Ravenel Autumn Auction 2008 Taipei 羅芙奧台北2008秋季拍賣會 by Ravenel International Art Group

AUTUMN AUCTION 2008 TAIPEI

RAVENEL AUTUMN AUCTION 2008 TAIPEI 20th & 21st Century Chinese Art Japanese & Korean Contemporary Art AUCTION Sunday, December 7, 2008, 2:30pm – 7:30pm Fubon National Conference Center B2, No. 108, Section 1, Tun-Hwa South Road, Taipei, Taiwan

PREVIEWS

Taichung Saturday, November 8 – Sunday, November 9, 2008, 1:00pm – 7:00pm GSR Gallery 1F, No. 83, Gong Zheng Road, Taichung, Taiwan

Hong Kong Friday, November 28, 2008, 1:00pm – 7:30pm Saturday, November 29, 2008, 10:00am – 7:30pm Grand Hyatt Hong Kong – The Residence 1 Harbour Road, Wanchai, Hong Kong

Taipei Friday, December 5 – Saturday, December 6, 2008, 10:00am – 7:00pm Fubon National Conference Center B2, No. 108, Section 1, Tun-Hwa South Road, Taipei, Taiwan

MODERN

CONTEMPORARY

ART

As requested by the Buyer, we are delighted to offer the condition reports of all the auction items, provided, however, such items will be sold “as is”. In addition, the Buyer is requested to take note of the transaction agreement and the explanations of the provisions regarding the notice of noguarantee. This auction catalogue: NT$2,000 per copy

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100738

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Estimates

9868

The prices in US dollars or other currencies reproduced in the auction and this catalogue are for reference only. The Buyer is requested to pay by New Taiwan dollars or other foreign currencies in its equivalency based on the exchange rate of the payment day.

羅芙奧台北2008秋季拍賣會 20 與 21 世紀華人藝術日韓當代藝術拍賣日期/地點 2008年12月7日（日） PM 2:30至PM 7:30 富邦人壽大樓國際會議中心台北市敦化南路一段108號B2

預展日期/地點台中 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樓香港 2008年11月28日（五）PM 1:00至 PM 7:30至11月29日（六） AM 10:00至PM 7:30 香港君悅酒店（君寓）香港灣仔港灣道1號台北 2008年12月5日（五）至12月6日（六） 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

MODERN

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2286

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郵遞區號：100738

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Remarks: If you are unable to attend the auction in persons, you may tender the bid by phone or you may use the bidding forms attached at the back of the auction catalogue to tender your bid.

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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

20th & 21st Century Chinese Art, Japanese & Korean Contemporary Art 20與21世紀華人藝術日韓當代藝術

280

Artist Biographies / 藝術家簡歷

320

Transaction Agreement / 業務規則

331

Absentee Bid Form / 委託競投表格

Front Cover: Lot 292 Inside Cover: Lot 293 Opposite: Lots 248

B BAHK Seon Ghi

朴善基

300

CAI Guo Qiang CAI Zhisong CANG Xin CHANG Chih-cheng Chang-Ling George CHANN CHEN Baoyi CHEN Ke

蔡國強蔡志松蒼鑫張志成常陵陳蔭羆陳抱一陳可

254, 293, 294, 295 280 327 212 271 253 238 343

CHEN Liu CHEN Yi-Lang CHIANG Paul CHIU Ya-tsai CHU Teh-chun CHUANG Che CUI Xiuwen

陳流陳義郎江賢二邱亞才朱德群莊喆崔岫聞

274 319 209 314, 315 251, 252 213, 215, 224, 243 330

丁方

233

D DING Fang

傅慶豊

204

高瑀郭偉

342, 346 279

河相林長谷川淳何軍何森何偉何文玦洪磊洪凌侯俊明

298 310 283 278 257 275 329 230 216

G GAO Yu GUO Wei

H HA Sang-Rim Jun HASEGAWA HE Jun HE Sen HE Wei HE Wenjue HONG Lei HONG Ling HOU Chun-ming

侯慶黃鋼黃敏俊黃柏仁黃宇興黃楫黃銘哲

265 282 318 332 259 218 217

飯田祐子

308

詹金水賈剛朱銘

225 262 241, 250, 256

郭振昌柯錫杰鴻池朋子郭維國權奇秀

220 328 304, 306 210 297

李邦耀李超士李真李繼森李光裕李磊廖繼春連建興林建榮林風眠林俊慧劉國松陸先銘羅爾純羅發輝羅中立

331 227, 228 286, 296 261 321 273 246 205, 219 333 239 339 236 203, 206, 211 223 202 285

I Yuko IIDA

J JAN Chin-shui JIA Gang JU Ming

K J. C. KUO KO Si Chi Tomoko KONOIKE KUO Wei-kuo KWON Ki-soo

F Alixe FU

HOU Qing HUANG Gang HUANG Mingchun HUANG Po-Ren HUANG Yuxing HWANG Jyi Michell HWANG

LI Bangyao LI Chaoshi LI Chen LI Jisen LI Kuang-yu LI Lei LIAO Chi-chun LIEN Chien-hsing LIN Chien-Jung LIN Fengmian LIN Jun Hui LIU Kuo-sung LU Hsien-ming LUO Erchun LUO Fahui LUO Zhongli

M MA Liang MA Liuming MAO Xuhui Hiroyuki MATSUURA MIAO Xiaochun

X 馬良馬六明毛旭輝松浦浩之繆曉春

323 324 234 301, 311 325, 326

XIA Junna XIANG Qinghua XIONG Yu XU Jiang XUE Song

夏俊娜向慶華熊宇許江薛松

258 268 336, 341 237 266

YANG Chihung YANG Din YANG Mao-lin YANG Ren-ming YANG San-lang YANG Xiaobing Yuyu YANG YIN Kun YIN Qi YU Shenghao

楊識宏楊登雄楊茂林楊仁明楊三郎楊小兵楊英風尹坤尹齊俞成浩

242 263 312 316 235, 245 264 232, 240 267, 322, 347 337 270

ZAO Wou-ki ZENG Fanzhi ZHANG Handong ZHANG Hongtu ZHANG Hui ZHANG Jian ZHANG Linhai ZHANG Xiaogang ZHOU Chunya ZHU Yan

趙無極曾梵志張漢東張宏圖張慧章劍張林海張曉剛周春芽朱岩

Y Atsushi NAKAYA Yoshitomo NARA

中矢篤志奈良美智

305 302

龐均彭光均

231 334

祁海平瞿廣慈

255, 340 281

P PANG Jiun PENG Kuan-jun

Q QI Haiping QU Guangci

R REN Sihong REN Zhe Ayako ROKKAKU

任思鴻任哲六角彩子

269 320 303

Daisuke SAMEJIMA SANYU SHI Dong Won SHI Lei SHIY De-jinn SU Wong-shen SZETO Lap

鮫島大輔常玉申東媛石磊席德進蘇旺伸司徒立

309 249 299 313, 338 214, 244 207, 208 226

Lyntalo TORII TSONG Pu TU Hongtao TU Ke

鳥井林太郎莊普屠宏濤涂克

307 317 276 221, 222

王懷慶王煒韋嘉武明中

248 201 344 345

W WANG Huaiqing WANG Wei WEI Jia WU Mingzhong

247 287, 291 272 229 335 277 284 292 288, 289, 290 260

201

WANG Wei (b. 1942)

Diary 1. 2. 3 2005 Oil on canvas 50 x 40 cm (x3) Signed lower right Wang Wei in Chinese and dated 2005 Titled on the reverse Diary 1 and signed Wang Wei in Chinese, dated 2005 (upper) Titled on the reverse Diary 2 and signed Wang Wei in Chinese, dated 2005 (middle) Titled on the reverse Diary 3 and signed Wang Wei in Chinese, dated 2005 (lower)

NT$ 110,000-180,000 US$ 3,400-5,600 HK$ 27,000-44,000

王煒日記1.2.3 2005 油彩畫布 50 x 40 cm (x3) 簽名右下：王煒 2005 簽名畫背：日記1 王煒 2005 (上) 簽名畫背：日記2 王煒 2005 (中) 簽名畫背：日記3 王煒 2005 (下)

202

LUO Fahui (b. 1961)

Rose 2002 No. 35 & Rose 2000 No. 5 2002 (White) 2000 (Black) Oil on canvas 45 x 38 cm (White) 46 x 38 cm (Black) Signed lower right Luo Fahui in English and Chinese, dated 2000 (Black)

NT$ 100,000-220,000 US$ 3,100-6,900 HK$ 24,000-54,000

羅發輝玫瑰 2002 No.35 & 玫瑰 2000 No.5 2002 (白) 2000 (黑) 油彩畫布 45 x 38 cm (白) 46 x 38 cm (黑) 簽名右下：2000 Luo Fahui 羅發輝 (黑)

203

LU Hsien-ming (b. 1959)

Cement Truck 1999 Oil on canvas 72 x 52 cm Signed lower left Hsien-ming in Chinese and dated '99.1

NT$ 180,000-300,000 US$ 5,600-9,400 HK$ 44,000-73,000

陸先銘水泥車 1999 油彩畫布 72 x 52 cm 簽名左下：先銘 '99.1

204

Alixe FU

傅慶豊羊神

(b. 1961)

Pan 1994 Oil on canvas 100 x 81 cm Signed lower right Alixe FU in English and dated 94

ILLUSTRATED: Alixe Fu, Taiwan Gallery, Taipei, 1994, color illustrated, p. 31

1994 油彩畫布 100 x 81 cm 簽名右下：Alixe FU 94

NT$ 260,000-380,000 US$ 8,100-11,900 HK$ 63,000-93,000

圖錄：《傅慶豊》，台灣畫廊，台北，1994，彩色圖版，頁31

205

LIEN Chien-hsing (b. 1962)

Scenery of Greece 2002 Oil on canvas 65 x 91 cm Signed lower left Lien Chien-hsing in Chinese and dated 2002

NT$ 350,000-550,000 US$ 10,900-17,200 HK$ 85,000-134,000

連建興希臘風景 2002 油彩畫布 65 x 91 cm 簽名左下：2002 連建興

206

LU Hsien-ming (b. 1959)

Taipei Landscape 1991 Oil on canvas 98 x 95 cm Signed lower right Hsien-ming in Chinese, L.S.M. in English and dated '91

NT$ 400,000-600,000 US$ 12,500-18,800 HK$ 98,000-146,000

陸先銘台北風景 1991 油彩畫布 98 x 95 cm 簽名右下：先銘. '91 L.S.M.

207

SU Wong-shen

(SU Wang-shen, b. 1956)

Artificial Landscape 1997 Oil on canvas 80 x 80 cm Signed on the reverse Su Wong-shen in Chinese and titled Artificial Landscape in Chinese, dated 1997

NT$ 400,000-600,000 US$ 12,500-18,800 HK$ 98,000-146,000

蘇旺伸假山假水 1997 油彩畫布 80 x 80 cm 簽名畫背：假山假水蘇旺伸 1997

208

SU Wong-shen

(SU Wang-shen, b. 1956)

Private Meeting & Big Parade 2001 Acrylic on cardboard 70 x 68 cm (x2) Signed on the reverse Su Wong-shen in Chinese and dated 2001 ILLUSTRATED: Su Wong Shen, Eslite Gallery, Taipei, 2003, color illustrated, pp. 13-14

NT$ 350,000-500,000 US$ 10,900-15,600 HK$ 85,000-122,000

蘇旺伸私會 & 大遊行 2001 壓克力紙板 70 x 68 cm (x2) 簽名畫背：蘇旺伸 2001 圖錄：《蘇旺伸》，誠品畫廊，台北，2003，彩色圖版，頁13-14

209

Paul CHIANG (b. 1942)

Hundred Year Temple 99-16 1999 Oil on canvas 91 x 73 cm

江賢二 ILLUSTRATED: Paul Chiang, Eslite Gallery, Taipei, March 2000, color illustrated, p. 56

NT$ 350,000-450,000 US$ 10,900-14,100 HK$ 85,000-110,000

百年廟 99-16 1999 油彩畫布 91 x 73 cm 圖錄：《江賢二》，誠品畫廊，台北， 2000年3月，彩色圖版，頁56

210

郭維國

KUO Wei-kuo (b. 1960)

Aggress 1993 Oil on canvas 72 x 90 cm

ILLUSTRATED: Kuo Wei-kuo, Taiwan Gallery, Taipei, 1993, color illustrated, p. 23

NT$ 350,000-550,000 US$ 10,900-17,200 HK$ 85,000-134,000

挑釁 1993 油彩畫布 72 x 90 cm 圖錄：《郭維國》，台灣畫廊，台北，1993，彩色圖版，頁23

211

LU Hsien ming (b. 1959)

Taipei Landscape 1994 Oil on canvas 120 x 120 cm

NT$ 550,000-750,000 US$ 17,200-23,400 HK$ 134,000-183,000

陸先銘台北風景 1994 油彩畫布 120 x 120 cm

212

CHANG Chih-cheng (b. 1954)

Mythology 1996 Oil on canvas 73 x 91 cm Signed on the reverse Chang Chih-cheng in Chinese and English, dated 1996, media oil on canvas in Chinese, size 30F, titled Mythology in Chinese, ORANGE in English

NT$ 160,000-220,000 US$ 5,000-6,900 HK$ 39,000-54,000

張志成神話 1996 油彩畫布 73 x 91 cm 簽名畫背：張志成 CHANG CHIH-CHENG 1996 油畫畫布 30F 神話〈ORANGE〉

213

CHUANG Che (b. 1934)

8620 1986 Acrylic on paper 45 x 60 cm Signed lower right Chuang Che in Chinese and dated 86

This painting is to be sold with a certificate of authenticity issued by Lungmen Art Gallery Taipei.

NT$ 240,000-350,000 US$ 7,500-10,900 HK$ 59,000-85,000

莊喆 8620 1986 壓克力紙本 45 x 60 cm 簽名右下：莊喆 86 附龍門畫廊開立之原作保證書

214

SHIY De-jinn

席德進

(1923 - 1981)

Village 1979 Watercolor on paper 38 x 53 cm Signed upper right Shiy De-jinn in Chinese and dated 1979

PROVENANCE: Acquired from the Shiy De-jinn Foundation by current owner

NT$ 220,000-420,000 US$ 6,900-13,100 HK$ 54,000-102,000

鄉村 1979 水彩紙本 38 x 53 cm 簽名右上：席德進 1979 來源：原收藏者得自財團法人席德進基金會

215

莊喆

CHUANG Che

進山

(b. 1934)

1972 Acrylic and oil on canvas 85 x 60 cm Signed lower right Chuang Che in Chinese and dated 1972

ILLUSTRATED: Chuang Che, Asia Art Center, Taipei, 2005, color illustrated, p. 24 Chuang Che, Deep Ridge-Remote Way, Solo Exhibition in National Art Museum of China, Asia Art Center, Taipei, 2007, color illustrated, p. 22

This painting is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei

NT$ 300,000-550,000 US$ 9,400-17,200 HK$ 73,000-134,000

Enter Natural World

1972 壓克力油彩畫布 85 x 60 cm 簽名右下：莊喆 1972 附亞洲藝術中心開立之原作保證書圖錄：《莊喆》，亞洲藝術中心，台北，2005，彩色圖版，頁24 《莊喆．嶺深道遠—2007北京中國美術館個展》，亞洲藝術中心，台北，2007，彩色圖版，頁22

216

HOU Chun-ming (b. 1963)

Journal by Pillow (polyptych) 2006 Woodcut print on paper 190 x 145 cm (x8) Signed lower left Hou in Chinese S i g n e d l o w e r r i g h t T h e F o o t o f F i re Mountain, Agriculture Association, Hou in Chinese, dated 2006 Numbered lower left 6/15 Signed lower right Liu Jiao in Chinese With one seal of the artist

NT$ 650,000-850,000 US$ 20,300-26,600 HK$ 159,000-207,000

侯俊明大枕邊（八聯作） 2006 木刻版畫紙 190 x 145 cm (x8) 簽名左下：侯氏簽名右下：2006年于火焰山山腳農會侯簽名左下：6/15 簽名右下：六腳鈐印右上：六腳侯氏

216

217

Michell HWANG

(HWANG Ming-che, b. 1948)

King 1995 Oil on canvas 116.5 x 90.5 cm Signed lower left che in Chinese and dated 1995 This painting is to be sold with a certificate of authenticity issued by Impression Gallery, Taipei.

NT$ 650,000-850,000 US$ 20,300-26,600 HK$ 159,000-207,000

黃銘哲國王 1995 油彩畫布 116.5 x 90.5 cm 簽名左下：哲 1995 附印象畫廊開立之原作保證書

218

HWANG Jyi (b. 1953)

Pond in Transformation 1986-1991 Oil on canvas 91 x 117 cm Signed lower right Jyi in Chinese and dated 1986-91 This painting is to be sold with a certificate of authenticity issued by Galerie Elegance, Taipei ILLUSTRATED: Hwang Jyi 1996, Galerie Elegance, Taipei, 1996, color illustrated, no. 093, p. 193

NT$ 950,000-1,200,000 US$ 29,700-37,500 HK$ 232,000-293,000

黃楫異變中的池塘 1986-1991 油彩畫布 91 x 117 cm 簽名右下：楫 1986-91 簽名畫背：異變中的池塘黃楫 1986-91 附愛力根畫廊開立之原作保證書圖錄：《黃楫繪畫全集》，愛力根藝術有限公司，台北，1996，彩色圖版，編號 093，頁193

218

219

LIEN Chien-hsing (b. 1962)

Traces in the Dreamland II 1998 Oil on canvas 112 x 162 cm Signed lower right Lien Chien-hsing in Chinese and dated 1998

許多人解讀連建興的作品時，常以「魔幻寫實」的角度進行切入，但其實最容易讓人切入感想的，應該是他對於人與自然之間所對應的視覺諷刺。常可以見到畫家以大地的景觀加上人類為了製造利用在大自然中的資源，所遺留下來的陳廢景物及利用自然的證據。儘管如此，卻實實在在

This painting is to be sold with 2 sketches by the artist.

表達出台灣後工業時期的一種歷史反思圖

NT$ 1,500,000-2,000,000 US$ 46,900-62,500 HK$ 366,000-488,000

而連建興他常用的綠色，跟一般我們所知

像。

道的自然中的蒼綠又不太一樣，綠的很特別，很夢幻也很令人安心，所以畫家常以綠色為創作的主體。連建興的作品之所以

連建興

有趣，完全是在荒廢的視覺場景中，存在

夢土尋蹤 II

著一種莫名樂趣，使觀賞者陷入看似矛盾

1998 油彩畫布 112 x 162 cm 簽名右下：1998 連建興

又樂觀的情調中。這張《夢土尋蹤II》也是畫家繼1995年創作的《夢土尋蹤》後，第二件以相同的題材再進行的創作。作品也難得附有藝術家親筆所著的2張手稿，山水景致隱喻著中國傳統文房四寶，可以

附藝術家兩張素描

見得這張《夢土尋蹤II》對畫家來說，是一種夢與真實之間相互交替的特殊情誼。

Many people interpret Lien’s works from the viewpoint of magical realism. Yet, the most impressive part should be his visual irony about human beings and nature. Very often in a natural landscape, he intentionally adds the relics or ruins left by human beings after usurping the natural resources. Be that as it may, he faithfully presents a reflection upon the history of the post industrial era in Taiwan. The green color Lien often uses as the major part of his works is different from the green we usually see in a natural landscape. His green is unique, dreamy, but tranquil. Lien’s works have an unknown fun which exists in ruined scenery and leads the beholders to paradoxical feelings. “Traces in the Dreamland II” shares the same topic of the painting Lien painted in 1995. Two sketches drawn by the artist were attached, the landcsape implies the traditional Chinese four treasures in study: brush, ink, ink pot and stamp. and it also shows that “Traces in the Dreamland II” to Lien is the bridge between dream and reality.

連建興《夢土尋蹤 II》素描 Sketches for “Traces in the Dreamland II”

219

220

J. C. KUO

(KUO Jen-chang, b. 1949)

Dancing Life 2000 Acrylic on canvas 130 x 200 cm Signed lower left J.C.KUO in Chinese and English, dated 2000 ILLUSTRATED: J. C. Kuo's Happenstance 2003 Solo Exhibition, Main Trend Gallery, Taipei, 2003, color illustrated, p. 104

NT$ 1,900,000-2,800,000 US$ 59,400-87,500 HK$ 463,000-683,000

郭振昌舞動人生 2000 壓克力畫布 130 x 200 cm 簽名左下：郭振昌 2000 J. C. KUO 圖錄：《郭振昌偶然與巧合2003個展》，大趨勢畫廊，台北，2003，彩色圖版，頁104

220

221

TU Ke (b. 1916)

Within the Landscape Oil on canvas, mounted onto board 26.5 x 37.5 cm Signed lower right Tu Ke in Chinese

This painting is to be sold with a certificate of authenticity issued by Tu Ke Art Research Foundation and a picture of the artist's family taken with the artwork.

NT$ 60,000-120,000 US$ 1,900-3,800 HK$ 15,000-29,000

凃克

山水之間畫布裱於木板 26.5 x 37.5 cm 簽名右下：凃克附凃克藝術研究基金會原作保證書及藝術家與作品合影照片

222

TU Ke (b. 1916)

Scenary of Guilin & Love Affair in a Small Town (a pair) 1980s & 1987 Oil on cardboard 18.5 x 25 cm (upper) 28 x 28.5 cm (lower) Signed lower right TU Ke in Chinese (upper) Signed lower left Tu Ke and dated 87 in Chinese (lower) These paintings are to be sold with two certificates of authenticity issued by Tu Ke Art Research Foundation and a picture of the artist's family taken with the artwork.

NT$ 120,000-220,000 US$ 3,800-6,900 HK$ 29,000-54,000

凃克

桂林山水甲天下 ﹠小城之戀 1980s & 1987 油彩紙板 18.5 x 25 cm (上) 28 x 28.5 cm (下) 簽名右下：凃克 (上) 簽名左下：凃克八七 (下) 附凃克藝術研究基金會原作保證書及藝術家與作品合影照片

223

LUO Erchun (b. 1929)

Port 1993 Oil on canvas 64 x 80 cm Signed lower left Luo in English and Erchun in Chinese Signed on the reverse Luo Erchun and titled Port in Chinese

NT$ 180,000-300,000 US$ 5,600-9,400 HK$ 44,000-73,000

羅爾純港 1993 油彩畫布 64 x 80 cm 簽名左下：Luo 爾純簽名畫背：羅爾純港

224

CHUANG Che (b. 1934)

Landscape 1972 Acrylic on canvas 60 x 86 cm Signed upper left Chuang Che in Chinese and dated 1972 Titled on the reverse Landscape and signed Chuang Che in English, dated 1972

NT$ 300,000-400,000 US$ 9,400-12,500 HK$ 73,000-98,000

莊喆風景 1972 壓克力畫布 60 x 86 cm 簽名左上：1972 莊喆簽名畫背：Landscape Chuang Che 1972

225

JAN Chin-shui (b. 1953)

Silent Valley 2008 Mixed media on canvas 162 x 97 cm Signed lower right Chin-shui in Chinese and dated 2008 Titled on the reverse Silent Valley in Chinese, size 100M and signed Jan Jin Shui in Chinese, dated 2008

NT$ 350,000-600,000 US$ 10,900-18,800 HK$ 85,000-146,000

詹金水萬壑冰谷 2008 綜合媒材畫布 162 x 97 cm 簽名右下：金水 2008 簽名畫背：100M 萬壑冰谷詹金水 2008 年

226

SZETO Lap (b. 1949)

Homeland of the Impressionism 2006 Oil on canvas 114 x 162 cm Signed lower right Szeto Lap in English and dated 06 This painting is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.

NT$ 550,000-650,000 US$ 17,200-20,300 HK$ 134,000-159,000

司徒立印象派的故鄉 2006 油彩畫布 114 x 162 cm 簽名右下： Szeto Lap 06 附亞洲藝術中心開立之原作保證書

226

227

LI Chaoshi (1893 - 1971)

Pot Plant 1960s Pastel on paper 43 x 63 cm Signed lower right Chaoshi in Chinese This painting is to be sold with a picture of the artist's son taken with the artwork.

NT$ 700,000-850,000 US$ 21,900-26,600 HK$ 171,000-207,000

李超士盆景 1960年代粉彩紙本 43 x 63 cm 簽名右下：超士附藝術家之子與作品合影照片

227

228

LI Chaoshi (1893 - 1971)

Farmer 1960 Pastel on paper 63 x 82.5 cm Signed lower left Chaoshi and dated 1960 in Chinese This painting is to be sold with a picture of the artist's son taken with the artwork PROVENANCE: Acquired directly from the artist's estate

NT$ 1,200,000-1,800,000 US$ 37,500-56,300 HK$ 293,000-439,000

李超士老農 1960 粉彩紙本 63 x 82.5 cm 簽名左下：超士一九六○年作附藝術家之子與作品合影照片來源：收藏者直接得自畫家家屬

228

229

ZHANG Hongtu (b. 1943)

Li Cheng - van Gogh NPM 2003 Oil on canvas 172.7 x 83.8 cm Signed upper left Hongtu reprocesses and dated 2003 in Chinese This painting is to be sold with a certificate of authenticity issued by Lin & Keng Gallery, Taipei. ILLUSTRATED: Zhang Hongtu: The Art of Seadding Boundaries, Lin & Keng Gallery, Taipei, 2007, color illustrated, p. 131

NT$ 1,600,000-2,200,000 US$ 50,000-68,800 HK$ 390,000-537,000

張宏圖李成─梵谷 NPM 2003 油彩畫布 172.7 x 83.8 cm 簽名左上：宏圖再製二○○三附大未來畫廊開立之原作保證書圖錄：《張宏圖：跨越邊界的藝術》，大未來畫廊，台北，2007，彩色圖版，頁131

230

HONG Ling (b. 1955)

Like Spring 2008 Oil on canvas 170 x 190 cm Signed upper left Hong Ling in Chinese and dated 08 This painting is to be sold with a certificate of authenticity signed by the artist. ILLUSTRATED: Xing Ling Shan Shui-Hong Ling You Hua Zuo Pin Ji, Hebei Education Press, Shijiazhuang, 2008, color illustrated, p. 273

NT$ 2,300,000-3,200,000 US$ 71,900-100,000 HK$ 561,000-780,000

洪凌如春 2008 油彩畫布 170 x 190 cm 簽名左上：洪凌 08 附藝術家簽名之原作保證書圖錄：《性靈山水─洪凌油畫作品集》，河北教育出版社，石家莊，2008，彩色圖版，頁273

230

231

PANG Jiun (b. 1936)

Spring at My Place 2007 Oil on canvas 175 x 175 cm Signed lower left Pang Jiun in Chinese, dated 2007 With one seal of the artist

NT$ 2,900,000-3,600,000 US$ 90,600-112,500 HK$ 707,000-878,000

龐均春在我家 2007 油彩畫布 175 x 175 cm 簽名左下：龐均 2007 鈐印左下：均

232

Yuyu YANG

(YANG Ying-feng, 1926 - 1997)

Evergreen 1990 Stainless steel, edition no. 19/20 59 (L) x 37 (W) x112 (H) cm Signed Yuyu Yang Fong in Chinese and English, dated '90, numbered 19/20

NT$ 1,300,000-2,000,000 US$ 40,600-62,500 HK$ 317,000-488,000

楊英風常新 1990 不鏽鋼 19/20 59 (長) x 37 (寬) x 112 (高) cm 簽名：'90 楊英風 Yuyu Yang Fong 19/20

楊英風，字呦呦，1926年出生於台灣宜蘭縣，1997年逝世於台灣新竹。曾先後求學於日本東京美術學校（現國立東京藝術大學）、北平輔仁大學美術系、國立台灣師範大學藝術系等，並於60年代前往義大利國立羅馬大學雕塑系及羅馬造幣學校進行藝術研究。早期作品有人文主義的風格，後期則以現代主義的抽象組合造型、不鏽鋼材質和中國式的藝術思維聞名於世。楊英風不只是一位傑出的雕塑家，更是一位熱愛生命、重視生態美學，同時受佛法薰習的人文關懷者。1990年，楊英風為世界地球日創作《常新》，以循環帶飾圍繞圓球的構圖，表達地球運行不息的意涵，把中國對宇宙自然的觀念融入作品之中，透過佛教的思維來響應環保運動。他自述道：「我以一條內外銜接扭轉的環帶圍繞地球，取其象徵生命的順暢循環，以及彼此交融平衡的貫通。」《常新》在造型上簡約俐落，極具現代主義風格，材質上以不鏽鋼製成，卻溫潤而親切。僅用一條環帶及圓球蘊含出生生不息、圓融和諧的宇宙概念，以簡表繁，以少代多，這是藝術家對人生深刻的體驗，亦是一種高度沉澱內化後的呈現。作品除了表現中國對宇宙自然的觀念外，也將東方美學以及佛教哲思融入其中，提昇了這件作品創作的內在特質，更深化外在造型上的內涵。

Yuyu Yang, also called Yang Ying-feng, was born in Ilan County, Taiwan in 1926, and died in Hsinchu in 1997. He received his education at the Tokyo Academy of Fine Arts (now National Tokyo University of Art), Fu Jen Catholic University in Peiping (Beijing today) and the Fine Arts Department at National Taiwan Normal University. In

the 1960s, he conducted research studies on sculpture at the University of Rome and the National Institute of Design and Mint in Italy. His early works are full of humanistic characteristics and the later ones are a synthesis of elements of abstract Modernism. His famous stainless steel sculptures truly embody Chinese aesthetics. Master Yang was not only an outstanding sculptor, but also a humanist with a great passion for life, the aesthetics of ecology and Buddhism. This sculpture, “Evergreen” was made in 1990 for the 20th Anniversary of World Earth Day, on April 22nd. The belt circuling the Earth expresses the concept of eternal motion and goes beyond science to reach a philosophical conception of the symbiotic relationship between man and nature in a harmonious universe. It also reflects a passionate concern for environmental protection. He once said, "the belt around the Earth is a life circulation and balance interaction". This sculpture is novel and modern; paradoxically, the stainless steel looks cold and yet conveys warm and kind feelings through its simple and well-executed shape. The eternal motion of the harmonious universe represents a process of transformation involving the interaction of contraries: complexity and simplicity, as well as the part and the whole. The artist’s profound life experiences have been internalized as a mature aesthetics. The philosophy of Buddhism and oriental aesthetics are illustrated and further interpreted with the modesty of traditional art that combines an interior quintessence and exterior form.

233

DING Fang (b. 1956)

House of the Spirit 1993 Oil on canvas 60 x 73 cm

NT$ 220,000-320,000 US$ 6,900-10,000 HK$ 54,000-78,000

丁方迷魂的居所 1993 油彩畫布 60 x 73 cm

234

MAO Xuhui

毛旭輝

(b. 1956)

圭山寫生─早晨的紅土地

Sketch in Guishan-Red Earth in Early Morning 2006 Oil on canvas 50 x 50 cm Titled on the reverse Sketch in Guishan in Chinese, size 50 x 50 cm, signed Mao Xuhui in Chinese, dated 2006.9

ILLUSTRATED: Approach to Guishan, SooBin Art Int'l, Singapore, 2006, color illustrated, p. 26, pl. 1

2006 油彩畫布 50 x 50 cm 簽名畫背：圭山寫生 50 x 50 cm 毛旭輝 2006.9

NT$ 400,000-500,000 US$ 12,500-15,600 HK$ 98,000-122,000

圖錄：《回到圭山》，斯民國際藝苑，新加坡， 2006，彩色圖版，頁26，圖版1

235

YANG San-lang (1907 - 1995)

Seascape Oil on canvas 37 x 45 cm Signed lower right S. Yang in English

NT$ 750,000-880,000 US$ 23,400-27,500 HK$ 183,000-215,000

楊三郎海景油彩畫布 37 x 45 cm 簽名右下：S. Yang

235

236

LIU Kuo-sung (b. 1932)

Which is Earth No. 64 1970 Ink and color on paper 122 x 74 cm Signed lower center Liu Kuo-sung and dated 1970 in Chinese With one seal of the artist

NT$ 1,200,000-1,600,000 US$ 37,500-50,000 HK$ 293,000-390,000

劉國松地球何許之 64 1970 彩墨紙本 122 x 74 cm 簽名中下：劉國松一九七○ 鈐印中下：劉

237

XU Jiang (b. 1955)

Snowy Mound (polyptych) Watercolor on paper Paper: 46 x 55 cm (x4) Picture: 38.5 x 54 cm (x4) Signed lower right X. J in English and Snowy Mound 1 in Chinese Signed lower right X. J in English and Snowy Mound 2 in Chinese Signed lower right X. J in English and Snowy Mound 3 in Chinese Signed lower right X. J in English and Snowy Mound 4 in Chinese ILLUSTRATED: The Art of Xu Jiang-Vistas, China Academy o f A r t P r e s s, H a n g z h o u, 2006, c o l o r illustrated, pp. 182-183

NT$ 1,600,000-2,200,000 US$ 50,000-68,800 HK$ 390,000-537,000

許江雪丘（四聯作）水彩紙本紙張：46 x 55 cm (x4) 畫面：38.5 x 54 cm (x4) 簽名右下： X. J《雪丘》1 X. J《雪丘》2 X. J《雪丘》3 X. J《雪丘》4 圖錄：《許江的繪畫─遠望》，中國美術學院出版社，杭州，2006，彩色圖版，頁182-183

238

CHEN Baoyi

(Po Yi Tschun, 1893 - 1945)

Rose 1933 Oil on canvas 45 x 38 cm Signed lower left Tchun in English ILLUSTRATED: Chen Ruilin, Modern Artist Chen Baoyi, People's Fine Arts Publishing House, Beijing, 1988, color illustrated, p. 15 Liu Xin, An Illustrated Hundred-Year-History of the Oil Painting in China, Guangxi Fine Arts Publishing House, Nanning Guangxi, 1996, color illustrated, p. 115 Liu Xin, Half a Lifetime at Elegant Jiangwan Chen Baoyi's Pure Art and Elegant Life, Artist Magazine, Taipei, issue August 2003, color illustrated, p. 169

NT$ 3,600,000-4,200,000 US$ 112,500-131,300 HK$ 878,000-1,024,000

陳抱一玫瑰 1933 油彩畫布 45 x 38 cm 簽名左下：Tchun 圖錄：陳瑞林，《現代美術家陳抱一》，人民美術出版社，北京，1988，彩色圖版，頁15 劉新，《中國油畫百年圖史18401949》，廣西美術出版社，廣西南寧， 1996，彩色圖版，頁115 劉新，〈風雅江灣半生緣〉〔上海藝術世界〕，《藝術家雜誌》，台北，2003年8 月號，彩色圖版，頁169

陳抱一是中國第一代留日油畫家、美術理論家及教育家，在他三十多年的西畫創作生涯中，曾與劉海粟、關良、徐悲鴻、潘玉良多人等分別組織畫會研究藝術，並開設畫室學校，鼓吹寫生繪畫的教學。在教育家蔡元培的支持下，他與丁衍庸共組「中華藝術大學」，推廣美術教育。中國文學家魯迅、郁達夫都曾是他的鄰居友好，和1920、1930年代上海美術運動的發展關係密切。女畫家關紫蘭、決瀾社畫家楊秋人和陽太陽都是他的得意弟子。他曾撰寫諸多繪畫技法與藝術理論著書，在病逝三年前他所發表的〈洋畫運動過程略記〉文章，記錄民國元年至民國三十年（1912-1940）之間上海現代美術運動的發展，至今仍為二十世紀初中國美術史上重要的文獻資料。陳抱一，祖籍廣東新會，1893年出生於上海一上流家庭，父親為前清秀才，擔任上海招商局的要職，曾義助孫中山東渡日本從事革命運動，並協助巨賈盛宣懷辦理洋務，陳、盛兩家關係十分密切。陳抱一生長於上海郊外江灣的「陳家花園」內，園中有江南園林、假山、亭台樓閣，室內陳設則採西洋古典款式，為當時上海名園之一。父親思想開明，同意陳抱一學習繪畫，先入青年會中學就讀，受圖畫老師張聿光（18851968）的啟蒙，後來在周湘開辦的布景傳習所學習，此間和畫家劉海粟有深厚的同窗情誼。劉海粟回憶當時陳抱一年紀雖輕，成績卻好，上課時兩人的寫生功力最快速，而陳抱一的畫面有遠近透視感，經常得到師長的讚揚。課餘時陳抱一繼續跟隨張聿光學習鉛筆畫、水彩畫，因而紮下繪畫的基礎。父親買回來的外國美術書籍，上海外灘書店裡哥雅（Goya）、葛雷柯（El Greco）、雷諾

瓦（R e n o i r）的畫冊，皆是初期滋養他繪畫理論的養分來源。 1913年陳抱一前往日本學習西畫，進入知名的「白馬會葵橋洋畫研究所」。這所學校採行黑田清輝（Kuroda Seiki, 1866-1964）等人早期引進的外光派新畫風，當年在日本具有一定的權威。陳抱一在早期知名留日畫家中可算前輩，其他中國畫家如關良（1917）、劉海粟（1918）、常玉（1919）都在陳抱一（1913）後；而台灣最早留日的兩位藝術家為黃土水（1915）與王悅之（1915）二人，其他台灣前輩畫家留日期間多集中在1920年代以後。 1914年陳抱一因病暫停課業，返回上海修養，在劉海粟的邀請下，於上海圖畫美術院教授西畫，他從日本引進石膏模型教學，引人側目。幾位畫家友人在 1 91 5 年共組「東方畫會」，除了陳、劉二人，成員還有烏始光、汪亞塵，提倡寫生畫。1916年陳抱一再度啟程赴日本，先入日本名畫家藤島武二（Fujishima Takeji, 1867-1943）的「川端洋畫研究所」學校，不久又入東京美術學校，在日本研讀五年，畫風上受後印象派、新寫實主義的影響，在校期間與其他中國留學生共組「中華美術協會」；另一方面也與日本新派畫家有島生馬（Arishima Ikuma, 1882-1974）、中川紀元（Norimoto Nakagawa, 18921972）友好，有島生馬曾經教導台灣前輩畫家劉啟祥、陳德旺、陳清汾等人，有島和中川皆為反對外光派學院主義的新派組織—「二科會」的代表人物，透過他們的交遊，陳抱一逐漸接受後印象派的影響。留日期間，陳抱一與日本文藝女青年陳範美（本名飯冢鶴）戀愛並結為連理，1921年後雙雙返回上海。

自日本返國後，他在江灣寓所另闢一洋房畫室，自創「抱一繪畫研究所」，教導西方素描和油畫創作，此原為藤島武二在日本推廣的畫室學校形態，研習油畫的教學。1922年起任教於上海美專，開始實行人體寫生。決瀾社的成員楊秋人、陽太陽即是當時的學生之一。此後，陳抱一和丁衍庸等人在上海成立中華藝術大學，二人負責教授西畫，強調木炭素描的基礎，而陳抱一為了普及油畫，著作《油畫法之基礎》，為近代中國較有系統的教導油畫技法的書籍。 1929年秋天，和日本畫家秋田義一在江灣「陳家花園」畫室開辦「曦陽美術院」。1930年秋天轉入上海藝術專科學校（簡稱上海藝專）擔任西畫科主任。不料1932年上海爆發「一二八事變」，上海藝專和江灣畫室被毀，只能借住上海市區親戚家中。1936年陳抱一和汪亞塵、潘玉良、朱屺瞻、徐悲鴻成立「默社」，共同舉辦畫展。上海淪陷後，赴香港寫生，與李鐵夫、余本等人交往，並舉辦畫展。中日戰爭期間，陳抱一蟄居於上海市區，晚年貧病交迫，直至 1945年7月27日病逝為止。日籍妻子在1952年也抑鬱以終。1964年獨生女陳綠妮遵從母親遺願，將一批陳抱一遺作捐贈北京中國美術館。1988年陳瑞林編著《現代美術家陳抱一》（人民美術出版社），畫壇耆老劉海粟為此書作序。書中收錄多篇陳抱一於20、30 年代發表的藝術評論文章，以及畫家的 36幅油畫、1幅素描、8幅速寫與3幅諷刺漫畫。本次拍品《玫瑰》即刊印在此書中。另外，1996年劉新編著《中國油畫百年圖史1840-1949》（廣西美術出版社）一書也同樣以大幅圖版介紹陳抱一的1933年作品《玫瑰》。陳抱一的日本友人菊地三郎曾寫過長篇的〈陳抱一和中國油畫〉一文，指出陳抱一喜愛畫花卉，是其繪畫的主要題

材。除此之外，陳抱一還畫了不少心愛妻子的畫像。友人對陳抱一的繪畫作品及人品都給予很高的評價，人人稱他為「好好先生」，不論對象是誰都能熱情地一起談論藝術。1932年的上海事變炸毀了陳家花園與畫室，陳抱一正值壯年時期，但是從此陳家的生計頓時陷入困境。自此到他生命終了的13年間，他從陳家花園時期的寫實主義風格花卉作為起點，後來隨著二次大戰的爆發，逐漸轉為人道關懷的現實生活的題材。《玫瑰》一作完成於1933年，此時陳抱一早已蟄居於上海市區親戚的房子裡，魯迅和郁達夫是他的鄰居。即使在困頓之中，陳抱一不減書香世家的大家風範，筆下的玫瑰雍容大度，流露出堅毅的氣息。

中國早期油畫畫壇的畫家，陳抱一享有很高的聲譽。豐子愷（1898-1975）先生曾經高度評價陳抱一的作品，對於他的小幅畫作更是倍加讚賞，認為是當時不可多得的精品。1934年第85期《良友》畫報刊登彩色圖版介紹陳抱一的作品：『野獸派的作風，運筆流暢而極有把握，用色簡潔，卻充滿著富麗的色彩，技巧的純熟是永遠使人折服和滿意的。』」（陳瑞林語）這些文字為陳抱一的繪畫風格作了適切的評述。參考書目：陳瑞林編，《現代美術家陳抱一》，人民美術出版社，北京，1988年9月 Michael Sullivan, Art and Artists of Twentieth Century China, University of California Press, Berkeley, Los Angelos, London 1996

從《玫瑰》一作可以看出畫家受到後印象派的影響，用色洗鍊豐實，造型嚴謹而帶有量感，情緒上是表現主義式的真切。他的學生陽太陽在〈恂恂長者．諄諄教誨〉文章回憶：「⋯抱一先生的作風深受西方傳統的影響，畫風扎實、瀟灑自如，特別注重色彩調子的表現。對於現代藝術他持開明的態度，頭腦絕不冬烘僵化。對於藝術，他持嚴肅認真甚至可說是虔誠的態度，他的習作往往也就是一張很好的創作。抱一先生的畫風基本是寫實的，卻又有一種表現的追求。⋯」50年代崛起於上海電影導演徐蘇靈（1909-1997），曾經受教於陳抱一門下，他則認為：「陳抱一的油畫色調感覺敏銳，有一種清新明快的色彩效果。特別是他畫的靜物、花卉，在當時的油畫界可說是首屈一指的。」 1930年代時，陳抱一鼓勵決瀾社的成員舉辦畫展，他留心當時藝壇的前途與發展。此時，從日本、法國歸國的兩派留學生在上海展開風格的競技，使得1930 年的上海成為二十世紀初期中國現代美術運動最為蓬勃的地區。「作為活躍在

陳惠黛編，《民初西洋美術的開拓者》，大未來畫廊，台北，1996年6月

movement", published three years before his death, recorded the development of modern art campaigns in Shanghai from 1912 to 1940, and is now still an important historical record in the history of 20th Century Chinese art.

Chen Baoyi was one of China's first generation of oil painters, art theorists cum educator who studied in Japan. In more than thirty years of his Western style painting career, he, together with many others such as Liu Haishu, Guan Liang, Xu Beihong, Pan Yu-liang, separately organized societies to study art, and set up studio schools to promote the teaching of sketching and painting. With the support of educator, Cai Yuanpei, he established the Chinese Art University together with Ding Yanyong to promote art education. Chinese writers, Lu Xun and Yu Dafu, were all once his neighbors and friends. He was closely connected to the development of Shanghai's art movements in the 1930s. Female painter, Guang Zilan, the Juelan Society, painters,Yang Qiuren and Yang Taiyang, were all his favorite disciples. He wrote many books to describe the many techniques of painting as well as theories of art. The article, "A brief account on the process of the Western style painting

Chen Baoyi, whose ancestral home is in Xinhui, Canton, was born into an upper class family in Shanghai in 1893. His father was an imperial scholar from the former Ching Dynasty who had assumed important positions in Shanghai's China Merchant Bureau. Once, he voluntarily assisted Sun Yat-sen to travel eastwards to Japan for his revolutionary campaigns and he also assisted, Sheng Xuanhuai, the governorgeneral of Canton and Guangxi, to manage foreign affairs. The families of Chen and Sheng shared intimate relations. Chen Baoyi was born inside the "Chen Family's Garden" at Jiangwan in the suburbs of Shanghai. Inside the park were gardens in the style of Jiangnan, rockeries, pavilions and towers. The interior decoration followed the western classical styles. It was then one of Shanghai's famous gardens. Being advanced and openminded, Chen Baoyi's father agreed to let him learn the art of painting. He first studied in the middle school of the Young Men's Association and was initiated by Zhang Yuguang (1885-1968), who taught painting. Later, he learned at the Stage Art Studio set up by Zhou Xiang. During this time, he formed a profound friendship with Liu Haishu while they studied together. As Liu Haishu recalls, although Chen Baoyi was young then, his results were excellent. In class, both of them were the speediest in terms of sketching prowess and Chen's compositions were often praised by elders and teachers for possessing both long and short perspectives. After classes, Chen Baoyi continued to practice pencil sketching and watercolors

under Zhang Yuguang, hence setting a solid foundation for his painting skills. The foreign books of art that his father bought and the catalogues of paintings by Goya, El Greco and Renoir that were found in the bookshops of Shanghai, were all the sources of nutrients that nourished his artistic theories in the early period. Chen Baoyi headed to Japan to study Western style painting in 1913 and gained admittance into the White Horse Society Western Painting School. The school adopted the Open-Air painting styles, imported during the early periods by the likes of Kuroda Seiki (1866-1964), which possessed certain authority in Japan then. Chen can be considered as a senior among the famous early painters who studied in Japan. Other Chinese painters such as Guan Liang (1917), Liu Haishu (1918), Sanyu (1919), came after Chen Baoyi (1913); as for Taiwan, the two earliest artists to study in Japan were Huang Tu-shui (1915) and Wang Yuezhi (1915), while the period of studies in Japan for other senior Taiwanese painters were mostly after the 1920s. In 1914, Chen Baoyi temporarily suspended his studies due to illness, returning to recuperate in Shanghai. Under the invitation of Liu Haishu, he lectured on western style painting at the Shanghai Painting and Art Institute and caught the attention of others when he imported the plaster model method of instruction from Japan. A few of his painter friends formed the Eastern Art Association in 1915. Other than Chen and Liu, members including Wu Shiguang, Wang Yachen, promoted painting from life and nature. In 1916, Chen Baoyi embarked on yet another journey to Japan, enrolling first in the "Nika Art Institute" set up by the

famous Japanese Painter, Fujishima Takeji (1867-1943), and shortly after that, into the Tokyo Fine Arts School. He studied in Japan for 5 years, and his style was influenced by Post-Impressionism and Neo-realism. While in school, he set up the "Chinese Art Association" together with other Chinese students. On the other hand, he was also on friendly terms with Japanese New School painters such as Arishima Ikuma (18821974) and Nakagawa (1892-1972). Arishima Ikuma taught senior Taiwanese painters such as Liu Chi-hsiang, Chen Te-wang, Chen Chin-fen. Both Arishinma and Nakagawa were the representatives of "The Second Department Association", which was a New School organization that objected to the Open Air School of thought in the academy's doctrine. Through interactions with them and their friends, Chen Baoyi gradually accepted the thoughts of Post-Impressionism. While in Japan, Chen Baoyi fell in love and married the young Japanese lady literati, Chen Fanmei, and they returned together to Shanghai after 1921. After returning from Japan, he set up another apartment studio in his Jiangwan residence and created the "Po Yi Studio Art Class" by himself, which instructed on western sketching and oil painting creations. This was in the form of the original studio school that Fujishima Takeji promoted in Japan, studying and practicing the teaching of oil painting. In 1922, he began teaching at the Shanghai Fine Arts School, and started on life drawing. Members of the Juelan Society, Yang Qiuren and Yang Taiyang were some of the students then. After that, Chen Baoyi, Ding Yanyong and others, established the "Chinese Art University" in Shanghai. The two were responsible for teaching western style painting, stressing the basics of charcoal sketching. To make oil painting more popular, Chen Baoyi wrote The Basics of Oil Painting, a much more systematic book teaching the techniques of oil painting in Modern China. In the autumn of 1929, he set up the "Sunlight Art Academy" together

with Japanese painter, Akita, at the "Chen Family's Garden" in Jiangwan. In the autumn of 1930, he transferred to the Shanghai Art Academy to be Head of the Western style painting branch. Unexpectedly, the Shanghai Art Academy and the Jiangwan studio were destroyed when the "January 28 Incident" broke out in Shanghai in 1932. Chen was forced to stay with his relatives in the urban districts of Shanghai. In 1936, Chen Baoyi, Wang Yachen, Pan Yuliang, Zhu Qizhan and Xu Beihong established the "Muo Society" to jointly hold exhibitions. After Shanghai had fallen to the Japanese, Chen Baoyi went to paint in Hong Kong, where he associated with the likes of Li Tiefu and Yee Bon, and they held their exhibitions together. During the Sino-Japanese wars, Chen Baoyi lived in seclusion in the city districts of Shanghai, where he was plagued by poverty and ill health in his later years, up till 27th of July 1945, when he died of illness. His Japanese wife also passed away in a depressed state in 1952. Chen Luning, their only daughter, abided by her mother's dying wish and donated a batch of Chen Baoyi's last works to the China Art Museum in 1964. In 1988, Chen Ruilin compiled and wrote the Modern Artist, Chen Baoyi (People's Fine Arts Publishing House), which had its preface written by the elder of the art circle, Liu Haishu. The book collects many of Chen Baoyi's articles on art theories that were published during the 20s and 30s, as well as 36 illustrations of oil paintings, one of drawing, 8 of sketches and 3 of caricatures by the painter. This season's auction item, "Rose", is published within the book. In addition, the book written by Liu Xin in 1996, An illustrated Hundred-year-Story of Oil Painting in China (Guangxi Fine Arts Publishing House), also introduced Chen Baoyi's 1933 work, "Rose", using large plates. Chen Baoyi's Japanese friend, Saburo Kikuchi, once wrote a long article, Chen Baoyi and Chinese Oil Painting, where he

pointed out that Chen Baoyi loved flowers and plants, which were the main subjects of his paintings. Besides this, Chen Baoyi also painted many portraits of his beloved wife. High appraisals were given by all of his friends for his art work as well as his character. Everybody addressed him as "Mr Nice Guy". He could always discuss art passionately with whomever he was talking to. When the "Chen Family's Garden" and the studio were destroyed in the Shanghai incident, Chen was then in his prime, but the Chen family instantly fell upon hard times. From then on till the end of his life, he used as a starting point, flowers and plants in the Realistic styles of the "Chen Family's Garden" period, and later, gradually turned to more caring and humane subjects in real life after the outbreak of the second World War. "Rose" was completed in 1933, when Chen Baoyi had long been living in seclusion at a relative's house. Lu Xun and Yu Dafu were his neighbors. Even in such financial straits, Chen Baoyi did not lose any grace and mannerisms coming from a scholarly family. The roses under his brushstrokes were elegant and poised while revealing wafts of unwavering will. From the work, "Rose", we can observe the influences that Post-Impressionism had on the painter. The colors are clear, succinct, plentiful and substantial. The composition is well knit yet voluminous, displaying the vivid emotions of Expressionism. His student, Yang Taiyang, in the article, A Respectable Elder, An Earnest Advice, recalls, "... the ways of Master Baoyi are deeply influenced by the traditions of the West. His style is sound and down to earth, natural and easy, stressing particularly on the display of color tones. Towards modern art, he has maintained an open attitude, never yielding to shallowness or numbness. Towards art, he maintains a solemn and serious attitude that one could even describe as pious. His practice pieces are usually already excellent pieces of creations by themselves. Master Baoyi's style is basically

realistic, but also coupled with a kind of Expressionist pursuit..." Xu Suning (19091997) the Shanghai movie director who rose to prominence in the 1950s, was once a student under Chen Baoyi and he believes that "Chen Baoyi's oil paintings have a sharp and sensitive feeling towards color tones, possessing a kind of refreshing and sprightly color effect. Especially his still lifes as well as flowers and plants, which could be rated tops in the circle of oil painting during that period." In the 1930s, Chen Baoyi, keeping watch on the future and development of the art scene, encouraged members of the Juelan Society to hold an exhibition. At this time, the returning students from Japan and France began a competition of styles in Shanghai, making 1930s' Shanghai the most prosperous region for the movements of early 20th Century Chinese Modern art. "As an active painter in the art circle of early Chinese oil painting, Chen Baoyi was very highly reputed. Mr Feng Zikai (1898-1975) once commended highly Chen Baoyi's works, and was doubly appreciative of his smaller sized compositions, which he felt were fine works that were hard to come by then. In the 1934 volume 85 of the publication, 'Liang You', a colored print introduced the works of Chen Baoyi as in the Fauvist style, flowing strokes and filled with confidence, terse and succinct palette employed but filled with splendor and majesty. The highly practiced skills always compel admiration and brings about satisfaction." (Chen Ruilin). These words have suitably commented on the painting style of Chen Baoyi. References: Chen Ruilin (ed.), Modern Artist, Chen Baoyi, People's Fine Arts Publishing House, Beijing, September 1988. Michael Sullivan, Art and Artists of Twentieth Century China, University of California Press, Berkeley, Los Angelos, London 1996 Odile Chen (ed.), Pioneers of Western Art in the Early Republican Period, Lin & Keng Gallery, Taipei, June 1996.

