Ravenel Spring Auction 2008 羅芙奧台北 2008春季拍賣會

SPRING AUCTION 2008

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

PREVIEWS Taichung Saturday, May 3– Sunday, May 4, 2008, 1:00pm – 7:00pm GSR Gallery 1F, No. 83, Gong Zheng Road, Taichung, Taiwan

Hong Kong Thursday, May 22 – Friday, May 23, 2008, 10:00am – 7:00pm Saturday, May 24, 2008, 10:00am –1:30pm Grand Hyatt Hong Kong – Salon 1 Harbour Road, Wanchai, Hong Kong

Taipei Friday, May 30 – Saturday, May 31, 2008, 10:00am – 7:00pm Fubon National Conference Center B2, No. 108, Section 1, Tun-Hwa South Road, Taipei, Taiwan (The intersection of Tun-Hwa South Road and Civic Boulevard)

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 no-guarantee.

This auction catalogue: NT$2,800 per copy

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Ravenel Art Ltd is subsidiary company of

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client or the office of Ravenel.

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Sales Tax Payable by the Buyer

tions held by Ravenel all over the world and

The Buyer shall pay for (value added) sales tax in

the sales of the items at the auction.

the amount of 5% of the Hammer Price with respect

Hong Kong

Dong Cheng District, Beijing 100738

to imported works of art collected by the Buyer in

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International Services

Taiwan pursuant to the laws of the ROC. The Buyer

Add: 75/F, Two International Finance Centre 8

The appraiser/auctioneer of Ravenel is in

is not required to pay for sales tax if such imported

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charge of all the necessary procedures of the

works of art (with * marks by the number in the

imports and exports of the works of art. He

catalogue) are delivered to the buyer outside the

may also arrange for the packaging and ship-

ROC and are handled by Ravenel for the rele-

ment of the goods auctioned to other countries

vant shipments. The buyer shall notify Ravenel

on behalf of clients.

in writing within two business days following the auction day if he desires to collect the items

Private Sales

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the ROC.

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Estimates

ments, please call: Tel: +886 2 2708 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 2008 春季拍賣會 20 與 21 世紀華人藝術 日韓當代藝術 拍賣日期 / 地點 2008年6月1日(日) PM2:30至PM7:30 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5月3日(六)至5月4日(日)PM1:00至PM7:00 由鉅藝術中心(月光流域大樓) 台中市公正路83號1樓 香港 2008年5月22日(四) 至5月23日(五)AM10:00至PM7:00 5月24日(六)AM10:00至PM1:30 香港君悅酒店 (君悅廳) 香港灣仔港灣道1號 台北 2008年5月30日(五)至5月31日(六)AM10:00至PM7:00 富邦人壽大樓國際會議中心 台北市敦化南路一段108號B2 (市民大道口)

MODERN

&

CONTEMPORARY

ART

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（目錄內有＊符號之編號者），若係於中華

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期75樓

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以及專業的藝術諮詢與投資建議。查詢詳情 請洽羅芙奧公司。

估價 目錄內及拍賣當日所提供之美金等貨幣估 價， 僅為參考依據。本拍賣會須以新台幣 結算，買方如須以新台幣之外其他貨幣繳 付，請買方核實繳付當日匯率，折合所繳付 之等值貨幣計算。

RAVENEL STAFF AND SERVICES FOR THIS SALE

ART CONSULTANTS Vice President

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

Vice President Odile Chen Tel: +886 2 2708 9868 ext. 889 Email: odile_chen@ravenelart.com

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Manager China Lydia Li Tel: +86 10 5815 0658 Email: lydia_li@ravenelart.com

PHONE BIDS AND WRITTEN BIDS Taiwan Maggie Lin Tel: +886 2 2708 9868 ext. 886 Email: maggie_lin@ravenelart.com

Hong Kong

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.

In view of the limited phone line services at the auction, please inform us 24 hours prior to the auction for arrangements. Particularly for those of you who need foreign language assistance of the bidding.

CATALOGUE SUBSCRIPTION Taiwan, Hong Kong

Kate Lin Tel: +886 2 2708 9868 ext. 182 Email: kate_ lin@ravenelart.com

China Manager China Lydia Li Tel: +86 10 5815 0658 Email: lydia_li@ravenelart.com

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PAYMENT

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Asia Odile Chen Tel: +886 2 2708 9868 ext. 889 Email: odile_chen@ravenelart.com

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Hong Kong, Asia, Overseas Chiara Lee Tel: +886 2 2708 9868 ext. 883 Email: chiara_lee@ravenelart.com Remarks: All the items auctioned may be collected upon receipt of payments. The Buyers are requested to arrange for collection as soon as possible to facilitate warehouse inventory circulation and centralize management. We accept personal and corporate checks, however collection may be made only when such checks are honored. We apologize for no acceptance of credit cards and traveler’s checks. Other items may be collected at the Ravenel Ltd. The business hours are 9:30 am to 6:30 pm, Monday to Friday.

Our professional administration department may make recommendations of arrangement or the most appropriate transportation for you.

Ravenel is glad to provide you with the condition report of any of the items at the auction, however, the buyers must note that all the items at the auction are sold “as is”. Please refer to the Transaction Agreement at the back of the catalogue. Please refer to the “Transaction Agreement to the Buyers”.

羅芙奧 2008 春季拍賣會服務部門及連絡人

藝術品諮詢專家

歐美

副總經理

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李欣格 電話：+886 2 2708 9868 轉 883 電子信箱：chiara_lee@ravenelart.com 註一：如您無法親臨拍賣現場，可以電話投 標方式競標；亦可利用附在此目錄後面之書 面標單競投。

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取貨及運輸事宜 台灣

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付款事宜

目錄訂閱

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台灣、香港 林依潔 電話：+886 2 2708 9868 轉 182 電子信箱：kate_lin@ravenelart.com

香港、亞洲、歐美 李欣格 電話：+886 2 2708 9868 轉 883 電子信箱：chiara_lee@ravenelart.com

中國 謝冷玉 電話：+86 10 5815 0658 電子信箱：judy_xie@ravenelart.com

亞洲、歐美 李欣格 電話：+886 2 2708 9868 轉 883 電子信箱：chiara_lee@ravenelart.com 本目錄開放各界訂閱，詳細訂閱辦法，請參 照目錄之說明或請洽上述聯絡人。

註一：所有拍品在貨款結清後，即可取貨； 買家請儘早通知安排取貨事宜，以利倉庫存 貨流通和集中安排辦理，本公司接受個人及 公司支票付款，惟需在兌現後始能提貨。恕 不接受信用卡和旅行支票付款。其他各項貨 品可在羅芙奧辦公室提領，上班時間為週一 至週五上午9:30至下午6:30。 註二：我們的專業行政部門可為您建議或安 排最適當的運輸方式。 羅芙奧樂意提供您本次拍賣當中任何一項拍 品的狀況說明書，惟準買家需注意拍品均是 以「當時認定」之狀況賣出，相關細項請參 照目錄後之業務規則。請參照買家需注意事 項。

Contents / 目次

2

Sale Information / 羅芙奧春季拍賣會

3

Ravenel Services / 羅芙奧之服務

11

Index / 藝術家索引

13

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

360

Artist Biographies / 藝術家簡歷

Front Cover: Lot 063 Inside Cover: Lot 062 Opposite: Lot 065

Index

Artist / Lot Number

A AI Xuan

艾軒

033, 034

曹靜萍 張振宇 陳蔭羆 趙春翔 陳可 陳義郎 鄭在東 張漢明 邱亞才 崔素榮 朱德群 莊喆 崔瑋 崔小冬

116, 180, 182 023 032, 039, 067 011, 013 174 093 029 166 084, 085, 088 105 044, 045, 061, 062 008, 049, 070, 087 188 131

D DONG Zhong

董重

185

傅慶豊

074

高瑀 朱沅芷 關良

171 041 040

韓婭娟 何學昇 洪凌 侯俊明 蕭勤 許雨仁 黃致陽 黃鋼 黃敏俊 黃柏仁 黃岩 洪東祿

168 178 030, 068 014, 028 010 007 015, 035 135, 150 075 094 160 164

F Alixe FU

G GAO Yu Yun GEE GUAN Liang

H HAN Yajuan HE Xuesheng HONG Ling HOU Chun-ming HSIAO Chin HSU Yu-jen HUANG Chih-yang HUANG Gang HUANG Min-jun HUANG Po-Ren HUANG Yan HUNG Tung-lu

黃楫 黃銘哲

019, 025 005, 020

賈剛 蔣朔 焦興濤 金子 朱銘

114 155, 161 151, 154 184 053

金昌烈

109

柯錫杰 郭振昌 郭維國 草間彌生 權奇秀

181 003, 027 018, 080 102 103, 104

李容德 李真 李光裕 李磊 李爽 李曙光 梁奕焚 連建興 林風眠 林壽宇 林文強 劉國松 陸先銘 盧昊 呂順 羅氏兄弟 羅發輝 羅清

107, 108 090, 091 158 128 137 115 073 017, 024, 026, 079 056, 058, 059 078 016 043, 069, 071 001 139 121 163, 165 119 117

J

C CAO Jingping CHANG Chen-yu George CHANN CHAO Chung-hsiang CHEN Ke CHEN Yi-lang CHENG Tsai-tung Christopher CHEUNG CHIU Ya-tsai CHOI So-Young CHU Teh-chun CHUANG Che CUI Wei CUI Xiaodong

HWANG Jyi Michell HWANG

JIA Gang JIANG Shuo JIAO Xingtao JIN Zi JU Ming

K KIM Tschang-yeul KO Si-chi J. C. KUO KUO Wei-guo Yayoi KUSAMA KWON Ki-soo

L LEE Yong Deok LI Chen LI Kuang-yu LI Lei LI Shuang LI Shuguang LIANG Yifen LIEN Chien-hsing LIN Fengmian Richard LIN LIN Wen-chiang LIU Kuo-sung LU Hsien-ming LU Hao LU Shun LUO Brothers LUO Fahui LUO Qing

M Hiroyuki MATSUURA 松浦浩之

100, 101

P PANG Jiun PARK Seo-Bo

龐均 朴栖甫

042 106

Q QI Zhilong QU Guangci

Y 祁志龍 瞿廣慈

146 092

任戎 任思鴻

134 189

櫻井理惠子 席德進 蘇旺伸 沈娜 宋永紅 蘇新平

096 054, 055 002 187 176 140, 148

唐海文 丁雄泉 鳥井林太朗 曾清淦 莊普 屠宏濤

037 012, 031, 050, 072, 083, 089 098, 099 082 076 126

王廣義 王懷慶 王克平 汪凌 王智遠 魏樂唐 吳冠中 吳昊 吳少湘 吳天章

145 064, 065, 066 153 162 156, 157 004, 006, 048 057 022 152, 159 009

夏俊娜 肖平 熊宇 許江 徐毛毛 薛松

125, 130 132 183 060 186 129, 133, 136

R REN Rong REN Sihong

S Rieko SAKURAI SHIY De-jinn SU Wong-shen SHEN Na SONG Yonghong SU Xinping

T T’ANG Haywen Walasse TING Lyntalo TORII TSENG Ching-kan TSONG Pu TU Hongtao

W WANG Guangyi WANG Huaiqing WANG Keping WANG Ling WANG Zhiyuan John WAY WU Guanzhong WU Hao WU Shaoxiang WU Tien-chang

X XIA Junna XIAO Ping XIONG Yu XU Jiang XU Maomao XUE Song

Ai YAMAGUCHI YAN Pei Ming YANG Chihung YANG Din YANG Guoxin YANG Jinsong YANG Mao-lin YANG Qian YANG Ren-ming YANG San-lang Yuyu YANG YE Yongqing YEE Bon YIN Hong YIN Jun YIN Kun YIN Zhaoyang YU Peng YUAN Xiaofang

山口藍 嚴培明 楊識宏 楊登雄 楊國辛 楊勁松 楊茂林 楊千 楊仁明 楊三郎 楊英風 葉永青 余本 尹紅 尹俊 尹坤 尹朝陽 于彭 袁曉舫

097 144 047 077, 124 167 177 021, 095 127, 149 081, 086 051 046, 052 147 038 179 172 173, 175 141, 143 036 169

Z ZAO Wou-ki ZENG Fanzhi ZHANG Handong ZHANG Linhai ZHANG Xiaotao ZHAO Nengzhi ZHENG Delong ZHOU Chunya

趙無極 曾梵志 張漢東 張林海 張小濤 趙能智 鄭德龍 周春芽

063 142 120 118, 138 123 122 170 110, 111, 112, 113

001

LU Hsien-ming (b. 1959)

Taipei Bridge (diptych) 1992 Oil on canvas 73 x 53 cm (x2) Signed lower right Hsien-ming in Chinese, dated '92.4 (right) 陸先銘 Signed lower left Hsien-ming in Chinese and 台北橋 （二聯作） dated '92.4 (left) 1992

油彩 畫布 NT$ 240,000-350,000 73 x 53 cm (x2) US$ 8,300-12,100 簽名右下：先銘 '92.4（右） HK$ 61,500-89,700 簽名左下：先銘 '92.4（左）

002

SU Wong-shen (b. 1956)

Game Series-A Flag-raising Ceremony

1991 Oil on canvas 70 x 110 cm Signed on the reverse Su Wong-shen in Chinese, titled A Flag-raising Ceremony and dated 1991

NT$ 160,000-350,000 US$ 5,500-12,100 HK$ 41,000-89,700

14

蘇旺伸 遊戲系列－升旗典禮 1991 油彩 畫布 70 x 110 cm 簽名畫背：升旗典禮 蘇旺伸 1991

003

郭振昌

J. C. KUO

混合印象-雕相

(b. 1949)

1995 混合媒材 畫布 53 x 97 cm 簽名左下：95. J.C. KUO

Mixed Image: Sculpted Images 1995 Mixed media on canvas 53 x 97 cm Signed lower left J. C. KUO in English and dated '95 EXHIBITED: J. C. Kuo’s '95-'96 Chronicles, Lin & Keng Gallery, Taipei, 1996

ILLUSTRATED: J. C. Kuo’s '95-'96 Chronicles, Lin & Keng Gallery, Taipei, 1996, color illustrated, No. 4

展覽： 「郭振昌'95-'96記事」，大未來畫廊，台 北，1996

NT$ 280,000-400,000 US$ 9,700-13,800 HK$ 71,800-102,600

圖錄： 《郭振昌'95-'96記事》，大未來畫廊，台 北，1996，彩色圖版，編號4

004

John WAY

(WEI Yue-tang, b. 1921)

Abstract 1990 Oil on canvas 74 x 56 cm Signed lower center John Way in English and dated 90

NT$ 160,000-280,000 US$ 5,500-9,700 HK$ 41,000-71,800

16

魏樂唐 抽象 1990 油彩 畫布 74 x 56 cm 簽名中下：John Way 90

1992 Mixed media on canvas 61 x 91 cm (x2) Signed upper right Che in Chinese and dated 1992 (Woman) Signed lower right Che in Chinese and dated 1992 (Self-portait) Signed on the reverse Che, titled Woman in Chinese and dated 1992 (Woman)

黃銘哲 女人與自畫像 1992 綜合媒材 畫布 61 x 91 cm (x2) 簽名右上：哲 1992（女人） 簽名右下：哲 1992（自畫像） 簽名畫背：哲 1992 女人（女人）

006

John WAY

(WEI Yue-tang, b. 1921)

Abstract 1979 Oil on paperboard 65 x 52 cm Signed lower left John Way in Engish and dated 魏樂唐 '79 抽象

NT$ 140,000-240,000 US$ 4,800-8,300 HK$ 35,900-61,500

18

1979 油彩 紙板 65 x 52 cm 簽名左下：John Way '79

007

HSU Yu-jen (b. 1951)

Coreopsis

1990

Oil on canvas

81 x 60 cm Titled on the reverse Coreopsis in Chinese and 許雨仁 dated '90 石菊

NT$ 220,000-320,000 US$ 7,600-11,000 HK$ 56,400-82,100

1990 油彩 畫布 81 x 60 cm 簽名畫背：'90 石菊

008

CHUANG Che (b. 1934)

Self-portrait 1992 Mixed media on canvas 59 x 49 cm Signed lower right Chuang Che in Chinese and dated 92

NT$ 200,000-300,000 US$ 6,900-10,300 HK$ 51,300-76,900

20

莊喆 自畫像 1992 綜合媒材 畫布 59 x 49 cm 簽名右下：莊喆 92

009

WU Tien-chang (b. 1956)

Aboriginal Melody 1992 Oil on canvas 73 x 61 cm

NT$ 400,000-600,000 US$ 13,800-20,700 HK$ 102,600-153,800

吳天章 泰雅之歌 1992 油彩 畫布 73 x 61 cm

010

HSIAO Chin

(XIAO Qin, b. 1935)

蕭勤 UA-90

UA-90 1960 Oil on canvas 70 x 100 cm Signed lower left Hsiao in English and Chin in Chinese, dated 1960 Signed on the reverse HSiAO CHiN in English and Chinese, titled UA-90 in English and dated 1960

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ILLUSTRATED: Hsiao Chin, Dimensions Art Center, Taipei, 1996, color illustrated, p. 96

1960 油彩 畫布 70 x 100 cm 簽名左下：Hsiao 勤 1960 簽名畫背：HSiAO CHiN UA-90 蕭勤 1960

NT$ 220,000-400,000 US$ 7,600-13,800 HK$ 56,400-102,600

圖錄： 《蕭勤》，帝門藝術中心，台北，1996，彩 色圖版，頁96

011

CHAO Chung-hsiang (1910 - 1991)

Kindred Spirits 1976 Acrylic on paper 91 x 60 cm Signed upper right Chung-hsiang in Chinese and Chao in English, dated 76 in NY With one seal of the artist

NT$ 450,000-550,000 US$ 15,500-19,000 HK$ 115,400-141,000

趙春翔 心心相印 1976 壓克力 紙本 91 x 60 cm 簽名右上：春翔 Chao 76 NY 鈐印左上：Chao

012

Walasse TING

(DING Xiongquan, b. 1929)

Orange Cat, Blue Cat 1999 Acrylic on paper 96.5 x 54.5 cm With one seal of the artist.

NT$ 450,000-550,000 US$ 15,500-19,000 HK$ 115,400-141,000

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丁雄泉 橘貓、藍貓 1999 壓克力 紙本 96.5 x 54.5 cm 鈐印中下：採花大盜

013

CHAO Chung-hsiang (1910 - 1991)

趙春翔 飛紅逐流秋去

Red Gone with the Autumn 1985 Acrylic on paper 67 x 68 cm Signed lower right Chung-hsiang in Chinese and Chao in English, dated 85 EXHIBITED: Who 's Who in Art, Republic of China, Republic of China, Kaohsiung Culture Center, Kaohsiung, 1985

1985 壓克力 紙本 67 x 68 cm 簽名右下：春翔 Chao 85

ILLUSTRATED: Who's Who in Art, Republic of China 1986, Kaohsiung Municipal Government, Kaohsiung, 1986, color illustrated, p. 134

展覽： 「中華民國七十四年當代美術大展」，高雄 市立中正文化中心，高雄，1985

NT$ 500,000-600,000 US$ 17,200-20,700 HK$ 128,200-153,800

圖錄： 《中華民國七十五年美術名鑑》，高雄市政 府，高雄，1986，彩色圖版，頁134

014

HOU Chun-ming (b. 1963)

Emerging Dragon, Flying Phoenix 2007 Woodcut print on paper, edition no. 11/15 288 x 220 cm (x2) Signed lower Hou in Chinese and dated 2007, edition no. 11/15 With one seal of the artist

NT$ 450,000-700,000 US$ 15,500-24,100 HK$ 115,400-179,500

侯俊明

與此相對，在《翔之鳳》中，侯俊明則特 別談到文化、建設以及和諧的觀念。畫面 下方是千年古都的北京，是俱王者之氣的紫 禁城，傳承至今已成象徵五千年文化的故宮 博物院了。而紫禁城旁邊簇擁著綠地、摩登 大樓及趕工中的鷹架，讓這件作品緩緩地陳 述了現代北京邁向一個新時代所應具備的、 善於包容的胸懷。侯俊明更以代表陰性的飛 翔之鳳，正提攜著無數展翅升空的人，愉悅 向上飛去。侯俊明期待著每個人有一對翅 膀，而翅膀不就意味著自由、自主嗎？21 世紀的中國人，想要的不就是這一份自主 權；一份人民可以做自已主人的自由嗎？

崛之龍、翔之鳳 2007 木刻版畫 11/15 288 x 220 cm（x2） 簽名下方：11/15 六腳侯氏 2007年于火焰山山腳農會 鈐印中上：六腳侯氏

侯俊明2007年創作的這兩件一組的巨型 版畫作品《崛之龍》、《翔之鳳》，有 個參考的線索是源自於《大國崛起》的 紀錄片。他1993年和2007年兩度探訪中 國，北京對他來講，就好像是兩個不同 世代卻彼此銜接，熟悉而又陌生。大量 現代化建築所帶來的破壞，對應著紫禁 城老態的嬌顏、長城風霜的容貌，讓本 來易感的他，格外湧現全新創作思維。 在《崛之龍》這件作品上，侯俊明選擇 了長城和寶塔這兩個充 滿陽性含義的語 彙，來標顯出傳統社會結構下的強權主 義。他讓代表中國的龍破塔而出，而配 以似幽靈般的人像紛紛往下墜。這也等 於在表達作為21世紀的大國，應脫離軍 事強權、應遠離殺戮征戰，更不應該再 被一些有形與無形的過去所束縛。而所 謂的破塔竄飛何嘗不也是局勢使然呢？

26

政治的議題，在侯俊明的創作中算是鳳毛麟 角，很少被提到。而面對著大國的崛起，他 沒有如當代大多數前衛藝術家以尖銳的反社 會情結去談論現在，更無庸以高規格的詞彙 去歌功頌德當朝。他僅從中國的歷史文化去 思考圖騰本身的角色性，藉由傳統的角色延 伸出當下的社會情境。他從《大國崛起》這 套紀錄影片所領悟到大國之所以能長久，更 應有一份包容、廣納的胸襟，促使他從破壞 ／建設、失／得、自我／群體的基礎點上， 整彙出他自己對現今的看法。 “Emerging Dragon” and “Flying Phoenix” created by Hou Chun-ming in 2007 are a set of two giant engraving works, which are derived from the documentary, “The Rise of the Great Nation”. He visited China twice in 1993 and 2007 respectively. To him, Beijing is just like the convergence of two different generations, familiar and unfamiliar. Large quantities of construction are destructed for setting up modern buildings. Facing old Forbidden City and weathered Great Wall, he was even more susceptible and fresh creative thinking was emerging particularly at that moment.

Hou Chun-ming adopted Great Wall and pagoda, two masculine symbols, in his work, “Emerging Dragon”, to show the doctrine of power under the traditional social structure. A dragon, the symbol of China, is breaking out of the pagoda, and ghost-like figures seem falling one after another. This is to express that a large

country in the 21st century should be estranged from the military power, should stay away from war, should not be bound by some visible and invisible shackles of the past. And isn’t the socalled “break through the tower” forced by the situation?

In contrast, Hou Chun-ming specifically talked about culture, construction, as well as the concept of harmonious in “Flying Phoenix”.

Beneath is Beijing, the ancient capital of millennium, with royal Forbidden City and the Palace Museum, the symbol of 5,000 years of Chinese culture. And around the Forbidden City is a greenbelt, modern buildings and the scaffold for construction. So this piece of work slowly presents a modern Beijing towards a new era with open-minded and comprehensive vision. Hou Chun-ming adopted a feminine symbol, the phoenix, who is guiding countless people to fly upward pleasantly with spreading wings. Hou Chun-ming expects that everyone will possess a pair of wings. And doesn’t the wing mean freedom and independence? Chinese in the 21st century would like to have a share of independence and the freedom to be the master of their own, won’t they?

Political issues are rarely mentioned in the creation of Hou Chun-ming. And facing the rise of a big power, he has not talked about the present situation as most contemporary avantgarde artists with sharp anti-social complex, nor eulogized the present authority with exaggerated words. He has only considered the role of totem in respect of Chinese history and culture, extending the current social situation from the traditional role of the totem. He has comprehended the long existence of a big power through this documentary, “The Rise of the Great Nation”, and there should be a more open-minded and comprehensive vision. He has constructed his own view on the present situation based on the destruction/construction, lost/gain, ego/mass.

015

HUANG Chih-yang (b. 1965)

Lover's Library 1999 Ink on silk mounted onto board 243 x 122 cm Signed lower center Dominigue + Vincent in English and Chih-yang in Chinese, dated Taipei 99 No.3 With one seal of the artist EXHIBITED: Lover's Library, Hanart TZ Gallery, Hong Kong, 1999 Lover's Library, Ethan Cohen Gallery, New York, 2000 Lover's Library, Hanart TZ Gallery, Taipei, 2001 ILLUSTRATED: Modern Art, Taipei Fine Arts Museum, Taipei, 2004 April Lover's Library, Taipei Hanart Gallery, Taipei, 2005

NT$ 620,000-800,000 US$ 21,400-27,600 HK$ 159,000-205,100

黃致陽 戀人絮語 1999 彩墨 絹 木板 243 x 122 cm 簽名中下：Dominigue + Vincent 致陽 Taipei 99 No. 3 鈐印中下：黃志陽 Huang Chih-yang 戀人絮 語 Lover's Library

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展覽： 「戀人絮語」，漢雅軒，香港，1999 「戀人絮語」，伊桑·科恩畫廊，紐約， 2000 「戀人絮語」，漢雅軒，台北，2001 圖錄： 《現代美術》雜誌，台北市立美術館，台 北，2004年4月 《戀人絮語》，台北漢雅軒，台北，2005年

1988年起，黃致陽就不斷營塑一系列以植物 形體為原創的「母題零件」。他透過誇張、 放大，或是風格化的變形手段，將這些取自 自然界植物肌理與紋路的形象，轉化為半抽 象的筆意和形象。而後再將單一的形象原型 視為細胞般的基本零件，令其不斷分裂、複 製與再生。這種繁殖、蔓延與擴生的生長形 態，最終演化為富含生命有機感的突變生物 體。如此轉自然形象為藝術造形的做法，也 成為黃致陽基本的創作手段了。1995年「威 尼斯雙年展」及1996年德國阿亨的「路德威 美術館」邀請展，無疑使黃致陽更加自覺於 自己創作的來源與傳統。 「戀人絮語」系列選擇以水墨技法在細絹上 完成，乃是藝術家體認到水墨藝術作為中國 藝術傳統無可取代的核心，其所訴求的根本 美學，正在於筆墨與絹面上之間所形成的一 種細緻或灑脫的時間感與痕跡感。而在《絮 語》取材上，黃致陽顯然有意透過一對又一 對自願作為模特兒的雙人組合關係，重新為 人存在的意義，人文的價值與精神，賦予其 儀式化的尊嚴。有別於在過往的繪畫系列當

中，對於形象的經營，以概念化和議題性為 主，而並不針對個別形象作個性化的描述 。

Huang Chih-yang has been continually creating a series of original “theme spare parts” in plants’ forms since 1988. Through exaggerate, magnifying, characterized transform measures, he transformed the lines, shapes and cracks of plants into semi-abstract brush strokes and images. He treated these image prototypes as spare parts, as cells, make them divided, duplicated, and recreated. This kind of reproduction eventually evolves to a mutated organic life form. And by transforming natural images into art is Huang’s basic creation a p p ro a c h . T h e p a rt i c i p a t i o n i n " Ve n i c e Biennial", 1995 and exhibition in Ludwig Museum, Germany, 1996 made Huang even more aware of the source and tradition of his own creations.

“Lover’s Library” is finished via water ink techniques on silk papers, as the artist realized water ink art in an irreplaceable core in Chinese art traditions, the aesthetic this kind of art pursues is how an detailed or free and easy feeling of time and trails realized through inks spat on the papers. In order to present “Discourse”, he'd chosen two models to redefine men’s existence, the value and spirit of culture, given them a ritualized respect.

Unlike his previous series, images were created based on concept and topics, not based on the characteristic of each individual image.

016

LIN Wen-chiang (b. 1943)

Three Graces 1983 Oil on canvas 117 x 90.5 cm Signed lower right Wen-chiang in Chinese and dated 1983 This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 550,000-750,000 US$ 19,000-25,900 HK$ 141,000-192,300

林文強 禱 1983 油彩 畫布 117 x 90.5 cm 簽名右下：文強 1983 附藝術家親筆簽名之原作保證書

30

017

LIEN Chien-hsing (b. 1962)

After the Mine Was Abandoned (Anecdotes in the Mine) 1990 Oil on canvas 110 x 160 cm Signed lower left Lien Chien Hsing in Chinese, dated 1990.11.8 Signed on the reverse Anecdotes in the mine field, Lien Chien Hsing in Chinese, dated 1990, Rembrant thinner, oil on canvas ILLUSTRATED: Lien Chien-hsing Works 1976-1993, Eslite Gallery, Taipei, 1993, color illustrated, p. 69

NT$ 750,000-1,200,000 US$ 25,900-41,400 HK$ 192,300-307,700

連建興 停礦之後（礦場軼事） 1990 油彩 畫布 110 x 160 cm 簽名左下：連建興 1990.11.8 簽名畫背：礦場軼事 1990 連建興 林布蘭媒 劑 油畫 圖錄： 《連建興》，誠品畫廊，台北，1993，彩色 圖版，頁69

32

德國浪漫派畫家卡斯巴．大衛．菲特烈曾 說過：「閉上肉體之眼，那麼你將會首 先用精神之眼看到圖景。這將給你在黑 暗中看到的世界帶來光明，從外表感心 靈。」 解讀連建興的作品，近乎電腦3D 遊戲華麗逼真的場景，並不是打動人心的 核心價值，其最先也最易讓人切入感想 的，是他對於人類「冒犯自然」所做的視 覺諷刺方式，以及他對於物質文明所持有 的批判態度。連建興自九十年代以來所形 成的「魔幻寫實」風格的系列畫作，真正 的企圖正是為了超越技法上的藩籬，在明 確描繪的日常景物中進行突兀或者難解的 圖像結合，又或是在高度寫實的場景下加 入有暗示性的象徵符號及角色扮演，營造 出一個有別於真實世界又異常合理的心理 際遇，從而給畫作賦予更多隱喻的人文意 涵。連建興的繪畫作品所有激發及創作性 畫面地解讀，無不呈現出對台灣後工業時 代的歷史反思，透析人類物質文明發展過 程中所引發的種種生態、環保和社會問題 的藝術批判與審視。此幅《停礦之後》， 畫面設定在礦區之中，缺乏人物背景的畫 面，在藝術家塑造的礦車、鐵軌的近似 3D畫面裡，逼真的場景營造出令人隱 隱 不安的荒誕氣氛。 Caspar David Friedrich, German romantic painter, stated: “Close your eyes of flesh and blood, then you will first see the views with the eyes of spirit. This will bring light

to the world you see in darkness and make you experience the heart from appearance.”

When construing Lien Chien-hsing’s works, we find the vivid, deluxe scenes, similar to 3D computer games, do not touch the core value of our hearts. What associates people to feeling first and most easily is his visual ironic to the “offense to nature” by human being and his critics towards material civilization. The real purpose of the series in the style “magic realistic painting” created by Lien Chien-hsing since 1990s is to surpass the fences of technique, combine abrupt or abstruse images in routine sceneries with definite description, or add implied symbols and role play in highly realistic scenes, creating a psychological fortune different from real world but extremely rational. This way, more metaphoric humanistic meanings are extended to his works. The incentive, creative interpretations for all the painting works of Lien Chien-hsing have all revealed the historical recall to the post-industrial era in Taiwan. They analyzed the artistic critics and judgment on the ecological, environmental and social issues incurred by development of the material civilization. In “After the Mine Was Abandoned”, the image is framed to a mining area, lack of figures. In the 3D-like image containing carts and rails created by the artist, the vivid scene builds up a slightly panic, ridiculous atmosphere.

017

018

KUO Wei-guo

(KUO Wei-kuo, b. 1960)

Precious Peach Garden 2003 Oil on canvas 130 x 162 cm Signed lower right Kuo. W. K in English and dated 2003.12 The painting is to be sold with a certificate of authenticity issued by Lin & Keng Gallery, Taipei.

ILLUSTRATED: Diagram of Commotion and Desire-Towards a Bright Start from the Deep Forest, Lin & Keng Gallery, Inc., Taipei, 2005, color illustrated, p. 28

NT$ 850,000-1,300,000 US$ 29,300-44,800 HK$ 217,900-333,300

郭維國 蟠桃園 2003 油彩 畫布 130 x 162 cm 簽名右下：Kuo. W. K 2003.12

幾年以前，郭維國在太太開設的幼稚園裡， 每日載著小朋友上學、下課，如此的日復一 日，對這位曾經獲得雄獅美術新人獎優選的 他來說，這無疑是一種挫折及無奈。當然， 郭維國也曾想過要在國際藝壇或是台灣的雙 年展裡，大放光采，揚名立萬，只是此時此 刻的他，只能不斷的對自己的內心反問： 「我是誰？」

who had received New Artist award from Lion Fine Arts, that kind of life was indeed a certain frustration but he had no choice. Kuo wanted to struggle himself into the international art scene or biannual exhibitions in Taiwan with no doubts, but being himself at that moment, the only thing he could do is to ask himself repeatedly: “Who am I?”

因為不斷自問「我是誰？」，郭維國開始以 自己為主角，不斷在畫作中反覆登場，雖以 「人」的形貌出現，但卻披上了各種道具、 獸皮，有時是長了長耳朵、長鼻子或翅膀的 天使，這些看似怪異荒誕的畫面，卻像極了 目前時下年輕人喜愛的角色扮演遊戲。

By questioning “who he is”, Kuo started to paint himself as the main figure in his paintings, he covered himself with animal skins or holding properties, sometimes himself with long ears, nose or backed with angel wings, these pictures may seems bizarre at first look but they are actually very similar to the roles plays between teenagers.

在蟠桃園中，郭維國將自己打扮成中國民間 故事中孫悟空，闖入王母娘娘的蟠桃園中， 恣意狂縱的品嘗的蟠桃，畫中的郭維國，雖 以近半裸及令人發噱的扮相登場，但可能是 畫家本身，對這個世界的角度及人跟人之間 的角度的另一種解釋。也可以說這也許是畫 家心中最真實的態度，一種藏在內心深處， 不會在一般世俗中呈現出來的真實、慾 望及 想像。 「英雄」不一定是俊俏的面容又高大英挺， 對郭維國來說，畫中的自己才是他心中的英 雄。

附大未來畫廊開立之原作保證書 圖錄： 《暴喜圖：柳暗花明－郭維國》，大未來畫 廊，台北，2005，彩色版圖，頁28

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Few years ago, Kuo Wei-guo picked up the children and drove them for his wife’s kindergarten day after another. For an artist

In “Precious Peach Garden”, Kuo dressed himself as Sun Wu Kong of the traditional Chinese folktale; he stumbled into Queen Mother's peach garden and ate those peaches without restrains. In the painting, he is half naked and dressed ridiculously; it could be his different kind of interpretation of the world, and of the relationship between people. Maybe we could say that this is the most sincere and honest attitude in the artist’s mind, it’s a reality, desire and imagination the artist kept within deeply and never reveals easily to the rest.

“The Hero” doesn’t have to be handsome or tall, the true hero to Kuo is himself in his paintings.

018

019

HWANG Jyi (b. 1953)

Unicorn 1982-1985 Oil on canvas 112 x 162 cm Signed lower left Jyi in Chinese and dated 8285 This painting is to be sold with a certificate of authenticity issued by Galerie Elegance, Taipei.

ILLUSTRATED: Hwang Jyi, Galerie Elegance, Taipei, 1989, color illustrated, p. 24 Hwang Jyi 1996, Galerie Elegance, Taipei, 1996, color illustrated, no. 064, pp. 44-49 & p. 188

NT$ 2,400,000-3,400,000 US$ 82,800-117,200 HK$ 615,400-871,800

《獨角獸》的畫面像一顆化石，唯有右下角 的女人以寫實的方式呈現，代表著「現在」 及「現實」。背後的化石以抽象的方式呈 現，是「過去」以及各種故事的象徵。黃楫 想呈現一種現實與幻象的共存畫面，左邊女 人已經可以見到黃楫後期人物處理的方式， 旁邊的海狗象徵了青春，右下角女人旁的狗 骨頭象徵了死亡的陰影。畫面的處理方式， 還是以黃楫慣用的壓印法來處理，再用暈染 及抽象的筆觸勾出畫面的構圖。 獨角獸是中古世紀傳說中美麗的生物，外貌 與馬相似，唯獨的不同是額頭上有著一螺旋 狀的尖角。中古世紀的獨角獸乃是純潔的象 徵，其額頭上的獸角有淨化以及起死回生的 功能。畫家當時的生活及經濟條件並不算充 裕，只有利用畫筆來表達夢境中的幻想及真 實的情感，也藉此淨化自己的心靈。

黃楫 獨角獸 1982-1985 油彩 畫布 112 x 162 cm 簽名左下：楫 82-85 附愛力根畫廊開立之原作保證書 圖錄： 《黃楫畫冊》，愛力根畫廊，台北，1989， 彩色圖版，頁24 《黃楫繪畫全集》，愛力根藝術有限公司， 台北，1996，彩色圖板，編號064，頁48-49、 頁188

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The whole picture of “Unicorn” is like a fossil, only the realistic woman at the lower right corner presents “now” and “reality”. The back

of the fossil is presented in an abstract way; it’s a symbol of the stories from the “past”. Hwang Jyi wanted to create a picture in which the reality and the illusion co-exists, the woman at the left is created with Hwang’s later technique when handling characters, the seal signifies “youth”, the bones of the dog next to the lower right woman signifies “the shadow of death”.

Huang used embossing technique, blending and abstract brush strokes to construct the whole picture.

Unicorns are beautiful legendary creatures from the middle age, they have the shape of horses, and the only difference is the horn on its forehead. In the middle age, unicorns are symbols of purity, and their horns could purify or even bring dead back to life. The artist’s life and economic condition is not well during that time, therefore he used his brush to paint his dreams and his feelings on the canvas, and further purify his soul.

019

020

Michell HWANG

(HWANG Ming-che, b. 1948)

Group Portraits-Lovers in the City 1996 Oil on canvas 181 x 121 cm Signed lower right Che in Chinese, dated 1996 Signed on the reverse Lovers in the City in Chinese, size 100F, Hwang Ming-che in Chinese, dated 1996 ILLUSTRATED: Michelle Hwang, Shanghai Art Museum, Shanghai, 2001, color illustrated, p. 110 Styles of Radical Will- The Multiform Nineties: Taiwan's Contemporary Art, Soka Art Center, Taipei, 2007, color illustrated, p. 64

NT$ 1,100,000-2,400,000 US$ 37,900-82,800 HK$ 282,100-615,400

黃銘哲 群像系列－城市戀人 1996 油彩 畫布 181 x 121 cm 簽名右下：哲 1996 簽名畫背：城市戀人 100號 黃銘哲 1996 圖錄： 《黃銘哲》，上海美術館，上海，2001，彩 色圖版，頁110 《激進意志的風格─九○年代台灣當代藝 術的多元異見》，索卡藝術中心，台北， 2007，彩色圖版，頁64

作為台灣戰後第一代傑出的當代藝術家黃 銘哲，以其獨特的藝術語彙，頗具東方神 韻、神秘色彩的繪畫，在華人藝術界享有盛 譽。黃銘哲的藝術，歷經了1970年代的鄉土 寫實、1980年代的人文溫情主義、1990年代 半抽象的華麗繽紛都會生活風格、2000年代 跳脫平面進入立體的探索。近年來，黃銘哲 的繪畫及雕塑作品已經超越抽象和意象的西 方與東方，材質上的形勢界限展現了前所未 有的酷視覺。黃銘哲成長於禮教嚴明的宜蘭 地區，因此其作品常傳達出一種宗教性的感 受，《群像系列－城市戀人》中分不清人獸 的面容，重複疊加的形體，帶有象徵主義 和表現主義的意味。從1985年首次個展開 始，他的繪畫以男人和女人為主題的創作--男人全部是憂傷的國王形象，偏向表現主 義；女人則從早期的少女漸漸成熟為類似聖 母的形象，氣息也由羞澀轉化為虔誠。黃銘 哲的畫，重視繪畫中高彩度色彩並置，以書 寫性線條的交錯重疊製造肌理和層次。無論 是平面或是立體，「線」始終是黃銘哲藝術 中最為突出、最為注重的特質。這些靈動飛 舞而蒼勁有力的線，構成一種介於理性與感 性中的獨特韻味。作品中繽紛燦爛的色彩、 線的疾緩、粗細、流轉等高度反差所醞釀而 出的多端變化，將神秘世界抒寫得千變萬化 ……。 Michell Hwang, first-generation splendid modern artist after WWII, is well-known in the Chinese artistic circle because of unique artistic terms, glossaries and paintings with dense color of the oriental demeanor and mystery. The art of Michell Hwang has experienced the countryside realist painting in 1970s, the humanistic

38

leniency in 1980s, and the semi-abstractive, colorful metropolitan lifestyle in 1990s. After entering 2000, he has jumped from planes to the exploration for three-dimension. In recent years the paintings and sculptures of Michell Hwang have surpassed the boundary between the West and the East in terms of abstract art and image. The boundary of material and texture presents an unprecedented vision of coolness.

Michell Hwang grew up in Yilan, Taiwan, well-known for the education on rigorous Confucian ethical code. This way, his works always deliver a kind of religious experience.

In the “Group Portraits-Lovers in the City”, the face that cannot be judged as human or animal and overlapping bodies carry the connotation of symbolism and expressionism. From his first art show in 1985, Hwang’s paintings have focused on the theme of man and woman – all the men take the form of sad king, oriented towards expressionism; the women have grown from young ladies in the early stage to a figure like the Virgin Mary, with the atmosphere from shy to loyal. Michell Hwang addresses parallel layout of high tone colors in his paintings and builds texture and layers by interweaving and overlapping descriptive strips. “Line” is from time to time the most highlighted, emphasized property in the art of Hwang for no matter plane or solid. These flying, dynamic, and yet vital lines constitute a unique flavor amidst ration and sensibility. The changes cultivated by splendid colors, quick or slow lines, thickness and thinness, turning, and other sharp contrasts compose an ever-changing, mysterious world.

021

YANG Mao-lin (b. 1953)

Yun Mountain Memorandum L9215 1992 Oil, acrylic on canvas 259 x 182 cm Signed lower left MADE IN TAIWAN in English The painting is to be sold with a certificate of authenticity issued by Lin & Keng Gallery, Taipei.

NT$ 3,000,000-4,000,000 US$ 103,400-137,900 HK$ 769,200-1,025,600

楊茂林 員山紀事 L9215 1992 油彩 壓克力 畫布 259 x 182 cm 落款左下：MADE IN TAIWAN 附大未來畫廊開立之原作保證書

台灣當代畫家畫風的時代性與社會性非常 強烈，1987年台灣解嚴對台灣當代文化的 發展是一個非常重要的轉捩點，由此導致 的上世紀90年代初至90年代中期的台灣當 代藝術發展，和這一股大潮流鼎肩同在， 批判政治與社會的藝術作品充份反映了這 個時期的社會狀況。而經由光影精確畫出 眼前所見的畫風，再經由內心穿越色彩， 強烈表達自我思考的風格，是早期台灣當 代藝術群體──悍圖社的典型風格。從 1996年的「大圓地誌」系列開始，楊茂林 開始把卡通漫畫人物放到我的創作中，作 為具有重要意義的圖像；身為悍圖社的藝 術家之一，在此之前，楊茂林延續至今的 內省、自覺、批判與細膩的畫風，創作出 強而有力且具時代風格的心靈折射作品， 是藝術家始終如一的精神訴求。在此幅 創作於 1992年的《員山紀事L9215》作品 中，藝術家通過放大的植物狀態，誇張的 表現手法，以植物超越尋常的錐般外型， 表達出生命力的剛強，影射鄉土生活及台 灣人民的堅韌，蘊含強烈的時代性。 Taiwan contemporary artistic style is extremely strong with the temporal spirit and sociality. The lifting of martial law in Taiwan in 1987 is a very important turning point for

40

the development of contemporary culture in Taiwan and it led to the development of contemporary art in Taiwan in early 1990s to the mid of 1990s. Together with this trend of development, critical political and social artistic works have fully reflected the social situation at that period. The artist style formed by precise shade and shadow, the colors penetrated through the heart, and strong expression of selfhood thinking manner is the typical style of contemporary art group, Hantu Society, in Taiwan. From the series of “Tayouan Topography” in 1996, Yang Mao-lin started to put cartoon figures into the creation as of great significance image.

As one of the artists in Hantu, Yang Maolin’s introspective, conscious, critical and delicate style has been extended ever since.

Create masterpiece reflecting strong and trendy soul is consistent spirit pursued by the artist. In the masterpiece, “Yun Mountain Memorandum L9215”, created in 1992, the artist adopted exaggerating expression by enlarging the state of plant. The unusual appearance of the plant in the shape of a cone has expressed the unyielding vitality, alluding to the life in the countryside and the tenacity of Taiwan people. It contains strong trend of contemporary living.

022

WU Hao (b. 1931)

Lillies 1991 Oil on canvas 91 x 73 cm Signed upper left Wu Hao in Chinese and dated 1991

NT$ 120,000-280,000 US$ 4,100-9,700 HK$ 30,800-71,800

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吳昊 百合花 1991 油彩 畫布 91 x 73 cm 簽名左上：吳昊 1991

023

CHANG Chen-yu (b. 1957)

張振宇 竹藪中

In the Bamboo 1993 Oil on canvas 130 x 100 cm Signed lower right Chen-yu in Chinese, dated 1993 Signed on the reverse Chang Chen-yu in Chinese, dated 1993 in Chinese, titled In the Bamboo in Chinese.

ILLUSTRATED: Chen-Yu Chang Retrospect on Neo-Humanism 1975-1994, Chang Chen-Yu Studio, Keelung, 1994, color illustrated, no. 47

NT$ 400,000-600,000 US$ 13,800-20,700 HK$ 102,600-153,800

1993 油彩 畫布 130 x 100 cm 簽名右下：振宇 1993 簽名畫背：張振宇 一九九三 竹藪中 圖錄： 《張振宇─新人文主義作品 1975-1994》， 張振宇工作室，基隆，1994，彩色圖版，編 號47

024

LIEN Chien-hsing

連建興

(b. 1962)

無量安頓

To Settle Down 1997 Oil on canvas 52 x 72 cm Signed lower left Lien Chien-hsing in Chinese, dated 1997 Signed on the reverse Lien Chien-hsing in Chinese, dated 1997, size 20P

44

ILLUSTRATED: Lien Chien-hsing, Metropolis Art Co., Ltd., Tainan, 1997, color illustrated, p. 28

1997 油彩 畫布 52 x 72 cm 簽名左下：連建興 1997 簽名畫背：無量安頓 1997 20P 連建興

NT$ 160,000-380,000 US$ 5,500-13,100 HK$ 41,000-97,400

圖錄： 《連建興畫集》，大都會藝術有限公司，台 南，1997，彩色圖版，頁28

025

黃楫

HWANG Jyi

重簾之室 II

(b. 1953)

Room with Double-layer Curtains II 1979-1989 Oil on canvas 72.5 x 91 cm Signed lower left Jyi in Chinese and dated 1979 Titled on the reverse Room with Double-layer Curtains II and signed Hwang Jyi in Chinese, dated 1989

ILLUSTRATED: Hwang-Jyi, Galerie Elegance, Taipei, 1989, color illustrated, p. 12 Hwang Jyi 1996, Galerie Elegance, Taipei, 1996, color illustrated, no. 065, p. 188

NT$ 500,000-700,000 US$ 17,200-24,100 HK$ 128,200-179,500

1979-1989 油彩 畫布 72.5 x 91 cm 簽名左下：楫 1979 簽名畫背：重簾之室 黃楫 1989 圖錄： 《黃楫畫冊》，愛力根畫廊，台北，1989， 彩色圖版，頁12 《黃楫繪畫全集》，愛力根藝術有限公司， 台北，1996，彩色圖版，編號065，頁188

026

LIEN Chien-hsing (b. 1962)

Retro to Venice 2002 Oil on canvas 80 x 116 cm Signed lower right Lien Chien-hsing in Chinese, dated 2002 Titled on the reverse Retro to Venice in Chinese, signed Lien Chien-hsing in Chinese, dated 2002, size 50P

NT$ 400,000-700,000 US$ 13,800-24,100 HK$ 102,600-179,500

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連建興 威尼斯懷舊 2002 油彩 畫布 80 x 116 cm 簽名右下：2002 連建興 簽名畫背：威尼斯懷舊 2002 連建興 50P

027

J. C. KUO

(KUO Jen-chang, b. 1949)

Legend of a Scenery IV 1992 Oil on canvas 97 x 116.5 cm Signed lower right KUO JEN-CHANG in Chinese and English, dated 1992 Titled on the reverse Legend of a Scenery IV and signed Kuo Jen-chang in Chinese, dated 1992 and size 50F

NT$ 800,000-950,000 US$ 27,600-32,800 HK$ 205,100-243,600

郭振昌 景之傳奇 IV 1992 油彩 畫布 97 x 116.5 cm 簽名右下：郭振昌 1992 KUO JEN CHANG 簽名畫背：景之傳奇.4 50F 郭振昌 1992

028

HOU Chun-ming (b. 1963)

Meditation Paintings (a set of 30 pieces) 2004 Acrylic on board 48 x 27 cm (x30)

ILLUSTRATED: Hou Chun-ming, Moon Gallery, Taichung, 2007, color illustrated, the whole album

NT$ 400,000-750,000 US$ 13,800-25,900 HK$ 102,600-192,300

侯俊明 繪畫靜心（30件一組） 2004 壓克力 木板 48 x 27 cm (x30) 圖錄： 《侯俊明》，月臨畫廊，台中，2007，彩色 圖版，全冊

1963年出生的侯俊明，在90年代初曾以裝置 藝術及版畫形式的前衛創作，大膽地挑戰禁 忌，震撼了當時的華人藝術圈。1995年，第 46屆「威尼斯雙年展」也將年僅32歲的侯俊 明一舉帶上國際舞台，叱吒風雲。在台灣， 挑戰道德與審美底線的黑白圖像，加上無厘 頭的侯氏文字書寫，就是「六腳侯氏」的等 號。 但大家都忽略了一個事實：侯俊明探索心靈 深處的隨手塗鴉和自由書寫才是侯氏的藝術 精髓。許多經典之作，原創都淵源於此，而 最富代表性的，乃2001年的《曼陀羅日記》 以及2004年的《繪畫靜心》 系列。 1997年，侯俊明失婚，其創作支持系統整個 癱瘓，原本創作力旺盛的他，完全無法做大 型作品。他只得用大量的自由書寫與塗鴉來 陪伴自己、治療自己。侯俊明的創作也在這 段期間開始由社會批判轉向個人內在心性的 探討。

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2000年，他給了自已一個重生的允諾，以 一年的時間，不間斷地每天畫一張以圓形 為界、隨心所欲的「曼陀羅」。經過了好幾 年以書寫及塗鴉來自我整理，如今已再婚、 成為兩子之父的侯俊明，說自己像是「從萬 善祠裡的孤魂野鬼，變成守護生命基地的園 丁。」儘管不再處於困頓的低潮，但藉由書 寫進行自我整理，卻仍斷續成為他生活中的 一部份。 2004年，他在台灣苗栗苑裡成立團體，每周 進行固定聚會，靜坐、繪畫、書寫與相互回 饋，帶領朋友們一起進行繪畫靜心，同樣是 透過自由書寫與塗鴉的形式。定期為自己安 排並參與團體聚會來整肅並再次挖掘自我， 成為侯俊明自我靜心修煉的重要過渡階段。 侯俊明說：「在團體動力下，愈是能夠誠實 的在作品中自我揭露，也就愈能碰觸到生命 裡的核心問題，否則就只是在浪費大家的時 間。」如此透過持續約半年的團體聚會，這 套以《繪畫靜心》為題的作品問世。對侯俊 明來說，這不只是藝術治療，更是一埸從 現實或臆想中的圖像與文字來拼組自我生命 缺角的創造性行動藝術。侯俊明圖像營塑之 準確程度令我們驚訝，幾個類型之侯氏「人 物」已在這自由塗鴉中蠢蠢欲動，這組作品 無疑乃侯俊明往後創作的重要源頭。

Born in 1963, Hou Chun-ming boldly challenged the taboo and shocked the Chinese art circle in the early 1990s through avant-garde creation in the forms of installation art and engraving. In 1995, “the 46th Venice Biennial” had brought Hou Chun-ming, then only 32-years -old, up to the world stage, prosperous and successful, and second to none. In Taiwan, he has challenged the bottom line of the moral and aesthetics in respect of black-and-white images, together with the unreasonable Hou’s literal writing, which titled him “Six Feet Hou”.

However, one fact has been overlooked by all: The random graffiti and liberal writing explored to the deepest part of the soul by Hou Chunming are the essence of Hou’s art. Many classic works are derived from this original source and the one with uppermost representation is “Mandala Diary” in 2001, as well as this series of “Meditation Paintings” in 2004 with 30 pieces of works.

In 1997, Hou Chun-ming was divorced and the backbone of his creativity was entirely paralyzed. The exuberant creativity he originally possessed had completely failed him and he was unable to do large-scale of works. He had to spend a lot of time on liberal writing and random graffiti to comfort and cure himself. During this period, the creation of Hou Chun-ming began to transfer from criticizing community to study of individual intrinsic thoughts.

In 2000, he promised himself a renaissance that he would follow his own inclinations to draw daily a piece of Mandala incessantly within a year. He recreated himself by writing and graffiti for several years. He has remarried now and became the father of two sons. Hou Chunming said that he himself is just like “a solitary soul and unrestrained ghost in Wanshan Temple transformed into a gardener safeguarding the life zone.” Though not feeling frustrated at low ebb anymore, he keeps writing as a part of his life to recreate himself.

In 2004, he set up a group in Yuan-li, Miaoli County and held a fixed meeting weekly, meditating, painting, writing and mutual feedback. He leads friends to paint and meditate together through graffiti and liberal writing. He arranged parties and participated in meetings to purge his spirit and excavate his potential, which becomes the important transition stage of his meditation practice. Hou Chun-ming said, “Under the driving force of the group, the franker you disclosed in the works, the deeper you can touch the key issue of the life.

Otherwise, it is just a waste of everybody’s time.” Through such kind of gathering for about six months, this set of “Meditation Paintings” has come out. To Hou Chun-ming, it is a creative action art formed by image and words from reality or imagination, rather than an art therapy. The accuracy of the image created by Hou Chun-ming has astounded us and several types of Hou-style “characters” have already endeavored to emerge in the random graffiti.

This set of works is undoubtedly an important source of creativity for Hou Chun-ming’s future works.

029

CHENG Tsai-tung (ZHENG Zaidong, b. 1953)

Tender is the Night (a set of 10 pieces) 2004 Ink and color on paper 175 x 97 cm (x10) Signed lower right Cheng Tsai-tung in Chinese and dated 04 (Freeing a Crane, Rock, Bamboo, Crane) Signed lower center Cheng Tsai-tung in Chinese and dated 04 (Cloudy Mountain) Signed lower left Cheng Tsai-tung in Chinese and dated 04 (Waterfall, Kiosk, A Residence in the Mountain, Cold Forest) The painting is to be sold with a certificate of authenticity issued by Lin & Keng Gallery, Taipei.

EXHIBITED: Tender is the Night, Lin & Keng Gallery, Taipei, October 2004 ILLUSTRATED: Tender is the Night, Lin & Keng Gallery, Taipei, October 2004, color illustrated,

鄭在東 夜未央（10件一組） 2004 彩墨 紙本 175 x 97 cm (x10) 簽名右下：鄭在東 04（放鶴、石、竹林、鶴） 簽名中下：鄭在東 04（雲山） 簽名左下：鄭在東 04（瀑布、亭、山居、 舟、寒林） 附大未來畫廊開立之原作保證書

pp. 15-24

展覽： 「夜未央」，大未來畫廊，台北，2004年10 月

NT$ 2,500,000-3,600,000 US$ 86,200-124,100 HK$ 641,000-923,100

圖錄： 《夜未央》，大未來畫廊，台北，2004年10 月，彩色圖版，頁15-24

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030

HONG Ling (b. 1955)

Diptych-Summer and Autumn 1999 Oil on canvas 150 x 75 cm (x2) Signed on the reverse Hong Ling in Chinese, titled Summer, dated 1999.8 Signed on the reverse Hong Ling in Chinese, titled Autumn, dated 1999.8

NT$ 2,100,000-3,200,000 US$ 72,400-110,300 HK$ 538,000-820,500

洪凌 雙聯－夏、秋 1999 油彩 畫布 150 x 75 cm (x2) 簽名畫背：洪凌《雙聯》《夏》作于 1999.8 簽名畫背：洪凌《雙聯》《秋》作于 1999.8

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031

Walasse TING

(DING Xiongquan, b. 1929)

Beauty among Flowers Acrylic on paper mounted onto canvas 176 x 96 cm With one seal of the artist

NT$ 2,600,000-3,500,000 US$ 89,700-120,700 HK$ 666,700-897,400

丁雄泉 花間美人 壓克力 紙本 裱於畫布 176 x 96 cm 鈐印左上：採花大盜

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032

George CHANN (1913 - 1995)

Ballerina Oil on canvas 123 x 71 cm Signed lower right GEO CHANN in English PROVENANCE: Old Collection of Michael D. Brown, San Francisco

NT$ 3,200,000-4,200,000 US$ 110,300-144,800 HK$ 820,500-1,076,900

陳蔭羆 芭蕾舞者 油彩 畫布 123 x 71 cm 簽名右下：GEO CHANN 來源： 麥可．布朗舊藏，舊金山

宮布利希在其傳世經典巨著《藝術的故事》 中，開篇導論的第一句話即闡述了他關於藝 術和藝術家的觀點：實際上沒有藝術這種東 西，只有藝術家而已。在德加的芭蕾舞教室 中，藝術家將舞者或佇立、或舞動或凝望地 宛如定格畫面般的作品，令觀者在駐足畫面 前的一瞬間，彷彿聽到舞者們的細語聲及音 樂聲。而在陳蔭羆的《芭蕾舞者》中，藝術 家塑造的舞者優美而憂傷；她在俯視著什 麼？準備上台還是已經下場？她的落寞源自 於哪裡？《芭蕾舞者》為美國藝評家麥可． 布朗的收藏。麥可．布朗與楊芳芷合撰了 《藝術世界中的清教徒陳蔭羆》，是研究並 收藏陳蔭羆藝術作品的非常重要的一位藝評 家。《芭蕾舞者》是陳蔭羆早期的畫作，其 早年的題材多以貧困的中下層人群的肖像為 主。以《芭蕾舞者》一畫為例，原本應是浪 漫曼妙的芭蕾舞者，眼神底盡是蒼茫，整幅 畫作籠罩在一片昏黃的暗色 調下，帶有濃稠 的人道主義情懷。「充滿人文主義色彩」、 「充滿悲天憫人的胸懷」、「透露人道主義 的溫情與關懷」…是陳蔭羆此一時期畫風所 受到的一面倒的評述。也正是從此意義中， 通過此幅畫面，我們可以說，在《芭蕾舞 者》中，我們既看到了藝術，也看到了藝術 家。 In the first sentence of the preface of his classical work The Story of Art, Gombrich describes his view towards arts and artists: Actually, there is no art but artist only. In the ballet classroom

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of Degas, the artist created works in which the dancers stand firmly, play, or stare at something like framed. Whenever standing before the image, a viewer may even hear the whisper of dancers or music. However, in“Ballerina” of George Chann, the dancer created by the artist is beautiful and said. What is she looking down at? Up to or down from the stage? Where does her loneliness come from? “Ballerina” is now treasured by US art critic Michael D. Brown. Michael D. Brown and Yang Fangzhi jointly composed the George Chann, Purist in World of Arts. He is an art critic for studying and collecting the works of George Chann.

“Ballerina” is an early-stage work of George Chann. In his early years, his works focused on portrait of the medium- and low-level people that are impoverished. Take “Ballerina” for example. The dancer, who is supported to be romantic and deft, shows indistinctness and vastness from her eyes. The entire image is shaded by a dim, yellowish tone, carrying dense humanitarian aspiration. “full of humanitarian color”, “full of the bosom bemoaning the state of the universe and pitying the fate of humankind”, “revealing humanitarian kindness and care”…

These are the unilateral descriptions to the painting style of George Chann in this period.

Based on this sense and by this image, it is said that, in “Ballerina” , we are aware of art as well as artist.

033

AI Xuan (b. 1947)

Frozen Field 1993 Charcoal on paper 54 x 39 cm Signed lower right Ai Xuan in Chinese, dated 1993.3 This Painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 160,000-320,000 US$ 5,500-11,000 HK$ 41,000-82,100

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艾軒 凍原 1993 炭筆 紙本 54 x 39 cm 簽名右下：艾軒 1993.3 附藝術家親筆簽名之原作保證書

034

AI Xuan (b. 1947)

Tranquil Frozen Land 1995 Charcoal on paper 51.5 x 38.5 cm Signed lower right Ai Xuan in Chinese, dated 1995.5

NT$ 260,000-400,000 US$ 9,000-13,800 HK$ 66,700-102,600

艾軒 靜靜的凍土帶 1995 炭筆 紙本 51.5 x 38.5 cm 簽名右下：艾軒 1995.5

035

HUANG Chih-yang (b. 1965)

Ecology of the Forms 1989 Ink on silk paper mounted onto board 70 x 171.5 cm With one seal of the artist Titled on the reverse Ecology of the Forms in Chinese, dated 1989, HUANG Chih-yang in Chinese and size 70 x 176 cm

NT$ 300,000-500,000 US$ 10,300-17,200 HK$ 76,900-128,200

黃致陽 形象生態 1989 彩墨 絹 木板 70 x 171.5 cm 鈐印：致陽 簽名畫背：形象生態 1989 黃志陽 70 x 176 cm

036

YU Peng (b. 1955)

Fairy Land 1998 Ink on paper 53 x 232 cm Signed upper right Yu Peng, Fairy Land in Chinese and dated 1998 With one seal of the artist

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PROVENANCE: Kaikodo Gallery, New York.

INSCRIPTION: Living in fairy land, being a common mortal Ignoring earthly affairs, becoming an immortal Imaging numerous rocks flying as fairies Mountain peaks waiting on like guards

NT$ 500,000-600,000 US$ 17,200-20,700 HK$ 128,200-153,800

于彭 仙鄉 1998 水墨 紙本 53 x 232 cm 簽名右上：于彭寫仙鄉 一九九八年 鈐印右上：于彭

來源： 紐約懷古堂 落款： 能居仙鄉作凡人 不問世事亦成仙 眾石化作精靈飛 峯峯但為兵衛侍

037

T'ANG Haywen (1927 - 1991)

Vase of Flowers Oil on canvas 46 x 37.5 cm Signed lower left T'ang in English and Haywen in Chinese

NT$ 550,000-750,000 US$ 19,000-25,900 HK$ 141,000-192,300

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唐海文 瓶花 油彩 畫布 46 x 37.5 cm 簽名左下：T'ang 海文

038

YEE Bon

(Yu Ben, 1905 - 1995)

Flower Bouquet on a Table Oil on panel 76 x 62.5 cm Signed lower left YEE BON in English

PROVENANCE: Old collection of a late English diplomat, who worked in the Far East and later lived in France Hôtel des ventes de Saint- Omer, Saint Omer, France, June 24, 2007

NT$ 500,000-600,000 US$ 17,200-20,700 HK$ 128,200-153,800

余本 案几瓶花 油彩 木板 76 x 62.5 cm 簽名左下：YEE BON 來源： 已故英國外交官舊藏（曾服務於遠東，後居 住於法國） 法國聖奧梅爾拍賣會，2007年6月24日

039

George CHANN (1913 - 1995)

Waiting Oil on canvas 46 x 36 cm Signed on the reverse Geo Chann in English PROVENANCE: Old collection of Michael D. Brown, San Francisco

NT$ 400,000-600,000 US$ 13,800-20,700 HK$ 102,600-153,800

陳蔭羆 裸女 油彩 畫布 46 x 36 cm 簽名畫背：Geo Chann 來源： 麥克．布朗舊藏，舊金山

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040

GUAN Liang (1900 - 1986)

Scenery of the River Bank Oil on canvas 28 x 35 cm Signed lower left Guan Liang in Chinese EXHIBITED: Guan Liang, 100 Years Retrospective, Lin & Keng Gallery, Taipei, April 19-May14, 2000 ILLUSTRATED: Guan Liang, 100 Years Retrospective, Lin & Keng Gallery, Taipei, 2000, color illustrated, p. 35

NT$ 550,000-750,000 US$ 19,000-25,900 HK$ 141,000-192,300

關良是中國第一代油畫家，1917年留學日 本，受日本外光派、野獸派風格影響，返 國後致力於美術創作，以具有民族性的改良 油畫，及生動傳神的水墨戲曲人物畫著稱。 外界對於關良之印象多留存於戲曲人物畫， 乃是因為存世的油畫極為稀有，而其本人亦 看重油畫創作，晚年亦偶作油畫。西方教 授讚譽他的油畫是中國的，屬「第一流的 油畫」。 （參閱上《關良回憶錄》，海書畫出版社，

life in art creation after returning to China. He was famous for his reformed oil painting with national tone, and vivid opera figures in Chinese Paintings. Although he was remembered for his opera figures, his oil paintings received praise from professors in Western countries; they said that his works were ranked among “the best of oil paintings in China.” (in Memoir of Guan Liang

1984，頁121）

1984, p. 121)

此幅《堤岸風景》作品，表現外光派風格遺 緒，簡約、素樸、率真的方式，寫生中國大 川江河，尺幅雖不大，但顯神氣十足。藝評 家水天中曾指出：「關良的油畫大多畫得自 由輕鬆，不像同時代有些畫家常常顯得拘謹 吃力。在油畫風景畫中，關良擅長把巨大的 空間、複雜的色彩關係和質量結構單純化， 但又善於表現出景物的氣勢。」 （摘錄自水天

“Scenery of the River Bank” represents the style of Japanese Impressionism that is simple and ingenuous. The size of the painting is, though, small but the content is extensive. The art critic, Shui Tianzhong once said that Guan Liang’s paintings are free and relaxed compared with other painters in the same period. He was good at simplifying the vast space, complicated colors and structures in his paintings and yet still presented the majesty of the scenery. (Extracted

中〈關良—藝術之鄉的漫遊者〉，《關良百年紀念展》畫

關良

冊，大未來畫廊，2000〉）

堤岸風景

published by Shanghai Paintings/Books Publishing House

from ‘The Wanderer in Art’ written by Shui Tianzhong; Guan

油彩 畫布 28 x 35 cm 簽名左下：關良 展覽： 「關良百年紀念展」，大未來畫廊，台北， 展期自2000年4月19日至5月14日 圖錄： 《關良百年紀念展》，大未來畫廊，台北， 2000，彩色圖版，頁35

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關良提倡學習傳統的同時，也學習現代，以 使自己的作品能反映當今世界文化所發展的 高度，更富於時代性。「形神兼備」、「發 揮民族畫風的流暢特色」和「單純化」乃是 畫家所欲追求的方向。關良融入時代性的藝 術理想，天真自由人生觀，亦保有之傳統寫 意精髓，在繪畫中展現大師之氣度。

Guan Liang was the first generation of oil painters in China. He went to Japan to study Western painting techniques in 1917 and was strongly influenced by the Japanese Fauvism of the Impressionists. He devoted his whole

Liang, 100 Years Retrospective, Lin & Keng Gallery, Taipei, 2000)

Guan Liang not only emphasized the learning of the tradition but also of the modern.

His paintings are the reflection of cultural development in today’s world as well as contemporaneity. For painters, they have been searching for “integration of Form and Spirit”, “a fluid features of the national painting style” and simplicity. For Guan Liang, his contemporary artistic ideal, innocent and unbounded life philosophy, and traditional skills bestowed his paintings the spirit of a master.

040

041

YUN GEE (1906 - 1963)

Farmer's House c. 1930s-1940s Oil on canvas 50 x 65 cm Signed lower right yun gee in English PROVENANCE: Christie's Hong Kong, May 29, 2005, lot 251 Acquired directly from the above by the current owner

NT$ 2,200,000-3,800,000 US$ 75,900-131,000 HK$ 564,100-974,400

朱沅芷 農夫之家 約1930-1940年代前後 油彩 畫布 50 x 65 cm 簽名右下：yun gee 來源： 2005年5月香港佳士得春季拍賣會，編號251 現有收藏者直接得自上述來源

《農夫之家》屬於藝術家的「紐約時期作 品」，依畫中佈局判斷，可能是紐約布朗克 斯區東北方佩姆勒灣的一景。在1998年大未 來畫廊出版的《朱沅芷Yun Gee》展覽目錄 裡，第53頁上的《海灣旁的房屋與農夫》作 品，與本拍品《農夫之家》右方房舍應是同 地取景。 除上述的《海灣旁的房屋與農夫》，朱沅芷 描繪此景的油畫目前已知有三幅：一是尺幅 較大的《回家》，73.5乘以98.7公分，曾出 現在1999年11月台北佳士得拍賣，收錄在大 未來畫廊1995年發行的《朱沅芷》畫集，當 時命題為《鄉村農夫》（頁66-67）；另一 是尺寸最小的《農莊風景畫》，21.5乘以27 公分（同畫集頁77）。還有一幅正是此拍品 《農夫之家》，2005年5月時由香港佳士得 所售出，尺幅36乘以50公分。 朱沅芷擅長愛風景畫，多次在紐約中央公 園寫生，創作出不同季節的紐約風景畫， 公園附近可划船、騎馬，悠閒的生活情景經 常入畫。此系列最小幅的《農莊風景畫》在 木欄間有一輛農夫牽著馬車步行，但人車僅 以淡淡的線條勾勒，有未完成之感；較大幅 的《回家》或《鄉村農夫》裡，馬夫模樣清 晰，騎坐在馬車上，取代景物成為畫中主 角；而中型尺幅的《農夫之家》純以詩意的 風景描寫為主，和其他兩幅作品創作年代應 接近，亦在1930-40年代前後。

The painting “Farmer’s House” belongs to the artist’s “New York Period”. Judging from the picture’s composition, it probably shows a scene from the Pelham Bay area in the northwestern Bronx. The same view, in particular the houses on the right, very likely also served as backdrop of another of Yun Gee’s works, “Radio Street”, “Pelham Bay”, which features on page 53 of the 1998 exhibition catalogue “Yun Gee”, published by the Lin & Keng Gallery.

