一的境地也在此體現，蘊釀出其所想望的

Teh-chun's Biography, Hoke Art INC., Taipei, August 2003, pp. 195-196)

also derive continuous layers of spaces accompanied by colors, turning into dancing-like rhythms, these lines are soft

幻化記憶。

Unlike other artists, when Chu commences

and are dancing in the dark, quietly and harmoniously. The aura on the canvas

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(Zu Wei, Chu

delivers humanity which Chu embraces, his approach is abstruse but sincere. Chu lived in many places; his paintings are like himself, mixed with variety of histories, time, societies, and cultures. He was not trying to make one single theory possible, he tried to “possibly” merge all the possibilities of the world into himself, and realize it on the canvas. Unlike Western abstracts, his abstract is not trying abandon concrete, he abstracts the look of the painting, adds Chinese philosophies and painting, literature foundations, therefore no matter it is Eastern or Western, we can all discover the beauty of merged cultures in his paintings. His paintings combine the dimension and architectures of Western paintings and the simplicity and harmony of Eastern paintings, made us more interested in what’s inside the picture. When looking at Chu's paintings one by one, you'll be amazed how he is able to realize thousands of artistic conceptions as if his inspiration never dries. And his paintings from the '80s is the perfect proof of that, with some ages, the artists determined his value with years of experiences, it doesn’t matter if he paints his memories, or feelings, because they are closer to his heart, to his state of mind, he and the world are into one, containing vague memories that he longs for.

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054

JU Ming (b. 1938)

Taichi Series 1988 Bronze, edition 16/20 91.5 (L) x 56 (W) x 73.5 (H) cm Signed Ju Ming in Chinese and numbered 16/20 This sculpture is to be sold with a certificate of authenticity signed by the artist. PROVENANCE: Hanart TZ Gallery, Hong Kong

NT$ 5,500,000-7,000,000 US$ 166,500-211,900 HK$ 1,298,100-1,652,100

朱銘太極系列

在中國當代藝術界，朱銘的雕塑藝術，以其深含東方文化內涵而又獨具個性面

In “Taichi Series”, taking basic skills

貌的雕塑風格而著稱。他的「太極」系列雕塑，從雕塑個體到周圍環境，共同形成了一種獨特的人文景觀的架構。在

of shadowboxing as the elements of traditional picture for shaping and further replacing the traditional connotation in it, applying the massive touch sense and

「太極系列」中，朱銘借用太極拳的基

concise patch sense of modern sculpture,

本招式作為造型的傳統圖式因素依據，並進一步置換其中傳統的內涵，運用現代雕塑厚重的體量和簡約的塊面形式，表達了藝術家對於中西兩種文化融合與

Ju Ming, as an artist, has expressed his understanding on imago of mutual integration and accommodation of Chinese and western cultures.

變通的意象理解。 “Taichi” is an important symbol forming 「太極」是朱銘雕塑語言成熟和藝術風格形成的一個重要標誌。當「太極」出現在他的斧鋸之下，很快便引

Ju Ming’s mature sculpture language and artistic style. When “Taichi” appeared by his cutting skills, it immediately aroused

起了國際藝壇的關注。朱銘「太極」的題材創作源於他的生活經歷，也是一種對生命運動的體驗與對生命意象的捕捉。朱銘接受了楊英風的建議開始學習太極拳，太極拳的練習與對太

the concern from international artistic circle. The creation theme “Taichi” is originated from his life experience, as well as an experience of life movement and a capture of life imago also. Ju Ming accepted Yuyu Yang’s suggestion and

極精神的領悟，化為他雕塑的新主題也是其個性的主題。作品湧現出天人合一的浩瀚氣度，促成「太極」形象

1988 銅雕 91.5（長）x 56（寬）x 73.5（高）cm 簽名：朱銘 16/20

卓然挺立。從學習太極到雕塑太極，隨著對太極招式熟練程度的不斷提高，對太極精神理解的不斷加深，斧鋸下的形象源源不斷，創作時也更加遊刃有餘，並達到了完全可以「縱手

附藝術家親筆簽名之原作保證書

放意」，達到渾然忘我的境地。

來源：漢雅軒，香港

In contemporary Chinese artistic circle, Ju Ming’s sculpture arts are famous for the style containing deep orient cultural connotation and presenting personality. In his sculpture “Taichi” series, the individual sculpture together with the surrounding environment, has formed a unique humanistic landscape.

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begun to learn shadowboxing. Exercise of shadowboxing and comprehension about shadowboxing spirit has evolved into a new topic of his sculptural art, as well as his personality. The works have presented an immense bearing of manand-nature combination and promoted the outstanding existence of “Taichi” image. From learning Taichi to carving Taichi, along with increasing improvement of skills of Taichi, his understanding about Taichi spirit has been continuously deepened, images he carved coming out one after another so that his creation turning to be more and more confident and perfect, attaining such a realm where he “carves at will”, oblivious of himself.

055

SUN Weimin (b. 1946)

孫為民無風的晴天

Windless Sunny Day 2003 Oil on canvas 50 x 60 cm Signed lower left Sun Weimin in Chinese and dated 2003 This painting is to be sold with a certificate of authenticity signed by the artist.

ILLUSTRATED: Sun Wei Min Collection Of Paintings, Chin Der Jyu Gallery, Taipei, 2005 color illustrated, p. 25

NT$ 240,000-360,000 US$ 7,300-10,900 HK$ 56,600-85,000

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2003 油彩畫布 50 x 60 cm 簽名左下：孫為民 2003 附藝術家親筆簽名之原作保證書圖錄：《孫為民畫集》，沁德居藝廊，台北，2005，彩色圖版，頁25

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ZHU Fuxing (b. 1938)

Peasant Girl Oil on canvas 100 x 130 cm Sighed lower right Fuxing in Chinese

祝福新農莊女孩

NT$ 340,000-480,000 US$ 10,300-14,500 HK$ 80,200-113,300

油彩畫布 100 x 130 cm 簽名右下：福新

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057

HONG Ling (b. 1955)

First Snow 1994 Oil on canvas 96.8 x 145 cm Signed lower right Hong Ling in Chinese and dated 1994.2 EXHIBITED:

洪淩

Symphony of Landscapes: Works by Hong Ling, Schoeni Art Gallery Ltd., Hong Kong, Mar. 1995

新雪

ILLUSTRATED: Symphony of Landscapes: Works by Hong Ling, Schoeni Art Gallery Ltd., Hong Kong, 1995, color illustrated, p. 77

1994 油彩畫布 96.8 x 145 cm 簽名右下：洪淩 1994.2 展覽：「山水精神─洪淩畫展」，少勵畫

Conscious Landscapes, AuHui Art Publishing House, AnHui, 2000, color

廊，香港，展期1995年3月

illustrated, p. 27

圖錄：《山水精神─洪淩畫集》，少勵畫廊，香港，1995，彩色圖版，頁77 《意象山水》，安徽美術出版社，安徽，2000，彩色圖版，頁27

NT$ 2,200,000-3,200,000 US$ 66,600-96,900 HK$ 519,200-755,300

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057

夏俊娜：為藝術而生的明星

初出茅廬即受廣泛關注

藝術家一樣，西方現代主義諸觀念也對夏俊娜產生了重要影響，諸如畢卡

有的獨立精神，在這方面所表現出的冷靜與成熟，為其進一步成功奠定了

夏俊娜1971年出生於內蒙古，1991年畢業於中央美術學院附中，1995年畢業於中央美術學院。在夏俊娜還在美

索藍色時期的沉靜，雷諾瓦筆下人物的高貴氣質，巴爾蒂斯在造型下的特異品質以及佛萊西斯卡神聖的宗教氛

基礎。

院學習時，她的一些素描和油畫就遠離了在課堂上畫模特兒的習作氣息，以強有力的線條和明暗表現出一種超乎尋常的造型力度和怪異的人生情調。在這些素描和油畫中，讓人從中

圍等。在這個過程中，夏俊娜並沒有刻意去模仿，而是完全靠自己藝術天

品也日趨完美，尤其是以中國當代女性為題材的一系列作品，開拓了她

分和悟性開闢了屬於自己的一條路。

繪畫題材的一個新領域，也是中國油畫幾乎不曾涉足的一個領域。在其此後相繼舉辦的個展也取得了巨大的成

看到的絕不僅只是技巧，而是一種嚴峻，冷酷的人生體驗，一種生命的危機感。她在1993年畫的一批「大鳥」系列，更是憑添了一種超現實的恐怖色彩。如果不是有人在旁邊作特意提示，觀者絕對不會想到這些作品竟是出自一位原學生氣十足的、單純得讓人感覺不到有什麼重大人生經歷的女子筆下。夏俊娜的藝術特質，有一段不斷被誘

1995年夏俊娜剛從美院畢業就連獲得了四個獎項：中央美院畢業創作獎、日本岡松家族在中央美院設立的獎學

功。2001年夏俊娜在台南索卡畫廊舉辦「細數春華」紙上作品展；2002年

金、美苑獎、中國第三屆中國油畫年展年獎。此後隨著其作品不斷參加各大展覽，夏俊娜也充分獲得了藝術界和市場界的認可。1999年於上海藝博

於台北沁德居畫廊舉辦「古典新視野」油畫展；2005年先後在上海美術館和中國美術館舉辦了「生命的豐年」油畫展。

畫廊舉辦的首個個展—《青春組曲》展中，全部作品銷售一空，這種情形對於當時國內的畫廊界而言就是一個神話，就連陳逸飛都成為夏俊娜作品的收藏者。從此夏俊娜的名字就似乎

發的過程。在美院附中學習時，她曾一度是班上較為落後的學生。後正值申玲自美院畢業後分至附中任教，在

和中國的藝術市場連在了一起，儘管這並不是畫家的初衷。

她的發現和開啟下，夏俊娜的專業有了迅猛的進步，並順利考入中央美術

在90年代末夏俊娜迅速成名之後，她並沒有像有些人擔心的那樣隕落。在面對市場的誘惑與衝擊時，夏俊娜顯

學院油畫系四畫室，又在葛鵬仁、王玉平老師的引導下，開始了個人風格的探索之路。當然，與其他同時代的

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隨著自己創作的獨立性與堅持，其作

示出了她與眾不同的執著與韌力保護了自己超凡的實力和藝術天分。夏俊娜將自己的創作置於市場之外，怡然自得的在各種狀態下生存和發展。在外界的批評與讚揚前，夏俊娜始終保持著清醒的認識，即沒有高傲自大，也沒有妄自菲薄，她始終在按照自己的步驟去創作與探索，她在藝術上所具

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獨特的藝術氣質雅靜女孩、鮮果、花卉是夏俊娜創作的主要題材，這些生活場景題材的描繪也體現了夏俊娜積極樂觀的生活態度和她對人文自然的關照。八年的學院教育為她的繪畫事業打下良好的基礎，從畫面的個性構成到對材料的獨特把握，從整體佈局到細節刻畫，她都顯得得心應手，揮灑自如。尤其是她對畫面強有力的控制能力常常使人驚異。畫如其人，夏俊娜作品的畫面中洋溢著青春與浪漫、熱情與純真，厚薄冷暖、點劃塗抹之中滲透著她對生活的關愛，對人與自然的深情。創作的情感在刀、筆、材料、畫布之間的傳遞，也是夏俊娜創作風格的獨特之處。油彩的厚薄、肌理的糙細、筆觸的點畫塗抹都依據自身的特性，轉化為精神表達的手段。那些完全不經意的點、塗、抹，使畫面魔術般地散射出奇異的光彩，鉛灰的色調中跳蕩的黑白，構成了僅她畫中才有的一種神

秘的光影秩序。局部的抽象性和表現性與整體的現實主義完美結合始終貫穿著夏俊娜幾年來的創作，也是她畫

性與整體的寫實氛圍相結合是其重要特徵。在她的畫面中，讀者往往能夠觀看與感受

面獨具個性的重要原因。就夏俊娜的作品本身而言，她更關注繪畫語言的抒發和情感在筆和材料之間的傳遞，這裡沒有社會批判，也沒有觀念的介入，保持作品繪畫性純正是她繪畫的最大特點。

到繽紛、絢爛的花卉，但卻找不到花卉具體的生長結構。在局部的處理上，夏俊娜將黑白的對比、色彩的冷暖、色相的純濁、顏色的濃淡乾濕、光線的強弱、色塊的方圓虛實等諸

「夏俊娜是一個很『純』的畫家，她既不靠觀念的介入，也不靠材料的堆

元素運用的極有章法。這些獨立元素的恰當運用與整體氛圍相融合，使畫面顯得絢爛而神秘，整體與局部相得益彰，使

砌，她只在保持繪畫的一種『純粹性』，只在最低的物質基礎上工作。只要有畫筆，顏料和畫布，她就可以畫畫，畫很大的畫，沒有草圖，更不需要參考資料，一切都是從第一筆開始，從畫的過程中生發出來。」（賈方舟）

她的畫面流光溢彩，耐人尋味。從畫面色彩來分析，夏俊娜的作品色彩絢爛，充滿了靈性美。她用繁複的筆觸與繽紛的色彩，向我們展示了一個女人關於青春和生命的精彩夢想，在看似紛

接影響作品的感染力。夏俊娜在這方面做得相當出色，肌理在其作品中依

雜的用筆與豐富的色彩上建築起一種夢幻般的和諧。她畫中主角多是都市女人，大都她們或坐或立或倚於簇花旁，動作神態中流露出幸福舒適的自

託自身的特徵已經轉化為精神的表達手段。她對肌理的開掘不僅僅停留在作畫的最初階段，而是貫穿於整個創

足，還蘊含著他們青春的夢想、浪漫的情調，或者是對於已逝青春眷戀。從創作技法來分析，夏俊娜作品的獨特面貌也得益於其獨特的運作手勢。 Lot 024

獨特的語言圖式是每個藝術家所追求的，對畫面元素側重點的不同，會呈現出不同的語言圖式。正如李小山所指出：「夏俊娜的吸收消化能力極強。繪畫的人大都會找大師來模仿，而夏俊娜的畫沒有任何人的影子。完全是自己的。」從畫面整體與局部關係的處理上來分析，夏俊娜畫面局部的抽象性、表現

夏俊娜在創作時主要是揉擦為主，類似於撫摸的動作，她自己也曾經說她最喜歡打磨工作。她在創作時，畫筆常常不離開畫布而做圓周運動。獨特的運動手勢更加豐富了其個人的語言圖式。運動手勢裡能夠折射出藝術家修養、悟性的高低，對材料把握的能力大小以及手感的好壞、輕重、緩急。一個優秀藝術家的運作手勢肯定是獨特而純粹的。從畫面的肌理效果來分析，不同的肌理效果所產生的不同視覺感受，將直

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作過程，常有精彩的即興處理。正是以上諸多因素，夏俊娜的藝術作品才呈現出如此獨特和極具感染力的風格面貌。作為70後年輕藝術家中的佼佼者，夏俊娜所取得成績已斐然，而她畢竟還很年輕，其前面的路還很長。我們相信憑藉她的天分、對藝術的執著以及積極樂觀的生活態度，必將會演繹出新的傳奇，我們將拭目以待！

Xia Junna: Star Born for the Art Fledgling be widespread concerned Xia Junna, born in Inner Mongolia in 1971, graduated from Affiliated High School of the Central Academy of Fine Arts (CAFA) in 1991, and graduated from CAFA in 1995. When Xia Junna studied in CAFA, some of her drawings and oil paintings were already away from the extent of modeling practice flavor in classroom, the strong lines and shading performed an unusually plastic strength and strange life style. From these drawings and oil paintings people not only just see skills, but also flinty and firm experience of life, and a kind of life crisis. Her painting in 1993, “Bird” series was added a surreal terrorist color. If there was no one suggested to you deliberately, the viewer will never think that these works was created by a pupillary girl, who is felt too simple to have any momentous experiences in life. Xia Junna’s artistic idiosyncracy is a constantly evoked process. When she studied in Affiliated High School of CAFA, she was once a laggard student. At that time, Shen Ling was graduated from CAFA and was assigned to teach in Affiliated High School. She discovered Xia and enlightened her, Thus Xia made progress rapidly on her professional study and she was enrolled into studio 4 of Oil Painting Dept. of CAFA smoothly. Under the guidance of teachers, Ge Pengren and Wang Yuping, Xia began her personal style exploration progress. Of course, same as other contemporary artists, Western modernism concepts also has important infection on Xia, such as quiet of Picasso blue period, noble temperament of people from Renoir’s painting, Balthus's specific quality under modeling, sacred religious atmosphere of Francesca, etc. During this process, Xia had no intention of imitation,

but opened up her own path based on her own artistic talent and savvy.

for her painting feature. It is also a field nearly no one to have set foot on in Chinese oil painting. The exhibition held

Xia received four awards in 1995, just after she graduated from CAFA: Creative Prize for her graduation work in CAFA, Japan Okamatsu Scholarship in CAFA, Fine Arts Academy Award and Yearly Award of the Third China Oil Painting

after that also has huge success. Xia held "Youthful Memories" paper works show in Taiwan Soka Gallery in 2001, "New Vision of Classic" oil painting exhibition in Taiwan Chin Der Jyu Gallery in 2002, "Harvest of Life" oil painting exhibition

Exhibition. Since then, her works have been displayed on all kinds of major exhibitions, and Xia has also been full recognized by the art field and market.

in Shanghai Art Museum and National Art Museum of China successively in 2005.

All works were sold out in her first solo

Unique artistic temperament

show “Youth Melody” held in Shanghai Yibo Gallery in 1999. It’s a myth to domestic gallery of the day, even Yifei Chen was one of the collectors of Xia’s

Elegant girl, fresh fruit and flower are main themes of Xia’s creation. The

works. Hence, Xia’s name seems to have connection with Chinese Art Market, though it’s not artist’s original intention. Xia became famous rapidly in later 1990s, but she didn’t fall as some people worried. When Xia faced the market temptation and impact, she showed her unique clinging and perseverance to protect her superior strength and artistic talent. Xia put her creativity beyond the market, contented with her lot, survived and developed under various situations. Xia always maintained a clear understanding when she faced outside criticism or praise, no arrogant conceit, nor improperly belittle herself. She was always in accordance with her own process to create and explore. Her independent spirit on art, the calm and maturity shown in this respect laid the foundation for her further success. Her works have become increasingly perfect while she insists on her own independent creation. Especially, her series works of Chinese contemporary female themes opened up a new area

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themes depicting of these life scenes also showed Xia’s positive and optimistic life attitude and her care of human and nature. Eight years of college education has laid a good foundation for her painting career. From the personality constitution of the painting to unique grasp of the material, from overall layout to detail description, she seems handy and free in paintings. Especially her strong image control ability often surprised people. The style of painting mirrors the painter herself. Xia’s work is filled with youth, romance, passion and naivety. Between thick and thin, cold and warm, touch and paint, spread and smear, penetrate her love to life and her passion to nature. Creative emotional transfer between knives, pens, materials and canvas, and this is also Xia's unique creative style. The thickness or thinness of paint, the coarseness or fineness of texture, the touch, paint, spread and smear of the paintbrush are all based on their own characteristics, and convert to the means of spiritual expression. Those totally casual touch, spread and smear magically emit the fantastic brilliance on the painting.

Sparkling black and white between lead gray color constitute a mysterious shadow order which only exist in her painting.

painters, but Xia’s works are totally on her own without anybody’s shadow.

also benefited from her unique means of operation. Xia mainly uses the skill of kneading and scraping in her creative

Perfect combination of local abstract and expression with overall realism has run through Xia’s creation over the past few years, which is also important reason why her work has unique personality. As Xia’s work itself, she is more concerned

Analyzing the relationship between overall and part of the painting, Xia’s paintings combine partial abstract with expression of overall realistic ambience, and this is her important feature. People often can see and feel profuse and

painting, which is similar to caressing movements. She once mentioned that polish is her favorite work. When she was painting on the canvas, brushes usually don’t leave the canvas and doing circular movements. The unique movement of the

about the expression of painting language and the transmission of emotion between paintbrush and materials. There is no social criticism, nor concept intervention,

splendid flowers without the growth structure of concrete flower in her piece. Xia has successfully handled various elements in partial processing, like the

hand means much more enriched format in her own language. The movement of the hand can reflect the cultivation and level of savvy of the artist, the ability to

and keeping the purity of painting is her

contrast between black and white, the

grasp the materials, as well as the better

biggest feature in paintings

cold and warm of the color, the purity and turbidity of the hue, the darkness and lightness of the color, as well as its wetness and dryness, the strength and

or worse, the gentle or the heavy, the slowness or the haste of the hand touch. The hand movements of an outstanding artist must be unique and pure.

weakness of the light intensity, the form

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of the color blocks, and the false and true of the paint. The appropriate use of these independent elements inosculate with

Analyzing the texture effect of the painting, different texture effects will create different visual experience and

overall ambience, making the painting splendid and mysterious. The whole and the part matched the best with each other,

it will directly affect the impression of the works. Xia has done very well in this area, and the texture of her woks

making her picture colorful and worth seeing.

has relied on its own characteristic then turns into the means of spirit expression.

Analyzing the color of the painting, Xia's

Her exploitation of the texture has never stopped in the initial stage, but throughout

Xia is a “pure” artist, who does not rely on concept intervene and material stack, but only keeps a kind of “purity” in the painting and only works on minimum materials. As long as she has brushes,

works are splendid and full of strange feelings. She uses complex and colorful color to show us a wonderful dream of the woman about youth and life, and creates a dreamily harmony based on

the whole creative process, often with brilliant improvisation.

paint and canvas, she can paint as big painting as it could be. Without draft and reference, everything is from the first line and progresses in the painting process. (Jia Fangzhou)

seemingly confused brush touch and rich colors. Most protagonists in her paintings are urban women and most of them sitting or standing or leaning on flower clusters, with an expression of happiness,

and appealing style. As one of the outstanding young artists born after 1970, Xia has already achieved brilliant accomplishment, but she is still very young, and has a long way to approach.

comfortable and self-sufficiency in their motions and attitudes. And it also contains their dreams of youth, romantic sentiment or the memory of the departed youth.

We b e l i e v e t h a t w i t h h e r t a l e n t , perseverance and positive life attitude, she will surely present a new legend. We will wait and see!

Unique language format is pursued by every artist. Different focus of picture elements will be presented in different language format. As pointed out by Li Xiaoshan: Xia has strong digestion. Painters usually imitate those master

Analyzing the creative techniques of the painting, the unique aspect of Xia’s works

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Because of above factors, Xia’s art pieces have presented such a unique

058

XIA Junna (b. 1971)

Hometown Morning 1997 Oil on canvas 160 x 130 cm Signed lower right XJN in English and dated 97.2 ILLUSTRATED: Paintings by Xia Junna, Chin Der Jyu Gallery, Taipei, 2002, color illustrated, p. 44 This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 2,000,000-3,000,000 US$ 60,600-90,800 HK$ 472,000-708,000

夏俊娜故鄉之晨 1997 油彩畫布 160 x 130 cm 簽名右下：XJN 97.2 圖錄：《夏俊娜畫集》，沁德居藝廊，台北，2002，彩色圖版，頁44 附藝術家親筆簽名之原作保證書

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059

PANG Jiun (b. 1936)

Sunlight Illuminating Suzhou River 2006 Oil on canvas 175 x 175 cm Signed lower right Pang Jiun in Chinese, dated 2006 With one seal of the artist This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 2,500,000-3,500,000 US$ 75,700-106,000 HK$ 590,000-826,100

龐均陽光照在蘇州河上 2006 油彩畫布 175 x 175 cm 簽名右下：龐均 2006 鈐印右下：均附藝術家親筆簽名之原作保證書

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060

YANG San-lang (1907-1995)

Seascape Oil on canvas 45 x 53 cm Signed lower right S. Yang in English

NT$ 1,100,000-2,100,000 US$ 33,300-63,600 HK$ 259,600-495,600

楊三郎海景油彩畫布 45 x 53 cm 簽名右下：S. Yang

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060

061

LIAO Chi-chun (1902-1976)

Sun-Moon Lake 1957 Oil on board 32 x 41 cm Signed lower right Chi-chun in Chinese Titled on the reverse Sun-Moon Lake painted by Liao Chi-chun for Mr. Hsiung as a Souvenir, dated June 12th, 1957. ILLUSTRATED:

從1990年第一代傳家拍賣公司在台北成立，台灣老畫家是當時主力的項目。1992年蘇富比在台北舉辦第一場拍賣，拍賣目錄封面即是廖繼春的《龜山島》，可見對這位本土大師的重視。這幅畫在當時以640萬台幣成交，是該場拍賣中成交金額最高一

天使般的心眼廖繼春是台灣早期留學日本的藝術家之一，和陳澄波一起，是東京美術學校圖畫師範科同窗。1928、1931年時廖繼春分別以《有香蕉樹的庭院》、《有椰子樹的風景》入選第九回、第十二回的日本帝展，對當時的台灣而

Lin Hsing-yueh, Liao Chi-chun (Taiwan Fine Arts Series No. 4), Artist Publishing Co., Taipei, 1992, color illustrated, no. 24, pp. 6465; black-and-white illustrated, p. 222

幅。此後，廖繼春的作品經常是台北各家拍賣錄封面的首選，或是主打的拍品。不僅是因為他的輩分崇高，畫

言這是極高的美術成就。早年獲獎、參展無數，與幾位畫友成立「赤島

NT$ 6,000,000-7,000,000 US$ 181,700-211,900 HK$ 1,416,100-1,652,100

價更是一直居高不下，尤其畫面色彩繽紛十分討喜，所以他的作品是過去最常刊登於台灣各大拍賣目錄封面的畫家之一。

社」，即後來的台陽美術協會，舉辦畫展，激勵彼此創作。從美術史和教育史的立場，他不但是台陽展的發起人，從第一屆到第三十九屆之會員兼該展西畫部評審員，更長期任教於師

廖繼春日月潭 1957 油彩木板 32 x 41 cm 簽名右下：繼春簽名畫背：日月潭廖繼春畫贈熊先生惠存民國四十六年六月十二日圖錄：林惺嶽，《台灣美術全集4：廖繼春》，藝術家出版社，台北，1992，彩色圖版，編號24，頁64-65；黑白圖版，頁222

2003年，台灣聯邦文教基金會決定增設「台灣美術貢獻獎」，表揚對台灣美術運動及美術教育有貢獻的前輩美術家之時，經評審委員會多次反複投票結果，第一屆得獎者即為廖繼春。從其個人的角度，廖繼春被視為現代中國美術發展中極為重要的大師之一，其作品呈現了東方的抽象精神以及中國藝術中特有的色彩與元素，散發出無比的美感。不論美術思潮與學院環境再怎麼變，廖繼春都深受各方擁戴而屹立不搖，辭世多年之後，仍讓美術家們懷念不已，檢視所有關於廖繼春的文獻，幾乎全為讚美之詞。

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大、藝專、文化學院等校，不只對學生，亦對台灣西畫壇影響甚大。台灣半抽象、半具象的油畫風格，大都受到廖繼春的影響。台灣六、七十年代活躍的青年畫家，同樣大都受到過他的指導。尤其是當時政治背景特殊、思想保守，廖繼春鼓勵學生成立五月畫會、舉辦展覽，甚至共同參與展出。因此，廖繼春在後進藝術家的心目中是重要的精神導師。他鼓勵學生自由創作，極受愛戴，一生忠實於創作與教書，先後達50多年。面對新時代藝術思潮的變化，他有穩

061

first auction in Taipei, Liao Chichun’s “Turtle Island” appeared

Angle-like mind

on the cover of the catalog of the auction, representing a great attention people to the local artistic master. The painting was transacted at the price of NT$ 6.4

Liao Chi-chun was one of the early Taiwan artists studying in Japan, Chen

million at that time and ranked the top of the amount in the auction. Later, Liao Chi-chun’s works were often the top choice for various auction catalogs of Taipei, or the leading goods for 健的技巧，以及創新的才華，對描繪的物件他賦予色彩及變形的巧思，令青年畫家大為折服，在不同生命階段頻頻創造巔峰，也正因為此，他的畫作才一直受到收藏家的鍾愛。

auction. It was not for his lofty position that keeping price high, but for color of his paintings, so splendid and favorable. He became one of the painters whose works frequently appeared on the cover of various auction catalogs of Taiwan previously.

廖繼春的藝術就像一個充滿抒情與想像的世界，儘管畫家的一生經歷貧困戰亂，但是他的繪畫總是予人希望與快樂的感受，尤其在晚期作品洋溢著青春色彩與明快節奏，如同彩虹般的絢麗，帶給人一種自在及溫馨的感受。他的學生曾經問他，為何後期作品比起早期愈來愈有青春氣息？畫家幽默的回答，因為他的名字叫做「繼春」的緣故。繼春，永繼青春，真是他的名字所賦予的使命嗎？其實，在藝壇友人或學生們的回憶裡，乃是廖繼春的赤子之心，以及宗教信仰上的虔誠奉獻所致。雕塑家楊英風曾形容廖繼春「在繪畫上完全是天使般的心眼之表現」，繪畫如同一面鏡子，反映了畫家內心的純真。而他的真誠、樸實贏得藝壇普遍的推崇。

When the first generation of the heritage auction companies was established in Taipei in 1990, the works of older painters of Taiwan were major objective at that time. In 1992, Sotheby’s held the

In 2003, Taiwan Federal & Culture & Education Foundation decided to set up “Award for Contribution to Fine Arts of Taiwan” to commend artist predecessors who made contribution to fine arts movements and fine arts education of Taiwan. Through repeated vote in the evaluation committee, the first winner was Liao Chi-chun. Personally, Liao Chi-chun is regarded as one of the paramount masters in development of modern Chinese fine arts. His works present an orient abstract spirit and a particular color and element in Chinese arts, emanating unparalleled aesthetic feeling. No matter how the fine arts thought and the academic environment change, Liao Chi-chun is always favored by people. After his passing away, for years, he is still in the minds of many artists. All the documents about Liao Chi-chun are full of admiration.

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Cheng-po, his classmate in painting teaching faculty in Tokyo National University of Fine Arts and Music. In 1928 and 1931, Liao Chi-chun was selected into the 9th and 12th of Japanese “Imperial Exhibition” with his “Courtyard with Banana Trees” and “Scenery with Coconut Trees” respectively. It was a very high artistic achievement at that time in Taiwan. In his early years, he won prizes many times and participated in numerous exhibitions. Together with several artistic friends, he established “Red Island Association”, namely the latter “Tai-Yang Fine Arts Association”, in order to launch painting exhibition and motivate creation mutually. In the view of the history of fine arts and education, he was not only the initiator of Tai-Yang Exhibition, a member and syndic for western style painting department from the 1st exhibition to the 39th exhibition, but worked as a teacher, for a long time, in the normal university, arts junior college, arts school and etc. He gave not only a great influence on students but on the circle of western style painting in Taiwan. Most of the semiabstract and semi-concrete style of oil painting in Taiwan got influence from Liao Chi-chun. Most of the active young painters of Taiwan in 1960’s and 1970’s got his guidance. Especially, in the special political background and conservative mind at that time, Liao Chi-chun encouraged students to set up Fifth Moon Painting Association to launch exhibition and even, himself, jointly participated in exhibition. Therefore, Liao Chi-chun was an important spiritual mentor in the minds of later-coming artists. He encouraged students to create free and was very

beloved and respected by his student. In his life, he devoted to creation and teaching for over 50 years long. Facing the change of artistic trend in new epoch, with his level-headed skills and innovative talent he endowed the object being painted with ingenious idea of color and deformation, convincing those young painters. It was just because, in different stages of his life, he kept creating his artistic summits, his painting works are favored by collectors. Liao Chi-chun’s arts are just like a world full of lyric emotion and imagination. In despite of the poverty and wartime the artist experienced in his life, his paintings always gave people an expectation and joviality, especially, the works in his late years, overflowing with the color of youth and bright tempo, splendid as rainbow, giving out a sort of warm feeling. Once, his student asked him the reason why his works in late stage were with much more younger vigor than those in early year, with a humor, he answered that it was his name “Chi-chun”. Literally, in Chinese, it means youth for ever. Was it really the name which gave him the mission? Actually, in the memory of his fellow artists or students, it was just due to Liao Chi-chun’s devotion as well as his piousness and dedication in religious belief. Sculptor Yuyu Yang ever described Liao Chi-chun “his painting is sheer reflection of angle-like mind”. Painting is a mirror reflecting pristine inner mind of the painter. His sincerity and honesty won a pervasive praise in artistic circle.

139

062

YEN Shui-lung (1903-1999)

Sunset of Orchid Island 1989 Oil on canvas 60 x 90 cm Signed lower left S. L. Yen in English EXHIBITED: Autumn Salon International Exhibition, Paris, 1991 The Tenth Art Season - Masterpieces

顏水龍

of Contemporary Famous Artists, Kaohsiung, Kaohsiung National Chiang Kai Shek Cultural Center, Kaohsiung, Apr. 9 - Apr. 22, 1991

1989 油彩畫布

ILLUSTRATED: The Tenth Art Season - Masterpieces of Contemporary Famous Artists, Kaohsiung, Kaohsiung National Chiang

展覽：「秋季沙龍國際展」，巴黎，1991 「高雄市第十屆文藝季－現代名家精作展」，高雄市立中正文化中心，高雄，展期自1991年4月9日至22日

Kai Shek Cultural Center, Kaohsiung, 1991, color illustrated, p. 27 Taiwan Fine Arts Series 6 - Yen Shui Lung, Artist Publishing Co., Ltd., Taipei, 1992, color illustrated, no. 89, p. 148; black-and-white illustrated, p. 234 Yen Shui-lung, National Museum of History, Taipei, 1992, pp. 148-149 Portraying Taiwan the Beautiful, Taiwan, Council for the Cultural Affairs, Taipei, 1992, pp. 114-115

NT$ 4,200,000-5,200,000 US$ 127,200-157,400 HK$ 991,300-1,227,300

蘭嶼夕照

60 x 90 cm 簽名左下：S. L. Yen

圖錄：《高雄市第十屆文藝季－現代名家精作展專輯》，高雄市立中正文化中心，炎黃藝術館，高雄，1991，彩色圖版，頁27 《台灣美術全集第6卷－顏水龍》，藝術家出版社，台北，1992，彩色圖版，編號89，頁148；黑白圖版，頁234 《顏水龍畫集》，國立歷史博物館，台北，1992，頁148-149 《繪畫台灣之美》，行政院文化建設委員會，台北，2001，彩色圖版，頁 114-115

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062

063

CHU Teh-chun (b. 1920)

Hong Kong No. 25 1997 Oil on paper 56 x 77 cm Signed lower right CHU TEH-CHUN in Chinese and English, dated 97 ILLUSTRATED: Chu Teh-chun and His Universe, Alisan Fine Arts, Hong Kong, 2001, color illustrated, no. 25 Chu Teh-chun, Impressions Art Gallery, Taipei, 2005, color illustrated, no. 56, p. 91

NT$ 2,300,000-2,600,000 US$ 69,600-78,700 HK$ 542,800-613,600

朱德群香港 No. 25 1997 油彩紙本 56 x 77 cm 簽名右下：朱德群 CHU TEH-CHUN 97 圖錄：《物我兩忘：朱德群繪畫》，藝倡畫廊，香港，2001，彩色圖版，編號25 《印象經典I X朱德群》，印象畫廊，台北，2005，彩色圖版，編號56，頁91

142

063

064

WU Guanzhong (b. 1919)

Hong Kong 1997 Ink and color on paper 48 x 45 cm Signed lower right Wu Guanzhong in Chinese and dated 1997 With two seals of the artist EXHIBITED: Emotion, Originality - Ink Oeuvre of Wu Guanzhong, UNESCO, Paris, June 2004 Emotion, Originality - Ink Oeuvre of Wu Guanzhong, National Art Museum of China, Beijing, July 2004 ILLUSTRATED: Emotion, Originality - Ink Oeuvre of Wu Guanzhong, Hunan Art Publishing House, Changsha, 2004, color illustrated, p. 93 Splendid Facets into Sky - the World of Wu Guanzhong, Shanghai Pictorial Publishing House, Shanghai, 2005, color illustrated, p. 235 The Complete Works of Wu Guanzhong Vol. VIII, Hunan Fine Arts Publishing House, Changsha, 2007, color illustrated, p. 65

NT$ 3,200,000-3,800,000 US$ 96,900-115,000 HK$ 755,300-896,900

吳冠中香港 1997 彩墨紙本 48 x 45 cm 簽名右下：吳冠中1997 鈐印右下：荼鈐印左上：九十年代展覽：「情感、創新－吳冠中水墨里程」，聯合國教科文組織總部，巴黎，2004 年6月「情感、創新－吳冠中水墨里程」，中國美術館，北京，2004年7月圖錄：《情感、創新－吳冠中水墨里程》，湖南美術出版社，長沙，2004，彩色圖版，頁93 《彩面朝天－吳冠中的世界》，上海畫報出版社，上海，2005，彩色圖版，頁235 《吳冠中全集8》，湖南美術出版社，長沙，2007，彩色圖版，頁65

144

065

WU Guanzhong (b. 1919)

Mansion in Jiangnan 1985 Ink and color on paper 67 x 85.5 cm With two seals of the artist PROVENANCE: Sotheby’s spring auction, Hong Kong, 2005, Lot 115 ILLUSTRATED: The Complete Works of Wu Guanzhong Vol. V, Hunan Fine Arts Publishing House, Changsha, 2007, color illustrated, p. 312

NT$ 4,500,000-6,600,000 US$ 136,200-199,800 HK$ 1,062,100-1,557,700

吳冠中江南春 1985 彩墨紙本 67 x 85.5 cm 鈐印右下：吳冠中印鈐印左上：80年代來源：香港蘇富比春季拍賣會，香港， 2005，編號115 圖錄：《吳冠中全集5》，湖南美術出版社，長沙，2007，彩色圖版，頁312

146

065

吳冠中1919年生於江蘇宜興的一個鄉村教師家庭。兒時故鄉生活的回憶以及江南水鄉的迷人景色，都深深烙印在畫家的腦海裡，吳冠中曾在其回憶童年的文章中寫道：「河道縱橫，水田、桑園、竹林包圍著我們的村子。」江南之一草一木，一橋一屋都寄託了吳冠中無限的江南情懷。從杭州藝專畢業後前往巴黎高等美術學校進修油畫，歸國後即致力於油畫風景創作，並進行油畫民族化的探索，力圖把歐洲油畫描繪自然的直觀生動性、油畫色彩的豐富細膩性與中國傳統畫技術結合起來。從20世紀70年代起，吳冠中漸漸兼事中國畫的創作，力圖以中國的筆墨來表現現代精神。江南景色是吳冠中創作的主要素材之一，畫中吳老用純熟的繪畫技法，柔和的色調將江南水鄉的「春光乍洩」景色展現於筆墨丹青之上。吳冠中的獨特色彩是其江南風景的重要感情依託。吳在油畫中多採用混合或複合顏料創作，而在水墨畫創作中他卻主要運用原色、簡單色、不經混合的清澈

些方面已比後者向前推進了。吳冠中不是簡單地將民間色彩元素拿來堆放在一起，而是重新提煉成為自己所有的個人風格。此幅《江南春》，是吳老在1980年代年繪製的一幅反映江南春色的代表作品。畫面充滿詩意，作品中特別重視點、線、面的結合與搭配，使得畫面中的各種事物相映成趣。畫面近端，兩棵枯木逢春已發芽，略有綠意，在數牆之外的綠意則顯頗濃。白色牆面以及其他留白部分都給畫面增添了空隙與生氣。在畫面遠端可見高低錯落

Wu Guanzhong was born in a rural teacher family in Yixin, Jiangsu province in 1919. The country life in his childhood and amazing scenes in the South of the Yangtze River all deeply impressed in the brain of the artist. Wu once wrote in the article reminding his childhood: “The watercourses crisscrossed, the paddy fields, mulberry garden and bamboo forests surrounded our village.” The grasses, trees, bridges and houses in the South of the Yangtze River all entrusted the boundless feeling of Wu Guanzhong to

的屋舍橫延，畫面右上方兩隻大雁漸

the South of the Yangtze River. After the graduation from the National Academy

遠而行，起到靜中有動的調節作用，也增添了畫面的生機感，妙不可言。此作佈局精妙，線條準確有力，枝杆

of Art in Hangzhou, Wu was engaged in ENSBA (Ecole Nationale Supérieure des Beaux-Arts) for further oil painting

蜿蜒遒勁，富於變化而不呆板。畫面中初春的新綠、薄薄的霧靄、小村的

studies. And after returning motherland, he committed himself into the creation of

黑瓦白牆，和諧而清新的色調，寧靜而恬淡的境界，使畫作產生一種抒情詩般的感染力，充分表現於畫家對故

oil painting and carried out the exploration on the nationalization of oil painting, so as to combine the visual vitality of Europe oil painting in describing nature and the

鄉的眷戀與熱愛。

顏色，他的這種水墨畫用色是其獨特藝術風格的重要元素。這種風格的某些方面是他汲取了博大的民間藝術，特別是江南或長江下游地區的民間藝術。最突出的特點就是，浸透著厚重的裝潢色調，農民穿戴及裝飾住所的色彩在黑頂白牆的襯托中更加奪目。吳冠中的水墨畫是他心中江南城鎮的寫照，若將他的作品加以提煉，我們可以感覺到具有民俗氣味是它們的共通之處，這就是那些斑斕彩點激發起來的中國農村生活中的情調。縱覽近現代美術史，我們可以發現在將文人情趣與民俗風情結合方面，吳冠中與藝術大師齊白石異曲同工，甚至在某

吳冠中《雙燕》，香港藝術館收藏 WU Guanzhong, A Pair of Swallows, 1981, ink and color on paper, 70 x 140 cm Collected Hong Kong Art Museum, Hong Kong

148

of the Yangtze River. The painting was full of poetic flavors, and the works paid special attention to the combination and collocation of spots, lines and faces and thus made the various things in the works were mutually reflected. In the near end of the painting, two dried-up trees have burgeoned in the spring, and the green besides the walls was denser. The white walls and other white parts all added interspaces and vitalities to the painting.

吳冠中《北國春》 WU Guanzhong, Spring to the North, 1991, ink and color on paper, 70 x 140 cm

abundant and the exquisite of oil painting color with traditional Chinese painting.

feature was that it was immersing with massive decoration hues, the colors of the

From 1970s, Wu concurrently held the creation of Chinese painting gradually

wearing apparel and housing decoration of farmers were more brilliant under the

and intended to express the modern spirits with Chinese painting.

setting of black roof and white wall. The ink paintings of Wu were the sketch

The scene in the South of the Yangtze River was one of the main elements in

of the towns in the South of the Yangtze River in his heart. If abstracting his

the creation of Wu Guanzhong, and in the paintings, Wu used mature painting techniques and soft hues to show the scenery of the towns in the South of

works, we could regard the possessing of folk customs as their commons, and this was the very sentiment inspired by those gorgeous color spots in the rural life of

the Yangtze River on the painting. The unique color of Wu was an important feeling support of the scenes in the South of the Yangtze River. In oil painting, Wu mostly adopted mixed or composite

China. Scanning the modern art history, on the combination of literati sentiments and folk customs, Wu Guanzhong and maestro Qi Baishi were different in approach but equally satisfactory in result,

pigments while in ink painting, he mainly adopted primitive colors, brief colors and unmixed limpid colors. Such color using was an important element of his unique art style. He absorbed the extensive folk

and even more advanced than the latter on some aspects. Wu was not simply stack the folk color elements but re-extracted them to be the personal style of his own.

arts, especially the folk arts in the South of the Yangtze River or the low reaches

“Mansion in Jiangnan” portrayed in 1980, was the representative works of Wu

of Yangtze River. The most outstanding

reflecting the spring scenery in the South

149

On the far end, we can see the extended houses, high and low intermingled. And on the top right, two wild geese flied far away, which played the adjusting effect of action in stillness and they also added the vitalities in the painting. The subtlety of the painting is beyond description. In this painting, the overall layout was fine, and the lines were correct and pithy. The wriggled and powerful branches were full of alternations, but stiff. The green in the first month of spring, thin fogs, black tiles and white walls of the village, harmonious and pure hues and peaceful and calm circumstances made the painting engender an inspiration just like lyrics and fully expressed the sentiments and passions of the artist to the hometown.

066

JU Ming (b. 1938)

Taichi Series

朱銘代表作品「太極」系列一向以具

body exhibit a free-flowing energy.

1991 Wood

象的肢體力道投射在不同材質上，算是最令人熟識的朱銘標誌，也是其創作生涯中的一個匯流點，傳遞太極的「渾然忘我」，亦散發出雕塑家技法

His exquisite and simple technique has spontaneously transformed a variety of materials into truly vivid shapes which capture the essence of movement in a perfectly natural way.

43.5 (L) x 29.5 (W) x 39 (H) cm Signed Ju Ming in Chinese and dated '91

的純熟及樸實，在其手下，形象樣貌

This sculpture is to be sold with a certificate issued by Nonprofit Organization

不受阻礙地躍出，似乎不再需要任何費周章的思索，因為任何一個拿捏都像太極般自然，能量豐富。

Juming Culture and Education FoundatioJuming Museum.

此拍品為小型的「太極」系列作品，

The floating movement in the wood

保留赤裸裸的外貌及構成性，卻又添加了幾許細膩和樂趣，細部的表現上，每個環節仍精確無比，樸素的木

symbolizes oriental philosophy, yin and yang, freedom and fixity. Yet the materials used and free-spirited strokes open a

材襯托出那寫意的律動，雖說太極是極度東方的，但細細思索其運用材質和體材的方法，的確能和西方雕塑大

dialogue between Eastern and Western Masters and resonate across cultures. His

NT$ 9,200,000-15,000,000 US$ 278,500-454,100 HK$ 2,171,300-3,540,200

朱銘太極系列 1991 木雕 43.5（長）x 29.5（寬）x 39（高）cm 簽名：朱銘 '91 附財團法人朱銘文教基金會朱銘美術館開立作品鑑定報告書

This lot, a small sculpture of the Taichi series is a delightful fusion of plain figures with rich emotional expressions.

師們進行對話，朱銘雕塑的國際性已是確定的，但不因而迎合流行，也就

internationalized style simultaneously manifests both his potentiality and achievements.

是他這樣的性格，賦予其作品歷久不衰的潛能。

After practicing and absorbing this

在朱銘「太極」系列中，不難看出雕塑家不間斷地去實踐，去領悟，或說從中找尋興致來源，一件創作就該有這種給藝術家本身或是觀者再次解讀的可能性，無論時間流逝再快，都不會對其定位有所威脅，手法上的隨心所欲更是證明創作者和藝術品間的緊密度，即使太極只是少數人生活的一部份，確是一種記錄生活的共同態度，是人人都可以品味的。 The series of Taichi are the most stunning and representative sculptures of Ju Ming. The straight strokes on the human

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Chinese martial art, he was able to create his Taichi to represent the delicate balance of slow and active movements, as well as to offers artists and viewers the possibility of aesthetic reinterpretation. It stimulates the viewers to consider whether the energy of a continuously circulating universe can be incorporated into sculptures. In fact, Taichi is a leisure art for certain people; indeed it highlights our attitudes of life, and everyone understands its principles. As a result, the Taichi series has come to overshadow much of his other works.

067

CHU Teh-chun (b. 1920)

Échos lumineux

在朱德群長期的藝術生涯，旅居巴黎算是最為重要的一個事件，1950年代

Chu's artistic career, there were many schools of Western abstract paintings

1989 Oil on canvas

後期開始，西方開展了各流派的抽象性繪畫，在西方藝術家中有不少深

since the late ‘50s, and many of them were influenced by eastern philosophies.

受東方繪畫哲學影響的例子，而來到巴黎的朱德群則是以其深厚的東方思維，來吸取在那時期強烈發酵的戰後

Chu went to Paris with his profound Eastern thinking, and absorbed the postwar Western cultures. Maybe it’s due to his modest characteristics, add his later

97 x 130 cm Signed lower right CHU TEH-CHUN in Chinese and in English, dated 89 ILLUSTRATED: Chu Teh-chun, Editions de l'Education du Hebei, Shijiazhuang, 2005, color illustrated, p. 27

NT$ 6,000,000-7,000,000 US$ 181,700-211,900 HK$ 1,416,100-1,652,100

朱德群光之旋回 1989 油彩畫布 97 x 130 cm 簽名右下：朱德群 CHU TEH-CHUN 89 圖錄：《朱德群》，河北教育出版社，石家莊，2005，彩色圖版，頁27

文化，也許是東方人獨特的內斂性格，日後其推展開的朱氏抽象，西方特質是隱隱約約透出，而非截長補短的作用方式。

established abstract painting style some Western particularities, and this unique style is not the result of using only what he’s good at.

此幅1989年的《光之旋回》，濃郁實在的大地色澤佈滿畫布領域，其他清

This piece, "Échos lumineux" from 1989

淡爽朗的色澤則一絲絲地探出頭，色調即使沒有明確外形的包裝，朱德群做到讓它們仍有各自的神韻氣質，顏

is covered up with earth tones, other bright colors appear like think threads, although there’s not much decorations

色本身就是一種暗示，而抽象的構圖是讓觀者自動自發想像的手段，觀賞

for the color tones, but Chu given them characteristics, the color itself is a hint,

朱德群的畫，你總會按捺不住想要天馬行空的慾望，畫家就像色彩的調酒師，他用他調配出來的組成物，邀請觀者的感官接收，緊接著是個人內在詩意的泉湧而出。

abstract compositions is a measure to let the viewer imagine, When looking into his paintings, you’ll have different desires

在朱德群的每幅畫作中，我們都可以察覺出他深邃的自然觀，這是身為一個現代畫家很重要的基礎，有了這基礎，他的繪畫才不會只是沒有情感的念頭，其畫作中傳遞出那種對自然的熱忱，進而推動畫家不厭其煩且中肯地陳述一切的形色。 Moving to Paris could be the most important event in the long span of

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for yourself, the painter is like mixer, invites the viewer to receive whatever he deploys, and the rest of the poetries came from the viewers themselves. We may discover Chu’s profound sense of nature in his every painting work, this is an essential foundation for an artist, and it is this foundation that brings each painting to life, made them emotional, passionate, and keeps pushing the artist to apropos narrate every color and shapes on the canvas.

067

068

CHU Teh-chun (b. 1920)

Revelation dans les ténèbres (Reviving) 1992 Oil on canvas 145 x 113 cm Signed lower right CHU TEH-CHUN in Chinese and in English, dated 92

Titled on th reverse "REVELATION DANS LES TÉNÈBRES" in French, signed CHU TEH-CHUN in English and Chinese, dated 1992 NT$ 8,200,000-9,600,000 US$ 248,300-290,600 HK$ 1,935,300-2,265,800

朱德群甦醒 1992 油彩畫布 145 x 113 cm 簽名右下：朱德群 CHU TEH-CHUN.92 簽名畫背："REVELATION DANS

LES TÉNÈBRES" CHU TEH-CHUN 朱德群 1992

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069

WANG Huaiqing (b. 1944)

Gold Stone 1998 Oil on canvas 200 x 480 cm (triptych) Signed lower left Wang Huaiqing in Chinese and dated 98 November EXHIBITED: Wang Huaiqing, Lin & Keng Gallery, Taipei, January 2-18, 1999

王懷慶

20th Century Chinese Oil Painting Exhibition, National Art Museum of China, Beijing, July 5-23, 2000

1998 油彩畫布

ILLUSTRATED: Wang Huaiqing, Lin & Keng Gallery, Taipei, 1999, color illustrated, coverpage and pp. 38-41 Chinese Oil Painting in the 20th Century

金石為開

200 x 480 cm（三聯幅）簽名左下：王懷慶 98年11月展覽：「王懷慶」，大未來畫廊，台北，展期自1999年1月2日至1月18日「二十世紀中國油畫展」，北京中國

II-2, Beijing Publishing House, Beijing Arts and Photography Publishing House, Beijing, August 2001, color illustrated, p. 543 Wa n g H u a i q i n g , Wa n g H u a i q i n g

美術館，北京，展期自2000年7月5日至7月23日

published, Beijing, 2004, color illustrated, p. 105

1999年1月，彩色圖版，封面和頁38-41 《二十世紀中國油畫 II—2》，北京出版社，北京攝影美術出版社，北京， 2001年8月，彩色圖版，頁543 《王懷慶》，王懷慶出版，北京，

Wang Huaiqing, Yan Gallery, Hong Kong, August 2005, color illustrated, p. 43

NT$ 80,000,000-98,000,000 US$ 2,422,000-2,967,000 HK$ 18,881,000-23,129,600

圖錄：《王懷慶》，大未來畫廊，台北，

2004，彩色圖版，頁105 《王懷慶》，一畫廊，香港，2005年8 月，彩色圖版，頁43

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王懷慶的繪畫在同齡的中國當代藝術家顯得低調，但其成就顯得十分突出，他的風格古樸，構成簡約抽象，

這座天子腳下的歷史古都裡，曾存在過不少令人心馳神往的文化遺跡，他自小得以耳濡目染。在小學畢業後，

和其人格頗為近似。在外，他鮮少與人公開談論自己的藝術，即便談起亦多是創作過程的點滴尋訪，他喜歡心無旁騖、安靜地創作。他自言：「很多不安靜的東西要在很安靜的條件下

即因兄長喜愛藝術的影響，考入中央美術學院附中初中班，11歲便與藝術結下不解之緣。自此一路就讀美術學院的初中、高中，再以優異成績考入中央工藝美術學院，後來取得中央

表現，很多激情的東西需要你在很冷靜的條件下表現。」認識他的人，總

工藝美術學院碩士學位。由於他對中國建築、傢具，民間藝術如漢磚、陶瓷的好奇、以及對西方近代寫實、表現、裝飾、平面或抽象等藝術之廣闊

會對他溫文爾雅的談吐留下深刻的印象。王懷慶儒雅樸實的特質多少和他的成長背景有關。父母早逝，少年時即失依靠，習於隱身在不起眼的角落，造就了他堅毅與沈默的性格。他出生於二次大戰結束前的北京，在

興趣，彌補了當時美術學院嚴謹卻嫌不夠寬闊的蘇聯派寫實訓練。在美術學院碩士研讀期間，他和同學組成「同代人畫會」，在北京中國美術館舉辦畫展，其中參展的《伯樂相馬》和《棗樹》作品後來被中國美術館收藏。

點從老建築轉移至老傢具。長凳桌椅的紋路表面以及卯榫的結構，深深打動了他，這些出色的傢具，簡直就是一件件的藝術品，橫豎之間充滿東方抽象的魅力，展現人類高度的智慧蘊藏。畫家看過這些人類文化的珍貴遺產後，思考著如何延續這些優美的傳統，重現其當代的意義。王懷慶深居北京超過一甲子，從童年開始，即看過繁華褪去的古城遺跡，在現代化過程中不斷消逝。他感嘆童年記憶裡穿梭其間的北京胡同已經漸漸失去蹤影，即使重建、恢復，那種神韻或味道好像已不復存在了。近些年來，北京的古傢具集散地是王懷慶經常流連的地方，每次總會帶回一二樣物件，或是木雕窗花，或是古瓶老罐。在王懷慶的眼中，歷經輝煌的傢具沒有

此次展覽中所發表的八幅創作受到中國美術界、美國《華爾街時報》及法國《當代》雜誌的好評。1985年他

了家，那些古文物沒有附著，沒有歸宿，王懷慶稱它們為「文化棄兒」。他說道：「這些沒有家的傢具，可是你仔細看它的時候，它的局部，它的

前往黃山參加全國性油畫理

姿勢，它的肢體，細讀的時候你能看到往日的一種高貴和輝煌，可是它的靈魂已經不知道如何承接。」（節錄自中

論會議，這次會議後來成為「8 5美術新潮運動」的關鍵事件之一，標誌出中國油畫藝術的新里程碑。而在此次

央電視台《藝術品投資》節目〈油畫人物誌：王懷慶—尋找故園〉主題，2007年7月24日訪文）

旅行中他路過紹興，拜訪魯迅故居時，一生自此也起了重要的影響。

王懷慶並非全然迷戀那些精緻美好的古傢俬，而是在找尋一種老祖宗曾經追尋過的情感與趣味。隨著現代社會

對畫家而言，紹興老屋是一個陌生的環境，但從心理、

急劇變遷過程中，傳統文化在迅速崩解，面對滄海桑田的無奈時，畫家會

生存和行為的空間裡，卻又有似曾相識之感，白牆黑柱對比強烈，沈厚的木質

透過他的畫筆，身體力行重新找回高貴及輝煌。王懷慶彷彿一直寄懷那逝

架構，承載了一股大氣的精神，莊嚴而冷峻，但他細看王懷慶《空間》，羅芙奧2003年秋季拍賣會編號035，52萬9000台幣成交 WANG Huaiqing, Space, 1994, oil on canvas, 100x80 cm Ravenel Autumn Auction 2003, lot 035, NT$ 529,000 sold

其間的窗花、樑柱則充滿溫暖柔情。江南的人文氣息賦予他極大的靈感，激發他創作出極具戲劇張力的畫作。 1990年時他重訪故地，把焦

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去的人文精神，尋找延續文化傳承的可能性。 1 9 8 7年在一次機緣下，他與妻女應邀前往美國拜訪，擔任奧克拉荷馬大學訪問學者兩年，旅美期間多方考察，開拓視野，並在紐約舉辦個展及聯展。他以吳冠中老師的話自勉—「只

有中國的巨人才能同外國的巨人較量，中國的巨人只能在中國的土地上成長。」吳

的「解構」，將桌椅傢具拆散，讓零件懸浮在空間裡，形成自由、壯麗的動勢。 1996年王懷慶以顧閎中名畫

冠中早年留法，和國外優秀的藝術家一起，最後也選擇返回中國，這兩句話帶給王懷慶極大的鼓舞。

《韓熙載夜宴圖》所發展出的一系列的《夜宴圖》作品，沒有生命的傢具取代已成歷史的人物，鮮活巧妙地完成形式變化的趣味，評論家蘇立文稱它是一幅才華橫

1988年底王懷慶低調返回北京，閉門潛居作畫，和外界少有聯繫。1989年重繪《故園》的主題，獲得第七屆全國美術作品展銅牌獎，作品為上海美術館收藏。1991年《大明風度》又得「中國油

溢的「解構」，其精緻奧妙以及視覺效果魅力均可與畢卡索的創作相媲美。這一幅畫先後在1996年中國油畫學會首展、1998年紐約古根漢

畫年展」金牌獎。同年，在中國美術家協會主辦「吳冠中師生作品展」時，參展作品受到吳冠中及美術評論家

王懷慶《伯樂相馬》，1980年作品，北京中國美術館收藏 WANG Huaiqing, Bo Le Choosing a Horse, 1980, oil on canvas, 155x200 cm Collection of National Art Museum of China, Beijing

的讚賞。隔年，吳冠中在英國參觀一間當代藝術博物館時，置身於西方雕塑大師的作品前，他對友人說：「把王懷慶的油畫放在這裡，毫不遜色！」就王懷慶的繪畫風格轉變看，從1 9 8 0 年早期具象油畫《伯樂相馬》建立威望，到1 9 8 0年代中期後研究江南民居的抽象結構，1 9 9 0年代初期，開始發展明式傢俱的再造形式，通過東西繪畫傳統的破與立，進行一場「現代建構」（賈方舟語）。中國書畫同源，書法篆刻素有結構性的因子，在繪畫表現上也力求「經營位置」；西方現代一些抽象繪畫也受到中國書法的啟發，如美國抽象表現大師克萊恩(Franz Kline, 1910-1962)和擅長黑色表現的法國抽象畫家蘇拉吉（Pierre Soulages, 1919-）。評論家賈方舟認為從師承來看，王懷慶1 9 9 0年代繪畫中的「結構」與「黑白」的元素和吳冠中有直接相關。賈方舟提到：「吳冠中早在五、六十年代就從江南水鄉的白牆黑瓦中感受

到一種單純與結構之美，並一再地加以表現，直至白牆黑瓦這種單純的塊面結構成為吳冠中表現江南的特有語言，近年又進一步將這種塊面構成發展到純抽象領域。對吳冠中影響最大的兩位老師（潘天壽和林風眠）也同樣是重結構的代表。…潘天壽從傳統的置陳布勢、開架開合中找到接近現代構成的路，他的大塊文章就是執意於結構的文章。同樣，林風眠也是注重結構的典範。與潘同的是，他是直接將西方現代的構成觀念引入水墨畫，從根本上改變了傳統水墨畫的畫面格局，…而林風眠則發現西方現代藝術完成了的是中國傳統藝術的未盡之業，這種深刻的內在聯繫，使得他找到中西藝術連結，確立了藝術取向。」（陳惠黛編，賈方舟序，〈意在黑白橫豎間-論王懷慶的現代建構〉，《王懷慶》，大未來畫廊，台北，1999，頁2-3）賈方舟認為，從潘

天壽、林風眠到吳冠中是東方結構主義的開拓者，而王懷慶的功績則是成功地完成了這項開拓。王懷慶在1 9 9 0年代中期後進入更顯著

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美術館美術館「中國五千年」中展出，王懷慶因此再度大放異彩。

而進入1990年代後期，王懷慶開始嘗試「三聯畫」的巨幅經典作品。三聯畫的形制始於中世紀的宗教聖壇畫，後來逐漸演變為西方繪畫史上主要的構圖形式，一直到二十世紀如法蘭西斯．培根(Francis Bacon, 1909-1992)、趙無極等當代大師，亦皆擅長三聯畫的大敘事手法。王懷慶應當是發現了古典形式三聯畫的神聖意義，過去這些聖壇裝飾屏，在文藝復興時期更轉換為重要的繪畫結構。這種昇華的精神看似契合王懷慶自江南古屋、明式傢具中找到的人文的意義，所衍生出全新的創作意涵。此次的拍品《金石為開》完成於1 9 9 8 年，乃是目前拍賣會上前所未有的王懷慶最大尺幅油畫，也是出現的首幅三聯畫形式大作。這幅作品曾經在 1 9 9 9年「王懷慶個展」中發表，也是該次畫展目錄的封面作品，後來被選為北京中國美術館在2 0 0 0年舉行的「二十世紀中國油畫展」王懷慶代表作品，其重要性可見一斑。《金石為開》是王懷慶少見以「黑」、「金」兩色為主調的抽象

畫，有別於過往的黑、白兩大元素，畫家在此階段逐漸嘗試於黑白之外以第三色入畫。在早期作品《伯樂相馬》中，他曾經在伯樂像頭光周圍採取部份金色，借其神聖永恆之意。金箔在中國常見於隋代石窟彩塑及宗教雕塑，及漆器等工藝美術；而在西方宗教文明裡，金色曾經是繪畫裡的主要色彩。「黑」與「金」難以歸類為「色彩」的顏色，但卻分別代表著中外繪畫史上最經典用色。

的黑，時而令我想起西方文藝復興以

有力度的黑色在其間揮灑、迸裂。大

前宗教畫所常見的金色，為了彰顯宗教所尊崇的神聖光彩，使用價值昂貴的金箔貼在木板上作為整幅畫的基調。金是概念的，常代表了某種特定意義；然而從抽象的角度看時它又是

塊的黑、散開的黑，由濃到疏，富有韻律，氣勢寬宏如史詩般地壯闊。在

感覺的，有壓鎮或襯托的功能，在許多種顏色當中對畫面又有協調的作用，因此在宗教藝術一枝獨秀的時代裡，金色以絕對優勢霸佔畫面，創造了美術史上的『黃金』時代。」（參閱謝里法2002年座談論文〈當時代的色彩投入傳統的

美術史學家謝里法曾指出：「黑色為基調的繪畫在東方美術已有長遠歷史，因而稱黑為百色之王亦不為過份，千百年來出現無數的時代風格與個人樣貌，認真追究起來無不是水、墨和紙相互推演下的『紙上變』，或說是畫家筆下的『墨裡乾坤』。相傳數百年的繪畫只因文人士大夫習性竟把作畫媒材降至墨與紙的最低極限，雖然有其他色彩出現其間，卻只能視為對黑色的補助，或對形像的說明，其基本骨架仍然是由黑延伸出來的『墨』色，於是從黑裡又可看出東方文化的韌性，已經不僅屬於繪畫中表達的一種顏色，甚且它已代表了一種精神。」他接著說道：「東方繪畫裡

水墨裡－從舊世紀的偶然期盼新世紀的必然〉）

東方的黑與西方的金，分別代表兩種特殊的文化意義，在王懷慶的《金石

象徵王者與永恆的黑色與金色的構成裡，王懷慶的藝術得以跨越時空，自信而豪放屹立不搖。王夫人徐慶慧女士是中央工藝美術學院同窗，也是畫家出身，她是王懷慶最直接的批評家，對於《金石為開》的評語她給了果斷的「神品」二字！而吳冠中先生也肯定王懷慶的大刀闊斧，勇於挑戰。他寫道：「三聯幅《金石為開》是鳴金，是短兵相接，是力的攻擊，不惜粉身碎骨。」（節錄自吳冠中，〈說王懷慶的油畫藝術〉，《王懷慶—

多年來，吳冠中對弟子不忘提攜，更對他

為開》作品中巧妙融合一體。對他而言，黑、白或是金，都是色彩！王

天工開物》，仁畫廊，香港，2005年8月）

懷慶向來鍾愛古典人文精神，經常取材自中國典籍成語作為標題，例如：「天工開物」、「大音無聲」以及

的成就給予好評。

「金石為開」等，成語的標題本身極富有抽象意義。有中國工藝百科全書之稱的《天工開物》，是王懷慶特別喜愛的一本典籍，他讚揚書中蘊藏著中國人的古老智慧。「金石為開」的典故則是出自《後漢書》，所謂「精

地，金石為之開裂。無論此一成語，抑或是此一幅巨畫，都是藝術家旨於振奮人心，挑戰自我的實現。可以想見，王懷慶的藝術追尋，正是如

他：他對傳統中國以及中國與現代世界關係的認知；他本身對生命的記憶；還有他對作畫本身秩序的追尋。正是展現在畫作中這一種『人』的自覺（這同時包含了懷慶的本性與他的

同劈開堅硬金石之意志。畫家創作《金石為開》三聯畫時，經過許多內心掙扎，

中國認同），以及他那股從躁動世界裡創造出詩一般的力量，使懷慶的畫是如此地令人深深所激賞。」

後來他成功地以威尼斯金的拼貼作底，形成一大片金黃莊嚴，極

160

輩子都在尋尋覓覓，尋找自己對藝術的解釋。英國評論家蘇立文肯定了王懷慶的努力，認為他把純屬於視覺世界和抽象藝術作了結合，讓西方藝術界有途徑了解並認識他的作品。蘇立文如此形容王懷慶：「但王懷慶堅持他的作品風格是根植於中國文化，並且在近代中國歷史的洪流中，對自己身為中國畫家的堅持與執著相當的有自覺。我想，以下三項事物激發了

誠所至，金石為開」。只要人有誠心，就能撼動天

皮耶．蘇拉吉《1960.2.17》，1960，油彩畫布 Pierre SOULAGES, 1960.2.17, 1960, oil on canvas, 65 x81 cm

王懷慶始終堅持他對人文精神的推崇，在紛亂的新時代，清明的心有自我執著，不隨波逐流。他認為畫家一

161

Among artists of his age, Wang Huaiqing appears to be low-keyed, yet his artistic achievement is outstanding. His artistic

during his childhood. After graduating from elementary school, Wang was also influenced by his elderly brother who

Tree” were selected by the National Art Museum of China for it's collection. China arts circle, the Wall Street Journal

style, like his personality, is simple, plain with economical. He rarely mentions his own art works publicly, and when he does talk about it, he always gives only a cogent glimpse of the creation of art works. He prefers to work without

was fond of arts. He took and passed the entrance exam for the affiliated junior high of Central Academy of Fine Arts (CAFA), forging an indissoluble bond with the arts when he was 11 years old. He studied in the affiliated high school

and Contemporary Magazine (French) gave Wang's eight works in this exhibition good reviews. In 1985, Wang attended a national oil painting academic conference on Huangshan (“Yellow Mountain”), this conference later became one of the

distraction and quietly. He said, “A lot of fussy stuff need to be presented quietly; a lot of passionate stuff should be presented calmly.” People who know him always are impressed by his gentle and graceful

of CAFA; after graduation, he passed his exam with high enough scores to enter the Central Academy of Arts and Crafts. Afterwards, he pursued his masters degree in Arts. Due to his curiosity in

important triggers of the “85 New Wave Movement”, and also marked a new milestone in Chinese oil painting arts. During the trip to Hunagshan, he passed by the city Shaoxing and visited the great

speech. Wang Huaiqing's elegant, simple and sincere characters are somehow related to his background when he was growing up. His parents passed away

Chinese architecture, furniture and folk art (such as Han brick, ceramics), and a broad interest in Western modern realism, including representation, decoration, flat

writer Lu Xun's old home. This had a significant influence to him.

when he was a teen; without any one to

print, and abstract arts, he went beyond

Shaoxing was an unfamiliar environment;

rely on, the young man used to stay in a corner where would not attract other people's attention. That imbued him with

the tough yet often narrow regimen of Soviet-realistic training.

however, from the space where people used to live and carry on their activities, also where their hearts clung, the artist

fortitude of a quiet character. Wang was born in Beijing at the time

While he was pursuing his masters degree in the Arts academic school, Wang and his classmates formed the “Same Generation

had a feeling of déjà vu. The strong contrast between white walls and black pillars, the heavy and thick wooden

when WWII had just ended. In this Imperial, ancient city, there used to be

Painting Society,” which arranged an exhibition to be held in the National Art

structure, bore a great spirit, solemn and stern. However, when he observed

many whose heart longed for culture h e r i t a g e . Wa n g w a s i n f l u e n c e d b y hearing and seeing culture constantly

Museum of China. Among those works, his “Bo Le Choosing a Horse” and “Jujube

the artistic patterns of the windows and beams, he found that they were full of

To the artist in painting, the old house in

王懷慶《大音無聲》，1997年，油彩畫布（三聯幅） WANG Huaiqing, A Great Sound is Silent, 1997, oil on canvas, 200 x 522 cm (Triptych)

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warm and gentle feelings. The cultural tang of the regions south of the Yangtze inspired him considerably, causing him

record of oil painters: Wang Huaiqing – search for the

Manner” won a gold medal at the Chinese

hometown” an interview, July 24, 2007)

to create very dramatic paintings. Wang visited Shaoxing again in 1990 and this time he focused on the old furniture instead of old architecture. Lines on long benches, desks, chairs, the structure of mortise and tenon, touched him deeply.

Wang Huaiqing was not just fascinated with those delicate antiques. He also looked for the sentiment and interests

Annual Oil Painting Exhibition. In the same year, in the Selected Art Works by Wu Guanzhong & His Students Exhibition that was hosted by the China Artist Association, his works gained high praise

that his ancestors used to seek. As the processes of modern society were changing rapidly, traditional culture was swiftly collapsing. When faced with the impotence to halt great changes in the course of time, the artist strove to reclaim

from Wu and art critics. In the following year, Wu visited a contemporary art museum in the UK. Standing before many Western masterpieces, he told his company of friends: “If we put Wang's works here, they would definitely be as

the nobility and glory by actual effort through his paintbrushes. Wang seemed to be upholding the spirit of the vanishing culture in his mind and he looked for the

good as the others.”

possibility of transmitting that culture.

he established his reputation in the early

A chance occurrence led to what happened in 1987. Wang and his family were invited to visit the States, where he

80's with contract oil painting. During the mid 80's he started to study the abstract structure of residential houses in the regions south of the Yangtze. In the early

Those brilliant furniture pieces are art, between the horizontal and vertical, full of oriental abstract charm, demonstrate the intelligence of human beings. After his visit to this precious heritage site, the artist started thinking of how to continue this beautiful tradition and reassign a contemporary meaning to it. Wang had lived in Beijing more than six decades, since his childhood; he had seen the historical remains which prospered and then had faded and died away

If we take an overview of the changes in Wang's painting style, we would find that

served as a visiting scholar at Oklahoma

90's, Wang started to develop rebuilding

during the process of modernization. He sighed for those alleys in Beijing where he used to wander as in his childhood

University for two years. During this period Wang also did numerous studies in various fields that broadened his

Ming Dynasty style furniture. By refuting Eastern and Western painting tradition and reconstructing them, he proceeded

memories, which were gradually fading away. Even if you rebuild those alleys,

vision. He had some individual and joint exhibitions in New York City. Wang took his teacher Wu Guanzhong's words: “Only

to a Modern Structure (according to Jia Fangzhou). Chinese calligraphy and painting share the same origin; there

Chinese giants can compete with foreign giants, and Chinese giants can only grow

is a similar structure when drawing calligraphy and when chiseling a seal in

up in China” to encourage himself. Wu had studied in France when he was young,

seal script. Likewise in painting, spatial placement is critical. Some Western

where he worked with excellent foreign artists. However, he went back to China eventually. What Wu said was a strong encouragement to Wang.

modern abstract artists were enlightened by Chinese calligraphy, such as the American abstract expressionist Franz Kline (1910-1962) and the French abstract artist Pierre Soulages (1919-) who is a

At the end of 1988, Wang Huaiqing returned to Beijing. He did not cause a commotion and stopped receiving visitors in order to concentrate on his painting. He rarely had contact with the outside.

master of the expressionism in black.

