Ravenel Autumn Auction 2008 Hong Kong 羅芙奧香港2008秋季拍賣會 by Ravenel International Art Group

AUTUMN AUCTION 2008 HONG KONG

RAVENEL AUTUMN AUCTION 2008 HONG KONG Modern and Contemporary Asian Art

AUCTION Monday, December 1, 2008, 11:30am – 1:00pm Four Seasons Hotel Hong Kong – Four Seasons Grand Ballroom 8 Finance Street, Central, Hong Kong

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Hong Kong Friday, November 28 – Sunday, November 30, 2008, 10:00am – 7:30pm Grand Hyatt Hong Kong – Salons 1 Harbour Road, Wanchai, Hong Kong

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100738

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羅芙奧香港2008秋季拍賣會亞洲現代與當代藝術

拍賣日期/地點 2008年12月1日（一） AM 11:30至PM 1:00 香港四季酒店（四季大禮堂）香港中環金融街8號

預展日期/地點台中 2008年11月8日（六）至11月9日（日） PM 1:00至 PM 7:00 由鉅藝術中心（月光流域大樓）台中市公正路83號1樓台北 2008年11月15日（六）至11月16日（日） AM 10:00至 PM 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 香港 2008年11月28日（五）至11月30日（日） AM 10:00至PM 7:30 香港君悅酒店（君悅廳）香港灣仔港灣道1號

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Contents / 目次

Sale Information / 羅芙奧秋季拍賣會

Ravenel Services / 羅芙奧之服務

Index / 藝術家索引

Modern and Contemporary Asian Art / 亞洲現代與當代藝術

168

Artist Biographies / 藝術家簡歷

188

Transaction Agreement / 業務規則

199

Absentee Bid Form / 委託競投表格

Front Cover: Lot 128 Inside Cover: Lot 133 Opposite: Lot 132

B Gabriel BARREDO Venkat BOTHSA

蓋伯瑞．博瑞多 161, 162 凡卡．波沙 154

江賢二陳界仁邱亞才朱德群

108 102 104 132

方力鈞傅慶豊

123 109

F FANG Lijun Alixe FU

G GUO Wei

郭偉

147

日野之彥黃鋼洪東祿黃楫黃銘哲

142 119 101 110 103, 107

H Korehiko HINO HUANG Gang HUNG Tung-lu HWANG Jyi Michell HWANG

J JIAO Xingtao JU Ming

焦興濤朱銘

140 137

尤麗．肯薩古金昌烈郭維國布迪．庫斯塔托權奇秀

159 145 106 156 144

李真連建興凌健羅中立

138 113 124 122

K Yuree KENSAKU KIM Tschang-yeul KUO Wei-kuo Budi KUSTARTO KWON Ki-soo

L LI Chen LIEN Chien-hsing LING Jian LUO Zhongli

朴栖甫 146 賈斯汀．龐馬尼 158

C Paul CHIANG CHEN Chieh-jen CHIU Ya-tsai CHU Teh-chun

PARK Seo-bo Justin PONMANY

M MAO Xuhui 毛旭輝 Hiroyuki MATSUURA 松浦浩之

115 141

Meena SANSANWAL SANYU Bhagat SINGH SONG Yonghong SU Xinping SU Wong-shen Agus SUWAGE

米娜．珊珊娃常玉巴哈哥特．西恩宋永紅蘇新平蘇旺伸阿格斯．蘇瓦吉

153 133 155 151 149 112 157

王廣義王懷慶吳冠中

127 135 134

夏俊娜向京熊宇

136 139 152

山本麻友香嚴培明楊勁松楊茂林葉子奇岳敏君

143 125 150 105 111 128

亞穆．章其．安華趙無極曾梵志張宏圖張林海張曉剛張小濤鐘飆周春芽

160 131 129, 130 114 121 126 120 148 116, 117, 118

W WANG Guangyi WANG Huaiqing WU Guanzhong

X XIA Junna XIANG Jing XIONG Yu

Y Mayuka YAMAMOTO YAN Pei Ming YANG Jinsong YANG Mao-lin Tzu-chi YEH YUE Minjun

Z Ahmad ZAKII Anwar ZAO Wou-ki ZENG Fanzhi ZHANG Hongtu ZHANG Linhai ZHANG Xiaogang ZHANG Xiaotao ZHONG Biao ZHOU Chunya

Artistic Differences

An Introduction to Selected Contemporary Taiwanese Artists By Odile Chen

Political Metaphors and Personal Identification

Taiwan is surrounded on all sides by the sea in a crucial location in East Asia, near to Japan, China, Hong Kong, Vietnam, and the Philippines. Since ancient times, it has been a necessary stopping-off place for travel in the western Pacific. It has a subtropical climate and is rich in agricultural products, allowing it to enjoy abundant trade activities. Taiwan’s cultural characteristics are influenced by its geographical circumstances. With its cultural environment as an island with a mainly immigrant population, Taiwan has always been open to expanding opportunities abroad and naturally accepts the pull of foreign cultures. Ever since the Ming and Qing Dynasties, Taiwan has had extremely close dealings with China in terms of politics, economics, culture, and society. The two sides of the Taiwan Strait have a cultural background that shares the same language and the same race, but they became separated in terms of politics and geography when Taiwan was ruled as a colony by Japan for 50 years (1895 – 1945) and after the split between the Communists and the Nationalists in 1949. This led to different artistic and cultural styles and trends forming in the latter half of the twentieth century. Today, “Contemporary Asian Art” has become a popular market in the global art world. Large art markets like China, India, and Southeast Asia, or recently rising markets like Japan and Korea have jointly created an unprecedented regional prosperity in art. Contemporary Taiwanese art is often put into the category of “Chinese art” because of the shared language and race. However, the artistic style that has developed in Taiwan since the Second World War is different from the style of China, from which it has been separated for 60 years, so they cannot be spoken of as the same thing. Ravenel Art Group’s Hong Kong auction specially introduces “Contemporary Taiwanese Art,” selecting fourteen contemporary artists who are still active in the art world. They are artists in their 40’s and 50’s who were born in the 1940’s to the 1960’s, and who have achieved fame in the international art world with their own mature styles and personal characteristics. Their artwork will take viewers on a special artistic journey.

In the 1960’s, in order to promote modern painting, a few art students formed avant-garde painting groups in Taiwan such as the Ton-Fan Group and the Fifth Moon Group. They hoped to break out of the conservative style of copying the masters and following conventions and express the essence of traditional painting through modern painting forms. These painters later studied abroad and became the pioneers in the development of modern art in Taiwan. In the 1970’s, the controversy over native literature set off a wave of native realist style in painting, which extended into the middle of the 1980’s. The representative artists of this style are Ju Ming (b. 1938), Hung Tung (1920–1987), and Shiy De-jinn (1923–1981). In 1987, Taiwan announced the end of martial law and ended restrictions on the press and political parties. Military rule was thus ended and the march towards democracy began, which provided a release for artistic creation. Before the end of martial law, there was already a wave of changed thinking occurring in Taiwan, as a group of Chinese Culture University art school graduates formed the Taipei Painting Society in 1985 and rented an abandoned apartment as their temporary exhibition space. The pioneering “Living Clay” started the alternative space trend in 1986. These were outstanding painting groups whose influence extended throughout the 1980’s. The main members of the Taipei Painting Society included painters who are still active in painting circles today, such as Wu Tian-chang, Yang Mao-lin (b. 1953), Kuo Wei-kuo (b. 1960), Lien Chieh-hsing (b. 1962), and Lu Hsien-ming (1959). Yang Mao-lin started out with themes of political criticism by illustrating power struggles with painting series such as “Behavior of Game Playing” and “Made in Taiwan” that expressed the clashes of different forces in life. This later extended to the use of images from historical archeology, bioculture, and topology, developing into historical-type artworks. After the mid 1990’s, he focused on Taiwanese cultural totems, moved by the subculture transplants from America and Japan, developing cultural-type artworks. The auction item, “Florescent Formosa,” is one of Yang Mao-lin’s cultural topologies, introducing the phenomenon of the

invasion of strong foreign cultures in Taiwan, with an intense critical style from the edge that emphasizes subjective consciousness. In 1985, Kuo Wei-kuo joined the Taipei Painting Society and began participating in painting exhibitions. In 1988, he formed the “Handtoo Art Group” and served as director. Its members mostly came from the Taipei Painting Society. In his early career, he painted the exteriors of buildings to make a living in hard economic times, practicing his realistic painting skills. In 1993, his work “Levitation” and his famous “Taiwan Island” work, which were both part of the “Cold and Clear Tension” series, represented the anxiousness of the struggles of the people of Taiwan, with textures and colors of hot and cold contrasts. “Levitation” describes metallic buildings with black images and some pink organic glands quivering outside of the buildings, forming a contrasting, oppressive, restricting, and uncoordinated visual feeling that transmits the inner conflict felt in the changes of contemporary society. Early in his career, Su Wong-shen (b. 1953) actively participated in Taiwanese social campaigns and his artworks contained a rich social component. Faced with a society that was changing rapidly, ancient roots still continued to exist like ghosts. With a bird’s-eye view, beasts wander on an empty stage, seemingly fitting in with the times while also being absurd. His paintings preserve the old memories of Taiwanese society, with an isolated, unworldly atmosphere. His 2003 work “Pagodas” points to the political agitation that exists in Taiwanese society, with upside-down or reclining beasts with heads and

tails connected in a chain that surround a few pagodas while blindly wandering and marching in a military formation in a zigzagging line. It looks orderly and rational, but it is an atmosphere full of unease.

Environmentalism and Social Concern After the 1970’s, Taiwan’s economy suddenly skyrocketed, and by the 1980’s, the country was the richest of Asia’s four little dragons. However, the price for a high degree of industrial development was the

sacrifice of the natural environment. The painter Lien Chieh-hsing uses a magical realist painting style to expose the human exploitation of nature. Shut-down mines, ruined factories, and abandoned equipment are evidence of the rise and fall of human industrial production. The ruins in his paintings are portrayed in a very dramatic visual style, containing a hope for art to develop into humanity’s redemption for its cruelty. The work “Wagons in the Passageway”, created in 1983, shows a mottled mud wall and a parked truck with no sign of human life, just junk that has been used and left behind. It can be seen as the image of a historical reflection in Taiwan’s post-industrial age. Chen Chieh-jen (b. 1960) is a Taiwanese artist who has been invited to participate in important international art biennales many times. Early in his career, he was famous for action art, and later worked in painting and video art. Recently, his main works have been documentaries and films. In 1986, he formed the “Living Clay” group with friends Kao Chong-li and Lin Ju. In the beginning, they did action performance art in alternative spaces like abandoned apartments and by the seashore. After 1996, he developed a series of black and white photographs called “Revolt in the Soul and Body” with computer touch-ups of historical photographs of torture. This series overturned the stale impression of images as historical evidence in a sarcastic way, and emphasized the authoritarian rule and cruelty of the State machine. “The Image of Identical Twins” enters a surreal purgatory through computer illustration of the self-image of the artist, while the entire scene seemingly portrays the revelation of the future world with two-headed elephants, chest wounds, a handheld nuclear reactor, and grass roots. It all has the dual

meaning of destruction and vitality, while the painter’s feet stand on a scorched earth with a shape that makes the viewer think of Taiwan. Although Hung Tung-lu (b. 1968) is now in his forties, his creative vocabulary uses the style of subculture, which causes him to be categorized as a representative of the young generation. After 1998, he started to use Japanese anime and manga characters beloved by the e-generation, reflecting a new consumer culture and new aesthetic values. More recently, he has used materials often seen in

advertisements, such as lenticular lenses and lightboxes, to create virtual new and old idols and religious images, projecting people’s emotions on the virtual object in an attempt to escape reality. His 2004 lightbox work “Padmasambhava” shows the virtual computer-illustrated character “Little Hung,” a self projection of the artist, sitting on a lotus throne. In a scene like some techno music heaven, the artist appears in today’s digital age looking for a kind of religious redemption.

Metropolitan Spirit and Spiritual Monologue Most Taiwanese artists feel the need to leave their hometown by going from the countryside to the city or from Taiwan to another country, and the lands that they have passed through in their lives often appear in their paintings. Michell Hwang (b. 1948) originally was a representative of the native realism painting style, depicting the simple, rustic life of the countryside, which was well received. After he returned from traveling abroad in the 1980’s, he started to try something completely new, using human figures as his main subject. He especially likes to use bright red since he thinks that red represents light and power. In recent years, he has worked with sculpture installations, alternately spending time in Beijing and Taipei. In the 1985 work “Young Girl—Chasing Dreams” done early in his career, the lowered head of the young girl shows a reserved beauty, and the exquisite depiction of native realism can still be seen. The composition is ornamental on the surface, and the human figure is stretched out, showing a semi-surrealist tendency. Later, he changed to a preference for capturing the spirit of the masses of the city, especially the fashionable women of Taipei’s east district. He

used a non-representational visual style and gorgeous spatial treatment to describe the crowdedness and noisiness of the city. The 1992 work “Story” describes the passions and hidden emptiness of the men and women of the metropolis with a flowing, passionate tone. The artist Tzu-chi Yeh (b. 1957) lived in New York for 19 years before he returned to his hometown of Hualien in 2006. He uses a classic realist technique and minimalist composition to slowly and quietly paint landscapes, still lifes, human figures, or everyday objects as if they were

a monologue-style personal record of the life of the artist. His “YangMing Mountain in October” describes the scene that the painter often saw in his student life. It is meticulously portrayed, filled with deep emotion. In the mysterious poetic space, the human spirit forms an eternal setting. Another painter who has lived in America and France for a long time is Paul Chiang (b. 1942) who returned to Taiwan in 1998. He is also proficient in describing solemn and tranquil spiritual worlds, and his paintings always have a certain poetic quality. “Eternal Meditation” is a series of paintings that explore life’s rootless emptiness. Paul Chiang secludes himself in a simple painting studio and immerses himself in a state of tranquility, perhaps accompanied by the music of Bach. He enters a spiritual world that is simple, profound, and almost religious. He participates in a spiritual exchange through the methods of physicality, completing a painting of tranquil beauty that even moves the artist.

Pure Aesthetic Style and Surrealism Chiu Ya-tsai (b. 1949) is a graceful painter who, as the author of many novels, received the Wu Chuo-liu Literary Prize. Later, he concentrated his energy on painting portraits of drifters, artists, or women with thin faces and stretched bodies. His style invokes loneliness, worry, selfreflection, and serenity, approaching a modern literati painting style that some compare to Modigliani. The portrait of a woman, “Chunjing”, depicts a female friend of the artist with a kind of pure aesthetic style. The bright clothing and pale face of the subject forms an intense

contrast with the black background. The style of the figure is elegant, but the reserved and indifferent manner emphasizes the emptiness and depression of life. Hwang Jyi (b. 1953) excels at scenes of mysterious dreams, delving into the spiritual depths of humanity. Each painting has a narrative style that expresses a metaphor of the life experience. The human figures in the paintings are transformed in a style that mixes cubism and expressionism. The figures have vacant expressions that seem to pose

an enigma to the viewer. The expressions of the figures in the work “Mother and Daughter” gaze in different directions without a focus, while the extended arms seem as heavy as a statue. The figures in the background stare at the viewer, adding a layer of dramatic tension. The artist’s many mother and child paintings seem unconnected with any affection, as the mothers and children represent opposing forces in an expression of a mysterious and alternative dream world. The early works of Alixe Fu (b. 1961) in the 1980’s had an expressionist style, with the twisted and rolling figures in the paintings expressing a state of unease. The artist moved to France in 1987, and, in 1991, entered the van Gogh Village residency program promoted by the French government, in which he lived in the village of Auver-sur-Oise, the last home of Vincent van Gogh. The work “Wing of Cloud”, created in 1992, takes its background from the beautiful scenes of Auver-sur-Oise. The scene is wide open and the figures in the painting are camouflaged as scarecrows or as crosses. The painter purposively transforms them into a new image to make one think of life and death. The colors tend to be simple, like a gentle dreamscape, giving off a certain degree of surrealism.

Tradition Reborn in a New Style of Sculpture In Taiwan, besides painting and avant-garde video, the field of sculpture is also very active. The traditional carving and stone carving art season and the modern carving exhibitions held every year always result in great achievements. The foremost figure of the Taiwan sculpture world, Ju Ming (b. 1938), was influenced by the themes of the native literature movement in the 1970’s with his series “The Living World”. His reputation as an international master was cemented with his “Taichi Series” which mixed Chinese philosophy with a modern abstract language. The bronze statues of the “Taichi Series” display wellexecuted martial arts, and the bronze material gives the postures of Ju Ming’s Taichi masters a substantial weightiness. Li Chen (b. 1963) is a sculptor who has been active in the international art world in recent years. As a Buddhist, his works often transmit messages of wisdom and harmony. His works all have the naturally powerful, complete style beloved by Easterners, while being full of meaning and mixing in some elements of modern sculpture. He often uses a collage technique with the colors of black and gold or black and silver with a rich, original creative language. The work “Cloud Glide” uses the sentence “he mounted on the clouds, drove along the flying dragons, rambling and enjoying himself beyond the four seas” from Chuang-tzu’s “Enjoyment in Untroubled Ease”. The work transmits the spiritual pursuits of the artist, full of the joy of riding the clouds. Even though Taiwan is a small island, its development in the fields of technology, economics, politics, media, entertainment, and the Arts have a certain visibility around the globe. In today’s world where there are closer ties between countries, the issue of globalization has been a hot topic for many years. However, it is important for the distinctive artistic styles of each region to be preserved. The world needs unity, but art, however, needs to maintain its differences.

藝術大不同台灣當代藝術家選介文 / 陳惠黛台灣地理位置四面環海，居於東亞交通折衝位置，鄰近日本、韓國、中國、香港、越南、菲律賓，自古以來即是各國航行太平洋的必經之地。氣候屬亞熱帶，擁有富庶的農業物產，貿易活動向來興盛。台灣的文化特色，也因其地緣關係，移民人口為主的海島地理人文環境，向來崇尚往外拓展生機，自然易接受外來文化的吸引。自明清以降，台灣和海峽對岸的中國，在政治、經濟、文化、社會等層面即有密不可分的交往。兩岸擁有同文同種的文化背景，然而因台灣曾受日本殖民50年（1895-1945），後來加上1949 年的國共分裂，政治與地理的分隔，造成二十世紀下半葉海峽兩岸的藝術文化形成不同的風貌與發展傾向。今日全球的藝術圈中「亞洲當代藝術」漸成一門市場顯學，原本即頗具規模的中國、印度、東南亞或近期崛起的日本、韓國等地的藝術市場，共同促進前所未有的區域榮景。在此，台灣現當代藝術因同文同種之民族因素，與其他海外華人藝術家一樣，通常被歸類於「中國藝術」或「華人藝術」的範疇。然而，二次大戰後的台灣所發展的藝術面貌，與分隔六十年的中國大陸藝術其實是兩樣風情，不宜合為一談。在此，羅芙奧香港拍賣特別選介「台灣當代藝術」，介紹十四位仍活躍藝壇的當代藝術家。他們多數為1940年至1960年代前後出生的四十、五十多歲以上的藝術家，在國際藝術界享有一定知名度，風格成熟且具有個人特色。期盼透過他們的創作，帶給觀者各具特色的藝術行旅。

1987年台灣宣布解除戒嚴令，開放報禁、黨禁，從此結束軍事專制，走向民主，藝術創作也獲得解放。在解嚴之前，台灣土地早已醞釀一波改變的思潮，一群文化大學美術系畢業學生組成的「台北畫派」（1985），以及租用棄置公寓作為臨時展場，興起替代空間展演先驅的「息壤」（1986），皆是1980年代非常出色的畫會團體，其影響力一直延續到1990年代。「台北畫派」的主要成員包括今日仍活躍於藝壇的吳天章、楊茂林、郭維國、連建興、陸先銘等。楊茂林從最早描寫權力爭鬥的政治批判主題，有「遊戲行為」、「台灣製造」等系列衝撞生命力的發聲，而後延伸到歷史考古、生物人文、地誌學的圖像運用，發展出歷史篇的創作， 1990年代中期後著眼於台灣文化圖騰，有感於美國、日本等次文化娛樂移植，發展出文化篇的創作。此次的拍品《寶島花開》即是楊茂林的文化地誌學，提出台灣異文化的強勢入侵現象，具有強烈草莽批判風格，強調主體意識。郭維國1985年加入「台北畫派」，參與畫展。1998年發起組成「悍圖社」並任社長，成員多承接自「台北畫派」。早年因經濟因素以繪製建築外觀圖謀生，練就寫實描繪的功力。1993年創作的《漂浮的心》和著名的《台灣島》作品皆屬於「冷冽張力」系列創作，以冷熱對比的質感、色彩，暗喻島內人民掙扎的焦慮狀態。《漂浮的心》作品中描寫黑色形象的金屬建築體，一些粉紅色有機腺體在建築之外蠕動，形成對立、壓抑、束縛、不協調的視覺感受，傳達當代社會變異中人的內在衝突感。

政治隱喻與身分認同 1960年代幾位美術系學生為倡導現代繪畫，台灣出現東方、五月等前衛畫會組織，他們期盼打破臨摹、因襲的保守風氣，以現代的繪畫形式來表現傳統繪畫的精髓，這些畫家後來多留學海外，成為台灣現代美術發展的先驅。1970年代因鄉土文學的論戰，激發了一波繪畫的鄉土寫實風潮，延續到1980年代中期。其中朱銘、洪通、席德進等藝術家為其中代表。

蘇旺伸早年積極參與台灣街頭社會運動，他的創作中有潛藏著豐富的社會性。面對快速變遷的社會中，老樹或舊墳延續幽靈般地依舊存在。鳥瞰的視野下，貓狗般的獸遊蕩在虛無的舞台空間裡，看似突梯、荒謬，他的繪畫裡帶有台灣社會的陳舊記憶，保留一份孤獨遺世的清芬。2003年創作的《浮屠》作品指涉台灣社會存在的政治騷動現象，群獸或倒或臥，頭尾相連地串連行進，圍繞著幾座浮屠寶塔，盲目遊蕩，遊行的隊伍形成一條蜿蜒的線條，看似秩序、理性但其實瀰漫著不安的氣氛。

環保與社會關懷台灣經濟在1970年代後突飛猛進，到了1980年代躋身成為最富裕的亞洲四小龍。然而高度工業發展的背後，卻以犧牲自然環境作為代價。畫家連建興藉由魔幻寫實風格繪畫，揭露人類對自然的掠奪。停產的礦場，頹傾的廠房，棄置的採運設施，都是人類工業生產興衰的見證。他畫中廢墟般的視覺場景非常具有劇場性格，企盼藉藝術發抒為人類的殘酷提出救贖。創作於 1983年的早期畫作《通道中的車子》，斑駁的泥牆，停泊的貨車，人類已經離去，僅剩下利用後的滄桑廢墟，可視為台灣後工業時期的歷史反思圖像。陳界仁乃是獲邀參加國際重要美術雙年展次數最多的台灣藝術家，最早以行為藝術聞名，後從事繪畫、影像創作，近期以紀錄片和電影為主要創作。1986年曾與高重黎、林鉅等友人組成「息壤」團體。最早在廢棄公寓、海邊等體制外替代空間從事行為表演的藝術家。自1996年後以電腦重繪歷史酷刑照片，發展出「魂魄暴亂」系列黑白照片，以擬真、戲謔方式，顛覆影像長期作為歷史真實證據的刻板印象，凸顯國家機器的權力宰制及殘酷。《連體魂》以藝術家自我的形象，透過電腦繪畫進入擬真的煉獄世界，整個畫面宛如呈現末世到來的天啟場景，雙首像，胸腹的裂口，手持的原子反應爐元件及草根，皆有毀滅與生機的雙重意義，而畫家雙腳站立的焦土形狀令人聯想起了台灣。洪東祿儘管現已屆四十歲，但洪東祿採用的創作語彙，貼近次文化風潮，經常被歸類為年輕世代的代表藝術家。從1998年後他開始大量使用E世代熟悉的日本電玩卡漫人物，反應新的消費文化與美學價值觀。後來他又運用廣告常見的影像輸出光柵片、燈箱等素材，創造一些虛擬的新舊偶像、聖像，將人的情

感投射在虛擬的對象企圖逃避現實。2004年創作的《蓮花生》燈箱裝置作品，影像中端坐蓮花座上的主角是藝術家以電腦繪圖虛擬的人物「小紅」，也是他自我的投射。電音迷幻般的天堂情境，藝術家以一種宗教救贖的姿態出現在今日數位時代。

都會風情與心靈獨白台灣藝術家多有離鄉之需求，或從鄉村到城市，或從台灣到異國，生命中經歷過土地常會出現在他們的繪畫中。黃銘哲原是鄉土寫實畫家的代表，描繪農家簡樸的生活，頗受好評。 1980年代自外國遊歷返回後，開始全新的嘗試，以人物為主要題材。他尤其偏愛豔麗的紅作為主調，認為紅色代表光明與力量。近年致力於雕塑裝置作品，往來於北京、台北兩地。黃銘哲創作於1985年的早期作品《少女—追夢》，少女低首具有東方含蓄之美，仍可見鄉土寫實的精緻描寫，構圖平面具裝飾性，人物比例拉長，漸有半抽象的雛形。後來他轉而喜愛捕捉都會眾生相的風情，尤其是台北東區時髦女性，以非具象的視覺造型，華麗的空間處理，寫照都市的擁擠與喧譁。1992年《故事》作品即是以流暢、熱情的筆調，描述都會男女的情慾及隱身在後的幽微空虛。旅居紐約19年的畫家葉子奇，2006年返回故鄉花蓮定居。他以古典寫實技法、極簡的構圖，慢慢地靜靜地描畫，無論是風景、靜物、人物，或是日常生活中的物件，都像是畫家個人獨白式的生命記錄。《十月的陽明山》描寫畫家學生時代經常凝視的風景，記憶裡熟悉易感的場景，一筆一畫精心鋪陳，充滿濃郁的情懷，神祕的詩意空間裡，人的精神在此形成永恆凝結。另外一位長年旅居美、法的畫家江賢二，在1998年回台灣定

居，他亦擅長描寫莊嚴、靜謐的心靈世界，其畫作向來具有詩意特質。《永恆的冥想》是一系列探索生命、無垠太虛的聯作。江賢二閉居在簡單的畫室，將自己沈浸於一種寧靜的狀態，或伴隨巴哈的音樂，引領進入一種簡潔、深沈，接近宗教境界的心靈世界。他以身體力行的方式，進行心靈交會，完成一幅寧靜而美的構成，連畫家自己亦深受感動。

唯美風格與超現實邱亞才是一位富有文采的畫家，曾經獲得吳濁流文學獎，著有多本小說。後來他專注於繪畫創作，主題皆為肖像畫，筆下的人物多是描寫漂泊者、藝術家或女子，面容清瘦，身影拉得頎長，風格傾向孤寂、憂鬱、內斂、沈靜，接近現代文人畫，亦有人以「莫迪里亞尼」比擬。女子肖像畫《純靜》描寫畫家的女性友人，具有一種唯美的風格。畫中主角鮮豔的衣著與蒼白的面容、黑色背景形成強烈反差。人物造型古雅，但顯然拘謹的姿態和神情漠然，凸顯人生的空乏與頹靡。黃楫擅長以神祕夢境般的場景，去窺探人類的心靈深處，每一幅作品皆帶有敘事風格，可說是生活經驗的隱喻。畫中人物造型多經變形，甚至混雜著立體主義、表現主義的風格，人物的表情茫然，傳達謎一般的訊息。作品《母與女》中母女的眼神各迎向一方，沒有交集，拉長的手臂沈重如雕塑，背景的人畫注視著觀者，增添戲劇張力。藝術家過去類似的母子主題，其實常常無關親情，女子及幼兒代表兩種相對應的力量，表現神祕而另類的夢境世界。傅慶豊於1980年代的早期作品常帶有表現主義，畫中人物扭曲翻滾呈現心理的不安狀態。1987年他遷居法國生活，1991年又獲得法國國家推行的梵谷村駐村計畫，生活在梵谷生前最終宿

地奧維。《雲意》為1992年的創作，畫中的背景取自優美的奧維風景，畫面顯得開闊，畫中的人物或偽裝成稻草人，或偽裝成十字架，畫家有意轉化為新的意象，給人生死聯想，色彩上則轉趨單純，如夢境般柔美，帶有超現實主義風格。

傳統再生雕塑新貌除了繪畫、前衛影像之外，台灣的雕塑領域也頗具有規模，每年舉辦的傳統雕刻、石雕藝術季及現代雕刻展覽，過去都累積出色的成果。而台灣的雕塑界大師的首推朱銘，1970年代受鄉土文學思潮影響，早期創作鄉土系列，以及人間系列等主題。而尤以融合中國哲學，具有現代抽象語彙的「太極系列」奠定其國際大師的地位。銅雕《太極系列—側踢》，展現俐落刀斧工夫，青銅的材質使得朱銘的太極拳者的姿態產生堅實的量感。李真則是近幾年活躍於國際藝壇的雕塑家，身為佛教徒，其作品亦常傳達智慧、圓融之意。他的創作一律採東方人喜愛渾厚圓滿造型，富有趣味，又融入當代雕塑素材。常以黑與金，或黑與銀兩色拼貼技術，豐富原有的創作語彙。作品《乘雲氣》引用莊子《逍遙遊》的「乘雲氣，御飛龍，而遊乎四海之外」一句。作品傳達藝術家的精神追求，人物騰雲飛翔，充滿喜悅。儘管台灣只是蕞爾小島，但在科技、經濟、政治、新聞、娛樂、藝術等領域的發展，在全球都有一定的能見度。今日世界之間聯繫密切，全球化的議題延燒多年，但保留各地獨特的藝術風貌何其重要，世界要大同，藝術則需大不同。

101

HUNG Tung-lu

(Donglu HONG, Taiwanese, b. 1968)

Padmasambhava Hung: KarmaShanghai Biennale 2004: Techniques of the VisibleTung-lu Hung

HK$ 120,000-300,000 NT$ 490,000-1,230,000 US$ 15,400-38,500

洪東祿蓮花生 2004 雷射輸出光柵片燈箱 AP3 140(長) x 20(寬) x 180(高) cm 附藝術家簽名之原作保證書展覽：「洪東祿個展—業」，大未來畫廊，台北，展期2004年6月12日至6月30日「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「洪東祿個展」，季節畫廊，北京，展期 2006年8月5日至9月4日

102

CHEN Chieh-jen (Taiwanese, b. 1960)

The Image of Identical Twins 1998 D i g i t a l p r i n t o n p h o t o g r a p h i c p a p e r, edition no. 4/10 112 x 150 cm The artwork is to be sold with a certificate of authenticity issued by Main Trend Gallery, Taipei EXHIBITED: Taipei Biennial: Site of Desire, Taipei Fine Arts Museum, Taipei, Taiwan, 1998 Routes, Routes, Routes, Routes, Routes, Routes, Routes, XXIV Bienal de São Paulo, Brazil, 1997 48th International Art Exhibition-Venice Biennale, Palazzo delle Prigioni, Venice, Italy, 1999 International Photography Biennale, Centro de la Imagen, Mexico City, Mexico, 1999 Man & Space-Art & Human Rights, Gwangju Biennale 2000, Gwangju, Korea, 2000 The 31st Rencontres Internationale de la Photographie, Abbaye de Montmajour, Arles, France, 2000 The Mind on the Edge of the New Centres, Photo Espaòa 2000, Circulo de Bellas Artes, Madrid, Spain, 2000 5e Biennale de Lyon-Partage d’exotismes, Halle Tony Garnier, Lyon, France, 2000 Le soleil se lève à l’Est, Hanlim Museum, Seoul, Korea, 2000 From Iconoclasm to Neo Iconolatry, Eslite Gallery, Taipei, Taiwan, 2001 Floating Chimeras-Contemporary Asian Art, Edsvik konst och kultur, Sollentuna, Sweden, 2001 A Strange Heaven-Contemporary Chinese Photography, Rudolfinum Museum, Prague, Czech, 2003

HK$ 120,000-250,000 NT$ 490,000-1,030,000 US$ 15,400-32,100

陳界仁連體魂（魂魄暴亂系列） 1998 數位輸出相紙 4/10 112 x 150 cm 附大趨勢畫廊開立之原作保證書展覽：「1998台北雙年展：欲望場域」，台北巿立美術館，台北，台灣，1998 「第二十四屆聖保羅雙年展—路線，路線，路線，路線，路線，路線，路線」，聖保羅，巴西，1998 「第四十八屆威尼斯雙年展台灣館：意亂情迷—台灣藝術三線路」，普里奇歐尼宮，威尼斯，義大利，1999 「墨西哥國際攝影雙年展」，墨西哥影像中心，墨西哥市，墨西哥，1999 「2000年光州雙年展：人＋間—藝術與人權」，雙年展大樓，光州，韓國，2000 「第三十一屆阿爾國際攝影節」，蒙馬日修道院，阿爾，法國，2000 「2000年西班牙攝影節：邊緣之心—新中心」，環形美術館，馬德里，西班牙， 2000 「第五屆里昂雙年展：分享的異國情調」，東尼．賈尼耶廳，里昂，法國， 2000 「太陽自東方昇起：亞洲當代藝術風貌攝影展」，翰林美術館，首爾，韓國，2000 「從反聖像到新聖像」，誠品畫廊，台北，台灣，2001 「飄浮的噴火獸：亞洲當代藝術」，愛德維克藝術文化館，索蘭特納，瑞典，2001 「幻影天堂─中華當代攝影展」，魯道夫美術館，布拉格，捷克，2003

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103

Michell HWANG

(HWANG Ming-che, Taiwanese, b. 1948)

Young Girl- Chasing dreams 1985 Oil on canvas 114 x 117 cm Signed on the reverse Hwang Ming-che in Chinese and dated 1987 4. 14 EXHIBITED: Michell Hwang, Shanghai Art Museum, Shanghai, 2001 ILLUSTRATED: Michell Hwang, Shanghai Art Museum, Shanghai, 2001, color illustrated, p. 58

HK$ 400,000-600,000 NT$ 1,640,000-2,460,000 US$ 51,300-76,900

黃銘哲少女─追夢 1985 油彩畫布 114 x 117 cm 簽名畫背：黃銘哲 1987 4. 14 展覽：「黃銘哲：上海．台北．風華再現」，上海美術館，上海，2001 圖錄：《黃銘哲》，上海美術館，上海，2001，彩色圖版，頁58

Back in the 80's, Michell Hwang ended his sojourn in Europe and returned to Taiwan. The feeling of unanchored alienation from being abroad was replaced with the confident familiarity of being at home. Now no longer tainted with the damp fog of England, his existence is devoted to the strength of geometry. From the artist's works of this period it can be seen that characters often have claw-like toes and weirdly open hands; this points to the development of later works, and the "expressions" implicit in the hands and feet are key to the tension hidden within the characters as expressed by the artist. This work, "Young Girl- Chasing Dream" depicts the main character realistically, being faithful and sensitive to each line and stroke, and emphasizing the important visual aspects of the character. However, what is more worthy of attention is the character's attire; from within the deep blue vibrant colors emerge and spring forth, existing under endless layers of alteration, covering and reshaping. Evidently, while remaining true to the form of the girl, the artist is seeking to abandon some previously acquired proficiency.

