Ravenel Spring Auction 2007 羅芙奧台北2007春季拍賣會 by Ravenel International Art Group

SPRING AUCTION 2007

RAVENEL SPRING AUCTION 2007 The 20th & 21st Century Chinese Art AUCTION Sunday, June 3, 2007, 2:30pm – 6:30pm Fubon National Conference Center B2, No. 108, Section1, Tun-Hwa South Road, Taipei, Taiwan

PREVIEWS Taichung Saturday, May 5 – Sunday, May 6, 2007, 1:00pm – 7:00pm GSR Gallery 1F, No.83, Gong Zheng Road, Taichung, Taiwan

Beijing Saturday, May 19 – Sunday, May 20, 2007, 10:00am – 7:00pm Grand Hyatt Beijing – The Residence 1 East Chang An Avenue, Beijing, China

Hong Kong Friday, May 25 – Saturday, May 26, 2007, 10:00am – 7:00pm Sunday, May 27, 2007, 10:00am –1:30pm Grand Hyatt Hong Kong – Salon 1 Harbour Road, Wanchai, Hong Kong

Taipei Friday, June 1 – Saturday, June 2, 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)

MODERN

CONTEMPORARY

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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. Jessie Jen at TEL:(886 2) 2708 9868 ext. 685

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羅芙奧 2007 春季拍賣會 20 與 21 世紀華人藝術拍賣日期/ 地點 2007年6月3日(日) 下午2:30至下午6:30 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5月5日(六)至5月6日(日)下午1:00至下午7:00 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5月19日(六)至5月20日(日)上午10:00至下午7:00 東方君悅酒店（君府廳）中國北京市東長安街1號香港 2007年5月25日(五) 至5月26日(六)上午10:00至下午7:00 5月27日(日)上午10:00至下午1:30 香港君悅酒店（君悅廳）香港灣仔港灣道1號台北 2007年6月1日(五)至6月2日(六)上午10:00至下午7:00 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）

MODERN

CONTEMPORARY

ART

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RAVENEL STAFF AND SERVICES FOR THIS SALE

ART CONSULTANTS Taiwan Vice General Manager of Sales Department

Flora Fu Tel: (886 2) 2708 9868 ext. 888 Email: flora_fu@ravenelart.com

Manager

Maggie Lin Tel: (886 2) 2708 9868 ext. 886 Email: maggie_lin@ravenelart.com

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PHONE BIDS

Sandy Ho Tel: (886 2) 2708 9868 ext. 686 Email: sandy_ho@ravenelart.com

You may tender the bid by phone if you are unable to attend the auction in person. In view of the limited phone line services at the auction, please inform us 24 hours prior to the auction for arrangements. Particularly, for those of you who need foreign language assistance of the bidding, please contact:

Taiwan

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China

Sales Executive - China

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CATALOGUE SUBSCRIPTION

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WRITTEN BIDS

Please contact the following person if you are unable to attend the auction in person. You may use the bidding forms attached at the back of the auction catalogue to tender your bid.

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The catalogues are available for subscription. For details of subscription, please refer to the explanations of the catalogue or contact:

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COLLECTION

All the items auctioned may be collected upon receipt of payments. The Buyers are requested to arrange for collection as soon as possible to facilitate warehouse inventory circulation and centralize management. We accept personal and corporate checks, however collection may be made only when such checks are honored. We apologize for no acceptance of credit cards and traveler’s checks. Other items may be collected at the Ravenel Ltd. The business hours are 9:30 am to 6:30 pm, Monday to Friday. Tommy Wu Tel: (886 2) 2708 9868 ext. 885 Email: tommy_wu@ravenelart.com SHIPPING Our professional administration department may make recommendations of arrangement for the most appropriate transportation for you. For detail please contact: Chiara Lee Tel: (886 2) 2708 9868 ext. 883 Email: chiara_lee@ravenelart.com Ravenel is glad to provide you with the condition report of any of the items at the auction, however, the buyers must note that all the items at the auction are sold “as is”. Please refer to the Transaction Agreement at the back of the catalogue. Please refer to the “Transaction Agreement to the Buyers”.

羅芙奧 2007 春季拍賣會服務部門及連絡人

藝術品諮詢專家台灣區業務副總經理傅斐君電話：(886 2) 2708 9868 轉 888 電子信箱：flora_fu@ravenelart.com 業務經理林慧菁電話：(886 2) 2708 9868 轉 886 電子信箱：maggie_lin@ravenelart.com 業務主任吳博峯電話：(886 2) 2708 9868 轉 885 電子信箱：tommy_wu@ravenelart.com 中國區中國區副總經理徐莉電話：(886 2) 2708 9868 轉 186 電子信箱：daisy_xu@ravenelart.com 中國區經理李冬莉電話：(86 10) 5815 0655 電子信箱：lydia_li@ravenelart.com 中國區業務主任張丹丹電話：(86 10) 5815 0655 電子信箱：dina_zhang@ravenelart.com 海外專家陳惠黛電話：(886 2) 2708 9868 轉 889 電子信箱：odile_chen@ravenelart.com 業務主任李欣格電話：(886 2) 2708 9868 轉 883 電子信箱：chiara_lee@ravenelart.com

目錄訂閱本目錄開放各界訂閱，詳細訂閱辦法，請參照目錄之說明或請洽：台灣區鄭潔電話：(886 2) 2708 9868 轉 685 電子信箱：jessie_jen@ravenelart.com 中國區謝冷玉電話：(86 10) 5815 0655 電子信箱：judy_xie@ravenelart.com 海外李欣格電話：(886 2) 2708 9868 轉 883 電子信箱：chiara_lee@ravenelart.com

電話競標如您無法親臨拍賣現場，可以電話投標方式競標；鑑於拍賣現場電話有限，請於拍賣前24小時通知我們為您安排，尤其對需用外國語言服務之投標者，請洽：台灣區傅斐君電話：(886 2) 2708 9868 轉 888 電子信箱：flora_fu@ravenelart.com 中國區李冬莉電話：(86 10) 5815 0655 電子信箱：lydia_li@ravenelart.com 海外陳惠黛電話：(886 2) 2708 9868 轉 889 電子信箱：odile_chen@ravenelart.com

中國區張丹丹電話：(86 10) 5815 0655 電子信箱：dina_zhang@ravenelart.com 海外李欣格電話：(886 2) 2708 9868 轉 883 電子信箱：chiara_lee@ravenelart.com

付款事宜有關付款詳細事宜，說明於本目錄後面，如您需要更進一步的諮詢，請洽：林佳樺電話：(886 2) 2708 9868 轉 688 電子信箱：michelle_lin@ravenelart.com 何美秀電話：(886 2) 2708 9868 轉 686 電子信箱：sandy_ho@ravenelart.com

取貨事宜所有拍品在貨款結清後，即可取貨；買家請儘早通知安排取貨事宜，以利倉庫存貨流通和集中安排辦理，本公司接受個人及公司支票付款，惟需在兌現後始能提貨。恕不接受信用卡和旅行支票付款。其他各項貨品可在羅芙奧辦公室提領，上班時間為週一至週五上午9:30至下午6:30。請洽：吳博峯電話：(886 2) 2708 9868 轉 885 電子信箱：tommy_wu@ravenelart.com

貨品運輸我們的專業行政部門可為您建議或安排最適當的運輸方式，詳情請洽：

書面競標如您無法親臨拍賣現場，亦可利用附在此目錄後面之書面標單競投，請洽：

李欣格電話：(886 2) 2708 9868 轉 883 電子信箱：chiara_lee@ravenelart.com

台灣區林慧菁電話：(886 2) 2708 9868 轉 886 電子信箱：maggie_lin@ravenelart.com

羅芙奧樂意提供您本次拍賣當中任何一項拍品的狀況說明書，惟準買家需注意拍品均是以「當時認定」之狀況賣出，相關細項請參照目錄後之業務規則。請參照買家需注意事項。

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 / 20與21世紀華人藝術

332

Artist Biographies / 藝術家簡歷

364

Transaction Agreement / 業務規則

377

The Absentee Bidding Form / 委託競投表格

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

Index

Artist / Lot Number

JIA Gang JU Ming

A AI Xuan

艾軒

058, 120

CAO Hui CAO Jingping CHANG Chih-cheng George CHANN Yoshio CHANG CHAO Chung-hsiang CHEN Ching-jung CHENG Tsai-tung

曹暉曹靜萍張志成陳蔭羆張義雄趙春翔陳景容鄭在東

CHIANG Jui-keng CHIU Ya-tsai CHU Chen-yung CHU Teh-chun

蔣瑞坑邱亞才初陳勇朱德群

CHUA Hu

蔡雲程

111 103 147 025, 062 057 022, 053 123 004, 005, 019, 020 125 033 013, 156, 159 106 023, 026, 059, 060 061, 070 036, 073

CHUANG Che

莊喆

丁方丁衍庸

高惠君朱沅芷

011, 012, 037, 072 074, 149

084 028

127 035, 085 015, 016 157 094, 108 010 155 112 140, 142

詹金水季大純賈滌非

153 087, 089 152

雷雙李繼開李凱李磊李曙光李自健廖繼春連建興林風眠

LIU Kun LU Shun LUO Erchun

劉錕呂順羅爾純

002, 126 145 129, 160 075 086 117, 122 056 008 041, 042, 043, 044 045, 046, 047, 048 049, 050 107, 144 031 039

毛同強苗景昌

139 009

潘鴻海潘玉良龐均龐永杰

118 066 115 158

瞿廣慈

110

SHEN Che-tsai SHEN Hanwu SHEN Xiaotong SHIY De-jinn

沈哲哉沈漢武沈小彤席德進

SU Wong-shen SUN Yuntai

蘇旺伸孫雲台

150 124 095, 098, 099 076, 077, 078, 079 080, 081, 082 018 034

MAO Tongqing MIAO Jingchang

P PAN Honghai PAN Yu-liang PANG Jiun PANG Yongjie

Q QU Guangci

J JAN Chin-shui JI Dachun JIA Difei

LEI Shuang LI Jikai LI Kai LI Lei LI Shuguang LI Zijian LIAO Chi-chun LIEN Chien-hsing LIN Fengmian

030 067

何學昇洪凌侯俊明蕭勤黃鋼黃銘昌黃敏俊洪東祿黃銘哲

154 054 007

H HE Xuesheng HONG Ling HOU Chun-ming HSIAO Chin HUANG Gang HUANG Ming-chang HUANG Min-jun HUNG Tung-lu Michell HWANG

柯適中郭柏川郭維國

G GAO Huijun Yun GEE

003 038, 052, 071, 083 092, 093

KO Shih-chung KUO Po-chuan KUO Wei-guo

D DING Fang DING Yan-yong

賈剛朱銘

T TANG Zhigang TIAN Shixin Walasse TING

唐志剛田世信丁雄泉

102 090, 091 024, 027, 064, 065 128

王亞彬王沂東魏樂唐翁偉武德淳吳冠中吳天章吳作人

001 029 063 121 130, 141 051 017 032

夏俊娜向京忻東旺熊宇

114 109 116 113

閻博楊登雄楊茂林楊三郎姚俊忠余本葉子奇尹俊尹坤尹朝陽俞成浩俞曉夫

100 101 014 055 146 119 006 104 105, 143 097, 151 148 040

張慧趙無極張宏圖張林海周春芽

088 068, 069 021 096 131, 132, 133, 134 135, 136, 137, 138

W WANG Yabin WANG Yidong John WAY WENG Wei WU De-chun WU Guanzhong WU Tien-chang WU Zuoren

X XIA Junna XIANG Jing XIN Dongwang XIONG Yu

Y Bob YAN YANG Din YANG Mao-lin YANG San-lang YAO Junzhong YEE Bon Tzu-chi YEH YIN Jun YIN Kun YIN Zhaoyang YU Shenghao YU Xiaofu

Z ZHANG Hui ZAO Wou-ki ZHANG Hongtu ZHANG Linhai ZHOU Chunya

001

WANG Yabin (b. 1974)

Bird‧Ridding the Pig‧To Build Pagoda 2005 Mixed media on canvas 25 x 30.5 cm (x3) Signed lower right WANG and dated 2005 (each) Signed on the reverse Wang Yabin in Chinese and dated 2005 (top & bottom) Signed on the reverse Wang Yabin in Chinese and dated 2005, titled Pig in Chinese ILLUSTRATED: Wang Yabin, Aura Gallery, Shanghai, 2005, color illustrated (Bird) Searching around the mountain, Aura Gallery, Shanghai, 2005, color illustrated (To build pagoda, Ridding the pig)

NT$ 140,000-180,000 US$ 4,300-5,500 HK$ 33,300-42,900

王亞彬鳥‧騎豬人‧造塔 2005 綜合媒材畫布 25 x 30.5 cm (x3) 簽名右下：WANG 2005（每幅）簽名畫背：王亞彬 2005（上圖與下圖）簽名畫背：2005 王亞彬豬圖錄：《王亞彬》，亦安畫廊，上海， 2005，彩色圖版（鳥）《搜山 2005》，亦安畫廊，上海， 2005，彩色圖版（造塔，騎豬人）

002

LEI Shuang (b. 1950)

Persona 2000 Oil on canvas 55 x 54 cm Signed lower right Shuang in Chinese and dated 2000 Year

NT$ 70,000-110,000 US$ 2,100-3,400 HK$ 16,700-26,200

雷雙戲劇人物 2000 油彩畫布 55 x 54 cm 簽名右下：雙 2000年

003

JIA Gang

賈剛

(b. 1974)

不要悲傷要快樂

Happiness Without Sadness 2003 Oil on canvas 100 x 100 cm Signed lower right Jia Gang in Chinese and dated 2003.9 EXHBITED: 2004 Mood of the Youth - Exhibition of Rewarded Paintings of Chinese Newly Emerging Artists, He Xiang Ning Art Museum, Shenzhen, 2004

ILLUSTRATED: 2004 Mood of the Youth - Exhibition of Rewarded Paintings of Chinese Newly Emerging Artists, He Xiang Ning Art Museum, Shenzhen, 2004, color illustrated,

2003 油彩畫布 100 x 100 cm 簽名右下：2003.9 賈剛展覽：「2004年少年心氣展覽中國新銳」，何香凝美術館，深圳，2004

p. 77

NT$ 120,000-220,000 US$ 3,700-6,700 HK$ 28,600-52,400

圖錄：《2004年少年心氣展覽中國新銳》，何香凝美術館，深圳，2004，彩色圖版，頁77

004

CHENG Tsai-tung (b. 1953)

Yangtze River Oil on canvas 150 x 85 cm Inscription on the reverse: Calm Sands, Singing Wind. Lonely Mount and Late Rain out of the Sight. Slowly Floating Boat in Chinese

NT$ 420,000-520,000 US$ 12,800-15,900 HK$ 100,000-123,800

鄭在東長江絕島圖油彩畫布 150 x 85 cm 款識畫背：沙平風軟望不到孤山久與船低昂

005

CHENG Tsai-tung (b. 1953)

Classical Chinese Garden Oil on canvas 150 x 85 cm

NT$ 420,000-520,000 US$ 12,800-15,900 HK$ 100,000-123,800

鄭在東江南園林油彩畫布 150 x 85 cm

006

Tzu-chi YEH (b. 1957)

After Rain, Turtle Island II 1999-2000 Tempera / Oil on linen 20 x 61 cm Signed lower right Tzu-chi in Chinese and dated 1999-2000

NT$ 160,000-220,000 US$ 4,900-6,700 HK$ 38,100-52,400

葉子奇返花途中．雨後的龜山島 II 1999-2000 卵彩油彩亞麻布 20 x 61 cm 簽名右下：子奇 1999-2000

007

KUO Wei-guo (b. 1960)

Nest 2005 Oil on canvas 97 x 130 cm Signed lower left Kuo's in English and dated 2005 Titled on the reverse Nest and signed Kuo Wei-guo in Chinese, dated 2005 in Chinese and size 97 x 130 cm

NT$ 200,000-300,000 US$ 6,100-9,100 HK$ 47,600-71,400

郭維國巢 2005 油彩畫布 97 x 130 cm 簽名左下：Kuo's 2005 簽名畫背：二○○五巢 97 x 130 c m 郭維國

008

LIEN Chien-hsing (b. 1962)

A Scene over the Hill 1997 Oil on canvas 80 x 116 cm Signed lower left Lien Chien-hsing in Chinese and dated 1997

連建興靈山行腳 1997

ILLUSTRATED: Lien Chien-hsing, Metropolitan Art Space, Tainan, 1997, color illustrated, p. 15

油彩畫布 80 x 116 cm 簽名左下：連建興 1997

NT$ 160,000-260,000 US$ 4,900-7,900 HK$ 38,100-61,900

圖錄：《連建興畫集》，大都會藝術環境，台南，1997，彩色圖版，頁15

009

MIAO Jingchang (b. 1966)

Great Scene in a Bonsai 2003 Oil on canvas 79 x 189 cm Signed lower right Miao Jing chang in English and dated 2003.1 ILLUSTRATED: Miao Jing-chang, Jeff Hsu's Art, Taipei, 2006, color illustrated, p. 99

NT$ 260,000-360,000 US$ 7,900-11,000 HK$ 61,900-85,700

苗景昌大盆景 2003 油彩畫布 79 x 189 cm 簽名右下：Miao Jing chang 2003.1 圖錄：《苗景昌作品集》，觀想藝術有限公司，台北，2006，彩色圖版，頁99

010

HUANG Ming-chang (b. 1952)

Green Paddies - Rice Field Series 2006 Oil on canvas 130 x 194 cm Signed lower right edge Huang Mingchang in Chinese and Huang m.c in English, dated '06

NT$ 2,000,000-2,800,000 US$ 61,000-85,400 HK$ 476,200-666,700

黃銘昌的作品從有時間、地域性的鄉土寫實邁向無時間隔閡的土地延伸，從室內生活空間的真虛搜索到窗外欄杆線外廣大的宏觀與細膩的微觀，畫

stunningly colourful outdoor subjects that capture his personal view of the

家以個人的視宇舖陳出繽紛密密萬物

with, the natural world. Returning to Taiwan from abroad, Huang devoted his creative energy to two sets of similar

歸懷的物我繾綣之情。歸國後的「稻田系列」與「遠眺系列」，大同小異地覆述著靜純樸世界的眷戀，他的鄉土寫實不再是攝影鏡頭獵取下的切面空間，而是透過細緻描繪與嚴謹結構組合出的鄉土意象，一吋吋貂毛筆所犁過的畫布，似乎意欲攫取住每一吋畫面所能擁有的寂靜，似幻似真地抗

稻色平遠—水稻田系列

拒了外來世界的侵擾。他的稻秧正如家鄉「瑞穗」知名，常年豐盛的成為記憶版圖上的烙記，是一株株已在現

2006 油彩畫布

實中逐漸消逝的鄉土符號。現實中逝去的，黃銘昌在畫面上挽留了。

黃銘昌

130 x 194 cm 簽名右側：黃銘昌 Huang m. c. '06

(節錄自高千惠〈切向七○、八○美術年代〉《中國時報》83年4月14日)

Huang Ming-chang’s paintings reach out from the local and native beyond the horizons of a fixed geographical setting or single point in time. Starting from the limited spaces of indoor life and everyday experience, the artist gradually expands his view to incorporate what lies outside the window and beyond the fences that demarcate the borders of our mundane microcosmos. A master of the detailed and minute as well as the sweeping and panoramic, he presents to audiences

world and clearly express the artist's deep attachment to, and involvement

projects, the ‘Rice Field’ series and the ‘Views from Afar’ series, both keen representations of the artist’s love of a simpler and more serene world. His paintings of local scenery were no longer random photographic ‘snapshots’, but rather succinctly composed rural imageries that speak to audiences through their meticulous attention to detail, deftly combined to produce impressive tapestries of tranquility. It is as if the artist was compelled to imbue every inch of the canvas with an atmosphere of calm, idyllic poesy that seems to reject any intrusion from the noisy outer world. Just like the famous rice from his hometown Ruisui, Huang’s paddy fields are renowned as dogged reminders of the natural beauty and charm of the gradually disappearing countryside. Huang Mingchang is the champion of the past, using his brush to try and save from oblivion what is inexorably fading from reality. (cf. Kao Chien-hui, A Cross-Section of 70s to 80s Art in China Times, April 14, 1994)

010

011

CHUANG Che (b. 1934)

The Rock and Tree II 1997 Mixed media on paper, collage 59 x 90 cm Signed lower left Chuang Che in Chinese

莊喆

and dated 97

石與樹 II

NT$ 220,000-320,000 US$ 6,700-9,800 HK$ 52,400-76,200

1997 綜合媒材紙本拼貼 59 x 90 cm 簽名左下：莊喆 97

012

CHUANG Che (b. 1934)

Floral Abstract 1997 Acrylic, oil on paper 59 x 90 cm Signed lower right Chuang Che in

莊喆

Chinese and dated 97

花樣抽象

NT$ 220,000-320,000 US$ 6,700-9,800 HK$ 52,400-76,200

1997 壓克力油彩紙本 59 x 90 cm 簽名右下：97 莊喆

013

CHIU Ya-tsai (b. 1949)

Young Man Oil on canvas 80 x 65 cm Signed lower right Ya-tsai in chinese

邱亞才青年

NT$ 170,000-220,000 US$ 5,200-6,700 HK$ 40,500-52,400

油彩畫布 80 x 65 cm 簽名右下：亞才

014

YANG Mao-lin (b. 1953)

楊茂林 Turtle Formosa

寶島烏龜 1996 壓克力油彩畫布 116 x 161 cm

1996 Acrylic, oil on canvas 116 x 161 cm

附大未來畫廊開立之原作保證書 The painting is to be sold with a certificate of authenticity issued by Lin & Keng Gallery, Taipei. EXHIBITED: Inviting the Immortals: Culture, Intercourse, Tayouan History, Lin & Keng Gallery, Taipei, 1999

ILLUSTRATED: Inviting the Immortals: Culture, Intercourse,

展覽：

Tayouan History, Lin & Keng Gallery, Taipei, 1999, color illustrated, p. 57

「文化交配大圓誌－請眾仙 I」，大未來畫廊，台北，1999

NT$ 550,000-750,000 US$ 16,800-22,900 HK$ 130,100-178,600

圖錄：《文化交配大圓誌－請眾仙 I》，大未來畫廊，台北，1999，彩色圖版，頁57

015

HOU Chun-ming (b. 1963)

The First Year of Mi-shia Era Stones 2005 Oil on paper, mounted onto board 210 x 90 cm Signed upper right The First Year of Mishia A-Li Temple in Chinese ILLUSTRATED: Scene of Rocks, Cultural Affairs Bureau Miaoli County, Miaoli, 2005, p. 144

NT$ 400,000-500,000 US$ 12,200-15,200 HK$ 95,200-119,000

其是與人身結合的植物造形來強化我自己想要根著於地、守護家園的心願。此即「原鄉植物」、「米夏元年」系列作品的創作由來。

plays and woodblocks. I identified with Sintian and through Sintian acquired an effective method of expressing resistance to authority. Sintian thus came to represent the rebelliousness of my youth.

關於像「刑天」、「米夏元年」這類的作品，我會說我是在創造我自己的「生命圖像」。這些圖像不僅反映了我當下的生命情境，並且強烈的預示著我內心的渴望。就好像我現在渴望我自己成為一棵樹可以庇蔭他人，成為給予者、照顧者，因此我不斷地畫樹，要讓樹的意象進入到我的生命裡，最終希望我所創造的意象與我的生命合一，讓我成為我所創造的意

I began painting plants after I entered middle age, focusing on the design of plants that combine with the body. This represented my desire to become rooted in the ground and watch over my family. This was the inspiration for my Home Plants and First Year of the Misia Era series of artworks.

象。

To me, artworks like Sintian and The First Year of the Mi-shia Era was where

聽起來我在談的好像是一種巫術，而不是藝術。

I created my “Life Image”. The imagery not only reflected the state of my life at

2005 油彩紙本裱於木板

沒錯。就「召喚」的作用來說，藝術就是巫術。它可以呼風喚雨，轉換能

the time but also provided a strong hint of my inner desires. I now long to become a tree that can shelter other people – to

210 x 90 cm 簽名右上：米夏元年阿麗神宮

量，驅邪賜福，治療疾病。它可以整合、凝聚個人與全體人類。

become a giver and carer – so I continue to paint trees so the motif of the tree

圖錄：《礫石之境》，苗栗縣文化局，苗栗，

在生命的不同階段，我使用著藝術裡的巫的力量，要生命圓滿。

becomes a part of my life. Ultimately, I hope the motif of my art will fuse with my life so I become the motif that I paint.

侯俊明米夏元年—石頭系列

2005，頁144 《摘自侯俊明創作自述，發表於www.artcenter.fcu. edu.tw》

This sounds like I am talking about a kind of voodoo magic rather than art.

For some people painting is a hobby, a form of recreation or even a social activity. I however make my living by

Yet that’s exactly what it is. Art is

活費而成為一個專業的創作者，更重要的是在心靈的層面上我以畫畫來獲得生存所需的力量，並且以畫畫來形塑出我的生命願景。

painting. “Making a living by painting” does not simply mean that I am a professional artist who paints to earn my keep financially. Even more importantly it describes how painting is what gives me

weather, convert energies, give blessings and inflict hexes as well as cure injuries and illnesses. It can also combine

就好像華人會以「龍」為其族群的圖騰，以「龍的傳人」自許。在血氣賁張的年輕歲月裡，我曾不斷的透過創作包括了繪畫、裝置、劇場、版畫等不同的表現形式，有意識的反覆詮釋

the energy to survive on a spiritual level and what gives shape to my life’s hopes.

「刑天」（山海經裡的神話人物）的故事。認同刑天，並以刑天取得反抗

for their race and consider themselves the “Heirs of the Dragon”. In my youth my passion drove me to constantly and consciously re-interpret the story of “Sintian” (mythical character in

畫畫對有些人來說是興趣、是休閒，甚或是一種社交。對我來說我是以畫畫維生的。所謂「以畫畫維生」，不只是說我在經濟層面上以畫畫賺取生

威權的有效形式。刑天成了我青年反叛階段的原型、象徵。進入中年之後，我則以描繪植物，尤

This is in a sense like how the Chinese people use the “Dragon” as the totem

Sanhaijin) through painting, installations,

rather like voodoo magic in terms of its “summoning” effect. It can control the

and bring together individuals and all Mankind. For each of the different phases in my life, I am using the magic within art to enrich my life. (Extract from the artist's statement on creativity published at www.artcenter.fcu.edu.tw )

016

HOU Chun-ming (b. 1963)

The First Year of Mi-shia Era Mating 2005 Oil on paper, mounted onto board 210 x 114 cm Signed upper right The First Year of Mishia A-Li Temple Painted in Sanyi in Chinese ILLUSTRATED: Scene of Rocks, Cultural Affairs Bureau Miaoli County, Miaoli, 2005, p. 149

NT$ 200,000-300,000 US$ 6,100-9,100 HK$ 47,600-71,400

侯俊明

植物也可以成為情慾的表現題材嗎？自古情慾即為西方藝術家不斷讚頌的主題,除了人體還是人體。當然近代藝術家也有以花朵作為情慾隱喻的，柔美的花瓣不禁讓人聯想到女性性器。然而侯俊明在此表現的是枯枝狀的兩株植物的相互纏繞與吸吮。一種天荒地老，春蠶到死絲方盡的，近於冥頑不化的情慾渴求。鄉居的侯俊明在近期的創作裡，發展出與中國傳統山水畫相呼應的天地觀，在自然風景，植物之中展陳著人世情慾。自解嚴的年代始，侯俊明即以叛逆之姿，以露骨的情慾表現，衝撞著社會禁忌。從新興城市周邊的工地秀觀察，開始一系列具批判性的版畫與裝置創作。

米夏元年－野合系列

《大腸經》與《搜神記》圖文並茂的

2005 油彩紙本裱於木板

創作中，把情慾推向古老神話與傳說。巧妙的顛覆，揉合了古典與民俗，當代情色與政治.社會議題。

210 x 114 cm 簽名右上：米夏元年阿麗神宮繪於三義圖錄：《礫石之境》，苗栗縣文化局，苗栗， 2005，頁149

遷居火焰山，生兒育女的侯俊明把心力轉向於對植物的栽植與觀察，企圖從植物的描給中滋養著新生命。讓自己在新的角色（父親）中有所蛻變.因而有了《米夏（兒子）元年》的系列創作。（阿麗）（侯俊明自述創作） Can plants also become the material to express desire and lust? Since the ancient time lust has become a topic praised constantly by western artists, it's all about human figure and structure.

two plants with deadwood to represent the entwined and absorbing image between two people. An impenetrability desire eager for lust will last to the end of the world like the spring silkworm dead at the end of producing silk. Recent works by Hou Chun-ming who lived on the country side has developed the universe perspective that responded to Chinese traditional landscape paintings, displaying the lust between human relationships with nature scenery and plants. From the time after martial law ended, Hou Chun-ming expressed lust with a rebellious and baldly images that made a great impact on society taboos. From the observation of construction show with risqué scenes around new cities, gave Hou a start for creating a series of works on block prints and devices that contained criticism. " L a rg e I n t e s t i n e M e r i d i a n " a n d "Investigations Into Deities" were created with images and words description, the two works pushed the lust to the ancient legend and myth, overthrow the idea of lust masterfully combining classical and folklore topics with modern issues about the society, politics, and the contemporary idea about lust. Moving to the mountain area Hou Chun-

Contemporary artists have taken flowers

ming being a father of two children focus on planting plants and observed them closely, trying to nurture new life by illustrating plants. So that Hou can grow and change in his new role being a father,

to be the metaphor for lust, the tender and gentle petals remind us of a female sexual organ. However, Hou Chun-ming used

then the series works on "The First Year of Mi-shia Era" (Mi-shia is a name of the artist's son) came out. (A-Li)

017

WU Tien-chang (b. 1956)

Yami (Taiwanese Aborigines) 1992 Oil on canvas 172 x 172 cm Signed on the reverse Wu Tien-chang and title: Yami in Chinese, dated 1992 This painting is to be sold with a certificate signed by the artist.

NT$ 660,000-860,000 US$ 20,100-26,200 HK$ 157,100-204,800

吳天章雅美族群 1992 油彩畫布 172 x 172 cm 簽名畫背：吳天章題目：雅美族群 1992 附藝術家親筆簽名之作保證書

018

SU Wong-shen (b. 1956)

Buddha 2003 Mixed media on canvas 120 x 194 cm Signed on the reverse Su Wong-shen in

雖然蘇旺伸沒有什麼淑世的理想或使命，亦不願說教般地揭示什麼公義真

of rapid political, social and economic

理，但一個成長成熟於80年代的青年，曾經深深體會到台灣社會的劇烈

and lasting imprint on his mind and, if anything, it has made him all the more attached to his native island—a quality that is eloquently betrayed in his artistic

變化，那強烈與深刻的感知，使他對自身所從出的土地，仍然充滿關情，這種老靈魂的特質無從擺脫。於是，

Chinese and dated 2003

他紀錄下這些心情，以各種抽象的化身與曲折的形式，暗示著在畫布背後

ILLUSTRATED:

複雜糾結的可能，像一則起了頭即嘎然而止的預言，留予不同的心靈演譯將之完成。無論從內容或為它們命名的方式，蘇旺伸此前的作品中對社會

Su Wong-shen, Eslite Corporation, Taipei, 2003, color illustrated, p. 29

NT$ 650,000-800,000 US$ 19,800-24,400 HK$ 154,800-190,500

蘇旺伸浮屠 2003 綜合媒材畫布 120 x 194 cm

性議題的關注都是較為外險的，而在這件作品中，更多的是內省式的精神觀照，他們依然根植於畫家的生命境遇，只是那思維的面向更為複雜與深沉，少了一些嘲謔，多了一絲感傷，卻是一般的無所謂。（節錄自誠品畫廊2003年9月《蘇旺伸》畫冊）

簽名畫背：蘇旺伸 2003

Su is not an artist with lofty ideals or a historical mission, and you will not hear him holding forth about truth and

圖錄：《蘇旺伸》，誠品股份有限公司，台北，2003，彩色圖版，頁29

justice. Even so, as a young man coming of age in the eighties, he has experienced his fair share of tumultuous change and upheaval as Taiwan underwent a period

transformation. Those times left a deep

work. Abstract images and intricate shapes hint at the complicated emotions that went into each of his compositions, grabbing the viewer ’s attention like hesitating divinations of the future, as if Su was reluctant to say too much and rather left it to the observer to complete the artist’s evolving prophecies. From their content and titles it is easy to see that Su’s works touch only superficially on social topics and current issues. This is also true of this lot, which features more tentative representations of the painter’s inner self, introspective musings about his life and the world around him—only now Su’s thinking has become even more complex and profound. There is less irony and more emotion, but it is all still bathed in the accustomed cursory nonchalance. (cf. Eslite Gallery Exhibition Catalogue Su Wangshen, Sep 2003)

018

019

CHENG Tsai-tung (b. 1953)

Self-Portrait in a Red Vest 1990 Oil on canvas 91 x 72.5 cm

中國的古典文化。創作多取材於中國古典文學、禪宗公案、文人軼事等，

portrait paintings, cold and lonely, like paintings by Ma Yuan from Sung, and Xia Gui from Shia dynasty.

Signed lower right Cheng Tsai-tung in Chinese and dated '90

往往題詩題字入畫，作品包含畫家個人的心懷、境遇和感觸，加之以當代

During these years, Cheng painted a

NT$ 180,000-320,000 US$ 5,500-9,800 HK$ 42,900-76,200

鄭在東自畫像（紅背心） 1990 油彩畫布 91 x 72.5 cm 簽名右下：鄭在東 '90 鄭在東1953年生於台北，曾旅居紐約，受西洋畫超現實主義影響，創作中蘊含當代繪畫中的開放元素，熱衷於幾個物體之間的基本關係，畫中描繪的物件非常少，構圖多取半邊一角，後期善用插圖化的表現手法。用筆有中國傳統文人畫的味道，情調充滿清冷和孤寂，富有宋朝馬遠、夏圭之功。鄭在東多年來以自畫像和家人的畫像為創作內容，記述著畫家自己、家人與朋友的恬淡生活。《自畫像紅背心》彰顯了平淡天真的生活意味並夾雜著無可奈何的惆悵感覺，畫風簡潔生動，輪廓清晰、色彩明快，畫家運用蓬鬆的筆觸、「平面」感以及明暗的深淺佈置，使畫面中的人物恍然隔世，透露生機。「我的繪畫好像一本私人日記，記載著每個時段的生活內容及面對生活時的掙扎與幻想，假借一些事物或典故勾畫出內心深處不知名的畫面。」「我只是尊崇內心繪畫的感覺。」為擺脫沉悶的文化氣氛，90年代後期鄭在東開始旅居上海，期望在當代文

化的結構中以自己的創作和態度復興

繪畫的形式和處理手法，成為古典母題的現代演繹。鄭在東懷有執著的傳統人文精神情結，通過對生活的品味，以及創作形態的調整，表現他對於自我，傳統和現實三者之間的關係的困惑，梳理出一個能涵養作品的藝術生命。鄭在東對傳統繪畫技法和觀念的繼承

lot of self-portraits and family member portraits which narrated the painter and his family and friend's life. “Self-portrait in a Red Vest” reveals a life that is flat and innocent, also mingled with unspeakable sadness, the whole picture is succinct and lively, with clear outlines, and bright colors, he used brushes with fluffy brush hairs, with shades and two dimensional arrangements, made the character in the

和發揚主要集中在對漢魏風骨和魏晉

picture as if from the past, and reveals

風度的內在追尋上，而略去了明清以來文人畫的積習和弊病。鄭在東多年以來對內地河山多有遊歷，並對中國深厚的歷史文化多有探究和身體接

“My paintings are like my private diary, it recorded many periods of life and the

觸，古物、靈山、書畫、茶、園林等等，都是他賞玩、研究並汲取靈感的物件。近年的新山水畫，背景多以墨色為主調，取代傳統以留白表現空間和雲氣，屬於非常獨特的視覺安排。這一切籠罩在他獨具匠心的色彩關係下，於是便見夜色無邊，孤月高懸，山水平淡之間，輕舟一介，人二三粒，像是一種近乎癡迷的程式。這恰恰是鄭在東的藝術的可貴之處。他有別於當今藝壇普遍浮躁的面目設計的策略，而是轉向一種內在的天性才情，那才是他骨子裡的髓質。 Cheng Tsai-tung was born in Taipei in 1953, had lived in New York and was influenced by western Surrealism, he was more interested in the basic relations between objects rather than the object itself, therefore he rarely paints any actual objects in his paintings, he often composes his pictures with only part of an object in it, later he uses a lot of iconographic techniques. His brush strokes are similar to Chinese traditional

hope and dreams.

struggle and fantasy when facing them, I borrowed some incidents or objects to paint those indiscernible pictures deep inside me. I just simply adore what feels to paint from my within.” Cheng as a persisting complex about traditional culture spirits, he adores traditional Chinese culture and interprets them in contemporary way, with his taste in life, and the adjustments for his creation forms, he expressed his confusion between himself, tradition, and the reality, further formed a life that carries art. Cheng Tsai-tung’s recent neo-landscape paintings used a lot of ink as the base color for the background, replaced traditional white spaces that were arranged for spaces and clouds; therefore he made a very unique visual arrangement.

020

CHENG Tsai-tung (b. 1953)

Lingering Clouds (A set of 4) 1991 Oil on canvas 97 x 130 cm (x4) Signed lower middle Cheng Tsai-tung in Chinese and dated '91 EXHIBITED: Cheng Tsai-tung solo exhibition, Lin & Keng Gallery, Taipei, 1998 ILLUSTRATED: Works of Cheng Tsai-tung, Lin & Keng Gallery Ltd, Taipei, November 1998, color illustrated, pp. 20-29 Zheng Zai Dong, published by the artist, 2004, color illustrated, pp. 114-117

NT$ 1,200,000-2,000,000 US$ 36,600-61,000 HK$ 285,700-476,200

鄭在東停雲（四連作） 1991 油彩畫布 97 x 130 cm （x4）簽名中下：鄭在東 '91 展覽：鄭在東作品集「何不秉燭遊」，大未來畫廊，台北，1998 圖錄：《鄭在東作品集 —— 何不秉燭遊》大未來藝術有限公司，1998年11月出版，彩色圖版，頁20-29 《鄭在東作品集》，鄭在東自行出版，2004，彩色圖版，頁114-117

鄭在東，1953 年出生台北市，電影工作出身，活躍於二十世紀80、90年代的台灣藝術界，鄭在東並不是一位傳統的水墨畫家，他同時亦採用油彩作畫並從事陶瓷創作，早年受到西方表現主義和超現實主義藝術的影響，使他的創作中蘊含了當代繪畫中的開放元素，作品中瀰漫著一股懷舊、傷逝的氣氛，不論是記述個人生活，或是關注自我內心，都以一種冷色調呈

者之一。鄭在東的畫中，被作為描繪對象的物體非常之少，他熱衷於幾個物體之間的基本關係。從1997年發表的創作，常見詩詞入畫，關注人文人畫的風格。「停雲」一詞，即是出自於陶淵的《停雲》詩篇。有思念親友，抒發情志之意，原文為：

現，晦澀陰暗的色彩，呈現出一種冷冽奇特的美感，似乎很擅長製造一種

靄靄停雲濛濛時雨八表同昏平路伊阻靜寄東軒春醪獨撫良朋悠邈搔首延佇

暗含著返回自我深處的，孤絕陰鬱的

停雲靄靄時雨濛濛八表同昏平陸成江有酒有酒閒飲東窗願言懷人舟車靡從

氣氛，鮮豔的色彩在他的作品中成了超現實場景的點綴。 1998年後他逐漸將工作室遷至上海，他遊走尋訪古代江南文人的足跡，體會當年文人所處的景色，與他們神交，他陶醉在巨大時空中遨遊的快樂。甚是推崇晚明文人生活的鄭在東，將對歷史情境的追求落實到生活中，他家中泡茶的壺是民國時的景德鎮蓋碗，喝茶的杯是宋代耀州窯的小青瓷碗，這種玩物甚恭的狀態被他視為生活方式的典範，對名代才子袁中郎的推崇便是一例。作品擅長描寫惆悵、思古情懷，呈現傳統人文風格，這幾年鄭在東的生活重心一直以上海為主，並且，其創作內容亦多以江南文人式的生活情調為主。而最為人稱道的，是他在當代繪畫中對中國古典文化所傾注的熱情和努力，鄭在東被公認是在內地發展最成功的台灣創作

東園之樹枝條再榮競用新好以怡余情人亦有言日月于征安得促席說彼平生翩翩飛鳥息我庭何歛翮閒止好聲缸和豈無他人念子實多願言不獲抱恨如何 1998年的《停雲》四連作，一作畫中有詩，詩中有畫，淡淡情愫充滿況味，藝術家將自己的生活情狀融入創作之中，堪稱為鄭在東的經典代表作。 Cheng Tsai-tung was born in Taipei in 1953, he works in the movie industry and was very active in the Taiwan art scene during the ‘80s and the ‘90s. Cheng was not a traditional water ink painter, he also painted oil paintings and is aslo a ceramicist. He was influenced by western expressionism and surrealism arts in his early age, and that made his creations

possessed open elements of contemporary paintings. His works are reminiscent and sad, they documented his life, expressed

effort pouring Chinese classical cultures into contemporary paintings, he is also generally acknowledged as one of Taiwan

But no boats or carts come.

his inner self with a touch of cold and gloomy tone of colors, presents a cold and bizarre beauty, Cheng seems very good at creating a solitude and depressed

artists who have the best achievement in China. In Cheng’s paintings there are not many

garden Are again burgeoning. With their fresh beauty, they compete To attract my love.

atmosphere that hints the return to the deep of one’s inner self, vivid colors

objects, he is more interested in figuring out essential relation between objects.

As the saying goes, Time is short.

therefore becomes the surrealistic embellishments in his paintings.

The branches of the trees in the eastern

How can we find time to sit together And talk of our lives?

After 1998 he gradually moved his studio

Poems and lyrics usually appears in his post-1997 paintings, he concerns about traditional culture. “Lingering Clouds” is

to Shanghai, he traveled following ancient

from Tao Yuanming’s “Lingering Clouds”

Rest on the branches of my garden tree.

footsteps, appreciated the nature sceneries that was also appreciated by people thousands years ago, he was immersed in such a joy as if he was being able to travel through time. Cheng highly praised the

poem. It is about missing beloved relatives and friends, and express ones emotions. The original text goes like this:

Scratching their feathers, they sit And harmonize sweetly. I have many friends But I think most of you. I want to talk with you, but you are not to

life of the people from late Ming dynasty, he transformed his pursue into reality, the tea pot he used at home is a covered bowl

How misty, the seasonal rain! Darkness fills the universe, Blurring the level pathway.

be found. How I resent it!

from Jingdezhen, his cup for tea is a green porcelain bowl from Yaozou Kiln in Song

I sit quietly in the eastern study, Drinking spring wine alone.

“Lingering Clouds” from 1998 is a classic representative work for Cheng’s

dynasty, his obsession for these things has become his code of life, he especially praised the witster Yuan Chunglang.

My good friends are far away. Scratching my head, I long for them.

transformation, there is poem in the picture, and picture in the poem, it’s mild but also primitive, the artist had pour his

His works mostly describes melancholy and memorable feelings, and is very

How fair, the lingering clouds! How misty, the seasonal rain!

life into his creations.

cultural and academic, during these years Cheng put his life in Shanghai, and his creations during these time are mostly about Jiangnan cultures and lifestyles. He is highly praised for his passion and

Darkness fills the universe; The land becomes a river. I have wine! I have wine! Leisurely I drink by the eastern window. I yearn to speak to my friends,

How fair, the lingering clouds!

Fluttering, the flying birds

021

ZHANG Hongtu (b. 1943)

From Wu Yuanzhi to Van Gogh NPM - The Red Cliffs 2003 Oil on canvas 70 x 244 cm Signed on the reverse Zhang Hongtu in English and dated 2003 With two seals of the artist The painting is to be sold with a certificate of authenticity issued by Lin & Keng

上讀到了一段一言驚醒夢中人的話，「民族性的藝術是壞藝術，好藝術卻一定有民族性」，張宏圖說，這是一

are that he applies the techniques of the Impressionism and the Post-Impressionist paintings in the Chinese traditional

個觀念的大解放，「根本不必考慮中國味之後，如果還畫出中國味，那就是自然好的」。

landscape paintings, and while applying the Western techniques, he preserves the composition and the vast scope of the Chinese traditional landscape

接受東西方藝術教育的張宏圖認為，中西文化的結合已經成為一種現象，

paintings. His works reflect the mood as a foreigner, and most of his themes are

而他的畫正是「根據中國畫，通過仿畫用新的技術創造出自己的東西」，他的繪畫大膽跳脫了傳統中西方的美學，以客觀的角度提供觀者一種全新

the binaries between the East and the West, the delicacy and the roughness, the extraordinary and the ordinary. Recently he applies the techniques of Cezanne

二○○三年秋簽名畫背：Zhang Hongtu 2003 鈐印右下：張

的視覺體驗。

and Van Gogh in painting the Chinese

Zhang was graduated from The Affiliated

landscape, and his works always present his subversive and cynical attitude.

鈐印右下：宏圖

Senior High School of China Central

Gallery, Taipei.

NT$ 1,600,000-2,300,000 US$ 48,800-70,100 HK$ 381,000-547,600

張宏圖武元直—梵谷之赤壁賦 2003 油彩畫布 70 x 244 cm 簽名右中：倣武元直赤壁圖張宏圖

附大未來畫廊開立之原作保證書

張宏圖畢業於中國中央美術學院附中、中央工藝美術學院。1982年赴美，現定居於紐約。他率先把毛澤東的頭像變形，成了「政治普普」相關展覽非邀約不可的畫家。張宏圖繪畫的特點是在中國傳統山水畫裡運用印象派和後印象派的手法，

Academy of Fine Arts, and then continued his study in China Central Academy of Arts and Design. In 1982 he went to the United States, and currently lives in New York. He was the first one who transformed the head portrait of Mao Zedong, and since then he has been frequently invited for every exhibition relating to political Pop. The characteristics of Zhang’s paintings

Educated with knowledge of both the Eastern and the Western art, Zhang believes that the fusion of both cultures has become a phenomenon and his paintings “Based on the Chinese paintings, with imitation and new techniques create his own things.” Boldly he goes astray from the traditional aesthetics of both the East and the West, and with an objective perspective he provides the beholder a new visual experience.

在運用西畫畫法的同時又妥適地保留中國傳統山水畫的構圖及其遼闊視野。作品反映張宏圖異鄉人心情，創作主題大都玩味「東方對西方」、「精緻對通俗」、「偶像對凡夫」的二分法，近期的油畫取塞尚、梵谷的筆法臨摹中國山水的巨作，作品一貫呈現了張宏圖顛覆的玩世態度。來紐約那年張宏圖身上只帶了30美金，一來到紐約，他就在一個展覽會

金代武元直《赤壁圖》，台北國立故宮博物館收藏 Wu Yuanzhi (late 12th c.), The Red Cliffs, 50.8 x 136.4 cm, Collection of National Palace Museum

020

022

CHAO Chung-hsiang (1910-1991)

Direction 1982 Acrylic, ink and color on paper 126 x 63.5 cm Signed lower right Chung-hsiang in Chinese and Chao in English, dated 82 EXHIBITED: The Posthumous Exhibition of Chao Chung-hsiang, National Taiwan Museum of Fine Arts, Taichung, June 4 - July 24, 1994 ILLUSTRATED: The Posthumous Exhibition of Chao Chung-hsiang, National Taiwan Museum of Fine Arts, Taichung, 1994, color illustrated, p. 89

NT$ 2,000,000-3,000,000 US$ 61,000-91,500 HK$ 476,200-714,300

他不像大多數畫家那樣，追求異質文化結合後的統一性和融洽感，而是在多元綜合的基礎上，保持著中西文化的本原樣貌，使由此產生的交錯、並置、映襯、衝突之類的視覺心理效應成為藝術魅力的主體要素。The force and mystique of Chao Chung-hsiang is a personal spiritual world brought about by the influences of Eastern and Western culture. Shanghai historian Lu Fu-sheng believes that among artists who search for inspiration in Western as well as Eastern art, Chao is a one-of-a-kind artist. Lu comments,"Chao is unlike most artists who seek the unity and harmony of strange cultures. On a multi-faceted foundation, Chao maintains the original faces of Western and Eastern culture, allowing the visual-psychological effects of the cultures' intersection, juxtaposition, contrast, and clash to become the major element of his enticing artwork."

(Chao

Chung-hsiang, vol. 3, Alisan Fine Arts Ltd., Hong

趙春翔

Kong, 1999, p. 9).

方向 1982 壓克力彩墨紙本 126 x 63.5 cm 簽名右下：春翔 Chao 82 展覽：「趙春翔遺作展」，台灣省立美術館，台中，展期自1994年6月4日至7月 24日圖錄：《趙春翔遺作展》，台灣省立美術館，台中，1994，彩色圖版，頁89

Chao retains the essence of Western and Eastern art in his artworks, forming a unique visual style. He has special emotions for "ink"in Eastern art and believes that innovating Chinese art should be in promoting the core of tradition, that is, the ink painting. When Chao was residing abroad in New York in late 1950, Western abstract art was in full bloom. He saw Western masters of Abstract Expressionism innovate their works by gaining inspiration from eastern calligraphy and ink painting. This prompted his studies on ink and

applying ink to his art. Chinese splash-ink painting, broken ink, and Pollock's dripping and splashing had certain influence on Chao. After the 80s, his style had become more free and unrestrained, expressing the spirit of pure abstract art.

023

CHU Teh-chun (b. 1920)

Abstract Oil on canvas 65 x 50 cm Signed lower right CHU TEH-CHUN in Chinese and English

NT$ 950,000-1,400,000 US$ 29,000-42,700 HK$ 226,200-333,300

朱德群抽象油彩畫布 65 x 50 cm 簽名右下：朱德群 CHU TEH-CHUN

024

Walasse TING

(DING Xiongquan, b. 1929)

Do You Like Autumn? 1979 Acrylic on canvas 61 x 86.5 cm Ti t l e d o n t h e r e v e r s e D o y o u l i k e Autumn??? and signed Ting in English, dated 79

NT$ 800,000-1,000,000 US$ 24,400-30,500 HK$ 190,500-238,100

丁雄泉你喜歡秋天嗎? 1979 壓克力畫布 61 x 86.5 cm 簽名畫背：Do you like Autumn??? Ting 79

024

025

George CHANN (1913-1995)

Imagery Characters Oil on canvas, collage 122 x 100 cm PROVENANCE: Sale of Christie's Hong Kong, Oct. 2004, lot 687 Acquired from the above sale by the present owner

NT$ 2,400,000-3,000,000 US$ 73,200-91,500 HK$ 571,400-714,300

陳蔭羆意象文字油彩畫布拼貼 122 x 100 cm 來源：香港佳士得拍賣，2004年10月，lot 687 現有收藏者購自上述來源

探索，研習多年的書法漢字成了他抽象畫作的突破口，借表現主義的手法形式同時加入中國文字與書法的意念，並採取了集拼貼、書寫、塗抹、移植於一體的綜合表現手法，擺脫二維空間的限制，創作出具有全新感知經驗的抽象作品。陳蔭羆的作品從文化情感與歷史記憶出發，追求一種刻意的文化構成，借用了抽象表現的外觀，並摻和中國碑帖書法、青銅器上鐘鼎文字等廢墟斑駁的歷史內質，以重迭繽紛的色斑和書寫的線條交織，展現了嚴謹又不乏詩情的氣質。《意象文字》是陳蔭羆抽象風格的代表，採用無透視、飽滿的構圖，畫面充斥著無規則運動著的點、線和蠕動的形體，而這些多變的形體多由金石

Chann’s firmly stood in early paintings with realistic style, during that time he painted several paintings that describe the low life in American society, he was one of the representative expressionist painters in the west coast during that time. During the ‘50s, abstract was in fashion in the American art scene, Chann poured his thoughts into that trend and started to explore abstract expressionism, his years of calligraphy studies has become his breakthrough point in his abstract expressionist paintings, he borrowed the techniques from expressionism with spirits of Chinese Calligraphy, adapted and combined techniques of copy and paste, calligraphy, smearing and implementation, got rid of two dimensional limitations and further created brand new sensational experienced abstract works.

碑刻的拓片構成，陳蔭羆正是通過這陳蔭羆是當代美國重要的華裔抽象表現主義畫家之一，於1934年進入洛杉磯奧提斯藝術學院學習繪畫，在此後的五年時間裡，連續獲得全額獎學金並最終取得碩士學位，後留校擔任助教。技藝精湛的他踏入藝界初期，便受到美國西岸民眾的歡迎，更有機會得到時任洛杉磯美術館館長麥堅尼的賞識，由他引薦而開始經常性地參加全美藝廊及美術館巡迴展出。陳蔭羆早期的畫風堅守寫實風格，在那段時期他創作了許多描繪美國社會低下階層的作品，是西岸地區具象繪畫的主力之一。20世紀50年代，美國掀起抽象主義藝術狂潮，抽象表現主

種表意文字的筆劃和書法式的線條體現即興的抽象性。 George Chann is one of the most important Chinese abstract expressionist painters in the US, he enrolled in Otis College of Art and Design in Los Angeles to learn to paint in 1934, during the next five years, and he received full scholarship and acquired a Master degree, and later served in school as an assistant professor. With his brilliant skills when he entered the art scene he was well received by the people in the west coast, his works were also appreciated by the director of Los Angeles County

義成為美國畫壇的顯學與主流，當時陳蔭羆帶著自己的思考加入到這股潮

Museum of Art, Roland J. McKinney, with McKinney’s recommendations Chann started to exhibit in galleries and museums

流之中，開始對抽象表現主義畫風的

across the America.

Chann’s creations originated from cultural emotions and historical memories, he is pursuing an intentional cultural construction, with borrowed abstract expressed appearance, added historic essences from Chinese stone calligraphy, bronze cravings, with multiple colors overlapped and lines weaved, he created works that are unique and extraordinary from within. “Imagery Characters” is Chann’s classic work from his abstract period, he used transparent and full compositions, with random moving points, lines and eely forms from the stone cravings, and Chann used the strokes of these imaginary characters and calligraphic lines to present the impromptu abstract.

026

CHU Teh-chun (b. 1920)

Equilibrer orange 1989 Oil on canvas 65 x 80 cm Signed lower right CHU TEH-CHUN in Chinese and English, dated 1989 Titled on the reverse "Equilibrer orange" in French, signed CHU TEH-CHUN in English and Chinese, dated 1989 The painting is to be sold with a certificate of authenticity issued by Main Trend Gallery, Taipei.

NT$ 2,600,000-3,000,000 US$ 79,300-91,500 HK$ 619,000-714,300

朱德群澄色平衡 1989 油彩畫布 65 x 80 cm 簽名右下：朱德群 CHU TEH-CHUN 1989 簽名畫背："Equilibrer orange" CHU TEH-CHUN 朱德群 1989 附大趨勢畫廊開立之原作保證書

朱德群是當今著名的海外華人藝術家，生於1920年，1935年進杭州藝專學習中西繪畫，畢業後他先後在南京中央大學和台灣師範大學任教。1955 年赴巴黎習畫創作，1956年開始創作抽象繪畫。五十年的探求，朱德群先生取得了卓越的的成就，成為一位享有國際盛譽的抽象藝術家，他于1999 年榮獲了法蘭西藝術院院士的榮譽，成為該院兩個世紀以來首位華裔院士。朱德群的繪畫世界中充滿了詩意的氣質；及音樂在空氣中的律動。其用色上兼容沈穩而奔放，線條揮灑間有如狂草，極具中國山水與書法的逸趣。其作品裡蘊含著東方藝術的細膩與西方繪畫濃厚而大膽的色彩表現，他的繪畫中抽象表現是一種自然的流露、熱情而奔放的抒情創作。光的表現是朱德群作品中重要的元素，經常神秘地穿梭於畫裡，訴說著大自然與宇宙中的深層奧秘。

Normal University. In 1955, he went to Paris to learn to paint; he started to make abstract paintings in 1956. After 50 years of explorations, Chu has achieved remarkable achievements; he is now one of the most famous abstract artists in the world. He was elected by French Academy in 1999 and was also the first Chinese who received this honor in the last two centuries. Chu’s paintings are poetic; they possessed rhythms and vibrations of music in the sky. His using of colors is steady and wild; lines splashed like grasses against wind, his works possessed the taste of Chinese landscapes and calligraphy. They are exquisite like Eastern arts and also has bold use of colors like Western paintings, his abstraction has a natural flow, passionate and wild. Light is the most important element in his paintings; it mysteriously comes and goes in the picture, telling the secrets of the nature

藍色調是朱德群的最愛，因為它象徵了大自然中海天共用的原色。藍色既親切又富詩意，充滿了天地間磅礡的氣魄。此幅《澄色平衡》也是以藍色為基調。透過神秘而富有詩意的色彩

and the universe.

營造出一種特殊的意境。細看之下，彩色的點塊如同跳躍的音符，又如繁

the atmosphere between the worlds. “Equilibrer orange” also adopted blue

花，透出明亮清澈的光線，在他的畫中，你看不到現實的形體，只有一些神秘的幻想在跳動，但當你用耳去聆

as its base color. Through the use of mysterious and poetic colors, Chu created a special artistic conception. Look closely,

聽他的畫，你會聽見動聽的中國曲樂在耳邊若隱若現。

color blocks are like dancing music notes, like flowers, penetrated by clear bright

Chu Teh-chun is currently a world-famed

lights, you cannot find realistic forms in his paintings, there are only mysteries dancing in the picture, but if you tried

Chinese artist, born on 1920, he studied in Hangzhou National Academy of Art in 1935, after graduation, he taught in Nanjing Central University and Taiwan

Blue is Chu’s favorite for base color, it is the color of the ocean and the sky. It’s decent and poetic, and could create

to listen to his paintings, you might hear Chinese music whispering.

026

027

Walasse TING

(DING Xiongquan, b. 1929)

I Have a Peach Flavor Mouth 1975 Acrylic on canvas 76 x 91 cm Titled on the reverse I have a Peach flavor Mouth and signed ting, dated 75

NT$ 1,700,000-2,400,000 US$ 51,800-73,200 HK$ 404,800-571,400

丁雄泉我擁有水蜜桃般的唇 1975 壓克力畫布 76 x 91 cm 簽名畫背：I have a Peach Flavor Mouth ting 75

生於中國無錫，1946年移居香港， 1952年遠赴巴黎與眼鏡蛇畫派集團的成員建立了密切的關係。1960年移民

1960, he moved to New York and became a contemporary artist. Having traveled to Shanghai, Paris, New York, and Holland,

紐約，成為一名流行藝術家。從上海、到巴黎、到紐約、到荷蘭畫畫，是位專心於享受人生的畫家，而從他的繪畫則是可輕易體認到這一點。

he is an artist who enjoys living, which is a notable feature of his paintings.

《我擁有水蜜桃般的唇》這幅畫呈現

life, his strokes and color usages. As some speculations, these elements presents his fascination for love. Indeed, Ting’s works all have certain connections with

專屬於他的享樂風格，及其擅長的色彩觸感，也許如人們所說的，他的用色就是他對愛情著魔之呈現，而的確，丁雄泉的畫都離不開愛情，離不開美麗的女子，而就算畫中不見女子蹤影，仍透露情慾的氛圍。在畫作的後部寫著「我擁有水蜜桃般的唇」，在此值得一提的是，丁雄泉於1977年出版的畫冊《紅唇》裡面的一小段文字：「拾取春色，放入浴池，捕捉虹彩，置入唇間」，丁雄泉的詩意對應其在繪畫上的感官性與坦白。一張張看著丁雄泉的畫，不禁讓人懷疑，這些生活上時常看到的東西，為什麼在他的畫裡，一一變成別具風味的元素？他到底把水果、或是鸚鵡、或是花和女生看成是一項靜物，還是一寄情之處？這樣去想也許很傻，他作畫速度應該很快，像為某事物沉醉之宣洩，有些類似抽象表現的繪畫，把自己的情緒情感，在畫布上以行動來驗證。他要讓我們隨著他的情緒去旅行，去玩耍，而大部分時候他都會把人帶到愉悅的境界。 Walasse Ting was born in Wuxi, Jiangsu province in China. He immigrated to Hong Kong in 1946, and then went to Paris in 1952 and established close relationships with members of the COBRA Group. In

“I Have A Peach Flavor Mouth” is a painting that demonstrates his love for

love and beautiful women. Even though in some of his works there is no visual image of a female, a sensual atmosphere is still revealed. He wrote the phrase, “I Have a Peach Flavor Mouth”, at the reverse of this painting. Moreover, in Red Mouth published in 1977, he wrote “take spring, put in bathtub, take rainbow, put in mouth”. Walasse Ting’s poetic talent melts into a sensational visual confession of his artwork. Ting’s paintings make people wonder how things in daily life can become distinct elements of art. To him, are fruits, parrots, flowers, and women only still objects, or concealments of his passion? It can be silly to think about all these questions that can never be answered. It is likely that he paints with a quick tempo in order to release passion from his fascination for certain things. Some abstract-like paintings illustrated his release of emotions while he painted on the canvas. Walasse Ting wants us to travel and have fun with his feelings as a guide. Mostly, we are led to an enjoyable status appreciating his artwork.

027

028

DING Yan-yong (1902-1978)

Persona Ding Yan-yong

NT$ 120,000-180,000 US$ 3,700-5,500 HK$ 28,600-42,900

67 x 45.5 cm 簽名右上：丁衍庸鈐印右上：丁

丁衍庸人物彩墨紙本

029

WANG Yidong (b. 1955)

Wild Daisy 2003 Charcoal on paper 52 x 37 cm Signed lower right Wang Yidong and dated 2003 in Chinese, signed Wang Yidong in English With two seals of the artist

王沂東

NT$ 420,000-500,000 US$ 12,800-15,200 HK$ 100,000-119,000

簽名右下：王沂東二○○三 Wang Yidong 鈐印左下：王沂東印鈐印右中：沂

野菊 2003 炭筆紙本 52 x 37 cm

030

GAO Huijun (b. 1966)

Chinese Landscape II 2005 Oil on canvas 210 x 100 cm Titled on the reverse Chinese Landscape II, Heshang in Chinese and signed G. Huijun in English, dated 2005 Hundred Year Old Man

NT$ 320,000-420,000 US$ 9,800-12,800 HK$ 76,200-100,000

高惠君好山好水看不足之二 2005 油彩畫布 210 x 100 cm 簽名畫背：好山好水看不足之二河上 G. Huijun 2005 百歲老人

031

LU Shun (b. 1966)

Depth of Lives 2004 Oil on canvas 160 x 120 cm Signed lower right Lu Shun in Chinese and dated 2004

NT$ 400,000-500,000 US$ 12,200-15,200 HK$ 95,200-119,000

呂順生命的奧秘 2004 油彩畫布 160 x 120 cm 簽名右下：呂順 2004

032

WU Zuoren (1908-1997)

Reservoir of Fouzi Hill 1954 Oil on board 20 x 29 cm Titled on the reverse Reservoir of Fouzi Hill, signed Wu Zuoren in Chinese, and dated 1954 in Chinese The painting is to be sold with the certificate released by Xiao Shufang, the artist's widow.

NT$ 700,000-800,000 US$ 21,300-24,400 HK$ 166,700-190,500

吳作人佛子嶺水庫 1954 油彩木板 20 x 29 cm 簽名畫背：佛子嶺水庫吳作人一九五四附吳作人夫人蕭淑芳開立之原作保證書

032

033

CHIANG Jui-Keng (b. 1922）

Miners 1967 Oil on canvas 45 x 53 cm Signed lower left Jui-Keng in Chinese and dated 1967

蔣瑞坑礦工 PROVENANCE: Acquired directly from the artist by the present owner

NT$ 100,000-200,000 US$ 3,000-6,100 HK$ 23,800-47,600

1967 油彩畫布 45 x 53 cm 簽名左下：1967 瑞坑來源：現有收藏者直接得自藝術家本人

034

SUN Yuntai (1913-2004)

孫雲台 Blue Hills, Green Trees

青山綠樹 The painting is to be sold with a

1988 Oil on canvas

photograph of the artist with this lot.

