Ravenel Autumn Auction 2011 Hong Kong 羅芙奧香港2011秋季拍賣會

AUTUMN AUCTION 2011 HONG KONG

MODERN

&

CONTEMPORARY

ART

RAVENEL AUTUMN AUCTION 2011 HONG KONG Modern and Contemporary Art

羅芙奧香港 2011 秋季拍賣會 現代與當代藝術

AUCTION

拍賣日期／地點

Monday, November 28, 2011, 11:30am – 2:00pm Grand Hyatt Hong Kong – Grand Ballroom 1 Harbour Road, Wanchai, Hong Kong

2011年11月28日（一） 上午 11:30 至下午 2:00 香港君悅酒店（宴會大禮堂） 香港灣仔港灣道1號

PREVIEWS

預展日期／地點

Taichung

台中 2011年10月29日（六）至10月30日（日）下午 1:00 至 7:00 由鉅藝術中心（月光流域大樓） 台中市公正路83號1樓

Taipei

台北 2011年11月5日（六）至11月6日（日）上午 10:00 至下午 7:00 富邦人壽大樓國際會議中心 台北市敦化南路一段108號B2

Beijing

北京 2011年11月19日（六）至11月20日（日）上午 10:00 至下午 7:00 國貿大酒店—國貿三期（群賢宴會廳C） 北京市建國門外大街 1 號

Hong Kong

香港 2011年11月26日（六）至11月27日（日）上午 10:00 至下午 7:00 香港君悅酒店（宴會大禮堂） 香港灣仔港灣道1號

Saturday, October 29 – Sunday, October 30, 2011, 1:00pm – 7:00pm GSR Gallery 1F, No. 83, Gong Zheng Road, Taichung, Taiwan

Saturday, November 5 – Sunday, November 6, 2011, 10:00am – 7:00pm Fubon National Conference Center B2, No. 108, Section 1, Dunhua South Road, Taipei, Taiwan

Saturday, November 19 – Sunday, November 20, 2011, 10:00am – 7:00pm China World Summit Wing – Summit Ballroom C 1 Jianguomenwai Avenue, Beijing

Saturday, November 26 – Sunday, November 27, 2011, 10:00am – 7:00pm Grand Hyatt Hong Kong – Grand Ballroom 1 Harbour Road, Wanchai, Hong Kong

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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MODERN

&

CONTEMPORARY

ART

王鎮華 Arthur Wang 董事長 Chairman 郭倩如 Clara Kuo 副董事長 Vice Chairman 張增偉 Lorries Chang 執行長 C.E.O.

傅斐郡 Flora Fu

林佳樺 Michelle Lin

陳惠黛 Odile Chen

藝術拍賣部總經理 Art Auction Division President

行政資源部總經理 Administration Division President

業務拓展部總經理 Chief Specialist

林慧菁 Maggie Lin

何杏淇 Elaine Holt

唐麗麗 Lillian Tang

業務副總經理 Vice President, Sales Department, Taipei

業務副總經理 Vice President, Sales Department, Hong Kong

業務經理 Manager, Sales Department, Beijing

黃詩涵 Stella Huang

張淳茹 Sabrina Chang

業務副理 Assistant Manager, Sales Department, Taipei

國貿處副理 Assistant Manager, International Trade Unit

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吳博峯 Tommy Wu

總務部協理 Senior Manager, General Affairs, Taipei

RAVENEL STAFF AND SERVICES FOR THIS SALE

ART CONSULTANTS Art Auction Division President Flora Fu Tel: +886 2 2708 9868 ext. 888 Email: florafu@ravenel.com

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Vice President Sales Department, Taipei Maggie Lin Tel: +886 2 2708 9868 ext. 886 Email: maggielin@ravenel.com

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Manager Sales Department, Beijing Lillian Tang Tel: +86 10 5820 6151/52 Email: lilliantang@ravenel.com

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

COLLECTION AND SHIPPING

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

Hong Kong

CATALOGUE SUBSCRIPTION Taiwan Mandy Niu Tel: +886 2 2708 9868 ext. 881 Email: mandyniu@ravenel.com

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China Judy Xie Tel: +86 10 5820 6151/52 Email: judyxie@ravenel.com

International

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Kate Lin Tel: +886 2 2708 9868 ext. 182 Email: katelin@ravenel.com

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China

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Taiwan

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Judy Xie Tel: +86 10 5820 6151/52 Email: judyxie@ravenel.com

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

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

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目次 / Contents 2

羅芙奧秋季拍賣會

Sale Information 3

羅芙奧之服務

Ravenel Services 7

藝術家索引

Index 8

現代與當代藝術

Modern and Contemporary Art 194

藝術家簡歷

Artist Biographies 219

委託競投表格

Absentee Bid Form 221

業務規則

Transaction Agreement

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藝術家索引 / Index A Yoshitaka AMANO

P 天野喜孝

057, 059

PAN Dehai PANG Jiun PARK Sung Tae Haris PURNOMO Pong-Q Hary PURNOMO

B Catur BINAPRASETYO 卡圖爾．賓納帕西優

084

C CAI Guo-Qiang CHEN Ke CHEN Wenling CHU Teh-chun

蔡國強 陳可 陳文令 朱德群

012, 050 004, 070 032 015, 017, 020, 061, 063

方力鈞 俸正傑

038, 047 053, 073

高瑀 郭晉 郭銳

039 077 093

何森 華慶 黃鋼

075 031 011

波波．伊斯甘達爾

089

金高 朱銘

028 014, 021, 022, 062

XIA Xing XIANG Qinghua XIN Haizhou XU Bing XUE Song

J JIN Gao JU Ming

川島秀明 草間彌生

058 056, 060

賴致成 李錠雄 李真 李山 李爽 李天兵 李新平 梁銓 廖一百 連建興 凌健 劉煒 劉小東 劉崢 羅展鵬 羅傑瀚 盧昊

002 098 013 041 027 033, 035 034 097 030 009 042 043 044 094 001 087 007

毛旭輝 米斯尼亞迪 村上隆

054 090 099, 100

歐陽春

005

YIN Zhaoyang YOON Jongseok YU Chen YUAN Xiaofang YUE Minjun

L LAI Zhicheng LEE Jung-woong LI Chen LI Shan LI Shuang LI Tianbing LI Xinping LIANG Quan LIAO Yibai LIEN Chien-hsing LING Jian LIU Wei LIU Xiaodong LIU Zheng LO Chan-peng Jahan LOH LU Hao

O OUYANG Chun

艾瑞卡．海斯圖．瓦尤尼 王廣義 王克平 王衍如 吳冠中

086 045, 052, 066 082 024 016

夏星 向慶華 忻海洲 徐冰 薛松

026 080 036 064 076

尹朝陽 尹鍾錫 余陳 袁曉舫 岳敏君

040, 072 096 074 037 069

趙無極 曾梵志 張曉剛 鄭德龍 周春芽 周鐵海 朱偉 格蘭．祖基菲里

018, 019 049, 067, 068 048 079 010, 051, 065 055 083 085

Z ZAO Wou-ki ZENG Fanzhi ZHANG Xiaogang ZHENG Delong ZHOU Chunya ZHOU Tiehai ZHU Wei Galam ZULKIFLI

M MAO Xuhui I Nyoman MASRIADI Takashi MURAKAMI

046, 071 003, 023, 025

Y

K Hideaki KAWASHIMA Yayoi KUSAMA

唐志剛 丁雄泉

X

I Popo ISKANDAR

091 081 008 006

W Erica Hestu WAHYUNI WANG Guangyi WANG Keping WANG Yanru WU Guanzhong

H HE Sen HUA Qing HUANG Gang

T.V. 山度士 沈樺 蘇旺伸 孫良

T TANG Zhigang Walasse TING

G GAO Yu GUO Jin GUO Rui

078 029 095 092 088

S T.V. SANTHOSH SHEN Hua SU Wong-shen SUN Liang

F FANG Lijun FENG Zhengjie

潘德海 龐均 朴成泰 哈里斯．普爾諾莫 龐丘．海瑞．普爾諾莫

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001

LO Chan-peng (Taiwanese, b. 1983)

Journal of Strawberry Generation 24 2009 Oil on canvas 72.5 x 91 cm Signed on stretcher bar LO Chan-peng and titled Journal of Strawberry Generation in Chinese, inscribed 30F, 91 x 72.5cm and dated 2009 ILLUSTRATED: Journal of Strawberry Generation, Aki Gallery, Taipei, 2009, color illustrated, p. 74 This painting is to be sold with a certificate of authenticity issued by Aki Gallery, Taipei.

HK$ 30,000-50,000 NT$ 120,000-210,000 US$ 3,800-6,400

羅展鵬 草莓族青春日誌 24 2009 油彩 畫布 72.5 x 91 cm 簽名框條：30F 草莓族青春日誌 91 x 72.5 羅展鵬 2009 圖錄： 《草莓族青春日誌》，也趣藝廊，台北， 2009，彩色圖版 ，頁74 附也趣藝廊開立之原作保證書

「只要我喜歡，有什麼不可以？」1980年後出生的年輕世代勇於追求自我，重視外表、物質 與享樂，但卻十分脆弱，缺乏抗壓性，他們的外表看似光鮮亮麗，內在卻不堪一擊，他們是 社會普遍認知的「草莓族」世代。 年輕藝術家羅展鵬以一系列「草莓族」創作開始備受矚目，包括《草莓族青春日誌》、《草 莓族細胞分裂》、《草莓族百鬼夜行》、《草莓族大亂鬥》以及《紅顏歌》五大子題。他以 極其逼真的照像寫實繪畫紀錄自身青春世代的次文化現象。羅展鵬的創作並非純粹記錄年輕 世代的流行表象，他試圖引導觀者進一步探究這群看似無憂無慮、玩世不恭的草莓族不為人 所了解的另一面。 《草莓族青春日誌》多以年輕女性為題材，取材自藝術家的朋友、網友或是女友，她們反映 時下年輕人個性化的亮麗打扮，但仔細觀看，姣好的面容上卻異常多了幾處傷痕，嘴角上的 傷口滲出微微血絲，令人為之戰慄，臉上的大墨鏡似乎試圖掩飾內心黑暗面的迷惘、脆弱與 不安，身上形似中國傳統剪紙雕花的紋身圖騰則帶有文化象徵的意涵，暗指身處台灣的年輕 人特有的中國情結，以及在面對全球化衝擊下，內心底層對自我認同產生的極端焦慮，形成 內外在強烈的衝突與矛盾。羅展鵬以一種極為曖昧的表現方式，記錄草莓族在台灣特殊文化 氛圍中生存的樣貌，並透過藝術創作反思相同世代的自我。

“Why shouldn’t I do what I want?” Young people in Taiwan born in the post-1980 period tend to be heavily oriented towards “self-realization”; they pay a lot of attention to their appearance, and often display materialistic, hedonistic attitudes. At the same time, however, they frequently have rather fragile personalities, and are not good at coping with pressure. They may look impressive on the outside, but the whole edifice could come crumbling down at a single stroke. These are the people commonly referred to in Taiwan as the “Strawberry Generation.”

Young artist Lo Chan-peng’s series of “Strawberry” works have begun to attract a great deal of attention in art circles. These works fall into five main sub-series: “Journal of Strawberry Generation,” “Youth Diary of Strawberry Generation,” “Strawberry Generation – The Night Marching,” “Strawberry Generation – The Super Smash,” and “The Beauty Ode.” Lo uses an ultrarealistic photo-realist style to record the sub-cultures of his generation. These works are more than simply a record of youth fashions; Lo seeks to draw the viewer into an exploration of another side of the members of the “Strawberry Generation,” a side that is not usually visible to people who see them as being carefree and irresponsible.

The “Journal of Strawberry Generation” mostly takes young women as its subject matter. Those depicted are mainly the artist’s friends, online acquaintances or girlfriends. Their appearance reflects the highly personalized nature of the way young people today dress and present themselves. However, closer examination reveals that their faces are covered with scars; wounds at the corners of their mouths are dripping blood. The effect is shocking; it seems to the viewer that the large pairs of dark glasses the women are wearing are intended to conceal their internal uncertainty and despair, their fragility and insecurity. Their tattoos, which resemble traditional Chinese paper-cuts, have strong cultural significance, hinting at the links with Chinese culture that the artist sees young people in Taiwan as possessing, and at the crisis of identity that they are experiencing in the face of globalization, which creates conflict and contradiction between their internal and external selves. By presenting his subjects in a highly ambiguous way, Lo Chanpeng has been able to record the special cultural atmosphere that the “Strawberry Generation” embodies, and has succeeded in utilizing art to reflect on the nature of the “self” for members of his generation.

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002

LAI Zhicheng (Chinese, b. 1968)

Tribute to Chairman Mao 2008 Oil on canvas 150 x 120 cm Signed lower left Zhicheng in Chinese and dated 2008

HK$ 40,000-60,000 NT$ 160,000-250,000 US$ 5,100-7,700

10

賴致成 向毛主席致敬 2008 油彩 畫布 150 x 120 cm 簽名左下：致成 2008

003

Walasse TING

(Chinese-American, 1929-2010)

Pink Lady 1990 Acrylic on paper 62.5 x 48 cm With one seal of the artist

HK$ 65,000-95,000 NT$ 270,000-390,000 US$ 8,300-12,200

丁雄泉 粉紅胭脂 1990 壓克力 紙本 62.5 x 48 cm 鈐印左方：採花大盜

004

CHEN Ke

(Chinese, b. 1978)

The Family of Dolls 2006 Fiberglass, edition no. 7/8 17(L) x 13(W) x 23(H) cm Signed on the base Chen Ke and titled The Family of Dolls in Chinese and English, numbered 7/8, inscribed Fiberglass and 23 By 17 By 13 cm, dated 2006 EXHIBITED: Fancy Dream, Marella Gallery, Beijing, April 8- May 19, 2006 Woman in a Society of Dual-sexuality, Tang Contemporary Art, Bangkok, December 16, 2006 - January 18, 2007 Chen Ke, Marella Gallery, Milano, 2008 Cina Rinascita Contemporanea, Palazzo Reale, Milan, December 11, 2009-February 7, 2010

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ILLUSTRATED: Fancy Dream, Zhu Tong, Eleonora Battiston, Damiani Editore, Beijing, 2006, pp. 37-38 & 40-41 Woman in a Society of Dual-sexuality, Zhu Qi, Tang Contemporary Art, Bangkok, 2006, pp. 25-30 Cina: Rinascita Contemporanea, 24 Ore Motta Cultura, Palazzo Reale, Milan, 2009, p. 190

HK$ 95,000-150,000 NT$ 390,000-620,000 US$ 12,200-19,200

陳可 玩偶之家 2006 玻璃纖維 7/8 17(長) x 13(寬) x 23(高) cm 簽名底座：玩偶之家 7/8 The Family of Dolls 7/8 玻璃鋼 Fiberglass 23 By 17 By 13 陳可 Chen Ke 2006

展覽： 「幻．想」，瑪蕊樂畫廊，北京，展期自 2006年4月8日至5月19日 「雙性社會中的女性」，當代唐人藝術中 心，曼谷，展期自2006年12月16日至2007年 1月18日 「陳可個展」，瑪蕊樂畫廊，米蘭，2008 「中國當代文藝復興」，王宮，米蘭，展期 自2009年12月11日至2010年2月7日 圖錄： 《幻．想》，瑪蕊樂畫廊，北京，2006，圖 版，頁37-38，40-41 《雙性社會中的女性》，當代唐人藝術中 心，曼谷，2006，圖版，頁25-30 《中國當代文藝復興》，24小時摩塔文化， 王宮，米蘭，2009，圖版，頁190

005

OUYANG Chun (Chinese, b. 1974)

Castle in the Air 2008 Oil on canvas 89 x 116 cm Signed lower left Ouyang Chun in Chinese and dated 2008 Signed on the reverse Ouyang Chun and titled Castle in the Air in Chinese, dated 2008

HK$ 140,000-220,000 NT$ 570,000-900,000 US$ 17,900-28,200

歐陽春 空中樓閣 2008 油彩 畫布 89 x 116 cm 簽名左下：歐陽春 2008 簽名畫背：空中樓閣 歐陽春 2008

006

SUN Liang

(Chinese, b. 1957)

Mythical Creatures 1996 Oil on canvas 79.4 x 79.4 cm Signed lower right Sun Liang in English and dated 96.3

HK$ 85,000-120,000 NT$ 350,000-490,000 US$ 10,900-15,400

14

孫良 神獸 1996 油彩 畫布 79.4 x 79.4 cm 簽名右下：Sun Liang 96.3

007

LU Hao

(Chinese, b. 1969)

Flowerpot 2006 Oil on canvas 100 x 200 cm Signed on the reverse Lu Hao and titled Flowerpot in Chinese, inscribed 100 cm x 200 cm and dated 2006

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

盧昊 花鳥蟲魚系列之花盒 2006 油彩 畫布 100 x 200 cm 簽名畫背：100 cm x 200 cm 花鳥蟲魚系列 之花盒 盧昊 2006年

008

SU Wong-shen (Taiwanese, b. 1956)

Before the Election 1997 Oil on canvas 80 x 80 cm Signed on the reverse Su Wong-shen and titled Before the Election in Chinese, dated 1997 ILLUSTRATED: New Voices: Contemporary Art Dialogue among Taipei, Hong-Kong and Shanghai, National Taiwan Arts Education Center, Taipei, March 1998, illustrated, p. 30 Su Wong-shen: between the clouds, color Eslite Corp., Taipei, 2008, color illustrated, p. 237

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

蘇旺伸 選舉前 1997 油彩 畫布 80 x 80 cm 簽名畫背：選舉前 蘇旺伸 1997 圖錄： 《兩岸新聲—當代畫語：台北．香港．上 海》，國立台灣藝術教育館，台北，1998年 3月，彩色圖版，頁30 《蘇旺伸：雲與雲之間》，誠品股份有限公 司，台北，2008年11月，彩色圖版，頁237

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009

LIEN Chien-hsing (Taiwanese, b. 1962)

Secret Dance in Frivolous Mood 2 2008 Oil on canvas 112 x 194 cm Signed lower left Lien Chien-hsing in Chinese and dated 2008 Signed on the reverse Lien Chien-hsing and titled Secret Dance in Frivolous Mood 2 in Chinese, inscribed 120P, oil painting and dated 2008 EXHIBITED: Continuation-Special Exhibition of Li ChunShan Modern Painting Award Winners, N ational Taiwan M useum of F ine Arts, Taichung, March 13 - May 16, 2010.

ILLUSTRATED: Continuation-Special Exhibition of Li ChunShan Modern Painting Award Winners, N ational Taiwan M useum of F ine Arts, Taichung, March 13 - May 16, 2010, color illustrated This painting is to be sold with a certificate of authenticity signed by the artist.

HK$ 280,000-420,000 NT$ 1,150,000-1,720,000 US$ 35,900-53,800

連建興 隱舞情弄 2 2008 油彩 畫布 112 x 194 cm 簽名左下：連建興 2008 簽名畫背：120P 油畫 2008 隱舞情弄 2 連建 興 展覽： 「續—李仲生現代繪畫獎特展」，國立台灣 美術館，台中，展期自2010年3月13日至5月 16日 圖錄： 《續—李仲生現代繪畫獎特展》，國立台灣 美術館，台中，2010 附藝術家簽名之原作保證書

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以「魔幻寫實主義」著稱的台灣畫家連建興，近年來以其獨樹一幟的創作風格贏得了藝術界 的肯定。曾歷經照相寫實主義及新表現主義的創作形式的洗禮，經過數十年的辛苦耕耘，連 建興所醞釀發展出具有沈靜內斂的人文省思的魔幻寫實風格已愈發深植人心。 1980年代初期，照相寫實主義蔚為風潮，文化大學美術系二年級的連建興也隨這波潮流浮 沈，並獲得雄獅美術新人獎。這一時期的連建興，身處台灣尚未走出戒嚴又在經濟起飛之 時，開放與閉鎖之間形成的巨大撞擊形成他的創作本源。他從鄉土寫實出發，注入自身的情 感與理念，賦予鄉土寫實新的內涵。他的畫中所描述的景觀多為其生活成長的北台灣，因時 空的轉換，從過去豐饒的民情文化轉變為機械文明的單調與冷漠，透過記錄消逝的景象，表 述他對生命與時空的觀察。 進入1990年代，連建興的作品呈現真實與魔幻的對比，大量呈現廢墟，除已成廢墟的礦場、 坑道，斑駁的建築鐵架，還以看似荒廢角落中的石塊、牆面、木架、水源、動植物等入畫， 把荒廢的風景變形為一個幻想空間，藉由俯視、廣角的空間呈現，使風景、廢墟、動物交織 成一片虛虛實實的幻景，來象徵虛幻的現實世界並暗示生命的渺小與無常。 《隱舞情弄 2》創作於2008年，作品以我們所熟悉的青山綠水構組出凝滯時間裡的自然原生景 象，漫布著神秘、靜謐、含蓄悲憫的氣息，隱隱自然滲透出鄉愁，反射出畫家所歸屬的地緣 情感。

Taiwan painter Lien Chien-hsing famous for “magic realism” has won the acknowledgment of the art community with his unique creative style in recent years. Through the severe test of such creative forms as photo-realism and new expressionism and through decades of hard work, the magic realistic style Lien Chien-hsing has brewed and developed, which boasts calm and humanist consideration features has been deeply rooted in the people’s hearts.

In the early 1980s, photo-realism had been in vogue. Lien Chien-hsing, the sophomore with major subjects of fine arts in Culture University, kept up with the tide also and was awarded the Hsiung Shih young artist prize of fine arts. Lien Chien-hsing lived in Taiwan during the period when Taiwan had not shaken off the martial law and its economy had just started to develop. His creation was originated from the huge impact between opening up and self-seclusion. Starting from nostalgic realism, injecting his own feeling and idea, he endowed the nostalgic realism with a new meaning. The sceneries he described in his paintings were mostly in Northern Taiwan where he lived and grew up and had transformed from the previous plentiful folk culture to the blankness and apathy of mechanical civilization, due to the transition of time and space, expressing the view towards life and space-time through recording the elapsing sceneries.

Entering into the 1990s, the works of Lien Chien-hsing revealed the contrast between reality and delusion and largely presented ruins. Apart from the ruined mines, saps, mottled architectural hobs, in his paintings, he transformed the ruined sceneries into imaginary space by adopting blocks, walls, wooden racks, water sources, animals and vegetations located at the seemingly ruined corner. By the space presentation from top view and vast view, the sceneries, ruins and animals were intertwined into partially realistic and partially virtual illusion to symbolize the visional real world and suggest the insignificance and uncertainty of life.

Created during 2008, the works of “Secret Dance in Frivolous Mood 2” reveals natural and virgin sceneries combined by our familiar green hills and clear water, spreading out the mysterious, tranquil , implicit and sad flavor, indistinctly and naturally infiltrating nostalgia and reflecting the geographical attachment towards the place the painter belongs to.

010

ZHOU Chunya (Chinese, b. 1955)

Green Dog 2006 Bronze, stainless steel, edition no. 4/8 24.5(L) x 24.5(W) x 43.5(H) cm Engraved Zhou Chunya in Chinese Signed on the base ZHOU CHUNYA in English and dated 2006, numbered 4/8 ILLUSTRATED: Blooming Stories, Sichuan Fine Art Publishing Co., Chengdu, 2007, color illustrated, p. 115

HK$ 320,000-480,000 NT$ 1,310,000-1,970,000 US$ 41,000-61,500

周春芽 作揖的黑根 2006 銅雕 不鏽鋼 4/8 24.5(長) x 24.5(寬) x 43.5(高) cm 簽名雕刻：周春芽 簽名底座：2006 ZHOU CHUNYA No. 4/8 圖錄： 《花間記》，四川美術出版社，成都， 2007，彩色圖版，頁115

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011

HUANG Gang (Chinese, b. 1961)

Quantum Red Star 2007 Mixed media on board 120 x 120 cm Signed lower right Huang Gang in Chinese and English

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

黃鋼 量子紅星 2007 綜合媒材 木板 120 x 120 cm 簽名右下：Huang Gang 黃鋼

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012

CAI Guo-Qiang (Chinese, b. 1957)

Project for Extraterrestrials, No. 8: Reviving the Ancient Signal Towers (4) 1990 Gunpowder and ink on paper 91 x 64 cm Signed upper left CAI GUO QIANG (4) in English, titled PROJECT FOR EXTRATERRESTRIALS NO:8 in English Reviving the Ancient Signal Towers in Chinese and dated 1990

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

蔡國強 為外星人作的計畫第八號 —再燃烽火台（四） 1990 火藥爆破 水墨 紙本 91 x 64 cm 簽名左上： PROJECT FOR EXTRETERRESTRIALS NO: 8—再燃烽火台 1990 CAI GUO QIANG (4)

蔡國強恐怕是國際上名聲最響亮的中國當代藝術家。他的展覽和專案總能引起全球的關注。 使用火藥、瓷器、中草藥、風箏、竹筏，以及風水等傳統中國元素進行最前衛的當代藝術 創作，在這方面蔡國強取得了相當的成績。他成長的年代是他的性格中具有了叛逆的成分， 作為藝術家，他一生都勇於挑戰他人的極限。他的藝術理念極不尋常，甚至一般人看來幾乎 是不可能完成的。他生來就是個反對保守的人，而且從不畏懼把顛覆傳統的藝術作品推向大 眾。尤為特別的是，他選擇了難以控制和危險的火藥作為藝術創作的主要媒介材料，由此引 起的反響也是巨大的。 歷史是人類的創造所產生的。蔡國強的藝術作品就具有在歷史上留下腳印和在現實中留下印 記的意思。《為外星人作的計畫第八號—再燃烽火台（四）》的目的就是重現古代的烽火 台。古代的中國人除了騎馬送信，還通過點燃烽火向遠方傳遞資訊。1990年完成的這一項目 就是用了絲綢之路上久已不用的旗語，用火藥重新再現了熾烈的烽火。這一作品就是蔡國強 《為外星人作的計畫第八號—再燃烽火台（四）》目的明確而清晰的表述。似乎從紙張底部 開始燃起的火苗代表烽火臺上閃爍的火光。通過使用和古代人相同的方法，向宇宙發出摒棄 爭權奪利，與自然和諧共處的資訊，這已經超越了時代造成的差異。 蔡國強深受變化理念的感染，特別具有矛盾和對立的觀念，因此總是提到微觀世界和宏觀世 界之間進行對話。他的藝術複雜而獨特，這源自他的出身、成長經歷、信仰和敏感性。他在 作品中挑戰所有藝術創作的既定界限，因使用爆炸創作主要作品而聞名遐邇。他的設計和創 作通過神話和軍事史等很多中國文化標誌向現代世界提出新的問題。

Cai Guo-Qiang is perhaps the most international of contemporary Chinese artists. His exhibitions and projects always arouse global attentions. He is very accomplished in creating the most avant-garde contemporary art by using traditional Chinese elements such as gunpowder, porcelain, Chinese herbal medicine, kites, bamboo rafts, and Fengshui. He grew up in a period which allowed him to develop a rebellious streak, and for all his life as an artist he has dared to act beyond other’s limitations. His art concepts are so extraordinary that they seem almost like impossible missions. He was born to be a counter-reactionary, and he has never been afraid of putting forward the convention-overthrowing art creations to the public. In particular, he chooses hard-to-control and dangerous gunpowder as the main media material for his art creations arousing the great awareness.

Historical events are the products of man’s creation. Cai Guo-Qiang’s oeuvre has to do with the idea of a trace as an episode in history, as a print on reality. The object of the “Project for Extraterrestrials No. 8: Reviving the Ancient Signal Towers (4)” was to revive the ancient signal towers. In ancient China, a method was devised for sending messages to distant places with signal fires instead of using messengers on horseback. This project, done in 1990, used the semaphores abandoned along the Silk Road and revived the blazing beacons using gunpowder. The present lot is a clean and clear depiction for Cai’s aim of “Project for Extraterrestrials No. 8: Reviving the Ancient Signal Towers (4)”. The flame seems to come off from the bottom of the paper signifying the burning flicker from the signal tower. The message of co-habitation with nature - rather than a plunder or power struggle - directed to the universe transcends the difference between eras by employing the transmission methods of both ancient and modern humans.

Fascinated by the idea of change, and especially with notions of opposition and conflicts, Cai invariably makes reference to a potential dialogue between microcosm and macrocosm. His art is complex and unique. It is a result of his origins, his experiences, his beliefs and his sensitivities.

In his work he challenges all the accepted boundaries of art making and is well-known for creating major works using explosives. His installations call on many icons of Chinese culture such as ancient mythology and military history to ask new questions of the modern world.

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013

LI Chen

(Taiwanese, b. 1963)

2005 Bronze, edition no. 5/8 48.5(L) x 54.5(W) x 94(H) cm Engraved Li Chen in Chinese and English, numbered 5/8 and dated 2005

展覽： 「義大利第52屆威尼斯雙年展」，威尼斯， 2007 「李真—尋找精神的空間」，中國美術館， 北京，2008 「李真—精神．身體．靈魂」，新加坡美術 館，新加坡，2009

EXHIBITED: Li Chen in 52nd Venice Biennale - Energy of Emptiness, Venice, 2007 Li Chen - In Search of Spiritual Space, National Museum of China, Beijing, 2008 Li Chen : Mind, Body, Spirit, Singapore Art Museum, Singapore, 2009

圖錄： 《虛空中的能量—第52屆威尼斯雙年展》， 亞洲藝術中心，台北，2007，頁186-189 《李真—尋找精神的空間》，亞洲藝術中心 台北，2008，畫冊封面、頁130-139 《李真—精神．身體．靈魂》，新加坡美術 館，新加坡，2009，頁90-91

ILLUSTRATED: Li Chen in 52nd Venice Biennale - Energy of Emptiness, Venice, Asia Art Center, Taipei, 2007, pp. 186-189 Li Chen: In Search of Spiritual Space, 2008 Solo Exhibition at National Art Museum of China, Asia Art Center, Taipei, 2008, cover page & pp. 130-139 Li Chen: Mind, Body, Spirit, Singapore Art Museum, Singapore, 2009, pp. 90-91

附亞洲藝術中心開立之保證書

Golden Rain

This sculpture is to be sold with a certificate of authenticity issued by Asia Center Co. Ltd., Taipei.

HK$ 950,000-1,700,000 NT$ 3,900,000-6,970,000 US$ 121,800-217,900

李真 黃金雨 2005 銅雕 5/8 48.5(長) x 54.5(寬) x 94(高) cm 簽名雕刻：李真 Li Chen 5/8 2005

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雕塑家李真，生於台灣，是一位極具天份的藝術家，至今已於紐約、芝加哥、邁阿密、休士 頓、巴黎、倫敦、日內瓦、威尼斯、上海、北京、新加坡、台北等多個城市展出，私人及公 共收藏遍布許多國家，更於2007年受邀個展於全世界最高地位的學術展覽：第52屆義大利威 尼斯雙年展，獲得國際廣大的迴響及曝光度，為至高的榮譽。 「大氣神遊」系列中的《黃金雨》完成於2005年。李真藉景抒懷，雨後時分、夕陽落下地平 線前的閃閃餘暉，夕陽將雨水映照成金黃色，孩童在雨中暢快淋雨，將自身與大自然融合 為一，好不自在快活，李真將此情此景具體化為實體雕塑作品。從正面細看，有三滴雨滴落 在臉部與頸間，彷彿是孩童的眼與鼻，李真意圖在此放大直觀的感受，呈現出作品中獨特的 幽默感與虛幻視覺，帶給觀賞者不同感受。以中國五行中「金生水」的隱喻，來詮釋生命的 源頭。那「日落萬點金」的意境，產生無限的想像空間，既對比又和諧。金的溫潤、黑的能 量，營造出空靈而華美，表現能源物質維持的價值，展現無窮的生命力。

Li Chen’s sculptures investigate the energy of such emptiness, and his sculptural forms are not empty, but instead are full of a vital energy. He achieves this through an energetic and spiritual style that uses exaggerated shapes and dark black lacquer to create a spiritual matter that people can absorb. But the sculptures also convey emotions that are sweet, romantic, happy and satisfied. For this reason, though some of his works may be massive, they don’t appear oppressive and heavy. Instead they seem to be floating in the air, exhibiting an alluring ambiguity between lightness and heaviness.

“Golden Rain”, as part of the “Spiritual Journey through The Great Ether” series, was completed in 2005. In this piece, Li Chen expresses his feelings through his portrayal of the scenery. The rain has just stopped and the setting sun has painted the horizon golden with its shining rays, at the same time illuminating the raindrops with a golden hue. A child frolics joyfully in the rain, blending in with nature to become one entity. How happy he truly is! Li Chen freezes the moment and encapsulates it into his sculpture. The piece, when scrutinized from its front, shows three fallen raindrops on the face and neck of the child, as if those are his eyes and nose. Here Li Chen magnifies his feelings in this direct visual manner, and conveys a sense of engaging humour and spiritualizes tranquility with his unique style, offering the viewer a fresh new visual perception. By using gold as a metaphor for rain, Li Chen describes his joyous delight in his deep feelings for this source of life. The ambience created by the “setting sun and golden showers”, and the contrasting yet harmonious combination of the gentle, moist gold and black energy gives rise to a boundless world for imagination, thereby creating an emptiness with dazzling. In addition, it infuses the sculpture with a type of warm energy that manifests the value of substance and which radiates expansive and limitless vital energy.

014

JU Ming

(Taiwanese, b. 1938)

Taichi Series - Shadow Boxing 1995 Bronze, edition no. AP 8/10 & 9/10 34(L) x 37.7(W) x 44.5(H) cm (left) 36.7(L) x 33(W) x 41.5(H) cm (right) Engraved Ju Ming in Chinese, numbered AP 8/10 and dated ‘95 (left) Engraved Ju Ming in Chinese, numbered AP 9/10 and dated ‘95 (right) This sculpture is to be sold with a certificate of authenticity signed by the artist.

HK$ 1,000,000-1,600,000 NT$ 4,100,000-6,560,000 US$ 128,200-205,100

朱銘 太極系列─對招 1995 銅雕 34(長) x 37.7(寬) x 44.5(高) cm（左） 36.7(長) x 33(寬) x 41.5(高) cm（右） 簽名雕刻：朱銘 自 8/10 '95（左） 朱銘 自 9/10 '95（右） 附藝術家親筆簽名之原作保證書

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015

CHU Teh-chun

(Chinese-French, b. 1920)

Sublime perspectives 1992 Oil on canvas 146 x 114 cm Signed lower right CHU TEH-CHUN in Chinese and English, dated 92 Signed on the reverse CHU TEH-CHUN in Chinese and English, titled SUBLIME PERSPECTIVES in English and dated 1992 Provenance: Collection of UMC, Taipei ILLUSTRATED: Liao Chiung Fang, Overseas Chinese Fine Arts Series II: Chu Teh-chun, Artist Publishing Co., Taipei, 1999, color illustration, numbered 188, p. 247 Solo Exhibition of Chu Teh-Chun, Thin Chang Corporation, Taipei, 2007, color illustrated, p. 255

HK$ 2,000,000-3,200,000 NT$ 8,200,000-13,120,000 US$ 256,400-410,300

朱德群 華麗的透視 1992 油彩 畫布 146 x 114 cm 簽名右下：朱德群 CHU TEH-CHUN 92 簽名畫背：SUBLIME PERSPECTIVES 朱德 群 CHU TEH-CHUN 1992 來源： 聯華電子股份有限公司收藏，台北 圖錄： 廖瓊芳，《華裔美術選集II：朱德群》，藝 術家出版社，台北，1999，彩色圖版，編號 188，頁247 《大象無形─朱德群作品展》，台灣馨昌株 式會社，台北，2007，彩色圖版，頁255

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藝術並非為了再現眼中所見之物，而是要將 不可見之處化為可見，此概念引導了20世紀 西方藝術發展的主要脈絡，也扭轉西方藝術 一直以來所崇尚理性與科學的傳統，因此西 方藝術家轉向中國古代美學取經。朱德群於 學生時代，已在杭州藝專奠定了中西繪畫的 學習基礎，開啟自由組合藝術語彙的創作道 路。而身在中國的朱德群，恰好搭上這股時 代浪潮，親身領受中西文化交會的激盪。朱 德群於1955年來到巴黎，此時具象和抽象繪 畫的對立論戰正值高峰，次年朱德群於巴黎 現代美術館欣賞俄裔藝術家尼古拉．德． 斯塔耶爾的作品，讓他受到極大的啟發與影 響，促使他投身抽象表現主義的探索，在中 國書畫與抽象表現之間悠遊開創。 本此參拍作品《華麗的透視》創作於1992 年，朱德群的抽象創作軌跡，經過藝術家 持續的探索，由內省而外露，由色彩與線條 建構出的意象風景，貫穿了他的創作歷程。 其風格發展至1990年代，已然無所顧忌，空 間造形愈趨磅礡自在、色彩的安排更加淋漓 酣暢。此作採用了朱德群最為鍾愛的色調， 以多樣化的青色搭配藍綠色。藝術家亦曾說 過，藍色讓他聯想到海洋的神秘氣質、變化 萬千的形態，時而靜默、時而狂嘯，也為躍 動的畫面增添沉潛大氣的風範。 此作對於結構與色彩關係的呈現尤為精彩， 作品的矩形尺幅與內容環形構圖，恰好形成 視覺印象裡靜與動的對比，亦是朱德群創作 所表現的主要特色。朱德群並未大片地將青 與藍綠鋪排於畫面上，而是以大筆刷或長或 短地揮動翻飛，表現出青色的空靈逕走與藍 綠的沉靜卓絕。畫中光源彷彿來自未能探知 距離的遙遠處所，光線行而至此，並未將形 與色構築的空間全然劈裂擊碎，而是如空氣 般隱動漂浮著。奔馳跳躍的深色點線是畫中 流動的能量，主導著觀者視線游移的走向， 大塊的深色渲染蹲踞在畫面角落，讓青綠

色層的幻化不羈，在黑色筆觸的動態包圍中 靜定，即使靜定卻從未沉寂。而隱約透出白 與黃的青色，藉由觀眾對意象的認知，指引 出光的行跡，與透視深遠的延伸，並為色彩 提供了遊走的空間。幾處的靛藍是畫中的靈 魂，是詩人寄託在隱喻中的自我觀照，也是 串連起平仄起伏的詩韻，精鍊而不氾濫。這 些色彩元素，以畫面的中心為圓心，一層層 交錯環繞，透過濃密筆觸與色彩，守護著光 源般細微的情感與內化的記憶，將個人意志 寓於宏觀的生命脈動中。求師於物，進而求 師於心，藝術家放下畫筆，停駐於畫布前， 已然遇見豁然開朗。 朱德群不斷苦心探求，追尋靜觀萬物與寧靜 超然的極致表現，並開闢抽象表現風格的作 品，在中西方繪畫世界中占據了無法取代的 位置。這位來自中國的藝術家，汲取中國文 化與藝術的精髓，學習並融合西方藝術的特 點，相較於戰後西方抽象表現藝術，面對人 類世界逐漸加深的疏離與無力感，不安、騷 亂、動盪的心靈的表現，朱德群透過東方哲 思與繪畫傳統，肯定人類精神與自然相通運 轉的傳統思想，將宇宙極象與不可見的心境 風景，以其卓然獨立的創作成功展現。

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The idea that the purpose of art is not merely to depict what the eye can see, but rather to make visible what the eye cannot see, was the single most important thread guiding the development of Western art during the twentieth century. This concept represented a major reshaping of the Western artistic tradition, which had for centuries emphasized rationalist, scientific principles, and led to Western artists seeking inspiration from traditional Chinese aesthetics. During his time at the School of Fine Arts in Hangzhou, Chu Teh-Chun had already established a solid foundation in both Chinese and Western artistic technique, and had embarked on the process of bricolage whereby he gradually put together his own artistic lexicon. During this period, Chu TehChun was exposed to the new trends that were sweeping the global art world, and was personally affected by the process of exchange and interaction between Western and Chinese culture. When Chu arrived in Paris in 1955, the conflict between the figurative and abstract schools was at its height. The following year, Chu had the opportunity to view an exhibition of works by Nicolas de Staël at the National Museum of Modern Art in Paris; de Staël’s work proved to be a major source of inspiration for Chu, encouraging him to embark on his own exploration of abstract art, an exploration that brought together traditional Chinese painting and calligraphy and modern abstract art.