80年代，黃銘哲結束在歐洲的生活回到台灣，身處異鄉的漂浮感不見了，取而代之的是回到故鄉的自信。不再染著英格蘭空氣中的迷濛，而是為了堅實的幾何構成而存在。從藝術家同一個時期的創作中發現，畫面中的人物常常出現像爪子般彎曲的腳趾與雙手詭異的張開，暗藏了之後作品的脈絡，其實這些手趾與腳趾的「表情」，正是藝術家傳達造型張力的重點。此幅作品《少女—追夢》畫面中的人物主角，藝術家以寫實的手法呈現，忠實掌握敏銳精準的線條，強調畫中人物在視覺表現上重要的部份，但另外更值得注意的是少女身上的衣著，在深層的藍色中，繽紛的色彩正在跳躍；正在奔放，它們是存在於不斷覆蓋、修改與積累的形塑過程中。顯然，藝術家在延續造型輪廓的前提下，也急切的想要放棄一些曾經擁有的熟練。

104

CHIU Ya-tsai

(Taiwanese, b. 1949)

Chunjing

Oil on canvas 193 x 131 cm Signed lower right Chiu Ya-tsai in Chinese

HK$ 420,000-700,000 NT$ 1,720,000-2,870,000 US$ 53,800-89,700

邱亞才純靜油彩畫布 193 x 131 cm 簽名右下：邱亞才

105

YANG Mao-lin (Taiwanese, b. 1953)

Florescent Formosa

1996 Acrylic on canvas 116.5 x 160 cm Signed lower center MADE IN TAIWAN in English This 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, Tayouan History, Lin & Keng Gallery, Taipei, 1999, color illustrated, p. 69 Ceremonies before Rewarding-Inviting the Immortals III, Yang Mao-lin, Lin & Keng Gallery, Taipei, 2003, color illustrated, p. 58

HK$ 250,000-380,000 NT$ 1,030,000-1,560,000 US$ 32,100-48,700

楊茂林寶島花開 1996 壓克力畫布 116.5 x 160 cm 簽名中下：MADE IN TAIWAN 附大未來畫廊開立之原作保證書展覽：「文化交配大圓誌─請眾仙」，大未來畫廊，台北，1999 圖錄：《文化交配大圓誌─請眾仙》，大未來畫廊，台北，1999，彩色圖版，頁69 《封神之前戲─請眾仙I I I．楊茂林》，大未來畫廊，台北，2003，彩色圖版，頁58

105

106

KUO Wei-kuo (Taiwanese, b. 1960)

Levitation 1993 Oil on canvas 91 x 116.5 cm ILLUSTRATED: Kuo Wei-kuo, Taiwan Gallery, Taipei, 1993, color illustrated, p. 21

HK$ 140,000-240,000 NT$ 570,000-980,000 US$ 17,900-30,800

郭維國漂浮的心 1993 油彩畫布 91 x 116.5 cm 圖錄：《郭維國》，台灣畫廊，台北，1993，彩色圖版，頁21

107

Michell HWANG

(Taiwanese, HWANG Ming-che, b. 1948)

Story 1992 Oil on canvas 180 x 150 cm Signed lower left Che in Chinese and dated 1992 Titled on the reverse Story and signed Hwang Ming-che in Chinese, and dated 1992

HK$ 1,000,000-1,500,000 NT$ 4,100,000-6,150,000 US$ 128,200-192,300

黃銘哲故事 1992 油彩畫布 180 x 150 cm 簽名左下：哲1992 簽名畫背：故事黃銘哲 1992

108

Paul CHIANG (Taiwanese, b. 1942)

Eternal Contemplatation 2004 Oil on canvas 122 x 122 cm Signed on the reverse P. C. in English and dated 04

HK$ 180,000-280,000 NT$ 740,000-1,150,000 US$ 23,100-35,900

江賢二永恆的冥想 2004 油彩畫布 122 x 122 cm 簽名畫背：P. C. 04

109

Alixe FU

(Taiwanese, b. 1961)

Wing of Cloud 1992 Oil on canvas 130 x 196 cm Signed lower right Alixe Fu in English and dated 92 Signed on the reverse Alixe Fu in Chinese and English, and titled Wing of Cloud in English and French, dated 1992, size 130.3 x 195.6 cm (120F) EXHIBITED: Alixe Fu, Galerie Pierre-Marie Vitroux, Paris, 1993 Alixe Fu '93, Z Gallery, New York, 1993 Alixe Fu, Galerie d'art contemporain, Cité van Gogh, Auvers-sur-Oise, 1994 ILLUSTRATED: Alixe Fu, Galerie Pierre Marie Vitoux, Paris, 1993, color illustrated, p. 25 Alixe Fu 1984-1994, Galerie d'art contemporain, Cité van Gogh, Auvers-sur-Oise, 1994, invitation front cover

HK$ 200,000-300,000 NT$ 820,000-1,230,000 US$ 25,600-38,500

傅慶豊雲意 1992 油彩畫布 130 x 196 cm 簽名右下：Alixe Fu 92 簽名畫背：130.3 x 195.6 cm (120F) 雲意 Aile de nuage Wing of Cloud 1992 傅慶豊 Alixe Fu 展覽：「傅慶豊」，皮耶．瑪莉．維圖畫廊，巴黎，1993 「傅慶豊1993個展」，Z畫廊，紐約，1993 「傅慶豊個展」，奧維當代藝術畫廊，法國，1994 圖錄：《傅慶豊》，皮耶．瑪莉．維圖畫廊，巴黎，1993，彩色圖版，頁25 《傅慶豊個展》，奧維當代藝術畫廊， 1994，邀請卡封面

110

HWANG Jyi

(Taiwanese, b. 1953)

Mother and Daughter 1998-2006 Oil on canvas 130 x 90 cm Signed lower right Jyi in Chinese, dated 1998-2006 Titled on the reverse Mother and Daughter, and signed Hwang Jyi in Chinese, dated 1998-2006

HK$ 250,000-350,000 NT$ 1,030,000-1,440,000 US$ 32,100-44,900

黃楫母與女 1998-2006 油彩畫布 130 x 90 cm 簽名右下：楫 1998-2006 簽名畫背：母與女黃楫 1998-2006

111

Tzu-chi YEH

(Taiwanese, b. 1957)

Yang-Ming Mountain in October 2007-2008 Oil on canvas 102 x 203 cm Signed lower right Tzu-chi Yeh in Chinese and dated 2007-08

HK$ 280,000-500,000 NT$ 1,150,000-2,050,000 US$ 35,900-64,100

葉子奇十月的陽明山 2007-2008 油彩畫布 102 x 203 cm 簽名右下：葉子奇 2007-08

112

SU Wong-shen

(SU Wang-shen, Taiwanese, b. 1956)

Pagodas 2003 Mixed media on canvas 120 x 194 cm Signed on the reverse Su Wang-shen in Chinese and dated 2003 ILLUSTRATED: Su Wong-shen, Eslite Corporation, Taipei, 2003, color illustrated, p. 29

HK$ 380,000-580,000 NT$ 1,560,000-2,380,000 US$ 48,700-74,400

蘇旺伸浮屠 2003 綜合媒材畫布 120 x 194 cm 簽名畫背：蘇旺伸 2003 圖錄：《蘇旺伸》，誠品股份有限公司，台北， 2003，彩色圖版，頁29

Su is not an artist with lofty ideals or a historical mission, and you will not hear him holding forth about truth and 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 of rapid political, social and economic transformation. Those times left a deep 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 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 accustomed cursory nonchalance.

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，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性議題的關注都是較為外顯的，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）

112

113

LIEN Chien-hsing (Taiwanese, b. 1962)

Wagons in the Passageway 1983 Oil on canvas 131 x 200 cm Signed lower left Lien Chien-hsing in Chinese and dated 1983 Signed on the reverse Subject: Wagons in the passageway, painting by Lien Chien-hsing, dark cloudy and dated 1983 April in Chinese

HK$ 250,000-450,000 NT$ 1,030,000-1,850,000 US$ 32,100-57,700

連建興通道中的車子 1983 油彩畫布 131 x 200 cm 簽名左下：連建興 1983 簽名畫背：題目：通道中的車子連建興畫於烏雲民國七十二年 1983 四月完成

114

ZHANG Hongtu (Chinese, b. 1943)

Anonymous (Yuan) - Cézanne P 2002-2003 Oil on canvas 218 x 132 cm Signed upper right Zhang Hongtu, and dated March 1st, 2003 in Chinese With three seals of the artist Signed on the reverse Zhang Hongtu in English and dated 2002-2003 ILLUSTRATED: Zhang Hongtu: The Art of Seadding Boundaries, Lin & Keng Gallery, Taipei, 2007, color illustrated, p. 133

HK$ 400,000-600,000 NT$ 1,640,000-2,460,000 US$ 51,300-76,900

張宏圖無名氏—（元）—塞尚 P 2002－2003 油彩畫布 218 x 132 cm 簽名右上：張宏圖二○○三年一月鈐印：也姓鄭宏圖簽名畫背：Zhang Hongtu 2002-2003 圖錄：《張宏圖：跨越邊界的藝術》，大未來畫廊，台北，2007，彩色圖版，頁133

115

MAO Xuhui (Chinese, b. 1956)

The Eucalyptus Tree on the Red Earth 1987 Oil on board 53 x 77 cm Signed lower right Da Mao in Chinese and dated 1987 Titled on the reverse The eucalyptus tree on the red earth in Chinese and signed MXH in English ILLUSTRATED: Dream of the Red Earth by Mao Xuhui, Soobin Art Gallery, Singapore, 1997, color illustrated pl. 14, p. 34,

HK$ 150,000-200,000 NT$ 620,000-820,000 US$ 19,200-25,600

毛旭輝紅土上的桉樹 1987 油彩木板 53 x 77 cm 簽名右下：1987. 大毛簽名畫背：紅土上的桉樹 MXH 圖錄：《紅土之夢：毛旭輝圭山系列畫集》，斯民藝苑，新加坡，1997，彩色圖版，圖版14，頁34

116

ZHOU Chunya (Chinese, b. 1955)

Red Rocks 1994 Oil on canvas 72.5 x 61 cm Signed lower right Zhou Chunya in Chinese and dated 1994 Signed on the reverse Zhou Chunya in Chinese and dated 1994

HK$ 450,000-700,000 NT$ 1,850,000-2,870,000 US$ 57,700-89,700

周春芽紅石 1994 油彩畫布 72.5 x 61 cm 簽名右下：1994 周春芽簽名畫背：1994 周春芽

117

ZHOU Chunya (Chinese, b. 1955)

Green Dog 1997 Oil on canvas 150 x 120 cm Signed lower right Zhou Chunya in Chinese and dated 1996 EXHIBITED: Zhou Chunya, Northern Banker Art, Taipei, May 20-June 30, 2002

HK$ 1,600,000-2,200,000 NT$ 6,560,000-9,020,000 US$ 205,100-282,100

周春芽綠狗 1997 油彩畫布 150 x 120 cm 簽名右下：1996 周春芽展覽：「周春芽油畫個展」，北莊藝術，台北，展期自2002年5月20日至6月30日

In 1994, a friend presented Zhou Chunya with a German shepherd dog named “Hei Gen”, which since then became part of his life and turned into a source of his creations. Afterwards, Zhou Chunya endowed “Hei Gen” with green color symbolizing good luck in the west, so the “Green Dog” came into being. The “Green Dog” was no longer the same as the original dog “Hei Gen”, and as well gradually became Zhou Chunya’s most representative work. In more than a decade, Zhou Chunya created dozens of “Green Dog” series paintings. The various looks and gestures in his works as well as being profoundly metaphorically demonstrate modern people’s loneliness and the danger between one human being and another. This “Green Dog” painting takes bright green as its principal part, along with an open mouth, the expression in the eyes, and has concise form but with a tactile impression the same as that of a sculpture; the brushwork appears to hide great power and the ripply layers of color also contain a kind of extremely unregulated element providing a heart-frightening vigour, which deeply reflect Zhou Chunya’s mind process in this period. Zhou Chunya said: “ Green Dog is a mark and a symbol, and green is a quiet, romantic and lyrical color which has a serene artistic conception.” That is, he expresses a kind of feeling by the painting “Green Dog”, which seems to be more than any sort of exact subject interpretation.

1994年，朋友送給周春芽一條叫做「黑根」的德國牧羊犬，從此這條狗融入了他的生活並成為他創作的源泉，後來周春芽將西方代表好運的綠色賦予了「黑根」，因而成就了「綠狗」。《綠狗》的出現已經不再是原來的「黑根」了，它也漸漸成為周春芽最具有代表性的作品。十多年來，周春芽毫不間斷的的創作了數十幅「綠狗」系列的作品。其作品中出現了不同的神情和姿態，也深深的暗示出了現代人的孤獨，以及人與人之間的危險。此幅《綠狗》以鮮亮的綠色為主體，張開的嘴巴，兩眼的神情，簡潔的形態但擁有像雕塑一樣的質感，筆觸中似乎隱含著巨大的力量，漣漪的層次色彩中也有一種極不穩定的因素，給人一種震懾人心的氣勢。這也深深的折射出周春芽此時期的心路歷程。周春芽本人這樣說過：「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。」這就是說，他通過「綠狗」在表達一種感覺，這種感覺似乎已經超越了任何一種確切的主題詮釋。

118

ZHOU Chunya (Chinese, b. 1955)

Self-portrait 1996 Oil on canvas 72.5 x 60 cm Signed lower left Zhou Chunya in Chinese and dated 1996

HK$ 420,000-620,000 NT$ 1,720,000-2,540,000 US$ 53,800-79,500

周春芽自畫像 1996 油彩畫布 72.5 x 60 cm 簽名左下：1996 周春芽

In present artistic circles, there are only a few people who can achieve the command of good color dynamics such as Zhou Chunya, among whose works the best ones include “Green Dog”, “Scarlet Stone” and “Peach Blossom”, which have become synonymous with his name. Since 1995 after completing a number of works with stones and flowers as subject matter, Zhou Chunya began to focus on and express surrounding things and friends, thus creating the works of the “Friend Series”. Apart from the portraitures painted for friends, especially artist friends, Zhou Chunya painted a few self-portraits. This is one of the few self-portraits by Zhou Chunya, where technique of expression skillfully integrates western sketching and Chinese traditional ink; at first sight, it seems to be an old photograph yellowed by age, in which Zhou Chunya’s personal straightness characteristic is perfectly and completely presented, and the hair outlined with straight strokes looks wide, strong and a little bit shaggy, thus making it more thoughtful. The person in this picture closes his eyes with tight eyebrows, completely venting out the underlying feelings; as it were, this is a portrait of the heart at that time. Zhou Chunya has never paraded himself in his creations, but has created excellent works piece by piece with the creative idea of pursuing a natural style. In artistic circles, only a few people can achieve so much.

周春芽在對色彩的把握的力度上做得恰到好處，在當今藝壇中僅有少數人可以做到，其作品以《綠狗》、《猩紅山石》、《桃花》為最，因此這些代表作也都已成為他的代名詞。從1995年開始，在創作完一批以石頭和花卉為題材的作品後，周春芽開始關注和表現身邊的事物和朋友，由此誕生了「朋友」系列的作品。除了為朋友，特別是藝術家同行朋友而做的肖像外，還有一些自畫像，此幅就為周春芽少有的自畫像作品之一，表現手法上將西方的素描和中國傳統的水墨巧妙的融合在一起。乍眼望去，好像一張因年限久遠而發黃的老照片。周春芽本身的率性在這幅作品中也完美的呈現出來，通過率性的筆觸勾勒出頭髮，粗壯而略有雜亂，越發顯得深沉。畫面中的人物雙眼緊閉，眉頭緊鎖，將心中內在的情感毫無保留的宣洩而出，可謂當時真實的內心寫照。周春芽從未在創作中標榜自己，而是本著追求自然的創作理念，不斷創作出一件件佳作，如此的成就，在藝壇中僅有少數人達到了。

119

HUANG Gang (Chinese, b. 1961)

Pass through Space and Time (diptych) 2008 Mixed media on board 203 x 204 cm Signed lower right Huang Gang in Chinese and English

HK$ 350,000-550,000 NT$ 1,440,000-2,260,000 US$ 44,900-70,500

黃鋼穿越時空（雙聯幅） 2008 綜合媒材木板 203 x 204 cm 簽名右下：Huang Gang 黃鋼

120

ZHANG Xiaotao (Chinese, b. 1970)

Picture of Early Spring 2006 Oil on canvas 100 x 200 cm Titled on the reverse Picture of Early Spring in Chinese, size 100 x 200 cm, media oil on canvas, signed Zhang Xiaotao in Chinese, dated 2006 EXHIBITED: Now & Shanghai, Beijing Art Now Gallery, Shanghai, Mar. 10- Apr. 26, 2007 The Sichuan Movement- New Paintings from China. 16 Sichuan Artists Joint Exhibition, National Museum of Indonesia, Jakarta, 2008, Mar. 24-30, 2008 ILLUSTRATED: Zhang Xiaotao, He Xiangning Art Museum & Timezone 8 Limited, Shenzhen & Beijing, 2006, color illustrated, p. 105 & p. 209 Now & Shanghai, Beijing Art Now Gallery, Shanghai, 2007, color illustrated, pp. 72-73 The Sichuan Movement- New Paintings from China. 16 Sichuan Artists Joint Exhibition, L i n d a G a l l e r y, J a k a r t a , 2 0 0 8 , c o l o r illustrated, pp. 92-93

HK$ 450,000-550,000 NT$ 1,850,000-2,260,000 US$ 57,700-70,500

張小濤早春圖 2006 油彩畫布 100 x 200 cm 簽名畫背：早春圖 100 x 200 cm 亞麻油彩張小濤 2006 展覽：「現在．上海－北京現在畫廊上海站開幕展」，北京現在畫廊，上海，展期自2007 年3月10日至4月26日「川流．來自中國的新繪畫－四川藝術家 16人作品聯展」，印尼國家博物館，雅加達，展期自2008 年3月24日至3月30日圖錄：《現在．上海》，北京現在畫廊，上海， 2007，彩色圖版，頁72-73 《川流．來自中國的新繪畫－四川藝術家 16人作品聯展》，印尼國家博物館，雅加達，2008，彩色圖版，頁92-93

Zhang Xiaotao started to create this picture in 2005, and exhibited it the following year. The picture describes the life experience of petty intellectuals in the context of contemporary Jiangnan (south of the lower reaches of the Yangtse River). The pattern is partially derived from the movies “Springtime in a Small Town” and “February of Early Spring”, but more from the feeling and real experience during the process of media communication. With a Non-“Photographic Painting” concept adopted, the reality and virtuality of image of the times are combined, forming indefinite codes to comb the painter’s inner world. In the hearts of others, integration of the outer world may be a wrong password or a messy code, but from the perspective of the artist, it is a code integrating information of the senses of the times and reality, from the past to the present; therefore, it is full of “confusion” and antinomy when people decode the picture with a variant “true feeling”. The picture records and testifies people’s experience of life traced in current real life, such as joy, sadness, glory, decadence and failure. The paradoxical relations found in the picture fades people’s inherent concept, and makes it a concept of image based on relative memory.

張小濤從2005年開始創作，翌年在上海展出，畫面中描述的是當代江南語境中的小知識分子的生活體驗，這種模式部分來源於《小城之春》、《早春二月》，更多的是歸於媒體傳播過程中的一種感受與現實的體驗。畫中採用非「影畫派」的概念，將時代圖像的真實性和虛擬性融合起來，以不定式的編碼，將畫家的內心世界梳理，對外部世界的整合，在別人的心中或許是錯誤密碼或亂碼，而從畫家的角度來看，是一種時代、現實感、古往今來的資訊綜合的編碼，人們會以一種變異了的「真實感覺」去譯碼，充滿了「迷糊度」、充滿悖論。畫中記錄和見證當下的人們對現實生活中的生命痕跡─歡樂、悲傷、燦爛、頹敗等經驗，在圖像裡面找到這種悖論關係，淡化人們的固有概念，讓它變成一個圖像的概念，一個記憶化了的概念。

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ZHANG Linhai (Chinese, b. 1963)

Paradise Series No. 14 2003 Oil on canvas 100 x 100 cm Signed upper right Zhang Linhai in Chinese and English and dated 2003.11 Titled on the reverse Paradise Series No. 14, Zhang Linhai in Chinese and English and dated 2003.11 PROVENANCE: Schoeni Gallery, Hong Kong ILLUSTRATED: Zhang Lin Hai, Schoeni Gallery, Hong Kong, 2005, color illustrated, p. 115 & p. 154

HK$ 450,000-650,000 NT$ 1,850,000-2,670,000 US$ 57,700-83,300

張林海天堂系列 No. 14 2003 油彩畫布 100 x 100 cm 簽名右上：2003.11. L.H 林海簽名畫背：《天堂》2003.11 Zhang lin hai 林海來源：少勵畫廊，香港圖錄：《張林海》，少勵畫廊，香港，2005，彩色圖版，頁115與頁154

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LUO Zhongli (Chinese, b. 1948)

Feeding in the Night

Oil on canvas 94 x 120 cm Titled on the reverse Feeding in the Night in Chinese

HK$ 1,100,000-1,800,000 NT$ 4,510,000-7,380,000 US$ 141,000-230,800

羅中立夜食油彩畫布 94 x 120 cm 簽名畫背：《夜食》

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FANG Lijun (Chinese, b. 1963)

Untitled (polyptych) 2000 Woodblock print 122 x 81 cm (x4) Signed lower Fang Lijun in Chinese dated 2000.5.10, numbered 28/65 (1) Signed lower Fang Lijun in Chinese dated 2000.6.15, numbered 28/65 (2) Signed lower Fang Lijun in Chinese dated 2000.5.20, numbered 21/65 (3) Signed lower Fang Lijun in Chinese dated 2000.5.5, numbered 31/65 (4)

and and and and

EXHIBITED: Cinesi: Artisti fra Tradizione e Presente, Potenza Pinacoteca Provinciale, Italy, April June 2004 ILLUSTRATED: Li Luming ed., Fang Lijun, Hunai Fine Arts Publishing House, Changsha, China, 2001, illustrated, pp. 196-199 Fang Lijun, the artist’s catalogue, Beijing, 2002, pp. 196-199 Stone Face - China's First Group Printing Exhibition, Art Now Gallery, Beijing, 2004, illustrated, pp. 23-32 Cinesi: Artisti fra Tradizione e Presente, Potenza Pinacoteca Provinciale, Italy, April - June 2004, (2000.5.20 illustrated on cover and p. 60, 2000.6.15 illustrated as frontispiece to color plates section and p. 61)

HK$ 200,000-400,000 NT$ 820,000-1,640,000 US$ 25,600-51,300

方力鈞無題（四聯作） 2000 木刻版紙 122 x 81 cm (x4) 簽名下方：2000.5.10 28/65 方力鈞 (1) 簽名下方：2000.6.15 28/65 方力鈞 (2) 簽名下方：2000.5.20 21/65 方力鈞 (3) 簽名下方：2000.5.5 31/65 方力鈞 (4) 展覽：「中國人：介於傳統與現在的藝術家」，波坦察市立美術館，義大利，2001年4月至6月圖錄：李路明編，《方力鈞》，湖南美術出版社，長沙，中國， 2 0 0 1 ，圖版，頁196-199 《方力鈞》，藝術家目錄，北京。2002，圖版，頁196-199 《板起面孔：中國現在藝術第一次版畫聯展》，現在畫廊，北京，2004，黑白圖版，頁23-32 《中國人：介於傳統與現在的藝術家》，波坦察市立美術館，義大利，2001年4 月至6月（2005.5.20刊於封面與頁5； 2000.6.15刊插圖與頁61）

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LING Jian

(Chinese, b. 1963)

Grew up under the Sunshine-Cui Cui 2007 Oil on canvas 180 x 150 cm Signed on the reverse Ling Jian in Chinese, and Ling in English, dated 2007 EXHIBITED: Surface: In Transit, Tang Contemporary Art, Thailand, 2008

HK$ 900,000-1,200,000 NT$ 3,690,000-4,920,000 US$ 115,400-153,800

凌健翠翠－在陽光下長大 2007 油彩畫布 180 x 150 cm 簽名畫背：凌健 Ling Jian 2007 展覽：「表面：變調－凌健個展」，當代唐人藝術中心，泰國曼谷，2008

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YAN Pei Ming (Chinese, b. 1960)

MAO-Soleil rouge (diptych) 1992 Oil on canvas 95 x 150 cm Signed on the reverse Yan Pei-Ming in English and dated 92

HK$ 2,800,000-5,000,000 NT$ 11,480,000-20,500,000 US$ 359,000-641,000

嚴培明毛澤東－紅太陽（二聯幅） 1992 油彩畫布 95 x 150 cm 簽名畫背：Yan Pei-Ming 92

In 1993 Yan Pei Ming was granted “Grand Prix du Roman”, an award given by the French government and winners of it include such prestigious figures in art history as Poussin, David, Ingres, Debussy and Berlioz, among others. Yan Pei Ming is the third Chinese, along with Zao Wou-ki and Chen Zhen, to have his works collected and exhibited in the George Pompidou Center; he has held also a solo exhibition in Paris and posters of his works were seen every where in the city during the exhibition time. As the international curator Hou Hanru said: “ Ming is a real big shot”, “A man is no longer a good artist when he looked especially like an artist”. The fame-winning Yan Pei Ming did not go back to show off in the restaurant which poured insults onto him since his mild nature made him never dwell on the unhappy past for long on the one hand, and on the other hand he thought there was still a long way to go for his goal. “My ultimate goal is to become a global influential artist recognized by the whole world”, as he talked about his ambition. What got him access to the international art circle was his “Mao Zedong series”. The series started in 1987 and in 1991 for his first exhibition Yan Pei Ming named it: “My Story Begins with His History”. In the eyes of Yan Pei Ming, one suffering through the tail end of the Cultural Revolution, Mao Zedong is not only an image but more than that a part of the history of China. A painter has no history of himself and no one knows who he is, however, with the great household name Mao Zedong, Yan Pei Ming found his self. The importance of theme for an art beginner can by no means be denied, but theme can unnecessarily constitute the whole core of his works. The works of Yan Pei Ming carries

the distinctive characteristics of his own. The large dimension and monotones of his pictures—what he pursues is to obtain the maximum effect with the fewest and simplest materials—once the works stand in the exhibition hall, they take on an aggressive air immediately and are powerful enough to draw all the attention on themselves. The paintings of Yan Pei Ming always bear the expression of strength. The two huge images Li Xiaolong by Yan Pei Ming were once hung in Dijon Rail Station in France and became a unique cultural sight of the locality for some time. It is believed whoever with the chance of seeing the painter working will be deeply impressed. Compared to his theme and painting dimension, Yan Pei Ming makes the painting process a more performance art waving his long brush towards the cloth and getting dabs of paint splattering. This performance art, different from that of the American abstract painter Jackson Pollock

嚴培明《中國的硃砂 (三)》羅芙奧2007秋季拍賣會，編號156，4540萬台幣成交 YAN Pei-Ming, Vermillion de Chine No.3 1995, oil on canvas, 200 x 235cm Ravenel Autumn Auction 2008, lot 156, US$ 1,407,097 sold

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monotone which further exhibits the mapped background and spiritual language of Mao. The works of Yan Pei Ming betray a strong desire of conquer. He works over 10 hours every day just like an ever-running machine. He knows quite well what on earth he wants. “Chinese artists can always live on their own fat and one painting might feed one all his life, but in the West the more successful an artist is, the harder he works.”, he said.

嚴培明《毛澤東一中國的硃砂(五)》羅芙奧2008春季拍賣會，編號144，4988萬台幣成交 YAN Pei-Ming, Mao. Chinese Vermillion #5 2001, oil on canvas, 250 x 250cm Ravenel Spring Auction 2008, lot 144, US$ 1,640,520 sold

who aims at painting freedom by splashing and spattering paints, Yan Pei Ming stresses more on the possibility of commanding the whole painting process and the ultimately realized expression. Yan Pei Ming never drafts and even with super huge pieces he completes them in one breath with the last touch to polish. The earlier work “Mao Zedong” in 1992 is the very representative of his most characteristic works. The painting was completed at an amazingly fast speed as usual and when the authoritative image was created, it was decomposed at the same time. It impresses the viewers as a kind of idol worship yet it is, in its fundamental nature, a kind of attack against the idol by makting the image deformed. Yan Pei Ming has painted Mao Zedong, Bruce Lee and his father, friends and himself, but the oblivious small potatoes are always the heroes in his works which mostly focus on the facial expressions. In this well-known portrait series, Mao Zedong is the most basic and important theme, especially the one named “Vermillion Red Mao Zedong” which displays the strong theme with the spotlight lying in the double-structure. One is a portrait and the other is the Yan Pei Ming-style

1993年，嚴培明得了「羅馬大獎」，這個由法國政府設立的獎，在藝術史上赫赫有名，普桑、大衛、安格爾、德布西和白遼士都曾得過此獎。他是第三個作品被法國龐畢度藝術中心收藏和展示的中國人，在此之前只有趙無極和陳箴；他在巴黎舉辦個展，展覽期間，整個城市到處都是印著他大幅作品的海報。國際策展人侯翰如說：「明是真正的大佬」，嚴培明自己的說法是：「當一個人表面上看起來特像個藝術家的時候，他已經不是個很好的藝術家了」。成名以後的嚴培明並沒有回到之前的餐館耀武揚威，一方面，平和的性格讓他釋然了過去的經歷；另一方面，面對已經取得的成就，在嚴培明看來，依然沒能達到他定給自己的目標。「我的標準定在最頂峰的，受全世界公認，在全世界有影響的藝術家。」第一個，也是讓其得以進入國際藝林的作品是「毛澤東」系列。此系列開始於1987 年，1991年舉辦第一個個展，嚴培明給展覽起名為：「通過他的歷史我的故事剛開始」。經歷過文革的嚴培明，在其眼中，毛澤東不僅是一個形象，更是一段中國的歷史，畫家本人沒有歷史，沒人知道他是誰。通過毛澤東這樣一個無所不在、無人不知的偶像，嚴培明引出了自我。當一個藝術家剛開始創作的時候，主題的重要性勿庸置疑，但主題並不一定能構成全部核心。嚴培明的作品風格鮮明，巨大的尺幅，單色調的畫面—他追求的是用最簡單的材料達到最大的效果—一旦作品進入展廳，便可呈現出咄咄逼人，足以把任何目光從其他畫面上拉走的氣勢。嚴培明的繪畫具有凝聚力量的質感。在法國第戎火車站

的等候大廳裡，嚴培明創作的兩幅巨大的李小龍作品曾經懸掛在火車站內，構成當地的一個文化景觀。每一個親眼見過畫家作畫的人都會產生強烈的印象，相比於他的題材和尺幅，更重要的是，他幾乎把繪畫的整個過程變成了一種行為藝術。他用長刷子直接揮向畫布，顏料飛濺。這種行為藝術和美國抽象表現主義大師波洛克在畫布上的滴濺潑灑不同，波洛克想要實現的是繪畫的自動性，而嚴培明更強調對繪畫過程的掌握和最終實現的表達的可能性。他從來不畫小稿，再大的畫也是一次性畫上去，最後一遍是重新畫一次，以再次改變之前的畫面。此幅創作於1992年的早期毛澤東即是他最具風格的作品的代表。依然是以極快的速度完成一張毛的形象的大畫，在塑造這個權威形象的同時解構形象，看似偶像崇拜，卻以畫面的破壞對偶像進行了攻擊。嚴培明畫毛澤東、李小龍、畫他的父親、他的朋友和他自己，但更多的是畫那些無名的小人物，大部分創作都集中表現人的面部。在這一系列成名肖像畫中，毛澤東是最原初、最重要的題材，「硃砂紅毛澤東」是尤其強勁的主題，此張的亮點在於雙聯幅的結構，一張肖像，另一張嚴培明式的單色畫面，延展了毛的影射背景和精神語言。嚴培明的作品帶有強烈的征服欲，他每天工作十幾個小時，不停地工作，就像機器開在那裡。因為他知道自己想要的是什麼，他說：「中國藝術家可以吃老本，一張畫成名可以吃一輩子，在西方，藝術家越成功越努力。」

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ZHANG Xiaogang (Chinese, b. 1958)

Comrade with Red Scarf 2005 Oil on canvas 100 x 85 cm Signed lower right Zhang Xiaogang in Chinese and dated 2005

HK$ 2,800,000-5,000,000 NT$ 11,480,000-20,500,000 US$ 359,000-641,000

張曉剛戴紅領巾的女孩 2005 油彩畫布 100 x 85 cm 簽名右下：張曉剛 2005

Zhang Xiaogang, born in 1958 in Kunming and graduated from the Sichuan Academy of Fine Arts in 1982, is an active figure on the stage of contemporary Chinese art. The Kafka-type artist has been devoted to his attempts for a lyrical expression of his inner feelings. From a very beginner at a young age to an unexpected enrollment in the Sichuan Academy of Fine Arts and from the establishment of distinctive art characteristics after returning from abroad to record-breaking auctions, Zhang Xiaogang, an artist who comes back to the spiritual point of origin after a great many experiences, is asking himself in a sincere and honest way: “Why am I doing this?” To this question Zhang never hesitates to give the answer. In his interview with Yang Lan, he said: “I think I really love art and it is all I am quite sure.” Since returning from Germany, he has visited so many galleries and museums that the sight of them would make him “throw up”, as he described. In this process the artist came to understand that all those masters in art history are completely beyond surpassing, not for their skills but because they already exist. “However hard you work and learn, you are nothing but remain a student forever and what’s more you are outside their cultural domain. I was happy I could understand this and for a moment I felt I found my roots at last. The feeling at the time was pretty real. I seemed always in my seeking for who I was and where I belonged. It’s all I wanted. Later I went back to Kunming and saw the old pictures from my childhood and I saw the pictures of my parents at their young age. Suddenly I came to realize however old they might be, you could still feel all the same the social influence on these most private family photos.” (Zhang Xiaogang Interview with in Yang Lan, Oriental TV Channel).

The “Big Family” series, in a cultural sense, manages to present the family background in the photo-like paintings and this family background, on the other hand, is the right miniature of the society at the time. This piece by Zhang Xiaogang was created in 2005. It presents the fate of a young girl in a standard photo style with the symbolic Zhang-style “light spot”. Photos like this can be found in the drawer of every Chinese family, some one inch and some two inches in size. Kids in the photos are mostly of this age and girls all unexceptionally wear uniform bangs above their brows, two braids, a white shirt and a red scarf. It is something of that time, a memory of that age. “ S o u t h e r n P e o p l e We e k l y ” m a g a z i n e remarked: “Characters in the old photos seemingly mottled with age all wear the uniform look, dress and expression which was standardized at that time, single eyelids with pupils slightly protruding, indifferent and alert. The face seems to be behind a misty veil, displaying a strange and amazing texture, smooth, subtle and with texture.” Prior to that, Zhang Xiaogang never stopped his trace of memory and affection. If the “Big Family” is to mourn for the group consciousness, the later “Amnesia and Memory” can be regarded as a kind of private and deep brooding of the artist. As to “Amnesia and Memory”, well, I am pretty concerned with personal memory. One more memory means one more loss of memory and this is the natural consequence of the rapidly changing modern life. In this hustling and bustling time, many have lost their memory when still young. If you want to adapt yourself to the life, you have got to learn to lose memory. Forget who you are and where

you come from.”

