羅芙奧香港2010秋季拍賣會 Ravenel Autumn Auction 2010 Hong Kong by Ravenel International Art Group

AUTUMN AUCTION 2010 HONG KONG

RAVENEL AUTUMN AUCTION 2010 HONG KONG Modern and Contemporary Art

羅芙奧香港 2010 秋季拍賣會現代與當代藝術

AUCTION

拍賣日期／地點

Monday, November 29, 2010, 11:30am – 1:00pm

2010年11月29日（一）上午 11:30 至下午 1:00

Grand Hyatt Hong Kong – Grand Ballroom

香港君悅酒店（宴會大禮堂）

1 Harbour Road, Wanchai, Hong Kong

香港灣仔港灣道1號

PREVIEWS

預展日期／地點

Taichung

台中

Saturday, November 6 – Sunday, November 7, 2010, 1:00pm – 7:00pm

2010年11月6日（六）至11月7日（日）下午 1:00 至 7:00

GSR Gallery

由鉅藝術中心（月光流域大樓）

1F, No. 83, Gong Zheng Road, Taichung, Taiwan

台中市公正路83號1樓

Taipei

台北

Saturday, November 13 – Sunday, November 14, 2010, 10:00am – 7:00pm

2010年11月13日（六）至11月14日（日）上午 10:00 至下午 7:00

Fubon National Conference Center

富邦人壽大樓國際會議中心

B2, No. 108, Section 1, Tun-Hwa South Road, Taipei, Taiwan

台北市敦化南路一段108號B2

Hong Kong

香港

Saturday, November 27 – Sunday, November 28, 2010, 10:00am – 7:00pm

2010年11月27日（六）至11月28日（日）上午 10:00 至下午 7:00

Grand Hyatt Hong Kong – Tiffin Lounge

香港君悅酒店（M樓茶園）

1 Harbour Road, Wanchai, Hong Kong

香港灣仔港灣道1號

MODERN

CONTEMPORARY

ART

As requested by the Buyer, we are delighted to offer the condition reports of all the auction items, provided, however, such items will be sold “as is”. In addition, the Buyer is requested to take note of the transaction agreement and the explanations of the provisions regarding the notice of no-guarantee. This auction catalogue: HK$ 300 per copy

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目次 / Contents 2

藝術家索引 / Index

羅芙奧秋季拍賣會

Sale Information 3

Yoshitaka AMANO

羅芙奧之服務

藝術家索引

Index 7

DUAN Jianwei DI Lifeng

藝術家簡歷

段建偉邸立豐

044 071

俸正傑

008, 062

高惠君管勇郭偉

029 050 051

黃鋼

033, 036

朱銘

014, 015, 016, 041, 042

吉提斯．卡拉特金田勝一權奇秀

063 013 005

李真李繼開李山林風眠林海容凌健路昊呂鵬羅清羅中立

017 004, 049 035 021, 022 043, 068 057 030 032 047 039

阮妙水

073

大槻透

001

朴成泰

075

祁志龍

054

宋永紅

046, 048

丁雄泉陳留厚徐天潤屠宏濤

024, 025, 026 072 067 007, 053

G GAO Huijun GUAN Yong GUO Wei

委託競投表格

Absentee Bid Form 147

060 045 023 003, 069 052 009 012 018, 019

F FENG Zhengjie

Artist Biographies 145

蔡國強曹靜萍趙春翔鄒蘊盈陳餘陳文波全光榮朱德群

現代與當代藝術

Modern and Contemporary Art 126

002

C CAI Guo-Qiang CAO Jingping CHAO Chung-hsiang Carrie CHAU CHEN Yu CHEN Wenbo CHUN Kwang-Young CHU Teh-chun

Ravenel Services 5

天野喜孝

HUANG Gang

業務規則

JU Ming

Transaction Agreement

K Jitish KALLAT Showichi KANEDA KWON Ki Soo

L LI Chen LI Jikai LI Shan LIN Fengmian LIN Hairong LING Jian LU Hao LU Peng LUO Qing LUO Zhongli

N NGUYEN Dieu Thuy

O Toul OTSUKI

P PARK Sung Tae

Q QI Zhilong

S SONG Yonghong

T Walasse TING TRAN Luu Hau TSUI Tinyun TU Hongtao

U Unmask

無影者

074

王子衛

056

薛松

011, 055

山本麻友香楊登雄葉永青余本尹朝陽岳敏君

006 070 031, 065 027, 028 040 064

趙無極曾梵志張小濤周春芽朱偉

020 061 010 037, 038, 058, 059, 076 034, 066

W WANG Ziwei

X XUE Song

Y Mayuka YAMAMOTO YANG Din YE Yongqing YEE Bon YIN Zhaoyang YUE Minjun

Z ZAO Wou-ki ZENG Fanzhi ZHANG Xiaotao ZHOU Chunya ZHU Wei

001

Toul OTSUKI (Japanese, b. 1973)

Power of Kaminarimon 2009 Oil and tempera on panel with gold foil, rhinestone collage 130 x 162 cm Signed lower right Toul in English and dated 2009

HK$ 140,000-220,000 NT$ 574,000-902,000 US$ 18,700-29,300

大槻透雷門的力量 2009 油彩蛋彩畫板金箔萊茵石 130 x 162 cm 簽名右下：Toul 2009

002

Yoshitaka AMANO (Japanese, b. 1952)

Candy Girl-3 2008 Automotive paint on aluminum panel 50(L) x 50(W) x 10(H) cm Signed on side Y. Amano in English

HK$ 120,000-180,000 NT$ 492,000-738,000 US$ 16,000-24,000

天野喜孝甜心女孩—3 2008 汽車漆鋁板 50(長) x 50(寬) x 10(高) cm 簽名側面：Y. Amano

003

鄒蘊盈

Carrie CHAU

如何當個好媽媽

(CHAU Wun-Ying) (Hong Kong Chinese, b. 1979)

How to be a Good Mother 2007 Acrylic on canvas 85 x 118 cm Titled lower left HOW TO BE A GOOD MOTHER by Mrs CHAU 1950 in English Signed lower right chau c. 07 in English

EXHIBITED: The Black Sheep Exhibition 2007 Carrie Chau Drawing Exhibition, Times Square, Causeway Bay, Hong Kong, September 2 - 16, 2007

HK$ 220,000-320,000 NT$ 902,000-1,312,000 US$ 29,300-42,700

2007 壓克力畫布 85 x 118 cm 題識左下：HOW TO BE A GOOD MOTHER by Mrs CHAU 1950 簽名右下：chau c. 07 展覽：「黑羊2007鄒蘊盈畫展」，銅鑼灣時代廣場，香港，展期2007年9月2日至16日

004

LI Jikai

(Chinese, b. 1975)

李繼開

The World Series

2006 壓克力畫布 50 x 180 cm 簽名右上：繼開06年 Li Jikai 簽名畫背：《天涯No.1》180 x 50 cm Li Jikai 李繼開 2006

2006 Acrylic on canvas 50 x 180 cm Signed upper right Jikai in Chinese, dated 06 and Li Jikai in English Titled on the reverse The World No.1 in Chinese, inscribed 180 x 50 cm, Li Jikai in English and Chinese and dated 2006 EXHIBITED: Spring Group Exhibition - O Gallery, O Gallery, Beijing, 2007 New Trends: Fifteen Contemporary Chinese Artists, Pacific Heritage Museum, San Francisco, March 12 - September 26, 2009

天涯系列

ILLUSTRATED: O Gallery Archive 2005-2008, O Gallery, Beijing, 2009, color illustrated, p. 69

展覽：「2007年奧美零空間春季群展」，奧美零空間，北京，2007 「新勢力：15位當代藝術家」，太平洋傳統博物館，舊金山，展期自2009年3月12日至9 月26日

HK$ 120,000-180,000 NT$ 492,000-738,000 US$ 16,000-24,000

圖錄：《奧美零空間2005－2008藝術年鑑》，奧美零空間，北京，2009，彩色圖版，頁69

005

KWON Ki Soo (Korean, b. 1972)

White Forest 2006 Acrylic on canvas 130 x 130 cm Signed on the reverse Kwon Ki Soo in Korean, Han characters and English, dated 2006

HK$ 130,000-180,000 NT$ 533,000-738,000 US$ 17,300-24,000

權奇秀白色森林 2006 壓克力畫布 130 x 130 cm 簽名畫背：權奇秀 Kwon Ki Soo 2006

006

Mayuka YAMAMOTO (Japanese, b. 1964)

Penguin Boy 2008 Oil on canvas 162 x 140 cm Titled on the reverse Penguin boy, signed Mayuka Yamamoto in English and dated 2008

HK$ 160,000-240,000 NT$ 656,000-984,000 US$ 21,300-32,000

山本麻友香企鵝男孩 2008 油彩畫布 162 x 140 cm 簽名畫背：P e n g u i n b o y M a y u k a Yamamoto 2008

007

TU Hongtao (Chinese, b. 1976)

Multitude 2006 Acrylic on canvas 145 x 180 cm Signed lower center Tutu in English, dated 06 Titled on the reverse Multitude in Chinese, signed Tu Hongtao in Chinese, dated 2006.5.7 and inscribed 180 x 145 cm EXHIBITED: China International Gallery Exposition, 2007

HK$ 200,000-300,000 NT$ 820,000-1,230,000 US$ 26,700-40,000

屠宏濤人山人海 2006 壓克力畫布 145 x 180 cm 簽名中下：Tutu 06 簽名畫背：〈人山人海〉屠宏濤 2006.5.7 180 x 145 cm 展覽：中國國際畫廊博覽會，2007年

008

FENG Zhengjie (Chinese, b. 1968)

Eye 2004 Oil on canvas 90 x 90 cm Signed lower right FENG ZHENG JIE in English and dated 2004

HK$ 150,000-220,000 NT$ 615,000-902,000 US$ 20,000-29,300

俸正傑眼 2004 油彩畫布 90 x 90 cm 簽名右下：FENG ZHENG JIE 2004

009

CHEN Wenbo (Chinese, b. 1969)

Usefruct 2003 Oil on canvas 240 x 340 cm Titled on the reverse Usefruct in English and Chinese, signed CHEN WENBO in English and Wenbo in Chinese and dated 2003

HK$ 160,000-220,000 NT$ 656,000-902,000 US$ 21,300-29,300

陳文波使用權 2003 油彩畫布 240 x 340 cm 簽名畫背：“Usefruct”“使用權” CHEN WENBO 文波 2003

010

Zhang Xiaotao (Chinese, b. 1970)

Decayed Landscape No. 2 2005 Oil on linen 200 x 150 cm Titled on the reverse Decayed Landscape No.2 in Chinese, inscribed 200 x 150 cm, oil on linen in Chinese, signed Zhang Xiaotao in Chinese, dated 2005, at 798

HK$ 200,000-300,000 NT$ 820,000-1,230,000 US$ 26,700-40,000

張小濤仿溪山清遠圖 No. 2 2005 油彩亞麻布 200 x 150 cm 簽名畫背：仿溪山清遠圖 No. 2 200 x 150 cm 亞麻油彩張小濤 2005 於798

011

XUE Song

(Chinese, b. 1965)

The Glowing Beethoven 2008 Mixed media on canvas, collage 180 x 150 cm Signed lower right Xue Song in Chinese Titled on the reverse The Glowing Beethoven in Chinese, inscribed 180 cm x 150 cm, signed Xue Song in Chinese and English and dated 2008 This painting is to be sold with a certificate of authenticity issued by Kwai Fung Hin Art Gallery, Hong Kong.

HK$ 250,000-350,000 NT$ 1,025,000-1,435,000 US$ 33,300-46,700

薛松燃燒的貝多芬 2008 綜合媒材畫布拼貼 180 x 150 cm 簽名右下：薛松簽名畫背：《燃燒的貝多芬》 180 cm x 150 cm 薛松 Xue Song 2008 附香港季豐軒開立之原作保證書

012

CHUN Kwang-Young (Korean, b. 1944)

Aggregation 07-D114 2007 Mixed media with Korean mulberry paper 163 x 131 cm Signed on the reverse Chun KwangYoung in Han characters and English, titled AGGREGATION 07 - D114 in English and Korean, inscribed 163cm x 131cm, MIXED MEDIA WITH KOREAN MULBERRY PAPER 07 KY Chun

HK$ 500,000-700,000 NT$ 2,050,000-2,870,000 US$ 66,700-93,300

全光榮聚合 07-D114 2007 綜合媒材韓國紙 163 x 131 cm 簽名畫背：全光榮 C h u n K w a n g-Yo u n g AGGREGATION (집합) 07-D114, 163cm x 131cm MIXED MEDIA WITH KOREAN MULBERRY PAPER - 07 KY Chun

金田勝一的《人本系列Evo 4》以賽車結構作為表現樣式，搭配鯊魚形體的外觀，影射人類永不停息追求文明的生存法則。車身被許許多多的商標包覆著，娓娓道出整個社會文化和科技方向。金田勝一的創作總體，時常用鯊魚作為隱喻，對藝術家而言，鯊魚之行為模式反映了人類的思考與行動。鯊魚一生中不曾闔眼，亦或維持半清醒狀態，似乎總預備要攻擊或向前進，如同人類慣於保持機警，直至生命終點。藝術家早期的作品就已開始透過鯊魚令人畏懼的形貌展現社會對競爭的熱情與傾向，精密的結構代表了人類創造出的多元產物，亦巧妙地轉化其無懈可擊的技藝與符號，前衛深刻地傳遞他對當代社會的關切及憂心，尤其是人類無法止息的貪婪心態，不停造成整個大環境與地球的傷害，如同殘暴的鯊魚因飢餓而不惜屠殺週遭之生物。工業化的鯊魚形體，或說生物化的工業車身，讓此件雕塑達到優美與堅韌間的平衡呈現。

Showichi Kaneda’s “Human’s Own Evo 4” takes the structural form of a racing car as its basic form of expression, but gives the car a shark-shaped external appearance. The connotation that the piece is intended to evoke is the never-ending struggle for survival on the part of human civilization. The car body is covered with a large number of trademarks and logos that reflect the general trends in society, culture and technology. In his work, Showichi Kaneda makes frequent use of the shark as a metaphor. As he sees it, the shark’s behavioral patterns mirror the way human beings think and act. A shark never closes its eyes throughout its lifetime; it is always at least half awake, constantly ready to attack or move onwards, in the same way that human beings remain constantly on the alert throughout their lives. Even in his early works, Showichi Kaneda was already making use of the shark’s frightening appearance as a symbol of human society’s orientation towards (and enthusiasm for) competition. His intricate structures represent the many different objects that human beings produce, while also cleverly utilizing human technology and symbols to transmit, in a cutting-edge manner, the artist’s concerns regarding contemporary society. Kaneda is particularly worried by humanity’s boundless greed, which is causing ceaseless damage to the environment and the planet on which we live. The way in which the shark butchers all living things around it offers a parallel to human behavior in this respect. Kaneda’s creation of an “industrialized shark” or “biological car” gives this work just the right balance between beauty and hardness.

013

Showichi KANEDA (Japanese, b. 1970)

Human's Own Evo 4 2009 Acrylic urethane paint, acrylic urethane primer surfacer, cutting sticker, FRP sculpture (unique) 107(L) x 40(W) x 38(H) cm

HK$ 400,000-600,000 NT$ 1,640,000-2,460,000 US$ 53,300-80,000

金田勝一人本系列 Evo 4 2009 壓克力彩聚氨酯顏料塗漆貼紙強化玻璃纖維雕塑（單一件） 107(長) x 40(寬) x 38(高) cm

014

JU Ming

(Taiwanese, b. 1938)

Taichi Series - Arch

朱銘

1987-1988 Bronze, edition no. 13/20 43(L) x 35(W) x 30(H) cm Engraved Ju Ming in Chinese and numbered 13/20

1987-1988 銅雕 13/20 43(長) x 35(寬) x 30(高) cm 簽名雕刻：朱銘 13/20

PROVENANCE: Collection of the fellow painter, Wang Yeh (artworks exchange with the artist) Acquired directly from the above by the present owner, 1989

太極系列—拱門

This sculpture is to be sold with a certificate of authenticity issued by the Nonprofit Organization Juming Culture and Education Foundation.

HK$ 350,000-550,000 NT$ 1,435,000-2,255,000 US$ 46,700-73,300

來源：畫家王業收藏（和藝術家為好友，互換作品）現有收藏者1989年得自上述來源附財團法人朱銘文教基金會作品鑑定報告書

015

JU Ming

(Taiwanese, b. 1938)

Single Whip 1997 Stone, edition no. 3/9 40(L) x 19(W) x 27(H) cm Engraved Ju Ming in Chinese, dated 97 and numbered 3/9

朱銘 This sculpture is to be sold with a certificate of authenticity issued by Ever Harvest Arts Gallery, Taipei.

HK$ 600,000-800,000 NT$ 2,460,000-3,280,000 US$ 80,000-106,700

單鞭下勢 1997 石雕 3/9 40(長) x 19(寬) x 27(高) cm 簽名雕刻：97 3/9 朱銘附日升月鴻開立之原作保證書

016

JU Ming

(Taiwanese, b. 1938)

Taichi Series - Kick 1995 Bronze, edition no. 16/20 48(L) x 28(W) x 51(H) cm Engraved Ju Ming in Chinese and numbered 16-20 This sculpture is to be sold with a certificate of authenticity issued by Ever Harvest Arts Gallery, Taipei.

HK$ 650,000-850,000 NT$ 2,665,000-3,485,000 US$ 86,700-113,300

朱銘太極系列－踢腿 1995 銅雕 16/20 48(長) x 28(寬) x 51(高) cm 簽名雕刻：朱銘 16-20 附日升月鴻開立之原作保證書

017

LI Chen

(Taiwanese, b. 1963)

Float to Sukhavati 2002 Bronze, edition no. 5/8 63(L) x 30(W) x 47(H) cm Engraved Li Chen in Chinese and English Engraved Li Chen in Chinese and dated 2002 EXHIBITED: Shanghai International Biennial Urban Sculpture Exhibition, Shanghai, China, Nov 18, 2005 - Mar. 17, 2006 The Contemporary Road of Media and Tradition - Top 10 Chinese Contemporary Sculpture Exhibition, Asia Art Center, Beijing, April 7 - May 6, 2007 ILLUSTRATED: Li Chen Sculpture 1992-2002, Asia Art Center, Taipei, 2004, color illustrated, p. 95 The Contemporary Road of Media and Tradition - Top 10 Chinese Contemporary Sculpture Exhibition, Asia Art Center, Beijing, 2007, color illustrated, p. 51 Li Chen in Venice 52nd Venice Biennale – Energy of Emptiness, Asia Art Center, 2007, color illustrated, p. 144 Li Chen in Beijing - In Search of Spiritual Space, Asia Art Center, Taipei, 2008, color illustrated, pp. 76-83; black-and-white illustrated, p. 197

HK$ 700,000-1,100,000 NT$ 2,870,000-4,510,000 US$ 93,300-146,700

李真飛行樂土 2002 銅雕 5/8 63(長) x 30(寬) x 47(高)cm 簽名雕刻：李真 Li Chen 簽名雕刻：李真 2002

展覽：「上海國際城市雕塑雙年展」，上海，展期自2005年11月18日至2006年3月17日「媒介和傳統的當代道路－中國當代雕塑十人展」，亞洲藝術中心，北京，展期自2007 年4月7日至5月6日圖錄：《李真雕塑1992－2002》，亞洲藝術中心， 2004，彩色圖版，頁95 《媒介和傳統的當代道路－中國當代雕塑十人展》，亞洲藝術中心，2007，彩色圖版，頁51 《李真第52屆威尼斯年展－虛空中的能量》，亞洲藝術中心，2007，彩色圖版，頁 144 《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76-83；黑白圖版，頁197

《飛行樂土》為李真「大氣神遊」系列創作中的重要作品，將當代雕塑造型引入東方藝術的空間意識。陰陽、虛實節奏中流盪著氣韻，其雕塑作品之靈氣如皎月映雪、水照雲天，似「超以像外」所直接領悟的神態天趣，養空而遊，展現活潑的生命泉源。《飛行樂土》完成於2002年，李真曾這樣描述此件作品：「仙者先者忘境而幽悠，天行自然化作祥雲，依然了得。」李真極擅長處理量體輕重對應的關係，作品充滿著神仙般的浪漫情懷、又似孩童的天真逗趣、無憂無慮飄然躺臥雲端，形態自若愜意，雲朵竟如此地輕巧飄然、如此地安穩，彷彿能載你到任何想去的地方，觀之讓人沉浸在一種心靈清淨的狀態，不自覺地會心一笑。李真作品中的心靈理想世界，加上幽默感與寬闊內韻之造化，一種虛幻清淨之氣質，這就是李真獨特的風格。

"Float to Sukhavati" is an important creation in Li Chen's series of "Spiritual Journey through the Great Either". He infuses the design of contemporary sculpture into the oriental artistic characteristic of spatial sense. Between yin and yan, between emptiness and reality, flows the "qi". The spiritual sense emitted out from the sculpture is so clean and fresh, it is like standing in the snow under the bright full moon or looking at the reflection of blue sky and white clouds in the water. The artist has come to realize the inner soul of the object and understood the wisdom beyond the physical world. While his imagination traveling in the sky, he brings to his audience a lively spirit of life. "Float to Sukhavati" was completed in 2002. Li Chen once described this work, "Immortals are those who enjoy tranquility and freedom and forget where they are. Through the operation of nature, harmonious clouds can be naturally made to carry them. Following the way of nature, they always keep well." Li Chen is very good at tackling the contrasted relation between the lightness and heaviness of massive objects. His works are full of fairy-like imagination, of children's innocence and amusement, and of carefree floating on the top of the clouds. Their looks and gestures give people a self-assured and relaxed sense. The clouds are so light yet safe to bring you anywhere you would like to go. When looking at his works, the viewer will indulge in a spiritual journey so that their minds and hearts can become crystal clear and will unconsciously make an insinuating smile. The ideal spiritual world of Li Chen's works, the sense of humor and the broad internal transformation, as well as a clear and tranquil temperament constitute the unique style of Li Chen.

018

“Space in the works of Chu Teh-chun is not presented using traditional perspective; rather, it is what might be called 'manifold space.' The main formal elements in Chu's work are small squares created by filling in rich, thick color between the twisting lines. This method of expression can be thought of as constituting the salient characteristic of Chu's new style. The careful selection of color tone and the precise placement of the small squares in the painting create impressive color variation and light effects. This is not only space, but also structure; this combination of space and structure can be seen in almost every painting by Chu Teh-chun, and is one of the chief features of his work.” This perceptive analysis of the artistic style of Chu Teh-chun is by Maurice Panier, the “guardian angel of modern art,” who was the first to “discover” Chu Tehchun.

CHU Teh-chun

(Chinese-French, b. 1920)

Lueur de l'horizon (Composition in Blue) 1998 Oil on canvas 59 x 119 cm Signed lower right CHU TEH-CHUN in Chinese and English and dated 98 Titled on the reverse Lueur de l'horizon in French, signed CHU TEH-CHUN in English and Chinese and dated 1998 ILLUSTRATED: Solo Exhibition of Chu The-chun, The Ueno Royal Museum (catalogue), Tokyo; Thin Chang Corporation, Taipei, 2007, color illustrated, p. 305

HK$ 1,200,000-1,800,000 NT$ 4,920,000-7,380,000 US$ 160,000-240,000

朱德群地平線的微光（結構藍） 1998 油彩畫布 59 x 119 cm 簽名右下：朱德群 CHU TEH-CHUN 98 簽名畫背："Lueur de l'horizon" CHU TEHCHUN 朱德群 1998 圖錄：《大象無形—朱德群作品展》，上野之森美術館，東京；台灣馨昌股份有限公司，台北，2007，彩色圖版，頁305

「朱德群的空間不屬於傳統的透視，而是所謂的『多重』空間，他在蜿蜒曲折的線條之間，加入厚重濃稠顏料所畫成的小方塊的造型元素。這種表現手法或許正顯示朱德群新風格的特徵。精巧選擇的色彩以及畫中小方塊的處置，使色彩變化而產生光的效應。它們不僅是空間，同時也是結構，而這種結合，幾乎在朱德群的每一幅畫裡都是如此，是他作品中主要的特質之一。」作為最早探究與發掘朱德群的重要推手，現代藝術「守護神」巴聶對朱德群繪畫的分析實為精闢。論及空間與結構，朱德群的構圖從不受限於物質空間，畫中的形象結構，充滿動勢的點、線、面都是經過審慎考慮與嚴謹組構過，呈現出一種有目的的自由。縱橫交疊、頓挫有序的書法線條，與隨性而約制的油彩的巧妙運用，營造出廣闊深邃的宇宙空間。《地平線的微光》創作於1990年，朱德群選用極為偏愛的藍色，用色彩營造出空間的深度，透過宇宙蒼穹的顏色將與自己的內在世界和宇宙相呼應。他是探求宇宙蒼穹、挖掘地層深處的守護者，在他面前，宇宙不斷躍動地展現生機，空間與時間的交會中，蘊藏巨大能量的宇宙空間，神祕，深邃而幽遠。

Taking up the point about space and structure made by Panier, Chu Teh-chun has never allowed himself to be restricted by material space in the composition of his paintings. The structure of the images presented in his works, and his vigorous use of dots and lines, are all the product of careful reflection and rigorous compositional planning; what this creates is a kind of “purposeful” freedom. The crisscrossing of horizontal and vertical lines, the ordered calligraphic lines, and the brilliant utilization of oils - which is at the same time random and controlled - present an immense, all-encompassing visual world, and create on the canvas the boundless reaches of the cosmos. “Lueur de l'horizon” is one of Chu Teh-chun’s works from the 1990s. In this painting, Chu makes use of the color blue, for which he has a particular fondness. He succeeds in using color to create a sense of spatial depth; by employing the color of the night sky, he integrates his own inner world with the wider universe. In this painting, Chu Teh-chun is the explorer of the universe, and the guardian of the deepest recesses of the earth. For him, the universe is full of vitality; at the confluence of spatial and temporal dimensions, the “space” of the universe engenders immense power that is simultaneously mysterious and elusive, deep and remote.

019

CHU Teh-chun

(Chinese-French, b. 1920)

Réfléchit dans l'obscur 1992 Oil on canvas 89 x 116 cm Signed lower right CHU TEH-CHUN in Chinese and English and dated 92 Titled on the reverse Réfléchit dans l'obscur in French, signed CHU TEH-CHUN in Chinese and English and dated 1992

HK$ 1,200,000-1,800,000 NT$ 4,920,000-7,380,000 US$ 160,000-240,000

朱德群黑暗的反射 1992 油彩畫布 89 x 116 cm 簽名右下：朱德群 CHU TEH-CHUN 92 簽名畫背：Réfléchit dans l'obscur CHU TEHCHUN 朱德群 1992 作為跨越世紀的東西方大師，朱德群以豐富的色彩變換，奔放的書法線條，從畫心透出的璀璨光線營造出永恆的詩意空間。紮實的美學功底，淵深的中華文化修養與西方文化所產生的共鳴，五十年的上下求索，朱德群好像一部活的藝術史，遊走於中、西之間，揮灑自如，以獨特的創作語彙自由地表現光線、空間、材質與色彩，創造出繽紛瑰麗的感知的世界。朱德群以細膩的觀察呈現生命的真實，從他的畫中我們可以體驗到生命的流動，可以聆聽到呼吸與潺潺水聲，可以感受到無限的舒展與自在。豐富動人的畫面，如同高速運轉的攝影機的停格，似永恆的瞬間，又是瞬間的永恆。《黑暗的反射》為朱德群創作於1990年代初期的佳作，極具知性與細膩，優美而令人愉悅。流動的山嵐水氣、光影輪廓如同夢境。飛舞跳躍的橙色、天藍與紅色的色塊匯成一曲生命的交響。這是黑暗的反射，這是生命的光源，這是戰勝一切恐懼與痛苦的生命的超然力量，這是璀燦的生命之光。

Chu Teh-chun is an artist whose career has spanned two centuries, and whose work integrates the Western and Asian artistic traditions. With their rich and varied use of color, and their vigorous, expressive “calligraphic” utilization of line, Chu’s paintings exude a sense of everlasting poetic space created by radiant light. Having undergone rigorous academic training as a young man, having benefited from the inspiration provided by the juxtaposition of his grounding in Chinese cultural traditions and exposure to Western culture, and having experimented constantly over a period of five decades, Chu Teh-chun has become a “living history of art,” moving easily between Western and Chinese artistic traditions, and employing his unique artistic lexicon to achieve maximum freedom in the depiction of light, space, materials and color, creating a richly textured world of the senses. Chu Teh-chun’s work leverages his acute powers of observation to present the reality of existence. In his paintings, we can feel the flow of life; we can hear breathing and the murmur of water; we can feel a sense of boundless opening and a feeling of relaxed groundedness. Chu’s emotionally rich paintings are like freeze frames from high-speed video footage; they embody both the “eternal instant” and the “instant eternal.” “Réfléchit dans l'obscur” is a fine example of the work that Chu Teh-chun was producing in the early 1990s. It is an extremely thoughtprovoking, detailed painting, with a beauty that inspires a feeling of joy in the viewer. The mist flowing over the mountain peaks and the play of light and shadow create a dreamlike effect. The dancing and leaping patches of orange, sky-blue and red combine to create a “symphony of life.” This is the reflection of darkness; this is the source of life; this is the awesome power of life to overcome all fear and pain; this is the radiant light of the life-force.

