SPRING AUCTION 2009 TAIPEI
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羅芙奧台北 2009 春季拍賣會 亞洲現代與當代藝術
RAVENEL SPRING AUCTION 2009 TAIPEI Modern and Contemporary Asian Art
AUCTION
拍賣日期／地點 2009年6月7日（日） PM 2:30至PM 7:30 富邦人壽大樓國際會議中心 台北市敦化南路一段108號B2
Sunday, June 7, 2009, 2:30pm – 7:30pm Fubon National Conference Center B2, No. 108, Section 1, Tun-Hwa South Road, Taipei, Taiwan
預展日期／地點
PREVIEWS
台中 2009年5月9日（六）至5月10日（日） PM 1:00至 PM 7:00 由鉅藝術中心（月光流域大樓） 台中市公正路83號1樓
Taichung
香港 2009年5月23日 (六) AM 11:00至 PM 7:30 與5月24日 (日) AM 10:00至 PM 5:00 香港君悅酒店 (君悅廳) 香港灣仔港灣道1號
Hong Kong
台北 2009年6月5日（五）至6月6日（六） AM 10:00至 PM 7:00 富邦人壽大樓國際會議中心 台北市敦化南路一段108號B2
Taipei
MODERN
&
CONTEMPORARY
Saturday, May 9 – Sunday, May 10, 2009, 1:00pm – 7:00pm GSR Gallery 1F, No. 83, Gong Zheng Road, Taichung, Taiwan
Saturday, May 23, 11:00am – 7:30pm; Sunday, May 24, 2009, 10:00am – 5:00pm Grand Hyatt Hong Kong – Salons 1 Harbour Road, Wanchai, Hong Kong Friday, June 5 – Saturday, June 6, 2009, 10:00am – 7:00pm Fubon National Conference Center B2, No. 108, Section 1, Tun-Hwa South Road, Taipei, Taiwan
ART
拍賣目錄每本售價：NT$1,200 This auction catalogue: NT$1,200 per copy
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羅芙奧台北 2009 春季拍賣會服務部門及連絡人
藝術品諮詢專家 副總經理 傅斐郡 電話：+886 2 2708 9868 轉 888 電子信箱：flora_fu@ravenelart.com
副總經理
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。 註二：鑑於拍賣現場電話有限，欲以電話投 標方式競標的投標者，請於拍賣前24小時通 知我們為您安排，尤其對需用外國語言服務 之投標者。
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台灣、香港
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業務經理
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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。
其它地區
台灣
李欣格 電話：+886 2 2708 9868 轉 883 電子信箱：chiara_lee@ravenelart.com
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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。
電話書面競標聯絡人
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其它地區 陳惠黛 電話：+886 2 2708 9868 轉 889 電子信箱：odile_chen@ravenelart.com 李欣格 電話：+886 2 2708 9868 轉 883 電子信箱：chiara_lee@ravenelart.com
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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。
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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International Odile Chen Tel: +886 2 2708 9868 ext. 889 Email: odile_chen@ravenelart.com
Remarks: If you are unable to attend the auction in person, 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 Judy Xie Tel: +86 10 5820 6151/52 Email: judy_xie@ravenelart.com
International Chiara Lee Tel: +886 2 2708 9868 ext. 883 Email: chiara_lee@ravenelart.com The catalogues are available for subscription. For details of subscription, please refer to the explanations of the catalogue or contact the above persons.
PAYMENT Amy Chang Tel: +886 2 2708 9868 ext. 686 Email: amy_chang@ravenelart.com Payment details are described at the back of the catalogue. Please contact the above person if you need any further information.
Chiara Lee Tel: +886 2 2708 9868 ext. 883 Email: chiara_lee@ravenelart.com
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COLLECTION AND SHIPPING Taiwan Tommy Wu Tel: +886 2 2708 9868 ext. 885 Email: tommy_wu@ravenelart.com
China Dina Zhang Tel: +86 10 5820 6151/52 Email: dina_zhang@ravenelart.com
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”.
目次 / Contents
藝術家索引 / Index
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A
羅芙奧春季拍賣會
Sale Information
Yoshitaka AMANO
羅芙奧之服務
Gabriel BARREDO
天野喜孝
141, 142, 143
蓋伯瑞．博瑞多
174
蔡國強＆蔡康永
054
張志成 陳蔭羆 趙春翔 陳流 陳文波 鄭在東 趙汝賢 邱亞才 朱德群 蔡雲程 莊喆 全光榮
013, 014 056 031, 032 062, 076 079 015, 016 132 005, 011, 025 055 026 035, 043 156
戴澤
103
俸正傑 傅慶豊
093 010
高小華 高瑀 朱沅芷 谷文達 關良 郭偉
111 073 046, 050 107 047 063, 086
何多苓 何偉 日野之彥 洪浩 侯慶 黃鋼 黃柏仁 洪東祿 黃炫升 黃銘哲
115 060 146 069 097 082, 089 128 134 147 006, 037, 040
飯田霧子
138
詹金水 賈剛 姜川 蔣朔
017, 023 078 071 127
金志旻 伯斯．克里許納瑪查里 郭維國 布迪．庫斯塔托 權奇秀
151 164 024 168 157, 158, 159
B 3
C
Ravenel Services 5
CAI Guo Qiang & TSAI Kang-yung CHANG Chih-cheng George CHANN CHAO Chun-hsiang CHEN Liu CHEN Wenbo CHENG Tsai-tung Caroline Yu Yin CHIU CHIU Ya-tsai CHU Teh-chun CHUA Hu CHUANG Che CHUN Kwang-Young
藝術家索引
Index 7
亞洲現代與當代藝術
Modern and Contemporary Asian Art 219
委託競投表格
Absentee Bid Form 221
D
業務規則
DAI Ze
Transaction Agreement
F FENG Zhengjie Alixe FU
G GAO Xiaohua GAO Yu Yun GEE GU Wenda GUAN Liang GUO Wei
H HE Duoling HE Wei Korehiko HINO HONG Hao HOU Qing HUANG Gang HUANG Po-ren HUNG Tung-lu HWANG Hyun Seung Michell HWANG
I Kiriko IIDA
J JAN Chin-shui JIA Gang JIANG Chuan JIANG Shuo
K KIM Ji Min Bose KRISHNAMACHARI KUO Wei-kuo Budi KUSTARTO KWON Ki Soo
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藝術家索引 / Index TU Hongtao
L LEE Ho Ryon LEE Jaesun LEE Lee Nam LEE Ming-chung LEE Youjin LI Chen LI Shan LI Shuang LI Shuguang LIAO Chi-chun LIEN Chien-hsing LIN Chien-jung LIN Fengmian Michael LIN LIN Shu-min LIU Guoshu LIU Kun LIU Kuo-sung LU Hao LU Hsien-ming LIU Fenghua & LIU Yong LUO Fahui LUO Zhongli LV Xin
李皓堜 李在先 李二男 李民中 李有珍 李真 李山 李爽 李曙光 廖繼春 連建興 林建榮 林風眠 林明弘 林書民 劉國樞 劉錕 劉國松 盧昊 陸先銘 劉楓華＆劉勇 羅發輝 羅中立 呂欣
150 154 155 012 161 057, 058 081, 094 110 064 051 003, 004 124 049 039 135 101 121 033, 034 085, 106 028, 036 123 009 113, 116 061
米斯尼亞迪
171
潘德海 戴迪．鮑 彭光均 平托．西瑞特 哈里斯．普爾諾莫
087 166 125, 126 173 169
祁志龍 仇曉飛
112, 114 100
任戎 六角彩子
070 139, 140
常玉 石心寧 席德進 巴哈哥特．西恩 蘇天賜 蘇旺伸 蘇新平 孫雲台 阿格斯．蘇瓦吉 司徒強
029, 030, 041 120 042 162 117 020 109 099 170, 172 021
戴海鷹 平久彌 洛伊．湯瑪斯 鳥井林太朗 曾清淦
018, 019 136 163 137 022
熊宇 徐毛毛 薛松
077 066 083, 108
山本麻友香 楊識宏 楊登雄 楊飛雲 楊茂林 楊三郎 楊少斌 楊英風 葉子奇 任萬爀 任泰奎 尹坤 尹鍾錫 岳敏君 于尼薩
144, 145 038 001, 002, 075 105 027 044 084 045 007, 008 148 153 065, 066 149, 152 096 167
亞穆．章其．安華 趙無極 曾梵志 張大力 張漢東 張小濤 趙剛 鄭德龍 周春芽 朱岩
175 052 092 133 059 068 098 080 090, 091, 095, 129 072
藝術家簡歷請參閱羅芙奧藝術網站 http://www.ravenelart.com Please refer to our website for biographical information on individual artists. http://www.ravenelart.com
T TAI Hoi Ying Hisaya TAIRA Roy THOMAS Lyntalo TORII TSENG Ching-kan
088 053 118, 119 130 131 122 104 102 048
Z Ahmad ZAKII Anwar ZAO Wou-ki ZENG Fanzhi ZHANG Dali ZHANG Handong ZHANG Xiaotao ZHAO Gang ZHENG Delong ZHOU Chunya ZHU Yan
S SANYU SHI Xinning SHIY De-jinn Bhagat SINGH SU Tianci SU Wong-shen SU Xinping SUN Yuntai Agus SUWAGE SZETO Keung
王廣義 王懷慶 王晉 王克平 王慶松 王樹輝 魏樂唐 衛天霖 吳冠中
Y Mayuka YAMAMOTO YANG Chihung YANG Din YANG Feiyun YANG Mao-lin YANG San-lang YANG Shaobin Yuyu YANG Tzu-chi YEH YIM Man Hyeok YIM Tae Kyu YIN Kun YOON Jongseok YUE Minjun YUNIZAR
R REN Rong Ayako ROKKAKU
160 165
X XIONG Yu XU Maomao XUE Song
Q QI Zhilong QIU Xiaofei
無影者 清滕．屋帕玳伊
W WANG Guangyi WANG Huaiqing WANG Jin WANG Keping WANG Qingsong WANG Shuhui John WAY WEI Tianlin WU Guanzhong
P PAN Dehai Deddy PAW PENG Kuan-jun PINTOR Sirait Haris PURNOMO
074
U UNMASK Chintan UPADHYAY
M I Nyoman MASRIADI
屠宏濤
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001
YANG Din
(Chinese, b. 1958)
Eagle 1993 Oil on canvas 65 x 54 cm Signed upper left Yang Din in French Signed on the reverse Yang Din in French and Chinese, dated 1993.3
NT$ 90,000-180,000 US$ 2,700-5,400 HK$ 21,000-42,000
楊登雄 老鷹 1993 油彩 畫布 65 x 54 cm 簽名左上：Yang Din 簽名畫背：Yang Din 1993.3 楊登雄
002
YANG Din
(Chinese, b. 1958)
Sans titre 1995 Oil on canvas 60 x 73 cm Signed lower right Yang Din in French Signed on the reverse Yang Din in Chinese and French, titled Sans titre in French and untitled in Chinese, size 73 x 60 cm and dated 1995.4
NT$ 100,000-200,000 US$ 3,000-6,000 HK$ 23,000-47,000
楊登雄 無題之九 1995 油彩 畫布 60 x 73 cm 簽名右下：Yang Din 簽名畫背：Yang Din 楊登雄 "Sans titre 無題" 73 x 60 cm 1995.4
003
LIEN Chien-hsing (Taiwanese, b. 1962)
Joyful Stairs 1997 Oil on canvas 53 x 72.5 cm Signed lower left Lien Chien-hsing in Chinese and dated 1997 Titled on the reverse Joyful Stairs, signed Lien Chien-hsing in Chinese, size 20P and dated 1997 ILLUSTRATED: Lien Chien-hsing, Metropolitan Art Space, Tainan, 1997, color illustrated, p. 25
NT$ 180,000-300,000 US$ 5,400-9,000 HK$ 42,000-70,000
連建興 歡喜階梯 1997 油彩 畫布 53 x 72.5 cm 簽名左下：連建興 1997 簽名畫背：20P 歡喜階梯 1997 連建興 圖錄： 《連建興》，大都會藝術有限公司，台南， 1997，彩色圖版，頁25
004
LIEN Chien-hsing (Taiwanese, b. 1962)
A Simple House by the River 1997 Oil on canvas 53 x 72.5 cm Signed lower left Lien Chien-hsing in Chinese and dated 1997 Titled on the reverse A Simple House by the River, signed Lien Chien-hsing in Chinese, dated 1997 and size 20P
NT$ 180,000-300,000 US$ 5,400-9,000 HK$ 42,000-70,000
連建興 河畔簡居 1997 油彩 畫布 53 x 72.5 cm 簽名左下：連建興 1997 簽名畫背：1997 河畔簡居 20P 連建興
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005
CHIU Ya-tsai
(Taiwanese, b. 1949)
Professor of Jurisprudence 1992 Oil on canvas 130 x 97 cm Signed lower left Chiu Ya-tsai in Chinese and dated 92
NT$ 350,000-650,000 US$ 10,400-19,400 HK$ 81,000-151,000
邱亞才 法學教授 1992 油彩 畫布 130 x 97 cm 簽名左下：92 邱亞才
006
Michell HWANG
(Taiwanese, HWANG Ming-che, b. 1948)
Abstract 1993 Oil on canvas 65 x 53 cm Signed lower right Che in Chinese and dated 1993
NT$ 90,000-180,000 US$ 2,700-5,400 HK$ 21,000-42,000
黃銘哲 抽象 1993 油彩 畫布 65 x 53 cm 簽名右下：哲 1993
007
Tzu-chi YEH
(Taiwanese, b. 1957)
Monologue
葉子奇
1992-1993 Oil on canvas 35.5 x 66 cm Signed lower right Tzu-chi in Chinese and dated 1992-93
1992-93 油彩 畫布 35.5 x 66 cm 簽名右下：子奇 1992-'93
NT$ 100,000-220,000 US$ 3,000-6,600 HK$ 23,000-51,000
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獨白
008
Tzu-chi YEH
(Taiwanese, b. 1957)
Taimali - Taitung 2000-2007 Tempera and oil on linen 51 x 102 cm Signed lower right Tzu-chi in Chinese and dated 2000-07
NT$ 240,000-450,000 US$ 7,200-13,400 HK$ 56,000-105,000
葉子奇 太麻里—台東 2000-2007 卵彩 油彩 亞麻布 51 x 102 cm 簽名右下：子奇 2000-07
009
LUO Fahui
(Chinese, b. 1961)
Wandering under Clouds 1999 Oil on canvas 80.3 x 100 cm Signed lower right Luo Fahui in English and Chinese, dated 1999 Titled on the reverse Wandering under Clouds in Chinese, size 100 x 80.3, signed Luo Fahui in Chinese
NT$ 180,000-280,000 US$ 5,400-8,400 HK$ 42,000-65,000
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羅發輝 雲下漫步 1999 油彩 畫布 80.3 x 100 cm 簽名右下：Luo Fahui 1999 羅發輝 簽名畫背：《雲下漫步》100 x 80.3 羅發輝
010
Alixe FU
(Taiwanese, b. 1961)
Flower 2006 Oil on canvas 92 x 65 cm Signed lower left Alixe Fu in English and dated 06
NT$ 200,000-300,000 US$ 6,000-9,000 HK$ 47,000-70,000
傅慶豊 花娘 2006 油彩 畫布 92 x 65 cm 簽名左下：Alixe Fu 06
011
CHIU Ya-tsai
(Taiwanese, b. 1949)
Man in Black Oil on canvas 80.5 x 65 cm Signed lower right Chiu Ya-tsai in Chinese
邱亞才 人物
NT$ 140,000-240,000 US$ 4,200-7,200 HK$ 33,000-56,000
16
油彩 畫布 80.5 x 65 cm 簽名右下：邱亞才
012
LEE Ming-chung (Taiwanese, b. 1961)
Swimming with Fish 1996 Oil on canvas 130 x 97 cm Signed on the reverse Lee Ming-chung, titled Swimming with Fish in Chinese and dated 1996
NT$ 260,000-350,000 US$ 7,800-10,400 HK$ 60,000-81,000
李民中 我和魚一起游泳 1996 油彩 畫布 130 x 97 cm 簽名畫背：李民中 1996 我和魚一起游泳
013
CHANG Chih-cheng
張志成
(Taiwanese, b. 1954)
藝術家的畫像─馬丁史柯西斯
Artist Portraits - Martin Scorsese 2006 Oil on canvas 100 x 80 cm Signed lower right CHANG in English and dated 2006 Signed on the reverse CHANG CHIH-CHENG in Chinese and English, dated 2006, Beijing 798, media oil on canvas, size 100 x 80 cm and titled Artist Portraits in Chinese, Martin Scorsese in English. EXHIBITED: FACE - The Solo Exhibition of Chang Chih Cheng, Chen Ling Hui Contemporary Space, Beijing/Taipei, 2007
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FACE - The Solo Exhibition of Chang Chih Cheng, DuBang Contemporary Space, Miaoli, 2007
2006 油彩 畫布 100 x 80 cm 簽名右下：CHANG 2006 簽名畫背：張志成 CHANG CHIH-CHENG 2006 "Beijing 798" 油畫 畫布 100 x 80 cm 藝術家的畫像 Martin Scorsese
ILLUSTRATED: FACE - The Solo Exhibition of Chang Chih Cheng, Chen Ling Hui Contemporary Space, Taipei, 2007, color illustrated
展覽： 「FACE張志成個展」，陳綾蕙當代空間， 北京／台北，2007 「FA C E張志成個展」，杜邦當代藝術空 間，苗栗，2007
NT$ 220,000-350,000 US$ 6,600-10,400 HK$ 51,000-81,000
圖錄： 《Face 張志成個展》，陳綾蕙當代空間，台 北，2007，彩色圖版
014
CHANG Chih-cheng
張志成
(Taiwanese, b. 1954)
粉色臉孔 2
Pink Face 2 2008 Oil on canvas 95 x 95 cm Signed on the reverse CHANG CHIH-CHENG in Chinese and English, dated 2008, Beijing, media oil on canvas, size 95 x 95 cm and titled Pink Face 2 in Chinese
EXHIBITED: C o n t e m p o ra r y C o n t e x t , C h e n L i n g H u i Contemporary Space, Taipei, 2009
2008 油彩 畫布 95 x 95 cm 簽名畫背：張志成 CHANG CHIH-CHENG 2008 北京 油畫 畫布 95 x 95 公分 粉色臉孔 2
NT$ 180,000-350,000 US$ 5,400-10,400 HK$ 42,000-81,000
展覽： 「當代語境」，陳綾蕙當代空間，台北， 2009
015
CHENG Tsai-tung
(Taiwanese, ZHENG Zaidong, b. 1953)
Kyoto 1995 Oil on canvas 100 x 80 cm Signed center right Cheng Tsai-tung in Chinese and dated '95
NT$ 180,000-300,000 US$ 5,400-9,000 HK$ 42,000-70,000
鄭在東 京都 1995 油彩 畫布 100 x 80 cm 簽名右方：鄭在東 '95
016
CHENG Tsai-tung
(Taiwanese, ZHENG Zaidong, b. 1953)
Venice 1993 Oil on canvas 80 x 100 cm Signed center right Cheng Tsai-tung in Chinese and dated '93
NT$ 180,000-300,000 US$ 5,400-9,000 HK$ 42,000-70,000
鄭在東 威尼斯 1993 油彩 畫布 80 x 100 cm 簽名右方：鄭在東 '93
20
017
JAN Chin-shui
(Taiwanese, ZHAN Jin-shuei, b. 1953)
Winding River 2006 Mixed media on canvas 97 x 130 cm Signed lower left Chin-shui in Chinese and dated 2006 Signed on the reverse Jan Chin-shui and titled Winding River in Chinese, size 60F and dated 2006
NT$ 180,000-300,000 US$ 5,400-9,000 HK$ 42,000-70,000
詹金水 曲流 2006 綜合媒材 畫布 97 x 130 cm 簽名左下：金水 2006 簽名畫背：詹金水 2006年 60F 曲流
018
TAI Hoi Ying
(Chinese-French, b. 1946)
Interior - 98.1 1994-1996 Oil on canvas 73 x 100 cm Signed lower right Tai in Chinese and dated 9496 Signed on the reverse Tai in Chinese, dated 1994/96, size 100 x 73 cm, media Huile in French ILLUSTRATED: Tai Hoi Ying, Leal Senado de Macau, Macau, 1998, color illustrated, pp. 46-47
NT$ 140,000-240,000 US$ 4,200-7,200 HK$ 33,000-56,000
戴海鷹 室內 98.1 1994-1996 油彩 畫布 73 x 100 cm 簽名右下：Tai 9496 簽名畫背：1994/96 100 x 73 Huile 戴 圖錄： 《戴海鷹》，澳門市政廳，澳門，1998， 彩色圖版，頁46-47
019
TAI Hoi Ying
(Chinese-French, b. 1946)
Interior - 1 1990-1992 Oil on canvas 97 x 130 cm Signed on the reverse Tai in English and dated 90-92 ILLUSTRATED: Tai Hoi Ying, Leal Senado de Macau, Macau, 1998, color illustrated, pp. 36-37
NT$ 220,000-350,000 US$ 6,600-10,400 HK$ 51,000-81,000
戴海鷹 畫室一號 1990-1992 油彩 畫布 97 x 130 cm 簽名畫背：Tai 90-92 圖錄： 《戴海鷹》，澳門市政廳，澳門，1998， 彩色圖版，頁36-37
22
020
蘇旺伸
SU Wong-shen
枯樹上的排演
(Taiwanese, SU Wang-shen, b. 1956)
Rehearsal on Snag 2005 Oil on board 60 x 50 cm Signed on the reverse Su Wong-shen in Chinese and dated 2005
ILLUSTRATED: Su Wong-shen - Between the Clouds, Eslite Corp., Taipei, 2008, color illustrated, plate 302, p. 239
NT$ 220,000-400,000 US$ 6,600-11,900 HK$ 51,000-93,000
2005 油彩 木板 60 x 50 cm 簽名畫背：蘇旺伸 2005 圖錄： 《蘇旺伸：雲與雲之間》，誠品股份有限 公司，台北，2008，彩色圖版，圖版302， 頁239
021
司徒強
SZETO Keung
心
(Chinese-American, b. 1948)
1987 壓克力 帆布 47 x 67 cm 簽名左上：SEZTO 87
Heart 1987 Acrylic on tarpaulin 47 x 67 cm Signed upper left SEZTO in English and dated 87
ILLUSTRATED: Szeto Keung, Eslite Gallery, Taipei, 1991, color illustrated, pp. 22-23
展覽： 「司徒強」，誠品畫廊，台北，展期自1991 年3月9日至4月7日
EXHIBITED: Szeto Keung, Eslite Gallery, Taipei, Mar. 9-Apr. 7, 1991
NT$ 160,000-220,000 US$ 4,800-6,600 HK$ 37,000-51,000
圖錄： 《司徒強》，誠品畫廊，台北，1991，彩色 圖版，頁22-23
24
022
TSENG Ching-kan (Taiwanese, b. 1958)
Innocent Man and A Stack of Cats 1993 Oil on canvas 117 x 91 cm Signed lower left A Kan in Chinese and dated 93'
NT$ 200,000-350,000 US$ 6,000-10,400 HK$ 47,000-81,000
曾清淦 無辜的男人與疊羅漢的貓 1993 油彩 畫布 117 x 91 cm 簽名左下：阿淦 93'
023
JAN Chin-shui
(Taiwanese, ZHAN Jin-shuei, b. 1953)
Winter Treasure 2009 Mixed media on canvas 194 x 112 cm Signed lower right Jan Chin-shui in Chinese and dated 2009
26
Signed on the reverse Jan Chin-shui, titled Winter Treasure in Chinese, size 120P and dated 2009
NT$ 300,000-500,000 US$ 9,000-14,900 HK$ 70,000-116,000
詹金水 冬藏 2009 綜合媒材 畫布 194 x 112 cm 簽名右下：詹金水 2009 簽名畫背：120P 冬藏 詹金水 2009年
024
郭維國
KUO Wei-kuo
缺角照片
(Taiwanese, b. 1960)
2002 Oil on canvas 90.5 x 72.5 cm Signed lower right Kuo in English and dated 2002.8
ILLUSTRATED: Kuo Wei-Kuo - Diagram of Commotion and Desire 3 - Collect Memory and Situation, Lin & Keng Gallery, Taipei, 2002, color illustrated, pp. 36-37 Diagram of Commotion and Desire - Towards a Bright Start from the Deep Forest, Lin & Keng Gallery, Taipei, 2005, color illustrated, p. 46
This painting is to be sold with a certificate of authenticity issued by Lin & Keng Gallery, Taipei.
NT$ 300,000-450,000 US$ 9,000-13,400 HK$ 70,000-105,000
A Photo with Imperfection on Its Shape
2002 油彩 畫布 90.5 x 72.5 cm 簽名右下：Kuo. 2002. 8 附大未來畫廊開立之原作保證書 圖錄： 《暴喜圖3：記憶與情境的堆疊─郭維 國》，大未來畫廊，2002，彩色圖版， 頁36-37 《暴喜圖：柳暗花明－郭維國》，大未來畫 廊，台北，2005，彩色圖版，頁46
025
CHIU Ya-tsai
(Taiwanese, b. 1949)
Gentleman Oil on canvas 132 x 98 cm Signed lower right Chiu Ya-tsai in Chinese
邱亞才 男仕
NT$ 500,000-700,000 US$ 14,900-20,900 HK$ 116,000-163,000
28
油彩 畫布 132 x 98 cm 簽名右下：邱亞才
026
CHUA Hu
(Chinese-Philipino, Tsai Yun-cheng, 1929-2009)
Wood Bridge
蔡雲程
1971 Oil on canvas 62 x 90 cm Signed lower left Chua Hu in English and Cheng in Chinese, dated 1971
1971 油彩 畫布 62 x 90 cm 簽名左下：CHUA HU 呈 -1971-
ILLUSTRATED: International Painter - Album of Chua Hu, Association of Chinese Cultures, Taipei, 1993, color illustrated, p. 20
木橋
The World of Chua Hu - The East and The West, Chua Hu published, Taipei, 1999, color illustrated, p. 50
NT$ 550,000-750,000 US$ 16,400-22,400 HK$ 128,000-174,000
圖錄： 《國際畫家─蔡雲程畫集》，中華民國文化 推廣協會，台北，1993，彩色圖版，頁20 《蔡雲程的世界─東西合一》，蔡雲程出 版，台北，1999，彩色圖版，頁50
027
楊茂林
YANG Mao-lin
熱蘭遮紀事 M9302
(Taiwanese, b. 1953)
1993 油彩 畫布 117 x 81 cm 簽名中間：MADE IN TAIWAN
Zealandia Memorandum M9302 1993 Oil on canvas 117 x 81 cm Signed MADE IN TAIWAN in English
ILLUSTRATED: Yang Mao-lin - Dayuan Memorandum, Galerie Pierre, Taichung, 1993, color illustrated
展覽： 「楊茂林個展」，臻品藝術中心，台中， 1993年10月
EXHIBITED: Yang Mao-lin, Galerie Pier re, Taichung, October, 1993
NT$ 500,000-900,000 US$ 14,900-26,900 HK$ 116,000-209,000
圖錄： 《楊茂林大員記事》，臻品藝術中心， 台中，1993，彩色圖版
30
028
LU Hsien-ming (Taiwanese, b. 1959)
Flower Ceremony 1994 Oil on canvas 100 x 156 cm Signed lower right Hsien-ming in Chinese and dated 94.2
NT$ 600,000-800,000 US$ 17,900-23,900 HK$ 140,000-186,000
陸先銘 花祭 1994 油彩 畫布 100 x 156 cm 簽名右下：先銘 94.2
029
SANYU
(Chinese-French, CHANG Yu, 1901-1966)
Nude Charcoal and ink on paper 45 x 28 cm Signed lower right YU in Chinese and SANYU in French
32
常玉 EXHIBITED: A Legacy of Centuries - Exhibition of Sketches by Chinese Masters, Dimensions Art Center, Taipei, June 18 - July 19, 2005
裸女
NT$ 160,000-220,000 US$ 4,800-6,600 HK$ 37,000-51,000
展覽： 「百年遺存—中國名家素描展」，帝門藝中 心，台北，展期自2005年6月18日至7月9日
炭筆 墨 紙本 45 x 28 cm 簽名右下：玉 SANYU
常玉
030
SANYU
(Chinese-French, CHANG Yu, 1901-1966)
Figure Ink on paper 45 x 28 cm With one seal of the artist
EXHIBITED: A Legacy of Centuries - Exhibition of Sketches by Chinese Masters, Dimensions Art Center, Taipei, June 18 - July 19, 2005
人物
NT$ 160,000-220,000 US$ 4,800-6,600 HK$ 37,000-51,000
展覽： 「百年遺存—中國名家素描展」，帝門藝中 心，台北，展期自2005年6月18日至7月9日
水墨 紙本 45 x 28 cm 鈐印右下：常玉
031
CHAO Chung-hsiang (Chinese, 1910-1991)
Fish Swimming Acrylic, ink and color on paper 48 x 45 cm Signed lower right Chung-hsiang in Chinese and Chao in English
趙春翔 優游
NT$ 260,000-350,000 US$ 7,800-10,400 HK$ 60,000-81,000
34
壓克力 彩墨 紙本 48 x 45 cm 簽名右下：春翔 Chao
032
CHAO Chung-hsiang (Chinese, 1910-1991)
Family Acrylic, ink and color on paper 48 x 45 cm Signed lower right Chung-hsiang in Chinese and Chao in English
趙春翔 親情
NT$ 260,000-350,000 US$ 7,800-10,400 HK$ 60,000-81,000
壓克力 彩墨 紙本 48 x 45 cm 簽名右下：春翔 Chao
033
LIU Kuo-sung
(Taiwanese, LIU Guosong, b. 1932)
Blue Moon 1969 Ink and color on paper 74.8 x 45.8 cm Signed lower right Liu Kuo-sung and dated 1969 in Chinese With one seal of the artist
36
劉國松 藍月圖 Signed on the reverse Liu Kuo-sung in Chinese, titled Blue Moon in Chinese, dated 1969 and size 74.8 x 45.8 cm
NT$ 220,000-350,000 US$ 6,600-10,400 HK$ 51,000-81,000
1969 彩墨 紙本 74.8 x 45.8 cm 簽名右下：劉國松 一九六九 鈐印右下：劉 簽名畫背：劉國松作 藍月圖 1969 74.8 x 45.8 cm
034
LIU Kuo-sung
(Taiwanese, LIU Guosong, b. 1932)
Movement in Stillness 1963-1967 Ink and color on paper 58.6 x 90.6 cm Signed lower right Liu Kuo-sung and dated 1963-1967 in Chinese
劉國松 With one seal of the artist Titled on the reverse Movement in Stillness in Chinese, dated 1963-1967, size 90.6 x 58.6 cm
NT$ 350,000-550,000 US$ 10,400-16,400 HK$ 81,000-128,000
靜中之動 1963-1967 彩墨 紙本 58.6 x 90.6 cm 簽名右下：劉國松 一九六三─一九六七 鈐印右下：劉 簽名畫背：靜中之動 1963-1967 90.6 x 58.6 cm
035
CHUANG Che (Taiwanese, b. 1934)
Work 85-66 1985 Acrylic on canvas 130 x 100 cm Signed lower right Chuang Che in Chinese Titled on the reverse 85-66
NT$ 650,000-950,000 US$ 19,400-28,400 HK$ 151,000-221,000
38
莊喆 作品85-66 1985 壓克力 畫布 130 x 100 cm 簽名右下：莊喆 簽名畫背：85-66
036
LU Hsien-ming (Taiwanese, b. 1959)
Testimony 1993 Oil on canvas 160 x 160 cm Signed lower left Hsien-ming in Chinese and dated '93
NT$ 650,000-850,000 US$ 19,400-25,400 HK$ 151,000-198,000
陸先銘 見證 1993 油彩 畫布 160 x 160 cm 簽名左下：先銘 '93
037
Michell HWANG
(Taiwanese, HWANG Ming-che, b. 1948)
Woman in the Modern City 1993-1994 Mixed media on board 180 x 53 cm Signed lower center Che in Chinese and dated 1994 ILLUSTRATED: Faces of the Modern City 1992-94, Galerie Pierre, Taichung, 1994, pp. 57-58
NT$ 700,000-1,100,000 US$ 20,900-32,800 HK$ 163,000-256,000
黃銘哲 都會裡的女人 1993-1994 綜合媒材 木板 180 x 53 cm 簽名下方：哲 1994 圖錄： 《黃銘哲─都會的臉譜》，臻品藝術中心， 台中，1994，頁57-58
40
038
YANG Chihung
(Taiwanese, YANG Chihong, b. 1947)
Ode to Joy 2007 Oil on canvas 131 x 194 cm Titled on the reverse Ode To Joy and signed Chihung Yang in English and dated 2007 ILLUSTRATED: Inner Vision Human Condition - Chihung Yang Solo Exhibition, National Art Museum of China Beijing, Asia Art Center, 2007, color illustrated, pp. 156-157
NT$ 900,000-1,600,000 US$ 26,900-47,800 HK$ 209,000-372,000
楊識宏 歡樂頌 2007 油彩 畫布 131 x 194 cm 簽名畫背：Chihung Yang Ode To Joy 2007 圖錄： 《心象情境：2007 楊識宏北京中國美術館 個展》，亞洲藝術中心，2007，彩色圖版， 頁156-157
42
《歡樂頌》，一片沉靜濃鬱的黑幕氛圍， 輕快的白色律動悄悄點開了音樂的序曲。 歡樂的音調樂句彷彿在陣陣的低吟中漸成 主角，音符幻化成白色精靈輕巧地在畫布 輕點、跳動、或是盡情流動。純粹動勢的 抽象畫路以無拘束的動態肌理打破黝黑的 沉重，點開環境氛圍的孤寂，也注入了希 望歡樂的點點音符，以無瑕的白色純然在 頃刻中凍結寂寥、融化冰冷。這首歡樂的 曲調，不同於一般五彩繽紛的色調，而是 在寧靜的空寂中漸顯歡樂的曙光與希望， 如同一個深夜的漆黑中，聽到天使的高唱 歡樂，一切純淨、自然而美好。
“Ode to Joy” is a symphony in paint. The music starts in an atmosphere of stillness, and then, as if a black curtain is pulled back, a brisk white rhythm breaks into a prelude.
Lively and joyful tones reflect the notes and phrases and gradually become thematic points accompanied with rippling harmonies. Musical notes illusionally turn into white fairies, flicking, hopping, or flowing on the canvas. The dynamic and abstract style of the painting breaks the dark heaviness with its unconstrained dynamic textures, opening a lively atmosphere from solitude, and which is also infused with notes of hope and happiness. Stainless and pure white color transiently freezes lonesomeness and melts coldness. Different from ordinary colorful tone, this tune of joy gently reveals the dawn of happiness and hope against a background of silence, emptiness, and loneliness. All are as pure, natural and beautiful as the announcement of joy by angels in the darkest night.