(Zhang Xiaogang Interview with in

YangLan, Oriental TV Channel)

Society is progressing faster than Zhang Xiaogang expected, where the Chinese find it pretty necessary to learn to “forget” or rather “amnesia” has become a kind of instinct with the modern Chinese. Many have forgotten what this road looked like last year or the appearance of the building at the crossroads three months ago. While what Zhang Xiaogang tries to do in his “Landscape” series is to transform the individual awareness back to the social dimension. His “Landscape” is an effort to continue recalling the looks of the industrialized society and earlier. Zhang Xiaogang, a well-known figure in art circles, never neglects his attitude towards art. With his studio getting increasingly big, the artist, nevertheless, remains in his deep brooding over his simple and naive question: for what he paints. This personal feeling about art is explained in his later article on the painter Magritte: “Almost all the time of his growing up, an artist has to bear the pain of bidding farewell to those beloved masters and then comes to know some other predecessor for communication. On all the way along the artist keeps his continuous cognition and constant verification and at last those which are left to become “bosom friends” are fewer and fewer.” It is the very loneliness that urges the artist to seek for a comfortable manner for expressing his inner feelings. 我為什麼要幹這一行？我就覺得我真的喜歡藝術，我能把握的就是這一點。你再學也就是一個學生而已，而且你不在他的文化範圍裡，所以你什麼都不是。我當時很高興，覺得我能體會到這一點，一下覺得我有根了。當時那個心態很真實，老想去找，我到底是誰？我屬於哪裡?就想找這個東西。後來又回到昆明去看老照片，看自己小時候的照片，結果看到了父母年輕時的照片，我突然發現在那種很私密的家庭照片裡，你同樣能夠感受到社會對它的影響。那些似乎是斑駁老照片中的人物，

擁有被時代整齊劃一了的外型、衣著和表情，那些單眼皮的眼睛，眼仁微微凸起，冷漠而警覺，神態游移。而他的畫，也呈現出一种奇怪的質感，朦朧、平滑，暗含肌理《失憶與記憶》呢，我關注個人的記憶，增加了一個內容就是失憶，因為這是現代生活快速變化的一種體驗，變化這麼快，很多人很年輕就失去記憶了，你要適應社會生活的話，就要學會失憶，忘記你

張曉剛《女孩》羅芙奧2006秋季拍賣會，120編號，2037萬台幣成交 ZHANG Xiaogang, Girl 2005, oil on canvas, 110 x 130cm Ravenel Autumn Auction 2006, lot 120, US$ 630,260 sold

是誰，你是從哪裡來。一個藝術家在他的成長過程中，總是不斷地要與一些曾經迷戀的大師忍痛告別，然後又重新地認識另外一些與之溝通的前輩。在這條不斷認知不斷驗證自己的道路上，最後能成知己的已越來越少。

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WANG Guangyi (Chinese, b. 1957)

Great Criticism SeriesCampbell's Soup 2000 Oil on canvas 200 x 175 cm Signed on the reverse for Anthony and Wendy Wang Guang Yi in English and Wang Guang Yi in Chinese, dated 2000

HK$ 3,000,000-4,500,000 NT$ 12,300,000-18,450,000 US$ 384,600-576,900

王廣義大批判系列─康寶湯罐 2000 油彩畫布 200 x 175 cm 簽名畫背：f o r A n t h o n y a n d We n d y Wa ng Gu ang Yi 2000年王廣義

王廣義作畫以政治普普風（起於1990年代早期的藝術運動）為主，採用文革時期的影像或標誌，展現對社會的諷刺與質疑。經過十年的文化大革命，自1977年中國開放之後，當代藝術大鳴大放，許多藝術家採用前衛風格表達他們的當代想法與個人風格。但是，政府並不接受這些藝術創作，認為過於強調個人而且質疑現代生活。1980年代期間，中國藝術界經歷一番重整，藝術家聯合起來加入民主抗爭的行列。直到1989年情況有所轉變，中國當局准許在北京國家博物館舉辦第一屆官方前衛藝術展，然而開幕當天卻有一位裝置藝術家當眾開槍，展覽立即腰斬。槍擊事件導致中國藝術界停下腳步，思考未來的方向。但是，1989年6月天安門事件爆發，接下來幾年社會聲音一片死寂。藝術界似乎意識到開放性問題或質疑過多，也可能導致一發不可收拾的狀況。 1990年代早期，當代藝術復甦，之前作品內的滿天怨氣、憤怒與追尋煙消雲散，取而代之的是一種非常中國式的嘲諷與幽默。政治普普中最為著名的便是王廣義，他的創作以諷刺為題，而其他創作方向，例如玩世寫實主義則以幽默為主。在許多方面，這種玩世不恭的嘲諷更能穿透東方人的思維，但是政府卻無從反對他們使用那些社會中備受尊崇的圖像。「大批判系列」畫作中，王廣義結合文革時期社會主義藝術海報圖像，和西方消費主義的圖像象徵。毛澤東主義中強壯、禁慾與理想主義的角色，包括軍人、

工人和農民，與西方消費主義的熟悉圖像並列，更在西方主義的圖像上清楚畫上「NO」。將滿腔熱血的革命圖像與鉅量的消費主義符號放在一起，似乎充滿矛盾，但是王廣義卻利用這些符號，傳達出中國現在的掙扎，既要應付過往的問題，又希望勇往直前。畫作似乎也表達出這兩組符號其實都是危險的，但這只是粗淺的解讀。有別於多數西方人，對許多中國人而言，包括王廣義，文化革命並不是非黑即白的史實，回首文革，許多中國人對這段時期有種懷舊情感，儘管其中包含著恐懼，但也是一段既無工作也無學校的簡單日子。這是一種道地的中國情愫，許多事情雖互相矛盾，卻又是能夠容忍的矛盾情況。正如王廣義所說，他每天喝可口可樂，但是可口可樂也是他最常使用的符號之一。到底他是真心批評，或只是想激發我們發出疑問呢？他的作品實在充滿象徵意味。表面上來說，王的風格可視為普普藝術，有普普藝術大師沃荷和李奇登斯坦的風格，將每天生活中的符號坦然以普普藝術風格傳達出來。但是他的作品，自1990年代開始在中國所產生的革命影響，與普普畫家在1960年代美國所產生的無異。傳統中國藝術非常保守且深具傳統色彩，偉大的藝術通常來自於模仿前人，因此，採用西方藝術家的畫風本身就是一種反動與前衛大膽之舉。王廣義的畫作有別於西方普普藝術家，他採用極具中國意味的複雜符號，既令人熟悉，卻又代表全然不同的意義。

《大批判系列─康寶湯罐》以軍人、工人和礦工這三個文革時期最為強烈的禁慾角色，也是毛澤東時期到處可見的政治宣傳海報中，最為人熟悉的圖像。他們前眺未來，但那是怎樣的未來呢？是西方的消費主義嗎？工人以強力反抗的姿勢舉起右臂，似乎在說：「N o」。軍人和礦工則微笑著看著未來，那是處處可見康寶罐裝番茄湯的世界，這正是王廣義作品中時時可見的二分法。我們應該歡迎新世界的消費主義或是徹底拒絕呢？答案絕不簡單，正如同歷史事件沒有絕對的對與錯。礦工握著一支大筆，取代原先政治宣傳海報中的槍枝。畫作中再次蘊含如謎般的意義，是文字的力量大於蠻力嗎？是否代表藝術家可以運用文筆帶領我們找到真理呢？

塑造成中國年輕藝術家表達疑問、憂慮、經驗的作品。「大批判系列」將現代寫實主義帶進全新紀元，也成為中國後文革的一大特色。

《大批判系列─康寶湯罐》畫作中以湯罐的口味：「Tomato」（番茄）字樣，取代了「大批判系列」當中慣有的「N o」。當然，「Tomato」聲似「No」，這樣的文字遊戲帶給觀眾一種會心的玩味。最重要的是，工人的拳頭正好打在「Tomato」字樣的第一個字母上。番茄對中國人來說只是一樣水果，自然無法理解「番茄湯」的意義。是否再一次傳達出反對西方文化滲透呢？「大批判系列」的所有畫作都以模板印刷重複的數字覆蓋。1950年代，毛澤東推行「大躍進」，曾經考慮以數字代替姓名，並在許多地區試行，每一位工人的背上曾經因此縫上數字，堪稱「去個人化」之最。同時，消費主義國家也大量使用數字：價格標示、銀行帳戶數字等。王廣義似乎再一次發人深省地質問：「我們是否接受以數字為我們分類呢？」王廣義是1990年代新當代藝術發起時的主導人物，他帶頭率先採用西方風格，將之

王廣義《大批判—吉列》羅芙奧2006秋季拍賣會, 118編號, 603萬4000台幣成交 WANG Guangyi, Great Criticism – Gillette 2004, oil on canvas, 150 x 120 cm Ravenel Autumn Auction 2006, lot 118 US$ 186,696 sold

128

YUE Minjun (Chinese, b. 1962)

Enchanted Spring 1994-1995 Oil on canvas 150 x 300 cm Signed lower left Yue Minjun in Chinese and dated 1995 EXHIBITED: Interplay - Chinese Contemporary Art, Edwin’s Gallery, Jakarta, Oct. 2-21, 2003 Post-Martial Law vs. Post ’89-The Contemporary Art in Taiwan and China, National Taiwan Museum of Fine Arts, Ta i c h u n g , M a r c h 3 1 - J u n e 1 7 , 2 0 0 7 ; Songzhuang Art Center, Beijing, Oct. 18Nov. 18, 2007 ILLUSTRATED: Interplay - Chinese Contemporary Art, Edwin’s Gallery, Jakarta, 2003, color illustrated, pp. 47-48 Yu Minjun - The Lost Self, Hebei Education Press, Hebei, China, 2005, p. 68 Post-Martial Law vs. Post ’89:The Contemporary Art in Taiwan and China, National Taiwan Museum of Fine Arts, Taichung, 2007, color illustrated, pp. 246247

HK$ 8,000,000-15,000,000 NT$ 32,800,000-61,500,000 US$ 1,025,600-1,923,100

岳敏君醉人春光 1994-1995 油彩畫布 150 x 300 cm 簽名右下：1995 岳敏君展覽：「中國當代藝術」，艾德溫畫廊，雅加達，展期自2003年10月2日至21日「後解嚴與後八九：兩岸美術對照」，國立台灣美術館，台中，展期自2007年3月 31日至6月17日；宋莊美術館，北京，展期自2007年10月18日至11月18日圖錄：《中國當代藝術》，艾德溫畫廊，雅加達，2003，彩色圖版，頁47-48 《岳敏君—迷失的自我》，河北教育出版社，河北，中國，2005，圖版，頁68 《後解嚴與後八九：兩岸美術對照》，國立台灣美術館，台中，2007，彩色圖版，頁246-247

He said one is most blank and expressionless when laughing. Therefore, his repeated and continuous depiction of laughs is simply an attempt to imply the dull empty spirit world of the current generation which has lost its belief and value support. In this sense, laugh, a disguise of spiritual emptiness, is rather a real release and the only release when no other choice is available. The same exaggerating and even deformed image repeatedly depicted with strong and warm colors gives a powerful impact beyond words. the key turning point is one piece of a line of figures; lining up is a frequent and common phenomenon in our life and it suggests the observation of rules and conventions but usually also indicates a loss of a definite objective. I choose to depict the same figures with the same gestures and features just to expose the foolishness of such a line. Such an artistic means adopted for the depiction

of the same image lends the latter a visual sense of a cartoon character; it is a special story mocking human nature as its final purpose. I have found the social realistic story has more power than the experience of any concrete person for the latter is beyond identification to viewers.“Enchanted SpringLaughing is a kind of trap for sureI just want to hide all negative moods and feelings behind the laughing‘It’ comes alone sometimes and shows up in a group at other times. ‘It’ laughs with mouth wide open, eyes tightly closed and exaggerated gestures but with significant self-confidence at the same time. ‘It’ always turns up on some occasion and these occasions are all but the space and background of the survival and development of Chinese culture in the past decade, some of which is either related to the living status, the history of growth or the relationship between oriental and occidental cultures, gender and even the economic and political (violent) events with the current of globalization. And all these occasions seem to be transformed into one after another game with the exaggeration of the “self-image”. “I” seem not to grow up here but happen to be here. The idolized “self-image”, with its concrete and amplified image, has found a culturelike property on the globalization stage.His artistic creation carries a significant hightune narrative ideal: loosen imagination and devoted to the self; he questions realistic survival in a sarcastic tone and interprets the nature of existence in an absurd manner, which lends to his works a seemingly contradictory property: both listless and agility, absurd and realistic, messy and orderly. It offers the viewer by no means a pleasant experience, however, when we focus our eyes and hearts on each seemingly absurd image and absorb our minds in the irony, the exaggerating and dramatic dialogue of

each picture, we can, anyway, feel vividly the weirdness of human nature, the absurdness of human survival and the questioning of living status by the artist. Instead of simply deleting or removing the mark of individualism or strengthening the mechanical indifference of modern times, Yue Minjun repeats his attempts to display the self-image in the graphic picture to indicate that all the worries and disappointments resulting from our pursuance for everlasting and profound mode has been transformed into shallow graphics. It impresses viewers that the value and significance of life is gradually lost in the games and mechanical operations. Perhaps new arts were just born in an uncertain status but in an artistic manner by the artists who are sensitive to the time and keep abreast with the time. More than mere observers of a certain cultural scene, they are the participants to help explore and expand its possibilities. 岳敏君的玩世現實主義藝術風格，自90年代即享譽國內外。他的作品多為畫家自己的自畫像，張著大嘴傻笑，做出各種怪異的動作，表達了一種自嘲、慵懶和百無聊賴的生活狀態。畫面形象處理簡單，色彩豔俗。由於他多年來不斷地重複個人自畫像創作，所以兼有波普和招貼藝術的強烈符號性和簡潔的視覺力量。「他說人在笑的時候最空洞最無情。所以，他重複的畫笑，也是想表現喪失信仰，沒有任何價值支撐的這一代人其精神世界的無聊空虛。笑，毋寧說是一種內心空虛的掩飾，倒不如說就是一種之下真實的釋放。他通過強烈的色彩和誇張的造型重複地描繪一個形象，對觀眾的視覺產生強大的衝擊。」（參閱呂澎編，《中國當代藝術史》）岳敏君的早期作品並沒有形成明顯的個性化身份特徵，個人的藝術語言正處在一個相對含混的過渡時期，表現物件多是自己

周圍的朋友，具有一定的精神追求和不甘平庸的藝術家夥伴。難得的是，岳敏君在這一群人當中，找到共同的東西並在畫面中高度概括地提煉，並將它抽離出來。他不自覺地在畫面中留有時代烙印，「天安門」、「金水橋」、「紅燈籠」、「紅牆」等等，與前景中特寫的人的毫無所謂、無所事事、激動而滑稽的情緒形成鮮明的對比，消解了傳統對於崇高、偉大、輝煌等這些強勢的、控制的形容體會。面對生活中可能遇見的障礙和險阻，人的情緒可以表現為一種愉快的、自信的、甚至沒心沒肺，哪怕險象環生。自我形象的複製和重複，其觀念的背景支撐來自於所謂的現代化工業文明的特徵。人們的現行生活秩序，把商品、建築、宣傳媒介納入一定的格式當中，而人的存在和社會角色賦予，也是被一個時代所規劃好了的，屬於一種機械的重複和荒誕的產物。從「面孔集中營」到概括性的提煉，岳敏君刪繁就簡，在無意識形態的時代，毅然樹立起自我的形象旗幟。1993年，岳敏君「自我形象」的符號終於真正意義上完整地浮出水面：光鮮的頭型，占了整張臉的二分之一的嘻哈大嘴，因為笑得太厲害，幾乎可以看到滿嘴細小的白牙；顴骨因為笑變得高高突起，眼睛也笑得眯成了一條縫兒。商業廣告般鮮豔的粉色面孔，概括化的五官。圖式誇張直觀，廣告般單純、平面、光豔，具有極強的形式感。這些自由的、獨立的、嘲諷的、快樂的、不加掩飾地、強調自我意識存在的藝術形象一經出現，就排山倒海般湧現。對於早期「自我形象」藝術家這樣理解：「重要的轉捩點是我的一張畫了一排人物的作品；排隊的形式在我們的社會生活中極為常見。表現得遵規守矩，然而通常缺乏確信的目標。就這樣，我選擇描繪同樣的人物，同樣的姿勢和特徵，來強調這種行列的愚蠢。以這樣的方式來運用同一形象使得他們具有卡通人物的觀感；嘲諷

人性以講述一個特別的故事。我發現這種關於社會現實的故事要比具體人物的經歷更有力量，後者對於觀眾而言是無法識別的。」此幅創作於1994至1995年的《醉人春光》是岳敏君早期作品中深具原創性的佳作，並成為了岳敏君往後藝術創作上，不可抹滅的重要里程碑。岳敏君的「自我形象」創造是一場諷刺「崇高」的合理性、泯滅「俗常」的不可言說經驗革命的開始，把自己邊緣於尊重和被尊重，教化和被教化的門檻之外，轉變為天馬行空的自我實現，遠離一切所謂的約定俗成。「大笑當然是一種陷阱。」他說，「我想把負面的情緒都隱藏在笑的背後。」藝術評論人冷林對岳敏君的「自我形象」評述說：「『它』有時獨立出現，有時又以集體的面目亮相。『它』開口大笑，緊閉雙眼，動作誇張，但卻充滿自信。『它』總出現在某種場合中。這些場合是可以說是十年來中國文化發展與爭鬥的空間和背景，其中有關於生存狀態的、關於成長歷史的、關於東西方文化關係的、關於男女性別的、關於全球化下的經濟和政治（暴力）事件的。但所有這些場合都在這種『自我形象』的放大誇張下變成了一場場的遊戲，『我』好像不是成長在這樣的一個環境裡，而是恰巧出現在這裡。……偶像化的『自我』以一種具體的放大了的形象在全球化的舞臺裡找到了某種類和文化的屬性，這既可以看作是中國藝術家在全球化過程中最初和最直接的自我定位。」自從締造出自我偶像式圖像，岳敏君對自己不斷地肯定，然後合理地加以否定，逐漸接近成功的探索過程。單個人物形象的複製重組，卡通主題般的呈現，是關於庸眾意識和從眾心理的反諷表露，表現人面對現實困境，內心不自覺生發的麻木、無知、愚蠢、但絕不是惟命是從、任人擺佈。岳敏君借助社會主義宣傳畫和消費主義時代的商業廣告的話語方式，一直尋找人的多種生存、生活體驗，不斷開拓想像空間，從社會時代圖式逐漸到自然圖式，

再恢復到人文關係的關注點上，甚至還在宗教哲學的問題上思考前進了一大步。藝術評論人馮博一有過恰好的表述：「他的藝術創作有著一種張揚的敘事理想：放縱想像，沉醉自我，以嘲諷的語調質疑現實的生存，以荒謬的形式突現存在的本質。這使得作品既虛泛又靈動，既荒誕不經又直指現實，既零亂無序又佈局嚴謹。它使得我們的觀看不可能獲得整體上的輕鬆和愉悅，但是，當我們沉浸於每一個看似荒謬的畫面場景，沉浸於每一幅類似於冷嘲、誇張、反諷、戲謔的對話之中，我們又可以非常鮮活地感受到某種人性的乖張，生存的悖謬，以及話語中洋溢出來的創作主體的質疑心態……岳敏君不是單純地抽離或剔除了個人性的痕跡，或簡單地強化了現代化的機械性冷漠，而是將自身的形象反覆地、平面化地呈現在畫面中，意味著人們對永恆、深度模式的追尋所形成的焦慮和失望被幻化成消解式的無深度的膚淺平面。彷彿一切無需選擇、無需確定，生命的價值和意義消泯於遊戲和操作之中。新的藝術或許就在這種不確定的形態中產生，它是通過敏感到當代性和順應時代潮流的藝術家以藝術的轉化方式來完成的，他們不僅是對某一文化景觀的觀察者，更成為幫助擴展其可能性的參與者。」

129

ZENG Fanzhi (Chinese, b. 1964)

Man and Bamboo 2005 Oil on canvas 200 x 150 cm Signed lower right Zeng Fanzhi in Chinese and English, dated 2005 ILLUSTRATED: Zhou Chunya, Zeng Fanzhi, Ji Dachun, Longrun Art Gallery, Beijing, 2006, color illustrated, p. 61

Among many Chinese artists, Zeng Fanzhi stands out for his unique visual language, and more importantly, for his works that redefine many possibilities of Chinese contemporary art. Zeng has had a colorful life experience. He has been a brand spokesman for Swiss

HK$ 4,800,000-6,800,000 NT$ 19,680,000-27,880,000 US$ 615,400-871,800

曾梵志竹子．人 2005 油彩畫布 200 x 150 cm 簽名右下：曾梵志 2005 Zeng Fanzhi 圖錄：《周春芽．曾梵志．季大純》，北京龍人藝術，北京，2006，彩色圖版，頁61

luxurious watches, and an artist whose name appears frequently in fashion magazines. In the Chinese art community, Zeng is maybe the most famous artist who frequently participates in charitable activities. Three years ago, when few artists participated in charitable activities, he became the first Chinese artist who donated a big oil painting of 1.7m for a charitable event. In the eye of Li Xianting, “the art critic who first discovered Zeng’s artistic talents, Zeng is a cautious man. For Zeng Fanzhi, fashion, brands, status and public image are all his masks to create a distance with society and a means to protect his sensitive inner frailty and sensitivity like a wall. Maybe Zeng inherently has a double character. Even

when he is devotedly painting his works, he still maintains a very clean appearance and environment. Zeng is a very mature artist in every aspect of life, whether in work or dealing with interpersonal relationships.” In Zeng’s eye, among the many possibilities of art, the most import one is to consistently challenge oneself, to reinvent oneself all the time, and to seek new possibilities of artistic expression. Zeng is among a few Chinese contemporary artists who frequently alter their works and style to seek transcendence over their early works that won their fame and fortune. To date Zeng has experienced several transformations in his art career. He has created four series of mature works, namely “Hospital Series”, “Mask Series”, “After Mask Series”, and “Chaos Series”. Lorand Hegyi, an art historian, summarizes the artistic style of Zeng Fanzhi as follows: “Zeng’s works invoke a sense of constant, unending evolution and transformation without foreseeable results. This makes them exhilarating and exciting, suggestive of hidden, complex stories that could be continued in all possible directions, so that the painting becomes an adventure, its surface a map for an expedition into terra incognita. By adventure I mean the humorous, vivid, spontaneous unfolding of unforeseen events within the composition of the painting.” (Zeng Fanzhi’s Idealism, Singapore Art Museum, p. 76)

The “Mask Series” consisting of about 100 paintings created in 1994 are Zeng’s

most famous works. At the beginning, his personal experience of seeing his friends and teachers become one against another and the fickleness of human nature inspired him to paint a portrait of a man with a mask. During 1994-1997, the fundamental undertone in his early “Mask Series” is perplexed, lost and distressed. In these works, we can see through the masks worn by the people to feel their expression under the mask. Karen Smith, a writer and curator of art exhibitions, presents the following commentary on Zeng’s works in this period: “Through ten years of painting, Zeng Fanzhi has offered his audience nothing but exclusion. The viewer is perennially excluded because physically we are on the far side of the mask and outside the immediate action being beyond the picture plane. Equally, the figures he paints are excluded from the world we inhabit because they are trapped inside the mask, within the picture plane and ultimately engulfed by their own fear or paranoia. It is visible within the eyes - so cleverly contradicted by the blankness yet unequivocally marked out by their bull's eye centers. In searching through that ‘window’ for the soul, we find only the abyss of people who have sacrificed emotional life for public conformity.” (All that Meets the Eye: Zeng Fanzhi’s Art, 1991-2003, I· We, Hubei Fine Arts Press, p. 13)

After 1999, several styles simultaneously appeared in Zeng’s works, including his series of portraits without masks, in which the half body of the people who have strange hairstyles and are more appalled and lost without masks is dominated on the canvas, without any background. Though Zeng is an artist who frequently alters his artistic styles, he also said he will never give up painting figures. In 2000, Zeng began to create some abstract paintings. With wild strokes he

changed his cautious and delicate style in his “Mask Series”. Later as his right hand was injured in an accident, he had to use his left hand to paint. This experience helped him create a new chaos style characterized by outer “disorder and inner rhythm, ‘like a symphony’”. In his recent solo exhibition called “Taiping Youxiang” held in ShanghART Gallery, Beijing, many of his works that combine landscape and figures, typically reflect the style of his “Chaos Series”. Robert C. Morgan, an art critic, gives the following commentary on Zeng’s works: “In Zeng’s paintings, I sense a certain resistance to the history and values of his past as a way of coming to terms with the validity of the present. His paintings are not only representations, but a reconstitution of memory within the historical present. Some critics believe that Zeng’s work has emerged out of Socialist Realism and that the traces of that era are connected to his expressionist approach to the figure over the past decade. This may well be the case. But in order to understand the present, the artist cannot escape memory. The manner in which Zeng applies paint to canvas in order to capture the figure or a group of figures is always understated, but always forceful. They may be personages with whom he has shared friendship or simply moments of deep mutual understanding.” (Zeng Fanzhi - The Trauma of the Soul, I· We, Hubei Fine Arts Press, p. 13)

在中國的藝術家中，曾梵志的特別不僅僅呈現在他與眾不同的繪畫語言上，他重新定義了中國當代藝術的很多可能。他曾經為瑞士名錶形象代言，是最受時尚雜誌追寵的藝術家，同時也是最熱衷參與慈善活動的藝術家。3年前，他是第一位捐出1米 7的大畫的藝術家，當時在中國參與慈善活動的人還很少。

而在他的伯樂栗憲庭看來，「曾梵志是一個小心翼翼的人，時尚和名牌、品位和形象，都是他和社會之間的面具，像一堵牆保護著他內心的脆弱和敏感，或者他性格本身就是兩面的。就像他畫畫的時候，不管畫得多麼淋漓盡興，身上地上總是乾乾淨淨。他是很成熟的藝術家了，無論是畫畫、做人還是應對這個社會。」在諸多可能中，藝術家曾梵志最看重的一點—永遠不斷挑戰自己，改變畫風，尋找可能。他是不多的當代藝術家中，不局限於早期的成名系列，依靠每一次的新方向，吸引到更多尊重跟喜愛的藝術家。曾梵志的藝術創作中曾經歷過幾次轉型，「醫院」、「面具」、「面具之後」、「亂筆」四個成熟系列。藝術史學家羅蘭．赫儀這樣總結曾梵志的風格：「他的畫給觀賞者一種畫面不斷在進化和轉變的感覺，而這種變化又是極其奧妙無窮、難以捉摸的；這種多變的視覺氛圍令觀賞者感到振奮，刺激觀賞者去想像那當中隱藏著的無限玄機；那個天地裡似乎蘊涵著說不盡的故事，向四面八方延伸出去。就因為這樣，畫面就像一塊探險地域的導向探險地圖，引導觀者進入神秘的、未知的領域。我的所謂探險地，指的是在畫面構圖裡面揭示出的幽默、生動而自然的內蘊。」（《曾梵志理想主義》，新加坡美術館，頁76）

「面具」是曾梵志最有名的系列作品。這一系列大約有100幅左右，創作於1994 年，開始的根源來自於故友師長的反目，人世冷暖的煎熬，促使他畫了一張戴面具的人像。1994年至1997年，他早期表現面具的繪畫作品中體現的氛圍煩亂、迷茫，不知所措。儘管是些帶著面具的人物，依然能感受到面具後的表情。作家，策展人凱倫．史密斯評價這一時期的作品時總結說：「在從事繪畫創作的十年間，曾梵志給他的觀眾提供的沒有別的，只有排拒感，觀眾永遠被排除在外，因為從身體上講，我們是站在這些面具的

遠處，也是在畫面背後的直接活動之外。同樣的，他所繪製的人物也被排除在我們所居住的世界之外，因為它們被限制在面具裡面，在畫面之中，最終被它們自己的恐懼或偏執所吞沒。這是眼目所及的— 因為空虛而清楚地呈現出矛盾，然而又毫無含混地透過它們巨大的眼珠表現出來。在透過靈魂的『視窗』來搜索的時候，我們只能發現人所處的無底深淵，他們為了公眾的一致性而犧牲了情感的生命。」（《目光所及：曾梵志的藝術1991-2003》，《我．我們》，湖北美術出版社，頁13）

1999年之後，曾梵志開始幾種風格同時出現在其作品中，包括除去面具的「肖像」系列，半身人物孤立無援，突出在沒有背景的畫布上，頭髮邊緣被刮刀處理成衝冠怒髮，以及剝去面具後更明顯的驚恐和迷失。曾梵志曾表示，人物是其永遠不會放棄的題材。儘管他是少之又少地敢於屢次打破自己固有風格的藝術家之一。到了2000年，曾梵志的畫面中開始出現純粹抽象的類型。他開始用狂亂的線條改變面具時代的謹慎和精緻。後來一次意外的右手受傷，不得不用左手作畫的經歷，卻獲得了「交響樂」一樣的看似無序，實則有節奏的「亂筆」風格。在最近一次香格納北京舉辦的「太平有象」的個展上，亂筆風景和人物的結合，是此系列的典型風格。藝術批評家羅伯．C．摩根認為，「在曾梵志的作品中，我感覺到一種對其過去歷程和價值觀的反抗，作為遵從於當前合法性的手段。他的作品不僅僅說回憶的體現，而是回憶在歷史性現在中的重組。一些批評家認為，曾梵志的作品已經脫離了社會現實主義，他在過去十年中對於人物的表現主義手法是與那個時代相關的。這也不無道理。但是，為了理解現在，畫家不能逃避回憶。曾梵志在畫布上抓住人物神韻的風格簡樸而有力。這些畫中人物可能是他的朋友，或只是僅僅有剎那間的情感共鳴。」（「曾梵志：靈魂的創傷」，《我．我們》，湖北美術出版社，頁1）

130

ZENG Fanzhi (Chinese, b. 1964)

Red Clouds 2005 Oil on canvas 200 x 150 cm Signed lower right Zeng Fanzhi in Chinese and English, dated 2005 EXHIBITED: Into the View, Faculty of Fine Arts of Srinakarinwirot University, Bangkok, Aug. 23-Sep. 15, 2006 ILLUSTRATED: Into the View, Tang Contemporary Art Bangkok, Bangkok, 2006, color illustrated, p. 90

HK$ 6,000,000-8,000,000 NT$ 24,600,000-32,800,000 US$ 769,200-1,025,600

曾梵志紅雲 2005 油彩畫布 200 x 150 cm 簽名右下：曾梵志 2005 Zeng Fanzhi 展覽：「目光所及─當代藝術七人展」，泰國曼谷詩洛卡琳威洛大學美術館，曼谷，展期自2006年8月23日至9月15日圖錄：《目光所及》，當代唐人藝術中心，曼谷，2006，彩色圖版，頁90

“As a Chinese artist, the ideological education of socialism not only is reflected in our life, but also has profound influence on our artistic creation. As a new generation that has grown up under socialist ideological education, the artistic method of socialist realism is both the beginning of our selfexpression and the starting point of our artistic prospects. This is an undeniable fact. But what is more important are the tremendous changes we underwent during the reform and opening-up and in our political ideas in the past 20 years. Living at the transitional stage of China, we’re experiencing tremendous social reforms that are beyond the understanding of others; this is the environment of our life and the object of our expression. If there is any energy and vigor in our art, then this is the real source of it.” (Quoted from Painting Collection of Zhou Chunya, Zeng Fanzhi, and Ji Dachun.)

Temporary, fluid, and unfixed visual status, this is the most important and most special element of the painting art of Zeng Fanzhi. His smooth and handsome brush, sometimes concentrating, sometimes dispersing, sometimes extensive, and sometimes intensive, creates endlessly the new image portfolios under the remarkable collaboration of light and shadow and tells new stories. Whether a landscape, a human figure, or a face, they may all be distorted by the painter slightly so that his paintings have an extended grandeur, as if the painting is unfolding and narrating a majestic epic poem.

Using brief and clear brushes, he depicts the hypocrisy of man and exaggerates characters’ facial expressions through hard border lines. This series has brought for him both success and irritation: he’s often referred to simply as a “mask painter”. “Such labeling makes me uncomfortable. I hope that when the audience looks at something that’s created out of the depth of the artist’s heart, he’ll see it more than a label or a name; neither do I want others to think that I’ve already set up my own style. So I must break through.” He makes up his mind and decides to seek the breakthrough. “Amidst the historical reforms and artistic expressions, what we choose is the reality that’s confronting us and the feeling that reality has brought to us. This is the essence of our education and the weapon through which we can surpass the education that we’ve received. It is the special social background and ideology of China that has enriched the creation of artists. More and more artists are turning their eye to the society and to politics. Other artists, however, are more concerned about the life experiences of an ordinary person. Perhaps the former better indicates the existence of China or Modern Art of China; but for me, I’m more of the latter, for I am more concerned about the life and experience of man. The natural exposure of the thoughts and emotions of modern people may be more important than the intentional Chinese icons and Chinese methods.” (Quoted from Painting Collection of Zhou Chunya, Zeng Fanzhi, and Ji Dachun.)

From 1994, when he first came to Beijing, to 2001, Zeng Fanzhi has always been engaged in the creation of the “Mask Series”.

From the late 1990s, new paintings show up in different appearances. Compared with

previous paintings, their greatest difference lies in that the new paintings are the products under the influence of post-modernism; in a wider conceptual field, painters regain the freedom of painting and are no longer anxious about the material itself, for the legitimacy of the material itself can be supported by a postmodernistic stand; as a result, the painters have retrieved their power of liveliness, influence, fun, painting, and literary nature, re-constructing the dignity of painting. And in such a reconstruction, the stories of feelings by Zeng Fanzhi play a transitional role. Zeng Fanzhi gets his inspiration for “Sky Series” from his childhood. According to the painter, he would always have a remarkable fantasy when he looked up into the sky in his childhood and such fantasy has accompanied him through the years; even by now, he could still hear its voice and smell its flavor. The broadness of the sky always intrigues infinite imagination of human beings; and when combined with time, it becomes a meaningful object image. Created in 2005, “Red Cloud” has the main object of a young man, smoking a cigarette, his head lowered and his hands in his pockets. Putting the character into the scene, the painter seems to believe with instinct that man is part of nature. From his facial expression can be seen his confusion and puzzlement; the three-dimensional texture of the character invokes imagination and enables us to detect and explore the tension hidden in the heart of the painter. In “Red Cloud”, the rhythm of the lines is merged into the abstraction; the painter uses his painting brush as adeptly as he does chopsticks, endowing the lines with a smooth fluidity. The floating and dancing calligraphic “symbol” is a version of the traditional cursive script, focusing on the abstract with practical details as the bases. Rational and non-rational intertwine in the painting, like the wrestling between

a synthetic image and an abstract image. Not confined by any rules or predefined logic, Zeng Fanzhi keeps the integrity of his creative process and the result avoids the repetitiveness of painting, and constructs a new language through the wonderful effect of the destined and the accidental, i.e., between intentional and unconscious, artificial and natural. This is a new artistic method theory. His paintings resort to the abstractness of calligraphy and the meaningfulness of Zen. Such a painting style is clear, pure, and simple, precisely reflecting his abstract artistic language; and the scenery with freedom, vigor, and musical fluidity combinees features smooth and free brushing and is an emotional expression of reality.