020

ZAO Wou-ki

多位藝評家皆認為，1973年起趙無極進入了另一個藝術的階段。自中國探親歸來、「重拾水墨畫創作」無疑是關鍵性的影響。趙無極在自傳中提起這一段轉變的過程：「我知道，從1973年開始，我的畫風變了，因為我的朋友常常這麼說，尤其常常這麼寫，也許這時我成熟了，過去累積的努力，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，也愈來愈怕自我重複。我畫我的生活，但也想畫一個眼睛看不見的空間、一個夢的空間，一個使人永遠感覺和諧的所在，即使用的是充滿矛盾力量的不安的形式。」（參閱趙無極、梵思娃著、劉

(Chinese-French, b. 1921)

25.2.77 1977 Oil on canvas 73 x 100 cm Signed lower right Wou-ki in Chinese and Zao in French Signed on the reverse Zao Wou-Ki in French and titled 25.2.77 EXHIBITED: Zao Wou-ki, En Torno al Gesto, Galería Joan Prats, Barcelona, 1978 Zao Wou-Ki, œuvres récentes, Galerie Kutter, Luxembourg, 1979 ILLUSTRATED: Yves Bonnefois & Gérard de Coctzanze, Zao Wou-ki, La Différence / Enrico Navarra, Paris, 1998, color illustrated, p. 183 Dora Vallier and Françoise Marquet, Zao Wouki En Torno al Gesto, Editions Polígrafa S. A., Barcelona, 1978, black-and-white illustrated, no. 16, p. 78

HK$ 6,800,000-9,800,000 NT$ 27,880,000-40,180,000 US$ 906,700-1,306,700

俐譯《趙無極自畫像》，藝術家出版社，台北，1992初版，頁147）

趙無極 25.2.77 1977 油彩畫布 73 x 100 cm 簽名右下：無極 ZAO 簽名畫背：ZAO WOU-KI 25.2.77 展覽：「趙無極：關於動勢」個展，璜．普安茲畫廊，巴塞隆納，1978 「趙無極近作」個展，庫特畫廊，盧森堡， 1979 圖錄：傑哈．德．康坦茲與伊夫．波納菲合著，《趙無極》，拉迪佛羅斯／安利哥．納瓦哈，巴黎，1998，彩色圖版，頁183 朵拉．華利耶與梵思娃．馬凱，《趙無極：關於動勢》，波利格拉法出版社，巴塞隆納，1978，黑白圖版，編號16，頁78 1972年趙無極的愛妻美琴病逝，在極度哀傷之下，他有一度無法作畫。後來，他重新找到平靜的力量—重拾水墨畫，找回熟悉的塗塗畫畫、紙墨的感覺，豐富了他後期的抽象語彙與形式。趙無極的油畫因為加入中國水墨的影響，過去激越、狂烈的筆觸不再，轉而以暈染的溼潤感，蒼茫、幽遠的空靈感，成為1970年代中期作品的最大特色。

而1975年到1976年間，趙無極的創作力愈來愈形豐沛，畫廊與博物館的展覽邀約不斷。巴黎的國家現代美術館—龐畢度中心開館於1977年，而它的前身位於東京宮，特別在1976年遷移之前舉辦國家現代美術館收藏展，其中一個取名為「懸掛之三」專室，展出趙無極九幅完成於1950年至1975年間的繪畫作品，足見他在法國藝壇的地位。法國藝術史學者兼藝評家朵拉．華利耶，以「動勢」，行動繪畫的觀念探討趙無極1970 年代的抒情抽象繪畫。她認為有一派歐洲藝術家如蘇拉吉或哈同效法遠東的書法家，那是西方人難以操作，捨棄西方傳統，尋求他者文明的一種動勢特質，漸漸的因為熟悉，甚至動搖民族優越感。從此觀點來看，在這類畫家中來自東方又在巴黎生活數十年的趙無極，其繪畫無疑是最具有啟發性。作品《25.2.77》創作於1977年，這一年趙無極與第三任妻子梵思娃結為連理。此時沈鬱、糾結的筆觸不再，畫面顯得輕盈而優雅。趙無極談起起此時的創作，他寫道：「每一幅畫，從最小的到最大的，都是這夢的空間的一部份。」畫面透出音樂般的魅力，結構形式蘊藏新意，高妙地運用油彩，創造出水墨一般無窮的中間調子，其色感豐富和諧，給予人們無窮的想像空間。趙無極將中國文人畫的理想，以現代的方式具體而微地呈現世人眼前，化為珍貴的瑰寶。

experiences came together, where everything b e c a m e e a s y, a f t e r m a n y e f f o r t s a n d unremitting work? I know for certain that I loved to paint more and more, that I had more and more to express, with constant fear of repeating myself. I painted my own life but I was also searching to paint an invisible place, a dream place, a place where one feels always in harmony, even with faced with contrary forms and agitations." (translated quote from Zao Wou-ki & Françoise Marquet, Zao Wou-ki Autoportrait, éditions Fayard, 1988 pp. 157-158) 趙無極《22.3.79》羅芙奧香港2008秋季拍賣會，編號131， 814萬港幣成交 Zao Wou-ki, 22.3.79, 1979, oil on canvas, 97 x 130 cm Ravenel Autumn Auction 2008 Hong Kong, lot 131, US$ 1,050,323 sold

The death from illness of Zao Wou-ki’s beloved wife May in 1972 left the artist in a state of extreme grief; he was unable to paint for some time afterwards. Eventually, he was able to regain his equilibrium, and took up ink brush painting again, enjoying the familiar feel of ink on paper. This rediscovery of ink brush painting helped to enrich the abstract artistic vocabulary and forms of Zao’s later works. The influence of traditional Chinese ink brush painting led to a disappearance of the wild, violent brushstrokes that had characterized some of his earlier paintings. Now, his art was suffused with soft warmth, a sense of boundlessness, and a mysterious, distant spirituality; this became the defining feature of Zao’s art in the mid1970s. Many art critics consider that, Zao Wou-ki began another art stage after 1973. After he visited relatives and returned from China, his paintings "Regain the creation from ink painting", and his visit obviously had a clear impact on his future work. Zao Wou-ki says in his autobiography: "I know that from 1973 my paintings changed because my friends often told me and especially wrote to me about it. Maybe I had matured, the point where all my

During the period 1975 - 1976, Zao Wouki’s creative imagination grew ever more fertile; he was constantly being invited to stage exhibitions of his work at museums and art galleries. The Palais de Tokyo, the forerunner of the Musée National d’Art Moderne which opened in the Centre d’Art et de Culture George Pompidou in 1977, held a special exhibition of modern art in 1976 prior to the removal of the works in its collections to the new Musée National. One of the rooms in this exhibition - Accrochage III - displayed works by Zao Wou-ki dating from the period 1950 - 1975, reflecting the high status that Zao enjoyed within art circles in France. The French art historian and critic Dora Vallier has used the concept of “gesture” (in the sense of “action painting”) to explore the emotive abstract paintings that Zao Wouki produced in the 1970s. She notes the existence of a school of European painters that included Soulage and Hartung who were influenced by East Asian calligraphers, forming part of a trend in which Westerners abandoned the Western artistic tradition and sought to immerse themselves in another culture; over time, increasing familiarity with this other culture undermined the sense of Western superiority. It can safely be assumed that Zao Wou-ki, coming as he

did from East Asia and having lived in Paris for several decades, was a major source of inspiration for these artists. This painting, “25.2.77”, was completed in 1977, the year in which Zao Wou-ki met his third wife, Françoise. The gloomy, twisted brushstrokes of Zao’s earlier paintings are gone; instead, the painting exudes a light, airy, elegant feel. In discussing his paintings from this period, Zao said that “Each painting, from the smallest to the largest, was part of a kind of dream.” (Chaque tableau, du plus petit au plus grand, est toujours un morceau de cet espace de rêve.) The painting has an almost musical appeal; its innovative composition makes effective use of oils to create a neutral tone similar to that of ink brush painting. The lush, harmonious colors leave plenty of space for the viewer’s imagination. In this painting, Zao Wou-ki achieves a brilliant presentation of the ideals of traditional Chinese literati painting in modern form, transforming them into something of great value.

趙無極《30.11.74》羅芙奧台北2009秋季拍賣會，編號099， 1560萬台幣成交 Zao Wou-ki, 30.11.74, 1974, oil on canvas, 60 x 73 cm Ravenel Autumn Auction 2009 Taipei, lot 099, US$ 485,075 sold

021

LIN Fengmian (Chinese, 1900-1991)

Chinese Opera Figures: Romance of the Western Chamber

林風眠的繪畫透露其中西兼備的文化養成，二十世紀初期他投身美術教育，引進西方藝術思潮，並親身實踐與創作不懈，將西方色彩、光線感與現代結構帶入中國畫之中。「戲曲人物」是林風眠一生中別具個人風格的創作主題之一。1951年前後，當時寓居上海的林風眠受同齡畫友關良的影響，著迷古典戲曲表演，舉凡京戲、崑曲、紹興戲，或者電影，他都樂於觀賞。

Late 1970s to early 1980s Ink and color on paper 35 x 35 cm Signed lower left Lin Fengmian in Chinese With one seal of the artist PROVENANCE: Collection of Sanhuai House, Hong Kong ILLUSTRATED: Zhu Pu ed., Modern Artists Theory, Work, Biography: Lin Fengmian, Xue Lin Publishing, Shanghai, 1988, black-and-white illustrated, no. 106 (with the title of "Yingying and Her Maid"; wrong size) Z h o u We i m i n g e d . , C o l l e c t i o n o f A r t Garden Studio No. 72: Sanhuai House's Modern Chinese Paintings, People Fine Arts Publishing House, Shanghai, 2004, color illustrated, no. 26, p. 17 Zeng Zhong, Biography of Lin Fengmian, Oriental Publishing Center, Shanghai, 2008, black-and-white illustrated, p. 307

HK$ 950,000-1,500,000 NT$ 3,895,000-6,150,000 US$ 126,700-200,000

林風眠

他曾說道：「我喜歡看電影和各種戲劇，不管演得好壞，只要有形象、有動作、有變化、對我總是有趣的。」林風眠所著迷的並非戲曲故事本身，也非演員的表演風格，或樂曲的吟唱。看戲的目的乃是為了看動作，為了「畫戲」，為了形式的探索，而非再現舞台的華美。

戲曲人物—西廂記 1970年代末－1980年代初彩墨紙本 35 x 35 cm 簽名右下：林風眠鈐印右下：林風眠印來源：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年 3月，黑白圖版，編號106（原題《鶯鶯和她的使女》，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26，頁17（畫題《戲曲人物圖》）鄭重，《林風眠傳》，東方出版中心，上海，2008，黑白圖版，頁307

從1950年代初期開始，林風眠陸續創作京戲人物畫。此階段大膽嘗試戲曲人物題材，對林風眠一生的藝術探索至關重要，不僅豐富他原有的繪畫語言，更使得林風眠成為改革中國畫先驅的重要例證。儘管1940年代他就曾經畫過戲曲人物，但當時側重於描寫人物的形神，講求寫意形式，其實比較接近傳統的畫法，尚未完全成熟。不過，1950年代的戲曲人物則有了顯著的不同，借鑑西方現代藝術的精華，尤其是立體主義的幾何形構，兼容中國傳統皮影戲的造型特色，令人連想起創作《亞維儂少女》時期的畢卡索。二十世紀初期，從西班牙遷居法國的畢卡索，期許從傳統束縛掙脫開來，借鑑塞尚的現代繪畫觀念，以及非洲面具造型，創作出立體派的原型。此階段的林風眠呼應了畢卡索當年的探索，從立體主義靈感發想，融入中國民間皮影戲的人物造型趣味，轉化出豐富多變的藝術形式。

1951年林風眠寫給學生的一封信中提過：「像畢卡索有時解決物體，都折疊在一個平面上一樣。我用一種方法，就是看了舊戲之後，一場一場的故事人物，折疊在畫面上，我的目的不是求物、人的體積感，而是求綜合的連續感，這樣畫起來並不難看，我決定繼續下去。」他所提到的對象物在空間中表現時間性，此乃立體主義所欲追求的目標。林風眠與學生談論傳統戲曲的同時，也經常談及西方現代藝術，繪畫戲曲人物，形成一個鏈接，藉此串連出更新穎多元的藝術形式。林風眠於二十世紀中葉成功探索的戲曲人物主題，在文化大革命時期破四舊的思想箝制與控制下，幾乎不再出現。一直到1977年末他遷居香港之後，才重拾戲曲人物的題材。本件精緻拍品《戲曲人物—西廂記》即是香港時期的作品，完成時間大約介於1970年代末與1980年代初期之間。與上海時期借鑑立體主義的實驗性有所不同，香港時期的戲曲人物，多呈現出畫家對人生的感悟，抒發其精神與情感。除了仍採取立體主義的幾何形構之外，也融入民間剪紙、皮影戲等形式與線條元素，平面化的結構，裝飾性的造型，色彩則採取平塗作法。畫中兩位西廂記角色的姿態，以數個三角形組合來表現，線條勾勒衣裳紋飾，用色青春活潑，傳達西廂記裡唯美浪漫的情懷。角色的個性在彼此互動的簡潔形式得到巧妙的暗示，女主角崔鶯鶯與侍婢紅娘的五官畫法，則呈現林風眠特有的仕女畫的造型特色。《戲曲人物—西廂記》出自香港知名收藏家三槐堂多年珍藏，曾收錄於1988年朱樸編著的《現代美術家畫論、作品、生平—林風眠》等數本畫家專論書籍。儘管尺幅不大，《戲曲人物—西廂記》為林風眠香港時期重要的戲曲人物主題代表作。 Lin Fengmian’s paintings exude a strong sense of blended Chinese and Western cultural traditions. The artist also put his unique background to good use as an innovator of art education in his home country. Importing Western ideas and techniques, he worked both as a teacher and a painter, his works always permeated with Western-style lighting and

palette, as well as modern compositional structures, all of which he successfully integrated into Chinese painting. His special style and individual artistic language are very much on display in the various paintings depicting “Chinese Opera Figures,” a motif that Lin first became interested in during the early 1950s under the influence of his friend and colleague Guan Liang in Shanghai. At the time, Lin Fengmian turned into a regular traditional opera buff, watching everything from Beijing to Kun Opera and Shaoxing Opera, but also a wide variety of movies. He once said, “I love to watch movies and all

巴布羅．畢卡索《亞維儂少女》紐約現代美術館收藏 Pablo Picasso, Les Demoiselles d'Avignon 1907, Museum of Modern Art, New York

kinds of plays and operas. It doesn’t matter if the performance is good or bad, what really interests me are the images and expressions, the gestures and movements—as long as there is enough variety in these, I’ll be enthralled.” In other words, Lin was not fascinated by intricate plotlines or stories per se; rather, he would study the “action” for its own sake, scrutinize the motions and emotions in order to capture them on canvas. The ultimate point was to explore the vacillating nature of bodies in movement, not to reproduce the aesthetic

brilliance of the events on screen or on stage. From 1951 onwards, Lin embarked on a series of paintings showing Beijing opera characters. His daring explorations of this new subject not only marked a watershed in his career, but also significantly enriched his artistic language and made him one of the most avant-garde painters in China, an artist in the vanguard of the country’s movement to thoroughly reform traditional painting styles. True, Lin had already tried his hand at painting opera figures in the 1940s, but those early attempts were rather conservative in their approach, featuring freehand brushwork and impressionistic representations in the classical Chinese style. A decade later, Lin’s style had matured considerably, and his works from this period harmoniously blend elements from traditional Oriental art, such as the silhouettes of Chinese shadow plays, with essential features of modern Western art, in particular the geometrical shapes typical of Cubist painting. It is a mixture reminiscent of the young Picasso, and works such as his Les demoiselles d’Avignon. D u r i n g t h e e a r l y 2 0 t h c e n t u r y, P i c a s s o moved from Spain to France with the goal of shedding the shackles of tradition and blazing new trails. Taking, among others, Cézanne and his new conception of painting as a model, and also deriving inspiration from traditional African tribal masks, he helped to create the prototype of Cubist art. In a similar way, the Lin Fengmian of the 1950s was striving to reach a higher plane of artistic expression by taking his cue from the Cubists and merging their approach with the visual aesthetics of Chinese shadow play, thereby adding both variety and depth to his creations. In a 1951 letter to one of his students, Lin Fengmian wrote, “When showing us objects, Picasso would sometimes simply embed them in the two-dimensional space of the canvas. What I’m trying to do is a bit different. After watching a traditional play, I want to enfold various layers of action into my composition,

thus allowing a series of flat figures or images to show the progression of the play, and to convey a sense of continuous motion. This is much more important than a realistic representation of the individual characters or objects, and this is the direction for my future work.” The objective here described by Lin is exactly the paramount goal of Cubist art: the manifestation of motion, or extension in time, within the painting’s limited space. When discussing with his students the artistic aspects of traditional opera, Lin Fengmian would usually make the connection to Western art, since for him the two had become closely intertwined phenomena, two crucial ingredients for the enrichment and sublimation of his visual art.

plain strokes, yet the whole painting is truly brought to life by the lively colors, which succinctly convey the play’s romantic and aesthetically refined atmosphere. The terse composition subtly hints at the two figures’ distinct characters and roles in the play, mostly through the cleverly communicated interaction between the drama’s heroine, Cui Yingying, and her maid, Hong Niang. The two women’s facial features show all the trademark signs of Lin Fengmian’s portrait style, rooted in a long tradition of Chinese paintings of beautiful women.

The Great Proletarian Cultural Revolution put an abrupt end to Lin’s avant-garde painting activities, and under the stifling reign of the “Smash the Four Olds” ideology, hardly any more pictures of opera figures emerged. It was not before 1977 and his emigration to Hong Kong that Lin, now in his autumn years, returned to his beloved subject. This exquisite lot, Chinese Opera Figures: Romance of the Western Chamber, stems from this Hong Kong period and was completed sometime in the late seventies or early eighties. Unlike the Cubist-influenced experiments of his Shanghai period, Lin’s Hong Kong paintings are brimming with the artist’s life experience, full of emotion and spiritual depth. While the Cubist-inspired geometric patterns have by no means entirely disappeared, his work at this point is now also infused with new ingredients from China’s folk arts, including, in addition to shadow play, paper cutting and linear elements from tradition painting and calligraphy. The composition is kept fairly flat, and the paint evenly applied with regular brushstrokes. T h e o v e r a l l e ff e c t i s q u i t e d e c o r a t i v e : both characters from the Romance of the Western Chamber are made up of several partly overlapping triangular shapes, their attire with simple decorations outlined with

林風眠《蘆花蕩》羅芙奧2006秋季拍賣會，編號039，365萬台幣成交 LIN Fengmian, Opera Figures, color and ink on paper 51 x 41.5cm, Ravenel Autumn Auction 2006, Lot 039, US$ 113,181 sold

Provenance: Sanhuai House private collection; the lot was previously mentioned in a number of specialist art books, including Modern Artists Theory, Work, Biography: Lin Fengmian, ed. Zhu Pu, Xue Lin Publishing. Although a small format work, Chinese Opera Figures: Romance of the Western Chamber is yet an important representative “opera figures” piece from the artist’s Hong Kong period.

022

LIN Fengmian (Chinese, 1900-1991)

Landscape with Fishing Boats 1960s Ink and color on paper 36 x 46 cm Signed lower left Lin Fengmian in Chinese With one seal of the artist and two collectors' seals including Mi Gu and Hao Ming PROVENANCE: Collection of celebrated Chinese caricaturist Mi Gu (a gift from the artist) Collection of celebrated engraver Li Qun (autonym: Hao Liqun) Collection of Hao Ming Collection of Sanhuai House, Hong Kong EXHIBITED: The Art of Lin Fengmian, Hong Kong Arts Centre, Hong Kong, December 12 - 29, 1992 ILLUSTRATED: South China Morning Post (Report on Lin Fengmian’s exhibition at Hong Kong Arts Centre), Hong Kong, 1992, illustrated Gu Zhujun ed., The Collected Works of Lin Fengmian Part II of II, Tianjin People Fine Arts Publishing House, Tianjin, 1994, color illustrated, no. 108 Zhou Weiming ed., Collection of Art Garden Studio No. 72: Sanhuai House’s Modern Chinese Paintings, Shanghai People's Fine Arts Publishing House, Shanghai, 2004, color illustrated, no. 14, p. 10

HK$ 500,000-800,000 NT$ 2,050,000-3,280,000 US$ 66,700-106,700

林風眠山川（野泊） 1960年代彩墨紙本 36 x 46 cm 簽名左下：林風眠鈐印左下：林收藏鈐印：米谷收藏鈐印：郝明收藏

來源：中國前輩漫畫家米谷舊藏（得自藝術家贈與）中國前輩版畫家力群（本名郝麗春）舊藏郝明收藏香港三槐堂收藏展覽：「林風眠作品展」，香港藝術中心，香港，展期自1992年12月12日至12月29日圖錄：《南華早報》（香港藝術中心林風眠展覽介紹文插圖），香港，1992，圖版顧祝君編，《林風眠全集》（下卷）（中國繪畫大師作品集系列），天津人民美術出版社，天津，1994年10月，彩色圖版，編號 108（畫題為《山川》）（跨頁）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14，頁10（畫題《江邊泊舟圖》）

此作品《山川》為知名香港收藏家三槐堂的多年珍藏，根據三槐堂所言，此畫原為中國版畫家力群（本名郝麗春，1912年生）所有，後來畫留給兒子。從畫面左下方的收藏章來看，原來此畫更早之前曾屬於已故漫畫家米谷（1918-1986）。無論是米谷或力群，皆是出身於林風眠創辦的杭州藝專的藝術家，也曾撰文推崇林風眠的藝術與風骨。米谷曾於1961年的《美術》雜誌發表一篇〈我愛林風眠的畫〉一文，對畫家蒼茫孤寂的山川圖畫多所讚揚，然而文革前夕該文與林風眠的藝術即遭致嚴厲批評。米谷在該文的一段敘述可能就是本拍品《山川》的觀後心得：「他的《野泊》，雖然在色調上與《漁舟》相似，但卻給予我們不同的感覺。層層翠巒，披戴著輕紗般的煙雨，使得江山呈現一片銀灰的基調。江上，雨霧瀰漫，山水莫辨。三四漁家在暮色來臨之前閒泊於峰環水抱之間，是寧靜的世界備添生趣。我不知道林先生此景是描寫什麼地方，但面對此景不禁使我憶起李白頌三峽的『兩岸猿聲啼不住』的詩句，使人神馳於洶洶碧波與崇山峻嶺之間。」作品《山川》創作於1960年代前後，洗盡鉛華潛居上海的林風眠，自然感受到風雨欲來的情境，如同文人畫家以山水繪畫表明心跡。畫中水天共一色的光影呈現，為藝術性極高的一幅作品。

“Landscape with Fishing Boats” has been in the collection of the “Sanhuai House” Wang family of Hong Kong for many years. According to the Wang family, the painting originally belonged to the Chinese woodblock print maker Li Ch’un (b. 1912, originally named Hao Li-Ch’un), who subsequently left it to his son. It can be seen from the collectors’ seal impressions attached to the bottom left-hand corner of the painting that it was also at one time in the possession of the cartoonist Mi Ku (1918 – 1986). Both Li Ch’un and Mi Ku studied at the Hangzhou National College of Art, which was founded by Lin Fengmian, and both wrote articles praising Lin’s work and his artistic style. Mi Ku contributed an article entitled “I Love Lin Fengmian’s Paintings” to a 1961 issue of Art magazine, in which he praised Lin Fengmian’s landscape paintings, with their pronounced sense of solitude amidst vast spaces. However, on the eve of the Cultural Revolution both this article and Lin Fengmian’s art came under intense criticism in China. One paragraph in Mi Ku’s article describes his reaction to viewing this painting, “Landscape with Fishing Boats “Although Lin Fengmian’s ‘Landscape with Fishing Boats’ uses similar color tones to his ‘Fishing Boats’, it gives us a completely different feeling. The verdant hills and their gauze-like covering of mist give the landscape a silvery-grey tone. The thick mist above the river makes it difficult to tell where the river ends and the hills begin. A handful of fishing boats lie at anchor in the embrace of the mountains and the river as the sun begins to set, adding a touch of life to this tranquil scene. I don’t know which location Mr. Lin had in mind when he painted this picture, but for me it brings to mind the poet Li Po’s lines describing the Three Gorges: ‘From both banks, the steady sound of shrieking monkeys fills the air’; one feels oneself magically transported through the azure waters and towering peaks.” Lin Fengmian painted “Landscape with Fishing Boats” around 1960. At this time Lin had retired from public life and was living quietly in Shanghai; he must surely have been able to sense the approaching storm of the Cultural Revolution, and expressed this feeling in landscape painting in a similar manner to the literati painters of old. The depiction of light and shadow in this painting – with the same color being used for water and sky – makes it a true masterpiece.

023

CHAO Chung-hsiang (Taiwanese, 1910-1991)

Pearls of Roses c. 1976 Ink and acrylic on paper 180 x 95 cm Exhibited: Love of the Cosmos: The Art of Chao ChungHsiang, National Art Museum of China, Beijing, April 16 to 27, 2004; Shanghai Art Museum, Shanghai; Galerie Enrico Navara, Paris, June 2004; Hong Kong Arts Centre; Hong Kong, October 2004 Illustrated: Chao Chung-hsiang Collection, Alisan Fine Arts Gallery, Hong Kong, 1992, color illustrated, no. 38, pp. 77-78

HK$ 1,500,000-2,400,000 NT$ 6,150,000-9,840,000 US$ 200,000-320,000

趙春翔玫瑰珠約1976 水墨壓克力紙本 180 x 95 cm 展覽：「德沛宇宙：趙春翔的繪畫」，中國美術館，北京，展期2004年4月16日至4月27日；上海美術館，上海，2004年5月；昂利克．那瓦哈畫廊，巴黎，2004年6月；香港藝術中心，2004年10月圖錄：《趙春翔》，藝倡畫廊，香港，1992年，彩色圖版，編號38，頁77-78

趙春翔一生寂寞耕耘，長年漂泊天涯。從河南第一師範畢業，二次大戰就讀於國立杭州藝專，曾師事林風眠、潘天壽與吳大羽。 1948年後隨政府遷台，任教台灣師範大學，參與台灣早期現代美術運動。1950年代中期獲留學獎金前往歐洲，最後長期落腳紐約。 1960-1970年代間趙春翔結合歐洲畫派與美國抽象表現主義，投身於抽象藝術浪潮，曾受到紐約古根漢美術館、波士頓美術館、紐約州創作協會與皇后美術館等機構重視。晚年由油畫回歸水墨創作，貫徹中西藝術融合的現代化改革。此幅《玫瑰珠》畫作結合深鬱的中國墨與瑰麗的壓克力彩，為趙春翔典型繪畫風格。背景應用西方抽象繪畫即興滴流技法，也似中國傳統畫中自由率性的潑墨，形成「屋漏痕」的效果，墨韻雄渾，線條酣暢淋漓。而畫面中縱形排列的鮮豔螢光色的藍圓圈，宛如開出朵朵玫瑰，串成珠簾，產生眩目的躍動感，既古典又具有現代感，超越時代與文化隔閡，予人以審美的感受。趙春翔的繪畫記錄其生命軌跡與美學追求，如他他曾寫過：「假使繪起一枝花，主要並不一定是類別、色彩、形體、姿態，以及花的盛枯，而是你如何把握到它是神仙一樣的格調，與超度的昇華感覺。」作品《玫瑰珠》馳騁著畫家的自由想像，對終生抽象繪畫的熱愛，再現美妙的心靈視象，現代鑑賞者於欣賞之餘亦得到自我追求的啟發。

Chao Chung-hsiang’s life was a solitary struggle that saw him wandering from country to country. After graduating from Henan Number One Normal School, during the Second World War he studied at Hangzhou National College of Art, where his teachers included Lin Fengmian, Pan

Tianshou and Wu Dayu. In 1948, Chao came to Taiwan, where he took up a teaching position at National Taiwan Normal University; he subsequently played an active role in the early years of the modern art movement in Taiwan. In the mid-1950s, Chao was awarded a scholarship to study in Europe, after which he spent an extended period in New York. In the 1960s and 1970s, Chao produced abstract art that combined influences from European styles and U.S. abstract expressionism; his work attracted the interest of influential institutions such as the Guggenheim Museum, the Museum of Fine Arts in Boston, and the Queens Museum, and he was a recipient of the Creative Artists Public Service Program Award. In later life, Chao abandoned oil painting and took up traditional Chinese ink brush painting again, developing a modern style of ink brush painting that constituted a fusion of Chinese and Western art. This work, “Pearls of Roses”, combines somber Chinese ink with bright acrylics in a classic example of Chao Chung-hsiang’s artistic style. A drip-painting technique of the type used in Western abstract painting has been employed for the background; this technique is also similar to the “ink-splashing” free painting method sometimes used in traditional Chinese painting, which creates a “staining” effect characterized by powerful rhythm and smoothly flowing lines. The luminous blue spirals, arranged in a line running down the picture, are like a string of pearls made up from individual roses, creating a striking sense of movement. The effect is simultaneously classical and modern; its aesthetic appeal surpasses temporal or cultural boundaries. Chao Chung-hsiang’s paintings record events from his life and his artistic quest. As Chao himself once wrote: “Imagine that you are painting a flower. What is important is not so much what variety of flower it is, what color or shape it is, how it holds itself or whether it is in bloom or withered; the important thing is how you capture its magical “style” and its incredible sense of vibrancy and life”. “Pearls of Roses” is imbued with the artist’s imagination; it embodies both the artist’s lifelong passion for abstract art and visual images of great spiritual power. For the modern viewer, this painting can provide not only visual pleasure but also a stimulus towards self-actualization.