Wang re-painted “Hometown” in 1989; this work won a bronze medal from the 7th Annual National Arts Work Exhibition and was collected by the Shanghai Art Museum. In 1991, the “Great Ming

and “black-and-white” elements in his 90's works, were related directly to Wu. Jia mentioned, “As early as the 50's and 60's, Wu sensed a simplicity and structural beauty among the white walls

you cannot retrieve that kind of verve and taste. In recent years, the collection and distribution centers of old furniture in Beijing were where Wang always lingered. Every time he visited those centers, he would buy one or two pieces of furniture, or some wood craft patterns for a window, or old bottles and jars. In Wang's eyes, that furniture with its blazing history had lost its home; those antiques had no relevance, no destination, he called them “foundlings of culture.” Wang said “That furniture had lost its home. However, when you observed them carefully, their parts, their posture and limbs, when you studied them in detail, you could see the nobility and glory that belonged to past times, but their souls had nowhere to continue.” (quoted from China Central Television, Investing in Art Objects, “A

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The commentator Jia Fangzhou thinks that, from the aspect of the teacher and pupil relationship, Wang's “structure”

seems that Wang had found the holy

and black tiles from the regions south of the Yangtze (‘the region of rivers and lakes”). He expressed it again

meaning in the triptych's classical form. In the past, those altar tables were transformed into an important painting structure in the Renaissance. The sublimation of spirit seems to

and again, until the reduced “block structure” of white-wall-black-tile became his special language to denote these southern Yangtze regions. In recent years, he pushed further to develop the block structures into

match the meaning that Wang found in the old building in the Jiangnan regions and the Ming style furniture—from which he derived a whole new creative meaning.

abstract regions. The most influential teachers for Wu are Pan Tienshou and Lin Fengmian; they are also exemplary for emphasis on structure. Pan found a way that is near to modern structure

The unprecedented artistic masterpiece “Gold Stone” in this auction was finished in 1998, and is the largest work of Wang Huaiqing, ever offered in any

from traditional composition. His “Big Block” article was designed to emphasize structure… Lin was a paragon for emphasizing structure too. Like Pan, he introduced Western modern structural concepts into ink wash painting, altering the general layout of traditional ink wash painting from the root. However, Lin found that modern Western art could complete the insufficiency in Chinese traditional arts. This deep inner link lead him to find the connection between East and West, thereby establishing his artistic direction.” (Odile Chen ed., Jia Fangzhou, ‘A World of Contrasts - on Wang Huaiqing's Modern Structure', Wang Huaiqing, Lin & Keng Gallery, Taipei, 1999, pp. 2-3) Jia believed that Pan Tianshou, Lin Fengmian and Wu Guanzhong are the pioneers of Eastern structuralism,

and Wang Huaiqing completed their pioneering work. During the mid 90's, Wang became more adept at startling deconstruction. He fragmented a desk and chair, and allowed the parts to be suspended in space to create free and spectacular movement. In 1996, Wang developed a series of Night Revels that were based on Gu Hongzhong's “The Night Revels of Han Xizai.” In this series, lifeless furniture replaced historical figures,

auction. This work was exhibited in 王懷慶《民居》，羅芙奧2004年春季拍賣會編號027，94萬4000台幣成交 WANG Huaiqing, Local Dwellings 1980s, oil on canvas, 90 x 71.5 cm Ravenel Spring Auction 2004, lot 027

achieving an interest in variation of form that was both skillful and vivid. The art critic Michael Sullivan called this series dazzling “deconstruction”—the delicate, profound and charming visual effects may compete with Picasso's works. This work was exhibited by the China Oil Painting Association for the first time in 1996, and then in the Guggenheim Museum in New York in 1998 under the theme of “China:

the “Wang Huaiqing Solo Exhibition” in 1999, and was the cover piece of the exhibition catalogue. Later this work was chosen by Beijing's China Arts Museum for the 20th Century Chinese Oil Painting Exhibition as Wang's representative work. One may certainly imagine the importance of this painting. “Gold Stone” is an abstract work painted in “black” and “gold”, a combination he had rarely used as his key colors. Diverging from the previous two element, black and white style, the artist returns to the third color in his painting at this stage. In “Bo Le Choosing a Horse,”

5,000 years,” Wang produced unusually brilliant results again.

from his early period work, he applied the color gold around part of Bo Le's head, borrowing gold's meaning of consecration

As time progressed into the late 90's, Wang started experimenting with the

and eternal. It was common to use gold foil with lacquer on grotto frescoes and

triptych form as in his large “triptych” classical works. The Western-style triptych originated from altarpieces in the Middle Ages, gradually being transformed into a regular form of composition for

and “gold” may hardly seem to classify as colors, and yet represent the most truly

pictures up to the 20th century. Some arts masters such as Francis Bacon, Zao Wou-ki were skilled at using the triptych as a great way to present a narrative. It

164

religious sculptures in the Sui Dynasty. In Western religious culture, gold used to be a central color in painting. “Black”

classical colors that are employed in the history of Eastern and Western painting. The arts historian Hsieh Li-fa pointed out:

“There has been a long history for using the color black as base key in painting in the Eastern arts, so to call the color

The color black of the East and the color gold of the West, represent two unique cultures individually; however, these

also an artist. She is Wang's most candid commentator, for “Gold Stone”, her “marvelous piece of advice” were these

black the King of Colors would be not be an exaggeration. There were numerous period styles and individual figures in thousands of years. If we look into it seriously, everything was just water, ink and paper varying in relation to each

two elements were integrated skillfully into Wang's “Gold Stone”. To Wang, black, white or gold are all colors! Wang always had a fondness for the spirit of classical culture. He quotes Chinese ancient books and phrases in the titles

two words given without a glimmer of doubt. Wu Guanzhong also approved Wang for dealing with a matter summarily without regard to details and for facing the challenge with daring. He wrote: “In Gold Stone it is as if two armies have just

other on paper, or we might say, it is a universe of ink from the painting brushes of artists. Painting styles were passed on for hundreds of years. Despite the habit among the literati and officialdom

of his works, such as “Tiangongkaiwu” (Traces of Nature), “a great sound is silent” (words from Lao-tzu) and “gold stones”. The phrases in the titles contain abstract meanings. Tiangongkaiwu, the

joined battle, struggling to dominate one another, but both supremely indifferent to their fate. …” (Wu Guanzhong, ‘Wang Huai

of limiting the painting material to only ink and paper, there were some other colors that showed up, but these were only seen as secondary to the color black,

so-called “techniques encyclopedia” of China, is a book is especially beloved by Wang, he claimed this book was rich in old Chinese wisdom. “Gold Stone”

as the explanation of the image. The

originates from the “History of Later Han

basic frame was still the ink-color that was extended in black. So we can see the tenacity of Eastern culture. The color

Dynasty” from which the quotation is “utmost sincerity can split even bronze and stone.” An earnest and sincere person

black is not only a color for expression in painting, but also represents a spirit.” He continued, “The color black in Eastern

may cause a great sensation—shake the mountains and hills, splitting even bronze and stone. Considering either this

painting, always makes me think about the color gold that was very common in

title phrase or this giant painting itself, the artist hopes to hearten people on and

religious paintings before the Western Renaissance period, to manifest the holy and the glorious that is revered in the religion. People used costly gold foil to put on the panels as the basic color key in their paintings. The color gold is symbolic, usually representing some

challenge themselves. You can imagine Wang pursues art with the will to split stones. While the artist was creating the “Gold Stone” Triptych, he experienced a difficult struggle in his heart. He used Venice gold as a collage on the background successfully, which produced

specific meaning; however, if we see it from the aspect of the abstract, it is sensational, and can serve for dominance or contracts. Among various colors in a painting, the color gold can stand

a large piece of majestic gold, upon this powerful black was painted on freely and burst open inside. Massive monoliths of black, the scattered remains of black, from strong and thick to sparse and thin, full of

for harmony; so that in the times when religious arts were especially outstanding, the color gold dominated the painting s u r f a c e w i t h a b s o l u t e s u p e r i o r i t y, establishing a 'golden' age in art history.”

rhythm, flow with great momentum like a grand epic. In the composition, black and gold symbolize king and eternity. Wang's art span time and space, confident, bold and constrained, standing mighty.

(from Hsieh Li-Fa, an essay for 2002 symposia: “When the colors of the age are put into traditional ink— the accident of the old age make the new age a certainty”.)

Wang's wife was his classmate in the Central Institute of Arts and Crafts and is

Qing', “Wang Huai Qing – Traces of Nature”, Yan

Over the many years, Wu has always led and supported

Gallery, Hong Kong, Aug. 2005).

his student, moreover, he gives Wang's achievement a good review. Wang has never stopped in his persistence to magnify the human spirit, in a chaotic new age, the clear and bright mind steers on, refusing to follow the current trends. He thinks that an artist is always searching for something, seeking for the explanation of art. English commentator Michael Sullivan confirms Wang's effort. He thinks that Wang has connected the visual world and abstract art, this allows Western artistic circle to have a way to understand his works. Sullivan described Wang as following: “But Wang Huaiqing insists that the roots of his style are deep in Chinese culture, and above all his awareness of himself as a Chinese at a critical moment in modern Chinese history. Three things motivate him; his perceptions of traditional China and its relation with the modern world, his own memories of life, and his search for the essential order of painting. I think it is the combination in Wang Huaiquing's work of this sense of ‘ren' – which involves both his own nature and his sense of Chinese identity – with his power to create poetic order out of apparent chaos, that makes the best of his painting so deeply satisfying.”

070

ZAO Wou-ki (b. 1921)

20.11.89 1989 Oil on canvas 195 x 114 cm Signed lower right Wou-ki in Chinese and ZAO in French Signed on the reverse ZAO WOU-Ki in French, dated 20.11.89 and size 195 x 114 cm ILLUSTRATED: ZAO Wou-ki, La Différence/Enrico Navarra, Paris, 1998, color illustrated, p. 240

NT$ 45,000,000-55,000,000 US$ 1,362,400-1,665,200 HK$ 10,620,700-12,980,900

趙無極 20.11.89 1989 油彩畫布 195 x 114 cm 簽名右下：無極 ZAO 簽名畫背：ZAO WOU-Ki 20.11.89 195 x 114 cm 圖錄：《趙無極》，昂里哥‧那瓦哈畫廊，巴黎，1998，彩色圖版，頁240

1988年趙無極在巴黎出版回憶錄《趙無極》（台灣出版譯名為《趙無極自

趙無極讚譽馬蒂斯的窗景是「二十世紀最重要的畫作」，在1986年和1993

畫像》，1993年出版），回憶四十餘

年他曾經創作出類似構圖的兩幅作

年的生涯與藝術追尋，在書末最後一章節裡，趙無極娓娓道出1980年代後期的心境，寫道：「現在我只一心作畫，隨當時的靈感，隨色彩的需要。

品，藉此向馬蒂斯雋永的窗景致上最高敬意。其實，除了1986年1983年兩幅以《向馬蒂斯致敬》為題的畫作，呈顯出天地合一、富有冥想境界的圖

色彩是一切，什麼也不是，要用得非常精簡，甚至吝惜。這是我從馬蒂斯的一幅畫《窗》中，所學得到。我最

像，在另一幅油畫《20.11.89》裡，趙

近以一幅畫向它致敬。我嘗試將天地合一，是受到這個富暗示性開口的啟發，這是單純以色彩走向無限的途徑。」（趙無極、梵思娃．馬凱著，劉俐譯，

無極亦曾進行類似的探索與嘗試。在《20.11.89》作品裡，相較於其他兩幅《向馬蒂斯致敬》，其用色更顯得精簡，畫面中央的黑色，顯示一個巨大的宇宙空間，也如馬蒂斯曾經提示的一扇黑色門扉。藍綠色、紫色隱退

《趙無極自畫像》，藝術家出版社，台北，1993年初版，1996年再版，頁166）

上述所提的亨利．馬蒂斯（H e n r i Matisse, 1869-1954）的《窗》，完整畫題應是《科里烏的落地窗》。20世紀初，馬蒂斯、德安（André Derain, 1880-1954）等野獸派畫家曾在法國南部小漁港科里烏生活、作畫，創作出多幅風格強烈的野獸派圖畫。而1914 年秋，馬蒂斯再度蒞臨此地，面對戰爭之殤帶來的反思，創作出此幅情感內斂的經典圖像，它已經具有抽象畫的概念，簡約的形式及色彩，使得馬蒂斯不僅開啟了自己的藝術窗扉，也為後輩抽象藝術家引導出新的出口。

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趙無極，《向馬蒂斯致敬》 ZAO Wou-ki, Hommage à Henri Matisse 1986, oil on canvas, 162 x 130 cm

到畫面的天、地，單純的墨黑彷彿將灰白色縱向劃開，是開啟抑或閉合，又宛如中國山水的大寫意，深不可測的山壑峽谷。從1971年起，趙無極重拾水墨畫，為其油畫融入更多中國的思考空間，色彩與形式講求純粹、極簡，中國的影響此時更顯重要，風格趨於脫俗高遠。知名藝術評論家皮耶．戴（P i e r r e D a i x）從趙無極於「向馬蒂斯致敬」相關作品中，發現馬蒂斯及中國的雙重影響，他寫道：「而看他的幾件直幅畫作，採取直率的不對稱構圖，乃是一種中國書寫的演繹方式。左方，從遙遠的地層，急劇的岩漿正在湧現中，在右方完全趨於和緩之前。紫色，一種無盡溫柔的色調，及其敏銳的爆發，讓我們在極度悲劇和撫慰之間懸盪。」（譯自皮耶．戴序言，《趙無極 1935-1994年作品》，意得與卡蘭德出版社，瑞士伯

成了《向馬蒂斯致敬》的抽象圖畫。從美術史的脈絡觀察，馬蒂斯乃是20 世紀初野獸派的代表人物，他主張以純色主宰畫面，色彩得以脫離主體描寫而獨立存在，為未來的抽象藝術開闢蹊徑。不論是羅斯科或趙無極的繪畫，皆類屬當代抽象表現主義的風格，前者為美國畫

趙無極，《向馬蒂斯致敬》 ZAO Wou-ki, Hommage à Henri Matisse II 1993, oil on canvas, 130 x 195 cm

派「色域繪畫」的翹楚，後者則被譽為歐洲抒情抽象藝術的大師，先後傾心於馬蒂斯繪畫中裡的清明、純粹。羅斯科的靈感乃是源自於馬蒂斯的紅色空間；然而，趙

又盈滿，它也像一扇窗扉，暗示了更多的空間存在，也帶有中國太極之陰陽調和概念。在此一冥思的繪畫空間裡，光明正逐漸擴延著，從無盡的溫

恩，1994，頁39）

無極後期作品的墨色奇想，則是被馬蒂斯那無盡的黑色空間給開啟吧！

柔，到黑暗的覆蓋，向著寂靜與靜默，隱隱展開，柔和、安詳的紫與藍，幽幽地、輕緩地在深邃邊際吐露

皮耶．戴從趙無極受馬蒂斯啟發的直幅構圖裡，發現中國書法文字的連

黑色乃是趙無極鍾愛的顏色之一，聯想起中國的水墨畫，在他十歲時即能

芳華。在黑色之外，藝術家要帶領觀者去迎向各種的可能，那是充滿個人

結。自古中國書畫同源，文字造型充滿抽象美感。傳統繪畫藝術中直、橫的形制皆有採用，此乃呼應了中國文化裡的自然觀：立軸形制與中國建築

輕鬆揮灑的一種技藝。當他初抵巴黎時，認為中國風過於取巧，因而一度排斥接觸水墨畫，然而歷經過生命的波折之後，卻在巴黎重新發現中國，

想像的空間，端憑賴文化背景和詩意感知引導我們去領悟。

有關，橫卷形制則是配合文人賞玩的習慣。立軸長於表現大自然的高遠境界，而橫卷則易於傳達時空的轉換。今日傳世的經典書畫多數採行垂直式的構圖，的確已成為東方傳統書藝的一大特色。在趙無極之前，俄裔美籍抽象表現大師馬克．羅斯科（Mark Rothko, 19031970），也曾經受馬蒂斯的1911年油畫《紅色畫室》所啟發，於1954年完

找到中國。1970年代，他從水墨畫裡找回創作的能量，得以獲取平靜的力量。在此轉變之後，1980年代間，他

In his memoirs, titled Autoportrait and

的繪畫已如喬迅形容的「臻至一種優雅狀態」。此時趙無極的繪畫呈現出

translation was published in Taipei in

published in Paris in 1988 (of which a

一種姿態質感，已然褪去所有急躁、激越，取而代之是中國畫中更講求力度的骨法用筆，創造油彩濺灑、渲染

1993 under the title Zao Wou-ki - A Self-

的潑彩空間。例如作品《20.11.89》，呈現一種充滿能量蘊藏的畫作，在混沌初開的天地裡，黑色像是空虛，卻

chapter, Zao waxes eloquently on his

168

Portrait), Zao looks back on more than forty years of artistic pursuit. In the last state of mind at the time in the late 1980s: “Right now, all I care about is painting.

I always follow the inspiration of the

painters including Matisse and André

new concept of art: abstractionism. With

moment and my spontaneous feeling for

Derain (1880-1954) lived and worked

its simple forms and colors, this tersely

color. Color is everything and nothing,

in the small fishing village of Collioure

composed painting marked a new phase

and it has to be applied sparingly and

in Southern France, producing many

in Matisse's work and helped to pave the

economically, parsimoniously even.

paintings in the unrestrained, vigorous

road for the abstract movement.

This is a lesson I learned from Matisse’s

style characteristic of "Fauvism". In the

painting La Fenêtre, and I have recently

autumn of 1914, Matisse returned to this

Zao Wou-ki praised Matisse's "Porte-

acknowledged this debt with a picture of

place, where he reflected on the death and

Fenêtre à Collioure" as "the most

my own, dedicated to the Master. I aim

destruction already brought about by the

important painting of the 20th century" (le

to make heaven and earth into one, and

still young war. This was the background

tableau le plus important du XXe siècle),

the inspiration for this endeavor comes

for the rather dark and introspective

and he expressed his deep admiration and

exactly from the suggestive opening that

"Porte-Fenêtre à Collioure", a milestone

respect for Matisse’s profound artistic

is a window. What I do is to tread a path

piece that had opened the window on a

achievment in two of his paintings done

towards infinity—a path made entirely

in 1986 and 1993, respectively. Naming

of colors.”

them "Hommage à Matisse" (Homage to

(Zao Wou-ki & Françoise Marquet,

Matisse), in these pictures Zao explores

Autoportrait, Fayard, Paris, 1986, pp. 185-186)

ways of attaining his declared goal to (Maintenant je ne cherche rien d’autre

“fuse heaven and earth” through totemic

qu’à faire un tableau, sous l’emprise du

images with a meditative quality. And

moment et de la couleur, où représenter

Zao attempts something similar in this

à la fois tout et rien, avec économie,

lot titled "20.11.89": the use of color is

parcimonie même. C’est du moins la leçon

concise and purposeful, with the pillar

que j’ai tirée de ce tableau de Matisse,

of black that dominates the vertically

La Fenêtre, auquel j’ai voulu render

central portion representing a kind

hommage dans une peinture récente. J’ai

of cosmic space reminiscent of the

essayé d’y mêler la terre et le ciel, inspiré

somewhat murky area inside the window

par l’ouverture suggérée où j’ai voulu

in Matisse's Fenêtre painting. Greenish-

m'engouffrer. C’est un chemin vers l’infini

blue and purple tones are relegated to the

par le seul recours à la couleur.) (Zao Wou-

margins of the composition, representing

ki & Françoise Marquet, Autoportrait, Fayard, Paris,

heaven and earth as seeming byproducts

1986, pp. 185-186)

of the stark black column that splits the painting's grayish-white background

As a matter of fact, the correct or full title of the Henri Matisse (1869-1954) painting that Zao Wou-ki refers to as "La Fenêtre" in the above quotation is "PorteFenêtre à Collioure". In the early years of the 20th century, a number of Fauvist

in two distinct halves, like a flash of 馬克‧羅斯科，《向馬蒂斯致敬》 2005年11月紐約拍出2241.6萬美元（約7.5億台幣） Mark Rothko (1903-1970), Homage to Matisse 1954, oil on canvas, 268.3 x 129.5 cm Sold US$ 22,416,000 at Christie's NY November 8, 2005

169

dark lightning. It is hard to tell whether something is opening up or closing down here, if the motion is expansive or contractive—an optical effect similar to the depiction of immeasurably deep

valleys and narrow gorges in traditional

top to bottom. On the left, from cracks

of Pierre Daix, Zao Wou-ki: L'œuvre 1935-1993,

Chinese landscape (“shanshui”) paintings.

in the distant crust of the earth, magma

Editions Ides & Calendes, Neuchatel, 1994. p. 39)

From 1971 onwards, Zao picked up

is erupting with violent force, but its

ink and wash painting again, which

momentum has slowed down considerably

Pierre Daix keenly observed the

consequently added a new dimension to

by the time we reach the right side of

connection between the format of

his oil paintings, giving them more of a

the picture. Purple of an incredibly

classical Chinese calligraphy and Zao

“Chinese” feel and atmosphere. Hues and

soft and warm tone explodes sharply

Wou-ki’s vertical paintings, which in

shapes of sublime simplicity and intense

along the canvas, leaving us dangling

turn were inspired by some of Matisse's

purity began to dominate his work, and

between extreme tragedy and extreme

work. In the classical Chinese tradition,

his style was rapidly moving towards

consolation.”

(Preface of Pierre Daix, Zao Wou-

painting and calligraphy are seen as

a soaring spirituality far beyond the

ki: L'œuvre 1935-1993, Editions Ides & Calendes,

originating from the same source, and

mundane.

Neuchatel, 1994. p. 39)

indeed the characters used for writing

The renowned art critic Pierre Daix

(Mais voice des toiles verticals en

beauty. In Chinese painting, both vertical

offered an analysis of the double influence

dissymétrie brusque dans le sens de

and horizontal formats were used, each

of Matisse and classical Chinese art

lecture de l’écriture chinoise. A gauche,

in response to the ancient Chinese view

evident in the Homage to Matisse pieces

un magma de brutalités d’une lointaine

of nature. For decoration in buildings,

when he wrote, “Looking at some of his

géologie en train de déferler, avant qu’a

vertical scrolls were usually used, while

paintings in the upright format with their

droite tout s’apaise. Une extrême douceur

the often more cumbersome horizontal

asymmetrical composition, one cannot

de tons et des paroxysms aiguisés par le

scrolls were more for the entertainment

fail to notice the similarity with the

violet nous tiennent en suspens entre le

of the literati class. Vertical scrolls were

traditional way of Chinese writing, from

drame tellurique et l’apaisement.)

the format of choice for typical shanshui

Chinese are brimming with an abstract

(Preface

paintings, presenting a sublimated view of natural imagery. Horizontal scrolls, on the other hand, were ideal for depicting objects or scenes in different spaces, frequently segueing into each other, or events happening at different times. Most of the classical masterpieces that have survived to this day are vertical paintings, and this form has come to be considered the most representative for the visual arts of the Far East. Some time before Zao Wou-ki, Latvian趙無極《4.4.85》羅芙奧2007春季拍賣會，編號068，1億1820萬台幣成交 ZAO Wou-ki, 4.4.85 Ravenel Sping Auction 2007, lot 068, NT$ 118,200,000 sold 1985, oil on canvas, 97 x 195 cm

170

born American abstract expressionist Mark Rothko (1907-1970) was impressed by Matisse’s 1911 oil painting "L’Atelier Rouge" (The Red Studio), which inspired

him to do a painting in the abstract style

excellent example of this, a piece full

also titled "Homage to Matisse". If we

of latent energy lurking immediately

look at the larger picture of art history,

under the surface of a primordial space

we see that Matisse was one of the

just before heaven and earth take

representative figures of the early-20th-

concrete shape. In this conception, black

century Fauvist movement. He advocated

represents both emptiness and abundance,

the use of plain shades and simple colors

functioning as a door to other vistas and

to give a coherent structure to the surface.

spaces that are not depicted, only hinted

The goal was to allow the colors to stand

at. It is a scenario that also bears some

on their own, released and detached from

resemblance to the Chinese notions of

the representation of concrete objects.

Yin and Yang, and their harmonious

In this respect, he was a forerunner of

union in the Great Ultimate, or Tachi.

abstract painting. Both Rothko’s and

The space of the canvas is used for a

Zao’s oeuvre is generally placed in

meditation on the gradual spreading of

the category “abstract expressionism”,

light, and the picture derives its impetus

with Rothko considered a leader of the

from the tension between the warmth of an unlimited gentleness and the threat of a

American school of “color field painting”, and Zao described as a grandmaster of the European style of “lyrical abstraction”. They both share the ardent pursuit of the precision, clarity and purity that mark the best of Matisse’s work. Rothko was primarily stimulated by Matisse’s "L'Atelier Rouge", while Zao Wou-ki’s later work with its musings in black was likely a late response to the dark spaces in Matisse’s paintings. Black has always been one of Zao Wouki’s favorite colors. This may well have something to do with the fact that Zao was already very much at home in Chinese ink and wash painting by the early age of ten, wielding the brush with skill and ease. When he first arrived in Paris, he soon came to feel that the classical Chinese style was over-elaborate and technical, and so rejected ink and wash painting for some time. But after

亨利‧馬蒂斯，《科里烏的落地窗》巴黎國家現代美術館龐畢度中心收藏 Henri Matisse, Porte-Fenêtre à Collioure 1914, oil on canvas, 116.5 x 89 cm Collection Centre Georges Pompidou / Musée national d'art moderne, Paris

many long and eventful years in the City of Light, Zao eventually rediscovered his Chinese heritage. In the 1970s, it was ink and wash painting that allowed him to recover his creative powers and reach a calm artistic equilibrium. By the 1980s, he was well on his way to attaining a new level that Jonathan Jay would describe as “a state of grace”. At this point, Zao’s creations had already achieved a poise and texture that was removed from all earlier impetuousness and fanatical fervency. In its place one now found the very qualities valued by the Chinese classical tradition: forceful but secure brushstrokes employed to apply oil paint in dabs, sprinkles and splashes. The painting "20.11.89" is an

171

blackness that covers all colors. But there is hope and life, and one feels the whole composition is moving towards a state of peace and tranquility, slowly gaining in softness and serenity as blotches of purple and blue are beginning to assert themselves on the margins, albeit faintly, and putting forth their youthful blossoms. The artist wants the observer to consider the many possibilities that lie outside the darkness, and it is precisely through the sparseness of color that we are encouraged to use our own imagination in this endeavor. Relying solely on his specific cultural background and a strong innate sense for poesy, Zao thus leads us to new horizons.

071

ZAO Wou-ki (b. 1921)

19.7.63 1963 Oil on canvas 114 x 75 cm Signed lower right Wou-ki in Chinese and ZAO in French Signed on the reverse ZAO Wou-Ki in English and titled 19.7.63 PROVENANCE: Kootz Gallery, New York

NT$ 36,000,000-48,000,000 US$ 1,089,900-1,453,200 HK$ 8,496,600-11,328,800

趙無極 19. 7. 63 1963 油彩畫布 114 x 75 cm 簽名右下：無極 ZAO 簽名畫背：ZAO Wou-Ki 19.7.63 來源：庫茲畫廊，紐約

在趙無極的個人回憶錄裡，有一段記述他買下位於巴黎中貴街寓所的點滴。在他幾本大畫冊的插圖照片裡，常常留下他在畫室或庭院過往的剪影和蹤跡。這間小樓在他精心規劃下， 1961年修竣完工，他和妻子美琴隨之遷入，他們對房子的設計十分滿意。趙無極說他的樓上規劃成畫室，一樓外有小花園，引水進來砌成小池塘，養幾尾金魚。他的畫室不對街開窗，大片水泥牆把屋內一切遮掩起來，外人看不到畫室，它像是個隱密的盒子。光線只會從北方來，帶點灰色調，永遠穩定，使他能精確掌握每個色彩的密度，不至於讓日光扭曲了色彩的細緻變化。在新的畫室裡作畫，趙無極能感到完全自在，他可以把自己關閉在樓上畫室，不見任何人，當然有時也包括親密的家人。這間畫室幫助他創作無數色彩細膩的作品，直至今日此處仍是藝術家的生活與工作所在。新畫室容許他創作大幅的作品，當然除此之外，有一個人對他產生關鍵性的影響。「我的新畫室讓我能畫很大的畫：有足夠的向後退和搬畫的空間，可以毫無困難的拉前或退後畫架。我發現了畫筆可以大啟大闔的酣暢。庫茲喜歡大畫，很鼓勵我作大畫，這在畫商中是很少見的，因為大畫既難展覽也難 …賣！大筆塗抹讓我感到一種極大的肉體的暢快，到了幾乎只想作大畫的地步！庫茲塊頭高大，出生於美國維吉尼亞州，帶著濃重南方口音，曾當過律師，是位傑出的鑑賞家，但除了

172

畢卡索和杜布菲，他只喜歡抽象畫。 1 9 4 7年，他在紐約開第一家畫廊，後來關閉一個時期，1 9 5 5到1956年間又重新開張，第一次展覽就展出了帕洛克（1912-1956）、馬哲威爾（19151991）、羅斯科（1980-1966）、德庫寧（1904-1997）、紐曼（1905-1970）和克萊恩（1910-1962）等人的作品。當時他們那時都還是年輕畫家。庫茲對他們就像一個父親，他為人極為慷慨，常花許多時間帶我們這批年輕畫家上飯館、通過他，我認識了很多美國藝術家和美術館主管，像蒙德里安的大收藏家史威尼就是其中之一。」（趙無極、梵思娃．馬凱著，劉俐譯，《趙無極自畫像》，藝術家出版社，台北，1993年初版，1996 年再版，頁134）

趙無極自傳裡念念不忘的傑出鑑賞家—山姆．庫茲（S a m K o o t z, 18991982），從1950年代起即贊助馬哲威爾、霍夫曼（1980-1966）、葛特列柏 (1903-1974)、羅斯科和德庫寧等一流抽象表現主義大師。1966年的《時代雜誌》以「抽象表現主義者的總部」形容庫茲畫廊，在此之前，庫茲也是畢卡索在美國最重要的經紀商，人脈很廣。庫茲對來自法國的趙無極的藝術賞識有加，曾經在1958、1959、 1960、1964幾年為他舉辦四次個展，又在1958、1959、1962、1963、1965 年舉辦五次聯展。庫茲不僅為趙無極成功地打開美國的知名度，因為有庫茲的鼓勵和推薦，後人才得以看到 1960年代之後趙無極暢快淋漓的大幅創作，因為他的慧眼，使得趙無極的畫進入許多美國美術館和大收藏家之手。傳奇性的庫茲畫廊，1966年因庫

茲夫人的去世而宣佈停業，此後庫茲專注於寫作，把他的藝術經歷集結成冊。1982年8月23日《時代雜誌》庫茲的訃告上，他被稱譽為「美國有真知灼見的藝術經紀商、抽象表現主義的聖騎士」。

作品，是以黃褐色為主調，散發著一種金銅般的光芒，一些細膩、尖銳、又帶點神經質的纖維性線條，在畫面上自由的揮灑、組合，擺脫題材、法則的限制，一切遵從內在的需求。趙無極呈顯一個深邃、富有動力、荒原中透露著華麗的世界。」這段文字也

完成於 1 9 6 3 年的油畫作品《19.7.63》，曾是庫茲畫廊經紀的藝

凸顯出《19.7.63》的某些特色。

術品，庫茲的眼光與專業早已建立口碑，他和其他畫商不同，鼓勵年輕的趙無極儘可能去創作，無須顧忌畫作的尺幅囿限，此一時期作品風格才得

1950年代趙無極曾在中國甲骨、青銅器中發現中國文字的造型形式美，金

以呈現飛揚、奔放的動勢。在整幅《19.7.63》整幅作品裡，趙無極飛快的筆鋒，首先吸引了觀者的目光，這幅充滿文字揮毫的軌跡，乃是來自中國書法的傳統。趙無極出身書香世家，自幼景仰米芾（1051-1107）的書法及繪畫，他認為米芾是最偉大的書法家。他也推崇范寬（c. 990-1030）的自然觀。在他的眼中，他們的字或畫裡的空間都有塞尚的味道。法國藝術評論家雷馬利（Jean Leymarie），則指出趙無極此時畫作「結合了書法的鋒利與繪畫的風味」畫家蕭勤曾讚揚趙無極是「第一個將中國傳統美術帶入世界畫壇的畫家」，他認為美國的托比、克萊恩，法國的馬修，和許多行動繪畫及非形象主義的藝術家們，都從中、日書法中汲取養分，甚至中、日書法決定了

銅色象徵神聖、古典與文明，華麗世界表現了藝術家揚升中的成就及生活幸福感，而神經質的纖維性線條，有著狂亂的內心糾葛和苦悶，應是畫家對罹病妻子美琴的隱性擔憂及壓力。趙無極用大筆揮灑，他說有時會用畫刀把顏料壓進畫布，像是使顏料能更穿透到空間去，在紛亂的色彩和重重疊加的筆觸間，他感到從容自在。他還在自傳裡寫道：「強烈的和喧囂的，對我的吸引力遠過於靜默。征服空間成了我腦中裡日夜縈繞的問題。」1960年代對趙無極繪畫像是一場新的戰鬥，這是他進入感覺與空間的時期。因為充滿生命力與創造力，無怪乎，西方的評論家和畫商經紀人都要為為此時的創作所折服，他秉持奮發直追的信念，亦激起觀者無比飛

趙無極《5.12.1969》羅芙奧2006秋季拍賣會，編號060 9093萬台幣成交 ZAO Wou-ki, 5.12.1969 Ravenel Autumn Auction 2006, lot 060 NT$ 90,930,000 sold 1969, oil on canvas, 194 x 96 cm

In his personal memoirs, there is a

揚的意志。

passage in which Zao Wou-ki looks back on how he acquired his house in the Rue Jonquoy in Paris, a place that frequently appears in the photographs inserted in several of his big picture albums, showing

1950至1960年間大部分西方抽象畫的演變，而其中集大成者，就是趙無極。（參閱袁德星編，《趙無極》，源成出版有

past scenes and impressions from his studio or the yard. Zao and his wife, May, moved into the little house in 1961, after it had been renovated according to the painter’s own meticulous blueprints, and

限公司，台北，1980，頁7）

台灣知名的美術史學者蕭瓊瑞在《中國巨匠美術週刊—趙無極》一書也指出趙無極此階段的特色：「1960年代的

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they were both very happy with the design and layout of the house. Zao recalls how he had made the entire second floor into

1962). At the time, all of them were still young painters at the beginning of their careers, and Sam was like a father to

an atelier, with a small garden outside and a little fishpond with some goldfish in it. He never opened the studio's windows on to the street, and the entire interior of the house was shaded off from the outside world by a large concrete wall,

them. He was extremely generous with his time and money, and would often take us young folks to restaurants or concerts. Through him, we made the acquaintance of numerous American artists, as well as museum directors and curators. One

ensuring that noone could look inside. So the atelier was like a well-concealed little “box”, into which daylight fell only from the north, creating a stable, grayish kind

of them was James Sweeney, the great Mondrian collector.” 米芾《書法》 Calligrapfy of Mi Fei (1051-1107)

Zao’s work. It allowed him a firm grasp of his colors’ intensity without having to worry that the quality of their most subtle shades and nuances might be distorted by

me a lot to work in big formats, which was very unusual for an art dealer. After

the irregular play of sunlight.

experienced intense physical joy from painting in large brushstrokes on large surfaces, and I reached a point where I

When painting in his new studio, Zao felt completely at ease. He would shut himself in his second-floor atelier and refuse to see anybody, sometimes including even close family members. It was here that he created countless of his must most delicately hued pieces, and the place remains his studio and living room to this very day. Its spaciousness also allowed him to work in large formats, something he was encouraged to do by Sam Kootz. “In my new atelier I could work in large formats: there was enough space to take several steps back from the painting, or to move it around the room a bit, or to adjust the easel as required. I discovered the pleasures of big, sweeping strokes, their verve and beauty. Kootz was very fond of big paintings, and encouraged

“Ce nouvel atelier me permettait enfin de peindre des grands formats. Il m’offrait

of lighting that formed the backdrop for

all, large paintings are both difficult to put on show and difficult to…sell! I

virtually didn’t want to paint anything but large format pictures. Kootz was a big fellow who originally came from Virginia in the United States. He spoke with a heavy southern drawl and had once been a lawyer, but he was also a true connoisseur of art, and quite an expert on painting. It has to be said, though, that apart from Picasso and Dubuffet, he was only interested in abstract painting. In 1947, he opened his first gallery in New York, which he later closed down for a while before reopening it between 1955 and 1956. His inaugural exhibition featured works by Jackson Pollock (19121956), Robert Motherwell (1915-1991), Mark Rothko (1903-1970), William de Kooning (1904-1977), Barnett Newman (1905-1970), and Franz Kline (1910-

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d e l ’ e s p a c e p o u r a v o i r d u re c u l e t déplacer les tableaux. Je pouvais à ma guise avancer et reculer le chevalet sans trébucher. Je découvrais l’amplitude des gestes. Sam Kootz aimait les grands tableaux et m’y encouragea, ce qui est peu commun pour un marchand, car difficile à exposer, et... à vendre ! J’éprouvais une grande joe phsique à tartiner de très grandes surfaces, au point d’en devenir obsédé et de ne faire plus que cela! De taille immense, avec un fort accent du sud, Sam Kootz était avocat. Originaire du Virginie, grand amateur de peinture, il ne s’intéressait qu’à l’abstraction, en dehors de Picasso et de Dubuffet. Il eut une première galerie a New York, en 1947, fermée puis réouverte en 1955-1956, où il exposa pour la première fois Pollock, Motherwell, Rothko, De Kooning, Newman, Kline. Ils étaient tous bien sûr de jeune peintres et permettaient à Sam de jouer le rôle d’un pere. Sam était d’une grande générosité, il nous consacrait son temps en nous emmenant au restaurant ou au concerte.

Grâce à lui j'ai recontré beaucoup d'artiste américains ou de conservateurs de musées comme James Sweeney, grand

owners, Kootz encouraged the young Zao to follow his inspiration and paint whatever he liked, without regard for size or format. This shows in Zao’s output of that time, as he began to develop his typical unrestrained and dynamic style. These are the bold, sweeping bushstrokes

collectionneur de Mondrian.” (Zao Wou-ki & Françoise Marquet, Autoportrait, Fayard, Paris, 1986, pp. 136-137)

In the 1950s, Sam Kootz (1899-1982), the accomplished art dealer and collector who Zao Wou-ki remembers so fondly in

that first attract the observer’s eye in “19.7.63”, and at a closer look one finds that the interconnected powerful lines that dominate the picture are very

his autobiography, became a sponsor of a number of first-rate abstract expressionist artists, including Motherwell, Hans Hofman (1880-1966), Adolph Gottlieb

reminiscent of traditional Chinese calligraphy. Zao originally came from old literati family, and from his early childhood he was a great admirer of the painting and calligraphy of Song Dynasty

(1903-1974), Rothko, and de Kooning. His importance for the movement was such that in 1966 Time Magazine described the Sam Kootz Gallery as the “headquarters of the abstract-expressionist school”. Before that, Kootz had already been Picasso’s number one agent for the US market, and generally was very well connected. From the beginning, he was deeply impressed with France-based Zao Wou-ki’s art, and he organized as many as four solo exhibitions of his work in 1958, 1959, 1960 and 1964, respectively. In addition, Kootz featured Zao’s works in a total of five joint exhibitions in the years 1958, 1959, 1962, 1963 and 1965. Kootz not only helped Zao to make a name for himself on the Amercian art market, he was also the one who kept encouraging the Chinese-French painter to try his hand at large formats. If it hadn't been for this farsighted art dealer from Virginia, the richly expressive, freeflowing compositions on large canvas that Zao began to paint from the 1960s onwards might never have come into existence. Thanks to Kootz’s discerning

literati artist Mi Fu (1051-1107), whom he considered as the most outstanding eye and tireless promotion, Zao's paintings soon found their way into the collections of many museums, galleries and private collectors in the United States. The legendary Kootz Gallery was closed permanently in 1966 due to the death of Mrs. Kootz, after which her husband devoted his energies to writing, putting to paper his many observations and experiences in the world of art. The obituary in Time Magazine on August 23, 1982, praised Kootz’s achievements and called him a “foresighted art dealer and paladin of abstract expressionism in America”. This lot, Zao Wou-ki’s “19.7.63”, was also once on sale in the Kootz Gallery when the art dealer’s professionalism and discriminating eye were already widely known. Unlike most other gallery

176

calligrapher in Chinese history. Another painter he held in high esteem was Fan Kuan (c. 990-1030), particularly admiring his conception of nature. In Zao’s view, the use of space in both Mi’s calligraphy and Fan’s landscape paintings has a lot in common with the work of Paul Cézanne. As for Zao’s own work, French art critic Jean Leymarie describes it as “combining the poignancy of calligraphy with the flavor of painting.” Chinese-born painter Hsiao Chin once praised Zao as “the first painter to introduce the aesthetics of traditional Chinese art into the world of international painting”. Hsiao also feels that painters such as America’s Marc Tobey and F r a n z K l i n e , o r F r a n c e ’s G e o rg e s Mathieu, as well as numerous artists involved with action painting and nonobjective representation, all derived

much inspiration from Chinese and Japanese calligraphy. He even goes so far as to claim that much of the evolution of abstract painting between 1950 and 1960 was determined by the influx of calligraphic concepts from China and Japan, and that Zao Wou-ki was the epitome of this new direction in art. (cf. Yuan Teh-hsing, ed., Zao Wou-ki, Taipei: Yuan Cheng Publishers, 1980, p. 7)

as an atmosphere of bliss and prosperity. But in Zao’s work, things are more complex than that: while the immediately a p p r e c ia b l e a e s t h e t i c c h a r m o f h i s

of this may be explained as an indirect expression of Zao’s worries about the health of his wife, May. The pressure and melancholy he probably felt because

paintings speaks of the artist’s success in sublimating his inner life, the somewhat frenzied fibrous lines responsible for much of the dynamic impetus also reveal a darker side dominated by ravaging turmoil and gloomy inner conflict. Some

of her sickness can be guessed from the way Zao, as he himself explains, frequently uses the palette knife to squeeze the paint firmly into the canvas, as if this would create an even more plastic effect of depth. But mostly, so the artist, the uninhibited application of color in sweeping strokes and spattered dabs, overlapping and chaotic, makes him feel calm and at ease. As he writes in his

In his book Masters of Chinese Painting: Zao Wou-ki, renowned Taiwanese art historian Hsiao Chiung-jui analyses the characteristics of Zao’s style in the 1960s:

autobiography, “The fierce and intense, the clamorous and passionate have

“Brown and yellow tones dominate in Zao’s work from the 60s, colors emanating a bronze-golden glow that are

always attracted me much more than the quiet and the stationary. How to conquer space, how to shape and enliven it is a

applied across the canvas with vigorous abandon to form lines and shapes of

problem that is constantly on my mind.” In the 1960s, for Zao painting meant

both refined subtlety and keen intensity— filamentary and just a touch frantic in quality. These lines are assembled in a free fashion without any concern for motif

meeting new challenges. It was a struggle to find his voice, his way of getting “inside space” and exploring his emotions.

or preconceived notions. Zao shakes off

Since his 60s paintings are particularly brimming with vitality and creative energy, it is not surprising that Western art critics and dealers find Zao’s output from this period among the most impressive

all formal restraints and follows his inner vision, thereby revealing a profound and rich imagination that fills his compositions with primal energy and creates a world where the most dazzling beauty bursts from a wasteland.” Undoubtedly, these words also capture many of the qualities of “19.7.63”. During the 1950s, Zao discovered the visual appeal and formative beauty of Chinese oracle bone and bronze inscriptions. There is some symbolism in the golden hues of bronze, suggesting the sacred, classical and cultured, as well

in his entire oeuvre. It was a time of departure for the artist, of embarking on the pursuit of his ideals without looking back. This new hope and determination is communicated to the observer with almost 北宋畫家范寬《谿山行旅圖》絹本、淺設色畫、軸，206.3 x 103.3 cm 現藏於台北國立故宮博物院 Fan Kuan, Travelers Among Mountains and Streams Hanging scroll, ink and light colors on silk 206.3 x 103.3 cm Collection National Palace Museum, Taipei

177

painful poignancy, uplifting to heart and mind.

072

CHU Teh-chun (b. 1920)

Nature hivernale 1987-1988 Oil on canvas 130 x 97 cm Signed lower right CHU TEH-CHUN in English and in Chinese Titled on the reverse "Nature hivernale" and signed CHU TEH-CHUN in English and in Chinese, dated 1987-88 PROVENANCE: Galerie Arlette Gimaray, Paris

NT$ 19,000,000-28,000,000 US$ 575,200-847,700 HK$ 4,484,300-6,608,400

朱德群

1985年朱德群飛往日內瓦途經阿爾卑

德群，點出畫家所同時具備的中國傳

斯山，看見窗外被大雪覆蓋的高峰景

統古典淵源以及現代繪畫創新精神。

色，山巔雲霧瀰漫，雲霧之白、霜雪之白，層次分明，充滿變化，心中無

朱德群的繪畫觀受到宋代三大畫家范

比感動，突然湧現唐詩的意象。回程

寬、郭熙、李唐的名畫影響最深，在

乘火車時再遇阿爾卑斯山暴風雪的壯

此之前他先已從西方現代藝術的塞

觀景象，這份激動成為啟發他後來創

尚（1839-1906）、史塔耶爾（1914-

作雋永的冬日「雪景系列」的開端！

1955）的啟示，找出自己的定位，

唐代大詩人李白有「地白風色寒，雪花大如手」的詩句，描寫下雪時盛大

了解書畫同源的意義，未料少年時勤

重新體認到中國水墨畫的傳統精神，練法書的基礎，竟然成為日後受用無

之狀、杜甫也吟唱過「亂雲低薄暮，急雪舞迴風」的暴雪氣勢。詩詞裡生

窮的技藝。而荷蘭古典大師林布蘭

動描寫雪景的詩句固然不少，但是在

暗處運用，帶給他新的啟發，使其抒

（1606-1669）作品中精湛的光源與

中國古典畫裡幾幅冬日雪景名畫，多

情抽象畫融入戲劇性的光源變幻。朱

是抒寫雪後的自然之美。朱德群心

德群成熟地透過現代的繪畫技法，在

裡的悸動不是寧靜的雪後，而是動態

中國古典山水畫瑰寶中找到源泉，從

冬之自然

萬千的，華麗的飛雪景象吧！畫友吳

而探索出中西調和之道。楚戈認為，

1987-1988 油彩畫布

冠中指出：「動」是朱德群畫面裡的主要構成元素，他的每幅畫都是一部

「朱德群就是用油畫畫出中國水墨畫精神的大師。…朱德群不但用油彩畫

130 x 97 cm 簽名右下：朱德群 CHU TEH-CHUN 簽名畫背："Nature hivernale"

運動的和聲。「粗獷的力溶於寧靜的

中國水墨的精神；而且畫中的線條，

美！」而朱德群也坦言，作畫時喜歡

在輕重濃淡，甚至有渲染效果的空間

以古典音樂相伴，音樂性的律動亦隨

中，居然有筆墨的趣味，就不得不使

CHU TEH-CHUN 朱德群 1987-88

著畫筆一進入繪畫的空間。

人欽服了。」（楚戈〈雲興霞蔚：試為朱德群先生的藝術定位〉，《朱德群畫集》，金陵藝術中

來源：基瑪海畫廊，巴黎

平日以閱讀《全唐詩》、《全宋詞》

心，台北，1989年8月，頁9、頁11）

或揮毫書藝為樂，朱德群曾表達過對唐宋藝術的高度敬意。盛唐氣象到纏

朱德群將中國古典人文精神帶入現代

婉宋風，唐宋藝術可說是中國藝術史

油畫裡，要講求師法自然、中得心

上兩大極盛時代。在他看來，唐宋藝

源。早年在杭州時期受林風眠等大師

術之所以偉大，在於當時的畫家直接

的新潮美育影響，無論水墨畫及油畫

與自然接觸，是從自然孕育而得。自

皆有嘗試，在校表現亦頗為傑出，他

然山水對唐宋藝術之重要，而近現代

勤於作畫，與吳冠中課餘經常相邀出

西畫的發展過程亦復如此，因為觀察

外寫生。來到台灣之後，他仍經常帶

大自然後的表達、技法、觀念革新，

著學生尋幽訪勝，完成不少高山寫生

促使近現代西洋藝術迅速地發展起

作品，證明了對自然美景的迷戀。

來。1960年法國詩人暨藝評家夏布朗

他曾向藝評家史奈德（J o s e p h-P a u l

曾以「20世紀的宋朝畫家」來形容朱

Schneider, 1940-1998）表示：「大自然

178

180

永遠是我創作的泉源之母。」史奈德則

孤寂而帶有寒意的，朱德群卻在墨韻

觀察到1980年代中期後朱德群從大自然

裡巧妙點綴少許黃、紅的小點，使得

而來的創作發想，他寫道：「…在他某些作品中，陪襯以光線之放射而反應出

整幅白色調的圖畫增添活力。唐詩

其深度。在他的一些近作裡那些經過暴

有「忽然一夜春風來，千樹萬樹梨花開」的雪景隱喻，吟詠雪白大地之

風雪席捲後的『冬之呈現』，或由『優

美，而朱德群則以色彩、線條和曼妙

美晨光』得來的靈感之作，還有豐富的

的節奏，來書寫白雪皚皚的詩意，一

秋色，一系列的火紅色調的探尋，將之

幅令人讚賞的冬季裡的自然！

孕育在他所熟諳的結構中，縱橫四方全在光輝中沈浸沐浴。忽而集中在某一點，忽而四面發散而去，光源產生在融

On a flight to Geneva in 1985, Chu was

化的物質中，自一交聚點噴射出來，或

deeply impressed by the sight of the

是很細膩地滲透到線條裡，無界限的分

Alps: the snow-covered mountain peaks,

散開來。這個光線就是火焰，它可以建

the hovering clouds and milky mists, the

立一個宇宙，並且與陰影成為對比。它

sheer whiteness of the entire landscape.

是神祕的哀婉動人的對話中的主宰。

White fog, white snow, white frost—all white, but all representing very distinct,

…」（譯自史奈德，〈朱德群聆聽宇宙〉，1987 年4月2日《星期四》報，盧森堡）

朱德群的幾幅雪景油畫代表作皆在 1987年完成，例如《白色森林》、《寒》以及《冬之呈現》等，以及此

北宋畫家郭熙《早春圖》，絹本‧淺設色畫‧軸 158.3 x 108.1 cm, 現藏於台北市國立故宮博物院 Kuo Hsi, Early Spring Hanging scroll, ink and light colors on silk 158.3 x 108.1 cm Collection National Palace Museum, Taipei

individual shades, full of variety and subtle transitions. The scenery below him struck a chord within Chu’s artistic soul, bringing to his mind the imagery of Tang poetry. On his return trip by train, he encountered a spectacular Alpine blizzard,

幅拍品《冬之自然》。這一年他創作

and this became the inspiration and

力尤其豐沛，尺幅皆大，在台北的歷史博物館舉行離台32年後的盛大個展

有緣親眼目睹三幅名畫，對朱德群的

starting point for his phenomenal Snow

以及三間畫廊的巡迴展，同年他也受

後來創作自然具有特殊的意義，瞭悟

Scenes Series.

邀在以色列首都市政廳展出的「現代

筆墨之微妙處，非得面對真蹟不可，

法國畫派展」參展，名列法國重要當

這次寶貴的經歷多少亦促使雪景系列

The great Tang poet Li Po wrote the line

代藝術家之林。探究朱德群的創作能

達到創作高峰狀態。此幅《冬之自

“In the bitter cold, the snow keeps falling

量緣由，參加展覽是其近因，但最主

然》是畫家少數幾件採取直幅構圖的

like a giant hand smothering the snow-

要的遠因是1986年他曾返回台灣參加

雪景圖，具有幾分宋畫的娟麗氣質，

covered ground” to describe the stirring

藝術座談會，見到心儀已久的宋代山

市場之前所見多數為尺幅較大的橫幅

sight of heavy snowfall. Tu Fu, another

水畫真蹟。他託學生輩宋龍飛的安

構圖，較為霸氣，而直幅顯為蒼秀細

famous Tang poet, declaimed, “Under the

排，在當時台北故宮博物院院長秦孝

膩，更貼近中國文人畫意境。朱德群

low lying clouds, the snowflakes dance

儀的特准下，由杭州藝專同窗李霖燦

在創作時，採取即興的、自動性的繪

merrily in the wind”. While it is certainly

陪同，在觀畫室飽覽了范寬的《谿山

畫技法，飛揚的深色線條和濺撒的白

true that one can find numerous phrases

行旅圖》、郭熙的《早春圖》、李唐

色雪花，在在展現他勤練書法後的行

and lines in classical Chinese poetry that

的《萬壑松風圖》三幅鎮院之寶、曠

雲流水，表現自由豪放，帶有歐洲冬

vividly convey the beauty of snowscapes,

世名作。

景的寫意。飛雪漫天的大自然，本是

the focus of classical Chinese painting—

181

as revealed in a number of renowned winter paintings—is generally on portraying the tranquil magnificence of nature after a bout of snowfall. But what touched Chu Teh-chun’s heart was not this kind of quiet serenity; it was the blustering, howling, constantly metamorphosing splendor of wildly flying snowflakes tossed about by the storm. As his painter friend Wu Guanzhong once pointed out, “Movement is a very important element in Chu Teh-chun’s compositions. Each of his paintings is a symphony of harmonic motions. Or rather, he manages to channel even the roughest and most violent force into a calm sort of beauty that soothes rather than excites.” Chu himself admits that he likes to listen to classical music while he paints, and that the rhythm and melodies of the music are imperceptibly transferred onto the

朱德群《白色森林 (一)》羅芙奧2006秋季拍賣會，編號059，4389萬台幣成交 CHU Teh-chun, La forêt blanche I (The White Forest I) Ravenel Autumn Auction 2006, lot 059, NT$ 43,890,000 sold 1987, oil on canvas, 130 x 196 cm

canvas as undulating lines and shades of color.

importance of natural subjects in Tang

individual creativity and originality.

and Song shanshui painting finds an echo Chu is a great admirer of Tang and Song

in the development of modern Western

Chu’s concept of painting was deeply

poetry, and his favorite diversions are

painting, with some schools placing

influenced by the art of the three Song

reading in The Complete Tang Shi or The

an increasing emphasis on carefully

painters Fan Kuan, Kuo Hsi and Li Tang,

Collected Song Ci, as well as writing

observing nature before proceeding to

but even before he came to admire and

calligraphy and painting in the classical

evolve distinct techniques, concepts

learn from their work, he had already

style. The fresh vigor of the Tang Dynasty

and methods of expression. Against this

been inspired by modern Western masters

and the refined elegance of the Song

backdrop, it is not surprising that the

such as Paul Cézanne (1839-1906) and

Dynasty mark two distinct highpoints in

French poet and art critic Jean-François

Nicolas de Staël (1914-1955) to find his

the history of Chinese art. In Chu's view

Chabrun once described Chu Teh-chun

own way in the world of painting. These

the greatness of Tang and Song art derives

diverse stimulations soon led him to

largely from the fact that in those days,

as a “Twentieth Century Song Painter” (Peintre Song du XXe siècle), highlighting

painters were in direct contact with nature,

the fact that Chu, while firmly rooted

ink and wash painting and calligraphy,

and that all their art was born out of this

in the classical Chinese tradition, is

and gain a renewed understanding of the

immediate experience of the natural

also very much at home in the modern

classical Chinese concept that “painting

environment. Interestingly, the evident

art movement with its special focus on

and calligraphy originate from the same

182

reappraise the spirit of traditional Chinese

source”. Quite unexpectedly, it turned

with both ink and wash and oil painting.

out that the training he had received in

Already in these early student works his

these disciplines as a young man stood

talent became quickly apparent. Always

Chu Teh-chun’s representative snowscape

him in good stead in developing his skills

eager to further hone his skills, Chu

oil paintings were all completed in 1987,

as a modern painter. Another source

would frequently invite Wu Guanzhong

including "La forêt blanche", "Temps

of inspiration for Chu were the Dutch

for trips to the environs where they would

d'hiver" and "Présence hivernale". It

master Rembrandt van Rijn’s (1606-1669)

sketch and paint from life. After coming

was one of Chu’s most prolific years

delicate treatment of light and dark, a fact

to Taiwan, Chu loved to take his students

during which he produced many almost

that is very evident in the dramatic play of

to quiet spots of scenic beauty, and quite a

exclusively large format paintings. He

light, and the fluctuating light sources, that

few sketches of exquisite mountain vistas

also had several exhibitions, such as a

can be witnessed in Chu’s emotionally

resulted from these excursions as proof of

solo exhibition at the Taipei National

expressive abstract paintings. The mature

Chu’s fascination with, and passion for,

Museum of History (a grand retrospective

Chu adroitly applies modern painting

beautiful natural scenery. Chu once told

on his work since he left Taiwan 32

techniques to classical Chinese themes

the art critic Joseph Paul Schneider (1940-

years earlier) and three touring exhibits

and motifs, thus creating a unique blend

1998), “Nature will forever remain my

o rg a n i z e d b y a r t g a l l e r i e s . A l s o i n

of Western and Eastern artistic qualities.

mother.” Schneider, when contemplating

1987, he was invited to participate in

As Chu Ko put it, “Chu is a master who

Chu’s later work (after the mid-1980s),

the “Panorama de l’Ecole Française

has used oil painting to express the spirit

notes how Chu’s inspiration is ever more

Contemporaine”, a show organized by

of Chinese ink-wash painting…Chu Teh-

closely derived from nature: “…From

the French Institute in Tel Aviv, Israel,

chun not only uses oil paint but also uses

the mineralogical structures of the deep

where his work went on display next to

the line, depth of shading, and color

earth awakened by the power of light in

that of other important French modern

effects in space in order to better express

some of his works, some recent paintings

artists. So if we ask why this was a

the flavor of ink-wash painting. One

suggesting the ‘Presence of Winter’, then

particularly fruitful period in Chu’s life,

achievement.” (Chu

through tempest and chaos, or through

one obvious answer is that his output

Ko, ‘Flourishing Billows of Clouds – An Examination

works inspired by ‘peaceful morning

satisfied an unprecedented demand for

of the Significance of Chu Teh-chun’s Art’, Chu Teh-

hours’ or the colors of autumn, to the

his paintings, reflected by the many joint

chun, King Ling Art Center, Taipei, August 1989, p. 9

exploration of that fire smouldering amid

and solo exhibitions mentioned above.

& p. 11)

his ‘inhabited structures’, from the level

But there was another, more important if

of the horizon to the ascending lines, the

less obvious reason for this sudden spurt

For a painter like Chu, who fuses the spirit

nourishing light is present everywhere,

of creativity: a year earlier, in 1986, Chu

of traditional Chinese culture with modern

concentrated or diffuse. Born of melting

had been back to Taiwan to take part in

oil painting, it is particularly important

matter, flashing from a single focus or

an art symposium, an event that provided

to heed the ancient advice for painters

subtly dispersed among the outlines, light

him with the opportunity to see in the

that “one learns from nature, but creates

ignores all boundaries. It is that fire which

original a number of pieces by Song

from the heart”. In his early years in

builds up the world and counteracts the

Dynasty shanshui painters. These were

Hangzhou, Chu came under the influence

power of darkness; it is the victorious

the very masters he had long admired, and

of Lin Fengmian and other leaders of the

weapon in a mysterious and pathetic

he had asked his student Sung Lung-fei

New Wave Art Movement, and during

dialogue….” (Joseph Paul Schneider, translated by

to arrange a private viewing of three of

this period he experimented widely

Helene Joussein from Du Donnerstag, April 2, 1987,

the most treasured paintings of the entire

cannot but admire such

183

Luxembourg)

rather understated, refined quality is very reminiscent of the ethereal imagery found in many Song literati paintings. For this piece, Chu employed an impromptu approach, with his brush following wherever inspiration might lead it. The dark blue lines and patterns, executed in unrestrained, “flying” brushstrokes, and the sprinkles of white snowflakes dabbed across the composition, are all typical for Chu’s trademark style, natural and smooth “like moving clouds and flowing water”. Meanwhile, the picture breathes a freedom of spirit through which we may well discern the atmosphere of winter in Europe. Yet this is also where Chu adds his own ingenious touch, for he subtly 朱德群《冬之呈現 (二)》羅芙奧2007春季拍賣會，編號070，5380萬台幣成交 CHU Teh-chun, Présence hivernale Ravenel Spring Auction 2007, lot 070, NT$ 53,800,000 sold 1987, oil on canvas, 130 x 195 cm

National Palace Museum collection.

of the originals if one wishes to

With the special permission of the then

scrutinize the finer points of brushwork

director of the Palace Museum, Chin

and composition. It is therefore hardly

Hsiao-yi, and accompanied by his old

an exaggeration to say that his private

classmate from Hangzhou, Li Lin-tsan,

viewing of Song landscape paintings

he took in all the beauty and the style of

was one of the driving forces behind the

Fan Kuan's "Travelers Among Mountains

Snow Scenes Series, and probably the

and Streams", Kuo Hsi's "Early Spring",

main reason why in these works Chu once

and Li Tang’s "Wind in Pines Among

more reached the peak of his creative

a Myriad Valleys", each of them an

abilities. This lot, "Nature hivernale",

undisputed classic.

is one of his few snowscape paintings in the upright format. It has some of the

Being able to have a firsthand look at

graceful elegance of Song paintings,

these superb masterpieces meant a lot to

unlike the majority of pieces in the Snow

Chu Teh-chun, and it had a significant

Scenes Series, which are in a horizontal

impact on his subsequent creative work.

format and have a much starker and more

Nothing can replace a close inspection

self-assertive quality. Nature hivernale's

184

brightens the often dark and harsh mood of a lonely winter landscape in northern regions with small dabs of yellow and red, thus adding a more vigorous flair to the predominantly white and blue palette. Tang poet Cen Shen wrote, “It is as if suddenly one night a spring wind would rise, and scatter the blossoms from thousands and thousands of pear trees”, using a springtime image as a metaphor for the beauty of the earth covered under a thick layer of snow. In "Nature hivernale", Chu does something very similar when he employs unique shades of color and gently undulating lines to create a litheness and rhythmic harmony that make the observer acutely aware of the stunning beauty that is a winter landscape.

073

CHU Teh-chun (b. 1920)

La Nature 1995 Oil on canvas 130 x 195 cm Signed lower right CHU TEH-CHUN in Chinese and English and dated 95 Signed on the reverse La Nature, CHU TEH-CHUN in Chinese and in English, and dated 1995 ILLUSTARATED: Chu Teh-chun, Galerie Enrico Navarra, Paris, 2002, color illustrated, p. 219

NT$ 9,500,000-12,000,000 US$ 287,600-363,300 HK$ 2,242,200-2,832,200

朱德群自然之再生 1995 油彩畫布 130 x 195 cm 簽名右下：朱德群 CHU TEH-CHUN 95 簽名畫背："L a N a t u r e" C H U T E HCHUN 朱德群 1995 圖錄：《朱德群》，昂里哥‧那瓦哈畫廊，巴黎，2002，彩色圖版，頁219

186

073

074

JU Ming (b. 1938)

Taichi Series – Single Whip 1982 Wood 47 (L) x 35 (W) x 46 (H) cm Signed Ju Ming in Chinese and dated '82 The sculpture is to be sold with a certificate of authenticity issued by Kalos Gallery, Taipei.

NT$ 16,000,000-22,000,000 US$ 484,400-666,100 HK$ 3,776,300-5,192,400

朱銘太極系列－單鞭下勢 1982 木雕 47（長）x 35（寬）x 46（高）cm 簽名：朱銘 '82 附真善美畫廊開立之原作保證書

對朱銘而言「藝術是種修行」，是他數十年藝術生涯的體驗，加上只有小學畢業的他，看書相當費時，但卻不影響其學習的志趣，不但養成以天地自然為師的特質，更學會去思考，他曾表示：「我有思考的習慣，睡前一定要想一件與自然有關的課題，並找到滿意的答案，這就是修。不是去外面學習，因為你在外面看了很多，那都是別人的思想，最重要的是你要怎麼做。但不學也不行，不學的人就沒有思想及觀念，我若沒學，就像素人畫家一樣，只會講故事，而沒有自己的語言，不知道藝術是什麼，更不知道藝術家要如何生活。我很努力，

際知名的雕塑大師。從早期以台灣民俗或民間生活為體材的雕塑到此引起國際藝壇關注的「太極」系列，皆為其生活的再現，巧妙的是，「太極」系列或許也是楊老師建議他練太極培養身體而不經意下誕生的果實，當朱銘正當著迷於太極的奧妙，思緒充斥著太極拳的各樣招式，自然而然便想將它們的樣子以雕塑形式再現，對他來說，用手比劃和用手刻劃是相同的，也無需事先特別去設計，所有的作品都無法預先安排，完全看生活的當下是在那一個點停泊，因為事先的安排或設計都不是

每天的生活都是在搞藝術，要像和尚的修行一樣才對。」從這方面來看，

朱銘的習慣。

他受老師楊英風影響不少，楊英風收朱銘為徒後，雖不曾正式上過一堂課，但在藝術實踐中毫無保留地加以

1978年，朱銘二度赴日展出，而這也是他的「太極系列」首次受到矚目的一次展覽，其中「單鞭下勢」

指導，並且非常了解學生的所長和不足之處，對楊氏而言，藝術上的本質在於心而非手，華麗的工藝並不是帶出藝術價值的主要動力，他也發現了朱銘在「心」的層面上是豐富且深廣

系列作品從此便矗立在了日本的「雕刻之森」。「太極系列」也為他的創作生涯開闢了另一個旅程。其實在此之前，就在1976年他成名的那次個展中，朱銘就已展出一尊題為《功夫》

的，也因如此，楊英風總是尋求機緣讓朱銘展現才華。而他對朱銘的啟發就在於天人合一的自然觀，及推崇簡樸寫意的美學觀並簡化雕塑的形式，以適當的材料來表現特定的題材，使材質本身的肌理成為雕塑語言的基礎部份，在1968到1976年間，與楊英風長期的相處下，朱銘藝術的成熟度有顯著的進步，從一位藝匠銳蛻變為國

的木雕，可以說是「太極系列」的發端。在朱銘眼中，「太極系列」才是

188

他自己風格的起點，而他所要表達的那份生命力，是由內而外，而非由外而內。「太極系列」雕塑之中，幾何化抽象體面與人物動勢造型的聯繫，以及三度空間語言中動靜與粗放簡潔

的對比，形成了作品豐富有致的節奏變化；雕塑在陽光和陰影之中形成極為豐富的變化效果。在此件《單鞭下勢》中，朱銘憑藉著自己的經驗、閱歷和判斷，將人們熟知的太極文化以及相關的拳術套路加以藝術處理，從以往相關的意象架構中脫離出來，讓人生動地感覺出單鞭即下的勢大、力沉與勢不可擋。朱銘的「太極系列」創作，將架上雕塑和環境雕塑相互參照和融合，引入現代雕塑的新理念，在現代的公共空

to nature before going to sleep because

of the material into the foundation for

you’ve seen a lot outside which are all thoughts of other people. The most important thing is what you do. However, you can’t do without learning. Those who don’t learn have no thought or concept.

the language of sculpture. Working with Yang from 1968 to 1976, the maturity of Ju Ming’s work significantly increased and he was transformed from a craftsman into an internationally renowned master

If I didn’t learn, I’d be like a naive artist who only told stories but didn’t have his own language and didn’t know art, not to mention how an artist should live. I’m very diligent, working with art everyday

sculptor.

in just the way a monk practices his

attracted international attention, are the

religion.” In this respect, he is greatly influenced by his teacher Yuyu Yang. Though Yang did

reproduction of life. Perhaps the ingenuity of Taichi series is that it is also the fruit of his teacher Yang’s incidental suggestion that he practices Taichi to keep fit. As

not formally attend art class, he provided

Ju Ming becomes fascinated with the

guidance in the practice of art with no reservation and understands the strong and weak points of this student very well.

profundity of Taichi, his train of thought is flooded with the various moves of the practice, which are spontaneously

For Yang, the essence of art lies in the heart and not in the hand, and splendid craft is not the primary motive force that

reproduced in his sculpture. For him, the hand movement is similar to that in carving, and there is no need to

brings out the artistic values. He also discovered that Ju Ming has a rich and

specifically create a design beforehand. Preparation for all his works cannot be

big “heart”. For this reason, Yang was always searching for opportunities for Ju

made in advance. Everything is entirely dependent on the present moment in life,

Ming to display his talent. He enlightened Ju Ming on the notion of uniting human with nature, praising the simple and free

as prior arrangement or designing is not the usual practice of Ju Ming.

間之中，賦予了更為廣闊的視覺創造和人文圖景。《太極系列》以其獨特的視覺符號和雕塑形態，成為都市生活的互補和自然造化的延伸。作品形成了以靜制動的視覺張力和震撼人心的體量感，具有特定的時代感召力，富有無盡的當代審美精神的想像和陶冶。

For Ju Ming, “art is a form of religious practice”. It is the decades of his artistic experience. Having just completed primary school, he finds reading very time-consuming. Yet this does not affect his aspiration and interest in learning. He has not only cultivated the habit of regarding the sky, earth and nature as his teacher, but also learned to think. He once said, “I have the habit of thinking. I always think about a topic in relation

All of his works, from the early sculptures using Taiwan folk life as material to the Taichi series which has

aesthetic concept and simplifying the method of sculpting. He used suitable

In 1978, Ju Ming went to Japan for

material to present a specific subject matter and turned the characteristic texture

exhibition twice. That was the first time his “Taichi Series” attracted attention,

190

among which, “Single Whip” series have, since then, found its foothold in Japanese ‘Chokoku no mori’. “Taichi

of the sculpture on shelf and the environmental sculpture and introduced new concept of modern sculpture, enduing

specific impelling force of the age and teemed with endless imagination and edification of contemporary aesthetic

Series” opened another foreground of his creation also. Actually, before then, in the exhibition of 1976 by which he was famed, Ju Ming had exhibited a woodcarving with topic of Kongfu,

modern public space with a wider visual creation and humanistic prospect. With its unique visual symbol and sculptural graphic arts, Taichi Series have become complementation of urban life and

spirit.

which could be considered as the origin of “Taichi Series”. But, in the view of Ju Ming, it is “Taichi Series” that are the starting point of his own style. He expresses the vital force from inside to

extension of natural creation. The works have shaped a visual effect of conquering the dynamic by static and exciting touch sense, being provided

outside rather than from outside to inside.

with a

In the sculptures of “Taichi Series”, the relation between the geometric abstraction and active posture of the figures, as well as the contrast between the dynamic and static, the rough and terse in tridimensionality form a rich rhythmic change in the works. The sculpture presents a very colorful effect of change between shine and shadow. In "Single Whip", relying on his own experience and judgment, Ju Ming made artistic treatment of the familiar Taichi culture and relevant boxing skills, having broken away from previous and relevant imago frame, giving out a kind of vitality and irresistible power. Ju Ming’s creation of “Taichi Series” has made mutual reference and integration

191

075

WU Dayu (1903-1988)

Flower Symphony Oil on canvas, mounted onto paper 54 x 39 cm ILLUSTRATED: Wu Dayu 1903-1988, Lin & Keng Gallery, Taipei, 1996, color illustrated, no. 19, p. 61 The Pioneer of Chinese Oil PaintingWu Dayu, National Museum of History, Taipei, 2001, color illustrated, p. 68

1979年冬，學生朱德群自巴黎寄給他一大箱法國瓶裝油畫顏料，成就了後

Wu Dayu, Shanghai Oil & Sculpture Institute, Shanghai Educaion Publishing House, Shanghai, 2003, color illustrated, p. 106

來所見的數十幅非具象風格油畫。畫家生前十年的作品，都在上海閣樓小屋裡完成，私藏在抽屜內，直至過世，外人不曾見過。作品《花韻》也是數十幅作品之一，整幅畫以藍色調

Wu Dayu, Lin & Keng Gallery, Taipei, 2006, color illustrated, p.142

為主，大小色塊配合線條律動，小筆觸鋪陳繽紛巧妙，抽象化的示意聯想，抒發心中夢想。吳大羽最愛藍

NT$ 3,600,000-5,000,000 US$ 109,000-151,400 HK$ 849,700-1,180,100

吳大羽花韻油彩畫布裱於紙板 54 x 39 cm 圖錄：《吳大羽1903-1988》，大未來畫廊，台北，1996，彩色圖版，編號19，頁61 《中國油畫開拓大師－吳大羽畫展》，國立歷史博物館，台北， 2001，彩色圖版，頁68 《吳大羽》，上海油畫雕塑院，上海教育出版社，上海，2003，彩色圖版，頁106 《吳大羽》，大未來畫廊，台北， 2006，彩色圖版，頁142

色，尤其是一般畫家不敢輕易嘗試的普藍，但在他手中卻是得心應手，充「美在天上，有如雲朵，落人心目，一經剪裁，著根成藝。」這段詩句摘錄自吳大羽給學生吳冠中書信裡的一段話，啟發無比的想像。趙無極亦是吳大羽在杭州藝專的高徒，他說吳是善於點亮學生眼睛的好老師！然而時代造成的悲劇，讓林風眠、吳大羽等同代的優秀畫家人人噤聲，遠離政治或主流的束縛，蝸居在上海小屋裡。 1972年文革期間趙無極返回中國，肅殺氣氛仍強，拜訪老師時不敢多談繪畫，吳大羽淡淡地說：「我還是沒有興趣畫畫，我還是歡喜作詩。」「無極，你比較幸運，你到法國去好。」聽得出話中的無奈。文革結束前，吳大羽繳交給官方作品，都被博物館收藏，早年作品幾乎不是毀於戰亂，就是毀於文革。旅美作家吳崇蘭是吳的姪女，曾寫過〈無畫的畫家〉一文談及畫家的壓抑，連一幅畫也無法留下。事實上他仍默默地創作，一股化為「潛流」的藝術，在他的天地裡暗綻芬芳。

192

滿變化的。吳大羽晚年作品從1996年台北首次發表之後，各界驚嘆不已，同年北京召開吳大羽藝術研討會，在藝壇掀起一波「吳大羽現象」（吳冠中語）。晚期作品《花韻》掩不住畫家自由的生命躍動，展現對色彩與造形的巧思。從1920年代在法國受到巴黎畫派繪畫洗禮，布爾代勒工作室習雕塑，吳大羽生前不曾有過個人展覽。其實他仍默默作畫，他的繪畫受立體派、表現主義的啟發，帶有自動性書寫的抽象風格，在在都令人刮目相看，吳大羽可謂是中國第一代現代主義的先行者，如同趙無極所倡「把他擺回他應得的地位」。

“The sky is full of beauty, and when a cloud floats into your view, take it and make it the root of your art.” This poem is excerpted from a letter from Wu Dayu

194

to his student Wu Guanzhong to inspire the imagination. Zao Wou-ki also was Wu Dayu’s student at the Hangzhou National Academy of Art, and he said that Wu was a great teacher who could light up the eyes of his students! The tragedies of that era silenced great painters like Lin Fengmian and Wu Dayu, and he escaped the restrictions of politics and the mainstream inside his little house in Shanghai. In 1972, during the Cultural Revolution, while the atmosphere was still tense, Zao Wou-ki returned to China to visit his teacher, but they did not dare to talk about painting. Wu Dayu said, “I'm still not interested in painting. I like to write poems nowadays. Wou-ki, you are more fortunate. You ought to go to France.” The resignation in these words is clear. Before the Cultural Revolution, Wu Dayu submitted his works to officials and they were all collected by museums. Most of his early works that were not destroyed during the chaos of war were destroyed during the Cultural Revolution.

吳大羽《公園早晨》上海油畫雕塑院收藏 Garden in the Morning

dreams. Wu Dayu loved blue, especially the Prussian blue that most painters will not dare to use indiscriminately, but in his hands it was used skillfully, always full of transformations. A f t e r Wu D a y u ’s l a t e r w o r k s w e r e

Wu Chonglan, Wu Dayu’s niece, wrote 'The Painter Without a Painting' about

revealed for the first time in Taipei, people from all parts of society were stunned. In the same year, a Wu Dayu art

the oppression of a painter who could not save even one of his paintings. Actually,

conference was held in Beijing, and the “Wu Dayu Phenomenon” (in the words

he still silently kept on creating, with an artistic “subcurrent” that secretly blossomed in his own world.

of Wu Guanzhong) swept across the art world. He freely put his life’s energy into his later work, “Flower Symphony,”

In the winter of 1979, his student Chu

which displays his genius with color and form. After his paintings were a part

Teh-chun mailed a package to him from Paris full of French oil paint colors, which were later used in the dozens of nonfigurative style oil paintings. The paintings he made in the last ten years of his life

of the Ecole de Paris movement in the 1920’s, where he studied sculpture at the Bourdelle workshop, Wu Dayu never

were all created in his small Shanghai loft and secretly stored inside drawers, unseen by anyone else until after his death. The work “Flower Symphony,” is one of those dozens of paintings. The whole painting

though, and his paintings were inspired by Cubism and Expressionism. He brought to his painting an abstract style of automatism, and every facet of his paintings make people sit up and take notice. Wu Dayu can be said to be of China’s first generation of modernist

is dominated by blue tones, with large and small swaths of colorflowing together with rhythmic lines. Small strokes display a flourishing skill, hinting at associations abstractly and expressing his inner

195

experienced a featured artist exhibition in his lifetime. He still silently painted,

pioneers, and as Zao Wou-ki said, “He should be put up in the place where he belongs.”