This particular work, “Sublime perspectives”, was created in 1992. As the result of an ongoing process of artistic exploration and discovery, Chu Teh-chun’s artistic trajectory had moved away from introspection towards a more extroverted approach, while retaining the effective use of color and line to create “landscapes of the mind” that had been a constant element in Chu’s work throughout his career. By the 1990s, Chu’s work had become

freed from all inhibition; his spatial composition had become more striking and self-assured, and his use of color was smoother and more elegant.

This painting employs Chu Teh-chun’s favorite color tones, using a wide range of blue tones in combination with blue-green. Chu once said that he associated the color blue with the mysterious quality of the ocean and the way it constantly changes, sometimes calm and serene, sometimes wild and violent. Here, Chu’s use of blue adds an air of solemnity to what is otherwise a highly dynamic painting.

In this painting, the relationship between composition and color is particularly exquisite.

The positioning of an oval composition within a rectangular frame creates a visual contrast between stasis and movement, which is one of the characteristic features of Chu’s art. Rather than just adding large swathes of blue or green to the canvas, Chu has flourished a large brush back and forth, using a combination of long and short strokes, to portray the zen-like flow of blue and the magnificent stillness of green. The light reflected in the painting seems to come from a far-distant, as yet unexplored source. Having traveled such a long distance, the rays of light are unable to fully dissect the spatial and color composition of the work; instead, they seem to “float” over it, like air. The darker dots and lines, with their manic energy, are the “energy source” for the painting’s dynamism, guiding the viewer’s gaze around the canvas. The large patches of dark color tones that dominate the corners of the painting ensure that, even when the fantastical variations in blue and green color tone are contained and stabilized by black brushstrokes, this calmness does not degenerate into a sense of loneliness or isolation. At the same time, the faint touches of white or yellow that can be discerned in the blue act, through the medium of the viewer’s perception, to suggest the emission of light, while the extended

perspective provides enhanced freedom for the play of color. The patches of indigo constitute the “soul” of the painting; they represent the self-observation of poetic metaphor, and hold together the poetic rhythm of the work, keeping its precision and restraint. These color elements take the center of the painting as their axis, spreading out from it in interleaving layers.

The dense brushstrokes and intense colors safeguard a sense of emotion and internalized memory that is as fine and precise as a point of light; the individual’s will is placed within the majestic dynamism of life. This work embodies a progression from taking inspiration from the material world to taking inspiration from the soul, so that, when the artist puts down their brush and stands in front of the canvas, the sense of joy is undiminished.

Chu Teh-chun undertook an unceasing process of exploration in which he sought to find the best way to portray quite observation of the myriad aspects of the material world, along with a sense of supreme tranquility. This journey led him down a path in which he developed his own distinctive abstract style, and gave him an unchallenged, unique place within the Chinese and Western art worlds. Chu was a Chinese artist who, having absorbed the essential elements of Chinese culture and art, was then able to fuse them with the key aspects of Western art.

By contrast with post-war Western abstract expressionist art, in which a sense of alienation and powerlessness seems to grow steadily more pronounced, and which focuses on the unease, disturbance and upheaval within the human soul, Chu Teh-chun successfully employs the Eastern philosophical and painting traditions to reaffirm the traditional idea of harmony between the human soul and the workings of the natural world through his depiction of cosmic phenomena and the invisible landscapes of the human heart.

016

WU Guanzhong (Chinese, 1919-2010)

Plum Blossom in the Snow 1992 Ink and color on paper 70 x 140 cm Signed lower right Wu Guanzhong and dated 1992 in Chinese With two seals of the artist ILLUSTRATED: F a m o u s M o d e r n C h i n e s e P a i n t e r s - Wu Guangzhong, Chin Show Cultural Enterprise, New Horizon Cultural Enterprise, 1994, color illustrated, p. 91

HK$ 2,800,000-4,200,000 NT$ 11,480,000-17,220,000 US$ 359,000-538,500

吳冠中 雪梅 1992 彩墨 紙本 70 x 140 cm 簽名右下：吳冠中 九二 鈐印左上：九十年代 鈐印右下：吳冠中印 圖錄： 《中國近現代名家畫集：吳冠中》，錦繡文 化企業，新地平線文化事業有限公司，台 北，1994，彩色圖版，頁91

審美是一種主觀的意識，美學素養固然需學 習而得，但人天生可辨美醜，尤其中國文人 畫有鄙俗尚雅的傳統。吳冠中的繪畫具有文 人畫的特質，他終其一生勤於筆耕，追尋繪 畫的形式美。所以，無論是油畫抑或彩墨創 作，散發出的和諧優雅，總是予人以美的感 受，易於親近。 吳冠中藝術中的優雅特質，使他在現代畫壇 上極具感染力。他出生於江蘇宜興，青年時 於杭州藝專求學，生命中有三十年時間於江 南度過，因此江南的人文特色自然根植於在 他的繪畫本質。1950年後遷居北京，直至生 命終了。雖然生活在北方近一甲子光陰，但 他的繪畫仍多傾向於江南美學。吳冠中曾 說：「黑、白、灰是江南主調，也是我自己 作品銀灰主調的基石，我藝術道路的起步。 我一輩子斷斷續續總在畫江南。……」而他 筆下的江南水鄉風景可謂是優雅美學的極致 展現。 師承自林風眠、吳大羽、潘天壽，吳冠中掌 握住西方油彩的色感、結構，也保有東方線 條的簡約、墨色的詩韻。早期他的創作主要 以中國各地寫生的素描、油彩為多，1970年 代後期漸漸將主要心思放在水墨畫上，1980 年代嘗試潑墨線條的寫意創作，從中國藝術 傳統中悟得線條的淋漓暢快，與西方戰後發 展的滴流繪畫、抽象表現主義產生相互爭輝 的效果。 1980年代後，吳冠中從單純的黑白水墨畫， 漸漸添加上顏色，成為極具現代感的彩墨山 水。中國美術評論家翟墨指出其間的轉變： 「消除了顧慮的感情噴瀉，掙脫了羈絆的筆 墨縱橫，沉醉而激動的創造酣快，都大大增 加了點線的厚度，使素白由量變到質變而化 為或艷，或黑，或既艷且黑。」「艷黑是一 種反差張大強的現代色調。它的虛處比銀灰 輕，它的實處比銀灰重。它艷進太陽，它黑 入 太陰。它擺脫了對中介的依附，以更徹底 的獨立和更緊密的聯繫重入現代人心靈的高 森太空。由素白到艷黑的回歸式躍進，標誌 著吳冠中跨上了一個淡妝濃抹總相宜的新高 度。」 （摘自翟墨〈天堂夢尋：吳冠中畫集序〉一文。 中國藝術研究院研究員）

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吳冠中在1980-1990年代之間藝術成就跨上 新的高度，此幅作品《雪梅》即屬於評論家 所謂的「艷黑」階段，此系列作品甚且受到 世界級博物館的青睞與重視。1992年吳冠中 一批極具現代語彙的彩墨畫應邀於大英博物 館舉辦個展，此項展出經歷在中國在世藝術 家尚屬第一人。而其中一幅筆鋒流暢奔放的 《小鳥天堂》獲得大英博物館永久典藏。此 幅《雪梅》與《小鳥天堂》有類似的橫向長 形構圖，那是書畫喜於運用的形制，畫面中 心皆以濃重、老辣的黑色勾畫出主幹，細線 交錯，充滿東方書法精神。疏密有致的花朵 或枝葉，點彩穿插其中，揮灑出一幅既寫意 又有抽象表現特色的美麗圖畫。 吳冠中的彩墨藝術在學術界取得高度的評 價，在藝術 市場更是國際藏家競逐收藏的 標的。類似的構圖如《鸚鵡天堂》，在2005 年北京拍賣市場早已創下三千多萬人民幣 的價格；而巨幅彩墨畫《獅子林》於2011年 6月更拍出上億元人民幣的天價。這次拍賣 同一階段完成的《雪梅》彩墨畫作，亦值得 關注。吳冠中兼容中西藝術涵養的寫意、灑 脫，繪寫出梅花綻放雪中的華美奇觀，表達 出豐富深刻的人文思惟。吳冠中認為梅花的 香乃是來自苦寒，因其身世不凡形成獨特的 風姿。「緣於生生滅滅的輪迴匆匆，才促成 人間的繽紛多彩。」彩墨《雪梅》不僅是一 幅具形式美的圖畫，更是藝術家勤奮向上的 人生觀寫照，殊為難得。

epitomizes the elegant aestheticism that is Wu’s trademark.

As a student of Lin Fengmian, Wu Dayu and Pan Tianshou, Wu Guanzhong early on developed a firm g r a s p o f We s t e r n oil painting styles and techniques, 吳冠中 《小鳥天堂》1989 彩墨紙本 144x301cm 大英博物館收藏 Wu Guanzhong, Paradise for Small Birds, 1989, ink and color on paper, 144x301cm mastering palette Collection of British Museum and composition Aesthetics are a highly subjective affair. especially well. At the same time, he preserved Sure, good taste in the arts, discernment and important features of the Eastern tradition, such sophistication, require a certain effort and are as terse, even cryptic, lines and the calligraphic mostly an acquired quality. Even so, we are born poetry of black ink. Much of the artist’s early with an innate ability to tell the ugly from the work features sketches of Chinese landscapes, beautiful, and particularly the Chinese tradition usually drawn from life in various parts of of literati painting and calligraphy has always the country and executed in oil. After 1970, placed much emphasis on distinguishing the however, Wu began to focus more and more on elegant and subtle from the coarse and vulgar. ink and wash, and by the 1980s he frequently The art of Wu Guanzhong can be seen as a used the splashed-ink technique for increasingly modern extension of the literati tradition: his impressionistic or even abstract paintings. His whole life, Wu was in constant pursuit of the deep roots in Chinese art had taught him great “perfect picture.” Painting was not just a way skills with the brush, allowing him to indulge of earning a living, but an ongoing attempt to in free-flowing lines, intuitive shading and achieve beauty of form, be it in his oil paintings unrestrained strokes that are yet charged with or his colored inks. Whatever the medium, Wu’s meaning, while also successfully incorporating oeuvre is very accessible and its beauty readily into his work elements of the latest Western perceived by most observers—yet at the same approaches, such as drip-painting or abstract time, it is brimming with harmonious elegance expressionism. The overall effect is eclectic and and stylish sophistication. cohesive at the same time.

Wu Guanzhong’s grace and style have also made him one of the most influential modern Chinese painters. Born in Yixing, Jiangsu, he studied at the Hangzhou College of Arts and spent some three decades of his life in southeastern China, mostly Zhejiang, a fact that has left obvious traces in his art. In 1950 he moved to Beijing, where he would live and work for the rest of his life. But even 60 years in northern China could not eradicate the thoroughly “southern approach” that dominates most of his work. Wu himself once said, “Black, white and gray are the main hues of the south (Jiangnan), and in most of my own work I employ silver and gray tones as basic colors. All my work begins and ends with the south, and in a way I’ve been painting Jiangnan images and motifs all my life….” Indeed. The South with its sweeping vistas, green paddies and meandering rivers

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After 1980, Wu gradually began to add colors to his ink paintings, which up to then had been almost purely black-and-white. The result were colored ink landscapes of an astonishing modernity. Chinese art critic Zhai Mo describes the delicate change taking place in Wu’s art at this point, “Excising from his paintings all cumbersome facets of emotionality, and shaking the fetters of conventional ink and wash composition, the artist now revels in an intoxicating frenzy of pure creativity, completely detached from formal restraints and figurative considerations. Thick bold lines and freely applied splashes and dashes of color propel his work towards a fundamental change that is not merely quantitative, but qualitative in nature, with Wu showing equal adeptness at bright black shapes and lines, colorful phantasmagorias, or a well-balanced mixture

of both.” And “bright black is an extremely modern shade, a glowing tinge feeding on brilliantly exaggerated contrasts of shape and color. When it is applied lightly, the effect is softer and fainter than silver-gray, but where the artist employs powerful strokes, the result brims with masculine vitality. It can be scorching and bright as the Sun or cool and dark as the Moon, and it has freed itself from all attachment to a specific medium. Entirely independent, this color is capable of connecting with modern people’s sensitivities and winding its way straight into our souls. But the process from pure white to bright and brimming black is by no means linear; rather, it is a circular motion that yet manages to reach higher planes by spiraling from one level to the next as Wu Guanzhong explores ever new fusions of light hues, quiet tones, and thick and profound explosions of color.” (taken from: Zhai Mo, Searching for Paradise: Introduction to the Paintings of Wu Guanzhong)

not to be reminded of Chinese calligraphy. The exquisitely proportioned leaves and blossoms bespeak the artist’s excellent sense of spacing and color. The mottled approach, delicately interspersing the composition with sprinkled dots and flecks of brilliant shades, gives “Plum Blossom in the Snow” an impressionistic touch that is wonderfully balanced by its overall abstract-expressive quality.

Wu Guanzhong’s colored inks are highly regarded among art critics and the academia.

On the international art market, they are coveted by many collectors. An example is “Parrot Paradise”, which shows a similar compositional structure and was sold at a 2005 Beijing auction for more than Renminbi 30 million. Meanwhile, Wu’s “Lion Woods”, an oversized colored ink, achieved a record price of over Renminbi 100 million at an auction in June 2011. From the same period in the artist’s career, “Plum Blossom in the Snow” is another very attractive lot that displays the artist’s gentle fusion of Eastern and Western styles to create an exuberant and carefree brand of impressionistic beauty, perfectly capturing the fragile charm of a plum tree blossoming in the snow—a theme very much in the literati tradition. As Wu puts it, the fragrance of the plum flower is the direct result of the harsh conditions in which it yet manages to thrive, giving it its special place in the Chinese cosmos. “It is only through the karmic wheel of birth and rebirth that the kaleidoscopic variety of our world is brought about.”

“Plum Blossom in the Snow” is not just an aesthetically pleasing painting, it also bears witness to a life spent in the pursuit of the “perfect picture”–and few of Wu’s paintings could do so more eloquently.

B e t w e e n t h e 1 9 8 0 s a n d t h e 1 9 9 0 s , Wu Guanzhong’s art reached a new pinnacle of expressiveness, and this lot, “Plum Blossom in the Snow”, is one of the representative pieces from the artist’s “bright black” period. All works in this series are coveted collector’s items and treasured by museums around the world. In 1992, a large set of modern-style colored ink paintings by Wu Guanzhong was shown in a solo exhibition at the British Museum—the first time such an honor was bestowed upon a living Chinese painter. One of the pictures in the set, the buoyant “Paradise for Small Birds”, was chosen by the British Museum for their permanent collection. The present lot shares with “Paradise for Small Birds” a similar basic horizontal composition, which is perhaps not surprising considering Wu’s background in classical Chinese painting and calligraphy.

The centers of both paintings are dominated by dense black structures, skillfully placed, which form the main trunk from which t h i n n e r, s l i g h t l y less substantial and copiously intersecting lines are 吳冠中《鸚鵡天堂》1988 彩墨紙本 145x310cm 2005年北京拍賣會上3025萬人民幣成交 branching out in all Wu Guanzhong, Parrot Paradise, 1988, ink and color on paper, 145x310cm Sold for 30.25 million RMB at an auction in Beijing directions: it is hard

017

CHU Teh-chun (Chinese, b. 1920)

Composition No. 149 1963 Oil on canvas 130 x 97 cm Signed lower left CHU TEH-CHUN in Chinese and English PROVENANCE: Galerie Legendre, Paris Private collection, France (acquired from the above, 1965) EXHIBITED: Exposition Internationale des Peintures et Sculptures Contemporains, Museum of Carnegie Institute, Pittsburgh, 1964 Photo certificate from the Atelier Chu Teh Chun dated 9 Juin 2011

HK$ 5,500,000-8,500,000 NT$ 22,550,000-34,850,000 US$ 705,100-1,089,700

朱德群 紅色構圖 149號 1963 油彩 畫布 130 x 97 cm 簽名左下：朱德群 CHU TEH-CHUN 來源： 勒讓特畫廊，巴黎 私人收藏，法國（1965年得自上述來源） 展覽： 「當代國際繪畫雕塑展」，卡內基博物 館，匹茲堡，1964 附藝術家工作室開立之原作保證書

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朱德群是「新巴黎畫派」的代表人物之一。 1997年入選法蘭西學院藝術學院院士，成為 該院史上第一位獲此殊榮的亞裔藝術家。藝 評家探討朱德群畢生的繪畫風格，通常依 時間分期，有「大陸與台灣時期的寫實風 格」（1941-1955）、「抽象初期」（19571961）、「凝彩時期」（1963-1972）、 1970年代和1980年代、及1990年代之後等幾 個階段。他是勤於創造、熱愛繪畫的藝術 家，從不間斷工作，無論早年的戰亂遷徙， 或近幾年的年事已高，每天維持畫畫五到七 個小時。 1935年到1941年就讀杭州藝專六年時間，對 朱德群而言是非常重要的階段，未來的藝術 道路在此打下基礎。前衛的杭州藝專教師為 他打開藝術的眼睛，認識西方現代繪畫之 父—塞尚。朱德群堅信讀通了塞尚，就如同 掌握了一把通向現代藝術的鑰匙。他勤於繪 事，杭州藝專時期畫過五百幅油畫寫生，抗 日流徙期間曾完成八百幅素描與水彩，很可 惜這些作品都毀壞於戰亂遷徙中，眾人無緣 得見，然而這段歲月與歷練促使朱德群的技 藝純熟，捕捉到藝術創造的魅力。 1948年朱德群因緣際會地赴台灣教書，帶領 學生登上八仙山的寫生經驗，排山倒海的雲 海盛景，令人盪氣迴腸，讓他對雲霧之美與 中國繪畫根源有了深刻的體悟。日後當他在 法國從事抽象畫創作時，總能自覺地融入中 國山水畫的精髓，台灣山林的寫生起了至關 重要的作用。 而巴黎的「抽象初期」乃是朱德群的繪畫風 格從寫實轉向抽象的過渡。1950年代歐美的 抽象表現主義達到全盛時期，初抵巴黎的朱 德群，漸漸由早期後印象派畫風，思索解放 創作的束縛。1956年巴黎國立現代美術館舉 辦的史塔耶爾遺作回顧展，讓朱德群內心受 到極大震撼。這位一年前自殺身亡的俄國貴 族後裔，繪畫風格熱情而奔放，從有形到無 形，從具象到非具象，意念自由遊走。「自 由奔放何其可貴」，正符合朱德群亟欲追尋 的道路。他認為，史塔耶爾是到巴黎後他所 看到 最好的現代畫家！

於是，這一年也成為朱德群開始嘗試抽象畫 的起始。抽象畫給予他一種自由感，這段時 間的畫作常以建築與都市景觀為題材。簡化 形體，使用色面及線條，自信而暢快。1958 年開始在巴黎一間畫廊發表抽象畫，法國第 一大報《世界報》對畫展中他的線條、構圖 運用自如給予好評。1950年代是抽象畫派的 鼎盛時期，朱德群的畫獨創出一個詩意的自 然空間。 同年，巴黎一間風評甚佳、以介紹抽象藝術 聞名的勒讓特畫廊，在丹麥歌本哈根的查樓 登堡博物館策劃一場「巴黎畫派畫展」，朱 德群是其中唯一一位以遠東藝術家身分參 展；兩年後，資深的夏邦提耶畫廊在巴黎的 「1960年巴黎畫派」抽象畫展中，也將朱德 群納入展覽名單，再次奠定他在「新巴黎畫 派」成員中的定位。 勒讓特畫廊的藝術主任莫里斯．巴聶獨具慧 眼，1944年曾為康丁斯基在法國舉辦個展， 鼓舞後者的晚年時光。1958年巴聶發現朱德 群的不凡才情，開始買進他的作品，雙方簽 下六年的合同，這項代理合作無疑是肯定了 朱德群在抽象藝術的成就。巴黎生活有所保 障，畫家得以專心創作，合作關係直至1963 年。巴聶讚美朱德群是一位善於運用顏色的 畫家，油畫的構圖嚴謹。 朱德群1963年所完成的作品《紅色構圖149 號》，即是出自巴黎勒讓特畫廊所有。後來 此畫作被送往美國匹茲堡，參加1964年卡內 基博物館的「當代國際繪畫雕塑展」展出， 後來作品為歐洲收藏家購藏，直至最近才重 新出現於大眾面前。 《紅色構圖149號》屬於台灣藝評家李既鳴 所稱的「凝彩時期」。李既鳴對「凝彩時 期」風格的看法是：「朱德群擅長運用色 彩 ，是有目共睹的，無論高彩度的鮮紅、 寶藍、翠綠，在他的手下都成了馴服的臣 僕，儘管理論上互為敵對的色相，安排在他 的畫面上，又顯得調和。在畫面上，他習慣 將要表達的材料，像填海似的堆砌成一座小 丘，再以此為中心，大筆拖向四方，自然流

大元素中的「火」、「大氣」，歸結出朱德 群的神祕特質與感性的魔力，使其在巴黎畫 派群體中卓然獨立。《紅色構圖149號》畫 中所展現的正是藝術家顫動的、灼熱的情 緒，在濃烈的大紅色背景下，狂草筆觸般的 黑色線條大筆揮掃，寶藍色塊綻放星光，有 畫龍點睛之妙，詮釋出崇山峻嶺雲蔚霞起的 意境。

朱德群《構圖 No. 167》，羅芙奧香港2011年春拍 編號015，384萬港幣成交 Chu Teh-Chun, No. 167, 1964, oil on canvas, 65.6 x 80.6 cm Ravenel Spring Auction 2011 Hong Kong Lot 015, US$ 493,573 sold

露的律動和筆觸，就是他的技巧。」（參閱李 既鳴，〈朱德群的繪畫歷程〉，《美術論叢15：中國—巴 黎—早期旅法中國畫家研究》，台北市立美術館，台北， 1989，頁121）

以《紅色構圖149號》作品為例，灼熱的中 國紅為背景，畫面中央是迭宕起伏的筆觸與 動勢，厚實的顏料所堆砌的山丘，凝聚了畫 面的重心。彷彿是記憶裡中國的大山大水。 在鄉愁的背後，有藝術家內在濃得化不開的 情感。1960年代，巴黎畫壇面對紐約藝術的 異軍突起，普普藝術、極限藝術如浪潮般襲 來。十九世紀以來巴黎一直是世界藝術的 首都，如今氣氛顯然緊張，而代理畫廊也考 慮風格轉型。朱德群此時的作品透不免露出 凝重的氛圍。然而儘管面對新寫實主義與普 普藝術的衝擊，他仍堅信自己要走的道路， 咬緊牙關繼續創作，這樣的掙扎現象表現出 「凝彩時期」的沉鬱與蒼勁。 朱德群以易經陰陽的哲理、中國山水畫的虛 實概念，將自然風景提煉為宇宙的元素，簡 約而單純，發展出1960年代的壯懷激越的繪 畫風格。法國詩人兼藝評家龍柏以西方的四

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朱德群也認為自己的繪畫屬於「熱情抽象 派」，他曾和中國作家錢林森分享創作的 心得：「我的畫是對宇宙的叩問，是生命的 沉思和激情的碰撞。我用色彩，用光線來構 築我的圖畫，訴說我對世界和生命的認識， 表達我的疑慮、我的思考和我的感情。我作 畫的時候是一種感情衝動，有些人說我的畫 可以體會到感情自然流露，我想真誠的熱情 是可以得到人們共鳴的。」在早期作品《紅 色構圖149號》之中，畫家表現內在的炙熱 情懷，渲染力十足。而「凝彩時期」過後， 朱德群的畫風走向舒展明亮、色彩繽紛，即 為世人常見的朱德群抒情抽象風格。 然而， 「凝彩時期」因有畫家的生命掙扎呈現獨特 的濃烈風格，《紅色構圖149號》可謂「凝 彩時期」精采的代表作，尺幅相對於同期畫 作更為宏大，在不易尋找的早年油畫作品中 更顯難得。

The “elementary abstractive period” while in Paris was when Chu Teh-chun’s painting style transformed from realistic to abstract.

The 1950s was the heyday of Western Abstract Expressionism. After arriving in Paris, Chu started seeking liberation of artistic creation through his exploration in an early stage postimpressionism. Chu Teh-chun’s mind was deeply touched by the exhibition of posthumous works of Nicolas de Staël, held in Musée National d'Art Moderne (Paris National Museum of Modern

Art) in 1956. The artist - Nicolas de Staël - was a man of Russian royal descent who took his own life in 1955. His drawings are passionate, brave and free, from visible to invisible, from representational to nonrepresentational, and his thoughts traveled without boundaries. “Freedom and braveness are priceless”, an idea from Staël which perfectly matched Chu Teh-chun’s pursuit of art. In his mind, Staël was the best modern artist he had ever seen after arriving Paris!

From this period onwards, Chu started his exploration in abstract paintings. The abstractive style offered him a sense of freedom, and his work during this period mainly focused on architecture and urban landscapes. In these paintings, shapes were simplified and expressed with lines and surfaces of colors in a confident, free, and smooth way. His abstract paintings were first seen in a gallery in Paris, Le Monde, and a major newspaper in France gave him positive criticism about the lines and composition in his work. As the 1950s was the golden age of abstract painting, Chu Teh-chun’s work created a unique environment of poetry.

朱德群《構圖 No. 116》，羅芙奧台北2011年春拍 編號151，1200萬台幣成交 Chu Teh-Chun, Composition No. 116 1962, oil on canvas, 60 x 81 cm Ravenel Spring Auction 2011 Taipei, lot 151, US$ 418,556 sold

In the same year, a well-known Gallery in Paris, Galerie Legendre, which is famous for its abstract art, held an exhibition of “La Peinture de l’Ecole de Paris” in the Charlottenburg Museum in Copenhagen in Denmark. Chu was the only East Asian artist who had his work exhibited at the event. Two years later, Chu’s name appeared in the exhibition list again in the “1960 La Peinture de l’Ecole de Paris” held by the authoritative Galerie Charpentier, which reemphasized Chu’s representative position as a member of the “Nouvelle École de Paris.”

Maurice Panier, whom was the director of Galerie Legendre, had deeps insight on various forms of art; he held a solo exhibition for Kandisky in France in 1944 that inspired Kandisky’s later years. Panier spotted out Chu’s extraordinary talent and started to collect his work. Eventually, he signed a six-year agency agreement with Chu, which was a significant acknowledgement of Chu’s accomplishment in abstract art. Chu’s livelihood in Paris was taken care of so that he could dedicate 100 percent of himself to artistic creation. The collaboration lasted until 1963. Panier praised Chu Teh-chun as a “coloriste,” and “rigoureusement composes.”

C h u Te h - c h u n ’s w o r k , “ C o m p o s i t i o n No.149,” was finished in 1963 . This piece was originally put in the Galerie Legendre.

Later, the piece was sent to Pittsburgh, US for the “Exposition Internationale des Peintures et sculptures Contemporains,” at Museum of Carnegie Institute in 1964. Years later the piece was collected by an European collector. Most recently, this masterpiece re surfaced to new hands, yet again.

“Composition no.149” is a piece created during

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the so-called “condensed color period,” a time period described by Taiwan art critic Li Ji-ming.

Li’s insight on the “condensed color period” is : “Chu Teh-chun's outstanding skill in the use of colour is generally acknowledged. Even the brightest red, the deepest sapphire or the freshest green are never allowed to dominate the entire composition, but are skillfully placed in a larger context. Even strongly contrasting or discordant hues will magically appear united in harmony under Chu's delicate brushstrokes. Chu heaps layer upon layer of colour, as if filling up an ocean of possibilities with concrete shapes and motifs, rising like a hill in the painting 's centre of gravity, and sending out rays of fluid rhythm in all directions, effervescent and natural for all their elaborate sophistication.” (cf. Li Jiming,' Chu

pieces. This kind of struggle was expressed in his composure and strength during the “condensed color period”.

Chu Teh-chun applied both the Yin-Yang philosophy and the Xu-Shi (virtual-real) concept of Chinese landscape painting in his work.

He used natural landscape as an element of

Chu Teh-chun considers his own paintings as “passionate abstractionism,” he once shared his concepts of artistic creation with Chinese writer Qian Lin-sen: “My painting as questions to the Universe, is a collision between the pondering and passion of life. I use colors and lights to compose my paintings, to express my understandings of the world and our lives, to communicate my doubts, my thoughts and my feelings. I have this motivation of emotions drives me while painting; some say that they can sense a natural revelation of feelings in my works, so I think the sincere enthusiasm can be felt and attracts resonance.”

Teh-chun's Road as a Painter' in Fine Art Studies 15: The ChinaParis Connection. Studies on the First Generation of Chinese Painters in France, Taipei: Taipei Fine Arts Museum, 1989, p.

121)

Take “Composition No.149” as an example: the deep China red is the background of the painting, with majestic brush movements that glide up and down the centre. The hill piled up with thick strokes of paint bring a gravity to the centre of the painting. It feels like the great mountains and rivers of China in memory. Behind the homesickness, there are the intense emotions deep inside the heart of the artist. For painters in Paris in 1960s, it was an age of blossom and revolution, where new forces such as Pop art and Minimal art emerged with strong impacts. Paris, being the capital of the art in the world since the 18th century, began to change when a sudden tension filled the city, where agency galleries were considering a major transformation. Chu, at this time, facing the shock of the increase in Pop art and its associated pressures, stuck with his ideas and continued to create abstract art

Chu’s painting, making him stand out among other artists and art genres in Paris. The vivid and burning emotions of the artist is perfectly expressed in “Composition No.149,” where cursive-like bold lines of black are wielded on top of the background of intense red. Color blocks of sapphire blue glowing stars lights light up the whole picture, conveying the concept of a indescribably beautiful view of thick clouds floating amidst striking, tall mountains.

朱德群《紅雲村．白雲舍》1960 油彩 畫布 2006年5月28日 HK$25,880,000 成交於香港 Chu Teh-Chun Rouge, la pluie de petales sur le village. Blanc, le nuage au-dessus de la maison no. 53 1960, oil on canvas, 195 x 130 cm.

US$3,351,331 sold on May 28, 2006 in Hong Kong

the universe, simple yet pure, and established his brave and striking drawing style in the 1960s. French poet and art critic Jean Clarence Lambert used the two elements of the four fundamental elements in western world - fire and air - to describe the charm and mystery in

In “Composition No.149", an early piece of work by the artist, he expressed an inner strength and strong emotions, drawing in the viewers.

After the “condensed color period”, Chu’s painting styles transformed to being bright and open, full of vibrant colors, which is the “Chu Teh-chun style,” a now-commonly recognized style. However, the unique and intense drawing style of the artist during the “condensed color period” was a reflection of his struggles in life, and “Composition No.149” is a representative master piece of that period; it is one of the boldest and bravest paintings from the artist during that period, even more rare than pieces during his early artistic career.