024

Walasse TING

(Chinese-American, 1929-2010)

Do You Like Sunset? 1975 Acrylic and crayon on canvas 71 x 107 cm Titled on the reverse Do You Like Sunset? in English, signed Ting in English and dated 75

HK$ 400,000-600,000 NT$ 1,640,000-2,460,000 US$ 53,300-80,000

丁雄泉你喜歡日落嗎？ 1975 油彩蠟筆畫布 71 x 107 cm 簽名畫背：Do You Like Sunset? Ting 75 《你喜歡日落嗎？》誠如此畫的標題，丁雄泉想傳達的就是很舒服的感覺。就像許多藝術家一樣，不停地在其熱衷的事物上反覆回味，似乎就是害怕有任何一個部份仍未感受到而有所缺憾；這世界上的事物應該都等不及經過丁雄泉畫筆的洗禮，他具有一種後天無法培養的天賦、與直覺，或是魔力，可讓所有色彩達到飽和狀態。而此幅《你喜歡日落嗎？》，感染力似乎就要滿溢出來，丁雄泉的畫作總是一種震撼的視覺經驗，令觀者置身於一個瑰麗曼妙、迷情夢幻的聖地中，畫面裡的女子看似羞澀的面龐及體態，卻反而更赤裸裸地反應女子及藝術家之情緒，而丁雄泉慣用的壓克力原料，在此畫面上完整且優美的展現色彩配置的深廣度。相信看過丁雄泉畫作的人都不會否認：他的畫，總是極致地描繪著「春」的況味，彷彿人生沒有四季，只有春天。丁雄泉從懂

事以來就過著充滿春意的生活，並得意地自封為「採花大盜」、「風流先生」等等，而且不管身處的環境多麼艱困，他都寧願懷抱著「自己是個國王」的心境來面對一切。不但充滿童稚的性情不減反增，而且仍然無時無刻地處在宛如遊樂場的情境中，像個心無旁鶩的頑童一般。這就是永遠忠於美的丁雄泉。

From this title “Do You Like Sunset?” it is clear to see that Walasse Ting is trying to deliver delightful and comfortable feelings. To avoid regrets by missing any detail, Ting, like many artists, keeps on exploring the things with which he is fascinated. It seems that every object in this world cannot wait to become a part of his paintings. Ting is gifted with an un-acquirable instinct, or say power, to create abundantly rich and colorful images. “Do You Like Sunset?” makes it so vivid that the viewers can almost see Ting’s passion overflowing. Ting’s artwork always provides astonishing visual images, which make viewers step into a magnificent wonderland. The women with bashful facial expressions and postures in his paintings masterly deliver their emotions and the artist’s passion. The manipulation of Ting’s commonly used acrylic fiber materials creates a complete and beautiful disposition of colors. People who have seen Walasse Ting’s works agree that his paintings are artistic works that describe the admiration of beauty as if it is the only goal that people should pursue. Ting has since become an adult with an active sex life. He proudly called himself a “Butterfly Gangster” or “Mr. Gallant”. Furthermore, no matter how difficult his situation was, he still chose to face everything with positive attitude. He still possesses an energetic mind as if he were still a naughty boy living in an amusement park. This is Walasse Ting, an artist who is always loyal to beauty.

025

Walasse TING

(Chinese-American, 1929-2010)

Horse 1989 Acrylic on rice paper 22 x 30 cm With one seal of the artist

HK$ 25,000-35,000 NT$ 102,500-143,500 US$ 3,300-4,700

丁雄泉馬 1989 壓克力紙本 22 x 30 cm 鈐印左下：採花大盜

026

Walasse TING

(Chinese-American, 1929-2010)

Girl in Blue 1989 Acrylic on rice paper 60 x 45 cm With one seal of the artist

HK$ 35,000-55,000 NT$ 143,500-225,500 US$ 4,700-7,300

丁雄泉藍衣女孩 1989 壓克力紙本 60 x 45 cm 鈐印右下：採花大盜

余本 027

YEE Bon

(Chinese, 1905-1995)

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

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

HK$ 120,000-180,000 NT$ 492,000-738,000 US$ 16,000-24,000

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

028

YEE Bon

(Chinese, 1905-1995)

Mère et enfant (Mother and Child) Oil on canvas 75 x 62 cm Signed lower left Yee Bon in English With one seal of the artist

HK$ 140,000-220,000 NT$ 574,000-902,000 US$ 18,700-29,300

余本母與子油彩畫布 75 x 62 cm 簽名左下：Yee Bon 鈐印左下：余本

029

GAO Huijun (Chinese, b. 1966)

Cloudy Mountains in the Autumn 2005 Acrylic on canvas 120 x 100 cm Titled on the reverse Cloudy Mountains in the Autumn No. 1 in Chinese, dated 2005, signed Heshang in Chinese and G. Huijun in English

HK$ 50,000-70,000 NT$ 205,000-287,000 US$ 6,700-9,300

高惠君秋意雲山圖 2005 壓克力畫布 120 x 100 cm 簽名畫背：秋意雲山圖①河上 G. Huijun 2005

030

LU Hao

(Chinese, b. 1976)

Wedding 2003 Oil on canvas 80.5 x 58 cm Signed upper center Lu Hao in English and dated 2003.6.20

HK$ 60,000-90,000 NT$ 246,000-369,000 US$ 8,000-12,000

路昊結婚 2003 油彩畫布 80.5 x 58 cm 簽名上方：Lu Hao 2003.6.20

031

YE Yongqing (Chinese, b. 1958)

Bird 2003 Oil on canvas 100 x 80 cm Signed lower right Ye Yong Qing in Chinese and English and dated 2003

HK$ 120,000-180,000 NT$ 492,000-738,000 US$ 16,000-24,000

葉永青鳥 2003 油彩畫布 100 x 80 cm 簽名右下：葉永青 Ye Yong Qing 2003

032

LU Peng

(Chinese, b. 1967)

Untitled 2002 Ink and color on paper 156 x 66 cm Signed upper left made by Lu Peng in Chinese and English

HK$ 100,000-160,000 NT$ 410,000-656,000 US$ 13,300-21,300

呂鵬無題 2002 彩墨紙本 156 x 66 cm 簽名左上：呂鵬製造 MADE BY LU PENG

033

HUANG Gang (Chinese, b. 1961)

Wisdom Mixed media on board 124 x 52 cm Signed in the center Huang Gang in English and Chinese

HK$ 85,000-130,000 NT$ 348,500-533,000 US$ 11,300-17,300

黃鋼智慧綜合媒材木板 124 x 52 cm 簽名中間：Huang Gang 黃鋼

朱偉向日葵47號

034

ILLUSTRATED: Zhu Wei Diary, Plum Blossoms (International), Hong Kong, 2000, color illustrated

2000 彩墨紙本 129 x 131 cm 簽名右下：朱偉鈐印右方：朱偉書畫鈐印左上：十有八九萬玉堂鑒賞朱偉真跡（肖形印）朱偉

HK$ 140,000-220,000 NT$ 574,000-902,000 US$ 18,700-29,300

圖錄：《朱偉日記》，萬玉堂畫廊，香港，2000，彩色圖版

ZHU Wei

(Chinese, b. 1966)

Sunflower No. 47 2000 Ink and color on paper 129 x 131 cm Signed lower right Zhu Wei in Chinese With five seals of the artist

035

LI Shan

(Chinese, b. 1942)

Trees, Hometown 1967 Oil on canvas 54 x 63 cm Signed on the reverse Li Shan, Harbin in Chinese and dated 1976 with an inscription "restored by the artist Li Shan, May 2005, Shanghai"

HK$ 400,000-600,000 NT$ 1,640,000-2,460,000 US$ 53,300-80,000

李山哈爾濱森林 1967 油彩畫布 54 x 63 cm 簽名畫背：李山 1967年哈爾濱， 2005年由畫家本人修補過李山 2005.5 上海

036

HUANG Gang (Chinese, b. 1961)

Mercy of the Land 2010 Mixed media on board 175 x 122.5 cm Signed lower right Huang Gang in English and Chinese

HK$ 350,000-550,000 NT$ 1,435,000-2,255,000 US$ 46,700-73,300

《悲憫大地》以佛經雕版拼貼繪畫而成，充滿大器與莊重的儀式感。西藏寺院僧侶刻製的雕版不僅雕刻了文字，也留住了光陰。你或許不理解這些文字的意思，卻依然可感受到歷史與時間的痕跡，以及獨有的東方精神。古老的經版透過藝術家的重新結構、裝置與繪畫，借助於藝術家的靈性與感悟，沉默的意義被重新喚醒。豐富的畫面層次、溫暖的色調與和諧的節奏引發觀者無盡的想像。《悲憫大地》是藝術家對自然與心靈的禮讚，充滿溫情，和諧寧靜，如詩歌一般，美感穿越時空。

黃鋼悲憫大地 2010 綜合媒材木板 175 x 122.5 cm 簽名右下：Huang Gang 黃鋼

“Mercy of the Land” was created by putting together woodblock print blocks of the type traditionally used to print Buddhist scripture; the work, the sheer scale of which is impressive, emanates solemn ceremonial majesty. These

wooden blocks, carved by Tibetan monks, are more than just tools for printing; they retain their own unique “halo.” Even if you don’t know what the words mean, you can still feel the weight of history and the passage of time, and a unique Asian spiritual force. The artist has taken these ancient printing blocks and put them together in a new way, creating a work that is both an installation and a painting. The artist’s spiritual response to the blocks helps to reawaken their deep significance. The wealth of different levels on which this piece works, the warm color tones and its harmonious rhythm all combine to stimulate the viewer’s imagination. “Mercy of the Land” represents the artist’s hymn of praise to nature and to the soul; it is a poetic work full of warmth and tranquility, the aesthetic appeal of which transcends barriers of space and time.

037

ZHOU Chunya (Chinese, b. 1955)

The Artist and His Friend 1996 Oil on canvas 73 x 61 cm Signed lower center Zhou Chunya in Chinese and dated 1996 Titled on the reverse Friend Series No. 3 in Chinese, dated 1996 and signed Zhou Chunya in Chinese

HK$ 400,000-600,000 NT$ 1,640,000-2,460,000 US$ 53,300-80,000

周春芽朋友篇3號 1996 油彩畫布 73 x 61 cm 簽名下方：1996 周春芽簽名畫背：《朋友篇3號》1996 周春芽

038

ZHOU Chunya (Chinese, b. 1955)

Red Rock 1999 Oil on canvas 115 x 90 cm Signed lower right Zhou Chunya in Chinese and dated 1999 This painting is to be sold with a certificate of authenticity issued by Northern Banker Art & Culture Coporation, Taipei.

HK$ 1,000,000-1,500,000 NT$ 4,100,000-6,150,000 US$ 133,300-200,000

周春芽紅石 1999 油彩畫布 115 x 90 cm 簽名右下：1999 周春芽附北莊文化藝術中心開立之原作保證書

山石一直都是中國繪畫的傳統題材。從1990年開始，周春芽借助新的繪畫技巧詮釋中國的山石，即創作出一系列的「山石」作品。與傳統繪畫不同的是周春芽畫筆下的山石表面總是被一層奇怪的增生組織覆蓋。石頭的顏色很特殊，與自然有所不同。周春芽的一段創作自述，說明他的石頭主題：「我畫石頭並不是出於圖像或符號的考慮，完全是由於趣味。我喜歡古典文人筆下石頭的形態，但不滿足於那種過於溫和、內向的性格，我想到一種張揚而冒險的嘗試—借助這種典雅的形態去傳達一種暴力甚至是色情的意味。」這幅《紅石》是周春芽山石系列中的早期作品。作品用玫瑰紅和黑色網底烘托，其表面籠罩一種混沌莫辨的氛圍，呈現繁複多變的視覺因素的混合，恍惚之間感覺像肉身，如溫潤祥和的血脈。畫家用薄塗的鮮豔色彩，加上浮雕一般的筆觸，賦予了石頭生命，以及一種靈性的感覺。畫面背離古典趣味的優雅與文弱，反映了畫家對傳統難以言喻的複雜心智。

Rock has always been a traditional subject in Chinese painting. In 1990, Zhou Chunya began using new painting techniques for Chinese stones, creating the “Rock Series”. The colors of these rocks were very unique, a departure from the colors seen in nature. The artist says, “I’m not painting rocks out of consideration for images or icons; it is out of interest. I liked the forms of rocks from the brushes of the literati, but wasn’t satisfied with that overly moderate, introspective character, so I thought up a bold and risky experiment – to use that elegant form to convey violent, even erotic overtones.” This lot, “Red Rock”, is an early work in Zhou Chunya’s “Rock Series”. The work uses rose red with black shading, with the surface shrouded in a murky haze, creating a complex and dynamic mixture of visual elements. Sometimes it looks like a chunk of flesh or warm, delightful blood vessels. The artist has used light coatings of fresh bright colors, along with relief-style brushstrokes, breathing life into the rock and the sense of a soul. The picture is a departure from the elegance and delicacy of classical tastes, a reflection of the artist’s complex ideas regarding tradition.

039

LUO Zhongli (Chinese, b. 1948)

Peasant Life of Ban Shan 1993 Oil on canvas 95.5 x 120 cm Signed lower left luo zhong li in English and Luo in Chinese, dated 1993 ILLUSTRATED: Luo Zhongli - The Chinese Soul of Dabashan, Mountain Arts, Culture and Education Foundation, Kaohsiung, 1996, color illustrated, p. 40

HK$ 1,200,000-1,800,000 NT$ 4,920,000-7,380,000 US$ 160,000-240,000

羅中立巴山農家 1993 油彩畫布 95.5 x 120 cm 簽名左下：luo zhong li 1993 羅圖錄：《羅中立—西南的力量》，山藝術文教基金會，高雄，1996，彩色圖版，頁40

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

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

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

040

YIN Zhaoyang

震撼，他的繪畫中也本能地表現出了個人英雄主義的氣質。

(Chinese b. 1970)

Legend 2005 Oil on canvas 180 x 150 cm Signed on the reverse Zhaoyang in Chinese and dated 2005 PROVENANCE: Private Collection, Asia

HK$ 1,400,000-2,000,000 NT$ 5,740,000-8,200,000 US$ 186,700-266,700

尹朝陽傳說 2005 油彩畫布 180 x 150 cm 簽名畫背：朝陽，2005年來源：私人收藏，亞洲

1970年代出生的中國藝術家，被視為英雄主義情結最為濃厚的一代，文革尾聲的浩浩蕩蕩，成為他們一生中揮之不去的革命印記。但他們不是最火熱年代的見證者，從而產生脫離政治性判斷的可能性，那些歷史中遺留的宏大敘事，對畫家充滿吸引力，那些彷彿經歷過的理想、激情、熱情，乃至關於革命、浪漫主義的記憶和感受，在這一代藝術家腦中進行無序的理想化拼貼，即使革命遠去、青春遠去，對英雄與榜樣的由衷崇拜，已在意識中根深蒂固。而1970年代一群人，同樣經歷著「莫名感傷」的情緒，他們是一個個青春長大內心卻仍殘留「孩童」情結的大「孩子」，1960年代神性消失後心靈沒有著落的孤獨一代。尹朝陽是1970年後一代藝術家的典型代表，作品沒有出現玩世不恭、桀驁難馴的城市青年形象，對於天安門、毛澤東、革命的人們，沒有絲毫褻瀆與矯飾，真真切切的是尹朝陽對歷史的冥想，以及青春遠去的見證與回憶。流淌在畫家血液中的激昂向上成就其作品的真實性，即早已隨時光逝去的革命英雄主義。與許多1970年代出生的藝術家一樣，尹朝陽接受正統學院現實主義的美術教育，寫實主義自然成為最基本的創作手法。不同的是，尹朝陽描繪的「革命的一切」都被消解了時間性，與永恆、崇高、偉大和理想為伍。而在「神話」系列作品中，尹朝陽更進一步將個人理想與歷史責任，演化為對崇高感的強烈佔有慾，借用「西西弗斯」神話故事展現無法抑制的個人能量。畫家自己被英雄人物身上的輝煌、悲劇力量所壟罩、

The generation born in 1970's China has been considered as the one that is most deeply attached to Heroism. The dramatic circumstances towards the end of Chinese Revolution have become the unforgettable mark of their lives. However, since this generation never directly witnessed this passionate era, it created the possibility for artists to detach from passing any political judgments. The historical events became incredibly attractive to the artists. Even though they could only piece together the romantic memories and sensations of the Cultural Revolution in their minds. Though gone with the revolution and youth, the sincere worship towards heroes and idols has been rooted deeply in their conscious. The1970's generation all experienced a kind of sadness. They are adults with elements of adolescent ideology. The lack of idol after 1960's made it into a lonesome generation.

Yin Zhaoyang is the emblem of artists from this 1970's generation. There is no typical spoiled urban youth figure in his work. The artist doesn't over embellish common themes like Tiananmen, Mao Zedong or revolutionists in his works. All the emotions came from Yin Zhaoyang's reminiscing of history and the fleeting youth. The absolute optimism as an artist gave his work a realistic sense of the long gone heroism. Like many artists of this generation, Yin Zhaoyang was trained classically. Realism naturally became his creative method of choice. The difference in Yin Zhaoyang's work is that everything about revolution has become transcendental and highly idealized. In the "Mythology" series, Yin Zhaoyang uses the myth of "Sisyphus" in order to further elaborate on the evolution from individual idealism and historical responsibility to a highly possessive sense towards nobleness and therefore created an irrepressible personal energy. The artist has been shaken by the gloriously tragic force of the hero and therefore instinctively developed a temperament of heroism of his own.

041

JU Ming

(Chinese, b. 1938)

Taichi Series - Shadow Boxing 1991 Bronze 49.5(L) x 51.5(W) x 56(H) cm (Left) 62.9(L) x 35.7(W) x 30.8(H) cm (Right) Engraved Ju Ming in Chinese, numbered AP (both) This sculpture is to be sold with a certificate of authenticity issued by the Nonprofit Organization Juming Culture and Education Foundation, Taipei.

HK$ 1,300,000-1,900,000 NT$ 5,330,000-7,790,000 US$ 173,300-253,300

朱銘太極系列－對招 1991 銅雕 49.5(長) x 51.5(寬) x 56(高) cm （左） 62.9(長) x 35.7(寬) x 30.8(高) cm （右）簽名雕刻：朱銘自（2件）附朱銘文教基金會作品鑑定報告書

朱銘的太極系列大致分為兩大類，一類展現個體的技巧與姿態，另一類則講求兩股力量之間的對立關係，也就是雙人對打。在單一人物的太極雕塑中，太極的力量和節奏透過身體的運動和姿勢來表達。但太極在本質上可謂兩極相生，即「陰」與「陽」，兩極相互關聯，循環往復合而為一，構成和諧而有力的運動。

形式以及空間之間的對應關係，後來成為朱銘自我突破的重要關鍵，展現於更抽象的「太極拱門」系列中。

在《太極系列－對招》這件作品中，其中一人向前傾，採攻勢，另一人採守勢，不動，但伺機而動。一攻一防、一前一後的姿態具體展現陰陽循環，朱銘的創作完全捕捉了太極的本質根基。著名的藝術史家麥克．蘇立文說：「在朱銘的太極系列中，這種衝突的力量相當鮮明，兩邊個體互為推與退、給與受，彼此產生了動態關係，兩者之間似乎有一股無形的電流。」

The Taichi Series by Ju Ming can be broadly divided into two categories: those depicting individuals demonstrating their skills and postures, and those that examine the contradictory relationship between opposing forces - the twin sparring figures. With the single Taichi figures, the force and rhythm of Taichi are expressed through body movements and postures. However the nature of Taichi is such that there are two types of chi: the Yin and the Yang. These two entities share a reciprocal relationship and are united as one, creating a harmonious and powerful movement.

朱銘掌握了太極的精神與形式的概念，他的創作愈益自信洗鍊，達到「隨意雕琢」忘我的境界。簡單的劈、削、砍，律動感與重量感於焉而生。在這件作品中，太極對招表現了兩種武打形式，兼具冷靜與力度。對招的

In this work, “Taichi Series - Shadow Boxing”, one figure is poised in a forward lunge, making an attack, while the other poses in a defensive position that is still, yet suggests motion. The continuity of Yin and Yang is embodied in these

postures of attack and defense, forward and backward motion. In his creations, Ju Ming has fully captured the underlying essence of Taichi. As the renowned art historian Michael Sullivan said: "In his Taichi Series, this conflict of forces is explicit, in the dualism of the figures who thrust and retreat, give and take, in a dynamic relationship with one another. An invisible electric current seems to flow between them." Mastering the spirit of Taichi and the concept of forms, Ju Ming’s creations grew increasingly confident and refined, reaching a realm where he "carves at will", oblivious of himself. With a few clean marks of chopping, peeling and splitting, the sense of movement and weight is expressed. In this lot, the Taichi sparring represents two fighting forms possessing both calmness and dynamism. The form of shadow boxing, and the corresponding relation between spaces, later became an important key to his breakthrough with the more abstracted “Taichi Arch” series.

042

JU Ming

(Taiwanese, b. 1938)

Taichi Series - Below Elbow Watch First Lean 1995 Bronze, edition no. 2/10 112(L) x 76(W) x 98(H) cm Engraved Ju Ming in Chinese, numbered 2/10, dated '95 This sculpture is to be sold with a certificate of authenticity issued by Kwai Fung Hin Art Gallery, Hong Kong.

HK$ 1,600,000-2,400,000 NT$ 6,560,000-9,840,000 US$ 213,300-320,000

朱銘太極系列—肘底看捶 1995 銅雕 2/10 112(長) x 76(寬) x 98(高) cm 簽名雕刻：朱銘 2/10 '95

朱銘的太極系列堪稱其雕刻語言與美學風格成熟之作，奠定當代藝術名家的地位。朱銘在楊英風門下開始學習太極，以增強體能、鍛鍊意志，這種形式獨特的功夫將他的創作帶入新的領域。太極系列迥異於過去探索的傳統主題，趨向純粹靈性，使其現代雕塑開始進入成熟期。太極系列始於1970年代後期，當中可見顯著轉變。行旅歐洲為他處理該主題的手法產生最革命性的轉變，古羅馬石造建築帶給他深刻的啟示。影響所及，1980年代以降的作品，輪廓更簡潔，愈見莊嚴神聖。相對於在 1970年代作品見到的律動與生命力，這些後期作品的特色是透過簡單的切削斧鑿表現細節，為其作品增添力與重量感。 1995年的《太極系列─肘底看捶》表現自由流動的形態；雙手向前擺，向內集氣，右腳用力一蹬。這就是右蹬腳，回歸至其純粹的本質。這件作品讓人感受蹬踢的爆炸性威力，左腳卻不動如山，充分展現太極完美平衡的精神。正如朱銘所言：「太極努力追求由內集氣，而外冷靜自持。」

附香港季豐軒畫廊開立之原作保證書 Ju Ming’s Taichi series marked the maturation of his sculptural language and aesthetic style, securing his status as one of the most acclaimed figures in contemporary art. Ju Ming began practicing Taichi under his mentor, Yuyu Yang, to build up his strength and train his will. This unique form of exercise inspired him to take his creations into a new realm. This series drew him

away from the traditional themes he explored in the past and into a type of pure spiritualism that marked the beginning of his mature phase in modern sculpture. T h e Ta i c h i s e r i e s h a s s e e n r e m a r k a b l e transformations from its beginning in the late 1970s. His travels in Europe brought about the most revolutionary transformation in his approach towards this subject. His encounters with the stone architecture of ancient Rome brought him profound inspiration. As a result, his works since the 1980s took on cleaner contours and a more sublime sense of monumentality. As opposed to the rhythm and vitality we see expressed in his works from the 1970s, these later works focused on an expression of details through simple cuts and cracks. This has lent his artworks a dynamic and weighty feel. “Taichi Series - Below Elbow Watch First Lean”, executed in 1995, is an exercise in freeform fluidity. Both hands move to the front, gathering energy inwards for an explosive kick with the right foot. This is the right heel kick, boiled down to its bare essence. In this piece, you can truly appreciate the explosive power of the heel kick along with the solid stability of the left foot, a great example of the principles of perfect balance in Taichi. As Ju Ming said “the practice of Taichi strives for a concentration of energy on the inside, along with calm and ease on the outside”.

043

LIN Hairong (Chinese b. 1975)

Comrades 2007 Oil on canvas 80 x 65 cm Signed lower right Lin Hairong in Chinese and dated 2007 in Chinese lunar year Signed on the reverse Lin Hairong in Chinese, titled Comrades in Chinese, insribed 65 x 80 cm, dated 2007 PROVENANCE: Shine Art Space, Shanghai

HK$ 50,000-80,000 NT$ 205,000-328,000 US$ 6,700-10,700

林海容風雨同儔 2007 油彩畫布 80 x 65 cm 簽名右下：林海容丁亥年簽名畫背：《風雨同儔》65 x 80 cm 2007年林海容來源：昇藝術空間，上海

044

DUAN Jianwei (Chinese, b. 1961)

Cutting Grains 1996 Oil on canvas 127 x 90 cm Signed lower right DUAN in English and dated 1996

HK$ 100,000-180,000 NT$ 410,000-738,000 US$ 13,300-24,000

段建偉鋤禾 1996 油彩畫布 127 x 90 cm 簽名右下：1996 DUAN

045

CAO Jingping (Chinese, b. 1972)

Grasshopper 2005 Acrylic on canvas 131 x 115 cm Signed on the reverse Cao Jingping, titled Grasshopper in Chinese and English, inscribed Acrylic and dated 2005

HK$ 40,000-60,000 NT$ 164,000-246,000 US$ 5,300-8,000

曹靜萍蟈蟈 2005 壓克力畫布 131 x 115 cm 簽名畫背：曹靜萍 Cao Jingping 蟈蟈 Grasshopper Acrylic 2005 78

046

SONG Yonghong (Chinese, b. 1966)

Moon Light 2006 Oil on canvas 65 x 46 cm Signed on the reverse Song Yong Hong in Chinese and English, dated 2006 EXHIBITED: Song Yonghong's Solo Exhibition, Weibang Gallery, Seoul, 2007 ILLUSTRATED: Song Yonghong's Exhibition, Weibang Gallery, Seoul, 2007, color illustrated, p. 10 Square of Desire, Guandong Museum of Art, Guangzhou, 2008, color illustrated, p. 183

HK$ 60,000-90,000 NT$ 246,000-369,000 US$ 8,000-12,000

宋永紅夜色 2006 油彩畫布 65 x 46 cm 簽名畫背：宋永紅 2006 Song Yong Hong 展覽：「宋永紅個人展」，惟邦畫廊，首爾， 2007 圖錄：《宋永紅個人展》，惟邦畫廊，首爾， 2007，彩色圖版，頁10 《慾望廣場》，廣東美術館，廣州，2008，彩色圖版，頁183

047

LUO Qing

(Chinese, b. 1970)

Walking at Night 2004 Oil on canvas 200 x 170 cm Signed lower right LQ in English Signed on the reverse Luo Qing in Chinese, titled Walking at night, inscribed oil on canvas, 200 x 170 cm and dated 2004

HK$ 50,000-70,000 NT$ 205,000-287,000 US$ 6,700-9,300

羅清夜行 2004 油彩畫布 200 x 170 cm 簽名右下：LQ 簽名畫背：羅清夜行 Walking at night 布面油畫 oil on canvas 200 x 170 cm 2004

048

SONG Yonghong (Chinese, b. 1966)

The Bath of Consolation 2003 Oil on canvas 100 x 80 cm Signed lower left Song Yong Hong in Chinese and English and dated 2003

HK$ 60,000-80,000 NT$ 246,000-328,000 US$ 8,000-10,700

宋永紅慰藉之浴 2003 油彩畫布 100 x 80 cm 簽名左下：宋永紅 2003 Song Yong Hong

049

LI Jikai

(Chinese, b. 1975)

Dolls Series 2006 Oil on canvas 100 x 150 cm Signed upper left Li Jikai in English, Kai in Chinese and dated 2006 Titled on the reverse Doll in Chinese, inscribed 150 x 100 cm, signed Li Jikai in English and Chinese and dated 2006

HK$ 140,000-200,000 NT$ 574,000-820,000 US$ 18,700-26,700

李繼開玩偶 2006 油彩畫布 100 x 150 cm 簽名左上：Li Jikai 開 2006 簽名畫背：玩偶 150 x 100 cm Li Jikai 李繼開 2006

050

GUAN Yong (Chinese, b. 1975)

Classic 035 2004 Oil on canvas 100 x 73 cm Signed on the reverse Guan Yong, titled "Classic 035", inscribed oil on canvas in Chinese and English, 100 x 73 cm, dated 2004, Tianjin Academy of Fine Arts, oil painting in Chinese.