076

LIAO Chi-chun (1902-1976)

Scenery in Yehliu 1972 Oil on canvas 37.5 x 45.5 cm Signed lower right Chi-chun in Chinese

代表台灣的世界級藝術家

and C. LIAO in English Titled on the reverse Scenery in Yehliu by Liao Chi-chun in Chinese and dated

繪畫的廖繼春，雕塑的朱銘，讓台灣這個小島，獨秀於世界藝林。

1972, 1. 目前集中在台北和香港兩地拍賣市場 EXHIBITED: 25th Anniversary of Liao Chi-chun's Passing, Ever Harvest Arts Gallery, Taipei, February 2001 This painting is to be sold with a photo of the artist’s family aside it.

NT$ 7,200,000-8,200,000 US$ 218,000-248,300 HK$ 1,699,300-1,935,300

廖繼春野柳風景 1972 油彩畫布 37.5 x 45.5 cm 簽名右下：繼春 C. LIAO 簽名畫背：「野柳風景」廖繼春畫一九七二、一

上的廖繼春的作品，主力的競標者幾乎都來自台灣。過去幾年間，不管是經歷著政治的紛爭，還是經濟不景氣的種種因素，一再影響台灣的收藏市場，然而台灣的收藏家，特別是在廖繼春的收藏方面，展現了驚人的收藏實力。這些收藏家們和畫家曾經生活在同一塊土地上，有著相同的親屬情感和認知力。更何況，廖繼春早已經用自己的藝術素養和成就，毫無爭議地成為足以代表台灣美術史的前輩藝術家之一。他的存在，不但抒寫和創造了台灣的美術史，甚至在整個台灣的歷史中，都佔有重要一席。平淡而瑰麗的一生他的一生平淡，但他的作品絢麗不凡，而他的淡泊，木訥，更留給後人無盡懷思。有關於自己，廖繼春表述的仍是最樸實的語句：「我的語言，就是繪畫。」

展覽: 「廖繼春先生逝世二十五週年典藏特展」，日升月鴻畫廊，台北，2001年 2月附藝術家家屬與本拍品合影照片

1902年的今天，廖繼春誕生於台中豐原。他自幼家境清苦，母親早逝，父親續弦後，瘦弱的廖繼春僅能倚賴兄長維生與上學。他的少年時代，除了學校的「圖畫」課外，還接觸到母親的繪圖繡花、葫蘆墩等雕刻工藝；此外鄉間廟宇

196

的大戲與節日慶典的獨特氣氛，也都豐富了廖繼春的美感經驗。 1918年，廖繼春考入台灣總督府國語學校。在就讀其間，他曾因為與李梅樹等美術同好，一起在自修室開畫展而造成全校轟動。青少年時期即對油畫發生的興趣，真正開始具有更為深遠的意義，則在當廖繼春師範學校畢業，與同鄉的林瓊仙訂婚時，林瓊仙開出結婚的條件後，才得以成立。林瓊仙要求他一定要到日本去留學，她才會嫁給他。這個條件卻成為廖繼春步入藝術生涯的轉機。1924年，廖繼春考上東京美術學校，在妻子按月寄錢給他的資助下，順利完成了學業。廖繼春的油畫創作，大體可分為三個階段。早年作品受日本外光派影響較大，造型誇張，色彩較暗，畫面常顯沉悶之感，風格近似強調個性的後印象主義，兼具學院工夫及鄉土特色；中年作品趨半抽象，色彩逐漸明朗，偏愛粉紅色調與淡綠淡藍色調強烈對比，呈野獸派風格；1962年應美國政府邀請，赴美考察習畫，遍觀美國各大美術館，視野得以擴大，畫風漸變，受法國後印象主義、野獸主義、抽象繪畫影響及美國抽象表現主義衝擊，風格改變，愈趨自主、成熟。至晚年，達其繪畫藝術的高峰。作品呈半具象半抽象，多表現台灣的鄉土特色，色彩絢麗，筆觸奔放，達到了藝術與人生的和諧之境界。其自在的絢麗色彩至今仍為台灣美術界所稱道。

076

Taipei and Hong Kong, are the object of the major bidders from Taiwan. In the previous years, collection market of Taiwan has been affected by various factors including political turbulence and sluggish economy, but the collectors in Taiwan, especially for Chi-chun's works, demonstrated an amazing power of collection. These collectors ever 廖繼春《野柳風景》羅芙奧2006春季拍賣會，編號069 1085萬台幣成交 LIAO Chi-chun, Yehliu Scenery 1972, oil on canvas, 37.5 x 45.4 cm Ravenel Spring Auction 2006, lot 069 NT$ 10,850,000 sold

1972年至逝世為止，作品又恢復到較具象。囿於經濟環境及自幼的氣喘宿疾，畫家平生難以創作大幅的油畫，大多數

lived the land where the painter lived, having the same relative emotion and cognition. Moreover, Liao Chi-chun certified himself, long time ago, as one of the artistic predecessor indisputably, representing fine arts history of Taiwan with his artistic cultivation and achievements. His presence has not only written and created fine arts history of Taiwan, but taken an important position in the entire history of Taiwan.

畫小畫。60年代後期至70年代初，廖繼春發展出了獨具風格的色彩哲學與

Ordinary and splendid life

結構，此時期的作品更成為了回顧廖繼春一生藝術成就中的高峰。1972、 1974、1975年期間，廖繼春畫過幾

His life was ordinary, but his works extraordinarily splendid. His aloofness

次野柳的風景。野柳位於台北縣萬里鄉，是一個以海岸奇岩聞名的漁村。包括野柳在內等晚期的代表作，可謂是畫家純熟富麗的藝術結晶，透露出人生歷盡滄桑之後，心靈超越現實，回歸純真。因此，每個景點在繪畫中已經去除了國別、疆域的差異，超越了文化的衝突，呈現在觀者眼前的是畫家心中的一處世外桃源。

Word-level artist representing Taiwan Two artists, painter Liao Chi-chun and sculptor Ju Ming, made Taiwan to be understanding in the world artistic circle. C u r r e n t l y, L i a o C h i - c h u n ' s w o r k s concentrated in the auction markets in

and seemingly slowness left behind an endless reminiscence. To himself, Liao Chi-chun just expressed in the most honest language: painting is my language. On this date in 1902, Liao Chi-chun was born in Fengyuan of Taichung. In his childhood, his family was poor, his mother died early. After he had his stepmother, week Liao Chi-chun could only depend on his elder brother for living and schooling. In his childhood, besides the "drawing" class in the public school, he also contacted mother's carving arts like paintings and embroideries, calabash stand, etc. Additionally, large-scale drama in the temple of country and the unique atmosphere in festival enriched Liao Chichun's aesthetic experience also.

198

In 1918, Liao Chi-chun entered Taiwan Government Chinese School. During his study in school, due to common

of American abstract expressionism, his style changed gradually, turning to be self-independent and mature. Till his late

interest in fine arts with Li Meishu and other schoolmates, they jointly launched painting exhibition in the self-study room and caused stir in the school. In his teenage period, he developed interest in oil painting and really started his learning with more

years, his painting art reached up to an artistic summit. His works presents semiabstract and semi-concrete characteristics, representing the local features of Taiwan, color splendid and strokes uninhibited, and has attained a harmony between arts

far-reaching significance. When Liao Chichun graduated from the normal school and engaged himself to Lin Qiongxian in the same hometown, Lin Qiongxian would

and life. His inherent splendid color is highly commended in fine arts circle in Taiwan. Till 1972, when he passed away, his works recovered to the concrete again.

not marry him until he promised to go to learn in Japan. It was just the condition for marriage that became a favorable turn for Liao Chi-chun to step into the artistic career. In 1924, Liao Chi-chun was

Due to economic condition and inveterate asthma since childhood, it was hard for the painter to create large oil paining in his life and most of his paintings are

enrolled into Tokyo National University

small. From late 1960's to the beginning

of Fine Arts and Music. Supported by wife's monthly remittance, he smoothly completed the study.

of 1970's, Liao Chi-chun developed his unique color philosophy and structure. Works in this period became the summit

Liao Chi-chun's oil painting creation is generally divided into three stages.

for retrospecting to Liao Chi-chun's artistic achievement in life. In 1972, 1974 and 1975, Liao Chi-chun painted

In early years, his works got greatly influenced by Japanese impressionism,

landscapes of Yehliu for many times. Located in Wanli Town of Taipei County,

art design exaggerated, color dim and the painting showed a kind of

Yehliu was a fishing village famous for beach and queer stones. His representative

oppression, with a style closing to the post-impressionism that emphasizes individuality, combining with academic skill and country features. The works in his middle age tended to semi-abstract,

works in late age including Yehliu are crystal of the artistâ&#x20AC;&#x2122;s consummate artistic skills, displaying a soul superrealist and returning to trueness after the experience of life vicissitude. Therefore, in every

color gradually getting bright, preferring a sharp contrast between pink hue and bluish or greenish, presenting the style of fauvism. In 1962, invited by American Government, he went to America for

scenic spot, he eliminated difference in nationality and territory and went beyond cultural clash. What presents before the viewer is a heaven of peace and happiness in the mind of the painter.

studying of painting and visited large art galleries in America. Thus his view was broadened and his style gradually changed. Under the influence from French post-impressionism, fauvism and abstract painting as well as impact

199

077

ZAO Wou-ki (b. 1921)

11.1.72 1972 Oil on canvas 65 x 81 cm Signed lower right Wou-ki in Chinese and ZAO in French Signed on the reverse ZAO WOU-KI in English and dated 11.1.72

NT$ 11,000,000-18,000,000 US$ 333,000-545,000 HK$ 2,596,200-4,248,300

1972年3月10日趙無極的妻子美琴

初版）趙無極的自傳裡回憶起兩人相識

（M a y）永遠地離開人間，得年僅僅

的起初，這段姻緣為他後來的藝術起

41歲，她也是一位優秀的藝術家，擅

了重大影響。從香港回來時，很多朋

長雕塑創作，在畫家一生中佔有極其

友一度以為他失蹤了，放棄繪畫，但

重要的地位。從香港的邂逅到香消玉

他回來了，帶著愛情重新投入工作，

殞於巴黎，美琴陪伴畫家雖僅14個年

開啟一個新的階段，進入抒情抽象繪

頭，但她了解趙無極的畫，見證他的

畫的階段。

藝術成就起飛與發光。直到今日，數十年過去，趙無極總不忘在展覽或畫

巴黎龐畢度中心收藏有幾幅趙無極的

集裡緬懷她，題獻給這位芳華早逝的

油畫及水墨畫作，其中最重要的一幅藏品即是《10.9.1972 紀念美琴》，

繆思。

它是趙無極痛失摯愛後所完成的一幅

趙無極 11. 1. 72 1972 油彩畫布 65 x 81 cm 簽名右下：無極ZAO 簽名畫背：ZAO WOU-KI 11.1.72

「我一見她就愛上她了，她姣好的五官，帶著一種既嬌柔又憂俋的氣質，

巨大油畫。對妻子的追憶凝結成一片黃色大地，黑暗遮蔽了，遠處躍動的

強烈的吸引我。美琴是中國南方人，

光仍帶來一絲希望。失去妻子後，他

一直住在香港，不大會說英文，只會

逃離巴黎，回到故鄉中國，見到暌違

說幾個字，當然也不會說法文，她是

24年的母親。飄浪出走，有時不得不

電影演員，不甚起勁地拍過幾部片

然，但旅行也是藝術家充電的方式，

子，很吃力的撫養兩個子女，我沒有

當時他必須離開，再重新找回平靜。

花多大氣力就說服她辭去工作，放下

美琴的出現，為藝術家的繪畫展開一

一切，跟我到巴黎去，我們覺得，只

個新局，隨著美琴的逝去，也意謂著

要兩人相愛，一切都不是問題。」

一種趙無極風格的結束。

「…美琴的美麗，有如明星的燦亮，同時她又有在憂患中成長的一份超越

多位藝評家皆認為，1973年起趙無極

年齡的成熟。她聰慧，卻始終保持一

說美琴的病逝，成為趙無極繪畫階

種少女的清純。」（參閱趙無極、梵思娃著、

段的分野。中國藝術史學者邢曉舟指

劉俐譯《趙無極自畫像》，藝術家出版社，台北，1992

200

進入另一個藝術階段，在此我們也可

077

出：1960年代至1970年代初期是趙

趙無極在1971年重新拾起毛筆畫，過

無極的一個繪畫階段，這一時期的

去他認為太過簡單，避免流於中國風

作品往往採黑、褐等冷色調筆觸，

的繪畫形式，其實逐漸帶給他安定的

激烈充滿力度，畫面極富運動感，

力量。《11.1.72》屬於趙無極1960年

在那裡有畫家個人難以平復的種種

代至1970年代初期階段的尾聲之作，

感情糾葛。1970年代之後，油畫、

顫動的線條依舊，但已不若以往急

色彩多有豔麗的明亮，更重視空間

促、壓抑，重溫中國水墨之後，留白

光線的追求，具有風景意味，進入

逐漸開闊，此畫也彷彿預告著美琴的

另一個新的藝術旅程。（參閱邢曉舟，

即將離去，1970年代中期後嶄新階段

〈趙無極藝術歷程尋蹤〉，《趙無極繪畫六十年回顧》畫冊，上海博物館，1998）

美琴罹病十年，這十年對藝術家而言猶如夢境般的糾結纏繞，1972年

隱隱開展。趙無極《20. 10. 69》羅芙奧2007春季拍賣會，編號069，1684萬台幣成交 ZAO Wou-ki, 20. 10. 69 1969, oil on canvas, 60 x 81 cm Ravenel Spring Auction 2007, lot 069, NT$ 16,840,000 sold

隨著美琴的殞落亦戛然而止。趙

Zao Wou-ki’s wife May was barely 41 when she left us forever on March 10, 1972. An outstanding artist herself, she excelled in sculpture and occupied a very

無極在自傳裡提起，美琴的憂鬱症帶

典雅的特質；大筆刷畫恍若河海翻

important place in the life of the painter.

給他莫大的壓力，往往需藉由交際、

浪，敏感細碎的線條，交錯出溢出畫

Although May accompanied the artist

飲酒尋求解憂，醫生、朋友戲稱他是

面的尖銳顫音，依戀難解的思緒融入

for a mere 14-year period, from the first

「趙威士忌」（Zao Whisky）。儘管萬

自然山水，雖是抽象的形式，在畫家

encounters in Hong Kong to the sadly

般焦慮神傷，但矛盾地，那段時間卻

重拾中國毛筆之後，更加融入東方的

departure in Paris, her understanding of

也是讓他感到幸福的日子，他們曾攜

意境。

Zao Wou-ki’s paintings bears testimony

手一起愉快的旅行，一起沈浸在無憂

to the take-off and fame of his artistic

無慮的愛戀裡。

台灣畫家兼作家楚戈曾指陳出趙無極

achievements. Decades have passed, but Zao continues to cherish his memories of

作品《11.1.72》是畫家在美琴病逝前

的色彩特點：「他的每一幅作品色彩上都有主調，每一作品主要的調子絕

兩個月所完成的一幅油畫，當時他的

無原色，而以相近的色彩烘托層次，

which are dedicated to the muse who

創作以墨色畫和尺幅較小的油畫為

雖是油彩但塗抹之間多富渲染的趣

passed away early.

主。他自言在美琴病重期間一直沒有

味，把油彩錘鍊成水墨一般的中間性

停筆，畫室成為一個安靜的港灣，他

的調子，是西方畫家所難以企及的一

“I fell in love with her the moment I saw

在大片的空白裡找到停泊角落，在大

項成就，其色彩的含蓄處深得東方水

her. Her perfect features with a beautifully

塊的色彩裡重新獲得安寧和清靜。

墨哲理之三昧，但色感的豐又是真正

feminine temperament fascinated me

《11.1.72》作品裡蘊藏著畫家私密的

的水墨所不能夢想的。」（參閱楚戈，

deeply. A native of southern China, May

符碼及情愫，精粹張力中散發出一股

〈自然之真相〉一文，收錄於袁德星編《趙無極畫

lived in Hong Kong and could not speak

凝練、神祕的詩意，主題集中在畫面

冊》，版畫家畫廊展覽目錄，源成出版有限公司，

much English, save for a few words.

下緣，細微的色彩變化無限。荒寒蒼

台北，1980）

Of course, she did not speak French.

茫的天際、粉紫色暈染，流露出溫柔

her at exhibitions and painting collections,

She worked unenthusiastically as a television actress, starring in a few films, and strained to raise her two children.

202

It didn’t take much for me to convince

by many of his friends, Zao returned

a kinetic appearance. An emotional

her to quit her job, put everything down

from Hong Kong with a new love and

involvement that is difficult to control

and come with me to Paris. We felt that

a renewed effort in his work, beginning

individually by the artist can be found

nothing would matter so long as we were

a new stage of sentimental and abstract

in the works. Zao’s art after the 1970s

in love with each other.” “May’s beauty

painting.

mostly consists of bright and colorful oil

resembled the brilliance of stars. Having

paintings that emphasize the search for

grown up in hardship, she also had a

Centre Georges Pompidou in Paris

space and light. A new journey in art is

maturity that was beyond her years. Her

holds a few of Zao’s oil paintings and

implied by the landscape in the paintings

intelligence always retained the innocence

watercolor paintings, the most important

(Xing Xiaozhou, “Parcours artistique de Zao Wou-ki”,

of a young girl.” (Zao Wou-ki & Françoise

of which is "10.9.1972, En mémoire de

Zao Wou-ki 60 ans de peintures, Shanghai Museum:

Marquet, Self-Portrait of Zao Wou-ki, tr. Liu Li, 1st

May, 14.11.30-10.3.72", an enormous oil

1998).

edition, Artist Publishing Co., Taipei: 1992)

painting completed after Zao’s painful loss. His memory of his wife is set in

May suffered from illness for ten years.

("Je l'ai tout de suite animée. A la

a brown stretch of land obscured by

For the artist, the years seemed to be

perfection des traits du visage se mêlait

darkness where a light flickering at a

worries in a dreamland, which ended

quelque chose d’infiniment fragile et de

distance still brings a ray of hope. After

abruptly with May's death in 1972. In his

douloureux qui me fascinait. Originaire

the loss of his wife, he fled from Paris and

autobiography, Zao mentioned that May's

du sud de la Chine, May n'avait jamais

returned to China, his native land, and

depression gave him immense pressure,

quitté Hongkong. Elle ne parlait ni

met his mother, who had been separated

and that he usually dealt with it through

l'anglais - sauf quelques mots - ni, bien

from him for 24 years. Sometimes he

socializing and drinking, hence doctors

sûr, le français. Elle exerçait sans grand

had no choice but to wander in different

enthousiasme son métier d'actrice de

places. However, traveling is also the way

cinéma, et élevait avec beaucoup de

artists charge their energy, and at that time

difficulté ses deux enfants. Je n'ai pas

he must leave to find peace once again.

eu beaucoup de mal à la convaincre

The appearance of May opened up new

d'abandonner ce travail et de tout quitter

prospects for the artist’s paintings. Hence

pour me suivre. Nous pensions qu'il

her passing away also implies the end of a

suffisait de nous aimer!" "…May était

Zao Wou-ki style.

d'une grande beauté. Elle avait le brilliant de l'actrice de cinéma et la gravité de la

According to many art critics, the next

femme qui connu, malgré son jeune âge,

stage in Zao’s art began in 1973, the year

de multiples échecs et tourments. Très

of May’s death, which can be considered

intelligente, elle avait aussi convervé la

as the demarcation of his painting stage.

fraîcheur de l'adolescence.")

Chinese art historian Xin Xiaozhou points out that Zao’s painting period began in the

Zao Wou-ki's autobiography reminisces

1960s and continued till the early 1970s.

the early days when the couple first met.

Works of this period often used black,

The relationship later had a significant

brown and other cool color tones and

influence on his art. Once thought to

powerful strokes which gave the pictures

be missing and have given up painting

203

and friends would jokingly call him "Zao Whisky". Despite his various anxieties and mental sufferings, he felt happiness, which contradicted the situation, at the same time. The couple once held hands as they traveled cheerfully, immersing themselves in a carefree love. The oil painting "11.1.72" was completed two months before May's death, when Zao's art mainly centered on

趙無極《10. 9. 72 紀念美琴》巴黎國家現代美術館龐畢度中心藏 ZAO Wou-ki, 10. 9. 72 En mémoire de May, 1972, oil on canvas, 200 x 525 cm Le Musée nationl d’art moderne, Centre Georges Pompidou, Paris

black ink and smaller pieces. the rich tones cannot be attained by real

He said he did not put down his brush

painting. The couple’s reluctance to part

even for once during May's illness. His

is merged with nature, the mountains

watercolors".

studio became a quiet harbor where he

and the rivers. Although the painting is

of Zao Wou-ki, edited by Yuan Dexing, catalogue of

found a corner in the vast emptiness to

abstract in form, the concept of Oriental

Prinkmaker Gallery exhibition, Yuancheng Publishing

anchor his boat and obtained peace and

art is integrated all the more after the

Co., Taipei, 1980)

quiet from the extensive shades of color.

painter picked up the Chinese paintbrush

The piece "11.1.72" holds the secret codes

once again.

(Chu Ko, 'Truth of Nature', Album

Zao returned to Chinese brush painting once again in 1971. The Chinoiserie

and sincere feelings of the artist, and its essence transpires a compact and mystical

Taiwanese painter and writer Chu Ko

form of painting he tried to avoid in the

poetic implication. Its theme is centralized

once commented on the distinctive colors

past, considering it too simple, gradually

at the lower edge of the painting where

of Zao Wou-ki: "Each of his works has

gave him the power of stability. The

the change in color is subtle and infinite.

a principal shade and the principal

work "11.1.72" belongs to the later

The barren, cold and boundless horizon

shade of each piece is never a primary

part of the period between the 1960s

painted in faint purple reveals a gentle,

color. Instead, similar colors are set off

and the early 1970s. Its lines continue

soft and classical elegance; the big strokes

by contrast in different arrangements.

to pulsate, although not as rapidly and

resemble billowing rivers and seas,

Though the works are oil paintings, they

repressed as before. After brushing up

whereas the crisscrossing thin, broken

are smeared with rich and interesting

on the watercolors of China, the white

lines spill out the penetrating trills of the

colors. Oil paints are tempered to form the

spaces gradually opened up as though

neutral tone of watercolors – a feat which

announcing the departure of May in

western artists find difficult to achieve.

advance. A new stage is slowly unfolded

The implication of the colors reflects

after the mid-1970s.

the three popular notions of Oriental watercolor philosophy; nevertheless,

204

205

078

ZAO Wou-ki (b. 1921)

5.11.62 1962 Oil on canvas

《5.11.62》是趙無極1962年所完成的

趙無極油畫《19.7.63》，其來源即可

80.5 x 116 cm Signed lower right Wou-Ki in Chinese and ZAO in French

創作，曾為多倫多市蘭恩畫廊（Laing

上溯自紐約庫茲畫廊。這些藝術家或

G a l l e r i e s）所擁有。蘭恩畫廊是加拿

畫商皆是戰後抽象藝術裡的風流人

大執牛耳的藝術畫廊，曾對戰後抽象

物，他們的相遇如同風雲際會，為20

Signed on the reverse ZAO WOU-Ki in English and dated 5.11.62

藝術卓有貢獻，隨著執事者的殞落，

世紀戰後抽象藝術發展譜寫出精彩的

如今不復存在。當年負責人是畫商布

史頁。

PROVENANCE: L a i n g G a l l e r i e s , To r o n t o , C a n a d a (acquired directly from the artist in 1960s)

NT$ 27,000,000-42,000,000 US$ 817,400-1,271,600 HK$ 6,372,400-9,912,700

萊爾．蘭恩（G. Blair Laing），名氣十分響亮，活躍於二十世紀的加拿大

當1948年趙無極從上海移居巴黎，

藝壇，也一度引進英國雕塑家亨利．

他的創作很快地獲得巴黎藝術圈的

摩爾的作品至加拿大。1989年他捐贈

認同。從具象畫轉為抽象畫，加速

一批價值不斐的收藏給加拿大國家畫

他的知名度在歐洲打開，甚至是連當

廊，傳為藝壇佳話。

時不易接受歐洲抽象風格的美國，也從1950年代後期逐漸關注趙無極的藝

從20世紀中期起，畫商布萊爾．蘭恩

術。加拿大境內因為有法語區，相較

經常飛往法國，為他的收藏家們挑選

於美國，更容易接受巴黎藝術，1969

趙無極

作品，拜訪遠赴巴黎學藝的加拿大

年趙無極生平第二次回顧展，即選擇

5.11.62

畫家，並代理幾位巴黎畫派的加拿

於加拿大的蒙特婁當代美術館與魁北

1962 油彩畫布 80.5 x 116 cm

大裔成員，例如培蘭（Alfred Pellan,

克博物館巡迴展出。趙無極當時在美

1906-1988）、博爾迪阿斯（P a u l-

洲的活躍程度可見一斑。蘭恩應該是

簽名右下：無極ZAO 簽名畫背：ZAO WOU-Ki 5.11.62

Émile Borduas, 1905-1960)以及李歐佩

透過上述幾位加拿大藝術家的介紹，

樂（Jean-Paul Riopelle, 1923-2002）

結識了來自中國的趙無極，並直接向

等等，其中的抽象畫家李歐佩樂，正

他購得此作—《5.11.62》。趙無極在

是趙無極的五十多年知交好友。幾年

巴黎、紐約各有法蘭西畫廊、庫茲畫

來源：蘭恩畫廊，多倫多，加拿大

前，李歐佩樂的過世令趙無極感觸良

廊的合作，來自多倫多的蘭恩應是為

多，特地創作一件三聯作黃綠色調大

他的畫廊庫存珍藏精選而來，此類的

（1960年代左右直接得自藝術家本人）

油畫向他致意。此外，蘭恩畫廊當

購買在國際畫商之間時有所聞。這件

時經常展出的加拿大籍畫家羅納德

作品後來轉售給加拿大私人藏家，

（William Ronald, 1926-1998）以及

四十多年來這幅畫作一直留在加拿

博爾迪阿斯，從1950年代起與紐約的

大，直至今年才得以重現世人眼前。

庫茲畫廊亦有展覽合作關係。趙無極曾在蘇拉吉的推薦下，與庫茲畫廊從

趙無極的1960年代可謂達到飛黃騰達

1957年起開始舉辦畫展，關係可謂十

的階段，創作力十足，國際間展覽邀

分密切。本場拍賣的另一幅1963年的

請不斷。而在創作上，當時他因為

206

078

重新找到愛情，激發了內在的情感。

典型的海景型橫式構圖，氣勢壯闊而

Completed in 1962, Zao’s painting

當時的年紀風華正茂，他自言可以自

生動。畫面分割成平行的三部份，上

titled “5.11.62” was once held by the

由揮灑，認清顏色本身所具備的生命

下天地是近乎赭色、古銅色的空間，

Laing Galleries in Toronto, the leading

力，一切的法則此時皆可拋脫，只須

互為協調，一靜一動；中間部份，是

art gallery of Canada that once made

因應自我內在世界的需求。趙無極猶

明亮的黃、綠色，光芒從畫面的中心

significant contributions to post-war

記得當年的創作熱情，他說道：「我可以毫不臉紅的說，我畫的是一種很

迸發湧現，黑色的線條穿梭其間，像

abstract art. The gallery closed down

是奔馳後拖曳的影子，虛實之間形成

following the death of its director. Art

浪漫的畫，它帶給我極大的快樂，一

拉扯、推擠的動力。我們可以發現，

dealer G. Blair Laing was the person-in-

種最強的快樂，就是畫繪畫本身。」

趙無極在《5.11.62》作品中空間與光

charge then. Well-known throughout the

（趙無極、梵思娃．馬凱著，劉俐譯，《趙無極自

源的完美運用，以及內在的情緒昂

art sphere in twentieth-century Canada,

畫像》，藝術家出版社，台北，1993年初版，1996

揚。他在自傳中也曾寫道：「大幅畫布，使我必須與空間搏鬥，不但要填

Blair also introduced the works of British

年再版，頁115）

sculptor Henry Moore to the country at

滿它，還要給它生命，把自己完全投

one time. In 1989, he donated a priced

藝術評論家雷馬利在趙無極第一本法

注在其中。我想表現動感，或迂迴纏

collection to the National Gallery of

文版編年目錄中，指出1960年代趙無

綿，或風馳電掣。我想藉著對比和同

Canada, which is a deed worthy of praise

極的藝術不斷地發展，採用對比或和

一色彩的多重振顫，使畫布躍動起

in the art sphere.

諧的方式，經常表現畫面裡的韻律、

來，我要找到一個放光的中心點。」

肌理和色調等細微變化的特點：此時

（參閱《趙無極自畫像》）

染的棕色上有黑色刮痕；時而乳白而

From the mid twentieth century, Laing began flying to France frequently to select

比較偏好單色，時而深暗而盈滿，暈在作品《5.11.62》之中，畫家把對生命

works for his art collectors. He visited

輕盈，如銀灰色的雲霧。其他有的是

追求與情感傾瀉在其中，此繪畫中所

Canadian painters who came all thr way

雪與藍寶石、慕思和紅寶石的華麗和

表達的情緒，鏗鏘有力、充滿力度。繪

to study art in Paris, and acted as agent

諧。（參閱雷馬利，《趙無極》，藝術圈出版

畫裡的律動，如同大自然裡的風動或海

for the Canadian members of Ecole de

社，巴黎，1978, 1986，頁40）雷馬利所指涉

波，帶給人一種音樂性的感受。在一次

Paris Alfred Pellan (1906-1988), Paul-

的是趙無極的豐富色階變化，及多樣

詩人葉威廉的對話裡，趙無極曾指出繪

Émile Borduas (1905-1960) and Jean-

化的質感。而趙無極的繪畫是因為他

畫應該像音樂一樣，必須有休止、寂靜

Paul Riopelle (1923-2002). As abstract

個人細膩的感知和豐沛的情感，因為

才成音樂，不能密密實實都是音。學過

painter Riopelle turns out to be a close

它們的確是來自生活中的感觸，內心

六年音樂的趙無極，對於光源、空間的

friend of Zao Wou-ki’s for more than fifty

波動自然流露，繪畫也常是他低潮時

關切留意，以及音樂的抽象性特質，亦

years, his death a few years ago was quite

的避風港，他曾說過他的畫等於是他

起了巧妙的鏈結。台灣藝術評論家杜若

an emotional experience for Zao, who

的日記，他的生活。美術史家認為，

especially created a triplicate, yellow-

趙無極的作品是抒情的抽象畫，像一

洲曾如此讚譽：「中國的空間」和「西方的光」是趙無極在藝術上的可觀成就

首詩，感性的存在，卻又不說玄論

之一。他不斷融合了兩大文化的潛質，

friend. Furthermore, the Laing Galleries

理，引經據典。

以其現代性的表達語彙，不僅是達到精

often displayed works of Canadian

神上的遨遊，更是締造了一個全新的視

painter William Ronald (1926-1998) and

覺世界。

Borduas, and a partnership with Kootz

作品《5.11.62》採取畫家1960年代最

green-toned oil painting in memory of his

Gallery of New York was established for

208

Zao’s works quickly gained

Full of creativity, Zao Wou-ki may be said

recognition in the Paris

to have made rapid advances in his career

art circles. Transformation

in the 1960s, when he was invited to

from concrete art to abstract

participate in one international exhibition

paintings accelerated his

after another. His artistic creation showed

fame in Europe. Even

the arousal of his innermost feelings as

America, which did not

a result of his finding love once again.

readily accept the European

He was at his prime in terms of age. In

abstract style, gradually

his own words, he could express himself

began to pay attention to

freely and recognize the vitality possessed

Zao’s art from the 1950s.

by the colors themselves. One can forget

Compared to the US,

about the rules, as responding to the needs

Canada accepted art from

of one’s inner world was all that mattered.

Paris more readily since

Remembering his passion for creation

it has a French-speaking

at that time, Zao said, “I dare say my

Province. In 1969, Zao held

painting is a romantic one. It brings me

his second retrospective

the greatest happiness. The most powerful

show in Musée d’Art

happiness is painting itself.” (J’avoue,

Contemporain, Montreal

sans complexe, avoir fait une peinture

and Musée du Québec. His popularity

romantique qui m’apporta de très grandes

in America was about average then.

joies et la plus forte, celle de peindre de

It was through the introduction of the

la peinture.)

aforementioned Canadian artists that

Autoportrait, Fayard, Paris, 1986, pp. 121)

趙無極《21.3.1964》羅芙奧2006秋季拍賣會，編號061， 3157萬台幣成交 ZAO Wou-ki, 21.3.1964 Ravenel Autumn Auction 2006, lot 061, NT$ 31,570,000 sold 1964, oil on canvas, 63.5 x 80 cm

joint exhibitions from the 1950s. On the recommendation of Pierre Soulages, Zao began to hold exhibitions at Kootz in 1957, becoming very closely connected to the gallery. Another of Zao’s paintings auctioned at the exhibition was a 1963 work titled “19.7.63”, the holding of which can be traced back to Kootz Gallery in New York. All artists and dealers are important names in abstract art of the post-war era. Their fortunate meeting in the same events has written an important page in the history of post-war abstract art in the twentieth century. Moving to Paris from Shanghai in 1948,

(Zao Wou-ki & Françoise Marquet,

Laing came to know about the Chinese painter and directly bought his work

According to art critic Jean Leymarie

titled “5.11.62”. Zao had connections

in Catalogue Raisonné, the first edition

with Galerie de France in Paris and

in French, Zao continuously developed

Kootz Gallery in New York, and Laing

his art in the 1960s, employing methods

must have come to select works for his

of contrast or harmony and often

gallery. Such purchases are often heard

presenting the rhythm of the picture, its

of from among international art dealers.

texture and color modulation. There is

The painting was later resold to a private

a preference for monochromatic colors

collector in Canada. It remained in

which are occasionally dark and rich;

Canada for more than four decades and

the uneven brown shade shows black

did not reappear in front of the public

scrape marks which are opalescent and

until this year.

light at times. An example is the silver

209

originate from his feelings about life, his

demandaient de me batter avec l’espace;

emotional fluctuation is naturally revealed

je devais impérativement remplir cette

in his paintings, which are also his harbor

surface, la faire vivre et me donner à elle.

of refuge in times of distress. Zao once

Je cherchais à exprimer le movement, sa

said that his painting was his diary and

lenteur lancinante ou sa fulgurance, je

his life. Art historians consider his works

voulas faire vibrer la surface de la toile

as sentimental abstract paintings. Like

grâce aux contrastes ou aux multiples

poetry, they have a perceptual existence

frémissements d’une même couleur. Je

yet they are not abstruse or pedantic.

chercais un centre qui irradie.) (Autoportrait of Zao Wou-ki)

The imposing and vivid “5.11.62” shows the seascape in a horizontal frame, which

In “5.11.62”, the artist pours out his

is the most typical form employed by

feelings and aspirations in life. The

the artist in the 1960s. The painting is

sentiments expressed in the painting

divided into three parallel sections. The

reverberate with energy and are full of

near ocher top and bottom portions are in

vigor. Rhythmic movements such as the

harmony with the bronze-colored space,

wind and waves in nature give one a

one being static and the other dynamic.

musical experience. In the dialogue of one-

The middle section is bright yellow and

time poet Wai-lim Yip, Zao once pointed

green, with light emerging from the

out the similarity between painting and

center of the picture. Black lines shuttle

music, which must cease and be still in

in between like shadows left behind by

order to become music, and not consist of

the rapid movement, forming a pulling

incessant sounds. Having learned music

and pushing force in the actual situation.

for six years, Zao is especially careful

Zao’s perfect use of space and light

with light source, space and the abstract

source, as well as his high spirits, can be

nature of music, linking them together in

observed in “5.11.62”. As he puts it in his

an ingenious manner. Taiwanese art critic

autobiography, “The large canvas means

Tu Jo-chou once commended, “Chinese

I have to battle with space. Not only do

space and Western space are one of the

I have to fill it, I must give it life and

noteworthy artistic achievements of Zao

gray brume. Other examples include

throw myself into it completely. I want

Wou-ki." He constantly integrates the

snow and sapphire, mousse and rubious

to show movement, a lingering circuit,

potentials of the two great cultures, using

sumptuous accords

or the whipping movement of wind and

their modern expressions and vocabulary

What

lightening. I want to make the canvas

not only to attain the spiritual journey

Leymarie refers to is the rich variation

come alive through contrast and the

but to create a whole new visual world as

in shade and the varied texture. As Zao

action of multiple layers of similar colors.

well.

was meticulously perceptive and full

I want to find a center for the radiation

of emotions, and because his paintings

of light.” (Les grandes surfaces me

趙無極《5.12.1969》羅芙奧2006秋季拍賣會，編號060 9093萬台幣成交 ZAO Wou-ki, 5.12.1969 Ravenel Autumn Auction 2006, lot 060 NT$ 90,930,000 sold 1969, oil on canvas, 194 x 96 cm

(Jean Leymarie, Zao Wou-ki,

edition Cercle d’art, Paris, 1978, 1986, p. 40).

210

211

079

LIAO Chi-chun (1902-1976)

Venice 1973 Oil on canvas 50 x 60.5 cm Signed lower right Chi-chun in Chinese and LIAO in English ILLUSTRATED: Album of Liao Chi-chun, Cathay Arts Museum, Taipei, 1981, color illustrated, p. 133 Lin Hsing-yueh, Liao Chi-chun (Taiwan Fine Arts Series No. 4), Artist Publishing Co., Taipei, 1992, color illustrated, no. 56,

「透過旅行，你了解到其間的差異消失了：每座城市都像其他所有城市，

環境下，對於所有的藝術家來說，無

各個地方交換著它們的樣式、次序與

論是正面或是負面的演變，都可說是

p. 99, black-and-white illustrated, p. 227

距離，像是一團無形無狀的塵霧侵入

相當不易消化的，那一輩的人已承載

The Precursory Artists' Masterpieces of Taiwan (III), Tzuen Tsae International Art Co., Taipei, 2000, color illustrated, p. 47

了大陸。您的地圖原封不動地保存了

太多太多舊時代無法拋下的記憶，而

NT$ 15,000,000-22,000,000 US$ 454,100-666,100 HK$ 3,540,200-5,192,400

同性質的政治社會階段，而在那般的

差異：形形色色的各種性質，宛若名

在受日本影響下的台灣，或是單就台

字中的字母一樣。」馬可波羅對忽必

灣本土，提倡的都不是如何去顛覆，

烈如此說道。(參閱伊塔羅‧卡爾維諾著《看不

如何去革新，而是實實在在精緻地陳

見的城市》，時報文化，台北，1993年11月初版，

述現實，即使是在現在被我們看作和「創新」畫上等號的藝術上，時代的

頁170)

推展，卻已不容納如此單純的方式，廖繼春於1962年時在美國國務院的邀

有些老一輩的畫家們無法放空自己，

廖繼春

請之下，開啟了他的美國及歐洲考察

只得默然地關閉自己，堅守著已達到

威尼斯

之旅，持續約一年的遊歷，對在台

的成就地位，無法前進，但廖繼春直

1973 油彩畫布

灣畫壇已具有顯著地位的畫家仍然造

到現在仍然會被藝壇牢記的就是他可

50 x 60.5 cm 簽名右下：繼春 LIAO

成不少衝擊，也令其省思現代畫的最

以在豐富的資歷之後，用其未被消耗

終本質，閱覽過無數搶眼、巨幅的美

的活力及心力再開展一段新鮮卻不失

國抽象表現主義作品，廖繼春雖然也

根的藝術歷程。

曾著手類似風格的創作意象，也許是廖繼春繪畫在1960年後步入另一高

圖錄：《廖繼春畫集》，國泰美術館，台

潛在思維背景的根本性差異，這樣的情況也只是其藝術生命中短暫性的嘗

峰，距離他的歐美探訪之旅已有六七

北，1981，彩色圖版，頁133 林惺嶽，《台灣美術全集4：廖繼春》，藝術家出版社，台北，1992，彩色圖版，編號56，頁99；黑白圖版，頁227

試，在一個有深厚素描、油畫底子的

年了，其中的失敗過程與苦惱、甚至

《台灣前輩畫家的藏寶圖參》，尊彩國際藝術有限公司，台北，2000，彩色圖版，頁47

藝術家內心中，繪畫在當時所面臨到的切實轉折點，並不全然是在抽象或是具象的差距，因為如果只是靠這樣的差異去推動繪畫的進行，一切似乎就顯得太容易且單薄。廖繼春經歷過台灣光復前及光復後不

212

079

迷惘，對任何一位有過接觸西方文化

會只覺得他為了創新而作畫，他想營

人所注目之處，此畫作帶有廖繼春典

及文明的東方人，都是不可避免的，

造的是一種「無法忘懷」之感，彷彿

型的著色方式，厚實的顏料下，看得

包括期間會遭遇到的質疑及阻力，卻

你曾或正在那畫布空間之中。

出不同區塊不同質量質感的底色，在

威尼斯在繪畫史上曾無數次地被重

斯的味道已非僅停滯在一個似劇場舞台中央的炫目中，多了些細膩的鄉

只是進一步證明藝術家所從事的是一件異常艱澀的工作，當我們看到廖繼

現實和心靈互相重疊的作用下，威尼

春任何一幅美妙的水景畫，常浮現腦

現，其中許多的作品不外乎是去揣摩

海的是「印象派」的外貌，或是「野

這城市特有的光影和水色輝映之處，

愁，筆觸亦變得緊密和堅實，空間在

獸派」的用色，並不是說這樣的想法

而此幅1973年的《威尼斯》，廖繼春

大自然中是自成一體的，空間在城市

是偏頗的，但絕對不光是如此的單

的藝術生涯已步入相當均衡及平穩之

之中又是被分配的，而後者在回憶之

純；知名的藝術評論家約翰‧柏格曾

狀態，他時常悠閒地寫生於台灣的各

中則是隱藏後又再分化重現的。

表示專業藝術家和工匠兩者之間的區

處美景，而威尼斯則是其中一座仍然

別是直到十七世紀才漸漸明朗化，而

不時浮現於其心境的歐洲城市，畫此

一座城市不只是一個所在，它包含的

那些試圖擴大及延伸繪畫經驗領域的

作時的廖繼春已逾七十歲，對於一個

是人生，日日居住於其中的人們所遭

人所造成的危機，則是一直持續到

歷盡人間喜樂的他來說，任何地域都

遇的，畫家本人所魂牽夢縈的，觀

二十世紀，十九世紀末印象派也加入

已覆蓋無數層次的意義，此幅畫作所

者可以覺察到的，威尼斯、東港、淡

這個陣營，他們的確帶來了新氣象，

呈現的不是為人熟悉的聖馬可廣場，

水或是野柳，在廖繼春畫筆下經過相

只是危機並未因此而解除，對繪畫背

而是另外一個遊客較為稀少的角落，

同的情緒作用，也都隨著歲月的流逝

景較純樸的台灣老輩畫家，他們仍舊

或許這亦暗示著對我們所想念的人事

更加深刻，1967年所繪的《威尼斯》

是有新的課題要去面對。

物，往往都不是在人人皆可感覺到的

會因為內在的建構而和1973年的《威

層面上，卻時常是一些細微末節不為許多的畫家在青少年時期

尼斯》有不盡相同的視覺價值，畫家已把其中歲月增添的意志與念舊強度

即已開始在繪畫上的訓

和整個影像的機制結合，可以是純粹

練，無論是素描、寫生，

的，也可以是非常錯綜的。

各式各樣的顏料色彩使用方法，傳統的訓練傳遞給

畫家會去關注的向來不只是人事物本

他們一套完備的技巧，也

身，而是他（它）們和他之間的關

因此對於構圖、透視等方

係，廖繼春更是如此，如果說他是台

面愈益熟諳，往往這樣的

灣的野獸派畫家，應該也會是因為他

基礎下造就兩種可能性，

用色彩註記下來搜尋到的一切與他本

一是畫家善用所學將所實

身和對象有所連繫的部份，這樣的工

踐的作品盡可能傳神地完

作需要細膩的性格才能完成，而色彩

成，另一方面則是在如此

也因在可見（主體）與不可見（情

優勢的先決條件下，畫家

緒）之間來回，豐富了它自身的魅

更義無反顧地開闢新的藝術之路，無疑地，廖繼春屬於後者，當我們凝視著他用色前衛的畫作，並不

廖繼春《威尼斯》 LIAO Chi-chun, Venice 1973, oil on canvas, 72.5 x 91 cm

214

力，彼此之間也達到和諧的境界。從此幅《威尼斯》中，廖繼春透過異國情調的題材淋漓盡致地證明了他在

台灣本土畫壇的地位，及台灣這座

overshadowed by a great deal of

曾被異鄉人稱為福爾摩莎的島嶼和

political and social turmoil. While not

他密不可分的關係，即使色彩上他

all changes were for the worse, they all

的確受到野獸派或是梅原龍三郎的

required a measure of stoicism to be

感染，但日後的培養與風格確立則

properly digested and turned into fresh

一直是台灣鄉土生活薰陶的因素，

artistic impetus. Liao’s generation

這裡的氣候炙熱，視覺所能及的都

already carried a burden of too many

是具有高彩度質地，也因此，廖繼

historic memories to develop much

春運用其所熟悉且喜愛的色澤在其

of a revolutionary spirit: whether they

緬懷的對象上，威尼斯也不再只是

had opened themselves to Japanese

一座陰鬱和無動於衷的城市。

cultural influences, or focused rather on “native” topics, throwing out the

“Traveling, you realize that differences are lost: each city takes to resembling

廖繼春《威尼斯》 LIAO Chi-chun, Venice 1973, oil on canvas, 72.5 x 91 cm

old ways and introducing reforms was rarely an issue adopted by local artists. Most chose to stick to a down-to-earth realism that concerned itself more

all cities, places exchange their form, order, distances, a shapeless dust

essential nature of modern painting. One

cloud invades the continents. Your atlas

has to remember that Liao had previously

preserves the differences intact: that

tried his own hand at this particular style

assortment of qualities which are like the

and its abstract imagery, but it had only

letters in a name.” Thus spoke Marco

been a short episode in his artistic life.

Polo to Kublai Khan. (cf. Italo Calvino, Invisible

After all, he came from a very different

Cities, Taipei: China Times Publishers, 1993. 1st ed, p.

background and school of thought, and

170)

his strengths had always been sketching and traditional oil painting. During his

with describing the world than changing it, even those who are now considered to have been rather “avant-garde”. But the winds of change kept blowing, and soon this kind of conservative attitude became untenable for any artist of true ambition. Some painters of the old guard were unable to shake off the restraints of their limited upbringing and lack of exposure to new ideas. They were

In 1962, Liao Chi-chun, following an

studies in the West, Liao realized that he

invitation by the US State Department,

had hit a stumbling block in his creative

began extensive travels across the United

work. But this arose not entirely from the

States and Europe which lasted for about

tension between abstract and concrete

a year and gave Liao—a painter who

ways of expression—to say so would be

already had made a name for himself in

oversimplifying matters.

reason why he is still considered one of

thought and considerably broadened his

Like all artists of his period (i.e. the

time is that he was willing to go out into

horizons. He browsed and mulled over

years preceding and following the

countless (mostly American) impressive,

end of Japanese colonial rule and

large-format paintings in the abstract-

Taiwan's retrocession to China), Liao

expressionist style, reflecting on the

was faced with a difficult environment

Taiwanese art circles—much food for

215

quite happy with what they had already achieved, shut themselves off from new developments and made no real effort at improvement. Not so Liao: the main the foremost Taiwanese painters of any the world and enrich his experience, and to invest all his energy and creative powers in experimenting with new styles and techniques, without ever betraying his

roots in the traditional arts.

Taiwanese painters of the “old school”,

There can be no doubt that Liao Jichun

nourished on traditional Chinese painting,

is the latter kind of artist. If we take a

Liao Chi-chun entered one of his most

the Impressionists certainly opened

close look at the most avant-garde of his

productive phases in the 1960s, some

up new avenues of representing and

works, particularly in the use of color, we

six or seven years after he set out on his

interpreting our world, forcing them to

find that he is never just original for the

“journey to the West”. Any Easterner

absorb new concepts and techniques.

sake of originality, but strives to generate

who has ever come into intensive contact

a lasting impression, to produce images

with Western culture and civilization

Traditionally, the training of painters

that linger long in the observer’s mind.

knows that such contact involves a

began at a young age, providing them

He wants us to feel a sense of déjà vu, as

learning process that is challenging and

with all the basic skills such as sketching,

if we were, or still are, part of the very

full of hidden dangers, frustrations and

painting from life, choice and application

picture we are looking at.

confusions. The adept in search of new

of color. By the end of his apprenticeship,

concepts will meet with many

Ve n i c e h a s b e e n t h e m o t i f o f

obstacles and doubts, as well as

innumerable representations in

critical voices questioning the

the arts, including many paintings

purpose and meaning of his quest. Of

that usually focus on the play of

course, this is all a necessary part of

light on water, the reflections of

an artist’s growing pains. The pursuit

sunshine or lamps on the canals

of art, after all, was never meant

in "the city of light". Liao's 1973

to be easy. When we look at one

painting "Venice" was the product

of Liao’s waterscape paintings, we

of a time when the artist had

invariably think of the “Impressionist

reached a mature equilibrium and

style”, or “Fauvist use of color”, and while such associations are certainly correct, they do not convey

confidence of expression. During his 威尼斯實景（林慧菁攝） Venice in 2006 (Photo by Maggie Lin)

the whole picture. Renowned art

last years, Liao’s favorite subjects were leisurely panoramic views of Taiwan's landscapes, but as this piece

critic John Berger once pointed out that

a literati painter was in possession of very

shows, the city of Venice still had the

the clear distinction now made between

powerful tools allowing him to create

power to tickle his creative impulses. For

a professional artist and a craftsman

pieces that conformed perfectly well to

a man in his seventies, as Liao was at the

only began to emerge in the 17th century

the time-honored rules of composition

time, any images from the past will have

when some painters began to push the

and artistic insight. An artist with such a

accreted many different layers of meaning

limits of traditional art, looking to express

background may develop in one of two

and emotional impact, many of them of

new things and redefining the content

directions: either he always remains true

a very personal nature. Therefore it may

and form of painting. It was a turning

to the skills he has acquired, honing them

not be too surprising that this painting

point in the history of art, and resulted

to the point where he may create works

does not give us a view of, say, San

in an innovative process that would

that are expressive in the classical sense,

Marco, but instead captures a different

carry over well into the 20th century.

but very rarely truly original or “out-of-

part of the city that is less frequented by

The Impressionist movement was part of

the-ordinary”. The other possible route is

tourists. This choice of subject may be a

this ongoing evolution, but by no means

to take the traditional training as a basis

subtle hint that the things that get lodged

its culminating point. Still, for many

for daring explorations of new territory.

in our memory, and persist there often for

216

decades to resurface at a later stage in our

detail needed to strike a balance

life, are often not the obvious impressions

between visible, concrete reality

or features we would think of first.

and subjective emotional response.

No, more often than not it is the small,

By allowing his colors to oscillate

infinitesimal even, that sinks deep into

freely between these to poles,

our subconscious, tiny details or barely

Liao manages to create attractive

perceptible atmospheric vibrations that

compositions that are brimming

are easily overlooked by all but the most

with inner tension yet held together

sensitive observer. In terms of coloring,

by an overall sense of ethereal

it is evident that Liao allowed for a lot of variation in the composition and texture

harmony.

威尼斯實景（林慧菁攝） Venice in 2006 (Photo by Maggie Lin)

of the multi-chromatic underpainting to

With "Venice" Liao Chi-chun

increase the expressiveness of the thickly

once more confirmed his status as one of

applied palette of mostly blue and red

the doyens of Taiwanese painting, even

tones. This approach is quite typical

of Venice, Tungkang, Tamshui or Yehliu,

though the theme of this particular picture

for Liao, as it delicately intertwines

visions finely tempered by the passing

is, for domestic audiences, an exotic

reality with the reverberations it triggers

years. As time goes by, the artist’s mindset

one. In his heart, Liao never severed

in the artist's psyche. This is a Venice

undergoes subtle transformations. This

the intimate ties with his homeland, this

far removed from the spotlight of

is why Liao’s “Venice” from 1967 has

island that strangers from a faraway

travel itineraries, a Venice full of faint

a somewhat different visual effect than

country once called "Formosa". Even

suggestions of nostalgia and sentimental

the 1973 painting—the later painting is

though his palette was clearly influenced

longing, which, for all its faintness, still

enriched by Liao’s increased wisdom and

by the Fauvists, as well as by individual

has a significance and authenticity that is

melancholy, which in a way make it both

artists such as Japan's Umehara Ryuzaburo,

neatly reflected in the firm brush strokes

purer and more complicated.

Liao’s individual style is firmly rooted in

and the tight structure of the composition.

the training and upbringing he received in

In nature, space falls into a pattern of its

A painter is not only concerned with

Taiwan. The tropical heat and dazzlingly

own design. In a city, space is arranged

depicting people, things or landscapes.

bright, colorful vistas that formed the

and distributed by human design-and is

What interests a true artist even more is

backdrop of his childhood shine through

thus far more likely to become embedded

how his subjects relate to himself, how

in the saturated, vivid colors of his

in the recesses of our mind, and reemerge

they shape and furnish his inner world

densely textured paintings-colors that

in some sublimated form during artistic

and artistic imagination. Liao is a good

serve as a vibrant code for his own

endeavors.

case in point. If he is often called a

feelings and reminiscences. This is how

Fauvist painter, it is probably because for

Liao is able to lift even the faraway city

A city is more than a "place", it is

him colors are just a means of recording

of Venice high above gloomy melancholy

composed of the people who live in it,

his own reactions to his environment,

and indifferent apathy, and turn it into a

their dreams and daily encounters. An

of making visible the barely appreciable

sparkling metaphor for the artist’s inner

artist’s vision of a city comprises all that,

strings that connect him, emotionally

life.

as well as the painter's own reveries and

and intellectually, to the world around

images. The observer will find this view

him. Only a very gifted artist is able

validated in Liao Chi-chun's renderings

to muster the subtlety and attention to

217

080

HONG Ling (b. 1955)

Surge (triptych) 1997 Oil on canvas 190 x 510 cm ILLUSTRATED: Conscious Landscapes-Hong Ling’s Oil Painting (1990-2000), Anhui Art Publishing House, Hefei, 2000, color illustrated, p. 36 & p. 62

畫布上的山水

融。洪凌已經意識到的外師造化，中得心源，眼觀西方，背靠傳統，以油

洪凌，1955年生於北京，白族，祖籍

彩為筆墨，寄情於山林的思路，提供

雲南省。早年畢業於北京首都師範大

了提高油畫風景畫審美品格的一種可

學美術系及中央美術學院油畫系研修

能。」

班，現任中央美術學院油畫系第三工

NT$ 7,800,000-8,800,000 US$ 236,100-266,400 HK$ 1,840,900-2,076,900

作室副教授。早在八十年代末、九十

洪凌，憑藉他早年在中國山水畫方面的

年代初就以對油畫的獨特思考，引起

學習和實踐，以及他隨後成長時期對

了繪畫界廣泛的關注。洪凌不斷地參

西方油畫藝術深入的研究，加之他擁有

與國內外的藝術活動，參加國內外的

的才華和勇氣，開闢了一條根基寬厚、

洪凌

美術作品展覽，曾於1997年受邀參加

前途遠大的藝術道路。洪凌早期畫中國

湧（三聯幅）

第47屆威尼斯雙年展，並入選世界名

水墨山水，對其語言因素有過自我的體

1997 油彩畫布

人錄。作品被國內外的藝術機構及收

驗和理解，之後他又深造油畫，像其人

藏家收藏。其油畫山水與人們習慣的

一樣他能夠隨意流暢的駕馭著這兩種繪

190 x 510 cm

風景畫樣式拉開的距離，其融合西方

畫，並逐漸滲到他稱之為山水油畫的個

風景畫和中國山水畫的創造思路，成

人探索之中去。對洪凌而言，山水僅僅

圖錄：《意象山水》，安徽美術出版社，合肥，2000，彩色圖版，頁36、頁62

為現代風景畫史上具有轉折意義的文

是一種創作的題材，油畫也只是一種媒

化現象。

介，他要創造中國的油畫，不只是展現一些東方符號，也不只是表面的民族風

油畫自傳入中國以來，有眾多的藝術

情，更不是藉由一點山水題材來結構，

家都在嘗試將油畫與中國傳統文化進

而是要找到自己的語言。洪凌創作背後

行融合，走出一條具有中國文化精

所依託的還是中國深遠的傳統文化，同

神、又不失油畫藝術本質的藝術道路

時也融合了西方油畫的創作方式與技

來，使油畫這個外來畫種具有更多的

巧。

中國文化的美學特徵。藝術家洪凌就是致力於融合中西方繪畫語言並取得

黃賓虹曾言：「自然比人偉大，人無

巨大成功的典型代表。劉曦林在〈畫

法同自然相比，藝術比自然更偉大，

布上的山水—洪凌油畫漫評〉一文中

自然無法和藝術相比。」洪凌的山

談到：「在洪凌的這個中國畫山水與

水油畫，與黃賓虹關注山水與光照、

西式油畫風景結緣的藝術世界裡，啟

空氣共同構成的變相的藝術理想十分

示我們的不僅是兩種文化背景下產生

契合，吸收了其積墨法之後，洪凌對

的共同以大自然為物件的兩個畫科在

於油畫色層的覆蓋有了新的理解，厚

藝術語言上溝通的可能性，還將在深

重的油彩，飄逸的勾勒。他利用西洋

層次上啟示我們以審美品格上的交

的油畫技巧和東方的傳統筆韻，找到

218

080

靜思的力量

近觀其畫，率真而有趣輕鬆中卻蘊含

點。在油畫中融入了中國的筆墨美，

洪凌用其獨特的表現手法展現出了中

西融合的追求是發自內心的，當然他

用類似勾勒的黑色線條強化作品的張

國南方深邃、清潤的山水氤氳，在濕

也為此付出了巨大的努力與心血。洪

了處理心靈與自然、抽象與具象、寫意與寫實等諸多對立因素之間的結合

有深入精髓的兩種文化氣息，其對中

力，以色造型，以景寫意，是洪凌山

潤的煙雲和朦朧的天光下，蒼翠蓊鬱

凌非常注重在精神內涵上對東西方、

水油畫耐人尋味的特別之處。洪凌的

的岩岫丘壑顯得親切而幽遠。從近年

傳統與現代的文化精神進行吸收融

油畫，是著眼於山水給人的整體感，

來的創作心態看，作品更是流露出一

會，並綜合地將具象、意象、構成、

是尋找自我精神和自然的結合，有特

份「散淡」「靜謐」的特點，傳達著

抽象等諸因素融會貫通。在藝術創造

定的氣質與格調，沉厚蒼勁。著名美

藝術上的方向感。藝術家本人曾這樣

的道路上他充分的利用了自身特有的

術批評家水天中認為，當代風景畫藝

描述他對自然風景的理解：

術中，從水墨山水和油畫風景的融合

激情與智慧，並能使之轉化為文化意義上的成品。

與對比中，形成個性的形式趣味者，

「皖南的四季是清晰分明的，而我於

當推洪凌為第一家。

四季中更偏愛秋的散淡與悠遠，皖南

「這些年他所不斷展示全新的山水油

的秋色是美的，但不及北方之秋的快

畫作品是中西繪畫之滋養的果實，可

就如洪凌所言，他的油畫藝術創作曾

捷突然，這裡從頭上出現的第一片黃

謂前無古人。我個人以為他比之以前

幾經探索變化，甚至涉足於純粹抽象

葉起，進而便觸動得你滿心的斑斕，

在這個語言領域探索的前輩，在語言

繪畫的藝術道路之後，才確立了從

轉而的滄桑與蕭然都給你的目光留下

架構和混融方式上是獨俱特色的，所

山水畫中去探尋新的油畫風景畫的道

了撲捉的足夠時間，讓你能享盡秋的

以也就展現出了他有別於同道的個人

路，逐漸形成了現在這種獨特的藝術

華貴，也婉和著它的淒然，這南方之

語言魅力，其重要價值在於它是一種

面貌，在這方面，洪凌確實做了很多

秋隱然在細雨裡的悲歌，可以一直唱

今天特有文化的代表。我們不妨把他

工作，比如，在繪畫裡取消焦點透

到飄雪的爐火中，悠長而慢的越過殘

的探索成果視為中國當代油畫風景畫

視，拋棄光影，不要時間——不局限

冬去約春天，每每於這不可解脫的秋

中一隻獨秀的典範。」（葛鵬仁語）

在時間感裡；他放棄了寫生，進入綜

吟之中，我便想到了蕭的聲音，也就

合；放棄風景式的直觀表述，進入一

把我帶回到了童年，轉而想到那勝過

從洪凌作品的精神層面來分析，他的

種情境式的主觀營造。這個過程是其

春花的北方之秋，那個日子裡耳邊的

作品體現了對渾厚、平和的大自然的

一步步摸索而來，雖然艱辛但也樂得

狂風嘩嘩的常能催醒你的夢，思緒與

美好追求，對於生活在現實世界的

其所。

落葉便一起在夜空中飄然。」

人來說，他的作品給人以清新自然之

220

感，洗滌著人內心的靈魂，蘊含有積

overseas and China, and taking part the

one, and has made a great success.

極健康的人生態度。那種恬淡平和的

domestic and foreign art work exhibition.

Liu Xilin said in The landscape on the

美學品格，返樸歸真的超脫意境，能

He was invited to participate in the 47th

canvas-comments on Hong Ling’s oil

夠使我們在品懷萬物的同時，靜思人

Venice Biennale Exhibition in 1997, and

paintings: “In the art world of Hong Ling,

在自然中的位置、人與自然的關係，

his works had been selected into the blue

Chinese landscape painting combined

平息躁動焦慮的功利之心，振奮生活

book of world celebrity. His works has

with western oil painting. And this has

的勇氣。無論從社會學還是從心理學

been collected by domestic and foreign art

enlightened us that the common sense not

角度，洪凌的作品都有積極的意義。

collection organization and collectors. His

only exists in two kind of brushworks with

landscape oil paintings are diffirent from

different culture backgrounds, but also

those that are familiar to people and his

exists the probability of communication

The Landscape on the Canvas

creative idea, which combined western oil

by the art language. It will further inspire

painting with Chinese landscape painting,

us to introject the aesthetic character..

Hong Ling was born in Beijing in 1955

has become the turning point in modern

Hong Ling is already aware of learning

and of Bai minority nationality. His

landscape history.

from the nature and hitting in the heart. He observes west while contains tradition,

ancestral home is located in Yunnan Province. He graduated from Fine Arts

Since oil painting imported into China,

and he uses oil paint as pen and ink to

Department of Beijing Capital Normal

a large number of artists have tried

express his feelings through landscape

University and the postgraduate course

to combine oil painting with Chinese

paintings. It has provided the possibility

of Oil Painting Department of Central

traditional cultural, and to work out a

of improving aesthetic character of the oil

A c a d e m y o f F i n e A r t s ( C A FA f o r

new art way with Chinese culture spirit

landscape painting.”

short) in early years. He is currently an

and oil painting essence. And the oil

associate professor at the third studio of

painting, a kind of painting derived from

Hong Ling, by his Chinese landscape

Oil Painting Department of CAFA. His

overseas, can contain more Chinese

study and practice in the early years,

unique thoughts about oil painting caused

culture aesthetic characteristics. Artist

and his deep research about western oil

widespread concern back in the late 1980s

Hong Ling is a model representative who

painting art in the following subsequent

and early 1990s. Hong Ling continued

has dedicated himself into the course of

period, coupled with his own talent

participating in art activities held in

combining Chinese painting with western

and courage, has opened up a clement

221

foundation and generous promising art

light and air. After absorbed Huang's

involved pure abstract, then his way,

road. His Chinese ink landscape in the

ink gather method, Hong has a better

which explored new oil painting from

early years had self-experience and self-

understanding about oil cover layer, thick

ink landscape had set up. It has gradually

understanding of its language factors.

oil and elegant outlines. He used western

developed into this unique art feature.

After that, he learned oil painting, like

oil paint skill and eastern traditional brush

For this, Hong has really spent much time

others, he can freely use both painting

spot to find out the match point of soul

working on it, such as abrogating focus

languages and gradually infiltrate into his

and nature, abstract and representational,

perspective, light and shadow, without

individual exploration which he called

imaginary and realistic and many other

time limitation. He gave up sketch an

Landscape Painting. For Hong Ling,

antagonism factors. He has put beauty

plunged into integration; he abandoned

landscape is only a certain creation theme,

of Chinese ink into oil painting, using

visual interpretation of scenery and entered

painting is only a medium, he wants to

black outlines to strengthen the tension

into subjective created situation. This

create Chinese Oil Painting, not just show

of the work. Modeling by color and

process is a length by length exploration,

some Oriental symbols, not only surface

imagine by landscape is the speciality

difficult but enjoyable.

of national customs, not even establish

of Hong Ling’s oil landscape paintings.

a little bit landscape theme, but find his

Hong Ling’s oil painting has focused on

own language. What Hong Ling’s creation

unitary feeling, seeking spirit and natural

relied on is the great Chinese traditional

combination. It has specific temperament

Hong Ling uses his unique method to

culture, simultaneously, it has integrated

and style, profound and vigorous. Shi

show remote and fresh landscape in the

the creative ways and techniques of

Tianzhong, a famous art critic, thinks

south of China. The green rocks and hill is

Western oil painting.

that in contemporary art landscapes,

genial and remote under the humid smoke

The Power of Meditation

Hong Ling is the first one who shaped

and hazy sky. From the creative mind

Huang Binhong once said: “The nature

individual interest from the contrast and

of the artist in recent years, the painting

is much greater than human and people

the combination of ink landscape painting

shows the features of “indifferent” and

cannot compare with nature. But art is

and oil scenery painting.

“tranquil”, delivering a sense of art

greater than nature and nature cannot

direction. Artist personally once described

compare with art.” Hong Ling’s landscape

Just like what Hong Ling said that his

oil painting matches Huang Binhong's art

painting creation had been through

ideal which concerns form of landscape,

many explorations and changes, even

222

his understanding of the natural scenery: Four seasons in the south of Anhui

Province are clearly divided, but I prefer

great efforts. Hong Ling has paid many

Analysis of the spirit layer of Hong Ling

the indifferent and leisureful autumn.

attentions to absorb and melt the culture

works, his works express kind pursuit to

Autumn in the south of Anhui Province is

spirit of East and West, tradition and

the massive and gentle nature. To people

beautiful, though it comes not as abruptly

modern on the spiritual connotation. He

lived in this realistic world, his works have

as that in the north. Here, you had

has synthetically digested representation,

showed fresh and natural feelings, washing

enough time to feast your eyes with the

imago, composition, abstraction and other

out people’s soul, and they contain positive

first falling leave, then the variegated and

factors. On the art creating road, he has

and healthy live attitude. The tranquil and

vicissitudes touch your heart. So you can

fully used his own unique passion and

peaceful aesthetic character, otherworldly

enjoy autumn’s luxury and extravagance,

wisdom, which enable them to transfer

artistic conception that recovered the

and soften the dreariness. Such a sad

into cultural products.

simple and returned to the nature, can

melody that southern autumn veiled in the

make us thinking human’s position in the

drizzling rain can last till people set up

“The new landscape paintings he

nature and the relationship between human

the fire in flurry winter, and go through

constantly displayed these years are

and nature when we enjoy the everything

long and slow winter to hope the spring

the nutrient fruits nourished by Chinese

on earth. It can also calm anxiety and

coming early. Every time immersed in

and Western paintings, and they are

utilitarian thoughts, inspire living courage.

this unfixed autumn chant, I recalled

unprecedented. Personally, I thought

Whether from the perspective of sociology

mournful sound, and brought me back to

that compared with other predecessors

or psychology, Hong Ling’s works have

the childhood. Then I would remember the

exploring on this language area, he is

positive significance.

northern autumn that better than spring.

unique feature in language format, mixing

In those days, gustiness could wake up

and melting. This shows his personal

your dream, then your thoughts would fly

charm, which is different from others. One

off in the sky with the falling leaves.

of the important values is that it is the unique cultural representative at present.

Close up to his paintings, they are frank,

We might as well treat his exploring

relaxing and interesting, but contain

achievements as the model of Chinese

two profound cultures. The pursuit of

contemporary oil landscape paintings.”

Chinese and Western integration is

(Ge Pengren mentioned).

heartfelt, which, of course, he has maked

223

李真人類文明之多元性，在全球化的趨勢中加速交流，但當下強勢文化的侵略

沉」，就是描述一個破與靜的極點狀態，在「易」之中求道。李真的雕塑

與散佈，造成異文化間的存在與疆界快速的消失。全球化是共生概念，方便人類生活，但並非等於文化的統一

是在探討虛空的能量，但他所表現出的雕塑實體，卻是空於外，道氣入內而充塞，一點也不空，原因是李真再

化，在現代的時空裡，更突顯個別文化的傳統自由精神的重要與可貴。

現能量是以一種精神的形式，用誇張、通體漆黑的實體來表現懾人的物

雕塑家李真，生於台灣，是一位極具天份的藝術家，至今已於紐約、芝加

質精神，但雕塑所傳達確是甜美、浪漫、喜悅與滿足的精神概念，正因如此，即便他的部分作品巨大無比，但

哥、邁阿密、休士頓、巴黎、倫敦、日內瓦、威尼斯、上海、北京、新加坡、台北等多個城市展出，私人及公共收藏遍布許多國家，更於2007年受邀個展於全世界最高地位的學術展覽：第52屆義大利威尼斯雙年展，獲得國際廣大的迴響及曝光度，為至高的榮譽。李真涉獵佛道學等經典、物外尋真，在藝術作品的追求上，是以雕塑來傳達東方文化的精神與內涵。李真以「虛空」為其重要的創作美學概念，「空」與「虛」是中國文化中佛學及道學的重要思想，佛學中的「空」並不是代表沒有，而是代表一個巨大寂靜的生滅智慧境界，在道家思想有兩句話:「虛空粉碎，大地平

225

卻不顯壓迫笨重，似飄浮於空中，令人有「既重又輕」的感覺，這正是精神能量與物質能量完美的結合所致。不但如此，李真竟能突破千年佛教雕塑既有的形式藩籬，轉化唐代佛教造像的豐厚飽滿，以及宋代俊美秀麗的精神暨形象特質，將雕塑的開臉與線條減至極簡，並且粹取中國5000年歷史文化的元素，如中國的仙、佛、龍、神話、民間故事等，更進一步注入當代藝術的元素及物件，成功的結合古典與當代，使其作品呈現一種前所未見的獨特型態及樣貌，賦予東方雕塑新的生命。

Li Chen Globalization is accelerating communication and interaction among

“Nothing”. Instead it connotes a vast and calm understanding of one’s existence

the air, exhibiting an alluring ambiguity between lightness and heaviness.

the multitudes of human cultures and the boundaries between existing cultures are

in the world. In the same vein, there is a Taoist saying that goes: “When emptiness is broken, the earth loses its balance”; it

Li Chen also makes breakthroughs in the already-existing styles of Buddhist

disappearing rapidly. While globalization is a universal concept that makes life easier for all, it does not unify cultures.

now than it has even been before.

Li Chen’s sculptures investigate the

sculpture that have existed over thousands of years. He alters the thick and full Tang Dynasty (A.D. 618–907) style Buddhist sculptures and the elegantly spiritual characteristics of Song Dynasty (A.D.

The artist Li Chen was born in central Taiwan, and in his expansive studies of Buddhist and Taoist scriptures he

e n e rg y o f s u c h e m p t i n e s s , a n d h i s sculptural forms are not empty, but instead are full of a vital energy. He achieves this through an energetic and spiritual style that uses exaggerated shapes and dark

960-1279) sculpture, reaching an extreme simplification in both face and line. He extracts elements of China’s five thousand years of history and culture, including Chinese immortals, Buddhas, dragons,

black lacquer to create a spiritual matter that people can absorb. But the sculptures also convey emotions that are sweet, romantic, happy and satisfied. For this reason, though some of his works may be

fairy tales and folk tales, etc. and takes them a step further, creating contemporary artistic work from them. He successfully combines classical and contemporary perspectives and creates works that

massive, they don’t appear oppressive and heavy. Instead they seem to be floating in

are unprecedented and unique forms, endowing new life to Eastern sculpture.

In that sense the individualism of unique cultures is more important and precious

seeks truth beyond the material world. He uses sculpture to convey the spirit and allusions of Eastern culture, taking the idea of "Emptiness", or "Void", as his central creative aesthetic concept. These are important concepts in Chinese B u d d h i s t a n d Ta o i s t c u l t u r e s . B u t “Emptiness” in Buddhism does not mean

describes an extreme state of disturbing the balance of things as pursued though the idea of interconnectivity.

226

李真作品展於2007威尼斯雙年展 Li Chen's work at Venice Biennale, 2007

081

LI Chen (b. 1963)

Avalokitesvara 1999 Bronze, edition 2/8 140 (L) x 80 (W) x 152 (H) cm EXHIBITED: China Without Borders, headquarters of Sotheby’s, New York, June 20 – June 28, 2001 Shanghai International Biennial Urban Sculpture Exhibition, Shanghai, November 18, 2005 – March 17, 2006 The Contemporary Road of Media and Tradition - TOP 10 Chinese Contemporary Sculpture Exhibition, Asia Art Center, Beijing, April 7 – May 6, 2007 52 nd International Art Exhibition – La Biennale di Venezia, Telecom Italia Future Centre, Venice, Italy, June 10 – Nov 21, 2007 ILLUSTRATED: Li Chen Sculpture 1992-2002, Asia Art Center, Taipei, 2004, color illustrated, p. 48 The Contemporary Road of Media and Tradition - TOP 10 Chinese Contemporary Sculpture Exhibition, Asia Art Center, Beijing, 2007, color illustrated, p. 44 Li Chen in Venice 52nd Venice Biennale - Energy of Emptiness, Asia Art Center, Taipei, 2007, color illustrated, p.72

NT$ 1,600,000-2,500,000 US$ 48,400-75,700 HK$ 377,600-590,000

李真大士 1999 青銅 2/8 140（長） x 80（寬） x 152（高） cm

展覽：「無疆界的中國」華人當代藝術聯展，蘇富比曼哈頓總部，紐約，展期自2001年6月20日至6月28日「上海國際城市雕塑雙年展」，上海，展期自2005年11月18日至2006年3 月17日「媒介和傳統的當代道路－中國當代雕塑十人展」，亞洲藝術中心，北京，展期自2007年4月7日至5月6日「第52屆威尼斯雙年展－虛空中的能量」，義大利未來展望美術館，威尼斯，展期自2007年6月10日至11月21日圖錄：《李真雕塑1992－2002》，亞洲藝術中心，台北，2004，彩色圖版，頁48 《媒介和傳統的當代道路－中國當代雕塑十人展》，亞洲藝術中心，北京，2007，彩色圖版，頁44 《李真第52屆威尼斯年展－虛空中的能量》，亞洲藝術中心，台北，

成特有效果，使觀者有既重又輕的感覺，是一件耐人尋味的精品。 This auctioned piece of artwork, “ Av a l o k i t e s v a r a ” i s o n e o f t h e representative series of Li Chen’s artworks named “Energy in Emptiness”. In 2001, this piece was invited by the Sotheby's Headquarters in New York, U.S.A. to attend a huge exhibition called “China without Border.” Moreover, it was also displayed in the 52nd Venice Biennial in 2007. The work “Avalokitesvara” shows a full round face with mercy, humbleness and sincerity. It might look clumsy at first yet the misted facial expression conveys joy, peace and harmony. Besides offering people an innocent, clear and clean sense, it also has an abundance of energy which has an expansive effect.