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Apart from “Radio Street, Pelham Bay”, there are, according to current knowledge, three other oil paintings by Yun Gee depicting the same motif. There is the larger-format “Returning Home” (73.5 x 98.7cm), which previously appeared in a Nov. 1999 Christie’s Taipei auction, and also featured in the 1995 Lin & Keng Gallery catalogue “Yun Gee” (pp. 66-67), although there the painting was titled “Farmer in the Wagon.” Then we have the smaller “Country Landscape” (21.5 x 27cm), which is also included in the 1995 Lin & Keng Gallery catalogue (p. 77). And lastly, there is the present lot, “Farmer’s Houses” (36 x 50cm), which was sold at a May 2005 Christie’s Hong Kong auction.

Yun Gee loved and excelled at landscape paintings, and he would often visit New York’s Central Park to sketch from life. The result were a number of paintings showing New York vistas throughout the changing seasons of the year: rowing boats on the park’s lakes and ponds, riders on horseback, and other scenes of leisure and recreation frequently appear in these works. The smallest of the four pictures from the “Pelham Bay” series, “Country Landscape”, shows a farmer pulling a horse cart between wooden fences, but both the man and the cart are only adumbrated with faint lines, giving the composition a somewhat unfinished feel.

The larger-format one, “Returning Home” (also titled “Farmer in the Wagon”) shows a farmer riding a horse cart, and this time the man’s features and contours are executed in a much more detailed and complete manner, putting the painting’s focus firmly on the figure instead of the surrounding scenery. “Farmers’ House”, on the other hand, is clearly a more poetic rendition of a bucolic panorama. In all likelihood it was completed during the same period that saw the creation of the other two paintings described above, that is between 1930 and 1940.

041

042

PANG Jiun (b. 1936)

Mount Huang, West Sea 1998 Oil on canvas 129 x 160 cm Signed lower right Pang Jiun in Chinese, dated 1989 With one seal of the artist EXHIBITED: Pang Jiun's Oil Painting, Lung Men Art Gallery, Taipei, June 20-30, 1987

NT$ 1,900,000-2,800,000 US$ 65,500-96,600 HK$ 487,200-717,900

龐均 黃山西海 1998 油彩 畫布 129 x 160 cm 簽名右下：龐均 1989 鈐印右下：均 展覽： 「龐均油畫展」，龍門畫廊，台北，展期自 1987年6月20日至30日

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042

043

LIU Kuo-sung (b. 1921)

Eager Mountains: Tibetan Cento XIII 2000 Ink and color on paper 182 x 90 cm Signed upper right LIU Kuo-sung in Chinese, dated 2000 in Chinese With two seals of the artist ILLUSTRATED: 21st Century, Latest Works of Liu Kuo-sung, Chung Hua University Arts Center, Hsin-chu, 2006, color illustrated, p. 25 The Universe in the Mind- A Retrospective of Liu Kuo-sung, Cultural Affairs Bureay of Taoyuan County Government, Taoyuan, 2007, color illustrated, p. 71

NT$ 2,000,000-4,000,000 US$ 69,000-137,900 HK$ 512,800-1,025,600

劉國松 眾山踴躍：西藏組曲之十三 2000 彩墨 紙本 182 x 90 cm 簽名右上：劉國松 二○○○ 鈐印右上：劉國松印 鈐印左下：合而為一 圖錄： 《21世紀─劉國松新作集》，中華大學藝文 中心，新竹，2006，彩色圖版，頁25 《宇宙心印：劉國松回顧展》，桃園縣政府 文化局，桃園，2007，彩色圖版，頁71

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在海峽兩岸有「中國現代繪畫先驅」、「現 代水墨畫之父」之稱的台灣著名畫家劉國 松，早在上世紀60年代，就積極宣導創新現 代中國水墨畫，提出「中國畫的現代化」的 訴求。在藝術家看來：「藝術的靈感從造化 中來，造化是生活，是宇宙，人們的內心感 受它，再把自己的感受通過繪畫表達出來。 但我們的生活在變化，感受也在變化，畫就 要變化。歷史上的大畫家都有自己的發明， 繪畫其實有多種畫法，如米芾用蓮蓬畫， 傅抱石用絲瓜瓤畫，還有人用手指頭畫。一 味強調用中鋒，只能使中國畫的領域越來越 窄，把中國畫推向死胡同。」 他自己在作 品表現上尋求各種前所未有的可能形式，並 在「現代」與「水墨」的雙重議題上尋求最 大的結合與突破。 其技法實驗的成就包括 了創作性地發明了中國水墨畫的拓墨法和漬 墨法，令中國畫裡出現了白線條，而且大大 豐富了水的表現形式。此幅《眾山踴躍：西 藏組曲之十三》，畫面凝結、透明且立體的 肌理感覺是傳統技法表現不出來的。藝術家 摒棄了採用油畫的方頭筆，而是受中國傳統 「蟲食紋」和「屋漏紋」技法的啟發發明了 拓墨法和漬墨法，使得畫面既有中國畫的風 骨，又不乏油畫的質感。

Liu Kuo-sung, well-known painter in Taiwan, known as the “Pioneer of modern painting in China” and “Father of modern ink painting” across the Taiwan Straits, advocated innovation in modern Chinese ink painting as early as in 1960s and presented the slogan of “Modernization of Chinese painting”. In the

artist’s eyes, “The aspiration of art comes from creation, which means life and the universe.

People feel it from inner heart and then express their feeling by drawing. However, our life is changing and our feeling is changing. This way, drawing is changing. Every famous painter in our history had his own invention.

Actually, painting means many techniques. For example, Mi Fu drew with lotus seed pod, Fu Baoshi drew with chalina, whereas some others draw with finger only. Sticking to central tip of brush can only narrow the space of Chinese painting and push it to a dead end.” He looks for any unprecedented, possible form for his artistic expression and is in search of maximum integration and breakthrough for the two-sided issue of the “modern” and “water ink”. His achievements in the technical experimentation include the innovative ink rubbing and ink immersing for traditional Chinese ink painting, bringing white strips to Chinese painting and enriching the forms of expression by water. In the “Eager Mountains: Tibetan Cento XIII” , the image is condensed, transparent, and solid.

The feeling of texture can never be presented by traditional techniques. The artist discards square-head brush in oil painting. He invents ink rubbing and ink immersing techniques as inspired by the traditional “Bug eating grain” and “Eaves grain” in the traditional Chinese painting techniques. This way, the image carries not only the skeleton of Chinese painting but also the texture feeling of Western oil painting.

044

CHU Teh-chun (b. 1920)

Flambeaux crépuscule (Flaming Dusk) 2000 Oil on canvas 73 x 100 cm Signed lower right CHU TEH-CHUN in Chinese and English, dated 2000 Signed the reverse CHU TEH-CHUN in Chinese and English, title d Flambeaux crépuscule, dated 2000 EXHIBITED: Chu Teh-chun, The Ueno Royal Museum, Nippon Art Association, Tokyo, June 23- July 10, 2007 ILLUSTRATED: L'ecoute de l'univers: 2003 Asia art exhibition of art master Chu Teh-chun, Providence University Art Center, Taichung, 2003, color illustrated, p. 76 Chu Teh-Chun, Thin Chang Corporation, Taipei, 2007, color illustrated, p. 324

NT$ 3,600,000-4,600,000 US$ 124,100-158,600 HK$ 923,100-1,179,500

朱德群 火紅的暮色 2000 油彩 畫布 73 x 100 cm 簽名右下：朱德群 CHU TEH-CHUN 2000 簽名畫背："Flambeaux crépuscule" CHU TEH-CHUN 朱德群 2000

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展覽： 「大象無形－朱德群展」，上野之森美術 館，日本美術協會，東京，展期自2007年6 月23日至7月10日 圖錄： 《大象無形、傾聽宇宙》，靜宜大學藝術中 心，台中，2003，彩色圖版，頁76 《大象無形－朱德群》，台灣馨昌株式會 社，台北，2007，彩色圖版，頁324

在經歷長達數十年的探索與思慮，朱德群畫 中絢麗激盪的色彩是他最強烈的感情來源； 在細膩中見靈巧，在激情中見和諧是其不斷 追求的畫面語言。光的變幻，風的流動，季 候的交替，朱德群畫筆下的風景充滿不可捉 摸的魅力。他的抽象繪畫從自然界抽取光與 形，描繪了一個既是想像又是真實的世界。 在朱德群後期的作品中，畫面中所呈現的綻 放光感，無論紅色瑰麗，藍色夢幻，都給人 以混沌宇宙中閃亮出寶石般的炫目光芒之 感。朱德群擅長在作品中營造一個突破了時 間與空間的區隔，盡情夢想的浪漫世界。這 幅創作於2000年的作品，整體畫面以暖調的 顏色鋪陳，線條和潑墨式的點、塊交集的蜿 蜒流暢的構圖，因色彩表現了題材的拓展和 意境的顯現，透過作品名字的定義—《火紅 的暮色》，更契合藝術家中國傳統思想的深 意。朱德群透過畫面最終傳達的是追尋人類 及自然之間最為深邃的思想內涵。

After decades of exploration and consideration, one could see that the brilliant and flaming colors in Chu Teh-chun’s painting expressed his fiercest sentimental sources. Delicate with dexterity and passion in harmonious, this is his constant pursuit of the language expressed in the painting. The changes of lights, the flow of wind, and the alternation of seasons have permeated in the scenery of his painting with uncertain charm. His abstract painting taken from the natural light and shape has depicted a scene combined with imagination and realistic world. In Chu Teh-chun’s late works, the lights, whether magnificent red or dreamy blue, flashing from the painting have given out a shining dazzling brilliance like the jewelry glistening in the chaotic universe. Chu Tehchun is good at creating a romantic dreamy world by breakthrough the partition between time and space. This piece of work was created in 2000, and the picture is tinted with a warm tone, composing with lines, splashing ink spots and blocks fluently winding together. As color-performs the expansion of the theme and emerges the artistic conception, by the definition of this masterpiece - Flaming Dusk, a profound meaning of traditional Chinese philosophy is clearly matching the artist’s thinking. Through his painting, Chu Teh-chun has finally conveyed the most profound ideological connotations between human and the nature, which is his ultimate pursuit.

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CHU Teh-chun (b. 1920)

Le 15 OCT. 76 1976 Oil on canvas 100 x 73.5 cm Signed lower right CHU Teh-chun in Chinese and English Signed on the reverse Chu Teh-chun in Chinese, dated 15. OCT. 1976

僅只是跟藝術家的心靈溝通，同時也是和宇 宙、大自然的對話。

This painting is to be sold with a certificate signed by the artist.

NT$ 3,600,000-4,600,000 US$ 124,100-158,600 HK$ 923,100-1,179,500

朱德群 15. 10. 1976 1976 油彩 畫布 100 x 73.5 cm 簽名右下：朱德群 CHU Teh-chun 簽名畫背：朱德群 15.OCT.1976 附藝術家親筆簽名之原作保證書

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如果說趙無極更善於凌虛禦空的空間想像， 那麼朱德群的想像力則是滲透在橫塗豎掃的 時間序列之中。要探究朱德群作品的發展脈 絡，應先從他的水墨、書法開始，在他長時 間不間歇地書法水墨練習下，朱德群從中國 書法線條與水墨中，發展出了他獨到的繪畫 新理論與表現方式。中國傳統的山水、氣 韻、線條，在朱德群的筆下，得到無限的 舒展與自在。同時，中國歷代以來歌頌自然 的詩詞，大膽豐富了朱德群對風景的感受， 其中尤以唐代大詩人王維、董源、范寬，和 南宋知名的詩人陸遊，最為朱德群推崇。中 國傳統文化的薰陶，使朱德群在藝術上更顯 出一種灑脫與豪氣，運筆如草書一樣的狂放 不羈，流暢自如。此幅《15.10.1976》用色 比較稀薄，一氣呵成，這與朱德群過去在國 內畫水墨畫有關，從中國繪畫基礎中繼承下 來的技法，不但表現了顏色的飽和感，還增 加了畫面的透明感。觀看朱德群的畫，不僅

If Zao Wou-ki is regarded better at unrealistic imagination, Chu Teh-chun could be deemed possessing infiltrated imagination through space of time with strokes and brushes. To explore the developing context of Chu Teh-chun’s works, one should start with the study of his ink paintings and calligraphy. Chu Teh-chun has developed his unique painting style with new theory and expressions through the lines and ink in his persistent practice of Chinese calligraphy and ink painting. The traditional Chinese landscape and pleasant ambience have been stretched out unrestrained and expressed through the lines by Chu Teh-chun. At the same time, the poems extol natural scenery in long history of China have greatly enriched Chu Thechun’s perception of the scenery. Particularly, Wang Wei, Dong Yuan, and Fan Kuan, the poets in Tang Dynasty, and Lu You, the renowned poet in Southern Song Dynasty, are most respected by Chu Teh-chun. Edified by Chinese traditional culture, Chu Teh-chun shows a liberty and pride in his art, which is wide and fluent like cursive script. This masterpiece, “Le 15 OCT. 76”, was painted at a heat with relatively thin color, which reflected Chu Tehchun’s ink painting skill previously learned in China. The painting technique inherited from the basic skill of Chinese painting has not only expressed the massiveness of the colors with thin strokes, but also added a transparent sense of the painting. Appreciating Chu Teh-chun’s painting, one not only can communicate with the artist’s soul, but the universe and nature as well.

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Yuyu YANG

(YANG Ying-feng 1926 - 1997)

Advent of the Phoenix 1970 Stainless steel, edition no. 5/10 120(L) x 93(W) x 110(H) cm Signed on the base Yuyu YANG Fong in Chinese and English, dated '70, numbered 5/10 This sculpture id to be sold with a cerificate of authenticity issued by Yuyu Yang Foundation, Taipei.

NT$ 850,000-1,200,000 US$ 29,300-41,400 HK$ 217,900-307,700

楊英風 鳳凰來儀 1970 不鏽鋼 5/10 120(長) x 93(寬) x 110(高) cm 簽名底座： '70 呦呦 楊英風 Yuyu YANG Fong 5/10 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

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YANG Chihung (b. 1947)

Looking for the Light 2007 Oil on canvas 172 x 221 cm Signed on the reverse Chihung Yang in English, titled Looking For The Light in English, size 200F

NT$ 1,000,000-1,800,000 US$ 34,500-62,100 HK$ 256,400-461,500

楊識宏 光之追尋 2007 油彩 畫布 172 x 221 cm 簽名畫背：Chihung Yang Looking For The Light 200F

對楊識宏來說，繪畫是神秘而深邃豐饒的， 創作的過程是一種未知的探險，蘊含著無限 的驚奇與變化。居住在當代抽象表現主義發 源地的紐約，楊識宏在近十年的藝術創作 上，表達方式逐漸從具象轉變為抽象，拓展 了美學的視野，但其中心思想沒有改變，依 舊關注於「自然」這宏大的命題，嘗試以隱 喻或詠嘆手法來傳遞生命情境，從自然的各 種型態、規律去探討生命最純粹的本質，在 作品中達到繪畫與個人平衡。

abstractionism, in the last ten years, Yang Chihung has expanded his esthetic scope from concrete image into abstract one, retaining his central theme. Yang continues to venture into the grand focus of nature in an attempt to use metaphor and exclamation to represent life perspectives. Yang also engages various kinds of nature and regulation to discuss the purest discipline of life to reach the balance between paintings and painter in his art.

另一個從楊識宏畫作中看到的強項，就是這 些作品中抒情且情感豐富的特質，楊識宏同 時擁有發揮原始力量與創作視覺性詩作的能 力，其作品部分的能量來自於從作品中傳達 出的強大情感，適於透過抽象手法傳達，但 楊識宏的藝術作品卻從未以單純抽象的手法 呈現；自然與有形物體成為他創造平衡的工 具 – 也說明藝術家不滿足於單一型態的呈現 模式、進而成功地將兩種類型畫作成功整合 的作法。

Another strong advantage of Yang’s art is the strength in expression and versatility. Yang is equipped with the ability to embrace indigenous power and poetic visual creation. Some part of his power derives from the pouring emotion, expressed through abstractionism. Yet Yang’s art has never been shown solely in the abstract form. Indeed nature and concrete object serve as his outlets to balance, indicating that artist is not satisfied with one single mode of representation, but in the continuous search of a successful fusion of two kinds of painting realms.

The predicament and color within “Looking for the Light” underscores the mysticism but spiritual beauty, with its own unique fantasy and purity. Within the meditative painting realm, the track of light slowly extends from unlimited gentleness to dark covering to explore serenity and silence. The solid shadowing, delicate coloring variation, and the flow of multi-layer strokes traveling from green to blue to red all reveal the painting at ease in a great joy.

Whether the canvas congregates the deep power of universe, or embedded with the oriental beautiful flair of poetic estheticism, or rich in the overwhelming power is endowed with the synergy of rebirth in the search of light and shadow.

此幅作品《光之追尋》，結構與用色隱隱透 露空靈之美，有其獨特的幻想性與單純性。 在帶 有冥思的繪畫空間裡，光的軌跡逐漸擴 延，從無盡的溫柔到黑暗的覆蓋，向寂靜與 靜默隱隱展開。厚實的明暗對比、細緻的色 彩變化和重重架構的筆觸流動間，從綠到 藍、從藍到紅的色相流轉，筆意從容、悠遊 其中，畫布凝結了宇宙深度的力量，或蘊含 東方詩意美學的唯美特質，或富有浩瀚無垠 的萬鈞氣勢，在追尋光與影的過程中，再獲 得新生的能量。

For Yang Chihung, painting is mysterious and profoundly rich. The creation process is an unknown journey embedded with unlimited surprises and changes. Given the geographical advantage of New York, the origin of modern

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048

John WAY

(WEI Yue-tang, b. 1921)

Cardinal Movement 2000 Oil on canvas 127 x 152 cm Signed lower right John Way in English, dated 2000 Signed on the reverse JUNE VERMILLION No. 1, 50 x 60, dated 2000, size 127 x 152, RETITLED AS CARDINAL MOVEMENT John Way in English

NT$ 1,200,000-2,600,000 US$ 41,400-89,700 HK$ 307,700-666,700

魏樂唐 橙紅律動 2000 油彩 畫布 127 x 152 cm 簽名右下：John Way 2000 簽名畫背：JUNE VERMILLION NO.1 50 X 60 2000 127cm x 152cm RETITLED AS CARDINAL MOVEMENT John Way

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048

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CHUANG Che (b. 1934)

Night Town 1989 Oil on canvas 153.5 x 204 cm Signed lower right Chuang Che in Chinese

NT$ 1,800,000-2,800,000 US$ 62,100-96,600 HK$ 461,500-717,900

莊 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

莊喆 夜之城 1989 油彩 畫布 153.5 x 204 cm 簽名右下：莊喆

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於2007年8月舉辦「中國美術館個展－嶺深 道遠」的華人抽象大師莊喆，1973年赴美發 展迄今，旅居紐約30餘年，既近距離研究西 方文化的特徵，吸收現代藝術的優長，同時 將東方的藝術觀念融入現代表達，形成了他 的表現性抽象繪畫風格。莊喆擅長把人帶進 一新的世界，這個世界是充滿著陰陽和諧 的，由他的筆法與用色構成，走進去就好像 進入一個單純的自然和諧世界，將思想跟隨 他的線條、肌理、筆觸深入探索遨遊，會發 現世界閃耀著原始純樸的光明，鮮活的色彩 與發自內心的情感，充滿了詩意，使人感到 自由、舒適、平靜、痛快、淋漓盡致，進而 達到一個忘我之境，完全沈浸於他所創造的 繽紛世界中。

美國當代藝術學者衛斯勒曾指出:「在他 轉換中國書法的手法與視覺傳統中我們找 到了平衡。在快速畫出的線條圖案、徘徊 在感官的典雅與狂野力量之間的筆觸裡， 我們見證了書法自然延伸的特性。的確， 一些莊 六十年代早期的作品是以象形文 字來強調他們的抽象特質，藉此來建立傳 統東方書法表現與西方單純無目的符號之 間的橋樑。」 《夜之城》為莊喆80年代力作，以黑、 棕色為背景基調，用色兼容沉穩奔放，潑 染與運筆並用，交錯黃、白、黑的點筆與 縱向滴流，在隱約漸暗的色彩交替鋪陳之 下，激烈而充滿力度地表現出深層氣韻， 宛如為夜晚的寧靜注入神秘感，更令人感 覺到夜晚的不寧靜與黑暗中的律動。 連綿於畫布上的油彩鋪陳出天地間的無限 張力，最深沉的黑夜襲來，潛入無意識的 夜晚，沉潛中將豐富的色彩轉為書法的靈 氣，彰顯動的力量，感受生命體在黑夜中 竄動、跳躍著。一篇漫天覆地的夜晚樂章 正在觀賞者心中震撼演出。夜之城，是每 個人的心中都有的一塊領域，可以刻意視 而不見、刻意遺忘的地方。

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Chuang Che’s art conveys rich predicament, moderate colors and emotion. Like the hybrid of oil painting and mixed materials, the powerful strokes highlight lively exercise and rhythm.

In light of the overall panorama, Chuang’s painting is fully well-rounded with a canvas filled with rich flair. Chuang’s art is like a chaotic universe with lines of framework or colored patterns as alarming power resisting chaos and flowing within universe to signify masculine aura. Like his painting, Chuang has arrived at the spectrum in search of chaos and natural fulfillment. (Fan Di An, Director of China

Jeffrey Wechsler, senior curator at the Zimmerli, “once made a strong case for viewing Chuang’s art. While Chuang was in the spectrum of transforming Chinese calligraphy and visual tradition, we have found the balance. The flowing lines in speed tangle between visual elegance and wild power testify the natural extension of calligraphy. In fact, some of Chuang’s early works in the 60s employ brushed Chinese pictographs to distinguish abstract image to blend Western symbols and Asian calligraphy”.

National Museum of Arts)

“Night Town” is the master piece of Chuang Che’s art in the 80s, with black and grey as the background color in resilient but wild coloring along with spattering dye and Chinese brush.

The painting blends yellow, white and black dots with longitudinal lines to display the mixing colors in the dimming darkness. The intense and powerful deep flair adds mysticism to the night’s serenity to display the restless silence and the rhythm in the darkness.

The Chinese Abstractionist Chuang Che’s “Deep Ridge-Remote Way” solo exhibition was housed at the National Art Museum of China in Beijing, August 2007. Chuang has moved to the U.S. since 1973 and resided in New York for over 30 years. Given the geographical location, Chuang has been able to explore the characteristics of Western culture to obtain its advantages while blending Eastern aestheticism into modern works to convey his abstract painting style. Chuang Che is good at leading us into a new world filled with harmony of yin and yang. His strokes and coloring predicament lead us to a pure natural harmonious realm.

Following his lines, predicament, and strokes to explore, we will discover the new world with pure light, bright colors, genuine felling, and poetic flair. It allows us to feel free, comfortable, serene, joyful, and expressive to reach a stage, fully immersed in the colorful panorama by the primacy of being.

The continuous oil on the canvas displays the unlimited power of the universe just as at arrival of the darkest night, it slips into unconscious night to bring up rich colors into calligraphy spirit in order to highlight the power of force and to experience life flowing and dancing in the dark. An overwhelming musical movement in the dark is at play in the spectacle’s mind. Night town occupies a territory in everyone’s mind, a place purposefully invisible and forgotten.

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Walasse TING

(DING Xiongquan, b. 1929)

Three Geishas with Flowers Acrylic on paper 180 x 96 cm With one seal of the artist This painting is to be sold with a certificate of authenticity issued by Shoreman Gallery, Taipei.

NT$ 1,700,000-2,500,000 US$ 58,600-86,200 HK$ 435,900-641,000

丁雄泉 三美圖 壓克力 紙本 180 x 96 cm 鈐印右上：採花大盜 附協民畫廊開立之原作保證書

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YANG San-lang (1907 - 1995)

Reflection on the Lake Oil on canvas 65 x 80 cm Signed lower right S. Yang in English

NT$ 2,100,000-2,600,000 US$ 72,400-89,700 HK$ 538,500-666,700

楊三郎 湖邊倒影 油彩 畫布 65 x 80 cm 簽名右下：S. Yang

楊三郎奉行印象派注重戶外寫生、著重日 光、時序下的光影變化，在直接面對自然 的觀照下，為了加強筆觸在畫面上所呈現 的肌里，藝術家經常筆、刀並用，以豐富 筆觸的繪畫機能，凸顯質感、量感，以畫 龍點睛之姿，活化氣韻整幅作品。楊三郎 為求實景寫生，其足跡遍及國內外，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。 楊三郎是台灣前輩藝術家中聲望及地位 崇高的藝術推動者，創立「台陽美術協 會」，更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。 此幅 《湖邊倒影》是藝術家筆下難得的楓 紅之作，藍天、楓紅、倒影，完整呈現一 幅作品混然天成的大器，看著楓紅上的枝 影飄逸，水紋中呈現的湖面倒影卻是如此 生動、具穿透性，好似畫家與觀者同在現 場般對大自然美景深受感動，楊三郎是台 灣國寶級偉大的藝術家，更是一位畢生推 動美學人生的實踐家。

Yang San-Lang was like all the impressionism painters, he painted from life or nature, paid

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attention to the change of the day light and shadows that change with it, he faced the nature directly in order to strengthen what each stroke could be done on the canvas, he often used the blade and the brush at the same time, to emphasize the feel and quantity of the picture, and further give life to the picture with his magic touch. He traveled around the world with a heart of bravery, to paint what he sees with his own eyes.

Yang is one of Taiwan’s senior artists as well as an impeller of art movements with high praises. He founded the “TaiYang Art Association” and was awarded “The Medal of National Culture” which is the highest honor. There are no other Chinese artists who could catch up with his ability to capture the touching vitality of nature, his use of space and layers as well as his presenting the inner self through art.

“Reflection on the Lake” is a rare piece that presents red maples, the blue sky, red maples and the reflection in a perfect way, the braches and the red maples reflects lively on the lake with such penetration as if the artist and the viewer were right there enjoying the scene together. Yang’s is one of the nation’s treasure, he was also a life-time practician for the aesthetic of life.

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Yuyu YANG (1926 - 1997)

Moving Sleeve 1972 Bronze, edition no. 29/30 62(L) x 25(W) x 75(H) cm Signed Yingfong in Chinese, dated 72’ Taipei, and numbered 29/30 in Chinese This sculpture id to be sold with a cerificate of authenticity issued by Yuyu Yang Foundation, Taipei ILLUSTRATED: Exhibition of Yuyu Yang's Art from 1961~1977, National History Museum, Taipei, 2000, color illustrated, p. 94

NT$ 850,000-1,200,000 US$ 29,300-41,400 HK$ 217,900-307,700

楊英風 水袖 1972 銅雕 29/30 62(長) x 25(寬) x 75(高) cm 簽名：英風 72' 台北 29/30 圖錄： 《楊英風─六一~七七年創作特展》，國立 歷史博物館，台北，2000，彩色圖版，頁94 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

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背面 Backside

053

JU Ming (b. 1938)

Taichi Series 1995 Bronze, edition no. 3/20 26(L) x 21(W) x 32(H) cm Signed on the back Ju Ming in Chinese and numbered 3/20, dated '95 This sculpture is to be sold with a certificate of authenticity signed by the artist.

NT$ 1,200,000-2,000,000 US$ 41,400-69,000 HK$ 307,700-512,800

朱銘 太極系列 1995 銅雕 3/20 26(長) x 21(寬) x 32(高) cm 簽名背面：朱銘 3/20 '95 附藝術家親筆簽名之原作保證書

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054

SHIY De-jinn (1923 - 1981)

Landscape 1972 Watercolor on paper 51.5 x 61.5 cm Signed upper left Shiy De-jinn in Chinese and dated 1972

NT$ 120,000-220,000 US$ 4,100-7,600 HK$ 30,800-56,400

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席德進 風景 1972 水彩 紙本 51.5 x 61.5 cm 簽名左上：席德進 1972

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SHIY De-jinn (1923 - 1981)

Flowers 1980 Watercolor on paper 76 x 55 cm Signed lower left Shiy De-jinn in Chinese and dated 1980 PROVENANCE: Sotheby's Hong Kong, Oct 17, 1999, lot 151

NT$ 450,000-600,000 US$ 15,500-20,700 HK$ 115,400-153,800

席德進 紅花 1980 水彩 紙本 76 x 55 cm 簽名左下：席德進 1980 來源： 1999年10月香港蘇富比秋季拍賣會，編號151

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LIN Fengmian (1900 - 1991)

Rain and the Mountain c. late 1970s Ink and color on paper 35 x 35 cm Signed lower right Lin Fengmian in Chinese With one seal of the artist PROVENANCE: Collection of Sanhuai House, Hong Kong ILLUSTRATED: Zhou Weiming ed., Collection of Art Garden Studio No. 72: Sanhuai House's Modern Chinese Paintings, People Fine Arts Publishing House, Shanghai, 2004, color illustrated, No. 27, p. 17

NT$ 650,000-850,000 US$ 22,400-29,300 HK$ 166,700-217,900

林風眠 山雨欲來圖 約1970年代末 彩墨 紙本 35 x 35 cm 簽名右下：林風眠 鈐印右下：林風暝印 來源： 香港三槐堂收藏 圖錄： 周衛明編，《藝苑掇英第七十二期：三槐堂 藏現代書畫專輯》，上海人民美術出版社， 上海，2004，彩色圖版，編號27，頁17

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057

WU Guanzhong (b. 1919)

Fruit Tree 2000 Ink and color on paper 45 x 48 cm Signed lower right Wu Guanzhong in Chinese and dated 2000 With one seal of the artist The other seal in Chinese character “Two Thousand Years” carved by Wang Huaiqing EXHIBITED: Wu Guanzhong - Recent Works, The Rotunda Exchange Square, Hong Kong, December 1519, 2003 ILLUSTRATED: Wu Guanzhong Year Book 2000, Guangxi Fine Art Publishing House, Nanning, 2001, p. 93 The Landscape of Life - Wu Guanzhong'Album in Art IV, Joint Publishing, Beijing, 2003, color illustrated, p. 166 Wu Guanzhong - Recent Works, Yan Gallery, Hong Kong, 2003, color illustrated, pp. 36-37 The Complete Works of Wu Guanzhong Vol. VIII, Hunan Fine Arts Publishing House, Changsha, 2007, color illustrated, p. 167

NT$ 2,500,000-3,600,000 US$ 86,200-124,100 HK$ 641,000-923,100

吳冠中 野果 2000 彩墨 紙本 45 x 48 cm 簽名右下：吳冠中 2000 鈐印左下：二千年（王懷慶刻贈） 鈐印中下：荼 展覽： 「吳冠中近作展」，中環交易廣場，香港， 展期自2003年12月15日至19日 圖錄： 《吳冠中2000年作品年鑒》，廣西美術出版 社，南寧，2001，頁93 《生命的風景：吳冠中藝術專集IV》，三聯 書店，北京，2003，彩色圖版，頁166 《吳冠中近作集》，一畫廊，香港，2003， 彩色圖版，頁36-37 《吳冠中全集8》，湖南美術出版社，長 沙，2007，彩色圖版，頁167

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吳冠中曾經在〈畫與詩〉一文中提起林風 眠的方構圖，認為「方形構圖便於集中、 緊湊」。從1980年代之後，偶然可見吳冠 中嘗試以方形構圖來創作，特別是具有中 國古典風的題材。方形構圖乃是宋代繪畫 的傳統，宋朝是中國美術的極盛時代，繪 畫講求詩中有畫、畫中有詩的美學意境。 而根據評論家的解釋，方形構圖可以使畫 家的理性與情緒達到平衡，所以不少書畫 家有時會嘗試這類構圖。「我們在傳統中 得益的，是啟發；我們在傳統中受害的， 是模仿。」吳冠中說道。他既學國畫，也 學西畫，他看待中西傳統繪畫的態度，不 被傳統框限、牽引，而是啟發、發掘新的 繪畫形式。 《野果》作品可以見到藝術家樸實的風 格，以及探尋美好事物的眼光。儘管見識 過無數名川大河、高山峻嶺，吳冠中還是 喜愛野草閒花等小物。在藝術家敏銳的觀 察中，野草、野果自由自在地生長，它們 是生命的強者，花果雖小，卻出落得多姿 多采，讓藝術家不由得駐足觀賞，並揮筆 完成一幅美麗的色彩圖畫。在這幅《野 果》作品中，畫家熟練的線條勾描果樹的 細支幹，紅紅的果實彷若繁花般地綻放在 枝頭，聞香而來的鳥兒穿梭期間，洋溢喜 慶的愉悅情境，色彩結構佈局優雅脫俗， 不可多得。《 野果》乃是吳冠中相當滿意 的一幅作品，在他的授權同意下，不久 前，《野果》被挑選印製成限量版畫，嘉 惠更多喜愛吳冠中畫作的收藏家。 Wu Guanzhong mentioned Lin Fengmian's square pictures in the article "paintings and poems" and considered "square pictures are more likely to focus and to compact" After 1980, Wu Guanzhong sometimes tried to paint with a square picture, especially for the classical Chinese theme paintings. Square

painting was a tradition came from Sung Dynasty, it was the prime period in Chinese art history, during that time, and the "a picture in a poem, a poem in a picture" aesthetic concept was emphasized in every painting.

However, according to the explanations from critics, a square picture and balance the rationality and emotion of the artist, therefore many artists paint square pictures once in a while. Wu Guanzhong said: "what we gained from tradition, is enlightenment; what we suffered from tradition, is imitation."

He learned traditional paintings as well as western paintings, the way he treated both was not confined by the tradition, and it was an enlightened, brand new form of creation.

The sincere and honest painting style of the artist, as well as his vision to search for beauty can be easily discovered in "Fruit Tree" Although Wu Guanzhong had seen countless great rivers and mountains, he still holds dearly to small lives like a flower, or a field of grass. In his sharp observations, grass and fruits are the stronger one in the world because they can live and grow freely, flower and fruits are small, but they lived their lives beautifully, he was attracted by them and painted them beautifully. In "Fruit Tree" he used mature and skillful lines for the branch, red fruits are like flowers blooming on the branch, birds are also drawn by the smell of the fruits and fly between branches, the picture provides pleasant feelings, the color and arrangements are also perfect, it's one of his masterpieces. "Fruit Tree" is also one of the Wu Guanzhong's favorite paintings, just before he agreed and authorized, "Fruit Tree" was selected an printed to limited block prints, to favor Wu Guanzhong's collectors.

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LIN Fengmian (1900 - 1991)

Layers of Mount Scene c. mid 1960s Ink and color on paper 68 x 68 cm Signed lower left Lin Fengmian in Chinese With one seal of the artist EXHIBITED: A Retrospective Exhibition of Lin Fengmian’s 100 Years, Lin & Keng Gallery, Taipei, August 14-September 7, 1999.

ILLUSTRATED: A Retrospective Exhibition of Lin Fengmian’s 100 Years, Lin & Keng Gallery, Taipei, 1999, color illustrated, p. 24 (with the title of “Houses in the Mountains”)

NT$ 4,200,000-6,800,000 US$ 144,800-234,500 HK$ 1,076,900-1,743,600

林風眠 層層山景 約 1960年代中期 彩墨 紙本 68 x 68 cm 簽名左下：林風眠 鈐印左下：林風暝印 展覽： 「林風眠百年紀念展：風景」，大未來畫 廊，台北，1999年8月14日至9月7日 圖錄： 《林風眠百年紀念專集：風景》，大未來藝 術有限公司，台北，1999，彩色圖版，頁24 （原題目《山居圖》）

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林風眠是20世紀中國美術力主中西融合的先 驅之一。藝術家經數十年的風雨歷程，累積 了豐富而獨特的思考，形成了他富有個性的 判斷和選擇。從1950年代後期起，林風眠越 來越喜愛描繪秋景，無論是秋天的紅葉、河 岸、村莊、農舍等，色彩和光的變化萬千。 林風眠最早學習中國畫，之後改學西畫。他 擅長在畫面裡處理光與色的關係，乃受到印 象派的啟發，而其擅長的留白處理，部份得 助於中國書畫的傳統，但又加上自我的改革 創新。林風眠希望能夠將中國的寫意畫得寫 實一些，他認為若是中國畫裡表現水和天常 常須留空白，那麼他就反其道而行，畫上 天、畫上水，書法吸收水彩畫的特色。在其 生命中期階段，探索許多中西融合的技法與 風格。林風眠在風景畫的創新，無疑是藝術 性最高的主題。 《層層山景》在構圖上採取了三分法的形 式。上方是墨韻十足的層層山巒，雲霧遮 蔽，水氣淋漓，遼闊悠遠；中段是秋天染紅 的楓林，燦爛耀眼，形成強烈對比，低矮的 小屋錯落期間，氣氛融入更輕快、繽紛的色 彩；下方是寫意式的土地，黑線條所勾勒隱 喻的亂石，蒼勁粗獷。使觀者立即感受主從 關係，獲得美的感受。《層層山景》達到了 中國山水畫中講究的構造美、筆墨美以及意 境美，實為林風眠純熟經典之作。

Lin Fengmian is one of the harbingers advocating the integration of Western and Chinese painting in 20th century Chinese arts.

As an artist who experienced over ten years of life’s vicissitudes, he developed a rich, unique way of thinking that led to evaluating and deciding upon his own style. Ever since late 1950’s, Lin Fengmian has manifested a

penchant for painting fall scenes, from the leaves, riverbanks, villages, cottages, all contain a wide spectrum of colors and light.

Lin Fengmian began with Chinese painting and later moved on to Western painting. Influence

by Impressionism, he is versed in coping with light and colors in his painting, On the other hand, he owed his adept skill of painting “empty space” mostly to traditional Chinese painting, along with his own innovation. Lin Fengmian intended to put more elements of “reality” into Chinese freehand paintings by mixing the features of calligraphy and watercolor painting.

He replaced the traditional concept of empty space in Chinese painting, by painting skies and waters. Later in his life, he pursued many techniques and styles of mixing Chinese and Western painting. Lin Fengmian’s innovation in landscape painting is undoubtedly the zenith of arts.

“Layers of Mount Scene” applies a “tripartition” to the composition of the picture. The top part is painted in ink and contains splendid scenery of layers of mountains encircled by moist clouds. The middle part is the intensely contrasted image of maple forests covered in glittering red, while several small cottages rest between, instilling bright colors and levity to the atmosphere. On the bottom part is the freehand work where the coarse ground is drawn in black lines. Viewers may experience the beauty through the subordination of the composition.

“Layers of Mount Scene” is Lin Fengmian’s masterful work that realizes the beauty of structure, ink stroke and artistic concept emphasized in Chinese landscape painting.

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LIN Fengmian (1900 - 1991)

Lady with Flowers c. 1960s Ink and color on paper 68 x 69 cm Signed lower left Lin Fengmian in Chinese With one seal of the artist PROVENANCE: Old collection of Xi Suhua, mother of Feng Yeh Collection of Sanhuai House, Hong Kong, acquired from the above ILLUSTRATED: Zhou Weiming ed., Collection of Art Garden Studio No. 72: Sanhuai House's Modern Chinese Paintings, People Fine Arts Publishing House, Shanghai, 2004, color illustrated, no. 4, p. 3

NT$ 7,500,000-8,800,000 US$ 258,700-303,500 HK$ 1,923,100-2,256,400

林風眠 仕女賞花圖 約1960年代 彩墨 紙本 68 x 69 cm 簽名左下：林風眠 鈐印左下：林風暝印 來源： 席素華（馮葉的母親，亦是林風眠的學生）舊藏 香港三槐堂收藏（得自上述來源） 圖錄： 周衛明編，《藝苑掇英第七十二期：三槐堂 藏現代書畫專輯》，上海人民美術出版社， 上海，2004，彩色圖版，編號4，頁3

《仕女賞花圖》彩墨畫為林風眠的上海時期 作品，創作時間約於1960年代左右，原來的 收藏者是席素華女士，她是中國老一代建築 師與建築教育界翹楚馮紀忠（1915年生）的 妻子。馮家於1956年結識潛居上海南昌路的 林風眠，席素華因雅好藝術，曾拜林風眠門 下。林風眠還認當時年僅三歲的馮家女兒馮 葉為義女，兩家往來密切。文化大革命期間 遭受監禁的林風眠也屢受席素華等人關照。 1978年女兒馮葉跟隨林風眠後，自上海遷居 香港，照料其晚年生活。席素華與馮紀忠後 來也移居美國。 藝術評論 家郎紹君指出，林風眠於1960年 代創作的仕女畫，帶有一種「簡素中的迷 人色感與現代感」。這種風格養成主要根源 於中國陶瓷藝術，尤其是宋瓷官窯、龍泉窯 那種透明顏色的影響，林風眠自述受到宋代 藝術純淨、高雅的審美格調所影響。仕女可 謂是林風眠上海時期的重要創作之一，女子 常著古裝衣飾為多，呈現藝術家的古雅偏 好。「畫法風格大體可分為兩類，一類是墨 筆勾勒，再染以墨、色者，其風格較接近於 傳統仕女；一類用彩墨畫，有光的表現，肌 體大抵用平塗，講究統調，間以墨與白粉勾 勒衣紋，大都刻畫半具體半抽象的環境，營 造一朦朧的情調。總的看，這時期的仕女畫 捕捉一種可望而不可及的美，並由姿情和氣 質傳達出東方女性的溫柔嫻雅、清淡秀媚、 如詩如夢。沒有『落花無言，人淡如菊』的 感懷，卻可以尋出『樂而不淫，哀而不傷』 老傳統的影響。其形式感與情調的創造，與 畫家吸取宋瓷的透明性、純潔感有關，但所 畫仕女的迷人彩色、現代感和秀美神韻，應 來自畫家的心理經驗和遙遠的青春記憶。」 （摘錄自郎紹君著《林風眠》一書）

《仕女賞花圖》中背景簡約而抽象，墨色 暈染有致，素瓶插飾典雅白荷，予人詩意

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的聯想；畫中仕女含蓄端坐，氣質高雅，捻 花微笑，彷若東方美神之化身。畫家在畫面 中力保中國傳統美學的筆墨趣味與深邃意 境，但因早年留學歐洲，受西方藝術思潮的 影響，致力於改革中國畫，因此構圖的形式 或佈局，都可見西畫的取向。在色彩方面， 水墨、水粉和水彩的結合，複合的表現形式 豐富了中國畫的表現力，彷若音樂中的協奏 曲。尤其敷以白粉勾勒，使得畫面充滿光線 的印象，傳統美學中融入現代感，林風眠的 仕女畫在近代中國藝術家中風格獨樹一幟。 評論家丁羲元曾以〈林風眠論稿〉一文探討 林風眠的藝術及影響。他認為當代中國在色 彩與構成方面能超越前人，林風眠有其開拓 之功勞。林風眠承繼了海派繪畫的傳統，不 斷地繪寫出「色彩的詩」。丁羲元寫道： 「他的色感強烈而豐富，愛好大塊重色， 原色，重重疊疊，從堆砌中求美。他由早期 的『白』，到中期的『黑』，發展為晚期的 『紅』。『早白』，仍注重於線的流美，以 勾描淡彩，畫面多留空白…。」在此，丁羲 元指出了白色與淡彩是林風眠早期藝術的特 點，文革之前的上海時期，林風眠渡過一段 清淡的隱居生活，妻女移居巴西之後，往來 間多是畫友、學生，經常在報刊中發表美術 看法，此階段偶有油畫創作，大多勤於練習 畫仕女與風景彩墨畫。只可惜文革抄家前 夕，兩千多幅水墨畫心血親自毀棄，除了贈 與友人與學生幸而留存者，後人根本難有機 會一窺其奧。據悉，林風眠畫遍千餘幅仕女 畫，不滿意的作品隨即丟棄，才逐步養成林 氏仕女畫風格。 相較於香港時期，林風眠上海時期作品存世 稀少，《仕女賞花圖》堪稱其中上乘之作。 加以席素華女士與香港三槐堂之知音鑑賞， 更顯其彌足珍貴。

The colored ink painting “Lady with Flowers” (completed during the 1960s) belongs to the artist’s Shanghai period and was originally in the possession of Madam Xi Suhua, the wife of the founder of modern Chinese architecture and renowned educator Feng Jizhong (born 1915).

In 1956, the Feng Family made the acquaintance of Lin Fengmian, who was then living in seclusion in Shanghai’s Nanchang Road, and Xi Suhua studied painting under Lin for a while.

Lin even adopted the family’s three-year-old child, Feng Yeh, as his goddaughter. The Fengs’ relationship with Lin remained close, and during the Cultural Revolution Xi Suhua and the rest of the family did what they could to look after the artist, who had been put in prison.

In 1978, Feng Yeh, who had devoted her life to Lin, followed him from Shanghai to Hong Kong, where she took care of the artist during the late years of his life. Xi Suhua and her husband later emigrated to the United States.

Art critic Lang Shaojun once pointed out that Lin Fengmian’s belle paintings from the 1960s has about it “a charming feel of color and modernity”. Lin was able to cultivate this kind of style because his painting was firmly rooted in the long tradition of Chinese ceramic arts, in particular Song Dynasty Guan Yao and Long Quan porcelain with its soft, translucent colors. Lin himself is on record as saying that he was influenced by the purity and elegance of Song Dynasty aesthetics. "Lady with Flowers" is one of the more important works of the artist’s Shanghai period, which produced a number of works showing ladies in traditional Chinese attire, giving sample expression to Lin’s predilection for classical grace and refinement. As Lang puts it, “Lin’s colored ink style can be divided into two basic categories.

One emphasizes the outlining of clear contours in black ink before color is applied—a style that cuts closer to conventional Chinese depictions of court ladies. The other approach focuses more on the play of color and light, the alternating use of black ink and opaque white for the contours and creases of the garments, and the flat application of ink to create an integrated whole that oscillates between the concrete and the abstract. The result is an impression of subtle and understated loveliness,

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perceived as if through a thin veil. Lin’s belle paintings (“paintings of beautiful ladies”) from this period of his career all capture a beauty that may be gazed at but must remain out of reach, a sophisticated quality that epitomizes the gentle refinement and quiet elegance of oriental women in the classical style, dreamlike and poetic.

While these paintings may not breathe the rather ascetic aloofness of the lines of Tang poetry ‘The petals are falling quietly, but my heart maintains the equilibrium of the gentle chrysanthemum’, they do speak of the time-honored ideal of ‘being pleasant without being immodest’. In terms

林風眠《仕女彈阮圖》 羅芙奧2006秋季拍賣會，編號040 737萬8000台幣成交 LIN Fengmian, Lady Playing Moon Guita Late 1950s or 1960s, ink and color on paper, 68 x 68 cm Ravenel Autumn Auction 2006, lot 040 US$ 228,280 sold

of form and atmosphere, these works clearly show the artist’s debt to Song Dynasty ceramic art with its lucid simplicity, but the attractive coloring, modernity and lyrical expressiveness are most likely products of Lin’s personal experience, resonating like echoes of his distant youth.” (from Lang Shaojun, Lin Fengmian) The background of "Lady with Flowers" is kept concise and abstract, almost austere in its straightforward composition, thus helping to accentuate the white lotus in a plain vase with its connotations of elegance and poesy. The

lady’s sitting posture, proper yet graceful, gives her the air of an oriental goddess of beauty as she contemplates the flowers in her hand with a faint smile on her lips. The artist manages to preserve much of the understated appeal that characterizes traditional Chinese ink painting, but at the same time the composition and execution betray a strong European influence, reflecting the painter’s efforts to reform Chinese visual art. Meanwhile, the combination of ink, pastel and water colors adds layers of carefully orchestrated complexity and enriches the expressive power of traditional Chinese techniques. In particular, the use of opaque white to help delineate the contours and texture of the dress is a touch of genius, as it gives the painting an animated brightness that exemplifies the successful merging of traditional and modern styles. Among modern-time painters in the Chinese genre of belle paintings (“paintings of beautiful ladies”), Lin Fengmian stands out as one of a kind.

In his ‘Treatise on Lin Fengmian’, critic Ding Xiyuan analyses the artist’s influence on contemporary Chinese art, stating that Lin was one of the pioneers who were successful in further developing both the color and composition of traditional painting.

Standing in the tradition of the Shanghai School, Lin kept creating “symphonies of color.” As Ding writes, “Lin’s sense of color is outstanding, and his rich palette a feast for the observer’s eyes. He likes to apply his colors in large chunks and with broad strokes, but not without extreme sensitivity to subtle layers and sub-layers as he mixes and constantly rearranges his beloved primary colors to construct beauty out of fine chromatic detail. From his early work, which was dominated by hues of white, via his middle period with its preoccupation with black, to his late penchant for red tones, we see an artist constantly experimenting with chromatic shades and transitions. During his early ‘white phase’, the formal aesthetics of flowing lines were of particular importance, and ink or paint was applied softly to draw faint, sometimes barely visible contours. Most of the picture was left white….” As Ding points out, Lin’s early output is marked by white hues and soft colors,

This lot, "Lady with Flowers", is rightfully regarded as one of the pearls among the works still extant from the artist’s Shanghai period (which for the reasons quoted above are much fewer than those from his later years in Hong Kong). Its value is further enhanced by the appreciation and praise it received from Lin’s close friend Xi Suhua, as well as the connoisseurs of the Sanhuai House.

林風眠《綠衣女》 羅芙奧2005秋季拍賣會，編號034 760萬台幣成交 LIN Fengmian, Lady in Green Dress 1950s, ink and color on paper, 67 x 69 cm Ravenel Autumn Auction 2005, lot 034 US$ 227,061 sold

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reflective of the artist’s secluded pre-Cultural Revolution life in Shanghai. After his wife and daughter moved to Brazil, he began to lead a less withdrawn life, meeting with colleagues and students on a regular basis, and even publishing his views on art in a variety of journals and periodicals. During this period, Lin did the occasional oil painting, but mostly he focused on colored ink paintings of belle paintings (beautiful ladies) and landscapes. Then disaster struck, and during the Cultural Revolution Lin was forced to destroy more than 2000 of his own colored ink paintings, the fruit of many years of untiring work. This is why today so little of the artist’s prolific output from that time remains extant, most of which are pieces he gave away to friends and students. As far as we know, Lin created more than a thousand belle paintings— immediately discarding those he wasn’t satisfied with—before truly developing his individual style in the genre.

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XU Jiang (b. 1955)

Charm of Autumn (polyptych) 1993 Oil on canvas 100 x 160 cm Signed on the reverse Xu Jiang in Chinese and titled Charm of Autumn in Chinese ILLUSTRATED: Four Seasons- Selection of Xu Jiang’s Oil Paintings, Zee Stone Gallery, Hong Kong, 1993, color illustrated, p. 14

NT$ 6,200,000-8,800,000 US$ 213,800-303,500 HK$ 1,589,700-2,256,400

許江 秋韻 （四聯幅） 1993 油彩 畫布 100 x 160 cm 簽名畫背：許江《秋韻》 圖錄： 《四季八方 — 許江油畫選》，一畫廊， 香港，1993，彩色圖版，頁14

《秋韻》中，單純的筆觸和色調，通過色調 和結構的層落表現秋天的恢宏意境，沉厚與 疏落，遼闊而荒蕪，許江通過寫意的畫面， 找到了有關「秋韻」的詩意想像。事實是， 詩人思索歷史的出發點和藝術家探討畫面的 佈局不盡相同。在許江的畫面中，無論是暮 秋的黃昏，淒冷的沼澤，還是積雪的原野， 無不透著平凡、堅韌而又具悲劇色彩的詩意 氣質。作為藝術家，許江像一個批評家那樣 思考；作為一個學者，他用筆書寫，但更多 用筆繪畫。他說，藝術家當「以一己的生的 完成，來顯現萬物的生的完成」。《秋韻》 講述的仍是時間的故事，橫筆狂勁而出，有 如風馳電掣，筆觸所構成的時間張力力透畫 布，撲面而出。許江在繪畫中追求的是中國 傳統文人屈原的悲壯意境。這種氣魄雄大， 意境沉鬱的氣質來源於藝術家的品格，而這 個品格來源於他理性的歷史感。 許江於20世紀80年代在德國西德漢堡美術學 院自由藝術系研修繪畫，德國是表現主義藝 術的重鎮，一向強調藝術家的個性、精神和 情感表達，注重色彩的活力。初到德國時， 他被彌漫 在德國藝術界的那種「廢墟下的傾 聽」的氛圍所震撼，也曾經受到新媒體藝術 迅猛衝擊，一度放棄架上繪畫轉向裝置觀念 藝術的創作。然而，隨著個人情懷逐漸的通 達和順，他逐步回歸架上，其作品也由宏大 而內斂，開始專注於對事物進行具有歷史意 味的詩意呈現。他的歷史意識與德國畫家基 弗發生了共鳴。基弗的關注點在於歷史和 神話，而許江則是將個人情感與歷史回憶融 合，進而進入與歷史的對話。許江曾在講演 中說過這樣一段話：「我們就如同現代性這 條河流中的擺渡者，一切的概念和問題都有 話語的兩岸，我們在這兩岸之間往來顧盼， 這構成了中國現代文化的跨文化境域。」

In “Charm of Autumn”, simple brushwork and tone reveal the grand demeanor of autumn by color and structure and exhibit the heavy and the loose and the expansive and the wild. Xu Jiang has found out the poetic imagination about the “charm of autumn” with bold, vivid image. As a matter of fact, where the poet starts to ponder history and artists’ discussion on the

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layout do not share the same viewpoint. In this work, no matter the dusk of autumn and cold, miserable swamp or field with snow discloses the ordinary, tenacious poetic feeling full of tragic atmosphere. Xu Jiang, artist, thinks like critic. A scholar, he writes with pen. However, he paints more with brush. According to him, an artist shall “reveal the completion of existence of creation by the completion of his being”.

“Charm of Autumn” still describes a story of time. The brushworks are forceful like swift wind and quick lightning. The tension of time built up by brushes penetrates through canvas, blowing on the face. What Xu Jiang is following in his painting is the solemnity of Qu Yuan, an ancient, traditional literati in China. This kind of grandiose demeanor and gloomy character come from property of the artist. And this property originates from his rational sense of history.

Xu Jiang studied painting at the Department of Free Art, Hamburg Institute of Fine Arts, West Germany, in 1980s. Germany is an important place of the art of expressionism, emphasizing always individuality of artist, spirit and emotional expressions and highlighting vitality of color. At the early stage of his stay in Germany, Xu Jiang was shocked by the atmosphere of “listening under ruins” in the artistic circle in Germany. He was also surprised by the new media art, giving up easel painting and changing to creation of conceptual art for a while. However, alongside smoothing feelings, he has returned to easel and his works have been converging from grandness. He started poetic presentation of things with historical significance. His sense of history echoes to Anselm Kiefer, a German painter. What Kiefer pays attention is to history and legend, but Xu Jiang combines individual emotion with the recall of history, thus entering the dialog with history. In a speech, Xu Jiang once said: “We are like ferrymen on the river of modernity.

All the concepts and issues have two banks for the dialog. We look are both banks and this constitute the trans-cultural environment of the modern culture in China.”

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CHU Teh-chun (b. 1920)

Surgissement 1987 Oil on canvas 112.5 x 145 cm Signed lower right CHU TEH-CHUN in Chinese and English, dated 87 Signed on the reverse CHU TEH-CHUN in English and Chinese, dated 1987, titled SURGISSEMENT in French EXHIBITED: Chu Teh-Chun, The Ueno Royao Museum, Nippon Art Association, Tokyo, June 23-July 10, 2007 ILLUSTRATED: Chu Teh-Chun, Thin Chang Corporation, Taipei, 2007, color illustrated, p. 204

NT$ 7,500,000-9,000,000 US$ 258,600-310,300 HK$ 1,923,100-2,307,700

朱德群 湧現 1987 油彩 畫布 112.5 x 145 cm 簽名右下：朱德群 CHU TEH-CHUN 87 簽名畫背：CHU TEH-CHUN 朱德群 1987 SURGISSEMENT

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展覽： 「大象無形－朱德群展」，上野之森美術 館，日本美術協會，東京，2007年6月23日 至7月10日 圖錄： 《大象無形－朱德群》，台灣馨昌株式會 社，台北，2007，彩色圖版，頁204

比較西方抽象藝術中光怪陸離的色彩、不可 辨認的物件，所呈現出的西方現代社會動 盪、喧嘩、騷亂的心靈，朱德群從東方抽象 哲思中，將焦慮不安的心理狀態中昇華到 「獨與天地精神往來」的超然境界。這一 點，從朱德群在巴黎住處的陳設即能看出。 朱德群在巴黎的家，畫室裡的筆墨紙硯，庭 院中的青竹翠柏，以及一生讀不厭的兩本 書—《全唐詩》和《全宋詞》，如同置身歐 洲的江南水鄉。 中國古代美學理論追求的至高境界是：所貴 於枯澹者，謂其外枯而中膏，似澹而實美。 這一點，在吳冠中評價朱德群的風格中呼應 備至：「中國傳統中對筆墨運轉及對絹或宣 紙質感、肌理的講究創造了東方繪畫宜近看 而耐人尋味的特點。德群在大刀闊斧的油畫 揮寫中竭力發展中國筆韻、墨趣的時代性、 世界性。」「朱德群的作品確是遠看西洋 畫、近看中國畫，他的創造性的手法正適合 借來作為我的觀點的闡明。德群表現中另一 個突出的特點是透明性，粘糊糊的油彩織成 了透明的新裝，那種半透明效果本是中國宣 紙特有的風采，另西方可望不可攀的風采。 朱德群的抽象繪畫不受遠景近景具體物象的 約束，他竭力追求深遠的空間感與具體筆墨

的韻律相結合，是縱深感與形象性都得到最 充分的發揮。」 80年代中，朱德群充分運用中國的書法繪畫 的線條、點與粗筆，中國書法的俯仰、頓挫 與縱橫均可見於這個時期的作品當中。到了 80年代後期，朱德群趨向對自然光線作更深 入的詮釋，並試圖把更多色彩納入畫面中， 以更豐富、更具情感的創作手法，延續中國 文化精神議題，更將色彩納入他創作中，展 現出更為豐富、多情的一面，如1987年創作 的《湧現》，充滿動感的佈局，畫面肌理得 體，準確優美，極富表現力。畫面中如韻律 跳躍、節奏雄健，似交響樂般的點塊表現， 無不既融匯了中國草書俐落瀟灑的用筆，又 呈現了西方韻律、節奏的視覺美感。此外， 顏色充滿豐富而和諧的微妙變幻，對比強烈 揮灑，西方繪畫與中國繪畫的完美結合，在 此作品中達到了水乳交融的境界。英國近代 藝術史學家蘇立文曾經問朱德群如何看他的 抽象畫，朱德群回答道：「看一張畫就像聽 音樂一樣。」（ 參閱蘇立文〈朱德群的藝術〉，《朱 德群畫集》，歷史博物館，台北，1987年，頁11）如果 看畫像聽音樂，那麼繪畫就像作曲一般了。 在《湧現》中，觀者同樣能體會到有如交響 樂般的和諧律動。 當年朱德群被法蘭西學院授予了院士稱號， 這是學院成立200年來的第一位華裔院士， 被稱為華人最大的成功。其把東方與西方、 古典與現代特色融為一體的繪畫特色，是朱 德群獲得成功的出處。中西交融的特點，連 其領獎時的配品一併體現。朱德群接受法蘭 西學院院士榮譽稱號時，佩戴的是西方特色 的象徵榮譽的劍飾，而其上鑲嵌著的則是象 徵古典中國的漢白玉。

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Compared with the bizarre colors and unidentifiable objects in western abstract paintings, revealing social unrest, noisy, troublous soul in modern western society, C h u Te h - c h u n h a s a d o p t e d o r i e n t a l abstract philosophizing and transformed the psychological state of anxiety into the inspirational realm of “independent contacts with the spirit world”. This could be perceived from the furnishings in the residence of Chu Teh-chun in Paris. Chu Teh-chun’s residence in Paris is just like the water town in the south of Yangtze River, with pen and ink, paper and inkstone in the studio, green bamboo and emerald cypress in the courtyard, as well as two books – Poems in Tang Dynasty and Lyrics in Song Dynasty, worth reading in the whole life.

Ancient Chinese aesthetic theory pursues the utmost ambit: The precious of withered is the innermost rich, though withered in appearance, it is beautiful actually. This has been reflected in the appraise by Wu Guanzhong, “In traditional Chinese ink painting, the moving of brush, the characteristic of rice paper and silk, and the texture have been regarded as the intriguing features of oriental painting, which is suitable for close look. Chu Teh-chun did his utmost in developing Chinese painting rhyme and fascinating modern painting with bold and resolute strokes in his paintings.” “Chu Tehchun’s works is really like western painting when viewed from afar, as Chinese painting when stared at nearby. His creative approach is suitable to be used as I stated the view. Chu Tehchun’s painting has another prominent feature, which is transparent. The slimy oil paints have formed transparent dress, and the translucent effect is the features of Chinese rice paper, which is unrivaled by the west. Chu Teh-chun’s abstract painting is free from the restriction of the objects, whether in close-range or beyond vision. He has pursued a far-reaching sense of combining space and rhythm of specific ink together. His painting has given full play to the painting in respect of depth and image.”

In 1980s, Chu Teh-chun had fully used lines, dots, and rough strokes in Chinese calligraphy

and painting. The pitching, pause and transition, strokes and brushes in Chinese calligraphy could be found in his works during this period.

By the late 1980s, Chu Teh-chun inclined to use natural light in his painting for deeper interpretation and tried to put more colors into picture. He adopted a more extensive and emotional creative way to extend the spirit of Chinese culture. He has also put rich colors into his creative works, which shows affluent and sentimental feelings. "Surgissement", created in 1987, is depicted in a dynamic layout with delicate fabric, accurate beauty and extreme expression. The painting shows the jumping rhythm with power. The dots and blocks seemed like symphony performance, integrated with the fluency of Chinese cursive writing and the western rhythm of visual aesthetic.

Moreover, full of rich colors and subtle changes of harmony, strong artificial contrast, the perfect combination of Chinese painting and Western painting in this work have reached the realm of complete harmony. Michael Sullivan, a British historian of modern art, once asked Chu Teh-chun how he looked at his own abstract paintings. He replied, “Looking at a painting is like listening to music.” (‘Art of Chu Teh-chun’, Collection of Chu Teh-chun’s Paintings, by Michael Sullivan,

If we look at a painting like listening to music, painting would be as if composing music. In "Surgissement", the audience can feel the harmonious rhythm like symphony.

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

Chu Teh-chun was awarded as a academician

by Institute de France and he is the first Chinese academician since the establishment of Institute 200 years ago. He is regarded as the greatest Chinese success. His most prominent success is the integration of classical and modern paintings, as well as the mingling of the oriental and occidental. Blending features of the east and west has been expressed when he was rewarded, so was the rewards attached. When Chu Teh-chun accepted the honorary title of academician by Institute de France, he wore an ornament of honor with the sword, and on the sword was a white marble mosaic, a symbol of classic China.

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CHU Teh-chun (b. 1920)

L'hiver poétique (Poetic Winter) 1988 Oil on canvas 80 x 100 cm Signed lower right CHU TEH-CHUN in Chinese and English Titled "L'hiver poétique" in French on the reverse, signed on the reverse CHU TEHCHUN in Chinese and English, dated 1988 This painting is to be sold with a certificate of authenticity signed by the artist.

EXHIBITED: Art Singapore 2006, Singapore, September 28-October 2, 2006 Chu Teh-chun, The Ueno Royal Museum, Nippon Art Association, Tokyo, June 23-July 10, 2007 ILLUSTRATED: Chu Teh-chun, Thin Chang Corporation, Taipei, 2007, color illustrated, p. 198

NT$ 12,000,000-20,000,000 US$ 413,800-689,700 HK$ 3,076,900-5,128,200

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朱德群 詩意之冬 1988 油彩 畫布 80 x 100 cm 簽名右下：朱德群 CHU TEH-CHUN 簽名畫背："L'hiver poétique" CHU TEHCHUN 朱德群 1988 附藝術家親筆簽名之原作保證書 展覽： 新加坡畫廊博覽會，新加坡，2006年9月28 日至10月2日 「大象無形－朱德群展」，上野之森美術 館，日本美術協會，東京，展期2007年6月 23日至2007年7月10日 圖錄： 《大象無形－朱德群》，台灣馨昌株式會 社，台北，2007，彩色圖版，頁198

西方多位藝評家曾形容朱德群的畫是「詩意 的、抒情的抽象畫」，東方的美術史學家李 霖燦也曾以「有標題的抽象繪畫」來詮釋朱 德群的畫。大家咸認音樂是最抽象的藝術， 西方音樂多數有標題音樂，例如貝多芬的交 響曲，常附加有標題，然而文字不會限制聆 聽者的想像空間，反而成為鑑賞時的指引。 朱德群也是少數會在畫背題寫中文或法文標 題的藝術家，畫家認為按自己的畫意來起 名，沒有妨礙觀眾的自由解讀，因此後期的 抽象畫都擁有一個題目。而在朱德群優雅如 詩的畫題裡，亦傳達出他的審美觀，以及他 的內在情感。他的中國文化根源，抑或是長 居西方的生活感悟，在作畫時，往往無意識 地流露出其中的連結。 有人問他「標題」是否就是他的創作主題和 靈感？朱德群回答道：「靈感多半來自大自 然的啟發，或者是從工作中獲得的感覺。要 是坐等的話，可能等一輩子也沒有靈感。畫 家要不停地畫，不停地思索，不停地追憶 ……正是在畫畫的過程中會慢慢產生一種 感覺，且越來越深切，我想這就是靈感了。 越是努力工作，這種感覺就越豐富。然後就 是用畫筆將這種感覺表達出來。所以作畫是 有感而發，這種感覺用法文來講就是一種 motion（感情衝動）。我很少先有標題再作 畫的。因為那樣就受到了約束。絕大多數作

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國藝術評論家夏伯薰還曾以「二十世紀的宋 朝畫家」形容他，認為他的作品是詩與畫的 結合。

品都是畫完後才產生標題的。」（摘錄自鄭若 麟〈朱德群：美的追求者〉，《文匯報》專刊，2005）

此幅作品《詩意之冬》描寫大雪紛飛的景 致，畫背上的法文款識L'hiver poétique即是 藝術家親自賦予的。從1985年以來一系列冬 日白色雪景圖畫，靈感即是來自大自然，一 次旅行途中看見阿爾卑斯山的感動。當他見 到雲霧瀰漫、白雪紛飛的景象，心裡頓時浮 現了許多唐詩的意象，因而創作出此一系列 膾炙人口的創作。平日喜讀唐詩宋詞，尤其 喜愛李白、杜甫、李清照、陸游的作品，也 愛聽貝多芬和莫札特的音樂，詩詞音樂往往 更易激發朱德群的情感衝動。藝術之美能超 越古今，匯聚中西，朱德群體現出這份合璧 之美。他曾說：「東西融合不是東西拼湊， 而是思想的融合。我是在中國受的教育，所 以我的油畫是具有中國詩意的抽象畫。我比 較傾向於唐宋時代的藝術意境。」台灣藝評 家楚戈也認為，「朱德群是用油畫畫出中國 水墨畫精神的大師。…朱德群不但用油彩畫 中國水墨的精神；而且畫中的線條，在輕重 濃淡，甚至有渲染效果的空間中，居然有筆 墨的趣味，就不得不使人欽服了。」 （楚戈 〈雲興霞蔚：試為朱德群先生的藝術定位〉，《朱德群畫 集》，金陵藝術中心，台北，1989年8月，頁9、頁11）法

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《詩意之冬》作品的確是飽含詩意，帶有唯 美的意境，如同演奏一首即興的樂章。畫家 將冬賞寒林景致描寫得細膩，行草般錯落的 線條，充滿速度感，佔據畫面中央，如夜幕 倏地垂落。驀然間霜雪飛撒，如串串珍珠抖 落，輕快悠揚，灰暗的簾幕裡彷彿降下熠熠 星光，映出大地雪白顏色。幽幽的淡黃色， 為寒色雪景增添些許溫情。吳冠中認為，朱 德群的雪景其實反映了自身的生命體驗，他 寫道：「畫家任性揮灑，繪出了繁雜多樣、 虛實夢幻、喜怒奔放……，這一切均係人生 經歷中所積澱的哀怨與幸運，一朝衝破內心 深處的幕紗，展示出作者漫長藝術生涯的軌 跡與烙印。」 （參閱祖慰著《朱德群傳》，霍克國際 藝術，台北，2003年8月1日首版，頁 225─226）

1985至1989年間，朱德群創作十餘幅以冬日 雪景的為主題的作品，引起藝評家與藝術家 好友的驚嘆。期間各地邀展不斷，如台北國 立歷史博物館（1987），比利時列日現代美 術館（1988），台灣 省立博物館（1989） 為他舉辦盛大回顧 展，再次肯定其學術 定位，此一階段創作 無疑已是其創作生涯 的重大里程碑。

Many Western critics d e s c r i b e d C h u Te h chun’s works as “poetic and emotional abstract paintings.” In addition, Li Lin-tsan, an Asian art historian, interpreted C h u Te h - c h u n ’s a r t as “titled abstract paintings.” Generally, everyone considers

music as the most abstract art and the majority of Western music contains titled music, such as Beethoven’s Symphony. Words do not confine listeners’ imagination but serve as guiding rods in appreciation. Chu Teh-chun is one of the few artists, who would comment on the back of the paintings in Chinese or in French. The painter titles his work with his artistic feelings and does not impede audience from free interpretation.

Hence, the later works of his abstract paintings all hold a title. Chu Teh-chun’s poetic and graceful themes convey his aestheticism and his inner emotion. Both his Chinese cultural origin and life reflection living in the West flow into his paintings and feature the rapport unconsciously.

Someone once asked Chu if titles determine his creation theme and inspiration. Chu Tehchun answered, “Inspiration often derives from nature’s awakening or from feelings at work.