HK$ 140,000-220,000 NT$ 574,000-902,000 US$ 18,700-29,300

管勇經典 35 2004 油彩畫布 100 x 73 cm 簽名畫背：管勇《經典35》布面油彩 100 x 73 cm 2004 天津美術學院油畫 Guan Yong "Classic 035", oil on canvas, 100 x 73 cm, 2004

051

GUO Wei

(Chinese, b. 1960)

Inside with the Mosquitoes & Moths 2006 Acrylic on canvas 159 x 90 cm Signed lower right Guo Wei in English and dated 06

HK$ 160,000-240,000 NT$ 656,000-984,000 US$ 21,300-32,000

郭偉室內系列：蚊子與飛蛾 2006 壓克力畫布 159 x 90 cm 簽名右下：Guo Wei 06

052

CHEN Yu

(Chinese, b. 1969)

Untitled 16 2005 Oil on canvas 100 x 130 cm Signed upper left Chen Yu in Chinese and dated 2005 Signed on the reverse Chen Yu in Chinese, titled "Untitled 16, 2005" in Chinese, inscribed 130 x 100 cm and dated 2005

HK$ 180,000-280,000 NT$ 738,000-1,148,000 US$ 24,000-37,300

陳餘無題 16 2005 油彩畫布 100 x 130 cm 簽名左上：陳餘 2005 簽名畫背：陳餘《無題16，2005》130 x 100 cm 2005年

053

TU Hongtao (Chinese, b. 1976)

Mingle 2005 Oil on canvas 150 x 210 cm Signed lower center Tutu 05 Titled on the reverse Mingle, signed Tu Hongtao in Chinese and dated 2005, inscribed Chengdu in Chinese, 210 x 150 cm

HK$ 200,000-300,000 NT$ 820,000-1,230,000 US$ 26,700-40,000

屠宏濤交織 2005 油彩畫布 150 x 210 cm 簽名下方：Tutu 05 簽名畫背：《交織》屠宏濤 2005 成都 210 x 150 cm

054

QI Zhilong

(Chinese, b. 1962)

祁志龍小姐．中國

Chinese Girl 1996 Oil on canvas 41 x 33 cm Signed on the reverse Qi Zhilong in Chinese, titled Chinese Girl in Chinese, No. 51-9 and dated 1996

PROVENANCE: Olyvia Oriental (Olyvia Fine Art), London

HK$ 180,000-280,000 NT$ 738,000-1,148,000 US$ 24,000-37,300

1996 油彩畫布 41 x 33 cm 簽名畫背：《小姐．中國》1996，第51-9號祁志龍來源：奧莉維亞東方（奧莉維亞美術），倫敦

055

XUE Song

(Chinese, b. 1965)

Time 2008 Mixed media on canvas, collage 150 x 120 cm Signed lower right Xue Song in Chinese

HK$ 150,000-250,000 NT$ 615,000-1,025,000 US$ 20,000-33,300

薛松時光 2008 綜合媒材畫布拼貼 150 x 120 cm 簽名右下：薛松

056

WANG Ziwei (Chinese, b. 1963)

Mao 2007 Acrylic on canvas 220 x 180 cm Titled lower right Mao Zedong in Chinese Signed lower left Ziwei in English

HK$ 220,000-320,000 NT$ 902,000-1,312,000 US$ 29,300-42,700

王子衛毛澤東 2007 壓克力畫布 220 x 180 cm 題識右下：毛澤東簽名左下：Ziwei

057

LING Jian

(Chinese, b. 1963)

Don't Love the Beauty - Love Army's Power! - Mao 2007 Oil on canvas 250 x 180 cm Signed on the reverse LING JIAN in Chinese and English and dated 2007 PROVENANCE: Galerie Volker Diehl, Berlin

HK$ 800,000-1,200,000 NT$ 3,280,000-4,920,000 US$ 106,700-160,000

凌健不愛紅妝愛武裝！ 2007 油彩畫布 250 x 180 cm 簽名畫背：凌健 LING JIAN 2007 來源：夫柯．迪赫畫廊，柏林

058

ZHOU Chunya (Chinese, b. 1955)

Mountain Rock Series 1990 Oil on canvas 150 x 120 cm Signed upper right Zhou Chunya in Chinese and dated 1990

HK$ 1,600,000-2,600,000 NT$ 6,560,000-10,660,000 US$ 213,300-346,700

周春芽山石系列 1990 油彩畫布 150 x 120 cm 簽名右上：1990 周春芽

1988年赴德國深造帶給周春芽巨大的藝術財富。在中國美術館89大展推動中國當代藝術發展的大背景下，周春芽開始嘗試山石系列。當時玩世現實主義和政治波普都已找到了自己的歸宿。但周春芽一直探尋著適合自己的表現語言。「我並沒有像國畫家那樣在材質屬性和圖形程式上去理解，而是按照我的表現意圖去尋找那些令我覺得陌生又能帶來驚喜的東西，我在肌理和質感上花費了很大的工夫，近似於強迫症似的去捕捉和玩味那些潛藏在石頭自然屬性中的視覺因素。」（＜周春芽訪談：我把自己扮演的角色分開＞，上海證券報）此作品創作於1990年，正是早期山石系列的代表作。作品汲取了中國傳統繪畫的佈局以及注重意境的表現手法，又融入了表現主義的色彩；典雅的畫面構圖以及和諧的色彩過度，配合油畫的特殊機理，呈現了作品的畫中有畫的豐富性。而山石系列作品也奠定了藝術家繪畫語言的基礎，為之後的「綠狗」、「桃花」系列找到了豐富的表現形式。

Zhou Chunya reaped great artistic rewards from his advanced studies in Germany in 1988. Zhou began experimenting with his Rock series in 1989 as the China Avant-Garde Exhibition at the National Art Museum of China was catalyzing the development of contemporary Chinese art. At the time, cynical realism and political pop had found their bearings, but Zhou Chunya was still searching for an expressive language that suited him. “I did not seek to understand it from the angle of the materials’ properties and patterns of imagery like a Chinese painter; instead, I followed my expressive intent to find things that felt unfamiliar and might bring surprises. I exerted a lot of energy on surfaces and texture, obsessively capturing and ruminating on the natural properties and visual elements of the rocks. ” ('Zhou Chunya interview: I separate the roles I play', Shanghai Securities News) This work was created in 1990, and is a representative early work from Zhou’s Rock Series. The work draws from the traditional layouts and creative expressive methods of Chinese painting, while adding expressionist colors. The elegant image structure and harmonious color transitions play off the unique texture of oil painting, adding rich depth to the overall picture. The Rock Series set the foundation for the artist’s painting language, finding a rich expressive form for the “Green Dog” and “Peach Blossom” series that would follow.

059

ZHOU Chunya (Chinese, b. 1955)

We are TT, We are Angry Youth 2008 Oil on canvas 250 x 200 cm Titled lower right We are TT, We are Angry Youth in Chinese, signed Zhou Chunya in English and Chinese, dated 2008, 2008.5.12 Not-Collapsed Studio EXHIBITED: Today's China: Chinese Contemporary Art Exhibition, Belvue Museum, King's Palace, Brussels, Belgium, July 18 – August 31, 2008 ILLUSTRATED: Today's China: Chinese Contemporary Art Exhibition, Belvue Museum, King's Palace, Brussels, Belgium, 2008, color illustrated, cover of the catalogue and announcement Zhou Chunya, Timezone 8, May 2010, color illustrated, pp. 400-401

HK$ 2,500,000-4,000,000 NT$ 10,250,000-16,400,000 US$ 333,300-533,300

周春芽我們是TT 我們是憤青 2008 油彩畫布 250 x 200 cm 題目右下：我們是TT 我們是憤青簽名右下： Zhou Chunya 周春芽 2008 2008.5.12 震不垮的工作室展覽：「今日中國：中國當代藝術展覽」，貝爾維博物館，國王皇宮，比利時布魯塞爾，展期 2008年7月18日至8月31日圖錄：《今日中國：中國當代藝術展覽》，貝爾維博物館，國王皇宮，比利時布魯塞爾， 2008，彩色圖版，目錄封面與邀請卡封面《周春芽》，東八時區，香港，2010年5 月，彩色圖版，頁400-401

2010年6月上海美術館周春芽回顧展會場 Zhou Chunya's Restrospective at Shanghai Art Museum, June 2010

T T是藝術家屠宏濤飼養的愛犬，熟悉屠宏濤的人都暱稱他為屠屠（TUTU），而愛犬起名為「T T」，可見藝術家對狗的喜愛。在周春芽關於狗的主題創作中，已故的黑根知名度是當之無愧的第一名，如今T T開始獲得榮升第二的機會。位於藍頂藝術區，周春芽和屠宏濤一直比鄰而居，而在老藍頂，T T和周春芽的愛犬一起在院子嬉戲，是藝術家最直接的創作對象。而T T長長的體毛，既兇猛又溫順的體態和眼神，都與近兩年藝術家的創作思路十分吻合。在中國，「憤青」是「憤怒青年」的縮寫，特指一般對社會現狀不滿，而急於改變現實的青年。周春芽不是憤青，事實上，他對社會的關注已經超越了藝術家僅用藝術表現社會的方式。在他看來，「好的藝術家需要有處理一切社會問題的能力，社會不會等你，你要自己走到社會前面。」他以自己的方式，不但持續關注社會現狀，並且以行動進行著周春芽式的社會關懷。 2010年的周春芽55歲，剛在上海美術館舉辦個人回顧展，同時創辦了以自己名字命名的藝術研究院，除了梳理自己的藝術經歷，最主要工作是打理他贊助的兩個公益專案：五彩基金和川美助學基金。很多人認為在此年

齡舉辦回顧展為時尚早，而他從文革到改革開放到中國做大做強，如過「百年」。事實上，回顧展的標準與作品的品質和層次有關，而與年齡無關。人山人海的回顧展，不但見證了一位藝術家的藝術成就和創作高度，同時展現了他在藝術圈中的好人緣與跨界的影響力—周春芽獲得了2010年的「馬爹利非凡藝術人物大獎」。周春芽應該是當代藝術家參與社會活動最廣泛的藝術家之一。無論是五彩基金對地震致殘少年的幫助，還是助學基金對貧困學生的資助，或者擔任2010年英國當代藝術中國展的中方代表，把全世界最貴的當代藝術家戴米思．赫斯特帶到中國，在六個二線城市進行巡展，第一站是成都。如今，周春芽儼然已經成為了成都的藝術名片，為這座城市盡心盡力地創造著每一次展示的機會，周春芽以自己的實際行動實現著「一個人能力有多大，責任便有多大」。 T T形象的前身是「黑根」，今日顯示藝術家當時的狀態，一樣執著於自己的藝術創作。1997年，周春芽開始創作「綠色的黑根」系列；2004年前後，周春芽將綠狗的形

態進一步放大，傳達出攻擊性和張揚性的一面，藝術家的表現力也發揮到極致。此後的 2006、2007和2008年，TT開始躍身畫面，棕色的比重包括畫作的尺幅都越來越大，「綠狗」的形體、毛髮、眼神也同時變得更為具象。比起之前的創造，近期的T T系列在藝術家的筆下，更多的是表現「情緒、思想、生活方式或者你對大自然，對人性的看法，或者你對一種色彩的看法。」藝術家認為「真實的想法是非常重要的，真實比正確還要重要」。

retrospective exhibition at the Shanghai Museum of Art and founded his own art research institute. Aside from organizing material on his own artistic experience, the institute’s main function is to manage the two charitable projects that he has funded: the Five Color Fund and the Sichuan Art Institute Scholarship Fund. Many people think that it’s a bit early for people his age to be holding retrospective exhibitions, but his path from the Cultural Revolution

TT is the name of artist Tu Hongtao’s dog. Tu Hongtao’s friends call him Tutu, and his choice to name the dog TT shows his love for this animal. In Zhou Chunya’s dog-related artworks, his own dog, Heigen, is deservedly the most famous dog, but recently TT has had the opportunity to become number two. Zhou Chunya and Tutu are next-door neighbors at the Blue Top Art Zone, and their beloved dogs play together in the yard. For the artists, their dogs are their most direct creative subjects. TT’s long fur and fierce yet gentle bearing fit perfectly with the artist’s creative trajectory over the past two years. In China, “angry youth” is a term for youths who are unsatisfied with society and urgently strive to change reality. Zhou Chunya is not an angry youth, but his focus on society has already transcended the mere use of artistic expression. As he sees it, “a good artist must have the ability to deal with all kinds of social problems. Society will not wait for you; you must present yourself before society.” In his own way, not only has he continued with his focus on the state of society, he has taken action in his signature style. In 2010, 55 year old Zhou Chunya held a

比利時貝爾維博物館展覽會場旗幟 Exhibition banner at Belvue Museum, Belgium

to the reform and opening to today, where China is growing powerful, has been like a century. Actually, the standard for retrospective exhibitions is the quality of the artwork, not the artist’s age. The crowds at his retrospective exhibition were testament to the artist’s achievements, and they also embodied his solid standing in the art

community, as well as his influence beyond his field - this year he won the Martell Artist of the Year award. Zhou Chunya is probably one of the most broadly socially involved artists in China, w h e t h e r i t ’s t h r o u g h h i s F i v e C o l o r s Fund, which helps children disabled by earthquakes, his scholarship fund’s assistance of poor students, or his work as the Chinese representative at the 2010 British Contemporary Art China Exhibition, in which he brought top artist Damien Hirst to exhibit his artworks in six second-tier Chinese cities, starting with Chengdu. These days, Zhou Chunya has become the poster child for the arts in Chengdu, working hard to provide opportunities for the city to put itself on display. With his substantive actions, Zhou Chunya embodies the mantra, “with power comes responsibility”. TT’s predecessor Heigen was like the artist’s state at the time, absorbed in artistic creation. Zhou Chunya began the “Green Dog” series in 1997. Around 2004, Zhou further expanded the form of the dog, presenting a standoffish, showy side, while also taking the artist’s expressive skills to a higher level. In 2006, 2007 and 2008, TT began to leap into the picture, with both his brown proportions and the size of the image growing increasingly large, while the shape, fur and gaze of this “green dog” growing more concrete. Compared to earlier creations, the later TT series is more about expressing “sentiments, thoughts, ways of life; maybe your views on nature and humanity, or your views on a certain color.” The artist believes that “true ideas are very important. What is true is more important than what is correct.”

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CAI Guo-Qiang

想。但自小擁有叛逆性格的蔡國強卻發覺傳統的筆墨繪畫太過局限，不能給自己足夠的空間表達自由的思考。他開始質疑創造藝術的方法，試圖採用不同的繪畫技巧併努力尋找新的媒材。

(Chinese, b. 1957)

F u r i o u s Ti g e r G o i n g D o w n a Mountain 2005 Gunpowder on paper 200 x 300 cm Titled on the reverse Furious Tiger Going Down a Mountain in Chinese and English and signed Cai Guo-Qiang in English, dated 2005

福建泉州是蔡國強的出生地，也曾是中國炮竹的生產地。蔡國強從小生長的環境有彌漫著火藥味的工廠。當時海峽兩岸間砲火火不斷，空氣中都飄散著火藥的煙霧。因此蔡國強自小就對火藥情有獨鍾。火藥既可摧毀建築，扼殺生命，也可創造出絢麗多彩的焰火藝術。這個充滿激情、創造力和感性的年輕人被火藥的摧毀和建設的雙重力量所感染。

EXHIBITED: Cai Guo-Qiang: Hanging Out in the Museum, Taipei Fine Arts Museum, Taipei, November 21, 2009 - February 21, 2010 ILLUSTRATED: Cai Guo-Qiang: Hanging Out in the Museum, Taipei Fine Arts Museum, Taipei, 2009, color illustrated, pp. 174-175

HK$ 5,000,000-7,000,000 NT$ 20,500,000-28,700,000 US$ 666,700-933,300

蔡國強猛虎下山 2005 火藥爆破紙本 200 x 300 cm 簽名右下：猛虎下山 Cai Guo Qiang 2005 展覽：「蔡國強—泡美術館」，台北市立美術館，台北，展期自2009年11月21日至2010年2月 21日圖錄：《蔡國強—泡美術館》，台北市立美術館，台北，2009，彩色圖版，頁174-175

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攝影：林毅，蔡工作室提供 Photo by Lin Yi, courtesy Cai Studio

作為國際當代藝術領域中最受矚目和最具開拓性的藝術家之一，蔡國強是在紐約古根漢美術館成功舉辦個展的華人藝術家第一人。此一題為「我想要相信」的個人回顧展於紐約大獲成功之後，相繼於2008年北京奧運會期間在北京中國美術館，2009 年在西班牙畢爾包古根漢美術館展出。兩年間觀展人數創下古根漢美術館開館以來藝術家個展的最高紀錄，蔡國強也更因此確立了在國際藝壇上不可撼動的地位。 2009年11月，台北市立美術館為蔡國強舉辦了題為「蔡國強—泡美術館」的大型個人回顧展，展覽又一次打破了美術館的觀展人數紀錄。此幅《猛虎下山》即為當時的重要展品之一。蔡國強在中國當代藝術界卓越非凡，他的藝術作品根源於中國傳統卻又顛覆傳統。年輕時代的蔡國強浸淫在中國傳統水墨繪畫中，父親是一位傳統的水墨畫家、書法家和歷史學家，傳承了中國藝術的傳統思

在尋找能夠釋放自由和表達思想的媒材的過程中，蔡國強開始在藝術創作中結合使用瓷器、中藥、風箏、竹筏、風水，以及火藥等不同材料，也嘗試用不同方法在傳統水墨畫中發現靈感。他深為自然的力量及其對環境的影響所感染，並嘗試將其部分釋放進行藝術創作。他利用風扇畫出颱風的威力、用火吹出氣泡、也讓鴿子走過未乾的油漆作畫。最後，他認定火藥是能夠自由詮釋藝術的媒材。他被火藥的自發性，那強大的能量釋放以及不可預測的創造結果所深深吸引。多年來的創作試驗，他使用這種破壞性材料產生極具魅力的爆炸效果的技術達到了爐火純青的地步，更創作出《猛虎下山》這幅火藥繪畫的代表作品。蔡國強的藝術複雜而獨特，表現出充滿活力和極富創造性的思想，同時融合了他的成長背景、生活經驗、信念與感性。在年少時分蔡國強就體驗到了生活中的矛盾與統一性。這種矛盾統一是中國人生命體驗的核心內容，陰陽是這一思想最廣為人知的表達方式。生命是複雜的，常常受到來自不同方向的不同力量的牽引。蔡國強在年輕時代對他影響最深遠的兩個人，養育他長大的祖母和父親，就使他面對了這樣的兩難選擇。

蔡國強的父親非常重視儒家價值，講究中庸、負責，遵從傳統理念和自我約束，在生活和藝術創作中從不輕易表達情緒，在這樣的思想背景下父親成為技藝成熟的水墨畫家。蔡國強的祖母則信奉道教，與儒家思想大相徑庭，強調自由思考和無拘束的創作，以及宇宙的陰、陽二元屬性。蔡國強常常說他的創作是「肉眼可見和不可見的兩個世界」的連接點，他從迷信、神話和宇宙哲學的世界裡汲取營養。他表示道教引領他走入時空隧道，超越現實世界的社會體制與界限，併由限制中獲得解放。顯見道家思想對蔡國強影響之深。

製猛虎渾身插滿了箭鏃。作品創作的基礎是十二世紀中國的一個故事，主人公隻身一人赤手空拳打死了一隻老虎。赤手空拳打虎堪稱英勇，但亂箭將虎射殺則屬於悲慘、卑鄙和無恥。這和911事件中表現出的人類的冷酷無情如出一轍。與此相對照，《猛虎下山》表現出猛虎這一強壯有力的動物下山時無上的力量和活力。作品通過使用火藥爆炸捕捉到猛虎的力與美，在演繹最前衛現代藝術的同時重現中國山水畫的深度與意境，更顯恢宏大氣。蔡國強的創造力之美在此幅作品中表現得淋漓盡致。

天生的叛逆性格使蔡國強自己也從所在的社會中脫逃出來。年輕時他搬到上海，後來發現並不能由此真正獲得自由，於是他又脫離了自己所屬的文化環境，先是移居日本，然後遠赴美國。他遵循了詹姆斯．喬伊斯等藝術家的偉大傳統，即徹底斷絕和過去生活的關係從而真正獲得創造力。這樣的脫逃和遠離也使蔡國強成為世界性和全球性的藝術家。他的作品並不只適合於某一種文化，而是超越國界的創作，反應世界性的真理，因此能夠被全世界的觀眾認可和理解。他的思想、主張、感受和表現超越文化，直面全人類的心智。《猛虎下山》是蔡國強對現代生活的矛盾統一性進行積極探索的重要力作。虎、狼、鷹、龍等凶禽猛獸在道家思想中佔有重要地位，他們代表每個人內在的放縱和潛藏的危險能量。虎象徵著勇猛和力量，同時也代表著兇殘、暴力和殺戮。911事件發生時蔡國強的家人都在紐約，這一可怕的襲擊事件對他和他的藝術創作有深刻影響。作為真誠、熱情和滿懷希望的人，他為人類破壞的能力感到極為震驚和憂傷。從那時起他就在作品中融入野獸的造型，代表人類潛在的暴力和野蠻之心，同時他也更加意識到每個人內心中的勇氣、活力與美。人類需要瞭解這種矛盾對立統一的複雜性，才能以適當的方式將其釋放。在2005年創作《猛虎下山》的同期，蔡國強創作了另一幅了著名的作品《不合時宜．舞台2》。作品中九隻與實物等大的複

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蔡國強《不合時宜：舞台二》攝影：Kevin Kennefick，美國麻州當代藝術博物館提供 CAI Guo-Qiang, Inopportune: Stage Two Photo by Kevin Kennefick, courtesy MASS MoCA

Cai Guo-Qiang is perhaps the most international of contemporary Chinese artists and he is regularly hailed in the press as a global artist. He was the first Chinese artist to hold a solo exhibition at the prestigious Solomon R. Guggenheim Museum in New York. The groundbreaking exhibition ‘Cai Guo-Qiang: I Want to Believe’ also travelled to Beijing for the 2008 Olympics and then to the Guggenheim Museum in Bilbao, Spain in 2009. Running for a total of 2 years from 2008 to 2009, it attracted the most visitors ever for a Guggenheim solo exhibition, and placed Cai firmly in the ranks of the foremost contemporary artists. Following

this enormous success, the Taipei Fine Arts Museum held a retrospective of Cai’s work titled "Cai Guo-Qiang: Hanging Out in the Museum" which again broke all attendance records. The present work "Furious Tiger Going Down a Mountain" was exhibited in the Taipei exhibition. Cai is unique among Chinese contemporary artists in that he has completely broken from tradition in the medium and mode of expression he uses in his art. As a young artist he was immersed in the traditional ink and brush style of Chinese painting. His father was a skilled painter and was firmly locked into tradition, hoping his son would follow in his footsteps. However, Cai found traditional ink and brush painting to be too limiting and restrictive, not giving him enough scope to express the internal dialogues in his head. He then dabbled in oil painting, the traditional medium of Western art. But he also found this unsatisfying and unsatisfactory for communicating his inner thoughts and emotions. Cai was born in Quanzhou, Fujian Province in China in 1957. Quanzhou was formally, a center of fireworks production in China and Cai grew up surrounded by factories from which the smell of gunpowder constantly permeated. Also, at this time there was constant conflict between the Kinmen Island of Taiwan and Mainland China, so the air was filled with gunpowder smoke. So, Cai was fascinated with gunpowder from a very early age. As an emotional, creative and sensitive youngster he was drawn to both the destructive and constructive power of gunpowder. It can destroy buildings and lives, but it can also produce wonderful firework displays. Searching for a medium that could release him and allow him to express himself freely, Cai began to incorporate different materials in his art, including porcelain, Chinese herbal medicine, kites, bamboo rafts, fengshui and

of course, gunpowder. He also tried different methods to find creativity with traditional ink and oil painting. Obsessed with natural forces and their ability to profoundly effect their environment, he tried to harness some of them to create his art. He used a fan on wet paint to create typhoon effects, fire to blister it, and a dove to walk across his canvas. However, it was gunpowder that finally set him free. He was drawn to its spontaneity, the powerful release of energy, the unknown and unpredictable result of using it. Over many years he has perfected his techniques for using this destructive material to produce both stunning explosion events and gunpowder drawings of which "Furious Tiger Going Down a Mountain" is one. Cai’s medium and method is but one aspect of his art. His art is complex and unique, flowing from a very expressive, energetic and creative mind, which is a product of his origins, his experiences, his beliefs and his sensitivities. At a very early age Cai experienced the duality present in life. The concept of duality is central to the Chinese life-experience, the ying and the yang being one of the most known expressions of this. Life is complicated, and we constantly have different forces pulling and tugging us in different directions. Cai faced this dilemma with the two most important people in his early life, his grandmother who raised him, and his father. His father was imbued with Confucianism, which teaches moderation and personal responsibility. A follower of tradition, he was a constrained man not given to overt displays of emotion either in his life or in his artworks, in which he was an accomplished traditional ink and brush painter. Cai’s grandmother on the other hand was deeply immersed in Taoism the traditional religious belief in Southern China. Taoism is very much removed from Confucianism, as it stresses the importance of freeing the mind and unleashing creativity. It also emphasizes the duality of the universe and the ying and the yang that Cai successfully incorporates in gunpowder. He often states that his creations link 'the seen and unseen worlds'. Taoism beliefs have had an enormous influence on him, and he draws freely from its world of

superstition, mythology and cosmology. He has said that Taoism has allowed him to enter a time tunnel, to go beyond the real world of social systems and boundaries, to free himself and escape all restraints. Cai also literally escaped from his society. As a young artist he first moved to Shanghai, but realized that to be truly free, he had to escape from his culture. He first moved to Japan in 1986, and then the USA in 1995. He was following in the great tradition of artists such as James Joyce, who could only truly unlock their creativity when they were truly separated from their past-life. It is this escaping and fleeing that has also enabled Cai to become a universal and global artist. His works don’t just speak to one culture, they are borderless creations speaking to universal truths that are at once recognized and grasped by a worldwide audience. His ideas, thoughts, feelings, and expressions transcend cultures and speak to the heart and intellect of all humanity.

devastated by man’s ability to destroy. From this time on he incorporates wild animals into his works symbolizing the latent violence and malevolence in human beings, and at the same time realizing the beauty, power and energy that is also inside each of us. This duality, this complexity, is something we need to be aware of if we are to harness it in the right way. “Furious Tiger Going Down a Mountain” was produced in 2005 at the same time as his renowned installation ‘Inopportune: Stage Two’ was produced. In that work, nine tigers are depicted in life-size models with numerous arrows embedded in their bodies. The work is based on a 12th century Chinese story of a man killing a tiger with his bare hands. Killing a tiger with bare hands is a heroic act, but bombarding a tiger with arrows is somehow tragic, demeaning and soulless and serves as an inherent comment on man’s savagery. However, “Furious Tiger Going Down a Mountain” depicts the full magnificent force and energy of a powerful animal as it comes down a mountain. The work is truly atmospheric as the power and beauty of the tiger is captured through the use of gunpowder. Cai’s works are often likened to traditional ink and brush paintings, the forerunners of abstract art, and this work is no exception as the full beauty of Cai’s creativity is captured.