2007，彩色圖版，頁72

Between the limit and the heaviness, virtual and real senses are endowed. These are implications of the wisdom of tai xu (it means vision) which applies the language

此件拍賣作品《大士》是李真「虛空中的能量」系列的代表作之一，2001年曾

of various body postures to communicate with the audience in a simple and direct manner. In terms of the relation between sculptural textures and lines, Li Chen's work demonstrates his superb skills to

受邀參加美國紐約蘇富比總部「無疆界的中國」大型聯展，2007年更於第52屆威尼斯雙年展展出。《大士》一作臉部渾圓敦厚又慈悲的神情，在霧化面相中不失拙趣，是喜樂也是祥和。以單純清淨，卻又充斥著沛然莫之禦的氣體能量，這種具形擴張效果，在極限與厚重間有了虛與實的官感，是太虛智慧包容的意涵，即簡單又直接傳達姿勢語彙。就雕塑肌理與線條關係，李真表現出高超的融合性，看似簡約，但在光影下確充滿著變化，圓滿造型中依然有其精妙的神韻，左握淨瓶，右拈指印，渾圓展臂而立。一種安穩泰勢，讓人有平靜安定感。在質感上用中國墨黑色帶有霧亮處理形

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combine them. It might look simple, but in the light and shadow, it is full of changes. Still, there is a sense of delicate spirit in the perfect design. With the left hand holding a clean bottle, the right hand’s fingers making a lotus gesture, the sculpture stands tall with solemnity and dignity and gives a calm and secure feeling. The use of Chinese ink-black color with bright-misted approach creates an unique quality that makes audience feel the heaviness and lightness at the same time. It is a fine piece of artwork which arouses intense interests.

082

LI Chen (b. 1963)

Float to Sukhavati

「媒介和傳統的當代道路－中國當代雕塑十人展」，亞洲藝術中心，北

2002 Bronze, edition 6/8 100 (L) x 56 (W) x 75 (H) cm

京，展期自2007年4月7日至5月6日

EXHIBITED: Shanghai International Biennial Urban Sculpture Exhibition, Shanghai, China,

中心，2004，彩色圖版，頁95 《媒介和傳統的當代道路－中國當代雕塑十人展》，亞洲藝術中心，

Nov 18, 2005 - Mar. 17, 2006 The Contemporary Road of Media a n d Tr a d i t i o n - T O P 1 0 C h i n e s e Contemporary Sculpture Exhibition, Asia Art Center, Beijing, April 7 - May 6, 2007 ILLUSTRATED: Li Chen Sculpture 1992-2002, Asia Art Center, Taipei, 2004, color illustrated, p. 95 The Contemporary Road of Media a n d Tr a d i t i o n - T O P 1 0 C h i n e s e Contemporary Sculpture Exhibition, Asia Art Center, Beijing, 2007, color illustrated, p. 51 Li Chen in Venice 52nd Venice Biennale – Energy of Emptiness, Asia Art Center, 2007, color illustrated, p.144

NT$ 1,300,000-2,300,000 US$ 39,400-69,600 HK$ 306,800-542,800

李真飛行樂土 2002 銅雕 6/8 100（長）x 56（寬）x 75（高）cm 展覽：「上海國際城市雕塑雙年展」，上海，展期自2005年11月18日至2006年3 月17日

圖錄：《李真雕塑1992－2002》，亞洲藝術

2007，彩色圖版，頁51 《李真第52屆威尼斯年展－虛空中的能量》，亞洲藝術中心，2007，彩色圖版，頁144 《飛行樂土》為李真「大氣神遊」系列創作中的重要作品，將當代雕塑造型引入東方藝術特質的空間意識。陰陽、虛實節奏中流盪著氣韻，其雕塑作品之靈氣如皎月映雪、水照雲天，似「超以像外」所直接領悟的神態天趣，養空而遊，展現活潑的生命泉源。《飛行樂土》完成於2002年，李真曾這樣描述此件作品「仙者先者忘境而幽悠，天行自然化作祥雲，依然了得。」李真極擅長處理這種量體輕重對應的關係，作品充滿著神仙般的浪漫情懷、又似孩童的天真逗趣、無憂無慮飄然躺臥雲端，形態自若愜意，雲朵竟如此地輕巧飄然、如此地安穩，彷彿能載你到任何想去的地方，觀之讓人沉浸在一種心靈清淨的狀態，不自覺地會心一笑。李真作品中的心靈理想世界，加上幽默感與寬闊內韻之造化，一種虛幻清淨之氣質，這就是李真獨特的風格。 “Float to Sukhavati”is an important creation of Li Chen’s series of “Free Wandering Spirits”. He infuses the design of contemporary sculpture into the oriental artistic characteristic of spatial

230

sense. Between yin and yan, between emptiness and reality, flows the “qi”. The spiritual sense emitted out from the sculpture is so clean and fresh, it is like standing in the snow under the bright full moon or looking at the reflection of blue sky and white clouds in the water. The artist has come to realize the inner soul of the object and understood the wisdom beyond the physical world. While his imagination traveling in the sky, he brings to his audience a lively spirit of life. “Float to Sukhavati”was completed in 2002. Li Chen once described this work: “Immortals are those who enjoy tranquility and freedom and forget where they are. Through the operation of nature, harmonious clouds can be naturally made to carry them. Following the way of nature, they always keep well.” Li Chen is very good at tackling the contrasted relation between the lightness and heaviness of massive objects. His works are full of fairy-like imagination, of children’s innocence and amusement, and of carefree floating on the top of the clouds. Their looks and gestures give people a self-assured and relaxed sense. The clouds are so light yet safe to bring you anywhere you would like to go. When looking at his works, audience will indulge in a spiritual journey so that their minds and hearts can become crystal clear and will unconsciously make an insinuating smile. The ideal spiritual world of Li Chen’s works, the sense of humor and the broad internal transformation, as well as a clear and tranquil temperament constitute the unique style of Li Chen.

082

083

HONG Ling (b. 1955)

Late Autumn 2006 Oil on canvas 60 x 160 cm Signed lower left Hong Ling in Chinese and dated '06 Signed on the reverse Late Autumn, Hong Ling in Chinese and dated 2006

NT$ 920,000-1,200,000 US$ 27,900-36,300 HK$ 217,100-283,200

洪凌倦秋 2006 油彩畫布 60 x 160 cm 簽名左下：洪凌 '06 簽名畫背："倦秋" 洪凌 2006年

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083

084

CHUANG Che (b. 1934)

Dragon Realm 1994 Oil on canvas 101 x 172 cm Signed lower right Chuang Che in

莊吉吉的作品有著豐富的肌理、含蓄的

美國當代藝術學者衛斯勒（J e f f r e y

Chinese and dated 94

色調和感性而強烈的筆觸，猶如油彩和綜合材料的「大寫意」，充滿著生

Wechsler）曾指出：「在他轉換中國書法的手法與視覺傳統中我們找到了平

命的運動和韻律。

衡。在快速畫出的線條圖案、徘徊在感

NT$ 1,300,000-2,300,000 US$ 39,400-69,600 HK$ 306,800-542,800

官的典雅與狂野力量之間的筆觸裡，我在整體境界上，他的圖式是自身圓滿

們見證了書法自然延伸的特性。的確，

的，畫面瀰散著飽滿的氣息，猶如一

一些莊吉吉六十年代早期的作品是以象形

莊喆

片渾茫的天地，而其中作為骨幹的線

文字來強調他們的抽象特質，藉此來建

龍域

條或色塊，則如醒目的力量，劃開混

立傳統東方書法表現與西方單純無目的

1994 油彩畫布

沌，蕩漾時空，顯示出剛健的張力。

符號之間的橋樑。」

於此我說，他的畫如他其人，正處在

101 x 172 cm 簽名右下：94 莊喆

《龍域》這幅作品是莊喆90年代的

渾茫與通達之際。

精彩創作。自古以來，「龍」代表－中國美術館館長范迪安

中華民族，也是皇權、祥瑞、騰飛

甫於2007年8月舉辦「中國美術館個展

的象徵。周易「乾」卦中提到「雲行雨施，品物流形，大明終始，六位時

–嶺深道遠」的華人抽象大師莊喆，

成，時乘六龍以御天。」，將宇宙間

1973年赴美發展迄今，旅居紐約30餘

萬事萬物變化的道理涵喻於「龍」。

年，既近距離研究西方文化的特徵，

莊喆在這幅作品將中國傳統中古老神

吸收現代藝術的優長，同時將東方的

聖的元素與圖像，融合現代藝術的思

藝術觀念融入現代表達，形成了他

潮，呈現在繪畫表現上。透過這幅作

的表現性抽象繪畫風格。莊喆擅長把

品，展現出莊喆一直追求人與宇宙變

人帶進一新的世界，這個世界是充滿

化的關係、天地自然的哲理，而展現

著陰陽和諧的，由他的筆法與用色構

出渾然天成的意境。

成，走進去就好像進入一個單純的自然和諧世界，將思想跟隨他的線條、

在《龍域》的畫作表現上，莊喆以蒼

肌理、筆觸去穿插深入探索遨遊，會

灰色為背景基調，運用深重的色彩變

發現世界閃耀著原始純樸的光明，鮮

化與線條，營造出一藏風聚氣、瀉

活的色彩與發自內心的情感，充滿了

靈溢韻的無彊界之邊域，瀰漫著神秘

詩意，使人感到自由、舒適、平靜、

氣息，風起雲湧而壯闊。而在此《龍

痛快、淋漓盡致，進而達到一個忘我

域》中，又以狂草般激烈的筆觸，或

之境，完全沈浸於他所創造的繽紛世

凝動、或舒緩、或張狂、或含蓄，充

界中。

滿力道，這醒目的力量，劃開混沌，

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084

蕩漾時空，讓整體的畫面充滿律動

their thought follow his lines, texture, and

prosperity. “Qian” of Yi Jing describes,

感，讓靜止的空間變化多端，生命力

touches and find the innocent light shining

“The clouds move and the rain is

充塞其中，書法般的黑白色線條化作

in the world. His bright colours and the

distributed; the various things appear

龍形，神龍飛躍翻騰於蒼蒼山野間，

emotion from his heart are so poetic and

in their developed forms. (The sages)

氣脈橫長，大器磅薄，完整的呈現在

make people free, comfortable, peaceful,

grandly understand (the connection

觀者眼前，實為莊喆創作生涯中的顛

joyful, and overwhelming, and he thus

between) the end and the beginning, and

峰之作。

leads them into the realm of sublime, a

how (the indications of) the six lines (in

colourful world created by himself.

the hexagram) are accomplished, (each)

"The works of Chuang Che own a rich

in its season. (Accordingly) they mount

texture, a reticent hue, and a sensitive

Jeffrey Wechsler, an American scholar

(the carriage) drawn by those six dragons

but strong touch, just like a sketch by the

of the contemporary art, once said, “We

at the proper times, and drive through

oil paint and combined materials full of

find the balance in his transition of the

the sky.” The passage uses the dragons

energy and the rhythm of life.

technique and the visual tradition of the

as a metaphor indicating the truth that

Chinese calligraphy. In a quick linear

everything in this universe is always

In the whole, the picture fills itself with

pattern and the touch lingering between

changing. In this work, Chuang fuses

a vigorous atmosphere just like a vast

the classic and the wild sensation, we

the traditional Chinese divine element

world. The lines and colours, as

and images into the thought of the

the bone structure of the painting,

modern art with the expression of

with a vibrant power give a strong

this painting. The painting presents

persistence to break the chaos and

a natural realm of the changing

shatter the space. I will say that his

relation between man and the

paintings, just like himself, are in

universe as well as the natural

a place between the chaos and full

philosophy of the Heaven and the

comprehension."

Earth that Chuang has always been pursuing.

- Fan Dian, Director of the National Art Museum of China

On the presentation of the painting,

The Chinese Abstract painting

basic tone for the background, and

Chuang uses the blue gray as the master Chuang Che, who just has his

witness the characteristic of natural

with the changing of colour and strokes

solo-exhibition in the National Art

extension of the Chinese calligraphy.

he creates a wide limitless spiritual

Museum of China in August 2007, has

It is true that some of Chuang’s early

world which is mysterious, shaking and

been living in New York for more than 30

works in the 60s emphasized their

astonishing. In this realm of dragon,

years since his departure for the States in

abstract characteristics with hieroglyphic

the strokes are strong and soft, wild and

1973. With a close study on the Western

characters and thus built up a bridge

reserved. Its power breaks the chaos

culture and learning the techniques of the

between the traditional Eastern

and shatters the space; it brings rhythm

Modern art, he also brings the Eastern

calligraphy and the Western simple

to the whole picture, lives and energy

art into a modern expression and thus

aimless signs."

to a static space. The black and white

forms his expressive abstract painting

calligraphic lines are like the shapes of

style. Chuang is skilled in bringing his

The "Dragon Realm" is one of Chuang's

dragons flying between mountains. Such

spectators into a new world full of the

best in the 90s. In the Chinese culture,

an overwhelming feeling is completely

balance of Ying Yang. His strokes and

dragon is not only the representation

presented to the beholders, and such an

colours bring the spectators into a simple,

of the Chinese, but also the symbol of

overwhelming picture is truly the best of

natural and harmonious world, and make

the royal power, auspiciousness, and

Chuang.

236

085

LI Lei (b. 1965)

Forbidden Peach Blossom 2007 Acrylic on canvas mounted onto board 250 x 179.5 cm Signed on lower right Li in Chinese and Li Lei in English Signed on the reverse Li Lei in Chinese and English, titled Forbidden Peach Blossom and dated January 1, 2007 in Chinese, noted painted in the studio of Jin-yu Road, Shanghai in Chinese EXHIBITED: Tan Ping & Li Lei Abstract Art, The Danish Art Exchange, Beijing, Mar. 10Mar. 25, 2007

NT$ 980,000-1,500,000 US$ 29,700-45,400 HK$ 231,300-354,000

李磊禁閉桃花 2007 壓克力畫布裱於木板 250 x 179.5 cm 簽名右下：李 Li Lei 簽名畫背：禁閉桃花李磊 Li Lei 2007 年元旦于上海金雨路畫室展覽：《譚平、李磊抽象藝術展》，丹麥藝術中心，北京，展期自2007年3月10日至3月25日

238

086

HSIAO Ju-sung (1922-1992)

Wall 1989 Watercolor on paper 52 x 71 cm Dated lower right -89-

NT$ 1,000,000-1,800,000 US$ 30,300-54,500 HK$ 236,000-424,800

蕭如松壁 1989 水彩紙本 52 x 71 cm 簽名右下：－89－

240

086

087

HSIAO Ju-sung (1922-1992)

Campus Watercolor on paper 26 x 36 cm

NT$ 520,000-620,000 US$ 15,700-18,800 HK$ 122,700-146,300

蕭如松校園水彩紙本 26 x 36 cm

242

088

HSIAO Ju-sung (1922-1992)

Hillside 1988 Watercolor on paper 38 x 45.5 cm Dated lower right -88-

NT$ 620,000-800,000 US$ 18,800-24,200 HK$ 146,300-188,800

蕭如松山坡 1988 水彩紙本 38 x 45.5 cm 簽名右下：－88－

243

089

SHIY De-jinn (1923-1981)

Beefwood by the Sea Ink and color on paper 70 x 89 cm Signed upper left Shiy De-jinn in Chinese With two seals of the artist The painting is to be sold with a certificate of authenticity issued by East Gallery, Taipei.

NT$ 260,000-360,000 US$ 7,900-10,900 HK$ 61,400-85,000

席德進海邊木麻黃彩墨紙本 70 x 89 cm 簽名左上：席德進鈐印左上：席德進印鈐印右上：席氏書畫附東之畫廊事業有限公司所開立之原作保證書

244

089

090

SHIY De-jinn (1923-1981)

A Pair of Ducks 1980 Ink and color on paper 128 x 34 cm Signed lower left Shiy De-jinn in Chinese and dated 1980 With two seals of the artist

NT$ 350,000-450,000 US$ 10,600-13,600 HK$ 82,600-106,200

席德進雙鴨 1980 彩墨紙本 128 x 34 cm 簽名左下：席德進 1980 鈐印右上：席氏書畫鈐印左下：席德進

246

（正面 front）

091

SHIY De-jinn (1923-1981)

Ferry on the Sea (two-sided painting) 1979 Watercolor on paper 46 x 61 cm Signed lower left Shiy De-jinn in Chinese and dated 1979 The painting is to be sold with a certificate of authenticity issued by East Gallery, Taipei.

NT$ 200,000-300,000 US$ 6,100-9,100 HK$ 47,200-70,800

席德進海上郵輪（雙面畫） 1979 水彩紙本 46 x 61 cm 簽名左下：席德進 1979 附東之畫廊事業有限公司開立之原作保證書

（反面 back）

247

092

SHIY De-jinn (1923-1981)

Guanyin Mountain 1980 Watercolor on paper 57 x 76 cm Signed lower left Shiy De-jinn in Chinese and dated 1980

席德進淡水觀音山

The painting is to be sold with a certificate of authenticity issued by East Gallery, Taipei.

NT$ 220,000-320,000 US$ 6,700-9,700 HK$ 51,900-75,500

1980 水彩紙本 57 x 76 cm 簽名左下：席德進 1980 附東之畫廊事業有限公司開立之原作保證書

248

093

SHIY De-jinn (1923-1981)

A Terraced Field

席德進梯田

1980 Watercolor on paper 63 x 100 cm Signed lower left Shiy De-jinn in Chinese

1980 水彩紙本 63 x 100 cm 簽名左下：席德進 1980

and dated 1980 PROVENANCE: Ancient collection of Li Chi-jung, the director of Green Gallery and Great Roma Gallery The current owner acquired from the above

EXHIBITED: Green Gallery, Kaohsiung Great Roma Gallery, Tainan

來源：高雄綠調畫廊負責人李啟榮舊藏現有收藏者得自上述來源

NT$ 320,000-420,000 US$ 9,700-12,700 HK$ 75,500-99,100

展覽：高雄綠調藝廊台南大羅馬畫廊

249

1978 Watercolor on paper 56 x 74.5 cm Signed lower left Shiy De-jinn in Chinese and dated 1978 PROVENANCE: Acquired directly from the artist

席德進河畔清居 1978 水彩紙本 56 x 74.5 cm 簽名左下：1978 席德進來源：現有收藏者直接得自藝術家本人

250

094

095

SHIY De-jinn (1923-1981)

Chinese Flowering Crab-apple 1980 Watercolor on paper 102 x 66 cm Signed lower left Shiy De-jinn in Chinese and dated 1980 The painting is to be sold with a certificate of authenticity issued by East Gallery, Taipei.

NT$ 320,000-480,000 US$ 9,700-14,500 HK$ 75,500-113,300

席德進海棠花 1980 水彩紙本 102 x 66 cm 簽名左下：席德進 1980 附東之畫廊事業有限公司開立之原作保證書

252

096

CHU Ko (b. 1931)

Language of Time 2007 Ink and color on paper, mounted onto board 120 x 240 cm Signed lower left Chu Ko in Chinese and dated 2007

NT$ 720,000-880,000 US$ 21,800-26,600 HK$ 169,900-207,700

楚戈時間的語言 2007 彩墨紙本裱於木板 120 x 240 cm 簽名左下：楚戈 2007

254

096

097

John WAY (b. 1921)

Manifestation 1999 Oil on canvas 151 x 127 cm Signed lower left John Way in English and dated 99 ILLUSTARATED: Album of Unique Treasure, William Art Center, Taipei, 1994, color illustrated, coverpage and p. 121 John Way, William Art Center, Taipei, 2006, color illustrated, p. 49 The Pioneer of Chinese AbstractAnthology of John Way, William Art Center, Taipei, 2007, color illustrated, p. 147

NT$ 2,200,000-2,800,000 US$ 66,600-84,800 HK$ 519,200-660,800

魏樂唐

在當代追求中西藝術交融的畫家中，魏樂唐是極為人矚目者之一。早在 1965年於美國「波士頓美術館」所舉辦的「不用畫筆的畫作」展覽中，魏樂唐的作品即與傑克森‧帕洛克、哈同、丁格爾等當代藝術大師一起共同展出。爾後，他陸續在海德堡、巴黎、舊金山、日內瓦等歐美各國舉辦展覽。1998年他更榮獲義大利藝術學院頒贈的最高榮譽教授的頭銜，受到全球藝術世界的肯定與支持，作品被世界各美術館收集，對華人藝術家而言實為不易。魏樂唐從小接受中國古代書法的薰陶，其對中國書法的探究直接展現於他以實驗性手法結合不同古代風格而創造出的出色作品中。青年時期身處美國東岸的現代藝術世界，在普普藝術與抽象表現主義的全盛時期，魏樂唐的藝術已然成熟。在形式表現上，其作品融合了中國的水墨畫及書法與西方的抽象藝術；而突顯出來的個人風格，更是將抽象主義、印象主義及抽象表現主義合而為一。

凝結的樂章 1999 油彩畫布 151 x 127 cm 簽名左下：John Way 99

觀魏樂唐作品，筆意雄健，縱任自在，多以色塊的揮灑與巧妙的留白盈滿畫面空間。此幅120號大作《凝結的樂章》創作於1999年，豐盈有力、石破天驚的筆觸如龍騰之勢，又宛若驚濤裂岸，氣勢宏偉、波瀾壯闊，傳達

圖錄：《臻寶錄》，威廉國際藝術有限公司，台北，1994 ，彩色圖版，封面和

出一種表現主義強烈震撼的意念，為魏樂唐獨特藝術風格的經典代表。

頁121 《魏樂唐畫集》，威廉國際藝術有限公司，台北，2006，彩色圖版，頁49 《華人抽象先驅－魏樂唐大集》，威廉國際藝術有限公司，台北，2007，

John Way is the most attractive among the contemporary artists who pursuit the mergence of Chinese and Western culture. His works was displayed at the “Painting

彩色圖版，頁147

without a Brush” exhibition held at Boston Museum of Fine Arts in the early 1965, together with the works of such

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Contemporary Art Masters as Jackson Pollock, Hartung and Jean Tinguely. Later on, he organized exhibitions in various Western and American countries, such as Heidelberg, Paris, San Francisco and Geneva in succession. In 1998, he was awarded by the Italian academy of fine arts as the highest honor of professor and received recognition and support from the art community of the world. His works are collected by Art Galleries around the world. All these achievements are not come by easy for a Chinese artist. John Way was edified and influenced by Chinese traditional calligraphy ever since his childhood. His exploration on Chinese calligraphy lies in the excellent works he created through the combination of testing method and various ancient styles. In his youth, he was among the modern artistic world of eastern bank of the United States. His artistic works matured in the prime time of Pop Art and Abstract Expressionism. On the forms of expression, his works mixes Chinese ink painting and western abstract art; and prominent personal style further combines the Abstractionism, Impressionism and abstract expressionism. T h e w o r k s o f J o h n Wa y f e a t u r e s magnificent and free painting style and covers the image space by color spreading and skillful white space. Created in 1999, the No120 masterpiece "Manifestation" is the classical representation of John Way's unique artistic style, delivering a strong and sharp impression of expressionism by vibrant and remarkably original and forceful painting style like dragon dancing and tide cracking ,magnificent and broad .

098

CHUA Hu

(Tsai Yun-cheng b. 1929)

Iron Bridge and Riverbank 1974 Oil on canvas 145.5 x 87 cm Signed lower right CHUA in English and dated 74 Signed upper left CHUA in English This painting is to be sold with a photograph of the artist with this lot.

NT$ 820,000-1,000,000 US$ 24,800-30,300 HK$ 193,500-236,000

畫家蔡雲程於1970年代最重要的兩個創作主題系列，一是「鐵橋」、一是「河畔」。台灣的雄獅美術月刊於民國60年（即1971年）10月號第八期曾經翻譯刊載了菲律賓重量級的藝術學者白拉達所寫、一篇題為《蔡雲程和他的畫》的論述。對於當時的鐵橋作品，他提到蔡雲程而從創作於1974年這件精彩拍品《鐵橋河畔》看來，白拉達的預言果然成真。在這件融合鐵橋與河畔雙主題的作品中，蔡雲程彷彿是要將西方的油畫給「中國水墨化」。他把藍色當做中國的黑墨，讓油畫顏料在畫布上自然渲染和流淌，同時利用「留白」

abandon or could at least minimize these composition elements.” And in this brilliant “Iron Bridge and Riverbank” from 1974 has proved Jesus T. Peralta’s prediction right. Chua Hu was seemed to try water-inking western oil paints in this dual themed painting. He treated oil blue paints as Chinese black inks, let it naturally embroiders and flows on canvas, in the mean time he left plenty of “white spaces” to make contrast, to create dimensions in the picture; The brush strokes he applied also enhanced the kinetic energy, made the whole painting

所產生的明暗對比，營造畫面的空間感；而短筆觸的使用，亦加強了畫面的「動能」，使得整幅畫作洋溢著一

wonders beautifully between concrete and abstract.

鐵橋河畔

種介於具象和抽象之間的迷離之美。

1974 油彩畫布 145.5 x 87 cm 簽名右下：CHUA 74 簽名左上：CHUA

In his early days when Chua Hu was interviewed by press he was being asked

蔡雲程年輕時接受媒體訪問，曾被問到「」，他回答說：而這件作品的完成確實見證了他的自我宣言，在形式

蔡雲程

附藝術家與本拍品合影照片

上，他使自己更接近西方的抽象，在內涵上，卻是更加的中國。《鐵橋河畔》堪稱是他一生創作歷程中極為重要的「里程碑」。 Two of the most important themes in Chua Hu’s paintings during the 70’s were “Iron Bridge” and “Riverbank”. Back in 1971, Taiwan’s Hsiung Shih Art Monthly No. 8, the October issue translated and published significant Philippine art scholar Jesus T. Peralta’s discourse, Chua Hu and his paintings. On Chua Hu’s “Iron Bridge” paintings, he noted “Chua Hu used a much abstract way to handle natural forms; I believe if he continues adapting this approach, he could completely

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“What is your purpose to paint?” He replied “The reason why I took art as my career is because I want to use a brand new artistic form to carry forward traditional Chinese Ink Paintings.” And this piece indeed realized his declaration. On forms, he made himself closer to western abstracts, on the essence, his more Chinese than ever. “Iron Bridge and Riverbank” could be the “milestone” throughout his artistic career.

099

JU Ming (b. 1938)

Taichi Series- Boxing

在「太極系列」的創作探索中，朱銘經歷了從有形到無形的千雕萬鑿，其

1990 Bronze, edition 23/50 Left: 23.5 (L) x 20 (W) x 23 (H) cm

作品材質上樟木或青銅的古色古香，把人帶入到寧靜而悠遠的哲學境界。

Right: 18 (L) x 20 (W) x 23 (H) cm

在以木材雕刻太極系列之初，朱銘的創作方式基本上還是刀鑿斧劈，但漸漸地，他改而採用鋼鋸裁切，再順著

This sculpture is to be sold with a certificate of authenticity signed by the

自然紋理手撕或斧劈，使材料不僅成為表現內容的載體，而且還轉化為內

artist.

容本身，從而強化了形象的生命力，「太極拱門」就是「太極系列」已達到出神入化境界的體現。

PROVENANCE: Hanart TZ Gallery, Hong Kong

朱銘太極系列－對招 1990 銅雕 23/50 左：23.5（長）x 20（寬）x 23（高） cm 右：18（長）x 20（寬）x 23（高）cm 附藝術家親筆簽名之原作保證書來源：漢雅軒，香港

was basically chiseling and cutting. Gradually, he changed it into cutting with hacksaw and then ripping or axing along the natural texture. Thus the material has not only become carrier of expression of the contents, but has transferred into the contents itself, so that vital force of the image is intensified. “Taichi Arch” is the presentation that “Taichi Series” has reached the superb level. In a sense it is an instinctive combination.

可以說是一種出自本能的結合吧！朱

NT$ 920,000-1,200,000 US$ 27,900-36,300 HK$ 217,100-283,200

with wood, Ju Ming’s creation mode

銘創作「太極系列」時的大刀闊斧在作品中呈現出來的人體造型，正好跟現代雕塑的抽象理念不謀而合。「太極系列」的每件作品，都流露出抽象的運動性，非但不受限於太極拳分解圖的運動公式，甚至還改造了我們對運動空間的認知習慣，讓作品與空間的關係都抽象了起來。特別是當這種抽象關係發生之後，我們發現，每個作品都允許我們從不同的視點去看，而且各個視點下的塊面也都能夠跟作品整體處於有機的呼應關係之中。在他的作品中，我們感受到是一個個太極形象踱步雲手、從容閑定的身影和深深吐納的氣息。此件《太極系列— 對招》動靜、虛實之間，將太極拳隨屈就伸、人剛我柔、借人之力、順人之勢的精義顯露無疑。 In the creation exploration of “Taichi Series”, Ju Ming has experienced a magnitude of elaboration from tangible to intangible. Old-world charm in camphorwood and bronze used as material of his works bring people into a serene and remote philosophical world. At the beginning of his carving Taichi

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In creation of “Taichi Series”, the profile of body presented by Ju Ming through bold and resolute strokes in the works just coincide with the abstract ideology of modern sculpture. Every piece of work in “Taichi Series” emanates the abstract mobility. Besides emancipation from formula of shadowboxing, he has also remolded our cognition habit about mobile space, so that relationship between the works and the space become abstract. Especially, after occurrence of such abstract relationship, we find that every works allows us to view in different angle, and the patches under each angle of view can be in an organic echo with the overall works. In his works, we can feel shadowboxing images one after another, pacing and boxing, their leisured and recreational figures and the breath deeply exhaling and inhaling. Between dynamic and static, virtual and solid conveyances in this “Taichi Series - Boxing”, he has given ultimate presentation the pith of shadowboxing yielding to dissolve attacking force, treating rigidity with suppleness, borrowing external force and complying with external orientation.

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Ju Ming (b. 1938)

Taichi Arch 1991 Bronze, edition 17/20 94 (L) x 36 (W) x 45 (H) cm Signed Ju Ming in Chinese and dated '91, numbered 17-20 This sculpture is to be sold with a certificate of authenticity signed by the artist.

NT$ 1,200,000-2,200,000 US$ 36,300-66,600 HK$ 283,200-519,200

朱銘「太極」系列的問世，曾造成藝文界的質疑，許多人無法理解此轉變，但能靜心去體會的人即可感受到這是其轉化為大師的徵兆之一，已從過去的鄉土性跳脫出，也是他雕塑方式及藝術風格凝結成形的里程碑，雖然此系列作品甚多，但仍可以看出作品之間並非一成不變，從學太極到刻太極，最初創作時還需圖片參考，隨著時間過去，他本身對太極招式越來越瞭解及熟諳，並對太極的心智作用愈加鑽研，作品也展現出因徹底體會而透露出的果決，在一座座沉著的形象下藏著是太極的能量和藝術家的生

sculpting it, the earliest creations required picture references. With the passage of time, his gradual understanding of and familiarity with Taichi moves increased, and he became more absorbed in the study of the mental effects of Taichi. His sculptures also began to show the firmness and resoluteness revealed through his thorough experience. Under each calm and composed image hides the energy of Taichi and the artist’s experiences in life.

在「太極拱門」中，已看不見那些無關宏旨的細節，其創作躍入幾乎純抽象的階段，就像看著帕洛克的抽象畫

Details that are irrelevant to the main

作，腦海也能浮現他在畫布上舞動的姿態，幾何的切面，或是不完全對稱的外形，將包圍此作品的空間裝飾的

太極拱門

更有層次，它的豐富更不外乎創作的

1991 銅雕 17/20

速度感，單一的刻劃間展現創作者的忘我狀，我們看到朱銘的不受羈絆，看到他可以不再像傳統的工匠只想單

附藝術家親筆簽名之原作保證書

included in the series are numerous, they are not invariable. From learning Taichi to

活經歷。

朱銘

94（長）x 36（寬）x 45（高）cm 簽名：朱銘 '91 17-20

set by his sculpting method and artistic style. Although the pieces of sculptures

純的複製一個形體，而是因為太極帶來的愉悅情緒，使他按耐不住要將其化作一永恆的個體。「太極拱門」特別之處也在於它與其所處之角落和諧共存，並漸漸地成為周遭中有機的構成要件，融合了中國園林天地圓融的東方哲學思想，無論它的大或小，所要表現的空間感都是不受限的，也許是因為朱銘賦予的空靈氣質所致，散發出一種無限延伸之感。 Public presentation of the “Taichi” series was once questioned by the art

theme are no longer seen in the Taichi Arch. The creation has plunged into an almost purely abstract stage. Like looking at an abstract Baroque painting, things that appear before one’s eyes are the dance poses, geometrical planes and asymmetrical forms on his canvas. Increased levels of adornment are given to the space surrounding this work, the richness of which does not go beyond its tempo. The simple carvings show the artist’s state of self-denial. We can see an unfettered Ju Ming who no longer wants to simply copy a form like a traditional craftsman. Thanks to the joyful moods brought by Taichi, he cannot help but transform it into an eternal entity. The uniqueness of the “Taichi Arch” lies in its harmonious coexistence with the corner where it is located. It has gradually become an important component of the

and cultural circles. Many were unable to understand the transition, but those who were able to calmly experience it

surroundings, integrating the Oriental philosophical thinking of the union of heaven and earth in the gardens of China. The extensity presented by the sculpture, regardless of its size, is unrestricted.

could feel it as one of the signs of his transformation into a great master. His departure from local art is also a milestone

Perhaps the feeling of infinite extent is a result of the spiritual character it is endowed with by Ju Ming.

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100

101

Yuyu YANG

(YANG Ying-feng, 1926-1997)

Heaven and Earth Destiny 1987 Stainless steel, edition 5/10 120 (L) x 72 (W) x 75 (H) cm EXHIBITED: Yang Ying-Feng Kaohsiung 92 Exhibition, Da Chong Bank Main Bank, Kaohsiung, April 2 - April 11, 1992

楊英風

著恆久的光輝，因緣聚散，充盈起宇宙的絢燦之美。是一份「緣」，完成

天地星緣 1987 不鏽鋼 5/10 120（長）x 72（寬）x 75（高）cm

ILLUSTRATED: Landscape Contentment - Yang YingFeng, Hsiung Shih Publishers, Taipei, color illustrated, pp. 126-127

展覽：「楊英風高雄'92個展」，大眾銀行總行，高雄，1992年4月2日至4月11日

Yang Ying-Feng Anthology, Vol. 1, Artist's Publishers, Taipei, color illustrated, pp. 303-304

圖錄：《景觀自在－楊英風》，雄獅出版社，台北，彩色圖版，頁126-127 《楊英風全集第一卷》，藝術家出版

NT$ 1,700,000-2,300,000 US$ 51,500-69,600 HK$ 401,200-542,800

社，台北，彩色圖版，頁303-304 本作完成於1987年，是楊英風不鏽鋼「宇宙系列」作品之一。「天地方圓」是中國人對自然的設想，堪稱為一種「對稱」、「完整」之美的形容，更有一番豪放渺遠的情懷之透射。中國人的陰陽觀念就這麼簡潔恰切的統合在這四個字中，形而下到形而上，實體到空靈，有稜有角到圓融完滿，楊英風一直是喜歡思索其中而發為創作的。天地之間何其曠達深奧，無邊無涯，眾星循環其間，激發

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生命的滋生，是無數「圓」活出希望。 This work was completed in 1987, and is a part of Yuyu Yang’s stainless steel “Cosmos Series.” The phrase “heaven and earth” is the way that Chinese describe all of nature, and it is a way to describe the beauty of “symmetry” and “completeness.” It also has a feeling of being vast and unlimited. The Chinese concept of Yin and Yang is concisely contained in this phrase, including form and the formless, real objects and formless spirit, the self and perfect oneness. Yuyu Yang has always liked to find creative inspiration in the contemplation of this concept. Between heaven and earth exist all the vast mysteries of the cosmos, stretching without limits, stimulating eternal glory, attracting and dissipating karma, filling the cosmos with dazzling beauty. It is “destiny” to complete the propagation of life, the flourishing hopes of countless “contented lives.”

102

AI Xuan (b. 1947)

A Tibetan Girl 2004 Charcoal on paper 51.5 x 37.8 cm Signed upper right Ai Xuan in Chinese and dated 2004; titled A Tibetan Girl in Chinese

艾軒 This painting is to be sold with a certificate of authenticity signed by the artist and a picture of the artist with the work of art.

NT$ 140,000-280,000 US$ 4,200-8,500 HK$ 33,000-66,100

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瓦切村少女 2004 炭筆紙本 51.5 x 37.8 cm 簽名右下：艾軒 2004 瓦切村少女附藝術家親筆簽名之原作保證書及藝術家與本拍品合影照片

103

WANG Yidong (b. 1955)

王沂東 Nuptial Chamber

洞房 2003

2003 Color pencil on paper 74.6 x 54.7 cm Signed lower left WANG Yidong in Chinese and English, dated 2003 With one seal of the artist

This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 520,000-680,000 US$ 15,700-20,600 HK$ 122,700-160,500 267

色鉛筆紙本 74.6 x 54.7 cm 簽名左下：王沂東二○○三 WANG Yidong 2003 鈐印左下：王沂東附藝術家親筆簽名之原作保證書

104

WANG Yidong (b. 1955)

Hovering 2004 Color pencil on paper 53 x 37 cm Signed lower left Wang Yidong in Chinese and English, dated 2004 With two seals of the artist

NT$ 300,000-400,000 US$ 9,100-12,100 HK$ 70,800-94,400

王沂東徬徨 2004 色鉛筆紙本 53 x 37 cm 簽名左下：王沂東二○○四 Wang Yidoing 2004 鈐印左下：王沂東印鈐印右下：沂

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105

ZHU Fuxing (b. 1938)

Sister and Brother with Dog Oil on canvas 120 x 140 cm Signed lower right Fuxing in Chinese

祝福新姊弟

NT$ 680,000-780,000 US$ 20,600-23,600 HK$ 160,500-184,100

油彩畫布 120 x 140 cm 簽名右下：福新

269

106

YANG Feiyun (b. 1954)

Summer Assignment 2003 Oil on canvas 55.2 x 38.2 cm Signed lower left Feiyun in Chinese and dated 2003.5

HK$ 122,700-160,500

楊飛雲 This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 520,000-680,000 US$ 15,700-20,600

暑假作業 2003 油彩畫布 55.2 x 38.2 cm 簽名左下：飛雲 2003.5

270

107

CHEN Danqing (b. 1953)

Suburban Workers 2005 Oil on board 41 x 53.5 cm Signed lower left Chen Danqing in

陳丹青

Chinese and datde 2005

京郊民工

NT$ 580,000-720,000 US$ 17,600-21,800 HK$ 136,900-169,900

2005 油彩木板 41 x 53.5 cm 簽名左下：陳丹青 2005

271

108

AI Xuan (b. 1947)

Coming over Rhythm 2006 Oil on canvas 50 x 60 cm Signed lower left Aixuan in Chinese and in English, dated 2006 This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 1,300,000-1,800,000 US$ 39,400-54,500 HK$ 306,800-424,800

艾軒遠方飄來的歌 2006 油彩畫布 50 x 60 cm 簽名左下：艾軒 Aixuan 2006

272

108

109

LI Kai (b. 1947)

Autumn Grass 2005 Oil on canvas 130 x 120.5 cm Signed lower left Li Kai in Chinese and dated 2005

NT$ 680,000-900,000 US$ 20,600-27,200 HK$ 160,500-212,400

李凱秋草 2005 油彩畫布 130 x 120.5 cm 簽名左下：李凱 2005

274

110

LI Shuang (b. 1957)

Thousand Miles of Fog 2005 Oil on canvas 162 x 130 cm Signed lower right Li Shuang in Chinese and English, dated 05 ILLUSTRATED: Li Shuang Best Paintings Collection, Linda Gallery, Beijing, 2006, color illustrated, pp. 22-23

NT$ 550,000-950,000 US$ 16,700-28,800 HK$ 129,800-224,200

李爽萬里橫煙浪 2005 油彩畫布 162 x 130 cm 簽名右下：李爽 Li Shuang 05 圖錄：《李爽油畫精品集》，林大美術館，北京，2006，彩色圖版，頁22-23

276

111

XIAO Se (b. 1970)

Warmly Welcoming Venus 2003 Oil on canvas 146 x 116 cm Signed lower right Xiao Se in English and dated 03 Titled on the reverse Warmly Welcoming Venus in Chinese and size 146 x 116 The painting is to be sold with a certificate issued by Yan Club Arts Center, Beijing. ILLUSTRATED: Privacy of the Fish: Oil paintings by Xiao Se, Yan Club Arts Center, Beijing, color illustrated

NT$ 400,000-580,000 US$ 12,100-17,600 HK$ 94,400-136,900

蕭瑟熱烈歡迎維納斯 2003 油彩畫布 146 x 116 cm 簽名右下：Xiao Se 03 簽名畫背：熱烈歡迎維納斯 146 x 116 附藝術家親筆簽名之原作保證書圖錄：《魚的隱私：蕭瑟油畫作品集》，仁藝術中心，北京，彩色圖版

278

112

XIANG Jing (b. 1968)

Virgin with a Cigarette 2005 Fiberglass, painted, numbered 2/7 26 (L) x 20 (W) x 75 (H) cm Signed on the base Xiang Jing in Chinese, dated 2005 and numbered 7-2 EXHIBITED: Keeping Silent, Xiang Jing 2003-2005, Seasons Gallery, Beijing, September 17 October 16, 2005 Your Body, Xiang Jing 2000-2005, Shanghai Art Museum, Shanghai, February 9-19, 2006 ILLUSTRATED:

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向京，1988年畢業於中央美術學院附中，1995年畢業於中央美術學院雕塑系，現任上海師範大學美術學院雕塑工作室教師。畢業作品《護身符》等獲中央美術學院畢業生作品展一等獎及日本松岡家族基金會一等獎，作品被中央美術學院收藏。其作品《空房間》

停滯靜止的狀態，思維遲鈍、表情漠然、眼神迷離，往往裸露的身體與裸露的靈魂同時展現，雕塑彷彿被賦予了靈魂，積鬱心中的是被壓抑已久

茫然或無助，或百無聊賴，都被向京敏感的覺察並表現出來。《拿菸的處女》表現了另一種情態的少女，無知的面對未來，或許青春期的血液中飽含著叛逆，未來將要面對怎樣的選擇，接受什麼不接受什麼，一切對少女來說都是混沌的。正如她自己所言的：「我想表達的是特別重要的主題，美好，卻不是平常人所認為的漂亮，而是力量和脆弱的

入選中國最具權威性的年度美術大展「第九屆全國美展」並獲優秀獎；多次參加國內外聯展，目前已舉辦「白日

尊嚴，這種力量能夠抗拒另外的東西，如果是

夢」、「向京作品」、「鏡子堛漱k人」、「保持沈默」、「你的身體」等個展，作品

乾淨的東西，就可以抗拒骯髒的東西」。此件作品曾在2006年上海美術館舉辦的向京個展「你的身體」中展出。

被北京當代美術館、中國美術館、上海美術館以及英國薩奇畫廊等全球著名收藏機構和個人關注並收藏。目前已成為中國當代年輕一代雕塑家的代表。

2006年上海美術館「你的身體－向京個展」場景 (翻攝自《向京作品集》) View of “Your Body - Xiang Jing”, an exhibition of Shanghai Art Museum, 2006 (Photo from the exhibition catalogue)

向京是一個早慧的藝術家，具備非常

的痛苦，也正是這種無聲的吶喊刺痛

好的造型能力。2005年之前，向京塑造的大多是日常生活中的個人，之後

了觀眾心中那根憐憫的神經。向京用雕塑這種最為沈重而實在的方式捕捉著日常生活中的眾生相，從而構成一份當代社會學報告，她的雕塑中，那些發呆的、遲鈍的人體並非特指某一個人，藝術家所指的或許是社會的集

向京開始向我們展露一個私密的完全暴露的女性身體，而藝術家的心靈也走向了更加徹底的自白。一直以來，向京都憑藉她在造型上的天賦，關注生活的點滴和女性成長過程中的微小細節，同時她的「處女系列」、「鏡子堛漱k人」系列等都幫助了她的成長。她的作品中的形象都是女人半身雕像或全身像，將平凡女孩或女人生

體狀態，雕塑從而成為一種生命或生活的個體，從中反射出內在的各種風景，帶給欣賞者愈加強烈心靈的震撼。

活中一瞬間的情感和內心鮮活地展現於三度空間，向京的雕塑儼然一幅物

「處女系列」作品是向京目前為止最為重要的創作組成部分，也是藝術家

化了的生活現實場景，作品中絕少情緒的爆發，更多處於一種思維和時間

最為感興趣的創作題材，處於青春期的少女面臨的諸多困惑與問題，或

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Xiang Jing graduated in 1988 from the affiliated

high school of the Central China Academy of Fine Art (CAFA) then went on to graduate from the CAFA's Department of Sculpture in 1995. She is currently teaching at the Fine Arts College of the Shanghai Normal University's sculpture workshop. Her graduation project "Lucky Charm", now in the collection of the CAFA, was given the 1st class award at the CAFA graduates exhibition and from Japan's Matsuoka Family Foundation. Her work "Empty Room" was selected for China's most important annual art exhibition the '9th National Exhibition of Fine Art' where it received a commendation; she has entered works in many domestic/foreign joint exhibitions, solo exhibitions such as "Daydream",

"The Works of Xiang Jing", "The Woman in the Mirror", "Keeping Silent" and "Your Body". Her artworks are now in several

this solid yet demanding method, Xiang Jing expresses the faces of everyday life, in turn forming a research report on

internationally renowned collections such as those of the Beijing Contemporary Art Gallery, the Shanghai Art Museum and the Saatchi Gallery. Today Xiang Jing is one of the leading representatives of

contemporary society. In her sculptures, the slow and distracted forms do not refer to any particular person, but may instead be a reflection of society as a whole. The sculptures themselves may have become

China's younger generation of sculptors.

a kind of life or a shell of life, providing insights to different situations and giving the audience an even more powerful emotional impact.

Xiang Jing discovered her talents early and is particularly adept at compositions. Before 2005, most of her works were about herself in a variety of everyday life situations. She has since begun baring to the world a private yet completely exposed female body, with the artist becoming even more totally self aware in

ă&#x20AC;&#x20AC;ă&#x20AC;&#x20AC; The "Virgin Series" is the most important creative composition from Xiang Jing so far and the creative theme that the artist is most interested in. The many problems and questions, the sense of helplessness

terms of spiritual growth. Xiang Jing has

or confusion and the absolute ennui that

always used her talent in compositions to focus on the fine details in everyday life and a woman's development. Her

teenage girls going through puberty experience have all been captured by Xiang Jing's sensitive eye and expressed through her art. 'Virgin with Cigarette' represents a young girl naively facing

'Virgin Series' and the "Woman in the Mirror" series have all helped her to grow as well. The forms in her work are all busts or full statues of women, bringing to three-dimensional life the sudden flicker of emotion and inner liveliness of an ordinary girl or woman. Xiang Jing's sculptures themselves resemble more some facet of life that has been captured and given shape. Her works rarely involve an explosion of emotion, but instead, seem to exist in a state of suspended animation with slowed reactions, aloof expressions and eyes looking into the distance. Often the both the physical form and the soul are exposed together. The sculptures seem to take on a life of their own with pain that has been long pent-up inside. This

the future, the rebellion flowing through the veins during puberty, the choices to be made in the future, what to accept and what to reject - everything for the young girl is in chaotic confusion. Just as the artist says: 'What I want to express are special and important themes beautiful, but not the kind of prettiness people usually think of but instead power and fragile pride. This power can resist outside influences. If it's clean, then it can resist contamination'. This artwork had previously been displayed at the Xiang Jing personal exhibition 'Your Body' organized by the Shanghai Art Museum in 2006.

silent scream of pain is what touches the audience's sense of compassion. Through

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CHEN Wenling (b. 1969)

Red Memories 2001 Bronze, edition 4/8 34 (L) x 33 (W) x 156 (H) cm Signed Chen Wen Ling in Chinese and English, numbered 4/8 ILLUSTRATED: Chen Wenling, Ode to Art, Singapore, color illustrated

NT$ 700,000-800,000 US$ 21,200-24,200 HK$ 165,200-188,800

陳文令紅色記憶 2001 銅雕 4/8 34（長）x 33（寬）x 156（高）cm 簽名：陳文令 Chen Wen Ling 4/8 圖錄：《陳文令》，歌頌藝術畫廊，新加坡，彩色圖版

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HK$ 75,500-113,300

REN Sihong (b. 1967)

Broadcast Exercise – Sidebend Action 2005 Fiberglass, edition 1/10 27 (L) x 20 (W) x 61 (H) cm (Man) 28 (L) x 23 (W) x 60 (H) cm (Woman) Signed 1/10 Ren Si hong in English and dated 2005

任思鴻廣播體操－伸展運動 EXHIBITED: S p o r t s : R e n S i h o n g S c u l p t u re a n d Paintings Solo Exhibition, 798 Avant Gallery, New York, July 7 - August 8, 2006

NT$ 320,000-480,000 US$ 9,700-14,500

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2005 玻璃纖維 1/10 27（長）x 20（寬）x 61（高）cm（男） 28（長）x 23（寬）x 60（高）cm（女）簽名：1/10 Ren Si hong 2005 展覽：「運動：任思鴻個展」，798先鋒畫廊，紐約，展期2006年7月7日至8月8

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LIU Chunhai (b. 1966)

Enjoying My Youth 2006 Oil on canvas

80 x 60 cm Signed lower right Liu Chunhai in Chinese, dated 2006

劉純海享受青春 2006

NT$ 70,000-100,000 US$ 2,100-3,000 HK$ 16,500-23,600

油彩畫布 80 x 60 cm 簽名右下：劉純海 2006

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楊帆

YANG Fan

艷陽天

(b. 1972)

2006 油彩畫布

Bright Spring Day

190 x 130 cm 簽名右下：楊帆 Yang fan 2006

2006 Oil on canvas 190 x 130 cm Signed lower right Yang fan in Chinese and English, dated 2006 Titled on the reverse Bright Spring Day in Chinese, signed Yang fan in Chinese and English, size 190 x 130 cm and dated 2006 EXHIBITED: A Vain Life, Yang Fan Solo Show, Linda Gallery, Jakarta, July 21 - August 21, 2007

簽名畫背：《艷陽天》楊帆 Yang fan 190 x 130 cm 2006 ILLUSTRATED: A Vain Life, Yang Fan Solo Show, Linda

展覽：「浮世－楊帆作品展」，林大畫廊，

Gallery, Jakarta, 2007, inside page of invitation card

雅加達，展期自2007年7月21日至8月 21日

A Vain Life, Yang Fan’s Worsks, Linda Art Museum, Beijing, color illustrated

NT$ 320,000-480,000 US$ 9,700-14,500 HK$ 75,500-113,300

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圖錄：《浮世－楊帆作品展》，林大畫廊，雅加達，2007，邀請卡內頁《浮世－楊帆作品集》，林大美術館，北京，2007，彩色圖版

2006 Oil on canvas 100 x 80 cm Signed lower left Li Yibing in Chinese Signed on the reverse Li YiBing in Chinese and English, titled “Meditation” and size 100 x 80, dated 2006 No:12-09

簽名畫背：李一丙 Li YiBing 《冥想》 100x80 2006：No：12-09

李一丙冥想 No. 12-09 2006 油彩畫布 100 x 80 cm 簽名左下：李一丙

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118

YANG Xiaobing (b. 1966)

Untitled 2006 Oil on canvas 130.5 x 150 cm Signed lower left Yang Xiaobing in Chinese and dated 2006

NT$ 130,000-180,000 US$ 3,900-5,400 HK$ 30,700-42,500

楊小兵無題 2006 油彩畫布 130.5 x 150 cm 簽名左下：楊小兵 2006

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119

FANG Hui (b. 1965)

Three Boys 2007 Oil on canvas 130 x 150 cm Signed lower right Fang Hui in Chinese

房輝

and English, dated 2007

三個男孩

NT$ 170,000-220,000 US$ 5,100-6,700 HK$ 40,100-51,900

2007 油彩畫布 130 x 150 cm 簽名右下：2007 房輝 Fang Hui

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120

YIN Kun (b. 1969)

Hero Series 2007 Oil on canvas 150 x 180 cm Signed lower right Yin Kun in Chinese and dated 2007.4 Signed on the reverse Chinese Hero Series and Yin Kun in Chinese and size 150 x 180, dated 2007, oil on canvas

NT$ 320,000-500,000 US$ 9,700-15,100

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HK$ 75,500-118,000

尹坤英雄系列 2007 油彩畫布 150 x 180 cm 簽名右下：尹坤 2007.4 簽名畫背：中國英雄系列 150 x 180

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YIN Jun

尹俊

(b. 1974)

暢快之泣－02

Delightful Crying-02

2006

簽名右下：尹俊 2006. 6

Oil on canvas 150 x 150 cm Signed lower right Yin Jun in Chinese and dated 2006. 6 EXHIBITED: An Alternative Artist - Yin Jun, Beijing 9 Art Space, Beijing, Oct. 14 - Nov. 14, 2006

油彩畫布 150 x 150 cm

展覽：

ILLUSTRATED: An Alternative Artist - Yin Jun, Beijing 9 Art Space, Beijing, 2006

NT$ 380,000-480,000 US$ 11,500-14,500 HK$ 89,700-113,300

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「藝術家中的另類－尹俊作品展」，北京9藝術空間，北京，展期2006年10 月14日至11月14日圖錄：《藝術家中的另類－尹俊》畫冊，北京9藝術空間，北京，2006

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YIN Kun (b. 1969)

Chinese Dolls 2005 Oil on canvas 100 x 120 cm Signed lower right Yin Kun in Chinese and dated 2005

NT$ 320,000-420,000 US$ 9,700-12,700 HK$ 75,500-99,100

尹坤中國娃娃 2005 油彩畫布 100 x 120 cm 簽名右下：尹堃 2005

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123

WEI Ershen (b. 1956)

Dreaming 2005 Oil on canvas 140 x 110 cm Sighed upper right Ershen in Chinese and dated 2005

NT$ 680,000-720,000 US$ 20,600-21,800 HK$ 160,500-169,900

韋爾申夢 2005 油彩畫布 140 x 110 cm 簽名右上：爾申 2005

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124

MAO Tongqiang (b. 1960)

Wig 2006-4 2005-2006 Oil on canvas 200 x 160 cm Signed lower left Mao Tongqiang in Chinese and dated 2005. 10. Titled on the reverse Wig 2006-4 in Chinese and size 200 x 160 cm

NT$ 720,000-880,000 US$ 21,800-26,600 HK$ 169,900-207,700

毛同強假髮 2006-4 2005-2006 油彩畫布 200 x 160 cm 簽名左下：毛同強 2005.10 簽名畫背：《假髮 2006-4》200 x 160 cm

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125

OUYANG Chun (b. 1974)

Moon River 2005 Oil and acrylic on canvas 220 x 180 cm Signed lower left OYX in English and dated 2005 Signed on the reverse Ouyang Chun in Chinese, titled Moon River in Chinese, dated 2005, size 220 x 180 cm, acrylic, oil on canvas

NT$ 700,000-800,000 US$ 21,200-24,200 HK$ 165,200-188,800

歐陽春月亮河 2005 油彩壓克力畫布 220 x 180 cm 簽名左下：2005 OYX 簽名畫背：月亮河歐陽春 2005 布面丙烯油彩 220 x 180 cm

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126

JI Dachun (b. 1968)

God of Wealth Mixed media on canvas 110 x 110 cm Signed upper center Dachun in Chinese

NT$ 1,300,000-1,600,000 US$ 39,400-48,400 HK$ 306,800-377,600

季大純財神到綜合媒材畫布 110 x 110 cm 簽名中上：大純

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JI Dachun (b. 1968)

Persona 2004 Mixed media on canvas 109 x 109 cm Signed upper center Dachun in Chinese and dated 2004 in Chinese

NT$ 1,300,000-1,600,000 US$ 39,400-48,400 HK$ 306,800-377,600

季大純人物 2004 綜合媒材畫布 109 x 109 cm 簽名中上：大純甲申

300

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CHU Chen-yung (b. 1968)

China Dolls Series -Elegancy and Poise 2006 Ceramics, crystal beads 26 (L) x 23 (W) x 60 (H) cm Signed Chu in Chinese

NT$ 320,000-380,000 US$ 9,700-11,500 HK$ 75,500-89,700

初陳勇中國娃娃系列－雍容華貴 2006 陶瓷水晶貼片 26（長）x 23（寬）x 60（高）cm 簽名：初

陶瓷的傳統印象及形象在時代的蛻變中，思索著未來的發展與道路–《中國娃娃系列》代表著創作者明確感受到，時代性的敏銳嗅覺和切入的觀點。反思，富裕生活中所產生令人弔詭的文明現象，以及東方文化中禁錮的性別差異，是現代中國社會現象的一環。本拍品《中國娃娃系列–雍容華貴》運用象徵「富貴」的牡丹花紋樣與衣飾上的寶石圖騰，強調中國女性才德與富貴兼具一身。另外令人感到驚艷的是，創作者利用「轆轤成形技法」，看似單純的傳統工藝手法，但若非歷經長年累月的磨練，和透過自我不斷的累積「拉胚成形」的純熟度，才能靈活的掌控素材，並準確流暢的呈現「胚體異位倒置手法」，實

Dolls Series” implies that the creator has clearly sensed the edge of time and his perspective. The creator introspects the paradoxical phenomenon of civilization led by a wealthy life as well as in the Oriental culture, the taboo of the differences between sexes still exists in the modern Chinese society. This auction piece,“The Chinese Dolls Series— Elegancy and Poise” using the peony and the precious stone ornament symbolizing an wealthy fortune, emphasizes that Chinese women have great virtue, wealth and good social position at the same time.

為難得一見。更突顯創作者對於自身的要求和成長的原創性。

A more amazing thing is that the creator uses “throwing technique”, a technique seeming simple yet requiring years of practice as well as the accumulation of experience to shape the material at will

When the traditional impression and

and accurately to present the difficult “base replacement technique”. This work

image of the ceramics is pondering over its future development, “The Chinese

represents the self-demanding and the originality of the creator.

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129

PANG Yongjie (b. 1968)

Women (a pair) 2005 Fiberglass Yellow: 33 (L) x 57 (W) x 41 (H) cm Orange: 33 (L) x 55 (W) x 41 (H) cm Signed Yongjie in Chinese, dated 2005 and numbered 11 on yellow piece; signed Yongjie in Chinese, dated 2005 and numbered 15 on orange piece.

NT$ 230,000-330,000 US$ 7,000-10,000 HK$ 54,300-77,900

龐永杰女人（一對） 2005 玻璃纖維黃：33（長）x 57（寬）x 41（高）cm 橘：33（長）x 55（寬）x 41（高）cm 簽名：黃：永杰 2005 11 5 橘：永杰 2005. 15 號

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LI Jikai (b. 1975)

Box 2006 Fiberglass, edition 3/6 18.5 (L) x 22.5 (W) x 50.5 (H) cm Titled Box in Chinese and numbered 3/6, signed Li ji kai in Chinese and English, dated 2006

李繼開

EXHIBITED: Top 10 Chinese Contemporary Sculpture

簽名底座：《盒子》3/6 李繼開 Li ji kai 2006

Exhibition, (curator: Zhu Qi), Asia Art Center, Beijing, April 7 - May 6, 2007

NT$ 400,000-500,000 US$ 12,100-15,100 HK$ 94,400-118,000

盒子 2006 玻璃纖維 3/6 18.5（長）x 22.5（寬）x 50.5（高）cm

展覽：「媒介和傳統的當代道路－中國當代雕塑十人展」（策展人：朱其），亞洲藝術中心，北京，展期自2007年4月 7日至5月6日

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YANG Ren-ming (b. 1962)

Unstable Connection -Breathing Cremains 2001 Acrylic and oil on canvas 100 x 80 cm Titled on the reverse Breathing Cremains in Chinese, dated 2001 and size 100x80 cm Acrylic, oil, canvas and signed Yang Ren-ming in Chinese

NT$ 340,000-380,000 US$ 10,300-11,500 HK$ 80,200-89,700

面對畫家因時代背景所衍生出的個人語彙，要予以清晰的解讀是有其困難性，但從其創作的系列主題與其畫面的空間、色彩，象徵符號的運用，或可提供些許個人的解讀方式。80、 90年代的交替，正是台灣面臨四十多年來最大的衝擊、轉變：解嚴、開放黨禁、媒體開放、國共關係改變、頻繁的街頭運動、生態環保議題的顯現，在在造成政治、經濟、人文領域的解構重組，新的藝術族群便是本土生態環境丕變與外來文化衝擊之下的產物。90年代前後是台灣藝術界空前蓬勃成長的時期，在這樣的創作空間下，台灣蘊育出這麼一位當代畫家楊仁明。

楊仁明不安定的聯結－呼吸中的舍利子

楊仁明的創作歷程可分為四個階段：

2001 壓克力油彩畫布

92~93年的「從黑水長出來的新植物」、93~94年的「新植物於思考中的存在方式」、95~98年的「大光環系列」，及2000年之後「不安定的連

100 x 80 cm 簽名畫背：呼吸中的舍利子 2001 100 x 80 cm 壓克力.油.布楊仁明

結」。「不安定的聯結」是關於半透明碎形幾何的各種表現，在創作時會不斷思考自己的狀態，會一直想改變。楊仁明自述：「不安定的聯結，主要談的就是整個繪畫過程中，片刻皆不同的脈絡歧異。但一直塗塗改改不是辦法，總得在一個時候停下來。很自然地，繪畫被他視為一連串思索的紀錄，而最後停下來的，就是凝結的狀態。」 It has its difficulties to clearly interpret artist’s own personal vocabularies which derived from his/her background, but maybe they’re interpretable from the theme of a series of creations or the

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use of space, colors and symbols in the pictures. Taiwan was facing the most severe impact and change for the last 40 years in the early 90’s: the ending of the martial law, opening for political parties and the media, the change of Taiwan and China’s relationship, frequent street movements, and the rising of ecology topics, all of them effected and reconstructed the politic, economy, and culture, and many new artists during that time were cultivated under the change of environment and the invasion of foreign cultures. Under this kind of environment, Taiwan’s art circle grown rapidly at the early 90’s, and Yang Ren-ming was one of them. Yang’s creation can be divided into four stages: “New plants grown from Black water” from '92 to '93; “The way of living that new plants are thinking about” from '93 to '94; “The Big Circle” from '95 to '98; and “Unstable Connection” since '00. “Unstable Connection” is about how semi-transparent geometries present themselves, how they continually think contemplate about their current states and how they are changing all the time. Yang mentioned: “Unstable Connection is about how things are keep changing during the whole painting process, keep fixing or repainting doesn’t help anything, it has to be stopped at a certain point. And naturally, paintings are become an archive of a series of continual thoughts, and the final picture is the frozen state of it”.

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CAO Jingping (b. 1972)

Butterfly, Chain, Water No. 36 2003 Acrylic on canvas 180 x 150 cm Signed lower right Cao Jing Ping in Chinese and dated 2003.12 Signed on reverse CAO JING PING in Chinese and English, Butterfly, Chain, Water No. 36 in Chinese and English, 150 x 180 cm Acrylic and dated 2003.12

NT$ 500,000-800,000 US$ 15,100-24,200 HK$ 118,000-188,800

曹靜萍蝴蝶．鎖鏈．水之36 2003 壓克力畫布 180 x 150 cm 簽名右下：曹靜萍 2003.12 簽名畫背：曹靜萍 CAO JING PING 蝴蝶鎖鏈水之36 Butterfly. Chain. Water No. 36 150 x 180 cm Acrylic 2003.12

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133

XIONG Yu (b. 1975)

Garden 2005-2006 Oil on canvas 120 x 150 cm Signed lower right Xiong Yu in Chinese and dated 2005 Titled on the reverse Garden and signed Xiong Yu in Chinese, size 150 x 120 cm and dated 2006 EXHIBITED: Running on Tranguilly - Xiong Yu, Chinablue Gallery, Beijing, Nov. 22 Dec. 20, 2006

NT$ 650,000-800,000 US$ 19,700-24,200 HK$ 153,400-188,800

熊宇花園 2005-2006 油彩畫布 120 x 150 cm 簽名右下：熊宇 2005 簽名畫背：《花園》150 x 120 cm 2006 熊宇展覽：「安靜的流逝：熊宇個人作品展」，環碧堂畫廊，北京，展期自2006年11 月22日至12月20日

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134

LU Shun (b. 1966)

Flowers in the Garden 2007 Oil on canvas 160 x 120 cm Signed lower right Lu Shun in Chinese and dated 2007

NT$ 680,000-780,000 US$ 20,600-23,600 HK$ 160,500-184,100

呂順花中的花朵 2007 油彩畫布 160 x 120 cm 簽名右下：呂順 2007

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135

MAO Yan (b. 1968)

A Sleeping Infant 2002 Mixed media on paper 106.5 x 76.5 cm Signed lower right MAO YAN in English and dated 2002

NT$ 900,000-1,200,000 US$ 27,200-36,300 HK$ 212,400-283,200

毛焰沉睡中的嬰兒 2002 綜合媒材紙本 106.5 x 76.5 cm 簽名右下：MAO YAN 2002

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136

ZHANG Jian (b. 1968)

Chang An Avenue 2006 Oil on canvas 150 x 200 cm Signed lower right Zhang Jian in Chinese and dated 2006

NT$ 1,300,000-2,500,000 US$ 39,400-75,700 HK$ 306,800-590,000

章劍長安街 2006 油彩畫布 150 x 200 cm 簽名右下：章劍 2006

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136

137

HUANG Gang (b. 1961)

My Box 2006 Mixed media on board 122 x 244 cm

Signed lower right Huang Gang in Chinese and English, dated 2006 NT$ 880,000-1,500,000 US$ 26,600-45,400 HK$ 207,700-354,000

黃鋼我的箱子 2006 綜合媒材木板 122 x 244 cm 簽名右下：Huang Gang 黃鋼 2006

黃鋼從80年代開始研究西藏藝術產生的社會、宗教、哲學背景。之後，他以一種不同於其他藝術家，前所未

beyond the plane visual hierarchy and

有的藝術方式創作了系列作品。他的畫總是不滿足於平面的視覺層次，有著很厚重的感覺，他選用的材料相當特別，如用漆料混合運用，再一次又

lacquer and color are mixed up to paint again and again so as to get a gentle and implicative effect. Using the traditional

一次的上色後達到柔和含蓄的效果。他用西藏傳統的木刻佛經字版與手抄佛經為材料，鑲在畫上，呈現一些西藏傳統宗教化的構圖形式（如曼陀羅），加上西藏繪畫中理想主義的色彩，高貴的黑色、純潔的白色、至高無上的金色、生命的紅色，以一種宗教般虔誠的極簡風格將它們組織、堆砌在畫面之中，其技法猶如普普藝術的「反覆」手法。

have a strong sense of massiveness. The materials he chooses are special so that

Tibetan woodcarving sutra and handcopied sutra as the materials, he sets them into paintings to present some religious composition forms in Tibetan tradition, (such as stramonium). Together with idealist hues in Tibetan paintings, such as noble black, pure white, sovereign golden and vital red, he organizes and stacks them, in a religious piety and extremely simple style, into his paintings, with a skill just like ” repetition” skill in pop arts.

《我的箱子》描繪在壯麗的雪山背景下，太陽與月亮同時出現在天際之間，彷彿飄浮在空中的古皮箱，代表著溫情家庭與歲月的流逝。作品簡單直接、自由揮灑、充滿力量，東方精

"My Box" depicts the scene the sun and the moon appears simultaneously on the

神得到了新穎與深刻的表現，在單純

splendid snow mountain, representing elapsing of a warm family and years. The works, simple and forthright, free and

的構圖與造型下面，強烈的視覺張力與精神力量不動聲色地蔓延出來，讓人進入精神的遊歷，藝術家將西藏古藝術融入當今日常生活，營造現代裝置的格調。在動感的筆觸與溫暖的色

horizon, just like an old suitcase floating in the sky, against the background of the

elegant and full of strength, shows novelly and profoundly an orient spirit; in a

調下，表現了強烈的浪漫情緒的人文關懷。

simple composition of picture and layout, a strong visual tension and spiritual power spreading out unconsciously, ushering

S i n c e 1 9 8 0 ’s , H u a n g G a n g b e g a n

people into a excursion in spirit. The artist has integrated the ancient Tibetan arts

to research the social, religious and philosophical background producing Tibetan arts. Later, he has created the series of works with his own artistic mode, unprecedented and different from

into current daily life and created a touch with modern device, and with a mobile brushwork and warm hues, expressing a strong humanistic concern with romantic emotions.

other artists. His paintings are always

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SONG Yonghong (b. 1966)

Acrossing Street 2006 Oil on canvas 66 x 46 cm Signed lower left Song Yong Hong in Chinese and English, dated 2006

NT$ 160,000-280,000 US$ 4,800-8,500 HK$ 37,800-66,100

宋永紅過馬路 2006 油彩畫布 66 x 46 cm 簽名左下：宋永紅 S o n g Yo n g H o n g 2006

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REN Xiaolin

任小林 2002 NO. 5

(b. 1963)

2002 NO. 5 2002 Oil on paper 78 x 54 cm Signed lower right Xiaolin in Chinese, numbered 5 and dated 2002 EXHIBITED: Dissolute Indulgence in Make Believe: Ren Xiaolin Oil Paintings Exhibition, Shanghai Art Museum, Shanghai, March 5-13, 2006

2002 油彩紙本 78 x 54 cm 簽名右下：2002 5號小林 ILLUSTRATED: Ren Xiaolin, Shanghai Art Museum &

展覽：「警幻－任小林油畫作品展」，上海

Sunshine Art, Shanghai, 2006, color illustrated, p. 41

美術館，上海，展期自2006年3月5日至3月13日

NT$ 140,000-200,000 US$ 4,200-6,100 HK$ 33,000-47,200

圖錄：《任小林－警幻》，上海美術館、三尚

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藝術，上海，2006，彩色圖版，頁41

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SHI Hu (b. 1942)

Mother and Child – II 1997 Oil on canvas 53 x 33 cm Signed lower left Shi Hu in Chinese and dated 97

石虎母子之二 1997

NT$ 400,000-500,000 US$ 12,100-15,100 HK$ 94,400-118,000

油彩畫布 53 x 33 cm 簽名左下：97 石虎

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SHI Hu (b. 1942)

Mother and Child – I 1997 Oil on canvas 53 x 33 cm Signed lower left Shi Hu in Chinese and

石虎

dated 97

母子之一 1997

NT$ 400,000-500,000 US$ 12,100-15,100 HK$ 94,400-118,000

油彩畫布 53 x 33 cm 簽名左下：97 石虎

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TSENG Ching-kan (b. 1958)

5432 Green Man Red Woman 1995-1996 Oil on canvas 116.5 x 90.5 cm Signed on the reverse Tseng Ching-kan in Chinese 1995~5.1996 and titled “5.4.3.2 Green Man Red Woman” in Chinese

NT$ 320,000-360,000 US$ 9,700-10,900 HK$ 75,500-85,000

曾清淦 5432 綠男紅女 1995-1996 油彩畫布 116.5 x 90.5 cm 簽名畫背：曾清淦 1995~5.1996 “5.4.3.2 綠男紅女”

動物性繽紛世界◎  黃寶萍

他鮮明的色彩和活潑的造型組合，那些看似塗鴉的筆法，目的是在讓視覺和心靈都已受到太多外在污染的人們，重新回復至簡單清新且生動的原貌。曾清淦身處的世界和杜布菲、米羅的時代固然不同，但是，卻同樣必須面對屬於「人類本質」的問題；曾清淦畫中生動活潑的情境，其實隱含著他對人生境遇的悲觀和不滿。但是，他將天馬行空的思想，採取了如杜布菲般的兒童畫筆觸表現出來，看似兒童畫或是原始藝術的繪畫筆觸，或許很容易使人覺得每個人都可以做到，但是，如做逆向思考，不論杜布菲、米羅或曾清淦，都是受過深厚教育或社會禮俗的影響，當他們試圖將這些存在已久的素質拋棄，回復到原始純真的狀態時不如一般人想像的容易，而且，在那些塗鴉似的筆觸中，還要使觀者感覺自然不造作，才是真正困難的事。當我們面對曾清淦的作品，可以察覺出他是以一種純熟的技巧，經營出純真的童趣，卻又全然不露痕跡，隨機

曾清淦曾經寫下一段文字談論自己的作品，雖然簡單，卻提供了一個了解他的創作的絕佳途徑；他這麼說：「有時候，我發明一個故事，並將之

的構成使他的繪畫有著好玩、刺激的吸引力。

畫在作品裡；有時候，我畫一些角色，然後他們發明了故事；有時候，

The Wonderful World of Animal Instincts - Huang Bao-ping

我看著自己完成的作品，然後杜撰一個故事；有時候，我組合許多造型以創造雙關語。」曾清淦反覆描繪的動物、機器人或是各式各樣的「不明物體」，其實就是他腦海中想像力的小精靈，跳躍於畫布上，彷彿在舞台上一般，盡情的舞動跳躍，就像曾清淦自己說的，這些小精靈構成了不同的故事情節，或是他「自導自演」或者是觀眾隨性杜撰故事，都是再自由不過的。欣賞曾清淦的畫，其實應該心無罣礙的沉浸於

Tseng Ching-kan once discussed his works. Though it is simple description, it is the best way to approach his creations. He said, “Sometimes, I invent a story and envision it. Sometimes, I create some characters and give them a story. Sometimes, I look at my works and create a story. Sometimes, I combine many styles to create plays on words.” The animals, robots and ‘unknown objects’ Tseng depicts repeatedly are the

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fantastic wizards in his mind which appear on his canvas as if they were dancing freely on the stage. As Tseng describes, these wizards make up different parts of the story. They may “stage” the story or the audience creates one at random. It is all extemporaneous. Audiences who have seen Tseng’s works must have been immersed in his style made up of sharp colors and vivid styles. The aim of using techniques resembling graffiti is to allow audiences whose vision and minds have been contaminated by the outside world to regain the truth of simplicity and life. Though the time-space where Tseng lives is different from that of Dubuffet and Miro, all of them must face the issue of human nature. Behind the vivid and lively scenarios in Tseng’s works hide his pessimism and discontent with the twists and turns in life. However, he presents his imaginative world in the style of children’s pictures like Dubuffet. Though many believe that anybody can draw these works like children pictures or primitive art, thinking in reverse is a different matter because Dubuffet, Miro and Tseng are well educated and deeply influenced by social etiquette. Therefore, it is not so simple as one may imagine to get rid of elements that have long existed in the attempt to return to the primitive and pure aspect of things. Furthermore, it is even more difficult to make the graffitilike creations look natural in the eyes of audiences. When looking at Tseng’s works, we can see how he depicts the purity of childs play with a kind of mature technique which bears no mark of artificiality but the attraction of fun and excitement as part of a random structure.