239

LIN Fengmian (1900 - 1991)

Landscape Ink and color on paper 68 x 68 cm Signed lower left Lin Fengmian in Chinese With one seal of the artist PROVENANCE: Lin & Keng Gallery, Taipei

NT$ 5,200,000-7,000,000 US$ 162,500-218,800 HK$ 1,268,000-1,707,000

林風眠風景彩墨紙本 68 x 68 cm 簽名左下：林風眠鈐印左下：林風暝印來源：大未來畫廊，台北

240

Yuyu YANG

(YANG Ying-feng, 1926 - 1997)

Heaven and Earth Destiny 1987 Stainless steel, edition no. 18/20 77(L) x 55(W) x 88(H) cm Signed on the base Ying-feng in Chinese, dated '87, numbered 18/20

楊英風 This sculpture is to be sold with a cerificate o f a u t h e n t i c i t y i s s u e d b y Yu y u Ya n g Foundation, Taipei. EXHIBITED: Yang Ying-Feng Kaohsiung 92 Exhibition, Ta Chong Bank Main Bank, Kaohsiung, April 2 - April 11, 1992 ILLUSTRATED: Landscape Contentment - Yang YingFeng, Hsiung Shih Publishers, Taipei, color illustrated, pp. 126-127 Ya n g Yi n g - F e n g A n t h o l o g y , Vo l . 1 , A r t i s t ' s P u b l i s h e r s , Ta i p e i , c o l o r illustrated, pp. 303-304

NT$ 1,500,000-2,200,000 US$ 46,900-68,800 HK$ 366,000-537,000

天地星緣 1987 不鏽鋼 18/20 77(長) x 55(寬) x 88(高) cm 簽名底座：'87 英風 18/20 附財團法人楊英風藝術教育基金會呦呦藝術專業有限公司開立之作品保證書展覽：「楊英風高雄'92個展」，大眾銀行總行，高雄，1992年4月2日至4月11日圖錄：《景觀自在－楊英風》，雄獅出版社，台北，彩色圖版，頁126-127 《楊英風全集第一卷》，藝術家出版社，台北，彩色圖版，頁303-304

本作完成於1987年，是楊英風不鏽鋼「宇宙系列」作品之一。「天地方圓」是中國人對自然的設想，堪稱為一種「對稱」、「完整」之美的形容，更有一番豪放緲遠的情懷之透射。中國人的陰陽觀念就這麼簡潔恰切的統合在這四個字中，形而下到形而上，實體到空靈，有稜有角到圓融

完滿，楊英風一直是喜歡思索其中而發為創作的。天地之間何其曠達深奧，無邊無涯，眾星循環其間，激發著恆久的光輝，因緣聚散，充盈起宇宙的絢燦之美。是一份「緣」，完成生命的滋生，是無數「圓」活出希望。

This work was completed in 1987, and is a part of Yuyu Yang’s stainless steel “Cosmos Series.” The phrase “heaven and earth” is the way that Chinese describe all of nature, and it is a way to describe the beauty of “symmetry” and “completeness.” It also has a feeling of being vast and unlimited. The Chinese concept of Yin and Yang is concisely contained in this phrase, including form and formless, real objects and formless spirit, the self and perfect oneness. Yuyu Yang has always liked to find creative inspiration in the contemplation of this concept. Between heaven and earth exist all the vast mysteries of the cosmos, stretching without limits, stimulating eternal glory, attracting and dissipating karma, filling the cosmos with dazzling beauty. It is “destiny” to complete the propagation of life, the flourishing hopes of countless “contented lives.”

241

JU Ming (b. 1938)

Taichi Series-Single Whip 1997 Granite, stain of stone, edition no. 1/9 37(L) x 19.8(W) x 25.6(H) cm Signed Ju Ming in Chinese, dated 1997 and edition no. 1/9 This sculpture is to be sold with a certificate issued by the Nonprofit Organization Juming Culture and Education Foundation-Juming Museum

NT$ 2,900,000-3,800,000 US$ 90,600-118,800 HK$ 707,000-927,000

朱銘太極系列─單鞭下勢 1997 花崗岩石頭染劑 37(長) x 19.8(寬) x 25.6(高) cm 簽名：朱銘 '97 1/9 附財團法人朱銘文教基金會─朱銘美術館開立作品鑑定報告書

1978年，朱銘二度赴日展出，而這也是他的「太極系列」首次受到矚目的一次展覽，其中「單鞭下勢」系列作品從此便矗立在了日本的「雕刻之森」。「太極系列」也為他的創作生涯開闢了另一個旅程。其實在此之前，就在1976年他成名的那次個展中，朱銘就已展出一尊題為《功夫》的木雕，可以說是「太極系列」的發端。在朱銘眼中，「太極系列」才是他自己風格的起點，而他所要表達的那份生命力，是由內而外，而非由外而內。「太極系列」雕塑之中，幾何化抽象體面與人物動勢造型的聯繫，以及三度空間語言中動靜與粗放簡潔的對比，形成了作品豐富有致的節奏變化；雕塑在陽光和陰影之中形成極為豐富的變化效果。在此件《單鞭下勢》中，朱銘憑藉著自己的經驗、閱歷和判斷，將人們熟知的太極文化以及相關的拳術套路加以藝術處理，從以往相關的意象架構中脫離出來，讓人生動地感覺出單鞭即下的勢大、力沉與勢不可擋。朱銘的「太極系列」創作，將架上雕塑和環境雕塑相互參照和融合，引入現代雕塑的新理念，在現代的公共空間之中，賦予了更為廣闊的視覺創造和人文圖景。《太極系列》以其獨特的視覺符號和雕塑形態，成為都市生活的互補和自然造化的延伸。作品形成了以靜制動的視覺張力和震撼人心的體量感，具有特定的時代感召力，富有無盡的當代審美精神的想像和陶冶。

In 1978, Ju Ming went to Japan for exhibitions twice. That was the first time his “Taichi Series” attracted attention, among which, “Single Whip” series has, since then, found its foothold in Japanese "Chokoku no mori". “Taichi Series” opened another foreground of his creation also.

Actually, before then, in the exhibition of 1976 through which he found fame, Ju Ming had exhibited a woodcarving with the topic of Kong Fu, which could be considered as the origin of the “Taichi Series”. But, in the view of Ju Ming, it is the “Taichi Series” that is the starting point of his own style. He expresses the vital force from inside to outside rather than from outside to inside. In the sculptures of the “Taichi Series”, the relations between the geometric abstraction and active posture of the figures, as well as the contrast between the dynamic and static, the rough and terse in tridimensionality form a rich rhythmic change in the works. The sculpture presents a very colorful effect of change between light and shadow. In "Single Whip", relying on his own experience and judgment, Ju Ming made artistic treatment of the familiar Taichi culture and relevant boxing skills, having broken away from previous and relevant imago frame, giving out a kind of vitality and irresistible power. Ju Ming’s creation of the “Taichi Series” has made mutual reference and integration of the sculpture on a shelf and the environmental sculpture and introduced a new concept of modern sculpture, endowing modern public space with a wider visual creation and humanistic prospect. With its unique visual symbol and sculptural graphic arts, the "Taichi Series" has become a complementation of an urban life and an extension of natural creation. The works have shaped a visual effect of conquering the dynamic by static and exciting touch sense, being provided with a specific impelling force of the age and teemed with endless imagination and edification of a contemporary aesthetic spirit.

242

YANG Chihung

(YANG Chihong, b. 1947)

Subconsciousness 2007 Oil on canvas 152 x 198 cm Titled on the reverse Subconsciousness in English, signed Chihung Yang in English and dated 2007 EXHIBITED: Inner Vision Human Condition-Chihung Yang Solo Exhibition, National Art Museum of China Beijing, National Art Museum of China, Beijing, Oct. 16-23, 2007

楊識宏潛意識 2007 油彩畫布 152 x 198 cm 簽名畫背：Chihung Yang Subconsciousness 2007 展覽：「心象情境：2007楊識宏北京中國美術館個展」，中國美術館，北京，展期自2007 年10月16日至10月23日

ILLUSTRATED: Inner Vision Human Condition-Chihung Yang Solo Exhibition, National Art Museum of China Beijing, Asia Art Center, Taipei, 2007, color illustrated, pp. 152-153

圖錄：《心象情境：2007楊識宏北京中國美術館個展》，亞洲藝術中心，台北，2007，彩色圖版，頁152-153

NT$ 1,200,000-1,800,000 US$ 37,500-56,300 HK$ 293,000-439,000

此幅作品《潛意識》完成於2007年，作品的主軸用米白與鐵灰的純粹用色來詮釋，畫面色彩被減低到極度清澈，結構與用色隱隱透露空靈之美，厚實的明暗對比、色塊與線條的交錯，其氛圍漸顯模糊概念。運用水墨畫透明的特質，發揮油彩潑灑滴流的可能性，以暗示的手法而非清晰的輪廓來描繪心目中無法具體言喻的「潛意識」。楊識宏以自己的空間默契，讓情境的營造

洋溢著濃濃詩境，觀賞者的視覺隨著色塊的延伸與色彩的層次徐徐移動，記憶中片段緩緩浮現。恍惚的潛意識自由地飄浮於抽象的空間裡，這種畫面結構所產生的視覺張力，虛實的韻律既抽象又具象、既感性又浪漫、既細膩又粗獷。

The work entitled “Subconsciousness” was painted in 2007, simply in beige and dim gray. With the least colors, the painting appears to be extremely limpid. The composition and colors indistinctly present the beauty of a void. The forceful contrast of light and shade as well as the mesh of lines and blocks creates an indistinct atmosphere. The artist elaborates the limpidity of ink wash painting, makes use of the properties of oil paint that drips, and portrays the intangible “sub-consciousness” in a symbolic way instead of with substantial contours. Based on the understanding of space, Yang’s poetic scenery leads viewers’ sights moved with the colors and their memories revealed. The bemazed sub-consciousness wafts in an abstract space freely and it creates a kind of visual effect that being empty in beat and abstract in concreteness can be felt. It is rational but romantic, delicate but wild.

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243

CHUANG Che (b. 1934)

Emptiness in Welkin 2004 Oil on canvas 173 x 173 cm Signed lower right Chuang Che in Chinese and dated 04 EXHIBITED: Deep Ride • Remote Way – Chuang Che Solo Exhibition in National Art Museum of China, Asia Art Center, Taipei, 2007, color illustrated, p. 149

NT$ 1,800,000-3,000,000 US$ 56,300-93,800 HK$ 439,000-732,000

莊喆太虛穹蒼 2004 油彩畫布 173 x 173 cm 簽名右下：04 莊喆展覽：《嶺深道遠－莊喆2007北京中國美術館個展》，亞洲藝術中心，台北，2007，彩色版圖，頁149

「莊喆的作品有著豐富的肌理、含蓄的色調和感性而強烈的筆觸，猶如油彩和綜合材料的『大寫意』，充滿著生命的運動和韻律。在整體境界上，他的圖式是自身圓滿的，畫面瀰散著飽滿的氣息，猶如一片渾茫的天地，而其中作為骨幹的線條或色塊，則如醒目的力量，劃開混沌，蕩漾時空，顯示出剛健的張力。於此我說，他的畫如他其人，正處在渾茫與通達之際。」 -中國美術館館長范迪安

在這幅《太虛穹蒼》裡，莊喆運用大量的墨黑作為基調，畫面結構嚴謹且充滿動勢，同時，莊喆精準、成熟地使用自動性技法的流暢感，將天地穹蒼間的萬物化為一種玄虛的形象，卻在運筆中表現出「實」的內涵，色彩沉穩奔放，線條剛柔交錯。「實而不空，有而不是無」是莊喆的終極信仰，也是他對藝術一種堅定的、執著的要求，將抽象藝術昇華到另一個層次。細觀之，虛與實相生，動與靜兼併，強與弱呼應，一種高度的詩意油然而生，在東方精神及西方媒材中找到全新的溝通語言，引人入勝。

“Chuang Che’s art is a synthesis of abundant textures, implicit colors and powerful emotions. As a fusion of oil painting and mixed materials, the exuberant strokes highlight a sense of vivid restless motion and an energetic primal rhythm. In light of the overall panoramic scope, his painting is fully

rounded with a canvas that truly exudes a rich aesthetic flair. Chuang’s art is like a nexus connecting a chaotic universe with lines of framework or colored patterns which suggest the power of order resisting the chaos, flowing through the universe and signifying a highly masculine aura. Aesthetically and philosophically, his art reflects the work of the visionary artist who imitates the divine creative forces in bringing order to chaos. Chuang, with darkness, light and color has undertaken the artistic quest, entering into chaos in order to create art.” Fan Di An, Curator of China National Museum of Arts

“Emptiness in the Welkin” is a masterpiece of Chuang Che’s art; he applied considerable black as the fundamental color to structure a scrupulous and dramatic tableau. By employing automatism, the precise, mature and flowing images express an underlying, mysterious universe. However, the fullness in his painting presents a combination of real content, forceful color and hard/soft lines. “Reality is more than emptiness and essence is more than nothing” is his persistent belief reflected in his art. He has sublimated the abstract to another level; a poetic hybrid of actuality and vanity, dynamics and tranquility, power and weakness is delivered in his work. A new and attractive visual language is created between the oriental spirit and western media.

244

SHIY De-jinn (1923 - 1981)

Portrait of the Painter Tian Man-shi 1961 Oil on canvas 90 x 72 cm Signed center right Shiy De-jinn in Chinese and dated 1961 PROVENANCE: Acquired from the Shiy De-jinn Foundation by current owner ILLUSTRATED: The Commemorative Collections of Shiy Dejinn (II) Oil Painting, Taiwan Museum of Art, Taichung, 1994, color illustrated, p. 245 (with the title of "Lady in Black")

NT$ 1,600,000-2,800,000 US$ 50,000-87,500 HK$ 390,000-683,000

席德進畫家田曼詩像 1961 油彩畫布 90 x 72 cm 簽名右中：席德進 1961 來源：原收藏者得自財團法人席德進基金會圖錄：《席德進紀念全集I I油畫》，台灣省立美術館，台中，1994，彩色圖版，頁245 （原題《黑衣女士肖像》）

245

YANG San-lang (1907 - 1995)

Look Far into the Distance from Shue Shan Oil on canvas 65 x 80 cm Signed lower left S. Yang in English

NT$ 2,200,000-2,800,000 US$ 68,800-87,500 HK$ 537,000-683,000

楊三郎雪山遠眺油彩畫布 65 x 80 cm 簽名左下：S. Yang

楊三郎一生奉行印象派，注重戶外寫生、著重日光、時序下的光影變化，在台灣前輩藝術家中聲望及地位崇高，對於藝術推動更是不遺餘力，創立「台陽美術協會」，獲頒象徵藝術最高榮耀的「國家文化勳章」，在所熟知的華人世界大師當中其捕捉大自然瞬間感動的生命力、空間上的層次運用，及透過作品深刻表現藝術家豐富的內在心靈，是其他藝術家所不及的。

prestige among senior artists in Taiwan, makes every endeavor for art movements and established "Tai-yang Art Society. He received “National Culture Medal”, it is the highest honor of art one could receive in the country, his ability capturing touching moments and vitality in nature, his utilizing the space through different layers, and his presenting his mind through art, is the best in all artists.

此幅《雪山遠眺》多重層疊的筆觸肌理澱積而成為山勢走向，也刻畫出楊三郎筆下高山的雄偉。一筆筆、一色色的交織成大自然的鳥語花香。藝術家不畏艱辛為了記錄下大自然最真實的一面，扛著畫具一步步朝著心中及筆下的聖山邁進，座座山勢、交錯盤昇，我們看著楊三郎因為愛山、禮山、畫山，甚至讚山，從玉山、合歡山、大壩尖山、阿里山，到喜馬拉雅山，楊三郎以一顆熱愛藝術的心，不畏爬山涉水之苦，勇於向大自然挑戰，其足跡踏遍南北，看著此幅《雪山遠眺》，由高色度的土黃色，隨著時序更替的變化，顯露其山峰無盡威嚴的氣象萬千。

This piece “Look Far into the Distance from Shue Shan” has multiple layers of brush strokes to build up the muscles of the mountains, it also shows how magnificent these mountains are after Yang’s touch. Brush after brush, color after color, he created a beautiful picture of nature. In order to capture the actual face of nature, he carried his tools step by step towards the holy mountain in his heart and painted it with his paintbrush. Mountains rise and fall, entwine, Yang’s passion, praise, drawings and his love for mountains drive him to go from Yu-Shan, Huhuan Mountain, Dabajian Mountain, Ali Shan to the Himalayas, he has a heart caring for art, has no dread for traveling the world, challenges nature. Looking into this piece, we see the color olive brown changing with time, it shows thousands of looks of the mountain which is astonishing.

Ya n g S a n - l a n g i s a t r u e b e l i e v e r o f impressionism; he paid a lot of attention to paint or sketch nature and always took notice on the sunlight as well as different shades in different times. He has high

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246

LIAO Chi-chun (1902 - 1976)

Fishpond 1962 Oil on canvas 73 x 61 cm Signed lower right Chi-chun and dated 1962. 6 in Chinese Inscription on the reverse: A souvenir to Lin Chiu-chiang, presented by Liao Chi-chun, Chuo-shian and He-en, June 1962 PROVENANCE: Historical collection of Dr. Lin Chiu-chiang (gift from the artist) ILLUSTRATED: Color. Harmony. Liao Chi-chun, Lion Publishing Co., Taipei, 1997, color illustrated, p. 98 Taiwan Artmasters: Series I, Liao Chichun’s Memorial Exhibition: On the 20th Anniversary of His Decease, Taipei Fine Arts Museum, Taipei, 1996, color illustrated, p. 85

NT$ 10,000,000-18,000,000 US$ 312,500-562,500 HK$ 2,439,000-4,390,000

廖繼春魚池 1962 油彩畫布 73 x 61 cm 簽名右下：繼春一九六二．六簽名畫背：林秋江先生惠存廖繼春瓊仙和恩敬贈一九六二．六來源：林秋江醫師舊藏（得自藝術家饋贈）圖錄：《色彩．合諧．廖繼春》，雄獅圖書出版，台北，1997，彩色圖版，頁98 《認識台北藝術大師系列之一—廖繼春逝世二十週年紀念展》，台北市立美術館，台北，1996，彩色圖版，頁85

《魚池》一作的右下角有畫家廖繼春簽署的名字及創作年代，時間為1962年5月。依照廖繼春的創作年表，此時他應前往美國旅行前夕。是年他與席德進獲美國國務院邀請，到美國考察訪問。訪問一般為期兩個月，結束後可選續留或轉赴他處旅行。廖繼春6月前往美國，停留4個月左右，12月借道歐洲返國，又在歐洲停留一段時間，隔年春天才返回台灣。在美歐遊歷期間，他飽覽重要博物館的藝術館藏，赴各地名勝寫生。因而後來創作一系列以希臘雅典、義大利威尼斯、西班牙、以色列伯利恆、法國巴黎為景的作品。

廖繼春當時任教於台灣師範大學，作育英才無數，在台灣前輩畫家中他的觀念最為先進創新。學生們受到歐美新思朝的影響，力求突破傳統，1957年在台灣成立了「五月」、「東方」等前衛畫會，掀起藝壇一陣波瀾。廖繼春並未陷入新舊藝術的爭執，卻以行動默默支持學生的創革。1950年代後期，他的某些畫作已逐漸抽離了形體，轉以新的藝術形式取代。而 1962年創作的《魚池》選擇傳統的錦鯉池為描寫對象，但以抽象化語彙來詮釋。對照1948年的《鯉魚》早期油畫，已看出繪畫風格上的變化。《魚池》作品中墨綠、藍、白、粉紅的鋪陳，暗示池水光影的流轉，橙紅的小色塊跳躍期間，隱約可見錦鯉的形體，穿梭的深色線條，牽動畫面中央鯉魚的游移，整幅作品透出形象的趣味，在抽象與具象之間遊走。其實，色彩、線條的律動與組合，才是畫作佈局中的主角。二次大戰之後美國抽象表現藝術運動蓬勃，成為世界的藝術中心，但是到了1950 年代末期已逐漸式微，被其他的觀念藝術取而代之，然而美國的抽象畫的影響卻延伸到了歐洲去，反而在歐洲形成風潮。廖繼春對紐約畫派的抽象畫並無太多感動，唯獨對於富有東方情調的羅斯科和高爾基等人較為欣賞。 1963年美歐考察返台之後，在一次談話中廖繼春表示：「總之我以為現代畫問題不是在抽象或具象，最要緊是在於藝術品是否真有內容，畫面的形式僅是作家精神

品裡依舊洋溢著樂觀與童心，一如廖繼春繪畫裡不可忽視的特色，帶給觀者愉悅的視覺感受。

廖繼春《鯉魚》1948 油彩畫布 80 x 100 cm 羅芙奧2005春季拍賣會，編號 024，1421萬台幣成交 Liao Chi-chun, Carps, Ravenel Spring Auction 2005, lot 024, US$ 459,128 sold

傳遞的媒介罷了！目前我們需要的是真正的好畫，卻不是規定著要某一種形式的畫。」俄裔藝術家夏卡爾曾說：「到巴黎去不是學那裡的畫，而是去接受刺激，多麼豁達的藝術家。」對廖繼春而言，他也是充滿自信，要走自己的藝術之路。靜謐的色彩、奇幻的線條，逐漸成為廖繼春作品中重要的構成元素。而這種表現其實在早期作品已經出現，他受到後印象派與野獸派的啟迪，畫風自由奔放。遊歷歐美之後，他更能認識現代繪畫的精神，強化自己的意志，於是不再追求純粹的抽象畫，反而發展出變形物象、抽象形色的自我風格。《魚池》作品可以視為廖繼春在抽象畫研究的代表作之一，簡化的形體、調和的色彩，可以看出與過去的創作已有顯著的不同。在抽象形式的探索中，廖繼春勇於大膽嘗試，有人以「色彩的魔術師」稱呼他，可見他的獨特色感。難得一見的，《魚池》不是選用過去在他繪畫經常出現的紅、黃、藍、綠等民俗的色彩，洋溢南國特有的節慶風味。此畫改以藍灰綠、粉白黃等較偏中性色調，呈現不同以往的風格。作

On the bottom-right of “Fishpond”, Liao signed his name and the time he made the painting, May 1962. According to Liao’s chronology, he was planning to go to the United States. In that year, he and Shiy Dejinn were invited by the US Department of State. Usually, a visit would take two months, and after two months, the visitor could decide to stay or to travel to other places. Liao went to the States in June, and stayed there for four months. He then went to Europe in December and came back to Taiwan the following spring. During his travels, he enjoyed the collections in museums and galleries and sketched all kinds of monuments. After he came back to Taiwan, a series of paintings on the topics of Athens, Venice, Spain, Bethlehem, and Paris was created. Liao tought in National Taiwan Normal University. His students were hugely influenced by his advanced and innovative concepts, and they always searched for revolution in tradition. In 1957, several avant-garde painting societies, such as the Fifth Moon Group and Ton-fan Group, were established. They brought huge impact on paintings in Taiwan. Liao didn’t get involved in the struggles between the old and the new but silently supported his students’ ideas. In the late 50s, some of Liao’s paintings took a new artistic form. Although “Fishpond”, painted in 1962, portrays a traditional pond full of carp, the painting itself presents in abstraction. Compared to “Carps”, which was painted in 1948, “Fishpond” presents

a stylistic change. In “Fishpond”, the arrangement of dark green, blue, white, and pink colors implies floating water, and the vivid orange color are carp in the pond. The interlaced dark lines symbolize the movement of the carp. The painting moves between abstraction and realism. The main focus of the painting is actually the combination of colors and lines. After World War II, abstractionism became popular in the States and thus led the art trend in the world. Yet, at the end of the 50s, it declined and was gradually replaced by other artistic ideas. However, it brought influence in Europe. Liao was not touched by the abstract paintings in New York, but appreciated the works of Marc Rothko and Arshile Gorky. In 1963, after he came back from Europe,

廖繼春《游魚》約1960年代油彩畫布 Liao Chi-chun, The Fish Circa 1960s, oil on canvas, 65 x 80 cm

Liao said once, “I think the problem of modern painting is neither abstract nor realistic. The most important thing is if art has content. The style is only a medium of the artist’s soul. We need a really good painting, not paintings only belonging to a certain style.” Marc Chagall once said that “you go to Paris not to learn how to paint, but to be inspired”. Liao showed the same confidence of focusing on his own art. The simple colours and complex lines gradually become the important elements in Liao’s works. Such presentation already appears in his early works. His free style is inspired by Post-impressionism and Fauvism. After his travels in the States and Europe, he learnt the soul of modern paintings. He then turned into himself not for pure abstraction but for a new style of transformation and abstraction. “Fishpond” is one of Liao’s best works in abstract painting. The simple style and colours show the difference from the works before. In his explorations of abstract form, Liao was always daring new challenges and experiments. Some people called him “a magician of colours,” which shows the uniqueness of his usage of colours. Different from his previous works, he did not paint “Fishpond” with festive colours such as red, yellow, blue, and green but neutral colours such as blue, grey, green, pink, white and yellow. Liao’s paintings always show optimism and innocence and bring a visual pleasure to audiences.

247

ZAO Wou-ki (b. 1921)

Le jardin abandonné 1955 Oil on canvas 53.5 x 65 cm Signed lower right Wou-ki in Chinese and ZAO in French Signed on the reverse ZAO WOU-KI in French, titled jardin abandonné in French and dated 1955 PROVENANCE: Galerie de France, Paris ILLUSTRATED: Claude Roy, Zao Wou-Ki, Le Musée de Poche – Editions Georges Fall, Paris, 1957, color illustrated, p. 29 Claude Roy, Zao Wou-Ki, Le Musée de Poche – Jacques Goldschmidt, Paris, 1970, color illustrated, p. 35

NT$ 9,500,000-12,000,000 US$ 296,900-375,000 HK$ 2,317,000-2,927,000

來源：法蘭西畫廊，巴黎

趙無極曾在自傳裡寫道：「園藝是中國人心目中的雅事，它讓我想起父親。」1948 年趙無極離開上海，到法國學習繪畫，原本打算僅停留兩三年，但是沒料到和父親分別後竟成永遠。他記得當時在上海的家，房子很大，有大片的草坪和精緻的花園，趙無極畫畫時，父親就在一旁看，有時也蒔花剪草，那是一段幸福的回憶。過往的總總，時在藝術家的腦中浮現，憶起故鄉的親故，憶起文化的祖國。花園之於趙無極不僅是一個家的完整，更是一處心靈的避風港。

圖錄：克羅德．華，《趙無極》，（袖珍美術館叢書初版），喬治．福爾出版社，巴黎， 1957，彩色圖版，頁29 克羅德．華，《趙無極》，（袖珍美術館叢書修訂版），雅克．高登史密特，巴黎，1970，彩色圖版，頁35

生命中的情感與記憶自然地皆融入他的創作之中，對趙無極而言，繪畫其實如同他的日記，雖然多數創作都是抽象畫，然而那些充滿詩意與抒情的畫正記錄著他的生命歷程。趙無極學生時期學習塞尚、馬蒂斯等現代畫風，後來到巴黎飽覽美術館裡的藝術收藏，大開眼界，作畫的興致高

趙無極被遺忘的花園 1955 油彩畫布 53.5 x 65 cm 簽名右下：無極 ZAO 55 簽名畫背：ZAO WOU-KI jardin abandonné 1955

247

趙無極《向屈原致敬》1955 油彩畫布 ZAO Wou-ki, Hommage À Chu-yun 1955, oil on canvas, 195 x 130 cm

昂，初期繪製了不少具象的石版畫，和具有素描特質的風景油畫。畫裡的風景、建築和大自然，人物與動物都是其中的元素，但是不是畫的主題，逐漸地他以宇宙的觀點來詮釋這些圖畫，「符號」開始在他的繪畫中出現了。 1951年在瑞士看到克利的畫展，大受感動。克利喜愛東方的繪畫，自由暢快經營一方詩意空間，那些小小的色彩、線條與符號，讓趙無極為之目眩神迷。克利的畫指引他一條通往抽象藝術的道路。1954年之後他走進中國的古文字世界，中國書畫的佈局與意象，何其豐富華美。此時他的繪畫風格轉向非具象，以類似甲骨文、鐘鼎文的抽象符號，用變化多端的色彩、詩意的空間來傳達東方的精神。創作於1955年的油畫作品《被遺忘的花園》，畫中穿梭著文字書寫般的符號，藉由這些神祕的符號，畫家賦予一種暗示，其中也潛藏著悲壯的戲劇張力。在一片墨綠色的自然裡，細小的線條翻騰，色塊躁動，象徵著花園裡的不安狀態。這處心靈花園或許是荒蕪了，因為人的離開，畫中充滿藝術家的惆悵思緒。人的離開，指的

是與家園父親的分別，也可能隱喻著自己情感的變化，妻子景蘭即將離去。趙無極是一位情感纖細的藝術家，繪畫乃是生活的指標，更是生命的重心。 1955年到1956年間，因為與妻子間的感情問題，趙無極的心情陷入無比的低潮，毀滅性的、悲涼的情緒，時常籠罩著他。然而，這段期間的作品他創作如《向屈原致敬》、《向杜甫致敬》（1956）、《友人之碑》及《黑色足跡》等膾炙人口的巨作。在1950年代前期，他為自己的畫加上標題，但是卻沒有敘事性之用意。我們可以說，理性的思辨難以分析他的繪畫，唯有詩意的感知，透過情感才能理解他的繪畫。從1955年後，趙無極完全放棄的具象畫，他回到中國的經典，選擇抒情抽象的形式，以中國人的哲學觀來詮釋自然，繼續開展出一個精采動人的抽象畫世界。

Zao Wou-ki once wrote in his autobiography, “Gardening is a noble pastime among the Chinese, and it reminds me of my father” (Jardinier, pour un Chinois, est un passetemps noble et me rappelle mon père.). In 1948 Zao left Shanghai to learn art in France, originally for only a few years, but his separation from his father proved to be permanent. He remembered his home in Shanghai; the house was large, the lawn was wide, and the garden was exquisite. When Zao drew, his father would look on, or sometimes prune the shrubs and bushes nearby; that is a blissful memory for Zao. The past resurfaces in the mind of the artist, carrying memories of a faraway home, of a distant culture, and of a unique country. The garden not only symbolizes the completeness of home for Zao, it is a harbor of calm in the storms of life, and a refuge for his soul. The emotions and memories of his life naturally flow into his art. To Zao, his art is like his diary. Although most are abstract, such expressions of poetry and sentimentalism are surely a fitting reflection

of his life. As a student, Zao learned of the styles of masters such as Cézanne and Matisse, and gorged himself on the collections of art in the museums of Paris. His artistic sails bloomed full, and in the early days he created numerous lithographs, as well as scenic paints of sketchlike qualities. Scenery, buildings and nature, humans and animals were all a symbolic part of his art, but not themes of his art. Eventually he began to reinterpret these symbolic appearances from the perspective of the universe, and “symbols” began to appear in his works. In 1951 Zao saw an exhibit of Paul Klee in Switzerland, and was entranced. Klee favored Eastern art, and worked within a small poetic space; his petite colors, lines and symbols enthralled Zao and led him down the path of abstract art. After 1954 Zao entered the realm of ancient Chinese

趙無極《黑色足跡》 1955 油彩畫布匹茲堡卡內基藝術中心收藏 Zao Wou-ki, Foule noire 1955, oil on canvas, 116 x 89 cm Collection of Museum of Art, Carnegie Institute, Pittsburgh

calligraphy, attracted by the structure and meaning within Chinese art. He has by now left the figural, and is using abstract symbols similar to oracular runes and bronze bell carvings, within a poetic space and with endless variety of colors, to present the spirit of the East. "Le jardin abandonné" (The Abandoned Garden), an oil on canvas created in 1955, is dominated by criss-crossings of symbols similar to words. Through these symbols the artist gave the work suggestibility and a sense of tragic, theatrical tension. In this field of dark green Nature, thin lines twirl and colors dance restlessly, symbolizing the sense of unrest in the garden. Perhaps the garden is abandoned, and the departure of man leaves behind only the artist’s melancholy and regret. The departure of man was the departure of his father, or his own personal emotive changes; his wife Lan-Lan was about to leave as well. Zao is a sensitive artist, and his art is not only indicators of his life, but an anchor for his life as well. Between 1955 and 1956, his problems with his wife drove him to emotive depths, and he was frequently surrounded by destructive and sorrowful emotions. However, also in this period, he created such renowned masterpieces such as "Hommage à ChuYuan" (1955), "Hommage à Tou-Fou" (1956), "Stèle pour un ami", "Foule noire"and others. In the early 50’s his art was titled, but the titles were without narrative intent. We can say that rational thought cannot comprehend his art, and only through emotional understanding can one gain appreciation. After 1955, Zao gave up on figurative art entirely, and returned to the Chinese classics; he chose to interpret nature through Chinese philosophy, and represent it with emotive abstraction, thus continuing his exploration of a wonderful and exciting world of abstractions.

248

WANG Huaiqing (b. 1944)

Separation and Reunion 1992 Oil on canvas 145 x 112 cm Signed lower right Wang Huaiqing in Chinese ILLUSTRATED: Wang Huaiqing, Wang Huaiqing published, Beijing, 2004, color illustrated, p. 63

NT$ 28,000,000-40,000,000 US$ 875,000-1,250,000 HK$ 6,829,000-9,756,000

王懷慶大開大合 1992 油彩畫布 145 x 112 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，頁63

1991年王懷慶完成一幅以太師椅為主角的油畫，起名為《大明風度》，這幅創作榮獲1991年中國美術館舉辦的首屆「中國油畫年展」金牌獎，奠定畫家個人創作的里程碑。《大明風度》被視為1990年代藝術家從江南民居過渡到明式家具描寫的一大轉折。一張典雅的明式古椅，王懷慶認為它不僅僅是一件家具，更是真正的藝術品。畫面中頂天立地的家具，承載著文化的記憶，刻畫著民族美學的遺跡。它比人的生命更永恆，更長久。畫家透過重現明式家具的完美架構，佈局一場又一場線條與空間的藝術劇碼。若說1991年的《大明風度》是王懷慶觀照歷史之物，展開文化對話，組構中國書法的黑白神韻。那麼1992年他的另一幅創作《大開大合》（大開大闔）則是以拆解為手段，再重新組構，則可視為《大明風度》的姊妹之作。王懷慶藉由橫穿豎插的榫卯木質構成，傳達古老的審美趣味，彰顯民族的時代風度。《大開大合》裡明式圈椅，既解構又組構，有縱橫古今、大開大闔之氣度。畫家在此借用後現代的解構語法，古樸素雅的家具結構元件，隱喻當代文化的斷裂與重建的現象。近年王懷慶總結自己的創作三大語彙祕密，其一是「把所有出現在畫面裡的傢俱黑色化」，其二是「把傢俱置處在一種虛無而空的背景裡，更換了世上所有

傢俱傳統的必然位置—『地面』」，第三是「把立體拍成平面」。在《大開大合》裡，改變家具原來的木質顏色，成了單一的黑色，家具從現實中被抽離開來，成為永恆的象徵。平面化的黑色線條更能表現造型的力度，宛如拆解中國文字過程的抽象藝術。橫豎線條間的榫接，則以白色來突顯，使得構圖更形趣味化。顯然地，王懷慶在經營佈局時，乃是帶有書法意識的，墨色的油彩光亮，顯露出碑體、鐘鼎文的質感，亦接近有「黑色畫家」之稱的法國抽象畫家蘇拉吉的形式美感。評論家賈方舟對王懷慶的藝術知之甚詳，發表在1999年的〈意在黑白橫豎間—論王懷慶的現代建構〉一文中提到：「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：在平面處理中見出空間的深度，在具象表現中見出抽象精神，在感性錯覺中見出理性的原則，在西方的表現技巧中見出東方的文化內涵。若從風格流派的角度看，王懷慶走的則是一條結構主義的路。從最初的《故園》、《三味書屋》到後來《白牆襯托的立木四根》、《裂開的黑》、《大明風度》，乃至帶有解構意味的《大開大合》，「結構」始終是畫面的中心與主導，題材雖然從房屋演變到傢俱，但作為畫面主角的『結構』卻一脈相承。」（賈方舟，〈意在黑白橫豎間—論王懷慶的現代建構〉，《王懷慶》，大未來畫廊，台北，1999，頁2）

《大開大合》堪稱為王懷慶解構主義的代表作，題目的命名即點出他的心機，身體力行地解構、重構文化的斷片、歷史的場景，先破而立。因為畫家的文化史觀，繪畫裡隱含崩解的悲劇意識，作品帶有一種歷史蒼涼之感。悼詠逝去的歷史光輝，但也殷殷期待重新連接過去的歷史傳統。王懷慶的繪畫飽涵中國人文精神，但又具有現代風貌，在當代藝壇風格十分突出。1992年，他的老師吳冠中在一次英國參觀一間當代藝術博物館時，置身於西方雕塑大師的作品前，他對友人說：「把王懷慶的油畫放在這裡，毫不遜色！」吳冠中表達對王懷慶藝術的高度評價。

The Chinese armchair, an oil p a i n t i n g m a d e b y Wa n g i n 1991, entitled “The Great Ming Manner” received a gold medal award in the Annual Exhibition of Chinese Oil Painting held by the National Art Museum of China. This reward marked the turning point in Wang’s creation. “The Great Ming Manner” is the transition of the artist in the 90s from the houses of Jiangnan to the furniture of the Ming Dynasty. Wang believes that a classic Ming-style armchair is not only a piece of furniture, but a true craft of art. This furniture on canvas bears a cultural memory and depicts a national beauty. It lasts longer than any human life. Through the representation of the perfect furniture frame, the painter constructs an artistic drama of lines and space. “The Great Ming Manner” is a dialogue initiated by Wang with a historic relic and culture as well as revealing the soul o f C h i n e s e c a l l i g r a p h y. " S e p a r a t i o n and Reunion", executed in 1992 is the counterpart of “The Great Ming Manner” through deconstruction and reconstruction. With the interwoven tenons and mortises,

Wang conveys the ancient aesthetics and manner of the nation. His round-backed armchair is deconstructed and constructed as well as separated and reunited. By using the post-modernistic deconstructionism and a simple classic piece of furniture, Wang shows the rupture and the reconstruction of contemporary culture. In recent years, Wang summarizes his creations into three points: first, blackening the furniture on canvas; second, placing the

王懷慶《大明風度》1991 油彩畫布 Wang Huaiqing, The Great Ming Manner 1991, oil on canvas, 145 x 130 cm

furniture in an empty background instead of where it should be - the floor; and third, turning a three-dimensional space into a two-dimensional one. In “Separation and Reunion” the furniture is black, not the original wooden colour. It is separated from reality and has become a symbol of eternity. The plain black lines not only present the power of the composition, but also symbolize an abstract art which d eco n s tr u cts th e C h i n e s e c h a r a c t e r s . The interwoven tenons and mortises are emphasized by white colour and bring life to the entire composition. Wang is obviously aware of the beauty of Chinese calligraphy when composing the picture. The shining colour of ink contains the texture of a stele-style calligraphy as well as the stylistic beauty created by the French abstract painter Pierre Soulages (b. 1919), the so-called "painter of black". J i a F a n z h o u k n o w s Wa n g ’s a r t v e r y w e l l ; h e o n c e s a i d i n ' A Wo r l d o f Contrasts - on Wang Huaiqing’s Modern Structure' published in 1999” that: From a philosophical perspective, Wang has taken a middle road of great wisdom: two-dimensional treatment gives rise to spatial depth, abstract spirit runs through figurative expression, rational principle

sustains emotional confusion, and distinct Eastern cultural qualities transcend Western techniques of expression. On the other hand, from a stylistic perspective Wang has taken the road of Structuralism. From early works such as “Native Residence” and “Sanwei Study” to the latter “Four Wooden Beams against White Walls”, “Splintered Blank”, “Ming Style” (The Great Ming Manner), and “Great Breach, Great Unity (Separation and Reunion)”, “Structure” has remained a central and guiding element in his paintings. Although his themes have evolved from houses to furniture, primacy of “structure” has remained consistent throughout. (Jia Fanzhou, ‘A World of Contrasts – on Wang Huaiqing's Modern Structure', Wang Huaiqing, Lin & Keng Gallery, Taipei, 1999, p. 2)

“Separation and Reunion” is Wang’s best work of deconstruction. The title of the painting has revealed his thought – first to deconstruct and then to reconstruct the cultural fragments as well as the historical scene. Because of his view toward cultural history, he puts a destructive tragic consciousness in painting and his work contains the loneliness of history. The painter mourns for the past historic glory, and anticipates reconnecting the past historic tradition. Wang’s paintings

are full of Chinese humanistic spirits and modernistic style, which is very rare in contemporary art. In 1992, his teacher Wu G u a n z h o n g v i s i t e d a m u s e u m o f contemporary art in England. Standing in front of the work of a master sculptor, he said to his friend, “Wang’s oil paintings are not inferior to these.” This comment shows Wu’s appreciation of Wang’s art.

249

SANYU

(1901 - 1966)

Pink Chrysanthemums in a White Vase 1931 Oil on canvas 100 x 70.5 cm Signed lower right SANYU in French, Yu in Chinese and dated 1931 PROVENANCE: Henri-Pierre Roché Collection, Paris Mrs. Vierne Collection, Paris (Until 2004) Christie's Hong Kong, Oct. 31, 2004, lot 659

NT$ 28,000,000-55,000,000 US$ 875,000-1,718,000 HK$ 6,829,000-13,415,000

常玉白瓶粉紅菊 1931 油彩畫布 100 x 70.5 cm 簽名右下：玉 SANYU 1931 來源：亨利．皮耶．侯謝收藏維納夫人收藏（家族收藏至2004年）佳士得香港拍賣，2004年10月31日，編號659

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《白瓶粉紅菊》為常玉少數有標示年代的作品，完成於1931年。研究常玉生平的已故學者陳炎峰認為，1930前後數年間可說是常玉生平最風光得意的時候。受到的賞識與肯定亦多。法國知名作家兼收藏家亨利．皮耶．侯謝賞識常玉的才華，從1929 年開始贊助他，購買其畫作，或再轉售部分藏品給朋友，也成為他的經紀畫商，合作關係為期三年左右。亨利．皮耶．侯謝活躍於二十世紀初的巴黎藝術圈，交友廣闊，又具文采，能發掘具有潛能的藝術家。1906年他將尚名不見經傳的西班牙年輕藝術家畢卡索，介紹給美國猶太裔女畫商葛雛．史坦及其弟弟。多位知名藝術家如羅蘭珊、布拉克、布朗庫西、杜象以及海老原喜之助均與侯謝交往密切，日後這些藝術家的功成名就和侯謝的提攜不無關係。據聞侯謝當時的住家牆上懸掛著常玉和馬蒂斯兩人畫作，還屢向友人稱讚常玉的才華。而根據史嘉麗．賀里奎與菲力．賀里奎合著的《亨利．皮耶．侯謝：一位偉大的收藏家》一書中有記載，到1931年左右侯謝一共收藏有常玉油畫111幅、素描600幅。無疑地侯謝可說是常玉生命前期的知音及重要收藏家之一。此幅拍品《白瓶粉紅菊》一作和侯謝的收藏亦有淵源。1921年侯謝認識伊凡．維納夫人，當時維納夫人剛在巴黎第六區波納帕街以自己的名字開一間迷你書店，後

來1924年德．哈汀女士也加入經營，書店更名為「窄門」，與法國文豪紀德世紀初的知名小說名同名。書店小巧可愛，可說是波納帕街上門面最小的店，取名「窄門」之前還取得紀德的同意。「窄門」書店和巴黎美術學院就位在同一條街上，書店以出版或販售藝術刊物或藝術評論小冊為主，受到當時許多評論家及藝文界人士的支持。在1925-28年之間，紀德、莫里斯．薩克斯（Maurice Sachs）和亨利．皮耶．侯謝等知名作家甚至把評論文章交由這家書店發行出版。因經營藝術書店，維納夫人和侯謝結為好友，甚至於侯謝在著作序言裡經常向維納夫人致謝。也基於友誼，侯謝對常玉藝術的理解與熱愛，也連帶地影響周遭的朋友。《白瓶粉紅菊》即是侯謝選自其豐沛收藏所贈與維納夫人的其中一幅。而維納夫人一直珍藏這幅常玉的畫作，並傳給後人，她的家族收藏至2004年為止。 1921年常玉從中國抵達世界的藝術之都，他成了巴黎所謂「瘋狂年代」的歷史見證者、參與者。當時歐洲剛剛經歷過第一次世界大戰的摧殘，經濟困頓與戰爭人禍的陰影尚未褪去，整個1920年代在這座城市興起放縱、自由的享樂主義。於是，巴黎再度成為一個現代而有創造力的城市，在藝術、服飾、人文、音樂上皆有很大的解放。本是紈袴子弟、翩翩公子的常玉，會演奏曼陀林、打網球、抽水煙、打撞球，

喜歡在文人咖啡廳裡觀看往來的芸芸眾生，還擁有一台名貴的相機，經常偕友人聚會、郊遊，頗能融入巴黎的自由享樂風潮，甚至可說是如魚得水。這段時間他以粉白、粉紅的色系畫出巴黎生活的歡愉印象，時間一直延續到1930年代。女歌手艾迪絲．琵雅夫後來引吟誦數十年的《玫瑰人生》，也是受到浪漫不羈的巴黎所引發的靈感。對照常玉的前半生，亦有幾分共鳴才是。《白瓶粉紅菊》的主題是常玉最愛描寫的雛菊，整幅畫作洋溢溫馨柔和之美。粉色花朵綻放、纖巧可愛，插在素白的中國瓷瓶，十分優雅細膩。茂密的花叢有層次感，無繁複感，精心的佈局使觀者的視線得以聚焦。瓶身以比粉白略深的顏色勾勒線條，看起來若有似無，僅用來區分對象與空間，彼此卻顯得和諧無比。色彩是現代的，西方的，留白的觀念卻又是古典的，東方的，簡單的畫面布局有空靈之感。背景兩側的粉紅布幔，巧妙地將空間切割出來，整體佈局得以平衡，而畫面中央的瓶花因粉紅色塊的襯托得更顯突出。常玉以獨特不群的氣質，簡樸的形、色，將花卉靜物描繪得極有韻味，清新不落俗套。瓶菊，宛如舞台上的主角一般，演繹起自己的人生劇本。許多的評論家都認為，無論是瓶花、動物主題，都可見藝術家的自我投射。而在此幅畫作裡亦傳達出巴黎「瘋狂年代」的華麗自由。顯然常玉對《白瓶粉紅菊》作品頗為滿意，在畫面的右下角，他細心地一筆一畫地簽上中文與法文的名字，還加上作品的年代1931。而原來的收藏者維納夫人及後

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人，必然亦珍愛此幅精緻的圖畫，視為傳家之寶，數十年來沒有離開過其家族。《白瓶粉紅菊》一作除了看見藝術家精湛的繪畫天賦，也驗證了一段故人之情、友情與藝術珍藏的恆久可貴。

常玉《白瓶粉菊》1930年代油彩畫布 SANYU, Chrysanthemum dans un vase blanc 1930s, oil on canvas, 73 x 50 cm

"Pink Chrysanthemums in a White Vase" is one of Sanyu’s few dated works, completed in 1931. The late scholar and Sanyu expert Antoine Chen thinks that the years around 1930 mark an important creative peak, as well as the most outwardly successful period in the artist’s entire life, a time when he received much acknowledgment and appreciation.

One of those who admired Sanyu’s talent was the well-known writer and art collector-cumdealer Henri-Pierre Roché (1879-1959), who began to sponsor the artist in 1929, buying many of his paintings (and helping to sell others to friends), and becoming something like Sanyu’s agent—a connection that lasted for about three years. At the turn of the 20th century, Roché— a gifted journalist and author—was very active in the art circles of Paris, meeting and becoming friends with numerous aspiring artists, and having a keen eye for spotting outstanding talent. In 1906, he introduced a young and still relatively unknown Spanish artist named Picasso to the renowned JewishAmerican art dealer Gertrude Stein and her younger brother. Other famous artists who had a close relationship with Roché during crucial phases of their career included Marie Laurencin, George Braque, Constantin Brancusi, Marcel Duchamp, and Ebihara Konosuke. They all owed at least some of their later success to Roché’s generous support and sponsorship. A rumor at the time had it that in his own residence, Roché had paintings of only two artists: Henri Matisse and Sanyu, and that he frequently praised Sanyu’s artistic gifts in the presence of friends. According to Scarlette and Philippe Reliquet’s jointly authored book HenriPierre Roché, L’Enchanteur Collectionneur, by 1931 Roché had collected 111 of Sanyu’s oil paintings, and some 600 of his drawings. It is thus no exaggeration to claim that in

addition to being a close friend and admirer of the artist, Roché was also one of the most important connoisseurs and collectors of Sanyu’s work.

巴黎第六區的窄門書店

This lot, "Pink Chrysanthemums in a White Vase", is one of the works previously in Henry-Pierre Roché’s collection. Back in 1921, Roché met Mrs. Yvonne Vierne, who had just opened a little bookshop in the sixth arrondissement’s rue Bonaparte under her own name. In 1924, she was joined by Madeleine de Harting, who helped to run the store. The shop’s name was now changed to La Porte Etroite, after the turn-of-the-century novel by French writer and Nobel Prize winner André Gide (1869-1951). The bookshop was rather tiny—easily the smallest store on the entire rue Bonaparte—but had a charming atmosphere. The owners did not forget to ask Gide for his

consent to use the title of his novel as the name for the bookshop, which was on the same street as the Fine Arts Institute of Paris. Thus the emphasis naturally fell on publishing and selling art magazines, critiques and essays, and other books and brochures dealing with art and related topics. The store received much support and recognition from art critics and other people connected with Paris’ art circles. Between 1925 and 1928, André Gide, Maurice Sachs, and Henri-Pierre Roché all had their critiques and art essays published by La Porte Etroite. Via the bookshop, Mrs. Vierne and Roché became closely acquainted, and more often than not Roché would mention his friend with gratitude in the forewords to his works. Over time, Roché’s enthusiasm and appreciation for Sanyu’s art did not fail to rub off on many of his friends and acquaintances. Pink Chrysanthemums in a White Vase was one of the paintings from his large collection of Sanyu works that Roché gave as a present to Mrs. Vierne, who treasured it for her whole life before bequeathing it to her family on her death. It stayed in the family’s possession until 2004. When Sanyu arrived from China to the City of Light in 1921, he immediately became embroiled in what has been termed Les Années Folles (“The Crazy Years”), witnessing one of the most exciting times in European art and literature: after the ravages of WWI, the “old continent” was

still reeling from economic difficulties and the aftermath of disaster, but in the city of Paris this led to a sort of epicurean libertarianism, an untrammeled pursuit of pleasure and excitement, but also of new forms of expression in literature and fine arts. For a time, Paris again became the most modern city of Europe, a magnet for people

常玉《白菊》1930年代油彩畫布 SANYU, Chrysanthemum blanc 1930s, oil on canvas, 73 x 50 cm

with creative talent, be it in the realms of art and fashion, or music and writing. In many ways, Sanyu, born to well-to-do parents and by nature a bit of a playboy, fit in quite well in this environment. He could play the mandolin, was good at tennis and billiards,

living lasted until about 1930, and its spirit was later captured very succinctly in Edith Piaf ’s signature song, "La Vie en Rose". In this tune, we may also discover some resonances of the first half of Sanyu’s life.

常玉《瓶菊》1930年代油彩纖維板 SANYU, Vase de chrysanthèmes 1930s, oil on canvas, 41 x 33 cm

smoked a water pipe and loved to spend hours sitting in a café watching people come and go. He also owned an expensive camera, which he used to take pictures during parties or outings with friends and colleagues. With his gregarious character and fondness of good times, Sanyu was pretty much in his element in the roaring twenties of Paris. In his works of that period, shades of white and pink are the dominant colors, deftly employed to depict the elegance and exuberant high life of France’s capital. This wave of wild abandon and romantic devotion to the arts and good

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The subject matter of "Pink Chrysanthemums in a White Vase" are English daisies, also known as meadow daisies, a kind of chrysanthemum that was Sanyu’s favorite, and which he depicted in many of his still lifes. The whole painting is imbued with a soft and gentle quality, a beauty that is at once reserved and attractive to the eye. The pastel tones of the blooming flowers, instantly lovable in their apparent fragility, play off the subtle elegance of the plain white Chinese-style vase. The densely overlapping blossoms create a sense of depth without overburdening the composition, inviting the observer’s eyes to rest on the natural focal point of the painting. The vase’s contours are outlined with grayish lines somewhat darker than the pastel white of its main body, which virtually seems to float in the air, in places almost merging with the background, but never failing to accentuate the flowers and surrounding space. While the coloring is modern and Western, the concept of “leaving some spaces blank” (liubai) is classical Chinese, reaching all the way back to the Eastern tradition of finding inspiration in simple arrangements and understatement. The reddish curtains framing the picture on both sides add another layer of spatial organization and balance, at the same time

setting off the white vase in the middle even more effectively. As usual, Sanyu excels when it comes to achieving maximum visual effect with minimal means: pale, unassuming shapes and shades yet manage to conjure up impressive rhythms and patterns that are refreshingly unconventional, allowing the still life to come alive with the artist’s extraordinary flair. Like protagonists on a stage, the chrysanthemums in the vase shine in the spotlight that is a projection of Sanyu’s own self (according to many critics, the same can be said of the flowers and animals in most of the artist’s work). In this specific painting, extra verve is derived from the all-pervading mood of magnificence and freedom that was typical for "Les Années Folles". Evidently, Sanyu was quite satisfied with "Pink Chrysanthemums in a White Vase", since he signed it meticulously (on the painting’s lower right) in both Chinese and French, and even added the date of completion, 1931. Similarly, Mrs. Yvonne Vierne and her family must have been extraordinarily fond of this particular painting, as they kept it in their sole possession for many decades, passing it on as an heirloom and treasure. And so this painting provides more than impressive proof of the artist’s consummate skill and talent: it also bears witness to the lasting effects of friendship and the pleasures of collecting beautiful art.