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ZAO Wou-ki

(Chinese-French, b. 1921)

4.4.85

趙無極的作品《4.4.85》曾是紐約知名的皮 耶．馬蒂斯畫廊的舊藏。皮耶．馬蒂斯乃是 法國野獸派大畫家亨利．馬蒂斯的么子，自 幼浸淫在藝術家庭中，1924年他前往紐約開 啟畫商生涯，並在1931年在紐約以自己的名 字開設一家畫廊，營運至1989年過世為止。 六十五年的畫商生涯中，曾經代理過多位偉 大的藝術家：諸如米羅、夏卡爾、馬蒂斯、 傑克梅第、盧奧、巴爾杜斯、杜布菲等諸多 現代、當代藝術大師，皮耶．馬蒂斯在二十 世紀現代及當代美術史中佔有一席之地。 1995年紐約的尚．庫魯傑爾畫廊、2002年紐 約摩根圖書館暨博物館、2005年紐約大都會 美術館，都曾以主題展覽向這位畫商致敬。 趙無極常是參與展出的藝術家之一，可見得 這兩位畫商與藝術家之間的密切合作淵源。

1985 Oil on canvas 97 x 195 cm Signed lower right Wou-ki in Chinese and ZAO in French ESTIMATE ON REQUEST PROVENANCE: Pierre Matisse Gallery, New York EXHIBITED: Zao Wou-ki Paintings 1980-1986, Pierre Matisse Gallery, New York, May 6-13, 1986 ILLUSTRATED: Jean Leymarie, Zao Wou-ki, Editions Cercle d'Art, Paris, 1986, color illustrated, no. 249, p. 307 Zao Wou-ki Paintings 1980-1986, Pierre Matisse Gallery, New York, 1986, color-illustrated, no. 13 Daniel Abadie, Zao Wou-ki, Ars Mundi, Paris, 1988, color illustrated, no. 65 Zao Wou-ki Paintings 1935-2008, Kwai Fung Art Publishing House, Hong-Kong, 2010, colorillustrated, p. 239

趙無極 4.4.85 1985 油彩 畫布 97 x 195 cm 簽名右下：無極 ZAO 估價待詢

來源： 皮耶．馬蒂斯畫廊，紐約 展覽： 「趙無極繪畫1980-1986」，皮耶．馬蒂斯 畫廊，紐約，展期自5月6日至13日，1986 圖錄： 雷馬利，《趙無極》，藝術圈出版社，巴黎 ，1986，彩色圖版，編號249，頁307 《趙無極繪畫1980-1986》，皮耶．馬蒂斯 畫廊，紐約，1986，彩色圖版，編號13 丹尼爾．阿巴迪，《趙無極》，亞斯．蒙地 出版社，巴黎，1988，彩色圖版，編號65 《趙無極作品集1935-2008》，季豐美術出 版社，香港，2010，彩色圖版，頁239

1979年皮耶．馬蒂斯首度拜訪了位於巴黎的 趙無極畫室，表達欣賞之意，並邀請他隔年 到紐約的畫廊舉辦個展。趙無極在皮耶．馬 蒂斯畫廊1980年的首次畫展中，展出多幅油 畫與水墨作品，商請友人建築大師貝聿銘親 自撰寫展覽目錄序言。皮耶．馬蒂斯畫廊曾 分別於1980、1986年舉辦過兩次趙無極個 展，馬蒂斯夫婦和藝術家有密切的互動友 好關係。作品《4.4.85》即是1986年畫展中 的重要展品之一。趙無極曾經於1986年繪製 了一幅三聯幅大作，向這位偉大的藝術經紀 商致敬，以紀念兩人的友誼。一直到1989年 皮耶．馬蒂斯過世為止，《4.4.85》畫作都 屬於該畫廊的收藏。1990年5月為了處理遺 產稅等問題， 皮耶．馬蒂斯身後一批豐富 的藝術遺產轉售給蘇富比公司與阿夸維拉畫 廊，當年高達1億6千多萬美元的交易曾轟動 一時，此幅趙無極的創作因此得以輾轉流入 市場，成為私人收藏的夢幻逸品。 趙無極的作品《4.4.85》有海景型的橫向開 闊格局、迷濛的光線，充滿詩意，大氣淋 漓的色韻間，融入畫家的心靈探索，將東 方情思以西方油彩發揮地泰然自若，堪稱 是趙無極1980年代的里程碑創作。1988年 趙無極在巴黎出版的自傳中提起「...我喜 歡自然這兩個字，它意味著非常廣闊的宇 宙；那重疊著錯綜複雜的空間，表現出大 氣在流動，風在吹拂的感覺。」趙無極迷 人的抽象作品，一直以來被評論家認為是 結合東西方文化最完美的表現，他分別以 西方的油彩，東方的水墨，表現了中國人 宇宙和諧、天人合一的理想。

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作品《4.4.85》畫裡的光影氛圍，不禁令人 連想起同樣師法自然的英國水彩大師泰納。 泰納是英國公認有史以來最偉大的水彩畫 家，他以捕捉變化無常的大氣氛圍及迷濛光 影的效果見長，將霧氣氤氳、雲彩變幻的英 倫風貌描寫得淋漓盡致，為人歌頌至今。 泰納筆下的山光水色，呈現出東方的抒情意 境。而趙無極的《4.4.85》畫作亦處處洋溢 大師風采，揉合西方光影變幻及東方的宇宙 觀。畫中的向上昇華的光輝意象，乃是來自 於藝術家記憶與夢想的延伸。

，奔馳在東方與西方之間 ，在能量與冥想 之間。 （尚·雷馬利，《趙無極》，藝術圈出版社，巴 黎，1988 ，頁 49）法國藝評家賈可柏在1986年 紐約皮耶·馬蒂斯畫廊《趙無極個展：1980 年到1985年作品》展覽目錄序文，對於這時 期的創作作了適切的評論：「眼光仍然開向 所有的可能，是一個在世界形成之前的渾 沌，是一條路，不通向終點，卻溯至起源， 在有形無形之間，這就是趙無極的畫領我們

1980年代趙無極進入耳順之年，他自言愈 發地喜愛畫畫，他畫自已的生活，同時也 想欲繪畫眼睛所看不見的空間，一個夢想的 空間，一個令他永遠感覺和諧之所在，即使 他採取了一種充滿矛盾力量的不安形式。在 趙無極氣勢恢弘的圖畫裡，的確潛藏著個人 細膩、敏感的情緒，他的繪畫成為情感的指 標。每一幅畫，從最小到最大，都是他夢的 空間的一部份，毫無隱諱地流露了他的感情 和心境。 台灣美術史學家蕭瓊瑞總結了趙無極繪畫創 作的五大特色：「強烈的生活性」、「豐富 的色彩」、「多樣的質感」、「濃厚的音樂 性」、「虛實相生的空間感」。他認為「趙 無極將中國長久的人文理想，以現代的方 式，具體而真實的呈現在人們眼前，成為 二十世紀人類精神可珍惜的偉大遺產。趙無 極在中國苦難的時代，遠離中國，但卻以文 明而美好的方式，讓中國人重獲尊嚴，重拾 信心，進而生發奮起直追的意志。」 （參閱蕭 瓊瑞，〈東西文化的完美結合〉，《中國巨匠美術週刊— 趙無極》，1992，錦繡出版事業，頁36）

1980年代前後，曾編著趙無極重要油畫作品 目錄集的藝術史學家—尚．雷馬利，盛讚趙 無極不斷以作品探究了物質輝煌和精神豐盈 之中無盡的可能性。他的創作愈來愈自由

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極、梵思娃·馬凱著，劉俐譯，《趙無極自畫像》，藝術 家出版社，台北，1993年初版，1996年再版，頁 167）

回顧趙無極的藝術創作歷程，美國知名藝評 家喬迅則認為趙無極從1979 年之後因嘗試 水墨畫的創作，轉換了過去的研究，投入一 種新的風格方向。從1979之後的十年間，也 就是1980年代的趙無極繪畫，已臻至一種 「優雅的狀態」，此階段他卸下所有的急 躁，反而創造了中國繪畫裡出更為強勁的繪 畫「骨法」。光線，從無盡溫柔的底處慢慢 湧現、擴大，將黑暗圍繞了，某種圖誌形式 開啟了寂靜與靜默。 趙無極的1980年代繪畫達到喬迅所言的「優 雅狀態」，而藝術家也曾自言，他希望他的 畫面能夠簡單一點，能夠多一點空間的感 覺，他也一直在尋找這種空間的感覺。 在 趙無極的自傳裡有一段話 ，傳達了如此的 意志：「現在我只一心作畫，隨當時的靈 感，隨色彩的需要。色彩是一切，什麼也不 是，要用得非常精簡，甚至吝惜。」

亨利．馬蒂斯 《皮耶．馬蒂斯畫像》 1909 油彩 畫布 40.6 x 33cm 私人收藏 Henri Matisse, Portrait of Pierre Matisse 1909, oil on canvas, 40.6 x 33 cm, private collection

去的所在，一個未完全定形的世界，仍在懸 盪，在遲疑，是在形成秩序前最後一刻的翱 翔。......趙無極的畫恆在對宇宙提出疑問， 恆在戮力重造。有些畫顯示太初的勃然之 氣，能量摩盪，景物成形成象前的翻騰，還 有些畫展現星雲的桀驁，或光的誕生或水的 發明，或第一個清晨，或在物質的動盪之 外，呈現生命，在隱約中，湧現。」 （趙無

依隨色彩之的需要，依隨當時之靈感，使得 1980年代的趙無極繪畫顯得高妙精練，有別 於過去的激昂、雄渾，起伏顫動的情緒。 《4.4.85》作品裡帶有趙無極的深沈哲思， 他嘗試藉由單純的色彩，使得繪畫走向無限 的天人合一境界。面對塵世的混亂，畫家在 自己的畫室裡沈澱、思考，心中存有了繪 畫的秩序。當他面對畫布裡不可預見的世界 時，展開冒險與神遊。畫家孤獨地在畫室裡 揮灑著油彩顏料，利用其延展特性，彩色的 光芒顫動，深不可測，靈思泉湧，突然出現 在其中，色調變化活潑，變化萬千。在這幅 《4.4.85》的繪畫裡，顯示了畫家承續了東 方繪畫、詩歌裡留白的傳統，以及發揚西方 繪畫經典裡光的空間，闡述了東西交融，陰 陽和諧的中道，既有西方神祕學說的啟發， 又有中國人的自然思考，趙無極使其藝術臻

至高妙的境界。

Gallery, Zao put up many works in oil as well as ink and wash. His friend, master architect I.M.Pei., personally wrote the preface to the exhibition catalogue. Zao Wou-ki’s solos were held on two occasions at the Pierre Matisse Gallery during 1980 and 1986. The painting “4.4.85” is one of the most important exhibited works in the exhibition in 1986. There existed an intimate, friendly and interactive relationship between the Matisse couple and the artist himself. In memory of their friendship,

into the market to end up in a private collection.

Armed with a broad poem landscape composition and the hazy light typical of Zao Wou-k’s work "4.4.85" is a former ocean scenery, the painting "4.4.85" is filled collection of the famous Pierre Matisse Gallery with poetic charms. The master's artistic in New York. Pierre Matisse was the youngest explorations are infused within the charming son of the great Fauvist master Henri Matisse colors of the uninhibited atmosphere, and grew up since young in an artistic family. displaying eastern sentiments with tremendous In 1924, he left for New York to embark on his ease through the western colors. This is worthy art dealer career and he started an art gallery in of mention as a milestone for Zao WouNew York named after him during 1931, which ki during the 1980s. In his 1988 remained in business till he passed autobiography that was published away in 1989. In a career that spanned in Paris, Zao said, "I love the word almost 65 years, he represented many nature. It signifies a tremendously great modern and contemporary artists vast universe; a complex overlapping such as Joan Miró (1893-1983), Marc space that display feelings of Chagall (1887-1985), Henri Matisse turbulence in the atmosphere and (1869-1954), Alberto Giacometti those of a gentle passing breeze".

(1901-1966), Georges Rouault (1871Zao's endearing abstract works have 1958), Balthus (1908-2001) and always been regarded by critics Dubuffet (1901-1985). Indeed, Pierre as the perfect embodiment of both Matisse has an important role in the Eastern and Western cultures. Using history of 20th century modern and Western oil and Eastern ink and contemporary art. In his honor, the Jan wash, he demonstrated the Chinese Kruger Gallery in 1955, the Morgan ideals of a harmonious universe and Library & Museum in 2002 and the the perfect union between heaven New York Metropolitan Museum in and man. Through the atmosphere 趙無極 《17.4.64》，羅芙奧台北2009秋季拍賣會，編號103，1億5840萬台幣成交 2005 had all held exhibitions themed ZAO Wou-ki, 17.4.64, 1964, oil on canvas, 114 x 162 cm of light and shadow in the painting around this art merchant. Zao WouRavenel Autumn Auction 2009 Taipei, lot 103, USD 4,925,373 sold "4.4.85", one can't help but recall ki would often be among the artists John Mallord William Turner, the master Zao once painted a huge triptych in 1986 to who took part, thus demonstrating the intimate British watercolorist, who was also an advocate pay homage to Pierre Matisse. Until Matisse's relationship and cooperation existing between of replicating nature. Turner is universally demise in 1989, the painting "4.4.85" remained the artist and the art merchant. acclaimed as the greatest English painter of under the Gallery's collection. In May 1990, watercolors that ever lived. He excelled at a portion of the art inheritance left by Pierre In 1979, Pierre Matisse paid his first vist to Zao capturing variable atmospheric conditions and had to be sold on to Sotheby's and Acquavella Wou-ki’s studio in Paris. Impressed by Zao the play of light and shadow, and his depictions Galleries in order to deal with his estate duties Wou-ki’s works of art, Pierre Matisse expressed of the misty atmosphere of contemporary and taxes. The deal was then worth a staggering his admiration to the artist and invited Zao to London, in which visibility was constantly US$ 160 odd millions .As a result, the three hold a solo in his New York gallery. In 1980, changing, are still widely admired to this day. panel artwork created by Zao was thus released during his first exhibition at the Pierre Matisse

the smallest, is a part of his dream space, completely revealing his feelings and state of mind.

泰納 《光與色彩》1843 油彩 畫布 倫敦泰德畫廊收藏 John Mallord William Turner (1775-1851) Light and Colour (Goethe's Theory) - The Morning after the Deluge - Moses Writing the Book of Genesis, 1843 Oil on canvas, 78.5 x 78.5cm, collection of Tate Gallery, London

Turner’s landscapes seem almost to embody an East Asian emotional aesthetic. The influence of Turner is readily apparent in Zao Wou-ki’s “4.4.85,” which brings together Western-style variation in light and shadow and an Eastern cosmic perspective. The light rising upwards towards the top of the canvas constitutes an embodiment of the artist’s memories and dreams.

Approaching sixty years old during the 1980s, Zao proclaimed his ever growing love for painting. He painted his own living, at the same time he also yearned to paint spaces that were invisible to one' s eyes, a space in his dreams, a place that always leave him in harmony, even if he had adopted an insecure format filled with contradicting forces. Indeed, Zao Wouki's finer and more sensitive personal emotions are hidden within those majestic pictures of his. His paintings have turned into emotional indicators.

Every piece of painting, from the largest to

48

Taiwanese art historian, Hsiao Chiung- Jui summarized Zao Wou-ki's painting creations u s i n g 5 m a j o r c h a r a c t e r i s t i c s , n a m e l y, "powerful sense of living", "rich colors" , "diverse textures" , "strong lyrical sense" and "a spatial sense alternating between virtuosity and reality" . He felt that "Zao had placed before us the age old Chinese ideals of humanity in a real and objective form by repackaging them in a modern manner, turning them into a precious and noble inheritance for 20th century human spirituality. During China's times of ills and pains, Zao Wouki went far away from her, but at the same time, in a civilized and beautiful manner, he enabled the Chinese to restore their pride, regain their confidence and further instilled in them a determination to catch up with others." (refer to Hsiao Chiung-Jui, a perfect blend of East – West cultures, Masters of Chinese Painting: Zao Wou-k", Jin-Hsiu Publications, 1992, p. 36)

During the 1986 New York exhibition "Zao Wou-ki Paintings from 1980 - 1985" held at the Pierre Matisse Gallery, French art critic François Jacob passed an apt comment on the period's creations, "an outlook that continues to regard all possibilities, it is the origin that existed before the world was formed, it is a road, leading not to the end, but source back to its origins, confined within tangibles and intangibles, this is where the paintings

by Zao Wouki leads us to, a world that has yet to determine its form, still in suspension, hesitating, in its last flight prior to the birth of order.......The perpetuity of Zao' s paintings lies in their questioning of the world, in their efforts to recreate. Certain paintings depict the furor of origin; the ripples of energy clashing abrasively and the turbulence that occurs before the scenery take form and shape.

Some other paintings display the obstinacy of nebulas, or the birth of light, the invention of water, the first dawn, or beyond the turbulent upheavals of matter, present life indistinctly emerging." (Zao Wou-ki & Françoise Marquet, translated

by Liu Li, Autoportrait, Artists' Publications, Taipei, First

After the 1980s, Jean Leymarie, the art historian who compiled a catalogue for impor tant works completed by Zao Wou-ki, applauded Zao for his continuous efforts in exploring the endless possibilities between the splendor of physical matter and the richness of spiritual well being.

His creations are getting more liberal, swinging between the East and the West, between energy and contemplation. ("...l'oeuvre singulière de Zao Wou-ki reste inépuisablement ouverte dans sa spléndeur physique et sa plénitude spirtuelle.

Elle assume avec un élan de plus den plus libre la symbiose totale entre l'Occident et l'Orient, entre l'énergie et la contemplation.") (Jean Leymarie, Zao Wou-ki, Editions Cercle d'Art, Paris, 1986, p.

49)

print 1993, 2nd edition 1996, p. 167) ("Un regard encore ouvert à tous les possibles. Un état qui précède le monde. Une route quiconduit, non à l'achèvement, mais à l'origine, aux confines de ce qui n'est pas encore. C'est là que nous entraîne la peinture de Zao Wou-ki, vers un espace qui n'est pas encore déterminé, mais reste en suspens, hésite, plane un dernier instant avant de basculer dans ce qui, plus tard, deviendra un ordre.... Il y a dans la peinture de Zao Wou-ki, une perpétuelle mise en question du monde. Un acharnement à le re-créer. Certaines de ses toiles évoquent la fureur des origins, l'enfantement de la matière par l'énergie, les derniers soubresauts des explosions créatrices. D'autres déploient

l'indocilité moqueuse des nébuleuses. Ou la nai s sance de la lumière. Ou l'invention de l'eau.

Ou le premier matin, comme ce merveilleux petit triptyque aux blancs rosés. Et en filigrane, par-delà les convulsions de la matière, comme prête à sourdre, la vie.") (Zao Wou-ki & Françoise Marquet, Autoportrait, Fayard, Paris, 1986, pp. 186-187)

Looking retrospectively at Zao Wouki's creative journey in art, renowned American critic Johnson Hay reckoned that Zao turned away from his studies in the past to take a new direction in style from 1979 onwards, after dabbling his hands in ink and wash. In the decade after 1979, in other words, during the 1980s, Zao Wou-ki attained a "state of grace" with his paintings. At this stage, he shed off all his impatience and instead created a more forceful "bone – structure" within Chinese painting. From an infinitely gentle base, light emerged slowly, expanding till it surrounded darkness, a kind of sign that opened up silence and stillness.

Zao Wou-ki's paintings in the 1980s attained what Johnson termed as a "state of grace". The artist himself also mentioned that he wished his pictures to be simpler, to possess a larger sense of space and he had always been in search for such a spatial sense. There is a passage in

Zao's autobiography which conveyed such a goal, "Now I put my heart purely into painting, according to inspirations of the moment, according to the needs of colors . Colors are everything, nothing else is, it must be used simply and efficiently, even to the point of being stint." (Maintenant je ne cherche rien d'autre qu'à faire un tableau, sous l'emprise du moment et la couleur, où représenter à la fois tout et rien, avec économie, parcimonie même.)

According to the needs of colors , according to the inspirations of the moment, made Zao's paintings in the 1980s appear terse and ingenious, vastly different from the quivering emotions in the pas t that were both rousing and forceful. "4.4.85" contains deep philosophical thoughts by Zao Wou-ki. Using simple colors, he attempted to lead painting into an infinite

realm of harmony between heaven and man.

Faced with the chaos in our mundane world, the painter settled down to ponder in his studio and the order of painting came to his mind.

Facing the unknown world inside the canvass, he roamed on a spiritual adventure. Isolated in loneliness within his studio, the artist painted freely using the oil colors without any restraint, capitalizing on its stretch characteristic. One can hardly fathom the quivering radiance from the colors. Sudden gushes of inspired thoughts appear from within as colors and tones changes vividly in a myriad of manners.

In the painting "4.4.85", traditions of leaving white space seen in Eastern painting and poetry adopted by the painter is clearly demonstrated. It also carries on the use of space for light as seen i n We s t e r n c l a s s i c a l painting. The painting tells of the Middle Way, w h e r e E a s t a n d We s t blend, while Ying and Yang exists in harmony.

Comprising of inspirations rendered from Western mystical studies as well as Chinese ponderings on nature, Zao Wou-ki has brought his art to an ingenious level of attainment.

019

ZAO Wou-ki

(Chinese-French, b. 1921)

5.2.81

活躍於歐洲藝壇三十多年之後，1981年的夏 天，趙無極第一次正式獲得法國官方的邀 請，在典雅富麗的巴黎大皇宮舉辦回顧展。 大皇宮是國家級的博物館，1900年之後巴黎 首次出現的最高大建築物，曾經為塞尚、莫 內、盧梭、畢卡索、馬蒂斯舉辦過大型回顧 展，1981年大皇宮回顧展無異是為表彰趙無 極的不凡藝術成就。爾後，趙無極的回顧大 展即在國際間展開。1980年代，趙無極的繪 畫走入新的視野，簡約精煉的色彩、靜默空 間的追求，走向無限寬廣的天人合一境界。

1981 Oil on canvas 100 x 81 cm Signed lower right Wou-ki in Chinese, ZAO in French Signed on the reverse ZAO WOU-Ki in French and titled 5.2.81 The painting is to be sold with a photograph signed by the artist.

HK$ 7,000,000-9,000,000 NT$ 28,700,000-36,900,000 US$ 897,400-1,153,800

趙無極 5.2.81 1981 油彩 畫布 100 x 81 cm 簽名右下：無極 ZAO 簽名畫背：ZAO WOU-Ki 5.2.81 附藝術家親簽作品照片

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趙無極是享譽全球的華裔藝術家，在抽象表 現繪畫的做出卓然的貢獻，他以油彩繪寫出 潑墨山水的巨構，創作生涯至今超過七十 年。在二十世紀的中國畫家中，能在國際藝 壇享有盛名數十年，作品廣為重要美術館收 藏者，趙無極是第一人。 他畢生勤於繪畫，為人類的精神文明留下可 貴的寶藏，每個生命階段都有令人驚艷的繪 畫風格。1980年前後，趙無極的藝術看重宏 觀的佈局，追求文人繪畫的畫境、意境。趙 無極於1980年代已受極高的藝術評價，曾先 後獲邀於巴黎的國立裝飾藝術高等學校和浙 江的中國美術學院（原杭州藝專）講學。趙 無極對中國學生分享其創作心得，他在自傳 中寫道：「在開始一幅畫時，一定要著眼整 體的佈局。因為如果一開始就從中間下筆就 很難掌握它與其他部分的關係。色彩不能單 獨使用，因為它不是單獨存在的。因為只要 著上一筆，整個畫面都會跟著改變，如果觸 及一點，就勢必要連帶更動其他地方。」

油畫作品《5.2.81》為趙無極在1980年代的 傑作之一，畫中以乾筆皴染、斑駁蒼茫的煙 雲，表現聖光乍現的無聲力量。在經歷過 1970年代因應內在需要重拾筆墨之趣，趙無 極曾說「在大空大白間找到以前沒有想到過 的空間」、「水墨直接的掃灑濺射在紙上產 生一種充滿著詩的空間」。此時的趙無極能 更率性地運筆、掌握油彩的肌理，借用中國 畫的多點透視觀點，構成自由的空間關係。 他在畫中表現虛空的奧祕，深探宇宙的幽 微，純白、輕盈的光華躍然向上。 在抽象世界裡，趙無極不是回歸於傳統的 中國，而是向自己的美學傳統進展，探索 中西方時空的意念，優雅地表現出當代抽象 繪畫的人文特質。1980年代他的油畫進程得 以臻至「反虛入渾」的境界。趙無極曾說： 「空白與寂靜直接的觸及我，給我更多的信 心，可以繼續追尋未知的新的世界」。此時 他的繪畫傳達空靈脫俗的詩意。油畫作品 《5.2.81》中焠鍊出層次豐富的色彩，渾然 天成的清澈透明，實為絕妙的藝術表現。畫 面中如飛瀑溢灑而出的音樂律動性，啟發觀 者無限想像的畫意，構築成一幅和諧而美好 的山水圖象。

趙無極《29.2.80》，羅芙奧香港2011年春拍 編號018，600萬港幣成交 ZAO Wou-ki, 29.2.80, 1980, oil on canvas, 60 x 73 cm Ravenel Spring Auction 2011 Hong Kong Lot 018, US$ 771,208 sold

Z a o Wo u - k i i s o n e o f t h e w o r l d ’s b e s t known Chinese-born artists and an eminent proponent of abstract expressionism. Painting in oil, he creates visual panoramas that have all the sweeping grandeur and spontaneity of traditional splashed-ink landscapes. Active for more than seven decades, he was—and continues to be—one of the few Chinese painters to enjoy sustained critical acclaim and public popularity for dozens of years. What is more, many of his works are held in the collections of major museums and galleries around the world, further underlining the unique position Zao holds among his peers.

Devoting his entire life to painting, and never ceasing to experiment in his art, Zao created a number of precious masterpieces that bear witness to the greatness of the human spirit.

Each of his different artistic periods produced a distinct style, keeping audiences on the edge of their seat as they followed his development.

After 1980, the artist increasingly explored the possibilities of outsized formats, while thematically he continued to aim at a modern version of the mood and style of Chinese literati painting. By this time, Zao had already received many of the highest honors and acknowledgments, and been invited to teach at the Ecole National Supérieure des Arts Décoratifs in Paris, as well as the China Academy of Art in Zhejiang (formerly

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Hangzhou National College of Art). He shared many of his creative insights with Chinese students, and here we quote one such example from his autobiography, aptly illustrating his artistic approach: “When you begin a new painting, ideally you should not start in the middle of the canvas, because that will make it almost impossible to determine the center’s relationship to the rest of the composition. It is better to set out with an eye to the complete layout, the overall structure. Colors, too, can never be used on their own; every hue and shade is connected to all other tones. The fact is that every single brushstroke has far-reaching implications for the entire painting, and you should not apply a single fleck of paint without keeping in mind the organic whole that you are about to create.” (“Lorsque vous commencez un tableau, il faut le commencer dans son ensemble car si vous dessinez d’abord le centre, la relation avec le reste sera impossible à trouver.

Un couleur ne s’utilise pas seule, elle ne peut pas rester isolée car dès que le pinceau pose une touché c’est la surface entière qui bouge. Si vous touchez inci, il faut toucher les autres endroits.

Il faut lier l’ensemble, en trouvant les bonnes variations, avec la plus grande simplicité.”)

It was in the summer of 1981, after he had been active in the European art scene for more than thirty years, that Zao Wou-ki—at the invitation of the French government—first held a retrospective exhibition at the magnificent Grand Palais. The Grand Palais is a national historic building as well as a museum and exhibition hall in the heart of Paris, the tallest building of the city back when it was originally completed in 1900, and the site of many grand retrospectives of famous painters, including Cézanne, Monet, Rousseau, Picasso and Matisse. It was thus a sign of Zao’s standing in the art community, as well as a high recognition of his artistic achievement, when his work was made the sole focus of an international retrospective on this kind of scale. Of course, the 1980s also saw new developments in the artist’s style, as Zao gradually drifted towards a cleaner, simpler and more concise palette while

exploring empty, quiet spaces and vast, churning vistas, constantly striving to express the ancient Chinese view of nature, which sees humanity as an integral part of a harmonious cosmos.

This lot, “5.2.81,” is one of Zao’s masterpieces from the 1980s. Executed with a dry brush and light strokes to bring out subtle variations of shade and texture, the composition presents a deliberately vague panorama, a mottled scenery that is pulsating with intimations of divine light searing silently yet decisively through mist and clouds. Talking about how in the 1970s he had suddenly felt the urge to return to the delights of traditional Chinese forms and techniques of visual art, such as ink-and-wash, calligraphy, or landscape painting, Zao once said, “My work is now about finding new, previously unseen spaces in the immense whiteness of the canvas: spaces I had not even thought of before.” And: “The directness and irreversibility of ink and wash and splashed ink techniques allows me to create spaces that are pulsing with poesy.”

Drawing inspiration from his cultural roots, Zao adopted an even more instinctive and straightforward approach, marrying the specific texture and light of oil paint with the Chinese tradition of multi-perspective painting and liubai, thus generating spatial matrices that are both free-flowing and sublimely structured.

Looking at his later paintings, one is confronted with the profound mysteries of emptiness and void. Reaching far beyond the boundaries of our everyday experience, the artist probes the very depths of the universe: yet his works are not heavy, but light, pure and glowing with an inner brightness.

B u t Z a o ’s e x p l o r a t i o n s i n t h e w o r l d o f abstractionism, while inspired by his early roots and influences, by no means marked a simple return to the conventions of Chinese painting.

Rather, Zao gradually developed his very own brand of aesthetic appeal. Taking stock of Western notions of time and space, the artist proceeded to create a style of contemporary abstract painting that is both modern and an extension of the literati tradition. During

the 1980s, then, Zao further upped the ante, reaching a level where his paintings reveal the “substantiality of the insubstantial.” As Zao once put it, “I was touched directly by empty space and perfect silence, and this gave me the confidence to continue in my pursuit of unknown realms, and push the boundaries of my art.” By the time he painted “5.2.81,” Zao had already attained the pinnacle of his art. Like other works from this period, this lot is brimming with unrestrained refinement and spiritual freshness.

Rich layers of expressive color are applied in a well-tempered palette, generating an almost mystical sense of luminosity and transparence that appears completely natural and spontaneous, and yet must be seen as the highest form of artistic expression. The rhythmic undulations that cascade across the canvas like impetuous waterfalls stir up the observer’s imagination, leaving it to contemplate the countless possibilities suggested by a vision that presents infinity through the medium of a finely balanced, ingeniously abstracted landscape.

趙無極《8.10.84》 羅芙奧台北2011年春拍，編號156，7872萬台幣成交 ZAO Wou-ki, 8.10.84, 1980, oil on canvas, 200 x 162 cm Ravenel Spring Auction 2011 Taipei Lot 156, US$ 2,745,727 sold

020

CHU Teh-chun (Chinese, b. 1920)

Atmosphère bleue V 1988 Oil on canvas 72.5 x 60.5 cm Signed lower right CHU TEH-CHUN in Chinese and English, dated 88 PROVENANCE: Private collection, Paris (acquired directly from the artist) This painting is to be sold with a certificate of authenticity issued by the artist's wife Mme Ching Chao CHU. (image in the forthcoming Catalogue Raisonné)

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

朱德群 藍色氛氳 1988 油彩 畫布 72.5 x 60.5 cm 簽名右下：朱德群 CHU TEH-CHUN 88 來源： 私人收藏，巴黎（直接得自藝術家本人） 附藝術家妻子朱董景昭開立之原作保證書， 作品將收錄於籌備中的編年目錄

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中國古代美學理論追求的至高境界是：所貴於枯澹者，謂其外枯而中膏，似澹而實美。這一 點，在吳冠中評價朱德群的風格中呼應備至：「中國傳統中對筆墨運轉及對絹或宣紙質感、 肌理的講究創造了東方繪畫宜近看而耐人尋味的特點。德群在大刀闊斧的油畫揮寫中竭力發 展中國筆韻、墨趣的時代性、世界性。」「朱德群的作品確是遠看西洋畫、近看中國畫，他 的創造性的手法正適合借來作為我的觀點的闡明。德群表現中另一個突出的特點是透明性， 粘糊糊的油彩織成了透明的新裝，那種半透明效果本是中國宣紙特有的風采，令西方可望不 可攀的風采。朱德群的抽象繪畫不受遠景近景具體物象的約束，他竭 力追求深遠的空間感與 具體筆墨的韻律相結合，是縱深感與形象性都得到最充分的發揮。」 1980年代中，朱德群充分運用中國的書法繪畫的線條、點與粗筆，中國書法的俯仰、頓挫 與縱橫均可見於這個時期的作品當中。到了 80年代後期，朱德群趨向對自然光線作更深入 的詮釋，並試圖把更多色彩納入畫面中，以更豐富、更具情感的創作手法，延續中國文化精 神議題，更將色彩納入他創作中，展現出更為豐富、多情的一面，如1988年創作的《藍色 氛氳》，充滿動感的佈局，畫面肌理得體，準確優美，極富表現力。畫面中如韻律跳躍、節 奏雄健，似交響樂般的點塊表現，無不既融匯了中國草書俐落瀟灑的用筆，又呈現了西方韻 律、節奏的視覺美感。

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

In the 1980s, Chu Teh-chun had fully used lines, dots, and rough strokes in Chinese calligraphy and painting. The pitching, pause and transition, strokes and brushes in Chinese calligraphy could be found in his works during this period. By the late 1980s, Chu Teh-chun inclined to use natural light in his painting for deeper interpretation and tried to put more colors into picture. He adopted a more extensive and emotional creative way to extend the spirit of Chinese culture. He has also put rich colors into his creative works, which shows affluent and sentimental feelings. “Atmosphère bleue V”, created in 1988, is depicted in a dynamic layout with delicate fabric, accurate beauty and extreme expression.

The painting shows the jumping rhythm with power. The dots and blocks seemed like symphony performance, integrated with the fluency of Chinese cursive writing and the Western rhythm of visual aesthetic.

021

JU Ming

(Taiwanese, b. 1938)

Taichi Series - Single Whip 1997 Stone, edition no. 5/10 76(L) x 32(W) x 51(H) cm Engraved Ju Ming in Chinese, numbered 5/10 and dated '97 This sculpture is to be sold with a certificate of authenticity issued by Respeetable Art Gallery, Taipei.

HK$ 2,000,000-3,000,000 NT$ 8,200,000-12,300,000 US$ 256,400-384,600

朱銘 太極系列—單鞭下勢 1997 石雕 5/10 76(長) x 32(寬) x 51(高) cm 簽名雕刻：朱銘 '97 5/10 附尊彩藝術中心開立之原作保證書

太極拳講究剛柔相濟、陰陽平衡、有輕有沉、急應緩隨、動靜合宜，充分體現美學思想，給 人帶來一種美的視覺享受，這更是代表朱銘美學觀念。朱銘「太極系列」作品中，最為國內 外熟知的姿態首推「單鞭下勢」。 朱銘刀下的「單鞭下勢」，本身具有力度與造型的美感，在動靜之間，讓人感到綿綿不絕的 形意流轉，因其式有起伏，不拘泥於外在形態的雕琢，只追求意識流轉的完整呈現，誠如太 極拳宗師王宗岳所強調的「力由脊發，步隨身換。收即是放，斷而復連，往復須有折疊，進 退須有轉換」，於單鞭下勢中可獲得最好的詮釋。 細看「單鞭下勢」的動作，其根在腳，發於腿，主宰於腰，形於手，周身節節貫串，完整一 氣。力量由下而上地傳遞，由腳而腿而腰，武者進退靈活 、得機得勢。其次，武者沒有面目 神態，但作品依然傳神。靠的是以氣傳神。太極系列凝結的不僅是武者的動作、呼吸，還有 武者的意識。朱銘匠心獨具只見輪廓不見五官呈現出武者內斂的神情。所謂「氣宜鼓蕩，神 宜內斂」的武術家用語來形容朱銘的作品似乎比一般的藝術風格論更貼切。

Taichi boxing examines the fusion of strength and tenderness, the balance of ying and yang, light and heavy at the same time, rush actions and slow responses, achieving harmony between movement and stillness. This fully manifests esthetics thought, bringing us a beautiful vision to enjoy. Moreover, this represents Ju Ming’s concept toward esthetics. In all the works of “Taichi” series by Ju Ming, “Single Whip” is the most well-known form around the world.

Ju Ming’s “Single Whip” epitomizes the fascinating tension between inner tranquility and outward action characteristic of most taichi moves. In this piece, Ju transcends the limitations of traditional sculpture, focusing not on the physical substance but its gentle motion, the aesthetic appeal that lies in the fluid lines and vigorous momentum of the low single whip move. In doing so, he gives us a hint of how taichi allows the life force to circulate freely through the adept’s body, just as taichi grandmaster Wang Zongyue put it, “The energy originates in the spine, and flows as the feet follow where the trunk leads. Contraction and relaxation are one, overlapping and merged in constant repetition, continually alternating as one advances and retreats.”

Taking a closer look at the low single whip movement one discovers that it begins with the feet, continues with the legs, is controlled by the waist and finds its final expression in the hands. The entire body is involved in the fluid motion. Vital energy, or chi, travels from the bottom to the top, from the feet through the legs to the waist, while the adept moves in accordance with the prescribed postures. While the look on the face is blank, the sculpture is yet brimming with expression, conveyed through the chi made visible in its lines and curves: the pieces of the Taichi series portray not only the adept’s movements and breathing, but reveal his very mind. Ju Ming does not bother - does not need to bother - with a detailed depiction of facial features, because his concern is the performer’s ‘inner expression’, the face of his soul as seen through the movements. “The chi should flow freely and the mind be calm.” nothing could describe the art of Ju Ming better than this old Taichi adage.

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022

JU Ming

(Chinese, b. 1938)

Taichi Series - Sweeping Out Cloud 1995 Bronze, edition no. 10/10 60(L) x 50(W) x 91(H) cm Engraved Ju Ming in Chinese, numbered 10/10 and dated 1995 ILLUSTRATED: Ju Ming, The Hakone Open-air Museum, Japan, 1995 This sculpture is to be sold with a certificate of authenticity issued by Jun Youn Sculpture Gallery, Taipei.

HK$ 1,500,000-2,200,000 NT$ 6,150,000﹣9,020,000 US$ 192,300﹣282,100

朱銘 太極系列—撥雲見日 1995 銅雕 10/10 60(長) x 50(寬) x 91(高) cm 簽名雕刻：朱銘 10/10 '95 圖錄： 《朱銘》，箱根雕刻之森戶外博物館， 日本，1995 附雋永雕塑畫廊開立之原作保證書

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朱銘的「太極系列」雕刻名聞遐邇，以刀斧劈鑿巨木的表現，將太極拳法的意象予以形體 化、藝術化，幾近完美地呈現中國哲人的自然觀，成為國際間受人敬重的雕刻大師。 在朱銘以太極拳調養與修行期間，他體會到自然萬物、大氣運作的能量與蘊涵，將其內化為 個人思想體系後，漸表諸於雕刻創作上。於是，氣勢磅礡的快意大作「太極」系列，便在朱 銘的領悟與體會下以藝術創作成形，「太極系列」雕塑的抽象意涵，將中國文化傳統化為超 越語言、國界的藝術創作。 在朱銘眼中，「太極系列」正是他個人風格的代表，而他所要表達的那份生命力，是由內而 外，而非由外而內。太極拳看似柔軟無力，實則陰陽相生、柔中寓剛、剛柔並濟、動靜相 隨，它以架勢誘導身體產生調和動作的均衡，氣體運行，而達平與靜的效果。著名的藝術歷 史學家麥可．蘇立文說：「在他（朱銘）的『太極』系列中，力量的衝突通過雕塑的進退和 得失得到了明確的體現。它們之間似乎有一種無形的電流在流動。」

Ju Ming's famous sculptures, "Taichi Series", have made him an esteemed carving master worldwide.

As he performed with knife and ax chopping and chiseling giant pieces of wood, he created a visualized and artistic of Taichi which embodies a Chinese philosophical outlook on life.

During the period when Ju Ming practicing the ancient “Martial Art–Taichi”, he soon discovered that Taichi did more than just make him stronger: It gave him much inner energy and opened up profound thoughts for his creative work. Ju gained firsthand experience of the awe-inspiring vital force that circulates through all living creatures, and as he gradually adopted this new philosophy and internalized its principles, he also started to express it in his art. This was the point of departure for his Taichi series, a collection of works brimming with impressive momentum and a joyful spirit. In these pieces, Ju managed to sublimate the abstract essence of traditional Chinese culture and to pour it into his creations that transcend language and geographical barriers.

For Ju Ming, the "Taichi Series" is the starting point of his own unique style. He expresses the vital inner force discovered in Taichi boxing in a form that immediately resonates with a profound understanding of the energy within. In the "Taichi Series", Ju creates a tension between geometric abstract forms which bring forth the active and forceful postures of the figures. This, along with the contrast between the dynamic poses and the static material, and the rough and terse finishes create a rich rhythm in the works. 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 each other. An invisible electric current seems to flow between them".