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YIN Kun (b. 1969)

Shell (triptych) 1999-2004 Oil on canvas 121 x 300 cm Titled on the reverse “Shell” in Chinese and size 100 x 120 cm, dated 1999, 2004. 12. 8 and signed YIN Kun in Chinese.

NT$ 320,000-400,000 US$ 9,700-12,100 HK$ 75,500-94,400

尹坤軀殼（三聯幅） 1999-2004 油彩畫布 121 x 300 cm 簽名畫背：《軀殼》100 x 120 cm 1999 年布面油畫尹堃 2004.12.8

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CAO Li (b. 1954)

Against the Light 2003 Oil on linen 140 x 110 cm Signed lower right Cao Li in Chinese Titled on the reverse “Against the Light”, China Central Academy of Fine Arts in Chinese, size 140 x 110 cm and signed Cao Li in Chinese, dated 2003 linen oil This painting is to be sold with a certificate of authenticity signed by the artist. ILLUSTRATED: Chinese Oil Painters – Cao Li, Chinese Fine Arts Academy Publishing House, Hangzhou , 2005, color illustrated, no. 444, p. 230 & p. 429

NT$ 900,000-1,000,000 US$ 27,200-30,300 HK$ 212,400-236,000

曹力逆光 2003 油彩亞麻布 140 x 110 cm 簽名右下：曹力簽名畫背：《逆光》中央美院 140 x 110 cm 曹力 2003 亞麻布油彩附藝術家親筆簽名之原作保證書圖錄：《中國油畫家－曹力》，中國美術學院出版社，杭州，2005，彩色圖版，編號444，頁230、頁429

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YANG Din (b. 1958)

Woods on Blue Background (Paravent, a five-panel screen) 1990 Oil on canvas 200 x 220 cm Signed lower right Yang in English and dated 90

NT$ 820,000-960,000 US$ 24,800-29,100 HK$ 193,500-266,600

楊登雄藍色森林（五聯屏風） 1990 油彩畫布 200 x 220 cm 簽名右下：Yang 90

該作品曾被兩部法國電影選作室內布景︰如1991年影片《今生情未了》（或譯作《冬之心》），由克勞德‧ 索特導演、女星艾曼妞‧皮雅、男星丹尼爾‧奧圖、安狄‧度索里亞主演；以及1993年影片《激情佳人》，菲羅梅‧耶絲波西多導演，女星伊莎貝‧艾珍妮主演。 This 5-panel screen was ever used as a set decoration in two French films: “Un coeur en hiver” (A Heart in Winter) (1991), directed by Claude Sautet and featuring Emmanuelle Béart, Daniel Auteuil and André Dussolier; “Toxic Affair” (1993), directed by de Philoméne Esposito, featuring Isabelle Adjani.

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LUO Fahui (b. 1961)

Face No. 2 1998 Oil on canvas 100 x 80 cm Signed lower right Luo Fahui in Chinese

NT$ 220,000-300,000 US$ 6,700-9,100 HK$ 51,900-70,800

羅發輝臉蛋 No. 2 1998 油彩畫布 100 x 80 cm 簽名右下：羅發輝

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ZHANG Hui (b. 1969)

Beijing Baby 19 – Befriending Cigarettes 張慧 2005 Oil on canvas 130 x 130 cm Signed lower right ZHH in Chinese and dated 2005 Titled on the reverse Beijing Baby 19 Befriending Cigarettes in Chinese, signed

北京娃娃19－以菸為友 Zhang Hui in Chinese and English, size 130 x 130 cm and dated 2005

2005 油彩畫布 130 x 130 cm

NT$ 320,000-420,000 US$ 9,700-12,700 HK$ 75,500-99,100

簽名右下：ZHH 2005 簽名畫背：北京娃娃19－以菸為友 130 x 130 cm 張慧 ZHH 2005

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XIANG Qinghua (b. 1976)

Celebration 2005 Oil on canvas 180 x 130 cm Signed lower right Xiang Qing Hua in Chinese and English, dated 05. 8

NT$ 300,000-380,000 US$ 9,100-11,500 HK$ 70,800-89,700

向慶華慶祝 2005 油彩畫布 180 x 130 cm 簽名右下：向慶華 Xiang Qing Hua 05.8

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ZHANG Hui (b. 1969)

Beijing Baby 29 2006 Oil on canvas 170 x 150 cm Signed lower right ZHH in Chinese and dated 2006 Titled on the reverse Beijing Baby 29 in Chinese, signed Zhang Hui in Chinese and English, dated 2005

NT$ 360,000-460,000 US$ 10,900-13,900 HK$ 85,000-108,600

張慧北京娃娃 29 2006 油彩畫布 170 x 150 cm 簽名右下：ZHH 2006 簽名畫背：北京娃娃 29 張慧 ZHH 2006

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ZHOU Chunya (b. 1955)

Lilies 2003 Oil on canvas 62 x 69 cm Signed lower right Zhou Chunya in Chinese and English, dated 2003

NT$ 1,600,000-2,200,000 US$ 48,400-66,600 HK$ 377,600-519,200

周春芽百合花 2003 油彩畫布 62 x 69 cm 簽名右下：周春芽 Zhou Chunya 2003

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ZHOU Chunya (b. 1955)

Frisking Heigen 2000 Oil on canvas 150 x 120 cm Signed lower right ZHOU Chunya in Chinese and English dated 2000

NT$ 4,200,000-5,400,000 US$ 127,200-163,500 HK$ 991,300-1,274,500

周春芽黑根在嬉戲 2000 油彩畫布 150 x 120 cm 簽名右下：2000 周春芽 ZHOU Chunya

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1994年，朋友送給周春芽一隻叫做「黑根」的德國牧羊犬，從此黑根便走進了新主人的生活成為重要的

像一個兒子去世了。就像他說的，有好多天他感到「天昏地暗」，在他的生活中，至今最傷心的有兩件事，一

伴侶。周春芽亦開始關注身邊的人和自己的生活境遇，著手開始「黑根」系列的創作，並成為周春芽日後最鍾愛的創作主題。在1997年之後，黑根

是1969年他父親去世，另一件就是「黑根」去世，沒有什麼能安慰他的。從繪畫方面而言，直接的後果就是他中斷了「黑根」系列的創作。

面中透露出自然、愉悅的生活狀態。作為「黑根」的主人和朋友，周春芽被黑根的自然天性所感染，他的生活已經和黑根融為一體了，畫面中黑根的生活狀態也是周春芽當時生活、創作狀態的折射。《黑根在嬉戲》便是周春芽此時期的作品，黑根三種姿勢

從周春芽的創作發展脈絡來分析，「黑根」是其思想綜合的一個富於生

所構成的三角地帶處於畫面的中心位置，淺灰色的背景，粗放快捷的輪廓是黑根系列的共同性，周春芽儘量去

命的象徵，也是其創作生涯中非常重要的因素。在周春芽赴德留學的前

減少黑根形體的明暗變化，保持了作品整體的厚重感。 In 1994, Zhou Chunya got a shepherd

給他帶來的創作激情與感動：

後，是其文化傾向性和感受性的融合階段。在留德之前，周對西方的藝術方法和藝術流派充滿興趣，當時的周

「畫一張臉就像畫一塊石頭：我會進

認為，表現形式的力量對年輕藝術家而言具有強烈的滲透力和吸引力。而

以「綠狗」的形象聞名於世，並成為周藝術創作的重要符號與象徵之一，直至最近的「桃花」系列也是由「黑根」系列延伸而來的。可以說1994年「黑根」的出現是周春芽藝術生涯的一個重要轉捩點。周春芽曾多次與朋友們講到黑根的故事，講到「黑根」

行非常多的關於外型和圖像的思考。在這兩種情況下主題都是事物，畫『黑根』會讓我變得十分興奮。」

在周回國後，他則浸淫於中國的傳統土壤中，似乎在補償長期國外生活對中國傳統情境的喪失帶來的精神失衡。因為在其生長的土壤中蘊含著文

「都市的生活是平靜而又悠閒的，在這種舒緩的創作節奏中，只有『黑

明、傳統文化以及生活習慣，對周春芽而言，他需要這樣的文明、傳統以及生活習慣，這種需要是如此地迫切與必不可少，以至只有深入地理解和體會他綜合情境的內在精神，才可以

根』是我最好的伴侶。而我也將所有大膽離奇的想像賦予了這條狼狗。直到1999年，黑根病逝，我難過至極，一年半中無法提筆作畫。」（周春芽語） 1999年是畫家最難過的一年，「黑根」病死。對於周春芽來說，這就好

釋放出鮮活的氣息。周春芽曾經創作了處於眾多狀態的「黑根」，或嬉戲、玩耍、跑動、站立，或偎依在男女主人身邊討寵，畫

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dog named “Heigen” from his friend. Since then Heigen entered the life of its new master and became his important companion. Zhou Chunya has also begun to concern about life of surrounding people and himself and begun his creation of “Heigen” series and the theme has become Zhou Chunya’s favorite theme for creation later. After the year of 1997, Heigen rose to fame through the image of “Green Dog” and the dog has become one of the important images and signs for Zhou’s creation. The most relevant “Peach Blossom” series have also been derived from “Heigen” series. In a sense, the appearance of Heigen in 1994 is a key turning point in Zhou Chunya’s artistic

career. For many times, Zhou Chunya has told friends about Heigen’s story as well as creation enthusiasm and affection that

I n a n a l y s i s a b o u t Z h o u C h u n y a ’s developmental lines of creation, Heigen is a symbol for integration of his thoughts

or hostess to crave for petting. Natural and happy way of life emanates from the painting. As Heigen’s master and

inspired by Heigen. “Drawing of a face is just like drawing of a stone: I will consider the appearance

that is endowed with life as well as a paramount element in his creation. The period before and after Zhou Chunya went to study in Germany is the stage

friend, Zhou Chunya has been influenced by Heigen’s nature. His life has been integrated with Heigen. In the painting, Heigen’s life status is the reflection of

and image in many ways. In both cases, the theme is a thing. Drawing of Heigen

integrating his cultural inclination and cultural sense. Before that, Zhou was

Zhou Chunya’s life and creation status at that time. “Frisking Heigen” is Zhou

can enliven me up.” “Urban life is peaceful and leisurely. In such gentle pace of creation, only

interested in Western artistic method and artistic school. At that time Zhou thought that expressive strength had strong permeation and attraction for the

Chunya’s works in this period. The triangle belt composed of Heigen’s three postures is at the center of the painting. Grayish background, as well as the coarse

Heigen can be my best companion. I

young artists. After Zhou returned to

and fast outline, is the common point of

have endowed all my bold and weird imagination to this dog. Till 1999 when Heigen died of an illness, I was so sorry that I could not paint for one year and a

homeland, he was soaked in traditional Chinese soil, seemingly compensating the spiritual imbalance brought about by loss of traditional Chinese context due

Heigen series. Zhou Chunya had tried his best to reduce light-and-shade change of Heigen’s body, maintaining overall massiveness of the works.

half.” (said Zhou Chunya)

to long stay aboard. His soil of growth

1999 is the year when the painter was in the greatest depression, as Heigen died of an illness. For Zhou Chunya, it is just like

contains civilization, traditional culture and living habit. For Zhou Chunya, he needs such civilization, traditional culture and living habit. Such need is so urgent

the death of a son. As he said, for many times he felt “dark around”. In his life,

and indispensable that fresh energy can be release only by deep understanding

there are two things hurting him most. One is the death of his father in 1969 and the other is the death of Heigen. Nothing

and experience about the interior spirit contained in his integrated context.

can comfort him. In view of painting, the direct impact is a cessation of his creation

Zhou Chunya created Heigen in many postures: frolicking, playing, running,

of “Heigen” series.

standing, or nestling beside the host

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ZHOU Chunya (b. 1955)

Landscape Series V 2001 Oil on canvas 115 x 91 cm Signed lower right ZHOU Chunya in Chinese and English, dated 2001 ILLUSTRATED: New Interface 3, Seaching the Future, Red Bridge Gallery, Shanghai, 2007, color illustrated, p. 112

NT$ 4,000,000-5,000,000 US$ 121,100-151,400 HK$ 944,100-1,180,100 2001 油彩畫布 115 x 91 cm 簽名右下：2001 周春芽 ZHOU Chunya 圖錄：《新界面 3－搜索未來》，紅橋畫廊，上海，2007，彩色圖版，頁112

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ZHOU Chunya (b. 1955)

Running Heigen 1995 Oil on canvas 73 x 60 cm Signed lower right Zhou Chunya in Chinese and dated 1995

多年以後，當張曉剛在龍人畫廊裡再

ILLUSTRATED:

次看到《行走的黑根》時，大發感慨，「這幅畫原來在這裡啊！」這一

Zhou Chunya - Zeng Fanzhi - Ji Dachun, Longrun Art Gallery, Beijing, color illustrated, coverpage & p. 27

NT$ 3,200,000-4,200,000 US$ 96,900-127,200 HK$ 755,300-991,300

周春芽行走的黑根 1995 油彩畫布 73 x 60 cm 簽名右下：1995 周春芽圖錄：《周春芽‧曾梵志‧季大純》，北京龍人藝術，北京，彩色圖版，封面和頁27

面距離上次在周春芽畫室看他創作的當時，過去了近十年。那一年是1995 年，藝術家開始以家人和黑根為創作元素進行作畫，後來以黑根為原形衍生出的綠狗系列，會讓觀者產生錯覺，恍惚於黑根真實的顏色。而創作於1995年的《行走的黑根》，是藝術家真正的第一批「黑根」作品。這一批作品包括了《黑根一家》組畫，也包括了「行走的黑根」，「黑根在嬉戲」等系列作品。這批作品的最大價值無論對於藝術家還是藏家包括普通觀眾來說，都因多了個「情」字備受青睞。在這一年之前的1994年，周春芽遷入成都市玉林西路沙子堰東巷3號，第一次建立工作室，當時在沙子堰居住的有張曉剛，何多苓，郭偉，沈曉彤，

讀良久，而這些品讀又再次刺激了藝術家的創作熱情。那一天，藝術家畫「飛」了，黑根也「飛」了——行走的輕快，歡暢。每一個筆觸都飽含深情，且完全是自然流露，深情又不煽情。而接下來這幅畫作的命運則有點煽情的情節。從海外回國的收藏家，在當時還對中國的當代藝術一無所知的收藏家愛上了周春芽的東西，那時候的愛不被人懷疑，真誠且感人，因為沒有多少中國人買中國當代藝術家的東西。那時候的中國還是水墨和古董字畫的天下。但儘管以現在的價格去判斷當年的當代藝術品價格，是便宜到不可思議的地步，但在當時來說，能夠花成千上萬買藝術品的人屈指可數——藝術品在每一個當下，永遠是貴的！在龍人畫廊北京開幕展的畫冊中，周

何森等。創作《行走的黑根》的那一天剛好藝術家們來串門，藝術家筆下豐滿結實，又不乏靈動的黑根，讓眾人好一番議論。那時候，大家熱愛藝術，時間也熱愛藝術，彼此沒有那麼

春芽描述了自己每一次去上海都能順利地拿到錢，後來知道這是老闆賣了其他人的作品給自己的。為了收藏周春芽的作品，藏家開了一家畫廊，後來從上海遷到了北京，《行走的黑

繁忙，可以針對朋友的一張作品，品

根》是這次開幕展的封面——從沙子

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堰東巷3號到龍人畫廊再到羅芙奧，黑根行走了十二年。

A year before, in 1994, Zhou Chunya removed to No. 3, East Lane of Shaziyan on West Yulin Road, Chengdu and set up

time. Virtually, art works are permanently precious in any occasion!

針對黑根的創作，包括後期綠狗的衍

the studio for the first time. At that time living in Shaziyan were Zhang Xiaogang, He Duoling, Guo Wei, Shen Xiaotong, He Sen, etc. On the date of creating Running Heigen, the artists happened

In the painting album displayed in Beijing Opening Ceremony of Longrun Art, Zhou Chunya depicted that the reason that he could smoothly obtained money in Shanghai every time was later revealed

統；而黑根，通過自己創造的拍賣紀錄，進入美術史的文本角色，讓自己成為史上最有名的狗之一。而回到一幅藝術品的畫面本身，打動或者說感

to dropped in. The artist’s plump and solid Heigen without absence of flexibly aroused a considerable discussion among the visitors. At that time, all the present were fond of arts and also had plenty time

that the boss paid him by the money of other painters. In order to collect Zhou Chunya’s works, the collector had set up a gallery in Shanghai and then moved to Beijing. "Running Heigen" is the cover

生，藝術家用時間和創作證明了自己的才華。我們可以從各種藝術媒體中解讀到不同的針對藝術家創作風格的評論，他的繪畫性，他的寫意性，他的人文情懷，他的國際視野加中國傳

染人的不過是黑根的一點儀態，一種

to love arts. They were not so busy and

of this exhibition of opening ceremony—

動姿，一絲回應，加上外面之外的背景故事，在人心中擴散，在歷史中流傳。

were able to appreciate a piece of art for long time. Appreciation of these works had stimulated the artist’s zest of creation. Thus both the artists and Heigen “flew

from No. 3, East Lane of Shaziyan to Longrun Art and then to Ravenel, Heigen has run for 12 years.

Many years later, Zhang Xiaogang let out

up”—running resiliently and smoothly.

In view of the creation of Heigen,

an emotional sign at the second sight of "Running Heigen" in the Longrun Art.

Every stroke contains deep emotion. Meanwhile it is natural revelation, affectionate but not moody.

including derivative of later Green Dog Series, the talent of the artist has been proved by the time and his creation. From

Fate reflected in the next painting is somewhat moody. Collectors back from abroad knew nothing about contemporary Chinese arts at that time and they began

various artistic media we can read about different comments about the artist’s style of creation, as well as his painting style, enjoyable feature, humanistic expression, international view together with Chinese tradition. Heigen, however,

“At last I found the work here!” It has been nearly a decade since he saw Zhou Chunya’s creation in his studio last time. It was 1995 when the artist began to make creation with family member and Heigen as the elements for creation. Later "Green Dog" Series derived from Heigen as the prototype engendered an illusion of the viewer about Heigen’s real color. "Running Heigen" created in 1995 is the artist’s first batch of “Heigen” works, which includes the composite paintings of Heigen’s Family as well as "Running Heigen", "Frisking Heigen", etc. No matter for artists or collectors including common viewers, the greatest value in the works lies in addition of “emotion”.

to get fond of Zhou Chunya’s works. Affection at that time was not doubted. It was sincere and touching, because few Chinese bought works of contemporary Chinese artists. At that time, China was still the world of ink and antique calligraphy and painting. Though the price of the contemporary art works at that time is unbelievably cheap compared with the present price, few people could spend such large sum to buy art works at that

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has entered a textual-recoded role in the history of fine art through the auction record he created and he has become one of the most famous Dogs in the history. Back to a painting itself, what touches or affect people is just Heigen’s bearing, posture, response, together with outside background story, disseminating in people’s mind and inherited in the history.

347

154

ZHOU Chunya (b. 1955)

Vase of Flowers 1994 Oil on canvas 100 x 80 cm Signed lower right Zhou Chunya in Chinese and dated 1994

周春芽曾堅定地表示，儘管他的藝術風格深受西方文化尤其是德國新表現主義的影響，但他一直認為自己的繪畫始終是保持著深厚的中國情結。從其作品來分析，無論是表現方式還是畫面內容的確蘊含有雙重語境，一方

方詩意，飄逸空靈，如行雲流水，如文思泉湧。隨意。自由。新奇。刺激。提神。振奮。牽腸掛肚，為之留

面是使作品更具強勁表現力的西方油

戀忘返。有田園牧歌式的鄉村情結，這些富有中國大寫意畫的相貌和人文意趣。近看，卻發現顏料厚薄相間，筆觸輕鬆率意有力，與背景分離，逸

畫技巧，另一方面則是傳統的中國圖式內容，例如山石、花卉系列。

筆草草，以大筆觸展現充滿激情和表現力的油畫。畫面隱約浮現的點和

瓶花

在1990年初，周春芽便開始了其「花卉」系列的創作。花卉題材一直是中國傳統文人樂於表現的內容，而在

線，以及厚重濃郁的色彩融入複雜糾纏中，視線被千頭萬緒的構成元素纏繞，迷失於神秘魔幻，而主體意識突出。稠厚堆積或猛烈潑灑的透明油彩

1994 油彩畫布

周春芽的筆下得到了重新詮釋。在此《瓶花》作品中，周春芽通過西方的

100 x 80 cm 簽名右下：1994 周春芽

寫生方法將中國傳統繪畫語言融入其中，最重要的是採用了完全不同的技巧，即以大筆觸的表現手法，充分展

NT$ 3,200,000-4,800,000 US$ 96,900-145,300 HK$ 755,300-1,132,900

周春芽

罩在凹凸起伏的肌理上，寬闊的筆法被制約和限定於其中，細節精微，視覺感召力強烈。這些表現性的因素卻是西洋味十足。」

示了大膽、粗放的表現主義風格。在周春芽的畫中，傳統的中國主題—— 花卉在西方繪畫技巧的光環下折射出迷人的光彩，實現了中西方兩種繪畫語言的完美融合。此外，周春芽的大膽用色與其大筆觸的表現手法更是相得益彰，使色彩與構圖均給人以奔放神秘之感，這種新穎、大膽的藝術創作達到了奇異的效果。在周春芽看來，這種「離經叛道」的作品形態和色彩正好契合了他的天性，並以他的放肆詮釋了傳統文人繪畫「溫和、內向」。「遠觀其畫，像潑墨，大手筆，酣暢淋漓。畫面輕盈靈動，大氣磅礡，率真奔放，強悍犀利，有粗獷野逸之美。巨大的白色畫布，意象造型，氣韻生動，書寫式揮毫，蒼勁筋道，寥寥數筆，筆筆傳神見精神。顏料恣意流淌，色彩濃淡虛實變化，營造出東

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周春芽《瓶花》羅芙奧2007春季拍賣會，編號135，826萬台幣成交 ZHOU Chunya, Vase of Flower Ravenel Spring Auction 2007, lot 135 NT$ 8,260,000 sold 1993, oil on canvas, 100 x 80 cm

Zhou Chunya has once firmly indicated that though he has deeply influenced by German New Expressionism, he has held the view that his painting has always kept profound China complex. In analysis about his works, both the mode of expression and contents of the painting definitely contain double contexts. On aspect is the Western oil painting technique that endows strong expressiveness to the works. The other aspect is contents of the traditional Chinese style, such as mountain rocks and flower series. As early as the beginning of 1990, Zhou Chunya has begun the creation of “flower” series. The topic of flower has been the contents that traditional Chinese artists like to express in their works. The series was construed again under the pen of Zhou Chunya. In the works of "Vase of flowers", Zhou Chunya has integrated the language of traditional Chinese painting through the western sketch. Most important is that he has adopted totally different technique. He has used the expression technique of liberal strokes, fully demonstrating his bold and broad style of expressionism. In Zhou Chunya's painting, flower, the traditional Chinese theme, presents charming glory under the aura of Western painting skill, realizing perfect integration of Chinese and western painting languages. Additionally, Zhou Chunya’s bold color application and his expression mode of liberal strokes complete each other. Both color and composition present a bold and mysterious sense. Such innovative and bold artistic creation has reached the extraordinary effect. In Zhou Chunya’s view, form and color of such heterodox works just come in line with his disposition. With his uninhibited trait he construes the traditional humanistic painting that is “warm and introvert”.

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â&#x20AC;&#x153;Viewed in distance, his painting is like splashing with liberal strokes, smooth and uninhibited. The painting is light and flexible, majestic and vast, forthright and untrammeled, potent and trenchant, with bold and rough beauty. On the large white painting canvas, with the imago and sculpt and vivid tune, by writing-like exertion, a small number of strokes are rendered out in vigorous style. Every stroke conveys spirit. Pigments flow wildly and the color changes in strong and pale alternation, creating orient poetry. Floating sense resembles natural and smooth writing like running cloud and flowing water, and like intellectual fountain source, It presents random, freedom, novelty, stimulation, refreshing and inspiration. It is thought-provoking and leaves your thought lingering. There is idyllic and pastoral complex of countryside life, featuring typical outlook and humanistic pleasure of Chinese Painting in "freehand" style. Viewed at close hand, you may find the alternation of thickness and thinness. The stroke is easy and powerful, seeming to be separated from the background. With several floating strokes, he uses liberal strokes to demonstrate the oil painting full of enthusiasm and expressiveness. Dots and lines emerging faintly on the painting, as well as the strong colors, are integrated into complicate imbroglio. Sight lines of the viewer are wound by the multitude of composing elements and get lost in the mysterious ecstasy and thus the principle consciousness is highlighted. Thickly accumulated or forthright splash of transparent oil paint cover on the undulant texture. Broad style of strokes is inhibited and limited in it to the superfine details, presenting a strong visual impelling force. These expressive factors tinge sheer and strong Western style.â&#x20AC;?

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155

ZHOU Chunya (b. 1955)

Mountain Rocks – Red Rocks

山石系列，將周春芽無可替代地推上了最具有中國風骨，同時也最為國際

1999 Oil on canvas 150 x 120 cm

化的當代藝術之巔。在周春芽看來，「石頭」是一個很特別的題材：「從古至今，山石一直是中國傳統繪畫中

Signed lower right ZHOU CHUNYA in Chinese and English, dated 1999

不可缺少的內容。文人畫延續了1000 多年，幾乎所有的文人畫家都畫過石頭。」他和前輩黃賓虹一樣，都不相

EXHIBITED:

信中國傳統繪畫會在西方繪畫的衝擊下徹底失去生命。黃賓虹試圖通過表現「黑、密、厚、重」的方法來拯救

Zhou Chunya, Beijing Arts Fair, Beijing, 2006

NT$ 11,000,000-15,000,000 US$ 333,000-454,100 HK$ 2,596,200-3,540,200

周春芽山石圖－紅石 1999 油彩畫布 150 x 120 cm 簽名右下：1999 周春芽 ZHOU CHUNYA 展覽：「周春芽個展」，北京藝術博覽會，北京，2006

病弱的傳統繪畫，周春芽則以新表現主義的繪畫技巧來重新詮釋傳統的中國山石和花卉。除了周春芽自己，很少有人知道藝術家為了畫山石圖的那幾年裡，一次次地開著車鑽入深山的

traditional Chinese painting. Literati paintings have lasted for over a thousand years and almost all great masters of literati paintings painted rock. ”Like Huang Binhong, his predecessor, he does not believe that the impact from Western paintings would get the life of traditional Chinese painting lost. Huang Binhong tried to save the feeble Chinese painting through highlighting “black, dense, thick and heavy” feeling, and that Zhou Chunya used the painting technique of New Expressionism to re-construe traditional Chinese mountain rocks and flowers. Except Zhou Chunya himself, few know that the artist has, for times, driven to the

切身感受。而從1991開始創作的「山石」系列，標誌著他個人風格的真正確立。

deep mountains for experience in person during the years for painting mountain rocks. The series of “Mountain Rocks” he

此幅以石頭為表現主體的山石圖，最

began to create since 1991 has symbolized genuine establishment of his personal style.

引人注目和差異的是滿布畫面，形體模糊又力透畫面的紅色形體，加上深綠色的搭配，色調變化豐富。濃豔的紅色調被他塗抹在傳統造型的中國山石中。這種反理性、反自然的藝術創作，顛覆了當時中國的油畫創作理念。被更深層次地賦予的寓意的意義還在於：「石頭」只是畫家情感的寄託，造型與色彩早已被抽象化，色彩的堆疊、渲染、塗抹與色調交織的繪畫語言，是周春芽畫作最引人入勝的部分。 In the series of “Mountain Rocks”, Zhou Chunya has been irreplaceably promoted to the contemporary artistic summit featuring the most typical Chinese style and the highest internationalization. In the view of Zhou Chunya, “rock” is a special topic: “since ancient time, rock has been an indispensable part in

352

On the "Mountain Rocks - Red Rocks" with rock as the object of expression, the most eye-catching point is the red figure suffusing the painting, blurry and penetrating. Combined with dark green, the hue has colorful diversification. The gorgeous color of red is daubed in the transitional Chinese mountain rocks painting by the artist. Such anti-ration and anti-nature artist creation has subverted ideology of oil painting at that time. The deeper significance lies in that: “rock” is merely the artist’s emotional sustenance. The profile and color has already been abstracted. Accumulation, application and daubing of color as well as the language of painting by interwoven hues are the most enchanting part of Zhou Chunya’s paintings.

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YAN Pei Ming (b. 1960)

Vermillon de Chine No. 3 1995 Oil on canvas 200 x 235 cm Signed lower right

嚴培明1960年生於上海，1981年移居法國第戎市。1981至1986年就讀於法國第戎國立美術學院。1988至1989 年在法國巴黎造型藝術高級研究院學習。1993至1994 年赴義大利羅馬法蘭西學院學習。1995年至今為法國第戎國立美術學院教授。嚴培明的作品在

PROVENANCE: Galerie Durand Dessert, Paris Private collection, France

歐洲廣為藏家所追捧，在佳士得和蘇富比拍賣會上，其單幅作品售價高達

EXHIBITED: Académie de France, Villa Medici, Roma, 1995

50萬美元。嚴培明是繼趙無極、陳箴之後第三位有作品被法國龐畢度中心收藏的華裔藝術家。在2005年的巴塞爾藝術博覽會上，同時有五家歐洲頂

幫助下，嚴培明去了法國，法國給了嚴培明新的機會。在法國初期的生活，嚴培明過得艱辛而充實，他努力學習法語，白天學習繪畫，晚上到一家餐館打工，這樣堅持了8年，終於在1989年從第戎國立美術學院取得學位。嚴培明說他大部分繪畫知識其實都來源於自己在國內的學習，「我的根在中國」，他是在國內學會如何畫畫的，法國教給他的是一些繪畫技巧和思考及生活的能力。

級畫廊在推薦他的作品。他也一直被

NT$ 28,000,000-42,000,000 US$ 847,700-1,271,600 HK$ 6,608,400-9,912,700

認為是國際上最富有表現力的華裔油畫家之一。他的展覽遍佈歐洲重要的美術館和博物館，而且常常成為引發激烈討論的社會公共話題。

嚴培明中國的硃砂 No. 3 1995 油彩畫布 200 x 235 cm 簽名右下：來源: 杜杭．德塞畫廊，巴黎私人收藏，法國展覽：法蘭西學院梅第奇宮，義大利羅馬， 1995

藝術生涯始於法國

1990年，嚴培明首次參加「巴黎藝術聯展」便引起了公眾的注目。1991年又與谷文達、陳箴、黃永砅及蔡國強一起參加了由侯瀚如在巴黎龐畢度中心策展的展覽。那次展覽後，也就是在嚴培明法國生活的第11年，他第一次回了國。

話的男孩在充斥著整個城市的標語大字報和動盪的氣息之中開始了畫畫，

此後嚴培明先後舉辦了眾多個展，其國際影響力也日益劇增。其中包括1996年「國際風景」展（法國第戎），「來自索維托的面孔—21張兒童肖像」（法國索維托）；1997年「死與生」（法國多

他畫工農兵、領袖和英雄形象，有時甚至照著「大字報」畫「反革命分子」像，「我們很閒，也不用上學，所以我就每天畫畫，我從小就喜歡這個」。讀中學時嚴培明開始認真開始

爾），「隱形人」（美國檀香山）； 1998年「顯形人、隱形人」（瑞士日內瓦）；1999年「108個孩子的肖像」（法國馬孔），「隱形菩薩」（比利時布魯塞爾）；2000年「孩子和陌生人」

考慮走繪畫這條路，並打算成為一名專業畫家。之後他報考了上海工藝美術學校卻未被錄取，嚴培明倍感失望和沮喪。1980年在定居法國的親友的

（法國蒙大利羅馬），「自畫像」（英國倫敦）；2005年「嚴培明：獻給我父親，第戎－上海－廣東」（上海美術館、廣東美術館）。尤其是作為其在國

嚴培明少年時正值文革，這個不愛說

354

156

內舉辦的首次個展，「獻給我父親，第戎－上海－廣東」引起了巨大凡響。

令人震撼的肖像油畫令其蜚聲歐洲

造像便是充分的體現，那些在發達體制化社會中一無所有的小人物——移民、殘疾人、妓女、小偷和流浪兒等成為了其創作的重要對象，這也是藝術家對社會、底層小人物對社會的發問。

行為藝術。他作畫的過程像是一場搏鬥，他不是在描繪、塗抹或揮灑，他舞動著長刷子直接攻擊畫布、鏗鏘作響，顏料飛濺。在這一點上有時讓我想到唐代張璪的「毫飛墨噴，捽掌如裂，離合惝恍，忽生怪狀」和美國抽象表現主

在藝術風格方面，嚴培明尤其崇拜畢卡索和德庫寧，但他希望發展自己的

在嚴培明作品中，不管是偉人、親人

義大師波洛克在畫布上的滴濺潑灑，和他們強調主觀的流露和繪畫的自動性不

繪畫風格和方式，「我想避免跟他們（畢卡索和德庫寧）的創作雷同，因此80年代我開始就用黑白兩種顏色創

朋友、自畫像或者卑微的小人物，無一例外都是尺幅巨大，氣勢撼人，他讓卑微者成為巨人，使得作品超越了

同，嚴培明更強調對運動過程的掌握和一種極限表達的可能性。他蓄意製造作品和繪畫規範之間的張力，顛覆我們已

作」。他早期的作品都是大幅的黑白

繪畫領域，轉化成為一種透視批判社會的公共媒體。他以特別設計的程式

有的關於架上繪畫的知識和直覺。他以極快的速度完成一張大畫，在塑造形象的同時解構形象，在偶像崇拜和偶像攻

肖像畫，像伴隨其成長的文革時期的大字報。當20世紀80年代藝術家們紛紛成立社團，發起藝術運動時，嚴培明卻在以一種更個性化的方式創造自己的風格和技巧。他早期的大多數作品現仍然存放在法國的一個倉庫裡。那時他創作的主要是一些頭像，背景顯得不那麼重要，而如今他這種手法依然沒有改變。嚴培明的肖像油畫恢復了繪畫的直接性，以咄咄逼人的姿態和公眾展開挑戰性對話。嚴培明從1987年開始畫毛澤東的巨幅頭像，1991年其在法國的首個個展「通過他的歷史，我的故事剛剛開始」，借助一個無所不在、無人不知的領袖偶像來引出自我。在嚴培明的成名之作中，毛澤東的肖像恰

化手法，對一些早已熟悉的歷史事件和取材自日常生活的相片與報章雜誌的資訊加以描繪，那略帶嘲弄與曖昧姿態的語言仿佛與歷史調侃，並力求擺脫繪畫傳統、普遍法則對藝術創作的概念束縛，以追求一種更自由無拘的創作方式的實踐。嚴培明說過，正是因為覺得自己的卑微，所以畫面才引人注目地巨大，這是一個小人物希望變成巨人的幻想。他追求的是用最簡單的材料達到最大的效果。當嚴培明的作品咄咄逼人地出現在展廳時，足以和攝影、裝置相抗衡，令觀者過目不忘。題材和尺幅只是部分因素，更重要的是，他把繪畫變成了一種

擊之間游離。他用單色繪畫的方式在強化純粹性的同時也部分消解了繪畫的語言難題，把畫室中的架上繪畫創作變成了公眾性的藝術行動計畫。在大幅肖像油畫中，嚴培明運用了巨大畫筆的技法及獨特的風格，作品畫面近看顯得淩亂，而從遠處看時，卻總能使人震驚並引發情感上的共鳴。策展人侯瀚如這樣評價：「嚴培明肯定是我們這個時代最堅定最不妥協的畫家之一。看嚴培明那些強有力的作品，你能充分感受到一種緊張和衝突的力量，意識到藝術與人生的密不可分。」嚴培明的作品中流露了濃厚的矛盾和危機感，同時也隱喻著人甚至

恰是一件重要的作品。嚴培明把文革記憶通過一種特別的方式呈現出來，或者說他的肖像本身以及巨幅和特別

宇宙、生命的虛無。他的風格、手法與西方繪畫迥異，在油畫創作中首創了類似中國書法中草書般的筆觸，流

的用筆方式，都隱含著文革的語言方式——一種暴力或者力量的感覺，因此其作品的新鮮和刺激對歐洲人是沒有的過的。

露出對傳統、規範的恣意顛覆以及自由無拘的創作精神。

牆外開花牆內香嚴培明所畫李小龍肖像對法國美術界而言是一種刺激性體驗。1993年，嚴培明獲得了羅馬大獎，這個獎由法國政府設立，在藝術史上赫赫有名，普桑、大衛、安格爾、德彪西和柏遼茲都曾得過此獎，嚴培明因此有機會去羅馬法蘭西學院梅第奇宮研修一年，《水滸傳108條好漢》創作於此時期。在此後的肖像創作中，嚴培明越來越把題材拓展到了社會問題，為卑微者

就國內的知名度來講，嚴培明好像不及張曉剛、王廣義、方力鈞、岳敏君等人，眾多知名理論家分析，這多半是因為嚴培明從青年時代起的整個職業生涯都在海外發展，從1980年起就定居法國，中國當代藝術經歷了近嚴培明《龍－李小龍》 YAN Pei Ming, Dragon – Bruce Lee 2000, oil on canvas, 400 x 300 cm

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30年的發展中，嚴培明並沒有參與其中。他在歐洲「沉默」地創作了一大批油畫作品，其中大部分是肖像藝

術，他也不斷地嘗試去揭示主題物件後面的人性。如著名國際策展人侯瀚如所言：「嚴培明的藝術生涯基本上始於西方，他那獨特的繪畫在當令西方藝術界已頗受矚目，尤其是在一個繪畫作為一種藝術規範或意識形態的載體面臨解體的時代。其實，他對繪

have covered key galleries and museums

畫的堅持，更多地是出與對人的興趣，而不是對材料的固執。繪畫，尤其是肖像的直接性，提供了與現實中各種人直接接觸的途徑，每一次創作都是一次這樣的機會。」

Teenager time of Yan Pei Ming was right

across Europe and he in person has often become the social public topic giving rise to hot discussion. Artistic career starting from French

在國際舞台上，嚴培明應當屬於包括

in time of Cultural Revolution period. This taciturn boy began painting in the city full of atmosphere of slogans and wall posters. He painted portrait of worker, peasant and soldier, leader and hero. Sometimes he even imitates the “wall posters” to

蔡國強、徐冰、黃永砯、谷文達、王克平等海外軍團的一份子，這群藝術家把中國當代藝術的理念提升到了既是現代的又是中國的水準。如嚴培明

draw the “counterrevolutionary”. “I had lots of spare time and did not have to go to school, so I paint everyday. I like this since my childhood”. In middle school,

自己所言，「我的標準是定在最頂峰的，受全世界公認，成為全世界有影響的藝術家。我現在的感覺是還沒有

Yan Pei Ming began to consider about taking the road of painting and was

進場踢球，還在坐冷板凳；我的路還沒有開始，還在做準備工作。」

intended to become a professional painter. Then he took the exam for Shanghai Arts Crafts College but was not admitted.

Yan Pei Ming was born in Shanghai in

Thus Yan Pei Ming felt disappointed and dismayed. In 1980, under help of the

1960 and then removed to Dijon City of France in 1981. From 1981 to 1986 he studied in French Ecole nationale Supérieure des beaux-arts de Dijon. From 1988 to 1989, he studied in French Paris Plastic Art Senior Research

relatives and friends settled in France, Yan Pei Ming went to France, where Yan Pei Ming got the chance of new life.

Institute. From 1993 to 1994 he studies in Académie de France, Rome, Italy. From

substantial life. He endeavored to learn French. In daytime, he learnt painting. At

1995 up till now he has been professor of Ecole nationale Supérieure des beauxarts de Dijon. Yan Pei Ming’s works

night, he went for jobbing in a restaurant. He persisted such mode life for 8 years, and finally obtained degree in from Ecole

are highly recommended in Europe. In Christie's Auction and Sotheby's Auction,

nationale Supérieure des Deaux-arts de Dijon in 1989. Yan Pei Ming said that

his single piece of works was sold as high as US$ 500,000. Yan Pei Ming is the third Chinese artist whose works are collected by French Centre Georges Pompidou after

most or his knowledge about painting has come from his study in homeland. “My root is in China”, he said. He has learnt how to paint in China. What France has taught him are some painting skills and ability to think and lead life.

Zao Wou-ki and Chen Zhen. In 2005 Art Basel, five top-notch European galleries recommended his works at the same time. He has also been regarded as one of the oil painters with the rashest expressiveness in international community. His exhibitions

At the beginning of his stay in France, Ya n P e i M i n g l e d a n a r d u o u s b u t

In 1990, Yan Pei Ming’s debut in Paris arts joint exhibition attracted the limelight. In 1991, he and Gu Wenda, Chen Zhen,

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Huang Yong Ping and Cai Guo Qiang together participated in the exhibition planned by Hou Hanru in Centre Georges Pompidou in Paris. After the exhibition, namely in the 11th year of Yan Pei Ming’s life in French, he returned back to homeland for the first time. Then Yan Pei Ming launched many personal exhibitions and his international influence also kept increasing. These exhibitions include “International Landscape” exhibition (French Dijon) in 1996, “Face from Soweto——21 Children’s Portraits” (Soweto, France); “Death and Life” (Dole, France) and “Invisible Man” (Honolulu, America) in 1997, “Visible Man and Invisible Man” (Geneva, Switzerland) in 1998; “Invisible Bodhisattva” (Brussels, Belgium) and “Portraits of 108 Children” (Makoun, France) in 1999, “Children and Stranger” (Montmartre, France) and “Selfportrait” (London, UK) in 2000, “Yan Peiming: for my father, Dijon-Shanghai -Guandong” (Shanghai Arts Gallery and Guangdong Arts Gallery) in 2005. Especially, in his debut personal exhibition, “ F o r M y F a t h e r, D i j o n - S h a n g h a i -Guandong” evokes gigantic repercussions. Stunning oil painting spread his fame across Europe As regard artistic style, Yan Pei Ming especially adores Picasso and De Kooning, but he has hoped to develop his own painting style and mode. “In order to avoid identicalness with their creation (Picasso and DeKooning), I began to create with black and white pigments since 1980’s”. Most of his woks in early stages are large black-an-white portraits and the wall posters accompanying his growth during the period of Cultural Revolution. In 1980’s when the artists set up societies and launched artistic movement in succession, Yan Pei Ming created his own style and skill in a more personified mode. Most of his works in

early stage are still kept in a warehouse in France. At that time, he mainly created some head portrait and background is less important. Up till now, such means of artistic expression remains, unchanged. Yan Pei Ming’s portrait painting has recovered directness of paining and takes up a challenging dialog with the pubic with aggressive bearing. Yan Pei Ming began to draw large head portrait of Mao Zedong in 1987. In his debut personal exhibition in France in 1991, he indicated, “Through his history, my story has just begum”, introducing himself by an omnipresent and all-known leading idol. In Yan Pei Ming’s fame-winning work, Mao Zedong’s portrait is just a key piece of work. Yan Pei Ming has presented the recalls about Cultural Revolution through a special way. In other word, his portrait in itself, large format and the artistic employment imply the mode of language typical of Cultural Revolution——a violent or potent feeling, so the freshness and thrill is complete new to European. Bruce Lee’s portrait painted by Yan Pei Ming is a thrilling experience for French fine arts circle. In 1993, Yan Pei Ming won the “Prix de Rome”, which has been set up be French Government and is famous in the arts history. Poussin, David, Ingres, Debussy and Berlioz have won the award. Thus Yan Pei Ming got the chance for a year of further study in Villa Medici in Rome. “Swamp Outlaws-108 Brave Men” was created in this period. In later portrait creation, Yan Pei Ming expanded his topics to social problems more and more. Portrait for the humble is the reflection of such expansion. Those small figures with nothing in the developed systematized society——migrant, disable, whorl, thieve and waif have become objects of his creation. That is also the question of the artist and the small figures in base stratum of the society against the society.

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emphasis on subjective revelation and self-motivation of painting, Yan Pei Ming attaches more importance to control over

Pei Ming seems to fall short of Zhang Xiaogang, Wang Guangyi, Fang Lijun, Yue Minjun, etc. According to analysis of

with imposing manner. He has the humble to become the giant. Thus his works have gone beyond the sphere of painting and evolved into a public media seeing through and criticizing the society. With special

the process of motion and the possibility of extreme expression. He intentionally creates the tension between the works and the painting standard and subverts our intrinsic knowledge and intuition about painting on the easel. He finishes a

many renowned theorists, that is mostly because the entire career of Yan Pei Ming since youth was developed abroad. He has settled in France since 1980. Yan Pei Ming has not participated in the three

program-based method, he depicts some long-familiar historical events as well as photo and newspaper and magazine information derived from daily life. His subtle mocking and ambiguous language

large painting at high speed, deconstructs the image while creating it and isolation between idol worship and idol attack. While using monochromatic painting to intensify purity, he also partially dissolves

seems to ridiculing the history. Then he

language crux about painting and turns the easel painting in studio into plan for public artistic movement.

In Yan Pei Ming’s works, no matter great man, relative and friend, self-portrait or humble small figure, large format is used

strives to get rid of the inhibition imposed by painting tradition and common rules to artistic creation, so as to pursue a more free and uninhibited mode of create. Yan Pei Ming has said that it is because of his humbleness that the painting is eyecatching and large. That is the fantasy for a small figure to change into giant. His pursuit is to use the simplest material to attain the greatest effect. When Yan Pei Ming’s works appear into the exhibition hall in an aggressive way, they are enough to antagonize photography and equipments, leaving and extraordinary retentive memory. Topic and format are merely partial elements. More importantly, he has turn painting into a

In the large-format portrait oil painting, Yan Pei Ming has used the skill of large brush and unique style. The painting is a bit disorder at close sight. Viewing from distance, it is always stunning and evokes emotional echo. Hou Hanru, the exhibition planner makes such evaluation: “Yan Pei Ming is surely among the most uncompromising painters in our era. Looking at those potent works of Yan Pei Ming, you are fully exposed to a powerful tension and clash and have a sense about the intimacy between art and life.” Yan Pei Ming’s works emanates tangy contradiction and sense of crisis and at the

kind of behavioral art. The course of his painting resembles a struggle. Rather than depicting, smearing or spraying, he brandishes his long brush and launches a direct attack upon the canvass, making

same time present a metaphor for nihility of human, even universe and life. his style and technique is different from the

it clanking with flying pigment. In this regard, we think about “flying brush and spraying ink; splashing as if made cracked; alienating and combining ambiguously; weird modality abruptly

the cursive script in Chinese calligraphy, demonstrating the uninhibited subversion to tradition and norms as well as the free creation spirit.

popping out” of Zhang Zao in Tang Dynasty and splashing of Pollock, the American abstractive expressionist master,

Outside blooming sends fragrance inside

on the canvass. Different from their

In term of reputation in China, Yan

western painting. In oil painting creation, he firstly creates the dashes resembling

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decades of development contemporary Chinese arts. Instead, he “silently” created a large amount of oil paintings in Europe. Most of them are portrait arts. He keeps trying to reveal the human nature behind the topic figure. As said by Hou Hanru, the renowned international exhibition planner, “Yan Pei Ming’s arts career has basically started from the west. His unique painting has stunned western arts circle, especially in an epoch when the tradition is facing disintegration that painting is used as a carrier for a king of artistic norm or ideology. Actually, his persistence in painting is more because of his interest in human, rather than stubbornness in material use. Directness of painting, especially portrait, has provided the approach for direct contact with various person in real life. Each time of create is such a chance.” In international stage, Yan Pei Ming shall be a member of the overseas group including CAi Guo Qiang, Xu Bing, Huang Yong Ping, Gu Wenda and Wang Keping. This group of artists has ideology of cotemporary Chinese arts to a level integrating modern and Chinese features. As said by Yan Pei Ming himself, “My goal is on the summit, to be recognized by the world and to become an artist with world influence. What I feel now is that I have not entered the court to play ball, but still sit on the backseat. My road is yet to begin and I am still in preparation.”

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ZENG Fanzhi (b. 1964)

Watermelon 2004 Oil on canvas 100 x 100 cm Signed lower right Zeng Fanzhi in Chinese and English, dated 2004

曾梵志1964年生於武漢，1991年畢業於湖北美術學院油畫系，現為職業藝術家。作為90年代中國當代繪畫的代

NT$2,900,000-3,800,000 US$ 87,800-115,000 HK$ 684,400-896,900

表畫家，曾梵志曾在武漢、北京、上

曾梵志西瓜 2004 油彩畫布 100 x 100 cm 簽名右下：曾梵志 2004 Zeng Fanzhi

海、香港、新加坡等地舉辦個展，其中2003年上海「我•我們」展和2004 年深圳「看景——曾梵志的繪畫1989-

進行了尖銳的批判。進入2003年，他在新的風景和肖像中，運用了更主觀化的構圖和色彩詭異的線條，顯示出不斷超越個人既定風格的努力。在經歷了十餘年不懈地追求和不間斷地行走，2005年曾梵志創作了「天空」系列，用他獨特、自由流動的筆痕歌唱

2004」展都取得廣泛迴響。曾參加重要聯展有：1992年廣州「九十年代中

他童年仰望故鄉天空時的奇妙幻想。

國美術雙年展」；1993年香港「後89 中國新藝術展」；1995年德國「從國家意識形態出走—中國新藝術」及西

此作品《西瓜》創作於2004年，藝術家主要以紅色和綠色為主色調，配以簡單的藍色，所有的紅色都聚集在

班牙「中國前衛藝術展」；1996德國「中國！」展；1999年北京「中國油

畫面的中心位置，再加上藝術家極具代表性的筆觸使得畫面的中心位置更

畫五十年」；2002年廣東「首屆廣州三年展」；2004湖北「美術文獻提名展」。

加奪目。透過畫面中看似淩亂無章的筆觸，我們能夠窺探到畫家內心世界隱藏的緊張情緒。作品中，其流動飛

曾梵志在90年代的成功無疑和他成熟的表現主義風格分不開，在早期的《協和》、《肉聯》等系列作品裡，彌散著現代主義藝術標誌性的痛苦、絕望和對死亡的黑色迷醉，畫面中猩紅的皮肉和膚色、碩大的骨節、神經質的瞪視的眼睛、沒有表情的臉孔都讓人難以忘懷。而在此後的「面具」系列中，他對城市人際的虛偽和無聊

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舞的書寫性「筆劃符號」是傳統草書的解體，線條的韻律被融入抽象性之中，簡潔的構圖，富有音樂感的運動形式，是由畫家意識主宰的畫筆在畫布上反覆運動的結果，而這種運動正折射出了畫家身體的行動過程。這一繪畫風格的清晰、單純、質樸，正表明了其抽象性的藝術語言集自由度、力量和音樂流動於一體的特徵。

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曾梵志在創作此類作品時同時使用各種型號的畫筆，有粗有細。他曾嘗試順著筆去畫，但是效果並不好，而反

“Chinese Avant-Garde Art Exhibition” in Spain in 1995, “China!” in Germany in 1996, “Chinese Oil Painting within

kind of painting style is clear, simple and plain, which presents its abstract art language’s features that gathered freedom,

方向畫出來的效果令他感到很驚訝，也很有意思，於是便開始了這種用筆方法的創作歷程。很顯然，曾梵志繪畫的核心就在於筆觸運動，它既否定了敘事性，又否定了繪畫語言，但在繪畫的節奏上有著自己的邏輯性：右

Fifty Years” in Beijing, in 1999, “The First Triennial of Guangzhou Arts” in

strength and mobile music together.

Guangzhou in 2002, “Art Literature Nomination Exhibition in Hubui” in 2004.

Zeng' simultaneously uses various types of brushes, wide and thin, to create such works. He had tried to follow the pen

Zeng’s success in the 1990s undoubtedly contributed to his mature expressionistic style. His early series pieces like “Consonancy” and “Flesh Connection”, etc. are dispersing modernism Art’s signs:

movement, but the effect was not good; while the effect of opposite direction painting surprised him, and he found it very interesting too. So he started using this method. Obviously, the core of Zeng’s

pain, despair and black fascination for the death. The scarlet skin and flesh, gigantic joints, nervous staring eyes and expressionless face in his painting are indelibility. Later in the "Mask" series, he

painting is brush movement, rejected both the narrative point and painting language, but with its own logic in the rhythm of the painting: two brushes in right hand, namely, index finger, middle finger and

animadverted on the hypocrisy and boring of urban population sharply. In 2003,

thumb pinch a paintbrush, then middle finger and ring finger pinch another

Zeng used more subjective composition of picture and tricky color lines in his new landscape and iconology pieces,

paintbrush, moving on the canvas at same time. Paintbrush hold by index finger, middle finger and thumb is a customary,

showing his efforts to keep on surpassing established personal style. After more

l o g i c a n d e x p e r i e n c e d w a y, w h i c h constituted subjectival consciousness

than ten years uninterrupted pursue and operating, Zeng created “Sky” series in 2005 with his unique free movement

that dominated the painting integrity. The movement of paintbrush held by the middle finger and ring finger is totally

of the pen trace, to extol his wonderful fantasy when he looked up to the sky of

opposite. It produces a free, illogic and accidental effects. He is skilled in using

his hometown in childhood. This piece “Watermelon” was created in

paintbrush just like using chopsticks, lines coming out with sliding feeling. Thus, his painting intertwined with rational and

2004. The artist mainly used red and green with simple blue, and red are all gathered

non-rational, and it is also like a fight between representational and abstract.

in the center of the picture, coupled with the strong representation of artists brush makes the center of picture more dazzling. Through seemingly desultory brush touch in the picture, we are able to explore the

The creation of Zeng Fanzhi has not been under an obsession of any rules or established logic, but has maintained integrity of overall creative process

hidden tension of the artist’s inner world. Mobile writing in his works, the stroke symbols is the disassembly of traditional cursive and the rhythm of lines has been abstracted. The simple composition and

and results, and excluded the painting repeatability. Thus, it has produced extraordinary effects of preset and chanciness, that is, construct a new language between “intention” and “no

the movements full of musicality are results of repetitious brushes movements, dominated by the sense of the artist.

intention”, artificial and natural. Based on this method, he still observes things meticulously and thoroughly, though

And this kind of movement is reflecting painter’s physical course of action. This

abstract as mainstay, but actual detail on the premise.

手上夾有兩枝畫筆，即食指、中指和拇指捏一枝油畫筆，中指和無名指夾一枝油畫筆，同時在畫布上運動。可以說，食指、中指和拇指所捏的畫筆是由習慣、邏輯、經驗所構成的主體意識主宰了繪畫的整體性，而中指和拇指夾筆運動則恰恰相反，它導致的是一種自由的、非邏輯、偶然性的效果。他使用油畫筆就像使用筷子一樣熟練，線條帶有滑動的感覺。因此，他的繪畫交織著理性和非理性，也是一種在具象與抽象之間角鬥。曾梵志的創作不拘泥於任何規矩或既定的邏輯，但他又保持了創作過程與結果的整體性，並排斥了繪畫的重複性，使預設性與偶然性導致的奇異效果，即在「有意」與「無意」、人工與自然之間建構了一種新的語言，在這一方法的基礎上，他對事物的觀察仍然非常細緻深入，雖以抽象為主體，然而卻都是以真實的細部為前提的。 Zeng Fanzhi, born in Wuhan in 1964, graduated from Oil Painting Dept. of Hubei Academy of Fine Arts in 1991. He is now a professional artist. As the representative of Chinese contemporary painting artist in 1990s, Zeng had held personal exhibitions in Wuhan, Beijing, Shanghai, Hong Kong and Singapore, among them, the 2003 Exhibition of “I/ We” in Shanghai and 2004 Exhibition of Paintings of Zeng Fanzhi during 19892004 in Shenzhen have made extensive influence. Important Collective Exhibition attended: “China Biennial-Oil Painting of the Nineties” in Guangzhou in 1992, “China’s New Art, Post-1989” in Hong Kong in 1993, “China’s New Art, Away from the State Ideology” in Germany and

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TU Hongtao (b. 1976)

Stars 2007 Oil on canvas 130 x 180 cm Signed lower center Tutu in English and dated 07 EXHIBITED: Organization: Tu Hongtao Solo Show, Soka Art Center, Beijing, June 2 - July 1, 2007

NT$ 1,000,000-2,000,000 US$ 30,300-60,600 HK$ 236,000-472,000

屠宏濤星星 2007 油彩畫布 130 x 180 cm 簽名中下：Tutu 07 展覽：「交織：屠宏濤個展」，索卡藝術中心，北京，展期自2007年6月2日至7月 1日

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HUANG Gang (b. 1961)

黃鋼用中國傳統的漆畫技巧表現抽象的「筆韻」，以自由流暢、激情、個

1966

性化的線條與拓印文字的組合形成對比與平衡，靜中有動的畫面。在他

2007 Mixed media on board

的作品中看不到西方表現主義直接而激烈的情感宣洩，擁有的是一種和諧的，具有內在邏輯性的構圖形式及自

150 x 120 cm Signed lower right Huang Gang in Chinese and English, dated 2007

NT$ 500,000-950,000 US$ 15,100-28,800 HK$ 118,000-224,200

黃鋼 1966 2007 綜合媒材木板 150 x 120 cm 簽名右下：Huang Gang 黃鋼 2007

contrast and balance, and dynamic within static. His works do not show the forthright and furious emotional catharsis in western expressionist arts, but a harmonious composition form with an intrinsic logicality as well as an uninhibited and poetic enthusiasm.

由揮灑與詩意的激情。《1966》作品中藝術家運用中國古老的印書木刻文字雕刻作為背景，古老與優美的中國文字是中華文學的載體與精神，體現了優雅的秩序，理性與文化傳承，紅色表現了熱情與力量，藝術家力圖以紅黑兩個單純而具有強烈象徵意義的色彩，探索文化與革命的主題。從畫面的結構、線條運動的節奏和筆觸的力量及速度上，充分體現意境中那淡泊而寧靜的氣韻。從2002年到現在，黃鋼先後在美國、法國、德國等30多個國家和地區舉辦了個人展覽，並打入西方主流藝術市場，在國內外市場上備受青睞。

“1966” the artist takes ancient Chinese woodcarving characters as a background. Age-old and dainty Chinese characters are the carrier and spirit of Chinese literature, embodying a king of elegant order, logos as well as cultural inheritance, and that red presenting zest and strength, so the artist strives to search after the themes of culture and revolution with red and black, two simple colors but with strong symbolism, to fully embody the aloof and serene artistic conception through the structure of the painting, tempo of the lines movement and strength and speed of the strokes. From 2002 up till now, Huang Gang

Huang Gang makes use of traditional Chinese lacquer painting skill to display the abstract "spirit of strokes" and of the combination of free, fluent, enthusiastic and individualized lines and inscription rubbing to form the paintings implicating

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has launched individual exhibitions in succession in more than 30 countries and regions like America, France, German and etc. and entered into Western mainstream artistic market and won great favor in the markets at home and abroad.

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YIN Zhaoyang (b. 1970)

Mythology 2005 Oil on canvas 50 x 60 cm ILLUSTRATED: M y t h - Yi n Z h a o y a n g , S i c h u a n A r t Publishing Co., Chengdu, 2006, color illustrated, p. 88

NT$ 620,000-700,000 US$ 18,800-21,200 HK$ 146,300-165,200

尹朝陽神話 2005 油彩畫布 50 x 60 cm 圖錄：《神話─尹朝陽》，四川美術出版社，成都，2006，彩色圖版，頁88

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161

ZHANG Handong (b. 1964)

張漢東 Fairy

南疆夢－精靈

2002 Oil on canvas

2002 油彩畫布 116 x 91 cm 簽名左下：漢東 2002. 元

116 x 91 cm Signed lower left Zhang Handong in Chinese and dated January, 2002 EXHIBITED: Zhang Handong Exhibition, Yunnan Artist Association, Kunming Congress Hall, Kunming, 2003

China Art Gallery Presentation Exhibition and International Gallery Invitation Exhibition, The National Museum of China, Beijing, 2004

NT$ 260,000-320,000 US$ 7,900-9,700 HK$ 61,400-75,500 370

展覽：「重返生命的家園：張漢東作品展」，雲南美術家協會主辦，昆明大會堂，2003 「中國畫廊推介展暨國際畫廊邀請展」，中國國家博物館，北京，2004

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CHUANG Che (b. 1934)

Together with the Mountain Ink on canvas, collage 110.5 x 76 cm Signed upper left Chuang Che in Chinese

莊喆

NT$ 300,000-400,000 US$ 9,100-12,100 HK$ 70,800-94,400

水墨畫布拼貼

與山同在 110.5 x 76 cm 簽名左上：莊喆

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JAN Chin-shui (b. 1953)

The Precipice 2005 Mixed media on canvas 130 x 162 cm Signed lower left Chin-shui in Chinese and dated 2005 Signed on the reverse Jan Chin-shui and titled The Precipice in Chinese, dated 2005 and size 100F ILLUSTRATED: Jan Chin-shui - Time within Landscape, Ravenel Art Group, Taipei, 2007, color illustrated, pp. 146-147

NT$ 680,000-880,000 US$ 20,600-26,600 HK$ 160,500-207,700

詹金水絕嶺 2005 綜合媒材畫布 130 x 162 cm 簽名左下：金水 2005 簽名畫背：詹金水 2005年 100F 絕嶺圖錄：《詹金水－山水光陰》，睿芙奧藝術集團，台北，2007，彩色圖版，頁146147

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John WAY (b. 1921)

Abstract 1990 Oil on canvas 101 x 126 cm Signed lower left John Way in English and dated ‘90 EXHIBITED: J o h n Wa y R e t ro s p e c t i v e - 8 0 Ye a r s , Shanghai Art Museum, Shanghai, 2001 ILLUSTRATED: J o h n Wa y R e t ro s p e c t i v e - 8 0 Ye a r s , Shanghai Art Museum, Shanghai, 2001, color illustrated, p. 140

NT$ 820,000-1,200,000 US$ 24,800-36,300 HK$ 193,500-283,200

魏樂唐抽象 1990 油彩畫布 101 x 126 cm 簽名左下： John Way '90 展覽：「魏樂唐八十回顧展」，上海美術館，上海，2001 圖錄：《魏樂唐八十回顧展》，上海美術館，上海，2001，彩色圖版，頁140

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WANG Yan (b. 1956)

Young Traveler

王岩年輕的旅人

1998 Oil on canvas 160 x 170 cm Signed lower right W. Y. in English and dated 1998 ILLUSTRATED: Contemporary Chinese Realistic Painters Series, Wang Yan Oil Paintings, People’s

Fine Arts Publishing House, Liaoning Arts Publishing House, 1999, Shenyang, color illustrated, pp. 46-47

NT$ 400,000-500,000 US$ 12,100-15,100 HK$ 94,400-118,000

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1998 油彩畫布 160 x 170 cm 簽名右下：W. Y. 1998 圖錄：《中國當代具象畫家叢書－王岩油畫》，人民美術出版社，遼寧美術出版社，瀋陽，1999，彩色圖版，頁46－47

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LUO Qing (b. 1970)

Watching 2006 Oil on canvas 200 x 170 cm Signed lower right LQ in English Titled on the reverse Watching in Chinese and English, signed Luo Qing in Chinese and English, media Oil on canvas and dated 2006

NT$ 420,000-520,000 US$ 12,700-15,700 HK$ 99,100-122,700

羅清遠望 2006 油彩畫布 200 x 170 cm 簽名右下：LQ 簽名畫背：遠望 Title: Watching Oil on canvas 2006 Luo Qing 羅清

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167

DUAN Jianwei (b. 1961)

Cutting Grains 1996 Oil on canvas 127 x 90 cm Signed lower right DUAN in English and dated 1996

NT$ 500,000-700,000 US$ 15,100-21,200 HK$ 118,000-165,200

段建偉鋤禾 1996 油彩畫布 127 x 90 cm 簽名右下：1996 DUAN

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WANG Yan (b. 1956)

Dove 2005 Oil on canvas 209 x 159.5 cm Signed lower right W. Y. in English and dated 2005

NT$ 680,000-780,000 US$ 20,600-23,600 HK$ 160,500-184,100

王岩鴿子 2005 油彩畫布 209 x 159.5 cm 簽名右下：W. Y. 2005

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PANG Yongjie (b. 1968)

Connection 2005 Oil on canvas 90 x 120 cm Signed lower right Yongjie in Chinese and dated 2005

龐永杰連接 2005

NT$ 170,000-240,000 US$ 5,100-7,300 HK$ 40,100-56,600

油彩畫布 90 x 120 cm 簽名右下：永杰 2005

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170

REN Sihong (b. 1967)

Great Olympic Series – Mao Plays Volleyball 2006 Oil on canvas 200 x 200 cm Signed lower right Ren Sihong in English and dated 2006

任思鴻奧運系列－毛澤東打排球 EXHIBITED: S p o r t s : R e n S i h o n g S c u l p t u re a n d Paintings Solo Exhibition, 798 Avant Gallery, New York, July 7 - August 8, 2006

NT$ 500,000-600,000 US$ 15,100-18,200 HK$ 118,000-141,600

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2006 油彩畫布 200 x 200 cm 簽名右下：2006 Ren Sihong 展覽：「運動：任思鴻個展」，798先鋒畫廊，紐約，展期2006年7月7日至8月8 日

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GAO Huijun (b. 1966)

Revisit Old Friends 1997 Oil on canvas 170 x 140 cm Signed on the reverse G. Huijun in English and dated 1997.8

NT$ 530,000-620,000 US$ 16,000-18,800 HK$ 125,100-146,300

高惠君重訪故舊 1997 油彩畫布 170 x 140 cm 簽名畫背：G. Huijun 1997.8

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LI Song (b. 1965)

Nest III 2005 Oil on canvas 125 x 150 cm Signed lower left Li Song in Chinese and dated 2005.9.7

李松鳥巢3

Dated on the reverse 2005.9.7

2005 油彩畫布

NT$ 480,000-560,000 US$ 14,500-17,000 HK$ 113,300-132,200

125 x 150 cm 簽名左下：2005.9.7 李松簽名畫背：2005.9.7

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GAO Huijun (b. 1966)

Stone from E. Munch’s Garden 2004 Acrylic on canvas 140 x 70 cm Signed lower right He Shang in Chinese and G. Huijiun in English, dated 2004.3 and titled Stone From E. Munch’s Garden in Chinese. EXHIBITED: Gao Huijun Solo Exhibition, Beijing Art Now Gallery, Beijing, June 1-30, 2005 ILLUSTRATED: He Shang Gao Huijun, Beijing Art Now Gallery, Beijing, 2005, color illustrated, p. 53

NT$ 320,000-420,000 US$ 9,700-12,700 HK$ 75,500-99,100

高惠君蒙克院裡的石頭 2004 壓克力畫布 140 x 70 cm 簽名右下：河上G. Huijiun 2004. 3 蒙克院裡的石頭展覽：「在尷尬與幸福之間：高惠君個展」，北京現在畫廊，北京，展期自 2005年6月1日至6月30日圖錄：《河上‧高惠君》，北京現在畫廊，北京，2005，彩色圖版，頁53

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YANG Din

楊登雄

(b. 1958)

白晝

Le Jour

1993 油彩畫布 146 x 114 cm

1993 Oil on canvas 146 x 114 cm Signed lower right Yang Din in French S i g n e d o n t h e r e v e r s e Ya n g D i n i n Chinese and in French, dated 1993.3

ILLUSTRATED: Yang Din, Kwai Fung Hin Art Gallery, Hong Kong, 2002, color illustrated, p. 49

NT$ 380,000-480,000 US$ 11,500-14,500 HK$ 89,700-113,300

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簽名右下：Yang Din 簽名畫背：Yang Din 楊登雄 1993.3 圖錄：《楊登雄》，季豐軒畫廊，香港， 2002，彩色圖版，頁49

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HUANG Yuxing (b. 1975)

Landscape 2002 Mixed media on canvas 199.5 x 139 cm Signed lower right HUANG YUXING in English and dated 02

黃宇興山的少年期－驚蜇 II 2002

NT$ 280,000-360,000 US$ 8,500-10,900 HK$ 66,100-85,000

綜合媒材畫布 199.5 x 139 cm 簽名右下：HUANG YUXING 02

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176

ZHAO Nengzhi (b. 1968)

Expression 2003 Oil on canvas 180.8 x 130.2 cm Signed lower right Zhao in chinese and English, NENGZHI in English and dated 2003 Signed on the reverse Zhao Nengzh in Chinese and dated 2003, titled No. 4 and size 4 180 x 130 cm media oil on canvas and dated 2003 The painting is to be sold with a certificate

趙能智 of authenticity issued by Asia Art Center, Taipei. EXHIBITED: “4+1” New Chinese Contemporary Art, Asia Art Center, Taipei, Aug. 21 – Sep. 12, 2004 ILLUSTRATED: “4+1” New Chinese Contemporary Art, Asia Art Center, Taipei, 2004, color illustrated, p.26

NT$ 420,000-520,000 US$ 12,700-15,700 HK$ 99,100-122,700

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表情系列 2003 油彩畫布 180.8 x 130.2 cm 簽名右下：趙 Zhao NENGZHI 2003 簽名畫背：趙能智 2003 作品 NO.4 180 x 130 cm 布面油畫 2003 附亞洲藝術中心所開立之原作保證書展覽：「4+1 中國當代藝術聯展」，亞洲藝術中心，台北，展期自2004年8月21日至 9月12日圖錄：《4+1 中國當代藝術聯展》，亞洲藝術中心，台北，2004，彩色圖版，頁26

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Alixe FU (b. 1960)

Tulips 2002 Oil on canvas 73 x 92 cm Signed lower left Alixe Fu in French and

傅慶豊

dated 02

鬱金香

NT$ 270,000-320,000 US$ 8,200-9,700 HK$ 63,700-75,500

2002 油彩畫布 73 x 92 cm 簽名左下：Alixe Fu 02

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YANG Hsing-sheng (b. 1938)

Abstract 1987 Oil on canvas 126 x 193 cm Signed lower center H. S. Yang in English and Yang Hsing-sheng in Chinese, dated

楊興生

1987

抽象

NT$ 500,000-600,000 US$ 15,100-18,200 HK$ 118,000-141,600

1987 油彩畫布 126 x 193 cm 簽名中下：H. S. Yang 楊興生 1987

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CHIU Ya-tsai (b. 1949)

A Woman’s Portrait Oil on canvas 130 x 97 cm Signed lower right Ya-tsai in Chinese

NT$ 320,000-480,000 US$ 9,700-14,500 HK$ 75,500-113,300

邱亞才女人像油彩畫布 130 x 97 cm 簽名右下：亞才

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TSONG Pu (b. 1947)

Weeping 1989 Oil and branches on canvas 80.5 (L) x 17 (W) x 78 (H) cm

莊普泣

NT$ 120,000-200,000 US$ 3,600-6,100 HK$ 28,300-47,200

1989 油彩樹枝畫布 80.5 (長) x 17 (寬) x 78 (高) cm

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181

JIAO Xingtao (b. 1970)

Yellow Arrow 2005 Painted fiberglass 29 (L) x 28 (W) x 32 (H) cm ILLUSTRATED: Matter Morphosis By Jiao Xingtao, Art Seasons Beijing, Beijing, 2007, color

焦興濤黃箭

illustrated, p. 71

2005 玻璃纖維 29（長）x 28（寬）x 32（高）cm

NT$ 120,000-220,000 US$ 3,600-6,700 HK$ 28,300-51,900

圖錄：《焦興濤雕塑作品集》，北京季節畫廊，北京，2007，彩色圖版，頁71

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YANG Mao-lin (b. 1953)

Astro Bodhisattiva 2003 Bronze, edition 4/6 64 (L) x 35 (W) x 133.5 (H) cm Signed Yang Mao-lin in Chinese, dated 2003, and numbered 4/6 ILLUSTRATED: Canonization of the Gods – the Pure Land of Maha, Lin & Keng Gallery, Taipei, 2006, color illustrated, p. 36 This sculpture is to be sold with a certificate of authenticity signed by the artist.

NT$ 780,000-880,000 US$ 23,600-26,600 HK$ 184,100-207,700

楊茂林原子小菩薩 2003 青銅 4/6 64（長）x 35（寬）x 133.5（高）cm 簽名：4/6 2003 楊茂林圖錄：《封神演義．摩訶．極樂世界》，大未來畫廊，台北，2006，彩色圖版，頁36 附藝術家親筆簽名之原作保證書

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JIANG Shuo (b. 1958)

Red Guard with Fish Bronze, the original piece, cast bronze limited edition of 6 43 (L) x 24 (W) x 55 (H) cm

NT$ 400,000-520,000 US$ 12,100-15,700 HK$ 94,400-122,700

蔣朔紅衛兵系列－錢進有餘青銅原件（將限量發行6件） 43（長）x 24（寬）x 55（高）cm

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WONG Kuo-chen (b. 1960)

Eastern Beauty Series -Graceful and Restrained 2007 Ceramics 33 (L) x 29 (W) x 50 (H) cm Signed on the bottom Kuo-chen in

「東方美人系列」，是利用中國陶瓷最傳統的拉坯技法完成的，但最先要素必須對土性有透徹的了解，才能夠在創作時精準的拿捏土的表面張力，將技法發揮至臨界點，使其作品裂而

Chinese and dated 2007

不透，整體線條柔美而順暢。

NT$ 150,000-180,000 US$ 4,500-5,400 HK$ 35,400-42,500

此拍品《東方美人系列－婉約》的創作靈感是在拉坯創作時，先塑造傳統的瓶型，利用胚體保持溼度柔軟時，

翁國珍

瞬間改變其造型，如同穿著傳統長袍的美女，溫柔婉約，展現東方古典美人之感！

東方美人系列－婉約 2007 陶瓷 33（長）x 29（寬）x 50（高）cm 簽名底部：國珍 2007

The “Eastern Beauty” series was made adapting the most traditional Technique of Throwing from Chinese ceramics, first, one must know the characters of the soil

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thoroughly in order to precisely determine the surface tension of the soil during creation, and further bring the technique into full play, make his work crack but not transparent, make its outline soft and smooth. The inspiration of this piece, “Eastern Beauty series - Graceful and Restrained” is when adapting the technique of throwing, the artist first formed the shape of the pottery, when the soil retains certain humidity and softness, then shape dit instantly. It’s like a beautiful woman in a traditional robe, graceful and restrained, and it fully shows the beauty of traditional Eastern woman!