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JU Ming (b. 1938)

Taichi Series - Shadow Boxing Ju Ming91 Ming91

NT$ 14,000,000-20,000,000 US$ 437,500-625,000 HK$ 3,415,000-4,878,000

朱銘太極系列—對招 1991 木雕左：47(長) x 45(寬) x 48(高) cm 右：33(長) x 32(寬) x 58(高) cm 簽名：朱銘 '91（左）簽名：銘 '91（右）附尊彩藝術中心開立之原作保証書

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CHU Teh-chun (b. 1920)

Composition No. 190

藝術家自身的構思，漸漸地揣摩每樣事物的新面貌。而古人所經歷的亦有其重要性，如范寬的繪畫，不僅傳達著其自身修養的程度，亦投射出當時為怎樣的一個世代。

1964 Oil on canvas 114 x 147 cm Signed lower left CHU TEH-CHUN in Chinese and English, dated 64 Signed on the reverse CHU TEH-CHUN in English and Chinese, dated 1964 and titled No 190

NT$ 9,000,000-15,000,000 US$ 281,300-468,800 HK$ 2,195,000-3,659,000

朱德群構圖 No. 190 1964 油彩畫布 114 x 147 cm 簽名左下：朱德群 CHU TEH-CHUN 64 簽名畫背：CHU TEH-CHUN 1964 朱德群 No 190

朱德群的繪畫到了60年代中期，開始顯現其獨到之抽象表現方式，而在旅居法國數年後，朱德群內心萌生和中國藝術前輩交流的想法，為此，他曾親自來到台北故宮，欣賞北宋畫家范寬的《谿山行旅圖》及郭熙之《早春圖》。回到巴黎而後，即創作了與范寬相呼應的抽象巨幅作品，接著，誕生一幅與郭熙《早春圖》對話的《早春》。而朱德群作品中，飽和的色調加上輕快的韻律融合而成的畫面，完整表露出中國文化賦予畫家的心性及思維。對朱德群而言，對歷史及古人的經驗必須有所體會，並能夠消化及接受。任何學術即為過往經驗所累積，混合了屬於

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「抽象繪畫不受形象的制約，接近中國繪畫重意不重形的觀念。范寬所說的『與其師於人者未若師於物，與其師於物者未若師於心』…都是說心靈與自然是緊密相聯的。抽象繪畫的宗師康定斯基則說『抽象事物遠非脫離大自然，它比以往的任何藝術都更密切地聯繫著大自然』，…克利亦一語道出的藝術真諦：『藝術非再現可見事物，而是變不可見為可見。』同樣是說藝術不是對自然外形的描摹，而是對內在含義的表現。」（摘自《朱德群畫展》，廣東美術館，廣州，2000，頁26）

藉由抒情式的抽象畫，朱德群在法國藝壇被看作將東方人的細膩與西方藝術的廣闊，結合的最扎實的畫家。自進入抽象領域後，他便直趨現代繪畫的重要地位，更抹去了過往東西方於藝術上的溝槽，開發出原本便應存在的共鳴。即便其繪畫大多以油彩為媒介，卻也道出中國藝術的風骨，為此，頗受歐洲藝壇的敬佩。而其對繪畫本質的認定，為其對大自然的瞭解及想像，畫家所能感悟到的自然成為他理想中的畫面，進而在畫布上將之化為可見之物，且自在地游走於國畫及西畫間。

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harmoniously; east finally meets west. His oil paintings are inclined towards Chinese prose and poetry, while reflecting an admiration for European culture. Chu portrays the mystical beauty and dramatic appeal of natural landscapes. In effect, the aesthetic vision of his works enable the beholder to share in the artist’s vivid visual perception; the boundless sense of visibility linking Chinese and western paintings is inspirational and sublime. Art has the power to reveal the infinite by opening the doors of perception.

回到范寬的代表作《谿山行旅圖》，范寬可說是朱德群心中的導師，范寬以豪邁卻冷峻的筆墨勾勒出山的輪廓和石紋的脈絡，墨色強調著秦隴山川地勢氣概，再仔細聚焦於本拍品《構圖 N o. 190》，此件1964年畫作，層次豐富，用色單純但富有意旨，微微帶著中國古畫的審美感，氣勢壯碩卻不壓迫，觀者似乎可以藉畫面構築出屬於這張畫作的世外桃源，所謂的詩意在不同力道下產生的筆觸釋放出來。造就一幅妙麗的抽象風景圖像，也傳達畫家融會北宋山水圖與現代思維的決心，解除常人對西方抽象的顧忌，以畫的內部空間作為啟迪觀者內在的催化劑。朱德群在他的年代做了不同的試驗，而在林風眠、徐悲鴻的世代，中國藝術家試圖借鑒著西方藝術來創新中國文化，朱德群的探究方向卻與眾不同，思考自身的文化來轉化藝術，藝術作品的民族性和時代性必須兼具，才不會將藝術家個性掩飾了；《構圖 N o. 190》帶有朱氏的沉默，凝重墨色邊緣的悠淡藍綠，如同朱德群本人威嚴卻慈祥的神情，如此的作品，可以感染到的層面是跨越時空、國籍和年齡，亦看得見畫家不曾失去的藝術初衷。

Chu’s unique abstract style began to appear in the 1960s. After living in France for many years he had a strong desire to interact with the predecessors of modern Chinese art masters. He visited the National Palace Museum in Taipei to view the grandeur of masterpieces such as: “Traveling amid Mountains and Streams” by Fan Kuan and “Early Spring” by Kuo Hsi; both artists were famous painters during the Song Dynasty. After returning to Paris, Chu created a gigantic abstract work that initiated a dialogue with Kuo Hsi’s “Early Spring”. The saturation of colors and lyrical rhythm present the imagery and thoughts of a painter deeply influenced by Chinese culture. This cultural provenance can be clearly discerned in his oil paintings. As a painter, Chu believes that history and the experience of ancestors have to be digested, understood and accepted. All of science is based on the accumulation of past experience and knowledge, as is art. Chu blends the traditional artistic concepts and

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朱德群《源》1965 油彩畫布 CHU Teh-chun, La source 1965, oil on canvas, 120 x 60 cm

adds new elements in his paintings. Ancestral experience helps the artist to convey his ideas and to reflect the era chosen during the creative artistic period. “Abstraction is a free use of imagery; the artistic conception is more important than the format. Fan Kuan once said: 'The soul and nature should be closely linked.' Master Wassily Kandinsky, the first creator of pure abstraction in modern painting used to say: 'Abstraction should connect with nature. It is tightly united with nature.' Paul Klee also said that: 'Art does not reproduce the visible; rather, it makes visible.' This means that art is not an imitation of nature, but rather reveals the inner meaning.” (Quoted from Chu Teh-chun, Guangdong Museum of Art, Guangzhou, 2000, p. 26)

The lyrical abstraction of Chu’s paintings has received great compliments in art circles, particularly in France. He blends oriental refinement with western extensity with a powerful imaginative intensity. His abstract expression has brought him into the world of modernism. The gap between eastern and western art has now been bridged

Fan Kuan is the mentor of Chu. His “Traveling amid Mountains and Streams” revealed the generous and cold strokes outlining the mountains and rocks. The ink-wash drawings accentuate the vigor of the landscape. In comparison with Chu’s "Composition No. 190" painted in 1964, the abundant hierarchy, simple color but meaningful conceptualization displays the aesthetics of ancient Chinese paintings. There’s no sense of oppression in the forceful vigorousness; however, exuberance is beauty. A paradise is seen and the harmony therein echoes its counterpart, rhyme in poetry. The lovely abstract scenery conveys the integration of traditional Chinese paintings and modern art. Chu has unveiled the boundaries that people used to have in regard to western abstraction. Viewers are inspired by the lavish display of interior space in his paintings. Chu has explored the art style in a variety of creative experiments. During the period of Lin Feng-Mian and Hsu Pei-Hung, they brought about innovation to Chinese culture by referring to western art. Nevertheless, Chu did it in another way. He has transformed his own culture into an art form, which is the task of great art of all types; the distinctive national features and nature of the epoch are well linked. The characteristics of Chu’s art underwent further development. The dignified black colors reflect a sense of reticence and control in this painting. The blue-green colors along the ink-black edge symbolize that the artist is benign and dignified. While it surmounts the space-time continuum, nationality and historical age, yet the artistic originality still remains, sublime and inspirational and it elevates the viewers to the Elysian levels of artistic perception.

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CHU Teh-chun (b. 1920)

Souffle de la nature 1992 Oil on canvas 117 x 90 cm Signed lower right CHU TEH-CHUN in Chinese and English, dated 92 Titled on the reverse "Soutfle de la nature" in French and signed CHU TEH-CHUN in Chinese and English, dated 1992

NT$ 5,600,000-7,000,000 US$ 175,000-218,800 HK$ 1,366,000-1,707,000

朱德群大自然的氣韻 1992 油彩畫布 117 x 90 cm 簽名右下：朱德群 CHU TEH-CHUN 92 簽名畫背："Souffle de la nature" CHU TEH-CHUN 朱德群 1992

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George CHANN (1913 - 1995)

Abstract Composition Oil on canvas 130 x 175 cm Signed lower right GEO. CHANN in English

NT$ 4,400,000-5,400,000 US$ 137,500-168,800 HK$ 1,073,000-1,317,000

陳蔭羆抽象構成油彩畫布 130 x 175 cm 簽名右下：GEO. CHANN

《抽象構成》屬於陳蔭羆的晚期作品，難得一見的大幅創作。陳蔭羆晚年淡出藝術圈，白天潛居在「農夫市場藝廊」，浸淫在中華瑰寶的氛圍中。他的繪畫並非投為市場所好或為畫展發表而畫，純然是基於緬懷文明、對融合中西精粹的喜好，因此他能暢快地進行各種可能的抽象實驗。長年生活在洛杉磯，藝術家已融入南加州的脈動裡，尤其是後期作品的色彩結構中洋溢著都會風格。陳蔭羆生前最佩服兩位美國抽象畫家—馬克．托比（18901976）和帕洛克（1912-1956）。他們都曾受東方書法的影響，畫面上經常填滿線性的色彩，但是帕洛克著眼於繪畫的動作本身，記錄充滿能量的整體行為過程；而托比則追求畫面的和諧感。陳蔭羆的抽象畫經過長時間慢慢地演變，試圖融入兩位藝術家的風格形式，找出一條兼容並蓄、嶄新的抽象之路。作品《抽象構成》一方面具有托比白色書寫的神祕多義性，內涵本質更貼近東方；而另一方面又帶有帕洛克自由線條的表現性演出，強化形色變奏後的壯麗效果。《抽象構成》在材質上採用油彩、拼貼完成，緊密厚實、色彩斑斕，交織成一首雄渾的交響樂曲，讚頌歷史文明的輝煌燦爛。畫家將甲骨、鐘鼎、碑刻、篆銘的各種漢字書體，變體為具有現代意涵的抽象圖式，尤其畫家在後期作品融合繽紛的色彩、線條，豐富的肌理、宛如織錦的形式益加自由圓熟，乃為表現性強的抽象繪畫。

“Abstract Composition” was created in George Chann’s late period; it's a large rare piece of work. Chann faded out of the art scene in the sunset of his life; he worked quietly in the Farmer’s Market Gallery, enamored of the aura of treasures of Chinese culture. His paintings weren't intended for the market or exhibitions, they were simply

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tributes to civilization, preferences to the fusion of essences in both Chinese and western cultures, so he can experiment every abstract possibilities freely. Living in Los Angeles for a long period of time, Chann had already adapted the pulse of south California; you can especially tell from his urban color structure in his late collections. Chann admired two abstract painters of the United States the most; they are Mark Tobey and Jackson Pollock. Both of them were influenced by eastern calligraphy, linear colors are often used in their paintings. However, Pollock’s paintings emphasize more on the movement within, it’s a record of the progress of the entire energy behavior; on the other hand, what Tobey pursues is the harmony of the whole picture. Chann’s abstract paintings evolves through time, trying to combine P o l l o c k a n d To b e y ’s s t y l e a n d f i n d a moderate, a brand new abstract style. “Abstract Composition” has the mystic multivocality of Tobey’s “write writing”, its essence is closer to eastern culture; it also possesses Pollock’s unrestrained line structures, enhancing magnificence of the whole picture. “Abstract Composition” materially adapted oil paints, and finished with collage. The patterns are close and tight; the colors are variegated, composing an epic symphony to praise glorious history and civilization. The artist transformed the Chinese characters on bones, shells, vessels, bells, stone inscriptions, and Chinese characters into abstract patterns with modern significances; Especially paintings from the artist’s late collections, blend flourishing colors and lines, rich in muscle, its woven form having more freedom and maturity; it’s a very expressive abstract painting.

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CAI Guo Qiang (b. 1957)

Scenery of the Sun-Black Dot Oil on canvas, gunpowder 60 x 72 cm Signed on the reverse Cai Guo Qiang in English and Chinese, titled Scenery of the Sun-Black Dot Sun-Spot in Chinese and English, Oil plus Gunpowder in Chinese

NT$ 2,800,000-4,000,000 US$ 87,500-125,000 HK$ 683,000-976,000

蔡國強太陽的風景─黑點油彩畫布火藥 60 x 72 cm 簽名畫背：太陽的風景─黑點 Sun-Spot 蔡國強 Cai Guo Qiang 油彩+火藥

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QI Haiping (b. 1957)

Poetry (polyptych) 2005 Oil on canvas 200 x 400 cm Signed lower right Haiping in Chinese and dated 2005.4

NT$ 3,600,000-4,800,000 US$ 112,500-150,000 HK$ 878,000-1,171,000

祁海平詩（四聯幅） 2005 油彩畫布 200 x 400 cm 簽名右下：海平 2005. 4

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JU Ming (b. 1938)

Taichi Series - Kick 1995 Bronze, edition no. 1/10 52(L) x 38(W) x 65(H) cm Signed Ju Ming in Chinese and dated 95, edition no. 1/10 The sculpture is to be sold with a certificate of authenticity issued by Ever Harvest Arts Gallery, Taipei.

NT$ 3,800,000-5,600,000 US$ 118,800-175,000 HK$ 927,000-1,366,000

朱銘轉身踢腿 1995 銅雕 1/10 52(長) x 38(寬) x 65(高) cm 簽名：朱銘 '95 1/10 附日升月鴻開立之原作保證書

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HE Wei (b. 1980)

Young Artist No. 4 2006 Oil on canvas 110 x 80 cm Signed lower right HE Wei in English and dated 2006 Titled on the reverse Young Artist 4, media oil on canvas in Chinese, 110 x 80 cm, signed HE Wei in Chinese and English, dated 2006

NT$ 110,000-200,000 US$ 3,400-6,300 HK$ 27,000-49,000

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何偉藝術小青年之4 2006 油彩畫布 110 x 80 cm 簽名右下：HE Wei 2006 簽名畫背：《藝術小青年之4》布面油畫 110 cm x 80 cm 何偉 HE Wei 2006

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XIA Junna (b. 1971)

夏俊娜

Wedding

1996 油彩畫布 50 x 50 cm 簽名右下：XJN. 96

1996 Oil on canvas 50 x 50 cm Signed lower right XJN in English and dated 1996 The painting is to be sold with a certificate of authenticity signed by the artist.

花嫁

ILLUSTRATED: Paintings by Xia Junna, Chin Der Jyu Gallery, Taipei, 2002, color illustrated, p. 50

NT$ 350,000-450,000 US$ 10,900-14,100 HK$ 85,000-110,000

附藝術家親筆簽名之原作保證書圖錄：《夏俊娜畫集》，沁德居畫廊，台北， 2002，彩色圖版，頁50

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HUANG Yuxing (b. 1975)

Unexpected Encounter - Southpark 2003 Oil on canvas 140 x 200 cm Signed lower left HUANG YUXING in English and dated 2003

NT$ 350,000-450,000 US$ 10,900-14,100 HK$ 85,000-110,000

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黃宇興奇遇─南方公園 2003 油彩畫布 140 x 200 cm 簽名左下：HUANG YUXING 2003

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ZHU Yan

朱岩

(b. 1982)

As Long as You Are Willing to Climb up 2008 Oil on canvas 150 x 160 cm Signed lower right Zhuyan in English and dated 2008

ILLUSTRATED: Zhu Yan, Hua Ren Contemporary Art Museum, Chongqing, 2008, color illustrated, pp. 55-56

NT$ 350,000-550,000 US$ 10,900-17,200 HK$ 85,000-134,000

只要肯攀登 2008 油彩畫布 150 x 160 cm 簽名右下：Zhuyan. 2008. 圖錄：《朱岩》，華人當代美術館，重慶， 2008，彩色圖版，頁55-56

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LI Jisen (b. 1970)

李繼森午夜．吸菸者

Midnight, Smokers 2007 Oil on canvas 180 x 150 cm Signed lower right Li Ji Sen in Chinese and English, dated 2007.6 Titled on the reverse Midnight, Smokers and signed Li Ji Sen in Chinese, size 180 cm x 150 cm and dated 2007.6

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ILLUSTRATED: Li Jisen, Ping Gallery, Taipei, 2008, color illustrated

NT$ 320,000-420,000 US$ 10,000-13,100 HK$ 78,000-102,000

2007 油彩畫布 180 x 150 cm 簽名右下：李繼森 Li Ji Sen 2007.6 簽名畫背：《午夜、吸菸者》180 cm x 150 cm 2007. 6. 李繼森圖錄：《李繼森》，藏新出版社，台北，2008，彩色圖版

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JIA Gang (b. 1974)

It Takes Strength to Speak Out 2003 Oil on canvas 200 x 150 cm Signed lower right Jia Gang in Chinese and dated 2003

NT$ 450,000-550,000 US$ 14,100-17,200 HK$ 110,000-134,000

賈剛發言需要有力量 2003 油彩畫布 200 x 150 cm 簽名右下：2003 賈剛

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YANG Din (b. 1958)

Sans titre 1995 Oil on canvas 65 x 100 cm Signed lower right Yang Din in French

NT$ 160,000-260,000 US$ 5,000-8,100 HK$ 39,000-63,000

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楊登雄素食 1995 油彩畫布 65 x 100 cm 簽名右下：Yang Din

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YANG Xiaobing (b. 1966)

Illusory Image 2006 Oil on canvas 150 x 130 cm Signed lower right Yang Xiaobing in Chinese and dated 2006 Titled on the reverse Illusory Image and signed Yang Xiaobing in Chinese, dated 2006.12.30, size 150 x 130 cm

NT$ 240,000-350,000 US$ 7,500-10,900 HK$ 59,000-85,000

楊小兵空氣．離相 2006 油彩畫布 150 x 130 cm 簽名右下：楊小兵 2006 簽名畫背：《空氣．離相》楊小兵 2006. 12. 30 150 x 130 cm

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HOU Qing (b. 1969)

Lotus (triptych) 2006 Acrylic on canvas 60 x 180 cm Signed on the reverse Hou Qing, triptych A left in Chinese, size 60 x 60 x 3, media acrylic on canvas in Chinese, dated 2006.6

NT$ 160,000-280,000 US$ 5,000-8,800 HK$ 39,000-68,000

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侯慶荷（三聯幅） 2006 壓克力畫布 60 x 180 cm 簽名畫背：侯慶《三聯A》左 60 x 60 x 3 布面丙烯 2006. 6 簽名畫背：侯慶《三聯A》中 60 x 60 x 3 布面丙烯 2006. 6 簽名畫背：侯慶《三聯A》右 60 x 60 x 3 布面丙烯 2006. 6

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XUE Song (b. 1965)

Dialogue with Hong Ren 2006 Mixed media on canvas, collage 100 x 100 cm Signed lower right Xue Song in Chinese Titled on the reverse Dialogue with Hong Ren in Chinese, signed Xue Song in Chinese and English and dated 2006

NT$ 450,000-550,000 US$ 14,100-17,200 HK$ 110,000-134,000

薛松與弘仁對話 2006 綜合媒材畫布拼貼 100 x 100 cm 簽名右下：薛松簽名畫背：《與弘仁對話》薛松 Xue Song 2006

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YIN Kun (b. 1969)

Untitled 2007 Oil on canvas 120 x 100 cm Signed lower right Yin Kun in Chinese and dated 2007.1

NT$ 450,000-550,000 US$ 14,100-17,200 HK$ 110,000-134,000

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尹坤無題 2007 油彩畫布 120 x 100 cm 簽名右下：尹堃 2007.1

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XIANG Qinghua (b. 1976)

Gift 2006 Oil on canvas 140 x 200 cm Signed lower right Xiang Qinghua in Chinese, Xiang in English, dated 06

NT$ 450,000-550,000 US$ 14,100-17,200 HK$ 110,000-134,000

向慶華禮物 2006 油彩畫布 140 x 200 cm 簽名右下：向慶華 Xiang 06

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REN Sihong (b. 1967)

Mao Swimming 2006 Oil on canvas 200 x 200 cm Signed lower right Ren Si Hong in English and dated 2006

NT$ 260,000-320,000 US$ 8,100-10,000 HK$ 63,000-78,000

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任思鴻毛澤東游泳 2006 油彩畫布 200 x 200 cm 簽名右下：2006, Ren Si Hong

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YU Shenghao (b. 1973)

Pleasant Association 2004 Oil on canvas 110 x 190 cm Signed on the reverse Yu Shenghao and titled Pleasant Association in Chinese, size 190 x 110 and dated 12-2-2004

NT$ 350,000-550,000 US$ 10,900-17,200 HK$ 85,000-134,000

俞成浩快樂組合 2004 油彩畫布 110 x 190 cm 簽名畫背：俞成浩快樂組合 190 x 110 12-2-2004

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Chang-Ling (b. 1975)

Pork Belly Series- Flesh Landscape 2006 Oil on canvas 145 x 195 cm Titled on the reverse Pork Belly Series-Flesh Landscape in Chinese, dated 2006, signed Chang Ling in Chinese

NT$ 260,000-300,000 US$ 8,100-9,400 HK$ 63,000-73,000

常陵五花肉系列─肉山水大江東來圖 2006 油彩畫布 145 x 195 cm 簽名畫背：五花肉系列－肉山水大江東來圖 2006 常陵

常陵自述：「藝術不只是一種抒發之慾，肉是我對藝術的代名詞。」肉山水是「五花肉」系列中沒有疆界的狂想，巨人夸父轟然倒下幻化成神話後的續章，常陵在肉山水中延續東方文化指著太陽怒罵的癲狂，從巨人悲壯的骸骨血肉裡堆積屬於常陵的土地概念，當人類演進到科技文明時，回顧過去我們對自然界生態過度的使用。. 肉山水中承傳「五花肉」系列特有的風格，以肉塊堆成疊疊不同粉紅色的山嶺，既如血水又似瀑布般的色彩流動性。畫面上鮮豔的顏色刺激感官，隱藏在溫柔與甜美之後卻是隱晦的暴力血腥，作品《大江東來圖》中，紅棗粉紅的山中隱含了滔滔江水的壯闊非常，更是藝術家內心的波濤洶湧，肉山水並非傳統山水的再造，而是對當下生態的直擊，常陵說：「我們的山與水早已被人性的私慾剝奪，我只是將殘存的現實單純的表現出來而已。」

Chang-Ling said: “Art is not only about expressing my emotions, to me, flesh represents art.”

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Flesh Landscape is the wildest dream in the “Pork Belly” series, it is the next chapter after Kuafu fell and turned into mythology, Chang-Ling’s Flesh Landscape extends the madness of Kuafu’s chase for the sun in eastern culture, turning Kuafu’s corpse into his concept of the land. While men develop technology and science, looking back into the past and examining our excessive exploitation of nature. Flesh Landscape inherited the unique style from the “Pork Belly” series; ChangLing piled up meats and turned them into mountains in different shades of pink, colors in the picture float like blood and waterfalls, they are so vibrant that they heavily stimulate our senses, what hides behind tender and sweetness is veiled violence. In the work “Flesh Lanscape”, the grand momentum of streams lie within red and pink mountains, streams are like the artist’s unrestful heart, and the flesh is not a recreation from traditional landscape, it is a direct attention to nature. Chang-Ling said: “Water and mountains, nature, has already been deprived by human desires, what I do is simply to present what’s left now in reality.”

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ZHANG Handong (b. 1964)

Harmony Music 1998 Oil on canvas 112 x 89 cm Signed lower left Handong and dated 1998.12 in Chinese

NT$ 280,000-380,000 US$ 8,800-11,900 HK$ 68,000-93,000

張漢東合樂 1998 油彩畫布 112 x 89 cm 簽名左下：漢東一九九八．十二

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LI Lei (b. 1965)

Red 3 2008 Oil on canvas 100.5 x 150 cm Signed upper center Li in Chinese and Li Lei in English Titled on the reverse Red 3 in Chinese, signed Li Lei in Chinese and English, dated 2008, painted in the studio of Jinyu Rd., Shanghai

NT$ 320,000-600,000 US$ 10,000-18,800 HK$ 78,000-146,000

李磊正紅之三 2008 油彩畫布 100.5 x 150 cm 簽名中上：李 Li Lei 簽名畫背：正紅之三李磊 Li Lei 2008年于上海金雨路畫室

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CHEN Liu (b. 1973)

Door Gods (diptych) 2008 Oil on canvas 180 x 150 cm (x2) Signed lower center Chen Liu in Chinese and dated 2008

NT$ 650,000-850,000 US$ 20,300-26,600 HK$ 159,000-207,000

陳流門神（二聯作） 2008 油彩畫布 180 x 150 cm (x2) 簽名中下：陳流 2008

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HE Wenjue (b. 1970)

Water 2004 No. 8 2004 Oil on canvas 150 x 200 cm Signed lower right He Wenjue in Chinese and dated 2004 Titled on the reverse Water 2004 No. 8 in Chinese, signed He Wenjue in Chinese and size 200 x 150 cm ILLUSTRATED: Discovery-He Wenjue's Solo Exhibition, Holy Oriental Art, Beijing, 2006, color illustrated, p. 79 (with the title Water No. 14)

NT$ 800,000-900,000 US$ 25,000-28,100 HK$ 195,000-220,000

何汶玦水．2004 No. 8 2004 油彩畫布 150 x 200 cm 簽名右下：何汶玦 2004 簽名畫背：《水．2004 N o.8》何汶玦 200 x 150 cm 圖錄：《探索．發現─何汶玦》，聖東方藝術畫廊，北京，2006，彩色圖版，頁79（原畫題為No. 14）

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TU Hongtao (b. 1976)

An Absurd Play on the Red Carpet 2005 Oil on canvas 150 x 210 cm Singed lower center Tu Hongtao in English and dated 05 Titled and signed on the reverse An Absurd Play on the Red Carpet, Tu Hongtao Chengdu in Chinese, dated 2005, size 210 x 150 cm

NT$ 1,000,000-1,800,000 US$ 31,300-56,300 HK$ 244,000-439,000

屠宏濤荒誕的紅地毯 2005 油彩畫布 150 x 210 cm 簽名中下：Tu Hongtao 05 簽名畫背：《荒誕的紅地毯》屠宏濤 2005 成都 210 x 150 cm

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ZHANG Jian (b. 1968)

Tiananmen 2006 Oil on canvas 150 x 200 cm Signed lower right Zhang Jian in Chinese and dated 2006 Titled on the reverse Tiananmen in Chinese, dated 2006, size 200 x 150 cm and Zhang Jian in Chinese and English This painting is to be sold with a picture of the artist taken with the artwork

NT$ 1,000,000-1,900,000 US$ 31,300-59,400 HK$ 244,000-463,000

章劍天安門─國慶 2006 油彩畫布 150 x 200 cm 簽名右下：章劍 2006. 簽名畫背：《天安門─國慶》2006年 200 cm x 150 cm 章劍 Zhang Jian 附藝術家與作品合影照片

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HE Sen (b. 1968)

Woman 2000 Oil on canvas 80 x 100 cm Signed lower left HE SEN in English and Chinese, dated 2000

NT$ 1,200,000-1,900,000 US$ 37,500-59,400 HK$ 293,000-463,000

何森女子 2000 油彩畫布 80 x 100 cm 簽名左下：HE SEN. 2000. 何森

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GUO Wei (b. 1960)

Interior with Mosquitoes and Moths No. 24 2000 Acrylic on canvas 200 x 180 cm Signed lower right Guo Wei in English and dated 2000 Titled on the reverse INTERIOR WITH MOSQUITOES AND MOTHS No.24 and media ACRYLIC ON CANVAS in English, signed Guo Wei in English and dated 2000, size 200 x 180 cm

NT$ 2,200,000-2,800,000 US$ 68,800-87,500 HK$ 537,000-683,000

郭偉室內系列—蚊子與飛蛾第24號 2000 壓克力畫布 200 x 180 cm 簽名右下：Guo Wei 2000 簽名畫背：INTERIOR WITH MOSQUITOES AND MOTHS No. 24 ACRYLIC ON CANVAS 200 x 180 cm 2000 Guo Wei

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CAI Zhisong (b. 1972)

An Attendant No. 2 2001 Fiberglass reinforced resin copperplate, brass wires, edition no. 10/10 17(L) x 46(W) x 56(H) cm Signed Cai Zhisong in English and numbered 10/10 ILLUSTRATED: Motherland, Timezone 8, Shanghai, 2006

NT$ 950,000-1,200,000 US$ 29,700-37,500 HK$ 232,000-293,000

蔡志松侍者頭像二 2001 銅板銅線樹脂 10/10 17(長) x 46(寬) x 56(高) cm 簽名：Cai Zhisong 10/10 圖錄：《故園》，東八部時區書吧，上海，2006

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QU Guangci (b. 1969)

Chinese Apple

2006 Bronze, edition no. 6/7 41(L) x 35(W) x 53(H) cm Signed Guangci in Chinese and numbered 7-6, dated 2006, autumn in Chinese EXHIBITED: Solo Show Last Dinner, Aura Gallery, Hong Kong, 2007 Solo Show Collectivism - Guangci 20052007, Shanghai Zendai Museum of Modern Art, Shanghai, 2007 ILLUSTRATED: Qu Guangci Sculpture 2004-2006, Aura Gallery, Shanghai, 2007, color illustrated, pp. 13-14 Collectivism-Guangci 2005-2007, Shanghai Zendai Museum of Modern Art, Shanghai, 2007, color illustrated, p. 164 The Sculpture of Qu Guangci, Aura Gallery, Shanghai, 2008, color illustrated, p. 24

NT$ 1,200,000-2,000,000 US$ 37,500-62,500 HK$ 293,000-488,000

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瞿廣慈中國蘋果 2006 銅雕 6/7 41(長) x 35(寬) x 53(高) cm 簽名：7-6 廣慈 2006. 秋展覽：「最後的晚餐：廣慈個展」，亦安畫廊，香港，2007 「集體主義：廣慈作品2005至2007個展」，上海證大現代藝術館，上海，2007 圖錄：《瞿廣慈2004-2006》，亦安畫廊，上海，2007，彩色圖版，頁13-14 《集體主義—廣慈 2005-2007》，證大現代藝術館，上海，2007，彩色圖版，頁164 《The Sculpture of Qu Guangci》，亦安畫廊，上海，2008，彩色圖版，頁24

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HUANG Gang (b. 1961)

Beijing My Home 2008 Mixed media on wooden board 150 x 150 cm Signed lower right Huang Gang in Chinese and English

NT$ 750,000-1,200,000 US$ 23,400-37,500 HK$ 183,000-293,000

黃鋼北京我的家 2008 綜合媒材木板 150 x 150 cm 簽名右下：Huang Gang 黃鋼

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在黃鋼最近創作的一系列作品中，他將從前的年畫雕刻版和現代政治圖像結合起來，在從前的流行文化和今天的時尚景觀之間組織起聯繫。其間，既展現出一種必然的聯繫，又表達了一種斷裂的差異。這無疑是對當代藝術自身的一種豐富。將最為民間和大眾的那些年畫木刻版收集起來，並用選擇、拼合、切割等方式將它們作為畫面的背景，並將好幾十年以後中國文化革命中流行的視覺圖像或五角星符號繪製在其表面。其意義有如下幾點：其一，在不同時代的大眾文化之間做出一種聯結，旨在建立一種關於歷史的敘事；其二，藝術家通過身體力行，在表達著對傳統文化的敬重—正如黃鋼自己多次表述的那樣，傳統文化並不僅僅是被用來調侃的，這種深厚的東方文化傳統不但值得尊重，而且是未來文化發展的源泉和動力之一；其三，在尊重傳統文化資源的基礎上，他將傳統的視覺圖像以一種當代藝術的方式呈現出來，努力於傳統的現代化。正是如此，我認為他的作品在優雅的視覺形式之下，支撐力是一種嚴肅的創作態度。（文／盛葳）

In the recent series of Huang Gang’s works, he combineds ancient New Year woodblock prints with political images. Among the combination, an essential union is linked and expresses a broken variation. It is a kind of art enrichment. He has collected many traditional New Year woodblock prints and collaged them into the background of paintings. It is like putting fashionable visual images or pentacle star of the Cultural Revolution into paintings and representing the following points: (a) a connection between various mass cultures in order to establish a historical narration; (b) respect from the artist – he said several times that when mocking traditional culture, its value also has to be respected. Traditional culture is part of the resources and motivation of future cultural development; (c) traditional visual images are revealed in a modern interpretation based on respecting traditional cultural resources. Because of this concept, I know his serious creative attitude is supported by elegant visual forms. (text/ Sheng Wei)

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HE Jun (b. 1970)

Children of the Snowland 1996 Oil on canvas 170 x 198 cm Signed on the reverse He Jun in Chinese and dated 1996.7, Xian Yi Shu Xue Yuan in Chinese, media oil on canvas

NT$ 850,000-950,000 US$ 26,600-29,700 HK$ 207,000-232,000

何軍雪原之子 1996 油彩畫布 170 x 198 cm 簽名畫背：何軍 1996. 7 西安藝術學院油畫布

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ZHANG Linhai (b. 1963)

Red Series No. 5 2005 Oil on canvas 160 x 190 cm Signed lower right J.L.H in English, lin hai in Chinese and dated 2005.9 Titled on the reverse Red Series No. 5 in Chinese, dated 2005.9 and Zhang lin hai in Chinese and English PROVENANCE: Schoeni Gallery, Hong Kong

NT$ 3,000,000-4,000,000 US$ 93,800-125,000 HK$ 732,000-976,000

張林海紅系列 No.5 2005 油彩畫布 160 x 190 cm 簽名右下：2005. 9. J. L. H 林海簽名畫背：〈紅〉No.5 2005.9. Zhang lin hai 張林海來源：少勵畫廊，香港

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LUO Zhongli (b. 1948)

Peasant Life of Ban Shan 1993 Oil on canvas 95.5 x 120 cm Signed lower left luo zhong li in English and Luo in Chinese, dated 1993

NT$ 4,600,000-6,000,000 US$ 143,800-187,500 HK$ 1,122,000-1,463,000

羅中立巴山農家 1993 油彩畫布 95.5 x 120 cm 簽名左下：luo zhong li 1993 羅

羅中立生於1948年，是中國最重要和最著名的寫實派人物和風景畫家之一。1980年尚在四川美術學院讀書的羅中立以一幅超寫實主義作品《父親》一舉成名，從此享譽中國畫壇。他的畫多以油畫和水彩為主，真實體現了四川大巴山區的普通農民的生存狀態，命運及厚重的歷史滄桑感。畫家作品所反映鄉村與城市的巨大的文化與物質差異，山民生活的極度原始，生動和強烈，使觀者突然感受到一種巨大的時空錯位，並對習以為常的城市生活產生一種新的眼光。羅中立善於捕捉基層、樸實的勞動人民的形象。把人物形象誇張，風格更加粗獷，在各個物體的刻畫上更加主觀。畫家往往是對景速記，寫生作畫，抓住在特定季節、特定光線、特定氛圍和特定心情中的眼前景物，並留下那一頃刻的感覺、感受、感悟和感動。作為中國學院派實力人物的代表之一，今天的羅中立仍然是富有創造力的藝術家，畫家不斷提煉著自己的藝術精神和風格，構成了自己獨有的藝術圖式，形成了樸實有力的畫風。

Born in 1948, Luo Zhongli is one of the most important and famous realistic figure and landscape painters. He gained a sudden fame with his super-realistic painting “Father” in 1980 when he was still studying in the Sichuan Academy of Fine Arts, and has

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become a renowned painter in China ever since. His works are mainly oil paintings and watercolor paintings that reproduce the living conditions of ordinary farmers in the Daba mountainous areas in Sichuan with a heavy sense of destiny and history. His works reveal the huge gap in both cultural and material lives between rural and urban areas. The extremely primitive, lively and rough life in the mountainous areas will produce a strong sense of dislocation of time and space for the viewers, which forces them to review from a new perspective their urban life style that they take for granted. Luo Zhongli is good at capturing the images of honest and simple minded working people from the grassroots level. He exaggerates the images in a rougher style to make his depiction even more subjective. Painters usually do a lot of sketches for landscapes to catch an instant feeling of the specific moment for objects that they see in a specific season, under specific lighting and atmosphere and moods. As one of the representatives of the Chinese academic school painting masters, Luo Zhongli is still a creative artist who keeps trying to improve his artistic spirit and style to establish his own unique artistic pattern, strong and simple style.

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LI Chen (b. 1963)

Landscape in Heaven 2001 Bronze, edition no. 6/8 75 (L) x 63 (W) x 122 (H) cm EXHIBITED: In Search of Spiritual Space, National Art Museum of China, Beijing, 2008 ILLUSTRATED: Li Chen Sculpture 1992-2002, Asia Art Center, Taipei, 2004, color illustrated, pp.78-79. Li Chen in 52nd Venice Biennale – Energy of Emptiness, Asia Art Center, Taipei, 2007, color illustrated, pp. 104-107 Top 10 Chinese Contemporary Sculpture Exhibition, Asia Art Center, Beijing, 2007, color illustrated, p. 51 Li Chen in Beijing-In Search of Spiritual Space, Asia Art Center, Taipei, 2008, color illustrated, pp. 31-35

NT$ 1,800,000-3,500,000 US$ 56,300-109,400 HK$ 439,000-854,000

李真天界山水 2001 銅雕 6/8 75 (長) x 63 (寬) x 122 (高) cm 展覽：「李真：中國美術館個展．尋找精神的空間」，中國美術館，北京，2008 圖錄：《李真雕塑1992-2002》，亞洲藝術中心，台北，2004，彩色圖版，頁78-79 《李真第52屆威尼斯雙年展－虛空中的能量》，亞洲藝術中心，台北，2007，彩色圖版，頁104-107 《中國當代雕塑十人展》，亞洲藝術中心，北京，2007，彩色圖版，頁51 《李真中國美術館個展－尋找精神的空間》，亞洲藝術中心，台北，2008，彩色圖版，頁31-35

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「雕塑家李真試圖尋找一種藝術形式，是能在氣能充塞的形體中展示精神性的空間。李真希望在他的雕塑中，藉由精神與物質所融合而成的哲理來豐富人們的生活。當嚴肅的傳統佛像與前衛的當代技法結合在一起，便能以令人出乎意料的方式，延伸出幽默且無拘無束的智慧與生命力。」 -《亞洲藝術新聞》編輯兼發行人房義安

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；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。

李真早年製作傳統佛像，奠定深厚的雕刻基礎和材料知識。其後潛心尋找自我藝術風格，將佛學、道學等經典結合當代思維，使其雕塑作品上有著創新的突破，呈現兼具古典與現代的藝術新面貌。李真的作品讓人感受到生命的和諧及省思，活潑天真又不失禪意，虛實並存，圓滿而大氣，賦予東方雕塑新的生命，表現出獨特的新東方精神與意境。如同中國美術館館長范迪安肯定李真在當代雕塑藝術上的成就：「其一，他的雕塑在品格上是以超俗為根本、凡俗與超俗的統一；其二，他的雕塑在美學上是以東方為主導、西方與東方的統一；其三，他的雕塑在語言上是從材料導向精神、材料與精神的統一。」在這三個面向上，李真成功的解決了當代雕塑創作所面臨的課題，從而孕化和催生出達到圓融之境的雕塑。李真2001年作品《天界山水》，為「大氣神遊」系列中的作品之一。李真結合了精緻平滑與粗獷的表面，也以金色與銀色強調顏色的運用。暗色的銅與金箔並置，賦予李真作品堅實的感覺，強調了它與土地的關聯。而手工貼上的銀箔，則暗示能如煙雲般帶領凡人進入涅槃的精神世界。作品右手拿著金山，左手捧著銀海，「金山銀海」象徵著物質生活的豐饒無虞，這樣的人生應該是最美好的吧？但現今社會中許多人對物質生活的無止盡追求，在享受物質帶來的新鮮與刺激消失後，還是對生活充滿了迷茫和失落。小佛祖面容和平安詳，圓潤而喜樂，代表非物質生活的富足，是種精神性的寄託及象徵。因此李真希望透過這件作品，讓人對生活的意義和生命的價值能有更深的省思。人最完美的生活，應該不單只是在外在物質上的渴望，更應該同時有內在精神的追求，兩者缺一不可。而當人在這兩者間達到平衡時，彷彿就像處於天界，享受著那踏雲乘風行的輕鬆自在，精神物質生活的雙重自我滿足，這才堪稱福緣俱足的人生。

His “In Search of Spiritual Space” Solo Exhibition took place at the National Art Museum of China in Beijing, April 2008, winning him a great reputation and fame. In October, 2008, Li will unveil his largescale installation work, the brand-new series: “Soul Guardian” at the Beijing 798 Art District. The work is expected to create a vigorous dialogue between the respective merits of the traditional spirit and modern art, and to generate a breathtaking visual effect.

"The Taiwanese sculptor Li Chen seeks to make art that has a spiritual space fixed with a powerful physical presence. By bringing the spiritual and the sculptural together in his figurative and narrative work, Li hopes that the philosophical nature of his work will enrich people’s lives. While his art is of a deeply serious nature, his fusion of traditional Buddhist styles and contemporary ideas has resulted in work that is both humorous and full of irreverent wisdom, as well as brimming with the vitality of life and its unpredictable nature." Ian Findlay, editor and publisher of Asian Art News

Li Chen, a contemporary sculptor born in 1963, continues to instill brand new concepts into the creation of Chinese sculptures. So far, he has held exhibitions in New York, Chicago, Miami, Houston, Paris, London, Geneva, Venice, Shanghai, Beijing, Singapore, Seoul, Jakarta and Taipei. His work has been housed by individuals and by museums in many different countries. Li Chen is one of the most important international artists at the present time. In 2007, Li was invited to exhibit his “Energy of Emptiness” at the 52nd International Art Exhibition: La Biennale Di Venezia ( Ve n i c e B i e n n i a l ) , a h i g h l y h o n o r e d academic exhibition. This has always been justifiably considered as a supreme honor.

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L i C h e n ’s e x p e r i e n c e i n m o l d i n g traditional Buddhist figurative sculptures gives him a thorough grounding in the making of religious figures and the discipline for working with materials. Later he infuses emotions directly from his heart into his work. He studies a variety of Confucian, Buddhist, Taoist scriptures, and even instills new contemporary thoughts when creating his art. Li’s art allows one to sense harmony and reflect on life as well as the mischievous innocence that captures the Zen spirit by presenting the existence of emptiness and fullness, and simplicity brimming with the beauty of nature. Li Chen’s sculptures express a unique oriental spirit and concept. Fan Di-An, Director of the National Art Museum of China, speaks of Li Chen’s outstanding contemporary sculptures: “First, the character of Li’s sculptures lies in the foundation of a spiritual aspect, embracing substance and spiritual energy. Second, the aesthetics of his sculpture is oriental, fusing Western with Eastern aspects. Third, the language of Li’s sculptures leads substance toward a spiritual perspective, thereby integrating substance and spirit.” The perfect combination of these three dimensions has led Li Chen, however, to breathe a new dynamic into the existing style of contemporary sculpture, exhibiting an allure of emptiness and completeness. Li’s works “Landscape in Heaven” in 2001 is one of the series of “Spiritual Journey through the Great Ether,” in which he combines smooth and rough

surfaces, adding gold and silver colors for emphasis. The juxtaposition of dark bronze and gold lends a feeling of solidity to his work, anchoring it to the ground. The silver foil, applied very carefully by hand, suggests the idea of floating, the ethereal, spiritual world where clouds move freely to heaven or nirvana. The bronze sculpture holds in his right hand a brilliant golden mountain and in his left hand a flat shimmering disc that signifies silver water with its noticeable ripples. “Golden Mountain and Silver Sea” signifies an affluent material life. Isn’t this the perfect life everyone dreams of? The diminishing stimulation resulting from the endless pursuit of material life gradually leads us to be confused and lost. Li’s Buddhist figures, short and squat, convey roundness, softness, completeness, and happiness, signifying non-material satisfaction but an appreciation of a spiritual life. Consequently, it is through these works that Li Chen allows viewers to have a deeper reflection on the meaning and value of life. A perfect life should be filled with a hunger for the material life as well as the pursuit of inner harmony. The dualism seems to lie together. When one is able to balance the two, one seems to be in the Ether, enjoying the delight and comfort of floating in the air. This dual self-satisfaction from both the material and spiritual life gives an aura of ultimate tranquility. The entire work exhibits the charm of ambiguity between lightness and heaviness, a perfect combination of spiritual and material energy.

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ZENG Fanzhi (b. 1964)

Untitled No. 7

曾梵志

2004 Oil on canvas 50 x 150 cm Signed lower right Zeng Fanzhi in English and Chinese, dated 2004

無題 No. 7

EXHIBITED: Zeng Fanzhi Solo Exhibition, Artside Gallery, Seoul, 2004 ILLUSTRATED: Unmask The Mask -Zeng Fanzhi, Artside Gallery, Seoul, 2004, color illustrated, pp. 50-51

展覽：「曾梵志個展」，阿特塞帝畫廊，首爾， 2004 圖錄：《卸下面具—曾梵志》，阿特塞帝畫廊，首爾，2004，彩色圖版，頁50-51

NT$ 3,800,000-5,000,000 US$ 118,800-156,300 HK$ 927,000-1,220,000

2004 油彩畫布 50 x 150 cm 簽名右下：曾梵志 2004 Zeng Fanzhi

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ZHOU Chunya (b. 1955)

Rock Series 2000 Oil on canvas 150 x 120 cm Signed lower right ZHOU CHUN YA in Chinese and English, dated 2000

NT$ 6,600,000-8,000,000 US$ 206,300-250,000 HK$ 1,610,000-1,951,000

周春芽山石系列 2000 油彩畫布 150 x 120 cm 簽名右下：2000 周春芽 ZHOU CHUN YA

自從90年代周春芽德國留學回來，便將中國傳統的古典山水的意象和西方繪畫的技法融合在一起，創作出一系列具有中國傳統內涵的作品。在「山石」系列中，對力度和筆法的處理，以及大膽用色，使畫增加了異彩，進而重新詮釋了傳統山水。面貌相異，色彩和傳統大不相同，仿佛在傳統山水之上有一層增生物，暗示出模糊的天然本性。

featuring traditional Chinese connotations. His unique application of force and painting skills, combined with his bold application of colors make his paintings stunningly unique in representing traditional landscape in a new way. The big difference in presentation and coloring seems to apply a tier of addition to the traditional landscape, implying the obscure matter of nature.

此幅作品便是眾多以「山石」為題材的系列作品之一。在這幅作品中，以黑色網底烘托，和玫瑰紅等較亮的顏色相呼應，使得色彩的衝擊力很強，給人的感覺很震撼。山石的形體變化多端，輪廓圓滑而不生硬，高低起伏不平的表面顯得更加的靈透。

This painting is one of the series of artworks with the theme of “rock” and “vase of flowers”. This painting features bright red roses standing out on a black net background with a shockingly strong contrast of coloring. The various shapes of rocks with soft and smooth outlines, combined with uneven surfaces makes the painting even more delicate.

周春芽筆下的色彩和形體，都充斥著他情感的表達，無論是山還是水，乃至大千萬物，都在他的筆下揮灑自如，正是由於他將古典山水意向和西方繪畫技法的融合，才具有了一種超越人文地理和歷史文化的自然氣息，突破傳統山水的色彩表達，使得情緒熱烈進而擴展，帶人進入一種超自然的夢幻境地。

Ever since Zhou Chunya came back from his further education in Germany in the 1990s, he began to combine the spirits of traditional Chinese landscape paintings with western painting skills to create a series of artworks

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Zhou Chunya expresses his feelings and emotions with colors and shapes. Mountains water and everything come out naturally from his casual and elegant moves of hands. It is because he has combined the spirit of traditional Chinese landscape paintings with western painting skills to break through the limits of traditional representation of colors, so as to extend the expression of strong emotions and bringing people into a supernatural dreamland that goes beyond cultures and history.