038
039
Michael LIN
(Taiwanese, b. 1964)
014 2008 Oil on canvas 200 x 200 cm Initialed on the reverse M in English, dated 2008 and titled 014
NT$ 1,600,000-2,800,000 US$ 47,800-83,600 HK$ 372,000-651,000
林明弘 014 2008 油彩 畫布 200 x 200 cm 簽名畫背：M 2008 014
44
林明弘的作品通常是以鮮活的色彩結合強 烈的圖樣，重複表現於一個物件或空間之 表面。早期作品以台灣四、五十年代布料的 花樣圖案挪用為個人創作的語彙，複製於畫 布上，亦或突破媒材及空間限制，進一步地 繪製於公共空間的地板上，這樣的作品，改 變了原空間的氛圍，構築出夢境般的國度， 也使公共空間私人化，在此過程中，他將藝 術與日常生活情境相結合，將視覺文化作為 文化主體性的表態，如他所自述，「我的藝 術以我的生活為出發點！」。《014》繪於 2008年，畫面上的花朵如隨機掉落的一塊拼 圖，引人入勝的花樣姿態告訴觀者，這裡之 外另有一迷人境界。
Michael Lin’s paintings are usually created in bright and fresh colors, with shapes and obvious patterns repetitively appearing on the surface
of an object or space. In his early paintings, he used traditional patterns from the typical cloth material of Taiwan from the 1940s and 50s, which he considered “appropriate” to be used as his vocabulary for his individual creation. These early paintings were painted on canvas, or, to break the limitation of traditional media or space, on the floors of public spaces, where public spaces became artistically privatized. During his process, he incorporated art with ordinary life scenes, and he regarded visual art as the expression of culture subjectivity. As he says in his own words, “My art starts from my life!” This painting was created in 2008. The picture is not a complete pattern, but looks like a small piece of mosaic. The posture of the pattern suggests to viewers that there is somewhere else beyond.
040
Michell HWANG
(Taiwanese, HWANG Ming-che, b. 1948)
Woman with Cat 1993 Oil on canvas 180 x 60 cm Signed lower left Che in Chinese and dated 1993 Titled on the reverse Woman in Chinese, size 50F 180 x 60, signed Che in Chinese and dated 1993 This painting is to be sold with a certificate of authenticity signed by the artist
NT$ 400,000-750,000 US$ 11,900-22,400 HK$ 93,000-174,000
黃銘哲 女人與貓 1993 油彩 畫布 180 x 60 cm 簽名左下：哲 1993 簽名畫背：50F 180 x 60 1993 女人 哲 附藝術家親筆簽名之原作保證書
46
041
SANYU
(Chinese-French, CHANG Yu, 1901-1966)
Nude Watercolor on paper 45 x 26 cm Signed lower right Yu in Chinese and SANYU in French EXHIBITED: The Art Works of Sanyu and Yun Gee, Lin & Keng Gallery, Taipei, January, 1994 The Art of Sanyu and Pan Yu Lin, National Museum of History, Taipei, October, 1995 ILLUSTRATED: The Art Works of Sanyu and Yun Gee, Lin & Keng Gallery, Taipei, 1994, color illustrated, p. 31 The Art of Sanyu, National Museum of History, Taipei, 1995, color illustrated, plate 83, p. 100
NT$ 600,000-900,000 US$ 17,900-26,900 HK$ 140,000-209,000
常玉 裸女 水彩 紙本 45 x 26 cm 簽名右下：玉 SANYU 展覽： 「常玉、朱沅芷作品展」，大未來畫廊， 台北，1994年1月 「雙玉交輝─常玉、潘玉良畫展」，國立歷 史博物館，台北，1995年10月 圖錄： 《常玉、朱沅芷作品集》，大未來畫廊， 台北，1994，彩色圖版，頁31 《常玉畫集》，國立歷史博物館，台北， 1995，彩色圖版，圖版83，頁100
042
SHIY De-jinn
(Taiwanese, 1923-1981)
Woman 1961 Oil on canvas 65 x 53 cm Signed lower left Shiy De-jinn in Chinese and dated 1961
NT$ 600,000-800,000 US$ 17,900-23,900 HK$ 140,000-186,000
席德進 女仕 1961 油彩 畫布 65 x 53 cm 簽名左下：席德進 1961
48
043
CHUANG Che (Taiwanese, b. 1934)
Rime 1977 Oil on canvas 106 x 143 cm Signed lower right Chuang che in Chinese and dated 1977 Signed on the reverse size 106 x 143 cm and dated 1977 ILLUSTRATED: Chuang Che, Deep Ridge - Remote Way, Solo Exhibition in National Art Museum of China, Asia art Center, Taipei, 2007, color illustrated, p. 29
NT$ 900,000-1,500,000 US$ 26,900-44,800 HK$ 209,000-349,000
莊喆 霧淞 1977 油彩 畫布 106 x 143 cm 簽名右下：莊喆 1977 簽名畫背：106 x 143 cm 1977 圖錄： 《莊喆．嶺深道遠—2007北京中國美術館個 展》，亞洲藝術中心，台北，2007，彩色圖 版，頁29
50
莊喆在《霧淞》一作中，以落筆快速、紋理 優雅的瀟灑筆觸建立霜霧紛飛、獨立蒼茫的 清明氣象，明亮濃郁的色調則在萬千紛擾中 凝聚一股祥和。蒼勁或輕盈的敷抹揉合中， 點綴出飄落霜雪的瑟瑟草木，完美交渾人與 自然的有機生命。純然的霜，蒼然的林，純 然與青翠的無盡延長，直向那無盡的視野蔓 延而去，令人有著無限想像空間。而畫家帶 有中國書畫的豪放與輕巧，來回穿梭於畫面 中央，用色兼容沈穩奔放，雄渾中又不失靈 動婉約，在中國東方雅致詩意的氣質中重新 詮釋自然與人文的和諧並存之美。
With rapid br ush movements, a free and easy style of painting, and the use of elegant textures, Chuang Che has created a scene of vast and swirling frost and mist during the Pure Brightness period. The bright and
full-bodied tone brings an auspicious and peaceful atmosphere among numerous and complicated confusions. Varying bold with light brushstrokes, Chuang carefully depicts rustling grass and plants in falling frost and floating mist, and perfectly integrates the organic lives of human beings and those of nature. Pure frost and vast woods extend endlessly in verdant green towards the horizon, leaving behind an infinite space of imagination. The artist moves back and forth across the centre of the canvas in the style of boldness and quickness of Chinese calligraphy and painting. The artist annotates the beautiful and harmonious coexistence of nature and human civilization with sober, inclusive and unconstrained use of colors, and with a taste of vigorousness, firmness, flexibleness and gracefulness.
043
044
YANG San-lang (Taiwanese, 1907-1995)
Spanish Convent 1979 Oil on canvas 72 x 60 cm Signed lower left S. Yang in English ILLUSTRATED: Taiwan Fine Arts Series 7 - Yang San-lang, Artist Publishing Co., Taipei, 1992, color illustrated, plate 83, p. 143 & p. 274
NT$ 1,600,000-2,200,000 US$ 47,800-65,700 HK$ 372,000-512,000
楊三郎 西班牙寺院 1979 油彩 畫布 72 x 60 cm 簽名左下：S. Yang 圖錄： 《台灣美術全集7─楊三郎》，藝術家出版 社，台北，1992，彩色圖版，圖83，頁143 及頁274
52
045
Yuyu YANG
(Taiwanese, YANG Ying-feng, 1926-1997)
Advent of the Phoenix 1970 Stainless steel, edition no. 7/20 113(L) x 106(W) x 102(H) cm Signed on the base Yuyu Yang Y. F. in Chinese and English, dated '70, numbered 7/20
楊英風 鳳凰來儀
EXHIBITED: Yuyu Yang, Taipei Fine Arts Museum, Taipei, August 27 - November 13, 2005
1970 不鏽鋼 7/20 113(長) x 106(寬) x 102(高) cm 簽名底座：'70 呦呦 楊英風 Yuyu YANG Y. F. 7/20
ILLUSTRATED: Yuyu Yang, Taipei Fine Arts Museum, Taipei, 2005, color illustrated, p. 107
展覽： 「楊英風展」，台北市立美術館，台北， 展期自2005年8月27日至11月13日
NT$ 950,000-1,700,000 US$ 28,400-50,700 HK$ 221,000-395,000
圖錄： 《楊英風》，台北市立美術館，2005年， 彩色圖版，頁107
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046
Yun GEE
(Chinese, 1906-1963)
Lady in Pink Hat c. 1925-1927 Oil on paperboard 23.5 x 19 cm Signed lower right Yun in Chinese and English PROVENANCE: Collection of Li-lan Gee, the artist’s daughter, New York Lin & Keng Gallery, Taipei EXHIBITED: Yun Gee, Lin & Keng Gallery, Taipei, August 20 - September 5, 1995 ILLUSTRATED: Yun Gee, Lin & Keng Gallery, Taipei, 1995, color illustrated, pp. 22-23
NT$ 650,000-850,000 US$ 19,400-25,400 HK$ 151,000-198,000
朱沅芷 戴帽的女人 約1925-1927 油彩 紙板 23.5 x 19 cm 簽名右下：沅 Yun 來源： 藝術家女兒朱禮銀舊藏，紐約 大未來畫廊，台北 展覽： 「朱沅芷」個展，大未來畫廊，台北，展期 1995年8月20日至9月5日 圖錄： 《朱沅芷》，大未來畫廊，台北，1995， 彩色圖版，頁22-23
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朱沅芷是二十世紀中國美術運動中的關鍵性 人物，最早參與美國現代主義的前衛思潮， 可謂是早期海外華人畫家中，研究現代前衛 藝術理論最為深入的一人。1920年代後期， 他開始提出具有立體派、幾何分割的觀點， 以及結合未來派工業化漩渦式線條表現，大 刀闊斧地解決並豐富了中國傳統文人畫平面 冥想式空間。 雖然朱沅芷後來離開加州，前往巴黎、紐 約，開展出不同階段的繪畫風格。然而其舊 金山時期的創作，早已被寫入二十世紀的美 國藝術史。當史學家探討美國西岸早年的美 術發展進程，朱沅芷常是被談論的華裔美術 家。 《戴帽的女人》雖未標明年代，就風格而 言，應為朱沅芷1925-1927年舊金山時期創 作。畫面以鮮豔色塊組成抽象化的半身肖 像，運用冷暖深淺的對比色彩，表現人物臉 部輪廓及衣物，粉紅圓帽點出人物性別與身 分地位，理性分析看似不帶情感，卻有畫家 幽默的觀察與巧思。以色彩表現豐富的女子 臉部為圓心，背景、衣物的筆觸線條向外輻 射，形成音樂性的律動，視覺焦點更顯集 中。從《戴帽的女人》一作可看出朱沅芷對 現代繪畫的研究成果。
Yun Gee is one of the key figures in Chinese art of the 20th century, being one of the earliest Chinese artists to explore the avant-guard movement of American modernism. He also explored modern avant-guard art theory the most deeply among overseas Chinese painters.
In the latter half of the 1920’s, he developed his perception of Cubism and geometric partition, combining it with the linear expression of the Futurist industrialized vortex style, dramatically solving and enriching the meditational geometric layout of Chinese traditional painting. Although Yun Gee left California for Paris and New York, developing new painting styles at each stage, his “San Francisco Period” has long been enshrined in 20th century American art history. When historians study the art development of the West Coast, Yun Gee figures as the most important Chinese-American artist. “Lady in Pink Hat”, although undated, is considered to belong to Yun Gee’s “San Francisco Period” (1925-1927) because of its style. Bright color clumps create an abstract half-length portrait. The artist uses warm and cool, dark and light, contrasting colors to express the outline of the figure’s face and clothes, with a pink hat hinting at the figure’s gender and social status. Although a f irst viewing seems to indicate a lack of emotions, the artist’s humorous observation and ingenious thoughts are clear at a closer perusal. With the Lady’s colorful face as the centre of a circle, lines of brushwork radiate from the background and clothes, creating a musical rhythm where the visual focus becomes sharper. Yun Gee’s contribution to modern painting can be seen in the “Lady in Pink Hat”.
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GUAN Liang
(Chinese, 1900-1986)
Bergen, Germany 1957 Oil on board 24 x 33 cm Signed on the reverse, titled BerGEN and dated Sep. 20 EXHIBITED: Guan Liang, 100 Years Retrospective, Lin & Keng Gallery, Taipei, April 19-May 14, 2000 Guan Liang, Lin & Keng Gallery, Taipei, March 2004 ILLUSTRATED: Guan Liang, Sichuan People’s Publishing House, Chengdu, 1982, color illustrated, no. 30, p. 31 Guan Liang, 100 Years Retrospective, Lin & Keng Gallery, Taipei, 2000, color illustrated, p. 22
NT$ 800,000-1,400,000 US$ 23,900-41,800 HK$ 186,000-326,000
關良 卑爾根風景 1957 油彩 木板 24 x 33 cm 簽名畫背：印章（背面左下角），九月二十日 BerGEN（背面右上角）
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 「關良個展」，大未來畫廊，台北，2004年3月 圖錄： 《關良畫冊》，四川人民出版社，成都， 1982，彩色圖版，編號30，頁31（原畫題 《春》） 《關良百年紀念展》，大未來畫廊，台北， 2000，彩色圖版，頁22
卑爾根與挪威第二大城同名，但它不在北 歐，而是位於德國北部策勒附近的一個小 鎮。1957年關良、李可染透過文化部安排， 代表赴東德促進文化交流，兩個月後柏林藝 術科學院還為二人舉辦個展。 旅德四個月期間，二人備受禮遇，應邀在 境內各地參訪。關良在回憶錄中描述此段 經歷：「為了使我們了解德國，特配備了汽 車、駕駛員和翻譯。我們一共四個人，奔駛 在易北河蜿蜒流經的土地上。車窗外只見 綠、黃鄉間的田野，鬱鬱蔥蔥，這是一片片 蓄草養牛的牧場草地，草場附近有總有一叢 叢濃郁稠密的小樹林，青翠碧綠，生氣盎 然。遠外陡坡上及山腳旁一幢幢鄉村住房的 屋頂總是紅的、棕色的或橙黃的，點綴得綠 黃色的田野更有生意、更加美麗了。」「我 凝神瞭望金碧、翠色的田野，不禁心中蕩漾 起貝多芬的《田園交響曲》。這裡，田園式 的寧靜氣氛，令人陶醉的清新空氣和具有獨 特風韻的德意志農村田野。古樸莊穆的建築 物如司維令博物館和司脫爾特大教堂等都給 我們留下了美好的印象。情不自禁地讚嘆起 來，激湧起我們的創作熱情。」 （參閱關良自
Bergen, the title of this picture, is not the famous second largest city in Norway, but a small town near Celle in northern Germany. In 1957, Guan Liang and Li Keran went to East Germany as part of a cultural exchange under the auspices of the Ministry of Culture. Two months after their arrival, Akademie der Künste held separate solo exhibitions for each of them. During their four-month trip to Germany, they enjoyed a friendly reception and were invited to visit many places. As Guan described in his memoirs, “In order to let us know more about Germany, they provided cars, drivers and translators. There were four people in our party, driving along by the winding Elbe River. There were flourishing green-and-yellow fields. They were pastures for storing hay and grazing cattle, and nearby were clusters of green and exuberant woods. Further away on the steep slopes and foothills were farmers’ houses always with red, brown and orange roofs, adding to the vitality and beauty of the green-and-yellow fields.” “Gazing at these fields of gold and jade, I couldn’t help but ring out Beethoven’s Pastorale Symphonie from my heart. There was a peaceful, idyllic atmosphere, bewitchingly fresh air and German rural fields with a unique charm. The simple and stately buildings such as the Museum Schwerin and Straslund left us with a deep impression. These evoked our admiration and inspired our passion for creation. ” (Please see Guan Liang Memoirs edited by Lu Guanfa, Shanghai Painting and Calligraphy Publishing House, 1984, pp.106-107)
述、陸關發整理《關良回憶錄》，上海書畫出版社，1984 年出版，頁106-107）
關良油畫作品存世稀有，《卑爾根風景》為 旅德沿途力作之一，因便於攜帶，此階段以 小幅風景畫為主，風格清新簡練樸素，足見 其個人繪畫特色。
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Guan’s oil paintings are a rarity these days. “Bergen, Germany” is one of the artworks he painted during his trip to Germany. Small in scale, this painting primarily focuses on a small-sized landscape in an austere style, a typical Guan feature.
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WU Guanzhong (Chinese, b. 1919)
Viewing Fish at Flower Harbour 1977 Ink and color on paper 40 x 35 cm Inscription: a gift to Song Zhong in Chinese, 1977 With one seal of the artist PROVENANCE: Ancient collection of Song Zhong, former Secretary General of the Chinese Olympic Committee (a gift from the artist) Private collection, Singapore
NT$ 1,400,000-2,400,000 US$ 41,800-71,600 HK$ 326,000-558,000
西湖十景的「花港觀魚」位於蘇堤南段以 西。1699年，康熙皇帝玄燁駕臨西湖，照 例題書花港觀魚景目，用石建碑於魚池畔。 後乾隆下江南遊西湖時，又有詩作題刻於 碑陰，「花家山下流花港，花著魚身魚嘬 花」。
he also visited the West Lake, also moved to compose verses, he had them engraved as an epigraph on the back of Kangxi’s stele. One of them is “At the Flower Harbour under the Mountain of flowers, flowers touch fish, and fish kiss flowers”.
憶江南，一直是吳老許多作品的情懷。此 作品創作於1977年，為經典的「江南」系 列，畫面充滿詩意，點、線、面的結合嚴謹 搭配。寫意的池水波瀾，穿插近景的紅色魚 兒，遠近虛實相得益彰，色彩佈局協調清 爽。藝術家自己則認為：「筆墨、宣紙或 絹、國畫顏料，其材質具獨特的優點，同時 有極大的局限，難於鋪覆巨大面積。我自己 長期探索用點、線、面，黑、白、灰及紅、 黃、綠有限數種元素來構成千變萬化的畫 面，展拓畫幅，在點、線的疏密組合中體 現空間效應。」 （參閱吳冠中《吳冠中談藝錄—情
Memories of Jiangnan have always been an important theme of many of Wu’s paintings. This painting is a typical one from his “Jiangnan” series. The picture’s poetic atmosphere is exuberant, with dots, lines, and planes precisely combined and mixed. The waves are depicted in freehand brushwork, and a close up of swimming carp is inserted. The complete scene is wisely balanced in terms of distant views and close shots, solid objects and empty spaces, and is cleanly coordinated in respect of colors and composition. Wu Guanzhong himself commented that “Brushes, rice paper or silk, Chinese painting pigment, all these materials have their respective virtue, and limitations as well. It is difficult to cover a huge area of canvas or paper with such materials only. For a long time I’ve been exploring a way to form a daedal effect of composition by applying several limited elements, such as dots, lines, planes, and various colors such as black, white, gray, red, yellow, green, etc. so that the painting area is expanded, showing spacious effect by balancing and changing the density of dots and lines.” (Refer
理》）
吳冠中 花港觀魚 1977 彩墨 紙本 40 x 35 cm 款識：宋中同志品評 1977 鈐印左下：荼 來源： 前中國奧委會秘書長宋中舊藏（得自藝術家 贈與） 私人收藏，新加坡
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“Viewing Fish at Flower Harbour”, is one of the ten views at the West Lake, a famous scenic area in China. This view is to the southwest of Su Causeway. Emperor Kangxi arrived at the West Lake in 1699, and he was so taken by what he saw that he wrote an epigraph with the title “Viewing Fish at Flower Harbour”. A stele with the epigraph was erected by the side of the fishpond. Later when Emperor Qianlong traveled around Jiangnan (the area to the south of the lower reaches of the Changjiang River),
to Reason–Wu Guanzhong Talks about Art by Wu Guanzhong)
049
LIN Fengmian (Chinese, 1900-1991)
Still Life with Flowers and Fish c. 1977 Ink and color on paper 42 x 50 cm Signed lower left Lin Fengmian in Chinese With one seal of the artist PROVENANCE: Collection of Sanhuai House, Hong Kong ILLUSTRATED: Zhu Pu Ed., Modern Artists Theory, Work, Biography: Lin Fengmian, Xue Lin Publishing, Shanghai, 1988, black-and-white illustrated, no. 120 (with a title of Fish, mirror image upside down, incorrect size) 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. 28, p. 18
NT$ 1,800,000-2,800,000 US$ 53,700-83,600 HK$ 419,000-651,000
林風眠 魚盤瓶花靜物 約1977 彩墨 紙本 42 x 50 cm 簽名左下：林風眠 鈐印左下：林風暝印 來源： 香港三槐堂收藏 圖錄： 朱樸編著，《現代美術家畫論．作品． 生平—林風眠》，學林出版社，上海， 1988，黑白圖版，編號120（原畫題 《魚》，圖像反向倒置，尺寸誤植） 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28，頁18
林風眠的靜物畫，為其最率性表現自我的題 材。林風眠在其靜物畫中結合西方立體派觀 念、以及中國民間瓷畫寫意筆法，常以方 形、三角形、弧線等幾何元素，將繪畫空間 刻意平面化。描繪的對象或是瓶花、或是魚 盤、或是果實，皆還原為簡化的形狀，以色 塊切割空間，物體錯置佈局，使畫面活潑而 情意豐富。他的靜物彩墨畫表現了現代感的 結構和造型的美感。 《魚盤瓶花靜物》堪稱為林風眠靜物畫中的 逸品，創作時間約為1977年，離開上海、前 往香港前後，率真寫意，富有拙趣。無論案 桌、魚盤、小瓶花，形體皆可愛，錯落佈局
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和諧而不唐突，彼此相映成趣。尤有甚者， 畫面上方的窗櫺，頗有馬蒂斯抽象化窗景的 味道。若非經過現代美術洗禮，無法巧妙完 成此幅既古雅又現代感的彩墨創作。
Lin Fengmian’s still lifes contain the most selfexpressed themes. Lin combined his still life paintings with Western Cubism perception. He used traditional Chinese encaustic paint, and featured geometric elements such as squares, triangles, and arcs, which flatten the drawing plane. Portraying objects such as pots of flowers, fish on a plate, or fruit, all of which are reduced to simple shapes, his paintings feature space segmented with colorful objects in a seemingly misaligned layout, which invigorates and enriches each painting. His still lifes express modern structure and aesthetic feelings. “Still Life with Flowers and Fish” is recognized as the most important of Lin’s Still Lifes. He created it around 1977 when he left Shanghai for Hong Kong. It features a candid, freehand style and is full of unsophisticated interests. Whether the desk, the fish on a plate or the small pot of flowers, the outline of each object is captivating with its misaligned layout, which is harmonious yet not abrupt, forming delightful contrasts. The window lattice is tinged with ideas from Matisse’s abstract windows. The elegance and modern feeling of the painting has been ingeniously accomplished through Lin’s immersion in modern art.
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Yun GEE
(Chinese, 1906-1963)
California Landscape 1926 Oil on board 30.5 x 45.5 cm PROVENANCE: Collection of Otis Oldfield, the artist’s teacher and friend (a gift from the artist) Collection of Helen Gee (a gift from Otis Oldfield's widow), around 1980 Sotheby's Taipei sale,“Helen's World of Yun Gee”, Oct. 17, 1999, lot 12 EXHIBITED: M. H. de Young Memorial Museum, San Francisco, 1995 ILLUSTRATED: M. H. de Young Memorial Museum catalogue, San Francisco, 1995, p. 54
NT$ 2,200,000-3,800,000 US$ 65,700-113,400 HK$ 512,000-884,000
朱沅芷 加州風景 1926 油彩 木板 30.5 x 45.5 cm
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來源： 藝術家美術老師兼好友歐提斯．歐菲德舊藏 （來自藝術家贈與） 藝術家遺孀朱海倫舊藏（來自歐菲德遺孀 1980年贈與） 台北蘇富比「朱海倫的沅芷世界」專拍， 1999年10月17日，編號12 展覽： 德揚博物館，舊金山，1995 圖錄： 德揚博物館展覽目錄，舊金山，1995，頁54
《加州風景》屬於朱沅芷舊金山時期創作， 色彩豔麗、對比抽象，帶有強烈的立體派及 表現主義的風格。本作品曾為畫家妻子海倫 的舊藏，然而此畫曾為另一位畫家—歐菲德 及其家族珍藏更久，歷時超過半個世紀，見 證兩人亦師亦友的情誼。 朱海倫曾回憶道：「此幅作品乃沅芷在一次 與其美術老師兼好友歐提斯．歐菲德的戶外 露營時所寫，畫作完成後送贈予歐菲德。之 後再由歐菲德之遺孀海倫女士轉送給我，我 與她乃於1980年時於沅芷在奧克蘭美術館的 開幕式上遇上。」 （參閱《朱海倫的沅芷世界》專 拍目錄）
歐菲德係朱沅芷加州美術學校的老師。藝評 家王德育認為，朱沅芷日後以無數的小三角 形色塊組成的「鑽石主義」繪畫理論，可能 來自歐菲德的啟發。因有加州溫暖的天氣，
與出遊寫生的好興致，《加州風景》作品在 幾何色彩的理性堆砌下，給人以閒適與優雅 的感覺。
“California Landscape”, from Yun Gee’s "San Francisco Period” has a strong Cubism and Expressionism style, with bright colors and abstract contrasts. This work was in his wife Helen Gee’s (1919-2004) collection. Originally, it was treasured by another artist, Otis Oldfield (1890-1969) and his family for more than halfa-century, bearing witness to the profound friendship between the two artists. “This painting was done on a camping trip with Yun’s teacher and friend, Otis Oldfield, and Yun gave it to Oldfield as a gift. It was given to me by Otis’ widow, Helen, whom I met at the opening of Yun’s exhibition at The Oakland Museum in 1980” – Helen Gee (an auction catalogue, Helen’s World of Yun Gee)
Otis Oldf ield was Yun Gee’s teacher at the California School of Fine Arts. Art critic David Teh-yu Wang considers that the theory of Diamondism, created by Yun Gee, and which is built up with numerous small triangle colored shapes, may have been inspired by Otis. With warm days in California and in a jovial mood for going-out-and-sketching, “California Landscape” conveys a comfortable and graceful feeling by rational build-up of geometrical colors.
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LIAO Chi-chun (Taiwanese, 1902-1976)
Ferryboat 1974-1975 Oil on canvas 50 x 60 cm Signed lower left Chi-chun in Chinese and C. LIAO in English Title on the reverse Ferryboat in Chinese and Liao Chi-chun in Chinese (with a caption from the 30th Taiwan Provincial Fine Arts Exhibition) PROVENANCE: An old collection of Artist's second son, Liao Shou-wen, Taipei EXHIBITED: T h e 3 0 t h Ta i w a n P rov i n c i a l Fi n e A r t s Exhibition, 1975
The Precursory Artists' Masterpieces of Taiwan II, Respectable Art Center, Taipei, June 1999, color illustrated, p. 35 2000 Taiwan Art (Part II), Southern Taiwan Art collectors Association, Taiwan, Dec. 2000, color illustrated, pp. 42-43 CHARITY AUCTION ANNOUNCEMENT: The owner of Lot 051 will donate half of the hammer price of a successful sale to Fo Guang Shan Pumen Temple and Taipei Dizang Temple. (Pumen Temple: 11F., No.136, Sec. 3, Minquan E. Rd., Songshan District, Taipei, Taiwan; Taipei Dizang Temple: No. 189, Yan-Ping N. Rd., Sec. 7, Shilin District, Taipei, Taiwan.)
ILLUSTRATED: Liao Chi-chun, Pacific Cultural Foundation, 1981, color illustrated p.149; black-and-white illustrated, p. 202 Ho Cheng Kuang, Chi Chun Liao's Paintings, Artist Publishing Co., Taipei, March 1981, color illustrated, p. 58 (wrongly dated 1964) Lin Hsin-yue, Liao Chi-chun (Taiwan Fine Arts Series No.4), Artist Publishing Co., Taipei, July 1992, color illustrated No. 62, p. 109; blackand-white illustrated, p. 228 Wang Su-feng, Liao Chi-chun: Landscape in Spain (Research Exhibition from the Museum Collection I), Taipei Fine Arts Museum, Taipei, Aug. 1993, color illustrated, p. 23 Guide to Asia Pacific Chinese Art Market, Art & Collection Publishing Ltd., Taipei, July 1997, the cover page Li Chin-shian, Liao Chi-chun, Hsiung Shih Art Book, Taipei, Nov. 1997, color illustrated, p. 119 (wrongly dated 1964)
NT$ 18,000,000-28,000,000 US$ 537,300-835,800 HK$ 4,186,000-6,512,000
廖繼春 渡船 1974-1975 油彩 畫布 50 x 60 cm 簽名左下：繼春 C. LIAO 簽名畫背：「渡船」 廖繼春（畫背貼有「台 灣省第三十屆全省美展會」展品說明牌） 來源： 畫家次子廖述文舊藏，台北 展覽： 1975年「台灣省第三十屆全省美展會」展出 圖錄：
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《廖繼春畫集》，國泰美術館，台北， 1981年3月出版，彩色圖版，頁149，以及 黑白圖版，頁202 何政廣主編，《廖繼春油畫集》（藝術家叢 刊21），藝術家出版社，台北，1981年3月 出版，彩色圖版，頁58（創作年代誤植為 1964年） 林惺嶽，《台灣美術全集4：廖繼春》，藝 術家出版社，台北，1992年7月出版，彩色 圖版編號62，頁109；黑白圖版，頁228 王素峰，《廖繼春：西班牙特麗羅》（典藏 品研究特展1），台北市立美術館，台北， 1993年8月出版，彩色圖版，頁23 《華人藝術市場指南》（典藏別冊），典藏 雜誌社，台北，1997年7月初版，封面作品 李欽賢，《色彩．和諧．廖繼春》（家庭美 術館──前輩美術家叢書），雄獅圖書股份 有限公司，台北，1997年11月出版，彩色圖 版，頁119 （創作年代誤植為1964年） 《台灣前輩畫家的藏寶圖II》，尊彩藝術中 心，台北，1999年6月出版，彩色圖版，頁35 《台灣美術典藏》第二輯，南台灣美術收藏 聯誼會，台南，2000年12月出版，彩色圖 版，頁42-43 慈善義賣聲明︰ 本拍品Lot 051若順利成交，委賣者發願將 落槌價半數金額捐贈予佛光山普門寺及台北 地藏禪寺。 （佛光山普門寺：位於台北市松山區民權 東路三段136號11樓；台北地藏禪寺：位於台北市士林區 延平北路七段189號。）
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的典藏作品之一，也是第一幅館藏的廖繼春 油畫。這所致力於研究現代美術發展的台灣 最高美術機構，挑選標的就選擇廖繼春生命 後期成熟巔峰之作。 台北市立美術館於1996年接受廖繼春家屬捐 贈七幅畫作，期使以捐畫美術館的方式，取 得專業的研究；並力促籌設「廖繼春紀念獎 助金」，隔年開始每年評選「廖繼春油畫創 作獎」，以獎助金孳息贊助有傑出成就或潛 力的美術青年，獲獎的藝術家有陸先銘、郭 維國等人，為當今台灣重要的美術獎項，以 紀念前輩畫家廖繼春一生培育後進的遺澤。 此外，台北市立美術館自1983年開館以來， 首次成立「廖繼春常設展專室」，展出相關 作品與文獻資料，推崇其在現代美術的貢 獻。 1975年11月18日，台北歷史博物館「台灣省 第三十屆全省美展會」（簡稱省展）正式開 幕，身為評議委員的廖繼春，拿出得意之作 參與展出，油畫作品《渡船》（1974-75年 作）、《西班牙特麗羅》（1975年作）是整 場展覽中的亮點，這是廖繼春生前最後的公 開展覽。三個月後，廖繼春因病辭世，享年 74歲。 廖繼春是最具影響力的台灣前輩藝術家之 一，他用敏銳的雙眼，真摯的情感，向世人 展現藝術的美好。在色彩、造型、情感的表 達上，對台灣現代繪畫發展啟發頗深。除了 是風格特出的藝術家，廖繼春同時也是一位 優秀的美術教育家，南北各地任教時間數十 載，作育英才無數。他以身作則探索繪畫， 從早年參與日本帝展，台灣的府展或後來的 省展，廖繼春總是把最好的作品呈現世人面 前直至人生最後階段，仍然創作出一幅幅令 人驚艷的創意力作。 上述兩幅作品應是廖繼春個人極為滿意的創 作，生前一直懸掛在家中。過世後，尺幅較 小的《渡船》遺贈予廖繼春次子廖述文， 而 尺幅較大的《西班牙特麗羅》後來為旅居美 國的四子廖述忠繼承。1988年6月，台北市 立美術館向家屬表達購買意願，透過廖述文 的幫忙，《西班牙特麗羅》成為該館最重要
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研究廖繼春藝術多年的王素峰女士認為， 1960年代廖繼春創造了現代繪畫的巔峰，至 1970年代達到最鼎盛時期。她在1993年台北 市立美術館出版的〈廖繼春繪畫歷程概述〉 論文中寫道：「…廖繼春在世前幾年，作品 已更趨具象，過去反覆探討威尼斯的畫作， 一如探討東港的畫作意義一樣，廖繼春永遠 地在追尋。大致上，這些年的作品風格較穩 定，探索性較少。但有的層次豐富，色澤 鮮美，頗有大氣磅礡之勢，如1974年的《渡 船》及1975年的《西班牙特麗羅》，是其中 佼佼者…。」 （王素峰，〈廖繼春繪畫歷程概述〉， 《廖繼春：西班牙特麗羅》（典藏品研究特展1）目錄， 台北市立美術館，1993年8月出版，頁5-10）
在廖繼春主要畫集中，幾乎都可找到《渡 船》的文獻資料。由於作品本身未標示年 代，過去幾本圖錄記述的年代不太一致。 國泰美術館和台北市立美術館所出版的資 料中，將《渡船》的創作年代定年為1974 年，而在藝術家雜誌或雄獅美術的出版資 料中，作品被誤植為1964年；不過，此畫 背面上有藝術家次子廖述文題寫的畫題及 創作年代1975等文字。無論如何，以《渡 船》呈現的豐富肌理層次與粉紅色調，應 該比較接近他生命後期的風格，如2006年 羅芙奧春季拍賣會的封面拍品《運河》， 也是創作於1974年。
藝術家吳炫三也曾讚嘆老師的《渡船》畫 作，他形容道：「…在他這一幅畫中，隨 著顏色的移動，有意無意間，描繪出單純的 形象，從畫面中，可以看出調子極為柔美的 光影與色彩的變化，特別是雲彩的部分，霎 看之下，似乎是抽象的表現，但仔細的品味 推敲之後，感覺出的卻是無比的繽紛…」。 （吳炫三，〈渡船〉（作品介紹），《廖繼春畫集》，國 泰美術館，台北，1981年3月出版，頁202）
而在《台灣美術全集4：廖繼春》中，藝評 家林惺嶽對《渡船》作品亦有生動的描寫： 「在烈日下，艷陽四射的渡船風景，展現出 嘉年華會似的熱鬧及炫耀。這是由於作者打 破遠近濃淡的現實邏輯，賦予每一個空間部 位色彩以同等的強度；也充分發揮彼此間相 互呼應的機能，即使遠山屋頂的紅色，亦強 烈的足以跟 近景鮮紅的船身輝映。令人驚 異的是，在強烈色彩元素的炫麗中，仍能鮮 妙的呈現畫面曠蕩的空間感，足見作者扎實 的寫生功力。」 （林惺嶽，《台灣美術全集4：廖繼 春》，藝術家出版社，台北，1992年7月出版，頁228）
廖繼春一生的作畫題材，經常取材日常生活 的點滴。1947年當他們舉家遷居台北之後， 寫生對象遍佈北部名勝。1950年代開始，海 港或河畔風景畫於是成為廖繼春表現最豐富 的題材。淡水、觀音山，皆是他流連的寫生 地點。1962年遊歷美國、歐洲數月之後，眼 界大開，用色大膽，更內在的繪畫潛能被激 發出來。巴黎、威尼斯、希臘、西班牙等地 名景，也是他作畫的對象。回到台灣之後， 他更熱愛往海邊寫生，淡水、野柳，甚至屏 東的東港都有他曾經踏過的足跡。不過，後 期風景畫並非全然採實景寫生，而是遊歷回 來，憑藉照片、卡片或者速寫草圖，在畫室 佐以記憶與印象而畫。此時創作已非印象派 的寫生觀念，有更多表現主義的傾向，融入 畫家當時的心境。在這些繪畫中廖繼春並非 客觀地重現自然，而是探索自我內在的情感 與自然的形色律動之關係。 可能是描繪淡水或野柳的港濱繁榮景況， 《渡船》一作傳達了藝術家積極樂觀的人 生觀，繽紛複雜的形式構圖下，充滿著南國 特有的節慶趣味。抽象化的鮮亮色塊、線條
組合，透露出藝術家對抽象畫的研究。他所 運用的鮮豔色彩是台灣民間藝術的元素。而 使用明度較高的粉紅色，堪稱藝術家最獨樹 一幟的技法，用以使群青色的背景得到平 衡、和諧。王素峰女士認為：「無疑地，粉 紅色是柔和、抒情的象徵，當它隨同其他鮮 麗的色彩出現時，真是詩情畫意。」評論家 認為，粉紅色的運用，正是廖繼春的精神所 在。人們以「色彩的魔法師」、「華麗諧和 的野獸派」讚譽廖繼春的繪畫表現，《渡 船》作品可為證明，歡悅形色之間表現抒 情，不愧為台灣前輩藝術家中的楷模。
The 30th Taiwan Provincial Art Exhibition (Provincial Exhibition) was formally opened in the Taipei's History Museum of Art on Nov. 18th, 1975. Liao Chi-chun, as a member of the deliberation jury, displayed his favorite works of art in the exhibition, and his oil paintings “Ferryboat” (1974) and “Toledo in Spain” (1975) became the highlights of the exhibition. This turned out to be the last time for Liao to see his works displayed in public as three months later he died at the age of 74.