If you sit and wait for it, the inspiration may never come. Painters should continue to paint, contemplate and remember…. While in the process of painting, a kind of feelings emerges

朱德群《冬之呈現 (二)》，羅芙奧2007春季拍賣會，編號070 5380萬台幣成交 CHU Teh-chun, Présence hivernale II, 1987, oil on canvas, 130 x 195 cm Ravenel Spring Auction 2007, lot 59 US$ 1,629,069 sold

and blends into painting, and I think this is inspiration. The more diligently you work, the richer the feelings become. Then you use brushes to express this feeling. Hence painting is inspired by feelings, and this kind of feeling is like émotion in French. I seldom begin painting with having the title first since I will then be confined. Most of my works are painted first and titles are given later” (Extracts from Cheng Yeuk-lam’s “Chu Teh-chun: A Man Searching of Beauty,” Wenhuipo, 2005).

spirit of water brush paintings and the strokes and lines with variation of darkness and depth and the rendering effect in the space contain the joy of brush ink that amazes everyone” (Chu Ko, ‘Cloud Emerge and Sunset Beauty: Attempt to Examine Chu Teh-chun’s art significance’, Chu Teh-chun Painting Collection ,

“L’hiver poétique”, imbued with poetic flair with aesthetic image, is like playing an impromptu musical episode. With its free style brush strokes, pieces and dots being dimly visible, occupying the center of canvas like sudden fall of night, with sudden splash of snow like falling pearls, sleek lines falling and forming into nets, the grey curtain falling with stars, it all nestles into a silverish grey world. The dimming color of light yellow adds warmth to the cold snow scenery to some extent.

Wu Guanzhong believed that Chu Tehchun’s snow scenery reflected his inner life experience and wrote, “Painting according to his whims and desires, the painter painted diversified, varied, surreal, dreams, happiness and anger looming..., this all equates to the luck and sorrow in one’s life experience, a gauze that breaks through the innermost feelings, showcasing path and marks in the author’s long artistic life” (Please refer to

“L’hiver poétique”, named by the artist himself in French, details the falling of snow flakes. The series of winter sun on white snow scenery paintings since 1985 derived from the inspiration of nature.

His take on the view of the snow-covered Alps inspired this new series of paintings.

While Chu viewed the mystique clouds and snow falling, the images of many Tang poems emerged in his mind and accordingly created this series of popular Zhu Wei, Chu Teh-chun Biography , HoKe Art, 1st Aug works. Chu Teh-chun is an ardent 2003, 1st Edition, pp. 225-226.) admirer of Chinese poetry, especially the work of Li Bo, Tu Fu, Li Qing-zhao, Lou Yeou. In addition, Chu is a great fan Chu Teh-chun had created more than ten of Beethoven and Mozart. Poetry and paintings on the topic of winter snow music tend to inspire Chu Teh-chun’s scenery during 1985 to 1989 that have emotional impulses. The beauty of art won admiration from critics and art can transcend time and integrate West amateurs. The exhibitions are often held with East, and Chu Teh-chun reveals all over the world, including exhibition the beauty of this great rapport. He once at National Museum of History in 1987, said, “The blending of East into West exhibition at Musée d’Art Moderne isn’t the combination of East and West, de la ville de Liège in 1988, and grand 朱德群《冬之自然》，羅芙奧2007秋季拍賣會，編號072，3196萬台幣成交 but the integration of philosophies. I retrospective exhibition at Taiwan CHU Teh-chun, Nature hivernale was educated in China, so my paintings Museum of Art in 1989 to reassure his 1980, oil on canvas, 1987-1988, oil on canvas, 130 x 97 cm Ravenel Autumn Auction 2007, lot 072, US$ 990,547 sold convey abstract art of Chinese poetry academic significance. Works during this with leaning to the artistic mentality period are the most important milestones Jingling Arts Center, Taipei, August 1989, p. 9, p. 11). J.of Tang and Song.” Chu Ko, the art curator in of his art career by far.

Taiwan, commented, “Chu Teh-chun is a master F. Chabrun, French art critic remarked Chu who used oil painting to depict the Chinese as “a Song painter of the twentieth century,” spirit of water brush paintings…. Chu Teh-chun indicating that his work is the integration of employs oil painting to display the Chinese poetry and painting.

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ZAO Wou-ki (b. 1921)

1. 12. 68 (13. 2. 77) 1968-1977 Oil on canvas 162 x 114 cm Signed lower right Wou-ki in Chinese and ZAO in French Signed on the reverse ZAO WOU-Ki in French and titled 1.12.68/13.2.77 PROVENANCE: Aix Gallery, Stockholm EXHIBITED: Zao Wou-ki Retrospective, (organized by Galerie de France), Palais des Beaux-Arts, Charleroi, Brussels, Belgium, 1970 ILLUSTRATED: Jean Leymarie, Zao Wou-ki, (Palais des BeauxArts, Charleroi, retrospective exhibition catalogue), Galerie de France, Paris, 1970, p. 33 Jean Leymarie, Zao Wou-ki, Editions Cercle d'Art, Paris, 1986, black-and-white illustrated, no. 402, p. 334

NT$ 72,000,000-95,000,000 US$ 2,482,800-3,275,900 HK$ 18,461,500-24,359,000

趙無極 1. 12. 68 (13. 2. 77) 1968-1977 油彩 畫布 162 x 114 cm 簽名右下：無極 ZAO 簽名畫背：ZAO WOU-ki 1. 12. 68/13. 2. 77 來源： 艾斯畫廊，斯德哥爾摩 展覽： 「趙無極回顧展」（法蘭西畫廊籌辦）， 夏樂華美術皇宮，比利時，1970 圖錄： 尚．雷馬利，《趙無極》夏勒華美術皇宮回 顧展目錄，法蘭西畫廊，巴黎，1970，頁33 尚．雷馬利，《趙無極》，藝術圈出版社， 巴黎，1986，黑白圖版，編號 402，頁334

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無極的抽象世界

老莊思想的無極 二十世紀華人藝壇出現過兩位重量級繪畫 大師，一位是所謂的「佛教畫家」，另一 位則是「道教畫家」，前者指的是國畫大 師張大千，後者指的是西畫大師趙無極。 雖然張大千年輕時曾一度出家，創作的主 題偶與佛教藝術有關，但此處我們無意深 究他們的實質宗教信仰。其實所謂「佛教 畫家」與「道教畫家」是兩位大師一次相 遇時，彼此以「姓名」戲稱的一段趣事。 「大千」、「無極」，在中國的確都是富 含哲學意涵的名字。在此，我們要介紹這 位繪畫創作中帶有老莊思想的「無極」大 師。 其實「無極」二字，乃是畫家信奉道教的 祖父特意所起的名字。「無極」意指宇宙 太初，混混沌沌，一物未有的景象。東漢 天文學家張衡曾提出「宇之表無極，宙之 表太極」的無限宇宙觀念。而窮究宇宙無 窮之哲學思想，後來冥冥之中逐漸成為趙 無極畢生服膺的藝術價值。終其一生，他 的畫作一貫簽名方式，必見「无極」（無 極的古字）兩個漢字，可以想見他時刻惦 念自己的文化根源。「无極」和「ZAO」 的結合，則有兩種文化的合體之義。 趙無極原籍江蘇，1921年出生於北京，六 個月後舉家遷往距離上海不遠的小鎮南 通，在此地完成中小學教育。趙家可謂書 香世家，族譜可上溯宋朝皇族燕王。無極 是家中長子，父親是上海的銀行家，母親

是傳統的家庭主婦，祖父則是頗有名士派 頭的前清秀才。幼時祖父指導他握毛筆練書 法，並要求讀論語和唐詩文學。那些隨性讀 書、習字的經驗，成為日後走向藝術的最原 始動力。父親從商，同時也喜於收藏古玩字 畫，還是一位業餘的西畫家。家裡藏有趙孟 頫和米芾兩幅字畫，是祭祀祖先時必然擺設 的傳家寶。趙無極個人尤其推崇米芾，曾經 讚揚他是中國最偉大的畫家之一，他曾說： 「他是用另一種眼光觀察的畫家，是大書法 家。」趙無極後來決意投考美術學院，得到 父親的強力支持與金援。叔父亦雅好藝術， 經常帶回巴黎的西洋名畫明信片。文藝家庭 的耳濡目染，以及父執輩的鼓勵支持，都奠 定了他後來良好的發展根基。 1935年，14歲那年趙無極順利考進杭州藝 專，成為當時最年輕的學生，校長是曾經留 學法、德兩國的林風眠。潘天壽教授國畫， 吳大羽指導西畫，藝專學生必須兼備中西， 但他偏愛西畫。其中以林風眠與吳大羽對他 影響最深，全然給予開放、包容的創新觀 念。學院式的美術教育不免帶有束縛，他個 人特別心儀印象派的明朗與輕快風格，勤於 閱覽當時零星的國外雜誌，認識了塞尚、馬 蒂斯和畢卡索等人的藝術。此時他逐漸找到 繪畫的方式，認為自己更接近現代大師們 的藝術，而非傳統國畫或是歐洲學院繪畫， 1940年代時他就以自己的創作方式完成風景 和妹妹肖像等油畫。藝專求學期間，正逢中 日戰爭，在艱辛的逃難、顛簸中學習，六年 後以優異成績畢業並留校任講師，還在重慶 舉辦首次個展，當時他也是最年輕的一位教

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師。後來在林風眠的鼓勵下，1948年偕妻前 往法國留學，原本只計畫留學兩年，沒想到 自此長居巴黎，直到今天。

巴黎詩人與抽象藝術 趙無極起初先在巴黎的蒙巴納斯區落腳， 與雕塑家傑克梅第工作室比鄰而居。羅浮 宮、大茅屋美術學院都是他一開始汲取養分 的地方。來法的第二年他即受巴黎克茲畫廊 青睞，得以舉辦個展，立即獲得成功，聲名 遠播。初抵巴黎三年間，他先後結識許多年 輕藝術家，如漢斯．哈同、尼古拉．德．史 塔耶爾、皮耶．蘇拉吉、維耶拉．德．西爾 瓦，以及後來的山姆．法蘭西斯、來自紐約 的諾曼．布朗爾和來自加拿大的李歐佩樂。 這些藝術家後來都是歐洲的主流大畫家。 趙無極一開始認真的研究西洋大師們的作 品，心中暗自決定要揚棄擅長的水墨畫，避 免淪為狹隘的「中國趣味」。在一次偶然的 機會裡，他製作了一批石版畫，因考量經濟 的因素，只使用極少的顏色，加上大量的水 分，原本被版畫工作室主持人判定失敗，沒 有想到作品完成後，水墨渲染般的中國情意 躍然紙上，意外得到大詩人亨利．米修的激 賞。他為這些畫作配上詩文，印行出版，得 到廣大的喜愛。趙無極初期的作品大都是具 象的風景或人物圖畫，他萬萬沒想到，原來 存心逃避的「中國趣味」，竟成為他在歐洲 藝壇起步的重要踏板。米修曾指出趙無極的 畫不是「風景」，而是「自然」，他的評畫 相當契合藝術家的心境。透過米修的引介， 趙無極很快融入風雲際會的巴黎藝文圈，逐 漸走向抽象表現主義繪畫之路。 「抽象表現主義」，又稱為「非具象」，乃 是二次世界大戰後新興的一支藝術主流，他 們的觀念在於透過形式和色彩的使用，純粹 表達藝術家自我的一種藝術形式。從康丁斯 基以降，抽象藝術成為二十世紀中葉一個重 大的美術現象，而表現主義起源自塞尚、梵 谷的繪畫，此時更因戰爭的衝擊而重新崛

起，兩股藝術匯聚成一風靡美國紐約的潮 流，成員間彼此風格儘管分歧，但仍各領風 騷。在這股潮流之下有兩類群體，一是「行 動繪畫」，如帕洛克、德庫寧、克萊因、賈 斯東等人；另一類則是「色域繪畫」，以羅 斯科、諾拉德、馬哲威爾等為代表。而戰後 歐洲藝術也受到美國藝術的啟發，幾乎同時 在歐陸開創出「非形象」的藝術潮流，代表 人物包括哈同、施奈德、蘇拉吉等人。趙無 極就是這股藝術潮流中的一員，有抒情抽象 畫家的美稱。

重新發現中國 趙無極曾說過：「畢卡索教會我們如何去畫 畢卡索，但塞尚教會我如何去注視我們中國 畫的本質。」他的意思是說，看畢卡索的 畫，得到空間的啟示不多，但看塞尚，尤其 是看《聖維克多山》，「山與天空色塊連接 不可分的情況，完全是中國畫的辦法」。趙 無極認為旅行也是充電的良方，自古中國文 人從名山大川參透哲理，現代畫家自然也能 藉由走覽博物館、探訪各地人文風景名勝， 尋獲激盪靈感的好素材。1951年趙無極到瑞 士伯恩遊歷，在一次展覽中首度發現保羅． 克莉的繪畫，克利以近似書法符號的畫法表 達內心的世界。這樣的作品竟能貼近自己的 心靈，透過深受中國書法與阿拉伯文字所啟 發的克利，此後趙無極的靜物、花卉已經不 復存在，他轉向一種想像的符號和不可讀的 書寫，趙無極找到西方繪畫的另一種層次， 進入「詩」一般自由的境界。 法國詩人兼藝評家亞蘭．儒佛魯瓦在《藝 術》雜誌中有過一段評述：「趙無極的作 品明確地反映了中國人的宇宙觀是如何成為 全球性現代觀點：是虛無玄遠，而非冥想的 對象，反映著冥想的精神。諸如保羅．克 利、馬克．托比和亨利．米修等如此不同的 人物，都求助於這一思想。」中國人的宇宙 觀，老莊的道家思想，潛藏在趙無極的細膩 思惟裡，進而融入他的繪畫中。趙無極筆下 的符號、線條顫動地呈現愉悅自由的感受，

中國甲骨文、鐘鼎文等充滿繪畫性的啟發， 有一段時間讓趙無極盡情陶醉在故國文化的 蘊藏。然而克利的影響後來帶來不小的包 袱，加以情感上的嚴重受創，讓他一度幾乎 要放逐自己。後來，他索性將符號、形象完 全放掉。「山窮水盡疑無路，柳暗花明又一 村。」曲折之後尋見寬廣空間，大山大水的 雄渾氣勢正準備迎向他。1958年後，趙無極 的畫作不再有標題，僅在畫布背面註明創作 完成的日期。

自由超脫的創作歷程 趙無極在香港重新找到愛情，他的第二任美 麗明星妻子美琴。返回巴黎之後，搬進一間 新的住家與畫室，尤其是大畫室幾乎他成為 與世隔絕的心靈避風港。此時他的藝術成就 正走向巔峰的新階段。趙無極從1960至1970 年的十年間全心地作畫，他在自傳裡回憶， 這十年對他而言就像是開保時捷跑車的速度 一樣，飛快地逝去，他覺得時間在催促著， 要他趕緊把尋得的想法表現出來。愛情也激 勵著他，唯一的念頭就是不斷地工作、工

作。後來回顧這十年的工作，他方才覺得有 了具體的成果，進入繪畫的成熟期。 1960年他應邀參加威尼斯雙年展，1964年他 舉辦個人第一次回顧展。而在巴黎的法蘭西 畫廊，以及美國的庫茲畫廊等合力的支持 下，趙無極的繪畫每年的展出不斷，在歐美 都有極高的能見度，廣受歡迎，尺幅也在自 信的加持下，愈畫愈大。 1960年代趙無極的豐沛創造力使他登上另一 座高峰。趙無極在一次訪問中提到：「人 們都服從於一種傳統，我卻服從於兩種傳 統。」說明中國文化傳統與西方藝術對他的 雙重關係。他不只一次地談到巴黎對他的影 響，巴黎使他成為一位真正的藝術家，隨著 思想的成熟，他慢慢地重新發現中國，進而 在繪畫中反映中國。然而這回溯本源卻須歸 功於巴黎。如果未曾留學歐洲，如果不是到 人文薈萃的巴黎，那麼他的藝術不會呈現如 今的面貌。無疑地，他的繪畫揉合了中國與 西方的藝術精髓，「將法國的情致與遠東的 空間感知相互結合」 （日本美術史學家高階秀爾 語）。

然而1960年代的作品，因為妻子罹患憂 鬱症疾病，出現充滿激烈的筆觸與運動 感，內心有難以複雜的情感糾葛。多位 藝術評論家都認為，1972年美琴的離 世，成為趙無極繪畫階段的分野，後來 在水墨畫中重拾繪畫的動力。可以說， 趙無極在1970年代之後，油畫色彩轉為 豔麗，重視繪畫裡的光線感。1980年代 後，趙無極的繪畫進入一種優雅的狀 態，不見急躁或激昂，他希望畫面更精 簡，多一點空間的感覺，因此近期的作 品多見空靈的探索。他不只一次地以繪 畫向馬蒂斯致敬，敬佩其高妙的色感與 空間感。

米芾《書法》 Calligraphy of Mi-Fu (1051-1107)

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台灣美術史學家蕭瓊瑞總結了趙無極 繪畫創作的五大特色：「 強烈的生活 性」、「 豐富的色彩」、「多樣的質 感」、「濃厚的音樂性」、「虛實相生 的空間感」。他認為：「趙無極將中

國長久的人文理想，以現代的方式，具體而 真實的呈現在人們眼前，成為二十世紀人類 精神可珍惜的偉大遺產。趙無極在中國苦難 的時代，遠離中國，但卻以文明而美好的方 式，讓中國人重獲尊嚴，重拾信心，進而生 發奮起直追的意志。」（參閱蕭瓊瑞，〈東西文化 的完美結合〉，《中國巨匠美術週刊—趙無極》，1992， 錦繡出版事業，頁36）

以作品《1.12.68 (13.2.77)》為 例談趙無極之經典風格從作品 《1.12.68》 （13.2.77）的題目來看，這是一幅完成於 1968年12月1日，而1977年2月13日又再加 筆的畫作。在趙無極一些作品中偶而可見兩 種年代的款識。1968年應是畫家創作鬥志高 昂、意氣風發的巔峰時期，尤其這幅畫作還 入選了由法蘭西畫廊籌備，比利時夏樂華美 術皇宮的盛大回顧展，不論對於畫家或代理 畫廊而言，作品的力度與份量不言可喻。 然而，1968年卻也是令趙無極悲憤交加的一 年。趙無極於1988年與第三任妻子梵思娃合 力撰寫的法文自傳裡，第一句話就是提到他 的父親：「我的父親逝世於1968年，正值 文化大革命。」1968年時趙無極早已經揚名 異域多年，卻苦於1949年後中國的重大歷史 轉折，一直無法順利回鄉探視父母。父親曾 是上海的銀行家，文革時期被打成右派，受 虐待屈辱而亡。趙無極一直到1972年才拿到 簽證，返回別離24年的故鄉。這份對父親的 深深遺憾一直到1985年，趙無極回杭州母校 講學時，才稍稍獲得寬慰。學畫一輩子，他 感到自己總算找到報達父親恩澤的一條「捷 徑」。從小父親在他的藝術之路上，未加阻 攔，總是多所鼓勵，並以家中寬裕的金錢， 贊助他前往巴黎發展。 或許是因為失去至親的悲憤，以及妻子重 病的雙重折磨，在《1.12.68》畫作裡出現 波濤洶湧難以撫平的情緒，如同此時期其他 作品一樣顯得氣勢磅礡。《1.12.68》的畫面 裡一大片殷紅天地，暗赭色的筆觸在畫面一 方翻騰糾結，空間裡也滲透出金與白的溫和

光輝，顫動中形成對比的平衡，產生宏大的 氣勢與張力。曾經任巴黎市立現代美術館 館長的拉塞尼，1969年4月時曾寫下一段文 字，指出趙無極此時心中的抑鬱。「我不相 信今日的作品中是出自於異國情調，它或許 是因受東方影響的克利所啟發，曾在趙無極 初期作品中以輕盈的說明圖畫扮演一定角 色。暗示性的、召喚性的或是神祕之中建立 的符號、象徵已經消失，這些巨大的陰暗空 間，穿越色彩的波浪，模糊光亮的尖銳。或 許是私密生活裡攪亂的沼澤、死水，或者是 遙遠天際線是襲來的雲霧，升起的雲朵。」 （拉塞尼，魁北克當代藝術館及魁北克美術 館《趙無極》展覽目錄，1969）繪畫最能表 達藝術家內心的祕密，唯有透過創作，才能 使藝術家得到心靈的平靜。拉塞尼在文末繼 續寫道：「趙無極的色彩，如此細膩，如此 精巧，無止盡的顫動所賦予的。那是他的生 命，那是一個夢想。視野總是重新開始的， 向前走去。」 台灣藝評家蕭瓊瑞也曾就情感發抒評析趙無 極的繪畫，他認為趙無極的作品記錄生命的 起伏，以及生活中的種種情感變化。他指出 趙無極在1960年代特有的「纖維般線條」， 形成此階段的特色之一。儘管有時面對精神 的苦悶，內心的恐懼與糾葛，趙無極的畫作 大抵都是洋溢著和諧、自由與向上升揚的精 神。「1960年代的作品，是以黃褐色為主 調，散發著一種金銅色的光芒，一些細膩、 尖銳、又帶點神經質的纖維般線條，在畫 面上自由的揮灑、組合，擺脫題材、法則的 限制，一切遵從內在的要求。趙無極呈顯一 個深邃、富有動力、荒原中透露著華麗的世 界。」 （節錄自《中國巨匠美術週刊—趙無極》，錦 繡出版，台北，1992，頁18）因為趙無極個人有豐 沛的情感與細膩的感知，他的創作題材的確 多來自生活中的感觸，內心波動自然流露， 他也曾說過他的畫等於是他的日記，他的生 活。 從繪畫的佈局分析，在《1.12.68》作品中， 趙無極採用中國山水畫的直幅構圖，而非西 方常見的橫幅自然風景形式。直幅構圖，帶 有高遠、深遠的境界，那是中國的自然觀與

見他對繪畫認識的一般，以及中國傳統認識 對他意義的重大。」趙無極曾自言，「如果 說我的整個藝術修養中有無可否認的中國影 響，我也必須說明，我的真正人格，隨著重 新發現中國而晉於成熟。」 （參閱袁德星編， 《趙無極》，源成出版有限公司，台北，1980，頁13） 杜若洲認為，趙無極的特色除上述的「中國 空間」、「西方的光」，還有一種與光有關 的「色彩」。趙無極的光輝耀性極高，而且 具有神秘感，彷彿荷蘭畫家林布蘭的；也彷 彿大自然在激變中——其如雷雨怒濤等—— 迸發出來的；他的色彩也常呈現奇麗幻變的 「景象」——中國在14世紀（元代）以後即 已失傳的色彩，是趙無極有意恢復的一種品 質。

西瑪波《聖母與天使圖》 現藏於巴黎羅浮宮 Cenni di pepo, called Cimabue The Virgin and Child Enthroned and Surrounded by Angels 1270, oil on wood, 168x110 1/4 in (427x280 cm) Collection Musée du Louvre, Paris

空間觀念。然而，住在巴黎的趙無極亦長期 接觸西方傳承的美學思惟裡，他巧妙的把西 方特有的光線感，融入創作之中。 台灣藝術評論家杜若洲就認為，「中國的空 間」和「西方的光」可以說是趙無極藝術上 可觀的成就之一，不但融合了兩大文化潛力 的本質，而且揭發了它們的共通性或常性。 他在〈趙無極的繪畫淵源〉一文指出：「他 （編按：趙無極）在1966年觀看羅浮宮西 瑪波（Cimabue，14世紀義大利佛羅倫斯派 第一位大師）的《聖母與天使圖》，除了讚 嘆備至，譽之為『羅浮宮最美的一幅畫』， 更指出，山水畫裡的雲霧畫法，正如此畫天 使頭上的光暈，是造成畫面特殊空間的要 素。他說，這是『極妙的構成！』於焉也可

作品《1.12.68》表現出的莊嚴光輝耀性， 及其奇幻神祕的華麗色彩空間，對照多位 中外藝術評論家所評述的風格特點，無疑是 1960年代趙無極繪畫的經典作品之一。此幅 畫作曾在法蘭西畫廊的資助下，赴比利時夏 樂華美術皇宮中展出，後來輾轉由斯德哥爾 摩的艾斯畫廊所購藏。趙無極的藝術感染力 其實早已跨越疆界，收藏其作品的美術機構 與收藏家遍佈全世界。多年前趙無極獲頒日 本皇室大獎「高松宮殿下紀念世界文化賞」 （1994），法蘭西學院美術院士（2002）的 最高榮耀。而在中國抽象藝術的發展史中， 趙無極早被譽為扮演了一位先行者的開拓角 色。或許在藝術生涯的歷程中，趙無極堪稱 是幸運的，但同時在他的生命軌跡裡亦經歷 無數的不幸，他堅強地歷經許多的困境與波 動，過去的激越感懷完全抒發在他的繪畫 中。過盡千帆之後，畫家逐漸坦然以對，朝 向「澹然無極」的中國老莊思想核心精神， 進入一個悠遠而逍遙遨遊的繪畫世界。

Wou-ki’s Abstract World

Wou-ki with philosophical thinking of Lao Zi and Zhuang Zi education there. Zao’s is a well-known elegant

Zao Wou-ki was later determined to apply for

family and its genealogy can be traced back

studying at Academy of Fine Arts, which was

to royal Prince Yan in Song Dynasty. Wou-

strongly supported and fully sponsored by his

In the 20th century, two painting masters

ki is the eldest son of the family. His father

father. . His uncle was also good at art and

appeared in Chinese art circles. One was called

was a banker in Shanghai, his mother was a

often brought back western art postcards from

“Buddhist artist” and the other was called

traditional housewife and his grandfather was

Paris. Wou-ki was unconsciously influenced

“Taoist painter”. The former refers to the

a celebrated scholar in Qing Dynasty. During

by art atmosphere of the family, as well as

Chinese painting master Chang Dai-chien and

the childhood, his grandfather instructed him

the encouragement and support of the older

the latter refers to the painting master Zao Wou-

to hold the brush practicing handwriting and

generation, which laid a good foundation for his

ki. Although Chang Dai-chien was a monk at

he was also requested to read Analects of

development later on.

youth, the theme he created was sometimes

Confucius and Tang Poetry. Those reading

linked with Buddhist art, but now we have

and literacy experience had become the most

In 1935, 14-year-old Zao Wou-ki was smoothly

no intent on investigating the essence of their

primitive driving force for art later on. His father

admitted into Hangzhou National Academy

Wou-ki with philosophical thinking of Lao Zi and Zhuang Zi

religious beliefs. In fact, the so-called “Buddhist

of Art and he became the youngest students

artist” and “Taoism painter” were derived by

then. The principal, Lin Fengmian, had studied

an anecdote when two masters once met, they

in France and Germany. Pan Tianshou taught

just amused each other with the other party’s

Chinese painting and Wu Dayu instructed

“name”. The phrases of “Da-chien” and “Wou-

western painting, as the students of Hangzhou

ki” in Chinese are indeed rich in philosophical

National Academy of Art must study both east

meaning. Here, we would like to introduce the

and west paintings. But, Zao preferred west

creative painting master, Zao Wou-ki, who has

painting. Lin Fengmian and Wu Dayu had

philosophical thinking of Lao Zi and Zhuang Zi.

greatest affection on him and they completely allowed his concept of innovation. Art education

The phrase, Wou-ki, was specially granted by

in the academy inevitably had its limitation.

the artist’s grandfather, who was a believer of

His personal preference was the bright and

Taoism, as the given name of the artist. “Wou-

lighthearted style of impressionist, and he

ki” means the primordial state of the universe.

diligently read a few foreign magazines at

It is the primeval chaos and is believed that was

that time. He got to know the art of Cézanne,

the stage before earth and sky were formed.

Matisse, and Picasso. He gradually found the

Zhang Heng, an astronomer in Eastern Han

skill in painting, and considered that he himself

Dynasty, had once put forward the concept of

The study of philosophical thinking of infinite

保羅．克利《魚兒上鉤》 1920，油彩 水彩 紙本 ，31 x 32.5 cm 倫敦泰德美術館藏 Paul Klee, They're Biting

universe has gradually become the artistic

1920, drawing and oil on paper, 31 x 32.5 cm

the infinite universe with the saying that “Yu represents Wou-ki, zhou symbolizes Taichi.”

value abided by Zao Wou-ki in his life. All his

Collection of Tate Gallery, London

was closer to the art of modern masters, rather than the traditional Chinese painting or the art style of European academy. In 1940s, he used his creative manner to accomplish landscape and portrait paintings. During his study at art academy, Sino-Japanese war was on. He studied in difficult conditions, fleeing and

paintings have been signed with two ancient Chinese characters, Wou-ki, showing that he is

was a businessman and also fond of collecting

tramping always. Six years later, he graduated

always thinking about his own cultural origin.

antique calligraphy and paintings, in addition

with distinction and stayed at the academy as a

The combination of “Wou-ki” of Chinese

to an amateur painter of the western style. Two

lecturer. He also held his first solo exhibition in

characters and “ZAO” of French letters implies

pieces of scroll by Chao Mong-Foo (AD 1254-

Chongqing. He was one of the youngest teachers

the integration of two cultures.

1322) and Mi Fu (AD 1051-1107) respectively

at that time. Later, with the encouragement of

were inevitably placed as heirloom when the

Lin Fengmian, he and his wife went to France to

Zao Wou-ki’s ancestral home is in Jiangsu

family worship ancestor. Zao Wou- ki extremely

study in 1948. Originally, he planned to study in

Province and he was born in Beijing in 1921.

esteems Mi Fu personally, and he praised him

France for two years only and he did not expect

Six months after he was born, the whole families

as one of the greatest artists in China and he

that he would have been living in Paris up till

moved to a small town, Nantong, near Shanghai,

once said: “He was the artist with other kind of

now.

and he completed his primary and secondary

vision to observe and he is a great calligrapher.”

126

Parisian poets and abstract art

“Abstract Expressionism”, also known as “Non-

Zao Wou-ki initially settled at Montparnasse

art that flourished after the Second World War.

in Paris, as the neighbor of the sculptor,

Their beliefs lie in the use of form and color

Giacometti de. Musée Louvre and Académie de

in an art form that wholly express the artist’s

la Grand Chaumière were his nutrient resource

concept of self. Starting from Kandinsky

in the very beginning. In the second year of

onwards, abstract art turned into an important art

his stay in France, he was favored by Galerie

phenomenon during the mid twentieth century,

Creuze in Paris and it enabled him to hold an

while Expressionism, which began from the

exhibition, which was immediately successful.

paintings of Cézanne and van Gogh, reemerged

His name was well known. In the first three

again during this time due to the impact of war.

years in Paris, he had met many young artists,

The two streams of art combined to form a

such as Hans Hartung, Nicolas de Staël, Pierre

trend that mesmerized New York. Despite the

Soulages, Vieira de Silva, and later on, Sam

differences in style among the members, they

Francis, Norman Bluhm from New York and

still dominated in their own respective domains.

Jean-Paul Riopelle from Canada. These artists

Two groups emerged from the trends, one of

are the mainstream of the European painters

which was “Action Paintings” such as the likes

afterwards.

of Jackson Pollock, William de Kooning, Franz

Figurative”, was a new form of mainstream

Kline and Philip Guston; the other group was Zao Wou-ki began a serious study of the works

“Color Field Painting”, represented by the likes

created by western masters, and he secretly

of Mark Rothko, Kenneth Noland and Robert

decided to abandon ink printing, which he was

Motherwell. After the war, European art was

good at, to avoid becoming narrow-minded

also simultaneously inspired by the American

“chinoiserie”. Once it happened, he produced a

art, initiating the artistic trend “l’art informel”

batch of lithograph with minimal use of colors

one the European continent at nearly the same

and a great deal of water, due to the budget.

time. Representative figures include Hans

These paintings were thought to be a failure by

Hartung, Gérard Schneider, Pierre Soulages

the studio host, but after he finished these works,

etc., and Zao Wou-ki in precise, was one of

these ink exaggerated paintings showing on the

the members from this artistic trend, favorably

paper with Chinese affection were unexpectedly

known was the lyric abstract painter.

appreciated highly by Henri Michaux (18991984), the great poet, who wrote the poems

Rediscover China

北宋畫家范寬《谿山行旅圖》 絹本 淺設色畫軸，206.3 x 103.3 cm 現藏於台北國立故宮博物院 FAN K'uan, Travelers Among Mountains and Streams Hanging scroll, ink and light colors on silk 206.3 x 103.3 cm Collection National Palace Museum, Taipei

as the description of these works and printed them for publication, which were favored by

Zao Wou-ki once said: “Picasso taught us

the most people. Zao Wou-ki’s early works

how to draw a Picasso, Cézanne taught me

are mostly figurative landscape or portraits.

how to appreciate the essence of our Chinese

He has never dreamed of the fact that his

paintings.” He meant that the appreciation of

initial intention of avoiding the “chinoiserie”

Picasso’s paintings couldn’t get much room for

turned out to be his first significant step on the

inspiration, but for Cézanne, particularly when

European artistic stage. Henri Michaux pointed

admiring the “Mont Sainte Victoire”, “The

out that Zao Wou-ki’s paintings were not

undifferentiated hues between the mountains

“landscape”, but “nature”, and his assessment of

and the sky are strikingly similar to that in

the paintings pleased the artist mood. Through

classical Chinese ink paintings.” Zao Wou-ki

the introduction of Henri Michaux, Zao Wou-

thinks that travel is the best way to enrich the

ki quickly entered the literary circles in Paris,

creativity. Chinese literati in the ancient time

and gradually tended toward the path of abstract

got the philosophy from visiting the mountains

expressionism painting.

and rivers. Modern artists can naturally find the good materials to excite inspiration by

visiting museum and sightseeing scenic spots around the world. In 1951, Zao Wou-ki traveled to Bern, Switzerland, and he discovered Paul Klee’s paintings first time in an exhibition. Paul Klee’s paintings expressed the inner world by analogous calligraphic symbols, which fitted closed with the artist’s mind. Inspired by Klee, who deeply influenced by Chinese calligraphy and Arabic text, Zao Wou-ki’s paintings no longer show motionless objects, nor flowers exist. He has turned to an imaginable symbols and unreadable handwriting. Zao Wou-ki has found another level of western painting and entered the “poetical” free world.

趙無極《4.4.85》，1985 油彩 畫布 97 x 195 cm，羅芙奧2007春季拍賣會， Lot 068 ，台幣1億1820萬元成交 ZAO Wou-ki, 4.4.85, 1985, oil on canvas, 97x195 cm, Ravenel Spring Auction 2007, lot 068, US$3,579,107 sold

Alain Jouffroy, a French poet and art critic,

The magnificent mountains and gorgeous rivers

In 1960, he participated in the Venice Biennale,

made a comment in the “Art” magazine,

are waiting for him. Since 1958, Zao Wou-ki’s

and in 1964, he held the first retrospective solo

“Zao Wou-ki's work shows clearly how the

paintings no longer have the title, and only the

exhibition. With the help of Galerie de France

Chinese vision of universe, where blurredness

date of completion was noted on the back of the

in Paris and Kootz Gallery in the United States,

and faraway backgrounds mirror, rather than

painting canvas.

the annual exhibition of Zao Wou-ki was held

the scenery gazed at, a contemplative mind,

continuously in Europe and the United States.

Freedom of the creative practice

His exhibition had high visibility and widely

Michaux also resort to it.” The world outlook

Zao Wou-ki found love again in Hong Kong

paintings is also getting bigger and bigger with

of Chinese people and the philosophy of Taoist

and his second beautiful wife, May, was a

his self-confidence.

thinking based on Lao Zi and Zhuang Zi have

film star. When they came back to Paris, they

hidden in Zao Wou-ki’s delicate mentality, and

moved into a new house and a large studio,

The rich creativity of Zao Wou-ki made him

penetrated into his paintings. The symbols and

where had especially been the haven for

reach another high peak in 1960s. Zao Wou-

lines under Zao Wou-ki’s brush have presented

isolating his soul from the outside. At that

ki said in an interview, “Most people are

pleasant and liberated feelings. Inspired by

time, he was moving toward the new prime

subject only to one kind of tradition, but I

the picturesque Chinese inscriptions on oracle

of his artistic achievement. For the period

subordinated to both traditions.” It shows that

bone and ancient bronze objects, Zao Wou-

spanning 1960 to 1970, Zao channeled all his

he is influenced by dual relationship of Chinese

ki had reveled in the culture of his motherland

energy towards painting. As written in his

traditional culture and western art. He spoke

for a period. However, besides the serious

autobiography, he took on these 10 years like a

of the influence on him by Paris more than

emotional hurt, the impact of Klee brought no

speeding Porsche. He was racing against time

once. Paris makes him become a true artist,

small burden on him later on, and he almost

to present his newfound thoughts. Driven by

and with the mature of thinking, he gradually

banished himself at a time. Afterward, he

love, he worked fervently. Looking back, he

rediscovered China. In turn, China was

simply abandoned all symbols and image.

felt a sense of gratification and achievement,

reflected in his paintings. However, this has to

“Every cloud has a silver lining.” After twists

having advanced his works into the matured

be attributed to Paris. If he had not studied in

and turns, he started to search for broad space.

stage.

Europe, not in Paris, a city with comprehensive

has become a universal modern one. Men as different as Paul Klee, Mark Tobey or Henri

128

welcomed by most people. The size of his

to comment the classical style of Zao Wou-ki

large red background in “1.12.68” with dark

of Chinese and the western arts. “(He) has

From the subject of the works “1.12.68”

the space of the picture, forming a balance of

combined the affection of France with the

(13.2.77), this is a painting completed on

contrast with the vibration and producing a large

space perception of the Far East.”

December 1, 1968, and added some strokes on

momentum and tension. Jacques Lassaigne, the

February 13, 1977. Putting two dates can be

former curator of Musée d'Art moderne de la

seen occasionally in Zao Wou-ki’s works. 1968

Ville Paris, wrote the following paragraph in

But in the 1960s, his works had intensified

is the prime for the artist, vigorous and cheerful

April 1969, pointing out the depression at the

brushwork and the sense of movement, and his

with creativity. Especially, when this painting

heart of Zao Wou-ki at that time, “Je ne crois

heart was filled with complicated emotional

was selected for grand retrospective exhibition

pas que la part de l’exotisme, qui a joué un

entanglement, due to his wife who suffered

at Palais des Beaux-Arts, Charleroi in Belgium,

rôle dans l’apparition des premières oeuvres

from depression. Many art critics believe that

it is beyond description that the artist or the

de Zao Wou-ki avec leurs légers graphismes

the death of his wife, May, in 1972, had become

represented Galerie Fra, as well as the works, is

illustratifs, peut-être plus inspirés par Klee

the demarcation of Zao Wou-ki’s paintings. He

strong and significant.

que par l’Orient, soit à considérer dans les

humanism and culture, he would have not showed his art features as today. Undoubtedly, his paintings have blended with the essence

(Japanese art

historian Shuji Takashina stated.)

ochreous brushwork tossing and entangling, a golden and white brilliancy mildly infiltrated in

oeuvres d’aujourd’hui. Les signes, les symbols

picked up the driving force from ink painting later on. It can be said that Zao Wou-ki’s oil

However, 1968 was also the year that the grief

ont disparu, fondues dans l’allusion et dans

paintings turned to gorgeous color after 1970s,

and indignation filled up Zao Wou-ki. The first

évocations autrement mystérieuses. Ces grands

focusing on the light sense in the painting.

sentence in his autobiography jointly written

espaces sombres où passent des ondes colorées,

After 1980s, Zao Wou-ki’s painting entered

by his third wife, Françoise, in French in 1988

transpercés de clartés indistinctes ce pourrait

a state of elegant, without precipitance or

mentioned his father, “Mon père est mort en

etre des marécages, des eaux mortes agitées

infuriation. He hoped the picture more concise

1968, en pleine Révolution culturelle.” Zao

d’une vie secrète, ou des vapeurs envahissantes,

with more space. His recent works are often

Wou-ki has been recognized in the foreign land

des nuages au travers desquels sugissent les

seen with intangible exploration. He has more

for many years since before 1968, but he could

arêtes d’une terre lointaine.”

than once expressed his admiration to Henri

not be able to return hometown to visit his

Zao Wou-ki, exhibition catalogue, Musée d’Art Contemporain,

Matisse by his paintings for the ingenious sense

parents smoothly, because of major historical

Musée du Québec, 1969)

of color and space.

turning in China since 1949. His father was

most inner secrets of the artist. It is only through

(Jacques Lassaigne,

Painting can express the

a banker in Shanghai. He was treated as the

the creation that the soul of the artist can be

Taiwanese art historian, Hsiao Chiung-Jui

rightist during the Cultural Revolution and

calmed. Jacques Lassaigne continued writing

summarized Zao Wou-ki's painting creations

died of abuse and humiliation. Zao Wou-ki

at the end of the article, “Les couleurs de Zao

u s i n g 5 m a j o r c h a r a c t e r i s t i c s , n a m e l y,

didn’t get the visa until 1972, and he returned

Wou-ki, si nuances, si subtiles, sont animées

"powerful sense of living", "rich colors",

to the hometown he left 24 years ago. The deep

d’incessantes vibrations. C’est sa vie, c’est un

"diverse textures", "strong lyrical sense" and "a

regret for his father was lasted to 1985 and was

rêve. Un paysage toujour recommencé et qui fuit

spatial sense alternating between virtuosity and

slightly relieved, when Zao Wou-ki came back

en avant.”

reality". He felt that "Zao had placed before

to his alma mater to give lecture in Hangzhou.

us the age-old Chinese ideals of humanity in a

Painting for all his life, he felt that he finally

Hsiao Chiung-jui, a Taiwan art critic, had

real and objective form by repackaging them in

had found a “shortcut” to repay the favor to his

also commented Zao Wou-ki’s painting with

a modern manner, turning them into a precious

father. He had never been troubled by his father

emotional analysis. He thought that Zao Wou-

and noble inheritance for 20th century human

since childhood for his interests in the art, and

ki’s works recorded the ups and downs of life,

spirituality. During China's times of ills and

on the contrary, his father always encouraged

as well as various emotional changes in the

pains, Zao Wou-ki went far away from her, but

him and sponsored him with plenty of money at

life. He pointed out that Zao Wou-ki’s works in

at the same time, in a civilized and beautiful

home, when he went to Paris for development.

1960s were unique in “fiber like lines”, which

manner, he enabled the Chinese to restore

formed one of the characteristics at that stage.

their pride, regain their confidence and further

Perhaps, it was because of the grief for the loss

Although faced with the spirit of boredom, inner

instilled in them a determination to catch up

of his beloved father and the torture by the

fear and disputes sometimes, most of Zao Wou-

with others."

(refer Hsiao Chiung-Jui, ‘a perfect blend of

serious illness of his wife, a fierce uncontrollable

ki’s works are probably filled with harmony,

East – West cultures’, Masters of Chinese Painting: Zao Wou-

emotion could be seen in his works of “1.12.68”,

freedom and the spirit for promotion. “Brown

ki, Jin-Hsiu Publications, 1992, p. 36)

just as it appeared in his other works of this

and yellow tones dominate in Zao's work from

period with same ponderous momentum. The

the 60s, colors emanating a bronze-golden glow

Take “1.12.68” (13.2.77) as example

that are applied across the canvas with vigorous

Rembrandt; it also looks like being erupted

abandon to form lines and shapes of both refined

from the extreme natural cataclysm, thunders,

subtlety and keen intensity— filamentary and

rain, and tidal waves; his colors often bring out

just a touch frantic in quality. These lines are

gorgeous and magical "scenes"-the colors that

assembled in a free fashion without any concern

the Chinese has failed to hand down in the 14th

for motif or preconceived notions. Zao shakes

century (the Yuan Dynasty) are the quality that

off all formal restraints and follows his inner

he intends to recover.

vision, thereby revealing a profound and rich imagination that fills his compositions with

The magnificent and brilliant performance,

primal energy and creates a world where the

as well as the mysterious and splendid colors

most dazzling beauty bursts from a wasteland.”

and fantasy space expressed in the works of

(Masters of Chinese Painting: Zao Wou-ki, Chin Hsiu

“1.12.68”, makes this painting as one of the

Publications, Taipei, 1992, p. 18) As

he has rich personal

masterpieces created by Zao Wou-ki in 1960s,

feelings and delicate perception, Zao Wou-ki’s

considering the comments by many Chinese

creative theme is from the sentiment of life and

and foreign art critics who had reviewed the

the natural revelation of mind instability. He also

characteristics of the painting style. This

said that his paintings were just like his diary

painting had once been supported by Galerie

and his life.

de France and sent to Palais des Beaux-Arts, Charleroi in Belgium for exhibition. Later, it

From the layout of painting, Zao Wou-ki

was purchased by Aix Gallery in Stockholm

adopted vertical scroll as Chinese landscape

as a collection. Zao Wou-ki’s artistic influence

painting for his works of “1.12.68”, rather than

is already beyond the borders in fact. The art

the banner as often adopted in west for natural

institutions and collectors, who are fond of

scenery. The vertical structure composes a lofty

collecting his works, are around the world. Zao

and far-reaching realm, which is Chinese world

Wou-ki got the Japan Royal Award, “Praemium

outlook and space concept. However, having

Imperial Award of Painting from Emperor

been living in Paris for long period, Zao Wouki has been also impacted by western heritage aesthetic thinking. He ingeniously put unique light of the west into his creation.

The Taiwanese art critic Tu Juo-chou suggests that the "Chinese space" and the "Western light" are two of the significant artistic achievements of Zao Wou-ki. Zao not only combines the essences of the two great cultures but also revealed their commonness or constancies.

He pointed out in the article, The Origin of Zao Wou-ki's Painting, that "When he (Zao) looked at The Virgin And Child Enthroned And

趙無極《5.12.1969》 羅芙奧2006秋季拍賣會，編號060 9093萬台幣成交 ZAO Wou-ki, 5.12.1969 1969, oil on canvas, 194 x 96 cm Ravenel Autumn Auction 2006, lot 060 US$ 2,813,428 sold

the unique space in the picture. He regarded it as a 'wonderful constitution’ and we can tell that the general understanding of paintings and of the Chinese tradition are very crucial for him."

Zao has once stated, "If there are undeniable Chinese influences in my artistic cultivation, I have to explain that my true personality has also

Surrounded By Angels by Cimabue (the first

come closer to maturity since my re-discovery

master of the 14th century Italian Florentine

of China."

(Reference: Yuan, De-Xing, (ed). Zao Wou-ki,

school) in Musée du Louvre, except praising

Yuanchen Publication Ltd., Taipei, 1980, p. 13)

and claiming it as 'the most beautiful painting in Musée du Louvre' he also pointed out that the brushwork of clouds and fog in Chinese landscape paintings is exactly like the angels" halos in this picture. And that is the key to create

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Tu thinks that, except the "space" there are the "light" and relative "colors" in Zao Wou-ki's works. His light is with very high brightness and is mysterious, like that of the Dutch painter

Akihito and Empress Michiko”(1994), and the highest honor for a member of Académie des Beaux Arts (2002) many years ago. In the developing history of abstract art in China, Zao Wou-ki has already been honored as a pioneer, playing an important role in this field. Perhaps in the course of artistic career, Zao Wou-ki could be considered lucky, but at the same time, in the course of his life, he has experienced numerous misfortunes. He has sturdily overcome a lot of difficulties and emotional turmoil. He has expressed all the heartfelt emotions and touches in his paintings. After experienced the vicissitudes of life, the artist is gradually getting unperturbed and moving toward “primordial serenity“, which is the ideological core spirit of Lao Zi and Zhuang Zi in China, and entering a far-reaching painting world, roaming with freedom and leisure.

064

WANG Huaiqing (b. 1944)

Lute Table 2003 Oil on canvas 165 x 200 cm Signed lower right Wang Huaiqing in Chinese EXHIBITED: Art of Wang Huaiqing, Shanghai Art Museum, Shanghai, Dec 4-12, 2007 Traces of Nature, Wang Huaiqing, Guangdong Art Museum, Guangzhou, Jan 30-Feb 24, 2008 ILLUSTRATED: Wang Huaiqing, Wang Huaiqing published, Beijing, 2004, color illustrated, p.127 Art of Wang Huaiqing, Lin & Keng Gallery, Taipei, 2007, color illustrated, p. 121 Traces of Nature, Wang Huaiqing, catalogue of Shanghai Art Museum, Lin & Keng Gallery, Taipei, 2007, color illustrated, pp.120-121

NT$ 28,000,000-36,000,000 US$ 965,500-1,241,400 HK$ 7,179,500-9,230,800

王懷慶 琴桌 2003 油彩 畫布 165 x 200 cm 簽名右下：王懷慶 展覽： 「王懷慶藝術展」，上海美術館，上海，展 期自2007年12月4日至12月12日 「天工開物：王懷慶藝術展」，廣東美術 館，廣州，展期自2008年1月30日至2月24日

132

圖錄： 《王懷慶》，王懷慶出版，北京，2004，彩 色圖版，頁127 《王懷慶藝術展》，大未來畫廊，台北 2007，彩色圖版，頁121 《天工開物︰王懷慶》，上海美術館展覽目 錄，大未來畫廊，台北，2007，彩色圖版， 頁120-121

現今中國當代藝術家群裡，王懷慶古雅醇厚 畫風可謂獨樹一格，他承繼中國文化的古典 美學觀，又時刻反省自己身處的時空背景與 藝術環境，不斷創新的形式再造經典的價 值。三十多年來，以不願隨波逐流的堅持， 加上與生俱來的纖細敏感，他執意追求華夏 民族繁華褪去後的真淳，重現歷史的芳蹤。 他從江南民居、中國建築中他發現藝術結構 之美，橫樑、立柱的木質色澤，在素樸的白 牆對襯托下，日影下的建築空間的陰暗對 比，成就了一幅黑白的抽象畫構成，那是描 寫紹興老屋的作品《故園》（上海美術館收 藏）。而一張看似平凡無奇的明式舊椅，透 過王懷慶的眼與手，在粗重的黑色結構下， 傳達出屬於東方的情調，捕捉文明的美學遺 址，是作品《大明風度》，此畫獲得1991年 中國油畫年展金獎的高度榮譽。兩幅畫標誌 出王懷慶在主題選擇的開端與轉折。

其中。畢業自中央工藝美術學院裝潢繪畫系 與美術研究所，他擅長畫面的置陳佈勢，予 人一種劇場式的聯想，如同人物離場後的舞 台空間。曾有的粉墨登場，曾有過的輝煌故 事，只能留給觀眾去回想。他曾說道：「特 別想畫一幅畫來把這種有生命的東西和這種 物件，沒有生命的東西，給它的主角和它的 次角做一個倒置，有時候覺得人的生命不管 多輝煌，多奢靡，全都是比較脆弱的，有時 候還不如一個傢俱更永恆，更長久，物很 近，人很遠，就這種物是人非的一種情緒 吧。」 王懷慶的老師吳冠中認為，大自然中充滿抽 象之美，教導人們無須畏懼抽象，在中國人 所建造的文化裡更是如此。吳冠中發現江南 水鄉粉牆黛瓦之美，鍾情於江南特有的黑白 語彙，從大塊的黑色裡發展出純抽象形式。 黑與白，乃是中國水墨傳承裡最重要的色 彩，是老祖先流傳的情趣。黑色，更是超乎 顏色的層次，召喚出中國傳統藝術裡的內在 聯繫。吳冠中從黑白引渡到抽象的構成，啟 發了王懷慶也選擇黑與白的虛實對應。他刻 意將所有的傢俱黑色化，改變其生活器物的 本色，轉化成為藝術的形式，也顯示畫家對 文化淵源的追溯與連結。

風度的謎底〉一文）

王懷慶在〈大明風度的謎底〉一文裡，總 結出自己的三大創作語彙，其一是上述的 「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」。他 幽默地形容這三個語彙如魔術謎底，不應說 穿。然而它們能讓觀者更容易領略藝術家的 心機。以2003年王懷慶的大幅油畫《琴桌》 為例，或可說明藝術家所採用的三種轉換的 特點。一張極度簡化的、拉長變形的琴桌， 木質的顏色概約成黑色，轉換成如「門」字 形的黑色線條及黑色色塊。大面積的背景留 白，讓琴桌漂浮在虛無飄渺的空間裡，空間 中不見透視，原本的立體結構在此轉化為平 面的構成。

無論是建築抑或是傢俱，雖然選擇了這些 沒有生命的物件，但其實藝術家自我深度 的思考隱身其中，文化的痕跡與氣味也存在

近年來，王懷慶偏愛在畫布上添加拼貼，豐 富原有的空間表現，有時是老窗花、有時是 散裂的傢俱元件。而在《琴桌》的大片留白

從建築的探索，到傢俱的拆解，王懷慶在其 中發現了中國人的高度智慧與美學傳承。其 實，儘管他所關注的對象轉變，但本質其實 相同，在藝術家的眼中，它們造型與結構都 相同。王懷慶曾說：「我之所以當時從『民 居』轉入『傢俱』的描寫，是因為在我眼 裏—『都一樣』。傢俱就是能夠移動的建 築，無論從造型還是從結構，沒有任何區 別。對於一種思想與情感的載體而言，人與 山與地與天與建築與傢俱與河與雲與月與花 與房與風……都是同等的，只是看你對哪一 種載體情有獨鐘而已。」 （摘錄自王懷慶〈大明

064

空間，畫家向來擅長處理的肌理效果，灰白 的牆，斑駁的，皴染的，留有歷史的古老妝 痕。左上方拼貼有棕色布塊，形成古樸、和 諧的質感，可見他的烘托巧思，使畫面的層 次更有變化，即使簡化了顏色，簡化了物件 造型，卻一點也不覺單調。

value. For more than 30 years, his persistence in refusing to follow the trend, together with his innate delicate sensation, has made him deliberately pursuit of the truth and honest after eliminating flourishing Chinese nation, and reproduce the prosperous history.

修長古雅的琴桌，以遒勁簡約的黑色結構 表現，橫的黑，顯得剛毅敦厚，豎的黑， 則顯得溫婉娟秀。黑色的構成中傳統書法的 筆勢，也可見西方抽象的符號形式，經過畫 家的細心鋪陳轉化，形成中西合璧的繪畫結 晶。琴桌兀自地漂浮在畫面中，少了弦琴作 伴，也無主人的彈奏，它彷彿失去了附著， 失去了歸屬，形成某種的斷裂關係。而藝術 家所欲揭露的是歷史與文化之間的斷裂，如 同今日我們所面對的環境變遷。

He discovered the beauty of art structure from the residential houses in the South of Yangtze River, which is the peculiar architecture in China. The wooden color of the beam and pillars that reflected by the plain white wall and the dark shadow under the architectural space have formed a black-and-white abstract drawing. This is the depiction of “Hometown” (collection of Shanghai Art Museum) regarding to Shaoxing old houses. And a seemingly ordinary old-style chair conveys the atmosphere of the Orient, through the eyes and hands of Wang Huaiqing, who captured the aesthetic civilization with heavy black structure. This is the work, “The Great Ming Manner”, which was highly rewarded and got gold medal of First Annual Exhibition of Chinese Oil Painting in 1991. These two paintings of Wang Huaiqing have marked his beginning and turning point in choice of the theme.

值得留意之處，王懷慶將琴桌形象概括成一 種平面化的圖案，不禁令人聯想起傳統京戲 中的舞台佈景。畫家在此精心安排下，追求 景物的平面化與裝飾性，黑白兩色的對比鮮 明，強調空間的二維性，使得優雅的琴桌在 極度平面化的佈局中，烘托地更加 突出，而 產生極佳的藝術效果。在中國的舞台藝術或 是民間剪紙藝術裡，平面化都是一種經典的 表現形式。無疑地，王懷慶深刻理解自己的 藝術追求，他透過作品裡反映出對人文的感 悟與關懷，對時代的思考與期待，同時藉此 向民族藝術的審美價值致敬，他表現新時 代的傳承精神，在當代藝術家中殊為難得可 貴。

2007年上海美術館「王懷慶藝術展」一景 The Art of Wang Huaiqing, exhibition view, Shanghai Art Museum, 2007

Among the Chinese contemporary artists, Wang Huaiqing is unique in painting style with classic elegance and frankness. He has inherited classical aesthetic concept of Chinese culture, at the same time, he often introspects the time and background, as well as art environment, he involved. His continuous innovation in the form of recycling classic has created worthwhile

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From exploration of the construction to dismantle of the furniture, Wang Huaiqing has discovered the great wisdom and aesthetic heritage of Chinese people. Though he has changed the object of concern, in fact, the essential of the concern is the same. In the artist’s view, they are same in respect of shape and structure. Wang Huaiqing once said, “The reason for I transferred from the description of ‘residential houses’ to ‘furniture’ is that in my eyes they are ‘all the same’. Furniture is the movable building, in terms of form and structure, there is no distinction. For an ideological and emotional carrier, it can be people, mountain, earth, heaven, construction, furniture, river, cloud, moon, flower, house, wind, etc. but everything is the same. It is up to you for selecting the carrier you affectionate.”

(Extracted from Answer to the Riddle of the Great Ming

Manner , written by Wang Huaiqing)

Though the lifeless object has been selected, whether it is construction or furniture, actually the selfhood thinking of the artist, as well as the cultural trace and aroma, has been deeply embedded in it. Graduated from the decorating and painting department of Central Academy

of Fine Arts and Crafts, and Arts and Crafts Institute, he is an expert in allocation and distribution, giving out a theatrical association with a stage space after people leave the arena.

The made up beauty and the brilliant story could only leave a memory for the audience to recall. He once said, “I particularly like to paint a picture with a living object and a lifeless object, but converting the protagonist with deuteragonist. Sometimes, I feel that the life whatever how brilliant and extravagant it is, it is relatively fragile. To some extent, it is not so eternal and long lasting as the furniture.

The material is very close, but people are very remote. This is what we called an emotional vicissitudes.”

Wu Guanzhong, the teacher of Wang Huaiqing, believes that the beauty of abstraction is abundantly existed in nature. He advisesd people not to fear of abstraction, especially the abstraction in the culture created by Chinese people. Wu Guanzhong has found the beauty of white wall and black tiles in the construction at the South of Yangtze River, and he is in favor of peculiar black-and-white expression at the South of Yangtze River, with pure abstract formation developed from massive black. Black and white colors are most important in the heritage of Chinese ink painting, and they reveal the sentimental feeling of the ancestors. Black is beyond the scope of colors and indicates the intrinsic links in Chinese traditional art. Wu Guanzhong extradited the black-and-white to form abstraction, inspiring Wang Huaiqing to choose the counterparts of black and white.

He deliberately blackened all the furniture and changed the nature of living utensils into a form of art, showing the retrospection and linkage of the cultural origins pursued by the artist.

Wang Huaiqing has summed up three creative statements in his article, Answer to the Riddle of the Great Ming Manner. The first one has already been mentioned above, which is to “blacken all the furniture appeared in the picture”. The second one is to “put the furniture in an empty background, and changed the traditional inevitable position – ‘ground’, which is the normal location for all furniture in the world”. The third is to “make threedimensional scene into plain”. He humorously described these three statements as the magic words, which should not be disclosed. However, they could make the audience to understand

王懷慶《金石為開》，羅芙奧2007年秋季拍賣會，編號069，8796萬台幣成交 WANG Huaiqing, Gold Stone, oil on canvas, 200 x 480 cm, Ravenel Autumn Auction 2007, lot 069, US$ 2,726,174 sold

the intention of the artist more easily. The large scale oil painting, “Lute Table”, created

by Wang Huaiqing in 2003, could be taken as a good example to illustrate three conversion features adopted by the artist. An extremely simplified elongated and distorted “Lute Table”, the color of the wood has been turned to black, and the structure has been converted into a “gate” shaped in black lines and blocks. Large area of background left blank, making the “Lute Table” float in the airy space. There is no perspective in space and the original threedimensional structure has been transformed into a planar configuration.

In recent years, Wang Huaiqing has preferred to add collage on the canvas to enrich presentation of the original space. Sometimes, the old window tracery, and other times, the dilapidated furniture pieces were adopted. The large area of blank space in “Lute Table” has been treated with effective texture by the painter, who is good at this treatment. The gray wall, which mottled and crimpled, has left traces of makeup in ancient history. The upper left was added with brown cloth collage, showing simple and harmonious texture. It reflects his heightened ingenuity to make the picture with more changeable layers. Even if the colors and the models of the object are simplified, it is not monotonous at all.

beautiful. In the composition of black, the handwriting of traditional calligraphy has visualized symbols of western abstraction.

After careful presentation of the transformation by the artist, a crystallization of Chinese and Western painting has been formed. “Lute Table” is lonely floating in the picture, without strings to accompany, nor master to play.

It seemed to have lost its attachment and attribution, constituting a certain relationship of fracture. The artist intended to expose the fracture between history and culture, just as today the environmental change we are facing.

It is worth noticing that Wang Huaiqing has summarized the lute table into a planar image, which recalls people’s memory of the stage setting for traditional Peking opera. Under this meticulous arrangement, the artist pursues the

features of the plane and ornamental, as well as the distinctive contrast between black and white. The two-dimensional space was focused, making elegant “Lute Table” heightened and prominent in extreme planar layout, and producing an excellent artistic effect. For the stage art and folk paper-cut art in China, the complanation is the classic expression.

Undoubtedly, Wang Huaiqing has profoundly realized his artistic pursuit. Through his works, he has expressed his sentiment and concern for humanity, his consideration and expectation for the epoch. At the same time, he has hailed the aesthetic value of folk art and demonstrated the heritage spirit of the new era, which is rare among the contemporary artists.

The slender quaint lute table is expressed with a vigorous and simple black structure. The horizontal black shows rigidity and significant, and the vertical black appears elegant and

《琴桌》草圖 A sketch for the "Lute Table"

王懷慶—古玉系列 Wang Huaiqing-Antique Jade Series 在二十歲年代遭遇過文化大革命的王懷慶， 因深刻認知中國歷史文物被摧殘的嚴重性， 和許多在當時選擇到海外發展，或是追求新 生涯的藝術家及文人不同的是，王懷慶卻決 定從美國返回中國，即使他的步伐追得上當 代國際間的藝術情勢，仍然選擇了以 跟華人切身的文化精髓及表達形式來 滙入藝術潮流中。他的繪畫成就除了 為個人開創新風格之外，從某些層面 來看，亦協調了新舊之間的不平衡， 銜接歷史與期待中的未來華人藝術。

玉系列（二）》延續了這般的不安，透過王 懷慶精煉的手法化為一縷優雅清新，凝視古 玉瓦解後緩緩落下的畫面，清脆的碎裂聲亦 充斥在觀者腦海，換個角度去觀賞，這些古 玉碎片如同剛被後人挖掘出來，一片片仍鑲

王懷慶創作的主題屬於舊中國， 透過現代或後現代思維，彙集東 西方的優勢，打造出其創作獨立 深遠的特質。西方人不容易體會 的文化落寞，在王懷慶的巧奪天 工之下，也變得賞心悅目及「引 人入勝」，而在這文化下成長的 人們，也從這開始懂得珍惜自我 的過往。

王懷慶藝術的傳神之處，不在於他如 何忠實的描繪中國古文物，而是將中 國人在對生活及美學的細節比例抓出 來，釋放在平面空間上，90年代開啟 了一系列大器的中國建築相關作品， 原本中國武斷的樣式及空間設計，經 過王懷慶以抽象手法加以調整使之柔 和，反而變得更為純粹及明快，去除 了幾世紀來的帝國面貌，多了質樸的 尊嚴及雅致，讓發展兩千多年的美學 概念在時間的推移之下仍發散光芒， 代表著美術本身存在的意志。 除了中國房舍的嚴謹秩序吸引王懷慶 的目光，90年代後明式傢俱成為其創 作的主體，無過分裝飾的傳統桌、椅 以及日常用具。傳遞了根本及切實生 活起居的智慧，拆解後的幾何元素對 應著西方抽象鉅作。「有時這些造型 元件呈現出桌椅的結構彷彿正在崩解 之中，然卻尚未徹底解體的意象；但 在許多時候，這些傢俱的結構元件早 已離散，不但零零落落，甚至難以辨 識，彷彿經過大火或爆炸之後的毀 滅，難掩一股敗亡殘破的廢墟感。」 （ 王嘉驥〈斷裂與重構─略論王懷慶的藝術形式 與其文化意味〉，《王懷慶畫展》，國立歷史博物館，台 北，2008年2月，頁11）

而1999年完成的《古玉系列（一）》及《古

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彩找到情感的歸宿，或說他個人眷顧的民間 藝術如漢磚、陶瓷到這些玉器，連接西方近 代寫實、表現、裝飾、平面或抽象等廣闊興 趣，彌補了當時美術學院嚴謹卻嫌不夠豐厚 的繪畫訓練，而古玉在此如同化石般的形象 精神，讓整個構圖的張力在捉摸 不住的時間之流擴展許多，實為 一大器之作。

嵌在某區塊的土地或是牆垣中，此二件作品 奇特之處，在於鮮明的用色，在一向以黑、 白、金為主色調的繪畫生涯中，藝術家表現 出他其實可以駕馭更多色澤，只要當他為色

Wang Huaiqing experienced the Cultural Revolution during his 20s and had come to a realization of the seriousness of destroying Chinese antiques. Instead of developing his career abroad, or pursuing a brand new career just like other artists and literati, Wang decided to leave USA and return to China. Even though he was capable of being part of the international contemporary art trend, he chose to involve himself in mainstream art by adopting the true essence of Chinese culture and form of expression that are closely associated with the Chinese speaking world. His artistic achievement has not only helped to establish a new style, but has bridged the gap between the old and new, further connecting history and building a future in the Chinese-speaking art world.

Wang Huaiqing’s artistic significance lies in his realistic portrayal of ancient Chinese antiques, and emphasizes, in detailed ratio, Chinese daily lives and aesthetics on graphic art. In the 90s, he started a series of works on grand Chinese architecture. Through Wang’s abstract approach and soft tones, Chinese architecture’s dogmatic style and space are given a new simple and straightforward meaning. He eliminated centuries of imperialistic tradition and brought back earthy dignity and elegance. The aesthetic concept of two thousand years transformed through times and still attracts the center of our attention. As such, art is determined to show its existence.

What attracted Wang Huaiqing the most was how the Chinese home followed a conscientious and careful pattern. During the late 90s, Ming style furniture became the theme of his creativity. The simple and never overly decorated traditional tables, chairs and tools show the perception of ultimate and practicability of daily lives. Through his analytical approach, these geometrical elements corresponded well to Western abstract masterpieces. “These components often depict the process of how the structure of table and chair are broken up, but never completely shatter the basic form; but most of time, Ming furniture is already fragmented into unidentifiable pieces. It seemed like they have just been through a catastrophic fire or an explosion, and broken into tragic pieces, further giving us a distressing feeling when facing ruins.” (Chia Chi Jason Wong, ‘Fracture & ReconstructionAbout the Artistic Forms and Cultural Contents of Wang Huaiqing's’, An Exhibition of Wang Huai Qing's Paintings, National Museum of History, Taipei, February 2008, p. 11)

In order to maintain a similar sensation of insecurity, Wang Huaiqing completed “Antique

Jade Series 1” and “Antique Jade Series 2” in 1999. Through Wang Huaiqing’s skillful techniques, a fresh and graceful approach was provided. We stared at the scene of how antique jade gradually falls, the crispy sound of smashing imprinted on our memory. By enjoying this from another viewpoint, these antique jades seemed to have been dug out by descendants not so long ago. All pieces were still somewhere on the ground or in the wall.

The artistic significance of two art works was the use of bright colors. Wang Huaiqing used black, white and gold as his palette throughout his art career, whereas this time, he proved his ability of pushing art to an extreme.

Wa n g H u a i q i n g w o u l d u s e m o r e c o l o r s whenever he gets a new definition for emotion.

He has a strong personal bond with folk art, such as Han Dynasty bricks, ceramics and jade ornaments, which he combined with his interests in Western contemporary realism,

expression, décor, graphic or abstract forms.

This would help to reestablish his strict academic background with a more formal training in drawing. On the other hand, antique jade shares a similar form of spirit with fossil and further strengthens the composition through such unpredictable time span. This is certainly a masterpiece of all time.

Wang Huaiqing’s creative theme is associated with the old China. Through modern or postmodern notions, as well as the ascendancy of combining West and East, he possesses a unique creative quality. It always seems uneasy for Westerners to understand the desolation of our culture. Through Wang Huaiqing’s unprecedented artistic creation, it becomes widely appreciated and “fascinating”. Since we are educated by this culture, we should now start to treasure our very own past.

065

WANG Huaiqing (b. 1944)

Antique Jade Series 2 1999 Mixed media on paper 89 x 58 cm Signed lower left Wang Huaiqing in Chinese and dated 1999

NT$ 6,000,000-8,000,000 US$ 206,900-275,900 HK$ 1,538,500-2,051,300

王懷慶 古玉系列 (二) 1999 綜合媒材 紙本 89 x 58 cm 簽名左下：王懷慶 1999年

王懷慶藝術的傳神之處，不在於他如何忠實 的描繪中國古文物，而是將中國人在對生活 及美學的細節比例抓出來，釋放在平面空間 上，90年代開啟了一系列大器的中國建築相 關作品，原本中國武斷的樣式及空間設計， 經過王懷慶以抽象手法加以調整使之柔和， 反而變得更為純粹及明快，去除了幾世紀來 的帝國面貌，多了質樸的尊嚴及雅致，讓發 展兩千多年的美學概念在時間的推移之下仍 發散光芒，代表著美術本身存在的意志。 王懷慶創作的主題屬於舊中國，透過現代或後 現代思維，彙集東西方的優勢，打造出其創作 獨立深遠的特質。西方人不容易體會的文化落 寞，在王懷慶的巧奪天工之下，也變得賞心悅 目及「引人入勝」，而在這文化下成長的人 們，也從這開始懂得珍惜自我的過往。

Wang Huaiqing’s artistic significance lies in his realistic portrayal of ancient Chinese antiques, and emphasizes, in detailed ratio, Chinese daily lives and aesthetics on graphic art. In

138

the 90s, he started a series of works on grand Chinese architecture. Through Wang’s abstract approach and soft tones, Chinese architecture’s dogmatic style and space are given a new simple and straightforward meaning. He eliminated centuries of imperialistic tradition and brought back earthy dignity and elegance. The aesthetic concept of two thousand years transformed through times and still attracts the center of our attention. As such, art is determined to show its existence.