“Furious Tiger Going Down a Mountain” is a powerful and energetic exploration of the duality present in modern day life. Wild animals such as tigers, wolves, eagles and dragons play a major role in Taoism. They represent the unbridled and dangerous energy inside each one of us. A tiger is a symbol of bravery, courage, and power, but is also a symbol o f f e r o c i t y, destructiveness, a n d b r u t a l i t y. Cai's family was in New York when 9/11 occurred and this terrible destructive attack was to have a profound and deep impression on him and his art. A sincere, enthusiastic, 攝影：李依樺，蔡工作室版權所有 and hopeful Photo by I-Hua Lee, courtesy Cai Studio person, he was

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ZENG Fanzhi

畫齊，頭髮邊緣被刮刀處理成衝關怒髮，肌膚不經加工而暴露，富於宗教色彩的光照，凸顯了剝去面具的迷失與驚恐。曾梵志對社會文化的理解與關注隨著其技巧的成熟而成熟，他超越了專注於社會的認知，進而更深入地探究生活本身的弱點。

(Chinese, b. 1964)

Sky Series 2005 Oil on canvas 250 x 170 cm Signed lower right Zeng Fanzhi in Chinese and English, dated 2005

在2004年，曾梵志創造了一種新的繪畫風格, 即專注於風景和景中人物形象的藝術作品。這些作品是創新風格效果的統一，幾乎是用混沌的線條標誌來顯示藝術家的風格，儘管如此，仍不脫離具象派的藝術宗旨。通過在整幅作品上反覆「畫」長長的、微微彎曲的線條，營造出滿是野草的景觀。這種線條製作的堆疊創造出一種和曾梵志的早期作品完全不同的氛圍，形成一種網線，它將人們的注意力集中到畫面上，而不是簡單地留意於畫作描寫的內容。

HK$ 6,000,000-8,500,000 NT$ 24,600,000-34,850,000 US$ 800,000-1,133,300

曾梵志天空系列 2005 油彩畫布 250 x 170 cm 簽名右下：曾梵志 2005 Zeng Fanzhi

1964年曾梵志生於湖北武漢。不同於大多數的中國當代藝術家, 曾梵志的畫源自內心，始終依循著自身的藝術情感表達方式。1990 年代初，在他開始職業畫家生涯時，曾梵志畫中所描繪的深具啟示和寫意的意象─殘暴的屠宰廠景象和醫院中殘酷成性的醫生場景，似乎已反映出這位藝術家對社會文化深入的思考和深刻的現實觀。而在他近期天空系列的作品中，曾梵志更再現了當代社會個人體驗的細微情感和心理情緒。在大自然中孓然獨立的身影，雙手插在口袋裡，漫不經心地凝視著遠方，這種存在主義的意象象徵著一種在現代中國的距離感和冷漠感，代表著不可遏制地急於獲取與付出所觸發的人與人之間的隔膜和疏離。

他畫出了日常經驗，也畫出了生活記憶以及個人心境，這些生動感人的圖像都是畫家主觀誇張和變形的結果，血腥的肉色粗獷的筆觸，人物形象驚恐眼神的處理，也就是他對日常生活的仔細觀察和提升。」曾梵志作品之所以聞名，源自於其強烈的表現主義風格和他直覺的審視力，他審視了巨變中的中國社會所面臨的潛在不安。1994 年，曾梵志以其著名的「面具」系列確立了自己的在中國當代藝壇的地位。在該系列中，畫中的每一個人物都配有一個面具，來隱藏他或她真實的社會人物角色。冷白色和變幻莫測的面具虛飾隱藏了人物的焦慮和情感衝突。曾梵志以此隱喻了中國新的社會局勢、抱負與野心以及「新貴們的笨拙動機和行為」（引自2006年皮力，＜面具背後中曾梵志的話語＞， http://china.shanghartgallery.com/galleryarchive/texts/ id/159)。

曾梵志早期作品即已表現出他對內在心理的細微考察，如他自己所說：「繪畫是一個痛苦的過程，它迫使我將畫中的人體形態表現出一種痛苦和焦慮。我用悲涼的情態來畫人物，他們表達了我想要表達的一切」（香港漢雅軒畫廊，1993年，148頁，展覽目錄，《中國1989年後的新藝術》，引自V. C. Doran中曾梵志的話語）。著名

批評家黃篤評價曾梵志早期「協和醫院」系列作品頗為貼切：「既有杜菲筆觸的狂野，又有德．庫寧用筆的自由力度，更重要的是

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曾梵志創作的主題涉及個人的記憶與經歷，其濃厚的表現主義風格源於他對羅伯特．羅森伯格、愛德華．蒙克和趙無極等藝術大師作品的深刻理解，並從中發現了技巧與概念和主題之間的珠聯璧合。在「面具」之後的「肖像系列」中，曾梵志的藝術表達變得更為直接。他的創作主角拋開了各種面具而單獨置於沒有佈景的畫布上，德國表現主義和肖像畫的傳統影響依然清晰可見，人物沒有

此幅創作於2005年的《天空系列》即為曾梵志此一風格的重要創作。以漫漫荒蠻的野草為背景，該作品描寫兩個典型禁欲主義的、曾梵志式的人物形象，致力於多種層次，立意微妙。他們穿著類似的藍外衣，讓人回味起兩種相互矛盾的、文化標誌性的著裝規範，即毛澤東時代那種藍色不合體的服裝，和西方高級服裝設計師設計的剪裁考究的冬裝。兩個人物都帶著中國年輕人對令人困惑、混沌不清的現代社會的焦慮。他們臉上迷惑和緊張的表情, 清晰地表達出骨子裡的孤獨和困惑，內心裡似乎始終不明白自己到底是誰。畫中人物扶著自行車站立的姿態進一步昇華了這幅作品的辛辣。在毛澤東時代的中國，自行車是傳統的交通工具，它可以喚起對當時世界的情感。兩個人物似乎都捨不得他們的過去，然而好像又不怎麼喜歡新的中國。推藍色自行車的年輕人看起來心煩意亂，穿著一身藍色，包括他的襯衫和領帶。他神情緊張，不開心，眉毛挑起，嘴唇抿著。甚至他自行車的藍色也顯得單調。推紅色自行車的那位看起來內心更快樂一點，眉毛上翹，唇上帶點苦笑。他藏青色的外套裡似乎穿了一件深色的花襯衫，外套袖口中露出襯衫。曾梵志是否在暗示從西方消費至上主義和品牌產品中可以發現某些安慰呢？是否可以通過放棄過去、擁抱新的東西得到某些補償呢？而事實上，是否可以從根

本上解決新一代面臨的這種困惑和迷茫呢？甚至是自行車的那種紅顏色也給予了某種安慰，因為在中國人的傳統上，紅色代表吉祥。但在此刻，兩個年輕人都顯得很不自在。正如曾梵志所有的肖像畫一樣，他們的手都很大、原生態、很豐滿。手總是顯示我們真正的心理狀態，即使臉上的面具使我們得以把感情和困惑隱藏起來，但在握手時，卻總會流露出我們內心真實的狀況。《天空系列》中的漫漫荒草暗示著曾梵志自身的內在情感和心理過程。貫穿其作品的一個重要且恆久的東西就是他對內在心理和內在世界的關注。草是強大和混亂的、黑暗而險惡、充滿生氣而精力充沛，如同頭腦中令人困惑和錯綜複雜的思想。野草好像一張網，保護著這兩個人，使他們相互隔離，並使他們遠離觀眾。但不受控制的草的野性和廣漠，對比白色而又溫暖的天際，又暗示了令人恐懼和狂野的情緒同樣可以控制和並存。

Zeng Fanzhi was born in Wuhan in Hubei Province in 1964. Unlike the majority of Chinese painters working today, Zeng’s paintings are psychologically driven rather than politically. At the beginning of his career in the early ‘90s, Zeng Fanzhi’s paintings depicted apocalyptic, expressionist imagery, which seemed to represent the artist’s sinister view of reality. Austere images of slaughterhouses and hospital scenes featuring sadistic doctors were a common theme. In his more recent series of paintings, however, to which Sky belongs, Zeng replicates the emotional and psychological strain of the individual’s experience in contemporary society. The existential images of a lone figure standing in nature, gazing absently off into the distance with his hands stuffed in his pockets, symbolizes the sense of alienation and detachment triggered by the overwhelming rush to acquire and consume in modern day China. Something Zeng once said of his earlier works seems to apply even more poignantly for these fragile examinations of the inner psyche: “Painting is a painful process; it forces the human figures in my painting into a state of pain and anxiety. I paint images of people in tragic situations, and they express everything that I want to express” (Zeng quoted in V. C. Doran, China’s New Art,

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Post-1989, exh. cat., Hanart/TZ Gallery, Hong Kong 1993, p. 148).

The work of Zeng Fanzhi has been noted for both his expressionist style and his disciplined interrogations into the underlying tensions facing China’s new cosmopolitan classes. Zeng established himself as a painter with his famous Mask series, in which the figures hide their anxieties and conflicting emotions beneath the veneer of a cool white and inscrutable mask. Zeng’s series adeptly satirized China’s new social tensions, new ambitions, and “the clumsy motives

曾梵志《紅雲》羅芙奧香港2008秋季拍賣會，編號130，590萬港幣成交 ZENG Fanzhi, Red Clouds, 2005, oil on canvas, 200 x 150 cm Ravenel Autumn Auction 2008 Hong Kong, lot 130, US$ 761,290 sold

and deportment of the upper-class” (Zeng, quoted in L. Pi, Behind the Mask, 2006 at http://china.shanghartgallery. com/galleryarchive/texts/id/159).

In the series of portraits that followed the Mask series, including Portrait No. 1, Zeng becomes more direct. His subjects remove their masks and are seated alone, and Zeng seems less concerned with the frivolity of social personae and more concerned with mortality itself. The influence of German expressionism and portraiture traditions remains apparent; figures are left unfinished, their flesh raw and exposed, lit almost religiously but isolated in the unpainted linen of the canvas.

Zeng’s concerns have matured along with his techniques, and here he has moved past his concerns with social perceptions, delving more deeply into the frailty of life itself. Zeng Fanzhi is famous for his “Mask” series of the 1990's, paintings in which every character is outfitted with a mask hiding his or her true persona from society. The allegorical power of this sequence cannot be overemphasized, for the works speak to a social disconnect that ran through all classes of Socialist China﹣and that have reemerged in new forms amidst the radical economic transformations characterizing China's rise for more than a decade. Before the Mask paintings, Zeng painted the Meat and Hospital series, in which raw flesh and the vulnerability of illness, respectively, were monumentalized as poignant subject matter. While the subject matter of the paintings relates to personal memories and experiences, Zeng’s heavily expressionist style was the result of his understanding exhibitions of works by Robert Rauschenberg, Edvard Munch, and Zao Wouki, masters in whom the young artist discovered a synthesis of technique with concept and subject matter. Academically trained in the late 1980's and early ‘90’s at the Hubei Academy of Fine Arts, Zeng subsequently discovered that the inspirational idea for painterly composition is, in large measure, the essence of a work’s immediate and long-term impact. In 2004, Zeng developed a new painting style, concentrating on landscapes and figural compositions within them. These works are unified by their innovative stylistic effects, in which an almost chaotic array of linear marks asserts their purely painterly presence while nevertheless serving representational purposes. The wild grasses of the landscape, for example, are defined by repetitively ‘drawing’ long, slightly bent lines through wet paint. This buildup of linear mark-making creates a wholly different atmosphere from that of Zeng’s earlier work, forming a netlike mesh that calls attention to the surface of the painting rather than simply to what the painting depicts. The present painting from the ‘Sky Series’ is a masterful example of Zeng’s themes, subjects and technique. Depicting two typical stoic Zeng characters, against a background of long and wild grasses, the painting is subtle in its meaning, working on multiple layers. Dressed in similar

blue outfits, reminiscent of two conflicting cultural iconic dress codes, the blue non-descript suit of Maoist China, and the tailored winter coats of haut couture in the west, the two men seem to encapsulate the angst of the modern young Chinese in a bewildering and undefined modern society. With puzzled and strained expressions on their faces, they articulate the fundamental isolation and bafflement which results from an internal lack of knowledge of who they really are. The poignancy of the painting is further heightened as the two figures stand posing with their bicycles. The bicycle was the traditional mode of transport in Maoist China and is evocative of that world. It seems as if the two characters are loathe to give up their past, however they also do not seem comfortable embracing the new China. The young man with the blue bicycle seems the more perturbed of the two, dressed all in blue including his shirt and tie. His expression is tense and unhappy, downturned eyebrows and mouth. Even the blue of his bicycle is non-descript. The one with the red bicycle seems a little more happy internally, upturned eyebrows and a wry smile playing on his lips. Under his heavy blue coat, he seems to be wearing a highly colored floral shirt the cuff of which peaks out from his coat sleeve. Is Zeng suggesting that there is some comfort to be found in adopting Western consumerism, and brand named products? Is redemption to be found from letting go of the past and embracing the new, and in fact, is the confusion and perplexity facing the modern generation ultimately solvable? Even the color red of the bicycle offers some solace as traditionally red is the color of good fortune for Chinese. But for the moment the young men are uneasy. As with all of Zeng’s portraitures they have large, raw, fleshy hands. Our hands always show our true psychological condition, we may hide our emotions and bewilderment behind a mask on our face, but our shaking hands will always reveal our true psyche state. The wild and long grasses of the “Sky Series” are indicative of the internal emotional and psychological process going on inside Zeng’s head. One major

constant throughout his works is his concern with the inner psyche, the internal world. The grasses are strong and chaotic, dark and menacing, vibrant and energetic, almost like the confused and perplexing thoughts swirling around in the head. The grasses almost act like a net helping to protect the two men, separating them from and putting a distance between them and the viewer. But the uncontrolled wildness of the grasses is juxtaposed against a large, white and warm sky, suggesting that frightening and wild emotions are also containable, and can be lived with.

062

FENG Zhengjie (Chinese, b. 1968)

Chinese Portrait No. 2 2008 Oil on canvas 210 x 210 cm Signed lower left FENG ZHENGJIE in Chinese and English, dated 2008 EXHIBITED: Radiancy - Feng Zhengjie, Queen's Gallery, Bangkok, Thailand, 2008 ILLUSTRATED: Radiancy, Tang Contemporary Art, 2008

HK$ 800,000-1,200,000 NT$ 3,280,000-4,920,000 US$ 106,700-160,000

俸正傑中國肖像 No. 2 2008 油彩畫布 210 x 210 cm 簽名左下：俸正傑 FENG ZHENGJIE 2008 展覽：「俸正傑個展：艷光」，皇后美術館，曼谷，泰國，2008 圖錄：《艷光》（俸正傑畫冊），當代唐人藝術中心出版，2008

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063

Jitish Kallat (Indian, b. 1974)

Dawn Chorus - 23 2007-2008 Acrylic on canvas with bronze sculptures 229 x 173 cm (painting) 18(L) x 48(W) x 21(H) cm (x2) (sculpture) Titled upper right Dawn Chorus - 23 in English Dated on reverse 2007-08, signed JITISH KALLAT and titled DAWN CHORUS - 23 in English PROVENANCE: Arario Gallery, Beijing

HK$ 700,000-900,000 NT$ 2,870,000-3,690,000 US$ 93,300-120,000

吉提斯．卡拉特破曉時的鳥鳴聲—23 2007-2008 壓克力畫布銅雕 229 x 173 cm（畫作） 18(長) x 48(寬) x 21(高) cm (x2)（雕塑）題識右上：Dawn Chorus - 23 簽名畫背：2007- 08 JITISH KALLAT DAWN CHORUS - 23 來源：阿拉里奧畫廊，北京

吉提斯．卡拉特於1974年出生於孟買。他是一名在國際上享有空前讚譽的當代印度藝術家。他的作品深深紮根於他所出身的孟買城市生活，並表現了新印度的激情和動感。他的繪畫作品採用流行藝術和煽動流行風格，主題涉及到火熱、濃厚和狂熱的孟買日常城市生活中的悲劇/壯烈現實。他的作品常常集中描述飽受蹂躪和無依無靠的城市居民在應對生活鬥爭中表現出的尊嚴和榮譽。他的畫作構圖大膽、色彩豐富，能夠一下子吸引住觀者。本畫作是他的「破曉時的鳥鳴聲」系列作品之一，描述了印度標誌性的街頭兒童，即那些在紅綠燈下販賣小物件、報刊雜誌，或充當傭人為了掙錢而長時間工作的街頭頑童。卡拉特的作品側重於表現人類鬥爭，但是在

110

《黎明之聲》中以希望和生存的主題取得平衡。畫家表現兒童的悲慘命運的同時也歌頌了他們樂觀和進取的精神。《破曉時的鳥鳴聲-23》抓住了印度街頭頑童身上體現出的美感和憂傷。在這些孩子臉上透出的堅毅和樂觀精神發人深省、攝人心魄，並具有深遠的意義。畫面中主人公輪廓分明的面容產生的光影效果塑造出不怕挫折、無所畏懼和堅決果斷的精神，這進一步在人物的眼睛和嘴等部位得到渲染。這和觀者對六親不認的年輕人的精神狀態的預期迥然不同。卡拉特自己就是孟買的孩子，他深深關注著無數市民因為城市的擁擠、喧囂和忙亂所承受的身體和心理壓力。如同他的系列作品中所表現的所有兒童，男孩頭髮部分的創作，使用了蛇髮女怪梅杜莎一般的由車流和人組成的混合構圖，這就是孟買城市生活的現實和經驗—在孩子的頭上的城市。如同荊棘編成的冠冕，孟買城市生活的冠冕意味著來自各個角度的狂熱、狂亂和混亂噪音造成的痛苦和悸動。數不勝數的城市生活故事被塞入孩子的頭腦，保護自己不被摧毀的唯一辦法就是要堅強、樂觀和果斷。畫作安在兩棟青銅雕塑上。這兩座雕塑是卡拉特對孟買市中心有120年歷史的維多利亞火車總站屋頂的怪獸飾物進行重新創作的結果。卡拉特說青銅人物標誌著藝術家作為旁觀者的形象，以及每天對孟買城市生活中時常發生的苦難與不幸的觀察，而怪獸飾物原型經歷120年風雨仍然屹立的事實也暗示著孟買街道生活的生命力。 Jitish Kallet, born in Mumbai in 1974, has received unprecedented international acclaim and recognition as a contemporary Indian artist. His works encapsulate the excitement and dynamism of the new India, while being firmly rooted in his urban Mumbai origins. Painting in a Pop Art and Agit-pop style, his subject matter deals with the tragic/heroic realities of everyday life in the seething, dense and frenetic Mumbai. His works often focus on the downtrodden or dispossessed city dwellers, presenting them in a dignified and honorable manner as they cope with their daily struggles. His graphic style is bold and colorful, immediately drawing the viewer into his paintings.

His series "Dawn Chorus" from which the present work comes, depicts India’s iconic street children, the street urchins who work long hours trying to scrape a few pennies together by selling trinkets, magazines and newspapers at traffic lights, or work as domestics for little or nothing. There is a preoccupation in Kallat’s work with the theme of human struggle, but in ‘Dawn Chorus’ this is balanced with the themes of hope and survival. Instead of focusing on the misery of the kids, he celebrates their resilience and enterprising spirit. "Dawn Chorus 23" captures all the beauty and pathos of an Indian street urchin. The look of determination and resilience on the boy’s face is profound, disturbingly attractive and deeply meaningful. The effect of shadow and light on the chiseled features of the boy, help create an aura of invincibility and determination which is masterfully rendered in his eyes and mouth, and which is at complete variance with the viewers’ expectations of the psychological state of a disowned youngster. As a child of Mumbai, Kallat is deeply concerned with the physical and psychological burdens forced on its myriad citizens by its tumultuous and bustling nature. As with all the children in this series, the boy’s hair is replaced by a Medusa like conglomeration of traffic and people, the everyday realities and experiences of city life in Mumbai - a city atop the child’s head. Like a crown of thorns, the crown of Mumbai city life suggests the pain and throbbing inflicted by the frenetic, frantic and chaotic noise coming from all angles. The countless narratives of city life come tumbling into the boy’s mind and the only way for him to resist being annihilated is to be strong, resilient and determined. The painting is mounted on two bronze sculptures, which Kallat has recreated from the gargoyles on the roof of the 120-year-old Victoria Terminus train station in the center of Mumbai. Kallat suggests that the bronze figures symbolize the figure of the artist as a bystander, and a daily witness to the constant calamities of daily Mumbai life. The fact that the original gargoyles are still present after 120 years also suggests that Mumbai street life is survivable.

064

YUE Minjun (Chinese, b. 1962)

The Smiling, Proud Wanderer 1999 Ink on paper 107 x 77 cm Signed lower right Yue Minjun in Chinese and English, dated 1999

HK$ 160,000-240,000 NT$ 656,000-984,000 US$ 21,300-32,000

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岳敏君笑傲江湖 1999 水墨紙 107 x 77 cm 簽名右下：岳敏君 Yue Minjun 1999

065

YE Yongqing (Chinese, b. 1958)

Drizzle in the East, Sunshine in the West 1994 Mixed media on silk, collage 121 x 42 cm Signed lower right Ye Yong Qing in English and dated 1994

HK$ 120,000-180,000 NT$ 492,000-738,000 US$ 16,000-24,000

葉永青東邊飄雨西邊晴 1994 綜合媒材絹拼貼 121 x 42 cm 簽名右下：Ye Yong Qing 1994

066

朱偉

ZHU Wei

(Chinese, b. 1966)

Exploitation of the Works of Nature 1994 Ink and color on paper 80 x 84 cm

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ILLUSTRATED: Zhu Wei Diary, Plum Blossoms (International), Hong Kong, 2000, color illustrated

HK$ 100,000-160,000 NT$ 410,000-656,000 US$ 13,300-21,300

天工開物 1994 彩墨紙本 80 x 84 cm 圖錄：《朱偉日記》，萬玉堂畫廊，香港，2000，彩色圖版

067

TSUI Tinyun (Chinese, b. 1945)

Visionary Garden 2005 Oil on canvas 111 x 76 cm Signed lower left Tsui Tinyun in English and dated 2005

HK$ 250,000-350,000 NT$ 1,025,000-1,435,000 US$ 33,300-46,700

徐天潤幻想庭園 2005 油彩畫布 111 x 76 cm 簽名左下：Tsui Tinyun 2005

068

LIN Hairong (Chinese, b. 1975)

Portrait of a Young Man 2007 Oil on canvas 150 x 115 cm Signed lower left Lin Hairong in Chinese and dated in Chinese lunar year Titled on the reverse Portrait of a Young Man and signed Lin Hairong in Chinese, dated 2007, inscribed 115 x 150 cm PROVENANCE: ChinaToday Gallery, Brussels

HK$ 120,000-180,000 NT$ 492,000-738,000 US$ 16,000-24,000

林海容青年像 2007 油彩畫布 150 x 115 cm 簽名左下：戊子年林海容簽名畫背：《青年像》115 x 150 cm 2007年林海容來源：今日中國畫廊，布魯塞爾

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069

Carrie CHAU

(CHAU Wun-Ying) (Hong Kong Chinese, b. 1979)

Noah's Ark (diptych) 2008 Acrylic on canvas 170 x 85 cm Titled lower right The NOAH's ARK and signed Chau Carrie in English ILLUSTRATED: Carrie Chau Drawing Portfolio 2008, Homeless Ltd., Hong Kong, color illustrated, 2008

HK$ 280,000-420,000 NT$ 1,148,000-1,722,000 US$ 37,300-56,000

鄒蘊盈諾亞方舟（雙聯幅） 2008 壓克力畫布 170 x 85 cm 簽名右下：The NOAH's ARK Chau Carrie 圖錄：《鄒蘊盈圖畫集2008》，無家出版社，香港，彩色圖版，2008

070

YANG Din

(Chinese, b. 1958)

Sous la tonnelle 1995 Acrylic on canvas 97 x 130 cm Signed lower right Yang Din in English Titled on the reverse Sous la tonnelle in French and Chinese, signed Yang Din in English and Chinese, dated 1995.2 and inscribed 130 x 97 cm

HK$ 60,000-90,000 NT$ 246,000-369,000 US$ 8,000-12,000

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楊登雄涼棚下 1995 壓克力畫布 97 x 130 cm 簽名右下：Yang Din 簽名畫背：Yang Din 楊登雄 "Sous la tonnelle 涼棚下" 1995.2 130 x 97cm

071

DI Lifeng

(Chinese, b. 1958)

Bed of Flowers 2007 Oil on canvas 131 x 97 cm

HK$ 60,000-90,000 NT$ 246,000-369,000 US$ 8,000-12,000

邸立豐花床 2007 油彩畫布 131 x 97 cm

072

TRAN Luu Hau (Vietnamese, b. 1928)

Flowers 2002 Oil on canvas 90 x 80 cm Signed lower left Hau in English and dated 02

HK$ 25,000-45,000 NT$ 102,500-184,500 US$ 3,300-6,000

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陳留厚花 2002 油彩畫布 90 x 80 cm 簽名左下：Hau 02

073

Nguyen Dieu Thuy (Vietnamese, b. 1962)

Lady with Lotus 2007 Oil on canvas 100 x 200 cm

HK$ 28,000-50,000 NT$ 114,800-205,000 US$ 3,700-6,700

阮妙水女子與蓮花 2007 油彩畫布 100 x 200 cm

074

Unmask

(Chinese, LIU Zhan, b. 1976; TAN Tian Wei, b. 1976; KUANG Jun, b. 1978)

Flash Memory #4 2009 Stainless steel, gilded, wood, edition no. 3/8 39(L) x 14(W) x 65(H) cm (base included) EXHIBITED: H. T. Gallery Opening Exhibition, Beijing, 2009

HK$ 80,000-120,000 NT$ 328,000-492,000 US$ 10,700-16,000

無影者（劉展、譚天幃、匡峻）快閃記憶之四 2009 不鏽鋼木鍍金 3/8 39(長) x 14(寬) x 65(高) cm（含底座）展覽： H. T. 畫廊開幕展，北京，2009年

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075

PARK Sung Tae (Korean, b. 1960)

Untitled Installation (aluminium insect screening) 132(L) x 99(W) x 20(H) cm ILLUSTRATED: Park Sung Tae Collection, K C Communications, Seoul, Korea, 2003, color illustrated, pp. 34-35

HK$ 70,000-100,000 NT$ 287,000-410,000 US$ 9,300-13,300

朴成泰無題鋁篩裝置作品 132(長) x 99(寬) x 20(高) cm 圖錄：《朴成泰》，K C 通信，韓國首爾，2003，彩色圖版，頁34-35

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076

ZHOU Chunya (Chinese, b. 1955)

Green Dog (Saluting) 2006 Bronze, stainless steel, edition no. 8/8 10(L) x 15(W) x 28(H) cm Signed on base ZHOU CHUNYA in English and dated 2006, numbered 8/8 ILLUSTRATED: Blooming Stories, Sichuan Fine Art Publishing, Chengdu, 2007, color illustrated, p. 114

HK$ 120,000-180,000 NT$ 492,000-738,000 US$ 16,000-24,000

周春芽作揖的黑根 2006 銅雕不鏽鋼 8/8 10(長) x 15(寬) x 28(高) cm 簽名底座：2006 ZHOU CHUNYA No. 8/8 圖錄：《花間記》，四川美術出版社，成都， 2007，彩色圖版，頁114

Lots 003, 069 Lot 001 Lot 002

Carrie CHAU (Wun-Ying CHAU) (Hong Kong Chinese, b. 1979)

Toul OTSUKI (Japanese, b. 1973)

Yoshitaka AMANO (Japanese, b. 1952)

Born in 1973 in Fukushima, Japan. Otsuki Toul graduated from the painting department of the Tokyo University of the Arts in 2002, and afterwards completed his master’s program in 2004. He has held various solo exhibitions including “Tokyo Wonder Wall Awards 2003 Jury Presidents Award” (2004, Tokyo); “Happiness Bird “ (2004, Tokyo); “Nazeka Shanghai” (2009, Tokyo); “My Precious Girl” (2009, Tokyo); and group exhibitions include “The Artists of Tokyo Wonder Wall 2000-2003” (2004, Tokyo); “Tokyo Designers Week 2004 Container Exhibition” (2004, Tokyo); “Toul Otsuki & Naoko Fukui Exhibition” (2006, Tokyo); “Game Girl Toul Otsuki & Naoko Fukui” (2007, Tokyo); “0×100 = Hyakunin Ten” (2008 Tokyo); “New Contemporary Art Fair 101 Tokyo” (2008, Tokyo); “Shanghai Art Fair “ (2008, Shanghai); “Young Artists Japan Vol.2” (2009, Tokyo).