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ZHOU Chunya (b. 1955)

Heigen 2000 Oil on canvas 150 x 120 cm Signed lower right ZHOU CHUN YA in Chinese and English, dated 2000

NT$ 6,600,000-8,000,000 US$ 206,300-250,000 HK$ 1,610,000-1,951,000

周春芽黑根 2000 油彩畫布 150 x 120 cm 簽名右下：2000 周春芽 ZHOU CHUN YA

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ZHOU Chunya (b. 1955)

Peach Blossom Dancing in Spring Wing 2007 Oil on canvas 120 x 150 cm Signed lower right Zhou Chunya in Chinese and English, dated 2007

EXHIBITED: Zhou Chunya New Painting Solo Exhibition, Myhumblehouse, Taipei, March 22 - April 13, 2008 ILLUSTRATED: Zhou Chunya New Painting Solo Exhibition, Myhumblehouse, Taipei, 2008, color illustrated, pp. 50-51 & p. 64

2000年以後，周春芽從草草的「綠狗」滑向抽象，在不同的抽象作品中，可以看到早期「石頭」、「人體」以及「風景」的影子，畫家再次處於實驗與轉變的時期。漸漸，粉紅色的桃花一朵一朵地出現了。最初（1997年），桃花是陪襯，花以她給人的溫和與美麗同作為主體的狼狗形成強烈的對比，畫家說，他對此非常著迷。對中國傳統文化有知識的人完全可以理解，花具有色情的象徵功能，不過，周春芽講述色情故事所採取的方法是，通過「溫和」來反襯剛性的對象，以表達色情如豔的吸引力。紅色的人體是周春芽不時出現的色情母體，但是，為了使充滿魅力的情慾濃豔之致，周春芽再次貫通古人的氣質：在溫情中隱含暴力，或者在暴力的實施中突出作為目的的溫情——暴力從來是針對溫情的。畫家自己說：「由狼狗到桃花又開始了一次由暴力到溫和的轉換。」而實際的情況是，畫家借用了傳統的精緻態度：用盡可能的溫和強化美好的暴力。（參閱呂澎《新繪畫的「桃月」——周春芽的藝術歷程》）

NT$ 6,800,000-9,500,000 US$ 212,500-296,900 HK$ 1,659,000-2,317,000

周春芽桃花舞春風 2007 油彩畫布 120 x 150 cm 簽名右下：2007 周春芽 Zhou Chunya 展覽：「周春芽新繪畫個展」，寒舍空間，台北，展期自2008年3月22日至4月13日圖錄：《周春芽新繪畫個展》，寒舍空間，台北， 2008，彩色圖版，頁50-51、頁64

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周春芽十分喜歡植物和動物的純潔，「桃花」系列作品的靈感，就是來源於在成都看桃花的經歷。「我喜歡生命旺盛的東西。有一年春天在成都附近的桃花山看桃花時，那滿山遍野的鮮紅色，讓我感到原始生命力量的律動。從那時開始，我開始構思『桃花』系列作品。」花卉原本是中國繪畫的傳統題材，在周春芽的畫布上，桃花的身姿間依稀可見中國傳統繪畫的影子。但畫家那些富於變幻的色彩，卻為桃園增添了放縱、妖冶的色彩。桃花的圖像象徵著春天的開始，並可以延伸為象徵愛情和性。桃花明亮的紅色在畫家筆下代表著性愛的本質。它帶有完全的文化意味，將原始到甚至野蠻的性愛活力轉化為非常高雅且複雜的外觀。桃花描繪著畫家的心境，在不斷展開的桃花和樹枝的世界裡，心境也在不斷地展開。雖然傳統文化中的桃花意象對性愛和生殖不

無暗示，但卻隱諱而曲折，但畫家筆下的桃花除了本身充滿放縱和妖嬈的姿態外，有時他還在桃樹下加上性交的紅色男女，「我描繪的就是色和情。這人類與生俱來的慾望—絢爛的桃花與野合的男女人物奇異地並置，這種組合消融了人類與自然的阻隔，也模糊了罪惡與道德的邊界，在一種流動的色彩情緒中放縱著真誠而本能的幻想，在一種宏大的場景中將人的自然屬性徹底地釋放、引爆—溫和而暴力！」畫中的桃花怒放，表現出了一種介於放縱與凋謝的不安。正如歲月流逝，我們遭遇身體的衰老，伴生著與日俱增的怨恨與悔憾。周春芽的桃花系列介於現代和傳統之間，他把微妙西方的藝術和細膩的東方文化相結合，最後通過一種自然的方式，把這種矛盾表現出來。《桃花舞春風》描繪的是春天的景觀，畫面裡使用了極富視覺衝擊力的色彩以及暢快淋漓的刷抹筆觸。桃花外圈是白的，中間是紅的，濃烈而妖豔地盛開，散發著曖昧的色彩。也許是悠然的生活滋潤出妖媚，畫面上畫家故意在顏料裡摻了大量的調色油，契合傳統國畫和西畫強烈色彩的優勢讓它們自然流淌，在畫布中產生中國書法所謂「屋漏痕」的效果。並與桃花這個傳統題材似乎正相吻合。這幅作品旨在創造一種「潛敘述」，暗示著花園中的生命歷程，其間遭遇絕望、歡樂、痛苦、渴望…無一倖免。引發人們對自然秩序與作為人類的命運的諸多矛盾的思考。新近的「桃花」系列中，不難看出畫家的創作具有某種內在的聯繫性，一方面是從傳統中不斷尋找啟迪，並切實地引進自己的作品，另一方面則立足於當下和自我的經驗，以敏銳的直感，表明個人對於文化現實的認識和判斷。應該說，周春芽一直身處潮流之外，依循著自己獨特的脈絡，這可能也是他始終被同行與評論者所看重的原因吧。

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After 2000, Zhou Chunya, who was bestknown for his colorful “green dog” series of paintings at that time, began to pursue the style of abstraction art. His paintings of abstract art echoed his early works such as his "Stone" series, "Body" series and "Landscape" series. Zhou entered a phase of pursuing new artistic experiment and transformation. Gradually, the peach blossoms became an important or even dominant element of his paintings. At the beginning (1997), in Zhou’s works the peach blossoms were rendered as the symbol of tenderness and beauty, creating a strong visual impact when juxtaposed with the subject of the paintings, the wolfdog. Zhou said he was much fascinated by this experiment. Any one who has some understanding of Chinese traditional culture knows in the Chinese symbolic world, the followers have some erotic symbolic meaning. But Zhou has his own way to tell erotic stories, namely using feminine “tenderness” as a foil to the masculine subject

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so as to express the attractiveness of sexual scenes. In Zhou’s works, the red human body is a recurring erotic motif. To maximize the attractiveness of sexual scenes, Zhou retuned to the Chinese ancient tradition of conveying erotic scenes, namely fusing tender feeling with violence, or highlighting tender feeling as an end in the exercise of violence, as violence is always a counter motif of tender feeling. In Zhou’s own words, “the change of the subject of his paintings from the wolf-dog to peach blossoms reflects a transformation from ‘violence’ to ‘tenderness’”. Actually, Zhou tries to use maximum “tenderness” to reinforce beautiful “violence” by borrowing the images of Chinese traditional paintings. (Peach Blossoms and Moon of New Paintings-Zhou Chunya’s Art Career by Lu Peng)

Zhou likes the purity of plants and animals very much. His inspiration to create the "Peach Blossoms" series of paintings is sourced from his personal experience of watching peach blossoms in Chengdu. “I do love things with strong vitality. One spring

when I went to a flower mountain near Chengdu to watch peach blossoms, I was much impressed by the sea of pink peach blossoms full of a primitive life force. From that moment I decided to create my "Peach Blossoms" series of works.” said Zhou. The flowers are common painting objects of Chinese traditional paintings. In Zhou’s "Peach Blossoms" series of paintings we can find some trace of Chinese traditional flower paintings. But by employing ever-changing colors Zhou presents the peach blossoms on his canvas in a more dissolute and coquettish image. The image of peach blossoms symbolizes the coming of the spring season; in a broad sense, it also symbolizes love and sex. In Zhou’s works, the light red color of the peach blossoms represents the very nature of erotic love. These works are filled with cultural meanings, transfiguring the primitive or even savage sex impulse to a very elegant and complicated image. The peach blossoms also represent the painter’s mood. In a world

full of blossoming peach trees, the painter’s mood becomes totally liberated. The images of peach blossoms in Chinese traditional culture have some hidden allusions to sex and reproduction, but in Zhou’s works, the image of peach blossoms as the symbol of erotic love is presented in a more bold and apparent manner. In addition to a dissolute and coquettish image of peach blossoms, Zhou usually adds the image of men and women in red who are making love under the peach trees into his paintings. “What I paint is ‘sex and love’, the instincts of human beings. The blossoming peach flowers are strangely juxtaposed with the men and women who are making love under the peach trees. This juxtaposition destroys the obstruction between human beings and nature as well as obscuring the boundary between moral and evil. In floating colors a world of fantasy has been created where the instincts and nature of human beings are fully liberated and released in a tender and also violent manner.” Zhou said. The image of blossoming peach

flowers expresses an unrestful mood between flourishing and withering. As time passes, we grow old with increasingly growing regret and resentment. Zhou’s "Peach Blossoms" series of works demonstrate an artistic style between the traditional and the avant-garde. He displays the tension between tradition and modern in a natural way by incorporating the form of western art and the spirit of oriental culture. The painting entitled “Peach Blossoms Dancing in Spring Wind” portrays spring scenes. Zhou employs the colors with very strong visual impact and the rushed strokes of untamed passions. White in the peripheral part and red in the central part, the peach blossoms are blooming in profusion, demonstrating an ambiguous mood of temptation. Zhou prefers brilliant colors. He intentionally adds a large quantity of painting oil into pigments, letting them float freely on the canvas, thus producing the accidental

effects of Chinese traditional calligraphy on the canvas. This painting is designed to create a hidden narrative, suggestive of the life passage in the garden, in which a living thing will experience desperation, joy, pain, longing, and other feelings. It evokes our thinking about the natural order and the fate of human beings. In Zhou’s recent “Peach Blossoms” series of works, we can find some inherent unity in Zhou’s artistic creation. On the one hand, Zhou consistently seeks illumination from the Chinese painting tradition and imports the concepts and elements of Chinese traditional paintings into his works; on the other hand, Zhou presents his own perception of and judgment on cultural reality based on his personal experience and feeling. It should be mentioned that Zhou always stands outside current art fashions and consistently adheres to his unique artistic pursuit. This may be the reason why he is highly valued by other painters and art critics.

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ZENG Fanzhi (b. 1964)

Blue Sky 2006 Oil on canvas 165 x 250 cm Signed lower right Zeng Fanzhi in Chinese and English, dated 2006 EXHIBITED: The Paintings of Zeng Fanzhi, Shangh Art Gallery, Shanghai, 2006, color illustrated, p. 29

NT$ 18,000,000-26,000,000 US$ 562,500-812,500 HK$ 4,390,000-6,341,000

曾梵志藍色天空 2006 油彩畫布 165 x 250 cm 簽名右下：曾梵志 2006. Zeng Fanzhi 展覽：《曾梵志的繪畫》，香格納畫廊，上海， 2006，彩色圖版，頁29

與關注觀點以及觀念圖解的作品不同，曾梵志始終遵循依靠自己的藝術情感方式來表達，他用藝術形象來傳達一種思想感情，描繪的藝術形象也是多變的。 1964年曾梵志生於武漢，1991年畢業於湖北美術學院油畫系。1993年，為了更好的從事藝術，曾梵志從武漢來到了中國的藝術中心—北京，現為職業藝術家。參加的重要展覽包括：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」；西班牙巴塞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」；2008年5月香格納畫廊北京空間個展「太平有象」等。作品多為瑞士、德國、香港及國內收藏家收藏。曾梵志小時除了繪畫，其他功課都不好，是老師眼中的問題學生，初中時還被老師趕出過校門。沒有戴紅領巾、玩航模、看不上小人書……在上世紀80年代初期，他就把這些童年未曾實現的願望，統統畫了出來，用這些畫製作了一個筆記本，親戚看了說：「你看，你的理想全部實現了，帶上了這個，又帶上了那個。」童年的遺憾，從他創作角度來說卻又成了一件好事情。迄今為止，曾梵志的藝術創作路程主要經歷四個階段：80年代至1994年的「協和醫院」系列作品是第一階段。從94年到90年代末期創作了「面具」系列。隻身來到北京的他，面對一個陌生的城市，一個新的

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環境，北京帶給了他更廣闊的藝術平台，但也隨之帶來了很多新問題。《面具》作品就在這樣的情況下被創作出來。「面具」系列是對城市人際虛偽和無聊的批判。之後是他的「肖像」系列，其實這個系列貫穿了他創作的各個階段，但每個階段的肖像又各有不同。他現在畫肖像作品的狀態是在表達對方的同時加進自己的感情，以不同的精神面貌呈現。第四個階段是亂筆階段，這一階段的作品，曾梵志可以更加自由的發揮，作品的尺幅也相對較大，也需要他更加注意對畫面的經意和表現。在他的「新風景」創作中，運用了更主觀化的構圖和色彩詭異的線條，顯示出不斷超越個人既定風格的努力。不難看出曾梵志是中國當代藝術中一位創新的藝術家。無論從上述他的創作經歷，還是他自己對藝術的訴求。在一次採訪中，曾梵志說：「有的時候，改變真是一種潛意識的，我從來沒有宣佈過說要改變一下自己。其實我一直是用我自己的思想在畫，我的思想不允許我重複過去的東西。」此幅作品《藍色天空》創作於2006年，此時的曾梵志對鮮豔色彩的偏好，也轉向了對黑白、灰藍的探討。長滿雜草的山坡，映著深邃而神秘的藍色天空，凸顯了作品中央的白色部分，彷彿告訴我們，天空要漸漸的逝去。蔚藍的天空取而代之的是幽藍，白天將被黑夜取代，此時此刻的時光，此時此刻的天空，更是可遇不可求的。雜草叢肆意的生長，它們生命旺盛，隨著漸涼的微風舞動、延展，即使陽光已經不在，也絲毫不會猶豫，因為它們會等待，堅信明天會到來。整件作品在顏色上有藍黑之間對天空的延續，鋪墊了時間的敘事，也有白色的對比，亦有幾根淺灰的草在叢中跳躍，這些都增強了作品的層次。

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近看作品細節，是非常典型的曾梵志「亂草」系列作品。藝術家手拿畫筆，在巨大的畫布上自由流動。筆隨著心情、思緒遊走，那一刻曾梵志的情感已經匯聚在筆尖，留在畫布上。正是由於他獨特的繪畫語言，使得亂草的創作是偶然的，隨意的。「我一直在嘗試，或畫圈，或亂筆，或用有規律地變化的筆法，各種方式都在嘗試。沒有提前設定好的目標，往往是一個局部的效果提示我，然後會加以擴大」曾梵志說。他追求的也是隨意之間產生難以預料、難以控制的偶然，色彩與線條的對比，在繪畫的過程中產生；藝術家的情緒、對線條的掌握，也會產生奇蹟般的效果。批評家黃篤對「我們」系列之後的繪畫提出其看法，指出：「曾梵志的繪畫核心在於筆觸運動，它既否定了敘事性，又否定了繪畫語言，但在繪畫的節奏上有著自己的邏輯性。」他描述藝術家的創作方法，是先在畫面中完成清晰的形象，然後右手夾上兩枝油畫筆，同時產生運動：食指、中指與拇指之間的筆，掌管著習慣、邏輯的理性經驗；中指和無名指之間的筆，則恰好是自由的、非邏輯的偶然性效果，產生抽象和具象之間的角力。對於繪畫用筆的用心研究，在中國當代藝術家頗為罕有。我們能感受到，曾梵志的作品有中西方大師的影響。從初學畫階段，歐洲中世紀古典繪畫對他的影響，到後來他又對表現主義的迷戀，至今一些表現手法仍然影響著他。很長時間以來，他對西方藝術很在意，對中國畫卻不太重視。但近幾年來，逐漸意識到中國古代的水墨畫的意義。在仔細學習理性的西方藝術之後，他也逐漸開始使用中國畫中的品味和境界。藝術家借鑒古代中國畫的精髓，通過一種心靈的溝通，對作品產生的綜合性的影響。創作時，他時而利用歌劇將他帶入場景，時而聽小提琴調動自己很細膩的情感。最終在畫布上闡釋自己在當下的情感。「我的作品創作靠的是瞬間的靈感，不斷追求意想不到的美，靈感來的時候我會用小紙片通過草圖的形式勾勒出來，然後到畫室把它

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慢慢完善。」曾說。他認為，要儘量讓創作過程保持陌生感，才會有驚喜、才會有激動，而不是流水線式地重複，否則很難給觀眾帶來感動。如今的曾梵志在北京過著悠然的生活。八九點就起床，開車去工作室，晚上十二點睡覺，生活非常規律，接受採訪，參加時尚派對、慈善拍賣。但對藝術的熱情絲毫未減。對於繪畫，曾梵志一直保持用自己百分之百的用心去創作，一直孜孜不倦的追求。繪畫是用畫面來表達，它依靠色彩和線條，也有對人的關愛，有情感的東西。「我是別無選擇，因為我就是喜歡畫畫」他說：「我的作品只是我擅長的表達方式，是表達我的生活的最好方式。我的創作道路一開始就這樣，到現在還是怎麼畫快樂就怎麼畫。」

Different from the works that focus on ideas and icons, Zeng Fangzhi has always resorted to his artistic emotion to express his feelings through artistic images. And as his emotions change, the artistic images in his paintings also vary. In 1964, Zeng Fanzhi was born in Wuhan, Hubei Province; in 1991, he graduated from the Oil Painting Department, Hubei Institute of Fine Arts; in 1993, in order to better pursue art, Zeng Fanzhi left Wuhan for Beijing, the art center of China; now he is a professional artist. He has taken part in important exhibitions including “Exhibition of Works by Zeng Fanzhi” held at the Museum of Fine Arts at the Hubei Institute of Fine Arts in 1990; “Biennale Exhibition of Fine Arts (Oil Paintings) in China in the 1990s” held in Guangzhou; “New Art Exhibition in China Post-1989”; “From State Ideology-New Art in China” held at the International AvantGarde Culture Center of Hamburg, Germany; “Zeng Fanzhi: Masks” held at the Barcelona Modern Art Museum in Spain and at Hanart TZ Gallery, Hong Kong; “Future” at the Macao Contemporary Art Center in 2000;

“Behind the Mask” held at The ShanghArt Gallery in 2001; “Paris-Beijing” at the Pierre Cardin Center, France; “First Tri-annual of Guangzhou” held at the Guangzhou Museum of Fine Arts; “I/We”, held at the Shanghai Art Museum in 2003, and a private exhibition “Tai Ping You Xiang” held at The Beijing Space, ShanghArt Gallery. His works are collected by Swiss, German, Hong Kong, and domestic collectors. As a little boy, Zeng Fanzhi was not good at his lessons, except for drawing. And he was regarded by his teachers as a poor student. At middle school, he once was driven out of school by his teacher; he never wore a red neck towel, but spenet all his time playing with airplane models… In the early 1980s, he painted all his unrealized dreams in his childhood and made a notebook using these paintings. “After my relatives see them, they’ll say you’ve realized all your dreams, wearing this and that.” The regrets of his childhood have become a good thing for his artistic creation. B y f a r, t h e a r t i s t i c c r e a t i o n b y Z e n g Fanzhi can be divided into four stages: "1980s-Hospital" series in 1994 is the first stage. From 1994 to the end of the 1990s, he created the "Masks" series. Coming to Beijing alone, he was faced with a strange city and a new environment. Beijing has brought him a wider and broader artistic platform, as well as many new problems. And it is under this background that the "Masks" series was created. This series is criticism against the hypocrisy and boredom between men and man in cities. Subsequently is his "Human Portrait" series. As a matter of fact, this series has penetrated throughout each and every stage in his artistic creation. And the human portraits vary at each stage. At present, when he paints human characters, he also adds in some of his private emotions, presenting different mental status. And the fourth stage is the scrambling stage, wherein

Zeng Fanzhi enjoys more freedom and created larger paintings, requiring him to be more careful about the details and structure of the paintings. At this stage, he uses a more subjective structure and strangely colored lines, reflecting his efforts to surpass his own established style. It is not hard to find that Zeng Fanzhi is an innovative artist in contemporary art in China, in terms of both his creative experience and his pursuit of art. During one interview, Zeng Fanzhi says: “Sometimes, change is indeed subconscious. I never announce to the world that I’m going to change myself. Actually, I’ve been painting with my own thoughts, which do not allow me to repeat what I’ve done before. ” "Blue Sky" was created in 2006. At the time, Zeng Fanzhi shifted his preference from bright colors to black and white, gray and blue. The slope covered by weeds reflects the deep and mysterious blue sky, highlighting the white in the center of the painting, as if to tell us that the sky will gradually fade out, the blue sky will be replaced by emerald and the day by night; the time and the sky, at this moment, in this place can never be seen and sought elsewhere or some other time. The weeds grow rampantly; they are vigorous, waving and stretching in the cool breeze; even if there is no sunshine, they’ll not hesitate, because they’ll wait, for the coming of the morrow. The whole work extends the sky between black and blue, continues the narrative of time and provides the contrast of white, together with the dynamism of several dark gray weeds; All these have enhanced the hierarchy of the front and back, and the far and near of the work. Looking at the details of the work, we’ll notice this is a very typical work of Zeng Fanzhi. The artist allows his painting brush to flow freely on the painting canvas of 170 x 250 cm. The brush floats together with

his moods and emotions. At that moment, Zeng Fanzhi’s feelings are gathered at the tip of the brush and kept on the painting cloth. This unique painting language of his makes the creation of the weeds accidental and random. “I have always been trying, sometimes drawing circles, sometimes scrambling around or using the skill with regular changes. I’ve tried all creation methods. I don’t have any predefined target, but usually a local effect inspires me and then I seek to expand it.” Says Zeng Fanzhi. What he pursues is this unpredictable and uncontrollable, random contrast between colors and between lines. During this process, the emotions of the artist and his command of the lines will also produce miraculous effects. Critic Huang Du comments on the paintings after "I/WE" series: “The core of Zeng Fanzhi’s paintings lies in the movement of the brush, which denies narrative or painting language, yet has its own logic in terms of the painting rhythm.” He describes the artist’s creation method as such: first he finishes the clear image in the painting, then he puts two oil painting brushes in his right hand and moves them at the same time: the brush between the index finger, the middle finger, and the thumb masters the rational experience of custom and logic, while the brush between his middle finger and the ring finger masters the accidental effect of freedom and nonlogic, creating the wrestling between the concrete image and the abstract image. Such penetrating study of the use of brush in painting is rarely seen among contemporary artists in China. From Zeng Fanzhi’s works, we feel the influence of Western masters over him. From the primary learning stage, the classic paintings of the medieval age in Europe have influenced him; and with his later obsession with expressionism, he’s also influenced by some of the expressionist skills. For a long time, he’s been paying much attention to

Western art while largely ignoring Chinese paintings. But in recent years, he gradually realizes the meaning of ancient Chinese water-ink paintings. After a careful study of rational Western Art, he’s gradually learning from the taste and realm of Chinese paintings. The essence of the ancient Chinese paintings, through a spiritual communication, has comprehensive influence over his works. During creation, he sometimes uses opera to take him into the setting and sometimes listens to violin to arouse the fine and subtle emotions in him, and finally he expresses his feelings and emotions on the painting cloth. “My creation relies on the inspiration at the instant, constantly pursuing an unexpected beauty. When I have inspirations, I sketch them out in a small piece of paper first and then I slowly refine and improve them in my studio.” Says Zeng. He believes that the artist must keep a distance with his work during the creation so that there will always be happy surprises and excitement, rather than the streamline repetitions that can hardly touch the audience. Today, Zeng Fanzhi lives a carefree life in Beijing, getting up at 8 or 9 in the morning, drives his car to the studio, and goes to bed at 12 at night. He lives a regular life, accepts interviews, and takes part in fashion parties and charity auctions; but his passion for art never wanes. To painting, Zeng Fanzhi has always devoted himself and perseveringly pursued art. Painting is an expression, through colors and lines, of the love and care for man; it is an emotional thing. “I have no choice, because I just love painting.” Zeng Fanzhi said, “My works are the expression methods that I’m good at and they are the best way of expressing my life. This has been so ever since I started painting: I draw and paint as I like.”

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ZHANG Xiaogang (b. 1958)

Bloodline Series - Big Family 1998 Oil on canvas 80 x 100 cm Signed lower right ZHANG Xiaogang in Chinese and English, dated 1998 PROVENANCE: Hanart Gallery, Hong Kong EXHIBITED: Bloodline: Big Family, Hanart Gallery, Taipei, 1998 Image Is Power: Wang Guangyi, Zhang Xiaogang, Fang Lijun, He Xiangning Art Museum, Shenzhen, China, 2002 Zhang Xiaogang, Tokyo Wander Site, Tokyo, 2006 ILLUSTRATED: Umbilical Cord of History: Paintings by Zhang Xiaogang, Hanart TZ Gallery, Hong Kong, 2004, color illustrated, p. 102

NT$ 26,000,000-48,000,000 US$ 812,500-1,500,000 HK$ 6,341,000-11,707,000

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張曉剛血緣系列—大家庭 1998 油彩畫布 80 x 100 cm 簽名右下：張曉剛 Z H A N G X i a o g a n g 1998 來源：漢雅軒畫廊，香港展覽：「血緣：大家庭」，漢雅軒，台北，1998 「圖像就是力量—王廣義、張曉剛和方力均的藝術」，何香凝美術館，中國深圳， 2002 「張曉剛」，東京都驚異世界，東京， 2006 圖錄：《時代的臍帶—張曉剛繪畫》，漢雅軒，香港，2004，彩色圖版，頁102

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放在潮流的範圍進行瞭解，儘管他的藝術吸收了潮流中的種種因素。」（參閱《20世紀中國藝術史》，北京大學出版社，頁 922）其撰寫的《20世紀中國藝術史》的封面即直接選擇了張曉剛的《大家庭》。

張曉剛對自己的藝術有著清醒的認識，「我不屬於文化型的藝術家，我對大的問題不敏感，我也做過很多實驗性的藝術，然後發現自己也不是科研型的藝術家。我和王廣義恰好相反，他從整體出發想問題，而我屬於卡夫卡那種負責內心的藝術家，總是從人性的背面去想問題，從個體的角度去挖掘內心。」

時代的記憶每一天的午後，工作室裡面飄起了音樂，意味著張曉剛一天工作的正式開始。跨入二十一世紀的中國成為世界關注的焦點，讓它在國際舞臺上大放異彩的，除了高速發展的經濟。還有早在改革開放之前，憑藉藝術家們的自我堅持和不斷努力發展起來的當代藝術。近年來中國當代藝術，以不斷攀升的天價作品，以及人氣極高的藝術明星吸引著國際的注意力，而張曉剛是其中最具代表的標誌性人物。張曉剛太有名，有名到提及中國當代藝術可以忽略很多人，卻唯獨少不了他，而「血緣系列：大家庭」更有名，很多人或許不知道張曉剛，卻對這個能引起無數人情感回憶的圖像感懷於胸。他用一種圖式，重新定義並再現了一個時代的記憶。張曉剛的伯樂栗憲庭將之喻為中國當代藝術的縮影式的藝術家。1958年出生的張曉剛，經歷了中國社會的種種變化，三十年的風雲變遷，他的作為折射出了一代知識份子的藝術抱負，從他個人的藝術歷程，可以看出中國當代藝術三十年來轉變的軌跡。批評家呂澎同樣認為「張曉剛是一位與90年代初期的各種藝術現象有關聯但保持著獨特立場的藝術家，他所開啟的美學樣式，使得我們很難將他的藝術簡單地

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1994年《血緣：大家庭》出現在「第二十二屆聖保羅雙年展」上，畫家展示了他心目中的精神的血緣和歷史的家庭。這個被詩人歐陽江河譽為美術史上第一次明確出現「中國人的臉，中國人的家庭，中國人的歷史」的作品，給張曉剛本人以及中國當代藝術步入國際藝林獲得了無數榮譽。在那以後，之後的若干展覽中，張曉剛獲得了普遍的認可。此幅創作於1998年的《血緣：大家庭》是此類作品的典型。關於這個作品的來源，張曉剛1995年專門在《自述》中進行過闡釋。「構成近期作品的因素，除了歷史和現實所賦予我們的複雜心理外，直接的靈感來源出自私人家藏的舊照片，以及中國大街上隨處可見的。我無法說清楚那些經過精心修飾後的舊照片究竟觸動了自己心靈深處的哪一根神經，它們使我浮想聯翩，愛不釋手。也許正因為處在今天的時代中這些舊照片已不僅僅給人某種懷舊心理的滿足感，也許它們所呈現出的某種單純直接而又充滿了某種虛幻的視覺語言方式，驗證了我對高深莫測的樣式主義以及虛誇的浪漫主義的厭棄心理？同時，舊照片和炭精像一類的圖式語言，體現出我非常熟悉而又曾經不屑一顧的東西，其中也包含著中國普通人長期以來所特有的某種審美追求，比如模糊個性而強調共性，含蓄，中性而又充滿詩意的審美特性等等。」

在呂澎看來，「張曉剛的家庭背景是五十年代出生的人熟悉的「革命幹部」，這類家庭不同程度地保留著早年革命與建設的舊照片。這些照片完全不同於更早之前的那些可以看到長袍馬褂的舊影像—過分的古老與久遠，相反，從四十年代開始保留直至七十年代初期之間的老照片與活著的中國人—父母與子女—有著直接的情感與歷史淵源，他們甚至共同度過了那些重要的歷史時期。」（參閱《張曉剛》，ARTSIDE GALLERY，頁34）整齊和標準的姿勢以及模型化的表情被認為受過去時代的特徵。但是藝術家並不僅僅滿足於此，張曉剛希望呈現的是各種各樣的血緣，關係親情的、社會的、文化的。從張曉剛「大家庭」的理念可以看出一種時代的集體特徵，也是讓這系列的畫作能夠名揚國際的原因，但是張曉剛曾經自嘲的說，他這個畫大家庭的人，自己的家庭卻是一塌糊塗。關於家庭和血緣，張曉剛有過一個經典的總結：「血緣牢不可破，家庭不堪一擊」。跟前任妻子離婚後，他從四川搬到北京，因為太過思念女兒，成為創作「大家庭」之後的系列作品「記憶與失憶」的緣起。他對女兒的愛，就像現在的妻子佳佳所說的：「我覺得他女兒是他身體的一部份，他自己也說他女兒就是他身上的一根肋骨。我經常也跟他說，他女兒就是他自己，兩人在一起不像兩個人，像一個人。」心靈的敏感和觀察的深刻，使得他每一次都能緊密地將個人的生活印記同時代的共同體會結合起來，這種能力越發提升了他的成功。如今，張曉剛不但是一位完全成功的藝術家，甚至已經成功到不能失敗的程度。四川美院的教授，批評家王林說：「我希望他有更大的成就和成功，而且期待他在世界美術史上佔有重要地位，讓我們曾經一起奮鬥過的歷史，也成為世界藝術的歷史。」但是這種成功似乎並沒能緩解他心靈深處的孤獨。「我永遠不可能畫出陽光開朗、其樂融融的作品，我的畫永遠都是陰性

的、憂鬱的，這與我的人生經歷有關，我與家庭的關係讓我始終看到的都是生活的側面，甚至是背面，而不是它的正面。」同為藝術家的好友葉永青評價張曉剛時說：「有時候所謂的天才，或是所謂的這些人，其實就是因為他的這種才能不被人認可。他有這種才能，有才能有時候對人不是一種幸福，實際上是一種折磨，曉剛是那種心裡面有魔鬼的那種，有魔的人就是要被這種想表達的訴求折磨的。這種東西一旦不能被世人認可的話，他其實很痛苦。」張曉剛並不承認自己是天才，關於自己的成功，他說：「我覺得一方面是靠我個人奮鬥，但是我覺得很大的程度上是別人在幫我，別人為什麼會幫我？我感覺到有的力量，每次在我最困難的時候，總會有人來幫我度過難關。所以我一直有這種感覺，好像什麼事你完全靠自己是不行的，你要想到任何人的成功，實際上是環境裡邊的因素促成的，他不是個孤立的現象。我從來不相信自我成就之類的東西，就像我不相信天才一樣。」

best representative of Chinese contemporary artists. Zhang Xiaogang is so well-known that he, more than anyone else, can by no means be neglected at the mention of contemporary Chinese art. However, much more wellknown than the artist himself, his series "Bloodline: Big Family" never fails to arouse within numerous viewers the inexpressible feelings and emotions even if they might not know about the artist. Zhang Xiaogang, with his original photo-like painting, has successfully redefined and reflected the memory of a time gone past.

Memory of Time When the studio is floated with music every afternoon, it annouces the formal start of Zhang Xiaogang’s working hours. China has become the focus of the whole world's attention in the 21st century with its rapidly-growing economy. Making its appearance more brilliant on the international stage is its contemporary art contributed to a lot by the perseverance and unremitting efforts of Chinese artists which can date back to the period prior to the reform and opening up. In recent years Chinese contemporary art, with its increasingly skyrocketing prices and fabulous art stars, is drawing growing attention from the international community. Zhang Xiaogang is one of the

張曉剛《血緣：大家庭三號》1995 油彩畫布仕丹萊收藏2008專拍，4736萬港元成交 ZHANG Xiaogang, Bloodline: The Big Family No. 3 1995, oil on canvas, 179 x 229 cm sale of The Estella Collection 2008, US$6,090,108 sold

Zhang Xiaogang was compared to a miniature artist of Chinese contemporary art by his talent scout, Li Xianting. Zhang was born in 1958 and has gone through all the changes of Chinese society in the past three decades. As one of the intellectuals in China, what he has done reflects the art ambition of his group and the way he has been going all the time round is simply an indicator of the changes in Chinese contemporary art in the past three decades. The critice LU Peng

said “Zhang Xiaogang is an artist related to various art phenomena in the early 90s but remains independent of his unique artistic style. We can never attempt to interpret his art in the light of the popular art with the artistic style he has initiated, though many popular elements can find their way into his art.” (Chines Art History of the 20th Century, Peking University Press, P. 922). The cover of LU’s Chinese Art History of the 20th Century, is the right works “Big Family” by Zhang Xiaogang.

As a matter of fact, the artist himself has a pretty sensible understanding of his own art, “I am neither a culture-style artist for I am not sensitive to big issues nor a sciencestyle artist though I have done a lot of experimental arts. On the contrary to Wang Guangyi who views problems in the overall light, I, like Kafka, am only responsible for our inner part. What I am doing is trying to think of problems in the light of human nature or to explore the inner world from an individual viewpoint.” In 1994, Zhang’s series “Bloodline: Big Family” made its appearance in the “22nd Sao Paulo Biennial”. It is a series which presents the spiritual bloodline and historical family in the eyes of the artist. It is the very series which shows for the first time in the history of fine arts the “Chinese face, Chinese family and Chinese history” as commented by the poet Ouyang Jianghe that brought Zhang Xiaogang and Chinese contemporary art as a whole an abundance of honors and applause. Since then Zhang won general acknowledgement for several of his exhibitions. And the “Bloodline: Big Family” of 1998 is the representative of its kind. As to the origin of the works, Zhang Xiaogang explained in his Self Narrative in 1995 "Recently, I get direct inspirations for my works from personally kept photos

or charcoal drawings which can been seen anywhere on the streets of China, as well as the complex mental state which history and reality has given us. l can't really say which part of the carefully decorated old photograph touched a nerve deep inside my soul. However, they let endless thoughts spring out of me, and make it impossible to get it off my hands. Perhaps these old photos do more than just satisfy people's certain retrospection. The simple, candid, dreamy vision and linguistic methods it bears are so profound that it somehow proves my hatred for the incomprehensible Formalism and exaggerated Romanticism. To me, old photos and charcoal drawings are quite familiar like a schematic language, and at the same time, they are presenting things that I did not find valuable then. Among them was a unique aesthetic appreciation which ordinary Chinese people had been pursuing for a long time, such as aesthetic characteristics w h i c h s u p p re s s i n d i v i d u a l i t y a n d emphosize commonness, and that are implicit and neutral but filled with poetic meaning at the same time." In the eyes of LU Peng, “Zhang Xiaogang was born in a family of revolutionary cadre, a kind of family familiar to those in the 50s. And it is the custom of such families to keep old photos about revolution and construction in early days. Different from the earlier and older pictures of Chinese-style long robe, these pictures, from the 40s to early 70s, carry a direct emotional and historical relatedness with parents and their children and with the living Chinese as a whole. They even witnessed the historic moments shoulder by shoulder.” (Zhang Xiaogang, ARTSIDE GALLERY, P.34) Uniform gestures and standardized expression are the features of the old time, as generally considered, however, Zhang Xiaogang, far less satisfied with this, has greater expectations, that is, to exhibit various blood lines, social or cultural.

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The “big family” concept of Zhang Xiaogang reflects a common characteristic of the time and wins name and fame for his series works in the international artistic world. However, Zhang Xiaogang once mocked himself saying it was the same successful big family painter that went bankrupt with his own family. Thus the artist concludes: “bloodline is unbreakable while family is vulnerable”. After divorcing, he moved from Sichuan to Beijing and it was his affection and compassion for his daughter that gave birth to

張曉剛《血緣：大家庭一號》1994 油彩畫布蘇富比香港2008年10月4日拍賣會，2306萬港元成交 ZHANG Xiaogang, Bloodline: The Big Family No. 1 1994, oil on canvas, 150 x 179 cm Sotheby’s Hong Kong, Oct. 4, 2008, US$2,940,986 sold

the series “Amnesia and Memory” following “Big Family”. Just as his second wife said, “I think, his daughter is just a part of him. He also said himself that his daughter was a rib from his body. I often say to him his daughter is himself. They are not two persons but one.” The sensitiveness and ability of profound observation grants the artist the gift to connect his personal life closely with the time and society, which raises him to the heights of art. Now, Zhang Xiaogang is a universally acknowledged successful artist, an artist whose success is far beyond failure. Wang

Lin, art critic and a professor in the Sichuan Academy of Fine Arts said: “I wish to see more achievements and bigger success with him and am expecting him to get a sound footing in the world history of fine arts. The history of our joint efforts will become part of the history of world art.” However, the sensational success seems still unable to eliminate the feeling of loneliness deeply rooted within him. He said: “I can never expect to make any sunny and happy paintings. My paintings are all cloudy and melancholic. Maybe it is because of my experience for the relationship between my family and I always displays the negative side or dark back of life, never the positive face” Zhang Xiaogang’s good friend and artist Ye Yongqing commented on the former saying: “Sometimes the so-called 'gifted' or 'kind' is the gifted simply because his gift is not recognized. The gift is sometimes not a gain but a pain. Xiaogang is a man with a devil dwelling within him and thus he is doomed to suffer for the desire of expression. He hurts if his expression is not recognized.” As for his gift and his success, Zhang Xiaogang said: “I don’t think I have a gift. My success relies on my hard efforts on the one hand and on the other hand is much contributed to the help of others. Why do by they help me? I feel it is the power of god. Whenever I am in difficulty, someone, at the command of god, will come to help me out. So I always believe no one can have success all by himself. You are living in society and it is the various elements in society that jointly help you succeed. I never think too much of such stuff as self-achievement and something like that, just like I don’t believe there is a thing called gift.”

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CAI Guo Qiang (b. 1957)

Descending Wolves for the Guggenheim International Gala 2006 Gunpowder and ink on paper 230 x 387.4 cm Titled lower left Descending Wolves in Chinese and Descending Wolves: for the Guggenheim International Gala in English, signed Cai Guo Qiang in Chinese and English, dated 2006. 11. 7 in NY

NT$ 26,000,000-33,000,000 US$ 812,500-1,031,300 HK$ 6,341,000-8,049,000

蔡國強下山之狼─為古根漢美術館國際藝術節而作 2006 綜合媒材紙本木板 230 x 387.4 cm 簽名左下：下山之狼蔡國強 Descending Wolves: for the Guggenheim International Gala Cai Guo Qiang 2006.11.7 NY

蔡國強在當代華人藝術家圈中的國際地位大家有目共睹。他1958年生於中國福建泉州，父親蔡瑞欽是一位傳統的水墨畫家和書法家，他沒有跟隨父親的腳步，反而選擇就讀上海戲劇學院舞台美術系。80年代時他悠遊於實驗藝術的世界裡。1986年赴日求學並在那裡生活了九年。這段期間的體驗深深的影響了他的藝術創作方向。 1995年他受邀前往美國紐約皇后區的P.S.1 藝術中心創作一年，之後便定居紐約。蔡國強的成就與榮耀卓越非凡。他是北京奧運開閉幕式的核心創意小組成員以及視覺特效藝術總設計。從天安門到奧運主場館，獨一無二的腳印焰火就是他的作品。他也是在紐約古根漢美術館舉辦個展的第一位華人藝術家。回顧展的展期自2008年 2月至5月，隨後他前往北京設計奧運的特效。接下來他會在西班牙的畢爾包古根漢美術館展出。他也是第一位能在中國國立美術館舉辦個展的當代華人藝術家，他的作品曾於2002年在上海美術館展出。他 2001年為在上海舉辦的亞太經合會開幕式所設計的焰火表演讓大家嘆為觀止。不僅如此，1999年時他更是第一位榮獲威尼斯雙年展金獅獎的華人藝術家。他的藝術風格既複雜又獨特；融合了成長背景、生活經驗、信念以及感性。他的作品經常挑戰既定的創作模式，尤其是他的爆破創作舉世聞名。特別是火藥草圖以及定點爆破的創作令人耳目一新。他的裝置

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藝術涵蓋中國許多的傳統文化圖像，好比古代神話和戰爭史，藉以質疑當代世界。同時，他也參與社會計畫，結合偏遠與藝術較無接觸的當地居民一起創作藝術作品。在泉州的成長背景對他有兩方面的影響，其一是信道教的祖母。道教一向強調自由思考和無拘束的創作。我們可以在廟宇的裝飾藝術裡看到道教的精華，那雕著龍鳳的柱子、屋頂和牆面壯觀的陶藝故事場景、以及在廟中四處可見華麗又細緻的雕刻。道教認為宇宙的二元性由陰、陽組成。二元性也是蔡國強的創作主軸，他將「肉眼可見與不可見的兩個世界」結合。他的作品常見迷信、神話和宇宙論的世界。他曾表示，道教引領他走入時空隧道，超越現實世界的社會體制與界限，並由限制中獲得解放。除了脫離世俗的道教思想，影響他的第二因素就是父親。他的父親非常重視儒家價值，教導他中道、負責。身為傳統的水墨畫家、書法家和歷史學家，他傳承了中國藝術的傳統思想以及限制。他的父親也負責國有書店在泉州的業務，這得以讓蔡國強吸收各種知識，開放他的視野，讓他跳脫拘束。書店裡擺放的西方書籍在當時的中國仍被視為禁書，它們必須上呈給黨代表。但是他的父親允許他在上呈前先行閱讀，這個決定讓他和世界思想接上軌。

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蔡國強不想追隨父親的傳統思維，他想跳出框架，因此開始質疑創造藝術的手法。一開始他採用不同的繪畫技巧製造自然的力量，像是利用風扇畫出颱風的威力、用火吹出氣泡、也讓鴿子走過未乾的油漆作畫。最後，他終於找到能夠自由詮釋藝術的媒介，那就是火藥。泉州是中國製造煙火的中心，火藥隨處可得。他看中火藥的自發性，那強大的釋放能量以及不可預測的創造結果讓這個理想的創作媒介可以擺脫藝術界的傳統壓抑和社會體制的控制。

蔡國強現已可得心應手的使用火藥創作。這件作品包含五張畫板用紙本，讓火藥爆破後所留下的圖案呈現在紙上。對他來說，狼是勇氣、膽識和力量的象徵。這一群正在下山的狼代表著團結一致和英雄主義。美國在經歷911攻擊事件之後，有膽識和強壯的動物就變成蔡國強的創作主角，特別是狼。利用狼群走下岩壁、巨礫以重現中國傳統山水畫的深度。充滿活力的狼群下山時卻是輕盈敏捷。

為追求真正的自由，蔡國強必須逃離中國社會。他選擇就讀上海戲劇學院，而非傳統的藝術學校。身為新前衛藝術之創作者，他早期的作品主題刻劃深邃，也常涉及政治評論，關切相關議題。1986年當他去日本求學時第一次接觸到一個全新的世界。來自高壓統治社會的他，終於可以深入西方知性的開放面。由於日本的社會結構嚴謹，身為外來者的他，可以說是這片新土地的外星人。他於是開始探索火藥的性能並大量運用到自己的作品裡。藉由火藥的巨大破壞力創出前所未見的新穎藝術。他的「為外星人所做的計畫」爆破系列作品讓他達到創作的最高峰，這些大型的爆破作品試圖讓觀眾和更大的宇宙產生連結。 1995年在搬到紐約之後，他開始用火藥記錄他的爆破。初期的創作充滿抽象概念藉以壓縮爆破的無限能量。隨後他不斷的實驗以便更了解火藥的特性，之後的畫作就極為精準了。目前他正在創作一系列的個人作品以展現無窮盡的力與美。

《下山之狼—為古根漢美術館國際藝術節而作》這種獨特的氛圍和強而有力的構圖都是為古根漢美術館2006年的國際藝術節而作。

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速度一樣複雜。他把引信撒在火藥上，把厚重石塊放在鋼板蠟紙上，並準備迎接他最喜愛的創作時刻，介於引信火光和火藥爆炸間的靜默是屬於藝術家和作品相處的寶貴片刻。爆破完成之後，需趕緊以破布條滅火，移開鋼板蠟紙、立起畫板，作品就算完成。由於紙的易燃性，讓蔡國強常用它來創作，紙能展現能量釋放時瞬間的微妙色彩變化。《下山之狼—為古根漢美術館國際藝術節而作》，狼群的氣勢和敏捷都可藉由火藥爆破的線條生動重現。蔡國強曾說火藥和油彩的不同在於火藥能夠補捉能量。《下山之狼—為古根漢美術館國際藝術節而作》栩栩如生，就是藉由爆炸時的能量賦予狼群生命力，隨者狼群的移動，能量因此可在紙上完整展現。本件作品是藝術家的創造力和無法控制的火的力量兩者間最完美的結合。由許多方面看來，蔡國強的作品根源於中國的傳統。畫板和紙張以及微妙色彩的變化都和傳統的水墨畫有關。不過，他反而顛覆傳統，他以毀滅的方式創出嶄新且具現代感的作品。藉由爆破的強大破壞力產生新的美學藝術。

蔡國強在創作前會先構思數週。進行創作的那天，他先將畫板放在地上。再將鋼板蠟紙放置其上，然後便把不同的火藥撒在紙上，有些火藥是專門為他所調配。他認為使用火藥好比創造藥物，都是把不同的材料混在一起。對他來說，這就像是鍊金術，透過藝術和看不見的力量展開對話。完成輪廓之後，他會移除鋼板蠟紙，撒上更多的火藥並加以摩擦。再將鋼板蠟紙放回去，然後又撒上更多的火藥。接著準備引信，整個過程就跟剪導火線以放慢燃燒

Cai Guo Qiang is the most internationally acclaimed of all contemporary Chinese artists. He was born in Quanzhou, Fujian Province in China in 1958. His father, Cai Ruiqin was a traditional brush painter and calligrapher. However, rather than follow in his father’s footsteps, Cai studied stage design at the prestigious Shanghai Drama Institute. He soon emerged as a player in the experimental art world of the 1980s. 1n 1986, he received a student visa for Japan, where he spent the next nine years of his life.

His experiences, there, were to have a major influence on the direction of his artwork. In 1995, after a yearlong residency at the P.S. 1 Art Centre in Queens, he made New York his base. C a i ’s a c h i e v e m e n t s a n d h o n o r s a r e exceptional. He was the Director of Visual and Special Effects for the opening and closing ceremonies of the Beijing Olympics 2008. The stunning set-up of the firework footsteps from Tiananmen to the Olympic Stadium was his concept and implementation. He is the first Chinese artist to have a one-person exhibition at the renowned Guggenheim Museum in New York. The retrospective ran from February to May 2008. It then went to Beijing for the Olympic period and its next stop will be the Guggenheim Museum in Bilbao, Spain. Cai was also the first Contemporary Chinese Artist to be honored with a solo show at a stateoperated Chinese museum, when the Shanghai Art Museum held an exhibition of his works in 2002. This followed on from the spectacular success of his fireworks display for the APEC meeting in Shanghai in 2001. He was also the first Chinese artist to win the Golden Lion at the Venice Biennale in 1999. Cai’s art is complex and unique. His art is a result of his origins, his experiences, his beliefs and his sensitivities. In his work he challenges all the accepted boundaries of art making becoming famous for creating major works using explosives. Along with his Gunpowder Drawings, he is also renowned for his explosion events, which are often site-specific artistic creations. He records

moments of many of these events later in gunpowder drawings. His installations call on many icons of Chinese culture such as ancient mythology and military history to ask new questions of the modern world. Cai is also very involved in social projects where he engages entire local communities to produce art often in remote, non-art sites. Growing up in Quanzhou, he had two major influences in his life. First was the Taoism of his grandmother. Taoism emphasizes the importance of freeing the mind and

unleashing creativity. The very essence of Taoism is embodied in the decorative arts of its temples which have pillars carved into dragons and phoenixes, magnificent ceramic storybook scenes placed on the roofs and walls, and highly ornate and intricate carvings throughout the buildings. Taoism also teaches the concept of the yin and yang, the duality of the universe. This is central to Cai’s work as he often refers to his creations as linking the ‘seen and unseen worlds’. He draws freely from this world of superstition, mythology and cosmology in his works. He has said that his experience of Taoism has enabled him to enter a time tunnel, to go

beyond the real world of social systems and boundaries, to free himself and escape all constraints. In contrast to this other-world of earthly escape, the second influence on him growing up was his father. His father much more reflected the values of Confucianism, which teaches moderation and personal responsibility. An accomplished traditional brush painter, calligrapher and historian, he followed all the traditions and constraints of traditional Chinese art. Cai’s father also ran the state-controlled bookstore in Quanzhou and this inadvertently contributed to the opening of Cai’s mind and his need to escape constraints. The bookstore received copies of many Western books, which were banned in China at this time for distribution to party elders. Cai’s father allowed him to read them quickly before passing them on. It was his first introduction to outside thinking. Not wanting to follow the traditions and constraints of his father, Cai started questioning the whole method of creating art. At first he experimented with different painting techniques that could harness natural forces. He used a fan on paint to create typhoon effects, fire to blister it, and used a dove to walk on wet paint. However, the medium he found that would finally set him free was gunpowder. Quanzhou is the center of the fireworks industry in China. Gunpowder was everywhere around him. He immediately saw the spontaneity that it offered him, the powerful release of energy, and the unknown result of using it. It was the ideal medium to break from the suppression of a controlled artistic tradition and society.

enormous power and beauty.

“ D e s c e n d i n g Wo l v e s f o r t h e Guggenheim International Gala”

However, to be truly free, Cai needed to escape from his society. Rejecting the idea of going to a traditional art school, he enrolled in the Shanghai Drama Institute. As part of the new avant-garde movement his early works dealt with profound subjects and often contained political comments, concerns that have remained central to his art. His first opportunity to encounter a new world was in 1986 when he went to Japan. Coming from a tightly controlled society, he embraced its intellectual openness and discussion of the Western World. However, Japanese society is tightly woven and Cai was an outsider, an alien in his new land. He now explored the properties of gunpowder and started using it extensively in his art. Through its tremendous energy, destruction would ensue, from which something new and wonderful would be created. He first began his explosion projects here culminating in his series “Projects for Extraterrestrials”. These were explosion events on a grand scale, which were an attempt to engage viewers with the larger universe around them. On moving to New York in 1995 he began to document his explosion events in gunpowder drawings. At first the drawings were abstract, conceptual pieces aimed at encapsulating the unbounded energy of his explosions. He continued to experiment with explosives and as his understanding of his material grew, he brought greater refinement to his drawings. He now started creating individual works of

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This atmospheric and powerful composition was created for the Guggenheim International Gala exhibition in 2006. Cai is now at the height of his powers in using gunpowder as his medium for creation. The work comprises 5 panels of rice paper on which images have been rendered using the explosive power of gunpowder. A pack of wolves are descending a mountain. For Cai, a wolf is a symbol of bravery, courage and power. A pack of wolves is an allegorical symbol of collective unity and represents heroism. After the 9/11 attacks in the USA, courageous and strong animals become prominent in Cai’s works especially the wolf. The background of the picture recreates the atmospheric depth of traditional Chinese landscape painting as the wolves descend over rocks and boulders. The background is strong and resilient while the wolves seem light and ethereal as they softly descend. Cai spends many weeks planning each of his works. On the day of creation the panels are laid out on the floor. Stencils are then laid on the panels and Cai starts to sprinkle different grades of gunpowder over the work. He uses many different grades, some of which are specially made for him. He likens the use of gunpowder as being like creating medicine, mixing various ingredients together. For him, this is like alchemy, a dialogue between the artist and unseen powers. Once the general outline has been done, the stencils are lifted and more gunpowder is tossed on and rubbed in. The stencils are then put back and Cai scatters more gunpowder. The fuses are then prepared and this process is just

as complicated as Cai cuts lines in them to slow them down. He then scatters the fuses over the gunpowder. Heavy stones are now placed on the stencils. His favorite artistic moment has now arrived, the silence between the lighting of the fuse and the detonation of the gunpowder. Cai, says this moment belongs just to the artist and the work. Once the explosion is completed, flames are doused with bundles of rags. The stencils are removed, the panels are raised and Cai assesses his completed work. Cai uses paper as this is the medium which is most sensitive to burning, enabling the creation of a subtle range of hues capturing t h e m o m e n t a r y r e l e a s e o f e n e rg y. I n “Descending Wolves for the Guggenheim International Gala”, the power and forward movement of the wolves are captured by the explosive lines of the gunpowder. Cai has said the difference between using gunpowder and paint is the capture of energy. “Descending Wolves for the Guggenheim International Gala” is alive with the energy of the wolves created through the energy of the explosion. The energy that moves through the wolves and the power direction is captured on paper. The creation is the ultimate realization of the collaborative effort of the artist’s creative energy and uncontrollable force of fire. In many ways Cai’s work is rooted in Chinese tradition. The use of panels and paper, the subtle range of hues clearly seen in the work all point to traditional Chinese brush paintings. However, Cai literally explodes this tradition, destroying and at the same time creating something new, something contemporary. Through the violence of the explosion, a new beauty is born.

CAI Guo Qiang (b. 1957)

Pleats Please Issey Miyake Guest Artist Series No. 4 Cai Guo Qiang 1999 Print onto new Issey Miyake "Pleats Please" garments 133 x 48 cm EXHIBITED: B re a k i n g t h e M o d e : C o n t e m p o r a r y Fashion from the Permanent Collection, Florence, ITA, Palazzo Strozzi, October 12, 2007-January 20, 2008; Los Angeles, CA, Los Angeles County Museum of Art, S e p t e m b e r 17, 2006-J a n u a r y 7, 2007; Indianapolis, IN, Indianapolis Museum of Art, March 16, 2008-June 1, 2008

蔡國強三宅一生縐褶裝客座藝術家系列四 —蔡國強 1999 絹印三宅一生縐褶裝 133 x 48 cm

ILLUSTRATED: Cai Guo-Qiang: I Want to Believe, Guggenheim Museum, New York, 2008, color illustrated, p.167

展覽：「打破模式：當代流行永久典藏展」，義大利佛羅倫斯，斯特羅齊宮，2007年10月 12日至2008年1月20日；洛杉磯郡立美術館，2006年9月17日至2007年1月7日；美國印地安納波利斯，印第安納波利斯美術館，2008年3月16日至2007年6月1日

NT$ 500,000-600,000 US$ 15,600-18,800 HK$ 122,000-146,000

圖錄：《蔡國強：我想要相信》，古根漢美術館，紐約，2008，彩色圖版，頁167

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CAI Guo Qiang ( b. 1957)

Pleats Please Issey Miyake Guest Artist Series No. 4 Cai Guo Qiang 1999 Print onto new Issey Miyake "Pleats Please" garments 134 x 43 cm EXHIBITED: B re a k i n g t h e M o d e : C o n t e m p o r a r y Fashion from the Permanent Collection, Florence, ITA, Palazzo Strozzi, October 12, 2007-January 20, 2008; Los Angeles, CA, Los Angeles County Museum of Art, S e p t e m b e r 17, 2006-J a n u a r y 7, 2007; Indianapolis, IN, Indianapolis Museum of Art, March 16, 2008-June 1, 2008

NT$ 500,000-600,000 US$ 15,600-18,800 HK$ 122,000-146,000

蔡國強三宅一生縐褶裝客座藝術家系列四 —蔡國強 1999 絹印三宅一生縐褶裝 134 x 43 cm 展覽：「打破模式：當代流行永久典藏展」，義大利佛羅倫斯，斯特羅齊宮，2007年10月 12日至2008年1月20日；洛杉磯郡立美術館，2006年9月17日至2007年1月7日；美國印地安納波利斯，印第安納波利斯美術館，2008年3月16日至2007年6月1日

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LI Chen (b. 1963)

Cultivated by Mist and Cloud 2000 Bronze, edition no. 4/8 56(L) x 28(W) x 56(H) cm Signed Li Chen in Chinese and dated 2001, numbered 4/8 The sculpture is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei ILLUSTRATED: Li Chen in Venice: 52nd Venice BiennaleEnergy of Emptiness, Asia Art Center, Taipei, 2007, color illustrated, pp. 100-103, p. 218

NT$ 850,000-1,200,000 US$ 26,600-37,500 HK$ 207,000-293,000

李真煙雲供養 2000 銅雕 4/8 56(長) x 28(寬) x 56(高) cm 簽名：李真 4/8 2001 附亞洲藝術中心開立之原作保證書圖錄：《第52屆威尼斯雙年展－李真：虛空的能量》，亞洲藝術中心，台北，2007，彩色圖版，頁100-103、頁218

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李真涉略佛道學等經典、物外尋真，在藝術作品的追求上，是以雕塑來傳達東方文化的精神與內涵。李真以「虛空」為其重要的創作美學概念，「空」與「虛」是中國文化中佛學及道學的重要思想，佛學中的「空」並不是代表沒有，而是代表一個巨大寂靜的生滅智慧境界，在道家思想有兩句話:「虛空粉碎，大地平沉」，就是描述一個破與靜的極點狀態，在「易」之中求道。李真的雕塑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，用誇張、通體漆黑的實體來表現攝人的物質精神，但雕塑所傳達確是甜美、浪漫、喜悅與滿足的精神概念，正因如此，即便他的部分作品巨大無比，但卻不顯壓迫笨重，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，李真竟能突破千年佛教雕塑既有的形式藩籬，轉化唐代佛教造像的豐厚飽滿，以及宋代俊美秀麗的精神暨形象特質，將雕塑的開臉與線條減至極簡，並且萃取中國5000年歷史文化的元素，如中國的仙、佛、龍、神話、民間故事等，更進一步注入當代藝術的元素及物件，成功的結合古典與當代，使其作品呈現一種前所未見的獨特型態及樣貌，賦予東方雕塑新的生命。

Li Chen has acquired Buddhism, Taoism, and other classics to search for truth, which transmitted into his sculpture in an attempt to represent the Oriental spirit and essence. Li Chen uses “emptiness” as his important aesthetic concept in creation. Emptiness and non-being are the major concepts of Buddhism and Taoism in the Chinese culture. Emptiness embedded in Buddhism does not refer to nothing, but signifying a grand serene life and dead witty stage. Similarly, the Taoism saying goes, “Emptiness breaks; Silence resumes,” suggesting a perfect moment of breaking and silencing, in search of a way in the moderation. Li Chen’s sculpture conveys the energy of emptiness in a sculpture object, empty outside but filled up with energy inside. Owing to Li Chen’s rebirth of energy in a spiritual form, the sculpture is highlighted in an exaggerated and lacquered black object to display a sweet, romantic, joyful, and satisfactory spiritual concept. Hence, despite Li’s art is in gigantic form, but never heavy but flowing in the sky to transmit a “heavy and light” feeling, and a perfect fusion of spiritual energy and material energy. Li Chen’s art, determined to break from the traditional thousandyear religious Buddhist formality of its structures, results in transforming Tang Dynasty’s Buddhist round and complete figurative sculpture and the Song Dynasty’s beautiful spirit and unique characteristics into simplistic sculpture’s smiling face and lines. In addition, Li obtains the cultural elements from the 5000 years of Chinese history, such as spirits, Buddha, dragon, fables, and legends, blending contemporary artistic elements and materials into fusion of tradition and modernity. Hence, Li’s work displays an unprecedented unique style and panorama to endow the Eastern sculpture with a new life.