54 x 69 cm Signed lower right Sun Yuntai in Chinese and dated 1988

NT$ 280,000-360,000 US$ 8,500-11,000 HK$ 66,700-85,700

1988 油彩畫布 54 x 69 cm 簽名右下：孫雲台1988 附藝術家與本拍品合影照片

035

HONG Ling (b. 1955)

Snow Crowns 2005 Oil on canvas 80 x 100 cm Signed lower right in Chinese and dated

NT$ 850,000-950,000 US$ 25,900-29,000 HK$ 202,400-226,200

洪凌雪冠 2005 油彩畫布 80 x 100 cm 簽名右下：洪凌 05

035

036

CHUA Hu

(TSAI Yun-cheng, b. 1929)

Iron Bridge Series 1970 Oil on board 61 x 91.5 cm Signed on the CHUA HU in English and Cheng in Chinese, dated –1970– The painting is to be sold with a photograph of the artist with this lot.

NT$ 580,000-680,000 US$ 17,700-20,700 HK$ 138,100-161,900

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

and experience. In a strictly-selected Who’s Who in International Art Edition published in Switzerland in 1991 and

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，如評選極嚴格由瑞士出版的《國際藝術名人錄》，在1993及1994年版推介趙無極之前，於1991及1992年版持續刊

1 9 9 2 , C h u a ’s p a i n t i n g h i s t o r y w a s mentioned where as Chu Teh-chun, who lived in France, was also introduced. That was before the 1993 and 1994 editions in which Zao Wou-ki was recommended. In painting circles, many people were

出蔡雲程的畫歷，在法國的朱德群也同時和他入榜。後來畫壇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」。

not familiar with Tsai, simply because he does not like socializing. He sometimes becomes a “missing population” which means his absence from social life.

而本件拍品《鐵橋系列》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「黃色」作品，可說是他憂鬱寡歡的

The auction work, Iron Bridge Series, was made by him in 1960, ten years after he disappeared from the painting circle. It is also a rare ‘yellow colored’ work in his

蔡雲程

性格，難得在創作上顯露的一抹「笑

blue ‘iron bridge’ period. It is like a smile

鐵橋系列

容」。他利用黃、藍兩種色彩學上的對比色，與不加修飾的粗獷線條，營造出畫面的熱鬧、動盪與生趣盎然。

emerged from his melancholic personality. He adopts a contrast between yellow and blue in chromatics and undecorated rough

構圖上利用近景的三艘小船及右下角像是起重機的器械，來緩衝、穩住「騷動」的鐵橋。而在色彩上，則以一些些的橙紅與白色調和黃、藍之爭。在他巧筆的造就下，雖然色彩的

lines to create a lively, energetic, and interesting picture. In the composition, he arranged the three small boats in the front and the crane-like machine in the lower right hand corner to cushion and stabilize

使用，並不複雜，但整個畫面，卻令賞畫者，感覺「豐富無比」。

the “restlessness” of the iron bridge. For colour, he uses touches of red, orange and

1970 油彩纖維板 61 x 91.5 cm 簽名畫背：CHUA HU 呈－1970－附藝術家與本拍品合影照片

蔡雲程的這件37年前的半抽象傑作，放到美術史的時空背景看，與當時西方印象、野獸、表現主義等百花齊放的創作思潮洪流，是接軌的。而如果我們用「明媚、浪漫」來形容廖繼春的「威尼斯」，那麼我們應該可用「陽光下的力與美」來述說蔡雲程的這件鐵橋。 Born in 1929 and lived in the Philippines for half a century, the Chinese painter Chua Hu was discovered by auction houses in recent years. In painting circle, he has become a bright rising star, attracting more and more attentions. In fact, he has very fine qualifications

white to reconcile the contrast between yellow and blue. Under his skillful brush, the whole picture makes the viewer feel ‘extremely enriched’ even the use of colour is not complicated. In this half-abstract masterpiece made by Chua Hu 37 years ago, in the viewpoint of art history, one can realize that its style is connected with Western impressionism, fauvism, expressionism, and other creative art movements of modern times. If Liao Chi-chun’s Venice is described as “brilliant and romantic” one can use “vigour and beauty in the sunlight” to describe Chua Hu’s Iron Bridge.

036

037

CHUANG Che (b. 1934)

Symphonic Movement 1990 Acrylic on canvas 116.5 x 146.5 cm Signed lower right Chuang Che in Chinese and dated 90

NT$ 750,000-880,000 US$ 22,900-26,800 HK$ 178,600-209,500

莊喆交響樂章 1990 壓克力畫布 116.5 x 146.5 cm 簽名右下：90 莊喆

037

038

JU Ming (b. 1938)

Taichi – Reaching the Sky 1991 Hard wood of Southeast Asia 26(L) x 30(W) x 55(H) cm Signed in Chinese and dated EXHIBITED: , Hanart TZ Gallery, 1990

NT$ 2,500,000-3,200,000 US$ 76,200-97,600 HK$ 595,200-761,900

朱銘太極系列－十字擎天 1991 南洋硬木 26 (長) x 30 (寬) x 55 (高) cm 簽名：朱銘 '91 展覽： 1990年漢雅軒朱銘個展

作品背面 Backside

簽名雕刻 Signature inscribed

039

LUO Erchun (b. 1929)

An Aboriginal Little Lady 2007 Oil on canvas 150 x 120 cm Signed lower left Erchun in Chinese and dated 2007

NT$ 1,400,000-2,200,000 US$ 42,700-67,100 HK$ 333,300-523,800

羅爾純撒尼族小姑娘 2007 油彩畫布 150 x 120 cm 簽名左下：爾純 2007

040

YU Xiaofu (b. 1950)

I Knocked at the Door Gently

這件《我輕輕地敲門》是我參加2 0 0 5 年中國油畫協會舉辦「大河上下—新

2005 Oil on canvas 170 x 180 cm

時期中國油畫回顧展」的展出作品，展出地是中國美術館。由於該展覽印

Signed lower right and dated Signed on the reverse and titled in Chinese EXHIBITED: , National Art Museum of China, Beijing, Nov. 2005 ILLUSTRATED: , National Art Museum of China, Beijing, Nov. 2005

NT$ 1,600,000-2,200,000 US$ 48,800-67,100 HK$ 381,000-523,800

俞曉夫我輕輕的敲門 2005 油彩畫布 170 x 180 cm 簽名右下：Xiaofuyu 2005.9 簽名畫背：俞曉夫上海油畫雕塑院虹橋路金珠路111號題目《我輕輕地敲

製畫冊時，此畫還在創作中。來不及付印，只能用原件印刷品替代。應該說這件作品，是我這個題材的封筆之作。我曾三度作此題材：一次是八十年代中，後我赴英國留學隨身帶往，留在了英國被某氏私人收藏-估計這件作品如還在一定被損嚴重。第二次是九十年代末，我照原件印刷品重新臨摹了一幅。而這第三次我是再度創作，對原件進行了很多修改。首先我是把原件的透視改成比較平面的透視、人物的前後比較接近，其二是暫背景改動（包括桌面上的靜物），其

in UK and I left it there as someone’s private collection - if it still exists, it must be seriously damaged, I guess.

三對原件中四位元畫家的面部造型基本完全改掉。可以說這件作品不僅僅

The second time was in the end of the 90s. I made another copy in accordance with the printing duplication. The third

是我《我輕輕地敲門》的重畫，而是再度創作。原件《我輕輕地敲門》是我的成名作。時年三十四時，血氣方剛，想通過紀念先賢的方式表露自己的雄心壯志。現在再作的這件《我輕輕地敲門》已是二十年後，我已是五十多歲了。往事如煙、歷經滄桑，如今少年

門》

之狂早已蕩然無存，但冥冥之中卻多了一些豁達和內力。

展覽：「大河上下—新時期中國油畫回顧展」，中國美術館，北京，2005年11月

俞曉夫於2007年3月30日

圖錄：《大河上下—新時期中國油畫回顧展》目錄，中國美術館，北京，2005

俞曉夫《我輕輕地敲門》1984 油彩畫布 160 x 160 cm YU Xiaofu, I Knocked at the Door Gently, 1984 Oil on canvas, 160 x 160 cm

time is a recreation and I changed a lot comparing with the original one. First, I changed the perspective into a more flat one to make the distance between the characters closer. Second, I changed the static background into a moving one (including the object on the table). Third, I completely changed the four painters’ faces. Therefore, this painting is not simply a reproduction of "I Knocked at the Door Gently", but a recreation of it. The original "I Knocked at the Door Gently" made me famous when I was

This painting was exhibited in “History of River - The Chinese Oil Painting Exhibition in New Era” which was held by Oil Painting Society of China in 2005 in National Art Museum of China. The painting was still in process when the albums of the exhibition had been made, and thus it was replaced with a printing duplication. This painting is the last work of this very subject. Three times I have painted this subject: the first time was in the 80s. I brought it with me when I was studying

thirty-four. At that time I was young and aggressive, and wanted to show my ambition through commemorating the great ancient spirits. This new version is painted twenty years after the first one, and now I am more than fifty. Time has gone so fast that my young ambition has already been worn out by difficulties and experiences of life. Yet, imperceptibly my mind grows wider and deeper. Xiaofu Yu March 30, 2007

三槐堂與林風眠的29年收藏緣 1977年底，林風眠移居香港，從此，直到1991年去世，一直在那裡度過了他最後生活及創作的香港時期。這一

「畫家晚年的創作又回到了青年時代，甚至比青年時代愈加強悍和勇毅。悲哀已不多，孤寂的抒情一掃而

時期的林風眠，在新的生活境遇下，藝術亦產生了變化。受過文革之苦的藝術家來到自由的環境後，使他更敢於直接表達強烈的情感，以畫抒情，畫作更趨表現性：造型粗簡，筆觸縱

光，只有濤聲般的沉吟與響雷般的吶喊。」（朗紹君〈慰藉人生的苦難〉）

肆，細節描繪減少，色彩熾熱而奔放，一改國內時期的陰鬱氣質。有關老年的藝術家，弟子吳冠中和評論家朗紹君皆有評論。「老畫家，老來筆墨都更倉勁。但林風眠的筆墨不同於一般的概念，他並不著眼於筆墨本身的傳統約束，在探詢藝術新境的漫長歷程中，永遠在追求稚氣與童心，畫圖不隨年齡老。」—吳冠中（吳冠中，〈百花園裡憶園丁—寄林風眠老師〉，《美術家》第33期，第8頁）

這些評價同樣符合了擁有過林風眠最多作品的三槐堂主的喜好。在他看來，「林老的畫好，尤其以來香港的 7 0年代末到8 0年代初為代表。林老的作品最講究意境，早年的意境不奔放，晚年則比較開朗。」開朗可以說是三槐堂先生的代名詞。他被譽為擁有過林風眠最多藏品的收

此，他拋棄了其他一些收藏，專心致志地開始了「林風眠」的獨家收藏。而他的收藏標準只有一個：自己喜

藏家。在天津人民美術出版的《林風眠全集》中，1992年在香港藝術中心的展覽中，所有的展品都來自於三槐堂。後來包括台灣私立美術館和林風

歡。事實上，直到20世紀90年代末，林風眠的作品價格基本上沒有什麼波動，收藏家從未想過自己喜歡的這些

眠100周年於上海美術館的展覽相當一部分重要的作品皆是由其提供的。三

作品在未來的21世紀會增長到如此驚人的地步。但真正的藏家只為自己的

槐堂自認並非林風眠的專家，只是從 1978年開始收藏林風眠的作品，近30 年來，可謂看遍林風眠的所有作品。「看的多了，更加證明了自己收藏的

所愛收藏。即使同樣是林風眠的作

眼光和擁有的好東西。」在遇到林風眠之前，喜好文藝的三槐堂是一位典型的西方藝術愛好者，喜歡畢卡索、印象派、立體派，對中

林風眠《山林飛雁圖》羅芙奧2005春季拍賣會，編號034 558萬6000台幣成交 LIN Fengmian Wild Geese Flying Over the Forest Late 1970s, ink and color on paper, 68.5 x 69 cm Ravenel Spring Auction 2005, lot 034 NT$ 5,586,000 sold

林風眠《風景》1983 彩墨紙本 42 x 51 cm LIN Fengmian, Scenery, 1983 Ink and color on pape, 42 x 51 cm

國水墨等傳統形式的繪畫並不關注。 1978年，因為認識香港中僑貿易公司總經理的他去參加在那裡舉辦的林風眠的畫展，說是畫展，不過是將從內地帶出的20件作品和到香港後創作的一些作品掛列牆上，不緊不慢的銷售。在很長一段時間，三槐堂都是林風眠不多的收藏家。而一經遇上，自

品，他也更關注那些悅目，打動人，能夠引起共鳴的作品。這些作品必須符合一個標準，那就是真善美，缺一不可。他喜歡將一件件作品輪流置於牆上，欣賞是他最大的樂趣。他的樂觀決定了他的善意，那就是懂得割愛。不懂得割愛的收藏家永遠無法讓藝術品實現自身的價值，在最多的人群中流傳和被欣賞的價值。此次由三槐堂先生割愛的9幅作品，皆為林風眠的上乘之作。而他個人，無論是仕女，還是山水靜物都十分青睞。就評價而言，他讚賞最多的還是林風眠山水靜物。他認為這一系列是林風眠中西結合最成功的。特別是靜物中西

方筆法的涉獵更多一些，這使得有些外國人看常常認為是他們的東西，而立體構圖的部分

了。但可以肯定的是，60年代以後，他肯定沒有畫過油畫。我收藏的油畫不多，天津人民美術出版社出版畫冊裡的《霸王別姬》曾經是我收藏的。

從中國傳統剪紙和皮影裡吸收的靈感則更大一些。這樣子的喜好，讓三槐堂對如今中國傳統的退步感到異常可惜。在他看來，林風眠作品之所以打動人，更多的來自于藝術家整體的修養，傳統和現代的和諧互動，強調人品和藝品的統一，在當年，藝術家更是從來不想到錢這回事，純粹是愛藝術而為藝術的原始目的。三槐堂感慨道：「如今這些在年輕藝術家身上都很難找到了。」

三槐堂評價林風眠其人其作（Lots 042-050） 1978年我開始購買林風眠的作品，直到1991年去世，我跟林老之間總共見過4、5次，但是他身邊的很多親戚朋友都是我的朋友。林老總是笑眯眯的，話不多。是那種真正很誠懇的，沒有虛偽的藝術家。李可染說自己最崇拜的藝術家就是林風眠。他舉了一個例子，說林風眠為了畫一匹馬，用線條一天畫一百隻。這樣的認真和修養是非常難得的。中國畫家講色彩最成功的還是林風眠，至今沒有辦法比的。當然這是我主觀的看法。這跟林風眠的經歷有關。他年輕的時候學過嶺南畫派，後來到歐洲留學，見過馬蒂斯，德法很

林風眠《仕女彈阮圖》羅芙奧2006秋季拍賣會，編號040 737萬8000台幣成交 LIN Fengmian, Lady Playing Moon Guita Late 1950s or 1960s, ink and color on paper, 68 x 68 cm Ravenel Autumn Auction 2006, lot 040 NT$ 7,378,000 sold

多最好的藝術家都來往接觸過。中僑畫廊的經理曾經跟我講過，說林風眠對於自己的畫信心很足。林老表示：「我的畫要慢慢看。」在他眼中，畢卡索也不是怎麼樣子的不可逾越。林老早期特別好的收藏品不多，我個人認為他最精彩的還是水墨風景畫。從30年代開始摸索水墨畫，當時還很不成熟，50年代越來越好，70年代中到80年代中的最好，我個人的收藏 90％亦集中於這一時期。但1986年之後，林老的作品因為年紀大了，線條僵了，色彩也不通透了，我就不再收

我收藏了林老的畫20多年了。當年很多人認為他的畫中國畫不像中國畫，西方畫不像西方畫，並不喜歡，但是我一看就很喜歡，他的畫中西結合的很成功，無論靜物還是人物，臉部像莫迪葛里亞尼，脖子像木偶，有很多的元素。林風眠自己也說過，自己的藝術是熔爐來的，什麼都有，有剪紙，有木偶，有印象派，也有立體派的東西。從中汲取各家所長又創造出自己的藝術的最高境界的作品，在中國現代派裡面，沒人能超過他。中國畫不需要打燈，就是林需要。山水畫最好是兩隻燈，從不同角度打，而且一定要用黃光。他的作品層次太豐富了。燈打的不對，山水、雲彩的層次就沒有了。畫框最好配金的，用麻布框。我收藏的林風眠的第一件是仕女畫，彩色的。就收藏來講，以畫冊的出版量來說，沒有人能超過我。現在量比較大的在台灣。在以前的博覽會上，基本上沒有人買彩墨，都是買水墨，現在的市場發生了很大的變化，都開始在買彩墨，價錢一下子高出很多。這真是很奇妙的一件事，也是藝術品非常有意思的地方。

29 years’ collection fate between Sanhuai House & Lin Fengmian By the end of 1977, Lin Fengmian emigrated to Hong Kong and, until he died in 1991, he has lived through the Hong Kong period of his last life and creation days. During this period, Lin Fengmian’s art has changed under the new living conditions. The artist who suffered from the Cultural Revolution came to a free environment, which made him even more courageous to express strong feelings, express his emotion through paintings; the works have become more expressive: basic and simple shape, wantonly brushwork, reducing paint details, warm bold and unrestrained color - totally changing the gloom temperament compared with domestic period. Lin's Student Wu Guanzhong and a known critic Lang Shaojun all have their comments about the old artist. “Artists’ old paintings are more vigorous when they come older. But Lin Fengmian’s paintings are different to the general concept. He didn’t focus on the traditional constraints of brushwork itself, but always in the pursuit of childish and childlike innocence during the long journey of exploring new artistic territory. The paintings didn’t become old in his old age.” – Wu Guanzhong (Wu Guanzhong: To Teacher Lin Fengmian – Recalling Gardener in Garden Which is Full of Flowers', no. 33, Artist, p. 8)

“The creation of the artist’s old age is back to his early days, even more doughty and stouthearted than his youth. No much sadness, and clearing out the lonely lyricism; only keeping the sound of waves kind of mutter and the thunder-like cheering.” (Lang Shaojun, `Comfort the Suffering of Life') These evaluations are also match the favor of the owner of Sanhuai House who has the largest volume of Lin Fengmian’s works. In his view, “The revered Mr. Lin’s works are good, particularly those created in late 1970s and early1980s. The revered Mr. Lin’s works care the moods most, not quite unrestrained in early days, but more cheerful in his later years.” Mr. Sanhuai House can be said to be synonymous with cheerful. He

was extolled as the collector who owned the largest collection of Lin Fengmian’s works. The Lin Fengmian album published by Tianjin People’s Art Publishing House, the exhibition hold in Hong Kong Arts Center 1992… All the exhibits were from Mr. Sanhuai House. Later, part of very important works of Taiwan Private Art Gallery exhibition, and exhibition in Shanghai Art Museum for 100th anniversary of Lin Fengmian, were provided by him too. Mr. Sanhuai House does not consider himself as a Lin Fengmian expert, but someone started to collecting Lin Fengmian’s works from 1978. He has looked through, as it were, almost all of Lin Fengmian’s works in nearly 30 years. “After seeing a lot which further prove my own collection vision, I am surer that I have the good stuff.” Before knowing Lin Fengmian, Mr. Sanhuai House who is fond of arts was a typical Western art lovers. He liked Picasso, Impressionism, Cubism etc. but didn’t concern much about the Chinese painting etc., some traditional paintings. In 1978, because he was familiar with the General Manager of Hong Kong Chung Kiu Chinese Products Emporium, he participated the exhibition of Lin Fengmian which was organized by the company. Named that an exhibition, actually the event just pegged the 20 works he brought out from mainland, and some of his works Lin created in Hong Kong on the walls, sold slowly. In a very long time, Mr. Sanhuai House is among the few collectors of Lin Fengmian’s works. Once he started, he abandoned other collections, focusing on Lin Fengmian’s exclusive collections. And his collection only has one criterion: he likes it. Actually, until 20th century, in the late 1990s, Lin Fengmian’s works basically had no price fluctuations, and the collector never thought the price of his favorite works would increase to such an alarming extent in the coming 21st century. But the real collector only collects for his own favor. Even Lin Fengmian’s works also apply to it; however, he’s still more concerned about those colorful, moving works and the works will evoke a response. These works must meet the standards; they must be true, kindly and beautiful, indispensable each of them. He likes to hang the works on the wall alternately, and enjoying them is his greatest fun. His optimism determines his goodwill of understanding sharing. The collectors who don’t understand sharing will never make the treasures

carry out their own value, the circulation and appreciation value by the largest crowd. This time, the 9 works contributed by Mr. Sanhuai House are all selected treasures. He personally, no matter beauty or landscape still life, favors all of them. For the evaluation, he appreciates Lin Fengmian’s landscape still life most. He believes this series is the most successful works that Lin Fengmian combined the Chinese and Western together, especially playing more Western brushwork styles in still life, which made some foreigners often look them as their stuff; however, the solid composition absorbed inspirations more from traditional Chinese paper cutting and shadowgraph. This kind of favor makes Mr. Sanhuai House feel extremely sorry for the setback of the Chinese tradition. In his view, the reason for Lin Fengmian’s works to touch people is all because of his overall cultivation, the harmonious interaction between traditional and modern, emphasizing the unity of personal character and artistic character. The artists never thought of money in the past, purely loving the art and working for art were their original purpose. Mr. Sanhuai House sighed with emotion, “It’s difficult to find out these in young artists now.”

Mr. Sanhuai House’s comments on Lin Fengmian and his works (Lots 042-050) I started buying Lin Fengmian’s works from 1978. Until the revered Mr. Lin passed away in 1991, I total met him 4 to 5 times, but many of his relatives and friends are my friends. The revered Mr. Lin didn’t talk much but he was always smiling; he’s very sincere, not a hypocritical artist. Li Keran said his most admired artist is Lin Fengmian. He cited an example, saying that Lin Fengmian drew 100 horses with lines when he want to draw one horse. This is very rare serious and hard-won. When we talk about the color, Lin Fengmian is always the most successful artist, second to none. Of course, this is my subjective point of view. It related to Lin Fengmian’s experience. He studied at Lingnan School, later studied in Europe where he met Matisse and contacted with many best artists of Germany and France. The manager of Zhongqiao Gallery once told me that Lin Fengmian had full confidence with his own works. The revered Mr. Lin said: “It takes time to enjoy my works.” In his point of

view, Picasso is not an insurmountable model. There are no many good collections among the revered Mr. Lin’s early works. I personally think his best works are ink landscape paintings. He started to explore ink painting from 1930s, still immature in those days; getting better and better in 1950s, and from mid 1970s to mid 1980s are his best times. 90% of my personal collections are concentrated in this period. I stopped collecting the revered Mr. Lin’s works after 1986 because the lines were stiff and the color not transparent as he was aged. But it is for certain that he definitely didn’t paint any canvas after 1960s. I didn’t have many canvas collections. "Farewell My Concubine" in the catalogue published by Tianjin People’s Art Publishing House once was my collection. I have collected the revered Mr. Lin’s works for more than 20 years. Many people thought his paintings were not like Chinese paintings nor Western paintings in those years, and didn’t like them. But I love them from the first sight. He is very successfully combined the Chinese and Western elements, no matter still life or figure, like Modigliani in face and puppet in neck, with lots of elements inside. Lin Fengmian said himself that his art mixes everything, paper cutting, puppetry, Impressionism and Cubism. This is the highest state of art that absorbed others’ best and created their own individual art work, nobody can exceed him in Chinese modernism. Chinese paintings don’t need lighting, but Lin is the contrary. It’s best to have two lights in different angles for his landscape paintings, and it must be yellow light. His works have too many levers. Wrong lighting would get rid of the level of mountains, rivers and clouds. The best frame for his works is golden, flax frame. My first Lin Fengmian collection is a beauty picture, colored. Talking about collection, take the publication album as an example, no one has more collections than I did. Now there are large volume of collections in Taiwan. In the previous exhibitions, barely nobody bought color ink drawings, they all bought water ink ones. Now the market has made drastic changes, they all started to purchase colored ink drawings, and the price suddenly increased a lot. This is an amazing phenomenon and the funniest part of the art works collections.

041

LIN Fengmian (1900-1991)

Lady 1940s Ink and color on paper 35 x 35 cm Signed lower left Lin Fengmian in Chinese With one seal of the artist

NT$ 620,000-820,000 US$ 18,900-25,000 HK$ 147,600-195,200

林風眠仕女 1940年代彩墨紙本 35 x 35 cm 簽名左下：林風眠鈐印左下：林風瞑印

Sanhuai House Collection of Lin Fengmian's Paintings (Lots 042-050) 香港三槐堂林風眠作品收藏專拍（Lots 042-050） 042

LIN Fengmian (1900-1991)

Bottled Flowers 不論什麼時候，只要跟自然花卉形象 L i n F e n g m i a n Z h o u We i m i n g e d . , Collection of Art Garden Studio No. 72: Sanhuai House's Modern Chinese Paintings

NT$ 950,000-1,800,000 US$ 29,000-54,900 HK$ 226,200-428,600

林風眠瓶花圖 1960年代彩墨紙本 35 x 35 cm 簽名左下：林風眠鈐印左下：林風瞑印

接觸，無不令人為其欣欣向榮的生命所感染和陶醉，一切生活的苦和命運的波折在這絢爛面前都失了蹤。林風眠一生坎坷，對於花卉和自然卻無比熱愛，很多人在林風眠的花卉面前不由自主地發出「多麼美啊」的讚歎聲。這種美麗夾雜著對作品本身色彩及造型的欣賞，更有藝術家飽滿而熱烈的情感。同樣，濃烈的情感裡也存在著寒冷和灰暗的情緒主宰的時刻。此幅《瓶花圖》比真正的菊花更絢爛，生長的更肆意，又一點不刺眼。人在花前，只有和諧和純粹，不見張揚和冷峻。畫家對美好事物的感念，使得畫前的觀者受到了向上的蓬勃氣氛的感染。

life is full of difficulties, but he loves the flowers and nature so much, lots of people involuntarily highly praise "What a beautiful flower" in front of Lin Fengmian’s flowers. This kind of beauty couples appreciative of color and shape of the work itself, but also the full and warm feelings of artist. Similarly, there are also strong feelings in the moment dominated by cold and gloomy emotions. Those flowers in this Bottles Flowers in the vase picture are more gorgeous, growth more willfully than real mums, and not dazzling at all. People stands in front of the flowers, only feels harmony and pure, but no aggressive and frigid. Artist’s recall with deep emotion about the beauty makes the viewer in front of the picture

來源：

事實上，真實花卉的色彩沒有這麼斑

香港三槐堂收藏

駁，深厚而鮮明。這裡的菊花黃的多變而絢爛，紅色的襯托熱烈又有收

圖錄：

斂，一改過去白色和粉藍色給人清麗脫俗的感受。但熱烈生命的背後，在

In fact, the true color of the real flowers is not so motley, deep and bright. The

表現形式上，畫家在背景上用寒色調子來減弱主體黃色和紅色給人們帶來的過分強烈的感覺，另外也使得觀者產生藝術家在克制內心壓抑和晦澀的

yellow of these mums changefully and complex, the background red warm and

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，頁15

情緒，讓生命的張力掙脫一切的枷鎖，嬌豔而出。林風眠畫花，體現了他是一個運用色彩的大師。經由畫家豐富的經驗，在調色板上創造出濃淡深淺的層次色彩，經過畫家內心世界在客觀世界尋找到最符合表達感情的處理方式。 No matter what time it is, as long as you contact with natural image of flowers, nobody won’t be affected and intoxicated by its prosperous life. All the sufferings from life and all the turns of the wheel vanishing in front of this floweriness. Lin Fengmian’s whole

deeply affected by the prosperous and progressive atmosphere.

convergent, change the concinnous and refined feelings coming from whit and powder blue. But behind the warm life, in the form of it representation, the painter uses cold colors tones in the background to weaken the over strong feelings to people which come from main yellow and red, also makes the viewers feel depressed and recondite emotions restraint by artist, free vital tension from all shackles, come out beautifully. Lin Fengmian’s paintings of flowers embody that he is a master of color usage. Enriched by the experience of artist, create shade and depth level of color on palette, find out best way to express feelings in the objective world through artist inner world.

Sanhuai House Collection of Lin Fengmian's Paintings (Lots 042-050)

香港三槐堂林風眠作品收藏專拍（Lots 042-050）

043

LIN Fengmian (1900-1991)

Lady in Blue Early 1980s Ink and color on paper 35 x 35 cm Signed lower left Lin Fengmian in Chinese With one seal of the artist PROVENANCE: Collection of Sanhuai House, Hong Kong ILLUSTRATED: Private Collection of Chinese Calligraphy & Painting - Album of Varied Masterpieces I, Hebei Educational Publishing House, Hebei, May 2005, color illustrated, p. 84

NT$ 1,000,000-1,800,000 US$ 30,500-54,900 HK$ 238,100-428,600

林風眠藍衣仕女 1980年代初彩墨紙本 35 x 35 cm 簽名左下：林風眠鈐印左下：林風瞑印來源：香港三槐堂收藏圖錄：《私家藏中國書畫－散珍集成（壹）》，河北教育出版社，河北， 2005，彩色圖版，頁84

像人間一個最重情的淑女，當來人無論懷著何種悲哀的情緒時，她第一會使人得到他所願得到的那種溫情和安慰。Lin Fengmian once talked about the beauty of art painting in A letter to Countrywide Art Field that: "She’s more likely a lady who thinks love most, no matter what kind of sad emotion visitors come with, she will be the first one to provide warmth and comfort that visitors expected." Lin Fengmian’s beauty pictures are undoubtedly the best explanation in this case. Despite the beauties in Lin Fengmian’s works are modeled as the traditional Chinese beauty, they endow a light sense of Western painting style, florid color colorful but not vulgar, and full of rich lyricism. These works won universal praise in those days, for example, this work, exquisite shape, refined brushwork, moderate color and quieter moods, is just like a beautiful lyric poem. In Chinese poetries, flute is a kind of symbol for desolate in the north of the Great Wall, Lin Fengmian’s beauty pictures great at solemn, combined both in the moods, plus simple and elegant color, fluent and steady brushwork, more wit of perfect pair. The character in the painting is an ancient beauty with thin eyebrow and phoenix's eyes. The beauty’s clothes are on the cover revealed slight complexion in the cloudiness, with a transparent texture. High bind up hair, eyes droop, holds a fife in her dainty hands; the peacefulness and stillness reveal a feeling of loneliness vaguely. The flowing background showed up, vividly created the simple and elegant

style and life moods of the ancient lady's literary boudoir. Structured picture, concise and fluent brushwork present the subtle and pure beauty. In which quiet and beautiful along with warm reveal the artist’s high color-using accomplishment. Picture shows great and free skills, especially the characters’ contour line and clothes veins lines were very fluent.

Sanhuai House Collection of Lin Fengmian's Paintings (Lots 042-050)

香港三槐堂林風眠作品收藏專拍（Lots 042-050）

044

LIN Fengmian (1900-1991)

Cactus 1980s Ink and color on paper 35 x 35 cm Signed upper right Lin Fengmian in Chinese With one seal of the artist

花卉植物不同山水，更不同情節性的題材，借花抒情而產生詩一般的意境是比較困難的。然後林風眠做到了這一點。作為客觀事物的植物標本，畫

PROVENANCE: Collection of Sanhuai House, Hong Kong

家提煉出最能代表其精神，集中起來以表現其特有的意態，神韻，同時在這個過程中傳達出自身的情緒。在作品的創作過程中，常常通過一種色彩上、造型上、空間上都富有詩意的景

ILLUSTRATED: Zhou Weiming ed., Collection of Art Garden Studio No.72: Sanhuai House's

色，描繪典雅神秘的瓶花靜物。在方法上，也多使用中國畫的毛筆和紙，採用方形構圖，花卉靜物呈扇子形勢態展開，花的高低、大小、穿插安排

Modern Chinese Paintings, People Fine Arts Publishing House, Shanghai, 2004, color illustrated, no. 31, p. 19

NT$ 1,000,000-1,800,000 US$ 30,500-54,900 HK$ 238,100-428,600

林風眠仙人掌 1980年代彩墨紙本 35 x 35 cm 簽名右上：林風眠鈐印右上：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31，頁19

part of his spiritual qualities, put them together to present its unique ideology and charm, convey self emotion through the progress at the same time. During the works creative process, he usually uses a scenery poetic rich in color, shape, space to describe elegant and mysterious bottled flowers etc. still life. In terms of method, he also used a lot of Chinese painting brush pen and papers, used squareness composition, the flower still life launched in fan shape, the level of flowers spreading, size, interspersed very

得非常美妙。色彩絢爛奪目，構圖新穎流暢。

wonderful. Dazzling color, composition of the picture original and fluent.

其中，仙人掌是表現比較多的素材。而該作品同其他更偏寫實的用水粉色繪製的仙人掌的花卉靜物畫不同。

Among them, cactus is a theme that has been represented a lot. And this work

這幅仙人掌那一瓶被綠意漲滿了的仙人掌不像是瓶子裡長出來，倒像是自顧自地跑來，臨時停靠在小瓶上，展露身姿，表現儀態。優雅，又因為背景色塊的對應，產生強烈生機的勃發感。而藝術家簽於右上角的簽名搭配整體的畫面形態，更給了畫面以額外的和諧和統一。林風眠的表達常常是這樣，人們可以說它不像但是又非常之像，卻又比真實本身更加生動、耐人尋味。往往好的藝術創作並不完全忠實於物件。該作品創作於1980年代初，林風眠已在香港定居，生活已有改善。而林風眠的過人之處是無論命運多麼坎坷，他總能經過藝術之手創造出令人會心一笑備感溫暖的作品。

different to other more realist works that the flower still life produced cacti in pink. The bottle of cacti full of green in this Cacti is not like a bottle of cacti grows inside, but more like spontaneous run from somewhere else, provisional docked in the vial, showed gestures, performance bearing. Elegant, and have strong sense of vitality because of the corresponding background. Signature of the artist signed in the upper right match the whole picture form, showed the picture extra harmonious and coherent. Lin Fengmian’s expression is often like this, people can said it’s not like but also very like, and even more vivid, afford

Flowers and plants are different from landscapes or narrative theme, it’s

for thought than the real one. Sometimes good arts are not completely faithful to objects. This work created in early 1980s, Lin Fengmian already settled down in Hongkong with life conditions improved.

generally more difficult to produce lyrical moods from express the emotion through flowers, however Lin Fengmian did it. As botanical specimens of objective things, the artist refine the most representative

The outstanding part of Lin Fengmian is that no matter how bumpy his fate was, he can always create warmth works which can win audiences’ knowing smile through his hands of art.

Sanhuai House Collection of Lin Fengmian's Paintings (Lots 042-050)

香港三槐堂林風眠作品收藏專拍（Lots 042-050）

045

LIN Fengmian (1900-1991)

Flying Birds upon Reed Field 1960s Ink and color on paper 35 x 35 cm Signed lower left 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

林風眠對自然和生命的熱愛、對和平與寧靜的憧憬，在以仕女和風景畫的創作中表現的最多。而盧葦飛雁更是其具有個人特色的題材，遼闊遠淡的雲天，蘆葦搖伏，或兩三飛雁，逆風疾翔。這些作品標誌著林風眠水墨畫的成熟期。早期的此類作品具有一種悲涼、孤寂、空曠、抒情的風格，使人產生具有一種孤寂之美的感動和想像。宛如一首首優美的抒情散文詩，在當時就獲得普遍的好評。這幅創作於香港時期的70年代末、80年代初的作品，藝術家仍以慣用的正方式中景

Modern Chinese Paintings, People Fine

圖式表到。體現了藝術家強韌且樂觀的態度。整個畫面具有典型的中國古詩中描繪的「狂風知勁草」的意境。

Arts Publishing House, Shanghai, 2004, color illustrated, p. 9

林風眠比較習慣在畫幅裡把蘆葦都畫成像刀戟一樣剛性的物象，大風突現

NT$ 800,000-1,500,000 US$ 24,400-45,700 HK$ 190,500-357,100

林風眠蘆葦飛鳥 1960年代彩墨紙本 35 x 35 cm 簽名左下：林風眠鈐印左下：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，頁9

了蘆葦的強韌，墨雲黑水間如箭般飛翔的飛鳥在其中表達了勇往直前，永不言退的精神氣質。在構圖也沒有傳統的大面積的留白，卻能一下子將人攫取住，似乎天地間只有那一行飛雁和幾束蘆葦。在林風眠的作品中，屬於內涵及意境皆佳的作品。林風眠山水風景創作的最大特點在於一看就是中國的，這種中國是完整且概括性的綜合面貌，不是某地的標誌，也非某處的印證，她是精神上的極大契合和俐落表現。幾筆穿插，幾處勾勒，就是一個完整祖國山河和靜物形態的表現。 Lin Fengmian’s love for life and nature, looks forward to the peace and quiet, which is performed most in his beauty and landscape paintings. Wild gooses

in contrary wind. These works show the maturity of Lin Fengmian’s ink painting. Those early works have such a desolate, lonely, empty and lyrical tone, producing a kind of touched feeling and imaginary beauty of desolation. Just like dainty poems one after another, that won widely praised at that time. This work created in Hong Kong Period, late 1970s and early 1980s, a period in which artists were still used to square medium form, reflected his tenacious and optimistic attitude. The entire picture has a classic mood that Chinese ancient poetry describes as “strength of character is tested in a crisis”. Lin Fengmian drew reed more accustomed to rigid substances like knife in the pictures: the winds standing out the tenacious of reed, as well as the birds flying through the black cloud and water, are expressed the courage of moving forward and never retreated ethos. Without a large area of blank like traditional composition, it still can grab people’ attention at the first sight; it’s like there is nothing else but those wild gooses and a few reeds between the sky and the earth. It’s the work that good at both content and moods among Lin Fengmian’s masterships. The biggest feature of Lin Fengmian’s landscape creations is you can find out the Chinese style from the first sight. The Chinese here means complete and comprehensive general outlook, not a sign of someplace, not a proof of somewhere; she’s mentally a great fit and

flying up of reed is the kind of theme that shows up his personal characteristics: far and light of the vast sky, reed shaken

agile performance. Couple of inserts and couple of brushworks are the complete p e r f o r m a n c e o f t h e m o t h e r l a n d ’s

down, two or three wild gooses flying

mountains and rivers and still life.

Sanhuai House Collection of Lin Fengmian's Paintings (Lots 042-050)

香港三槐堂林風眠作品收藏專拍（Lots 042-050）

046

LIN Fengmian (19001991)

Great View 1960s Ink on paper 47 x 35 cm; 35 x 35 cm (image) Signed lower right Lin Fengmian in Chinese With one seal of the artist With an inscription by fellow artist Zhu Jizhan, Greet View-A marvelous work by Fengmian 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. 2, p. 1

NT$ 880,000-1,200,000 US$ 26,800-36,600 HK$ 209,500-285,700

林風眠雄視圖 1960年代水墨紙本 47 x 35 cm；35 x 35 cm（圖）簽名右下：林風眠鈐印右下：林風瞑印款識：雄視風眠妙筆屺瞻題鈐印：朱屺瞻來源：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2，頁1

小鳥系列可以說是林風眠最具有傳播的作品系列，各類印刷複製品經常出現在各類刊物雜誌上。甚至60年代中國極左思潮占上風，大陸基本上看不到林風眠的原作和印刷品的時候，據吳冠中的回憶，他在當年唯一一次看到林校長的作品出現在一本名叫《小朋友》的刊物上。他有些感慨，但忽然又領悟到，「其實發表在最合適的場所了，童心對童心！」（美術家第33期吳冠中《百花園裡憶園丁—寄林風眠老師》）。

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。事實上，有不少名家都創作過《雄視圖》的題材，其中齊白石的《雄視圖》以雄鷹為主角，筆道老辣，勾畫出雄鷹居高臨下，孤傲而不可侵犯的神態，在畫面上造成一種「岌岌乎危哉」的險局。而林風眠的《雄視圖》則以貓頭鷹為題材，飽滿豐富又層次分明的畫面佈局，處於畫面正中的主角，看起來倔強堅持，但十分的具有人情，作品創作於20世紀60年代，藝術家處在動亂的生活中，命運波折。該幅作品一方面表現了藝術家慣有的社會立場和當時的心境，同時以貓頭鷹童真趣味的形態表現突顯了藝術家

Principal Lin’s work was appeared in a publication called Children. He sighed with emotion, but suddenly realized that, “It actually published in the most appropriate place. Young at heart VS childlike innocence!”

(Wu Guanzhong: To

Teacher Lin Fengmian – Recalling Gardener in Flower Garden, No. 33, Artist)

Lin Fengmian’s bird pictures usually adopt light lines to draw a solitary bird up in the branch. Some researchers think these works are more like ordinary paintings, some think they represent the independence, unruliness, grief and indignation, pessimist inward world of the artist. In fact, there are many famous experts have produced pictures themed Great View, in which Qi Baishi’s Great View as a tribute to Eagle, experienced touches draw the outline of Eagle’s commanding, aloof and proud inviolability manner, create a “imminent danger” dangerous situation on the picture. But Lin Fengmian’s Great View is themed at owl through painting, plump, rich and layered picture composition make the protagonist at the center of the picture appear perversely, but with lots of human emotions, the work was created in 1960s when the artist lived in convulsion, ups and downs. This work not only

患難中不變的真性情。

presents the artist’s usual social stand and feelings of the time, but also highlights

該作品藏家來自於早年上海美術館的

the artist’s unchanged true nature in the adversity through the form of childhood fun performance of an owl.

收藏，當時的藏家請了著名的書法家朱屺瞻題字：雄視。書法的力度和雄厚給了作品以另一種輝映和情趣。

The collector got this work from an old gentleman who once worked for Shanghai

Bird series can be said to be the most capable of spreading series of Lin

Museum. The old gentleman received this work as a gift from Lin Fengmian, and then he invited the painter Zhu Jizhan who returned from Japan to inscribe: "Great View". The intensity and abundance of

Fengmian’s works, various printed copies often appeared in all kinds of publications and magazines. Even in 1960s, when China leftwing ideas prevail, barely you can see Lin Fengmian’s originals and print, according to Wu Guanzhong’s recall, in those days the only time he saw

calligraphy presented another kind of reflection and spice on the work.

Sanhuai House Collection of Lin Fengmian's Paintings (Lots 042-050) 050）

香港三槐堂林風眠作品收藏專拍（Lots 042-

047

LIN Fengmian (1900-1991)

Pines of Mount Huang 1980s Ink and color on paper 134 x 68 cm Signed lower left 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, coverpage Private Collection of Chinese Calligraphy & Painting - Album of Varied Masterpieces I, Hebei Educational Publishing House, May 2005, color illustrated, p. 88

NT$ 7,200,000-9,000,000 US$ 219,500-274,400 HK$ 1,714,300-2,142,900

林風眠黃山松濤圖 1980年代彩墨紙本 134 x 68 cm 簽名左下：林風眠鈐印左下：林風瞑印

《黃山松濤圖》是林風眠少見採取非方形、立軸構圖的風景圖畫，完成於香港時期（1977-1991）。根據藝評家郎紹君的描述，1920年代至1930年代初期，林風採用的構圖不外乎立軸形或長卷形，很少有正方形與標準長方形（黃金律分割），大約從1937年前後，林風眠進入五十多年的「方紙布陣」的階段，此一變化背景是林風眠減少油畫的創作，漸漸以水墨和彩墨為主，直接表現社會矛盾和人生痛苦的主題消失了，取而代之的是風景、花鳥、仕女與靜物等平和的主題。

畫作中可謂是相對稀有的。古人徐霞客有「五嶽歸來不看山，黃山歸來不看嶽」的名言，畫家為了表現黃山的奇特高遠、蒼松的雄偉，特別採取了「立軸」的形制，用筆潑辣蒼闊、風格雄健豁達，精神上追尋一種沈鬱、陽剛的漢唐之美，有別於他描寫仕女、靜物畫時所追求溫婉秀麗的形式美。《黃山松濤圖》一作並非畫家的實景寫生，而是記憶中的山水印象集錦：黃山的壁裂千仞，化為遠處朦朧的山巒，留白的處理恰到好處；被秋色染得金黃的蓊鬱山林，則是歷歷在目，成為畫面最顯目的焦點，白牆黑瓦隱

林風眠曾經說過他採用方紙構圖是出自於宋畫。中國傳統繪畫最普遍與典型的形式是「立軸」和「橫卷」，郎紹君對於林風眠選擇方紙布陣的構圖，認為是因為他在尋找一種個性，有意與傳統規範和習慣拉開距離有關。他說：「立軸和橫卷是特定文化的產物，和中國的建築、文人把玩的習慣有關，其深層根源則出自傳統的整體自然觀。立軸長於表現高遠、深遠境界，橫卷便於刻畫移步換形、時空轉換的諸種圖像。」（摘錄自郎紹君，〈創造新的審美結構—林風眠對繪畫形式語言的探索〉，《林風眠研究文集》（二），閣林國際圖書有限公司，台北，2000年7月，頁48）

身在高聳的秋林之間，足見畫家對故鄉的追憶之情；蒼勁的松樹沿著山勢向上挺生，則吐露了畫家不屈不撓的風骨。晚年的畫家寄情於山水懷想，融入真情與詩意在其線條、造型與色彩結構之中，沒有過多的雕飾，僅有怡然自得的樸真寫意。儘管生活都會叢林裡，林風眠的繪畫卻仍不見現代化的人物、景致，這是畫家自上海時期之後慣有的隱遁精神。他的畫是心象的映照，彷彿是從另一個世界來窺看現實的人間。林風眠的學生閔希文認為，香港時期的林風眠仍不停頓地探索，在變形和形的

郎紹君發現，1980年代林風眠在繼續運用方紙構圖的同時，開始較多的採

組合上又作了不少的嘗試。1919年林風眠到過香港，半個甲子之後，再看

香港三槐堂收藏

用長方構圖，一般採取橫向，立軸的比例較少，但並不嚴格按照黃金分

圖錄：

割比例來裁接。我們也發現，1986 年、1990年兩度發表於東京西武百貨的展覽目錄中，數幅以長方形構圖的作品，幾乎成了日本兩次展覽的展覽重心，顯示畫家此階段亦積極研究中

的香港已經截然不同，巨大環境的變化對林風眠應是有極大的刺激。他指出：「這時先生以黃山為題作了不少

來源：

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，封面作品《私家藏中國書畫－散珍集成（壹）》，河北教育出版社，河北， 2005，彩色圖版，頁88

國經典繪畫的精神。此幅《黃山松濤圖》採取的立軸構圖，在所有林風眠

畫。也許香港的高樓林立，使他思緒與黃山的群峰相聯繫，在夕陽餘暉下，怎不被它的雄偉壯觀懾服。他還畫了許多江河的景物，也是先生對四川的山峰和嘉陵江的懷念。…看來一個畫家想畫的對象，都不是他臨時找

的，而是他長期熟悉又被它感動的東西，甚至從小就在腦海中生了根的。 …」（摘錄自閔希文，〈為藝術戰的林風眠〉，《林風眠研究文集》（三），閣林國際圖書有限公司，台北，2000年7月，頁152）

對於畫家此時色彩的運用上，郎紹君指出紅、黃等暖色的運用：「八十年代以來，林風眠在總體上強化了色彩的對比與分離，賦予他的畫面更開放更熱烈的個性。在刺激性的顏色中，還特別多用紅。他根據記憶和印象畫的黃山，有的簡直是橘紅、橙黃的交響，而且筆勢如龍騰虎躍，輝煌、壯麗、高亢，可以說那已不是黃山景色，乃是一曲生命燃燒的頌歌。」（摘錄自郎紹君，〈創造新的審美結構—林風眠對繪畫形式語言的探索〉，《林風眠研究文集》（二），閣林國際圖書有限公司，台北，2000年7月，頁5657）

Pines of Mount Huang is a landscape painting by Lin Fengmian. It is not in the form of hanging scroll, which is rear in Lin Fengmian’s works. It was finished when he was in Hong Kong (1977-1991). According to Lang Shaojun, an art critic, in the 1920’s and the beginning of the 1930’s, Lin Fengmian’s composition was mainly in the forms of hanging scroll and horizontal scroll ,but rarely in the form of square or standard rectangular (golden section) In 1937, he began to paint on square paper, and insist in it for 50 years. The back ground of the change was that, in the form, he preferred water- ink and water-color to oil paintings, and in the themes, his works no longer reflect the social contradiction and the bitterness of life directly. Instead he began to focus on

的確，林風眠走過大半的世紀，帶給人們豐饒而神奇的心靈風景，他是一

landscape, bird and flowers, and figures.

位常保純真赤誠的藝術家，儘管一生歷經動盪遷徙，他總是孤獨地追求並

Lin Fengmian said that he was inspirited by Chinese paintings from Song Dynasty. The most popular and typical forms of

實踐他的理想。透過他的繪畫藝術，人們看到的是美好的生命力，堅毅向上的精神，無怪乎他被後人譽為中國現代美術發展的先行者，更是一代的大師。

they stemmed from Chinese traditional view of nature. Hanging scroll shapes the soaring view, while horizontal scroll displays images in different places and ages. (From Lin Shaojun on Creating New Aesthetic Structure—Exploration of Lin Fengmian’s Paintings in Lin Fengmian Collected Studies Two, Greenland International Books Co., Ltd, Taipei, July, 2000, P48)

Lang Shaojun discovered that in the 1980s, Lin Fengmian continued to use the structural principle of geometric shapes, sticking to his usual square way of composing pictures while starting to use more and more rectangles. His normally composed his pictures horizontally instead of vertically, but he did not follow the golden section rigidly. It is also noted in the catalogues published by Seibu Department Store of Tokyo in 1986 and 1990, that several pictures adopting the structural principle of rectangular composition almost became the focus of

Chinese traditional paintings are hanging scroll and hand scroll. Lan Shaojun thinks that Lin Fengmian is trying to form his unique character and to keep away from traditional principles and habits by choosing square form. He said hanging scroll and hand scroll are products of Chinese culture. They are affected by Chinese buildings and men of letters. And

his two exhibitions in Japan, revealing the fact that the artist were actively engaged in the study of the spirit of classical Chinese paintings. Composted vertically, Pines of Mount Huang is a rarity among Lin’s paintings. Xu Xiake (a renowned ancient Chinese traveler and writer) said “when one comes back from the five famous mounts of China, one doesn’t care for other mountains; when one comes back from Mount Huang, one does not care for even the five famous mounts.” In order to capture the essence of Mount Huang, the artist specially composed this picture vertically, with bold strokes and a touch of vigor. Pines of Mount Huang expressed a kind of mature and masculine beauty that characterize the art in Han and

Tang dynasty, which is quit different from the gentle and tranquil beauty expressed in his portraits of ladies and still lives.

and feelings. There is no unnecessary ornamentation. People will feel happy and pleased with themselves through his plain but vivid paintings. Although he lived in an urban jungle, Lin Fengmian’s paintings show no trace of modern people or objects. This is a hermit spirit typically exhibited by painters since the Shanghai Period. Lin’s paintings reflect the state of his mind, as if he had been observing the life in reality from another world. Min Xiwen, Lin’s student, believes that Lin continued his relentless quest even when he was in Hong Kong by trying out new combinations of shapes in metamorphosis. Lin visited Hong Kong once in 1919. Sixty years later, Hong Kong he revisited was a

林風眠《黃山松濤圖》1980 彩墨紙本 134 x 68 cm 《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，2004 LIN Fengmian, Pihes of Mount Huang, 1980 Ink and color on paper, 134 x 68 cm Collection of Art Garden Studio No. 72: Sanhuai House's Modern Chinese Paintings, People Fine Arts Publishing House, 2004

completely different place. Huge changes of the environment should have given tremendous stimulus to Lin. He said, During this period, Lin produced a lot of works in the theme of Huang Shan. Perhaps he had related the dense high rises in Hong Kong to the continuous peaks and mountains in Huang Shan. In

Pines of Mount Huang is not a depiction

the afterglow, how can one not to be in awe of its magnificence? He also painted many rivers and streams. It was perhaps

of real scenery, but rather a collage of impressions. The cracked high cliffs became the bleary shadows of mountains

that he missed the hills in Sichuan and the Kaling River. It seems that the object matters that a painter wants to paint are

in the background. The white margin, with its proper size, enhanced the effect.

never something he comes up with in an instance. They are always something he

The focus of the picture, golden autumn groove, was so lively, as if it is right before the viewer. White walls and black

has been familiar with and having feelings for over a long time, or even something that has taken root in his mind. (Excerpt from

roofs half hidden by the trees revealed the artist affection for his hometown. The high-rising pine tree represented the righteousness of the artist.  In his l a t e r y e a r s , h e a t t a c h e d h i m s e l f t o landscapes.  The lines, structures and colors of his works are showing his love

Min Xiwen’s Lin Fengmian, Fighter of Art, Studies on Lin Fengmian（3）, Greenland International Books Co., Ltd., Taipei, July 2000, Page 152）.

Lang Shao-chun comments on the use of warm colors, such as red and yellow, in Lin’s paintings during this period. He said, Since 1980s, Lin had strengthened the contrasts and segregations of colors at the overall level, which gives his works a more open and passionate personality. Among all the stimulating colors, he had the tendency of using red. The Huang Shan he depicted based on his memories and impressions are sometimes a symphony of tangerine red and orange yellow expressed with painting brushes, glorious, magnificent and high in spirit. It can be said that it is not longer scenery of Huang Shan, but a hymn of praise to life shining and burning. (Excerpt from Lang Shaochun Lin Fengmian, Fighter of Art, Studies on Lin Fengmian（3）, Greenland International Books Co., Ltd., Taipei, July 2000, Page 56-57.)

Indeed, Lin went through almost the whole 20th century. He brings to people a spiritual landscape that is rich, abundant and magical. As an artist, he was always pure and innocent. Despite the hardship and turbulence he experienced, he always pursued and realized his ideals alone. His paintings reveal a wonderful energy of life and a fighting spirit for life. No wonder that he is named a pioneer of modern art in China. He is a master of his generation.

Sanhuai House Collection of Lin Fengmian's Paintings (Lots 042-050) 050）

香港三槐堂林風眠作品收藏專拍（Lots 042-

048

LIN Fengmian (1900-1991)

Lady in a Flower Garden

40年代林風眠經歷了抗戰的「重慶時期」（1938-1945）和「杭州時期」（1945-1951），這一時期主要是風

c. 1940s Ink and color on paper

景、仕女、花卉、靜物和舞台人物。作品的色調明朗，情緒轉為平和。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。在《論中國

69 x 67 cm Signed lower left Lin Fengmian in

現代美術》一書中，作者評價如此評價這一時期的林風眠：「有明快、豔

Chinese With one seal of the artist

麗、熱烈、清淡、幽深、猶豫、寂寞、孤獨、活潑、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」。

PROVENANCE: Collection of Sanhuai House, Hong Kong

NT$ 1,800,000-3,000,000 US$ 54,900-91,500 HK$ 428,600-714,300

林風眠花間仕女約1940年代彩墨紙本 69 x 67 cm 簽名左下：林風眠鈐印左下：風來源：香港三槐堂收藏

林風眠的「仕女」系列構圖同樣為方形佈陣，拋棄傳統的卷軸式緩慢地敘述，畫面單純明朗、主題突出。以色為主，適當加入水墨，對印象派的光源色和補色、野獸派和表現主義的主觀色澤，還有綜合立體派的平塗色在這幅作品中都有所展現。對線條的處理一反傳統繪畫「力透紙背」的審美標準，吸取了傳統瓷器上的繪畫特點，筆法韌而有力，這些都使人物的質感和光澤更為鮮活。在已經出現過的諸多「仕女」中，該幅創作於40年代的仕女是少數以更為豐滿的佈局和熱烈的人物形態為特點，極為突出的一幅。造型簡潔、生動，特別人物背景筆法的渲染，與西方繪畫大師馬蒂斯有異曲同工之妙。此類仕女一改古典仕女溫婉柔和的氣質，熱烈而明快，帶著誘人的氣息，安靜而撩人，寂寞而孤獨。 Lin Fengmian experienced Chongqin Period (1938-1945) and Hangzhou Period (1945-1951) of Anti-Japanese War in 1940s, theme of this period is mainly landscape, beauty, flowers, still life and theatrical figures. Works reveal lucidity,

moods turn to gentle. The loud shout and heavy sorriness convert to quiet revery and rich and colorful express. In the book Modern Chinese Art, the author evaluated the Lin Fengmian in this period: ”Lucid and lively, bright-colored and beautiful, warm, simple, deep and serene, hesitating, lonely, lively and quiet", and "Surging with vitality of life, woven with dreams of beauty and good" in the mass. Lin Fengmian’s "Lady" series are all square layout, abandoned traditional scroll slowly narrative style, the picture simple and bright with prominent theme. Mainly colorful, suitable with ink, the light source color and complementary color of Impressionism, subjective color of Fauvism and Expressionism, Comprehensive Cubist flat color were all exhibited at this work. Dealing the lines against traditional aesthetic standards that "strength pass through the paper", draw on the traditional porcelain painting features, brushwork tough and powerful, all these made character even more brilliant texture and luster. Compared with several of his "Lady" works, this Beauty which created in the 1940s is more plump composition and distribute character features prominent warm. Concise type, vivid, especially the brushwork highly colored the background of characters, different in approaches with Western painting masters Matisse but equally satisfactory in purpose. This kind of beauty has changed classical style lady’s tender and gentle temperament, warm and bright with attractive flavor, quiet and provocatively, lonely and solitary.

Sanhuai House Collection of Lin Fengmian's Paintings (Lots 042-050) 050） 049

香港三槐堂林風眠作品收藏專拍（Lots 042-

LIN Fengmian (1900-1991)

Mountain Sunset 1960s Ink on paper 68 x 68 cm Signed lower left Lin Fengmian in Chinese With one seal of the artist PROVENANCE: Collection of Sanhuai House, Hong Kong ILLUSTATED: Chinese Art Collection - Lin Fengmian, Shanghai Fine Arts Publisher, Shanghai, May 1997 (First Edition), color illustrated, p. 35 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. 16, p. 11 Private Collection of Chinese Calligraphy & Painting - Album of Varied Masterpieces I, Hebei Educational Publishing House, Hebei, May 2005, color illustrated, p. 86

NT$ 1,700,000-3,000,000 US$ 51,800-91,500 HK$ 404,800-714,300

林風眠山林暮色圖 1960年代水墨紙本 68 x 68 cm 簽名左下：林風眠鈐印左下：林風瞑印來源：香港三槐堂收藏

林風眠的眾多作品從外觀上看更像西方畫，從而被誤解為不傳統。縱使是山林這類中國文人和傳統繪畫最為青睞的題材，在他的筆下仍是中西兼備的形神俱在。但是從作品的內涵來看，強調意境深遠，又情思無盡使之更為鍥合中國畫「心畫」的純粹性，更加體現了獨具一格的林氏畫風。簡單地說，林風眠中西融合的藝術風格更多地體現在觀念上，他由學習西方自然主義轉而服膺於印象主義、野獸派、立體主義等西方現代藝術的思

sincere belief in Western modern art trend of thoughts such as Impressionism, Fauvism and Cubism etc. As a result, he has been an advocate and practicer for the concept of using modern Western art movement into Chinese painting. This is particularly prominent in a series of his

一點在其山林作品系列中尤為突出。

mountains and forests works.

這幅《山林暮色圖》可謂是這一主張

This Mountain Sunset picture is a classic

的經典證者。它的基調是水墨，意境也和傳統繪畫一脈相通。但它的色

demonstration of this proposition. The keynote is ink, the artistic conception

調、自然光、強調面而不強調線的特點，都和西畫有著密切的聯繫。中國畫賴以生存的骨線被抽去了「筆墨」的特質，用以重筆表現樹林的黑色在

comes down in one continuous line with tradition paintings too. But the tones, natural lights, characteristic that

他的作品中被當作一種色彩來看待而失去了在傳統中國畫中具有的特殊意義。《山林暮色圖》構圖飽滿，濃淡的對比使畫面層次清晰又渾然—體。面的強調使整個畫面飽滿，密而通透，同時又不板不塞，山巒的起伏與天際的交匯，山的層次對應林的濃密，疏密虛實的處理上，畫家尤具苦心，實處密不透風，虛處中疏通透，使得作品疏密得當、虛實相生，暮色在此間不見暗淡，只覺溫暖。

美術出版社，上海，2004，彩色圖版，編號16，頁11 《私家藏中國書畫－散珍集成（壹）》，河北教育出版社，河北， 2005，彩色圖版，頁86

In short, Lin Fengmian’s integration of Chinese and Western art styles embodies more on its concept. He turns from studying Western Naturalism to have

潮，因而他一直主張並實踐著用西方現代藝術運動觀念切入中國繪畫。這

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 年5月第一版，彩色圖版，頁35 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

with the pure of Chinese painting “Pictures of the heart”, and reflected distinctive Lin’s painting style.

Many of Lin Fengmian’s works look more like Western painting from exterior view, thus be misinterpreted as not traditional. Even mountains and forests, the most favored subjects by Chinese literati and traditional pictures, he still at the controls of both Chinese and Western form and spirit on hand. But from the meaning of works, they stressed profound moods, endless feelings, make them more tally

100

emphasizing the surface rather than the line are closely linked with Western paintings. The lines which Chinese painting rely for existence are draw out the “ink” character, the heavy black color used in his works to present the forests are viewed as a color and lose the special significance in traditional Chinese paintings. Mountain Sunset had plump composition, contrast of light and shades clear the picture level and make it an integrated mass. The emphasize of surface plumped the whole picture, thick but transparent, not stiff and blocked, the undulating hills and the intersection of sky and horizon, the lever of mountain corresponding to the dense forests, painter made painstaking efforts on the sparse or thick and false or true, airtight in true part, transparent in the false part, make the work sparse or thick properly and become complementary, the sunset here not dim but warm.