Born in 1952 in Shizuoka, Japan, Amano joined the early Japanese anime movement in 1967, working on character design for a number of Japanese TV programs, including the series “Time Bokan”, “Tekkaman”, “Gatchaman” and “Honey Bee”. Amano has won several prestigious awards including the Seiun Award in 19831986 and the Dragon Con Award and the Eisner Award in 2000. Amano has exhibited his art in prestigious museums and galleries worldwide since 1989, including the Orlean Museum of Art in France, Tokyo’s Uenonomori Museum, The Angel Orensanz Foundation in New York, and the Barbican Centre in London.

Born in Hong Kong, Chau credits her university life to the Polytechnic University of Hong Kong and UK's Kent Institute of Art & Design where she studied Design. She had finally realized her childhood dream of becoming a painter as her professional in 2003. Her first exhibition “Blind Fly” was hold in 2004. In 2007, her fourth exhibition “Black Sheep” was well received by the public. Besides creating her own works, she had co-operated with different brands such as Nokia, Fendi, Google, Levis, Media Asia, Nike, Samsung etc in these few years. In 2007, her "Wun Ying Collection Gallery” was opened in Central “NoHo” district, provides a platform for her to showcase her masterpieces to the public. Now, her dream is to paint more artworks that can really touch the people, not because of the fame of the painter or the colors of the artwork itself. She wants to show the inner beauty of the world.

大槻透 (日本，1973年生)

天野喜孝 (日本，1952年生)

鄒蘊盈（香港，1979年生）

1973年出生於日本福島縣，2002年畢業於日本美術學校油畫科，並於2004年取得碩士學位。舉辦過多次個展如「東京奇蹟牆2003審察委員長賞受賞展」（2004，東京）、「幸福之鳥」（2 004 ，東京）、「回億」（2008，東京）、「為什麼上海」（2009，東京）、「我的小公主」（2009，東京）。以及群展如「東京奇蹟牆藝術家展覽2000-2003」（2004，東京）、「東京設計師週2004年集裝箱」（2004，東京）、「大槻透& 福井直子展」（2006，東京）、「遊戲女孩大槻透&福井直子」（2007，東京）「0×100＝百人展」（2008，東京）、「東京101新當代藝術博覽會」（2008，東京）、「上海藝術博覽會」（2008，上海）、「日本年輕藝術家Vol.2」（2009，東京）。

1952年出生於日本靜岡縣。1967年開始從事日本早期動畫製作，為日本電視節目設計角色，包括《救難小英雄》及《宇宙騎士》、《科學小飛俠》及1983到1986年連續四屆的星雲賞《小蜜蜂》等。其優異表現也讓他得到許多知名的獎項：2000年的惡龍多媒體大會獎及艾斯納獎。1989年起，多次在國際藝術機構舉辦個展，例如：法國奧荷朗美術館、東京上野之森美術館、紐約安琪．奧倫桑基金會、倫敦巴比肯中心等。

生於香港，早年於香港理工大學及英國肯特設計學院修讀視覺藝術。2003年達成小時候成為畫家的夢想；2004 年，首開第一個畫展「盲頭烏蠅」；2007年，在生平第四個個人畫展「黑羊」嶄露頭角。除了個人創作外，她在數年間與許多不同知名品牌異業合作，如N o k i a, Fendi, Google, Levis, Media Asia, Nike, Samsung……等等。2007年，在香港中環NOHO區（歌賦街），正式開設「蘊盈創作個人畫廊」，提供與大眾直接交流的空間，同時展示她心愛的原作。現在，她最希望達成的願望，便是畫出能觸動人心的作品，她認為感人的作品，不是來自作者的名氣有多大、畫工有多細膩、顏色有多明媚，而是可以透過畫作，讓觀者看見世間的真、善、美。

126

Lots 004, 049

Lot 005

Lot 006

LI Jikai (Chinese, b. 1975)

KWON Ki Soo (Korean, b. 1972)

Mayuka YAMAMOTO (Japanese, b. 1964)

Born in Chengdu, China. Graduated in oil painting from Sichuan Fine Arts Institute. Li currently teaches in Animation Department of Hubei Institute of Fine Arts. His works usually describe inner pain of Chinese young generation who grow up daydreaming under the red flag. His works also convey very typically that young artists strive into the psychedelic world of individual subconscious to get knowing impacts caused by modern unstable and messy life on new generations. Meanwhile, the surfaces of his works present a sense of nirvana and illusion, and are able to express multiple layers of implied meanings. Some significant exhibitions throughout his career are as followed: 2004, in He Xiangning Art Museum, Shenzhen, “Mood of the Youth—Exhibition of Rewarded Paintings of Chinese Newly Emerging Artists”; 2005, “Next Stop, Cartoon?” in Gallery 3818; 2006, “Variable Images—Chinese Contemporary Oil Paintings Invitational Exhibition”, Shanghai Art Museum.

Kwon Ki Soo was born in 1972 in Young-ju, Korea. He attained his B.F.A. and M.F.A. from Hongik University, Seoul, in 1996 and 1998 respectively. He has held various solo exhibitions including “The Show 1998” at Kwan Hoon Gallery (1998) and “A Red Fountain” at Gallery Fish (2004) in Seoul. He has also participated in numerous notable group exhibitions, including throughout Seoul, such as “Pleasure Factory” at the Seoul Museum” of Art (2003), “The Elegance of Silence: Contemporary Art From East Asia at the Mori Art Museum in Japan (2004), “Traveling Art Museum” at the National Museum of Contemporary Art in Korea (2004), as well as “Listening 2004 N.Y”. at the Jacob Javits Convention Center in New York (2004).

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

李繼開 (中國，1975年生)

權奇秀 (韓國，1972年生)

山本麻友香 (日本，1964年生)

生於成都。2004年畢業於四川美術學院油畫系。現任教於湖北美術學院動畫學院。李繼開的繪畫經常描繪紅旗下做白日夢的年輕人，內心苦澀的狀態，且他的畫作典型地傳達了年輕藝術家一頭栽進個體潛意識的精神世界中，深探現代無常又雜亂的生活對新一代的影響力，同時，在畫面上呈現出超脫及幻化性，表達出多層次的寓意。其重要展覽有：2004年於深圳何香凝美術館《少年心氣—中國新銳繪畫獎作品展》。2005年於北京3818庫《下一站，卡通嗎？》。2006年於上海美術館《變異的圖像—中國當代油畫邀請展》。

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

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

127

Lot 009 Lots 007, 053 Lots 008, 062

TU Hongtao (Chinese, b. 1976)

FENG Zhengjie (Chinese, b. 1968)

CHEN Wenbo (Chinese, b. 1969)

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

Born in Sichuan Province, China, Feng graduated in 1992 from the Fine Arts Education Dept. of the Sichuan Academy of Fine Arts, BFA. Graduated in 1995 from the Oil Painting Dept. of the Sichuan Academy of Fine Arts, MFA. Currently he lives and works in Beijing, China. Important Solo Exhibitions: “Recounting of Skin” (1996, China); “Coolness” (2001, Canada); “Paintings of Feng Zhengjie” (2002, Lithuania); “Regards vers l’Est, Regards vers l’Ouest” (2003, France) ; “Kitsch as a Face Of Chinese Society” (2004, Singapore); “Paintings of Feng Zhengjie” (2005, France); “Paintings of Feng Zhengjie” (2006, China); “New Works of Feng Zhengjie” (2007, USA).

Chen was born in Chongqing, China. From 1986 to 1990, he studied in Sichuan Academy of Fine Arts. Since 1999, and has been a free-lance artist in Beijing. He has stood out conspicuously since 1992 in Asian Art Fair, Hong Kong. Important solo exhibitions: “Chen Wenbo Solo Exhibition” in Galerie LOFT, Paris, France, 2000; “Back Door” Chen Wenbo 2003 in He Xiangning Art Museum, Shenzhen, 2003; and “On the Green” in Courtyard Gallery, Beijing, 2006. He has exhibited in places such as Beijing, Shanghai, France and Belgium; his works are popular with the collectors in China and abroad.

屠宏濤 (中國，1976年生)

俸正傑 (中國，1968年生)

陳文波 (中國，1969年生)

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

生於四川。1992年畢業於四川美院美術教育系，獲學士學位。1995年畢業於四川美院油畫系，獲碩士學位。現工作生活於北京。重要個展：「皮膚的敘述」（1996，中國）；「酷」,（2001，加拿大）；「俸正傑作品展」（2002，立陶宛）；「東張西望」（2003，法國）；「豔俗─是中國社會的一張臉」（2004，新加坡）；「俸正傑作品展」（2005，法國）；「俸正傑作品展」（2006，日本）；「俸正傑新作展」（2007，美國）。

生於中國重慶。1986-1990年就讀於四川美術學院， 1999年至今為北京自由藝術家。自1992年香港「亞洲藝術博覽會」即嶄露頭角，曾舉辦之個展記錄為：2000年法國巴黎LOFT畫廊「陳文波作品展」、2003年深圳何香凝美術館「後門」以及2006年北京四合苑畫廊「綠社會」，並多次至北京、上海、法國、比利時等地參加展覽，作品廣受海內、外藏家歡迎。

128

Lot 010

Lots 011, 055

Lot 012

ZHANG Xiaotao (Chinese, b. 1970)

XUE Song (Chinese, b. 1965)

CHUN Kwang-Young (Korean, b. 1944)

Born in Hechuan, Sichuan Province, China. Zhang Xiaotao graduated from the Oil Painting Department of Sichuan Fine Arts Institute. Solo exhibitions: “Flowers in the Dream” at the Tokyo Gallery, Japan, 2001; “The Blown-up Property”, Beijing, 2001; “Desire” at the Kunst Akademie Muenster in Germany, 2002; “The Erosion of Materialism”, Paris, 2003; “Dream Factory and Refuse Dump”, Beijing, 2004 and Tokyo, 2005; “Illusion”, Norway and Lithuania. His group exhibitions have included: “Between the Dream and Painting— Vienna from 1900 to 2000”, Germany, 2000; “Dream: Chinese Contemporary Art Exhibition” at the London Pacific Gallery, 2001 and Manchester, 2002; “The Left Hand-Right Hand” at the China and Germany Art Communication Exhibition, Beijing, 2003; “Madrid International Art Exhibition”, Spain, 2004; “Chinese Current Painting” at the INFELD Culture House, Vienna, 2004; “New Viewpoint of Chinese Painting” at Marella Arte Contemporanea, Italy, 2004; “Paris International Art Exhibition”, 2004; “Chinese Current Painting”, Italy and “The 2nd Prague Biennale”, Czechoslovakia, 2005.

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

Born in 1944, in Kangwon-do, Korea, Chun graduated from Hong-Ik University in Korea in 1968, he later received a master's degree from the Philadelphia College of Art in 1971. Since 1968, Chun's works have been widely exhibited in his native country and in overseas art institutions, including International House Gallery in Philadelphia in 1971; Kamakura Gallery in Tokyo in 1987; Kim Foster Gallery in New York in 1999 and Aldrich Museum of Contemporary Art in Connecticut in 2007. He has held solo exhibitions in Korea, including an exhibition in Gallery Hyundai in 1988 and Aggregation 2005 in Kukje Gallery in Seoul. Chun has won awards throughout his artistic life, including Special Prize in the Earth Art II 1973 sponsored by the Civic Centre Museum in Philadelphia as well as Silver Prize in the 27th Cheltenham Art Center Exhibition in 1974. In 2001, Chun received the prestigious artists of the year award from the National Museum of Contemporary Art in Seoul. Chun's artworks are admired and collected by various prestigious institutions, for instance, National Museum of Contemporary Art in Korea, Chase Manhattan Bank in New York, Rockefeller Foundation in New York and The National Museum of Austria.

張小濤 (中國，1970年生)

薛松 (中國，1965年生)

全光榮 (韓國，1944年生)

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

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

生於1944年韓國江原道。1968年畢業於韓國弘益大學， 1971年獲美國費城藝術學院頒授碩士學位。自1968年起全光榮作品在海外各重要藝術機構展出，包括：1971 年，美國費城畫廊；1987年，東京鐮倉畫廊；1999年，紐約金．福斯特畫廊；2007年，美國康乃迪克州艾德里區當代藝術館。韓國國內展覽包括：1988年，現代畫廊；2005年，首爾國際畫廊為其推出「聚集」系列。全光榮屢獲殊榮，1973年獲費城城市中心美術館頒發「地球藝術II特別獎」。2001年，獲韓國國立當代美術館頒發「藝術家年獎」。其作品已廣受國際收藏家及美術機構青睞，如韓國國立當代美術館、美國大通銀行、紐約洛克斐勒基金會與澳洲國立博物館等機構皆納為收藏。

129

Lot 013

Lots 014, 015, 016, 041, 042

Showichi KANEDA (Japanese, b. 1970)

JU Ming (Taiwanese, b. 1938)

LI Chen (Taiwanese, b. 1963)

Born in 1970 in Tokyo, Japan. Showichi Kaneda graduated from the Facutly of Fine Arts, Kyoto City Universitiy of Arts and won the Mayor Prize of Kyoto City University of Arts Graduate Exhibition in 1993. In 1994, he studied in Royal College of Arts London as an exchanging student, and completed the master program of Kyoto City University of Arts in 1995. His works have been shown in various exhibitions such as “Kyoto City University of Arts Graduate Exhibition” (1993, Kyoto Municipal Museum of Arts, Kyoto); “Sony Music Entertainment Art business Audition” (1996, Tokyo); “Naoyoshi Hikosaka Prize” (2000, Tokyo Gallery, Tokyo); “NICAF 2001 TOKYO” (2001, Tokyo); “KCAF” (2002, Seoul); “Eleven & Eleven Korea Japan Contemporary Arts 2002” (2002, Sungkok Art Museum, Seoul); “NICAF 2003 TOKYO” (2003, Tokyo); “Link Between 2 points” (2003, Tokyo Gallery, Tokyo); “ARCO '04” (2004, Spain); “Fiction. Love - Ultra New Vision in Contemporary Art” (2004, Museum of Contemporary Art, Taipei); “Showich Kaneda - Recent Works-” (2005, Galery Frank Schlag & Cie, Germany).

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

L i C h e n w a s b o r n i n Ta i w a n , i n 1 9 6 3 . H e h a s extraordinary performance in molding the traditional Buddhist sculptures. Later he infused emotion of the heart into the works and studied a variety of Confucian, Buddhist, and Taoist sculptures, and even instilled new contemporary thoughts, which provided a new creativity to Li Chen's sculptures. Solo Exhibitions:2007 “52nd International Art Exhibition – La Biennale di Venezia”, Venice, Italy (Asia Art Center), 2005 & 2006 “Li Chen Sculpture” Taipei Art Fair, Taiwan (Asia Art Center), 2003 Series of “Spiritual Journey Through The Great Ether” Michael Goedhuis Gallery, New York, U.S.A; International Group Exhibitions: 2004 “Openasia” 7th International Exhibition of Sculptures and Installations, Venice, Italy. 2007 “A Truth Beyond the Real – 14 Chinese Contemporary Artists” Doosan Art Center, Seoul, Korea.

金田勝一 (日本，1970年生)

朱銘 (台灣，1938年生)

李真 (台灣，1963年生)

金田勝一，1970年出生於日本京都，1993年畢業於京都市立藝術大學美術學部，並取得「京都市立藝術大學畢業作品展」市長賞。1994年至倫敦皇家藝術學院交換留學，1995年取得京都市立藝術大學美術學碩士學位。其作品參加過多次展覽，如「京都市立藝術大學畢業作品展」（1993，京都市立美術館，京都）、「新力音樂娛樂藝術商業徵選」（1996，東京）、「彥

出生於台灣苗栗。1953-1957年從李金川學習木刻， 1968-1976年從楊英風（1926-1997）學習現代雕塑，以純樸的天性、卓越的才華，將過去賴以維生的木雕工藝，逐次提升為富有生命意味的藝術創作。作品廣泛而深切地感動了國人，已漸受西方社會矚目。曾獲選十大傑出青年，獲頒國家文藝獎章。著名的作品有鄉土系列、太極雕刻、人間雕刻等。曾在1997年12月至巴黎梵登廣場盛大展出其著名的太極系列。1999年於朱銘美術館成立於台北縣金山鄉。主要收藏機構：台北市立美術館、國立台灣美術館、高雄市立美術館、朱銘美術館等。

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

坂尚嘉獎」（2000，東京畫廊，東京）、「2001日本國際當代藝術博覽會」（2001，東京）、「韓國當代藝術節」（2002，首爾）、「11 & 11日韓當代藝術 2002」（2002，省國美術館，首爾）、「2003日本國際當代藝術博覽會」（2003，東京）、「兩點間的連結」（2003，東京畫廊，東京）、「2004西班牙當代藝術博覽會」（2004，西班牙）、「虛擬的愛—當代新異術」（2004，台北當代藝術館，台北）、「金田勝一─新作展」（2005，法蘭克．席拉格與尹，德國）。

130

Lot 017

Lots 018, 019

Lot 020

Lots 021, 022

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

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

LIN Fengmian (Chinese, 1900-1991)

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

Born in Beijing, Zao studied at the Hangzhou National College of Art under the direction of Lin Fengmian (1900-1991) and Wu Dayu (1903-1988). After his graduation in 1941, he remained at the College to teach. He held his first solo exhibition in Chongqing in the same year. He emigrated to Paris in 1948. Zao held a solo show every year at Kootz Gallery, N.Y. from 1959 to 1965. He was included in the French pavillion at the Venice Biennial in 1960 and has also taken part in the Tokyo International Biennial. Taipei Fine Arts Museum and the Kaohsiung Museum of Fine Arts organized an exhibition of his works in 1993 and 1995 respectively. In 1994, Zao was awarded the Premium Imperial Award of Painting, Japan. A more recent retrospective show which took place in 1998, toured three major museums: Shanghai Museum of Art and Beijing's China Art Gallery. Zao's compelling abstract paintings have won him international fame and his paintings are much sought after. His work is found in major public collections such as the Musée d'art moderne in Paris.

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

朱德群 (華裔法籍，1920年生)

趙無極 (華裔法籍，1921年生)

林風眠 (中國，1900-1991)

生於江蘇省，1935年考入國立杭州藝專，當時林風眠任校長。1949年來台。1951年任教於台灣師範學院。1954 年於台北中山堂舉辦首次個展。1955年赴法國深造。 1957年獲巴黎春季沙龍銀獎。1969年參加巴西聖保羅第十屆雙年展。1982年於法國勒哈佛之昂特馬侯現代美術館舉辦個展。1987年國立歷史博物館舉辦個展，亦為他離台十二年後第一次畫展。1997年當選法蘭西學院藝術院士。他的繪畫充滿詩意的氣質，用色兼容沈穩奔放，線條飛騰有如狂草，具有東方藝術的細膩與西方繪畫濃厚而重的色彩，極具中國水墨山水與書法的逸趣。他的抽象繪畫是一種自然的流露，顫動的、熱情的，是一種抒情的奉獻，低聲傾訴生命的奧祕。

生於北京，趙無極在國立杭州藝專師承林風眠（19001991）與吳大羽（1903-1988），於1941年畢業於杭州藝專，同年在重慶舉行首次畫展，並留校任助教。1948 年往巴黎深造，並結交不少歐洲藝術界人士。從1959至 1965年曾在紐約庫茲畫廊舉行每年一次的個展，1970年代時趙無極成為巴黎最傑出的中國畫家。於1993和1995 年應邀在台北及高雄市立美術館展覽。1994年獲得日本天皇美術獎。1998年更經由法國文化部策劃其回到中國上海博物館、北京中國美術館、廣東美術館舉辦回顧展；2003年法國巴黎網球場國家畫廊亦舉辦回顧展。在中國現代藝術家中首推趙無極在西方的藝術成就最高，而其作品更廣為世界著名的博物館，如法國國家現代美術館、舊金山現代美術館等美術館及私人企業機構所珍藏。

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

131

Lots 024, 025, 026

Lots 027, 028

Lot 023

CHAO Chung-hsiang (Taiwanese, 1910-1991)

Walasse TING (Chinese-American, 1929-2010)

YEE Bon (Chinese, 1905-1995)

From 1932 to 1939, Chao studied at Henan Normal School followed by the Hangzhou National Academy of Art where he was awarded 16 prizes. Chao's early work has been collected by his teachers Lin Fengmian and Teng Gu. In 1939, his works were exhibited in the first National Art Exhibition where he won a prize in watercolor. In 1956, Chao received a scholarship to Spain where he later became a permanent member of the National Art Association of Spain. He moved to USA in 1958 and devoted the next three decades to exploring and developing his own artistic style. While living in USA, Chao met his American contemporaries such as Roy Lichtenstein (1923-1997) and Mark Rothko (19031970). In 1965, he held a solo exhibition and lecture at the Guggenheim Museum. In 1980, he returned to Taipei for a solo exhibition and 4 years later, decided to establish an art studio there. From 1984 to his death in 1991, Chao traveled frequently between New York, Taipei, China and Hong Kong in his search for artistic fulfillment.

Born in Wuxi, Jiangsu, China, but raised in Shanghai, where he started as a street painter. Ting had been enrolled in Shanghai Fine Arts School. He moved to Hong Kong in 1946. Then he moved to Paris in 1952 where he developed close relationships with the members of the CoBrA group. In 1960, he immigrated to New York, where he became involved with Pop artists. Ting published a book of his poems entitled “One Cent Life” illustrated with original lithographs by numerous American and European artists. He became American citizen in 1974. In 1977, he was awarded a fellowship from the John Simon Guggenheim Foundation and published “Red Mouth”, a book of erotic drawings and paintings. Since 2001, he has resided in Amsterdam. His colorful paintings have been collected by many museums, including Metropolitan Museum in New York, MoMA and Guggenheim Museum of Arts.

Yee Bon was born in Guandong Tai Shan Shen, he was the directorate of China Artist Association, art counselor, and the vice president of the Guandong Painting School. He went to Canada to study and live charily in 1918, in 1931, he studied art in Ontario School of Art and received great honor. His works had been selected by Canada’s national exhibition of art as well as worldwide expos. Yee returned to his homeland in 1956, he devoted himself completely into art creations; he painted large oil paintings for the Guandong, HeiLongJiang halls of the Great Hall of the People in Beijing. His works has been collected for over 10 pieces by National Art Museum of China, Guandong art academy, Hong Kong Museum of Art; In July 1995, he held a grand solo oil paintings exhibitions, there were over 300 pieces exhibited, next year, he participated the “Yee Bon Exhibition” held by Hong Kong Art Center, where exhibited 80 pieces that received appreciative criticisms.

趙春翔 (台灣，1910-1991)

丁雄泉 (華裔美籍，1929-2010)

余本 (中國，1905-1995)

1932至1939年間就讀於河南省第一師範學校藝術系及國立杭州藝專，期間曾經榮獲16項獎項，其作品亦被林風眠（1900-1991）與滕固兩任校長收藏，1939年參加南京第一屆全國美展，並獲人物水彩畫獎。1956年因獲西班牙皇家美術協會會員而遷居西班牙。趙春翔於1958年移居美國，往後三十年中探索並發展新的繪畫風格，並結識同時期美國藝術家如李奇登斯坦（1923-1997）與羅斯科（1903-1970）等人。1963年，代表中華民國參加紐約古根漢美術館舉行個展及演講。往後數年，趙春翔在美國各家畫廊及博物館等地舉行展覽及演講活動； 1980年返台舉行個展，並於1984年成立個人畫室。1991 年病逝於台灣。作品廣受各地私人與美術館收藏，如古根漢美術館、紐約大都會美術館及台北市立美術等。

江蘇無錫人。成長背景在上海，自食其力，在街頭作畫。曾入上海美術專科學校學習，1946年遷居香港。 1952年前往巴黎期間，和眼鏡蛇畫派成員結為好友。 1960年移居紐約，發展出新畫風，成為美國普普藝術家一員。出版一本名為《一分人生》的詩集，內容並包括了多位美國及歐洲藝術家的版畫原作。1977年獲得古根漢紀念基金會的獎助學金，並出版了一本以女性為題材的情色素描與繪畫書籍，名為《紅唇》。丁雄泉的展覽遍及世界各地，同時亦出版許多著作與畫冊。2001年起定居於荷蘭阿姆斯特丹。其色彩鮮豔之作品為各大博物館收藏，包括美國大都會美術館，紐約現代美術館及古根漢美術館等。

生於廣東台山縣。曾任中國美術家協會理事、藝術顧問、廣東畫院副院長等職。1918年赴加拿大勤工儉學， 1931年在加拿大多倫多安大略省立藝術學院學習美術並獲特別優異文憑。其作品曾入選加拿大全國性展覽及在世界博覽會展出。1938年至1956年在香港從事職業畫家及授徒，每年均舉辦個人展覽。1956年歸國，專心從事藝術創作，曾為北京人民大會堂廣東廳及黑龍江廳繪畫大型油畫作品。作品數十幅被中國美術館，廣州美術學院，香港文化中心藝術館收藏。出版余本畫冊三本。作品先後在北京、南京、上海、廣州、香港及菲律賓等地展出。1995年7月在廣州舉辦盛大余本油畫展。作品300 餘幅，1996年12月由香港藝術中心主辦「余本作品展」展出油畫80幅深受好評。

132

Lot 029

Lot 030

Lots 031, 065

GAO Huijun (Chinese, b. 1966)

LU Hao (Chinese, b. 1976)

YE Yongqing (Chinese, b. 1958 )

Born in Baoding, Hebei, Gao Huijun graduated from the Hebei Light Industry School in 1986, and the Central Industrial Art Institute in 1992. He became a professional painter since 1994. He attended China Art Fair in Beijing in 1995 and won the outstanding prize. In the same year, he also participated in the Contemporary Art Exhibition of China in Germany. After 1996, he held solo exhibitions in Beijing and Singapore; his works are also collected by Teda Contemporary Art Museum in Tianjin.

Born in Shandong in 1976, Lu learned sketch with his father and entered Shangdong Academy of Fine Arts in 1995. In 1998, he joined to paint a giant oil painting named “Celebration of the Century”. The painting was awarded and showed in the art exhibition for celebrating the return of Hong Kong. Same year, his “Champaign” was selected in “ 98 Chinese International Art Year, Chinese Contemporary Landscape Oil painting Exhibition”. In 1999, Lu published a works’ collection named “Lu Chang, Lu Hao oil paintings collection”. In 2003, his work “The Sketch of Female Body”, was showed in China Central Academy of Fine Arts excellent works exhibition and was collected. In July 2005, Lu received MFA from China Central Academy of Fine Arts and he stays in CCAF as a teacher until now.

Ye Yongqing, born in Kunming, graduated from painting department of Sichuan Fine Arts Institute. He is a pioneering artist who was part of the Sichuan School of artists. He has spent much of his career in painting portraits of birds. In recent years , he has focused on creating colorful collages. But for years he has been better known as a curator, arts events organizer and artist community booster. He is a close friend and colleague to artists who worked in Western China, particularly Sichuan and Yunnan. He lives in Beijing and Kunming currently.