「作為一個中國藝術家，社會主義的思想教育不僅體現在我們的生活中同時也深深的影響了我們的藝術創作。我們是接受社會主義思想教育成長下的一代新人，社會主義現實主義的藝術方式是我們自我表達的開始，也是我們展望藝術未來的起點。這是一個無法回避的事實。但是更重要的是我們在過去20年間經歷了改革開放與政治思想上的巨大變化。我們生活在一個轉型期的中國，經歷著別人所無法體會的巨大社會變革，這是我們生活的環境也是我們表現的物件。如果說我們的藝術有什麼能量和活力的話，那麼這才是真正的根源。」（參閱《周春芽．曾梵志．季大純》畫冊）

短暫的、流動的、不定型的視覺狀態正是曾梵志繪畫藝術最為重要、最為特殊的一個因素。他瀟灑流暢的筆觸，時而聚，時而散，時而疏，時而密，在巧妙的光影配合之下，永無休止地在畫面上創造新的形象組合，講敘新的故事。不管眼前呈現的是一段風景或一個人體或肖像，畫家都能半虛半實地把他們變形。因此他的畫有一種不斷延伸的氣派，就像作家在展開、鋪陳一篇壯闊的史詩。

從1994年來到北京，一直到2001年，曾梵志一直是在從事著「面具」系列油畫的創作。他以簡練明瞭的筆調描繪了人的虛偽性，以硬朗的邊緣線條誇張了人物的面部表情。這一系列作品給曾梵志帶來了成功，也為他帶來了苦惱，他經常被簡單地概括為「面具畫家」。「我覺得這種標籤式的稱謂讓我非常不舒服。我希望別人看一個藝術家內心的東西，而不僅僅是一個標籤，一個稱謂，我更不希望讓人覺得我已經形成一種風格了，所以我一定要突破。」他曾暗暗下定決心，尋求突破。

從90年代後期開始，新繪畫以不同的面貌表現出來。與之前的繪畫最為明顯的區別是，新繪畫是後現代主義影響下的產物，在一個更為寬廣的觀念領域，畫家重新獲得了繪畫的自由，畫家不再為材料本身感到焦慮，因為材料本身的合法性在後現代立場中就能夠找到依據，畫家重新收回了生動、感染、趣味、繪畫性甚至文學性的權力，這樣的結果是，他們重新建立了繪畫的尊嚴。在這樣一個重建的過程中，曾梵志「心緒」的故事構成了承上啟下的環節。「天空」系列的靈感源於曾梵志的童年，據曾梵志所說，童年時仰望天空總能產生一種奇妙的幻想，這種幻想長久地留在自己走過的歲月裡，直到現在仍然聽見它的聲音，聞到它的氣味。天空的廣闊讓人類有無限遐想，和時間結合起來，就變成了耐人深思的物象。《紅雲》作於2005年，畫面的主體是一個青年，燃著煙支低著頭，手插在口袋裡，畫家將人物放進風景中，他似乎本能地認為人是自然的一部分。從面部表情可以看出他的迷茫，人物充滿立體感引發想像力，讓我們窺探到畫家內心世界隱藏的緊張情緒。

「在歷史的變革和藝術的表達之中，我們選擇的是直面社會的現實和現實所賦予我們的感受。這是我們所受的教育的根本，也是我們超越我們所受的教育的武器。正是中國特殊的社會背景與意識形態豐富了藝術家的創作。越來越多的藝術家關注社會，關注政治方面的問題；另一部分藝術家則更關注作為普遍的人的生存體驗。也許前者更能提示一個「中國」或者「中國當代藝術」的存在，但是對於我自己的作品來說，我更傾向於後者，更關注人的生存體驗。在我的創作中現代人思想與情感的自然流露，或許比那些刻意的中國符號和中國方式更重要。」（參閱《周春芽．曾梵志．季大純》畫冊）

《紅雲》中線條的韻律被融入抽象性之中，畫家使用油畫筆就像使用筷子一樣熟練，線條帶有滑動的感覺。流動飛舞的書寫性「筆劃符號」是傳統草書的解體，雖以抽象為主體，然而都是以真實的細部為前提的。繪畫中交織著的理性和非理性，也是一種具象與抽象之間的角鬥。曾梵志不拘泥於任何規矩或既定的邏輯，但他又保持了創作的過程和結果的整體性，並排斥了繪畫的重複性，使預設性與偶然性導致的奇異效果，即在有意與無意、人工與自然之間建構了一種新的語言，這是一種新的藝術方法論。他的繪畫借用了書法抽象性，也參合了「禪」的意味，這一繪畫風格的清晰、單純、質樸正表明了其抽象性的藝術語言，集自由度、力度和音樂流動性於一體的特徵中的景物用筆自由，筆觸清晰，是對於現實的一種情緒的表達。

131

ZAO Wou-ki

(Chinese-French, b. 1921)

22. 3. 1979 1979 Oil on canvas 97 x 130 cm Signed lower right Wou-ki in Chinese and ZAO in French Titled on the reverse 22.3.79, signed ZAO Wou-ki in French ILLUSTRATED: Jean Leymarie, Zao Wou-ki, Editions Cercle d'Art, Paris, 1986, black-and-white illustrated, no. 515, p. 348 Pierre Daix, Zao Wou-ki, l'æuve 19351993, Ides et Calendes, Berne, 1994, color illustrated, p. 135

HK$ 3,200,000-6,000,000 NT$ 13,120,000-24,600,000 US$ 410,300-769,200

趙無極 22. 3. 1979 1979 油彩畫布 97 x 130 cm 簽名右下：無極 ZAO 簽名畫背：ZAO Wou-ki 22.3.79 圖錄：尚．雷馬利，《趙無極》，藝術圈出版社，巴黎，1986，黑白圖版，編號515，頁348 皮耶．戴，《趙無極：1935-1993作品》，意得與卡蘭德，伯恩，1994，彩色圖版，頁135

Old age and death can never scare me. As long as I can hold the brush and paint the cloth, nothing will scare me. My only hope is to complete the painting on hand and this painting is braver and more liberal than the last one.趙無極生於書香世家，6歲時便開始學習書法，書法為他造就了與西方畫家不同的基礎，使他的手更靈活，視點也更開放。在父親和叔父的薰陶與支持下，逐漸激發起成為畫家的夢想。正是因為趙無極懷著藝術的夢想，在全家人的送行下，他走向了巴黎。從50年代開始，趙無極便開始活躍在巴黎畫壇，並在法國畫壇佔據了一席之地。他所享有的國際藝術界給予的眾多榮譽和尊敬，也是中國藝術的光榮與驕傲。他的藝術鋒芒咄咄逼人，這正符合了戰後歐洲畫壇重新復甦的探險熱潮；他在藝術上充滿了感性，這也正與法國藝術整體中那種熱烈與典雅的趣味相吻合。法國人首先在感覺上接受了他的藝術，而整個西方畫壇則從藝術史的邏輯中承認了他的藝術。他的藝術智慧充沛深厚，這使他在幾十年裡不斷推進和完善自己的風格，並且不斷的提升著每個階段的境界。趙無極在國立杭州藝專學習時，吳大羽和潘天壽任他的老師，潘天壽經常要他臨摹古畫，他不喜歡，就不用心畫，想方設法蹺課，甚至有時從教室的窗子跳出去，氣得老師要開除他，最後還是校長林風眠把他留了下來。他不願意接受傳統中國畫的觀念，認為中國繪畫從16世紀起就已經失去了創造力，只會抄襲漢朝和宋朝創立的偉大傳統，在重複和臨摹間停滯不前。趙無極的成就受益於林風眠的指教。他從林風眠那裡學習到的並不是具體的繪畫技

巧，而是林風眠敢於創新、追求藝術自由境界的精神。從他早期的作品便可以看出，他是一位有著天賦素質的畫家，在作品中無遮無攔地表現出自己的感覺，不受學院派寫實技巧的束縛，而且懷著對自由抒發胸臆的夢想。趙無極在海外面對的是西方抽象繪畫的浪潮，他從表現性的具象繪畫開始，逐漸發展成符號化的意象繪畫，再進而發展成表現性的抽象繪畫，在畫風確立的同時，他的藝術境界也越來越大。西方抽象繪畫做的是畫布上的形式營構，趙無極則從關於自然的憧憬與感受中提升為抽象語言，這就拉開了與西方抽象繪畫的距離。他的盛期作品已成為一個完全抽象的形式世界，但同時又是一個充滿生命律動的自然世界，讓人產生許多映射了審美聯想般的幻覺，從畫中可以看到變化的廣袤自然。這是以東方傳統為根基的抽象形態繪畫，也是中西藝術在精神上的交融。從1958年的作品《雲》之後，他的作品不再有標題，而是僅僅在畫布上註明此件作品的創作時間。此時，創作對趙無極來說，完全是情感的宣洩，他擺脫了一切法則的束縛，肆意揮灑著他的自由，以各種創新組合的方式表達出內心的感受。 1950年代後，趙無極的創作歷程先後出現了兩個階段：第一個階段是60年代和70年代早期，此時期作品多以黑色和褐色等暗色為基調，強烈的筆觸充滿了力度，使得畫面極富有運動感；第二個階段是70年代中期以後，趙無極此時期的油畫技巧日漸成熟，色彩開始變得豔麗明亮，畫面也更

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注重於對空間和光線的追求，蘊含了囊括天地萬物的大自然要素，和之前的作品相比，更具有風景的意味，氣氛也越來越平靜。此幅作品《22.3.79》正是趙無極第二個階段完成的作品。畫面中除了遠近空間的層次感外，還充滿了光線和相關的色彩。在這幅作品中以鮮亮的黃色為主體，褐色和黑色參差交錯，充斥著整個畫面，強烈的光線感散發出金銅般神聖的光芒，賦有質感而細膩的線條揮灑自如，渾于自然。通過作品《22.3.79》，可以清楚的看出趙無極在「空間」和「光」的融合運用上的造詣，而且色彩的運用也呈現出奇麗幻變的景象。直到現在，趙無極還孜孜不倦的進行著創作，他說：「我不怕老去，也不怕死亡，只要我還能拿畫筆、塗顏料，我就一無所懼，我只希望能有足夠的時間完成手上的畫，要比上一幅更大膽、更自由。」

趙無極《4.4. 85》，羅芙奧2007春季拍賣會，068編號，1億1820萬台幣成交 ZAO Wou-ki, 4.4. 85, 1985, oil on canvas, 97 x 195cm Ravenel Spring Auction 2007, lot 068, US$ 3,579,107 sold

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CHU Teh-chun

(Chinese-French, b. 1920)

Froidure (Cold) CHU TEH-CHUN1987"FROIDURE"CHU TEH-CHUN1987 PROVENANCE: The current owner acquired the work directly from the artist.

HK$ 6,500,000-9,000,000 NT$ 26,650,000-36,900,000 US$ 833,300-1,153,800

朱德群雪景系列－寒 1987 油彩畫布 127 x 161 cm 簽名右下：朱德群 CHU TEH-CHUN 87 簽名畫背："F R O I D U R E" C H U T E HCHUN 朱德群 1987 來源：現有收藏者直接得自藝術家

“Nature will forever remain my mother.” Chu Teh-chun once told his friends. Mother Nature has always been the muse for all artists of Chinese brush painting or Western landscape painting. Paradoxically, while the artistry of the two schools may be similar, it is also different. The creation of an unique artistic style is the goal pursued by most artists, and Chu is well on his way toward achieving this distinction. In the 1950s, Chu often sketched the mountains in Central Taiwan and the artistic bravura of Chu's ink-wash landscape imagery evokes these earlier experiences. He combines the abstract aestheticism of the poet Wang Wei from the Tang Dynasty, incarnated as “Poetry in Painting and Painting in Poetry”. Landscape used to be the background of a tableau in the history of painting, before the British watercolor master William Turner and the pioneers of Impressionism, Eugène Boudin and Claude Monet started capturing the nebulous changes on canvas. They enriched the content of paintings and yet nature still retained a subordinate role in such paintings. The work of nature charged with the force of nature itself, the ultimate source of Chu’s abstraction, lead us to the recognition that he is a bridge between the rich history of Chinese aesthetics and the world of advanced Modernism. Nevertheless, the power of brush and coloring effects both embody the charms

of nature, so that the landscape has finally come to play the leading role on the canvas. In 1985 he once flew over the Alps and when he saw the snowy scenery, the poetry of Li Po and Tu Fu suddenly appeared in his mind. The mysterious and atmospheric beauty of nature inspired him and new abstract ideas lead us to his famous and poetic “Snow Scenes Series” created from 1985 to 1989. Landscape should not only entail types of scenery, but also the feelings related to nature that viewers should have as they become immersed in, and part of, the painting contents. The richly textured composition fleshed out the atmosphere; as

Chu said, “My landscape is an experience in nature; not a duplicate of nature”. This is a splendid response to the classical Greek view of art as “mimesis” or imitation of nature. Viewers should be inspired by the images of nature in the paintings. His work unequivocally resonates with Taoist thoughts; the free imagination conveys his sublime passion in the synthesis of the concrete and the abstract.

forêt blanche”, “Temps d’hiver”, “Présence hivernale”and this “Cold” all large-scale paintings. A solo exhibition was held by the Taipei National Museum of History in the same year; 32 years had passed after his departure from Taiwan. Exhibitions were also held in different art galleries. As one of the important artists of France, he was invited to participate in Panorama de l’Ecole Française Contemporaine in Israel.

Chu was well trained by Pan Tian Shou, the contemporary master artist from Hangzhou National Academy of Art. As his direct disciple, Chu specialized in Chinese brush paintings for landscape, flowers/birds, poetry, calligraphy and seal cutting. He loves poems and is a great calligrapher. Chinese characters are artistic abstractions and provide inspiration to western abstract artists. His talent for poetry and brush painting lead us to his use of vivid and dramatic strokes, in a kind of marriage of the visual and the powerful, form and effect.

When he was in Taiwan for an art forum in 1986, his inspiration was derived from Chinese paintings in the Song Dynasty. He had his student Sung Lung-fei ask for the approval of Chin Hsiao-yi, director of the National Palace Museum to view the grandeur of such masterpieces as: “Travelers among Mountains and Stream” by Fan Kuan, “Early Spring” by Kuo His and “Wind in Pines among a Myriad Valleys” by Li Tang; he was accompanied by his classmate Li Lin-tsan from Hangzhou National Art College.

Chu recalled, “… after staying in Paris for awhile, I started missing Chinese paintings and calligraphy which may be the pioneers of the abstract. The concept is quite similar. Format is not required but rather similarity. Literary arts always focus on scenery and the diversity of wash-ink. However, the aesthetic factors are what the artist of abstraction is looking for, i.e. lines, colors and compositions. The landscape portrayed in Chinese paintings is no longer merely the landscape portrayed in reality; the distance between the actuality and the imagination is the realm of the abstraction. Chinese people do not speak of abstraction but rather paint the abstraction.”

With its free style brush strokes, pieces and dots being dimly visible, noises all around bouncing through space, sleek lines falling and forming into nets, it all nestles into a silverish grey world. Painting according to his whims and desires, the painter painted diversified, varied, surreal, dreams, happiness and anger looming......, this all equates to the luck and sorrow in one's life experience, a gauze that breaks through the

innermost feelings, showcasing path and marks in the author's long artistic life. A further example of the concept of running and cursive script calligraphy is seen in this “Froidure”. By employing automatism, to capture the unconscious or instinctive forces, a certain dramatic vigor appeared on his canvas. The variety of calligraphy is like the capricious nature of abstraction itself. The description of the heading will not confine the unrestrained imagination of the viewers. “Froidure” in French means “cold”, an ancient name of winter. The confident strokes of the artist are flying freely, like the snow itself, in the silvergrey world. His work is rendered with great harmony and rhythm, more traditionally associated with poetry and music. Rapidly executed lines and robust brushstrokes combine to form a style that is hyperbolic and at the same time lyrical. The play of light and dark, the resulting spacious atmosphere, the pronounced horizontality of the painting and the winter landscape imagery reflect a bravura that only powerful art evokes. His paintings combine the essence of Chinese aesthetics handed down through generations with abstract concepts. Simplified pictorial elements, smooth flowing lines and bold color schemes together create an irresistible aesthetic impact and endless visual tension. His work is a recreated, or resurrected, painting of Fan Kuan.

(Artist Magazine Page 70 regarding Chu Teh-chun’s Album.)

Since 1985 Chu started his series of “Snow Scenes Series” and most representative works were made in 1987. For instance “La

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朱德群《行草橫幅（李清照—菩薩蠻）》 Chu Teh-chun, Cursive Calligraphy (Li Ching-chao's Poem To the Tune of Bodhisattva Barbarian), 1993

「大自然是我創作的源泉之母。」朱德群如此對他的朋友訴說著。無論是中國山水畫文人，或是近代西方風景畫家，創作時所欲師法之對象多來自大自然。師法自然，和而不同，推陳出新，開創出自我風格的繪畫語言，當是多數藝術家亟欲追尋的方向，朱德群一直在這條道路上前進。 1950年代，朱德群在台灣中部八仙山上寫生，重新激發了他對中國水墨畫的興趣，他在寫生時聯想到唐朝詩人王維，感悟到中國文化傳承裡中「詩中有畫、畫中有詩」的抽象美感。朱德群意識到，中國人是第一個發現雲霧造型之美，並且把它成功畫在紙上的民族。在此之前，環顧世界繪畫史，天上的雲彩，往往只是畫裡的背景。英國的水彩大師泰納（William Turner），印象派的先驅布丹（Eugène Boudin）、莫內（Claude Monet），開始捕捉雲霞的變幻，豐富了原有的繪畫語言，然而它們仍舊是海景畫裡的大背景。中國宣紙的渲染效果，或是毛筆揮灑的力度，可巧妙地展現雲霧的千姿百態。這些對自然的觀察促使了朱德群後來發展抽象畫的前因。 1985年，在一次飛行途中，朱德群看到阿爾卑斯山上大雪紛飛的景象，心中浮現了李白、杜甫等人的詩句，內心激動不已。大自然的無窮奧祕氣象，大自然的渾然天成美感，激發了朱德群對抽象畫的新解，因而發展出從 1985年至1989年期間膾炙人口、充滿詩意的「雪景系列」。對朱德群而言，風景畫其實並非概括地描繪一處景觀，而是使人身在其中，感受自然，進而把自己變成其中的一部份，從繪畫中演繹其脈動、其氣息。朱德群說：「只畫對自然的體驗，並不試圖去重複自然。」我們不是站在一幅山水畫前，而是沐浴在一個全然被吞噬、全然被融合的空間裡，潤澤著我們，也燃燒著我們。中國道家哲學的山水觀，給予朱德群創作時的想像空間，而他對風景山水畫的熱愛，透過抽象畫中得到充分的自由感。

朱德群在故國受過良好的美術教育，他是杭州藝專潘天壽的嫡傳弟子，從小即以水墨畫入門，潘師擅長山水寫意、花鳥畫，有詩詞、書法、篆刻的造詣，帶領朱德群一窺中國書畫藝術的堂奧。朱德群一生喜愛閱讀詩詞，又寫得一手好字。中國文字本身的書寫方式，乃是最接近有抽象畫的一種藝術，西方現代抽象畫家們早借道東方的書法，尋找靈感泉源。而朱德群在詩詞書畫的造詣，自然時常展現於他充滿動勢的抽象繪畫之中。

朱德群《冬之呈現（二）》羅芙奧2007春季拍賣會，070編號，5380萬台幣成交 CHU Teh-chun, Présence hivernale II 1987, oil on canvass, 130 x 195cm Ravenel Spring Auction 2007, lot 070, US$ 1,629,069 sold

朱德群說：「…當我來到巴黎一段時間後，我就懷念起水墨畫和書法來了。與西方抽象藝術比較後，中國書法是世界上最早發明的抽象藝術。就水墨畫來說，它有很多理念與抽象畫相接近。國畫讚賞逸筆草草，不求形似，重於神似，這是很強的抽象傾向。文人畫家講究意境和筆情墨趣，這和西方抽象畫開創者把線條、色彩、構圖等繪畫元素當作獨立的審美元素的追求是一致的。中國畫所畫出的山水、人物，已不是現實中的山水、人物，與現實有很大的距離，這距離就是抽象意味。中國人只是沒有把『抽象』二字說出來而已。」（《朱德群專輯抽印本》，藝術家雜誌，頁70）

從1985年朱德群開始創作膾炙人口的雪景系列，有幾幅雪景油畫代表作品皆在1987 年左右完成。例如《白色森林》、《寒》以及《冬之呈現》等，以及此幅拍品《雪景系列—寒》。這一年他的創作力尤其豐沛，尺幅皆大，1987年台北的國立歷史博物館為朱德群舉行離台32年後的盛大個展，另有三間畫廊為他舉辦巡迴個展，同年他也受邀在以色列首都市政廳展出的「現代法國畫派展」參展，名列法國重要當代藝術家之林。探究朱德群的創作能量緣由，參加展覽是其近因，但最主要的原因是1986 年他曾返回台灣參加藝術座談會，見到心儀已久的宋代山水畫真蹟。他託學生輩宋龍飛的安排，在當時台北故宮博物院院長秦孝儀的特准下，由杭州藝專同窗李霖燦陪同，在觀畫室飽覽了范寬的《谿山行旅圖》、郭熙的《早春圖》、李唐的《萬壑松風圖》三幅鎮院之寶、曠世名作。《雪景系列—寒》一作對照朱德群其他的雪景畫，融合更多行草書法的概念，以自動滴流技法，呈現動勢之美。書法的奇突變化，宛如抽象畫的變幻無端。藉由畫背上藝術家親題的標題導讀，絲毫不影響觀者們的自由聯想。作品的法文原題是Froidure，意指寒冷，也是冬季的古詞。畫家的自信筆鋒，騰躍在一片銀灰色的世界裡，細線錯落交織如網，冰雪飛撒如夜裡的繁星，綻放晶瑩剔透、變化莫測的微光。看似繁雜無比的線條，卻又如一曲和鳴的樂章，時而清越，時而低吟。紗幕般的風雪裡，透著微明的光，冷色主調裡有暖色彩的妝點，具華麗之美，整幅作品雖然描繪冬意寒凝的景象，實給人流暢、愉悅的詩意感受。近方形的巨大構圖，氣勢先聲奪人，然而，宋畫形制傳統中特有的優雅、細膩也在此展現，有范寬雪景山水再現的風采。

133

SANYU

(Chinese-French, CHANG Yu, 1901-1966)

Chrysanthemums on the Red Table with Yellow Background YuSANYU

HK$ 8,000,000-10,000,000 NT$ 32,800,000-41,000,000 US$ 1,025,600-1,282,100

常玉黃底紅桌上的瓶菊 1940年代－1950年代油彩纖維板 62 x 92 cm 簽名右下：玉 SANYU 來源： 2005年5月27日香港佳士得拍賣，編號265

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His paintings are quite good, really. They have style, and they have character. I’d say that among all the Chinese oil painters who developed their career in the West, Sanyu deserves the place of honor.Chrysanthemums I was picking under the east hedge / When the South Range met my tranquil eyes … The soul of nature was here revealed / Too subtle it was for words.Sanyu was a great painter of flower stills and potted plants, and they are always blossoming in the most exquisite shapes and colors, brimming with life. Yet in truth, flowers in a vase are but beautiful blooms on stalks or branches already severed from the true sap of life—lingering on for a short while, but doomed to fade and wither quickly. It is a mournful sight, really, the sadness onlyenhanced by the sheer splendour of the subject. The overwhelming visual density is but the result of cutting and arrangement, an effect produced by squeezing thick clusters of flowers into too small a vase or pot, thus losing all sense of natural proportions. When this happens, some have plaintively observed, one forces these delicate plants to subsist on a little water or a few crumbs of soil, cutting them off from the generous nourishment of Mother Earth. Why would Sanyu be so sensitive to these truths? Why, his compassion and sympathy clearly derive from the fact that he was in a similar situation himself! I think he was a ‘potted plant,a flower in a vase,’ too, a bonsai from the

East transplanted to the huge garden that is Paris.The particular gift of this artist is to unite East and West in his paintings, not in a confused, sacrilegious way, but with an elevated awareness where one loses usual points of reference. Sanyu has found one word to describe his minimalist art using basically three tones of color: Simplicism.常玉是中國第一代留法的傑出美術家，優雅、自由的繪畫風格，在同代藝術家中顯得十分突出，作品曾多次入選法國重要沙龍展，被視為「巴黎畫派」的成員之一。1932年時，常玉的名字還曾被刊載於巴黎藝術出版社所發行的《1910－1930當代藝術家生平辭典》第三卷。在種族偏見仍深的年代，中國人的名字首度登錄國際性的美術家生平辭典，絕非僥倖可獲致。早年多位留法的藝術家提起常玉，直言他當年已有大師級的名氣，只是放蕩不羈的性格，拒絕為五斗米折腰，晚年窮困客死異鄉。曾在巴黎與常玉有一面之雅的老畫家吳冠中，讚揚常玉是真正的藝術家，認為其藝術遠在潘玉良、徐悲鴻等人之上，他曾說道：「常玉的畫相當不錯，有格調，有性格，我覺得中國人畫油畫到西方去的，常玉是第一個。」在他的觀察，常玉的油畫近乎寫意，但形與色的構成仍基於西方現代造型觀念。在第一代中國油畫家行列裡，常玉無疑是非常突出的一位，具有超越時空的美學魅力。至今，他仍是許多藝術收藏者的最愛。儘管今日常玉留世的作品以油畫、水

探望二哥，停留一年餘，期間傳有其書法作品刊載於日本藝術雜誌，足見當時常玉已有中國書藝之相當基礎。雖然後來存世的常玉書藝創作不多，但寫得一手好字的常玉，在巴黎時初期以毛筆速寫裸女，功力一流，經常一氣呵成，不需太多思索，往往引起其他畫家的讚嘆。後來他也透過油畫，也把書法的功力展現於人體、動物、靜物、花卉姿態等線條上。

彩、素描、版畫等西方創作形式為主，但他的的美學內涵與中國文化其實深不可分。出生於四川南充的他，受父親常書舫啟蒙，跟隨父親習畫，十二歲即展露藝術的才華。常書舫以獅、馬等動物繪畫聞名南充，潛移默化了常玉。在常玉從早期到晚期的作品中，經常以風景畫中的馬為創作主題，頗有幾分向父親致敬之意。傳統藝術的因子，一直藏在飄浪性格藝術家常玉的創作血液之中，不論是線條、筆法、構成空間、色彩運用，還有繪畫中透露的禪意與神韻，雖然身在歐洲，但筆下的靈魂，滿溢著中華文化的影響。少年常玉在父親的安排下，曾跟隨四川名書法家趙熙（1877-1938）習字。趙熙的詩書畫名聞遐邇，墨跡存於四川名勝古蹟間。在其優雅的藝術涵養與尚美的情操薰陶下，常玉頗受感召，得到父兄的許可與鼓勵之下，走上藝術之路。他轉赴上海生活，接收了廣告月份牌和宣傳海報圖式的民間藝術的視覺刺激，當時盛行的海上畫派、金石畫派等花卉的表現技法，傳承自石濤、八大山人等藝術古風，對後來常玉的繪畫思維起了一定的影響，奠定藝術養分之基礎。1918至1919年間，常玉到東京

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就創作的主題來看，常玉多選擇女體、花卉、靜物、動物及少數的風景，並樂此不疲。其中「花卉」題材在常玉一生創作中佔有極大的比重，多以描寫中國傳統書畫中常見的梅、竹、荷、菊，其中尤其偏愛畫菊。菊花，經常出現在他的花卉畫裡，隱藏著濃濃的鄉愁記憶。菊是花中隱士，也是詩人的象徵。陶淵明的「採菊東籬下」的優雅，想必在常玉心裡有深刻的了解。他的生命價值觀與美學思考，透過花卉畫的描寫抒發，彷彿也想藉由花的姿態暗寓自己漂泊異鄉的身軀。吳冠中曾寫道：「常玉畫了那麼多盆景，盆景裡開出綺麗的繁花，生意盎然；盆景裡芶延著凋零的殘枝，悽悽切切，卻鋒芒畢露。由於剪裁形式構成的完整飽滿，濃密豐厚的枝葉花朵往往種植於顯然不成比例的極小花盆裡，有人慨嘆那是由於失去大地，只依靠一點點土壤成活的悲哀。這敏銳的感觸，這意味深長的慨嘆緣於同命運的相憐吧！我覺得常玉自己就是盆景，巴黎花圃裡的東方盆景。」（節錄自吳冠中〈說常玉〉一文）美學家蔣勳也從常玉的花卉畫裡讀出「此生如花」的聯想，花卉的姿態也反映出藝術家的自我人生。各時期的花卉創作各具特色， 1930年代前後的花卉畫多以粉色作畫，形式簡潔，花卉多半是剪枝，插在素瓶或花籃裡，姿態纖巧造型可愛，經濟上因有外來資助，材質以畫布為多；1940年代經歷過二次大戰，物資缺乏，此時無法購買畫布或昂貴顏料，改在纖維板上反覆作畫，花枝或瓶身

常以粗線條勾勒，色彩組成簡單，構圖帶有寫意的拙趣。晚期接近1960年代時，轉以斑斕的色彩裝飾，描繪華麗卻又遠離真實的瓶花盆景，帶給人一種絕美的感受。常玉的後期花卉畫很少標明年代，依照風格判斷，《黃底紅桌上的瓶菊》的創作時期，約莫完成於1940-50年代。這幅創作符合法國評論作家皮耶．儒芙瓦（Pierre Joffroy）的觀察：「他不依常理而又不落俗套的創作手法，毫不含糊地把東西方之優點融合於他的畫作中。常玉只運用三種色調架構的畫面，常玉以這樣一個詞去概括，那就是簡單主義。」常玉畢生奉行「簡單主義」，他以食物的烹調比喻自己的繪畫，有別於歐洲繪畫的燒烤、煎炸及肉類的豐盛口味，比較接近蔬菜、水果及沙拉，他自認為其藝術有助於人們改變欣賞藝術的品味。在《黃底紅桌上的瓶菊》創作中僅出現黃、黑、紅三色：以大片明亮的金黃色為主調，黑色花朵枝葉表現簡樸的力度，近景低水平處，艷紅色的桌面為平面構成暗示出空間，低視覺感巧妙地使得畫面產生平穩與變化的效果。金黃與豔紅為中國民間喜慶常見的色彩，象徵吉祥富貴，在民間工藝藝術有廣泛的運用。然而，常玉巧妙地運用這些色彩，卻一點也不流於俗氣，反而顯得高貴雅緻，若非天賦無法達成。而花葉的墨黑，不正是中國正統書畫

常玉《插瓶菊花》油彩木板國立歷史博物館館藏，台北 SANYU, Chrysanthemum in Vase, oil on board, 66 x 99 cm Collection of National Museum of History, Taipei

裡的用色？它是中國畫家最擅長的色彩，但常玉不是以傳統的暈染，而是平塗描繪菊的花瓣，造型類似中國剪紙的圖案，頗有童心童趣。對象物瓶菊，一如常玉其他的作品布局於畫面中央，枝葉扶疏單色勾勒，瓶身與背景的用色接近，形成遼闊感。構圖採水平式，在藝術家的創作裡並不多見，多數都是直立式的構圖居多，台北的國立歷史博物館的藏品中二、三件名為《插瓶菊花》作品有類似的構圖。較為特殊之處，《黃底紅桌上的瓶菊》在布局花的姿態時，採用了中國傳統畫論的「鹿角枝」，這種畫法可以在其他的直立式構圖中也可看到，「鹿角枝」描寫向上生長的樹枝。常玉有時喜歡藉由精心安排瓶花、盆景的花卉姿態，使畫面產生獨特的力度。常玉以率性自我的性格，結合民族藝術特有的美學，在歐洲美術界揮灑出一片天地，六十五歲的短暫人生中，留存的油畫創作估計不到三百幅，他所遺留的瑰寶，相信百年後仍舊發光璀璨。

常玉《靜物》油彩木板國立歷史博物館館藏，台北 SANYU, Still Life, oil on board, 126 x 69 cm Collection of National Museum of History, Taipei

常玉《青花盆與菊》羅芙奧2004秋季拍賣會，編號133，2037萬台幣成交 SANYU, Potted Flowers in a Blue and White Jardiniere 1950s, Oil on Masonite, 91 x 62cm Ravenel Autumn Auction 2004, lot 133, US$ 618,397 sold

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SANYU, Plum in Vase, oil on board, 126 x 69 cm Collection of National Museum of History, Taipei

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WU Guanzhong (Chinese, b. 1919)

The Blooming Mountain Tu96

HK$ 2,800,000-4,500,000 NT$ 11,480,000-18,450,000 US$ 359,000-576,900

吳冠中百花山 1996 油彩畫布 60 x 93 cm 簽名左下：荼 96

A mountain need not be high; It is famous so long as there is a deity on it. A mountain need not be high; It is beautiful so long as there are flowers on it; A mountain need not be high; It is attractive so long as there is scenery. In the 90s Wu Guanzhong made the most important breakthrough in his art life and reached the peak of his art. That time period of the artist featured abstraction in form and nobleness in spirit. However, having successfully assimilated the techniques of abstraction, the works of Wu Guanzhong in the 90s are both Chinese in outlook and modern in conception. To find a better expression for his ideal scenery, Wu Guanzhong traveled to Yunnan in the 1970s and stayed there through the 1980s till the 1990s. During the two decades he covered almost the whole country and sketched grand mountains in sight. Just as he himself said he was thoroughly “intoxicated by rivers and mountains and infatuated with customs and traditions. Instead of merely painting and sketching, I expected to get inspiration and cultivate my own style.” Like the process of mine selection and refinery, he repeated the efforts of refining and abstracting and finally cultivated the unique abstract form and created his own distinctive art style. “The Blooming Mountain” is a typical landscape painting of the 90s depicting banquets of flowers blooming on the Blooming Mountain in a suburb of Beijing. Blooming Mountain, especially well-known for its “flowers”, is dressed up with peach blossoms in early March and turns into a garden of flowers with the weather getting warmer. “Most flowers cannot be named and

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rich colors are beyond description”. The mountain, like spring all year round, boasts waves of grand peaks and luxuriant flowers with streams trickling and murmuring around the rocks. Ascending the top of the mountain you can catch a sight of the majestic view of sunrise and lofty peaks; descending into the steep valleys you can get a gorgeous spectacle of a waterfall roaring all its way along and splashing itself against the rocks. It is the place where the renowned Buddhist monk DaDian in the Tang Dynasty cultivated himself, as the legend goes. In all his works, objective representation loses its importance, overtaken by the beauty of the abstract forms, lines, colors and subtle ink tones. In the eyes of the master, everything on earth exists in its own unique shape and changes all the time round. They are mutually related following certain common rules. The masterpiece “The Blooming Mountain” unfolds a legendary natural beauty displaying such elements as “separate form”, “chaotic”, “dispersion”, “concentration” and “cooperation”. With a fantasy air and atmosphere of point, line and plane jointly with red, yellow, green and purple, the painting, like a rainbow, beams its brilliant grandeur and elegance and shines the very core of the creation of the artist. Life can’t be without flowers yet there are lives never flowering. It is usually hard to relate a cloudy and bitter life with a lovely flower. There is life which is blooming all the way through yet it is hard to say Yang Kweifei, the magnificent concubine, is a blooming flower all the while before MAWEI Slope. Flower blooms simply for fruits. Blooming might be a matter of a second, while fruits might be everlasting. It is everlasting just because it has become the seed like peach

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blossoms coming out and bearing fruit every year for hundreds and thousands of years. We usually try to comfort ourselves: life is but a short span while art enjoys an everlasting life. The everlasting life of art is the contribution of seed and new branches. Art absent of inspiration and enlightenment is an art bearing no fruit and is doomed to wither after a flash in the pan. (From Beautiful Articles and Books Series by Wu

山不在高，有仙則靈山不在高，有花則美山不在高，有景則秀在90年代，吳冠中實現了他藝術生涯中最重要的突破，登上了巔峰。形式上走向抽象，精神上走向崇高是這個階段最主要的特徵。但在他進行抽象探索的同時，並未完全放棄舊的面貌，各種風格同時交錯在 90年代的創作當中。

Guanzhong-- Out of Red and Black Ink Come Beautiful Hills and Mountains)