023

Walasse TING

(Chinese-American, 1929-2010)

Three Women 1989 Ink and color on paper 178 x 96 cm With one seal of the artist PROVENANCE: Sam Francis Estate Gallery Delaive BV, Amsterdam Private collection, Taipei

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

丁雄泉 三美圖 1989 彩墨 紙本 178 x 96 cm 鈐印右上：採花大盜 來源： 山姆．法蘭西斯遺產 德萊夫畫廊，阿姆斯特丹 私人收藏，台北

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丁雄泉早年在巴黎創作時期，馬蒂斯的繪畫曾帶給他很大的影響，使他偏愛亮麗的色彩與鮮 明的對比。除此之外，來自於中國民間彩繪的影響，亦使他對瓷土的淨白、設色後的自然與 營造出的透明感情有獨鍾。1970年代後期，丁雄泉獨特的創作風格日漸形成，融入「中鋒」 的書寫動作及狂草的律動，他以書法的筆觸勾勒輪廓，再汲取中國版畫的技巧，以艷麗的壓 克力彩平塗線條內的空間，自然優美卻又瀟灑暢快。 在題材選擇上，丁雄泉多半描繪青春的少女，他樂於將她們各個生命的微妙動人處表現出 來。西方亦或東方的面孔，融合著傳統中國仕女的嬌羞、嫵媚與矜持之美，東方的神韻自然 呈現。

During Walasse Ting's early Paris period, he was deeply influenced by Matisse's painting, because there are always beautiful colors and bright contract in his painting. Influences also came from traditional Chinese colored drawings; he also loves the white in porcelains and transparency in nature paintings.

After the late 70's, Walasse combined both the spirit of caligraphy and techniques in woodblock prints, gradually developing his unique creative style.

When choosing the theme for his paintings, Walasse Ting painted mostly young girls, he enjoyed bringing up their attractive spots, no matter if they are western or eastern, and he veiled them with their bashful beauty, providing a traditional eastern spirit.

024

王衍如

WANG Yanru

麒麟

(Chinese, b. 1974)

Kylin 2005 Oil on canvas 115 x 150 cm Signed lower left WYR in English Signed on the reverse Wang Yanru, titled Kylin, inscribed oil on canvas, 115 x 150 cm, all in Chinese and dated 2005

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EXHIBITION: Happy New Year: Oil Painting by Young Artists, Fine Arts Literature Art Center, Wuhan, Hubei, January 18 - February 28, 2006

HK$ 42,000-70,000 NT$ 170,000-290,000 US$ 5,400-9,000

2005 油彩 畫布 115 x 150 cm 簽名左下：WYR 簽名畫背：《麒麟》2005 布面油畫 115 x 150 cm 王衍如 展覽： 「新年快樂：年青一代油畫作品展」，美術 文獻藝術中心，湖北武漢，展期自2006年1 月18日至2月28日

025

Walasse TING

(Chinese-American, 1929-2010)

Parrots 1990 Acrylic on paper 44 x 57 cm With one seal of the artist

HK$ 45,000-70,000 NT$ 180,000-290,000 US$ 5,800-9,000

丁雄泉 鸚鵡 1990 壓克力 紙本 44 x 57 cm 鈐印左下：採花大盜

026

XIA Xing

(Chinese, b. 1958)

Panda Bear 2005 Oil on canvas 70 x 100 cm Initialed upper left edge XX in English and dated 05. 7. 17.

HK$ 35,000-55,000 NT$ 140,000-230,000 US$ 4,500-7,100

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夏星 熊貓 2005 油彩 畫布 70 x 100 cm 簽名側面：05. 7. 17. XX

027

LI Shuang

李爽 巨大的寂靜

(Chinese-French, b. 1957)

Mightier Silence 2004 Oil on canvas 73 x 116 cm Signed lower left li shuang in English and dated 2004

ILLUSTRATED: Li Shuang Best Paintings Collection, Linda Gallery, Beijing, 2006, illustrated, pp. 42-43

2004 油彩 畫布 73 x 116 cm 簽名左下：li shuang 2004

HK$ 75,000-110,000 NT$ 310,000-450,000 US$ 9,600-14,100

圖錄： 《李爽油畫精品集》，林大美術館，北京， 2006，圖版，頁42-43

028

JIN Gao

(Chinese, b. 1933)

A Timely Snow Brings a Good Harvest 1991 Oil on linen 56 x 71 cm Signed upper right Jin Gao in Chinese and dated 1991 Signed on the reverse JIN GAO and titled A Timely Snow Brings a Good Harvest in English, inscribed Oil on linen and dated 1991

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金高 瑞雪兆豐年 EXHIBITED: Contemporary Realistic Oil Paintings, CFS Art Gallery, Operation Smile China, Operation Smile China Media Mission, Hong-Kong, September, 1992

1991 油彩 亞麻布 56 x 71 cm 簽名右上：金高 1991 簽名畫背：JIN GAO A Timely Snow Brings a Good Harvest Oil on linen 1991

HK$ 50,000-80,000 NT$ 210,000-330,000 US$ 6,400-10,300

展覽： 「中國現代寫實油畫展」，CFS藝廊，微笑 行動中國基金有限公司，香港，1992年9月

029

PANG Jiun

(Taiwanese, b. 1936)

龐均

Spring Outside of Window ILLUSTRATED: Inheritance and Refinement of Art, Culture and Art Publishing House, Beijing, 2011, color illustrated, p. 237

2010 油彩 畫布 72 x 60 cm 簽名左下：龐均 2010 鈐印左下：均 簽名畫背：龐均 Pang Jiun 2010

HK$ 130,000-200,000 NT$ 530,000-820,000 US$ 16,700-25,600

圖錄： 《藝術的傳承與昇華》，文化藝術出版社， 北京，2011，彩色圖版，頁237

2010 Oil on canvas 72 x 60 cm Signed lower left Pang Jiun in Chinese and dated 2010 With one seal of the artist Signed twice on the reverse Pang Jiun in Chinese and English, dated 2010

窗外春光

030

廖一百

LIAO Yibai

(Chinese, b. 1971)

Sansan - Meditation 2008 Stainless steel, edition no. 5/8 58(L) x 40(W) x 72(H) cm Engraved Liaoyi Bai in Chinese and English, numbered 5/8 and dated 2008

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EXHIBITED: Under the Radar: First Florida Exhibition: Nine Chinese Artists Interpret the Figure, Art Spacel Virginia Miller Galleries, Florida, March 7 - June 2, 2008

HK$ 60,000-90,000 NT$ 250,000-370,000 US$ 7,700-11,500

三三—靜生悟 2008 不鏽鋼 5/8 58(長) x 40(寬) x 72(高) cm 簽名雕刻：Liaoyi Bai 一百 5/8 2008 展覽： 「雷達下：九位中國藝術家佛羅里達首屆 展」，藝術空間、弗吉尼亞．米勒畫廊，佛 羅里達，展期自2008年3月7日至6月2日

031

HUA Qing

(Chinese, b. 1962)

The Thinker No. 3 2007 Oil on canvas 160 x 145 cm Signed lower left Hua Qing in Chinese and dated 2007

HK$ 80,000-140,000 NT$ 330,000-570,000 US$ 10,300-17,900

華慶 思想者 No. 3 2007 油彩 畫布 160 x 145 cm 簽名左下：華慶 2007

032

CHEN Wenling (Chinese, b. 1969)

Happy Life No. 19 (Miss Piggy) 2006 Bronze, edition no. 3/8 24(L) x 30(W) x 60(H) cm Engraved Chen Wenling in Chinese and numbered 3/8

HK$ 110,000-170,000 NT$ 450,000-700,000 US$ 14,100-21,800

陳文令 幸福生活 No. 19（豬小姐） 2006 銅雕 3/8 24(長) x 30(寬) x 60(高) cm 簽名雕刻：陳文令 3/8

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033

LI Tianbing (Chinese, b. 1974)

Assemblée 1998 Oil on canvas 41 cm x 33 cm Signed on the reverse Tianbing Li in English and Chinese, titled Assemblée in French

HK$ 130,000-190,000 NT$ 530,000-780,000 US$ 16,700-24,400

李天兵 夢露 1998 油彩 畫布 41 cm x 33 cm 簽名畫背：Assemblée Tianbing Li 李天兵

034

LI Xinping

(Chinese, b. 1973)

Cry Out 2009 Oil on canvas 141 x 112 cm Signed centre right XIN PING in English

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

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李新平 吶喊 2009 油彩 畫布 141 x 112 cm 簽名右方：XIN PING

035

LI Tianbing (Chinese, b. 1974)

Airplane 2004 Oil on canvas 46 x 55 cm Signed on the reverse Tianbing Li in English and dated 2004

HK$ 130,000-190,000 NT$ 530,000-780,000 US$ 16,700-24,400

李天兵 飛機 2004 油彩 畫布 46 x 55 cm 簽名畫背：Tianbing Li 2004

036

XIN Haizhou

忻海洲 碰到金魚

(Chinese, b. 1966)

ILLUSTRATED: Xin Haizhou, Beijing Art Now Gallery, 2005, color illustrated, p. 53

1996-1997 油彩 炭鉛筆 膠 畫布 180 x 150 cm 簽名畫背：標題：《碰到金魚》180 x 150 cm 材料：布面油畫．炭鉛筆．膠 作者：忻海洲 創作時間：1996.1-1997.10. 地點：中國．重 慶

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

圖錄： 《忻海洲》，現在畫廊，北京，2005，彩色 圖版，頁53

Meeting No. 1 1996-1997 Oil, charcoal pencil, glue on canvas 180 x 150 cm Signed on the reverse Xin Haizhou, titled Meeting No. 1, inscribed 180 x 150 cm, oil, charcoal pencil, glue on canvas, China, Chongqing, all in Chinese and dated 1996.11997.10

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037

袁曉舫

YUAN Xiaofang (Chinese, b. 1961)

New World - Concord 2007 Acrylic on canvas 150 x 200 cm Signed lower right xiaofang in Chinese and English, dated 2007

新世界—協和 EXHIBITED: The Trend of Art Thought in '85 & Post-'89 Art, Expol-Sources Art Space, Beijing, November 24 - December 12, 2007

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

2007 壓克力 畫布 150 x 200 cm 簽名右下：曉舫 xiaofang 2007 展覽： 「『八五思潮與後八九藝術』當代藝術 展」，弈源莊藝術空間，北京，展期自2007年 11月24日至12月12日

038

FANG Lijun (Chinese, b. 1963)

Face 2000-2002 Woodblock print 122 x 81 cm (x5) Signed lower center Fang Lijun in Chinese, numbered 42/65 and dated 2000.6.25 (1) Signed lower center Fang Lijun in Chinese, numbered 33/65 and dated 2000.6.30 (2) Signed lower center Fang Lijun in Chinese, numbered 40/65 and dated 2000.5.20 (3) Signed lower center Fang Lijun in Chinese, numbered 18/25 and dated 2002.12.9 (4) Signed lower center Fang Lijun in Chinese, numbered 43/65 and dated 2000.6.15 (5) PROVENANCE: Private collection, Geneva

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

HK$ 300,000-500,000 NT$ 1,230,000﹣2,050,000 US$ 38,500﹣64,100

方力鈞

展覽： 「中國人：介於傳統與現在的藝術家」，波 坦察市立美術館，義大利，2004年4月至6月

臉（五聯作） 2000-2002 木刻版畫 紙本 122 x 81 cm (x5) 簽名下方：2000.6.25 42/65 方力鈞 (一) 簽名下方：2000.6.30 33/65 方力鈞 (二) 簽名下方：2000.5.20 40/65 方力鈞 (三) 簽名下方：2002.12.9 18/25 方力鈞 (四) 簽名下方：2000.6.15 43/65 方力鈞 (五) 來源： 私人收藏，日內瓦

圖錄： 李路明編，《方力鈞》，湖南美術出版社， 長沙，中國，2001，圖版，頁196-199 《方力鈞》，藝術家目錄，北京，2002，圖 版，頁196-199 《板起面孔：中國現在藝術第一次版畫聯 展》，現在畫廊，北京，2004，黑白圖版， 頁23-32 《中國人：介於傳統與現在的藝術家》， 波坦察市立美術館，義大利，2004年 （“2000.6.15” 刊插圖與頁61）

039

高瑀

GAO Yu

熊貓小學校

(Chinese, b. 1981)

Panda Elementary School 2008 Acrylic on canvas 100 x 100 cm Signed on the reverse Gao Yu in Chinese and dated 2008

With one stamp of the artist PROVENANCE: Star Gallery, Beijing, 2008

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EXHIBITED: Rebuild–Exhibition for the Donation to the Construction of Hope Primary Schools in the Earthquake-stricken Area in Sichuan, Star Gallery, Beijing, 2008

HK$ 280,000-420,000 NT$ 1,150,000-1,720,000 US$ 35,900-53,800

2008 壓克力 畫布 100 x 100 cm 簽名畫背：高瑀 2008 畫背文字：《熊貓小學校》100 x 100 cm 布面丙烯 2008 監製：高瑀 調色製作：楊坤 來源： 星空間畫廊，北京，2008 展覽： 「重建—為四川地震災區籌建希望小學捐贈 作品展」，星空間畫廊，北京，2008

040

YIN Zhaoyang (Chinese, b. 1970)

Dreamland 2003 Oil on canvas 50 x 70 cm Signed lower right Zhaoyang in Chinese and dated 2003

HK$ 170,000-250,000 NT$ 700,000-1,030,000 US$ 21,800-32,100

尹朝陽 夢境 2003 油彩 畫布 50 x 70 cm 簽名右下：朝陽 2003年

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041

LI Shan

(Chinese, b. 1942)

Mao 1995 Acrylic on canvas, collage 110 x 150 cm Signed on the reverse Li Shan in Chinese and English, inscribed Munanshan, New York and dated 1995

HK$ 600,000-1,000,000 NT$ 2,460,000-4,100,000 US$ 76,900-128,200

李山 毛澤東 1995 壓克力 畫布 拼貼 110 x 150 cm 簽名畫背：李山 Li Shan 木楠山 1995年 紐約

042

LING Jian

(Chinese, b. 1963)

Untitled 2007 Oil on canvas 250 x 180 cm Signed on the reverse LING JIAN in Chinese and English, dated 2007

HK$ 750,000-950,000 NT$ 3,080,000-3,900,000 US$ 96,200-121,800

凌健 無題 2007 油彩 畫布 250 x 180 cm 簽名畫背：凌健 LING JIAN 2007

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043

LIU Wei

(Chinese, b. 1965)

Dog No. 2

身為將軍的兒子，劉煒於1989年從中央美術學院版畫系畢業後，很快成為「玩世現實主義」 的代表人物之一，用創作表達嘲諷、玩世不恭的處世態度。他以其標誌性的筆觸和構圖，顛 覆著觀賞者的審美習慣，透過扭曲、變形的筆觸描繪工業社會裡遭受汙染、腐敗下的產物。 但矛盾的是，他的作品卻帶有一種抒情的詩意與美感。

1999 Oil on canvas 80 x 60 cm Signed lower right Liu Wei in Chinese and English, dated 1999

從1990年代中期開始，劉煒受到印象派、中國書法、中國水墨等多種藝術的影響，逐漸走向 半抽象的風格。而他的主題也變得更為普世，把狗、人、花草等變形成不易辨識的形象。

PROVENANCE: Private collection, Europe (acquired directly from the artist)

劉煒畫詮釋的《狗 No. 2》既陌生又令人感到不安，炯炯有神的目光透露一股極不穩定的情 緒，給人一種震懾人心的氣勢，而畫面上殘留一道白色細長的油彩，彷彿是漸漸消溶在灰色 畫布下的一道淚痕，影射現代人與人之間的孤寂、緊張和疏離感。

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

劉煒 狗 No. 2 1999 油彩 畫布 80 x 60 cm 簽名右下：劉煒 Liu Wei 1999 來源： 私人收藏，歐洲（直接得自藝術家本人）

The son of a general, Liu Wei graduated from the Woodblock Print Department of China’s Central Academy of Fine Arts in 1989, and rapidly emerged as one of the leading figures in the “cynical realist” school. He uses his art to satirize and mock, holding nothing sacred. Liu’s brushwork, which is reminiscent of signage, and his compositional technique, challenge the viewer’s aesthetic sensibilities; he uses distortion and deformation to depict the polluted, corrupted products of industrial society. At the same time, in a seemingly contradictory manner, Liu’s paintings also exude a kind of romantic, poetic aura and sense of beauty.

From the mid-1990s onwards, Liu Wei’s work began to reflect the influence of the Impressionists, Chinese calligraphy, and traditional Chinese ink brush painting, and he gradually developed a semiabstract style. The subject matter of Liu’s paintings became more commonplace, in works where he transformed dogs, people, flowers and plants into unrecognizable images.

Liu Wei’s interpretation of “Dog No. 2” is strange and disturbing. The dog’s bright eyes reveal an unstable emotional state, suggesting a sense of fear. The long, thin trace of white oils resembles a trail of tears gradually dissolving into the gray canvas, hinting at the loneliness, tension and sense of alienation of the individual in modern society.

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044

LIU Xiaodong (Chinese, b. 1963)

Betel Nut Beauty 2002 Oil on canvas 80 x 90 cm Signed center right Xiaodong in Chinese and dated 02 Signed on the reverse Liu Xiaodong, titled Betel Nut Beauty, both in Chinese, inscribed 90 x 80 cm and dated 2002 PROVENANCE: Eslite Gallery, Taipei

HK$ 950,000-1,500,000 NT$ 3,900,000-6,150,000 US$ 121,800-192,300

劉小東 檳榔西施 2002 油彩 畫布 80 x 90 cm 簽名右方：小東 02 簽名畫背：檳榔西施 90 x 80 cm 劉小東 2002 來源： 誠品畫廊，台北

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劉小東所畫大多是日常生活場景和境遇，畫他所接觸到的人，用他的眼睛敏銳地搜索著當下 現實中的個體生活型態。劉小東曾說：「我出生在遼寧省的小城鎮，從小就是在人群鬼混的 野孩子，特別喜歡觀察人。」他的作品總是源於他沉浸在都市生活中積極的感受，在反映社 會平民百姓的同時，也寄寓了對他們的認同和理解，所以他筆下的人物充滿著現實生活中萌 發和湧動的生命力量。 2002年底劉小東應台灣東海大學之邀擔任美術系客座教授，當時東海大學有意重振在台灣日 趨沒落的古典繪畫傳統，因而邀請目前在全世界寫實風格發展完整而精湛的中國中央美院任 教的劉小東來校指導。作品《檳榔西施》即是以台灣路邊穿著性感販賣檳榔的年輕女性為主 題，社會寫實主義風格濃厚，他以異常細膩的感受力，呈現出台灣的特色景象。 Liu Xiaodong mostly paints scenes and encounters from everyday life and the people he comes in contact with, using his keen eye to capture the state of individual existence in the current reality. Liu once said: “I was born in Liaoning province, which is a small town. I grew ip like a wild child, hanging out in crowd, and like to look at people”. His works are always rooted in his accumulated perceptions from immersion in city life, and as he reflects the common people in society, he also grants them recognition and understanding. This lends his works a thriving life force.

In 2002, Liu Xiaodong was invited to the Tunghai University Fine Arts Department in Taiwan as a visiting professor. Tunghai University in Taiwan wanted to revive the tradition of classical painting, which was increasingly disappearing in Taiwan, so they invited Liu, who was teaching at the China Central Academy of Fine Art, and is one of the world’s most accomplished realist landscape painters, to direct the effort. “Betel Nut Beauty” is based on the theme of a young woman, wearing revealing clothing and selling betel nuts along roadsides in Taiwan. Liu’s signature social realist style is on full display in this painting, where he has applied his uncannily refined perceptivity to present a unique sight of Taiwan.

045

WANG Guangyi (Chinese, b. 1957)

Great Criticism Series - Art Nation 2005 Oil on canvas 140 x 180 cm Signed on the reverse Wang Guang Yi in English and Chinese, inscribed 140 x 180 cm and dated 2005 PROVENANCE: Private collection, USA Private collection, Taipei This painting is to be sold with a certificate of authenticity signed by the artist

HK$ 1,500,000-2,000,000 NT$ 6,150,000-8,200,000 US$ 192,300-256,400

王廣義 大批判系列－藝術國族 2005 油彩 畫布 140 x 180 cm 簽名畫背 : 2005年 Wang Guang Yi 王廣義 140 x 180 cm 來源： 私人收藏，美國 私人收藏，台北 附藝術家親筆簽名之原作保證書

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王廣義的作品是中國當代藝術界最被認 可，最受賞識者之一。他被稱為後1989 「政治波普」先驅，反映出美國「波普藝 術」的「平面風格」，並與新中國類似的 動力與活力產生共鳴。王廣義一直在探索 圖片的荒誕性，他將文化大革命時的宣傳 圖片與西方的消費主義符號相結合，作品 極具諷刺意味。 王廣義於1956年生於黑龍江省哈爾濱市， 他與同時期的人一樣，也生長在文化大革 命的混亂中，親眼目睹邪教般的英雄崇拜 主義之力量和荒誕。直到1977年，他才接 受教育，進入浙江美術學院。這時中國開 始向西方敞開國門，王廣義很快就被美國 城市文化的「波普藝術」吸引。他開始研 究日常中尋常百姓的活動，將它們以單色 平面風格繪製下來，成為他作品的標誌。 中國對外開放初期，當代藝術界充滿了活 力及興奮感，尤其是北京。各種先鋒藝術 被藝術家們接受，但當局仍心存疑慮， 對一些自發且無法控制的事情加以反對。 1989年是一個分水嶺。兩個事件對中國藝 術界有著深遠影響。先鋒派藝術首展獲准 在北京中國美術館展出。這對於一個深受 傳統和保守約束的社會而言，是一次重要 的事件。這次展覽因一名女性藝術家朝著 她的作品開槍，因此在開幕當天就宣告結 束了。當局警告藝術家，這種公開批判是 不被允許的，在藝術作品中評論社會和政 治將被嚴格處理。同年6月，天安門事件爆 發。隨後兩年內，社會變得十分安靜，藝 術界出現「新藝術」也將帶來政府當局強 烈反彈。

1990年代初期，當代藝術重新出現，公開評 論社會與對腐敗系統的苦悶，憤怒以及批判 表現卻消失了。藝術家們發現一種具有中國 特色的探索社會方式；諷刺與幽默。「政治 波普」吸納了諷刺，而這一行動的先驅就是 王廣義。儘管在作品和表現形式上看來十分 簡單，但由於藝術家們採用文化大革命時期 的肖像，因此「政治波普」實際上是當代中 國社會的深刻反映。 我們今天看到的就是王廣義從此時開始創作 的「大批判」系列。以軍人，農民和工人的 肖像宣傳畫進行描繪，將政治宣傳符號與西 方品牌結合，這個系列成為全世界最知名的 作品之一，將王廣義推上中國當代藝術運動 的前沿。政治宣傳的無產階級形象取自文化 大革命的宣傳海報，用筆替代槍和其它武 器。背景通常為紅色，表現共產主義與鮮 血。加上西方消費主義品牌，將表面上不同 的兩種體制相結合，產生強烈的諷刺效果。 王廣義稱此為「解構主義」，將背後涵義看 似荒誕但極其真實的表現出來。 《藝術國族》是王廣義「大批判」系列中的 經典代表作。這幅作品中央是一群武裝的農 民和員警，充滿極大的緊張感和戲劇感。他 們手持槍，刺刀和一本小紅手冊，臉上凝重 的表情以及他們挺進的動作構成恐懼和潛伏 的暴力感。紅旗和黑色的天空烘 托了這種不 祥的氛圍。然後，在這極富諷刺意味的場景 中，「藝術國族」的畫面上部以象徵純潔的 「白色」繪製。王廣義將戰爭與藝術這兩種 不能相互脫離的人類活動相結合。底部右手 邊相同風格的白色箭頭似乎在預示著前進的 方向。

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王廣義《大批判系列－Channel V》 羅芙奧2009秋季拍賣會，編號157，504萬台幣成交 WANG Guangyi, Great Criticism Series - Channel V 2002, oil on canvas, 120 x 150 cm Ravenel Autumn Auction 2009, lot 157, US$ 156,716 sold

Wang Guangyi's works are some of the most recognizable and most appreciated in the Chinese contemporary art world. Lauded as the leader of the post-1989 "Political Pop" movement, his works, while reflecting the "flat style" of American "Pop Art", resonate with a power and energy immediately identifiable with the New China. Juxtaposing iconic images from the Cultural Revolution with iconic images of Western consumerism, Wang's works are saturated in irony as he explores the absurdity of images.

During this first period of opening outwards there was a tremendous energy and excitement in the contemporary art scene especially in Beijing.

All types of avant-garde art was embraced by artists, however the authorities remained very suspicious and were openly hostile to something so spontaneous and uncontrolled. 1989 was a watershed year. Two events were to have profound long-lasting effects on the Chinese art world. The first exhibition of avant-garde art was allowed at the National Art Museum in Beijing.

This was a major event in such a traditional and conservative bound society. The exhibition was closed down at its opening when one artist fired a gun at her installation. The authorities warned artists that open criticism would not be tolerated and that examining society and the regime in art would be dealt with harshly. Then in June, the Tiananmen crackdown happened. For the next two years society became very quiet, and for the art world a realization dawned that "new art" would bring a fierce backlash from the authorities.

Wang Guangyi began producing his "Great Criticism" Series from which our present work comes. Characterized by the use of iconic propaganda images of soldiers, peasants and workers, the great proletariat, juxtaposed with iconic Western brand names, this series has become one of the most recognizable worldwide and brought Wang to the forefront of the Chinese contemporary art movement.

Idealized images of the proletariat are taken directly from the propaganda posters of the Cultural Revolution, but with guns and other weapons often replaced by pens. Often the figures are painted against a red background powerfully evocative of both communism and spilt blood. Then, blazoned across the canvas is usually a Western consumerist brand name, which produces a hugely ironic effect, as cultural icons from two different systems sit side by side in their absurdity. Wang calls this "anatomic structuralism", which destroys the original intention of the image and instead reduces it to absurdity.

"Art Nation" is a classic representation of Wang's "Great Criticism" series.

The work is filled with great tension and drama as an armed group of peasants and soldiers are placed in the centre. The serious 王廣義《可口可樂》（三聯幅），羅芙奧2009秋季拍賣會，編號158，1440萬台幣成交 expressions on their faces as WANG Guangyi, Coca Cola (triptych), 2005, oil on canvas, 120 x 450 cm Wang was born in 1956 Ravenel Autumn Auction 2009, lot 158, US$ 447,761 sold they wield guns, bayonets in Harbin, Heilongjiang and the little red book, and Province, and like many their forward movement create a sense of fear In the early 1990s contemporary art began to of his contemporaries he grew up in the chaos and latent violence. The background of red flags reappear, but gone was the open examination of the Cultural Revolution and witnessed at and black sky add to the sinister atmosphere. of society and the open expression of anguish, first-hand the power and absurdity of the cultThen in a superbly ironic statement, "Art Nation" anger and criticism of a corrupt system. Instead like worship of heroic icons. He was denied is blazoned across the top of the painting in the artists found a profoundly Chinese way of any education until 1977 when he entered the purity of the color "white". Wang has juxtaposed exploring society; irony and humor. Irony was to Zhejiang Academy of Art. This was the period two human activities which could not be more be embraced by "Political Pop" and its leading when China first opened its doors to the West and removed from each other, war and art. The adherent was to be Wang Guangyi. Although Wang was immediately captivated by the "Pop white arrow on the bottom right-hand corner seemingly simple in composition and execution, Art" of urban American culture. He began to in the same style as "Art Nation" seems to be as artists employed iconic images from the produce studies of ordinary people in everyday suggesting which activity is the way forward.

Cultural Revolution, "Political Pop" was in fact activities depicting them in, what were to a deep reflection on the realities of contemporary become hallmarks of his oeuvre, monochromatic Chinese society. colors and a flat style.

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046

TANG Zhigang (Chinese, b. 1959)

Chinese Fairytale 2006 Oil on canvas 150 x 180 cm Signed lower right Tang in English and dated 06 EXHIBITED: Tang Zhigang's Solo Exhibition - Chinese Fairytale 2006, Red Bridge Gallery, Shanghai, November 16 - December 15, 2006 ILLUSTRATED: Tang Zhigang’s Solo Exhibition – Chinese Fairytale 2006, Red Bridge Gallery, Shanghai, color illustrated, 2006

HK$ 1,500,000-2,200,000 NT$ 6,150,000-9,020,000 US$ 192,300-282,100

唐志剛 中國童話 2006 油彩 畫布 150 x 180 cm 簽名右下：Tang 06 展覽： 「唐志剛個人作品展─中國童話2006」，紅 橋畫廊，上海，展期自2006年11月16日至12 月15日 圖錄： 《唐志剛個人作品展－中國童話2006》，紅 橋畫廊，上海，彩色圖版，2006

047

FANG Lijun (Chinese, b. 1963)

2000.12.4 2000 Acrylic on canvas 180 x 80 cm Signed upper right Fang Lijun in Chinese, titled and dated 2000. 12. 4 ILLUSTRATED: C h i n e s e A r t i s t s o f To d a y : F a n g L i j u n Documentation Library of Today Art Museum, Hebei Education Press, Hebei, China, 2006, color illustrated, p. 277 & p. 414

HK$ 2,400,000-3,200,000 NT$ 9,840,000-13,120,000 US$ 307,700-410,300

方力鈞 2000.12.4

方力鈞是1989學潮之後玩世現實主義的代表人物之一。1963年出 生於河北省，文革結束後就讀於中央美術學院版畫系。方力鈞不 僅是圈內公認的版畫大師，他對於中國後89年輕一代的醒悟與 幻滅，以版畫和油畫極其真實的描述，使其成了家喻戶曉的藝術 家。 1989年可說是中國當代史，特別是先鋒藝術界的一道分水嶺。隨 著1970年代中國改革開放，方力鈞和他的同代藝術家開始接觸西 方藝術。首先是自我的藝術表達成為可能，這對於在文革時期， 無奈被迫創作宣揚社會主義寫實宣傳畫的藝術家們而言，是個極 富吸引力的轉變。北京作為最初的藝術聚集地，凝聚了藝術世界 的理想主義與希望。但此種凝聚力被接下來發生的兩件事擊得粉 碎。第一屆先鋒藝術展於1989年在北京中國美術館舉行，當代藝 術及新浪潮藝術家首次被接受和認可。但藝展僅開幕一天，就在 一位女畫家朝自己的裝置作品開槍後落幕。當局者的態度開始轉 向保守，並向藝術家發出了將嚴懲反動作品的警告。天安門事件 是對藝術界最後的致命一擊。不少熱血藝術家都竭力支持這場民 主運動，他們以及整個社會，卻為後來所發生的暴力鎮壓驚駭不已。持續了十年的樂觀精神 與理想主義就此壽終正寢。

2000 壓克力 畫布 180 x 80 cm 簽名右上：2000. 12. 4 方力鈞

方力鈞與同代藝術家隨即選擇孤身隱退，這一隱退便是兩年。當時，藝術家們被暗中監視， 彼此的來往也成了危險的舉動。在這段沉寂的時期裡，他們冥思深慮，1990年代初新藝術運 動逐漸浮現。在諸多運動中，以玩世現實主義為首，它以全新、冷酷、漠然且嘲諷的姿態審 視社會，而方力鈞便是玩世現實主義的領導者。他筆下的光頭青年，成了中國當代藝術界的 代表形象，象徵89學潮事件後盛行在社會中那股幻滅、輕視和反叛的主流情緒。

圖錄： 《今日中國藝術家─方力鈞─今日美術館書 庫》，河北教育出版社，河北，2006，彩色 圖版，頁277與頁414

方力鈞筆下的光頭青年不乏攻擊性，並時常以迷失或是健忘的神態出現在畫中。這些人物總 以多重表徵呈現，彷彿是在告知世人，壓抑的大眾已被焦慮與不安折磨得失去了人性，可 隨意操控。如此看來，畫家本人正是在一個毫無意義可言的冷漠社會體系中，探究個人的苦 境。 方力鈞的畫風極富表現力，無論是畫中焦慮深重的青年，抑或畫作風格本身，無不透露畫家 欲表達的意義。乍看之下，他的作品所遵循的，是原色濃重的波普風格。但仔細觀察，會發 現畫家正是利用明暗對比，來突出青年們幻滅的神情。方力鈞也常採用超現實及細膩的手法 描繪背景─浮雲、天空、大海。顯然，方力鈞能以高超的技藝詮釋這些細節，全得益於深厚 的版畫功底。 作為廣受認可和讚許的中國當代藝術家，方力鈞在歐洲、美國和日本多次舉行個展，他的作 品，不但曾參展1999年第48屆威尼斯雙年展群展，還被世界各主要博物館（東京都現代美術 館、舊金山現代美術館、上海美術館以及 新加坡美術館）永久珍藏。中國當代藝術最具代表 性的肖像，來自方力鈞的油畫《系列2 之2》，該作品現收藏於德國科隆路德維希博物館。 方力鈞成功地塑造了中國後89一代的真實精神面貌：木訥地屈從於統治時的那份安詳與平 靜，木訥地屈從於統治時聲聲悲苦從心底吶喊。對於這種雙重特徵到位地拿捏，使方力鈞無 疑成為中國當代藝術大師。他筆下的光頭嬉皮給人們的啟示是：唯有依靠自己，而非愚昧地 順從於冷漠的當權者，方能體會到安寧與平和。

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masses of the repressed as they suffer in their angst and disquietude. It seems that Fang, is exploring the plight of the individual in a meaningless and uncaring system.

Fang Lijun is one of the major leaders of the Cynical Realist movement which was born after the traumatic events of 1989. He was born in 1963 in Hebei Province and after the Cultural Revolution he studied the ancient Chinese art of print making at the Central Institute of Fine Arts.

While recognized as a master in woodblock printing, he has become a household name for his unrelenting portrayal of the disenchantment and disillusionment of the youth of China post1989 both in his prints and his paintings.

1989 was a watershed year in China's modern history, and particularly for the avant garde art world. With China's opening to the world in the 1970s artists of Fang's generation had their first exposure to Western art. They were initially mesmerized at the possibilities of expression, especially as during the Cultural Revolution they were forced to paint only Socialist Realist propaganda posters. Coming together primarily in Beijing, there was a great sense of community, idealism and hope in the art world.

However, these were shattered by two events.

The first exhibition of avant garde art was held at the National Art Museum of China in Beijing in 1989. This was the first official recognition of modern art and the first acceptance for the New Wave artists. The Exhibition was closed down on its first day after one artist fired a gun at her installation. The authorities became reactionary and warned artists that works criticizing the government or society would not be tolerated.

The events of Tiananmen Square were to be the final nail in the coffin for the art world. Many artists passionately supported the democratic movement and they along with society were appalled at the events which unfolded. Ten years of unbridled optimism and idealism had come to an end.

Fang Lijun along with the rest of the art world retreated into a silence and isolation which was to last two years. Artists were being watched and it was dangerous for them to associate with each other. During the silence, they brooded and contemplated and slowly in the early 1990s new art movements began to emerge. Fang was to be the main protagonist in one of the

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Fang's painting is deeply expressive and he conveys his meaning not just in his angst ridden youth, but also in his painting style. At first glance his works seem to follow the flat style of pop art with strong primary colors. But on closer inspection the faces of his youth, are depicted with great use of light and shadow heightening and adding to their disenchantment. Fang, also often depicts the background, clouds, sky, or sea in a hyper-realistic and detailed way. Clearly the ability to render these details so expertly comes from his mastery of woodblock printing.

方力鈞《2001.7.31》 羅芙奧香港2010春季拍賣會，編號039，319萬港幣成交 Ravenel Spring Auction 2010 Hong Kong, 2001.7.31 2001, oil on canvas, 180.5 x 80 cm Ravenel Autumn Auction 2009, lot 039, US$ 400,513 sold

most important of these movements Cynical Realism, a new, cold, detached and ironical view of society. The bald headed youth of his paintings has become an iconic image of the Chinese contemporary art world, and a symbol of disillusionment, mockery and rebellion, the prevailing moods after the events of 1989.

Fang's bald headed youth is invariably depicted in an aggressive way often with a lost or oblivious look on his face. Often there are multiple representations of the youth, as if representing the de-personified, manipulated

Fang Lijun is one of the most recognized and most appreciated contemporary Chinese artists. He has held many solo exhibitions in Europe, the USA and Japan and his works are often included in group exhibitions such as at The 48th Venice Biennale in 1999.

His works are in the permanent collections of major museums worldwide such as the Museum of Contemporary Art, Tokyo, the San Francisco Museum of Modern Art, the Shanghai Art Museum and the Singapore Art Museum. One of the most famous images of Chinese contemporary art, is from his painting “November 2, 1992”, in the Ludwig Museum in Cologne, Germany.

Fang Lijun has achieved his fame for portraying the true psychological state of the Chinese youth post-1989. His ability to portray characters that can seem both serene and calm as they mindlessly obey the authorities, and at the same time are crying out in pain and anguish have assured him of his place with the giants of contemporary Chinese art. His portrayal of his bald headed youth seems to be saying that the only way to experience calmness and peace is to rely on yourself as an individual, and not in mindlessly following dictates from an uncaring authority.