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REN Zhe (b. 1983)

Dashing and Spirited 2006 Bronze, edition 7/8 50 (L) x 63 (W) x 50 (H) cm

任哲

Signed RZ in English and numbered 7/8

馬上英姿

ILLUSTRATED: Ren Zhe – Tang Warrior, Ping Gallery, Taipei, 2007, color illustrated

NT$ 220,000-280,000 US$ 6,700-8,500 HK$ 51,900-66,100

2006 青銅 7/8 50（長）x 63（寬）x 50（高）cm 簽名：7/8 RZ 圖錄：《任哲－盛唐戰士》，藏新畫廊，台北，2007，彩色圖版

399

186

CHEN Yi-lang (b. 1968)

Firebug Series- No. 19 2006 Wood 42 (L) x 37 (W) x 97 (H) cm Signed Longteng no. 9, Lang in Chinese and dated 2006

NT$ 130,000-220,000 US$ 3,900-6,700 HK$ 30,700-51,900

陳義郎是從中國龍、鳳符號特徵發展出一系列風格獨特的當代藝術創作，「火蟲」、「文字獸」等系列。火蟲系列意涵自然界中的任何一種生物，從微生物到巨鯨，從骨骼到皮肉，虛實相間，陳義郎使用了繁複的小圓點鏤空的手法來製造虛實交錯的多重空間，使它的體態上也有清楚的韻律流向，而非肉眼所能觀察到的自然界中的

陳義郎

一種生物體，在燃燒、在飛舞、在昇騰，火蟲的線條、輪廓富流動感，觀之

火蟲系列－19號

便有躍昇的感覺，使形乎其上的作品，

2006 木雕 42（長）x 37（寬）x 97（高）cm 簽名：龍騰九號郎 2006

展現出栩栩如生的動感趣味。 Chen Yi-lang creates his unique series of works of the contemporary art—“Firebug”

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and “the Word Carving” series - from the symbols of Chinese dragon and phoenix. The Firebug Series represents all the creatures in our nature, and from microorganism to whale, from bones to skin, from void to solid, Chen uses a complex technique of the hollow out circles to produce a multiple space intertwining with void and solid, giving its body a clear rhythmic flow. He thus presents a life form in the nature which cannot be seen with our eyes. Burning, flying, and rising, the lines of the Firebug are smooth and streamlined and give a sublime sense giving this metaphysical work a vivid and lively energy.

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Yuyu YANG

US$ 12,700-16,700 HK$ 99,100-129,800

The Haunted Axe Works Miraculously

楊英風

(YANG Ying-feng, 1926-1997)

1976 Bronze, edition 13/30 22 (L) x 10 (W) x 49.5 (H) cm EXHIBITED: Sculpture of the Time and Space of East and West – Yang Ying-Feng, Hong Kong Science and Technology University Library Gallery, Hong Kong, 1998 Exhibition of Yuyu Yang’s Art from 1961 to 1977, National Museum of History, Taipei, 2000 ILLUSTRATED: Exhibition of Yuyu Yang’s Art from 1961 to 1977, National Museum of History, Taipei, 2000, color illustrated, pp. 148149 Sculpturing Time and Space – Yuyu Yang (1926-1997), Hsiung Shih Publishers, Taipei, 2004, color illustrated, p. 142 Yu y u Ya n g C o r p u s , Vo l . 1 , A r t i s t ’s Publishers, Taipei, 2005, olor illustrated, p. 271 The sculpture is to be sold with a certificate of authenticity issued by Yuyu Yang Museum, Taipei.

NT$ 420,000-550,000

鬼斧神工 1976 銅雕 13/30 22（長）x 10（寬）x 49.5（高）cm

魄，尤其山壁的銳勁，唯有以「鬼斧神工」才足以形容。以扁長型的造型為主，正面有類似斧劈山水的效果，其旁還飾有中國傳統的雲紋，是楊氏「山水系列」善用的創作方式，與《正氣》、《造山運動》、《水袖》等作品相同。

展覽：「雕塑『東』『西』的時空－楊英風」，香港科技大學圖書館畫廊，香港，1998 「楊英風六一－七七年創作特展」，國立歷史博物館，台北，2000 圖錄：《楊英風六一－七七年創作特展》，國立歷史博物館，台北，2000，彩色圖版，頁148－149 《景觀‧自在‧楊英風》，雄獅叢書，台北，2004，彩色圖版，頁142 《楊英風全集第一卷》，藝術家出版社，台北，2005，彩色圖版，頁271

本件作品完成於1976年，屬於「山水系列」作品之一，1995年放大置於苗栗全國高爾夫球場。楊英風於1967 年赴花蓮擔任榮民大理石工廠顧問一職，期間見到花東縱谷雄偉的地形而深受感動，進而開啟一系列「山水系列」作品。大自然的雄偉，常非人力所企及，尤其山水氣勢的磅礡，處處皆流露造物初始開天闢地的氣魄。此作便是楊英風在花蓮太魯閣期間體驗到台灣山勢在拔地而起後的驚心動

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This piece was completed in 1976 and belongs to the “Landscape Series.” In 1995 an enlarged version was placed in Miaoli National Golf Course. Yuyu Yang went to Hualien in 1967 to take the position of consultant at the Rongmin Marble Factory, and during this time, was deeply moved by the magnificent terrain of the east coast. It inspired him to start his “Landscape Series.” The magnificence of nature’s power often inspired him, especially the vast power 附楊英風美術館開立之原作保證書 of the mountain landscape, filled with the spirit from the first day of creation. This piece was made in the period when Yuyu Yang experienced the amazing power of the mountains of the Taroko region, especially the vigor of the cliff sides, which he could only describe in “The Haunted Axe Works Miraculously.” This elongation makes up the main shape, with an effect similar to a landscape painting’s choppy strokes on the front. The sides are decorated with Chinese traditional cloud lines. It is Mr. Yang’s creative method used in the “Landscape Series,” similar to “Correct Breath,” “Building Mountain Movement,” and “Silk Sleeves.”

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WU De-chun (b. 1953)

Standing Woman 2003 Iron (unique) 17 (L) x 17 (W) x 53.5 (H) cm Signed on the bottom of the base WU DECHUN WU in English and dated 15. 01. 2003., and PIECE UNIQUE

NT$ 160,000-240,000 US$ 4,800-7,300 HK$ 37,800-56,600

武德淳站立的女人 2003 鐵雕（單一件） 17（長）x 17（寬）x 53.5（高）cm 簽名底座：15.01.2003. PIECE UNIQUE WU DECHUN WU

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PENG Kuan-jun (b. 1961)

Listen to Spring 2005 Bronze and marble, edition 5/6 65 (L) x 40 (W) x 115 (H) cm Signed KUANJUN in English, dated 2005 and numbered 5/6

NT$ 300,000-400,000 US$ 9,100-12,100 HK$ 70,800-94,400

彭光均聽春 2005 青銅大理石 5/6 65（長）x 40（寬）x 115（高）cm 簽名：2005 KUANJUN 5/6

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WANG Keping (b. 1949)

Allies Wood 23.5 (L) x 14 (W) x 32.5 (H) cm Signed Wang in Chinese and K in English

王克平雙翼

NT$ 500,000-600,000 US$ 15,100-18,200 HK$ 118,000-141,600

木雕 23.5（長）x 14（寬）x 32.5（高）cm 簽名：王K

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YU Shou-chung (b. 1965)

A Childish Wedding 2006 Mixed media on canvas, collage 129 x 161.5 cm Signed lower right Chung in English Signed on the reverse Yu Shou Chung in Chinese With one seal of the artist

NT$ 360,000-480,000 US$ 10,900-14,500 HK$ 85,000-113,300

游守中童嬉的婚禮 2006 綜合媒材畫布拼貼 129 x 161.5 cm 簽名右下：Chung 簽名畫背：游守中鈐印右下：中

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WANG Xiang-ming (b. 1957)

View Venice from a Distance -1 -2 -3 (triptych) 2001 Oil on board 49.5 x 28.5 cm (x3) Signed lower left wang xiang-ming in English (1) Signed lower right wang xiang-ming in English (2) (3)

HK$ 75,500-113,300

王向明遙望威尼斯-1.-2.-3 （三聯作）

This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 320,000-480,000 US$ 9,700-14,500

2001 油彩木板 49.5 x 28.5 cm (x3) 簽名左下：wang xiang-ming (1) 簽名右下：wang xiang-ming (2) (3)

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Caroline Yu Yin CHIU (b. 1967)

Self Portrait (triptych) 2006 Polaroid photograph image: 66 x 55 cm (x3) paper: 70 x 55 cm (x3) Titled and signed lower right Self Potrait, Caroline Y. Chiu in English, dated 2006 EXHIBITED: Colour Wunderkammer: Caroline Chiu, Hanart TZ Gallery, Hong Kong, August 3-18, 2007

NT$ 340,000-480,000 US$ 10,300-14,500 HK$ 80,200-113,300

趙汝賢自畫像（三聯作） 2006 數位輸出相紙畫面：60 x 53 cm (x3) 相紙：70 x 55 cm (x3) 簽名右下：Self Potrait Caroline Y. Chiu 2006 展覽：「趙汝賢的彩色多寶格」，漢雅軒，香港，展期自2007年8月3日至18日

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HU Xiangdong (b. 1961)

Transparent Distance II 2006 Oil on canvas 150 x 83 cm Signed lower left Hu Xiangdong in Chinese and English, dated 2006 EXHIBITED: Mashup, Match and Mix - Hu Xiangdong, 3818 Warehouse, Beijing, April 8 - May 10, 2006

NT$ 420,000-520,000 US$ 12,700-15,700 HK$ 99,100-122,700

胡向東透明的間隔 II 2006 油彩畫布 150 x 83 cm 簽名左下：胡向東 Hu Xiangdong 2006 展覽：「混搭狀態－當代藝術作品展．胡向東」，3818庫，北京，展期自2006年 4月8日至5月10日

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CHEN Yu

(CHAN Yu, b. 1982)

Where Is My Childhood? No. 3 2005 Acrylic on canvas 140 x 180 cm Signed lower right Chan Yu in English, dated 2005

NT$ 280,000-380,000 US$ 8,500-11,500 HK$ 66,100-89,700

陳渝我的童年在哪裡之三 2005 壓克力畫布 140 x 180 cm 簽名右下：Chan Yu 2005

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KWON Ki-soo (Korean, b. 1972)

Grey Forest 2007 Acrylic on canvas 130 x 194 cm Signed on the reverse Kwon Ki-soo in Chinese and dated 2007 ILLUSTRATED: Soka Contemporary Space, Soka Art Center, Taipei, color illustrated, pp. 99100

NT$ 360,000-600,000 US$ 10,900-18,200 HK$ 85,000-141,600

權奇秀出生並工作在漢城，其作品包括繪畫，雕塑和錄像。他為人所知的主要作品是他創造的一個常出現在他作品中的人物Dongguri。具備擬人化的外型，Dongurri作為一個符號，具有一定的標誌性和象徵性：一個崇尚符號化，簡約化和機械化的現代進程的產物。Dongguri之所以大受歡迎，乃是由於它符合年輕一代的審美需求，消耗並複製著流行文化。他不斷地創造新穎的設計，將超現代元素與古老傳統相結合。權奇秀喜愛的主題，如詠梅，蘭，菊和竹，都是來自傳統水墨繪畫。每一種代表著一季：梅花的春天，蘭花的夏天，菊花的秋日，竹的冬季。山水畫派使用形式與技巧來表達自己的理念。對於他們來說，超自然和宇宙

權奇秀灰森林 2007 壓克力畫布 130 x 194 cm 簽名畫背：權奇秀 2007 圖錄：《索卡當代藝術》，索卡當代藝術，台北，彩色圖版，頁99-100

的不被征服性，是一種天生的態勢，應對其中的秩序和本質加以研究和應用。山水畫家表達的超然的價值觀，放棄了對現實的視覺模仿，轉而尋求更深層次的世界。因此山水超越了技巧，成為了一種符號，一種範式和一

certain marks and symbols; a by-product of modernisation in which everything is symbolised, simplified, and mechanical. Dongguri has gained wide appeal because it appeals to a younger generation that readily consumes and reproduces popular culture. He has continuously created innovative designs, marrying ultramodern elements with old traditions. The artist’s favourite motifs, such as plum blossoms, orchids, chrysanthemum and bamboo are drawn from traditional sumi painting. Each represents one of the four seasons: plum blossom for spring, orchid for summer, chrysanthemum for autumn and bamboo for winter. Rather than copying nature, sansui painters use form and technique to express their own concept of it. For them, the transcendent values of nature and the universe are not to be conquered but are an innate attitude, the order and reason of which

權奇秀通過其作品不斷的探索傳統主

should be studied and followed. Sansui painters express transcendent values by forgoing a visual imitation of what is seen as reality, seeking meanings in the unseen world. Sanshui is, therefore, more than a

題與價值觀，並將其納入進當代藝術形式。他的藝術特色在於創造性的將

technique; it is a symbol, a paradigm and a fundamental concept.

過去的唯心主義植入到當代唯物主義之中，進而塑造成象徵和符號。透過多層次象徵意義，權奇秀向觀眾提出

T h ro u g h h i s w o r k , K w o n K i - s o o continually explores traditional themes

種基本概念。

了一個對於世界有趣的解釋：這是一個輕盈與沉重並存的世界。（金善姬撰文，金善姬是上海證大喜瑪拉雅中心的藝術總監）

Born and based in Seoul, Kwon Kisoo works in a wide range of media, including painting, sculpture and video. He is primarily known for his creation of Dongguri, a character that frequently appears in his work. Although humanshaped, Dongurri is an icon formed by

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and values, which he adapts and incorporates into contemporary art forms. His art is characterized by a creative grafting of past spiritualism onto contemporary materialism, moulded into symbols and icons. Through multiple layers of symbolism and meaning, Kwon offers viewers a playful interpretation of a world where lightness and heaviness can coexist. (Text by Kim Sun-hee, Art Director of Zendai Himalayas Center, Shanghai)

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HONG Kyong-tack (Korean, b. 1968)

Library (polyptych) 2003-2006 Oil on canvas 60.5 x 72.5 cm (x4)

NT$ 1,300,000-2,000,000 US$ 39,400-60,600 HK$ 306,800-472,000

弘京澤圖書館（四聯作） 2003-2006 油彩畫布 60.5 x 72.5 cm (x4)

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KIM Tschang-yeui (Korean, b. 1923)

Words in the Water 2003 Oil on canvas 80 x 117 cm Signed lower right edge Kim Tschangyeui in Chinese and dated -03, SAC 3009

NT$ 1,600,000-2,500,000 US$ 48,400-75,700 HK$ 377,600-590,000

金昌烈水中字 2003 油彩畫布 80 x 117 cm 簽名側面： SAC 3009 -03 金昌烈

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LEE Jung-woong (Korean, b. 1963)

Brush 2006 Oil on paper 140 x 200 cm

NT$ 1,600,000-2,200,000 US$ 48,400-66,600 HK$ 377,600-519,200

李錠雄毛筆 2006 油彩紙本 140 x 200 cm

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LEE Yong Deok (Korean, b. 1956)

Looking 050301 2005 Mixed media, negative sculpture 117 (L) x 144 (W) x 22 (D) cm Titled on the reverse 「looking 050301」 and signed LEE Yongdeok in English

NT$ 2,900,000-3,800,000 US$ 87,800-115,000 HK$ 684,400-896,900

李容德凝視 2005 綜合媒材虛體雕塑 117（長）x 144（寬）x 22（厚）cm 簽名畫背：「looking 050301」LEE Yongdeok

李容德1956年生於韓國首爾。1982 年畢業於首爾市立大學美術學院雕塑系，1989畢業於首爾國立大學，獲碩士學位。1997年完成了柏林藝術綜合大學的藝術家研究課程（雕塑專業）。目前擔任首爾大學美術學院雕塑系教授。從1988年文藝振興院美術會館的個人展開始，至今李容德已經開展了多次個人展和聯展。其中包括繼2003年由表畫廊舉辦的個展「遷移—向後」之後，2004 年又參加了在韓國國際畫廊藝術博覽會上由表畫廊和COEX 共同舉辦的展會，由此而吸引了眾多藝術界的眼光，在同年韓國第三屆國際多媒體雙年展中，在表畫廊和首爾市立美術館的共同努力下，其個展又一次引起了轟動。近兩年

分別在中國美術館和上海多倫美術館成

Gallery, after that, he participated in the

功舉辦個展。

exhibition cosponsored by Pyo Gallery and COEX in Korea International Art Fair in 2004, thus he has attracted great attention from the artistic circle. In the 3rd International Multimedia Biennial

李容德的雕塑作品獨闢蹊徑，形成其獨特的藝術風格，在雕塑觀念的拓展和雕塑語言的更新上作出貢獻，堪稱當代藝術的一位新的大師。其作品打破了人們對傳統雕塑的理解，突破了傳統雕塑藝術的表現手法和藝術語言。他通過真人的造型、翻製，並運

Exhibition, Korea in the same year, under the joint efforts of Pyo Gallery and Seoul

用陰雕的技法，使需要表現的部分凹陷，產生了類似攝影負片的視覺效果，觀眾從遠處看以為是立體飽滿、

two years, he has successfully launched individual exhibition in China National Museum of Fine Arts and Shanghai

栩栩如生的人體，近距離觀察時卻會發現只是一塊經過凹陷處理的平面，

Duolun Museum of Modern Art.

極易讓人產生錯覺。同時，在他的作品中，不同手段的藝術創作表現了一種鮮明的東方審美情趣和東方的美學

Lee Yong Deok’s sculpture works have

理念在裡面，也映合了所謂東方的陰陽、明暗、虛實互補的關係。

expansion in sculpture ideology and renewal of sculpture language has made him a new cotemporary artistic master.

Lee Yong Deok was born in Seoul, Korea in 1956 and graduated from the sculpture department of Fine Arts College of Seoul

His works have broken through the common understanding about traditional sculpture and the expression way and artistic language of traditional sculpture. Through sculpting and copying of

National University in 1982 and that graduated from School of Seoul National University in 1989, as a master’s degree. In 1997 he finished the artists’ research class in the Berlin University of the Arts (the major of sculpture). At present, he is a professor in the sculpture department of the College of Fine Arts, Seoul National University. Since in individual exhibition in 1988 in the Fine Arts Center of Seoul Arts & Literature Development Institute, up to now, Lee Yong Deok has launched individual exhibition and joint exhibition for many times, of which, including his individual exhibition of “TransferBackward” launched in 2003 by Pyo

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Sejong Center, his individual exhibition stirred up the sensation again. Over the

developed his own style and formed his unique style. His contribution to

real figure combining technique of the intaglio carving, he makes the integrant sunk part requiring expression producing the visual effect similar to the negative film in photography. Looking into the distance, the body looks so solid, full and vivid, but looking near, you would find it just a plane undergone sinking treatment; it is very easy for people to have an illusion. Meanwhile, in his works, artistic creation in different means has contained a distinctive orient aesthetic interest and orient aesthetic philosophy, meanwhile, tallying with the orient style of complementation between yin and yang, bright and dark, virtual and solid.

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CHIU Ya-tsai (b. 1949)

Young Man in Blue 2006 Oil on canvas 130 x 98 cm Signed lower left Ya-tsai in Chinese

NT$ 320,000-500,000 US$ 9,700-15,100 HK$ 75,500-118,000

邱亞才藍色青年 2006 油彩畫布 130 x 98 cm 簽名左下：亞才

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JAN Chin-shui (b. 1953)

Greeting the Rising Sun in Spring Bamboo 2006 Oil on canvas 162 x 97 cm Signed lower right Chin-shui in Chinese and dated 2006 Titled on the reverse 100M Greeting the Rising Sun in Spring Bamboo, signed JAN Chin-shui in Chinese and dated 2006

NT$ 680,000-880,000 US$ 20,600-26,600 HK$ 160,500-207,700

詹金水春竹迎旭 2006 油彩畫布 162 x 97 cm 簽名右下：金水2006 簽名畫背：100M 春竹迎旭詹金水 2006年

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LI Kai (b. 1947)

Gate of the Palace 1998 Oil on canvas 60 x 65 cm Signed lower right Li Kai in Chinese and dated 1998 Titled on the reverse Gate of the Palace in Chinese and size 65 x 60 cm

NT$ 550,000-720,000 US$ 16,700-21,800 HK$ 129,800-169,900

李凱宮門 1998 油彩畫布 60 x 65 cm 簽名右下：李凱 1998 簽名畫背：宮門 65 x 60 cm

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Lot 001

Lot 002

Lot 003

YANG Chihung (YANG Chihong, b. 1947)

HSIAO Chin (XIAO Qin, b. 1935)

Li shan graduated in 1968 from the Shanghai Drama Academy. His paintings have demonstrated a strong Expressionist vocabulary since the 1970s, and since then have shown increasingly Primitivist tendencies, including the incorporation of sexual imagery-a taboo subject in Maoist era painting. His Primal Beginnings series are intense expressions of the emotional turmoil, In 1988 Li Shan created his Mona Lisa series, a combination of lotus flower imagery from popular paintings and images of the Mona Lisa, which seeks to demonstrate the expressive power of allegorical symbols embedded in vulgarized images. This theme becomes stronger and clearer in his recent Rouge Series, in which the artist uses huge canvases, finely detailed airbrush technique and hermaphroditic images to create a climate of emotional unease and to express the sense that people have been “neutered” by the combined social effects of knowledge, language and authority. Li Shan is one member of “New Art From China: Post-1989” and become internationally Known as his Political Pop style.

Born in Taoyuan, Yang Chihung graduated from the fine arts department of the National Taiwan College of Arts in 1968. In 1976, he traveled to the United States, where he studied at Pratt Institute. From 1978 to 1979 he taught at the Taiwan Art College. He emigrated to the United States in 1979. His art was exclusively represented by Siegel Contemporary Art in New York between 1984 and 1987 and in 1987 by Michael Wallis. More than twenty one-man exhibitions were held for his works in the United States, Taiwan and Hong Kong. In addition, he was participated in many important exhibitions in Taiwan and abroad.

Hsiao Chin was born in Shanghai. His father, Hsiao Yu-mei, was an important composer in modern music in China. Hsiao grew up in an artistic environment and his childhood remains an important influence on his work. After moving to Taiwan in 1949, Hsiao studied Fine Arts at the National Taiwan Normal University, Taipei. He also studied drawing under Chu Teh-chun. After his graduation, he learned modern art with Li Chun-shan. He then went to Spain to study but changed his mind as he was not inclined towards the conservative style practiced by the Spanish art colleges. Hsiao founded the Ton Fan Art Group in 1956, and was instrumental in bringing modern Taiwanese painting into international exhibitions. In 1959, he moved to Milan, Italy. He then traveled and worked in Paris, London and New York. Since 1966 he is the director of Graduate Institute of Plastic Arts of Tainan National College of Arts.

李山 (1944年生)

楊識宏 (1950年生)

蕭勤 (1935年生)

1944年生於黑龍江。1968年畢業於上海戲劇學院。1970年代以來，其繪畫顯示了一種強烈的表現語彙，自此持續展現樸素主義的傾向，包括在毛澤東時代仍為繪畫禁忌的性圖像拼組。他的「初始」系列描寫深藏人類內心的情感波動。 1988年李山創造「蒙娜莉莎」系列，從通俗圖畫擷取蓮花圖樣，再結合蒙娜麗莎的影像，尋求揭露出寓言象徵嵌入粗俗圖像時的表現張力。這個主題在「胭脂帝國」系列表現得更強烈，他使用巨大畫布、細膩的筆法以及雌雄同體的影像，創造出一種情緒不安氛圍，藉以表達面對知識、語言和權力合而為一的社會效應，人們的中性特質。李山也是中國藝壇「後九八中國新藝術」的成員之一，以政治波普風格走紅國際，目前定居上海。

出生於桃園，楊識宏於1968年畢業於國立藝術專美術科。1976年赴美國，並進入紐約普拉特版畫中心研究版畫。1978至1979年在國立藝專美術科任教，隨後於1979移居美國。自1984至1987年他是紐約西葛畫廊的專屬畫家。楊氏在美國、台灣及香港舉行二十多次個展，並數次參加海內外重要美術展覽。

生於上海。父親蕭友梅是中國現代音樂的重要啟蒙者。受其影響，童年在濃厚藝文氣息環境下成長。1949年來台，1951年入台北師範學校藝術科系，曾隨朱德群學習素描，1952年入李仲生畫室研究現代藝術。1956年後與畫室成員創「東方畫會」，為「八大響馬」成員之一，作品多次參加過全國性及國際性展覽。1955年獲西班牙政府獎學金，次年啟程赴歐留學。1959年遷居義大利米蘭，先後工作於巴黎、倫敦及紐約等地。1961年發起「龐圖（又譯作「點」，PUNTO）國際藝術運動」，1978年再創辦「太陽（SURYA）國際藝術運動」，1989年發起「國際無（SHAKTI）藝術運動」活躍於國際藝壇。1996年起，應聘於國立台南藝術學院造型藝術研究所，擔任繪畫專任教授。2000年應邀參加第七屆義大利威尼斯建築雙年展。主要收藏機構包括：紐約現代美術館、大都會博物館、費城藝術館，義大利羅馬國立現代美術館、德國司圖加斯特美術館、西班牙巴塞隆納現代美術館、台北國立歷史博物館、台北市立美術館等。

LI Shan (b. 1944)

428

Lots 006, 007, 010, 011

CHUANG Che (b. 1934)

CHENG Tsai-tung (ZHENG Zaidong, b. 1953)

LIEN Chien-hsing (b. 1962)

Born in Taipei, and graduated from the World College of Journalism and Communications in Taipei. Active in the Taiwan art world during the 1980's and the 1990's, he created gloomy and reminiscent oil paintings. He held many exhibitions in Taiwan and abroad at places like the American Cultural Center, Taipei Fine Arts Museum, the National Museum of History and received the Hsiung-Shih Award for Creativity in 1992. After the turn of the century, Cheng Tsaitung relocated his studio to Shanghai to view the sights of Jiangnan and to capture their eternal beauty on canvas, and in turn became the first Taiwanese artist to formally develop his career in Shanghai.

Born in 1962 in Keelung, Taiwan. He graduated from the Western Painting Section of the Art Department of the Chinese Cultural University, Taiwan. In 1984, he was selected for the first annual Republic of China Modern Painting Outlook Exhibition. In 1987, he joined the group exhibition of The award-winners of the Shiy De-jinn Award. In 1989, he joined a largescale Exhibition of Taipei Painting Association organized by the Taipei Fine Arts Museum. In 1992, he became the representative artist of Cherng Piin Gallery. Lien Chien-hsing first came to prominence in the 80s with his superd Realistic technique. In the 90s, using different picture, he has created Realistic works recalling images Form his childhood, heavy with personal coloring. His works subtly reveal a feeling of pessimism, combined with a subconscious, mysterious shadow to become a unique kind of "magical realism".

莊喆 (1934年生)

鄭在東 (1953年生)

連建興 (1962年生)

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

台灣台北人。台北世界新聞專科學校畢業，活躍於二十世紀80、90年代的台灣藝壇，以惆悵的傷逝與懷舊的文人油畫，創作一系列膾炙人口的作品。1980年多次在海內外舉辦個展及聯展：包括美國文化中心、台北市立美術館、歷史博物館等。1992年榮獲雄獅美術創作獎。新世紀之後，他將工作室遷往上海，親臨記憶中的江南，繪寫亙古的千山萬水，成為台灣藝術家正式轉往上海發展的第一位。

台灣基隆人。中國文化大學美術系西畫組畢業。1984年獲得第一屆中華民國現代繪畫新展望入選。1987年席德進繪畫大獎得獎畫家聯展。1989年參加台北市立美術館舉辦之台北畫派大展。1992年起為誠品畫廊代理畫家。連建興在1980年代以超寫實技巧嶄露頭角，1990 年代藉不同的既成圖像，並置合成出屬於他個人童年生活記憶幻景的寫實作品，個人色彩濃厚。他的作品畫面中隱隱自然滲出的思愁，融合著潛意識的神秘陰影，反省轉化成獨具一格的「魔幻寫實主義」。

429

Lots 009, 145, 174 Lots 013, 014

YANG Din (b. 1958)

KUO Wei-guo (b. 1960)

ZHANG Donghong (b. 1967)

Born in Taipei, Taiwan. Kuo was the winner of the Lion Arts Rookie Prize in 1983, the 8th “Modern Painting Prize of Li Zhong-Sheng Foundation” in 2003, and the “Liao Chi-chun Oil Painting Award” in 2005, and has organized 8 solo exhibitions since 1993. Starting with the “Diagram of Commotion and Desire” in 1998, Kuo has explored his dark dreams in his four chronological exhibitions, “From the Deep Forest 1997-1999, Faint Dawn 2000-2002, Enlightenment 2003-2005”, and “Towards a Bright Start 2006”, by digging out the soul from the depths to re-discover the light of hope. These four chronological series touch audiences when their eyes meet the author’s.

Born in Jiling, China in 1967, graduated with BA from the Department of Art, Jiling Institute of Fine Arts in 1992, taught in the Department of Art, Jiling Institute of Technology the same year, established an art workshop in Beijing in 1995, and currently a professional painter. Starting attending international exhibitions since 1994, including “the Chinese Modern Art Exhibition” in Holland in 1994, “the Contemporary Art Exhibition” in Berlin Germany in 1995, “the Chinese Modern Art Exhibition” in Singapore in 1997, “the China Youth Artists Joint Exhibition” in Milan Italy in 1998, “the Contemporary Art Exhibition” in London UK in 2000, “the Chinese Modern Art Exhibition” in Houston US in 2001 & 2002, “the Chinese Artist Collection Exhibition” in London UK in 2004, “the International Modern Art Exhibition” in Italy in 2005, and the “Classic Decade” Modern Art Exhibition held by Beijing China Museum of Art in 2006. Solo exhibitions have also been held in galleries in Hong Kong, Shanghai, Beijing and Singapore.

楊登雄 (1958年生)

郭維國 (1960年生)

張東紅 (1967年生)

出生於中國廣東汕頭市。1980年起定居法國巴黎。1987年畢業於巴黎國家高等藝術學院。 1993-94年於克雷佛教育中心擔任美術老師。自 1990年起，曾於法國、比利時、荷蘭、台北、香港、澳門等地舉行個展。1987年獲法國特羅瓦省歐柏藝術藝術沙龍獎。

生於台灣台北。1983年獲雄獅美術新人獎優選。 2003年為第八屆「李仲生基金會現代繪畫獎」得主。2005年獲廖繼春油畫創作獎。1993年起至今已舉辦8次個展。郭維國自1998年起發表了「暴喜圖」之後，展開「柳暗1997-1999」、「熹微2000-2002」、「豁然2003-2005」及「花明2006」四個階段，傾向於在灰暗如夢的場域探索，不吝地掏盡躲在深處的自我，漸漸進入到心底對下一個光亮晨曦的嚮往心境。透過精采的脈絡串連，提供觀者與作者眼神交會時瞬間觸動的滿足感。

1967年生於中國吉林，1992年畢業於吉林藝術學院美術系，獲學士學位，同年任教於吉林工學院美術系，1995年在北京建立藝術工作室，現為職業畫家。自1994年開始參與國際性展覽，包括1994年荷蘭的「中國現代藝術展」、1995年德國柏林的「當代藝術展」、1997年新加坡的「中國現代藝術展」、1998年義大利米蘭的「中國青年藝術家聯合展」、2000年英國倫敦的「當代藝術展」、2001年及2002年於美國休斯頓舉行的「中國當代藝術展」、2004年英國倫敦的「中國藝術家收藏展」、2005年義大利「國際當代藝術展」、2006年北京中國美術館舉行的「經典十年」當代藝術展等。其個人展覽亦曾於香港、上海、北京及新加坡等地畫廊舉行。

430

Lots 019, .020 Lot 018

HUANG Chih-yang (b. 1965)

Michell HWANG (HWANG Ming-che, b. 1948)

HOU Chun-ming (b. 1963)

Born in Taipei, Taiwan in 1965, Huang graduated from department of Fine Arts, Chinese Culture University in 1989, and participated the Chinese Korea Water Ink Exhibition, Seoul and Contemporary Water Ink Exhibition, Taipei Fine Arts Museum in the same year. In 1990, he participated “the Taipei Prints Biannual Exhibition” and “the Chinese Korea Contemporary Water Ink Exhibition”, Taipei. During 1991 and 1992, the Space II “Nativeness” exhibition, Taipei, Tainan, Kaohsiung, and “Environmental Art Exhibition/ Joint Exhibition”, Cultural Center of Taipei County, 1992. His approaches toward the space are very unique; bodies are often surrounded by an aura which is near, the body that within the soul can also contain other life forms. On the form of human body, he used totems of exaggerated sexual organs, androgynyc, and self sexual intercourse to present. His totems are obvious defiance towards science, rationality and logic, it seems like he is still missing the times when people still took mythologies as logic.

Born in 1948 in Yilan, Taiwan. In 1976, Michell Hwang went to study at Reeds University, England. In 1979, he signed on with Semions Gallery (USA) as his agent. For two successive years in 1981 and 1982, he won the first prize in oil painting in the Taiwan Provincial Fine Arts Exhibition. In 1983, he won the status of "Lifetime Free of Censorship" at the Provincial Art Exhibition. Huang's paintings are of Symbolism and Expressionism. He places equal importance on heavy and light colors. He crisscrosses written lines to create layers, creating a stylistic language rich in Oriental mysticism.

黃致陽 (1965年生)

黃銘哲 (1948年生)

侯俊明 (1963年生)

1965年生於台灣台北。1989年畢業於中國文化大學美術系，同年，參加「中韓現代水墨展」於首爾，「現代水墨展」於臺北市立美術館，1990年「台北國際版畫雙年展」及「中韓現代水墨展」於台北、1991至1992年二號公寓「本、土性」特展於台北、台南、高雄、1992年台北縣立文化中心「環境藝術展及聯展」。性力崇拜圖騰、都市邊緣人對疏離的控訴與群體認同的巫術儀式即為他創作之源，經過多年的自動技法、透過民俗圖案、達摩像、佛說法像、透過對身體空間的內視，而逐漸建立起整個包括了自己身體在內的有靈論世界。在其中，人同時是植物、動物、男人、女人，也還是散發著超自然能量的靈體。他的空間模式非常奇特，身體經常被外面一近接的氛圍所包圍，身體在靈視中亦可包容其他生命於體中。在人形的表現常誇張性器，也有雌雄同體、自體性交的圖騰式的表現。他的圖像明顯的表示了其對科學、理性、邏輯的反抗，他似乎懷念那個仍使用神話思維的自然。

1948年生於台灣宜蘭，專長油畫、雕塑。1976年第一次油畫個展於省立博物館，同年赴英國里茲大學研習。曾任中華民國油畫學會、日本創生美術協會、台灣新畫會會員。1979年和美國 Semions畫廊簽約經紀畫家。1981、1982連續兩年榮獲全省美展油畫第一名，1983年榮獲全省美展永久免審查資格。1992年獲台灣省立美術館永久免審查邀請展，2001年應邀赴上海美術館舉行回顧展。黃銘哲的畫帶有象徵主義和表現主義的意味，重視繪畫中高彩度色彩並置，以書寫性線條的交錯重疊製造肌理和層次，創造出具有東方神秘色彩的造型語彙。

1963年生於嘉義，1987年畢業於國立藝術學院美術系。1985年創作「工地秀」作品系列，1990年發表個展「極樂圖懺」、1994年發表「世祭圖」等版畫。1988年起陸續舉辦個展及多次入選代表台灣參加義大利威尼斯雙年展。其作品廣為國內外人士、美術館及私人藏家收藏。

431

Born in Chiayi in 1963, graduated from the Department of Fine Arts, National Institte of the Arts in 1987. He created a series of Construction Site Show works in 1985 and held his personal exhibition “Paradise” in 1990. His "World Sacrifice" and other woodcuts were published in 1994. Since 1988, he held a series of personal exhibitions and was selected to participate in Italy's Venice Biennale on behalf of Taiwan many times. His works are widely collected by local and foreign art museums and individuals.

Lot 022 Lots 023, 028, 029 Lot 021

HWANG Jyi (b. 1953)

CHANG Chih-cheng (b. 1954)

Born in Chiayi in 1974. Works by Hwang Jyi were shown in 1989 L'Ecole Nationale Supérieures des Beaux-Arts exhibition in Paris, and he later won first prize in the National Fine Arts Exhibition. Hwang Jyi's works, often in the nature of surrealist epics, can be seen as a kind of personal creative journal, with strong sensory impact created through presentation of multilayered dimensions. They stand as unique stylistic achievements in modern Taiwanese art.

Walasse TING (b. 1929) Born in Wuxi, Jiangsu, China, but raised in Shanghai where, by his own account, he first began painting on sidewalks. Ting ever enrolled Shanghai Fine Arts School. He moved to Hong Kong in 1946. Then he moved to Paris in 1952 where he formed close relationships with members of the CoBra group. In 1960, he immigrated to New York, where he became involved with Pop artists. Ting published a book of his poems entitled One Cent Life illustrated with original lithographs by numerous American and European artists. He became American citizen in 1974. In 1977, he was awarded a fellowship from the John Simon Guggenheim Foundation and published Red Mouth, a book of erotic drawings and paintings. Since 2001, he has resided in Amsterdam. The use of color was unique. His paintings have also been collected by many museums, including: Metropolitan Museum in New York, MoMA and Guggenheim Museum of Arts.

黃楫 (1953年生)

張志成（1954年生）

丁雄泉 (1929年生)

生於嘉義。其作品曾入選1989年巴黎高等美術學院美展，而後又獲得第七屆全國美展首獎。其作品可謂是一種個人的日記形式創作，畫中帶有超現實史詩的內涵，充滿多層次時空交替的感官接觸，為台灣當代藝術中別樹一格的風格。

台灣台北人。1978年畢業於國立藝專美術科西畫組，曾受李石樵老師啟蒙，藝專期間，受洪瑞麟，陳景容教授指導，畢業後曾任教職工作，曾多次於國內舉行聯展與個展。作品風格多以人體與靜物為其表現特色，喜以限量的造型元素與色像，在平面上展現出豐厚紮實卻細緻的色彩效果。

江蘇無錫人。成長背景在上海，自食其力，在街頭作畫。曾入上海美術專科學校學習，1946年遷居香港。1952年前往巴黎，期間和眼鏡蛇畫派成員結為好友。1960年移居紐約，發展出新畫風，成為美國普普藝術家一員。出版一本名為《一分人生》的詩集，內容並包括了多位美國及歐洲藝術家的版畫原作。1977年獲得古根漢紀念基金會的獎助學金，並出版了一本以女性為題材的情色素描與繪畫書籍，名為《紅唇》。丁雄泉的展覽遍及世界各地，同時亦出版許多著作與畫冊。 2001年起定居於荷蘭阿姆斯特丹。其色彩鮮豔之作品為各大博物館收藏，包括美國大都會美術館，紐約現代美術館及古根漢美術館等。

432

Lot 030

Lots 024, 025, 026, 058

XIA Junna (b. 1971)

REN Sihong (b. 1967)

George CHANN (1913-1995)

Born in Inner Mongolia, 1971. In 1984, she attended to Weihai No.2 Middle School and studied portrait painting with Mr. Cong Jian Zi, who introduces her to a certain field of art. After that, Graduated in 1995 from the Oil Painting Department of Central Academy of Fine Arts. Autumn won silver prize at the 1995 Annual Exhibition of Chinese Oil Paintings. Her works were also shown at the Shanghai Biennale and Contemporary Art Exhibition held in Beijing in 1996. In 1997, joined “China Young Oil Painting” Exhibition in Beijing. In 1998, joined “CenturyFemale Art Exhibition” and won collector award. In 2000, joined “Twentieth Century China Oil Painting Exhibition”, “Young series Exhibition” . Beijing Evening News used “Six Main Courses in Grant Banquet of Centurial Oil Painting” as the title and commend she is the most representative painter in China. Taiwan magazine, CANS, used “From Li Tiefu to Xia Junna” as the slogan to summarize that Ms Xia’s historic significance in inherits from centurial Oil painting. Her paintings are collected by private collectors at home and abroad in recent years.

Hubai person, born in Heber, Ren graduated from the department of oil painting from Hebei Normal College of Fine Arts in 1991 and from the assistant oil painting tutor program of Central Academy of Fine Arts in 1993, same year, He held his solo exhibition in the gallery of Central Academy of Fine Arts. Moved into the artist village in Yuanwing Yuan during 1993 to 1995, he started to paint conceptual paintings and become a free artist. In 1995, his works are specially included in the 3rd “China Oild Paintings Exhibition” One year later, He started to paint the “female gesture” series of paintings until 1998. Since then, he participated in several exhibitions including the “New Auto exhibition: oil painting business versus the invasion of Japan”, the “Da Vinci’s Porch” artistic activities in 1999, during 2000 to 2005 he become an enterprise image engineer.

Born in Guangdong, China. In 1934, he entered the Otis Institute of Arts in Los Angeles; his teachers included Alexander Brook. His success earned him a full scholarship there, and in 1940, he earned his master's degree in fine arts, holding his first individual exhibition the following year at the California Art Club in Los Angeles. More individual exhibitions followed in major cities throughout the US in the years 1942-1946. From 1947 to 1949 he returned to Mainland China, exhibiting at the Public Archives Museum in Guangzhou and in Shanghai. In 1950, he returned to the US and began to study abstract painting. During the years from 1969 through 1973, 50 of his abstract works were exhibited at the invitation of the Pasadena Fine Arts Museum.

夏俊娜 (1971年生)

任思鴻 (1967年生)

陳蔭羆 (1913-1995)

出生於內蒙古，1984年就讀於威海市第二中學，師從美術啟蒙老師叢建子先生學習國畫人物，初步接觸繪畫藝術。1995年畢業於中央美術學院油畫系，畢業創作獲得中央美術學院優秀獎和日本岡松家族獎學金。作品《秋》獲「95第三屆中國油畫年展」銀獎。1996年參加「上海美術雙年展」，「北京中國當代藝術展」。1997年參加「中國青年油畫展」及「中國藝術大展」。1998 年參加「世紀－女性」藝術展，獲收藏家獎。 2000年參加「二十世紀中國油畫展」，北京晚報也以「百年油畫盛宴的六道大菜」為題，把夏俊娜提為中國最有時代代表性的畫家。台北的《藝術新聞》雜誌以「從李鐵夫到夏俊娜」來概括百年油畫的歷史承繼性，其作品被海內外私人廣為收藏。

生於中國河北。1987 - 1991年於河北師大美術系主修油畫專業，1991 - 1993年就讀中央美術學院助教班，2002 - 2004年創辦天大集瑞文化藝術有限公司，現居北京，為自由藝術家。曾於1993年在中央美術學院畫廊舉辦油畫個展，1997作品《商業抗日》由著名藝術評家島子發表於《藝術界雜誌》，2005年作品參加北京「毛澤東興中國當代藝術家」展覽，2006年作品參加義大利「中國製造」展覽及紐約798畫廊舉辦個展。

生於廣東，12歲中學畢業，1934年進入美國洛杉磯奧蒂斯藝術學院就讀，師事布魯克及維色卡。就學期間因成績優異獲全額獎學金，並於1940年取得美術碩士學位，次年於洛杉磯加州藝術俱樂部舉行首次個展。1942-1946年間陸續於美國各大城市舉辦展覽。1947-1949年返回中國，個展於廣州市文獻館及上海。1950年返美，並開始研究抽象畫，於1969-1973年間應南加州帕撒狄納美術館之邀舉行個展，展出50件抽象作品，其作品被聖地牙哥博物館及美國數個市立美術館永久珍藏。

433

Lot 033

Lots 031, 052, 053, 063, 067, 068, 072, 073

Lots 032, 038

CHU Teh-chun (b. 1920)

GUAN Liang (1900-1986)

Born in 1920 in Jiangsu, China. In 1935, he passed the examination for Hangzhou National College of Art, which at the time had Lin Fengmian as its director. In 1949, he came to Taiwan. In 1951. he taught at the Taiwan Normal University. In 1954, he held his first solo exhibition at the Taipei Chung Shan Hall. In 1955, he went to France to further his studies. In 1957, he won the Silver Award at the Paris Salon du Printemps. In 1969, he entered the Tenth Sao Paolo Biennial International Exhibition in Brazil. In 1982, he held a solo exhibition at the André Moreau Contemporary Art Studio in le Havre in France. In 1987, the National Museum of History held a solo exhibition of his works, his first one in Taiwan since leaving thirty-two years ago. In 1997, he inducted into the prestigious L’Institute de France, as a member of the Beaux-Arts.

Born in Fanyu, Guangdong. Traditional Chinese and Oil Painter. At the age of 17 traveled with brother to study art in Japan. Past positions include director of the China Artists Association, standing director for the Shanghai Branch of the Art Association, Shanghai Chinese Painting Institute member and professor at the Zhejiang Academy of Fine Arts. His paintings express a simple innocence without becoming common. His characters' mood, character and psychology are fully expressed through simple strokes and quite thought provoking. Yeh Sheng-tao once wrote in praise of Guan Liang's paintings: "Brush Strokes that Capture the Essence - Admirable". He has had a deep and abiding influence on the development of contemporary Chinese abstract character portraits.

朱德群 (1920年生)

關良 (1900 -1986)

常玉 (1901-1966)

生於江蘇省，1935年考入國立杭州藝專，當時林風眠任校長。1949年來台。1951年任教於台灣師範學院。1954年於台北中山堂舉辦首次個展。 1955年赴法國深造。1957年獲巴黎春季沙龍銀獎。1969年參加巴西聖保羅第十屆雙年展。1982 年於法國勒哈佛之昂特馬侯現代美術館舉辦個展。1987年國立歷史博物館舉辦個展，亦為他離台十二年後第一次畫展。1997年當選法蘭西學院藝術院士。他的繪畫充滿詩意的氣質，用色兼容沈穩奔放，線條飛騰有如狂草，具有東方藝術的細膩與西方繪畫濃厚而重的色彩，極具中國水墨山水與書法的逸趣。他的抽象繪畫是一種自然的流露，顫動的、熱情的，是一種抒情的奉獻，低聲傾訴生命的奧祕。

出生於廣東番禺。擅長中國畫、油畫。17歲隨兄東渡日本學習美術。曾任中國美術家協會理事，美協上海分會常務理事，上海畫院師，浙江美術學術教授。他的畫作稚樸歸真不落俗套，他筆下的人物形象從神態、氣質和心理上均畫得筆拙神完，耐人尋味。葉聖陶先生曾寫：「傳神之筆，殊可贊」的詩句，給予了關良先生的畫很高的評

生於四川，少年時就讀上海美術學校，1919年至日本留學，1920年轉赴法國留學，成為中國最早期的留法學生之一，之後留居巴黎。1925年起，其作品屢見於巴黎的沙龍美展及各大畫廊。二次大戰前曾回到中國，後轉至紐約生活兩年。1948 年，紐約現代美術館替他舉辦個展。在其1966年於巴黎逝世後，台北國立歷史博物館曾分別於 1978、1984、1990年共舉辦三次他的回顧展， 2001年常玉百歲冥誕時，歷史博物館又展出常玉百歲紀念大展，2004年6月巴黎國立居美東方美術館舉辦常玉回顧展，展出60餘件作品。足見其作為海外華人藝術家在中國畫壇的重要性。主要收藏機構有：台北國立歷史博物館、中國美術館等。

價。其對於當代中國寫意人物畫的發展，可說是影響深遠。

434

SANYU (CHANG Yu, 1901-1966)

Lots 034, 192

WANG Xiangming (b. 1956)

Lots 036, 098

GAO Huijun (b. 1966)

Born in Shanghai. Wang Xiangming graduated from the Fine Art Department of Shanghai Normal University in 1982 and is currently a professor there. He is a member of the Chinese National Artists' Association, the Shanghai Young Artists' Association and the Shanghai Oil and Sculpture Academy. His work "Longing for Peace" won a Gold prize at the China Youth Painting Exhibition and "Space is Getting Smaller" was awarded a Silver medal at the 7th National Fine Art Exhibition. His work is found in the public collections of the China National Art Gallery (Beijing), Shanghai Art Museum and Fukuoka Art Museum and private collections in Germany, Japan, USA, Singapore, Hong Kong and Taiwan.

CHUA Hu (Tsai Yun-cheng, b. 1929) Born in 1929, Fujian, China. He migrated to Philippine along with the family at ten years old and studied the painting from the Southeast Asia famous teacher. He majors in Fine arts at college. In his 29 years old, he won the champion in Philippines fine arts competition. From this time on, he begins as a budding artist in artistic world. After 1970s, he holds the exhibitions in places such as American New York, French Paris, and American Los Angeles. His name has been included in several major publications of “The International Who’s who”, International Biography Center, Cambridge, England, and since half century has won an award innumerably. He is the famous artist using a brush with blue paint, become one and the only found of the Blue School.

王向明 (1956年生)

高惠君 (1966年生)

蔡雲程 (1929年生)

上海人，專長油畫、版畫。1982年上海師範大學美術系畢業，現任教於上海師範大學美術系，中國美術家協會會員、上海青年美術家協會理事、上海油畫雕塑院特約畫師。作品《渴望和平》（1986）曾獲全國青年畫家金獎、《空間愈來愈小》獲第七屆全國美展銀獎，以及獲台灣隔山大獎優秀獎、上海文學藝術聯合會獎、加拿大楓葉佳作獎等。作品曾發表於海內外多種專業性雜誌。其作品分別被日本福岡美術館、美國加州國際大學博物館、中國美術館、上海美術館等地典藏，其作品的收藏家也分佈於德國、日本、美國、新加坡、香港、台灣等地。

出生於河北保定。1986年畢業于河北輕工業學校，1992畢業於中央工藝美術學院。1994年成為職業畫家。1995年參加北京中國藝術博覽會，獲優秀作品獎，同年也參與德國中國現代藝術展。 1996年起先後在北京、新加坡舉辦個人畫展，其作品也為天津泰達當代藝術博物館收藏。

生於中國福建，10歲隨家人移居菲律賓，師從東南亞名師學畫，並在大學主修美術，29歲參加菲律賓全國美術比賽奪冠，從此在藝壇嶄露頭角。 1970年代起，陸續在美國紐約、法國巴黎、美國洛杉磯等地舉辦畫展，曾被英國康橋國際名人傳記協會列入世界名人錄，半個世紀以來獲獎無數，他擷取了以藍色為主題的油畫創作，創立了「藍色畫派」，在繪畫世界獨樹一幟。

435

Lot 037

Lots 039, 040, 041, 042, 043, 044, 045, 046, 047, 048, 049, 050

Lots 051, 064, 065

WU Guanzhong (b. 1919)

ZHU Qizhan (1892-1996)

LIN Fengmian (1900-1991)

Born in Liuhe, Taicang city, Jiangsu in 1892. The artist had studied in Japan, sequentially took over the position of professor in Shanghai University. His works of art had been exhibited on many occasions in China, Hong Kong, America, Singapore and Germany etc. He’d given lectures in USA, and painted for San Francisco international airport. Zhu had held solo exhibitions in Shanghai, Beijing, Nanjing, Chendu, Guangzhou, Shenzhen and Singapore. His works are collected broadly by China national museum of fine arts, museum of Guangdong region, Shenzhen museum and Tianjin museum of fine arts. Zhu Qizhen museum opened in Shanghai in 1995, related publications are Anthology of Zhu Qizhan exhibitons, Album of Zhu Qizhen 100 years old, Album of Zhu Qizhan’s Paintings. He’s a renowned contemporary artist, fine arts educator, and apt at Chinese calligraphy, landscape paintings. And the artist was skilled in painting plums, orchids and bamboo.

Born in Guangdong, China. Lin Fengmian went to France to study painting in 1918. During his 4-year stay, he studied in Dijon and Paris. Upon Cai Yuanpei's invitation, Lin returned to China in 1926 and became president of the Beijing Academy of Fine Arts. He was also responsible for the set-up of the Hangzhou National Academy of Art (formely known as Hangzhou National College of Art). Lin is one of the most influential artists and teachers of that time. In 1952, Lin retired from teaching and devoted his energies to painting. In 1977, he moved to Hong Kong where he lived until his death. His ninety years retrospective exhibition was held in the National Museum of History, Taipei in 1989. In 2000, Shanghai Art Museum and Sun Yat Sen Memorial Hall both held a memorial exhibition of Li's 100th year.

朱屺瞻（1892-1996）

林風眠 (1900-1991)

吳冠中 (1919年生)

江蘇太倉瀏河人。曾於日本留學，接續擔任上海大學教授，作品多次在國內和香港、美國、新加坡、德國等展出，曾到美國講學並為美國舊金山國際機場作畫。在上海、北京、南京、成都、廣州、深圳和新加坡均辦過個展，作品被中國美術館、廣東省博物館、深圳博物館、天津藝術博物館等廣為收藏。一九九五年朱屺瞻藝術館己在上海開館，出版有《朱屺瞻畫展集》、《朱屺瞻百歲畫集》、《朱屺瞻畫集》、《朱屺瞻畫選》、等，當代著名畫家、美術教育家。工書，擅山水，花卉尤精梅、蘭、竹。

廣東梅縣人。1918年參加政府勤工儉學政策赴法留學，分別在第戎及巴黎習畫。1926年應蔡元培之邀回國任國立北平藝專校長。1928年在杭州創辦國立藝術院，後來改名杭州藝專，經常撰文宣傳中西藝術結合的創作經驗及理論，是當時中國最有影響力的畫家及美術教育家，趙無極、吳冠

生於江蘇。1936年進入國立杭州藝專，在林風眠的指導下開始研習繪畫。1942年畢業後，在國立重慶大學執教。1946年獲教育部獎學金赴法國留學。在法國四年期間，曾就讀於巴黎的國立高等美術學校，師從蘇弗爾比（1891-1981）教授學習油畫，並入洛特（1885-1962）和佛里茲（1879-1949）畫室進修。同時在羅浮宮研習美術史。1950年回到中國後，先後在中央美術學院，清華大學及北京藝術學院任教，現為中央工藝美術學院教授。吳氏數十年間持續進行油畫創作，即使在文化革命中亦未曾中斷。1989年三藩市中華文化基金會舉辦個展及1992年在倫敦大英博物館舉辦個展，其作品受到世界的重視，1995 年香港藝術館以及1997年台北國立歷史博物館亦為其舉辦講座及個展。

中、席德進等人皆為其學生。1952年自教職退休專事繪畫，文革期間被貶抑為黑畫家，被拘入獄達四年之久。1977年後旅居香港，繼續創作不輟，直至1991年病逝。1989年，國立歷史博物館為其舉行九十回顧展。自1999年上海美術館、台北國父紀念館分別舉辦「林風眠百歲誕辰紀念展」。

436

Lots 056, 105

Lot 055

Lots 054, 066, 074, 099, 100

JU Ming (b. 1938)

SUN Weimin (b. 1946)

Born in Miaoli, Taiwan. Ju Ming studied with Yuyu Yang (1926-1997), a master sculptor, from 1968 to 1976. Ju was chosen as one of the ten outstanding youths in Taiwan in 1976, a recognition given each year to ten young men and women in any field of endeavor. He was presented with a National Cultural Award in recognition of his artistic accomplishments. One of his most famous works is the Series Nativist, Taichi and Living World. In December 1997, his works were exhibited in Place Vendome, Paris. The Juming Museum was established in Chinshan, Taipei County in 1999. Ju Ming's work can be found in major public collections at the Taipei Fine Arts Museum, National Taiwan Museum of Fine Arts, Kaohsiung Museum of Fine Arts and Juming Museum.

Born in Wuchang city, Heilongjiang Region. Sun is skilled in oil painting. Sun graduated from Central Academy of Fine Arts in 1967, and he had taught there afterwards. In 1987, he graduated from oil painting research center of Central Academy of Fine Arts. His oil painting work “The Last Moon of Lunar Calender”, a comic strip work “Life” won the bronze prize in the sixth nation-wide fine arts exhibition. His works comprise “Midday”, “Peasants”, “Dim Winter”, “Green Shade and Lotus Pond in August” etc. In 1995, oil painting “Countryside in July” and “Lotus Pond in August” had participated Hong Kong Asia international art fair, and was collected by Hong Kong Asia Art Foundation.

朱銘 (1938年生)

孫為民 (1946年生)

祝福新 (1938年生)

出生於台灣苗栗。1953-1957年從李金川學習木刻，1968-1976年從楊英風（1926-1997）學習現代雕塑，以純樸的天性、卓越的才華，將過去賴以維生的木雕工藝，逐次提升為富有生命意味的藝術創作。作品廣泛而深切地感動了國人，已漸受西方社會矚目。曾獲選十大傑出青年，獲頒國家文藝獎章。著名的作品有鄉土系列、太極雕刻、人間雕刻等。曾在1997年12月至巴黎梵登廣場盛大展出其著名的太極系列。1999年於朱銘美術館成立於台北縣金山鄉。主要收藏機構：台北市立美術館、國立台灣美術館、高雄市立美術館、朱銘美術館等。

生於1964年黑龍江五常人。擅長油畫。1967年畢業於中央美術學院附中，曾留校任教。1987年畢業於中央美術學院油畫系碩士研究生班。油畫《臘月》、連環畫《人生》獲第六屆全國美展銅獎。作品有油畫《晌午》、《莊稼人》、《曖冬》、《綠蔭》組畫、《荷塘八月》等。1995年油畫《鄉間七月》、《荷塘八月》參加香港亞洲國際藝術博覽會，並為香港亞洲藝術基金會收藏。

1938年出生於吉林省吉林市，1959年畢業於魯迅美術學院附中，1964年畢業於魯迅美術學院油畫系，並留校任教；1986年赴法國巴黎美術學院留學進修，在歐洲、非洲等21國進行藝術考察，舉辦畫展。1991年赴新加坡舉辦畫展，1993年赴香港舉辦畫展，1995年赴韓國舉辦畫展，1996年赴美國、東歐及俄羅斯作藝術考察。現為魯迅美術學院油畫系主任、教授，並為中國美術家協會會員。

437

ZHU Fuxin (b. 1938)

Lots 057, 080, 083

Lot 060 Lot 059

HONG Ling (b. 1955)

PANG Jiun (b. 1936)

YANG San-lang (1907-1995)

Born in Beijing, China, 1955. Hong Ling graduated from the Fine Arts Department of Beijing Normal College in 1979. In 1985, he entered the Oil Painting Department of the Central Academy of Fine Arts and currently holds the position of associate professor there. His oil paintings have been exhibited in the first and second annual exhibition of Chinese Oil Paintings and the 1994 Critics Nomination Exhibitions. Hong has won many awards for his art. His solo exhibition was held in Hong Kong in 1995. He has also participated in the 47th Venice Biennale in 1997. His work is found in the public collection of the National Art Museum of China, Beijing.

Pang graduated from Beijing Central Art Institute. For the next sixteen years, Pang’s works were widely exhibited in China. He has held solo exhibitions in Hong Kong Art Centre since 1980 and also participated in the Biennial Exhibition of Contemporary Chinese Art in Hong Kong. Pang has also been a strong force in promoting fine arts education and has published books such as “Techniques for Oil Painting.” Pang’s name has been included in several major publications of Who’s Who in the Contemporary Art World. Pang’s works are held in numerous private and museum collections, including the Chinese Art Museum and Chinese History Museum in China, the Museum of Art in Mexico and the Taipei Fine Arts Museum, Taiwan.

Born in Taipei,Taiwan. Yang moved to Japan in 1923 where he studied at the school of Fine Arts and Crafts in Kyoto. He was then transferred to the Western Painting Programme in the Kansai Art Academy . He return to Taiwan in 1927, and founded the Ruddy Island Association together with Ni Chiang-huai and Liao Chi-chun. In 1929, he won the first prize of the Taiwan Exhibition. Yang went to France in 1931 where he studied European paintings in the museums. In the following year, his works were selected for the Autumn Salon in Paris. In 1934, he together with Chen Cheng-po, Liao Chi-chun established the Taiyang Art Association. Yang had numerous one-man shows and received many awards from important art exhibitions including : “Fifty Years of Studying Art” at the Provincial Museum in 1973 and Oil Paintings by Yang San-lang in 1979, and Retrospective Exhibition of Yang Sanlang's Paintings in 1983 at the National Museum of History. Yang received a special national art award in 1986 for his great contribution to Taiwanese art world.

洪凌 (1955年生)

龐均 (1936年生)

楊三郎（1907-1995）

雲南白族人，1955年生於北京。1979年畢業於北京首都師範學院美術系，專長油畫。1985年入中央美術學院油畫系研習班，目前為中央美術學院油畫系副教授。油畫作品曾參加第七屆全國美展、首屆中國油畫展、第一與第二屆中國油畫年展，以及1994美術批評家年度提名展等展覽，並多次獲獎，1995年在香港舉辦個人展覽。1997年參加第47屆義大利威尼斯雙年展。作品《秋草》為中國美術館收藏。

畢業於北京中央美術學院。1954-1980年間參加七次全國美術展覽，八次北京美術展覽。80年代起在香港藝術中心舉行個展，及「當代香港藝術雙年展」，深獲好評。龐氏於藝術創作之餘，並積極推廣藝術教育，著作《油畫技法哲學》等。 1994年納入大陸出版之《中國當代藝術界名人錄》，次年並列入《英國劍橋世界名人錄》。龐氏作品廣為海內外美術館及私人珍藏，包括：中國美術館、中國歷史博物館、墨西哥博物館、台北市立美術館等。

生於台北，1923年赴日本留學，首先進入京都美術工藝學校。後轉入關西美術學院西洋畫科，受嚴格的學院派教育。1927年回台灣，和倪蔣懷、廖繼春創辦「赤島社」。1929年榮獲台灣美術展覽會特選第一名。楊氏於1931年赴法國留學，並潛心研究歐洲諸大博物館所藏名畫，次年他的作品入選法國秋季沙龍。1934年返台，並在教育會館舉行個展，同年秋季與陳澄波、廖繼春等人組成「台陽美術協會」。楊氏舉行過多次個展，並多次在台灣美術展上獲獎。其中比較重要的展覽有1973年和1983年分別在國立歷史博物館舉行的「楊三郎油畫個展」和「楊三郎油畫回顧展」。 1995年，國父紀念館舉行「楊三郎近作展」楊氏以其在畫壇上卓越的成就，曾於1986年榮獲國家文藝特別貢獻獎。

438

Lot 069

Lot 062 Lots 061, 076, 079

LIAO Chi-chun (1902-1976)

YEN Shui-lung (1903-1997)

WANG Huaiqing (b. 1944)

Born in Taichung. After graduating from Taipei Normal School in 1922, Liao Chi-chun studied in Japan at Tokyo Fine Arts School. While in Japan, Liao was strongly influenced by contemporary developments in Western art.Liao was a co-founder of both the Ruddy Island Association and the Taiyang Fine Arts Association. He was also an art professor at National Taiwan Normal University until his retirement in 1973. In 1957, he encouraged his students to form the Fifth Moon Group in Taiwan. In 1962 he toured Europe and the United States at the invitation of the USA State Department. Later, he changed into a new art style in pink color and his distinguished characteristic became matured. Liao received the Golden Cup Award for Chinese Painting from the Chinese Painting Society and the Sun Yat sen Foundation's Literary Awards. He passed away in Taipei in 1976. The Liao family donated several Liao's paintings to the Taipei Fine Arts Museum.

Born in Tainan, Taiwan. Yen graduated from Tokyo Fine Arts School. In 1929, he left for French to study painting and followed van Dongen. Yen's work was selected in the Autumn Salon. After his return to Taiwan, he participated in several important exhibitions, such as Taiwan Exhibition, Taiwan Provincial Exhibition and Taiyang Fine Arts Exhibition and won several awards. At the same time, he served as an adjudicator. In 1941, Yen organized Taiwan Fine Arts Association with fellow artists Chang Wan-chuan, Chen Te-wan. His 80-year and 90-year retrospectives were held successively by National Museum of History in 1982 and in 1991. Yen's oil paintings have excellent textures. The subject matters were aborigines' portraits, fishing boats of Orchid Island, landscapes, still lifes, vase of flowers and figure portraits. Yen devoted his time and effort extensively to the development of Taiwanese commercial and craft arts.

Born in Beijing, entered the Central Academy of Arts and Crafts in 1964 to study interior design and while there, he studied painting under Wu Guanzhong. In 1970, during the Culture Revolution, Wang was assigned to the countryside for rehabilitation through labour and studied painting with Wu Guanzhong. In 1980, Wang formed the Contemporary Painting Society with his fellow classmates; organized an exhibition at the China National Museum of Fine Arts and joined the National Chinese Artist Association. He received a Master's degree a year later. Wang’s work has been selected for exhibitions worldwide including the recent major exhibition at the Guggenheim Museum, New York, entitled “5000 Years of Chinese Art” in addition to the Asian Art Fair at the Armory. His paintings are sought after by major museums and private collectors.

廖繼春 (1902-1976)

顏水龍（1903-1997）

王懷慶（1944年生）

生於豐原，1922年台北師範學校畢業，後赴日本就讀於東京美術學校，1927年畢業後返台。深受當時西方美術風潮所影響，活躍於各項展覽及多個組織，為「赤島社」及「台陽美協」的發起人之一。並任教於國立台灣師範大學及中國文化大學美術系。1957年鼓勵支持學生成立「五月畫會」，為台灣現代藝術催生。1962年應邀赴歐美考察，此後畫風真淳，色彩活潑華麗卻和諧適意，粉紅色大量出現，發展出特殊個人風格。其作品曾獲中山學術文藝創作獎及中國畫金爵獎。 1976年病逝台北。1997年廖氏家屬為體現廖繼春畢生奉獻美術教育之精神，於1997年捐贈一批代表作與台北市立美術館，同時由民間企業贊助設置廖繼春紀念獎助金，以鼓勵從事油畫創作與藝術理論研究之後進，遺愛在人間。

台灣台南人。畢業於日本東京美術學校西畫科， 1929年赴法國深造，受教於梵童根，作品並入選法國秋季沙龍，回台後曾參與多項台展，省展及台陽展，屢獲獎項，並兼任評審委員。1941年與張萬傳、陳德旺等人組成台灣造型美術學會（前身為Mouve美術學會）。先後在1982、1991年於國立歷史博物館舉行八十及九十歲回顧展。其油畫作品肌理出色，題材主要為山胞畫像，蘭嶼之舟、風景、靜物瓶花及人物畫像等。另其對工藝美術之推展，不遺餘力，居功厥偉值得一提。

生於北京，1964年入中央工藝美術學院裝璜繪畫系，於1970年文化大革命期間，下放農村勞動改造，並隨吳冠中先生學習繪畫。1980年籌辦策劃「同代人畫會」於中國美術館聯展，並於同年加入中國美術家協會，次年獲得碩士學位。王氏作品頻頻於國內外重要大展中獲獎，極獲重視。並於1998年參加紐約古根漢美術館「中國藝術5000 年展」及紐約軍械庫「亞洲藝術博覽會」。其作品廣為海內外重要美術館及企業收藏。

439

Lots 081, 082

Lots 070, 071, 077, 078

Lot 075

ZAO Wou-ki (b. 1921)

WU Dayu (1903-1988)

LI Chen (b. 1963)

Born in Beijing, Zao studied at the Hangzhou National College of Art under the direction of Lin Fengmian (1900-1991) and Wu Dayu (19031988). After his graduation in 1941, he remained at the College to teach. He held his first solo exhibition in Chung Ching at the same year. He migrated to Paris in 1948. Zao holds a solo show every year at Kootz Gallery, N.Y. since 1959 to 1965. He was included in the French pavillion at Venice Biennial in 1960 and has also taken part in the Tokyo International Biennial. Taipei Fine Arts Museum and Kaohsiung Museum of Fine Arts organized an exhibition of his works in 1993 to 1995 respectively. In 1994, Zao was awarded the Premium Imperial Award of Painting, Japan. A more recent retrospective show which took place in 1998, toured three major museums: Shanghai Museum of Art and Beijing’s China Art Gallery. Zao’s compelling abstract paintings have won him international fame and his paintings are much sought after. His work is found in major public collections such as the Musée d’art moderne in Paris etc..

Born in Yixing, Jiangsu. Consultant of China Artist Association, managing councilman of Shanghai Branch of China Artist Association. In 1922, he went to study abroad in France. And he once studied in the Studio of Border, a famous French sculptor. In 1927, he came back to China and started teaching in Public Hangzhou Junior College of Fine Arts. He once acted as Vice President of Shanghai Academy of Oil Painting and art consultant of Shanghai Academy of Chinese Painting and Shanghai Academy of Oil Painting and Sculpture. He is an expert at oil panting. His early painting included “Triumph”. His oil painting “Red Flowers” was exhibited in the “3rd National Art Exhibition” and has been collected by National Art Museum of China. His “Colorful Grass” won the “Honor Award” of the “6th National Art Museum”.

Li Chen was born in Taiwan, China in 1963. He has extraordinary performance in molding the traditional Buddhist sculptures. Later he infused emotion of the heart into the works and studied a variety of Confucian, Buddhist, Taoist scriptures, and even instill new contemporary thoughts, which provided a new creativity to Li Chen’s sculptures. Solo Exhibitions:2007 “52nd International Art Exhibition – La Biennale di Venezia”, Venice, Italy (Asia Art Center), 2005 “Li Chen Sculpture” Taipei Art Fair, Taiwan (Asia Art Center), 2003 Series of “Spiritual Journey Through The Great Ether” Michael Goedhuis Gallery, New York, U.S.A; International Group Exhibitions: 2004 “OPENASIA” 7th International Exhibition of Sculptures and Installations, Venice, Italy. 2007 “A Truth Beyond the Real – 14 Chinese Contemporary Artists” Doosan Art Center, Seoul, Korea.

趙無極 (1921年生)

吳大羽 (1903-1988)

李真 (1963年生)

生於北京，趙無極在國立杭州藝專師承林風眠（1900-1991）與吳大羽（1903-1988），於1941 年畢業於杭州藝專，同年在重慶舉行首次畫展，並留校任助教。1948年往巴黎深造，並結交不少歐洲藝術界人士。從1959至1965年曾在紐約 Kootz畫廊舉行每年一次的個展，1970年代時趙無極成為巴黎最傑出的中國畫家。於1993和1995 年應邀在台北及高雄市立美術館展覽。1994年獲得日本天皇美術獎。1998年更經由法國文化部策劃其回到中國上海博物館、北京中國美術館、廣東美術館舉辦回顧展；2003年法國巴黎網球場國家畫廊亦舉辦回顧展。在中國現代藝術家中首推趙無極在西方的藝術成就最高，而其作品更廣為世界著名的博物館，如法國國家現代美術館、舊金山現代美術館等美術館及私人企業機構所珍藏。

江蘇宜興人。少時從張聿光學習西畫。17歲就職於上海《申報》，任插圖編輯，後就讀於上海美術專門學校。1922年去法國留學，曾在法國雕塑大師波爾代爾工作室學習。1927年回國，在國立杭州藝術專科學校任教。五十年代以來，曾任上海畫院副院長，上海中國畫院、上海油畫雕塑院藝術顧問。中國美術家協會顧問，美協上海分會常務理事。擅長油畫。作品有早期繪畫《凱旋圖》；油畫《紅花》參加第三屆全國美展，為中國美術館收藏；《色草》獲第六屆全國美展榮譽獎，為中國美術館收藏。

雕塑家李真，1963年出生，早期製作傳統佛像就有特殊表現。其後李真融入自我攝心之情感，涉略佛學、道家等經典，更結合當代思維使其雕塑作品上有著創新的突破，呈現既古典又現代的面貌。個展：2007受邀於「第52屆威尼斯雙年展 – 虛空中的能量」個展；2006年台北國際藝術博覽會「李真雕塑展」(亞洲藝術中心)；2005年台北國際藝術博覽會「李真雕塑展」(亞洲藝術中心)；2003 美國紐約古豪士畫廊「大氣神遊」。國際大型展覽：2004 義大利威尼斯第七屆國際雕塑及裝置大展-「OPENASIA」；2007年韓國首爾「世事而非–14位中國藝術家對真實形象的變異及探索」韓國斗山藝術中心策劃。

440

Lots 086, 087, 088

Lots 089, 090, 091, 092, 093, 094, 095

LI Lei (b. 1965)

HSIAO Ju-sung (1922-1992)

SHIY Dej-inn (1923-1981)

Li Lei was born in Shanghai. He sometimes looks like a poet, and he’s passionate, sensitive yet good at rational disputations. His paintings are actually the anchorage of the relationship between the mind and the mysterious nature, with the rhythm of life in it, though meditations he sets the spirit free. He exhibited in Shanghai expo, 1999, “New Visions Shanghai”, the joint exhibition of young artists in Shanghai (Shanghai Culture Develop Foundation, Shanghai). In 2000 he participated in “Shanghai Youth Invitation exhibition” (Liu Haisu Art Museum, Shanghai) and 2001’s “Zen Flowers” (Solo Exhibitions, Bastiaans Gallery, the Netherlands).

Born in Kaohsiung. A graduate of Taipei Normal College, Hsiao has won a series of awards including the Excellent Work Prize at the Taiyang Show, the Literary Award and the Chairman Award presented by the Fine Arts Exhibition of Taiwan Province, the Art by the Rotary Club of West Taipei, and the Golden Belt Award given by the Art Society of China in 1972 for the most excellent watercolourist. He has been invited to participate in the Seibum Show, the Exchange Exhibition of Fine Arts between China and Japan, the Jointed Exhibition of Contemporary Chinese Artists in Newport, Rhode Island, U. S. A. as well as in the Chinese Culture Show in Philadelphia. A member of the Art Society of China, the Taiyang Fine Arts Association, and the Blue Cloud Fine Arts Association, he serves as supervisor of the Fine Art evaluation member in Hsin Chu County, the teacher at the East Hsin Chu High School, and jury of the Fine Arts Show in Hsin Chu County.

Lot 085

李磊（1965年生）

蕭如松 (1922-1992)

席德進（1923-1981）

生於上海。李磊有時候看上去像位詩人，他激情、敏感而又極富理性思辨。他的畫，實際上是心靈與大自然神秘交感的借托物，而在物與意的對應中，融匯著生命的律動，蘊藉著人生的思考，寄託著精神的籍慰。 1999年的上海藝術博覽會“上海新視覺” 上海青年美術聯展（上海文化發展基金會，上海）。2000年上海青年美術邀請展（劉海粟美術館，上海）。2001年禪花（個展、巴斯蒂安畫廊，荷蘭）。

台灣高雄人。台北師範學院畢業，其作品曾獲台陽展佳作獎、全省美展文協獎及主席獎、台北西區扶輪社美術展、中國學會1972年度最優水彩畫家金爵獎。應邀參加青文展、中日交換展、美國羅德島新港中國當代畫家聯展、費城中國文化展，現任中國會學會、台陽美術協會會員，新竹縣美術視導員、青雪美術會會員，竹東中學美術教員，新竹縣展審查委員。1992年台北市立美術館舉辦「蕭如松紀念畫展」，展出蕭如松遺作。

生於四川，五歲開始習畫。1948年畢業於杭州藝專，師承林風眠。畢業後遷台任教於省立嘉義中學。1957年舉辦首次個展。1962年與廖繼春同應美國國務院之邀訪美，之後赴法國巴黎進修三年，回台後任教於淡江大學建築系及師範大學。 1975年獲中山文藝創作獎。席德進以抒情風格的水彩畫著稱，並受到普普，歐普等現代藝術思潮的影響。他最喜歡的題材是老式的傳統台灣建築，曾遍遊台灣各鄉鎮尋找靈感，其畫作充分表現台灣的風土民情。

441

Lot 096

Lots 097, 164

Lots 101, 187

John WAY (WEI Yue-tang, b. 1921)

Yuyu YANG (YANG Ying-feng, 1926-1997)

Real name Yuan Dexing, born in Miluo County Hunan Province 1931. Entered the National Palace Museum in 1968 to work on the examination of artifacts, possesses an unsurpassable knowledge of Shang and Chou Dynasty Bronze Ware, paints and writes calligraphy and writings in his spare time, with numerous solo exhibitions held domestically and internationally, and all well-received. Chuko’s literature and art works include illustrated poetry, prose and critiques. All the wars and separations he experienced in his life, his carefree and unrestrained nature, and his knowledge in art all have greatly influence on his works. He numerous publications including poetries A Stroll in the Mountains and A Wandering House, prose collection Wandering Nation Inside a Café and Rebirth of a Firebird, writings collection Aesthetic Life, art critique Visual Life and paintings collection Chuko’s Works.