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KWON Ki-soo (Korean, b. 1972)

Four Seasons–Blue 2 2007 Acrylic on canvas 162 x 130 cm Signed on the reverse Kwon Kisoo in Han characters and English, dated 2007 The painting is to be sold with a certificate of authenticity issued by Park Ryu Sook Gallery, Seoul.

NT$ 950,000-1,800,000 US$ 29,700-56,300 HK$ 232,000-439,000

權奇秀四季—藍2 2007 壓克力畫布 162 x 130 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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HA Sang-Rim (Korean, b. 1961)

Untitled BO0817 2008 Mixed media on canvas 80 x 80 cm Signed on the reverse HA, SANG-RIM and titled Untitled BO0817 in English, size 80 x 80 cm and media Mixed media on canvas, dated 2008

NT$ 200,000-300,000 US$ 6,300-9,400 HK$ 49,000-73,000

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河相林無題 BO0817 2008 綜合媒材畫布 80 x 80 cm 簽名畫背：H A, S A N G-R I M U n t i t l e d BO0817 80 x 80 cm Mixed media on canvas 2008

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SHI Dong Won (Korean, b. 1963)

A Moment 2007 Porcelain and wooden board, unique 64(L) x 53(W) x 4(H) cm (cabinets) 9(L) x 7(W) x 1(H) cm (bowl) x2

NT$ 160,000-260,000 US$ 5,000-8,100 HK$ 39,000-63,000

申東媛片刻 2007 瓷器木板單一件 64(長) x 53(寬) x 4(高) cm (櫃子) 9(長) x 7(寬) x 1(高) cm (碗) x2

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BAHK Seon Ghi (Korean, b. 1966)

Point of View 07-062 2007 Coloring on mixed media, edition no. 4/6 47(L) x 16(W) x 18(H) cm

NT$ 280,000-400,000 US$ 8,800-12,500 HK$ 68,000-98,000

朴善基觀點 07-062 2007 綜合媒材 4/6 47(長) x 16(寬) x 18(高) cm

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Hiroyuki MATSUURA (Japanese, b. 1964)

Yellow 2004 Acrylic on canvas 91 x 91 cm Signed on the reverse Hiroyuki Matsuura in English and dated 2004.7.19 EXHIBITED: Fiction. Love, Museum of Contemporary Art, Taipei, August 21- October 31, 2004 Hiroyuki Matsuura, Eslite Gallery, Taipei, April 7-29, 2007 ILLUSTRATED: Fiction. Love, Museum of Contemporary Art, Taipei, 2004, color illustrated, p. 198 2007 Hiroyuki Matsuura, Tokyo Gallery, Tokyo, 2007, color illustrated, p. 23

NT$ 1,000,000-2,000,000 US$ 31,300-62,500 HK$ 244,000-488,000

松浦浩之黃色 2004 壓克力畫布 91 x 91 cm 簽名畫背：Hiroyuki Matsuura 2004.7.19 展覽：「虛擬的愛─當代新異術」，台北當代藝術館，台北，展期自2004年8月21日至10月 31日「松浦浩之個展」，誠品畫廊，台北，展期2007年4月7日至29日圖錄：「虛擬的愛─當代新異術」，台北當代藝術館，台北，2004，彩色圖版，頁198 「松浦浩之2007」，東京畫廊，東京， 2007年，彩色圖版，頁23 本拍品松浦浩之的《黃色》曾參加2004 年於台北當代藝術館舉行的「虛擬的愛─當代新藝術」國際展，松浦浩之的作品代表著更充分切入現代人生活、現實世界的新世代藝術，其動漫式的創作概念，簡潔明確的線條、繽紛眩目的色澤，都是自有「漫畫」、「卡通」以來，伴隨大多數人成長的「美學」元素，而松浦浩之運用平面設計師本具有的技巧，將於虛擬國度中的「角色」一一拉出，啟發欣賞者的懷舊情懷，

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同時也建立驅使觀眾認同當代藝術的基礎，而實際上，所謂「動漫」世界中的情境便反映出人類現實生活的情節；而松浦浩之處理畫面的「平面」手法，則將低調的日本傳統美學，以年輕一輩幽默詼諧的方式陳述，亦較著重感官層面的刺激。 Hiroyuki Matsuura participated in the “Fiction Love-Ultra New Vision in Contemporary Art” international exhibition held by the Museum of Contemporary Art Taipei with his work “Yellow”, his works represent a new generation of art which cares more about life in the modern world and reality. His animation-and-comics-influenced ideas, are accompanied by clear and precise lines and vibrant colors – all of these “aesthetic” elements were developed by everyone after comics and cartoons were invented. Hiroyuki Matsuura elaborates his graphic design skills, brings out those “virtual characters” from our memories, and creates the foundation for the audience to indentify contemporary art. In fact, stories or plots in the so-called “Animation and Comics” world already reflect our lives in reality; and Hiroyuki handles the picture with his “flat” technique, re-interprets the conservative traditional Japanese aesthetic via a humorous way out of the young generation, paying more attention to the stimulation of the senses.

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Yoshitomo NARA (Japanese, b. 1959)

Untitled 2002-2005 Color pencil onto soft polish engraving on Rives paper 76 x 57 cm Signed lower right the character of Na in Japanese and dated 2002+2005, numbered 16/18 This painting is to be sold with a certificate of authenticity issued by Tomio Koyama Gallery, Tokyo

NT$ 1,400,000-2,000,000 US$ 43,800-62,500 HK$ 341,000-488,000

奈良美智無題 2002-2005 色鉛筆繪於版畫上 76 x 57 cm 簽名右下：な 2002+2005 16/18 附小山登美夫畫廊開立之原作保證書

奈良美智曾於杜賽多夫藝術學院就讀，其後旅居德國科隆，開始創作並發表大型繪畫和雕塑作品。2000年8月離開德國，其創作也愈見蓬勃。曾經被東京武藏野美術大學退學、而後自愛知縣立藝術大學，並留學德國的奈良美智，成長於二次大戰後的日本社會，正好是日本充分吸取西方文化時期，特別是流行文化，奈良國中時代常接觸各經典的音樂表演者，像是衝擊合唱團、大衛鮑伊，70年代的唱片封套，在某方面來說亦為他在美學及影像的基礎。而奈良90年代至今的創作亦帶有80年代接續下來的龐克搖滾精髓，傳遞「謀反」的訊號。作家吉本芭娜娜與奈良美智偶有合作之機會，形容奈良美智的作品：「因沉痛與孤獨而異常冰冷的世界，但內心絕不是惡的。而我寧可在這樣的世界中長居。」。筆下的人物，常帶著不屑一顧的眼神、甚或不懷好意的雙眸，但其作品總能透出一種隱匿式的氛圍或暗示，讓使奈良的創作從商業性質的插畫晉身到當代藝術，也成為重要美術館收藏標的，不得不承認，那頂著蘑菇頭似乎欲言又止的孩童，的確有讓人沉思的力量。而他們眼中顯示的「孤單」，也代表著現代人的內在。

Yoshitomo Nara studied in the Düsseldorf Academy of Fine Arts. After graduation he moved to Köln, where he began to create and announce large paintings and sculptures. In August 2000, Nara left Germany, and this was the time when the quantity of

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his creation grew. Expelled by the Tokyo Musashino Academy of Art, he graduated from Aichi Prefectural University of Fine Arts and Music and then studied abroad in Germany, Yoshitomo Nara grew up in postworld war II Japanese society; this was the time when Japan greatly absorbed Western cultures, especially pop culture. In his junior high school days, Yoshitomo listened to a great deal of music by some icons , such as The Clash, David Bowie etc. Images on 70s record sleeves in some way became the foundation of his aesthetics and images. His creations from the 90s also carry the punk essence of the 80s, delivering a message of “rebellion”. Japanese writer, Banana Yoshimoto had the chance to collaborate with Yoshitomo Nara, she describes his work as: “an icecold world built by deep feelings of remorse and loneliness, but Yoshitomo Nara’s heart is definitely not evil. And I would definitely rather live in a world like this.” Characters created by Nara often carry a dismissive or even malicious look, but Nara’s works always have a hidden aura or hints, this brought his commercial works into the field of contemporary art, even into museum collections. We have to admit that the mushroom-headed children who wish to speak but don’t on a second thought indeed make us steeped in thought. And the loneliness revealed in their eyes also reflect the inner selves in you and me.

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Ayako ROKKAKU (Japanese, b. 1982)

Untitled 2006 Mixed media 62 x 93 cm Signed on the reverse Rokkaku Ayakko in Japanese and dated 2006

NT$ 120,000-220,000 US$ 3,800-6,900 HK$ 29,000-54,000

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六角彩子無題 2006 綜合媒材 62 x 93 cm 簽名畫背：2006 ロッカクアャコ

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Tomoko KONOIKE (Japanese, b. 1960)

Mimio 1 & Mimio 2 Drawing on paper 25.5 x 36 cm (x2) Signed on the reverse Konoike Tomoko in English

NT$ 200,000-300,000 US$ 6,300-9,400 HK$ 49,000-73,000

鴻池朋子漫長的冒險旅行素描紙本 25.5 x 36 cm (x2) 簽名畫背：Konoike Tomoko

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Atsushi NAKAYA (Japanese, b. 1977)

Untitled 2006 Oil on canvas 42 x 29 cm

NT$ 80,000-120,000 US$ 2,500-3,800 HK$ 20,000-29,000

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中矢篤志無題 2006 油彩畫布 42 x 29 cm

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Tomoko KONOIKE (Japanese, b. 1960)

Illustration from Kobiki 2006 Mixed media onto print 101 x 71.5 cm Signed on the reverse Tomoko Konoike in English and dated 2006

NT$ 160,000-260,000 US$ 5,000-8,100 HK$ 39,000-63,000

鴻池朋子狐媚記之插繪 2006 綜合媒材繪於版畫上 101 x 71.5 cm 簽名畫背：2006 Tomoko Konoike

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Lyntalo TORII (Japanese, b. 1966)

Gift from Girl 2005 Oil on wooden board 60.5 x 45 cm Titled on the reverse "Gift from Girl" in Japanese, Lyntalo Torii in Han character and English, dated 2005

NT$ 160,000-220,000 US$ 5,000-6,900 HK$ 39,000-54,000

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鳥井林太朗女孩的贈禮 2005 油彩木板 60.5 x 45 cm 簽名畫背：“彼女からの贈り物” 鳥井林太朗 Lyntalo TORII 2005

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Yuko IIDA

飯田祐子旅遊地（三聯幅）

(Japanese, b. 1974)

2008 壓克力畫布壓克力板 65 x 142 cm 簽名畫背：旅游地 2008 飯田祐子

Tourist Spot (triptych) 2008 Acrylic on canvas, acrylic board 65 x 142 cm Titled on the reverse Tourist Spot and signed Yuko Lida in Han character, dated 2008

ILLUSTRATED: An Uneasy Journey through Asia, Star Gallery, Beijing, color illustrated, pl. 3

展覽：「亞洲不安之旅」，星空間畫廊，北京，展期自2008年06月01日至2008年06月26日

EXHIBITED: An Uneasy Journey through Asia, Star Gallery, Beijing, June 1-26, 2008

NT$ 240,000-340,000 US$ 7,500-10,600 HK$ 59,000-83,000

圖錄：《亞洲不安之旅》，星空間畫廊，北京，彩色圖版，圖版3

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Daisuke SAMEJIMA (Japanese, b. 1979)

Flat Ball (in 2 parts) Acrylic on plastic ball Dia. 17 cm each (x2) Signed SAME in English

NT$ 160,000-260,000 US$ 5,000-8,100 HK$ 39,000-63,000

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鮫島大輔扁平的球（兩件）壓克力塑膠球直徑：17 cm (x2) 簽名：SAME

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Jun HASEGAWA (Japanese, b. 1969)

Man with Tea 1996 Gloss paint on MDF board 50(W) x 2(D) x 56(L) cm

NT$ 260,000-400,000 US$ 8,100-12,500 HK$ 63,000-98,000

長谷川淳品茗者 1996 亮光漆木板 50(寬) x 2(厚) x 56(高) cm

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Hiroyuki MATSUURA (Japanese, b. 1964)

Yellow 2004 Acrylic on canvas, paper 40 x 30 cm 22 x 22 cm (center image) Signed on the reverse Hiroyuki Matsuura in English and dated 2004.3.14 EXHIBITED: Fiction. Love, Museum of Contemporary Art, Taipei, August 21- October 31, 2004 Hiroyuki Matsuura, Eslite Gallery, Taipei, April 7-29, 2007 ILLUSTRATED: Fiction. Love, Museum of Contemporary Art, Taipei, 2004, color illustrated, p. 198 2007 Hiroyuki Matsuura, Tokyo Gallery, Tokyo, 2007, color illustrated, p. 23

NT$ 500,000-700,000 US$ 15,600-21,900 HK$ 122,000-171,000

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松浦浩之黃色 2004 壓克力畫布紙本 40 x 30 cm 22 x 22 cm（中間小圖）簽名畫背：Hiroyuki Matsuura 2004.3.14 展覽：「虛擬的愛─當代新異術」，台北當代藝術館，台北，展期自2004年8月21日至10月 31日「松浦浩之個展」，誠品畫廊，台北，展期2007年4月7日至29日圖錄：「虛擬的愛─當代新異術」，台北當代藝術館，台北，2004，彩色圖版，頁198 「松浦浩之2007」，東京畫廊，東京， 2007，彩色圖版，頁23

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YANG Mao-lin (b. 1953)

Female Panda Deva- γ Rides on Flaming Smilodon 2005 Bronze with gold foil, edition no. 5/6 38(L) x 60(W) x 106(H) cm Signed Yang Mao-lin in Chinese and dated 2005, numbered 5/6 This sculpture is to be sold with a certificate of authenticity issued by Lin & Keng Gallery, Taipei. ILLUSTRATED: Canonization of the Golds-the Pure Land of Maha, Lin & Keng Gallery, Taipei, 2006, color illustrated, pp. 26-27

NT$ 750,000-950,000 US$ 23,400-29,700 HK$ 183,000-232,000

楊茂林騎焰火劍齒狼的熊貓女天王─嘎嗎 2005 銅雕金箔 5/6 38(長) x 60(寬) x 106(高) cm 簽名底座：5/6 2005 楊茂林附大未來開立之原作保證書圖錄：《封神演義．摩柯．極樂世界》，大未來畫廊，台北，2006，彩色圖版，頁26-27

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SHI Lei (b. 1980)

Reincarnation - Dog 2007 Bronze, edtion no. 1/8 85(L) x 28(W) x 65(H) cm Signed Shi Lei in Chinese, dated 2007 and numbered 1/8 ILLUSTRATED: Shi Lei, Kwai Fung Art Publishing House, Hong Kong, 2007, color illustrated, p. 105 & p. 146

NT$ 450,000-550,000 US$ 14,100-17,200 HK$ 110,000-134,000

石磊小投胎─狗 2007 銅雕 1/8 85(長) x 28(寬) x 65(高) cm 簽名：1/8 2007 石磊圖錄：《石磊》，季豐美術出版社，香港， 2007，彩色圖版，頁105及頁146

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CHIU Ya-tsai (b. 1949)

Philosopher Oil on canvas 130 x 97 cm Signed lower right Chiu Ya-tsai in Chinese

NT$ 650,000-850,000 US$ 20,300-26,600 HK$ 159,000-207,000

邱亞才哲學家油彩畫布 130 x 97 cm 簽名右下：邱亞才

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CHIU Ya-tsai (b. 1949)

Lady Oil on canvas 130 x 97 cm Signed lower right Chiu Ya-tsai in Chinese

NT$ 650,000-850,000 US$ 20,300-26,600 HK$ 159,000-207,000

邱亞才女子油彩畫布 130 x 97 cm 簽名右下：邱亞才

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YANG Ren-ming (b. 1962)

Great Corona-Corona during the Hunting 1996 Oil on canvas 160 x 160 cm

NT$ 850,000-950,000 US$ 26,600-29,700 HK$ 207,000-232,000

楊仁明大光環─狩獵中的光環 1996 油彩畫布 160 x 160 cm

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TSONG Pu (b. 1947)

Look at Me (diptych) 1997 Oil on canvas 193 x 260 cm EXHIBITED: Geometry-Abstract-Poetry, Taipei Fine Arts Museum, Taipei, Aug. 14-Oct. 10, 2004

NT$ 650,000-850,000 US$ 20,300-26,600 HK$ 159,000-207,000

莊普看我．看我（雙聯幅） 1997 油彩畫布 193 x 260 cm 展覽：「幾何．抽象．詩情」，台北市立美術館，台北，展期自2004年8月14日至10月 10日

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HUANG Mingchun (b. 1971)

Bruce Lee 2007 Oil on canvas 116.5 x 92 cm Signed lower right HUANG MINGCHUN in English, Fish in Chinese, dated '07

NT$ 350,000-450,000 US$ 10,900-14,100 HK$ 85,000-110,000

黃敏俊單挑 2007 油彩畫布 116.5 x 92 cm 簽名右下：HUANG MINGCHUN 魚 '07

黃敏俊多年來專注於繪畫中的光色探索，他突破既有的印象派色彩理論，以橘紅、黃色與翠綠為繪畫的色彩主軸，配合充滿速度感的筆觸，建構出充滿光明與生命能量的獨特風格。顏色來自於物質的物理特性，然而我們雙眼所見的卻是光色。於是，同一件物品在不同的光線下會顯現出不同的顏色，甚至距離的遠近，或空氣中不同的物質，都能改變我們看見的色彩。黃敏俊認為，以光色原理安排繪畫中的色彩，將比從顏料的角度調合色彩要來得更接近自然光。例如以橘紅、翠綠加上暗色所調出的藍色作畫，比直接使用藍色顏料作畫顯得更有層次感，更接近我們在自然中所見的藍色。黃敏俊即依此建立了不以藍色顏料作畫的理論基礎，而以橘紅、黃色與翠綠為繪畫的色彩主軸，形成一種充滿光明與生命能量的獨特風格。新的「二十四號—光靈魂之功夫」系列中，黃敏俊以功夫為主角，由宏觀的角度反映世界變化。1970年代，李小龍的功夫電影風靡全世界，中國功夫的魅力藉由他傳到了歐美，這股風潮的影響力已經跨越電影娛樂的範疇，成功地征服西方普羅大眾的心，被神化的中國功夫儼然成為西方大眾文化裡中國的代表。這系列創作，以功夫作為華人世界的象徵，藉重功夫的英勇特質與超乎尋常的動作，來說明世界局勢的轉變，暗喻華人將以異於以往的姿態興起，影響人類價值觀的發展。《單挑》延續黃敏俊獨特的用色與充滿速度感的筆觸，展現敏捷的武打動作。畫中李小龍身體不動如山，拳頭及臂膀卻快速舞動，在

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冷靜中呈現快、狠、準的力與美，以當代的眼光詮釋功夫的出神入化與凜然正氣。 For years Huang Mingchun has been working on the colors of light and tried to apply his discovery on painting. He found green, red and yellow are the main color components of light, while blue is not essential in the composing of light and can be created on the canvas by mixing green and red (sometimes with yellow or white) instead of using blue pigment directly. The resulting blue is more vivid and closer to what we see in nature. Huang Mingchun’s ‘Kung Fu’ series reflects the power contest between nations in a broader view. Back in the 1970’s, Bruce Lee won hearts from both Eastern and Western audiences through his kung fu movies. The apotheosized Bruce Lee and his kung fu became one of the most impressive images of Chinese culture ever since. In “One on One”, the artist takes kung fu as a metaphor of the Chinese community. Huang Mingchun used his distinct color system and swift brush strokes to present Bruce Lee engaging in a fight. Bruce Lee’s body and eyes show his calmness, while his hands and arms are moving so fast that we can hardly tell the move. With unexpected and swift kung fu gestures, the painting implies that the Chinese community will become more influential in the world in a way that we have never known.

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CHEN Yi-Lang (b. 1968)

Longten No. 9 2008 Stainless steel, edition no. 8/8 70(L) x 30(W) x 89(H) cm Signed on the base Lang in Chinese, numbered 8/8, dated 2008

NT$ 350,000-450,000 US$ 10,900-14,100 HK$ 85,000-110,000

陳義郎龍騰九號 2008 不鏽鋼 8/8 70(長) x 30(寬) x 89(高) cm 簽名右後：郎 8/8 2008

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REN Zhe (b. 1983)

Warrior on Rearing Horse 2006 Bronze, AP1 75(L) x 70(W) x 83(H) cm Signed RZ in English and AP1

ILLUSTRATED: Ren Zhe-Warriors from the Tang Dynasty, Ping Gallery, Taipei, 2007, color illustrated, p. 25

NT$ 220,000-320,000 US$ 6,900-10,000 HK$ 54,000-78,000

任哲躍馬揚鞭 2006 銅雕 AP1 75(長) x 70(寬) x 83(高) cm 簽名背面：AP1 RZ 圖錄：《任哲：盛唐戰士》，藏新出版社，台北，2007，彩色圖版，頁25

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LI Kuang-yu (b. 1954)

Mudra

1991 Bronze, edition no. 1/10 41(L) x 37(W) x 106(H) cm Signed on the base Kuang yu in Chinese and numbered 1/10 ILLUSTRATED: Lee Kuang-Yu Sculpture, Kuo Mu Sheng Foundation, Taipei, 1999, color illustrated, pp. 78-79

NT$ 400,000-500,000 US$ 12,500-15,600 HK$ 98,000-122,000

李光裕臨風 1991 銅雕 1/10 41(長) x 37(寬) x 106(高) cm 簽名底部：光裕 1/10 圖錄：《境界抒情─李光裕雕塑集》，郭木生文教基金會，台北，1999，彩色圖版，頁78-79

李光裕的雕塑創作從傳統中賦予新意，從東方傳統美學的養分中求取經驗，將禪與道的心性修養融入生活中並與創作相結合。長期的學佛經驗讓他由觀想直覺出發，傾向於發覺自我的正面價值。時間的流逝一直是他牽腸掛肚的事，那就好比處在一條捉摸不定軸線的道路，所以在雕塑中自然呈現出不同心情沉澱下的變化。

his creations. His profound Buddhism experience made him start off from his intuition, prone to discover his own positive values. To him, the passing of time is like a road stretched to an unknown destination, and it has always been his major concern in life, that’s why his sculptures reflect the changes of his different moods.

他認為雖然以歐美為主體的當代藝術主導著藝術潮流的發展，但若藝術市場過度被人為所操控，反而容易流於物質取向，忽略了精神本質，切斷了傳統文化價值與純樸美感，這是處於先天失落與斷層的時代。他覺得自己是一位宿命論者，就像鐘擺的左右搖晃始終不得安定。幸好在藝術創作的過程裡，讓自己擁有磨練反省的機會，對他而言禪學中強調的「空與有」的經驗，它們彼此間相生相惜的互動，將這種精神運用到雕塑創作上，不啻真實體驗了精神也是實踐人生哲理和生活相吻合。通過身、語、意的宗教修行與創作互動，突破困境超越自我。

Though he thinks that Western contemporary art dominates how the trend of art goes, but if the market is being over-controlled by people, the focus might shift from spirit essences to objects, and eliminate the traditional cultural values and primitive aesthetics of art in such a lost and fragmented era. He thinks that he’s a believer of fatalism, he’s like a pendulum that never rests. Thanks to the art creation process, giving him a chance to steel himself and make a self-examination. He utilizes the “empty and full”, the concept emphasized in Zen, and their complementary relationship into his sculptures, experienced spiritually, and puts the philosophy of life into practice. He interacts with his works through the Buddhist practice of body, language and meaning, and further surpasses himself.

李光裕的雕塑作品凝聚著藝術家創作情感投射的溫度與厚度，作品《臨風》表達出如玉女穿梭般輕盈的創作，透過手的姿態傳遞出慈愛與關懷，更反映眾生的內心世界冥想情懷，手經由變形拉長拆解的過程後並未因此而與我們疏遠距離，相反的由其中透露出樸實的本心讓觀者感動，這正是李光裕沉潛中的靜觀美學。

L e e K u a n g - y u ’s s c u l p t u r e s b r i n g o u t innovations from tradition, his experiences derived from traditional eastern aesthetics; he brought the essences from Zen and Tao into his life and further merges them with

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Lee Kuang-yu’s sculptures carry the warmth and heat from the artist’s emotions, the work “Mudra” is like a fine shaped fair lady who delivers affectionate love and caring through the gesture of her hands, it even reflects meditations of all human beings, the lengthened, transformed and deconstructed hands don’t keep us at a distance, on the contrary, they reveal a sober feeling that touches the viewers deep within, and this is Lee Kuang-yu’s aesthetic of meditation.

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YIN Kun (b. 1969)

Hero Series 2008 Fiberglass, edition no. 1/8 37(L) x 26(W) x 68(H) cm (left) 57(L) x 46(W) x 65(H) cm (right) Signed on the base Yin Kun in Chinese and dated 2003, numbered 1/8 (x2)

NT$ 350,000-500,000 US$ 10,900-15,600 HK$ 85,000-122,000

尹坤英雄系列 2008 玻璃纖維 1/8 37(長) x 26(寬) x 68(高) cm (左) 57(長) x 46(寬) x 65(高) cm (右) 簽名底座：尹坤 2003 1/8 (x2)

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MA Liang

(Maleonn, b. 1972)

Circus Series - Dream of a Clown 2004 Digital print on photographic paper, edition no. 2/6 80 x 120 cm

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EXHIBITED: Advance Art Center, Shanghai, China, August, 2005 Craig Scott Gallery, Toronto, Canada, March, 2006

NT$ 90,000-180,000 US$ 2,800-5,600 HK$ 22,000-44,000

馬良馬戲系列－小丑的夢 2004 數位輸出相紙 2/6 80 x 120 cm 展覽：先進畫廊，上海，2005年8月，史雷格．史考特畫廊，多倫多，加拿大，2006年3日

馬六明

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MA Liuming (b. 1969)

Fen - Ma Liuming in Münich 1999 Type-C print edition no. 9/20 120 x 240 cm Signed lower right Ma Liuming in Chinese and English, edition number 9/20 and dated 1999

芬：馬六明在慕尼黑 ILLUSTRATED: Ma Liuming, Xin-Dong Cheng Publishing House, Beijing, 2005, color illustrated, pp. 38-39 Ma Liuming: Performances, Paintings, Sculptures, Damiani Editore, Bologna, 2007, color illustrated, pp. 90-91

NT$ 240,000-380,000 US$ 7,500-11,900 HK$ 59,000-93,000

1999 數位輸出相紙 9/20 120 x 240 cm 簽名右下：9/20 馬六明 Ma Liuming 1999 圖錄：《馬六明》，程昕東出版公司，北京， 2005，彩色圖版，頁38-39 《馬六明：行為藝術、繪畫、雕塑》，達彌雅尼出版社，波隆那，2007，彩色圖版，頁90-91

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MIAO Xiaochun (b. 1964)

The Last Judgement in CyberspaceThe Front View 2006 Type-C print, edition no. 3/9 197 x 170 cm (image) 211 x 182 cm (photographic paper) Titled The Last Judgement in CyberspaceThe Front View in English and Chinese, signed MIAO XIAOCHUN in English and Chinese, numbered 3/9 and dated 2006

NT$ 500,000-600,000 US$ 15,600-18,800 HK$ 122,000-146,000

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繆曉春虛擬最後審判－正視圖 2006 數位輸出相紙 3/9 197 x 170 cm (影像) 211 x 182 cm (相紙) 簽名：3/9 The Last Judgement in CyberspaceThe Front View 虛擬最後審判—正視圖 MIAO XIAOCHUN 曉春 2006

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MIAO Xiaochun (b. 1964)

The Last Judgement in CyberspaceThe Rear View 2006 Type-C print, edition no. 3/9 197 x 170 cm (image) 218 x 182 cm (photographic paper) Titled The Last Judgement in CyberspaceThe rear View in English and Chinese, signed MIAO XIAOCHUN in English and Chinese, numbered 3/9 and dated 2006

NT$ 500,000-600,000 US$ 15,600-18,800 HK$ 122,000-146,000

繆曉春虛擬最後審判－後視圖 2006 數位輸出相紙 3/9 197 x 170 cm (影像) 211 x 182 cm (相紙) 簽名：3/9 The Last Judgement in CyberspaceT h e r e a r v i e w 虛擬最後審判—後視圖 MIAO XIAOCHUN 曉春 2006

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CANG Xin (b. 1967)

Man and Sky as One Ring of Fire 2007 Type-C print, edition no. 8/10 75 x 150 cm Signed lower right CANG Xin in Chinese and English, numbered 8/10

NT$ 220,000-320,000 US$ 6,900-10,000 HK$ 54,000-78,000

蒼鑫天人合一 2007 數位輸出相紙 8/10 75 x 150 cm 簽名右下：蒼鑫 Cang Xin 8/10

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KO Si Chi (b. 1929)

Wait for Venus 1979 Dye transfer print on photographic paper, A/P 2 45 x 69 cm Signed lower left A/P 2 Signed lower right Sichi Ko in English, dated '79 Titled on the reverse Wait for Venus and dated 1979 in Chinese, signed Ko Si Chi in Chinese and English, Dye transfer print, printed in U.S., and dated 1979 in Chinese and numbered A.P.#2 ILLUSTRATED: Visual Field of the Heart- Photographic Esthetics of Ko Si Chi, Locus Publishing Co., Taipei, 2006, color illustrated, p. 61

NT$ 420,000-480,000 US$ 13,100-15,000 HK$ 102,000-117,000

柯錫杰等待維納斯 1979 轉染法相紙 A/P2 45 x 69 cm 簽名左下：A/P 2 簽名右下：Sichi Ko '79 簽名畫背：等待維納斯一九七九年攝於希臘柯錫杰 DYE TRANSFER PRINT PRINTED U.S. Si Chi KO 1979 A.P.#2 圖錄：《心的視界：柯錫杰的攝影美學》，大塊文化出版股份有限公司，台北，2006，彩色圖版，頁61

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HONG Lei (b. 1960)

I Dreamed I Hang up with Mao to Listen to Emperor Hui Zhong Playing a Chin Instrument 2004 Digital print on photographic paper, edition no. 7/10 125 x 100 cm Titled and numbered on the bottom 7/10, I dreamed I hang up with Mao to listen to Emperor Hui Zhong playing a Chin instrument and signed Hong Lei in Chinese, dated 2004 With one seal of the artist ILLUSTRATED: Exhilaration, Aura Gallery, Shanghai, 2005, color illustrated

NT$ 350,000-550,000 US$ 10,900-17,200 HK$ 85,000-134,000

洪磊我夢見我被倒掛著和毛主席一起聽宋徽宗撫琴 2004 數位輸出相紙 7/10 125 x 100 cm 簽名右下：7/10 我夢見我被倒掛著和毛主席一起聽宋徽宗撫琴 2004 洪磊鋼印右下：HONG LEI 圖錄：《欣喜若狂》，亦安藝術，上海，2005，彩色圖版

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CUI Xiuwen (b. 1970)

Angel No. 5 2006 Digital print on photographic paper, edition no. 6/8 100 x 150 cm Signed on the reverse "Angel" No. 5 in English, edition no. 6/8, signed Cui Xiuwen in Chinese and Xiuwen in English, dated 2006.11 in Chinese

NT$ 550,000-650,000 US$ 17,200-20,300 HK$ 134,000-159,000

崔岫聞天使 No. 5 2006 數位輸出相紙 6/8 100 x 150 cm 簽名畫背："A n g e l" N o. 5 6/8 崔岫聞 XIUWEN 2006年11月

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LI Bangyao ( b. 1954)

Fable 2007 Mixed media 38.5(L) x 43(W) x 39(H) cm EXHIBITED: Urban Mirror, Shenzhen Art Museum, Shenzhen, 2008 ILLUSTRATED: Li Bangyao, Hebei Education Press, Shijiazhuang, 2008, color illustrated, pp. 226-227 Urban Mirror, Hebei Art Press, Shijiazhuang, 2008, color illustrated, pp. 34-35

NT$ 400,000-600,000 US$ 12,500-18,800 HK$ 98,000-146,000

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李邦耀寓言 2007 綜合媒材 38.5(長) x 43(寬) x 39(高) cm 展覽：「都市鏡像─當代藝術邀請展」，深圳美術館，深圳，2008 圖錄：《李邦耀》，河北美術出版社，石家庄， 2008，彩色圖版，頁226-227 《都市鏡像─當代藝術邀請展》，河北美術出版社，石家莊，2008，彩色圖版，頁34-35

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HUANG Po-Ren (b. 1970)

Dog's Note - Friends 2008 Bronze, edition no. 11/12 33(L) x 46(W) x 54(H) cm Signed PR in English and dated 2008, edition no. 11/12 EXHIBITED: Huang Po-ren, Art Taipei, Taipei, 2008 Huang Po-ren, Shanghai Art Fair, Shanghai, 2008 Huang Po-ren, Ming Art Gallery, Beijing, 2008

NT$ 350,000-450,000 US$ 10,900-14,100 HK$ 85,000-110,000

黃柏仁狗札記—世界那麼大 2008 銅雕 11/12 33(長) x 46(寬) x 54(高) cm 簽名：2008, PR 12-11 展覽：「黃柏仁個展」，台北國際藝術博覽會，台北，2008 「黃柏仁個展」，上海國際藝術博覽會，上海，2008 「黃柏仁個展」，旻谷畫廊，北京，2008

黃柏仁的雕塑媒材多元，包括木頭、鐵材、甚至單車零件都是他創作的材料，早期的鐵雕作品《神射手》曾被編入台灣高中美術課本裡，近期則專注於「狗札記」銅雕系列之創作，以俗稱台灣高山犬的台灣土狗為主角，其中《快樂時光》一作以乘風飛翔的飛行狗傳達自由單純的快樂，在2006年由國立台灣美術館購藏。2008 年，狗兒有了一位新朋友—熊貓，作品呈現了更為豐富的互動語彙。「狗札記」系列作品呈現動物單純直率的面貌之外，也以動物擬人，暗喻人性百態，幽默的手法總引人莞爾一笑。黃柏仁以簡潔的塊面、俐落的線條，形塑出《世界那麼大》裡互相握手的狗兒與熊貓。胖胖的熊貓一臉憨厚福氣，微彎著腰與個頭小上一大截的狗兒握手，非常和善可親，而個頭較小的狗兒也不甘示弱地墊起腳尖，抬頭挺胸迎向熊貓，模樣甚是驕傲有個性。牠們造型簡潔卻不失動物直率單純的神韻，厚實的體形，散發出一種穩定人心的氛圍。《世界那麼大》裡的土狗與熊貓，很容易讓人聯想到台灣與中國，牠們友善的互動，或許正反應出藝術家內心的期望。無論是撫慰人心的情感交流，或是剖析人性的弱點與慾求，甚或回應國際局勢的有感而發，黃柏仁的作品總蘊含著正向的能量。黃柏仁的雕塑以厚實承載情感，對世態的針貶總帶著一絲幽默，像是一種善意的提醒，提醒人們在節奏快速的現代生活中，偶而放慢腳步檢視一下自我與周遭，重拾單純直率的心境，或許，這是面對詭譎多變的世局，最好的態度。

Huang Poren uses various media including wood, iron, even parts from bicycles to create fine sculptures. His iron sculpture, “The Archer”, was included in the Art text

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book for senior high schools in Taiwan. He has been concentrating on creating a series of bronze sculptures called Dog’s Note in the past few years. Huang Poren takes the Formosan Mountain Dog (commonly referred to as Formosan, a breed of dog indigenous to Taiwan) as the original model for his sculpture. One sculpture from this series, “Happy Time”, expressing the simple joy of freedom was purchased by the National Taiwan Museum of Fine Arts for the museum’s collection. In the newest works, Huang Poren introduces a new friend, the blissful panda, and adds richer meaning to the series. The dog and the panda might be taken to represent Taiwan and China respectively, and their interaction in the sculpture could be the artist’s wish for the future Huang Poren is adept at reducing complex form into pithy shapes with clean lines while retaining the spirit of the object. The animals in Huang Poren’s sculptures show different emotions and characters, and sometimes imply various sides of human nature. The panda and dog in “Friends” are shaking hands friendly. The panda bends himself for the smaller dog, while the dog standing on tiptoe, raising his head and chest to reach out to the panda. Like the other bronze sculptures by Huang Poren, “Friends” has a clean and bold form, which creates a calm atmosphere while touching the viewer’s heart. Whether reflecting human nature or the international situation, Huang Poren’s sculptures always have a touch of warm humor within the sometimes serious subject matter. His works are like kind warnings that remind people to take a break from this busy life to regain a pure mind. This might be the best attitude to face the ever-changing world.

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LIN Chien-Jung (b. 1970)

Zzz III Nods 2008 Fiberglass, mixed media, edition no. 1/10 40(L) x 45(W) x 70(H) cm Signed on left foot Lin Chien-Jung in Chinese, dated '08 and numbered 1/10

NT$ 140,000-220,000 US$ 4,400-6,900 HK$ 34,000-54,000

林建榮 Zzz III 點頭 2008 玻璃纖維綜合媒材 1/10 40(長) x 45(寬) x 70(高) cm 簽名左腳：林建榮 '08 1/10

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PENG Kuan-jun (b. 1961)

Listen to Spring 2005 Bronze, edition no. 4/6 65(L) x 40(W) x 115(H) cm Signed KUAN JUN in English and dated 2005, numbered 4/6

NT$ 350,000-500,000 US$ 10,900-15,600 HK$ 85,000-122,000

彭光均聽春 2005 銅雕 4/6 65(長) x 40(寬) x 115(高) cm 簽名：2005 KUAN JUN 4/6

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ZHANG Hui (b. 1969)

Beijing Baby 21 2006 Oil on canvas 100 x 81 cm Signed lower right ZHH in English and dated 2006 Titled on the reverse Beijing Baby 21 in Chinese, signed ZHANG Hui in Chinese and English, dated 2006.3.26

NT$ 160,000-280,000 US$ 5,000-8,800 HK$ 39,000-68,000

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張慧北京娃娃 21 2006 油彩畫布 100 x 81 cm 簽名右下：ZHH. 2006. 簽名畫背：2006.3.26 北京娃娃 21 張慧 ZHH. 2006.

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XIONG Yu (b. 1975)

Lady under the Curtain 2007 oil on canvas 200 x 100 cm Signed lower right Xiong Yu in Chinese and dated 2007. 7 EXHIBITED: ARCO '08, Madrid, 2008

NT$ 600,000-800,000 US$ 18,800-25,000 HK$ 146,000-195,000

熊宇捲幕下的女子 2007 油彩畫布 200 x 100 cm 簽名右下：熊宇 2007. 7 展覽：「2008西班牙馬德里現代藝術博覽會」，馬德里，2008

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YIN Qi (b. 1962)

Indoors 2004 Oil on canvas 130 x 97 cm Titled on the reverse Indoors in Chinese and signed Yin Qi in Chinese and English, dated 2004

NT$ 400,000-600,000 US$ 12,500-18,800 HK$ 98,000-146,000

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尹齊室內 2004 油彩畫布 130 x 97 cm 簽名畫背：室內 2004 尹齊 YIN QI

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SHI Lei (b. 1980)

Where to Stay 2004 Oil on canvas 159 x 178 cm Signed lower right SHI Lei in Chinese and dated 2004

ILLUSTRATED: Lu Hong, China Avant-garde Art 1979~2004, Hebei Education Press, Shijiazhuang, 2006, color illustrated, p. 415 Shi Lei, Kwai Fung Art Publishing House, Hong Kong, 2007, color illustrated, p. 111 & p. 147

NT$ 500,000-600,000 US$ 15,600-18,800 HK$ 122,000-146,000

棲身何處 2004 油彩畫布 159 x 178 cm 簽名右下：石磊 2004 圖錄：魯虹著，《越界先鋒藝術(1979-2004)》，河北美術出版社，石家莊，2006，彩色圖版，頁415 《石磊》，季豐美術出版社，香港， 2007，彩色圖版，頁111與頁147

339

LIN Jun Hui (b. 1966)

24 Solar Terms No. 6

1999-2003 Oil on canvas 190 x 110 cm Signed on the reverse Lin Jun Hui in Chinese and dated 1999-2003, titled No:6

NT$ 400,000-500,000 US$ 12,500-15,600 HK$ 98,000-122,000

林俊慧二十四節氣 No. 6 1999-2003 油彩畫布 190 x 110 cm 簽名畫背：1999-2003 No: 6 林俊慧

林俊慧的作品相當高雅、層次分明、筆觸靈動，取法自然，在作品上自由揮灑出瑰麗的色彩，這不僅只是畫家面對自然無窮造化下最直接的反應動作，也是畫家藉由個人對周遭萬物的體會與美感的要求，大自然中一草一木；人世間的悲歡離合種種情緒的反射，林俊慧透過畫筆傳遞出屬於自己的境界抒情。林俊慧曾自述：「音樂如果只是單純的悅耳，而背後並無特別的深刻內涵；繪畫如果只是表象的美，內在並無生命的歷練，不能有足夠的力量去吸引群眾的喜愛。感官上的愉悅與快樂是很容易遭人遺忘的，然而藝術的完成，再於人性極致的超越，過程中也許有痛苦、挫折及煎熬，但這一切都將豐富我的繪畫。」

Lin Jun-hui’s works are elegant, with rich and distinctive layers, vibrant brush strokes

266

and influenced by nature, beautiful colors were splashed onto the canvas; it is a natural reflection of the artist when he’s facing nature directly, it is also the artist’s understanding of all things around as well as a demand for the aesthetic, Through his paint brushes, Lin paints a reflection of nature, the sorrows of parting and the joys of union experienced in life, and expresses his own emotions. He once said: “If music simply sounds good to the ears, without any implied stories or meanings; if a painting simply looks beautiful to the eyes, without any practice and experience in life, it doesn’t have enough strength to attract the audience. Sensational pleasures are often forgotten easily, however the birth of art, is about transcendence of humanity, pain, frustration, and suffering might come along during the process, but all of them enrich my paintings.”

340

QI Haiping (b. 1957)

Painting of Dense Mist No. 45

祁海平

2006 Oil on canvas 120 x 100 cm Signed lower right Hai-ping in Chinese and dated 2006.11

2006 油彩畫布 120 x 100 cm 簽名右下：海平 2006.11

EXHIBITED: Resonance of Black and White–Abstract Art of Qi Haiping, 5000 Years Fine Art Gallery, Shanghai, 2007 ILLUSTRATED: 5000 Years Fine Art Gallery-2007 Collection, 5000 Years Fine Art Gallery, Kaohsiung, 2007, color illustrated, p. 44 Artist Magazine, Issue December 2007, No. 391, Retrospective of Chinese Contemporary Art of the 1980s, Special Issue, cover & p. 6

NT$ 550,000-650,000 US$ 17,200-20,300 HK$ 134,000-159,000

268

氤氳圖 No. 45

展覽：「黑白交響—祁海平抽象藝術展」，五千年藝術空間，上海，2007 圖錄：《五千年藝術空間─2007選集》，五千年藝術空間，高雄，2007，彩色圖版，頁44 《藝術家雜誌》，2007年12月 No. 391，回顧80年代中國當代藝術，特刊封面及頁6

2 0 0 5年以後，我從《易經》裡的「天地氤氳，萬物化醇」獲得啟發，創作「氤氳圖」系列作品。「氤氳」指宇宙實體「氣」的運動狀態，萬物互相作用而變化生長之意。這些作品由人類情感的表達進入天地本源之一氣，以濃重的油畫筆墨表現天地形成之始和萬物生長之初的狀態，如老子所云：「游心於物之初」。通過黑

白符號的沉浮、升降、動靜、勝負、屈伸，暗喻了事物的矛盾對立、交錯融合的局面。祁海平 2007年9月

After 2005, I got enlightenment from the Book of Changes, “There is an intermingling of the genial influences of heaven and earth, and transformation in its various forms abundantly proceeds. Thus, I created the series of Dense Mist, which indicates the moving state of “qi” in the universe and everything growing through mutual interaction. These works turn from the expression of human emotion to qi, one of the origins of heaven and earth, presenting the status of the beginning of heaven and earth’s formation and everything’s growth with the thick brushwork of oil painting, like as Lao Tzu said, “The soul goes around at the beginning of everything’s growth.” Through the black and white symbols’ sinking, floating, rising, falling, moving, resting, winning, losing, bending, stretching, it implies the situation of opposition and integration among all the things." Qi Haiping, September, 2007

340

341

XIONG Yu (b. 1975)

Unending Current 2007 Oil on canvas 150 x 200 cm Signed lower right XIONG Yu in Chinese and dated 2007 This painting is to be sold with a certificate of authenticity issued by Chinablue Gallery, Beijing

NT$ 850,000-1,400,000 US$ 26,600-43,800 HK$ 207,000-341,000

熊宇無盡的流水 2007 油彩畫布 150 x 200 cm 簽名右下：熊宇 2007 附環碧堂畫廊開立之原作保證書

270

341

272

342

GAO Yu (b. 1981)

Arrogant Ballonfish I 2004 Acrylic on canvas 120 x 140 cm Signed lower right GAO Yu for GG and dated 2004 Signed on the reverse Gao Yu in Chinese and dated 2004, media acrylic on canvas, size 140 x 120 cm EXHIBITED: Next Station: Cartoon?, Star Gallery, Beijing, April 1-12, 2005 ILLUSTRATED: Next Station: Cartoon?, Star Gallery, Beijing, 2005, color illustrated

NT$ 750,000-1,200,000 US$ 23,400-37,500 HK$ 183,000-293,000

高瑀妄河豚 I 2004 壓克力畫布 120 x 140 cm 簽名右下：高瑀 for GG 2004 簽名畫背：布面丙烯 140 x 120 cm 高瑀作品 2004《妄河豚1》展覽：「下一站：卡通嗎？﹣七零後的藝術」，星空間畫廊，北京，2005年4月1日至4月 12日圖錄：《下一站：卡通嗎？﹣七零後的藝術》，星空間畫廊，北京，2005，彩色圖版

343

CHEN Ke (b. 1978)

A Comb 2003 Oil on canvas 100 x 100 cm Signed lower right Ke in Chinese and dated 2003 Titled on the reverse A Comb in Chinese, size 100 x 100 cm, media oil on canvas, CHEN Ke in Chinese and dated 2003 EXHIBITED: Next Station: Cartoon?, Star Gallery, Beijing, April 1-12, 2005 ILLUSTRATED: Next Station: Cartoon?, Star Gallery, Beijing, 2005, color illustrated

NT$ 950,000-1,200,000 US$ 29,700-37,500 HK$ 232,000-293,000

陳可梳子 2003 油彩畫布 100 x 100 cm 簽名右下：可 2003 簽名畫背：《梳子》100 x 100 cm 布面油畫陳可 2003 展覽：「下一站：卡通嗎？﹣七零後的藝術」，星空間畫廊，北京，2005年4月1日至4月 12日圖錄：《下一站：卡通嗎？﹣七零後的藝術》，星空間畫廊，北京，2005，彩色圖版

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344

WEI Jia (b. 1975)

Say Goodbye V 2007 Acrylic on canvas 220 x 220 cm Signed lower left WEI Jia in Chinese and dated 07' Titled on the Reverse Say goodgye V in English, size 220 x 220 cm, media acrylic on canvas, WEI Jia in Chinese and dated 07'

NT$ 1,200,000-2,000,000 US$ 37,500-62,500 HK$ 293,000-488,000

韋嘉說再見 5 2007 壓克力畫布 220 x 220 cm 簽名左下：韋嘉 07' 簽名畫背：《Say goodbye V》220 x 220 cm 布面丙烯韋嘉 07'

276

345

WU Mingzhong (b. 1963)

Be Careful, Baby No. 3 2006 Acrylic on canvas 300 x 200 cm Signed lower left Mingzhong in Chinese and dated 2006 Titled on the reverse Be Careful, Baby No. 3 in Chinese, size 200 x 300 cm, media oil on canvas, WU Mingzhong in Chinese and dated 2006 ILLUSTRATED: Wu Mingzhong, Xin Dong Chen Publishing House, Beijing, 2007, color illustrated, p. 37

NT$ 2,300,000-3,400,000 US$ 71,900-106,300 HK$ 561,000-829,000

武明中寶貝，小心！之三 2006 壓克力畫布 300 x 200 cm 簽名左下：明中. 2006. 簽名畫背：寶貝，小心！之三 200 x 300 cm 布上丙烯 2006 武明中圖錄：《武明中》，程昕東出版公司，北京， 2007，彩色圖版，頁37

278

346

GAO Yu (b. 1981)

Five Elements Mountain 2007 Painted fiberglass, edition no. 4/5 182(L) x 61(W) x 54(H) cm EXHIBITED: Five Elements Mountain, Mook Gallery Beijing, Oct. 20-Nov. 15, 2007

NT$ 550,000-700,000 US$ 17,200-21,900 HK$ 134,000-171,000

高瑀五行山 2007 玻璃纖維著色 4/5 182(長) x 61(寬) x 54(高) cm 展覽：「五行山—高瑀個展」，墨畫廊，北京，展期自2007年10月20日至11月15日

280

347

YIN Kun (b. 1969)

Hero Series - Lei Feng 2006 Oil on canvas 180 x 150 cm Signed lower right Yin Kun in Chinese and dated 2006

NT$ 650,000-850,000 US$ 20,300-26,600 HK$ 159,000-207,000

尹坤英雄系列－雷鋒 2006 油彩畫布 180 x 150 cm 簽名右下：尹堃 2006

282

Artist Biographies

Lot 201

Lot 202

Lots 203, 206, 211

WANG Wei (b.1942)

LUO Fahui (b. 1961)

LU Hsien-ming (b. 1959)

Born in Chongqing City, Sichuan Province. Wang Wei has a heartfelt emotion for the lotus. He dedicates all his emotions and exploration of art to the lotus pond. After his practice of multiple processing on the picture, he nurtured the concept of Zen in his artworks. He often said that by integrating the spirit of Zen, the unworldliness of Taoism, and the passion of Confucianism, Oriental Art will be able to create a new eternal charm.

Born in Chongqing, China, Luo graduated from the Affiliated High School of the Sichuan Academy of Fine Arts in 1981 and from the Oil Painting Department of the Sichuan Academy of Fine Arts in 1985. From 1990 to 2003, he held several solo exhibitions in Seattle, London, Beijing, Chengdu, Taiwan and Hong Kong. In 2006, he participated in "Imagery of Mt. Wuyi: the Debut Interactive Creation of Chinese vis-à-vis German Artists on International Tours, China and Germany". He also held "Floating DesireLuo Fahui's Oil Painting Exhibition" in the gallery of the Chinese Institute of Fine Arts in Hangzhou.

Born in Taipei in 1959, he graduated from the fine art department of the Culture University. His solo exhibitions include: “Blue Tremble” in Chiaug Ren Gallery, Taipei, 1985; “City Aesthetics” in Taiwan Art Gallery, Taipei, 1993; “Bold Design” in Impressions Art Gallery Part II, Taipei, 1998. Since 1982, he has participated in joint exhibitions frequently, such as, “Pusan Youth Biennial” in 1987, “The Contemporary Art of Taiwan”, Museum of Contemporary Art, Sydney, Australia in 1995, “Taiwan- Present Art”, Ludwig Forum of International Art, Ludwig, Germany in 1996, and “The Odyssey of Art in Taiwan, 19502000” in the National Art Museum of China, Beijing in 2006. Awards: Hsiung-shih Awards for New Artist, first prize, 1981; Taipei Biennial, first prize, 1992; Liao Chih-chun Award, first prize of oil work, 2002.