All the shapes, forms and atmosphere richly present in Wu Guanzhong’s works are from real life, but different from the habitual in life, the artist selects part of the beauty and has it processed and refined in a creative way to turn it into a spiritual and cultural kind. Granting the sensation of beauty to the painting and communicating the image of beauty to the hearts of viewers, the artist makes unremitting efforts to widen the aesthetic vision of the viewers. He often, breaking through conventional practice, seeks new meaning for space and gets a creative tune in the linear layout of the animal and plant images. Meanwhile, vast patches of cold and warm colors are used to emphasize the brightness of colors and special meanings and at the same time the turning and twisting of branches suggest the strength and vigor of lines. All this can be regarded as a change in form, however, it is, as a matter of fact, an exhibition of his widening bosom and improving aesthetic awareness and a presentation of his ardor embracing a new time and new life as well as his soul-to-soul communication with Mother Nature. Marveling at the “The Blooming Mountain” will lend you a real feeling of being there and offer you an amazing experience of seeing the flowers blooming and withering, arousing within you the feelings that life is just like the flowers. As Wu Guanzhong said: “A flower is liked and loved simply for its short blooming life. When it withers, it is gone and leaves great pity in the heart of the lookers. Life, like the flower, makes the world interesting and amazing simply because it comes and goes in a fleeting way. ”

為了更好地表現他理想中的風景，1970年代起畫家赴雲南寫生，時間跨越1980年代，一直到1990年代。走遍中國，搜盡奇峰打草稿，他說自己陶醉於山川風物之異，人情品貌之繁，但也並非旅行寫生，繪圖日記，本旨在采形煉型，營造自家梁園。他一步步深入地提煉、抽象，再提煉、再抽象，就像選礦和煉礦的過程一樣，自然地發掘出了獨有的抽象形式，創造了自己的風格。吳冠中筆下的《百花山》是一幅典型的90 年代風格的風景題材作品，描繪的是北京京郊百花山上花團錦簇的景象。百花山以「花」最為著名。三月初春來臨時，山桃花等最先開放；隨著氣候轉暖，百花山就成為花的世界，「花多目所未者見，紅黃紫翠不可名狀」。山上群峰挺拔，四季如春，繁花似錦，溪水潺潺，登高峰可以觀賞日出雲海、群峰險峻；入峽穀可以觀賞瀑布飛奔而下，氣勢非凡。傳說唐高僧大顛曾在此修行。吳冠中畫裡強調線性的結構，濃淡有致的色彩暗示山花的起伏及陰影。在藝術大師眼中，複雜的天地萬物形態各異，運動不息，變化無窮，又相互聯繫，有其各自的共同規律，《百花山》這幅作品映照出了「分形」、「混沌」、「聚」、「散」、「合」所構成的自然現象的神謬。並以點、線、面，紅、黃、綠、紫暈染著夢幻般的心境與意氣。百花山，沿著吳冠中藝術創作的核心，畫一道弧虹。「人生缺不了花朵，但從未開花的人生當也不少，灰色的、苦澀的人生難於與花聯繫起來。一路開花的人生也許有過，馬嵬坡以前的楊貴妃是否就一直是盛開的花朵，也難說。開花原本是為了結果，花開只一瞬，果實才是恆久的吧，果實本也不可能恆久，所以能恆久，因為它成為種

子。桃花易開易落，因結桃子，年年開，千年開。人們自我安慰：人生短，藝術長。藝術之長，當也依靠種子引發新枝，失去啟發性的藝術是不結種子的藝術，也只能像花朵開過一次便消滅。」（摘自吳冠中美文美畫系列—朱墨春山/畫外思絮卷》）

以吳冠中作品了悟，抽象的作品其形態、情狀、意境等運動變化著的豐富存在，其實就是發生在生活裡的一情一景所包含的因素，與生活中司空見慣的情景不同的是，藝術家擇取了其中美的一部分，用創作形式把這美「一生萬」或「萬生一」，美脫離開客觀母體之後，成為一種主觀的精神的審美、文化的審美。他把美的震撼賦予丹青，用美的意象傳感讀者心靈，他不知疲倦地與讀者在交流，啟發讀者打開審美的眼睛。他常常在章法的疏密中，尋求一種新的空間意味，常常在動物和植物形象的縱橫交錯的線型安排中尋求一種新異的節奏，也常常以大片大片的冷色、暖色去強調色彩的亮度和特殊的意境，又通過出枝走向的轉折強調線條的張力和生命力，這可以說是一種形式上的變化，但實質上又是他那不斷開闊的胸襟和審美意識更新的表現，是他擁抱新的時代、新的生活的熱情，是他和大自然物我交融昇華的靈魂。頓足在《百花山》前，仿若置身在景色中，經歷了花開花落的夢幻心境，並不由得感歎人生有如這百花，就像吳老師說：「鮮花令人珍惜，由於花期苦短，落花流水春去也，花比青春、年華易逝，誠是人生千古遺憾，其實這正緣於生生滅滅的輪迴匆匆，促成了人間的比分多彩。」

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WANG Huaiqing (Chinese, b. 1944)

Portrait of Stool Wang HuaiqingWang Huai Qing

HK$ 4,000,000-5,500,000 NT$ 16,400,000-22,550,000 US$ 512,800-705,100

王懷慶坐具肖像 1999 油彩畫布 131 x 145.5 cm 簽名右下：王懷慶圖錄：《王懷慶》，王懷慶出版，北京，2004，彩色圖版，編號114

Wang Huaiqing's teacher was the Chinese master artist Wu Guanzhong, but the creative style he developed was completely different from that of his teacher. There's a sense of the profound in his works, filling the tranquility and elegance with visual tension. The renowned Chinese art critic Jia Fangzhou made this comment about Wang Huaiqing's works: "When examined from a philosophical perspective, Wang Huaiqing has chosen to travel on an extremely rarefied and exact path. In the treatment of planes we see the depth of space, within the expression figurative abstractionism can be found, in the sensual illusions principles of reason, and in the Western techniques of expression find the cultural sensitivities of the East. Traditional Chinese art has always emphasized the structure. From the spatial layout of the building, the composition of the painting, the framework of calligraphy, the contrast between ink and space of seal scripts through to the hollow spaces of the common paper-cut and more, all approach the subject matter with an eye to its structure. In Wang Huaiqing's work, these traditional elements have been given a creative modern transformation to become the main themes of his own style." In his works from the late 1990's, Wang Huaiqing found his inspiration in traditional wooden furniture. A great change in the disassembly and assembly of traditional concepts is demonstrated, extracting the

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structure itself to become the central visual motif. Through the breakdown and recombination of furniture, he examines the interdependence between structures and uses a new painting language to re-interpret the world. In the painting, ink such as back and white color tones, the clean surfaces and simple textures create a modernist yet very Chinese atmosphere, providing the audience with a foreign visual experience. Even Michael Sullivan was moved to say: "It is that poetic sense of order created from within a chaotic world that makes Wang Huaiqing's art so inspiring." In this restless world, the artist creates a quiet corner of reminiscence. Wang gets his materials from the folk crafts, and makes a modern classic work of his own style. “Portrait of Stool” finished in 1999, is one of Wang’s favourites. The main character is a simple old stool. The shape of this old piece of furniture is distorted into geometric patterns, a coexistent form of round and square. The lonely counterpart looks like the face painted in the Chinese Opera - easy but independent; it tells its own story. Replacing the original wooden colour, the ink colour turns its functionality into a pure structure with a minimal abstract beauty. Yet, in that mottled background, the stool conveys a reminiscent atmosphere. Wang is always good at composing a picture, which gives the beholder an association of stage. He presents a

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王懷慶《琴桌》羅芙奧2008春季拍賣會，編號064，2972萬台幣成交 WANG Huaiqing, Lute Table 2003, oil on canvas, 165 x 200cm Ravenel Spring Auction 2008, lot 064, US$ 977,471 sold

time gaze and an empty stage in his paintings; he let the beholders to fill in the stories which are once performed on stage. Why does he choose the Ming-style furniture as his characters? Wang answered, “I want to paint something which reverses the order of life and a lifeless object as well as the main and the subordinate characters. Sometimes, I feel that no matter how glorious and luxurious a person once lived, life itself is still very fragile. Very often, it cannot last longer than a piece of furniture. I just feel that a lifeless object is closer to me than a human being.” After 1990, the Ming-style furniture has become the main character in the paintings of the artist from Beijing. His furniture sometimes presents a simple and distorted shape, and sometimes it just falls apart and gives a feeling of loneliness and loss. The black structure in “Portrait of Stool” contains the powe r o f t h e s t e l e - s t y l e calligraphy. Its silhouette-like composition also narrates a profound meaning. An ancient stool enlarged by the artist brings out an imaginary space of the life of a Chinese intellectual. It also inhabits the passion of a contemporary artist to present the culture of his nation to the world.

若從哲學的角度審視，王懷慶走的是一條極高明而道中庸的路。在平面處理中見空間的深度，在具象表現中見抽象精神，在感性錯覺中見理性原則，在西方的表現技巧中見東方的文化內涵。中國傳統藝術一向注重結構，建築的空間佈局、繪畫的置陳步勢、書法的間架結構、篆刻的分朱布白，直至民間剪紙的平面鏤空…無一不從結構著眼。在王懷慶的作品中，這些傳統因素經過創造性的現代轉化，構成了自己風格的主要成分。那股從躁動世界裡創造出詩一般秩序的力量，使王懷慶的畫是如此地令人深深所激賞特別想畫一幅畫來把這種有生命的東西和這種物件，沒有生命的東西，給它的主角和它的次角做一個倒置，有時候覺得人的生命不管多輝煌，多奢靡，全都是比較脆弱的，有時候還不如一個傢俱更永恆，更長久，物很近，人很遠，就這種物是人非的一種情緒吧。

王懷慶《金石為開》，羅芙奧2007秋季拍賣會，編號069，8769萬台幣成交 WANG Huaiqing, Gold Stone, 1998, oil on canvas, 200 x 480cm (triptych) Ravenel Autumn Auction 2007, lot 069 US$ 2,726,174 sold

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XIA Junna

(Chinese, b. 1971)

Flowers Talk 1999 Oil on canvas 160 x 130 cm Signed lower right XJN in English and dated 99

HK$ 380,000-700,000 NT$ 1,560,000-2,870,000 US$ 48,700-89,700

夏俊娜花解語 1999 油彩畫布 160 x 130 cm 簽名右下：XJN 99

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JU Ming

(Taiwanese, b. 1938)

Taichi Series- Kick Ju Ming20009/20

HK$ 850,000-1,200,000 NT$ 3,490,000-4,920,000 US$ 109,000-153,800

朱銘太極系列－側踢 2000 銅雕 9/20 67(長) x 45(寬) x 62(高) cm 簽名：朱銘 9/20 2000 附雋永雕塑畫廊開立之原作保證書

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LI Chen

(Taiwanese, b. 1963)

Cloud Glider

Li Chen3/82000Li Chen Sculpture 19922002Li Chen in 52nd Venice Biennale – Energy of EmptinessTop 10 Chinese Contemporary Sculpture Exhibition

HK$ 300,000-400,000 NT$ 1,230,000-1,640,000 US$ 38,500-51,300

李真乘雲氣 2000 銅雕 3/8 29(長) x 30(寬) x 88(高) cm 簽名：李真 Li Chen 3/8 2000 圖錄：《李真雕塑1992-2002》，亞洲藝術中心，台北，2004，彩色圖版，頁70-71 《李真第52屆威尼斯年展－虛空中的能量》，亞洲藝術中心，台北，2007，彩色圖版，頁88-91 《中國當代雕塑十人展》，亞洲藝術中心，北京，2007，彩色圖版，頁52

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Li Chen’s sculptures are the kind of art that you will never forget once you have seen them. The special character and extremely powerful style exhibited by Li Chen’s sculptural works have brought his viewers a lot of surprises and earned the artist prodigious and well deserved praise. The artworks are like alien artifacts from other worlds that astound one’s sight; they appear like ancient classical works existing in an ethereal solitude. Li Chen’s works possess a unique and self-contained sculptural world which is interwoven with energetic and full shapes, round and smooth lines and harmonious images.I try to look for spiritual space within my works, and also hope that I can combine spirituality with art. I hope that anyone who sees my works can find and absorb the spiritual elements generated by them. Philosophy carries important meanings in my works, and I do hope that all my works can enrich viewers’ lives.

李真《黃金雨》羅芙奧 2008春季拍賣會，編號090，885萬台幣成交 LI Chen, Golden Rain 2005, Bronze, 70(L)x73(W)x124(H)cm Ravenel Spring Auction 2008, Lot 090 US$ 291,071 sold

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「李真先生的雕塑是那種看過一眼便會令人不能忘記的藝術，它們以極為個性的面貌和極為強烈的風格讓人歎為觀止，猶如天外來客驚擾視線，也如遠古經典遺世獨立。…他的雕塑擁有自足的世界，那是由他作品飽滿的形體、圓潤的線條和通體渾然的意象交織而成的。」－中國美術館館長范迪安

李真，一位為中國雕塑帶來全新格局的當代雕塑家，生於1963年。至今已於紐約、芝加哥、邁阿密、休士頓、巴黎、倫敦、日內瓦、威尼斯、上海、北京、新加坡、首爾、雅加達、台北等多個城市展出，私人及公共收藏遍佈全世界，為當代極重要的國際級藝術家。李真 2007年「虛空中的能量」個展受邀參加全世界最具學術地位的第52屆威尼斯雙年展，為至高的榮譽；2008年4月在北京中國美術館舉辦大規模個展「尋找精神的空間」，獲得廣大的迴響及肯定； 2008年10月份更將在北京798藝術區發表全新系列的大型雕塑裝置作品－《神魄》，創造傳統精神與現代藝術的對話，呈現震撼人心的視覺效果。李真涉略佛道學等經典，在藝術作品的追求上，是以雕塑來傳達東方文化的精神與內涵。李真以「虛空」為其重要的創作美學概念，「空」與「虛」是中國文化中佛學及道學的重要思想，佛學中的「空」並不是代表沒有，而是代表一個巨大寂靜的生滅智慧境界，在道家思想有兩句話:「虛空粉碎，大地平沉」，描述破與靜的極點狀態，在「易」之中求道。李真的雕塑是在探討虛空的能量，但他所表現出的雕塑實體，卻是空於外，道氣入內而充塞，一點也不空，原因是李真再現能量是以一種精神的形式，用通體漆黑的實體來表現攝人的物質精神，但雕塑所傳達卻是甜美、浪漫、喜悅與滿足的精神概念。正因如此，即便他的部分作品巨大無比，但卻

不顯壓迫笨重，似漂浮於空中，令人有「既重又輕」的感覺，這正是精神能量與物質能量完美的結合所致。不但如此，李真突破千年佛教雕塑既有的形式藩籬，轉化唐代佛教造像的豐厚飽滿，以及宋代俊美秀麗的精神暨形象特質，將雕塑的開臉與線條減至極簡，並且萃取中國五千年歷史文化的元素，如中國的仙、佛、龍、神話、民間故事等，更進一步注入當代藝術的元素及物件，成功的結合古典與當代，使其作品呈現一種前所未見的獨特型態及樣貌，賦予東方雕塑新的生命。「我試著在我的作品裡找到靈性的空間，也希望這靈性與藝術結合。我希望看到我作品的人能夠察覺並吸收其中的精神元素，哲理對我的作品來說含有重要的意義，而我希望每一件作品都能豐富觀賞者的人生。」 ─李真

《乘雲氣》完成於2000年，為李真「大氣神遊」系列的代表作之一。李真此系列創作從中國意境粹取，作品帶有一種「仙氣」，強調的是「遊」的概念，以空明境界讓觀賞者沉澱與紓解，在精氣神內自在悠遊，用最真的態度來面對生命。《乘雲氣》也是一件李真反映人生經驗及關懷生活週遭世界的作品：遊者單足而立，飄然佇立於裊裊雲氣中，捧著銀色祥雲冉冉升天，將已被人類破壞的臭氧層用片片祥雲修補起來，期望用精神的富足來彌補真實世界的不完美。神情形態看似自若愜意、逍遙而自在，卻又抿著嘴，無奈科技文明的進步破壞原有的自然生態。李真透過技巧性的處理雕塑

形體姿態，以獨樹一格的造型能力表現雕塑體圓融與圓滿的精神境界，是內化後的美感與力量，多一分則過，少一分則不及，李真在這分毫之間，找到了所謂的「穠纖合度」，完美表達了遊者既開心又無奈的五味雜陳神情。本體的墨黑與白銀的雲朵相互呼應，一股超脫的氛圍暢然而生。李真極擅長處理這種量體輕重對應的關係，銀的溫潤與黑的能量，既對比又和諧；銀白色的雲朵輕巧飄然，卻能夠穩穩支撐住具有能量的翩翩遊者，在不穩定中求得安定，尋求精神的平靜，撫慰這個已殘缺的世界。

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XIANG Jing (Chinese, b. 1968)

Smell of Childhood 2005 Bronze, edition no. 2/6 34(L) x 37(W) x 105(H) cm Signed Xiang Jing in Chinese and dated 2005, numbered 6-2 EXHIBITED: Solo Show Keep in Silence- Xiang Jing 2003-2005, Art Seasons Gallery Beijing, 2005 Solo Show Your Body - Xiang Jing 20002005, Shanghai Art Museum, Feb., 2006 China Facing Reality, Museum Moderner Kunst Stiftung Ludwig Wien, 2007 ILLUSTRATED: Keep in Silence - Xiang Jing 2003-2005, Wenhui Publishing House, 2005; color illustrated, p. 12; pp. 68-70; p. 73; p. 76; pp. 82-83; p. 165 Xiang Jing, Postcard, Shanghai Art Museum, Shanghai, 2005, color illustrated, p. 6 Xiang Jing, Published by Shanghai B o o k s t o r e P u b l i s h i n g H o u s e , 2 0 0 6 , pp. 12-13; p. 18; pp. 44-45 XiangJing, Eslite Gallery, Taipei, 2008, color illustrated, p. 11 China Facing Reality, Volume 2, Museum Moderner Kunst Stiftung Ludwig Wien, Vienna, 2008, color illustrated, p. 99

HK$ 420,000-700,000 NT$ 1,720,000-2,870,000 US$ 53,800-89,700

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向京到達的味道 2005 銅雕 2/6 34(長) x 37(寬) x 105(高) cm 簽名：向京 2005 6-2 展覽：「保持沉默－向京作品2003-2005」，北京季節畫廊，2005年「你的身體—向京作品2000-2005」，上海美術館，2006年2月「中國—面對現實」，維也納，2007年圖錄：《保持沉默向京作品2003-2005》，文匯出版社， 2 0 0 5 ，彩色圖版，頁 1 2 ；頁68-70；頁73；頁76；頁82-83；頁165 《向京》明信片，上海美術館，上海， 2005，彩色圖版，頁6 《向京》，上海書店出版社，上海， 2 0 0 6 ，彩色圖版，頁 1 2 - 1 3 ；頁 1 8 ；頁44-45 《向京》，誠品畫廊，2008，台北，彩色圖版，頁11 《中國-面對現實》第二輯，路德維希基金會現代藝術展覽館，維也納，2008，彩色圖版，頁99

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JIAO Xingtao (Chinese, b. 1970)

Metamorphosis Gate Jiao Xingtao1/6Matter Morphosis by Jiao Xingtao 2004-2007

HK$ 140,000-200,000 NT$ 570,000-820,000 US$ 17,900-25,600

焦興濤變形記：門 2006 玻璃纖維 1/6 113(長) x 42(寬) x 45(高) cm 簽名底座：焦興濤 1/6 圖錄：《物語－焦興濤雕塑作品集20042007》，季節畫廊，雅加達，2007，彩色圖版，頁88

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141

Hiroyuki MATSUURA (Japanese, b. 1964)

Windy Bunny Hiroyuki Matsuura2007

HK$ 150,000-220,000 NT$ 620,000-900,000 US$ 19,200-28,200

松浦浩之風中的兔子 2007 玻璃纖維 2/5 56(長) x 52(寬) x 150(高) cm 簽名後面：Hiroyuki Matsuura 附東京畫廊開立之原作保證書

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Korehiko HINO (Japanese, b. 1976)

My Elegance My EleganceKorehiko Hino2005

Galleria Grafica, Tokyo

HK$ 220,000-350,000 NT$ 900,000-1,440,000 US$ 28,200-44,900

日野之彥俺之品格 2005 油彩畫布 53 x 53 cm 簽名畫背：俺の品格 2005 日野之彥來源：圖畫廊（ガムリア．グラフ），東京

Korehiko Hino is one of the rising stars of Japanese contemporary art. Born in 1976, he studied painting at the University of Tsukuba from where he got his master’s degree in 2001. In 2005 he won the Grand Prize at “The Vision of Contemporary Art”, the Ueno Royal Museum Tokyo. Hino’s works are instantly recognizable with their young people with large stunned eyes seemingly bewildered by life. Influenced by Japanese anime and manga art, Hino portrays his subjects as innocent, guileless young people confounded by the daily pressures of modern life, a recurrent theme in Japanese art. It seems his figures are afraid of growing up, wanting to retreat back into an infantile state, finding the world too confusing and confounding.

“My Elegance” Portrayed in a classical, heroic Greek style, the young man of the picture is dignified and seems to be poised and self-assured. His luxuriant, wavy hair seems to suggest a nonchalant, carefree attitude. Yet, his large wide-opened eyes express vulnerability, the vulnerability we all feel in the face of a depersonalized society which seems to shun the individual. However, the brightly colored, sky-blue background adds a note of optimism and a hope that with our dignity we can break through a cold and lonely world.

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日野之彥為日本當代藝術的明日之星，生於1976年，於筑波大學專研油畫，並於 2001年在筑波大學完成油畫碩士課程。 2005年參加東京上野之森美術館「當代藝術視野」，贏得首獎。日野畫作中的年輕人對於人生似乎深感困惑，茫然無措的大眼睛為主要特色。受到日本動畫與漫畫影響，日野以天真無邪的年輕人為主角，表現出日本藝術中常見的主題：受盡現代生活壓力的困惑。日野筆下全是一群害怕長大成人的角色，無力應付過於複雜慌亂的成人世界，而渴求回到嬰兒狀態。

《俺之品格》以經典誇張的希臘風格，描繪出一位高貴莊嚴、泰然自若又充滿自信的年輕人，其濃密的捲髮顯示出一副冷靜又輕鬆自如的態度。但是，一雙眼睛睜得又大又圓，個人特性被社會剝奪泯滅的傷害展露無遺。然而，色調明亮的天藍色背景，傳達出樂觀與希望，似乎在說只要保有個人尊嚴，我們即能夠衝出冷酷寂寞的世界。

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Mayuka YAMAMOTO (Japanese, b. 1969)

Zebra ZebraMayuka2006

HK$ 100,000-150,000 NT$ 410,000-620,000 US$ 12,800-19,200

山本麻友香斑紋 2006 油彩畫布 130.5 x 97 cm 簽名畫背：Zebra Mayuka 2006

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KWON Ki-soo (Korean, b. 1972)

Blooming Kwon Ki Soo2007 The painting is to be sold with a certificate of authenticity issued by Park Ryu Sook Gallery, Seoul.

HK$ 120,000-180,000 NT$ 490,000-740,000 US$ 15,400-23,100

權奇秀綻放 2007 壓克力畫布 91 x 117 cm 簽名畫背：權奇秀 Kwon Ki Soo. 2007. 附首爾朴麗淑畫廊開立之原作保證書

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KIM Tschang-yeul (Korean, b. 1929)

SA 070005 SA 07005T. Kim07HK$ 500,000-850,000

NT$ 2,050,000-3,490,000 US$ 64,100-109,000

金昌烈 SA 070005 2007 油彩畫布 97 x 161.8 cm 簽名右側：SA 070005 07 T. Kim 金昌烈

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PARK Seo-Bo (Korean, b. 1931)

Ecriture No. 051128 Park Seo-BoEcriture No. 0511282006Seoul Korea Art ’06 ChicagoPark Seo-Bo Solo ExhibitionUnconsciousness Unconsciousness

HK$ 900,000-1,200,000 NT$ 3,690,000-4,920,000 US$ 115,400-153,800

朴栖甫描法 No. 051128 2005 綜合媒材桑皮紙畫布 130 x 195 cm 簽名畫背：朴栖甫命題：描法 No. 051128 2006年作韓國城，서울城山洞，寒栖堂

展覽：「2006芝加哥藝術博覽會」，海軍碼頭，芝加哥，2006年4月28日至5月5日「朴栖甫個展」， 2007韓國國際藝術博覽會，泉水邊畫廊，首爾，2007年5月9日至5月13日「非關意識」，杜邦當代空間，苗栗，台灣，展期自2007年11月11日至12月9日圖錄：《非關意識》，杜邦當代空間，苗栗，台灣，2007，彩色圖版，頁42

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GUO Wei

(Chinese, b. 1960)

Sisters No.1 Guo Wei 2007Guo Wei-The Fictitious Self

HK$ 550,000-800,000 NT$ 2,260,000-3,280,000 US$ 70,500-102,600

郭偉姐妹 No.1 2007 油彩畫布 200 x 180 cm 簽名右下：Guo Wei 07. 圖錄：《郭偉─虛擬的自我》，復興藝術館，新加坡，2007，彩色圖版，頁51

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ZHONG Biao (Chinese, b. 1968)

The Rules of Married Life Zhong Biao2005.12.7 The Rules of Marrived LifeZhong Biao2005

HK$ 280,000-480,000 NT$ 1,150,000-1,970,000 US$ 35,900-61,500

鐘飆婚姻生活的法則 2005 油彩畫布 130 x 97 cm 簽名右下：鐘飆 2005.12.7 簽名畫背：婚姻生活的法則 The Rules of Married Life ZHONG Biao 鐘飆 Zhong Biao 2005

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SU Xinping

(Chinese, b. 1960)

Holiday No. 1 1999-2000 Oil on canvas 194 x 130 cm Signed lower right Su Xinping in Chinese and dated 1999 ILLUSTRATED: Gao Minglu, Yin Jinan, Song Xiaoxia, Su Xinping's Art, Hong Kong Sum Yuen Arts Publishing Institute, Hong Kong, 2003, color illustrated, p. 92

HK$ 500,000-700,000 NT$ 2,050,000-2,870,000 US$ 64,100-89,700

蘇新平假日 No. 1 1999-2000 油彩畫布 194 x 130 cm 簽名右下：蘇新平 1999 圖錄：高名潞，尹吉男，宋曉霞，《蘇新平作品》，香港心源美術出版社，香港，2003 年，彩色圖版，頁92

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YANG Jinsong (Chinese, b. 1971)

Watermelon No. 3 Yang Jinsong2006 Yang Jinsong-Just Another Day

HK$ 200,000-350,000 NT$ 820,000-1,440,000 US$ 25,600-44,900

楊勁松西瓜之三 2006 油彩畫布 137 x 114 cm 簽名右下：楊勁松 2006 Yang Jinsong 圖錄：《楊勁松─非常日常》，復興藝術館，新加坡，2007，彩色圖版，頁12-13

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SONG Yonghong (Chinese, b. 1966)

The Bath of Consolation No. 1 2003 Oil on canvas 100 x 80 cm Signed lower left Song Yong Hong in Chinese and English, dated 2003 EXHIBITED: Fruits of Reform- Exhibition of Chinese Contemporary Artworks, Galeri Semarang, Indonesia, 2003 ILLUSTRATED: Fruits of Reform- Exhibition of Chinese Contemporary Artworks, Galeri Semarang, Indonesia, 2003, p. 3

HK$ 160,000-220,000 NT$ 660,000-900,000 US$ 20,500-28,200

宋永紅慰藉之浴 No. 1 2003 油彩畫布 100 x 80 cm 簽名左下：2003 宋永紅 Song Yong Hong 展覽：「改革的成果：中國當代藝術」，三寶龍市藝術中心，印尼，2003 圖錄：《改革的成果：中國當代藝術》，三寶龍市藝術中心，印尼，2003，頁3

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XIONG Yu

(Chinese, b. 1975)

Rushing Rivers X i o n g Yu 2 0 0 5 R u s h i n g R i v e r s X i o n g Yu2005200 x 150 cmoil on canvas

HK$ 220,000-380,000 NT$ 900,000-1,560,000 US$ 28,200-48,700

熊宇湧動的水流 2005 油彩畫布 200 x 150 cm 簽名右下：熊宇 2005 簽名畫背：《湧動的水流》熊宇 2005年 200 cm x 150 cm 布上油畫

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Meena SANSANWAL (Indian, b. 1971)

Untitled 2006 Oil on canvas 30.5 x 30.5 cm (x9)

HK$ 60,000-80,000 NT$ 250,000-330,000 US$ 7,700-10,300

米娜．珊珊娃無題 2006 油彩畫布 30.5 x 30.5 cm (x9)

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Venkat BOTHSA (Indian, b. 1961)

Enigma 153 VENKAT2008E-153

HK$ 55,000-75,000 NT$ 230,000-310,000 US$ 7,100-9,600

凡卡．波沙謎 153 2007 玻璃纖維（單一件） 27(長) x 39(寬) x 50(高) cm 簽名：E-153 2008 VENKAT

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Bhagat SINGH (Indian, b. 1965)

Dhatura Plant with Red Birds 2007 Oil on canvas 107 x 91.5 cm Signed lower right BHAGAT SINGH in English and dated 2007 Signed on the reverse ARTIST BHAGAT SINGH DHATURA PLANT WITH RED BIRDS in English and size 36 x 42 Inches, media OIL.

HK$ 50,000-70,000 NT$ 210,000-290,000 US$ 6,400-9,000

巴哈哥特．西恩蔓陀蘿與紅鳥 2007 油彩畫布 107 x 91.5 cm 簽名右下：BHAGAT SINGH-07 簽名畫背：ARITIST BHAGAT SINGH DHATURA PLANT WITH RED BIRDS 36 x 42 Inches OIL.

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Budi KUSTARTO (Indonesian, b. 1972)

Risau (Restless) RISAU140 x 200 2004Cat Minyak, Budi Kustarto

HK$ 150,000-200,000 NT$ 620,000-820,000 US$ 19,200-25,600

布迪．庫斯塔托煩 2004 油彩畫布 140 x 200 cm 簽名畫背：RISAU 140 x 200, 2004 CAT MINYAK BUDI KUSTARTO

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Agus SUWAGE (Indonesian, b. 1959)

Lautan Tanda 2 (Ocean Marks) AGUS SUWAGE2006 Soka's View-Southeast Asian Contemporary A r t S o k a ' s Vi e w - S o u t h e a s t A s i a n Contemporary Art

HK$ 400,000-600,000 NT$ 1,640,000-2,460,000 US$ 51,300-76,900

阿格斯．蘇瓦吉海洋記號 2 2006 油彩畫布 150 x 200 cm 簽名右下：AGUS SUWAGE 2006 附藝術家親筆簽名之原作保證書展覽：「索卡新觀點─東南亞當代藝術展」，索卡藝術中心，台北，展期自2007年8月4日至26日圖錄：《索卡新觀點─東南亞當代藝術展》，索卡藝術中心，台北，2007，彩色圖版，頁28-29

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Agus Suwage was born in Indonesia in 1959 of Chinese decent. He studied graphic design at Bandung Institute of Technology. Often considered a socialist activist in his art, Suwage is primarily concerned with problems faced in contemporary Indonesian society. Of Chinese decent, he has struggled with his own personal identity, as an Indonesian, an ethnic Chinese, a Javanese, a global citizen, an artist, a family member and a consumer, concerns facing many Indonesians in its modernizing society and economy. His art is very personal portraying ideas of oppression, along with other contemporary concerns often in a dramatic, ironic or humorous way. Using himself as a model, his paintings are a storytelling of his personal experiences of the current dilemmas and futilities of life in Indonesia. They have deep resonances with universal themes of identity, belonging and struggling. The ocean is a symbol of freedom, cleansing and escape. In “Lautan Tanda 2” the artist is swimming strongly, perhaps away from his everyday concerns and struggles. His head is held high and he seems empowered with his escape. The soft moonlight glitters invitingly on the water, creating an atmosphere of peace and calm. The artist is alone, separated from his anxieties. But is this only a dream? The picture is covered in numbers, and numbers are a symbol of imprisonment. When he finishes his swim, or when he wakes up in the morning, will the same concerns he is escaping now come flooding back? Will he still have to pay the bills and put bread and butter on the table for his family?

蘇瓦吉生於1959年，為華人後代，畢業於印尼萬隆科技學院，研習平面設計。由於作品主題經常涉及當代印尼社會問題，蘇瓦吉的藝術創作因此被視為社會運動派。身為華裔，蘇瓦吉對自我身分多番掙扎，作為印尼人、中國人、爪哇人、地球公民、藝術家、家庭成員、消費者，身處現代化的社會與經濟，眾多印尼人也面臨同樣的問題。蘇瓦吉的藝術創作展現極端自我的想法，運用戲劇化、諷刺或是幽默的方法，充分表達備受壓抑的種種當代社會問題。以自身作為對象，蘇瓦吉的畫作述說自己在當今印尼生活中的困難與無助，與身分認知、歸屬、奮鬥等普遍主題深深共鳴。海洋象徵著自由、淨化、脫逃，作品中，藝術家奮力游泳，抬頭高昂，欲全力掙脫生活問題與壓力。水面閃爍柔和月光，營造寧靜的氛圍。藝術家獨自一人，拋卻煩憂。但是會否只是一場夢？畫面滿佈數字，象徵牢獄。一旦游泳結束，或者早晨醒來，同樣的壓力與問題是否又迎面而來？他是否依舊要為了一家生計而奔波？

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Justin PONMANY (Indian, b. 1974)

Battisi Death 2005 Acrylic and hologram on canvas 101.5 x 264.5 cm Titled on the reverse death ring in Indian and English

HK$ 800,000-1,200,000 NT$ 3,280,000-4,920,000 US$ 102,600-153,800

賈斯汀．龐馬尼巴迪西之死 2005 壓克力全像雷射畫布 101.5 x 264.5 cm 簽名畫背：death ring

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Yuree KENSAKU (Japanese-Thai, b. 1979)

Same Old Story & Ungrateful Creature 2006 & 2007 Spray paint, acrylic, oil, collage & putty, wire, bronze and painted chair Same Old Story: 45(L) x 50(W) x 5(D) cm Ungrateful Creature: 50(L) x 50(W) x 115(H) cm These artworks are to be sold with certificates of authenticity signed by the artist. ILLUSTRATED: Bubble Tea- Thai Artist Yuree Kensaku Solo Exhibition, Soka Art Center, Taipei, 2008, color illustrated, p. 8 & p. 33

HK$ 50,000-70,000 NT$ 210,000-290,000 US$ 6,400-9,000

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尤麗．肯薩古老掉牙的故事 & 不討喜的動物 2006 & 2007 噴漆壓克力油彩拼貼&接合劑鐵絲銅椅子老掉牙的故事： 45(長) x 50(寬) x 5(深) cm 不討喜的動物： 50(長) x 50(寬) x 115(高) cm 附藝術家簽名之原作保證書圖錄：《珍珠奶茶：泰國藝術家 ─ Y U R E E KENSAKU 個展》，索卡藝術中心，台北，2008，彩色圖版，頁8、頁33

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Ahmad ZAKII Anwar (Malaysian, b. 1955)

Seated Figure Ahmad Zakii Anwar07AHMAN ZAKII ANWARSEATED FIGURE2007Acrylic on linen102 x 197 cmSoka's View- Southeast Asian Contemporary Art Soka's View- Southeast Asian Contemporary Art

HK$ 280,000-500,000 NT$ 1,150,000-2,050,000 US$ 35,900-64,100

亞穆．章其．安華坐著的形體 2007 壓克力畫布 102 x 197 cm 簽名右下：Ahmad Zakii Anwar 07 簽名畫背：AHMAD ZAKII ANWAR SEATED FIGURE 3 2007 ACRYLIC ON LINEN 102 x 197 cm 展覽：「索卡新觀點─東南亞當代藝術展」，索卡藝術中心，台北，展期自2007年8月4日至26日

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圖錄：《索卡新觀點─東南亞當代藝術展》，索卡藝術中心，台北，2007，彩色圖版，頁64-65

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Gabriel BARREDO (Filipino, b. 1957)

Wired Man No. 4 HK$ 75,000-100,000 NT$ 310,000-410,000 US$ 9,600-12,800

蓋伯瑞．博瑞多金屬男人體 No. 4 金屬絲 39(長) x 38(寬) x 107(高) cm 附藝術家親筆簽名之原作保證書

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Gabriel BARREDO (Filipino, b. 1957)

The Blinking Eyes HK$ 200,000-350,000 NT$ 820,000-1,440,000 US$ 25,600-44,900

蓋伯瑞．博瑞多閃爍之眼 2007 綜合媒材 147(長) x 30(寬) x 126(高) cm

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Artist Biographies

Lot 102

Lots 103, 107

Lot 101

HUNG Tung-lu (Donglu HONG, Taiwanese, b. 1968) Graduated from National Tainan College of Art Graduate Institute of Plastic Arts, Hung had major exhibitions in the Taipei Fine Arts Museum, I-Tong Park, the 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 has been collected by the China Century Foundation in Paris, Marco Noire in Italy and the 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.