Born in Shanghai. Way has held his own shows in Shanghai since 1937. From 1951 his works have been selected to show at the Hong Kong Art Club Annual Exhibition for five consecutive years. Way settled down in Boston in 1956, where he studied abstract painting in the West. Throughout the 1960s Way had held many solo shows in Boston, including one in Nexus Gallery in 1960 and one in MIT's Art Museum in 1968. In 1965, his work was showed alongside other well-acclaimed contemporary artists including Hans Hartung and Andy Warhol, in a joint exhibition “Painting Without a Brush” held at the Accademia del Verbano in Italy. His works are in the collections of both the Stanford University Art Museum and the San Francisco Art Museum.

Born in I-lan, Taiwan. Yang studied architecture at the Tokyo Art School in Japan, fine arts at Fu Jen University in Beijing, and sculpture at the National Academy of Art in Rome. During 19641966, he held exhibitions in major cities in Italy and was awarded the gold metal in painting and a silver medal in sculpture at the Olimpiadi d'Arte e Cultura Abano Terme in 1966. He was also awarded the World Peace Prize for Culture and Arts by the Roc's Literature and Arts Society. In 1991 Yang held a Stainless Steel Sculpture Exhibition in the National Museum of Singapore.

楚戈 (1931年生)

魏樂唐 (1921年生)

楊英風 (1926-1997)

本名袁德星，湖南省汨羅縣人，1931年生。1968 年進入故宮博物院器物處從事古物鑑定工作，對商周銅器有獨到的研究，餘暇並從事繪畫、書法、寫作，在國內外舉行個展多次，反應熱烈。楚戈的文藝作品，包括詩畫集、散文、論評等不同類型，他一生所經歷的戰亂離愁，他生性的瀟灑不羈，以及他對藝術的涵養，均對他的創作有莫大的影響。著有詩集《散步的山巒》、《流浪的房屋》、散文集《咖啡館裡的流浪民族》及《火鳥再生記》、雜文集《審美生活》、藝術評論《視覺生活》、繪畫集《楚戈作品集》等多種。

出生於上海，1937年起即於上海畫廊展出，1951 年起連續5次入選香港美術協會年展。1956年移居美國，並專心投入抽象繪畫，為當代華人藝術家中最早專研抽象繪畫者之一。1960年代起曾在波士頓舉行多項展覽，包括1960年在納思畫廊及 1968年在麻省學院藝術館之個展，並入選1965年波士頓現代美術館之「不用畫筆的畫作」聯展，參展畫家包括國際著名的當代畫大師如哈同及安迪沃荷等。其作品為美國史丹佛美術館及舊金山美術館等典藏。

生於台灣宜蘭縣，曾進修於日本東京美術學校建築系，北平輔仁大學美術系及國立台灣師範大學藝術系，其後又習雕塑於義大利羅馬藝術學院。 1964至1966年間於義大利各大城市舉辦巡迴個展。1966年曾獲義大利奧林匹克繪畫金章獎及雕塑銀章獎。其後又獲頒第二屆世界和平文化藝術大獎。1991年應新加坡之邀作個人展覽。

CHU Ko (b. 1931)

442

Lots 103, 104

Lot 106

AI Xuan (b. 1947)

WANG Yidong (b. 1955)

YANG Feiyun (b. 1954)

Born in Zhejiang, graduated from the Central Fine Arts Institute Attached Middle School in 1967, presently is Beijing Art Academy’s specialty painter. Since 1980, Ai Xuan work has attended the national art exhibition many times, won an award at the 1981 2nd session of national youth art exhibition. He participated in the 2nd session of Asian fine arts in Japan, the 18th session of international fine arts in Paris in 1986, and received honors from both. He went to US in 1987 to hold a solo exhibition and to study. His works deeply attains the high praise; commentaries appeared in the New York Times, the Wall Street Journal, the Christianity word newspaper and the Art News magazine. Art News called described him as “a rising star”, “United Press International” also made the correlation report. In 1998, he returned to Beijing, his works besides collected by the Chinese art museum, also collected by private collectors and museums in US, Singapore, Hong Kong, Taiwan, Germany, Canada and Japan.

Wang was born in Shandong, he enrolled to the School of Fine Art in Shandong University of Technology in 1972, and had served there as a teacher. In 1978, he was accepted by the Oil Painting department of Central Academy of Fine Arts, had served there as well, he is now a member of Chinese Artist’s Association. He has profound emotions for his hometown, Yimeng Mountain, villages and people on the mountain become the theme in most of his paintings. His works had been exhibited in Singapore, France, Italy, Japan, and the United States. In 1987 he held a solo exhibition in Hafner Gallery, New York. The work, Ancient Village is collected by National Art Museum of China. Wang tried to discover various abstract feelings from a realistic picture, this kind of abstract isn’t abstract by its meaning, it’s not for stimulating people’s senses, it simply served to deliver some kind of emotion or feeling that the whole picture was meant to give. Therefore in his works, the black, the white, and the brown-based colors formed a kind of artistic purity; they also covered the whole picture with some kind of sadness.

Born in the suburbs near Baotou, Mongolia, Yang enrolled to the department of oil paintings in the Central Academy of Fine Arts in 1978, graduated in 1982, taught at the department of stage art in Central Academy of Drama in the same year, and assigned to teach at the department of oil paintings in the Central Academy of Fine Arts in 1984. Yang traveled to the United States, England, Italy and France to survey and to acquire experiences on exhibitions. When he returned to his mother land in 1991, he continued teaching. And He went to Sweden, Netherland and Belgium to survey again four years later. Yang currently is the member of the Chinese Artist's Association, professor in the department of oil paintings in the Central Academy of Fine Arts, and the preceptor for the postgraduate students in the Chinese Art Research Institute.

艾軒 (1947年生)

王沂東 (1955年生)

楊飛雲 (1954年生)

浙江人。1967年畢業於中央美術學院附中，現為北京畫院專職畫家。自1980年以來，艾軒的作品多次參加全國美展，在1981年的第二屆全國青年美展上獲獎。1986年參加在日本舉行的第二屆亞洲美術展及巴黎舉行的第十八屆國際美術展並榮獲榮譽。1987年赴美國舉行個展及研習。作品深獲好評，《紐約時報》、《華爾街日報》、《基督教緘言報》及《藝術新聞雜誌》均有評論，《藝術新聞》稱之為「一顆上升的星」，「合眾國際社」也做了相關報導。1998年返回北京，作品除被中國美術館收藏外，還被美國、新加坡、香港、台灣、德國、加拿大和日本的私人及博物館收藏。

生於山東。1972年進入山東省美術學校，曾任教于山東藝術學校美術科。1978年考入中央美術學院油畫係，畢業後留校任教，現為中國美術家協會會員。王沂東對家鄉沂蒙山有著濃厚的感情，山村的人物和景色成為他繪畫的主題。其作品曾在新加坡、法國、義大利、日本和美國展出。 1987年在紐約哈夫納畫廊舉辦個展。作品《古老的山村》被中國美術館收藏。王沂東試圖在一個很寫實的畫面裡發現種很抽象的感覺，這種抽象並非一般意義上的簡單抽象，也不是純粹為了刺激人的感官，而是為了服務於整體畫面所要傳達的某種感情或情緒。於是作品中，單純的黑、白色彩與中性的褐色調構成了藝術上的純凈，也給作品蒙上一層苦澀的情緒。

生於內蒙古包頭市郊區。1978年考入中央美術學院油畫系，1982年畢業，同年在中央戲劇學院舞臺美術系任教。1984年調回中央美術學院油畫系任教。1989年赴美國、英國、義大利、法國考察、學習參展。1991年回國後繼續任教。1995年赴瑞典、荷蘭、比利時參展考察。現為中國美術家協會會員、中央美術學院油畫系教授、中國藝術研究院博士生導師。

443

Lots 109, 203

CHEN Danqing (b. 1953)

LI Kai (b. 1947)

LI Shuang (b. 1957)

Born in Shanghai in 1953, Chen self-taught to paint in 1970 when he’s in the village. In 1978, he enrolled to the Oil Painting department, Central Academy of Fine Arts for master degree, after he graduated he stayed for teaching. In 1982, he moved to New York as a free artist, after his return in 2000, he stayed in the art department, Tsing Hua University as a professor, and the advisor for doctors, in the same time he also established his own Chen Danqing Studio. He published Notes on New York in 2000, Chen Danqing’s Music Notes in 2002, and Surplus Materials in 2003.

Born in Beijing. Works as a stage designer for the Chinese National Youth Art Theatre. One of the founding members of “The Stars”. Exhibited in both the historic shows of 1979 and 1980. Emigrated to France in 1983. Held 18 solo shows in France, Switzerland and USA since then. Exhibitions of Oils have received international acclaim. Works collected by many museums in the world, including Epernay Museum, Seoul National Museum and Fukuoka Asian Art Museum.

陳丹青 (1953年生)

李凱 (1947年生)

李爽 (1957年生)

1953年生於上海，1970年插隊農村時開始自習油畫。1978年他考入中央美術學院油畫系研究生班，畢業後留校任教。1982年，陳丹青以自由畫家身份移居紐約，2000年回國後，任清華大學美術學院教授、博士生導師，同時主持陳丹青工作室的工作。曾經出版：2000年出版文集《紐約瑣記》。2002年出版隨筆集《陳丹青音樂筆記》。 2003年出版文集《多餘的素材》。

出生於北京，自幼迷上繪畫，後考上中央美院附中，由於學校離故宮很近，腦海中便深深留下了故宮的各種印象，使他初萌表現故宮的願望與契機，1967年畢業。現為中國美術家協會會員，作品在日本、法國、美國、澳洲、新加坡、墨西哥及香港多次參展。他的作品，氣勢、氛圍、色調各不相同，並且有的用寫實手法，有的用點彩，有的稍帶幾分裝飾，但所有的這些形式手段都集中地表現了他發現的美，並在保持民族文化風采的基礎上，賦以深沉的內涵。

北京人。曾在中國青年藝術劇院從事舞臺美術工作。「星星繪畫」創作人之一。1979年和1980年組織參加第一、第二屆「星星美展」。1983年移居法國後繼續深造。自1979年以來，曾參加國內、國際性大型聯展近40餘次。多幅作品被法國艾培市立美術館、韓國漢城近代藝術國立美術館、日本福岡亞洲近現代藝術博物館及各國收藏家廣泛收藏。

444

Lot 111

Lot 112

Lot 113

XIAO Se (b. 1970)

XIANG Jing (b. 1968)

CHEN Wenling (b. 1969)

Born in Beijing, graduated from the Department of Environmental Art, Beijing Art & Craft College in 1990, and entered the Central Academy of Fine Arts to pursue further studies in 1994. “Xiao Se Art Exhibition” held in 1998, and “Xiao Se Oil Painting Exhibition” held in 1999. These works were also displayed in Berlin and Bonn in Germany the same year. In 2000, Xiao Se was selected by “Art Studies” magazine as the “Modern Painter in Chinese Oil Painting”. He transformed the better part of the Western schools into his own expressions, making his works humorous and weird, yet interesting.

Born in Beijing. Xiang was graduated from the Affiliated Senior High School of Central Academy of Fine Arts in 1988. In 1995, she got her Master Degree from the department of sculpture of Central Academy of Fine Art in 1995, also participated in a four artist joint art exhibition held by Beijing Contemporary Art Museum on March same year. Her graduation portfolio Amulet had won the 1st prize from Central Academy of Fine Art graduation portfolio exhibition and also from Japan Matsuoka Foundation, her work has been collected by Central Academy of Fine Art. In the same year, she participated the exhibition of Chinese Female Artists held my China National Museum of Art, also the “Century: A Female Art Exhibition” and “Subaudition: An Art Exhibition” at the same place in 1998. The next year, she participated the 2nd “Artistic tour before the end of the century” exhibition held by The New Dimension–he Only Place for Art, her work was chosen by the 9th “National Art Exhibition” and had won the award of excellence.

Born in Anxi County, Fujian Province, graduated from the Painting Program, Fujian Art & Craft College in 1991, and the Department of Sculpting at Central Academy of Fine Arts in 1993. In 2002, Chen Wenling started working on the series of “Red Memory” sculptures; from appearance, these works originated from the lively sweet village kids back at his home in Anxi, but actually, they originate from his longings for childlike innocence and fun.

蕭瑟 (1970年生)

向京 (1968年生)

陳文令 (1969年生)

1970年生於北京，1990年畢業於北京工藝美術學校環境藝術專業。1994年進入中央工藝美術學院學習設計專業。1998 年舉辦「蕭瑟藝術作品展」。1999年舉辦「蕭瑟油畫作品展」。同年其作品展於德國柏林、波恩。2000年蕭瑟被《美術研究》雜誌選入「中國油畫新銳畫家」。他把西方流派的思想較好轉換成了自己的表達語言，作品詼諧、怪誕、耐人尋味。

出生於北京。1988年畢業於中央美術學院附中。 1995年畢業於中央美術學院雕塑系。1995年參加北京當代美術館舉辦的三月四人展。畢業作品《護身符》等獲中央美院畢業生作品展一等獎及日本松岡家族基金會一等獎，作品被中央美院收藏。同年參加中國美術館舉辦的中華女畫家邀請展。1998年參加中國美術館「世紀．女性藝術展」、「弦外之音畫展」。1999年作品參加北京 P新時空－ART專處空間舉辦的「世紀末藝術之旅．第二回展」，作品入選「第九屆全國美展」並獲優秀獎，作品《一杯冰水》等五件作品參加成都現代藝術館舉辦的「中國當代雕塑邀請展」，作品《我的娃娃》等九件作品參加劉海粟美術館舉辦的「海平線－2000繪畫雕塑邀請展」。2001年，作品《禁閉》、《冰涼的水》等四件作品參加在成都現代藝術館舉辦的「架上樣板－第一屆成都雙年展」。作品曾在《當代藝術：女性與藝術的生態自述》、《藝術家》、

1969年出生於福建省安溪縣的陳文令，1991年畢業於福建工藝美術學校繪畫班，1993年結業於中央美術學院雕塑系。2002年陳文令開始《紅色記憶》系列雕塑作品的創作，從表面上看，這些作品源於他安溪農村老家活潑可愛的村童，實際上是源於他心中對童真、童趣的眷戀。

《典藏》等刊物發表，並被海內外機構及私人收藏。

445

Lot 115

Lot 116

Lot 117

LIU Chunhai (b. 1966)

YANG Fan (b. 1972)

LI Yibing (b. 1966)

Born in Harbin, Liu was graduated from the Fine Arts department, Harbin Normal University 1991, He had participated in several exhibitions, including of: Yunfeng gallery, Beijing, 2001; Qihua gallery, Kanagawa 2002; Schoeni Art Gallery, Hong Kong, 2002, Mao and More gallery, Australia, 2003 / 2004; and Kortman gallery, Chicago, 2005.

Born in Shandong in 1972, graduated from the Department of Printmaking, Guangzhou Fine Arts Institute in 1996, and teaches at the Department of Art, Guangdong Education Institute. Art exhibition: 2002 “Sixteenth Asia International Art Exhibition”, Guangzhou; “Art in Summer – Chinese Contemporary Oil Painting Exhibition”, Beijing; 2001 “Urban Idiom – Contemporary Art of Pearl River Delta”, Shenzen; “Boy • Girl”, Singapore, Kunming; “Contemporary Artists Joint Exhibition on Chinese Mythology”, Shanghai; “Dialogue – China Youth Art Exhibition”, Italy; 2000 “Later Generation and New Century Art Exhibition”, Guangzhou, “Era of Trans-century – 2000 Chinese Contemporary Art Exhibition”, Chengdu, “Guangdong Oil Painting Grand Exhibition”; 1999 “Popular Icons of ’90s Exhibition”, Shanghai; 1998 “Plural • Personality” Joint Exhibition.

劉純海 (1966年生)

楊帆 (1972年生)

李一丙 (1966年生)

生於中國哈爾濱，1991年畢業於哈爾濱師範大學美術系版畫。曾參與2001年雲峰畫廊，中國北京；2001年企畫畫廊，日本神奈川；2002年少勵畫廊、中國香港；2003年Mao and More gallery，澳洲雪黎；2004年Mao and More gallery，澳洲雪黎；2005年Kortman gallery，美國芝加哥等展覽。

1972年生於山東。1996年畢業於廣州美術學院版畫系，並任教於廣東教育學院美術系。畫展： 2002年「第十六屆亞洲國際藝術展」，廣州；「藝術夏至—中國當代油畫展」，北京；2001 年「城市俚語—珠江三角洲的當代藝術」，深圳；「男孩．女孩」，新加坡、昆明；「中國神話當代藝術家聯展」，上海；「對話—中國青年藝術展」，義大利；2000年「後生代與新世紀藝術展」，廣州，「轉世時代—2000中國當代藝術展」，成都，「廣東油畫大展」；1999年「九十年代流行圖像展」，上海；1998年「複數．個性」聯展。

生於河北邯鄲，現居住於北京，2006年入住北京宋莊小堡畫家村成為職業藝術家。冥想，是人們想像問題的一種方式，是對展望和未來的一種想像及憧憬，也預示著某種欲望，預示著在極度膨脹著精神迷茫及現實壓力的現實社會中騷動不安和矛盾重重的心理狀態。於2007年參與的展覽有:「東京國際藝術博覽會」，東京、「北京中國國際畫廊博覽會」，北京、「臺北國際藝術博覽會」，「香港精藝軒的李一丙的個人作品展」。

446

Lots 120, 122, 143

Lot 118

Lot 119

YANG Xiaobing (b. 1966)

FANG Hui (b. 1965)

YIN Kun (b. 1969)

Yang was born in Tienshui, Gansu Province in December of 1966, graduated from Gansu Tienshui Teachers’ College in 1990. In 2004, he lived in Xiaobao of Songzhuang Town, Tongzhou District of Beijing. In 2005, he attended of “The Contemporary Oil Painting Arts Invitation Exhibition”, sponsored by Shanghai Yunfeng Huayuan; “The 2nd Session of Visual Arts” Exhibition, sponsored by Arts Artel of Songzhuang Town; “Depose” Contemporary Oil Painting Arts Exhibition, Sponsored by Buddhist Space; The 1st Session of China Songzhuang Town Culture & Arts Festival - Chinese Contemporary Culture & Arts Exhibition. “The Road of Songzhuang Town” in Beijing.

Born in Shenyang in July 9, 1965, Fang now works and lives in Beijing as a free artist. He graduated from Hebei Industrial Art School in 1987, pursuit advanced studies in department of sculpture, Luxun Academy of Fine Arts in 1994. Interviews and publications: Interviewed by “Contemporary Chinese Art News” magazine 2006 on “About that shade of red of mine”, his main works were published (Location: Fang Hui Songzhuang studio). In 2005, interviewed by NHK station, Japan on “Fang Hui and his paintings”. In 2000, His work was selected in the “Chinese Contemporary Paintings”, published by Tianjin People's Fine Arts Publishing House. His main exhibitions include: “Songzhuang 7 artists’ joint exhibition”, “SPACE” gallery, Beijing, 2005; “Rong” contemporary art exhibition, Songzhuang, Beijing, 2005; “Songzhuang road”, 1st contemporary art exhibition, Beijing, 2005.

Born in Deyang, Sichuan in 1969, Yin Kun graduated from the Sichuan Apa Normal Junior College Fine Arts Department in 1992. He went to Beijing in 1993 and became a free painter. His works participated in several domestic and international exhibitions, and wildly collected by collectors all over the world. Yin Kun is a wise, sensitive, and active young artist, painting is an outlet or a record of his life, emotion, and his sensitive and nervousness. His work involves different social levels, through modern people’s ignorance towards certain social abnormal phenomena, promulgates the question the key and the root. Yin Kun pays attention to the contemporary person's survival experience and the reality feelings, absorbed the artistic forms and pictures such as pop, absurd realism, kitsch to transmit one kind of direct, incisive message. The gorgeous picture color is for the purpose of arousing some hopes and the optimistic life manner.

楊小兵 (1966年生)

房輝 (1965年生)

尹坤 (1969年生)

1966年12月生於甘肅天水，1990年畢業於甘肅省天水師範學院，2004年後居住北京通州區宋莊鎮小堡。參展紀錄：2005年「當代油畫藝術邀請展」上海雲峰畫苑、「2005年第二屆視覺藝術展」，宋莊藝術合作社；2005年「廢」當代油畫藝術展禪o空間、2005年首屆中國宋莊文化藝術節—「中國當代文化藝術展 · 宋莊路」，北京。

生於瀋陽市，現生活工作在北京，自由藝術家。 1987年畢業於河北工藝美術學校。1994年魯迅美術學院雕塑系進修。訪談與出版：2006年接受《當代藝術新聞》雜誌專訪「關於我的這道紅」及主要作品刊載（地點：房輝宋莊工作室）2005 年接受日本N H K文化電視臺專訪「關於房輝和他的繪畫」。2000年作品入選《中國當代繪畫藝術》天津人民美術館出版社出版。主要展覽： 2005年：「宋莊藝術家七人聯展」，時態空間畫廊；北京2005年：「融」當代藝術展，宋莊，北京；2005年「宋莊路」首屆當代藝術展，北京。

1969年生於四川省德陽。1992年畢業於四川阿壩師範專科學校美術系。1993年到北京成為自由畫家。其作品多次參加國內外大展，多件作品被海內外人士收藏。尹坤是一位有才智、敏感、積極的年輕藝術家，畫畫是他對生活、情感、敏感和神經質部分的宣洩或是記錄。其作品涉及到廣泛的社會層面，通過描述當代人對某些社會異常現象的普遍漠視，揭示問題的關鍵和根源。尹坤關注當代人的生存體驗和現實感受，吸收了波普、玩世現實主義、艷俗等藝術形式及圖片等藝術語言傳達出一種直接的、尖銳的訊息；艷麗的畫面色彩旨在喚起一些希望和樂觀的生活態度。

447

Lot 121

Lot 123

Lot 124

YIN Jun (b. 1974)

WEI Ershen（b. 1956）

MAO Tongqiang (b. 1960)

Yin Jun was born in Sichuan in 1974, his major exhibitions are: 2005, the 12th China International Art Expo, Beijing; 2005, 1st SongZhuang-China Art Festival; 2006, “1st Professional Artists Join Exhibitions”, Gallery Ren, Beijing; 2006, kunstai-2006 Expo, Amsterdam, the Netherlands; 2006, “From SongZhuang”, Kerseboom Gallery, the Neatherlands.

Born in Harbin, Heilongjiang Provincial, Wei enrolled to oil painting department, Lu Xun Fine Arts Institute in 1977, after he graduated he stayed to teach. In 1985 he pursuits his master degree in the same school, and he has been teaching since then. He now is the headmaster / professor in Lu Xun Fine Arts Institute, the vice president of Liaoning Province Artists' Association, the Executive Board Member of China Oil Painting Association. His works had participated several important national and international exhibitions; he won bronze award in the 6th National Art Exhibition, gold award in the 7th National Art Exhibition, Oil Painting award in the 8th National Art Exhibition, grand prize in the 1st China Oil Painting Exhibition, the “Youth Award” from Wu Zuoren International Foundation of Fine Arts. In 1993, he received an award of achievements, and received benefits from the nation. His oil paintings “My Winter”, “Propitious Mongolia” are collected by National Art Museum of China. His works had been exhibited in Hong Kong, Singapore, Japan, United States and Europe.

Born in Yinchuan, China. Graduated in fine arts from Ningxia University and completed advanced studies in China Academy of Art. He currently lives in Ningxia. Mao Tongqiang had held different solo exhibitions in France, Singapore, Beijing and Shanghai. His early works based on Death Profile and Fashion Wig, two series of thinking that correspond to each other, daring to get rid of tradition to reveal the pain, the disquiet and the cruelty that had been concealed. He had been through so much sufferance, lived and witnessed pain and impermanence. He’s almost destined to create tragic works rather than comedic ones. He had explored innovative painting styles, and is quite treasured by international market and collectors. He’s also very internationally profiled, and indeed contains capability as a modern artist.

尹俊 (1974年生)

韋爾申（1956年生）

毛同強 (1960年生)

1974年生於四川。生涯中重要展覽如下：2005，第十二屆中國國際藝術博覽會，北京。2005，第一屆宋莊藝術節。2006，首屆職業藝術家繪畫聯展，仁畫廊，北京。2006，kunstai-2006博覽會，阿姆斯特丹，荷蘭。2006，來自宋莊， kerseboom gallery，荷蘭。

黑龍江省哈爾濱人。1977年考入魯迅美術學院油畫系，畢業後留校任教。1985年考取本院研究生，畢業獲碩士學位，此後一直從事教學工作。現為魯迅美術學院院長、教授，遼寧省美術家協會副主席、中國油畫展學會常務理事。作品曾多次參加國內外重要展覽，曾在第6屆全國美展中獲銅獎、第7屆全國美展獲金獎、第8屆全國美展獲油畫藝術獎、首屆中國油畫展獲大獎、吳作人國際美術基金會頒發的「青年獎」。1993年參加中國美術批評家提名展。1993年獲得突出貢

生於大陸銀川，畢業於寧夏大學美術系，結業于中國美術學院油畫系進修班，現居寧夏；毛同強於法國、新加坡、北京、上海都有其個展，在他的畫風裡前期作品是「死亡檔案」正與「時尚假髮」兩個系列相對應的思維，勇於突破傳統呈現出被掩蓋的痛苦，不安和殘酷，毛同強生活中有過太多的磨難，經歷和目睹了太多的痛苦和無常，毛同強注定要創作悲劇而不是喜劇式的作品，嘗試新的畫風，受國際市場及收藏家所喜愛，是一位國際觀注，且頗具潛力的藝術家。

獻獎，享受國務院專家特殊津貼。油畫《我的冬天》、《吉祥蒙古》為中國美術館收藏。作品曾在香港、新加坡、日本、美國以及歐洲等國家和地區展出。

448

Lot 125

Lots 126, 127

Lot 128

OUYANG Chun (b. 1974)

JI Dachun (b. 1968)

CHU Chen-yung (b. 1968)

Born in Xian, Shaanxi in 1974, graduated from the Xian Institute of Fine Arts in 1993. From Ouyang Chun, we see more traces of a autodidact, and it is exactly this feeling which “originated from life” made his behaviors far apart from the artistic creations born from schools, and not so easy and obvious to see the source of the picture. From Ouyang Chun’s works, you may be able to find the craziness of Basquiat, the roughness of Baselitz and the scorns of Keith Haring, but the one thing you will not be able to find is the sense of decadency which belongs to schooled art. Ouyang Chun is determined to give painting a brand new interpretation, and therefore uses a multi-variant style to structure his painting empire.

Born in Jiangsu, China, 1968. In 1993, Ji Dachun graduated from the Central Academy of Fine Arts with a B.A. (Oil Painting). This year, he was invited to participate in “the First Oil Painting Biennial of China” and later took part in Chinese Contemporary Union Show in 1998, Shanghai. At the same time, his instinctive style engaged the attention of overseas market. In 1997, he attended “Exceptional Realism” Show in the House of World Cultures, Berlin, Germany. In 1999, BASE gallery in Tokyo held his first solo exhibition. Among young Chinese artists, he has an obviously unique style. Not withstanding the multiplicity of art world, Ji Dachun’s work combines an intuitive understanding of human nature with a strong technique.

Born in Taipei. Chu was selected for the Crafts and Design category (pottery) in “the 14th Taipei City Art Exhibition” in 1987. He taught pottery and held several joint exhibitions in the Ming-Sheng Art Gallery from 1987 to 1991, and was engaged in pottery studies and the collection of pottery works in the pottery studio newly founded by the International Wen-Zhi-Ge Academy in L.A from 1998 to 1999. His own studio, Chu Pottery Academy, was established in 1999 in Taipei. Chu’s works were selected for the “International Biennial Exhibition of Ceramic Arts” in 2000, and received an award in the same year at “the 5th Asian Exhibition of Arts and Crafts in Japan”. Chu was invited for academic exchanges and joint exhibitions several times from 2001 to 2002 along with other pottery artists in Shi-Wan in China, Hong Kong, and Occupied the position of the 6th General Secre tary of Chinese Ceramics Association Vaiwan in 2003. “An Invitational Exhibition of Ceramic Art from Taiwan” in the National Museum of History in 2006.

歐陽春 (1974年生)

季大純 (1968年生)

初陳勇 (1968年生)

1974年生於陝西西安，1993年畢業於西安美術學院。在歐陽春的身上，更多的是自我教育的痕跡，也正是這種自覺地服從「來源於生活」的感受，令他的行動和學院出身的藝術創作拉開了距離，不是那麼明顯、輕易地就能看到畫面來源。在歐陽春的作品中，你或許可以找到巴斯奎阿特的癲狂、巴塞里茲的粗暴與基斯·哈林的戲謔，卻唯獨看不到屬於學院藝術的那套腐朽做派—歐陽春堅決要給繪畫一個新的解釋，因此，他用多變的風貌構建他的繪畫帝國。

1968年生於江蘇，1993年畢業於中央美術學院，翌年受邀參加「首屆中國油畫雙年展」，1998 年參加上海劉海栗美術館之「中國當代畫家聯展」。除了來自國內的肯定，其特立風格同樣引起海外市場的注目，1997年季大純於德國柏林世界文化宮「其他的現代藝術展」中展出，1999 年則在東京BASE畫廊舉行個展。新一代華人藝術家群中，季大純以紮實技法的基礎堅持自我風格，在瞬息萬變的藝術領域中，更顯其穩健無華，簡練大度的寬厚風範。2001年應邀參加成都國際藝術雙年展。

出生於台灣台北。1987年入選第十四屆台北市美展工藝設計類(陶瓷)，1987~1991民生藝術中心教授陶藝暨多次聯展。1998~1999年國際文止戈學會成立陶藝研究工作室於L.A，負責陶藝研究工作並蒐藏其作品。1999年成立初陶學會於台北。2000年入選中華民國國際陶藝雙年展，同年日本第五回亞洲工藝展受賞。2001~2002年多次受邀於中國石灣、香港、澳門等地，進行學術交流與陶藝家聯展。2003年任第六屆中華民國陶藝協會秘書長，2006年中華民國全國現代陶藝邀請展於國立歷史博物館。

449

Lots 129, 169

Lot 130

Lot 131

PANG Yongjie (b. 1968)

LI Jikai (b. 1975)

YANG Ren-ming (b. 1962)

Born in Dongming, Shandong in 1968, Pang Yongjie graduated from the Shandong normal university fine arts department in 1990, and pursued advanced studies in the Central Fine Arts academy during 1991-1993, held his solo oil paintings exhibition in China Art Museum in 1995, and in Hamburg, Germany and Beijing in 2000, participated in the Dutch Amsterdam Art exhibition in 2003. Presently lives in Beijing as a painter.

Born in Chengdu, China. Graduated in oil painting from Sichuan Fine Arts Institute. He currently teaches in animation department of Hubei Institute of Fine Arts. His works usually describe inner pain of Chinese young generation who grow up daydreaming under the red flag. His works also convey very typically that young artists strive into the psychedelic world of individual subconscious to get knowing impacts caused by modern unstable and messy life on new generations. Meanwhile, the surfaces of his works present a sense of nirvana and illusion, and are able to express multiple layers of implied meanings. Some significant exhibitions throughout his career are as followed: 2004, in He Xiangning Art Museum, Shenzhen, “Mood of the Youth—Exhibition of Rewarded Paintings of Chinese Newly Emerging Artists”; 2005, “Next Stop, Cartoon?” in Gallery 3818; 2006, ”Variable Images—Chinese Contemporary Oil Paintings Invitational Exhibition”, Shanghai Art Museum.

Born in Kaohsiung, Taiwan, Yang was graduated from Department of Fine Art oil paintings, Chinese Culture University in 1985; he also received the Hsiung Shih Best New Artist award in the same year. In 1988 he studied abroad in France. After his return in 1994 he held the “New plants grown from Black water” exhibition in Galocrie Pierre, Taichung, during this time he had a solo exhibition in Grigny culture center in France, held “Between imagination and reality” exhibition in American Cultural Center, Taipei; Tri annual exhibition in Daejeon, Korea; Biannual exhibition in Taipei Fine Arts Museum; “The Educated man” dual solo exhibition in Chicago Gallery; and New plants grown from Black water in the 8th Fukuoka Asian Art Museum international art exhibition.

龐永杰 (1968年生)

李繼開 (1975年生)

楊仁明（1962年生）

1968年出生於山東東明，1990年畢業於山東師範大學美術系，1991-1993年研修於中央美術學院，1995年於中國美術館辦個人油畫展，2000年於德國漢堡及北京舉辦個展，2003年參加荷蘭阿姆斯特丹藝術展。現居於北京，為職業畫家。

出生於成都。2004年畢業於四川美術學院油畫系。現任教於湖北美術學院動畫學院。李繼開的繪畫常是描繪出在紅旗下做白日夢成長的年輕人內心痛苦，且他的畫作典型地傳達了年輕藝術家一頭扎進個體潛意識的精神世界中，深探現代無常又雜亂的生活對新一代的影響力，同時，畫面上呈現出超脫或幻化性，並能表達多層次寓意。其重要展覽有下：2004年於深圳何香凝美術館《少年心氣—中國新銳繪畫獎作品展》。2005 年於北京星空間畫廊《下一站，卡通嗎？》。 2006年於上海美術館《變異的圖像—中國當代油畫邀請展》。

台灣高雄人，1985畢業於文化大學美術系西畫組，同年獲選雄獅新人獎。1988 赴法研習。回台後1994年於臻品藝術中心舉辦個展「從黑水長出來的新植物」，期間舉辦法國GRIGNY文化中心個展、台北美國文化中心個展「在想像與現實之間」、韓國大田三年展、台北市立美術館雙年展、芝加哥畫廊博覽會雙個展「知識份子」、日本第八屆福岡亞細亞國際美展「從黑水長出來的新植物」等。

450

Lot 132

CAO Jingping (b. 1972)

Lot 134

XIONG Yu (b. 1975)

Cao Jingping was born in Chongqing, graduated from the Attached School of Sichuan Art Institute in 1992, graduated from Department of oil Painting in Sichuan Fine Arts Institute and acquired bachelor degree. During 1997-1998, Cao went to Germany Kassel Academy of Fine Arts to pursue advanced studies, in 1999 graduated from Department of oil Painting in Sichuan Fine Arts Institute and acquired master degree. In 2001, Cao participated the “Sweet Illussions” six artist joint exhibition in Shanghai museum of Fine Arts, China; “Chongqing Chilies” in Kulturbahnhof, Germany; and “Post-Politics” in The Bloxham Galleries, London, UK.

LU Shun (b. 1966) Born in Shuzhou, Jiangsu Province. The artist had been studying photography since 1990. And he started to be a professional painter since 1992. He uses painting brushes as instruments of expressing his own philosophy of life and the true, the goodness and the beauty in which he believes profoundly; Within the space inside of his works, it overflows a kind of almost religious simplicity, purity and slight sorrow, meanwhile, the whole makes the spectators sense a tricky and mysterious atmosphere. The significant exhibitions of his career are as below: 2004, “Chinese Contemporary 100 Artists”, in Qianjing Gallery. 2005, The 3rd Trans China International Video Art Festival in China, Speed China, documentary Dog Days for Israel Images Communicative Exhibition; 2007, “Zhang Donghong, Lu Shun, Jing Yuchao Collective exhibition” in Today Art Gallery, Beijing.

曹靜萍 (1972年生)

熊宇 (1975年生)

呂順 (1966年生)

出生於重慶。1992年畢業於四川美術學院附中， 1996年畢業於四川美術學院油畫系並獲學士學位， 1997—1998赴德國卡塞爾美術學院學習， 1999年畢業於四川美術學院油畫系並獲碩士學位。2001 《甜蜜的幻覺》當代藝術六人作品展中國上海美術館。《重慶辣椒》展德國卡塞爾 Kulturbahnhof 。《後政治》藝術作品展於英國倫敦的 The Bloxham Galleries。

出生於四川成都，1995年畢業於四川美術學院附中，升入四川美術學院油畫系，1999年畢業於四川美術學院油畫系，同年考取四川美術學院造型藝術系油畫專業研究生，2002年獲四川美術學院油畫系碩士學位並任教於四川大學藝術學院。熊宇是繼羅中立、何多苓、張曉剛等人之後，中國油畫「四川畫派」的新秀。2002年作品參加成都「四川省青年美展」並獲獎，2004年作品參加深圳「少年心氣－中國新銳繪畫獎作品展」獲頒銅獎。

生於江蘇徐州。1990年於北京電影學院就讀攝影。自1992年為專職藝術家。他用畫筆表達自我的人生觀，及其所深信的真、善、美；其作品空間中充溢著一種近乎帶宗教意味的純粹、乾淨和淡淡的憂愁，同時令觀者感覺到一股神秘詭異的氣息。重要展覽有下：2004年中國當代百人展，千景畫廊。2005年第三屆穿越中國國際影像藝術節，速度中國中以色列影像交流展（紀錄片：《狗日子》）。2007年2月北京今日美術館「張東紅、呂順、景禹潮三人聯展」

451

Lot 136

MAO Yan (b. 1968)

ZHANG Jian (b. 1968)

Born in Xiangtan, Hunan, Mao Yan graduated from the School of Oil Painting at the Central Art Academy in 1991. Currently residing in Nanjing where he teaches at the Art Department of the Nanjing Academy of Fine Arts and is a director of the Chinese Oil Painting Society. Mao Yan’s work has always drawn attention with his conceptual portraits. The extreme focus on technique in his artwork comes from the artist’s sensitivity and forms the foundation of the painter’s ability to capture the essence of the subject. The very detailed paintings show a fusion of form and essence, approaching the ultimate ideal of portrait art. Mao Yan’s mastery of his discipline and mature painting style emerged in the mid-1990’s, representing a new level of achievement in China’s Realism school. He has won awards such as the Oil Painting Award at the 2nd China Oil Paintings Exhibition and Outstanding Artwork Award at the 2nd China Fine Art Expo.

Zhang graduated in 1993 from the School of Fresco Painting at the Central Art Academy and now works as a professional artists. In 1995 entered work in the Beijing International Art Palace's "Entry" tri-artist exhibition, in 1996 held the "Paintings of Zhang Jian" exhibition in Beijing and in 1997 participated in the "Oil Paintings from Young Chinese Artists of the New Century" exhibition held by the National Art Museum of China. Over the years Zhang's artworks have traveled to exhibitions in Italy, Hamburg, Bangkok, Hong Kong and Taiwan, attracting the interest of many collectors.

HUANG Gang (b. 1961)

毛焰 (1968年生)

章劍 (1968年生)

黃鋼 (1961年生)

出生於湖南湘潭，1991年畢業於中央美術學院油畫系，現居南京，任教於南京藝術學院美術系，任中國油畫學會理事。毛焰一直以他的觀念性肖像繪畫受到世人矚目，作品中極端的技巧主義來自於作者敏銳的感受力，這種天賦是畫家傳神寫照的根本，細緻如神經末梢的刻畫顯示了形、神相融的境界，這是肖像藝術中趨於完美的體現。毛焰這種融貫通的成熟觀念和風格出現於九十年代中期，代表著中國寫實繪畫的新高度。其作品曾於第二屆中國油畫展獲中國油畫藝術作品獎、第二屆中國藝術博覽會獲優秀作品獎。

1993年畢業於中央美術學院壁畫系，現為職業畫家。1995年作品參加北京國際藝苑美術館「入境」三人展，1996年於北京舉辦「章劍繪畫作品展」，1997年北京中國美術館「走向新世紀中國青年油畫展」，歷年來作品遠赴義大利、德國漢堡、泰國曼谷、香港、台灣等地展覽，為收藏家喜愛與收藏。

1961年出生在中國北京，畢業於中央工藝美術學院。八十年代在中國內地以西藏題材創作藝術作品十分流行，人們大都熱衷於表現這裡神奇而未被現代文明污染的壯美的自然環境、獨特的風土人情，黃鋼於那時開始對西藏文化、宗教、藝術產生了濃厚興趣，開始了西藏古典繪畫藝術品的收藏，研究這種藝術產生的社會、宗教、哲學背景。之後創作了西藏文字系列作品，但他是以一種不同於其他藝術家，前所未有的藝術方式進行創作。黃鋼的藝術作品在世界各地多次展覽。在德國、法國、瑞士、美國等國家及香港舉辦過個人展覽，並獲得極大成功。得到了不同國家不同文化背景的關注、認同和高度評價。

452

Lot 138

SONG Yonghong (b. 1966)

Lot 139

Lots 140, 141

REN Xiaolin (b. 1963)

SHI Hu (b. 1942)

Born in Beijing, Ren was graduated from the department of oil painting in Sichuan Fine Arts Institute, went to the department of fresco in Central Academy of Fine Arts to pursue advanced studies in 1991. In 1989, He participated in the "China Contemporary Art Exhibition" held in the National Museum of Fine Arts; his works had also won the bronze award in the 7th :National Art Exhibition". In 1993, he participated the "China Contemporary Art Exhibition" held by Fung Ping Shan Museum in Hong Kong, Participated in the 2nd "China Oil Painting Exhibition" and the 8th "National Art Exhibition" held by the National Museum of Fine Arts, Ren had won excellent prizes in both exhibitions. In 2000, he participated in the "20th Century China Oil Painting Exhibition" held by the National Museum of Fine Arts. He currently teaches in the department of fine art in Guizhou Normal University.

Born in Hebei, graduated from Beijing College of Art & Design and Zhejiang Academy of Fine Arts, Shi was the editor of the Beijing Publisher during 1977 to 1989. He had traveled to Africa, and was obsessed with the traditional cultures of Africa; therefore he showed strong personal colors in the modeling and coloring. His works are highly praised by the collectors from south-east Asia, Hong Kong and Taiwan.

宋永紅 (1966年生)

任小林 (1963年生)

石虎 (1942年生)

1966年生於河北曲陽，祖籍山西，1988年畢業於浙江美術學院版畫系，1988年任教於北京市工藝美術學校，現為職業藝術家。1998年參加美國紐約MOMA「中國現代藝術展」，1999年參加美國舊金山LIMN GALLERY「中國當代藝術展」。

出生於北京。1986年畢業於四川美術學院油畫專業。1991年於中央美術學院壁畫系進修。1989年參加在中國美術館舉辦「中國現代藝術大展」，作品獲「第七屆全國美展」銅獎。1993年參加在香港馮平山美術館舉辦「中國現代藝術展」並先後於國際藝苑美術館、中央美術學院畫廊、臺灣高雄炎黃藝術館舉辦個展。1994年參加在中國美術館舉辦「第二屆中國油畫展」及「第八屆全國美展」，均獲優秀作品獎。2000年參加在中國美術館舉辦「20世紀中國油畫展」。2002年參加在四川成都現代美術館舉辦「成都雙年展」。2003 年參加在廣州藝術博物院舉辦「中國藝術三年展」。2004年參加在北京中國美術館舉辦「第三屆中國油畫展」。2005年參加在成都國際會議中心舉辦「世紀天堂－成都雙年展」、中國美術館舉辦「大河上下－新時期中國油畫回顧展」。作品為中國美術館、臺灣山美術館、香港馮平山美術館及深圳美術館等收藏。現任教於貴州師範大學藝術系。

生於河北，畢業於北京工藝美術學院及浙江美術學院。1977至1989年間任北京人民美術出版社編輯亦從事牙雕創作。他曾旅行非洲，深愛非洲民間藝術，在造型及用色上表現強烈個人色彩。 1990年移居澳門，作品深受東南亞及港台的收藏家所喜愛。

453

Lot 142

Lot 144

Lot 146

TSENG Ching-kan（b. 1958）

CAO Li (b. 1954)

LUO Fahui (b. 1961)

Born in Taipei, Taiwan, Tseng graduated from Department of Fine Art oil paintings, Chinese Culture University in 1981; acquired master degree from Department of Fine Art, University of Michigan in 1989. Held “Life, Architecture, Order” solo exhibition in Dimensions Art Center in 1991. In 1992, his work was collected by Taipei Fine Arts Museum, held joint and solo exhibitions in Taiwan gallery, IT Park Gallery, Apartment #2 Taipei, Up Gallery and New Phase art gallery in the same year. In 1994 exhibited “Discovering New Energy” in Hanart TZ Gallery, “Persistence and Continuation” in Lin & Keng Gallery, 1997, “The worrier, The Bull and The Horse” solo exhibition in Dimension Endowment or Art in 1998, “Sketches of Attractions: Shadowplay” in Eslite Gallery, 2000 and “Sounds of Silence” exhibition in Hong-Gah Museum, 2001.

Born in Guizhou, Cao was graduated in 1982 from the Wall Painting Department of the Central Academy of Fine Arts. Now he is an associate professor of the Wall Painting Department of the Academy. He held "The works of Cao Li" at Ia Facultad de Bellas Artes de Madrid in Spain in 1992, participated in "The Open Door - China Oil Paintings exhibition" in 1997, 10th National Art Exhibition held by National Museum of Fine Arts in Beijing, 2005, and in the "Imagery of Mt. Wuyi: the Debut Interactive Creation of Chinese vis-à-vis German Artists on International Tours" in 2006.

曾清淦（1958年生）

曹力 (1954年生)

羅發輝 (1961年生)

台灣台北人，1981年畢業於文化大學美術系西畫組，1989 美國密西根大學藝術系碩士。1991 年於帝門藝術中心舉辦個展「生命、建築、秩序」。1992 年作品獲台北市立美術館典藏，並於台灣畫廊、伊通畫廊、台北「2號公寓」、阿普畫廊，及新生態藝術中心舉辦聯展及個展， 1994漢雅軒展「發現新能量」、1997 臻品藝術中心展「堅持與延續」、1998 帝門文教基金會個展「武士，野牛，馬」、2000 誠品畫廊展「魅力素描展－捉影」、2001 鳳甲美術館展「大音希聲」等。

生於貴州。1982年畢業於中央美術學院壁畫系。現任中央美術學院壁畫系副教授，教研室主任。 1992年於西班牙馬德里藝術中心舉辦「曹力作品展」、1997年於美國奧克拉荷馬州參加「開放之門－中國油畫展」、2005年於北京中國美術館參加全國第十屆美術作品展，2006年參加中、德國舉辦「意象武夷－中德兩國藝術家首次面對面互動創作」國際巡迴展。

生於中國重慶，1981年畢業於四川美術學院附中，1985年畢業於四川美術學院油畫系。自1990 年-2003年陸續於美國西雅圖、英國倫敦、北京、成都、臺灣、香港等地舉辦個人展覽，於今年(2006年)參加「意象武夷—中德兩國藝術家首次面對面互動創作國際巡迴展」（中國、德國），並於杭州中國美術學院美術館舉辦「飄浮的欲望－羅發輝油畫作品展」。

454

Lot 148

Lots 150, 151, 152, 153, 154, 155

ZHANG Hui (b. 1969)

XIANG Qinghua (b. 1976)

ZHOU Chunya (b. 1955)

Born in He-Bei. Zhang graduated from the SiChuan Fine Arts Institute in 1993 and started to live and work in Beijing in 1998. Zhang is now a full-time painter. In Zhang’s paintings, the audience can see the impact of social and cultural changes on female subjects. In particular, the post-ideology in China of the 90’s is characterized by the freedom for self-expression and body-liberation. Such a background promotes cuteness and cartoonization as well as a selfcontentment and indifference in respect to the political and social responsibilities of the younger generation. Little by little, young females have lost the ability of the traditional woman for independent thinking and the desire for selfliberation, albeit all the satiated pleasures as a woman. Such change may be called a cultural regression. Zhang’s exhibition resume includes “At work, off work” in 2005 and the “Time and Space Exhibition” in the 798 Factory in Beijing in 2006.

Born in Yunyang Congqing in 1976, entered the Department of Oil Painting in Sichuan Fine Arts Institute in 1997, and has been teaching at the Chuanyin Chengdu Academy of Arts since 2001. Xiang Qinghua’s pictures have a strong sense of composition, but the language of form is simple. The colors are basically flat colors, using the difference between warm and cold colors to create space and distance in the pictures. No extra illustration or strong spiritual pursuits. The characters are childish, the facial expression somewhat sluggish with a deformed intentional image, but the whole picture is mild among the low-key grey tones, as if covered by age. The simple and ordinary life covers up the world the artist personally desires – meditative nostalgia for childhood and quiet review of reality.

Born in 1955 in Chengdu, Sichuan Province. Zhou Chunya graduated from the Department of Oil Painting of the Sichuan Institute of Fine Arts in 1982. Zhou also graduated from the Fine Arts College of German Kassel University. He currently works as an artist at the Chengdu Academy of Painting in Sichuan. Zhou's works have been shown at "The Documentary Exhibition of Chinese Contemporary Art" (Beijing, 1991), "China Experience" (Chengdu, 1993), "China's New Art - Post '89" (Hong Kong, 1993), "The Annual Exhibition of Art Critics Nomination" (Beijing, 1994), "China!" (Bonn, 1996) and "The first Shanghai Biennial" (Shanghai, 1996). His work can be found in the public collection of the Austria Linz Art Museum.

張慧 (1969年生)

向慶華 (1976年生)

周春芽 (1955年生)

出生於河北，1993年畢業於四川美術學院，1998 年開始於北京生活及工作，現為專職畫家。在張慧畫筆下的女子中我們可以嗅到社會文化背景轉變對其造成的衝擊或感染力，特別是九十年代中國的後意識型態，而其特徵為加大了自我表達及解放身體的自由度，這樣的背景促使了年輕一代傾向於可愛化及卡通化成長發展，在政治與

1976年生於重慶雲陽，1997年就讀於四川美術學院油畫系，2001年至今任教於川音成都美術學院。向慶華畫面的構成感很強，形式語言卻很單純。畫面色塊基本都是平塗，靠色彩的冷暖來拉開畫面的空間距離。沒有過多的語言陳述、沒有強烈的精神訴求。人物造型稚拙、表情略顯呆滯、形象刻意變形，整個畫面在毫不張揚的灰調中顯得不溫不火，如同蒙上歲月的塵埃，質樸平凡的生活場景遮蔽的是畫家個人的內心世界—— 對童年的冥冥懷想、對現實的靜靜審視。

四川成都人。1982年畢業於四川美術學院油畫系。1988年畢業於德國卡塞爾綜合大學美術學院自由藝術系。現在為成都畫院專職畫家。1980年作品入選第二屆全國青年美展獲二等獎。1982年參加紐約中國當代油畫展，1984年參加香港四川油畫展，同年參加前進中的中國青年畫展。1987 年舉辦個人畫展於德國杜塞道夫，1988年於奧地利林茨舉辦個人畫展，同年參加德國比勒費爾德國際五人作品展。1992年入選「廣州九十年代藝術雙年展」獲學術獎。1993年參加香港「後八九中國新藝術展」，同年與葉永青、張曉剛等舉辦中國新經驗展。1996年應邀參加第一屆上海雙年展。作品為奧地利林茨美術館典藏。

社會責任上也採取自娛甚或置身事外之態度，漸漸地，失去了傳統女性擁有的獨立思考能力及自我解放的真實欲望，即使她們享受了所有作為女人的歡樂。而不幸地，這在文化層面上是一種倒退。張慧繪畫生涯重要展覽如下： 2001年9 月於北京中國軍事博物館《中國當代油畫藝術邀請展》。2002年1月於北京BS藝術空間《陌生與微笑》展覽。2005年於北京798藝術區《上班下班》展覽。2006年於北京798藝術區《時態空間展》。

455

Lot 158 Lot 156 Lot 157

YAN Pei Ming (1960)

ZENG Fanzhi (b.1964)

TU Hongtao (b. 1976)

Born in Shanghai. Currently Lives and works in Dijon. Since 1981 until 1986, he studied in Ecole Nationale des Beaux-arts Dijon.; He studied in Institut des Hautes Etudes en Arts Plastiques de Paris afterwards from 1988-1989, and in Italian Académie de France in Rome from 1993-1994. Since 1995, he teaches in Ecole Nationale des Beaux-arts Dijon. He had participated “Studio 88” (1988, Museum of Modern Art of Paris), “Exercise 2” (1991, Centre de Pompidou), “Chinese Avant-garde Art” (1993, Berlin, Rotterdam, Oxford), “Biennale of Venice” (1995), “Biennale of Lyon”(1997), “Biennale of Gwangjiu” (2000, Korea), “Biennale of Shanghai” (2000), “Biennale of Pankoo” (2002, Korea) and other international reputed exhibitions and art fairs.

Born in 1964 in Wuhan, Hubei, Zeng Fanzhi graduated from the oil painting department in Hubei fine in 1991. Presently lives in Beijing as a painter. He conducted many important exhibitions, includes the "Zeng Fanzhi art exhibition" held in Hubei fine arts museum in 1990, the "80's China fine arts (oil paintings) biannual exhibition" held in Guangzhou in 1992, "post-'89 China new art exhibition" held in Hong Kong in 1993, "Walk away from national ideologyChina new art" held in Hamburg international avant-grade cultural center in Germany in 1995, "Zeng Fanzhi: False face" held in Barcelona contemporary art museum in Spanish and Hanart T Z Gallery in Hong Kong, "The Future" held in Macao contemporary art center in 2000, "Behind the mask" held in Shanghai Shangrila Gallery in 2001, "Paris-Beijing" held in Pierre Cardin center in France and "The 1st session Guangzhou 3 years exhibition" in Guangdong art museum in 2002, and "I, We" held in Shanghai Art Museum.

Born in Chengdu, Sichuan, Tu Hongtao graduated from the Sichuan Art Academy attached middle school in 1995. In 1998 he attained an outstanding prize from the Li Chun-shan art foundation in Taiwan. He graduated from the oil painting department in the China Art Academy in 1999, and teaches in the art design department in Chengdu University. In 2006, he participated in the "Fiction@Love" exhibition tour held by Museum of Contemporary Art Shanghai.

嚴培明（1960年生）

曾梵志 (1964年生)

屠宏濤 (1976年生)

出生於上海。1981年移居法國第戎。1981-1986 年就讀於法國第戎國立美術學院。1988-1989年法國巴黎造型藝術高級研究院學習。1993-1994 義大利羅馬法蘭西學院學習。1995年至今為法國第戎國立美術學院教授。先後參加「畫室88」（1988年，巴黎現代藝術博物館）、「運動2」（1991年，龐畢度藝術中心）、「中國前衛藝術」（1993年，柏林、鹿特丹、牛津等）、「威尼斯雙年展」（1995年）、「里昂雙年展」（1997年）、「光州雙年展」（2000年，韓國）、「上海雙年展」（2000年）、「釜山雙年展」（2002年，韓國）等國際大展。

1964年生於湖北武漢，1991年畢業於湖北美術學院油畫系。現居北京，職業畫家。舉辦的重要展覽包括，1990年湖北美術院美術館「曾梵志作品展」1992年廣州「九十年代中國美術（油畫）雙年展」，1993年香港藝術中心「後89’中國新藝術展」，1995年德國漢堡國際前衛文化中心「從國家意識形態出走－中國新藝術」，西班牙巴賽隆納現代藝術博物館，以及香港漢雅軒畫廊「曾梵志：假面」，2000年澳門當代藝術中心「未來」，2001年上海香格納畫廊「面具之後」， 2002年法國皮爾、卡丹中心「巴黎－北京」，廣東美術館「首屆廣州三年展」，2003年上海美術館「我、我們」等。

出生於四川成都。1995年畢業於四川美院附中。 1998年獲台灣李仲生基金會優秀獎。1999年畢業於中國美院油畫系，現任教於成都大學設計藝術系。2006年曾應邀參加上海當代藝術館舉辦的《虛擬＠愛》巡展。

456

Lot 160

JAN Chin-shui (ZHAN Jin-shuei, b. 1953)

YIN Zhaoyang (b. 1970)

ZHANG Handong (b. 1964)

Born in Henan, graduated from the Central Institute of Fine Arts in Beijing, Department of The Printmaking, now resides in Beijing. Yin is an artist who selects the pulse of an era as his subject. His solo exhibitions include “Myth” (2001, Beijing Art Museum) and “Utopia” (2004, Beijing Central Art Museum). Group exhibition he had participated includes “Gruelty of Youth Painting” (2002, Shanghai DDM Warehouse and Beijing Yan Huang Art Museum), “Images Image Exhibition” (2003, Shenzhen Art Museum), and “The Power of Personality - a travelling exhibition of progressive art”.

Born in the hometown of prints, Yunnan in 1964. Zhang is a talented painter. He graduated in fine arts department from Yunnan Arts University. He had been vice-director in fine arts department of Yuxi Normal University, he is currently the vice-principal of Nieer Arts University. His way of creating is passionate but conscientious and careful at the same time. The style is simple but touching. He constantly conveys the characteristics of people, events, places and objects that he’d experienced vividly through his tactful academic skills. No matter in China or abroad, we could find his gorgeous work in many significant architectures. He’s one of the artists whose works are quite popular for collection. Zhang is still in his summer of life, won several important art prizes in these years. All reveals his infinite artistic potential. In 1998, his oil painting works participate in “Art Taipei 98”, in 2004, Zhang participated in the first Gallery Fair in Beijing. In 2006, he’s one of the invited artists of Munich oil paintings exhibition and held “Revitalized Homeland-Zhang Handong Solo Exhibition” in Taipei.

Born in Miao-li, Taiwan. Jan Chin-shui graduated from the Fine Arts Department of National Taiwan Academy of Arts. He was awarded the first prize in the 11th National Fine Arts Exhibition in 1987 and the Golden Literature & Art Prize from the Ministry of Education in 1989. Jan participated in an important exhi-bition of Chinese contemporary art in Shanghai in 1997. He has published four exhibition cat-alogues and his works can be found in the public collection of the Taipei National Taiwan University of the Arts (today’s Taipei University of the Arts).

尹朝陽 (1970年生)

張漢東 (1964年生)

詹金水 (1953年生)

生於河南，畢業於北京中央美術學院版畫系，現居北京。尹朝陽是一位以時代脈動為題材的畫家。曾發表的個展有2001年「神話」（北京藝術博物館）和2004年「烏托邦」（北京中央美術館）。曾參加的群展有：2001年成都雙年展、 2002年上海東大名藝術創庫和北京炎黃藝術館的「青春殘酷繪畫」、2003年深圳美術館的「圖像的圖像展」及「個性力量－新銳藝術巡迴展」等。

1964年出生於版畫的故鄉─雲南的張漢東教授是一位才氣型的畫家。畢業於雲南藝術學院美術系，曾任玉溪師範學院藝術系副主任，現為聶耳藝術學院副院長。張漢東作畫的理念熱情而嚴謹，畫風則純樸且感人。他一向真誠地把自己親身經歷的人事地物，透過老練的學院派技法，十分傳神的舒發出來。海內外有許多重要建築都可看到他精彩作品的蹤跡，是當今深具收藏潛力的畫家。張氏雖仍是青壯之年，但歷年來頻得大獎，處處顯示其無可限量的藝術潛力。1998

台灣苗栗人。專業畫家，擅長油畫。1986年國立藝專美術科畢業。1987年曾獲第十一屆全國油畫展金牌獎，1989年獲教育部文藝創作獎油畫金牌獎。1997年參加上海舉辦之中國當代藝術大展。出版有四本個人畫集。作品收藏機構有國立藝術學院（今國立台北藝術大學）。

年，其油畫作品參加台灣「’ 98台北國際藝術博覽會」展出，2004年油畫作品參展北京首屆畫廊博覽會，2006年德國慕尼黑油畫邀請展及在台北舉辦「重返生命的家園」張漢東油畫個展。

457

Lot 166

Lot 167

WANG Yen (b. 1956)

LUO Qing (b. 1970)

DUAN Jianwei (b. 1961)

Entered the Department of Oil Painting, Luxun Academy of Fine Arts in 1977, graduated with BA in 1982, stayed behind to teach up to now, and is currently the associate professor for the Second Workshop at the Department of Oil Painting, Luxun Academy of Fine Arts, member of the China Artists Association and the China Oil Painting Society. In 1984, “When Spring Breeze Starts” was entered in “China Sixth National Art Exhibition” and awarded with the Outstanding Prize. In 1985, “Embroidery Girl” was entered in the “China Youth Art Exhibition”. In 1988, “The Call of Spring” was entered in the “China Red Cross Art Exhibition” and awarded with Outstanding Prize. In 1989, “The Boy Seeking Balance at Dusk” was entered in the “China Seventh National Art Exhibition”, awarded with Silver Prize, and later displayed in Japan. His works are housed by the Shanghai Art Museum.

Born in Nanchang City, Jiangxi Province. After graduated with MA from the Oil Painting Department, Central Academy of Fine Art, currently Luo Qing is teaching at the Academy of Chinese Traditional Opera in Beijing. He is renowned for his landscapes and portraits of contemporary China. He captures scenes and images of everyday life that people often take for granted or dismiss. His “Ruins” series sees him taking on the subject matter or rubble and trash. Predominantly painted in a monochromatic palette, these landscapes are a stark contrast to conventional, pastoral landscapes. Yet, they are beautiful too. These ruins are a result of construction and reconstruction that is taking place all throughout China now. Buildings get torn down today, and are forgotten tomorrow. By taking a snapshot of this, Luo Qing is keeping these memories for posterity.

Born in Henan. Graduated in 1981 from Henan University. He was appointed by Wenxin Publish house in 1984. The important Exhibition：“Duan Zhengqu,Duan Jianwei Oil painting Exhibition” in 1991 (Gallery of Central Academy of Fine Arts).“Four People Oil Painting Exhibition”in 1993 (“Duan Zhengqu, Duan Jianwei Oil Painting Exhibition”(Gallery of Central Acade of Fine Arts) in 1996 (China Art Gallery).“About Hominine Description Exhibition” in 1998 (London).“Six people Exhibition” in 1999(Jinan of Cbina). Many of his works participate in important exhibition and collected by Art institute and oversea personal collector.

王岩 (1956年生)

羅清（1970年生）

段建偉 (1961年生)

1977年考入魯迅美術學院油畫系，1982年畢業獲學士學位，同年留校任教至今。現為魯迅美術學院油畫系第二工作室副教授。中國美術家協會、中國油畫學會會員。1984年《春風吹來的時候》參加「中國第六屆全國美術作品展」，獲優秀作品獎。1985年《繡花女》參加「中國青年美術作品展」。1988年《春天的呼喚》參加「中國紅十字美術作品展」，獲優秀作品獎。1989年《黃昏時尋求平衡的男孩》，參加「中國第七屆全國美術作品展」，獲銀獎，並赴日本展出。作品由上海美術館收藏。

生於江西省南昌市，中央美術學院油畫系畢業，目前任教於北京中國戲曲學院。畫家羅清以其現代風景畫和肖像畫而聞名。他善於捕捉人們日常生活的瞬間。他的「廢墟」系列以粗石垃圾為主題。羅清突破了傳統風景畫的表現形式，大多以單色來表達，風景卻同樣美麗。這些廢墟是中國大量興建工程和重建工程的結果。許多建築今天還在如火如荼大興土木，明天就可能已經被人忘卻。羅清用他的畫筆為我們保留著記憶。

1961年出生於河南許昌。1981年畢業於河南大學 (原開封師範學院藝術系)。1982年分配到三門峽河南第二印染廠圖案室工作。1983年借調到出版社。1991年調入文心出版社任美術編輯至今。 1991年在中央美術學院畫廊舉辦「段正渠．段建偉油畫展」。 1993年在中央美術學院畫廊舉辦 “油畫四人展”。1996年在北京國際藝苑美術館舉辦“中間地帶——段正渠．段建偉作品展”。 1998年在英國倫敦舉辦「人的描述」展覽。1999 年濟南舉辦「六人展」。2002 三月調入北方工業大學藝術設計學院任教。作品曾參加「前進中的中國青年美術作品展覽」、「首屆中國油畫年展」、「當代中國油畫邀請展」、「第二屆中國油畫年展」、「第八屆全國美展優秀作品展覽」、「中國油畫學會展」、「中國油畫肖像百年展」、「中國藝術大展」、「中國青年油畫展」等。

Lot 165

458

Lot 175

Lot 176

LI Song (b. 1965)

HUANG Yuxing (b. 1975)

ZHAO Nengzhi (b. 1968)

Born in Mu Ling, Hei Long Jiang in 1965, Li went to Harbin in 1981 for painting studies, and to Yuanmingyuan, Beijing in 1993, he now lives in Beijing. We can still find his learning path from his current paintings; discover his steady learning stages from his stills paintings, character paintings. His objects in his paintings are closely connected to its environment, there are no particular subjects, he’s not pursuing thoughts or symbols, but we sense a spirit inside those pictures. His exhibitions include: “Brick”, Yan Huang Museum, Beijing, April 2004; Goedhuis Contemporary Gallery, New York, March 2005. Joint exhibitions include: “Body Warmth: Hans Christian Andersen’s 200th Anniversary”, China Contemporary Exhibition, 2005; The Art Museum of the China Millennium, Beijing; and North Jutland Museum of Art, Aalborg, Denmark.

Huang graduated and got Excellence Award on Work Exhibition of Graduates from Department of Mural, Central Academy of Fine Arts in 2000. He won the First Prize of the Fifth Annual China Student Ice-Sculpture Competition in 1993 and Top Prize of the Sixth Annual China Student Icesculpture Competition in 1994. In 1995, he held "Huang Yu Xing - Personal Sketch Exhibition" in New Times Art Museum, Beijing. The work "Impression of Chifeng" has been published on "Beijing Evening News". In 1997, he participated in "Excellence Exhibition of Student's Work in the Central Academy of Fine Arts", Madrid National Art Institute of Spain. In 2001, he got the interview with Phoenix TV, Hong Kong and the program "Special China", Channel V. In 2003, he held "Fantastic Viewing" solo exhibition in Soka Art Center, Beijing.

李松 (1965年生)

黃宇興 (1975年生)

趙能智 (1968年生)

1965年生於黑龍江省木棱市朝鮮族，於1981年赴哈爾濱學畫，1993年赴北京圓明園，目前居住於北京。從他現在的畫中還可以看出他當年學畫的一些痕跡，比如說喜歡畫靜物，喜歡畫肖像。從他自己學畫到進入創作，是非常平穩過來的。他畫的東西離不開周圍的環境，他沒有畫特定的題材，也不追求思想性、象徵性，但是我們在他的畫裡面感覺到一種精神的存在。曾舉辦的個展有： 2004年4月「磚」，炎黃藝術館，北京； 2005年3月Goedhuis Contemporary畫廊，紐約。曾參與的聯展：2005年「體溫：紀念安徒生誕辰 200周年」，中國當代藝術邀請展；「中華世紀壇」，北京；「北日德蘭藝術館」奧爾堡，丹麥。

2000年畢業於中央美術學院壁畫系，獲中央美術學院優秀畢業創作獎。1993年和1994年分別獲第五屆中國學生冰雕塑比賽一等獎、第六屆中國學生冰雕塑比賽特等獎，1995年於北京新時代美術館舉辦「黃宇興個人速寫」，作品《赤峰印象》並接受《北京晚報》專訪。1997年參加西班牙馬德里國立藝術學院「中央美術學院優秀學生作品展」，2001年中國香港鳳凰衛視與Channel[V] 《非常中國》專訪，2003年北京索卡藝術中心舉辦「奇遇」個展。

出生於四川，1990年畢業於四川美術學院。曾參加1993年北京「中國油畫雙年展」，1994年重慶「切片藝術展」，1998年荷蘭阿姆斯特丹「困惑－中國當代繪畫攝影展」，1999年美國波士頓「99國際藝術展」，2001年英國倫敦中國當代畫廊舉辦「趙能智個展」，2005年參加法國第一屆蒙彼里埃「中國當代藝術雙年展」，同年並於南京博物院參加「未來考古學－第二屆中國藝術三年展」及成都世紀城美術館參加「第二屆成都雙年展」，作品深獲好評。

459

Lots 179, 201

CHIU Ya-tsai (b. 1949)

Alixe FU (b. 1961)

YANG Hsing-sheng (b. 1938)

Born in Taiwan in 1961, he graduated from the Academy of Fine-Arts of Taipei in Taiwan. Since his first individual exhibition in 1983 in Taipei, he has had many individual shows in Taiwan, France, Japan and New York. He has been living and working in France since 1987. In 1991, he was given a studio in Auvers-surOise by the French Ministry of Culture. He had held solo exhibitions: in 2002, “Vegetable Man, Animal Man I”, Miyabi Gallery, Nagoya (Japan) 2003.“XVI Nagoya Contemporary Art Fair”, Gallery Miyabi, Nagoya, Japan. In 2004, “Vegetable Man, Animal Man III” in Blois Chateau and Museum, Blois, France.

Born in Chianghsi. Yang is a graduate of the National Taiwan Normal University. Since 1965 he has held many solo and joint exhibitions in Spain, Japan and Taiwan. He founded the Lung Men Fine Arts Gallery and Continental Fine Arts Gallery and is now the proprietor of the Seventh Fine Arts Gallery. He has earned Golden Cup Award for Oil Painting from the Chinese Painting Society and the Chinese Literary Association's 28th Oil Painting and Literary Medal. He has been committee members of China Painting Association, Taipei Fine Arts, and Provincial Fine Arts Exhibitions and served as a member of the Taiwan Provincial Fine Arts Museum's Classics Curatorial Committee.

傅慶豊 (1961年生)

楊興生 (1938年生)

邱亞才 (1949年生)

1961年出生台灣，畢業於中國文化大學美術系。 1983年在台北首次個人畫展，隨後在巴黎、紐約、北京、法國、日本、台灣等地個展。1987 年以藝術家身份旅居法國， 1991年獲法國巴黎西北郊三十公里梵谷村國家永久畫室。傅慶豊曾舉辦過的個人展覽包括：2002年「植物人、動物人I」，美雅畫廊，名古屋，日本；2003年「X V I屆名古屋當代藝術博覽會個展」美雅畫廊，日本； 2004年「植物人、動物人III」布洛斯古堡美術館，布洛斯市，法國。

生於江西。師大美術系畢業後赴美，於密蘇里州立師範學院藝研所及新墨西哥州立高原大學藝研所研究。1965年起，曾在西班牙、日本等國及國內各畫廊舉辦多次個展及聯展，也先後創辦龍門、大陸畫廊，現為專業畫家。曾獲中華民國畫學會油畫金爵獎、中國文藝協會28屆油畫繪畫文藝獎章。擔任過畫學會、北市美展、全省美展評審委員及省立美術館典藏委員。

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

460

Lot 181 Lot 180 Lot 182

TSONG Pu (b. 1947)

JIAO Xingtao (b. 1970)

YANG Mao-lin (b. 1953)

Born in Shanghai in 1947 and graduated from Universidad Complutense de Madrid in 1978. He won the Taipei Mayor's Award of the Chinese Modern Painting New Prospection show in 1984 and the Taipei Modern Art Biennale Award in 1992. Since 1970 he held many personal and joint exhibitions domestically and abroad. He used small imprints to constitute big units on composition in his early years and compared those small mechanical-like grids to his own worldview. His works were collected by the Taipei Fine Arts Museum, Hara Museum of Contemporary Art, Japan, Portside Gallery, Yokohama, Japan, and National Taiwan Museum of Fine Arts.

Born in Chengdu, Si Chuan in 1970, Jiao graduated from Sichuan Academy of Fine Arts. Now works and lives in Chongqing. He participated in various exhibitions, including: “Shanghai Jingwen Art Exhibition”, Shanghai; “Beijing International Urban Sculpture Exhibition”, China National Museum, Beijing, 2002; “Chongqing Art Museum opening exhibition - Intensely Interesting Arts”, Chongqing; “Beijing 1st International Art Biannual Exhibition”, China National Museum, Beijing; “10 Art Academy joint Exhibition”, Academy of Fine Arts, Tsinghua University, Beijing; “Japan Oita International Sculpture Exhibition”, Japan, 2004; “The 2nd Chengdu Biannual Exhibition”, Chengdu Modern Art Gallery, Chengdu, 2005; “Contemporary Art Almanac Exhibition of China”, The Art Museum of the China Millennium, Beijing, 2006; “New South-West Contemporary Painting Exhibition 1985-2007”, Guangdong Museum of Art, Guangzhou, 2007.

Yang was the first director and a founding member of the Taipei School, in 1991 he won the first Art Creation Award of Hsiung Shih Fine Arts; his works have been shown in numerous exhibitions, including his first personal exhibition at the Taipei Fine Arts Museum; in 1990 he participate in the Taiwan Art Museum Exhibition 300 years of Taiwan Art; in 1995 his works were included in the “Exhibition of Taiwanese Art” in Rome. Yang Mao-lin's works represent a segment of Taiwanese history and build up time/ space juxtapositions; they take a critical and even subversive view of Taiwanese historical events. Since 1990s, he became criticizing Taiwanese social phenomena under the long-term influence from American culture and Japanese culture. Then he added multiple-media in his installation work to respond to current Taiwan society. Yang has been frequently invited to participate in international art exhibitions. In 1999, his early series of Zeelandia Memorandum was shown at the 48th Venice Biennale and well received by international art critics and collectors.

莊普 (1947年生)

焦興濤 (1970年生)

楊茂林 (1953年生)

1947年生於上海，1978年畢業於西班牙馬德里大學。1984年獲中國現代繪畫新展望台北市長獎。 1992年獲台北現代美術雙年展獎。1970年起於國內外舉辦過多次個展及聯展。早期以慣用的印記小單元，組構成畫面的大單元。看似機械的小方格印記，莊普拿來與他自己的宇宙觀相印證。其作品獲台北市立美術館、日本原美術館、日本橫濱港邊畫廊、國立台灣美術館等典藏。

1970年出生於四川成都，1996年畢業於四川美術學院。現工作、生活於重慶。曾參與的展覽有：「上海精文藝術大展」，上海；2002年「北京國際城市雕塑邀請展」，北京；「重慶美術館開館系列展之-耐人尋味的藝術」，重慶；2003年「北京首屆國際美術雙年展」，中國美術館，北京；「全國十所美術院校作品展」，清華大學美術學院，北京；2004年日本大分國際雕塑展「日本朝蒼文夫紀念館」，日本；2005年「第二屆成都雙年展」，成都現代藝術館，成都；2006 年「首屆中國當代藝術年鑒展」，中華世紀壇現代藝術館，北京；2007 年「從西南出發-西南當代藝術展1985-2007」，廣東美術館，廣州等。

1953年生於彰化。1979畢業於台北文化大學美術系，1985年為台北畫派創始成員並推選為第一任會長。1991年榮獲第一屆雄獅美術創作新人獎。展覽紀錄豐富，如：1987年第一次個展於台北市立美術館，1990參加台灣省立美術館舉辦的「台灣三百年作品展」，1995年於義大利羅馬舉行的「台灣當代藝術展」等。於楊茂林的作品中，我們可以看到對台灣歷史的片斷及多元時空的交錯，其作品以批判，顛覆的手法對台灣歷史事件作一另類省思。1990年代之後，從美國、日本文化影響，創作「文化篇」系列作品，嘗試多媒體與裝置創作，掌握時代脈動，呈現今日社會文化面向。1990年代獲國際邀展不斷，1999年以《熱蘭遮紀事》等早期作品參加第四十八屆威尼斯國際藝術雙年展，受到國際藝評家與收藏家的注意。

461

Lot 183 Lot 184

Lot 185

JIANG Shuo (b. 1958)

WONG Kuo-jen (b. 1960)

REN Zhe (b. 1983)

From Beijing, graduated from the Department of Decorative Sculpting, Central Academy of Fine Arts in 1982, graduated with an MA in Sculpting from the Central Academy of Fine Arts in 1985, and stayed behind as a lecturer. From 1982 to 1987, she designed trophies for a series of National Film Awards such as “Best Drama”. Her works were displayed in “the National Art Exhibition” in China Museum of Art many times. She moved to Austria in 1989 where she became a professional artist. Her works are often on display in Austria, Germany, Canada and Hong Kong, and widely collected by overseas collectors.