Sanhuai House Collection of Lin Fengmian's Paintings (Lots 042-050) 050）

香港三槐堂林風眠作品收藏專拍（Lots 042-

050

LIN Fengmian (1900-1991)

Green Willows, West Lake c.1950-1960s Ink and color on paper 69 x 69 cm Signed lower right Lin Fengmian in

林風眠

Chinese With one seal of the artist

湖岸春柳圖（柳）

PROVENANCE: Collection of Sanhuai House, Hong Kong

69 x 69 cm 簽名右下：林風眠鈐印右下：林風瞑印

ILLUSTRATED: The Collection Works of Lin Fengmian Vol. 1, Tianjin People’s Publishing House, Tianjin, 1994, color illustrated, p. 134 The Approach of Lin Fengmian, China Academy of Art, Hangzhou, 1999, color illustrated, p. 163 Zhou Weiming ed., Collection of Art Garden Studio No.72: Sanhuai Tang's Modern Chinese Paintings, People Fine Arts Publishing House, Shanghai, 2004, color illustrated, p. 4 Yang Qiuling, Lin Fengmian, Renmin University of China Publishing House, Beijing, 2005, color illustrated, p. 168

NT$ 11,000,000-18,000,000 US$ 335,400-548,800 HK$ 2,619,000-4,285,700

約1950年代–1960年代彩墨紙本

來源：香港三槐堂收藏圖錄：《林風眠全集—上卷》，天津人民美術出版社，天津，1994，彩色圖版，頁134 《林風眠之路—林風眠百歲紀念誕辰》，中國美術學院出版社，杭州， 1999，彩色圖版，頁163（此處命名為〈柳〉）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，頁4 楊秋林，《林風眠》，中國人民大學出版社，北京，2005，彩色圖版，頁 168（此處命名為〈柳〉）

102

1928年甫自法國學成歸國的林風眠，應教育總長蔡元培之邀，在杭州創辦了中國第一所高等藝術學府—國立藝術院，並任首任院長。翌年改名國立藝術專科學校，即一般通稱的杭州藝專。林風眠在杭州藝專擔任校長的十年中，培育了一批出色的國際級藝術家，如趙無極、朱德群、吳冠中、席德進、趙春翔等。除抗日期間隨校遷往四川外，從1928年到1951年之間，林風眠在杭州西湖畔渡過風華正茂的青壯年階段，西湖之美曾給予他最佳的繪畫素材與靈感。吳冠中曾說1937

千錘百鍊，然後才能一擊而中，使我們都五體投地一見而賓服！—想到了老師的油畫，陰沈而厚重，而用水墨寫西湖，卻又輕盈灑脫如此，真是智者多方，因時變化，我們步趨之徙，也只有望奔塵而浩嘆了。」（李霖燦，〈我的老師林風眠〉，《藝壇師友錄：西湖雪山故人情》，雄獅圖書股份有限公司，台北，1991年 11月，頁79-80）然而，身在西湖邊，卻沒

有畫西湖，西湖的柳浪聞鶯，濃妝淡

年前在杭州算是林風眠生活最優裕寧靜的時期，這裡曾是他藝術教育的起點，對杭州的懷念，可能更勝故鄉廣東梅縣，晚年林風眠以「永葆青春」題獻給杭州莘莘學子，他認為老師對杭州的記憶應是青春而美好的。在林風眠各式風景圖式裡，總是帶有濃厚的個人情緒與理想性格，其中杭州西湖的垂柳，其意境可謂最富抒情詩意的。這些看似娟麗輕柔的作品，卻是經過畫家長期研究錘鍊而得。已故的台北故宮博物院副院長李霖燦亦出身於杭州藝專，他回憶林風眠筆下的西湖垂柳：「老師最喜歡畫西湖的垂柳淡黃，襯以明滅小橋和如夢遠山，天空中橫亙著一抹流雲，像是略不經意地大筆一揮而成。但是我想到了他的畫室中紙疊如山，知道其實是

104

抹，直至畫家離開杭州之後，才隨著鮮明記憶悄然地在畫紙裡成形。席德進—林風眠的另一位高徒，1979 年曾出版一本知名著作《改革中國畫的先驅者》，書中指出林風眠遷離杭州之後才開始畫西湖，席德進指出：「他在西湖住了那麼多年，沒有畫過一張西湖。他離開了西湖，才懷念西

湖。於是他的畫上展現了西湖真實的面貌。西湖的美景歷歷在目，活現了出來。」（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 60）林風眠坦言很少實景寫生，談到創作時的摹寫對象，多數都從記憶和經驗而來，素來他即認為：「西方藝術

以摹仿自然為主，結果傾於寫實一方面。東方藝術，是以描寫想像為主，結果傾向寫意一方面。」（摘自林風眠 1926年發表〈東西藝術之前途〉一文）畢生追求中西藝術融合的林風眠，在水墨畫的創作上自然是多傾向於寫意，又有劃時代的個人風貌呈現。他曾經寫道：「我很少對著自然進行創作，只有在我的學習中，收集材料中，對自然作如實描寫，去研究自然，理解自然。創作時，我是憑收集的材料，憑記憶和技術經驗中去作畫的，例如畫西湖的春天，就會想到它的湖光山色，綠柳長堤，而這些是西湖最突出的東西，也是它的特性，有許多想不起來的，也許就是無關重要的東西了，我大概就是這樣去概括自然景象的。」（參閱林風眠1962年發表〈抒情、傳神及其他〉一文，《現代美術家畫論、作品、生平—林風眠》，學林出版社，上海，1988年3月，頁106）

此幅清麗的彩墨作品《湖岸春柳圖》又名《柳》，曾收錄在多本林風眠重要作品出版物中，天津人民美術出版社《林風眠全集》的作者郎紹君，將作品定年為1950年代；中國美術學

院《林風眠之路—林風眠百歲紀念誕辰》的展覽目錄中，則將它定年於 1960年代。無論是哪一種論點，顯見評論家都認同這幅《湖岸春柳圖》應是完成於藝術家寂寞耕耘的「上海時期」（郎紹君語）。在藝術家多幅同類型創作中，《湖岸春柳圖》少見地描寫初春新綠的西湖煙柳，柳葉翠碧、薄霧清新，予人以怡然的感受。在此畫中林風眠展現了他向來擅長融合水墨、水彩與粉彩，甚至有時兼以油彩來調和色彩，形成空間氣氛的渲染、光影的變化效果，使其意境更集中、情感更濃郁，這種表現方式乃是來自西方印象派風格的影響。自古騷人墨客無不喜愛杭州西湖，林風眠亦然，他以獨特的「林風眠格體」、「方紙步陣」描繪西湖山水名勝，出奇地呈現一種全新的視覺感受。林風眠深諳西方文化精要，又能領會中國文化與山水意境精神，在他的西湖垂柳畫中，他沒有滿足於傳統的寫意之美，把個性與詩情融入山水畫裡，在二十世紀現代美術追求強調藝術家個性的趨勢潮流裡，林風眠早已經親身力行、發揚光大，此舉在中國美術史上應是具有重要而深遠的指標意義。

In 1928, Lin Fengmian, who had just studied abroad and returned from France, established in Hangzhou the National

willows of West Lake under the brush of Lin Fengmian are like this: “Teacher like painting weeping willows at West Lake the

Arts Institute, the first higher learning arts institute in China upon invitation of Cai Yuanpei, the chief education minister at that time, and took the post of the first president of the institute. In the next year, its name was changed

most when they are presenting yellowish tint, accompanied with intermittent indistinct bridges and dream-like remote mountains. There is a strand of floating cloud in the sky, as if being made by a large stroke at random. However, at

into Hangzhou National Academy of Art. In the decade when Lin Fengmian was President of Hangzhou National Academy of Art, he has cultivated a batch

the thought of the hills of papers in his studio, I come to realize that it is the strenuous practice that has enables the stroke in right track. In genuflection,

of excellent international-level artists,

w e a re c o n v i n c e d ! - Te a c h e r ’s o i l

such as Zao Wou-ki, Chu Teh-chun, Wu Guanzhong, Shiy De-jinn, Chao Chunhsiang, etc. Except relocation to Sichuan in the Anti-Japanese War with the school,

painting is heavy and profound, but West Lake painted with ink is so light and uninhibited. Sagacious mind changes according to situations and times. We

from 1928 to 1951, Lin Fengmian

disciples just fall short by large extent.”

spent his prime days by West Lake of Hangzhou. The charm of West Lake gave him the best topic and inspiration.

(Li Lin-tsan, ‘My Teacher Lin Fengmian’, “Mentors Record in Arts Circle: Snow Mountain and Old Friend Sentiment, West Lake”, Hsiung Shih Art Books Co.

Wu Guanzhong once said that before 1937 in Hangzhou, Lin Fengmian has led the most tranquil life. The period is his starting point for arts education. His attachment to Hangzhou was more than that to his hometown in Meixian County of Guangdong. In his late years, Lin Fengmian presented “Everlasting Youth” inscription to numerous scholars in Hangzhou. He thought that his reminisce about Hangzhou is youth and finenese. In Lin Fengmian’s various landscapes paintings, there is always strong personal mood and characteristics. Among his paintings, willows at West Lake of Hangzhou present the most lyric flavor. These seeming soft and elegant works have actually derived from long-term research of the painters. Li Lin-tsan, the late Curator of Taipei Palace Museum, also graduated from Hangzhou National Academy of Art. In his memory, the

Ltd., Taipei, November, 1991, pp. 79-80) However, living by West Lake, he had not painted

West Lake and the “Waving Willows and Singing Orioles” of West Lake. Till the painter left Hangzhou, it appears out quietly with the distinctive memory. Shiy De-jinn - another disciple of Lin Fengmian; In 1979, he published a work named Innovation Pioneer of Chinese Painting, in which he pointed out that Lin Fengmian did not begin to paint West Lake until moving out of Hangzhou. Shiy De-jinn pointed out: In so many years he stayed by West Lake, he had never paint West Lake. He reminisced about West Lake only after her had left West Lake. Then his paint has displayed the real outlook of West Lake. Beautiful sceneries of West Lake become vividly visible before the eyes. “(Shiy De-jinn, "Innovation Pioneer of Chinese Painting – Lin Fengmian", Hsiung Shih Art Book Pte. Ltd., Taipei, 1979, color illustration, p. 60).

Lin Fengmian has revealed that he seldom

makes sketch of the scenery. At the mention of objectives for depiction, most have come from memory and experiences. He has long held the view: “Western arts are dominated by imitation of the nature, so it inclines to writing realistically. Orient arts are aimed at depiction of imagination, so it inclines to the freehand brushwork” (excerpted from Lin Fengmian's ‘Prospect of Western and Orient Arts’ published in

In pursuit for integration of western and orient arts for his life, Lin Fengmian naturally inclined to freehand brushwork

1926).

in production of ink painting, together with reflection of cross-epoch characters. He has written like this: “I seldom paint before the prime nature. Only in my study and collection of materials can I make realistic depiction of the nature,

obvious that the critics agree that the painting "Green Willows, West Lake", should have been finished in “Shanghai Period” when he endeavored alone (said Lan Shaojun). In the artist’s many similar productions, "Green Willows, West Lake" has depicted the willow by West Lake in early spring, presenting freshness. In the painting, Lin Fengmian has displayed his forte in integrating ink color, watercolor and ink color. Sometimes even oil color is used to attempter the color, so as to apply colors to spatial atmosphere and effect of light and shadow change. Thus there is more concentrated artistic conception and stronger emotion. Such mode of expression has been influenced by the style of western impressionism.

research into the nature and understand the nature. In creation, based on the material I collected, I use my memory and techniques to paint. When painting

Writers and poets since ancient time are fond of West Lake in Hangzhou. Lin Fengmian is no exception. He has

spring of West Lake, I will recall the lake

and “layout on square paper” to depict places of interest by West Lake and marvelously present a whole new feeling.

and mountains, verdant willows and the long dike. These are the most distinctive features of West Lake. Others that fail to come in mind may be insignificant. I outline the nature generally in this way.”(Refer to Lin Fengmian’s Lyric, ‘Expressive and Other’ published in 1962, “Theory, Works and Life of Modern Artists - Lin Fengmian, Academia Press, Shanghai, March 1988, p. 106)

The clear and elegant colored ink work of "Green Willows", "Green Willows, West Lake" also named "Willows" has once been collected in many publications of Lin Fengmian’s significant works. Lang Shaojun, author of Lin Fengmian Album of People’s Fine Arts Press of Tianjin, affixed the works in 1950’s. In the exhibits catalog in The Approach of Lin Fengmian - Commemoration of Lin Fengmian’s Hundredth Birthday, affixed it in 1960’s. No matter in what argumentation, it is

used unique “Lin Fengmian Style”

Lin Fengmian is quite familiar with the essence of Western culture and at the same time is able to comprehend the spiritual connotation in Chinese culture and landscapes. In his painting of weeping willows on West Lake, he did not feel content with the beauty of traditional freehand brushwork. He integrates personality and poetic sentiment into the landscape painting. In the trend of 20th century when modern fine arts emphasizes personality of the artists, Lin Fengmian had long practiced in person and carried it forward. That has far-reaching index significance in the history of Chinese fines arts.

051

WU Guanzhong (b. 1919)

By the Li River 1976 Oil on board 30 x 40 cm Signed lower left Tu and dated 76 in Chinese ILLUSTRATED: Selected Paintings by Wu Guanzhong, 60’s-90’s, China Three Gorges Publishing House, 1996, color illustrated, p. 95 Wu Guanzhong – Connoisseurs, Choice I, People’s Fine Arts Publishing House, Yan Gallery, color illustrated, no. 28, pp. 80-81

NT$ 8,800,000-15,000,000 US$ 268,300-457,300 HK$ 2,095,200-3,571,400

吳冠中灕江岸 1976 油彩木板 30 x 40 cm 簽名左下：荼七六圖錄：《吳冠中畫選60's-90's 》，中國三峽出版社，1996，彩色圖版，頁95 《吳冠中作品收藏集 I 》，人民美術出版社，一畫廊，彩色圖版，編號28，頁80-81

108

051

吳冠中1970年代油畫作品，被視為藝術家油畫創作最佳的時期，此階段多數的畫作尺幅不大，因為這些畫作皆是他旅行跋涉期間的直接寫生創作，小畫利於攜帶。他背著畫箱到處寫生，天南地北浪跡江湖，畫架、畫箱，連同油畫一起肩扛著搬家，這段刻苦的創作經歷，為他的藝術留下不凡的成果。中國藝評家水天中在〈吳冠中—中國藝術轉折期的探索者〉文章裡點出吳冠中油畫的成就，他如是形容：「吳冠中是以油畫家的身分登上中國藝壇的。作為一個出國留學開始其藝術活動的人，他比許多同輩人顯示出更多的獨立自主的稟賦。在他離開學院畫室，擺脫學院流行習作模式之後，他的繪畫才藝不但沒有受到削弱，反而有更大的進展。這種情況在早期留學生中並不多見。而他的油畫創作上顯示的那種無處不在的中國氣派，更是值得珍視的成就。他超越了題材的地域性，不論是北方鄉野、江南村

故鄉卻在南方，他的繪畫與美感取向，無疑對江南的秀麗景致有所偏好。吳冠中曾讚賞：「虎丘，西湖，灕江，人們欣賞大自然的秀麗，山色湖光，春風楊柳，脈脈柔情。」灕江的山水自古聞名，他的前輩李可染等也反覆描繪桂林的灕江山水， 1966年時李可染曾寫下：「世稱灕江山水甲天下，吾曾三次往遊，覺江山雖勝，然構圖不易。茲以傳統以大觀小法寫之，人在灕江邊上，終不得見

生地；杭州則是滋養其藝術的搖籃；這些中國江南以水聞名的地方，常常在畫家的作品中反覆出現，因而每每當他行經南方寫生，畫到漁船、江帆時，不免心生思鄉的愁緒：「我愛畫船，除了緣於童年的回憶之外，主要由於視覺美的吸引，孤舟、舟群、帆起帆落、繩索交錯、桅杆倒臥起伏、線纏繞著面、手忙腳亂的漁民。色彩的斑駁，都給予畫家盡情揮寫的大好時機。」（摘錄自〈吳冠中繪畫談：漁港〉一文）灕江，這一處秀麗天然美景，藉由

此景也。」等文句。灕江景色之奇，在於山光水色的變化，在於群山圍繞、竹林掩映中的寧靜。李可染的水

術家特有的形式美感。

墨灕江聞名遐邇，吳冠中自然知曉，於是他曾經說過：「…那麼多畫家畫過桂林，已有那麼多精彩的桂林攝

The 70’s were considered the best period for Wu Guanzhong’s oil paintings, most of

影，人們頭腦裡都早已熟悉桂林了。但作家、畫家、攝影師仍將世世代代不斷地表現桂林的美感，見仁見智，作者個人敏感永遠在更新，青羅帶與碧玉簪。…」（吳冠中著、陳瑞獻編，〈美醜之間〉，《要藝術不要命》，遠景出版事業公司， 1990年5月初版，1997年5月再版，頁185）

《灕江岸》一作不必然是實景寫生，吳冠中為了擷取美景，經常揹著畫架，移動畫點多次，有時因選取最美好的形象和角度，甚至步行一、二十里路。前人李可染認為灕江雖美，構圖不易，吳冠中自然對此景亦有獨特體驗。在《灕江岸》作品裡，畫家表

吳冠中的畫筆，增添了人文關懷及藝

these paintings are in small sizes for they were painted on site during Wu’s travel, smaller sized canvas are convenient to carry around. He carried his painter’s case and sketched wherever he go, he moved from place to place with his canvas stand, his case, and the painting, although it was hard during that time, but he had left truly fruitful artistic achievements from that period. China art critic Shui Tianzhong noted We Guanzhong’s achievements in Wu Guanzhong, An Explorer at the Turning P o i n t o f C h i n e s e A r t : “ Wu ro s e a s an exponent in oil. As an artist who

鎮，不論是巴黎街市、南洋風物，他的油畫作品絕對是中國韻味，中國氣

現了桂林甲天下特有的山形，山水共一色，有清秀之美，遠方濃綠處是竹

派。」（摘自《吳冠中精選畫集》，斯民藝苑， 1996年10月出版，頁6）

篁林，岸邊有矮屋人家，沿著江畔成線性的構圖。幾艘渡船的桅杆，和遠方直聳的山勢相映成趣。

1970年代吳冠中多次行經廣西桂林一帶，《灕江岸》即是完成於1976年的寫生作品。他雖然長期住在北京，但

has traveled overseas, he exemplified independent thinking. He progressed from strength to strength, even after he left college and art class and especially after he succeeded in freeing himself from

樸實的渡船人家站立舟上，遙望遠

“vulgar demands”. This was rare, among overseas students of his day. He is an

方，畫裡託寄著畫家向來對水鄉人家特殊的懷舊情感。宜興是他的生命原

110

artist extraordinaire in his unrelenting display of Chinese elements in all his oil works. By the subject a countryside in northern China or a village in Jiangnan o r a s t re e t i n P a r i s o r a s c e n e i n Southeast Asia, each piece is absolutely, unmistakably a painting in Chinese mood, a work of distinctive Chinese style.” (Wu Guanzhong Paintings – A Selections of 128 Fine Works, L’Atelier Productions Pte, Ltd, Singapore, October 1996)

During the ‘70s, Wu traveled to Gui Lin, Guang Xi several times, “By the Li River” was finished during that time in 1976. Though he chronically lived in Beijing, but his hometown is at south, therefore his aesthetics and his paintings were deeply influenced by his preferences for Jiangnan’s scenery. Wu Guanzhong praised: “The tiger hill, west lake, Li river, people appreciate the beauty of nature, and tender feelings will come from the mountain, the lake, the wind that blows in spring, and the willow.” Li river was famed for its scenery long ago, his precursor Li Keran also painted the Li river sceneries many times, in 1966, Li wrote: “Everyone thinks that Li river’s scenery is best in the world, and I’ve been there three times, the place is truly beautiful, but it’s hard to compose a picture. Therefore I used the traditional viewing small objects from a bigger standpoint method to paint it, when one stand on the river shore, he

trees. Li Keran’s ink Li River is wellknown, and Wu Guanzhong knew that, therefore he said: “...there are already so many painters painted Gui Lin, with so many photographs made people familiar

Modest boater stands on the boat, look at the afar, there is a sense of retrospective e m o t i o n s i n s i d e t h e p i c t u r e . Wu Guanzhong was born Yi Xing; Hangzhou

w i t h G u i L i n a l re a d y. B u t w r i t e r s , painters, photographers, generation after generation still continue to present the beauty of Gui Lin, different people, different views, the sensitivity of the

is his cradle of art; these Jiangnan sceneries often show up in his paintings. Each time he traveled south, the emotion of longing for home were unavoidable. “I am fond of depicting boats not only

creator is always renewing, ribbon of blue silk and hills lie like hairpins of green jade...” (Wu Guanzhong, compiled by Chen Rui

due to my childhood memory, but also because they give me a keen sense of visual comfort. There is as much aesthetic pleasure in a lonesome boat as in a whole

Xia, Between Ugly and Beauty, Art or Die, Yuan Jing publications, May, 1990 1st edition, May 1997 2nd Edition, p. 185)

group, and beauty in the fluttering of sails being set or taken down, the tangle

“By the Li River” isn’t necessary a realistic painting, in order to catch those

of crisscrossing ropes and rigging, the dazzling display of masts and poles, both horizontal and vertical, intersecting

beautiful sceneries, Wu used to carry the canvas stand and moved the painting spot for several times, he even walked for ten, twenty miles just to catch the best image and angle. His precursor Li Keran considers Li River beautiful, but hard to compose, Wu also had that specific experience. In “By the Li River”, the painter presented the unique landscapes of Gui Lin, the mountain and water shared the same color, delicate and pretty, the dense green color afar is the bamboo forest, there are also small houses next to the river, formed a linear composition along the river, opposing the mountains from afar formed an interesting image.

might never be able to see this scenery.” What’s wonderful about the Li river scenery is the change of lights and colors, as well as its surrounded by mountains, and the tranquility that is covered by

111

lines against the canvas and amongst the fishermen’s busy flurry of activity. The sheer motley of colors is a feast for the eye and a great opportunity for the artist the give free rein to his skills.” (from ‘Wu Guangzhong About this Art: Fishing Harbors’)

Through Wu’s paint brush, he added humanistic concerns and his own aesthetic to the beautiful Li river.

052

JU Ming (b. 1938)

Taichi Series – Single Whip 1992 Wood 30(L) x 17(W) x 25.5(H) cm Signed Ju Ming in Chinese and dated '92 The painting is to be sold with a certificate of authenticity issued by Jun Youn Sculpture Gallery, Taipei.

NT$ 3,600,000-4,400,000 US$ 109,800-134,100 HK$ 857,100-1,047,600

朱銘單鞭下勢 1992 木雕 30 (長) x 17 (寬) x 25.5 (高) cm 簽名：朱銘 '92 附雋永雕塑畫廊開立之作品保證書太極拳是朱銘在跟隨楊英風期間的每日健身活動，久而久之，從中體會出太極的精義，乃至於萌生雕刻太極的意念，為他的創作生涯開闢了第一種雕塑的語言「太極」。朱銘說道：『太極拳是古代中國人所創造的一種健身術，它是我所知道的一個「個人 1 與自然結合」的最好例子』。它用人的自身來接觸和模仿宇宙中的自然現象。朱銘追求自然的協調，透過練習太極，由內而外，落實於身體與技法的結合，以樸拙未加修飾的手法雕刻太極，達成「人與自然的結合」。朱銘刀下的「單鞭下勢」，本身具有力度與造型的美感，在動靜之間，讓

人感到綿綿不絕的形意流轉，因其式有起伏，不拘泥於外在形態的雕琢，只追求意識流轉的完整呈現。

unembellished manifestations of ‘man’s oneness with nature’.

細看「單鞭下勢」的動作，其根在腳，發於腿，主宰於腰，形於手，周

J u M i n g ’s S i n g l e W h i p e p i t o m i z e s the fascinating tension between inner tranquility and outward action

身節節貫串，完整一氣。力量由下而

characteristic of most taiji moves. In this

上地傳遞，由腳而腿而腰，武者進退靈活、得機得勢。其次，武者沒有面目神態，但作品依然傳神。靠的是以

piece, Ju transcends the limitations of traditional sculpture, focussing not on the physical substance but its gentle motion, the aesthetic appeal that lies in the fluid

氣傳神。太極系列凝固的不僅是武者的動作、呼吸，還有武者的意識。朱銘匠心獨具只見輪廓不見五官呈現出武者內斂的神情。所謂「氣宜鼓蕩，神宜內斂」的武術家用語來形容朱銘的作品似乎比一般的藝術風格論更貼切。註解：1. 劉蒼之，〈這一刀〉，《朱銘木雕專集 1》，德馨出版社，高雄，1977. 5

When studying under Yuyu Yang, the doyen of Taiwanese sculpture, Ju practised taijiquan on a daily basis. In addition to staying healthy, he soon grasped the essence of this ancient sport and began to ponder conveying his insights through works of sculpture. Taiji became the ‘language’ in which his sculpture was ‘written’. As Ju Ming explains, ‘Taijiquan is a method of maintaining your health through regular soft exercise. At the same time, it is the best example of “achieving oneness between individual and nature” that I am aware of.’ Taijiquan is a way of directly experiencing and emulating the natural phenomena that makes up our universe. Ju Ming is devoted to the pursuit of this ‘natural harmony’, both in his life and his art. Having internalized taiji’s principles, he strives to reveal them to others in his work, melding taiji and artistic skills into straightforward,

112

lines and vigourous momentum of the low single whip move. In doing so, he gives us a hint of how taiji allows the life force to circulate freely through the adept’s body. Taking a closer look at the single whip movement one discovers that it begins with the feet, continues with the legs, is controlled by the waist and finds its final expression in the hands. The entire body is involved in the fluid motion. Vital energy, or qi, travels from the bottom to the top, from the feet through the legs to the waist, while the adept moves in accordance with the prescribed postures. While the look on the face is blank, the sculpture is yet brimming with expression, conveyed through the qi made visible in its lines and curves: the pieces of the Taiji series portray not only the adept’s movements and breathing, but reveal his very mind. Ju Ming does not bother—does not need to bother—with a detailed depiction of facial features, because his concern is the performer’s ‘inner expression’, the face of his soul as seen through the movements. ‘The qi should flow freely and the mind be calm’: nothing could describe the art of Ju Ming better than this old taiji adage.

053

CHAO Chung-hsiang (1910-1991)

Morning Lotus 1982 Acrylic, ink and color on paper 96.5 x 63 cm Signed lower right Chung-hsiang in Chinese and Chao in English, dated 82

NT$ 720,000-820,000 US$ 22,000-25,000 HK$ 171,400-195,200

趙春翔朝荷 1982 壓克力彩墨紙本 96.5 x 63 cm 簽名右下：春翔 Chao 82 年終

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054

KUO Po-choan

郭柏川

(1901-1974)

風景

Landscape

1948 油彩紙本

1948

43.5 x 33 cm 簽名右下：－48－柏

Oil on paper 43.5 x 33 cm Signed lower right Po in Chinese and dated - 48 EXHIBITED: The Tenth Art Season - Masterpieces of Contemporary Maestros, Kaohsiung, Kaohsiung National Chiang Kai Shek Cultural Center, Kaohsiung, Apr. 9 - Apr. 22, 1999

ILLUSTRATED: The Tenth Art Season - Masterpieces of Contemporary Famous Artists, Kaohsiung, Kaohsiung National Chiang Kai Shek Cultural Center, Taiwan, 1991, color illustrated, p.17

NT$ 880,000-980,000 US$ 26,800-29,900 HK$ 209,500-233,300

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展覽：「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，台灣，1991，彩色圖版，頁17

055

YANG San-lang (1907-1995)

Spectacles Caught in Hong Kong 1974 Oil on canvas 38 x 45 cm Signed lower left S. Yang in English ILLUSTRATED: Lin Bao-yao, Taiwan Fine Arts Series 7 - Yang San Lang, Artist Publishing Co., Ltd., Taipei, 1992, color illustrated, no. 60, p. 118, black-and-white illustrated, p. 270

NT$ 950,000-1,300,000 US$ 29,000-39,600 HK$ 226,200-309,500

楊三郎香港所見 1974 油彩畫布 38 x 45 cm 簽名左下：S. Yang 圖錄：林保堯，《台灣美術全集第7卷：楊三郎》，藝術家出版社，台北，1992，彩色圖版，編號60，頁118；黑白圖版，頁270

116

055

056

LIAO Chi-chun (1902-1976)

廖繼春最引人稱頌的繪畫風格就是色彩的表現，美術史學者以「色彩的魔術師」來讚揚廖繼春的繪畫。畫家曾

1953 Oil on canvas

說過他的色彩是騙人的，不忠於自然的。此無異於顛覆中國繪畫師法自然的固有傳統，而服膺西方野獸派、表現主義的美學觀念。他隨心所欲的賦予景物主觀的色彩，卻能夠讓變化萬

53 x 65 cm Signed lower left Chi-chun and dated

自由，產生愉悅的感受。

Tamshui

千的色彩互相調和，同時追求造型的

1953 in Chinese ILLUSTRATED: Masterpieces of Taiwan Precursor Artists, Respectable Art Center, Taipei, color

對於色彩與造型的運用，廖繼春有其看法，他曾說：「我利用簡潔強烈的色彩，以對比和強調來賦予更多的色

illustrated, pp. 18-19

的大量淡水寫生。 1960年代歐美考察回國，途中見聞大開眼界，美國抽象畫的風潮以及歐洲文明，皆使廖繼春的內心受到極大的憾動。1960-1970年代廖繼春的繪畫創作達到巔峰。尤其見識到威尼斯的水

無論淡水、愛河、威尼斯、野柳，或生命最後一站的東港，這些以水聞名的名勝景點，在他的筆下呈現出一種近似的繽紛、活潑的氣氛。而包括野柳在內等晚期的代表作，可謂是畫家

廖繼春淡水 1953 油彩畫布 53 x 65 cm 簽名左下：繼春一九五三年

中心，台北，1998，彩色圖版，頁18-19

喜愛描寫山光水色，尤其是河、港的風景。對於水景的描寫早緣起於1950年代

色天光，舟楫穿梭水間的繁忙景象，自由和諧的創作氣氛，使得他回到台灣以後，將接收到的刺激，轉化為推動的力量，快速地找到自己的方法。

NT$ 15,000,000-20,000,000 US$ 457,300-609,800 HK$ 3,571,400-4,761,900

圖錄：《台灣前輩畫家的藏寶圖》，尊彩藝術

向戶外自然與人文的遼闊天地。持續推展他的「變形與誇張」的寫生技巧。他的潛在天賦—色彩的敏感，隨著心情變得開朗，迎春花蕾的綻放開來，又變得更為大膽而奔放，在濃度的對比中，調和出亞熱帶特有的怡人芬芳。廖繼春

感，同時在線條的構成中注意造形的趣味。不是寫某一個時間內的印象，

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。

而是把希望表現的色彩表現出來。」（參閱林惺嶽，〈跨越時代鴻溝的彩虹-記廖繼春的繪畫生涯〉，《廖繼春畫集》，國泰美術館，台北，1981年3月出版，頁230-231）

從50年代跨入60年代，廖繼春穩然渡過了低潮，再度把靈敏的視覺感受性，投

118

此幅1953年創作的《淡水》是早期經典作品之一，在淡水高崗上遙望白樓，右下角的路端是淡水教堂，白樓和教堂是歐洲式的建築，山腳下的民宅是閩式人家，中間還夾雜著日本宅舍，早期的淡水就是如此奇特的建築組合。

056

- Liao Chi-chun's artistic life" by Lin Hsing-yueh, Cathay Art Museum, Taipei, Published on March, 1981, pp. 230-231)

His innate sense of color then veered into a new direction as ever more dazzling and lively hues, cheerful as the budding

張義雄《淡水》1949 油彩畫布 Yoshio CHANG, Tamshui, 1949, oil on canvas

flowers of springtime, moved into the foreground of his artistic output. Liao developed a particular adeptness at boldly blending and contrasting brilliant colours that convey the unique atmosphere of subtropical sceneries: unrestrained yet

typically reserve the greatest praise for his use of colour, dubbing him the ‘Magician

mellow and agreeable. Ever since the 1950s, when he had produced a large number of paintings and sketches showing the panoramas of Taipei’s Tamshui area,

of Colours’. Some fellow artists have asserted that Liao’s palette is a grand hoax that fails to be true to ‘natural colours’

mountains and water, especially river and harbour scenes.

When appreciating Taiwanese painter Liao Chi-chun’s work, art historians

Liao had been very fond of depicting

in the long and venerable tradition of Chinese painting, adhering to the aesthetic

Returning to Taiwan from his travels and

principles of Fauvism and expressionism instead. There can be no doubt that Liao's colouring is highly subjective, but it is just as certain that he is a master at matching and harmonizing multitudes of

greatly widened his horizons, the artist embarked on a new era in his work during the sixties. Having absorbed the trends of abstractionism in the United States and

different hues and shades. At the same time, he frees himself from the constraints of conventional styles to create original shapes and forms that evoke a pleasant response in the sympathetic observer. Speaking of his application of colour and form, Liao once said, ‘I use simple, bright and strong colours in contrasting arrangements to produce richer chromatic effects. In my lines and patterns, I’m always searching for what’s interesting and appealing. My paintings are not about “accurately” reflecting a single moment’s impressions—they are all about expressing the colours and combinations of colours I wish to express.’ (Please refer to "The Rainbow Across the Gap Between Generations

studies in Europe and the US, which had

imbued himself with European culture and civilization, Liao reached the peak of his skill between 1960 and 1970. He had been particularly impressed by the views afforded him in Venice, the brilliant

and river panoramas, come alive with the artist’s sparkling colours and dynamic patterns. Liao’s later works, including for example Yehliu, show a mature palette and poised style in the service of calm reflections on a long and full life. We can feel how the artist’s soul at long last leaves mundane reality behind and returns to the essence of things. Consequently, his latest representations of reality transcend the limitations of conflicting national, geographic or cultural qualities and identities to reach out for the joint core of all the different sceneries and mental imageries accumulated over a lifetime. This piece from 1953 titled Tamshui is one of Liao’s ‘early classics’, giving a sweeping view from the hill across Tamshui with its landmark white building and the local church near the bottom right of the painting. Both the white building and the church are European-style structures, while the residential houses perched along the foot of the mountain are in the traditional Fujian style, interspersed with some Japanese buildings—a typical cross-section of the area’s architectural diversity and a reflection of its eventful history.

colours of the skies and waterways, the hustle and bustle of gondolas on the city's many channels, and the relaxed and free atmosphere conducive to artistic inspiration. Turning his experiences into fresh creative momentum, Liao quickly established his own style and method to paint the vistas closest to his heart. No matter if it is Taipei’s Tamshui, Kaohsiung’s Love River, Italy’s Venice, North Taiwan’s Yehliu or the last station of his life, Tungkang in Southeast Taiwan, all these places, famous for their seaside

120

廖繼春《淡水》1975 油彩畫布 45.5 x 53 cm 畫家家族收藏 LIAO Chi-chun, Tamshui, 1975 Oil on canvas, 45.5 x 53 cm Collection of the artist's family

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057

Yoshio CHANG (b. 1914)

Still Life on the Table

張義雄1914年出生台灣嘉義望族，11 歲時在嘉義中央噴水池旁遇見寫生時

1979 Oil on canvas 116.5 x 90 cm

陳澄波的英姿，立下成為一位永遠的藝術家，在陳澄波的啟蒙與薰陶下，

Signed lower left CHANG. Y. and dated 1979 ILLUSTRATED: Impression Classics IV Tribute to Artists of the Older Generation, Impressions Art Gallery, Taiwan, 1996, color illustrated, p.146

NT$ 3,300,000-4,200,000 US$ 100,600-128,000 HK$ 785,700-1,000,000

張義雄桌上靜物 1979 油彩畫布 116.5 x 90 cm 簽名左下：1979 CHANG. Y. 圖錄：《印象經典I V向前輩美術家致敬》，印象畫廊，台灣，1996，彩色圖版，頁146

開始走入創作的道路。他認為是天生的藝術家，早年負笈日本求學，進入日本帝國美術學校（今武藏野美術大學）學習美術，因為在川端畫學校學畫，為了繪畫的理想，拋棄世俗的觀念，他的藝術之路走得艱辛。在台灣美術史上，張義雄是第一位由台灣去日本，去巴黎，並且定居巴黎的前輩藝術家。近幾年他遷居東京，回到當

Art University). Later he studied at the Kawabata Painting School, now having decided to devote his entire life to painting, no matter how difficult it would be. Indeed, Chang spent much of his career in destitute circumstances. He was the first painter in the history of Taiwanese art to go to Japan and Paris to hone his skills and broaden his horizons. In the 1980s, he settled down in Paris for many years before returning to Tokyo, the place of his early studies, in recent years.

年的求學地。 The poverty-stricken first two decades of 他的個性激烈，愛恨分明，有一種不服輸的浪人性格。早年別的畫家或有家人支持，得以持續畫畫，而他有二十多年的時間他在四處為人畫像謀生，自言是「窮人中的窮人」。一輩子飄飄盪盪的，一心渴望到巴黎創作。終於在1981年67歲時達成心願。 1987年獲頒法國藝術家年金，這是首位台灣藝術家獲此殊榮者，1988年成為台灣第一位獲選為法國沙龍正式會員。在創作過程中，畫家一再否定自己，企圖超越自己，因此他謙遜地說七十歲才會分遠近，繪畫時注重線條表現，一直追求努力畫本質更好的作品。八十歲才畫出滿意的作品。張義雄擅長靜物畫，尤其晚年之後對靜物的描繪更加的深刻，融入更多畫家的獨特性格。 Born to a prominent family in Taiwan’s Chiayi area in 1914, Yoshio Chang (aka Chang Yi-hsiung), was inspired to become an artist at the tender age of eleven when he saw Chen Chengpo, one of the doyens of Western-style

his career put his rather fierce character into even sharper focus. A vagrant for much of his life, he always wore his heart on his sleeve and showed a perseverance verging on the obstinate when it came to pursuing his goals. Unlike other painters who could rely on support from their family or colleagues, Chang had to earn a living doing portraits for money. He used to speak of himself as ‘the poorest of the poor’. It was not until 1981 that his greatest dream came true: to live and work as an artist in Paris, the city of his dreams. In 1987, he became the first Taiwanese artist to be awarded the French government’s Annuity for Artists, and one year later he was made a member of the French Salon (again being the first Taiwanese to be granted this honour). Constantly striving to improve himself and his art, Chang is prone to modestly deny his talent. It fits this picture that at the age of seventy he would state that only

painting in Taiwan, sketching from

now had he mastered the subtler points of perspective and linear composition, and that he was still attempting to create

life at Chiayi city’s ‘Central Fountain’. Under Chen’s guidance and instruction,

the ‘ideal’ painting-something he claims to have done only at the age of eighty!

Chang’s natural talents soon began to bloom. Still a teenager, he went to Japan to attend middle school there, and

Yoshio Chang particularly excels at still lifes, and especially in his later years he attained an outstanding level of maturity

at the age of 18 he entered the Japan Imperial Art Academy (today Musashino

in this genre, suffusing his creations with his own unique skill and character.

122

058

AI Xuan (b. 1947)

Girl in Cottage Window 1993 Oil on canvas 90 x 90 cm Signed lower right Aixuan in Chinese and English, dated 1993 The painting is to be sold with a certificate

在20世紀80年代，艾軒把藝術視角投向了荒涼的西藏高原。冰雪皚皚的荒原環境，藏民形象身處四面八方向他襲來的寒冷和孤寂，冰塊在腳下脆裂，凜冽的寒風掀動著枯萎的野草，使人感到遠方咄咄逼人的沉默。一股難言的孤寂感浸透著畫面的所有。這已經表明畫家艾軒，開始在荒涼的西藏高原中，找到了表達自我感受的素

During the 80’s in the 20th Century, Ai set his artistic vision on the gaunt Tibetan Plateau. It’s a snow white world; Tibetans are everywhere, so is the cold and solitude. Ices cracked under his feet, cold wind blowing withered weeds, as if the silence from afar is dominating how he feels at that moment. The sense of a hard-to-describe solitude covered all over the picture. This shows that he had found

of authenticity signed by the artist.

材。

NT$ 5,500,000-6,500,000 US$ 167,700-198,200 HK$ 1,309,500-1,547,600

在這樣的精神氛圍裡，畫家將他擅長的神秘而孤寂的形象，透過生動細膩的寫實語言，獲得了創造性的體現。

his inner self during that time.

在此過程中，畫家又將寫實手法提煉到洗煉和精緻的境地，收放自如，虛

through his lively and delicate realistic language, Ai had recreated that mysterious

實相合，強調油畫語言表現力的魅力，輪廓線的劃分。用外輪廓的效果，質地和色調的變化，營造繪畫語

and solitary image, which is what he’s good at. During the process, he elevated his realism technique to a more mature and

言的美感。艾軒從還原真實的體驗出發，發揮生活的積累，賦予理性的秩

delicate level, he can freely use it or put it away, fuse it with void and reality, he is emphasizing the charms from the artistic

艾軒空寂的小屋 1993 油彩畫布 90 x 90 cm 簽名右下：艾軒 Aixuan 1993 附藝術家親筆簽名之原作保證書

materials at the Tibetan Plateau to express

序，形成作品的含蓄之美，把觀眾帶進有悠遠、沈靜而神秘的藝術氣氛之中，以意念的發揮和形象的象徵，有如弦上之箭，引而不發。艾軒的寫實油畫語言，顯現了厚積薄發而功到自成的可貴境界，構成了屬於自己特有的中國鄉土。

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Surrounded by such a spiritual atmosphere,

language inside the paintings, and the compartment of the counter and lines. Ai’s realistic languages inside his oil paintings were gradually accumulated to a valuable level, and thus formed his own special native soil.

059

CHU Teh-chun (b. 1920)

Ali Mountain 1954 Oil on canvas 65 x 53 cm Signed lower left Teh-chun and dated 43 in Chinese EXHIBITED: Chu Teh-chun, Chungshan Hall, Taipei, December 1954

NT$ 3,200,000-4,200,000 US$ 97,600-128,000 HK$ 761,900-1,000,000

朱德群

朱德群於1949年自中國大陸遷徙到台灣定居，1950年先任教於台北工專建築系，1951年起任教於台灣師範學院

材繪畫作品。他為朱德群1954年在台首次個展撰寫介紹文，他提到：「朱的畫顏彩豐富，用色大膽，顯然他受

（今國立師範大學的前身）藝術系，在教學之中尚自我創作毫無間斷。

到新繪畫的影響，但他對西洋古典等作品用過功的人。所以他的畫變化似

1954年12月他在台北中山堂舉行來台後的首次個展，展出50餘幅油畫。這次的展覽也為籌措前往巴黎深造旅費，受到聞人黃少谷、羅家倫、張道

有源之水，而並非山洪爆發。他的油畫中有許多的中國風味，表現出他有真正的中國文化修養。他對人謙和，

藩等長輩與友人的提攜與支持，畫展非常成功，所有畫作全數售出，順利為他籌得旅費，1955年3月離開台北，展開後來超過半世紀的法國藝術生

礎，主張笨做法，大笨伯是我。這位稟賦而能篤學的藝術家，也是好的教

涯。

羅家倫，〈從朱德群教授的畫談到藝術〉，《中央日報》，1954年12月17日）

曾留學英、法的文學家與畫家張道藩，為1 9 5 4年朱德群的畫展寫出如下的評介：「我們可以看出他繪畫藝術的基礎—寫實和描素，沒有很高的造

阿里山

詣，是不能有這些成就的，他雖然對任何題材的畫都可以作，但仍以風景

1954 油彩畫布 65 x 53 cm

和人物畫見長。他對於油畫的技巧已經有了深切的經驗，無論對於用筆、設色都能應用自如恰到好處。他筆觸

簽名左下：德群四十三

的活潑、色彩的鮮明，線條的生動，處處表現著東方繪畫的情調。同時我們也可以看出他自己特有的風格。」

展覽：「朱德群」，中山堂，台北，1954年 12月

對名利很淡泊，有為藝術而藝術的精神。朱德群是頂聰明的人，作畫重基

（摘錄自張道藩，〈畫家朱德群及其作品〉，《台灣新生報》，1954年12月17日）

育家，自有他燦爛的前途。」（摘錄自

現有朱德群目錄文獻上生平的首次個展，都是1954年中山堂的個展，該畫展中一共約展出50餘幅油畫，因時代久遠，多數畫作如今下落成謎。杭州藝專時期的創作，全都毀於遷徙與戰亂，這些見證朱德群早期寫實功力的作品，今日尋找極為不易。本次拍賣的《阿里山》一作即為朱德群當年的師範學院老同事所擁有，收藏年代超過半個世紀之久，擁有者的年紀已是超過八十歲的耆老，由於收藏者本身也是知名畫家，多年珍藏這幅朱德群經典繪畫，更增添惺惺相惜的美事一樁。

詩人羅家倫對朱德群有深刻的認識， 1953年他曾推薦朱德群為「國史館」畫國父孫中山及蔣介石肖像，並創作黃花崗七十二烈士起義等數幅歷史題

126

1953至1954年間，朱德群曾陪師大學生赴阿里山寫生，以阿里山為主題的風景畫據悉有三幅，本次的拍品《阿

里山》為其中之一，畫面左下方簽有「德群四三」字跡，其中四十三年為民國紀元，也就是1954年。此幅《阿里山》畫面結構理性、沈穩，顯然

arts department at the Taiwan Academy of Pedagogy (now known as National Taiwan Normal University). While

是受到塞尚藝術的啟發，朱德群曾經說過，塞尚是西方第一個對我影響最大的畫家，早年在杭州藝專時期，吳大羽老師對塞尚的推崇，深深地影響了他。2006年朱德群在接受訪問中，

teaching, Chu continued to create by himself, not stopping even once. In December 1954, he held his first solo exhibition since residing in Taiwan at the Chungshan Hall in Taipei, putting up more than 50 pieces of work for show.

談到起初受到印象派的影響，他說：「我受塞尚的影響有2 0年，是他的追隨者。讓我受益最多的是塞尚的造型—以色調細微的變化表現空間，並主宰畫面。」（摘錄自金妹、J e a n D o m i n i q u e

The exhibition was also held to raise funds for furthering his studies in Paris. Well – guided and supported by elders and friends such as literati Huang Shao-ku (1901 - 1996), Lo Chia-lun (1897 - 1969)

Jacquemond，〈啟發光源，喚起形象及韻律：朱德群先

美國堪薩斯大學名譽教授李鑄晉也指出朱德群早期的藝術特色，他指出：

and Chang Tao-fan (1897 - 1968), the exhibition proved hugely successful. All paintings were sold, successfully raising the funds that he needed for the trip. In

「在台期間，朱德群的畫，大都還是受了塞尚的影響，但畫的題材多為台灣風景，他也畫了不少人像及靜物

embark upon an art career spanning more than half a century in France.

生訪談〉，《清華美術》卷3，北京，2006年11月）

花卉的油畫，『裸女』也表明是融匯了塞尚、畢卡索與馬蒂斯的畫風而來的。風景畫最多的是『八仙山』、『台北風景』、『烏來瀑布』、『阿里山』等，他畫的樹木叢林，受了塞尚的影響較深，注力於線、點、色的排列及畫面的結構，他最能把握住的因素，是畫面的節奏與旋律，這是現代畫派重形主義的重心。但另一方面，其色彩之絢爛，構圖之精當，以及具中國傳統繪畫意味之線條，在油畫中充分的表現出來，並呈現著一種現代中國畫的新因素。」（參閱李鑄晉，〈朱德群的抽象世界〉，《朱德群作品展》目錄，高雄市立美術館，1997年11月，頁17）

Chu Teh-chun moved from Mainland China to reside in Taiwan during 1949. In 1950, he began teaching firstly in the Department of architecture at the Taipei School of Industry. From 1951 onwards, he started teaching in the fine

March 1955, Chu Teh-chun left Taipei to

Chang Tao-fan, a scholar and painter who had studied in Britain and France, made the following comment for Chu Teh-chun’s 1954 exhibition, ”We can see what the foundation of his painting is: he does not excel at realistic likeness and sketches, and cannot achieve much in these areas; although he can produce paintings on any subject, his fortes are landscapes and figures painting. But he already has a profound mastery of the technical skills of oil painting, and both his brushstrokes and coloring attain a natural grace and rightness. His lively brushstrokes, bright colors and vivid lines everywhere give expression to the characteristic sentiments of Oriental art, at the same time revealing to us Chu’s unique personal style.” (excerpt from Chang Tao-fan, Chu Teh-chun and his works, "Taiwan Shin Sheng Daily News", 17 December 1954)

128

朱德群《阿里山》 CHU Teh-chun, Ali Mountain, 1954 Oil on canvas, 51 x 44 cm

The poet Lo Chia-lun has a profound understanding of Chu Teh-chun. In 1953, he recommended Chu Teh-chun to the Academia Historica for painting portraits of founding father Sun Yat-sen and Chiang Kai-shek as well as several works concerning historical subjects such as the Uprisings by the 72 martyrs from Huanghuagang. While composing the introduction to Chu’s 1954 inaugural solo in Taiwan, he mentioned, “Chu’s paintings are rich in colours and bold in colour selection. Obviously he is influenced by new schools of painting. However, he is a person who studied considerably on Western classical works of art, hence the variations in his art are like water from a spring, and not the torrential rushing of waters from a mountain. His oil paintings contains substantial Chinese flair, demonstrating his true mastery of Chinese culture. Modest and amiable towards others, he does not seek fame and fortune but exemplifies the spirit of making art for art’s sake. Chu Teh-chun is a highly

intelligent man. His painting emphasizes the importance of basic foundations. Claiming to be a stupid person, he

this auction is one of them. At the bottom

Immortals’, the scenery of Taipei, Wulai

left hand corner are the inscriptions of

advocates doing things the hard way. This highly talented and studious artist is a good educator as well. Certainly he’ll be having a shining future. (excerpt from Lo Chia-

forty three refers to the calendar years

Falls and Ali Mountain. His paintings of the trees and forests are also obviously influenced by Cézanne, laying stress

lun, 'Discussing on Art based on paintings by Chu Teh-

inspired by the art of Cézanne. Chu Teh-

chun', "Central Daily News", 17 December 1954)

Current historical records and catalogues regarding Chu Teh-chun’s inaugural solo all points to the 1954 exhibition at Chungshan Hall. Approximately 50 pieces of paintings were put up during that exhibition, but owing to the length of time gone by, the whereabouts of most of these paintings have become a mystery. The works produced during his time at the Hangzhou National Academy of Art were completely destroyed during migrations and the travesty of war. Today, it is terribly difficult to locate these works, which a re a testimony to the Chu Teh-chun’s early prowess in realism. The “Ali Mountain” put up in this season’s auction belongs to one of Chu Teh-chun’s former colleagues at the Taiwan Academy of pedagogy. The period of collection exceeds more than half a century. The owner is now an elder who is more than 80 years old. As the collector himself is also a well known painter who treasured the classic painting by Chu Teh-chun for many years, there is an added beauty of the mutual appreciation. Between 1953 an d 1 9 5 4 , C h u Te h -

“Teh-chun forty-three”. The number of the republic, meaning the year 1954. The painting “Ali Mountain” is rational and sound in structure, obviously a trait chun once said that that Cézanne was the first painter from the West to have a huge influence on him. During his early days at

had for Cézanne. During an interview in 2006, while speaking about how he came

of modern Chinese painting.” (Chu-tsing Li,

to be influenced by the impressionists,

‘The Abstract World of Chu Teh-chun’, Chu Teh-chun exhibition catalogue, Kaohsiung Museum of Fine Arts, Kaohsiung, November 1997 , p. 17) (Chu-tsing Li, ‘The Abstract World of Chu Teh-chun’, Chu Teh-chun exhibition catalogue, Kaohsiung Museum of Fine Arts, Kaohsiung, 1997, p. 25)

he had been deeply influenced by the high esteem for which his teacher Wu Dayu

Chu Teh-chun said, “I, an avid follower of Cézanne, was influenced by him for twenty years. Cézanne’s compositions were what benefited me most --- using minute changes in colours and tones to represent space and to control the picture plane.”

(excerpt from Jin Mei, Jean Dominique

Jacquemond, “Interview with Chu Teh-chun: Eliciting light sources, calling up images and rhythm”, “Ching Hwa Fine Arts”, vol.3, Beijing, November 2006)

American Kansas University Professor Emeritus Chu-tsing Li also pointed out the early features of Chu Teh-chun’s art. He revealed, “During the period in Taiwan, Chu Teh-chun’s painting style was mostly influenced by Cézanne, but much of his subject matter was derived from the landscape of Taiwan. He also

that there were 3 landscapes based on Ali Mountain. The item “Ali Mountain” in

subjects were ‘Mountain of the Eight

National Taiwan Normal University to sketch at Ali Mountain. It has been told

the elements of the picture’s pattern and rhythm. This style of modern painting emphasizes formalism as the basis. On the other hand, Chu Teh-chun’s colors were very vivid, and his compositions were very precise. The line he used in his oil painting was still able to fully express the flavor of traditional Chinese painting, while including new elements

the Hangzhou National Academy of Art,

did a number of portraits and still life paintings. His female nudes also display the influence of the painting styles of Cézanne, Picasso and Matisse. Among his landscape paintings, his most frequent

chun accompanied undergraduates from

on line, stroke, color, structure and composition. He was quite able to control

129

朱德群《阿里山風景》 CHU Teh-chun, Ali Mountain Landscape, 1953 Oil on canvas

060

CHU Teh-chun (b. 1920)

Jeux de surfaces 1995 Oil on canvas 73 x 92 cm Signed lower right CHU TEH-CHUN in Chinese and English, dated 95 Titled on the reverse Jeux de surfaces in French and dated 1995

NT$ 3,200,000-4,200,000 US$ 97,600-128,000 HK$ 761,900-1,000,000

朱德群表面之戲 1995 油彩畫布 73 x 92 cm 簽名右下：朱德群 CHU TEH-CHUN 95 簽名畫背："Jeux de surfaces" 1995

朱德群自1955年離開台灣遠赴巴黎，開啟了他的藝術創作之旅。他的繪畫藝術同時兼具了東方藝術的溫婉細膩和西方繪畫的濃烈粗獷，而這正是他將自身中國文化背景與歷史傳承巧妙的融合於其中加上善用西方繪畫工具和技巧的具體表現。60年代的作品中他多以單一色作背景，運用闊筆與快筆揮灑出寬、窄、厚、薄的線條遊走於畫面上；70年代的創作受林布蘭用色與明暗處理的影響頗為深刻，但他運用個人一向快捷、類似中國「飛白」意味的筆法以及白色塊或其它淺色塊的搭配，使得此時期的繪畫風格得以擺脫林布蘭的沉鬱，反而有著行雲流水般的優雅流暢；而中國書法的俯仰、頓挫與縱橫均可見於80年代中的作品當中；進入90年代後，朱德群的作品更加接近中國的繪畫傳統，涵蓋了中國藝術傳統當中注重宇宙變化並探討人與自然的關聯，有些作品的標題也都包含了這些元素。在朱德群的畫作當中，他以畫筆描繪出自然界裡透明的空氣、清涼的水氣、游移的風、急速的湍流與初降的瑞雪等無形的生命，以既誇張又抒情的手法表現出強烈又雋永的印象，同時兼具夢幻意味與戲劇性效果，這幅 1995年創作的《表面之戲》，用色兼容沉穩奔放，光線神秘的游移、躍動於其中，充滿了蓬勃的生命力。

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060

061

CHU Teh-chun (b. 1920)

Douce Méditation 1997 Oil on canvas 80 x 100 cm Signed lower right CHU TEH-CHUN in Chinese and English, dated 97 Titled on the reverse "Douce MEDiTATion" in French, signed CHU TEH-CHUN in English and Chinese, dated 1997 The painting is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.

朱德群早期有過二十年的具象創作經驗，從青少年時期在杭州藝專習畫開始，即感染了當時的大時代氣息，也

Hangzhou National Academy of Art he was affected by the atmosphere of that era, with the elements from Chinese

因此對於中國傳統文化藝術的因子與西方藝術風潮的灌溉，產生了相互融

traditional arts and the irrigation from

溶的包容性。中國傳統書畫、歐洲古典繪畫和現代抽象藝術，都從不同方面影響了朱德群至今的藝術道路。在朱德群的抽象畫當中，音樂、色彩、書法、光源等等都是不可或缺的表現元素，他熟練的將這些元素以巧妙的方式結合，從中國詩畫的視覺觀點，彌補西方色彩理論的生硬，演繹出一幅又一幅滿溢中國文人情思、內涵豐富的畫作，不只是風景或一個抽象形

NT$ 3,900,000-4,800,000 US$ 118,900-146,300 HK$ 928,600-1,142,900

式，而是賦予蓬勃生命力並具有神秘內涵的一個嶄新的藝術領域。朱德群對抽象表現主義繪畫的貢獻，在於加

朱德群

入了優雅、舒暢、灑脫的筆致，表現了大自然的生命流動，他將中國文化

溫柔的沈思 1997 油彩畫布 80 x 100 cm 簽名右下：朱德群 CHU TEH-CHUN 97 簽名畫背："Douce MEDiTATion" CHU TEH-CHUN 朱德群 1997 附亞洲藝術中心開立之原作保證書

精神貫注於個性化的繪畫語言之中，為中國繪畫傳統增添了活力。這幅於1997年創作的《溫柔的沈思》，朱德群用令人心服的線條從不精確中畫出性格來，使幻想變成完美無缺，很驚奇的是在他的畫面上沒有西方線條的透視，而從遠處看主題，出現好幾個定點，相疊相重替換著，配置在不同階度的平面上，靈活的把書法水墨詩意融會起來的那份流暢寄放移植於畫布上，賦予色光，使畫面淋漓地耀動璀璨起來。 Back in the early days, Chu Teh-chun had about twenty years of concrete creation experiences, when he was learning in

132

western art trends, he lined both. Traditional Chinese paintings, classic European paintings and contemporary abstract arts all have affection on Chu’s art. Music, colors, calligraphy, and lights are essential elements in his abstract paintings, he skillfully merged all these elements, from traditional Chinese poetic point of view, atoning the stiffness from western art theories, and further creates several cultural and cultivated paintings, not just a picture of a landscape or a form of abstract, Chu pushed art to a brand new region that is lively and mystic. His contributions on abstract expressionism paintings is his using graceful, mild and degage brush strokes, which brings up the life and force of nature, he poured Chinese culture spirits in his own characteristic painting language, vitalized the Chinese painting tradition. “Douce Méditation” was created in 1997; Chu adopted convincing lines to paint characteristics from uncertainty, makes illusions perfect, we cannot see western transparency in the picture, but if we view from afar, we may discover certain still spots replacing each other, arranged on a plane of different degrees, Chu cleverly blended the feel of calligraphy onto the canvas, with lights and colors given, made the whole picture look alive.

061

062

George CHANN (1913-1995)

Variation of Inscription I

Chann's abstract paintings are rich in oriental atmosphere, which is indeed related to his background. In 1952 he ran

1950s Oil on canvas, coll 137 x 121 cm

a store "Farmer's Market Art Gallery" in Los Angeles, in which he did not sell his own works but Chinese artifacts such as jewelries and antiques just to earn a living. Running a business as an antique

EXHIBITED: George Chann, Shanghai Art Museum, Shanghai, July 19 - 31, 2005

dealer, he still managed to paint for 7 hours a day. His later works were hardly

ILLUSTRATED:

seen owing to his unwillingness to work with art dealers. He refused to work on market-oriented paintings: pure abstract

George Chann, Lin & Keng Gallery, Taipei, 2005, color illustrated, p. 142

NT$ 4,800,000-6,000,000 US$ 146,300-182,900 HK$ 1,142,900-1,428,600

陳蔭羆石窟碑變 I 1950年代油彩畫布拼貼 137 x 121 cm 展覽：「陳蔭羆畫展」，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142

陳蔭羆的抽象富有東方旨趣，自然和他的出身背景有極大關連。1952年他在洛杉磯開設一「農夫市場藝廊」小店，店鋪內不賣自己的繪畫，而是販售玉石珠寶、骨董字畫等中華文物，藉此糊口。雖然他終日與文物為伍，每天仍作畫7個小時。不願與畫商打交道，他的後期創作少見發表，作畫的

art was the only objective he had. Until he passed away in 1995, he has been exploring abstract art while running the small business for over 40 years. Chann's abstract art development is

目的不為市場考量，純粹是潛心研究抽象藝術，仿如古人的大隱隱於市，

divided into several stages. First is the black-and-white collection during the 1950s in which he employed Chinese characters, marks and inscriptions;

一直延續到1995年病逝為止，歷時超過40年。

colors were not used until later. Up to the 1960s characters and symbols remained,

綜觀陳蔭羆的抽象畫發展，依年代分為幾個階段，首先是1950年代的黑白

adding on material varieties such as shattered, mix-and-match, collage, paperpasting effects. The expression during

系列抽象作品，漢文字、碑帖入畫，而後漸融入色彩；1960年代文字符號仍在，佐以破碎、揉合、拼貼、糊裱等材質變化，表現肌理厚實，透露出人文湮滅的神祕痕跡；1970年代之後發展出另一種色彩繽紛、線條奔放如織錦般的抽象圖畫，融入都會景觀的現代感受，洋溢著古文明與現代的華麗融合，藉由行動繪畫的滴流、潑灑方式盡情展現。

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this period of time was substantial and sturdy, implying some tract of humanism decline. Later in the 1970s, Chann created colorful tapestry-like paintings that not only embodied modern cityscapes but combined the old civilization and modernism. sing techniques of action painting such as dripping and splashing, he fully illustrated the flamboyant mixture of the old and new.

063

John WAY (b. 1921)

Abstract (diptych) 2001 Mixed media on canvas 163 x 224 cm Signed lower right and dated

魏樂唐1921年生，余姚馬渚人。自幼師從李瑞清（清道人）侄李健學書，專攻金石碑版，20世紀40年代在上海

began study western oil paintings; in 1957 he enrolled to Massachusetts Institute of Technology to study art; in 1958 he

舉辦過兩次書畫展。1946年赴香港開始研學西洋油畫；1957年于美國麻省理工學院專研藝術；1958年赴美國波士頓定居；1973年移居加洲。

settled in Boston, and moved to California in 1973. Way studied Chinese ancient stone

EXHIBITED: , Shanghai Art Museum, Shanghai, 2001

魏樂唐對中國古代碑石篆刻與青銅銘

monument and bronze inscriptions, he spent most of his life working on the

ILLUSTRATED:

文修習已久，一生花費許多時間謄寫與臨摹著名的真品，他的繪畫作品也受此影響頗深，在過去的六十年間，魏樂唐致力於探尋繪畫與中國書法這

inscriptions and studying the originals, and they deeply influenced his painting style. During the past 60 years, Way addressed himself to find the intersection

兩種表面上互異的藝術形態的交匯

point of Chinese calligraphy and paintings,

點，逐漸將書法線條與內涵作為自己繪畫創作的主要元素。他對中國書法的探究，直接體現在他以實驗性手法結合不同風格創造出的油畫作品中。

gradually, he adapted calligraphy shape of lines as his main element in paintings. He directly presented his research on Chinese calligraphy in an experimental way to his

, Shanghai Art Museum, Shanghai, 2001, color illustrated, pp. 282-283

NT$ 4,200,000-5,600,000 US$ 128,000-170,700 HK$ 1,000,000-1,333,300

魏樂唐抽象（二連作） 2001 綜合媒材畫布 163 x 224 cm 簽名右下：John Way 2001

oil paintings. 在魏樂唐赴美學習繪畫期間，美國抽象表現主義風格使他找到了繪畫與東方書法藝術的交集。魏樂唐的繪畫作品採用法國印象派的色彩，美國抽象表現主義的格局，和中國書法的氣韻，敏於色彩及留白，巧妙地運用空間，創造出一種有力的藝術形態。他

展覽：「魏樂唐八十回顧展」，上海美術

作品中可以看到很多書法性的表現，線性筆觸的使用無意書寫記錄，也不

館，上海，2001

像西方藝術那樣建構空間，而是表現胸中之襟抱，線條追求速度和重量，有機的佔領著畫面的空間，出現在畫

圖錄：《魏樂唐八十回顧展》，上海美術館，上海，2001，彩色圖版，頁282283

布上的是經過冷靜理智思考的嚴謹構圖，豐盈有力、石破天驚的筆觸及技法營造出整體的畫面氛圍。 John Way was born on 1921 in Ma Chu Town, Yu Yao city. He learned calligraphy from Li Ruiging’s nephew Li Jian, and was focused mainly on Chinese ancient stone engraving works, he held two calligraphy exhibitions in Shanghai in the ‘40s. In 1946 he went to Hong Kong and

136

During his studying in US, the abstract expressionism helped him to find the intersection point of paintings and calligraphy. Way’s paintings adapted the colors from French impressionism, the layout of American abstract expressionism, and the spirit of Chinese calligraphy, he’s skilled at colors and leaving white spaces, and use them skillfully, formed a powerful form of art. In his works we see many calligraphy traces, he used those calligraphy strokes not for writings, and he doesn’t construct spaces like what’s done in Western paintings, he presented what’s in his mind, he used lines to pursue speed and weight, to fill up the space cleverly, what’s appeared on the canvas is a composition of rationality and exactitude, it’s those powerful brush strokes that that brings up the aura of the whole picture.