洪東祿 (台灣，1968年生) 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、加拿大魁北克大學渥太華分校藝術中心畫廊均有個展。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、義大利馬可．諾瓦畫廊、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。

CHEN Chieh-jen (Taiwanese, b. 1960)

Michell HWANG (HWANG Ming-che, Taiwanese, b. 1948)

Chen Chieh-jen was born in Taoyuan, Taiwan in 1960. From the 80s to the early 90s, before and after the lifting of martial law (1987) in Taiwan, he was active in performance art. Starting in 1996, he created the series “Revolt in the Soul & Body”, using computers to alter historical photographs of executions. In 2000, he began his straight photography series “The Twelve Karmas Under the City”, exploring the “virtual future”. His use of intense and frightening images to provoke a reflection on the relationship between image and power soon drew people’s attention. He has taken part in international exhibitions such as the Taipei Biennial (1998), the Sao Paulo Biennial (1998), the Biennale di Venezia (Taiwan Pavilion) (1999), the Biennale de Lyon Contemporary Art (2000), the Kwangju Biennale (2000), the Taipei Biennial (2002) and PhotoEspana (2004). In 2001, he held a solo exhibition at the Galerie Nationale du Jeu de Paume in Paris. He won the Special Award of the Kwangju Biennale in 2000. Since 2002, he has created video installations such as “Lingchi - Echoes of a Historical Photograph” and “Factory”. The films in the installations juxtapose different time and spaces and use soundless images to explore issues such as colonialism, globalization and their impact on peripheral regions.

Born in Taiwan. First solo exhibition, the Taiwan Provincial Museum; pursued advance studies in Europe and the United States of America, 1976 to 1980. Solo exhibition “The King’s Dream”, National Taiwan Museum of Fine Arts, Taipei; Work was collected by the Museum, 1992. Solo exhibition “Nightmare”, Taipei Fine Arts Museum, Taipei, “Dignified Symbol” was collected by the Museum, 1995. Established Huang Ming-Che 3-D Art Workshop, 1996. “From Construction to Deconstruction and Back to Construction: Huang Ming-Che Solo Exhibition”, Forum of Creativity in Art held by the Kaoshiung Museum of Fine Arts, 1998. Huang’s 3-D artwork was collected by the Museum. Solo Exhibition “ShanghaiTaipei”, Shanghai Fine Arts Museum, Shanghai, “A Group of Women in East Taipei” was collected by the Museum, 2001. “Construction of Belief Solo 3-D Artwork Exhibition”, Taipei Fine Arts Museum, Taipei, 2001. “The Multiform Nineties: Taiwan’s Art Branches Out”, Taipei Fine Arts Museum, Taipei, 2004. Arario Beijing, 2006. Solo Exhibition in Beijing, National Art Museum of China, Beijing; 798 Beijing Art Center, Beijing, 2007. Solo Exhibition “Flower and Hammer”, Main Trend Gallery, Taipei; Commercial spokesperson of Volkswagen Phaeton Series, designed gifts for VW’s new car owners.

陳界仁 (台灣，1960年生)

黃銘哲 (台灣，1948年生)

1960年生於台灣桃園，是台灣重要的當代藝術家之一。在台灣解嚴前後，曾積極參與表演藝術創作。1996年開始，他以電腦修改歷史刑罰照片的方式，創作了《魂魄暴亂》（1990-1999）系列作品。2000年又以直接拍攝的形式，開始了探討「虛假未來」的《十二因緣》系列作品。他對歷史和影像與權力的思考，通過犀利並令人驚駭的影像，迅速引起關注。曾參加過「台北雙年展」、「聖保羅雙年展」、「威尼斯雙年展─台灣館」、「里昂雙年展」、「光州雙年展」、「上海雙年展」等國際雙年展，及阿爾攝影節、西班牙攝影節、墨西哥攝影節等。2001年個展於巴黎網球場國家畫廊，曾獲得2000年光州雙年展特別獎。2002年開始以錄影裝置的形式創作《凌遲考：一張歷史照片的迴音》、《加工廠》等。錄影裝置中的影片，以時空交錯混雜的形式，與無聲的影像，探討殖民主義、全球化與邊緣區域過去、現在、未來的關係。

1948年生於台灣，1976年至1980年首度油畫個展於台灣省立博物館，同年遊學於歐美。1992年應邀於國立美術館舉行個展—「國王的夢」，並典藏作品。1995年台北市立美術館個展—「夢魘」，並典藏作品《尊嚴的符號》。1996年成立「黃銘哲立體作品工作室」。1998年高雄市立美術館「創作論壇」—「從結構、解構、再結構的黃銘哲」個展，並典藏立體作品。2001年上海美術館新館，「上海—台北風華再現」個展，並典藏作品《東區的一群女人》；台北市立美術館，「信仰的打造」黃銘哲立體作品個展。2004年「立異—九○年代台灣美術發展」台北市立美術館。2006年本位．面對，第一接觸在北京，李錫奇 VS 黃銘哲；「超驗的中國」阿拉里奧開幕聯展，阿拉里奧北京藝術空間。2007 年北京中國美術館個展；北京798亞洲藝術中心個展。2008年黃銘哲個展《花與鐵鎚》台北大趨勢畫廊；為福斯汽車旗艦車款Phaeton廣告代言；並為福斯汽車打造藝術品作為其交車禮。

170

藝術家簡歷

Lot 105 Lot 106

Lot 104

CHIU Ya-tsai (Taiwanese, b. 1949)

YANG Mao-lin (Taiwanese, b. 1953)

KUO Wei-kuo (Taiwanese, b. 1960)

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 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 the 1980s, Chiu persevered 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), the National Museum of History and the Taiwan Museum of Art.

Yang was the first director and a founding member of the Taipei School. In 1991 he won the first Art Creation Award of Hsiung Shih Fine Arts; his works have been shown in numerous exhibitions, including his first solo exhibition at the Taipei Fine Arts Museum; in 1990 he participated in the Taiwan Art Museum Exhibition “300 years of Taiwan Art”; in 1995 his works were included in the “Exhibition of Taiwanese Art” in Rome. Yang Mao-lin's works represent a segment of Taiwanese history and build up time/space juxtapositions; they take a critical and even subversive view of Taiwanese historical events. Since the 1990s, he began criticizing Taiwanese social phenomena under the long-term influence from American culture and Japanese culture. Then he added multi-media in his installation work to respond to current Taiwan society. Yang has been frequently invited to participate in international art exhibitions. In 1999, his early series “Zeelandia Memorandum” was shown at the 48th Venice Biennale and was well received by international art critics and collectors.

Born in Taipei, Taiwan. Kuo was the winner of the honors of “New Artist Award of Hsiung Shih Fine Arts” 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 series, “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.

邱亞才 (台灣，1949年生)

楊茂林 (台灣，1953年生)

郭維國 (台灣，1960年生)

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。

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。

171

Artist Biographies

Lot 109

Lot 108

Paul CHIANG (Taiwanese, b. 1942)

Lot 110

Alixe FU (Taiwanese, b. 1961)

HWANG Jyi (Taiwanese, b. 1953) Born in Chiayi in 1974. Works by Hwang Jyi were shown in the 1989 L'Ecole Nationale Supérieures des Beaux-Arts exhibition in Paris, and he later won first prize in the National Fine Arts Exhibition. Hwang Jyi's works, often in the nature of surrealist epics, can be seen as a kind of personal creative journal, with strong sensory impact created through presentation of multi-layered dimensions. They stand as unique stylistic achievements in modern Taiwanese art.

Born in 1942 in Taichung, Taiwan, Chiang graduated from the Fine Arts Department of the National Taiwan Normal University in 1965. He lived in Paris in 1967, then moved to New York in 1968, and came back to Taiwan in 1997 till the present. He has held solo exhibitions at the Taiwan Provincial Museum (1966, Taipei); exhibitions held by Lamagna Gallery (1975, New York); by O. K. Harris Gallery (1994, New York); by Eslite Gallery (1997; 1998; 2000, Taipei); and his recent solo exhibition “A Journey into Dimension and Space” (2007, Taipei) led Chiang to extend his art from painting to sculpture and where he exhibited his new works of iron sculptures, as results of his ambition in exploring the use of space and development of three dimensional works.

江賢二 (台灣，1942年生)

傅慶豊 (台灣，1961年生)

黃楫 (台灣，1953年生)

1942年生於台中，於1965年自國立台灣師範大學藝術系畢業，1967年旅居巴黎，1968年搬至紐約，於 1997年返台定居。曾在多處舉辦個展，如台北省立博物館(1966)、紐約Lamagna畫廊的個展(1975)、紐約O. K. 哈里斯畫廊個展(1994)、台北誠品畫廊個展 (1997、1998、2000)；而2007年舉辦的個展「平面與空間」，則是江賢二從平面發展到空間的一大突破，除了展現在繪畫上的成就，也展出了嘗試製作的雕塑作品，展現藝術家在美術開發創作上的企圖心。

1961年出生台灣，畢業於中國文化大學美術系。 1983年在台北首次個人畫展，隨後在巴黎、紐約、北京、法國、日本、台灣等地個展。1987年以藝術家身份旅居法國， 1991年獲法國巴黎西北郊三十公里梵谷村國家永久畫室。傅慶豊曾舉辦過的個人展覽包括：2002年「植物人、動物人I」，美雅畫廊，名古屋，日本；2003年「XVI屆名古屋當代藝術博覽會個展」美雅畫廊，日本； 2004年「植物人、動物人III」布洛斯古堡美術館，布洛斯市，法國。

生於嘉義。其作品曾入選1989年巴黎高等美術學院美展，而後又獲得第七屆全國美展首獎。其作品可謂是一種個人的日記形式創作，畫中帶有超現實史詩的內涵，充滿多層次時空交替的感官接觸，為台灣當代藝術中別樹一格的風格。

172

藝術家簡歷

Lot 111 Lot 112

Tzu-chi YEH (Taiwanese, b. 1957)

Lot 113

SU Wong-shen (SU Wang-shen, Taiwanese, b. 1956)

LIEN Chien-hsing (Taiwanese, b. 1962)

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 the 1980s was abstract and it was only in the 1990s that he moved to more realist work. Most of his recent work uses dogs as metaphors 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.

葉子奇 (台灣，1957年生) 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。

蘇旺伸 (台灣，1956年生)

連建興 (台灣，1962年生)

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。

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

173

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」。

Artist Biographies

Lot 114

Lots 116, 117, 118

ZHANG Hongtu (Chinese, b. 1943)

MAO Xuhui (Chinese, b. 1956)

ZHOU Chunya (Chinese, b. 1955)

Born in Gansu, China, Zhang graduated from the Affiliated Senior High School of the Central Academy of Fine Arts and the 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 techniques and starts conversations between past and present, east and west with his own paint brush. He frees himself boldly from traditional Chinese and western aesthetics and provides viewers with a whole new visual experience from an objective perspective.

Born in Chongqing city, China, Mao Xuhui graduated in 1982 from the Yunnan Arts University, Art Department, majoring in oil painting, where he stayed teaching after graduation; and he is now a member of the Yunnan Oil Painting Association, and ViceChairman of the Yunnan Oil Painting Society. Since the opening up of China’s reformation, modern and contemporary Western art has taken root in China, and Mao Xuhui is one of the artists that has most assimilated and manifested Western art to its utmost, which makes him unique among his fellow artists.

Born in 1955 in Chengdu, Sichuan Province. Zhou Chunya graduated from the Department of Oil Painting of the Sichuan Institute of Fine Arts in 1982. Zhou also graduated from the Fine Arts College of German Kassel University. He currently works as an artist at the Chengdu Academy of Painting in Sichuan. Zhou's works have been shown at "The Documentary Exhibition of Chinese Contemporary Art" (Beijing, 1991), "China Experience" (Chengdu, 1993), "China's New Art - Post '89" (Hong Kong, 1993), "The Annual Exhibition of Art Critics Nomination" (Beijing, 1994), "China!" (Bonn, 1996) and "The First Shanghai Biennial" (Shanghai, 1996). His work can be found in the public collection of the Austria Linz Art Museum.

張宏圖 (中國，1943年生)

毛旭輝 (中國，1956年生)

周春芽 (中國，1955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。

出生於中國西南地區的重慶市，1982年畢業於雲南藝術學院美術系油畫專業，1996年在母校同系任教，現為雲南油畫藝術委員會委員及雲南油畫學會副主席。中國改革開放以來，隨著西方現當代藝術在中國的本土化，他是眾多藝術家中將西方現當代藝術吸收消化得最徹底的一位，也是行進得最深遠的一位，在同一代藝術家中是絕無僅有的。

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。

174

藝術家簡歷

Lot 120

Lot 119

HUANG Gang (Chinese, b. 1961)

Lot 121

ZHANG Xiaotao (Chinese, b. 1970)

ZHANG Linhai (Chinese, b. 1963) Born in Shanghai, Zhang acquired his bachelor’s degree from the Print Department of Tianjin Academy of Fine Arts in 1990. Zhang is a fulltime 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. Major solo exhibitions: “Radiant Sunshine- The Works of Zhang Lin Hai” (2002) and “Red Ears and Paradise Series” (2004) at Schoeni Art Gallery, Hong Kong.

黃鋼 (中國，1961年生)

張小濤 (中國，1970年生)

張林海 (中國，1963年生)

1961年出生在中國北京，畢業於中央工藝美術學院。八十年代在中國內地以西藏題材創作藝術作品十分流行，人們大都熱衷於表現這裡神奇而未被現代文明污染的壯美的自然環境、獨特的風土人情，黃鋼於那時開始對西藏文化、宗教、藝術產生了濃厚興趣，開始了西藏古典繪畫藝術品的收藏，研究這種藝術產生的社會、宗教、哲學背景。之後創作了西藏文字系列作品，但他是以一種不同於其他藝術家，前所未有的藝術方式進行創作。黃鋼的藝術作品在世界各地多次展覽。在德國、法國、瑞士、美國等國家及香港舉辦過個人展覽，並獲得極大成功。得到了不同國家不同文化背景的關注、認同和高度評價。

生於四川合川。1996年畢業於四川美術學院油畫系。個展： 2001年，「夢裡的花兒」，日本，東京畫廊。2002年「欲望」，德國明斯特藝術設計學院。2003年「唯物主義的糜爛」，法國巴黎阿基阿妮基畫廊。2004年「夢工廠和垃圾場」，北京東京藝術工程。2005年「幻景」，挪威，卑爾更3，14 國際藝術基金會。2005年「夢工廠和垃圾場」，日本，東京畫廊。2005年「幻景」M.K.修爾里奧尼斯國立藝術博物館，立陶宛。聯展： 2004年「中國繪畫中的新視點」，瑪蕊樂畫廊，義大利米蘭。2004 年巴黎國際藝術博覽會，法國巴黎。2005年「中國當代繪畫」，義大利波洛尼亞銀行基金會。2005年「第二屆布拉格雙年展」，捷克布拉格。

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》應首都博物館邀請到台灣、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」，2002年。香港少勵畫廊「陽光燦爛－張林海個人作品展」及2004年香港少勵畫廊「紅耳朵＋天堂系列」個展等。

175

Artist Biographies

LUO Zhongli (Chinese, b. 1948)

Lot 123

Lot 124

FANG Lijun (Chinese, b. 1963)

LING Jian (Chinese, b. 1963) Born in Shandong Province, China. In 1982, he studied in Qinghua University Art College, Beijing. In 1986, he graduated from Qinghua University Art College, Beijing. In 1989, he lived and worked in Vienna. From 1987 to 2005, his works took part in many a exhibitions. In recent years, Ling Jian established an esthetic style of human figure painting in his artistic works, representing a reformed, static body. For the artist, most of the characters in his works come from his daily life: what he sees and feels. More importantly, being away from his homeland for many years, he has undergone substantial changes in terms of taste and value concepts. His artistic creation is the response he’s made to the world.

羅中立 (中國，1948年生)

方力鈞 (中國，1963年生)

凌健 (中國，1963年生)

生於重慶。現任四川美術學院院長、教授及中國美術家協會理事。1968年畢業於四川美術學院附中。曾於鋼鐵場當工人，1978年重回四川美術學院就讀，1982年畢業並任教於母校。1983年至1986年赴比利時深造，進入安特衛普皇家美術學院學習油畫，且獲碩士學位。擅長油畫，其作品《父親》獲第二屆全國青年美展一等獎。作品收藏於中國美術館及哈佛納畫廊。

1963年生於河北邯鄲，1989年畢業於中央美術學院，現居於北京。其作品多次參加國內外重要展覽：1989年「中國現代藝術大展」，北京；1993 年「中國前衛藝術展」，柏林；1994年「聖保羅雙年展」，巴西；1995年「光州雙年展」，韓國； 1999年「開放的邊界第48屆威尼斯雙年展」，義大利；2002年「圖像就是力量展」，何香凝美術館，深圳。並曾在法國巴黎、荷蘭阿姆斯特丹、美國紐約、日本東京等地舉辦了多次個人展： 1995年「方力鈞作品展」，巴黎；1998年「方力鈞作品展」，荷蘭；「方力鈞作品展」，美國； 2000 年「方力鈞作品展」，新加坡；2001年「方力鈞亞洲當代藝術」，德國；2004年「方力鈞」，德國。

1963年出生於中國山東濰坊市。1982年求學於清華大學美術學院(前中央工藝美術學院)。1986年畢業於清華大學美術學院，學士學位。1987年生活、創作於奧地利維也納。1989年生活、創作於德國柏林漢堡。1996年生活、創作於德國柏林、中國北京。 1987-2005年藝術家作品舉辦和參加過多次展覽。近年來，凌健確立了他的作品中肖像繪畫的美學風格，創造出一種被改造過了的靜態身體。對於藝術家來說，他創作的大多數人物都來源於日常生活— 他的所見所感。更重要的是，作為一個遠離祖國很久的人，身邊的品味和價值觀念發生了如此令人驚異的改變，這是他對此做出的自己的回應。

176

藝術家簡歷

Lot 125

Lot 127

YAN Pei Ming (Chinese, b. 1960)

ZHANG Xiaogang (Chinese, b. 1958)

WANG Guangyi (Chinese, b. 1957)

Born in Shanghai. Currently lives and works in Dijon. From 1981 until 1986, he studied in Ecole Nationale des Beaux-arts Dijon.; He studied in Institut des Hautes Etudes en Arts Plastiques de Paris afterwards from 1988-1989, and in the Italian Académie de France in Rome from 1993-1994. Since 1995, he has taught in Ecole Nationale des Beaux-arts Dijon. He participated in “Studio 88” (1988, Museum of Modern Art of Paris), “Mouvement 2” (1991, Centre de Pompidou), “Chinese Avant-garde Art” (1993, Berlin, Rotterdam, Oxford), the “Biennale of Venice” (1995), the “Biennale of Lyon”(1997), the “Biennale of Gwangjiu” (2000, Korea), the “Biennale of Shanghai” (2000), the “Biennale of Pankoo” (2002, Korea) and other internationally reputed exhibitions and art fairs.

Born in Kunming, he graduated from the Sichuan Art Institute, of Oil Painting. After Zhang attended the “China Contemporary Art Exhibition” in Beijing China Art Museum in 1989, he has continually participated in many international major exhibitions, including: The 22nd Sao Paulo Biennale in 1994 where he won 3rd place. The next year he was invited to participate in the 46th Venice Biennale as well as the “15 Years of Avant-Garde Art In China’’ held by the Barcelona Contemporary Art Museum in Spain. In 1996 he attended the China Contemporary Art Exhibition in the Kunst Museum, Bonn. He collaborated with four other contemporary artists from China and had a group exhibition in Galerie de France. In 1997, he was proclaimed by the Outt’s International Contemporary Art Foundation in England as the “Contemporary Art Best New Act”. His works are also collected by many major museums, including the Guggenheim Museum in the United States, and the Fukuoka Art Museum in Japan.

Born in 1957, Wang Guangyi graduated from the Zhejiang Academy of Fine Arts in 1984. He is currently a full-time artist in Beijing and his works were shown at “The 1st Biennale Art Exhibition” (Guangzhou, 1992), “China’s New Art Post-1989” (Hong Kong, 1993), “Passaggio a Oriente - The 45th Venice Biennial” (1993), “22nd International Biennial of Sao Paulo” (Brazil, 1994) “New Asian Art” (Tokyo and Fukuoka, 1995), “China!” (Bonn, 1996), “The AsiaPacific Contemporary Art Triennial” (Queensland, 1996), “Inside Out” (New York and San Francisco, 1998-99), “20th Century Chinese Oil Painting Exhibition” (Beijing, 2000) and “New Images: 20 Years of Chinese Contemporary Art” (Beijing and Shanghai, 2000-01). His paintings have been collected by the Kunst Museum, Ludwig, Germany and the Asia & Pacific Art Museum, U.S.A.

嚴培明（中國，1960年生）

張曉剛（中國，1958年生）

王廣義（中國，1957年生）

出生於上海。1981年移居法國第戎。1981-1986年就讀於法國第戎國立美術學院。1988-1989年法國巴黎造型藝術高級研究院學習。1993-1994 義大利羅馬法蘭西學院學習。1995年至今為法國第戎國立美術學院教授。先後參加「畫室88」（1988年，巴黎現代藝術博物館）、「運動2」（1991年，龐畢度中心）、「中國前衛藝術」（1993年，柏林、鹿特丹、牛津等）、「威尼斯雙年展」（1995年）、「里昂雙年展」（1997年）、「光州雙年展」（2000年，韓國）、「上海雙年展」（2000年）、「釜山雙年展」（2002年，韓國）等國際大展。

生於昆明，畢業於四川美術學院油畫系。1989年起於北京中國美術館參加中國現代藝術大展後，陸續參加許多國際重要大展，如1994年參加第22屆巴西聖保羅雙年展，並獲銅牌，次年應邀參加第46屆威尼斯雙年展以及西班牙巴塞隆納現代藝術博物館舉辦的中國前衛藝術15年。於1996年參加了德國波恩美術館舉辦的中國當代畫展及巴黎法蘭西畫廊舉行的1996年來自中國的四位當代藝術家聯展，1997年入選瑞士巴塞爾舉行的國際當代藝術博覽會及獲頒由英國o u t t掇國際當代藝術基金會的當代藝術新人獎。作品亦被許多重要美術館收藏，如美國古根漢美術館、日本福岡美術館等。

中國哈爾濱人，是中國波普藝術最早的實驗者之一。1984年畢業於浙江美術學院（今中國美術學院）油畫系，現居北京，職業畫家。作品曾展出於 1992年廣州第一屆雙年展、1993年香港「後八九中國前衛藝術」、1993年第四十五屆威尼斯雙年展、 1994年巴西聖保羅國際雙年展、1995年日本福岡亞洲新藝術展、1996年伯恩藝術館「中國展」、1996 年澳洲亞太當代藝術三年展、1998-99年紐約亞洲文化中心與舊金山現代美術館「蛻變突破：中國新藝術」巡迴展、2000年北京「20世紀中國油畫展」及「新形象：當代繪畫20年」巡迴展等。主要作品收藏機構有美國加州亞太藝術博物館、德國路德維美術館、馬德里蒂森美術館、成都上河美術館、舊金山現代美術館、瀋陽東寧美術館等。

177

Artist Biographies

Lot 128

YUE Minjun (Chinese, b. 1962)

ZENG Fanzhi (Chinese, b.1964)

ZAO Wou-ki (Chinese-French, b. 1921)

Yue Minjun was born in Heilongjiang province. He studied in the Fine Arts Department of Hebei Normal University in 1985. He joined “S Plastic Art Exhibition” in Hebei Provincial Exhibition Hall; “Summer Palace Painters Exhibition” in 1992, “China Oil Painting Exhibition-From Realism to Post-Realism” in Belgium, 1995; “China” in Germany and “Basel Art Fair” in Switzerland, 1996; “5000+10 Chinese Art” in Spain, London, Berlin, 1998; “48th Venice Biennial” and “Fourteen Chinese Artists Exhibition” in France, 1999; “Red Ocean” sponsored by the China Modem Art Gallery in London, Britain, 2000.

Born in 1964 in Wuhan, Hubei, Zeng Fanzhi graduated from the oil painting department of the Hubei Fine Arts Institute in 1991. Presently lives in Beijing as a painter. He conducted many important exhibitions, including the “Zeng Fanzhi Art Exhibition” held in Hubei Fine Arts Museum in 1990, the “80's China Fine Arts (oil paintings) Biannual Exhibition” held in Guangzhou in 1992, “Post-'89 China New Art Exhibition” held in Hong Kong in 1993, “Walk Away from National Ideology- China New Art” held in Hamburg international avant-grade cultural center in Germany in 1995, “Zeng Fanzhi: False Face” held in the Barcelona Contemporary Art Museum in Spain and Hanart T Z Gallery in Hong Kong, “The Future” held in the Macao Contemporary Art Center in 2000, “Behind the Mask” held in Shanghai Shangrila Gallery in 2001, “Paris-Beijing” held in the Pierre Cardin Center in France and “The 1st Session Guangzhou 3 Years Exhibition” in the Guangdong Art Museum in 2002, and “I, We” held in the Shanghai Art Museum.

Born in Beijing, Zao studied at the Hangzhou National College of Art under the direction of Lin Fengmian (1900-1991) and Wu Dayu (1903-1988). 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 emmigrated to Paris in 1948. Zao held a solo show every year at Kootz Gallery, N.Y. from 1959 to 1965. He was included in the French pavillion at the Venice Biennial in 1960 and has also taken part in the Tokyo International Biennial. The Taipei Fine Arts Museum and the Kaohsiung Museum of Fine Arts organized an exhibition of his works in 1993 and 1995 respectively. In 1994, Zao was awarded the “Premium Imperial Award of Painting”, Japan. A more recent retrospective show which took place in 1998, toured three major museums: Shanghai Museum of Art and Beijing’s China Art Gallery. Zao’s compelling abstract paintings have won him international fame and his paintings are much sought after. His work is found in major public collections such as the Musée d’art moderne in Paris.

岳敏君 (中國，1962年生)

曾梵志 (中國，1964年生)

趙無極 (華裔法籍，1921年生)

1962年生於黑龍江。1985年就讀於河北師範大學美術系，1987年參加河北省展覽館舉辦的「S造型藝術展」；1992年參與「圓明園畫家作品展」；1995 年參加在比利時舉辦的「中國油畫展－從現實主義到後現實主義」；1996年參與在德國舉辦的「中國展」及參加瑞士舉行的「巴塞爾藝術博覽會」； 1998年參與在西班牙、倫敦、柏林舉辦的「5000+10 中國藝術展」；1999年參加「48屆威尼斯雙年展」及參加在法國舉辦的「十四位中國藝術家展」； 2000年參加英國倫敦中國當代藝術畫廊所舉辦的「紅色的海洋」展覽。

1964年生於湖北武漢，1991年畢業於湖北美術學院油畫系。現居北京，職業畫家。舉辦的重要展覽包括，1990年湖北美術院美術館「曾梵志作品展」1992年廣州「九十年代中國美術（油畫）雙年展」，1993年香港藝術中心「後89中國新藝術展」，1995年德國漢堡國際前衛文化中心「從國家意識形態出走－中國新藝術」，西班牙巴賽隆納現代藝術博物館，以及香港漢雅軒畫廊「曾梵志：假面」，2000年澳門當代藝術中心「未來」，2001年上海香格納畫廊「面具之後」，2002年法國皮爾卡登中心「巴黎－北京」，廣東美術館「首屆廣州三年展」，2003年上海美術館「我、我們」等。

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年曾在紐約庫茲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。

178

藝術家簡歷

Lot 134 Lot 132

CHU Teh-chun (Chinese-French, b. 1920)

SANYU (CHANG Yu, Chinese, 1901-1966)

WU Guanzhong (Chinese, b. 1919)

Born in 1920 in Jiangsu, China. In 1935, he passed the examination for Hangzhou National College of Art, which at the time had Lin Fengmian as its director. In 1949, he went to Taiwan. In 1951, he taught at the Taiwan Normal University. In 1954, he held his first solo exhibition at the Taipei Chung Shan Hall. In 1955, he went to France to further his studies. In 1957, he won the Silver Award at the Paris Salon du Printemps. In 1969, he entered the “Tenth Sao Paolo Biennial International Exhibition” in Brazil. In 1982, he held a solo exhibition at the André Moreau Contemporary Art Studio in le Havre in France. In 1987, the National Museum of History held a solo exhibition of his works, his first one in Taiwan since leaving thirty-two years before. In 1997, he was inducted into the prestigious L’Institute de France, as a member of the Beaux-Arts.

Born in 1901, Sichuan. Sanyu attended the Art College in Shanghai and went to Japan in 1919. In 1920, he went to France as part of the first wave of Chinese artists to study in France. Unlike most of his contemporaries, Sanyu decided to remain in Paris. Since 1925, Sanyu exhibited his work regularly at the Paris salons and in local galleries. Before World War II, Sanyu returned to China briefly and then moved on to New York where he lived for two years. In 1948, the Museum of Modern Art in New York held an exhibition of his work. Since Sanyu's death in Paris in 1966, the National Museum of History in Taipei has held three retrospective exhibitions of his works. To celebrate the 100th anniversary of Sanyu, the National Museum of History held a grand exhibition of over 129 oil paintings. In 2004, the Musée National des Arts Asiatiques-Guimet held a restrospective show of Sanyu’s 60 works.

朱德群 (華裔法籍，1920年生)

常玉 (中國，1901-1966)

吳冠中 (中國，1919年生)

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。

生於四川，少年時就讀上海美術學校，1919年至日本留學，1920年轉赴法國留學，成為中國最早期的留法學生之一，之後留居巴黎。1925年起，其作品屢見於巴黎的沙龍美展及各大畫廊。二次大戰前曾回到中國，後轉至紐約生活兩年。1948年，紐約現代美術館替他舉辦個展。在其1966年於巴黎逝世後，台北國立歷史博物館曾分別於1978、1984、 1990年共舉辦三次他的回顧展，2001年常玉百歲冥誕時，歷史博物館又展出常玉百歲紀念大展，2004 年6月巴黎國立居美東方美術館舉辦常玉回顧展，展出60餘件作品。足見其作為海外華人藝術家在中國畫壇的重要性。主要收藏機構有：台北國立歷史博物館、中國美術館等。

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。

179

Artist Biographies

Lot 135 Lot 136

WANG Huaiqing (Chinese, b. 1944)

XIA Junna (Chinese, b. 1971)

JU Ming (Taiwanese, b. 1938)

Born in Beijing, he entered the Central Academy of Arts and Crafts in 1964 to study interior design and while there, he studied painting under Wu Guanzhong. In 1970, during the Cultural Revolution, Wang was assigned to the countryside for rehabilitation through labour and studied painting with Wu Guanzhong. In 1980, Wang formed the Contemporary Painting Society with his fellow classmates; organized an exhibition at the China National Museum of Fine Arts and joined the National Chinese Artist Association. He received a Master's degree a year later. Wang’s work has been selected for exhibitions worldwide including the recent major exhibition at the Guggenheim Museum, New York, entitled “5000 Years of Chinese Art” in addition to the Asian Art Fair at the Armory. His paintings are sought after by major museums and private collectors.

Born in Inner Mongolia, 1971. In 1984, she attended the Weihai No.2 Middle School and studied portrait painting with Cong Jian Zi, who introduced her to a certain field of art. After that, she graduated in 1995 from the Oil Painting Department of the 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 the “Contemporary Art Exhibition” held in Beijing in 1996. In 1997, she joined the “China Young Oil Painting” Exhibition in Beijing. In 1998, she joined the “Century-Female Art Exhibition” and won a collector award. In 2000, she joined the “Twentieth Century China Oil Painting Exhibition”, the “Young Series Exhibition” . Beijing Evening News used “Six Main Courses in Grand Banquet of Centurial Oil Painting” as the title and commended her as a representative painter of China. Taiwan magazine, CANS, used “From Li Tiefu to Xia Junna” as the slogan to summarize Xia’s historic significance from centurial oil painting. Her paintings are collected by private collectors at home and abroad in recent years.

Born in Miaoli, Taiwan. Ju Ming studied with Yuyu Yang (1926-1997), a master sculptor, from 1968 to 1976. Ju was chosen as one of the ten outstanding youths in Taiwan in 1976, a recognition given each year to ten young men and women in any field of endeavor. He was presented with a “National Cultural Award” in recognition of his artistic accomplishments. His most famous works are the series “Nativist”, “Taichi” and “Living World”. In December 1997, his works were exhibited in Place Vendome, Paris. The Juming Museum was established in Chinshan, Taipei County in 1999. Ju Ming's work can be found in major public collections at the Taipei Fine Arts Museum, the National Taiwan Museum of Fine Arts, the Kaohsiung Museum of Fine Arts and the Juming Museum.

王懷慶 (中國，1944年生)

夏俊娜 (中國，1971年生)

朱銘 (台灣，1938年生)

生於北京，1964年入中央工藝美術學院裝璜繪畫系，於1970年文化大革命期間，下放農村勞動改造，並隨吳冠中先生學習繪畫。1980年籌辦策劃「同代人畫會」於中國美術館聯展，並於同年加入中國美術家協會，次年獲得碩士學位。王氏作品頻頻於國內外重要大展中獲獎，極獲重視。並於1998 年參加紐約古根漢美術館「中國藝術5000年展」及紐約軍械庫「亞洲藝術博覽會」。其作品廣為海內外重要美術館及企業收藏。

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。

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。

180

藝術家簡歷

Lot 139

LI Chen (Taiwanese, b. 1963)

XIANG Jing (Chinese, b. 1968)

JIAO Xingtao (Chinese, b. 1970)

Li Chen was born in Taiwan, in 1963. He has extraordinary performance in molding traditional Buddhist sculptures. Later he infused emotion of the heart into the works and studied a variety of Confucian, Buddhist, and Taoist scriptures, and even instilled new contemporary thoughts, which provided a new creativity to Li Chen’s sculptures. Solo Exhibitions: 2007 “52nd International Art Exhibition – La Biennale di Venezia”, Venice, Italy (Asia Art Center), 2005 “Li Chen Sculpture” Taipei Art Fair, Taiwan (Asia Art Center), 2003 Series of “Spiritual Journey Through The Great Ether” Michael Goedhuis Gallery, New York, U.S.A; International Group Exhibitions: 2004 “OPENASIA” 7th International Exhibition of Sculptures and Installations, Venice, Italy. 2007 “A Truth Beyond the Real – 14 Chinese Contemporary Artists” Doosan Art Center, Seoul, Korea.