048

ZHANG Xiaogang (Chinese, b. 1958)

Bloodline Series 2006 Oil on canvas 150 x 120 cm Signed lower right Zhang Xiaogang in Chinese and dated 2006

HK$ 4,800,000-7,000,000 NT$ 19,680,000-28,700,000 US$ 615,400-897,400

張曉剛 血緣系列 2006 油彩 畫布 150 x 120 cm 簽名右下：張曉剛 2006

張曉剛的《血緣系列》是他的代表作之一。 此件《血緣系列》完成於2006年，屬於張曉 剛的近期「同志系列」作品，作品構思的歷 史背景是1989年天安門事件之後，當時作者 企圖摸索藝術的出路，找尋自己的定位，這 一肖像系列作品反映了中國先鋒藝術的時代 精神。 張曉剛的創作靈感來源於文化大革命中的形 象和經驗，以及歐洲傳統的超現實主義，通 過採用當時傳統的全家福照相，來探索這種 中國式集體主義背後人們的身份觀念。張曉 剛的創作圍繞的主題思想是「家庭」，並隨 之擴展到社會，作品描繪了想像中無窮盡的 的祖先和前輩的譜系，每個人物都驚人地相 似，只在細微處能看出區別。畫作常常使用 黑白色，表現照片風格，通過標準的大眾化 照相館人物姿態和灰度色調處理，作品中的 人物似乎是默默無聞的，卻又是超越了時空 的：一系列個人歷史被嚴格限定 在公式化框 架中。作品中偶然出現的色斑，在畫面中出 人意料地營造出不尋常的界限，讓人聯想到 胎記、老電影、社會歧視，或揮之不去的人 物的自我炫耀感。張曉剛的風格包括了傳統 中國炭筆繪畫的審美情趣，在動畫的誇張和 禁欲主義的扁平感之間搖擺。張曉剛的大家 庭沉默而順從，個人身份通過無法改變的身 體特徵加以傳達：即碩大的頭部，清澈如水 的雙眼和髮型的微妙變化，這些成為表現親 密性格和壓抑情感的線索。夢幻般的扭曲在 張曉剛的作品中營造出複雜的心理空間，提 高了幽閉恐懼調節的緊張程度，引起了暗示 性的敘述內容。 談到《血緣系列》作品，張曉剛指出老照片 「是一種特殊的視覺語言」，並說：「我正 想設法做出假照片的效果，進一步美化歷史 和生活」。他說：「表面來看，這些肖像的 面孔平靜如水，但平靜背後卻是巨大的情緒 動盪。在衝突狀態中，晦澀和曖昧的命運一 代代傳播開來。」

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張曉剛說，他通過畫作顏色的精挑細選，強 調個人的純真本質，因為人生來所處的環境 和義務是個人無法控制的，從而直指人的天 真本性。這一顏色也突出了因為政治和實際 需要帶來的不同輩的人之間的緊張關係。傳 統的中國家庭期望年輕一代傳續香火。但這 個時期的中國卻恰好處於政治上最激進的時 期，中國青年人極力反對傳統權威，包括傳 統的家庭結構。矛盾的衝動，虛偽的表面和 懷舊的情愫交織在一起，張曉剛看到了他這 一代人內心衝突的核心所在。 《血緣系列》如同中國毛澤東時代的遺產； 張曉剛也在作品中表達了從上一代到下一代 的傳承力量。通過基因的傳遞顯示了家庭遺 傳在生物學上的重要性；而一代代文化和社 會特性的傳遞則是無形的。紅色的血線是畫 家對於家庭紐帶，或者說遺傳載體的具體表 達。 關於中國政治巨變對於創作的影響，張曉剛 說，「於我而言，文化大革命不是一個歷史 事實，而是一種心理狀態。它與我的童年有 密切聯繫，而且我認為很多事情與中華民族 的今昔的心理相連結。」 張曉剛的《血緣系列》在概念上反映了時代 的普遍特點，使他的作品在國 際藝術界聲名 鵲起。批評家說張曉剛為中國當代藝術指明 了新方向；他把舊式炭筆肖像畫和現代波普 藝術相結合，創造出標誌性的歷經磨難的中 國家庭肖像畫。毫無疑問，張曉剛是中國先 鋒運動中最傑出的藝術家之一。1980年代初 張曉剛就活躍在當代藝術界，他見證並反映 了中國當代藝術二十年來發展的歷史。他參 加了很多重要的早期中國當代藝術展。1985 年張曉剛參加了在上海和南京舉辦的「新現 實主義」展覽；在1989年參加了在中國美 術館舉辦的「中國現代藝術大展」；在1995 年參加在西班牙巴賽隆納聖莫尼卡藝術中心 舉辦的「中國前衛藝術展」和在義大利威尼

已成為公認的成功藝術家，作為藝術家所取 得的成就，遠遠超過了他所經歷的失敗。儘 管如此，巨大的成功似乎仍然不能消除這位 藝術家心靈深處的孤獨感。他說：「我永遠 不可能畫出陽光開朗、其樂融融的作品，我 的創作永遠都是陰沉和憂鬱的。這與我的人 生經歷有關，我與家庭的關係讓我始終看到 的都是生活的側面、甚至是背面，而不是它 的正面。」

The “Bloodline Series” by Zhang Xiaogang is part of the artist’s legendary oeuvre. The present lot was completed in 2006 and belongs to Zhang’s recent Comrade Series of works.

Conceived during a period characterized by a deep identity crises in China following the Tiananmen Square Massacre in 1989, this iconic series has come to embody a certain generational spirit of Chinese avant-garde art.

斯舉辦的「第46屆威尼斯雙年展」；2006年 6月張曉剛在中國美術館獲得法國著名企業 馬爹利授予的2006年度「馬爹利非凡藝術人 物」稱號。西方媒體稱張曉剛是「售價最高 的畫家」。當年春天，張曉剛1988年表現貧 瘠的土地上半裸人物的形象，並配以充滿神 秘色彩的符號的三聯油畫作品《生生息息之 愛》拍出了7900多萬港幣（1010萬美元）的 高價，創下了中國當代藝術品拍賣價格的紀 錄。張曉剛立即名揚四海，躋身為和達米 恩．赫斯特、傑夫．昆斯、盧西安．佛洛依 德、賈斯珀．瓊斯、湯布裡和大衛·霍克尼 並列的全球最著名的健在藝術家。全世界的 收藏者都競相收藏張曉剛的作品，他的作品 被包括紐約的古根海姆美術館、英國的基金 會和博物館等國際組織以及荷蘭和法國的眾 多重要收藏家所收藏。 深刻地觀察能力和敏感性使張曉剛成為擅長 把個人生活和時代與社會緊密聯繫的天才藝 術家，使他在藝術上達到巔峰。如今張曉剛

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Inspired by family photos from the Cultural Revolution period, as well as the European tradition of surrealism, Zhang Xiaogang’s paintings engage with the notion of identity within the Chinese culture of collectivism.

Basing his work around the concept of ‘family’ –immediate, extended, and societal – the artist’s portraits depict an endless genealogy of imagined forebearers and progenitors, each unnervingly similar and distinguished by minute differences. Often painted in black and white, Zhang Xiaogang’s portraits translate the language of photography into paint. Drawing from the generic quality of formal photo studio poses and a greyscale palette, Zhang’s figures are nameless and timeless: a series of individual histories represented within the strict confines of formula. The occasional splotches of color which interrupt his images create unusual boundaries, reminiscent of birth marks, aged film, social stigma, or a lingering sense of

the sitter’s self assertion. Incorporating the aesthetic of traditional Chinese charcoal drawing, Xiaogang’s style wavers between the exaggeration of animation and stoic flatness.

Muted and compliant, Zhang Xiaogang’s extended family convey individual identity through their unalterable physical features: big heads, watery eyes and subtle alterations in hairstyle give clues to intimate characteristics and stifled emotions. These dream-like distortions give a complex psychological dimension to Xiaogang’s work, heightening the tension of regulated claustrophobia, and initiating suggestive narrative readings.

Referring to the Bloodline paintings, Zhang noted that old photographs “are a particular visual language” and says: “I am seeking to create an effect of ‘false photographs’ — to re-embellish already ‘embellished’ histories and lives.” He said: “On the surface the faces in these portraits appear as calm as still water, but underneath there is great emotional turbulence. Within this state of conflict the propagation of obscure and ambiguous destinies is carried on from generation to generation.”

Zhang commented that he has carefully selected the colors in his paintings to emphasize the individual’s pure essence, pointing to their innocence as they’re born into circumstances and obligations beyond their control. This color also highlights tensions between generations brought about by political and practical necessity. In the traditional Chinese family, the younger generation is expected to carry forward the family lineage.

At this time in Chinese history, however, the most progressive political position for China’s youth was to reject the authority of tradition involving the traditional family structure. In this bundle of contradictory

張曉剛《血緣系列─大家庭》 羅芙奧香港2011年春拍，編號046，1128萬港幣成交 ZHANG Xiaogang, Bloodline Series - Big Family 2006, oil on canvas, 160 x 200 cm Ravenel Spring Auction 2011 Hong Kong Lot 046, US$ 1,449,871 sold

impulses, disingenuous surfaces, and nostalgic sentiments Zhang sees his generation’s central conflicts.

The “Bloodline Series” works serve as metaphors for the legacy of China’s Maoist era; they are also Zhang’s way of expressing the power of transmission from one generation to the next. The biological importance of family genetics is demonstrated through genetic transmission; more intangible is the intergenerational transmission of cultural and social identity. The red bloodlines are the artist’s concrete expression of family ties and, more literally, genetic carriers.

Regarding the influences of China’s political upheavals on his paintings, Zhang said, “For me, the Cultural Revolution is a psychological state, not a historical fact. It has a very strict connection with my childhood, and I think there are many things linking the psychology of the Chinese people today with the psychology of the Chinese people back then.”

The Bloodline concept of Zhang Xiaogang reflects a common characteristic of the

time and has won fame for his series in the international artistic world. Critics say Zhang pointed Chinese contemporary art in a new direction; he fused old charcoal-like portraits with modern pop art to create iconic images of the troubled Chinese family. Undoubtedly, Zhang is one of the most outstanding artists in China’s avant-garde movement. As in the early 80’s, he has been active in the contemporary art scene, he has witnessed the history and projected the development of contemporary art in China over the past twenty years. He took part in many important early Chinese contemporary art exhibitions.

Back in 1985, Zhang participated in the “Neo-Realism” exhibition held in Shanghai and Nanjing; in 1989 the “China AvantGarde” in National Art Museum of China in Beijing; in 1995 the “Bes del Pais del Centre: avantguardesartistiquesxieses” in Barcelona Contemporary Art Museum in Spain and the 46th Venice Biennial held in the same year. In June 2006, Zhang was awarded one of the four “Artist of the Year” at the National Art Museum of Art in China presented by Martell, the wellknown French enterprise. Western media gave him the name of “top-selling painter”.

While in spring 2011, his 1988 triptych oil work ‘Forever Lasting Love’, of half-naked figures in an arid landscape suffused with mystical symbols, sold for HK$79 million (US$10.1 million), a record auction price for a contemporary artwork from China. In this burst of fame, Zhang Xiaogang has been catapulted into the ranks of the world’s bestknown living artists, such as Damien Hirst, Jeff Koons, Lucian Freud, Jasper Johns, CyTwombly and David Hockney. Collectors throughout the world kept chasing Zhang’s works. His works are collected by international organizations including the Guggenheim Museum in New York, foundations and museums in England, The Netherlands and

France and many important collectors.

The sensitiveness and ability of profound observation grants the artist the gift to connect his personal life closely with the time and society, which raises him to the heights of art. Now, Zhang Xiaogang is a universally acknowledged successful artist, an artist whose success is far beyond failure.However, the sensational success seems still unable to eliminate the feeling of loneliness deeply rooted within him. He said: “I can never expect to make any sunny and happy paintings. My paintings are all cloudy and melancholic.

Maybe it is because of my experience for the relationship between my family and I always display the negative side or dark back of life, never the positive face”.

張曉剛《失憶與記憶》 羅芙奧香港2011年春拍，編號048，180萬港幣成交 ZHANG Xiaogang, Amnesia and Memory 2006, oil on canvas, 54.5 x 39 cm Ravenel Spring Auction 2011 Hong Kong Lot 048, US$ 231,362 sold

049

ZENG Fanzhi (Chinese, b. 1964)

Sky Series - Distant View 2005 Oil on canvas 200 x 150 cm Signed lower right Zeng Fan zhi in Chinese and English, dated 2005 EXHIBITED: In the view, The International Seminar and Art Exhibition Project Faculty of Fine Arts, Srinakharinwirot University, Bankok, 2006, August 23 - September 15, 2006 ILLUSTRATED: In the view, The International Seminar and Art Exhibition Project Faculty of Fine Arts, Srinakharinwirot University, Bankok, 2006, color illustrated, p. 82

HK$ 7,500,000-9,500,000 NT$ 30,750,000-38,950,000 US$ 961,500-1,217,900

曾梵志 天空系列─眺望 2005 油彩 畫布 200 x 150 cm 簽名右下：曾梵志 2005 Zeng Fan zhi 展覽： 「目光所及－當代藝術七人展」，詩洛卡琳 威洛大學美術館，曼谷，展覽自2006年8月 23日至9月15日 圖錄： 《目光所及》，詩洛卡琳威洛大學，曼谷， 2006，彩色圖版，頁82

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曾梵志的《天空系列—眺望》是他2004 年創作的經典作品「天空」系列中的代表 作，作品表達了在混亂和頑強的世界中的 不安、困惑和焦慮。這類主題在他的很多 作品中經常表現，但「天空」系列在光 明、希望甚至個人的滿足和救贖的方面有 更多的表達。不同於大多數的中國當代藝 術家, 曾梵志的畫源自內心，始終依循自身 的藝術情感表達，他通過作品深入探索自 身內在心靈及其遭遇的恐懼。曾梵志受到 羅伯特．勞森柏格和愛德華．孟克等歐洲 表現主義藝術家的深刻影響，他無疑打破 了中國的現實主義和具象派藝術的固有模 式，把內心最深層的痛苦情感傾訴在畫布 空間內。曾梵志關注人物個體，並用心體 察在隔閡與疏離的社會中的恐懼和焦慮， 並對人所佩戴的用以掩蓋內心恐懼的面具 深有所感，他在「天空」系列作品中表現 了人可以獲得某種形式的內心寧靜，甚至 是滿足的喻意。 曾梵志的《天空系列—眺望》描繪了兩個 青年人並肩站在山坡上目視遠方，這是曾 梵志風格的作品中經常出現的場景。儘管 兩人並立，卻似乎各不相干，都在忘我地 凝視遠方。曾梵志非常擅長表現瞬息萬變 的現代社會裡中國青年人內心的騷動和困 惑。兩位貌似不俗溫文爾雅的都市人臉上 都掛著困惑和壓力的表情，明顯表現出孤 立和迷惘的心境，這是因為人物在內心世 界對自我身份認識的困惑。人物巨大肥厚 的手掌著色粗獷，是曾梵志標誌性的繪畫 語言，代表人物內在心靈的生澀和脆弱。 作為表現主義的創作者，曾梵志油畫中每 個部分都具有深刻含義。站在暗色山坡的 兩個人物被茂密而纖長的野草包裹。色彩 在曾梵志的表現主義畫作中也佔有重要地 位，暗色調的山坡代表了作品黯淡的心理 背景，同樣灰暗陰鬱的野草，喚起焦灼不 安的心理活動。在《天空系列—眺望》

中，昏暗的山坡和混亂的野草佔據的畫面 空間不足四分之一，大面積的背景是強有 力的藍色和白色的天空。曾梵志在他的所 有作品中對每種顏色都使用了暗藍、暗綠 或暗灰的陰影，而明亮的天空映襯下並排 站立的兩個突兀的人物形象，則為他們的 世界帶來了意外的希望。兩人堅定地迎風 而立，似乎在心理上有足夠能量面對心魔 的挑戰，敢於直面淩亂的世界拋向他們的 任何狂風暴雨。衣服是明快的紅、白、藍 色，頭髮被風吹向後方，這些細節也為畫 作增添了樂觀的寓意，而這在曾梵志早期 的作品中是沒有的。 曾梵志在很多方面表現不俗，在中國當代 畫家中脫穎而出。他的作品在表現力和技 法上顯示了非同尋常的成熟。他關注內在 世界，通過畫作反映了心理的深刻不安和 對紛繁新世界在意義上的探索。他的很多 近期作品關注開放和新興的中國的政治和 社會事務，而在事業初期的創作則大多表 現個人在令人驚恐的新環境中的異化和疏 離感。曾梵志不僅創作主題與眾不同，繪 畫技法上也樂於實驗創新，特別是在中國 傳統國畫筆法和空間的運用方面積極實 踐。他經常表現的異化和疏離痛苦主題和 成熟的繪畫技法使他得到了全世界的認 可，成為中國當代最重要的畫家之一。 曾梵志1964年生於湖北武漢。童年時， 他性格內向，深受當時社會混亂和不合理 的影響。所見所聞讓他的心靈深受傷害， 藝術成為其迷亂內心的唯一出路。進入湖 北美術學院學習後他馬上被德國表現主義 所吸引，在這裡的學習對他的作品和繪畫 技巧造成了終生的影響。野性的畫風、帶 血的色彩和沉思的表情成為他的標誌，世 界末日般的意象和顏色中表達著焦慮和異 化。然而，這樣的反思和表現主義傾向在 他的故鄉武漢得不到認同，於是曾梵志在 1994年搬到了北京。在那兒，他深受異化

梵志來說，這令他非常困擾。

和分離帶來的心靈創傷。 曾梵志的作品是對其人生各個階段心理狀 態的一種細緻表現。大多數同時代的藝術 家樂於在藝術作品中套用已有的成功模 式，而曾梵志與他們不同，他堅持推出新 的系列作品，並開拓藝術風格，不斷創造 新的和引人注意的內心表現方式。在武 漢時，他創作了最早的兩個作品系列「醫 院」和「肉」，兩個系列都受到早年駭人 的直接影響，這些經歷來自其內向的青少 年時期。在二十世紀60年代，大多數中 國家庭沒有浴室，年幼的曾梵志只得去附 近醫院借用。每天在醫院目睹的混亂場景 使其敏感的內心蒙受傷害。他由此創作的 「醫院」系列獨特地刻畫了漠不關心的醫 生和充滿恐懼的病人。「肉」是他的第二 個系列作品，取材於他每天往返學校途中 經過的屠宰場。在炎熱的夏季，屠宰場的 工人們躺在冷凍的肉製品上降溫，肉上的 血沾得他們滿身都是。對於十分敏感的曾

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為尋求對自己藝術的認同和理解，曾梵志 從武漢移居北京。然而他發現自己與主流 藝術格格不入。面對孤獨、分離和異化， 他創作了成名作「面具」系列。畫中每個 人物的臉都藏在一個扁平的面具下，使所 有的表情和感情得到昇華。衣著光鮮、投 身職場的年輕都市人將真實的內在自我偽 裝起來，壓制其內心情感，直至否定自己 的生命。「面具」系列之後，曾梵志開始 轉向更加抽象的藝術形式。2000年，他 開始創作不戴面具的人物畫像。這些人物 眼神空洞呆滯，甚至比他所創作的面具人 物更加頹廢，刻畫了令人難忘的個體孤 獨和寂寞。在曾梵志的所有作品中，其描 繪的人物都有異常巨大的雙手以及強壯的 身姿，似乎在強調儘管人們可以將內心的 情感小心翼翼地隱藏在毫無表情的面容背 後，但不安的雙手會暴露內心的掙扎。 曾梵志在「肖像」系列中運用了更多傳統 的中國畫技巧。表現主義與傳統的中國水 墨畫的抽象性相結合，畫作中的人物常常 浮現於空白背景中，而細節處著筆甚少， 這種處理有助於曾梵志強調人物性格上的 孤立和隔離。這種強大的表現力直接來自 傳統的中國畫。曾梵志的畫法同樣深受傳 統的中國水墨畫畫法的影響。粗筆劃出的 大線條營造出一種抽象的感覺，而細筆則 用來描繪有力、強烈的線條，讓人聯想起 中國書法。 2004年曾梵志開始創作風景畫，在他的作 品《天空系列—眺望》中，人物獨立於風 景之外。隨著曾梵志的日漸成熟，他的創 作也反映了他的心路歷程和心理狀態。他 的「天空」系列作品為混亂、挑戰和令人 不安的世界帶來了一絲新的光明和希望。

Zeng Fanzhi’s “Sky Series - Distant View” is a superb example from his classic ‘Sky Series’, which he painted from 2004, embodying his universal themes of angst, uneasiness and bewilderment in a chaotic and unyielding world. His ‘Sky Series’ however, offers much more in the way of light, hope and even personal contentment and redemption.

The most inward looking of contemporary Chinese artists Zeng’s works have always been a deep exploration of his inner psyche and the fears and terrors encountered there.

Deeply influenced by European expressionists especially Robert Rauschenberg and Edvard Munch, Zeng has definitively broken the mold of Chinese realism and representational art, letting the painful innermost workings of his mind pour out on his canvases. Obsessed with the individual, his fears and anxieties in an alienating society, and the masks he wears to cover up his terrors, in the ‘Sky Series’ Zeng suggests that some form of inner quietness and calmness even contentment may be achieved.

In “Sky Series - Distant View” Zeng depicts two young men standing side by side on a hill. Gazing far off into the distance, in typical Zeng style, they stand together on a hill. And although standing side by side, they seem aloof and disjointed from one another, lost in their thoughts as they stare far away into nowhere. Zeng is a master at representing the inner turmoil and perplexities faced by young Chinese in a modern society that is so fast moving and ever changing. The two apparently sophisticated and suave urbanites with the puzzled and strained expressions on their faces, articulate the fundamental isolation and bafflement, which results from an internal lack of knowledge of who they really are.

Their large fleshy hands almost raw in their rendering, and a constant symbol in Zeng’s work, represent the rawness and fragility of their inner psyche.

As an expressionist all parts of Zeng’s canvas have meaning and profundity. The two figures stand on a dark hill surrounded by long and strong grasses. Colors are also very important in Zeng’s expressionistic artwork. The dark hues of the hill are representational of the

juxtaposition of the two figures against such a light colored sky brings an unexpected realm of hope to their world. As they stoically and steadfastly face into a strong wind, they also appear to be psychologically strong enough to face their demons and stand resolute in the face of any storm a bewildering world can throw at them. The bright red, white and blue of their clothing and their blown back hair also add an optimism missing from Zeng’s earlier series of works.

emerging China, Zeng from the beginning of his career focused on the alienation and detachment of the individual in a frightening new environment. Zeng is not just unique in his themes, he has also been an experimental technician in painting methods and particularly in the great Chinese tradition of brush strokes and use of space. Both his universal theme of the pain of alienation and detachment and his masterful use of the paintbrush have brought him worldwide recognition and made him one

曾梵志《亂草系列》，羅芙奧香港2011年秋拍，編號068，預估價：HK$ 3,400,000-5,000,000 ZENG Fanzhi, Grass Series, 2007, oil on canvas, 70.5 x 200 cm, Ravenel Autumn Auction 2011 Hong Kong, lot 068, estimate: US$ 435,900-641,000

dark workings going on deep in the mind.

The dark and somber grasses are evocative of the anxious, angst-ridden thoughts running through the mind. In “Sky Series - Distant View”, the somber hill and chaotic grasses take up no more than a quarter of the canvas and instead the dominant background is a powerful blue and white sky. Throughout his oeuvre Zeng employs dark shades of every color, dark blues, dark greens, dark grays. The sudden

Zeng stands out in many ways from his peers in contemporary Chinese art, displaying an uncommon maturity both in terms of expression and technique. Primarily concerned with the inner world, his body of work reflects his deep psychological unease and search for meaning in a bewildering new world.

While his contemporaries mostly focused on political and social issues in a newly open and

of the most important of Chinese contemporary artists.

Zeng Fanzhi was born in Wuhan in Hubei Province in 1964. As a child, he was introverted and was deeply affected by the chaos and irrationality in the society of his youth. His psyche was deeply traumatized by what it observed and art was the only outlet for his inner turmoil. He was immediately attracted

to German Expressionism at the Hubei Academy of Fine Arts, and his studies were to have a life-long influence on his works and techniques.

Wild strokes, fleshy colors and brooding expressions were to become part of his hallmarks and were to allow him to express his angst and alienation in apocalyptic imagery and colors. However, such introspection and expressionistic tendencies found little acceptance in his native Wuhan and so in 1994 Zeng moved to Beijing. Here, he suffered the full trauma of alienation and disconnection.

Zeng’s body of work is a detailed expression of his psychological state at each period in his life. Unlike most of his contemporaries who are happy to stick with winning formulas in their artwork, Zeng has consistently introduced new series of works, and pushed the boundaries of his artistic style to constantly create new and arresting expressions of his inner-state.

While still in Wuhan, he produced his first two series of works “Hospital” and “Meat” both of which were directly influenced by horrifying early experiences for the young introvert. In the 1960’s most homes in China didn’t have a bathroom. The young Zeng had to use the one in the local hospital. His sensitivities were traumatized by the chaotic scenes he witnessed there on a daily basis. His resulting “Hospital” series typically depicts uncaring doctors and terrified patients. “Meat”, his second series, results from his experience of passing by his local butchers on his way to and from school everyday. In the heat of summer, the only way for the workers to cool down was to lie on the frozen carcasses which resulted in them being covered in blood. For the highly sensitive Zeng, this was deeply disturbing.

On moving to Beijing Zeng was hoping to find acceptance and understanding of his art. Instead he found himself isolated and cut off from the mainstream. Faced with loneliness, detachment and alienation, he produced his “Mask” series for which he has become most famous. The face of each of his protagonists is hidden by a flat mask which sublimates all expression and feeling. Well-dressed, professional, young urbanites mask their true inner selves subjugating their feelings and emotions, and negating their lives. After the “Mask” series, Zeng started to move to more abstract forms. In 2000, he began to depict figures without masks.

These figures may have regressed even more than his masked characters as their vacant and expressionless eyes are empty and hauntingly portray the loneliness and isolation of the individual. As in all Zeng’s works the

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depicted persons have v e r y l a rg e h a n d s i n strong poses seemingly emphasizing that although we can hide our inner most feelings most carefully behind an expressionless face our agitated hands will always betray our true inner turmoil.

The “Portrait” series also marks a deeper connection for Zeng with traditional Chinese painting techniques. Combining expressionism with the abstractness of traditional Chinese 曾梵志《天空系列》羅芙奧香港2010秋季拍賣會， water and ink painting, 編號061，1003.2萬港幣成交 Zeng Fanzhi, Sky Series, 2005,Oil on canvas, 250 x 170 cm The figures often Ravenel Autumn Auction 2010 Hong Kong, lot 61, float suspended in an US$ 1,292,784 sold empty background while any details are portrayed in a very minimalist way, allowing Zeng to emphasize the isolation and detachment of his character. This very forceful effect is taken directly from traditional Chinese paintings. Zeng’s brush strokes are also strongly influenced by traditional Chinese water and ink brush strokes. Large single strokes with wide brushes create an abstract feeling while narrow brush strokes are used to create strong, emphatic lines reminiscent of Chinese calligraphy.

In 2004, Zeng began to produce landscapes, and figures isolated in landscapes from which “Sky Series - Distant View” comes. As Zeng has grown and matured as a person, his works reflect this inner journey and psychological state. His, “Sky series” brings new light and hope to an otherwise chaotic, challenging, and disturbing world.

050

CAI Guo-Qiang (Chinese, b. 1957)

Skybound UFO and Shrine 2002 Gunpowder on paper 259 x 339 cm Signed lower right Cai Guo Qiang in English, titled Skybound UFO and Shrine in Japanese and dated 2002.7.10 EXHIBITED: Demeter; Tokachi International Contemporary Art Exhibition, Obihiro, Japan, August 11, 2002 ILLUSTRATED: Demeter; Tokachi International Contemporary Art Exhibition, Tokyo, 2002, illustrated, pp. 33-37 & p.158 Yomiuri Shimbun, August 6, 2002, illustrated

HK$ 6,000,000-9,000,000 NT$ 24,600,000-36,900,000 US$ 769,200-1,153,800

蔡國強 天空中的飛碟和神社 2002 火藥爆破 紙本 259 x 339 cm 簽名右下：天空にあえUFOと神社帯広ため の計劃 2002.7.10 Cai Guo Qiang 展覽： 「農業女神─帶廣國際當代美術展」，日本 北海道帶廣競馬場，2002年8月 圖錄： 《農業女神─帶廣國際當代美術展覽》，東 京，2002，圖版，頁33-37與頁158 《讀賣新聞》，2002年8月6日，圖版

狀如神眼，令人凜然讚嘆的火藥作品《天空 中的飛碟和神社》是蔡國強最令人欽羨和稱 頌的作品之一，2002年與十四位世界級藝術 家一起應邀參加日本北海道帶廣國際當代藝 術展，該作品贏得喝采。 此創作是蔡國強「為外星人作的計畫」北海 道帶廣當代藝術展的計畫圖。行為藝術的作 品包括直徑三十米、高10米的碟狀飛艇，飄 浮於跑道上空，源自日本神道教的銀砂神社 掛在飛艇下方。飛艇內部充滿比重輕於空氣 的氣體，飛艇得以緩緩上升。湛藍的天空 裡，白色外星飛碟和紅色的神社共同營造 出魔幻神奇的效果。夜間則將飛艇和神社照 亮，使之籠罩在柔和的黃色月光中，呈現彩 虹般帶有希望的色彩。 不過，安寧與平靜當然不會是蔡國強的作品 風格。蔡國強是福建人，篤信道教，不可避 免地著迷於生命中的二元存在。他堅信道教 所說凡事皆有對立面，如陰與陽、靜與動、 和平與暴力、毀滅與建設等，所有對立兩面 都必然同時存在並相互影響，因此蔡國強計 畫在展覽最後一天依舊慣例用火藥炸掉那形 似外星太空船的飛艇。作品《天空中的飛碟 和神社》即是這一壯觀爆炸的計畫圖樣。 原打算把羅馬焰火筒綁於神社底部和飛碟外 側邊緣，當焰火以對角線向上方和四周噴射 時，飛碟會變成火的皇冠，同時神社也會向 地面噴射火舌，勢如火箭地發射上天。從觀 者的視角，場面如同地平線延伸，似神光乍 現，同時燃燒的飛艇呈垂直線。蔡國強力圖 以此作品象徵質樸而富饒的地球力量，戰勝 人類過去的征服與開發，也代表飛碟將神社 帶向新世界，完成宗教和文 化的遷移，構成 人類歷史的組成元素。 不過，上述計畫卻未能實現。似乎為了強化 和印證蔡國強的生活的哲學，冥冥中似有一 股力量的驅動，人類所不能預知的事件隨時 都在發生，正當按計劃進行安裝時，一場大 颱風襲擊了北海道，飛艇遭受損壞，無法按 照計畫飛上天空。篤信道教的蔡國強相信破 壞之時也是建設的機會，死亡帶來新生，劇 烈的力量帶來和平，因此面對明顯的挫折做 出了偉大的反應，修改原訂計劃。維修氣球 並部分充氣，使之呈穹頂圓形離開地面，穹 頂周圍佈滿火藥，然後牽引出4500米的導火 索圍繞在碟形飛艇內外兩側。 因颱風之故，展覽期間幾乎每日下雨。但重

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新計畫後，爆破當日雨竟停歇。鄰近傍晚 時，地平線處烏雲散盡，火紅的夕陽在銀白 色雲朵間綻開燦爛光芒，天氣一下變得非常 適合此一藝術計畫。導火線隨即點燃，白色 烈焰咆哮而出，圍繞飛碟外側疾速前行，如 巨龍在天際奔馳，內部燃燒的引信使飛艇透 出神秘的橙色光彩，燃燒的藝術作品持續約 三十秒，觀眾滿懷 敬畏地倒吸一口氣，蔡國 強自認為此次的火藥創作是他最成功的作品 之一。 《天空中的飛碟和神社》壯麗地完成了原 計劃的創作，也展現出蔡國強駕馭火藥在 紙上表現力量、能量和吸引力的爐火純青的 藝術水準。飛碟氣艇的外形清晰可見，爆破 力沖向各個方向，發出令人難以置信的能量 和力量之光，達到了在飛艇上燃放焰火的效 果，橢圓形內部中心呈現原計劃接觸地面的 神社的火焰焦痕。畫作雖因創作的計畫略偏 離原有目的，但其本身也成為一件宏偉的藝 術品。能量從橢圓形中心四射迸發，猶如噴 勃的星系，穿越時間，在宇宙中漂浮，又似 神秘的宇宙之眼凝視萬物。蔡國強道教信仰 的核心信念即是相信世界上有可見與不可見 的存在，人類的生命存在於一個神秘世界， 為可見與不可見的力量所包圍。《天空中的 飛碟和神社》就是表現這一信仰的代表性作 品。 蔡國強在泉州長大，童年時期經歷過文革 動盪。他的父親是一位信奉儒家思想，遵 從理性和自我約束的國畫畫家，儘管蔡國強 受過傳統水墨畫訓練，但他在年輕時代就受 到祖母的影響，被舊式信仰的混亂說和唯心 論所吸引，從而專心道教。他認為傳統藝術 和社會在總體上顯得僵化沉悶，因此他離開 家鄉，進入上海戲劇學院。經歷了先鋒運動 之後，他的作品開始表現具有深遠意義的主 題，常常反映社會政治事件。不過蔡國強仍 發現他的思想受到拘束和局限，因此又去了 日本。日本在很多方面都成為他精神上的故 鄉，也就是在日本，他開始使用火藥進行創 作。 蔡國強從不滿足於使用畫筆和顏料。年輕時 即嘗試多種技術媒材，拓展在平面空間進行 藝術創作的界限。例如把畫布塗滿顏色，然 後啟動電扇將顏料吹成漩渦形狀。泉州是中 國火藥工業中心，因此蔡國強非常瞭解這種 熾烈的物質。在日本期間他能接受日本文 化，但身為外國人，他總保持旁觀態度，那 時他開始喜歡火藥的特性。火藥蘊藏著巨大

代表作就是 具有宇宙爆炸氣勢的《天空中的 飛碟和神社》，它也成為蔡國強個人最欣賞 的傑作之一。

The awe-inspiring gunpowder drawing “Skybound UFO and Shrine”, with its divine eye like appearance, is one of Cai GuoQiang’s most admired and lauded works on paper winning immediate acclaim when it was first exhibited at the Demeter: Tokachi International Contemporary Art Exhibition, in Obihiro, Hokkaido, Japan in 2002 in which fourteen international artists took part.

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

能量，同時也無比美麗，在破壞的同時創造 出極致的美。蔡國強相信破壞能帶來創新， 因此火藥成為描繪自身信仰和情感的最佳媒 介。不過火藥破壞力的確太過巨大，因此蔡 國強最初計畫在帶廣使用火藥進行飛碟和神 社的創作，此後他通過多種媒介進行火藥創 作試驗。使用紙張是因為紙張對於燃燒最為 敏感，能夠作出微妙細小的色調，捕捉到能 量在剎那間釋放的情景。 1995年蔡國強移居紐約，他的火藥藝術開始 贏得肯定。蔡國強的創作常具有政治或社會 性的暗示，特別是911事件之後，經常探索 人類對同類的殘暴以及普遍的毀滅性格。然 而蔡國強說在美國或歐洲他想到的是「社 會」，但在日本他總會想到「宇宙」。於是 2002年回到日本創作了《天空中的飛碟和神 社》。蔡國強回到自己的精神家園感受到和 宇宙的最深層聯繫，和宇宙的能量相連接。 他於是在日本開始了他的「為外星人作的計 畫」系列，創作出能夠讓外太空的外星力量 看到的大規模爆炸。傳達此精神連結的傑出

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The drawing is the original plan for a major event as part of Cai’s ‘Project for Extraterrestrials’ that he conceived for the Obihiro Racetrack as part of the art exhibition.

He planned to have a UFO-shaped airship, 30 meters in diameter and 10 meters high, float above the racetrack. A vermillion shrine, from the Japanese Shinto religion, was to be attached beneath. The blimp would have been filled with gas so that it would rise gently into the sky. Once there, magic and spiritualism would have been created with the contrast of the white UFO, with the red shrine attached hovering in the serene blue sky. At night it was planned to light the objects as if they were bathed in a quiet yellowish light of the moon or the hopeful colors of a rainbow.

But, of course, quietness, calmness and serenity are not hallmarks of Cai GuoQiang’s work. A child of Fujian province, and reared in the Taoism of his native province, Cai is inextricably attracted to the dualities present in life. A strong belief in Taoism is that everything has its opposite. Ying and yang, calmness and turbulence, peacefulness and violence, destruction and construction, all opposites must exist and interplay with one another. And because of this, life is

unpredictable and necessarily spontaneous.

So, on the last night of the exhibition, Cai had planned one of his signature explosion events for his UFO ship, and “Skybound UFO and Shrine” is the drawing plan of this fiery spectacle.

Roman candles were to be attached to the bottom of the shrine and on the outside edge of the UFO. As they shot flames diagonally up and around, the UFO would have been transformed into a crown of fire, while the shrine would have shot flames onto the ground like a rocket at launch. As the spectators watched, it would seem that the horizon was expanding as if some mystical light was appearing, emphasized by the vertical lines of the burning ship. For Cai, the work was to symbolize the power of the pristine and fertile earth as it overcame its subjection and exploitation by humans in the past. It was also to represent the transplantation of religion and culture, an integral part of human history as the UFO carried the Shinto shrine to new worlds.

However, the event as planned never took place. As if reinforcing and verifying Cai’s philosophical outlook on life, the unpredictable unleashing of unseen forces at any moment, a major typhoon ravaged Hokkaido while the work was being installed.

The blimp was damaged and unable to fly as planned. As a profound follower of the Taoist belief that destruction brings construction, death brings new life, powerfulness brings peace, Cai responded magnificently to the apparent setback and modified his original plans. The balloon was repaired and partially inflated so that it rose as a dome from the ground. He drew with gunpowder all around the dome and then laid out a 4, 500 meter long fuse around the inside and outside of the UFO ship.

Because of the typhoon there was constant rain everyday of the exhibition. However, on the day of the replanned event it stopped raining. As evening approached the clouds cleared on the horizon and a magnificent blood-red sunset with silver white clouds occurred creating a very dramatic atmosphere for the event. As the fuse was lit, a roaring white fire sped around the outside of the UFO like a dragon racing through the sky.

Simultaneously, the fuse inside caught, and a mystical, puff of orange light filled the blimp.

In all, the event lasted 30 seconds, however it was met with an awe-struck gasp from the audience, and Cai, himself has claimed this as one of his most successful gunpowder events.