Wang Huaiqing’s creative theme is associated with the old China. Through modern or postmodern notions, as well as the ascendancy of combining West and East, he possesses a unique creative quality. It always seems uneasy for Westerners to understand the desolation of our culture. Through Wang Huaiqing’s unprecedented artistic creation, it becomes widely appreciated and “fascinating”. Since we are educated by this culture, we should now start to treasure our very own past.

066

WANG Huaiqing (b. 1944)

Antique Jade Series 1 1999 Mixed media on paper 58 x 89 cm Signed lower left Wang Huaiqing in Chinese and dated 1999

NT$ 6,000,000-8,000,000 US$ 206,900-275,900 HK$ 1,538,500-2,051,300

除了中國房舍的嚴謹秩序吸引王懷慶的目 光，90年代後明式傢俱成為其創作的主體， 無過分裝飾的傳統桌、椅以及日常用具。傳 遞了根本及切實生活起居的智慧，拆解後的 幾何元素對應著西方抽象鉅作。「有時這 些造型元件呈現出桌椅的結構彷彿正在崩解 之中，然卻尚未徹底解體的意象；但在許多 時候，這些傢俱的結構元件早已離散，不但 零零落落，甚至難以辨識，彷彿經過大火或 爆炸之後的毀滅，難掩一股敗亡殘破的廢墟 感。」（ 王嘉驥〈斷裂與重構─略論王懷慶的藝術形式 與其文化意味〉，《王懷慶畫展》，國立歷史博物館，台 北，2008年2月，頁11）

王懷慶 古玉系列 (一) 1999 綜合媒材 紙本 58 x 89 cm 簽名左下：王懷慶 1999年

而1999年完成的《古玉系列（一）》及《古 玉系列（二）》延續了這般的不安，透過王 懷慶精煉的手法化為一縷優雅清新，凝視古 玉瓦解後緩緩落下的畫面，清脆的碎裂聲亦 充斥在觀者腦海，換個角度去觀賞，這些古 玉碎片如同剛被後人挖掘出來，一片片仍鑲 嵌在某區塊的土地或是牆垣中，此二件作品 奇特之處，在於鮮明的用色，在一向以黑、 白、金為主色調的繪畫生涯中，藝術家表現 出他其實可以駕馭更多色澤，只要當他為色 彩找到情感的歸宿，或說他個人眷顧的民間 藝術如漢磚、陶瓷到這些玉器，連接西方近 代寫實、表現、裝飾、平面或抽象等廣闊興 趣，彌補了當時美術學院嚴謹卻嫌不夠豐厚 的繪畫訓練，而古玉在此如同化石般的形象 精神，讓整個構圖的張力在捉摸不住的時間 之流擴展許多，實為一大器之作。

What attracted Wang Huaiqing the most was how the Chinese home followed a conscientious and careful pattern. During the late 90s, Ming style furniture became the

140

theme of his creativity. The simple and never overly decorated traditional tables, chairs and tools show the perception of ultimate and practicability of daily lives. Through his analytical approach, these geometrical elements corresponded well to Western abstract masterpieces. “These components often depict the process of how the structure of table and chair are broken up, but never completely shatter the basic form; but most of time, Ming furniture is already fragmented into unidentifiable pieces. It seemed like they have just been through a catastrophic fire or an explosion, and broken into tragic pieces, further giving us a distressing feeling when facing ruins.” (Chia Chi Jason Wong, ‘Fracture & ReconstructionAbout the Artistic Forms and Cultural Contents of Wang Huaiqing's’, An Exhibition of Wang Huai Qing's Paintings, National Museum of History, Taipei, February 2008, p. 11)

In order to maintain a similar sensation of insecurity, Wang Huaiqing completed “Antique Jade Series 1” and “Antique Jade Series 2” in 1999. Through Wang Huaiqing’s skillful techniques, a fresh and graceful approach was provided. We stared at the scene of how antique jade gradually falls, the crispy sound of smashing imprinted on our memory. By enjoying this from another viewpoint, these antique jades seemed to have been dug out by descendants not so long ago. All pieces were still somewhere on the ground or in the wall.

The artistic significance of two art works was the use of bright colors. Wang Huaiqing used black, white and gold as his palette throughout his art career, whereas this time, he proved his ability of pushing art to an extreme.

066

067

George CHANN (1913-1995)

Movements of the City c. 1980s Oil on canvas, collage 141 x 133 cm EXHIBITED: George Chann Solo Exhibition, Lin & Keng Gallery, Taipei, July 10-21, 2004 G e o rg e C h a n n , S h a n g h a i A r t M u s e u m , Shanghai, July 19-31, 2005

ILLUSTRATED: George Chann, Lin & Keng Gallery, Taipei, 2004, invitation card cover George Chann, Lin & Keng Gallery, Taipei, 2005, color illustrated, p. 133

NT$ 5,200,000-7,200,000 US$ 179,300-248,300 HK$ 1,333,300-1,846,200

陳蔭羆 城市的樂章 約1980 年代 油彩 畫布 拼貼 141 x 133 cm

展覽： 「陳蔭羆畫展」，大未來畫廊，台北，展期 自2004年7月10日至7月21日 「陳蔭羆畫展」，上海美術館，上海，展期 自2005年7月19日至7月31日 圖錄： 《陳蔭羆》，大未來畫廊，台北，2004，邀 請卡封面 《陳蔭羆》，大未來畫廊，台北，2005，彩 色圖版，頁133

華人中較早期的抽象畫家大多成熟於海外， 而定居於美國的陳蔭羆即為其中之一，其抽 象藝術生涯則在穩固的寫實風格後開展，抽 象藝術在當時，也就是50年代左右，無論在 歐洲或是美國，皆已有相當的歷史及其追隨 者，陳蔭羆在1947到1950年在中國的生活經 驗，則讓他的抽象步伐走的更具獨特面貌， 也將屬於中國文明元素，如甲骨文、書法、 碑帖等，用非拘泥的方式探討及演繹。 此幅1980年代的《城市的樂章》，其標題似 乎即在暗示我們，在一片亮黃色中透出的筆 觸，是符號與否，都是某種意義的載體，誠 如塞．湯布利透過畫筆激動地述說神話故 事，陳蔭羆用熱烈的情緒勾勒出腦海中感受 到的視覺韻律，其想望的城市過往、調性或 是一座舊城所承襲的人類文明，此種陳述性 質令此抽象畫作散發出關懷的意旨，也道出 藝術家對所從事的事物之初衷及其本身溫暖 性格。

142

Most of the early Chinese abstract painters have their skills developed over sea, George Chann who had settled in the United States is one of them, his abstract painting style were established after his realistic practices. During that time, the 50s, abstract art already had their history and developments in both United States and Europe; however, Chann’s living experiences in China during 1947 to 1950 has added extra unique characters to his abstract paintings. In his paintings, he also discussed and presented Chinese cultural elements such as inscriptions on bones or tortoise shells, calligraphy and the book of stone rubbings by taking an undefined route.

“Movements of the City” was finished in 1980, as the title of this piece implies, those bright yellow brush strokes, no matter they are symbols or not, carry a meaning, a message. Just like Cy Twombly tells those great mythology stroke by stroke on the canvas, Chann painted those visual rhythms in his heart with passion, such as the longing for the city of the old days, or an ancient one which passed on human civilizations. This kind of narrative property has made his abstract paintings having a will of carrying, they also tell the original intention of the things which the artist wanted to do, as well as the mildness within his characteristics.

068

HONG Ling (b. 1955)

Four Seasons 2005 Oil on canvas 120 x 120 cm (x4) Signed lower right Hong Ling in Chinese, dated 2005 Signed on the reverse Hong Ling in Chinese, dated 2005 Signed upper left Hong Ling in Chinese, dated 06 Signed on the reverse Hong Ling in Chinese, dated 2005, size 120 x 120 cm, titled Autumn Signed on the reverse Hong Ling in Chinese, dated 2005, size 120 x 120 cm, titled Snowing in the Pines

NT$ 5,000,000-8,800,000 US$ 172,400-303,400 HK$ 1,282,100-2,256,400

洪凌 春夏秋冬 2005 油彩 畫布 120 x 120 cm (x4) 簽名右下：洪凌 2005 簽名畫背：《微雨梨花》 洪凌作于2005年 簽名左上：洪凌 06 簽名畫背：《秋斑》洪凌作于2005年 120 x120 cm 簽名畫背：《淡雪松居》洪凌作于2005年 120 x 120 cm

144

069

LIU Kuo-sung ( b. 1921)

Four Seasons Series No. 14 1999 Ink and color on paper 22 x 94 cm (a set of 4) Signed on the reverse Liu Kuo-sung and titled Four Seasons Series No. 14 in Chinese, dated 1999 and size 22 x 94 cm With two seals of the artist

NT$ 130,000-180,000 US$ 4,500-6,200 HK$ 33,300-46,200

146

劉國松 四季系列之十四 1999 彩墨 紙本 22 x 94 cm（四件一組） 簽名畫背：劉國松作 "四季系列之十四" 1999 22 x 94 cm 鈐印：劉．國松

070

CHUANG Che (b. 1934)

Abstract 1975 Acrylic on canvas 120 x 85 cm Signed lower left Chuang Che in Chinese and dated 1975

NT$ 700,000-800,000 US$ 24,100-27,600 HK$ 179,500-205,100

莊喆 抽象 1975 壓克力 畫布 120 x 85 cm 簽名左下：莊喆 1975

071

LIU Kuo-sung (b. 1921)

Four Seasons Series No. 15 1999 Ink and color on paper 22 x 94 cm (a set of 4) Signed on the reverse Liu Kuo-sung and title Four Seasons Series No.15 in Chinese, dated 1999 and size 22 x 94 cm With two seals of the artist

NT$ 130,000-180,000 US$ 4,500-6,200 HK$ 33,300-46,200

148

劉國松 四季系列之十五 1999 彩墨 紙本 22 x 94 cm（四件一組） 簽名畫背：劉國松作 "四季系列之十五" 1999 22 x 94 cm 簽名：劉國松 ㄧ九九九 鈐印：劉．國松

072

Walasse TING

(DING Xiongquan, b. 1929)

Woman with Large Bouquet 2000 Acrylic on paper 62 x 90 cm With one seal of the artist

NT$ 600,000-800,000 US$ 20,700-27,600 HK$ 153,800-205,100

丁雄泉 女子與花束 2000 壓克力 紙本 62 x 90 cm 鈐印左下：採花大盜

073

LIANG Yifen (b. 1937)

Black Beauty 1991 Oil on canvas 150 x 80 cm Signed lower left LIANG in Chinese and dated '91

NT$ 220,000-350,000 US$ 7,600-12,100 HK$ 56,400-89,700

梁奕焚 黑美人 1991 油彩 畫布 150 x 80 cm 簽名左下：LIANG '91

150

傅慶豊

074

Alixe FU

蝴蝶與人

(b. 1961)

1996 油彩 畫布 130 x 130 cm 簽名右下：Alixe Fu '96

Butterfly and the Person 1996 Oil on canvas 130 x 130 cm Signed lower right Alixe Fu in English, dated '96 EXHIBITED: Eye- Color, Alixe Fu Solo Exhibition 1998, Dimensions Art Center, Taipei, May 23- July 19, 1998

ILLUSTRATED: Alixe Fu- Eye. Color, Dimensions Art Center, Taipei, 1998, color illustrated, pp. 14-15

展覽： 「眼．色－1998年傅慶豊個展」，帝門藝 術中心，台北，展期自1998年5月23日至7 月19日

NT$ 550,000-650,000 US$ 19,000-22,400 HK$ 141,000-166,700

圖錄： 《傅慶豊－「眼．色」》，帝門藝術中心， 台北，1998，彩色圖版，頁14-15

075

HUANG Min-jun

(HUANG Ming-chun, b. 1971)

Light Spirit 2007 Oil on canvas 116.5 x 92 cm Signed lower right MING-CHUN in English, Fish in Chinese, dated '07 Signed on the reverse No. 28, Huang MingChun in Chinese

NT$ 180,000-240,000 US$ 6,200-8,300 HK$ 46,200-61,500

152

黃敏俊 光靈魂 2007 油彩 畫布 116.5 x 92 cm 簽名右下：MING-CHUN '07 魚 簽名畫背：28號 黃敏俊

076

TSONG Pu (b. 1947)

Small Tea Box; Imprints and Wasteland 1994 Oil on canvas 200 x 50 cm (x2) Signed on the reverse Small Tea Box; Imprints and Wasteland, left, Tsong Pu in Chinese, dated 1994 10 (left ) Signed on the reverse 1994 10, right, Small Tea Box, Imprints and Wasteland, Tsong Pu in Chinese

NT$ 350,000-600,000 US$ 12,100-20,700 HK$ 89,700-153,800

莊普 小茶盒．印記與荒原 1994 油彩 畫布 200 x 50 cm (x2) 簽名畫背：小茶盒 印記與荒原 左 1994 10－ 莊普 (左) 簽名畫背：1994 10 右 小茶盒．印記與荒原 －莊普 (右)

077

YANG Din

楊登雄 日戲

(b. 1958)

ILLUSTRATED: Yan Din, Dimensions Art Center, Taipei, 1995, color illustrated, pp. 20-21

1994 油彩 畫布 114 x 146 cm 簽名右下：Yang Din 簽名畫背：Yang Din Martinée 日戲 1994.9 146 x 114 cm

NT$ 450,000-550,000 US$ 15,500-19,000 HK$ 115,400-141,000

圖錄： 《樹植東方旅法華人楊登雄作品集》，帝門 藝術中心，台北，1995，彩色圖版，頁20-21

Martinée 1994 Oil on canvas 114 x 146 cm Signed lower right Yang Din in English Signed on the reverse Yang Din in English, titled Martinée in French and Chinese, dated 1994.9, size 146 x 114 cm

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078

Richard LIN

(LIN Show-yu, b. 1933)

Composition

PROVENANCE: Old collection of Peter Benchley, the artist gifted this painting to him in Christmas, 1958 (Peter Benchly, a journalist and writer, author of White Shark)

1958 NT$ 500,000-800,000 US$ 17,200-27,600 Oil on canvas HK$ 128,200-205,100 102 x 76 cm

林壽宇 結構 1958 油彩 畫布 102 x 76 cm 來源： 彼得．賽奇里舊藏，畫家於1958耶誕節贈與 此畫作 （註：彼得．賽奇里為《大白鯊》小說作者）

079

LIEN Chien-hsing (b. 1962)

連建興

Migrant Settling 1997 Oil on canvas 80 x 116 cm Signed lower left Lien Chien-hsing in Chinese, dated 1997 Signed on the reverse Lien Chien-hsing in Chinese, dated 1997, size 50P, titled Migrant Settling in Chinese

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候鳥入定

ILLUSTRATED: LIEN Chien-hsing, Metropolis Art Co., Ltd., Tainan, 1997, color illustrated, p. 11

1997 油彩 畫布 80 x 116 cm 簽名左下：連建興 1997 簽名畫背：1997 連建興 50P 候鳥入定

NT$ 400,000-700,000 US$ 13,800-24,100 HK$ 102,600-179,500

圖錄： 《連建興畫集》，大都會藝術有限公司，台 南，1997，彩色圖版，頁11

080

KUO Wei-guo (b. 1960)

Red Curtain 2002 Oil on canvas 130 x 97 cm Signed lower left Kuo's in English and dated 2002.10 This painting is to be sold with a certificate of authenticity issued by Lin & Keng Gallery, Taipei.

EXHIBITED: The Era of Contention: Contemporary Taiwanese Visual Culture, Cornell University Herbert F. Johnson Museum of Art (cooperated with Taipei Fine Arts Museum), Ithaca, New York, April – August, 2004

ILLUSTRATED: Diagram of Commotion and Desire – Towards a Bright Start From the Deep Forest, Kuo WeiKuo, Lin & Keng Gallery, Taipei, 2005, color illustrated, p. 45 Wu Chia-chi, A Study of the “Diagram of Commotion and Desire” by Kuo Wei-Kuo, (master thesis), Institute of Art Studies, NCKU, Tainan, Taiwan, 2007, color illustrated, no. 29

NT$ 550,000-850,000 US$ 19,000-29,300 HK$ 141,000-217,900

郭維國 紅色布簾 2002 油彩 畫布 130 x 97 cm 簽名左下：Kuo's 2002.10 附大未來畫廊開立之原作保證書 展覽： 「正言世代展：台灣當代視覺文化」（台北 市立美術館合作），康乃爾大學強生美術 館，紐約，展期2004年4月至8月 圖錄： 《暴喜圖：柳暗花明—郭維國》，大未來畫 廊，台北，2005，彩色圖版，頁45 吳家綺，《郭維國暴喜圖系列之研究》（碩 士論文），國立成功大學藝術研究所，台 南，台灣，2007，彩色圖版，編號29

081

YANG Ren-ming (b. 1962)

New Plants Grew in Black WaterProgressive Tense 4 1993 Oil on canvas 80 x 100 cm Titled on the reverse New Plants Grew in Black Water- Progressive Tense 4 in Chinese, dated 1993

NT$ 350,000-450,000 US$ 12,100-15,500 HK$ 89,700-115,400

楊仁明 從黑水長出來的新植物系列－進行式 (四) 1993 油彩 畫布 80 x 100 cm 簽名畫背：黑水系列－進行式 (四) 1993

楊仁明「從黑水長出來的新植物」系列，藉 由黑水隱喻外在環境與內在心理情境，畫面 中的黑水污濁、紛擾，不是隱晦不明，就是 強而有力的漩渦狀，構築出渾沌的大空間， 將符號擴充為具有個性的個體，頑強的肢 體、剛硬的線條，是藝術家回應世界所造之 像。一灘黑水所象徵的符號：鋸齒形和渦形 等，尖銳地一如往常，在畫面的重心，透過 類似工業器具般冷硬的符號，賦予有機的植 物形體意象。這樣的表現手法，的確使人如 陷迷霧中。讓觀者對於他及作品的想像，或 者是作品對於社會的投射，在此系列獲得最 大可能的開展、擴張，而這來自於畫面拒絕 接受單一抑或論斷式的詮釋語言。 在楊仁明早期作品《從黑水長出來的新植物 －進形式四》看出其將抽象意識鑄造出具象 符號，以漩渦狀滾燙翻動的「黑水」來回應 台灣政治環境下藝術家眼中所見的社會，及 透過圓錐、鋸齒的盤旋交錯暗喻成長於土地 上的新台灣人具有如「新植物」般向上提升 的堅定決心。

Yang Ren-Ming’s “New Plants Grew in Black Water” series implies the relationship between

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the outer environment and inner emotions through the black water, in the picture, black water is dark and gloomy, it’s a big swirl of chaos which expands those symbols into entities with characteristics, strong limbs and hard shapes, this is what the artist wants to reply to the world of black water. The symbols of black water are in shapes of saw tooth and swirls, they are sharp as usual. At the center of the picture he created an organic plant through cold, industrial symbols. This kind of presentation truly confuses the viewers, leaves plenty of room for imagination for viewers, one the other hand, the reflection of the society inside the picture as well expands, develops, this is due to that fact that it refuses to be judged or to be inferred with an simple annotation.

In Yang’s early “New Plants Grew in Black Water- Progressive Tense 4” we see concrete symbols which created from abstract conscience swirls in the “Black Water” as a reply to Taiwan’s current politics and the society in the eyes of the artist, cone, saw tooth shapes entwine into a “New Plant” suggests the endurance of the New Taiwanese to strive upward.

081

082

TSENG Ching-kan (b. 1958)

Barking Dogs, Jumping Colors 1996 Oil on canvas 80 x 100 cm Signed on the reverse Tseng Ching-kan in Chinese, dated 1996, titled Barking Dogs, Jumping Colors in Chinese

NT$ 280,000-350,000 US$ 9,700-12,100 HK$ 71,800-89,700

曾清淦 狗在吠、色在跳、嘰哩呱啦叫 1996 油彩 畫布 80 x 100 cm 簽名畫背：曾清淦 5. 1996 狗在吠 色在跳 嘰哩呱啦叫

曾清淦對於他的作品曾有一段自述：「有 時候，我發明一個故事，並將之畫在作品 裡；有時候，我畫一些角色，然後他們發明 了故事；有時候，我看著自己完成的作品， 然後杜撰一個故事；有時候，我組合許多造 型以創造雙關語。」曾清淦反覆描繪動物、 靜物，各式各樣的不明物體，其實都是藝術 家腦海中所想像而成的精靈，藉由曾的筆， 跳躍於畫布上，彷彿站上舞台般，盡情的舞 動、揮灑。《狗在吠、色在跳、嘰哩呱啦 叫》是曾清淦早期作品中難得的佳作，藝術 家透過徘徊街頭、迷失在燈紅酒綠下對著來 回閃爍的街景發出防禦性叫聲，一方面是對 人類都市文明進步下的徬徨失措；一方面是 反應藝術家自身心靈的多采多姿。 看似兒童畫或是原始藝術的繪畫筆觸，或許 很容易使人覺得每個人都可以做到，但是， 如做逆向思考，不論杜布菲、米羅或曾清 淦，都是受過深厚教育或社會禮俗的影響， 當他們試圖將這些存在已久的素質拋棄，回 復到原始純真的狀態實非一般人想像的容 易。而且，在那些塗鴉似的筆觸中，還要使 觀者感覺自然不造作，才是真正困難的事。 當我們面對曾清淦的作品，可以察覺出他是 以一種純熟的技巧，經營出純真的童趣，卻 又全然不露痕跡，隨機的構成使他的繪畫有 著好玩、刺激的吸引力。

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“Sometimes, I imagine a story, and paint it on the canvas; sometimes, I create characters on the canvas, and let them tell the story; sometimes, I look at my finished work, and make up a story; and sometimes, I merge different shapes to create paronomasias.” Said Tseng Ching-kan. Tseng painted animals, still life, and unknown objects repeatedly, and they are actually genies lives inside of the artist, through his brushes, they jump on the canvas, as if they’re dancing freely on stage. “Barking Dogs, Jumping Colors” is one of the best from Tseng’s early works, the artist shouts at the twinkling streets lights on the defensive, painted the lost of men in rapid urban developments as well as his diverse feelings within.

At first look, the piece looks like a child’s drawing, or a primitive work, one might think that it could be easily done by anyone, but with a reverse thinking on it, no matter Dubuffet, Miro or Tseng, all have been educated and cultivated, removing that outfit of convenances isn’t as easy as it seems, and the difficulty is not to let the viewer found it awkward but natural with those scrabbles.

When we look into Tseng’s work, we’ll find his applying superior techniques to create a child’s innocence artlessly; his random layout also makes this piece attractive with a lot of fun.

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083

Walasse TING

(DING Xiongquan, b. 1929)

Do You Like My Yellow Hat? 1979 Acrylic on canvas 61 x 76 cm Titled on the reverse Do you like my yellow hair? in English, signed Ting in English and dated 79 PROVENANCE: Gallery Delaive, Amsterdam

NT$ 750,000-950,000 US$ 25,900-32,800 HK$ 192,300-243,600

丁雄泉 你喜歡我的黃帽子嗎？ 1979 壓克力 畫布 61 x 76 cm 簽名畫背：Do you like my yellow hair? Ting 79 來源： 德萊夫畫廊，阿姆斯特丹

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084

CHIU Ya-tsai (b. 1949)

Girl with Short Hairs Oil on canvas 130 x 97 cm Signed lower left Chiu Ya-tsai in Chinese

NT$ 550,000-850,000 US$ 19,000-29,300 HK$ 141,000-217,900

邱亞才 短髮少女 油彩 畫布 130 x 97 cm 簽名左下：邱亞才

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085

CHIU Ya-tsai (b. 1949)

Gentleman Oil on canvas 129 x 96 cm Signed lower right Chiu Ya-tsai in Chinese

NT$ 550,000-850,000 US$ 19,000-29,300 HK$ 141,000-217,900

邱亞才 儒雅 油彩 畫布 129 x 96 cm 簽名右下：邱亞才

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086

YANG Ren-ming (b. 1962)

Unstable Ties- Dreamy Pills 2001 Oil on canvas 162 x 130 cm

NT$ 500,000-650,000 US$ 17,200-22,400 HK$ 128,200-166,700

楊仁明 不安定的聯結－夢幻藥丸 2001 油彩 畫布 162 x 130 cm

楊仁明「不安定的聯結系列」是其風格中 最具張力與潔淨的平衡表現，此件《不安 定的聯結-夢幻藥丸》作品更是其系列的代 表作，由早期「黑水系列」中一灘黑水隱喻 台灣社會環境與新台灣人的獨立表現；中期 「光環系列」由原本關心大環境的變化轉變 為探索人性心靈的思考，西方的光環與東方 的圓滿都是畫家所欲呈現的主題；近期不安 定的聯結系列，楊仁明自述：「不安定的聯 結，主要談的就是整個繪畫過程中，片刻皆 不同的脈絡歧異。但一直塗塗改改不是辦 法，總得在一個時候停下來。很自然地，繪 畫被他視為一連串思索的紀錄，而最後停下 來的，就是凝結的狀態。」這一系列探討色 彩在堆疊之後，微光以「在某物之後」卻又 因阻擋而對比出散射的光線現身，像是遮不 住的能量，滲透出來。在規律與不規則的邊 緣中多了銳利感，畫面上添增了理性的色 彩，調性更冷，儘管畫面看來更加複雜、多 元。楊仁明一層一層反覆堆疊，直到多至不 可勝數的層次感以一種超越以往視覺觀賞的 爆炸性呈現，這些元素來自過往的努力，卻 有了新的轉化。

Yang Ren-ming’s “Unstable Ties” series is one of his works with perfect balance between tension and purity, and “Unstable Ties Dreamy

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Pills” is the representative work from that series.

Yang’s early “Black Water” series implies Taiwan society and the independent thinking of the new Taiwanese; the “Ring of Light” series moved from the concern for the grand environment to the discovery of human soul, the ring of light from the west and the fulfillment from the east has been his subjects during that period; on his latest, “Unstable Ties” series, he said: “The Unstable Ties is about the change of context in the whole painting process. However, alteration and modification when painting isn’t going to work. I then take the process as a record of my thoughts, and what is left in the end is the state of coagulation.” In this series of works, there is a light that came through multiple color blocks “from the back”, like a unstoppable energy, penetrates. In the picture we find sharpness in regular and irregular edges, which adds colors of rationality in the picture. Though the picture looks complex and multiple, but the tone of color is cold. Yang utilized multiple layers of colors repeatedly, until an explosion occur in the picture, which transcends the visual experience from the past, with these elements derived from the efforts of the past, Yang’s successfully creates a transformation which has never been seen before.

087

CHUANG Che (b. 1934)

Recalling Snow 1996 Acrylic on canvas 127 x 167 cm Signed lower right Chuang Che in Chinese and dated 96 The painting is to be sold with a certificate of authenticity issued by Lungmen Art Gallery, Taipei.

NT$ 1,300,000-2,200,000 US$ 44,800-75,900 HK$ 333,300-564,100

莊喆 憶雪 1996 壓克力 畫布 127 x 167 cm 簽名右下：莊喆 96 附龍門畫廊所開立之原作保證書

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CHIU Ya-tsai (b. 1949)

A Man in Red Oil on canvas 159 x 129 cm Signed lower right Chiu Ya-tsai in Chinese

NT$ 850,000-1,800,000 US$ 29,300-62,100 HK$ 217,900-461,500

邱亞才 穿紅衣的男子 油彩 畫布 159 x 129 cm 簽名右下：邱亞才

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089

Walasse TING

(DING Xiongquan, b. 1929)

Neon Flowers & Fruit 1999 Acrylic on paper 181.5 x 130 cm

NT$ 1,600,000-2,500,000 US$ 55,200-86,200 HK$ 410,300-641,000

丁雄泉 霓虹花朵與果實 1999 壓克力 紙本 181.5 x 130 cm

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090

LI Chen (b. 1963)

Golden Rain 2005 Bronze, edition no. 8/8 70(L) x 73(W) x 124(H) cm ILLUSTRATED: Li Chen in Venice: 52nd Venice BiennaleEnergy of Emptyness, Asia Art Center, Taipei, 2007, color illustrated, pp. 186-189, p. 220

NT$ 1,700,000-2,600,000 US$ 58,600-89,700 HK$ 435,900-666,700

李真 黃金雨 2005 銅雕 8/8 70(L) x 73(W) x 124(H) cm 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186-169、頁220

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雕塑家李真，生於1963年，是一位極具天 份的雕塑家，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，私人及公共收藏遍布 許多國家，為當今極重要的國際級藝術家， 於2007年受邀個展於全世界最高地位的學術 展覽：「第52屆義大利威尼斯雙年展」，獲 得廣大的迴響及肯定。2008年4月也將在北 京中國美術館舉辦「尋找精神的空間」個 展，10月份將在北京798藝術區發表全新系 列的雕塑裝置作品。 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。 《黃金雨》為李真「大氣神遊」系列創作中 的重要作品，將當代雕塑造型引入東方藝術 特質的空間意識。陰陽、虛實節奏中流盪著 氣韻，其雕塑作品之靈氣如皎月映雪、水照 雲天，似『超以像外』所直接領悟的神態天 趣，養空而遊，展現活潑的生命泉源。 「我試著在我的作品裡找到靈性的空間，也 希望這靈性與藝術結合。我希望看到我作品 的人能夠察覺並吸收其中的精神元素，哲理 對我的作品來說含有重要的意義，而我希望 每一件作品都能豐富觀賞者的人生。」 ─李真 《黃金雨》完成於2005年，李真藉景抒懷， 雨後時分、夕陽落下地平線前的閃閃餘暉， 夕陽將雨水映照成金黃色，孩童在雨中暢快 淋漓的淋雨，將自身與大自然融合為一，好 不自在快活，李真將此情此景具體化為實體 雕塑作品。從正面細看，有三滴雨滴落在臉 部與頸間，彷彿是孩童的眼與鼻，李真在此 放大了直觀的感受，呈現出作品中的獨特的 幽默感與虛幻清淨之氣質，帶給觀賞者不同 的視覺感受。

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金，也代表價值，用黃金來隱喻雨水，描述 的是用心感受生命源頭的喜悅。那「日落萬 點金」的氛圍，金的溫潤、黑的能量，既對 比又和諧，衍生無限的想像空間，營造出空 靈而華美的氛圍，更有一種溫暖能量，表現 物質維持的價值，展現無窮的生命力。

Born in 1963, Li Chen, a talented sculptor, has exhibited his art in New York, Chicago, Miami, Houston, Paris, London, Geneva, Venice, Shanghai, Beijing, Singapore, Seoul, Jakarta, and Taipei, and his works have been housed in many different countries. An important contemporary internationally renowned artist, in 2007 Li has been invited to exhibit in the 52nd International Art Exhibition: La Biennale Di Venezia, the highest honored academic exhibition, which won him great reputation and fame. Li’s “In Search of Spiritual Space” Solo Exhibition will take place at National Art Museum of China in Beijing, April 2008, and his new series of sculpture display art will be shown at Beijing 798 Art District in October 2008.

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

2007年「李真：虛空的能量」展覽一隅於威尼斯雙年展 Exhibition view of Li Chen in Venice, 2007

from the traditional thousand-year 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.

“Golden Rain” is an important piece within the series of “Spiritual Journey through the Great Ether,” successfully integrating contemporary sculpture with Oriental artistic space concept.

Ying-yang, emptiness, and wholeness flow within the aura to enable Li’s art to convey flair of bright moon reflecting on the snow and water mirroring the cloudy sky. Li’s art reveals the spiritual humor of similar reality and the life vitality of journey through the universe.

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“I am trying to find a spiritual space in my work. And I hope that the spiritual and art come together. I hope often that in seeing my work, people will see the spiritual element in it and receive it for themselves. One implication of my work is philosophical and I hope that each piece enriches people’s lives.” (Li Chen) “Golden Rain,” completed in 2005, renders a scenery after rain in the late afternoon when the sunset is just above the horizon to reflect the rain in sunny gold glaze. Li captures kids who are playing in the pouring rain to joyfully blend themselves into the nature. Li ventures this feeling and scenery into concrete sculpture.

Viewing from the front, we can find three rain drops on the face and neck just like eyes and nose of children. Li Chen amplifies his subjective feelings to present the unique humor and mysterious fresh flair while giving fans a different visual perspective.

Gold, signifying value, implies rain to describe the whole-hearted joy of life origin. The aura derived from “Sunset Glazes Everything in Gold” creates the warmth of gold and the

energy of black, opposite but harmonious. It features timeless space for creation, spiritual but splendid aura, warm energy, continuous material value, as well as countless vitality.

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LI Chen (b. 1963)

On Cloud Mountains 2003 Bronze, edition no. EA 1/4 48(L) x 35(W) x 90(H) cm Signed Li Chen in Chinese and English, EA 1/4 EXHIBITED: Li Chen in Venice: 52nd Venice BiennaleEnergy of Emptyness, Asia Art Center, Taipei, 2007, color illustrated, pp. 156-157, p. 219

NT$ 1,100,000-2,200,000 US$ 37,900-75,900 HK$ 282,100-564,100

李真 清涼山 2003 銅雕 EA 1/4 48(長) x 35(寬) x 90(高) cm 簽名：李真 LI Chen EA 1/4 展覽： 「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156-157、頁219

此件拍賣作品《清涼山》完成於2003年， 為李真「大氣神遊」系列的代表作之一。 李真創作從中國意境粹取，作品帶有一種 「仙氣」，強調的是「遊」，以空明境界 讓觀賞者沉澱與紓解，在精氣神內自在悠 遊，用最真的態度來面對生命。李真用物 化的《清涼山》去強調精神面的感受， 「萬念由心造」，信念起、萬念存在，同 時擁有更多精神的價值，那並不是遙不可 及的層次。透過視覺感表現物質空間與精 神空間的咫尺，進一步傳達人與精神的價 值，要讓觀賞者有立即的感動。

release themselves, travel spiritually inside the picture, and further face life with the most honest and sincere attitude. Li materialized his concepts with “On Cloud Mountains” to emphasize feelings, because “all in the mind, all from the mind”, there’s much value within the spirit, and such is not unreachable.

Through visual presentations of the mountain connecting to the spirit, Li successfully delivered the value between human and spirits, this sculpture touches every viewer instantly.

李真透過現代化手法雕塑，發展出有別於 傳統面貌的新東方精神，呈現更高層次的 靈性之美，使流傳千年的傳統造像能與現 代完美融合。李真技巧性的處理雕塑形體 姿態，塑像面容安詳和平，臉部表情渾 圓敦厚又慈悲，是喜樂也是祥和。雕塑 的底座為一座山，轉化中國象形文字的 「山」，物象為一座雕塑。遊者雙手負背 而立，飄然佇立於山巔雲頂，神情形態自 若愜意，逍遙而自在。李真極擅長處理這 種量體輕重對應的關係，銀的溫潤與黑的 能量，既對比又和諧；銀白色的雲朵輕巧 飄然，卻能夠穩穩支撐住具有能量的翩翩 遊者，在不穩定中求得安定。

Li sculpted with modern techniques, gave eastern spirits a new level of aesthetic which is different from the traditional, and further merged thousands years of tradition with modern images. Li technically shaped the figure; put a peaceful look on the face, kind and merciful, joyful and peaceful. The bottom of the sculpture is a mountain, as the ancient Chinese character for mountains transformed into the sculpture. The travel rest his arms against his back, as if he’s standing on the cloud, on the top of a mountain, he looks selfcomposed, free and unfettered. Li coordinates the corresponding relationship between heavy and light perfectly, with a lot of contrast yet harmonic at the same time; silvering clouds are light and fluttering, but they hold the energetic traveler steadily with strength, we find steadiness in movements.

清涼山，也稱五台山，其山勢高聳、似乎 通達天際，謂之清涼，被視為避俗、避暑 勝地。而山中的美景就好比聖潔的天堂， 人們藉由飄渺的雲層及空靈的氛圍去感受 天堂的存在。李真作品中的的心靈世界， 加上幽默感與寬闊內韻之造化，呈現虛幻 清靜的氣質，讓觀賞者沉浸在自身清淨的 樂土，似乎在仙境雲朵間嬉戲遊樂，不自 覺會心一笑。《清涼山》成功表現出山、 神、人的完美連結，將佛學的「空」及老 莊思想的「氣」價值概念生活化，同時也 更入世傳達和平理念， 是一件不可多得的 精品。

The work “On Cloud Mountains” was finished in 2003, it’s the representative work from Li’s “Grand Fugue” collection. Li’s creations were inspired from the traditional Chinese frame of mind, they always looked spiritualized, but what is emphasized in the sculpture is the “traveling and movements” within, through wide open spaces and undefined boundaries, viewers introspect and

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C l o u d M o u n t a i n s a l s o c a l l e d Wu - Ta i Mountain, is with extremely high altitude as if it rises straight into the sky. It’s a sanatorium due to its cool temperature. A beautiful landscape in the mountain is like heaven, visitors could imagine its existence through aerial clouds and hollow auras. The spirit within Li’s work along with humor and tolerance forms a mysterious yet peaceful quality, let viewers immerse inside their own graceland, as joyful as they dance upon the clouds. “On Cloud Mountains” successfully created a perfect connection between the mountain, god, and human, brought the value and concept behind the “Emptiness” of Buddhism and the “Chi” of Lao-Zhuang philosophy to life, and implemented the idea of peace in it, this is a precious and valuable piece of work.

092

QU Guangci (b. 1969)

Even Pets Ascend to Heaven with Taoist Immortal

2005 Bronze, edition no. 2/7 54(L) x 56(W) x 85(H) cm Signed on the base Guangci in Chinese and dated 2005 ILLUSTRATED: Revolutionary Romanticism-Guangci, Qu Guangci, Shanghai, 2006, color illustrated, p. 15 Qu Guanci Sculpture 2004-2006, Aura Gallery, Beijing, 2007, color illustrated, pp. 38-39

NT$ 1,700,000-2,800,000 US$ 58,600-96,600 HK$ 435,900-717,900

瞿廣慈 雞犬升天 2005 青銅 2/7 54(長) x 56(寬) x 85(高) cm 簽名底座：廣慈 2005 7-2 圖錄： 《革命的浪漫主義－廣慈Guangci》，瞿廣 慈，上海，2006，彩色圖版，頁15 《瞿廣慈》，亦安畫廊，北京，2007，彩色 圖版，頁38-39

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093

CHEN Yi-lang (b. 1968)

Four Seasons 2007 Stainless steel, edition no. 7/8 33(L) x 30(W) x 83(H) cm 38(L) x 32(W) x 87(H) cm 33(L) x 32(W) x 86(H) cm 35(L) x 32(W) x 89.5(H) cm Signed on the base Longten No.9 in Chinese, Lang in Chinese, numbered 7/8, dated 2007

NT$ 900,000-1,200,000 US$ 31,000-41,400 HK$ 230,800-307,700

陳義郎 春夏秋冬 （四聯作） 2007 不鏽鋼 7/8 33(長) x 30(寬) x 83(高) cm 38(長) x 32(寬) x 87(高) cm 33(長) x 32(寬) x 86(高) cm 35(長) x 32(寬) x 89.5(高) cm 簽名底座：龍騰九號郎 7/8 2007

陳義郎從台灣木工藝傳統出發，從宗教雕刻 走進原創性極高的藝術創作，走出獨樹一幟 的風格後，即以文字獸系列受到藝術界的矚 目。陳義郎是2001年裕隆木雕藝術金質獎得 主，2003年並獲得全省木雕比賽第三名，作 品《索》並由國立台灣美術館典藏，陳義郎 在台灣木雕藝術上已具有代表性。 文字獸系列是陳義郎的精甚之作，《春夏秋 冬》的四隻文字獸則是這個系列的僅有之聯 作，多次展出後已成為陳義郎文字獸系列的 代表。本套作品以不鏽鋼版的恆久材質再現 《春夏秋冬》，可說是陳義郎為他精雕密琢 的文字獸風格做一結論。一反木質文字獸的 溫潤婉約、色質含蓄，不鏽鋼版將《春夏秋 冬》的繁複精工轉換為光澤艷瀲的作品，文 字魔獸的戲劇性超越木質原作，但也和木質 原作具有一致的華麗而內納之氣質。《春夏 秋冬》文字獸的不鏽鋼版僅有八版。

Chen Yi-lang’s art career began with Taiwan traditional wood carving, after the establishment of his original style; his “The Word Carvings” series attracts most attentions in the art scene.

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Chen received Golden prize in 2001’s Yu-long wood carving context; in 2003, he had won the 3rd position in the national wood carving context, his work “Rope” is collected by national art museum or Taiwan, Chen’s already an icon in Taiwan’s wood carving scene.

“The Word Carvings” series is Chen’s most startling works to date, and the four beasts in Four Seasons is the only coherent works in the series, “Four Seasons” and have already become the representative work in that series after several exhibitions. “Four Seasons” was represented to the viewers with enduring stainless steels, it can be regarded as the conclusion of Chen’s “The Word Carvings” series. It has a strong contrast to wood carving’s mildness and warmness, stainless steels has given the work itself a different kind of feel, much more dramatic than the wood version, however it still has that glamorous and selfcomposed quality as the original wood version.

There are only 8 editions of the stainless steel version of “Four Seasons” exists.

094

HUANG Po-Ren (b. 1970)

The Cowman 2007 Bronze, edition no. 3/12 34(L) x 26(W) x 60(H) cm Signed on the base PR in English, dated 2007 and numbered 12-3

NT$ 250,000-350,000 US$ 8,600-12,100 HK$ 64,100-89,700

黃柏仁 牧場的主人 2007 銅雕 3/12 34(長) x 26(寬) x 60(高) cm 簽名底座：2007 PR 12-3

社會進步，經濟發展快速，科技時代日日 求新求變，數位化的各式新品引領著人類 善變、崇流，人與人之間最原始的真誠度， 誠信互賴也漸行漸遠，心靈的寄託也轉而至 動物的身上。動物本身是大自然的一份子， 自古以來，狗一直是人類最忠誠的伙伴，本 身有著特殊的求生本能與超乎人類的辨識能 力，經由人類情感付出使其社會化，懂得保 護引領人類，體貼人性，與人之間的互動忠 誠已是一個生命共同體。人與人的溝通可由 文字言語行動，而人與狗則藉由它的眼神、 肢體動作，以及它超感度的敏感行為在堅守 崗位。 而現今已是國際村的新人文時代，學習狗的 靈敏度、機警與它的忠誠度，不斷的掌握新 方向與思維，挑戰自我。科技時代的速度敏 感宛如動物性的超感度，誰先嗅覺到便是贏 家，但科技的發明延展始終來自於人類，而 人也是動物的一環，人性的本質是不變的， 需秉持務實、機警與忠誠才能真正邁入國際 的競技場。

As a rapid development of the society and e c o n o m y, n e w s c i e n c e a n d t e c h n o l o g y, various digitized products bring human beings capricious and vainglorious. The most primitive

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idea and faith among people are also growing further apart. A commitment to spirit is turning to animals. They are a part of nature. Since the ancient times, dogs are always the most loyal partner to human beings. With particular instinct to seek survive and ability to recognize, the human emotion causes it socialization, knowing to protect human beings and kind to us. Interaction and loyalty between dogs and human beings, we are the one already. The communication among people is by words and languages, and between dogs and human beings by expression in eyes, the body movement and very alert act to persevere in its post.

Nowadays, it has been a globe village in new humanities time. We can learn sensitivity, smart and loyalty from dogs, in order to master the new direction and thought, and challenge ourselves. The speed and sensitivity of new science and technology is super feeling like animals, and a winner is the first one who smells it. However, the invention and extension of science and technology is always from humanity. Besides, the human is animal, too. For the reason, human nature is fixed. Only some who are practical, vigilant and loyal can step into an international arena.

095

YANG Mao-lin (b. 1953)

The Great Escorting Devil Vidyaraja 2005 Bronze, edition no. 4/6 53(L) x 43(W) x 113(H) cm Signed on the base Yang Mao-lin in Chinese, dated 2005 and numbered 4/6 The painting 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 , p. 14

NT$ 750,000-950,000 US$ 25,900-32,800 HK$ 192,300-243,600

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楊茂林 護國天王 2005 銅雕 4/6 53(長) x 43(寬) x 113(高) cm 簽名底座：4/6 2005 楊茂林 附大未來畫廊開立之原作保證書 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14

「東亞當代藝術」 東瀛風‧藝術‧日本‧動漫美學 談論日本人的傳統美學概念，有一些元素是

化、身為國際化一員更為重要，漸漸地，資

所屬」的話，動漫的本質就已經達到了，藝

我們會輕易想起的，像是富士山的完美錐

本主義、流行文化佔據了青少年的思維，曾

術家用大眾能夠體會的形式語法確立藝術的

形、和服的細膩布料樣式、和室空間的典雅

遊歷到東京的人們，必可感覺到這城市的擁

擴張基礎，不能說只是投機取巧的作法，實

比例等，但最令人稱道的，即使是那麼的陳

擠，不只是交錯的人群，還有它想要含括全

際上，在漫畫世界中虛擬的人生正是大多數

腔濫調，都一定要提起大和民族的近乎偏執

世界的野心，奇異的是在東京的某些地域，

人的企盼所在。

狂的完美主義，及他們琢磨事物透露出的迷

日本年輕人表達出他們的堅持，電玩、音

戀氣味，而這些慶幸地（亦或不幸）都仍遺

樂、時尚，攝影師青木正一從1997年開始拍

再者，如曾經策劃「3L4D」動漫美學新世

留在日本當代藝術中。

攝一系列原宿年輕人裝扮而定期出版的《水

紀的陸蓉之所言，「動漫美學的藝術裡，那

果雜誌》，其中的怪誕迷惑了全世界，醞釀

些充滿了奇異和多變化的故事文本，賦予圖

此民族對自身文化的強烈保護，早在江戶幕

出的不再只是「可愛」（卡哇依），是他們

像一種強烈的敘述性，使得圖像本身成為了

府時代兩百多餘年的鎖國政策可以看出，

將漫畫的形象完整地落實於日常生活中，融

表達的視覺語言。在21世紀數位化的環境

也許因為這樣，日本藝術中總有一塊是特別

混個人的脫軌美學，這一波風尚成功的打動

裡，文字敘述的轉換，變得更為多元、有

純然的；二十世紀越戰結束之後，日本年輕

西方人，更別說近在咫尺的台灣了。

趣，愈來愈多的訊息，透過圖像化的語言，

人的視野大幅度的轉變，背 負的功課，除了帶 領全國脫離 戰爭陰 霾， 西

來溝通和交流彼此的意念。」（《3L4D動漫美 漫畫，第二次世界大戰後的產物，在

學新世紀》，形而上畫廊，台北，2007，頁3） 日本當

日本境內，仍佔有每年百分之

代藝術的確探究出新的溝通方式，任何被囊

四十的出版量，閱讀群分

括在這範疇下的藝術作品，都有一弔詭特

佈各個年齡層，題材從

質：膚淺、夢境般、童趣的外在，影射找不

愛情故事、運動、飲

到出口的某種鄉愁，甚或孤寂感。

食、科幻到驚悚、 性美學，不難看出

羅芙奧2008春季拍賣會徵集的日本當代作

它為何是影響日

品，亦期待觀賞者對這樣類型的藝術作品，

本當代藝術似

除了以既有的美感經驗去享受，更可以細細

乎脫離不了商

解讀和我們地理位置如此接近的國度，怎樣

業行銷的媒介

在所謂「當代」中有膽識地把次文化帶入殿

之一，如果說

堂，受到全球性的認同，無需以教育之名來

藝術的最終價值

傳遞文化自身，並不斷將藝術結合娛樂發揮

是在讓觀者「心有

在各領域。

1929年出身的草間彌生，在國際藝壇的地位

月的圖樣透露對舊時代的緬懷，精緻且典

已不容忽視，她的作品細微並誠實地承載自

雅，所以被認為是新生代的浮世繪實踐者。

身的過去，及其無法擺脫的夢魘；草間用繪

山口善於將波普風格注入日本傳統審美觀，

畫、雕塑、行動藝術等手法，帶有超現實般

再從其人物卡通般的大眼娃娃，表現出畫上

心理性的考究，表達她腦海中的宇宙，高彩

虛擬世界的多重性，日系後現代流派「扁平

度對比的用色，令人回到「迷幻年代」，在

藝術」的新秀之一。拍品《憂憂》在和服及

視覺藝術、音樂、時尚留下的印記，她的藝

卡通形象的女孩面貌為日本經典風格及當代

術精彩的緣因之一，亦在於她本人即是一種

流行文化作一巧妙連結。

「偶像」，不遮掩地表露靈魂。《燕之巢》 以草間彌生典型圓點樣式佈滿整個巢穴，隱

櫻井理惠子，遊走在工藝性與創作之間，作

約重申了藝術家本人揮之不去的幻覺，柔美

品常甜美地描繪女孩和動物，似在陳述這兩

的情節構圖帶出潛意識中的不安定成份。

種元素才能達到的美麗境界，女孩絲絨般的 肌膚、幼稚的裝扮，卻在她深不可測的眼神

平面設計師出身的松浦浩之，99年開始創作

成為觀者佇足思索的理由，明亮的用色是否

具動漫特質的「角色」圖樣，取材動漫中

在掩飾些什麼？《鳥與女孩》中的鳥，或許

元素製作壓克力繪畫，對藝術家而言，許多

鳥的國度才是女孩心中的桃花源。

年輕人混淆了現實世界與動漫畫虛構世界， 導致不善於和他人互動或表達個人情緒，甚

另類神話風格畫風的藝術家鳥井林太朗，在似

至某些群眾認為動漫畫只屬於兒童，松浦浩

「不受污染」的背景下，鋪設出極度戲劇性的

之的作品也挑戰這樣的成見，並解放之中的

題材，無論是否從某一特定故事中擷取，都渲

可能性及人們的內心意識。《奧菲莉亞》、

染出一股「經典」的氛圍，簡潔的元素舞蹈在

《小護士》爽朗的用色、精確的色塊區隔，

畫布之上，令你眼光為之陶醉，帶著舒緩色彩

人物懸浮般的姿態，彷彿電影停格誘導觀者

的半素描畫面，直探鳥井的作品本質，身體、

想像情節的衍生方向。

生命源源不絕的延展，就像已流傳數千年的神 話，仍舊獲得我們的共鳴，作品《降誕》、

浮世繪的繼承者山口藍，融入少女漫畫的夢 幻，纖細的女孩形體代表純真，繽紛的壓克 力色料重現江戶時代的場景與風貌，花鳥風

《飛瀑》皆散發遠古的藝術能量。

East Asian Contemporary Art

Japanese Trend. Art. Japan. Animamix Aesthetics When discussing traditional Japanese aesthetics, some elements come easily to mind, such as the perfectly tapered Fuji Mountain, the delicate materials and styles of the kimono, and the elegant arrangement of Japanese-styled rooms. It may sound like a cliché, however, the Yamato clan is most renowned for their paranoid perfectionism, as well as their obsession for refinement. Luckily (or perhaps unfortunately), these are still preserved in contemporary Japanese art.

Japanese has always been strongly protectors of culture. This may be traced back as early as the Edo Shogunate period, when a National Isolationist Policy was enforced for more than 200 years. As a result of the policy perhaps, Japanese art retained its purity. After the Vietnam War, young Japanese underwent a dramatic change in vision; in addition to dispelling from the dark clouds of war, they assumed a greater task of leading Japan towards becoming a Westernized and Internationalized nation. Capitalism and fashion slowly occupied young people’s mind.

A visit to Tokyo shows not only a crowded city, but the scale of the population and Japanese ambition of world dominance. Remarkably, in some areas of Tokyo, young Japanese express their persistence in electronic games, music

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and fashion. Since 1997, photographer Shoichi Aoki started a series of photos of young people in Harajuku, and published them in FRUiT Magazine. The grotesqueness certainly bedazzled the whole world; it is no longer the ‘cuteness’ (kawai) people want to convey. They, on the other hand, truthfully put ‘Manga (comic books)’ images into practice and fused personalized yet twisted aesthetics into their daily life.

Such a wave of fashion successfully invaded Western culture, not to mention nearby Taiwan.

Manga became readily available after World War II. Even nowadays, comic books still assume 40% of the total published materials in Japan. Manga readers cover all ages of groups; and the topics range from love stories, sports, cuisine, sci-fi, and horror to sexual aesthetics.

It’s not hard to see why manga is one of the best in commercial media and its influences on Japanese contemporary art. If the ultimate goal of art is to trigger viewer’s “empathy”, the core of manga hits that specific objective, without a doubt. Rather than being opportunistic, artists use more accessible art forms and language as a flexible foundation, and create virtual life for the majority of people to fantasize about.

Moreover, as Victoria Lu, the executive producer of “3L4D-3rd Life 4th Dimension”, once stated, ‘The narrative scripts, full of surprises and diversity, transform the images into a visual language by making them strongly descriptive. In the digital environment of the 21st century, written description has become more diversified, more interesting and packed with much more information. Through the use of visual language, the exchange of ideas becomes possible’ - (quoted from 3L4D-3rd Life 4th Dimension, Metaphysical Art Gallery, Taipei, 2007, page 3). Indeed, Japanese contemporary art has an evolutionized way of communication; artworks under its category seem to comprise of an eccentric quality: the extrinsic superficiality, fantasy and childishness; it reflects melancholy, or even nostalgia with no escape.

Ravenel Spring Auction 2008 resembles a collection of Japanese contemporary artworks.

In addition to established aesthetic experiences, Taiwanese viewers may also interpret how this geographically neighbour audaciously brought subculture into so-called “contemporary art” and gained recognition worldwide. Their culture is communicated not through education, but the combination of the arts with entertainment

elements in all aspects.

Yayoi Kusama was born in 1929 and her status in the international art industry is not to be neglected. Her artworks candidly depict her own history and inescapable nightmares in details.

In the forms of paintings, sculptures and action art, Kusama peers into surreal “psychology” and expresses the universe of her mind. Her highly contrastive color schemes returns traces of visual art, music and fashion during the psychedelic period. Her significance is perhaps attributable to her “icon” status, and her explicit yet soulful manifestation. “Swallow’s Nest” illustrates a nest full of Kusama’s signature round dots; it vaguely reiterates her lingering hallucinations, and the soft tones elicits her subconscious anxiety.

Hiroyuki Matsuura began as a graphic designer.

In 1999, he began to create ‘characters’ with Manga traits, and drew acrylic paintings with animamix elements. For artists, many youngsters confuse the real world with Manga’s virtual world. As a result, they fail at interactions or expressing emotions; some even think comic books are only for children. Matsuura’s artworks challenge this bias and attempts to unleash our

subliminal potential and consciousness. With a crisp color schemes and precise color clusters in “Ophelia” and “Maintenance”, the floating figures like frozen movie frame shots try to lead viewers into uninhibited imagination.

Being the heir to Ukiyoe print, Ai Yamaguchi fuses illusions evident in a teenage girl’s comic books into her delicate female figures with amazing purity. Magnificent acrylic colors recreate the scenes and ambience reflected in the Edo period. The flowers, birds and scenery all depict a recollection of the exquisite and sophisticated era; she is rightly considered a modern-day Ukiyoe print practitioner.

Yamaguchi masterfully infuses pop styles into traditional Japanese aesthetics; through her bulbous eyed comical figures, she represents her multifaceted virtual world in the paintings.

She is one of the best newcomers in “superflat art” of the Japanese post-modern school. With a kimono and the girl’s cartoon face, her auctioned artwork “Yoiyoi” ingeniously combined classic Japanese style with modern fashion.

Rieko Sakurai is skilled enough to freely alternate between craftsmanship and creativity.

Her works amiably illustrate girls and animals,

which seem to be the only two elements, to accomplish a wonderland. The girl’s silky skin, innocent dress and her abstruse eyes dazzle the viewer and prompts one to wonder, “What are those bright colors trying to cover up”? As for the bird in “Bird Girl”, perhaps this bird’s origin is really just the Paradise within the little girl’s mind.

Lintalo Torii is an alternative artist in mythological painting style. With seemingly “uncontaminated” background, he lays out dramatic themes; whether abstracted from particular stories or not, they seem to embellish a ambience of “classics”. One is carried away by simple elements that brilliantly dance upon the canvas. Half sketches with soothing colors solidly strike core of Torii’s artworks. The infinite extension of the body and life is reminiscent of a millennium-old myth that never fails to touch our hearts. His artworks “Nativity” and “Water Fall” splendidly transpire eternal aesthetic energy.

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Rieko SAKURAI (Japanese, b. 1977)

Bird Girl 2002 Mixed media on board Diameter 45 cm Titled on the reverse Bird girl and signed Rieko Sakurai in English, dated 2002

NT$ 220,000-350,000 US$ 7,600-12,100 HK$ 56,400-89,700

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櫻井理惠子 鳥與女孩 2002 綜合媒材 木板 直徑 45 cm 簽名畫背：Bird girl 2002 Rieko Sakurai

097

Ai YAMAGUCHI (Japanese, b. 1977)

Yoiyoi 2004 Acrylic on paperboard 21 x 32.5 cm

NT$ 160,000-240,000 US$ 5,500-8,300 HK$ 41,000-61,500

山口藍 憂憂 2004 壓克力 紙板 21 x 32.5 cm

098

Lyntalo TORII (Japanese, b. 1966)

Nativity 2005 Oil on board 60 x 45 cm Titled on the reverse Nativity in Han Character, and signed Lyntalo Torii in Han Character and English, dated 2005

NT$ 160,000-240,000 US$ 5,500-8,300 HK$ 41,000-61,500

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鳥井林太朗 降誕 2005 油彩 木板 60 x 45 cm 簽名畫背：2005 降誕 鳥井林太朗 Lyntalo Torii

099

Lyntalo TORII (Japanese, b. 1966)

Water Fall 2005 Oil on board 60 x 45 cm Titled on the reverse Water Fall in English and signed Lyntalo Torii in Han Character and English, dated 2005

NT$ 160,000-240,000 US$ 5,500-8,300 HK$ 41,000-61,500

鳥井林太朗 飛瀑 2005 油彩 木板 60 x 45 cm 簽名畫背：Water Fall 鳥井林太朗 Lyntalo Torii 2005

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Hiroyuki MATSUURA (Japanese, b. 1964)

Ophelia 2004 Acrylic on canvas 70 x 70 cm Signed on the reverse Hiroyuki Matsuura in English, dated 2004.1.31.

EXHIBITED: Fiction@Love, Museum of Contemporary Art, Taipei, August 21- October 31, 2004 ILLUSTRATED: Fiction@Love, Museum of Contemporary Art, Taipei, 2004, color illustrated, p. 199

NT$ 650,000-950,000 US$ 22,400-32,800 HK$ 166,700-243,600

松浦浩之 奧菲莉亞 2004 壓克力 畫布 70 x 70 cm 簽名畫背：Hiroyuki Matsuura 2004.1.31. 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

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199

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Hiroyuki MATSUURA (Japanese, b. 1964)

Maintenance 2006 Acrylic on canvas 250 x 75 cm Signed on the reverse Hiroyuki Matsuura in English, and dated 2006.2.26

EXHIBITED : Hiroyuki Matsuura, Mirai Projects, Stockholm, November 2006 Hiroyuki Matsuura, Eslite Gallery, Taipei, April 7-29, 2007 ILLUSTRATED : 2007 Hiroyuki Matsuura, Tokyo Gallery, Tokyo, 2007, color illustrated, p. 49

NT$ 1,700,000-2,500,000 US$ 58,600-86,200 HK$ 435,900-641,000

松浦浩之 小護士 2006 壓克力 畫布 250 x 75 cm 簽名畫背：Hiroyuki Matsuura 2006.2.26. 展覽：

「松浦浩之個展」，未來計劃，斯德哥爾摩， 2006年11月 「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：

《松浦浩之2007》，東京畫廊，東京， 2007年，彩色圖版，頁49

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102

Yayoi KUSAMA (Japanese, b. 1929)

Swallow's Nest 1989 Acrylic on canvas 37 x 45.5 cm Titled on the reverse Swallow’s Nest in Japanese, signed Yayoi Kusama in English and dated 1989 This painting is to be sold with a certificate of authenticity issued by the artist.

NT$ 1,600,000-2,500,000 US$ 55,200-86,200 HK$ 410,300-641,000

草間彌生 燕之巢 1989 壓克力 畫布 37 x 45.5 cm 簽名畫背：つばめの巢 Yayoi Kusama 1989 附藝術家開立之原作保證書

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102

現代之後 人材輩出的韓國當代藝壇 近年來韓國在藝術上的搶眼表現，令人不 得不激賞他們貫徹始終的精神，幾近「猛 烈」的態度，在其經濟、文化、政治及宗 教上亦顯而易見，而藝術上的成就似乎早 有蹤跡可尋，早在70年代，前輩韓國藝術 家們早已為這一波「當代」鋪路，其中包 括1929年出生的金昌烈，1932年出生， 2006年過世的錄像藝術之父白南準，1931 年出生，極簡主義風格的朴栖甫，他們成 功的原因，除了跟得上西方藝術轉變的速 度，最關鍵的仍舊在於其創作核心是相當 本土化的，媒材或語法上，流露對所屬國 度的肯定及重視。 而年輕輩的藝術家，不帶一絲畏懼地在實 驗中創造出更豐富的作品，韓國社會似乎 也無條件的鼓勵他們，文化機構、企業的 支持都算是其當代藝術蓬勃發展無後顧之 憂的基礎，以三星企業為例，所屬基金會 自1965年創設三星美術館，除了對韓國在 地文化遺產的保存之外，亦相當關懷現代 及當代藝術的發展，如此的架構下，嚮往 藝壇的青年增加了許多為藝術奮不顧身的 勇氣及信心。 儘管韓國現代與當代藝術成功地和西方接 軌，藝術家致力於從個人或共有的生長背

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景、歷史文明找尋靈感泉源，加上自身在 工藝上學院般的深厚磨練，使韓國藝術從 未失去所謂「匠氣」的力道；凝視朴栖甫 的《描法 No. 040929》，自80年代開啟的 「描法」系列，單色背景上重覆線條，極 簡主義的中心策略「一個接著一個」，單 純地用鉛筆壓畫出綿延的線形凹紋，手著 迷似地反覆相同的動作，二度空間中，我 們卻清楚意識到，藝術家在創作時近乎被 催眠的精神狀態，融合韓國傳統桑紙為底 的媒材，淡淡地揮發出某種程度的宗教情 懷，在阿拉里奧畫廊為朴栖甫舉辦的2007 年回顧展中，便強調藝術家長期信仰的 溝通與治療藝術理念，如同他重複的動作 中，專注程度足以驅散所有負面的想法及 憂愁。

崔素榮則可說是南韓當代藝術媒材上創新 及勇於嘗試的最佳範例之一，這種探索過 程並非出於標新立異的心態，而是十分由 衷的情懷，崔素榮會選擇以牛仔褲布料代 替畫筆，描繪景象則源自於其孩提時代的 視覺及觸覺記憶。兒童時的崔素榮每天搭 乘公車上學，途中會看到貧民社區景致， 熟悉的老舊建築物和荒涼街道，在陽光的 照耀下流露出一種親切的美麗；藝術家以 牛仔褲布料來影射她的切身感受，因從小 就常穿著姐姐穿舊的牛仔褲，舊牛仔褲對 於她而言，是一種親情及歸屬感的導體， 如同那些熟悉的風景；舊牛仔布料上的褪 色痕跡，也體現滄海桑田，及人們疲乏的 生活狀態，《迦耶》即為在這樣的心性下 創造出的，富有「雕塑」質地的畫作。

旅居法國的金昌烈，除了在韓國本土受到 仰慕，亦為在歐美最具影響力的韓國藝術 家之一，佈滿畫布上的文字，如同儒家詩 書地流傳至今，精確的字型傳遞對傳統思 潮的絕對臣服，露珠似的水滴將自然因素 注入畫布空間，水滴將東方哲理的形象帶 出，亦代表哲學本身的清澈及鮮活特質。 《回歸》誠如標題所指，懷抱著虛心回到 一切哲理的源頭及初衷。

李容德虛體雕塑系列作品，即便他所選擇 的題材不外乎是男孩、女孩，處於簡單的 姿態，抑或平凡地在動作行進間，呈現雕 塑最初期的實質，乾脆簡潔的美感，但李 容德運用雕塑的凹凸虛實，和觀者一起重 新探討藝術的目的和企圖，在美學之外的 人本精神，當觀者關注著作品，其中虛構 的人物對觀者亦以同等的眼神回饋，負載 著情感的互動，使彼此存在的意義得到更 深刻的確認，李容德創作下的人物，除了

After the Modern

Talents Keep Emerging in Korean Contemporary Art Scene 有和我們差不多的形貌、裝扮，也和我們 有著相似的好奇、同理心。 受美式動畫造型影響的權奇秀，創造了 「當咕尼」這樣一號角色，據說她俏皮的 模樣和藝術家本人十分相像，期待這號人 物為沉悶紛擾的韓國社會灌輸愉悅的分 子，《紅森林》及《黑森林中的房子》， 在新一波的韓國動漫藝術中，以典型的絢 爛視野，圍繞簡化為符號的人物自然； 「有人講我的作品很輕盈，很流行，我不 這麼認為。雖然我使用了當代藝術手段和 材質，作品看上去簡單和趣稚，但其實我 想在最簡單中表達一種深層的古典意蘊： 墨黑的底子靈感來自東亞傳統筆墨藝術； 圖形靈感來自中國古代花木『四君子』， 它們代表世界上全部美麗的東西；當咕尼 其實是一個符號，它代表了一種寧靜冥想 的狀態。」 權奇秀如此談著她的作品，越 是看似簡易的事物，思考的過程往往越是 繁雜，而藝術家拒絕完全「無憂無慮」的 商業標誌，但接受用孩童也能理解的方式 來思量宇宙，權奇秀實踐藝術的手法和緬 懷傳統的韓國前輩藝術家們，可謂殊途同 歸。

The Korean art scene is blossoming in recent years, thanks to their persistency in the pursuit of art. This persistent spirit is also highly visible in the Korean economy, culture, politics and religion. The wave of contemporary art had its seeds planted as far back as the early 70s, by the pioneers of Korean art which include Kim Tschang-yeul who was born in 1929; the Father of Video Art, Nam June Paik, born in 1932 and just passed away in 2006, Park Seo-Bo, born in 1931, representing the Minimalist forces. As fast-paced as Western art, the most crucial success factor lies in the richness of local culture in the center of creation. The artists verify and show the recognition toward their country through their arts.

Young Korean artists dare to experiment in unconventional ways for exciting art works.

There seems to be an unconditional support from the Korean society. The encouragement from the corporations and cultural organizations and formed the base for a brilliant contemporary art scene. For example, the Samsung Museum of Art was found in

1965 by a fund organization with Samsung as one of its members. This organization protects Korean cultural heritages and supports modern and contemporary art development. With abundant support, the youth art-enthusiasts are more confident to pursue their interest all the way.

Although Korean modern and contemporary art has successfully connected with the Western world, they have never lost the mastery of the skill. Korean artists search for creative ideas from individual or common background, history and culture, and create works based on years of training from art schools. Take “Ecriture No. 040929” from Park Seo Bo as an example. It is one of the works from the “Ecriture” series created in the 80s. The duplication of the lines against mono-colored background silhouettes the style of Minimalist, “one after another”. The subtle and exquisite variations of lines are created by repeated motion of the hand using pencils. In this two dimensional space, we can clearly feel that the artist was almost in a trance when he

was creating the art. His silent, delicate and poetic lines on traditional Korean mulberry paper bring forward a religious dimension.

The religious and healing effect was focused in “Park Seo-Bo Retrospective Exhibition 2007” at Arario Gallery. Concentrated in the repeated motion, Park Seo-Bo’s works can eliminate worries and unhappiness.

Living in France, the celebrity artist, Kim Tschang-yeul is one of the most influential Korean artists in Europe and America. The words on the canvas pass through time and generations like confusing poems. The restrained forms of word are the traces of traditional thinking; water drops are the natural element for the canvas. Dripping droplets signify the pureness and the liveliness of Oriental philosophy. The idea of “Returning” to the origin of all philosophies with a humble mind is presented in his work, Recurrence.

Choi So-Young’s innovation in the art media is one of the best among Korean contemporary artists. The venture for new media emerged from an emotional attachment but not from the desire to stand out. Choi SoYoung chose denim jeans instead of brushes to paint the images from her childhood’s memory. The young Choi So-Young used to pass through the slums on the way to school.

The familiar old buildings and the run-down streets reflected a beauty of kindness under sunlight. The artist uses jeans to express her feeling because she wore old jeans from her elder sister when she was young. Same as the old scenes, jeans symbolize her love for her family love and her roots. The faded jean also stands for the changes of life and wearied people. “Gaya” is the painting created under this stage of mind and bears a sculpturesque texture.

Lee Yong Deok’s negative sculptures usu-

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ally feature boys and girls in simple and ordinary positions. Presented with a raw unfinished surface, they are sleek and simple.

The artist’s outstanding intaglio works of reality and illusion invite the audience to explore the goal and the meaning of art.

Apart from being beautiful, there is also a human side to it. When the audiences look at the sculpture, it looks back at them in the same way. There is an exchange of emotion and the existence, for both parties are verified. The figures created by Lee Yong Deok do not only look like humans, they are also curious and sympathetic, just like you and me.

The creator of “Dongguri”, Kwon Ki-soo is influenced by American animation. It is said that the niftiness of the character is very similar to the artist herself. This character brings happiness to the distressed Korean society. In this new wave of Korean animation art, “Red Forest” and “A House in the Black Forest -2” exhibit a natural and plain symbol against the typical colorful backdrop. “Some people say that my works are very light and popular, but I don’t think so.

Although I use contemporary art methods and materials, and my works look like very sample and naïve, I want to convey a deeper level of classical meaning. The black background is originally from the traditional East Asia’s ink art. The round shape is from the “Four Plants of Honor” in ancient Chinese culture, representing all the beautiful things in the world. Dongguri is actually a symbol signifying a stage of silent meditation.” Kwon Ki-soo further explained that the simpler the work, the more complicated the thinking process. The artist adopts a vision of the universe understandable by children but refuses to accept the commercial label of “carefree”. This way of creating art resembles the traditional Korean artists.