Born in Yingge in 1960, former British Prime Minister Heath purchased a “Cantaloupe” shape piece for his collection in 1983, first solo exhibition held at Cian-jhu Gallery in 1985, attended the “International Ceramic Arts Invitational Exhibition” at Taipei Fine Arts Museum in the same year, selected by the “Ceramic Arts Biennial Exhibition” at National Museum of History in 1993, became the fifth Taiwan Ceramic Arts Association chairman in 2001, and attended the “Contemporary Ceramic Arts Invitational Exhibition” at the National Museum of History in 2006.

Born in Beijing in 1983, graduated with BA from the Department of Sculpting, Academy of Arts and Design, Tsinghua University, awarded with Third Prize from Japan “Ikuo Hirayama” in 2003, Gold Prize from the first International Sculpture Exhibition at the “China Zhengzhou International City Sculpting Art Year” in 2006, attended the first “798 Biennial Exhibition” in 2005, “Beijing Olympic Landscape Sculpture Exhibition” in 2006, and “Three Dimensional Space” Domestic and Foreign Sculptors in 2006.

蔣朔 (1958年生)

翁國珍 (1960年生)

任哲 (1983年生)

北京人。1982年畢業於中央工藝美院裝飾雕塑系。1985年中央工藝美院雕塑研究生，畢業並獲碩士學位。後留任講師。1982年至1987年間，為中國文化部設計創作《最佳故事片》等一系列國家電影獎獎碑。作品曾多次在中國美術館參加「全國美展」。1989年定居奧地利成為職業藝術家。作品常在奧地利、德國、加拿大、香港等地展出，並廣為海外收藏家收藏。

1960年生於鶯歌，1983年前英國首相奚斯收藏《哈蜜瓜》作品一件，1985年於千巨藝廊舉辦首次個展，同年參加台北市立美術館「國際陶藝邀請展」 1993年入選歷史博物館「陶藝雙年展」，2001年任職中華民國第5屆陶藝協會理事長，2006年國立歷史博物館「當代陶藝邀請展」。

1983年生於北京，畢業於清華大學美術學院雕塑系獲學士學位。 2003年日本「平山鬱夫」三等獎，2006「中國鄭州國際城市雕塑藝術年」首屆國際雕塑精品展金獎。2005年參加首屆「798雙年展」 2006年「北京奧運景觀巡迴展」， 2006 年「三度空間」中外藝術家雕塑。

462

Lot 189

CHEN Yi-Lang (b. 1968)

WU De-chun (b. 1953)

PENG Kuan-jun (b. 1961)

Born in Xikou, Chiayi. The artist graduated from Sieh Chih Vocational High School in 1986, and continued to practice his art with master Yeh Huan-Mu in Sanyi. He founded his own studio in 1991, and created works based on traditional figures such as dragon, phoenix, flowers, birds and quadrupeds etc. In 1999, he transferred the studio to Chiayi Longteng mountain area, and gradually focused on creating woodcarving. Chen Yi-Lang had participated in exhibitions as below: 2004 “Fertile Man” in Art Taipei; 2005 “What a Great Momentum of Taiwan”, Artists Expo, Taipei; 2006 “A Light Party of Artists” in Eslite Art Center and “A-Long” (Dragon), a solo exhibition in Sanyi Wood Sculpture Museum.

Wu De-chun was born in Taiwan, he graduated from National Taiwan University of Arts in 1975, and went to France to pursue advanced study in 1983 and acquired certificates from Les Etablissements Publics Nationaux and École Nationale Supérieure des Arts Décoratifs, Paris. Later, he stayed in Paris and continued to create till now, during the past 20 years, he participated many exhibitions as a professional sculptor, includes international contemporary art exhibition in Monte Carlo, Besancon Tri-annual, international sculpture exhibition in Collioure, contemporary art joint exhibition at Centre Pompidou, as well as several solo exhibitions at famous galleries in France and Belgium. 2004 he held a solo exhibition at Galerie Jacques Bailly in Paris, and the Maastricht International Contemporary Exhibition at Vindb gallery in the Netherlands.

Born in Chu Tung, Hsinchu County in 1961, graduated from the National Institute of the Arts, Taiwan, in 1990, First Prize in “the Fourth Taipei County Exhibition Sculpture Group” and First Prize in “the Thirteenth National Art Exhibition Sculpture Group” in 1992, and First Prize in “the Taipei City Art Exhibition Sculpture Group” in 1994, making him a very active mid-generation Taiwanese sculptor. In terms of style, Kuan-jun Peng’s recent figure sculptures focus more on real-life bodies, with elegant postures and reserved expressions, displaying the touching spirit of a young female, some confident and proud, some quite and steady, some are nude, some dressed fashionably, some like a breeze, and some dynamic; different appearances have their unique touching glamour.

陳義郎（1968年生）

武德淳 (1953年生)

彭光均 (1961年生)

1968年出生於嘉義溪口，1986年畢業於協志工商機工科，並到三義習藝於葉煥木師父，1991年成立個人工作室，以龍鳳花鳥走獸等傳統題材為主要創作項目；1999年，將工作室遷移至三義龍騰山區，漸轉為木雕創作。曾參與以下展覽：2004 「強力肛交」台北國際藝術博覽會，2005年「台灣聲視好大」藝術家博覽會，2006年台北誠品藝文空間「藝術家的光影派對」及「阿龍」個展於三義木雕博物館。

出生於台灣。1975年畢業於國立台灣藝專，1983 年赴法國繼續深造，1986年獲得巴黎國立藝術學院及國立裝飾藝術學院的雙料證書。之後，武德淳旅居法國創作至今，將近二十年的時光，他以專業雕塑家的身分，曾先後參加了蒙地卡羅的國際當代藝術展、Besancon的造型藝術三年展、 Collioure的國際雕塑展、及龐畢度藝術中心的當代藝術聯展等，並多次應邀在法國、比利時等地的著名畫廊舉行個展。2004年賈克巴黑爾畫廊個展，巴黎。2006年Maastricht 國際現代美術博覽會，溫德布畫廊，荷蘭。美中不足的是，這位台灣出生的藝術家雖在海外受到諸多的肯定，但是在台灣的曝光度卻相當的不足，與國內藝壇也始終隔了一段特長的距離。雖說，從本地的收藏家與畫廊業的手中時常能看到一兩件他的雕塑作品，但他迄今竟未曾在台舉行正式個展。

1961年生於新竹縣竹東，1990年畢業於國立藝術學院，1992年獲「第四屆台北縣美展」雕塑類第一名、「第十三屆全國美展雕塑類」第一名， 1994年獲「台北市美展雕塑類」首獎，為活躍的台灣中生代雕塑家。彭光均的近期的人物塑像，以寫實的人體做為抒發，優雅的體態和內斂的表情，展露出少女動人的神韻，她們有的自信驕傲，有的沉靜穩重，有的裸身、有的穿著摩登、有的飄逸、有的動感，不同的形貌都有其靈動之處，各有其動人的風情。

463

Lot 191

Lot 190

WANG Keping（b. 1949）

YO Shou-chung (b. 1965)

Caroline Yu Yin CHIU (b. 1967)

Born in Beijing in 1949, he is one of the founders of the first non-conformist artist’s group “The Stars” (Xing Xing) which was formed in 1979 during the poet-cultural revolution “Beijing Spring”. He has been living in Paris since 1984. Wang’s creative language is plain and simple, he uses woods as materials, adapts their natural shapes to present the natural forms of human, however he also wanted it to be unnatural, therefore he pour his expressions into his works along with natural materials, and the result is amazing as if it came part of the natural world, the work itself explains all. His works are collected by Villes de Paris, Paris, France; The Olympic Sculpture Park, Seoul, Korea; Modern Art Museum, Taipei, Taiwan; and Aidekman Art Center, Boston. Solo exhibitions he held in New York, Paris, and London reflect his more serious and modest attitude after his moving to Paris, he continues to have conversations with art traditions originated from different places, and he’s full of confidence and strength.

Born in Taiwan in 1965, specializes in oil painting, sculpting and water-and-ink painting, graduated from the Department of Art, Fuxinggang Institute, in 1988, and received an MA in Art, Fontbonne College in 1998. Currently specializing in professional oil painting, water-and-ink painting and teaching.

Born in Hong Kong, studied photography and cinematography in U.S. obtained an MA in Visual Arts Administration New York University in 1993, returned to Hong Kong in 2001 for art creation. Caroline’s photography first uses traditional Chinese goldfish, jade ware and flowers as metaphors for different subjects and symbols; next she borrows from 19th century European scholars the Wunderkammer style of using boxes to collect personal cultural accoutrement, and to demonstrate the value and fun of traditional Chinese scholars.

王克平（1949年生）

游守中 (1965年生)

趙汝賢 (1967年生)

1949年生於中國北京，1979 加入由北京藝術工作者成立的「星星畫會」，成為活躍成員。1984 年定居於法國至今。王克平的創作語言是簡單自然，以木頭為材料，以其自然形式表現人的自然形態，既是用自然又要打破自然，把自己的表達加進去，最後作品處理又渾然天成，讓作品解釋作品。巴黎市政府、首爾奧林匹克公園、台灣省立美術館、波士頓 Aidekman 藝術中心，都有收藏他的作品，前後於紐約、巴黎、倫敦等各地畫廊的個展，更反映出移居法國讓王克平以一種更嚴謹和內斂的態度，繼續與源自他方的藝術傳統對話，充滿著自信和力量。

1965年出生於台灣省，專長油畫、雕塑、水墨， 1988年畢業於復興崗學院藝術系、1998畢業美國 Fontbonne 藝術學院藝術碩士，目前從事專業油畫、水墨創作及教學。

出生於香港，留學美國學習攝影及電影，1993年獲取紐約大學視覺藝術行政碩士，在2001年回香港從事創作。趙汝賢的攝影一是以中國傳統的金魚、玉器、花朵等作為題材和符號的隱喻；二是借用歐洲十九世紀文人學者喜以盒子收藏個人的文化玩物的「多寶格」方式去收集，表現了具有中國傳統文人的價值趣味。

464

Lot 196 Lot 195

Lot 194

HU Xiangdong (b. 1961)

CHEN Yu (CHAN Yu, b. 1982)

KWON Ki-soo (Korean, b. 1972)

Born in Jiangsu, in 1961. The artist graduated from Nanjing Arts Institute. In his best reputed “Transparent Distance” series, Hu tends to center personal memory of disappointment and pains in his painterly expression by utilizing the body and plastic. And the medium, the transparent plastic has a symbolic effect here, it hints at a membrane between human beings and the nature, between the people, or just reveals the conflicts between human beings and the substances or spirits. Hu had participated varied artistic exhibitions, among which, there were ones titled “Contemporary Chinese Artists Interpret Daily Life Exhibition” and “Chinese Contemporary Artistic Documents Exhibition” in Fukuoka Museum of Fine Arts in Japan in 2000, “Rainbow Across the Century-Gorgeous and Popular Art” exhibition in Tianjin, “Plastic Art Exhibition” in Beijing and a Chinese contemporary art exhibition in Switzerland in 1999, “Personal Touch” at TEDA Contemporary Art Museum in Tianjin in 1998, and Beijing “Gaudy Life” monographic exhibition in 1996 etc, which had certain impact for the art field.

1982 born in Hong Kong.2005 bachelor degree in Oil Painting from Sichuan Academy of Fine Arts, Chongqing, China. Until postgraduate in Oil Painting from Sichuan Academy of Fine Arts, Chongqing, China. Chen Yu’s works participated in the exhibitions’2003, “The first oil painting” exhibition in Chongqing, China; 2004, “04 creating achievements” exhibition of Sichuan Fine Art Institute, China; 2006, “Our Toys, Our Dreams & Our Childhood”, Hong Kong; “A Tale of Two Cities”, China Art Seasons, Beijing, China, Singapore, Jakarta; 2007, “China ART TAIPEI 2007”, Taipei, Taiwan. “CHAN YU & LI LI”, STAR85 ART SPACE, Taiwan.

Kwon Ki-Soo was born in 1972 in Young-ju, Korea. He attained his B.F.A. and M.F.A. from Hong-ik University, Seoul, in 1996 and 1998 respectively. He has held various solo exhibitions including “The Show 1998” at Kwanghoon Gallery (1998) and “A Red Fountain” at Gallery Fish (2004) in Seoul. He has also participated in numerous notable group exhibitions, including throughout Seoul, such as “Pleasure Factory” at the Seoul Museum” of Art (2003), “The Elegance of Silence: Contemporary Art From East Asia at the Mori Art Museum in Japan (2004), “Traveling Art Museum” at the National Museum of Contemporary Art in Korea (2004), as well as “Listening 2004 N.Y”. at the Jacob Javits Convention Center in New York (2004).

胡向東 (1961年生)

陳渝 (1982年生)

權奇秀 (1972年生)

胡向東 1961 生於江蘇， 1988 畢業於南京藝術學院。在《透明的間隔》系列中，胡向東將個人無奈和痛苦的「記憶」借用「身體」與塑膠置於繪畫表現中心，作為媒介的透明塑膠起到了象徵性意義，預示了人與自然的隔膜、人與人的隔膜，也再現人與物質之間的衝突、精神與精神之間對立。胡向東參加過多個藝術展覽，其中有 2000 在北京舉行的「當代中國藝術家解讀日常生活展」，同年在日本福岡美術館舉行的「中國當代藝術文獻展」，1999在天津舉行的「跨世紀彩虹——豔俗藝術」展，北京「塑膠藝術展」，在瑞士舉行的中國當代藝術展；1998天津泰達當代藝術博物館「兩性平臺」當代藝術展；及 1996的北京「豔妝生活」專題展等具影響力的展覽

1982年出生於香港，2005年於四川美院油畫系學士畢業，同年進修四川美院油畫系研究所。曾參與重要的展覽有：2003年「首屆油畫展」，重慶；2004年「四川美院04創造成就展覽」，重慶；2006年「我們的玩具、我們的夢想和我們的童年」，香港；「兩個城市的傳說」，北京季節畫廊，中國，新加坡，雅加達；2007年「2007 臺北國際博覽會」，台北，台灣；「Chan Yu & Lili」，八五星星藝術空間，台灣臺北。

1972年生於韓國。1996年於弘益大學獲得美術文學士學位，1998年在本校獲得美術碩士學位。他舉辦過的個展包括1998年Lwanghoon Gallery舉辦的「展覽1998」和2004年魚畫廊的「紅色水泉」。他參與過的重要團體展，當中包括2003 韓國美術館的「快樂工廠」、2004年森美術館的「沉默的優雅－東亞近代美術」、2004韓國國立近代美術館的「遊歷美術博物館」和2004年美國紐約賈維茲會議中心的「傾聽紐約2004」。

465

Lot 198

Lot 199

HONG Kyong-tack（Korean, b. 1968）

KIM Tschang-yeui (Korean, b. 1929)

LEE Jung-woong (Korean, b. 1963)

Born in 1968 in Seoul, Korea, Hong graduated in 1995 from Kyungwon University with a degree in painting. His work was chosen in the same year for exhibition in the Seoul Contemporary Art Festival at the Korea Culture and Art Foundation. Hong’s work has found a positive reception in local Korean artistic and cultural circles and he has participated in 16 major exhibitions since 1994 including exhibitions held by the Korean Culture and Art Foundation in Seoul in 2001; “the Korean and Chinese Painting- New Expression 2002 exhibition”; and “the Korean Young Artists Biennale 2002”. Hong’s work was also shown in the 2003 “Art Book, Book Art exhibition” at the National Museum of Contemporary Art.

Kim Tschang-Yeui was born in 1929, Korea, and graduated from the College of Fine Arts at Seoul National University in 1950. The artist has an extensive exhibition history in major galleries, museum and art fairs all over the world. He has held solo exhibitions at the Chicago international Art Exposition (1989), the National Museum of Contemporary Art in Korea (1993), the Sakamoto Zenzo Museum of Art in Japan (1998) and his very first solo show in China at the National Museum of China(2005). Group exhibitions include “Painting in Korea : yesterday and Today” at the Seoul Museum of Art (2004), and “Poem of indian ink” at the Guimet Museum of Asian Art in Paris(2005). Kim’s works are vastly collected by art institutions such as the National Museum of Contemporary Art in Korea, the National Museum of Modern Art inTokyo, the Museum of Fine Arts in Boston and the Museum of Oriental Art in Germany.

Born in Wooleung-Gun, Gyeongsangbuk-do, Korea, Lee is the member of the Korea Art Association, held several exhibitions in Korea. He participated in “Seoul Art Fair”, 1993-1999; the “NICAF”, 1999; “Shanghai Art Fair”, 2003, 2004; and “Singapore Art Fair”, 2004.

弘京澤（1968年生）

金昌烈 (1929年生)

李錠雄 (1963年生)

1968年出生於韓國首爾。1995年畢業於暻園大學繪畫系。同年並入選由韓國文化藝術基金會所舉辦的漢城當代藝術節。其作品深受韓國本地文藝界的高度肯定，1994年至今，即入選了超過16項的重要展覽紀錄，其中包括了：2001年兩次入選韓國文化藝術基金會於首爾舉辦的展覽，2002年「韓國＆中國畫－2002新表現」展覽、「韓國青年畫家雙年展」。2003年入選國家當代美術館「藝術書書藝術」展覽。並曾多次舉辦個人新作展覽。

1929年生於韓國，1950年畢業於漢城國立大學美術學院。金昌烈具有廣泛的國際展史，舉行個展的地方包括芝加哥國際藝術展覽、國立現代美術館、日本的板本善造博物館，和2005年在中國第一次舉辦「金昌烈個展」的北京中國國家博物館。團體展包括2004年漢城市立美術館的「韓國繪畫：過去與現今」，和2005居美亞洲藝術博物館的「水墨的時」。金昌烈的作品為無數的藝術館所珍藏，包括韓國國立現代藝術館、東京國立近代美術館、波士頓美術館與德國的東方藝術館。

李錠雄生於韓國的慶尚北道鬱陵郡。是韓國美術協會的成員，在韓國舉辦過多次個展。他參加了 1993-1999年間的「首爾藝術博覽會」，1999年的日本「NICAF」。2003年和2004年的「上海藝術博覽會」和2004年的「新加坡藝術博覽會」。

Lot 197

466

Lot 200

LEE Yong Deok (Korean, b. 1956) Born in Seoul in 1956, Li Rongde graduated from Fine Art Dept. of Seoul University, major in Sculpture. He finished all master classes of Sculpture for Berlin Fine Art Multiversity and got the degree. Now he acts as a professor of Sculpture Dept. for Fine Art University of Seoul Multiversity. Since 1988, he has started his solo exhibitions at Fine Art Museum of Literature Inditing Academy. Until now there are six solo exhibitions and many group exhibitions, such as: "Moving-Backwards" in Pyo Gallery, 2003; Exhibition jointly held by Pyo Gallery and COEX in Korea International Gallery Fine Art Expo., 2004. Then it draws attention in art field... EXHIBITION: “Depth of Shadow” 2005, National Art Museum of China, Beijing

李容德 (1956年生) 李容德於1956年出生在首爾，畢業於首爾大學美術大學雕塑科和同大學研究生院，完成了柏林藝術綜合大學藝術家研究課程（雕塑專業）和碩士畢業，目前擔任首爾大學美術大學雕塑科教授。從1988年文藝振興院美術會館的個人展開始，至今已經開展了6屆的個人展和多數的小組展。其中包括繼2003年由表畫廊舉辦的個展「遷移—— 向後」之後，2004年又參加了在韓國國際畫廊藝術博覽會上由表畫廊和COEX 共同舉辦的展會，由此而吸引了眾多藝術界的眼光，在同年界的韓國第三屆國際多媒體雙年展中，在表畫廊和首爾市立美術館的共同努力下，他的個展又一次引起了轟動，並在參展中獲得了1986年第五屆大韓民國美術大展優秀獎和1986年第六屆大韓民國美術大展的大獎。展覽記錄：「影子的深度」，中國美術館，北京

467

Transaction Agreement

The following provisions are entered into by and between the

condition. However, the Company is not a professional restorer of

Company, as the auctioneer, and the Seller (hereinafter the

wristwatches; therefore, any description in the catalogue is purely

"Seller"). This Agreement is also entered into by and between the

the Company's subjective opinion and not a statement of fact.

Company as the agent of the Seller and the Buyer (hereinafter the

Please note: The outer shells of many of the water-resistant

"Buyer"). Both the Buyer and the Seller must carefully review all

watches have been opened in order to investigate their working

provisions hereunder. The Buyer should pay special attention to

condition and their type; therefore, it must not be assumed that

Article 5 which provides limitations as to the legal responsibilities

they are currently water-resistant. We recommend buyers to have

of the Company.

such watches checked by a competent watchmaker before use. Please note: The restoration of the items on auction may have

I. The Buyer

resulted in original parts being replaced; therefore, we are unable to guarantee that any given watch's parts are from the original set

1. Ravenel as the Agent

of parts.

The Company, as the auctioning party, shall act as the agent of

All of the items on auction are being sold in "as is" condition.

the Seller. Except otherwise provided, items successfully sold in

the Company does not provide any representation or guarantee as

the auction held by the Company shall be bound by the agreement

to the condition of any of the items. Unless otherwise stated, the

made by and between the Seller, through the agency of the

Company does not provide any warranty with the items.

Company, and the Buyer. c. Catalogue Explanations

2. Prior to the auction

Any statement of the author, history, date, year, size, material,

a. Authentication

ownership, authenticity, origin, condition of preservation or

We strongly recommend that the prospective buyers conduct their

estimated selling price of any of the Lots shown in the catalogue

own authentication for the items they are interested in bidding

or the authentication opinion made by the Company, or any other

prior to the auction. We provide no guarantees to the buyer (with

verbal or written statements made separately shall be solely

the exception of the guarantee with regard to counterfeits as

statements of opinions and shall not be deemed the basis for the

defined in Section III of the Transaction Agreement).

statements of actual fact. The photographs shown in the catalogue

b. Important Notice

for determining the color or tone of any Lots or disclosure of the

Attention, prospective buyers: As far as possible, the descriptions

defects of such item. The estimates of the auction price shall not

shall serve as reference only and shall not be deemed as the basis

of auction items will mention obvious defects of the items;

be deemed the price at which such item will be successfully sold

however, they do not necessarily include all flaws, defects, or

or the statement of the value of the item for other purposes.

incomplete aspects. The Company regrets that it is unable to

Many auction items fail to maintain their perfect condition because

guarantee that the wristwatches on auction are in good working

of time and other environmental factors. Some of the explanations

condition and the descriptions in the catalogue must not be

in the catalogue or the authentication opinions will state defects

construed as implying such. The description of the auction

and/or the repair background of the Lots. Such information is

items also do not imply that the items have not gone through

meant for reference only. Missing information in the statements

readjustment or repair or allude anything about the current state

does not mean the Lot has no defects or has not been repaired.

or storage conditions of the items. Any omission in the catalogue

Any statement of one particular defect does not mean there is no

description regarding the current condition or the appraisal of

any other defect.

defects in the items by no means represent that those items are in good condition, function normally, or that there will be any

d. Responsibility of the Buyer

free repair or replacement of parts. We strongly recommend

The Buyer is responsible for clarifying and satisfying himself

prospective buyers to personally view the items for which they

about the condition of the items and any related matters stated in

plan to bid before the auction itself. If a prospective buyer is

the catalogue descriptions.

unable to view an item for whatever reason, then in our role as a service provider, we would be more than happy to offer

3. In the auction

our opinion of an item's special characteristics and current

a. Refusal of admission

468

rate of the one-month future goods reported to the Company

The auction is held at the premises of the Company or any location where the Company has control of for the auction. The Company

from the bank when starting business on the day of the auction.

has full discretion to exercise the right to refuse entry to the

Nonetheless, the auction will still be conducted in NT dollars. The

premises for the auction or to prevent participation in the auction.

exchange rate conversion board is not absolutely reliable. The accuracy of either the Lot numbering shown on the board or the

b. Registration prior to the bidding

equivalent of the bid price in any foreign currency is not within

Prospective buyers must fill in and sign the registration forms prior

the control of the Company. The Company will not be responsible

to the bidding and provide personal identification. Prospective

for any losses caused by the reliance of the Buyer on the exchange

buyers should also note that the Company may be requested to

rate conversion board.

conduct credit checks against buyers. g. Recorded images c. The bidder is the Buyer

There is image projection in some auctions; however, errors may

Unless a written agreement has been made upon registration that

occur during the operation. The Company is not liable for the

the bidder will be the agent who acts on behalf of a third person

color accuracy of the reproduced image and whether the projected

and such third person is accepted by the Company, the bidder

image corresponds to the item being auctioned.

will be deemed as the Buyer who will bear individual legal responsibilities.

h. Determining power of the auctioneer

d. Commission bids

bids at his discretion, withdraw any auction items, separate or

The Company will make every effort to bid for the prospective

combine two or more auction items, and if there is any error or

buyers who instruct us to bid on their behalf by using the forms

dispute, re-auction the items.

The auctioneer has the absolute power to reject any bid, push for

attached to the explanations of the catalogue; provided, however, bid commission instructions are delivered to the Company prior

i. Successful bids

to the auction. If the Company receives several commission bids

Under the discretion of the auctioneer, the fall of the hammer

for one particular item, with all bid prices being equal and of

indicates the acceptance of the highest bid price, i.e., the Seller

the highest bid price at the auction, priority shall be given to the

and the Buyer enter into a successful auction agreement.

Buyer whose bid commission is delivered to the Company first. Commission bids are subject to auction conditions. The situation

4. Following the auction

at the auction may prevent the Company from making the bid as

a. The service fee of each lot payable by the Buyer

commissioned. This is a free service provided by the Company to

(1) The Buyer should pay the hammer price and, in

the prospective buyers pursuant to the provisions prescribed.The

addition, the service fee to the Company. For

Company will not be held legally liable if it fails to make the bid

hammer price below NT$ 10,000,000 (inclusive),

as commissioned. Prospective Buyers should attend the auction in

the service fee should be calculated at 18% of the

person if they wish to ensure a successful bid.

hammer price. (2) For hammer price higher than NT$ 10,000,000, the

e. Bid by phone

first NT$ 10,000,000 should be calculated at 18%

The Company will make proper effort to contact the bidder so

and the rest of the amount should be 12%.

he can participate in the auction by phone if the prospective buyer make arrangements with the Company prior to the auction.

b. Taxes

However, the Company will bear no responsibilities to the

All the payments payable by the Buyer to the Company do

Seller or any prospective buyer if no contact is made under any

not include any commodity or service taxes or any other value

circumstances.

added taxes (whether imposed by the Taiwanese government or elsewhere). The Buyer should be responsible for paying any

f. Exchange rate conversion board

applicable taxes as required by the law.

There will be an exchange rate conversion board operating at some auctions. The exchange rate is calculated at the exchange

c. Payment

469

The Buyer should provide his name and permanent address to

all of the payment due if payment is not made within 7 days

the Company upon the successful bid. Relevant bank information

following the auction date. Besides, we have the right of

should also be provided upon request. All payments due (including

charging also 1% selling price (including of hammer price

the hammer price, service fee and any applicable taxes) should

and the commission) multiplied by the number of delayed

be paid within 7 days following the auction date. The aforesaid

days as fine for the default. The payment to be made by the

provision also applies if the Buyer intends to export the Lot and

Buyer should offset any payment owed by the Company or

(may) need the export permit.

its subsidiaries to the Buyer for any other transactions. (2)

If the Buyer fails to pay to the Company all the payments due,

To exercise lien of any items owned by the Buyer and

the Buyer will not acquire the ownership of the Lot even if the

held by the Company for any purpose. The Company may

Company has delivered such item to the Buyer. If the payment

arrange to sell such items after serving a 14-day notice to

to Ravenel are made in any currency other than NT dollars, the

the Buyer about his non-payment. The proceeds shall make

Company will collect from the Buyer any foreign exchange

up for the payment due.

expense incurred therefrom, including bank charges and foreign

(3)

exchange service fees. The exchange rate of the payments to the

If the Buyer owes the Company several payments as a result of different transactions, the payments will setoff any

Company in any currency other than NT dollars should be the

payments due in any particular transaction, regardless of

exchange rate reported by the Bank of Taiwan to the Company on

whether the Buyer specifies to setoff such payments.

the auction date and should be based on the certificates issued by

(4)

the Company according to such exchange rate.

Refuse the Buyer to make, or to make on behalf of others, bids in any future auctions and/or to require a security deposit from the Buyer before accepting any future bids

d. Collection of the Lot sold

from him. If the Buyer fails to make payment within 35

Unless otherwise agreed by the Company, the Company will

days, the Company is entitled to exercise the following

hold temporarily the successfuly sold Lots until all payments

rights in addition to the aforementioned: (5)

to the Company are made in full. The Lot will be covered by

To bring legal proceedings against the Buyer on behalf of

the insurance of the Company from the auction date for 7 days

the Seller to claim the entire payment due and the legal fees

during the temporary holding period. The insurance coverage

resulting from such proceeding based on a total claim.

will terminate upon collection of such item. The Buyer should

(6)

Cancel the transaction of Lots bid by the Buyer or any other

be responsible for all risks following expiration of the said 7-day

auction items sold to the Buyer at the same or any other

period or the collection (whichever is the earlier).

auctions. (7)

To arrange a public or private re-sale of the Lot. If the re-

e. Packaging and transportation

selling price is lower, the difference will be claimed against

The Buyer is requested to note that he should bear all the risks

the Buyer together with any cost incurred as a result of the

upon expiration of the said 7 days period or from collection of

non-payment by the Buyer.

such items. h. No collection of the Lot sold f. Referral of packaging or transportation companies

The Company will arrange for the storage of the Lot if such item

The shipping department of the Company may act as the agent of

sold is not collected within 7 days of the successful auction,

the Buyer to arrange for delivery. Although we can refer freight

regardless of payment. Such storage cost will be borne by the

forwarders upon special request, the Company will not be held

Buyer. Only when the storage, shipping, insurance cost and

liable for any legal responsibilities in this regard.

any other expenses together with any other payments due to the Company are paid can the sold Lot be collected.

g. Remedies for non-payment or non-collection of items sold The Company is entitled to exercise one or more of the following

i. Export permit

rights or remedies if the Buyer fails to make payment within 7

Except where otherwise agreed in writing by the Company, the

days: (1)

fact that the Buyer's wishes to apply for an export permit does An interest at the annual rate of no higher than 10% plus

not affect the Buyer's responsibility to make the payments in 7

the base interest rate of Bank of Taiwan will be imposed on

days; nor does it affect the Company's right to impose interest on

470

delayed payments.

of the Lot to the Company, which shall not concern any

If the Buyer requests that the Company applies for the export

third party claim.

permit on his behalf, the Company is entitled to collect monies made in connection with such an application and any

Under no circumstances is it necessary for the Company to pay the

miscellaneous expenses together with any relevant value added

Buyer an amount more than what the Buyer pays in connection

taxes.

with the Lot and the Buyer can not claim interests.

If the Buyer makes the payment regardless of the fact that an

The interests of the warrantee cannot be assigned and belong

export permit is needed, the Company is not responsible for

solely to the Buyer who receives the original invoice from the

returning to the Buyer any interest or other expenses incurred

Company when the Lot is sold. Such Buyers shall remain the

therefrom.

owner of the auction Lot and cannot assign any interest of the Lot to any other person. The Company is entitled to ascertain that the

5. The legal responsibility of the Company

Lot is not a counterfeit based on a scientific procedure or any other

The Company is responsible for returning payment to the Buyer

procedure, regardless of whether such procedure is being used on

pursuant to Article 6. Otherwise, whether the Buyer, the Company,

the day of the auction.

any employees or agents of the Company will not be held liable

The aforementioned does not apply to coins, medals, jewelry and

for any statements of the author, history, date, year, ownership,

paintings.

authenticity or origin of any auction item or any errors with

II. The Seller

respect to any explanations and any flaws or defects of any auction item. The Buyer, the Company, the employees or the agents of the Company make no guarantee with respect to any auction items.

1. Ravenel as the agent

Any warrantee of any kind shall not be included herein.

The Company acts as the agent of the Seller at a public auction. The Closing Agreement of the Lot is the agreement by and

6. Return of payments for counterfeits

between the Buyer and the Seller.

The transaction will be cancelled and payments made will be returned to the Buyer if the Lot of the Company is confirmed to be

2. Expenses

a counterfeit. However, if:

The Seller shall bear costs relating to the following:

a. The catalogue explanations or the notice at the auction

Packing of the Lot and shipping to the Company for the auction

distributed on the auction day corresponds to the opinions generally accepted by the academic or professional fields;

Any applicable shipping insurance

b. The method used to prove that the Lot is a counterfeit is

The packaging and shipping if the item is delivered back to the Seller

a scientific procedure not generally accepted for use before d.

the publication of the catalogue or a procedure unreasonably

Insured under the Company art relic insurance policy (explained in detail later) indicate cohere (we point below)

expensive on the day of the auction, or impractical, or may cause damage to the Lot;

Any applicable custom duties

the Company is not liable for the return of any payment under

Catalogue illustrations

any circumstances. In addition, the Buyer's payment can only be

refunded when the following terms are met: (1)

The Buyer must notify the Company in writing within

Framing and mounting

10 days following the auction day that he considers the

Authentication made by independent professionals which

relevant auction item a counterfeit. (2)

the Company believes to be necessary in preparing the

The Buyer must return the Lot to the Company within the

catalogue explanations. j.

following 14 days and the condition of the item must be the

Any independent professional opinions which the Company deems proper

same as on the auction day. (3)

Any repairs made to the Lot as per prior agreement with the Seller

Upon returning the Lot, the Buyer must present evidence as

Collect 50% of the insured amount as part of the general

soon as possible to convince the Company that the Lot is a

expenses of the Company in the event the Lot is not

counterfeit. The Buyer may also assign the good ownership

successfully auctioned

471

The storage of the Lot after the auction (if applicable)

Seller and Buyer. In the event such standards are incorrect in any

The administration cost of the Company reaches 10% of all

aspect, the Company or the Buyer may bring legal actions against

the expenses incurred as a result of client services provided.

the Seller.

Any marketing and promotional expenses

The Company should base the purchase and handling of auction items on the following undertaking made by the Seller:

3. Insurance coverage to be arranged by the Company a.

unlimited right to assign his ownership to the Buyer which

be automatically insured under the the Company art

should not concern any third party right or claim (including copyright claims).

relic policy in the amount as deemed appropriate by the b.

Company. However, the insured amount is not the amount the auction.

has notified the Company in writing any failure to comply

The Company will collect 1% of the hammer price from

with such rules in the past.

the Seller or 1% of the reserve price if the Lot is not

The Seller complies with all the laws in connection with the import and export of auction items and any other laws and

the Company undertakes to be successfully reached during b.

The Seller is the only owner of the Lot and has the

Unless otherwise agreed by the Company, the Lot will

The Seller has notified the Company in writing of any

successfully auctioned. If the shipping is arranged by the

major modifications in the Lot to the best of his knowledge

Company, an additional amount will be collected by the

and any concern the third party has raised with respect to

Company from the Seller as the shipping insurance. Such

the ownership of the Lot and the condition. In the event

amount varies depending on the individual condition of each

of any inaccuracy of the above a, b and c, the Seller must

auction item. The Company will refer a freight forwarder

guarantee, if requested, to indentify fully the Company

if necessary. However, the Company is not responsible for

and/or the Buyer all the claims, costs and expenses arising

any legal responsibilities incurred therefrom.

herefrom, whether caused by the Lot or the auction

The Lot will remain insured up to 7 days after the sale. If

proceeds.

the Lot has not been sold, it will be at the Seller's risk upon d.

the expiry of 7 days.

6. Auction arrangements

We are unable to accept responsibility for damage caused

The Company has absolute discretion over the description of the auction in the catalogue, display layouts, authenti-

by woodworm or changes in atmospheric conditions.

cation opinions, location and method of the auction, who

4. Insurance purchased by the owner

will be allowed to bid and the acceptance of the bid price,

If the Seller instructs the Company specifically that it is

whether to seek professional opinion and whether to combine or separate the Lots.

unnecessary to purchase insurance for the Lot, the risks shall b.

be borne entirely by the Seller until the Buyer makes all the

Any price estimates, whether verbal or written are strictly opinions and shall not serve as a guarantee of the final price

payments. The Seller must indemnify the Company, the employees

for the Lot to be sold.

and agents of the Company and the Buyer (if applicable) any c.

claims in connection with the auction against the Company, the

The Seller cannot withdraw the Lot without obtaining con-

employees and agents of the Company and the Buyer, regardless

sent from the Company. The Company reserves the right to

of the cause of such claim. The Buyer must also pay for the

withdraw the Lots for the following reasons. These reasons

expenses incurred as a result of such claim if requested by the

include: (1) The Company is doubtful about the definition

Company, the employees and agents of the Company and the

or authenticity of the Lot or the accuracy of the statement

Buyer, even if such expenses are made as a result of negligence

referred to in Articles 5a, b. or c. (2) Any violations of the

by the Company, the employees and agents of the Company and

Transaction Agreement. (3) The Company deems it inappropriate to include the Lot in the auction.

the Buyer without proof of legal responsibility. The Seller must d.

inform the underwriter of the Seller the provision herein.

If the Company or the Seller withdraws the Lot, the Company may charge 40% of the Reserve set by the Seller and

5. Commitments made by the Seller with respect to the Lot

the amount equal to the service fee payable to the Company

The standards for the Company to handle the Lots are provided

if the auction is successfully sold at the insured amount and

hereunder. These standards also limit the relationship between the

applicable value added tax, insurance and other expenses.

472

7. Auction rules

b. Non-payment by the Buyer

The Company will auction the item according to the

If the Buyer fails to make all the payments due within 35 days

Reserve. The Reserve may not be higher than the minimum

following the auction day, the Company is entitled to negotiate

of the estimates set in the catalogue except otherwise if the

special terms in connection with the payments, storage, and

Reserve agreed is in a currency other than NT dollars and

insurance on behalf of the Seller and act as deemed necessary

the Reserve is higher than the minimum of the estimates

by the Company to collect payments payable from the Buyer.

caused by the exchange rate fluctuation between the

However, the Company is not responsible for making remittance

Reserve agreement day and the auction day. Under such

to the Seller nor for bringing any legal actions on behalf of

circumstances, except where otherwise agreed by the

the Seller. The Company will discuss with the Seller to adopt

Company, the Reserve shall be in NT dollars calculated

appropriate actions to claim auction payments from the Buyer.

by the exchange rate at the closing of the market the day

immediately before the successful auction. If the bid price

c. Counterfeits

is lower than the Reserve, the Company is in no way to be

If the Buyer convinces the Company that the Lot is a counterfeit

held liable; however, the Company is entitled to auction

(as defined in Article 1 of the Transaction Agreement) within 10

the item at a price lower than the Reserve. If the Company

days following the auction day, then (1) If the Buyer has not paid

so auctions the item, the Company is responsible to pay

all or part of the payment, the Company is entitled to call off the

the Seller the difference between the closing price and the

transaction and/or (2) If the Company at that time has paid all or

Reserve.

part of the payments payable to the Seller, the Seller must return

The Seller may not increase the price of sale without fair

all the payments made to the Company if requested. The Company

reasons, nor participate in the bidding of his/her/its auction

will exercise lien for the latter. Any items belonging to the Seller

item(s), however, Ravenel is authorized to bid on behalf of

under control of the Company will be kept as security of the

the Seller at the price not higher than the Reserve Price.

payments to be returned.

8. After the successful auction

d. Items not successfully auctioned

a. Settlement

Any items not successfully auctioned, not included in the auction

Upon the successful auction, the Company will request the Buyer

or withdrawn from the auction for any reason must be collected by

to make full payment no later than within 15 days, including the

the Seller within 35 days upon notification by the Company to the

compensation payable by the Buyer. Upon payment by the Buyer,

Seller that he must reclaim the Lot. A storage fee of NT$600 per

unless the Company receives a notice claiming such auction

day per piece will be imposed on each item not collected after such

item is a counterfeit (as defined in Article 1 of the Transaction

35 day period together with an additional charge for purchasing

Agreement), the Company will remit to the Seller within 60 days

insurance coverage. The Seller may not reclaim such item until all

following the successful auction day an amount equal to the

the payments due are made. Such items may be removed to a third

closing price taking away all the expenses payable by the Seller. In

party warehouse if not collected in 60 days after the notification

the event the Buyer delays the payment, the Company will remit

of collection is issued. The expenses arising therefrom shall be

to the Seller within 7 days following the payment by the Buyer.

borne by the Seller.The Company may dispose of the Lot in the

If for any reason the Company pays the Seller before the Buyer

manner it deems appropriate if such item is not collected within

makes his payments, the Company acquires the full ownership of

90 days following the auction date or the notice date (whichever

the item. However, if the Company is forced to reclaim the Lot

is the earlier). Such disposal includes removing the item to a third

from the Buyer because such item is a counterfeit, the Seller must

party warehouse with the associated expenses borne by the Seller

return the auction proceeds to the Company.

and to auction such items under terms deemed appropriate by the

Unless otherwise instructed by the Seller in writing, the Company

Company (including the terms of estimates and the Reserve). The

will make its payment in NT dollars. If the Seller requests to pay

Company will pay the Seller the auction proceeds after payments

in currencies other than NT dollars, the exchange rate should be

owed are offset.

according to what the Bank of Taiwan reports and the Company

The Company is authorized to act as the sole agent of the Seller

announces on the auction date.

within 2 months following the auction for any auction item withdrawn from the auction or not sold. The Company may

473

auction in private the item based on the net amount the Seller may

than such price.

receive (the amount after deducting all the expenses payable by

"Counterfeit" shall mean the Lot constitutes imitation

the Seller) or sell such item in private at a lower price agreed upon

and the original concept of the imitation and its overall

by the Company and the Seller. Under such circumstances, the

execution result in fraud to cause deception in connection

Seller's responsibilities and liabilities to the Company are the same

with the author, history, year, age, culture or origin of the

as during an auction.

Lot, for which the accurate description is not reflected in

9. Photographs and display

is far less than the value it should have according to the

The Company owns non-exclusive rights to the photographs,

description in the catalogue. Therefore, no auction item will

recordings and other reproduced images of the Lot. All the rights

become a counterfeit as a result of any damage and/or any

of such images shall belong to the Company and the company is

repairing in any manner (including repaints).

the catalogue and the value of the Lot on the auction day

entitled to use such images in any manner it deems appropriate.

"Insured amount" shall mean the value of the insurance purchased for the Lot which the Company considers

10. Other Matters

necessary under its absolute power from time to time

a. Taxes

(regardless whether such insurance is purchased by the

The payments payable by the Seller to the Company does not

Company).

include any commodity or service tax or any other value added tax

IV. Terms applicable to both the Buyer and the Seller

(whether imposed in the Taiwan or elsewhere). The Buyer should be responsible for paying such taxes pursuant to the tax rates and time provided by the law if there is any such applicable tax.

1. Copyright b. Electrical and mechanical parts

The copyright of all the images, photographs and written material

The Seller must be responsible for maintaining the safe operating

in connection with the Lot shall maintain and belong to the

condition of the electrical and mechanical parts of the Lots.

Company at any time. The Buyer or any person may not use such

The Seller must return to the Company all the claims, costs and

items without obtaining prior written consent from the Company.

expenses arising out of any violation of the said guarantee and warrantee by the Seller.

2. Notices

There are other special additional conditions apply to this

All the notices distributed according to the Transaction Agreement

provision. The relevant conditions are available at the Company.

herein shall be made in writing. Any notice shall be deemed served to the recipient on the second day following delivery if sent by

III. Definition

mail. If the recipient is abroad, the notice shall be deemed served on the fifth working day following delivery by mail.

Some of the phrases commonly seen herein are defined as follows: 1. 2.

"The Buyer" shall mean highest bidder accepted by the auctioning party.

3. Severability

"The Lot" shall mean the item delivered to the Company

If any part of the Transaction Agreement is deemed invalid, illegal

to be sold in an auction, especially the single or multiple

or unenforceable by any court, such part can be ignored and

pieces of items numbered in the catalogue.

the rest of the Transaction Agreement continues to be valid and

"Hammer price" shall mean the highest bid with respect

enforceable to the maximum extent permitted by the law.

to one particular auction item accepted by the auctioning

4. Jurisdiction

party. 4.

"Compensation paid by the Buyer" shall mean the fee based

The Transaction Agreement are governed under the ROC law and

on a certain percentage of the Hammer price paid by the

the interpretation and effect of the Rules shall be subject to the

Buyer; the percentage shall be as prescribed in Article 4a,

laws of Taiwan. The Buyer and Seller shall submit themselves to

sectionÂ˘Ď&#x20AC;.

the exclusive jurisdiction of the Taiwanese court for the interests

"The Reserve" shall mean the lowest price agreed by the

of the Company.

Company and Seller. the Lot cannot be sold at a price lower

474

475

業務規則

下述規則，為本公司作為拍賣公司與賣家訂立合約，亦作為

亦僅作為指引而已，不應作為任何拍賣項目之依據，藉以決

賣家之代理人與買家訂立合約之條款。買家及賣家務須細讀

定其顏色或色調，或揭示其缺陷。拍賣價格之估計，不應依

各項規則。買家請特別留意第5條，其對本公司之法律責任作

據為拍賣品會成功拍賣之價格或拍賣品作其他用途之價值陳

了限定。

述。許多拍賣品基於其年代或性質，使其未能有完美之狀況，目錄內有些說明或鑑定意見書會提述拍賣品之損壞及 ™或修整

Ⅰ.買家

資料。此等資料僅作為指引而已，如未有提述此等資料，亦

1. 羅芙奧(以下稱本公司)作為代理人

不表示拍賣品並無缺陷或修整，如已提述特定缺陷，亦不表

作為拍賣人，本公司以作為賣方代理人之身分行事。除另行

示並無其他缺陷。

協定外，在本公司之拍賣中成功拍賣之物品，即產生賣家通 d. 買家之責任

過本公司之代理與買家達成之合約。

有關物品之狀況以及目錄說明所提述之事項，買家有責任弄

2. 拍賣前

清楚並確使自己感到滿意。

a. 鑑定物品本公司鄭重建議，準買家應於拍賣進行之前親自鑑定其有興

3. 拍賣時

趣競投之物品。本公司除就膺品（如本業務規則第Ⅲ項所界

a. 拒絕入場

定者）作出之證明外，不對買家作任何保證。

拍賣於本公司之場地進行，或於本公司為拍賣而具有控制權之場地進行，本公司具有完全之決定權，可行使權利拒絕任

b. 拍品狀況之重要注意事項

何人進入拍賣場地或參與拍賣。

請準買家注意，在可能的範圍內，目錄中對於拍賣品特性上之描述，皆已提及顯著的損壞，惟不包括所有的缺陷、瑕

b. 競投之前作出登記

疪與不完整。羅芙奧恕無保證任何拍賣腕錶處於良好運作狀

每一準買家在作出競投之前，必須填妥及簽署登記表格，並

態，同時目錄中任何拍賣品之描述皆不應視為如此。對任何

提供身分證明。準買家應注意，本公司通常會要求對買家作

拍賣品之描述亦不應視作表示其無經過重整或修理，亦不應

出信用核查。

視作對拍賣品狀態或保存情況的陳述。在目錄中若有狀態陳述的缺乏或損害鑑定的缺乏，並不代表拍賣品是為良好狀

c. 競投者為買家

態、運作正常或可享有免費修復或更換機件。

除非登記時已書面協定，競投者將為代第三人行事之代理

本公司鄭重建議，準買家在拍賣進行之前，對於有興趣競投

人，而該第三人為本公司所接受者，否則競投者將被視為買

之拍賣品狀況應經由親自檢閱，如果準買家無法對拍品進行

家而須承擔個人法律責任。

檢閱，本公司基於服務至上的原則，將非常樂於應客戶之要求提供拍品特性與狀況之意見，惟本公司並不是專業鐘錶修

d. 委託競投

復者，因此任何在目錄中所列出的陳述是為純粹本公司的主

如準買家使用印於目錄說明之後之表格指示本公司代其競

觀意見。

投，本公司將盡適當努力代其競投，但代為競投指示須於拍

務請注意，多數防水錶的錶殼已被開啟並檢查其運轉狀態及

賣前送抵本公司。如本公司就某一拍賣品而收到多個委託競

類型，因此不應假定其仍為防水狀態。建議買家應在使用前

投之相等競投價，而在拍賣時此等競投價乃該拍賣品之最高

安排經由具資格的鐘錶匠檢查該等手錶。

競投價，則該拍賣品會歸其委託競投最先送抵本公司之人。

務請注意，拍買品早前的修復工作或許已經導致原廠零件的

委託競投之承擔受拍賣時之其他承諾所限，而拍賣進行之情

更換，因此我們不保證任何拍賣品的單一組成零件之確實

況可能使本公司無法代為競投。由於此項承擔乃本公司為準

性。所有的拍品一致以「現狀」售出。本公司對於任何拍出

買家按所述條款提供之免費服務，如未能按委託作出競投，

之狀態不作代表或保證，除非另有註明，否則將不提供保

本公司將不負任何法律責任。準買家如希望確保競投成功，

單。

應親自出席競投。

c. 目錄說明

e. 電話競投

本公司於目錄或鑑定意見書內對任何拍賣品之作者、來歷、

如準買家於拍賣前與本公司作好安排，本公司將盡適當努力

日期、年代、尺寸、材質、歸屬、真實性、出處、保存狀況

聯絡競投者，使其能以電話參與競投，但在任何情況下，如

或估計售價之陳述，或另行對此等方面之口頭或書面陳述，

未能聯絡，本公司對賣家或任何準買家均不負任何責任。

均僅屬意見之陳述，不應依據為確實事實之陳述。目錄圖示

476

f. 匯率轉換顯示板

及匯差。以新台幣以外之貨幣付款予本公司之匯率，依拍賣

在有些拍賣中，會有一具匯率轉換顯示板操作。匯率按拍賣

日現場公佈之匯率（台灣銀行），並以本公司就此兌換率而

日當天銀行開市時向本公司報出之一個月期貨匯率計算。然

發出之憑證為準。

而競投仍會以新台幣進行。匯率轉換顯示板並非時常可靠， d. 領取已購拍賣品

不論是顯示板所示之拍賣品編號或是新台幣競投價之相等外匯，其準確程度均可能會出現非本公司所能控制之誤差。買

除非本公司另有特別相反協定，否則本公司將暫時保留已成

家因依賴匯率轉換顯示板（而非因以新台幣競投）所導致而

功拍賣之拍賣項目，直至欠本公司之款項已悉數支付為正。

蒙受之任何損失，本公司概不負責。

拍賣品在暫時保留期間，由成功拍賣日期起為期七天將受保於本公司之保險，如屆時拍賣品已被領取，則受保至領取時

g. 錄映影像

為止。七天期滿後或自領取時起（以較早者為準），拍賣品

在有些拍賣中會有影像投射，但其操作或會出現錯誤。不論

之風險全由買家承擔。

影像是否與成功拍賣之拍賣品相配合，或是翻版影像之質 e. 包裝及搬運

素，本公司對買家均不負任何責任。

本公司謹請買家注意，七天期滿後或自領取時起，拍賣品之 h. 拍賣官之決定權

風險全由買家承擔。

拍賣官具有絕對決定權，有權拒絕任何競投、以其決定之方式推動出價、將任何拍賣品撤回或分批、將任何兩件或多件

f. 介紹裝運及運輸公司

拍賣品合併，以及如遇有誤差或爭議，將拍賣品重新拍賣。

本公司之貨運部門可作為買家之代理人，代為安排付運。雖然在特別要求下本公司可介紹承運人，但本公司在此方面不

i. 成功競投

負任何法律責任。

在拍賣官之決定權下，下槌即顯示對最高競投價之接受，亦 g. 不付款或未有領取已購拍賣品之補救辦法

即為賣家與買家之成功拍賣合約之訂立。

如買家未有在七天內付款，本公司即有權行使下述一項或多

4. 拍賣後

項權利或補救辦法：

a. 買家支付每件拍品之服務費率（1）在拍賣日期後超過七天仍未付款，則按不超過台灣銀行基本利率加10%之年利率收取整筆欠款之利息。此外本公司可同時按日收取依賣價（含佣金）1％計算之違約金。將買家未付之款項，用以抵銷本公司或其他附屬公司在任何其他交易中欠下買家之款項。（2）對任何屬於買家所有而因任何目的而由本公司管有之物品行使留置權，並在給予買家有關其未付之欠繳之14天通知後，安排將該物品出售並將收益用以清償該未付之欠款。（3）如買家因多項不同之交易而欠下本公司數筆款項，將所付之款項用以清償就任何特定交易而欠下之任何款項，而不論買家是否指示用以清償該筆款項。（4）在將來的任何拍賣中，拒絕買家作出或由他人代其作出之競投，或在接受其任何競投之前先收取買家一筆保證金。如買家未有在三十五天內付款，本公司除上述者外，另有權：（5）代賣家針對買家進行法律程序，以追討整筆欠款，連同此項以悉數賠償為基準之法律程序之訴訟費。（6）取消同一次或任何其他拍賣中買家競投得之拍賣品或任何其他售予買家之拍賣品之交易。（7）安排將拍賣品公開或私下重售，如重售所得價格較低，就差額連同因買家未有付款而引致之任何費用一併向買家索償。

（1）買家除支付落槌價外，另須支付服務費予本公司，落槌價於新台幣壹仟萬元以下者含壹仟萬元以18％計算。（2）落槌價於新台幣壹仟萬元以上者分為二級，其中新台幣壹仟萬元以18％計算，超過新台幣壹仟萬元之部份以 12％計算。 b. 稅項買家應付予本公司之所有款項均不包括任何貨物或服務稅或其他增值稅（不論由台灣政府或別處所徵收）。如有任何此等稅項適用，買家須負責按有關法律所規定之稅率及時間繳付此稅款。 c. 付款成功拍賣後，買家須向本公司提供其姓名及永久地址。如遇要求，亦須提供付款銀行之詳情。然後於拍賣日期後七天內悉數支付所欠款項（包含落槌價、拍賣支付之酬金，以及任何適用之增值稅）。即使買家希望將拍賣品出口並需要（或可能需要）出口許可證，此一付款條件亦適用。買家如未向本公司支付所欠之全部款項，則不能取得拍賣品之所有權，即使本公司已將拍賣品交付予買家亦然。如支付予本公司之款項為新台幣以外之貨幣，本公司將向買家收取所引致之任何外匯費用。這包括銀行收費與兌換貨幣之規費

477

h. 未有領取已購拍賣品

予任何第三人。本公司有權依據任何科學程序或其他程序確

如已購得之拍賣品未有在成功拍賣後七天內領取，則不論是

定拍賣品並非膺品，不論該程序在拍賣當日是否已使用或已

否已付款，本公司將安排貯存事宜，費用由買家承擔。而只

在使用。本條件不適用於硬幣、獎牌、珠寶及畫。

在所引起之貯存、搬運、保險及任何其他費用，連同欠本公司之所有其他款項付清後，方可領取已購拍賣項目。

Ⅱ.賣家 i. 出口許可證除本公司另有書面同意外，買家希望申請出口許可證之事

1. 羅芙奧（以下稱本公司）作為代理人

實，並不影響買家在七天內付款之責任，亦不影響本公司對

本公司在公開拍賣會中，為賣家之代理人身份。拍賣品的成

延遲付款收取利息之權利。

交合約，則為買家與賣家之間的合約。

如買家要求本公司代為申請出口許可證，本公司有權向其收回與此項申請有關之付出款項及零碎開支連同任何有關之增

2. 開支

值稅。

賣家須負責與下述各項有關之費用：

如買家不管需要有出口許可證之事實而作出付款，本公司並

a. 將拍賣品包裝並運予本公司作拍賣。

無責任退還買家因此而引致之任何利息或其他開支。

b. 任何適用之運送保險。 c. 如拍賣品交回賣家其包裝與付運。

5. 本公司之法律責任

d. 受保於本公司之藝術精品保險單（下文另有解釋）。

本公司有責任在第6條所列之情況下退還款項予買家。除此之

e. 任何適用之關稅。

外，不論賣家或本公司，或本公司任何僱員或代理人，對任

f. 目錄插圖費用。

何拍賣品之作者、來歷、日期、年代、歸屬、真實性或出處

g. 預先與賣家協定之對拍賣品作出之任何修整。

之陳述，或任何其他說明之誤差，任何拍賣品之任何毛病或

h. 裝框、裱畫之費用。

缺陷，均不負有任何責任。買家、本公司、本公司之僱員或

i. 本公司相信為擬定目錄說明需由外界專家作出之鑑定。

代理人，均無就任何拍賣品作出任何保證。任何種類之任何

j. 本公司相信為適當之任何外界專家意見。

擔保，均不包含在本條之內。

k. 拍賣品未能成功拍賣時，按保險值之50%收取費用，作為

6. 膺品之退款

l. 拍賣品拍賣後之貯存（如適用）。

如經本公司拍賣之拍賣品證實為膺品，則交易將取消，已付

m.本公司之行政費用，數目為因閣下而引致之一切費用之

本公司一般開支之分擔額。

10%。

之款項則退還予買家。但如：a.在拍賣日發出之目錄說明或拍

n. 任何市場推廣費用。

賣場通告符合當時學者或專家普遍接納之意見，或清楚表明意見有抵通告符合當時學者或專家普遍接納之意見，或清楚表明意見有牴觸之處，或b.證明拍賣品為膺品之方法，只是

3. 由本公司安排保險事宜

一種在目錄出版前仍未普遍獲接納使用之科學程序，或是一

a. 除非與本公司另有協定，否則拍賣品將自動受保於本公司

種在拍賣日仍屬昂貴得不合理或並不實際或很可能會對拍賣

藝術精品保險單，保額為本公司當時認為適當者。然而保

品造成損壞之程序，則本公司無論如何並無責任退還任何款

額並非本公司承諾拍賣品會成功拍賣之款額。 b. 本公司將向賣家收取委託底價之1%，作為保險費。如由本

項。此外，買家只在滿足下述條件下方可獲得退款：（1）買家必須在拍賣日起十日內以書面通知本公司，說明買

公司安排運送，本公司將向賣家收取額外款項，作為運送

家認為有關拍賣品乃膺品；

保險費，款額視每宗拍賣品之特定情況而定。如有需要，

（2）買家隨後必須在十四天內將拍賣品送還本公司，而其狀

本公司亦會建議介紹承運人，但本公司不承擔任何有關此

況與拍賣當日相同；及

方面之法律責任。 c. 拍賣品在拍賣後七天內保險仍然有效。如拍賣品未能成功

（3）送還拍賣品後，買家須盡快出示證據，足以使本公司確

拍賣，逾期後風險全由賣家承擔。

信拍賣品乃膺品，買家並可將拍賣品之良好所有權轉讓予本

d. 由蛀木蟲或空氣情況轉變而對拍賣品造成之損壞，本公司

公司，而與任何第三人之索償無涉。在任何情況下，本公司

概不承擔法律責任。

均毋須向買家支付多於買家就有關拍賣品而支付之款項，而買家亦不能索取利息。

4. 物主購買保險

本擔保之利益不能轉讓，完全屬於拍賣品成功拍賣時獲本公司發給正本發票之買家所有，該名買家並須自拍賣後一直

如賣家特別指示本公司毋須為拍賣品購買保險，風險全由賣

保持拍賣品擁有人之身分，而且並無將拍賣品之任何利益讓

家承擔，直至買家付清款項為止。賣家須保障本公司、本公

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司之僱員與代理人，以及買家（如適用）免負因拍賣品而針

7. 拍賣守則

對本公司、本公司之僱員與代理人，以及買家索償之賠償責

a. 本公司將會參照底價將拍賣品拍賣。底價不得高於目錄所

任，而不論索償因何引起。賣家亦須應本公司、本公司之僱

印估價之下限，但如所同意之底價為新台幣以外之貨幣，

員與代理人，以及買家所要求而償還因此種索償而引致之開

並因協定底價之日與成功拍賣之日上匯率波動而致底價高

支，縱使本公司、本公司之僱員與代理人，以及買家有疏忽

於估價下限，則不在此限。在此情況下，除本公司另行同

之處，而未證明有任何法律責任而作出之付款，亦須償還。

意外，底價須為相等於以緊接成功拍賣前一個工作天之收

賣家須將本條條款告知賣家之承保人。

市匯率計算之新台幣款項。如競投價不能達到底價，本公

5. 賣家就拍賣品所作之承諾

以低於底價拍賣。如本公司如此將拍賣品拍賣，本公司將

司在任何情況均不負有任何責任。但本公司有權將拍賣品本條列出本公司處理拍賣品之基準，此基準亦規限賣家與買

有責任向賣家支付成交價與底價之差額。

家之間的關係。如此基準在任何方面有不確實之處，本公司

b. 賣家不得隨意哄抬價格，不得參與競標標的作品，亦不得

或買家可採取針對賣家之法律行動。本公司處理拍賣品及購

聘請任何人代賣家參與競投，唯本公司有權代賣家以不超

買拍賣品，均以賣家所作之下述承擔為基準：

過底價之價格參與競投。

a. 賣家為拍賣品之唯一物主，具備將所有權轉讓予買家之無

8. 成功拍賣後

限制權利，並與一切第三人權利或索償（包括版權索償）

a. 結算

無涉：

成功拍賣後，本公司將要求買家最遲於15日內全數付款，包括買家應付之酬金。在買家付款後，除非本公司收到通知謂

b. 賣家已遵守一切與拍賣品之進出口有關之法律或其他方面

拍賣品為膺品（如本業務規則第Ⅲ項所界定者），否則，本

之規定，並已將過去任何第三人未能遵守此等規定之事以

公司會於成功拍賣日期後60天，將一筆相等於成交價減去賣

書面通知本公司；

家應支付之所有費用之款額匯予賣家。如遇買家延遲付款，則本公司將在買家付款後七天內匯款予賣家。如因任何理由

c. 賣家已將其所知之有關拍賣品之任何重大修改以及第三人

而使本公司在買家付款前即已付款予賣家，則本公司即獲得

就拍賣品之所有權、狀況或歸屬所表示之任何關注之書面

拍賣品之完整之擁有權與所有權。但在本公司因拍賣品為膺

通知本公司。

品而被迫向買家收回拍賣品下，賣家方須將已收取之拍賣收

如上述a.、b.及c.有任何不確實之處，賣家須應要求保證完

益退還予本公司。

全償還本公司及 ™或買家一切因之而引起之索償、費用或

除賣家另有書面指示外，本公司將以新台幣付款。如賣家要

開支，而不論是因拍賣品還是因拍賣收益而引起。

求以新台幣以外之貨幣付款，依拍賣現場公佈之匯率計算（台灣銀行）。

6. 拍賣安排 a. 本公司對目錄內拍賣品之描述與圖示方式、鑑定意見書、拍賣地點與方式、讓何人進場競投以及競投價之接受、是

b. 買家不付款

否應尋求專家意見，以及將物品合併或分開拍賣等均有完

如買家在拍賣日期後35天內未有支付應付之全部款項，本公

全之決定權；

司即有權代賣家就付款、貯存與保險而協定特別條款，並採取本公司認為需要的任何步驟以向買家收取其應付之款項。但本公司並無責任向賣家匯款，亦無責任代賣家採取任何法

b. 任何估價，不論口頭或書面，均只屬意見，而非拍賣品最

律行動。本公司將與賣家討論採取適當行動以向買家追討拍

終可賣得的價錢之保證。

賣款額。 c. 未得本公司同意，賣家不可撤回拍賣品。但本公司保留隨時因後述原因而撤回拍賣品之權利。此等原因為：（1）本

c. 膺品

公司對拍賣品之界定或真實性或上述第5a.、b.或c.條所指陳

如在拍賣日期後十日內，買家使本公司相信拍賣品為膺品

述之準確性有懷疑；（2）有任何違反業務規則之情況；或

（如本業務規定第Ⅲ項所界定者），則（1）如買家尚未支付應付之全部款項，本公司有權取銷交易，及 ™或（2）如本

（3）本公司相信將拍賣品納入拍賣並不適當。

公司屆時已向賣家支付應付予賣家之全部或部份款項，則賣 d. 如本公司或賣家撤回拍賣品，本公司得收取賣家委託底價

家須應要求將已付款項悉數退還本公司。在後一情況下，本

40%之費用，另加一筆相等於如拍賣品按保險值成功拍賣

公司將行使留置權，將在本公司控制下之屬於賣家之任何物

本公司應得之服務費之款項，以及任何適用之增值稅與保

品留置作應退還款項之擔保品。

險費和其他開支。

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d. 未能成功拍賣之拍賣品

1. 「買家」：指本拍賣公司所接受之出價最高之人。

任何拍賣品如未能成功拍賣，或不包括在拍賣之內，或因任

2. 「拍賣品」：指交予本公司以供拍賣出售之物品，尤其在

何理由而撤回拍賣，則在本公司發出通知予賣家要求賣家領

任何目錄內以任何編號描述之一項或多項物品。 3. 「落槌價」：指本拍賣公司就某一拍賣品而接受之最高出

回拍賣品之35天內，賣家必須領回拍賣品。任何此等拍賣品如在35天過期後仍未領回，則每天每件將徵收新台幣600元貯

價之價款。 4. 「買家支付之酬金」：指買家按落槌價之某一百分比而支

存費，並收取額外費用以購買保險。賣家須在付清所有未付費用後，方可領回拍賣品。此等拍賣品如在發出領回通知後

付之費用；收費率如Ⅰ項第4a條所列。

60天仍未領回，則可被移往第三人之貨倉貯存，開支費用由

5. 「底價」：指本公司與賣家協定之最低價格，拍賣品不能

賣家承擔。

以低於該價之價格售出。

任何此等拍賣品如在拍賣日期後或上述通知日期後90天內

6. 「膺品」：指拍賣品構成模仿，而模仿之原構想及其整體

（比較早之日期為準）未被領回，則本公司可視乎是否合適

執行均具有欺詐意圖，以就拍賣品之作者、來歷、年代、

而將該拍賣品處置。處置包括將拍賣品移往第三人之貨倉而

時期、文化或來源進行欺騙，而對此等事項之正確描述並

開支費由賣家承擔，以及將該拍賣品按本公司認為適當之條

未在目錄之描述上反映出來，而拍賣品在拍賣當日之價

款（包括有關估計與底價之條款）公開拍賣。本公司其後會

值，遠低於按照目錄之描述所應有之價值。按此定義，任

將拍賣收益扣除所有欠款後支付予賣家。

何拍賣品均不會因為有任何損壞及 ™或任何形式之修整

任何拍賣品如在拍賣中收回或未能成功拍賣，則本公司獲授

（包括重新上漆）而成為膺品。

權在拍賣後的兩個月期內作為賣家之獨家代理人，按賣家可

7. 「保險值」：指本公司不時按其絕對決定權認為拍賣品

收取之淨款額（即扣除賣家應付之一切費用後之款額），私

所應購買之保險之價值（不論保險是否由本公司安排購

下出售拍賣品，或按本公司與賣家另行同意之較低價格私下

買）。

出售。在此情況下，賣家就該拍賣品而對本公司所負有之責任，與拍賣品成功拍賣時一樣。

Ⅳ.買家與賣家均適用之條件

9. 圖片與圖示

1. 版權

本公司對拍賣品之圖片、錄影或將拍賣品複製影像具有非排

與拍賣品有關之一切影像、圖示與書面材料之版權，於任何

他性之權利。此等影像之一切權利均屬本公司所有，且本公

時候均屬於本公司之財產。未得本公司事先書面同意，買家

司有權以任何本公司認為適合之方式使用之。

或任何人均不得使用。

10.其他事項

2. 通知

a. 稅項

根據本業務規則發出之通知，均須以書面發出。如採用郵遞

賣家應付本公司之所有款項均不包括任何貨物或服務稅或其

發出，則在付郵後第二個工作天即當作已由收件人收妥；如

他增值稅（不論由台灣或別處所徵收）。如有任何此等稅項

收件人在海外，則為付郵後第五個工作天。

適用，賣家須負責按有關法律規定之稅率及時間繳付此等稅

3. 可分割性

款。

如本業務規則有任何部份遭任何法院認定為無效、不合法或 b. 電氣及機械部件

不可強制執行，則該部分可不予理會，而本業務規則之其他

拍賣品如含有任何電氣或機械部件，賣家須負責確保此等部

部份在法律許可之最大範圍內須繼續有效及可強制執行。

件處於安全操作狀況。賣家須全部償還本公司一切因賣家違

4. 法律及管轄權

反上述保證及擔保而引起之索價、費用或開支。

本業務規則受中華民國法律規限，本業務規則之解釋與效力 c. 汽車、硬幣、郵票、酒類與槍械

均適用台灣法律。為本公司之利益而言，賣家與買家須服從

另有特殊附加條件對此等項目適用，有關條件可向本公司索

台灣法院之排他性管轄權。

取。

Ⅲ.本規定所用詞彙之意義在下列規定中，某些常用詞彙需加以解釋。此等詞彙如下：

480

THE ABSENTEE BID FORM Department at least 24 hours before the auction begins. The bid

Auction Date

RAVENEL AUTUMN AUCTION 2007 Sunday, December 2, 2007, at 2:30pm

forms may be faxed to: Customer Service Department

Location

Fubon National Conference Center

Tel: +886 2 2708 9868

Address

The absentee bid forms must be delivered to the Customer Service

B2, No. 108, Section 1, Tun-Hwa South Road, Taipei, Taiwan

Fax: +886 2 2701 3306 Bidderâ&#x20AC;&#x2122;s Details Name ID number Address Post code Tel: (Daytime)

(Evening)

Fax Signature (We must have your signature to execute this bid.) It is requested hereby that Ravenel tenders the bid on my behalf for the following auction items within the bidding range described hereunder. I understand that Ravenel provides such bid services for the convenience of customers and Ravenel shall not be held liable for any failure to execute a bid. If Ravenel receives more than one commission of the same bid price with regard to a particular auction item, priority will be given to the person whose bid is first received. I understand that if my bid is successful, I shall pay the final hammer price together with the service fee and any applicable sales tax. The service fee shall be calculated as 18% of the final hammer price (not applicable to wines). For detail please refer to Articles 4a, c and d of the Transaction Agreement to the Buyer. The bid shall be subject to the transaction rules prescribed in the catalogue. Please note especially the limited guarantee and exclusive warrantees that may be provided for certain items. Interested buyers should provide Ravenel with their current bank and/or other relevant material to ensure all bids will be accepted and the delivery of the auction item will not be delayed, and authorize us to verity the provided informations with the bank. Kindly provide this information for processing in advance of the auction date.

PLEASE PRINT LEGIBLY Auction item number (in numerical order)

Bid price (NT$) (excluding service fee)

Title

Bank Reference Approval Name of the bank Address of the bank MODERN

Name of the account

CONTEMPORARY

ART

Ravenel Ltd. 15F-2, No.76, Sec. 2, Tun-Hwa S Rd. Taipei 10683, Taiwan Tel. : 886 2 2708 9868 - Fax : 886 2 2701 3306 www.ravenelart.com

Account number Contact of the bank Tel. No.

481

委託競投表格委託競投表格須於拍賣24小時前送抵客戶服務部。競投表格

拍賣名稱：羅芙奧2007秋季拍賣會

可傳真至：

日期：2007年12月2日（星期日）下午2:30

客戶服務部：

拍賣地點：富邦人壽大樓地下二樓國際會議中心

電話：+886-2-2708 9868

地址：台北市敦化南路一段108號B2

傳真：+886-2-2701 3306 投標者資料客戶編號（如有）姓名身份證字號地址郵碼電話（住宅）（辦公室）傳真簽名（本公司在取得閣下之簽名後方才接受競標）茲請求羅芙奧就下列拍賣品於下列競投價範圍內投標。本人亦明白，羅芙奧乃為方便顧客而提供代為投標的服務，羅芙奧不因怠於投標而負任何責任。倘羅芙奧就同一項拍賣品收到相同競價之委託，以最先收到者優先辦理。本人知悉如投標成功，本人應付之購買價款為最後之落槌價加上服務費，（連同該最後落槌價及服務費之營業稅）服務費依最後落槌價乘以服務費率得之。詳見業務原則規定第4條a,c,d之規定。（4a.買家支付每件拍品之服務費率：（1）買家除支付落槌價外，另須支付服務費予本公司，落槌價於新台幣壹仟萬元以下者含壹仟萬元以18％計算；（2）落槌價於新台幣壹仟萬元以上者分為二級，其中新台幣壹仟萬元以18％計算，超過新台幣壹仟萬元之部份以12％計算。）投標，視為依本目錄所載業務原則（特別是有限保證、不負其他瑕疵擔保等規定）為之要約。為確保所有投標均得以接受及拍賣品之送交不延誤，有意買家應向羅芙奧提供往來銀行或其他適當之參考資料，並予以授權羅芙奧得向銀行查證。該等資料應及時提供，以便在拍賣前著手處理。

請用正楷填寫清楚拍賣品編號（按數字順序）

名

競投價（新台幣）（服務費不計在內）

稱

銀行證明銀行名稱銀行地址 MODERN

銀行帳戶名稱銀行帳號銀行聯絡者銀行電話

CONTEMPORARY

ART

羅芙奧股份有限公司台北市106敦化南路二段76號15樓之2 15F-2, No.76, Sec. 2, Tun-Hwa S. Rd., Taipei 10683, Taiwan Tel. : 886 2 2708 9868 - Fax : 886 2 2701 3306 www.ravenelart.com

RAVENEL AUTUMN AUCTION 2007 - The 20th and 21st Century Chinese Art, Korean Contemporary Art Chairman

Arthur Wang

President

Clara Kuo

Editorial Boards: Art Director Flora Fu Editor & Writer Odile Chen Executive Editor Maggie Lin Printed in Taiwan © October 2007, Ravenel Ltd.

羅芙奧2007秋季拍賣會—20與21世紀華人藝術韓國當代藝術董事長

王鎮華

總經理

郭倩如

目錄編輯小組：藝術總監文字撰述執行編輯

傅斐君陳惠黛林慧菁