高惠君 (中國，1966年生)

路昊（中國，1976年出生）

葉永青 (中國，1958年生)

生於河北保定。1986年畢業於河北輕工業學校，1992畢業於中央工藝美術學院。1994年成為職業畫家。1995年參加北京中國藝術博覽會，獲優秀作品獎，同年也參與德國中國現代藝術展。1996年起先後在北京、新加坡舉辦個人畫展，其作品也為天津泰達當代藝術博物館收藏。

1976年生於山東省濟南市。自幼隨父親路璋研習素描， 1995年考入山東藝術學院油畫專業。1998年參與巨幅油畫《世紀大典》的創作，該作品於慶祝香港回歸周年的藝術展展出並獲獎；他的作品《原野》曾入選「98中國國際美術年當代中國山水、油畫風景展」； 1999年出版《路璋、路昊油畫作品集》；2003年《女性人體素描》榮獲中央美術學院年度優秀作品並納入收藏。2005年7 月於中央美術學院獲得碩士學位後，便留校任教至今。

出生於昆明，1982年畢業於四川美術學院繪畫系，現任四川美術學院教授。曾在北京、上海、新加坡、英國倫敦、德國慕尼黑、德國奧格斯堡、美國西雅圖等地舉辦個展。參與重要聯展： 1996年德國「中國！」、北京「首屆學術邀請展」、「首屆上海美術雙年展」；2000 年北京「20世紀中國油畫大展」；2002年廣州「中國藝術三年展」；2003年北京「開放時代」展。作品被中國美術館等藝術機構收藏。

133

Lot 032

Lots 033, 036

Lots 034, 066

LU Peng (Chinese, b. 1967)

HUANG Gang (Chinese, b. 1961)

ZHU Wei (Chinese, b. 1966)

Born in 1967 in Beijing, Lu is a renowned Chinese contemporary artist and professor. In 1991, he graduated from Beijing Teachers Training College (renamed Capital Normal University in 1990). In 2003, he received his PhD from the Chinese painting department at the Central Academy of Fine Arts. He teaches at Beijing Institute of Education since his graduation in 1991. Lu has held many solo exhibitions in the past fifteen years at venues across Beijing, Hong Kong, London, Boston, and New York. He has participated in countless group exhibitions, including “Made In China” (Opera Gallery, London, 2007), and “The New Generation” (Goedhuis Gallery, New York, 2005). Lu is represented by 798 Avant Gallery in New York, Mulan Gallery in Singapore, Chinese Contemporary in Beijing, and Red Gate Gallery in Beijing.

Born in Beijing in 1961, Huang graduated from the Central Industrial Art Institute. During the 80's, paintings with a Tibet theme were extremely popular; people loved the pureness, the mystery, and the nature of Tibet, which is not yet polluted by civilization. Huang Gang became interested in the culture, religion, and art of Tibet, and started his own Tibet classical drawing artware collection, studies society, religion, philosophy background which this kind of art produced. He created the Tibet writing series work afterwards, but he is a different artist, he used an unprecedented artistic way to carry on the creation. Huang Gang’s works were exhibited many times in the world. Solo exhibitions were held in Germany, France, Switzerland, the US and Hong Kong, and had enormous success. He obtained different cultural contextual views from different countries and high praise.

Born in Beijing in 1966. As a teenager, Zhu entered the military. His soldiering days ended when he was admitted to the People's Liberation Army Art Academy, finishing in 1989. After a few years of painting propaganda art for the motherland, his unit was demobilized in 1992. And the following year he went to study at the Beijing Academy of Film. Despite his educational background and association with the artistic values of state sanctioned art, Zhu has an incredible knowledge of Chinese tradition and spends enormous effort in perfecting his ink washes (also called Chinese painting), a technique popularized by Taoist artists in fourth and fifth centuries. Zhu Wei made his first appearance in international exhibition in 1993, and has put on more than 20 individual exhibitions worldwide ever since. More than seven different editions of special anthologies of his works and reviews have been published. His ink and wash works have been collected by more than 20 domestic and foreign museums.

呂鵬（中國，1967年生）

黃鋼 (中國，1961年生)

朱偉 (中國，1966年出生)

1967年生於北京，為中國著名當代藝術家及教授。1991 年畢業於北京師範學院（現北京師範大學），於2003年獲得中央美術學院中國畫學院博士學位，1991年畢業至今任教於北京教育學院。在過去十五年來，呂鵬在北京、香港、倫敦、波士頓和紐約各地舉辦多次個展，參加過的聯展更是不計其數，包括2007年「中國製造」展覽（歐普拉畫廊，倫敦）以及2005年「新世代」展覽（古豪士畫廊，紐約）。呂鵬也是各地畫廊的代理藝術家，如：紐約798前衛畫廊、新加坡木蘭畫廊、北京中國當代畫廊及紅門畫廊。

1961年出生中國北京，畢業於中央工藝美術學院。1980 年代在中國內地以西藏題材創作藝術作品十分流行，人們大都熱衷於表現這裡神奇而未被現代文明污染的壯美的自然環境、獨特的風土人情，黃鋼於那時開始對西藏文化、宗教、藝術產生濃厚興趣，開始了西藏古典繪畫藝術品的收藏，研究這種藝術產生的社會、宗教、哲學背景。之後創作了西藏文字系列作品，但他是以一種不同於其他藝術家，前所未有的藝術方式進行創作。黃鋼的藝術作品在世界各地多次展覽。在德國、法國、瑞士、美國等國家及香港舉辦過個人展覽，並獲得極大成功。得到了不同國家不同文化背景的關注、認同和高度評價。

1966年於北京出生，年少時進了軍隊，而後進了解放軍藝術學院，經過幾年為國家畫宣傳畫，其部隊遣散於 1992年，並於遣散次年，朱偉到北京電影學院學習。一直以來，朱偉所處的藝術教育及背景是任何作品的價值取決於國家的評判，儘管如此，他仍致力於蘊含道家思想的中國傳統水墨畫，並以傳統水墨畫詮釋中國當代現況。朱偉自1993年起開始以中國水墨畫在國際大型展覽展露頭角，在世界各地舉辦個人展覽二十多次。先後出版七種不同版本的個人繪畫專集，回顧專集。作品被國內外二十餘家美術館、博物館收藏。

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Lot 039 Lot 035 Lots 037, 038, 058, 059, 076

LI Shan (Chinese, b. 1942)

ZHOU Chunya (Chinese, b. 1955)

LUO Zhongli (Chinese, b. 1948)

Li shan graduated in 1968 from the Shanghai Drama Academy. His paintings have demonstrated a strong Expressionist vocabulary since the 1970s, and since then have shown increasingly Primitivist tendencies, including the incorporation of sexual imagery-a taboo subject in Maoist era painting. His Primal Beginnings series are intense expressions of the emotional turmoil, In 1988 Li Shan created his Mona Lisa series, a combination of lotus flower imagery from popular paintings and images of the Mona Lisa, which seeks to demonstrate the expressive power of allegorical symbols embedded in vulgarized images. This theme becomes stronger and clearer in his recent Rouge Series, in which the artist uses huge canvases, finely detailed airbrush technique and hermaphroditic images to create a climate of emotional unease and to express the sense that people have been “neutered” by the combined social effects of knowledge, language and authority. Li Shan is one member of “New Art From China: Post-1989” and become internationally known as his Political Pop style.

Born in 1955 in Chengdu, Sichuan Province. Zhou Chunya graduated from the Department of Oil Painting of the Sichuan Fine Arts Institute in 1982. Zhou also graduated from the Fine Arts College of German Kassel University. He currently works as an artist at the Chengdu Academy of Painting in Sichuan. Zhou’s works have been shown at “The Documentary Exhibition of Chinese Contemporary Art” (Beijing, 1991), “China Experience” (Chengdu, 1993), “China’s New Art - Post ‘89” (Hong Kong, 1993), “The Annual Exhibition of Art Critics Nomination” (Beijing, 1994), “China!” (Bonn, 1996) and “The Shanghai Biennial” (Shanghai, 1996). His work can be found in the public collection of the Austria Linz Art Museum. In June 2010, he held his first retrospective in Shanghai Art Museum and also founded his new studio (incorporating a research institute and residential studios for visiting artists) in Shanghai. In the same year, he was named one of “Martell’s 2010 Artists of the Year”.

Born in Chongqing, Luo is currently director and professor at Sichuan Fine Arts Institute, Syndic of China Artists Association. In 1968, he graduated from the Senior High School of the Sichuan Fine Art Institute. He worked in an iron factory, and then entered the oil painting department of the Sichuan Fine Art Institute in 1978. After his graduation, he continued to stay in school as a teacher. He went to study oil painting in the Antwerp Royal Art Institute in Belgium from 1983 to 1986, and received a Master’s degree in oil painting. His talent in his oil painting; “Father” was awarded the First Prize of the Second National Art Exhibition. His works have been collected by the National Art Museum of China.

李山 (中國，1942年生)

周春芽 (中國，1955年生)

羅中立 (中國，1948年生)

1942年生於黑龍江。1968年畢業於上海戲劇學院。1970 年代以來，其繪畫顯示了一種強烈的表現語彙，自此持續展現樸素主義的傾向，包括在毛澤東時代仍為繪畫禁忌的性圖像拼組。他的「初始」系列描寫深藏人類內心的情感波動。1988年李山創造「蒙娜麗莎」系列，從通俗圖畫擷取蓮花圖樣，再結合蒙娜麗莎的影像，尋求揭露出寓言象徵嵌入粗俗圖像時的表現張力。這個主題在「胭脂帝國」系列表現得更強烈，他使用巨大畫布、細膩的筆法以及雌雄同體的影像，創造出一種情緒不安氛圍，藉以表達面對知識、語言和權力合而為一的社會效應，人們的中性特質。李山也是中國藝壇「後九八中國新藝術」的成員之一，以政治波普風格走紅國際，目前定居上海。

四川成都人。1982年畢業於四川美術學院油畫系。1988 年畢業於德國卡塞爾綜合大學美術學院自由藝術系。現在為成都畫院專職畫家。1980年作品入選第二屆全國青年美展獲二等獎。1982年參加紐約中國當代油畫展， 1984年參加香港四川油畫展，同年參加前進中的中國青年畫展。1987年舉辦個人畫展於德國杜塞道夫，1988年於奧地利林茨舉辦個人畫展，同年參加德國比勒費爾德國際五人作品展。1992年入選「廣州九十年代藝術雙年展」獲學術獎。1993年參加香港「後八九中國新藝術展」，同年與葉永青、張曉剛等舉辦中國新經驗展。 1996年應邀參加第一屆上海雙年展。作品為奧地利林茨美術館典藏。2010年6月在上海美術館舉辦個人首次回顧展，並於上海成立「周春芽藝術研究院」獲至成功與好評。同年，在中國獲得「2010馬爹利非凡藝術人物」的榮譽。

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

135

Lot 040

Lots 043, 068

Lot 044

YIN Zhaoyang (Chinese, b. 1970)

LIN Hairong (Chinese, b. 1975)

DUAN Jianwei (Chinese, b. 1961)

Born in Henan, China, graduated from the Central Institute of Fine Arts in Beijing, Department of The Printmaking, now resides in Beijing. Yin is an artist who selects the pulse of an era as his subject. His solo exhibitions include “Myth” (2001, Beijing Art Museum) and “Utopia” (2004, Beijing Central Art Museum). Group exhibition he had participated includes “Cruetly of Youth Painting” (2002, Shanghai DDM Warehouse and Beijing Yan Huang Art Museum), “Image about Images Exhibition” (2003, Shenzhen Art Museum), and “The Power of Personality - a travelling exhibition of progressive art”.

Born in Heilongjiang, Lin graduated from the Department of Fine Arts, Henan Normal University in 1999 and received her Master Degree from Sichuan Fine Arts Institute in 2006 and now lives and works in Chongqing. She has held solo exhibitions as follows: 2007 “Lin Hairong”, Shanghai; 2006 “Attitudes”, Brussels, “Lin Hairong”, Shanghai. Her major joint exhibitions include: 2007 “Scope”, New York, “Arts & Antiques Fair”, Brussels, “Southwest China Contemporary Art Studio Exhibition” , Shanghai; 2006 “Art Beijing”, Beijing, “Up & Raising Shine Art Space”, Shanghai; 2005 “Meiyuan cup National Fine Art Student Contest”, Liaoning; 2004 “Dragonair Emerging Chinese Artist Awards (DECAA) Art Scene Warehouse”, Shanghai.

Born in Henan. Graduated in 1981 from Henan University. Duan was appointed by Wenxin Publish house in 1984. The important Exhibition: “Duan Zhengqu,Duan Jianwei Oil painting Exhibition” in 1991 (Gallery of Central Academy of Fine Arts).”Four People Oil Painting Exhibition” in 1993 (”Duan Zhengqu, Duan Jianwei Oil Painting Exhibition” (Gallery of Central Academy of Fine Arts) in 1996 (China Art Gallery).”About Hominine Description Exhibition” in 1998 (London). “Six people Exhibition” in 1999 (Jinan of China). Many of his works participate in important exhibitions and collected by art institutes and oversea personal collectors.

尹朝陽 (中國，1970年生)

林海容 (中國，1975年生)

段建偉 (中國，1961年生)

生於河南，畢業於北京中央美術學院版畫系，現居北京。尹朝陽是一位以時代脈動為題材的畫家。曾發表的個展有2001年「神話」（北京藝術博物館）和2004年「烏托邦」（北京中央美術館）。曾參加的群展有： 2001年成都雙年展、 2002年上海東大名藝術創庫和北京炎黃藝術館的「青春殘酷繪畫」、2003年深圳美術館的「圖像的圖像展」及「個性力量－新銳藝術巡迴展」等。

生於黑龍江。1999年畢業於河南師範大學美術系，2006 年畢業於四川美術學院獲碩士學位。現工作生活於重慶。曾舉辦的個展有：2006年「閑看庭前花開落」，布魯塞爾、「林海容作品展」，上海；2007年「林海容作品展」，上海。參加的聯展有：2004年「港龍航空中國新銳畫家飛揚大獎展」，上海；2005年「美苑杯－全國高等美術院校作品展」，遼寧；2006年「藝術北京」，北京；2006年「攀升的力量」，上海；2007年「視界」，紐約、「藝術與古董博覽會」，布魯塞爾、「西南當代藝術家工作室邀請展」，上海。

生於河南許昌。1981年畢業於河南大學（原開封師範學院藝術系）。1982年分配到三門峽河南第二印染廠圖案室工作。1983年借調到出版社。1991年調入文心出版社任美術編輯至今。1991年在中央美術學院畫廊舉辦「段正渠．段建偉油畫展」。1993年在中央美術學院畫廊舉辦「油畫四人展」。1996 年在北京國際藝苑美術館舉辦「中間地帶—段正渠．段建偉作品展」。1998年在英國倫敦舉辦「人的描述」展覽。1999年濟南舉辦「六人展」。2002 三月調入北方工業大學藝術設計學院任教。作品曾參加「前進中的中國青年美術作品展覽」、「首屆中國油畫年展」、「當代中國油畫邀請展」、「第二屆中國油畫年展」、「第八屆全國美展優秀作品展覽」、「中國油畫學會展」、「中國油畫肖像百年展」、「中國藝術大展」、「中國青年油畫展」等。

136

Lot 045

Lots 046, 048

Lot 047

CAO Jingping (Chinese, b. 1972)

SONG Yonghong (Chinese, b. 1966)

LUO Qing (Chinese, b. 1970)

Cao Jingping was born in Chongqing, graduated from the affiliated middle school to Sichuan Fine Arts Institute in 1992 and graduated from Department of oil Painting in Sichuan Fine Arts Institute and acquired bachelor degree. During 1997-1998, Cao went to Germany Kassel Academy of Fine Arts to pursue advanced studies, in 1999 graduated from Department of oil Painting in Sichuan Fine Arts Institute and acquired a master degree. In 2001, Cao participated the “Sweet Illusions” six artist joint exhibition in Shanghai Museum of Fine Arts, China; “Chongqing Chilies” in Kulturbahnhof, Germany; and “Post-Politics” in The Bloxham Galleries, London, UK.

Born in Quyang, Hebei in 1966, originally from Shanxi, Song graduated from the Department of Printmaking, Zhejiang Academy of Fine Arts in 1988, taught at the Beijing Art & Craft College in 1988, and currently a professional artist. Attended New York MoMA “Chinese Modern Art Exhibition” in 1998, and San Francisco Limn Gallery “Chinese Modern Art Exhibition” in 1999.

Born in Nanchang City, Jiangxi Province. After graduated with MA from the Oil Painting Department, Central Academy of Fine Art, currently Luo Qing is teaching at the Academy of Chinese Traditional Opera in Beijing. He is renowned for his landscapes and portraits of contemporary China. He captures scenes and images of everyday life that people often take for granted or dismiss. His “Ruins” series sees him taking on the subject matter or rubble and trash. Predominantly painted in a monochromatic palette, these landscapes are a stark contrast to conventional, pastoral landscapes. Yet, they are beautiful too. These ruins are a result of construction and re-construction that is taking place all throughout China now. Buildings get torn down today, and are forgotten tomorrow. By taking a snapshot of this, Luo Qing is keeping these memories for posterity.

曹靜萍 (中國，1972年生)

宋永紅 (中國，1966年生)

羅清（中國，1970年生）

出生於重慶。1992年畢業於四川美術學院附中，1996年畢業於四川美術學院油畫系並獲學士學位，1997—1998 赴德國卡塞爾美術學院學習，1999年畢業於四川美術學院油畫系並獲碩士學位。2001 《甜蜜的幻覺》當代藝術六人作品展中國上海美術館。《重慶辣椒》展於德國卡塞爾文化火車站。《後政治》藝術作品展於英國倫敦的布洛斯罕畫廊。

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

生於江西省南昌市，中央美術學院油畫系畢業，目前任教於北京中國戲曲學院。畫家羅清以其現代風景畫和肖像畫而聞名，善於捕捉人們日常生活的瞬間。羅清的「廢墟」系列以粗石垃圾為主題，突破了傳統風景畫的表現形式，大多以單色來表達，風景卻同樣美麗。這些廢墟是中國大量興建工程和重建工程的結果。許多建築今天還在如火如荼大興土木，明天就可能已經被人忘卻，羅清用他的畫筆為我們保留著記憶。

137

Lot 052

Lot 050

Lot 051

GUAN Yong (Chinese, b.1975)

GUO Wei (Chinese, b. 1960)

CHEN Yu (Chinese, b. 1969)

Born in 1975 in Heze, Shandong Province, Guan received BFA degree from the Oil Painting Department of Tian Jin Academy of Fine Arts in 1998, and MFA degree in 2003. At the present, he teaches at the oil painting department of Tian Jin Academy of Fine Arts. He is presented in many exhibitions worldwide: “The post-seventies” (Today Art Museum, Beijing, 2 0 0 5 ) ; “ T h e S e l f M a d e G e n e r a t i o n : A R e t r o s p e c t i v e o f N e w C h i n e s e C o n t e m p o r a r y ” ( Z e n d a i M u s e u m o f M o d e r n A r t , S h a n g h a i , 2 0 0 6 ) ; “Beyond Experience: New China!” (ARARIO Beijing, 2006) ; “ Future Sky: Chinese Contemporary Young A rtists Works Selection Exhibition” ( National Art Mu seum of China, Beijing, 2008); “Affinity” China & G ermany Artists’ Group Show (OV Gallery, Shanghai, 2008); “Harmony in Diversity: Compatibility of Crosss t r a i t A r t S p i r i t s ” ( A s i a A r t C e n t e r, Ta i w a n , 2 0 0 8 ) ; “ G u a n Yo n g - Q i Ya n g ” ( F e l i x R i n g e l G a l l e r y, D u s s e l d o r f , G e r m a n y, 2 0 0 8 ) “ C r o s s s e c t i o n : 2 0 0 8 C h i n e s e C o n t e m p o r a r y A r t ” (Kee Club, Hong Kong, 2008) “The Age of Innovation· Being persistent” (New Age Gallery, Beijing, 2008).

Guo Wei graduated from Sichuan Academy of Fine Arts in 1989, and currently lives and works in Sichuan Province, China. Since 1992, the artist’s works have been shown in numerous national and international exhibitions, including his first solo exhibition “Bound States Guo Wei’s Works” in 1999, Kaoshiung; Guo Wei’s solo exhibition in 2001, Los Angeles & San Francisco; “Indoor With Mosquitoes and Moths” (2004, Barcelona); and group exhibitions such as “Dream. 2001 Chinese Contemporary Art” (London); “Face to Face. Six Artists and One Time” (2004, Taiwan); “Biennale del’art contemporain Chinois” (2005, France); “Unclear and Clearness” (2006, South Korea); “Brothers” (2006, Beijing); “Figurative Possibilities” (2007, New York).

Born in 1969 in Guizhou Province, China. Chen graduated from Engraving Department of Central Academy of Fine Arts, Beijing, China. Chen was awarded “30 Top Finalists, The Sovereign Art Foundation” in 2005, and held two solo exhibitions: “One Eye Opened and One Eye Closed" ( Schoeni Art Gallery, Hong Kong, 2001 ) , “An Eye for An Eye” (Schoeni Art Gallery, Hong Kong, 2005). He also attended many important group exhibitions: “Sharp Eye: Associated Exhibition for Artists Born in the 70's” ( International Palace Art Gallery, Beijing and He Xiangning Art Museum, Shenzhen) and “Second Round Exhibition of Five Artists” (Contemporary Art Gallery, Beijing, 1999), “ChinArt” (Museum Kueppersmuehle Sammlung Grothe, Duisburg, Germany) , “ChinArt” (Museo Arte Contemporanea di Roma, Rome, Italy) and “ChinArt” (Ludwig Museum, Budapest, Hungary, 2002), “The Chen Family Exhibition, paintings by Yu Chen, Chen Yu and Chen Li” (Schoeni Art Gallery, Hong Kong, 2006), and “The Chen Family” (Today Art Museum Gallery, Beijing, China, 2008).

管勇 (中國，1975年出生)

郭偉 (中國，1960年生)

陳餘 (中國，1969年出生)

1975年出生於山東省荷澤市。1998年畢業於天津美術學院油畫系獲學士學位，2003年畢業於天津美學院油畫系獲碩士學位，現任教於天津美術學院油畫系。管勇的作品多次應邀至世界各地巡迴展出，包括：2005年「70年代後藝術」（今日美術館，北京）；2006年，「自我造局：2005中國當代繪畫展」（上海正大美術館，上海）及「超驗的中國」（阿拉里奧畫廊，北京）；2008年，「未來天空：中國當代青年藝術家提名展」（今日美術館，北京）、「契—中德藝術家聯展」（OV畫廊，上海），「和而不同：兩岸藝術靈魂的相容」（亞洲藝術中心，台灣）、「管勇．楊起」（費利克斯瑞爾畫廊，德國杜塞爾多夫）、「跨領域：2008中國當代藝術展」（紀社，香港）、「創新世代 • 各執已見」（新時代畫廊，北京）。

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

1969年出生於中國貴州，畢業於北京中央美術學院。陳餘曾獲得2005年「三十大傑出亞洲藝術獎」，舉辦過兩場個展：2001年「單眼閉上，單眼張開」（香港少勵畫廊）及 2005年「以眼還眼」（香港少勵畫廊）；他也曾參與過許多重要聯展，包括：1999年何香凝美術館與北京國際藝苑美術館合辦的「銳眼—70年代藝術家」、北京當代藝術館舉辦的「五位藝術家二次聯展」；2002年「中國當代」世界巡迴展（庫柏斯現代美術館，杜伊斯堡，德國；羅馬當代藝術博物館，羅馬，義大利；路德維希博物館，布達佩斯，匈牙利巡迴舉辦）；2006年香港少勵畫廊舉辦的「陳氏家族展覽－余陳、陳餘和陳李」；2008年北京今日美術館舉辦的「陳氏家族展」。

138

Lot 054

Lot 056

Lot 057

QI Zhilong (Chinese, b. 1962)

WANG Ziwei (Chinese, b. 1963)

LING Jian (Chinese, b. 1963)

Born in Hohhot, Inner Mongolia in 1962, Qi graduated from the Central Academy of Fine Arts in Beijing in 1987. His works have been shown in prestigious exhibitions at home and abroad, selected shows include Art Asia ‘95 at the Convention and Exhibition Center in Hong Kong (1995); The Masses Model at Beijing Art Museum in Beijing (1996) the Shanghai International Art Fair in Shanghai (2000); the Chicago Art Fair 2002 in the United States (2002) and Le Printemps de Chine at CRAC Alsac Altkirch, France (2004). Recently, Qi has held solo exhibitions in international locations including Hong Kong, Switzerland and Australia.

Born in Shanghai in 1963, Wang graduated from Shanghai Art and Design Academy and worked for advertising agency until 1992 when he became a full time painter. Noted for his “political pop” paintings as featured in China’s New Art Post-1989 exhibition (Hong-Kong, 1993), he began to paint the Mao serious of portraits. His works have been exhibited in: “46th Biennale di Venezia Italy “ (Italy, 1993), “Des del Pais de Centre, Chinese Avant-Garde Artists” (Spain, 1995), “Faces and Bodies of the Middle Kingdom (Gallerie Rudolfinum and National Gallery Prague, Czech Republic), “Mao and New China: Art from the Era of Mao and the 90s” (Hanart TZ Gallery Hong Kong, 1997), “Asian Avant-Garde” (Christie's London, 1998), “From Icon to Irony” (Victoria & Albert Museum London, 1999).

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

祁志龍 (中國，1962年生)

王子衛 (中國，1963年出生)

凌健 (中國，1963年生)

1962年出生於內蒙古呼和浩特，1987年畢業於北京中央美術學院。他曾參與海內外許多知名展覽，包括「1995 亞洲藝術展」（香港國際會議展覽中心，1995年）、「大眾樣板」（北京藝術博物館1996年）、「上海藝術博覽會」（上海，2000年）、「芝加哥藝術博覽會」（美國，2002年），以及「中國的春天」（法國阿爾奇斯萊因當代藝術中心，2004年）。祁志龍最近也分別在香港、瑞士及澳洲等地舉辦個展。

1963年出生上海，畢業於上海工藝美術學校。1992年成為全職藝術家，在此之前曾任職於廣告公司，而後在「後八九中國新藝術展」（香港，1993）開啟「政治波普」風格的創作生涯，從事一系列毛澤東肖像創作。他曾參與過的展覽包括：1993年，「義大利46屆威尼斯雙年展」（義大利）、1995年「來自中心的國家－1995年以來的中國前衛藝術展」（西班牙）、1997年「來自中國的臉和軀體－中國九十年代藝術」（魯道夫美術館，布拉格國家博物館，捷克共和國）、「毛澤東與新中國：毛澤東時期與90年代」（漢雅軒，香港，中國）， 1998年「亞洲前衛藝術家」（佳士得，倫敦，英國）， 1999年「從圖象到諷刺」（維多利亞與亞伯特博物館，倫敦，英國）。

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

139

Lot 060

Lot 061

Lot 063

CAI Guo-Qiang (Chinese, b. 1957)

ZENG Fanzhi (Chinese, b. 1964)

Jitish KALLAT (Indian, b. 1974)

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

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

Born in 1974 in Mumbai, India, Kallat received his BFA degree in painting from the Sir J. J. School of Art in Mumbai in 1996. Kallat's work incorporates varied media including painting, large-scale sculptural installations, photography and video. He regularly exploits images and materials chanced upon around Mumbia's sprawling metropolis; affording his works an inherent spontaneity and a handcrafted aesthetic. He unites these various mediums through enduring themes such as the relationship between the individual and the masses, a vein that is dominant within his work. He references both his own personal experiences, in conjunction with those of Mumbai's other infinite inhabitants. He has been part of numerous museum exhibitions at venues including the Tate Modern, London; ZKM Museum, Karlsruhe, and the Mori Art Museum in Tokyo, and has participated extensively in biennial and triennials, including The Guangzhou Triennial, China; The Asia Pacific Triennial of Contemporary Art, Australia, and The Gwangju Biennale in Korea, and has contributed to important group exhibitions throughout the world. He writes frequently on the subject of contemporary art, plays a role as trustee of the India Foundation for the Arts, and is represented by Haunch of Venison, Arario Gallery, and Chemould Prescott Road.

蔡國強 (中國，1957年生)

曾梵志 (中國，1964年生)

吉提斯．卡拉特 (印度，1974年出生)

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

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

吉提斯．卡拉特1974年生於印度孟買。於1996年取得孟買Sir J. J.藝術學校油畫系美術學士學位。卡拉特的作品結合各種媒材，包括繪畫、大型裝置雕塑、攝影和錄像。他經常利用圖像及偶然巧見的材料表現出不斷改變的孟買，使他的作品具有即興創作及手工製作的美感。其作品常結合多元的媒材，反映個人及孟買當地居民的社會經驗，將探討個人與群體之間的關係作為他最主要的創作題材。卡拉特的作品已在許多博物館展出，包含倫敦泰德現代美術館，德國卡爾斯魯爾ZKM美術館，以及東京森美術館。他曾多次參與世界各地的重要聯展，包括中國廣州三年展、澳洲亞太當代藝術三年展和韓國光州雙年展。創作之餘，卡拉特也經常發表當代藝術相關主題的文章，並擔任印度藝術基金會的理事，也是鹿腿畫廊、阿拉里奧畫廊、德國阿恩特畫廊和孟買查蒙普雷斯科路畫廊的代理藝術家。

140

Lot 070

Lot 064

Lot 067

YUE Minjun (Chinese, b. 1962)

TSUI Tinyun (Chinese, b. 1945)

YANG Din (Chinese-French, b. 1958)

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

Born in Shanghai in 1945. Tsui received solid art training in sketch and oil painting in various celebrated art institute in Shanghai in his early life. After finishing a series of courses on art and design, he worked in the field of painting and commercial design in Shanghai, and was recognized by presenting his artwork in many important national art exhibitions, including in Shanghai. In 1986, Tsui settled in Hong Kong and joined a prestigious architect firm. Later, he began to focus on artistic creation, exploring with different media and a wide range of subject matters. His works appear frequently in the Hong Kong Art Biennial and major arts exhibitions in China, Japan, and Indonesia. In 1985, he received the Gold Award at the Shanghai Art Exhibition. In addition, his works can be found in the collection of The Hong Kong Museum of Art, and various corporate and private collections around the world.