063

064

Walasse TING

(DING Xiongquan, b. 1929)

It Is Very Hot Here 1986 Acrylic on canvas 143 x 188 cm Titled on the reverse It is very hot here signed ting in English, and dated 86

NT$ 4,800,000-6,800,000 US$ 146,300-207,300 HK$ 1,142,900-1,619,000

丁雄泉夏日美人 1986 壓克力畫布 143 x 188 cm 簽名畫背：It is very hot here ting 86

創作中的丁雄泉，1985年於阿姆斯特丹畫室 Walasse Ting in his studio, 1985

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064

環境多麼艱困，他都寧願懷抱著「自己是個國王」的心境來面對一切。如今他已經七十多歲，不但充滿童稚的性情不減反增，而且仍然無時無刻地處在宛如遊樂場的情境中，像個心無旁鶩的頑童一般。這就是永遠忠於美的丁雄泉，雖然日前中風的他正處於生死一線間的意識不清階段，卻彷彿可以丁雄泉《馬格麗特》羅芙奧2006春季拍賣會編號056，581萬台幣成交 Walasse TING, Margriet, 1986, acrylic on canvas, 95 x 140 cm Ravenel Spring Auction 2006, lot 056, NT$ 5,810,000 sold

誠懇如此畫的標題，丁雄泉想傳達的就是很暢快舒服的感覺。像許多藝術家一樣，不停止地在其熱衷的事物上反覆回味，似乎就是害怕有任何一個部份仍未感受到而有所缺憾；這世界上的事物應該都等不及經過丁雄泉畫筆的洗禮，他具有一種後天無法培養的天賦、與直覺，或是魔力，可讓所有色彩達到飽和狀態。而此幅《夏日美人》，由於是大幅畫作，感染力似乎就要滿溢出來，丁雄泉的畫作總是一種震撼的視覺經驗，令觀者置身於一個瑰麗曼妙、迷情夢幻的聖地中，畫面裡的女子看似羞澀的面龐及體態，卻反而更赤裸裸地反應女子及藝術家之情緒，而丁雄泉慣用的壓克力原料，在此畫面上完整且優美的展現色彩配置的深廣度。相信看過丁雄泉畫作的人都不會否認：他的畫，總是極致地描繪著「春」的況味，彷彿人生沒有四季，只有春天。丁雄泉從懂事以來就過著充滿春意的生活，並得意地自封為「採花大盜」、「風流先生」等等，而且不管身處的

感受：他昏迷中的夢境，應該仍然是聞得到香氣的景致，否則他一定會選擇立即死去，一如他一生都不願意置身晦暗情緒的本願初心。

From this title it is clear to see that Walasse Ting is trying to deliver delightful and comfortable feelings. To avoid regrets by missing any detail, Ting, like many artists, keeps on exploring the things with which he is fascinated. It seems that every object in this world cannot wait to become a part of his paintings. Ting is gifted with an un-acquirable instinct, or say power, to create abundantly rich and colorful images. “It

manipulation of Ting’s commonly used acrylic fiber materials creates a complete and beautiful disposition of colors. People who have seen Walasse Ting’s works agree that his paintings are artistic works that describe the admiration of beauty as if it is the only goal that people should pursue. Ting has since become an adult with an active sex life. He proudly called himself a “Butterfly Gangster” or “Mr. Gallant”. Furthermore, no matter how difficult his situation was, he still chose to face everything with positive attitude. Now, he is more than 70 years old and still possesses an energetic mind as if he were still a naughty boy living in an amusement park. This is Walasse Ting, an artist who is always loyal to beauty. He is now in a coma due to a stroke, but he is surely still pursuing beauty in his wondrous dreams, otherwise, he would rather die, as he was born to live without gloom in the first place.

is Very Hot Here” is a large painting, which makes it so vivid that the viewers can almost see Ting’s passion overflowing. Ting’s artwork always provides astonishing visual images, which make viewers step into a magnificent wonderland. The women with bashful facial expressions and postures in his paintings masterly deliver their emotions and the artist’s passion. The

丁雄泉《哥雅的情人》羅芙奧2006秋季拍賣會，編號055，1141萬台幣成交 Walasse TING, Goya's Lover, 1977, acrylic on canvas, 127 x 178 cm Ravenel Autumn Auction 2006, lot 055, NT$ 11,410,000 sold

065

Walasse TING

(DING Xiongquan, b. 1929)

The Artist's Garden (polyptych) Ink and color on paper 180 x 48 cm (x4) With one seal of the artist The painting is to be sold with a photograph of the artist with this lot.

NT$ 3,200,000-5,000,000 US$ 97,600-152,400 HK$ 761,900-1,190,500

在身兼畫家和詩人的丁雄泉眼中，花花世界不會是那麼輕浮沒有份量，因為有那慧眼和善解人意的心靈，一直以來，他用那麼多鮮麗高彩的顏色，卻未奪去他那靜若止水的心，亂了看

力，「色彩」，丁雄泉無所不用其極地用他的生命來邂逅這一切，他不似其他

花花世界的腳步。愛花、賞花、畫

們重新審視其畫作的機會。

花；愛女人、欣賞女人、畫女人都和他愛山、賞山、畫山一樣地自在歡喜。在許多人眼裡，他的畫有些煽情，但他卻坦然，這是一個事實，但

紮實畫風.充沛創意，他捨棄傳統構圖中的深遠、高遠、平遠法與空間留白，取而代之的是「滿」空間的構

就算你看到了煽情，他心底的確是生命的狂喜。

畫家，去組織事物，而是讓它們自然地碰撞在一起，用它們的眼光來決定置身的角度，此外，《丁氏花園》也提供我

圖，平壓密實的空間景觀，布滿絢爛的花葉茂盛綻放，整體畫面顯得堅實沉著，柔媚的花卉煥發清新的視覺張力。即物象在藝術家的主觀意識驅動之中，使之超越自然生成意念描摹之

丁雄泉

丁雄泉在巴黎時間，受野獸派馬蒂斯

丁氏花園

的影響很大，特別是色彩光鮮亮麗、對比鮮明。丁雄泉喜歡這種鮮明，另一方面則來自中國民間彩繪的影響，喜歡那種透明而鮮活的色彩並置，線條也有類似的啟示，著重一筆寫成，絕不修改的隨意隨興。他畫裡最大的

表象，得以宣洩流露出人性內在深層的精神狀態，惹花弄彩如同在迷夢中駕馭著強烈的潛意識之書寫，改變了超乎尋常的章法。

特色即是，色與色之間對比的呼應極融洽協調，更引人注目的是，色塊與

成長背景於上海的老丁，是自學畫家，只受過中國書法及素描的訓練，

色塊之間，並沒有既定的輪廓線著色，而有一種滲

就執著地畫了四十年。他感性地從生活中抓取靈感；生活就是他的畫，畫就是他生活，是沒有界限的。說他的

彩墨紙本 180 x 48 cm (x4) 鈐印右上：採花大盜附藝術家與本拍品合影照片

透混合的運動姿

附藝術家與本拍品合影照片 The artist standing in front of this painting.

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態。

畫，等於說他的生活；他愛女人，所以他畫女人。他了解女人，包括他們

而《丁氏花園》中，在分割的表面上其實是更獨

的身體與情感，每一筆下去，宛若行雲流水；每個女人粉嫩的身體，甚至她的內心秘密，在畫布上再次呈現。

斷地表現他最眷戀的事物：女

如果線條是畫家的思路，那麼色彩就是畫家的情緒。有思路的人不一定會

人、水果、鸚鵡以及一切的支撐

紓發情緒，至於情緒，並沒有一定的規章。

丁雄泉是一位專注於生活本身的人，生活裡的喜怒哀樂，經他轉換為純然喜樂的一面；由眼睛進入腦中，又

Walasse Ting is a painter and poet. In his

在心裡融入自己的情感與意識型態，才反射到畫面上。他很情緒化，可是他所呈現的繪畫風格，則始終如一。

He uses strong and vivid colors in his art works, but it does not mean that his tranquil spirit has been disturbed and got

丁雄泉的畫室裡沒有畫架、也沒有

lost in sensual pleasures. Indeed, he loves flowers and women. He appreciates their

delicate and insightful mind, this sensual world is not as superficial as people think.

畫桌（桌子大都是用來寫詩或寫信用），壓克力色料一色一碗並列在桌上，小畫在牆上畫，大畫因為沾了顏料太重，他下筆又快又準，但在落筆之前，總要有一小陣子思考。有時

beauty and delivers his appreciation in his drawings. However, this fascination with beauty is as innocent as his appreciation

數張畫同時進行著，由線條、上色、修飾到完成，只花一、二小時。他曾說他腦子裡裝有幾百、幾千個女人，隨時都可以抽出來用。他不是在畫眼前的人物，而是在畫儲存在他心中的

efforts to hide, but what people really see is actually his passion toward life.

女人的印象。最後，慎重的蓋上印

Matisse’s vivid, bright, and contrasting color usage in Fauvism. On the other hand, he was also inspired by the

章。他的章有許多個，都刻著畫家自取的別號，例如：「喜歡女人」、「陸地神仙」、「風流先生」、「採花大盜」、「日日相思」…。「慵懶的午後」、「葡萄酒與玫瑰」、「切望」、「溫柔的耳語」、「告訴我祕密」、「春愁」、「獨處」、「你愛我薄紫色的長袍嗎？」每一張畫都有一個名字，每一個女人身邊多少都有鸚鵡、扇子、蟋蟀、花來陪伴。畫面上沒有男人，但她們都懷抱或思索著愛情，透過含情脈脈的眼神，赤裸裸的表達出來。「多麼醜陋的女人都有她的美處。我不停地看女人，在公車上，在路上，不停地看，然後回家盡情地作畫。」他甚至如此說著。

to mountains. In many people’s eyes, his works can be sensual which he makes no

When staying in Paris, Walasse Ting was attracted and greatly influenced by Henri

energetic and flexible color dispositions in Chinese folk drawings, which also made him to draw seamless lines freely without any modification. One of the most remarkable features in his works is that the contrasting color dispositions can actually create harmonious images. Moreover, Walasse Ting does not use any specific color to outline different sections in a painting. Instead, outlines are actually shaped from the slim overlaps of the colors of the connected sections in order to create a united and energetic image as a whole. In “The Artist's Garden”, each separate part is the powerful expression of Ting’s fascination: woman, fruit, parrot, and the support of everything – color. These are the elements Ting has spent his whole life on. Unlike other artists who try to purposely organize objects in their paintings, Ting chooses to let all the

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elements naturally meet each other and let them define and locate themselves. In addition, “The Artist's Garden” also

parts of his innocent enjoyment of life. Materials perceived through his eyes will be combined with emotions and thoughts

provides us with an opportunity to reappreciate his other works.

and then presented in his art works. He is emotional, but his painting style remains consistent.

Walasse Ting is a well-trained artist w i t h o r i g i n a l i t y. A b a n d o n i n g t h e

In Ting’s studio, there was no drawing

traditional 3-distant painting techniques, he composes his work full of vivid colors without any white space. The whole image with flourishing blossom creating a delicate and fresh atmosphere

stand or drawing table (if there was, it would be for writing poems and letters). He would put bowls of acrylic colors on a table when drawing on small canvas hung on the wall. He always had to

provides an extremely concrete and powerful expression. Objects in an artist’s interpretation and presentation can exceed physical limits and become extraordinary expressions of underlying strong passions,

think for a while before he started to paint, but once he made up his mind, he would paint with fast tempo and accurate strokes. Sometimes he was working on several paintings at the same time, but

emotions, and feelings.

it would only take him one to two hours

Walasse Ting is a self-taught artist brought up in Shanghai. Only receiving certain

to complete all the lines, colors, and decorations of all those paintings. He said that there were thousands of woman living

training of Chinese calligraphy and sketch drawing, he has devoted 40 years of his lifetime in this field. As a perceptual artist,

in his mind waiting to be drawn anytime. He was drawing not the figures in front of him but the images toward women stored

he can turn his daily life into the source of his painting materials. He paints his life,

in his mind. After finishing a painting, he would stamp on it cautiously. He had

so his life can been seen in his paintings. Talking about his painting is like talking about his life. He loves women, so he

many stamps with special pseudonyms, such as Women Lover, The Happiest Human, Mr. Gallant, Butterfly Gangster,

paints women. He understands women, no matter physically or spiritually. Every stroke is a presentation of Ting’s distinct

Daily Yearning, and others.

painting style. Women’s delicate bodys and internal secrets are revealed on

more or less there are always parrots, fans, crickets, or flowers besides each woman

canvas. If lines are an artist’s thoughts, colors shall be his feelings. A person with thoughts not necessarily will show his

image. There is no male image directly presented in any of his work, but women’s craving for love is clearly expressed. He

feelings, but if he does, the presentations will be limitless.

even said, “ Women’s beauty is something more than just physical expressions. When

Walasse Ting is a person who concentrates on living. Both negative and positive feelings in his daily life can become

I was walking along the street, when I was taking a bus, I am looking at women. I won’t stop looking until I go home and start to paint.”

There is a name for each painting, and

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PAN Yu-liang (1895-1977)

Four Beauties after Bath (Self Portrait) 1955 Ink and color on paper 80 x 130 cm Signed upper left Yu-liang in Chinese and dated 55 With one seal of the artist EXHIBITED: Juelan, the Storm Art Society & 1930's Shanghai, National Taiwan Fine Arts Museum, Taichung, May 25-August 29, 1999 ILLUSTRATED: Juelan, the Storm Art Society & 1930's Shangha, National Taiwan Fine Arts Museum, Taichung, 2000, color illustrated, pp. 64-65

NT$ 12,000,000-18,000,000 US$ 365,900-548,800 HK$ 2,857,100-4,285,700

潘玉良

大千在巴黎展覽見到潘玉良的彩墨畫，忍不住在她的畫裡題字，讚佩她

潘玉良是民初中國畫壇第一位留學巴黎、羅馬，揚名國際的女性畫家、雕塑家，也是融合中西繪畫而後開創新

是「用筆用墨的為國畫正派」。

局的先驅者之一。上個世紀初期，留洋習畫的華人藝術家已是屈指可數，更遑論一位來自傳統社會，甚至被賣入青樓的女子，如何從壓抑年代彩繪

劉海粟是潘玉良同齡友好，從上海美專時期就對她的創作一直給予高度肯定，他曾說：「潘玉良的作品內容

出美好的藝術生涯，她的生命經歷及習藝過程非常戲劇化，也難怪華人電影和電視劇紛紛將她的故事搬上螢幕。

健康，技術嫻熟，筆力遒勁，而不失靈動之氣，無女畫家纖柔的缺陷，在同輩西畫家中是第一流的人物。」巴黎塞奴希博物館館長葉塞夫，也曾在潘玉良的展覽專輯中寫道：「潘夫人

她的一生創作包括油畫、水墨、版

應新時代的潮流邁進，而絕未改變其

畫、素描、雕塑等媒材，經常入選法

對藝術的見解，獨立於具象與抽象兩派之間，她用中國書畫的筆法來描繪萬物，對現代藝術已做出豐富的貢獻。」（參閱胡懿勳，〈解讀潘玉良其人其

國沙龍展，也在歐美各國舉辦過多次畫展，所獲榮譽獎項有來自法國、比利時、義大利等國家。1954年她的創作點滴被法國一家電影公司拍攝成《蒙巴納斯人》長篇紀錄片，在幾位入選的巴黎蒙巴納斯區藝術家中，她是唯一的亞洲藝術家。法國的一本藝術刊物有過這樣的評價︰「現代藝術

畫〉，《潘玉良畫集》，國立歷史博物館，台北， 1995，頁130 ）

此幅《浴後四美姿》是潘玉良完成於 1955年的精彩力作，以四個神態不同的自畫像所組成的彩墨裸女群像。而

浴後四美姿

博物館、塞奴希博物館（即巴黎東方博物館）以及巴黎市立美術館，以擁

1955 彩墨紙本 80 x 130 cm

有她最成功的幾幅作品而自豪。」潘玉良的傳記還被載入《世界畫家、雕塑家、素描家、木刻家大辭典》和法

簽名左上：玉良 55 鈐印左上：玉良印

國《拉魯斯繪畫辭典》，優秀的事蹟不亞於其他留法的男性藝術家。

展覽：「上海決瀾社紀念展－決瀾社與30年

潘玉良的創作技法與觀念受到印象派、野獸派的影響，不過對於對象的

代的上海」，國立台灣美術館，台中，展期1999年5月25日至8月29日

描寫和造型，她保有了自己的風格。儘管她的用色奔放、造型誇張，明顯受到西方現代繪畫的影響，但文化血緣上與中國的關係無法割裂，在她的作品裡總是帶有強烈的線條特質以及渲染效果，而這些是中國繪畫傳統裡

的出身，為了要尋求更自由的繪畫空間，於是她決定出國深造。在歐洲發展的數十年間，女體一直是她最反覆研究的主題，她在藝術裡毫不隱諱地面對自己的身體，面對自己的文化起

毛筆書寫的特性。1956年國畫大師張

源，以中國水墨畫勾勒的裸女畫更被

圖錄：《上海決瀾社紀念展－決瀾社與30年代的上海》，國立台灣美術館，台中，2000，彩色圖版，頁64-65

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「裸女」，是潘玉良一生最為經典的題材。當時她已前往歐洲發展二十餘年，在藝壇享有一定的地位。然而為了女體題材的練習，卻曾讓她飽受異樣眼光、嘗盡苦頭，當她生活於上海期間，因沈迷於描繪女性身體之美，到女子公共澡堂觀摩素描，為當時社會風俗所不容；後來她只好以自己為模特兒，在鏡前寬衣作畫，即便如此，後來人們得知詳情時，又議論她

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視為潘玉良特別具有創新風格的系列作品。沐浴的裸女—「浴女圖」，是西方印象派最引人注目的題材之一，十九世紀中葉法國社會劇烈變動後的產物。「浴女」（B a i g n e u s e）一詞，指的是戶外風景中的裸女，特別是指古典繪畫的河畔仙女，典故可追溯至沐浴的月神戴安娜。而「梳妝」（L a toilette）則是以室內為背景，典故最早來自於聖經的故事。寫實主義畫家庫爾貝率先挑戰「浴女圖」的界限，力求顛覆古典畫裡美的理想與傳統，在當時掀起驚濤駭浪；馬內在落選沙龍展裡以《草地上的野餐》突破歷史畫的限制，引發學院派的猛烈攻擊。印象派畫家狄嘉在生命後期以裸女與澡

的藝術史故事，呼應一心嚮往自由創作，力爭女性自主意識的潘玉良，令人特別有所感觸。《浴後四美姿》雖是女畫家的多重自畫像，然而浴女群像頗有向幾位西方印象派大師前輩致敬的意味，其所展露的氣勢和格局也頗有大家風範。從《浴後四美姿》作品仍看出印象派點描技法所帶來的影響，畫面施以淡妝敷色，玫瑰色背景，浴女與椅墊的用色與造型，有野獸派畫家馬蒂斯的幾分味道；但其線條是東方藝術的傳統—鐵線銀鉤，承襲自中國書法中俊秀遒媚的傳統，剛勁筆鋒勾勒女體的

盆、浴巾等題材畫過不少「梳妝」的

輪廓，既展現女性的曼妙線條，也抒發自我剛毅的特質。獨到的融合、創新，已建立獨特的繪畫風格。潘玉良在此時的藝術達到成熟的階段，從技

題材，然而這些沐浴的主角多半是妓女；塞尚的裸女從室內走向戶外，林間露天沐浴的大浴女，形成壯觀的題

漸褪去，取而代之的是她個人所獨立的審美觀。

材；以及雷諾瓦的沐浴裸女，都曾經一度引發批評。在十九世紀下半葉，保守與前衛兩派形成拉鋸，這段精彩

Pan Yu-liang is the first renowned international female artist and sculptor

法來看，探索西方繪畫潮流的痕跡逐

in modern China’s arts scene to study in Paris, Rome who was also one of the pioneers integrating Eastern and Western painting together thus developing a new scene in the arts. In the beginning of last century,

塞尚《三浴女》奧塞美術館收藏 Paul Cézanne, Three Bathers, c. 1875-77, Oil on canvas, Collection Musée d’Orsay, Paris

Chinese artists who managed to practice and study arts overseas could be counted by the fingers, an d w h a t m o r e o f a w o m a n who was sold to the brothel and hails from a traditional society, who could still paint a glorious life of arts albeit living in

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such suppressing times. Both her life experiences and process of practicing the arts is extremely dramatic and this often leads to Chinese film and drama serials casting her story on screen one after another. The forms of her compositions throughout her career included oil, water color, print, sketching and sculpture. These are often selected for the Salon and even in places like Europe and America; her works have participated in various arts exhibition, thus gaining honorable accolades from countries such as France, Belgium and Italy. In 1954, the detail of her artistic career was filmed into a documentary known as Les Montparnos by a French movie company. Of the few artists featured from the Montparnos zone, she was the only Asian artist selected. A French art periodical once made this comment，“The Musée national d'Art moderne, Musée Cernuschi and Musée d’Art Moderne de la de la ville de Paris are extremely proud to be in possession of the most successful compositions that she has created.” The biography of Pan Yu-liang was also recorded in “Dictionnaire des peintres, sculpteurs, dessinateurs et graveurs” and French “Dictionnaire de la peinture Larousse” and her excellent career records is definitely comparable to any of the male artists who also went overseas.

truthful follower of Chinese paint with her justified use of brush and ink ” A contemporary o f P a n Yu - l i a n g , Liu Haisu has always given his

雷諾瓦《大浴女》美國費城美術館收藏 Pierre-Auguste Renoir, Les grandes baigneuses, 1887 Collection Philadelphia Museum of Art, Philadelphia

The creative techniques and views that Pan Yu-liang has adopted reflect the impact from both Impressionism and Fauvism. However, when it comes to the portrayal and molding of the object, she is able to preserve her own style. As much as she is unrestrained in her use of colors and the images are much exaggerated, which reflects an obvious influence from Modern western painting, but due to a cultural blood tie with China which is not easily severed, her works often portray a bold and special quality in her lines and an exaggerated wash up effect which is a characteristic often found in traditional Chinese brush and ink painting. When traditional Chinese paint master Zhang Daqian saw Pan Yu-liang’s colored ink painting in an exhibition held in Paris in 1956, he could not resist but to deliver some inscriptions on her paint, commending that she is “being a

highest degree of recognition for her works since the days in the Shanghai Academy of Arts.

He once said, "The composition content found in Pan Yu-liang’s works are healthy and the technique is adept. The strokes are both vigorous and powerful without losing a touch of genius. It does not have the flaws of female artists of being too delicate and amongst fellow

This painting of “Four Beauties after Bath” was an interesting work completed by Pan Yu-liang in 1955. It is made up of self portraits depicting four different expressions being combined into a group of nudes in colored ink. In the life of Pan Yu-liang, “nudes” are often the classical themes used. During this period of time, she has already been in Europe developing her career for nearly twenty years and is enjoying a certain status in the arts scene. However, in order to practice more on the theme of the female body, she once suffered under critical eyes and experienced all difficulties. During the period when she was living in Shanghai, as she was so obsessed

Western painters, she is a topnotch character." Museum curator of Paris Musée d`Orsay, Vadime Elisseeff has also commented before in Pan Yuliang’s exhibition catalogue: “Madame Pan is able to match up with the trends of the times without compromising her views on art. Independent from both sects of representational art and abstract art, she uses Chinese calligraphy and painting techniques to depict all creation thus making a rich contribution towards the Contemporary Arts.” (Please refer to Hu Yi-xun, “Unraveling Pan Yu-liang, her works and person”, The Art of Pan YuLin, National History Museum, Taipei, 1995, p. 130)

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潘玉良《浴後》1955前彩墨紙本 92 x 59.5 cm Pan Yu-liang (Pan Yu-Lin), Après le Bain before 1955, ink and color on paper, 92 x 59.5 cm Collection Musée national d'Art moderne - Centre Georges Pompidou, Paris (C) Photo CNAC/MNAM Dist. RMN

with the depiction of the beauty of the female body, she even went into common bath toilets to observe and sketch and this caused much disapproval amongst the society and its culture. In the end, she could only be her own model and strip to her skin in front of her mirror and draw. Even though it was so, when people came to know about the details later, they once again took her background as a topic for discussion. In order to seek more freedom in her space for painting, she thus decided to go abroad to further her studies. In the ten years of development in Europe, the female body had always been the theme for her research repeatedly. In the face of art, she confronted her body without any cover ups and faced her cultural origins through using Chinese brush painting to outline female nudes. This is viewed as a new composition style by Pan Yu-liang in this series of works. The nude female in the bath or “Baigneuse / Bather” is one of the most eye catching theme amongst the Western Impressionism and it is one of the prized possessions that France holds after the societal revolution in the 19th century. The word “bather” refers to a nude female in outdoor scenery and this especially refers to the nymphs beside the river in classical paintings with its allusion tracing way back to the moon goddess, Diana in the bath. In La Toilette, the background however is indoors and its earliest allusions could be traced back to the biblical story. Realistic painter Gustave Courbet (1819-1877) was the first to lead in challenging the limits of “Bather” by pursuing a return to the ideals and traditions of beauty in classical paintings and this caused many turbulent waves in those times. After having failed to be chosen to take part in the Salon, Edourd Manet (1832-1833) broke free from the limitations of historical paintings with “Le Déjeuner sur l'herbe”, thus creating uproar within the academy. By dedicating the later half of his career to nudes and the themes revolving around the bathtub and towels, Edgar Degas (1834-1917) has also created many works based on the themes of “La toilette”, with its subject mostly being prostitutes. As for Paul Cézanne whose majestic theme of featuring

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nude walking from the indoors towards the outdoors, or that of a huge bather bathing in the outdoors surrounded by nature, to that of the bathing nudes by Pierre-Auguste Renoir (1841-1919), all these once caused an wave of critique. Towards the later half of the 19th Century, both the Conservative and Avantgarde engaged in a see-saw struggle around this topic and this interesting piece of art history greatly impacted Pan Yu-liang who is always seeking freedom in composing and striving towards independence in female thinking and at the same time, greatly affecting the feelings of all. Although the “Four Beauties after bath” is a multiple self portrait of the artist herself, however, the portrait of the group of bathers does indeed hints of the artist paying her deepest respects towards the few Western Impressionist maestros and through the structure and powerful bearing, it does indeed exudes an air of a great master. From “Four Beauties after bath”, one could still see the influence that the Impressionistic technique of pointillist being uphold in the work. As the painting executes a light made up of skin color with a rose colored background, the color used between the bather and the seat cover and its image depicts a strong flavor of Fauvist artist Henri Matisse (1869-1954). However, as the lines follows the tradition of Oriental art, in which it is bold and striking, thus inheriting the delicate and vigorously graceful tradition found within Chinese painting, therefore as the incisive tip of the brush sketches the outline of the female, it then displays the willowy figure of the female and at the same time, gives off a character of self determination. With its unique combination and creativity, Pan Yu-liang has already developed her individual style of painting. During this period of time, Pan Yu-liang has indeed reached a certain standard of maturity in painting, and from looking at her technique, it can be found that there is a diminishing trace of discovering Western art trends in her work and in place of it, what we will find is the definition of beauty which she has set independently.

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067

Yun GEE

(ZHU Yuanzhi, 1906-1963)

Saint-Germain-en-Laye c. 1936-1938 Oil on canvas 73 x 51 cm Signed lower right Yun Gee PROVENANCE: The artist's daughter, Li-lan Gee Private collection EXHIBITED: Peintures Exposition des Yun Gee, Galerie A La Reine Margot, Paris, March 19-April 19, 1938 Paintings By Yun Gee, Montross Gallery, New York, December 9-21, 1940 Oil Paintings By Yun Gee,Gudenzi Galleria, New York, December 4-17, 1962 RELATED LITERATURE:

ILLUSTRATED: Pein tu res Exp o s itio n d es Yu n G ee , Galerie, A La Reine Margot, Paris, March

相關文獻：《新聲音》，巴黎，1938年3月19日

1938, color illustrated, p. 24 Paintings by Yun Gee, New York, Montros

《紐約國際先驅論壇報》（國際版），紐約，1938年3月18日《巴黎週報》，巴黎，1938年3月30日《巴黎時報》，巴黎，1938年4月6日

Gallery, December 1940, color illustrated, p. 7 Oil Paintings by Yun Gee, Gudenzi Galleria, New York, December 1962,

《藝術新生報》，巴黎，1938年6月《紐約世界電報》，紐約，1940年12

color illustrated, p. 26

月14日

NT$ 9,500,000-12,000,000 US$ 289,600-365,900 HK$ 2,261,900-2,857,100

朱沅芷

Edition, March 18, 1938 La Semaine A Paris, France, March 30, 1938

油彩畫布 73 x 51 cm 簽名右下：Yun Gee

New York World-Telegram, New York, December 14, 1940 New York Herald Tribune, New York, December 15, 1940 T h e N e w Yo r k Ti m e s , N e w Yo r k , December 15, 1940 Art News, New York, December 15, 1940 Jersey City Journal, Jersey City, NJ, December 15, 1940 Art Digest, New York, December 15, 1940 The Villager, New York, December 6, 1962

《紐約國際先驅論壇報》（紐約版），紐約，1940年12月15日《紐約時代雜誌》，紐約，1940年12 月15日《藝術新聞》，紐約，1940年12月15日《紐澤西市立週報》，紐澤西，1940 年12月15日《藝術文摘》，紐約，1940年12月15日

Le Nouveau Cri, Paris, France, March 19, 1938 Beaux Arts, Paris, France, March 25.1938 New York Herald Tribune, International

Les Heures De Paris, Paris, France, April 6, 1938 L’Art Vivant, Paris, France, June 1938

《藝術報》，巴黎，1938年3月25日

聖日耳曼教堂約1936-1938

來源：藝術家女兒朱禮銀收藏私人收藏展覽: 「朱沅芷作品展」，瑪歌皇后畫廊，巴黎，展期自1938年3月19日至4月19日「朱沅芷畫作展」，蒙特洛司畫廊，紐約，展期自1940年12月9日至12月21 日「朱沅芷油畫展」，固德斯畫廊，紐約，展期自1962年12月4日至12月17日

152

《紐約下城西區新聞》，紐約，1962 年12月6日圖錄：《朱沅芷作品展》，瑪歌皇后畫廊，巴黎，1938，彩色圖版，頁24 《朱沅芷畫作展》，蒙特洛司畫廊，紐約，1940，彩色圖版，頁7 《朱沅芷油畫展》，固德斯畫廊，紐約，1962，彩色圖版，頁26

《聖日耳曼教堂》延續了早期舊金山時期經營色彩構圖之重

《聖日耳曼教堂》一作曾為朱沅芷獨生女朱禮銀的舊藏，這幅畫完成於1930年代後期，屬

視，他向來擅長駕馭色彩、筆觸輕柔，營造畫面的氣氛，因

於畫家「第二次巴黎時期」的作品。《聖日耳曼教堂》其法文題目指的是位於巴黎西郊、塞納河左岸的「聖日耳曼昂雷」，那是一處寧靜、具有人

此使得整幅畫面極富有流動感；加入了文學與詩文敘述的特質，融入1920至1930年代盛行於歐洲藝文界的超現實主義，更以抽象的色彩概約了遠

文色彩的區域。

方的景致；尤其在他的第一次紐約時期之後，體察紐約都會生活的形態，而採取了「全景

1927年受法國友人鼓勵前往巴黎發展，觀摩博物館並和巴黎藝壇名家的交往切磋，多次參與沙

式」的構圖，以及鳥瞰式的俯視透視技法，也都在這幅畫作

龍及畫廊展出，終使作品益增圓

精彩地呈現出來。在畫家主觀的視角下，造型的變形，線條的曲折，色彩的明暗對比，使

熟，表現具有個人獨特人文意涵的創作。1930年因為經濟大蕭條而回到美國，一直到1936年再度重返巴黎，停留至1939年歐洲爆

得聖日耳曼的城堡與教堂投射

發戰爭為止。根據朱禮銀女士的

出一種夢幻的特質。奔跑期間的小狗和拉長的影子，反映出

資料，這幅畫作曾經參加畫家在 1938年3月瑪歌皇后畫廊個展，為展出的37幅作品之一，因此判斷作品的完成時間約在1936至 1938年之間。這次的畫展極為成功，印製的一千份展覽目錄，很快地被索取一空，藝術評論家皮耶．密勒為此展覽目錄寫了一篇序言，他對朱沅芷的新風格給予正

畫家時運不濟、孤獨的心理狀態，豐富的情感令觀者動容。

朱沅芷《皮耶密勒的畫像》，法國龐畢度中心收藏 Yun Gee, Portrait de Pierre Mille, écrivain 1938, oil on canvas, 91 x 73 cm Paris, musée national d'Art moderne - Centre Georges Pompidou (C) Photo CNAC/MNAM Dist. RMN - © Bertrand Prévost

在朱沅芷瑪歌皇后畫廊個展的前後，他的作品在巴黎多家畫廊參與聯展展

面的評價：「中國長久以來雖然向歐洲學得西畫技巧，卻不改它的個性與品味。現在中國油畫家以深厚的色彩

出，與莫迪葛里亞尼、巴斯珊、蘇汀、烏依亞爾等歐洲名家並列。1938

與多元性，已可與歐洲畫一競長短，然而缺點在於精確得近乎僵硬。朱沅

年時他的油畫作品先後入選巴黎杜樂麗沙龍展與秋季沙龍展。其實他的繪畫創意頗受好評，也有多位重量級收

病逝於1963年的朱沅芷，1990 年代初期之後，他的藝術才逐漸受到華人世界的重視，提及美國西岸亞裔藝術家與現代美術的發展，他毫無疑問地是代表人物之一。2002年紐約的前波畫廊、2003年帕薩迪那加州藝術館、洛杉磯雙重視角畫廊以及2005 年紐約瑪博洛畫廊紛紛舉辦朱沅芷紀念展覽，英文傳記《朱沅芷：詩、書寫、藝術、記憶》也在此時向全球發行，朱沅芷的藝術具有前瞻性的創新精神，在21世紀的藝壇應能恢復他應

芷的繪畫技巧學自法國及義大利，本質上卻仍是中國的；他已創造出一種具有個人風格的新技巧……這事前所

藏家的支持與賞識，然而1930年代後期歐洲政局危急，巴黎局勢不穩，藝

有的地位吧！

未有的嘗試，因此他的成功是必然的。」（周念慈，《華裔畫傑朱沅芷》，圓神出

文活動無以為繼，他只能無奈地結束巴黎璀璨的發展，悵然地回到紐約。

“Saint-Germain-en-Laye” was formerly owned by Li-lan Gee, Yun Gee’s only daughter. The painting was completed in

版，台北，1999，頁243）

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the late 1930’s and belonged to the artist's “Second Paris Period”. The title “SaintGerman-en-Laye” refers to an area in the

The painting techniques of Yun Gee were acquired in France and Italy but it is fundamentally still Chinese in nature. He

distant landscape in the background was even suggested through the use of abstract colors. During his first New York period

western suburbs of Paris on the left bank of the Seine renowned for its tranquility and culture.

has now created a new technique with a distinctive personal style… this was something that had not been tried before so his success was inevitable.” (Nancy

At the encouragement of a French friend, Yun Gee traveled to Paris in 1927 to seek

Chou, The Chinese Master Painter Yun Gee, Eurasian Publishing Co., Taipei, 1999, p. 243)

he observed the metropolitan lifestyle of the city and adopted “Panoramic” composition. This bird’s eye view from the top down was also used to great effect in the painting. Through the painter’s subjective perspective, changes in shapes,

further development. There he visited the museums and met with many notables of Paris’ art scene. Through exhibitions at art salons and galleries, his works became

Before and after his individual exhibition at the Galerie A La Reine Margot Yun G e e ’s w o r k s w e r e s h o w n i n g r o u p

more polished and he developed his own unique creative style. He returned to the United States in 1930 because of the Depression and did not return to Paris until 1936. There he stayed until 1939 when war broke out in Europe and he returned to New York. According to Li-lan Gee’s records, this work was one of the 37 works shown at his individual exhibition held at the Galerie A La Reine Margot in March 1938. The work was therefore most likely to have been completed some time between 1936 and 1938. His exhibition at the gallery was a tremendous success and though there were 1000 copies printed of the exhibition catalogue it soon ran out. The art critic Pierre Mille wrote the foreword for the exhibition catalogue and he commented favorably on Yun Gee’s new style: “Though China has been learning Western painting techniques from Europe for a long time this has in no way changed its essential character or style. Chinese oil painters’ rich colors and diversity now rival European art though they suffer from being precise to the point of stiffness.

exhibitions at many Parisian galleries. There they were displayed with the works of other renowned European artists such as Modigliani, Pascin, Soutine

the turning of the lines and the contrast in brightness of colors all serve to give the castle and church of Saint-Germainen-Laye a dream-like atmosphere. In the running puppy and long shadow we also see a touching reflection of the painter’s feelings of loneliness and misfortune.

and Vuillard. In 1938 his oil paintings achieved the distinction of being featured

Yun Gee passed away after an illness in

at the Salon des Tuileries and Salon d'Automne. His artistic creativity was quite well regarded and he enjoyed the support of many important collectors.

artistic talent discovered by the Chinese world. When looking at Chinese artists of the US West Coast and the development

By the late 1930’s however instability in European politics and uncertainty in Paris meant that art and cultural activities came to a halt. He had no choice but to end his rising career in Paris and travel sorrowfully back to New York. “Saint-German-en-Laye” continued the emphasis of color composition present in the earlier San Francisco period. His characteristic expertise with use of colors and supple brush strokes establishes the mood of the scene giving the entire painting a strong sense of flow. To this was added the narrative nature of literature and poetry, with the Surrealism popular in the European arts of the 1920’s and 1930’s also infused into the work. The

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1963. Not until the late 1990’s was his

of contemporary art, he is undoubtedly one of the most important figures. Commemorative exhibitions of Yun Gee’s works have recently been held at Cambers Fine Art Gallery in New York (2002), the Pasadena Museum of Californian Art (2003), the Double Vision Gallery in Los Angeles and the Marlborough Gallery in New York (2005). His English biography Yun Gee: Poetry, Writings, Art, Memories is also now being published internationally. Perhaps the visionary spirit of innovation in Yun Gee’s art will now finally rediscover its rightful place in the art world of the 21st Century!

068

ZAO Wou-ki (b. 1921)

4. 4. 85 1985 Oil on canvas 97 x 195 cm Signed lower right Wou-ki in Chinese and ZAO in French PROVENANCE: Pierre Matisse Gallery, New York ILLUSTRATED: Jean Leymarie, Zao Wou-ki, Editions Cercle d’Art, Paris, 1986, color illustrated, no. 249, p. 307

作品《4.4.85》曾是紐約知名的皮耶．馬蒂斯畫廊的舊藏。皮耶．馬蒂斯乃是法國野獸派大畫家亨利．馬蒂斯之子，自幼浸淫在藝術家庭中，1924年他前往紐約開啟畫商生涯，並在1931 年在紐約以自己的名字開設一家畫廊，營運至1989年過世為止。近六十年畫商生涯中，曾經代理過多位偉大的藝術家：諸如米羅、夏卡爾、馬蒂斯、傑克梅第、盧奧、巴爾杜斯、杜

Paris, 1988, color illustrated, no. 65

布菲等諸多現代、當代藝術大師，皮耶．馬蒂斯在二十世紀現代及當代美術史中佔有一席之地。1995年紐約的

This painting is to be sold with certificate of suthenticity signed by the artist.

圖書館暨博物館、2005年紐約大都會美術館，都曾以主題展覽向這位畫商

Daniel Abadie, Zao Wou-ki, Ars Mundi,

NT$ 58,000,000-90,000,000 US$ 1,768,300-2,743,900 HK$ 13,809,500-21,428,600

趙無極 4. 4. 85 1985 油彩畫布 97 x 195 cm 簽名右下：無極 ZAO 來源：皮耶．馬蒂斯畫廊，紐約圖錄：雷馬利，《趙無極》，藝術圈出版社，巴黎，1986，彩色圖版，編號 249，頁307 丹尼爾‧阿巴迪，《趙無極》，亞斯 ‧蒙地出版社，巴黎，1988，彩色圖版，編號65 附藝術家親筆簽名之原作保證書

尚．庫魯傑爾畫廊、2002年紐約摩根

致敬。趙無極常是參與展出的藝術家之一，可見得這兩位畫商與藝術家之間的密切合作淵源。

趙無極的創作因此得以輾轉流入市場，成為私人收藏。作品《4.4.85》有海景型的橫向開闊格局、迷濛的光線，充滿詩意，大氣淋漓的色韻間，融入畫家的藝術探索，將東方情思以西方油彩發揮地泰然自若，堪稱是趙無極1980年代的里程碑創作。 1988年趙無極在巴黎出版的自傳中提起「…我喜歡自然這兩個字，它意味著非常廣闊的宇宙；那重疊著錯綜複雜的空間，表現出大氣在流動，風在吹拂的感覺。」趙無極迷人的抽象作品，一直以來被評論家認為是結合東西方文化最完美的表現，他分別以西方的油彩，東方的水墨，表現了中國人宇宙和諧、天人合一的理想。作品《4.4.85》畫裡的光影氛圍，不禁令人連想起同樣師法自然的英國水彩

1979年皮耶．馬蒂斯首度拜訪了

大師泰納，泰納畫中展現霧氣氤氳、

位於巴黎的趙無極畫室，表達欣賞之意，並邀請他隔年到紐約的畫廊舉辦個展。趙無極在皮耶．馬蒂斯畫廊1980年的首次畫展中，展出多幅油畫與水墨作品，他的友人—

光色的英倫風貌，為人歌頌至今。而趙無極的《4.4.85》畫作亦處處洋溢大師風采，藝術家在畫中的意象呈現，許多是來自於記憶與夢想的延伸。

建築大師貝聿銘親筆撰寫展覽目錄序言。皮耶．馬蒂斯畫廊曾分別於 1980、1986年舉辦過兩次趙無極個展，馬蒂斯夫婦和藝術家有密切的互動友好關係。趙無極曾經於1986

1980年代趙無極進入耳順之年，他自言愈發地喜愛畫畫，他畫自已的生活，同時也想欲繪畫眼睛所看不見的空間，一個夢想的空間，一個令他永遠感覺和諧之所在，即使他採取了一

年繪製一幅三聯幅大作，向這位偉大的藝術經紀商致敬，以紀念兩人的友誼。一直到1989年皮耶．馬蒂

種充滿矛盾力量的不安形式。在趙無極氣勢恢弘的圖畫裡，的確潛藏著個

斯過世為止，這幅畫作都屬於該畫廊的收藏。1990年5月為了處理遺產稅等問題，皮耶．馬蒂斯身後一批豐富的藝術遺產轉售給蘇富比公司與阿夸維拉畫廊，當年高達1億6千多萬美元的交易曾轟動一時，這幅

156

人細膩、敏感的情緒，他的繪畫成為情感的指標。每一幅畫，從最小到最大，都是他夢的空間的一部份，毫無隱諱地流露了他的感情和心境。台灣美術史學家蕭瓊瑞總結了趙無極繪畫創作的五大特色：「強烈的生活

法國藝評家賈可柏在1986年紐約皮耶．馬蒂斯畫廊《趙無極個展：1980年到1985年作品》展覽目錄序文，對於這時期的創作作了適切的評論：「眼光仍然開向所有的可能，是一個在世界形成之前的渾沌，是一條路，不通向終點，卻溯至起源，在有形無形之間，這就是趙無極的畫領我們去的所在，一個未完全定形的世界，仍在懸盪，在遲疑，是在形成秩序前最後一刻的翱翔。……趙無

泰納《光與彩(哥德理論)》，倫敦泰德畫廊收藏 William Turner, The Morning after the Deluge – Moses Writing the Book of Genesis 1843, oil on canvas, Tate Gallery, London, UK.

極的畫恆在對宇宙提出疑問，恆在戮力重造。有些畫顯示太初的勃然之氣，能量摩盪，景物成形成象前的翻騰，還有些畫展現星雲的桀驁，或光的誕生或水的發明，或第一個清

晨，或在物質的動盪之外，呈現生命，在隱約中，湧現。」（趙無極、性」、「豐富的色彩」、「多樣的質感」、「濃厚的音樂性」、「虛實相生的空間感」。他認為「趙無極將中國長久的人文理想，以現代的方式，具體而真實的呈現在人們眼前，成為二十世紀人類精神可珍惜的偉大遺產。趙無極在中國苦難的時代，遠離中國，但卻以文明而美好的方式，讓中國人重獲尊嚴，重拾信心，進而生發奮起直追的意志。」（參閱蕭瓊瑞，〈東西文化的完美結合〉，《中國巨匠美術週刊—趙無極》，1992，錦繡出版事業，頁36）

1980年代前後，曾編著趙無極重要油畫作品目錄集的藝術史學家—尚．雷馬利，盛讚趙無極不斷以作品探究了物質輝煌和精神豐盈之中無盡的可能性。他的創作愈來愈自由，奔馳在東方與西方之間，在能量與冥想之間。（尚．雷馬利，《趙無極》，藝術圈出版社，巴黎，1988，頁49）

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 167）

回顧趙無極的藝術創作歷程，美國知名藝評家喬迅則認為趙無極從1979年之後因嘗試水墨畫的創作，轉換了過去的研究，投入一種新的風格方向。從1979之後的十年間，也就是1980年代的趙無極繪畫，已臻至一種「優雅的狀態」，此階段他卸下所有的急躁，反而創造了中國繪畫裡出更為強勁的繪畫「骨法」。光線，從無盡溫柔的底處慢慢湧現、擴大，將黑暗圍繞了，某種圖誌形式開啟了寂靜與靜默。趙無極的1980年代繪畫達到喬迅所言的「優雅狀態」，而藝術家也曾自言，他希望他的畫面能夠簡單一點，能夠多一點空間的感覺，他也一直在尋找這種空間的感覺。在趙無極的自

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傳裡有一段話，傳達了如此的意志：「現在我只一心作畫，隨當時的靈感，隨色彩的需要。色彩是一切，什麼也不是，要用得非常精簡，甚至吝惜。」依隨色彩之的需要，依隨當時之靈感，使得1980年代的趙無極繪畫顯得高妙精練，有別於過去的激昂、雄渾，起伏顫動的情緒。《4.4.85》作品裡帶有趙無極的深沈哲思，他嘗試藉由單純的色彩，使得繪畫走向無限的天人合一境界。面對塵世的混亂，畫家在自己的畫室裡沈澱、思考，心中存有了繪畫的秩序。當他面對畫布裡不可預見的世界時，展開冒險與神遊。畫家孤獨地在畫室裡揮灑著油彩顏料，利用其延展特性，彩色的光芒顫動，深不可測，靈思泉湧，突然出現在其中，色調變化活潑，變化萬千。在這幅《4.4.85》的繪畫裡，顯示了畫家承續了東方繪畫、詩歌裡留白的傳統，以及發揚西方繪畫經典裡光的空間，闡述了東西交融，陰陽和諧的中道，既有西方神祕學說的啟發，又有中國人的自然思考，趙無極使其藝術臻至高妙的境界。 “4.4.85” is a former collection of the famous Pierre Matisse Gallery in New York. Pierre Matisse was the son of the great Fauvist master Henri Matisse and grew up since young in an artistic family. In 1924, he left for New York to embark on his art dealer career and he started an art gallery in New York named after him during 1931, which remained in business till he passed away in 1989. In a career that spanned almost 60 years, he represented many great modern and contemporary artists such as Joan Miró (1893-1983), Marc Chagall (1887-1985), Henri Matisse (1869-

and cooperation existing between artist and art merchant.

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 1969, oil on canvas, 194 x 96 cm Ravenel Autumn Auction 2006, lot 060, NT$ 90,930,000 sold

1954), Alberto Giacometti (1901-1966), Georges Rouault (1871-1958), Balthus (1908-2001) and Dubuffet (1901-1985). Indeed, Pierre Matisse has an important role in the history of 20th century modern and contemporary art. In his honour, the Jan Kruger Gallery in 1955, the Morgan Library & Museum in 2002 and the New York Metropolitan Museum in 2005 had all held exhibitions themed around this art merchant. Zao Wou-ki would often be among the artists who took part, thus demonstrating the intimate relationship

Pierre Matisse first visited Zao Wouki's Paris studio during 1979. Impressed, Pierre Matisse expressed his admiration for the artist and extended an invitation for Zao to hold a solo in his New York gallery during the following year. In 1980, during his first exhibition at the Pierre Matisse Gallery, Zao put up many works in oil as well as ink and wash. His friend, master architect I. M. Pei, personally wrote the preface to the exhibition catalogue. Zao Wou-ki solos were held on two occasions at the Pierre Matisse Gallery during 1980 and 1986. There existed an intimate, friendly and interactive relationship between the Matisse couple and the artist himself. In commemoration of their friendship, Zao once painted a huge triptych in 1986 to pay homage to Pierre Matisse. Until Matisse’s demise in 1989, the painting remained under the Gallery's collection. In May 1990, a portion of the art inheritance left by Pierre had to be sold on to Sotheby’s and Acquavella Galleries in order to deal with his estate duties and taxes. The deal was then worth a staggering US$ 160 odd millions. As a result, the 3 panel artwork created by Zao was thus released into the market to end up in a private collection. Armed with a broad open landscape composition and the hazy light typical of an ocean scenery, the painting “4.4.85” is filled with poetic charms. The master's artistic explorations are infused within the charming colors of the uninhibited atmosphere, displaying eastern sentiments with tremendous ease through the western colors. This is worthy of mention as a milestone for Zao Wou-ki during the 1980s. In his 1988 autobiography that was

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published in Paris, Zao said, “I love the word nature. It signifies a tremendously vast universe; a complex overlapping space that display feelings of turbulence in the atmosphere and those of a gentle passing breeze”. Zao’s endearing abstract works have always been regarded by critics as the perfect embodiment of both Eastern and Western cultures. Using Western oil and Eastern ink and wash, he demonstrated the Chinese ideals of a harmonious universe and the perfect union between heaven and man. Through the atmosphere of light and shadow in the painting “4.4.85”, one can’t help but recall John Mallord William Turner, the master British watercolorist, who was also an advocate of replicating nature. Unfolding scenes of colors, light and the thick enshrouding fog in London, Turner’s paintings have heaped songs and praises even till now. Similarly, Zao's “4.4.85” also oozes with the charm and bearing of a master. Many of the artist’s imagery presented in the painting are derived from the extensions of his memories and his dreams. Approaching sixty years old during the 1980s, Zao proclaimed his ever growing love for painting. He painted his own living, at the same time he also yearned to paint spaces that were invisible to one’s eyes, a space in his dreams, a place that always leave him in harmony, even if he had adopted an insecure format filled with contradicting forces. Indeed, Zao Wouki’s finer and more sensitive personal emotions are hidden within those majestic pictures of his. His paintings have turned into emotional indicators. Every piece of painting, from the largest to the smallest, is a part of his dream space, completely revealing his feelings and state of mind.

Taiwanese art historian, Hsiao ChiungJui summarized Zao Wou-ki’s painting creations using 5 major characteristics, namely, “powerful sense of living”, “rich colors”, “diverse textures”, “strong lyrical sense” and “a spatial sense alternating between virtuosity and reality”. He felt that "Zao had placed before us the age old Chinese ideals of humanity in a real and objective form by repackaging them in a modern manner, turning them into a precious and noble inheritance for 20th century human spirituality. During China's times of ills and pains, Zao Wouki went far away from her, but at the same time, in a civilized and beautiful manner, he enabled the Chinese to restore their pride, regain their confidence and further instilled in them a determination to catch up with others." (refer Hsiao Chiung-Jui, ‘a perfect blend of East – West cultures’, “Masters of Chinese Painting: Zao Wou-ki”, Jin-Hsiu Publications, 1992, p. 36)

After the 1980s, Jean Leymarie, the art historian who compiled a catalogue for important works completed by Zao Wou-ki, applauded Zao for his continuous efforts in exploring the endless possibilities between the splendor of physical matter and the richness of spiritual well being. His creations are getting more liberal, swinging between the East and the West, between energy and contemplation. (“...l’oeuvre singulière de Zao Wou-ki reste inépuisablement ouverte dans sa spléndeur physique et sa plénitude spirtuelle. Elle assume avec un élan de plus den plus libre la symbiose totale entre l’Occident et l’Orient, entre l’énergie et la contemplation.”) (Jean Leymarie, Zao Wou-ki, Editions Cercle d’Art, Paris, 1986, p. 49)

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During the 1986 New York exhibition “Zao Wou-ki Paintings from 1980 1985” held at the Pierre Matisse Gallery, French art critic François Jacob passed an apt comment on the period’s creations, “an outlook that continues to regard all possibilities, it is the origin that existed before the world was formed, it is a road, leading not to the end, but source back to its origins, confined within tangibles and intangibles, this is where the paintings by Zao Wou-ki leads us to, a world that has yet to determine its form, still in suspension, hesitating, in its last flight prior to the birth of order.......The perpetuality of Zao’s paintings lies in their questioning of the world, in their efforts to recreate. Certain paintings depict the furor of origin, the ripples of energy clashing abrasively and the turbulence that occurs before the scenery take form and shape. Some other paintings display the obstinacy of nebulas, or the birth of light, the invention of water, the first dawn, or beyond the turbulent upheavals of matter, present life indistinctly emerging.” (Zao Wou-ki & Françoise Marquet, translated by Liu Li, Autoportrait,

par l’énergie, les derniers soubresauts des explosions créatrices. D’autres déploient l’indocilité moqueuse des nébuleuses. O u l a n a i s s a n c e d e l a l u m i è re . O u l'invention de l’eau. Ou le premier matin, comme ce merveilleux petit triptyque aux blancs rosés. Et en filigrane, par-delà les convulsions de la matière, comme prête à sourdre, la vie.” (Zao Wou-ki & Françoise Marquet, Autoportrait, Fayard, Paris, 1986, pp. 186187)

Looking retropsectively at Zao Wouki’s creative journey in art, renowned American critic Johnson Hay reckoned that Zao turned away from his studies in the past to take a new direction in style from 1979 onwards, after dabbling his hands in ink and wash. In the decade after 1979, in other words, during the 1980s, Zao Wou-ki attained a “state of grace” with his paintings. At this stage, he shed off all his impatience and instead created a more forceful “bone – structure” within chinese painting. From an infinitely gentle base, light emerged slowly, expanding till it surrounded darkness, a kind of sign that opened up silence and stillness.

Artists’ Publications, Taipei, First print 1993, 2nd edition 1996, p. 167) ”Un regard encore ouvert à tous les possibles. Un état qui précède le monde. Une route qui conduit, non à l’achèvement, mais à l’origine, aux confines de ce qui n’est pas encore. C'est là que nous entraîne la peinture de Zao Wou-ki, vers un espace qui n’est pas encore déterminé, mais reste en suspens, hésite, plane un dernier instant avant de basculer dans ce qui, plus tard, deviendra un ordre…. Il y a dans la peinture de Zao Wou-ki, une perpétuelle mise en question du monde. Un acharnement à le re-créer. Certaines de ses toiles évoquent la fureur des origins, l’enfantement de la matière

Zao Wou-ki’s paintings in the 1980s attained what Johnson termed as a “state of grace”. The artist himself also mentioned that he wished his pictures to be simpler, to possess a larger sense of space and he had always been in search for such a spatial sense. There is a passage in Zao’s autobiography which conveyed such a goal, “Now I put my heart purely into painting, according to inspirations of the moment, according t o t h e n e e d s o f c o l o r s . C o l o r s a re everything, nothing else is, it must be used simply and efficiently, even to the point of being stint.” (Maintenant je ne

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cherche rien d'autre qu’à faire un tableau, sous l’emprise du moment et la couleur, où représenter à la fois tout et rien, avec économie, parcimonie même.) According to the needs of colors, according to the inspirations of the moment, made Zao’s paintings in the 1980s appear terse and ingenious, vastly different from the quivering emotions in the past that were both rousing and forceful. “4.4.85” contains deep philosophical thoughts by Zao Wou-ki. Using simple colors, he attempted to lead painting into an infinite realm of harmony between between heaven and man. Faced with the chaos in our mundane world, the painter settled down to ponder in his studio and the order of painting came to his mind. Facing the unknown world inside the canvass, he roamed on a spiritual adventure. Isolated in loneliness within his studio, the artist painted freely using the oil colors without any restraint, capitalizing on its stretch characteristic. One can hardly fathom the quivering radiance from the colors. Sudden gushes of inspired thoughts appear from within as colors and tones changes vividly in a myriad of manners. In the painting “4.4.85”, traditions of leaving white space seen in Eastern painting and poetry adopted by the painter is clearly demonstrated. It also carries on the use of space for light as seen in Western classical painting. The painting tells of the Middle Way, where East and West blend, while Ying and Yang exists in harmony. Comprising of inspirations rendered from Western mystical studies as well as Chinese ponderings on nature, Zao Wouki has brought his art to an ingenious level of attainment.

069

ZAO Wou-ki (b. 1920)

20. 10. 69 1969 Oil on canvas 60 x 81 cm Signed lower right Wou-ki in Chinese and ZAO in French Signed on the reverse ZAO Wou-ki and title 20. 10. 69 This painting is to be sold with certificate of suthenticity signed by the artist.

NT$ 15,000,000-20,000,000 US$ 457,300-609,800 HK$ 3,571,400-4,761,900

趙無極 20. 10. 69 1969 油彩畫布 60 x 81 cm 簽名右下：無極 ZAO 簽名畫背：ZAO Wou-ki 20. 10. 69 附藝術家親筆簽名之原作保證書

1970年趙無極的第一本傳記在法國正式出版，這項消息標誌出畫家的藝術成就已獲得肯定。在此之前，法國電視台剛剛於1969年製播了趙無極的藝術專輯，受日本國立現代美術館邀請舉辦展覽，加拿大蒙特婁當代美術館亦剛剛舉辦生平的第二次回顧展，此間各地的展覽邀約不斷。趙無極認為從1960到1970年十年間自己的創作已見具體的成果。而許多藝術評論家也對趙無極1960年代的抽象畫給予佳評，他的知名度達到前所未有的佳境。法國藝評家雷馬利曾指出：「1960年代趙無極的藝術不斷地開展，對比或和諧化一，表現出韻律，肌理和色調的細微變化：此時的畫家偏好單色的表現，時而深邃、盈滿，暈染的棕色土帶有黑色刮痕；時而乳白，輕盈，宛如銀灰色的雲霧。其他有的是雪與藍寶石、慕思和紅寶石的華麗和諧。」; （參閱尚‧雷馬利，《趙無極》，藝術圈出版社，巴黎，1986，頁40）雷馬利點出趙無極的繪畫特點之一—色彩。的確，他的每幅作品的色彩都有主調，這些色彩皆非直接取自顏料管的原色，色系相近者有層次的烘托，油彩塗抹亦有渲染的趣味。台灣美術評論家楚戈講評趙無極是「把油彩鍾鍊咸水墨

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一般中間性的調子，是西方畫家所難以企及的一項成就。」又讚揚：「其色彩的含蓄處深得東方水墨哲理之三昧，但色感的豐富又是真正的水墨所不能夢想的。」（摘自楚戈，〈自然之真相〉，袁德星編，《趙無極》，源成出版有限公司，台北，1980，頁9）

法國美術史學家索里耶當年問起趙無極對色彩的品味，趙無極回答道：「我喜歡所有的顏色!」對方接著問：「哪些是主色?」「都沒有。我沒有偏愛的顏色，我對顫動特別有感受力。」此一簡短的回答說明了趙無極其繪畫與風釆的祕訣。色彩不必然是他畫裡的主旨，光的躍動才是，他更關注畫裡的空間，而顫動的光與色，確立了1960年代趙無極的抒情抽象繪畫面貌。中國山水畫有上述的傳統，趙無極意識到東方繪畫的精要，以及巴黎古典繪畫與當代抽象表現所帶來的影響，因此他說別人服膺於一種傳統，他服膺兩種傳統。台灣藝評家蕭瓊瑞則從情感發抒來看待趙無極的繪畫，他認為趙無極的作品記錄了生命的起伏，以及生活中的種種情感變化。他指出趙無極在1960 年代特有的「纖維般線條」，形成此階段的特色之一。儘管有時面對精神

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人的腳印......」（吳冠中，〈趙無極的畫〉，《望盡天涯路：吳冠中回憶錄》，萬象圖書，台北，1992年3月初版，頁223）楚戈觀察趙無極

的作品，令他聯想到荒寒的野趣，也有一些開放的花朵浮雕在重疊的深林一般的平面空間。「翻讀他的畫頁，只見：曠野寂寥，河海翻浪，山泉奔溢，衰草低徘，懸宕生苔，古壁斑駁，春花泛紫，夕暉嗽金，無處不是自然的情境。」（摘自楚戈〈自然之真相〉一文）趙無極融合了中西藝術精粹，他的藝術無論就東西方藝評家的觀點，皆能認可他不凡的才情。而一位在國際藝壇能享盛譽的藝術家，他的成功絕非僥倖，偶然。的苦悶，內心的恐懼與糾葛，趙無極的畫作大抵都是洋溢著和諧、自由與向上升揚的精神。「1960年代的作品，是以黃褐色為主調，散發著一種金銅色的光芒，一些細膩、尖銳、又帶點神經質的纖維般線條，在晝面土自由的揮灑、組合，擺脫題材、法則的限制，一切遵從內在的要求。趙無極呈顯一個深邃，富有動力、荒原中透露著華麗的世界。」（節錄自《中國巨匠美術週邗－趙無極》，錦繡出版，台北，1992，頁 18）異鄉耕耘的辛勞挫折，情感的波折苦悶，種種生命上的贈練實在難以與外人道。只有在面對自己的藝術，面對畫室的畫布時，才肯瀨所欲言，直接地表達，因此1960年代趙無極的繪畫洋溢強烈、澎湃的情感，帶有濃濃的哲學思考。

同窗老友吳冠中曾說，趙無極抽象畫之面貌給他的印象如鯤鵬展翅，也正是流星出現在天空的幻覺。「...說是薑老的辣，七十年代前後趙無極的畫面一變早期的秀麗，潑辣了起來；濃郁中透射出神異的光，滄茫中闖入了巨

趙無極的油畫作品《20.10.69》，承續了1960年代獨有的光輝耀性與神祕感，叉將開啟1970年代的強烈意象，整體畫作採取灰褐色王調，色韻豐富，筆觸充滿力度，極具運動感。層層渲染的色彩高雅而細緻，叢叢的深墨色間塗刷過的淺色留白，宛如風在其中穿梭流轉:點綴其中的鵝黃、雪白，增添富麗華美之慼，尤以畫面上端一片銀白色調，仿彿水晶瓷器般透亮，璀璨如星空浩瀚，整幅畫作充滿畫家細膩卻昂揚的情愫。 In 1970, Zao Wou-ki’s first autobiography published in France, it indicates that the artist’s accomplishment was generally acknowledged by then. Before that, French television station had just produced and broadcasted a special series of Zao’s art in 1969. Earlier, He was invited by Japan National Museum of Contemporary Art for exhibition, held his second retrospective exhibition in his life in Musée d’Art Contemporain, Montreal, there were as well countless invitations

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from all over the world. Zao thinks that his paintings created during 1960-1970 have received fruitful results. Many art critics also praised his abstract paintings from that period; he acquired enormous fame that he had never expected during that time. French art critic Jean Leymarie once pointed out: ”Son art ne cesse de s'épanouir sur ses fondements, au niveau des rythmes, des textures, des modulations colorées, par contraste ou synchronisation de variables toujours ouvertes. Il ya des toiles plutôt monochromes, tantôt sombres et chargées, lavis brun aux griffures noires, tantôt opalescentes et légères, brumes de cendre et d’argent, d'autres aux accords somptueux de neige et de saphir, de mousse et de rubis...” (Jean Leymarie, Zao Wou-ki, Edition Cercle d'Art, Paris, 1986,

Leymarie had pointed out one of the distinguishing features in Zao's paintings – color. Indeed, there is a base color in every peices of wrok, none of these colors were taken from pigment, the are scales within similiar colors, the way he applies the colors on the on the canvas is also delightful. Taiwan art critic Chu Ko thinks Zao "refined oil into medial ink, it is an achievement that is unrivaled by any of those western painters." also praised "Zao's using the color is philosophical, rich in colors but could not be realized by ink." (Chu Ko, The Truth of Nature, compiled by Yuan

p. 40)

Te-hsing, Zao Wou-ki, Yuan-Chen publications, Taipei, 1980, p. 9)

French art historian René de Solier once asked Zao about his taste on colors, Zao answered: “I like all kind of colors!”

Solier followed “Which of them is the base color?” “None, I have no preference on colors, I have better reception on trembles.” This short conversation explained Zao’s secret in his paintings. Colors aren’t necessary to be the subject in his paintings, trembles of lights are, he has more concern on the space inside the picture. Trembling lights and colors established the look of Zao's lyrical and abstract paintings during the 60’s. Traditional Chinese landscape paintings possessed above features, and Zao not only is conscious of the essences in eastern paintings, but also carries the influences from Paris classical paintings as well as contemporary abstracts, therefore he said other artists learned one tradition by heart, he learned two. Ta i w a n e s e a r t c r i t i c H s i a o Chiung-jui sees Zao’s paintings in an emotional point of view; he thinks that Zao’s works is a record of rise and fall in life, and various emotional changes from living. He pointed out that Zao's works during the ‘60s features “lines as thin as fibers”. Although he suffered from depression, fear and emotional entanglements, his paintings remain harmonic, uplifting, unrestrained and rising. “Sienna is the base color in his works from the ‘60s, they shines golden bronze flames, exquisite, sharp and paranoid fiber-like lines freely splashed, combines in the picture following his heart, he got rid of restrains of themes and r ules . Z ao Wo u - k i p re s e n t e d a deep, dynamic, and glorious world of

wilderness.” (Masters of Chinese Painting: Zao Wou-ki, Chin Hsiu Publications, Taipei, 1992, p. 18)

The frustrations from working in a foreign land, depressions, and endurances in life was hard to express. Only when facing the canvas in his studio he could talk freely to his art. Therefore Zao’s 60’s paintings were full of strong and intense emotions with great philosophies withon. His old classmate Wu Guanzhong once

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, 1964, oil on canvas, 63.5 x 80 cm Ravenel Autumn Auction 2006, lot 061, NT$ 31,570,000 sold

said, Zao Wou-ki’s abstract paintings was like a wing spread Kun-Peng to him, that is an illusion when a shooting star across the sky. “…the older, the wiser, Zao's pictures turned to be spicy around 1970. there are bizarre lights penetrates through thickness and richness, wandering into giant’s footsteps……” (Wu Guanzhong, Zao Wou-ki’s paintings, Memories of Wu Guanzhong, WanXiang publishing, Taipei, 1st edition Mar.