The two paintings in the 30th Provincial Exhibition above were Liao’s favorite personal works of art. He kept them in his home up until his death. The smaller-sized “Ferryboat” was bequeathed to Liao Shou-wen, Liao’s second son, and the larger-sized “Toledo in Spain” was inherited by his fourth son Liao Shou-chung, who lived in America. The Taipei Fine Arts Museum purchased “Toledo in Spain” from Liao Shou-wen in June 1988. It was the first Liao painting to be acquired by the museum and it became one of its most important masterpieces. The renowned modern art museum, which
later, the “Liao Chi-chun Oil Painting Creation Award” was established to provide financial suppor t from the interest of the g rant to promising young artists with outstanding achievements or great potential. Lu Xianming, Guo Weiguo and many other artists won the awards. As the most important art award in Taiwan, this grant bequeathed by Liao Chichun is a major reminder of the senior artist’s influence on art development in Taiwan. The Taipei Fine Arts Museum established a “Special and Permanent Hall for Liao Chi-chun Art”, where Liao’s contribution to modern art is canonized through the exhibition of his paintings, literature, and details. This was the first special exhibition hall established by the museum since its foundation in 1983.
Ms. Wang Su-feng has studied Liao Chichun’s art for years. She believes that Liao reached the peak of moder n ar t in the 1960s, and that the 1970s witnessed his splendor. Her thesis “A Brief Description of Liao Chi-chun’s Painting Experience” was published by the Taipei Fine Arts Museum in 1993. She wrote in this thesis that “… those painted in the preceding years before Liao Chi-chun was one of the most influential Liao Chi-chun died showed the tendency older artists in Taiwan. He was dedicated of representationalism. His painting of to revealing the beauty of art to the world 廖繼春《西班牙特麗羅》 Venice has been reiteratively discussed, and through his acute eye and sincere emotions. In 1975 油彩 畫布 80 x 100 cm，台北市立美術館收藏 it was quite the same as the discussion of respect of his use of colors and designs, and his expression of emotions, he contributed LIAO Chi-chun, Toledo in Spain, 1975, oil on canvas, 80 x 100 cm the significance of his painting of the ‘East Collection of Taipei Fine Arts Museum, Taipei Harbor’. Liao Chi-chun had always been at deep enlightenment to the development of the status of pursuing and seeking. Generally contemporary painting in Taiwan. Liao was his paintings in those years were more stable engages in studying the development of modern not only an artist with a unique style, he was instead of adventurousness, but some paintings art, intentionally chose paintings created in also an excellent art educator. He taught in still contain rich layers, fresh colors, and the later period of Liao’s life when his works many different schools and places in Taiwan shows quite majestic momentum, such as the reflect his mature skills and represent his highest for many years, and cultivated numerous ‘Ferryboat’ painted in 1974, and the ‘Toledo in accomplishments. outstanding students. He used himself as an Spain’ painted in 1975, which are believed to example of exploring the art of painting. Liao be the best of them…” (Wang Su-feng, Liao Chi-chun: Taipei Fine Arts Museum accepted 7 paintings always presented his best paintings to the world; Landscape in Spain (Research Exhibition from the Museum donated by Liao Chi-chun’s family in 1996. from the Imperial Exhibition in Japan, to the Collection I), Taipei Fine Arts Museum, Taipei, Aug.1993, color They were donated to promote professional prefectural and provincial exhibitions of Taiwan. illustrated, pp. 5-10) research. The Liao family also established Even at the end of his life, he still created several a “Liao Chi-chun Memorial Grant”. A year stunning paintings.
Literature or details about the “Ferryboat” can easily be found in most albums of Liao Chichun’s paintings. As for the year when the painting was created, no clue was marked on the painting itself, and some older catalogs provided inconsistent records. Thus in the materials published by Cathay Art Museum and Taipei Fine Arts Museum, the year 1974 was finally determined to be the time when “Ferryboat” was created. However, the publishing data of The Artist’s Magazine or Hsiung Shin Art Book mistakenly made it 1964. The artist’s second son Liao Shou-wen titled “Ferryboat” in Chinese and dated 1975 on the reverse of the painting. Actually the rich textured layers and the pink tone in “Ferryboat” are strong evidence proving that this painting is closer to the style of the later period of his life. Another example is the auction lot of Ravenel Spring Auction 2006, the cover painting “Canal”, which was also painted in 1974. A-Sun Wu, an artist, also praised his teacher’s “Ferryboat”. He said: “…With the movement of colors, he intentionally and unconsciously described images of purity. The painting displays changes of light, shadow, and colors with quite soft and beautiful tones. Especially the part of cloud, which at f irst glance looks like an abstract expression, but feels unparalleled profusion after thorough tasting and deliberation” (A-Sun Wu, ‘Ferryboat’, Liao Chichun, Cathay Art Museum, 1981, p. 202)
In Taiwan Fine Arts Series, Lin Hsin-yue, an art essayist also vividly depicted “Ferryboat”: “The view of ferryboats under the burning sun displays carnival-style liveliness and gorgeousness. The painter broke the real logic of thickness for the near and thinness for the far, and he bestowed every part of the space with the same color intensity; the elements also work in concert with each other, and even the red colors of the mountain peak and of the roofs are also intense enough to reflect with the bright red
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boats in the near view. It is astonishing that the spatial hollowness is still miraculously felt even in such a flowery combination of intense colors. This is enough to see the painter’s substantial sketching skill.” (Lin Hsin-yue, Liao Chi-chun (Taiwan Fine Arts Series No. 4), Artist Publishing Co., Taipei, July 1992, p. 228)
Throughout his life, Liao Chi-chun often put details of daily life on canvas. When his
廖繼春《運河》 羅芙奧2006春季拍賣會，編號064， 8085萬台幣成交 LIAO Chi-chun, Canal 1974, oil on canvas, 72.5 x 91 cm, Ravenel Spring Auction 2006, lot 064, US$ 2,523,802 sold
family moved to Taipei in 1947, he made all the places of interest throughout the north of Taiwan objects of his sketches. From the 1950s, seaports or riverside landscapes became the most constant themes expressed by Liao. Tamshui and Kwan-yin Mountain were both his favorite sketching venues. Traveling in America and Europe for a number of months in 1962 opened new horizons for him, and he became more adventurous in his use of colors. His inner painting potential was thus stimulated. Paris, Venice, Greece, Spain, all the landscapes of those places became his painting objects.
After he returned to Taiwan, he became even more dedicated to seaside sketching. He visited Tamshui, Yehliu, and even the Tung-kang of Pingtung, famous seaside locations in Taiwan. His landscape paintings in the later period of his life were not completely sketched from real-life , they were actually painted in his studio after his return from his visits, from photos, postcards, literar y sketches and his memories and impressions. His paintings from this period have more the feel of expressionism expressing Liao’s mind and moods, rather than being plain sketch notions of impressionism. Liao was not objectively reproducing nature as he saw it with his eyes, but exploring the relationship and mutual influence of his own sensation and the shapes and colors in nature. Perhaps “Ferryboat” describes a prosperous scene of a harbor in Danshui or Yeliu, expressing Liao’s optimistic and positive philosophy of life. The profuse form of the composition is filled with a special festival flavor in the south; the abstract bright color patches and the combination of lines reveal Liao’s perception of abstract paintings. The fresh colors he used are elements from Taiwan folk’s art. He also applied bright pink to balance the ultramarine background, and this is the most special and different style of Liao. Ms. Wang Sufeng believed that “Pink undoubtedly symbolizes softness and emotional expression, and is really idyllically charming when showing up with other bright colors.” Critics believe that the application of red colors is the whereabouts of Liao’s spirit. His strong ability in painting expression, have earned him various titles such as “Color Enchanter”, “Splendid and Har monious fauvist”. The painting “Ferryboat” proves that Liao Chi-chun, who successfully expressed emotions with a merry appearance, is creditably an excellent model among senior artists.
趙無極 052
28.4.75
ZAO Wou-ki
1975 油彩 畫布 116 x 89 cm 簽名右下：無極ZAO 簽名畫背：ZAO WOU-KI 28.4.75
(Chinese-French, b. 1921)
28.4.75 1975 Oil on canvas 116 x 89 cm Signed lower right Wou-ki in Chinese and ZAO in French Titled on the reverse 28.4.75 and signed ZAO WOU-KI in French PROVENANCE: Galerie Kutter, Luxembourg Acquired from the above by the present owner, circa 1985 EXHIBITED: Zao Wou-Ki: 1971-1975, Galerie de France, Paris, July-September 1975
來源： 庫特畫廊，盧森堡 1985年現有收藏者購自上述來源 展覽： 「趙無極：1971-1975」，法蘭西畫廊， 巴黎，展期自1975年7月至9月 圖錄： 尚．雷馬利，《趙無極》，昨日與今日出 版社，巴黎，1978，黑白圖版，編號441， 頁303 尚．雷馬利，《趙無極》，藝術圈出版社， 巴黎，1986，黑白圖版，編號473，頁343
ILLUSTRATED: Jean Leymaire, Zao Wou-ki, Editions Hier et Demain, Paris, 1978, black and white illustrated, no. 441, p. 303 Jean Leymarie, Zao Wou-Ki, Editions Cercle d'Art, Paris, 1986, black and white illustrated, no. 473, p. 343
今日提及華人抽象繪畫的發展進程，趙無極 有其無可取代的先驅地位。他是將東西方的 畫境、意境的時空意念，不斷探索、融合 後，豐富呈現的一位當代華人油畫家。在抽 象繪畫的領域裡，趙無極帶給後來者不小的 啟發。
NT$ 10,000,000-20,000,000 US$ 298,500-597,000 HK$ 2,326,000-4,651,000
1948年他從中國航向藝術之都巴黎，風雲際 會地成為歐洲抽象表現主義的重要成員。當 年所結交的朋友，後來個個皆是名聞遐邇的 藝文界大師。出生於北京、成長於上海的趙
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無極，相較於來自歐美各方的藝術友人，擁 有得天獨厚的東方書畫的傳統。當其他的抽 象畫家紛紛借鑑自東方文字構成美學時，趙 無極反而顧慮流於容易，對水墨畫的所謂 「中國趣味」避之唯恐不及，但是中國深厚 的詩意美學底蘊，仍然使他輕鬆地超越油彩 媒介的限制，任兩種文化的美學感受奔馳於 畫布間，揚名於異域。 1972年摯愛的妻子美琴故去，他第一次回到 中國探視母親，得知因文革時期父親被鬥爭 迫害而亡，以及母親所受的苦難。返回巴黎 後，竟然無法再拾起畫筆，日日酗酒消沈， 在紛亂的心情下，一度無法面對畫布。一日 為了排遣心中的鬱悶，他拿出從中國帶回的 宣紙、筆墨，無意識的塗畫，童年的經驗竟 然慢慢浮現。他的書藝啟蒙來自家庭，而杭 州藝專的求學，培育了他對自然的觀察。曾 經拋棄許久，孩童時期即熟悉的動作，竟使 趙無極重新獲得作畫的力量。趙無極曾說： 「水墨和紙給了我很多的明澈性來達致寂 靜。它們給了我一種油畫所不易獲得的空 間，以一種最經濟的辦法，得到一種意外的 展開，一種使我驚訝的效果。我達到一個不 完全認知的世界：空白與寂靜直接的觸及 我，給了我更多的信心，可以繼續追尋未知 的新的境界，使我在油畫中能更進一程。」 （參閱葉維廉，〈反虛入渾，積健為雄──與趙無極談他 的抽象畫〉，《與當代藝術家的對話──中國現代畫的生 成》，台北：東大圖書股份有限公司，1987年12月初版， 1996年2月再版，頁41）
多位藝評家皆認為，1973年起趙無極進入另 一個藝術階段，「重拾水墨畫創作」無疑是 關鍵的影響。趙無極自認這顯見的轉變： 「我知道，從1973年開始，我的畫風變了，
實對比，亦彷彿染 紅天際的霞光，優雅 得令旅人駐足流連。 1975年春天他再度趕 回中國，探視病危的 母親，而後完成了這 幅以完成日命名的作 品《28.4.75》。當時 的趙無極早入知天命 趙無極《向美琴致敬》1972 巴黎龐畢度中心收藏 之年，經歷過生命中 Zao Wou-ki, 10.09.1972 En Mémoire de May (14.11.30-10.3.72) 的幾番掙扎，莫不渴 望獲得心寧的平靜， 1972, oil on canvas, 200 x 525 cm, MNAM, Centre Pompidou, Paris 雖然角落仍潛藏著黑 因為我的朋友常常這麼說，尤其常常這麼 暗、痛苦，仍可被無盡的溫柔包容、感化， 寫，也許這時我成熟了，過去累積的努力， 轉化為一個詩意的空間。 有了成果。一切都變得容易多了。」「我也 知道，我愈來愈愛畫，愈來愈有話要說，也 《28.4. 75》油畫作品從1970年代中期起在 愈來愈怕自我重複。我畫我的生活，但也想 盧森堡的庫特畫廊發表後，三十多年來即 畫一個眼睛看不見的空間、一個夢的空間， 珍藏在盧森堡境內，1978、1986年兩度被 一個使人永遠感覺和諧的所在，即使用的是 藝評家雷馬利選入他所編輯的《趙無極》 充滿矛盾力量的不安的形式。每一幅畫，從 油畫作品全集，代表著1970年代畫家的創 最小的到最大的，都是這夢的空間的一部 作典型之一。 份。」 （參閱趙無極、梵思娃著、劉俐譯，《趙無極自 畫像》，藝術家出版社，台北，1992初版，頁147）
過去1960年代至1970年代初期趙無極的作品 往往採黑、褐等冷色調筆觸，線條顫動、氣 勢磅礡，極具律動感。1970年代中期後，油 畫色彩多見明亮、富麗，畫幅也愈來愈顯寬 闊。添加水墨式的暈染感，更重視空間光線 的和諧追求，有寧靜風景的意味，進入另一 段新的藝術旅程。 「橙黃」、「亮黃」，乃是1970年代趙無 極繪畫的主色調，那些如同土地、太陽般 的色彩，反映出創作者內在對溫暖、寧靜的 追求，幫助他從悲傷中走出來。從1972年他 為病逝妻子所畫的《向美琴致敬》，即開始 出現橙黃色主調。《向美琴致敬》一作可謂 是趙無極1970年代最重要創作之一，現在由 巴黎龐畢度國家現代美術館典藏。本拍品 《28.4.75》也選擇與三年前《向美琴致敬》 相近的色彩、暈染，但採取直幅的構成。 趙無極自言透過創作畫生活、追夢想，生命 歷程中的點點滴滴，自然也藉由繪畫呈現。 《28.4.75》作品的大片橙黃背景，如孕育自 然生命的大地之母；水氣淋漓的氤氳，似江 河綿延長流，滌淨塵世煩憂；柔美祥和的虛
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Zao considered this approach too easy, and strenuously avoided the so-called chinoiserie in water-ink painting. Nevertheless, with his innate understanding of the profound poetry of Chinese aesthetics, he transcended the limitations of the oil medium with aplomb, allowing the sensibility of the two cultures to flow free on his canvas, and his fame in overseas gradually spread. After the passing of his beloved wife May in 1972, he took his first trip back to China, where he visited his mother and learned of her suffering and the death of his father from persecution during the Cultural Revolution. Upon returning to Paris, Zao found himself unable to pick up his paintbrush and spent his days wallowing in drink, kept away from his canvas by a confusion of moods and emotions. As a way of distracting himself from his gloom, one day, he took out the Xuan paper, brush and ink he had brought back from China and started painting mindlessly. With this act, his childhood experience gradually reemerged. Initiated in
Mention the development of Chinese abstract painting today, and the name of Zao Wou-ki will invariably be mentioned. An inimitable pioneer, he is the contemporary Chinese oil artist responsible for achieving a rich amalgamation of the essence of oriental and western art after constant explorations through time and space, and is a major source of inspiration for his successors in the realm of abstract art. In 1948, he sailed from China to the capital of art, Paris, and became a 趙無極 《22.3.79》 key member of European abstract 羅芙奧香港2008秋季拍賣會，編號131， 814萬港元成交 expressionism. The friends he made Zao Wou-ki, 22.3.79, 1979, oil on canvas, 97 x 130 cm then all become famous masters in Ravenel Autumn Auction 2008 Hong Kong, lot 131 the world of ar t. Bor n in Beijing US$1,050,323 sold and raised in Shanghai, Zao was steeped in the rich oriental tradition of calligraphy by his family, Zao had studied at the calligraphy and painting, making him unique Hangzhou National Academy of Art where he amongst his artist friends in the West. While developed his skills of observation, particularly other abstract painters were borrowing from of nature. The long abandoned movement oriental logograms to construct their aesthetics,
familiar since childhood would instill in Zao the power to paint again. Zao said, “Water-ink and paper gave me the clarity to achieve tranquility. They offered me a space not easily accessible in oil painting, a most economic means by which I could stretch out unexpectedly, to astonishing effect. I reached a world of incomplete perception: touched directly by empty space and silence, I became more confident, and could continue to pursue unknown new realms and move forward in oil painting.” (Wai-lim Yip,
colors a reflection of his search for warmth and tranquility, guiding him out of his grief. The use of orange-yellow as the main tone could be seen first in the 1972 work created in memory of his wife, “En Mémoire de May.” Considered the most important piece of Zao’s 1970s oeuvre, it is housed in the National Museum of Modern Art, in Paris’ Centre Pompidou. This painting, “28.4.75,” is similar to “En Mémoire de May” from three years earlier in the choice of color and staining, though an oblong form is adopted.
Dialogues With Contemporary Artists-Birth and Growth of Chinese Modern Oil Paintings, Tung Ta Book Company, Taipei, December 1987-first edition, February 1996-second edition, p. 41).
Many art critics agree that Zao entered a new phase in his art in 1973, influenced crucially by his “re-acquaintance with water-ink painting.” Zao himself concedes the obvious transformation, “Je sais qu’à partir de 1973 ma peinture a changé car mes amis me l’ont souvent dit, et surtout écrit. Peut-être avais-je atteint la maturité, le moment où l’on profite de ce qui a été engrangé et où tout deient plus facile, après les longs efforts et le travail acharné?” “Ce que je sais aussi c’est que j’aime de plus en plus peindre, que j’ai de plus en plus de choses à dire, avec l’incessante peur de me répérter. Je peins ma proper vire mais je cherche aussi à peindre un espace invisible, celui du rêve, d’un lieu où l’on se sent toujours en harmonie, même dans des formes agitées de forces contraires.” (Zao
Zao has said that art is how he lives and chases his dreams, so the details of his life are naturally represented in his paintings. In “28.4.75,” the large spread of orange-yellow in the background is like Mother Nature, nurturing all life; the moist haze meanders like a river, washing away all worldly cares; the soft, harmonious contrast between the ethereal and the corporeal recalls the evening sunlight that dyes the sky red, its gracefulness captivating the wanderer, making him linger. In the spring of 1975, Zao rushed back to China to see his dying mother, and later finished this piece named after its date of completion. By then, Zao was already in his fifties, the age when one should understand the ways of the world. Having experienced life’s many struggles, he desired nothing more than spiritual peace – the corners may have hidden darkness and pain, but they could be contained by infinite tenderness and softened into a poetic space.
Wou-ki & Françoise Marquet, Zao Wou-ki Autoportrait, éditions Fayard, 1988 p. 157).
Zao’s previous work from the 1960s to early 1970s was marked by strokes of black, brown and other cool tones, trembling lines, majestic power and rhythmic movement. Since the mid1970s, his oil paintings became brighter and more resplendent in color, as well as wider in size. The addition of water-ink style staining, the pursuit of harmony with greater focus on space and light, and hints of idyllic calm all signaled a new phase in his artistic journey. Orange-yellow and gold formed Zao’s main palette during the 1970s, the earthy, sunny
Since its debut at Galerie Kutter in Luxemburg in the mid-1970s, the oil piece “28.4.75” has remained treasured in that country for over three decades. It was twice included in Zao Wou-ki, the complete collection of Zao’s oil paintings edited by the art critic Jean Leymarie, in 1978 and 1986, as a classic representation of 1970s art.
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WANG Huaiqing (Chinese, b. 1944)
Flying Apsaras (triptych) 2006 Oil on canvas, collage 200 x 363 cm Signed lower left Wang Huaiqing in Chinese Titled on the reverse Flying Apsaras in Chinese and dated 2006
王懷慶 EXHIBITED: Art Beijing 2006, Beijing, 2006 Abstract China, Lin & Keng Gallery, Beijing, July 14 - August 31, 2007 Art of Wang Huaiqing, Shanghai Art Museum, Shanghai, December 4-12, 2007 Traces of Nature, Wang Huaiqing, Guangdong Art Museum, Guangzhou, Jan 30-Feb 24, 2008 An Exhibition of Wang Huai Qing’s Painting, National Museum of History, Taipei, February 22 to March 26, 2008 ILLUSTRATED: Traces of Nature, Wang Huaiqing, catalogue of Shanghai Art Museum, Lin & Keng Gallery, Taipei, 2007, color illustrated, pp. 156-157 & p. 194 An Exhibition of Wang Huai Qing’s Painting, National Museum of History, Taipei, 2008, color illustrated, pp. 82-85 & p. 103
NT$ 29,000,000-42,000,000 US$ 865,700-1,253,700 HK$ 6,744,000-9,767,000
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飛天（三聯幅） 2006 油彩 畫布 拼貼 200 x 363 cm 簽名左下：王懷慶 簽名畫背：《飛天》2006年 展覽： 「藝術北京2006」，北京，2006 「抽象中國聯展」，大未來畫廊，北京， 2007年7月14日至8月31日 「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 「王懷慶畫展」，國立歷史博物館，台北， 展期自2008年2月22日至3月26日 圖錄： 《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156-157與頁194 《王懷慶畫展》目錄，國立歷史博物館，台 北，2008年2月，彩色圖版，頁82-85與頁103
王懷慶出生於北京、成長於北京，12歲進 入中央美術學院附中開始，自此一路就讀 美術學院的初中、高中，再以優異成績考入 中央工藝美術學院，後來取得中央工藝美術 學院碩士學位，全數在北京這座天子腳下的 歷史古城完成，藝術創作的資歷超過半世紀 之久。從年少時期起，就曾分別以繪畫、木 刻版畫入選印度、蘇聯兒童畫展的獎項或展 出。1980在北京中國美術館的「同代人油畫 展」中王懷慶展出八幅畫作，受到美國《華 爾街日報》及法國《當代》雜誌的好評。其 中的《伯樂相馬》、《棗樹》為中國美術館 典藏，此時王懷慶在中國畫壇嶄露頭角。 他生平首次個人畫展在紐約，1987那年他正 在奧克拉荷馬大學擔任客座藝術家，全家在 美國生活兩年。爾後1990年代開始，每隔一 段時間在新加坡、台灣、澳門、香港各地， 舉辦過多次的個人畫展，期間在法國、日 本、德國也有作品參展，聞名海外。1998年 旅美策展人沈揆一策劃的紐約古根漢美術館 「中國藝術五千年」展覽，王懷慶那充滿現 代抽象形式的《夜宴圖I》，與北京故宮珍 藏的五代時期顧閎中真蹟《韓熙載夜宴圖》 比鄰展出，古典美學有嶄新的詮釋，王懷慶
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散佚，老祖宗曾追 尋過的情感與趣 味，隨時間灰飛湮 滅。王懷慶不斷流 連於北京古傢具集 散地，尋覓這些曾 經繁華的歷史。每 次他總要帶回一二 樣物件，木雕的窗 花、陶瓷古瓶老 罐、桌椅零件等。 在王懷慶的眼中， 歷經輝煌盛世的傢 王懷慶 2007 年上海美術館展覽 具如今沒有了家， “WANG Huaiqing”, Shanghai Art Museum, 2007 那些古文物沒有附 著，沒有歸宿，王 的藝術得以藉紐約大放異彩，為人津津樂 懷慶稱它們為「文化棄兒」。他說道：「這 道。 些沒有家的傢具，可是你仔細看它的時候， 它的局部，它的姿勢，它的肢體，細讀的時 2007年上海美術館舉辦「王懷慶藝術展」， 候你能看到往日的一種高貴和輝煌，可是它 這次是63歲的王懷慶首度在中國內地的個人 （節錄自中央 的靈魂已經不知道如何承接。」 發表，隔年又巡迴至廣東美術館展出。令人 費解的是，他是北京畫院一級畫師，也是中 國美術家協會成員，中國油畫學會理事。為 何至今遲遲不曾在故鄉北京舉辦過個展？僅 零星地在集體的油畫年展、博覽會露面，北 京的藝術機構何其多、人文風氣也盛，難道 他的繪畫不見容於北京藝術界，或者近鄉情 卻，寧可在外發光發熱，韜光養晦於北京胡 同之內？
本次的拍品《飛天》即為強烈的抽象表現風 格的代表作，採三聯幅形制，宛如宗教聖壇 畫予人宏偉之感。飛天，一詞出自佛教的典 故。佛教從印度傳到中國之後，結合道家的 影響，融合為中國文化的一環，於是飛天成 為東方的飛仙、天女。飛天，也是敦煌藝術 中最美的形象。宗教藝術之於中華文化，有 其重要歷史典故與文化背景。飛天作為藝術 的形象，她是多元文化的複合體，從印度、 西域乃至中原，飛天都是美的象徵。
電視台《藝術品投資》節目〈油畫人物誌：王懷慶—尋找 故園〉主題，2007年7月24日訪文）面對滄海桑田的
無奈時，畫家不免會透過他的畫筆，身體力 行重新找回高貴及輝煌。王懷慶寄懷被淡忘 的人文精神，尋找延續文化傳承的可能性， 因此歷史文化的題材一直盤據王懷慶的靈 思。
長年生活在歷史古都的王懷慶，一生創作幾 乎與「歷史文化」的主題切割不開，從1980 年援引春秋時期伯樂相馬的典故開始，到驚 艷於江南老屋、明式傢具，再造魏晉南北朝 的《夜宴圖》，明朝《天工開物》的啟發， 古玉、八寶，一直到近幾年取材宗教藝術的 《飛天》、《如意》等繪畫創作，無不顯示 藝術家對於民族傳統文化無法割捨的依戀。 如此醉心於舊文化、老傢俬的研究，在過往 處處可見古蹟的北京， 確實顯得異類，和主 流藝術有所偏離。加以他偏愛抽象的結構形 式，在中國當代藝壇風行寫實風格、艷俗波 普之際，他的繪畫之路走來行隻影單，這大 概是何以他的藝術要從海外尋找知音吧。
就繪畫形式而言，從1980年代中期開始，黑 與白即為王懷慶創作時的主要色彩，令人聯 想起他的老師吳冠中的影響。從江南古建築 中的粉牆黛瓦，以及傳統書法的結構，他發 現黑與白的單純與力度。黑與白，乃是中國 繪畫傳承裡最重要的色彩，是老祖先流傳已 久的情趣。黑色，更是超越顏色的層次，召 喚出中國傳統藝術裡的內在聯繫。吳冠中從 黑白引渡到抽象畫的構成，啟發王懷慶同樣 選擇黑與白的虛實對應。他刻意將描寫的傢 俱黑色化，改變其生活器物的本色，轉化為 藝術的形式，也顯示個人對文化淵源的追溯 與連結。王懷慶善於處理畫面肌理，在黑白 之間，是斑斑駁駁的空間，象徵了歷史的妝 痕，豐富了繪畫的表情。
城市在現代化過程中，文化卻因而產生斷層 危機，人們拆除了老胡同，老屋內的傢俬也
王懷慶在經營佈局時帶有書法的意識，早期 作品傢具零件形如篆體、有碑帖的斧鑿形式
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趣味；近期構圖可見橫、 撇、豎、捺的生動 豐富的筆勢，呈現抽象表現的精神。藝評家 王嘉驥曾寫道：「王懷慶對於書法性的形式 語法所展現的高度興趣，尤其可以直接從他 2004年以來的作品看出。不但如此，他還從 原來結構性較強的軟性幾何風格，轉變為書 寫性較強的表現主義作風。最明顯的例子， 譬如《高山流水》（2004-2005）、《天 工開物（三）》（2004）、《福在其中》 （2005）、《飛天》（2006）等等。」
歌舞香花，彩帶琴音，自由翱翔，飛天在 歷史傳承中早已是 至美的化身，同時也是 自由與幸福的追求。當王懷慶在詮釋這個優 雅的題材時，刻意增加了白色的比重，凸顯 飛翔中的輕盈感。主體以闊筆橫刷，充滿速 度感，一道道的黑色筆痕，如霓裳彩帶，暗 示飛仙翱翔的流暢。有些黑色的筆觸，還以 塗黑的實木碎片、窗花拼貼，增添畫面的層 次空間，給予觀者新的視覺感受。留白處則 保有畫家向來擅長的豐富肌理處理，斑駁、 皴染、烘托，產生如歷史遺跡、壁畫般的質 感。 《飛天》三聯幅如行雲流水般流暢，帶有東 方的情懷，也具抽象表現的形式。然而，隱 藏在黑色筆觸中崩解的傢俬，斷裂的窗花剪 紙，何嘗不是藝術家對經典文化的追尋與喟 嘆呢？蘇東坡有言：「寄浮游於天地，渺滄 海之一粟，哀吾生之須臾，羨長江之無窮； 挾飛仙以遨遊，抱明月而長終。」藝術家近 年的審美思考，融入更多的禪意哲思，效法 古人的自在胸懷，企求心靈得以同飛仙逍遙 翱翔。
Wang Huaiqing was born and grew up in Beijing. He started his art education in the Affiliated High School of the Central Academy of Fine Art (CAFA) at the age of 12, and continued his education in the academy as a junior and then senior high school student. Afterwards he entered CAFA as a college student with excellent exam grades. Later he graduated from CAFA with a master's degree. All his education was completed in the historical city of the ancient capital, Beijing, and he now has more than 50 years' experience of art creation. Since a young boy, his artworks of painting, wood engravings were chosen by children art competitions or exhibitions held in India and Russia. His eight paintings exhibited in "Same Generation Oil Painting Exhibition", China National Art Museum, Beijing, were pra ised by the American "Wall Street Daily" and French "Contemporary" magazine. Among the eight "Bo Le Choosing a Horse" and "Jujube Trees" were collected as masterpieces by the China National Art Museum. This was the moment when Wang started to make a figure.
“Night Revels of Han Xizai” which is a national treasure held by Beijing’s Palace Museum. Wang’s brand new interpretation of classical aesthetics made his works brilliant eye catchers and a hot topic. The “Art of Wang Huaiqing” exhibition held in Shanghai Art Museum in 2007 was the 63-year-old artist’s debut in Mainland China. The exhibition traveled to the Guangdong Art Museum the next year. It seemed inexplicable that Wang, as a first-grade painter of the Beijing Painting Academy, a member of the China Artist Association, and director of the China Oil Painting Society, has not yet held a solo
王懷慶 《金石為開》 羅芙奧2007秋季拍賣會，編號069，8796萬台幣成交
Wang’s f irst solo exhibition was held in New York in 1987 when he was a guest artist of Oklahoma University. At that time his family had been living in the USA for two years. Later he held several solo exhibitions in Singapore, Taiwan, Macao and Hong Kong, at regular intervals during the1990s, while his works of art were also exhibited in France, Japan, and Germany. He was at that time quite famous abroad. In 1998 in the “China 5000 Years” exhibition in the Guggenheim Museum, New York, which was curated by Chen Kuiyi, a Chinese exhibition designer living in the USA, Wang Huaiqing’s modern- and abstract-style “Night Revel - Night Revels of Han Xizai, Series -1”, was displayed adjacent to Gu Hongzhong’s (a Chinese painter during the Five Dynasties and Ten Kingdoms period) authentic work of
WANG Huaiqing, Gold Stone 1998, oil on canvas, 200 x 480 cm (triptych) Ravenel Autumn Auction 2007, lot 069, US$ 2,726,174 sold
exhibition in his hometown Beijing. His works only sporadically appear in annual exhibitions or expositions of collected oil paintings. Beijing is full of art institutions and is filled with a cultural atmosphere. Is it the case that his paintings are not accepted by the art circles in Beijing? Or is it because Wang feels reluctant to express his passions in his hometown, and would rather expand his fame abroad and hide his capabilities in Beijing’s small alleys? Wang has been living for years in the historic city of an ancient capital, and the works of his entire life cannot be separated from themes in
connection with ancient history and culture. He started from a reference to “Bo Le Choosing a Horse” the classical story in the Spring and Autumn Period, and continued with a collection of Ming-dynasty style furniture paintings from his old chamber to the south of the Changjiang River, then to the recreation of the “Night Revel” of Wei, Jin, Southern and Northern Dynasties, next, enlightened by the ancient scientif ic masterpiece “Tiangong Kaiwu” (“Traces of Nature”) of the Ming Dynasty for “Ancient Jade” and “Eight Treasures”, until f inally his recent painting of “Flying Apsaras”, and “Sceptre [Ruyi-Symbol of Auspices]”. All his works of art reflect his reluctance to part with traditional Chinese culture. He has been so addicted to research of old cultures and old furniture that he himself looks odd if compared with those who regard ancient relics as an ordinary background in Beijing. Moreover, he deflects from the mainstream art style. He is fond of an abstract structural style, and this choice is a path that is less travelled by more realistic, popular and raffish styles, which are widely accepted in China’s contemporary art circles. Maybe those are the reasons why his art has appealed to overseas aficionadas. Culture faces a crisis arising from modernization and urbanization. Old alleys have been demolished, and old furniture has been scattered and lost. The emotions and tastes of our ancestors will gradually vanish as time goes by. Wang Huaiqing constantly lingers in the distributing centers of ancient furniture in Beijing, trying to find some clues to the already disappeared flourish in history. Every time he carries back a couple of objects such as a woodcarved window decoration, old porcelain bottles and jars, desk and chair parts, and accessories. In the eyes of Wang Huaiqing, these pieces used to flourish in prosperous dynasties, but now they have lost the culture to which they were attached,
and they actually have no place to return. They are, in the words of Wang, culturally homeless. Wang said: “When you carefully observe the ‘homeless’ furniture, their parts, postures, body, when you read them, you will feel the dignity and splendor of the ancient world. However, their souls have no place to attach.” (Extracted from the interview record of 'Oil Painting Figures: Wang Huaiqing Looking For Home', CCTV “Investment in Works of Art”, July
Realizing humans’ tiny capability when facing the change of time and history, artists are unable to resist the temptation of resuming the dignity and splendor through their own efforts and their own brushes. Wang bears in mind the culture and spirit that have been forgotten by most people, and keeps finding possibilities for continuing and inheriting past cultures. That is the reason why Wang’s mind is always occupied with the themes of history and culture.