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

岳敏君 (中國，1962年生)

徐天潤 (中國，1945年生)

楊登雄 (華裔法籍，1958年生)

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

1945年出生於中國上海，年輕時期曾在上海著名畫室接受紮實的素描、油畫訓練，而後又攻讀美術及設計。畢業後，他在上海從事美術創作及設計工作，其作品在全國及上海重要展覽上深受肯定。1986年至香港定居，在建築事務所工作，始致力於研究各種材質的美術創作。來港後，其作品屢次入選參加「當代香港藝術雙年展」，及日本、台灣和印尼等地的重要畫展，並在1985 年「上海美術展覽」上獲得金獎的殊榮。他的作品除了納入香港藝術館的收藏外，還受到世界各地的海外藏家所青睞。

出生於中國廣東汕頭市。1980年起定居法國巴黎。1987 年畢業於巴黎國家高等藝術學院。1993-1994年於克雷佛教育中心擔任美術老師。自1990年起，曾於法國、比利時、荷蘭、台北、香港、澳門等地舉行個展。1987年獲法國特羅瓦省歐柏藝術藝術沙龍獎。

141

Lot 073

Lot 071

Lot 072

DI Lifeng (Chinese, b. 1958)

TRAN Luu Hau (Vietnamese, b. 1928)

Nguyen Dieu Thuy (Vietnamese, b. 1962)

Born in Jing County, Liaoning Province, and graduated from the Oil Painting Department of the Central Art Academy with a Master's Degree. Currently Di teaches in Lu Xun Art Academy. Di Lifeng has won professional awards in the field of Chinese Oil Painting many times. His works are famous in Europe and America, and have been given the highest awards at the shows. Now most of his works have been collected by collectors everywhere. The great work “The Qing Dgnasty’s Imperial Family” “The Orient without Evil” made a stir in Beijing and Hong Kong. In 2000, he gave lectures and held exhibitions in New York University, USA, and established Di Lifeng Sodality. In 2001, he published his series of works in UK. He won the prize from New Jersey Museum, NY in 2002. At the same year in 2002, he held exhibition in Paris as well.

Born in Hanoi, Vietnam. From 1949 to 1954, Tran was a student of Viet Bac Fine Arts School. He continued his study at Surikov Fine Arts Academy in Moscow from 1956 to1962. He taught at the Hanoi School of Fine Arts, and has been a leading member of the Association. Invited to participate in nearly all of the National Fine Arts Exhibitions in Vietnam, he won the second prize at the Vietnam national fine arts exhibition in 1980 and the first prize at the graphic exhibition in 1985. In 1993, he has held solo Vietnamese contemporary art exhibitions in Paris. His work is included in the collections of Hanoi Museum of Fine Arts, the Asian Museum in Poland, and the Asian Museum of former Soviet Union.

Born in Ho Chi Minh City in 1962. Nguyen Dieu Thuy graduated from the Conservatoire de Musique in 1988. After graduating from the Conservatoire de Musique, she worked as a teacher and a violinist in the Conservatoire's Symphony Orchestra. In 1991, she embarked on her painting career as a professional artist. She is a member of the Fine Arts Association of Ho Chi Minh City, Vietnam. Her works have been exhibited in Asia, Europe and North America. Her solo exhibitions include “Melody in White” (2008, Dubai), “Symphony in White” (2004, Hong Kong), “White Base” (Vietnam, 2000). Selected group exhibition including, “Urban Life” (2008, London), “Vietnam Inspiration” (2001, USA), “Mekong 96” (1996, Switzerland).

邸立豐 (中國，1958年生)

陳留厚 (越南，1928年生)

阮妙水 (越南，1962年生)

生於遼寧，1990年畢業於中央美術學院油畫系研究生班，現任教於魯迅美術學院。作品在中國歐洲以及美國各地均有廣泛影響。多次榮獲中國油畫大獎，作品廣為各地區人士收藏。巨作《大清皇室圖》、《無邪的東方》轟動北京及香港。2000年在美國紐約大學講課和展覽，同年參加紐約國際藝術展覽且成立邸立豐聯誼會。 2001年系列作品在英國出版發行。2002年獲紐約紐澤西博物館獎且在法國巴黎舉辦展覽。

生於越南河內。1949至1954年就讀於北越南美術學院。 1956至1962年赴莫斯科蘇里科夫藝術學院繼續修習。曾任教於越南河內美術學校，一直是其美術協會的主要成員。作品受邀參加越南全國各大美術展覽。1980年，他的繪畫於越南國際藝術展覽獲得銀獎，1985年也於繪畫展獲頒金獎。1993年獲邀至巴黎舉辦展覽，其作品也收藏於河內美術館、波蘭的亞洲博物館及前蘇聯亞洲博物館等。

1962年生於越南胡志明市。1988年畢業於胡志明市音樂學院。畢業後任教於母校且成為音樂學院交響樂團的小提琴手。1991年投入繪畫成為專職畫家，為越南胡志明市美術協會成員。作品曾於亞洲、歐洲及北美地區展出。主要個展有：「白色旋律」（2008，杜拜）、「白色交響曲」（2004，香港）、「白底」（2000，越南）等。主要的聯展有：「城市生活」（2008，倫敦）、「越南啟示」（2001，美國）、「湄公河 96」（1996，瑞士）等。

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Lot 074

Lot 075

Unmask (Chinese, LIU Zhan, b. 1976; TAN Tian Wei, b. 1976; KUANG Jun, b. 1978)

PARK Sung Tae (Korean, b. 1960)

Unmask Group was established by Liu Zhan, Tan Tian Wei and Kuang Jun in 2001. In 2002, their works was awarded the First Prize, Graduating Students Exhibition of the Central Academy of Fine Arts China. Unmask Group participated in various exhibitions, including: “2006 International Exhibition - China Gate” (2006, Korea); “Art Beijing 2007” (2007, Beijing); “Five Years of Duolun - Chinese Contemporary Art Retrospective Exhibition” (2008, Shanghai); “Shanghai MoCA Envisage II - Butterfly Dream” (2008, Shanghai); “UNMASK” (2007; 2009, Taipei).

無影者 (中國，劉展1976年生；譚天幃1978年生；匡峻1976年生) 無影者於2001年由劉展、譚天幃及匡峻所成立，並於 2002年榮獲「中央美術學院畢業生作品展」學院一等獎。無影者參加過多次展覽，如：「2006國際展覽─中國之窗」（2006，韓國）、「2007北京藝術博覽會」（2007，北京）、「多倫5年—中國當代藝術回顧展」（2008，上海）、「第二屆上海當代藝術館文獻展：夢蝶」（2008，上海）、「無影者」（2009，台北）。

Born in 1960 in Kwangiu, Korea, Park Sung Tae received BFA in oriental painting from College of Fine Arts, Seoul National University in Korea, in 1987, and MFA in oriental painting from Graduate School of Seoul National University in 1993. He held many solo exhibitions in Seoul, Beijing and Macao. He also attended many group exhibitions such as “Kwangju Biennale Special Exhibition Man + Space - Human and Gender” (Kwangju Biennale Institute of Education & Public Information, 2000), “The Nude” (Gallery Savina, Seoul, 2003) , “Monologue by Black & White” (Gallery Sang, Seoul, 2003) , “China International Gallery Exposition” ( Pyo Gallery, Beijing, 2004), “Shanghai Art Fair 2004” (Shanghai Mart, Shanghai), “San Francisco International Art Exposition” (Fort Mason Center, San Francisco, 2004) and Melbourne Art Fair 2006” (Pyo Gallery, Melbourne, 2006).

朴成泰 (韓國，1960年出生) 1960年出生於全羅道光州。1987年於首爾大學美術學院繪畫專業畢業，1993年於首爾大學美術學院東方繪畫專業畢業，取得碩士學位。他分別在首爾、北京及澳門舉辦多次個展，也參與許多聯展，包括：「光州雙年展特展—人+空間，人權與性別」（光州雙年展教育及公共資訊學院，2000）、「裸體」（Savina畫廊，首爾， 2003）、「黑白獨白」（S a n g畫廊，首爾，2003）、「中國國際畫廊博覽會」（表畫廊，北京，2004）、「上海藝術博覽會」（上海市貿商城，2004）、舊金山國際藝術博覽會」（梅森堡中心，舊金山，2004）以及「2006年墨爾本藝術博覽會」（表畫廊，墨爾本， 2006）。

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ABSENTEE BID FORM The absentee bid forms must be delivered to the Customer Service Department at least 24 hours before the auction begins. The bid forms may be faxed to: Customer Service Department Tel: +852 2889 0859 Fax: +852 2889 0850

Auction Date

RAVENEL AUTUMN AUCTION 2010 HONG KONG Modern and Contemporary Art Monday 29 November 2010, 11:30am-1:00pm

Location

Grand Hyatt Hong Kong â&#x20AC;&#x201C; Grand Ballroom

Address

1 Harbour Road, Wanchai, Hong Kong

Bidderâ&#x20AC;&#x2122;s Details Name ID number Address Post code Tel: (Daytime)

(Evening)

Fax Signature (We must have your signature to execute this bid.) It is requested hereby that Ravenel tenders the bid on my behalf for the following auction items within the bidding range described hereunder. I understand that Ravenel provides such bid services for the convenience of customers and Ravenel shall not be held liable for any failure to execute a bid. If Ravenel receives more than one commission of the same bid price with regard to a particular auction item, priority will be given to the person whose bid is first received. I understand that if my bid is successful, I shall pay the final hammer price together with the service fee and any applicable sales tax. The service fee shall be calculated as 20% of the final hammer price (not applicable to wines). For detail please refer to Articles 4a, c and d of the Transaction Agreement to the Buyer. (4a. The service fee of each lot payable by the Buyer: (1) The Buyer should pay the hammer price and, in addition, the service fee to the Company. For hammer price below HK$ 5,000,000 (inclusive), the service fee should be calculated at 20% of the hammer price; (2) For hammer price higher than HK$ 5,000,000, the first HK$ 5,000,000 should be calculated at 20% and the rest of the amount should be 12%.) The bid shall be subject to the transaction agreement prescribed in the catalogue. Please note especially the limited guarantee and exclusive warrantees that may be provided for certain items.

PLEASE PRINT LEGIBLY Auction item number (in numerical order)

Bid price (HK$) (excluding service fee)

Title

Interested buyers should provide Ravenel with their current bank and/or other relevant material to ensure all bids will be accepted and the delivery of the auction item will not be delayed, and authorize us to verity the provided informations with the bank. Kindly provide this information for processing in advance of the auction date.

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

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

CONTEMPORARY

ART

Ravenel Ltd. 17/F Wheelock House, 20 Pedder Street, Central, Hong Kong Tel: +852 2889 0859 Fax: +852 2889 0850 www.ravenelart.com

委託競投表格委託競投表格須於拍賣24小時前送抵客戶服務部。競投表格可傳真

拍賣名稱：羅芙奧香港2010秋季拍賣會現代與當代藝術

至：客戶服務部：

香港拍賣日期：

電話：+852 2889 0859

2010年11月29日（星期一）上午11:30至下午1:00

傳真：+852 2889 0850

香港君悅酒店（宴會大禮堂）香港灣仔港灣道1號

投標者資料客戶編號（如有）姓名身份證號碼地址郵碼電話（住宅）（辦公室）傳真簽名（本公司在取得閣下之簽名後方才接受競標）茲請求羅芙奧就下列拍賣品於下列競投價範圍內投標。本人亦明白，羅芙奧為方便顧客而提供代為投標的服務，羅芙奧不因怠於投標而負任何責任。倘羅芙奧就同一項拍賣品收到相同競價之委託，以最先收到者優先辦理。本人知悉如投標成功，本人應付之購買價款為最後之落槌價加上服務費，（連同該最後落槌價及服務費之營業稅）服務費依最後落槌價乘以服務費率得之。詳見業務原則規定第4條a,c,d之規定。（4a.買家支付每件拍品之服務費率：（1）買家除支付落槌價外，另須支付服務費予本公司，落槌價於港幣伍佰萬元以下者含伍佰萬元以20％計算；（2）落槌價於港幣伍佰萬元以上者分為二級，其中港幣伍佰萬元以20％計算，超過港幣伍佰萬元之部份以12％計算。）本競投，本人同意並遵守本目錄所載所有業務規則（特別是有限保證、不負其他瑕疵擔保等規定）。

請用正楷填寫清楚拍賣品編號（按數字順序）

名

競投價（港元）（服務費不計在內）

稱

為確保所有投標均得以接受及拍賣品之送交不延誤，有意買家應向羅芙奧提供往來銀行或其他適當之參考資料，並予以授權羅芙奧得向銀行查證。該等資料應及時提供，以便在拍賣前著手處理。

銀行證明銀行名稱銀行地址 MODERN

銀行帳戶名稱銀行帳號銀行聯絡者銀行電話

CONTEMPORARY

ART

羅芙奧股份有限公司香港中環畢打街20號會德豐大廈17樓 17/F Wheelock House, 20 Pedder Street, Central, Hong Kong Tel: +852 2889 0859 Fax: +852 2889 0850 www.ravenelart.com

Transaction Agreement

The following provisions are entered into by and between the Company, as the auctioneer, and the Seller (hereinafter the "Seller"). This Agreement is also entered into by and between the Company as the agent of the Seller and the Buyer (hereinafter the "Buyer"). Both the Buyer and the Seller must carefully review all provisions hereunder. The Buyer should pay special attention to Article 5 which provides limitations as to the legal responsibilities of the Company. I. The Buyer 1. Ravenel as the Agent The Company, as the auctioning party, shall act as the agent of the Seller. Except otherwise provided, items successfully sold in the auction held by the Company shall be bound by the agreement made by and between the Seller, through the agency of the Company, and the Buyer. 2. Prior to the auction a. Authentication We strongly recommend that the prospective buyers conduct their own authentication for the items they are interested in bidding prior to the auction. We provide no guarantees to the buyer (with the exception of the guarantee with regard to counterfeits as defined in Section III of the Transaction Agreement). b. Important Notice Attention, prospective buyers: As far as possible, the descriptions of auction items will mention obvious defects of the items; however, they do not necessarily include all flaws, defects, or incomplete aspects. The Company regrets that it is unable to guarantee that the wristwatches on auction are in good working condition and the descriptions in the catalogue must not be construed as implying such. The description of the auction items also do not imply that the items have not gone through readjustment or repair or allude anything about the current state or storage conditions of the items. Any omission in the catalogue description regarding the current condition or the appraisal of defects in the items by no means represent that those items are in good condition, function normally, or that there will be any free repair or replacement of parts. We strongly recommend prospective buyers to personally view the items for which they plan to bid before the auction itself. If a prospective buyer is unable to view an item for whatever reason, then in our role as a service provider, we would be more than happy to offer our opinion of an item's special characteristics and current condition. However, the Company is not a professional restorer of wristwatches; therefore, any description in the catalogue is purely the Company's subjective opinion and not a statement of fact. Please note: The outer shells of many of the water-resistant watches have been opened in order to investigate their working condition and their type; therefore, it must not be assumed that they are currently water-resistant. We recommend buyers to have such watches checked by a competent watchmaker before use. Please note: The restoration of the items on auction may have resulted in original parts being replaced; therefore, we are unable to guarantee that any given watch's parts are from the original set of parts. All of the items on auction are being sold in "as is" condition.the Company does not provide any representation or guarantee as to the condition of any of the items. Unless otherwise stated, the Company does not provide any warranty with the items. c. Catalogue Explanations Any statement of the author, history, date, year, size, material, ownership, authenticity, origin, condition of preservation or estimated selling price of any of the Lots shown in the catalogue or the authentication opinion made by the Company, or any other verbal or written statements made separately shall be solely statements of opinions and shall not be deemed the basis for the statements of actual fact. The photographs shown in the catalogue shall serve as reference only and shall not be deemed as the basis for determining the color or tone of any Lots or disclosure of the defects of such item. The estimates of the auction price shall not be deemed the price at which such item will be successfully sold or the statement of the value of the item for other purposes. Many auction items fail to maintain their perfect condition because of time and other environmental factors. Some of the explanations in the catalogue or the authentication opinions will state defects and/or the repair background of the Lots. Such information is meant for reference only. Missing information in the statements does not mean the Lot has no defects or has not been repaired. Any statement of one particular defect does not mean there is no any other defect. d. Responsibility of the Buyer The Buyer is responsible for clarifying and satisfying himself about the condition of the items and any related matters stated in the catalogue descriptions. 3. In the auction a. Refusal of admission The auction is held at the premises of the Company or any location where the Company has control of for the auction. The Company has full discretion to exercise the right to refuse entry to the premises for the auction or to prevent participation in the auction. b. Registration prior to the bidding Prospective buyers must fill in and sign the registration forms prior to the

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bidding and provide personal identification. Prospective buyers should also note that the Company may be requested to conduct credit checks against buyers. c. The bidder is the Buyer Unless a written agreement has been made upon registration that the bidder will be the agent who acts on behalf of a third person and such third person is accepted by the Company, the bidder will be deemed as the Buyer who will bear individual legal responsibilities. d. Commission bids The Company will make every effort to bid for the prospective buyers who instruct us to bid on their behalf by using the forms attached to the explanations of the catalogue; provided, however, bid commission instructions are delivered to the Company prior to the auction. If the Company receives several commission bids for one particular item, with all bid prices being equal and of the highest bid price at the auction, priority shall be given to the Buyer whose bid commission is delivered to the Company first. Commission bids are subject to auction conditions. The situation at the auction may prevent the Company from making the bid as commissioned. This is a free service provided by the Company to the prospective buyers pursuant to the provisions prescribed. The Company will not be held legally liable if it fails to make the bid as commissioned. Prospective Buyers should attend the auction in person if they wish to ensure a successful bid. e. Bid by phone The Company will make proper effort to contact the bidder so he can participate in the auction by phone if the prospective buyer make arrangements with the Company prior to the auction. However, the Company will bear no responsibilities to the Seller or any prospective buyer if no contact is made under any circumstances. f. Exchange rate conversion board There will be an exchange rate conversion board operating at some auctions. The exchange rate is calculated at the exchange rate of the one-month future goods reported to the Company from the bank when starting business on the day of the auction. Nonetheless, the auction will still be conducted in HK dollars. The exchange rate conversion board is not absolutely reliable. The accuracy of either the Lot numbering shown on the board or the equivalent of the bid price in any foreign currency is not within the control of the Company. The Company will not be responsible for any losses caused by the reliance of the Buyer on the exchange rate conversion board. g. Recorded images There is image projection in some auctions; however, errors may occur during the operation. The Company is not liable for the color accuracy of the reproduced image and whether the projected image corresponds to the item being auctioned. h. Determining power of the auctioneer The auctioneer has the absolute power to reject any bid, push for bids at his discretion, withdraw any auction items, separate or combine two or more auction items, and if there is any error or dispute, re-auction the items. i. Successful bids Under the discretion of the auctioneer, the fall of the hammer indicates the acceptance of the highest bid price, i.e., the Seller and the Buyer enter into a successful auction agreement. 4. Following the auction a. The service fee of each lot payable by the Buyer (1) The Buyer should pay the hammer price and, in addition, the service fee to the Company. For hammer price below HK$ 5,000,000 (inclusive), the service fee should be calculated at 20% of the hammer price. (2) For hammer price higher than HK$ 5,000,000, the first HK$ 5,000,000 should be calculated at 20% and the rest of the amount should be 12%. b. Taxes All the payments payable by the Buyer to the Company do not include any government tax, any commodity or service taxes or any other value added taxes. The Buyer should be responsible for paying any applicable taxes as required by the law. c. Payment The Buyer should provide his name and permanent address to the Company upon the successful bid. Relevant bank information should also be provided upon request. All payments due (including the hammer price, service fee and any applicable taxes) should be paid within 7 days following the auction date. The aforesaid provision also applies if the Buyer intends to export the Lot and (may) need the export permit. If the Buyer fails to pay to the Company all the payments due, the Buyer will not acquire the ownership of the Lot even if the Company has delivered such item to the Buyer. If the payment to Ravenel are made in any currency other than HK dollars, the Company will collect from the Buyer any foreign exchange expense incurred therefrom, including bank charges and foreign exchange service fees.

The exchange rate of the payments to the Company in any currency other than HK dollars should be the exchange rate reported by the Hongkong and Shanghai Banking Corporation (HSBC) to the Company on the auction date and should be based on the certificates issued by the Company according to such exchange rate. d. Collection of the Lot sold Unless otherwise agreed by the Company, the Company will hold temporarily the successfuly sold Lots until all payments to the Company are made in full. The Lot will be covered by the insurance of the Company from the auction date for 7 days during the temporary holding period. The insurance coverage will terminate upon collection of such item. The Buyer should be responsible for all risks following expiration of the said 7-day period or the collection (whichever is the earlier). e. Packaging and transportation The Buyer is requested to note that he should bear all the risks upon expiration of the said 7 days period or from collection of such items. f. Referral of packaging or transportation companies The shipping department of the Company may act as the agent of the Buyer to arrange for delivery. Although we can refer freight forwarders upon special request, the Company will not be held liable for any legal responsibilities in this regard. g. Remedies for non-payment or non-collection of items sold The Company is entitled to exercise one or more of the following rights or remedies if the Buyer fails to make payment within 7 days: (1) An interest at the annual rate of no higher than 10% plus the base interest rate of Hongkong and Shanghai Banking Corporation (HSBC) will be imposed on all of the payment due if payment is not made within 7 days following the auction date. Besides, we have the right of charging also 1% selling price (including of hammer price and the commission) multiplied by the number of delayed days as fine for the default. The payment to be made by the Buyer should offset any payment owed by the Company or its subsidiaries to the Buyer for any other transactions. (2) To exercise lien of any items owned by the Buyer and held by the Company for any purpose. The Company may arrange to sell such items after serving a 14-day notice to the Buyer about his non-payment. The proceeds shall make up for the payment due. (3) If the Buyer owes the Company several payments as a result of different transactions, the payments will setoff any payments due in any particular transaction, regardless of whether the Buyer specifies to setoff such payments. (4) Refuse the Buyer to make, or to make on behalf of others, bids in any future auctions and/or to require a security deposit from the Buyer before accepting any future bids from him. If the Buyer fails to make payment within 35 days, the Company is entitled to exercise the following rights in addition to the aforementioned: (5) To bring legal proceedings against the Buyer on behalf of the Seller to claim the entire payment due and the legal fees resulting from such proceeding based on a total claim. (6) Cancel the transaction of Lots bid by the Buyer or any other auction items sold to the Buyer at the same or any other auctions. (7) To arrange a public or private re-sale of the Lot. If the re-selling price is lower, the difference will be claimed against the Buyer together with any cost incurred as a result of the non-payment by the Buyer. h. No collection of the Lot sold The Company will arrange for the storage of the Lot if such item sold is not collected within 7 days of the successful auction, regardless of payment. Such storage cost will be borne by the Buyer. Only when the storage, shipping, insurance cost and any other expenses together with any other payments due to the Company are paid can the sold Lot be collected. i. Export permit 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.

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 Buyerâ&#x20AC;&#x2122;s payment can only be refunded when the following terms are met: (1) The Buyer must notify the Company in writing within 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 Hong Kong laws and the interpretation and effect of the Rules shall be subject to the laws of Hong Kong. The Buyer and Seller shall submit themselves to the exclusive jurisdiction of the Hong Kong courts for the interests of the Company.

Please refer to our website for sellerâ&#x20AC;&#x2122;s transaction agreement. http://www.ravenelart.com

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.

148

業務規則

下述規則，為本公司作為拍賣公司與賣家訂立合約，亦作為賣家之代理人與買家訂立合約之條款。買家及賣家務須細讀各項規則。買家請特別留意第5條，其對本公司之法律責任作了限定。

c. 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。

Ⅰ.買家

d. 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。

1. 羅芙奧(以下稱本公司)作為代理人作為拍賣人，本公司以作為賣方代理人之身分行事。除另行協定外，在本公司之拍賣中成功拍賣之物品，即產生賣家通過本公司之代理與買家達成之合約。 2. 拍賣前 a. 鑑定物品本公司鄭重建議，準買家應於拍賣進行之前親自鑑定其有興趣競投之物品。本公司除就膺品（如本業務規則第Ⅲ項所界定者）作出之證明外，不對買家作任何保證。 b. 拍品狀況之重要注意事項請準買家注意，在可能的範圍內，目錄中對於拍賣品特性上之描述，皆已提及顯著的損壞，惟不包括所有的缺陷、瑕疪與不完整。羅芙奧恕無保證任何拍賣腕錶處於良好運作狀態，同時目錄中任何拍賣品之描述皆不應視為如此。對任何拍賣品之描述亦不應視作表示其無經過重整或修理，亦不應視作對拍賣品狀態或保存情況的陳述。在目錄中若有狀態陳述的缺乏或損害鑑定的缺乏，並不代表拍賣品是為良好狀態、運作正常或可享有免費修復或更換機件。本公司鄭重建議，準買家在拍賣進行之前，對於有興趣競投之拍賣品狀況應經由親自檢閱，如果準買家無法對拍品進行檢閱，本公司基於服務至上的原則，將非常樂於應客戶之要求提供拍品特性與狀況之意見，惟本公司並不是專業鐘錶修復者，因此任何在目錄中所列出的陳述是為純粹本公司的主觀意見。務請注意，多數防水錶的錶殼已被開啟並檢查其運轉狀態及類型，因此不應假定其仍為防水狀態。建議買家應在使用前安排經由具資格的鐘錶匠檢查該等手錶。務請注意，拍買品早前的修復工作或許已經導致原廠零件的更換，因此我們不保證任何拍賣品的單一組成零件之確實性。所有的拍品一致以「現狀」售出。本公司對於任何拍出之狀態不作代表或保證，除非另有註明，否則將不提供保單。 c. 目錄說明本公司於目錄或鑑定意見書內對任何拍賣品之作者、來歷、日期、年代、尺寸、材質、歸屬、真實性、出處、保存狀況或估計售價之陳述，或另行對此等方面之口頭或書面陳述，均僅屬意見之陳述，不應依據為確實事實之陳述。目錄圖示亦僅作為指引而已，不應作為任何拍賣項目之依據，藉以決定其顏色或色調，或揭示其缺陷。拍賣價格之估計，不應依據為拍賣品會成功拍賣之價格或拍賣品作其他用途之價值陳述。許多拍賣品基於其年代或性質，使其未能有完美之狀況，目錄內有些說明或鑑定意見書會提述拍賣品之損壞及 ™或修整資料。此等資料僅作為指引而已，如未有提述此等資料，亦不表示拍賣品並無缺陷或修整，如已提述特定缺陷，亦不表示並無其他缺陷。 d. 買家之責任有關物品之狀況以及目錄說明所提述之事項，買家有責任弄清楚並確使自己感到滿意。 3. 拍賣時 a. 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。 b. 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。

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e. 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。 f. 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。然而競投仍會以港幣進行。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港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（而非因以港幣競投）所導致而蒙受之任何損失，本公司概不負責。 g. 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。 h. 拍賣官之決定權拍賣官具有絕對決定權，有權拒絕任何競投、以其決定之方式推動出價、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。 i. 成功競投在拍賣官之決定權下，下槌即顯示對最高競投價之接受，亦即為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，落槌價於港幣伍佰萬元以下者含港幣伍佰萬元以20％計算。（2）落槌價於港幣伍佰萬元以上者分為二級，其中港幣伍佰萬元以20％計算，超過港幣伍佰萬元之部份以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國家或地區稅賦、貨物或服務稅或其他增值稅。如有任何此等稅項適用，買家須負責按有關法律所規定之稅率及時間繳付此稅款。 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港幣以外之貨幣，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。以港幣以外之貨幣付款予本公司之匯率，依拍賣日現場公佈之匯率（香港匯豐銀行），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，則按不超過香港匯豐銀行基本利率加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。 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。

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香港法律規限，本業務規則之解釋與效力均適用香港法律。為本公司之利益而言，賣家與買家須服從香港法院之排他性管轄權。

賣方業務規則請參閱羅芙奧藝術網站 http://www.ravenelart.com

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

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