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KWON Ki-soo (Korean, b. 1972)

A House in the Black Forest-2 2007 Acrylic on canvas 73 x 61 cm Signed on the reverse Kwon Kisoo in Han character and English, dated 2007 ILLUSTRATED: Asian Art Now, Soka Art Center, Taipei, 2007, color illustrated, p. 92

NT$ 300,000-600,000 US$ 10,300-20,700 HK$ 76,900-153,800

權奇秀 黑森林中的房子-2 2007 壓克力 畫布 73 x 61 cm 簽名畫背：權奇秀 Kwon Kisoo 2007 圖錄： 《亞洲當代藝術》，索卡藝術中心，台北， 2007，彩色圖版，頁92

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KWON Ki-soo (Korean, b. 1972)

Red Forest 2006 Acrylic on canvas 194 x 97 cm Signed on the reverse Kisoo Kwon in Han character and English, dated 2006 Signed on the four edges Kisoo Kwon in Han character and English, dated 2006

NT$ 750,000-1,500,000 US$ 25,900-51,700 HK$ 192,300-384,600

權奇秀 紅森林 壓克力 畫布 194 x 97 cm 簽名畫背：權奇秀 Kisoo Kwon 2006 簽名四側：權奇秀 Kisoo Kwon 2006

權奇秀出生並工作在漢城，其作品包括繪 畫，雕塑和錄像。他為人所知的主要作品是 他創造的一個常出現在他作品中的人物當咕 尼。具備擬人化的外型，當咕尼作為一個符 號，具有一定的標誌性和象徵性：一個崇尚 符號化，簡約化和機械化的現代進程的產 物。當咕尼之所以大受歡迎，乃是由於它符 合年輕一代的審美需求，消耗並複製著流行 文化。他不斷地創造新穎的設計，將超現代 元素與古老傳統相結合。 權奇秀喜愛的主題，如詠梅，蘭，菊和竹， 都是來自傳統水墨繪畫。每一種代表著一 季：梅花的春天，蘭花的夏天，菊花的秋 日，竹的冬季。山水畫派使用形式與技巧來 表達自己的理念。對於他們來說，超自然和 宇宙的不被征服性，是一種天生的態勢，應 對其中的秩序和本質加以研究和應用。山水 畫家表達的超然的價值觀，放棄了對現實的 視覺模仿，轉而尋求更深層次的世界。因此 山水超越了技巧，成為了一種符號，一種範 式和一種基本概念。 權奇秀通過其作品不斷的探索傳統主題與價 值觀，並將其納入進當代藝術形式。他的藝 術特色在於創造性的將過去的唯心主義植入 到當代唯物主義之中，進而塑造成象徵和符 號。透過多層次象徵意義，權奇秀向觀眾提 出了一個對於世界有趣的解釋：這是一個輕 盈與沉重並存的世界。 （金善姬撰文，金善姬是上海證大喜瑪拉雅中心的藝術 總監）

Born and based in Seoul, Kwon Ki-soo works in a wide range of media, including painting, sculpture and video. He is primarily known for his creation of Dongguri, a character that frequently appears in his work. Although human-shaped, Dongurri is an icon formed by certain marks and symbols; a by-product

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of modernisation in which everything is symbolised, simplified, and mechanical.

Dongguri has gained wide appeal because it appeals to a younger generation that readily consumes and reproduces popular culture. He has continuously created innovative designs, marrying ultra-modern elements with old traditions.

The artist’s favourite motifs, such as plum blossoms, orchids, chrysanthemum and bamboo are drawn from traditional sumi painting.

Each represents one of the four seasons: plum blossom for spring, orchid for summer, chrysanthemum for autumn and bamboo for winter. Rather than copying nature, sansui painters use form and technique to express their own concept of it. For them, the transcendent values of nature and the universe are not to be conquered but are an innate attitude, the order and reason of which should be studied and followed. Sansui painters express transcendent values by forgoing a visual imitation of what is seen as reality, seeking meanings in the unseen world. Sanshui is, therefore, more than a technique; it is a symbol, a paradigm and a fundamental concept.

Through his work, Kwon Ki-soo continually explores traditional themes and values, which he adapts and incorporates into contemporary art forms. His art is characterized by a creative grafting of past spiritualism onto contemporary materialism, moulded into symbols and icons. Through multiple layers of symbolism and meaning, Kwon offers viewers a playful interpretation of a world where lightness and heaviness can coexist.

(Text by Kim Sun-hee, Art Director of Zendai Himalayas Center, Shanghai)

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CHOI So Young (Korean, b. 1980)

Gaya 2005 Mixed media, denim, collage 114 x 140 cm EXHIBITED: Art & Issue-China-Korea Art Exchange Exhibition, Soka Contemporary Space, Soka Art Center, Beijing, Octorber 7-30, 2005

NT$ 1,000,000-2,000,000 US$ 34,500-69,000 HK$ 256,400-512,800

崔素榮 迦耶 2005 綜合媒材 丹寧布 拼貼 114 x 140 cm 展覽： 「藝術 ＆ Issue－中韓藝術交流展」，索卡 當代空間，索卡藝術中心，北京，展期自 2005年10月7日至10月31日

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Park Seo-Bo (Korean, b. 1931)

Ecriture No. 040929 2004 Mixed media with Korean paper on canvas 80.5 x 100 cm Signed on the reverse Park Seo-Bo, titled Ecriture No. 040929, dated 2004 Seoul Korea in Chinese and Korean

NT$ 1,600,000-2,200,000 US$ 55,200-75,900 HK$ 410,300-564,100

朴栖甫 描法 No. 040929 2004 綜合媒材 韓國紙 畫布 80.5 x 100 cm 簽名畫背：朴栖甫 命題：描法 No. 040929 2004年作 韓國．서울城山洞，寒栖堂

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LEE Yong Deok (Korean, b. 1956)

Sitting (Boy) 2007 Mixed media, negative sculpture 190(L) x 110(W) x 20(D) cm Signed on the right edge LEE YD in English and dated 2007

NT$ 3,200,000-4,400,000 US$ 110,300-151,700 HK$ 820,500-1,128,200

李容德 人物（男） 2007 綜合媒材 虛體雕塑 190(長) x 110(寬) x 20(厚) cm 簽名右側：2007 LEE YD

李容德1956年生於韓國首爾。1982年畢業於 首爾市立大學美術學院雕塑系，1989畢業於 首爾國立大學，獲碩士學位。1997年完成了 柏林藝術綜合大學的藝術家研究課程（雕塑 專業）。目前擔任首爾大學美術學院雕塑系 教授。 從1988年文藝振興院美術會館的個人展開 始，至今李容德已經開展了多次個人展和聯 展。其中包括繼2003年由表畫廊舉辦的個展 「遷移—向後」之後，2004年又參加了在韓 國國際畫廊藝術博覽會上由表畫廊和COEX 共同舉辦的展會，由此而吸引了眾多藝術界 的眼光，在同年韓國第三屆國際多媒體雙年 展中，在表畫廊和首爾市立美術館的共同努 力下，其個展又一次引起了轟動。近兩年分 別在中國美術館和上海多倫美術館成功舉辦 個展。 李容德的雕塑作品獨闢蹊徑，形成其獨特的 藝術風格，在雕塑觀念的拓展和雕塑語言的 更新上作出貢獻，堪稱當代藝術的一位新的 大師。其作品打破了人們對傳統雕塑的理 解，突破了傳統雕塑藝術的表現手法和藝術 語言。他通過真人的造型、翻製，並運用陰 雕的技法，使需要表現的部分凹陷，產生了 類似攝影負片的視覺效果，觀眾從遠處看以 為是立體飽滿、栩栩如生的人體，近距離觀 察時卻會發現只是一塊經過凹陷處理的平 面，極易讓人產生錯覺。同時，在他的作品 中，不同手段的藝術創作表現了一種鮮明的 東方審美情趣和東方的美學理念在裡面，也 映合了所謂東方的陰陽、明暗、虛實互補的 關係。

Lee Yong Deok was born in Seoul, Korea in 1956 and graduated from the sculpture department of Fine Arts College of Seoul National University in 1982 and that graduated from School of Seoul National University in 1989, as a master’s degree.

In 1997 he finished the artists’ research class in the Berlin University of the Arts (the major of sculpture). At present, he is a professor in the sculpture department of the College of Fine Arts, Seoul National University.

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Since in individual exhibition in 1988 in the Fine Arts Center of Seoul Arts & Literature Development Institute, up to now, Lee Yong Deok has launched individual exhibition and joint exhibition for many times, of which, including his individual exhibition of “TransferBackward” launched in 2003 by Pyo Gallery, after that, he participated in the exhibition cosponsored by Pyo Gallery and COEX in Korea International Art Fair in 2004, thus he has attracted great attention from the artistic circle.

In the 3rd International Multimedia Biennial Exhibition, Korea in the same year, under the joint efforts of Pyo Gallery and Seoul Sejong Center, his individual exhibition stirred up the sensation again. Over the two years, he has successfully launched individual exhibition in China National Museum of Fine Arts and Shanghai Duolun Museum of Modern Art. Lee Yong Deok’s sculpture works have developed his own style and formed his unique style. His contribution to expansion in sculpture ideology and renewal of sculpture language has made him a new cotemporary artistic master.

His works have broken through the common understanding about traditional sculpture and the expression way and artistic language of traditional sculpture. Through sculpting and copying of real figure combining technique of the intaglio carving, he makes the integrant sunk part requiring expression producing the visual effect similar to the negative film in photography. Looking into the distance, the body looks so solid, full and vivid, but looking near, you would find it just a plane undergone sinking treatment; it is very easy for people to have an illusion. Meanwhile, in his works, artistic creation in different means has contained a distinctive orient aesthetic interest and orient aesthetic philosophy, meanwhile, tallying with the orient style of complementation between yin and yang, bright and dark, virtual and solid.

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LEE Yong Deok (Korean, b. 1956)

Sitting (Girl) 2007 Mixed media, negative sculpture 165(L) x 105(W) x 18(D) cm Signed on the right edge LEE YD in English and dated 2007

NT$ 3,200,000-4,400,000 US$ 110,300-151,700 HK$ 820,500-1,128,200

李容德 人物（女） 2007 綜合媒材 虛體雕塑 165(長) x 105(寬) x 18(厚) cm 簽名右側：2007 LEE YD

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KIM Tschang-yeul (Korean, b. 1929)

Returning 2003 Oil on canvas 163 x 130 cm Signed on the right edge Kim Tschang-yeul in Han character and dated SA 05 022 2003

NT$ 3,600,000-5,200,000 US$ 124,100-179,300 HK$ 923,100-1,333,300

金昌烈 回歸 2003 油彩 畫布 163 x 130 cm 簽名右側：SA05022 2003 金昌烈

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ZHOU Chunya (b. 1955)

Vase of Flowers 1993 Oil on canvas 100 x 80 cm Signed lower right Zhou Chunya in Chinese and dated 93

NT$ 4,000,000-6,000,000 US$ 137,900-206,900 HK$ 1,025,600-1,538,500

周春芽 瓶花 1993 油彩 畫布 100 x 80 cm 簽名右下：93 周春芽

90年代初從德國留學回國後，周春芽開始創 作具有中國傳統文化內涵的作品。《瓶花》 是1993年周春芽轉向一系列山石和瓶花作品 之一。這一時期周春芽將自身中國山水畫及 寫意花鳥的心得充分展現在創作上。藝術家 誇張了瓶花的傳統造型，同時在畫面中充分 發揮油畫的材質特性，豐富的細節和肌理置 換傳統筆墨柔淡纖弱的質地，繁複錯落的體 積結構改變了文人繪畫扁平的視覺特性。在 此系列的創作中，周春芽一直在尋求與大自 然更加親密和自發的關係，以便能夠捕捉其 最為本質的形式和表現。周春芽描畫的瓶花 從其畫面周圍的空白中獲得力量，所用的筆 法極為精練，如同八大山人畫中的一尾魚， 一塊石，一隻鳥，一筆不多，一筆不少。著 名評論家殷雙喜評價周春芽：「將宋元古典 山水的意象與西方繪畫框式取景奇特地組合 起來，具有了一種跨越人文地理與歷史文化 的超然氣息，使人們猶如進入宇宙洪荒、天 地蒼茫的夢幻境界。」

After returning from Germany in the early 1990s, Zhou Chunya began to create works with traditional Chinese culture connotation.

“Vase of Flowers” created in 1993 by Zhou Chunya was one of the series of rock and vase paintings he had turned to. During this period,

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Zhou Chunya applied what he had learned in Chinese landscape paintings and flower-andbird sketches into the creation of his works. The artists exaggerated the traditional shape of vase and flower, and gave full play of the material to the painting to enrich the details and texture, instead of traditional ink in soft texture, as well as to use complicated structure to replace the flat visual feature of literati painting. In this series of works, Zhou Chunya has been seeking a more intimate and spontaneous relationship with the nature, so as to capture the essence of most essential forms and expressions. “Vase of Flowers” depicted by Zhou Chunya is proficient in painting technique, gaining strength from surrounding space, just as famous artist, Badashanren (i.e. Zhu Da), who painted a fish, a rock, a bird – with exact number of strokes, no more or less. Shuangxi Yin, a well-known critic, appraised Zhou Chunya with the comments, “(His paintings) have peculiarly combined classical landscape imagery in Song and Yuan dynasties with frame structure in western paintings, which produced an overriding atmosphere spanning human geography and historical culture, and making people seemed like to enter the universe of prehistoric heaven and the realm of fantasy.”

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ZHOU Chunya (b. 1955)

Green Dog 2002 Oil on canvas 150 x 120 cm Signed lower right Zhou CHUNYA in Chinese and English, dated 2002 Signed on the reverse Zhou Chunya in Chinese and English, dated 2002

NT$ 6,000,000-8,000,000 US$ 206,900-275,900 HK$ 1,538,500-2,051,300

周春芽 綠狗 2002 油彩 畫布 150 x 120 cm 簽名右下：2002 周春芽 Zhou CHUNYA 簽名畫背：2002 周春芽 Zhou Chunya

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1997年周春芽第一次開始將黑根畫成綠色， 在西方，綠色是一種鮮明的顏色，代表著好 運。周春芽解釋說這純屬巧合。藝術評論家 栗憲庭在一篇文章中，將周春芽採用綠色歸 因於他那段時間幸福的愛情生活：在中國， 綠色是與積極的心態相聯繫的。在對綠色的 喜好上，東西方沒有文化的鴻溝。但對於狗 的繪畫形象方面，周春芽幾乎沒有任何古法 可循，無論在中國還是西方，狗都不是一種 很常見的主題。因此，他嘗試了十分個人化 的表達方式，以西方的構圖形式，融入中國 繪畫元素的技法，以更加注重圖像效果，卻 保持表現主義風格的語言，將綠狗系列打造 一個備受欣賞的主題。1999年隨著黑根的病 死，周春芽停止了「黑根」系列，直到2001 年初。這一年，周春芽的藝術生涯出現了一 個轉變，在他度過最痛苦的時期之後，綠色 的黑根再次出現在畫面中已經不是真正的黑 根，他們變成了畫家態度、畫面結構和狗的 姿勢的綜合體。此幅創作於2002年的綠狗即 呈現了他風格的轉變：畫中真正的主體是寬 大的充滿活力的筆觸，它們果斷地構成了畫 面的主題。綠色的筆觸非常薄，在大幅白色 的背景下每一筆都能辨認出來，仿佛一眼即 能看穿狗的靈魂和藝術家的思緒。

Zhou Chunya began to paint Heigen, a shepherd dog, in green for the first time in 1997. In the West, green is a vivid color, representing good fortune. Zhou Chunya explained that it was purely a coincidence. An art critic, Li Xianting, indicated in an article that Zhou Chunya’s adoption of green attributed to his happy love life during that period. In China, green is linked with a positive attitude. There is no preference between the East and the West. But for the image of the dog painting, Zhou Chunya has scarcely anything to imitate. Dog is not a very common theme for painting whether in China or in the West. Therefore, he has tried a very personal means of expression, formed the image with the Western composition, and mingled with the elements of Chinese painting techniques. Much more attention has been focused on the effects of image, but still maintained the expressionism style of language, and created a series of green dogs, which is a popularly appreciated theme.

When Heigen died of an illness in 1999, Zhou Chunya stopped creating “Heigen” series. It is only until early 2001 that Zhou Chunya’s artistic career emerged the new turn. After he experienced the most painful period, the green dogs again appeared in his painting, but these dogs expressed the attitude of the painter and the complex of the frame and the posture of the dog, rather than the Heigen itself. This masterpiece created in 2002 depicting the green dog has shown his change in painting style. The actual subject of the painting is the vital broad brushwork, which constitutes a decisive theme of the picture. Green brushwork is very thin and it sharply against white background, identifying each stroke of the painting, as if the soul of the dog and the feeling of the artist could be penetrated at a glance.

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ZHOU Chunya (b. 1955)

Mountain Rocks 1998 Oil on canvas 100 x 80 cm S igned lower right Z HOU C HUN YA i n Chinese and English, dated 1998

NT$ 3,800,000-5,800,000 US$ 131,000-200,000 HK$ 974,400-1,487,200

周春芽 山石圖 1998 油彩 畫布 100 x 80 cm 簽名右下：1998 周春芽 ZHOU CHUN YA

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山石的畫法是古代山水畫中一個十分重要的 門類，勾、皴、擦、染、點五個步驟，山石 的形態、山石的構造決定了不同的表現手 法，進而形成不同的風格和流派。古代畫家 對自然現象長期觀察提煉出來的筆法符號， 將傳統的中國山石圖塑造的深邃曼妙。與古 代文人的生活方式類似，周春芽會花上一些 時間飲茶、聽古箏、品古韻，探討藝術和人 生。周春芽希望能在自己的畫中以一種「自 然」的基本方法，只用寥寥數筆便將複雜的 生活有力的表現出來。1998年的此幅《山石 圖》畫面線條既圓潤又突兀，表現出了中國 山石的獨特之處——空洞而又飽滿。在周春 芽的畫作中，山石的空洞是由其自身形態決 定的，而其自身形態則完全由藝術家的情緒 支配了整幅畫面。周春芽的山石變成了一種 隱喻，它從傳統中發展出來，並由一種與中 國傳統完全無關的媒介（油彩）在畫布上表 現出來。這呈現出了畫家人格的兩個方面：

過去和現在，中國和西方，「蒼白」和濃重 之間，掙扎，重生。

The brushwork for mountain rock is a very important category for painting landscapes in ancient time. It has five approaches in respect to tick, crimple, rub, dye and dot. The form and the structure of mountain rock decide the expression of the painting methods, and in turn, different styles and genres are formed. The historical observation of natural phenomena by ancient painters has refined a set of writing symbols, depicting the traditional Chinese rocks in a profound miracle. Following similar lifestyle of ancient scholars, Zhou Chunya likes to spend some time drinking tea, listening to zither, appreciating ancient rhyme, discussing art and life. Zhou Chunya has a desire to use merely a few strokes to depict the complex life forcibly in a “natural” basic way. “Mountain Rocks” created in 1998 is composed of rounded and awkward lines, showing the uniqueness of mountain rocks in China - empty and full.

In Zhou Chunya’s painting, the emptiness of mountain rocks is formed by its own shape, but its own shape is entirely dominated by the artist’s mood, which affects the whole picture.

Zhou Chunya’s mountain rocks have become a metaphor, which implies the mountain rocks developed from the tradition, and manifested on the canvas by the media (oil paints) completely unrelated to Chinese tradition. This has reflected two aspects of the artist’s personality: the past and the present, the East and the West, the “paleness” and the strong, between struggle and rebirth.

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ZHOU Chunya (b. 1955)

Flowers 1993 Oil on canvas 60 x 73 cm Signed lower right Zhou Chunya in Chinese, dated 1993

周春芽 花

EXHIBITED: Zhou Chunya. Zeng Fanzhi. Ji Dachun, Longrun Art Beijing, Beijing, June 2006

1993 油彩 畫布 60 x 73 cm 簽名右下：1993. 周春芽

ILLUSTRATED: Zhou Chunya. Zeng Fanzhi, Ji Dachun, Longrun Art Beijing, Beijing, 2006, color illustrated, p. 25

展覽： 「周春芽、曾梵志、季大純」，北京龍人藝 術，北京，2006年6月

NT$ 2,200,000-3,200,000 US$ 75,900-110,300 HK$ 564,100-820,500

圖錄： 《周春芽．曾梵志．季大純》，北京龍人藝 術，北京，2006，彩色圖版，頁25

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JIA Gang (b. 1974)

Don't Do- Great Men's Thoughts Are Shining 2003 Oil on canvas 100 x 120 cm Signed lower right Jia Gang in Chinese and dated 2003

賈剛 不做－偉人的思想放光輝

ILLUSTRATED: Jia Gang - Gesture, New Age Gallery, Beijing, 2007, color illustrated, p. 63

2003 油彩 畫布 100 x 120 cm 簽名右下：2003 賈剛

NT$ 220,000-400,000 US$ 7,600-13,800 HK$ 56,400-102,600

圖錄： 《賈剛─姿態》，新時代畫廊，北京， 2007，彩色圖版，頁63

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115

LI Shuguang (b. 1962)

Happy Moments in The Garden of Chinese Plums No. 2 2007 Oil on linen 150 x 150 cm Signed lower right Li Shuguang in English and dated 2007

NT$ 260,000-380,000 US$ 9,000-13,100 HK$ 66,700-97,400

李曙光 梅花園裡的幸福時光 2007 油彩 亞麻布 150 x 150 cm 簽名右下：Li Shuguang 2007

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CAO Jingping (b. 1972)

Lover 2 Acrylic on canvas 180 x 150 cm Titled on the reverse Lover 2 in Chinese, signed Cao Jingping in Chinese

NT$ 400,000-600,000 US$ 13,800-20,700 HK$ 102,600-153,800

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曹靜萍 情人之二 壓克力 畫布 180 x 150 cm 簽名畫背：《情人之二》曹靜萍

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LUO Qing

羅清 廢墟

(b. 1970)

ILLUSTRATED: Dirty City- Luo Qing, Art Seasons Gallery, Jakarta, 2007, color illustrated, p. 77

2006 油彩 畫布 200 x 170 cm 簽名右下：LQ 簽名畫背：廢墟 Title Yuins 2006 Oil on canvas Luo Qing 羅清

NT$ 500,000-600,000 US$ 17,200-20,700 HK$ 128,200-153,800

圖錄： 《髒城─羅清》，季節畫廊，雅加達， 2007，彩色圖版，頁77

Deserted City 2006 No. 3 2006 Oil on canvas 200 x 170 cm Signed lower right LQ in English Titled on the reverse Ruins in Chinese, dated 2006, signed Luo Qing in Chinese and English, media oil on canvas

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ZHANG Linhai

張林海 雲之十八

(b. 1963)

Cloud Series No. 18 2002-2005 Oil on canvas 51 x 71 cm Signed lower left 2002.11 L. H. Signed on the reverse Cloud Series No. 18 in Chinese, dated 2002.11-2005, Lin Hai in Chinese, Zhang Lin Hai in English PROVENANCE: Schoeni Art Gallery, Hong Kong

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ILLUSTRATED: Zhang Lin Hai, Schoeni Art Gallery, Hong Kong, 2005, color illustrated, p. 153

NT$ 650,000-850,000 US$ 22,400-29,300 HK$ 166,700-217,900

2002-2005 油彩 畫布 51 x 71 cm 簽名左下：2002.11 L. H. 簽名畫背：雲之十八 2002.11-2005 林海 Zhang Lin Hai 來源： 少勵畫廊 ，香港 圖錄： 《張林海》，少勵畫廊，香港，2005，彩色 圖版，頁153

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LUO Fahui (b. 1961)

Big Flower 2006 Oil on canvas 150 x 159 cm Signed lower right LUO Fahui in English, dated 2006

NT$ 800,000-950,000 US$ 27,600-32,800 HK$ 205,100-243,600

羅發輝 花 2006 油彩 畫布 150 x 159 cm 簽名右下：2006 LUO Fahui

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ZHANG Handong (b. 1964)

Southern Region Series -Static Cloud 1998 Oil on canvas 117 x 90 cm Signed lower left Handong in Chinese and dated 98.8 EXHIBITED: China Art Gallery Presentation Exhibition and International Gallery Exhibition, The National Museum of China, Beijing, 2004 ILLUSTRATED: Zhang Handong Collection, People Fine Art Publisher, Beijing, 2000, color illustrated, p. 10

NT$ 300,000-500,000 US$ 10,300-17,200 HK$ 76,900-128,200

張漢東 南域系列－靜雲 1998 油彩 畫布 117 x 90 cm 簽名左下：漢東 98.8 展覽： 「中國畫廊推介展暨國際畫廊邀請展」，中 國國家博物館，北京，2004 圖錄： 《油畫作品優選畫庫－張漢東專集》，人民 美術出版社，北京，2000，彩色圖版， 頁10

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LU Shun (b. 1966)

The Wonderful Pigs of Oz 2006 Oil on canvas 200 x 150 cm Signed lower right Lu Shun in Chinese, dated 2006.3 ILLUSTRATED: Avant-garde Artists of Today-Lu Shun, Sichuan Fine Arts Publishing House, Chengdu, 2006, color illustrated, p. 8

NT$ 700,000-950,000 US$ 24,100-32,800 HK$ 179,500-243,600

呂順 綠野仙豬 2006 油彩 畫布 200 x 150 cm 簽名右下：呂順 2006.3 圖錄： 《今日新銳藝術家－呂順》，四川美術出版 社，成都，2006，彩色圖版，頁8

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ZHAO Nengzhi (b. 1968)

Floating Series 1996 Oil on canvas 197 x 148.5 cm Signed lower right ZHAO NEN ZHI in Chinese and English, dated 1996

NT$ 900,000-1,800,000 US$ 31,000-62,100 HK$ 230,800-461,500

趙能智 漂浮系列 1996 油彩 畫布 197 x 148.5 cm 簽名右下：ZHAO NEN ZHI 1996 趙能智

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ZHANG Xiaotao (b. 1970)

The Decay of Landscape: Cloud and Mist 2006 Oil on linen 150 x 120 cm Titled on the reverse The Decay of Landscape: Cloud and Mist in Chinese, size 150 x 120 cm, oil on linen, Zhang Xiaotao in Chinese and dated 2006.4

NT$ 950,000-1,500,000 US$ 32,800-51,700 HK$ 243,600-384,600

張小濤 潰爛的山水：雲煙 2006 油彩 亞麻布 150 x 120 cm 簽名畫背：潰爛的山水：雲煙 150 x 120 cm 亞麻油彩 張小濤 2006.4月

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YANG Din (b. 1958)

L'arbre et citron (Tree and Lemon) 2000 Oil on canvas 205 x 240 cm Signed lower right Yang Din in English Signed on the reverse Yang Din in English, titled Arbre et Citron in French, dated 1999 and size 205 x 240 cm ILLUSTRATED: Yang Din, Kwai Fung Hin Art Gallery, Hong Kong, 2002, color illustrated, p. 69

NT$ 1,100,000-2,300,000 US$ 37,900-79,300 HK$ 282,100-589,700

楊登雄 樹與檸檬 2000 油彩 畫布 205 x 240 cm 簽名右下：Yang Din 簽名畫背：Yang Din Arbre et Citron 1999 205 x 240 cm 圖錄： 《楊登雄》，季豐軒畫廊，香港，2002，彩 色圖版，頁69

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XIA Junna (b. 1971)

Lady at the Concert 2001 Oil on canvas 153.5 x 70 cm Signed lower left XJN in English and dated 2001

NT$ 1,000,000-2,000,000 US$ 34,500-69,000 HK$ 256,400-512,800

夏俊娜 聽琴圖 2001 油彩 畫布 153.5 x 70 cm 簽名左下：XJN 2001

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TU Hongtao (b. 1976)

Dream Theater 2004 Oil on canvas 180 x 131 cm Signed lower right Tutu in English and dated 2004 EXHIBITED: Living in Chengdu, Contemporary Oil Painting A rt Exhibition, She nz he n Ar t M use um , Shenzhen, 2005 Living in Chengdu, Contemporary Oil Painting Art Exhibition, Modern Art Museum, Chengdu, 2005

屠宏濤 夢幻劇場 2004 油彩 畫布 180 x 131 cm 簽名右下：Tutu 2004

ILLUSTRATED: Lu Hong, China Avant-Garde Art 1979-2004, Hebei Fine Arts Publisher, Shijiazhuang, 2006, color illustrated, p. 40

展覽： 「居住在成都─當代油畫展」，深圳美術 館，深圳，2005 「居住在成都─當代油畫展」，成都美術 館，成都，2005

NT$ 1,200,000-2,600,000 US$ 41,400-89,700 HK$ 307,700-666,700

圖錄： 魯虹《越界先鋒藝術1979-2004》，河北美 術出版社，石家莊，2006，彩色圖版，頁40

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YANG Qian (b. 1959)

Beijing Bathroom Series No. 5 2006 Oil on canvas 140 x 160 cm Signed on the reverse Yang Qian in Chinese and English, dated 2006 This painting is to be sold with a certificate of authenticity issued by Ming Art Gallery, Taichung

NT$ 1,500,000-2,800,000 US$ 51,700-96,600 HK$ 384,600-717,900

楊千 北京浴室系列 No. 5 2006 油彩 畫布 140 x 160 cm 簽名畫背：楊千 Yang Qian 2006 附旻谷畫廊開立之原作保證書

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LI Lei (b. 1965)

Abstract in Black and White 2006 Oil on canvas 180 x 150 cm Signed upper left Li in Chinese and Li Lei in English Signed on the reverse Li in Chinese, Li Lei in English, dated 2006, painted in the studio of Jinyu Rd., Shanghai.

EXHIBITED: Shanghai Abstract Art Exhibition, Mingyuan Art Center, Shanghai, 2006 ILLUSTRATED: Biography of Chinese Contemporary ArtistsLi Lei, Poetic Abstract, China Academy of Art Publishing House, Hangzhou, 2007 Nowadays Chinese Artists- Li Lei, Sichuang Fine Arts Publishing House, Chengdu, 2007

NT$ 550,000-850,000 US$ 19,000-29,300 HK$ 141,000-217,900

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李磊 昨夜黑白任恣暢 2006 油彩 畫布 180 x 150 cm 簽名左上：李 Li Lei 簽名畫背：昨夜黑白任恣暢 李 Li Lei 2006 年于上海金雨路畫室 展覽： 「上海抽象藝術大展」，明圓藝術中心， 上海，2006

圖錄： 《中國當代藝術家畫傳－李磊．詩意的抽 象》，中國美術學院出版社，杭州，2007 《今日中國藝術家－李磊．樓高人遠天如 水》，四川美術出版社，成都，2007

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薛松

XUE Song

星美人

(b. 1965)

Star- Beauty 2007 Mixed media on canvas, collage 60 x 60 cm Signed lower right Xue Song in Chinese Signed on the reverse Xue Song in Chinese and English, titled Star-Beauty in Chinese and dated 2007

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ILLUSTRATED: The Sichuang Movement, New Paintings from China, 16 Sichuang Artists Joint Exhibition, L i n d a G a l l e r y, S i n g a p o r e , 2 0 0 8 , c o l o r illustrated, p. 72

NT$ 350,000-500,000 US$ 12,100-17,200 HK$ 89,700-128,200

2007 綜合媒材 拼貼 畫布 60 x 60 cm 簽名右下：薛松 簽名畫背：《星美人》60 x 60 cm 薛松 Xue Song 2007 圖錄： 《川流：來自中國的新繪畫．四川藝術家16 人作品聯展》，林大畫廊，新加坡，2008， 彩色圖版，頁72

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XIA Junna (b. 1971)

Evening Banquet & Pop Concert (a set of 2) 2001 Oil on paper 37.5 x 27 cm 41 x 29 cm Signed lower right XJN in English and dated 2001.4 ILLUSTRATED: Paintings by Xia Junna, Chin Der Jyu Gallery, Taipei, 2002, color illustrated, p.16 & p.106 Drawing World of Xia Junna, Liaoning Fine Arts Press, Shenyang, 2003, color illustrated, p. 94 (Evening Banquet)

NT$ 400,000-550,000 US$ 13,800-19,000 HK$ 102,600-141,000

夏俊娜 晚宴 & 流行音樂會（2件1組） 2001 油彩 紙本 37.5 x 27 cm 41 x 29 cm 簽名右下：XJN 2001.4 圖錄： 《夏俊娜畫集》，沁德居畫廊，台北， 2002，彩色圖版，頁16、頁106 《夏俊娜的繪畫世界》，遼寧美術出版社， 瀋陽，2003，彩色圖版，頁94（晚宴）

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CUI Xiaodong (b. 1964)

Dreamland 1993 Oil on canvas 115 x 87.5 cm Signed upper left Cui Xiaodong in Chinese, dated 93.3

NT$ 300,000-500,000 US$ 10,300-17,200 HK$ 76,900-128,200

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崔小冬 夢境 1993 油彩 畫布 115 x 87.5 cm 簽名左上：崔小冬 93.3

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XIAO Ping (b. 1968)

Face to Face 2007 Oil on canvas 190 x 150 cm Signed lower right Xiao Ping in Chinese and English, dated 2007

NT$ 350,000-550,000 US$ 12,100-19,000 HK$ 89,700-141,000

肖平 面對面 2007 油彩 畫布 190 x 150 cm 簽名右下：肖平 2007 Xiao Ping

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XUE Song

薛松 與弘仁對話 2

(b. 1965)

2006 綜合媒材 畫布 拼貼 50 x 100 cm 簽名右下：薛松 簽名畫背：《與弘仁對話》100 x 50 c m 薛松 Xue Song 2006

Dialogue with Hong Ren 2 2006 Mixed media on canvas, collage 50 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, size 100 x 50 cm and dated 2006

ILLUSTRATED: Xue Song, Linda Gallery, Jakarta, 2007, color illustrated, pp. 38-39

展覽： 「回古，薛松個人展」，林大畫廊，新加 坡，展期自2007年6月9日-24日

EXHIBITED: Picking the Pieces: Xue Song Solo Exhibition, Linda Gallery, Singapore, Jun 9- 24, 2007

NT$ 400,000-700,000 US$ 13,800-24,100 HK$ 102,600-179,500

圖錄： 《薛松》，林大畫廊，雅加達，2007，彩色 圖版，頁38-39

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REN Rong (b. 1960)

Headgear of Mao 2007 Oil on canvas 200 x 150 cm Signed on the reverse Ren Rong in Chinese and English, dated 2007.3.2

NT$ 450,000-700,000 US$ 15,500-24,100 HK$ 115,400-179,500

任戎 八角帽 2007 油彩 畫布 200 x 150 cm 簽名畫背：任戎 Ren Rong 2007.3.2

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HUANG Gang (b. 1961)

My Box 2007 Mixed media on board 122 x 244 cm Signed lower right Huang Gang in English and Chinese ILLUSTRATED: Huang Gang, Linda Gallery, Beijing, 2008, color illustrated, pp. 26-27

NT$ 950,000-1,800,000 US$ 32,800-62,100 HK$ 243,600-461,500

黃鋼 我的箱子 2007 綜合媒材 木板 122 x 244 cm 簽名右下：Huang Gang 黃鋼 圖錄： 《黃鋼》，林大美術館出版，北京，2008， 彩色圖版，頁26-27

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黃鋼從80年代開始研究西藏藝術產生的社 會、宗教、哲學背景。之後，他以一種不同 於其他藝術家，前所未有的藝術方式創作了 系列作品。他的畫總是不滿足於平面的視覺 層次，有著很厚重的感覺。但在作品的表現 上，又簡單直接、自由揮灑，東方精神在這 種衝突的風格下得到了新穎與深刻的表達。 《我的箱子》描繪在壯麗的雪山背景下，強 烈的紅五星呈現在雪山之間，代表著溫情家 庭與歲月的流逝的西藏傳統的古皮箱，意喻 人生哲理和宗教哲學的經版橫貫整個畫面， 畫面和諧，卻遍佈衝突。在黃鋼的作品中， 衝突無處不在。這種衝突，強調力量與和諧 的相關性和對比度，從書法系列，到曼陀鈴 系列、經版系列、雪域系列、紅五星系列， 一方面是高昂的鬥爭精神，一方面又試圖回 歸內心，獲得平衡。完全不同的道理，人生 的紅與黑，都容納其中。藝術家將西藏古藝 術融入當今的時代語言，營造現代裝置的格 調。在動感的筆觸與溫暖的色調下，表現了 強烈的人文關懷。

Huang Gang started studying the social, religious and philosophical background for creation of the Tibetan art since 1980s. Then, he created a series of artworks by an unprecedented style not ever used by other artists. In his drawings,

he is never satisfied with visual aspect of planes and he attaches importance to intensive feeling.

However, the expression of his works is simple, direct, and free. The Eastern spirit is disclosed innovatively and deeply in this contradictory style.

“My Box” depicts a traditional, ancient Tibetan leather box in the context of grandiose snow mountains where there are shining red pentacles, representing the warmness of family and passing years. This is the metaphor of philosophies of human life and the religious philosophy across the entire image. The picture is harmonious and yet full of contradictions. Conflicts are everywhere in Huang Gang’s works. This kind of conflict emphasizes the relevancy and contrast of strength and harmony. Those works, from calligraphy series to mandolin series, recital series, snow region series, and red pentacle series, highlight elated struggling spirit on the one hand and try to return to the inner side and achieve leverage on the other hand. Absolutely different rules and the red and black of human being are all included. The artist integrates ancient Tibetan arts into today’s language of time, creating the style of modern deco. Amid dynamic brushwork and warm tone, intense cultural care is extended and revealed.

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XUE Song (b. 1965)

Mao Zedong 2004 Mixed media on canvas, collage 120 x 100 cm Signed lower right Xue Song in Chinese Titled on the reverse Mao Zedong in Chinese, signed Xue Song in Chinese and English, size 120 cm x 100 cm and dated 2004

NT$ 1,100,000-2,300,000 US$ 37,900-79,300 HK$ 282,100-589,700

薛松 毛澤東 2004 綜合媒材 畫布 拼貼 120 x 100 cm 簽名右下：薛松 簽名畫背：《毛澤東》120 c m x 100 c m 薛松 Xue Song 2004

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LI Shuang (b. 1957)

Moonlight Shadow 2006 Oil on canvas 165 x 300 cm Signed lower left Lishuang in Chinese and English, dated 2006

NT$ 1,900,000-3,000,000 US$ 65,500-103,400 HK$ 487,200-769,200

李爽 千古盈虧休問 2006 油彩 畫布 165 x 300 cm 簽名左下：李爽 Lishuang 2006

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ZHANG Linhai (b. 1963)

Paradise Series No. 36 2005 Oil on canvas 80 x 100 cm Signed right center Linhai in Chinese and dated 2005.6 Titled on the reverse Paradise No. 36 in Chinese, signed Zhang lin hai in Chinese and English, dated 2005.6

NT$ 1,700,000-3,000,000 US$ 58,600-103,500 HK$ 435,900-769,200

張林海 天堂系列 No. 36 2005 油彩 畫布 80 x 100 cm 簽名右中：2005.6 林海 簽名畫背：《天堂》之三十六 2005.6 林海 Zhang lin hai

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張林海的少年時期一直在河北省涉縣度過。 在地理的歸屬上，位於太行山東麓的涉縣， 行政上隸屬河北省，地理位置則為山西、河 北、河南三省的交界處。在抗戰時期，因劉 伯承和鄧小平運籌赤岸、八路軍一二九師鏖 戰太行這一重大戰役而使涉縣名垂青史。 但這一重大意義卻絕非藝術家的創作著力 點。張林海作品中反覆、長期出現的涉縣山 村層迭錯落壘起來的石頭房子和光頭的少年 形象，有著某種不可分割的聯繫，這一方面 和藝術家少年時期的生活經歷密不可分，另 一方面藝術家通過這兩個緊密相連的畫面元 素，重複的形象、帶有超現實主義的風格， 構成了張林海的畫面特點，也構成了藝術家 的精神意象：無論是孱弱的光頭少年，還是 烏雲遍佈、壓頂而來的天空，張林海的作品 裡不掩憂鬱和傷感。在中國當代藝術家的創 作群落中，擁有版畫系背景的藝術家創作實 力不俗。在張林海的畫面中，平整卻極具空 間感的畫面同樣出自藝術家版畫的創作基 礎。

Zhang Linhai spent all his youth at Shexian County in Hebei Province. Situated at the east foot of Taihang Mountain, Shexian County is under jurisdiction of Hebei Province and is geographically located at the junction of three provinces, namely Shanxi, Hebei and Henan provinces. During the Anti-Japanese War,

Liu Bocheng and Deng Xiaoping strategically carried out a significant campaign at Taihang Mountain and 129 Division of the Eighth Route Army fought hard with the Japanese army, which made Shexian County well known in history. However, this significant campaign has never been emphasized by the artist on his creation. The stone houses scattered and piled up at the village in Shexian County have repeatedly appeared in Zhang Linhai’s works and these stone houses has some inextricably linked with an image of baldish boy, which reflects inseparably the life experience of the artist during his youth. On the other hand, the artist adopts these two closely linked elements in his painting with repeated images and surrealistic style, forming the characteristics of Zhang Linhai’s painting and spiritual imagery of the artist. Whether the frail baldish boy or dark clouds spread all over with a falling sky, Zhang Linhai’s works are full of depression and sadness. Among the creative community of Chinese contemporary artists, the artist who can make the engraving with a background is unconventional powerful in creation. Though Zhang Linhai’s paintings are plain and even, they have great sense of space, which is derived from the artist’s creative foundation in the engraving.

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LU Hao (b. 1969)

Vanishing Home No. 16 2006 Oil on canvas 170 x 150 cm Titled on the reverse Vanishing Home No. 16 in Chinese, dated 2006, signed Lu Hao in Chinese and size 150 x 170 cm

NT$ 2,400,000-3,200,000 US$ 82,800-110,300 HK$ 615,400-820,500

盧昊 消失的家園系列之十六 2006 油彩 畫布 170 x 150 cm 簽名畫背：2006 消失的家園系列之十六 盧昊 150 x 170 cm

盧昊，作為中國當代前衛藝術中最早成名的 藝術家之一，有著別具一格的藝術理念。畢 業於中央美術學院國畫系的他，參加過威尼 斯雙年展和里昂雙年展等世界一流的雙年 展，「以中國的形式創作當代藝術」是其最 具典型性的藝術風格。關於自己以中國文化 為創作主線的理念，盧昊的解釋是：「我是 中國人，中國人就應該以中國的形式玩當代 藝術。我很欣賞用鋼琴玩搖滾樂的人，他們 完全拋棄了吉他、長髮、皮夾克這些搖滾的 元素，但同樣把搖滾樂玩的很好。中國人如 果能用自己的文化模式玩搖滾樂，甚或也讓 西方人用中國的文化模式，比如用二胡去玩 搖滾樂，那中國人就真成功了。當代藝術也 應如此。」「消逝的家園系列」是其以中國 傳統「建築」作為母題的代表作品系列，油 畫的材質與國畫的構圖和呈現，敏銳的創作 手段對應了中國社會變遷中所引發的城市系 列問題，建築和家園是他切中的中國現實社 會中最基本的問題，那就是城市建築的迅速 崛起與傳統家園形態的分崩離析。整個中國 的社會命題及文化命題被藝術家縮影在一棟 棟熟悉又明顯已被改變的「家園」中，在此 作品中，藝術家用幾筆近景的白色筆觸，改 變了畫面結構的同時，彷彿連時間的消逝一 併呈現在了眼前。

Lu Hao, one of the first famous artists in the modern avant-garde art in China, boosts a unique artistic concept. Graduated from the Department of Chinese Painting at the Central Academy of Fine Arts, he ever showed his works at Venice Biennale and Lyon Biennale. It

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is his more representative artistic style to “create modern art with Chinese style”. Regarding his philosophy of centering on the Chinese culture for his works, Lu Hao explains: “I am Chinese.

Chinese have to deal with modern art with the Chinese style. I appreciate much those rockand-roll men playing with piano because they discard guitar, long hair, leather jacket and some other rock-and-roll elements completely but they still play rock-and-roll well. It will be a real success if Chinese could play rock-androll with our own culture or even make the Western do so with the Chinese cultural form, such as urheen. This also applies to modern art.” “Vanishing Home” Series is one of his typical works with the traditional Chinese “architecture” as the theme. The texture of oil painting and composition and presentation like Chinese painting as well as acute means of creation correspond to a series of urban issues incurred by the transitions in the Chinese society. Architecture and home are the most fundamental issues he deals with towards modern society in China, which means the rapid uprising of urban architectures and the traditional pattern of home that is falling into pieces. The proposition of the entire society in China and the cultural proposition are reduced, by the artist, to the “homes”, one after another, that are familiar and yet apparently changed.

In the works, the artist changes the structure of the image with a few brushworks in white color for close shot whilst, seemingly, presenting the passing of time at one moment.

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SU Xinping (b. 1960)

Sea of Desire No. 32 1995 Oil on canvas 202 x 139 cm Signed lower right Su Xinping in English, dated 1995 Signed on the reverse Su Xinping in English, titled Sea of Desire No. 32 in Chinese

NT$ 3,200,000-4,800,000 US$ 110,300-165,500 HK$ 820,500-1,230,800

蘇新平 欲之海 32號 1995 油彩 畫布 202 x 139 cm 簽名右下：Su Xinping 1995 簽名畫背：欲之海 32號 Su Xinping

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YIN Zhaoyang (b. 1970)

Dark Blue 2005 Oil on canvas 180 x 120 cm Signed on the reverse Zhaoyang and titled Dark Blue in Chinese, dated 2005

NT$ 5,200,000-6,200,000 US$ 179,300-213,800 HK$ 1,333,300-1,589,700

尹朝陽 深藍 2005 油彩 畫布 180 x 120 cm 簽名畫背：《深藍》朝陽 2005年

尹朝陽的繪畫開啟了70年代出生的一代人青 春感傷的抒情主題，並真正開始塑造這一代 人自己的自我形象和情感特徵。以時間的距 離，關於「毛」的重大概念，對於尹朝陽這 些更為年輕的藝術家來說，模糊的或許是記 憶，生動的依然是認知。毛澤東的形象作為 一種社會歷史遺產，各種方式的使用是一個 非常耐人尋味的社會現象。70年代後的尹朝 陽以自己的經驗解讀並敘述著一個輝煌的時 代的形象。他以自己獨有的氣勢，在眾多以 「毛」為題材的作品中獨樹一幟。他以不同 背景創作的毛澤東常常像一個寓言，即使 如同這幅如此簡單構圖的《深藍》，以顏色 對比烘托出人物形象的體態和氣質，藝術家 呈現的仍是具有自己鮮明風格的恢宏敘事和 沉重思考。同絕大多數紅色的毛系列相比， 藍色背景突出了色彩與寓意的巨大反差，冷 靜和熱烈的暗示呼應著時間和時代的對話。 此作品同樣彰顯了藝術家的創作風格：哪怕 在畫一個肖像、畫一個人物的時候都有敘事 性。不管他用表現主義、還是寫實的表達方 式，都隱含著這種敘事性風格。

The drawings of Yin Zhaoyang open the theme of expressing emotion for the sorrow towards youth by the generation born in 1970s. They are genuinely building the image and emotional features of this generation. Regarding the

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distance of time and the significant concept of “Mao”, what is fuzzy may be memory for the younger generation artists such as Yin Zhaoyang and what is vivid is still cognition. The image of Mao Zedong, a kind of social and historical heritage, relates to a social phenomenon affording for thought for the diversified uses.

Yin Zhaoyang, born in 1970s, is interpreting and describing a splendid image of that era with his own experience. His works are unique among numerous like ones under the theme “Mao” with his unprecedented demeanor. Yin Zhaoyang’s works in relation to Mao Zedong always represent an allegory. Even this “Dark Blue”, featuring such simple drawing and composition, contrasts the pose and temperament of the figure with colors. The artist has still presented the grand story and solemn thinking of his distinct style. Compared with a majority of other Mao series in red color, the blue background addresses the sharp difference of color and meaning. The self-possessed and enthusiastic implications both echo to the dialog of time and times. This work also reveals the artistic style of the artist: an artwork must be story-telling when carrying only one portrait or one figure. It always implies narrative style whether he adopts expressionism or realism.

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ZENG Fanzhi (b. 1964)

We Series: Mao Zedong

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。

2002 Oil on canvas 100 x 100 cm Signed lower right ZENG Fanzhi in Chinese

NT$ 6,400,000-9,800,000 US$ 220,700-337,900 HK$ 1,641,000-2,512,800

曾梵志 我們系列：毛澤東 2002 油彩 畫布 100 x 100 cm 簽名右下：曾梵志 來自中國湖北武漢的當代藝術家曾梵志， 1991年以強烈表現主義風格的「協和醫院」 聯作系列崛起於藝壇，1994年又以象徵性、 隱喻性的「面具」等系列作品聞名國際，極 具個人化的語言，成為他的標誌符號。而他 在嫻熟掌握表現主義的技法之餘，卻也刻意 抑制這項專長，僅僅著重於在對象手與臉的 表達而已。而為求持續探索新的繪畫語言， 他不時地加入更多抽象的概念。過去代表 作的面具符號，2001年起逐漸從他的肖像畫 中消失，隱藏著內在衝突、痛苦的臉孔，不 再隱身於面具之後。透過畫筆與線條的自由 律動，加入新的情感，轉型嘗試新形態的肖 像畫，那是2002年他開始著手的「我們」系 列，時間雖然短短一年，但它卻貫穿了曾梵 志前後的創作階段。2003年在上海美術館以 「我．我們」為名舉辦其盛大個人畫展。 藝評家黃篤對「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 面中完成清晰的形像，然後右手夾上兩枝油

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曾梵志也認為，中國人擅長使用筷子，因此 手的使用尤其靈活。他嘗試順筆畫畫，但看 見的僅是筆，沒有特殊之處，但是反著畫 時，卻出現驚奇的效果。他喜歡使用單色， 層層的單一顏色攪在一起時，產生自動性的 繪畫效果。經過了「我們」系列的螺旋式畫 法，曾梵志近期轉而更重視用筆，創作出流 動飛舞的書法性線條的「亂草系列」。「我 們系列」可說扮演了曾梵志創作脈絡中極為 關鍵的轉折階段。而這些以線條、運筆的繪 畫方式，呼應了中國傳統書藝「用筆」的特 點。顯示了藝術家力求在繪畫中創作發掘創 新的力量及可能。 一張張臉的局部，從一個清晰的形象開始， 單色螺旋狀的筆觸在畫面中游移，形象逐漸 地模糊隱沒，產生破壞性的感覺，臉孔被筆 觸所分割，當筆觸越多時，形象越顯模糊， 乍看時彷彿沾滿雨滴的毛玻璃外的形象，當 觀者退後一定距離之後，形象卻又再度鮮明 了起來。曾梵志戲稱之為像絞肉機絞過的皮 膚一般，圓圈圈分割後的畫面，在視覺上造 成一種不安定的感覺。他說到：「我是從一 個有意思的最小的局部開始，把屬於我自己 的東西慢慢擴大到整個畫面。轉圈也是一種 符號，其實是很殘酷的一種破壞性感覺，把 臉給分割了。」藝評家栗憲庭在一次與曾梵 志的對話裡，讚譽這批「我們」系列作品有 大師風範，有氣派。他認為之前的作品風格 完整，但此系列氣派大。在抽象的過程中， 把細小的東西被放大了。 「我們」系列並非與曾梵志過去的藝術完全 割裂，正如同畫家所感，這些肖像畫貫穿了 過去和未來的創作。昔日「協和醫院」系列

曾梵志《我》 ZENG Fanzhi, I, oil on canvas (triptych), 150 x 150 cm (each), 2003

時的局部，如人物與靜物的衣褶、細部，已 可見螺旋形的筆觸雛形。這種畫法是畫家多 年的一種習慣，有個人最自然的感覺。 而 從「醫院」、「面具」等系列以來，帶有 矯飾意味的粉紅色，是他偏愛的顏色。在 2002-2003年間的「我們系列」中，粉紅、 紅色也是其中最特出的主調。「紅光亮」是 文革時期的視覺趣味，符合時代政治精神的 要求，美術評論家劉驍純認為，「紅光亮」 既是一種政治意識，也是一種集體無意識。 毛澤東的臉龐，對於經歷過紅色時期的中國 人而言，無非都是一種共同的記憶。從具體 的自我身分，到抽離出來的他者的凝視；從 具有個性的臉龐，到沒有個性的臉龐，抽象 化的毛澤東，正也是經歷文革後中國當代社 會的集體面孔。於是，曾梵志說：「那是 我，也是我們。」

Contemporary Chinese artist Zeng Fanzhi, hailing from Wuhan in Hubei Province, first burst onto the art scene in 1991 with

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his extremely expressionist Hospital Series, which was followed in 1994 by the symbolicmetaphorical “Mask Series”. These and a number of other works established Zeng as a painter of international standing, his highly individualized artistic language quickly becoming his trademark. In addition to being very much at home in expressionist styles, Zeng has also produced a number of works in which he controls his more exuberant creative urges to focus on the hands or faces of his subject matter.

In constant search of new ways of articulation, Zeng began to add abstract elements to his art, and since 2001 the mask symbolism that long dominated his portrait output disappeared from his work: now the previously hidden faces with their expressions of conflict and pain are suddenly revealed to the observer.

Free-flowing lines and brushstrokes add a new emotional dimension to his portrayals, and the “We Series”, on which the artist began to work in 2002, is in many ways representative of the artist’s entire expressive spectrum—

even though it was completed in about a year’s time. It went on show at the Shanghai Fine Arts Museum in a 2003 solo exhibition titled “I · We”.

Art critic Huang Du wrote about Zeng’s “We Series”, “The Core of Zeng’s painting is the movement of strokes, which negates all narrative features and language. Yet there is a very individual logic to the paintings’ patterns and rhythm.” Huang goes on to explain the artist’s creative method: first outline a lucid image that serves as the center of the composition, and then apply color with two simultaneously wielded brushes. The one between the index finger, middle finger and thumb of the right hand controls the outflow of the artist’s habits, his rationality and his experiences. The one between the middle finger and the ring finger of the same hand gives free expression to the artist’s creative powers, unrestrained by logic or reason. This is how a subtle balance is achieved between

the concrete and the abstract. In terms of brushwork and attention to fine detail, Zeng stands out as one of the most meticulous workers among modern Chinese artists.

Zeng himself believes that the Chinese people’s habit of eating with chopsticks has given them particularly dexterous hands. He declares that when painting with a “smooth brush” (with the grain, so to speak) he felt that brushstrokes remained brushstrokes without much expressive quality. This changed radically when he painted “against the grain”. What does this mean? Zeng likes to employ simple colors, relying on the application of numerous layers and shades to make his monochrome compositions come alive. Following the spiral brushstroke phase of the “We Series”, Zeng has recently begun to put more emphasis on rhythmically flowing strokes reminiscent of Chinese calligraphy. These clearly dominate his recent “Wild Cursive Series”. Looking back, then, one can say that the “We Series” was a crucial juncture and turning point in Zeng’s creative development and that through a long arc from expressionism via symbolism and abstract expressionism, the artist has finally rediscovered his roots in the Chinese tradition.

In his latest oeuvre, the Chinese elements are reverberating with especial force, both in terms of formal arrangement and brushstroke execution. We are witnessing a painter deeply involved in the fascinating process of tapping new creative resources and exploring new artistic possibilities.

As for the “We Series”, the composition of every single face begins with the outlining of distinct basic contours, which are elaborated

with spiral brushstrokes gliding purposefully across the canvas. This creates an oscillating effect of vagueness, with the image now appearing out of the rounded strokes, now disappearing again behind the spiraled lines. It is as if the iconic representation we are looking at is being cut into countless segments, and a sense of destructive power prevails, paradoxically achieved through round strokes and soft color. The more lines are added, the blurrier the image becomes, until the face seems to gradually vanish behind a curtain of raindrops on a pane of frosted glass. But then you take a few steps back, and immediately the facial features become visible again. Zeng half-jokingly dubs this technique as “skin run through the meat grinder”, which is one way to describe the feeling of visual anxiety generated by the painting’s segmentation through spiraled strokes. Zeng says, “I start with the smallest single meaningful unit, and then proceed to expand it from there, until I have filled the entire canvas with my personal vision. Circles and spirals are also a kind of symbolic code, representing the cruel reality of destruction and deconstruction as the face is broken up into many small parts.” During a conversation with the artist, art critic Su Xianting once praised the “We Series” as the exceptional work of a true master. Su’s opinion is that while Zeng’s earlier works excel because of their polished and integrated style, the “We Series” exudes true magnificence and vision. The details, all the component parts are raised to prominent status in the process of abstraction.

The “We Series”, for all its innovative drive, by no means represents a complete break

with Zeng Fanzhi’s earlier work. As the artist himself agrees, these iconic images span the entire range of his creative strength, rooted in the past and pointing to the future.

We can already catch the first glimpses and adumbrations of the spiral brushstroke style in the “Hospital” Series, in particular in the small details of figures and objects, such as the creases and folds in the fabric of clothes.

In other words, this special technique was developed over many years, and has become second nature to the artist, the most natural way to express himself. Ever since the “Hospital” Series and the “Mask Series”, evasive pink tones have been the artist’s preferred color. In the 2002-2003, “We Series”, shades of pink and red are again the dominant colors.

Art critic Liu Xiaochun feels that Zeng’s palette is also making a political statement, reflecting a collective memory of the Cultural Revolution, albeit a memory that is gradually sinking to the depths of the subconscious.

The face of Mao Zedong is an image etched in the minds of all Chineses who have lived through the period of the Great Cultural Revolution and the Red Guards. The process by which this collective memory is slowly metamorphosing, and eventually fading, is aptly mirrored in this painting: from concrete reality to abstracted entity, from direct concern to distanced observation, from a unique face with characteristic features to a formulaic countenance devoid of any distinctive qualities—through all these steps and phases, this “abstract” Mao Zedong reflects the development of Chinese society since the Cultural Revolution. Therefore, so Zeng Fanzhi, “That is me, and it is us.”

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YIN Zhaoyang (b. 1970)

Rent Collection Courtyard (diptych) 2007 Oil, glitter, silver foil on canvas 180 x 400 cm Signed on the reverse Zhaoyang in Chinese and dated 2007.5 EXHIBITED: Art Beijing 2007 Contemporary Art Fair, Tang Contemporary Art Center, Beijing, September 20-23, 2007

NT$ 14,000,000-22,000,000 US$ 482,800-758,600 HK$ 3,589,700-5,641,000

尹朝陽 收租院（雙聯幅） 2007 油彩 亮粉 銀箔 畫布 180 x 400 cm 簽名畫背：朝陽 2007.五 展覽： 「藝術北京2007當代藝術博覽會」，當代唐 人藝術中心，北京，展期自2007年9月20日 至9月23日

尹朝陽是中國70年後的代表藝術家之一，他 的作品流露出對現代人性的反省及存在主義 式的質疑，在新生代藝術家行列佔有一席開 創地位。中國藝評家朱其認為，「尹朝陽的 繪畫開啟了70年代出生的一代人青春感傷 的抒情主題，並真正開始塑造這一代人自己 的自我形象和情感特徵。」而繼青春殘酷、 神話、烏托邦等系列之後，尹朝陽以「眩」 為系列主題，流動的記憶為闡述觀念，在 2007年發表新的繪畫創作，另類角度審視文 革前後的歷史，《收租院》就是其中非常精 彩的代表。 《收租院》一作借用極富感染力的「收租 院」經典群像，透過多組漩渦狀的繪畫處 理，再現記憶裡的紅色時期樣板。《收租 院》雕像之起源，乃是1965年四川美術學院 集合教授、學生以及民間藝人，以地主剝削 農民收租為題，合力製作的泥塑群雕。該組 群像符合當時官方誇大階級鬥爭之政治需 求，因而在中國大受歡迎，曾被比喻為雕塑 藝術的文化革命。後來雕像和相關圖像不斷 地以各種方式被複製、宣傳，漸漸成為階級 鬥爭時期的經典象徵圖騰，也是文革時期的 「政治藝術」的代表。 瑞士藝評家史澤曼（Harald Szeemann, 19332005）有意邀請「收租院」雕像參加1972年 他所策展的卡塞爾文件展，後來因故未能成 行。1999年當他策劃48屆威尼斯雙年展時， 委託藝術家蔡國強「以行為藝術方式」在展 覽其間複製了《威尼斯收租院》，蔡國強因 此獲得當年的金獅獎，在藝術界一度掀起作 品版權及闡述的巨大爭議。史澤曼是發掘中 國當代藝術有功的重要藝評人，看重「收租 院」所反映的中國政治現實及文化影響。 尹朝陽出生於1970年，當時正值文化大革命

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期間，雖然文革結束至今超過三十年，但那 些看似熟悉、清晰的典型的形象，隨著時間 的更迭，解讀與思考的方式已不復當年了。 畫家以鋸齒狀的刮刀在畫面中旋轉著，畫出 了一圈圈同心圓，它們像是時間的洪流，從 畫面的一點向外不斷擴散，時間的流轉下， 在畫面留下依稀可辨的身影，它們不再是具 體的形象，模糊地如同幻影一般。時間，就 像巨大的力量改變了一切的樣貌，而擅長敘 事風格的藝術家，也在其中加諸其無窮的力 量。 尹朝陽在一次訪談中提到近期的創作，他 提到：「我這一兩年對時間的概念非常感 興趣，包括記憶在內的所有的東西，時間都 會模糊你對那個東西最初的印象，記憶也 好，印象也好，應該說我的創作是和時間對 應的，是我這一階段的某種思考過程…。」 「…『眩』作品自然也就對應了我現階段的 狀態，但無論怎樣，我想我所有的作品都存 在著一個線索：那就是對於語言的迷戀。 『眩』系列也是我語言的一種推進，它帶有 強制、破壞、模糊的色彩，具有一種的莫名 其妙的感覺。」（摘自《東方藝術財經》2007年第三 期5月上）

尹朝陽的巨幅創作—《收租院》，以不對等 的雙聯幅組成，它們宛如時間的座標軸：左 端的人物是近黑色的單色畫，右端的人物則 披覆紅黃藍的鮮明彩色。歷史和現實之間產 生了巨大的反差，眩人目光的漩渦，不斷地 向外散開，同心圓一圈圈地銜接著。彩色的 點，也在黑白的座標左端跳躍著。儘管被譽 為是前衛藝術家，尹朝陽自承為他的畫是傳 統的，在筆法、構成上都具有古典藝術的形 式。他認為無論在任何時代，對繪畫能力的 要求永遠不變，外觀或許改變，但核心價值

依舊。 尹朝陽的新作透露出無旺盛的創造力，他不 滿足於過往的繪畫成就，力求新的表現。 「現在可能是尹朝陽一生中最好的時期，我 覺得我現在才剛剛開始。過去所有的東西， 像日曆一樣都可以翻過去了。對我來說， 現在恰恰是我認為最好的展開時期。因為現 在我自己的感覺，是處於一種非常瘋狂的狀 態，非常H I的狀態…。」尹朝陽自信地說 道。（同上註） Yin Zhaoyang is one of the representative artists born after 1970. His art renders human self reflection and doubts against existentialism.

Yin occupies a pioneering role among the most noticeable Chinese contemporary artists.

Zhu Qi, Chinese art curator, believes that Yin Zhaoyang’s painting launches the poetic theme of youth sentiments for the generation born during the 1970s and begins to shape the self images and expressive symbols of this generation. After the series of “Cruel Youth”, “Mythology” and “Utopia”, Yin displays his series of “Dizzy”, with flowing memory as the illustrative theme. In 2007, Yin’s new paintings examine the pre- and post- history of Cultural Revolution with a new perspective and “Rent Collection Courtyard” is the splendid representative one.

Yin’s “Rent Collection Courtyard” adopts the powerful and expressive classic figures of “Rent Collection Courtyard” to reveal the Red Era in memory via groups of swirl painting forms. “Rent Collection Courtyard” is originated in 1965 when the Sichuan Fine Arts Institute gathered a group of sculptors, including professors, students, and amateurs, to

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create a panorama of figures depicting peasants bringing their rent into a notorious landlord’s residence, his brutal exploitation of the peasants, and their simmering anger. The theme, expounding class struggle, coming from the people, and set in Pre-Liberation days, is highly political and welcomed in China as a symbol of Cultural Revolution of Sculpture Arts. These sculptures and documents are later replicated and advertised and became the classic totems

Qiang to duplicate “Venice’s Rent Collection Courtyard” in the form of performance art, which won Cai Quo Qiang the Golden Lion Award and also stimulated the controversy of copy rights and illustration. Harald Szeemann, an important curator in discovering Chinese contemporary arts, values the Chinese political reality and cultural influence embedded in “Rent Collection Courtyard”.

Yin Zhaoyang was born in 1970 during Cultural Revolution. After more than 30 years after the end of Cultural Revolution, the familiar and clear typical images are modified, reinterpreted and understood differently. Painters use sawlike scraper knives on the canvas to draw repeated concentric circles, like tides of time which extend outward from the canvas and leave with vaguely recognized shadows on the canvas along with time flow, no longer concrete but vaguely obscure. Time is like grand power which changes everything, and artists, good at descriptive style, add timeless power to it.

《收租院》(局部)，1965年四川美術學院 Rent Collection Courtyard (detial), Sichuan Fine Arts Institute, 1965

of symbol struggle and the representatives of “political art” during Cultural Revolution.

Swiss curator Harald Szeemann attempted to invite “Rent Collection Courtyard” to exhibit in Kassel Documenta in 1972 but in vain. In 1999, Harald Szeemann organized the 48 th International Art Exhibition: La Biennale di Venezia and then authorized artist Cai Quo

Yin Zhaoyang discussed his recent art in an interview: “I have been very interested in the concept of time in the last couple of years, including all the things within memory. Time often blurs your first impression on something in light of memory and impression. In general, my creation is parallel to time, reflecting certain kind of thinking process within that period…. ‘Dizzy’ renders my current situation. Nevertheless, all of my works share one theme. That is my fantasy about language. The series of ‘Dizzy’ is a development of my language with forcing, damaging and blurring colors as well as unreasoned feelings” (Extracts from Oriental Art, No.3, May 2007).

蔡國強《威尼斯收租院》 Cai Quo Qiang, Venice’s Rent Collection Courtyard, 1999

Yi n Z h a o y a n g ’s b i g g r a n d w o r k , “ R e n t Collection Courtyard”, is composed with unparallel double scrolls. They are like time frame scrolls: the figures on the left in one single color of black and the figures on the right in sharp colors of red, yellow and blue.

History intersects with reality to create huge contradictions in beaming swirls, extending outward with concentric circles connecting one another. Colorful dots dance around the left side of black and white guiding frame. Known as an avant-garde artist, Yin Zhaoyang admits that his art is traditional with the classical art forms in strokes and predicament. Yin thinks that regardless of time, his demands for painting ability never changes, maybe with modification

of appearance but always with retaining core values.

Yin Zhaoyang’s new art reveals unlimited creativity. He is never satisfied with his earlier painting accomplishment and striving for new performance. “This may be the best time of my life. I feel that I am just to start. All the things in the past can be turned over like that in a calendar. For me, this happens to be the best time since my feelings are in the state of craziness, extremely hyper…,” said Yin Zhaoyang with confidence (Extracts from Oriental Art, No. 3, May 2007).