24, 2007)
As for his forms of painting, black and white have been Wang’s main colors since the mid 1980’s. This reminds people of his mentor: Wu Guanzhong. Wang has discovered the purity and strength of black and white from various sources such as the white walls and black tiles of the ancient buildings to the south of the lower reaches of the Changjiang River, and the structures of traditional calligraphy. Black and white is the most important pair of colors in Chinese painting inheritance, and our ancestors’ sentiment of the two colors has been inherited over a long history. Black, at the ultimate level beyond any other color, calls out the inner connection inside traditional Chinese art. Wu Guanzhong guided and transited from B&W colors to the structure of abstract paintings. This enlightened Wang Huaiqing to make the same selection of the contradiction and counterpoint of B&W. He deliberately blackens the furniture in the paintings to alter the original color of the object and to change it into a form of art. This also reflects Wang’s effort of tracing and connecting to the origin of culture. Wang is good at dealing with the texture of paintings. He manages to make mottled spaces between B&W.
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Those spaces represent the trail of history and enrich the expression of the paintings. Wang Huaiqing is conscious of calligraphy while dealing with the overall arrangement of his works of art. His furniture parts in early times are shaped like seal characters and have the ax-and-chisel taste of a rubbing from a stone inscription. The composition of his recent paintings is seen with vivid strokes of various parts of Chinese characters such as horizontal, left falling, vertical, right falling, etc. Those strokes display the spirit of abstractive expressions. Chia Chi Jason Wang, an art critic said: “Wang Huaiqing’s great interest in the calligraphic form of expression is especially perceived from his works of art created after 2004. Moreover, his style has changed from the original flexible geometric characters with strong sense of structure to the current style of expressionism with the emphasis of calligraphic characters. The most typical examples include ‘High Mountain Water Fall’ (2004-2005), ‘Traces of Nature’ (2004), ‘Happiness’ (2005), ‘Flying Apsaras’ (2006).” The painting item “Flying Apsaras” for this auction is Wang’s magnum opus with the strong style of abstractive expressionism. This painting is designed to be a series of three scrolls. Such form and structure endow the work of art with religious awesomeness like altar paintings. The phrase “Flying Apsaras” originated from a Buddhism quotation. Since its spreading in China, Buddhism was also influenced by Taoism and gradually integrated into Chinese culture. Thus Flying Apsaras is granted with oriental visualized figures of flying goddess and heaven beauties. Flying Apsaras is also the most beautiful icon representing Dunhuang Art. For Chinese culture, religious art has significant historic origin and cultural background. As an image of art, Flying Apsaras is the symbol of beautifulness, and is the combination of multiple cultures of India, Middle East, and the
Central Land of China. Flying with freedom and with singing, dancing, fragrance, flowers, banners and music, Flying Apsaras has long been the incarnation of ultimate beautifulness in history and cultural inheritance. It also represents the pursuit of freedom and happiness. Wang Huaiqing designed to describe the themes by adding the proportion of whiteness to emphasize the lightness of flying. The main part painted with broad brushes shows speediness. The bannerlike strokes of black lines imply the fluentness of the flying immortal. Some black strokes matched and pasted with blackened solid wood pieces, window decorations, etc. provide observers with new visual experience. Whereas the artist’s specialized textiling skills reserved to deal with the blank areas add the works of art with the quality of historical relics and murals by means of various expressions such as variegate, shading around to make stand out, wrinkled painting, etc. As fluent as floating cloud and running water, the three scrolls of “Flying Apsaras” carry the oriental feelings and have the form of abstractive expressionism. However, aren’t the collapsed furniture and broken window decorations and paper cuttings hidden in black brush strokes bearing the artist’s pursuit to classical cultures and his sigh with deep feeling thereupon? Su Dongpo, the great poet in Song Dynasty said in his prose: “Live in the ultimate world like a mayfly, and as a millet in the ocean as tiny, we bemoan what a short life we are leading, and envy the Changjiang River’s infinite running; how I wish to fly around the universe, hand in hand with the immortals, and to embrace the shiny moon, living and exist endlessly in heaven.” The artist adds in his recent works of art more Zen philosophy and wisdom, seeking to learn from the ancestors’ free bosom and open mind, and to set people’s spirit as free as the flying immortals.
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CAI Guo-Qiang & (Chinese, b. 1957)
TSAI Kang-yung (Taiwanese, b. 1962)
Art Shopping Network 2005 Installation (gunpowder, ink, Golden Yuan Bills, mounted on paper; Janpanese paper mounted onto wood as 4-panel folding screen; DVD, VCD, sketches) 200 x 300 cm (polytych) 35.5 x 28 cm; 36.5 x 27.5 cm (Numinous talismans) Titled lower right Art Shopping Network, signed Cai Guo-Qiang in Chinese and Cai in English and Tsai Kang-yung in Chinese and KY Tsai in English, dated 2005. 3. 31 EXHIBITED: Trading Place: Contemporary Art Museum /Contemporary, Generation, Aesthetics, Technique, Institution, Taipei MoCA, Taipei, April 2-May 22, 2005 ILLUSTRATED: Kao Chien-hui, Nan Fang Shuo, Britta Erickson, Trading Place, Taipei MoCA, Taipei, 2005, color illustrated, pp. 138-145
NT$ 16,000,000-24,000,000 US$ 477,600-716,400 HK$ 3,721,000-5,581,000
蔡國強&蔡康永 電視購畫 2005 複合媒材裝置（火藥、水墨、金圓券／金圓 券裱於宣紙；屏風／日本紙裱於木板；影像 光碟、聲音光碟、計劃手稿） 200 x 300cm（四聯屏風） 35.5 x 28 cm; 36.5 x 27.5 cm（招財平安符） 簽名右下：電視購畫 蔡國強 Cai 2005.3.31 原來都是過往雲煙 蔡康永 KY Tsai 2005.3.31 展覽： 「偷天換日︰當．代．美．術．館」，台北 當代藝術館，台北，展期2005年4月2日至 5月22日 圖錄： 高千惠、南方朔、林似竹，《偷天換日》， 台北當代藝術館，台北，2005，彩色圖版， 頁138-145
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並將銷售行為藝術錄 影裝置展出於台北當 代藝術館。2009年11 月蔡國強又即將來到 台灣，計畫在台北市 立美術館舉辦個人畫 展。 蔡國強無疑是最受矚 目的當代華人藝術家 之一，擅長以最傳 統的中國素材，像火 「偷天換日：當．代．美．術．館」，當代美術館，台北，2005 藥、瓷器、中草藥、 Trading Place: Contemporary Art Museum, 風箏、竹筏、風水， Museum of Contemporary Art, Taipei, 2005 演繹最前衛的現代藝 術。因為出生在一個 2009年3月，西班牙畢耳包古根漢美術館蔡 禁錮的年代，反而擁有叛逆的性格，敢為人 國強「我想要相信」個展開幕，吸引國際媒 所不敢為，他的創作計畫幾乎是不可能的任 體爭相報導。此一展覽2008年在紐約古根漢 務。天生的衝撞性格，無畏於與各國政府周 美術館初次展出時，曾創下該館1937年開館 旋，提出顛覆性的創作計畫。尤其是他挑選 以來最高參觀人數紀錄。蔡國強也是第一位 了一個最難控制，最有危險性的火藥，作為 在古根漢美術館個展的華人藝術家。策展人 他的主要創作媒材，但其迴響往往也最大。 楊心一曾明白指出，藝術家若能在古根漢美 蔡國強說︰「火藥是我創意的一個源泉，不 術館舉辦個展，幾乎等於拿到「終生成就 是目的，通過這種方式，我還是回到藝術家 獎」的肯定了。 本身對世界、人的思考。」透過火藥爆破， 蔡國強探討許多當代議題，許多和我們生活 在國際藝壇上，旅居美國的蔡國強早已擁 息息相關，如1998年台海關係緊張之際，在 有高知名度，得獎無數。1996年他入圍第 台北以暗喻金錢攻勢的「金飛彈」化解政治 一屆「雨果伯斯獎」最後評選名單，這是德 的僵局。後來的美國911事件、APEC會議、 國服裝品牌與紐約古根漢美術館合作的藝術 北京奧運，皆有其爆破藝術的參與，他的創 獎賞；1999年獲得第四十八屆義大利威尼斯 作無疑地記錄著世界各地的大事件。 雙年展「金獅獎」，此乃當代藝術領域的至 高榮譽；2001年獲美國加州藝術學院「歐特 自嘲喜愛胡思亂想的蔡國強，所關注的議題 柏藝術獎」；2005年他的作品贏得國際藝術 頗為廣泛。他的創作結合各領域的專業，例 評論家協會評選之新英格蘭年度「美術館最 如時尚界三宅一生、電影導演、建築師、作 佳展覽」及「美術館最佳裝置作品」兩項殊 曲家、舞蹈家，共同完成藝術計畫。2005年 榮；表彰為和平作出貢獻的國際當代藝術 為參加台北當代藝術館高千惠策劃的展覽， 家，三年一次的日本「廣島獎」，2007年第 蔡國強和台灣媒體人蔡康永合作，共同完成 七屆獎項頒發給中國藝術家蔡國強。而蔡國 了《電視購畫》計畫。策展人的原始概念是 強更是數度入選英國《藝術觀點》雜誌「當 「交換」，蔡國強思考藝壇身分的易位，於 代藝術影響力一百人」名單。 是找來他的收藏家蔡康永合作提案，兩人共 蔡國強還是首位登陸台灣的中國前衛藝術 家，和台灣藝術界淵源頗深。他來自福建 泉州，台灣人有多數是福建移民，比例最多 即是來自泉州和漳州。就地理與語言而言， 蔡國強和台灣有人親土親的優勢。1998年他 首度在台北誠品畫廊舉辦個展；同年《金飛 彈》、《廣告城》兩件作品參加1998年台北 雙年展，又以火藥爆破方式，引爆台中國立 美術館，話題十足。2000年《萬里長城延長 一萬米》在國立歷史博物館展出；台灣發生 921大地震之後，他在台創作《九二一的烙 印－感恩》，舉行義賣，並展出於國立台 灣美術館；參加2004年金門碉堡藝術展； 2005年透過電視購物方式行銷爆破金圓券，
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同執行。這項計畫的原始動機探討「販賣藝 術的手法可以多露骨？能夠打動多少從不甩 當代藝術的消費者？」挑戰大眾對藝術品的 接受度，提出藝術品在商業市場上的價值意 義。 台灣電視傳媒發展蓬勃，家戶幾乎安裝有線 電視，而電視頻道之多更是世界奇觀，購物 頻道二十四小時販賣各式商品，業績蒸蒸日 上。對一般人而言，電視傳媒很近，但藝術 卻很遠，很小眾，對一般人而言，藝術存在 美術館裡，或許很多電視視聽人生平難得走 一趟美術館。而透過電視購物平台來推銷藝 術品，的確是一項創新的嘗試，符合台灣區 域性的媒體環境與特質，然而對當代藝術領
域而言，卻也是十足達達式的顛覆思路。 金圓券是國民政府為了控制通貨膨脹，194 8 年8月19日在上海發行，然而物價飆漲，金 圓券快速貶值，一年不到即停止發行，成為 世界上壽命最短的貨幣。對照金融風暴襲擊 後的今日，頗有警示與嘲諷之意。而在古董 紙幣上爆破，沒有毀損國幣之虞，且巧妙地 轉化為傳統版畫式的「平安符」。藝術家挑 選了「錢幣」和「護身符」兩種普羅大眾容 易接受的物件，作為其藝術品的「賣點」， 加上購物專家口中的增值性，透過傳媒成功 行銷藝術品。 兩張一組的上海金圓券舊幣，一共六十六 組，六六大順，取其吉祥之意。鋪在四扇裱 有日本紙的屏風上，由蔡國強在屏風上進行 爆破，六十六組金圓券上火藥燒灼出各不相 同的圖案，裱貼在A4大小的棉紙上，蓋上 朱印，簽上藝術家姓名，裝上畫框，形成蔡 康永叫賣的「招財平安符」。整個爆破行動 於2005年3月29日在台北當代藝術館舉行， 當天因天雨將計畫移至建成國中舉行。隔日 晚間九點在富邦M O M O購物台進行四十分 鐘的拍賣，蔡康永客串購物專家，蔡國強坐 在一旁，充當提供藝術 品的商家，接受商 品諮詢，每組「招財平安符」定價台幣九 萬九千元（約三千美元）。果然時間內， 六十六組藝術品銷售一空，藝術品跟商品一 樣，不滿意可退，因此當天另有三十五位候 補名單，全程電視拍賣過程錄影記錄，並成 為《電視購畫》創作的一部份。 高千惠在台北當代藝術館的展覽前言中寫到 ︰「權力之外，金權也是藝壇一大有關權力 與價值的想像。藝術作品與商品的界域一直 是當代藝術家們很切身的話題。而藝術家快 速從創作生產者到藝壇名家，也是一則當代 文化的神話。因為具有神話色彩，所以連生 產到上市的過程都充滿了『藝術』與『商 機』的幻化色彩。這套後現代藝術市場演 出，介於現實與超現實之間，是真實，也是 荒謬。這也是『偷天換日』裡出現『蔡康永 v s.蔡國強』以身示範拍賣會的理由。蔡國 強近年來製作出『到處都是美術館』的發展 系列，他傾於找藝術家合作演出，在過程中 典藏了對方的表現手法。當『當．代．美． 術．館』請他對當代藝壇發聲時，蔡國強約 邀他的一位藏家蔡康永並置出現。根據台灣 綜藝界名人蔡康永的方案，蔡國強將炸了一 批上海金圓券，蔡康永則把這批金圓券拿到 電視購物頻道去賣，所得也將以正常的商業 規律運作。這個在電視台攝影棚製作的實況 紀錄，將在台北當代藝術館的展廳播放，同 時與民眾的多重購物電話聲音混合構成空間 裝置。此《電視購畫》一作的製作目的在
於，測試一般不走進美術館的人，對藝術品 販售的價碼或方式，會作何反應。這個構想 亦試圖通過最為普羅大眾、時髦的電視購物 型式，把高高在上的當代藝術作品送入千家 萬戶，服務到家。兩位合作者提出：金圓券 與藝術品、藝術與錢幣交易一樣漲跌分明， 都是市場。」 《電視購畫》裝置作品是整項計畫的記錄， 它包括了原先鋪有66組金圓券火藥爆破遺跡 的四屏屏風，以及購物台行銷藝術品的錄像 記錄，結合成一個盛大的空間裝置作品， 2005年4月2日在台北當代藝術館的「偷天換 日」展覽首度對外展出。《電視購畫》強化 了台灣媒體社會與藝術收藏的形象，利用媒 體行銷當代藝術，藝術家、收藏家、媒體、 美術館、畫商拍賣銷售等行為，連 結了藝術機制中的收藏概念。金圓 券象徵 的經濟資本，藝術品所代表 的文化資本，在此被有趣的連結。
Cai Guo-Qiang’s solo exhibition “I Want to Believe” opened in the Guggenheim Museum, Bilbao in March 2009, and it has attracted the attention of many international media. This exhibition debuted in the Guggenheim Museum New York City in 2008 and set the record for the highest number of visitors for the museum. Cai Guo-Qiang is the first Chinese artist to have a solo exhibition in the Guggenheim Museum. Yang Shin-yi, the exhibition designer, has said that an artist’s solo exhibition in the Guggenheim is almost equal to the recognition of a “lifetime achievement award.” Cai Guo-Qiang, an internationally renowned artist, lives in America and has won countless awards. He was on the shortlist of the 1996 Hugo Boss Prize, an art award granted through the collaboration of the German garment brand and the Guggenheim Museum New York; he won the Golden Lion Award at the 48th Venice Biennial in 1999, the supreme honor in the field of art; he won the CalArts/Alpert Award of the California College of the Arts in 2001; his artworks were crowned in 2005 by the International Association of Art Critics with two laurels: Best Monographic Museum Show New England, and Best Installation or Single Work of Art in a Museum New England; he received an award as a contributing international contemporary artist, the 7th Hiroshima Art Prize in 2007. Cai
Guo-Qiang has been listed several times in ArtReview’s Power 100. Cai Guo-Qiang is the f irst Mainland China avant-garde artist who has built footprints in Taiwan. He is from Quanzhou, Fujian Province, and thus his origins have a lot in common with the people of Taiwan. Most Taiwanese are immigrants from Fujian Province, and most of them are from Quanzhou and Zhangzhou. Cai, therefore, has the advantage of close folk ties with Taiwanese in terms of geographic origins, common dialects and accents. He held his first Taiwan solo exhibition in Taipei’s Eslite Gallery in 1998, and two of his artworks “Golden Missile” and “Advertising Castle”
爆破後的金圓券，隨後裱製成66組招財平安符 The Golden Yuan Bills after explosion which were divided into 66 sets of numinous talismans
were displayed in the 1998 Taipei Biennial. He also “Bombed” the Taiwan Museum of Art with fireworks, which drew major attention and became a hot topic. His “Extend the Great Wall for Ten Kilometers” was displayed in the National Museum of History in 2000; after the occurrence of September 21 earthquake in Taiwan, he created in Taiwan “The Mark of 921 - Gratitude”, which was then sold for charity and after being exhibited in the Taiwan Museum of Art; he attended the Kinmen Bunker Art Show in 2004; he sold exploded Golden Yuan Bills (paper money issued by the Kuomintang Government in 1948) through TV shopping, and a video installation which recorded the sales as performance art was displayed in MoCA Taipei [The video is part of this work]. Cai Guo-Qiang will visit Taiwan and hold a solo exhibition in the Taipei Fine Arts Museum in November 2009. Cai Guo-Qiang attracts more global attention
than any other contemporary Chinese artist. He is very accomplished in creating the most avant-garde contemporary art using very traditional Chinese elements such as gunpowder, porcelain, Chinese herbal medicine, kites, bamboo rafts, and Fengshui. He grew up in a period which allowed him to develop a rebellious streak, and for all his life as an artist he has dared to act beyond other’s limitations. His art concepts are so extraordinary that they seem almost like impossible missions. He was born to be a counter-reactionary, and he has never been afraid of courting governments to put forward his convention-overthrowing art creations. In particular, he chooses hard-tocontrol and dangerous gunpowder as the main media material for his art creations arousing the strongest reactions. Cai has said: “Gunpowder is actually one of the sources of my designs and ideas, rather than any intention. By means of the powder, I still come back to the meditation of the world and human beings.” Cai’s firework explosions have reflected many current topics, and many of them are also closely connected to our daily life. For example, at a moment of hightension in Cross-Strait relations in 1998, Cai tried to dissolve the political deadlock with his “Golden Missiles” a work which was actually a metaphor for money attack. Other major events such as 911, an APEC conference in Shanghai, and the Beijing Olympics, have all witnessed his explosive art. Cai’s creations have incontrovertibly recorded global events. Cai Guo-Qiang in self-mockery said that he has a whimsical brain. He has quite extensive interests and his artworks have been related to many fields. His works have been created in cooperation with different professionals, such as Issey Miyake the fashion designer, f ilm directors, architects, music composers, and dancers among others. Cai cooperated with Tsai Kang-yung, a Taiwan media person, to complete an event of “Air Shopping Network”, which was part of an exhibition in the Taipei Contemporary Art Museum designed by Kao Chien-hui in 2005. The designer’s original concept was “Trading”. Cai mulled the concept of position exchange in the field of art, and asked Tsai Kang-yung, a collector, to collaborate in planning and implementing his artistic idea.
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The original motivation for his plan was to discuss “How undisguised the tact of selling art could be”, and “How many consumers who were never keen about contemporary art would be attracted”. He was in effect challenging the masses’ acceptance of works of art, and bringing forward the value and significance of works of art in the commercial market. Ta i w a n h a s w i t n e s s e d a b o o m i n t h e development of TV media. Cable TV is installed in almost every single household, and there are a spectacularly large number of TV channels. The shopping channel’s 24-hour selling programs of various items have flourished. For ordinary people, TV media is near, but art is far away with a relatively smaller audience group; for ordinary people, art only exists in galleries or museums. Perhaps many TV or Audio-Visual professionals seldom pay a visit to an art museum during their entire life. Cai’s project was certainly a creative attempt to promote works of art through a TV shopping network, tapping into the regional media environment and characteristics of Taiwan. As regards contemporary art, it followed the dada-style in art where ordinary conventions were overthrown. G o l d e n Yu a n B i l l s we r e i s s u e d by t h e Kuomintang government on August 19th, 1948 to control inflation at that time. However as inflation spiraled out of control the value of the Golden Yuan Bills crashed, the issuance of which was stopped in less than a year. The bills became the shortest lasting currency that existed for the world. With the present financial storms, Cai’s artwork can be seen as a type of warning and a sarcastic comment on monetary value. Exploding old money avoided the suspicion of destroying and insulting the national money. On the contrary, the artwork was translated into “Safety Tally” of a traditional engraving style. The artist selected the elements of “money” and “talisman” as the selling point of their work of art, and this would make it easy to accept for the mass. The value-adding comments of shopping experts also promoted a successful media selling of the works of art. 66 (Double six represents great success and prosperity in Chinese culture) sets of antique Shanghai Golden Yuan Bills (each set includes two bills) were spread on four sheets of Japanese paper mounted screens. The Cai Guo-Qiang blew up the bills on the screens. The Bills burnt into various different patterns, and were then
pasted onto A4-sized cotton paper, stamped, signed by the artists, and framed to become the “Tally of Safety and Fortune”, which Tsai Kangyung used as the rallying call as he exhorted sellers to buy the works. The entire performance started on March 29th, 2005 in MoCA, Taipei, but the venue for the event was moved to Jiancheng High School due to rainy weather. A forty-minute auction was held at the counter of MOMO at nine o’clock the following day. Tsai Kang-yung as guest host acted as a shopping expert, and Cai Guo-Qiang, sitting beside him as the seller of the artworks, accepted commodity consultations. The price of each set of “Tally of Safety and Fortune” was NT$ 99,000. (about US$ 3,000). The 66 sets of works were, as expected, sold out within the scheduled time. As with other commodities, the works could be returned if any buyer felt dissatisfied with their purchase, to guard against such a case 35 alternate buys were taken and kept in reserve on the day. The whole TV auction process was recorded on video, and formed a part of the creation of “Art Shopping Network”. Kao Chien-hui said in the foreword for the exhibition of Taipei Contemporary Art Museum: “Besides power, money is also an object of imagination related to power and value. The boundary between works of art and commodities has always been a direct topic of contemporary artists. It is also a miracle of contemporary culture that a creator of art can rapidly become a famous artist. Because of this miraculous atmosphere, the process of production and entering the market is filled with the mirage of ‘art’ and ‘business opportunities’. This performance of marketing post-modernism art is between realism and surrealism, and is both reality and absurdity This was the reason for the personal demonstration of the auction, ‘Tsai Kang-yung vs. Cai Guo-Qiang’ in Trading Place. Cai Guo-Qiang recently produced ‘Art Museum Is Everywhere’ development series, in which he was inclined to cooperate with other artists for performances and would make his partner's techniques of representation classical collections. When the ‘Contemporary, Generation, Aesthetics, Technique, Institution’ (the word-by-word translation of Contemporary Art Museum from Chinese to English) invited him to give voice to the field of contemporary art, Cai Guo-Qiang invited Tsai Kang-yung, a collector and a well-known celebrity in the field of comprehensive art in Taiwan, to stand side by side with him. According to Tsai Kang-yung’s
proposal, Cai Guo-Qiang would explode a batch of Golden Yuan Bills, and Tsai Kang-yung would sell those exploded Golden Yuan Bills on the TV Shopping Channel. The proceeds would be handled according to conventional business rules. The whole performance was recorded on video, which was produced in the studio of a TV station and displayed at MoCA, Taipei for the duration of the exhibition. Simultaneously this would be mixed with multiple telephone voices of the mass purchasers who would like to place an order, thus forming a spatial installation. The purpose of producing such a program of ‘Art Shopping Network’ is to test how people, who would never think of visiting a museum, would react to the price of such objects and this way of selling art. This idea also intended to project art, which is usually regarded as something standing high above the masses, directly into the homes of each and every viewer by means of the most universal, popular, and fashionable form of TV shopping. The two partners pointed out that: In terms of the rising and falling of values, works of art are similar to Golden Yuan Bills, so art is a money exchange. They are all about market.” “Art Shopping Network” installation work is the record of the entire project. The grand spatial installation work including the four screen panels which were covered with 66 sets of Golden Yuan Bills and then exploded with gunpowder, and the video recording of the selling of exploded bills on the shopping channel debuted in the “Trading Place” exhibition in MoCA Taipei on Apr. 2nd, 2005. “Art Shopping Network” strengthened the image of social and art collection with the Taiwan media, and sold contemporary art through the media. The auction and selling conducted by the artists, collectors, the media, and the art museum interlinked the concept of collection in the art mechanism. The economic capital represented by Golden Yuan Bills and the cultural capital represented by works of art are thus linked in an interesting way.
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CHU Teh-chun
(Chinese-French, b. 1920)
Effusion 2004 Oil on canvas 130 x 162 cm Signed lower right CHU TEH-CHUN in Chinese and English, dated 04 Titled on the reverse “Effusion”, signed CHU TEH-CHUN in Chinese and English, dated 2004 ILLUSTRATED: Pierre-Jean Rémy, Chu Teh-Chun, La Différence, Paris, 2006, color illustrated, p. 261
NT$ 5,000,000-7,000,000 US$ 149,300-209,000 HK$ 1,163,000-1,628,000
朱德群 流露 2004 油彩 畫布 130 x 162 cm 簽名右下：朱德群 CHU TEH-CHUN 04 簽名畫背：“Effusion” CHU TEH-CHUN 朱德群 2004 圖錄： 皮耶－尚．雷米，《朱德群畫集》，拉迪 夫羅斯出版社，巴黎，2006，彩色圖版， 頁261
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朱德群自1950年代開始研究抽象繪畫，受到 法國畫家史塔耶爾的繪畫啟示，從色塊結構 延展出早期的抽象靈感，融入思考後，逐漸 構築成獨特的畫風。後來的繪畫創作則以光 線為主角，高彩度色彩及大面積刷筆的動 態，形成如夜空裡閃爍的珠玉。朱德群的近 期創作則已發揮到了隨心所欲的境界，可謂 爐火純青。隨著他線條與筆觸的任意遊走， 沉浸其中，可以達到一種忘我之境，使觀者 倍感愉悅暢快。
shapes appear as if by magic on the canvas or paper, and the artist becomes so absorbed in his work that he imperceptibly enters a trancelike state of self-oblivion. This is easily communicated through his finished pictures, and induces a carefree and cheerful spirit in the viewer.
此幅2004年創作的《流露》是他近期的經典 作品之一。畫面中各種色階的紅色、黃色和 藍色映襯著黑色並佈滿畫面，鮮明、豐富、 大膽且變化多端。彩色的點塊如同跳躍的音 符，又如繁花，透出明亮清澈的光線，勾勒 出藏於畫家內心深處生命中的甜美記憶。
During the 1950s, Chu Teh-chun began to experiment with abstract painting, due in large part to the influence of the RussianFrench painter de Staël, whose works were like a revelation to Chu. Taking slabs of color as the basic structural element and source of inspiration for his early abstract attempts, Chu, through careful reflection and design, gradually developed his own unique style. In his later years, rays of light became the focal point of his attention, conveyed by very bright and brilliant colors applied with broad strokes of a wide brush. This technique produced an effect as of dazzling iridescent lights shimmering and flickering in a dark night sky. In his latest pieces, Chu Teh-chun has already attained a level of unimpeded, free-flowing creative output, wielding his brush at will to give complete rein to his consummate skills. As the brush follows where his mind leads, moving rapidly in every desired direction, lines and
This painting from 2004 titled "Effusion" is one of his recent masterpieces. Numerous shades of red, yellow and blue are set off with particular intensity and luster against the black background. The bold composition and rich hues dazzle the viewer with multifaceted layers of space and color. The dotted slabs of paint seem to be dancing like musical notes on the surface of the painting, metamorphosing into blossoming flowers or bright, lucid rays of light the next moment, ever communicating the multitude of pleasant recollections of a long life effusing from the depth of the artist's heart.
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George CHANN
(Chinese-American, 1913-1995)
Bronze and Stone Variation X c. 1980s Oil on canvas, collage 137 x 131 cm Signed lower right GEO CHANN in English EXHIBITED: George Chann, Lin & Keng Gallery, Taipei, Feb. 28- Mar. 21, 2000 ILLUSTRATED: George Chann, Lin & Keng Gallery, Taipei, 2000, color illustrated, pp. 122-123
NT$ 3,000,000-4,000,000 US$ 89,600-119,400 HK$ 698,000-930,000
陳蔭羆 金石變奏－X 約1980年代 油彩 畫布 拼貼 137 x 131 cm 簽名右下：GEO CHANN 展覽： 「陳蔭羆個展」，大未來畫廊，台北，展期 自2000年2月28日至3月21日 圖錄： 《陳蔭羆》，大未來畫廊，台北，2000， 彩色圖版，頁122-123
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陳蔭羆出生廣東，曾拜師習書法，12歲時隨 父親移民美國。他接受完整的西方美術教 育，入洛杉磯名校奧蒂斯藝術學院（今洛杉 磯藝術學院前身），擅長印象派寫實風格， 因成績優異留校任教職。他的藝術深受洛 杉磯郡立美術館館長賞識，獲推薦在加州主 要美術館展覽，還為美國名人畫像，頗富盛 名。 除精通肖像油畫、風景水彩及後期描寫聖經 故事，1950年代陳蔭羆投入抽象表現主義浪 潮，擷取東方古老文字、歷史紋飾等視覺元 素，混合自動性、原生藝術之率性，創作出 斑斕的抽象形式，最能代表陳蔭羆的個人風 格。憑藉對文化探索的熱誠，數十年創作不 輟。 《金石變奏－X》挪用青銅饕餮紋飾的文化 表徵，混雜紙糊、裱貼等媒材聚合、堆砌， 完成一幅碑帖式的現代圖畫書寫。其繪畫是 古老文化的尋根溯源，色彩瑰麗、交錯的線 性結構具現代感，雖繁複交錯卻有某種秩序 感，反映藝術家生活於南加州的繁華都會文 化狀態。
George Chann was born in Guangdong, China, where he learned calligraphy as a young boy. He immigrated to the USA with his father at the age of 12. He received a Western art education in the Otis Art Institute (currently the Los Angeles Art Institute), where he became accomplished in impressionism and the realistic style. Because of his achievements, he was offered a position by the institute as an instructor. His works were
especially appreciated by the director of the Los Angeles County Museum, who recommended his artwork for exhibitions in the major art museums of California. Chann also painted portraits for American social celebrities and built up a strong reputation. George Chann was skillful in oil portrait and watercolor landscapes. Later he also illustrated Bible stories. In the 1950s, he dedicated himself to the tide of abstract expressionism. He selected various visual elements from the essence of ancient oriental characters, historical patterns and decorations, mixing them with automatism and the forthrightness and sincerity of native and primitive art. The multicolored abstract form created by Chann typically represents his individual style. He continued his enthusiasm for cultural exploration which influenced his creations over many decades. In the painting “Bronze and Stone Variation X”, the artist appropriated cultural symbols of Tao-Tie decorative patterns on ancient bronze vessels. He employs materials such as paper pasting and mounting to aggregate and build up his work, thus completing a modern painting and work of handwriting inspired by stone inscription rubbing style. The painting explores the root of ancient culture; the colorful and interlaced linear structure of the modern style, which is complicated but still in a certain order, reflecting the cultural position of the bustling metropolitan areas in Southern California, where the painter lived.