王煒 (1942年生)

羅發輝 (1961年生)

陸先銘 (1959年生)

生於四川重慶市。王煒對於荷花有著由衷的情感，全心全意的把自己所有的情感和對藝術的認識以及對藝術探索都傾注在了荷塘。他在對畫面的多重處理之後更孕育了作品禪學的思想韻律。他常說在藝術上如果將禪家的空靈、道家的超脫、儒家的熱情和實在相結合，或許能產生東方藝術新的永恆魅力。

生於中國重慶，1981年畢業於四川美術學院附中， 1985年畢業於四川美術學院油畫系。自1990年-2003 年陸續於美國西雅圖、英國倫敦、北京、成都、台灣、香港等地舉辦個人展覽，於今年(2006年)參加「意象武夷—中德兩國藝術家首次面對面互動創作國際巡迴展」（中國、德國），並於杭州中國美術學院美術館舉辦「飄浮的欲望－羅發輝油畫作品展」。

1959年生，1982年畢業於文化大學美術系。1993年任「台北畫派」會長。1985年加入宣言以歷史的再閱讀、美術史的再閱讀、表徵大眾文化價值為目標的藝術團體「台北畫派」。陸先銘的個展為1985年嘉仁畫廊的「藍色驚悸」、1993年台灣畫廊的「都市美學」、1998年的「悍圖」等。從1982年起即經常參與聯展，韓國「中韓現代美術交流展」、日本「第六屆亞洲國際美展」、「1992台北現代美術雙年展」、「台灣美術新風貌」等。得獎經歷：1981 年曾獲第六屆美術新人獎首獎、1992年台北現代美術雙年展首獎及2002年廖繼春油畫創作獎首獎等。

284

藝術家簡歷

Lots 205, 219

Lot 204

Lots 207, 208

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

Alixe FU (b. 1961)

LIEN Chien-hsing (b. 1962)

Born in Taiwan in 1961, he graduated from the Academy of Fine-Arts of Taipei in Taiwan. Since his first individual exhibition in 1983 in Taipei, he has had many individual shows in Taiwan, France, Japan and New York. He has been living and working in France since 1987. In 1991, he was given a studio in Auvers-sur-Oise by the French Ministry of Culture. His solo exhibitions include: 2002, “Vegetable Man, Animal Man I”, Miyabi Gallery, Nagoya (Japan); 2003.“XVI Nagoya Contemporary Art Fair”, Gallery Miyabi, Nagoya, Japan; 2004, “Vegetable Man, Animal Man III” in Blois Chateau and Museum, Blois, France.

Born in 1962 in Keelung, Taiwan. He graduated from the Western Painting Section of the Art Department of the Chinese Cultural University, Taiwan. In 1984, he was selected for the first annual Republic of China Modern Painting Outlook Exhibition. In 1987, he joined the group exhibition of the award-winners of the Shiy De-jinn Award. In 1989, he joined a largescale exhibition of the Taipei Painting Association organized by the Taipei Fine Arts Museum. In 1992, he became the representative artist of Cherng Piin Gallery. Lien Chien-hsing first came to prominence in the 80s with his superb Realistic technique. In the 90s, using different pictures, he has created Realistic works recalling images from his childhood, heavy with personal coloring. His works subtly reveal a feeling of pessimism, combined with a subconscious, mysterious shadow to become a unique kind of "magical realism".

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 a metaphor for social criticism. His work is found in the public collections of the Taipei Fine Arts Museum and the National Taiwan Museum of Fine Arts.

傅慶豊 (1961年生)

連建興 (1962年生)

蘇旺伸 (1956年生)

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

台灣基隆人。中國文化大學美術系西畫組畢業。 1984年獲得第一屆中華民國現代繪畫新展望入選。 1987年席德進繪畫大獎得獎畫家聯展。1989年參加台北市立美術館舉辦之台北畫派大展。1992年起為誠品畫廊代理畫家。連建興在1980年代以超寫實技巧嶄露頭角，1990年代藉不同的既成圖像，並置合成出屬於他個人童年生活記憶幻景的寫實作品，個人色彩濃厚。他的作品畫面中隱隱自然滲出的思愁，融合著潛意識的神秘陰影，反省轉化成獨具一格的「魔幻寫實主義」。

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。

285

Artist Biographies

Lot 210

Lot 212

Paul CHIANG (b. 1942)

KUO Wei-kuo (b. 1960)

CHANG Chih-cheng (b. 1954)

Born in 1942 in Taichung, Taiwan, Chiang graduated from the Fine Arts Department of National Taiwan Normal University in 1965. He lived in Paris in 1967, then moved to and stayed in 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) which have led Chiang to extend his art career from painter to sculpture artist, in which he exhibited his new works of iron sculptures, as results of his ambition in exploring the use of space and developing three dimensional works.

Born in Taipei, Taiwan. Kuo was the winner of the Lion Arts Rookie Prize in 1983, the 8th “Modern Painting Prize of Li Zhong-Sheng Foundation” in 2003, and the “Liao Chi-chun Oil Painting Award” in 2005, and has organized 8 solo exhibitions since 1993. Starting with the “Diagram of Commotion and Desire” in 1998, Kuo has explored his dark dreams in his four chronological exhibitions, “From the Deep Forest 1997-1999, Faint Dawn 2000-2002, Enlightenment 2003-2005”, and “Towards a Bright Start 2006”, by digging out the soul from the depths to re-discover the light of hope. These four chronological series touch audiences when their eyes meet the author’s.

Born in Taipei, he graduated from the National College of Arts (now the National Taiwan University of Arts) Western Painting Department. Enlightened by his mentor Li Shih-chiao, he studied under the guidance of professors Hung Jui-lin and Chen Chingjung. After graduation, Chang taught as an instructor; he also held numerous exhibitions, individually and jointly. He fully translates human figures and still objects onto flat surfaces by using a limited number of colors and elements to form bold yet delicate visual effects.

江賢二 (1942年生)

郭維國 (1960年生)

張志成 (1954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)、紐約拉瑪格納畫廊的個展(1975)、紐約哈里斯畫廊個展(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。

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。

台灣台北人。1978年畢業於國立藝專美術科西畫組，曾受李石樵老師啟蒙，藝專期間，受洪瑞麟，陳景容教授指導，畢業後曾任教職工作，曾多次於國內舉行聯展與個展。作品風格多以人體與靜物為其表現特色，喜以限量的造型元素與色像，在平面上展現出豐厚紮實卻細緻的色彩效果。

Lot 209

286

藝術家簡歷

Lots 213, 215, 224, 243

Lots 214, 244

Lot 216

CHUANG Che (b. 1934)

SHIY De-jinn (1923-1981)

HOU Chun-ming (b. 1963)

Born in Beijing, Chuang's father was a great calligrapher, who was the vice-director of the National Palace Museum in Beijing, Chuang was introduced to art by his father when he was little. He moved to Taiwan in 1948. After graduating from Taiwan National Normal University in 1958, Chuang taught at Tunghai University. He joined the Fifth Moon Group and actively pushed the modernization of Chinese painting. On receiving a scholarship from the Rockefeller Foundation, he left Taiwan and settled in Ann Arbor, Michigan. In 1988, he moved to New York, concentrated on his abstract paintings, and was invited by the Taipei Fine Arts Museum to hold a solo exhibition in 1992. Chuang's works have been exhibited widely and housed by many local and foreign museums and private collectors.

Born in 1923, Sichuan, China. At the age of five, he began learning to draw. In 1948, he graduated from the Hangzhou National College of Art. He carried on from his teacher Lin Fengmian. After graduation, he moved to Taiwan to teach at the provincial Chiayi High School. In 1957, he held his first solo exhibition. In 1962, together with Liao Chi-chun, he accepted an invitation of the U.S. State Department to visit the United States. Afterward, he went to France to study in Paris for three years. After his return to Taiwan, he taught at the Tamkang University architecture department and National Taiwan Normal University. In1975, he won the Chungshan Literary Prize Award. Shiy De-jinn was known for the lyrical mood of his watercolors, at the same time being influenced by Pop Art and Op Art. His favorite subject matter was old-style traditional Taiwan architecture. He traveled all over the villages and counties of Taiwan seeking inspiration. His works richly display Taiwan's folk scenes and customs.

Born in Chiayi in 1963, he graduated from the Department of Fine Arts, National Institute of the Arts in 1987. He created a series of Construction Site Show works in 1985 and held his personal exhibition “Paradise” in 1990. His "World Sacrifice" and other woodcuts were published in 1994. Since 1988, he has held a series of solo exhibitions and was selected to participate in Italy's Venice Biennale on behalf of Taiwan many times. His works are widely collected by local and foreign art museums and individuals.

莊喆 (1934年生)

席德進（1923-1981）

侯俊明 (1963年生)

生於北京，其父親莊嚴為已故名書法家暨前北京故宮博物院副院長，莊自小培養出熱愛中國藝術興趣。1948年遷居台灣，1958年畢業於國立師範大學美術系，加入五月畫會，積極參與中國繪畫現代畫運動。1966年獲美國洛克斐勒基金會的贊助，赴美考察國際當代藝術之發展，後返台任教於東海大學。1973年移居美國密西根州，於1988年遷居紐約，專注於抽象繪畫之創作，1992年應台北市立美術館邀請回國舉辦個展，也曾多次在國際展覽中出現，作品廣為國內外美術館及私人珍藏。

生於四川，五歲開始習畫。1948年畢業於杭州藝專，師承林風眠。畢業後遷台任教於省立嘉義中學。1957年舉辦首次個展。1962年與廖繼春同應美國國務院之邀訪美，之後赴法國巴黎進修三年，回台後任教於淡江大學建築系及師範大學。1975 年獲中山文藝創作獎。席德進以抒情風格的水彩畫著稱，並受到普普，歐普等現代藝術思潮的影響。他最喜歡的題材是老式的傳統台灣建築，曾遍遊台灣各鄉鎮尋找靈感，其畫作充分表現台灣的風土民情。

1963年生於嘉義，1987年畢業於國立藝術學院美術系。1985年創作「工地秀」作品系列，1990年發表個展「極樂圖懺」、1994年發表「世祭圖」等版畫。1988年起陸續舉辦個展及多次入選代表台灣參加義大利威尼斯雙年展。其作品廣為國內外人士、美術館及私人藏家收藏。

287

Artist Biographies

Lot 220 Lot 218

Lot 217

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

HWANG Jyi (b. 1953)

J. C. KUO (KUO Jen-chang b. 1949)

Born in Taiwan. First solo exhibition, Taiwan Provincial Museum: Pursued advance study in Europe and USA, 1976 to 1980. Solo exhibition “The King’s Dream”, National Taiwan Museum of Fine Arts, Taipei; “Nightmare”, Taipei Fine Arts Museum, “Dignified Symbol” 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 Kaoshiung Museum of Fine Arts, 1998. Huang’s 3-D artwork collected by the Museum. Solo Exhibition, “Shanghai-Taipei”, Shanghai Fine Arts Museum, “A Group of Women in East Taipei” 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, 2004. Arario Beijing, 2006, Solo Exhibition, National Art Museum of China, Beijing; 798 Beijing Art Center, Beijing, 2007; “Flower and Hammer”, Main Trend Gallery, Taipei; Commercial spokesperson of Volkswagen Phaeton Series, designed gifts for VW’s new car owners.

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.

Kuo born in Lukuang in 1949, graduated from the Department of Fine Arts, Chinese Culture University in 1973 and learned how to paint at the Li Chun-shan Studio during 1968-73. Sponsored by Asia Foundation, USA during 1974-79, he devoted himself to researching Taiwan folk arts and participated in practical fieldwork. Influenced by Pop Art in the 70’s, he formed an unique personal creative style in the 80’s-the combination of Han-Tang figures and totems or symbols of Chinese folk arts as well as a strong western vocabulary. In the 90’s he expanded to landscape paintings and Chinese classical fairytales. His works are collected by the Taipei Fine Arts Museum, the Kaohsiung Museum of Fine Arts, the National Taiwan Museum of Fine Arts, and the Hara Museum of Contemporary Art, Japan.

黃銘哲 (1948年生)

黃楫 (1953年生)

郭振昌 (1949年生)

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。

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。

1949年生於彰化鹿港，1973年中國文化大學美術系畢業。1968~73年入李仲生畫室習畫。1947~79年間曾獲美國亞洲基金會贊助，投入台灣民俗藝術研究，並實際參與民間田野調查工作。1970年代因受到普普藝術影響，1980年代出現擷取中國漢唐時期人物造型及中國民間藝術圖騰符號結合強烈的西方語彙，形成獨特的個人創作風格。而後1990年代擴大至山水風景及中國古典神話。其作品獲台北市立美術館、高雄市立美術館、國立台灣美術館及日本原美術館等收藏。

288

藝術家簡歷

Lot 223

Lots 221, 222

Lot 225

JAN Chin-shui (ZHAN Jin-shuei, b. 1953)

TU Ke (b. 1916)

LUO Erchun (b. 1929)

Born in Guangxi, he graduated from the National Hangzhou Institute, Department of Oil Painting.Tu has been appointed director of the Shanghai Cultural Affairs Bureau, director of Academic Affairs at the Department of Sculpture in the Shanghai Academy, and director of the China Artist Association. He is a famous oil painter, composer, art educator and the founder of the subtropical color school. Tu has a profound study and attainment in oil and ink paintings, paintings in watercolors, block prints, and bamboo brush paintings.

Born in Xiangxian County, Hunan Province. Accepted by the Suzhou Art College at the age of 16 in 1946. There Luo studied under Yan Wen-liang and his time at the school gave him a solid grounding in art. He graduated in 1951. In 1964 he was transferred to the Department of Oil Painting at the Central Academy of Fine Arts. After the Cultural Revolution he was assigned to the State Council to work on hotel paintings where he met with other artists such as Wu Zuo-ren, Li Ku-chan and Ai Zhong-xin. In 1982 he held a group exhibition at the CAFA and in the same year was assigned to the CAFA Department of Oil Painting’s No.3 Studio. In 1988 he held the “Exhibition of Oil Paintings by Luo” at the Hefner Galleries in New York. The exhibition featured a total of 30 of his oil paintings. In 2004 he was interviewed by the Chinese Language Station of Radio France Internationale. Luo has always insisted on maintaining independence of thought and creativity in art. This was the reason for Wu Guanzhong’s high estimation of his work.

凃克 (1916年生)

羅爾純 (1929年生)

詹金水 (1953年生)

生於廣西，畢業於杭州國立藝專油畫系。曾任上海文化局美術處處長、上海美專教務長兼油畫雕塑系主任、上海書院秘書長、中國美術家協會理事等職。是中國著名油畫家、作曲家、美術教育家、亞熱帶色彩畫派創始人。涂克對油畫、油墨畫、水彩畫、水墨畫、版畫、竹筆畫等都有較深的研究和造詣。

生於湖南省湘鄉縣，1946，十六歲時考入蘇州美專，師從顏文梁先生，在校學習期間給羅爾純打下了深厚的美術基礎，1951畢業。1964年，調往中央美術學院油畫系。文革後，被抽調到國務院畫賓館畫結識了吳作人、李苦禪、艾中信等先生。1982 年，他在中央美院舉辦聯展，同年調入中央美院油畫系第三畫室工作。1983年，《羅爾純畫集》被出版。1988年，在美國紐約赫夫納畫廊舉辦「羅爾純油畫展」，共展出油畫作品30幅。1991年，2000年以及2001年，再次先後出版了羅先生的畫集。2004 年，接受法廣中文台採訪。羅爾純先生對藝術一直堅持獨立的思考與創作，使得吳冠中先生給予了他高度的評價。

台灣苗栗人。專業畫家，擅長油畫。1986年國立藝專美術科畢業。1987年曾獲第十一屆全國油畫展金牌獎，1989年獲教育部文藝創作獎油畫金牌獎。 1997年參加上海舉辦之中國當代藝術大展。出版有四本個人畫集。作品收藏機構有國立藝術學院（今國立台北藝術大學）。

289

Born in Miao-li, Taiwan. Jan Chin-shui graduated from the Fine Arts Department of the National Taiwan Academy of Arts. He was awarded first prize in the 11th National Fine Arts Exhibition in 1987 and the Golden Literature & Art Prize from the Ministry of Education in 1989. Jan participated in an important exhibition of Chinese contemporary art in Shanghai in 1997. He has published four exhibition catalogues and his works can be found in the public collection of the Taipei National Taiwan University of the Arts (today’s Taipei University of the Arts).

Artist Biographies

Lot 226

Lots 227, 228

Lot 229

SZETO Lap (b. 1949)

LI Chaoshi (1893-1971)

ZHANG Hongtu (b. 1943)

Born in Guangzhou, in 1949. Szeto studied fine arts in Guangzhou before emmigrating to France in 1975. After a solo exhibition in Paris, he won awards including the Feneon Prize and later the Grand Prize for Painting granted by the Institute of France. Influenced by Giacometti of the Neo-Figurative School he looked for the “absolute reality” of beings. Szeto was indeed a Chinese artist equipped with both artistic and philosophic notions. His works are collected by Le Centre National d’Art de la Culture, Georges Pompidou as well as various other European museums.

Born in Guangdong, China. One of the first Chinese painters to study Western painting in Europe, Li Chaoshi introduced gouache art to China. He first went to Britain to study in 1911, followed by a stint in France. Li graduated from the L’Ecole Nationale des beaux arts in 1918 and returned to China the next year as a professor in the Shanghai Art Academy, Beiping Art Academy and Hangzhou National Academy of Art. In 1951, Li was appointed professor of the Art Department of Shandong Normal College and Chairman of the Shandong Branch of the Chinese National Artists’ Association. His work can be found in the public collections of the National Art Gallery (Beijing) and overseas art institutions.

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 the conversations between past and present, east and west with his own paint brush. He frees himself boldly from the traditional Chinese and western aesthetics and provides the viewers with a whole new visual experience from an objective perspective.

司徒立 (1949年生)

李超士 (1893-1971)

張宏圖 (1943年生)

廣東廣州市人，1975年赴法，1981年獲義大利盧比欣國際繪畫大獎，2000年獲法蘭西藝術爵士勳章《法國法蘭西學院繪畫大獎桂冠》。受新具象畫派傑克梅第影響至深，在藝術表現中尋找事物「絕對的真實」。是難得兼備藝術哲思與技巧的華人畫家。其作品收藏見於法國國家現代藝術博物館龐畢度文化中心、法國國家當代藝術收藏基金會、法國布倫市博物館、法國巴康丹市博物館、義大利盧比欣博物館等。

廣東梅縣人。中國最早赴歐洲學習西畫的著名畫家之一，是首位將粉彩畫傳入中國的藝術家。1911年赴英國學習，1912年轉入法國學習。1918年畢業於法國巴黎美術學院。1919年回國，並歷任上海美專、國立北平藝專、國立杭州藝專西畫教授。1951 年起任山東師範學院藝術系教授。曾任中國美術家協會山東分會主席。出版有《李超士畫集》。部分作品被中國美術館及海外藝術機構收藏。

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。

290

藝術家簡歷

Lots 232, 240

Lot 230 Lot 231

Yuyu YANG (YANG Ying-feng, 1926-1997)

HONG Ling (b. 1955)

PANG Jiun (b. 1936)

Born in Beijing, China, 1955. Hong Ling graduated from the Fine Arts Department of Beijing Normal College in 1979. In 1985, he entered the Oil Painting Department of the Central Academy of Fine Arts and currently holds the position of associate professor there. His oil paintings have been exhibited in the first and second annual exhibition of “Chinese Oil Paintings” and the “1994 Critics Nomination Exhibitions.” Hong has won many awards for his art. A solo exhibition was held in Hong Kong in 1995. He also participated in the 47th Venice Biennale in 1997. His work is found in the public collection of the National Art Museum of China, Beijing.

Pang graduated from the Beijing Central Art Institute. For the next sixteen years, Pang’s works were widely exhibited in China. He has held solo exhibitions in Hong Kong Art Centre since 1980 and also participated in the Biennial Exhibition of Contemporary Chinese Art in Hong Kong. Pang has also been a strong force in promoting fine arts education and has published books such as “Techniques for Oil Painting.” Pang’s name has been included in several major publications of Who’s Who in the Contemporary Art World. Pang’s works are held in numerous private and museum collections, including the Chinese Art Museum and Chinese History Museum in China, the Museum of Art in Mexico and the Taipei Fine Arts Museum, Taiwan.

Born in I-lan, Taiwan. Yang studied architecture at the Tokyo Art School in Japan, fine arts at Fu Jen University in Beijing, and sculpture at the National Academy of Art in Rome. During 1964-1966, he held exhibitions in major cities in Italy and was awarded the gold metal in painting and a silver medal in sculpture at the Olimpiadi d'Arte e Cultura Abano Terme in 1966. He was also awarded the World Peace Prize for Culture and Arts by the ROC's Literature and Arts Society. In 1991 Yang held a Stainless Steel Sculpture Exhibition in the National Museum of Singapore.

洪凌 (1955年生)

龐均 (1936年生)

楊英風 (1926-1997)

雲南白族人，1955年生於北京。1979年畢業於北京首都師範學院美術系，專長油畫。1985年入中央美術學院油畫系研習班，目前為中央美術學院油畫系副教授。油畫作品曾參加第七屆全國美展、首屆中國油畫展、第一與第二屆中國油畫年展，以及1994 美術批評家年度提名展等展覽，並多次獲獎，1995 年在香港舉辦個人展覽。1997年參加第47屆義大利威尼斯雙年展。作品《秋草》為中國美術館收藏。

畢業於北京中央美術學院。1954-1980年間參加七次全國美術展覽，八次北京美術展覽。80年代起在香港藝術中心舉行個展，及「當代香港藝術雙年展」，深獲好評。龐氏於藝術創作之餘，並積極推廣藝術教育，著作《油畫技法哲學》等。1994年納入大陸出版之《中國當代藝術界名人錄》，次年並列入《英國劍橋世界名人錄》。龐氏作品廣為海內外美術館及私人珍藏，包括：中國美術館、中國歷史博物館、墨西哥博物館、台北市立美術館等。

生於台灣宜蘭縣，曾進修於日本東京美術學校建築系，北平輔仁大學美術系及國立台灣師範大學藝術系，其後又習雕塑於義大利羅馬藝術學院。1964至 1966年間於義大利各大城市舉辦巡迴個展。1966年曾獲義大利奧林匹克繪畫金章獎及雕塑銀章獎。其後又獲頒第二屆世界和平文化藝術大獎。1991年應新加坡之邀作個人展覽。

291

Artist Biographies

Lots 235, 245

Lot 233 Lot 234

DING Fang (b. 1956)

MAO Xuhui (b. 1956)

YANG San-lang (1907-1995)

In 1978, he passed the competitive examination to enter the College of Art & Design, Nanjing University. Graduating in 1982, in 1983 he began studying as a professional oil painting research graduate at the university’s College of Art. His supervisors included Liu Hai-su and Su Tien-tzu. Graduating in 1986, he stayed on at the university as a teacher. Since 2000 he has been serving as the professor of the Graduate Art Institute of Nanjing University, director of the Oil Painting Studio and director of the China Oil Painting Society. In the 1980’s Ding Fang had at one point with his so-called “Great Soul Painting” become an important spokesperson for the 85 Avant-Garde Art. He has held many solo exhibitions and participated in other major domestic and international exhibitions such as the “Modern Chinese Art Exhibition”, “Chinese Avant-Garde Art Exhibition” and the “Los Angeles Biennial Exhibition”.

Born in 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 Taipei,Taiwan. Yang moved to Japan in 1923 where he studied at the school of Fine Arts and Crafts in Kyoto. He was then transferred to the Western Painting Programme in the Kansai Art Academy . He returned to Taiwan in 1927, and founded the Ruddy Island Association together with Ni Chiang-huai and Liao Chi-chun. In 1929, he won the first prize of the Taiwan Exhibition. Yang went to France in 1931 where he studied European paintings in the museums. In the following year, his works were selected for the Autumn Salon in Paris. In 1934, he together with Chen Cheng-po, and Liao Chi-chun established the Taiyang Art Association. Yang had numerous one-man shows and received many awards from important art exhibitions including : “Fifty Years of Studying Art” at the Provincial Museum in 1973 and “Oil Paintings by Yang San-lang” in 1979, and “Retrospective Exhibition of Yang San-lang's Paintings” in 1983 at the National Museum of History. Yang received a special national art award in 1986 for his great contribution to the Taiwanese art world.

丁方 (1956年生)

毛旭輝 (1956年生)

楊三郎（1907-1995）

1978年，考入南京藝術學院工藝美術系，1982年畢業，1983年攻讀該院美術系油畫專業研究生，導師為劉海粟、蘇天賜，於1986年畢業並留校任教，2000年至今任南京大學美術研究院教授、油畫教研室主任及中國油畫學會理事。丁方在八十年代曾以其所謂「大靈魂繪畫」成為「85新潮美術」的重要代表。多次舉辦個展並參加過「中國現代藝術展」、「中國前衛藝術展」、「洛杉磯雙年展」等重要海內外展示活動。

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。

生於台北，1923年赴日本留學，首先進入京都美術工藝學校。後轉入關西美術學院西洋畫科，受嚴格的學院派教育。1927年回台灣，和倪蔣懷、廖繼春創辦「赤島社」。1929年榮獲台灣美術展覽會特選第一名。楊氏於1931年赴法國留學，並潛心研究歐洲諸大博物館所藏名畫，次年他的作品入選法國秋季沙龍。1934年返台，並在教育會館舉行個展，同年秋季與陳澄波、廖繼春等人組成「台陽美術協會」。楊氏舉行過多次個展，並多次在台灣美術展上獲獎。其中比較重要的展覽有1973年和1983年分別在國立歷史博物館舉行的「楊三郎油畫個展」和「楊三郎油畫回顧展」。1995年，國父紀念館舉行「楊三郎近作展」楊氏以其在畫壇上卓越的成就，曾於1986年榮獲國家文藝特別貢獻獎。

292

藝術家簡歷

Lot 237

Lots 251, 252

Lot 236

LIU Kuo-sung (LIU Guosong, b. 1932)

XU Jiang (b. 1955)

CHU Teh-chun (b. 1920)

1955 Born in Fuzhou, Fujian Province. Graduated from the Oil Painting Department of the China Academy of Fine Arts. Attended advanced classes in the Hamburg Art Institute in Germany in 1988. Paintings selected for the 6th National Fine Arts Exhibition, the 1st and 2nd China Oil Painting Exhibition and the Shanghai Biennial Art Exhibition in 1996. Works collected by the China National Art Gallery and other domestic and overseas art institutions.

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

劉國松（1932年生）

許江 (1955年生)

朱德群 (1920年生)

山東青州人，國立台灣師範大學藝術系畢業，為五月畫會創始之一，倡導台灣現代藝術運動不遺餘力。劉國松自14歲開始學習傳統國畫，大學二年級後轉為專心研究西洋近代繪畫及現代藝術理論，27 歲時深感民族性及民族文化傳統之重要，一種使命感與責任心促使他為創建廿世紀中國繪畫的新傳統不遺餘力，給予國畫傳統中的皴法及「筆墨」一種新的意義，並倡導「革筆的命」的理論，這種畫國畫不一定要用筆的見解，當時雖受到批判，但到現在，包括大陸在內的畫家，評論家以及美術史家都已接受此一觀念。劉國松並將此種理論付諸實行，在其個人創作實踐中，創新水墨的皴法和技巧，三十餘年來，已創造了多種不同形式的個人風格。現任東海大學美術系所專任教授。

1955出生於福州。1982年中國美術學院油畫系畢業，1986年中國美術學院油畫系講師，1988年西德漢堡美術學院自由藝術系研修，1992年中國美術學院油畫系副教授、副主任，現任中國美術學院院長，中國美術家協會副主席、浙江省文聯主席、浙江省美協主席。曾應邀參加世紀之門•1997-1999 中國藝術邀請展、二十世紀中國油畫展、巴西聖保羅國際藝術雙年展、日本14屆亞洲國際藝術大展；作為油畫家他多次在德國，美國，香港和台灣舉辦個人展。他的作品應邀參加「聖保羅國際藝術雙年展」以及「首屆亞太地區現代藝術三年展」（澳大利亞昆士蘭）等海內外重要展覽，並獲「魯迅藝術獎」，97中國藝術大展金獎等獎項。同時他參與組織策劃了上海雙年展以及「生活在此時－中國當代藝術」（德國柏林）。

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。

Born in Chinchou, Shandong, he graduated from the National Normal University art department, and initiated the Fifth Moon Group, arduously promoting the Taiwan modern art movement. When he was twenty seven years old, he deeply felt the importance of national characteristics and cultural traditions, he was like a man on a mission, to find for twentieth century Chiniese drawing a new tradition to be spared no effort, and gave brush ink in traditional Chinese paintings a new definition, and promoted the theory of “texture with the brush”. This kind of Chinese traditional painting doesn’t need a pen to be painted, although receiving criticism at the time, at present, including mainland painters, critics as well as art historians, have all accepted this idea. Liu Kuo-sung also puts to this kind of theory the implemention with, in his individual practices, innovating with the color and ink techniques for more than 30 years, creating many kinds of different forms and individual styles.

293

Artist Biographies

Lot 238

Lot 239

CHEN Baoyi (Po Yi Tschun, 1893-1945)

Lots 241, 250, 256

LIN Fengmian (1900-1991)

JU Ming (b. 1938)

Born in Shanghai, his family were originally from Canton. In his early life, Chen went to Japan to study oil painting. In 1916 he left for Japan again and enrolled at the Kawabata Academy to follow the famous painter Fujishima Takeji. After graduating from the Tokyo Fine Arts School, he returned to Shanghai and set up a western-style studio called Po Yi Studio Art Class. Chen Baoyi taught in several art schools in Shanghai, such as the Shanghai Fine Arts School, the Lida School, the Shen Zhou Girls School and Xin Hua Art Academy. He co-founded Chinese Art University with Cai Yuanpei and Ding Yanyong where he taught oil painting with Ding. He organized the Eastern Art Group and the Dawn Club with Wu Shikuang and Wang Yachen. Subsequently he organized the Mo Society with Xu Beihong and Pang Yuliang. Chen specialized in oil painting and was famous for his post-Impressionist style. In 1942, he wrote an article to record the art circle of the early Republican period in Shanghai. Chen died in Shanghai at the age of 52.

Born in Guangdong, China. Lin Fengmian went to France to study painting in 1918. During his 4-year stay, he studied in Dijon and Paris. Upon Cai Yuanpei's invitation, Lin returned to China in 1926 and became president of the Beijing Academy of Fine Arts. He was also responsible for setting up the Hangzhou National Academy of Art (formely known as Hangzhou National College of Art). Lin is one of the most influential artists and teachers of that time. In 1952, Lin retired from teaching and devoted his energies to painting. In 1977, he moved to Hong Kong where he lived until his death. His ninety years retrospective exhibition was held in the National Museum of History, Taipei in 1989. In 2000, Shanghai Art Museum and Sun Yat Sen Memorial Hall both held a commemorative exhibition of Li's 100th year.

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 Series are the “Nativist”, the “Taichi” and the “Living World”. In December 1997, his works were exhibited in Place Vendome, Paris. The Juming Museum was established in Chin-shan, Taipei County in 1999. Ju Ming's work can be found in major public collections at the Taipei Fine Arts Museum, National Taiwan Museum of Fine Arts, Kaohsiung Museum of Fine Arts and Juming Museum.

陳抱一 (1893-1945)

林風眠 (1900-1991)

朱銘 (1938年生)

生於上海，原籍廣東。1913年留學日本專攻西畫。 1916年陳抱一再度啟程赴日本，入知名畫家藤島武二的川端洋畫研究所。1921年畢業於東京美術學校，回國後在江灣寓所「陳家花園」另闢一洋房畫室，自創「抱一繪畫研究所」，指導人體寫生。 1925年與蔡元培、丁衍庸於上海創辦中華藝術大學，與丁衍庸負責西畫科。並先後在上海美專、立達學園美術科、神州女子學校美術科、新華藝術專科學校任西畫教授，及上海藝術專科學校任西畫系教授。還與烏始光、汪亞塵等組織了「東方畫會」、「晨光美術會」，與徐悲鴻、潘玉良等組織「默社」。擅長油畫，其畫風融後印象派風韻，渾厚練達。留心美術教育研究，著有《油畫法之研究》、《靜物畫研究》、《人物畫研究》等。1942 年發表〈洋畫運動過程略記〉文章，記錄民初上海的現代美術運動發展。1945年7月病逝上海，享年52 歲。

廣東梅縣人。1918年參加政府勤工儉學政策赴法留學，分別在第戎及巴黎習畫。1926年應蔡元培之邀回國任國立北平藝專校長。1928年在杭州創辦國立藝術院，後來改名杭州藝專，經常撰文宣傳中西藝術結合的創作經驗及理論，是當時中國最有影響力的畫家及美術教育家，趙無極、吳冠中、席德進等人皆為其學生。1952年自教職退休專事繪畫，文革期間被貶抑為黑畫家，被拘入獄達四年之久。1977 年後旅居香港，繼續創作不輟，直至1991年病逝。 1989年，國立歷史博物館為其舉行九十回顧展。自 1999年上海美術館、台北國父紀念館分別舉辦「林風眠百歲誕辰紀念展」。

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。

294

藝術家簡歷

Lot 242 Lot 247 Lot 246

YANG Chihung (YANG Chihong, b. 1947)

LIAO Chi-chun (1902-1976)

ZAO Wou-ki (b. 1921)

Born in Taoyuan, Yang Chihung graduated from the fine arts department of the National Taiwan College of Arts in 1968. In 1976, he traveled to the United States, where he studied at Pratt Institute. From 1978 to 1979 he taught at the Taiwan Art College. He emigrated to the United States in 1979. His art was exclusively represented by Siegel Contemporary Art in New York between 1984 and 1987 and in 1987 by Michael Wallis. More than twenty one-man exhibitions were held for his works in the United States, Taiwan and Hong Kong. In addition, he was participated in many important exhibitions in Taiwan and abroad.

Born in Taichung. After graduating from Taipei Normal School in 1922, Liao Chi-chun studied in Japan at the Tokyo Fine Arts School. While in Japan, Liao was strongly influenced by contemporary developments in Western art. Liao was a co-founder of both the Ruddy Island Association and the Taiyang Fine Arts Association. He was also an art professor at National Taiwan Normal University until his retirement in 1973. In 1957, he encouraged his students to form the Fifth Moon Group in Taiwan. In 1962 he toured Europe and the United States at the invitation of the USA State Department. Later, he changed to a new art style in pink color and his distinguishing characteristic became mature. Liao received the Golden Cup Award for Chinese Painting from the Chinese Painting Society and the Sun Yat Sen Foundation’s Literary Awards. He passed away in Taipei in 1976. The Liao family donated several of Liao’s paintings to the Taipei Fine Arts 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 in 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. 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.

楊識宏 (1950年生)

廖繼春 (1902-1976)

趙無極 (1921年生)

出生於桃園，楊識宏於1968年畢業於國立藝術專美術科。1976年赴美國，並進入紐約普拉特版畫中心研究版畫。1978至1979年在國立藝專美術科任教，隨後於1979移居美國。自1984至1987年他是紐約西葛畫廊的專屬畫家。楊氏在美國、台灣及香港舉行二十多次個展，並數次參加海內外重要美術展覽。

生於豐原，1922年台北師範學校畢業，後赴日本就讀於東京美術學校，1927年畢業後返台。深受當時西方美術風潮所影響，活躍於各項展覽及多個組織，為「赤島社」及「台陽美協」的發起人之一。並任教於國立台灣師範大學及中國文化大學美術系。1957年鼓勵支持學生成立「五月畫會」，為台灣現代藝術催生。1962年應邀赴歐美考察，此後畫風真淳，色彩活潑華麗卻和諧適意，粉紅色大量出現，發展出特殊個人風格。其作品曾獲中山學術文藝創作獎及中國畫金爵獎。1976年病逝台北。1997 年廖氏家屬為體現廖繼春畢生奉獻美術教育之精神，於1997年捐贈一批代表作與台北市立美術館，同時由民間企業贊助設置廖繼春紀念獎助金，以鼓勵從事油畫創作與藝術理論研究之後進，遺愛在人間。

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。

295

Artist Biographies

Lot 253

Lot 248

Lot 249

WANG Huaiqing (b. 1944)

SANYU (CHANG Yu, 1901-1966)

George CHANN (1913-1995)

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 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 there. 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.

Born in Guangdong, China. In 1934, he entered the Otis Institute of Arts in Los Angeles; his teachers included Alexander Brook. His success earned him a full scholarship there, and in 1940, he earned his master’s degree in fine arts, holding his first individual exhibition the following year at the California Art Club in Los Angeles. More individual exhibitions followed in major cities throughout the US in the years 1942-1946. From 1947 to 1949 he returned to Mainland China, exhibiting at the Public Archives Museum in Guangzhou and in Shanghai. In 1950, he returned to the US and began to study abstract painting. During the years from 1969 through 1973, 50 of his abstract works were exhibited at the invitation of the Pasadena Fine Arts Museum.

王懷慶 (1944年生)

常玉 (1901-1966)

陳蔭羆 (1913-1995)

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。

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。

生於廣東，12歲中學畢業，1934年進入美國洛杉磯奧蒂斯藝術學院就讀，師事布魯克及維色卡。就學期間因成績優異獲全額獎學金，並於1940年取得美術碩士學位，次年於洛杉磯加州藝術俱樂部舉行首次個展。1942-1946年間陸續於美國各大城市舉辦展覽。1947-1949年返回中國，個展於廣州市文獻館及上海。1950年返美，並開始研究抽象畫，於 1969-1973年間應南加州帕撒狄納美術館之邀舉行個展，展出50件抽象作品，其作品被聖地牙哥博物館及美國數個市立美術館永久珍藏。

296

藝術家簡歷

Lots 254, 293, 294, 295

Lots 257

Lot 258

CAI Guo Qiang (b. 1957)

HE Wei (b. 1980)

XIA Junna (b. 1971)

Born in 1957 in Quanzhou, Fujian, China. Cai graduated from the Shanghai Drama Institute in 1985, specializing in Stage Design. Cai now lives in New York. Cai is highly recognized by the international art world for his achievement in art. He was awarded the Golden Lyon Prize at “The 48th Venice Biennial” (1999); “Hiroshima Art Award” (2007, Japan); and he was appointed as committee member for the creativity of the Opening and Closing Ceremonies of the Beijing 2008 Olympic Games and chief visual designer. His works are in collections of world-famous art institutions and enterprises, such as Guggenheim Museum in New York, the Metropolitan Museum of Art (New York), Venice Naval History Museum (Italy), Deutsche Bank collections (Germany) and Issey Miyake (Tokyo). The long list of Cai’s exhibitions includes the traveling exhibition “Inside Out: New Chinese Art” (1998), “International Currents in Contemporary Art” (1999, Spain); Whitney Museum of American Art “Biennial Exhibition” (2000, New York); and he has held solo exhibitions at worldwide famous art institutions such as the Smithsonian Institute (2004, Washington D.C.); the Metropolitan Museum of Art (2006, New York); the Deutsche Guggenheim (2006, Berlin, Germany).

Born in Jinghe, Xinjiang in 1980, He Wei graduated from the Oil Painting Department of Sichuan Academy of Fine Arts. He works and lives in Chongqing. His exhibitions in recent years include: “Foreplay - Contemporary Art Exhibition” (2005, Chongqing ); “New Interface Landing of UP Generation Exhibition” (2006, Shanghai ); “New Interface A Super Lost-and-Cool Generation” (2006, Shanghai ); “Two Cities- Beijing & Chongqing” (2006, Beijing); “New Interface 3-Searching the future”, (2007, Chongqing); “SH Contemporary Art Fair”(2008, Shanghai); “Art Taipei” (2008, Taipei) “HK ART FAIR” (2008, Hong Kong); CIGE 2008”, (2008,Beijing).

Born in Inner Mongolia, 1971. In 1984, she attended Weihai No.2 Middle School and studied portrait painting with Cong Jian Zi, who introduced her to a certain field of art. She graduated in 1995 from the Oil Painting Department of the Central Academy of Fine Arts. Her work “Autumn” won silver prize at the 1995 Annual Exhibition of Chinese Oil Paintings. Her works were also shown at the Shanghai Biennale and Contemporary Art Exhibition held in Beijing in 1996. In 1997, she joined “China Young Oil Painting” Exhibition in Beijing. In 1998, she joined “Century-Female Art Exhibition” and won a collector award. In 2000, she joined “Twentieth Century China Oil Painting Exhibition”, “Youngs Series Exhibition”. Beijing Evening News used “Six Main Courses in Grant Banquet of Centurial Oil Painting” as the title and commend her as the most representative painter in China. Taiwan magazine, CANS, used “From Li Tiefu to Xia Junna” as the slogan to summarize Xia’s historic significance in inheriting from centurial Oil painting. Her paintings are collected by private collectors at home and abroad in recent years.

蔡國強 (1957年生) 1957年生於中國福建泉州，1985年畢業於上海戲劇學院舞台設計系。曾旅居日本多年，後於紐約定居至今。其藝術成就備受國際藝壇重視，名聲斐然，屢獲殊榮包括威尼斯第48屆雙年展「國際榮譽–金獅獎」(1999)、「廣島藝術獎」(2007，日本廣島)，並受委任為2008年奧運開幕與閉幕儀的核心創意小組成員暨視覺設計總監。其作品廣為國際知名藝術機構及藏家所收藏，如紐約古根漢美術館、紐約大都會美術館、義大利威尼斯海軍歷史博物館、德意志銀行藏館以及日本東京三宅一生等企業。蔡國強參加過的展覽不計其數，如全球巡迴展出的「蛻變與突破：中國新藝術」(1998)、「當代藝術的國際新潮」(1999，西班牙)、Whitney美國藝術館「雙年展」(2000，紐約)；也曾多次在國際知名藝術機構舉辦個展，如華盛頓史密松博物館聯辦的「蔡國強–旅行者」(2004)、紐約大都會美術館 (2006)、德國柏林德意志古根漢美術館(2006)。

何偉 (1980年生)

夏俊娜 (1971年生)

1980年出生於新疆精河，2005年畢業於四川美院油畫系，現工作、生活於重慶。近幾年參加的展覽有：「前戲—當代藝術展」(2005，重慶)、「新介面—UP一代登陸展」(2006，上海)、「新介面—超衰酷一代」(2006，上海)、「雙城記—北京與重慶」 (2006，北京) 、「新門面工作室開幕展」(2007，重慶)、「上海當代藝術博覽會」(2008，上海)、「台北國際藝術博覽會」(2008，台北)、「HK Art Fair」 ( 2008，香港)、「中藝博國際畫廊博覽會2008」 (2008，北京) 。

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。

297

Artist Biographies

Lot 259

Lot 260

Lot 261

HUANG Yuxing (b. 1975)

ZHU Yan (b. 1982)

LI Jisen (b. 1970)

Huang graduated and received an Excellence Award at “Work Exhibition of Graduates” from the Department of Murals, Central Academy of Fine Arts in 2000. He won First Prize of the Fifth Annual China Student Ice-Sculpture Competition in 1993 and Top Prize at the Sixth Annual China Student Ice-sculpture Competition in 1994. In 1995, he held "Huang Yu Xing - Personal Sketch Exhibition" in New Times Art Museum, Beijing. The work "Impression of Chifeng" was published in "Beijing Evening News". In 1997, he participated in "Excellence Exhibition of Student's Work in the Central Academy of Fine Arts", Madrid National Art Institute of Spain. In 2001, he interviewed with Phoenix TV, Hong Kong and the program "Special China", Channel V. In 2003, he held "Fantastic Viewing" a solo exhibition in Soka Art Center, Beijing.

Born in 1982 in Hebei, China, Zhu Yan graduated from the Oil Painting Department of Tianjin Academy of Fine Arts, and taught afterwards at the Affiliated High School of Tianjin Academy of Fine Arts. He now lives in Beijing working as a professional artist. He has participated in exhibitions including “The 1st Contemporary Art Exhibition of Coast Terminal” (2007, Beijing); “MULPA 798 – Mind + Body” (2007, Beijing); “Art Space” (2008, USA). And he has recently held his solo exhibition “Zhu Yan” at Can Art Center in Beijing (2008).

Born in 1970, Tianjin, China, Li Jisen graduated from the Tianjin Academy of Fine Arts, and studied in the Central Academy of Fine Arts in 1994, specializing in oil painting. The artist has shown his works in numerous exhibitions, among which are the “Third China National Oil Painting Exhibition” (2003, Beijing); “The Art of Time—MOVADO Touring Exhibition in 10 cities in China” (2005); “The Flying Moth” (2005) and “Power of Faith” (2006) solo exhibitions; the “Extraordinary Men – Group Exhibition of Contemporary Chinese Art” (2006, Beijing); the “Touched by the Color” solo exhibition (2007, Beijing); the “Asian Contemporary Art Fair 2007” (New York); the “Symbol & Metapho” solo exhibition (2008, Korea); and the group exhibition “I’m Ready” in Taipei (2008).

黃宇興 (1975年生)

朱岩 (1982年生)

李繼森 (1970年生)

2000年畢業於中央美術學院壁畫系，獲中央美術學院優秀畢業創作獎。1993年和1994年分別獲第五屆中國學生冰雕塑比賽一等獎、第六屆中國學生冰雕塑比賽特等獎，1995年於北京新時代美術館舉辦「黃宇興個人速寫」，作品《赤峰印象》並接受《北京晚報》專訪。1997年參加西班牙馬德里國立藝術學院「中央美術學院優秀學生作品展」，2001 年中國香港鳳凰衛視與Channel[V] 《非常中國》專訪，2003年北京索卡藝術中心舉辦「奇遇」個展。

1982年生於河北唐山，於2005年畢業自天津美術學院油畫系，並於畢業後曾於天津美術學院附屬中學任教，目前則居住在北京，為職業藝術家。曾參加的展覽包括「東岸碼頭首屆當代藝術展」(2007，北京)、「物波798心與身」(2007，北京)、「A r t Space」(2008，美國)；以及近期在北京燦藝術中心舉辦的「朱岩」個人展 (2008)。

1970年生於天津，畢業於天津美術學院，於1994 年繼續在中央美術學院油畫系進修。曾參加無數展覽，如「攜手新世紀—中國第三屆油畫展」(2003，北京)；「瑞士摩凡陀時間的藝術—中國十城市巡展」(2005)；「飛蛾的故事」個人油畫作品展 (2005)；「中國國際畫廊博覽會」(2006)；「觸及心色」個展 (2007，北京)；「2007亞洲當代藝術博覽會」(紐約)；「象徵與隱喻」油畫作品展 (2008，韓國)；以及「我準備好了」台北聯展 (2008)。

298

藝術家簡歷

Lot 263

Lot 264

Lot 262

JIA Gang (b. 1974)

YANG Din (b. 1958)

YANG Xiaobing (b. 1966)

Jia graduated from the Academy of Arts and Design in Tsinghua University in 2001, and participated in the “Young and Bold – Exhibition of the new acts in the China art scene”; 2007, “Gestures”, Beijing New Age Gallery; “The Age of Pluralism, Being Persistent”, New Age Gallery, Beijing and Taichung.

Born in Shantou (Guangzhou), China. He lives and works in Paris since 1980. He graduated from L’Ecole Nationale Superieure des Beaux-Arts de Paris (Paris National Art School) in 1987. He was a professor at ASDASCS center in Clairvaux, France. Since 1990, he has held solo exhibitions in France, Belgium, the Netherlands, Taipei, Hong Kong and Macau. Awarded First Prize at the Aube Art Fair organized in Troyes, France.

Yang was born in Tienshui, Gansu Province in December of 1966. He graduated from Gansu Tienshui Teachers’ College in 1990. In 2004, he lived in Xiaobao of Songzhuang Town, Tongzhou District of Beijing. In 2005, he attended “The Contemporary Oil Painting Arts Invitation Exhibition”, sponsored by Shanghai Yunfeng Huayuan; “The 2nd Session of Visual Arts” Exhibition, sponsored by Arts Artel of Songzhuang Town; “Depose” Contemporary Oil Painting Arts Exhibition, Sponsored by Buddhist Space; The 1st Session of China Songzhuang Town Culture & Arts Festival - Chinese Contemporary Culture & Arts Exhibition. “The Road of Songzhuang Town” in Beijing.

賈剛 (1974年生)

楊登雄 (1958年生)

楊小兵 (1966年生)

2001年畢業於清華大學美術學院，2004年「少年心氣—中國新銳繪畫展」；2007年，「姿態」，北京新時代畫廊；「多元世代，固執己見」，新時代畫廊，北京、台中。

出生於中國廣東汕頭市。1980年起定居法國巴黎。 1987年畢業於巴黎國家高等藝術學院。1993-94年於克雷佛教育中心擔任美術老師。自1990年起，曾於法國、比利時、荷蘭、台北、香港、澳門等地舉行個展。1987年獲法國特羅瓦省歐柏藝術藝術沙龍獎。

1966年12月生於甘肅天水，1990年畢業於甘肅省天水師範學院，2004年後居住北京通州區宋莊鎮小堡。參展紀錄：2005年「當代油畫藝術邀請展」上海雲峰畫苑、「2005年第二屆視覺藝術展」，宋莊藝術合作社；2005年「廢」當代油畫藝術展禪空間、2005年首屆中國宋莊文化藝術節—「中國當代文化藝術展 · 宋莊路」，北京。

299

Artist Biographies

Lot 265

Lot 266

Lots 267, 322, 347

HOU Qing (b. 1969)

XUE Song (b. 1965)

YIN Kun (b. 1969)

Born in 1969 in Hubei, China. Hou Qing studied in Hubei Huanggang Normal University from 19871989; taught at Huanggang Normal University from 1989 to 1991; and resumed his studies at the Central Academy of Fine Arts in Beijing, majoring in oil painting, from 1991 to 1992. He has been a professional artist in Beijing since 1992, and is devoting himself to integrating Chinese and Western aesthetics in his artworks. The use of soft shadow colors, blanking, fullness, and lotuses are frequent elements in his oil paintings.

Born in Anhui Province. In 1988, he graduated from the Shanghai Drama institute. He now lives and works in Shanghai. His solo exhibitions include the British Embassy in Beijing in 1992, the Shanghai Art Museum in Shanghai in 1966, “Standing on the Shoulder of Giants”, Shangh Art, Shanghai in 2000, “Xue Song Solo Show” at the Chinese Contemporary Art Gallery in London in 2001; “Ver Da Ga-Xue Song Fashion Series” at Shanghai Art in 2002; Xue Song solo shows at the Walsh Gallery in Chicago, Gallery de Monde in HK and Shanghai Art Gallery in Shanghai. Shanghai in 2003, Group exhibitions included “Shanghai 2000” at Walsh Gallery in Chicago; Shanghai Art Fair in Shanghai, “Transcending Boundaries” at MSU Art Gallery at Montclair State University, “Future Chinese Contemporary Art” in Macau in 2000; “Metaphysics 2001” at the Shanghai Art Museum, “As Long As They Catch Mice”, Munkeruphus Gallery in Denmark, “Crossing Over” at Walsh Gallery in Chicago; “Initial Image” at Yibo Gallery in Shanghai; “Ost + West at Ausstellung zeitgenoesischer kunst aus China” in Vienna, Austria; “Metaphysics 2002” at the Shanghai Art Museum in 2002 and “Paris-Beijing” at Espace Cardin in Paris in 2002.

Born in Sichuan Province, China, Yin Kun completed his art studies in 1992 at the Fine Arts Department of the ABA Teacher’s College. Since 2002, the artist is known by the world through numerous national and international exhibitions, such as his solos in “Selflove” (2002, Beijing); “Yin Kun - 10 Years Journey” (2004, Beijing); “Chinese Fairy Tales” (2006, The Netherlands, Indonesia); “Chinese Hero” Touring Exhibition (2007-2008, Seoul, Amsterdam, Singapore); and group exhibitions as in “Home of Arts” (2007, Amsterdam); “Mirror, Lie, and Fable” (2007, Beijing); “The Conquerors From Asia” (2007, Hong Kong); and “Yin Kun and Yin Jun” (2008, Seoul) among many other exhibitions.

薛松 (1965年生)

生於四川，於1992畢業於阿壩師範美術系。自2002 年起，陸續在國內外舉辦多次個展，如「愛上自己」(2002，北京)、「尹坤十年1995—2004個展」 (2004，北京)、「中國童話」 (2006，荷蘭、印尼)、「中國英雄」巡迴展 (2007-2008，新加坡、韓國、荷蘭)；以及眾多聯展「藝術之家」(2007，荷蘭)、「鏡像.謊言.寓言」(2007，北京)、「來自亞洲的征服者（THE CONQUERORS FROM ASIA）」 (2007，香港)、「伊坤與尹俊」藝術展 (2008，韓國)。

侯慶 (1969年生) 1969年生於湖北。於1989年畢業自湖北黃岡師範學院後，即任教於黃岡教育學院直至1991年；並於 1991至1992期間進修於中央美術學院油畫系。1992 至今在北京為職業畫家。致力於中西美學的融合。柔和的色彩影子、留空和完滿、以及荷花都是他的油畫作品的元素。

出生於安徽省，1988年畢業於上海戲劇學院舞臺美術系，現居於上海。曾多次舉辦個展，當中有1992 年北京英國大使館「薛松畫展」、1996年上海美術館「薛松個人展」、2002年，上海香格納畫廊「站在巨人的肩膀上」、2001年，英國倫敦中國當代畫廊「薛松個展」、2002年，上海香格納畫廊「不搭界」、2003年於多國舉行個展。而他多次參加國際群展，當中有1996年，德國波恩現代藝術博物館「覺醒的中國」、1997年，維也納、哥本哈根等地巡迴展出「中國！」現代藝術展、2002年，法國巴黎皮爾卡登空間「巴黎－北京」；澳門「未來－中國當代藝術展」等。

300

尹坤 (1969年生)

藝術家簡歷

Lot 270 Lot 268

Lot 269

XIANG Qinghua (b. 1976)

REN Sihong (b. 1967)

YU Shenghao (b. 1973)

Born in Yunyang Chongqing in 1976, he entered the Department of Oil Painting in the Sichuan Fine Arts Institute in 1997, and has been teaching at the Chuanyin Chengdu Academy of Arts since 2001. Xiang Qinghua’s pictures have a strong sense of composition, but the language of form is simple. The colors are basically flat colors, using the difference between warm and cold colors to create space and distance in the pictures. No extra illustration or strong spiritual pursuits. The characters are childish, the facial expression somewhat sluggish with a deformed intentional image, but the whole picture is mild among the low-key grey tones, as if covered by age. The simple and ordinary life covers up the world the artist personally desires – meditative nostalgia for childhood and quiet review of reality.