“Skybound UFO and Shrine” is a splendid representation of the originally planned event.

It is also a stunning example of Cai’s mastery of using gunpowder to create powerful, energetic and magnetic images on paper. The outline of the UFO ship is clearly seen and bursting forth in every direction are rays of incredible energy and force, as would have happened with the fireworks on the ship. In the center of the oval shape are the scorch marks of the flames from the shrine which would have made contact with the earth.

The drawing though transcends its original purpose as a plan of the event, and instead is a magnificent work of art itself. With its energy bursting forth from an oval center, it seems to be a cosmological event, a roaring galaxy floating through time. It also stirs evocative ideas of the cosmic divine eye watching over everything. One of Cai’s obsessions, and a central belief in his Taoist system, is that of the seen and unseen, that we life in a mystical world and are surrounded by forces both seen and unseen. “Skybound UFO and Shrine” has become an iconic representation of this belief.

Cai grew up in Quanzhou during the turbulent

period of the Cultural Revolution. His father was a traditional Chinese painter, and Cai was classically trained in ink and brushwork.

However, from a young age he was immersed in the traditional Taoism of his grandmother.

He was much more attracted to the chaoticism and spiritualism of the old beliefs than the rational and constrained beliefs of his father’s Confucianism. Finding both traditional art and society in general to be stifling and stultifying, he left his home province and entered the Shanghai Drama Institute. He encountered the avant-garde movement and his works from this time deal with profound subjects, and are often reflections on socio-political events.

However, Cai still found his thought processes to be controlled and bound, and so, he left for Japan. Japan was in many ways to become a spiritual home for him, and it was here that he first began to use explosives in creating art.

Cai was never happy using a brush and pigment for his art. As a young man he experimented with many techniques to stretch the boundaries of what an artist could do on a flat surface. For example he covered a canvas with paint and then pointed a fan on it, trying to recreate the appearance of a typhoon.

Quanzhou was the center of the fireworks industry in China, so Cai was very familiar with this fiery substance. It was while living in Japan, where he embraced the culture, but as a foreigner always remained an outsider, an alien, that the properties of gunpowder began to appeal to him. It’s tremendous power, energy and beauty, destroyed on the one hand, but created terrifying beauty on the other. Out of destruction, came new creations. It was the perfect medium for him to portray his beliefs and sensibility. However, gunpowder is literally destructive, so at first Cai, planned events using gunpowder such as the UFO and Shrine event at Obihiro. He then experimented with it on various media, settling on paper,

as it is the most sensitive to burning and enables the creation of a subtle range of hues, capturing the momentary release of energy.

In 1995 Cai moved to New York, and began to win acclaim for his explosive events. Often these events had political or social overtones, and especially after 9/11, his works often explore man’s inhumanity to his fellow men, and man’s general destructiveness. However, Cai has commented that when working in the USA or Europe, he thinks of social issues, but when in Japan, he always thinks of the universe. So, in 2002, when returning to Japan to create “Skybound UFO and Shrine”, Cai was returning to his spiritual home, where he feels his deepest connection to the universe and where he plugs into the energy of that universe. It was in Japan that he began his ‘Project for Extraterrestrials’, large-scale explosion projects that could be seen by extraterrestrials from space. This spiritual connectedness is magnificently represented in the cosmological explosiveness of “Skybound UFO and Shrine”, and makes it one of Cai’s most admired works.

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ZHOU Chunya (Chinese, b. 1955)

Peach Blossoms Series

模糊的桃花林，勾引出觀者的視覺情感經 驗。「桃花」一詞，在中國文化史中向來與 女性與情愛有關。陽春三月，桃花吐妍。所 謂「人面桃花相映紅」，桃花的冶艷，讓人 聯想到生命的豐潤，或是女性嬌美的姿容。 又有云「桃色為紅之極純」，所以能領袖群 芳，但因其色澤過於豔燦，所以桃色也成為 男女豔情的象徵。

2007 Oil on canvas 150 x 200 cm Signed lower right Zhou Chunya in Chinese and English, dated 2007

HK$ 4,000,000-6,000,000 NT$ 16,400,000-24,600,000 US$ 512,800-769,200

周春芽曾說：「桃花色彩曖昧，外圈是白 的，中間是紅的，在中國傳統文化中，桃花 和情感、性愛聯繫得比較緊密，體現生命， 走到桃花林裡，我就會心花怒放，朝氣蓬勃 的。因為它的紅色，紅得很舒服。我還畫了 很多熱情的紅人，因為人的性愛，情感和桃 花是一樣的，就是生氣勃勃的。」

周春芽 桃花系列 2007 油彩 畫布 150 x 200 cm 簽名右下：2007 周春芽 Zhou Chunya

2005年3月時值春天，周春芽偕新婚妻子霜 霜到成都附近的龍泉山上賞桃花。原本早已 熟悉的山光景致，因為多了愛情的滋潤，心 隨境轉，體悟大有不同。看著滿山遍野的豔 紅桃花，他驚歎於生命華麗的律動，回去後 開始構思「桃花系列」繪畫作品。 怒放的桃花樹林，美麗竟然能如此地放縱， 讓人不禁感嘆於花期短暫、歲月流逝。藝術 有成的周春芽五十歲年紀，愛戀正值青春美 好的霜霜，借桃花之冶豔，直探內在的慾念 與感懷。如同西洋大師畢卡索的諸多繪畫靈 感根值於情慾，周春芽不諱言他的桃花主題 與情色的直接連結。他曾說：「我描繪的就 是『色和情』。人類與生俱來的慾望，也是 旺盛生命的表現。這就像春天裡盛放的桃 花，它們的美麗值得人們欣賞。」 此幅創作於2007年的《桃花系列》，主題 聚焦於畫面中央交纏的桃花。背景是一片

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在此幅《桃花系列》作品中，畫家刻意創造 一種懷春的曖昧氣氛，桃枝的姿態遒勁有 力，生機盎然，融入中國傳統的書寫趣味。 顯得虛幻、模糊、顫動的抽象化背景，則傾 向於留學德國時期的新表現主義式的風格， 頗有幾分向李希特致敬之意。在模糊失焦的 背景下，周春芽採取現代攝影的手法，用以 強化前景的桃花。此幅《桃花系列》的表現 方式優雅細緻，在周春芽歷年的創作中顯得 彌足珍貴。 周春芽的繪畫從「山石系列」、「綠狗系 列」轉型至近期的「桃花系列」，周春芽 保有一貫的形式，特別是「桃花系列」暢快 地以其生活經驗直接轉換為視覺圖像，更富 有當代意義。「桃花系列」系列中的表現形 式，甚且影響到後期發展出的「綠狗系列」 以及「紅人系列」：狗的毛髮宛如桃樹葉， 舌頭則豔燦如桃花。綠狗、紅人的主題，後 來也以取桃花林為背景，傳達愉悅自由、生 機勃勃的意象。

桃花的題材存在於中國古典詩詞文學中，但 是畫家們因顧忌桃花的情色象徵意義，較少 有書畫的創作。當代的周春芽透過巧思，把 桃花所象徵的性愛本質，在繪畫中顯示文化 思維的況味，原始的甚或野蠻的性愛，轉化 為高雅、豐富的表現形式，殊為難得。

In the March of 2005, as spring was beginning to unfold upon his native China, Zhou Chunya traveled to Mt. Longquan with his wife Shuang Shuang, who he had married very recently, to enjoy the peach blossoms together. The longfamiliar scenery took on a novel significance and attraction through the lens of newfound love, and having thus experienced the landscape in a fresh light, the artist after his return from the trip embarked on a new project now known as the “Peach Blossoms Series.” This part of his oeuvre impresses through vibrant images inspired by mountainsides covered with flowering peach trees, brimming with the exuberant rhythm of budding life.

The lush beauty of a peach grove in full bloom has an almost lascivious quality about it, making the observer wistfully aware of the fleeting quality of florescence, and the ephemeral quality of all life. A successful artist and a sprightly man in his fifties, Zhou Chunya uses the strong appeal of the peach flower to explore and express his powerful amorous and romantic feelings for Shuang Shuang, a young woman in the spring of her life. Similar to Picasso, for whom carnal desires provided a constant source of artistic inspiration, Zhou does not deny the fact that his peach motifs have very straightforward sexual connotations. He once said, “All my paintings are about passion and romance. Lust is an integral part of being human, something we are born with. What is more, our erotic feelings and desires are a

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manifestation of vitality, of life in its prime.

This is why we are so easily captivated by flowers such as peach blossoms: their beauty is a reminder of why life is worth living. They deserve our admiration.”

This lot, “Peach Blossoms Series”, belongs to the “Peach Blossoms Series” from 2007, and the focus is firmly on the interlacing flowers at the center of the composition. The deliberately blurry background is formed by a larger segment of peach grove, drawing the observer into the artist’s visual and emotional world. In traditional Chinese culture, the term “peach blossom” is closely connected to love and femininity, while lines such as “In the spring month of March the peach trees blossom magnificently” and phrases like “a girl as lovely as a peach blossom” all serve to illustrate the richness of life, but also the charming appearance of a young lady and the nostalgic longing for one’s sweetheart.

Meanwhile, the expression “The color of peach blossoms is the purest kind of red” elucidates the enduring popularity of the flowers’ dazzling pink shades—their poignant aesthetic impact remains code for romantic attachment and the animal magnetism between lovers.

To quote the artist again, “The colors of peach blossoms are both soft and intense, segueing into whiter shades towards the flower’s rim and showing deeper crimson and rose tones towards its center. In China, these flowers are traditional symbols of both romantic and sexual attraction, representing the natural instincts of all life.

Walking in a copse of peach trees I always feel full of zest and energy—my heart is bursting with joy, and my spirit brimming with delight.

The countless hues of red stir up excitement and soothe the soul at the same time. I love to paint

creatures ‘in the throes of passion’. Covertly or overtly, all my work is about sex and love, because like the peach blossom, love and sex are reverberating with the primeval force of life.”

In “Peach Blossoms Series”, Zhou skillfully creates a sense of budding young love. The atmosphere of the painting is full of ambiguity and understated references to erotic fancies.

The peach branches in the foreground are done in vigorous strokes strongly reminiscent of

周春芽《桃花》羅芙奧台北2011春季拍賣會，編號158，1320萬台幣成交 ZHOU Chunya, Peach Blossoms, 2008, oil on canvas, 120 x 150 cm Ravenel Spring Auction 2011 Taipei, lot 158, US$ 460,412 sold

Chinese calligraphy, almost popping out of the picture with luscious energy against the intentionally indistinct backdrop, which is characterized by the out-of-focus smudginess of a shaky photograph. These visual effects remind one of the kind of Neo-Expressionist art that was popular in Germany during the time Zhou was studying at the Kassel Academy of Fine Arts, almost seeming like a nod to Gerhard Richter, one of the main proponents of New Expressionism. Zhou employs the exact same technique of a photographer who

stresses his subject by keeping everything else out of focus. The extra conspicuousness thus bestowed upon the main motif works perfectly to underline the composition’s overall elegance and sophistication, making this lot one of the artist’s most accomplished achievements.

Surveying Zhou’s career, we find that from the “Rock Series” and the early “Green Dog Series” to the more recent “Peach Blossoms Series,” his basic mode of expression remains unchanged. If anything, the artist’s free-flowing approach of directly converting his personal experiences into totemic images works even better and has an even more “modern” feel - in works like Flowers. The style of the “Peach Blossoms Series” clearly has influenced some of the artist’s other work, such as his “Red People Series” and his later Green Dog paintings. In the latter, the dog’s fur is rather evocative of peach leaves, while its tongue is redolent of an arresting peach blossom. What is more, in some of his later Green Dog and Red People pictures, Zhou uses peach groves as a backdrop to accentuate his themes of pleasure, delight, freedom and vitality.

The peach blossom is a frequently employed topos in classical Chinese poetry, yet painters often shied away from treating this subject precisely because of its sexually charged connotations. Taking a more contemporary approach, Zhou Chunya s ublimates the relatively raw eroticism of the subject by fusing it with other cultural sentiments and associations, subtly tempering the savage wildness of pure lust and transforming it into something higher with an even richer, deeper, and more refined appeal.

052

WANG Guangyi (Chinese, b. 1957)

Eternal Halo 2004 Oil on canvas 150 x 120 cm Signed lower right Wang Guang Yi in English and Chinese, dated 2004 PROVENANCE: Shanghart Gallery, Shanghai ILLUSTRATED: Elle China, April, 2006, illustrated AD Spain, October, 2007, illustrated

HK$ 1,500,000-2,000,000 NT$ 6,150,000-8,200,000 US$ 192,300-256,400

王廣義 永放光芒 2004 油彩 畫布 150 x 120 cm 簽名右下：2004年 Wang Quang Yi 王廣義 來源： 香格納畫廊，上海 圖錄： ELLE China，2006年4月，圖版 AD Spain，2007年10月，圖版

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王廣義是中國當代舉足輕重的藝術家，畫風走政治波普路線，運用這項美國當代藝術形 式，將文革時期的影像或代表圖像，與西方消費主義為人熟悉的圖像並置，展現出另一種 新穎獨特的中國風格。不論是獨裁革命者的影像，或是西方消費品牌的圖像，王廣義都對 這些生活中常見的符號及角色提出諷刺與質疑。他所創造的畫像體現中國當代的社會難 題，即是糾纏著過去，又努力思索著未來。 這幅2004年創作的《永放光芒》回歸到簡約的創作形式，王廣義開始去除波普畫作中西方 經典商品的品牌標誌，留下具有歷史意義的肖像，以強烈、粗獷的木刻式筆法，重新解構 文革時期的政治圖像，將農工兵的形象與政治招貼的表現手法巧妙結合在一起，探討社會 主義意識型態下文字話語的渲染力量，以及充斥矛盾、衝突的中國社會現象。

Wang Guangyi is one of the leading contemporary Chinese artists today. Painting in the style of Political Pop, he has taken this contemporary American art form and given it a new and unique Chinese voice, as he juxtaposes images and icons of the Cultural Revolution with major emblems of Western Consumerism. He poses ironic questions concerning the role of symbols in our life, whether they are authoritarian revolutionary images, or iconic Western consumer brands. Wang creates images that are emblematic of China’s contemporary struggle, grappling with its past while figuring out its future.

In “Eternal Halo” created in 2004, Wang Guangyi returns to a spare, pared-down formal style. Rather than the classic product brands of Western Pop Art, he uses images of human figures with historic significance, employing powerful, wild brushwork reminiscent of woodcut prints. The painting deconstructs the political imagery of the Cultural Revolution era, skillfully integrating the representation of soldiers, workers and peasants with the expressive techniques of political posters to explore the power of textual dialog within the framework of socialist ideology, and the conflicted, contradictory nature of Chinese social phenomena.

053

FENG Zhengjie (Chinese, b. 1968)

China Portrait No. 66 2005 Oil on canvas 150 x 210 cm Signed lower right FENG ZHENGJIE in English and dated 2005 EXHIBITED: Feng Zhengjie, Marella Gallery, Milano, November 16 - December 10, 2005 I codici della pittura, GC.AC. Galleria Comunale d’Arte Contemporanea di Monfalcone, Italy, April 7 - May 21, 2006 Cina Rinascita Contemporanea, Palazzo Reale, Milan, December 11, 2009 – February 7, 2010 ILLUSTRATED: Andrea Bruciati and Alessandra Galasso, I codici della pittura, GC.AC. Galleria Comunale d’Arte Contemporanea di Monfalcone, 2006, p. 68 Cina Rinascita Contemporanea, 24 Ore Motta Cultura & Palazzo Reale, Milan, 2009, illustrated, pp. 24-25

HK$ 480,000-700,000 NT$ 1,970,000-2,870,000 US$ 61,500-89,700

俸正傑 中國肖像 No. 66 2005 油彩 畫布 150 x 210 cm 簽名右下：FENG ZHENGJIE 2005

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展覽： 「俸正傑個展」，瑪蕊樂畫廊，米蘭，展期 自2005年11月16日至12月10日 「繪畫密碼」，蒙法爾科內市立當代藝術 館，義大利，展期自2006年4月7日至5月21 日 「中國當代文藝復興」，王宮，米蘭，展期 自2009年12月11日至2010年2月7日 圖錄： 《繪畫密碼》，安德里亞．布魯齊亞第與亞 歷山卓．格拉孛著，蒙法爾科內市立當代藝 術館， 2006，圖版，頁68 《中國當代文藝復興》，24小時摩塔文化， 王宮，米蘭，2009，圖版，頁24-25

2000年俸正傑的作品出現了轉折。從繪 畫上，「用柔和、平滑的方法處理『美 人』，即畫面不留筆觸，人物造型不突出 結構，畫面整體的平面化效果，以及流 暢的線條處理，都增強了畫面的裝飾感 覺。」 （參閱 《俸正傑作品簡說》） 和艷俗藝術以及波普藝術不一樣，雖然還 是使用現成圖像，但是這些圖像的原型已 經不重要了。重要的是俸正傑已經發展出 一種依據當代的視覺經驗建立起來的圖像 方式。它們看起來像那些誇張的照片構圖 和造型，但是卻是用人工的方式來想像和 構造出來的。在這些創作的過程中，藝術 家放棄了道德判斷。如果艷俗藝術以反諷

為精神核心，那麼俸正傑的精神核心是通 過借用商業文化和大眾文化的方式發展出 一種新的審美趣味和圖像處理方式，通過 模仿、仿造和改寫，揭示出當代商業圖像 的生產機制。

Feng Zhengjie’s paintings saw a transition in the year 2000. “Beauties are handled in a soft and smooth way. Strokes of brushwork are invisible, and structures are not emphasized in figure designs. The overall planar effect and fluent lines in the paintings strengthen a decorative atmosphere” (Refer to A Brief Introduction of Feng Zhengjie’s Art)

Different from Gaudy and Pop art, while Feng Zhengjie employs ready-made images, the antitype of these images is not important at all. It is important that Feng Zhengjie has developed a form of image according to contemporary visual experience. The works look like exaggerated photographs related to fashion, but are imagined and constructed artificially. During the period of creation, the artist abandons ethical judgment. If Gaudy Art is spiritually centered on irony, then Feng Zhengjie’s spiritual core is to develop a new aesthetic interest and means of processing images by borrowing from commercial culture and popular culture, to achieve a new form of contemporary commercial images through imitation.

054

MAO Xuhui (Chinese, b. 1956)

White Western Scissors in Cross Shape 2005 Oil on canvas 200 x 200 cm Signed on the reverse Mao Xuhui and titled White Western Scissors in Cross Shape in Chinese, inscribed 200 x 200 cm, exhibited at Shenzhen Art Museum, Sky of Fate in Chinese, and dated 2005 EXHIBITED: Sky of Fate: Invited Exhibition of Chinese Paintings 2005, Shenzhen Art Museum, Shenzhen, 2005 ILLUSTRATED: Mao Xuhui 1976-2007, Hanart T Z Gallery, Beijing, 2007, color illustrated, p. 198

HK$ 300,000-500,000 NT$ 1,230,000-2,050,000 US$ 38,500-64,100

毛旭輝 十字形的白色剪刀 2005 油彩 畫布 200 x 200 cm 簽名畫背：《十字形的白色剪刀》 200 x 200 cm 毛旭輝 2005 深圳美術館 《緣 分的天空》參展 展覽： 「緣分的天空—2005中國當代架上藝術（油 畫）邀請展」，深圳美術館，深圳，2005 圖錄： 《毛旭輝1976-2007》，漢雅軒，北京， 2007，彩色圖版，頁198

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055

ZHOU Tiehai (Chinese, b. 1966)

Sunset Glow Camel 2003 Airbrush on canvas 200 x 150 cm Signed on the reverse ZHOU TIEHAI in English and dated 2003 EXHIBITED: Zhou Tiehai, Marella Gallery, Milan, 2003 Cina Rinascita Contemporanea, Palazzo Reale, Milan, December 11, 2009 - February 7, 2010 ILLUSTRATED: Zhou Tiehai, Marella Gallery, Milan, 2003, cover Cina Pittura Contemporanea, Lorenzo Sassoli De Bianchi, Damiani Editore, Bologna, 2005 Cina Rinascita Contemporanea, 24 Ore Motta Cultura, Palazzo Reale, Milan, 2009, illustrated, p. 41

HK$ 350,000-500,000 NT$ 1,440,000-2,050,000 US$ 44,900-64,100

周鐵海 夕陽下的駱駝 2003 噴彩 畫布 200 x 150 cm 簽名畫背：ZHOU TIEHAI 2003 展覽： 「周鐵海個展」，瑪蕊樂畫廊，米蘭，2003 「中國當代文藝復興」，王宮，米蘭，展期 自2009年12月11日至2010年2月7日 圖錄： 《周鐵海》，瑪蕊樂畫廊，米蘭，2003，封 面 《中國當代油畫》，羅倫佐．薩索利．德 比昂奇著， 達米阿尼出版社， 博洛尼亞， 2005 《中國當代文藝復興》，24小時摩塔文化， 王宮，米蘭，2009，圖版，頁41

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056

Yayoi KUSAMA (Japanese, b. 1929)

Kusama in Flower Garden 1996 Acrylic on canvas, collage 61 x 73 cm Signed on the reverse Yayoi Kusama in English, titled KUSAMA IN FLOWER GARDEN in English and Japanese, dated 1996 PROVENANCE: Media of Modern Art Collection, (MOMA Gallery), Fukuoka, Japan

HK$ 400,000-700,000 NT$ 1,640,000-2,870,000 US$ 51,300-89,700

草間彌生 花園中的草間彌生 1996 壓克力 畫布 拼貼 61 x 73 cm 簽名畫背：Yayoi Kusama 1996 KUSAMA IN FLOWER GARDEN 花園の中のクサマ� 來源： MOMA畫廊，福岡，日本

1929年出身的草間彌生，在國際藝壇的地位已 不容忽視，她的作品細微並誠實地承載自身的 過去，及其無法擺脫的夢魘；草間用繪畫、雕 塑、行動藝術等手法，帶有超現實般心理性的 考究，表達她腦海中的宇宙，高彩度對比的用 色，令人回到「迷幻年代」，在視覺藝術、音 樂、時尚留下的印記，她的藝術精彩的緣因之 一，亦在於她本人即是一種「偶像」，不遮掩 地表露靈魂。 《花園中的草間彌生》以草間彌生典型的圓點 樣式堆疊及重複的圖案繪畫創作，且融合了照 片拼貼，其藝術作品風格獨特，表現錯綜複雜 的心理意涵，隱約重申了藝術家本人揮之不去 的幻覺，柔美的情節構圖帶出潛意識中的不安 定成份。

Yayoi Kusama was born in 1929 and her status in the international art industry is not to be neglected.

Her artworks candidly depict her own history and inescapable nightmares in details. In the forms of paintings, sculptures and action art, Kusama peers into surreal “psychology” and expresses the universe of her mind. Her highly contrastive color schemes returns traces of visual art, music and fashion during the psychedelic period. Her significance is perhaps attributable to her “icon” status, and her explicit yet soulful manifestation.

“Kusama in Flower Garden” illustrates the painting full of Kusama’s signature round dots, repetition pattern, and the integration of photo collages. This artwork shows the unique style, and performs the complex psychological implications. It vaguely reiterates her lingering hallucinations, and the soft tones elicit her subconscious anxiety.

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057

Yoshitaka AMANO (Japanese, b. 1952)

Deva Loka Candy S-II 2010 Automotive paint on aluminum panel 100(L) x 140(W) x 10(D) cm Signed lower left edge Y. Amano in English

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

天野喜孝 天界甜心 S-II 2010 汽車漆 鋁板 100(長) x 140(寬) x 10(厚) cm 簽名側面：Y. Amano

自「天界系列」作品，天野喜孝開創了全新的創作格局與獨特的藝術觀，他將神魔妖獸納 入史詩般的壯闊場面，結合動漫的敘事語彙與光怪陸離的混沌空間，讓天界眾生在當中各 據一方。天界是夢想迷幻的源頭，也是天馬行空的居所，本次參拍的《天界甜心S-II》，其 絢麗構圖由畫面左方向外輻射四散，充滿斑斕華美的視覺爆發力。畫面中宛如精靈的甜心 乘著飛行器翱翔其中，延續著鬼靈精怪又可愛甜美女性角色，她睜著慧詰大眼望向觀眾， 從容自在而無所畏懼。 相較於日本浮世繪的妖魔表現傳統，或是美國漫畫中英雄打擊邪惡力量的描寫，《天界甜 心S-II》中的妖怪猛獸已不是張牙舞爪，具有毀滅性的攻擊角色，畫面右方的怪物如丑角一 般，身上的格紋裝飾、頭上打個蝴蝶結、俏皮地吐出舌頭，像是孩子的大玩具。畫面中鋪 陳著糖果般的螢光對比色彩，與熱鬧喧騰的線條構圖，透過鋁板與烤漆的媒材表現呈現出 炫目而潔淨的未來感，在天野喜孝想像飛馳的筆下開展。諸眾所往的夢幻天界，不再是英 雄救贖世人的孤獨戰場，而是神祕狂喜的超現實虛擬樂園。

Yoshitaka Amano’s “Deva Loka” series embodies a new creative style and a unique artistic vision. The works in this series depict deities and demons, set against a sprawling, elegiac background. By integrating the narrative lexicon of animation with the otherness of “chaos space,” Amano gives all of the varied inhabitants of the “Deva Loka” plane of existence their own place in the overall picture. The “Deva Loka” plane is a fountainhead of dreams and illusions, and also a place of limitless possibilities. In “Deva Loka Candy S-II,” the work included in the present auction, the vivid, gorgeous composition spreads outward from the left-hand side of the canvas in a visual explosion of radiant beauty. The fairy-like being in the center of the painting is soaring through the firmament on a flying machine. Typical of the supernatural-seeming yet sweet female figures that characterize Amano’s work, she looks out calmly and fearlessly at the viewer through large, wise eyes.

Unlike the traditional depiction of demons and spirits in Japanese ukiyo-e prints, or the way heroes are shown fighting the forces of evil in American comic books, the demons and monsters in “Deva Loka Candy S-II” are not depicted as destructive, aggressive villains with gaping mouths and rending claws. The monster on the right-hand side of the canvas is a clown-like figure whose body is decorated with a pattern of diamonds and who sports a bow on its head; it sticks out its tongue cheekily, like a child’s toy. The painting uses luminous color combinations which reflect those seen in candy, and a lively, vibrant linear composition. The use of aluminum sheet and automobile paint creates a clean, visually-striking, futuristic atmosphere within which Amano is able to give free rein to his imagination. Here, the world of fantasy is no longer a battleground in which a lone hero struggles to save the world, but rather a hyper-real virtual playground, the scene of a mystical bacchanalia.

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058

Hideaki KAWASHIMA (Japanese, b. 1969)

Reflection 2003 Acrylic on canvas 61 x 61 cm Signed on the reverse Kawashima in Japanese, titled reflection in English and dated 2003

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

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川島秀明 沉思 2003 壓克力 畫布 61 x 61 cm 簽名畫背："reflection" 川しま 2003

059

Yoshitaka AMANO (Japanese, b. 1952)

Hero S-3 2010 Automotive paint on aluminum panel 50(L) x 50(W) x 10(D) cm Signed lower left edge Y. Amano in English

HK$ 130,000-190,000 NT$ 530,000-780,000 US$ 16,700-24,400

天野喜孝 英雄 S-3 2010 汽車漆 鋁板 50(長) x 50(寬) x 10(厚) cm 簽名側面：Y. Amano

060

Yayoi KUSAMA (Japanese, b. 1929)

Pumpkin 1991 Acrylic on canvas 18 x 14 cm Signed on the reverse Yayoi kusama in Englsih, titled pumpkin in Japanese and dated 1991 This painting is to be sold with a registration card issued by Yayoi Kusama Studio, Tokyo.

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

草間彌生 南瓜 1991 壓克力 畫布 18 x 14 cm 簽名畫背：YAYOI KUSAMA 1991 かぼちゃ 附草間彌生工作室開立之原作登記卡

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061

CHU Teh-chun (Chinese, b. 1920)

Composition No. 461 1972 Oil on paper mounted on canvas 50 x 65 cm Signed lower right CHU TEH-CHUN in Chinese and English, numbered 461, inscribed pour ma chère amie Aida amicalement and dated 72 PROVENANCE: Former collection of Aida Bott, Francis Bott's second wife (acquired directly from the artist as a gift)

HK$ 500,000-750,000 NT$ 2,050,000-3,080,000 US$ 64,100-96,200

朱德群 構圖 No. 461 1972 油彩 紙本 裱於畫布 50 x 65 cm 簽名 右 下 ：p o u r m a c h è r e a m i e A i d a amicalement 朱德群 CHU TEH-CHUN 72, 461 來源： 法蘭西斯．伯特第二任妻子艾達．伯特舊藏 （直接得自藝術家的贈與）

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062

JU Ming

(Taiwanese, b. 1938)

Taichi Series 1982 Wooden sculpture 41(L) x 31.5(W) x 66(H) cm Engraved Ju Ming in Chinese and dated '82 This sculpture is to be sold with a certificate of authenticity issued by Kalos Gallery, Taipei.

HK$ 1,300,000-1,900,000 NT$ 5,330,000-7,790,000 US$ 166,700-243,600

朱銘 太極系列 1982 木雕 41(長) x 31.5(寬) x 66(高) cm 簽名雕刻：朱銘 '82 附真善美畫廊開立之原作保證書

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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。 在「太極系列」中，朱銘借用太極拳的基本招式作為造型的傳統圖式因素依據，並進一步置 換其中傳統的內涵，運用現代雕塑厚重的體量和簡約的塊面形式，表達了藝術家對於中西 兩種文化融合與變通的意象理解。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年代以後的作品，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，為其作品增添力道與重量感。

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.

In his “Taichi” series, Ju Ming takes basic skills of shadow boxing as the elements of traditional picture for shaping and further replacing the traditional connotation in it, applying the massive touch sense and concise patch sense of modern sculpture, Ju Ming, as an artist, has expressed his understanding on imago of mutual integration and accommodation of Chinese and western cultures. The Taichi series has seen remarkable 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.

063

CHU Teh-chun

(Chinese-French, b. 1920)

Composition 1995 Oil on canvas 100 x 81 cm Signed lower right CHU TEH-CHUN in Chinese and English, dated 95 Signed on the reverse CHU TEH-CHUN in Chinese and English, titled Composition in French, dated 1995

圖錄： 廖瓊芳，《華裔美術選集II：朱德群》，藝 術家出版社，台北，1999，彩色圖版，編號 188，頁272 《朱德群》，昂利哥．那瓦哈畫廊，巴黎， 2000，彩色圖版，頁210-211 《大象無形─朱德群作品展》，台灣馨昌株 式會社，台北，2007，彩色圖版，頁281

PROVENANCE: Collection of UMC, Taipei

朱德群的血脈中流淌著中國文人精神的底 蘊，以傳統文化與藝術為骨幹，將宇宙萬象 與心境人格相應關照，表達了對大自然根本 精神的敏銳觀察，融會「天人合一」的物我 觀照思想。他學習西方抽象繪畫對於色彩、 線條、構圖等基本繪畫元素的回歸，並結合 水墨洇染與書法用筆，將不求形似的寫意語 彙轉化為帶有詩意的抽象繪畫。他組合了內 在個人主觀記憶與外在物象躍動的韻律感， 將藝術家心中的風景磅礡出落於畫布上。

ILLUSTRATED: Liao Chiung Fang, Overseas Chinese Fine Arts Series II: Chu Teh-chun, Artist Publishing Co., Taipei, 1999, color illustration, numbered 188, p. 272 Chu Teh-chun, Galerie Enrico Navarra, Paris, 2000, color illustration, pp. 210-211 Solo Exhibition of Chu Teh-Chun, Thin Chang Corporation, Taipei, 2007, color illustration, p. 281

HK$ 1,000,000-1,800,000 NT$ 4,100,000-7,380,000 US$ 128,200-230,800

朱德群 抽象組合 1995 油彩 畫布 100 x 81 cm 簽名右下：朱德群 CHU TEH-CHUN 95 簽名畫背：Composition 1995 朱德群 CHU TEH-CHUN 來源： 聯華電子股份有限公司收藏，台北

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朱德群的抽象繪畫風格發展至1980年代已臻 至成熟，本次參拍作品《抽象組合》繪於 1995年，藝術家大膽揮霍色彩，深色的虛無 沉寂、橘紅的激越高昂。色塊並列對比，在 幽暗不明之後彷若有光，在陰影膠著之際， 依然可觸及屹立不搖的溫暖與熱情。大排筆 刷縱橫交會，飛白的筆觸堆疊出延伸的空間 深度，濃淡層次的幻化之間，創造出光影的 晦冥變化。呼應著朱德群對其創作所下的註 解，在他的畫面上，色彩與線條的安排絕非 隨機所致，兩者和諧相輔，召喚出形象與律 動，創造如活水般的激湧光源。

Chu Teh-chun embodies the spirit of the traditional Chinese literati; taking traditional culture and arts as the foundation for his work, he uses images from the physical universe to explore aspects of the human soul.

Chu’s work reflects perceptive observation of the fundamental spirit of nature, creating a harmonious “Fusion of Heaven and Humankind.” Chu Teh-chun adopts elements from Western abstract art – in terms of his use of color, line and composition – but integrates them with brushwork techniques from traditional Chinese calligraphy and ink brush painting, transforming an expressionist artistic lexicon that de-emphasizes formal resemblance to reality into a new style of poetic abstract painting. He brings together the subjective memory of the individual and the rhythmic vitality of external physical objects, to let the landscape that exists within the artist’s soul take shape on the canvas.

Chu Teh-chun’s abstract painting style had already reached maturity in the 1980s. In this particular work, “Composition,” which was painted in 1995, Chu makes bold, extravagant use of color, employing dark tones that embody emptiness and solitude, and orange-red that creates a sense of intensity. The serried color patches are like light after darkness; even in the shadows, one can detect a steady, unwavering warmth and passion. Chu’s broad brushstrokes cross over one another, while other strokes using the “fei bai” technique are layered on to create a sense of space and depth. The fantastical transformation resulting from the varying layers of dark and light produces magical changes in the pattern of light and shadow in the painting.

As suggested by Chu’s comments on his own work, the arrangement of color and line in this canvas is anything but random; rather, color and line support one another harmoniously to create images and rhythm, producing a “spring of light” that flows like running water.

徐冰，重慶出生，在北京成長，文革的最 後兩年「下鄉」，回北京後，考入中央美 院印刷科系，獲碩士學位。1990年赴美 國，居住在布魯克林區，與當年艾未未、 謝德慶往來，1999年以藝術家的身分，獲 得麥克阿瑟天才獎，表揚他「在書法與版 畫上具有原創性，醒思，直觀的能力，替 社會做了重要貢獻」。

064

XU Bing

(Chinese, b. 1955)

Landscript 2007 Ink on Nepalese paper 82 x 300 cm Signed left Xu Bing and dated 2007 in English With two seals of the artist EXHIBITED: Joe Martin Hill curated, Metamorphosis: The Generation of Transformation in Chinese Contemporary Art, Tampere Art Museum, Tampere, Finland, June 2007 Jason Chia Chi Wang curated, Form, Idea, Essence and Rhythm: Contemporary East Asian Ink Painting, Taipei Fine Arts Museum, Taipei, October 4-December 28, 2008

HK$ 1,600,000-2,400,000 NT$ 6,560,000-9,840,000 US$ 205,100-307,700

138

2007 水墨 尼泊爾紙 82 x 300 cm 簽名左方：Xu Bing two thousand and seven 鈐印左下：Xu Bing 鈐印右下：Calligraphy By Xu Bing

徐冰的「析世鑒」又名「天書」，創作於 文革的下鄉期間，徐冰花費三年時間，自 行刻出約4,000多個小的方塊文字，但每個 字不重覆，而且字典上找不到，「天書」 後來於1989年在中國美術館展出，以大張 連接的宣紙懸掛在天花板與牆上，同時， 印製成一套四冊的古線裝書，總共100套， 目前分別典藏於世界各地美術館、基金 會，以及私人藏家手中。

展覽： 喬馬汀．希爾策畫，「蛻變─中國當代藝術 轉變的一代」，坦佩雷藝術博物館，坦佩 雷，芬蘭，2007年6月 王嘉驥策劃，「形．意．質．韻─東亞當代 水墨創作邀請展東」，台北市立美術館，台 北，2008年10月4日至12月28日

1990年代後，徐冰在紐約創作出「新英文 書法」，一種結合英文閱讀與中國書法書 寫的文字，熟悉英語的人士，只需很短時 間的練習，就得以英文的方式，閱讀中 文的字體，每個中文字體自成方塊，又名 方塊字，而從中國字的方面來閱讀，確有 「看似中國文字卻無法辨識」的處境。

徐冰 讀風景

2004年，以911世貿大樓的灰燼所製作的作 品《塵埃》獲得第一屆「世界藝術獎」。英 國的泰納獎只有英國籍的藝術家得以參加， 而「世界藝術獎」則是針對非英國籍的藝術 家而設，首屆大獎就頒給徐冰。

and Tehching Hsieh. He won the MacArthur Foundation Genius Award in 1999 for his work as an artist. The foundation praised “his originality, creativity and capacity to contribute importantly to society.”