Born in Beijing. Xiang graduated from the Affiliated Senior High School of the Central Academy of Fine Arts in 1988. In 1995, she received her Master’s Degree from the department of sculpture of the Central Academy of Fine Art in 1995. She also participated in a four artist joint art exhibition held by the Beijing Contemporary Art Museum in March the same year. Her graduation portfolio “Amulet” won 1st prize from the Central Academy of Fine Art graduation portfolio exhibition and also from the Japan Matsuoka Foundation, her work has been collected by the Central Academy of Fine Art. In the same year, she participated in the exhibition of Chinese Female Artists held by the 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 in the 2nd “Artistic tour before the end of the century” exhibition held by The New Dimension–the Only Place for Art, her work was chosen by the 9th “National Art Exhibition” and won the award of excellence.

Born in Chengdu, Sichuan in 1970, Jiao graduated from the Sichuan Academy of Fine Arts. He now works and lives in Chongqing. He participated in various exhibitions, including: “Shanghai Jingwen Art Exhibition”, Shanghai; “Beijing International Urban Sculpture Exhibition”, China National Museum, Beijing, 2002; “Chongqing Art Museum opening exhibition - Intensely Interesting Arts”, Chongqing; “Beijing 1st International Art Biannual Exhibition”, China National Museum, Beijing; “10 Art Academy joint Exhibition”, Academy of Fine Arts, Tsinghua University, Beijing; “Japan Oita International Sculpture Exhibition”, Japan, 2004; “The 2nd Chengdu Biannual Exhibition”, Chengdu Modern Art Gallery, Chengdu, 2005; “Contemporary Art Almanac Exhibition of China”, The Art Museum of the China Millennium, Beijing, 2006; “New South-West Contemporary Painting Exhibition 1985-2007”, Guangdong Museum of Art, Guangzhou, 2007.

李真 (台灣，1963年生)

向京 (中國，1968年生)

焦興濤 (中國，1970年生)

雕塑家李真，1963年出生，早期製作傳統佛像就有特殊表現。其後李真融入自我攝心之情感，涉略佛學、道家等經典，更結合當代思維使其雕塑作品上有著創新的突破，呈現既古典又現代的面貌。個展：2007受邀於「第52屆威尼斯雙年展 – 虛空中的能量」個展；2006年台北國際藝術博覽會「李真雕塑展」(亞洲藝術中心)；2005年台北國際藝術博覽會「李真雕塑展」(亞洲藝術中心)；2003 美國紐約古豪士畫廊「大氣神遊」。國際大型展覽：2004 義大利威尼斯第七屆國際雕塑及裝置大展-「OPENASIA」； 2007年韓國首爾「世事而非–14位中國藝術家對真實形象的變異及探索」韓國斗山藝術中心策劃。

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。

1970年出生於四川成都，1996年畢業於四川美術學院。現工作、生活於重慶。曾參與的展覽有：「上海精文藝術大展」，上海；2002年「北京國際城市雕塑邀請展」，北京；「重慶美術館開館系列展之耐人尋味的藝術」，重慶；2003年「北京首屆國際美術雙年展」，中國美術館，北京；「全國十所美術院校作品展」，清華大學美術學院，北京；2004 年日本大分國際雕塑展「日本朝蒼文夫紀念館」，日本；2005年「第二屆成都雙年展」，成都現代藝術館，成都；2006 年「首屆中國當代藝術年鑒展」，中華世紀壇現代藝術館，北京；2007 年「從西南出發-西南當代藝術展1985-2007」，廣東美術館，廣州等。

181

Artist Biographies

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Lot 142

Lot 143

Hiroyuki MATSUURA (Japanese, b. 1964)

Korehiko HINO (Japanese, b. 1976)

Mayuka YAMAMOTO (Japanese, b. 1964)

Born in 1976 in Ishakawa, Japan, Hino graduated from the Painting master course of Tsukuba University in Japan in 2001. Hino’s work is characterized by the vacuous facial expression present on his painting characters, well-noted in Japan and Korea’s art world. Hino has been awarded numerous prizes such as the Encouragement Award at “The 53rd Niki Exhibition” (1999, Tokyo); “The 20th Izu Art Festival Painting” (2002, Izu, Japan); and the Grand Prize at “The Vision of Contemporary Art” (2005, Tokyo). His works have participated in solo exhibitions held by Galleria Grafica bis (2003; 2004, Tokyo); Skywalk Exhibition Space (2004, Tokyo); and group shows in “The 1st Ponchon Asian Art Festival” (2005, Korea); “Heyri Asian Young Artist Project” (2007, Korea); “Chinese and Japanese Contemporary Paintings from Zeit-Foto Collection” (2008, Shanghai).

Born in 1964 in Okayama, Japan, Yamamoto received her master’s degree at Masashino Art University in Tokyo in 1990, and joined the Japanese Government Overseas Study Program for Artists to continue her studies in London until 1999. Her works have been shown in several solo shows held by Gallery Tsubaki, Japan from 1993–2006, and her recent solo show “Deer Boy and Other infants” was held by Canvas International Arts gallery in Amsterdam (2007). She also participated in group shows such as “Korean International Art Fair” (2004–2007); “Young Japanese Painting” (2007, Amsterdam).

松浦浩之 (日本，1964年生)

日野之彥 (日本，1976年生)

山本麻友香 (日本，1964年生)

出生於日本東京，松浦浩之自1984年開始從事平面設計師的工作，設計廣告、出版、包裝、裝訂等事項，從1999年起，開始創作以「角色圖案」為題材的「海報 ﹢包裝 ﹢滑板」設計。展覽：2007 年「動漫展」，VIA 07 國際影城，法國；2007年，「新異術」，松浦浩之個展，誠品畫廊，台北，台灣；2006年，「超級丙烯外衣」個展，「未來計畫」個展，斯德哥爾摩，瑞典；2006年，「日本動漫！」，北京東京藝術工程，北京，中國；「超級丙烯外衣」，松浦浩之個展，東京畫廊，東京，日本。

1976年生於日本石川縣，2001年取得筑波大學碩士學位，主修繪畫系。其創作人物都有一種惘然空洞的獨特表情，在日韓兩地的藝壇廣受注目，並曾榮獲「第五十三屆Niki展覽」(1999，東京)、「第二十屆伊豆藝術節」繪畫大獎 (2002)、以及上野之森美術館「當代藝術的視野」頒發的大獎 (2005，東京)。舉辦的個展包括在Galleria Grafica bis畫廊的展覽 (2003、2004，東京)、「Skywalk Exhibition Space」 (2004，東京)；以及聯展「第一屆Ponchon亞洲藝術節」(2005，南韓)、「Heyri 亞洲藝術家展」(2007，南韓)、「中日當代藝術Zeit - Foto藏品展」(2008，上海)。

1964年出生於日本岡山縣，於1990年於武藏野美術大學碩士畢業後，以日本文化廳藝術家研究員身分赴英國研修至1999年返回日本。其作品自1993年起定期於日本椿畫廊舉辦多場個展(1993-2006)，近期也在荷蘭Canvas International Art畫廊舉辦個展「鹿男孩與其他孩童」(2007，阿姆斯特丹)。較近期的聯展則是參加過「韓國國際藝術博覽會」(2004-2007)、「日本年青畫作」(2007，阿姆斯特丹)。

182

藝術家簡歷

Lot 145

Lot 146

Lot 144

KWON Ki-soo (Korean, b. 1972)

KIM Tschang-yeul (Korean, b. 1929)

PARK Seo-Bo (Korean, b. 1931)

Kim Tschang-Yeul was born in 1929, Korea, and graduated from the College of Fine Arts at Seoul National University in 1950. The artist has an extensive exhibition history in major galleries, museum and art fairs all over the world. He has held solo exhibitions at the Chicago international Art Exposition (1989), the National Museum of Contemporary Art in Korea (1993), the Sakamoto Zenzo Museum of Art in Japan (1998) and his very first solo show in China at the National Museum of China (2005). Group exhibitions include “Painting in Korea: Yesterday and Today” at the Seoul Museum of Art (2004), and “Poem of Indian Ink” at the Guimet Museum of Asian Art in Paris (2005). Kim’s works are vastly collected by art institutions such as the National Museum of Contemporary Art in Korea, the National Museum of Modern Art in Tokyo, the Museum of Fine Arts in Boston and the Museum of Oriental Art in Germany.

Born in 1931 in Y-Cheon, Kyung-Book, Korea, he graduated from the painting department of the Hong Ik University of Seoul where he received an Honorary Doctor of Fine Arts as well in 2000. He founded the Seo-Bo Art and Cultural Foundation in 1994. His solo exhibition history as below: 1999, Tokyo Gallery; 2000, Remba Gallery, Los Angeles; 2005, CIGE 2006, Gallery Samtuh, China World Trade Center, Beijing; 2007, Arario Beijing, Beijing…etc.

權奇秀 (韓國，1972年生)

金昌烈 (韓國，1929年生)

朴栖甫 (韓國，1931年生)

1972年生於韓國。1996年於首爾弘益大學獲得美術文學士學位，1998年獲得美術碩士學位。他舉辦過的個展包括1998年首爾Kwan Hoon畫廊舉辦的「展覽 1998」和2004年魚畫廊的「紅色水泉」。他參與過的重要團體展，當中包括2003韓國美術館的「快樂工廠」、2004年森美術館的「沉默的優雅－東亞近代美術」、2004韓國國立近代美術館的「遊歷美術博物館」和2004年美國紐約賈維茲會議中心的「傾聽紐約2004」。

1929年生於韓國，1950年畢業於漢城國立大學美術學院。金昌烈具有廣泛的國際展史，舉行個展的地方包括芝加哥國際藝術展覽、國立現代美術館、日本的板本善造博物館，和2005年在中國第一次舉辦「金昌烈個展」的北京中國國家博物館。團體展包括2004年漢城市立美術館的「韓國繪畫：過去與現今」，和2005居美亞洲藝術博物館的「水墨的詩」。金昌烈的作品為無數的藝術館所珍藏，包括韓國國立現代藝術館、東京國立近代美術館、波士頓美術館與德國的東方藝術館。

朴栖甫於1931年生於韓國慶北。畢業於首爾弘益大學油畫系，於2000年他獲頒榮譽美術博士學位。 1994年，他成立了栖甫美術文化基金會。曾參與過的展覽如下：東京畫廊，1999年；洛杉磯倫巴畫廊，2000年；中藝博國際畫廊博覽會，2005年；北京中國世界貿易中心泉水邊畫廊，2006年；北京阿拉里奧畫廊，2007年等。

183

Artist Biographies

Lot 147

Lot 148

Lot 149

GUO Wei (Chinese, b. 1960)

ZHONG Biao (Chinese, b. 1968)

SU Xinping (Chinese, b. 1960) Su was born in Jining, Inner Mongolia. In 1983, he graduated from Tianjin Fine Arts Institute and acquired his Bachelor degree. In 1989, he graduated from the Central Academy of Fine Arts with a Master degree. Now he is a professor in the Central Academy of Fine Arts and the director of the Printmaking Department. With his unique and sedate painting style, Su has been active on the stage of contemporary arts in China and the world since 1989. He has participated in numerous influential exhibitions in China and abroad. His works are collected by many notable international organizations.

郭偉 (中國，1960年生)

鐘飆 (中國，1968年生)

蘇新平 (中國，1960年生)

1960生於四川成都，1989畢業於四川美術學院版畫系，現居成都。其作品自1992年起參加過無數個海內外展覽，如1999年舉辦的首次個展「包紮狀態」 (高雄)、「郭偉個人畫展」(2001，洛杉磯、舊金山)、「室內、蚊子與飛蛾」(2004，巴塞隆納)；以及豐富的聯展經驗，如「夢：2001中國當代藝術」 (倫敦)、「面對面–六個畫家和一個時代」(2004，台南)、「中國藝術雙年展」(2005，法國)、「虛虛實實 –亞洲當代藝術的再發現」(2006，韓國)、「兄弟」 (2006，北京)、「交疊」(2007，紐約)。

1968年生於中國重慶，於1991年畢業於中國美術學院油畫系，現任教於四川美術學院。其作品曾參加「首屆中國油畫雙年展」(1993，北京)、「香港亞洲藝術博覽會」(1995)、「台北國際藝術博覽會」 (1995)、「世紀之門–1979-1999中國藝術邀請展」 (2000，成都)、「2001中國當代藝術展」(新加坡)、「舊金山藝術博覽會」(2001)；並舉辦個展「生命預言」(1996，中國；1997，香港)、「偶然存在」 (2001，香港)。

生於內蒙古集寧市。1983年畢業於天津美術學院，獲學士學位，1989年畢業於中央美術學院，獲碩士學位。現任中央美術學院教授，版畫系主任。從 1989年開始，蘇新平以其獨特和穩重的繪畫風格活躍於中國當代藝術舞臺及世界當代藝術舞臺，參加了在海內外舉辦的許多重要的展覽，作品被很多國際重要機構收藏。

184

藝術家簡歷

Lot 150

Lot 151

Lot 152

YANG Jinsong (Chinese, b. 1971)

SONG Yonghong (Chinese, b. 1966)

XIONG Yu (Chinese, b. 1975)

Born in Xiangtan, Hunan Province. Yang graduated from Guangzhou Academy of Fine Arts and achieved his Master’s degree at the China Academy of Fine Arts. Prior to having been invited to ‘The Trend of Asia Print Seminar’ and holding his solo exhibition in Japan in 1991, his focus had been on producing and teaching print at the domestic academy of fine arts. Between 1992 and 1997, he went to France as a professor of S-B Art Institute and joined the French La MAISON DES ARTISTES Association as well as the German BBK Artists Association. From 1986, he held successive solo exhibitions in China, Japan, France, Spain, New York and Australia, during which time he won many prestigious awards. Whilst in Europe, his work took part in the “Free Painting Art Exhibition”, which was held in France and Germany, as well as having been invited by numerous institutions to give lectures. His works have been collected by the German Checkpoint Charlie Museum, Universitatsklinikum Benjamin Franklin and the German SKV Medicine Group, as well as many other private collectors. His magnum opus include “The Candle Lighting”, “Passing by Memory” and “Old man and Sheep”.

楊勁松 (中國，1971年生)

宋永紅 (中國，1966年生)

熊宇 (中國，1975年生)

1989年畢業於中國美術學院版畫系，碩士學位。畫展及作品獲獎記錄：1991年於日本舉辦個人畫展， 1992年留學法國，1997年歸國。銅版畫《藏女．瑪咪》獲全國第4屆三版展大獎；《燭光》獲日本「高知國際版畫3年展」賞候補獎，澳大利亞悉尼美術大展金鑽石獎。《掠過記憶》組畫為上海美術館收藏；《老人與羊》為澳門市政廳購藏，並參加赴非洲多國的「文化交流展」。1986年始相繼在中國廣東畫院、日本東京、法國巴黎、西班牙瑪那嘎、美國紐約，以及台灣、澳大利亞等地舉辦個人畫展，並多次獲獎。作品多次參加法國和德國自由繪畫藝術大展，並應邀在德國柏林工業大學舉辦學術講座，在柏林Vr a n i a這座著名的文化中心舉辦個人畫展。作品為德國查理崗哨站博物館收藏，並永久性展示。作品為班哲明．富蘭克林醫學大學、德國SKV 醫藥集團以及私人收藏。

1966年生於河北曲陽，祖籍山西，1988年畢業於浙江美術學院版畫系，1988年任教於北京市工藝美術學校，現為職業藝術家。1998年參加美國紐約現代美術館「中國現代藝術展」，1999年參加美國舊金山LIMN畫廊「中國當代藝術展」。

出生於四川成都，1995年畢業於四川美術學院附中，升入四川美術學院油畫系，1999年畢業於四川美術學院油畫系，同年考取四川美術學院造型藝術系油畫專業研究生，2002年獲四川美術學院油畫系碩士學位並任教於四川大學藝術學院。熊宇是繼羅中立、何多苓、張曉剛等人之後，中國油畫「四川畫派」的新秀。2002年作品參加成都「四川省青年美展」並獲獎，2004年作品參加深圳「少年心氣－中國新銳繪畫獎作品展」獲頒銅獎。

185

Artist Biographies

Lot 153

Lot 154

Lot 155

Meena SANSANWAL (Indian, b. 1971)

Venkat BOTHSA (Indian, b. 1961)

Bhagat SINGH (Indian, b. 1965)

Born in 1971, Meena Sansanwal completed her bachelor degree in Painting studies in 1994, and eventually her master’s degree in 1997. She has been holding solo exhibitions in New Delhi since 2004, followed by her “Love for the House” solo show in Mumbai (2006). She is a frequent participant in regular group exhibitions such as “Harvest”, annual art shows of Arushi Arts Gallery in India, held in New Delhi (2000-2007) and its art shows in London (2003-2008); and the “Art & Design Show” in New Delhi (2005) and Mumbai (2006).

Born in 1965 in New Delhi, India, Bhagat Singh graduated from the National Islamic University in 1990, majoring in painting, and afterwards completed his master’s program in 1992. His works have been shown in solo exhibitions “B/W Drawing Show” (2000, New Delhi); “Celebrating Nature” (2006, New Delhi & Kolkata); and group shows in “Naturescape” (2006, New Delhi); “Summer Art Show” (2006, India); “Art Fair India” (2007, New Delhi); “49th National Exhibition of Art” (2007, New Delhi). He was awarded ‘Best Entry Award’ in the “All India W/C Art Exhibition” (2004, New Delhi); and the “All India Annual Art Exhibition” Drawing Section Award (2005, New Delhi) among his other awards and achievements in art.

米娜．珊珊娃 (印度，1971年生)

凡卡．波沙 (印度，1961年生)

巴哈哥特．西恩 (印度，1965年生)

1971年生於印度，米娜．珊珊娃於1994年完成美術繪畫的學士學位，並於1994年自美術研究所畢業。其作品自2000年起，陸續在印度新德里舉辦個人畫展，並也在孟買舉辦過「愛屋」個人展（2006）。其作品也常見於印度的多項定期年度聯展，如Arushi A r t s畫廊每年的「豐收」聯展（新德里）、倫敦年度展覽、以及「藝術與設計展」（2005，新德里； 2006，孟買）。

1961年出生於印度，凡卡．波沙，於1983年畢業自印度安度拉大學，並於1985年取得貝拿勒斯印度大學美術碩士學位。其作品曾參加「第49屆全國藝術展」（2006，印度波帕爾）、Arushi 藝術畫廊年度展「豐收」（2007，新德里）、Ksetra藝術畫廊團體展（2004，印度維薩卡帕特南）；並於2007年陸續在印度新德里和班加羅爾舉辦個人作品展。

1965年生於印度新德里，巴哈哥特．西恩於1990 年畢業於印度國立伊斯蘭大學繪畫系，並於1992 年取得碩士學位。其作品曾參加個展「B/W繪畫展」（2000，新德里）、「慶祝自然」（2006，新德里、加爾各答）；以及多次聯展「自然發展」（2006，新德里）、「夏季藝術展」（2006，印度）、「印度藝術展」（2007，新德里）、「第49 屆全國藝術展」（2007，新德里）。巴哈哥特．西恩也曾獲頒多次獎項，如「全印度W/C藝術展」最佳作品獎（2004，新德里）、「全印度年度藝術展」繪畫獎（2005，新德里）等藝術成就獎項。

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藝術家簡歷

Lot 157

Budi KUSTARTO (Indonesian, b. 1972)

Agus SUWAGE (Indonesian, b. 1959)

Justin PONMANY (Indian, b. 1974)

布迪．庫斯塔托 (印尼，1972年生)

阿格斯．蘇瓦吉 (印尼，1959年生)

賈斯汀．龐馬尼 (印度，1974年生)

1972年生於印尼西爪哇的卡朗，2003年畢業於印尼藝術學院雕刻系。曾舉辦個展「布迪」（2005，雅加達），以及「同性：綠」（2006，印尼三寶壟）。參加過的聯展有：「C P雙年展開幕展」（2003，雅加達）、「感同身受」日惹雙年展V I I I （2006，日惹，印尼）、「超越，限制與挑戰」雅加達雙年展 (2006)、「索卡新觀點—東南亞藝術展」（2007，北京、台北）。也曾於1998年和2001年，於雅加達獲頒飛利浦．摩里斯藝術獎。

1959年出生於印尼中爪哇的普沃勒佐，1986年畢業於印尼萬隆理工學院藝術設計系，主修平面設計。舉辦的個展有「裝瘋賣傻」（2004，馬來西亞）、「神奇的預言」（2004，新加坡）、「暫停/重播」（2005，印尼萬隆）、「I/C O N」（2007，雅加達）。其參加的聯展眾多，較近期的有「藝術溫躍層：亞洲新浪潮」（2007，德國）、上海藝術博覽會「國際當代藝術展」（2007、2008）、「無生命的演出」（2008，台北）、「2008中藝博國際畫廊博覽會」（北京）。蘇瓦吉的作品也列入許多的國際藝術中心館藏，例如東京現代美術館、新加坡美術館、福岡亞洲美術館等。

1974年出生於印度喀拉拉，畢業於印度孟買的J. J.爵士藝術學校，主修繪畫。曾於1997-1998獲得該校特別獎、Bose Pacia畫廊「第四屆當代藝術雙年展」第二名（2003）、以及印度國立現代美術館的「未來藝術家獎」（2005）等多項藝術獎項。其作品在國內外都有豐富的個展經驗，如「不可生物降解之記憶」（孟買，2004）、「鹽（塑膠回憶－二部曲）」（2005，新得里）、「生育」（2006，米蘭）、「誰在保留得分」（2007，紐約）。而參加的聯展有「巴賽爾藝術博覽會」（2006，瑞士）、「巴黎當代國際藝術展」（2006，巴黎）、紐約「軍械庫畫展」（2007）。

Born in 1972 in Karang, West Java, Indonesia, Kustarto graduated from the Sculpture Department of the Indonesia Institute of Art in 2003. He has held solo exhibitions “Budi” (2005, Jakarta) and “Hetero: Green” (2006, Semarang, Indonesia). He participated in group shows “CP Open Biennale” (2003, Jakarta); Yogyakarta Biennale VIII “Here & Now” (2006, Indonesia); Jakarta Art Biennale 2006 “Beyond the Limits and its Challenges”; “Soka’s View – Southeast Asian Contemporary Art” (2007, Beijing; Taipei). He has been given the Phillip Morris award in 1998 and 2001 in Jakarta.

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Artist Biographies

Lot 160

Lots 161, 162 Lot 159

Yuree KENSAKU (Japanese-Thai, b. 1979)

Ahmad ZAKII Anwar (Malaysian, b. 1955)

Gabriel BARREDO (Filipino, b. 1957)

Born in 1979 in Bangkok, Thailand, Yuree Kensaku graduated from the Visual Arts Department of the School of Fine Arts and Applied Arts of Bangkok University in 2002. Her works were shown in solo exhibitions “108 Paths to Vanity” (2004, Bangkok); “It’s Spiritually Good!” (2005, Bangkok); “The Adventure of Momotaro Girl” (2007, Yokohama, Japan); “Love in Platinum Frame” (2007, Bangkok). Some recent group exhibitions she joined are “Talk about Love” (2007, Bangkok); “School of Bangkok: Who and Where are We in this Contemporary Era” (2007, Bangkok). Her works have been collected by the Yokohama Museum of Art in Japan.

Born in 1955 in the state of Johor, Malaysia, Ahmad Zahii Anwar resides now in Johor Bahru. His works have joined solo exhibitions “Presence” (1999, New York); “Subliminal” (2006, Bangkok); “Kota Sunyi” (2007, Jakarta); and group exhibitions such as “Perception & Perspective: A Malaysian Eyeview” (1999, UK); “14th International Asian Art Exhibition” (1999, Japan); “Interface”(2005, Singapore); “Feed Me” (2006, Malaysia); “Soka’s view – Southeast Asian Contemporary Art” (2007, Taipei).

Born in 1957 in Manila, the Philippines, Gabriel Barredo now resides in Manila. He has held solo exhibitions as Philippine Representative to the “Sao Paolo Biennale” (1993, Singapore); “Anima & Persona” (1999, Manila); and group exhibitions “Soka’s view” Southeast Asian Contemporary Art (2007, Taipei); “13th Asian International Art Exhibition” (1998, Kuala Lumpur). In addition, he won awards at “1994 Ten Outstanding Artists – Diwa ng Sining Awards” ; and “Art Association of the Philippines Annual Competition for Sculpture”, Gold medal, in 1981.

尤麗．肯薩古 (泰國，1979年生)

亞穆．章其．安華 (馬來西亞，1955年生)

蓋伯瑞．博瑞多 (菲律賓，1957年生)

1979年出生於泰國曼谷，2002年畢業於曼谷大學藝術與應用美術學院的視覺藝術系。其作品曾參加個展「108條通往浮華之路」(2004，曼谷)、「好精神！」(2005，曼谷)、「桃太美眉的冒險」(2007，日本橫濱)、「白金框裡的愛」(2007，曼谷)。而比較近期參加過的聯展則有「說說愛」(2007，曼谷)、「曼谷學校：在這個當代世紀下的我們」(2007，曼谷)。肯薩古的作品目前也納入日本橫濱博物館的館藏之一。

1955年生於馬來西亞的柔佛州，現於柔佛州居住與工作。其作品曾於1999年參加「風采」(1999，紐約)、「潛意識」(2006，曼谷)、「寂靜的柯塔」 (2007，雅加達)等個展；並參加聯展「感知與透視：馬來西亞略影」(1999，英國)、「第十四屆亞洲國際藝術展」(1999，日本)、「分界」(2005，新加坡)、「養育我」(2006，馬來西亞)、「索卡新觀點」東南亞藝術展 (2007，台北)。

1957年生於菲律賓馬尼拉，現定居於馬尼拉。曾舉辦多次個人展，如「聖保羅雙年展」菲律賓代表 (1993，新加坡)、「生命與角色」(1999，馬尼拉)；以及團體展「索卡新觀點」東南亞當代藝術展 (2007，台北)、「13屆亞洲國際藝術展」(1998，吉隆坡)；並曾榮獲「十大傑出藝術家之一Diwa ng Sining獎」(1994)、「菲律賓藝術協會雕刻藝術年度競賽」(1981) 金獎等多項殊榮。

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Transaction Agreement

The following provisions are entered into by and between the Company, as the auctioneer, and the Seller (hereinafter the "Seller"). This Agreement is also entered into by and between the Company as the agent of the Seller and the Buyer (hereinafter the "Buyer"). Both the Buyer and the Seller must carefully review all provisions hereunder. The Buyer should pay special attention to Article 5 which provides limitations as to the legal responsibilities of the Company.

I. The Buyer 1. Ravenel as the Agent The Company, as the auctioning party, shall act as the agent of the Seller. Except otherwise provided, items successfully sold in the auction held by the Company shall be bound by the agreement made by and between the Seller, through the agency of the Company, and the Buyer.

2. Prior to the auction a. Authentication We strongly recommend that the prospective buyers conduct their own authentication for the items they are interested in bidding prior to the auction. We provide no guarantees to the buyer (with the exception of the guarantee with regard to counterfeits as defined in Section III of the Transaction Agreement). b. Important Notice Attention, prospective buyers: As far as possible, the descriptions of auction items will mention obvious defects of the items; however, they do not necessarily include all flaws, defects, or incomplete aspects. The Company regrets that it is unable to guarantee that the wristwatches on auction are in good working condition and the descriptions in the catalogue must not be construed as implying such. The description of the auction items also do not imply that the items have not gone through readjustment or repair or allude anything about the current state or storage conditions of the items. Any omission in the catalogue description regarding the current condition or the appraisal of defects in the items by no means represent that those items are in good condition, function normally, or that there will be any free repair or replacement of parts. We strongly recommend prospective buyers to personally view the items for which they plan to bid before the auction itself. If a prospective buyer is unable to view an item for whatever reason, then in our role as a service provider, we would be more than happy to offer our opinion of an item's special characteristics and current condition. However, the Company is not a professional restorer of wristwatches; therefore, any description in the catalogue is purely the Company's subjective opinion and not a statement of fact. Please note: The outer shells of many of the water-resistant watches have been opened in order to investigate their working condition and their type; therefore, it must not be assumed that they are currently water-resistant. We recommend buyers to have such watches checked by a competent watchmaker before use. Please note: The restoration of the items on auction may have resulted

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in original parts being replaced; therefore, we are unable to guarantee that any given watch's parts are from the original set of parts. All of the items on auction are being sold in "as is" condition.the Company does not provide any representation or guarantee as to the condition of any of the items. Unless otherwise stated, the Company does not provide any warranty with the items. c. Catalogue Explanations Any statement of the author, history, date, year, size, material, ownership, authenticity, origin, condition of preservation or estimated selling price of any of the Lots shown in the catalogue or the authentication opinion made by the Company, or any other verbal or written statements made separately shall be solely statements of opinions and shall not be deemed the basis for the statements of actual fact. The photographs shown in the catalogue shall serve as reference only and shall not be deemed as the basis for determining the color or tone of any Lots or disclosure of the defects of such item. The estimates of the auction price shall not be deemed the price at which such item will be successfully sold or the statement of the value of the item for other purposes. Many auction items fail to maintain their perfect condition because of time and other environmental factors. Some of the explanations in the catalogue or the authentication opinions will state defects and/or the repair background of the Lots. Such information is meant for reference only. Missing information in the statements does not mean the Lot has no defects or has not been repaired. Any statement of one particular defect does not mean there is no any other defect. d. Responsibility of the Buyer The Buyer is responsible for clarifying and satisfying himself about the condition of the items and any related matters stated in the catalogue descriptions.

3. In the auction a. Refusal of admission The auction is held at the premises of the Company or any location where the Company has control of for the auction. The Company has full discretion to exercise the right to refuse entry to the premises for the auction or to prevent participation in the auction. b. Registration prior to the bidding Prospective buyers must fill in and sign the registration forms prior to the bidding and provide personal identification. Prospective buyers should also note that the Company may be requested to conduct credit checks against buyers. c. The bidder is the Buyer Unless a written agreement has been made upon registration that the bidder will be the agent who acts on behalf of a third person and such third person is accepted by the Company, the bidder will be deemed as the Buyer who will bear individual legal responsibilities.

d. Commission bids The Company will make every effort to bid for the prospective buyers who instruct us to bid on their behalf by using the forms attached to the explanations of the catalogue; provided, however, bid commission instructions are delivered to the Company prior to the auction. If the Company receives several commission bids for one particular item, with all bid prices being equal and of the highest bid price at the auction, priority shall be given to the Buyer whose bid commission is delivered to the Company first. Commission bids are subject to auction conditions. The situation at the auction may prevent the Company from making the bid as commissioned. This is a free service provided by the Company to the prospective buyers pursuant to the provisions prescribed.The Company will not be held legally liable if it fails to make the bid as commissioned. Prospective Buyers should attend the auction in person if they wish to ensure a successful bid. e. Bid by phone The Company will make proper effort to contact the bidder so he can participate in the auction by phone if the prospective buyer make arrangements with the Company prior to the auction. However, the Company will bear no responsibilities to the Seller or any prospective buyer if no contact is made under any circumstances. f. Exchange rate conversion board There will be an exchange rate conversion board operating at some auctions. The exchange rate is calculated at the exchange rate of the one-month future goods reported to the Company from the bank when starting business on the day of the auction. Nonetheless, the auction will still be conducted in HK dollars. The exchange rate conversion board is not absolutely reliable. The accuracy of either the Lot numbering shown on the board or the equivalent of the bid price in any foreign currency is not within the control of the Company. The Company will not be responsible for any losses caused by the reliance of the Buyer on the exchange rate conversion board. g. Recorded images There is image projection in some auctions; however, errors may occur during the operation. The Company is not liable for the color accuracy of the reproduced image and whether the projected image corresponds to the item being auctioned. h. Determining power of the auctioneer The auctioneer has the absolute power to reject any bid, push for bids at his discretion, withdraw any auction items, separate or combine two or more auction items, and if there is any error or dispute, re-auction the items. i. Successful bids Under the discretion of the auctioneer, the fall of the hammer indicates the acceptance of the highest bid price, i.e., the Seller and the Buyer enter into a successful auction agreement.

4. Following the auction a. 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 HK$ 5,000,000 (inclusive), the service fee should be calculated at 18% of the hammer price. (2) For hammer price higher than HK$ 5,000,000, the first HK$ 5,000,000 should be calculated at 18% and the rest of the amount should be 12%. b. Taxes All the payments payable by the Buyer to the Company do not include any government tax, any commodity or service taxes or any other value added taxes. The Buyer should be responsible for paying any applicable taxes as required by the law. c. Payment The Buyer should provide his name and permanent address to the Company upon the successful bid. Relevant bank information should also be provided upon request. All payments due (including the hammer price, service fee and any applicable taxes) should be paid within 7 days following the auction date. The aforesaid provision also applies if the Buyer intends to export the Lot and (may) need the export permit. If the Buyer fails to pay to the Company all the payments due, the Buyer will not acquire the ownership of the Lot even if the Company has delivered such item to the Buyer. If the payment to Ravenel are made in any currency other than HK dollars, the Company will collect from the Buyer any foreign exchange expense incurred therefrom, including bank charges and foreign exchange service fees. The exchange rate of the payments to the Company in any currency other than HK dollars should be the exchange rate reported by the Hongkong and Shanghai Banking Corporation (HSBC) to the Company on the auction date and should be based on the certificates issued by the Company according to such exchange rate. d. Collection of the Lot sold Unless otherwise agreed by the Company, the Company will hold temporarily the successfuly sold Lots until all payments to the Company are made in full. The Lot will be covered by the insurance of the Company from the auction date for 7 days during the temporary holding period. The insurance coverage will terminate upon collection of such item. The Buyer should be responsible for all risks following expiration of the said 7-day period or the collection (whichever is the earlier). e. Packaging and transportation The Buyer is requested to note that he should bear all the risks upon expiration of the said 7 days period or from collection of such items. f. Referral of packaging or transportation companies The shipping department of the Company may act as the agent of the

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Buyer to arrange for delivery. Although we can refer freight forwarders upon special request, the Company will not be held liable for any legal responsibilities in this regard. g. Remedies for non-payment or non-collection of items sold The Company is entitled to exercise one or more of the following rights or remedies if the Buyer fails to make payment within 7 days: (1) An interest at the annual rate of no higher than 10% plus the base interest rate of Hongkong and Shanghai Banking Corporation (HSBC) will be imposed on all of the payment due if payment is not made within 7 days following the auction date. Besides, we have the right of charging also 1% selling price (including of hammer price and the commission) multiplied by the number of delayed days as fine for the default. The payment to be made by the Buyer should offset any payment owed by the Company or its subsidiaries to the Buyer for any other transactions. (2) To exercise lien of any items owned by the Buyer and held by the Company for any purpose. The Company may arrange to sell such items after serving a 14-day notice to the Buyer about his non-payment. The proceeds shall make up for the payment due. (3) If the Buyer owes the Company several payments as a result of different transactions, the payments will setoff any payments due in any particular transaction, regardless of whether the Buyer specifies to setoff such payments. (4) 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 from him. If the Buyer fails to make payment within 35 days, the Company is entitled to exercise the following rights in addition to the aforementioned: (5) To bring legal proceedings against the Buyer on behalf of the Seller to claim the entire payment due and the legal fees resulting from such proceeding based on a total claim. (6) Cancel the transaction of Lots bid by the Buyer or any other auction items sold to the Buyer at the same or any other auctions. (7) To arrange a public or private re-sale of the Lot. If the re-selling price is lower, the difference will be claimed against the Buyer together with any cost incurred as a result of the non-payment by the Buyer. h. No collection of the Lot sold The Company will arrange for the storage of the Lot if such item sold is not collected within 7 days of the successful auction, regardless of payment. Such storage cost will be borne by the Buyer. Only when the storage, shipping, insurance cost and any other expenses together with any other payments due to the Company are paid can the sold Lot be collected. i. Export permit

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Except where otherwise agreed in writing by the Company, the fact that the Buyer's wishes to apply for an export permit does not affect the Buyer's responsibility to make the payments in 7 days; nor does it affect the Company's right to impose interest on delayed payments. If the Buyer requests that the Company applies for the export permit on his behalf, the Company is entitled to collect monies made in connection with such an application and any miscellaneous expenses together with any relevant value added taxes. If the Buyer makes the payment regardless of the fact that an export permit is needed, the Company is not responsible for returning to the Buyer any interest or other expenses incurred therefrom.