Born in Hebei, Ren graduated from the department of oil painting from Hebei Normal College of Fine Arts in 1991 and from the assistant oil painting tutor program of the Central Academy of Fine Arts in 1993. The same year, he held his solo exhibition in the gallery of the Central Academy of Fine Arts. He moved into the artist village in Yuanwing Yuan from 1993 to 1995, he started to paint conceptual paintings and become a free artist. In 1995, his works were specially included in the 3rd “China Oil Paintings Exhibition” One year later, he started to paint the “Female Gesture” series of paintings until 1998. Since then, he has participated in several exhibitions including the “New Auto exhibition: oil painting business versus the invasion of Japan”, the “Da Vinci’s Porch” artistic activities in 1999, from 2000 to 2005 he become an enterprise image engineer.

Graduated from the Yanbian art academy in 1995, he took advanced courses in the oil painting department in the Central Fine Arts Institute in 1996, and participated in the “English Winter Union Exhibition” in 1997. He graduated from the print department of the Central Fine Arts Institute in 1998 and attended “the Chinese International Exhibition”, “Four Persons of Oils Art Exhibitions”, and conducted his solo exhibition in the Gallery at Shoreman Art International in Taiwan in 2000, his work nearly sold out, those sold pieces went to collectors in Japan, the US, Canada and France among others. He conducted his solo exhibition in the Revives Art Center in Singapore, and made brilliant achievements, participated in the “Taipei International Art Exposition 01”. Yu’s works are widely collected by Taiwan high level enterprises, and his reputation grew within a night. He also participated in the “Artistic Richness” exhibition conducted by Shoreman Art International in the Beijing International Art exhibition.

向慶華 (1976年生)

任思鴻 (1967年生)

俞成浩 (1973年生)

1976年生於重慶雲陽，1997年就讀於四川美術學院油畫系，2001年至今任教於川音成都美術學院。向慶華畫面的構成感很強，形式語言卻很單純。畫面色塊基本都是平塗，靠色彩的冷暖來拉開畫面的空間距離。沒有過多的語言陳述、沒有強烈的精神訴求。人物造型稚拙、表情略顯呆滯、形象刻意變形，整個畫面在毫不張揚的灰調中顯得不慍不火，如同蒙上歲月的塵埃，質樸平凡的生活場景遮蔽的是畫家個人的內心世界——對童年的冥冥懷想、對現實的靜靜審視。

生於中國河北。1987 - 1991年於河北師大美術系主修油畫專業，1991 - 1993年就讀中央美術學院助教班， 2002 - 2004年創辦天大集瑞文化藝術有限公司，現居北京，為自由藝術家。曾於1993年在中央美術學院畫廊舉辦油畫個展，1997作品《商業抗日》由著名藝術評家島子發表於《藝術界雜誌》，2005年作品參加北京「毛澤東興中國當代藝術家」展覽，2006 年作品參加義大利「中國製造」展覽及紐約798畫廊舉辦個展。

1995年畢業於延邊藝術學院。於1996年中央美術學院油畫系進修，1997年參加「英國冬日聯合參展」，1998年畢業中央美術學院版畫系研修班，參加「中國國際展覽會」、「四人油畫展」、2000年在協民國際藝術畫廊舉辦在台灣第一次個展，作品幾乎售馨，其藏家分佈到日本、美國、加拿大、法

301

國等。在新加坡復興藝術館舉行個展，成績斐然，參加2001年台北國際藝術博覽會，近年來俞氏作品廣為台灣高層企業界收藏，知名度一夕之間上升，在2002年參加協民國際藝術在北京國際藝苑策展之《藝氣豐發》大展。

Artist Biographies

Lot 273 Lot 271

Lot 272

Chang-ling (b. 1975)

ZHANG Handong (b. 1964)

LI Lei (b. 1965)

Born in Hualien County, Taiwan. Chang-Ling graduated from L’Ecole Nationale des Beaux-Art de Bourge in 2000, in which year he was admitted into the Ecole Nationale Superieure des Beaux-Art de Paris and studied under Christian Boltansky, JeanLuc Vilmout and Jean-Marc Bustamant. In 2004, he held art group “COLOCOLOC” in Paris and established an art publication “Le Couteau de Paris”. His major solo exhibitions are as follow: “Unnatural Exhibition” (2004, Hsinchu, Taiwan); “The First Flower of the Streaky Pork” (2005, Taipei); “Hair Follicle” (2005, Taipei); “Streaky Pork Series: Epoch-Making” (2007,Taipei); “Flesh Landscape in Garden” (2007, Geneva, Switzerland); “Flesh Arm Force” (2007, Taipei).

Born in the hometown of prints, Yunnan in 1964, Zhang is a talented painter. He graduated from the fine arts department of Yunnan Arts University. He was vice-director of the fine arts department of Yuxi Normal University. He is currently the vice-principal of Nieer Arts University. His way of creating is passionate but conscientious and careful at the same time. The style is simple but touching. He constantly conveys the characteristics of people, events, places and objects that he experienced vividly through his tactful academic skills. No matter in China or abroad, we can find his gorgeous work in many significant architectures. He’s one of the artists whose works are quite popular for collection. Zhang is still in the summer of his life. He has won several important art prizes in recent years. All reveals his infinite artistic potential. In 1998, his oil painting works participated in “Art Taipei 98”, in 2004, Zhang participated in the first Gallery Fair in Beijing. In 2006, he was one of the invited artists of Munich oil paintings exhibition and held “Revitalized Homeland-Zhang Handong Solo Exhibition” in Taipei.

Li Lei was born in Shanghai. He sometimes looks like a poet, and he’s passionate, sensitive yet good at rational disputations. His paintings are actually the anchorage of the relationship between the mind and mysterious nature, with the rhythm of life in it, through meditation he sets the spirit free. He exhibited in Shanghai Expo, 1999, “New Visions Shanghai”, the joint exhibition of young artists in Shanghai (Shanghai Culture Development Foundation, Shanghai). In 2000 he participated in “Shanghai Youth Invitation exhibition” (Liu Haisu Art Museum, Shanghai) and 2001’s “Zen Flowers” (Solo Exhibitions, Bastiaans Gallery, the Netherlands).

常陵 (1975年生)

張漢東 (1964年生)

李磊（1965年生）

常陵生於台灣花蓮，2000年畢業於法國國立步矩藝術學院，同年進入法國國立巴黎高等藝術學院，師事波坦斯基，韋勒蒙及布斯塔蒙，2004年畢業於法國國立巴黎高等藝術學院。2003年成立COLOCOLOC 藝術團體於巴黎，2004年創辦《巴黎小刀藝術報》於巴黎。個展：2004年，「非自然個展」於台灣國立交通大學藝文空間，新竹；2005年「五花肉之第一花」個展，一票票人畫廊，台北；「毛囊展」個展於關渡自強284，台北；2007 年「五花肉系列－開天闢地」，也趣畫廊，台北；「肉－花園一遊，」蕾達畫廊邀請個展，日內瓦，瑞士；「五花肉系列－肉兵器」，關渡美術館，台北，台灣。

1964年出生於版畫的故鄉─雲南的張漢東教授是一位才氣型的畫家。畢業於雲南藝術學院美術系，曾任玉溪師範學院藝術系副主任，現為聶耳藝術學院副院長。張漢東作畫的理念熱情而嚴謹，畫風則純樸且感人。他一向真誠地把自己親身經歷的人事地物，透過老練的學院派技法，十分傳神的抒發出來。海內外有許多重要建築都可看到他精彩作品的蹤跡，是當今深具收藏潛力的畫家。張氏雖仍是青壯之年，但歷年來頻得大獎，處處顯示其無可限量

生於上海。李磊有時候看上去像位詩人，他激情、敏感而又極富理性思辨。他的畫，實際上是心靈與大自然神秘交感的借托物，而在物與意的對應中，融匯著生命的律動，蘊藉著人生的思考，寄託著精

的藝術潛力。1998年，其油畫作品參加台灣「 ’ 98 台北國際藝術博覽會」展出，2004年油畫作品參展北京首屆畫廊博覽會，2006年德國慕尼黑油畫邀請展及在台北舉辦「重返生命的家園」張漢東油畫個展。

302

神的慰藉。1999年的上海藝術博覽會「上海新視覺」上海青年美術聯展（上海文化發展基金會，上海）。2000年上海青年美術邀請展（劉海粟美術館，上海）。2001年禪花（個展、巴斯蒂安畫廊，荷蘭）。

藝術家簡歷

Lot 274 Lot 276

Lot 275

CHEN Liu (b. 1973)

HE Wenjue (b. 1970)

TU Hongtao (b. 1976)

Born in 1973 in Kunming, Chen Liu graduated from the Central Art & Crafts College in 1996, in which year he won the first prize of Ikuo Hirayama Award, and is now a professor in the Yunnan Academy of Fine Arts. His works have been published in Chenliu Water Color Paintings (2001)and Segment, Chenliu Art Works (2004); and he has shown his works in several exhibitions such as his solo exhibitions “Watercolor Paintings of Chen Liu” (2004, Kunming) and “Segments—Oil Paintings of Chen Liu” (2004, Kunming); “Contemporary Tradition—Invitational Exhibition of Chinese Artists” (2006, Milan); “International Contemporary Art Fair 2007” (Hong Kong); “Asian Contemporary Art Fair 2007” (New York); and in the recent group exhibition “I’m Ready” (2008, Taipei).

Born in Hunan in 1970, now residing in Beijing. He graduated from Shenzhen University, Central Academy of Fine Arts and Jilin College of Arts. He received an M.A. degree. Now he is the leaguer of Chinese Art Association and Chinese Painting Association respectively. He attended solo exhibitions including: 2002 “Sunshine & Water ”, Beijing; 2006 “Water: Sparkling Ripples and Wavering Shadows ”, Bangkok; 2007 “He Wenjue Solo Exhibition”, Shanghai; 2008 “He Wenjue Watches Movies”, Beijing; 2008 “Beijing He Wenjue Solo Exhibition”, Essen. Group exhibitions he has-has participated in includ: 1999 “The 9th National Fine Arts Exhibition”, Shanghai; 2005 “Visual Express: 2005 Shanghai Youth Biennale” Shanghai; 2006 “Exhibition of Today’s Chinese Fine Arts ”, Beijing; 2006 “Chinese Contemporary Art Exhibition”, Paris and London; 2007 “15 Contemporary Artists from China, Zurich; 2008 “7th Shanghai Biennale”, Shanghai.

Born in Chengdu, Sichuan, Tu Hongtao graduated from the Sichuan Art Academy attached middle school in 1995. In 1998 he attained an outstanding prize from the Li Chun-shan art foundation in Taiwan. He graduated from the oil painting department of the China Art Academy in 1999, and teaches in the art design department in Chengdu University. In 2006, he participated in the "Fiction@Love" exhibition tour held by the Museum of Contemporary Art Shanghai.

陳流 (1973年生)

何汶玦（1970年生）

屠宏濤 (1976年生)

1973年生於昆明，1996畢業於中央工藝美術學院裝飾藝術系裝飾繪畫專業，於1996榮獲中央工藝美術學院「平山鬱夫獎」一等獎，目前則是任教於雲南藝術學院美術學院油畫系。出版過多本畫冊，如《陳流水彩畫集》(2001)、《片斷——破碎的天空陳流作品集》(2004)。繼2004在雲南昆明舉辦的個展「陳流水彩畫展」、「片斷—陳流油畫作品展」，另參加多次國際展覽，如「當代的傳統—中國畫家邀請展」(2006，米蘭)；「2007國際當代藝術博覽會」(2007，香港)；「亞洲當代藝術展覽2007」 (2007，紐約)；「我準備好了」(2008，台北)。

生於湖南，現生活在北京。他先後就讀於深圳大學，中央美術學院，吉林藝術學院。研究生學歷。目前為中國美術家協會會員，中國油畫協會會員。曾參加的個展覽有：2002年「陽光·綠水」，北京； 2006年「水•波光流影」，曼谷；2007年「何汶玦個人作品展」，上海；2008年「何汶玦•看電影」，北京；2008年「何汶玦個人作品展」，埃森。曾參加的群展有：1999年「第九屆全國美展」，上海； 2005年「視覺驚豔：上海青年美術大展」，上海； 2006年「今日中國美術大展」，北京；2006年「北京中國當代藝術展」，巴黎、倫敦；2007年「十五位中國當代藝術家瑞士季節首展」，瑞士；2008年「第七屆上海雙年展」，上海。

出生於四川成都。1995年畢業於四川美院附中。 1998年獲台灣李仲生基金會優秀獎。1999年畢業於中國美院油畫系，現任教於成都大學設計藝術系。 2006年曾應邀參加上海當代藝術館舉辦的《虛擬＠愛》巡展。

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Artist Biographies

Lot 277

Lot 278

Lot 279

ZHANG Jian (b. 1968)

HE Sen (b. 1968)

GUO Wei (b. 1960)

Zhang graduated in 1993 from the School of Fresco Painting at the Central Art Academy and now works as a professional artist. In 1995, he entered works in the Beijing International Art Palace's "Entry" tri-artist exhibition. In 1996, he held the "Paintings of Zhang Jian" exhibition in Beijing and in 1997 participated in the "Oil Paintings from Young Chinese Artists of the New Century" exhibition held by the National Art Museum of China. Over the years Zhang's artworks have traveled to exhibitions in Italy, Hamburg, Bangkok, Hong Kong and Taiwan, attracting the interest of many collectors.

Born in 1968 in Yunnan, China, He Sen graduated from Sichuan Academy of Fine Arts in 1989. He now lives and works in Chengdu, China. His works were shown in many international exhibitions, including solo exhibitions held by the Piltzer Gallery (2002, Paris); by Marella Contermporary Art (2003, Milan); “Shadow” (2004, Beijing). He also participated in group shows such as “New York Asia International Art Fair”(2002); “China Avant Garde”(2004, Jakarta, Indonesia); “New Perspectives in Chinese Painting”(2004, Milan); “Beijing, Chongqing, Shanghai Painting and Photography” (2004, Munich).

Born in 1960, Guo Wei graduated from Sichuan Academy of Fine Arts in 1989, and currently lives and works in Sichuan Province, China. Since 1992, the artist’s works have been shown in numerous national and international exhibitions, including his first solo exhibition “Bound States Guo Wei’s Works” in 1999, Kaoshiung; Guo Wei’s solo exhibition in 2001, Los Angeles & San Francisco; “Indoor With Mosquitoes and Moths” (2004, Barcelona); and group exhibitions such as “Dream. 2001 Chinese Contemporary Art” (London); “Face to Face. Six Artists and One Time” (2004, Taiwan); “Biennale del’art contemporain Chinois” (2005, France); “Unclear and Clearness” (2006, South Korea); “Brothers” (2006, Beijing); “Figurative Possibilities” (2007, New York).

章劍 (1968年生)

何森 (1968年生)

郭偉 (1960年生)

1993年畢業於中央美術學院壁畫系，現為職業畫家。1995年作品參加北京國際藝苑美術館「入境」三人展，1996年於北京舉辦「章劍繪畫作品展」， 1997年北京中國美術館「走向新世紀中國青年油畫展」，歷年來作品遠赴義大利、德國漢堡、泰國曼谷、香港、台灣等地展覽，為收藏家喜愛與收藏。

1968年生於中國雲南，1989年畢業自四川美術學院師範系，現定居與工作於成都。其作品曾於海內外個展展出，如皮爾策畫廊舉辦的「何森個人作品展」(2002，巴黎)、米蘭馬蕊樂畫廊個展 (2003)、「如影隨形」(2004，北京)。另外，其參加過的聯展有紐約國際亞洲藝術博覽會(2002)、「中國前衛藝術展」(2004，印尼雅加達)、「中國繪畫新景觀」 (2004，米蘭)、「北京、重慶、上海—繪畫與攝影」 (2004，德國慕尼黑)等展覽。

1960年生於四川成都，1989年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)。

304

藝術家簡歷

Lot 280

Lot 281

Lot 282

CAI Zhisong (b. 1972)

QU Guangci (b. 1969)

HUANG Gang (b. 1961)

Born in Shenyang in 1972, he graduated from the Central Academy of Arts, Sculpture Department in 1997. He obtained his postgraduate diploma from the Central Academy of Arts in 2001. Solo Exhibitions: 2002 “Motherland-Cai Zhisong Solo Exhibition”, Beijing; 2003 “Motherland-Cai Zhisong Solo Exhibition”, Beijing; 2004 “MotherlandCai Zhisong Solo Exhibition”, Shanghai; 2005 “Motherland-Cai Zhisong Solo Exhibition”, Beijing; 2006 “Motherland-Cai Zhisong Solo Exhibition”, Shanghai. Group Exhibitions: 1998 “The 1st Group Exhibition of Young Sculptors”, Beijing; 1999 “The 9th National Art Exhibition”, Beijing; 2000 “Invitational Sculpture Exhibition”, Changchun; 2001 “Chinese Contemporary Art-Touting Exhibition”, Europe; 2002 “Professor’s Sculpture Show Central Academy of Art”, Beijing; 2003 “International Enviornmental Art and Sculpture Exhibition”, Shanghai; 2004 “China. Imagination-China Contemporary Sculpture Exhibition”, Paris; 2005 “International & Sculpture Exhibition”, Washington DC; 2006 “1st China Documenta”, Beijing.

A native of Shanghai, he graduated from the Affiliated High School of the Zhejiang Academy of Fine Art in 1989. In 1994 he received his bachelor’s degree from the Department of Sculpture at the Central Art Academy, then a master’s degree in 1997. The artist is currently a teacher in the Sculpture Studio at the School of Fine Art, Shanghai Normal University. His 1993 piece “Mother” was entered in the “National Commemoration of Comrade Mao’s Lecture at the Yan-an Art and Literature Workshop - 65th Anniversary Art Exhibition” where it won an outstanding work award. The 1994 piece “Street” participated in the “1994 Central Art Academy Graduate Exhibition” organized by the Central Art Academy display gallery and won a second rank award and was added to the academy’s collection. His work “Wang Family Well” won the gold medal for the Beijing district in the “8th National Art Exhibition”, then went on to win the grand prize at the “8th National Outstanding Artwork Exhibition”.

Born in Beijing in 1961, he graduated from the Central Industrial Art Institute. During the 80's, paintings with a Tibet theme were extremely popular; people loved the pureness, the mystery, and the nature of Tibet, which is not yet polluted by civilization. Huang Gang became interested in the culture, religion, and art of Tibet, and started his own Tibet classical drawing artware collection, studies society, religion, philosophy background which this kind of art produced. He created the Tibet writing series work afterwards, but he is a different artist, he used an unprecedented artistic way to carry on the creation. Huang Gang’s works were exhibited many times in the world. Solo exhibitions were held in Germany, France, Switzerland, the US and Hong Kong, and had enormous success. He obtained different cultural contextual views from different countries and high praise.

蔡志松 (1972年生)

瞿廣慈 (1969年生)

黃鋼 (1961年生)

1972年生於瀋陽，1997年畢業於中央美術學院雕塑系，獲學士學位，2001年畢業於中央美術學院雕塑系研究生同等學歷班。曾經舉辦的個人展覽有： 2002年「故國—蔡志松2002作品展」，北京；2003 年「故國—蔡志松2003作品展」，北京；2004年「故國—蔡志松2004作品展」，上海；2005年「故國—蔡志松2005作品展」，北京；2006年「故國— 蔡志松2006作品展」，上海。重要群展有：1998年「首屆北京青年雕塑家作品聯展」，北京； 1999年「九屆全國美展」，北京；2000年「中國長春國際雕刻作品邀請展」，長春；2001年「中國當代藝術歐洲巡迴展」，歐洲；2002 年「中央美術學院雕塑系教師作品展」，北京；2003年「國際環境藝術與雕塑展」，上海； 2004年「中國.想像—中國當代雕塑展」，巴黎；2005年「移植的風景—中國當代雕塑與裝置展」，華盛頓；2006年，「首屆中國當代藝術年鑒展」，北京等。

出生於上海。1989年畢業於浙江美術學院附中， 1994年畢業於中央美術學院雕塑系，獲學士學位。 1997年畢業於中央美術學院雕塑系，獲碩士學位，現為上海師範大學藝術學院雕塑工作室教師。1993 年作品《母》參加中國美術館舉辦的「全國紀念毛澤東同志在延安文藝座談會上的講話—六十五周年美術作品展」，並獲優秀作品獎。1994年作品《街道》參加中央美術學院陳列館舉辦的「94中央美術學院畢業生作品展」獲二等獎，並被中央美術學院收藏。作品《王府井》獲「第八屆全國美展」北京地區金獎，並入選「第八屆全國美展優秀作品展」獲大獎。1995年作品《黃昏》、《姿態》參加當代美術館舉辦的「95國際青年美術家交流展」。1997 年研究生畢業作品《西藏組雕》獲「97中央美術學院畢業生作品展」二等獎及日本岡松家族基金會二等獎，作品為中央美術學院收藏。1999年作品《天路》參加中國美術館舉辦的「第九屆全國美展」，獲頒銅獎。

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。

305

Artist Biographies

Lot 283

Lot 284

Lot 285

HE Jun (b. 1970)

ZHANG Linhai (b. 1963)

LUO Zhongli (b. 1948)

Born in 1970, He Jun was admitted into the middle school affiliated to Xi’an Academy of Fine Arts. In 1991, he was admitted into the Oil Painting Department of Xi’an Academy of Fine Arts. In 2002, he went to Russia to study with Russia Merits Artist, Professor Nasalena Tathyana of the Oil Painting Department, Moscow Surikov State Art Institute, for his master’s degree on a national scholarship. In July 2006, he returned to China and worked as a teacher. In 1995, he won “The Oil Painting Scholarship of Luo Zhongli”; 1996, he took part in the “Exhibition of Award-winning Works in China”, National Museum of Fine Arts in Beijing; in 1997, he took part in “The Oil Painting Exhibition of Youths in China” at the China National Museum of Fine Arts; in 2000, he took part in the exhibition of art “Western China”; in 2001, he took part in the invited oil painting exhibition of “Summer is Here” at Yanhuang Art Museum. His works were published in Fine Arts, Jiangsu Art Monthly Pictorial, China Oil Paintings, and China Youth Oil Painting Exhibition.

Born in Shanghai, Zhang acquired his bachelor’s degree from the Print Department of Tianjin Academy of Fine Arts in 1990. Zhang is a 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.

Born in Chongqing. He is currently director and professor of Sichuan Fine Arts Institute, Syndic of China Artists Association. In 1968, he graduated from the Senior High School of Sichuan Fine Art Institute. He worked in an iron factory, and then entered the oil painting department of Sichuan Fine Art Institute in 1978. After his graduation, he continued to stay in school to be a teacher. He went to study oil painting in Antwerp Royal Art Institute in Belgium from 1983 to 1986, and received a master’s degree in oil painting. He is good at oil painting; “Father” was awarded the First Prize of the Second National Art Exhibition. His works have been collected by the National Art Museum of China.

何軍 (1970年生)

張林海 (1963年生)

羅中立 (1948年生)

1970年出生。1987年考入西安美院附中。1991年考入西安美院油畫系。1995年畢業留校任教至今。 2002年由國家公派至俄羅斯莫斯科蘇裡科夫美術學院油畫系功勳藝術家娜薩蓮科．塔基婭娜教授工作室攻讀碩士學位，2006年7月獲得碩士學位回國任教。1995年獲得「羅中立油畫獎學金」。1996年在北京中國美術館參加獲獎作品展。1997年參加「中國青年油畫展」（中國美術館）。2000年參加「西部．西部」藝術大展。2001年參加炎黃美術館「夏至」油畫邀請展。作品曾發表在《美術》、《江蘇畫刊》、《中國油畫》、《中國青年油畫》等雜誌、畫冊上。

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。

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。

306

藝術家簡歷

Lots 287, 291 Lots 288, 289, 290

Lots 286, 296

LI Chen (b. 1963)

ZENG Fanzhi (b. 1964)

ZHOU Chunya (b. 1955)

Li Chen was born in Taiwan, in 1963. He has extraordinary performance in molding the traditional Buddhist sculptures. Later he infused emotion of the heart into the works and studied a variety of Confucian, Buddhist, 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 1964 in Wuhan, Hubei, Zeng Fanzhi graduated from the oil painting department of Hubei Fine Arts Institute in 1991. Presently he lives in Beijing as a painter. He conducted many important exhibitions, including “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 the Hamburg international avant-grade cultural center in Germany in 1995, "Zeng Fanzhi: False Face" held in Barcelona contemporary art museum in Spain and Hanart T Z Gallery in Hong Kong, "The Future" held in Macao contemporary art center in 2000, "Behind the Mask" held in Shanghai Shangrila Gallery in 2001, "Paris-Beijing" held in Pierre Cardin center in France and "The 1st Session Guangzhou 3 years Exhibition" in Guangdong art museum in 2002, and "I, We" held in Shanghai Art Museum.

Born in 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 Shanghai Biennial" (Shanghai, 1996). His work can be found in the public collection of the Austria Linz Art Museum.

李真 (1963年生)

曾梵志 (1964年生)

周春芽 (1955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。

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

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。

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。

307

Artist Biographies

Lot 292

Lot 297

Lot 298

ZHANG Xiaogang (b. 1958)

KWON Ki-soo (Korean, b. 1972)

HA Sang-Rim (Korean, b. 1961)

Born in Kunming, he graduated from 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. In the same year, he collaborated with four contemporary artists from China in 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.

Kwon Ki-Soo was born in 1972 in Young-ju, Korea. He attained his B.F.A. and M.F.A. from Hong-ik University, Seoul, in 1996 and 1998 respectively. He has held various solo exhibitions including “The Show 1998” at Kwan Hoon Gallery (1998) and “A Red Fountain” at Gallery Fish (2004) in Seoul. He has also participated in numerous notable group exhibitions, including throughout Seoul, such as “Pleasure Factory” at the Seoul Museum” of Art (2003), “The Elegance of Silence: Contemporary Art From East Asia at the Mori Art Museum in Japan (2004), “Traveling Art Museum” at the National Museum of Contemporary Art in Korea (2004), as well as “Listening 2004 N.Y”. at the Jacob Javits Convention Center in New York (2004).

Ha Sang-Rim graduated from the Department of Painting of Hong Ik University in Seoul, and graduated with a master’s degree from the Art and Design Technical College in Koln, Germany. Her works were presented in solo exhibitions held by IHN gallery (2002; 2005; 2007, Seoul); by MIYA Gallery (2000, Los Angeles); by Yee Mock Gallery (2000, Seoul). And her works are in collections of the National Museum of Contemporary Art (Korea); Samsung Life Insurance; LG Electronics Co.; Anderson Consulting (Seoul); Hotel Grand Hilton; and many other worldwide organizations.

張曉剛（1958年生）

權奇秀 (韓國，1972年生)

河相林 (韓國，1961年生)

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。

1972年生於韓國。1996年於弘益大學獲得美術文學士學位，1998年在本校獲得美術碩士學位。他舉辦過的個展包括1998年首爾寬勳美術館畫廊舉辦的「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」。

河相林畢業於首爾弘益大學繪畫系，並於德國科隆藝術與設計專業學院取得碩士學位。發表過的個展有IHN畫廊舉辦的個展 (2002、2005、2007，首爾)、米亞畫廊(2000，洛杉磯)、Yee Mock 畫廊(2000，首爾)。其作品也成為不少國際知名機構的收藏，例如：國立現代藝術博物館(韓國)、三星人壽、L G電子、希爾頓大飯店等。

308

藝術家簡歷

Lot 299

Lot 300

Lots 301, 311

SHIN Dongwon (Korean, b. 1963)

BAHK Seon Ghi (Korean, b. 1966)

Hiroyuki MATSUURA (Japanese, b. 1964)

Born in 1963, Shi Dongwon graduated from Cranbrook Academy of Art, Michigan, USA, in 2001, majoring in Ceramics. He became Artist-in-Residence in Michigan State University in 2002 and the John Michael Kohler Arts Center, Wisconsin, USA in 2003, and teaches now at the Korean National University of Arts. He was awarded a special prize in the “17th Seoul Contemporary Ceramic Arts Contest” (1997), and Honourable Mention in the “Horizon Award 2001” of the American Museum in SOFA (2001). He has participated in group exhibitions such as “Craftforms 2000” (USA); “Michigan Annual XXIX” (2001); “3rd World Ceramic Biennale – Ceramics and Architecture” (2005, Korea); “International Architecture Ceramic Exhibition” (2006, Korea). And he has held solo exhibitions including “The Overlooked” (2002, Michigan); “In Between” (2005, Seoul); “Still Life: Clay” (2006, Seoul).

Born in 1966, South Korea, Bahk Seon Ghi received his master’s degree from Chung-Ang University in Seoul in 1994, and studied Sculpture at the Accademia di Belle Arti Brera in Milan the following year. He has participated in several group exhibitions including “Salon of Natural Artists” (1999, Paris); “Arte si parte” (2000, Switzerland); “International Art Fair, Fiera di Arte Contemporanea Lisboa” (2003, Portugal); “Art LA” (2005, Los Angeles); “The Way of Viewing Objects” (2006, Seoul). He also held numerous solo exhibitions in Italy, Spain, Portugal, Germany and South Korea. His recent solos include “Existence” (2007, Spain) and “Optic Game” (2007, Beijing).

Born in Tokyo, Japan. He started to work as a graphic designer: advertising, packaging, binding and logo design in 1984. And the artist started to produce “Poster+Package+Skateboad” designS using “character illustration” themes. Exhibitions: 2007, “aniManga”, VIA07 Festival international, France. 2007, “Ultra New Visions”: Hiroyuki Matsuura Solo Exhibition, Eslite Gallery, Taipei, Taiwan. 2006, “Super Acrylic Skin, MIRAI projects” solo exhibition, Stockholm, Sweden. 2006, “JAPANIMATION!”, Beijing Tokyo Art Projects, Beijing, China. 2005, “Super Acrylic Skin”, Hiroyuki Matsuura Solo Exhibition, Tokyo Gallery, Tokyo, Japan.

申東媛 (韓國，1963年生)

朴善基 (韓國，1966年生)

松浦浩之 (日本，1964年生)

1963年生，2001年畢業自克蘭布魯克藝術學院陶藝系，在2002年擔任密西根州立大學駐校藝術家， 2003年擔任美國約翰麥可柯勒藝術中心常駐藝術家，現任教於韓國藝術大學，並曾獲得「第17屆首爾當代陶藝競賽」特別獎(1997)、以及SOFA美國手工藝博物館的「Horizon Award」佳作(2005)。其作品曾展覽於「手工藝展2000」(美國)、「密西根年度展XXIX」(2001，美國密西根)、「第三屆世界陶藝展–陶藝與建築」(2005，韓國)、「國際建築陶藝展」(2006，韓國)；及舉辦個展「The Overlooked」 (2002，密西根)、「兩者之間」(2005，首爾)、「靜物：陶」(2006，首爾)。

1966年生於韓國，朴善基於1994年在首爾中央大學完成碩士學位後，次年赴米藍布雷拉美術學院攻讀雕塑，並曾榮獲「布雷瑞年青雕塑家」獎 (1996，托爾托納，義大利)。其作品曾於多次聯展展出，如「自然風藝術家沙龍」(1999，巴黎)、「如果沒有藝術」(2000，瑞士)、「國際藝術博覽會 –里斯本當代藝術展」(2003，葡萄牙)、「洛城藝術」(2005，洛杉磯)、「觀看事物的方法」(2006，首爾)。另外，也曾在義大利、西班牙、葡萄牙、德國、韓國等地舉辦各展，如最近期的「存在」(2007，西班牙)、「視點遊戲」(2007，北京)。

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。

309

Artist Biographies

Lot 303

Lots 304, 306

Lot 302

Yoshitomo NARA (Japanese, b. 1959)

Ayako ROKKAKU (Japanese, b. 1982)

Tomoko KONOIKE (Japanese, b. 1960)

Born in Hirosaki City, Aomori, Japan, Yoshitomo now lives in Tokyo. Having most of his early works in illustrations, Yoshitomo developed in the late 1980s portraits of seemingly innocuous children, which have now become his main art style. The artist is infatuated with subjects with big heads and big eyes; he is well-known in depicting the variety of emotions showing through the character’s eyes, especially his famous squint look (as some see it as a demonstration of anger, and some think of it as the representation of evil). In the late 1990s, Yoshitomo also began to create three-dimensional works, and implemented different media into his artworks. Today, his works are in collections of the Museum of Modern Art in New York and Museum of Contemporary Art in Los Angeles among many other wellknown museums in the world.

Born in 1982 in Chiba, Japan, Ayako Rokkaku has never received any academic art education but learned to paint on her own. She started her career in painting in 2002, and her works are already common in many art fairs in Japan. Rokkaku has mastered her own painting technique. She applies acrylic paint on cardboard sheets with her bare hands. Adolescent children are the main subjects in her work, and are mostly illustrated from close-up. Rokkaku has won the prestigious Akio Goto Prize at Geisai # 9. Her works appeared in many solo exhibitions like shows held by Gallery Delaive (2007, Holland); by Gallerie Moderne (2007, Denmark); by Galerie Teo (2007, Tokyo); by Gallerie Wild (2008, Germany); Juliana Gallery (2008, Korea). And she has joined several international art fairs such as “Art Cologne” (2007, Holland); “Shanghai Art Fair 2007”; “Art Singapore 2007”; “Art Fair Tokyo 2008”; “Art Amsterdam” (2008); “Art Taipei 2008”.

Born in 1960, Akita, Japan. Konoike graduated from the Japanese Arts department of Tokyo National University of Fine Arts and Music. After graduation, she entered a toy company and got herself involved in the planning and project team for inventing new toys to sell into the market. Konoike’s figures with doll-like facial expressions may be seen as a derivation of her career as a member of this team. Konoike demands viewers to experience the work with all his/ her senses. The pellucidity that allow nothing near, or the distance of tangible things are what Konoike perceives as beautiful. Knives, wolves or snow are some of her dominant motifs that embody this versatility. Her works have been shown in solo exhibitions “The planet is covered by silvery sleep” (2006, Tokyo); “Chapter#0” (2006, Okayama); “Emergency Landing in Mimio” (2005, Tokyo); “Outside Over There” (2002, Tokyo); and group shows in “Beautiful New World – Contemporary Visual Culture from Japan” (2007, China); “The Geopolitics of Animation” (2007, Spain); “Rapt! - 20 Contemporary Artists from Japan” (2006, Australia).

奈良美智 (日本，1959年生)

六角彩子 (日本，1982年生)

鴻池朋子 (日本，1960年生)

生於日本青森縣弘前市，現居住於東京。早期的作品以插畫性質為多，但在1980年代後期即發展出他以小人頭像為主的風格；奈良美智對於大頭和大眼型的小人相當著迷，他的特色在於塑造各種帶有情感的眼神，其中最知名的是斜視的眼神（有人說是代表憤怒、有人則說是代表了邪惡）。在1990年代後期，他也開始創作立體作品，並採用不同媒材拼組的方式。今日他的作品已被許多博物館收藏，如紐約現代藝術博物館和洛杉磯當代藝術博物館等。

1982年出生於日本千葉，六角彩子從未上過任何藝術學校，其畫作技巧與本領皆為自學的，並從2002 年起正式開啟其繪畫創作之路，目前已在日本的許多藝術節上展出了作品。六角彩子的繪畫技巧上已經自成一派。她空手運用丙烯酸樹脂漆在紙板上作畫；其畫作的主題是青少年兒童，大部分從近距離進行描繪。六角彩子曾在日本「第9屆藝祭藝術節」上獲頒極具聲望的「後藤明男賞」獎。於2007 年分別在荷蘭（德萊夫畫廊）、丹麥（現代繪畫畫廊）、日本（Teo畫廊）等地舉辦個展，2008年則在德國（Wild畫廊）、韓國（朱莉亞娜畫廊）舉辦個展。另外也參加過許多重要的國際藝術展，如2007 年的「科隆國際藝術展」（荷蘭）、上海、新加坡藝術博覽會；2008年的東京、阿姆斯特丹、台北藝術博覽會。

1960年生於日本秋田，畢業於東京藝術大學日本藝術學院。畢業後，她進入一家玩具公司，開發上市的新玩具。鴻池朋子因設計洋娃娃狀的面部表情而成名，這也可以被視為她加入這個團隊工作生涯的開始。鴻池朋子要求觀者用個人的感覺去體驗作品，她認為那種不允許任何事物靠近，或者與實物保持距離的透明感是美好的。匕首、狼或雪是她表達這種多樣性的主要圖形。曾舉辦個展：「銀色夜晚下的行星」(2006，東京)、「第0章」(2006，大阪)、「Mimio緊急迫降」(2005，東京)、「在外面」 (2002，東京)；以及多次海外聯展「美麗新世界—來自日本的當代虛擬文化」(2007，中國)、「動畫地緣政治學」(2007，西班牙)、「Rapt—來自日本的20個當代藝術家」(2006，澳大利亞)。

310

藝術家簡歷

Lot 308

Lot 305

Lot 307

Atsushi NAKAYA (Japanese, b. 1977)

Lyntalo TORII (Japanese, b. 1966)

Yuko IIDA (Japanese, b. 1974)

Born in 1977 in Nagoya, Aichi, Japan, Nakaya finished his Master’s of fine art at Kanazawa College of Art in 2003. His first solo exhibition “Ringorome” was held at Kanazawa in 2005, and had his next solo exhibition “Undream in Wonder World” at Tokyo Wonder Site in 2006. Nakaya also took part in group exhibitions such as “Beautiful Artist”, “Next Door”, “GEISAI”. At “GEISAI”, he took part in “GEISAI #10”, in which he exhibited ten circular-canvas artworks that led him to win the Naruyama Gallery award and the Roppongi hills Art & Design Store award.

Born in Tokyo, Torii is a modern artist, and voice dubber. He graduated from the institute of 1st literature, specializing in eastern philosophy, Waseda University. After his graduation, he studied abroad in France for 9 years. After he came back to Japan, he started his art and voice dubbing career, with the name Lyntalo Torii.

Born in 1974, Tokyo, Japan, Iida Yuko graduated from the Central Academy of Fine Arts in Beijing, China, in 1991, where she later obtained her master’s degree in Oil Painting in 2007, and was awarded 3rd prize for “Excellent Graduation Works”. Her works have been shown in solo exhibitions “Beyond the Window” (2004, Tokyo); “An Uneasy Journey” (2006, Seoul & Tokyo); “An Uneasy Journey through Asia” (2008, Beijing); and group exhibitions in “Toyota Art Collection 2006” (Japan); “Post ‘70s Art Archives” (2007, Beijing); “Lu Xiao Annual Exhibition 2” (2007, Beijing).

中矢篤志 (日本，1977年生)

鳥井林太朗 (日本，1966年生)

飯田祐子 (日本，1974年生)

1977年生於日本愛知縣名古屋市。2003年於金澤美術工藝大學完成碩士學位。2005年，在金澤彗星俱樂部舉行首次個展「RINGOROME」；2006年在東京都驚異世界藝術村再次舉行個展「不思議世界」。還參加了一些聯展，如「美麗的藝術家」、「隔壁」、「藝祭」。在「藝祭」中，他參與了「藝祭＃10」，展示10件圓帆布藝術品，獲得了成山畫廊獎和六本木之丘藝術與設計工坊獎的殊榮。

鳥居賞也是位在東京出身的現代美術家、配音員。於早稻田大學第一文學部東洋哲學科畢業，之後在法國留學了九年後回到日本，重新以鳥井林太朗這個名字開始從事各種配音及藝術工作。

1974年生於日本東京，於1999年畢業自北京的中央美術學院油畫系，2007年於該校完成碩士學位，並在同年獲得該校研究生優秀畢業作品三等獎。曾舉辦個展「窗後邊」(2004，東京)、「不安之旅」 (2006，首爾、東京)、「亞洲不安之旅」(2008，北京)；以及參加多項聯展「日韓現代美術交流展」 (2001，埼玉，日本)、「十月談第二回展」(2002，北京)、「豐田汽車藝術收藏品展 2006」(日本)、「70後藝術檔案」(2007，北京)、「綠校第二次年展」(2007，北京)。

311

Artist Biographies

Lot 310 Lot 309

Lot 312

Daisuke SAMEJIMA (Japanese, b. 1979)

Jun HASEGAWA (Japanese, b. 1969)

YANG Mao-lin (b. 1953)

Born in 1979 in Hyogo, Japan, Samejima completed his master’s degree, specializing in Oil Painting at the Tama Art University in Japan. He was awarded First Prize for “Tokyo Wonder Wall 2002” held by the Museum of Contemporary Art in Tokyo. His solo exhibitions include “Walk in Cube”(2003, Tokyo); “Beautiful World” (2005, Tokyo); “Everyday Journey” (2006, Osaka, Japan); and he has participated in group exhibitions like “Cow Parade Tokyo in Marunouchi 2003” (2003, Tokyo); “Ongoing Vol.02~Vol.05” (2003-2006, Yokohama, Japan); the “9th Taro Okamoto Memorial Fine Arts Award” (2006, Kawasaki, Japan); “Art Beijing 2008”; “Shanghai Art Fair 2008”.

Born in 1969 in Mie, Japan, Hasegawa graduated in 1995 from Goldsmiths College of the University of London, majoring in Fine Arts. His solo exhibitions have been held in various places including Rome (2001); Fukuoka, Japan (2006); Tokyo (2002; 2006); Essen, Germany (2006). His works were also presented in group shows such as “The Japanese Experience – Inevitable” (2002-2003, Germany & Austria); “Brand New and Retro” (2004, London); “Voca 2004” (2004, Tokyo); “Japan Pop” (2005, Sweden); “My Cup Of Tea - Private Luxury” (2006, Tokyo); “Portrait Session” (2007, Hiroshima, Japan).

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 has criticized Taiwanese social phenomena under the long-term influence of American culture and Japanese culture. Then he added multiple-media in his installation work to respond to current Taiwan society. Yang has been frequently invited to participate in international art exhibitions. In 1999, his early series of Zeelandia Memorandum was shown at the 48th Venice Biennale and was well received by international art critics and collectors.

鮫島大輔 (日本，1979年生)

長谷川淳 (日本，1969年生)

楊茂林 (1953年生)

1979年生於日本兵庫縣，2005年完成多摩美術大學碩士學位，專攻油畫，曾在2002年獲得東京都現代美術館「東京2002奇跡」一等獎。其作品個展包括「步行在立方中」(2003，東京)、「美麗世界」 (2005，東京)、「每天旅行」(2006，大阪)；參加的聯展如「丸之內2003年牛身上的藝術展」(2003，東京)、「進行中第2~5卷」(2003-2006，橫濱)、「第 9屆紀念美術獎」(2006，日本川崎)、「藝術北京 2008」、「上海藝術博覽會」。

1969年出生於日本美江，1995年畢業於倫敦大學金．史密斯學院美術系。曾在海內外等地舉辦多次各展，地點如義大利羅馬（2001）、日本福岡（2006）、東京（2002、2006）、德國埃森（2006）；以及參加各地聯展「日本經驗–必然」 (2002-2003，德國、奧地利）、「全新與復古」（2004，倫敦）、「呼喚2004」（2004，東京）、「日本流行瑞士斯德哥爾摩」（2005，瑞典遠東考古博物館）、「我的最愛－私人奢侈品」（2006，東京)、「肖像會議」（2007，日本廣島）。

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。

312

藝術家簡歷

Lots 313, 338

Lots 314, 315

Lot 316

SHI Lei (b. 1961)

CHIU Ya-tsai (b. 1949)

YANG Ren-ming (b. 1962)

Born in 1961 in Dezhou city of Shandong Province, China, Shi Lei graduated from the Arts Department of Hebei Normal University in 1985, and began working at the Institute of Mural Painting and Sculptural Arts. In 1991, he completed his master degree studies at the Hubei Fine Arts Academy, and afterwards worked in Hubei Provincial Fine Arts Academy. In 1995, he worked as a researcher in the Fine Arts College of South China Normal University, and is now a professor in the same college. His exhibitions include: “First Annual National Oil Painting Exhibition” (Beijing, 1991); “Contemporary Chinese Oil Painting Exhibition” (Hong Kong, 1994); “Asia International Fine Art Exhibition” ( Japan, 1999); “Chinese Contemporary Art Exhibition” (Italy, 2000); “City Ecology—Contemporary Art Exhibition” (Poland, 2002); “In Honor of ’85—Contemporary Art Exhibition” (Shanghai, 2005) and “Chinese Contemporary Art Annual Exhibition” (Beijing, 2006).

Chiu was born in 1949 in Yi-lan on the east coast of Taiwan. A loner and an underachiever in school, he began his mandatory military service and at the same time began to read. Beginning with Chinese history and progressing to the classics of Western literature in translation for example the masterpieces of Shakespeare and Dostevsky, he was inspired by tales of heroes and began to write and paint. Chiu's portraits of Taiwan's modern-day literati are greatly influenced by the figure painting of the Tang dynasty (618-906 AD) seen in the hooked noses and almondshaped 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 selfpossessed. 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.

Born in Kaohsiung, Taiwan, Yang graduated from the Department of Fine Art Oil Paintings, Chinese Culture University in 1985; he also received the Hsiung Shih Best New Artist award in the same year. In 1988 he studied abroad in France. After his return in 1994 he held the “New Plants Grown from Black Water” exhibition in Galorie Pierre, Taichung. He had a solo exhibition in the Grigny Culture Center in France, held “Between Imagination and Reality” exhibition in the American Cultural Center, Taipei; Tri annual exhibition in Daejeon, Korea; Biannual exhibition in Taipei Fine Arts Museum; “The Educated Man” dual solo exhibition in Chicago Gallery; and “New Plants Grown from Black Water”, the 8th Fukuoka Asian Art Museum international art exhibition.

石磊 (1961年生)

邱亞才 (1949年生)

楊仁明（1962年生）

1961年生於中國山東省德州市，1985年畢業於河北師範大學美術系後，於石家莊壁畫雕塑研究所任創作員。1991年獲湖北美術學院碩士學位，並到湖北省美術院任美術師，1995年於（廣州）華南師範大學美術研究所任副研究員，現為該校美術學院教授。其參與展覽包括：1991年首屆「中國油畫年展」（北京）、「中國油畫展」（1994，香港）、「亞洲藝術展」（1999，日本）、「中國當代繪畫展」（2000，義大利）、「城市生態－中國當代藝術展」（2002，波蘭）、「85’致敬─當代藝術展」（2005，上海）、「中國當代藝術年鑒展」（2006，北京）等。

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。

台灣高雄人，1985畢業於文化大學美術系西畫組，同年獲選雄獅新人獎。1988 赴法研習。回台後1994 年於臻品藝術中心舉辦個展「從黑水長出來的新植物」，期間舉辦法國GRIGNY文化中心個展、台北美國文化中心個展「在想像與現實之間」、韓國大田三年展、台北市立美術館雙年展、芝加哥畫廊博覽會雙個展「知識份子」、日本第八屆福岡亞細亞國際美展「從黑水長出來的新植物」等。

313

Artist Biographies

Lot 317

Lot 318

Lot 319

TSONG Pu (b. 1947)

HUANG Mingchun (b. 1971)

CHEN Yi-Lang (b. 1968)

Born in Shanghai in 1947 and graduated from Universidad Complutense de Madrid in 1978. He won the Taipei Mayor's Award of the Chinese Modern Painting New Prospect show in 1984 and the Taipei Modern Art Biennale Award in 1992. Since 1970 he has held many personal and joint exhibitions domestically and abroad. He used small imprints to constitute big units in composition in his early years and compared those small mechanical-like grids to his own worldview. His works were collected by the Taipei Fine Arts Museum, Hara Museum of Contemporary Art, Japan, Portside Gallery, Yokohama, Japan, and National Taiwan Museum of Fine Arts.

Born in Taipei, Taiwan. Space plays a prior component in his painting works, so it makes implicit characters, events or even every single thing which lies in there out of those elements ready to be modeled. 1989, one of his works was selected for the Taipei Art Exhibition; 2000-2002, he participated in the Asia Collective Exhibition of Painting & Calligraphy; 2003, solo oil paintings exhibition in Fish Art & Coffee Gallery. 2005, solo exhibition in Galerie la Forge, France. 2006, National Taiwan Museum of Fine Arts bought one of his large scale works “Reappearance of Grace” for its permanent collection. 2007, solo exhibition in Art Taipei International Fair.

Born in Xikou, Chiayi. The artist graduated from Sieh Chih Vocational High School in 1986, and continued to practice his art with master Yeh HuanMu in Sanyi. He founded his own studio in 1991, and created works based on traditional figures such as dragons, phoenixes, flowers, birds and quadrupeds. In 1999, he transferred his studio to the Chiayi Longteng mountain area, and gradually focused on creating woodcarving. Chen Yi-Lang participated in exhibitions as below: 2004 “Fertile Man” in Art Taipei; 2005 “What a Great Momentum of Taiwan,” Artists Expo, Taipei; 2006 “A Light Party of Artists” in Eslite Art Center and “A-Long” (Dragon), a solo exhibition in Sanyi Wood Sculpture Museum.

莊普 (1947年生)

黃敏俊 (1971年生)

陳義郎 (1968年生)

1947年生於上海，1978年畢業於西班牙馬德里大學。1984年獲中國現代繪畫新展望台北市長獎。 1992年獲台北現代美術雙年展獎。1970年起於國內外舉辦過多次個展及聯展。早期以慣用的印記小單元，組構成畫面的大單元。看似機械的小方格印記，莊普拿來與他自己的宇宙觀相印證。其作品獲台北市立美術館、日本原美術館、日本橫濱港邊畫廊、國立台灣美術館等典藏。

出生於台灣台北。黃敏俊的畫作常是以空間為元件，讓身處其中的人、事、物都成為等候被雕刻的元素；光線則是雕刻家，雕塑出空間中的所有事物；而畫家只是推手，用畫布為我們留下那些美好值得記憶的畫面。只要能善用光的特性，便能為畫面帶來更多刺激與焦點，因而呈現出更有生命力的色彩，雕塑出當代的元素，把真實融入畫面中，也把畫作雕塑成一幅幅動人的藝術品。生涯中重要的里程碑如下：1984-1987年創作、寫生性獎項約五十多件。1988年中日美術交流展特優獎。1989年北市美展入選。2000~2002年亞太地區書畫聯展。2003年台北秋刀魚藝術中心油畫個展。2005年法國「拉弗吉」畫廊個展。2006年國立台灣美術館購藏其大幅油畫創作《風華再現》。 2007年台北國際藝術博覽會個展。

1968年出生於嘉義溪口，1986年畢業於協志工商機工科，並到三義習藝於葉煥木師父，1991年成立個人工作室，以龍鳳花鳥走獸等傳統題材為主要創作項目；1999年，將工作室遷移至三義龍騰山區，漸轉為木雕創作。曾參與以下展覽：2004「強力肛交」台北國際藝術博覽會，2005年「台灣聲視好大」藝術家博覽會，2006年台北誠品藝文空間「藝術家的光影派對」及「阿龍」個展於三義木雕博物館。

314

藝術家簡歷

Lot 323

Lot 320

Lot 321

REN Zhe (b. 1983)

LI Kuang-yu (b. 1954)

MA Liang (Maleonn, b. 1972)

Born in 1983, Ren Zhe graduated in 2005 from the Academy of Arts & Design of Tsinghua University, China, majoring in Sculpture. He won third prize of the Ikuo Hirayama Award in 2003, and although a young artist in China, since 2005, his works could be seen in many international exhibitions such as “The First 798 Biennale” (Beijing); “Crossovers beyond art & design” (2006, Shanghai); “The 10th Art Exposition of Shanghai” (2006); “International Circuit Exhibition of Landscape Artwork Show of the 2008 Olympic Games” (2007); “International Contemporary Art Fair 2007” (Hong Kong); “Asian Contemporary Art Fair” (2007, New York); and the recent group exhibition “I’m Ready” (2008, Taipei).

He was born in Kaohsiung and graduated from the National Taiwan Academy of Art, majoring in sculpture. He received his master’s degree in Art from Madrid College in 1983, and he has won the Five Major Art Colleges award from the Cultural Department in Spain. He also has been selected by the Coin Sculptures Exhibition of Spain Autumn Salon.

Born in 1972 in Shanghai, he graduated in 1995 from the Shanghai Art University. In 1999 he set up his own workshop ‘YES Videoshop’ in Shanghai and Beijing to work as a director for commercials and short videos, producing many short videos very popular in the Chinese youth market. His best known work is the “ Channel [V] - Eye Exercise - Made in China” and in 2004 he was rated by the China Advertising Guide as one of the most influential commercial directors in China. In April 2004 he began working on video art, using digital video systems to create visual artworks. His unusual creative style spanning two disciplines as well as skilful management of visual techniques meant that his works released over the Internet at the end of 2004 immediately attracted a great deal of attention. Dozens of local and international media organizations such as “Vision” “China Photography” “Friends of Film” Singapore’s “Zaobao”; Indigo Magazine and The Radio Magazine have also carried special reports on his work as well. In 2005 Canada’s CBC News interviewed him about his filmmaking and made a documentary about his artwork.