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LI Chen
(Taiwanese, b. 1963)
Snow Wonderland 2007 Bronze sculpture, edition no. 2/8 41(L) x 35(W) x 73(H) cm Signed Li Chen in English, dated 2007 and numbered 2/8 With one seal of the artist ILLUSTRATED: Li Chen in Beijing - In Search of Spiritual Space, Asia Art Center, Taipei, 2008, black-and-white illustrated, p. 199 (potter's clay version)
NT$ 900,000-2,000,000 US$ 26,900-59,700 HK$ 209,000-465,000
李真 雪峰仙蹤 2007 銅雕 2/8 41 (長) x 35 (寬) x 73 (高) cm 簽名：Li Chen 2/8 2007 鈐印：李真 圖錄： 《李真：中國美術館個展—尋找精神的空 間》，亞洲藝術中心，台北，2008，黑白 圖版，頁199（土胚版本）
此件作品《雪峰仙蹤》完成於2007年，為李 真「大氣神遊」系列的最新創作之一。李真 創作從中國意境粹取，作品帶有一種「仙 氣」，強調「遊」的意象，以空明境界讓觀 者沉澱與紓解，在精氣神內自在悠遊，用最 真的態度面對生命。就雕塑肌理與線條關 係，李真表現出高超的融合性，看似簡約， 但在光影下卻充滿變化，圓滿造型中依然有 其精妙的神韻。左握拂塵，右推掌印，雙足 交叉而立。「拂塵」在道家意涵中有拂去塵 緣超凡脫俗之意，也是道門中人外出雲遊隨 身攜帶之物。仙風道骨油然而生，畫龍點睛 之妙為雕塑增添神秘感。在質感上用中國墨 黑色帶有霧亮處理形成特有效果，使觀者有 既重又輕的感覺，銀的溫潤與黑的能量，既 對比又和諧，是一件耐人尋味的精品。 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。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， 使觀賞者有立即的感動。李真作品中的心靈 世界，加上幽默感與寬闊內韻之造化，呈現 虛幻清靜的氣質，是太虛智慧包容的意涵， 即簡單又直接傳達姿勢語彙。《雪峰仙蹤》 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。
“Snow Wonderland” was completed in 2007. It is one of the latest creations of Li Chen’s “Spiritual Journey through the Great Ether” series. Absorbing the essence of Chinese artistic conception, Li Chen’s work contains a kind of celestial atmosphere, and emphasizes a “journey”, guiding observers to calm down and relax in an empty and bright state of mind, to comfortably and leisurely enjoy a spiritual journey, and to face life with the most genuine attitude. Li Chen displays superb integration of texture and lines in his sculpture. The work looks simple, but abounds with changes in light and shadow, with profound and delicate
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verve resting within its roundish shape. The figure holds a horsetail whisk in its left hand, and pushes a palm with its right hand, and stands with crossed feet. According to Taoism, a horsetail whisk is actually a metaphor for wiping off mortal destiny to achieve transcendency and be freed from earthliness. Traditionally a Taoist would take a horsetail whisk with them while they travel. The work spontaneously emanates and shows the flavor and spirit of an immortal Taoist and the vivid sculpture is also added with a mysterious atmosphere. The sense of reality is emphasized by the special effect of ink black treated with misty brightness, which gives observers a feeling of weight and of lightness as well. The opposition and harmony of gentle silver and energetic black make the excellent work of art affordable for thoughts. By means of contemporary sculpture, Li Chen has developed a new oriental spirit which is different from its traditional outlook, and displays a higher level of spiritual beauty, and has enabled the traditional statue which originated thousands of years ago to perfectly integrate with modern elements. He presents via visual images the narrow gap between material space and spiritual space, and further expresses the value of human beings and spirit, arousing the immediate emotion of viewers. The spiritual world reflected in Li Chen’s work, plus his sense of humor and design of rich implication, presents feelings of emptiness, illusion, and quietness, which are the meaning and connotation of heavenly wisdom. It is simple in design, and conveys direct body language. The “Snow Wonderland” successfully expresses the perfect integration of the mountain, the immortal, and human beings. This rare and elaborate work of art visualizes the concept of “emptiness” in Buddhism and that of “Qi (close to the meaning of ‘spirit’)” in the philosophy of Laozi and Zhuangzi, and simultaneously shows concern for the mortal world by conveying the notion of peace.
058
LI Chen
(Taiwanese, b. 1963)
Clear Soul 2002 Bronze sculpture, edition no. 2/8 36(L) x 75(W) x 54(H) cm Signed Li Chen in English and Chinese, dated 2002 and numbered 2/8 on the bottom of the robes With one seal of the artist EXHIBITED: T h e C o n t e m p o ra r y R o a d o f M e d i a a n d Tradition: Top10 Chinese Contemporary Sculpture Exhibition, Asia Art Center, Beijing, April 7- May 6, 2007 Li Chen in 52nd Venice Biennale – Energy of Emptiness, Telecom Italia Future Centre, Venice, June 10 – November 21, 2007 (large version) ILLUSTRATED: Li Chen Sculpture 1992-2002, Asia Art Center, Taipei, 2004, color illustrated, pp.88-89 (small version) Top 10 Chinese Contemporary Sculpture Exhibition, Asia Art Center, Beijing, May 2007, color illustrated, p. 50 Li Chen in 52nd Venice Biennale – Energy of Emptiness, Asia Art Center, Taipei, 2007, color illustrated, pp.140-141; black-and-white, p. 219 Li Chen in Beijing - In Search of Spiritual Space, Asia Art Center, Taipei, 2008, color illustrated, pp. 64-71; black-and-white illustrated, p. 197
展覽： 「中國當代雕塑十人展」（策展人：朱 其），亞洲藝術中心，北京，展期自2007年 4月7日至5月6日 「第52屆威尼斯雙年展—尋找精神的空間． 虛空中的能量：李真雕塑展」，未來展望美 術館，威尼斯，展期自2007年6月10日至11 月21日（較大版本） 圖錄： 《李真雕塑1992-2002》，亞洲藝術中心， 台北，2004，彩色圖版，頁88-89（較小版 本） 《中國當代雕塑十人展》，亞洲藝術中 心，北京，2007，彩色圖版，頁50 《李真第52屆威尼斯雙年展—虛空中的能 量》，亞洲藝術中心，台北，2007年5月出 版，彩色圖版，頁140-141；黑白圖版，頁 219 《李真：中國美術館個展—尋找精神的空 間》，亞洲藝術中心，台北，2008，彩色 圖版，頁64-71；黑白圖版，頁197
NT$ 900,000-2,000,000 US$ 26,900-59,700 HK$ 209,000-465,000
李真 無心海 2002 銅雕 2/8 36(長) x 75(寬) x 54(高) cm 簽名：Li Chen 李真 2/8 2002（上） 李真 2002（下） 鈐印：李真
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《無心海》為李真2002年作品，為「大氣神 遊」系列作品之一，透過獨創的「鎏銀」材 質，塑造出一宛若明鏡之倒影，《無心海》 比喻人唯有保持澄淨無垢的「清淨心」，致 若赤子的境界，才能無憂無慮的倘佯在清澈 的湖水之上。《無心海》純淨無瑕的赤子之 身，無欲無求，不拘於七情六欲，師法自 然，以最真的態度來面對生命，享受生活。 《無心海》似有心，若無心；是實境，若虛
境，生命是真、非真，在時間中消失。宛若 明鏡之倒影，它是澄淨無垢的「清淨心」， 般若諸佛境界，才能無憂無慮的徜徉在清澈 湖水之上。細品李真作品，也如同他的名字 般給予人赤子的純真感動。沒有過度繁瑣的 線條，渾圓純樸的造型總令觀者會心一笑， 精簡中有渾然天成氣韻之美，呈現出超時空 的視覺震撼。而《無心海》則是李真追求藝 術深層境界的代表作之一。
“Clear Soul”, created in 2002 by Li Chen, is part of his series “Spiritual Journey through the Great Ether”. The sculpture exclusively adopts a silvering material and creates a mirrorlike inverting effect. "Clear Soul” figuratively suggests that only a pure and spotless soul, such as that of a newborn baby, may freely fly over the serene and clear lake. The infant-like “Clear Soul” actually means freedom from desires or demands, negating mortal emotions or desires, complying with the rules of nature, and facing and enjoy life with the most genuine attitude. “Clear Soul” seems as if a mind of concerns has seemingly cast off the concerns of mortal toil; it is substantial but feels weightless. Life is real and yet full of illusions, which are doomed to vanish as time goes by. This philosophy can be compared to a mirror-like inverting effect. Pure and spotless “Clear Soul”, which is the boundary of Buddhism, will enjoy the freedom of flying over the serene and clear lake. The viewer thoroughly tasting Li Chen’s works, will be touched by his “trueness”, which, as if that of a newborn baby, has already been accidentally revealed by his own name (The Chinese character “Chen” means “true”) There are no over-complicated lines, and the perfectly round and unsophisticated image or figures always result in understanding smiles in observers. The simple design contains integrated flavor and natural beauty, and presents a visual impact beyond time and space. “Clear Soul” is one of Li Chen’s magnum opus that reflects his higher pursuit of art.
059
ZHANG Handong (Chinese, b. 1964)
Southern Region Series - Nocturne 2000 Oil on canvas 116.5 x 91 cm Signed lower left Zhang Handong in Chinese and dated May 2005 EXHIBITED: China Art Gallery Presentation Exhibition and International Gallery Exhibition, National Museum of China, Beijing, 2004 ILLUSTRATED: Zhang Handong Collection, People's Fine Arts Publishing House, 2000, color illustrated, p. 22
NT$ 280,000-350,000 US$ 8,400-10,400 HK$ 65,000-81,000
張漢東 南域系列─晚樂 2000 油彩 畫布 116.5 x 91 cm 簽名左下：張漢東 2000年 5月 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，2000，彩色圖版，頁22
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060
HE Wei
(Chinese, b. 1980)
There's No Direction out There 2006 Oil on canvas 100 x 100 cm Signed lower right He Wei in English and dated 2006
NT$ 100,000-200,000 US$ 3,000-6,000 HK$ 23,000-47,000
何偉 那裡沒有方向 2006 油彩 畫布 100 x 100 cm 簽名右下：He Wei 2006
061
LV Xin
(Chinese, b. 1977)
Golden Era 2006 Oil on canvas 100 x 80 cm Signed on the reverse Lv Xin and titled Golden Era in Chinese, dated 2006.12
NT$ 240,000-350,000 US$ 7,200-10,400 HK$ 56,000-81,000
呂欣 黃金時代 2006 油彩 畫布 100 x 80 cm 簽名畫背：黃金時代 呂欣 2006.12
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062
CHEN Liu
(Chinese, b. 1973)
Aerial View No.3 2008 Ink and color on paper 219 x 45 cm Signed lower right Chen Liu in Chinese and dated 2008 With one seal of the artist ILLUSTRATED: Chen Liu: The Celestial, Ping Art Space, Taipei, 2008, color illustrated, no. 47, p. 47 & p. 172
NT$ 120,000-220,000 US$ 3,600-6,600 HK$ 28,000-51,000
陳流 俯山河 No.3 2008 彩墨 紙本 219 x 45 cm 簽名右下：陳流 2008 鈐印右下：陳流 圖錄： 《陳流：天降大任》，藏新藝術有限公司， 台北，2008，彩色圖版，編號47，頁47與 頁172
063
GUO Wei
(Chinese, b. 1960)
White Cat 1995 Oil on canvas 50 x 60 cm Signed lower right Guo Wei in English and dated 95
NT$ 140,000-220,000 US$ 4,200-6,600 HK$ 33,000-51,000
郭偉 白貓 1995 油彩 畫布 50 x 60 cm 簽名右下：Guo Wei 95
064
LI Shuguang (Chinese, b. 1962)
Allegory of Evolutionism No. 2 2007 Oil on canvas 120 x 120 cm Signed lower left Li Shuguang in English dated 2007 Titled on the reverse Allegory of Evolutionism No. 2 in Chinese, signed Li Shuguang in Chinese and English, dated 2007, size 120 cm x 120 cm
NT$ 160,000-260,000 US$ 4,800-7,800 HK$ 37,000-60,000
李曙光 進化的寓言 2007 油彩 畫布 120 x 120 cm 簽名左下：2007. Li Shuguang 簽名畫背：《進化主義的寓言》02 李曙光 Li Shuguang 2007. 120 cm x 120 cm
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065
YIN Kun
(Chinese, b. 1969)
Boys Pushing Mao 2007 Oil on canvas 150 x 180 cm Signed lower right Yin Kun in Chinese and dated 2007.4
NT$ 260,000-450,000 US$ 7,800-13,400 HK$ 60,000-105,000
尹坤 推動毛主席的男孩們 2007 油彩 畫布 150 x 180 cm 簽名右下：尹坤 2007.4
066
XU Maomao (Chinese, b. 1979)
Bizarre Little Big Eye 2008 Acrylic on canvas 150 x 130 cm Signed lower right Xu Maomao in Chinese and dated 08.3 EXHIBITED: Recollecting Time Passed Like Water, Star Gallery, Beijing, Oct.11-Nov. 10, 2008
NT$ 220,000-350,000 US$ 6,600-10,400 HK$ 51,000-81,000
徐毛毛 怪異大小眼 2008 壓克力 畫布 150 x 130 cm 簽名右下：徐毛毛 08.3 展覽： 「追憶似水年華」，星空間畫廊，北京， 展期2008年10月11日至11月10日
067
YIN Kun
(Chinese, b. 1969)
Chinese Hero Series 2007 Oil on canvas 120 x 100 cm Signed lower right Yin Kun in Chinese and dated 2007
NT$ 130,000-280,000 US$ 3,900-8,400 HK$ 30,000-65,000
尹坤 中國英雄系列 2007 油彩 畫布 120 x 100 cm 簽名右下：尹坤 2007
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068
ZHANG Xiaotao (Chinese, b. 1970)
Happy Time No. 7 1998 Oil on linen 100 x 80 cm Titled on the reverse Happy Time No. 7, media oil on linen, signed Zhang Xiaotao, Chengdu in Chinese, size 100 cm x 80 cm, dated 1998.4
NT$ 450,000-650,000 US$ 13,400-19,400 HK$ 105,000-151,000
張小濤 快樂時光之七 1998 油彩 亞麻布 100 x 80 cm 簽名畫背：《快樂時光》N o. 7 亞麻油彩 100 cm x 80 cm 張小濤 1998.4 於成都 Zhang Xiaotao.
069
HONG Hao (Chinese, b. 1965)
My Things - Bookkeeping 2006 C print, edtion no. 8/12 120 x 196 cm Titled on the reverse My Things - Book Keeping, numbered 8/12, signed Hong Hao in English and dated 2006
NT$ 180,000-280,000 US$ 5,400-8,400 HK$ 42,000-65,000
洪浩 我的東西─藏書 2006 數位輸出 8/12 120 x 196 cm 簽名畫背：My Things - Book Keeping of 04 - 05 B 8/12 Hong Hao 2006
070
任戎
REN Rong
植物頭 I
(Chinese, b. 1960)
2000 油彩 壓克力 木刻浮雕 50(長) x 120(寬) x 8(深) cm 簽名畫背：Ren Rong. 任戎. 2000
Plant Head I 2000 Oil, acrylic, woodcut 50(L) x 120(W) x 8(D) cm Signed on the reverse Ren Rong in English and Chinese, dated 2000
ILLUSTRATED: Ren Rong, Eslite Gallery, Taipei, 2000, color illustrated, cover & pp. 22-23
展覽： 「混種生物圖像、混血文化想像」，誠品畫 廊，台北，展期自2000年8月26日至9月17日
EXHIBITED: Hybrid Creature, Hyperlink Icon, Eslite Gallery, Taipei, Aug. 26 - Sep. 17, 2000
NT$ 200,000-300,000 US$ 6,000-9,000 HK$ 47,000-70,000
圖錄： 《任戎》，誠品畫廊，台北，2000，彩色 圖版，封面及頁22-23
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姜川
071
JIANG Chuan (Chinese, b. 1983)
Goldfish 1 2008 Oil on canvas 200 x 200 cm
ILLUSTRATED: Water World- Jiang Chuan, Ar t Seasons Gallery, Singapore, 2008, color illustrated, pp. 14-15
七尾蝶之一
NT$ 350,000-450,000 US$ 10,400-13,400 HK$ 81,000-105,000
圖錄： 《水世界─姜川》，季節畫廊，新加坡， 2008，彩色圖版，頁14-15
2008 油彩 畫布 200 x 200 cm
072
朱岩
ZHU Yan
藍色時代
(Chinese, b. 1982)
Blue Age 2007 Oil on canvas 160 x 150 cm Signed lower right Zhu Yan in English and dated 2007
106
ILLUSTRATED: Zhu Yan, HuaRen Contemporary Art Museum, Chongqing, 2008, color illustrated, pp. 35-36
2007 油彩 畫布 160 x 150 cm 簽名右下：Zhu Yan. 2007.
NT$ 300,000-550,000 US$ 9,000-16,400 HK$ 70,000-128,000
圖錄： 《朱岩》，華人當代美術館，重慶，2008， 彩色圖版，頁35-36
073
GAO Yu
(Chinese, b. 1981)
My Empty Belly; Insomniac; Sell Me to Jobs; How is Steel Smelted 2007 Acrylic on canvas 20(L) x 20(W) x 8.5(D) cm (x4) Titled on the reverse My Empty Belly in Chinese, size 20 x 20 x 8.5 cm, signed Gao Yu in Chinese and dated 2007 Titled on the reverse Insomniac in Chinese, size 20 x 20 x 8.5 cm, media oil on canvas in Chinese, signed Gao Yu in Chinese and dated 2007
高瑀 我本腹中空．失眠的太陽．鋼鐵是怎麼 煉成的，把我賣給Jobs Titled on the reverse How is Steel Smelted in Chinese, size 20 x 20 x 8.5 cm, media oil on canvas and signed Gao Yu in Chinese Titled on the reverse Sell Me to Jobs in Chinese, size 20 x 20 x 8.5 cm, media oil on canvas in Chinese, signed Gao Yu in Chinese and dated 2007
NT$ 350,000-550,000 US$ 10,400-16,400 HK$ 81,000-128,000
2007 壓克力 畫布 20(長) x 20(寬) x 8.5(深) cm (x4) 簽名畫背： 《我本腹中空》20 x 20 x 8.5 cm 2007 高瑀 《失眠的太陽》20 x 20 x 8.5 cm 布面丙烯 2007 高瑀 《鋼鐵是怎樣煉成的》20 x 20 x 8.5 cm 布面 丙烯 高瑀 《把我賣給JOBS》20 x 20 x 8.5 cm 布面丙烯 2007 高瑀
074
TU Hongtao (Chinese, b. 1976)
Snow Song 2006 Oil on canvas 90 x 70 cm Signed lower center Tutu in English and dated 06 Titled on the reverse Snow Song and signed Tu Hongtao in Chinese, dated 06.5 and size 90 x 70 cm
NT$ 400,000-600,000 US$ 11,900-17,900 HK$ 93,000-140,000
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屠宏濤 雪歌 2006 油彩 畫布 90 x 70 cm 簽名下方：Tutu. 06 簽名畫背：《雪歌》屠宏濤 06.5. 90 x 70 cm
075
楊登雄
YANG Din
風景
(Chinese, b. 1958)
ILLUSTRATED: Yang Din, Kwai Fung Hin Art Gallery, Hong Kong, 2002, color illustrated, p. 81
1997-1998 油彩 畫布 162 x 114 cm 簽名右下：Yang Din 簽名畫背：Yang Din Sans titre, 1997-98 162 x 114 cm
NT$ 450,000-550,000 US$ 13,400-16,400 HK$ 105,000-128,000
圖錄： 《楊登雄》，季豐軒畫廊，香港，2002，彩 色圖版，頁81
Paysage 1997-1998 Oil on canvas 162 x 114 cm Signed lower right Yang Din in English Signed on the reverse Yang Din in English, titled Sans titre in French, dated 1997-98 and size 162 x 114 cm
076
陳流
CHEN Liu
天空界對打系列之大刀與小刀
(Chinese, b. 1973)
The Celestial Battle - Broadsword and Knife 2007 Oil on canvas 140 x 200 cm Signed lower right Chen Liu in Chinese and dated 2007.7
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ILLUSTRATED: Chen Liu: The Celestial, Ping Art Space, Taipei, 2008, color illustrated, no. 80, pp. 80-81 & p. 173
NT$ 450,000-650,000 US$ 13,400-19,400 HK$ 105,000-151,000
2007 油彩 畫布 140 x 200 cm 簽名右下：陳流 2007.7 圖錄： 《陳流：天降大任》，藏新藝術有限公司， 台北，2008，彩色圖版，編號80，頁80-81與 頁173
077
XIONG Yu
(Chinese, b. 1975)
Numbers Oil on canvas 150 x 180 cm Titled on the reverse Numbers and signed Xiong Yu in Chinese, size 180 cm x 150 cm
NT$ 650,000-850,000 US$ 19,400-25,400 HK$ 151,000-198,000
熊宇 數字、數字 油彩 畫布 150 x 180 cm 簽名畫背：《數字、數字》熊宇 180 cm x 150 cm
078
JIA Gang
(Chinese, b. 1974)
Round Table Conference 2006 Oil on canvas 150 x 200 cm Signed lower right Jia Gang in Chinese and dated 2006
NT$ 600,000-800,000 US$ 17,900-23,900 HK$ 140,000-186,000
賈剛
新唐人 畫中人物環桌而坐，眾多麥克風分立於人物面 前，彷彿正開會議事。眾多的麥克風，象徵著 每個人物皆可暢所欲言。他們神情姿態各異， 或聆聽，或辯論，或憧憬，或凝思，呈現著詳 和民主、和諧平等的氛圍。 賈剛的人物形象，主要受中國唐代仕女畫的啟 發，進而形成他筆下的「新唐人」（象徵著新 一代中國人）形象，即櫻桃嘴、單鳳眼、兩點 腮紅、美人肩的甜美可愛形象。 賈剛的藝術，擅長以人物的肢體姿態語言，展 現人物豐富的情感及現實存在狀態，宣導著現 實社會中人人平等、和諧幸福的生活景觀。
before them. The microphones suggest that everyone may speak as they want. Those figures show different facial expressions and gestures. Some are listening; some are debating; some are longing; some are meditating. The whole painting shows the atmosphere of propitiousness, democracy, equality and harmony. Jia Gang’s figure design of this “New Chinese” (representing a new generation of Chinese people) is mainly inspired by the paintings of beautiful women in the Tang Dynasty. All the figures in Jia’s painting are endowed with sweet and lovely appearances with cherry-like mouths, upward-bending eyes, blushing faces, and narrow and feminine shoulders.
圓桌會議 2006 油彩 畫布 150 x 200 cm 簽名右下：2006 賈剛
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New Chinese The figures in the painting sit around a table with many microphones separately standing
Jia Gang’s art features rich sensibility and realistic existence of the figures via gestures and body language, and advocates the idea of equality, harmony and happiness in true life.
079
CHEN Wenbo (Chinese, b. 1969)
Combustible No. 12 2006 Oil on canvas 150 x 200 cm Titled on the reverse Combustible No.12, signed Chen Wenbo in English and dated 2006
NT$ 700,000-900,000 US$ 20,900-26,900 HK$ 163,000-209,000
陳文波 易燃物之十二 2006 油彩 畫布 150 x 200 cm 簽名畫背：《C o m b u s t i bl e》N o.12 C h e n Wenbo. 2006.
080
ZHENG Delong (Chinese, b. 1959)
The Dissolve Series 2005 Oil on canvas 180 x 150 cm
NT$ 750,000-950,000 US$ 22,400-28,400 HK$ 174,000-221,000
鄭德龍 溶系列 2005 油彩 畫布 180 x 150 cm
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081
LI Shan
(Chinese, b. 1942)
Mao - Rouge Series 2005 Oil on canvas, collage 55.5 x 45 cm Signed on the reverse Li Shan in Chinese and English, dated 2005, New York in Chinese
NT$ 650,000-1,200,000 US$ 19,400-35,800 HK$ 151,000-279,000
李山 毛主席（胭脂系列） 2005 油彩 畫布 拼貼 55.5 x 45 cm 簽名畫背：李山 Li Shan 2005年 紐約
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黃鋼
HUANG Gang
晝夜平分
(Chinese, b. 1961)
Equinoctial 2004 Mixed media on board 110 x 110 cm Signed lower right Huang Gang in English and Chinese, dated 2004
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ILLUSTRATED: Eminent Chinese Artist - Huang Gang: Revolving Golden Imprint, Pin Art Space, Taipei, 2008, color illustrated, p. 9 & pp. 94-95
NT$ 750,000-1,200,000 US$ 22,400-35,800 HK$ 174,000-279,000
2004 綜合媒材 木板 110 x 110 cm 簽名右下：Huang Gang 黃鋼 2004 圖錄： 《中國當代名家系列─黃鋼：轉動黃金印 記》，藏新藝術有限公司，台北，2008， 彩色圖版，頁9與頁94-95
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XUE Song
(Chinese, b. 1965)
Western Orchestra in China 1998 Acrylic on canvas, collage 160 x 140 cm Titled on the reverse Western Orchestra in China in Chinese, size 160 cm x 140 cm, dated 1998.7.18, and signed Xue Song in English
NT$ 1,100,000-1,800,000 US$ 32,800-53,700 HK$ 256,000-419,000
薛松 西方樂隊進入中國 1998 壓克力 畫布 拼貼 160 x 140 cm 簽名畫背：《西方樂隊進入中國》 160 cm x 140 cm 1998.7.18 Xue Song
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YANG Shaobin (Chinese, b. 1963)
Untitled 2007 Oil on canvas 141 x 110 cm Signed lower left YANG SHAOBIN in English and dated 2007-5
NT$ 1,100,000-2,000,000 US$ 32,800-59,700 HK$ 256,000-465,000
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楊少斌 無題 2007 油彩 畫布 141 x 110 cm 簽名左下：2007-5 YANG SHAOBIN
盧昊
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LU Hao
(Chinese, b. 1969)
Landscape Series No. 17 2007 Ink and color on paper 118 x 120 cm
風景系列之十七 EXHIBITED: Landscape: Lu Hao, Beijing Commune, Beijing, March 1 - April 15, 2008
2007 彩墨 紙本 118 x 120 cm
NT$ 1,500,000-2,500,000 US$ 44,800-74,600 HK$ 349,000-581,000
展覽： 「風景：盧昊個展」，北京公社，北京， 展期2008年3月1日至4月15日
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GUO Wei
(Chinese, b. 1960)
Mosquito Series 2004 Oil on canvas 200 x 180 cm Signed lower right Guo Wei in English and dated 04
NT$ 1,500,000-2,300,000 US$ 44,800-68,700 HK$ 349,000-535,000
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郭偉 蚊子系列 2004 油彩 畫布 200 x 180 cm 簽名右下：Guo Wei 04
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PAN Dehai
(Chinese, b. 1956)
City Series No. 3 2006-2007 Oil on canvas 170 x 200 cm Signed on the reverse Pan Dehai in Chinese and dated 2006-2007
NT$ 2,200,000-2,800,000 US$ 65,700-83,600 HK$ 512,000-651,000
潘德海 都市系列之三 2006-2007 油彩 畫布 170 x 200 cm 簽名畫背：潘德海 2006-2007
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WANG Guangyi (Chinese, b. 1957)
Louis Vuitton 2003 Oil on canvas 40 x 50 cm Signed on the reverse Wang Guang Yi in English and Chinese, dated 2003
NT$ 950,000-1,300,000 US$ 28,400-38,800 HK$ 221,000-302,000
王廣義是中國當代舉足輕重的藝術家，畫風 走政治普普路線，運用這項美國當代藝術形 式，將文革時期的影像或代表圖像，與西方 消費主義為人熟悉的圖像並列，展現出另一 種新穎獨特的中國風格。不論是獨裁革命者 的影像，或是西方消費品牌的圖像，王廣義 都對這些生活中符號、角色提出諷刺與質 疑。他所創造的畫像體現中國當代難題，即 是糾纏著過去，又努力思索著未來。是否只 是轉換一套象徵符號，或只是改變一下麻木 心靈的方法？
new and unique Chinese voice, as he juxtaposes images and icons of the Cultural Revolution with major emblems of Western Consumerism. He poses ironic questions concerning the role of symbols in our life, whether they are authoritarian revolutionary images, or iconic Western consumer brands. Wang creates images that are emblematic of China’s contemporary struggle, grappling with its past while figuring out its future. Is one set of symbols just being replaced by another? Is one way of numbing the mind being replaced by another?
「大批判」系列 –《路易威登》
王廣義
Great Criticism Series – "Louis Vuitton"
路易威登 2003 油彩 畫布 40 x 50 cm 簽名畫背：2003 Wang Guang Yi 王廣義
這幅畫的畫面主要由一位巨大如高塔般的礦 工佔據，當時勞工階級受到廣泛宣傳，礦工 是文化大革命當中主要標榜的「好公民」。 畫作從低角度切入，將礦工表現得強壯莊 嚴，猶如神祇一般，源自於典型普遍的毛澤 東時代海報。畫中礦工緊握鐵鍬，鐵鍬特別 用較近的角度放大，透過扭動主角的肩膀以 及右手臂，強調他的力量。帶著禁慾主義又 勇往直前表情，礦工展望未來，但未來是什 麼呢？是一個受到路易威登這類消費品牌主 宰的社會嗎？畫中印刷著重複的號碼，令人 想起毛澤東想要以號碼取代中國百家姓的計 畫，或者也可能有諷刺批評西方沉迷於金錢 的意味。
Wa n g G u a n g y i i s o n e o f t h e l e a d i n g contemporary Chinese artists today. Painting in the style of Political Pop, he has taken this contemporary American art form and given it a
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This painting is dominated by a huge, towering figure of a miner, one of the key emblematic “good citizens” of the Cultural Revolution when laborers were revered in propaganda. Painted from a low perspective, the miner is strong and imposing and almost god-like, a classic representation taken from ubiquitous Maoist posters. His power is emphasized through the twisting of his shoulder and right arm as he grips the shovel, which is enlarged by a nearer perspective. With a stoic and defiant expression the figure is looking out towards the future but a future of what – a society dominated by consumer brands such as Louis Vuitton? The painting is stenciled in repeating numbers, echoing Mao’s plan to replace all names in China with numbers, and perhaps ironically commenting on the Western obsession with money.
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HUANG Gang (Chinese, b. 1961)
Red Star 2002 Mixed media on board 180 x 180 cm Signed lower right Huang Gang in English and Chinese
NT$ 1,200,000-2,200,000 US$ 35,800-65,700 HK$ 279,000-512,000
黃鋼 紅星 2002 綜合媒材 木板 180 x 180 cm 簽名右下：Huang Gang 黃鋼
黃鋼從80年代開始研究西藏藝術延伸的社 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 一系列作品。他的畫總是不滿足於平面的視 覺層次，強調厚重的感覺。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傳達。 《紅星》畫面上強烈的紅五星呈現在雪景與 經文版之間，畫面協調，但意義上有著衝 突。在他的作品之中，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，到曼陀羅系列、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 彙，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 star ted studying the social, religious and philosophical background of the creation of Tibetan art in the 1980s. Then, he created a series of artworks in an unprecedented style not ever used by other artists. In his works, he is never satisf ied with the visual aspect of planes, attaching importance to intensive
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feeling. However, the expression of his works is simple, direct, and free. The Eastern spirit is disclosed innovatively and deeply in this contradictory style. "Red Star" depicts a traditional, ancient Tibetan recital in the context of a grandiose snow scene with a shining red pentacle, 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 often found in Huang Gang's works. This kind of conflict emphasizes the relevancy and contrast of strength and harmony. Those works, from his Calligraphy series to Mandala series, Recital series, Snow Region series, and Red Pentacle series, highlight an 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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ZHOU Chunya (Chinese, b. 1955)
Vase of Flowers 1992 Oil on canvas 73 x 61 cm Signed lower right Zhou Chunya in Chinese and dated 1992 This painting is to be sold with a certificate of authenticity signed by the artist on which there is a photograph of the artist with the artwork.
NT$ 1,200,000-2,200,000 US$ 35,800-65,700 HK$ 279,000-512,000
周春芽 瓶花 1992 油彩 畫布 73 x 61 cm 簽名右下：1992 周春芽 附藝術家親筆簽名之原作保證書及合影照片
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90年代起，周春芽開始「花卉」系列的創 作。花卉題材一直是中國傳統文人樂於表 現的內容，而在周春芽的手法下有了嶄新 詮釋。《瓶花》作品中，周春芽以西方的 寫生方法將中國傳統繪畫語言融入其中， 最重要的是採用完全不同的技巧，即以大 筆觸的表現手法，充分展示大膽、粗放的 表現主義風格。在周春芽的畫中，傳統的 中國主題—花卉在西方繪畫技巧的光環下 折射出迷人光彩，實現了中西兩種繪畫語 言的完美融合。此外，周春芽的大膽用色 與其大筆觸的表現手法更是相得益彰，色 彩與構圖均給人奔放神秘之感，這種新 穎、大膽的藝術創作達到了奇異的效果。 在周春芽看來，這種「離經叛道」的作品 形態正好契合了他的天性，並以他的放肆 詮釋了傳統文人繪畫「溫和、內向」。
As early as the beginning of 1990, Zhou Chunya had begun the creation of his "Flower" series. Flowers have been a traditional motif for Chinese artists to express in their works. Zhou Chunya recreates this concept in his
“Flower” series. In the work "Vase of flowers", Zhou Chunya has integrated the language of traditional Chinese painting with western sketching. Most importantly is that he has adopted a totally different technique. He has used the expression technique of liberal strokes, fully demonstrating his bold and broad style of expressionism. In Zhou Chunya's painting, flowers, the traditional Chinese theme, presents charming glory under the aura of Western painting skill, realizing a perfect integration of Chinese and Western painting languages. Additionally, Zhou Chunya's bold color application and his expression mode of liberal strokes complete each other. Both color and composition present a bold and mysterious sense. Such innovative and bold artistic creation has reached an extraordinary effect. In Zhou Chunya's view, form and color of such nonmainstream works align with his disposition. With his uninhibited traits he constructs traditional humanistic paintings that are "warm and introvert".
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ZHOU Chunya (Chinese, b. 1955)
Red Rock Series 1995 Oil on canvas 73 x 61 cm Signed lower right Zhou Chunya in Chinese and dated 1995
NT$ 2,900,000-3,800,000 US$ 86,600-113,400 HK$ 674,000-884,000
周春芽 紅石頭系列 1995 油彩 畫布 73 x 61 cm 簽名右下：1995 周春芽
周春芽被認為是中國當代藝術界中對色彩把 握最好的畫家之一，反自然色彩的運用是他 作品中的典型風格。90年代初，周春芽以花 卉、山石為繪畫主題，畫家借助德國新表現 主義的繪畫方式、技巧，大膽用色使畫增添 異彩，以濃豔的紅色重新詮釋山石和花卉， 面貌迥然相異，顏色跟自然不同，置於畫面 大片的空白中，筆法精練，個體抽象獨立， 表面被一層奇怪的增生物覆蓋，暗示出模糊 的天然本性，他自言在詮譯文人繪畫中的 「溫和、內向、惰性」。 《紅石頭系列》周春芽運用玫瑰紅和黑色網 底烘托，濃郁沉穩的紅映著脆生生的白，恍 惚之間感覺像肉團，如溫潤祥和的血塊，引 人入勝。畫作顏料的堆疊、渲染、塗抹和交 織，使色彩衝擊力強，造型抽象，視覺震 撼，從色彩到構圖均予人鬼魅奔放之感。
Zhou Chunya is considered to be one of the excellent Chinese contemporary painters who have the best command of colors. His artworks feature the usage of colors in contradiction to nature. Early in the 1990s, Zhou Chunya painted such themes as flowers, mountains, and rocks in the painting style and with the skills of German New Expressionism, using colors boldly to add extraordinary splendor to his paintings. Thick and flamboyant red colors give new interpretations to mountains, rocks and flowers, which show a completely different outlook and color compared to those in nature and are arranged in large blank areas with simplified brushstrokes. The abstract and independent images are covered by an accumulation of thick layers of paint, implying their ambiguous nature and explaining the painter’s characteristics such as gentleness, introversion, and laziness. In his “Red Rock Series”, Zhou Chunya applies rose and black to serve as a foil, and thick and superb red in contrast to the porcelain white. The attractive stones resemble trance-like meatballs, and warm and serene blood clots. The piling, rendering, painting and mixing of paints strengthen the impact of the colors, and have formed an abstract and eye-catching design of images. The overall paintings, from the colors to the composition, provide a feeling of ghost-like freedom and easiness.