5. The legal responsibility of the Company The Company is responsible for returning payment to the Buyer pursuant to Article 6. Otherwise, whether the Buyer, the Company, any employees or agents of the Company will not be held liable for any statements of the author, history, date, year, ownership, authenticity or origin of any auction item or any errors with 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. Any warrantee of any kind shall not be included herein.

6. Return of payments for counterfeits The transaction will be cancelled and payments made will be returned to the Buyer if the Lot of the Company is confirmed to be a counterfeit. However, if: a. The catalogue explanations or the notice at the auction distributed on the auction day corresponds to the opinions generally accepted by the academic or professional fields; b. The method used to prove that the Lot is a counterfeit is a scientific procedure not generally accepted for use before the publication of the catalogue or a procedure unreasonably expensive on the day of the auction, or impractical, or may cause damage to the Lot; the Company is not liable for the return of any payment under any circumstances. In addition, the Buyer's payment can only be refunded when the following terms are met: (1) The Buyer must notify the Company in writing within 10 days following the auction day that he considers the relevant auction item a counterfeit. (2) The Buyer must return the Lot to the Company within the following 14 days and the condition of the item must be the same as on the auction day. (3) Upon returning the Lot, the Buyer must present evidence as soon as possible to convince the Company that the Lot is a counterfeit. The Buyer may also assign the good ownership of the Lot to the Company, which shall not concern any third party claim. Under no circumstances is it necessary for the Company to pay the Buyer an amount more than what the Buyer pays in connection with the Lot and the Buyer can not claim interests.

The interests of the warrantee cannot be assigned and belong solely to the Buyer who receives the original invoice from the Company when the Lot is sold. Such Buyers shall remain the owner of the auction Lot and cannot assign any interest of the Lot to any other person. The Company is entitled to ascertain that the Lot is not a counterfeit based on a scientific procedure or any other procedure, regardless of whether such procedure is being used on the day of the auction. The aforementioned does not apply to coins, medals, jewelry and paintings.

II. The Seller

additional amount will be collected by the Company from the Seller as the shipping insurance. Such amount varies depending on the individual condition of each auction item. The Company will refer a freight forwarder if necessary. However, the Company is not responsible for any legal responsibilities incurred therefrom. The Lot will remain insured up to 7 days after the sale. If the Lot has not been sold, it will be at the Seller's risk upon the expiry of 7 days. We are unable to accept responsibility for damage caused by woodworm or changes in atmospheric conditions.

1. Ravenel as the agent

4. Insurance purchased by the owner

The Company acts as the agent of the Seller at a public auction. The Closing Agreement of the Lot is the agreement by and between the Buyer and the Seller.

If the Seller instructs the Company specifically that it is unnecessary to purchase insurance for the Lot, the risks shall be borne entirely by the Seller until the Buyer makes all the payments. The Seller must indemnify the Company, the employees and agents of the Company and the Buyer (if applicable) any claims in connection with the auction against the Company, the employees and agents of the Company and the Buyer, regardless of the cause of such claim. The Buyer must also pay for the expenses incurred as a result of such claim if requested by the Company, the employees and agents of the Company and the Buyer, even if such expenses are made as a result of negligence by the Company, the employees and agents of the Company and the Buyer without proof of legal responsibility. The Seller must inform the underwriter of the Seller the provision herein.

2. Expenses The Seller shall bear costs relating to the following: a. Packing of the Lot and shipping to the Company for the auction b. Any applicable shipping insurance c. The packaging and shipping if the item is delivered back to the Seller d. Insured under the Company art relic insurance policy (explained in detail later) indicate cohere (we point below) e. Any applicable custom duties f. Catalogue illustrations g. Any repairs made to the Lot as per prior agreement with the Seller h. Framing and mounting i. Authentication made by independent professionals which the Company believes to be necessary in preparing the catalogue explanations. j. Any independent professional opinions which the Company deems proper k. Collect 50% of the insured amount as part of the general expenses of the Company in the event the Lot is not successfully auctioned l. The storage of the Lot after the auction (if applicable) m. The administration cost of the Company reaches 10% of all the expenses incurred as a result of client services provided. n. Any marketing and promotional expenses

3. Insurance coverage to be arranged by the Company a.

Unless otherwise agreed by the Company, the Lot will be automatically insured under the the Company art relic policy in the amount as deemed appropriate by the Company. However, the insured amount is not the amount the Company undertakes to be successfully reached during the auction. The Company will collect 1% of the hammer price from the Seller or 1% of the reserve price if the Lot is not successfully auctioned. If the shipping is arranged by the Company, an

5. Commitments made by the Seller with respect to the Lot The standards for the Company to handle the Lots are provided hereunder. These standards also limit the relationship between the Seller and Buyer. In the event such standards are incorrect in any aspect, the Company or the Buyer may bring legal actions against the Seller. The Company should base the purchase and handling of auction items on the following undertaking made by the Seller: a. The Seller is the only owner of the Lot and has the unlimited right to assign his ownership to the Buyer which should not concern any third party right or claim (including copyright claims). b. The Seller complies with all the laws in connection with the import and export of auction items and any other laws and has notified the Company in writing any failure to comply with such rules in the past. c. The Seller has notified the Company in writing of any major modifications in the Lot to the best of his knowledge and any concern the third party has raised with respect to the ownership of the Lot and the condition. In the event of any inaccuracy of the above a, b and c, the Seller must guarantee, if requested, to indentify fully the Company and/or the Buyer all the claims, costs and expenses arising herefrom, whether caused by the Lot or the auction proceeds.

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6. Auction arrangements a.

The Company has absolute discretion over the description of the auction in the catalogue, display layouts, authentication opinions, location and method of the auction, who will be allowed to bid and the acceptance of the bid price, whether to seek professional opinion and whether to combine or separate the Lots. Any price estimates, whether verbal or written are strictly opinions and shall not serve as a guarantee of the final price for the Lot to be sold. The Seller cannot withdraw the Lot without obtaining consent from the Company. The Company reserves the right to withdraw the Lots for the following reasons. These reasons include: (1) The Company is doubtful about the definition or authenticity of the Lot or the accuracy of the statement referred to in Articles 5a, b. or c. (2) Any violations of the Transaction Agreement. (3) The Company deems it inappropriate to include the Lot in the auction. If the Company or the Seller withdraws the Lot, the Company may charge 40% of the Reserve set by the Seller and the amount equal to the service fee payable to the Company if the auction is successfully sold at the insured amount and applicable value added tax, insurance and other expenses.

7. Auction rules a.

The Company will auction the item according to the Reserve. The Reserve may not be higher than the minimum of the estimates set in the catalogue except otherwise if the Reserve agreed is in a currency other than HK dollars and the Reserve is higher than the minimum of the estimates caused by the exchange rate fluctuation between the Reserve agreement day and the auction day. Under such circumstances, except where otherwise agreed by the Company, the Reserve shall be in HK dollars calculated by the exchange rate at the closing of the market the day immediately before the successful auction. If the bid price is lower than the Reserve, the Company is in no way to be held liable; however, the Company is entitled to auction the item at a price lower than the Reserve. If the Company so auctions the item, the Company is responsible to pay the Seller the difference between the closing price and the Reserve. The Seller may not increase the price of sale without fair reasons, nor participate in the bidding of his/her/its auction item(s), however, Ravenel is authorized to bid on behalf of the Seller at the price not higher than the Reserve Price.

8. After the successful auction a. Settlement Upon the successful auction, the Company will request the Buyer to make full payment no later than within 15 days, including the compensation payable by the Buyer. Upon payment by the Buyer, unless the Company receives a notice claiming such auction item is a counterfeit (as defined in Article 1 of the Transaction Agreement),

194

the Company will remit to the Seller within 60 days following the successful auction day an amount equal to the closing price taking away all the expenses payable by the Seller. In the event the Buyer delays the payment, the Company will remit to the Seller within 7 days following the payment by the Buyer. If for any reason the Company pays the Seller before the Buyer makes his payments, the Company acquires the full ownership of the item. However, if the Company is forced to reclaim the Lot from the Buyer because such item is a counterfeit, the Seller must return the auction proceeds to the Company. Unless otherwise instructed by the Seller in writing, the Company will make its payment in HK dollars. If the Seller requests to pay in currencies other than HK dollars, the exchange rate should be according to what the Hongkong and Shanghai Banking Corporation (HSBC) reports and the Company announces on the auction date. b. Non-payment by the Buyer If the Buyer fails to make all the payments due within 35 days following the auction day, the Company is entitled to negotiate special terms in connection with the payments, storage, and insurance on behalf of the Seller and act as deemed necessary by the Company to collect payments payable from the Buyer. However, the Company is not responsible for making remittance to the Seller nor for bringing any legal actions on behalf of the Seller. The Company will discuss with the Seller to adopt appropriate actions to claim auction payments from the Buyer. c. Counterfeits If the Buyer convinces the Company that the Lot is a counterfeit (as defined in Article 1 of the Transaction Agreement) within 10 days following the auction day, then (1) If the Buyer has not paid all or part of the payment, the Company is entitled to call off the transaction and/ or (2) If the Company at that time has paid all or part of the payments payable to the Seller, the Seller must return all the payments made to the Company if requested. The Company will exercise lien for the latter. Any items belonging to the Seller under control of the Company will be kept as security of the payments to be returned. d. Items not successfully auctioned Any items not successfully auctioned, not included in the auction or withdrawn from the auction for any reason must be collected by the Seller within 35 days upon notification by the Company to the Seller that he must reclaim the Lot. A storage fee of HK$300 per day per piece will be imposed on each item not collected after such 35 day period together with an additional charge for purchasing insurance coverage. The Seller may not reclaim such item until all the payments due are made. Such items may be removed to a third party warehouse if not collected in 60 days after the notification of collection is issued. The expenses arising therefrom shall be borne by the Seller.The Company may dispose of the Lot in the manner it deems appropriate if such item is not collected within 90 days following the auction date or the notice date (whichever is the earlier). Such disposal includes

removing the item to a third party warehouse with the associated expenses borne by the Seller and to auction such items under terms deemed appropriate by the Company (including the terms of estimates and the Reserve). The Company will pay the Seller the auction proceeds after payments owed are offset. The Company is authorized to act as the sole agent of the Seller within 2 months following the auction for any auction item withdrawn from the auction or not sold. The Company may auction in private the item based on the net amount the Seller may receive (the amount after deducting all the expenses payable by the Seller) or sell such item in private at a lower price agreed upon by the Company and the Seller. Under such circumstances, the Seller's responsibilities and liabilities to the Company are the same as during an auction.

9. Photographs and display The Company owns non-exclusive rights to the photographs, recordings and other reproduced images of the Lot. All the rights of such images shall belong to the Company and the company is entitled to use such images in any manner it deems appropriate.

10. Other Matters a. Taxes The payments payable by the Seller to the Company does not include any commodity or service tax or any other value added tax (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. b. Electrical and mechanical parts The Seller must be responsible for maintaining the safe operating condition of the electrical and mechanical parts of the Lots. The Seller must return to the Company all the claims, costs and expenses arising out of any violation of the said guarantee and warrantee by the Seller. There are other special additional conditions apply to this provision. The relevant conditions are available at the Company.

III. Definition Some of the phrases commonly seen herein are defined as follows: 1. "The Buyer" shall mean highest bidder accepted by the auctioning party. 2. "The Lot" shall mean the item delivered to the Company to be sold in an auction, especially the single or multiple pieces of items numbered in the catalogue. 3. "Hammer price" shall mean the highest bid with respect to one particular auction item accepted by the auctioning party. 4. "Compensation paid by the Buyer" shall mean the fee based on a certain percentage of the Hammer price paid by the Buyer; the percentage shall be as prescribed in Article 4a, section¢π. 5. "The Reserve" shall mean the lowest price agreed by the Company and Seller. the Lot cannot be sold at a price lower than such price.

"Counterfeit" shall mean the Lot constitutes imitation and the original concept of the imitation and its overall execution result in fraud to cause deception in connection with the author, history, year, age, culture or origin of the Lot, for which the accurate description is not reflected in the catalogue and the value of the Lot on the auction day is far less than the value it should have according to the description in the catalogue. Therefore, no auction item will become a counterfeit as a result of any damage and/or any repairing in any manner (including repaints). "Insured amount" shall mean the value of the insurance purchased for the Lot which the Company considers necessary under its absolute power from time to time (regardless whether such insurance is purchased by the Company).

IV. Terms applicable to both the Buyer and the Seller 1. Copyright The copyright of all the images, photographs and written material in connection with the Lot shall maintain and belong to the Company at any time. The Buyer or any person may not use such items without obtaining prior written consent from the Company.

2. Notices All the notices distributed according to the Transaction Agreement herein shall be made in writing. Any notice shall be deemed served to the recipient on the second day following delivery if sent by mail. If the recipient is abroad, the notice shall be deemed served on the fifth working day following delivery by mail.

3. Severability If any part of the Transaction Agreement is deemed invalid, illegal or unenforceable by any court, such part can be ignored and the rest of the Transaction Agreement continues to be valid and enforceable to the maximum extent permitted by the law.

4. Jurisdiction The Transaction Agreement are governed under the Hong Kong laws and the interpretation and effect of the Rules shall be subject to the laws of Hong Kong. The Buyer and Seller shall submit themselves to the exclusive jurisdiction of the Hong Kong courts for the interests of the Company.

195

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，亦作為賣

色調，或揭示其缺陷。拍賣價格之估計，不應依據為拍賣品會

家之代理人與買家訂立合約之條款。買家及賣家務須細讀各項

成功拍賣之價格或拍賣品作其他用途之價值陳述。

規則。買家請特別留意第5條，其對本公司之法律責任作了限

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

定。

內有些說明或鑑定意見書會提述拍賣品之損壞及 ™或修整資料。此等資料僅作為指引而已，如未有提述此等資料，亦不表

Ⅰ.買家

示拍賣品並無缺陷或修整，如已提述特定缺陷，亦不表示並無其他缺陷。

1. 羅芙奧(以下稱本公司)作為代理人作為拍賣人，本公司以作為賣方代理人之身分行事。除另行協

d. 買家之責任

定外，在本公司之拍賣中成功拍賣之物品，即產生賣家通過本

有關物品之狀況以及目錄說明所提述之事項，買家有責任弄清

公司之代理與買家達成之合約。

楚並確使自己感到滿意。

2. 拍賣前

3. 拍賣時

a. 鑑定物品

a. 拒絕入場

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趣

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

競投之物品。本公司除就膺品（如本業務規則第Ⅲ項所界定

場地進行，本公司具有完全之決定權，可行使權利拒絕任何人

者）作出之證明外，不對買家作任何保證。

進入拍賣場地或參與拍賣。

b. 拍品狀況之重要注意事項

b. 競投之前作出登記

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

每一準買家在作出競投之前，必須填妥及簽署登記表格，並提

描述，皆已提及顯著的損壞，惟不包括所有的缺陷、瑕疪與不

供身分證明。準買家應注意，本公司通常會要求對買家作出信

完整。羅芙奧恕無保證任何拍賣腕錶處於良好運作狀態，同時

用核查。

目錄中任何拍賣品之描述皆不應視為如此。對任何拍賣品之描述亦不應視作表示其無經過重整或修理，亦不應視作對拍賣品

c. 競投者為買家

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

除非登記時已書面協定，競投者將為代第三人行事之代理人，

鑑定的缺乏，並不代表拍賣品是為良好狀態、運作正常或可享

而該第三人為本公司所接受者，否則競投者將被視為買家而須

有免費修復或更換機件。

承擔個人法律責任。

本公司鄭重建議，準買家在拍賣進行之前，對於有興趣競投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檢

d. 委託競投

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

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投，

供拍品特性與狀況之意見，惟本公司並不是專業鐘錶修復者，

本公司將盡適當努力代其競投，但代為競投指示須於拍賣前送

因此任何在目錄中所列出的陳述是為純粹本公司的主觀意見。

抵本公司。如本公司就某一拍賣品而收到多個委託競投之相等

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類

競投價，而在拍賣時此等競投價乃該拍賣品之最高競投價，則

型，因此不應假定其仍為防水狀態。建議買家應在使用前安排

該拍賣品會歸其委託競投最先送抵本公司之人。委託競投之承

經由具資格的鐘錶匠檢查該等手錶。

擔受拍賣時之其他承諾所限，而拍賣進行之情況可能使本公司

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更

無法代為競投。由於此項承擔乃本公司為準買家按所述條款提

換，因此我們不保證任何拍賣品的單一組成零件之確實性。所

供之免費服務，如未能按委託作出競投，本公司將不負任何法

有的拍品一致以「現狀」售出。本公司對於任何拍出之狀態不

律責任。準買家如希望確保競投成功，應親自出席競投。

作代表或保證，除非另有註明，否則將不提供保單。 e. 電話競投 c. 目錄說明

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聯

本公司於目錄或鑑定意見書內對任何拍賣品之作者、來歷、日

絡競投者，使其能以電話參與競投，但在任何情況下，如未能

期、年代、尺寸、材質、歸屬、真實性、出處、保存狀況或估

聯絡，本公司對賣家或任何準買家均不負任何責任。

計售價之陳述，或另行對此等方面之口頭或書面陳述，均僅屬意見之陳述，不應依據為確實事實之陳述。目錄圖示亦僅作為

f. 匯率轉換顯示板

指引而已，不應作為任何拍賣項目之依據，藉以決定其顏色或

在有些拍賣中，會有一具匯率轉換顯示板操作。匯率按拍賣日

196

當天銀行開市時向本公司報出之一個月期貨匯率計算。然而競

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功

投仍會以港幣進行。匯率轉換顯示板並非時常可靠，不論是顯

拍賣之拍賣項目，直至欠本公司之款項已悉數支付為正。拍賣

示板所示之拍賣品編號或是港幣競投價之相等外匯，其準確程

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

度均可能會出現非本公司所能控制之誤差。買家因依賴匯率轉

司之保險，如屆時拍賣品已被領取，則受保至領取時為止。七

換顯示板（而非因以港幣競投）所導致而蒙受之任何損失，本

天期滿後或自領取時起（以較早者為準），拍賣品之風險全由

公司概不負責。

買家承擔。

g. 錄映影像

e. 包裝及搬運

在有些拍賣中會有影像投射，但其操作或會出現錯誤。不論影

本公司謹請買家注意，七天期滿後或自領取時起，拍賣品之風

像是否與成功拍賣之拍賣品相配合，或是翻版影像之質素，本

險全由買家承擔。

公司對買家均不負任何責任。 f. 介紹裝運及運輸公司 h. 拍賣官之決定權

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

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

在特別要求下本公司可介紹承運人，但本公司在此方面不負任

推動出價、將任何拍賣品撤回或分批、將任何兩件或多件拍賣

何法律責任。

品合併，以及如遇有誤差或爭議，將拍賣品重新拍賣。 g. 不付款或未有領取已購拍賣品之補救辦法 i. 成功競投

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項

在拍賣官之決定權下，下槌即顯示對最高競投價之接受，亦即

權利或補救辦法：

為賣家與買家之成功拍賣合約之訂立。（1）在拍賣日期後超過七天仍未付款，則按不超過香港匯豐

4. 拍賣後

銀行基本利率加10%之年利率收取整筆欠款之利息。此外

a. 買家支付每件拍品之服務費率

本公司可同時按日收取依賣價（含佣金）1％計算之違約

（1）買家除支付落槌價外，另須支付服務費予本公司，落槌價

金。將買家未付之款項，用以抵銷本公司或其他附屬公司

於港幣伍佰萬元以下者含港幣伍佰萬元以18％計算。（2）落槌價於港幣伍佰萬元以上者分為二級，其中港幣伍佰萬

在任何其他交易中欠下買家之款項。（2）對任何屬於買家所有而因任何目的而由本公司管有之物品行使留置權，並在給予買家有關其未付之欠繳之14天通知

元以18％計算，超過港幣伍佰萬元之部份以12％計算。

後，安排將該物品出售並將收益用以清償該未付之欠款。 b. 稅項

（3）如買家因多項不同之交易而欠下本公司數筆款項，將所付之款項用以清償就任何特定交易而欠下之任何款項，而不

買家應付予本公司之所有款項均不包括任何國家或地區稅賦、

論買家是否指示用以清償該筆款項。

貨物或服務稅或其他增值稅。如有任何此等稅項適用，買家須負責按有關法律所規定之稅率及時間繳付此稅款。

（4）在將來的任何拍賣中，拒絕買家作出或由他人代其作出之競投，或在接受其任何競投之前先收取買家一筆保證金。

c. 付款

如買家未有在三十五天內付款，本公司除上述者外，另有

成功拍賣後，買家須向本公司提供其姓名及永久地址。如遇要求，亦須提供付款銀行之詳情。然後於拍賣日期後七天內悉數支

權：（5）代賣家針對買家進行法律程序，以追討整筆欠款，連同此

付所欠款項（包含落槌價、拍賣支付之酬金，以及任何適用之增值稅）。即使買家希望將拍賣品出口並需要（或可能需要）出口

項以悉數賠償為基準之法律程序之訴訟費。（6）取消同一次或任何其他拍賣中買家競投得之拍賣品或任何

許可證，此一付款條件亦適用。

其他售予買家之拍賣品之交易。

買家如未向本公司支付所欠之全部款項，則不能取得拍賣品之所

（7）安排將拍賣品公開或私下重售，如重售所得價格較低，就

有權，即使本公司已將拍賣品交付予買家亦然。如支付予本公司

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

之款項為港幣以外之貨幣，本公司將向買家收取所引致之任何外

償。

匯費用。這包括銀行收費與兌換貨幣之規費及匯差。以港幣以外之貨幣付款予本公司之匯率，依拍賣日現場公佈之匯率（香港匯

h. 未有領取已購拍賣品

豐銀行），並以本公司就此兌換率而發出之憑證為準。

如已購得之拍賣品未有在成功拍賣後七天內領取，則不論是否已付款，本公司將安排貯存事宜，費用由買家承擔。而只在所

d. 領取已購拍賣品 197

引起之貯存、搬運、保險及任何其他費用，連同欠本公司之所

本條件不適用於硬幣、獎牌、珠寶及畫。

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實，

1. 羅芙奧（以下稱本公司）作為代理人

並不影響買家在七天內付款之責任，亦不影響本公司對延遲付

本公司在公開拍賣會中，為賣家之代理人身份。拍賣品的成交

款收取利息之權利。

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值

2. 開支

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，本公司並無

a. 將拍賣品包裝並運予本公司作拍賣。

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，對任何

f. 目錄插圖費用。

拍賣品之作者、來歷、日期、年代、歸屬、真實性或出處之陳

g. 預先與賣家協定之對拍賣品作出之任何修整。

述，或任何其他說明之誤差，任何拍賣品之任何毛病或缺陷，

h. 裝框、裱畫之費用。

均不負有任何責任。買家、本公司、本公司之僱員或代理人，

i. 本公司相信為擬定目錄說明需由外界專家作出之鑑定。

均無就任何拍賣品作出任何保證。任何種類之任何擔保，均不

j. 本公司相信為適當之任何外界專家意見。

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，作為本公司一般開支之分擔額。

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，已付之

m. 本公司之行政費用，數目為因閣下而引致之一切費用之

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

10%。 n. 任何市場推廣費用。

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，只是一種在目錄

3. 由本公司安排保險事宜

出版前仍未普遍獲接納使用之科學程序，或是一種在拍賣日仍

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藝

屬昂貴得不合理或並不實際或很可能會對拍賣品造成損壞之程

術精品保險單，保額為本公司當時認為適當者。然而保額並

序，則本公司無論如何並無責任退還任何款項。此外，買家只

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。如由本公

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，說明買家

司安排運送，本公司將向賣家收取額外款項，作為運送保險

認為有關拍賣品乃膺品；

費，款額視每宗拍賣品之特定情況而定。如有需要，本公司

（2）買家隨後必須在十四天內將拍賣品送還本公司，而其狀況

亦會建議介紹承運人，但本公司不承擔任何有關此方面之法

與拍賣當日相同；及

律責任。

（3）送還拍賣品後，買家須盡快出示證據，足以使本公司確信拍賣品乃膺品，買家並可將拍賣品之良好所有權轉讓予本公司，而與任何第三人之索償無涉。在任何情況下，本公司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

c. 拍賣品在拍賣後七天內保險仍然有效。如拍賣品未能成功拍賣，逾期後風險全由賣家承擔。 d. 由蛀木蟲或空氣情況轉變而對拍賣品造成之損壞，本公司概不承擔法律責任。

不能索取利息。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

4. 物主購買保險

司發給正本發票之買家所有，該名買家並須自拍賣後一直保持

如賣家特別指示本公司毋須為拍賣品購買保險，風險全由賣家

拍賣品擁有人之身分，而且並無將拍賣品之任何利益讓予任何

承擔，直至買家付清款項為止。賣家須保障本公司、本公司之

第三人。本公司有權依據任何科學程序或其他程序確定拍賣品

僱員與代理人，以及買家（如適用）免負因拍賣品而針對本公

並非膺品，不論該程序在拍賣當日是否已使用或已在使用。

司、本公司之僱員與代理人，以及買家索償之賠償責任，而不

198

論索償因何引起。賣家亦須應本公司、本公司之僱員與代理人，以及買家所要求而償還因此種索償而引致之開支，縱使本

7. 拍賣守則

公司、本公司之僱員與代理人，以及買家有疏忽之處，而未證

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印

明有任何法律責任而作出之付款，亦須償還。賣家須將本條條

估價之下限，但如所同意之底價為港幣以外之貨幣，並因協

款告知賣家之承保人。

定底價之日與成功拍賣之日上匯率波動而致底價高於估價下限，則不在此限。在此情況下，除本公司另行同意外，底價

5. 賣家就拍賣品所作之承諾

須為相等於以緊接成功拍賣前一個工作天之收市匯率計算之

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家

港幣款項。如競投價不能達到底價，本公司在任何情況均不

之間的關係。如此基準在任何方面有不確實之處，本公司或買

負有任何責任。但本公司有權將拍賣品以低於底價拍賣。如

家可採取針對賣家之法律行動。本公司處理拍賣品及購買拍賣

本公司如此將拍賣品拍賣，本公司將有責任向賣家支付成交

品，均以賣家所作之下述承擔為基準：

價與底價之差額。 b. 賣家不得隨意哄抬價格，不得參與競標標的作品，亦不得聘

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限

請任何人代賣家參與競投，唯本公司有權代賣家以不超過底

制權利，並與一切第三人權利或索償（包括版權索償）無

價之價格參與競投。

涉：

8. 成功拍賣後 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之

a. 結算

規定，並已將過去任何第三人未能遵守此等規定之事以書面

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

通知本公司；

買家應付之酬金。在買家付款後，除非本公司收到通知謂拍賣品為膺品（如本業務規則第Ⅲ項所界定者），否則，本公司會

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就

於成功拍賣日期後60天，將一筆相等於成交價減去賣家應支付

拍賣品之所有權、狀況或歸屬所表示之任何關注之書面通知

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

本公司。

在買家付款後七天內匯款予賣家。如因任何理由而使本公司在

如上述a.、b.及c.有任何不確實之處，賣家須應要求保證完全

買家付款前即已付款予賣家，則本公司即獲得拍賣品之完整之

償還本公司及 ™或買家一切因之而引起之索償、費用或開

擁有權與所有權。但在本公司因拍賣品為膺品而被迫向買家收

支，而不論是因拍賣品還是因拍賣收益而引起。

回拍賣品下，賣家方須將已收取之拍賣收益退還予本公司。除賣家另有書面指示外，本公司將以港幣付款。如賣家要求以

6. 拍賣安排

港幣以外之貨幣付款，依拍賣現場公佈之匯率計算（香港匯豐

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

銀行）。

賣地點與方式、讓何人進場競投以及競投價之接受、是否應尋求專家意見，以及將物品合併或分開拍賣等均有完全之決

b. 買家不付款

定權；

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

b. 任何估價，不論口頭或書面，均只屬意見，而非拍賣品最終可賣得的價錢之保證。

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）本公司

c. 膺品

對拍賣品之界定或真實性或上述第5a.、b.或c.條所指陳述之準

如在拍賣日期後十日內，買家使本公司相信拍賣品為膺品（如

確性有懷疑；（2）有任何違反業務規則之情況；或（3）本

本業務規定第Ⅲ項所界定者），則（1）如買家尚未支付應付之

公司相信將拍賣品納入拍賣並不適當。

全部款項，本公司有權取銷交易，及 ™或（2）如本公司屆時已向賣家支付應付予賣家之全部或部份款項，則賣家須應要求將

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

已付款項悉數退還本公司。在後一情況下，本公司將行使留置

40%之費用，另加一筆相等於如拍賣品按保險值成功拍賣本

權，將在本公司控制下之屬於賣家之任何物品留置作應退還款

公司應得之服務費之款項，以及任何適用之增值稅與保險費

項之擔保品。

和其他開支。

199

d. 未能成功拍賣之拍賣品

2. 「拍賣品」：指交予本公司以供拍賣出售之物品，尤其在任

任何拍賣品如未能成功拍賣，或不包括在拍賣之內，或因任何理由而撤回拍賣，則在本公司發出通知予賣家要求賣家領回拍賣品之35天內，賣家必須領回拍賣品。任何此等拍賣品如在35 天過期後仍未領回，則每天每件將徵收港幣300元貯存費，並收取額外費用以購買保險。賣家須在付清所有未付費用後，方可領回拍賣品。此等拍賣品如在發出領回通知後60天仍未領回，則可被移往第三人之貨倉貯存，開支費用由賣家承擔。

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付之費用；收費率如Ⅰ項第4a條所列。 5. 「底價」：指本公司與賣家協定之最低價格，拍賣品不能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（比較早之日期為準）未被領回，則本公司可視乎是否合適而將該

「膺品」：指拍賣品構成模仿，而模仿之原構想

及其整體執行均具有欺詐意圖，以就拍賣品之作者、來歷、

拍賣品處置。處置包括將拍賣品移往第三人之貨倉而開支費由

年代、時期、文化或來源進行欺騙，而對此等事項之正確描

賣家承擔，以及將該拍賣品按本公司認為適當之條款（包括有

述並未在目錄之描述上反映出來，而拍賣品在拍賣當日之價

關估計與底價之條款）公開拍賣。本公司其後會將拍賣收益扣

值，遠低於按照目錄之描述所應有之價值。按此定義，任何

除所有欠款後支付予賣家。

拍賣品均不會因為有任何損壞及 ™或任何形式之修整（包括

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，按賣家可收取之淨款額（即扣除賣家應付之一切費用後之款額），私下出售

重新上漆）而成為膺品。 7. 「保險值」：指本公司不時按其絕對決定權認為拍賣品所應購買之保險之價值（不論保險是否由本公司安排購買）。

拍賣品，或按本公司與賣家另行同意之較低價格私下出售。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

Ⅳ.買家與賣家均適用之條件

品成功拍賣時一樣。

1. 版權 9. 圖片與圖示

與拍賣品有關之一切影像、圖示與書面材料之版權，於任何時

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他

候均屬於本公司之財產。未得本公司事先書面同意，買家或任

性之權利。此等影像之一切權利均屬本公司所有，且本公司有

何人均不得使用。

權以任何本公司認為適合之方式使用之。

2. 通知 10.其他事項

根據本業務規則發出之通知，均須以書面發出。如採用郵遞發

a. 稅項

出，則在付郵後第二個工作天即當作已由收件人收妥；如收件

賣家應付本公司之所有款項均不包括任何國家或地區稅賦、貨

人在海外，則為付郵後第五個工作天。

物或服務稅或其他增值稅。如有任何此等稅項適用，賣家須負

3. 可分割性

責按有關法律規定之稅率及時間繳付此等稅款。

如本業務規則有任何部份遭任何法院認定為無效、不合法或不 b. 電氣及機械部件

可強制執行，則該部分可不予理會，而本業務規則之其他部份

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件

在法律許可之最大範圍內須繼續有效及可強制執行。

處於安全操作狀況。賣家須全部償還本公司一切因賣家違反上

4. 法律及管轄權

述保證及擔保而引起之索價、費用或開支。

本業務規則受香港法律規限，本業務規則之解釋與效力均適用 c. 汽車、硬幣、郵票、酒類與槍械

香港法律。為本公司之利益而言，賣家與買家須服從香港法院

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

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： 1. 「買家」：指本拍賣公司所接受之出價最高之人。

200

ABSENTEE BID FORM The absentee bid forms must be delivered to the Customer Service Department at least 24 hours before the auction begins. The bid forms may be faxed to: Customer Service Department Tel: +852 2525 7699, +852 6048 8777 Fax: +886 2 2701 3306

Auction Date

RAVENEL AUTUMN AUCTION 2008 HONG KONG Modern and Contemporary Asian Art Monday 1 December 2008 at 11:30am

Location

Four Seasons Hotel Hong Kong - Four Seasons

Grand Ballroom

Address

8 Finance Street, Central, Hong Kong

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 HK$ 5,000,000 (inclusive), the service fee should be calculated at 18% of the hammer price; (2) For hammer price higher than HK$ 5,000,000, the first HK$ 5,000,000 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 (HK$) (excluding service fee)

Title

Bank Reference Approval Name of the bank Address of the bank MODERN

Name of the account Account number Contact of the bank Tel. No.

CONTEMPORARY

ART

Ravenel Fine Arts Limited 75/F, Two International Finance Centre, 8 Finance Street, Central, Hong Kong Tel: +852 2525 7699 +852 6048 8777 www.ravenelart.com

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

拍賣名稱：羅芙奧香港2008秋季拍賣會

格可傳真至：

客戶服務部：

香港拍賣日期：2008年12月1日（星期一）上午11:30

電話：+852 2525 7699, +852 6048 8777

拍賣地點：香港四季酒店（四季大禮堂）

傳真：+886-2-2701 3306

地址：香港中環金融街8號

「亞洲現代與當代藝術」

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，落槌價於港幣伍佰萬元以下者含伍佰萬元以18％計算；（2）落槌價於港幣伍佰萬元以上者分為二級，其中港幣伍佰萬元以18％計算，超過港幣伍佰萬元之部份以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）

競投價（港幣）（服務費不計在內）

名稱

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

睿芙奧股份有限公司香港中環金融街8號國際金融中心二期75樓 75/F, Two International Finance Centre, 8 Finance Street, Central, Hong Kong Tel : +852 2525 7699 +852 6048 8777 www.ravenelart.com

RAVENEL AUTUMN AUCTION 2008 Hong Kong - Modern and Contemporary Asian Art Chairman

Arthur Wang

President Clara Kuo

Editorial Boards: Flora Fu Art Director Odile Chen Editor & Writer Maggie Lin, Chiara Lee, Stephanie Lee Executive Editor Printed in Taiwan © November 2008, Ravenel Ltd.

羅芙奧香港2008秋季拍賣會—亞洲現代與當代藝術董事長

王鎮華

總經理

郭倩如

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MODERN

CONTEMPORARY

ART

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