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Chu Ko thought about field pleasures in the wilderness when he looked at Zao's paintings, there are also two dimentional spaces like sculptures of flowers overlaid on the forest. “All I can see in his pictures are: wilderness and loneliness, rivers, oceans and waves, springs flowing, grasses waving up and down, mosses on rocks, mottled rocks, spring flowers turning purple, and golden sunshine, nature is everywhere in his paintings” (Chu Ko, The Truth of Nature) Zao combined the essences from eastern and western arts, In the eyes of no matter eastern or western critics, his paintings is unique and extraordinary. As a forld famed artist, his success is never by chance or accidental.

1992, p. 223)

“20.10.69” inherited the lights, flames and mystery that only can be found in his ‘60s works, it's also the opener for the strong images in his ‘70s paintings, beige is the base color in this painting, and is a colorful one with strong brush strokes, it’s a very kinematic piece of work. All the layers in the pictures are graceful and delicate, as if winds are flowing; the light yellows and snow whites decorated in the picture added a sense of beauty and bravery. Especially that color in a silverwhite tone at the top of the picture is as glossy as crystals and china, as bright as starry nights, the whole picture is full of the artist’s exquisite yet high-spirited emotions.

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CHU Teh-chun (b. 1920)

Présence hivernale II 1987 Oil on canvas 130 x 195 cm Signed lower right CHU TEH-CHUN in Chinese and English, dated 87 Titled on the reverse "Présence hivernale II" in French, signed CHU TEH-CHUN in

朱德群冬之呈現（二） 1987 油彩畫布 130 x 195 cm 簽名右下：朱德群 CHU TEH-CHUN 87 簽名畫背："Présence hivernale II" 1987 CHU TEH-CHUN 朱德群

Chinese and English, dated 1987 附藝術家親筆簽名之原作保證書 This painting is to be sold with certificate of authenticity signed by the artist. EXHIBITED: Chu Teh-chun, Musée d'Art Moderne, Salle Saint Georges, Liège, Belgium, November 25 to December 31, 1988 ILLUSTRATED:

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，黑白圖版，頁28

Chu Teh-chun, Musée d’Art Moderne de la ville de Liège, Belgium, 1988, blackand-white illustrated, p. 28

NT$ 25,000,000-35,000,000 US$ 762,200-1,067,100 HK$ 5,952,400-8,333,300

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到了台灣，原任教於台北工專建築系，繼而轉任台灣藝術最高學府—台灣師範大學美術系擔任副教授，在1950年代朱德群成為台灣西畫界的重要王希孟《千里江山圖》（局部）成員之一，教育北宋絹本青綠設色 51×1191 cm 北京故宮博物院收藏 Wang Ximeng (1096-1120), A Thousand Lis of Rivers and Mountains (detail) 過幾位學生如劉 ink and color on silk, 51x1191 cm, Collection Palace Museum, Beijing 國松、莊喆、陳景容等。1955年後遷往巴黎，逐漸在歐洲藝壇嶄露頭藝壇上素享盛名的堪薩斯大學名譽教角，在1979年法國藝評家余伯阮為他授李鑄晉曾指出，朱德群在現代中國作傳，十分不易，經過四、五十年間現代美術家群中佔有一席特殊地位，的努力，1999年贏得法國法蘭西學院他是早期唯一與中國大陸、台灣，以藝術院士的最高榮譽資格，為兩百年及海外都有密切關係的畫家，在當來首見的華人美術家殊榮。時的時空環境中是一鮮見的例子。他提到：「…中國大陸從抗戰前到一九四九年以後成長了數代畫家，但從大陸到台灣然後又到歐美的則極少，台灣畫家有日據時代已成名的，但大多數都是在一九四九年後才在台灣成長的，因此與大陸的關係不深，而中國畫家到海外的，在五十年代寥寥無幾，到六十年代漸多，而到七十年代之後則更多了，朱德群是唯一可以把這些不同的經驗與數代不同的畫家連串起來的一位，因此我們談現代中國美術史，朱德群是一個很重要的關鍵。」（參閱李鑄晉，〈朱德群的抽象世界〉，《朱德群作品展》目錄，高雄市立美術館， 1997年11月，頁16）

朱德群出生於1920年江蘇徐州，祖父與父親皆為醫生，喜愛書畫收藏書畫。他於1935年進入杭州藝專學習，那段時期正是藝術風氣昌盛，政局最安定的時期，受教於林風眠、吳大羽等名師。友人李霖燦曾如此形容朱德群—「在西子湖上他是一個最用功的學生」。抗日時期隨校遷徙，畢業後因表現優異留校任助教，這段顛沛流離的生活經歷以及人生體驗，對日後的創作發揮了一定的作用。1949年後

如同友人眼中的朱德群，他鍾情於繪畫創作，熱情始終不渝，力求各階段皆有創新精神。1987年他離開台灣三十多年後，受邀在台北的國立歷史博物館中舉辦「朱德群首度回國邀請展」，展出四十餘件歷年得意之作。在展覽之前，他特別寫信請教當時任職於故宮博物院的同窗友人李霖燦，詢問對於雪景系列油畫的評語，可以看出朱德群對自己新的繪畫表現極為看重。的確，1985至1989年之間朱德群所發展出的「雪景系列」，即是後人對他評價極高的系列作品，因為稀有性，該系列作品一直是朱德群迷亟欲找尋的標的之一。朱德群的「雪景系列」靈感最初來自旅行途中所見，在接受評論家楚戈訪問時，他回憶那份靈光乍現的悸動：「我曾畫過好幾個白色調子的畫，那是我去日內瓦的途中，看到阿爾卑斯山覆滿了白雪，當雲霧瀰漫之時，雲霧的白和雪白的白層次分明而充滿了變化，此時我心中只有雲霧在白地上移動的景象以及湧現的層次，心靈似乎也跟著那深淺濃淡的變動而若浮若沈，一下子浮現了很多唐詩的意象。回來就忍不住想

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作畫。…我要畫的是『我』對她那一剎那的感受。…」（廖瓊芳，《華裔美術選集I I：朱德群》，藝術家出版社，台北，1999年1 月，頁56）

唐詩的意象經常浮現在朱德群的腦際，於是他漸漸畫出了心中的感動。李霖燦初見朱德群的滄茫雪景畫，令他聯想起唐朝大詩人李白「地白風色寒，雪花大如手」與杜甫「亂雲低薄暮，急雪舞迴風」等詩句；而吳冠中則從他的白色詩意裡點綴的濃重色彩，彷若見到現代版的王希孟《千里江山圖》，有如黃鐘大呂演奏般的洪亮，金碧輝煌，足與西方現代藝術相對照比美。本次拍賣的朱德群作品《冬之呈現（二）》完成於1987年，原為畫家一知名藝術家友人所收藏。這幅作品曾經在1988年比利時列日市立現代美術館的畫家個展中展出過。朱德群以「冬之呈現」為名的作品應有三幅，畫幅格局皆相當雄偉，全為130乘以 195公分的大尺幅畫作，創作於19861987年間，表現的冬季大雪紛飛的情景各見妙趣。法國已故詩人及藝評家史奈德，發表於1987年廬森堡《星期四》報的〈朱德群聆聽宇宙〉文章中，提到《冬之呈現》系列作品。「…在他某些作品中，光的力量喚醒了地底深層的礦物結構，有些近期作品如《冬之呈現》系列作品，歷經過暴風雪、混沌不明之後，或是由『優美的晨光』或秋天顏色的靈感所啟發的作品，到探索『內在結構』暗暗燃燒的火苗，從水平面到向上揚升的線條，蘊含的光輝無所不在，時而凝聚，時而分散。火所建構的世界，和黑暗力量相互折衝；它是神祕與哀婉對話中凱旋的武器。…」（摘譯自約瑟夫—保羅．史奈德，〈朱德群聆聽宇宙〉，1987年4月2日《星期四》報，盧森堡）

如同史奈德所言，光在朱德群的繪畫裡佔有主宰的位置；而筆勢、動勢更是一直以來牽引著畫面如音樂般流暢的重要元素。吳冠中也認為，朱德群的每幅畫都像是一部運動的和聲，運動的節奏之美統一在和諧的色調之中，彷彿「讓人隔著水晶看狂舞而聽不到一點噪音，粗獷的力溶於寧靜的美！」。《冬之呈現（二）》有潑辣、濃郁的書法式刷痕，描繪蒼勁起伏的山勢，挺秀的細筆線條牽引著霜雪飛揚的節奏，構圖安排濃淡疏密有致，既有雄渾之氣亦見細膩鋪陳，他巧妙地用油畫來表現中國山水裡的純粹抒情抽象世界，大寫意的山川空間感，壯麗富有詩意，讓觀者閱覽時有暢快淋漓之感。 Chu-tsing Li, the famous University of Kansas Professor Emeritus in the art scene once claimed that, Chu Teh-chun is one of the best contemporary artists in China, he also is the only artist who was

closely connected to China, Taiwan and other countries throughout the world, and it was very distinct during that time. He mentioned: “…After the anti-Japanese war, and before 1949, several generations of artists reached artistic maturity on the Mainland. At the time, it is rare for an artist to go from the Mainland to Taiwan and then to Europe and America. Among the native artists of Taiwan, but most of them did not grow up until 1949. As a result, their relationships with artists from the Mainland were not very extensive. Although very few Chinese artists went overseas during the 1950’s, the number of artists going abroad during the 1960's and the 1970’s increased steadily. Chu Teh-chun is the only one artist who has been able to maintain a connection with diverse artistic experiences and with the artists of different generations. Therefore, when we talk about the history f modern Chinese art, we can not overlook this key

朱德群《白色森林之一》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), 1987, oil on canvas, 130 x 196 cm Ravenel Autumn Auction 2006, lot 059, NT$ 43,890,000 sold

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person.”

(Chu-tsing Li, ‘The Abstract World of Chu

Teh-chun’, Chu Teh-chun exbition catalogue, Kaohsiung Museum of Fine Arts, Kaohsiung, 1997, p. 23)

Chu was born in Jiangsu Xuzhou in 1920, his grandfather and father are both doctors, they were interested in literatures, paintings as well as collecting them. He enrolled in Hangzhou National Academy of Art in 1935. During that time, art was in fashion, and political situation was also stable. He was the apprentice of great teachers like Lin Fengmian and Wu Dayu. His friend Li Lin-tsan once described him as “the most diligent student on the West Lake”. When China was resisting against Japan, he moved with his school, after his graduation he stayed in school to serve as an assistant instructor for his brilliant performance during his study, his destitute life experiences during that period surely affected his later paintings and creations. In 1949, Chu came to Taiwan and first taught in the Architecture Department in National Taipei University of Technology, later he transferred to The Department of Fine Arts in National Taiwan Normal University as an associate professor, it was the best school to study art at that time. During the 1950’s, he became the most important member in Taiwan’s western painting scene, his students included Liu Kuo-sung, Chuang Che and Chen Ching-jung. After 1955, he moved to Paris, and gradually shows up prominently in the European art scene. In 1979, French art critic Hubert Juin wrote an autobiography for him, it was a very difficult task, after four to five decades of efforts, he received the highest honor of Membre de L’Académie des Beaux Arts de L’Institut de France in 1999, it was an initiative Chinese privilege for the past 200 years.

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Like what his friends see in him, Chu was in love with paintings and artistic creations, and that passion never disappeared, he asked himself to retain that creative spirit during each stage of his life. In 1987, after he left Taiwan for over 30 years, he was invited by National Museum of History in Taipei to held an invitational exhibition for his first ever return to Taiwan for years, he exhibited over 40 pieces of his favorite works. Before the exhibition, he wrote to his friend Li Lin-tsan who was working in National Palace Museum at that time for his advice, Chu asked for Li’s opinions on his Snow Scenery series, which tells even himself took his new paintings seriously. Indeed, developed during 1985 to 1989, his “Snow Scenery” series is highly praised by the public, due to its limited quantity, those paintings from that series is like off-the-hook among Chu Teh-chun fans. Chu Teh-chun recalled the snow scenes he had encountered during his travels that had he had encountered during his travels that had inspired him to paint this exquisites series. He told art critic Chu Ko during an interview: “I have done many paintings with various shades of white, inspired by the snowcapped mountains I saw in the Alps while traveling in Geneva. On a cloudy day, the white from the sea of clouds and the white of the snow were clearly discernible and changing constantly. This phenomenon filled my mind with images of clouds continuously floating on a bed of white. My spirit felt as though it was floating up and down in concert with the changes in the shade and density of that scene and in a flash, many of the familiar images portrayed in the Tang poems rushed into my head. I simply could not wait to go home and put these images on canvas. I

wanted to capture in paint my feelings in that moment…” (Liao Chiung-fang, Overseas Chinese Fine Arts Series II: Chu Teh-chun, Artist Publishing Co., Taipei, January 1999, p. 56)

The images of Tang poetry often came to Chu’s mind, and he gradually painted those affections one after another. When Li Lin-tsan first saw Chu’s snow scenes paintings, they reminded him of Tang dynasty poet Li Po’s ”Snow-covered ground with cold wind blowin’, snow flakes are as big as hands” as well as Tu Fu’s “Unrest clouds covered the sunset sky, swift snows are dancing in the wind”, and those thick colors added onto that poetic white reminds Wu Guangzhong of Wang Ximeng “A Thousand Lis of Rivers and Mountains”, it shines like the sun, and is as glorious as some of the western contemporary arts. This piece “Présence hivernale II” was finished by Chu Teh-chun in 1987, it was original collected by his friend who also is a famous artist. This piece of work had be exhibited at the Musée d’Art Moderne de la ville de Liège in Belgium in 1988. “Présence hivernale” is a set of three paintings, all of them are magnificent 130x195cm large works, created during 1986-1987, and they pictured interesting heavy snow scenes in winter. Deceased French poet and art critic Joseph Paul Schneider (1940-1998) published “Chu Teh-chun, listening to the Universe” on “Du Donnerstag” in 1987, he mentioned “...From the mineralogical structures of the deep earth awakened by the power of light in some of his works, some recent painting suggesting the ‘Presence of Winter’, then through tempest and chaos, or through

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works inspired by ‘peaceful morning hours’ or the colours of autumn, to the exploration of that fire smouldering amid his ‘inhabited structures’, from the level of the horizon to the ascending lines, the nourishing light is present everywhere, concentrated or diffuse. Born of melting matter, flashing from a single focus or subtly dispersed among the outlines, light ignores all boundaries. It is that fire which builds up the world and counteracts the power of darkness; it is the victorious weapon in a mysterious and pathetic dialogue….” (Joseph Paul Schneider, translated by Helene Joussein from Du Donnerstag, 2nd April 1987, Luxembourg)

As Schneider mentioned, “light” dominants Chu Teh-chun’s paintings, his brush strokes and dynamics are also crucial elements that made the whole picture flows as fluent as music. Wu Guangzhong also thinks that each one of Chu’s paintings are like kinetic harmonies, the beauty of rhythm is unified in harmonic colors, it’s like “To watch others dance before a crystal, looks intense but also totally silent, as if unconstrained strengths were all melted in one placid beauty.” Bold and dense calligraphic brush strokes can also be seen in “Présence hivernale II”, thin lines composed the rhythm of the snow, Chu’s composition and shades are delicately arranged, it is magnificent and exquisite, he artfully created his lyrical abstract world with a touch of oil painting techniques, that made the whole picture is huge and poetic, and makes viewers delightful and refreshed.

071

JU Ming (b. 1938)

Taichi Series – Arch

「太極」是中國傳統文化的精華，從宇宙起源、生命運行、乃至人身消長，都是太極。朱銘被喻為「真正、

series stands as a milestone in the history of Taiwanese sculpture, and has also gained him a firm international reputation.

Right: 49.5(L) x 25(W) x 47(H) cm Signed ^4 Ju Ming in Chinese and dated '92

唯一從台灣這塊土地長出來的國際藝術大師」成功的將這複雜而深奧的哲理，凝練成現代而具體的藝術。他的「太極」系列在國內雕塑史上佔有重

Says art critic Hsiao Chiung-jui, The Taichi series, from its early beginnings that tended to be experiments with simple

This sculpture is to be sold with

要地位，也使他享譽國際。蕭瓊瑞：『太極系列，從初期較偏向「形」象

1992 Wood Left: 19.7(L) x 23.5(W) x 46(H) cm

a certificate issued by Nonprofit Organization Juming Culture and Education Foundation - Juming Museum.

NT$ 11,000,000-18,000,000 US$ 335,400-548,800 HK$ 2,619,000-4,285,700

模擬的嘗試，走過力道外顯的「意」象表現，在廿世紀之末的九○年代，以「拱」系列的作品，回歸太極無形、流轉不息的精義「神」韻』。太

figurative imitation, later led, via dynamic expressions of imageries pregnant with meaning, to the meta-figurative, purely spiritual level of divine rhythm and melody, expressed in his Arch of Taichi works from the late nineties. This process

極系列從有形的雕鑿到無形的寫意，

of abstraction describes the artistic career of modern sculptor Ju Ming in a nutshell.

達到了神形兼備的境界，也是朱銘現代雕塑的極致表現。

Vividness of expression is the hallmark of Ju Ming’s sculpture. Arch of Taichi

朱銘

傳神，是朱銘雕塑表現的特質。「太

太極拱門

極拱門」可以說是太極系列已臻化境

1992 木雕左：19.7 (長) x 23.5 (寬) x 46 (高) cm 右：49.5 (長) x 25 (寬) x 47 (高) cm 簽名：^4 朱銘 '92 附財團法人朱銘文教基金會－朱銘美術館所開立作品鑑定報告書

之作，看似拱門其實並非拱門，而是由兩人對招的姿勢演變而來。朱銘將動作簡化到只剩抽象的運動形體，以刀斧劈展現過招時的氣魄與力度，藉此形構成拱門在透空的虛空間中，表現出重量感及速度感。拋開所學的技巧與腦中的形式，反樸歸真，將生命力透過刀斧呈現出來。本次拍品為小型雕塑作品具體而微呈現了朱銘雕塑作品的脈絡精華。觀拱門就知藝術之太極，懂不懂得太極拳，似乎無關宏

easily belongs to the artist’s most mature work. While at first glance these pieces seem to be just what the title implies, arches of various types and forms, they in fact evolved from representations of two adepts exchanging ‘blows’, i.e. jointly practising the formalized postures and moves of taichi. What Ju does is to take these already highly abstract movements and further sublimate them to the point where only dynamic lines and shapes are left—the force that went into the energetic strokes of his carving knife invests the

旨。

finished pieces with their momentum and pace without sacrificing solid tangibility.

Taichi contains the essence of traditional Chinese culture. It is all about nurturing

Going far beyond acquired skills and predetermined forms, Ju attains a level of quintessential simplicity that directly communicates the life force in all its archetypal splendour. This lot features

qi, which, originating with the universe, is the energy that pervades all living creatures, that feeds the circle of growth and decay, life and death. Ju Ming has been called ‘the only Taiwanese artist of international stature’ who is able to cast this profound philosophy into concrete manifestations of modern art. His Taichi

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all the central qualities of the artist’s sculpture in miniature form, allowing even observers with no previous knowledge of shadowboxing an intuitive understanding of the ‘art of taichi’.

072

CHUANG Che (b. 1934)

Misty River, Layered Peaks 1989 Acrylic on canvas 126 x 126 cm Signed lower right Chuang Che in Chinese and dated '89 Signed on the reverse Chuang Che in English and dated 89-20, title Misty River, Layered Peaks in Chinese and size 126 x 126 cm

NT$ 820,000-1,200,000 US$ 25,000-36,600 HK$ 195,200-285,700

莊喆煙江疊嶂 1989 壓克力畫布 126 x 126 cm 簽名右下：'89 莊喆簽名畫背：89-20 Chuang Che 126 x 126 cm 煙江疊嶂

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抽象主義是現代主義諸流派中最重要的流派之一。它興起於20世紀初的歐洲，康定斯基、馬列維奇等是這一流派的先行者，二次世界大戰後風靡全球，尤其抽象表現主義在美國興起之後，世界藝術之都的地位也從巴黎轉移到紐約。包括抽象主義在內的現代主義思潮出現不久，也先後擴散到非西方國家，從日本到中國，在東方掀起了一場現代主義運動。此波藝術洪流在去年美國抽象表現主義代表畫家波洛克《1948年，第五號》以1.4億美元成交價，成為人類有史以來最昂貴的藝術品，這是第一次抽象藝術超越了印象派、立體派等大師的作品，奪下了桂冠。另外，反觀華人抽象藝術，如趙無極和朱德群兩位大師，近年來在拍場也屢創新高，已然奠定了

在中國藝術中浸濡，進而影響他日後的創作甚鉅。1958年加入台灣著名五月畫會，並成為其重要成員，積極參與中國繪畫現代化的運動。莊喆的繪畫即是將中國繪畫中書法筆勢的神髓，自然的滲入了西方的油畫創作，於是中西渾融，自創一格，

約，充滿中國東方雅致詩意的氣質，實為莊喆80年代末期的重要力作。莊喆在今年8月份將於北京中國美術館舉辦大型個展「筆意縱橫‧參於造化」，相信他將會是繼趙無極、朱德群之後最為重要的華人抽象大師。

曾表示「所謂耳濡目染，書法的運筆及其字體變化，已成為我的藝術細胞的一部分。我的想法是把書法的原始性召回，運用行草的運筆重現山川萬

Abstract Expressionism is one of the most important schools in Modernism. It originated in early 20th Century Europe pioneered by artists such as Kandinsky

物，其不更是豐富？」（參閱曾長生〈莊喆的現代中國畫〉藝評）莊喆將中國書法行草筆勢的剛柔、疏密、陰陽、濃淡、

and Malevich. After World War 2 its popularity spread throughout the world

枯潤等筆法交相運用，形成一中國新山水畫，將其心中獨特山川的各種視野，凝聚於畫布之上，鋪陳出天地間

華人抽象主義成為主流的基礎。

的無限張力。

藝術中的抽象技法早在10個世紀以前中國水墨畫誕生的初期已經滋生。甚

在「煙江疊嶂」這幅作品中，由右起始的筆觸，在多重色彩的交替鋪陳之下，宛似層層的煙與江水被風吹動

and when Abstract Expressionism took hold in the United States, the art capital of the world shifted from Paris to New York. Soon after the appearance of Modernism (which included Abstract Expressionism) it expanded to nonWestern countries such as Japan and China. This triggered the Modernist

交疊，向左方的陸地交會融成一體。而下方的重色，細看之下，黑與深藍

Movement in the East. Last year, the U.S. abstract expressionist painter Jackson Pollock’s work 1948, Number 5 was sold

所原創，但其文脈卻更接近中國的藝術傳統，抽象是中國寫意傳統和書法傳統發展的一個必然結局，是以西方

色調的藍中有層巒疊嶂、猶如水面下波濤洶湧的不平靜，更令人感覺到江水不息的律動。上方的白色如高山覆

for US$140 million, making it the most expensive art in history. This was also the first time that Abstract act surpassed

抽象作品，在東方人的眼中，總少了些許深度與豐富。1973年赴美發展迄今的莊喆，1934生於北京，其父親莊嚴為已故知名書法家暨前北京故宮博物院副院長，自幼觀看父親書法揮毫

蓋著鎧鎧白雪，似乎綿延到無盡的視野盡頭，令人有著無限想像空間。而莊喆那如中國書法狂草般奔放的勁筆來回穿梭於畫面中央，提、頓、按、捺之間有說不出的輝煌氣勢，用色兼

the masters of Impressionism and Cubism to take the crown. By contrast, the grand masters of Chinese abstract art such as Chao Wu-chi and Chu Teh-chun have in recent years set new records at auctions,

及北京故宮珍藏的古畫，讓他自小便

容沈穩奔放，雄渾中卻又不失靈動婉

laying the groundwork for the day that

至可以說，走向抽象，是中國水墨畫發展的一個必然趨勢。因此，抽象藝術雖然為20世紀初的西方現代藝術家

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Abstract Expressionism will become the mainstream in the Chinese world as well.

in the movement to modernize Chinese painting.

closer examination, the heavy colors in the lower part of the picture seem to hint at rolling hills within the black and dark

The techniques of abstract art can be discerned as early as 10 centuries ago at the dawn of Chinese ink paintings. It can even be said that the move towards the abstract was inevitable due to the nature of Chinese ink paintings. So while abstract

Chuang Che’s painting style infuses the essence of Chinese calligraphy strokes into Western oil paintings. This fusion of the East and West resulted in his own unique style. He once said that “Through daily contact and experience,

blue tones. This gives the impression of hidden turbulence beneath the surface, making one feel as if the river was flowing without pause. The white in the upper part of the picture resemble tall peaks covered in white snow. These

art was invented by modern Western artists of the 20th Century, its origins may actually be closer to the Chinese artistic tradition. In China’s expressive

the brush strokes and script variations in calligraphy have now become a part of my creative soul. What I want to do is to rediscover the original nature

seem to disappear into the distance and out of sight leaving the audience with an unlimited space for their imagination. In the center of the scenery, Chuang Che’s

painting and calligraphy tradition, the

of calligraphy. Wouldn’t it be truly

move towards the abstract was considered the ultimate goal. This is why Western abstract art when viewed through Eastern eyes always seems a little lacking in

magnificent to use the strokes of the running cursive to depict the mountains and rivers?” (excerpt from Cheng Chang-sheng’s

forceful strokes like the wide cursive in calligraphy lifts, pauses, presses and

depth and variety. Since 1973 Chuang Che has been developing his artistic career in the United States. Born 1934 in Beijing, his father Chuang Yen was a renowned calligrapher and the deputy curator of the Beijing Palace Museum. As a child, he watched his father practice calligraphy and was surrounded by the antique paintings of the Beijing Palace Museum. This meant he grew up steeped in the Chinese artistic tradition and this would prove to have a significant effect on his future artistic development. In 1958 he joined Taiwan’s renowned May Painting Society. He became one of its key members and was actively involved

The Modern Chinese Painting of Chuan Che art

The running cursive techniques for forceful/subtle, dense/sparse, ying/yang,

review)

thick/pale and dry/wet were inter-mixed with each other to create a new kind of Chinese landscape painting. The unique perception of the mountains and rivers within his mind were given shape on the canvas to create a sense of unlimited energy between the heaven and earth. In the work “River Mists and Layered Hills”, the brush strokes that begin from the right form interwoven layers of color as if the wind had made the river mists and waters overlap with each other before merging into the land on the left. Upon

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twists its way across the canvas to give an impression of indescribable majesty. The very use of colors combine restraint with abandon as well as strength with agility. Filled with the poetry of Chinese culture, this was truly one of Chuang Che’s masterpieces from the 1980’s. This year Chuang Che will be holding an individual exhibition at the National Art Mseum of China in Beijing with the theme of “One with the cosmos through brush strokes”. After Chao Wu-chi and Chu Teh-chun, he will surely become the next grand master of Chinese abstract art.

073

CHUA Hu

(TSAI Yun-cheng, b. 1929)

Iron Bridge and Riverbank 1974 Oil on canvas 145.5 x 87 cm 1974 Signed lower right CHUA in English and dated 1974 The painting is to be sold with photograph of the artist with this lot.

NT$ 820,000-980,000 US$ 25,000-29,900 HK$ 195,200-233,300

蔡雲程鐵橋河畔 1974 油彩畫布 145.5 x 87 cm 簽名右下：CHUA 1974 附藝術家與本拍品合影照片

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「對自然形態的處理卻變得較以往為抽象，令人相信他未來在這個境域發展下去，可能會完全拋棄，或

Jesus T. Peralta. With regard to the “iron bridge” works, Peralta mentioned t h a t C h u a “ b e c o m e s m o re a b s t r a c t while dealing with natural forms than before. It is believed that he will perhaps completely give up or at least reduce the constructional elements in his future works.” Looking at Chua's brilliant works of Iron

至少減淡這些構圖元素。」

Bridge and Riverbank which were created in 1974, one will realize that Peralta’s

而從創作於1974年這件精彩拍品《鐵

prediction is quite true. In the work combing the theme of “iron bridge” with that of “river bank,” the painter seems to

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」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種難以言喻的夢幻與迷離之美。蔡雲程年輕時接受媒體訪問，曾被問到「你作畫的目的為何？」，他回答說：「我從事藝術工作的目的是利用新的藝術形式來重新發揚偉大的漢唐山水畫。」而這件作品的完成確實見證了他的自我宣言，在形式上，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」。

give a Western oil painting the look of a Chinese water-ink painting. He treats blue with black ink and lets oil paints naturally play up and run through a canvas on their own courses. Meantime, he also uses “white space” to create a contrast between darkness and brightness in order to give a sense of space. With strokes, it enhances the painting with a sense of “force and energy”. Such an arrangement gives the whole painting an indescribably dreamlike and indistinct beauty. Chua Hu's was once asked about the “purpose of painting” during an interview in his younger days. He answered: “The

Painter Chua Hu's two most important

purpose for which I am engaged in art work is to make use of new art forms to add glory to the great Chinese landscape paintings.” The accomplishment of the Iron Bridge and Riverbank indeed offers

themes in his series of works in the 1970s are “iron bridge” and “river bank.” The 8th issue of Taiwan’s Hsiung Shih Art Monthly published in October 1971 carried a translated article “Chua

a proof of his own manifesto. In the pictorial form, he allows himself to be closer to Western abstraction whereas his pictorial contents are more Chinese. Iron Bridge and Riverbank can be said to

Hu and His Paintings” written by the Philippines’ highly respected art historian

constitute a very crucial “milestone” in his art career.

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074

CHUANG Che (b. 1934)

Mountain Peak Covered With Fog 2004 Acrylic on canvas 112 x 184 cm Signed lower right Chuang Che in Chinese and dated 04 Titled on the reverse Mountain Peak Covered With Fog in Chinese and dated 2004, size 112 x 184 cm ILLUSTRATED: Chung Che, Asia Art Center, co. Ltd., Taipei, Nov. 2005, p. 63

NT$ 820,000-1,200,000 US$ 25,000-36,600 HK$ 195,200-285,700

莊喆霧峰 2004 壓克力畫布 112 x 184 cm 簽名右下：莊喆 04 畫背簽名：霧峰 2004 112 x 184 cm 圖錄：《莊喆》，亞洲藝術中心有限公司，台北，2005年11月，頁63

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074

075

LI Lei (b. 1965)

Tipsy Lake under Spring Rain 2006 Mixed media on canvas 180 x 150 cm Signed upper rught Li lei in English Signed on the reverse: Tipsy Lake Under Spring Rain in Chinese, Li Lei painted in the studio on Jin Yu Road in spring, 2006 Published: 2006, World of Fine Arts Album of Li Lei, Fong San ILLUSTRATED: World of Fine Arts - Album of Li Lei, Fong San, 2006 Art in Shanghai, Shanghai Pictorial, Shanghai, 2006, color illustrated, p. 23

NT$ 500,000-800,000 US$ 15,200-24,400 HK$ 119,000-190,500

李磊醉湖之三分春雨七分閒情 2006 綜合媒材畫布 180 x 150 cm 簽名右上：Li Lei 簽名畫背：醉湖之三分春雨七分閒情李磊 2006年春畫於金雨路畫室出版： 2006年《美術天地－李磊特集》封三圖錄：《美術天地－李磊特集》，封三，2006 《上海美術》，上海畫報出版社，上海，2006，彩色圖版，頁23

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席德進的藝術席德進說：「在水彩畫上，把色彩支配得乾淨、漂亮並不算成功，色彩在畫上必須具有真實性、誇大色彩，致於脫離了真實感，便成為裝置的，或接近廣告畫。」席德進在色彩運用上多是以沉著的色調做基底，並且他對色料的性質及延展性已達到可將水墨畫的優勢和水彩畫同質性的部分拿來交迭應用，而達到更加完滿之程度。其作品之中，主色調常為墨綠、墨藍，而在他玩味過後的顏色總帶有一種清爽的鄉愁。而席德進創作生涯當中，水墨畫部份曾經沉潛了一段日子，到了民國六十年代之後，他的水墨作品才陸續地出現，但停滯的期間並不是一種浪費，如之前提到的，他已探索過及消化了

雙收的尾巴……，人是富創造力的個

位勤勞刻苦、手藝靈活的家庭主婦，

體，所以他本身要比任何學派和制度都重要，強調個人的重要性，對於一向重視群體的中國人而言，的確是相

也沒受過什麼教育，卻極有藝術天份，像是山水花鳥樣式的刺繡，由於生動又亮麗，總博取街坊鄰居的好

當具有突破性的想法，席德進個人的強烈個性，為其藝術創作譜出革命性

評，看在席德進的眼裡，也激發他自己動手畫畫之欲望；初中畢業後，自

的色彩。為了追求觀念的突破，藝術家以其自身做實驗，不斷追求創新，這才是真正的藝術精神。畫我們最熟

修了約半年，考進了成都技藝專科學校，但在這學習的是應用美術，不甚符合想追求純粹藝術的初衷，而教導

悉的、最熱愛的，畫別人不敢畫的，我們不是畫一幅美好的畫就好了，我

他素描的龐薰琹老師又介紹給他像是馬蒂斯、畢卡索等西方有革命性貢獻

們要畫一種開路的畫。」席德進從不捨近求遠而實在的態度令人動容，他的許多畫作紀錄了台灣土地的美好實在，或是說「曾經」過的美好實在，

的畫家，而之後龐老師的離校令其無法於此得到滿足，便和幾位志同道合的同窗辦理退學，準備追隨老師到因抗戰搬遷到重慶的國立藝專就讀；國立藝專的藝術空氣濃厚且自由，師生

不論是東方或西洋，時間告訴我們一

所有色彩運用的竅門，又再和水彩畫

件事，「最好的藝術總是描述我們最熟悉的事物」，席德進於此作了最佳示範。

的那種「溼中溼」的觸感相結合。對國畫演繹上有非常現代性的貢獻。

席德進出生於相當優渥的環境，也十分受父母之疼愛，而其母親雖只是一

席德進相當重視「不自我重覆」，這在東方的畫壇上是相當西方的理念。事實上，曾經於歐

間常彼此交流，相處融洽，大夥對於藝術都有著獻身般之熱忱，同學們也常共同組織畫會，互相觀摩習作，學習及向上風氣旺盛，而席德進便是在這樣的風氣下展開個人藝術的奠基階段，同時，他也注意到班上好幾位同學都在看詩歌、戲劇方面的書籍，因而激發出他的興趣，開始接觸外國文學，對《約翰．克利斯多夫》更是愛不釋手。漸漸地，席德進從一簡樸的鄉下孩子蛻變為前衛的文藝青年。

洲生活四年的經歷，對其藝術生涯的繼續方式與方向是一大關鍵，跟西方藝術精神與現代思想的直接接觸，有趣的是，這樣的經驗反而將他帶領到台灣鄉土性主題的創作；而旅歐期間創作的重心即是線條上的精鍊及拿捏，可從於那期間所創作的素描驗

1945年，席德進選了林風眠為他的西畫老師，林風眠相當尊重學生的性格，觀察出學生的特色後，教導他們在屬於自己的風格

證。而不自我重覆如他本人所說：「創新的意志從初學起就要培養，人家作過的，我不必作，

繼續前進，所以不會有在同一老師下出來的學生都擁有同一模式的問題，就如席德進本人說的：

不僅不重覆別人，也不重覆自己，生命若是重覆，就是浪費生命…寧可做一個革命性的畫家而失敗，也不要做一個名利

席德進《金門古屋》1977 水彩紙本，羅芙奧 2006 秋季拍賣會，編號 066 台幣542,800元成交 Shiy De-jin, Old House in Kinmen, 1977, Watercolor on paper, 58 x 77 cm Ravenel Autumn Auction 2006, lot 066 NT$ 542,800 sold

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「若不是在林老師兩年的教導之下，開啟了我走進藝術堂奧的正確道路，今天可能我的藝術又是另一個樣子，像一般平庸的畫

家，永遠找不到自己的風格。」

面上無需擔心東、西融合，更無流行

1946年抗戰勝利後，學校由重慶遷回

的制約，完全鄉土，而這樣的抉擇是在嘗試多樣風格的果實，他不斷地遊

杭州，藝專位在西子湖畔孤山腳下，此學校培育出那麼多出色的畫家像是朱德群、吳冠中及趙無極等人，因素除了開放的校風，不外乎是西湖的自然秀麗風景，自古詩人都鍾情的地方，無論是蘇東坡或是白居易。席德進在林風眠的耳濡目染之下，常獨自一人在紙上勾勒著男男女女，頭像、胸像、半身像及全身像，不間歇地描繪著，滿心希望像老師一般功力穩健，任何的線或形都是穩扎穩打。這樣充滿傻勁的努力獲得該有的成果，他的作品中看不到一絲線條上的猶豫。

走台灣窮鄉僻壤的角落，無論是曬黑的鄉下人、曬紅的古厝或是越曬越斑駁的古甕，都是他挖掘的對象，為的是紀錄它們存在的證據，而這些題材似乎有表達自己的機會，不只是被畫家擺步，這是因為他對它們有著真實的尊重。在觀看這些題材同時，我們也被其觀察著。另一件必須提及的事是，也是從1969 年起，他開始練習中國書法，他習於用線來表現物體，而不在光影上計較，到了台北之後，看到畢費剛毅的黑色線條，促使他1957年後的作品，線條更加耿直，他體會到在畫水彩畫時，用線條方面，書法有絕妙的幫

1948年席德進隨著青年軍師二零七師來到台灣，剛來此的他居住於台南，便即刻被遍布台南的鳳凰木花豔紅

助，因而，其畫產生出新風貌。

的色彩震撼住，台灣南部清晰的風光及質樸的農家令其驚覺到，學生時代的他，從未好好地體會大地與自然的

彩、一件彩墨作品和一素描書法合併的項目，相信對愛好繪畫者是一次

一切；後來透過藝專同學吳學讓的引荐，他來到嘉義中學擔任美術老師，於是他常跟著學生一起畫椰子樹及寫生，而這些可愛的孩子給尚年輕的老師開啟無限靈感和信心，常一教完課，步入原野、山間及海岸，反覆欣賞觸及的事物，情緒來了就動手畫，隨著時間過去，他對台灣這海島型氣候的千樣風貌的景色，愈加熟諳。席德進的畫風也經歷過不同時期，從

這次春拍的九件作品，分別是六件水

感官及心靈的盛宴，也一道閱覽席氏用心力經營的藝術人生。更可細細去感受收藏家和畫家本人難能可貴的交情，收藏家對畫家的作品自幼開始有極深的興趣及研究，1974年於一場個展結識畫家本人，進而展開深厚的友誼，席德進晚年罹癌住院期間，收藏家更是細心照料的少數好友之一。去年秋拍時，席德進畫作造成的轟動足以證明其於藝術及市場上的價值，而今年的春拍之作再一次提供大家親近其人其風的機緣。

歐普藝術、普普藝術，甚至是硬邊藝術的探討，但最後仍在1969年停止，同時以寫實風格畫出《群牛》，有一種庫爾貝的精神，在此般主題下，畫

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The Art of Shiy De-jinn Shiy De-jinn once said, “” Shiy De-jinn mainly employs the use of darker tones as base for his paintings. Moreover, his knowledge of the nature of colors and its extension has reached the peak of allowing application interface by combining the advantages of ink paintings and homogeneity that water color paints hold thus reaching an even more satisfactory standard. Among these works, the main color schemes are usually either dark grey or dark blue and through his rumination of colors, it never fails to bring forth a clear breeze of homesickness. In Shiy De-jinn’s composition career, water color painting works once faded behind the scene for a period of time and it was not until the 60’s that his water color works gradually appeared. This period of stagnation was not in the least form a wastage but as mentioned previously, it was a period where he explored and digested the tricks of employing colors and once again reconciling with the touch of “wetness amongst wetness” found in water color painting. This is indeed a very huge contribution to the transition of Chinese painting towards the contemporary. Shiy De-jinn is particularly adamant about not self repeating and in the Oriental arts scene, this is an extremely Westernized idea. To be honest, the four years of living experience in Europe has indeed been playing a great factor in the continuity of lifestyle and direction in the artist's career and this is could be linked directly to the Western artistic spirit and modernism. Interestingly, this experience however led him to use native Taiwan as a theme for his compositions; whereas the period of stay in Europe saw him placing his focus on the skill and mastery of lines of which is evidently so in the period of composing sketches. And as the man who is unwilling to self repeat says, “” Being a down to earth man with a realistic attitude towards life Shiy De-jinn is indeed one who leaves

others in awe. His many pieces of works records the memorable times in Taiwan or we could also say that it recorded

at this same time that he noticed that a few of his classmates were engaged in reading genres of literature such as poetry

its “previously” beautiful times. Be it Oriental or Western, time has told us one thing, and it is “”. Shiy De-jinn is thus the best example of this.

and drama and soon, it began to pique his interest which led him to start exploring foreign literature of which his favorite is “Jean-Christophe”. As time flies, Shiy De-jinn gradually transformed from a common village child into a modern

Born to liberal family, Shiy De-jinn is very much loved by his parents. As his mother was only a hardworking housewife who received no education but was equipped with nimble hands and artistic talent, she was able to create

artistic youth.

pieces of embroidery which was like real life pieces of the natural surrounding and that of flowers and birds. As it was vibrant and has a life of its own, it was often well

respectful of his pupil’s character and upon observing the characteristics of his pupil, he taught them to continue to progress with a style that belongs to them

received by their neighbors, and in the

uniquely and as such, not one of his pupils

eyes of Shiy De-jinn, this has also spurred on the desire for him to pick up drawing. Upon graduation from high school, Shi self studied for around half a year and

possess the problem of having the same structure under one common teacher. As Shiy De-jinn himself said, “”

was finally admitted into Chengdu Arts College. As the things learnt were mainly

After declaring victory in the war in 1946, the school shifted back from Chongqing

application arts, thus this was not in line with what he had initially in mind of

to Hangzhou. Situated at the foot of the mountain near to the West Lake, the

pursuing fine arts. As his literary sketch teacher Pang Liu Chin began to introduce him to revolutionary Western artists

academy has groomed many outstanding artists among which are Chu Teh-chun, Wu Guanzhong and Zao Wou-ki. Besides

such as Matisse and Picasso, and as the gradual departure of his teacher from the school left him with much discontent, all these factors led him to quit school

the liberal school culture being one of the main factors, it is also because of the natural picturesque scenery in the West Lake where ancient poets fall in love with

together with a few schoolmate and together, they pursued after their teacher towards an education in National Arts Academy which has since shifted to Chongqing after being embroiled in the

be it Su Dong-po or Bai Juyi.

war. The atmosphere of the arts scene was both liberal and thick in National Arts Academy. Interaction among teacher and students was frequent and together with the same undying passion for their love of

portraits of head, busts, mid body and full body using steady and sure strokes for all lines and shapes without intermittence, hoping wholeheartedly that he will one day be as steady in his skills as his

the arts, they got along harmoniously. As the students often got together to organize art meetings and observed and learnt from each other, the mood for learning and pursuing excellence was prosperous. And

teacher. This sheer determination and hard work was awarded with well deserving results and it could be seen in his works that there are no traces of hesitation.

it was under such an environment that Shiy De-jinn started to build a foundation for his personal artistry and it was also

In 1948, Shiy De-jinn followed the 207 Youth Division to Taiwan. Upon arrival, he resided in Tainan and was

186

In 1945, Shiy De-jinn picked Lin Fengmian as his teacher in Western painting. Lin Fengmian was extremely

Under the influence of Lin Fengmian, Shiy De-jinn was often alone sketching the outlines of men and women, and

immediately captivated by the bright hues of red brought about by the flowers of Royal Poinciana which literally dyed the

themselves as they are not under the manipulation of the artist but of which stems from his honest respect for them.

entire Tainan as its spread over the entire place. The distinct scenery and simple, unaffected farms brought him to the realization that in his days as a student, he has never experienced everything between nature and the earth appropriately. It was

As we observe these themes, we will also find that we are the object of observation at the same time.

upon recommendation later by a classmate from the academy, Wu Xuerang that he later came to Chiayi High School to be appointed as an arts teacher. Together with his students, he thus painted coconut trees

to learn Chinese painting. As he was accustomed to using lines to present an object and not to calculate under lightings, when he arrived Taipei and saw the employment of dark and resolute

and sketched real life. These adorable students provided the young teacher with boundless inspiration and confidence and very often after a lesson, Shiy will step

lines and how it enhanced post 1957 works with lines which are more upright, Shiy De-jinn experienced that when he is drawing a water color, the use of lines

into the open country, the mountain and to

is extremely helpful towards the drawing

the beach, repeatedly admiring the things that touch him and when the mood arises, he will start to sketch and as time goes

technique. As such, his drawings invented a new style of its own.

past, he becomes increasingly familiar with the boundless elegant appearance and bearing of the scenes found in a

The nine pieces of works for this spring auction consists of six water colors and one wash drawing which is believed

coastal atmosphere which is distinctive of Taiwan.

to be a feast for the senses and the spirit of lovers of paintings, last one, a

Shiy De-jinn’s artistic style underwent many different periods from Op Art to

combination of sketch and calligraphy. This is also a passage to learn more about Shi who has made strenuous effort in

Pop Art and even through the probing of Hard edge art. It was only in 1969 when he drew "Ox" with a realistic painting style which greatly reflected Gustave

getting on with life. More intricately, the precious relationship held between both the artist and collector could be observed as the collector started to show deep

Coubert’s spirit that it stopped. Under such a theme, the painting does not need to worry about the culmination of east and west and most importantly, it does not need to be restricted by the fashion,

interest and research on the artist’s work since young. At a personal exhibition held in1974, the collector befriended the artist himself and from there, a truthful and deep friendship blossomed and in the later

totally imbued with a local flavor. Such a choice is definitely a result of experimenting with a range of different styles and as he continues to tour around remote and backward corners in Taiwan,

years when Shiy De-jinn was hospitalized due to cancer, the collector was one of the good friends who provided delicate care. In last year’s autumn auctions, Shiy De-jinn’s works created a stir that was

regardless of whether it is villagers who are tanned dark, ancient places tanned red or even an ancient urn being mottled under tanning, these will be the objects that he will continue to unearth so as

more than enough to prove its market and artistic value. The spring auction this year will once again provide everyone an opportunity to get up close with the person and his style.

Another issue worth mentioning which also happened in 1969 was that he started

to provide evidence of the existence of these things. These themes does indeed gain an opportunity for them to express

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Property from a Taiwanese private collection (Lots 076-082) 藝術家友人收藏專拍（Lots 076-082）

076

SHIY De-jinn (1923-1981)

Riverside of Tamshui 1980 Watercolor on paper 46 x 35 cm Signed lower right Shiy De-jinn in Chinese With one seal of the artist PROVENANCE: Acquired directly from the artist, 1980 ILLUSTRATED: The Cosmorama Pictorial, no. 291, 1980, coverpage

NT$ 160,000-180,000 US$ 4,900-5,500 HK$ 38,100-42,900

席德進淡水河邊 1980 水彩紙本 46 x 35 cm 簽名右下：席德進鈐印右下：席來源：現有收藏者1980年直接得自藝術家本人圖錄：《中外畫報》，第291期，1980，彩色圖版，封面

本拍品曾刊印於1980年9月《中外畫報》封面 Cover of The Cosmorama Pictorial, issue of September 1980

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Property from a Taiwanese private collection (Lots 076-082) 藝術家友人收藏專拍（Lots 076-082）

077

SHIY De-jinn (1923-1981)

Purple Flower Vine 1971 Watercolor on paper 110 x 37.5 cm Signed lower left Shiy De-jinn in Chinese and dated 1971 PROVENANCE: Acquired directly from the artist, 1980

NT$ 260,000-380,000 US$ 7,900-11,600 HK$ 61,900-90,500

席德進紫色花藤 1971 水彩紙本 110 x 37.5 cm 簽名左下：席德進 1971 來源：現有收藏者1980年直接得自藝術家本人

190

Property from a Taiwanese private collection (Lots 076-082) 藝術家友人收藏專拍（Lots 076-082）

078

SHIY De-jinn (1923-1981)

席德進 Seashore of California

加州海濱

1978 Watercolor on paper 56.5 x 76 cm Signed lower right Shiy De-jinn in

PROVENANCE: Acquired directly from the artist, 1980

1978 水彩紙本 56.5 x 76 cm 簽名右下：席德進 1978 簽名畫背：加州海濱 MONTEREY和

Chinese and dated 1978 Titled on the reverse Seashore of California in Chinese and between Monterey and Carmel in English

NT$ 220,000-320,000 US$ 6,700-9,800 HK$ 52,400-76,200

CARMEL之間

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來源：現有收藏者1980年直接得自藝術家本人

Property from a Taiwanese private collection (Lots 076-082) 藝術家友人收藏專拍（Lots 076-082）

079

SHIY De-jinn (1923-1981)

Drawing of Food Stand; Calligraphy of Sung Lyrics (A set of two) 1961 (Drawing); c. 1978 (Calligraphy) Charcoal on paper; Ink on paper 39 x 54 cm (Drawing) 137 x 36 cm (Calligraphy) Signed lower left Shiy De-jinn in Chinese Signed lower left Shiy De-jinn in Chinese and dated 1961 With one seal of the artist PROVENANCE (Drawing): Acquired directly from the artist, 1980

席德進《小吃攤》素描與《少年遊》書法（二件一組） 1961（素描）；約1978（書法）碳筆紙本；水墨紙本 39 x 54 cm（素描市集） 137 x 36 cm（書法）簽名左下：席德進

PROVENANCE (Calligraphy): Private collection, Taipei (acquired

簽名左下：席德進1961 鈐印左下：席氏書畫(書法)

directly from the artist) Acquired directly from the above by the present owner

來源（素描）：現有收藏者1980年直接得自藝術家本人

NT$ 130,000-200,000 US$ 4,000-6,100 HK$ 31,000-47,600

來源（書法）：私人收藏（直接得自藝術家本人）現有收藏者1985年直購自上述來源

192

Property from a Taiwanese private collection (Lots 076-082) 藝術家友人收藏專拍（Lots 076-082）

080

SHIY De-jinn (1923-1981)

Cozy Time 1973 Watercolor on paper 58 x 77 cm Signed lower left edge Shiy De-jinn in Chinese and dated 1973 PROVENANCE: Acquired directly from the artist, 1980 EXHIBIITED: Shiy De-jiun, Pai Chia Gallery, Taipei,

席德進悠閒時光 1973 水彩紙本 58 x 77 cm 簽名左側：席德進 1973 來源：

1986

現有收藏者1980年直接得自藝術家本人

NT$ 220,000-280,000 US$ 6,700-8,500 HK$ 52,400-66,700

展覽：「席德進」個展，百家畫廊，台北， 1986

193

Property from a Taiwanese private collection (Lots 076-082) 藝術家友人收藏專拍（Lots 076-082）

081

SHIY De-jinn (1923-1981)

Idyllic Early Spring (Puli) 1980 Watercolor on paper 56 x 75 cm Signed lower left Shiy De-jinn in Chinese and dated 1980 PROVENANCE: Acquired directly from the artist by the present owner, 1980

NT$ 220,000-320,000 US$ 6,700-9,800 HK$ 52,400-76,200

席德進田園早春（埔里） 1980 水彩紙本 56 x 75 cm 簽名左下：席德進 1980 來源：現有收藏者1980年直接得自藝術家本人

194

081

Property from a Taiwanese private collection (Lots 076-082) 藝術家友人收藏專拍（Lots 076-082）

082

SHIY De-jinn (1923-1981)

Tranquil Village 1976 Watercolor on paper 57 x 76 cm Signed lower left Shiy De-jinn in Chinese and dated 1976 PROVENANCE: Private collection, Taipei (acquired directly from the artist) Acquired directly from the above by the present owner

NT$ 220,000-320,000 US$ 6,700-9,800 HK$ 52,400-76,200

席德進寧靜之鄉 1976 水彩紙本 57 x 76 cm 簽名左下：席德進 1976 來源：私人收藏（直接得自藝術家本人）現有收藏者1985年直購自上述來源

196

082

083

JU Ming (b. 1938)

Taichi Bronze Left: 60 (L) x 48 (W) x 58 (H) cm Right: 65 (L) x 35 (W) x 31 (H) cm Signed Ju Ming in Chinese, numbered the artist proof (Left; Right) The sculpture is to be sold ith a certificate of authenticity issued by Asia Art Center, Taipei

NT$ 3,800,000-4,600,000 US$ 115,900-140,200 HK$ 904,800-1,095,200 朱銘太極系列－對招銅雕左：60 (長) x 48 (寬) x 58 (高) cm 右：65 (長) x 35 (寬) x 31 (高) cm 簽名：朱銘自（左；右）附亞洲藝術中心所開立之原作保証書

簽名雕刻（左） Signature inscribed (left)

簽名雕刻（右） Signature inscribed (right)

198

084

DING Fang (b. 1956)

Abstract Mixed media on canvas 50 x 61 cm

NT$ 130,000-180,000 US$ 4,000-5,500 HK$ 31,000-42,900

丁方抽象綜合媒材畫布 50 x 61 cm

200

085

HONG Ling (b. 1955)

洪凌 Snow over the River

江雪

1998 Oil on canvas

1998 油彩畫布 80 x 100 cm

80 x 100 cm Signed lower right Hong Ling in Chinese and dated 98 Autumn ILLUSTRATED: Conscious Landscapes Hong Ling’s Oil Painting 1990-2000, Anhui Art Publishing House, Hefei, 2000, color illustrates, p. 48

簽名右下：洪凌 98.秋. The painting is to be sold with a certificate of authenticity issued by Soka art Gallery, Tainan..

NT$ 850,000-950,000 US$ 25,900-29,000 HK$ 202,400-226,200

201

圖錄：《意象山水洪淩‧油畫作品（19902000）》，安徽美術出版社，合肥， 2000，彩色圖版，頁48 附索卡藝術中心開立之原作保證書

086

LI Shuguang (b. 1964)

Peach Blossom Tale 2005 Oil on canvas 150 x 120 cm Signed lower left Li Shuguang in Chinese and English, dated 2005.12.3

NT$ 260,000-360,000 US$ 7,900-11,000 HK$ 61,900-85,700

李曙光桃花源記 2005 油彩畫布 150 x 120 cm 簽名左下：李曙光 Li Shuguang 2005.12.3

202

087

JI Dachun (b. 1968)

Crumblings 2002 Mixed media on canvas 60 x 50 cm Signed upper center Dachun and dated year in Chinese

季大純碎片 2002

NT$ 600,000-700,000 US$ 18,300-21,300 HK$ 142,900-166,700

綜合媒材畫布 60 x 50 cm 簽名中上：大純年

203

088

ZHANG Hui (b. 1969)

Beijing Baby 2006 Oil on canvas 110 x 110 cm Signed lower right ZHH in English and dated 2006 Titled on the reverse Beijing Baby and signed Zhang Hui in Chinese, dated 2006

NT$ 130,000-180,000 US$ 4,000-5,500 HK$ 31,000-42,900

張慧北京娃娃 2006 油彩畫布 110 x 110 cm 簽名右下：ZHH 2006 簽名畫背：北京娃娃 06 張慧 2006

204

089

JI Dachun (b. 1968)

An Official Wearing Boots 2000 Mixed media on canvas 60 x 50 cm Signed upper center Dachun and dated 2000 in Chinese

NT$ 580,000-680,000 US$ 17,700-20,700 HK$ 138,100-161,900

季大純官靴 2000 綜合媒材畫布 60 x 50 cm 簽名中上：大純二千

205

090

TIAN Shixin (b. 1941)

Visit to Parents' Home 2006 Bronze, numbered 4/7 53(L) x 19(W) x 44(H) cm Signed Tian Shixin in Chinese and dated 2006, numbered 4/7

田世信回娘家 2006

NT$ 880,000-1,100,000 US$ 26,800-33,500 HK$ 209,500-261,900

銅雕 4/7 53 (長) x 19 (寬) x 44 (高) cm 簽名：7-4 田世信 2006

206

091

TIAN Shixin (b. 1941)

Singing 2006 Bronze, numbered 5/7 27 (L) x 20 (W) x76 (H) cm Signed Tian Shixin in Chinese and dated 2006, numbered 5/7

田世信歌唱

NT$ 460,000-600,000 US$ 14,000-18,300 HK$ 109,500-142,900

銅雕 5/7 27 (長) x 20 (寬) x 76 (高) cm 簽名：田世信 7-5 2006.4

092

JU Ming (b. 1938)

Taichi–Fly 1995 Bronze, numbered 8/10 33(L) x20(W) x 40(H) cm Signed Ju Ming in Chinese and dated ‘95, numbered 8/10 This sculpture is to be sold with a certificate signed by the artist.

NT$ 500,000-700,000 US$ 15,200-21,300 HK$ 119,000-166,700 朱銘太極系列－飛 1995 銅雕 8/10

1938年出生於苗栗通霄的朱銘，早年並未接受完善良好的美術教育，早早隨父親學習，進入木雕世界。三十歲時的朱銘放棄在大雕刻廠首席師傅的高薪，花八年時間離開苗栗向雕刻大師楊英風學藝術雕塑。因身體瘦弱而被楊英風建議修息太極養身。練太極拳，原本是為了強身，然而領悟力極強的朱銘，卻從中體會到許多思想與心靈上的奧妙。在以太極調養與修行這段期間，朱銘體會自然萬物、大氣運作的力道與蘊涵，內化為個人思想體系後，漸表諸於創作上。於是，氣勢磅礡的快意大作系列「太極」便在朱銘的領悟與體會下以藝術創作姿態成形於作品之上，以具體物質的抽象表現將中國文化傳統化為跨語言、跨國界的藝術創作。

33 (長) x 20 (寬) x 40 (高) cm 簽名：朱銘 8/10 '95

此件作品《飛》，將太極姿態中的輕巧靈動、瀟灑飄逸展露無遺，將其力道由下向上延伸至雙臂，不同於《單

附藝術家親筆簽名之原作保證書

鞭下勢》或《十字手》那樣沉穩持重，但也是另一種太極不同的風貌。 Born in 1938 in Tunghsiao, Miaoli County, Ju did not receive much of a formal education in the fine arts. In his early years, he learned the woodcarving craft from his father, but when he was 30

簽名雕刻 Signature inscribed

years old he decided to give up the wellpaid position as first master craftsman in a large woodcarving factory, left Miaoli and became a student with senior sculptor Yuyu Yang. He studied the art of sculpture under Yang for the next eight years, and during that period Yang, seeing that Ju was of a rather frail constitution, suggested he take up taijiquan to improve his health. Ju soon discovered that practicing the ancient ‘martial art’ did more than just make him stronger: it gave

208

作品背面 Backside

him much food for thought and opened up profound new vistas for his creative work. Ju gained firsthand experience of the awe-inspiring vital force that circulates through all living creatures, and as he gradually adopted this new philosophy and internalized its principles, he also started to express it in his art. This was the point of departure for his taichi series, a collection of works brimming with impressive momentum and a joyful spirit. In these pieces, Ju managed to sublimate the abstract essence of traditional Chinese culture and pour it into concrete manifestations that transcend language and geographical barriers. This lot, titled Fly, conveys the elegant and supple side of taichi through its unrestrained and buoyant style—we can appreciate how the energy gently rises from the lower parts of the body up into the arms. Fly may not have the steadiness and poise of Single Whip or Underarm Strike, but just like those works, it is a stunning expression of the spirit of taichi.

093

JU Ming (b. 1938)

Taichi Series - Underarm Strike

of “achieving oneness between man and nature” that I am aware of. Through our own body (i.e. our four limbs, internal

1995 Bronze, numbered 9/10 35(L) x 23(W) x 38(H) cm

organs, blood and breath) taichi allows us to directly experience and emulate the natural phenomena that make up our universe.’ Ju’s lifelong pursuit of taichi’s natural rhythm is manifest in

Signed Ju Ming in Chinese and dated ‘95, numbered 9/10

his sculptures. Having internalized the principles of this ancient sport through constant practice, he is able to merge taichi and art into straightforward, unadulterated representations of ‘man’s

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

NT$ 500,000-700,000 US$ 15,200-21,300 HK$ 119,000-166,700

作品背面 Backside

朱銘說到：「太極拳是古代中國人所創

朱銘太極系列－十字手 1995 銅雕 9/10 35 (長) x 23 (寬) x 38 (高) cm 簽名：朱銘 9/10 '95 附龍門畫廊開立之原作保證書

造的一種健身術，它是我所知道的一個『人與自然結合』的最好例子。首先，它是用人自己的身體(四肢、五官、血液、呼吸)來接觸和模仿宇宙中的自然現象。」朱銘追求自然的韻律，透過練習太極、雕刻太極，達成「人與自然結合」的完美表現。這項新的創作主題，也使他攀上創作的巔峰。十字手，昂然鼎力於天地之間，彷彿是

簽名雕刻 Signature inscribed

一座山。剛毅中又流露出平和的氣韻，不疾不徐，沉穩持重。如此簡單的造型，卻散發出澎湃懾人的威力，神氣如生，彷彿隨時可以展開一場對話。朱銘在學藝的過程中，不斷將繁瑣的細節拋開，將精確的技法遺忘，讓心手合一，透過刀斧，將自己的生命精華貫穿於作品中。造型簡單的十字手之所以感人，正是一種生命的感動。朱銘雖然雕刻過多件《十字手》，名稱上雖然相同，但其神態、氣勢不同，各有千秋，如同不同的人練太極同一招式，會有不太一樣的氣味，因此，當朱銘在雕塑每一件太極時，也賦予它們獨特的生命力。 Ju Ming says, ‘ Taichi is a method, invented by the ancient Chinese, of maintaining your health through regular soft exercise. It is also the best example

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union with nature’. In his taichithemed works Ju reaches the peak of his creativity. The Underarm Strike posture implies a firm stance and mountain-like poise, but this steadiness does not come at the cost of flexibility as one maintains a free flow of rhythmic breathing, calm and perfectly timed. A tremendous power emanates from this intriguingly lifelike piece, as if it would start to move any second. This is the result of a long learning process that has taught Ju to get rid of all superfluous details and focus on the very essentials. Only when hand and mind become one can the knife pour the artist’s own life force into the sculpture, suffusing it with a vitality that is not impeded but enhanced by the sheer simplicity of the form. It is the shocking realization that one is looking straight into the artist’s soul that moves viewers of Ju’s taichi series. Ju Ming has carved many sculptures titled Underarm Strike, yet in spite of the identical title all these pieces differ in terms of expression and momentum. Each has its own unique character, just as the same taichi move will exude a different flavour when practised by different adepts. Each of Ju’s Underarm Strike sculptures is endowed with a distinct quality that reflects the artist’s frame of mind during its making.