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ZENG Fanzhi (Chinese, b. 1964)
Portrait 2004 Oil on canvas 70 x 50 cm Signed lower right Zeng Fanzhi in Chinese and English, dated 2004
NT$ 2,000,000-3,000,000 US$ 59,700-89,600 HK$ 465,000-698,000
曾梵志 肖像 2004 油彩 畫布 70 x 50 cm 簽名右下：曾梵志 2004 Zeng Fanzhi
曾梵志， 1991年以表現主義風格的「協和 醫院」系列崛起於藝壇，1994年又以「面 具」、「風景」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。 曾梵志的作品總是予人以強烈的敘事感， 而豐富的細節在這篇壯闊的史詩裡展開。 看似簡單的畫面，卻營造了神秘深邃的空 間感。「曾的近作中佈滿了鮮活，堅實， 靈動而豐沛有力的形象，這些形象既帶有 模仿的特質卻又是不固定的，抽象的。這 些原始的，粗豪的形象給人不斷幻化的感 覺，你沒辦法確定或明顯地把它們定位— 不管你試圖從創作方法或者敘事的角度來 捕捉它們，你都不能為他們定型。因為曾 梵志畫中的形象和結構這兩個元素處在變 動的狀態，令人覺得他的創作策略的確是 很像解構主義的策略。」 （參閱《曾梵志理想主 義》，新加坡美術館，2008，頁83）
Zeng Fanzhi’s paintings always have a strong sense of narration, where abundant details are unfolded in a grand epic. The seemingly simple picture displays a mysterious and abstruse sense of space. “Zeng’s recent works are overspread with fresh, substantial and vigorous images which have imitative features and are unfixed and abstract. These primitive and straightforward images continuously arouse illusional feelings, and there is no way for observers to clearly identify or orient them, whether analyzed through design methods or perceived in narrative aspects. It is the two changing elements: image and structure in Zeng’s paintings that make people feel that his design strategy is quite similar to that of deconstruction” (Refer to Idealism of Zeng Fanzhi, Singapore Art Museum, 2008, p. 83)
除去面具的「肖像」系列，半身人物扭曲的 姿勢，迷離的眼神，看上去孤立無援。黑白 紅顏色的互襯，讓作品層次鮮明。但剝去面 具後的驚恐、迷失和無奈卻更加突顯。
Z e n g Fa n z h i w o n h i s f a m e w i t h h i s expressionistic “Xiehe Hospital” series in 1991, and became known throughout the world in 1994 with various works of art such as “Mask” and “View”. He is recognized and known by his
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tremendously individualized style of expression.
With the masks removed, and with twisted postures and misted eyes, the half-length figures look isolated and helpless in the “Portrait” series. The black, white and red colors serve as a foil to each other and clearly divide the picture into various layers. The unmasked faces, however, conspicuously show horror, perplexity and helplessness.
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FENG Zhengjie (Chinese, b. 1968)
Chinese Portrait Series No. 2 2008 Oil on canvas 210 x 210 cm Signed lower left Feng ZHENGJIE in Chinese and English and dated 2008
NT$ 2,900,000-4,800,000 US$ 86,600-143,300 HK$ 674,000-1,116,000
俸正傑 中國肖像系列之二 2008 油彩 畫布 210 x 210 cm 簽名左下：俸正傑 FENG ZHENGJIE 2008
2000年，俸正傑的創作風格出現了轉折。 栗憲庭曾以「新月份牌」風格的創造，指 出其特點：「用柔和、平滑的方法處理「美 人」，即畫面不留筆觸，人物造型不突出結 構，畫面整體的平面化效果，以及流暢的線 條處理，都增強了畫面的裝飾感覺。」 （參 閱 《俸正傑作品簡說》）
以俸正傑為代表的「豔俗」，是政治波普的 衍生藝術。1968年出生於四川，畢業於四川 美術學院油畫系的他，曾經喜歡民間年畫。 他將傳統文化中的大紅大綠運用到人物肖像 上，將一種大眾庸俗文化唯美地表述出來。 從農村到城市，俸正傑以樸素的心態觀察著 社會的變化，無奈於庸俗膚淺文化內容的同 時，又深深地被這種現象吸引。他的作品之 所以能受到關注，也是因為他融合時尚、商 業和傳統的色彩，誠實而巧妙地結合當下社 會矛盾的心態—狂熱地追求漂亮，又苦於僅 限於感官享受的膚淺。
Feng Zhengjie’s paintings saw a transition in the year 2000. Li Xianting described his style as "new creation of Calender Poster": “Beauties are handled in a soft and smooth way. Strokes of brushwork are invisible, and structures are not
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emphasized in figure designs. The overall planar effect and fluent lines in the paintings strengthen a decorative atmosphere” (Refer to Li Xian-ting's A Brief Introduction of Feng Zhengjie’s Art)
“Raffish” art represented by Feng Zhengjie derives from political pop art. Feng Zhengjie was born in Sichuan Province in 1968. He graduated from the Oil Painting Dept. of Sichuan Academy of Fine Ar t. He liked traditional Chinese New Year Art, and he managed to adopt red and green colors, which are extensively used in traditional culture, in the painting of portraits, and express popular and vulgar culture in an aesthetical way. Feng Zhengjie has been observing the social changes with a pure heart when coming from villages to cities. He is impatient with the vulgar and shallow culture, but is still attracted by such phenomena. His works are recognized because of the integration of fashion, commerce, and tradition, and because he honestly and cleverly combines the conflicting psychology of current society: zealously pursuing beautifulness, while being reluctant to be superficially limited to sensory enjoyment only.
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LI Shan
(Chinese, b. 1942)
Reading Series 2006 Oil on canvas 88.5 x 121 cm Signed lower right Li Shan in Chinese and English, dated 2006, New York in Chinese
NT$ 3,500,000-5,200,000 US$ 104,500-155,200 HK$ 814,000-1,209,000
李山 閱讀系列 2006 油彩 畫布 88.5 x 121 cm 簽名右下：李山 Li Shan 2006 紐約
李山的畫作描繪著超現實世界所居住的奇 特生物。他們半人半獸，一些長著蝴蝶形 的翅膀，另一些則是變異的物種。這個虛 構的世界向人們傳達著詩意的，情色的及 一股緊張而疏離的氣息。 李山在1993年參加威尼斯雙年展時，受 到美國青年藝術家馬修．巴尼（M a t t h ew B a r n ey）作品的啟示，隨後開始創作「閱 讀」系列。對於「閱讀」名稱的解釋，李 山說：「閱讀的過程中常常會有錯誤，而 錯誤往往會產生新的東西，它可以是新的 解釋，也可以是另類與變異。」 20多年來，李山的藝術風格經歷數次變 遷，「閱讀」系列從2005年起出現了合 成昆蟲：那些細看是人的身體一部分的手 指、耳朵、嘴唇甚或是生殖器，組成了昆 蟲的圖像。通過他的這些不可思議但有現 實的「種間」昆蟲代表，李山強調了他對 生物政治及其後果的關注。
Li Shan’s paintings describe a surrealistic world where some peculiar orc-like beings live. Some of them have wings like butterflies,
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and others are variated species. This imaginary world por trays people with a poetic and erotic atmosphere with a sense of tension and alienation. While Li Shan was attending the Venice Biennial in 1983, he was enlightened by the art of Matthew Barney, a young American artist. After this experience, Li Shan started to paint his “Reading” series. As for the inter pretation of the name “Reading”, Li Shan said: “Constantly people make mistakes in the process of reading, and mistakes sometimes arouse creations, which can be a new explanation, or extraordinary and variated elements.” Li Shan’s style of art has changed several times over the past 20 years. Synthetic insects started to appear in his “Reading” series since 2005. The images of insects are composed of human parts such as fingers, ears, lips, or even genitals. Li Shan emphasizes his concern for bio-politics and the result thereof through those weird but realistic “in-between” insect representations.
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ZHOU Chunya (Chinese, b. 1955)
Peach Blossom in Long Quan 2005 Oil on canvas 120 x 150 cm Signed lower right Zhou Chunya in Chinese and English and dated 2005 EXHIBITED: Blooming Stories- Paintings & Sculptures by Zhou Chunya, Today Art Museum, Beijing, March, 2007 ILLUSTRATED: Blooming Stories, Sichuan Fine Art Publishing Co., Chengdu, 2007, color illustrated, pp. 64-65
NT$ 3,600,000-5,000,000 US$ 107,500-149,300 HK$ 837,000-1,163,000
周春芽 龍泉桃花 2005 油彩 畫布 120 x 150 cm 簽名右下：2005 周春芽 Zhou Chunya 展覽： 「花間記－周春芽繪畫雕塑作品展」，今日 美術館，北京，2007年3月 圖錄： 《花間記》，四川美術出版社，成都， 2007，彩色圖版，頁64-65
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花卉原本是中國繪畫的傳統題材，在周春芽 的畫布上，桃花的身姿間依稀可見中國傳統 繪畫的影子。但畫家那些富於變幻的色彩， 卻為桃園增添了放縱、妖冶的色彩。桃花的 圖像象徵著春天的開始，並可以延伸為象徵 愛情和性。桃花明亮的紅色在畫家筆下代表 著性愛的本質。它帶有完全的文化意味，將 原始到甚至野蠻的性愛活力轉化為非常高雅 且複雜的外觀。桃花描繪著畫家的心境，在 不斷展開的桃花和樹枝的世界裡，心境也在 不斷地展開。 雖然傳統文化中的桃花意象對性愛和生殖不 無暗示，但卻隱諱而曲折，但畫家筆下的桃 花除了本身充滿放縱和妖嬈的姿態外，有時 他還在桃樹下加上性交的紅色男女，「我描 繪的就是色和情。這人類與生俱來的慾望— 絢爛的桃花與野合的男女人物奇異地並置， 這種組合消融了人類與自然的阻隔，也模糊 了罪惡與道德的邊界，在一種流動的色彩情 緒中放縱著真誠而本能的幻想， 在一種宏大 的場景中將人的自然屬性徹底地釋放、引 爆—溫和而暴力！」畫中的桃花怒放，表現 出了一種介於放縱與凋謝的不安。周春芽的 桃花系列介於現代和傳統之間，他把微妙西 方的藝術和細膩的東方文化相結合，最後通 過一種自然的方式，把這種矛盾表現出來。
The flowers are common painting objects of Chinese traditional paintings. In Zhou's "Peach Blossoms" series of paintings we can find some trace of Chinese traditional lower paintings. But by employing ever-changing colors Zhou presents the peach blossoms on his canvas in a more dissolute and coquettish image. The image of peach blossoms symbolizes the coming of the spring season; in a broad sense, it also
symbolizes love and sex. In Zhou's works, the light red color of the peach blossoms represents the very nature of erotic love. These works are filled with cultural meanings, transfiguring the primitive or even savage sex impulse to a very elegant and complicated image. The peach blossoms also represent the painter's mood. In a world full of blossoming peach trees, the painter's mood becomes totally liberated. The images of peach blossoms in Chinese traditional culture have some hidden allusions to sex and reproduction, but in Zhou's works, the image of peach blossoms as the symbol of erotic love is presented in a more bold and apparent manner. In addition to a dissolute and coquettish image of peach blossoms, Zhou usually adds the image of men and women in red who are making love under the peach trees into his paintings. "What I paint is 'sex and love', the instincts of human beings. The blossoming peach lowers are strangely juxtaposed with the men and women who are making love under the peach trees. This juxtaposition destroys the obstruction between human beings and nature as well as obscuring the boundary between moral and evil. In loating colors a world of fantasy has been created where the instincts and nature of human beings are fully liberated and released in a tender and also violent manner." Zhou said. The image of blossoming peach lowers expresses an unrestful mood between lourishing and withering. Zhou's "Peach Blossoms" series of works demonstrate an artistic style between the traditional and the avant-garde. He displays the tension between tradition and modern in a natural way by incorporating the form of western art and the spirit of oriental culture.
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YUE Minjun (Chinese, b. 1962)
Contemporary Terracotta Warriors Series No. 6 2005 Bronze sculpture, edition no. 18/25 45.7(L) x 61(W) x 287.7(H) cm Signed Yue Mingjun in English, dated 2005 and No. 6 18/25 EXHIBITED: Yue Minjun and the Symbolic Smile, Queens Museum of Art, New York, Oct. 14, 2007-Jan. 6, 2008 ILLUSTRATED: Melissa Chiu, Chinese Contemporary Art 7 Things You Should Know, AW Asia, New York, 2008, color illustrated, p. 94
NT$ 3,200,000-4,200,000 US$ 95,500-125,400 HK$ 744,000-977,000
岳敏君於2000年開始發表「現代兵馬俑」 系列雕塑創作，靈感來自1974年被陝北農 夫發現的秦陵巨大雕塑群。兵馬俑容貌乍看 相同，細看各有變化，然而冷漠表情卻是一 致的，兵馬俑的出土是中國雕塑藝術一大發 現。岳敏君借用封建歷史的結束，探討集體 與個體之平衡關係，以一組組完全相同張口 大笑的自我形象，顛覆新的英雄主義與偶像 崇拜。 岳敏君說道︰「它對應了秦始皇的兵馬俑， 產生了對歷史的反諷和幽默。所有的雕塑形 象應用我一貫的作風以我自己為模特，表現 自我成為偶像，通過的是不斷重複和大量生 產，量的增加能夠產生質的飛躍。同時，能 噴發出巨大的能量。尤其是這些傻呼呼的沒 有頭腦的傻笑人，在視覺上具有很強的破 壞力量，這些人同時也是容易被驅使和容 易上當的人。但我並不是一個悲觀的人，我 只是對生活採取一種無奈和放棄的態度。這 些傻笑人有他們自身的問題，（這些問題是 我的問題的放大），同時他們也是富有情感 的人，他們是活著的人，他們深深的感覺到 了什麼，所以大笑不止。」 （摘錄藝術家創作自 述）
岳敏君 現代兵馬俑系列之六 2005 銅雕 18/25 45.7(長) x 61(寬) x 287.7(高) cm 簽名：Yue minjun No. 6 18/25 2005 展覽： 「岳敏君和他的符號化笑容」，皇后美術 館，紐約，展期自2007年10月14日至2008年 1月6日 圖錄： 招穎思，《中國當代藝術：你該知道的七 件事》，AW A s i a，紐約，2008，彩色圖 版，頁94
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Yue Minjun started to create his “Contemporary Terracotta Warriors” sculpture series in 2000. The series is inspired by the terracotta warrior sculptures, which evoke great wonder, which were discovered in the area of the Qin Tombs in 1974 by a peasant from North Shaanxi. The warriors all look the same at first glance, but differences are apparent if they are observed carefully. They share the same reser ved and aloof facial expressions. The Terracotta Warriors were a great discovery in China’s field of sculpture art. Yue Minjun explores the balanced relationship between collective and individual through the ending of the history of
feudal society. He overturns the new heroism and idolatry by creating groups of figures with uniform self-images, each with a laughing face and wide opened mouth. Yue Minjun’s terracotta warrior sculptures demonstrate a blend of historical implications and the potency of the self-image. These figures are reminiscent of ideological aesthetics found in older Chinese art. Their exaggerated limbs and large heads give the sculptures a touch of modernity. These sculptures are made of bronze, and stand in an apex or circle formation. They represent a unif ied force, the power of the self-image, and the many contradictions that contemporary China faces as it continues to develop in the twenty-first century. Yue Minjun’s work portrays his own likeness; figures and faces leering, laughing and enjoying life. Although Yue Minjun’s characters are always smiling, they also convey a sense of irony.
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HOU Qing
(Chinese, b. 1969)
Lotus 2003 Oil on canvas 50 x 120 cm
Titled on the reverse Lotus, media oil on canvas, size 50 x 120 cm, signed Hou Qing in Chinese and dated 2003
NT$ 80,000-160,000 US$ 2,400-4,800 HK$ 19,000-37,000
侯慶 流 2003 油彩 畫布 50 x 120 cm 簽名畫背：《流》布面油畫 50 x 120 c m 2003年 侯慶
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ZHAO Gang (Chinese, b. 1961)
Red Guard Girl 2005 Oil on canvas 66 x 66 cm Signed on the reverse Gang Zhao in English and dated 05
NT$ 90,000-180,000 US$ 2,700-5,400 HK$ 21,000-42,000
趙剛 紅衛兵女孩 2005 油彩 畫布 66 x 66 cm 簽名畫背：GANG ZHAO 05
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孫雲台
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SUN Yuntai
(Chinese, 1913-2004)
Red Landscape 1996 Oil on canvas 53 x 72.5 cm Signed lower right Sun Yuntai in Chinese and dated 1996
嫣紅大地 ILLUSTRATED: Chinese First Generation Artist Who Studied in Russia- A Retrospective of Eighty Five Years of Sun Yuntai, Soka Art Center, Tainan, 1997, color illustrated, pp. 40-41
1996 油彩 畫布 53 x 72.5 cm 簽名右下：孫雲台 1996
NT$ 220,000-350,000 US$ 6,600-10,400 HK$ 51,000-81,000
圖錄： 《中國第一代留俄藝術家─孫雲台85回 顧》，索卡藝術中心，台南，1997，彩色 圖版，頁40-41
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QIU Xiaofei (Chinese, b. 1977)
Young Army Doctor - Chen Fengjuan 2004 Oil on canvas 40 x 30 cm Titled on the reverse Young Army Doctor- Chen Fengjuan, media oil on canvas and signed Qiu Xiaofei in Chinese, size 30 x 40 cm, dated 2004
NT$ 200,000-280,000 US$ 6,000-8,400 HK$ 47,000-65,000
仇曉飛 勤奮攀登的人 2004 油彩 畫布 40 x 30 cm 簽名畫背：《青年軍醫陳鳳娟》布上油畫 OIL on canvas. 30 cm x 40 cm. 2004 仇曉飛
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LIU Guoshu (Chinese, b. 1919)
Chuanxi Town 2005 Oil on canvas 72.5 x 91 cm Signed lower left Liu Guoshu in Chinese Titled on the reverse Chuanxi Town and signed Liu Guoshu in Chinese This painting is to be sold with a certificate of authenticity on which there is a photograph of the artist with the artwork.
NT$ 220,000-350,000 US$ 6,600-10,400 HK$ 51,000-81,000
劉國樞 川西小鎮 2005 油彩 畫布 72.5 x 91 cm 簽名左下：劉國樞 簽名畫背：川西小鎮 劉國樞 附藝術家與作品合影之原作保證書
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WEI Tianlin
(Chinese, 1898-1977)
Fish Oil on masonite 32 x 41 cm Signed lower left Wei in Chinese
衛天霖 魚
NT$ 400,000-600,000 US$ 11,900-17,900 HK$ 93,000-140,000
油彩 纖維板 32 x 41 cm 簽名左下：衛
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DAI Ze
(Chinese, b. 1922)
Still Life 1995 Oil on canvas 80 x 100.5 cm Signed lower right Dai Ze in Chinese, dated 1995, Beijing in Chinese Titled on the reverse Chrysanthenmum in Chinese, dated 1995 and signed Dai Ze in Chinese
NT$ 350,000-550,000 US$ 10,400-16,400 HK$ 81,000-128,000
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戴澤 靜物 1995 油彩 畫布 80 x 100.5 cm 簽名右下：戴澤 1995. 北京 簽名畫背：菊花（橫幅）1995 戴澤
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魏樂唐
John WAY
冰封焰火
(Chinese, WEI Yue-tang, b. 1921)
Ice and Fire 1988 Oil on canvas 62 x 92 cm Signed lower right John Way in English and dated '88
ILLUSTRATED: John Way, William Art International, Taipei, 2006, color illustrated, p. 56
1988 油彩 畫布 62 x 92 cm 簽名右下：John Way '88
NT$ 350,000-550,000 US$ 10,400-16,400 HK$ 81,000-128,000
圖錄： 《魏樂唐畫集》，威廉國際藝術，台北， 2006，彩色圖版，頁56
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YANG Feiyun (Chinese, b. 1954)
Student 2003 Oil on canvas 55 x 38 cm Signed lower right Feiyun in Chinese and dated 2003 Titled on the reverse Student in Chinese, size 55 x 38 cm, dated 2003 and signed Yang Feiyun in Chinese
NT$ 550,000-750,000 US$ 16,400-22,400 HK$ 128,000-174,000
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楊飛雲 學生 2003 油彩 畫布 55 x 38 cm 簽名右下：飛雲 2003 簽名畫背：《學生》55 x 38 cm 2003年 楊飛雲
盧昊 消逝的家園之二十二
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LU Hao
(Chinese, b. 1969)
2006 Oil on canvas 160 x 140 cm Titled on the reverse Vanishing Home No. 22, signed Lu Hao in Chinese, dated 2006
ILLUSTRATED: Lu Hao, Editions Xin Dong Cheng, Beijing, 2006, color illustrated, p. 61 Chinese Artists of Today, Lu Hao – Vanishing Homes, Sichuan Fine Art Publishing, Chengdu, 2006, color illustrated, p. 94
EXHIBITED: Lu Hao Solo Exhibition, Xin Dong Cheng Space for Contemporary Art II, Sep. 23 – Oct. 31, 2006
NT$ 550,000-850,000 US$ 16,400-25,400 HK$ 128,000-198,000
Vanishing Home No. 22
2006 油彩 畫布 160 x 140 cm 簽名畫背：消逝的家園之二十二 盧昊 2006 展覽： 「盧昊個展」，程昕東國際當代藝術空間 II，北京，展期2006年9月23日至10月31日 圖錄： 《盧昊》，程昕東出版公司，北京，2006， 彩色圖版，頁61 《今日中國藝術家：盧昊—消失的家園》， 四川美術出版社，成都，2006，彩色圖版， 頁94.
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GU Wenda
(Chinese, b. 1955)
Mythos of Lost Dynasties H-32 2006 Ink and color on paper 97 x 59 cm Titled lower right Mythos of Lost Dynasties H-32 and signed Wenda in New York in Chinese With two seals of the artist
NT$ 400,000-550,000 US$ 11,900-16,400 HK$ 93,000-128,000
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谷文達 遺失的王朝H32 2006 彩墨 紙本 97 x 59 cm 簽名右下：消失的王朝H三十二 文達於紐約 鈐印：文達、谷文達
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薛松
XUE Song
老子騎驢（古意）
(Chinese, b. 1965)
ILLUSTRATED: Xue Song, Shanghai Art Museum, Shanghai, 2009, color illustrated
2006 綜合媒材 畫布 120 x 100 cm 簽名右下：薛松 簽名畫背：《古意》120 cm x 100 cm 薛松 Xue Song 2006
NT$ 600,000-900,000 US$ 17,900-26,900 HK$ 140,000-209,000
圖錄： 《薛松》，上海美術館，上海，2009， 彩色圖版
Laozi Riding a Donkey (Antique) 2006 Mixed media on canvas 120 x 100 cm Signed lower right Xue Song in Chinese Titled on the reverse Antique in Chinese, size 120 cm x 100 cm, signed Xue Song in Chinese and English, dated 2006
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SU Xinping
(Chinese, b. 1960)
Struggling Man 1998 Oil on canvas 130 x 97 cm Signed lower right Su Xin Ping in English and dated 1998 Titled on the reverse Struggling Man in Chinese
NT$ 400,000-700,000 US$ 11,900-20,900 HK$ 93,000-163,000
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蘇新平 搏擊者 1998 油彩 畫布 130 x 97 cm 簽名右下：Su Xin Ping 1998 簽名畫背：搏擊者
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LI Shuang
(Chinese, b. 1957)
Geisha 2005 Oil on canvas 162 x 130 cm Signed lower right Li Shuang in Chinese and English, dated 2005
NT$ 650,000-950,000 US$ 19,400-28,400 HK$ 151,000-221,000
李爽 解語花 2005 油彩 畫布 162 x 130 cm 簽名右下：李爽 Li Shuang 2005
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GAO Xiaohua (Chinese, b. 1955)
A Boy with a Bag 2003 Oil on canvas 45 x 39 cm Signed lower right Gao Xiaohua in Chinese and dated 03
NT$ 650,000-750,000 US$ 19,400-22,400 HK$ 151,000-174,000
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高小華 背包男孩 2003 油彩 畫布 45 x 39 cm 簽名右下：高小華 03
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QI Zhilong
(Chinese, b. 1962)
Red Guard 2006 Oil on canvas 65.5 x 54 cm Signed on the reverse Qi Zhilong in Chinese, dated 2005 and No. 28
NT$ 900,000-1,800,000 US$ 26,900-53,700 HK$ 209,000-419,000
祁志龍 紅衛兵 2006 油彩 畫布 65.5 x 54 cm 簽名畫背：祁志龍 2005. No. 28
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LUO Zhongli (Chinese, b. 1948)
A Farmer in Early Spring 1981 Oil on board 50 x 68 cm Signed lower right Zhongli in Chinese and dated '81 Titled on the reverse A Farmer in Early Spring in Chinese This painting is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.
NT$ 1,100,000-2,200,000 US$ 32,800-65,700 HK$ 256,000-512,000
羅中立 早春勤人 1981 油彩 木板 50 x 68 cm 簽名右下：中立 '81 簽名畫背：《早春勤人》 附亞洲藝術中心開立之原作保證書
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《早春勤人》以四川大巴山區的普通農民為 創作對象，描繪春耕季節農民日常生活情 景，整幅畫以綠色為主色調，特殊的光線效 果，直接以色域塑形，筆法生動靈活，呈現 人類原始的生命力和質樸情懷，傳遞濃鬱的 鄉土氣息。 曾經當過大巴山農民的羅中立，看到中國 農民的承受和擔當，對苦難艱辛的承受和 擔當，對豐收勞作的承受和擔當，對歲月命 運的承受和擔當。由此羅中立從原始藝術中 汲取營養，他向人們敘述不為人知的農民生 活。在中國當代油畫中，羅中立的特別之處 在於他的藝術一直是以農民為表現對象，他 也因此被譽為中國當代油畫藝術中「鄉土表 現」派的代表人物。厚重樸拙的筆觸和濃烈 的色彩，都表達著羅中立的深層情感，以及 對本土文化的深切關注、對當代農民命運的 深刻關懷、對中華文明之根的農民文化的現 實思考。羅中立曾表示︰「我是一輩子都不 會離開農民的」。
"A Farmer in Early Spring" describes an ordinary peasant living in the Daba Mountainous area of Sichuan, and snatches a detailed image in the peasant’s daily life during the farming season in spring. The painting is mainly toned with green, and shows a special light effect, which is
obtained by direct shaping with a complete color range. The vivid and flexible style of painting displays human beings' primitive vitality, pure and simple feelings, and the strong and traditional flavor of rural areas. Luo Zhongli used to live in the Daba Mountainous area as a peasant. He saw and felt Chinese peasants’ burdens and endurance of tribulation and hardships, of harvest and assiduous labors, and of life and destiny. Luo Zhongli thus absorbed artistic nutrition from this original life, and started to paint the seldom known life style of the peasants. Among China’s contemporary oil paintings, Luo Zhongli’s artworks are special because peasants are always the subjects he expresses and reflects. Luo is therefore regarded as a figure representing the “rural expressionistic” group of China’s contemporary art of oil painting. Through massive and plain style, and strong colors, Luo Zhongli expresses his deep feelings such as sincere concern for indigenous culture, profound care for the destiny of peasants of the time, and realistic thought about peasant culture which is actually the root of Chinese culture. Luo Zhongli said: “I will never abandon peasants for the whole of my life.”
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QI Zhilong
(Chinese, b. 1962)
A Chinese Girl in Male Military Uniform No. 2 2006 Oil on canvas 130 x 97 cm Signed lower right Qi Zhilong in Chinese and dated 2006 Titled on the reverse A Chinese Girl in Army Uniform No. 2 in Chinese, signed Qi Zhilong in English and Chinese and dated 2006. 10. 6
NT$ 2,100,000-3,500,000 US$ 62,700-104,500 HK$ 488,000-814,000
祁志龍 穿男軍裝的中國姑娘之二 2006 油彩 畫布 130 x 97 cm 簽名右下：祁志龍 2006. 簽名畫背：穿男軍裝的中國姑娘之2 Qi Zhilong 2006.10.6 祁志龍 2006.
1992-1994年祁志龍創作了「消費形象」系 列，他是很早表現政治波普的中國藝術家。 在與楊衛對談錄中回憶道：「它是以政治的 方式來消解『政治』，而不是一種『消費』 的理念來『消解』政治的。」 1996年「中國姑娘」系列作品面世。泳裝、 花朵褪去後，展現了一個具有時代烙印的姑 娘，以「文革時代的綠色著裝包裹著物質流 動時代的女性」。會心的笑容，也詮釋了忙 碌的時代對文化追憶的悵失。 經歷了心靈的苦難，到對物質的追求、滿足 後，精神上的渴望凸顯出來。2000年的祁志 龍回歸於對過去的浪漫追憶。此作品創作於 2006年，還是那個身著文革軍裝的姑娘，兩 根麻花辮，笑容卻已不在。作品中充滿了時 間烙印的敘述，含情脈脈。歲月的滄桑，作 品更加深刻的挖掘了心靈深處的理想主義呼 喚。 著名評論家栗憲庭曾這樣評論過：「有一種 美麗，可以讓你忘掉苦難；有一種清純，可 以為你撫去憂傷；有一種姣好，可以振動你 內心最柔軟的部分，讓你重拾對未來的希 望。這就是祁志龍筆下美麗清純的中國姑 娘。」
Qi Zhilong painted his “Consumer Icons” series from 1992 to 1994. He is one of the earliest Chinese political pop artists. While interviewing with Yang Wei, Qi recalled that “it is clearing up ‘politics’ in a political manner, instead of clearing up ‘politics’ with a notion of ‘consumption’”.
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He launched “Chinese Girl” series in 1996. A f t e r r e t i r i n g i m a g e s o f sw i m s u i t s a n d flowers, he used brand images such as in this picture where a girl from the age of materialism wears a brand while actually wearing a green army uniform from the time of the Cultural Revolution. The girl’s smile with profound meaning also reflects the loss of cultural memory in the age of hustle and bustle. Having experienced psychological hardships and having their material desires satisf ied, human beings will feel their spiritual aspiration. In 2000, Qi Zhilong tended to regress further to romantic memories of the past. This work of art was painted in 2006. It is still a girl in a Cultural-Revolution army uniform, with a pair of pigtails, but her smile is no longer there on the canvas. This artwork is f illed with narrative atmosphere of time brand, exuding tenderness and love, and the complicated feelings of experiencing great changes as time goes by. This painting reflects and expresses the call of idealism from the bottom of the heart of the painter. Li Xianting, the renowned critic commented: “There exists the beautifulness which would make you forget about tribulation; there exists the purity which would comfort you from desolation; there exists the sweetness that would touch the softest part of your heart, and would inspire you to recollect the hope to the future. This would be the beautiful and pure ‘Chinese Girl’ painted by Qi Zhilong.”
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HE Duoling (Chinese, b. 1948)
Woman in a Village 1993 Oil on canvas 65 x 79 cm Signed lower left Duoling in Chinese and dated 93 Titled on the reverse Woman in a Village in Chinese ILLUSTRATED: Album of Chinese Contemporary Art 4- He Duoling, Mountain Arts Museum, Kaohsiung, 1997, color illustrated, pp. 112-113
NT$ 2,200,000-3,800,000 US$ 65,700-113,400 HK$ 512,000-884,000
何多苓 女人與村莊 1993 油彩 畫布 65 x 79 cm 簽名左下：多苓 93 簽名畫背：女人與村莊 圖錄： 《中國當代藝術選集（4）何多苓》，山美 術館，高雄，1997，彩色圖版，頁112-113
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何多苓，四川美術學院「傷痕美術」的代表 人物，上世紀80年代初以《春風已甦醒》、 《青春》等作品轟動一時，被譽為「中國畫 壇傑出的現實主義油畫家」。 何多苓的藝術造型功底堅實而全面，落筆之 處，人物、景象充滿生命活力。他在形式語 言上所推崇的單純感，與中國傳統水墨畫具 有異曲同工之妙，在洗練中見細緻，於單純 中現複雜，表現出一種超然的精神境界和深 層次的藝術追求。 80年代起，何多苓常用一種表面看來很具象 的手法和朦朧、幽雅的筆調，來對女性進行 描繪。《女人與村莊》是其中的代表作，畫 作像一首哀婉的抒情詩，帶著清新從巴蜀飄 來，留給人們無盡的回憶、傷感和遐想，何 多苓說：「畫女性，因為女性是美的代表， 可以表達比如：敏感、細膩、情緒化等等。 其二，從技法角度來看，女性人體等畫起來 很複雜，具有挑戰性。而我是一個熱愛技巧 的人，在表現光與影在人體上變化過程中， 獲得了極大的樂趣。」
He Duoling, representing the “Scar Fine Art” of the Sichuan Academy of Fine Arts, is widely believed to be one of China's most talented realist painters. His masterpieces such as “The Spring Wind Was Woken Up”, and “Youth”, caused a sensation in the 1980’s.
He Duoling has substantial and comprehensive skills of ar tistic design. The figures and sceneries in the canvas are endowed with a spirit of aliveness by his brush strokes. The purity that he esteemed in formal language is different from traditional Chinese water and ink paintings in approach, but is equally satisfactory in result. With delicacy reflected in simplicity, and complexity seen in purity, He Duoling’s works of art imply a transcendent spiritual ideology and deep level of artistic aspiration. Since the 1980s He Duoling has constantly described women in a seemingly syntheticimage approach, and a dreamlike and ethereal style of painting. This magnum opus “Woman in a Village” looks like a g rieving lyric coming with the fresh wind of the Sichuan area, and bringing people endless memories, sadness, and imagination. He Duoling said: “He likes painting women because women represent beautifulness, and are carrying various elements such as sensitiveness, exquisiteness, emotion and sentiment. Besides, technically speaking, a woman’s body is more complicated and difficult to paint. I am fond of techniques, and I found tremendous fun in the process of expressing the changes of light and shadow on a human body.”
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LUO Zhongli (Chinese, b. 1948)
Golden Sunshine 1992 Oil on canvas 100 x 76 cm Signed lower center Luo Zhong Li in English, dated 1992 and Luo in Chinese
NT$ 3,800,000-4,500,000 US$ 113,400-134,300 HK$ 884,000-1,047,000
羅中立 金色陽光 1992 油彩 畫布 100 x 76 cm 簽名下方：Luo Zhong Li 1992 羅
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117
蘇天賜
SU Tianci
雪韻
(Chinese, 1922-2006)
1995 油彩 畫布 60 x 110 cm 簽名右下：蘇 95.