任哲 (1983年生)

李光裕 (1954年生)

馬良 (1972年生)

1983年出生，曾於2003年獲得日本《平山鬱夫》三等獎，2005年畢業於清華大學美術學院雕塑系。雖為中國年輕的新一代畫家，卻也參加過多次國內外展覽，從2005年起的「首屆798雙年展」(北京)、「跨越：當代藝術與設計展」(2006，上海)、「上海第十屆藝術博覽會」(2006)、「2008北京奧運景觀國際巡迴展」(2007)、「香港國際藝術博覽會」 (2007)、「亞洲當代藝術博覽會」(2007，紐約)、以及近期的台北聯展「我準備好了」(2008)。

1954年生於高雄。國立藝專雕塑科畢，1983年西班牙國立馬德里大學美術學院碩士班畢業。曾獲西班牙文化部五大藝術學院獎，並多次入選西班牙秋季沙龍，錢幣浮雕展。

1972年出生於上海，1995年畢業於上海美術大學， 1999年在上海和北京設立自己的工作室 YES video s hop，從事廣告影片和視頻短片的導演，製作了很多在中國年輕人市場非常受歡迎的短片作品。代表作品：「Channel[v]-眼保健操，中國製造」， 2004 年被中國廣告導報評為中國最具影響力的廣告導演之一。 2004年4月開始藝術攝影創作，使用數位攝影系統創作視覺藝術作品。由於特殊的跨越兩個領域的創作風格，以及熟練的對視覺技巧的控制力，作品自2004年底經網路發表，引起很大轟動。先後有「視覺」、「中國攝影」、「攝影之友」、新加坡《聯合早報》、《靛藍》雜誌、《電台雜誌》等幾十家海內外專業媒體對其作品做過專訪。2005年3月作為攝影師接受加拿大CBC電視台訪問，並拍攝關於其攝影創作的專題記錄片，並已於2006年初在加拿大播映，受到熱烈的回應。

315

Artist Biographies

Lot 324

Lot 327

Lots 325, 326

MA Liuming (b. 1969)

MIAO Xiaochun (b. 1964)

CANG Xin (b. 1967)

Ma was born in Hubei Province, China, in 1969. He graduated from the Oil Painting Department of the Hubei Academy of Fine Arts in 1991. Ma is considered a conceptual performance artist, and has performed solo shows including “Untitled II” at the 7th International Instanbul Biennale in 2001; “Any Day” (2003, Japan); and other solo exhibitions in Beijing, China (2004); Seoul, South Korea (2006); Madrid, Spain (2007). He has also participated in numerous group performances and exhibitions, including the Traveling Exhibition: “Translated Acts” at the Queens Museum of Art (2001), and “Peripheries Become the Center” at the 2003 Prague Biennale.

Born in Wuxi, Jiangsu province. Miao received his B.A. from Nanjing University in 1986 and then an M. A. from the Central Academy of Fine Arts in 1989. He went to study at the Kunsthochschule Kassel, Germany from 1995 to 1999 and received another M. A. degree. Since 2000, he has been teaching at the Department of Photography and Digital Media of the Central Academy of Fine Arts. He held solo exhibitions at the Gallery of the Central Academy of Fine Arts (1988); Beijing Art Museum (1991); National Museum of Chinese History (1992); Beijing Art Museum and Shanghai Art Museum (1994); “Kulturbegegnungen” held by Stellwerk Gallery (1999, Kassel, Germany); “From East to West and back to East” (Beijing, 2001); “Linger” (2002, Lucerne, Switzerland). Group exhibitions he participated in include: “Urban creation – Shanghai Biennale” (2002, Shanghai); “The 2nd Seoul international media art Biennale” (2002, Korea); “China-Tradition and Modern” (2002, Germany); “Golden Harvest-Chinese Contemporary Art” (2002, Croatia); “Me and More” (2003, Switzerland); “Art Fair Zurich” (2003, Switzerland).

Born in Suihua city of Heilongjiang province, Manchu, in 1967; he attended literature classes in Tianjin Music College in 1988-89. He started learning painting in 1991. From 1993 he moved to the eastern part of the Beijing Painter’s Village. Suffering from illness in his childhood and the divorce of his parents, Cang Xin has grown into an internationally active Chinese artist. Cang Xin believes that his art inherits the spirit of Saman and his behavioral works perceive the world with a whimsical perceiving method, taking himself as the focus that maintains the natural and social relationships. His exhibitions included: second part of the series “Step on the Face” (performance art), (Beijing, 1994); “Heighten the Unnamed Hill for One Meter” (Beijing, 1995); “Exhibition of Modern Four-Person-Photograph”(Japan,1999);“Ex hibition of Contemporary Four-Person-Photograph”, (London, 2000); Photograph Exhibition of Action Performance in “Asian Art Festival”, (Paris, 2000) etc.

馬六明 (1969年生)

繆曉春 (1964生 )

蒼鑫 (1967年生)

1969年出生於中國湖北省。1991年畢業於湖北美術院油畫系。馬六明被視為一位行為觀念藝術家，個人演出包跨在第七屆伊斯坦布爾國際雙年展的「無題系列二」(2001)、日本富岡亞洲美術館的「某天」 (2003)、「馬六明展覽」 (2004，北京)、首爾個展 (2006)、西班牙馬德里「馬六明個展」(2007)。他也曾參加過無數團體演出和展覽，包括2002年皇后美術館「Translated Acts」巡迴展，和2003年布拉格雙年展「Peripheries Become the Center」。

生於江蘇無錫。1986年畢業於南京大學，獲學士學位。1986-1989年畢業於中央美術學院，獲碩士學位，1995-1999年畢業於德國卡塞爾美術學院，獲碩士學位。2000至今任教於中央美術學院攝影與數碼媒體工作室。個展有：中央美術學院畫廊(1988)、北京藝術博物館(1991)、中國歷史博物館(1992)、北京藝術博物館和上海美術館(1994)、斯特維克畫廊舉辦的「文化碰撞」(1999，德國卡塞爾)、中央美術學院展覽館的「從東到西，從西到東」(2001)、麥勒畫廊的「盤桓」(2002，瑞士盧塞恩) 等。主要聯展：「第二屆韓國漢城媒體藝術雙年展」(2002年，韓國)、「我和更多」(2003年，瑞士) 等。

1967年生於滿族黑龍江省綏化市。1988年至1989 年於天津音樂學院文學進修，1991年開始自學繪畫，1993年搬至北京畫家東村。兒時經歷過疾病和家庭破裂，蒼鑫自北京「東村」成長為一名活躍國際的中國藝術家。蒼鑫認為自己的藝術秉承了「薩滿」的精神氣息，他的行為作品總以一種異想天開的身體感官方式體驗世間萬物，將自身作為維繫自然及社會關係的焦點。其參與展覽包括：「踩臉」之二（行為藝術）（1994，北京）、「為無名山增高一米」行為展（1995，北京）、「日本四人現代攝影展」（1999，日本）、「中國當代四人攝影展」（2000，倫敦）、「亞洲藝術節」行為圖片展（2000，巴黎）等。

316

藝術家簡歷

Lot 328

Lot 330

Lot 329

KO Si Chi (b. 1929)

HONG Lei (b. 1960)

CUI Xiuwen (b. 1970)

Born in 1929, Tainan, Ko Si Chi is a well-known senior photographer in Taiwan, he loved literature, music and painting in his teenage years. He got his first camera at the age of 19, and he has devoted himself to photography since then for over 50 years. New York’s Hammer Gallery held a photography exhibition for Ko Si Chi in 1994, it was the first ever photography exhibition held in that gallery since its establishment 70 years ago, it confirms the quality and details derived from Ko’s “transfer technique.” It also elevated the value of photography collections. He was invited by the National Arts Club of New York to held an exhibition for the Taiwan Arts Festival in 1999. He was invited by the Edward Carter Gallery in SOHO, New York to hold another exhibition in 2001.

Born in Changzhou city, Jiangsu province, China, Hong Lei graduated from the Nanjing Academy of Arts in 1987 and pursued further studies in engraving at the Central Academy of Fine Arts in 1993. His photographs were selected by many exhibitions in China and abroad such as the first Guangzhou Biennale, 1992; “Alors, la china”, Pompidou Center, Paris 2003; “Between Past and Future: New Photography and Video from China”, University of Chicago and International Center of Photography in New York, 2004. He held his first solo exhibition in America: “An Alternative Beauty” in New York in 2003.

Born in 1970 in Harbin, China, Cui graduated from the Fine Arts Department of Northeast Normal University in 1990 and afterwards from the Oil Painting Department of the Central Academy of Fine Arts in 1996. Her works appeared in solo exhibitions like “Cui Xiuwen” (2005, Italy; China & 2006, Los Angeles); “Angel: Cui Xiuwen’s Solo Exhibition” (2007, Milan); “Quarter: Cui Xiuwen’s Solo Exhibition” (2007, Florence Museum, Italy). She also attended numerous group exhibitions like “Between Past and Future: New Photography and Video from China” (2005, London); “Women in A Society of Double-sexuality” (2006, Bangkok, Thailand); “Today’s Documents” (2007, Beijing); “China - Facing Reality” (2007, Vienna, Austria); “China Comes” (2007, Naples, Italy).

柯錫杰 (1929年生)

洪磊 (1960年生)

崔岫聞 (1970年生)

柯錫杰先生，1929年生，台南市人，為國內知名的前輩攝影家，自幼喜好文學、音樂、繪畫的他，自十九歲拿起生平第一部相機之後，便全心投入在攝影藝術的追求中，至今五十多年的時間，不曾改變過堅持。1994年世界知名的紐約漢默畫廊舉辦了「柯錫杰的攝影展」，這是該藝廊自成立七十年以來首度展出攝影作品，也肯定了柯錫杰多年來以「轉染法」所表現的彩色攝影精緻細膩的高度品質，同時也增加了攝影藝術作品的收藏價值。1999 年應邀於紐約市國家藝術俱樂部為「台灣藝術月」活動舉辦攝影個展。2001年應邀在紐約蘇活區艾德華．卡特華廊舉辦攝影個展。

出生於江蘇省常州市。1987年畢業於南京藝術學院，1993年入中央美術學院學習雕刻。曾參加的國際藝術展其中有：1992年廣州現代藝術雙年展、 2003年巴黎龐畢度藝術中心舉辦的「中國當代藝術展」，2004年紐約國際攝影中心和芝加哥當代美術館等舉辦的「過去和將來之間—中國新攝影與錄像藝術展」等。2003年第一次在美國紐約舉行「洪磊的江南敘述」個展，獲致國際的矚目。

1970年出生於哈爾濱，1990年畢業於吉林長春東北師大美術系，1996年畢業於中央美術學院第八屆油畫研修班。其作品曾參加「崔岫聞個展」(2005，義大利、北京；2006，洛杉磯)、「天使：崔岫聞個展」(2007，米蘭)、「一刻鐘：崔岫聞個展」 (2007，佛羅倫斯博物館，義大利)。另外，參加過的聯展則有「在過去和未來之間–來自中國的新圖片和影像」(2005，倫敦)、「雙性社會中的女性」 (2006，泰國曼谷)、「今日文獻展」(2007，北京)、「中國–面向現實」(2007，奧地利維也納)、「中國來了」(2007，義大利拿坡里)。

317

Artist Biographies

Lot 331

Lot 332

Lot 333

LI Bangyao (b. 1954)

HUANG Po-Ren (b. 1970)

LIN Chien-jung (b. 1970)

Born in 1954 in Wuhan, China, Li Bangyao graduated from the Art Department of Hubei Academy of Art, China. He teaches as a professor in the Art Department of South China Normal University since 1993. He has participated in exhibitions like “the 12th, 13th, 14th Asian International Art Exhibition” (1997, Macau; 1998, Malaysia; 1999, Japan); “Society– Shangh Art Gallery The Second Academic Invitational Exhibition” (2000, Chengdu, China); “City Slang– Modern Art in the Zhujiang River Delta” (2001, China); “Changing Phantasm– Asian Art 2000” (2001, UK); “Reshuffle– The Possible Use of Ink and Water in Modern Art” (2001, China).

Born in Taichung, Taiwan. Huang Po-Ren graduated from the department of sculpture of Fu-Hsin Trade & Art School. He won first prize and a major award in the art exhibition in central Taiwan “Flying 99” and participated in the Art Taipei International Fair. 2001, “Emotion of Track” sculpture exhibition, Sculpture Museum of Miaoli. 2002, the first international mini sculpture exhibition in Taiwan. 2004, “Wood Horse” was collected by Taichung County Culture Center. 2005, “Note of Dogs”, the artist’s solo exhibition in Taichung County Culture Center, which also published “Iron Wood Forest”. “Note of Dogs” in the same year. 2006, “Happy Time of the Note of Dogs” was collected by National Taiwan Museum of Fine Arts. 2007, he participated in the Art Taipei International Fair.

Born in 1970 in Taichung, Taiwan, LIN Chien-jung graduated from the Department of Fine Arts of Tunghai University in 1993, and received his master’s degree in 1998 from the Graduate Institute of Plastic Arts of Tainan National University of the Arts. He lives and works in Taichung as a Lecturer in the Department of Interior and Landscape at Feng Chia University. He has won fellowships to join as residence artist in “The Gasworks Artists’ Studio” (London) and the “ARCUS Project 2004” (Ibaraki, Japan) in 2002 and 2004 respectively. His solo exhibitions include “Omen to Leave” (2000, Taipei); “Lin ChienJung Solo Exhibition” (2000, Taipei); “z Z Z” (2003, Taipei); “Hell-O” (2004, Japan). Some of the group shows he joined are: “Very Fun Park-Contemporary Art from Taiwan” (2001, Australia); “Art of the “E” Generation in Taiwan” (2005, Taichung); “Licensing International Show – Art in Taiwan” (2005, New York); “ART TAIPEI 2005”; “Hualien International Stone Sculpture Festival – Exhibition of Future Sculpture” (2005, Hualien, Taiwan).

李邦耀 (1954年生)

黃柏仁 (1970年生)

林建榮 (1970年生)

1954年生於中國武漢，1978年畢業自湖北藝術學院美術系，現為廣州華南師範大學美術系教授。其作品曾展於「第12、13、14屆亞洲國際藝術展」 (1997，澳門、1998，馬來西亞、1999，日本)、「社會–上河美術館第二屆學術邀請展」(2000，成都)、「城市俚語–珠江三角洲的當代藝術」(2001，中國)、「變化中的幻象–亞洲藝術2000」(2001，英國)、「重新洗牌–水墨資源在當代藝術中的運用」 (2001，中國)。

1970年出生於台中，台灣。1989年復興商工雕塑組畢業，1999年中部美展雕塑類第一名及市長獎，參加台北國際藝術博覽會；2001年，雕痕情深木雕展，苗栗木雕博物館，以及同年的奧地利格拉茲國際雕塑展；2002年，台灣第一屆國際袖珍雕塑展； 2004年，其作品《木馬》受台中縣立文化中心典藏；2005年，於台中縣立文化中心舉行「狗札記．黃柏仁雕塑展」，及出版《鐵木叢林．狗札記作品集》；2006年，《狗札記之快樂時光》為國立台灣美術館購藏；2007年參加台北國際藝術博覽會。

1970年生於台灣台中，1993年畢業於東海大學美術系，1998年畢業於國立台南藝術大學造形藝術研究所，現為逢甲大學建築系及室內／景觀設計系兼任講師，居住台中。曾於2002年獲選為英國倫敦蓋斯沃克藝術工作室的駐村藝術家，後於2004年赴日參加日本茨城縣的阿庫斯駐村藝術家計畫。發表過的個展有「離鄉的預感」(2000，台北)、「林建榮個展」(2000，台北)、「z Z Z」(2003，台北)、「地獄-O」(2004，日本)。也參加過眾多聯展，例如：「台灣當代藝術展�粉樂町」(2001，澳洲)、「E術誕生—台灣藝術新秀展」(2005，台中)、「2005紐約國際授權展—Art in Taiwan台灣館」(2005，美國)、「2005台北國際藝術博覽會」、「花蓮國際石雕藝術季－未來雕塑主題展」(2005，花蓮)。

318

藝術家簡歷

Lot 334

Lot 335

Lots 336, 341

PENG Kuan-jun (b. 1961)

ZHANG Hui (b. 1969)

XIONG Yu (b. 1975)

Born in Chu-Tung, Hsinchu County in 1961, he graduated from the National Institute of the Arts, Taiwan, in 1990, He won first prize in “the Fourth Taipei County Exhibition Sculpture Group,” First Prize in “the Thirteenth National Art Exhibition Sculpture Group” in 1992, and First Prize in “the Taipei City Art Exhibition Sculpture Group” in 1994, making him a very active mid-generation Taiwanese sculptor. In terms of style, Peng’s recent figure sculptures focus more on real-life bodies, with elegant postures and reserved expressions, displaying the touching spirit of young females, some confident and proud, some quiet and steady, some are nude, some dressed fashionably, some like a breeze, and some dynamic; different appearances have their unique touching glamour.

Born in Hebei. Zhang graduated from the Sichuan Fine Arts Institute in 1993 and started to live and work in Beijing in 1998. Zhang is now a full-time painter. In Zhang’s paintings, the audience can see the impact of social and cultural changes on female subjects. In particular, the post-ideology in China of the 90’s is characterized by the freedom for selfexpression and body-liberation. Such a background promotes cuteness and cartoonization as well as a self-contentment and indifference in respect to the political and social responsibilities of the younger generation. Little by little, young females have lost the ability of traditional woman for independent thinking and the desire for self-liberation, albeit all the satiated pleasures as a woman. Such change may be called a cultural regression. Zhang’s exhibition resume includes “At work, off work” in 2005 and the “Time and Space Exhibition” in the 798 Factory in Beijing in 2006.

Born in Chengdu, Sichuan, Xiong Yu graduated from the attached middle school of the Sichuan Academy of Fine Arts in 1995, and rose up into the oil painting department of the Sichuan Academy of Fine Arts. In 1999, he graduated from the oil painting department of the Sichuan Academy of Fine Arts and was admitted to the plastic arts department of the Sichuan Academy of Fine Arts as a professional graduate student of oil painting in the same year. In 2002, he obtained the Sichuan Art Academy oil painting master’s degree and began to teach at the artistic academy of Sichuan University. Xiong is a new talent of Chinese oil painting from the “Sichuan School of Painting”, after Luo Zhongli, He Duo-Ling and Zhang Xiaogang. His work participated in and was awarded in “Youth Art Exhibition of Sichuan Province” in Chengdu. In 2004, his works received a Bronze Prize in “Mood of the Youth-Exhibition of Reworded Paintings of Chinese Newly Emerging Artists” in Shenzhen.

彭光均 (1961年生)

張慧 (1969年生)

熊宇 (1975年生)

1961年生於新竹縣竹東，1990年畢業於國立藝術學院，1992年獲「第四屆台北縣美展」雕塑類第一名、「第十三屆全國美展雕塑類」第一名，1994 年獲「台北市美展雕塑類」首獎，為活躍的台灣中生代雕塑家。彭光均的近期的人物塑像，以寫實的人體做為抒發，優雅的體態和內斂的表情，展露出少女動人的神韻，她們有的自信驕傲，有的沉靜穩重，有的裸身、有的穿著摩登、有的飄逸、有的動感，不同的形貌都有其靈動之處，各有其動人的風情。

出生於河北，1993年畢業於四川美術學院，1998年開始於北京生活及工作，現為專職畫家。在張慧畫筆下的女子中我們可以嗅到社會文化背景轉變對其造成的衝擊或感染力，特別是九十年代中國的後意識型態，而其特徵為加大了自我表達及解放身體的自由度，這樣的背景促使了年輕一代傾向於可愛化及卡通化成長發展，在政治與社會責任上也採取自娛甚或置身事外之態度，漸漸地，失去了傳統女性擁有的獨立思考能力及自我解放的真實欲望，即使她們享受了所有作為女人的歡樂。而不幸地，這在文化層面上是一種倒退。張慧繪畫生涯重要展覽如下： 2001年9月於北京中國軍事博物館《中國當代油畫藝術邀請展》。2002年1月於北京B S藝術空間《陌生與微笑》展覽。2005年於北京798藝術區《上班下班》展覽。2006年於北京798藝術區《時態空間展》。

出生於四川成都，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。

319

Artist Biographies

Lots 255, 340 Lot 337

Lot 339

YIN Qi (b. 1962)

LIN Jun Hui (b. 1966)

QI Haiping (b. 1957)

Born in 1962 in Beijing, China, Yin Qi graduated from the Central Academy of Fine Arts in 1987, and taught at the affiliate high school after graduation. He later resumed his studies of art at the Ecole National Superieur des Beaux Arts in Paris in 1989 - 1991 and at the Institute de Haute Etude en Arts Plastiques in 1996 – 1997. He now resides and works in Beijing and Paris. His solo exhibitions were common both in China and many places in Europe such as Spain (2004, Barcelona); France, Issodum Museum and Meymac Contemporary Art Center (2004); and Beijing, Soka Contemporary Space (2005). He also participated in group shows “ The 10th National Art Exhibition” (2004, Beijing); “ Beijing Biennal” (2005); “Spreading Realism” (2006, Taipei).

Born in 1966 in Tainan, Taiwan, Lin graduated from the National Taiwan University of Arts in 1988. He was awarded in 1989 at “The 44th Taiwan Provincial Exhibition” First Prize in Painting, ”The 6th and 7th Chi-Mei Art Cultivation Awards” (1994; 1995); and won at “The 50th Taiwan Provincial exhibition” Painting Award (1996). He has held solo exhibitions like “The Voices of 24 Solar Terms” (2003, Tainan; 2004, Beijing); “From Past to Present” (2006, Tainan). He participated in group exhibitions held by the Art Galleries Association R.O.C from 1992-1997 in Taipei; and the “Taiwan Provincial Exhibition” in 1995.

Born in 1957 in Changchun, Jilin Province, China, Qi Hai-Ping graduated from the Guangxi Academy of Art in 1981, and completed his graduate program in 1991 in the China Central Academy of Fine Arts. He is now Deputy Professor at Tianjin Art Academy. His works have been exhibited in “East + West – Contemporary Art of China” (2002); “Century Demeanour-Exhibition of China’s Contemporary Art Masters” (2002, Beijing); “2nd Beijing International Art Biennale” (2006, Beijing); “Lines – Chinese Abstracts” (2007, Shanghai); and he has participated in solo exhibitions in 2001 (Washington); and in 2003 (Germany). He was also awarded the bronze medal in the 9th and 10th “National Fine Art Exhibition” and a prize for the “3rd Chinese Oil Painting Exhibition”.

尹齊 (1962年生)

林俊慧 (1966年生)

祁海平 (1957年生)

1962年出生於北京，1987年畢業自中央美術學院後，於該校附屬中學任職。尹齊於1989-1991年赴巴黎美術學院深造，於1996–1997期間就讀巴黎高等藝術造型研究所。目前於北京與巴黎定居和工作。其作品曾於中國與歐洲多處舉行個展，如光2004年就在西班牙巴塞隆納、法國依蘇登博物館、法國眉馬克當代藝術中心等地舉辦個展，2005年也在北京個展展出。而參加的聯展有「第十屆全國美展」 (2004，北京)、「北京雙年展」(2005)、「展開的現實主義」(2006，台北)。

1966年生於台南，於1988年畢業於國立台灣藝術大學。其藝術成就包含在1989年獲選為「第44屆全省美展」油畫類第一名)、榮獲第六與第七屆奇美藝術人才培訓獎 (1994、1995)、並以作品《午夜情深》獲得第五十屆全省美展油畫類優選 (1996)。曾舉辦個展「二十四節氣之音聲物語」(2003，台南、2004，北京)、「過去到現在」(2006，台南)。參加的聯展有畫廊博覽會(1992-1997，台北)、「全省美展首獎展」 (1995) 等展覽。

1957年生於吉林長春，於1981年畢業自廣西藝術學院美術系主修油畫，1991年中央美術學院油畫研修班畢業，現任天津美術學院副教授。其作品曾參加「東+西–中國當代藝術展」(2002，奧地利)、「世紀風骨100家–中國當代藝術名家展」(2004，北京)、「第二屆中國北京國際美術雙年展」(2006，北京)、「線－中國當代抽象藝術展」(2007，上海)等團體展；並分別在2001、2003年於美國華盛頓與德國愛沙芬堡舉辦個人作品展。其作品也曾獲第九、第十屆的全國美展銅獎，第三屆中國油畫展優秀獎等藝術殊榮。

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藝術家簡歷

Lots 342, 346 Lot 343

Lot 344

GAO Yu (b. 1981)

CHEN Ke (b. 1978)

WEI Jia (b. 1975)

Born in Guizhou, Gao Yu graduated from the Sichuan Fine Arts Institute in 2003 with a bachelor’s degree. In 2006, he held “Specimen” a solo exhibition in Beijing; and in 2007, a solo exhibition “Five Elements Mountain” in Beijing. He attended the exhibition known as “Ideal of A New Generation– the Chinese New Generation” in He Xiangning Art Museum, Shenzhen in 2004; in 2005 he took part in “The Self-Made Generation — A Retrospective of New Chinese Painting” exhibition in Zendai Moma, Shanghai, “Post 70s “The Generation Changed By the Market” exhibition co-organized by Shanghai Mingyuan Art Center and Beijing Today Art Museum and” “Next Station, Cartoon?” exhibition co-organized by Star Gallery and Shenzhen He Xiangning Art Museum; in 2006 he attended “Beyond Experience: New China” exhibition held by Beijing Arario Gallery and Star Gallery’s” “Naughty Kids” exhibition; he participated in Nokia’s art works creation known as “Fashion! The Top One is Prism!” .

Born in Tongjiang, Sichuan Province, Chen Ke graduated from the Oil Painting Department of Sichuan Institute of Fine Arts in 2002 and from Sichuan Institute of Fine Arts with an MFA in 2005. Chen Ke is currently working and living in Beijing. She was awarded the Inaugural Chengdu Biennial for Art Academy Students in 2001. In 2007, She held the exhibition “With you, I will never feel lonely” at Beijing Star Gallery and Milano Marella Gallery. Chen Ke is a representative artist. Her artworks derive aesthetics from animation and cartoons, closely connecting the affection in the virtual world with real life. The digital images from her painting demonstrates bright and colorful light, contributing to the diversity of her visual layout. She creates a popular cartoon world with kaleidoscopic and dazzling imagination.

Wei Jia was born in Chengdu, Sichuan in 1975. He graduated from the high school affiliated to the Sichuan Fine Arts Institute in 1995. In 2002 he graduated from the Central Academy of Fine Arts with a postgraduate degree equivalent to a master’s degree. Though Wei Jia’s paintings still retain the features of youth paintings, he has begun to enter into a new field of artistic expression, post-youth painting. In his works, Wei has frequently used the reality and surreality of daily life as two motifs. His recent works display his conscious efforts to integrate the image characteristics of literati painting and the spiritual verve of a religious self-perception. Of course what Wei really wants to express in his works is just a quasi-religious experience, not religious theme. The self image of the post -1970s generation of artists of China presents a “void” state, which typically is reflected in Wei’s recent works. This is primarily due to the fact that the post -1970s generation of artists of China have unintentionally been given a mission of “emptying”, that is, to completely empty the historic impact of past self and art on artists.

高瑀 (1981年生)

陳可 (1978年生)

韋嘉 (1975年生)

生於貴州。2003年畢業於四川美術學院，獲學士學位。2006年在北京舉辦個展「標本」，2007年在北京舉辦個展「五行山」。2004年參加深圳何香凝美術館舉辦的「少年心氣—中國新銳繪畫」展； 2005 年參加上海證大現代藝術館舉辦的「自我造局—中國當代繪畫」展、上海明園藝術中心聯合北京今日美術館舉辦的「70後藝術：市場改變中國之後的一代」畫展、北京星空間聯合深圳何香凝美術館舉辦的「下一站，卡通嗎？」畫展；2006年參加北京阿拉里奧畫廊舉辦的「超驗的中國」畫展、北京星空間舉辦的「壞孩子的天空」畫展；2007參加諾基亞「時尚，角度至上」主題創作。

生於四川省通江。2002年畢業於四川美術學院油畫系。2005年畢業於四川美術學院油畫系碩士學位。現工作生活於北京。2001年獲第一屆成都雙年展學生特展「新秀獎」。2007年分別在北京星空間藝術中心和米蘭瑪蕊樂畫廊舉辦「和你在一起，永遠不孤單」個展。陳可是一位很有代表性的藝術家，她的作品由動畫、漫畫帶動美學，從虛擬世界裡的情愛和真實人生的情感密切互動，由數位影像呈現的鮮亮色光，構成變換多端的視覺造型。她用繽紛絢奇的想像來為我們營造一個大家的卡通新世界。

1975年生於四川成都，1995年畢業於四川美術學院附中，2002年畢業於中國美術學院研究生同等學力課程班。韋嘉的繪畫保持著青春繪畫的特徵，但在繪畫主題上，他實際上已經開始「後青春」的表現領域，韋嘉的繪畫主題基本上包括日常的現實性和日常幻想兩個基本主題。這種向文人畫的圖像特

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徵和宗教式的自我感知靠近的傾向，近年在韋嘉的繪畫中初現輪廓。並非真正意義的宗教主題，而只是接近宗教的感知。70後藝術的自我圖像處在一種「虛空」狀態，在韋嘉的近作中具有代表性。主要在於這一代無意識地被賦予「清空」的使命，即徹底清空過去時代的自我和藝術的歷史影響，在一個消費社會成長的背景下，開始自我參照意義上的自我圖像的表現。這種「虛空化」的自我圖像表現為一種圖像的超驗性和無意義性兩個主要特徵。

Lot 345

WU Mingzhong (b. 1963) Born in Hebei province China in 1963. Wu Mingzhong is now Associate Professor and Director of the Oil Painting Research Office, College of Fine Arts, Capital Normal University. Having settled down in Beijing, in his 40s’—an age that has no puzzlement or confusion according to traditional Chinese belief, he’s no longer intoxicated by vanity. “Every age has its own texture and this age is characteristic of glass. It is hard, like glass—fragile and breakable.” He was a visiting scholar of Liebin Academy of Fine Arts in Russia, and Buffalo State College in the USA. His exhibitions included: “Juxtapositions-Seven Painters” (Beijing, 1999); “The Academic Exhibition of Beijing Oil Painting” (Beijing, 2000); “Chinese Art Today” (Beijing, 2003); “Wu Mingzhong Painting Exhibition – the visiting scholar of Liebin Academy of Fine Arts” (Beijing, 2004); “Born in China – Chinese Contemporary Art” ( New York, 2005); “37 Basel International Contemporary Art Fair, Basel,” (Switzerland, 2006); “The Thermocline – New Asian Waves” (Germany, 2007) etc.

武明中 (1963年生) 1963年生於河北，首都師範大學美術學院副教授，油畫教研室主任，曾在俄羅斯列賓美術學院和美國紐約州立大學布法羅學院做訪問學者。現居北京。作為一位已過不惑之年的男人，他已不再是急盡功名的心態。他說，「每個時代都有它的質感，這個時代的特徵是玻璃質感。這個時代有硬度，卻是玻璃的硬度，是脆弱和易碎的。」其參與展覽包括：「並置」（1999，北京）、「北京油畫邀請展」（2000，北京）、「今日中國美術大展」（2003，北京）、「武明中赴列賓美術學院訪學作品展」（2004，北京）、「生於中國當代藝術展」（2005，紐約）、「第三十七屆巴塞爾藝術博覽會」（2006，瑞士）、「潛流——新亞洲浪潮」（2007，德國）等。

藝術家簡歷

323

Transaction Agreement

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.

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.

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.

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

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.

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4. Following the auction

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.

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 NT$ 20,000,000 (inclusive), the service fee should be calculated at 18% of the hammer price. (2) For hammer price higher than NT$ 20,000,000, the first NT$ 20,000,000 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 commodity or service taxes or any other value added taxes (whether imposed by the Taiwanese government or elsewhere). The Buyer should be responsible for paying any applicable taxes as required by the law.

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.

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 NT 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 NT dollars should be the exchange rate reported by the Bank of Taiwan to the Company on the auction date and should be based on the certificates issued by the Company according to such exchange rate.

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 NT 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.

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).

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.

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

325

The shipping department of the Company may act as the agent of the 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.

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.

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 Bank of Taiwan 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.

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.

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.

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.

i. Export permit

326

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

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.

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

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6. Auction arrangements a.

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 NT dollars. If the Seller requests to pay in currencies other than NT dollars, the exchange rate should be according to what the Bank of Taiwan reports and the Company announces on the auction date.

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.

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.

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 NT 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 NT 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.

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 NT$1,000 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

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),

328

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

"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

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.

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.

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.

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.

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.

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.

III. Definition

4. Jurisdiction

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.

The Transaction Agreement are governed under the ROC law and the interpretation and effect of the Rules shall be subject to the laws of Taiwan. The Buyer and Seller shall submit themselves to the exclusive jurisdiction of the Taiwanese court for the interests of the Company.

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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，亦作為賣家

揭示其缺陷。拍賣價格之估計，不應依據為拍賣品會成功拍賣之

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規

價格或拍賣品作其他用途之價值陳述。

則。買家請特別留意第5條，其對本公司之法律責任作了限定。

許多拍賣品基於其年代或性質，使其未能有完美之狀況，目錄內有些說明或鑑定意見書會提述拍賣品之損壞及 ™或修整資料。此等資料僅作為指引而已，如未有提述此等資料，亦不表示拍賣品

Ⅰ.買家

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。除另行協定

d. 買家之責任

外，在本公司之拍賣中成功拍賣之物品，即產生賣家通過本公司

有關物品之狀況以及目錄說明所提述之事項，買家有責任弄清楚

之代理與買家達成之合約。

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競

拍賣於本公司之場地進行，或於本公司為拍賣而具有控制權之場

投之物品。本公司除就膺品（如本業務規則第Ⅲ項所界定者）作

地進行，本公司具有完全之決定權，可行使權利拒絕任何人進入

出之證明外，不對買家作任何保證。

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描

每一準買家在作出競投之前，必須填妥及簽署登記表格，並提供

述，皆已提及顯著的損壞，惟不包括所有的缺陷、瑕疪與不完

身分證明。準買家應注意，本公司通常會要求對買家作出信用核

整。羅芙奧恕無保證任何拍賣腕錶處於良好運作狀態，同時目錄

查。

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狀態或保

c. 競投者為買家

存情況的陳述。在目錄中若有狀態陳述的缺乏或損害鑑定的缺

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，而

乏，並不代表拍賣品是為良好狀態、運作正常或可享有免費修復

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承擔

或更換機件。

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閱，本

d. 委託競投

公司基於服務至上的原則，將非常樂於應客戶之要求提供拍品特

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，本

性與狀況之意見，惟本公司並不是專業鐘錶修復者，因此任何在

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抵本

目錄中所列出的陳述是為純粹本公司的主觀意見。

公司。如本公司就某一拍賣品而收到多個委託競投之相等競投

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

價，而在拍賣時此等競投價乃該拍賣品之最高競投價，則該拍賣

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經

品會歸其委託競投最先送抵本公司之人。委託競投之承擔受拍賣

由具資格的鐘錶匠檢查該等手錶。

時之其他承諾所限，而拍賣進行之情況可能使本公司無法代為

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

競投。由於此項承擔乃本公司為準買家按所述條款提供之免費服

換，因此我們不保證任何拍賣品的單一組成零件之確實性。所有

務，如未能按委託作出競投，本公司將不負任何法律責任。準買

的拍品一致以「現狀」售出。本公司對於任何拍出之狀態不作代

家如希望確保競投成功，應親自出席競投。

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絡

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

競投者，使其能以電話參與競投，但在任何情況下，如未能聯

期、年代、尺寸、材質、歸屬、真實性、出處、保存狀況或估計

絡，本公司對賣家或任何準買家均不負任何責任。

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。目錄圖示亦僅作為指引而

f. 匯率轉換顯示板

已，不應作為任何拍賣項目之依據，藉以決定其顏色或色調，或

在有些拍賣中，會有一具匯率轉換顯示板操作。匯率按拍賣日當

330

灣銀行），並以本公司就此兌換率而發出之憑證為準。

天銀行開市時向本公司報出之一個月期貨匯率計算。然而競投仍會以新台幣進行。匯率轉換顯示板並非時常可靠，不論是顯示板所示之拍賣品編號或是新台幣競投價之相等外匯，其準確程度均

d. 領取已購拍賣品

可能會出現非本公司所能控制之誤差。買家因依賴匯率轉換顯示

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拍

板（而非因以新台幣競投）所導致而蒙受之任何損失，本公司概

賣之拍賣項目，直至欠本公司之款項已悉數支付為正。拍賣品在

不負責。

暫時保留期間，由成功拍賣日期起為期七天將受保於本公司之保險，如屆時拍賣品已被領取，則受保至領取時為止。七天期滿後

g. 錄映影像

或自領取時起（以較早者為準），拍賣品之風險全由買家承擔。

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，本公司

e. 包裝及搬運

對買家均不負任何責任。

本公司謹請買家注意，七天期滿後或自領取時起，拍賣品之風險全由買家承擔。

h. 拍賣官之決定權拍賣官具有絕對決定權，有權拒絕任何競投、以其決定之方式推

f. 介紹裝運及運輸公司

動出價、將任何拍賣品撤回或分批、將任何兩件或多件拍賣品合

本公司之貨運部門可作為買家之代理人，代為安排付運。雖然在

併，以及如遇有誤差或爭議，將拍賣品重新拍賣。

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何法律責任。

i. 成功競投在拍賣官之決定權下，下槌即顯示對最高競投價之接受，亦即為

g. 不付款或未有領取已購拍賣品之補救辦法

賣家與買家之成功拍賣合約之訂立。

如買家未有在七天內付款，本公司即有權行使下述一項或多項權利或補救辦法：

4. 拍賣後（1）在拍賣日期後超過七天仍未付款，則按不超過台灣銀行基

a. 買家支付每件拍品之服務費率

本利率加10%之年利率收取整筆欠款之利息。此外本公司

（1）買家除支付落槌價外，另須支付服務費予本公司，落槌價

可同時按日收取依賣價（含佣金）1％計算之違約金。將買

於新台幣貳仟萬元以下者含貳仟萬元以18％計算。

家未付之款項，用以抵銷本公司或其他附屬公司在任何其

（2）落槌價於新台幣貳仟萬元以上者分為二級，其中新台幣貳

他交易中欠下買家之款項。

仟萬元以18％計算，超過新台幣貳仟萬元之部份以12％計

（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

算。

行使留置權，並在給予買家有關其未付之欠繳之14天通知 b. 稅項

後，安排將該物品出售並將收益用以清償該未付之欠款。

買家應付予本公司之所有款項均不包括任何貨物或服務稅或其他

（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

增值稅（不論由台灣政府或別處所徵收）。如有任何此等稅項適

之款項用以清償就任何特定交易而欠下之任何款項，而不

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。

論買家是否指示用以清償該筆款項。（4）在將來的任何拍賣中，拒絕買家作出或由他人代其作出之

c. 付款

競投，或在接受其任何競投之前先收取買家一筆保證金。

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

如買家未有在三十五天內付款，本公司除上述者外，另有

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

項以悉數賠償為基準之法律程序之訴訟費。

值稅）。即使買家希望將拍賣品出口並需要（或可能需要）出口

（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

（7）安排將拍賣品公開或私下重售，如重售所得價格較低，就

之款項為新台幣以外之貨幣，本公司將向買家收取所引致之任何

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

外匯費用。這包括銀行收費與兌換貨幣之規費及匯差。以新台幣

償。

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（台

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h. 未有領取已購拍賣品

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第三

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

人。本公司有權依據任何科學程序或其他程序確定拍賣品並非膺

付款，本公司將安排貯存事宜，費用由買家承擔。而只在所引起

品，不論該程序在拍賣當日是否已使用或已在使用。

之貯存、搬運、保險及任何其他費用，連同欠本公司之所有其他

本條件不適用於硬幣、獎牌、珠寶及畫。

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，並

1. 羅芙奧（以下稱本公司）作為代理人

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款收

本公司在公開拍賣會中，為賣家之代理人身份。拍賣品的成交合

取利息之權利。

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稅。

2. 開支

如買家不管需要有出口許可證之事實而作出付款，本公司並無責

賣家須負責與下述各項有關之費用：

任退還買家因此而引致之任何利息或其他開支。

a. 將拍賣品包裝並運予本公司作拍賣。 b. 任何適用之運送保險。

5. 本公司之法律責任

c. 如拍賣品交回賣家其包裝與付運。

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

d. 受保於本公司之藝術精品保險單（下文另有解釋）。

外，不論賣家或本公司，或本公司任何僱員或代理人，對任何拍

e. 任何適用之關稅。

賣品之作者、來歷、日期、年代、歸屬、真實性或出處之陳述，

f. 目錄插圖費用。

或任何其他說明之誤差，任何拍賣品之任何毛病或缺陷，均不負

g. 預先與賣家協定之對拍賣品作出之任何修整。

有任何責任。買家、本公司、本公司之僱員或代理人，均無就任

h. 裝框、裱畫之費用。

何拍賣品作出任何保證。任何種類之任何擔保，均不包含在本條

i. 本公司相信為擬定目錄說明需由外界專家作出之鑑定。

之內。

j. 本公司相信為適當之任何外界專家意見。 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

6. 膺品之退款

司一般開支之分擔額。

如經本公司拍賣之拍賣品證實為膺品，則交易將取消，已付之款

l. 拍賣品拍賣後之貯存（如適用）。

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

m. 本公司之行政費用，數目為因閣下而引致之一切費用之10%。

告符合當時學者或專家普遍接納之意見，或清楚表明意見有抵通

n. 任何市場推廣費用。

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，只是一種在目錄出版前仍

3. 由本公司安排保險事宜

未普遍獲接納使用之科學程序，或是一種在拍賣日仍屬昂貴得不

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術

合理或並不實際或很可能會對拍賣品造成損壞之程序，則本公司

精品保險單，保額為本公司當時認為適當者。然而保額並非本

無論如何並無責任退還任何款項。此外，買家只在滿足下述條件

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

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，本公司亦

（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

會建議介紹承運人，但本公司不承擔任何有關此方面之法律責

與拍賣當日相同；及

任。 c. 拍賣品在拍賣後七天內保險仍然有效。如拍賣品未能成功拍

（3）送還拍賣品後，買家須盡快出示證據，足以使本公司確信

賣，逾期後風險全由賣家承擔。

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，

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

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

承擔法律責任。

家支付多於買家就有關拍賣品而支付之款項，而買家亦不能索取利息。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拍

如賣家特別指示本公司毋須為拍賣品購買保險，風險全由賣家承

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擔，直至買家付清款項為止。賣家須保障本公司、本公司之僱員

得之服務費之款項，以及任何適用之增值稅與保險費和其他開

與代理人，以及買家（如適用）免負因拍賣品而針對本公司、本

支。

公司之僱員與代理人，以及買家索償之賠償責任，而不論索償因何引起。賣家亦須應本公司、本公司之僱員與代理人，以及買家

7. 拍賣守則

所要求而償還因此種索償而引致之開支，縱使本公司、本公司之

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估

僱員與代理人，以及買家有疏忽之處，而未證明有任何法律責任

價之下限，但如所同意之底價為新台幣以外之貨幣，並因協定

而作出之付款，亦須償還。賣家須將本條條款告知賣家之承保

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，

人。

則不在此限。在此情況下，除本公司另行同意外，底價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新台幣款

5. 賣家就拍賣品所作之承諾

項。如競投價不能達到底價，本公司在任何情況均不負有任何

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之

責任。但本公司有權將拍賣品以低於底價拍賣。如本公司如此

間的關係。如此基準在任何方面有不確實之處，本公司或買家可

將拍賣品拍賣，本公司將有責任向賣家支付成交價與底價之差

採取針對賣家之法律行動。本公司處理拍賣品及購買拍賣品，均

額。 b. 賣家不得隨意哄抬價格，不得參與競標標的作品，亦不得聘請

以賣家所作之下述承擔為基準：

任何人代賣家參與競投，唯本公司有權代賣家以不超過底價之 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制

價格參與競投。

權利，並與一切第三人權利或索償（包括版權索償）無涉：

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規

a. 結算

定，並已將過去任何第三人未能遵守此等規定之事以書面通知

成功拍賣後，本公司將要求買家最遲於15日內全數付款，包括買

本公司；

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，本公司會於成

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拍

功拍賣日期後60天，將一筆相等於成交價減去賣家應支付之所有

賣品之所有權、狀況或歸屬所表示之任何關注之書面通知本公

費用之款額匯予賣家。如遇買家延遲付款，則本公司將在買家付

司。

款後七天內匯款予賣家。如因任何理由而使本公司在買家付款前

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償

即已付款予賣家，則本公司即獲得拍賣品之完整之擁有權與所有

還本公司及 ™或買家一切因之而引起之索償、費用或開支，而

權。但在本公司因拍賣品為膺品而被迫向買家收回拍賣品下，賣

不論是因拍賣品還是因拍賣收益而引起。

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，本公司將以新台幣付款。如賣家要求以

6. 拍賣安排

新台幣以外之貨幣付款，依拍賣現場公佈之匯率計算（台灣銀

a. 本公司對目錄內拍賣品之描述與圖示方式、鑑定意見書、拍賣

行）。

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 b. 買家不付款

專家意見，以及將物品合併或分開拍賣等均有完全之決定權；

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 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

有權代賣家就付款、貯存與保險而協定特別條款，並採取本公司認為需要的任何步驟以向買家收取其應付之款項。但本公司並無

賣得的價錢之保證。

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 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

與賣家討論採取適當行動以向買家追討拍賣款額。

後述原因而撤回拍賣品之權利。此等原因為：（1）本公司對拍賣品之界定或真實性或上述第5a.、b.或c.條所指陳述之準確

c. 膺品

性有懷疑；（2）有任何違反業務規則之情況；或（3）本公司

如在拍賣日期後十日內，買家使本公司相信拍賣品為膺品（如本

相信將拍賣品納入拍賣並不適當。

業務規定第Ⅲ項所界定者），則（1）如買家尚未支付應付之全部款項，本公司有權取銷交易，及 ™或（2）如本公司屆時已向

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40%

賣家支付應付予賣家之全部或部份款項，則賣家須應要求將已付

之費用，另加一筆相等於如拍賣品按保險值成功拍賣本公司應

款項悉數退還本公司。在後一情況下，本公司將行使留置權，將

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在本公司控制下之屬於賣家之任何物品留置作應退還款項之擔保

在下列規定中，某些常用詞彙需加以解釋。此等詞彙如下：

品。 1. 「買家」：指本拍賣公司所接受之出價最高之人。 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，尤其在任何

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

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

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

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

後仍未領回，則每天每件將徵收新台幣1,000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

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

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。

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

6. 「膺品」：指拍賣品構成模仿，而模仿之原構想及其整體執行

早之日期為準）未被領回，則本公司可視乎是否合適而將該拍賣

均具有欺詐意圖，以就拍賣品之作者、來歷、年代、時期、文

品處置。處置包括將拍賣品移往第三人之貨倉而開支費由賣家承

化或來源進行欺騙，而對此等事項之正確描述並未在目錄之描

擔，以及將該拍賣品按本公司認為適當之條款（包括有關估計與

述上反映出來，而拍賣品在拍賣當日之價值，遠低於按照目錄

底價之條款）公開拍賣。本公司其後會將拍賣收益扣除所有欠款

之描述所應有之價值。按此定義，任何拍賣品均不會因為有任

後支付予賣家。

何損壞及 ™或任何形式之修整（包括重新上漆）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

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

買之保險之價值（不論保險是否由本公司安排購買）。

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

Ⅳ.買家與賣家均適用之條件

下，賣家就該拍賣品而對本公司所負有之責任，與拍賣品成功拍

1. 版權

賣時一樣。

與拍賣品有關之一切影像、圖示與書面材料之版權，於任何時候

9. 圖片與圖示

均屬於本公司之財產。未得本公司事先書面同意，買家或任何人

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性

均不得使用。

之權利。此等影像之一切權利均屬本公司所有，且本公司有權以

2. 通知

任何本公司認為適合之方式使用之。

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

10.其他事項

出，則在付郵後第二個工作天即當作已由收件人收妥；如收件人

a. 稅項

在海外，則為付郵後第五個工作天。

賣家應付本公司之所有款項均不包括任何貨物或服務稅或其他增值稅（不論由台灣或別處所徵收）。如有任何此等稅項適用，賣

3. 可分割性

家須負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在法

b. 電氣及機械部件

律許可之最大範圍內須繼續有效及可強制執行。

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述保

4. 法律及管轄權

證及擔保而引起之索價、費用或開支。

本業務規則受中華民國法律規限，本業務規則之解釋與效力均適用台灣法律。為本公司之利益而言，賣家與買家須服從台灣法院

c. 汽車、硬幣、郵票、酒類與槍械

之排他性管轄權。

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取。

Ⅲ.本規定所用詞彙之意義

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ABSENTEE BID FORM Auction Date

RAVENEL AUTUMN AUCTION 2008 TAIPEI 20th & 21st Century Chinese Art Japanese & Korean Contemporary Art Sunday 7 December 2008 at 2:30pm

Fax: +886 2 2701 3306

Location

Fubon National Conference Center

Address

B2, No. 108, Section 1, Tun-Hwa South Road,

Bidderâ&#x20AC;&#x2122;s Details

Taipei, Taiwan

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: +886 2 2708 9868

Name ID number Address Post code Tel: (Daytime)

(Evening)

Fax Signature (We must have your signature to execute this bid.) It is requested hereby that Ravenel tenders the bid on my behalf for the following auction items within the bidding range described hereunder. I understand that Ravenel provides such bid services for the convenience of customers and Ravenel shall not be held liable for any failure to execute a bid. If Ravenel receives more than one commission of the same bid price with regard to a particular auction item, priority will be given to the person whose bid is first received. I understand that if my bid is successful, I shall pay the final hammer price together with the service fee and any applicable sales tax. The service fee shall be calculated as 18% of the final hammer price (not applicable to wines). For detail please refer to Articles 4a, c and d of the Transaction Agreement to the Buyer. (4a. The service fee of each lot payable by the Buyer: (1) The Buyer should pay the hammer price and, in addition, the service fee to the Company. For hammer price below NT$ 20,000,000 (inclusive), the service fee should be calculated at 18% of the hammer price; (2) For hammer price higher than NT$ 20,000,000, the first NT$ 20,000,000 should be calculated at 18% and the rest of the amount should be 12%.) The bid shall be subject to the transaction rules prescribed in the catalogue. Please note especially the limited guarantee and exclusive warrantees that may be provided for certain items. Interested buyers should provide Ravenel with their current bank and/or other relevant material to ensure all bids will be accepted and the delivery of the auction item will not be delayed, and authorize us to verity the provided informations with the bank. Kindly provide this information for processing in advance of the auction date.

PLEASE PRINT LEGIBLY Auction item number (in numerical order)

Bid price (NT$) (excluding service fee)

Title

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

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

CONTEMPORARY

ART

Ravenel Ltd. 15F-2, No.76, Sec. 2, Tun-Hwa S Rd., Taipei 10683, Taiwan Tel: +886 2 2708 9868 - Fax: +886 2 2701 3306 www.ravenelart.com

委託競投表格委託競投表格須於拍賣24小時前送抵客戶服務部。競投表格可傳

拍賣名稱：羅芙奧台北2008秋季拍賣會

真至：

客戶服務部：

台北拍賣日期：

電話：+886-2-2708 9868

2008年12月7日（星期日）下午2:30

傳真：+886-2-2701 3306

富邦人壽大樓地下二樓國際會議中心

20與21世紀華人藝術日韓當代藝術

台北市敦化南路一段108號B2 投標者資料客戶編號（如有）姓名身份證字號地址郵碼電話（住宅）（辦公室）傳真簽名（本公司在取得閣下之簽名後方才接受競標）茲請求羅芙奧就下列拍賣品於下列競投價範圍內投標。本人亦明白，羅芙奧乃為方便顧客而提供代為投標的服務，羅芙奧不因怠於投標而負任何責任。倘羅芙奧就同一項拍賣品收到相同競價之委託，以最先收到者優先辦理。本人知悉如投標成功，本人應付之購買價款為最後之落槌價加上服務費，（連同該最後落槌價及服務費之營業稅）服務費依最後落槌價乘以服務費率得之。詳見業務原則規定第4條a,c,d之規定。（4a.買家支付每件拍品之服務費率：（1）買家除支付落槌價外，另須支付服務費予本公司，落槌價於新台幣貳仟萬元以下者含貳仟萬元以18％計算；（2）落槌價於新台幣貳仟萬元以上者分為二級，其中新台幣貳仟萬元以18％計算，超過新台幣貳仟萬元之部份以12％計算。）投標，視為依本目錄所載業務原則（特別是有限保證、不負其他瑕疵擔保等規定）為之要約。為確保所有投標均得以接受及拍賣品之送交不延誤，有意買家應向羅芙奧提供往來銀行或其他適當之參考資料，並予以授權羅芙奧得向銀行查證。該等資料應及時提供，以便在拍賣前著手處理。

請用正楷填寫清楚拍賣品編號（按數字順序）

競投價（新台幣）（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

羅芙奧股份有限公司台北市106敦化南路二段76號15樓之2 15F-2, No.76, Sec. 2, Tun-Hwa S. Rd., Taipei 10683, Taiwan Tel : +886 2 2708 9868 - Fax : +886 2 2701 3306 www.ravenelart.com

RAVENEL AUTUMN AUCTION 2008 TAIPEI The 20th and 21st Century Chinese Art, Japanese & Korean Contemporary Art Chairman

Arthur Wang

President Clara Kuo

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

羅芙奧台北 2008 秋季拍賣會—20與21世紀華人藝術日韓當代藝術董事長

王鎮華

總經理

郭倩如

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