徐冰的「讀風景」系列開始於1999年的尼 泊爾寫生，使用無數的中國象形文字在中 國山水畫中，透過細讀，閱讀出雙木成林， 累石成山的奇異特別的山水畫閱讀法。這件 2007年的《讀風景》，是徐冰為芬蘭的坦佩 雷博物館所創作的作品，入選「中國當代」 展覽，由美國策展人喬馬汀．希爾規劃，展 覽於2007年六月開幕。該作品同時在2008年 王嘉驥在台北市立美術館策畫的「形．意． 質．韻─東亞當代水墨創作邀請展」裡展 出。

Xu Bing’s “A Book from the Sky” was created while he was in the countryside during the Cultural Revolution. Xu spent three years carving out roughly 4,000 Chinese characters by hand. None of the characters repeated, and none of them could be found in the dictionary.

“A Book from the Sky” was later exhibited at the National Art Museum of China in the form of long printed sheets of scroll paper hanging from the ceiling. The work was also printed as a four volume book bound in the ancient style, with a total of 100 sets that are currently held in museums, foundations and private collections.

Xu Bing was born in Chongqing and raised in Beijing. He was sent down to the countryside in the last two years of the Cultural Revolution.

Upon returning to Beijing, he tested into the China Central Academy of Fine Art Printing Department, where he earned a master’s degree.

He travelled to the United States in 1990, living in Brooklyn and engaging with artists Ai Weiwei

In the 1990s, Xu Bing created “New English Calligraphy” in New York, which used Chinese calligraphy techniques to write English words.

English speakers could quickly learn how to apply this writing style to read Chinese style characters with English techniques. Each

character formed a square, called Square Words. For Chinese speakers, these words “appeared to be Chinese characters, but were indecipherable.” In 2004, his work “Where does the Dust Itself Collect?”, made from the ashes of the World Trade Center after the 9/11 attacks, won the Artes Mundi Award. The Turner Prize is only open to British artists, but the Artes Mundi Award is designated for non-British artists, and Xu Bing was the first recipient.

Xu Bing’s “Landscript” began in 1999 as a landscape study in Nepal. Created using countless Chinese ideographs, this landscape gives the feeling of a mountain rising out of the details, a unique landscape reading experience.

This 2007 “Landscript” piece was created for the Tampere Art Museum in Finland. It was selected for the “Chinese Contemporary Exhibition,” curated by American curator Joe Martin Hill, which opened in June 2007. It was also featured in the 2008 exhibition “Form, Idea, Essence and Rhythm: Contemporary East Asian Ink Painting,” curated by Jason Chia Chi Wang and held at the Taipei Fine Arts Museum.

065

ZHOU Chunya (Chinese, b. 1955)

Vase of Flowers 1992 Oil on canvas 100 x 80 cm Signed lower right Zhou Chunya in Chinese and dated 1992

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

周春芽 瓶花 1992 油彩 畫布 100 x 80 cm 簽名右下：1992 周春芽

德國留學歸國後的周春芽，從1990年代初期便 開始以油畫的手法創作具有中國傳統文化內涵 的「瓶花」系列。這一系列的表現主義風貌結 合中國山水畫及寫意花鳥的意境，以類浮雕的 立體誇張的筆觸承載了一位當代藝術家與古典 意境的對話，和對自然人文的熱烈情感。這一 系列對於花草不同色彩的運用和表現手法，也 是後來的「桃花」系列誕生的重要線索之一。 這幅1995年創作的《瓶花》畫面豐厚，不難感 受到內裡迸發出的生命力和藝術家自由灑脫的 創作靈性。使用油畫技法營造了恰到好處的留 白，更彰顯了瓶花凝練沉著的力量和頗具德國 表現主義，大格局的中國意韻，引觀者入境， 通過畫面去體會藝術家或細膩或粗曠，或現代或傳統，或深沉或揮灑的無意識的言說。引發 思考的同時亦抒發胸臆，讓人禁不住一再品味。

Upon his return from Germany in the early 1990s, Zhou Chunya began using oil painting techniques to create the “Vases” series, which was marked by traditional Chinese cultural traits. The expressionist style of this series was in keeping with the conceptual imagery of Chinese landscape and freehand bird and flower paintings, using relief-like three dimensional exaggerated brushstrokes as the carrier for a dialogue between this contemporary artist and classical imagery, as well as passionate emotions for nature and humanity. The color application and expressive techniques found in this series would become an important thread in his later “Peach Blossoms” series.

This 1995 “Vase of Flowers” is particularly heated and heavy, but it is not difficult to gain a sense of the vitality and free artistic creativity flowing from the work. By deftly attaining the Chinese painting concept of empty white space through oil painting techniques, the artist has further highlighted the forcefulness of the flowers. This is a Chinese image-scape framed within the style of Germany Expressionism, drawing the viewer into the field to taste the artist’s subconscious ramblings, be they refined or coarse, modern or traditional, profound or unbound. While provoking deep thought, the painting also creates a catharsis, making it hard to walk away.

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066

WANG Guangyi (Chinese, b. 1957)

Methodology 3 of People's War 2004 Oil on canvas 130 x 140 cm Signed lower left Wang Guang Yi in English and Chinese, dated 2004

HK$ 1,000,000-1,600,000 NT$ 4,100,000-6,560,000 US$ 128,200-205,100

王廣義 人民戰爭方法論神話之三 2004 油彩 畫布 130 x 140 cm 簽名左下：2004年 Wang Guang Yi 王廣義

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067

ZENG Fanzhi (Chinese, b. 1964)

Untitled 1989 Oil on canvas 90 x 110 cm Signed lower right Zeng Fanzhi in Chinese and dated 89 PROVENANCE: Acquired directly from the artist by the previous owner EXHIBITED: Zeng Fanzhi Art Exhibition, Hubei Institute of Fine Arts Gallery, Wuhan, Hubei, 1990 ILLUSTRATED: L. Pi and L. He, eds, I/WE: The Painting of Zeng Fanzhi 1991-2003, Wuhan, 2003, illustrated, p. 172 Scapes - The Paintings of Zeng Fanzhi 19892004, He Xiangning Art Museum, Shenzhen, ShangART, Shanghai, 2004, color illustrated, p. 9

HK$ 1,700,000-2,500,000 NT$ 6,970,000-10,250,000 US$ 217,900-320,500

曾梵志 無題 1989 油彩 畫布 90 x 110 cm 簽名右下：曾梵志 89 來源： 原收藏者直接購自於藝術家本人 展覽： 「曾梵志油畫個展」，湖北美術館，武漢， 1990 圖錄： 《我、我們：曾梵志的繪畫1991-2003》， 湖北美術出版社，武漢，2003，圖版，頁 172 《看景：曾梵志的繪畫1989-2004》，何 香凝美術館，深圳與香格納畫廊，上海， 2004，彩色圖版，頁9

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《無題》是曾梵志早期的一幅具有暗示性的重要作品，創作這件作品時曾梵志還是湖北工藝 美院的學生。此時曾梵志已經成功掌握了表現主義的畫風，從作品探討人類條件的主題這一 角度來看，這更是一幅開創性的作品。在重要畫展中都有這件作品，例如曾梵志於1990年在 湖北工藝美院畫廊首次舉辦的個展。這幅畫作也以插圖形式被收入探討曾梵志系列作品的重 要書籍，如《看景：曾梵志的繪畫1989-2004》。 曾梵志成長於文革動亂時期，混亂而不和諧的社會環境下，人所經歷的焦慮和孤獨成為他的 作品的核心主題。《無題》描繪了一家人在痛苦中蹲伏在一起的情景，這是一幅描繪貧困破 落家庭的悲慘場面。從這幅作品中可看出曾梵志表現劇烈的情緒和感情的功力。沮喪而苦惱 的母親抱著嬰兒的場面具有極強的感染力，青年父親垂頭喪氣地蜷坐在一旁，有力地傳達出 無助的情感。像是祖父的人物目光空洞呆滯，通過眼睛描繪和傳達出人物的心靈狀態，令人 不禁為曾梵志的傳神之筆而讚歎。 從《無題》這件作品中可以看出曾梵志表現主義畫風的特點。蜷縮依偎的家人令人想到中世 紀的宗教繪畫作品，中心主題皆是悲慘和貧窮。使用如木頭般的粗獷概括風格描繪人物，明 顯是受到原始主義的影響。使用陰暗而柔和的色彩創造出憂鬱和悲傷的效果，這是曾梵志後 來作品的特點。 《無題》明顯成為曾梵志此後在1990年代初創作，預告了「協和醫院」和「肉」系列，特別 是粗獷、肉感的色彩和對現實的悲劇 性描述。這幅畫中也可以看到曾梵志最成功的「面具系 列」中的元素，特別是對人物憂鬱痛苦的內心狀態的有力描繪。 作為最具創造性的當代中國畫家，曾梵志的系列作品因主觀反思的性質而備受好評。他深刻 思索周遭經歷及其對個體脆弱的心理造成的影響和結果，沒有任何情況比他自己的主觀感覺 更強烈。《無題》是一幅影響後期創作風格的關鍵作品，清晰而深刻地體現了曾梵志此後藝 術創作的歷程。

Zeng grew up in troubled times during the Cultural Revolution, and man’s angst and aloneness in a disjointed, inharmonious world has become a central theme of his paintings. “Untitled” is an apocalyptic vision of family down on its luck, living in poverty and wretchedness.

Depicting a family crouching together in their misery, Zeng’s ability to express tremendous emotions and feelings is already clearly seen in this painting. The dejection and misery of the mother holding an infant is powerfully rendered, while the helplessness of the young father is forcefully conveyed as he sits scrunched up in dejection. The vacant stare of the old grandfatherly figure is reminiscent of Zeng’s ability to depict the state of the soul through the eyes.

In “Untitled” the hallmarks of Zeng’s expressionistic style are already to be seen. The huddled family is reminiscent of medieval religious paintings, with the focus on their misery and destitution. The influence of “primitivism” is seen in the depictions of the figures in a blockish general style. Dark and subdued colors are used to create a melancholic and sad effect, a characteristic of Zeng’s later works.

“Untitled” is a clear forerunner of Zeng’s “Hospital” and “Meat” series which were to follow very early in the 1990s especially the raw, fleshy colors and apocalyptic view of reality.

Elements of Zeng’s most successful series, the “Mask Series” are also seen, especially the powerful depiction of the inner state and angst of the figures.

As the most creative and innovative of contemporary Chinese painters, Zeng’s body of work is sought after for the subjective nature of his ruminations, his contemplation of daily experiences happening around him and their resulting effect on the fragile psychology of individuals, none more so than his own subjective feelings. “Untitled” is a key work, with a clear and poignant roadmap of the course of Zeng’s future works.

068

ZENG Fanzhi (Chinese, b. 1964)

Grass Series 2007 Oil on canvas 70.5 x 200 cm Signed lower right Zeng Fanzhi in Chinese and English, dated 2007

HK$ 3,400,000-5,000,000 NT$ 13,940,000-20,500,000 US$ 435,900-641,000

曾梵志 亂草系列 2007 油彩 畫布 70.5 x 200 cm 簽名右下：曾梵志 Zeng Fanzhi 2007

曾梵志已躋身成為最具才華、最受尊敬和 最著名的中國當代藝術家。他和張曉剛、 岳敏君以及劉小東等人常常競相創造中國 當代藝術拍賣的最高價格。曾梵志獨特的 個人主義畫風和張曉剛、岳敏君、王廣義 和蔡國強的標誌性作品一樣廣受讚譽。但 其他畫家的成名大多因為某個特殊的主 題、主旨、象徵或技法，而曾梵志則是靠 他眾多主題和概念的全部作品和油畫筆 法，特別是亂草畫法的運用。 曾梵志1964年生於湖北武漢，1993年移 居北京。來到北京之前他的創新精神和獨 特魅力已經使他在中國當代藝術界佔有一 席之地，他的作品在海內外所有主要的新 興當代集體畫展中亮相，並很快在國內外 開辦了眾多個人畫展。1992年他的作品參 加了在廣州舉辦的「90年代中國藝術雙年 展」，1994年參加了中國美術館舉辦的 「 藝 術 批 評 家推 薦 作 品 展 」 。 在 1 9 9 3 至 1994年間，參加了在倫敦瑪勃洛畫廊舉 辦的「中國新藝術」大展。曾梵志數次參 展，藉此向全世界發出了一個強有力的聲 音，宣佈了一顆前途無量的藝術新星在冉 冉升起。1995年他的作品參加了在德國漢 堡國際前衛文化中心舉辦的「從國家意識 形態出走—中國新藝術」展，同年在西班 牙巴賽隆納聖莫妮卡藝術中心參加「1979 年以來中國前衛藝術展」。1996年他的畫 作在國內外眾多展覽上展出，包括在中國 美術館和香港藝術中心舉辦的「首屆中國 藝術學術邀請展」、在德國波昂藝術館參 加「中國！」巡迴展。曾梵志在中國當代 藝術領域佔有核心地位，在幾乎所有主要 的中國當代美術展上都有其作品出現。最 近的展覽是2011年在義大利格拉西宮舉辦 的「世界屬於你」展覽。 1990年曾梵志在家鄉武漢湖北美院校內舉 辦了首次個人畫展。1995年在香港漢雅 軒畫廊舉辦了「面具之後」曾梵志油畫個 展。1998年在上海香格納畫廊開辦了「曾 梵志：面具系列」畫展，並在北京中央工 藝美院舉辦了「1993至1998曾梵志作品 展」。曾梵志最早的個人畫展是2004年在 韓國阿特塞帝畫廊舉辦的以「摘掉面具」 為主題的個人畫展，以及在新加坡斯民藝 苑舉辦的主題為「面」的畫展。此後在紐 約、倫敦、巴賽隆納、巴黎以及中國的大

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城市都陸續舉辦了畫展。2010年曾梵志的 作品在保加利亞首都索菲亞的外國藝術國 家畫廊展出，成為第一個在前東歐集團國 家開辦個人畫展的中國畫家。 在陌生而令人畏懼的世界裡的異化、疏 離、孤寂，這是曾梵志眾多作品的主題之 一。在中國當代藝術家中，曾梵志的個人 主義風格獨樹一幟，他把內心最深層的情 感和創造力傾訴在畫布空間內。曾梵志和 很多常常選擇政治波普或憤世嫉俗的現實 主義畫風的當代畫家不同，這些畫家著眼 於當今中國社會，而曾梵志總是把目光聚 焦在充滿威脅和恐懼的世界中，體現個體 和自身的心理和焦慮。中國傳統藝術的具 象表現主義關注自然和萬物，幾乎不以個 體作為主要的表現對象，幾乎沒有肖像畫 的歷史，因此曾梵志對人類個體的心理、 情感和心靈狀態的關注在中國繪畫歷史上 更顯特別。 曾梵志於1960至1970年代在湖北武漢度過 童年，當時文化大革命正如火如荼，而他 性格敏感，深受當時社會混亂和不合理的 影響，所見所聞讓他的心靈深受傷害，這 段生活也為他今後的藝術創作提供了很多 主題思想。他最具代表性的「面具系列」 也源自那一時期，當時很多人為了自保必 須掩蓋真實的自我。曾梵志當時是個普通 學生，也因此收到迫害，甚至一度被逐出 中學課堂。他所經歷的疏離感在他的藝術 創作中隨處可見，但曾梵志也是個頑強的 青年人，他不曾佩戴傳統的紅領巾，這也 進一步加重了他的焦慮和疏離感。他在藝 術上的天賦最終讓他在1980年代用畫筆實 現了他所有未能實現的夢想，包括成功、 成就、收入和尊敬，但唯一不能彌補是他 童年的經歷。 進入湖北美術學院學習後，曾梵志馬上被 德國表現主義所吸引，在這裡的學習對他 的作品和繪畫技巧造成了終生的影響。他 吸納了這一重要的歐洲藝術運動的技法和 色彩為己所用，找到了表達自己最深層感 受和體驗的方法。曾梵志的創作總是一種 情感的體驗，他對自己的作品是這樣評價 的：「我是別無選擇，因為我就是喜歡畫 畫。我的作品只是我擅長的表達方式，是 表達我的生活的最好方式。我的創作道路

靈。山和亂草被日落天空的白光包圍，曾 梵志在他生活的這個時期似乎要說明儘管 內心世界存在陰暗和不祥，外面的世界卻 並非那麼令人恐懼。 曾梵志使用自由流暢和下意識的的亂草畫 法在畫布上傾瀉心緒和情感，增添了作品 的力度和感情。他同一只手拿兩支筆，就 像操持一雙筷子，一支處於三個手指的牢 牢掌控之下，而另一支則夾在另外兩個手 指之間，幾乎處於失控狀態，只是隨著第 一支筆運動，從而畫出預料之外的痕跡和 線條，創造出混亂狂放的筆觸。第一支筆 受理性控制，第二支筆則如同狂野和無意 識律動的情緒，作者就這樣創作出體現心 靈狀態的抽象風景畫。

一開始就這樣，到現在還是怎麼畫快樂就 怎麼畫。」他最早的兩個系列作品「協和 醫院」和「肉」就源自他童年的經歷，但 卻是表現主義讓他獲得了處理這樣驚心動 魄的主觀體驗的方法，通過扭曲和強烈的 肉質顏色的使用，在畫布上再現心靈的騷 動。 移居北京後曾梵志創作了「面具系列」， 他也因成為當代最著名的畫家。表現世故 的都市人的肖像作品中，人物都戴著面 具，把真實的自我掩蓋在虛無和令人生厭 的生活背後。在1990年代末曾梵志創作了 「人物系列」，人物懸浮於空洞的空間， 表情扭曲，表現出曾梵志的個人情感。緊 接著他又創作了「肖像系列」。曾梵志對 於他的這一連串創作表示：「有時候變化 是下意識的。我從沒有對外說過我會改變 自己。實際上我一直在用自己的思想作 畫，所以已經畫過的，我便不會重複。」 這幅佳作出自曾梵志近期創作的「亂草系 列」。灰暗的山坡上層層疊疊色調灰暗的 野草在畫布上狂亂地伸展著生命，整個場 景似乎充滿了野草的激情與活力，具有極 大的視覺張力。開始時，表面的扭曲和緊 張感讓觀者難以進入景色，但很快就會感 受到畫面所表現出的作者的內在心理。圓 形的山令人想到大腦，而強有力的亂草則 表達了內心愈加深刻的騷動，正像混亂的 心靈中悸動和迸發的思想。畫面以黑色和 灰色為主，但並沒有顯示出完全的絕望 感，相反卻蘊含著希望和救贖的可能性。 亂草中夾雜的藍色、綠色和紅色的線條似 乎喻示積極的思想在打破混亂無序的心

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曾梵志的筆法創造出融合了邏輯性和無理 性的新的表現主義語言，正像兩支畫筆同 在一隻手中一樣，邏輯的思想和下意識 的直覺情緒化思想並行。線條力度直透畫 布，表現出亂草的混亂特性，令觀者嘆為 觀止，更讓人聯想到中國古代書法藝術的 抽象表現技法。

The name Zeng Fanzhi has entered the pantheon of the most gifted, admired and most readily recognized of Chinese contemporary artists.

Along with Zhang Xiaogang, Yue Minjuin and Liu Xiaodong, Zeng regularly competes to hold the record for the highest price in auction for a contemporary Chinese work of art. His unique and individualistic style is as immediately recognizable as the iconic works of Zhang Xiaogang, Yue Minjuin, Wang Guangyi and Cai Guoqiang. However, where these artists have become famous for a particular theme, motif, symbolism or technique, Zeng has become most respected and admired for the development in his oeuvre of his various themes and concepts along with the development of his painting techniques particularly his spectacular use of the brush in his masterful strokes.

Even before his first arrival in Beijing in 1993 from Wuhan in Hubei Province where he was born in 1964, Zeng Fanzhi was recognized as an innovative, unique and important voice in the Chinese contemporary art world. His works were immediately included in all major group exhibitions of the new emerging contemporary art both in China and overseas, and he was soon

holding extensive solo exhibitions both at home and abroad. In 1992, his works were included in the Guangzhou Biennial - Oil Painting of the Nineties, and then in 1994 he took part in the “Exhibition of Works Selected by Art Critics” in the China Art Gallery in Beijing.

Also in 1993/1994 his works were included in the major exhibition “New Art from China” in Marlborough Fine Arts in London. His presence in this exhibition announced to the world at large the arrival of a powerful new artistic voice and visionary. In 1995 his works were included in “Beyond Ideology: New Art from China”, Haus der Kulturen der Welt, Hamburg, Germany, and in Barcelona, Spain, “Out of the Middle Kingdom: Chinese Avant-Garde Art”, Santa Monica Arts Centre. Then in 1996 his works were included in many exhibitions at home and abroad, including “The First Academic Exhibition of Chinese Art” China Art Gallery, Beijing; and Hong Kong Arts Centre, Hong Kong, and “China! Touring Exhibition”, Kuntsmuseum, Bonn, Germany. Zeng’s central position in contemporary Chinese art has ensured his works are included in every major exhibition of Chinese contemporary art, the most recent being “The World Belongs to You”, Palazzo Grassi, Italy in 2011.

His first solo exhibition was in his hometown of Wuhan in 1990, “Zeng Fanzhi”, Hubei Institute of Fine Arts Gallery, Wuhan. A major solo exhibition ‘Behind the Mask’ was held in 1995 at the Hanzart TZ Gallery in Hong Kong.

In 1998, “Zeng Fanzhi: The Mask Series”, took place at ShanghART Gallery, Shanghai while Zeng Fanzhi Works 1993-1998, was held at the Central Academy of Fine Arts Gallery, Beijing.

His first solo overseas exhibitions took place in 2004, “Unmask the Mask – Zeng Fanzhi”, Artside Gallery, Korea, and “Face”, at Soobin Gallery Singapore. More exhibitions followed in New York, London, Barcelona, Paris as well as in every major city in China. In 2010, Zeng was the first Chinese Artist to have a solo exhibition in the former Eastern Bloc of Europe when Zeng Fanzhi was held at The National Gallery of Foreign Art, in Sofia, Bulgaria.

One of the major themes of Zeng’s body of work is alienation, disconnectedness, solitude, and loneliness in a strange and frightening world, and as a contemporary Chinese artist

Zeng stands alone as an exemplar of the individualistic artist allowing his innermost thoughts and creativity pour directly onto the canvas. Unlike most of his contemporaries who have chosen such genres as Political Pop, or Cynical Realism, wherein they explore present day Chinese society, Zeng has always focused on the individual, his psychology, and his angst in a threatening and frightening world.

Traditionally Chinese art is representational, focusing on nature and the outside world, and almost never putting an individual or person to the forefront, indeed there is little history of representational portraits. Zeng’s focus on the psychological, emotional and mental state of the human person is unique in Chinese art.

major European art movement while making his expression totally his own. For Zeng art has always been an emotional experience and he has commented on his works as “I have no choice, because I just love painting. My works are the expression methods I am good at and they are the best way of expressing my life.

This has been so ever since I started painting: I draw and paint as I like.” His first two series of works “Hospital” and “Meat” were born of his childhood experiences. However, it was expressionism which gave him the means to explore those terrifying subjective experiences and through distortion and the use of strong fleshy colors recreate on canvas the turmoil of his mind.

As a small boy growing up in Wuhan in the 1960s and 1970s, Zeng’s sensitive nature was encroached upon by the chaotic times he lived through.

The Cultural Revolution was in full swing and chaos swarmed everywhere. This was to leave a lasting impression on his psychology, as well as to provide many of the central themes of his later works. Even his most iconic series “The Mask” series may have its origins from this time as most people just to survive the unrest had to play roles and hide their true selves. Zeng was considered a poor student, and suffered accordingly even being thrown out of class at one point in Middle School. The sense of alienation he experienced has permeated his art ever since. But Zeng was also a stubborn youngster and refused to wear the traditional red neck scarf of the revolutionary youth movement further adding to his sense of angst and disconnectedness. He was good at art and in the early 1980s he painted all his unrealized dreams, with themes of success, achievement, order and respect, all things missing from his childhood experiences.

On moving to Beijing Zeng created a new series, the “Mask” series for which he has become

He entered the Oil Painting Department of the Hubei Institute of Fine Arts where he encountered German Expressionism. This was to have a profound effect on him and deeply influence his art. He found the means and way to express his innermost feelings and experiences adopting the techniques and colors of this

曾梵志《風景》羅芙奧香港2010春季拍賣會，編號038，288萬港幣成交 Zeng Fanzhi, Landscape, 2006, oil on canvas, 70 x 200 cm Ravenel Spring Auction 2010 Hong Kong, lot 038, US$ 369,705 sold

most famous. Young sophisticated urbanites are portrayed wearing masks, hiding their true selves amid the nothingness and boredom of their lives. In the late 90’s he then created his “Figures” series in which isolated characters are portrayed suspended in emptiness with wry expressions indicative of Zeng’s own feelings.

This was followed by his “Human Portrait” series. Zeng has said of his progressive series “Sometimes, change is indeed subconscious. I never announce to the world that I am going to change myself. Actually, I’ve been painting with my own thoughts, which do not allow me to repeat what I’ve done before.”

Our present magnificent work comes from one of his latest series the “Grass” series. Wild, dark grasses seem to take on a life of their own as they scrawl menacingly around the canvas.

Bedded on a dark hillside, and portrayed in flat dark colors, the grasses seem to imbue the scene with a dynamic energy, and visual tension.

At first appearing distorted and alarming we are reluctantly drawn into the scene and soon experience with Zeng the inner workings of his mind. The round hill evokes images of the brain while the strong and chaotic grasses are expressions of the deep turmoil going on deep within our psychology and are almost like the pulsating thoughts firing wildly in a disturbed mind. Although dominated by blacks and grays, the picture is not one of total despair, instead it offers hope and the possibility of redemption.

Stripes of blues, greens, and reds, appear in the grasses as if positive thoughts can break through the chaotic scrambling mind. The hill and grasses are surrounded by the bright white light of the sky as the sun sets, and Zeng at this point in his life may be suggesting that while the inner world is dark and foreboding, the outside world is not so frightening after all.

Zeng’s masterful brush strokes add to the heightened sense of power and emotion. They are indicative of his free flowing and subconscious painting style, allowing his moods and emotions to flow onto the canvas. Zeng uses two brushes held in one hand between different fingers to create his chaotic, wild strokes. Just as with a pair of chopsticks, one brush is held firmly with three fingers while the second one moves freely between two fingers. The first one creates deliberate thought out strokes, the second follow, freely creating whatever lines it wants.

The first stroke is like our conscious, controlled thoughts, the second stroke like our wild, uncontrolled emotions allowing Zeng to create an abstract landscape of our inner psychological state.

Zeng’s brush technique has created a new representational language combining the logical and irrational. The logical mind sits side by side with the unconscious, intuitive and emotional mind, just as the two brushes sit side by side in the hand. The deep linear marks stroked into the surface of the painting draw attention to the surface of the painting and the chaotic nature of the grasses. This is highly reminiscent of the abstract calligraphic representational techniques of ancient Chinese art.

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YUE Minjun (Chinese, b. 1962)

Salute

來源： 私人收藏，邁阿密

2005 Oil on canvas 170 x 140 cm Signed lower right yueminjun in English and dated 2005 Signed on the reverse Yue Minjun, titled Salute in Chinese and dated 2005 PROVENANCE: Private collection, Miami EXHIBITIONS: Reproduction Icons: Yue Minjun Works 20042006, He Xiangning Art Museum, Shenzhen, 2006, China, June 3 – June 11, 2006 Yue Minjun and the Symbolic Smile, Queens Museum of Art, October 2007 – January 2008, New York

ILLUSTRATED: Reproduction Icons: Yue Minjun Works 20042006, He Xiangning Art Museum, Shenzhen, 2006, color illustrated, p. 47 Yue Minjun and the Symbolic Smile, Queens Museum of Art, New York, October 2007 – January 2008, color illustrated

HK$ 3,800,000-5,500,000 NT$ 15,580,000-22,550,000 US$ 487,200-705,100

岳敏君 敬禮 2005 油彩 畫布 170 x 140 cm 簽名右下：yueminjun 2005 簽名畫背：岳敏君 2005年《敬禮》

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展覽： 「複製的偶像：岳敏君作品2004-2005」， 何香凝美術館，深圳，展期自2006年6月3日 至6月11日 「岳敏君：標誌性的笑容」，皇后區美術 館，紐約，展期自2007年10月至2008年1月 圖錄： 《複製的偶像：岳敏君作品2004-2005》， 何香凝美術館，深圳，彩色圖版，頁47 《岳敏君：標誌性的笑容》，皇后區美術 館，紐約， 彩色圖版

岳敏君的笑臉作品《敬禮》包含了使他聞名 世界的所有元素，成熟而標準地反應出的中 國社會中理想主義和意識形態混亂而令人迷 惑的衝突，被扭曲和分離的個體的焦慮和痛 苦。典型的軍人敬禮形象，被岳敏君標誌性 的潑皮笑臉自畫形象所顛覆。在現實中軍人 臉上本應是冷靜和面無表情的，但在此作品 中卻顯現出相當不協調的狂笑，面對陽光緊 閉的雙目進一步強化了這一荒謬情形，似乎 畫中人物需要和世界隔離，把痛苦和恐懼隱 藏在大笑的面具之後。 岳敏君的作品被公認為屬於當代中國藝術界 特徵最明顯、個性最突出的作品。他本人也 是和張曉剛、曾梵志、王廣義和蔡國強齊 名，在國際上獲得公認的大藝術家，他的作 品在他的事業早期就被眾多國際博物館和收 藏者關注。和大多數同時代的藝術家一樣， 他傾向於在作品中反映當今中國的社會政治 現狀，在思考存在的複雜性方面他不同於曾 梵志的昏暗血腥風格，對於個人在不斷變化 的複雜世界中掙扎著去找尋和理解自身的定 位和角色，岳敏君採取的態度是幽默、輕鬆 和同情。

岳敏君早年相對優越的生活、脫離從眾和集 體主義的打算、在藝術圈豪放不羈的生活方 式，以及對於政府在1989年打壓藝術人士和 天安門事件的驚恐，這些都自然地影響了岳 敏君的生活觀念和他在作品中表現出的哲學 思考。他的潑皮笑臉自畫像首次出現於1993 年，他藉此逃避痛苦和對周遭世界的困惑， 並以玩世不恭的態度暴露自己和其他人心中 的焦慮。他的回答似乎是笑對人生的難題， 保持幽默感，哪怕是在天安門廣場面對行刑 隊。 岳敏君不滿足於不穩定的工人狀態，因此後 來進入河北師範大學學習藝術，畢業後他拋 開和父母一起的安逸生活，搬進了北京早年 藝術家聚居的藝術村，而這讓他的父母相當 惱火。在藝術村的生活 並不容易，大多數藝 術家當時屬於黑戶打工狀態，但岳敏君卻充 分享受著遠比在油田痛快的自由生活。他終 於能夠按照自己的方式安排生活，和志趣相 投的朋友探討真實的思想。岳敏君早期的作 品屬於現實主義風格，他喜歡畫出看到的事 物。他說如果他在外面看到美女，回到家就 想立即畫出來。早年因為父母工作需要而時 常搬家的生活讓岳敏君鍛鍊出對外界事物和 自己的心靈世界的敏銳觀察力。這些優點都 體現在他的笑臉人像作品中，作品中的荒謬 感很多都源自現實事物配以醉心而笑的自畫 像所產生的不協調，例如有幅作品就是一群 岳敏君騎在鵝背上大笑。 藝術村的生活看似田園般無憂無慮，外部世 界的風雲變幻卻遠非如此，同時對藝術的表 現卻產生持久的影響。隨著中國在1980年代 進入改革開放，中國藝術家首次接觸到西方 藝術傳統，隨之發起了探討社會弊病和個人 的焦慮與痛苦的大規模藝術先鋒運動，在北 京進行得尤為熱烈。中國政府對於這樣從未 有過的自由言論還不知道該如何做出反 應。 在1989年政府批准了首次中國現代藝術展， 展覽主題為「不准掉頭」。展覽開幕之日藝

術家肖魯朝自己的作品連開兩槍，政府立即 採取強制措施，關閉展覽，藝術家則受到當 局的警告，必須停止「言論自由」，否則就 會送到農村接受改造。幾個月後爆發了天安 門廣場的鎮壓事件。政府立場一下子變得非 常明確，藝術界在隨後兩年啞然無聲。 藝術家的聚會變成危險的活動，藝術家各自 分離，變得更加內省，開始苦苦思索如何用 密切監視他們的政府能夠容忍的方式進行自 我表達，他們在真正的東方時尚中找到了答 案，也就是用虛假的常態遮蓋真實的想法和 感受。由此產生的一個運動就是「玩世現實 主義」，即以諷刺或幽默的態度審查深層事 物，岳敏君就是最著名的玩世現實主義者之 一。

白牙齒、紅嘴唇和粉色皮膚則源於廣告，興 高采烈的軍人直接取自宣傳畫，不過觀者始 終無法從緊閉的雙眼參透人物的靈魂，在發 出笑聲的同時，不僅感到一絲疏離和孤立。 我們想和畫中人物一起笑，但 卻因無法溝通 而無奈，又因為不能瞭解人物的真實思想而 感到一絲感傷。不知道畫中的軍人是否在隱 藏痛苦或悲傷，或是否在隱藏反叛和顛覆的 思想。讓作品催生出不同的反應，這正是偉 大的藝術家的標誌。

“Salute”, from the later period of Yue Minjun’s “smiling faces” works, containing all of the elements of the paintings which have made Yue famous globally, is a mature and measured

Yue Minjun’s pictures are some of the most recognizable and immediately identifiable works from the contemporary Chinese art world.

He is one of the major players along with artists such as Zhang Xiaogang, Zeng Fanzhi, Wang Guangyi and Cai Guo-qiang, having achieved international recognition and acclaim early in his career with his paintings much sought after by international museums and collectors. As with most of his contemporaries he is intent on exploring the socio-political realities of present day China, and while contemplating the complexities of existence, unlike say Zeng Fanzhi whose works are dark and brooding, Yue takes a humorous, light-hearted and sympathetic approach to the individual struggling to comprehend his place and role in an ever changing and complicated world.

曾梵志採用了面具的創意，岳敏 君則創作了他極具諷刺的笑容 自畫像，用這種方法詮釋具有自 由、獨立思想的個體如何被當做 Yue’s view of life, and his portrayal 忤逆之徒。岳敏君說他是受到電 of his philosophical ruminations in 影的啟發，演員飾演不同的角 his works are inherently influenced 色，但角色背後卻是演員本人， by his reasonably privileged early 例如標誌性的人物瑪麗蓮．夢 life, his attempt to break away from 露，而標誌則傳達著某個資訊， conformity and collectivism, his early 岳敏君就從這一點想到使 用誇張 dalliance with a bohemian lifestyle in 的自畫像作為諷刺個體和社會弊 an artist’s commune, and the shock 病的工具。他描繪的大臉盤、嘻 岳敏君《醉人春光》羅芙奧香港2008秋季拍賣會，編號158，1150萬港幣成交 and horror in 1989 at both the Chinese 哈的大嘴露出光閃細密的小白 YUE Minjun, Enchanted Spring, 1994, oil on canvas, 150 x 300 cm government’s crackdown on the art 牙，緊閉雙眼的形象，成為時代 Ravenel Autumn Auction 2008 Hong Kong, lot 128, US$ 1,483,871 sold world, and Tiananmen Square. His 的符號，面對沒有意義、殘酷而 smiling self-portraits first appeared in 1993, reflection on the angst and pain of the individual 荒謬的世界，我們確實能夠會心一笑。岳敏 and they were a way for him to escape the pain in modern Chinese society, a bewildering and 君說：「按照中國人的傳統，有什麼事你不 and incomprehension of the world around him, perplexing smorgasbord of conflicting idealisms 能直接說，必須要用別的東西來說明真實意 while playfully exposing his own and others’ and ideologies which wrench the individual 義。我想展現快樂的微笑，在背後則是某種 deep angst. His answer seems to be to laugh apart. An apparently classic portrait of a soldier 悲傷，甚至是危險。我想表達出情感、失落 at life’s conundrums, and maintain a sense of saluting is overturned and subverted as Yue’s 和受傷，最好的方式就是荒謬的笑臉，把不 humor, even if you are facing a firing squad trademark self-portrait grins out wildly. Along 好的感受藏在笑臉背後。激發力量和自嘲， in Tiananmen Square, one of his most famous with the incongruity of the manic grin on the 用以緩解內心的不快。藝術應該是人的特殊 depictions. soldier’s face, which in real-life would be 情感的表達，面對生活的困境和苦難時，外 imperturbable and unreadable, the absurdity of 在表現得愉快而自信。」 Yue was unstable and unsatisfied as a worker, the situation is further emphasized by his tightly he entered Hebei Normal University where he shut eyes against the sunlight falling on his face, 《敬禮》是岳敏君具有代表意義的傑作，採 studied art. On graduating he left the safe and as if he needs to shut out the world and hide his 用了波普藝術的形式和卡通漫畫、宣傳畫和 secure life of his parents behind and moved into pain and fears behind a grinning a mask. 廣告的技巧。超大的外形和表情取自漫畫，

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an early artist’s commune in Beijing much to his parents’ chagrin. Life was not easy there, as most artists were considered undocumented migrant workers, but Yue reveled in the freedom of life compared to his life in the oil camps. For the first time he could decide his own schedule, his own lifestyle, and discuss his real thoughts with likeminded friends. Yue’s early art was realistic in style. He liked to paint things that he saw. He has said that if he saw a pretty girl outside, when he got home he wanted to paint her. Or if he saw a flock of geese flying overhead in formation he wanted to paint it immediately.

With the constant change of locations in his early life as his parents’ jobs entailed constant movement, Yue developed a keen sense of observation, both of the physical world around him, and of his own internal world. These traits stayed with him in his smiling portraits as a lot of their absurdity comes from the incongruousness of the realistic subject matter paired with the intoxicating grinning selfportraits, such as a flock of Geese being ridden by smiling Yues.