094

HUANG Gang (b. 1961)

Sutra from Snow Land 2006 Mixed media on board 122 x 200 cm Signed lower right Huang Gang in Chinese and English, dated 2006

NT$ 460,000-680,000 US$ 14,000-20,700 HK$ 109,500-161,900

黃鋼雪域佛經 2006 綜合媒材木板 122 x 200 cm 簽名右下：Huang Gang 黃鋼 2006

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095

SHEN Xiaotong (b. 1968)

沈小彤的映射是他自己的內心世界，一如他沉寂多年的邊緣生活，總與外

2005. No. 12

界保持適當的距離，跨過曾經浮躁的青春，同時暗暗積累蓄增力量。

2005 Oil on canvas 110 x 150 cm

沈小彤以平視的角度介入生活，用普通身份介入繪畫，以平視而淡然的目光去表現自己和別人。畫中人物突

Titled on the reverse 2005 No. 12 in English, signed XIAOTONG SHEN in Chinese and English, oil on canvas and 110 x 150 cm, dated 2005 Chengdu

兀地顯現在畫面的醒目位置，背景平塗而單純，失卻了場景的圖像敘述成分，淡化了其身份和職業的印記，處於漠然朦朧的狀態之中，而相應得以

ILLUSTRATED: Shen Xiaotong, Images Temptation, Soobin Art Gallery, Singapore; Red Grey Art Contemporary, Chengdu, 2005, color

強化的是人物符號式的體態和色彩，由此形成一種觀賞心理上錯位的真實。沈小彤體驗當代藝術的實驗性，依託在較為穩健的形態之中，他沒有徹底斷絕和脫離架上藝術所賦予的基

illustrated, No. 23, pp. 44-45, p. 53

NT$ 550,000-650,000 US$ 16,800-19,800 HK$ 131,000-154,800 沈小彤 2005. No. 12 2005 油彩畫布 110 x 150 cm 簽名畫背：2005. No. 12 oil on canvas 110 x 150 c m 沈小彤 X I A O T O N G SHEN 2005 成都圖錄：沈小彤，《映像誘惑》，斯民藝苑，新加坡；紅與灰藝術當代，成都， 2005，彩色圖版，編號23，頁44-45，頁53

在眾多中國當代藝術家群裡，沈小彤筆下的人物肖像作品，多了幾分乃人耐人尋味的寧靜與平和。沈小彤 1968年生於四川省成都市，畢業於四川美術學院版畫系。獨特的視覺形式以及秉性裡孕含深刻的精神意義使他的藝術受到廣泛的關注。沈小彤作品的特點是借助於動態的圖像—DV去創作。繪畫作品中的人物都有一張極平靜、甚至木訥的臉。色彩的淡雅與平實以及被刻意突出的黑色眼珠，標誌性地表現出泛藍與淺黃的色調對比關係。他的構圖彷若變焦的鏡頭捕捉，打破三維空間的形式，顯得突兀卻又平衡與和諧。

礎和修養，並不以裝置、行為和影像等手段去展現某種激進前衛的效果，而是立足非常實在的架上繪畫的視覺經驗裡，置換傳統寫實手法的元素，以心理真實替代表像實際，以生活的獨特感覺替代生活的日常經驗，構成屬於自己的獨特藝術表達方式。 Among a host of contemporary Chinese artists, Shen Xiaotong stands out as someone whose figural paintings and portraits exude a particularly appealing peacefulness and tranquility. After graduating from the Art Print Department at Sichuan Fine Arts College, Shen (born 1968 in Chengdu, Sichuan Province) soon established himself as a much-touted and highly original master of terse but profound visual images. His works look deceptively simple, especially when you consider that he produces them with the help of digital video techniques. Usually we see quietly elegant or even plain and utterly mundane faces with intentionally accentuated black eyeballs. In 2005 No. 12, contrasting shades of soft blue and pastelish yellow cover the entire surface of the canvas, while each face seems to be at the centre of its own focal point, giving the whole composition a subtly surreal and hyperdimensional appearance, striking yet balanced and harmonious. What is reflected in Shen’s rather stark d e p i c t i o n s i s o f c o u r s e t h e a r t i s t ’s

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inner world. In these figures and their seemingly apathetic faces we can catch a glimpse of Shen’s long years at the fringe of art circles and society. We learn a little bit about an individual always eager to maintain a certain distance between himself and his environment, and someone who made good use of long years of silence to mature from an impetuous youngster to an accomplished painter with amazing creative powers. Despite his somewhat detached perspective, Shen’s eye-level views of his subjects aptly mirror the fact that he considers himself very much a part of the everyday world, on the same level as the figures he dispassionately puts onto canvas. As in most of his works, in 2005 No.12 the monochromatic background further sets off the dominant position of the human figures, but on the whole the painting’s structure is quite static, which jibes perfectly with Shen’s intention to focus on his subjects’ appearance per se, people stripped almost completely of outward signs of status or profession and suspended in a state of calculated vagueness. At the same time, this approach allows the artist to put unusual emphasis on the figures’ symbolic poses and colouring, and the overall result is a sense of dislocation providing audiences with a now outlook on reality. Shen’s interesting take on modern art’s experimentalist side is to stay true to traditional canvas painting in all its formal aspects, including a solid training and well-honed skills. Instead of severing all ties to conventional techniques, or relying on installation, behavioural or multimedia art forms to generate ‘radical’ or ‘avantg a r d e ’ a r t i s t i c e ff e c t s , h e e m p l o y s the visual language of canvas art but juxtaposes its realistic elements to create unique imageries. What matters in these pictures is not superficial representation, but genuine emotional depth, not the routine of daily life, but the exceptional moments of poignant significance we experience now and then.

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096

ZHANG Linhai (b. 1963)

Paradise Series - Fly, No. 19 2003-2005 Oil on canvas 130 x 150 cm Signed lower right L.H. in English and Linhai in Chinese, dated 2003.5 Titled on the reverse Paradise Series Fly, No. 19 in Chinese, signed Zhang lin hai in Chinese and English, dated 2003.62005 ILLUSTRATED: Zhang Lin Hai, Schoeni Art Gallery Ltd., Hong Kong, color illustrated, p.155

NT$ 1,200,000-2,000,000 US$ 36,600-61,000 HK$ 285,700-476,200 張林海天堂系列－飛之十九 2003-2005 油彩畫布 130 x 150 cm 簽名右下：2003. 5 L.H. 林海畫背：＜飛＞之十九 2003.6-2005 張林海 Zhang lin hai 圖錄：《張林海》，少勵畫廊，香港，彩色圖版，頁155

張林海的創作是以一個遠離都市生活的北方偏僻村落作為表現空間，以一系列複數性的光頭或赤裸或著衣兒童形象而呈現的。他繪畫中的人物形態怪誕、眼光驚悸，似乎在宿命般的飄浮狀態中錯愕而困惑地尋覓著什麼。生動的展示了中國北部鄉村孩子在特殊歷史境遇中異常繁複的內心體驗和生命景觀，演繹了他們在成長過程中，不斷被異化的人生夢想，再現了他們對抗現實苦難的品質和勇氣，並把特殊的歷史情境用過去兒時的記憶來反襯自身的處境。他的作品帶有悲傷、恐懼、需要逃生，大惑不解，更令人不安等強烈的情緒感，重複的形象、平整的畫面、帶有超現實主義的風格，荒謬的形式顯示了存在的本質，這使得圖像的魅力既虛泛又殘酷，既荒謬不經又直指現實，既無序又緊張。當沉潛於每一幅看似荒謬的場景內部，沉浸於每一幅類似於惡意的目光之中，又可以非常鮮活的感受到人性的乖張，生存的悖謬，以及語境中洋溢出來的創作主體對歷史、對現實的質疑態度。

in a floating state of destiny. His works vividly demonstrate the complex inner experiences and the life perspective of the children growing up in the northern Chinese country under a unique historical circumstance. The paintings describe their process of growing in which their life dreams are constantly twisted. Through the paintings, these children’s quality and bravery when confronting the rough reality is reproduced. Zhang presents such unique historical circumstance with his childhood memories to reflect his own situation. Zhang’s work is full of sorrow, fear, confusion, and strongly emotional instability which makes people want to run away. Repetitive images, flat pictures, surrealist style and absurd forms are used to display the essence of existence which makes visual attraction become vain and cruel, glossily absurd yet realistic. They are chaotic and fully of tensions. When looking at each absurd scene and immersing themselves in each painting’s seemingly-malicious eye contact, viewers

張林海始終讓畫面的樣式與語言方式徘徊在特定的歷史秩序和意識形態的觀念裡，比如作為畫面背景的紅旗、紅色的高粱、紅色的服飾、廢墟般的房屋、標誌性建築物等等。但是，無

can vividly sense the recalcitrance of human nature, the preposterousness of existence, and the artist’s attitude questioning the history and the reality.

論是這些畸形的複數性排列的人物，還是高粱、紅旗、房屋等形象符號，都像土地中最為卑賤的植物，帶有與生俱有的頑強、執著和敏感，艱難的穿行於歷史的重重陰影之中。他們都

Zhang always lets his visual style and linguistic approach linger around in a specific historical order and ideological viewpoint. Examples would be the red flags, red sorghums, red clothes, ruined

是一群卑微的生命，卻處處閃爍著精靈般的人性光澤，挑動著苦澀的人生理想。

houses, landmark buildings, etc. in the background. However, for they are the deformed human figures of plural arrangement, or the sorghums, red flags, houses and other symbolic signs, they

Z h a n g ’s a r t w o r k s t a k e t h e r e m o t e northern village as the spectrum and a series of multiple bareheaded, naked or clothed children images as the subjects. The human figures of his paintings have peculiar shapes and fearful eye expressions which are astonishingly and confusingly searching for something

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are like the lowest creatures in the soil, walking through layers of shadows in the history with strength, persistence, and sensitivity. They are a group of humble lives but glittering with the angelic human nature with the bitterness of life dreams on their shoulders.

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097

YIN Zhaoyang

尹朝陽，1970年生於河南；畢業於中

Sisters

央美術學院版畫系。被譽為70年代藝術家中最具標誌性的人物之一，是「青春殘酷繪畫」的代表人物。其繪畫在敘事性、圖像概念以及美學趣味上，具有不同以往的實驗性和思想深

(b. 1970)

2002 Oil on canvas 150 x 200 cm Signed lower right Zhaoyang in Chinese

度，並構成90年代前衛繪畫的一個重要傾向。他的繪畫在中國90年代末期的寫實主義繪畫中具有重要的位置。

and dated 2002. 8 尹朝陽對人物的寫實描繪不僅是20世

NT$ 2,800,000-3,500,000 US$ 85,400-106,700 HK$ 666,700-833,300

尹朝陽姊妹兒 2002 油彩畫布 150 x 200 cm 簽名右下：朝陽2002年8月

紀70年代後繪畫一代中的佼佼者，甚至在人性的複雜性以及體現這種自我深層的揭示和呈現方面上，在上一代畫家中也不多見。

the most symbolic artist of the ‘70s, and is a representative of "the young and cruel painting". His paintings focus on narration, image concepts and aesthetic tastes, his groundbreaking experiments and thinking profundities influenced many avant-garde paintings of the ‘90s. His paintings held an important position in the late ‘90s realisit paintings of China. Yin is one of the best painters of the ‘70s, and good at realizing people on canvas; he’s also good at presenting the complexity of human nature and revealing his inner self, which is also uncommon among earlier generations.

尹朝陽以銳利的筆鋒將年輕人的熱情、激昂、衝突、掙扎、困惑、感傷，甚至是一絲絲的疼痛表達得淋漓盡致；他把人的內在意向，潛伏著的某種預感、徵兆，用特定的儀式化的樣式與場景表現出來，在沉靜中又蘊含著某種危機或者是某種噴薄欲出而又不確定的新力量，用光線、陽光、彩虹、燈光、暖冷明暗、體態以及神情，真實的記錄了一代人的成長，一代人的心靈歷程，這正是他的畫作具有震撼力的原因。尹朝陽把繪畫的表達置於一種人性反

He used his sharp brush strokes to brilliantly demonstrate youth’s passion, spirit, confrontation, struggle, confusion, sadness, or even a little sense of pain. He used ceremonial styles and scenes to present human’s inner thoughts, premonitions and signs. Some kind of danger lies inside the picture but there are also some uncertain forces and strengths within, he used the lights, sunshine, rainbows, temperature, shades, forms and looks to note down the growth of people from a generation, either physically or

省的重要位置，並且對於時代性的青春境遇進行了感性化的概括。這種境遇通過一種戲劇性的視覺和敘事的張

emotionally, and that’s why his paintings are so stunning.

力，表現了這一代人在後意識形態時期所處的人性困境和自我矛盾性。他

Yin placed paintings as one’s key point of introspection, sensitively summarized the

繪畫開啟了70年代出生一代人青春感傷的抒情主題。 Yin Zhaoyang was born in Henan in 1970, graduated from the engraving

life of youths at a time. These situations come through dramatic visions and narrative tensions, presented the human dilemma and self-contradiction in the postconscious period in this era. His paintings

department of China Central Academy of Fine Arts. He was praised as one of

opened a door for people who were born in the 70’s and their sadness.

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098

沈小彤

SHEN Xiaotong

肖像. 2005. No. 2

(b. 1968)

2005

Portrait 2005. No. 2

ILLUSTRATED: Shen Xiaotong, Images Temptation,

2005 Oil on canvas 120 x 80 cm Titled on the reverse Portrait 2005 No. 2

Soobin Art Gallery, Singapore; Red Grey Art Contemporary, Chengdu, 2005, color

in Chinese, signed XIAOTONG SHEN in Chinese and English, oil on canvas and 120 x 80 cm, dated 2005 Chengdu

NT$ 420,000-520,000 US$ 12,800-15,900 HK$ 100,000-123,800

油彩畫布 120 x 80 cm 簽名畫背：肖像. 2005. N o. 2 o i l o n canvas 120 x 80 cm 沈小彤 XIAOTONG SHEN 2005 成都

illustrated, No. 9, p. 23; p. 52

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圖錄：沈小彤，《映像誘惑》，斯民藝苑，新加坡；紅與灰藝術當代，成都， 2005，彩色圖版，編號9，頁23，頁52

099

SHEN Xiaotong (b. 1968)

2006. No. 21 2006 Oil on canvas 150 x 80 cm Titled on the reverse 2006 No. 21 in English, signed XIAOTONG SHEN in Chinese and English, oil on canvas and 150 x 80 cm, dated 2006 Chengdu

沈小彤

NT$ 550,000-650,000 US$ 16,800-19,800 HK$ 131,000-154,800

簽名畫背：2006. No. 21 oil on canvas 150 x 80 cm 沈小彤 XIAOTONG SHEN 2006 成都

2006. No. 21 2006 油彩畫布 150 x 80 cm

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100

Bob YAN

(YAN Bo, b. 1970)

Night Willow Herb 2004 Oil on canvas 190 x 240 cm Signed lower right YAN in English and dated 2004

NT$ 2,200,000-3,200,000 US$ 67,100-97,600 HK$ 523,800-761,900

閻博夜來香 2004 油彩畫布 190 x 240 cm 簽名右下：YAN 2004

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YANG Din (b. 1958)

Dans les bois (triptch) 1990 Oil on canvas 200 x 45 cm (x3) Signed lower right Yang and dated 90 (x3) Signed on the reverse Yang Din and dated 1990 VII (x3) ILLUSTRATED: Yang Din, Kwai Fung Hin Art Gallery, Hong Kong, 2002, color illustrated, pp. 34-35

NT$ 650,000-780,000 US$ 19,800-23,800 HK$ 154,800-185,700

楊登雄林間 1.2.3（三連作） 1990 油彩畫布 200 x 45 cm (x3) 簽名右下：Yang 90 (x3) 簽名畫背：Yang Din 1990 Ⅶ( x3) 圖錄：《楊登雄》，季豐軒畫廊，香港， 2002，彩色圖版，頁34-35

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TANG Zhigang

唐志剛是中國當代藝術領域的代表人物之一，他的藝術和他的人一樣，帶有一股頑強而倔強的生命力。他將嚴

yourself from laughing out aloud even as

Threshing Floor in Guishan

肅和幽默把握到結冰與解凍的界。是熱而不化，是冷而不凝；他的畫面會讓你忍不住笑；他的主題又會將你的笑容釋在內心。

Threshing Floor in Guishan is a direct observation of Man and Nature, ethics and ecology. It enriches the reality of

《圭山打穀場》是人與自然，倫理生

conscious scenes. In his painting he pursues something that is natural and original, demonstrating the artist’s open

(b. 1959)

2006 Oil on canvas 60 x 73 cm Signed lower right Tang in English and dated 06 Titled on the reverse Threshing Floor in Guishan and signed Tang Zhigang in Chinese, dated 2006 and size 73 x 60 cm ILLUSTRATED: Approach to Guishan, SooBin Art Gallery, Singapore; Red & Grey Art Contemporary Chengdu, 2006, color illustrated, p. 85

NT$ 900,000-1,100,000 US$ 27,400-33,500 HK$ 214,300-261,900

唐志剛圭山打穀場 2006 油彩畫布 60 x 73 cm 簽名右下：Tang 06 簽名畫背：73 x 60 cm 2006年《圭山打谷場》唐志剛圖錄：《回到圭山》，斯民藝苑，新加坡，中國紅與灰藝術當代藝術，成都，

態的直接關注，豐富了現實生活，畫面具有強烈圖式感，表現了唐志剛對無意識情境的最平常的關愛。繪畫追求的是一種原生的、自然的東西，表現出了藝術家曠達的人生態度。《圭山打穀場》以獨特的視覺取向，平近了生活本色，現實主義與現代藝術情感被相融相生的轉化，由此作品通過典型的個人藝術樣式，從不同的角度，隱喻了現實生活模式與文化模式，構成更為寬廣、相容和人性的透視。作品藝術語言輕鬆通俗，描繪生活中常見的打穀場片斷，借用通俗、大眾、流行甚至平面化的藝術表現方式，在主旋律之下，把打穀場細微的生活音符描述得妙趣橫生。有感而發的及時及物與繪畫語言輕鬆自如的體現，使作品的形態更加精神化，它代表了本土的生存狀態和當下的歷史情境，從而突顯了藝術的當代性。唐志剛新近追尋在叢林密佈的情境中，描繪藍天赤土的西南邊城，用角色的景換和圖像的粗野使體表安頓，試圖在本土化和全球化之間尋求一種對話和超越。

the subject makes you smile on the inside.

life and has a strong graphical quality that expresses Tang’s preference for non-

approach to life. The unique visual aspects of Threshing Floor in Guishan makes the essence of life more accessible with Realism and Modernism’s emotions fusing and developing together. In this manner this work is translated through a classic individual artistic framework to become a parable for life in reality and in culture from a cultural perspective to construct a more embracing insight into human nature. The vocabulary used in this artwork is simple and accessible. It captures a moment from the threshing ground then uses popular, fashionable and even planar methods of artistic expression to bring the scene to life. Through an unforced presentation of the inspirations drawn from the scene, the work takes on a more spiritual meaning. It represents the lifestyle of the local people and their surroundings at the time, highlighting the contemporary nature of art.

Ta n g Z h i g a n g i s o n e o f t h e m o s t

Tang’s painting looks at a border town in the southwest between the blue skies and

representative artists of contemporary Chinese art. Like the artist himself, his art has a stubborn and unyielding vitality. Through seriousness and humor he achieves a delicate balance between the

red earth deep in the jungle. Through the characters’ settings and the boldness of the images he creates an overall impression of calm. Through this painting, he seeks to establish a conversation between

frozen and the thawed. This balance in his imagery has the effect of making you stop

localization and globalization while at the same time attempting to rise above it.

2006，彩色圖版，頁85

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CAO Jingping (b. 1972)

Gone With Yellow Butterfly 2006 Acrylic on canvas 162 x 112 cm Signed on the reverse Cao Jingping in Chinese and English, title Gone with yellow butterfly in Chinese and English, media Acrylic and size 162 x 112 cm, dated 2006

NT$ 320,000-400,000 US$ 9,800-12,200 HK$ 76,200-95,200

曹靜萍飄‧黃蝴蝶 2006 壓克力畫布 162 x 112 cm 簽名畫背：曹靜萍 Cao Jingping 飄‧黃蝴蝶 Gone with yellow butterfly Acrylic 162 x 112 cm 2006

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尹俊

YIN Jun

暢快之泣－03

(b. 1974)

2006 油彩畫布 120 x 100 cm

Delightful Crying-03

簽名右下：尹俊 Yin Jun 2006. 5 2006 Oil on canvas

展覽：

English, dated 2006.5

ILLUSTRATED: Art Field, Art Field Publishing House, Anhui, September 2006, p. 52

「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

EXHIBITED: An Alternative Artist - Yin Jun, 9 Art Space, Beijing, Oct. 14-Nov. 14, 2006

NT$ 200,000-280,000 US$ 6,100-8,500 HK$ 47,600-66,700

圖錄：

120 x 100 cm Signed lower right Yin Jun in Chinese and

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《藝術界》，藝術界雜誌社，安徽， 2006年9月刊，頁52

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YIN Kun (b. 1969)

Hero Series - Lu Xun 2006 Oil on canvas 120 x 100 cm Signed lower right Yin Kun in Chinese and dated 2006.4

NT$ 240,000-360,000 US$ 7,300-11,000 HK$ 57,100-85,700

尹坤英雄系列－魯迅 2006 油彩畫布 120 x 100 cm 簽名右下：尹堃 2006. 4

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CHU Chen-yung (b. 1968)

Chinese Dolls Series - Wealth and Longevity 2005 Ceramics 38 (L) x 30 (W) x 48 (H) cm Signed Chu in Chinese EXHIBITED: 2006 An Invitational Exhibition of Ceramic Art from Taiwan, National Museum of History, Taipei, October 3 – November 19, 2006 ILLUSTRATED: 2006 An Invitational Exhibition of Ceramic Art from Taiwan, National Museum of History, Taipei, 2006, color illustrated, p. 116

NT$ 320,000-380,000 US$ 9,800-11,600 HK$ 76,200-90,500

初陳勇中國娃娃系列－富貴長命 2005 陶瓷 38 (長) x 30 (寬) x 48 (高) cm 簽名：初展覽：「2006中華民國全國現代陶藝邀請展」，國立歷史博物館，台北，展期自2006年10月3日至2006年11月19日圖錄：《2006中華民國全國現代陶藝邀請展》，國立歷史博物館，台北， 2006，彩色圖版，頁116

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吊詭的文明現象，以及東方文化中，禁固的性別差異，是現代中國社會現象的一環。本拍品《中國娃娃系列–長命富貴》運用象徵「吉祥」的金飾與衣飾上的紋樣圖騰，強調現今社會父

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—Wealth

母，終其一生的辛勞，最簡單的目的，是想將最好的一切賦予下一代。

and Longevity", using the patterns and the gold ornament symbolizing an auspicious fortune, emphasizes that the lifelong toil

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

of the modern parents is simply their wishes of giving the best to their next generations.

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」，實為難得一見。更突顯創作者對於自身的

A more amazing thing is that the creator uses “throwing technique,” a technique seeming simple yet requiring years of

When the traditional impression and

practice as well as the accumulation of experience to shape the material at will 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.

要求和成長的原創性。

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LIU Kun (b. 1968)

Red Flag; Red Flower 2006 Fiber glass and iron, numbered 7/8 ; 5/8 59 (L) x 29 (W) x 63 (H) cm (Standing) 15 (L) x 17 (W) x 47 (H) cm (Sitting) Signed LIU KUN in English and dated 2006, numbered 7/8 (Standing) Signed LIU KUN in English and dated 2006, numbered 5/8 (Sitting)

NT$ 140,000-240,000 US$ 4,300-7,300 HK$ 33,300-57,100

劉錕紅旗；紅花 2006 玻璃纖維鐵 7/8；5/8 59 (長) x 29 (寬) x 63 (高) cm (站立者) 15 (長) x 17 (寬) x 47 (高) cm (坐姿者) 簽名：LIU KUN 2006.8 7/8 (站立者) 簽名：LIU KUN 2006.8 5/8 (坐姿者)）

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HUANG Gang (b. 1961)

Star 2007 Mixed media on board 160 x 142 cm Signed lower right Huang Gang in Chinese and English, dated 2007

NT$ 320,000-480,000 US$ 9,800-14,600 HK$ 76,200-114,300

黃鋼星星 2007 綜合媒材木板 160 x 142 cm 簽名右下：Huang Gang 黃鋼 2007

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XIANG Jing (b. 1968)

Total Blackness 2005 Fiber glass, painted, numbered 2/6 59 (L) x 70.5 (W) x 170 (H) cm Signed Xiang Jing in Chinese, dated 2005 and numbered 6-2 This sculpture is to be sold with a certificate signed by the artist. EXHIBITED:

「你的身體－向京作品2000-2005」，上海美術館，上海，2006年2月9日至

向京全黑

19日

2005 玻璃纖維著色 2/6 59 (長) x 70.5 (寬) x 170 (高) cm 簽名：向京 2005 6-2

圖錄：《保持沈默－向京作品2003-2005》，文匯出版社，上海，2005，彩色圖

附藝術家親筆簽名之原作保證書

版，頁114-115 《向京》，上海書店出版社，上海，

展覽：「保持沈默－向京作品2003-2005個展」，季節畫廊，北京，2005年9月17 日至10月16日

Keeping Silent, Xiang Jing 2003-2005, Seasons Gallery, Beijing, September 17 October 16, 2005 Yo u r B o d y, Xia n g J i n g 2 0 0 0 - 2 0 0 5, Shanghai Art Museum, Shanghai, February 9-19, 2006 ILLUSTRATED: Keeping Silent, Xiang Jing 2003-2005, Gallery, Shanghai, 2005, color illustrated, pp. 114-115 Xiang Jing, Shanghai Bookstore Publishing House, Shanghai, 2006, color illustrated, pp. 38-39

NT$ 1,200,000-1,800,000 US$ 36,600-54,900 HK$ 285,700-428,600

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2006，彩色圖版，頁38-39

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QU Guangci (b. 1969)

Stand at the Knoll Fiber glass, painted, numbered 1/6 108 (L) x 63 (W) x 153 (H) cm 2006 Signed at the reverse of pedestal, under girl's left foot Qu Guangci in Chinese and dated Autumn 2006, numbered 6-1

瞿廣慈站在高崗上

This sculpture is to be sold with a certificate signed by the artist. EXHIBITED: Last Supper, Aura Gallery, Hong Kong, Mar. - Apr., 2006

2006 玻璃纖維著色 1/6 108 (長) x 63 (寬) x 153 (高) cm 簽名：廣慈 2006 秋 6-1 附藝術家親筆簽名之原作保證書

ILLUSTRATED: Revolutionary Romanticism - Guangci, Qu Guangci, Shanghai, 2006

2007年3-4月

NT$ 1,200,000-1,800,000 US$ 36,600-54,900 HK$ 285,700-428,600

圖錄：《革命的浪漫主義－廣慈 Guangci》，瞿廣慈，上海，2006

展覽：「最後的晚餐」，亦安畫廊，香港，

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CAO Hui (b. 1968)

Pure Wool Mark 2006 Fiber glass, wool, mixed media, numbered 2/6 Left: 70 (L) x 40 (W) x 185 (H) cm Right: 50 (L) x 40(W) x 180 (H) cm Signed on the base Caohui in Chinese and English, dated 2006 and numbered 6-2 EXHIBITED: Art in Beijing, Beijing Agricultural Hall, Beijing, October, 2006 Double-Kick Cracker, An Exhibition of Chinese Contemporary Art, Tang Contemporary Art, Beijing, November, 2006

NT$ 1,200,000-1,800,000 US$ 36,600-54,900 HK$ 285,700-428,600

曹暉純羊毛標誌 2006 玻璃纖維著色羊毛等綜合媒材 2/6 左：70 (長) x 40 (寬) x 185 (高) cm 右：50 (長) x 40 (寬) x 180 (高) cm 簽名底座：曹暉 Caohui 2006 6-2 展覽：「藝術北京」，北京農展館，北京，展期2006年10月「二踢腳－中國當代藝術展」，北京唐人畫廊，北京，展期2006年11月

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HUNG Tung-lu (b. 1968)

Rebirth 2002 Laser print, lenticular & light box This work is number 7 from an edition of 8. 160(L) x 120(W) cm (image) 176(L) x 137(W) x 20(D) cm (light box) EXHIBITED: Nirvana: Solo Exhibition by Tung-Lu Hung, Taipei Fine Arts Museum, Taipei, August 17 - October 2, 2002 A Strange Heaven: Contemporary Chinese Photography, Galerie Rudolfinum, Prague, Czech Republin, September 4 November 29, 2003; KunstHaus Wien

洪東祿誕生 2002 半透明片壓克力燈箱；7/8 160 (長) x 120 (寬) cm (畫面) 176 (長) x 137 (寬) x 20 (深) cm (燈箱) 展覽：「洪東祿個展：涅盤」，台北市立美

Weissgerberstrasse, Viennese, Austria The Era of Contention: Contemporary Taiwanese Visual Culture, Johnson Museum of Art, Cornell University, U.S.A,

術館，台北，展期自2002年8月17日至 10月6日「幻影天堂—華人當代攝影」，魯道

April 8 - August 15, 2004

夫美術館，布拉格，捷克，展期自

Shanghai Biennale 2004: Techniques of the Visible, Shanghai Art Museum, September 29 - November 28, 2004

2003年9月4日至11月29日；維也納藝術館，奧地利「正言世代：台灣當代視覺文化」，強生美術館，康乃爾大學，美國，展期自2004年4月8日至8月15日

Taipei / Taipei: Views and Points, Taipei Fine Arts Museum, Taipei, August 19 October 15, 2006 ILLUSTRATED: A Strange Heaven: Contemporary Chinese Photography, Galerie Rudolfinum,

「2004上海雙年展：影像生存」，上海美術館，上海，展期自2004年9月29 日至11月28日「台北二三」，台北市立美術館，台北，展期自2006年8月19日至10月15日

Prague, 2003, color illustrated, p. 71

NT$ 600,000-800,000 US$ 18,300-24,400 HK$ 142,900-190,500

圖錄：《幻影天堂—華人當代攝影》，魯道夫美術館與那瓦哈畫廊，布拉格， 2003，彩色圖版，頁71

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洪東祿為台灣具有國際視野的前衛藝術家之一，先後就讀於中國文化大學

神的狀態。2000年洪東祿發現兒時記憶裡的三Ｄ光柵片，宛如電音流轉、

美術系、國立台南藝術學院造型藝術研究所，目前長期旅居上海創作及

影音聲光的世界。而結合三D光柵片及燈箱裝置，就成為洪東祿個人標幟的

生活。他的作品多次參加國際當代藝術大展，如1999年第48屆威尼斯雙年展、2000年法國阿爾國際攝影節、

創作媒材。2002年他創造了一個與藝術家同名，無性別、無年齡、無國籍意識的異形娃娃「小紅」，誕生在冰冷的電子樂音和人工色彩的空間裡，

2000年台北雙年展、2001年西班牙拱之大展、2004上海雙年展等。雖然洪東祿的年紀其實不屬於E世代，但經常自許為新新人類，長期觀察年輕世代的消費行為及享樂價值觀，為當代文化現象發聲。他挪用1980年代盛行於台灣的次文化卡漫人物如美少女戰士、春麗、新世紀福音戰士等圖象，利用電腦數位、廣告燈箱的裝置，呈現古典場景與宗教聖光前的虛擬新偶像，諷刺新世代拜物與迷幻出

作，就開啟了該公司與藝術合作的先河。之後，ABSOLUT陸續與奇斯．哈林、肯尼．沙佛等普普藝術家合作。洪東祿是第一位與ABSOLUT VODKA 合作的亞洲藝術家。ABSOLUT和藝術家的合作，曾在全球各大博物館舉辦「絕對表現」巡迴展。2004年，洪東

恍惚迷離的情境引人進入膠囊涅槃的幻象中。

祿的《誕生》在「絕對表現在台北」中現身，巡迴展之後，作品將永久典藏於巴黎的ABSOLUT收藏館。

本次拍品《誕生》即是以「小紅」為主角，一個誕生在試管膠囊的空間中

Hung Tung-lu is one of the progressive artists in Taiwan who possesses global

的娃娃，這件作品的版本被瑞典老字號伏特加酒商A B S O L U T V O D K A相中，而邀請設計瓶身，最後收藏印有 ABSOLUT VODKA字樣的《誕生》另一版本。ABSOLUT公司1985年首度請安迪．沃荷為A B S O L U T瓶子進行創

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vision, educated in Department of Fine Arts, Chinese Culture University and Plastic Arts Department, Tainan National College of Arts, currently lived in Shanghai concentrated in artistic creations. His works had participated in several international art exhibitions,

includes 1999 48th Venice Biennial, 2000 31es Rencontres internationals dela

2000, Hung discovered the 3D lenticular which showed up in his memory of

Photographie, Arles, 2000 Taipei Biennial, 2001 Arco and 2004 Shanghai Biennale.

childhood; it was like a world of unreal and entertainment. The light box that

Although Hung's age doesn't fit into the Egeneration, but he expected himself to

combines 3D lenticulars, has become Hung's distinctive creation materials. In 2002 he created Hung, a doll that share's

be one of them. He chronically observed the consumer behavior and hedonic value

the name with the artist himself, has no sex, no name, and no nationality, born in

of the young generation, and he speaks out for the present cultural phenomenon. He peculated famous cartoon characters which prevailed in Taiwan's subculture

ice-cold electronic music and an artificial color space, such a scenery of vagueness and trance could pull people into the illusions of a capsule nirvana.

during the 80's, such as the Sailor Moon, Street Fighter: Chun-Li and Evangelion, through digitization and advertise light boxes, he created a virtual idol in the classical scenery and under the religious holy light to satirize young generation's fetish and psychedelic state of mind. In

The protagonist in "Rebirth" is Hung, a doll that born in a capsule space. This piece of work was fancied by the famous old vodka maker, ABSOLUT VODKA in Sweden. Hung was invited to design the vodka bottle; after Hung finished his

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work, ABSOLUT collected the alternate version of "Rebirth" which has the word "ABSOLUT VODKA " printed on it. Since Andy Warhol first painted the ABSOLUT VODKA bottle in 1985, the cooperative relationship between the company and art has initiated. Afterwards, ABSOLUT worked with pop art artists such as Keith Haring and Kenny Scharf. Hung is the first Asian artist whom ABSOLUT VODKA had ever worked w i t h. T h e A B S O L U T E-a n d-a r t i s t collaboration had helped to push through t h e "A B S O L U T E X P R E S S I O N S" Exhibition Tour in most major museums. In 2004, Hung's "Rebirth" was exhibited in the "ABSOLUT EXPRESSIONS" in Taipei , after the exhibition tour, each work will be enshrined in the ABSOLUT collect in Paris forever.

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XIONG Yu (b. 1975)

Black Forest 2003 Oil on canvas 100 x 200 cm Titled on the reverse Black Forest and signed Xiong Yu in Chinese, dated 2003 and 200 cm x 100 cm

熊宇黑色的樹林

EXHIBITED: Xiong Yu Solo Exhibition, Chinablue

2003 油彩畫布

Gallery, Beijing, 2006

100 x 200 cm 簽名畫背：《黑色的樹林》 200 cm x 100 cm 熊宇 2003

ILLUSTRATED: Wa r m Wi n g s w o r k s b y X i o n g Yu , Chinablue Gallery, Beijing, color illustrated, p. 4 R u n n i n g o n Tr a n q u i l l y , C h i n a b l u e Gallery, 2006, Beijing, color illustrated, No. 37

NT$ 680,000-900,000 US$ 20,700-27,400 HK$ 161,900-214,300

展覽：「熊宇個人作品展」，環碧堂畫廊，北京，2006 圖錄：《溫暖的翅膀－熊宇作品》，環碧堂，北京，彩色圖版，頁4 《安靜的流逝》，環碧堂，2006，北京，彩色圖版，編號37

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XIA Junna (b. 1971)

Sunlight at Sunset 2004 Oil on canvas 163 x 100 cm

2000年的中國造成一股強大的旋風，為收藏界爭相收藏。

fusing elements of Chinese and Western

Signed lower right and datedSigned lower right and dated ILLUSTRATED: , Hebei Education Press, Shijiazhuang, 2005, color illustrated, pp. 90-91

夏俊娜專愛畫女孩，她將她們置於現實的場景之外，即使是富麗的光芒，也來自那些無名的花草，原本無謂的場景，被安排得情趣盎然，她們把自己圈定在一個較為恬靜的空間裡，無

nonetheless steeped in an atmosphere of symbolism and surrealism. When Xia Junna burst onto China’s art scene in 2000, she caused a huge stir and became an immediate impact to collectors.

NT$ 2,500,000-3,500,000 US$ 76,200-106,700 HK$ 595,200-833,300 流霞圖

意糾纏於時尚的觀念之中，獨享一種快樂明朗的繪畫。夏俊娜的畫就像她的人，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對生活的愛，對人對自然的深情。「在繪畫中，我沉醉於物象在打亂正常光影秩序後出現的奇異效果，那種神秘感與我在夜幕下看到參差林立的巨大建築時的感覺相仿，一切都顯而易見，一切又都混沌不可辨，是與不是之間，多了一份想像空間。」（夏俊

夏俊娜出生於內蒙古祖籍山東，畢業

aesthetics, she creates imageries of an intriguing warmth and freshness that are

Xia is particularly fond of painting women and girls, placing them in dreamlike settings where the luscious ethereal light effervesces from flowers and grass. These are tight-knit, self-contained symphonies of light and colour that do not need to rely on outside sources of illumination or meaning. Absorbed in their own tranquil, peaceful world, these female figures have no use for fashionable trends or submission to the dictates of time. Like their creator, they are quite happy and content to enjoy the pleasures found in the

娜語）

bright dimension of fanciful pictures.

Born in the seventies in Inner Mongolia out of a family originally hailing from

In other words, Xia’s paintings are a proper reflection of her personality, brimming with youthful romance and naïve exuberance. Yet as an artist, she

Shandong, Xia Junna graduated from the Painting Department of the Beijing Central Academy of Fine Arts and went on to develop a bright, expressive style full of poetic flavours and feminine refinement. Her frequent exotic subjects

於北京中央美院第四教室。這個出生於70年代的年輕畫家，創作擁有鮮明成熟的個人風格。她的繪畫帶有一股濃厚的異國情調，而其豐富精巧的用色則摻雜著一份詩意的裝飾和女性的

and rich yet subtly applied palette make for dense, impressive images.

溫婉。夏俊娜在作品中，用完全不經意的點、塗、抹使畫面魔術般地散射出奇異的光彩，明亮絢麗的色彩從令人發

The paint is dotted, daubed, smeared or slapped on with intense deliberation to produce surprising and sometimes intentionally bizarre visual effects, as if the brilliant hues and dazzling radiance

堵的鉛灰色中掙脫出來，構成了唯她的畫中才有的一種神秘的光影秩序。她運用中西的審美觀點嫁接在一起的創作方式，在中性調中充滿甜美。讓她的畫作呈現出近似象徵主義或超現

had to be liberated with much labour from beneath a choking layer of leaden grey. Her compositions are suffused with a strange glow, a mysterious interplay of light and shadow that repeatedly

實主義般的神秘氛圍。她的繪畫在

overturns our expectations. Skillfully

In Xia’s paintings, every stroke of the brush is the result of careful consideration.

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is very much in control of the creative process, channeling her enthusiasm with superb instinct. Whether she puts it on thick or works her magic with intricate delicacy, her passion for the human figure and its natural environment always shine through. ‘When I paint, I become totally immersed in my subject. I go for the unusual effects that come with the rearrangement of light and shadow in new, unprecedented ways. It’s as if I was looking at the jagged outlines of a group of buildings in the gathering dusk: everything is right there before my eyes, but at the same time it’s all vague and blurry—and it’s exactly this elusiveness and ambiguity that provide ample space for my imagination.’ (By Xia Junna)

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PANG Jiun (b. 1936)

Landscape 2005 Oil on canvas 170 x 170 cm Signed lower right Pang Jiun in Chinese, dated 2005.1.1 Signed on the reverse PANG JIUN in Chinese and English, dated 2005 and size 170 x 170 cm, title Landscape in Chinese With one seal of the artist ILLUSTRATED: Pang Jiun, Artist Publishing Co., Taipei, 2006, color illustrated, pp. 224-225

NT$ 2,500,000-3,500,000 US$ 76,200-106,700 HK$ 595,200-833,300

龐均山水之間 2005 油彩畫布 170 x 170 cm 簽名右下：龐均 2005 1月1日簽名畫背：龐均 PANG JIUN 2005 170 x 170cm 山水之間鈐印右下：均圖錄：《龐均走過58年藝術生涯》，藝術家出版社，台北，2006，彩色圖版，頁 224-225 有「繪畫神童」之稱的龐均教授，現任國立台灣藝術大學教授。龐均 1936年出生于上海，父親龐薰琹、母親丘堤都是中國第一代留學海外的油畫家。龐均從小受藝術世家薰陶的龐均，在11歲時便在廣州與姐姐龐壔舉辦聯展。13歲時，龐均考入杭州美院，後轉入北京中央美術學院學習，曾師承林風眠、潘天壽、黃賓虹、徐悲鴻、吳作人、董希文、李可染、李苦禪等前輩。1987年龐均定居台灣，於國立台灣藝術大學擔任教授至今。

龐均的油畫作品，吸收了西方印象派後期和野獸派繪畫的色彩特點，追求色彩的純度和協調，作品負載了藝術家創作時的激情和爆發力，同時還結合了中國人文化的氣韻表達，使作品蘊含了一派東方甯謐淡雅的調子，東西融合的視野使龐均的作品具有了獨特的情境及品格。線條既有西畫所強調的形體力度，也有東方繪畫含蓄的氣質，追求氣韻生動，似與不似，意在筆先的寫意畫風，成功的創造了東

taught by masters like Lin Fengmian, Pan Tianshuo, Huang Binhong, Hsu Peihung, Wu Zuoren, Dong Xiwen, Li Keran, and Li Ku-chan. In 1987, Pang settled in Taiwan, serving in National Taiwan University of Arts still. Pang’s oil paintings absorbs characters from the late western impressions and Fauvism paintings, pursuing the purity and harmony of the colors, his works

方的表現主義。

carries his passion and explosive force, combines expressions in Chinese cultures,

龐均的繪畫在題材上沒有過多的限制，風景、靜物、人物等都有所涉

with western techniques and eastern spirits within, Pang makes his paintings

獵，在龐均看來，任何對平淡事物的感覺，並非由「形式」決定的，而是由感覺與情緒決定的，而色彩是表達感覺與情緒的最佳載體。無論是對江南水鄉的描繪，還是對景物寫生的表現，龐均都對入眼的「風景」進行感性化的處理。作品《山水之間》是藝術家的較大尺幅作品，這幅作品在諸多方面表現出了不俗之處，首先是畫家在構圖上的用心與精當，使得充盈的佈局絲毫

unique with lots of characteristics. His lines are with strength like those we seen in western paintings, they’re also implicit like eastern paintings, pursing liveliness, likes and dislikes, and he paints mostly his feelings, and successfully created his eastern Expressionism. There aren’t limits on Pang’s painting subjects, he painted landscapes, still objects, and people. In Pang’s eyes, the

沒有擁塞感，黃色調的運用和經營布白傳達出了龐均在色彩表現方面的功力。

feeling on any ordinary objects isn't determined by their “forms”, but the observer’s feelings and emotions at that moment, and colors are the best medium to carry those feelings and emotions. No

The “Painting Genius” professor now serves in National Taiwan University of Arts. He was born in Shanghai in

matter it is the regions of rivers and lakes in Jiang Nan district he paints, or nature he sketches, he treated those “scenery” emotionally.

1936, His father Pang Xunqin, mother Qiu Ti were both the first generation oil artists studied abroad. Pang was deeply immersed in an artistic atmosphere when he was young, he held a joint exhibition with his sister Pang Zhu in Guangzhou when his only 11 years old. By the age of 13, he was accepted by Hangzhou Academy of Fine Arts, later transferred to Central Academy of Fine Arts in Beijing,

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His “Landscape” can be classified as one of the artist’s large size works, it is extraordinary in many aspects, the artist composed it brilliantly makes the whole picture not crowded, and his well use of yellow colors demonstrates his skills in color representations.

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XIN Dongwang (b. 1963)

Nude 1999 Oil on canvas 81 x 65 cm Signed lower right Dongwang in Chinese and dated 1999.10.

NT$ 1,300,000-2,000,000 US$ 39,600-61,000 HK$ 309,500-476,200

忻東旺女人體 1999 油彩畫布 81 x 65 cm 簽名右下：東旺 1999. 10.

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LI Zijian (b. 1954)

Sibling Love 1997 Oil on canvas 108 x 121 cm Signed lower left Li Zijian in Chinese and English, dated 1997

NT$ 1,500,000-2,500,000 US$ 45,700-76,200 HK$ 357,100-595,200

李自健手足 1997 油彩畫布 108 x 121 cm 簽名左下：Li Zijian 李自健 1997

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PAN Honghai (b. 1942)

潘鴻海善用傳統西洋油畫藝術語言表述有強烈傳統東方特色的中國當代鄉土風情，他的藝術作品，由此獲得生

the process of Pan’s transformation from landscape paintings to genre paintings.

Young Lady at the Door

命，並由此成長成熟！

He believed in the “Naturalism” painting

1993 Oil on canvas 80 x 100 cm

《老牆‧女人‧狗》代表著潘鴻海風景畫向風俗畫的轉換過程。

traditions, he adapted realistic concrete models , and realizing his pers onal pleasure by focusing on lyricism and

潘鴻海信奉「自然主義」繪畫傳統，

the frame of mind. He often stays close with the natural countryside scenery

Signed lower right H. H. PAN in English and Hai in Chinese Titled on the reverse Young Lady at the Door in Chinese, signed PAN HONGHAI

採用細膩逼真的具象造型，以注重抒情、注重意境來體現獨到的意趣，他在創作時多以貼近大自然的田園風光風情為描繪物件，汲取傳統藝術的精

to paint an object, absorb the essences from traditional art, and try to reflect the innocence and the simplicity of the

華，從各種角度反映純情、素雅的水

countryside from every angle, kept a certain distance from the city, society and

ILLUSTRATED: Pan Honghai-His Art, The Fang Lan Yan Art Corporation Ltd, Hong Kong, 1993, color illustrated, p. 53

鄉風土人情，與喧囂的都市社會與現代文明保持相當的距離，自由的表現情緒上的希望與追求。

modern civilizations, so he can freely express his longing and his pursuit for what he desired.

潘鴻海繪畫運用明暗與色彩賦予自然

Pan used light, shade and colors to bring

NTD 1,400,000-2,400,000 US$ 42,700-73,200 HK$ 333,300-571,400

生命，用動人的藝術語言勾勒自然。作畫時他往往採取以小見大、取其一角、構圖飽滿、以近及運的藝術手法

life to nature, touching artistic languages to describe nature. When he paints he favors observing things from a certain

使作品詩情畫意，令人心曠神怡。彷佛把讀者帶離喧囂的城市，帶到一個純潔多姿的富有詩意的藝術世界裡。《老牆‧女人‧狗》作品以「老牆」作

angle, and composing a part of the picture instead of the whole, and filling the whole picture to make his work poetic with his artistic touch, making the viewers totally refreshed. It is like an author bringing all

為第一主題，通過牆頭上茂密的綠色攀緣植物與斑駁裸露的牆磚來對老牆作直

the readers away from the crowded city to a colorful poetic world of art.

in English and Chinese, dated 1993

潘鴻海老牆‧少女‧狗 1993 油彩畫布 80 x 100 cm 簽名右下：H. H. PAN 海簽名畫背：《老牆．少女．狗》中國浙江畫院潘鴻海 1993 PAN HONGHAI

觀展示，畫面縱深的空間因這堵牆的存在而被切斷，女人與狗的佇立不動，則強化了這堵老牆的穩定感。作品中致遠

圖錄：《潘鴻海油畫集》，方蘭硯國際藝術發展集團，香港，1993，彩色圖版，

縱深的空間關係被平實的立面空間關係所替代，動物與人相繼在畫面出現，簡單的人物點綴發展成造型精確、富於動態化、情節化的描繪。

頁53 Pan Hong Hai is good at using the language of western oil paintings to represent China’s contemporary country sceneries that have strong traditional eastern characteristics, his works were born this way, become mature this way. “Young Lady at the Door” represents

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“Old Wall” is the first theme in “Young Lady at the Door”, and directly exhibited with climb plant on the top of the wall and mottled bricks exposed, the deepness of the space in the picture is cut off because of the existence of this wall; The woman and the dog’s standing still has strengthen the steadiness of this old wall. The three-dimensional space is replaced by a plane, animal and people appearing in the picture, simple objects embellished a correctly modeled, dynamic, episodic description.

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YEE Bon

(YU Ben, 1905-1995)

Village Woman Oil on canvas 64 x 76 cm Signed lower left YEE BON in English and Yee Bon in Chinese in a square PROVENANCE: Sale of Christie's Taipei, April 18, 1999, lot 26

NT$ 1,200,000-2,200,000 US$ 36,600-67,100 HK$ 285,700-523,800

余本村婦油彩畫布 64 x 76 cm 簽名左下：YEE BON 余本來源：台北佳士得拍賣，1999年4月18日，編號26

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AI Xuan (b. 1947)

North Wind 2001 Oil on canvas 99 x 80 cm Signed lower right AI Xuan in Chinese and English, dated 2001. 2

NT$ 5,500,000-7,000,000 US$ 167,700-213,400 HK$ 1,309,500-1,666,700

艾軒北風 2001 油彩畫布 99 x 80 cm 簽名右下：艾軒 Ai Xuan 2001. 2

艾軒繪畫風格的最大特點是借景抒懷。當面對天地間的浩瀚無垠，置身皚皚白雪的荒原裡，感受的靜默與孤寂，自然大地的聖潔偉大，令他內心受到極大的震撼，由衷感動，轉而發抒於繪畫之中。在這一幅幅畫中，都有艾軒的影子。因此他的作品也是發自內心的獨白。艾軒巧妙地把孤寂的抒情性與少許的神秘感美妙地結合在一起。本來，孤

艾軒的繪畫語言洗練、精緻。他把粗俗的生活往「雅」裡畫，精心安排，著意推敲。輪廓線的分明，外輪廓的效果，和由此形成的空間分割，以及輪廓內的微妙關係（質地感、色調的變化等）……這都使他迷戀和陶醉。但他處理得謹慎而有分寸，既保留來自生活的感受，又賦予理性的秩序。

the picture extraordinary, yet he never left viewer’s appreciation of the beauty behind. Therefore, Ai used the charm of beauty to bring the viewers into a beautiful world of religious emotions and mysterious atmospheres. His paintings are symbolic, like an arrow on a bow,

當然，他儘量避免「做的痕跡」。

drown but not released, using implicit and ambiguous methods, he made the conviction and influence stronger.

艾軒，中國美術家協會會員，國家一級美術師，同時也是中國知名詩人艾青之子。作品多次參加國內外大展並

A i ’s l a n g u a g e i n h i s p a i n t i n g s i s

獲獎和被收藏。 The main feature of Ai Xuan’s painting style is borrowing the scene to relieve his inner emotions. When he saw the vast of the world of snow, that complete silence, solitude and the greatness, holiness of the land have deeply moved him, and he transformed these feelings onto the canvas. Ai Xuan exists in all of his

chastening and exquisite. He painted vulgar lives gracefully, with careful and detailed arrangements. The counter in the picture is distinctive, the effects of the outer counter divided up the spaces in the picture, formed a delicate relation with the space inside the counter (the texture, changes of color tones, etc.)… and Ai obsessed and enjoyed it dearly. But he handled the relation properly, kept the feelings from his life, given the order of rationality at the same time. Of course, he avoids leaving the trace of “making it up”.

獨本身即有某種神秘性，在浩瀚的荒原中的孤獨，其神秘的意味更濃。但艾軒始終不忽視人和自然景色的優美，即使採用奇特構圖加強畫面不平凡的效果，也不忘記給予觀眾以審美

paintings. Therefore his paintings are also his monolog. Ai craftily combined the lyricism of solitude with a little sense of mysterious.

Ai Xuan is the member of China Artist's

的滿足。所以，艾軒是用美的魅力把觀眾帶進有宗教情緒和神秘氣氛的藝術世界裡的。他的畫有象徵的意念，運用點到為止的含蓄手法，似弦上之箭，引而不發，其征服力和感染力似

Solitude has already carried a mysterious feeling, and this feeling gets stronger when it happened in an immense

Association, top art teacher in the country, and the son of Ai Qing, a famous poet in China. His works have participated many

wasteland. However Ai never neglects the beauty of people and the nature, although

national and international exhibitions, and are awarded and widely collected.

乎更為強烈。

he used bizarre compositions to make

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WENG Wei (b. 1962)

Modern City 1999 Oil on canvas 130 x 112 cm Signed lower right Weng Wei in Chinese and English, dated 1999. 12 Titled on the reverse Modern City and signed Weng Wei in Chinese, size 130

翁偉

x 112 cm and dated 1999

燈火闌珊

EXHIBITED: His and Hers, Schoeni Art Gallery, Hong Kong, August 5-Septemer 1, 2004

1999 油彩畫布簽名右下：翁偉 Weng Wei 1999.12 簽名畫背：《灯火闌珊》130 x 112 cm 1999歲末翁偉

ILLUSTRATED: Li Fang ed., Estheticism - Celebrated Painters Series, Yang Liu Qing Painting P u b l i s h i n g , Ti a n j i n , 2 0 0 5 , c o l o r illustrated, p. 118

NT$ 1,200,000-1,800,000 US$ 36,600-54,900 HK$ 285,700-428,600

展覽：「他和她」，少勵畫廊，香港，展期 2004年8月5日至9月1日圖錄：李放著，《唯美至上－著名油畫家之》，天津楊柳青畫社，天津， 2005，彩色圖版，頁118

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LI Zijian (b. 1954)

New Green 2000 Oil on canvas 105 x 182 cm Signed lower right Li Zijian in Chinese and English, dated 2000

NT$ 1,700,000-2,500,000 US$ 51,800-76,200 HK$ 404,800-595,200

李自健新綠 2000 油彩畫布 105 x 182 cm 簽名右下：李自健 Li Zijian 2000

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CHEN Ching-jung (b. 1934)

Vase of Flower Oil on canvas 50.5 x 48 cm Signed lower right Ching-jung in Chinese The painting is to be sold with a photograph of the artist with this lot.

NT$ 200,000-300,000 US$ 6,100-9,100 HK$ 47,600-71,400

陳景容瓶花油彩畫布 50.5 x 48 cm 簽名右下：景容附藝術家與本拍品合影照片

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124

SHEN Hanwu (b. 1950)

Girl from a Fisherman's Family Oil on canvas 77 x 62 cm Signed lower right H. W. Shen in English

沈漢武漁家女

NT$ 520,000-620,000 US$ 15,900-18,900 HK$ 123,800-147,600

油彩畫布 77 x 62 cm 簽名右下：H. W. Shen

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CHENG Tsai-tung (b. 1953)

Landscape 1998 Oil on canvas 65 x 80 cm Signed lower left Cheng Tsai-tung in Chinese and dated '98

NT$ 130,000-200,000 US$ 4,000-6,100 HK$ 31,000-47,600

鄭在東風景 1998 油彩畫布 65 x 80 cm 簽名左下：鄭在東 '98

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LEI Shuang (b. 1950)

Lotus 1999-2000 Oil on canvas 78.5 x 100 cm Signed lower left Lei Shuang in Chinese and dated 1999-2000

雷雙荷花 1999-2000

NT$ 300,000-400,000 US$ 9,100-12,200 HK$ 71,400-95,200

油彩畫布 78.5 x 100 cm 簽名左下：雷雙 1999-2000

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127

HE Xuesheng (b. 1963)

Snow Scene Over Longshang V 2007 Oil on canvas 115 x 150 cm Signed lower right He Xuesheng in Chinese and dated 2006

NT$ 260,000-420,000 US$ 7,900-12,800 HK$ 61,900-100,000

何學昇隴上雪景（五） 2007 油彩畫布 115 x 150 cm 簽名右下：何學昇 2006

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Walasse TING

(DING Xiongquan, b. 1929)

Wet Summer 1978 Acrylic on canvas 61 x 81 cm Signed on the reverse ting, titled Wet Summer in English and dated 78

丁雄泉夏日狂想曲 1978

NT$ 500,000-700,000 US$ 15,200-21,300 HK$ 119,000-166,700

壓克力畫布 61 x 81 cm 簽名畫背： Wet Summer ting 78

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129

LI Kai (b. 1947)

Palace Over Winter Snow IV 2006 Oil on canvas 130 x 126 cm Signed lower left Li Kai in Chinese and dated 2006 Titled at the reverse: Palace Over Winter Snow in Chinese, 130 x 126 cm, signed Li Kai, 2006

NT$ 680,000-900,000 US$ 20,700-27,400 HK$ 161,900-214,300 李凱冬雪的深宮（四） 2006 油彩畫布 130 x 126 cm 簽名左下：李凱 2006 簽名畫背：冬雪的深宮（四）

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WU De-chun (b. 1953)

Les Amis 2006 Iron (unique) 68 (L) x 21 (W) x 92 (H) cm Signed on the bottom of pedestal: 04. 12. 2006, PIÈCE UNIQUE WU DECHUN WU ILLUSTRATED: Acques Barrere, Art D’Extreme-Orient Wu De Ch’un, Galerie Jacques Barrere, France, 2004, color illustrated, p. 10

NT$ 280,000-460,000 US$ 8,500-14,000 HK$ 66,700-109,500

武德淳朋友 2004 鐵雕（單一件） 68 (長) x 21 (寬) x 92 (高) cm 簽名底座：0 4 . 1 2 . 2 0 0 6 P I È C E UNIQUE WU DECHUN WU 圖錄：阿克‧巴哈，《武德淳遠東藝術》，亞克巴哈畫廊，法國，2004，彩色圖版，頁10

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周春芽：色彩就是我的共嗚的形態特徵，是雕塑與文人花鳥畫的通約。我看八大的花鳥很容易聯想到雕塑的體量和空間慼，同時還能從那大面積的負空間中領略到雕塑的縱深，我冒險的放大了這種隱藏在古人背後的視覺屬性，效果很奇異。」

利茨、彭克和基弗成了他最鍾愛的畫家，被德國新表現主義畫家的作品深深感動著。在德國的第一年，他並沒有創作任何作品。1988年創作的畫作《紅馬》和《藍牛》倒是還可以從如今的綠狗系列中尋到一些蹤跡。但這些，仍然不是最終進發的決定性力量。

在對他新雕塑的評價中，有這樣一段說法：「在他的雕塑表現手法中，周春芽將力量和速度蘊藏在最為精練的形體結構之中，在動態和靜態的矛盾對抗中積蓄著一種引而不發的爆發力。」，周春芽個人更喜歡朋友的評價。「有朋友說我的畫具有一種『溫和的暴力意味』，實在是說的太石頭、綠狗、桃花、紅人，這些詞彙幾乎囊括了周春芽個人繪畫題材的全

貼切了，桃花的豔麗與狼狗的暴力並置在一起，形成一種強烈的視覺和心理反差，讓我著迷。我的繪畫

部內容，但概括不了的是，自從1986 年，從中國的四川走進德國，再從德

趣味總是在『溫和』，與『暴力』之間－－由狼狗到桃花又開始了一次由

國回到四川，這21年所發生的諸多變化。他被譽為中國當代把握色彩最出色的藝術家；外表溫和，畫風恣肆。

『暴力』到『溫和』的轉換。」

在過去的一年中，周春芽三個字是拍賣場上的新逐點，一路高起。他的繪

和符號化的，是一個人內心出處的真實映照：外表隨和，內心堅毅，悠久的地緣文化和廣蓄的融匯氣度一這是

畫不是現實的實證，婉轉的隱寓和過於矯情的象徵都被他一砍而下，那些掩藏在人的內心最底層而又最本質的東西乾淨俐落地被引導出來，在他看來，無論是藝術史還是社會學還是道德學，別人有別人的總結，他的意圖，不過簡單到「畫畫就是過癮！」 2007年3月3日，「花間記」—周春芽繪畫雕塑作品展在北京今日美術館隆重開幕，集中展示周春芽在近年來創作的桃花系列和他的雕塑新作。三層的展廳被桃花，綠狗、紅人的系列作品擁了個滿堂彩。

要知道，促使他回到國內的偶然的事情是這樣一些細節。有一次周春芽去參觀一個規模很小的博覽會，當時有一個藝術家的攤位上掛著一張紙條，上面寫著：我的作品是原作，不是中國製造。原來這個人對中國的瞭解僅僅限於去過一次香港，看到那裡有很多複製畫，就認為中國是生產複製品的地方。「當時我就覺得中國藝術家一點面子都沒有。」這件事是促使他回國的主要動力。而另一片鄉愁的觸

他的作品那麼像他自己，不是社會學

四川人集中的精神氣質，這種文化性格在藝術家的「綠狗」系列中如此彰顯。當評論家總是試圖從社會學和美術史的角度去採求一個藝術家風格的形成和轉換的時候，他更多表現了出身知識份子家庭的傳統感染，細膩叉不乏張揚的城市性格，溫婉不掩激情的個體做派。兩相比較，橫貫其他藝術家整個藝術生命力的宏大敘事，成了他的注腳。是那些恣肆桃花，撩人身體下偶爾的黃土，一點而過。

動來自于中國古曲《塞上曲》。兩位元中國音樂家請他幫忙在德國組織古箏和琵琶音樂會，並寄給他了一份演奏樣帶。周春芽被其中古樸的旋律徹底征服了，直到現在他還堅持只聽這一類的音樂。

轉折

這次展覽中，「綠狗」開始真正的立

1986至1988年在德國的三年時間對於

體化，藝術家最初的企圖變成具體的語言做著實驗，又展現著成果。周春芽最初畫綠狗的主張是「雕塑化的同時在筆觸結構上又吸收了文人花鳥畫

周春芽來說相當重要。每一個藝術家都有一些轉折時期改變著自身的藝術軌跡。「沒有那三年，我很難讓自己的藝術走得更遠。」那三年，巴澤

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回到國內的周春芽，最開始畫的是石頭系列，這是一批非常珍貴的作品，著名評論人殷雙喜如此評價：「周春芽將末元古典山水的意象與西方繪畫框武取景奇妙地組合起來，具有了一

「畫一張臉就像畫一塊石頭：我會進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。」 1994年是一個決定性的年份。朋友送

卉僅僅是為了練習色彩的運用。但現在，他已經意識到花卉本身也可以成為繪畫的主題。

了他一隻德國牧羊犬黑根。他之前從來沒有養過狗。但他很喜歡這隻狗，有時候狗會變得十分凶，但它一直很喜歡自己的主人。從送來的那一天開始，他們就一直同床共臥。很快，它

在創作一個系列作品，用黃綠色調加上幾筆粉色描繪花瓶中的桃花跟山石、綠狗這些系列作品相比，90年

成為周春芽最鍾愛的繪畫主題。1997 年，他首次將黑根完全描畫成綠色。周春芽解釋說這純屬巧合。當年7月種跨越人文地理與歷史文化的超然氣息，使人們猶如進入了宇宙洪荒、天地蒼茫的夢幻境界。」按周春芽自己的話說：「我不知道為什麼山石是傳統中國畫的一個永恆的主題。可能是因為山石是自然的象徵，山石的力量和完整性能讓畫家充分表現自己的精神，也能讓他充分展現繪畫技法。」「我畫石頭並不是出於圖像或符號的

直是周春芽作品中最為常見的主題。回顧那些年，周春芽記得他有一段時間追求過純粹的意識形態，他描繪花

周春芽和毛焰在北京舉辦了一場聯展《肖像性質》，在展覽畫冊中的一篇文章中，藝術評論家栗憲庭將周春芽採用綠色歸因於他那段時間幸福的愛情生活：在中國，綠色是與積極的心態相聯繫的。而真正的關係不在於是綠色還是黑色，意義本身就是色彩之於周春芽的意義。

考慮，完全是由於趣味。我喜歡古典文人筆下石頭的形態，但不滿足于那種過於溫和、內向的性格，我想到一種張揚而冒險的嘗試－借助這種典雅

90年代的同時期，周春芽在同時期還

代，他偶然抬筆劃的朋友系列更像是生活的小品，作為歲月的見證，給藝術家的人生做細節的補充描述。而對於自己的風格，周春芽認為藝術語言是慢慢形成的，不是一朝一夕忽然就能忽然冒出來，跟人的文化，修養，包括對人生的一些看法都有關係。「我常有一些新的想法，但對傳統又很留戀。我的藝術語言帶有很強的書寫性，這種書寫性的繪畫語言在『綠狗』和『太湖石』裡也有。一個藝術家一定要有自己的個性：跟其他人不一樣、語言不一樣、顏色不一樣，表達的東西也不一樣，雷同的東西沒有意思。有人的畫也許是看內容，比如政治波普，主要是看一些社

的形態去傳達一種暴力甚至是色情的意味。」

會內容，有人的繪畫看的是他的表達形武。在我的繪畫裡面，色彩是非常強烈的，我對色彩非常敏感，色彩就是我的共鳴。」

1971年開始繪畫的周春芽，年僅十六歲。在這之前的兩年，父親離世。作為一名文學評論家，父親留給他大量的書籍和一些重要的中國傳統水墨畫。父親將自己對水墨畫的喜愛傳承給了兒子。

而關於自己，他承認自己的矛盾性，一直在傳統和創造之間徘徊。「不像有的藝術家，完全拋棄傳統，純粹追求創新。藝術家追求創新的精神是非

1992年，周春芽開始創作第一個系列

常可貴的，一定有拋開約束，追求創新。但我不一樣，我選取的題材，用

的油畫作品《假山》，主題是園林中的山石。《山水》的系列作品將傳統的「墨分五色」用油彩表現了出來。

色彩

油彩結成的「硬殼」覆蓋了畫面很大一部分，讓整個畫面幾乎出現了三度

周春芽最一開始的作品風格來自于藏區的體驗。1980年周春芽數次走訪四

空間的效果。作者傾向于抽象的風格，但和傳統中國畫一樣，沒有忘記加入現實的細節，這種創作風格在這些作品中表現到了極致。周春芽說：

川省附近的西藏地區，有著典型的外貌特徵，豪爽的性格，鮮豔的服飾的藏族人，迅速成為畫家們最為喜愛的主題之一。直到1991年，藏族居民一

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的技法和色彩，都是非常曖昧的。我屬於那種走一步要想很久，還要向後張望，才敢走下一步的人，不是那種大膽地拋開一切向前衝的人。我受中國傳統影響很深，無論走到哪裡都沒法擺脫。」

Zhou Chunya: Color is my resonance Rockeries, flowers, portraits, green dog, peach blossoms, and red people, all these words conclude the themes of Zhou’s

Among the comments about his latest sculpture, one says: in his way of presenting his sculpture, Zhou hides

of gentle and passion. Thus the grand discourse of the vitality of art for the other artists becomes his footnote, just like the

paintings. Yet, what cannot be concluded are the changes in twenty-one years of her leaving from Sichuan, China to Germany, and from Germany to Sichuan since 1986.

the power and speed inside the most sophisticated structure, and between the conflict of the dynamic and the static there stores a silent explosive force. Zhou personally likes his friend’s comment

flying dust can never compare with the beauty of the daring blossoms.