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YAN Pei Ming (b. 1960)

Mao. Chinese Vermilion #5 2001 Oil on canvas 250 x 250 cm Signed on the reverse Yan Pei-ming in English and Chinese, titled Mao. Chinese Vermilion #5 in English, dated 2001 PROVENANCE: Galerie Max Hetzler, Berlin EXHIBITED: Chinese Vermilion – In Memory of Mao, Galerie Max Hetzler, Berlin, April 20 to May 26, 2001 ILLUSTRATED: L'art contemporain Chinois, Editions Flammarion, Paris, 2004, color illustrated, p. 49 Yan Pei-Ming - The Way of the Dragon, Les presses du réel, Dijon, 2003, color illustrated, p. 125, p. 130, p. 133

NT$ 35,000,000-44,000,000 US$ 1,206,900-1,517,200 HK$ 8,974,400-11,282,100

嚴培明 毛澤東─ 中國的硃砂 5 2001 油彩 畫布 250 x 250 cm 簽名畫背：2001 Yan Pei-ming 嚴培明 Mao. Chinese Vermilion #5 來源： 麥克斯．海茲勒畫廊，柏林 展覽： 「中國的硃砂．紀念毛澤東」嚴培明個展， 麥克斯．海茲勒畫廊，柏林，2001年4月20 日至5月26日 圖錄： 《中國當代藝術》，弗拉麥里翁出版社，巴 黎，2004，彩色圖版，頁49 《嚴培明．猛龍過江》，真相出版社，第 戎，2003，彩色圖版，頁125、頁130、頁133

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旅法藝術家嚴培明，是繼老畫家趙無極、已 故藝術家陳箴之後，第三位被巴黎國立現代 美術館龐畢度中心指定收藏的華裔藝術家。 上海工人子弟出身的嚴培明，1980年二十歲 時前往法國尋求發展，當年他誓言要闖出一 番局面才肯回到中國，而1991年入選龐畢度 中心舉辦的「運動2」聯展，此後他才首度 回國探親。1993年他又榮獲法國政府頒佈羅 馬大獎，赴羅馬法蘭西學院梅第奇宮研修一 年。2007年12月法國總統沙克吉出訪中國， 邀請嚴培明隨行，並委託他創作法國抵抗運 動英雄的肖像畫，在在證明此工人藝術家在 海外所受到的禮遇及推崇。 嚴培明目前任教於第戎美術學院，其實1981 年至1986年間他也曾在此進修。而初期的創 作也會使用顏色作畫，但畫素描時只以黑白 練習，當他畫顏色時，老前輩們經典的傳統 如影隨形，最後他放棄了顏色，只選擇黑與 白，或紅與白等雙色調。儘管裝置、錄像成 為西方藝術的主流，然而他不以為意，幾乎 一開始他就堅持肖像畫的題材。在中國時 期，他已嘗試描繪勞工與農夫的肖像，因為 人道關懷始終是他所關心的議題。他在一次 訪談中提到創作抽象畫的原因，說道：「人 像似一面鏡子，這正是我感興趣之處。當我 們看著一幅畫時，就像是閱讀一面鏡子。影 像是一種鏡子。」今日的藝術家往往關切形 而上的問題，或是探討寫實的、社會性的議 題。然而，嚴培明既關心形而上的問題，也 留心於日常生活，他自認無法孤立於現實之 外，從過往的肖像畫標題來看，皆與現實有 所關連，而如他所言，鏡子的功能正是在反 映時代。 嚴培明是一位肖像畫家，1987年他開始在 法國畫毛澤東肖像，離開中國七年的他， 竟然和千里之外的中國本地藝術家一樣，共 同選擇此象徵中國的政治圖騰。起初並無畫 意圖畫毛澤東，只想依「普世存有」方式表 現人的姿態。於是，一開始他先畫默默無名

的普羅大眾。不過，沒有名氣的畫家，選擇 了無名的主題，那麼最終他仍舊默默無名， 無法前進。毛澤東是二十世紀最知名的人物 之一，國際人所熟知的面孔，他既是一種形 象，同時也是一部中國的歷史。為了鍍金成 名，嚴培明決定開始畫毛澤東。因有毛澤 東，他的肖像畫產生了力量。毛澤東的中國 歷史及其衍生的文化，吊詭地成了畫家個人 的宣傳畫，為「一位生活於法國的口吃中國 畫家」宣傳，一種療慰思鄉情懷的藝術行 為，順理成章地得以被法國人接納，並獲致 成功。 1991年他在巴黎舉辦個展，標題是「面對 面，通過他的歷史，我的故事剛剛開始」， 說明了他的繪畫企圖與軌跡。先畫了毛澤 東，接著畫父親，有時他無法分辨兩者間的 區別，因為兩者一樣的重要，對他而言，父 親的地位和毛澤東相當，而兩者的連結即是 建立於兒子／藝術家的身上。在上海時期， 畫毛澤東像是為政權宣傳而作，在法國第 戎，他也以宣傳畫畫家自居。然而他的畫是 帶破壞性的，批判性的，不是純然的歌功頌 德，宣傳的是自己的人道關懷。當他畫著 「偉大舵手」毛澤東肖像，或是畫著母親口 中的笨拙父親，採取的皆非偉人的姿態，而 是呈現極度人性化的形象。 策展人馬卡狄曾經寫道：「因應西方的使 用，嚴培明的毛澤東，不僅只是中國模範 的藝術置換，儘管藝術家的手法避免反諷， 然這些肖像仍有所偏袒。他交替地使用『紅 太陽照耀所有的心』（微笑的、光芒四射 的、威嚴的等）傳統表現方式，以及更批判 的表現方式（噁心的、目盲的、哭泣的、傲 慢的、溼漉的、垂死的等）。嚴培明的表現 （非表現主義的）技法，以及黑與白（或有 時的紅）的簡潔運用，是慣例的社會寫實處 理所不容的。其實中國主席的『人性化，過 度人性化的』特質，勝過意識形態賦予的理 想憧憬。畫家也宣稱，在描繪毛澤東與父親

之間，在二十世紀最知名人物肖像和他卑微 的前人肖像之間，其實並無二致。」（參閱馬 卡狄，〈繪畫的犯案現場〉，《嚴培明．猛龍過江》，真 相出版社，第戎，2003，頁14）

「中國的硃砂」，乃是嚴培明以紅白兩色 所探討的一系列毛主席肖像畫，在毛澤東 的肖像畫中顯得非常突出。某種程度來說， 他延續安迪．沃荷對毛澤東的崇拜，但所訴 求的乃是人性的問題。2001年曾為嚴培明舉 辦「中國的硃砂．紀念毛澤東」個展的柏林 畫商海茲勒說：「對毛的興趣是……它當然 是源自安迪·沃荷，而且它絕對是我們所說 的個人崇拜。就是這個崇拜使得毛可以讓大 家取得，大家對毛的意象是如此地熟悉。沒 有其他的中國領導人，或甚至世上的領導人 如毛這樣經常地被複製。我們意思是毛是波 普。但對嚴培明來說，我想毛是一個比較個 人的東西，而這些畫作就是純粹的畫作，是 超越複製的。」 （摘錄自艾普若．蘭姆，葉子啟譯 〈新一代書商與藝術家的機會之都：專訪柏林畫商麥克 斯·海茲勒〉，《典藏今藝術》Art Today雜誌，2001年8月 號）

嚴培明《中國的硃砂 No. 3》 羅芙奧2007年秋季拍賣會，編號156，4540萬台幣成交 YAN Pei Ming, Vermillon de Chine No. 3 1995, oil on canvas, 200 x 235 cm Ravenel Autumn Auction 2007, lot 156, US$ 1.44 million sold

本次的拍品《毛澤東—中國的硃砂5》屬於 「中國的硃砂」系列作品，在此嚴培明選擇 了最具民族性、最經典的色彩—硃砂紅，來 表現一段集體的歷史印記。嚴培明曾經在

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訪談中回憶紅色毛澤東的緣起：「我15、 16歲時被要求為學校和工廠畫宣傳壁畫， 當時我建議用紅色來畫毛澤東肖像，結果沒 有人能反對。…紅色是好消息，黑色是壞消 息。」（艾瑞克．寇里阿，〈與嚴培明對談〉，嚴培明 展覽目錄，第戎，1987） 這一系列的作品都是巨 幅的毛澤東肖像畫，有幾幅是毛澤東頭部肖 像，《毛澤東—中國的硃砂5》少見以半身 毛像為構圖，挪借的文本是一張1956年拍攝 的知名歷史照片—毛澤東勇渡長江後的揮手 身影。當時毛身著浴衣向民眾揮手，展現親 民的一面，同時也宣揚偉人堅強的意志與體 魄。然而在畫家的筆下，毛澤東的經典形象 顯得模糊遙遠，凌亂的頭髮、鬆散的衣衫， 和一位尋常老百姓無異，偉大舵手的光環褪 去，歷史的榮光隨時代更迭已展現不同的面 貌。

卡索。《毛澤東—中國的硃砂5》不屬於政 治波普一類，不是紅色經典的宣傳畫，它是 個人自我的宣傳畫，它反映的乃是藝術家的 歷史觀，以及對人性的終極關懷，其所呈現 的格局是巨大恆久的。

嚴培明常常以超大尺寸創作肖像畫，使其產 成告示牌、大看板的聯想。嚴培明說過，正 因覺得卑微，所以畫面才刻意引人注目地巨 大，這是小人物希望變成巨人的幻想，他追 求用最簡單的材料達到最大的效果。今天， 巨幅照片如同繪畫一樣，經常成為藝術展演 的一環，兩種形式十分接近。在中國，宣傳 畫都是非常巨大的，觀者必須抬頭仰望，它 們的巨大讓觀者顯得渺小，產生敬畏的心 理。東方的寺廟，西方的教堂，往往也是高 大的殿堂，神佛或雕像的巨大，會使人容易 折服。然而，對嚴培明而言，在創作大尺幅 作品時，他與觀者之間維持某種具體而貶抑 的微妙關係。面對大尺幅的肖像畫，我們若 是靠得太近，就無法看清細節；為了容易觀 看，我們必須保持一定距離。準確性在於缺 少準確，如果一開始太過準確，那麼就沒有 準確性，這樣形成了某種思考辯證的關係。 如同毛澤東像，他的面容非常清楚準確的， 然而卻是畫家用粗筆、寬筆所完成的，帶有 某種粗暴感的。

1956年毛澤東暢遊長江後，向群眾揮手 Mao completing a swim in the Yang Zi River, 1956

《毛澤東—中國的硃砂5》作品不僅曾在 2001年柏林麥克斯．海茲勒畫廊的嚴培明 個展中展出，還曾在法國電影導演好友米 歇．昆若爾2002年所拍攝的嚴培明紀錄片— 《明．大佬藝術家》現身，成為重點作品為 影片宣傳，影評甚至形容嚴培明如神祕的畢

Yan Pei-Ming, a Chinese artists studying in France, is a success of the old painters Zao Wou-ki and the late artist Chen Zhen. He is the third Chinese artist whose collection has been designated by Musée national d’Art moderne, the Centre Georges Pompidou in Paris. Born in a worker’s family in Shanghai, Yan Pei-Ming went to France to seek development when he was 20 years old in 1980. He vowed to make some achievements before returning to China.

After his “Mouvement 2” was selected by the Centre Georges Pompidou for display in 1991, he came back to China visiting his relatives for the first time. He also won the prix de Rome awarded by the Government of France in 1993 and he went to Villa Médicis, the Académie de France for study one year. In December 2007, he was invited to accompany French President Nicolas Sarkozy to visit China. He was also commissioned to paint a portrait of heroes in French resistance movement, which proves that the worker artist is respected and adored by people overseas.

Yan Pei-Ming is currently teaching at the Ecole

des Beaux Arts, Dijon. In fact, he was also studying here from 1981 to 1986. At initial stage of his creation, he also adopted colors to paint, but he only practiced in black-andwhite for charcoal drawing. When he painted in colors, the older generation classic traditional had cast a shadow on him. Finally, he gave up the colors, and only chose duotone, such as black and white, or red and white. Although devices and video had become the mainstream of Western art, he did not take that to heart and adhered to paint portraits as the theme al most at every beginning. During that period in China, he had tried to depict the portrait of workers and farmers, because he had always concerned about the humanitarian. He once talked about the reason for his creation of abstract art in an interview, “Man is like a mirror and that is exactly what interests me. When we look at a painting, it is like looking through a mirror. The image is a kind of mirror.” The artists today are often concerned about the metaphysical issue, or explored realism and social issues. However, Yan Pei-Ming has not only concerned metaphysical issues, but also daily life. He believes that he can not be isolated from the reality. Judging from the heading of his past portraits, all of them have connected with the reality. Just as he mentioned, the function of a mirror was to reflect the times.

Yan Pei-Ming is a portraitist and in 1987, he began to paint the portrait of Mao Zedong in France. He left China seven years ago, but he was just like local artists in China thousands of miles away and selected the political totem, the symbol of China, as the theme. At first, he was no intended to paint the portrait of Mao Zedong and just tried to express the profile of people in the form of universal being. Thus, he first started quietly to paint the portrait of unidentified public figures. However, if an unknown painter

selects a nameless theme, he will be unknown silently forever and unable to make progress.

As Mao Zedong is the best-known figure in the 20th century and a familiar face in the world, he is a kind of image, as well as a history of China.

To crave for fame, Yan Pei-Ming decided to paint the portrait of Mao Zedong. Due to Mao Zedong, his portraits create strength. Mao Zedong in the history of China, as well as the culture it engendered, had paradoxically become the personal poster of the painter, publicizing a stuttering-Chinese-painter-living-in-France. It is an art to heal and comfort homesick feelings,

2001年柏林麥克斯．海茲勒畫廊「中國的硃砂．紀念毛澤東」個展現場 Yan Pei-Ming Installation view at Galerie Max Hetzler in Berlin, 2001

which naturally accepted by French people and made him success.

His exhibition held in Paris in 1991, entitled Face à face, à partir de son histoire mon histoire commence, displayed his painting intention and track. At first, he painted Mao Zedong and then painted his father. Sometimes, he was unable to distinguish between the two, because both had the same importance for him. The link between the two was established on the medium of son/ artist. In Shanghai, he painted Mao Zedong to publicize for the regime, and at Dijon in France, he also self-proclaimed as a post artist.

However, his paintings were destructive and critical, and it was not purely a matter of praises.

They reflected and publicized the humanitarian care. When he painted the portrait of “Great Helmsman” Mao Zedong, or clumsy father as his mother uttered, he had adopted exceptional humane image, instead of the posture of great person.

Curator Bernard Marcadé once wrote: “Ming’s Maos are not simply artistic transpositions of the Chinese models, for the use of the West.

These portraits take sides, though the artist’s approach avoids irony. He alternates relatively traditional representation of the ‘Red-Sun-that-enlightens-allheart’ (smiling, radiant, imperial, etc.) and more critical representations (nasty, blind, weeping, bloated, oozing, dying, etc.). Yan Pei-Ming’s expressive (not expressionist) technique and his concise utilization of black and white (or, in some cases, red) are opposed, in this respect, to the conventional socialist-realist treatment. It is, in effect, the ‘human, all too human’ character of the China president that prevails over the idealised vision given by the ideology. The painter also declares that he sees no difference between representing Mao and representing his father, between a portrait of one of the 20th century’s most famous figures and a portrait of his own humble progenitor. Similarity, his recent self-portraits show a strong resemblance with the effigies of the Great Helmsman.” (Bernard Marcadé, ‘Painting as Crime Scene’, Yan Pei-Ming - The Way of the Dragon, Les presses du réel, Dijon, 2003).

“Chinese Vermilion” is a series of portraits of Chairman Mao explored by Yan Pei-Ming in red and white colors. It is very prominent in the portraits of Mao Zedong. To some extent, he extended the worship of Andy Warhol to Mao

Zedong, but craving the issue of human nature.

The art dealer Hetzler, once held an exclusive painting exhibition “Chinese Vermilion - In Memory of Mao” for Yan Pei-Ming in Berlin, said, “Mao’s interest is …. of course it is from Andy Warhol, and it is definitely what we called personality cult. This worship to Mao makes everybody access and the imagery of Mao is so familiar to everyone. No other Chinese leaders or even the world leaders are such often copied like Mao. We mean that Mao is Pope, but to Yan Pei-Ming, I think Mao is a mere personal thing, and these paintings are pure paintings, which is beyond replication.” (Extracted from ‘Opportunity

showed here was derived from a well-known historic photo taken in 1956 - Mao Zedong was waving after he swan across the Yangtze River. Mao dressed in robes waved to the public, displaying his amiability to the people, and at the same time, showing the strong will and physique of the great man. However, in the works of the artist, the classic image of Mao Zedong appears fuzzy and remote. With tousled hair and loosen clothing, he had no difference with an extraordinary people and the halo of great helmsman had faded. The historical glory has changed with the times, showing different kinds of visage.

City for New Generation Booksellers and Artists: an Exclusive Interview with Berlin Picture Dealer Max Hetzler’ written by Lamb and translated by Ye Ziqi, in ARTCO magazine, Taipei, Issue of August, 2001).

The lot of “Mao, Chinese Vermilion #5” is the series of “Chinese Ve r m i l i o n ” . Ya n Pei-Ming selected the most classic color with national character, Vermilion, to express a historical collective symbol. Yan Pei-Ming once recalled in an interview about the origin of red Mao Tse-tung, “At the age of 15 or 16, I was asked to do murals for schools and factories. I suggested portraits of Mao in red, and nobody could refuse. … Red for good news, black for bad news.” (Eric Colliard, “Conversation avec Yan Pei-Ming”, in the catalogue Yan PeiMing, Dijon, Mecen’art, 1987). This series of works are huge portraits of Mao Zedong and some of them are head portraits of Mao Zedong. “Mao. Chinese Vermilion #5” is a rare piece with a half-length of Mao as composition. The portrait

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嚴培明工作室（2001年攝） Atelier of Yan Pei-Ming (photographed in 2001)

Yan Pei-Ming often creates oversized portraits, as it yields association with signs and billboards.

Yan Pei-Ming once said that because of his humbleness, he deliberately adopted huge frame to attract the attention. This is the illusion of small potato to dream of becoming a big whale. He pursues to achieve maximum effect with the simplest materials. Today, huge frame of photos are just like paintings, which are often adopted for art exhibition, for both of them are very similar in form. In China, the posters are extremely huge and the

audience must raise their head to watch. The tremendous posters make audience smaller and grow an awestruck feeling. Oriental temples and the Western churches are often huge and huge statues of the gods and Buddha can easily make people subdued. However, Yan PeiMing has maintained some delicate relation with the audience in respect of tangible and disparage. Facing the huge size of portrait, we are unable to see the details clearly, if we watch too close. We have to maintain certain distance if we want to enjoy the portrait with ease and comfort. Accuracy lies in the lack of accurate, and if it starts too accurate, then there is no accuracy. Thus, it forms a dialectical relationship of some thought. Just like the portrait of Ma Zedong, whose face looks very clear and precise, but it was painted by the artist with rough and broad strokes, possessing some sort of brutal feeling.

The masterpiece, “Mao. Chinese Vermilion #5”, was not only exhibited at Galerie Max Hetzler, Berlin, for Yan PeiMing’s exclusive painting exhibition in 2001, but also appeared in “Ming, artiste brigand”, a documentary about Yan Pei-Ming shooting by his good friend, Michel Quinejure, a French film director, in 2002. It became key works for film promotion, and even critics regarded Yan PeiMing as mysterious as Picasso. “Mao. Chinese Vermilion #5” does not belong to political Pop, nor classic red China propaganda, it is a selfpublicizing painting, reflecting the historical view of the artist, as well as his ultimate concern of humanity. The pattern showed is tremendous and ever lasting.

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WANG Guangyi (b. 1957)

V 2005 Oil on canvas 60 x 70 cm Signed on the reverse Wang Guang Yi in English and Chinese, dated 2005

NT$ 3,200,000-4,800,000 US$ 110,400-165,500 HK$ 820,500-1,230,800

王廣義 V 2005 油彩 畫布 60 x 70 cm 簽名畫背：2005年 Wang Guang Yi 王廣義

王廣義出身浙江美術學院（今中國美術學 院）油畫系，他的藝術歷程始於1980年代的 後古典系列，對熟知的西洋名作進行改造。 1989年首度借用「毛澤東」的形象，成為中 國政治波普藝術的第一人。而1990年代初的 「大批判」系列，將文革政治符號與西方主 流商業標誌並置，傳達社會主義的文化視覺 經驗。他無意於探討藝術性的問題，乃是表 達出一個時代的特寫。中國藝術評論家呂彭 認為，王廣義的「大批判」已足以成為重要 的歷史文獻，可視為後冷戰時期的形象關鍵 詞。 藝評家黃專認為，王廣義的圖像十分準確地 傳達出當代性的各種矛盾經驗：「從莫名的 信仰到憤怒的解構，從英雄主義的氣概到消 費主義的時尚噱頭……他喜歡不斷創造一個 個視覺懸念。但在人們還來不及猜到謎底時 又將他們打破，對於藝術史而言，他屬於那 種充滿力量但又無法捉摸的藝術家。」王廣 義坦言對群體與公共議題的關注，超過自我 的探索，某種意義上他自認其藝術是「集體 智慧的產物」，或是「公共話語的產物」。 在此幅《V》作品中，以文革時期宣傳畫裡 傳統青年的形象，和這個全球知名的流行音 樂頻道品牌，作了巧妙的結合與對照，畫裡 散見著代表金錢消費的符碼，帶有消費文化 的反諷意味。

Wang Guangyi graduated from the Oil Painting Department, Zhejiang Academy of Art (now China Academy of Art), and began his life as an artist in the 1980s, the post-classical era. He reconstructed Western canonic works with which the public was familiar.

In 1989, Wang first inserted the image of “Mao Zedong” into a painting that made him

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the leading figure of Chinese Pop Art. The series on “Great Criticism” in the beginning of the1990s, juxtaposed political symbols of the Cultural Revolution with business logos in western mainstream culture, thereby expressing the visual and cultural experience of Chinese socialism. Wang did not mean to discuss artistic issues, but rather to depict an epoch from a close shot. Chinese art critic Lu Peng stated that Wang’s “Great Criticism” has become an important historical document as well as the keyword for Post Cold War images.

Another art critic Huang Zhuan argued that Wang’s pictures precisely convey many contemporary experiences of conflicts and ambivalences, “From nameless belief to furious deconstruction, from the spirit of heroism to fashion tricks of modern consumerism ...

Wang continually creates pieces of visual suspense, and breaking them before we could figure out the answers. As an energetic and powerful artist, Wang Guangyi is hard to grasp and understand in the context of Art History.” Wang admits his concern for the public, public issues and the discovery of one’s inner self, and he considers his art works as “the product of group intelligence”, or “the product of a public language.” In this work “V,” the propagandizing image of the traditional young man during the Cultural Revolution is ingeniously combined and contrasted to this world-known brand of popular music channel. This painting reveals both signs of money and consumption and ironically reflects consumer culture.

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QI Zhilong (b. 1962)

Woman Soldier 2006 Oil on canvas 160 x 130 cm Signed lower left Qi Zhilong in Chinese, dated 2006.07

NT$ 7,800,000-8,800,000 US$ 268,900-303,500 HK$ 2,000,000-2,256,400

祁志龍 女兵 2006 油彩 畫布 160 x 130 cm 簽名左下：祁志龍 2006.07

祁志龍《軍裝包裹的青春》 藝術家在創作繪畫藝術的同時，也在塑造著 自身的命運傳奇。有時候，正是這些傳奇擴 展了藝術作品的傳世價值。 2005年在瑞士著名收藏家烏利．希克舉辦的 中國當代藝術展「麻將」上，全世界藝術界 第一次將目光集中在展覽圖錄的封面作品 《中國姑娘》上，這幅作品同時作為伯恩美 術館的巨幅招貼，祁志龍，這位從未缺席中 國當代藝術的整體發展，在此之前，沉默多 年。2006年，早先流到香港的《消費形象》 三聯畫中的一幅在春季紐約的拍賣會中，取 得意想不到的高價，使祁志龍立即竄紅。距 離這幅作品被買走，同樣距離他被栗憲庭看 好，已經過去14個年頭。 1992年栗憲庭第一次看到他的作品時，剛剛 錯過了「威尼斯雙年展」的作品徵集，那一 次是中國藝術家第一次參加國際大展。遺憾 的栗憲庭馬上將作品推薦給正籌備著名的 「後八九」大展的香港漢雅軒畫廊。策展人 張頌仁買走了一組《消費形象》三聯畫，後 來放進台北漢雅軒「後八九中國新藝術」展 覽，到了2006年的拍賣會上，令其名聲大噪 的正是這三聯畫中的一幅。 1992年祁志龍剛開始接觸當代藝術，「消費 形象」系列是其最初的嘗試。祁志龍的創作 開始於圓明園畫家村，當時的中國當代藝術 氛圍中，特別是在圓明園畫家村，正是「政 治波普」與「玩世現實」的風格普遍流行的 時候。對政治人物的複製和改寫成為主要的 圖示，而繪畫語言上的扁平化也成為消解嚴

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肅性的手段。當時，祁志龍的消費形象同樣 被歸入此類。但藝術家創作的背景卻並非源 於此。整個社會的消費主義浪潮撲面而來， 而流行歌曲以重唱「東方紅」等紅色歌曲為 時髦的趨向，使藝術家敏銳地通過將消費主 義融合進入傳統的意識形態的形式，娛樂並 解構了整個社會的主流意識形態，進而消解 大眾對精英深化的期待，讓藝術語言回到民 間。

從消費形象到中國姑娘 祁志龍說：「1992到1994年，我畫消費形 象。但是跟政治波普有很大區別，跟如今仍 然有人在畫的消費形象也有根本區別。消費 是我對政治波普理念的反叛。在我看來，政 治波普是與意識形態的對抗，導致了它自身 成為另一個意識形態的神話。而未來肯定是 開放的社會，所有意識形態在將來都可以被 消費。在這一點上，我的消費形象正是要消 解政治波普的。」 1995年，祁志龍告別了消費形象，開始畫一 系列以穿軍裝的女孩形象為主題的「中國形 象」。他這樣描繪他當時的創作：「不像消 費形象，女孩不是使用公共的流行符號，而 是我腦海中的形象。我所要解決的問題就 是，如何把她以當代性呈現出來。人物必須 是有些曖昧的，包括笑的樣子。在這種手段 下，我的想像符號實現了這種轉變，而這恰 恰暗合了豔俗的特點。」 1996年「大眾樣板」和「豔裝生活」展覽， 確定了豔俗藝術作為藝術現象存在的地位。 批評家呂澎認為，同其他豔俗藝術家有所區

別的是，「祁志龍具有歷史同情心，它對文 革時期的綠色著裝美學保持記憶並充滿興 趣。畫家將嚴肅的軍裝重新戴在『美麗的』 女孩頭上，在一種人們容易接受的審美趣味 上對歷史做了修改。觀眾是否能夠將這樣的 形象同過去的『勇氣、真理、崇高和正義』 聯繫起來是難以判斷的，但是畫家將歷史的 嚴肅性進行了消解卻是非常肯定的，當然， 所謂的革命的理想主義也隨之而去。他們通 過對民間形式核民間符合的戲擬，將『深 度』放逐了。」 （呂澎，《20世紀中國藝術史》， 頁914）

祁志龍的專業是版畫，其作品中的平面化特 徵，在當時都是極為新鮮的。而到了「中國 姑娘」系列，祁志龍的目的是提供所謂的消 費形象，消費由褪色的軍裝中包裹的迷人的 青春。

文化理論家 同一時期，同樣以畫虛化懷舊的人物肖像 為典型形態的張曉剛的「大家庭」和「同 志」系列已在國際上聲名鵲起。在祁志龍看 來，張曉剛是中國當代藝術20世紀80年代傷 痕美術的集大成者，他把傷痕的現實主義轉 變成為觀念，把傳統的標準化圖像轉化成當 代語言，使得符號化了的老照片成為對中國 一個時代記憶的總結。而祁志龍的中國姑娘 則是浪漫主義的。在祁志龍「中國姑娘」系 列作品中，中國姑娘們無一不美麗、迷人、 天真、純潔，表情豐富且感情充沛，儘管她 們被固定在一個共同的特徵裡，必須身著 「紅衛兵」的綠色裝束，但每一個從中國50 年代走到今天的人，都能從藝術家塑造的畫 面中，體會到歷史的過往和藝術家賦予人物 的時尚與前衛氣息。祁志龍所幻想的一群 「中國當代肖像」，通過藝術家對作品內容 的提煉，將自己臆想創造的各種理想化的中 國美女推向了前台，而正是通過這些美女的 形象，政治含義被消解，生動、真實成為可 能。 2007年10月10日在希臘特撒羅尼克市立美術 館舉行的「中國肖像」展，作為第42屆特米 塔藝術節的重要活動內容，祁志龍用十幾件 作品來呈現十五年創作的脈絡（1992-2007

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年）。政治波普、消費主義、豔俗藝術、後 波普，直到最近推崇的「消費現實主義」， 這些都是祁志龍身上的標籤。從「消費形 象」到「中國姑娘」，祁志龍作品的母題只 有兩個，卻囊括了中國當代藝術的全部歷 史。 而有關藝術和市場的關係，在祁志龍看來： 「我的中國姑娘是好賣的形象，但要看好賣 怎麼理解，是什麼標準？我認為主要還在於 作品傳達的價值和品質，除了技術之外，和 它的人文品質有很大關係，也跟作品產生的 時代情況有關係。比如說，現在創作的政治 符號形象就少有人文品質，或許就僅僅因為 好賣。我不再畫政治符號，這一點上我還有 一些知識份子性存在。從學術的層面講，我 的消費形象就是對政治符號形象的終結。」 事實上，祁志龍的成功，在於他熟練地發掘 了屬於自己的符號，並且賦予符號以強大的 理論依據，與其說祁志龍關心繪畫風格，不 如說其更看中文化風潮的理論訴求。他各個 階段的轉變恰如一個時代的預言家，切中當 下社會文化的脈搏，又保持了曖昧的距離。

Qi Zhilong: Youth in Uniform While artists create the masterpiece, the fate and romance of their own have also been formed.

Sometimes, these romances extend the value of art works that will be handed down for ages.

At the Chinese Contemporary Art Exhibition, titled “Mahjong”, held by famous Swiss collector, Uli Sigg, the artist world had first time focused on the “Chinese Girl”, a masterpiece printed on the cover of exhibition catalogue.

This masterpiece was also taken as the huge poster for Berne Museum at the same time.

Qi Zhilong, who has never been absent for the integrate development of Chinese contemporary art, had been silent for many years before this event. In 2006, one of triple paintings, “Consumer Image”, shifted to Hong Kong earlier, was sold at an unexpected high price at the

spring auction in New York, which immediately made Qi Zhilong popular. It has been 14 years since this masterpiece was sold out, and it is coincident that the same span of time had passed till he was appraised by Li Xianting.

When Li Xianting saw his works first time in 1992, it had just missed Venice Biennial works collection. That was the first time for Chinese artists participating in the international exhibition. Though felt regretted, Li Xianting immediately recommended the works to Johnson Tsong-zung Chang, the curator of Hanart TZ Gallery in Hongkong. Johnson Tsong-zung Chang was making preparatory works for the famous “Post 89' New Chinese Art” Exhibition.

Johnson Tsong-zung Chang only bought one of triple paintings, “Consumer Image”, and it had been put on “New Art in China 1989-93”. At the auction in 2006, it was the one of triptyches which hit the fame for the artist.

In 1992, Qi Zhilong began to contact with contemporary art and the series of “Consumer Image” was his first attempt. Qi Zhilong’s creative works began in Winter Palace Artist Village. At that time, in the atmosphere of Chinese contemporary art, particularly in Winter Palace Artist Village, the “political pop” and “cynical reality” style was prevailed. Copy and rewritten of political figures had become the major icon, while the flat expression of painting had become the means of resolution for seriousness.

Qi Zhilong’s “Consumer Image” had also been classified as the same sort of image. But the background of this creation by the artist was not derived from that sort. Consumption of the whole society was rushing forward, and pop music “The East is Red” and other songs were popular as red trend. The artists keenly integrated the consumerism into traditional ideology, entertaining and disintegrating the mainstream ideology of the whole society, then clearing up the expectation of the public for the deepening of the elite, and finally sending back the artistic language to the populace.

From Consumer Image to Chinese Girl Qi Zhilong said, “From 1992 to 1994, I was painting Consumer Image, which was very different from the political pop and had fundamental distinction with consumer image some people still painting at present. Consumption is my idea of the rebel to political bop. In my point of view, the political pop is confronted with ideology, leading to another ideological myth of its own. The society in future will certainly be open and all ideologies can be consumed in the future. For this, the Consumer Image I depicted is just to clear up the political pop.”

In 1995, Qi Zhilong bid farewell to the Consumer Image and turned to a series of paintings with the image of uniformed girls as the theme, “Chinese Image”. He described his creation at that time, “Unlike Consumer Image, the girl is not adopted from the popular symbols in pubic, but the image is from my mind. What I need to know is how to solve the problem of presenting her in the image of contemporary.

Figures must be in a sort of ambiguous way, including laughing appearance. My imaginary symbol has realized this change by this means, and this is just covertly matching the dashing features.”

The exhibition of “Model Community” and “Gorgeous Trendy” has identified dashing art existed as a kind of art status. Critic, Lu Peng, considered that Qi Zhilong was distinct in this respect with other dashing artists, “Qi Zhilong has historical compassion, which showing the memory and full of aesthetic interest to the green dress during the Cultural Revolution. The artist seriously re-uniformed the beautiful girl and modified the history with aesthetic interest accepted by common people. It is difficult to judge whether the audience will link this kind of image with the past image of ‘courage, truth, noble and justice’. However, it is very positive that the artist has cleared up the seriousness of history. Of course, the so-called ‘revolutionary

idealism’ is also gone away. They have sent the ‘depth’ into exile by folk model and similar drama.” (Lu Peng, The 20th Century Chinese Art History, p.914).

Qi Zhilong is specialized in printmaking and the complanation features in his works is extremely novel at that time. For the series of Chinese Girl, Qi Zhilong aimed to provide so-called consumer image to consume the charming youth wrapped in faded uniform.

Cultural Theorist During the same period, the series of “Family” and “Comrades”, created by Zhang Xiaogang, who painted virtual nostalgic portraits of people as the typical model, had been in the international limelight. In the view of Qi Zhilong, Zhang Xiaogang is culminant figure of extinction art of Chinese contemporary art in 1980s. He has transferred realism into the concept, and the traditional standardized images into contemporary language, making the symbolized old photos become a summary for the memory of the special era in China. Qi Zhilong’s “Chinese Girl” is romantic. In Qi Zhilong’s series of “Chinese Girl”, all Chinese girls are beautiful, charming, innocent, and pure, with rich expressions and vigorous feelings. Though they were fixed in a stereotype and had to dress in Red Guard’s green clothing, but people who experienced from the 1950s to today could realize the history associated and the avant-garde trendy the artist had endowed in the painting. Qi Zhilong’s fantasy of a group of Chinese Contemporary Portrait has been refined by the artist, who put forward various idealized Chinese beauties created by his imagination on the historical stage. These images of beauty have cleared up political signification, and the vivid and true life become possible.

At “Chinese Portrait Exhibition” held in Municipal Art Gallery of Thessaloniki in Greece

on October 10, 2007, Qi Zhilong displayed a dozen of masterpieces as an important part of the activity for 42nd Demetria Art Festival to show his creative trend during 15 years (1992-2007).

Political pop, consumerism, dashing art, post pop, and consumer realism adored recently are all symbols of Qi Zhilong. From “Consumer Image” to “Chinese Girl”, Qi Zhilong’s works have only two subjects, but all history of Chinese contemporary art has been included.

For the relationship between art and market, Qi Zhilong believed that, “The image of Chinese Girl I created is selling well, but how to judge selling well and what is the standard for selling well? I think that mainly lies in the value and quality it conveyed. Besides technology, it has significant relationship with the quality of humanities, as well as the time and situation related to the works. For instance, the images of political symbols created nowadays seldom have the quality of humanities, perhaps they only selling well. I am no longer painting political symbols, for I still have some sense of the intellectual in this respect. From the viewpoint of academic level, my Consumer Image is the end to the images of political symbols.”

In fact, Qi Zhilong’s success is that he has skillfully explored the symbols of his own, which endowed with a powerful theoretical basis. It is the theoretical pursuit of cultural turmoil rather than the painting style of Qi Zhilong that has been concerned. His change at various stages has just shown a prophet who hit the point of present social and cultural pulse, while maintaining an ambiguous distance.

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YE Yongqing (b. 1958)

The Nine Bird Cages in Winter 1995 Mixed media on silk 292 x 145 cm EXHIBITED: Shanghai Biennale '96, Shanghai Art Museum, Shanghai, 1996 ILLUSTRATED: Shanghai Biennale '96, Shanghai Art Museum, Shanghai, 1996, color illustrated, no. 69

NT$ 4,800,000-6,800,000 US$ 165,500-234,500 HK$ 1,230,800-1,743,600

葉永青 冬天的九個鳥籠之一 1995 綜合媒材 絹 292 x 145 cm 展覽： 「96 上海雙年展」，上海美術館，上海， 1996 圖錄： 《上海美術雙年展1996》，上海美術館，上 海，1996，彩色圖版，編號69

葉永青於1982年畢業於四川美術學院油畫 系，歷經了85美術新潮運動的洗禮， 1986 年時和好友張曉剛、周春芽、毛旭輝、潘德 海等，組成「西南藝術群體」，以新具象風 格為主要的創作走向，重視直覺感受，強調 生命經驗與價值。歷經二十多年的歷練和轉 變，這群藝術家如今在中國當代藝術界都已 成為舉足輕重的人物。 1980年代初期，四川適逢傷痕藝術與鄉土寫 實的崛起，葉永青卻未捲入這波浪潮，而是 從師法現代主義塞尚大師入手。後來接觸到 超現實主義畫家契里柯、達利的藝術，轉向 夢境式表達，幽默詼諧式的圖像。1989年獲 獎和聯展多次的葉永青，舉辦了自己的第一 場個人藝術展，地點是在北京的法國大使 館，自此漸為國際畫壇所知。第二年開始， 他的個展在法國等歐洲國家登場，多次受到 西方國家邀請，遊歷、講學或進行藝術交流。 1990年代初期一群年輕藝術家往政治波普藝 術移動時，葉永青一直延續著他作品特有的 浪漫氣質，從容地擷取生活裡的抒情元素， 放浪不羈的性格裡，蘊含著藝術家深厚的文 人涵養。1991年他開始「大字報」的裝置， 又稱之為「大招貼」系列。日常生活中的瑣 碎形象，如書刊報紙、畫冊裁剪的消息，鳥 籠、燈泡、水管、汽車、老照片、漫畫…， 隨意地書寫、拼貼組裝，成為特定時空的一 種公共日記。浪漫的荒誕及幽默，塗鴉式的 風格，作品中有波依斯式的觀念藝術影響， 亦有師法揚州八怪之一金農的寫意氣味。 葉永青自言喜歡詩意的事物，他認為古代繪 畫中的優雅，在當代社會已被拋棄，他想借 用此種荒唐感。葉永青說：「是一直想找一

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種聯繫，想去找這種東西，因為這個可能也 是氣質裡面的東西，我的感覺用波依斯和金 農的像，等於做了一個墓碑，新的馬王堆， 我做了一段時間的裝置，包括在上海雙年展 展出的九個鳥籠子，都做在絲綢上，1990 年代的繪畫有一些變化，更多是一些塗鴉的 風格，是一種心情的筆記，有點類似今天的 博客（部落格）。我當時的心態是想遠離一 種意識形態化的中國現在風情和潮流，追求 超越地域特徵的自由表達。那時候我也大多 數時間游離於德國、紐約等。」（摘錄自1997 年5月〈明鏡亦非台：葉帥與老栗對話錄〉）

前文所提的上海雙年展中的九個籠子，即是 《冬天的九個鳥籠》作品。當時展出時被裝 置成九個長圓筒，如鳥籠般地懸掛著。畫面 中反覆出現的鳥、鳥籠、卡通化的人物剪影 塗鴉，種種形象隱含著殘酷現實中被支解的 符號，反映出現代文明下精神孤獨的象徵與 荒謬感。中國藝評家栗憲庭以「骨子裡具有 詩人般的文學才華」如此形容葉永青。他還 提到：「葉永青的這些絲綢上的作品，是他 典型的哲理詩式的風格，他把自己不同時空 中的各種生活經驗的片斷散置於同一平面， 猶如一種夢醒之際又沉浸在夢中的感覺， 符號像夢中形象的組合，用筆是情緒的，連 絲綢做舊的色彩都透著傷感。如同他的生 活。」（摘錄自〈明鏡亦非台：葉帥與老栗對話錄〉） 北京月亮河當代美術館館長，也是台灣知名 藝評家陸蓉之也曾撰文，評論葉永青的《冬 天的九個鳥籠》作品：「1990年代中期他 遊歷歐美各國，西方文化的直接衝擊，不同 於他在北京看西方展覽時的抽樣體驗。表面 上看來像是收集生活瑣碎圖像，一些鳥、鳥 籠、燈泡、煙斗、植物、汽車、舊照片、卡

葉永青《大招貼系列》 YE Yongqing, Dazibao, large character posters mixed media on silk, 150 x 100 cm (x4)

通化的人物、中國式的收納櫃…等各種塗鴉 式的符號，看起來像是他隨心所欲的組合、 拼貼，其實是中國文人藝術中所標榜的業餘 身份，所具有的一種寫意風格繪畫。包括 1996年葉永青在上海雙年展展出的九個鳥 籠子，也是他在絲綢上隨手拈來的寫意畫， 葉永青自己將之稱作『是一種心情的筆記， 有點類似今天的博客（部落格）』。」 （摘 自陸蓉之〈葉永青，一位用思想作畫的鳥人〉一文）。 曾經參展1996上海雙年展的《冬天的九個鳥 籠之一》，多次被評論家提及，可謂是葉永 青創作歷程中重要的里程碑。1998年時《亞 洲藝術新聞》雜誌將葉永青列為二十年來最 具活力的二十位中國前衛藝術家之一。2008 年4月份香港藝術中心盛大舉行「葉永青回 顧展」，展出內容涵蓋三十年的創作，畫家 近期國內外邀展不斷，十分活躍。

Graduated from Sichuan Academy of Fine Arts in 1982, Ye Yongqing experienced the 85 New Wave and in 1986 formed the Art Group of Southwest China with his good friends, Zhang Ziaogang, Zhou Chunya, Mao Xuhui, and Pan Dehai. The group highlights new conceptualism as the creation approach with an emphasis of the visual feelings as well as life experience and value. These artists are the leading figures of the contemporary Chinese art.

In the early 1980s, the suffering art and rural painting came into play and Ye Yongqing wasn’t immersed into this wave but integrated his art first with the influence of French modern art master, Cézanne, and later with those of surrealism artists, de Chirico and Dalí, for dream-like expression and humorous and

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satirical symbols. After receiving awards and holding group exhibitions, in 1989 Ye held his solo exhibition at the French Embassy in Beijing, China and won his international fame.

In the following years, his exhibitions were housed in France and other European countries and Ye has been invited to lecture and art exchanges in the West.

In the early 1990s, a group of young artists switched to political pop art, and Ye Yongqing returned to life experiences, retaining his unique romantic flair. His artistically poetic demeanor is embedded in his wild and free characteristics.

In 1991, Ye started the installation of large character posters, or Dazibao, known as series of “Big Installation”. They are snippets of all manner of life experiences, such as newspaper and magazine clips, birds, birdcages, light bulbs, pipes, cars, old photos, comics etc., which are casually written and pasted on a piece of poster serving as a sort of public diary with certain spatial period. The romantic satire and humor of painting in graffiti style reveal Beuys’ conceptual art visual and that of Jin Nong’s realistic aura.

Ye admitted that he liked poetic elements. The elegance of ancient painting has been abandoned by contemporary culture. He said, “I always wanted to find a link, I was always looking for something like that, maybe because of my character. I felt that using the images of Beuys and Jin Nong was like erecting a memorial, a new Ma Wang Dui. I did installations for a while, including nine bird cages at the Shanghai Biennial. Everything was on silk. My paintings changed in the nineties, more of a graffiti style, a jotting-down of my feelings, kind of like blogs these days. I had wanted to distance myself from the current Chinese ideological styles and trends, and search for a free form of expression that was transcendent of regionalism. I was spending most of my time drifting around places like Germany and New York at the time.” (Extracts

in Winter.” The works were installed in the nine long cylinders, hanging like bird cages.

The repeated birds, bird cages, sketches of cartoon figures, and other symbols underline the deconstructed symbols in the real life rendering the symbols and satire of spiritual solitary in the contemporary civilization. Li Xiangting, the Chinese art critic, described Ye as an artist with “poetic literary talent in bones.” Li also stated, “Ye Yongqing’s works on silk are in his typical philosophical-poetic style; he has put fragments of his different spatio-temporal life experiences together on a single surface, evoking that state between dreaming and waking. The symbols are like forms that come together in a dream; the strokes are emotive, and even the aging methods of the silk evoke sadness. It is like his life….”

(Extracts from ‘A Mirror Is Not a Platform - A Discussion between Ye Yongqing and Li Xianting’, May 1997)

Victoria Lu, the director of Moon River Museum in Beijing and a well-known art critic of Taiwan, commented on Ye Yongqing’s “Nine Bird Cages in Winter”, “He traveled to countries in Europe and America in the mid-1990s where his direct exposure to the Western cultures was different from the sampling experiences while

viewing the Western exhibitions in Beijing. The sort of diary for snippets of all manner of life experiences, such as birds, birdcages, light bulbs, tobacco pipes, plants, cars, old photos, cartoon characters, antique cabinet, and graffiti symbols. They seem like careless scribble and decoupage of the artist, but indeed a free strokes painting ascribed in the amateur among the Chinese poetic artists. The nine bird cages in the Shanghai Biennial in 1996 are the works of conceptual art on silk. Ye described his work as ‘a jotting-down of my feelings, kind of like blogs these days.’” (Extracts from Victoria Lu's ‘Ye Yongqing: A Bird Artist Painting with Thinking’).

“Nine Bird Cages in Winter” exhibited in the Shanghai Biennale has been mentioned by many critics and is an important milestone of Ye Yongqing’s creation process. In 1998, Asian Art News ranked Ye Yongqing as one of the twenty most active and leading avant-garde artists in the last twenty years. Hong Kong Arts Centre will hold Ye Yongqing’s Retrospective Exhibition in April 2008 to embody his works in the last thirty years. Recently, Ye has been very active to display his works at home and abroad.

from ‘A Mirror Is Not a Platform - A Discussion between Ye Yongqing and Li Xianting’, May 1997)

The aforementioned nine cages in the Shanghai Biennale are the works of “Nine Bird Cages

葉永青《冬天的九個鳥籠》 YE Yongqing, Nine Bird Cages in Winter, installation, height 3 m diameter 45 cm

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SU Xinping (b. 1960)

Banquet Series 2003 Oil on canvas 200 x 260 cm Signed lower right Su Xinping in Chinese and dated 2003

NT$ 3,200,000-4,800,000 US$ 110,300-165,500 HK$ 820,500-1,230,800

蘇新平 宴會系列 2003 油彩 畫布 200 x 260 cm 簽名右下：蘇新平 2003

批評家殷雙喜評價蘇新平的繪畫，將其稱 之為「一種新客觀主義的現實主義」。他 說道：「這種新客觀主義，不應該僅僅理解 為當代西方藝術家對於繪畫表面的肌理、物 質材料本身的物理性的真實的熱情。更重要 的，是在對世界圖景的觀察與感受的基礎 上，洞察那些沉默的，不被注意的、尚未被 認識的、激起我們驚奇的客體。正是在環繞 著我們的平凡的空間和物象中。有著為我們 的文化積澱所遮蔽的存在的神秘，在最平凡 的事物中隱藏著最不平凡的東西。」「宴 會」是中國社會中最為熟悉的話題和場景， 具有多重複雜的意義呈現。揭示問題，是藝 術家在社會上承擔的責任。《宴會系列》中 藝術家用其簡練的筆法，突出的單體形象與 抽空了的物質空間，以寫實的表像進行超寫 實的想像，表現出現實自身的假繁榮，人為 的虛幻輝煌。他的作品被評論家歸納為「新 浮世繪」，儘管藝術家自身並不願意把自己 定位在哪一類當中，他認為自己的藝術風格 是極其開放的，沒有任何框框固定依循。

Regarding the paintings of Su Xinping, critic Yin Shuangxi regards them as "a kind of realism in neo-objectivism”. “This kind of neo-

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objectivism shall not only be constructed as the physical, genuine enthusiasm of modern Western artists towards the superficial texture of drawings and substantial materials by nature.

More importantly, it means the objects that are silent, not conspicuous, not yet identified, and supervising to us on the basis of observation of and experience in the visual views to this world.

It is now surrounding our featureless space and images. There is the mystery that is shaded by our cultural accumulation. The commonest conceals the most uncommon”. “Banquet” represents the most familiar topics and scenes in the Chinese society. It is the presentation of multilayered, complicated meanings. It is the social responsible for artists to disclose problems. In the “Banquet Series”, the artist presents supernatural imaginations with naturalistic images based on simplistic technique, highlighted single image and pumped material space, in order to reveal the pseudo-prosperity and manmade, illusive splendor of reality itself.

His works are summed up by critics as a kind of “new Yamato-e”. Although he is not willing to categorize himself, the artist regards his style very open and never restricted by frames.

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YANG Qian (b. 1959)

Untitled- Extramarital Affair 2006 Oil on canvas with electrical installation 120 x 200 cm Signed on the reverse Yang Qian in Chinese and English, dated 2006 EXHIBITED: Hyper Design- 6th Shanghai Biennale 2006, Shanghai Art Museum, Shanghai, September 6December 5, 2006 Yang Qian New Works Exhibition, Today Art Museum, Beijing, December 27, 2006- January 7, 2007 ILLUSTRATED: Latest Paintings of Yang Qian, Visual Art Publishing House, Beijing, 2006, color illustrated, pp. 80-81 Hyper Design- 6th Shanghai Biennale 2006, Shanghai Book & Painting Publishing House, Shanghai, 2006, color illustrated, p. 453 Redicovering Contemporary Reality, Soka Art Center, Taipei, 2006, plate 13

NT$ 1,700,000-2,600,000 US$ 58,600-89,700 HK$ 435,900-666,700

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楊千 無題─外遇 2006 油彩 畫布 電感裝置 120 x 200 cm 簽名畫背：楊千 Yang Qian 2006 展覽： 「超設計－第六屆上海雙年展」，上海美術 館，上海，展期自2006年9月6日至11月5日 「楊千新繪畫作品展」，今日美術館，北 京，展期自2006年12月27日至2007年1月7日 圖錄： 《楊千新繪畫》，視界藝術出版社，北京， 2006，彩色圖版，頁80-81 《超設計－第六屆上海雙年展》，上海書畫 出版社，上海，2006，彩色圖版，頁453 《當代寫實再發現》，索卡當代空間，台 北，2006，圖版13

楊千的《外遇》以他所創造的「活動繪畫」 手法，講述了一種當代中國流行的關係，即 一個男人周旋於妻子、情人間的狀態。通過 機械裝置的帶動，畫有男性頭像的畫幅可以 規律地左右位移，不斷反覆與繪有妻子與情 人的畫幅並列－重合的運動，從而已顯現、 遮蔽來象徵男權主導社會中，男女關係看似 發生更多變化，實則以更潛隱的單向度方式 維持著一種軌跡，是非常具有啟示意義的。

“Extramarital Affair” by Yang Qian was created with Yang’s unique style of "movable painting". It tells a tale concerning the prevailing relationship in contemporary China in which a man is alternating between his wife and his lover. The mechanical device moves the painting of the male from right to left, left to right regularly and repeatedly between paintings of the wife and the lover. The male picture will alternately come side by side and overlap with each the female figures. This work, by revealing and covering, symbolizes that in a male dominated society the relationship between man and woman seems full of changes, yet the undermining pattern is in fact one way. This is a very inspiring piece of artistic work.

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HUANG Gang (b. 1961)

Golden Iced Lake (diptych) 2007 Mixed media on board 244 x 244 cm Signed lower right Huang Gang in English and Chinese, dated 2007 ILLUSTRATED: Huang Gang, Linda Gallery, Beijing, 2008, color illustrated, p. 28

NT$ 2,800,000-4,200,000 US$ 96,600-144,800 HK$ 717,900-1,076,900

黃鋼 金色的冰湖（雙聯幅） 2007 綜合媒材 木板 244 x 244 cm 簽名右下：Huang Gang 黃鋼 2007 圖錄： 《黃鋼》，林大美術館出版，北京，2008， 彩色圖版，頁28

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JIAO Xingtao (b. 1970)

Orange 2005 Bronze, edition no. 8/8 101(L) x 90(W) x 80(H) cm Signed Jiao Xingtao in Chinese and numbered 8/8 ILLUSTRATED: Matter Morphosis by Jiao Xingtao, Art S e a s o n s G a l l e r y, J a k a r t a , 2 0 0 7 , c o l o r illustrated, pp. 64-65 (fiberglass version)

NT$ 1,300,000-2,000,000 US$ 44,800-69,000 HK$ 333,300-512,800

焦興濤 橙 2005 銅雕 8/8 101(長) x 90(寬) x 80(高) cm 簽名：焦興濤 8/8 圖錄： 《物語－焦興濤雕塑作品集》，季節畫廊， 雅加達，2007，彩色圖版，頁64-65 （玻璃 纖維版本）

一個鮮橙色的巨型「愛馬仕」禮袋、一個 佈滿皺褶的「馬莎」購物袋、以至一張巨 型廢棄的「綠箭」薄荷口香膠包裝紙，這些 都是焦興濤利用日常用品為創作題材的雕塑 作品。焦興濤認為「廢物」是人類無止境地 追求物欲滿足感的結果。焦興濤總是通過一 件現實的藝術品，展現一個實際的「物」， 同時利用這個創造的具有真實可依循的 「物」，解構現實和物質間的存在狀態。事 實上，同物質的狀態比，藝術家對材料的生 命屬性更感興趣，他要呈現的不是真實，他 「一定要通過泥塑的方式進行轉述，才感覺 完整」。在焦興濤的作品中，他既不直接用 現成品，也不用翻製現成品的手法制作物的 標本，他總是用傳統雕塑的塑造手法，為那 些被包裝過的物品造型。通過尺度、方位和 材料的質感，焦興濤不但表現了購物袋的形 態，也表現了中國式購物的國情特點，同 時，復原了「物」的靈性。

A brightly orange-colored huge Hermes purse, a crumpled Marks & Spencer shopping bag, and even a piece of gigantic, discard packing pace

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of Doublemint – all of these form the sculpture works by Jiao Xingtao with the theme of daily commodities. According to Jiao, “scrap” is just the result of human being’s limitless pursuit for satisfaction on the desire for material wealth.

Jiao Xingtao is used to presenting an actual “article” by a realistic artwork and then construing the status of existence between reality and substance by this fabricated, genuine “article” that could be followed. In fact, in comparison with the condition of substances, the artist pay more attention to the life attribute of material. What he will present is not reality, but he “must report by means of clay sculpture then integrity will be experienced”. In his artworks, Jiao Xingtao does not use finished products or create samples by transforming finished ones. He always shape packed articles by traditional approaches of sculpture. By size, location and texture of material, Jiao Xingtao does not only showing modality of the shopping bag, but also reveals local conditions in China regarding shopping. At the same time, he restores the spirit of “substance”.

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WU Shaoxiang (b. 1957)

I Love M 2007 Bronze, unique 33(L) x 70(W) x 74(H) cm Signed on front Shaoxiang in Chinese and Wu in English, dated 2007 ILLUSTRATED: Wu Shaoxiang, Song Zhuang Art Center, Song Zhuang, China, 2007, color illustrated, p. 49

NT$ 1,600,000-2,300,000 US$ 55,200-79,300 HK$ 410,300-589,700

吳少湘 我愛M 2007 銅雕 單一件 33(長) x 70(寬) x 74(高) cm 簽名正面：少湘 Wu 2007 圖錄： 《吳少湘》，宋莊美術館，宋莊，中國， 2007，彩色圖版，頁49

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WANG Keping (b. 1949)

Totem 1994 Wood carving 35(L) x 27(W) x 66(H) cm Signed on the back Wang in Chinese and WK in English, dated 94 in Chinese

NT$ 800,000-1,200,000 US$ 27,600-41,400 HK$ 205,100-307,700

王克平 圖騰 1994 木雕 35(長) x 27(寬) x 66(高) cm 簽名背面：王 WK 九四

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JIAO Xingtao (b. 1970)

焦興濤

Purple

2006 玻璃纖維 5/10 33(長) x 25(寬) x 26(高) cm 簽名底座：焦興濤 5/10

紫色

2006 Painted fiberglass, edition no. 5/10 33(L) x 25(W) x 26(H) cm Signed on the base Jiao Xingtao in Chinese and numbered 5/10 This sculpture is to be sold with a certificate of authenticity signed by the artist

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ILLUSTRATED: Matter Morphosis by Jiao Xingtao, Art Seasons Gallery, Beijing, 2007, color illustrated, p. 72

NT$ 160,000-280,000 US$ 5,500-9,700 HK$ 41,000-71,800

附藝術家開立之原作保證書 圖錄： 《物語－焦興濤雕塑作品集》，季節畫廊， 北京，2007，彩色圖版，頁72

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JIANG Shuo (b. 1958)

Flag 6 2007 Bronze, edition no. 5/8 33(L) x 8(W) x 44.5(H) cm Signed on the back Shuo in Chinese and Jiang in English, numbered 5/8

NT$ 260,000-460,000 US$ 9,000-15,900 HK$ 66,700-117,900

蔣朔 旗子之六 2007 銅雕 5/8 33(長) x 8(寬) x 44.5(高) cm 簽名背面：朔 Jiang 5/8

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WANG Zhiyuan (b. 1958)

Underwear Series- Little White Rabbit 2003 Fiberglass, edition no. 4/8 72 x 77 cm Signed upper center Wang Zhiyuan in English Signed on the reverse Wang Zhiyuan in English and dated 2003-05, numbered 4/8

NT$ 160,000-240,000 US$ 5,500-8,300 HK$ 41,000-61,500

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王智遠 內褲系列－小白兔 2003-05 玻璃纖維 4/8 72 x 77 cm 簽名中上：Wang Zhiyuan 簽名背面：Wang Zhiyuan 2003-05 4/8

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WANG Zhiyuan (b. 1958)

Underwear Series- Prevent AIDS 2003 Fiberglass, edition no. 1/8 74 x 83 cm Signed upper center Wang Zhiyuan in English Signed on the reverse Wang Zhiyuan in English and dated 2003-05, numbered 1/8

NT$ 160,000-240,000 US$ 5,500-8,300 HK$ 41,000-61,500

王智遠 內褲系列－預防愛滋 2003-05 玻璃纖維 1/8 74 x 83 cm 簽名中上：Wang Zhiyuan 簽名背面：Wang Zhiyuan 2003-05 1/8

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LEE Kuang-yu (b. 1954)

Concealment 1999 Bronze, edition no. 5/8 49(L) x 32(W) x 93(H) cm Signed on the base Kuang Yu in Chinese, 5/8

NT$ 350,000-450,000 US$ 12,100-15,500 HK$ 89,700-115,400

李光裕 藏 1999 銅雕 5/8 49(長) x 32(寬) x 93(高) cm 簽名底座：光裕 5/8

《藏》選擇以女體姿態為主幹，以求達到視 覺上張力之極限。試圖於創作中釋放人體的 限制，並藉著作品表現主動散發其內斂的詩 性，那是來自於藝術家本身樸實不造作的心 性修為，倘若文學與藝術間的心靈共通性， 能夠借由觀賞作品中所流露出的詩意，捕捉 出剎那間動感韻律。

“Concealment” took a female as its structure to stretch the visual tense to its most. The artist tries to eliminate the retrains of human body, and further present the poetic characteristic within, and that came from the self-cultivation of the artist himself, as if literature and art could interact, and poetry could be read by viewing the art, Lee has given his best to capture that rhythm in that brief moment.

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WU Shaoxiang (b. 1957)

Goddess of Lotus 4 2006 Austrian schilling coins, bronze, unique 17.5(L) x 11(W) x 44(H) cm Signed on the base Shaoxiang in Chinese, Wu in English, dated 2006 EXHIBITED: CHASE! Jiang Shuo & Wu Shaoxiang Selected Sculptures Collection, Linda Gallery, Jakarta, Nov. 18-30, 2006 C H A S E ! J i a n g S h u o & Wu S h a o x i a n g Selected Sculptures Collection, Linda Gallery, Singapore, Dec. 16- 31, 2007 ILLUSTRATED: J i a n g S h u o & Wu S h a o x i a n g S e l e c t e d S c u l p t u re s C o l l e c t i o n , L i n d a G a l l e r y, Singapore, 2006, color illustrated, p. 73

NT$ 350,000-450,000 US$ 12,100-15,500 HK$ 89,700-115,400

吳少湘 荷花女4 2006 奧地利先令幣 青銅 單一件 17.5(長) x 11(寬) x 44(高) cm 簽名底座：少湘 Wu 2006 展覽： 「追：蔣朔與吳少湘─雕塑精選作品 展」，林大畫廊，雅加達，展期自2006年 11月18日至30日 「追：蔣朔與吳少湘─雕塑精選作品 展」，林大畫廊，新加坡，展期自2007年 12月16日至31日 圖錄： 《追：蔣朔與吳少湘─雕塑精選作品集》， 林大畫廊，新加坡，2006，彩色圖版，頁73

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HUANG Yan (b. 1966)

Venus 2004 Porcelain, unique in yellow 18(L) x 26(W) x 44(H) cm Signed on the base Huang in Chinese and dated 2004

NT$ 400,000-600,000 US$ 13,800-20,700 HK$ 102,600-153,800

黃岩 維納斯 2004 瓷器；單一件（黃色） 18(長) x 26(寬) x 44(高) cm 簽名底部：黃 2004

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JIANG Shuo (b. 1958)

Cola Boy 2007 Bronze, edition no. 5/6 36(L) x 33(W) x 41(H) cm Signed on the back Shuo in Chinese and jiang in English, numbered 5/6

NT$ 650,000-950,000 US$ 22,400-32,800 HK$ 166,700-243,600

蔣朔 可樂男孩 2007 銅雕 5/6 36(長) x 33(寬) x 41(高) cm 簽名背面：朔 jiang 5/6

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WANG Ling (b. 1979)

Youth 2007 Oil on canvas 150 x 121.5 cm Signed lower right Wang Ling in Chinese and English, dated 2007

NT$ 280,000-350,000 US$ 9,700-12,100 HK$ 71,800-89,700

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汪凌 雛 2007 油彩 畫布 150 x 121.5 cm 簽名右下：汪凌 wangling 2007

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LUO Brothers

(b. 1962/ b. 1964/ b. 1972)

Welcome Famous Brand of the World - Coca Cola 2007 Mixed media on board 65.5 x 55 cm Signed on the reverse Luo Brothers in Chinese, dated 2007

NT$ 450,000-600,000 US$ 15,500-20,700 HK$ 115,400-153,800

羅氏兄弟 歡迎世界名牌─可口可樂 2007 綜合媒材 木板 65.5 x 55 cm 簽名畫背：羅氏兄弟 2007

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HUNG Tung-lu

(Donglu HONG b. 1968)

Lynn Minmay- 2 Digital print, edition no. 2/8 150 x 120 cm

洪東祿 ILLUSTRATED: Styles of Radical Will- The Multiform Nineties: Taiwan's Contemporary Art, Soka Art Center, Taipei, 2007, color illustrated, p. 28

NT$ 350,000-500,000 US$ 12,100-17,200 HK$ 89,700-128,200

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林明美之二 數位輸出 2/8 150 x 120 cm 圖錄： 《激進意志的風格─九○年代台灣當代藝 術的多元異見》，索卡藝術中心，台北， 2007，彩色圖版，頁28

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LUO Brothers

(b. 1962/ b. 1964/ b. 1972)

Welcome Famous Brand of the World- Pizza Hut (a set of 2) 2007 Mixed media on board 45 x 40 cm (x2) Signed on the reverse Luo Brothers in Chinese, dated 2007

NT$ 500,000-700,000 US$ 17,200-24,100 HK$ 128,200-179,500

羅氏兄弟 歡迎世界名牌─必勝客（2件1組） 2007 綜合媒材 木板 45 x 40 cm (x2) 簽名畫背：羅氏兄弟 2007

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Christopher CHEUNG (b. 1945)

Apples 2002 Oil on canvas 65 x 100 cm Signed upper left CHRISTOPHER CHEUNG in English ILLUSTRATED: Christopher Cheung-New Era Play, Art Seasons Gallery, Singapore, 2007, color illustrated, p. 15

NT$ 600,000-800,000 US$ 20,700-27,600 HK$ 153,800-205,100

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張漢明 蘋果 2002 油彩 畫布 65 x 100 cm 簽名左上：CHRISTOPHER CHEUNG 圖錄： 《張漢明－新朝戲像》，季節畫廊，新加 坡，2007，彩色圖版，頁15

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YANG Guoxin (b. 1951)

Good Fruit 2006 Oil on canvas 115 x 150 cm Signed lower left Guoxin in Chinese, Yang Guoxin in English and dated 2006 ILLUSTRATED: Yang Guoxin, Hebei Fine Arts Publishing House, Shijiazhuang, 2007, color illustrated, p. 149

NT$ 650,000-750,000 US$ 22,400-25,900 HK$ 166,700-192,300

楊國辛 好果子 2006 油彩 畫布 115 x 150 cm 簽名左下：國辛 Yang Guoxin 2006 圖錄： 《楊國辛》，河北美術出版社，石家莊， 2007，彩色圖版，頁149

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HAN Yajuan (b. 1980)

I Believe I Can Fly No. 05 2006 Oil on canvas 100 x 100 cm Signed lower left HAN YA JUAN in English and dated 2006 Titled on the reverse I BELIEVE I CAN FLY No. 05 in English, signed Han Ya Juan and media oil on canvas in Chinese, size 100 x 100 cm and dated 2006

NT$ 650,000-800,000 US$ 22,400-27,600 HK$ 166,700-205,100

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韓婭娟 我相信我可以飛 No. 05 2006 油彩 畫布 100 x 100 cm 簽名左下：HAN YA JUAN 2006 簽名畫背：I BELIEVE I CAN FLY No. 05 布面 油畫 100 x 100 cm 韓婭娟 2006

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YUAN Xiaofang (b. 1961)

Submarine 2007 Oil on canvas 200 x 150 cm Signed lower left Xiao Fang in Chinese and English, dated 2007

NT$ 750,000-850,000 US$ 25,900-29,300 HK$ 192,300-217,900

袁曉舫 潛水艇 2007 油彩 畫布 200 x 150 cm 簽名左下：曉舫 Xiao Fang 2007

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ZHENG Delong (b. 1959)

No. 06-41 2006 Oil on canvas 150 x 180 cm Titled on the reverse “06-41” and size 150 x 180 cm, signed Zheng De Long in Chinese and English, media oil on canvas in Chinese and English, Cheng Du in China in Chinese and English.

鄭德龍 無題 No. 06-41

ILLUSTRATED: Collision, Zheng Delong, Vanessa Art Link, Jakarta, 2007, color illustrated, p. 73

2006 油彩 畫布 150 x 180 cm 簽名畫背：《06-41》150 x 180 cm 中國． 成都 Cheng Du in China 布面 油畫 Oil on Canvas 鄭德龍 Zheng De Long

NT$ 1,200,000-2,300,000 US$ 41,400-79,300 HK$ 307,700-589,700

圖錄： 《湱─鄭德龍》，華藝莎藝術中心，雅加 達，2007，彩色圖版，頁73

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GAO Yu (b. 1981)

Hello Panda- GG 2006 Acrylic on canvas 240 x 200 cm Titled on the reverse “HELLO PANDA-GG” in English, signed Gao Yu and media acrylic on canvas in Chinese, size 240 x 200 cm and dated 2006

NT$ 900,000-1,600,000 US$ 31,000-55,200 HK$ 230,800-410,300

高瑀 哈囉熊貓 GG 2006 壓克力 畫布 240 x 200 cm 簽 名 畫 背 ： 《 H E L L O P A N D A - G G 》 240 x 200 cm 布面 丙稀 2006 高瑀

以圖像、故事、趣味、虛擬為核心元素的動 漫畫，是百年來非常重要的大眾化藝術， 二十世紀上半葉在歐美快速發展，深得人 心，二十世紀下半葉更是在日本發揚光大， 蔚為風潮，已逐漸形成影響大眾生活的時代 生活美學。但對於一代深受其影響的中國藝 術家而言，其表現力則不盡相同。在高瑀的 作品中，藝術家借助各種熊貓的形象要表達 的是內心湧動的情緒。同70年代後相比，生 於80年代的高瑀更輕鬆，更自由。「我只是 用了漫畫這個形式而已，實際上我的思維方 式和有些人不太一樣。很多人更多的是卡通 式的快樂，而我只是用這個東西作為一個工 具來說話而已。用它們去表達我每個時期所 感興趣的東西。」 以熊貓為題材進行創作源於大學時的一次作 業，原本打算拍攝一個短片的高瑀，從玩具 店買了一隻絨毛熊貓作為創作藍本。兩年後 的一天，當他在紙上隨便畫起熊貓，卻發現 如此順手。 高瑀為他筆下的熊貓設計了一 個成長過程，從受精卵、胚胎一直到長大。 「小熊貓只是個演員，我是編劇、導演。就 像王家衛愛用梁朝偉當男主角，至於他什麼 時候願意用別的男演員，誰知道呢？」

Animation with the essential elements of images, stories, interesting and fictitious is very important popular art over past centuries. It was rapidly developed and popularized in the

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occident in the first half of the 20th century, and was significantly carried forward in Japan in the second half of the 20th century. It has become the trend and gradually formed modern living aesthetic that affects the life of people. But for generation of Chinese artists who are deeply impacted, their performance is not quite the same in strength. In Gao Yu’s masterpieces, a variety of giant panda images were painted by the artist to express the emotion of heart beats.

Compared with post 70s, Gao Yu was born in 1980s, a much easier and free ages. “I only used the cartoon form, in fact my way of thinking is different from other people. Many people are interested in a happy style of cartoon, and I just use cartoon as a tool to express my feelings of interests at each stage.”

Taking giant panda as the theme was created at the university when he was doing the homework. Originally, Gao Yu intended to shot a video and he bought a fluff panda from a toy store as a creative blueprint. One day two years later, when he casually painted the panda on paper, he found it easy and comfortable.

Gao Yu has designed a growing process for his panda, from the fertilized egg, embryo to grow up. “Little panda is only an actor and I am a director. Just like director, Wong Kar-wai, is fond of the actor, Tony Leung. But, when will he like to use other actors, who knows?”

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YIN Jun (b. 1974)

Crying 2006 Oil on canvas 200 x 200 cm Signed lower right Yinjun in Chinese and English, dated 2006 Signed on the reverse Yinjun in Chinese and English, dated 2006 and media oil on canvas, size 200 x 200, titled Crying in English

NT$ 850,000-1,000,000 US$ 29,300-34,500 HK$ 217,900-256,400

尹俊 女兵暢泣 2006 油彩 畫布 200 x 200 cm 簽名右下：尹俊 yinjun 2006 簽名畫背：crying oil on canvas 200 x 200 2006 尹俊 yinjun

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YIN Kun (b. 1969)

Joining Forces 2005 Oil on canvas 120 x 150 cm Signed lower right Yin Kun in Chinese, dated 2005.5

NT$ 750,000-1.000,000 US$ 25,900-34,500 HK$ 192,300-256,400

尹坤 會師 2005 油彩 畫布 120 x 150 cm 簽名右下：尹堃 2005.5

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CHEN Ke (b. 1978)

Mother 2006 Oil on canvas 100 x 100 cm Signed lower right Ke in Chinese and dated 2006 Titled on the reverse Mother and signed Chen Ke in Chinese, media oil on canvas in Chinese and size 100 x 100 cm, dated 2006

NT$ 1,200,000-2,200,000 US$ 41,400-75,900 HK$ 307,700-564,100

陳可 媽媽 2006 油彩 畫布 100 x 100 cm 簽名右下：可 2006 簽名畫背：媽媽 布面油畫 100x100 cm 陳可 2006

生於四川，長於四川，一路在四川美院從附 中讀到研究生的陳可，是名符其實的川妹 子。但她的性格並不潑辣，她像極了自己創 作的作品裡的形象；或者說不對著模特兒創 作，常常將每一個物件都畫成了自己。近似 的不是外貌，而是氣質—再可愛也透著點憂 傷。生於1978年的陳可常常被歸類到70一代 或者卡通一族，但藝術的複雜性在於實在無 法用幾個單詞和概念概括它所有的語意。陳 可作為中國目前最受關注的70後女畫家，早 在四川美院時已受到普遍的關注。在一代人 的記憶裡，與其說是卡通，不如說是童話在 成長過程中產生更大的影響。卡通不再僅僅 是簡單地可愛，藝術家通過畫面力圖傳達的 是對現實的逃避，描繪了人在跨入社會時要 面對的問題、困惑以及迷茫。卡通不過是一 種組成畫面的形式，重要的是藝術家對人生 的看法和設想。談及《媽媽》的創作思路及 意義時，陳可說：「對於人與人之間一種複 雜的感受，愛是美好的但有時也是束縛，和 殘忍有時只是一步之遙，就像有時看到可愛 的東西，會有一種暴力的衝動。」哀傷與溫 暖，殘忍與慰藉，矛盾和掙扎是這一代人共 同的心理體驗。

Born and bred in Sichuan, Chen Ke had been studying at Sichuan Academy of Arts all the way from middle school to post graduate, and she is true to name a girl of Sichuan. But her character is not bold and vigorous, she is like the image she created in her works, or she does not face the model for creation, but often takes her own

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as every object to paint. The similarity is not the appearance, but the temperament - though lovely, but with a little bit of sadness. Born in 1978, Chen Ke is often classified into the generation of 70s or so called cartoon generation.