Snow Scene 1995 Oil on canvas 60 x 110 cm Signed lower right Su in Chinese and dated 95 EXHIBITED: The 1st China Oil Painting Exhibition, National Art Museum of China, Beijing, 1996 ILLUSTRATED: The Artworks of the 1st China Oil Painting Exhibition, Guangxi Fine Art Publishing House, Nanning, 1996, color illustrated, p. 148
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Chinese Modern Art-Oil Painting 4, Tianjin People Ar t Publishing Co., 1997, color illustrated, p. 3 A Study of Third - Generation Chinese Oil Painters - Su Tianci, Guangxi Fine Ar ts Publishing House, Nanning, 2001, color illustrated, p. 73
NT$ 950,000-1,500,000 US$ 28,400-44,800 HK$ 221,000-349,000
展覽： 「第一屆中國油畫學會展」，中國美術館， 北京，1996 圖錄： 《第一屆中國油畫學會展作品集》，廣西美 術出版社，南寧，1996，彩色圖版，頁 148 《中國現代美術全集—油畫4》，天津人民 美術出版社，天津，1997，彩色圖版，彩色 圖版，頁 3 《第三代中國油畫家研究．蘇天賜》，廣西 美術出版社，南寧，2001，彩色圖版，頁73
118
WANG Jin
(Chinese, b. 1962)
Dream of China 2006 Transparent polyvinyl, embroidery with fishing thread 156(L) x 205(W) x 1(D) cm Signed on the bottom WANG JIN in English and dated 2005
NT$ 900,000-1,400,000 US$ 26,900-41,800 HK$ 209,000-326,000
王晉 中國之夢 2006 PVC 塑膠 釣線刺繡 156(長) x 205(寬) x 1(深) cm 簽名下方：2005 WANG JIN
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WANG Jin
(Chinese, b. 1962)
Forbidden City Stone 2007 Acrylic on Qing Dynasty tile from Forbidden City with period marks 70 (L) x 71 (W) x 9.5(D) cm Signed Wang Jin in English and Chinese, dated 2007
NT$ 750,000-1,200,000 US$ 22,400-35,800 HK$ 174,000-279,000
王晉 紫禁城之石 2007 壓克力 清朝紫禁城舊牆磚石 70(長) x 71(寬) x 9.5(深) cm 簽名：WANG JIN 王晉 2007
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120
SHI Xinning (Chinese, b. 1969)
Mao with Katharine Hepburn 2006 Oil on canvas 150 x 210 cm Signed lower left Shi Xinning in Chinese, dated 2006 and Beijing in Chinese Signed on the reverse Shi Xinning in Chinese, dated 2006 and Beijing in Chinese
NT$ 1,100,000-1,800,000 US$ 32,800-53,700 HK$ 256,000-419,000
石心寧 毛主席與凱薩琳赫本 2006 油彩 畫布 150 x 210 cm 簽名左下：石心寧 2006 北京 簽名畫背：石心寧 2006 北京
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LIU Kun
(Chinese, b. 1968)
Boy Holding Red Flowers 2006 Fiberglass, edition no. A/P 15(L) x 17(W) x 47(H) cm Signed Liu Kun in English, dated 2006.8
NT$ 60,000-120,000 US$ 1,800-3,600 HK$ 14,000-28,000
劉錕 紅花 2006 玻璃纖維 A/P 15(長) x 17(寬) x 47(高) cm 簽名：LIU KUN 2006. 8. A/P
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WANG Shuhui (Chinese, b. 1977)
Impression of Zhong Shan 2008 Porcelain, edition no. 3/8 42(L) x 42(W) x 42(H) cm Signed Wang Shuhui in Chinese, dated 08.11 and numbered 3/8 This sculpture is to be sold with a certificate of authenticity signed by the artist.
NT$ 100,000-200,000 US$ 3,000-6,000 HK$ 23,000-47,000
王樹輝 中山印象 2008 瓷器 3/8 42(長) x 42(寬) x 42(高) cm 簽名：王樹輝 08.11 3/8 附藝術家簽名之原作保證書
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123
LIU Fenghua & LIU Yong
(Chinese, LIU Fenghua, b. 1956; LIU Yong, b. 1971)
劉楓華&劉勇 新兵馬俑 1、2（二件一組）
New Terracotta Warrior 1 & 2 (A set of 2 pieces) 2008 Acrylic on ceramic Left: 20(L) x 17(W) x 61(H) cm Right: 19(L) x 16.5(W) x 61(H) cm Signed Liu Feng Hua. and Liu Yong in English, dated 2008 and No 38 (left) Signed Liu Feng Hua. and Liu Yong in English, dated 2008 and No 122 (right)
These 2 sculptures are to be sold with a certificate of authenticity signed by the artists.
NT$ 220,000-350,000 US$ 6,600-10,400 HK$ 51,000-81,000
2008 壓克力 陶器（單一件） 左：20(長) x 17(寬) x 61(高) cm 右：19(長) x 16.5(寬) x 61(高) cm 簽名：2008 No 38 Liu Feng Hua. Liu Yong (左) 簽名：2008 No 122 Liu Feng Hua. Liu Yong (右) 附藝術家親筆簽名之原作保證書
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LIN Chien-jung (Taiwanese, b. 1970)
Turning Head ZZZ IV 2007 Fiberglass, mixed media, edition no. 3/10 40(L) x 45(W) x 70(H) cm Signed Lin Chien-jung in Chinese
NT$ 120,000-220,000 US$ 3,600-6,600 HK$ 28,000-51,000
林建榮 轉頭 ZZZ IV 2007 玻璃纖維 綜合媒材 3/10 40(長) x 45(寬) x 70(高) cm 簽名：林建榮
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125
PENG Kuan-jun (Taiwanese, b. 1961)
Stretch 2006 Bronze sculpture, marble, glass, edition no. 4/10 38(L) x 90(W) x 60(H) cm (including stand) Signed Kuan-jun in Chinese, dated 2006 and numbered 4/10
彭光均 This sculpture is to be sold with a certificate of authenticity issued by Pan Pan Art Gallery, Taipei.
NT$ 300,000-400,000 US$ 9,000-11,900 HK$ 70,000-93,000
伸 2006 銅雕 大理石 玻璃 4/10 38(長) x 90(寬) x 60(高) cm（含底座） 簽名：2006 光均 4/10 附彩田畫廊開立之原作保證書
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PENG Kuan-jun (Taiwanese, b. 1961)
Hippopotamus 2000 53(L) x 25(W) x 33(H) cm Stainless steel, marble, edition no. AP 3/6 Signed Kuan-jun in Chinese and dated 2000, numbered AP 3/6 ILLUSTRATED: Peng Kuan-jun, Cultural Affairs Bureau of Hsinchu County, Hsinchu County, 2005, color illustrated, pp. 12-13 (bronze edition)
NT$ 160,000-260,000 US$ 4,800-7,800 HK$ 37,000-60,000
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JIANG Shuo
彭光均
(Chinese, b. 1958)
河馬 2000 53(長) x 25(寬) x 33(高) cm 不鏽鋼 大理石 AP 3/6 簽名：2000 光均 AP 3/6 圖錄： 《不可思議─彭光均作品集》，新竹縣文 化局，新竹縣，2005，彩色圖版，頁12-13 （銅雕版本）
Flag 7 2008 Bronze sculpture, edition no. 3/8 27(L) x 25(W) x 44(H) cm Signed Shuo in Chinese and Jiang in English, numbered 3/8 EXHIBITED: Jiang Shuo & Wu Shaoxiang, Indonesia National Museum, Jakarta, Nov 15-25, 2008 ILLUSTRATED: Jiang Shuo & Wu Shaoxiang, Indonesia National Museum, Jakar ta, 2008, color illustrated, pp. 61-62
NT$ 220,000-350,000 US$ 6,600-10,400 HK$ 51,000-81,000
蔣朔 前進進之七 2008 銅雕 3/8 27(長) x 25(寬) x 44(高) cm 簽名：朔 Jiang 3/8 展覽： 「蔣朔＋吳少湘」，印尼國家博物館，雅加 達，展期自2008年11月15日至25日 圖錄： 「蔣朔＋吳少湘」，印尼國家博物館，雅加 達，2008年，彩色圖版，頁61-62
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HUANG Po-ren (Taiwanese, b. 1970)
Unhappy 2005 Bronze sculpture, edition no. 7/12 94(L) x 46(W) x 62(H) cm Initialed PR in English and dated 2005, numbered 7/12
NT$ 400,000-600,000 US$ 11,900-17,900 HK$ 93,000-140,000
黃柏仁 不爽 2005 銅雕 7/12 94(長) x 46(寬) x 62(高) cm 簽名：2005 12-7 PR
129
ZHOU Chunya (Chinese, b. 1955)
Brotherhood 2006 Painted bronze sculpture, edition no. 7/8 28(L) x 14(W) x 18(H) cm Initialed Z.C.Y in English, dated 2006.3 and numbered 7/8 ILLUSTRATED: Blooming Stories, Sichuan Fine Art Publishing Co., Chengdu, 2007, color illustrated, pp. 122-125
NT$ 450,000-550,000 US$ 13,400-16,400 HK$ 105,000-128,000
周春芽 桃園結義 2006 銅雕著色 7/8 28(長) x 14(寬) x 18(高) cm 簽名：2006.3. Z.C.Y 7/8 圖錄： 《花間記》，四川美術出版社，成都， 2007，彩色圖版，頁122-125
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130
WANG Keping (Chinese, b. 1949)
Untitled Wooden sculpture 20(L) x 20(W) x 41(H) cm Signed Wang in Chinese and initialed K in English
NT$ 500,000-700,000 US$ 14,900-20,900 HK$ 116,000-163,000
王克平 無題 木雕 20(長) x 20(寬) x 41(高) cm 簽名：王 K
王慶松 最後的晚餐
131
WANG Qingsong (Chinese, b. 1966)
Last Supper 1997 C Print, edition no. 1/20 37 x 105 cm Signed lower right Wang Qingsong in Chinese and English, numbered 1/20 and dated 1997 With one seal of the artist
ILLUSTRATED: Wang Qingsong, Albion Gallery, London, 2006, color illustrated, pp. 30-31 C h e n We i q u n e d . , S a n g u i n e S p l e n d o r Wang Qingsong Works, Beijing, 2007, color illustrated, p. 109
EXHIBITED: Wang Qingsong, Albion Gallery, London, June 6 - August 18, 2006 (similar examples)
NT$ 90,000-180,000 US$ 2,700-5,400 HK$ 21,000-42,000
1997 數位輸出 1/20 37 x 105 cm 簽名右下：1/20 王慶松 1997年 Wang Qing Song 1997 鈐印右下：王慶松印 展覽： 「王慶松」，艾比安畫廊，倫敦，展期自 2006年6月6日至8月18日 圖錄： 《王慶松》，艾比安畫廊，倫敦，2006， 彩色圖版，頁30-31 陳衛群編，《樂天的光輝─王慶松作品》， 北京，2007，彩色圖版，頁109
132
趙汝賢
Caroline Yu Yin CHIU
牡丹花（三聯作）
(Chinese, b. 1967)
Peony (triptych) 2006 Digital print Image: 66 x 55 cm (x3) Paper: 70 x 55 cm (x3) Signed lower right Caroline Yu Chiu and titled PEONY in English, dated 2006
174
EXHIBITED: Colour Wunderkammer: Caroline Chiu, Hanart TZ Gallery, Hong Kong, August 3-18, 2007
2006 數位輸出 畫面：66 x 55 cm (x3) 相紙：70 x 55 cm (x3) 簽名右下：Caroline Yu Chiu PEONY 2006
NT$ 350,000-450,000 US$ 10,400-13,400 HK$ 81,000-105,000
展覽： 「趙汝賢的彩色多寶格」，漢雅軒，香港， 展期自2007年8月3日至18日
133
ZHANG Dali (Chinese, b. 1963)
Demolition 2001 Color photography, edition no. 5/10 150 x 100 cm Signed lower right Zhang Da Li in Chinese and English, dated 2001 and numbered 410A 5/10
NT$ 300,000-500,000 US$ 9,000-14,900 HK$ 70,000-116,000
張大力 拆 2001 彩色照片 5/10 150 x 100 cm 簽名右下：2001 410A 5/10 張大力 Zhang Da Li
134
HUNG Tung-lu
(Taiwanese, Donglu HONG, b. 1968)
The Birth of Xiao Hung 2002-2006 Color photograph, edition no. 5/8 93 x 124 cm Titled lower left The Birth of Xiao Hung in English and numbered 5/8 Signed lower right Hung Tung Lu in English and dated 2002-2006
NT$ 140,000-220,000 US$ 4,200-6,600 HK$ 33,000-51,000
176
洪東祿 小紅的誕生 2002-2006 彩色照片 5/8 93 x 124 cm 款識左下：The Birth of Xiao Hung 5/8 簽名右下：Hung Tung Lu 2002-2006
135
LIN Shu-min
林書民
(Taiwanese, b.1963)
山石 4
Mountain - Stone 4
2008 玻璃纖維 影像投影裝置 90(長) x 95(寬) x 85(高) cm
2008 Fiberglass, video installation 90(L) x 95(W) x 85(H) cm
ILLUSTRATED: Shan, Shui - Solo Exhibition by Shu-min Lin, Chen Linghui Contemporary Space, 2008, Beijing/Taipei, color illustrated
EXHIBITED: Shan, Shui-Solo Exhibition by Shu-min Lin, Chen Linghui Contemporary Space, Beijing/ Taipei, 2008
NT$ 400,000-600,000 US$ 11,900-17,900 HK$ 93,000-140,000
展覽： 「山、水：林書民個展」，陳綾蕙當代空 間，北京/台北，2008 圖錄： 《山、水：林書民個展》，陳綾蕙當代空 間，北京/台北，2008，彩色圖版
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Hisaya TAIRA (Japanese, b. 1960)
Jakuchu 2006 Acrylic on canvas, mounted onto board 42 x 60 cm Titled on the reverse Jakuchu and signed Hisaya Taira in English
NT$ 80,000-160,000 US$ 2,400-4,800 HK$ 19,000-37,000
平久彌 若沖（地下鐵） 2006 壓克力 畫布 裱於木板 42 x 60 cm 簽名畫背："Jakuchu" Hisaya Taira
137
Lyntalo TORII (Japanese, b. 1966)
A Pig Who Wanted to Be a Rabbit 2006 Oil on canvas, mounted onto board 110.5 x 86 cm Titled on the reverse A Pig Who Wanted to Be a Rabbit in Japanese, signed Lyntalo Torii in Han characters and Lyntalo in English, dated 2006
NT$ 130,000-240,000 US$ 3,900-7,200 HK$ 30,000-56,000
鳥井林太朗 幻想變成兔子的豬 2006 油彩 畫布 裱於木板 110.5 x 86 cm 簽名畫背：兔になりたかった豚 鳥井林太朗 Lyntalo 2006
178
138
Kiriko IIDA
(Japanese, b. 1970)
Water of Mine 2008 Oil on canvas 91 x 73 cm Signed on the reverse Kiriko Iida in English and dated 2008
NT$ 120,000-200,000 US$ 3,600-6,000 HK$ 28,000-47,000
飯田桐子 我的水 2008 油彩 畫布 91 x 73 cm 簽名畫背：Kiriko Iida 2008
139
Ayako ROKKAKU
六角彩子
(Japanese, b. 1982)
Red Cars 2008 Acrylic on canvas 76.5 x 112 cm Signed lower right Rokkaku Ayako in Japanese and dated 2008
180
紅汽車 PROVENANCE: Gallery Delaive, Amsterdam
NT$ 180,000-280,000 US$ 5,400-8,400 HK$ 42,000-65,000
2008 壓克力 畫布 76.5 x 112 cm 簽名右下：2008 ロッカクアヤコ 來源： 德萊夫畫廊，阿姆斯特丹
140
Ayako ROKKAKU
六角彩子
(Japanese, b. 1982)
Girl in Flower Garden 2008 Acrylic on canvas 190.5 x 110 cm Signed lower right Rokkaku Ayako in Japanese and dated 2008
花花世界 PROVENANCE: Gallery Delaive, Amsterdam
NT$ 600,000-950,000 US$ 17,900-28,400 HK$ 140,000-221,000
2008 壓克力 畫布 190.5 x 110 cm 簽名右下：2008 ロッカクアヤコ 來源： 德萊夫畫廊，阿姆斯特丹
天野喜孝 141
科學小飛俠─鐵雄
Yoshitaka AMANO (Japanese, b. 1952)
Twicle 2008 Automotive paint on aluminum panel 140(L) x 100(W) x 10.5(D) cm
182
PROVENANCE: Art Statements Gallery, Hong Kong Wada Garou Gallery, Tokyo Private Collection, Tokyo
2008 汽車漆 鋁板 140(長) x 100(寬) x 10.5(深) cm
NT$ 700,000-1,100,000 US$ 20,900-32,800 HK$ 163,000-256,000
來源： 藝術聲明畫廊，香港 和田畫廊，東京 私人收藏，東京
天野喜孝 142
Yoshitaka AMANO (Japanese, b. 1952)
Face 2008 Automotive paint on aluminum panel 100(L) x 140(W) x 10.5(D) cm
臉 EXHIBITED: Yoshitaka Amano: Deva Loka Rouge & Bleu, Art Statements Gallery, Hong Kong, Sep. 4 – Oct. 17, 2008
2008 汽車漆 鋁板 100(長) x 140(寬) x 10.5(深) cm
NT$ 700,000-1,100,000 US$ 20,900-32,800 HK$ 163,000-256,000
展覽： 「天野喜孝個展：極樂淨土之紅與藍」，藝 術聲明畫廊，香港，展期2008年9月4日至 10月17日
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Yoshitaka AMANO (Japanese, b. 1952)
Candy Girl L-1 2008 Automotive paint on aluminum panel 200(L) x 100(W) x 10.5(D) cm EXHIBITED: Yoshitaka Amano: Deva Loka Rouge & Bleu, Art Statements Gallery, Hong Kong, Sep. 4 – Oct. 17, 2008
NT$ 800,000-1,500,000 US$ 23,900-44,800 HK$ 186,000-349,000
天野喜孝 甜心女孩 2008 汽車漆 鋁板 200(長) x 100(寬) x 10.5(深) cm 展覽： 「天野喜孝個展：極樂淨土之紅與藍」，藝 術聲明畫廊，香港，展期2008年9月4日至 10月17日
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山本麻友香
Mayuka YAMAMOTO
雪
(Japanese, b. 1969)
Snow 2008 Oil on canvas 146 x 112 cm Titled on the reverse Snow in English, signed Mayuka Yamamoto in English and dated 2008
186
ILLUSTRATED: Beyond Portait, Gallery J. Chen, Taipei, 2008, color illustrated, p. 37
2008 油彩 畫布 146 x 112 cm 簽名畫背：Snow Mayuka Yamamoto 2008
NT$ 550,000-750,000 US$ 16,400-22,400 HK$ 128,000-174,000
圖錄： 《肖像背後》，J. Chen 畫廊，台北，2008， 彩色圖版，頁37
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Mayuka YAMAMOTO (Japanese, b. 1969)
Red Lamb 2008 Oil on canvas 162 x 130.5 cm Titled on the reverse Red Lamb, signed Mayuka Yamamoto in English and dated 2008
NT$ 600,000-900,000 US$ 17,900-26,900 HK$ 140,000-209,000
山本麻友香 紅羔羊 2008 油彩 畫布 162 x 130.5 cm 簽名畫背：Red Lamb Mayuka Yamamoto 2008
146
日野之彥
Korehiko HINO
殺了我吧
(Japanese, b. 1976)
Kill Me 2006 Oil on canvas 73 x 91 cm Titled on the reverse Kill Me, signed Hino Korehiko in Japanese and dated 2006
188
EXHIBITED: Korehiko Hino, Galleria Grafica bis, Tokyo, July 2 – 14, 2007
NT$ 450,000-650,000 US$ 13,400-19,400 HK$ 105,000-151,000
2006 油彩 畫布 73 x 91 cm 簽名畫背：殺してくれよ 2006 日野之彥 展覽： 「日野之彥」，圖畫廊（ ガレリア・グラ フィカ），東京，展期2007年7月2日至 7月14日
147
黃炫升
HWANG Hyun Seung
玩具之七
(Korean, b. 1980)
2008 油彩 畫布 100 x 100 cm 簽名畫背：Toy 100 x 100 Oil on Canvas 2008. no -7 Korea Hwang Hyun Seung
Toy No. 7 2008 Oil on canvas 100 x 100 cm Titled on the reverse Toy and signed Hwang Hyun Seung in English, dated 2008 N0. 7 Korea and size 100 x 100, media Oil on cavas in English EXHIBITED: First Steps - New Art from Korea, Art Seasons Gallery, Singapore, Jan. 19 - Feb. 5, 2008; Beijing, April 12 - May 12, 2008. Sweet - Hwang, Hyun Seung Solo Exhibition, Art Seasons Gallery, Singapore, May 17 - June 14, 2008
ILLUSTRATED: First Steps - New Art from Korea, Art Seasons Gallery, Singapore, 2008, color illustrated, p. 50 Sweet - Hwang, Hyun Seung, Art Seasons Gallery, Singapore, 2008, color illustrated
NT$ 220,000-300,000 US$ 6,600-9,000 HK$ 51,000-70,000
展覽： 「第一步─韓國新藝術」，季節畫廊，新加 坡，展期2008年1月19日至2月5日；北京， 2008年4月12日至5月12日 「甜─黃炫升」，季節畫廊，新加坡，展期 2008年5月17日至6月14日 圖錄： 《第一步─韓國新藝術》，季節畫廊，新加 坡，2008，彩色圖版，頁50 《甜─黃炫升》，季節畫廊，新加坡， 2008，彩色圖版
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YIM Man Hyeok (Korean, b. 1968)
Boy with Sheep 2007 Charcoal and mixed media on Korean paper, mounted on canvas 160 x 116 cm (canvas) 148 x104 cm (image) Signed lower right YMH in English and dated 2007
190
任萬爀 Signed on the reverse YIM MAN HYEOK in English
NT$ 240,000-350,000 US$ 7,200-10,400 HK$ 56,000-81,000
男孩與綿羊 2007 炭筆 綜合媒材 桑紙 裱於畫布 160 x 116 cm（畫布）；148 x 104 cm（畫面） 簽名右下：YMH 2007 簽名畫背：YIM MAN HYEOK
149
YOON Jongseok (Korean, b. 1970)
A Hanging Net Concealed inside the Heart - Red Dog 2008 Acrylic on canvas 112 x 162 cm Signed lower edge Yoon Jongseok in English and dated 2008
尹鍾錫 隱藏在內心的垂網─紅狗 This painting is to be sold with a certificate of authenticity issued by Artside Gallery, Beijing.
NT$ 450,000-600,000 US$ 13,400-17,900 HK$ 105,000-140,000
2008 壓克力 畫布 112 x 162 cm 簽名下方：Yoon Jongseok 2008 附阿特塞帝畫廊開立之原作保證書
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LEE Ho-Ryon (Korean, b. 1978)
Overlapping Image 2008 Oil on canvas 112 x 162.2 cm Signed on the reverse Lee, Ho-Ryon and titled Overlapping Image in English, dated 080802 and 2008, size 162.2 x 112.0 cm and media oil on canvas in English
NT$ 280,000-450,000 US$ 8,400-13,400 HK$ 65,000-105,000
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李皓堜 重疊的影像 2008 油彩 畫布 112 x 162.2 cm 簽名畫背：Lee, Ho-Ryon OVERLAPPING IMAGE 080802 162.2 x 112.0 cm oil on canvas 2008 Lee Ho-Ryon
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KIM Ji Min (Korean, b. 1975)
The Head 2008 Mixed media, labels on canvas 227 x 163 cm
金志旻 雞首
NT$ 350,000-450,000 US$ 10,400-13,400 HK$ 81,000-105,000
2008 綜合媒材 標籤 畫布 227 x 163 cm
152
YOON Jongseok (Korean, b. 1970)
The Thing I Still Keep with Me (1) 2006 Oil on canvas, mounted onto board 97 x 162 cm ILLUSTRATED: Ways of Seeing, Star 85 Art Space, Taipei, 2007, color illustrated, pp. 46-47
NT$ 400,000-600,000 US$ 11,900-17,900 HK$ 93,000-140,000
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尹鍾錫 還保留著的東西 (1) 2006 油彩 畫布 裱於木板 97 x 162 cm 圖錄： 《新視野》，星星85空間，台北，2007， 彩色圖版，頁46-47
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YIM Tae Kyu (Korean, b. 1976)
Woman and Woman No. 8 2008 Indian ink, oriental color on Korean paper 174 x 138 cm Signed upper right tae kyu and titled Woman & Woman #8 in English, dated 2008
NT$ 550,000-750,000 US$ 16,400-22,400 HK$ 128,000-174,000
任泰奎 女人與女人系列之八 2008 墨 彩墨 韓國紙 174 x 138 cm 簽名右上：tae kyu 2008 Woman & Woman #8
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LEE Jaesun
李在先
(Korean, b. 1971)
Looking into the Distance (diptych) 2006 Fire protection dope on canvas, adhesive, coffee, ink, charcoal 130 x 160 cm Signed lower right Lee Jaesun in Korean and dated 2006 01
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眺望（二聯幅） ILLUSTRATED: Ways of Seeing, Star 85 Art Space, Taipei, 2007, color illustrated, pp. 34-35
2006 防火塗料 白乳膠 咖啡 墨色 炭精條 畫布 130 x 160 cm 簽名右下：2006 01 ㅈㅐㅅ너
NT$ 400,000-600,000 US$ 11,900-17,900 HK$ 93,000-140,000
圖錄： 《新視野》，星星85空間，台北，2007， 彩色圖版，頁34-35
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LEE Lee Nam (Korean, b. 1969)
Song of Nature 42-inch LCD Monitor, 4-minute video installation loop, color, sound, edition no. 6/6 53(L) x 92(W) x 11(D) cm
李二男 The work is to be sold with a certif icate of authenticity signed by the artist.
NT$ 700,000-850,000 US$ 20,900-25,400 HK$ 163,000-198,000
自然之歌 42吋液晶螢幕 四分鐘循環放映 錄像裝置 有聲 6/6 53(長) x 92(寬) x 11(深) cm 附藝術家親筆簽名之原作保證書
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CHUN Kwang-Young (Korean, b. 1944)
Aggregation 1998 Mixed media on Korean paper 82 x 118 cm Signed on the reverse CHUN KWANG-YOUNG in Han characters and English, titled AGGREGATION in English and Korean, 82 CM x 118 CM Mixed Media With KOREAN PAPER - 98 in English
NT$ 1,400,000-2,400,000 US$ 41,800-71,600 HK$ 326,000-558,000
全光榮 聚合 1998 綜合媒材 韓國紙 82 x 118 cm 簽 名 畫 背 ： 全 光 榮 ( C H U N K WA N G YOUNG) AGGREGATION (짐핲) 98 - AU51 82 CM x 118 CM MIXED MEDIA WITH KOREAN PAPER - 98
198
157
KWON Ki Soo (Korean, b. 1972)
Four Seasons - Red 2007 Acrylic on canvas 130 x 130 cm Signed on the reverse Kwon Ki Soo in Han characters and English, dated 2007
NT$ 500,000-800,000 US$ 14,900-23,900 HK$ 116,000-186,000
權奇秀 四季─紅 2007 壓克力 畫布 130 x 130 cm 簽名畫背：權奇秀 Kwon Ki Soo 2007
200
158
KWON Ki Soo (Korean, b. 1972)
Dong Guri 2007 Acrylic on canvas 117 x 91 cm Signed on the reverse Kwon Ki Soo in Han characters and English, dated 2007
NT$ 350,000-550,000 US$ 10,400-16,400 HK$ 81,000-128,000
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權奇秀 當咕尼 2007 壓克力 畫布 117 x 91 cm 簽名畫背：權奇秀 Kwon Ki Soo 2007
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KWON Ki Soo
權奇秀
(Korean, b. 1972)
與花嬉戲
Playing with Flowers 2007 Painted steel, acrylic 130(L) x 30(W) x 150(H) cm
This sculpture is to be sold with a certificate of authenticity signed by the artist.
ILLUSTRATED: Asian Art Now, Soka Art Center, Taipei, 2007, color illustrated, p. 91
NT$ 400,000-600,000 US$ 11,900-17,900 HK$ 93,000-140,000
2007 彩色鋼 壓克力 130(長) x 30(寬) x 150(高) cm 圖錄： 《亞洲當代藝術》，索卡藝術中心，台北， 2007，彩色圖版，頁91 附藝術家親筆簽名之原作保證書
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UNMASK
(Chinese, LIU Zhan, b. 1976; KUANG Jun, b. 1978; TAN Tian Wei, b. 1976)
Translucency 8 2007 Spray paint on metal and LED, edition no. 1/12 57(L) x 15(W) x 122(H) cm EXHIBITED: Unmask, Gallery Sun Contemporary, Seoul, 2007 Fragmentation, Chen Ling Hui Contemporary Space, Beijing, Nov. 1 - 25, 2007 Unmask Solo Exhibition, Chen Ling Hui Contemporary Space, Taipei, Feb. 21 - Mar. 22, 2009
NT$ 600,000-700,000 US$ 17,900-20,900 HK$ 140,000-163,000
無影者（劉展、匡峻、譚天幃） 半透明之八 2007 噴漆 金屬 LED 1/12 57(長) x 15(寬) x 122(高) cm 展覽： 「UNMASK 個展」，選畫廊，首爾，2007 「七零八落」，陳綾蕙當代空間，北京，展 期2007年11月1日至11月25日 「UNMASK 個展」，陳綾蕙當代空間, 台 北，展期2009年2月21日至3月22日
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李有珍 變性的肉
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2007 樹脂著色 黃銅 2/5 66(長) x 91(寬) x 67(高) cm 簽名：2007 Lee Youjin
LEE Youjin (Korean, b. 1968)
The Flesh De-naturing 2007 Painted resin, brass, edition no. 2/5 66(L) x 91(W) x 67(H) cm Signed Lee Youjin in English and dated 2007 EXHIBITED: First Steps - New Art from Korea, Art Seasons Gallery, Singapore, Jan. 19 - Feb. 5, 2008; Beijing, April 12 - May 12, 2008
ILLUSTRATED: From Korea, Gallery LM, Seoul, 2007, color illustrated, pp. 14-15 First Steps - New Art from Korea, Art Seasons Gallery, Singapore, 2008, color illustrated, p. 79
NT$ 700,000-850,000 US$ 20,900-25,400 HK$ 163,000-198,000
展覽： 「第一步─韓國新藝術」，季節畫廊，新加 坡，展期2008年1月19日至2月5日；北京， 展期2008年4月12日至5月12日 圖錄： 《來自韓國》，L M畫廊，首爾，2007， 彩色圖版，頁14-15 《第一步─韓國新藝術》，季節畫廊，新加 坡，2008，彩色圖版，頁79
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Bhagat SINGH (Indian, b. 1965)
Jamun Tree 2007 Acrylic on canvas 122 x 92 cm Signed lower right Bhagat Singh in English and dated 07 Signed on the reverse artist Bhagat Singh, titled Jamun Tree, media oil and size 3 x 4 ft in English
NT$ 220,000-320,000 US$ 6,600-9,600 HK$ 51,000-74,000
巴哈哥特．西恩 果子樹 2007 壓克力 畫布 122 x 92 cm 簽名右下：BHAGAT SINGH - 07 簽名畫背：ARTIST BHAGAT SINGH JAMUN TREE 3 x 4 Ft OIL
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Roy THOMAS (Indian, b. 1965)
Near the Vanishing Point 2008 Oil on canvas 153 x 153 cm Signed lower right Roy Thomas in English and dated '08 Signed on the reverse Roy Thomas in English and dated '08
NT$ 300,000-500,000 US$ 9,000-14,900 HK$ 70,000-116,000
洛伊．湯瑪斯 接近滅點 2008 油彩 畫布 153 x 153 cm 簽名右下：Roy Thomas '08 簽名畫背：Roy Thomas '08
206
164
Bose KRISHNAMACHARI (Indian, b. 1962)
Untitled 2007 Acrylic on canvas 90 x 238 cm Signed on the reverse Bose in English
無題
伯斯在孟買以及倫敦受教育，其作品融合了 西方技法與印度神韻。《無題》是一幅充滿 伯斯標誌的抽象畫，絢麗結合色彩、紋理和 對比圖樣，激盪著欣賞者的大腦。乍看之下 非常眼熟的抽象圖案，例如一隻眼睛，最終 卻無法定義。這些圖案似乎挑戰著已知的概 念：圖案可作為代表已知事物的象徵符號， 藉此對於唯一真理的推論提出質疑。運用原 生印度的豐富色彩，參雜伯斯獨有的明亮筆 觸，《無題》是伯斯理性啟蒙的主要代表 作。
2007 壓克力 畫布 90 x 238 cm 簽名畫背：Bose
Bose was educated in Mumbai and London, and a combination of Western techniques and
NT$ 900,000-1,400,000 US$ 26,900-41,800 HK$ 209,000-326,000
伯斯．克里許納瑪查里
Indian spirit pervades his works. “Untitled” is an abstract containing all of Bose’s hallmarks, s p e c t a c u l a r c o m b i na t i o n s o f c o l o r, a n d abstract images and designs which provoke an intellectual examination. His abstract patterns, which seem familiar at the beginning, such as an eye, ultimately avoid definition. Bose challenges our perception and asks us to question what we see. Is what we see really what we see? And thus poses the intellectual question, is what we know, really the truth? Painted in the lavish colors of his native India, with a brightness unique to his work, “Untitled” is a major representation of Bose’s intellectual questioning.
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Chintan UPADHYAY (Indian, b. 1972)
Bhogi to Yogi 2008 Oil and acrylic on canvas 181 x 181 cm Titled on the reverse "Yogic Consumption" and "Bhogi to Yogi", signed Chintan Upadhyay Unlimited, media Oil & Acrylic on canvas, size 6ft x 6ft, Chintan 2008 in English
NT$ 1,800,000-2,400,000 US$ 53,700-71,600 HK$ 419,000-558,000
清滕．屋帕玳伊 瑜珈行者 2008 油彩 壓克力 畫布 181 x 181 cm 簽名畫背："Yogic Consumption" "Bhogi To Yogi" Chintan Upadhyay Unlimited Oil & Acrylic on Canvas 6ft x 6ft Chintan 2008
清滕．屋帕玳伊是印度當代藝術家，關注 現代消費主義、大量生產、原創性以及相 關議題對當代社會的影響。清滕．屋帕玳伊 出生於北印度拉賈斯坦，深受傳統印度藝術 影響，特別鍾情於傳統印度鄉間家家戶戶牆 壁上的裝飾圖案，和家鄉充滿情色的傳統微 型畫像。因為推崇安迪沃荷，特別從創造與 生產兩方面挑戰現代消費主義世界的原創性 問題。大部分的作品都是先由電腦輸出再作 畫，並且搭配傳統印度藝術，經常描繪大膽 情色圖像。 《瑜珈行者》
“Bhogi to Yogi” 這幅畫包含了屋帕玳伊的代表圖像「臭屁 王阿雷」，一個由電腦繪圖產生的頭腦簡 單、天真的娃娃，經常擺出高傲的姿態或表 情，令觀賞者產生全然不同的觀感。這幅畫 中，自作聰明的嬰孩正擺出傳統瑜珈姿勢沉 思，讓整幅圖畫呈現出輕鬆舒適的感覺。不 過，瑜珈者身上清楚印刻著印度傳統藝術當 中的情色畫作；原文標題當中的「俗人」 （Bhogi）是一位年輕的快樂主義者，滿腦 子及時行樂與自我滿足。「俗人」與「行 者」是完全不同類型的人，也許屋帕玳伊認 為唯心論能夠從無意義的消費主義中拯救我 們，特別是人際關係中，自我滿足帶有極度 的毀壞性。《瑜珈行者》是屋帕玳伊相當重 要的作品，因為這個「嬰孩」現在冷靜又平 和，似乎已經找到能夠控制內心渴望和慾求 的方法。
Chintan Upadhyay, as a contemporary Indian artist, is concerned with the modern questions of consumerism, mass production, and originality, and their effects on contemporary society. Born
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in rural Rajasthan, he grew up immersed in traditional Indian art, particularly the traditional decorative motifs on the walls of every house in rural India, and the traditional miniature portraits of his home province, which are often highly sexualized. As a great admirer of Andy Warhol, he challenges the ideas of originality in a modern consumerist world both in terms of creation and production. Most of his works are computer generated before being painted, and he appropriates the traditional art of India, often inscribing provocative images on his figures.