Zhou is honored as the most brilliant artist in color using in the contemporary China. His gentle appearance cannot hide his unrestrained strokes. In the past year, Zhou has been the new climax

better, "My friends said that my paintings have “a sense of gentle violence,” which could not be more real. Putting the beauty of the peach blossoms and the violence of a wolfhound presents a strong contrast for

His stay in Germany from 1986 to 1988 is a critical time for Zhou. Every artist has a turn which changes his or her

of the auction and is still rising. His paintings are not to prove the reality, and he abolishes metaphors and symbols. The deepest and the most natural things hidden in the others’ minds are clearly

both visual and psychological, in which I have been intoxicated. The meaning of my painting is always between “gentleness” and “violence”—and from the wolfhound to the peach blossoms a transformation

and simply presented. For him, either the

from “violence” to “gentleness” thus

history of art, or sociology or moral is others’ conclusion. His intention is simply “to paint at will!”

begins." Just like their creator, Zhou’s works are

In March 3rd, 2007, Zhou began his personal exhibition—Blooming Stories—

neither social nor symbolic, but true reflections of one’s mind: an amiable appearance hides a firm will, a long

the Today Art Museum, Bejing, which exhibited his recent peach blossoms series

geographical culture and a vast tolerance of everything—this is the spiritual quality

and his latest work of sculpture. The whole gallery was crowded by the series works of peach blossoms, green dogs, and red people. Presenting the result, this exhibition

of Sichuan people which is clearly presented in the artist’s Green Dogs series. While a critic always tries to understand an artistic style and transformation from a social or a historical aspect, the artist presents the tradition of an intellectual

turned the “green dogs” into the real entity, and the intention of the artist into

family, an urban personality of delicacy and extravagancy, and a personal style

an experimental and concrete language. Zhou’s intention of painting the “green dogs” is "when it is sculpted, its strokes

The Turn

style. “I would not have made myself go further if without those three years.” In those years, Baselitz, Penck, and Kiefer became his favorites, and he was deeply moved by the new expressionist painters in Germany. In the first year in Germany (1987), he created nothing. The trace of Red Horses and Blue Oxen painted in 1988 can still be found in his Green Dogs series. However, they are not the ultimate decisive force. An incident made him decide to return to China. Once Zhou visited a small exhibition, and saw a note hung on an artist’s booth said, “My works are original, not made in China.” That artist’s understanding of China came from his only visit to Hong Kong, where he saw many reproductions of paintings and thus believed that China was a place making reproductions. “At that time I felt that Chinese artists have no dignity at all.” This is why he returned to China. Another call of hometown was from an ancient piece of Chinese music—On the Frontiers. Two Chinese musicians asked him to organize a concert in Germany and sent him a sample of music. Zhou was totally overcome by its melody, and even now he still insists on listening to this

and structure absorb the characteristics of the paintings of flowers and birds of the men of letters, and thus becomes the fusion of both the sculpture and painting. When I look at the classic paintings, I usually think about the entity as well

kind of music only.

as the spatial sense of the sculpture. In the meantime, I realize the depth of the sculpture from that huge negative space. Boldly I magnify the visual characteristic hidden behind those classic paintings, and

Zhou began to paint the Rocks series after he came back to China, which are very precious. A famous critic commented that Zhou amazedly fuses the impression of the Chinese landscape paintings and the frame view of the Western painting, and

get an amazing result."

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he did not forget to add the detail of the reality as the traditional Chinese painting does, and this style reaches its climate in these works. Zhou said, “ To paint a face is like to paint a rock: I think a lot about the shape and the image. Under these two circumstances the themes are important, and paint Heigan makes me very excited.” 1994 was an important year. His friend gave him a German Sheepdog, Heigan. He never had a dog before, but he likes it a lot. Although it became very violent

thus presents a sublime beyond geography, history and culture, which leads the beholders into a primitive and huge wonderland. Zhou said, “I don’t know why landscape is the permanent theme for the traditional Chinese paintings. Perhaps landscape symbolizes nature, and its power and integrity makes the artist fully present his spirit as well as his painting techniques.” “I painted rocks not because of images or symbols, but of interests. I like the landscape painted by the ancient men of letters, but I am not satisfied with that gentle and inward style. I want to try a daring and extravagant way—to present a violent ever pornographic sense with such a classic form.” Zhou began to paint when he was sixteen in 1971. His father passed away two years before that, and as a literary critic, his father left him a huge amount of books and some important traditional Chinese landscape paintings. The father transmitted his love of landscape paintings to his son. In 1992, Zhou began to create his first oil painting series, Rockeries. The Landscape series presents the five colors of the traditional Chinese painting with the oil paint. The “crust” of the oil paint covers a large part of the canvas and thus brings a three-dimension effect for the picture. The artist prefers an abstract style, but

sometimes, but it always loves its master. From the day it came, they always have been sleeping on the same bed, and very soon, it became Zhou’s favorite theme for painting. In 1997, he first painted Heigan in green. Zhou explained that it was a coincidence. In July, 1997, Zhou and Mao Yan held a joint exhibition The Characteristics of Portraits. In an article in the album of the exhibited paintings, an art critic said that Zhou used green because he had been in love at that time: in China, green is associated with aggressiveness. Yet what matters is neither green nor black, for color is the only matter for Zhou.

Color

with the series works of Rockeries, Green Dog, and the Peach Blossoms, in the 90s, the portraits he sometimes painted for his friends are more like a sketch of life, a proof of time, and a detail complementary of the artist’s life. To his own style, Zhou believes that an artistic language forms gradually, not a sudden eruption, and that it is related to one’s culture, self-cultivation, and view of life. "I always have new thoughts, but I don’t want to give up the tradition. My artistic language owns a strong personal style, and such style can be found in The Green Dog and Tahu Rock. An artist must have his own uniqueness, be different from others: a different language, a different color, a different subject, for similarities are not fun at all. Some paintings emphasize on the content, like the Political pop, which emphasizes on society, and some paintings emphasize on the ways of expression. In my paintings, c o l o r i s v e r y s t ro n g , f o r I a m v e r y sensitive to colors, and colors are my resonance." To himself, Zhou admits his own conflict between tradition and novelty. “Unlike some artists who discard tradition and

Zhou’s early style originated from his

demand for novelty, such spirit is very precious to discard restraint for novelty,

experience in the Tibetan area. In 1980, Zhou visited the Tibetan area near Sichuan province several times. The appearances, frank personalities and the colorful clothes of the Tibetans soon became

I am different. The subjects I choose, the techniques and colors I use are very ambiguous. I am a person who thinks a lot, reviews a lot before I take the next step. I am not those who dare to march

one of the artist’s favorite themes. Until 1991, Tibetan people have always been a frequent theme in Zhou’s works. In those years, Zhou recalled that once he wanted a pure idea, and he painted flowers only

forward regardless of everything. I have been deeply influenced by the Chinese tradition, which I can never be rid off wherever I am.”

for practicing the use of colors. Now, he understands that flower itself can be the theme for painting. Around the same time in the 90s, Zhou was creating another series, The Peach Blossoms, with yellow, green and few strokes of pink to paint the peach blossoms in the vase.Comparing

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131

ZHOU Chunya (b. 1955)

Green Dog 2006 Bronze, stainless steel, numbered 4/8 24.5(L) x 24.5(W) x 43.5(H) cm Signed Zhou Chunya in Chinese Signed in mounting ZHOU CHUNYA in English and dated 2006, numbered 4/8 ILLUSTRATED: Blooming Stories, Sichuan Fine Art Publishing Co., Sichuan, 2007, color illustrated, p. 115

NT$ 1,300,000-1,800,000 US$ 39,600-54,900 HK$ 309,500-428,600

周春芽

周春芽一直對雕塑情有獨鍾，認為在雕塑純粹的結構、體積和形態構成的

with trivial concerns like a concrete narrative. The simplicity of form is

世界裡，沒有具體敘事的囉嗦，簡潔的形態更能體現造型藝術的內在品格，更具有普遍而恆定的象徵性。

particularly suited to expressing the inner character of design art while its symbolism is also more widely accepted and constant.

作揖的黑根 2006 銅雕不鏽鋼 4/8 24.5 (長) x 24.5 (寬) x 43.5 (高) cm 簽名：周春芽簽名底座：2006 Z H O U C H U N YA No. 4/8 圖錄：《花間記》，四川美術出版社，四川，2007，彩色圖版，頁115

《綠狗》雕塑作品在形態及表現手法上，是獨樹一幟的。畫家在繪畫的筆觸與雕塑的觸感之間，在繪畫平面和雕塑縱深之間，在形態和體量之間尋

The sculpture Green Dog is unique in its form and presentation. Here the artist has sought to find a common path between

找通約的途徑。周春芽以往把繪畫創作當作一種畫布上的雕塑，而在他的雕塑中，這種體量感、縱深感和觸感得到了昇華，使作品獲得一種陽剛外向的氣質。在他的雕塑表現手法中，周春芽將力量和速度蘊藏在最為精練的形體結構之中，在動態和靜態的矛盾對抗中積蓄著一種引而不發的爆發

painting and sculpture. While one deals with brush strokes, canvas and shapes, the other deals with feel, dimensions and presence. Zhou had in the past treated painting as a way of sculpting on canvas.

力。在繪畫創作中周春芽就運用了大量的雕塑語言，使傳統的形象擺脫了內向的性格，煥發出精力充沛而略帶「暴簽名雕刻 Signature inscribed

In his sculpture, this sense of presence, dimensions and feel was elevated to give his work a masculine and extroverted air. In his sculptural expression, Zhou imbued power and speed within a very stylized body structure. The paradox and conflict between the dynamic and static presents a power unchecked yet not unleashed.

力」的性格特徵。 In his paintings Zhou uses a wide Zhou Chunya has always had a special affinity for sculptures because to him, the world of sculpture deals in structure, volume and form without having to deal

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range of vocabulary from sculpture so the traditional image is freed from its introverted nature. In its place is an energetic and slightly “violent” character.

132

ZHOU Chunya (b. 1955)

Friends Series 1996 Oil on canvas 72.5 x 60.5 cm Signed lower left Zhou Chunya in Chinese and dated 1996 The painting is to be sold with a certificate of authenticity issued by Caves Gallery, Taipei.

NT$ 1,100,000-1,800,000 US$ 33,500-54,900 HK$ 261,900-428,600

周春芽朋友系列 1996 油彩畫布 72.5 x 60.5 cm 簽名左下：1996 周春芽附敦煌畫廊開立之原作保證書

周春芽的藝術融合表現主義和中國傳統繪畫於一體，他筆下的色彩和形體，乃至大千世界都無區別的服務于藝術家對情感經驗的表達。無論是樹木花草，或動物、人物，都在作者揮灑自如的筆下呈現出輕鬆恣意而又有所思的意境。

trees, flowers, plants, animals and people are elevated to a state of meditative serendipity. On the canvas, the colors are direct and expressive while the character is strong and solid for a more concrete effect. Here the artist successfully maintained the

作品畫面的色調十分強烈而富於表現性，而人物的形體則結實有力，比較具象，畫家很好地維持著它們之間的均衡關係。採用平實溫和的語彙，基本上只是黑白的調子，畫面平滑，局部的用筆仿彿毛筆的飛白效果，極為特殊，衣服等部分，則筆跡率性，帶有明顯的寫意意味。他對筆觸的控制也極具個人特點，每一筆都近似塊狀，連續鋪陳像卵石砌就，於奔放中不失韻律，視覺衝擊力很強。周春芽以輕易的筆觸表現了朋

balance between the two elements. The moderate vocabulary consists basically of white and black tones while some parts of the smooth surface feature unusual calligraphy brush-like “flying white” effects. The casual lines of the clothing themselves strongly suggest the use of expressionism. His control of the brush strokes is also quite distinctive. There’s a block like quality to every brush stroke so they resemble a stretch of paved pebbles,

友之間的親密關係。畫面中的人物似乎面對著畫家鏡頭，擺出一個親密的姿勢，望向畫外。

infusing the wild abandon with its own internal rhythm for a powerful visual impact. To convey the close bond between friends, Zhou used a light and easy brush

「我畫的不是肖像，是表情，沒有特別的人物，我通過描繪人物的面部特徵，關注人的內心世界，用朦朧的視

stroke. In the painting, the character seemed to be facing the artist. The pose suggests a level of familiarity as they look at a point outside of the picture.

覺效果將人的臉部無限 …。」 The art of Zhou Chunya combines Expressionism with the traditional art of China. The colors and forms that emerged from under his brush use everything in the world around him to express the artist’s feelings and experience. Through the artist’s free spirited brush strokes,

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“I did not paint a portrait but an expression and there was no specific character in mind. By depicting the facial features of the character I explore the world within and by giving the image a blurred effect I create endless possibilities for the human face…”

133

ZHOU Chunya (b. 1955)

Journey to Balang Mountain 1994 Oil on canvas 72.5 x 60 cm Signed lower right Zhou Chunya in Chinese and dated 1994 The painting is to be sold with a certificate of authenticity issued by Han Mo Art Gallery.

NT$ 800,000-1,400,000 US$ 24,400-42,700 HK$ 190,500-333,300

周春芽巴朗山之旅 1994 油彩畫布

《巴朗山之旅》的創作擺脫山水圖式的限制而趨於抽象，情緒表現熱烈而擴張。這種形式與激情的東方化，是對傳統文化精神和繪畫圖式的轉化，其契機在與周春芽對現代文明的反

marked a departure away from traditional cultural and artistic norms. Its trigger was Zhou’s introspection on modern civilization. The acrylic colors in the painting form

省。作品中油彩結成的「硬殼」覆蓋了畫面的很大一部分，讓整個畫面幾乎出現了三度空間的效果。畫筆的運用穩健直接，一氣呵成，容不得再次修改（就像在水墨畫中一樣）。畫筆構建的畫面結構與現實沒有任何直接聯

72.5 x 60 cm 簽名右下：1994 周春芽

繫。作者傾向於抽象的風格，但和傳統中國畫一樣，沒有忘記加入現實的細節，這種創作風格在這些作品中表

附翰墨藝苑開立之原作保證書

現到了極致。畫家對於畫筆的運用完全沒有書法的風格。他有時候用得油彩很乾，因此產生了類似於傳統國畫中「飛白」的效果。還有些時候，油彩十分厚重，產生的效果就像墨化開

a “carapace” that covers a large part of the painting to create an almost threedimensional effect. The precise and direct brush strokes were all completed in one go with no alterations permitted (just like ink paintings). The visual structure created by the brush itself has no direct links to reality. Though the artist’s style tends towards the abstract, like traditional Chinese painting details from reality are not neglected. This creative approach reached its zenith of expression in these works. There is completely no sign of calligraphy’s influence in the artist’s use

在水中。

of the brush here. Sometimes the acrylic colors are allowed to become very dry,

“Journey to Balang Mountain” abandons the restrictions of landscape painting to

creating the “flying white” effect from traditional Chinese painting. Other times though the colors are quite thick, the

become more abstract, further amplifying passionate emotional expression. This Oriental approach to form and passion

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results being akin to ink dissolving in water.

134

ZHOU Chunya (b. 1955)

Plum Branches in Vase 1993 Oil on canvas 72.5 x 61 cm Signed lower right Zhou Chunya and dated 1993 The painting is to be sold with a certificate of authenticity issued by Caves Gallery, Taipei.

NT$ 1,200,000-1,800,000 US$ 36,600-54,900 HK$ 285,700-428,600

周春芽梅枝與花瓶 1993 油彩畫布

周春芽畫中富有表現主義傾向的極富書寫性的用筆，舉重若輕，恰到好處，其境界即便國畫寫意高手亦未必能窺。九十年代初，周春芽開始了他的瓶花系列試驗題材，他畫了一系列

by dynamic lines and blocks of colors

離經叛道的花瓶與花，人們通常只能看到一個約略的瓶子雛形，以及由極富動感的線條與色塊組成的花朵意象團繞花瓶。正是由這個系列起始，他開始了各種意象的系列創作。

At first glance (or from a distance)

初看或遠看，作品就像一幅幅潑墨大寫意，大手筆，酣暢淋漓，很感性。近看，卻發現顏料厚薄相間，筆觸粗

strokes revealing glimpses of points, lines and colors all bound up in a complex pattern. The main body’s consciousness leaps out at you and you see that it’s a

率有力，隱約浮現的點、線、色彩融入複雜糾纏中，明確的主體意識撲面而來，是充滿激情的表現主義油畫。作品充滿激情充滿張力；恣肆不拘、輕鬆放達；沉雄博大、厚重老辣但不

72.5 x 61 cm 簽名右下：1993 周春芽

失細膩含蓄，柔韌之力。作品鬆而不散，隨意瀟灑，意象造型，氣韻生動，書寫式揮毫，筆筆傳神見精神，顏料恣意流淌，色彩濃淡虛實變化，

附敦煌畫廊開立之原作保證書

單純而肌理豐富。視線被千頭萬緒的構成元素纏繞，迷失於神秘魔幻。周春芽一直在尋求與大自然更加親密和自發的關係，他十分喜歡植物和動物，因為他喜歡它們的純潔，花卉的圖像象徵著美好，可以延伸為象徵愛情和性。明亮的花卉在畫家筆下代表著性愛的本質。它帶有完全的文化意味，將原始到甚至野蠻的性愛活力轉化為非常高雅且複雜的外觀。 Zhou Chunya’s paintings are richly endowed with the narrative tendencies of Expressionism. The delicate balance of elements and contrasts that he achieved was a state that even master painters of the traditional Chinese expressive style may not fully grasp. In the early 1990’s Zhou began his flower and vase series of

that serve as the motif for flowers. This series was the exact point where he began experimenting with all kinds of images.

his works seem like great splashes of ink in the expressive style, somehow enthusiastic and sensual all at once. Upon close examination however the variations in thickness of colors emerge, the forceful

passion-filled Expressionist oil painting. The works are filled with tension and passion – unrestrained and relaxed, bold and expansive, thick and confronting – but never losing their refinement, reserve or suppleness. The work itself appears to hold itself together against forces that threaten to send it flying in all directions, giving the imagery a restless vigor. The brush strokes flow across the canvas like a narrative with each contact injecting variations of color and tone into the composition, creating a diversity of textures out of apparent simplicity. Everywhere you look is bound up in the elements of the artist’s art so that you find yourself lost in a mysterious world of magic. Zhou has always been searching for a closer and more natural relationship with nature. He has a great love of plants and animals because of their purity. The images of flowers symbolize perfection and by extension love and sex. Under the artist’s brush, the vivid flowers represent the essence of sexual love. What they convey is culture in its entirety with

experimental themes. These paintings of flowers and vases were a radical departure from accepted norms, being made up of a

the primitive and even barbaric vitality of sexual love transformed to give an outward appearance of refinement and

vaguely discernible vase shape surrounded

sophistication.

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135

ZHOU Chunya (b. 1955)

Vase of Flower 1993 Oil on canvas 100 x 80 cm Signed lower right Chunya in Chinese and dated 93

NT$ 2,200,000-3,200,000 US$ 67,100-97,600 HK$ 523,800-761,900

周春芽

周春芽十分喜歡植物和動物，因為他喜歡它們的純潔，但我認為他實際上更加偏好較為人性化的主題。在這方面他的思想和中國傳統一致。在古代文人的眼中，宏觀世界是通過微觀世界再現和放大的，而微觀世界則是人的創造。花開紛亂而妖嬈，搖曳著激情與魅惑，傳達一種花開妖豔，豐盛得幾近糜爛的意象"Zhou has a great

1993 油彩畫布

liking for plants and animals because of their purity. Personally I believe that he prefers themes involving human

100 x 80 cm 簽名右下：93 春芽

nature. In this his ideas are in accord with Chinese tradition. To the Chinese literati,

瓶花

the macrocosm is itself a reproduction and amplification of the microcosm. This microcosm is in turn a creation of human kind." - Monica Dematte. The eternal theme in Zhou’s paintings is his free use of colors and keen interest in life. In his work Vase of Flower, the bold brush strokes broke the shackles of “form” on the artist’s “intention” of expressing his emotions. The subjective colors themselves become an ode to freedom in life and artistic expression in imagism. The highlight of this work is how it expresses freedom and nonchalance without losing its rigor. It is also bold and frank without losing the perceptiveness of art.

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Zhou’s series of flower paintings are the product of an image within his mind. "The wild profusion of flowers sway with passion and seductiveness to convey an image where the charms of the blooms have become so exaggerated by their splendor as to become decadent." In his works, he drew upon the refinement and mysticism in traditional Chinese painting then imbued them with modern expressionism’s tension-filled brush strokes, textures and powerful colors.

136

ZHOU Chunya (b. 1955)

Stone-A View to Ya’anshangli 1994 Oil on canvas 100 x 80 cm Signed lower right Zhou Chunya in Chinese ILLUSTRATED: Chinese Oil Painting in the 20th Century III-1, Beijing Publishing Co., published by Beijing Arts, 2001 color illustrated, p. 141 Liu Chun, History of Chinese Oil Painting, Beijing, 2005, color illustrated, p. 326 Blooming Stories, Sichuan Fine Art Publishing Co., Sichuan, 2007, color illustrated, p. 17

NT$ 3,700,000-4,500,000 US$ 112,800-137,200 HK$ 881,000-1,071,400

周春芽山石圖‧去雅安上里的途中 1994 油彩畫布 100 x 80 cm 簽名右下：周春芽圖錄：《二十世紀中國油畫 III-1》，北京出版社；北京美術攝影出版社，北京， 2001，彩色圖版，頁141 劉淳，《中國油畫史》，中國青年出版社，北京，2005，彩色圖版，頁326 《花間記》，四川美術出版社，四川，2007，彩色圖版，頁17

早在1990年代，周春芽就借助全新技巧重新詮釋傳統的中國山石。山石是中國繪畫的傳統題材，是文人的精神折射和自由靈魂的依託。在周春芽的畫中，山石表現出一種迥然相異的面貌，石頭的顏色很特殊，用跟自然不

自己的想像。同樣的，周春芽描畫的山石給他自由發揮繪畫活力的機會，讓他運用飽滿的筆觸，深入利用現有的圖像技法傳統，又不致感到限制。「我在創作「山石」的時候，正在研

相接近的顏色詮釋的本質的東西。

究文人山水畫，我並沒有像國畫家那

「山石是自然的象徵，山石的力量和完整性能讓畫家充分表現自己的精神，也能讓他充分展現繪畫技法。」

樣在材質屬性和圖式形態上去理解，而是按照我的表現意圖去尋找那些令我覺得陌生又能帶來驚喜的東西，我在肌理和質感上花費了很大的工夫，

（周春芽語）

近似於強迫症似的去捕捉和玩味那些

《山石圖》表現出迥然相異的面貌，顏色跟自然不同，表面被一層奇怪的

潛藏在石頭自然屬性中的視覺因素，把這些東西強化、放大本就是形式，而視覺的呈現本就是內容，已經不需

增生組織覆蓋，暗示出模糊的自然本性。畫家運用他最喜愛的材料油彩，借助西方新表現主義技巧的烘托，筆觸與背景分離，以多種形式表現難以辨認的僵硬物。大膽用色，詮釋山石及花卉，使畫增添異彩，形成怪異的風景。筆觸鬆動率意，沒有明確輪廓，大有逸筆草草的味道。這幅作品的創作意圖更加現實，畫面更加具象化，畫中主題彎曲的形狀靈感直接來自於畫家在太湖拍攝的眾多照片。畫面上的一個細節讓這件作品變得令人焦慮，也為其加入了主觀的、出人意表的內涵。山石的空洞是由淡黑色的效果體現出的，它從傳統中發展出來，並由一種不尋常的媒介在畫布上表現。這呈現出了畫家人格的兩個方面，他在過去和現在，中國和西方，「蒼白」和濃重的陰影效果之間徘徊不定。達文西畫中的雲和點塊都有著朦朧的輪廓，這讓畫家能夠充分表現

292

要你進行更多的解釋和引申，這比我們從概念、方法出發所看到和理解到的石頭更讓人驚訝、震撼。」（周春芽語）周春芽喜歡古典文人筆下石頭的形態，但不滿足於那種過於溫和、內向的性格，他想到一種張揚而冒險的嘗試—借助典雅的形態去傳達一種暴力甚至是色情的意味。在這兩種審美趣味之間，人們設立了人為的障礙，模式化的觀看期待，造成了審美趣味的單一，以致形成了一種習慣性的「排異反應」，於是周春芽以豐富的細節和肌理置換了傳統筆墨柔淡纖弱的質地，以繁複錯落的體積結構改變了文人繪畫扁平的視覺特性，從色彩到構圖均給人鬼魅奔放之感。這種反理性、反自然的嘗試獲得了奇異的效果。

As early as the 1990’s Zhou turned to the use of all new techniques in re-interpreting the traditional Chinese mountain rock.

The curved form that was the painting’s

The visual representation is then itself

focus was directly inspired by the artist’s many photos from Taihu. One detail in

the content so there’s no need for extra explanations or references. The result are

Mountain rock is a traditional theme in Chinese painting, reflecting the spirit of the literati and serving as a bastion for the soul. In Zhou’s painting a completely different aspect of mountain rock is revealed. Colors

the image adds a touch of anxiety to the work. This also made it more subjective and surprising. The hollowness of the mountain rock was created using a pale black. This was developed from traditional

rocks more surprising and stunning than those that you see or understand from a conceptual and technical perspective. (by

not found in nature are used to express the nature of the rocks themselves.

art and expressed on the canvas using an unusual acrylic paint. This represented the pull of opposites in the artist’s character -

“Stone is a symbol of nature. The strength and completeness of the Stone allows the

his past and present, China and the West, the “pale white” and deep shadows. In

artist to fully express their own spirit and Chunya)

Da Vinci’s painting the clouds and color blocks all have an indistinct outline so the artist could give his own imagination free

In Stone-A View to Ya'anshangli, the rocks with unnatural colors are themselves

rein. The mountain rock depicted by Zhou gives him the opportunity to unleash his creativity in much the same way. His full

practice their painting skills.”

(By Zhou

covered by a layer of strange growth to hint at their fuzziness in their natural essence. Using his favorite medium of oil

brush strokes make use of existing painting traditions without being restricted by them.

colors, the artist draws on the techniques of the West’s New Expressionism to separate the brush strokes from the background. A variety of methods are then used to express the rigid objects that are to be identified. The fearless use of colors to

When I was painting “Stone-A View to Ya'anshangli” I had been studying the landscape paintings of the literati. Unlike Chinese painters, I did not try to understand them in terms of their texture or compositions. Instead, I let what I

give an interpretation of mountain rock and flowers give the painting and the scenery a strange exotic flavor. The loose brush strokes and lack of distinct outlines suggest a free flowing painting style. The

wanted to express seek out the unfamiliar and surprising elements. To get the right texture and feel I spent a great deal of time compulsively trying to capture and appreciate the visual elements hidden with

inspiration for this artwork was based on reality so the image is more instantiated.

the essence of the rock itself. These were then reinforced and the essence amplified.

294

Zhou Chunya)

While Zhou liked the forms of the rocks in classical literati paintings, he was not satisfied with their excessively reserved and introspective character. He therefore attempted something brash and adventurous – borrowing the classical forms to convey violent – or even sexual – connotations. The existence of manmade obstacles between these two kinds of visual aesthetics have led to certain fixed expectations. This unification of art aesthetics then became a habitual rejection of the unusual. In response, Zhou used rich textiles and transposition of textures to transform the impression of paleness and softness from traditional ink paintings. A complex structure replaced the flat visual impression of literati paintings so that everything from the colors to the composition feels as if there were demons let loose. This attempt to overturn the reasonable and natural resulted in a strange fruit.

295

137

ZHOU Chunya (b. 1955)

Green Dog 1998 Oil on canvas 150 x 120 cm Signed lower right ZHOU CHUNYA in Chinese and English, dated 1998

NT$ 3,300,000-4,600,000 US$ 100,600-140,200 HK$ 785,700-1,095,200

周春芽綠狗 1998 油彩畫布 150 x 120 cm 簽名右下：1998 周春芽 ZHOU CHUNYA

周春芽作品中的狗有著不同的情緒，嘴巴完全張開，展示出一對令人敬畏的犬齒。漣漪的層次色彩中有一種極不穩定的因素。創作強調形態性格，強調主題情景與形態的匹配關係。簡潔的形態以及雕塑的體量感，以流動的書寫來展示力量和速度，以筆觸來暗示質感及觸感，同時以界限分明的正負空間來反襯體量和動態關係。「綠狗」是周春芽在畫布上做的雕

unstable element within the ripples’ layers of color. When creating art, the character of the form, the theme and relationships are the key elements. The minimalist form and the sculpted sense of volume used free flowing strokes to express power and speed while the brush strokes hinted at the feel and texture. The clear separation between the positive and negative spaces also serves to emphasize the relationship

上深入研究的成果。

between volume and movement. The G r e e n D o g i s Z h o u ’s s c u l p t u r e o n canvas. It also used the sculptural form to

在西方，綠色是一種十分鮮明的顏

reconstruct the flower and bird paintings of the literati. As such, it is the result from

色，代表著好運或不幸。而綠色為周春芽帶來了許多好運。十餘年間，周

Zhou’s in-depth studies into the nature of painting.

塑，也是以雕塑的觸感來重構文人花鳥畫，「綠狗」是周春芽在繪畫形態

春芽刻畫的綠狗擁有各式各樣的情緒和姿勢，影射了一種淋漓徹底的暴力和色情感。周春芽將所有的大膽離棄的想像賦予了這條德國牧羊犬，他的綠狗已經成為了一種象徵，也成為了一個備受欣賞的主題。畫家本人就這樣說：「綠狗是一個符號，一種象徵，綠色是寧靜的、浪漫的、抒情的，包含了爆發前的寧靜的『意境』。表面溫順而內心澎湃的狗，有著綠色的身、充實的質感和咄咄欲出的爆發力，令人難忘。」 A green dog, crimson mountain rock, red and black human bodies – the free use of colors through anti-naturalism is an eternal theme in Zhou’s paintings. T h e d o g ’s d e m e a n o r i s c o m p l e t e l y different in this painting with the mouth wide open revealing a set of rather intimidating canines. There is also a very

296

In the West, the color green is considered a very vivid color that represents good fortune or misfortune. As for Zhou, the color green brought him a great deal of good fortune. For more than 10 years, the green dog in Zhou’s art appeared in a variety of moods and poses to reflect a complete and utter sense of violence and sexuality. Zhou put all of his radical imagination into this German Shepherd so that his green dog has become an image and a much appreciated theme. According to the artist himself: “The Green Dog is a symbol. Green represents tranquility and romance but also the calm before the storm. Though the dog seemed obedient on the surface, its inner nature was filled with passion. Its green body, strong presence and barely suppressed explosive power were unforgettable.”

138

ZHOU Chunya (b. 1955)

Smiling Dog 2006 Bronze, Stainless steel, numbered 1/8 30.5(L) x 24.5(W) x 47(H) cm Signed Zhou Chunya in Chinese Signed in mounting ZHOU CHUNYA in English and dated 2006, numbered 1/8 ILLUSTRATED: Blooming Stories, Sichuan Fine Art Publishing Co., Sichuan, 2007, color illustrated, p. 101

NT$ 1,500,000-2,000,000 US$ 45,700-61,000 HK$ 357,100-467,200

周春芽微笑的黑根 2006 銅雕不鏽鋼 1/8 30.5 (長) x 24.5 (寬) x 47 (高) cm 簽名：周春芽簽名底座：2006 Z H O U C H U N YA No: 1/8 圖錄：《花間記》，四川美術出版社，四川，2007，彩色圖版，頁101

1994年周春芽的朋友送了他一隻德國牧羊犬。畫家賦予它「黑根」這個名字。他很喜歡這隻狗與他同床共枕。畫布開始不斷地出現「黑根」的形象，周春芽與「黑根」保持的親密關係使得畫家表現「黑根」沒有止境，成為周春芽最鍾愛的繪畫主題。

painting theme. Though “Heigen” was very dear to Zhou, when it passed away he could only rely on his memories to try and understand a life that had been so filled with vitality.

充滿活力的生命。畫家已經遠離具體的物件，他放任自己的筆法，以草草的筆觸追憶失去的「黑根」—好像

With the actual object now beyond reach, the artist lets his brush wander and retrace through rough strokes his memories of “Heigen” – as if there was no longer

追憶容不下精心的刻畫，綠色繼續存在著，但是，隨著抽象與隨意，綠色開始成為象徵。綠色的狗身紅色的狗舌，將力量和速度蘊藏在最為精練的形體結構之中，在動態和靜態的矛盾

的手法，以直接又精練的色彩雕塑著他深愛的狗兒「黑根」。象徵著畫家自身一種非常「原始」的、「保持著原貌」的生活。

簽名雕刻 Signature inscribed

with the dog saw it become his favorite

當牽引著畫家情感的「黑根」去世之後，周春芽只有通過記憶去理解曾經

對抗中積蓄著一種引而不發的爆發力，畫家運用雕塑特有的形態和獨特

簽名雕刻 Signature inscribed

the dog beside him on his bed. The image of “Heigen” began to constantly appear on the canvas and Zhou’s close relationship

In 1994 a friend of Zhou Chunya gave him a German Shepherd. It was named “Heigen” and the artist liked to sleep with

298

room for the details though the color green continues to live on. The green color however itself becomes a symbol in the artist’s abstract art. The dog’s green body and red tongue embodies its speed and power in a stylized image structure, creating a paradox of the dynamic versus the static to hint at explosive energies unchecked yet not unleashed. By sculpting a unique form and using his own distinctive technique, the artist uses color to give shape to his beloved “Heigen”. This symbolized the very “natural” and “original” lifestyle of the artist himself.

139

MAO Tongqiang (b. 1960)

Wig No. 44 2005 Oil on canvas 120 x 100 cm Signed lower right Mao Tongqiang in Chinese and MAO. T. Q, dated 2005.6.2

毛同強假髮系列—No. 44 2005

NT$ 440,000-540,000 US$ 13,400-16,500 HK$ 104,800-128,600

油彩畫布 120 x 100 cm 簽名右下：毛同強 MAO. T. Q 2005.6.2

300

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Michell HWANG (b. 1948)

Red Lady 1992 Oil on canvas 181.5 x 61 cm Signed lower left Che in Chinese and dated 1992 Titled on the reverse Red Lady and signed Hwang Mi-che in Chinese, size 60 x 90 50F and dated 1992 ILLUSTRATED: Michell HWANG Shanghai‧Taipei Reappearance of Grace, Shanghai Art Museum, Shanghai, 2001, color illustrated, p. 78

NT$ 320,000-420,000 US$ 9,800-12,800 HK$ 76,200-100,000

黃銘哲紅色的淑女 1992 油彩畫布 181.5 x 61 cm 簽名左下：哲1992 簽名畫背：紅色的淑女 60 x 90 50號黃銘哲 1992 圖錄：《黃銘哲上海‧台北風華再現》，上海美術館，上海，2001，彩色圖版，頁78

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141

WU De Chun (b. 1953)

Orateur 2004 Iron (unique) 23(L) x 44(W) x 76(H) cm Signed on the bottom of pedestal: 12, 02, 2004, PIÈCE UNIQUE WU DECHUN WU

NT$ 280,000-460,000 US$ 8,500-14,000 HK$ 66,700-109,500

武德淳演說家 2004 鐵雕（單一件） 23 (長) x 44 (寬) x 76 (高) cm 簽名底座：12, 02, 2004 PIÉCE UNIQUE WU DECHUN WU

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142

Michell HWANG (b. 1948)

Leap 2000 2000 Fiber glass on iron and glass 108 (L) x 24 (W) x 112 (H) cm This sculpture is to be sold with a certificate signed by the artist. ILLUSTRATED: Michell Hwang Shanghai Taipei Grace Reappear, Shanghai Art Museum, 2001, color illustrated, p. 130

NT$ 180,000-240,000 US$ 5,500-7,300 HK$ 42,900-57,100

黃銘哲飛躍新紀元 2000 2000 玻璃纖維鐵玻璃 108 (長) x 24 (寬) x 112 (高) cm 附藝術家親筆簽名之原作保證書圖錄：《黃銘哲上海、台北風華再現》，上海美術館，2001，彩色圖版，頁130

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143

YIN Kun (b. 1969)

Chinese Baby-15 2004 Oil on canvas 100 x 120 cm Signed lower right Yin Kun in chinese and dated 2004.11

尹坤中國娃娃－15 2004

NT$ 240,000-360,000 US$ 7,300-11,000 HK$ 57,100-85,700

油彩畫布 100 x 120 cm 簽名右下：尹堃 2004.11

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144

LIU Kun (b. 1968)

Flag No. 1 2006 Oil on canvas 130 x 110 cm

NT$ 140,000-220,000 US$ 4,300-6,700 HK$ 33,300-52,400

劉錕旗之一 2006 油彩畫布 130 x 110 cm 劉錕不是一位形式主義者。他的作品注重用一些隱含象徵與暗示特有的文化符號來構成形象，並透過東方式的調侃與幽默表現人內心深處複雜與獨特的心理片段，以遊戲化的方式對歷

好的手段。荒誕裡有無限你渴望的感受與美麗，有你已不敢奢求的內心的寧靜。」劉錕說。在他畫面裡荒誕的城市景物背後，大片的像符號一般的

beauty of the urban dream. The colourful and variable images show the different experiences in real society. The characters appear in a world between the real and

顏色，鋪墊的是人物內心的美好與寧靜，以及寧靜背後的厚重與豐富。站在他的畫作前，凝神於那種顏色的遼

the unreal, and the quiet picture seems to foreshadow the coming of the unknown. Like the character in the picture with

闊，你所能體會的只有一種直達內心的感動…。

his eyes shut, in a seeming quietness the thought flows and implies countless possibilities of mystery, absurdity, or even

一位熟悉中國當代藝術著名的美國策展人馬芝安這樣評價劉錕的作品：

danger. “Perhaps absurdity is the best way for modern people to be themselves in the crevices. In absurdity there is the

「劉錕是一位極有前途的青年藝術家。他的作品反映了北京生活中熟悉的人物和性格類型，作品描繪的人物透過懶散的、壓抑的、有時古怪的表情表現了日新月異的中國都市生活的希望和無望。」

史的介入與對舞蹈的重構，幻化出像《愛麗絲漫遊奇境》一般荒誕的奇異景象。他的作品筆和顏色的膠著，大背景的肆意鋪張，暗含了舞蹈與細節扭動及盡情騰躍中的快感。劉錕善於描繪城市夢境中的荒誕美，豐富的顏色和靈活多變的畫面內容，表現現實社會多樣化的人生感觸，城市人物大都出現在一個似現實而又非現實的環境中，畫面很安靜，又似乎是要發生些什麼。就像他畫中閉著雙眼的人，在表面的安靜中浮想聯翩，醞釀著無限的可能 — 有點兒神秘，有點兒荒誕，甚至帶點兒危機。「荒誕可能是現代人在縫隙中保持自己最

As a non-formalist, Liu cares for using symbols, implications, and unique cultural symbols to construct his images. With an Oriental mock and humor, he presents the depth, complexity, and uniqueness of human psyche, and with a playful intrusion in history and a reconstruction of dance, he gives birth to an absurd bizarre image similar with Alice in Wonderland. The mixture of the touch and colour as well as the extravagant setting of the background, his works imply dancing and the delight of distortion and indulgence. Liu is good at picturing the absurd

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sensation and beauty you desire, and the inner quietness you have dared not to beseech.” Said Liu. Behind the absurd urban scenery in his picture, the rich symbol-like colour hints the happiness and peace inside the character as well as the richness and profundity behind such peace. Standing in front of his painting and gazing at the vastness of colour, you can only feel the touch inside your heart. Meg Maggio, an American curator who has been familiar with the Chinese contemporary art, commented, "Liu is a promising young artist. His works reflect familiar characters and personalities out of the life of Beijing, and the painted characters present the hope and despair in an advancing Chinese urban life, with their inactive, repressing, and sometimes strange countenances."

145

LI Jikai (b. 1975)

Refraction‧Reflection‧No: 3 2005 Acrylic on canvas 150 x 100 cm Signed lower left Li Ji kai in English and dated 2005 Ti t l e d o n t h e r e v e r s e

HK$ 154,800-178,600

R e f r a c t i o n‧R e f l e c t i o n‧N o : 3 i n Chinese, signed LI JIKAI in Chinese

李繼開

and English, media Acrylic on canvas in Chinese and size 150 x 100 cm, dated 2005

2005 壓克力畫布

NT$ 650,000-750,000 US$ 19,800-22,900

折射‧反射‧NO：3

150 x 100 cm 簽名左下：Li Ji kai 2005 簽名畫背：《折射‧反射‧N O：3》 150 x 100 cm 布面丙烯李繼開 LI JIKAI

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146

YAO Junzhong (b. 1961)

Pink Series 2006 Oil on canvas 150 x 120 cm Signed lower right Yao Junzhong in English and dated 2006.5 Titled on the reverse Pink Series in Chinese and signed Yao Junzhong in English

NT$ 240,000-360,000 US$ 7,300-11,000 HK$ 57,100-85,700

姚俊忠粉紅系列 2006 油彩畫布 150 x 120 cm 簽名右下：Yao Junzhong 2006.5 簽名畫背：《粉紅》系列 Yao Junzhong

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147

CHANG Chih-cheng (b. 1954)

Red Bottles 1996-1997 Oil on canvas 73 x 91 cm Signed on the reverse CHANG CHIHCHENG in Chinese and English, title Red Bottles and media oil on canvas, dated 1996-1997 and size 30F

NT$ 160,000-220,000 US$ 4,900-6,700 HK$ 38,100-52,400

張志成紅色的瓶子 1996-1997 油彩畫布 73 x 91 cm 簽名畫背：張志成 C H A N G C H I HCHENG 1996-1997 油畫畫布 30F 紅色的瓶子

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148

YU Shenghao (b. 1973)

Rhythm 2005 Oil on canvas 106 x 113 cm Signed lower right YSH, Signed on the reverse Yu Shenghao and titled Rhythm in

俞成浩韻

Chinese, size 113 x 106 cm and dated 7-42005

2005 油彩畫布

NT$ 320,000-360,000 US$ 9,800-11,000 HK$ 76,200-85,700

106 x 113 cm 簽名右下：YSH 簽名畫背：俞成浩《韻》113 x 106 cm 7-4-2005

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149

CHUANG Che (b. 1934)

Early Spring 1976 Acrylic on canvas 100 x 127 cm Signed lower left Chuang Che in Chinese and dated 1970

莊喆

Titled on the reverse Early Spring and signed Chuang Che in English, dated 1970

早春

NT$ 400,000-500,000 US$ 12,200-15,200 HK$ 95,200-119,000

簽名左下：莊喆 76 簽名畫背：Early Spring Chuang Che 1970

1976 壓克力畫布 100 x 127 cm

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150

SHEN Che-tsai (b. 1926)

Ballerina 2001 Oil on canvas 46 x 40 cm Signed lower right Che-tsai in Chinese and dated 2001 Signed on the reverse Che-tsai, 8F in Chinese

沈哲哉芭蕾舞者 ILLUSTRATED: Impression Classics VI Appointment of New Century, Exhibition of Four MastersShen Che-tsai, Chen Yin-hui, Chen Jingron, Wang Shouying, Impressions Art Gallery, Taiwan, 2001, color illustrated, p.15

NT$ 220,000-320,000 US$ 6,700-9,800 HK$ 52,400-76,200

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2001 油彩畫布 46 x 40 cm 簽名右下：2001哲哉簽名畫背：8F 沈哲哉畫圖錄：《印象經典VI 新世紀的期約四大名家特展－沈哲哉、陳銀輝、陳景容、王守英》，印象畫廊，台北，2001，彩色圖版，頁15

151

YIN Zhaoyang (b. 1970)

Mythology 2005 Oil on canvas 50.5 x 50.5 cm Signed on the reverse Zhaoyang in Chinese and dated 2005 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., Sichuan, 2006, color illustrated, p. 10

NT$ 620,000-700,000 US$ 18,900-21,300 HK$ 147,600-166,700

尹朝陽神話 2005 油彩畫布 50.5 x 50.5 cm 簽名畫背：朝陽 2005年圖錄：《神話－尹朝陽》，四川美術出版社，四川，2006，彩色圖版，頁10

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152

JIA Difei (b. 1957)

Poker Series - K 2002 Oil on canvas 120 x 99 cm Signed lower right Difei in Chinese and dated 2002 The painting is to be sold with a photograph of the artist with this lot.

NT$ 620,000-720,000 US$ 18,900-22,000 HK$ 147,600-171,400

賈滌非撲克牌系列－K 2002 油彩畫布 120 x 99 cm 簽名右下：2002 滌非附藝術家與本拍品合影照片

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153

JAN Chin-shui (b. 1953)

Iced Lake and Swinging Sunlight 2006 Mixed media on canvas 130 x 194 cm Signed lower right Chin-shui in Chinese and dated 2006 Titled on the reverse Iced Lake and Swinging Sunlight and signed Jan Chinshui in Chinese, size 120F and dated 2006

NT$ 500,000-600,000 US$ 15,200-18,300 HK$ 119,000-142,900

詹金水冰湖暇輝 2006 綜合媒材畫布 130 x 194 cm 簽名右下：金水 2006 簽名畫背：120F 冰湖暇輝詹金水 2006年

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153

154

KO Shih-chung (b. 1966)

Space 2006 Mixed media on canvas 70 x 70 cm Signed lower right Shih-chung in Chinese and dated 2006 ILLUSTRATED: Itinerary‧Space - Ko Shih-chung 19992007, GSR Gallery, Taichung, 2007, No. 32, p. 43

NT$ 110,000-150,000 US$ 3,400-4,600 HK$ 26,200-35,700

柯適中時空 2006 綜合媒材畫布 70 x 70 cm 簽名右下：適中 2006 圖錄：《路程．空間－柯適中1999-2007》，由鉅藝術中心，台中，2007，圖32，頁43

320

黃敏俊

155

晚餐

HUANG Min-jun (b. 1971)

1990 油彩畫布

Supper

120 x 120 cm 簽名右下：CHRISTOPHE 1990

1990 Oil on canvas 120 x 120 cm Signed lower right CHRISTOPHE and dated 1990 EXHIBITED: A Decade - Myself - Love for the Fish, Taipei Art Center, Taipei, Oct. 2, 1997 Oct. 17 1997 Opening exhibition in Fish Art Gallery, Taipei Fish Art Gallery, Taipei, Apr. 1, Apr. 30, 2003

展覽：「十年‧我‧秋刀魚之戀」，台北藝 ILLUSTRATED: Album of Art Exhibition in Taiyang Art Association, Chinese Taiyang Art Association, 1990, color illustrated, p. 110 Album of oil paintings by Huang Min-jun, Fish Art Studio, 1994, color illustrated, p. 7

NT$ 320,000-420,000 US$ 9,800-12,800 HK$ 76,200-100,000

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術中心，台北，展期自1997年10月2日至10月17日「秋刀魚藝術中心開幕展」，台北秋刀魚藝術中心，台北，展期自2003年 4月1日至4月30日圖錄：《台陽美展畫冊》，中華民國台陽藝術協會，1990，彩色圖版，頁110 《黃敏俊畫集》，秋刀魚藝術工作室，1994，彩色圖版，頁7

156

CHIU Ya-tsai (b. 1949)

Profile Portrait of a Girl 1993 Oil on canvas 116.5 x 90.5 cm Signed lower right Chiu Ya-tsai in Chinese and dated 93 This painting is to be sold with a certificate of authenticity issued by Galerie Elegance, Taipei.

NT$ 260,000-380,000 US$ 7,900-11,600 HK$ 61,900-90,500

邱亞才少女側面像 1993 油彩畫布 116.5 x 90.5 cm 簽名右下：邱亞才 93 附愛力根畫廊開立之原作保證書

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157

HSIAO Chin (b. 1935)

Abstract 1959 Mixed media on paper 57 x 45 cm Signed lower right in English and in Chinese, dated With one seal of the artist

NT$ 40,000-70,000 US$ 1,200-2,100 HK$ 9,500-16,700

蕭勤抽象 1959 綜合媒材紙本 57 x 45 cm 簽名右下：HSiAO勤 2-Ⅳ 1959 鈐印右下：蕭勤

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158

PANG Yongjie (b. 1968)

Intimacy 2005 Oil on canvas 160 x 125 cm Signed lower right Yongjie in Chinese and dated 2005.11

龐永杰親密 2005

NT$ 300,000-400,000 US$ 9,100-12,200 HK$ 71,400-95,200

油彩畫布 160 x 125 cm 簽名右下：永杰 2005 11

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159

CHIU Ya-tsai (b. 1949)

Bo-han Oil on canvas 194 x 130 cm Signed lower left Chiu Ya-tsai in Chinese EXHIBITED: The Memory of Wisteria Teahouse, Galerie Elegance, Taipei, 1995 ILLUSTRATED: The Memory of Wisteria Teahouse, Galerie Elegance, Taipei, 1995

NT$ 680,000-900,000 US$ 20,700-27,400 HK$ 161,900-214,300

邱亞才伯含油彩畫布 194 x 130 cm 簽名左下：邱亞才展覽：「紫藤記事」，愛力根畫廊，台北，展期自95年10月14日至10月29日圖錄：《紫藤記事》，愛力根藝術有限公司，台北，1995

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160

LI Kai (b. 1947)

Gate of the Palace 2001 Oil on canvas 60 x 65 cm Signed lower right Li Kai in Chinese, dated 2001

NT$ 550,000-720,000 US$ 16,800-22,000 HK$ 131,000-171,400

李凱宮門 2001 油彩畫布 60 x 65 cm 簽名右下：李凱 2001

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Lots 002, 126

Lot 003

WANG Yabin (b. 1974)

LEI Shuang (b. 1950)

JIA Gang (b. 1974)

Born in 1974, Henan, China. In 1994, he graduated from Henan Normal Universtiy and now as a professional artist living in Henan. He is entirely a novice. The reason undoubtedly being that maturity did not emerge in his works until 1999. Before this time, figurative expression had always been a major part of his creative process. He likes to use materials of all sorts, so that the richness of texture in his works could be felt as an invitation to comprehend and decipher, and at the same time an enunciation of enigma and complexity. “Oil paintings by artists from Henan” in 1999 and 2003 hold the solo exhibition in Shanghai.

Born in Changsha, Hunan, China. Lei Shuang is currently a professional artist at the Henan Sculpture and Painting Academy. She majored in Chinese and graduated in Henan. In 1989, she enrolled in the Central Academy of Fine Art for studying oil painting. From 1991, she began to hold solo exhibitions and flowers were her main subject matter. In Chinese Art, flowers are the very familiar subjects. But Lei Shuang endows them with profound depth and subtlety, giving us a new perspective. Lei Shuang's flowers are presented to us in a seemingly simple tableau that causes the viewer to pause for thought. A beautiful vision to be enjoyed, Lei Shuang's flowers also have the power to make one contemplate about larger issues in life. Public collections: National Art Gallery (Beijing) and WCA (USA).

Jia Gang (b. 1974) Jia graduated from Academy of Arts and Design in Tsinghua University in 2001, participated in “Young and Bold – Exhibition of the new acts in the China art scene“.

王亞彬 (1974年生)

雷雙 (1950年生)

賈剛 (1974年生)

生於河南新鄉。1994年畢業於河南師範大學藝術系，現為職業畫家。他的作品實際上自1999年後才日趨成熟。在此之前，具象表現的作品一直占他創作的主要地位。他喜歡使用各種材料的嘗試，使畫面變得層次豐富，具有研讀性，同時又使作品變得更加神秘和不可捉摸。1999年參與「河南油畫家精品展」，2003年於上海舉辦個展。

湖南長沙人，女性藝術家。目前任河南省雕塑書畫院畫師。畢業於河南中文系，1989年考入中央美術學院油畫系創作研究班，1991年畢業。1988 年首次個展於上海科技大學畫廊，後來經常舉辦展覽於上海、台灣，1998年中國美術館油畫個展。其作品取材以花為主，對中國藝術來說，花是極為熟悉的題材，但是雷雙卻賦予其新意表現出不加修飾的低沈心境，雷雙的花帶來的思想矛盾與感情壓抑，遠超過了視覺上的賞心悅目，激發思考很多花草以外的問題。作品收藏機構有中國美術館、美國WCA等。

2001年畢業於清華大學美術學院，2004年「少年心氣—中國新銳繪畫展」。

330

Lot 006

Lot 007

CHENG Tsai-tung (ZHENG Zaidong, b. 1953)

Tzu-chi YEH (b. 1957)

KUO Wei-guo (b. 1960)

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 Yuli, Hualien in 1957, Yeh held his undergraduate study at the National Taiwan Academy of Arts in 1977 and graduated from the Fine Arts Department, Chinese Culture University in 1981. He acquired his master's degree from Fine Arts Graduate School, Brooklyn, City University of New York, USA in 1989. His works were often seen in local and foreign personal and joint exhibitions, including personal exhibitions held at the Taipei American Culture Center in 1987 and the Westbeth Gallery, NY in 1989. He attended the Asian Youth Art Exhibition in Hong Kong in 1980 and was invited by Alternative Museum to attend the Invitational Joint Exhibition “The Day of Death” in 1989 and 1990.

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.

鄭在東 (1953年生)

葉子奇 (1957年生)

郭維國 (1960年生)

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。

1957年生於花蓮玉里，1977年國立藝專肄業， 1981年中國文化大學美術系西畫組畢業。1989年獲美國紐約市立大學布魯克林藝術研究所碩士。作品多次參加國內外個展及聯展。包括1987年於台北美國文化中心、1989年於紐約衛斯貝斯畫廊個展。1980年參加香港舉行的亞洲青年畫展。 1989及1990年均獲邀參加紐約替代美術館「死亡之日」邀請展。

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。

331

Lot 009

Lot 010

Lot 008

LIEN Chien-hsing (b. 1962)

MIAO Jingchang (b. 1966)

HUANG Ming-chang (b. 1952)

Miao was born in the Hebei province of China. In 1990, he graduated from the Fine Arts Department of Inner Mongolia Normal University, specialized in oil painting. He served as the firstclass teacher in Baogang Normal College and Sports College in Baotou, Inner Mongolia. His work White Villous Themeda entered the 2nd Chinese Annual Oil Painting Exhibition; A Clear Lake With Only One Fish was selected in “the 8th National Art Exhibition”; Western Landscape was selected in “Chinese Landscape Painting and Oil Painting Exhibition”; No Wind In The Past and Flat Landscape With No Sound entered “the Oil Painting Exhibition by Chinese Young Artist”s; A Warm Afternoon won “the Bronze Award in the 9th National Art Exhibition”.

Graduates from the Chinese Culture University fine arts department, went to France in 1977, and entered the national advanced Paris fine arts institute to pursue advanced studies. Graduated in 1984 and attains the advanced oil painting diploma, simultaneously his work was collected by Paris municipal government Ministry of Culture. While his residency in France, his works participates in many join exhibitions: For example the “French autumn Salon exhibition” in 1977, the “Montrouge Salon exhibition” in 1980, 1982 and the “Foire Internationale d’Art Contemporain” (FIAC) in Paris Grand Palais, 1983. In 1985 he returned to Taiwan and settled down, teaches at the state-run art academy, and in 1985, 1991 he conducted his personal exhibition. Huang received the 3rd Hsiung Shig Award for best new artist 1978, excels to present the village field picture through a careful and detailed painting technique, favored by many art critics, galleries and collectors from the nation and abroad. He’s the artist who not only inherited and linked native realistic poetics during the 80’s in Taiwan, he also poured a broad view into the painting itself.

連建興 (1962年生)

苗景昌 (1966年生)

黃銘昌 (1952年生)

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」。

生於中國河北。1990年畢業於內蒙古師範大學美術系，擅長油畫，任內蒙古包頭市包鋼師範學校、體育學校一級教師。作品《白菅草》入選中國第二屆油畫展；《僅有一條魚的清湖》入選全國第八屆美展；《西部風景》入選中國山水畫、油畫風景畫展，《過去沒有風》、《沒有聲音的平坦風景》入選中國青年油畫展；《暖暖的下午》獲第九屆全國美展銅獎。

畢業於中國文化大學美術系，1977年赴法國，並進入國立高等巴黎美術學院深造。1984年畢業獲高等油畫文憑，同時作品被巴黎市政府文化部收藏。留法期間，其作品多次參加重要聯展：如 1979年的「法國秋季沙龍展」，1980、1982年的「紅山（Montrouge）沙龍展」，1983年巴黎大皇宮「國際當代藝術展 FIAC」等。1985年返國定居，任教於國立藝術學院，並於1985年及1991 年舉辦個展。黃氏曾於1978年獲得第三屆雄獅新人獎，擅長以細緻的筆法描繪鄉間田野景象，深受藝評及美術館和海內外私人藏家的喜愛。是台灣九○年代接續鄉土寫實詩情而又賦以大格局式觀照的畫家，一貫保持了藝術本質的純粹性。於2000年應邀參加北京、上海「20世紀中國油畫展」及2001年台北、台中「台灣美術百年展」，作品經常在歐、美、加等地展出。

332

Lots 011, 012, 037, 074, 149 Lot 014

Lots 013, 156, 159

CHUANG Che (b. 1934)

CHIU Ya-tsai (b. 1949)

YANG Mao-lin (b. 1953)

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

Chiu was born in 1949 in Yi-lan on the east coast of Taiwan. A loner and an underachiever in school, he began his mandatory military service and at the same time began to read. Beginning with Chinese history and progressing to the classics of Western literature in translation for example the masterpieces of Shakespeare and Dostevsky, he was inspired by tales of heroes and began to write and paint. Chiu's portraits of Taiwan's modern-day literati are greatly influenced by the figure painting of the Tang dynasty (618-906 AD) seen in the hooked noses and almond-shaped eyes. Elegant androgynous-looking men and women with elongated, oval faces are shown seated or standing in partial profile. The subjects appear to be lonely, even melancholic, but controlled and self-possessed. In 1980s, Chiu perseveres with his literary and artistic works in a well-known cultural salon " Wisteria " in Taipei. His paintings have been widely exhibited in Spring Gallery (Taipei), National Museum of History and Taiwan Museum of Art.

Zeelandia Memorandum

莊喆 (1934年生)

邱亞才 (1949年生)

楊茂林 (1953年生)

生於北京，其父親莊喆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。

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。

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。

333

Lot 018

Lots 015, 016

SU Wong-shen (SU Wang-shen, b. 1956)

HOU Chun-ming (b. 1963)

WU Tien-chang (b. 1956)

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.

Born in Taipei, Taiwan. He graduated from Chinese Culture University in 1980 and was one of the founding members of the “Taipei Painting Association.” The style he has changed from irony to black humor. In the late 1980s, Wu started to create the Trauma series that reflected the social issues of concern. All the elements in the painting are scars and violence, implying the age at that time. In 1990s, Wu employed image into his creation. In addtion to photography, he also pays special heed to the frame and material used. He often used artificial flower, sequins, velvet, cord and leather, imitating the “Salon photography” which was popular in Taiwan in the 1950s. These techniques and materials present the main theme of the works of this period, Pretence. In recent years, he participated in the Venice Biennale and that of Fukuoka Asian Art Museum in Japan and became a well-known figure.

Born in Chiayi, Taiwan. Su Wong-shen currently works and lives in Kaohsiung. He graduated from the Fine Arts Department of Chinese Culture University. Su's first solo exhibition was held in the American Culture Center in Taipei. He held another solo exhibition in the Taipei Fine Arts Museum in 1988 and continued to exhibit extensively thereafter in both solo and group exhibitions. Su's early work in 1980s was abstract and it was only in the 1990s that he moved to more realist work. Most of his recent work uses dogs to as a metaphor for social criticism. His work is found in the public collections of the Taipei Fine Arts Museum and the National Taiwan Museum of Fine Arts.

侯俊明 (1963年生)

吳天章 (1956年生)

蘇旺伸 (1956年生)

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。

台灣台北人。1980年畢業於文化大學美術系，為「台北畫派」創始成員之一，乃台灣前衛藝術最出色的人物之一。他的繪畫風格經過了從政治反諷向黑色幽默的轉變。1980年代末吳天章開始製作「傷害症候群」，以社會性題材關心時代議題，繪畫裡所有的元素都是受傷的、暴動的，以表現當時台灣所處的時代。1990年代，吳天章開始以影像作為創作手法，除了攝影，他也特別著重在畫框與材質的選用，他常用人造花、亮片、金蔥布、絨布、皮料、雷射的亮帶等材質，以及仿製50年代流行於台灣「沙龍攝影」的場景，以表現這時期的創作主題—「虛假」特質。近年曾參加義大利威尼斯雙年展、日本福岡亞洲美術館等重要國際大展，聲名大噪。

台灣嘉義人，目前居住於高雄。1979年畢業於文化大學美術系。1985年首次個展於美國文化中心，1988年台北市立美術館個展，歷年舉辦多次個展及聯展。其作品從早期切割畫面的構成，至近期以「狗」為隱喻手法，表現當今社會現象。收藏機構：台北市立美術館、國立台灣美術館等。

334

Lot 021

Lots 023, 026, 059, 060, 061, 070

Lots 022, 053

ZHANG Hongtu (b. 1943)

CHAO Chung-hsiang (1910-1991)

Born in Gansu, China, Zhang graduated from the Affiliated Senior High School of Central Academy of Fine Arts and Central Academy of Arts and Design. In 1982, he settled down in the United States. Zhang reinterprets the masterpieces of traditional Chinese painting and calligraphy with western colors and brush marks. He reserves the composition and wide horizon of traditional Chinese landscape painting fully with western painting technique and starts the conversations between past and present, east and west with his own paint brush. He frees himself boldly from the traditional Chinese and western aesthetics and provides the viewers with a whole new visual experience from an objective perspective.

From 1932 to 1939, Chao studied at Henan Normal School followed by the Hangzhou National Academy of Art where he was awarded 16 prizes. Chao's early work has been collected by his tea-chers Lin Fengmian and Teng Gu. In 1939, his works were exhibited in the first National Art Exhibition where he won a prize in watercolor. In 1956, Chao received a scholarship to Spain where he later became a permanent member of the National Art Association of Spain. He moved to USA in 1958 and devoted the next three decades to exploring and developing his own artistic style. While living in USA, Chao met his American contemporaries such as Roy Lichtenstein (1923-1997) and Mark Rothko (1903-1970). In 1965, he held a solo exhibition and lecture at the Guggenheim Museum. In 1980, he returned to Taipei for a solo exhibition and 4 years later, decided to establish an art studio there. From 1984 to his death in 1991, Chao traveled frequently between New York, Taipei, China and Hong Kong in his search for artistic fulfillment.