The complexity of the art is indeed impossible to be expressed and summed up with a few words and concepts. Chen Ke is regarded as the most attractive female artist of post 70s in China nowadays. As early as she studied at Sichuan Academy of Arts, she has drawn popular attention and concern. In the generation of memory, it is the fairy tale, rather than cartoons, that had a great impact on the course of growing up.

Cartoon is no longer simply lovely, the artist sought to convey the phenomenon of escaping reality through the picture, depicting the problems, confusion and perplexity they faced when they entered the society. However, cartoon is a component in the form of images, it is important that the views of the artist on the life and ideas. When mentioned about creative ideas and significance of “Mother”, Chen Ke said, “It is a complex feelings between human beings. Love is a beautiful, but sometimes it is the shackles, only a step away from cruel sometimes. It is just like sometimes when seeing a cute thing, there will be a violent impulse for having it.” The sadness and the warmth, the cruel and the consolation, the contradiction and the struggle, these are the common psychological experience of this generation.

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YIN Kun (b. 1969)

Sister Jiang 2006 Oil on canvas 179 x 149 cm Signed lower right Yin Kun in Chinese, dated 2006

NT$ 1,100,000-2,200,000 US$ 37,900-75,900 HK$ 282,100-564,100

尹坤 江姐 2006 油彩 畫布 179 x 149 cm 簽名右下：尹堃 2006

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SONG Yonghong (b. 1966)

Playing till Toes 2005 Oil on canvas 150 x 170 cm Signed lower left Song Yonghong in Chinese and English, dated 2005

NT$ 1,200,000-2,400,000 US$ 41,400-82,800 HK$ 307,700-615,400

宋永紅 遊戲到腳尖 2005 油彩 畫布 150 x 170 cm 簽名左下：宋永紅 2005 Song Yong Hong

宋永紅的繪畫方式極其個人化和單純，他 用種種近似於無稽的畫面表達自己純粹到 極點的個人感悟。他通過所有窺者與被窺者 的僵直麻木的視覺形象，以及沒有絲毫回避 的感官刺激，赤裸裸地揭露了一個趨向「私 密公開化」的時代困境。2008年2月到3月， 廣東美術館展出了其名為「欲望廣場」的個 展，將其各個階段的藝術成果集結於此。展 覽的作品按時期主要分為三個部分：90年代 前後以「玩世現實主義」為主；2005年左右 以「慰藉之浴」系列為主；這之後，回復到 「情節性」題材的闡釋。

reveals completely a dilemma of the era that is oriented towards “opening of privacy” by the stiffen, numb visual image of prier and the pried as well as unavoidable sensory stimulations. Guangdong Museum of Fine Arts staged his personal show “Desire Square” in February~March 2008, extending all his achievements in arts. In terms of time, the exhibited works consist of three stages: “cynical realism” in 1990s; “Bath of Consolation” series in about 2005; and the return to the illustration of the “scenario” after that period.

宋永紅只畫自己有感而發的，和自身生存 的感覺相聯繫的人物和場景，「我喜歡有 形的東西，喜歡表述清楚的感覺。那種清 楚不是為了敘述，而是傳達一種感覺。因為 我們每天一醒來看到的是形象，而不是沒形 象的東西，我相信這種直覺的東西能讓你激 動。」 宋永紅的作品，都是超現實甚至非 現實非真實的，加上他奇特的視 覺 角 度 ， 每一幅畫面都具有引人入勝的懸疑情節。在 《遊戲到腳尖》中，畫面呈現最完整的形 象是一隻正在走過畫面黑色的狗，女人的 身體被遮掩在樹叢下，路燈透著迷離的乳 白色，儼然成為背景的藍色水面，像一幕 偵探劇本的開場，冷冷的，壓抑、滑稽、 荒唐，又不會徹底恐怖，乃至喪失人性。 他以簡單的勾畫方式強化了畫面的人物表情 和動作的單一化，使得畫面更添加了煩悶和 恐慌感。

Song Yonghong only describes figures and scenes that trigger his feeling and connect to his experience of his existence. “I like things material and tangible and I’m willing to illustrate clear experience. This kind of clearness is not for description, but for delivery of a kind of feeling. The reason is that what we see when we wake up every day is image other than those imageless. I am confident that the intuitive things can excite you.” All his artworks are surreal or even unreal and untrue. Every image is cliff-hanging and intriguing plus his unique angle of view. In “Playing till Toes”, the image presents a most complete figure – a passing dark dog. A woman’s body is covered by woods. Street lamps are shining with dazzling, misted ivory white. The blue water, absolutely as the background, is like the begin of a detective play, cold, depressive, ridiculous, and non-sense. However, it never turns too scary or even deprived of humanity. He strengthens face of the figures and the monotonousness of actions by simple sketch, adding to the irritancy and a sense of panic to the image.

Song Yonghong's painting style is characteristic of individuality and purity, he expresses his extremely pure personal appreciation with seemingly fabulous, ridiculous images. Song

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YANG Jinsong (b. 1971)

Electrical Cooker 2003 Oil on canvas 190 x 150 cm Signed lower right Yang Jin-song in Chinese and English, dated November 2003 ILLUSTRATED: The Sichuan Movement- New Paintings from China. 16 Sichuan Artists Joints Exhibition, Linda Gallery, Jakarta, 2008, color illustrated, p. 72

NT$ 1,600,000-2,600,000 US$ 55,200-89,700 HK$ 410,300-666,700

楊勁松 電爐 2003 油彩 畫布 190 x 150 cm 簽名右下：楊勁松 2003年11月 Yang Jin-song 圖錄： 《川流：來自中國的新繪畫．四川藝術家 十六人作品聯展》，林大畫廊，雅加達， 2008，彩色圖版，頁72

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HE Xuesheng (b. 1963)

Household near the Mound 2005 Oil on canvas 150 x 115 cm Signed lower left He Xueshen in Chinese, dated 2005

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Signed on the reverse Household near the Mound in Chinese, media oil on canvas in Chinese, size 150 x 115 cm

NT$ 240,000-350,000 US$ 8,300-12,100 HK$ 61,500-89,700

何學昇 塬邊人家 2005 油彩 畫布 150 x 115 cm 簽名左下：何學昇 2005 簽名畫背：塬邊人家 (之一) 油畫 150 x 115 cm

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YIN Hong (b. 1970)

Nocturnal Melody & Melting 2006 Oil on canvas 150 x 80 cm (x2) Signed lower right Yin Hong in Chinese, dated 2006.2 (Nocturnal Melody) Signed on the reverse oil on canvas, Yin Hong, titled Nocturnal Melody in Chinese, size 150 x 80 cm, dated 2006

尹紅 Signed lower left Yin Hong in Chinese, dated 2006.5 (Melting) Signed on the reverse Yin Hong, oil on canvas, titled Melting in Chinese, size 150 x 80 cm, dated 2006

NT$ 450,000-550,000 US$ 15,500-19,000 HK$ 115,400-141,000

夜曲與融化 2006 油彩 畫布 150 x 80 cm (x2) 簽名右下：尹紅 2006.2（夜曲） 簽名畫背：布面油畫 《夜曲》150 x 80 cm 尹紅 2006 簽名左下 ：尹紅 2006.5（融化） 簽名畫背：150 x 80 cm 尹紅 2006 布面 油畫 《融化》

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CAO Jingping (b. 1972)

Gone with Wind No. 9 2005 Acrylic on canvas 200 x 70 cm Signed lower right Jing Ping in Chinese, dated 2005 Signed on the reverse Cao Jing Ping in Chinese and English, titled Gone with Wind No. 9 in Chinese and English, size 200 x 70 cm, dated 2005

NT$ 240,000-350,000 US$ 8,300-12,100 HK$ 61,500-89,700

曹靜萍 飄之九 2005 壓克力 畫布 200 x 70 cm 簽名右下：靜萍 2005 簽名畫背：曹靜萍 Cao Jing Ping 飄之九 Gone with Wind No. 9 200 x 70 cm 2005

346

181

KO Si-chi (b. 1929)

Viewing the Ocean 1983 Dye transfer print, edition no. 1/15 40.5 x 58 cm (image) 51 x 61 cm (photographic paper) Signed lower right Ko Si Chi in English and Chinese, dated 1983 USA ILLUSTRATED: Visual Field of the Heart- Photographic Esthetics of Ko Si Chi, Locus Publishing Co., Taipei, 2006, color illustrated, p. 87

NT$ 280,000-350,000 US$ 9,700-12,100 HK$ 71,800-89,700

柯錫杰 觀海 1983 轉染法 相片 1/15 40.5 x 58 cm（影像） 51 x 61 cm（相紙） 簽名右下：Ko Si Chi 柯錫杰 美國 1983 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87

182

CAO Jingping (b. 1 972)

Gone with Wind No. 5 & No. 6 2007 Acrylic on canvas 200 x 70 cm (x2) Signed on the reverse Cao Jingping in Chinese and English, titled Gone With Wind 2007 No. 5 in Chinese and English, size 200 x 70 cm and dated 2007 Signed on the reverse Cao Jingping in Chinese and English, titled Gone With Wind 2007 No. 6 in Chinese and English, size 200 x 70 cm and dated 2007 EXHIBITED: Skin Deep, Cao Jingping Solo Exhibition, Linda Gallery, Singapore, Dec 1- 16, 2007 ILLUSTRATED: Cao Jingping, Linda Gallery, Singapore, 2007, color illustrated, pp. 37-38 The Straits Times, Dec. 15 2007, life section, page L10, title: Priceless Paintings

NT$ 550,000-750,000 US$ 19,000-25,900 HK$ 141,000-192,300

348

曹靜萍 飄 No.5 & No.6 2007 壓克力 畫布 200 x 70 cm (x2) 簽名畫背：曹靜萍 Cao Jingping 飄 2007 No. 5 Gone With Wind 2007 No. 5 200 x 70 cm 2007 簽名畫背：曹靜萍 Cao Jingping 飄 2007 No. 6 Gone With Wind 2007 No. 6 200 x 70 cm 2007 展覽： 「美麗表像下的隱寓，曹靜萍個展」，林大畫 廊，新加坡，展期自2007年12月1日至16日 圖錄： 《曹靜萍》，林大畫廊，新加坡，2007，彩 色圖版，頁37-38 《海峽時報》，2007年12月15日，生活刊， 頁L10，標題〈無價的畫作〉

183

XIONG Yu (b. 1975)

Three-winged Portrait 2007 Oil on canvas 200 x 150 cm Signed lower rignt Xiong Yu in Chinese and dated 2007 EXHIBITED: Chinablue in Berlin, Berlin Art Centre, Berlin, Germany, September 2007.

NT$ 750,000-950,000 US$ 25,900-32,800 HK$ 192,300-243,600

熊宇 三個翅膀的肖像 2007 油彩 畫布 200 x 150 cm 簽名右下：熊宇 2007 展覽： 「環碧堂在柏林」，柏林藝術中心，柏林， 德國，2007年9月

350

184

JIN Zi (b. 1973)

A Lover in the Mirror 2006 Acrylic on canvas 160 x 180 cm Signed on the reverse A lover in the Mirror Jinzi in Chinese, size 180 x 160 cm, dated 2006

NT$ 240,000-350,000 US$ 8,300-12,100 HK$ 61,500-89,700

352

金子 鏡中的戀人之一 2006 壓克力 畫布 160 x 180 cm 簽名畫背：鏡中的戀人之一 180 x 160 cm 2006年 金子

185

DONG Zhong (b. 1969)

Rain 2007 Acrylic on canvas 140 x 140 cm Signed lower left Dong Zhong in Chinese and English, dated 2007

董重 雨

ILLUSTRATED: Flower/Bird/Bug/Fish- Dong Zhong 2007, Jinse Gallery, Chongqing, 2007, color illustrated, p. 69

2007 壓克力 畫布 140 x 140 cm 簽名左下：董重 Dong Zhong 2007

NT$ 240,000-350,000 US$ 8,300-12,100 HK$ 61,500-89,700

圖錄： 《花．鳥．蟲．魚：董重 2007》，錦瑟畫 廊，重慶，2007，彩色圖版，頁69

186

XU Maomao (b. 1979)

Romeo and Juliet 2006 Acrylic on canvas 150 x 120 cm Signed lower right Romeo and Juliet in Chinese and dated 06.10.12, Xu Maomao in Chinese EXHIBITED: Wonderland, One and J. Gallery, Seoul, Korea, 2007

NT$ 240,000-350,000 US$ 8,300-12,100 HK$ 61,500-89,700

徐毛毛 羅密歐與茱麗葉 2006 壓克力 畫布 150 x 120 cm 簽名右下：羅密歐與茱麗葉 06.10.12. 徐毛毛 展覽： 「童話」，One and J. 畫廊，首爾，韓國， 2007

在藝術家的筆下，莎翁經典名作《羅密歐與 茱麗葉》化身為現代版的機器人，但即使時 光的改變，幾代人的更迭，也抹不去悲劇的 宿命。這是藝術家想要表達的核心思想： 「每個人的愛情都是註定好的，就算羅密歐 變成了有感情的機器人，也改變不了悲劇， 因為茱麗葉會相對的變成魔鬼，還是一樣的 悲劇。」生於1979年，畢業於西安美術學院 的徐毛毛，深受日本漫畫影響，至今仍在看 各類漫畫書。以至於動漫的語言成為了血液 裡的一部分，存在於潛意識裡，一旦內心有 表達的欲望，提筆畫來，都是卡通。70年代 出生的「漫畫一代」並非突然間崛起，其存 在的時間早在兒時的記憶中，在觀看卡通影 像，在閱讀動漫讀物的過程中，留下深刻印 象。但同歐美及日本的「動漫美學」相比， 中國當代藝術中的「漫畫」，作品的風格介 於卡通與現實之間，表達的主題則更多是生 活方式、情感訴求及文化背景的現實意義。 在徐毛毛筆下，「愛情」同樣是表達不完的 亙古話題。「愛情的當下狀態」是藝術家真 正的關注點。而當下，儘管想要表達美好的 事物，一如永遠美好的愛情，但是快速變化 的現代生活，壓力倍增的生活狀態，原本承 載輕鬆閒散功能的動漫，也遮掩不住淡淡的 憂愁和感傷的體會。

The classic masterpiece, Romeo and Juliet, by Shakespeare has been embodied as the modern version of the robot. Though time has changed and generations after generations, the tragedy fate remains unchanged. This is the main idea the artist intended to express: "The love

354

for everybody is doomed, even if Romeo has been turned into a robot, the tragedy can not be changed. As Juliet will become the devil accordingly, so is the same tragedy." Born in 1979 and graduated from Xian Academy of Fine Arts, Xu Maomao has been greatly affected

by Japan cartoons and even now, she is still reading all kinds of animation books. Thus, the language of animation has become a part of the blood that exists in the subconscious.

Once having the desire to express the inner feelings, under the brush are cartoons only.

The "cartoon generation" born in the 1970s is not grown up suddenly, for it existed in the memories at early stage of their childhood, in the course of watching cartoon images and reading animation books, which leaves deep impression on them. But compared with the occidental and Japan's animation aesthetics, the Chinese contemporary art in respect of cartoon style is ranged between cartoon and reality, depicting the theme with practical significance mainly concerning about lifestyles, emotional demands and cultural background. Under Xu Maomao's brush, "love" is still the endless topic to be expressed for generations after generations. The "current state of love" is the real concern of the artist. At present, despite the good things to be expressed, as that forever-beautiful love to be, the rapid changes of modern life and the evergreater pressure of the life can not cover up the experience of sadness and pathos, even with the animation, which is originally full of relaxing and idle function.

187

SHEN Na (b. 1979)

A Woman in the Edge of Collapse 2007 Oil on canvas 150 x 200 cm Signed upper center SHEN NA in Chinese and English, dated 2007

NT$ 350,000-500,000 US$ 12,100-17,200 HK$ 89,700-128,200

356

沈娜 崩潰邊緣的女人 2007 油彩 畫布 150 x 200 cm 簽名中上：SHEN NA 沈娜 2007

188

CUI Wei (b. 1981)

Super Star - Mao 2006 Oil on canvas 145 x 145 cm Signed lower right Cui Wei in English Signed on the reverse Cui Wei in Chinese and titled Super Star - Mao in English, dated 2006

NT$ 300,000-500,000 US$ 10,300-17,200 HK$ 76,900-128,200

崔瑋 超級巨星－毛主席 2006 油彩 畫布 145 x 145 cm 簽名右下：Cui Wei 簽名畫背：崔瑋《Super Star - Mao》2006

189

REN Sihong (b. 1967)

Surfing Mao 2006 Oil on canvas 200 x 100 cm Signed lower right Ren Sihong in English, dated 2006

NT$ 350,000-450,000 US$ 12,100-15,500 HK$ 89,700-115,400

任思鴻 毛澤東衝浪 2006 油彩 畫布 200 x 100 cm 簽名右下：2006 Ren Sihong

358

Lots 003, 027 Lot 002

Lot 001

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

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

Born in Taipei in 1959, graduated from fine art department of Culture University. His solo exhibitions: “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 participated 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 the International Art, Ludwig, Germany in 1996. “The Odyssey of Art in Taiwan, 1950-2000” in National Art Museum of China, Beijing in 2006.

Awarded: Hsiung-shih Award for New Artist, first prize, 1981; Taipei Biennial, first prize, 1992; Liao Chih-chun Award, first prize of oil work, 2002.

Born in Chiayi, Taiwan. Su Wong-shen currently works and lives in Kaohsiung. He graduated from the Fine Arts Department of Chinese Culture University. Su’s first solo exhibition was held in the American Culture Center in Taipei. He held another solo exhibition in the Taipei Fine Arts Museum in 1988 and continued to exhibit extensively thereafter in both solo and group exhibitions.

Su’s early work in 1980s was abstract and it was only in the 1990s that he moved to more realist work. Most of his recent work uses dogs to as a metaphor for social criticism. His work is found in the public collections of the Taipei Fine Arts Museum and the National Taiwan Museum of Fine Arts.

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 a 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 were collected by Taipei Fine Arts Museum, Kaohsiung Museum of Fine Arts, National Taiwan Museum of Fine Arts, and Hara Museum of Contemporary Art, Japan.

陸先銘 (1959年生)

蘇旺伸 (1956年生)

郭振昌 (1949年生)

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。

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。

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。

LU Hsien-Ming (b. 1959)

Lots 004, 006, 048

Lots 005, 020

Lot 007

John WAY (WEI Yue-tang, b. 1921)

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

HSU Yu-jen (b. 1951)

Born in Shanghai. Way has held his own shows in Shanghai since 1937. From 1951 his works have been selected to show at the Hong Kong Art Club Annual Exhibition for five consecutive years. Way settled down in Boston in 1956, where he studied abstract painting in the West. Throughout the 1960s Way had held many solo shows in Boston, including one in Nexus Gallery in 1960 and one in MIT's Art Museum in 1968. In 1965, his work was showed alongside other well-acclaimed contemporary artists including Hans Hartung and Andy Warhol, in a joint exhibition “Painting Without a Brush” held at the Accademia del Verbano in Italy. His works are in the collections of both the Stanford University Art Museum and the San Francisco Art Museum.

Born in Taiwan. First solo exhibition, Taiwan Provincial Museum; pursue advance study in Europe and the United States of America, 1976 to 1980. Solo exhibition The King’s Dream, National Taiwan Museum of Fine Arts, Taipei; Work was collected by the Museum, 1992.

Solo exhibition Nightmare, Taipei Fine Arts Museum, Taipei, Dignified Symbol was collected by the Museum, 1995. Established Huang Ming-Che 3-D Art Workshop, 1996. From Construction to Deconstruction and Back to Construction: Huang Ming-Che Solo Exhibition , Forum of Creativity in Art held by Kaoshiung Museum of Fine Arts, 1998. Huang’s 3-D artwork was collected by the Museum. Solo Exhibition Shanghai-Taipei, Shanghai Fine Arts Museum, Shanghai, A Group of Women in East Taipei was collected by the Museum, 2001. Construction of Belief Solo 3-D Artwork Exhibition, Taipei Fine Arts Museum, Taipei, 2001. The Multiform Nineties: Taiwan’s Art Branches Out, Taipei Fine Arts Museum, Taipei, 2004. Arario Beijing, 2006. Solo Exhibition in Beijing, National Art Museum of China, Beijing; 798 Beijing Art Center, Beijing, 2007. Solo Exhibition Flower and Hammer, Main Trend Gallery, Taipei; Commercial spokesperson of Volkswagen Phaeton Series, design gifts for VW’s new car owners.

Born in Tainan. Hsu has been enrolled to Lee Chungshen Art studio in 1973, and graduated from the Arts Department of the Taiwan National Academy of the Arts. Hsu has exhibited extensively in Taiwan since 1991 and he has a number of solo exhibitions in Taiwan.

Now Hsu lives an works in Sanchih, Taipei county.

Recently he also tried to use Chinese outline drawing in ink which was well received.

魏樂唐 (1921年生)

黃銘哲 (1948年生)

許雨仁 (1951年生)

出生於上海，1937年起即於上海畫廊展出，1951年起連 續5次入選香港美術協會年展。1956年移居美國，並專 心投入抽象繪畫，為當代華人藝術家中最早專研抽象繪 畫者之一。1960年代起曾在波士頓舉行多項展覽，包括 1960年在納思畫廊及1968年在麻省學院藝術館之個展， 並入選1965年波士頓現代美術館之「不用畫筆的畫作」 聯展，參展畫家包括國際著名的當代畫大師如哈同及安 迪沃荷等。其作品為美國史丹佛美術館及舊金山美術館 等典藏。

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。

出生於台南縣，1973年曾隨李仲生習畫，1975年畢業於 國立台灣藝術專科學校。自1979年開始，極多次參加個 展及聯展，包括油畫、雕塑及裝置作品展。於1991年參 加香港藝術中心之「個人運動」聯展，為台灣中堅輩畫 家中本土風格鮮明的一位。目前定居台北縣三芝鄉，亦 嘗試水墨白描風格，評價亦高。

Lot 010

Lots 008, 049, 070, 087

Lot 009

CHUANG Che (b. 1934)

WU Tien-chang (b. 1956)

HSIAO Chin (XIAO Qin, b. 1935)

Born in Beijing, Chuang's father was the great calligrapher, who was the vice-director of National Palace Museum in Beijing, Chuang was introduced to art by his father when he was little. He moved to Taiwan in 1948.

After graduating from Taiwan National Normal University in 1958, Chuang taught at Tunghai University. He joined the Fifth Moon Group and actively pushed the modernization of Chinese painting. Received a scholarship from the Rockefeller Foundation, left Taiwan and settled in Ann Arbor, Michigan. In 1988, moved to New York, concentrated on his abstract paintings, and was invited by the Taipei Fine Arts Museum to hold a solo exhibition in 1992. Chuang's works have been exhibited widely and housed by many local and foreign museums and private collectors.

Born in Taipei, Taiwan. He graduated from Chinese Culture University in 1980 and was one of the founding members of the “Taipei Painting Association.” The style he has changed from irony to black humor. In the late 1980s, Wu started to create the Trauma series that reflected the social issues of concern. All the elements in the painting are scars and violence, implying the age at that time. In 1990s, Wu employed image into his creation. In addtion to photography, he also pays special heed to the frame and material used. He often used artificial flower, sequins, velvet, cord and leather, imitating the “Salon photography” which was popular in Taiwan in the 1950s. These techniques and materials present the main theme of the works of this period, Pretence. In recent years, he participated in the Venice Biennale and that of Fukuoka Asian Art Museum in Japan and became a well-known figure.

Hsiao Chin was born in Shanghai. His father, Hsiao Yumei, was an important composer in modern music in China. Hsiao grew up in an artistic environment and his childhood remains an important influence on his work.

After moving to Taiwan in 1949, Hsiao studied Fine Arts at the National Taiwan Normal University, Taipei.

He also studied drawing under Chu Teh-chun. After his graduation, he learned modern art with Li Chun-shan.

He then went to Spain to study but changed his mind as he was not inclined towards the conservative style practiced by the Spanish art colleges. Hsiao founded the Ton Fan Art Group in 1956, and was instrumental in bringing modern Taiwanese painting into international exhibitions. In 1959, he moved to Milan, Italy. He then traveled and worked in Paris, London and New York.

Since 1966 he is the director of Graduate Institute of Plastic Arts of Tainan National College of Arts.

莊喆 (1934年生)

吳天章 (1956年生)

蕭勤 (1935年生)

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

台灣台北人。1980年畢業於文化大學美術系，為「台北 畫派」創始成員之一，乃台灣前衛藝術最出色的人物之 一。他的繪畫風格經過了從政治反諷向黑色幽默的轉 變。1980年代末吳天章開始製作「傷害症候群」，以社 會性題材關心時代議題，繪畫裡所有的元素都是受傷 的、暴動的，以表現當時台灣所處的時代。1990年代， 吳天章開始以影像作為創作手法，除了攝影，他也特別 著重在畫框與材質的選用，他常用人造花、亮片、金蔥 布、絨布、皮料、雷射的亮帶等材質，以及仿製50年代 流行於台灣「沙龍攝影」的場景，以表現這時期的創作 主題—「虛假」特質。近年曾參加義大利威尼斯雙年 展、日本福岡亞洲美術館等重要國際大展，聲名大噪。

生於上海。父親蕭友梅是中國現代音樂的重要啟蒙者。 受其影響，童年在濃厚藝文氣息環境下成長。1949年來 台，1951年入台北師範學校藝術科系，曾隨朱德群學習 素描，1952年入李仲生畫室研究現代藝術。1956年後與 畫室成員創「東方畫會」，為「八大響馬」成員之一， 作品多次參加過全國性及國際性展覽。1955年獲西班牙 政府獎學金，次年啟程赴歐留學。1959年遷居義大利米 蘭，先後工作於巴黎、倫敦及紐約等地。1961年發起 「龐圖（又譯作「點」，PUNTO）國際藝術運動」， 1978年再創辦「太陽（SURYA）國際藝術運動」，1989 年發起「國際無（SHAKTI）藝術運動」活躍於國際藝 壇。1996年起，應聘於國立台南藝術學院造型藝術研究 所，擔任繪畫專任教授。2000年應邀參加第七屆義大利 威尼斯建築雙年展。主要收藏機構包括：紐約現代美術 館、大都會博物館、費城藝術館，義大利羅馬國立現代 美術館、德國司圖加斯特美術館、西班牙巴塞隆納現代 美術館、台北國立歷史博物館、台北市立美術館等。

Lots 012, 031, 050, 072, 083, 089 Lots 011, 013

Lots 014, .028

CHAO Chung-hsiang (1910-1991)

Walasse TING (b. 1929)

HOU Chun-ming (b. 1963)

From 1932 to 1939, Chao studied at Henan Normal School followed by the Hangzhou National Academy of Art where he was awarded 16 prizes. Chao’s early work has been collected by his tea-chers Lin Fengmian and Teng Gu. In 1939, his works were exhibited in the first National Art Exhibition where he won a prize in watercolor. In 1956, Chao received a scholarship to Spain where he later became a permanent member of the National Art Association of Spain. He moved to USA in 1958 and devoted the next three decades to exploring and developing his own artistic style. While living in USA, Chao met his American contemporaries such as Roy Lichtenstein (1923-1997) and Mark Rothko (19031970). In 1965, he held a solo exhibition and lecture at the Guggenheim Museum. In 1980, he returned to Taipei for a solo exhibition and 4 years later, decided to establish an art studio there. From 1984 to his death in 1991, Chao traveled frequently between New York, Taipei, China and Hong Kong in his search for artistic fulfillment.

Born in Wuxi, Jiangsu, China, but raised in Shanghai where, by his own account, he first began painting on sidewalks. Ting ever enrolled Shanghai Fine Arts School. He moved to Hong Kong in 1946. Then he moved to Paris in 1952 where he formed close relationships with members of the CoBra group. In 1960, he immigrated to New York, where he became involved with Pop artists. Ting published a book of his poems entitled One Cent Life illustrated with original lithographs by numerous American and European artists. He became American citizen in 1974. In 1977, he was awarded a fellowship from the John Simon Guggenheim Foundation and published Red Mouth, a book of erotic drawings and paintings. Since 2001, he has resided in Amsterdam.

The use of color was unique. His paintings have also been collected by many museums, including: Metropolitan Museum in New York, MoMA and Guggenheim Museum of Arts.

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

趙春翔 (1910-1991)

丁雄泉 (1929年生)

侯俊明 (1963年生)

1932至1939年間就讀於河南省第一師範學校藝術系及國 立杭州藝專，期間曾經榮獲16項獎項，其作品亦被林風 眠（1900-1991）與滕固兩任校長收藏，1939年參加南 京第一屆全國美展，並獲人物水彩畫獎。1956年因獲西 班牙皇家美術協會會員而遷居西班牙。趙春翔於1958年 移居美國，往後三十年中探索並發展新的繪畫風格，並 結識同時期美國藝術家如李奇登斯坦（1923-1997）與 羅斯科（1903-1970）等人。1963年，代表中華民國參 加紐約古根漢美術館舉行個展及演講。往後數年，趙春 翔在美國各家畫廊及博物館等地舉行展覽及演講活動； 1980年返台舉行個展，並於1984年成立個人畫室。1991 年病逝於台灣。作品廣受各地私人與美術館收藏，如古 根漢美術館、紐約大都會美術館及台北市立美術等。

江蘇無錫人。成長背景在上海，自食其力，在街頭作 畫。曾入上海美術專科學校學習，1946年遷居香港。 1952年前往巴黎，期間和眼鏡蛇畫派成員結為好友。 1960年移居紐約，發展出新畫風，成為美國普普藝術家 一員。出版一本名為《一分人生》的詩集，內容並包括 了多位美國及歐洲藝術家的版畫原作。1977年獲得古根 漢紀念基金會的獎助學金，並出版了一本以女性為題材 的情色素描與繪畫書籍，名為《紅唇》。丁雄泉的展覽 遍及世界各地，同時亦出版許多著作與畫冊。2001年起 定居於荷蘭阿姆斯特丹。其色彩鮮豔之作品為各大博物 館收藏，包括美國大都會美術館，紐約現代美術館及古 根漢美術館等。

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。

Lots 017, 024, 026, 079

Lots 015, 035

Lot 016

HUANG Chih-yang (b. 1965)

LIN Wen-chiang (b. 1943)

LIEN Chien-hsing (b. 1962)

Born in Taipei, Taiwan in 1965, Huang graduated from department of Fine Arts, Chinese Culture University in 1989, and participated the Chinese Korea Water Ink Exhibition, Seoul and Contemporary Water Ink Exhibition, Taipei Fine Arts Museum in the same year. In 1990, he participated “the Taipei Prints Biannual Exhibition” and “the Chinese Korea Contemporary Water Ink Exhibition”, Taipei. During 1991 and 1992, the Space II “Nativeness” exhibition, Taipei, Tainan, Kaohsiung, and “Environmental Art Exhibition/Joint Exhibition”, Cultural Center of Taipei County, 1992. His approaches toward the space are very unique; bodies are often surrounded by an aura which is near, the body that within the soul can also contain other life forms. On the form of human body, he used totems of exaggerated sexual organs, androgynyc, and self sexual intercourse to present. His totems are obvious defiance towards science, rationality and logic, it seems like he is still missing the times when people still took mythologies as logic.

Born in Nantou, Taiwan in 1943, Lin Wen-chiang received traditional art training at the National Taiwan Academy of Arts (now National Taiwan University of Arts) and teachings from artists including Wu Dongcai, Yang San-lang, Hong Jui-lin, Chang Wan-chuan.

Lin received the Gold Medal honor at the National Art Exhibition in 1977. In 1980, he left for Paris, France, to further his art studies at Académie de la GrandChanmiére; there he revamped previous knowledge of canvas making as well as the proper use of color.

Works were selected multiple times at the French Salon d’autumn and others. His unencumbered style allowed him to break through convention, and chose subjects to emphasize Taiwan ‘s people, culture, and heritage.

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 Dejinn Award. In 1989, he joined a largescale Exhibition of Taipei Painting Association organized by the Taipei Fine Arts Museum. In 1992, he became the representative artist of Cherng Piin Gallery. Lien Chien-hsing first came to prominence in the 80s with his superd Realistic technique. In the 90s, using different picture, he has created Realistic works recalling images Form his childhood, heavy with personal coloring. His works subtly reveal a feeling of pessimism, combined with a subconscious, mysterious shadow to become a unique kind of "magical realism".

黃致陽 (1965年生)

林文強 (1943年生)

連建興 (1962年生)

1965年生於台灣台北。1989年畢業於中國文化大學美術 系，同年，參加「中韓現代水墨展」於首爾，「現代水 墨展」於臺北市立美術館，1990年「台北國際版畫雙年 展」及「中韓現代水墨展」於台北、1991至1992年二號 公寓「本、土性」特展於台北、台南、高雄、1992年 台北縣立文化中心「環境藝術展及聯展」。性力崇拜圖 騰、都市邊緣人對疏離的控訴與群體認同的巫術儀式即 為他創作之源，經過多年的自動技法、透過民俗圖案、 達摩像、佛說法像、透過對身體空間的內視，而逐漸建 立起整個包括了自己身體在內的有靈論世界。在其中， 人同時是植物、動物、男人、女人，也還是散發著超自 然能量的靈體。他的空間模式非常奇特，身體經常被外 面一近接的氛圍所包圍，身體在靈視中亦可包容其他生 命於體中。在人形的表現常誇張性器，也有雌雄同體、 自體性交的圖騰式的表現。他的圖像明顯的表示了其對 科學、理性、邏輯的反抗，他似乎懷念那個仍使用神話 思維的自然。

生於南投，1968年國立藝專接受傳統訓練，受教於吳棟 材、楊三郎、洪瑞麟、張萬傳等前輩。1977年獲全國美 展金牌獎。1980年起遠赴法國巴黎大茅屋工作室畫院研 習進修；到法國後，從畫布製作到顏料的正確使用法， 皆重新作探討與研究。作品多次入選法國秋季沙龍及在 阿基斯但國際美展中獲獎。風格不受侷限，屢作突破， 對作品體裁選擇多表現台灣人文、歷史之脈動和記載， 透過藝術形式表達，試圖對生命的意義作理解。可稱為 中堅輩畫家佼佼者之一。

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」 。

Lots 019, 025 Lots 018, 080 Lots 021, 095

KUO Wei-guo (Kuo Wei-kuo, b. 1960)

HWANG Jyi (b. 1953)

YANG Mao-lin (b. 1953)

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

Yang was the first director and a founding member of the Taipei School, in 1991 he won the first Art Creation Award of Hsiung Shih Fine Arts; his works have been shown in numerous exhibitions, including his first personal exhibition at the Taipei Fine Arts Museum; in 1990 he participate in the Taiwan Art Museum Exhibition 300 years of Taiwan Art; in 1995 his works were included in the “Exhibition of Taiwanese Art” in Rome.

Yang Mao-lin's works represent a segment of Taiwanese history and build up time/space juxtapositions; they take a critical and even subversive view of Taiwanese historical events. Since 1990s, he became criticizing Taiwanese social phenomena under the long-term influence from American culture and Japanese culture. Then he added multiple-media in his installation work to respond to current Taiwan society. Yang has been frequently invited to participate in international art exhibitions. In 1999, his early series of Zeelandia Memorandum was shown at the 48th Venice Biennale and well received by international art critics and collectors.

郭維國 (1960年生)

黃楫 (1953年生)

楊茂林 (1953年生)

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。

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。

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。

Lot 022

Lot 023

Lot 029

WU Hao (b. 1931)

CHANG Chen-yu (b. 1957)

CHENG Tsai-tung (ZHENG Zaidong, b. 1953)

A painter, graphic and woodcut artist, and sculptor, Wu has been at the forefront of Taiwan’s art scene since the 50’s. In 1956, Wu was one of the founders of the Tom Fan Group, which along with the Fifth Moon Art Group, was one of the most vocal associations of young artists in the 60’s. One of the most internationally recognized contemporary Taiwanese artists. Wu has participated in numerous exhibitions overseas, including the International Artists’ Show in Italy, and the International Graphic Show in England. Wu’s paintings often combine Western technique with Chinese Folk art.

Born in Taichung, graduated in B. F. A. National Normal University in Taipei, Taiwan in 1979. His landmark exhibitions as follow: first solo exhibition in Appollo Gallery, Taipei, 1980; Solo exhibition in museum of State University of New York in 1987; Solo exhibition in Taipei East Gallery, 1989; Solo exhibition in Contemporary Gallery, Taipei; 1992, solo exhibition in New Trends Gallery, Taichung; “Neo- Humanism” solo exhibition in Taipei Fine Arts Museum, 1994.

Born in Taipei, and graduated from the World College of Journalism and Communications in Taipei. Active in the Taiwan art world during the 1980's and the 1990's, he created gloomy and reminiscent oil paintings. He held many exhibitions in Taiwan and abroad at places like the American Cultural Center, Taipei Fine Arts Museum, the National Museum of History and received the Hsiung-Shih Award for Creativity in 1992. After the turn of the century, Cheng Tsai-tung relocated his studio to Shanghai to view the sights of Jiangnan and to capture their eternal beauty on canvas, and in turn became the first Taiwanese artist to formally develop his career in Shanghai.

吳昊 (1931年生)

張振宇 (1957年生)

鄭在東 (1953年生)

東方畫會創辦人之一。中國現代版畫會會員、版畫學會 理事、全國美展及全省美展評審委員，曾參加巴黎雙年 國際青年藝展、第八屆國際版畫展、義大利國際藝術家 展、義大利國際版畫展、英國第六屆國際雙年版畫展、 香港大會堂中國版畫家聯展、米蘭中國現代畫家十人 展，獲1972年中國學會版畫金爵獎，1980年版畫學會版 畫金爵獎，英國第六屆國際雙年版畫展獎。多年來在國 內外舉行多次個人畫展。

生於台中。1979年畢業於師大美術系並在師大藝廊舉辦 個展。重要個展如下：1980年阿波羅畫廊首次個展， 1987年紐約州立大學美術館個展，阿波羅畫廊第三次個 展；1989年台北東之畫廊個展，1991年台北時代畫廊個 展，1992新展望畫廊個展，1994年台北市立美術館「新 人文主義歷程展」。

台灣台北人。台北世界新聞專科學校畢業，活躍於二十 世紀80、90年代的台灣藝壇，以惆悵的傷逝與懷舊的文 人油畫，創作一系列膾炙人口的作品。1980年多次在海 內外舉辦個展及聯展：包括美國文化中心、台北市立美 術館、歷史博物館等。1992年榮獲雄獅美術創作獎。新 世紀之後，他將工作室遷往上海，親臨記憶中的江南， 繪寫亙古的千山萬水，成為台灣藝術家正式轉往上海發 展的第一位。

Lots 030, 068

Lots 032, 039, 067

Lots 033, 034

HONG Ling (b. 1955)

George CHANN (1913-1995)

AI Xuan (b. 1947)

Born in Beijing, China, 1955. Hong Ling graduated from the Fine Arts Department of Beijing Normal College in 1979. In 1985, he entered the Oil Painting Department of the Central Academy of Fine Arts and currently holds the position of associate professor there.

His oil paintings have been exhibited in the first and second annual exhibition of Chinese Oil Paintings and the 1994 Critics Nomination Exhibitions. Hong has won many awards for his art. His solo exhibition was held in Hong Kong in 1995. He has also participated in the 47th Venice Biennale in 1997. His work is found in the public collection of the National Art Museum of China, Beijing.

Born in Guangdong, China. In 1934, he entered the Otis Institute of Arts in Los Angeles; his teachers included Alexander Brook. His success earned him a full scholarship there, and in 1940, he earned his master’s degree in fine arts, holding his first individual exhibition the following year at the California Art Club in Los Angeles.

More individual exhibitions followed in major cities throughout the US in the years 1942-1946. From 1947 to 1949 he returned to Mainland China, exhibiting at the Public Archives Museum in Guangzhou and in Shanghai. In 1950, he returned to the US and began to study abstract painting. During the years from 1969 through 1973, 50 of his abstract works were exhibited at the invitation of the Pasadena Fine Arts Museum.

Born in Zhejiang, graduated from the Central Fine Arts Institute Attached Middle School in 1967, presently is Beijing Art Academy’s specialty painter. Since 1980, Ai Xuan work has attended the national art exhibition many times, won an award at the 1981 2nd session of national youth art exhibition. He participated in the 2nd session of Asian fine arts in Japan, the 18th session of international fine arts in Paris in 1986, and received honors from both. He went to US in 1987 to hold a solo exhibition and to study. His works deeply attains the high praise; commentaries appeared in the New York Times, the Wall Street Journal, the Christianity word newspaper and the Art News magazine. Art News called described him as “a rising star”, “United Press International” also made the correlation report. In 1998, he returned to Beijing, his works besides collected by the Chinese art museum, also collected by private collectors and museums in US, Singapore, Hong Kong, Taiwan, Germany, Canada and Japan.

洪凌 (1955年生)

陳蔭羆 (1913-1995)

艾軒 (1947年生)

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

生於廣東，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。19421946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。

浙江人。1967年畢業於中央美術學院附中，現為北京畫 院專職畫家。自1980年以來，艾軒的作品多次參加全國 美展，在1981年的第二屆全國青年美展上獲獎。1986年 參加在日本舉行的第二屆亞洲美術展及巴黎舉行的第 十八屆國際美術展並榮獲榮譽。1987年赴美國舉行個展 及研習。作品深獲好評，《紐約時報》、《華爾街日 報》、《基督教緘言報》及《藝術新聞雜誌》均有評 論，《藝術新聞》稱之為「一顆上升的星」，「合眾國 際社」也做了相關報導。1998年返回北京，作品除被中 國美術館收藏外，還被美國、新加坡、香港、台灣、德 國、加拿大和日本的私人及博物館收藏。

Lot 036

Lot 037

Lot 038

T’ANG Haywen (TANG Then Phuoc 1927-1991)

YEE Bon (Yu Ben, 1905-1995)

Yu did not enter to any art college and he did not want to submit himself to a formal artistic training. Yu learned painting under Chen Yi-keng, Teng Kuo-ching, and Li Chi-mao. Other influences on Yu’s painting, include his woek in clay sculpting and puppetry, both interests since childhood. Yu held his solo and joint exhibition in Taipei in 1980 and since then he has held over twenty solo and joint exhibition in Taiwan and overseas. His works are in the collections of major museums and art galleries in Asia and the West, including the British Museum in London.

Born in Amoy, Fujian. T’ang studied Chinese calligraphy under the instruction of his grandfather. In 1937, T’ang moved first to Vietnam and then to Paris in 1948 to further his studies. A self-taught artist, T’ang held his first exhibition in 1955 and since then his works have been widely exhibited in Europe and America. In August 1997, the Taipei Fine Arts Museum organized a retrospective exhibition of his work entitled “The Tao of Painting.” From June to September 2002 the Musée des Arts Asiatiques-Guimet in Paris has presented a retrospective of T’ang works entitled “Paths of Ink” In August 2002 the Shiseido Foundation in Tokyo has also exhibited the work of T’ang. T’ang’s work is either held privately or in the collections of several museums in Europe and America. Among them are The Menil Collection, Houston, Texas; the Musée National des Art Asiatiques-Guimet in Paris and The Musée d’Art Moderne de la Ville de Paris.

Yee Bon was born in Guandong Tai Shan Shen, he was the directorate of China Artist Association, art counselor, and the vice president of the Guandong Painting School. He went to Canada to study and live charily in 1918, in 1931, he studied art in Ontario School of Art and received great honor. His works had been picked by Canada’s national exhibition of art as well as worldwide expos. Yee returned to his homeland in 1956, he devoted himself completely into art creations; he painted large oil paintings for the Guandong, HeiLongJiang halls of the Great Hall of the People in Beijing. His works has been collected for over 10 pieces by National Art Museum of China, Guandong art academy, Hong Kong Museum of Art; In July 1995, he held a grand solo oil paintings exhibitions, there were over 300 pieces exhibited, next year, he participated the “Yee Bon Exhibition” held by Hong Kong Art Center, 80 pieces exhibited and received appreciative criticisms.

于彭 (1955年生)

唐海文 (1927-1991)

余本 (1905-1995)

自小就對泥塑及傳統皮影戲產生濃厚興趣，對其日後畫 作構成極大的影響。由於不甘被傳統學院派所囿限，故 從未曾接受正統學院美術教育。于氏先後隨陳亦耕、鄧 國清及李其茂等老師學畫，1980年舉辦首次個展於台 北，之後於國內外參加展覽達二十多次。作品為東西方 主要美術館及畫廊收藏，包括大英博物館。

生於福建廈門，自幼跟隨祖父習寫書法，1937年舉家遷 居越南，因其對藝術的執著，於1948年赴藝術之都巴黎 遊學，他以自修的方式遊覽巴黎各大美術館，而於1955 年首次舉辦展覽，之後陸續於歐美各國展出，1997年8 月台北市立美術館為其舉辦「作品回顧展」。於2002年 9月法國巴黎的亞洲藝術館舉行大型的回顧展，並於同 年日本東京資生堂基金會也舉行了唐海文個展。完整地 呈現其繪畫風貌，作品為多所法國現代美術館及私人收 藏。

生於廣東台山縣。曾任中國美術家協會理事、藝術顧 問、廣東畫院副院長等職。1918年赴加拿大勤工儉學， 1931年在加拿大多倫多安大略省立藝術學院學習美術並 獲特別優異文憑。其作品曾入選加拿大全國性展覽及在 世界博覽會展出。1938年至1956年在香港從事職業畫家 及授徒，每年均舉辦個人展覽。1956年歸國，專心從事 藝術創作，曾為北京人民大會堂廣東廳及黑龍江廳繪畫 大型油畫作品。作品數十幅被中國美術館，廣州美術學 院，香港文化中心藝術館收藏。出版余本畫冊三本。作 品先後在北京、南京、上海、廣州、香港及菲律賓等地 展出。1995年7月在廣州舉辦盛大余本油畫展。作品300 餘幅，1996年12月由香港藝術中心主辦「余本作品展」 展出油畫80幅深受好評。

YU Peng (b. 1955)

Lot 041 Lot 040

Lot 042

GUAN Liang (1900-1986)

Yun GEE (1906-1963)

PANG Jiun (b. 1936)

Born in Fanyu, Guangdong. Traditional Chinese and Oil Painter. At the age of 17 traveled with brother to study art in Japan. Past positions include director of the China Artists Association, standing director for the Shanghai Branch of the Art Association, Shanghai Chinese Painting Institute member and professor at the Zhejiang Academy of Fine Arts. His paintings express a simple innocence without becoming common. His characters' mood, character and psychology are fully expressed through simple strokes and quite thought provoking.

Yeh Sheng-tao once wrote in praise of Guan Liang's paintings: "Brush Strokes that Capture the Essence Admirable". He has had a deep and abiding influence on the development of contemporary Chinese abstract character portraits.

Born in Guangdong, China. Yun Gee enrolled in the San Francisco Art Institute when he moved to San Francisco in 1921. In 1925, he studied at the California School of Fine Art under Gottardo Piazzoni and Otis Oldfield.

He had his first solo exhibition in 1926, where he met his first patrons, the Prince & Princess Achilles Murat, who encouraged him to go to France. Gee had several solo exhibitions during his stay in Paris. In 1932, Gee was invited to participate in the exhibition “Murals by American Painters and Photographers”. He spent the next phase of his life traveling between New York City and Paris before he passed away at the age of 57. In 1968, the Robert Scholkopf Gallery in New York held a retrospective of his works, reviving Gee's memory after he had been forgotten for many years.

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

關良 (1900 -1986)

朱沅芷 (1906-1963)

龐均 (1936年生)

出生於廣東番禺。擅長中國畫、油畫。17歲隨兄東渡日 本學習美術。曾任中國美術家協會理事，美協上海分會 常務理事，上海畫院師，浙江美術學術教授。他的畫作 稚樸歸真不落俗套，他筆下的人物形象從神態、氣質和 心理上均畫得筆拙神完，耐人尋味。葉聖陶先生曾寫： 「傳神之筆，殊可贊」的詩句，給予了關良先生的畫很 高的評價。其對於當代中國寫意人物畫的發展，可說是 影響深遠。

生於廣東。15歲時赴美依親，不久便進入舊金山藝術學 院，1925年進入加州美術學校習畫，受教於皮亞佐尼與 歐特斯·歐菲德，並與後者成為好友。1926年協助華人在 舊金山成立現代藝廊，同時舉行首次個展。其才華也因 此獲得法國親王穆哈特夫婦的賞識，而鼓勵他前往巴黎 發展，駐巴黎期間舉行多次個展，1932年應邀參加紐約 現代美術館的壁畫展。1963年病逝於紐約。1968年紐約 羅博·蕭柯夫畫廊為其舉行遺作展，使其藝術再度受到世 人矚目。至今，世界各地已舉行過多次回顧展，其中包 括台北市立美術館。朱沅芷的繪畫受亦師亦友的歐菲德 影響甚大，如立體派、未來派及達達主義，而其作品表 現共色主義的風格，並被認為是一位現代主義的畫家。

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。

Lots 044, 045, 061, 062 Lots 043, 069, 071

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

Lots 046, 052

CHU Teh-chun (b. 1920)

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

Born in Taipei,Taiwan. Yang moved to Japan in 1923 where he studied at the school of Fine Arts and Crafts in Kyoto. He was then transferred to the Western Painting Programme in the Kansai Art Academy . He return to Taiwan in 1927, and founded the Ruddy Island Association together with Ni Chiang-huai and Liao Chi-chun.

In 1929, he won the first prize of the Taiwan Exhibition.

Yang went to France in 1931 where he studied European paintings in the museums. In the following year, his works were selected for the Autumn Salon in Paris. In 1934, he together with Chen Cheng-po, Liao Chi-chun established the Taiyang Art Association. Yang had numerous one-man shows and received many awards from important art exhibitions including : “Fifty Years of Studying Art” at the Provincial Museum in 1973 and Oil Paintings by Yang San-lang in 1979, and Retrospective Exhibition of Yang 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 Taiwanese art world.

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

Born in 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.

劉國松 (1932)

朱德群 (1920年生)

楊英風 (1926-1997)

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。

生於江蘇省，1935年考入國立杭州藝專，當時林風眠任 校長。1949年來台。1951年任教於台灣師範學院。1954 年於台北中山堂舉辦首次個展。1955年赴法國深造。 1957年獲巴黎春季沙龍銀獎。1969年參加巴西聖保羅第 十屆雙年展。1982年於法國勒哈佛之昂特馬侯現代美術 館舉辦個展。1987年國立歷史博物館舉辦個展，亦為他 離台十二年後第一次畫展。1997年當選法蘭西學院藝術 院士。他的繪畫充滿詩意的氣質，用色兼容沈穩奔放， 線條飛騰有如狂草，具有東方藝術的細膩與西方繪畫濃 厚而重的色彩，極具中國水墨山水與書法的逸趣。他的 抽象繪畫是一種自然的流露，顫動的、熱情的，是一種 抒情的奉獻，低聲傾訴生命的奧祕。

生於台灣宜蘭縣，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。

Lot 047

Lot 051 Lot 053

YANG Chihung (YANG Chihong, b. 1947)

YANG San-lang (1907-1995)

JU Ming (b. 1938)

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 Taipei,Taiwan. Yang moved to Japan in 1923 where he studied at the school of Fine Arts and Crafts in Kyoto. He was then transferred to the Western Painting Programme in the Kansai Art Academy . He return to Taiwan in 1927, and founded the Ruddy Island Association together with Ni Chiang-huai and Liao Chi-chun.

In 1929, he won the first prize of the Taiwan Exhibition.

Yang went to France in 1931 where he studied European paintings in the museums. In the following year, his works were selected for the Autumn Salon in Paris. In 1934, he together with Chen Cheng-po, Liao Chi-chun established the Taiyang Art Association. Yang had numerous one-man shows and received many awards from important art exhibitions including : “Fifty Years of Studying Art” at the Provincial Museum in 1973 and Oil Paintings by Yang San-lang in 1979, and Retrospective Exhibition of Yang 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 Taiwanese art world.

Born in Miaoli, Taiwan. Ju Ming studied with Yuyu Yang (1926-1997), a master sculptor, from 1968 to 1976.

Ju was chosen as one of the ten outstanding youths in Taiwan in 1976, a recognition given each year to ten young men and women in any field of endeavor. He was presented with a National Cultural Award in recognition of his artistic accomplishments. One of his most famous works is the Series Nativist, Taichi and Living World. In December 1997, his works were exhibited in Place Vendome, Paris. The Juming Museum was established in 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.

楊識宏 (1950年生)

楊三郎（1907-1995）

朱銘 (1938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。

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。

Lots 054, 055

Lots 056, 058, 059

Lot 057

SHIY De-jinn (1923-1981)

LIN Fengmian (1900-1991)

WU Guanzhong (b. 1919)

Born in 1923, Sichuan, China. At the age of five, he began learning to draw. In 1948, he graduated from the Hangzhou National College of Art. He carried on from his teacher Lin Fengmian. After graduation, he moved to Taiwan to teach at the provincial Chiayi High School. In 1957, he held his first solo exhibition. In 1962, together with Liao Chi-chun, he accepted the invitation of the U.S. State Department to visit the United States. Afterward, he went to France to study in Paris for three years.

After his return to Taiwan, he taught at the Tamkang University architecture department and National Taiwan Normal University. In1975, he won the Chungshan Literary Prize Award. Shiy De-jinn was known for the lyrical mood of his watercolors, at the same time being influenced by Pop Art and Op Art. His favorite subject matter was old-style traditional Taiwan architecture. He traveled all over the villages and counties of Taiwan seeking inspiration. His works richly display Taiwan's folk scenes and customs.

Born in Guangdong, China. Lin Fengmian went to France to study painting in 1918. During his 4-year stay, he studied in Dijon and Paris. Upon Cai Yuanpei's invitation, Lin returned to China in 1926 and became president of the Beijing Academy of Fine Arts. He was also responsible for the set-up of the Hangzhou National Academy of Art (formely known as Hangzhou National College of Art). Lin is one of the most influential artists and teachers of that time. In 1952, Lin retired from teaching and devoted his energies to painting. In 1977, he moved to Hong Kong where he lived until his death.

His ninety years retrospective exhibition was held in the National Museum of History, Taipei in 1989. In 2000, Shanghai Art Museum and Sun Yat Sen Memorial Hall both held a memorial exhibition of Li's 100th year.

Born in Yixing, Jiangsu. Wu Guanzhong's training in Western art began at the Hangzhou National College of Art in 1936 under Lin Fengmian (1900-1991). After his graduation in 1942, he obtained a teaching position at the National Chung-ching University. He then traveled to France where he spent the next four years studying oil painting under Professor Jean Souverbie (1891-1981) at the Ecole Nationale Sup rieure des Beaux Arts and the ateliers of Andr Lhote (1885-1962) and Othon Frieze (1879-1949). He is currently a professor at the Central Academy of Fine Arts and Crafts. He has painted in oil since 1950, even during the Cultural Revolution. His international fame is evident in two recent exhibitions of his traditional oil paintings at the Chinese Culture Foundation of San Francisco (1989-90) and the British Museum in London (1993). Hong Kong Museum of Art and National Museum of History in Taipei held solo exhibitions of Wu's work in 1995 and in 1997 respectively.

席德進（1923-1981）

林風眠 (1900-1991)

吳冠中 (1919年生)

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。

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」。

生於江蘇。1936年進入國立杭州藝專，在林風眠的指導 下開始研習繪畫。1942年畢業後，在國立重慶大學執 教。1946年獲教育部獎學金赴法國留學。在法國四年期 間，曾就讀於巴黎的國立高等美術學校，師從蘇弗爾比 （1891-1981）教授學習油畫，並入洛特（1885-1962） 和佛里茲（1879-1949）畫室進修。同時在羅浮宮研習 美術史。1950年回到中國後，先後在中央美術學院，清 華大學及北京藝術學院任教，現為中央工藝美術學院教 授。吳氏數十年間持續進行油畫創作，即使在文化革命 中亦未曾中斷。1989年三藩市中華文化基金會舉辦個展 及1992年在倫敦大英博物館舉辦個展，其作品受到世界 的重視，1995年香港藝術館以及1997年台北國立歷史博 物館亦為其舉辦講座及個展。

Lot 060

Lots 064, 065, 066 Lot 063

XU Jiang (b. 1955)

ZAO Wou-ki (b. 1921)

WANG Huaiqing (b. 1944)

1955 Born in Fuzhou, Fujian Province. Graduated from the Oil Painting Department of China Academy of Fine Arts. Attended advanced class in Hamburg Art Institute in Germany in 1988. Paintings selected into 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 Beijing, Zao studied at the Hangzhou National College of Art under the direction of Lin Fengmian (1900-1991) and Wu Dayu (1903-1988). After his graduation in 1941, he remained at the College to teach.

He held his first solo exhibition in Chung Ching at the same year. He migrated to Paris in 1948. Zao holds a solo show every year at Kootz Gallery, N.Y. since 1959 to 1965. He was included in the French pavillion at Venice Biennial in 1960 and has also taken part in the Tokyo International Biennial. Taipei Fine Arts Museum and Kaohsiung Museum of Fine Arts organized an exhibition of his works in 1993 to 1995 respectively. In 1994, Zao was awarded the Premium Imperial Award of Painting, Japan. A more recent retrospective show which took place in 1998, toured three major museums: Shanghai Museum of Art and Beijing’s China Art Gallery. Zao’s compelling abstract paintings have won him international fame and his paintings are much sought after. His work is found in major public collections such as the Musée d’art moderne in Paris etc..

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

許江 (1955年生)

趙無極 (1921年生)

王懷慶 (1944年生)

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 臺灣舉辦個人展。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）。

生於北京，趙無極在國立杭州藝專師承林風眠（19001991）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。

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。

Lot 073

Lot 074

Lot 075

LIANG Yifen (b. 1937)

Alixe FU (b. 1961)

HUANG Min-jun (Huang Ming-chun, b. 1971)

Born in Zhanghua, graduated from the art department in National Taiwan Normal University. He studied contemporary art with Lee Zhong-sheng during 1958 to 1963, and once appointed the fine arts association member, Republic of China modern print member. Republic of China sculpture academic society member. In 1982 initiated the Modern Eye Group, in 1985 he was appointed as the director in Li Chun-shan foundation. In 1987 he established a studio in New York SOHO. His successively creates painted No. 500, No. 1,000 even No. 2,000 works, and these works are massively collect by collectors and galleries, Liang Yifen creates in New York, with the impact from east and west, he created his own unique style, extremely has the Eastern region special style.

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

Born in Taipei, Taiwan. The space plays a prior component in his painting works, so it makes implicit characters, events or even every single thing which lies in there out of those elements ready to be modeled.

1989, one of his works had been selected for Taipei Art Exhibition; 2000-2002, he participated Asia Collective Exhibition of Painting & Calligraphy; 2003, solo oil paintings exhibition in Fish Art & Coffee Gallery.

2005, solo exhibition in Galerie la Forge, France. 2006, National Taiwan Museum of Fine Arts bought one of his large scaled works “Reappearance of Grace” for its permanent collection. 2007, solo exhibition in Art Taipei International Fair.

梁奕焚 (1937年生)

傅慶豊 (1961年生)

黃敏俊 (1971年生)

台灣彰化人。台北師範藝術科畢。1958-1963年從李仲 生先生研究現代藝術，曾任中部美術協會會員。中華民 國現代版畫會員。中華民國雕塑學會會員。1982年發起 創立現代眼畫會。1985年任李仲生現代藝術文教基金會 理事。1987年設繪畫工作室於紐約蘇活區。他的畫作先 後創作出五百號、一千號甚至二千號作品，獲得收藏家 及畫廊的青睞，大量收藏他的創作。梁奕焚於紐約創 作，在東方與西方的衝擊下，創作獨樹一格，極具東方 地域特殊風格。

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

出生於台灣台北。黃敏俊的畫作常是以空間為元件，讓 身處其中的人、事、物都成為等候被雕刻的元素；光線 則是雕刻家，雕塑出空間中的所有事物；而畫家只是推 手，用畫布為我們留下那些美好值得記憶的畫面。只要 能善用光的特性，便能為畫面帶來更多刺激與焦點，因 而呈現出更有生命力的色彩，雕塑出當代的元素，把 真實融入畫面中，也把畫作雕塑成一幅幅動人的藝術 品。生涯中重要的里程碑如下：1984-1987年創作、寫 生性獎項約五十多件。1988年中日美術交流展特優獎。 1989年北市美展入選。2000~2002年亞太地區書畫聯 展。2003年台北秋刀魚藝術中心油畫個展。2005年法國 「Galerie la Forge」畫廊個展。2006年國立台灣美術館 購藏其大幅油畫創作《風華再現》。 2007年台北國際藝 術博覽會個展。

Lots 077, 124 Lot 076

Lot 078

Richard LIN (LIN Show-yu b. 1933)

TSONG Pu (b. 1947)

YANG Din (b. 1958)

Born in Shanghai in 1947 and graduated from Universidad Complutense de Madrid in 1978. He won the Taipei Mayor's Award of the Chinese Modern Painting New Prospection show in 1984 and the Taipei Modern Art Biennale Award in 1992. Since 1970 he held many personal and joint exhibitions domestically and abroad.

He used small imprints to constitute big units on composition in his early years and compared those small mechanical-like grids to his own worldview. His works were collected by the Taipei Fine Arts Museum, Hara Museum of Contemporary Art, Japan, Portside Gallery, Yokohama, Japan, and National Taiwan Museum of Fine Arts.

Born in Shantou (Guangzhou), China. Lives and works in Paris since 1980. Graduated from L’cole Nationale Sup rieure des Beaux-Arts de Paris (Paris National Art School) in 1987. He had been a professor at ASDASCS center in Clairvaux, France. Since 1990, he held solo exhibitions in France, Belgium, Netherlands, Taipei, Hong Kong and Macau, etc. Awarded First Prize at the Aube Art Fair organized in Troyes, France.

Lin was born into a wealthy family in Wu Feng in 1933. He graduated from Chien Kuo Senior High School and further studied architecture and art in London in 1949. Lin has taught at a famous college of art in the UK and served as an instructor at Royal Academy of Arts. In 1958 he started his personal exhibitions in many modern galleries in London and received the Encouragement Award from the Modern Art Association, London in 1961. In 1966, he also won the first award in the Public Painting Exhibition around entire UK held by Ulster Museum of Fine Arts. In the 60’s to 70’s, when engaged in minimalism art creation, he made a great contribution to grant “modern” meaning to the “margin” tradition of Chinese paintings. His works are collected by many art museums in Europe and USA.

莊普 (1947年生)

楊登雄 (1958年生)

林壽宇 (1933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。

1933年生，霧峰林家後裔，畢業於建國中學。1949年赴 英國倫敦研習建築與美術。曾執教於英國著名藝術學 院，並擔任皇家藝術學院指導教師。1958年開始於倫敦 多所當代畫廊舉辦個展。1961年榮獲英國現代藝術學會 勉勵獎。1966年歐斯特美術館舉行全英國公開繪畫展中 榮獲第一獎。60~70年代，在英國從事極限繪畫創作過 程中，做出了他個人為中國文人畫中的「留白」空間賦 予其「現代性」意涵的重要貢獻。其作品廣為歐、美美 術館收藏。

Lot 082 Lots 081, 086

Lots 084, 085, 088

YANG Ren-ming (b. 1962)

TSENG Ching-kan（b. 1958）

CHIU Ya-tsai (b. 1949)

Born in Kaohsiung, Taiwan, Yang was graduated from Department of Fine Art oil paintings, Chinese Culture University in 1985; he also received the Hsiung Shih Best New Artist award in the same year. In 1988 he studied abroad in France. After his return in 1994 he held the “New plants grown from Black water” exhibition in Galocrie Pierre, Taichung, during this time he had a solo exhibition in Grigny culture center in France, held “Between imagination and reality” exhibition in American Cultural Center, Taipei; Tri annual exhibition in Daejeon, Korea; Biannual exhibition in Taipei Fine Arts Museum; “The Educated man” dual solo exhibition in Chicago Gallery; and New plants grown from Black water in the 8th Fukuoka Asian Art Museum international art exhibition.

Born in Taipei, Taiwan, Tseng graduated from Department of Fine Art oil paintings, Chinese Culture University in 1981; acquired master degree from Department of Fine Art, University of Michigan in 1989. Held “Life, Architecture, Order” solo exhibition in Dimensions Art Center in 1991. In 1992, his work was collected by Taipei Fine Arts Museum, held joint and solo exhibitions in Taiwan gallery, IT Park Gallery, Apartment #2 Taipei, Up Gallery and New Phase art gallery in the same year.

In 1994 exhibited “Discovering New Energy” in Hanart TZ Gallery, “Persistence and Continuation” in Lin & Keng Gallery, 1997, “The worrier, The Bull and The Horse” solo exhibition in Dimension Endowment or Art in 1998, “Sketches of Attractions: Shadowplay” in Eslite Gallery, 2000 and “Sounds of Silence” exhibition in Hong-Gah Museum, 2001.

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 modernday literati are greatly influenced by the figure painting of the Tang dynasty (618-906 AD) seen in the hooked noses and almond-shaped eyes. Elegant androgynouslooking men and women with elongated, oval faces are shown seated or standing in partial profile. The subjects appear to be lonely, even melancholic, but controlled and self-possessed. In 1980s, Chiu perseveres with his literary and artistic works in a well-known cultural salon " Wisteria " in Taipei. His paintings have been widely exhibited in Spring Gallery (Taipei), National Museum of History and Taiwan Museum of Art.

楊仁明 (1962年生)

曾清淦 (1958年生)

邱亞才 (1949年生)

台灣高雄人，1985年畢業於文化大學美術系西畫組，同 年獲選雄獅新人獎。1988年赴法研習。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。

台灣台北人，1981年畢業於文化大學美術系西畫組， 1989 美國密西根大學藝術系碩士。1991年於帝門藝術中 心舉辦個展「生命、建築、秩序」。1992年作品獲台北 市立美術館典藏，並於台灣畫廊、伊通畫廊、台北「2 號公寓」、阿普畫廊，及新生態藝術中心舉辦聯展及個 展， 1994年漢雅軒展「發現新能量」、1997年臻品藝 術中心展「堅持與延續」、1998年帝門文教基金會個展 「武士，野牛，馬」、2000年誠品畫廊展「魅力素描展 －捉影」、2001年鳳甲美術館展「大音希聲」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。

Lots 090, 091

Lot 092

Lot 093

LI Chen (b. 1963)

QU Guangci (b. 1969)

CHEN Yi-lang (b. 1968)

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

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 Xikou, Chiayi. The artist graduated from Sieh Chih Vocational High School in 1986, and continued to practice his art with master Yeh Huan-Mu in Sanyi.

He founded his own studio in 1991, and created works based on traditional figures such as dragon, phoenix, flowers, birds and quadrupeds etc. In 1999, he transferred the studio to Chiayi Longteng mountain area, and gradually focused on creating woodcarving. Chen Yi-Lang had participated in exhibitions as below: 2004 “Fertile Man” in Art Taipei; 2005 “What a Great Momentum of Taiwan”, Artists Expo, Taipei; 2006 “A Light Party of Artists” in Eslite Art Center and “A-Long” (Dragon), a solo exhibition in Sanyi Wood Sculpture Museum.

李真 (1963年生)

瞿廣慈 (1969年生)

陳義郎 (1968年生)

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

出生於上海。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。

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。

Lot 094

HUANG Po-Ren (b. 1970) Born in Taichung, Taiwan. Huang Po-Ren graduated from department of sculpture of Fu-Hsin Trade & Art School. He won first prize and major’s award of art exhibition in central Taiwan Flying 99 and participated 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, participated Art Taipei International Fair.

黃柏仁 (1970年生) 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。

Lot 097

Lot 096

Lots 098, 099

Rieko SAKURAI (Japanese, b. 1977)

Ai YAMAGUCHI (Japanese, b. 1977)

Lyntalo TORII (Japanese, b. 1966)

Born in Ibaragi Prefecture, Rieko Sakurai graduated from the Painting Department of the Nagoya Art University in 1999. Selected exhibitions include: Expression in OOs at zumi Gallery in Mito City in 2002; Small Works Exhibition at Art Work Gallery in Mito City in 2003; Tokyo GG Night which is directed by KaiKai Kiki in 2006; and Funny Fever at Bunkyo Art Gallery in 2007.

Yamaguchi was bron in 1977. Since participating in the Hiropon Show in Los Angeles (1998), Yamaguchi has participated in number of group exhibitions both at home and abroad. These include Tokyo Girls Bravo held in Harajuku Nadiff, Tokyo, Japan; Officina Asia held at Galleria d’Arte Moderna in Bologna, Italy in 2004 as well as various other exhibitions whichhave been held in venues throughot Japan and the United States. Selected solo exhibitions include “Kamuro” held in Kanazawa, Japan in 2000; Sukutoko at Roberts & Tilton in Los Angeles and “Oyasumi” at Shaheen Contemporary in Cleveland, the United States in 2003 and 2004 respectively. The work by Yamaguchi offered this sale consists of five exquisite lithograph prints, each depicting young kimono-clad girls. These girls occupy a fantasy world, which is rooted in the exceptional history and traditions of Edo Japan’s “floating world”. Ai Yamaguchi’s works are truly timeless; they draw on both classical Japanese themes and contemporary styles. Ai Yamaguchi’s distinctive style has caught the eye of collectors and curators worldwide resulting in exhibitions throughout the U.S. and Asia. The artist’s first American gallery show, “Sukutoko”(Roberts& Tiltion, Los Angeles, 2003) was an instant sellout and earned her work reviews in Art in America and the cover of Giant Robot Magazine.

Born in Tokyo, Torii is a modern artist, voice dubber.

Tokyo. He was graduated from the institute of 1st literature, specialized 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.