The painting contains Upadhyay’s iconic “Smart Alec Baby”, a computer generated soft, innocent image usually juxtaposed with an arrogant pose or expression thus evoking disparate reactions in the viewer. In this painting the whole image is soft as the figure meditates in a traditional yoga posture. The Yogi is, however, inscribed with very explicit sexual drawings taken from traditional Indian art. The “Bhogi” of the title, is a young, hedonistic person, only concerned with immediate pleasure and self-gratification. A “Bhogi” and a “Yogi” are as far apart as two people can be. Perhaps Upadahyay is suggesting that spiritualism can save us from the meaninglessness of consumerism especially in the area of human relationships where selfgratification is ultimately destructive. This is a very important work in Upadhyay’s oeuvre, as the calm and peaceful “baby” seems to have found a way to control its innermost longings and desires.
166
Deddy PAW
(Indonesian, b. 1963)
Weapon Series No. 6 2008 Oil on canvas 140 x 250 cm Signed lower left Paw in English and dated 2008 Titled on the reverse "Weapon Series #6", dated Sept. 2008, media oil on canvas, size 140 x 250 cm and signed Deddy Paw in English
NT$ 140,000-240,000 US$ 4,200-7,200 HK$ 33,000-56,000
戴迪．鮑 武器系列之六 2008 油彩 畫布 140 x 250 cm 簽名左下：PAW 2008 簽名畫背："Weapon Series #6" 2008. Oil on Canvas 140 x 250 cm by Deddy PAW Sept. 2008
167
YUNIZAR
(Indonesian, b. 1971)
Celana Kuning - Yellow Pants 2000 Acrylic on canvas 150 x 130 cm Signed lower right Yunizar in English and dated 2000 Titled on the reverse Celana Kuning in Indonesian, dated 2000, media acrylic on canvas in English, size 150 x 130 cm and signed Yunizar in English
NT$ 350,000-550,000 US$ 10,400-16,400 HK$ 81,000-128,000
于尼薩 黃褲子 2000 壓克力 畫布 150 x 130 cm 簽名右下：Yunizar 2000 簽名畫背：C E L A NA K U N I N G I N 2000 ACRYLIC ON CANVAS 150 x 130 cm Yunizar
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Budi KUSTARTO (Indonesian, b. 1972)
Melihat Sesuatu Yang Terbolik - See Something Which is Upsidedown 2005 Oil on canvas 200 x 140 cm Signed lower right Budi Kustarto in English and dated 2005 Titled on the reverse melihat sesuatu yang terbolik in Indonesian, size 200 x 140 x 5 cm, dated 2005, signed Gat minyak Budi Kustarto
NT$ 600,000-800,000 US$ 17,900-23,900 HK$ 140,000-186,000
布迪．庫斯塔托 顛倒看世界 2005 油彩 畫布 200 x 140 cm 簽名右下：BUDI KUSTARTO 2005 簽名畫背：melihat sesuatu yang terbolik 200 x 140 x 5 cm 2005 Gat minyak BUDI KUSTARTO
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哈里斯．普爾諾莫
Haris PURNOMO
孤立的嬰孩
(Indonesian, b. 1956)
2007 油彩 壓克力 畫布 180 x 200 cm 簽名右下：HARIS PURNOMO 2007
Alienated Baby -3 2007 Oil and acrylic on canvas 180 x 200 cm Signed lower right Haris Purnomo in English and dated 2007
ILLUSTRATED: Unbridgeable Future - Haris Purnomo, Vanessa Art Link, Jakarta, 2008, color illustrated, p. 37
EXHIBITED: Haris Purnomo, Vanessa Art Link Beijing, Beijing, Apr. 20- May. 20, 2008
NT$ 950,000-1,800,000 US$ 28,400-53,700 HK$ 221,000-419,000
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展覽： 「哈里斯．普爾諾莫」，華藝沙藝術中心， 北京，展期自2008年4月20日至5月20日 圖錄： 《無依無靠的未來─哈里斯．普爾諾莫》， 華藝沙藝術中心，雅加達，2008，彩色圖 版，頁37
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Agus SUWAGE (Indonesian, b. 1959)
Man with Fans 2001 Oil on canvas 145 x 145 cm Signed lower right Agus Suwage in English and dated 2001
NT$ 1,200,000-2,200,000 US$ 35,800-65,700 HK$ 279,000-512,000
阿格斯．蘇瓦吉 舞扇的男人 2001 油彩 畫布 145 x 145 cm 簽名右下：AGUS SUWAGE 2001
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I Nyoman MASRIADI (Indonesian, b. 1973)
Save the Land 1998 Oil on canvas 145 x 145 cm Signed lower left MASRIADI in English and dated 9 SEP 1998
NT$ 1,300,000-2,800,000 US$ 38,800-83,600 HK$ 302,000-651,000
米斯尼亞迪 拯救土地 1998 油彩 畫布 145 x 145 cm 簽名左下：MASRIADI 9 SEP 1998
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1998年，米斯尼亞迪於其生命中的重要時期 畫下《拯救土地》。這段時期，他返回家鄉 峇里島完成婚事，作品訴說的都是對家鄉深 刻的反思，以及現代化、經濟成長如何改變 當地。米斯尼亞迪曾經說：「繪畫應該由畫 作本身表達，不需藝術家詮釋。」此時期的 作品，包含畫面中的即興速寫與素描，替他 個人強力發聲。《拯救土地》對於峇里島失 控的開發表達立場，觸及全球共通的環境意 識課題。米斯尼亞迪對於環境問題具有深刻 的個人情感。因為從小他的父母在路邊經營 攤位，原本寧靜的道路卻在一夕之間變成吵 雜而擁塞的惡夢，往日稻田的平靜與安穩不 再。讓人極其厭惡的噪音，迫使米斯尼亞迪 轉而探索隔絕、沉思與觀察的內在世界。
“Save the Land” was painted in 1998, an important time in Masriadi’s life. He was about returning to Bali to get married, and
his art from this period is a deep reflection of his roots and the changes being wrought by modernization and economic growth on his homeland. Masriadi has said “a painting should speak for itself without any explanation from the artist.” His works from this period contain spontaneous sketches and drawings that emerge on the surface of his paintings, and together strongly speak for the Artist. “Save the Land” is a comment on the uncontrolled development of Bali and the universal theme of environmental awareness. This theme is deeply personal for Masriadi, as when he was a child his parents opened a roadway stall on what was a quiet road but which soon became a noisy and congested nightmare. His horror at the noise and loss of the peace and calm of the rice fields, seems to have driven Masriadi, into an inner world of isolation, contemplation and observation.
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Agus SUWAGE (Indonesian, b. 1959)
Swimming 2006 Oil on canvas 150 x 200 cm Signed lower right Agus Suwage in English and dated 2006
NT$ 1,400,000-2,200,000 US$ 41,800-65,700 HK$ 326,000-512,000
阿格斯．蘇瓦吉 游泳 2006 油彩 畫布 150 x 200 cm 簽名右下：AGUS SUWAGE 2006
蘇瓦吉的「游泳」系列完整展現畫家個人心 境。早期作品中，蘇瓦吉的自畫像經常掛著 歡欣愉悅的笑容，探索著現代生活的殘酷事 實、人性，關注的主題包括死亡、荒謬和羞 恥。「游泳」系列的自畫像則呈現出沉思、 嚴肅的表情，似乎是在思考著生命的問題， 我們是誰？我們為什麼在這裡？ 海洋象徵著自由、潔淨以及遠離世俗塵囂。 《游泳》畫作中，主角沉浸在寧靜的藍色大 海中。他將臉龐浸入水中，似乎迷失於思緒 與沉思中。畫作以東方與西方著名哲學家的 姓名覆蓋，似乎想要強調主角在沉思生命的 意義時，深刻的反思自省。
Suwage's “Swimming” series is a mature reflection on his personal state-of-mind. In his earlier works, his self-portraits always have gleeful smiles as they explore the brutal truths of modern life, and our human nature, often dealing with the macabre, the absurd and the scandalous. His self-portraits in the “Swimming” series are much more contemplative and serious, as they seem to consider the great questions of life, who are we? and why are we here? The ocean is a symbol of freedom, cleansing and escape from worldly troubles. In “Swimming”, the figure is immersed in the serene, blue sea. His face is under the water, as he seems lost in thought and contemplation. Covered in the names of famous philosophers both Eastern and Western, the painting seems to emphasize the deep introspection of the figure as he meditates on the meaning of life.
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PINTOR Sirait (Indonesian, b. 1962)
En Feu 2006 Stainless steel, edition no. 2/12 57(L) x 25(W) x 38.5(H) cm Signed Pintor Sirait in English and dated '06
NT$ 220,000-350,000 US$ 6,600-10,400 HK$ 51,000-81,000
平托．西瑞特 如火燃燒 2006 不鏽鋼 2/12 57(長) x 25(寬) x 38.5(高) cm 簽名：Pintor Sirait '06
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Gabriel BARREDO (Philipino, b. 1957)
Tablescape 2008 Mixed media with electrical installation, unique 73(L) x 84(W) x 84(H) cm This sculpture is to be sold with a certificate of authenticity signed by the artist.
NT$ 350,000-550,000 US$ 10,400-16,400 HK$ 81,000-128,000
蓋伯瑞．博瑞多 花莖圓桌 2008 綜合媒材 電動裝置 單一件 73(長) x 84(寬) x 84(高) cm 附藝術家親筆簽名之原作保證書
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亞穆．章其．安華
Ahmad ZAKII Anwar
躺著的形體
(Malaysian, b. 1955)
2007 壓克力 亞麻布 102 x 197 cm 簽名右下：Ahmad Zakii Anwar 07 簽名畫背：AHMAD ZAKII ANWAR RECLINING FIGURE 2007 ACRYLIC ON LINEN 102 x 197 cm
Reclining Figure 2007 Acrylic on linen 102 x 197 cm Signed lower right Ahmad Zakii Anwar in English and dated 07 Signed on the reverse Ahmad Zakii Anwar and titled Reclining Figure in English, dated 2007, media Acrylic on linen, size 102 x 197 cm
ILLUSTRATED: Soka's View - Southeast Asian Contemporary Art, Soka Art Center, Taipei, 2007, color illustrated, pp. 66-67
展覽： 「索卡新觀點─東南亞當代藝術展」，索卡 藝術中心，台北，展期自2007年8月4日至26 日
EXHIBITED: Soka's View - Southeast Asian Contemporary Art, Soka Art Center, Taipei, Aug. 4-26, 2007
NT$ 900,000-2,000,000 US$ 26,900-59,700 HK$ 209,000-465,000
圖錄： 《索卡新觀點─東南亞當代藝術展》，索卡 藝術中心，台北，2007，彩色圖版，頁66-67
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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。 c. 拒絕入場 拍賣於本公司之場地進行，或於本公司為拍賣而具有控制權之場地進行， 本公司具有完全之決定權，可行使權利拒絕任何人進入拍賣場地或參與拍 賣。 d. 競投之前作出登記 每一準買家在作出競投之前，必須填妥及簽署登記表格，並提供身分證 明。準買家應注意，本公司通常會要求對買家作出信用核查。 e. 競投者為買家 除非登記時已書面協定，競投者將為代第三人行事之代理人，而該第三人 為本公司所接受者，否則競投者將被視為買家而須承擔個人法律責任。 f. 委託競投 如準買家使用印於目錄說明之後之表格指示本公司代其競投，本公司將盡 適當努力代其競投，但代為競投指示須於拍賣前送抵本公司。如本公司 就某一拍賣品而收到多個委託競投之相等競投價，而在拍賣時此等競投價 乃該拍賣品之最高競投價，則該拍賣品會歸其委託競投最先送抵本公司之 人。委託競投之承擔受拍賣時之其他承諾所限，而拍賣進行之情況可能使 本公司無法代為競投。由於此項承擔乃本公司為準買家按所述條款提供之 免費服務，如未能按委託作出競投，本公司將不負任何法律責任。準買家 如希望確保競投成功，應親自出席競投。 g. 電話競投 如準買家於拍賣前與本公司作好安排，本公司將盡適當努力聯絡競投者， 使其能以電話參與競投，但在任何情況下，如未能聯絡，本公司對賣家或 任何準買家均不負任何責任。 h. 匯率轉換顯示板 在有些拍賣中，會有一具匯率轉換顯示板操作。匯率按拍賣日當天銀行開 市時向本公司報出之一個月期貨匯率計算。然而競投仍會以新台幣進行。 匯率轉換顯示板並非時常可靠，不論是顯示板所示之拍賣品編號或是新台 幣競投價之相等外匯，其準確程度均可能會出現非本公司所能控制之誤 差。買家因依賴匯率轉換顯示板（而非因以新台幣競投）所導致而蒙受之 任何損失，本公司概不負責。 i. 錄映影像 在有些拍賣中會有影像投射，但其操作或會出現錯誤。不論影像是否與成 功拍賣之拍賣品相配合，或是翻版影像之質素，本公司對買家均不負任何 責任。 j. 拍賣官之決定權 拍賣官具有絕對決定權，有權拒絕任何競投、以其決定之方式推動出價、 將任何拍賣品撤回或分批、將任何兩件或多件拍賣品合併，以及如遇有誤 差或爭議，將拍賣品重新拍賣。 k. 成功競投 在拍賣官之決定權下，下槌即顯示對最高競投價之接受，亦即為賣家與買 家之成功拍賣合約之訂立。 4. 拍賣後 a. 買家支付每件拍品之服務費率 （1）買家除支付落槌價外，另須支付服務費予本公司，落槌價於新台幣 貳仟萬元以下者含貳仟萬元以18％計算。 （2）落槌價於新台幣貳仟萬元以上者分為二級，其中新台幣貳仟萬元以 18％計算，超過新台幣貳仟萬元之部份以12％計算。 b. 稅項 買家應付予本公司之所有款項均不包括任何貨物或服務稅或其他增值稅 （不論由台灣政府或別處所徵收）。如有任何此等稅項適用，買家須負責 按有關法律所規定之稅率及時間繳付此稅款。
c. 付款 成功拍賣後，買家須向本公司提供其姓名及永久地址。如遇要求，亦須提 供付款銀行之詳情。然後於拍賣日期後七天內悉數支付所欠款項（包含落 槌價、拍賣支付之酬金，以及任何適用之增值稅）。即使買家希望將拍賣 品出口並需要（或可能需要）出口許可證，此一付款條件亦適用。 買家如未向本公司支付所欠之全部款項，則不能取得拍賣品之所有權，即 使本公司已將拍賣品交付予買家亦然。如支付予本公司之款項為新台幣以 外之貨幣，本公司將向買家收取所引致之任何外匯費用。這包括銀行收費 與兌換貨幣之規費及匯差。以新台幣以外之貨幣付款予本公司之匯率，依 拍賣日現場公佈之匯率（台灣銀行），並以本公司就此兌換率而發出之憑 證為準。 d. 領取已購拍賣品 除非本公司另有特別相反協定，否則本公司將暫時保留已成功拍賣之拍賣 項目，直至欠本公司之款項已悉數支付為正。拍賣品在暫時保留期間， 由成功拍賣日期起為期七天將受保於本公司之保險，如屆時拍賣品已被領 取，則受保至領取時為止。七天期滿後或自領取時起（以較早者為準）， 拍賣品之風險全由買家承擔。 e. 包裝及搬運 本公司謹請買家注意，七天期滿後或自領取時起，拍賣品之風險全由買家 承擔。 f. 介紹裝運及運輸公司 本公司之貨運部門可作為買家之代理人，代為安排付運。雖然在特別要求 下本公司可介紹承運人，但本公司在此方面不負任何法律責任。 g. 不付款或未有領取已購拍賣品之補救辦法 如買家未有在七天內付款，本公司即有權行使下述一項或多項權利或補救 辦法： （1）在拍賣日期後超過七天仍未付款，則按不超過台灣銀行基本利率加 10%之年利率收取整筆欠款之利息。此外本公司可同時按日收取依 賣價（含佣金）1％計算之違約金。將買家未付之款項，用以抵銷 本公司或其他附屬公司在任何其他交易中欠下買家之款項。 （2）對任何屬於買家所有而因任何目的而由本公司管有之物品行使留置 權，並在給予買家有關其未付之欠繳之14天通知後，安排將該物品 出售並將收益用以清償該未付之欠款。 （3）如買家因多項不同之交易而欠下本公司數筆款項，將所付之款項用 以清償就任何特定交易而欠下之任何款項，而不論買家是否指示用 以清償該筆款項。 （4）在將來的任何拍賣中，拒絕買家作出或由他人代其作出之競投， 或在接受其任何競投之前先收取買家一筆保證金。如買家未有在 三十五天內付款，本公司除上述者外，另有權： （5）代賣家針對買家進行法律程序，以追討整筆欠款，連同此項以悉數 賠償為基準之法律程序之訴訟費。 （6）取消同一次或任何其他拍賣中買家競投得之拍賣品或任何其他售予 買家之拍賣品之交易。 （7）安排將拍賣品公開或私下重售，如重售所得價格較低，就差額連同 因買家未有付款而引致之任何費用一併向買家索償。 h. 未有領取已購拍賣品 如已購得之拍賣品未有在成功拍賣後七天內領取，則不論是否已付款，本 公司將安排貯存事宜，費用由買家承擔。而只在所引起之貯存、搬運、保 險及任何其他費用，連同欠本公司之所有其他款項付清後，方可領取已購 拍賣項目。
5. 本公司之法律責任 本公司有責任在第6條所列之情況下退還款項予買家。除此之外，不論賣 家或本公司，或本公司任何僱員或代理人，對任何拍賣品之作者、來歷、 日期、年代、歸屬、真實性或出處之陳述，或任何其他說明之誤差，任何 拍賣品之任何毛病或缺陷，均不負有任何責任。買家、本公司、本公司之 僱員或代理人，均無就任何拍賣品作出任何保證。任何種類之任何擔保， 均不包含在本條之內。 6. 膺品之退款 如經本公司拍賣之拍賣品證實為膺品，則交易將取消，已付之款項則退 還予買家。但如：a.在拍賣日發出之目錄說明或拍賣場通告符合當時學者 或專家普遍接納之意見，或清楚表明意見有抵通告符合當時學者或專家普 遍接納之意見，或清楚表明意見有牴觸之處，或b.證明拍賣品為膺品之方 法，只是一種在目錄出版前仍未普遍獲接納使用之科學程序，或是一種在 拍賣日仍屬昂貴得不合理或並不實際或很可能會對拍賣品造成損壞之程 序，則本公司無論如何並無責任退還任何款項。此外，買家只在滿足下述 條件下方可獲得退款： （1）買家必須在拍賣日起十日內以書面通知本公司，說明買家認為有關 拍賣品乃膺品； （2）買家隨後必須在十四天內將拍賣品送還本公司，而其狀況與拍賣當 日相同；及 （3）送還拍賣品後，買家須盡快出示證據，足以使本公司確信拍賣品乃 膺品，買家並可將拍賣品之良好所有權轉讓予本公司，而與任何第三人之 索償無涉。在任何情況下，本公司均毋須向買家支付多於買家就有關拍賣 品而支付之款項，而買家亦不能索取利息。 本擔保之利益不能轉讓，完全屬於拍賣品成功拍賣時獲本公司發給正本 發票之買家所有，該名買家並須自拍賣後一直保持拍賣品擁有人之身分， 而且並無將拍賣品之任何利益讓予任何第三人。本公司有權依據任何科學 程序或其他程序確定拍賣品並非膺品，不論該程序在拍賣當日是否已使用 或已在使用。 本條件不適用於硬幣、獎牌、珠寶及畫。 II.買家與賣家均適用之條件 1. 版權 與拍賣品有關之一切影像、圖示與書面材料之版權，於任何時候均屬於本 公司之財產。未得本公司事先書面同意，買家或任何人均不得使用。 2. 通知 根據本業務規則發出之通知，均須以書面發出。如採用郵遞發出，則在付 郵後第二個工作天即當作已由收件人收妥；如收件人在海外，則為付郵後 第五個工作天。 3. 可分割性 如本業務規則有任何部份遭任何法院認定為無效、不合法或不可強制執 行，則該部分可不予理會，而本業務規則之其他部份在法律許可之最大範 圍內須繼續有效及可強制執行。 4. 法律及管轄權 本業務規則受中華民國法律規限，本業務規則之解釋與效力均適用台灣法 律。為本公司之利益而言，賣家與買家須服從台灣法院之排他性管轄權。
賣方業務規則請參閱羅芙奧藝術網站 http://www.ravenelart.com
i. 出口許可證 除本公司另有書面同意外，買家希望申請出口許可證之事實，並不影響買 家在七天內付款之責任，亦不影響本公司對延遲付款收取利息之權利。 如買家要求本公司代為申請出口許可證，本公司有權向其收回與此項申請 有關之付出款項及零碎開支連同任何有關之增值稅。 如買家不管需要有出口許可證之事實而作出付款，本公司並無責任退還買 家因此而引致之任何利息或其他開支。
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Transaction Agreement
The following provisions are entered into by and between the Company, as the auctioneer, and the Seller (hereinafter the "Seller"). This Agreement is also entered into by and between the Company as the agent of the Seller and the Buyer (hereinafter the "Buyer"). Both the Buyer and the Seller must carefully review all provisions hereunder. The Buyer should pay special attention to Article 5 which provides limitations as to the legal responsibilities of the Company.
collect the items auctioned outside the R.O.C.
I. The Buyer
c. Refusal of admission The auction is held at the premises of the Company or any location where the Company has control of for the auction. The Company has full discretion to exercise the right to refuse entry to the premises for the auction or to prevent participation in the auction.
1. Ravenel as the Agent The Company, as the auctioning party, shall act as the agent of the Seller. Except otherwise provided, items successfully sold in the auction held by the Company shall be bound by the agreement made by and between the Seller, through the agency of the Company, and the Buyer. 2. Prior to the auction a. Authentication We strongly recommend that the prospective buyers conduct their own authentication for the items they are interested in bidding prior to the auction. We provide no guarantees to the buyer (with the exception of the guarantee with regard to counterfeits as defined in Section III of the Transaction Agreement). b. Important Notice Attention, prospective buyers: As far as possible, the descriptions of auction items will mention obvious defects of the items; however, they do not necessarily include all flaws, defects, or incomplete aspects. The Company regrets that it is unable to guarantee that the wristwatches on auction are in good working condition and the descriptions in the catalogue must not be construed as implying such. The description of the auction items also do not imply that the items have not gone through readjustment or repair or allude anything about the current state or storage conditions of the items. Any omission in the catalogue description regarding the current condition or the appraisal of defects in the items by no means represent that those items are in good condition, function normally, or that there will be any free repair or replacement of parts. We strongly recommend prospective buyers to personally view the items for which they plan to bid before the auction itself. If a prospective buyer is unable to view an item for whatever reason, then in our role as a service provider, we would be more than happy to offer our opinion of an item's special characteristics and current condition. However, the Company is not a professional restorer of wristwatches; therefore, any description in the catalogue is purely the Company's subjective opinion and not a statement of fact. Please note: The outer shells of many of the water-resistant watches have been opened in order to investigate their working condition and their type; therefore, it must not be assumed that they are currently water-resistant. We recommend buyers to have such watches checked by a competent watchmaker before use. Please note: The restoration of the items on auction may have resulted in original parts being replaced; therefore, we are unable to guarantee that any given watch's parts are from the original set of parts. All of the items on auction are being sold in "as is" condition.the Company does not provide any representation or guarantee as to the condition of any of the items. Unless otherwise stated, the Company does not provide any warranty with the items. c. Catalogue Explanations Any statement of the author, history, date, year, size, material, ownership, authenticity, origin, condition of preservation or estimated selling price of any of the Lots shown in the catalogue or the authentication opinion made by the Company, or any other verbal or written statements made separately shall be solely statements of opinions and shall not be deemed the basis for the statements of actual fact. The photographs shown in the catalogue shall serve as reference only and shall not be deemed as the basis for determining the color or tone of any Lots or disclosure of the defects of such item. The estimates of the auction price shall not be deemed the price at which such item will be successfully sold or the statement of the value of the item for other purposes. Many auction items fail to maintain their perfect condition because of time and other environmental factors. Some of the explanations in the catalogue or the authentication opinions will state defects and/or the repair background of the Lots. Such information is meant for reference only. Missing information in the statements does not mean the Lot has no defects or has not been repaired. Any statement of one particular defect does not mean there is no any other defect. d. Responsibility of the Buyer The Buyer is responsible for clarifying and satisfying himself about the condition of the items and any related matters stated in the catalogue descriptions. 3. In the auction Sales Tax Payable by the Buter a. The Buyer shall pay (value added) sales tax in the amount of 5% of the Hammer Price with respect to imported works of art collected by the Buyer in Taiwan pursuant to the laws of the R.O.C. The Buyer is not required to pay sales tax if such imported works of art (with * marks by the number in the catalogue) are delivered to the buyer outside the R.O.C. and are handled by Ravenel for the relevant shipments. The buyer shall notify Ravenel in writing within two business days following the auction day if he desires to
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b. Estimates 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.
d. Registration prior to the bidding Prospective buyers must fill in and sign the registration forms prior to the bidding and provide personal identification. Prospective buyers should also note that the Company may be requested to conduct credit checks against buyers. e. The bidder is the Buyer Unless a written agreement has been made upon registration that the bidder will be the agent who acts on behalf of a third person and such third person is accepted by the Company, the bidder will be deemed as the Buyer who will bear individual legal responsibilities. f. Commission bids The Company will make every effort to bid for the prospective buyers who instruct us to bid on their behalf by using the forms attached to the explanations of the catalogue; provided, however, bid commission instructions are delivered to the Company prior to the auction. If the Company receives several commission bids for one particular item, with all bid prices being equal and of the highest bid price at the auction, priority shall be given to the Buyer whose bid commission is delivered to the Company first. Commission bids are subject to auction conditions. The situation at the auction may prevent the Company from making the bid as commissioned. This is a free service provided by the Company to the prospective buyers pursuant to the provisions prescribed. The Company will not be held legally liable if it fails to make the bid as commissioned. Prospective Buyers should attend the auction in person if they wish to ensure a successful bid. g. Bid by phone The Company will make proper effort to contact the bidder so he can participate in the auction by phone if the prospective buyer make arrangements with the Company prior to the auction. However, the Company will bear no responsibilities to the Seller or any prospective buyer if no contact is made under any circumstances. h. Exchange rate conversion board There will be an exchange rate conversion board operating at some auctions. The exchange rate is calculated at the exchange rate of the one-month future goods reported to the Company from the bank when starting business on the day of the auction. Nonetheless, the auction will still be conducted in NT dollars. The exchange rate conversion board is not absolutely reliable. The accuracy of either the Lot numbering shown on the board or the equivalent of the bid price in any foreign currency is not within the control of the Company. The Company will not be responsible for any losses caused by the reliance of the Buyer on the exchange rate conversion board. i. Recorded images There is image projection in some auctions; however, errors may occur during the operation. The Company is not liable for the color accuracy of the reproduced image and whether the projected image corresponds to the item being auctioned. j. Determining power of the auctioneer The auctioneer has the absolute power to reject any bid, push for bids at his discretion, withdraw any auction items, separate or combine two or more auction items, and if there is any error or dispute, re-auction the items. k. Successful bids Under the discretion of the auctioneer, the fall of the hammer indicates the acceptance of the highest bid price, i.e., the Seller and the Buyer enter into a successful auction agreement. 4. Following the auction a. The service fee of each lot payable by the Buyer (1) The Buyer should pay the hammer price and, in addition, the service fee to the Company. For hammer price below NT$ 20,000,000 (inclusive), the service fee should be calculated at 18% of the hammer price. (2) For hammer price higher than NT$ 20,000,000, the first NT$ 20,000,000 should be calculated at 18% and the rest of the amount should be 12%. b. Taxes All the payments payable by the Buyer to the Company do not include any
commodity or service taxes or any other value added taxes (whether imposed by the Taiwanese government or elsewhere). The Buyer should be responsible for paying any applicable taxes as required by the law. c. Payment The Buyer should provide his name and permanent address to the Company upon the successful bid. Relevant bank information should also be provided upon request. All payments due (including the hammer price, service fee and any applicable taxes) should be paid within 7 days following the auction date. The aforesaid provision also applies if the Buyer intends to export the Lot and (may) need the export permit. If the Buyer fails to pay to the Company all the payments due, the Buyer will not acquire the ownership of the Lot even if the Company has delivered such item to the Buyer. If the payment to Ravenel are made in any currency other than NT dollars, the Company will collect from the Buyer any foreign exchange expense incurred therefrom, including bank charges and foreign exchange service fees. The exchange rate of the payments to the Company in any currency other than NT dollars should be the exchange rate reported by the Bank of Taiwan to the Company on the auction date and should be based on the certificates issued by the Company according to such exchange rate. d. Collection of the Lot sold Unless otherwise agreed by the Company, the Company will hold temporarily the successfuly sold Lots until all payments to the Company are made in full. The Lot will be covered by the insurance of the Company from the auction date for 7 days during the temporary holding period. The insurance coverage will terminate upon collection of such item. The Buyer should be responsible for all risks following expiration of the said 7-day period or the collection (whichever is the earlier). e. Packaging and transportation The Buyer is requested to note that he should bear all the risks upon expiration of the said 7 days period or from collection of such items. f. Referral of packaging or transportation companies The shipping department of the Company may act as the agent of the Buyer to arrange for delivery. Although we can refer freight forwarders upon special request, the Company will not be held liable for any legal responsibilities in this regard. g. Remedies for non-payment or non-collection of items sold The Company is entitled to exercise one or more of the following rights or remedies if the Buyer fails to make payment within 7 days: (1) An interest at the annual rate of no higher than 10% plus the base interest rate of Bank of Taiwan will be imposed on all of the payment due if payment is not made within 7 days following the auction date. Besides, we have the right of charging also 1% selling price (including of hammer price and the commission) multiplied by the number of delayed days as fine for the default. The payment to be made by the Buyer should offset any payment owed by the Company or its subsidiaries to the Buyer for any other transactions. (2) To exercise lien of any items owned by the Buyer and held by the Company for any purpose. The Company may arrange to sell such items after serving a 14-day notice to the Buyer about his non-payment. The proceeds shall make up for the payment due. (3) If the Buyer owes the Company several payments as a result of different transactions, the payments will setoff any payments due in any particular transaction, regardless of whether the Buyer specifies to setoff such payments. (4) Refuse the Buyer to make, or to make on behalf of others, bids in any future auctions and/or to require a security deposit from the Buyer before accepting any future bids from him. If the Buyer fails to make payment within 35 days, the Company is entitled to exercise the following rights in addition to the aforementioned: (5) To bring legal proceedings against the Buyer on behalf of the Seller to claim the entire payment due and the legal fees resulting from such proceeding based on a total claim. (6) Cancel the transaction of Lots bid by the Buyer or any other auction items sold to the Buyer at the same or any other auctions. (7) To arrange a public or private re-sale of the Lot. If the re-selling price is lower, the difference will be claimed against the Buyer together with any cost incurred as a result of the non-payment by the Buyer. h. No collection of the Lot sold The Company will arrange for the storage of the Lot if such item sold is not collected within 7 days of the successful auction, regardless of payment. Such storage cost will be borne by the Buyer. Only when the storage, shipping, insurance cost and any other expenses together with any other payments due to the Company are paid can the sold Lot be collected. i. Export permit Except where otherwise agreed in writing by the Company, the fact that the Buyer's wishes to apply for an export permit does not affect the Buyer's responsibility to make the payments in 7 days; nor does it affect the Company's right to impose interest on delayed payments. If the Buyer requests that the Company applies for the export permit on his
behalf, the Company is entitled to collect monies made in connection with such an application and any miscellaneous expenses together with any relevant value added taxes. If the Buyer makes the payment regardless of the fact that an export permit is needed, the Company is not responsible for returning to the Buyer any interest or other expenses incurred therefrom. 5. The legal responsibility of the Company The Company is responsible for returning payment to the Buyer pursuant to Article 6. Otherwise, whether the Buyer, the Company, any employees or agents of the Company will not be held liable for any statements of the author, history, date, year, ownership, authenticity or origin of any auction item or any errors with respect to any explanations and any flaws or defects of any auction item. The Buyer, the Company, the employees or the agents of the Company make no guarantee with respect to any auction items. Any warrantee of any kind shall not be included herein. 6. Return of payments for counterfeits The transaction will be cancelled and payments made will be returned to the Buyer if the Lot of the Company is confirmed to be a counterfeit. However, if: a. The catalogue explanations or the notice at the auction distributed on the auction day corresponds to the opinions generally accepted by the academic or professional fields; b. The method used to prove that the Lot is a counterfeit is a scientific procedure not generally accepted for use before the publication of the catalogue or a procedure unreasonably expensive on the day of the auction, or impractical, or may cause damage to the Lot; the Company is not liable for the return of any payment under any circumstances. In addition, the Buyer's payment can only be refunded when the following terms are met: (1) The Buyer must notify the Company in writing within 10 days following the auction day that he considers the relevant auction item a counterfeit. (2) The Buyer must return the Lot to the Company within the following 14 days and the condition of the item must be the same as on the auction day. (3) Upon returning the Lot, the Buyer must present evidence as soon as possible to convince the Company that the Lot is a counterfeit. The Buyer may also assign the good ownership of the Lot to the Company, which shall not concern any third party claim. Under no circumstances is it necessary for the Company to pay the Buyer an amount more than what the Buyer pays in connection with the Lot and the Buyer can not claim interests. The interests of the warrantee cannot be assigned and belong solely to the Buyer who receives the original invoice from the Company when the Lot is sold. Such Buyers shall remain the owner of the auction Lot and cannot assign any interest of the Lot to any other person. The Company is entitled to ascertain that the Lot is not a counterfeit based on a scientific procedure or any other procedure, regardless of whether such procedure is being used on the day of the auction. The aforementioned does not apply to coins, medals, jewelry and paintings. II. Terms applicable to both the Buyer and the Seller 1. Copyright The copyright of all the images, photographs and written material in connection with the Lot shall maintain and belong to the Company at any time. The Buyer or any person may not use such items without obtaining prior written consent from the Company. 2. Notices All the notices distributed according to the Transaction Agreement herein shall be made in writing. Any notice shall be deemed served to the recipient on the second day following delivery if sent by mail. If the recipient is abroad, the notice shall be deemed served on the fifth working day following delivery by mail. 3. Severability If any part of the Transaction Agreement is deemed invalid, illegal or unenforceable by any court, such part can be ignored and the rest of the Transaction Agreement continues to be valid and enforceable to the maximum extent permitted by the law. 4. Jurisdiction The Transaction Agreement are governed under the ROC law and the interpretation and effect of the Rules shall be subject to the laws of Taiwan. The Buyer and Seller shall submit themselves to the exclusive jurisdiction of the Taiwanese court for the interests of the Company.
Please refer to our website for seller’s transaction agreement. http://www.ravenelart.com
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