張宏圖 (1943年生)

趙春翔 (1910-1991)

朱德群 (1920年生)

出生於中國甘肅。張宏圖畢業於中國中央美術學院附中、中央工藝美術學院，1982年到美國定居。張宏圖將中國古代名家的經典字畫，以西方大師的用色及筆觸重新詮釋，運用西畫畫法很好地保留了中國傳統山水畫的構圖及遼闊視野，讓古與今、東方與西方借著畫家的彩筆展開對話，大膽跳脫了傳統中西方的美學，以客觀的角度提供觀者一種全新的視覺體驗。

1932至1939年間就讀於河南省第一師範學校藝術系及國立杭州藝專，期間曾經榮獲16項獎項，其作品亦被林風眠（1900-1991）與滕固兩任校長收藏，1939年參加南京第一屆全國美展，並獲人物水彩畫獎。1956年因獲西班牙皇家美術協會會員而遷居西班牙。趙春翔於1958年移居美國，往後三十年中探索並發展新的繪畫風格，並結識同時期美國藝術家如李奇登斯坦（1923-1997）與羅斯科（1903-1970）等人。1963年，代表中華民國參加紐約古根漢美術館舉行個展及演講。往後數年，趙春翔在美國各家畫廊及博物館等地舉行展覽及演講活動；1980年返台舉行個展，並於 1984年成立個人畫室。1991年病逝於台灣。作品廣受各地私人與美術館收藏，如古根漢美術館、紐約大都會美術館及台北市立美術等。

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。

335

CHU Teh-chun (b. 1920)

Lots 025, 062

Lot 028

Walasse TING (b. 1929)

George CHANN (1913-1995)

DING Yan-yong (1902-1978)

One Cent LifeRed Mouth

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.

Born in 1902, Guangdong, China. Ding, Lin Fengmian, and Guan Liang was titled “Three Heroes of Guangdong” in Chinese painting. These three people respectively hold their space in the painting world. He studied painting at the Tokyo College of Fine Arts, and devoted to oil painting in his early years and had been influenced by Matisse, post-impressionism, cubism and fascism. In 1925, he retuned to China and taught Western painting at various art colleges. In 1949, he settled in Hong Kong. He later turned to Chinese painting and carry on the nature style of expressionism. He also takes the interest of classical carving and calligraphy into in his drawing work. In addition, he lifelong is engaged in the artistic education. He was invited in planning the establishment of the Department of Fine Arts, New Asia College. Later he served as a lecturer at the Department of Fine Arts, Chinese University of Hong Kong. Ding’s works were widely exhibited in Hong Kong and overseas. His works were features in solo exhibitions held in Hong Kong, Australia and Taiwan.

丁雄泉 (1929年生)

陳蔭羆 (1913-1995)

丁衍庸 (1902-1978)

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。

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。

廣東人，在中國畫壇與林風眠、關良素有「廣東三傑」之稱，三人在畫壇各佔有一席之地。早年留學日本，專攻油畫，在東京美術學校習畫，受野獸派風格的影響甚深。1925年回到中國展開教學生涯。1949年遷居香港。晚年致力於中國畫，並且經營出一種自然的表現主義風格。並將古典的篆刻趣味帶進他的繪畫作品中。此外，丁氏終身從事藝術教育，為新亞書院藝術專修科（其後發展為香港中文大學藝術系）創辦人之一。他的作品多次於香港及海外展覽，也曾經在香港、澳洲、台灣舉辦個展。

336

Lot 029

Lot 030

Lot 031

WANG Yidong (b. 1955)

GAO Huijun (b. 1966)

LU Shun (b. 1966)

Ancient Village

Born in Baoding, Hebei, Gao Huijun graduated from the Hebei Light Industry School in 1986, graduated from the Central Industrial Art Institute in 1992. She became a professional painter since 1994. She attended the Beijing China art exhibition, won the outstanding works prize, in the same year she also participated in the German China modern art exhibition. After 1996, she held solo exhibitions in Beijing and Singapore; her works are also collected by Teda Contemporary Art Museum in Tianjin.

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.

王沂東 (1955年生)

高惠君 (1966年生)

呂順 (1966年生)

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。

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」

337

Lot 032 Lot 034 Lot 033

WU Zuoren (1908-1997)

CHIANG Jui-keng (b. 1922)

SUN Yuntai (1913-2004)

Wu Zuoren was born in An Hui Jing Xian. He was accepted by the department of Fine Arts in Shanghai University of Fine Arts in 1927, next year he was transferred to the department of Fine Arts in Nanguo Art Academy, taught by Xu Baihong, and joined the Nanguo society. He later followed Xu Baihung to the department of Fine Arts in Nanjing Central University for advanced studies. In 1930, he studied abroad in France, and was accepted by Professor Simone's studio in École nationale supérieure des beaux-arts, Paris. Later he transferred to the Royal Academy of fine arts in Brussels, Belgium. Wu had great ability in forming, and was also good at painting his frame of mind, gave viewers endless imaginations.

Born in Rueifang, Taipei, he received a Japanese education and his devotion to art led him to travel to Tokyo, Japan, to enroll in the Western Painting program of the Kawabata Painting School despite his economic hardship. After returning to Taiwan, he worked as a coal miner to experience their work conditions before putting it to canvas. This led him to become known as the “Miner Painter”. His 1975 Chioufen Sights was selected for the American Bicentennial Commemorative Exhibition while Ancient Temple was collected by the U.S. duPont Gallery. He held his first personal coal mining industry exhibition in 1986. His works have been selected on many occasions for the Provincial Fine Art Exhibition and the Taiyang Exhibition. His signature is the unrestrained use of colors in painting with touches of detail among the raw strength. His casual small paintings are also quite interesting with many clever touches.

Born in Hwanghsien Province, Shandong, Chain, Sun Yuntai went to Russia in 1931, and entered the Moscow Russian aristocrat painter Luo river Pakistan Knoff’s studio to learn to paint. He conducted many teacher-and-student joint exhibitions during the 30’ and 50’. He is well-famed, and conducted his solo exhibitions in Moscow and Tokyo. In 1943, with the company of his teacher, they evaded to Heilongjiang. During the 50’ and 60’, there were about 20 of his works collected by the Guo Bing Hall in Beijing Diao Yu Tai museum. Meanwhile, with Fu Baoshi, and Guan Shanyue, they attained invites to paint for the Great Hall of the People in Beijing. During that time, Sun Yuntai completed his huge oil painting Forest. And during the Great Cultural Revolution in 1965, he was criticized, and lived in seclusion. After he returned to China, he conducted his first solo exhibition within decades at Howard Hotel in Taipei in 1992, and received brilliant feedbacks. In 1993 he held a second solo exhibition in Hong Kong, and published the Sun Yuntai oil painting album.

吳作人 (1908-1997)

蔣瑞坑 (1922年生)

孫雲台（1913-2004）

安徽省涇縣人。1927年考入上海藝術大學美術系，翌年轉學南國藝術學院美術系，師從徐悲鴻，並參加田漢組織的南國社。後隨徐悲鴻到南京中央大學藝術系繼續學畫。1930年赴法國留學，考入巴黎高等美術學校西蒙教授工作室。後轉比利時布魯塞爾皇家美術學院。吳氏極強的造型能力，吳氏又注意使意境向畫外生發，給人以想像的空間。

出生於台北瑞芳，早期曾受過日式教育，因對美術的喜愛與執著，在困窘的經濟條件下，仍毅然赴日本東京就讀川端畫學校西畫科。返台後，實際下坑挖礦，體驗礦工的工作處境，再形之於作品，因而被譽為「礦工畫家」，1975年「九份風景」入選美國兩百週年紀念展，「古廟」為美國杜邦美術館藏。1986年舉辦首次個展與礦業特展。作品入選省展、台陽展多次。畫風色彩奔放自如，粗獷有力中猶見細膩之表現，即興小品韻味十足，筆趣橫生。

中國山東省黃縣人。1931年赴俄羅斯，入莫斯科白俄貴族畫家洛巴諾夫畫室習畫。30-50年代多次舉辦師生聯展。個展於莫斯科和日本東京，享譽盛名。1943年偕同恩師洛巴諾夫避居黑龍江。 50-60年代先後有20多幅作品被北京釣魚台國賓館收藏。同時與傅抱石，關山月大師獲邀為北京人民大會堂繪製作品。孫雲台繪製完成巨幅油畫作品〈森林〉。1965年文化大革命被批判，隱居。1992年在臺北福華飯店舉辨返中國後第一次個展，轟動畫壇。1993年在香港藝術中心舉辦第二次個展。在香港出版《孫雲台油畫選》。

338

Lots 035, 085

Lots 038, 052, 071, 083, 092, 093

HONG Ling (b. 1955)

CHUA Hu (Tsai Yun-cheng, b. 1929)

JU Ming (b. 1938)

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.

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.

洪凌 (1955年生)

蔡雲程 (1929年生)

朱銘 (1938年生)

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。

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。

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。

339

Lot 040

Lots 041, 042, 043, 044, 045, 046, 047, 048, 049, 050

Lot 039

LUO Erchun (b. 1929)

YU Xiaofu (b. 1950)

LIN Fengmian (1900-1991)

Born in Xiangxian County, Hunan Province. Accepted in to the Suzhou Art College at the age of 16 in 1946. There Luo studied under Yen Wunliang and his time at the school gave him a solid grounding in art. Graduated in 1951. In 1964 he was transferred to the Department of Oil Painting at the Central Academy of Fine Arts. After the Cultural Revolution he was assigned to the State Council to work on hotel paintings where he met with other artists such as Wu Zuo-ren, Li Ku-chan and Ai Zhong-xin. In 1982 he held a group exhibition at the CAFA and in the same year was assigned to the CAFA Department of Oil Painting’s No.3 Studio. In 1988 he held the “Exhibition of Oil Paintings by Luo” at the Hefner Galleries in New York. The exhibition featured a total of 30 of his oil paintings. In 2004 he was interviewed by the Chinese Language Station of Radio France Internationale. Luo has always insisted on maintaining independence of thought and creativity in art. This was the reason for Wu Guan-zhong’s high estimation of his work.

Born in Shanghai, Yu Xiaofu was graduated from Shanghai Theater Academy, Arts Department (oil painting). Yu Xiaofu is currently incumbent Shanghai Oil Painting Sculpture Academy professor. Once was appointed Shanghai oil painting sculpture academy vice-president. In 1994 organized to initiate the "Neo-Shelf Painting" artistic community. Once attained: Chinese 1st session oil painting big prize, 7th session of national fine arts copper prize, 2nd and 3rd sessions of national picture-and-story book silver prize, 1st session Shanghai youth art exhibition first award. He also published the essay

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.

羅爾純 (1929年生)

俞曉夫（1950年生）

林風眠 (1900-1991)

生於湖南省湘鄉縣，1946，十六歲時考入蘇州美專，師從顏文梁先生，在校學習期間給羅爾純打下了深厚的美術基礎，1951畢業。1964年，調往中央美術學院油畫系。文革後，被抽調到國務院畫賓館畫結識了吳作人、李苦禪、艾中信等先生。1982年，他在中央美院舉辦聯展，同年調入中央美院油畫系第三畫室工作。1983年，《羅爾純畫集》被出版。1988年，在美國紐約赫夫納畫廊舉辦「羅爾純油畫展」，共展出油畫作品 30幅。1991年，2000年以及2001年，再次先後出版了羅先生的畫集。2004年，接受法廣中文台採訪。羅爾純先生對藝術一直堅持獨立的思考與創作，使得吳冠中先生給予了他高度的評價。

上海人。1978年畢業於上海戲劇學院美術系，現任上海油畫雕塑院教授。曾任上海油畫雕塑院副院長。1994年組織發起「新架上」藝術群體。曾獲獎項：中國首屆油畫大獎，第七屆全國美術銅獎，第二、三屆全國連環畫銀獎，首屆上海青年美展一等獎。發表論文：《也談現代藝術》。

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」。

340

Lot 051

Lot 054 Lot 055

WU Guanzhong (b. 1919)

KUO Po-chuan (1901-1974)

Born in Yixing, Jiangsu. Wu Guanzhong's training in Western art began at the Hangzhou National College of Art in 1936 under Lin Fengmian (1900-1991). After his graduation in 1942, he obtained a teaching position at the National Chung-ching University. He then traveled to France where he spent the next four years studying oil painting under Professor Jean Souverbie (1891-1981) at the Ecole Nationale Sup rieure des Beaux Arts and the ateliers of Andr Lhote (1885-1962) and Othon Frieze (1879-1949). He is currently a professor at the Central Academy of Fine Arts and Crafts. He has painted in oil since 1950, even during the Cultural Revolution. His international fame is evident in two recent exhibitions of his traditional oil paintings at the Chinese Culture Foundation of San Francisco (1989-90) and the British Museum in London (1993). Hong Kong Museum of Art and National Museum of History in Taipei held solo exhibitions of Wu's work in 1995 and in 1997 respectively.

YANG San-lang (1907-1995) 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.

吳冠中 (1919年生)

郭柏川 (1901-1974)

楊三郎（1907-1995）

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。

字少松，台灣台南人，知名美術家，教師。1921 年，郭柏川從學校畢業，先行任教。1928年，以美術方面的專才，前往日本的東京美術學校進修。1933年，以半工半讀情形下，於梅原龍三郎處習畫。1937年隨梅原前往中國，並於滿洲國各省畫生。1938年，他再於日本控制下的北平師範大學與北平藝專擔任教職。1948年，因國共內戰回台灣，並在1950年於成功大學任教。1974年去世。郭柏川的寫生畫風於1930年代末期頗享譽於北京，天津一帶。二戰後更將中國式的風格融入台灣民間器物、刺繡與廟宇紅牆。其畫風特點是是單純但深入、著重構圖且色彩渾厚，嚴謹也筆觸精準。其線條處理更隱含中國書法的意境。

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。

341

Lot 056

Lots 058, 120

LIAO Chi-chun (1902-1976)

Yoshio CHANG (b. 1914)

AI Xuan (b. 1947)

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.

Chang spent twelve years in Japan, from 1928 to 1940, and was educated at some of the most esteemed institutions in Japan including the Musashino Univerity, Kansai Fine Arts College, Kawabata Panting lnstitute and the Tokyo Fine Arts lnstitute. Chang spent two years in Beijing after graduation before moving back to Taiwan in 1945. While in Taiwan, Chang taught at the National Taiwan Normal University and National Taiwan Academy of Art. He has won First Prize three times for works included in Taiyang Fine Arts Exhibitions. 1n 1994, the Taipei Fine Art Museum organized an eight-year retrospective exhibition of Chant's work. Chang moved to Janpan in 1960 and subsequently to Paris in 1980 where he resides to this day. He has held several solo exhibitions in Paris and is regula participant of the Paris Salons.

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.

廖繼春 (1902-1976)

張義雄（1914年生）

艾軒 (1947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。

1928年至1940年間留學日本，先後在武藏野美術大學，關西美術學校、東京川端畫學校及東京美術學校苦讀十二年。畢業後在北京停留兩年半，於台灣光復後返台，先後在「台陽美展」中獲得三次首獎。於「春季沙龍」受賞，並入選「秋季沙龍」，成為台灣首位獲得法國政府「藝術家年金」的畫家，於1994年應邀在台北市立美術館舉辦「張義雄八十回顧展」，在前輩畫家中，他的作品極受畫家的喜愛，收藏遍及國內外美術館及私人機構。爾後於80年代定居巴黎至今，其作品曾參加旅陸續加人台灣重要藝術團體，如「青雲美術會」、「紀元美術會」。

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。

342

Lot 066 Lot 063

John WAY (WEI Yue-tang, b. 1921)

PAN Yu-liang (1895-1977)

Yun GEE (1906-1963)

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 Yangzhou, Jiangsu, China. After graduating from the Shanghai Art Institute in 1921, Pan was granted an official scholarship to study at the Lyon National Art School. Later she studied at L' Ecole Nationale Sup rieure des Beaux Arts and then traveled to Italy to study oil painting and sculpture at the Rome National Fine Arts Institute in 1926. In1929, Liu Haisu invited her to go back to teach at Shanghai Art Institute and then she also taugh at the Nanjing’s Central University, In 1938, she left for France where she lived until her death in 1977. Pan' s works were collected by major museums including Musée National de l’art moderne in Pairs, National Art Museum of China and Taipei Fine Arts Museum.

Born in Guangdong, China. Yun Gee enrolled in the San Francisco Art Institute when he moved to San Francisco in 1921. In 1925, he studied at the California School of Fine Art under Gottardo Piazzoni and Otis Oldfield. He had his first solo exhibition in 1926, where he met his first patrons, the Prince & Princess Achilles Murat, who encouraged him to go to France. Gee had several solo exhibitions during his stay in Paris. In 1932, Gee was invited to participate in the exhibition “Murals by American Painters and Photographers”. He spent the next phase of his life traveling between New York City and Paris before he passed away at the age of 57. In 1968, the Robert Scholkopf Gallery in New York held a retrospective of his works, reviving Gee's memory after he had been forgotten for many years.

魏樂唐 (1921年生)

潘玉良（1895-1977）

朱沅芷 (1906-1963)

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。

1895年生於江蘇揚州。原名陳秀清，後改名張玉良，1913年與潘贊化結為伉儷，改姓潘。1921年於上海美專畢業後獲官費赴法進修。先入里昂國立藝術專門學校，後進巴黎國立美術學院。1925 年進入義大利羅馬國立美術學院學習油畫及雕塑。1929年應劉海粟之邀回國任上海美專西畫系主任，並任教於南京中央大學藝術系。參加「全國首屆美展」被喻為「中國西洋畫家第一流人物」。1937年離國再度赴巴黎參加萬國藝術博覽會和籌辦個人畫展後一直未再回國，直到1977年病逝巴黎。其作品為各地重要美術館所收藏，包括法國的塞努希博物館、巴黎現代藝術館及台北市立美術館等。潘玉良的作品融合中西畫之長，又賦予自己的個性色彩。她的油畫含有中國傳統水墨技法，用清雅的色調點染畫面，色彩的深淺疏密與線條互相依存，很自然地顯露出遠近明暗、虛實、氣韻生動，她用中國書法的筆法來描繪萬物，對現代藝術已做出豐富的貢獻。

生於廣東。15歲時赴美依親，不久便進入舊金山藝術學院，1925年進入加州美術學校習畫，受教於皮亞佐尼與歐特斯·歐菲德，並與後者成為好友。1926年協助華人在舊金山成立現代藝廊，同時舉行首次個展。其才華也因此獲得法國親王穆哈特夫婦的賞識，而鼓勵他前往巴黎發展，駐巴黎期間舉行多次個展，1932年應邀參加紐約現代美術館的壁畫展。1963年病逝於紐約。1968年紐約羅博·蕭柯夫畫廊為其舉行遺作展，使其藝術再度受到世人矚目。至今，世界各地已舉行過多次回顧展，其中包括台北市立美術館。朱沅芷的繪畫受亦師亦友的歐菲德影響甚大，如立體派、未來派及達達主義，而其作品表現共色主義的風格，並被認為是一位現代主義的畫家。

343

Lots 068, 069

Lot 075

Lots 076, 077, 078, 079, 080, 081, 082

ZAO Wou-ki (b. 1921)

LI Lei (b. 1965)

SHIY Dej-inn (1923-1981)

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’rt moderne in Paris etc..

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 1923, Sichuan, China. At the age of five, he began learning to draw. In 1948, he graduated from the Hangzhou National College of Art. He carried on from his teacher Lin Fengmian. After graduation, he moved to Taiwan to teach at the provincial Chiayi High School. In 1957, he held his first solo exhibition. In 1962, together with Liao Chi-chun, he accepted the invitation of the U.S. State Department to visit the United States. Afterward, he went to France to study in Paris for three years. After his return to Taiwan, he taught at the Tamkang University architecture department and National Taiwan Normal University. In1975, he won the Chungshan Literary Prize Award. Shiy De-jinn was known for the lyrical mood of his watercolors, at the same time being influenced by Pop Art and Op Art. His favorite subject matter was old-style traditional Taiwan architecture. He traveled all over the villages and counties of Taiwan seeking inspiration. His works richly display Taiwan' s folk scenes and customs.

趙無極 (1921年生)

李磊（1965年生）

席德進（1923-1981）

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。

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）。

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。

344

Lot 084

Lot 086

Lots 087, 089

DING Fang (b. 1956)

LI Shuguang (b. 1962)

JI Dachun (b. 1968)

In 1978, he passed the competitive examination to enter the College of Art & Design, Nanjing University. Graduating in 1982, in 1983 he began studying as a professional oil painting research graduate at the university’s College of Art. His supervisors included Liu Hai-su and Su Tien-tzu. Graduating in 1986, he stayed on at the university as a teacher. Since 2000 he has been serving as the professor of the Graduate Art Institute at Nanjing University, director of the Oil Painting Studio and director of the China Oil Painting Society. In the 1980’s Ding Fang had at one point with his so-called “Great Soul Painting” become an important spokesperson for the 85 AvantGarde Art . He has held many personal exhibitions and participated in other major domestic and international exhibitions such as the “Modern Chinese Art Exhibition”, “Chinese Avant-Garde Art Exhibition” and the “Los Angeles Biennial Exhibition”.

Born in Anhue. Li Shuguang had been trained as a regular professional artist. Albeit he currently works in the field of fashion, still never gave up creating and owns infinite passion for painting. In his works, it’s easy to notice that there’s such an intertexture between his own virtuosity and modern fashion trends; One aspect deserves to be mentioned is that he constantly pays great attention to changes of the times. His works reveal oriental mysterious moods and beautiful sorrows in his sincere concerns for society, therefore, they touch easily heartstrings of affectionate crowd. Further more, artist added many fallen aircrafts, swaying peach blossoms, ominous mushroomshaped clouds and standing upside down girls into his creations. All of this shows not only a “mix and match” way of figuring characters but also the coherence with the composition, the spread out of scenery and the selection of colors. They all seem like intentional fruits of casual thoughts, sublimating visual inconsonance to opening of imagination.

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.

丁方 (1956年生)

李曙光 (1962年生)

季大純 (1968年生)

1978年，考入南京藝術學院工藝美術系，1982年畢業，1983年攻讀該院美術系油畫專業研究生，導師為劉海粟、蘇天賜，於1986年畢業並留校任教，2000年至今任南京大學美術研究院教授、油畫教研室主任及中國油畫學會理事。丁方在八十年代曾以其所謂「大靈魂繪畫」成為「85新潮美術」的重要代表。多次舉辦個展並參加過「中國現代藝術展」、「中國前衛藝術展」、「洛杉磯雙年展」等重要海內外展示活動。

生於安徽。科班出身，雖任職時尚相關事業，但其創作從未間斷，且熱愛繪畫。畫中可見其技巧功力及時尚潮流的交織；但他也關心著時代的變遷，作品中透露出東方的神秘情愫和社會關懷的凄美情感，能觸動有情人的心弦。不僅如此，藝術家在他的創作中，還大量加入墜落的飛機、搖曳的桃花、不祥的蘑菇雲和倒立的女孩等等各種原本看似不相關的各樣景物，這樣不僅人物描繪手法充滿了混搭風格，而且使整個畫面在構圖、景物的分布、色彩的選擇等方面，都充滿了源自混搭的奇思妙想，它們看似無意卻有意的信手拈來，將視覺上的不協調昇華為想像力的開啟。

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。

345

Lots 090, 091 Lots 094, 108

ZHANG Hui (b. 1969)

TIAN Shixin (b. 1941)

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 Beijing. Tian graduated from the Art Department of Beijing Fine Arts Academy in 1964. He is now a professor at the Sculpture Graduate School in the Central Academy of Art and Design, the deputy chairman of the Sculpture Commission at the China Artists Association, and a member of the Consultant Organization of Capital Planning. Tian’s exhibition resume includes the “Invitational Spring Salon Exhibition” in France in 1982, “the 6th National Arts Exhibition in 1984” (Silver award), “Contemporary Chinese Excellent Work Exhibition in Japan” in 1986, “Modern Chinese Ink Painting and Sculpture Exhibition” in Paris in 2001, “Contemporary Chinese Sculpture and Ceramics Exhibition in Hong Kong, the “Beijing International City Sculpture Exhibition in 2002”, ”Strength of the Century – 50 Artists in the Contemporary Chinese Arts ”, “Open Age” in Beijing in 2003, and “Beijing Biennale International Exhibition”.

張慧 (1969年生)

田世信 (1941年生)

黃鋼 (1961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，失去了舊時代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》。

出生於北京，1964年畢業於北京藝術學院美術系，現為中央美術學院雕塑研究所教授，中國美術家協會雕塑藝術委員會副主任，首都規劃建設專家諮詢組織專家。曾經參加過1982年法國《春季沙龍邀請展》；1984年全國六屆美展獲銀獎； 1986年日本《當代中國優秀作品展》； 2001年法國巴黎《中國現代水墨和雕塑展》、香港《中國當代雕塑、陶藝展》；2002年北京國際城市雕塑展、《世紀風骨——中國當代藝術50家展》； 2003年北京《開放的時代》展、北京國際雙年展等等各項展覽。

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觀注的認同和高度評價。

346

HUANG Gang (b. 1961)

Lots 095, 098, 099

Lots 097, 151 Lot 096

SHEN Xiaotong (b. 1968)

ZHANG Linhai (b. 1963)

YIN Zhaoyang (b. 1970)

In 1978, he passed the competitive examination to enter the College of Art & Design, Nanjing University. Graduated in 1982, in 1983 he began studying as a professional oil painting research graduate at the university’s College of Art. His supervisors included Liu Hai-su and Su Tien-tzu. Graduating in 1986, he stayed on at the university as a teacher. Since 2000 he has been serving as the professor of the Graduate Art Institute at Nanjing University, director of the Oil Painting Studio and director of the China Oil Painting Society. In the 1980’s Ding Fang had at one point with his so-called “Great Soul Painting” become an important spokesperson for the 85 AvantGarde Art . He has held many personal exhibitions and participated in other major domestic and international exhibitions such as the “Modern Chinese Art Exhibition”, “Chinese Avant-Garde Art Exhibition” and the “Los Angeles Biennial Exhibition”.

Born in Shanghai, Zhang acquired his bachelor’s degree from the Print Department of Tianjin Academy of Fine Arts in 1990. Zhang is a full-time painter for the Agency of the People’s Daily in Tianjian . He has held solo exhibitions in the Cultural Gallery of She County (1982). In 1991, Zhang was invited by the Capital Museum to display his oil paintings, “Loneliness” and “Dream”, in Taiwan and Hong-Kong. His oil painting series, “Description” and “Dust”, were displayed in the Stanny “Millenium Art Exhibition” in Shanghai from December 1999 to January 2000.

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”.

沈小彤 (1968年生)

張林海 (1963年生)

尹朝陽 (1970年生)

生於四川省成都市，1989年畢業於中國四川美術學院版畫系，現為北京自由藝術家。1992年參加廣州「九十年代廣州油畫雙年展」獲優秀獎，自 1994年起，多次於北京、美國、香港、上海等地舉辦個展，1997年參加新加坡國家美術館「引號 T中國當代藝術展」，作品被美國亞太藝術博物館、深圳東輝公司等海內外機構收藏。

出生於上海。1990年畢業於天津美術學院版畫系獲學士學位，現任職“人民日報駐津辦事處”專職畫家。1982年涉縣文化館舉辦個人畫展；1991 年油畫《寂》《夢》應首都博物館邀到台灣、香港等地展出，1999年12月——2000年1月油畫作品《陳述》系列、《塵埃》系列參加上海史丹妮藝術空間舉辦的“千禧藝術展”。

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。

347

Lot 100

Bob YAN (YAN Bo, b. 1970)

YANG Din (b. 1958)

TANG Zhigang (b. 1959)

Born in Beijing, graduated from Tianjin Academy of Fine Arts in 1996, and from The Central Institute of Fine Arts in Beijing, Department of Materials in the Oil Painting and expression graduate section in 2002, He has participated for over 30 national and international exhibitions since 1990. Acquired awards includes bronze award in “Four Seasons of China Art Exhibition” , Spring Art Salon Outstanding Young Artist Award, the fresco such as “The Victims” and “The Rebels” he had participated had also gained gold awards in 10th National Art Exhibition. He held his solo exhibition in Beijing, Hong Kong and Singapore for over 10 times since 1996. His work is currently colleted by National Art Museum of China and China Contemporary Literature Museum.

Born in Shantou (Guangzhou), China. Lives and works in Paris since 1980. Graduated from L’cole Nationale Sup rieure des Beaux-Arts de Paris (Paris National Art School) in 1987. He had been a professor at ASDASCS center in Clairvaux, France. Since 1990, he held solo exhibitions in France, Belgium, Netherlands, Taipei, Hong Kong and Macau, etc. Awarded First Prize at the Aube Art Fair organized in Troyes, France.

Tang Zhigang was born in Kun Ming Shi, Yun Nan Sheng. He was graduated from Department of Fine Arts in PLA Art Academy, Beijing in 1989. Same year, he participated in the 7th National Art Exhibitions in Nanjing. In 1995, he participated in the “Current State” exhibition in Columbia University in US; 1999, participated in the “The New Artist from Kun ming” in Hong Kong; 2000, participated in Asia Contemporary Art Exhibition in London; and 2001, participated the Vasl International Artists Workshop.

閻博 (1970年生)

楊登雄 (1958年生)

唐志剛 (1959年生)

中國北京人。1996年畢業於天津美術學院。2002 年畢業於北京中央美術學院油畫材料與表現碩士研究生課程班。1990年起至今參加國內外各種聯展共三十餘次。曾獲《中國的四季美展》銅獎、上海春季藝術沙龍優秀青年藝術家獎、參與繪製的壁畫《受難者》、《反抗者》均獲第十屆全國美展金獎。1996年起先後在北京、香港、新加坡等地舉辦個人畫展十餘次。作品獲中國美術館、中國現代文學館等博物館收藏。

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。

生於雲南省昆明市。1989年畢業於解放軍藝術學院美術系（北京）。1989年參加第七屆全國美術作品展（南京）。1995年參加美國哥倫比亞大學美中文化交流《現在狀態》展。1999年參加漢雅軒《來自昆明的新藝術家》展（香港）。 2000年參加亞洲當代藝術展（倫敦）。2001年參加Vasl International Artists Workshop 。

348

Lot 103

Lot 104

Lots 105, 143

CAO Jingping (b. 1972)

YIN Jun (b. 1974)

YIN Kun (b. 1969)

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.

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 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.

曹靜萍 (1972年生)

尹俊 (1974年生)

尹坤 (1969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。

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。

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。

349

Lot 106

Lots 107, 144

Lot 109

CHU Chen-yung (b. 1968)

LIU Kun (b. 1968)

XIANG Jing (b. 1968)

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.

Born in Beijing, Liu graduated from the Central Academy of Art and Design in 1992. His images often imply particular cultural symbols with works expressing the deep and unique psychological state of the human mind through an eastern satirical and humorous form. He often uses viscid strokes and extravagant backgrounds to imply the sensation from the twists and jumps of a dance, and makes a playful re-construction of dance and an intervention in history. Such can be seen in his fantastic “Alice in Wonderland”. In such concentration, the inevitable political issues are faded away, and the naturalistic emotions find their exit in the satirical and surreal balls. The dance hence becomes paradise and illusion. Liu participated in Asia-Pacific Arts Fair in New York in 2003, and held solo exhibitions, including “Hidden Strength” in 2004 and “Pas De Eeux” in 2005 in Hong Kong.

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.

初陳勇 (1968年生)

劉錕 (1968年生)

向京 (1968年生)

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。

生於北京，1992年畢業於中央工藝美術學院。作品中常用一些隱含象徵與暗示的特有的文化符號構成的形象，透過東方式的調侃與幽默表現人內心深處錯綜複雜與獨特的心理片段，一直是劉錕創作所關注的。以遊戲化的方式對歷史的介入與對舞蹈的重構，幻化出像《愛麗絲夢遊仙境》一般荒誕的奇異景象。筆和顏色的膠著，大背景的恣意鋪張，暗合了舞蹈中細節扭動及盡情跳躍中的快感。當專注在舞蹈本身的時候，無法擺脫的政治反而被淡化，人性化的情緒在一次次戲謔與超現實的跳躍中得以宣洩與抒發，舞蹈反而成為了彼岸與幻象。2003年曾參加於紐約舉辦的亞太藝術博覽會；2004年於香港一畫廊舉辦名為「隱約的力量」之個展；2005年於香港一畫廊舉辦名為「雙人舞」之個展。

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》、《典藏》等刊物發表，並被海內外機構及私人收藏。

350

Lot 110

Lot 111

QU Guangci (b. 1969)

CAO Hui (b. 1968)

HUNG Tung-lu (Donglu HONG, b. 1968)

A native of Shanghai, he graduated from the Affiliated High School of the Zhejiang Academy of Fine Art in 1989. In 1994 he received his bachelor’s degree from the Department of Sculpture at the Central Art Academy, then a master’s degree in 1997. The artist is currently a teacher in the Sculpture Studio at the School of Fine Art, Shanghai Normal University. His 1993 piece Mother was entered in the “National Commemoration of Comrade Mao’s Lecture at the Yan-an Art and Literature Workshop - 65th Anniversary Art Exhibition” where it won an outstanding work award. The 1994 piece Street participated in the “1994 Central Art Academy Graduate Exhibition” organized by the Central Art Academy display gallery and won a second rank award and was added to the academy’s collection. His work “Wang Family Well” won the gold medal for the Beijing district in the “8th National Art Exhibition”, then went on to win the grand prize at the “8th National Outstanding Artwork Exhibition”.

Graduated from National Tainan College of Art Graduate Institute of Plastic Arts, Hung had major exhibitions in Taipei Fine Arts Museum, I-Tong Park, Contemporary Art Museum of Italy, and Hall-Ottawa Gallery in Canada. He was invited to participate in several international exhibitions: Venice Biennial (1999), 3les Recontres internationales de la Photographie, Arles (2000), Taipei Biennial (2000), Arco (2001) and Shanghai Biennale (2004). His work is collected by China Century Foundation in Paris, Marco Noire in Italy and Taipei Fine Arts Museum. His work “Virtuality Is Reality” from the “Nirvana” image series is an actual practice of totally digitalized virtual arts. Hung currently lives and works in Shanghai.

瞿廣慈(1969年生)

曹暉 (1991年生)

洪東祿 (1968年生)

出生於上海。1989年畢業於浙江美術學院附中， 1994年畢業於中央美術學院雕塑系，獲學士學位。1997年畢業於中央美術學院雕塑系，獲碩士學位，現為上海師範大學藝術學院雕塑工作室教師。1993年作品《母》參加中國美術館舉辦的「全國紀念毛澤東同志在延安文藝座談會上的講話—六十五周年美術作品展」，並獲優秀作品獎。1994年作品《街道》參加中央美術學院陳列館舉辦的「94中央美術學院畢業生作品展」獲二等獎，並被中央美術學院收藏。作品《王府井》獲「第八屆全國美展」北京地區金獎，並入選「第八屆全國美展優秀作品展」獲大獎。1995年作品《黃昏》、《姿態》參加當代美術館舉辦的「95國際青年美術家交流展」。1997年研究生畢業作品《西藏組雕》獲「97中央美術學院畢業生作品展」二等獎及日本岡松家族基金會二等獎，作品為中央美術學院收藏。1999年作品《天路》參加中國美術館舉辦的「第九屆全國美展」，獲頒銅獎。

生於昆明 1991年畢業於雲南藝術雕塑系，獲學士學位 2000年畢業於中央美術學院雕塑系同等學歷研究生班。1991年參加雲南省美術作品展。1994年第八屆全國美術作品展。

1999年畢業於國立台南藝術學院造形藝術研究所。2002年在北美館、伊通公園、義大利當代美術館、加拿大Hall-Ottawa畫廊均有個展。多次參加國際當代藝術大展，如1999年第48屆威尼斯雙年展、2000年法國阿爾國際攝影節、2000年台北雙年展、2001年西班牙拱之大展、2004年上海雙年展等。作品亦被巴黎中國世紀基金會、義大利 Marco Noire畫廊、台北市立美術館等收藏。其創作《涅盤》影像系列《虛擬即真實》，是全數位化虛擬藝術的一種實踐。目前生活及創作於上海。

351

Lot 113

Lot 115

Lot 114

XIONG Yu (b. 1975)

XIA Junna (b. 1971)

PANG Jiun (b. 1936)

Born in Chengdu of Sichuan, Xiong Yu graduated from the attached middle school of Sichuan Academy of Fine Arts in 1995, and rose up into the oil painting department of Sichuan Academy of Fine Arts. In 1999, he graduated from the oil painting department of Sichuan Academy of Fine Arts to admit as the plastic arts of Sichuan Academy of Fine Arts to be professional graduate student of oil painting in the same year. In 2002, he captured the Sichuan Art Academy oil painting fastens Master’s academic degree and began to teach to the artistic academy of Sichuan University. Xiong is a new talent of Chinese oil painting from “Sichuan School of Painting”, who is after Luo Zhongli, He Duo-Ling and Zhang Xiaogang. His work participated and awarded in “Youth Art Exhibition of Sichuan Province” in Chengdu. In 2004, his works got Bronze Prize in “Ideal of New Generation-Chinese New Generation Artist Award Exhibition” in Shenzhen.

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.

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.

熊宇 (1975年生)

夏俊娜 (1971年生)

龐均 (1936年生)

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」獲頒銅獎。

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。

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。

352

Lot 118 Lots 117, 122

XIN Dongwang (b. 1963)

LI Zijian (b. 1954)

PAN Honghai (b. 1942)

Li was born in Shaoyang City, Hu-Nanin in China. He produced a great number of sketches during the railway construction period in the Xiang-Xi Mountain District in 1970 and completed his first oil painting for the “Hunan Art Exhibition” in 1972. In the following years, while his works were being selected for various art exhibitions, he lived in a moderate way to afford his travel around China and pupilage of several great painters. The Design Gallery in Los Angeles engaged him as a full-time painter in 1990, where he has participated in and held various painting exhibitions ever since. His works have always been devoted to the emotions of the Chinese race and the universal love of humanity. They are the search for truthful and pure art. Recently, he has been supported by the eminent contemporary monk, Master Sing-Yun, who promotes “Humanistic Buddhism", and started a world exhibition tour of over a hundred realistic paintings in hopes of conveying humanity and love.

Born in Shanghai in 1942, Pan graduated from the department of oil painting in Zhejiang Academy of Fine Arts in 1966, during 19671986, he worded at the Zhejiang People’s Fine Arts Publishing House as a art journalist, art editor, chief editor and associate professor, he currently is the master of the Zhejiang Art Academy. His works have successively won the 1st prize in Zhejiang oil paintings and sculptures exhibition and Hangzhou literature and art award, participated the National Art Exhibition with his work Luxun, now it is collected by the National Museum of Fine Arts in China. Pan gave lectures at Chicago University in 1987, and had held solo exhibitions in Chicago. His works are now collected by The National Museum of China and Beijing National Museum of Fine Arts.

忻東旺 (1963年生)

李自健 (1954年生)

潘鴻海 (1942年生)

出生於河北張家口康保縣忻家坊村。1988年畢業於山西晉中師專藝術系，1994年結業於中央美院油畫系第七屆助教進修班，2003年結業於中央美院油畫系首屆高研班，先後任教於山西師範大學美術系、天津美術學院油畫系；現為清華大學美院繪畫系副教授。分別參加了"第三屆中國油畫年展"獲銀獎、參加"首屆中國油畫學會展"、參加"走向新世紀--中國青年油畫展"獲同名獎、參加 "第九屆全國美展" 獲銅獎、參加"建黨八十週年全國美術作品展覽"獲優秀作品獎、參加第三屆油畫展、參加"首屆北京國際雙年展"、參加 " 第十屆全國美展" 獲金獎。忻東旺以肖像的方式為社會中的弱勢群體造像、立傳，從而揭示出這一被邊緣化的族群本有的生命價值和人性尊嚴。

生於中國湖南省邵陽市。1970年參加湘西山區鐵路修建，畫下大量生活速寫。1972年完成第一幅油畫創作，首次參加湖南省美展。隨後幾年，作品多次入選各種美展。節儉集資數度外出，尋訪名師，遍游神州。1977年父親平反，三幅油畫作品先後入選全國美展。一幅油畫為中國美術館收藏。1990年受聘於洛杉礬 DESIGN GALLERY畫廊，為專職畫家。期間，多次參與併舉辦各類畫展。一直以來，潛心於表現中華民族情感弘揚人類博愛精神的藝術創作之中，執著於質樸真誠的藝術追求。他幸運地得到致力推動 "人間佛教"事業的當代高僧星雲大師鼎力支持，至此淺心製作百餘幅表現人性與愛寫實的油畫作品，並開始展開環球巡迴展。

生於上海，1966年畢業於浙江美術學院油畫系， 1967-1986年於中國浙江人民美術出版社，任美術記者、美術編輯、副總編、副編審，現任浙江畫院院長。作品曾先後獲浙江油畫雕塑展一等獎及杭州文藝獎，1973年《魯迅》等作品，參加全國美展，作品由中國美術館收藏，1987年曾在美國芝加哥大學講學，並在芝加哥舉行個展。他清新自然的作品風格廣受歡迎，並為中國歷史博物館及北京國立美術館收藏。

353

Lot 119

Lot 121

Lot 123

YEE Bon (b. 1905-1995)

WENG Wei (b. 1962)

CHEN Ching-jung (b. 1934)

Yee Bon was born in Guandong Tai Shan Shen, he was the directorate of China Artist Association, art counselor, and the vice president of the Guandong Painting School. He went to Canada to study and live charily in 1918, in 1931, he studied art in Ontario School of Art and received great honor. His works had been picked by Canada's national exhibition of art as well as worldwide expos. Yee returned to his homeland in 1956, he devoted himself completely into art creations; he painted large oil paintings for the Guandong, HeiLongJiang halls of the Great Hall of the People in Beijing. His works has been collected for over 10 pieces by National Art Museum of China, Guandong art academy, Hong Kong Museum of Art; In July 1995, he held a grand solo oil paintings exhibitions, there were over 300 pieces exhibited, next year, he participated the "Yee Bon Exhibition" held by Hong Kong Art Center, 80 pieces exhibited and received appreciative criticisms.

Born in Chao-Zhao, Guang-Dong. Weng graduated from the Art Department of He-Bei Normal University in 1982 and from the Oil Painting School at the Central Academy of Art and Design in 1994. As an associate professor in the Central Academy of Art and Design, Weng’s art is categorized as Chinese realism, which admires the traditional and emphasizes on humanism and rationality. Weng’s works respect human emotions and lives, and uphold the truth and nature. While Chinese realism is successful in the art market, Weng and other realistic artists do not seek mere artistic perfection (which is rather a constant attitude for them) but are more concerned about historical and humanistic aspects. Weng’s exhibition resume includes major national exhibitions such as the “China Annual Oil Painting Exhibition 91’”, “Contemporary Chinese Oil Painting Exhibition”, “To the New Age- Chinese Youth Oil Painting Exhibition”, “Exhibition of Chinese Oil Painting Society”, and “Beijing Artistic Work Exhibition”(Excellent Work Award).

余本 (1905-1995年生)

翁偉 (1962年生)

陳景容（1934年生）

生於廣東台山縣。曾任中國美術家協會理事、藝術顧問、廣東畫院副院長等職。1918年赴加拿大勤工儉學，1931年在加拿大多倫多安大略省立藝術學院學習美術並獲特別優異文憑。其作品曾入選加拿大全國性展覽及在世界博覽會展出。 1938年至1956年在香港從事職業畫家及授徒，每年均舉辦個人展覽。1956年歸國，專心從事藝術創作，曾為北京人民大會堂廣東廳及黑龍江廳繪畫大型油畫作品。作品數十幅被中國美術館，廣州美術學院，香港文化中心藝術館收藏。出版余本畫冊三本。作品先後在北京、南京、上海、廣州、香港及菲律賓等地展出。1995年7月在廣州舉辦盛大余本油畫展。作品300餘幅，1996年12 月由香港藝術中心主辦「余本作品展」展出油畫 80幅深受好評。

廣東潮州人。1982年畢業於河北師範學院美術系。1994年畢業於中央美術學院油畫研修班，現任教於中央美術學院副教授。中國寫實畫派一員，其成員尊重傳統文化，強調人文和理性精神，作品關注人的情感與生活，崇尚真切與自然。他和其他成員算是藝術品市場的寵兒，但他們並沒有侷限在純繪畫技巧的追求，他們身上有一種歷史的人文的關懷，追求完美只是他們的一貫態度。翁偉作品曾參加「91’中國油畫年展」、「中國當代油畫大展」、「邁向新世紀的中國青年油畫展」、「中國油畫學會展」等多項全國大型美展，作品曾獲北京美術作品展優秀作品獎。作品曾發表於《美術》、《美術研究》、《中國油畫》、《藝術市場》、《藝術家》等藝術刊物。

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

354

Lot 127 Lots 129, 160 Lot 124

SHEN Hanwu (b. 1950)

HE Xuesheng (b.1963)

Shen, who was born in Nan-Tong Jiang-Su, is graded as a level-2 artist. Shen has worked as labor worker, art designer, and art editor. He transferred to Wuhan Academy of Fine Arts in June 1986 for professional artistic creation, and graduated from the Oil Painting Division of the Art Department at Hu-Bei Academy of Art in July 1989. Now the director of Hu-Bei Artist's Association and a member of the China Artists Association, his works were well-received in the 6th and the 7th National Art Exhibition, the 1st Chinese Oil Painting Exhibition, the Modern Chinese Oil Painting Show in 1992, the 3rd National Sport Art Exhibition, the 2nd China Oil Painting Exhibition, the 8th National Arts Exhibition, and other excellent exhibitions. He has additionally organized oversea exhibitions and solo oil painting exhibitions. Shen’s latest art publication is Nostalgia–Oil Painting Collections of Han-Wu, Shen.

Born in China Nin Xia, he was graduated from the Nin Xia Academy of Fine Arts in 1986. The themes of his oil paintings are mostly about Loess Plateau and the customs and traditions in the northwest. His painting style is simple, plain, natural and huge. He used different structures and artistic languages in his picture to glorify his homeland, there are folding hills, dried rivers, humble villages, sheep and beautiful dreams in it, his art truly presents the scenes of north China.

沈漢武 (1950年生)

何學昇 (1963年生)

李凱 (1947年生)

江蘇南通人。二級美術師。1989年7月畢業于湖北美術學院美術系油畫專業。當過知青、工人、美術設計和美術編輯，1986年6月調入武漢畫院從事專業創作。中國美術家協會會員，湖北美術家協會理事。作品曾參加第六、七屆全國美展、首屆中國油畫年展、1992年當代中國油畫展、第三屆全國體育美展、第二屆中國油畫展、第八屆全國美展及其優秀作品展。其作品曾多次赴海外展出並舉辦個人油畫展，出版有《鄉情——沈漢武油畫作品集》。

出生於中國寧夏；1986 年畢業於寧夏藝術學院；何學昇的油畫作品以描繪黃土高原為背景，講述他熟悉的西北地域風俗民情。畫風樸實、自然、渾厚。畫面上用不同構圖形式和藝術語言美化他的家鄉，那裡有起伏的丘陵，乾涸的河道，坯築的村莊，飄動的羊群及美好的願望，表現了遼闊的塞北風情。

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。

355

LI Kai (b. 1947)

Lots 130, 141

Lots 131, 132, 133, 134, 135, 136, 137 138

Lot 139

WU De-chun (b. 1953)

ZHOU Chunya (b. 1955)

MAO Tongqiang (b. 1960)

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 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.

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.

武德淳 (1953年生)

周春芽 (1955年生)

毛同強 (1960年生)

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。

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。

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。

356

Lots 140, 142

Lot 145

Lot 146

Michell HWANG (b. 1948)

LI Jikai (b. 1975)

YAO Junzhong (b.1961)

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.

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.

黃銘哲 (1948年生)

李繼開 (1975年生)

姚俊忠 (1961年生)

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。

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年於北京3818庫《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》。

河北唐山人。1982年畢業於河北輕工業學校美術專業。1992年結業於中央民族大學美術系油畫專業。1993年至今為職業畫家。作品曾參加： 1997年「當代世紀之約」展。1998年「挪威現代藝術」展。1999年「90年代流行圖像」展。其自述：1994年秋天，我正式搬進了通州宋莊小堡。在這幾年的歲月裡不間斷地探尋著自我藝術情感的表達方式，反思、建構、完善著自我。「宋莊畫家村」的建立對我具有了藝術實踐的空間和多種可能性。隨之也拓寬了我的藝術思維。

357

Lot 147 Lot 148 Lot 150

CHANG Chih-cheng (b. 1954)

YU Shenghao (b. 1973)

SHEN Che-tsai (b. 1926)

Born in Taipei, graduated from the National College of Arts (now the National Taiwan University of Arts) Western Painting Department. Enlightened by his mentor Li Shih-chiao and studied under the guidance of professors Hung Jui-lin and Chen Ching-jung. After graduation, Chang taught as an instructor; he also held numerous exhibitions, individually and jointly. He fully translates human figures and still objects onto flat surfaces by using a limited number colors and elements to form bold yet delicate visual effects.

Graduated from the Yanbian art academy in 1995, He took advanced courses in the oil painting department in central fine arts institute in 1996, and participated in the "English Winter Union Exhibition" in 1997, graduated from the print department in central fine arts institute in 1998 and attended "the Chinese International exhibition", "Four Persons of Oils Art Exhibitions", and conducted his solo exhibition in the Gallery at Shoreman Art International in Taiwan in 2000, his work nearly sold out, those sold pieces went to collectors in Japan, US, Canada, France and so on. He conducted his solo exhibition in the Revives art center in Singapore, and made brilliant achievements, participated in the Taipei international art exposition 01, Yu’s works are widely collected by Taiwan high level enterprises, and his reputation grew within a night. He also participated in the “Artistic Richness” exhibition conducted by Shoreman Art International in the Beijing International Art exhibition.

Born in Tainan, Taiwan. Shen Che-tsai entered Provincial Tainan First Senior High School and studied with Kuo Po-chuan (1901-1974) and Liao Chi-chun. He has served as the councilor of Tainan Art Research Association, member of Taiyang Fine Arts Association, judge of Taiwan Provincial Fine Arts Exhibition, professor of Tainan Woman's College of Arts and Technology. He taught for 40 years and retired only recently. He currently lives in both Japan and USA. While studying in high school, his paintings were selected into the Palace (Fu) Fine Arts Exhibition and Taiyang Fine Arts Exhibition. Shen has been awarded by the China Oil Painters Association and National Museum of History in Taiwan. His 70 years retrospective exhibition was held in National Taiwan Museum of Fine Arts in 1995. His works can be found in the public collection of the National Taiwan Museum of Fine Arts.

張志成（1954年生）

俞成浩（1973年生）

沈哲哉 (1926年生)

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。

1995年畢業於延邊藝術學院。於1996年中央美術學院油畫系進修，1997年參加「英國冬日聯合參展」，1998年畢業中央美術學院版畫系研修班，參加「中國國際展覽會」、「四人油畫展」、2000在協民國際藝術畫廊舉辦在台灣第一次個展，作品幾乎售馨，其藏家分佈到日本、美國、加拿大、法國等。在新加坡復興藝術館舉行個展，成績斐然，參加2001年台北國際藝術博覽會，近年來俞氏作品廣為台灣高層企業界收藏，知名度一夕之間上升，在2002年參加協民國際藝術在北京國際藝苑策展之《藝氣豐發》大展。

台灣台南市人，1938年入省立台南一中，師事郭柏川（1901-1974）與廖繼春。曾任台南美術研究會評議員、台陽美術學會會員、省展評議員、台南家專美術系教師、服務教育界40年，目前已退休，專事創作，並旅居日本、美國兩地。就讀中學時，作品曾入選府展、台陽展，嶄露頭角，歷來參與國內各項展出，深獲好評，曾獲中國油畫學會金爵獎、國立歷史博物館榮譽金章獎等榮譽。1995年國立台灣美術館舉辦「沈哲哉七十回顧展」。作品收藏有國立台灣美術館等。

358

Lot 153

Lot 154

Lot 152

JIA Di-Fei (1957)

JAN Chin-shui (ZHAN Jin-shuei, b. 1953)

KO Shih-chung (b. 1966)

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 three 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).

Born in Nantou, Taiwan; graduated from Western Painting Department of National College of Arts, Arts Master degree from Fontbonne College, American Missouri. He once appointed as an assistance professor in Nan Kai College. In 1990, he held solo exhibition in National Museum of Taiwan in Taichung. He was awarded the second prize in the 14th National Fine Arts Exhibition in 1995, in the next year, he had been chosen for excellence in the 10th Nan-Ying Art Exhibition. He has published three painting collections. His works are in the collections of National Taiwan Museum of Art in Taichung and Tainan Municipal Cultural Center.

賈滌非 (1957年生)

詹金水 (1953年生)

柯適中 (1966年生)

出生於吉林省。1983年畢業於魯迅美術學院油畫系。在當代知名油畫家中，東北的賈滌非以他自由、奔放的表現性風格，在當今藝術界獨樹一格。他的繪畫藝術完全憑藉他創作時的直覺而陷入一種自由狀態，他以其天真無邪的毫不造作的真誠，面對藝術，面對生活，以自由的想象，即興的揮寫和鮮明的表現性，從眾多畫家中突現出來，並影響了不少中青年的畫家。賈滌非在繪畫創作上的表現性特徵，一直受到國內油畫界的關注。其重要參展如下：第六、七、八、九屆全國美展，首屆、二屆中國油畫展等。曾獲獎項：六屆全國美展銀牌，二屆中國油畫展優秀作品獎等。

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。出版有三本個人畫集。作品收藏機構有國立藝術學院（今國立台北藝術大學）。

台灣南投人，畢業於國立台灣藝術專科學校美術科西畫組，美國密蘇里州聖路易芳邦學院美術碩士，私立南開技術學院專任副教授。1990 年於台中省立美術館舉辦個展。1995年獲第十四屆全國美展油畫第二名。1996年獲第十屆南瀛美展油畫優選。出版有三本畫集。作品收藏機構有台中省立美術館、台南市立文化中心。

359

Lot 155

HUANG Min-jun (b. 1971)

Lot 157

Lot 158

HSIAO Chin (XIAO Qin, b. 1935)

PANG Yongjie (b. 1968)

Born in Taipei, Taiwan. The space plays a prior component in his painting works, so it makes implicit characters, events or even every single thing which lies in there out of those elements ready to be modeled. 1989, one of his works had been selected for Taipei Art Exhibition; 2000-2002, he participated Asia Collective Exhibition of Painting & Calligraphy; 2003, solo oil paintings exhibition in Fish Art & Coffee Gallery. 2005, solo exhibition in Galerie la Forge, France. 2006, National Taiwan Museum of Fine Arts bought one of his large scaled works “Reappearance of Grace” for its permanent collection. 2007, solo exhibition in Art Taipei International Fair.

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.

黃敏俊 (1971年生)

蕭勤 (1935年生)

龐永杰 (1968年生)

出生於台灣台北。黃敏俊的畫作常是以空間為元件，讓身處其中的人、事、物都成為等候被雕刻的元素；光線則是雕刻家，雕塑出空間中的所有事物；而畫家只是推手，用畫布為我們留下那些美好值得記憶的畫面。只要能善用光的特性，便能為畫面帶來更多刺激與焦點，因而呈現出更有生命力的色彩，雕塑出當代的元素，把真實融入畫面中，也把畫作雕塑成一幅幅動人的藝術品。生涯中重要的里程碑如下：1984-1987年創作、寫生性獎項約五十多件。1988年中日美術交流展特優獎。1989年北市美展入選。2000~2002年亞太地區書畫聯展。2003年台北秋刀魚藝術中心油畫個展。2005年法國「Galerie la Forge」畫廊個展。2006年國立台灣美術館購藏其大幅油畫創作《風華再現》。 2007年台北國際藝術博覽會個展。

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。

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。

360

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362

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

363

The Buyer should provide his name and permanent address to

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 payment 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 4% plus the

not affect the Buyer's responsibility to make the payments in 7

base interest rate of Bank of Taiwan will be imposed on all

days; nor does it affect the Company's right to impose interest on

364

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

5. The legal responsibility of the Company

the Lot is not a counterfeit based on a scientific procedure or any

The Company is responsible for returning payment to the Buyer

other procedure, regardless of whether such procedure is being

pursuant to Article 6. Otherwise, whether the Buyer, the Company,

used on 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 any

Catalogue illustrations

circumstances. In addition, the Buyerâ&#x20AC;&#x2122;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

365

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 Seller complies with all the laws in connection with the

the Company undertakes to be successfully reached during

import and export of auction items and any other laws and

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 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 10% 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.

366

7. Auction rules

If the Buyer fails to make all the payments due within 35 days

The Company will auction the item according to the

following the auction day, the Company is entitled to negotiate

Reserve. The Reserve may not be higher than the minimum

special terms in connection with the payments, storage, and

of the estimates set in the catalogue except otherwise if the

insurance on behalf of the Seller and act as deemed necessary

Reserve agreed is in a currency other than NT dollars and

by the Company to collect payments payable from the Buyer.

the Reserve is higher than the minimum of the estimates

However, the Company is not responsible for making remittance

caused by the exchange rate fluctuation between the

to the Seller nor for bringing any legal actions on behalf of

Reserve agreement day and the auction day. Under such

the Seller. The Company will discuss with the Seller to adopt

circumstances, except where otherwise agreed by the

appropriate actions to claim auction payments from the Buyer.

Company, the Reserve shall be in NT dollars calculated

by the exchange rate at the closing of the market the day

c. Counterfeits

immediately before the successful auction. If the bid price

If the Buyer convinces the Company that the Lot is a counterfeit

is lower than the Reserve, the Company is in no way to be

(as defined in Article 1 of the Transaction Agreement) within 10

held liable; however, the Company is entitled to auction

days following the auction day, then (1) If the Buyer has not paid

the item at a price lower than the Reserve. If the Company

all or part of the payment, the Company is entitled to call off the

so auctions the item, the Company is responsible to pay

transaction and/or (2) If the Company at that time has paid all or

the Seller the difference between the closing price and the

part of the payments payable to the Seller, the Seller must return

Reserve.

all the payments made to the Company if requested. The Company

The Seller cannot participate in the bidding of his auction

will exercise lien for the latter. Any items belonging to the Seller

items, nor can he retain anyone to bid on his behalf;

under control of the Company will be kept as security of the

provided, however, the Company is entitled to bid on behalf

payments to be returned.

of the Seller at the price no more than the Reserve. d. Items not successfully auctioned

8. After the successful auction

Any items not successfully auctioned, not included in the auction

a. Settlement

or withdrawn from the auction for any reason must be collected by

Upon the successful auction, the Company will request the Buyer

the Seller within 35 days upon notification by the Company to the

to make full payment no later than within 15 days, including the

Seller that he must reclaim the Lot. A storage fee of NT$600 per

compensation payable by the Buyer. Upon payment by the Buyer,

day per piece will be imposed on each item not collected after such

unless the Company receives a notice claiming such auction

35 day period together with an additional charge for purchasing

item is a counterfeit (as defined in Article 1 of the Transaction

insurance coverage. The Seller may not reclaim such item until all

Agreement), the Company will remit to the Seller within 60 days

the payments due are made. Such items may be removed to a third

following the successful auction day an amount equal to the

party warehouse if not collected in 60 days after the notification

closing price taking away all the expenses payable by the Seller. In

of collection is issued. The expenses arising therefrom shall be

the event the Buyer delays the payment, the Company will remit

borne by the Seller.The Company may dispose of the Lot in the

to the Seller within 7 days following the payment by the Buyer.

manner it deems appropriate if such item is not collected within

If for any reason the Company pays the Seller before the Buyer

90 days following the auction date or the notice date (whichever

makes his payments, the Company acquires the full ownership of

is the earlier). Such disposal includes removing the item to a third

the item. However, if the Company is forced to reclaim the Lot

party warehouse with the associated expenses borne by the Seller

from the Buyer because such item is a counterfeit, the Seller must

and to auction such items under terms deemed appropriate by the

return the auction proceeds to the Company.

Company (including the terms of estimates and the Reserve). The

Unless otherwise instructed by the Seller in writing, the Company

Company will pay the Seller the auction proceeds after payments

will make its payment in NT dollars. If the Seller requests to pay

owed are offset.

in currencies other than NT dollars, the Company will collect from

The Company is authorized to act as the sole agent of the Seller

the Seller any foreign exchange expenses arising therefrom.

within 2 months following the auction for any auction item withdrawn from the auction or not sold. The Company may

b. Non-payment by the Buyer

auction in private the item based on the net amount the Seller may

367

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

Sellerâ&#x20AC;&#x2122;s responsibilities and liabilities to the Company are the

with the author, history, year, age, culture or origin of the

same 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

the catalogue and the value of the Lot on the auction day

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). 7.

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.

party.

4. Jurisdiction

"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 than such price.

368

369

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

370

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，為台灣

在有些拍賣中，會有一具匯率轉換顯示板操作。匯率按拍賣

銀行於付款日向本公司報出之匯率，並以本公司就此兌換率

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

而發出之憑證為準。

而競投仍會以新台幣進行。匯率轉換顯示板並非時常可靠，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

d. 領取已購拍賣品

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

（1）買家除支付落槌價外，另須支付服務費予本公司，落槌

基本利率加4%之年利率收取整筆欠款之利息。此外本

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

公司可同時按日收取依賣價（含佣金）1％計算之違約

壹仟萬元以18％計算，超過新台幣壹仟萬元之部份以

金。將買家未付之款項，用以抵銷本公司或其他附屬公

12％計算。

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

b. 稅項

品行使留置權，並在給予買家有關其未付之欠繳之14天

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

通知後，安排將該物品出售並將收益用以清償該未付之

其他增值稅（不論由台灣政府或別處所徵收）。如有任何此

欠款。

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

（3）如買家因多項不同之交易而欠下本公司數筆款項，將所

付此稅款。

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。

c. 付款

（4）在將來的任何拍賣中，拒絕買家作出或由他人代其作出

成功拍賣後，買家須向本公司提供其姓名及永久地址。如遇

之競投，或在接受其任何競投之前先收取買家一筆保證

要求，亦須提供付款銀行之詳情。然後於拍賣日期後七天內

金。如買家未有在三十五天內付款，本公司除上述者

悉數支付所欠款項（包含落槌價、拍賣支付之酬金，以及任

外，另有權：

何適用之增值稅）。即使買家希望將拍賣品出口並需要（或

（5）代賣家針對買家進行法律程序，以追討整筆欠款，連同

可能需要）出口許可證，此一付款條件亦適用。

此項以悉數賠償為基準之法律程序之訴訟費。

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

（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

之所有權，即使本公司已將拍賣品交付予買家亦然。如支付

何其他售予買家之拍賣品之交易。

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

（7）安排將拍賣品公開或私下重售，如重售所得價格較低，

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

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。 371

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

372

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. 賣家不得參與競投其拍賣品，亦不得聘請任何人代賣家參

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

與競投，唯本公司有權代賣家以不超過底價之價格參與競

買拍賣品，均以賣家所作之下述承擔為基準：

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，本公司將向賣家收取所招致之任何外匯費用。

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

10%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。

373

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：

374

THE ABSENTEE BID FORM Department at least 24 hours before the auction begins. The bid

Auction Date

RAVENEL SPRING AUCTION 2007 Sunday, June 3, 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. (4a. The service fee of each lot payable by the Buyer: (1) The Buyer should pay the hammer price and, in addition, the service fee to the Company. For hammer price below NT$ 10,000,000 (inclusive), the service fee should be calculated at 18% of the hammer price; (2) For hammer price higher than NT$ 10,000,000, the first NT$ 10,000,000 should be calculated at 18% and the rest of the amount should be 12%.) 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.

375

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春季拍賣會

可傳真至：

日期：2007年6月3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：(02) 2708 9868

地址：台北市敦化南路一段108號B2

傳真：(02) 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 SPRING AUCTION 2007 - The 20th and 21st Century Chinese Art Chairman

Arthur Wang

President

Clara Kuo

羅芙奧2007春季拍賣會—20與21世紀華人藝術董事長

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