櫻井理惠子 (1977年生)

山口藍 (1977年生)

鳥井林太朗 (1966年生)

生於茨城縣，1999年櫻井理惠子畢業於名古屋藝術大 學繪畫系。重要展覽包括:2002年水井市泉畫廊推出的 「Expression in 00s 」，2003年水井市ArtWork Gallery推 出的「小型作品展覽 」、2006年由KaiKai Kiki策劃的 「東京G G夜 」及2007年文京藝術畫廊推出的「甜蜜狂 熱」。

山口藍生於1977年，1998年她在洛杉磯參加了「美少女 戰士展」後，便在國內外參與多項藝展，包括2004年在 東京原宿新藝術書店(Nadiff)所舉辦的「東京女生萬歲」 展，同年在義大利波隆納現代藝術中心所舉辦的「亞洲 藝術營」以及其他在日本與美國舉行的多項藝展。山 口藍的個展包括2000年在日本金澤市的「花魁貼身丫 環展」，2003年洛杉磯羅伯茲與提爾登藝廊所舉辦的 「Sukutoko--蝕刻版畫展」，以及在克里夫蘭夏馨當代 藝術中心所舉辦的「晚安」展等。是次拍賣山口藍的作 品是五張精緻的蝕刻版畫，每一幅畫上都印有穿著和服 的女孩。這些女孩存在於一個神奇的世界，充滿了江戶 日本傳統與歷史之紫嫣紅的浮世聲色。藝術家運用了傳 統的風格，加上一些當代的時代感。山口藍獨特的作品 在美國與亞洲地區均受到收藏家的注目，更在她第一個 美國畫廊展覽「Sukutoko-蝕刻版畫展」（羅伯茲與提爾 登畫廊 ，2003年於洛杉磯）大獲好評，並成為美國《鐵 甲人》雜誌的封面。

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9年後回到日本，重新以鳥井林太朗這個名字開始重 事各種配音及藝術工作。

Lot 102 Lots 100, 101

Lots 103, 104

Hiroyuki MATSUURA (Japanese, b. 1964)

Yayoi KUSAMA (Japanese, b. 1929)

KWON Ki-soo (Korean, b. 1972)

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” design 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.

Born on 22nd, March, 1929. She was called the classic artist stll alive in Japan. She was born in Matsumoto City in Nagano, Japan. In 1956 she moved to New York, U.S.A. and began to show her unique avant-courier artistic creation which takes a dominant place. She once held exhibition with some current brillant artists such as Andy Warhol, Claes Oldenburg and Jasper Johns together. She lives in Tokyo in Japan now. She has a wide artistic practice, including painting, collage, sculpture, acting, filming, decorating and writing novels, poems and music. When she was ten years old, he got acousma and heteroptics because she was ill. When she was in America, it was the period of radicalness. And from then on her arts stayed in the state of radical, commercial and retrospective. She thinks that the net form means the vividness of life. In 1966 her decorating work “Endless Mirror Room” reveals the endless and the uncontrollable of life.

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).

松浦浩之 (1964年生)

草間彌生 (1929年生)

權奇秀 (1972年生)

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

草間彌生被稱為日本現存的經典藝術家，出生於日本長 野縣松本市，在1956年移居美國紐約市，並開始展露她 佔有領導地位的前衛藝術創作。曾與當代卓越的藝術家 如安迪．沃荷、克勒斯．歐登柏格、賈斯培．瓊斯一起 聯展。現居住在日本東京。她的藝術實踐非常廣泛：繪 畫、拼貼畫、雕塑、表演、電影、裝置、小說、詩歌和 音樂。她十歲患病導緻幻聽幻視。在美期間正值激進主 義時期，此後她的藝術停留在激進、商業和反思的層面 上。她認為網狀結構象徵富有生機的生命本質。1966年 的充滿神秘感的《無限鏡屋》的裝置作品反映了一種生 命力的無限廣博以及不可把握性。她對自己的藝術經曆 描述為：分解和積聚，增值和破碎，是對自己的湮沒和 對無形宇宙的回想。返日後用多種形式和材料探索無止 境的網狀結構。她的藝術中所蘊含的獨特的感知經驗和 不可觸摸的神秘。

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Kwan Hoon畫廊舉辦的「展覽1998」和 2004年魚畫廊的「紅色水泉」。他參與過的重要團體 展，當中包括2003韓國美術館的「快樂工廠」、2004年 森美術館的「沉默的優雅－東亞近代美術」、2004韓國 國立近代美術館的「遊歷美術博物館」和2004年美國紐 約賈維茲會議中心的「傾聽紐約2004」。

Lot 105

Lot 106 Lots 107, 108

CHOI So-Young (Korean, b. 1980)

PARK Seo-Bo (Korean, b. 1931)

LEE Yong Deok (Korean, b. 1956)

Born in Busan Korea, Choi graduated from Dong Eui University in Busan. Choi first earned recognition at the Soho Exhibition of The Six Seers in Busan, 2000. Choi’s works have subsequently been exhibited at a range of major local and international exhibitions, such as City and Art - Time and Space in the Busan Metropolitan Art Museum in 2001; True Landscape in the National Museum of Contemporary Art, Gwacheon in 2003, and Traveling Art Museum in 2004. Choi was also selected in 2004 to participate in the International Art Fair in San Francisco, the Art Chicago Fair in Chicago and the Art Miami Basel Fair. Choi’s works have been acquired by many local and international private collectors and institutes.

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

Born in Seoul in 1956, Lee Yong Deok graduated from Fine Art Dept. of Seoul University, major in Sculpture.

He finished all master classes of Sculpture for Berlin Fine Art Multiversity and got the degree. Now he acts as a professor of Sculpture Dept. for Fine Art University of Seoul Multiversity. Since 1988, he has started his solo exhibitions at Fine Art Museum of Literature Inditing Academy. Until now there are six solo exhibitions and many group exhibitions, such as: "Moving-Backwards" in Pyo Gallery, 2003; Exhibition jointly held by Pyo Gallery and COEX in Korea International Gallery Fine Art Expo., 2004. Then it draws attention in art field...

EXHIBITION: “Depth of Shadow” 2005, National Art Museum of China, Beijing

崔素榮 (1980年生)

朴栖甫 (1931年生)

李容德 (1956年生)

生於韓國釜山。畢業於釜山的東義大學。崔素榮於2000 年起於釜山的「六位先知者 」展覽中，作品展現過人的 才華，深獲肯定。接著陸續受邀於國際以及國內的重要 展覽中層出作品，如：2001年「城市、藝術與空間 」於 釜山城美術館；2003年「真實的風景畫 」與2004年「旅 行的美術館 」於韓國國立當代美術館中展出。另外在 2004年間，進而在舊金山國際藝術博覽會，芝加哥藝術 博覽會及巴賽爾邁阿密藝術博覽會展出。崔素榮的作品 廣為國際私人藏家及機構所典藏

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

李容德於1956年出生在首爾，畢業於首爾大學美術大學 雕塑科和同大學研究生院，完成了柏林藝術綜合大學藝 術家研究課程（雕塑專業）和碩士畢業，目前擔任首爾 大學美術大學雕塑科教授。從1988年文藝振興院美術 會館的個人展開始，至今已經開展了6屆的個人展和多 數的小組展。其中包括繼2003年由表畫廊舉辦的個展 「遷移——向後」之後，2004年又參加了在韓國國際畫 廊藝術博覽會上由表畫廊和COEX 共同舉辦的展會，由 此而吸引了眾多藝術界的眼光，在同年界的韓國第三屆 國際多媒體雙年展中，在表畫廊和首爾市立美術館的共 同努力下，他的個展又一次引起了轟動，並在參展中獲 得了1986年第五屆大韓民國美術大展優秀獎和1986年第 六屆大韓民國美術大展的大獎。展覽記錄：「影子的深 度」，中國美術館，北京

Lot 114 Lot 109

Lots 110, 111, 112, 113

KIM Tschang-yeul (Korean, b. 1929)

ZHOU Chunya (b. 1955)

JIA Gang (b. 1974)

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

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

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

金昌烈 (1929年生)

周春芽 (1955年生)

賈剛 (1974年生)

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

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。

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。

Lot 115

Lots 116, 180, 182

Lot 117

LI Shuguang (b. 1962)

CAO Jingping (b. 1972)

LUO Qing (b. 1970)

Born in Anhue. Li Shuguang had been trained as a regular professional artist. Albeit he currently works in the field of fashion, still never gave up creating and owns infinite passion for painting. In his works, it’s easy to notice that there’s such an intertexture between his own virtuosity and modern fashion trends; One aspect deserves to be mentioned is that he constantly pays great attention to changes of the times. His works reveal oriental mysterious moods and beautiful sorrows in his sincere concerns for society, therefore, they touch easily heartstrings of affectionate crowd. Further more, artist added many fallen aircrafts, swaying peach blossoms, ominous mushroom-shaped clouds and standing upside down girls into his creations. All of this shows not only a “mix and match” way of figuring characters but also the coherence with the composition, the spread out of scenery and the selection of colors. They all seem like intentional fruits of casual thoughts, sublimating visual inconsonance to opening of imagination.

Cao Jingping was born in Chongqing, graduated from the Attached School of Sichuan Art Institute in 1992, graduated from Department of oil Painting in Sichuan Fine Arts Institute and acquired bachelor degree. During 1997-1998, Cao went to Germany Kassel Academy of Fine Arts to pursue advanced studies, in 1999 graduated from Department of oil Painting in Sichuan Fine Arts Institute and acquired master degree. In 2001, Cao participated the “Sweet Illussions” six artist joint exhibition in Shanghai museum of Fine Arts, China; “Chongqing Chilies” in Kulturbahnhof, Germany; and “Post-Politics” in The Bloxham Galleries, London, UK.

Born in Nanchang City, Jiangxi Province. After graduated with MA from the Oil Painting Department, Central Academy of Fine Art, currently Luo Qing is teaching at the Academy of Chinese Traditional Opera in Beijing. He is renowned for his landscapes and portraits of contemporary China. He captures scenes and images of everyday life that people often take for granted or dismiss. His “Ruins” series sees him taking on the subject matter or rubble and trash. Predominantly painted in a monochromatic palette, these landscapes are a stark contrast to conventional, pastoral landscapes. Yet, they are beautiful too. These ruins are a result of construction and re-construction that is taking place all throughout China now. Buildings get torn down today, and are forgotten tomorrow. By taking a snapshot of this, Luo Qing is keeping these memories for posterity.

李曙光 (1962年生)

曹靜萍 (1972年生)

羅清（1970年生）

生於安徽。科班出身，雖任職時尚相關事業，但其創作 從未間斷，且熱愛繪畫。畫中可見其技巧功力及時尚潮 流的交織；但他也關心著時代的變遷，作品中透露出東 方的神秘情愫和社會關懷的凄美情感，能觸動有情人的 心弦。不僅如此，藝術家在他的創作中，還大量加入墜 落的飛機、搖曳的桃花、不祥的蘑菇雲和倒立的女孩等 等各種原本看似不相關的各樣景物，這樣不僅人物描繪 手法充滿了混搭風格，而且使整個畫面在構圖、景物的 分布、色彩的選擇等方面，都充滿了源自混搭的奇思妙 想，它們看似無意卻有意的信手拈來，將視覺上的不協 調昇華為想像力的開啟。

出生於重慶。1992年畢業於四川美術學院附中，1996年 畢業於四川美術學院油畫系並獲學士學位，1997—1998 赴德國卡塞爾美術學院學習，1999年畢業於四川美術學 院油畫系並獲碩士學位。2001「甜蜜的幻覺」當代藝術 六人作品展中國上海美術館。「重慶辣椒」展德國卡塞 爾文化車站。「後政治」藝術作品展於英國倫敦的 布洛 克斯翰畫廊。

生於江西省南昌市，中央美術學院油畫系畢業，目前任 教於北京中國戲曲學院。畫家羅清以其現代風景畫和肖 像畫而聞名。 他善於捕捉人們日常生活的瞬間。 他的 「廢墟」系列以粗石垃圾為主題。羅清突破了傳統風景 畫的表現形式，大多以單色來表達，風景卻同樣美麗。 這些廢墟是中國大量興建工程和重建工程的結果。 許多 建築今天還在如火如荼大興土木，明天就可能已經被人 忘卻。 羅清用他的畫筆為我們保留著記憶。

Lots 118, 138 Lot 119

Lot 120

ZHANG Linhai (b. 1963)

LUO Fahui (b. 1961)

ZHANG Handong (b. 1964)

Born in Shanghai, Zhang acquired his bachelor ’s degree from the Print Department of Tianjin Academy of Fine Arts in 1990. Zhang is a full-time painter for the Agency of the People’s Daily in Tianjian .

He has held solo exhibitions in the Cultural Gallery of She County (1982). In 1991, Zhang was invited by the Capital Museum to display his oil paintings, “Loneliness” and “Dream”, in Taiwan and Hong-Kong.

His oil painting series, “Description” and “Dust”, were displayed in the Stanny “Millenium Art Exhibition” in Shanghai from December 1999 to January 2000.

Born in Chongqing, China, Luo graduated from the Affiliated High School to Sichuan Academy of Fine Arts in 1981 and from the Oil Painting Department of Sichuan Academy of Fine Arts in 1985. From 1990 to 2003, he has 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 Desire-Luo Fahui's Oil Painting Exhibition" in the gallery of Chinese Institute of Fine Arts in Hangzhou.

Born in the hometown of prints, Yunnan in 1964. Zhang is a talented painter. He graduated in fine arts department from Yunnan Arts University. He had been vice-director in fine arts department of Yuxi Normal University, he is currently the vice-principal of Nieer Arts University.

His way of creating is passionate but conscientious and careful at the same time. The style is simple but touching. He constantly conveys the characteristics of people, events, places and objects that he’d experienced vividly through his tactful academic skills. No matter in China or abroad, we could find his gorgeous work in many significant architectures. He’s one of the artists whose works are quite popular for collection. Zhang is still in his summer of life, won several important art prizes in these years. All reveals his infinite artistic potential. In 1998, his oil painting works participate in “Art Taipei 98”, in 2004, Zhang participated in the first Gallery Fair in Beijing. In 2006, he’s one of the invited artists of Munich oil paintings exhibition and held “Revitalized Homeland-Zhang Handong Solo Exhibition” in Taipei.

張林海 (1963年生)

羅發輝 (1961年生)

張漢東 (1964年生)

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」。

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」。

1964年出生於版畫的故鄉─雲南的張漢東教授是一位才 氣型的畫家。畢業於雲南藝術學院美術系，曾任玉溪師 範學院藝術系副主任，現為聶耳藝術學院副院長。張漢 東作畫的理念熱情而嚴謹，畫風則純樸且感人。他一向 真誠地把自己親身經歷的人事地物，透過老練的學院派 技法，十分傳神的舒發出來。海內外有許多重要建築都 可看到他精彩作品的蹤跡，是當今深具收藏潛力的畫 家。張氏雖仍是青壯之年，但歷年來頻得大獎，處處顯 示其無可限量的藝術潛力。1998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。

Lot 121

Lot 122

Lot 123

LU Shun (b. 1966)

ZHAO Nengzhi (b. 1968)

ZHANG Xiaotao (b. 1970)

Born in Shuzhou, Jiangsu Province. The artist had been studying photography since 1990. And he started to be a professional painter since 1992. He uses painting brushes as instruments of expressing his own philosophy of life and the true, the goodness and the beauty in which he believes profoundly; Within the space inside of his works, it overflows a kind of almost religious simplicity, purity and slight sorrow, meanwhile, the whole makes the spectators sense a tricky and mysterious atmosphere.

The significant exhibitions of his career are as below: 2004, “Chinese Contemporary 100 Artists”, in Qianjing Gallery. 2005, The 3rd Trans China International Video Art Festival in China, Speed China, documentary Dog Days for Israel Images Communicative Exhibition; 2007, “Zhang Donghong, Lu Shun, Jing Yuchao Collective exhibition” in Today Art Gallery, Beijing.

Born in Sichuan, he graduated in 1990 from the Sichuan Academy of Fine Arts. Past exhibitions include the 1993 "China Oil Paintings Biennial" in Beijing, the 1994 "Art Collage Exhibition" in Chongqing, the 1998 "Uncertainty - Contemporary Chinese Photography Exhibition" in Amsterdam, the "Featherstone 1999 International Artists Exhibition" in Boston, the 2001 "Zhao Nengzhi Solo Exhibition" organized by the Contemporary Chinese Art Gallery in London and the 1st Montpellier "Chinese Contemporary Artist Biennial" held in 2005 in France. The same year also saw him participating in the "Future Archaeology - 2nd Chinese Artists Triennial" held by the Nanjing Museum as well as the "2nd Chengdu Biennial" at the Chengdu Century City Gallery. His works have received excellent reviews at all of these exhibitions.

Born in Hechuan, Sichuan Province, China. Zhang Xiaotao graduated from the Oil Painting Department of Sichuan Academy of Fine Arts. Solo exhibitions: “Flowers in the Dream” at the Tokyo Gallery, Japan, 2001; “The Blown-up Property”, Beijing, 2001; ‘Desire’ at the Kunst Akademie Muenster in Germany, 2002; “The Erosion of Materialism”, Paris, 2003; “Dream Factory and Refuse Dump”, Beijing, 2004 and Tokyo, 2005; “Illusion”, Norway and Lithuania. His group exhibitions have included: “Between the Dream and Painting— Vienna from 1900 to 2000”, Germany, 2000; “Dream: Chinese Contemporary Art Exhibition” at the London Pacific Gallery, 2001 and Manchester, 2002; “The Left Hand-Right Hand’ at the China and Germany Art Communication Exhibition”, Beijing, 2003; “Madrid International Art Exhibition”, Spain, 2004; “Chinese Current Painting” at the INFELD Culture House, Vienna, 2004; “New Viewpoint of Chinese Painting” at Marella Arte Contemporanea, Italy, 2004; “Paris International Art Exhibition”, 2004; “Chinese Current Painting”, Italy and “The 2nd Prague Biennale”, Czechoslovakia, 2005.

呂順 (1966年生)

趙能智 (1968年生)

張小濤 (1970年生)

生於江蘇徐州。1990年於北京電影學院就讀攝影。自 1992年為專職藝術家。他用畫筆表達自我的人生觀，及 其所深信的真、善、美；其作品空間中充溢著一種近乎 帶宗教意味的純粹、乾淨和淡淡的憂愁，同時令觀者感 覺到一股神秘詭異的氣息。重要展覽有下：2004年中國 當代百人展，千景畫廊。2005年第三屆穿越中國國際影 像藝術節，速度中國中以色列影像交流展（紀錄片： 《狗日子》）。2007年2月北京今日美術館「張東紅、 呂順、景禹潮三人聯展」

出生於四川，1990年畢業於四川美術學院。曾參加1993 年北京「中國油畫雙年展」，1994年重慶「切片藝術 展」，1998年荷蘭阿姆斯特丹「困惑－中國當代繪畫攝 影展」，1999年美國波士頓「99國際藝術展」，2001年 英國倫敦中國當代畫廊舉辦「趙能智個展」，2005年參 加法國第一屆蒙彼里埃「中國當代藝術雙年展」，同年 並於南京博物院參加「未來考古學－第二屆中國藝術 三年展」及成都世紀城美術館參加「第二屆成都雙年 展」，作品深獲好評。

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

Lot 77, Lot 124 Lots 125, 130

Lot 126

YANG Din (b. 1958)

XIA Junna (b. 1971)

TU Hongtao (b. 1976)

Born in Shantou (Guangzhou), China. Lives and works in Paris since 1980. Graduated from L’cole Nationale Sup rieure des Beaux-Arts de Paris (Paris National Art School) in 1987. He had been a professor at ASDASCS center in Clairvaux, France. Since 1990, he held solo exhibitions in France, Belgium, Netherlands, Taipei, Hong Kong and Macau, etc. Awarded First Prize at the Aube Art Fair organized in Troyes, France.

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

Her paintings are collected by private collectors at home and abroad in recent years.

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

楊登雄 (1958年生)

夏俊娜 (1971年生)

屠宏濤 (1976年生)

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

出生於內蒙古，1984年就讀於威海市第二中學，師從美 術啟蒙老師叢建子先生學習國畫人物，初步接觸繪畫藝 術。1995年畢業於中央美術學院油畫系，畢業創作獲 得中央美術學院優秀獎和日本岡松家族獎學金。作品 《秋》獲「95第三屆中國油畫年展」銀獎。1996年參加 「上海美術雙年展」，「北京中國當代藝術展」。1997 年參加「中國青年油畫展」及「中國藝術大展」。1998 年參加「世紀－女性」藝術展，獲收藏家獎。2000年參 加「二十世紀中國油畫展」，北京晚報也以「百年油畫 盛宴的六道大菜」為題，把夏俊娜提為中國最有時代代 表性的畫家。台北的《藝術新聞》雜誌以「從李鐵夫到 夏俊娜」來概括百年油畫的歷史承繼性，其作品被海內 外私人廣為收藏。

出生於四川成都。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。

Lots 127, 149

Lot 128

Lots 129, 133, 136

YANG Qian (b. 1959)

LI Lei (b. 1965)

XUE Song (b. 1965)

Born in Chengdu, Sichuan region in 1959, lives and works in Beijing. The artist graduated from oil painting department of Sichuan Fine Arts Institute. He had studied in Florida State University since 1985 until 1988, and obtained Art Master’s degree. His main exhibitions as below: 2005, Chengdu Biennale at Chengdu Museum of Modern Art. Chengdu, China. 2005, Michael Berger Gallery, “New Paintings by Yang Qian“. Pittsburg, USA. China Contemporary Painting”, Bologna, Italy. 2003, “Ping Yao International Photography Art Festival”, Ping Yao, 1994, Suffolk Community College, “Qian Yang Paintings & Drawings”, Selden, NY.

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

Born in Anhui Province. In 1988, graduated from the Shanghai Drama institute. Now he 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 the Shangh Art in 2002; Xue Song solo shows at the Walsh Gallery in Chicago, Gallery de Monde in HK and Shanghai Art Gallery in Shanghai. In 2003, Group exhibitions include “Shanghai 2000” at Walsh Gallery in Chicago; Shanghai Art Fair in Shanghai, “Transcending Boundaries” at MSU Art Gallery at Montclair State University Futuroe 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.

楊千 (1959年生)

李磊 (1965年生)

薛松 (1965年生)

1959生於四川成都，現居住和工作於北京，本名楊謙。 1982年畢業於四川美術學院油畫系，獲學士學位， 1982-1984 四川美術學院教師，1985至1988年就讀於美 國佛羅里達大學，獲藝術碩士學位。主要個展：1988年 佛羅里達大學「可觸與不可觸」，蓋恩斯維爾市，美 國，康瓦爾畫廊「楊千新作展」紐約，1994年薩福克學 院「楊千新作展」，紐約， 2003年平遙國際攝影藝術 節，平遙，中國，2005年麥克．伯格畫廊「楊千新作 展」，匹茲堡，美國。

生於上海。李磊有時候看上去像位詩人，他激情、敏感 而又極富理性思辯。他的畫，實際上是心靈與大自然 神秘交感的借托物，而在物與意的對應中，融匯著生 命的律動，蘊藉著人生的思考，寄託著精神的籍慰。 1999年的上海藝術博覽會「上海新視覺」上海青年美 術聯展（上海文化發展基金會，上海）。2000年上海 青年美術邀請展（劉海粟美術館，上海）。2001年 禪花（個展、巴斯蒂安畫廊，荷蘭）。

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。

Lot 131

Lot 132

Lot 134

CUI Xiaodong (b. 1964)

XIAO Ping (b. 1969)

REN Rong (b. 1960)

Cui Xiaodong was born in Jinzhou city, Liaoning Province, China in 1964. On graduating in oil painting from the Central Academy of Fine Arts in 1990, Cui took a three year teaching post at the Gulin Education Institute, Guangxi. In 1996 he received his Master’s degree in oil painting from the China Academy of Fine Arts, where he currently teaches. In 1995 he won the Ruo Zhongli prize for oil painting and the following year bronze at the Oil Painting Exhibition of China Art Gallery. 1997 saw him win Gold in the China Art Exhibition and in 1998, he was awarded at the Chinese Youth Oil Painting Exhibition. Cui also achieved the highest prize in Figurative and Naturalistic painting at the Sino-Japan Expo.

In 1999, he won a prize at the 9th National Art Expo, as well as the Lu Xun Literature Artistic Award and was invited to take part in “Contemporary Realism”, an exhibition occuring in San Fransisco. Cui has also travelled and exhibited in Japan, France, Belgium, Holland, Italy, Spain and Germany . Publications include: Art; New Art; Artist (Taiwan); Art World; Art Trendy (Taiwan) and Trendy Art (Taiwan).

Born in Chongqing, graduated from Sichuang Academy of Fine Arts, currently works and lives in Beijing. His significant exhibitions are as below: 2005, “Simple Hongkong”, a joint exhibition in Hong Kong; 2007, participated “Italian Turin Expo” in Italy and “Art Beijing” in Beijing; 2008, held “Those Flowers” solo exhibition in Willem Kerseboom Gallery, Amsterdam, Netherlands.

Ren Rong was born in 1960 in Nanjing, capital city of China’s Jiangsu Province. He had been learning in Fine Arts Department of Nanjing Art Institute from 1982 to 1986, and he stayed in German Munster and Düsseldorf National Academy of Art from 1989 to 1992. He furthered his education by joining Fritz Schwegler, a German art professor’s master class in 1992, and obtained Master’s degree. He was granted art scholarship by Germany’s Schleswig-Holstein Ministry of Culture in 1993 and was awarded Welberg City Art Prize in 1994. The next year He established Ren Rong Modern Art Studio in Songzhuang, Beijing. In 1996 he was entrusted by German Bonn Modern Art Gallery for the planning of an exhibition tour themed as “China!–Modern Uygure”.

He was appointed as Guest Professor of Hamburg Academy of Plastic Arts in 2000 and he established Ren Rong Modern Art Studio in Bonn, Germany in 2007. Now he lives in Bonn and Beijing.

崔小冬 (1964年生)

肖平 (1969年生)

任戎 (1960年生)

1993─1996年中國美術學院油畫系碩士研究生，1996年 至今中國美術學院油畫系任教師。藝術活動: 1995年獲 羅中立油畫獎學金；1996年參加在北京中國美術館舉辦 的羅中立油畫獎獲獎；獲孫中山與華僑國際美術展銅 獎；1997年獲中國藝術大展金獎；1998年獲中國青年油 畫展優秀獎；獲中日人與自然美術作品展最高獎；1999 年獲第九屆全國美術作品展優秀作品獎，獲魯迅文學藝 術獎，應邀參加在美國舊金山舉辦的當代寫實主義繪畫 展，先後赴日本、法國、比利時、荷蘭、義大利、西班 牙、德國等國考察參觀。作品曾發表在《美術》、《新 美術》、《藝術家》（台灣）、《藝術世界》、《藝術 潮流》（台灣）、《新潮藝術》（台灣）等專業雜誌， 並得到學者、藝術家著文評述。有部分作品被國內外畫 集、畫冊收錄。

生於重慶，畢業於四川美術學院油畫系，現為專職藝術 家且居住於北京市。重要展覽如下：2005年，於香港參 加「簡體香港」聯展；2007年參加義大利都靈博覽會， 及藝術北京博覽會；2008年於荷蘭阿姆斯特丹舉辦「那 些花朵」個展。

1960年出生於中國江蘇省南京市。1982-86年就讀於南 京藝術學院美術系，1989-92年就讀於德國蒙斯特與杜 塞道夫國立美術學院，1992年入德國藝術教授費里茲． 施韋格勒大師班，獲研究生學位。1993年獲德國施萊斯 威西．赫爾斯坦州文化部藝術獎學金，1994年獲德國威 爾伯格市立藝術獎，1995年在北京宋莊創建任戎當代藝 術空間，1996年受德國波恩現代美術館委託，策劃「中 國！—當代繪畫巡迴展覽」2000年聘為漢堡造型藝術學 院客座教授，2007年在德國波恩建造任戎當代藝術空 間，現在居住在波恩與北京。

Lots 135, 150

Lot 137

Lot 139

HUANG Gang (b. 1961)

LI Shuang (b. 1957)

LU Hao (b.1969)

Born in Beijing in 1961, he graduated from the central industrial art institute. During the 80's, the paintings with Tibet theme are extremely popular; people loved the pureness, the mystery, and the nature of Tibet, which is not yet polluted by the civilization. Huang Gang began interested to 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 Kang’s works had exhibited many times in world. His solo exhibition was held in Germany, France, Switzerland, US and Hong Kong, and obtained an enormous success. Obtained different cultural context views from different country and highly appraises.

Born in Beijing. Works as a stage designer for the Chinese National Youth Art Theatre. One of the founding members of “The Stars”. Exhibited in both the historic shows of 1979 and 1980. Emigrated to France in 1983.

Held 18 solo shows in France, Switzerland and USA since then. Exhibitions of Oils have received international acclaim. Works collected by many museums in the world, including Epernay Museum, Seoul National Museum and Fukuoka Asian Art Museum.

Born on February 9, 1969 in Beijing, China. 1992, Graduated from the Central Academy of Fines Arts, Beijing, China. Solo Exhibitions: 2006 Xin Dong Cheng Space for Contemporary Art, Beijing, China Arario, Seoul, South Korea. He Xiangning Art Museum, Shenzhen, China. Kwai Fung Hin Art Gallery, Hong Kong, China.2005, Goedhuis Contemporary, New York, U.S.A. Beijing Art Now Gallery, Beijing, China. Tokyo Gallery, Tokyo, Japan. 1996, “Experimental Inks”, Yun Feng Art Gallery, Beijing, China. 1995, “Experimental Inks”, International Art Gallery, Holiday Inn Crown Plaza, Beijing, China. Collective Exhibitions: 2006, “Mahjong China Contemporary Art from the Sigg Collection”, Museum of Contemporary Art, Hamburg, Germany; Pusan Biennale, South Korea.

黃鋼 (1961年生)

李爽 (1957年生)

盧昊 (1969年生)

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

北京人。曾在中國青年藝術劇院從事舞臺美術工作。 「星星繪畫」創作人之一。1979年和1980年組織參加第 一、第二屆「星星美展」。1983年移居法國後繼續深 造。自1979年以來，曾參加國內、國際性大型聯展近40 餘次。多幅作品被法國艾培市立美術館、韓國漢城近代 藝術國立美術館、日本福岡亞洲近現代藝術博物館及各 國收藏家廣泛收藏。

出生於中國北京。1992年，畢業於中國中央美術學院。 個展：2006年，「盧昊個展」，程昕東國際當代藝術空 間，北京，中國。「盧昊個展」，阿拉里奧畫廊，首 爾，韓國。何香凝美術館，深圳，中國。季風軒畫廊， 香港，中國；2005年，個展，古德豪斯當代畫廊，紐 約，美國。個展，北京現在畫廊，北京，中國。個展， 東京畫廊，東京，日本；1996年，「個人實驗水墨畫 展」，北京雲峰畫廊，中國；1995年，「個人實驗水墨 畫展」，北京國際藝苑美術館，中國。群展：2006年， 「麻將—中國當代藝術席克收藏展」，漢堡當代美術 館，德國。「釜山雙年展」，釜山，韓國。

Lots 140, 148

Lots 141, 143

Lot 142

SU Xinping (b. 1960)

YIN Zhaoyang (b. 1970)

ZENG Fanzhi (b.1964)

Su was born in Jining, Inner Mongolia. In 1983, he graduated from Tianjin Fine Arts Institute and acquired his Bachelor degree. In 1989, he graduated from Central Academy of Fine Arts with Master degree. Now he is a professor in Central Academy of Fine Arts and the director of the Printmaking Department. With his unique and sedate painting style, Su have been active on the stage of contemporary arts in China and the world since 1989.

He has participated in numerous influential exhibitions in China and abroad. His works are collected by many notable international organizations.

Born in Henan, graduated from the Central Institute of Fine Arts in Beijing, Department of The Printmaking, now resides in Beijing. Yin is an artist who selects the pulse of an era as his subject. His solo exhibitions include “Myth” (2001, Beijing Art Museum) and “Utopia” (2004, Beijing Central Art Museum). Group exhibition he had participated includes “Gruelty of Youth Painting” (2002, Shanghai DDM Warehouse and Beijing Yan Huang Art Museum), “Images Image Exhibition” (2003, Shenzhen Art Museum), and “The Power of Personality - a travelling exhibition of progressive art”.

Born in 1964 in Wuhan, Hubei, Zeng Fanzhi graduated from the oil painting department in Hubei fine in 1991.

Presently lives in Beijing as a painter. He conducted many important exhibitions, includes the "Zeng Fanzhi art exhibition" held in Hubei fine arts museum in 1990, the "80's China fine arts (oil paintings) biannual exhibition" held in Guangzhou in 1992, "post-'89 China new art exhibition" held in Hong Kong in 1993, "Walk away from national ideology- China new art" held in Hamburg international avant-grade cultural center in Germany in 1995, "Zeng Fanzhi: False face" held in Barcelona contemporary art museum in Spanish and Hanart T Z Gallery in Hong Kong, "The Future" held in Macao contemporary art center in 2000, "Behind the mask" held in Shanghai Shangrila Gallery in 2001, "Paris-Beijing" held in Pierre Cardin center in France and "The 1st session Guangzhou 3 years exhibition" in Guangdong art museum in 2002, and "I, We" held in Shanghai Art Museum.

蘇新平 (1960年生)

尹朝陽 (1970年生)

曾梵志 (1964年生)

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

生於河南，畢業於北京中央美術學院版畫系，現居北 京。尹朝陽是一位以時代脈動為題材的畫家。曾發表的 個展有2001年「神話」（北京藝術博物館）和2004年 「烏托邦」（北京中央美術館）。曾參加的群展有： 2001年「成都雙年展」、 2002年上海東大名藝術創庫 和北京炎黃藝術館的「青春殘酷繪畫」、2003年深圳美 術館的「圖像的圖像展」及「個性力量－新銳藝術巡迴 展」等。

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

Lot 145 Lot 144

Lot 146

YAN Pei Ming (b. 1960)

WANG Guangyi (b. 1957)

QI Zhilong (b. 1962)

Born in Shanghai. Currently Lives and works in Dijon.

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

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

Born in Hohhot, Inner Mongolia in 1962, Qi graduated from the Central Academy of Fine Arts in Beijing in 1987. His works have been showed in prestigious exhibitions at home and abroad, selected shoes include Art Asia ‘95 at the Convention aand Exhibition Center in Hong Kong (1995); The Masses Model at Beijing Art Museum in Beijing (1996) the Shanghai International Art Fair in Shanghai (2000); the Chicago Art Fair 2002 in the United States (2002) and Le Printemps de Chine at CRAC Alsac Altkirch, France (2004). Recently, Qi has held solo exhibitions in international locations including Hong Kong, Switzerland and Australia.

嚴培明（1960年生）

王廣義 (1957年生)

祁志龍 (1962年生)

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

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

1962年出生於內蒙古呼和浩特，1987年畢業於北京中央 美術學院。他曾參與海內外許多知名展覽，包括「1995 亞洲藝術展」（香港國際會議展覽中心，1995年）、 「大眾樣板」（北京藝術博物館1996年）、「上海藝術 博覽會」（上海，2000年）、「芝加哥藝術博覽會」 （美國，2002年），以及「中國的春天」（法國阿爾奇 斯萊因當代藝術中心，2004年）。祁志龍最近也分別在 香港、瑞士及澳洲等地舉辦個展。

Lot 147

Lots 151, 154

Lots 152, 159

YE Yongqing (b. 1958 )

JIAO Xingtao (b. 1970)

WU Shaoxiang (b. 1957 )

Ye Yongqing, born in Kunming, graduated from painting department of Sichuan Art Academy. He is a pioneering artist who was part of the Sichuan School of artists. He has spent much of his career painting portraits of birds, one with jagged, clever lines. He also has focused in recent years on creating colorful collages. But for years he has been better known as a curator, arts events organizer and artist community booster. He is a close friend and colleague to artists who worked in Western China, particularly Sichuan and Yunnan. He lives in Beijing and Kunming currently.

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

Born in Jiangxi. Graduated with sculpture specialty from Jingdezhen Ceramic Institute in 1982, and later from Central Academy of Arts & Design with MA of sculpture and staying for teaching. In the same year, he offered a bid for national sculpture held by China Federation of Literary and Art Circles (CFLAC) and won the first prize, creating a bronze cameo Pleasure, Anger, Sorrow and Joy for CFLAC. In 1991, he made independently sculpture“Apple” using coins as the materials, which is collected by National Bank of Austria and displayed at its headquarters at Vienna, and recorded in Guinness World Records. His works are collected by Hong Kong Cyberport Art Gallery, Dallas-Corona Art Museum of the United States, Austrian European Sculpture Park, Austrian Kent State Art Collections, Austrian Kegenfurt Art Gallery, California Governor and film star Schwarzenegger, as well as a great many governments, banks, foundations, enterprises and collectors. More than 30 large sculptures have been erected at the public places both at home and abroad.

葉永青 (1958年生)

焦興濤 (1970年生)

吳少湘 (1957年生)

出生於昆明，1982年畢業於四川美術學院繪畫系，現任 四川美術學院教授。曾在北京、上海、新加坡、英國倫 敦、德國慕尼黑、德國奧格斯堡、美國西雅圖等地舉辦 個展。參與重要聯展： 1996年德國「中國！」、北京 「首屆學術邀請展」、「首屆上海美術雙年展」；2000 年北京「20世紀中國油畫大展」；2002年廣州「中國藝 術三年展」；2003年北京「開放時代」展。作品被中國 美術館等藝術機構收藏。

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

江西人。1982年畢業於景德鎮陶瓷學院雕塑專業。1986 年於中央工藝美術學院雕塑研究生畢業，獲碩士學位並 留校任教。同年參加中國文聯的全國雕塑投標獲第一 名，為文聯創作青銅浮雕《喜怒哀樂》。80年代中期為 新潮美術運動中的代表雕塑家，並發起了全國雕塑大討 論。1989年移居奧地利。1991年獨創以錢幣為材料做雕 塑《蘋果》，被奧地利國家銀行收藏並陳列於維也納總 部，且載入金氏紀錄。作品被香港數碼港美術館、美國 達拉斯科羅藝術博物館、奧地利歐洲雕塑公園，奧地利 肯騰州藝術收藏、奧地利克根福市美術館、美國加州影 星州長史瓦辛格，及內外的眾多政府、銀行，基金會、 企業及收藏家收藏。已有30多件大型雕塑置立在國內外 的公共場所。

Lot 153

Lots 155, 161

Lots 156, 157

WANG Keping (b. 1949)

JIANG Shuo (b. 1958)

WANG Zhiyuan (b. 1958)

Born in Beijing in 1949, he is one of the founders of the first non-conformist artist’s group “The Stars” (Xing Xing) which was formed in 1979 during the poet-cultural revolution “Beijing Spring”. He has been living in Paris since 1984. Wang’s creative language is plain and simple, he uses woods as materials, adapts their natural shapes to present the natural forms of human, however he also wanted it to be unnatural, therefore he pour his expressions into his works along with natural materials, and the result is amazing as if it came part of the natural world, the work itself explains all. His works are collected by Villes de Paris, Paris, France; The Olympic Sculpture Park, Seoul, Korea; Modern Art Museum, Taipei, Taiwan; and Aidekman Art Center, Boston. Solo exhibitions he held in New York, Paris, and London reflect his more serious and modest attitude after his moving to Paris, he continues to have conversations with art traditions originated from different places, and he’s full of confidence and strength.

From Beijing, graduated from the Department of Decorative Sculpting, Central Academy of Fine Arts in 1982, graduated with an MA in Sculpting from the Central Academy of Fine Arts in 1985, and stayed behind as a lecturer. From 1982 to 1987, she designed trophies for a series of National Film Awards such as “Best Drama”. Her works were displayed in “the National Art Exhibition” in China Museum of Art many times. She moved to Austria in 1989 where she became a professional artist. Her works are often on display in Austria, Germany, Canada and Hong Kong, and widely collected by overseas collectors.

Born in Tianjin, China in 1958. He arrived in Australia in 1989, and has Australian citizenship, currently lives and works between China and Australia. Selected exhibitions: 2005, Austral-Asia Zero Five, Sherman Galleries, Sydney, Australia. 2005, Shanghai Cool-Creative Reproduction, Shanghai Duolun Museum of Modern Art, Shanghai, China; 2004, Artificial Happiness, RMIT Gallery, Melbourne, Australia.

王克平 (1949年生)

蔣朔 (1958年生)

王智遠 (1958年生)

1949年生於中國北京，1979 加入由北京藝術工作者成立 的「星星畫會」，成為活躍成員。1984年定居於法國至 今。王克平的創作語言是簡單自然，以木頭為材料，以 其自然形式表現人的自然形態，既是用自然又要打破自 然，把自己的表達加進去，最後作品處理又渾然天成， 讓作品解釋作品。巴黎市政府、首爾奧林匹克公園、台 灣省立美術館、波士頓艾德克門藝術中心，都有收藏他 的作品，前後於紐約、巴黎、倫敦等各地畫廊的個展， 更反映出移居法國讓王克平以一種更嚴謹和內斂的態 度，繼續與源自他方的藝術傳統對話，充滿著自信和力 量。

北京人。1982年畢業於中央工藝美院裝飾雕塑系。1985 年中央工藝美院雕塑研究生，畢業並獲碩士學位。後留 任講師。1982年至1987年間，為中國文化部設計創作 《最佳故事片》等一系列國家電影獎獎碑。作品曾多次 在中國美術館參加「全國美展」。1989年定居奧地利成 為職業藝術家。作品常在奧地利、德國、加拿大、香港 等地展出，並廣為海外收藏家收藏。

生於中國天津。1989年前往澳洲，目前在中國及澳洲生 活與工作。近期重要展覽如下：2005年雪梨，「澳亞零 五」展，雪曼畫廊；2005年上海多倫美術館，「上海 酷─創意再生產」聯展；2004年，墨爾本RMIT畫廊之 「人造快樂」展覽。

Lot 162 Lot 158

Lot 160

LI Kuang-yu (b. 1954)

HUANG Yan (b. 1966)

WANG Ling (b. 1974)

He was born in Kaohsiung and graduated from National Taiwan Academy of Art, majored in sculptures. He received his master degree in Art from Madrid College on 1983, and he has won the Five Major Arts Colleges award from the Cultural Department in Spain. Besides, he also has been selected by the Coin Sculptures exhibition of Spain Autumn Salon.

Born in Jilin, Huang Yan graduated in 1987 from Jilin Normal University and now works as a professional artist. In 2003 he held in New York an “Imaging China and Huang Yan” solo exhibition, in 2004 participated in the “Officina Asia” exhibition at GAM Bologna in Italy as well as the “China, the Body Everywhere” exhibition at the Museum of Contemporary Art in Marseille, in 2005 participated in the “Mahjong Contemporary Chinese Art from the Sigg Collection” at the Kunstmuseum Bern in Switzerland and in 2006 participated in the “Ruins Exhibition” at the Irrawaddy Art Center in Chicago, USA. His works have been collected by the Shanghai Art Museum and also by galleries in other places such as Beijing, Australia, Japan, Hong Kong, USA, Germany and Belize.

Born in Wuhan in 1974, Hubei Province, China. He Graduated from middle school which attached to HuBei Academy of Fine Arts in 1993 and in 1997, graduated from HuBei Academy of Fine Arts, obtained the bachelor’s degree. In 2003, he graduated from Fine Arts Academy in South China Normal University, had the master’s degree. He teaches currently in the Fine Arts Academy in Guangdong University of Foreign Studies, Guangzhou, China.

李光裕 (1954年生)

黃岩 (1966年生)

汪凌 (1974年生)

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。

出生於吉林。1987年畢業於吉林省師範學院，現為職業 藝術家。2003年於紐約舉辦「影像中國－黃岩個展」， 2004年參加義大利博洛尼亞現代美術館的「亞洲工廠」 展覽及法國馬賽現代藝術博物館舉辦的「身體中國」展 覽，2005年於瑞士伯爾尼博物館參加「麻將－烏利希克 博士中國當代藝術收藏展」， 2006年參加美國芝加哥 伊洛瓦藝術中心「廢墟展」。他的作品被上海美術館收 藏，同時在北京、澳洲、日本、香港、美國、德國和貝 里斯都收藏有他的作品。

1974年生於湖北武漢，1993年畢業於湖北美術學院附 中，1997年畢業於湖北美術學院油畫系本科，獲學士學 位。2003年畢業於湖南師範大學美術學院，獲碩士學 位。現為廣東外語外貿大學藝術學院教師。

Lot 166

Lots 163, 165

Lot 164

LUO Brothers (Luo Weidong, b. 1963; Luo Weiguo, b. 1964; Luo Weibing, b. 1972)

HUNG Tung-lu (Donglu HONG b. 1968)

Luo Weidong graduated from Guangxi Art College in 1987. Luo Weiguo graduated from Guangzhou Academy of Fine Arts, China in 1987. Luo Weibing graduated from the Central Institute of Arts and Crafts in Beijing, China in 1997. Luo Brothers had held various shows in France, Australia, Brazil, Japan and Switzerland etc, exhibitions such as: 1999, “Ooh, La, La Kitsch!” in TEDA Contemporary Art Museum, Tianjin, China. Basel Art Exposition, Basel, Switzerland. 2001, Art Chicago.

Navy Pier, USA and Art 32 Basel, Switzerland. 2002, Highlights of the Chengdu Biennale, The Courtyard Gallery, Beijing, China. “Luo Brothers” at Ray Hughes Gallery, Sydney, Australia; “Collection of guy & myriam ullens”, at Espace Pierre Cardin. Paris, France.

Graduated from National Tainan College of Art Graduate Institute of Plastic Arts, Hung had major exhibitions in Taipei Fine Arts Museum, I-Tong Park, Contemporary Art Museum of Italy, and Hall-Ottawa Gallery in Canada. He was invited to participate in several international exhibitions: Venice Biennial (1999), 3les Recontres internationales de la Photographie, Arles (2000), Taipei Biennial (2000), Arco (2001) and Shanghai Biennale (2004). His work is collected by China Century Foundation in Paris, Marco Noire in Italy and Taipei Fine Arts Museum. His work “Virtuality Is Reality” from the “Nirvana” image series is an actual practice of totally digitalized virtual arts. Hung currently lives and works in Shanghai.

Born in Hong Kong, Christopher Cheung had studied at Ling Hai Art School from 1967 until 1970. He settled down in Paris since 1970 until present. His solo exhibitions as below: 1983, Galerie Caroline Corre, Paris; 1984, Galerie Gering-Kulenkamff, Frankfurt, Germany; 1997, “Chess Play” in Trigram Gallery, Hong Kong; 1998, “Mixture of Reality & Enigma” in Fairmate Art Gallery, Taipei. In 2004, he had participated also “Salon d’Automne” in Paris, and many other joint exhibitions.

羅氏兄弟 (羅衛東1963年生、羅衛國1964年 生、羅衛兵1972年生)

洪東祿 (1968年生)

張漢明 (1945年生)

羅衛東1987年畢業於廣西藝術學院。羅衛國，1987年畢 業於廣州美術學院。羅衛兵，1997 畢業於中央工藝美 術學院。在法國、澳洲、巴西、日本、瑞士等參加過展 覽，現居北京。1999年「跨世紀彩紅」豔俗藝術，泰達 當代藝術博物館，天津；巴塞爾藝術博覽會，巴塞爾， 瑞士；2001年，「大眾滸藝術展」，巴黎，法國；巴塞 爾藝術博覽會，巴塞爾，瑞士；「2002年羅氏兄弟畫 展」，頂樓畫廊，巴黎，法國；「羅氏兄弟畫展」， 雷．休斯畫廊，雪梨，澳洲；2002年「尤倫斯夫婦收藏 展」，皮爾卡登會館，巴黎，法國。

1999年畢業於國立台南藝術學院造形藝術研究所。2002 年在北美館、伊通公園、義大利當代美術館、加拿大魁 北克大學渥太華分校藝術中心畫廊均有個展。多次參 加國際當代藝術大展，如1999年「第48屆威尼斯雙年 展」、2000年法國阿爾國際攝影節、2000年「台北雙年 展」、2001年「西班牙拱之大展」、2004年「上海雙年 展」等。作品亦被巴黎中國世紀基金會、義大利馬可． 諾瓦畫廊、台北市立美術館等收藏。其創作《涅盤》影 像系列《虛擬即真實》，是全數位化虛擬藝術的一種實 踐。目前生活及創作於上海。

出生於香港，1967至1970年就讀於香港嶺海藝專，自 1970年起定居在巴黎；個展如下；1983年，加露蓮．歌 雅畫廊，巴黎；1984年，賈里．昆侖康畫廊，德國法蘭 克福；1997年，「棋戲」，香港三行畫廊，1998年， 「真相與謎境的黏著」，飛元藝術中心，台北。2004年 曾參加巴黎的「秋季沙龍」聯展。

Christopher CHEUNG (b. 1945)

Lot 167 Lot 168

Lot 169

YANG Guoxin (b. 1951)

HAN Yajuan (b. 1980)

YUAN Xiaofang (b. 1961)

Born in Wuhan, Hubei Province. Yang Guoxing graduated from the Hubei Fine Arts Academy with a Master’s degree in 1991. He has exhibited internationally, including: “The Annual Exhibition of Chinese Oil Paintings”, Beijing, 1995; “The First Chinese Contemporary Academic Art Exhibition”, Beijing and Hong Kong, 1996; “Chinese Contemporary Oil Paintings”, Shanghai; “The 12th Asian International Art Exhibition”, Macao, 1997; “Peek China—Chinese Contemporary Oil Paintings Exhibition” Taiwan and “The 13th Asian International Art Exhibition” in Malaysia, 1998.

Han Yajuan was born in Qingdao, 1980. She graduated from the Oil Painting Department of China Academy of Fine Arts with a Bachelor’s Degree and started to work in Basic Education Centre of Visual Art College of China Academy of Fine Arts. She continued her education in 2005 in the Oil Painting Department of the same Academy for a Master’s Degree. She held her solo exhibition “Milk·Sugar Life” in Art Beatus Gallery in HK in 2006. In her works, people often see a lovely little milch cow with spots all over the body, and the cow is as thick as thieves with girls. The cow is a bit like a pet of girls.

If the cow does not appear in the painting, the spots would surely be found in girls’ clothing. In Han Yajuan’s works, the cow is a quite of a symbolic meaning of gender, representing female, the young generation of girls.

Her work with the representation of young women actually shows the young generation’s dreams of life.

Born in Wuhan. Graduated form Hubei Academy of Fine Arts in 1986. Now he teaches in the academy. The exhibitions he participated in include “Guangzhou Biennale Exhibition” in 1992,“China Year of Oil Painting Exhibition” in 1993, 1994, 1995, and the First “China Institute of Oil Painting Exhibition” in 1996, Shanghai “Contemporary Oil Painting Art Exhibition” in 1997, the 13th“Asia International Art Exhibition” in 1998 (the Malaysia National Art Gallery), the 14th“Asia International Art Exhibition” in 1999 (Japan Fukuoka Art Gallery), Northeast Asia (China, Japan, Korea) and the “Third World Art Exhibition” (South Korea Seoul Art Gallery),“Reshuffling-Contemporary Art Exhibition” in 2001(Shenzhen Academy of Sculpture), the 16th“Asia International Art Exhibition” in 2001 (Guangdong Art Gallery). His works of art have been collected by institute and individual collectors from home and abroad.

楊國辛 (1951年生)

韓婭娟 (1980年生)

袁曉舫 (1961年生)

楊國辛，武漢人，1991年畢業於湖北美術學院研究生 班。作品參展1995年「中國油畫年展」（北京）獲銅 獎；1996年首屆「中國當代藝術學術邀請展」（北京、 香港）；1997年「中國當代油畫藝術展」（上海）、第 12屆「亞洲國際藝術展」（澳門）； 1998年「窺見中 國—中國當代油畫展」（台灣）、第13屆「亞洲國際藝 術展」（馬來西亞）。

1980年生於青島。2002年畢業於中國美術學院油畫系， 學士學位，2004年工作於中國美術學院視覺藝術學院基 礎教學中心，2005年中央美術學院油畫系，攻讀碩士。 2006 年在香港精藝軒舉辦「奶．糖生活」個展。在韓 婭娟的作品中常常能找到一個與女孩子們親密無間的、 可愛的、渾身斑點的小奶牛。它有點像女孩子們的小寵 物，如果小奶牛暫時不在場，女孩子們的衣著或服飾中 肯定有它的斑點出現。它是韓婭娟作品中的具有性別象 徵意義的符號，代表女性，代表一代年輕女孩子。韓婭 娟的作品以年輕女性為代表言說的其實是這一代年輕人 的生活夢想。

生於武漢。1986年畢業於湖北美術學院，現任教於該 院。參加展覽如下：1992年「廣州雙年展」，1993年、 1994年、1995年「中國油畫年展」，1996年首屆「中國 油畫學會展」，1997年「上海當代油畫藝術展」，1998 年馬來西亞國家美術館「第十三屆亞洲國際藝術展」， 1999年日本福岡美術館第十四屆「亞洲國際藝術展」、 韓國漢城美術館「東北亞(中、日、韓)及第三世界美術 展」，2001年深圳雕塑院「重新洗牌—當代藝術展」， 2001年廣東美術館第十六屆「亞洲國際藝術展」。作品 曾為國內外機構與私人收藏。

Lot 170 Lot 171

Lot 172

ZHENG Delong (b. 1976)

GAO Yu (b.1981)

YIN Jun (b. 1974)

Born in Chengdu, Sichuan Province, China. Exhibition: 2003,“The Art Scene in China”- Shanghai Art City, Shanghai, China, 2003. 2004, “Sichuan Art Exhibition of Oil Paintings”- Chengdu, Sichuan Province, China. Solo exhibition-Magazine Gallery, Shanghai, China. 2005,“New things” Exhibition of Chinese contemporary oil painting-Shanghai Magazine Gallery.

“Rapid”-Singapore, Soo Bin Art Int’l, 2006. “Collision“, Vanessa Gallery, Jakarta, 2007.

Born in Guizhou, Gao Yu graduated from the Sichuan Fine Arts Institute in 2003 with a bachelor’s degree. In 2006, he held “Specimen” solo exhibition in Beijing; and in 2007, held solo exhibitions “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 SelfMade 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!” .

Yin Jun was born in Sichuan in 1974, his major exhibitions are: 2005, the 12th China International Art Expo, Beijing; 2005, 1st SongZhuang-China Art Festival; 2006, “1st Professional Artists Join Exhibitions”, Gallery Ren, Beijing; 2006, KunstRai 2006 Expo, Amsterdam, the Netherlands; 2006, “From SongZhuang”, Kerseboom Gallery, the Neatherlands.

鄭德龍 (1976年生)

高瑀 (1981年生)

尹俊 (1974年生)

生於成都。展覽：2003年「四川暨成都油畫展」—中國 成都。2003年多元視點—上海。2004年「上海春季藝術 沙龍」—上海。2005年「鄭德龍個人作品展」—上海。 2006年「湍」鄭德龍個人作品展—新加坡斯民國際藝 苑。2007年「湱」個展，華藝莎畫廊，雅加達。

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。

1974年生於四川。生涯中重要展覽如下：2005，第十二 屆「中國國際藝術博覽會」，北京。2005，第一屆「宋 莊藝術節」。2006，首屆「職業藝術家繪畫聯展」，仁 畫廊，北京。「2006阿姆斯特丹藝術博覽會」，阿姆 斯特丹，荷蘭。2006，「來自宋莊」，柯斯孛畫廊，荷 蘭。

Lot 176

Lots 173, 175

Lot 174

YIN Kun (b. 1969)

CHEN Ke (b. 1978)

SONG Yonghong (b. 1966)

Born in Deyang, Sichuan in 1969, Yin Kun graduated from the Sichuan Apa Normal Junior College Fine Arts Department in 1992. He went to Beijing in 1993 and became a free painter. His works participated in several domestic and international exhibitions, and wildly collected by collectors all over the world. Yin Kun is a wise, sensitive, and active young artist, painting is an outlet or a record of his life, emotion, and his sensitive and nervousness. His work involves different social levels, through modern people’s ignorance towards certain social abnormal phenomena, promulgates the question the key and the root. Yin Kun pays attention to the contemporary person's survival experience and the reality feelings, absorbed the artistic forms and pictures such as pop, absurd realism, kitsch to transmit one kind of direct, incisive message. The gorgeous picture color is for the purpose of arousing some hopes and the optimistic life manner.

Born in Tongjiang, Sichuan Province,. Chen Ke was graduated from the Oil Painting Department of Sichuan Institute of Fine Arts in 2002 and from Sichuan Institute of Fine Arts with MFA in 2005. Chen Ke is currently working and living in Beijing. She was awarded 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 animated and cartoon, closely connecting the affection in the virtual world with real life. The digital image from her painting demonstrates brighten and colorful light, contributing to the diversity of her visual layout. She creates a popular cartoon world with kaleidoscopic and dazzling imagination.

Born in Quyang, Hebei in 1966, originally from Shanxi, graduated from the Department of Print-making, Zhejiang Academy of Fine Arts in 1988, taught at the Beijing Art & Craft College in 1988, and currently a professional artist. Attended New York MoMA “Chinese Modern Art Exhibition” in 1998, and San Francisco LIMN GALLERY “Chinese Modern Art Exhibition” in 1999.

尹坤 (1969年生)

陳可 (1978年生)

宋永紅 (1966年生)

1969年生於四川省德陽。1992年畢業於四川阿壩師範專 科學校美術系。1993年到北京成為自由畫家。其作品多 次參加國內外大展，多件作品被海內外人士收藏。尹坤 是一位有才智、敏感、積極的年輕藝術家，畫畫是他對 生活、情感、敏感和神經質部分的宣洩或是記錄。其作 品涉及到廣泛的社會層面，通過描述當代人對某些社會 異常現象的普遍漠視，揭示問題的關鍵和根源。尹坤關 注當代人的生存體驗和現實感受，吸收了波普、玩世現 實主義、艷俗等藝術形式及圖片等藝術語言傳達出一種 直接的、尖銳的訊息；艷麗的畫面色彩旨在喚起一些希 望和樂觀的生活態度。

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。

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

Lot 177

Lot 178

Lot 179

YANG Jinsong (b. 1971)

HE Xuesheng (b. 1963)

YIN Hong (b. 1970)

Born in Xiangtan, Hunan Province. Yang graduated from Guangzhou Academy of Fine Arts and achieved his Master’s degree at the China Academy of Fine Arts.

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

Born in China Nin Xia, he was graduated from the Nin Xia Academy of Fine Arts in 1986. The themes of his oil paintings are mostly about Loess Plateau and the customs and traditions in the northwest. His painting style is simple, plain, natural and huge. He used different structures and artistic languages in his picture to glorify his homeland, there are folding hills, dried rivers, humble villages, sheep and beautiful dreams in it, his art truly presents the scenes of north China.

Yin Hong was born in September, 1970 and she graduated from the Art Academy of Nanjing Normal University and the Postgraduate Assistant Lecturer Class of the Mural Department of Central Academy of Fine Arts. She held her solo art exhibition in Beijing in 2002, and another solo in Shanghai Spring Hanmo Gallery in 2004. She attended “Shanghai Spring Art Saloon” in 2003 and 2004. She also showed her paintings in the International Art Exposition in Seoul, Korea, and “the Dazzling World” Exhibition of China’s Emerging Forces. Yin Hong’s works feature their unique experience and representation of imagist taste.

Seeing her works, people would feel difficult to judge her painting style from traditional modes, and also uneasy to determine her complicated and confusing imagist essence from social ideology, life phenomena or theoretical concepts.

楊勁松 (1971年生)

何學昇 (1963年生)

尹紅 (1970年生)

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

出生於中國寧夏；1986 年畢業於寧夏藝術學院；何學 昇的油畫作品以描繪黃土高原為背景，講述他熟悉的西 北地域風俗民情。畫風樸實、自然、渾厚。畫面上用不 同構圖形式和藝術語言美化他的家鄉，那裡有起伏的丘 陵，乾涸的河道，坯築的村莊，飄動的羊群及美好的願 望，表現了遼闊的塞北風情。

1970年9月出生畢業於南京師範大學美術學院，中央美 術學院壁畫系研究生助教班。2002年在北京舉辦個展； 2004年在上海春天翰墨舉辦個展；2003年參加「上海春 季藝術沙龍」；2004年參加「上海春季藝術沙龍」、 「韓國漢城國際藝術博覽會」，「花花世界」中國新興 力量展。尹紅的作品有著意象審美的獨特體驗與表現， 觀其作品，不僅難以從風格模式界定其畫風，更不易從 社會意識、生活表像乃至理論概念確定其撲朔迷離的意 象本源。

Lot 181

Lot 183

Lot 184

KO Si Chi (b. 1929)

XIONG Yu (b. 1975)

JIN Zi (b. 1973)

Born in 1929, Tainan, Ko Si Chi is a well-known senior photographer in Taiwan, he loved literature, music and painting in his teenage, when he first get his first camera by the age of 19, he has devoted himself in photography since then for over 50 years, and he haven’t change a bit even now. New York’s Hammer Gallery held a photography exhibition for Ko Si Chi in 1994, it is the first ever photography exhibition held in that gallery since its establishment or 70 years ago, it confirms the quality and the details derived from Ko’s “transfer technique”, also elevated the value of photography collections. He was invited by National Arts Club of New York to held an exhibition for Taiwan Arts Festival in 1999. He was invited by Edward Carter Gallery in SOHO, New York to held another exhibition in 2001.

Born in Chengdu of Sichuan, Xiong Yu graduated from the attached middle school of Sichuan Academy of Fine Arts in 1995, and rose up into the oil painting department of Sichuan Academy of Fine Arts. In 1999, he graduated from the oil painting department of Sichuan Academy of Fine Arts to admit as the plastic arts of Sichuan Academy of Fine Arts to be professional graduate student of oil painting in the same year. In 2002, he captured the Sichuan Art Academy oil painting fastens Master’s academic degree and began to teach to the artistic academy of Sichuan University. Xiong is a new talent of Chinese oil painting from “Sichuan School of Painting”, who is after Luo Zhongli, He Duo-Ling and Zhang Xiaogang. His work participated and awarded in “Youth Art Exhibition of Sichuan Province” in Chengdu. In 2004, his works got Bronze Prize in “Mood of the Youth-Exhibition of Reworded Paintings of Chinese Newly Emerging Artists” in Shenzhen.

Free painter and writer Jin Zi was born in 1973 and now is living in Beijing. She graduated from Oil Painting Department of Sichuan Art Academy in 1998 and completed courses of Central Academy of Fine Arts in 2006. She won the Prize of Excellent Work in China’s Art Academy Graduates Works Exhibition in 1998 and attended “Migration Diary” art exhibition in the same year. She also attended “Chongqing Metropolitan Folk Art” Exhibition and “Body Art” Exhibition in 1999, “Perfect Comma” Exhibition, “Women Painters’ Work” Exhibition and “Beauideal” women painters’ exhibition in 2006. She held her solo exhibition “War of One Person” in Beijing Artist Village Gallery in 2007. Cartoon style, or figures from traditional operas, the language and schematic expressions in Jin Zi’s works all originate from her successful conversion to commonly recognized images, whereas the import of individual consciousness not only changes the creation style of the signification of common images, but also endows her work with vivid personal perceptions.

柯錫杰 (1929年生)

熊宇 (1975年生)

金子 (1973年生)

柯錫杰先生，一九二九年生，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。

自由畫家，作家。1973年出生，現居北京。1998年畢業 於四川美術學院油畫系，2006年結業於中央美術學院。 1998年獲「美苑杯」中國美術院校畢業生作品展優秀 獎；並參加「遷徙日記」畫展；1999年參加「重慶室群 藝展」、「人體藝術展」；2006年參加「完美逗號」展 覽、「女畫家作品展」、「十全十美」女畫家展；2007 年在北京畫家村畫廊「舉辦一個人的戰爭」個展。不管 是卡通語言，還是戲曲人物，金子作品的語言和圖式表 達都源於對公共圖像的成功轉換，而個體意識的置入不 僅改變了公共圖像的意義生成方式，也使得其作品具有 了清晰的個人視角。

Lot 187

Lot 185

Lot 186

DONG Zhong (b. 1969)

XU Maomao (b.1979)

SHEN Na (b. 1979)

Born in Guiyang, Guizhou region, China. The artist graduated from Fresco department of Central Academy of Fine Arts, Beijing in 1992. He served as a fine art teacher of youngsters’ class of Guiyang. Currently he works in Literature & Art League of Guiyang and is a residency artist at Painting & Calligraphy Academy.

Solo exhibitions: 2003, “Lust and Vain Desire- Dong Zhong”. 1992, “Dong Zhong” at Passage Gallery of the Central Academy of Fine Arts, Beijing. Many of his artworks had been collected by Shanghai Art Museum, Passage Gallery of the Central Academy of Fine Arts Beijing, Shanghai Artists Association and private collectors. His articles can be also found in Jiangsu Art Monthly Pictorial, Art Circle, Mountain Flowers, Publication: Mountain Anthology- Selection of Dong Zhong’s Works, and Flower, Bird, Bug, Fish-Dong Zhong 2007.

Born in Xinjiang Province, Xu graduated from Xi’an Academy of Art in 2002. He held solo exhibition “Wonderland” at One and J. Gallery in Seoul, Korea in 2007.

He attended “Ideal of A New Generation – the Chinese New Generation” at He Xiangning Art Museum in Shenzhen; He participated in Beijing Star Gallery’s “Next Station, Cartoon?” exhibition and “Post 70s The Generation Changed By the Market” exhibition organized

by Shenzhen He Xiangning Art Museum respectively in 2006; Beijing Star Gallery’s “Naughty Kids” exhibition and “Wonderland–Xu Maomao & Wang Ting” exhibition in 2007.

Shen Na was born in Sichuan in 1979. She entered Oil Painting Department of Sichuan Academy of Fine Arts and passed the entrance examination to become a postgraduate student in the same Department of the same Academy. She obtained Master’s Degree and stayed in the Academy as a teacher. She now works and lives in Chongqing and Shanghai. She attended Excellent Graduation Works Exhibition of China’s Top 9 Academies of Fine Arts in 2001, “Arts of Experiment” Exhibition Series and “Up-and-coming Youngster” National Exhibition of Excellent Students in 2002, “China 3rd Oil Painting Exhibition”, “Youth is the Right”, “Turnaround” – Annual Invitation Exhibition of Modern Artists, “Multiple Viewpoints” modern art exhibition in 2003, “Juvenile Aspiration” New Talents’ Art Exhibition, “Blue Space” Invitation Exhibition in 2004, “Art of the Post 70’s” – the Art Exhibition of the Generation after Market has Changed China, “Game of the Low and the Shallow” Art Exhibition, “Cloud and Rain” Art Exhibition, “Language Loft” New Talented Women Artists Exhibition in 2005, and modern art exhibitions named “Constraints and Freedom” and “Selfbuilt Layout” in 2006.

董重 (1969年生)

徐毛毛 (1979年生)

沈娜 (1979年生)

生於中國貴州貴陽，1992年結業於北京中央美術學院壁 畫系研修班，1994年到1998年擔任貴陽市青少年宮美術 教師，現供職於貴陽市文學藝術聯合會，貴陽書畫院駐 院藝術家。個展：2003年「情色與妄想—董重」，1992 年董重畫展，北京中央美院畫廊。多件作品被上海美術 館、北京中央美術學院畫廊、上海美術家協會及個人收 藏。文字及作品散見於《江蘇畫刊》、《美術界》、 《山花》等平面媒。出版有《對山集．董重作品選》、 《花．鳥．蟲．魚－董重 2007》。

生於新疆。2002年畢業於西安美術學院。2007年在韓國 首爾One and J.畫廊舉辦「童話」個展。2004年參加「少 年心氣—中國新銳繪畫展」；2005年參加「下一站，卡 通嗎？」畫展、「70後藝術：市場改變中國之後的一 代」畫展；2006年參加「壞孩子的天空」畫展、「童 話—徐毛毛與王婷」畫展。

1979年生於四川。1997年就讀於四川美術學院油畫系， 2001年考取四川美術學院油畫系碩士研究生，2004年獲 碩士學位並留校任教，現工作生活于重慶和上海。2001 年參加「全國九大美院優秀畢業作品展」；2002年參 加「實驗的藝術」系列展、「新人新秀」全國優秀學生 作品展；2003年參加「中國第三屆油畫展」、「青春就 是權利」、「轉向當代美術家年度邀請展」、「多元視 點」當代藝術展；2004年參加「少年心氣」新銳繪畫 展、「藍色空間」邀請展；2005年參加「70後藝術：市 場改變中國後的一代藝術展」、「低和淺的遊戲」、 「雲雨」 藝術展、「語言的閣樓」 新銳女性藝術家 展；2006年參加「限制與自由」、「自我造局」當代藝 術展。

Lot 188

Lot 189

CUI Wei (b. 1981)

REN Sihong (b. 1967)

Born in Beijing. Cui Wei graduated from Central Academy of Fine Arts in 2005, majoring in oil painting and began teaching there after graduation. His “The Farewell Party” won the first prize for Central Academy of Fine Arts graduation projects competition. In 2006, he attended China International Gallery Expo and Art Season Gallery’s “A Tale of Two Cities” Exhibition in Singapore.

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 Central Academy of Fine Arts in 1993, same year, he held his solo exhibition in the gallery of Central Academy of Fine Arts. Moved into the artist village in Yuan Ming Yuan during 1993 to 1995, he started to paint conceptual paintings and become a free artist. In 1995, his works are specially included in the 3rd “China Oil Paintings Exhibition” One year later, He started to paint the “Woman Attitude” series of paintings until 1998. Since then, he participated in several exhibitions including the “New Auto exhibition: oil painting business versus the invasion of Japan”, the “Da Vinci’s Porch” artistic activities in 1999, during 2000 to 2005 he became an enterprise graphic engineer.

崔瑋 (1981年生)

任思鴻 (1967年生)

出生於北京市。2001年考入中央美術學院油畫系。2005 年畢業獲學士學位。畢業創作《為了告別的聚會》獲學 院畢業作品一等獎，並被留校。2006年參加中國國際畫 廊博覽會；新加坡季節畫廊舉辦的畫展「雙城記」。

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「毛澤東與 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。

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