Although life in the artist village seemed carefree and idyllic, events in the outside world were anything but, and were to have lasting effects on artistic expression. As China opened up to the world in the 1980s, artists became exposed to Western art traditions for the first time. A large artistic avant-garde movement grew up especially in Beijing, which explored the ills of society and the angst and suffering of individuals. The Chinese government had no idea how to react to this newfound freedom of expression. In 1989, they allowed the first exhibition of contemporary Chinese art known as “No U-Turn”. On the opening day, one of the artists fired a gun at her installation. The reaction was brutal and strong, the exhibition was immediately shut down, and artists were rounded up by the authorities and warned that “freedom of expression” had ended and that if they defied this, they would be sent to the

countryside for reeducation. Some months later, the crackdown in Tiananmen Square took place, and the position of the authorities could not be clearer. The art world became very quiet for the next two of years.

For artists meeting together became a very dangerous activity. Isolated from their peers, they became more introspective and thought long and hard about how they could express themselves with an intolerant government watching them closely. In true Oriental fashion they found the answer, veil or mask what

you truly think and feel, behind a veneer of normalcy. One of the movements which came out of this is “Cynical Realism” which uses an ironic or humorous attitude to examine deep issues, and Yue Minjun is one if its greatest proponents.

As Zeng Fanzhi adopted the concept of a mask, Yue Minjun created his iconic smiling selfportrait as a way to interpret the individual in a society where having free or independent thoughts or ideas was tantamount to treason.

Yue has said that he was inspired by the movies, where an actor plays different roles, but behind

the role the actor is always himself or herself such as an icon like Marilyn Monroe. An icon carries a message and from this Yue got the idea of using an exaggerated self-portrait to ironically comment on the individual’s and society’s ills. Depicting figures with large faces, open mouths, shiny rows of teeth and closed eyes, Yue Minjun created an icon of the times. Faced with a meaningless, heartless and absurd world, we can and do laugh back. Yue has said “in Chinese tradition you can’t say things directly. You have to show something else for real meaning. I wanted to show a happy smile and that behind it is something sad, and even dangerous. I wanted to express how I was feeling, lost and hurt, and the best way was with ridiculous laughter, hiding the bad feelings behind a smile. Arousing feelings of strength and self-mockery to relieve the unhappiness in my heart. Art should be an expression of one’s particular feelings. One remains outwardly cheerful and confident when faced with difficulties and hardships in life.”

“Salute” is an iconic and magnificent representation of Yue’s work. Employing a Pop Art style, Yue uses techniques from comic books, propaganda posters and advertisements.

Oversized features and the expression come from comic characters, the white teeth, red lips and pink skin from advertising, and the happy soldier is straight from a propaganda poster.

However the closed eyes stop the viewer peering into and connecting with the figure’s soul, and as with real life laughter we feel a little isolated, and cut off. We want to laugh with him, but instead we feel a sense of disconnectedness and a little sadness that we cannot know what he is really thinking, whether he is hiding pain or sadness, or if he is hiding subversive thoughts.

And this is the true hallmark of a great artist, provoking different reactions, and different views of his work.

070

CHEN Ke

(Chinese, b. 1978)

Nine Layer Tower 2005 Oil on canvas 200 x 200 cm Signed lower right Ke in Chinese and dated 2005 Signed on the reverse Chen Ke, titled Nine Layer Tower, inscribed oil on canvas, 200 x 200 cm, all in Chinese and dated 2005 EXHIBITED: A Cartoon, Top Space; Star Gallery, Beijing, 2005 ILLUSTRATED: A Cartoon, Time Zone 8, Beijing, 2005, colorillustrated, p. 16 Young Chinese Artists, Prestel Publishing House, Munich, 2008, color-illustrated, p.59 Chen Ke, Kehrer Verlag, Heidelberg, 2009, color-illustrated, p. 55

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

陳可 九層塔 2005 油彩 畫布 200 x 200 cm 簽名右下：可 2005 簽名畫背：《九層塔》布上油畫 200 x 200 cm 布上油畫 陳可 2005 展覽： 「一卡通」，頂層空間；星空間畫廊，北 京，2005 目錄： 《一卡通》，東八時區出版社，北京， 2005，彩色圖版，頁16 《中國年輕藝術家》，普雷斯特出版社，慕 尼黑，2008，彩色圖版，頁59 《陳可》，柯勒．弗拉格，海德堡，2009， 彩色圖版，頁55

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071

TANG Zhigang (Chinese, b. 1959)

Chinese Fairytale - Diving 2005 Oil on canvas 200 x 85 cm Signed lower right Tang and dated 05 EXHIBITED: Tang Zhigang’s Solo Exhibition, Red Bridge Gallery, Shanghai, November 6 – December 12, 2006 ILLUSTRATED: Tang Zhigang’s Solo Exhibition – Chinese Fairytale 2006, Red Bridge Gallery, Shanghai, color illustrated, 2006

HK$ 1,400,000-2,000,000 NT$ 5,740,000-8,200,000 US$ 179,500-256,400

唐志剛在「兒童開會」系列作品中直接表現了思想，「中國童話」系列明顯擺脫了政治與人 的主題隱喻，而轉入到一個更加關乎生命本體與個人內心的主題。幼兒形象以荒謬的手法被 置於競技場中，兒童或被毫無來由地垂掛在吊環之上，或站在高高的跳水板上惴惴地向下， 一種成人才會面對的恐懼感和心理壓力被錯位地擱置在兒童身上。唐志剛解釋說，在人類的 歷史中，人們總是不斷地試圖超越自己、超越極限，而恰當人們在創造一個又一個記錄的同 時，也給自己不斷帶來了新的壓力；因而，從某種角度來看，競技場充斥著人們面對極限時 的恐懼心理，唐志剛以嘲諷的口氣和比喻的方式對現實提出批評，反映每天處於競爭環境中 的人所面臨的壓力。 在這幅作品《中國童話—跳水》中，唐志剛讓一個學步年齡的幼兒在跳板邊緣的危險環境中 閒逛。滿心好奇的小男孩一絲不掛，也無人看護。儘管我們看不出他的面部表情，但在這時 候他的憂鬱是明顯的。通過描繪幼兒的圖畫「中國童話」，勇氣和內心恐懼躍然紙上，童話 全部是虛構的，但它在人類的文化上具有持久的魅力。 從早期的「兒童開會」到「中國童話」，唐志剛採用的繪畫技巧越來越凝練簡潔，這很符合 中國傳統寫意畫刪繁就簡以神寫形的精神。而在色彩上，他變得越來越鮮亮，富有更加強烈 的當代感和國際性。唐志剛越來越明晰地顯示出他獨特的著眼點和悲天憫人的開闊情懷。他 關注周遭的事件，他體會到當代人們普遍的心態與這個時代蔓延著的焦慮和心理負擔，最終 通過他慣有的活潑、輕快的兒童形象將這種沈痛感消解掉。這是唐志剛的高明與智慧。「中 國童話」所謂的童話，其實 並非一部天真的兒童讀物，而是成人世界裡普遍存在的種種心理 壓力、焦慮和危機感的暗示性寫照。

唐志剛 中國童話─跳水 2005 油彩 畫布 200 x 85 cm 簽名右下：Tang. 2005 展覽： 「中國童話－唐志剛個展」，紅橋畫廊， 上海，展期自2006年11月6日至12月15日 圖錄： 《唐志剛個人作品展－中國童話2006》， 紅橋畫廊，上海，彩色圖版，2006

Different from the “Children in Meeting” series which the artist expresses his thoughts directly, the “Chinese Fairy Tales” has refrained itself from the theme of politics-human relations and turned to another that is closer to the life itself and mankind psychos. The little children are put to arenas in a ridiculous way. They are either hanging high above the flying rings, or standing high on the springboard, looking down nervously. The fear or mental pressure those only adults may face in real life are misplaced onto children. According to Tang, people have been trying to exceed their ego and challenge their ultimate limits throughout the history; yet as they break new records one by one, they are creating more and more pressure for themselves. Therefore, seen from certain aspect, arenas are actually filled with fear that people feel when they meet their ultimate limits.

Tang Zhigang criticizes the reality cynically through metaphors to reflect the pressure among us in our everyday competitive surroundings.

The present lot, "Chinese Fairytale - Diving", Tang leaves a toddler roaming in a dangerous environment - the edge of the diving board. The curious boy is naked and unattended. Although we cannot see his facial expression, yet the present of hesitation is evident. Through Chinese Fairytale the illustration between youth, courage and inner fear is substantiated. Fairytale is all together fictional and everlasting in human culture.

From the early “Children in Meetings” to the “Chinese Fairytales”, the painting techniques he employs are getting increasingly simplified, well in accordance with the spirit of simplifying pictures with bold outlines and vivid expression outweighing picture designs in traditional Chinese freehand brushwork. In color arrangement, he is using brighter colors to create stronger sense of being modern and international. Tang has more and more obviously shown his unique focus of view and his broad mind of bemoaning the universe and pitying fate of humankind. He is much concerned with incidents happening around him. He has figured out the general state of mind of modern people as well as the anxiety and mental pressure overspreading in the present times.

Through his traditional figures of lively and jolly children, Tang successfully eliminates such grief and sadness. This is where his wisdom lies. The so-called “Chinese Fairytales” is by no means a book for children, but an implicit reflection of mental pressure, anxiety and sense of crisis that widely exist in the adult world.

156

072

YIN Zhaoyang (Chinese, b. 1970)

Mao (Blue Red) 2007 Oil on canvas 100 x 80 cm Signed lower right Zhaoyang in Chinese and dated 2007

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

尹朝陽的繪畫開啟了1970年代出生的一代人青春感傷的抒情主題，並真正開始塑造這一代人 自己的自我形象和情感特徵。以時間的距離，關於「毛」的重大概念，對於尹朝陽這些更為 年輕的藝術家來說，模糊的或許是記憶，生動的依然是認知。毛澤東的形象作為一種社會歷 史遺產，各種方式的使用是非常耐人尋味的社會現象。 尹朝陽以自己的經驗解讀並敘述著一個輝煌的時代的形象。他以自己獨有的氣勢，在眾多以 「毛」為題材的作品中獨樹一幟。他以不同背景創作的毛澤東常常像一個寓言，即使如同這 幅如此簡單構圖的《毛澤東（藍紅）》，以顏色對比烘托出人物形象的體態和氣質，基本上 呈現兩大色調：紅色和藍色。紅色是代表與共產主義政治立場一致狀態的符號。在傳統的中 華文化，它也有積極的聯想：財富、生育、幸福和成功；而藍色代表著一個光明的 未來，象 徵著一個新時代。與此同時，這兩種基礎色的使用能激發起如馬克．羅斯科般對純淨顏色的 探索，賦予所繪肖像比寫實手法更深的情感共鳴。

尹朝陽 毛澤東（藍紅） 2007 油彩 畫布 100 x 80 cm 簽名右下：朝陽 2007年

The drawings of Yin Zhaoyang open the theme of expressing emotion for the sorrow towards youth by the generation born in 1970s. They are genuinely building the image and emotional features of this generation. Regarding the distance of time and the significant concept of “Mao”, what is fuzzy may be memory for the younger generation artists such as Yin Zhaoyang and what is vivid is still cognition. The image of Mao Zedong, a kind of social and historical heritage, relates to a social phenomenon affording for thought for the diversified uses.

Yin Zhaoyang is interpreting and describing a splendid image of that era with his own experience. His works are unique among numerous like ones under the theme “Mao” with his unprecedented demeanor.

Yin Zhaoyang’s works in relation to Mao Zedong always represent an allegory. Even this “Mao”, featuring such simple drawing and composition, contrasts the pose and temperament of the figure with colors. The figure and the background are basically rendered in two major tones: red and blue. Red is a code for maintaining a politically correct status in the communist context. In traditional Chinese culture, it also has positive associations to fortune, fertility, happiness, and success; while the blue represents a bright future, symbolizing a new era. At the same time, the primary colors used evoke the pure color field explorations of Mark Rothko, giving the portrait deeper emotional resonance than a straightforward realistic depiction.

158

073

FENG Zhengjie (Chinese, b. 1968)

China Portrait G Series 2006 No. 5 2006 Oil on canvas 150 x 150 cm Signed lower right FENG ZHENGJIE in Chinese and English, dated 2006 This painting is to be sold with a certificate of authenticity issued by Schoeni Art Gallery.

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

俸正傑 中國肖像系列 No. 5 2006 油彩 畫布 150 x 150 cm 簽名右下：俸正傑 FENG ZHENGJIE 2006 附少勵畫廊開立之原作保證書

160

074

YU Chen

(Chinese, b. 1963)

Red Babies Series No. 3 2006 Mixed media on canvas 150 x 120 cm Signed upper right Yu Chen in Chinese, dated 2006 Signed on the reverse Yu Chen in Chinese, titled Red Babies Series, inscribed No. 3 and dated 2006, all in Chinese

HK$ 170,000-250,000 NT$ 700,000-1,030,000 US$ 21,800-32,100

162

余陳 紅孩兒系列第三號 2006 綜合媒材 畫布 150 x 120 cm 簽名右上：余陳 2006 簽名畫背：《紅孩兒》2006年 第3號 余陳

075

HE Sen

(Chinese, b. 1968)

Toy on the Floor 2007 Oil on canvas 250 x 200 cm Signed lower right He Sen in Chinese and English, dated 2007 Signed on the reverse He Sen and titled Toy on the Floor in Chinese, inscribed 200 x 250 cm and dated 2007

HK$ 350,000-500,000 NT$ 1,440,000-2,050,000 US$ 44,900-64,100

何森 地上的玩具 2007 油彩 畫布 250 x 200 cm 簽名右下：HE SEN. 2007. 何森 簽名畫背："地上的玩具" 何森 2007.

200 x 250 cm

076

XUE Song

(Chinese, b. 1965)

Consciousness Calligraphy 2006 Mixed media on canvas, collage 110 x 110 cm Signed lower right Xue Song in Chinese Signed on the reverse Xue Song in Chinese and English, titled Consciousness Calligraphy in Chinese, inscribed 110 cm x 110 cm and dated 2006

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

164

薛松 意象書法 2006 綜合媒材 畫布 拼貼 110 x 110 cm 簽名右下：薛松 簽名畫背：《意象書法》110 cm x 110 cm 薛松 xue song 2006.

077

GUO Jin

(Chinese, b. 1964)

郭晉

Dawn No. 9

晨曦（九）

2007 Oil on canvas 145 x 145 cm Signed lower right guo jin in English and dated 2007

This painting is to be sold with a certificate of authenticity issued by Kwai Fung Hin Art Gallery.

ILLUSTRATED: GUO JIN, Kwai Fung Art Publishing House, Hong Kong, 2007, color illustrated, p. 32

HK$ 160,000-250,000 NT$ 660,000-1,030,000 US$ 20,500-32,100

2007 油彩 畫布 145 x 145 cm 簽名右下：guo jin 2007 圖錄： 《郭晉》，季豐美術出版社，香港，2007， 彩色圖版，頁 32 附季豐軒畫廊開立之原作保證書

078

PAN Dehai

(Chinese, b. 1956)

The Labourer 2005 Oil on canvas 200 x 170 cm Signed lower left Pan Dehai in Chinese and dated 2005 EXHIBITED: Pan Dehai Solo Exhibition, Poly Art Museum, Beijing, 2007 ILLUSTRATED: Pan Dehai, Poly Art Museum and Triumph Art Space Beijing, 2007, color illustrated, pp. 86-87 & p.89

HK$ 280,000-420,000 NT$ 1,150,000-1,720,000 US$ 35,900-53,800

潘德海 勞動者 2005 油彩 畫布 200 x 170 cm 簽名左下：潘德海 2005 展覽： 「潘德海個展」，保利藝術博物館，北京， 2007 圖錄： 《潘德海》，保利藝術博物館及凱旋藝術機 構，北京，彩色圖版，頁86-87與頁89

166

079

ZHENG Delong

鄭德龍 No. 06-41

(Chinese, b. 1976)

ILLUSTRATED: Collision, Zheng Delong, Vanessa Art Link, Jakarta, color illustrated, p. 73

2006 油彩 畫布 150 x 180 cm 簽名畫背：《06-41》150 x 180 cm 中國成都 Cheng Du in China 布面 油畫 Oil on Canvas 鄭德龍 Zheng De Long

HK$ 110,000-170,000 NT$ 450,000-700,000 US$ 14,100-21,800

圖錄： 《湱─鄭德龍》，華藝沙藝術中心，雅加 達，2007，彩色圖版，頁73

No. 06-41 2006 Oil on canvas 150 x 180 cm Signed on the reverse Zheng De long, titled 06-41, inscribed 150 x 180 cm, Cheng Du in China, oil on canvas, all in Chinese and English

168

080

XIANG Qinghua (Chinese, b. 1976)

A Wound 2006 Oil on canvas 180 x 130 cm Signed lower right Xiang Qinghua in Chinese and dated 06

HK$ 130,000-190,000 NT$ 530,000-780,000 US$ 16,700-24,400

向慶華 撩撥傷口 2006 油彩 畫布 180 x 130 cm 簽名右下：向慶華 06

081

SHEN Hua

(Chinese, b. 1972)

Worker's Series No. 16 2005 Oil on canvas 160 x 130 cm Signed lower left Shen in English, Shen Hua and dated November 2005 in Chinese Signed on the reverse Shen Hua in Chinese, titled Worker's Series, inscribed a graduate student of Oil Painting Department since 2005 in Chinese

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

170

沈樺 民工系列 No. 16 2005 油彩 畫布 160 x 130 cm 簽名左下：Shen 沈樺 2005年11月 簽名畫背：《民工》系列 05級油畫系 研究生 沈樺

082

WANG Keping (Chinese, b. 1949)

Allies 2007 Bronze, edition no. 4/8 28(L) x 13(W) x 41(H) Engraved on the back Wang in Chinese and initialed K, numbered 4/8

HK$ 130,000-190,000 NT$ 530,000-780,000 US$ 16,700-24,400

王克平 雙翼 2007 銅雕 4/8 28(長) x 13(寬) x 41(高) 簽名雕刻：王 K 4/8

083

ZHU Wei

(Chinese, b. 1966)

China China 2002 Bronze, edition no. 8/12 33(L) x 60(W) x 57(H) cm Signed on the foot Zhu Wei in Chinese and numbered 8/12 (both)

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

朱偉 中國！中國！ 2002 青銅 8/12 33(長) x 60(寬) x 57(高) cm 簽名足部：朱偉 8/12 (x2)

172

084

Catur BINAPRASETYO (Indonesian, b. 1972)

Abraham Lincoln Membelah Samudra (Abraham Lincoln Exploring the Ocean) 2009 Acrylic on canvas 140 x 200 cm Signed lower right catur binaprasetyo and titled MEMBELAH SAMUDRA in Indonesian, inscribed 140 x 200 cm and dated 2009

174

卡圖爾．賓納帕西優 Signed on the reverse Catur Binaprasetyo, titled MEMBELAH SANUDRA in Indonesian, incribed 140 x 200 cm, acrylic on canvas and dated 2009

HK$ 25,000-38,000 NT$ 100,000-160,000 US$ 3,200-4,900

林肯號航空母艦海洋探索 2009 壓克力 畫布 140 x 200 cm 簽名右下：c a t u r b i n a p r a s e t y o, 2009. "membelah samudra." 簽名畫背：Catur Binaprasetyo, "MEMBELAH SAMUDRA", 140 x 200 cm, acrylic on canvas, 2009

085

Galam ZULKIFLI (Indonesian, b. 1971)

Unfinished Dialog 2001 Mixed media on canvas 102 x 143 cm Signed lower right GALAM in Indonesian and dated 2001 Signed on the reverse Galam Zulkifli in Indonesian

HK$ 55,000-85,000 NT$ 230,000-350,000 US$ 7,100-10,900

格蘭．祖基菲里 未完成的對話 2001 綜合媒材 畫布 102 x 143 cm 簽名右下：GALAM 2001 簽名畫背：Galam Zulkifli

086

Erica Hestu WAHYUNI (Indonesian, b. 1971)

艾瑞卡．海斯圖．瓦尤尼

My Sweet Hong Kong 2010 Acrylic on canvas 80 x 100 cm Signed lower right ERICA in English and dated 2010 Signed on the reverse Erica, titled My Sweet Hong Kong in English and dated 2010

176

我親愛的香港 This painting is to be sold with a certificate of authenticity issued by the artist.

HK$ 42,000-60,000 NT$ 170,000-250,000 US$ 5,400-7,700

2010 壓克力 畫布 80 x 100 cm 簽名右下：ERICA' 2010 簽名右下：'My Sweet Hong Kong' 2010 Erica 附藝術家開立之原作保證書

087

Jahan LOH

(Singaporean, b. 1976)

My Heart is a Refrigerator 2007 Acrylic on canvas 112 x 194 cm Signed lower left edge JAHAN in English and dated 2007

HK$ 70,000-100,000 NT$ 290,000-410,000 US$ 9,000-12,800

羅傑瀚 冰山美人 2007 壓克力 畫布 112 x 194 cm 簽名左側：JAHAN. 2007

088

Ponk-Q Hary PURNOMO (Indonesian, b. 1970)

Round Around with Love 2007 Mixed media on canvas 130 x 175 cm Signed lower center Ponk Q Hary Purnomo in English and dated 17 MEI 2007

HK$ 60,000-90,000 NT$ 250,000-370,000 US$ 7,700-11,500

178

龐丘．海瑞．普爾諾莫 愛成圓圈 2007 綜合媒材 畫布 130 x 175 cm 簽名下方：Ponk Q Hary Purnomo 17 MEI 2007

089

Popo ISKANDAR (Indonesian, 1927-2000)

Tiga Kucing (Three Cats) 1996 Oil on canvas 100 x 125 cm Signed lower left popo in English and dated '96

HK$ 220,000-320,000 NT$ 900,000-1,310,000 US$ 28,200-41,000

波波．伊斯甘達爾 三隻貓 1996 油彩 畫布 100 x 125 cm 簽名左下：popo '96

090

I Nyoman MASRIADI (Indonesian, b. 1973)

Untitled 1996 Mixed media on canvas 99 x 99 cm Signed lower left MASRIADI in English and dated 23 MEI 96

HK$ 300,000-500,000 NT$ 1,230,000-2,050,000 US$ 38,500-64,100

米斯尼亞迪 無題 1996 綜合媒材 畫布 99 x 99 cm 簽名左下：MASRIADI 23 MEI 96

180

091

T.V. SANTHOSH (Indian, b. 1968)

Untitled 2009 Oil on canvas 122 x 183 cm Signed on the reverse T.V. SANTHOSH in English, inscribed OIL ON CANVAS, 4' x 6' and dated 2009

HK$ 600,000-800,000 NT$ 2,460,000-3,280,000 US$ 76,900-102,600

T.V. 山度士 無題 2009 油彩 畫布 122 x 183 cm 簽名畫背：T.V. SANTHOSH - 2009 OIL ON CANVAS SIZE: 4' X 6'

山度士是最富盛名的新生代印度畫家之一。他那些啟示世界的力作，喚起了他遍佈全球愛好 收藏者們的強烈共鳴。山度士於1968年出生於印度南部的喀拉拉邦。和許多與他同時代的人 一樣，山度士在聖蒂尼克坦獲得美術專業學位，隨後攻讀雕塑碩士學位。現在他在印度有當 代藝術運動中心之稱的孟買生活和工作。 隨著山度士的聲名鵲起，他的作品在倫敦、紐約、蘇黎世、柏林、新加坡和北京等世界各 地展出。除了他的個展之外，他的作品也囊括在每個主要的當代印度藝術作品展覽中，包 括2011年在新加坡的新加坡美術館舉辦的重要展覽「收藏家登陸：亞洲當代藝術私人珍藏 展」。2011年，他同時在柏林的自然莫特畫廊舉辦了重要的個人展覽－「大地」。 山度士的作品使用戰爭、全球恐怖主義和暴力行為的影像作為基本的出發點。使用現代社會 日常活動（尤其是中東地區的活動）的照片，並使它們看起來像充滿豔麗霓紅色彩的底片。 這種直接的效果擄獲了我們的興趣和注意力。 深受現代社會影響的山度士高度關注現代戰爭、恐怖主義和暴力的反人類作用。同時，他也 高度關注觀眾已經習慣於媒體爭相報導的影像。由於媒體已經遍佈各處，我們已經對正在全 球發生的恐怖事件變得無視和漠不關心，從而失去判斷力，並最終認識並理解暴力的負面影 響。 山度士大膽而有力的畫作嘗試再次吸引我們的注意力，使我們放慢腳步，再次思考在全世界 正在上演的災難性事件。「負片」照相技術的效果則作為視覺隱喻的作用，聚焦並強調正在 發生的反人類活動，以表達出一個寓意。鮮明的霓紅色彩是核毀滅的暗示，這是山度士希望 觀眾留意到的啟示性圖像，激發我們注意並考慮社會動蕩、變革和戰爭對受害者和策劃者的 可怕和黑暗領域。 本幅作品似乎是在描 繪暴力衝突的影像。一個戴著防毒面具的年輕變革者在兩個重量級的統 治者（也許是兩個戰爭國家或派系的名義領袖）之間的掙扎。年輕人和兩個統治者之間的鬥 爭佔據了整幅畫面。這種掙扎透過由防毒面具創造的外星人效果突顯出來，暗示年輕人的想 法和觀念對於那些統治者而言是怪異而不可接受的。 T.V. Santhosh is one of the most prominent and recognized of the new generation of contemporary Indian artists. His powerful paintings of apocalyptic world events have evoked strong and sympathetic resonances with a global audience, who have become eager collectors of his works. Santhosh was born in 1968 in Kerla in Southern India. As with many of his contemporaries he graduated in Fine Arts from Santiniketan, subsequently focusing on sculpture for his Master’s degree. He now lives and works in Mumbai, the centre of the contemporary art movement in India.

As Santhosh’s prestige has grown, his paintings have been exhibited extensively worldwide in London, New York, Zurich, Berlin, Singapore and Beijing. Along with prominent solo exhibitions his works have been included in every major group exhibition of contemporary Indian works including the 2011 important exposition “Collector’s Stage: Asian Contemporary Art from Private Collections”, Singapore Art Museum, Singapore. In 2011, he also has a major solo exhibition in Berlin, The Land, Nature Morte.

Santhosh’s paintings use images of war, global terrorism and acts of violence as their basic starting point. He uses photographs of modern day events particularly events in the Middle East and renders them in the colors of color negatives, greens, oranges and yellows. The immediate effect is to arrest and grasp our interest and focus our attention.

As a child of modern times, Santhosh is highly aware of the dehumanizing effect of present day war, terrorism and violence. He is also highly aware that viewers have become inured to the constant stream of images in the media. As the media has become all-pervasive, we have become adept at ignoring and not registering the horrific events going on globally, thereby failing to judge, and ultimately understand and comprehend the degrading effects of violence.

Santhosh’s bold and strong paintings are an attempt to re-engage our attention, to make us pause, and think again of the catastrophic events going on around the world. The effect of the ‘negative photograph’ technique is while making the real event anonymous, it highlights and emphasizes the inhuman activities being carried out creating an allegorical statement. The bright greens, oranges and yellows are suggestive of a nuclear annihilation, and it is this apocalyptic image that Santhosh wants the viewer to engage with, provoking us to contemplate and consider the appalling and dehumanizing effects of social unrest, revolutions and wars on both the victims and the perpetrators.

Our present painting seems to portray an image of a violent clash. A young revolutionary, appearing to wear a gas mask, struggles between two prominent and dominant men perhaps figureheads of two warring states or factions. The struggle between the youth and the two men dominates the picture.

The struggle is further emphasized by the alien-like effect created by the gas mask, suggesting that the thoughts and ideas of the young man are alien and unacceptable to those controlling power.

182

092

Haris PURNOMO (Indonesian, b. 1956)

Sayap Kebesaran (Great Wings) 2007 Acrylic on canvas 200 x 250 cm Signed lower left HARIS PURNOMO in English and dated 2007

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

哈里斯．普爾諾莫 尊貴的羽翼 2007 壓克力 畫布 200 x 250 cm 簽名左下：HARIS PURNOMO 2007

184

093

GUO Rui

(Chinese, b. 1977)

Landscape 2007 Acrylic and oil on canvas 150 x 120 cm Signed centre left GUO RUI in English and dated 2007. 3

HK$ 48,000-70,000 NT$ 200,000-290,000 US$ 6,200-9,000

186

郭銳 風景 2007 壓克力 油彩 畫布 150 x 120 cm 簽名左方：GUO RUI 2007. 3

094

LIU Zheng

(Chinese, b. 1969)

I Really Love You 1999 Beads on fabric 210 x 130 cm Signed lower center Liu Zheng, titled I really Love You in Chinese and dated 99.6

HK$ 25,000-40,000 NT$ 100,000-160,000 US$ 3,200-5,100

劉崢 我真的愛你 1999 塑膠珠子 錦緞 210 x 130 cm 簽名中下：《我真的愛你》劉崢 99.6

095

PARK Sung Tae (Korean, b. 1960)

Human 2 Installation: aluminium insect screening, UV light 191(L) x 171(W) x 12(D) cm

朴成泰 HK$ 80,000-120,000 NT$ 330,000-490,000 US$ 10,300-15,400

188

人類 2 鋁篩 裝置作品 UV光 191(長) x 171(寬) x 12(厚) cm

096

YOON Jongseok (Korean, b. 1970)

Keep Me Warm 2000 Acrylic on canvas 70 x 130 cm Signed upper right edge Yoon Jongseok in English and dated 2000

HK$ 80,000-120,000 NT$ 330,000-490,000 US$ 10,300-15,400

尹鍾錫 為我取暖 2000 壓克力 畫布 70 x 130 cm 簽名右側：Yoon Jongseok 2000

097

LIANG Quan (Chinese, b. 1948)

Tea and Some Coffee No. 2 2007 Tea, ink and color on rice paper, mounted onto linen 183 x 100 cm Signed on the reverse Liang Quan in Chinese and dated 2007 With one seal of the artist

HK$ 85,000-120,000 NT$ 350,000-490,000 US$ 10,900-15,400

梁銓 茶和一點點咖啡之二 2007 茶 色 墨 宣紙 裱貼於亞麻布 183 x 100 cm 簽名畫背：梁銓 2007 鈐印畫背：梁銓製作

190

098

LEE Jung-woong (Korean, b. 1963)

Brush 2008 Oil on Korean paper 140 x 140 cm Embossed lower right Lee Jung-Woong in Korean

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

李錠雄 毛筆 2008 油彩 韓國紙 140 x 140 cm 簽名浮雕：이정웅

099

Takashi MURAKAMI (Japanese, b. 1963)

Kansei: Korin Red Stream; Like the River's Flow (a set of 2) 2009-2010 Offset lithograph, edition no. 169/300 & no. 167/300 70 cm (diameter) Initialed lower right M and numbered 169/300 (upper) Initialed lower right M and numbered 167/300 (lower) With one seal of the artist (both)

HK$ 14,000-22,000 NT$ 60,000-90,000 US$ 1,800-2,800

村上隆 澗聲：光琳─紅色河流、如河水般 流淌（2件1組） 2009-2010 限量石版畫 169/300；167/300 70 cm（直徑） 簽名右下：M 169/300（上） 簽名右下：M 167/300（下） 鈐印左下：澗聲（兩件）

192

100

Takashi MURAKAMI (Japanese, b. 1963)

Smiling Flowers; Such Cute Flowers (a set of 2) 2010-2011 Offset lithograph, edition no. 137/300 & no. 179/300 50 x 50 cm (x2) Initialed lower right M and numbered 137/300 (upper) Initialed lower right M and numbered 179/300 (lower)

HK$ 9,000-15,000 NT$ 40,000-60,000 US$ 1,200-1,900

村上隆 微笑的花朵、如此可愛的花 （2件1組） 2010-2011 限量石版畫 137/300；179/300 50 x 50 cm (x2) 簽名右下：M 137/300（上） 簽名右下：M 179/300（下）

Lots 003, 023, 025

Lot 001 Lot 002

Walasse TING (Chinese-American, 1929-2010)

LO Chan-peng (Taiwanese, b. 1983)

LAI Zhicheng (Chinese, b. 1968)

Born in Jia Yi, Lo Chan Peng received master degree with National Taiwan Normal University, Department of Fine Arts. He was granted Kaohsiung Awards in 2008 and The Chi-Mei Art Cultivation Awards in 2007.

Solo exhibitions: ART HK 2010; 2009 “Strawberry Generation Studio”, Aki Gallery, Taipei. Selected group exhibitions: 2010 “YES TAIWAN: 2010 Taiwan Biennial”, National Taiwan museum of Fine Arts, Taiwan; 2010 “Post-Adolescence”, National Taiwan Museum of Fine Arts, Taichung and Kuandu Museum of Fine Arts, Taipei; 2009 “Small World”, E105 Gallery, Bonn, Germany; 2005 “National Art Exhibition of the Republic of China traveling exhibition” , Taichung, Taipei, Kaohsiung.

Born in 1968, Sichuan, China, Lai Zhicheng graduated from Deyang Institute of Education, Deyang City, Sichuan. He has been starting his career of painting from 1998 in Beijing, two years later, he moved to Songzhuang. During 2000 to 2008, he has participated several group exhibitions in Songzhuang and Sichuan; in 2008, he participated the exhibition “Polit Project” in German. Lai Zhicheng’s art works were collected as permanent collections while he was invited to the exhibitions in The Netherlands and The United States of America during 2003 to 2005.

Born in Wuxi, Jiangsu, China, raised in Shanghai, where he started as a street painter. Ting ever enrolled Shanghai Fine Arts School. He moved to Hong Kong in 1946. Then he moved to Paris in 1952 where he formed close relationships with members of the CoBra group.

In 1960, he immigrated to New York, where he became involved with Pop artists. Ting published a book of his poems entitled One Cent Life illustrated with original lithographs by numerous American and European artists.

He became American citizen in 1974. In 1977, he was awarded a fellowship from the John Simon Guggenheim Foundation and published Red Mouth, a book of erotic drawings and paintings. Since 2001, he has resided in Amsterdam. The use of color was unique. His paintings have also been collected by many museums, including: Metropolitan Museum in New York, MoMA and Guggenheim Museum of Arts.

羅展鵬 (台灣，1983年生)

賴致成 (中國，1968年生)

丁雄泉 (華裔美籍，1929-2010)

1983年出生於嘉義，羅展鵬畢業於國立台灣師大美研所 西畫創作組。曾獲2008年高雄美術獎、2008年國立美術 館青年藝術典藏計畫、2007年奇美人材培訓計畫獎。個 展經歷：2010年「香港國際藝術博覽會個展」，香港； 2009年「草莓族工作室入侵」，也趣藝廊，台北。重要 聯展：2011年「複感．動觀 ─ 2011海峽兩岸當代藝術 展」，國立台灣美術館，台灣；2010年「台灣報到：台 灣雙年展」，國立台灣美術館，台灣；2010年「汽球人 間」，下秋葉原畫廊，東京；2010年「後青春」，國立 台灣美術館，台中，關渡美術館，台北；2009年「似曾 相似的小宇宙」，波昂，德國；2005年「全國美展巡迴 展」。

1968年出生於中國四川，1989年畢業於德陽市教育學 院，1998起自北京從事油畫創作，兩年後入住北京宋 莊，持續專注於繪畫與創作。賴致成於四川與宋莊已參 與多次聯展，展覽紀錄：2008年「領航計畫」聯展，德 國，「早春三月藝術聯展」，四川；2007年「大興油畫 作品展」、「宋莊藝術集市展」、「來自宋莊」，四 川；2006年「北京宋莊藝術節聯展」，北京；2005「北 京宋莊東岸藝術展」，四川；2000年「青年藝術家作品 展」、「新青年油畫作品展」，四川。2003與2004年赴 荷蘭參展，與2005年赴美展出，賴致成作品獲藝術機構 永久收藏。

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。

194

Lot 005

Lots 004, 070

Lot 006

CHEN Ke (Chinese, b. 1978)

OUYANG Chun (Chinese, b. 1974)

SUN Liang (Chinese, b. 1957)

Born in Tongjiang, Sichuan Province, Chen Ke graduated from the Oil Painting Department of Sichuan Institute of Fine Arts in 2002 and from Sichuan Institute of Fine Arts with an MFA in 2005. Chen Ke is currently working and living in Beijing. She was awarded the Inaugural Chengdu Biennial for Art Academy Students in 2001. In 2007, She held the exhibition “With you, I will never feel lonely” at Beijing Star Gallery and Milano Marella Gallery. Chen Ke is a representative artist. Her artworks derive aesthetics from animation and cartoons, closely connecting the affection in the virtual world with real life. The digital images from her painting demonstrates bright and colorful light, contributing to the diversity of her visual layout. She creates a popular cartoon world with kaleidoscopic and dazzling imagination.

Born in Xian, Shanxi in 1974, graduated from the Xian Institute of Fine Arts in 1993. From Ouyang Chun, we see more traces of a autodidact, and it is exactly this feeling which "originated from life" made his behaviors far apart from the artistic creations born from schools, and not so easy and obvious to see the source of the picture. From Ouyang Chun's works, you may be able to find the craziness of Basquiat, the roughness of Baselitz and the scorns of Keith Haring, but the one thing you will not be able to find is the sense of decadency which belongs to schooled art. Ouyang Chun is determined to give painting a brand new interpretation, and therefore uses a multi-variant style to structure his painting empire.

Born in Hangzhou, China in 1957, Sun Liang graduated in 1982 from the Fine Art and Design Department of Shanghai Light Industry College, Shanghai, China. Participated exhibitions include: 2003 “Metaphysics 2003”, Shanghai Abstract Art Museum, Shanghai; 2002 “17th Asian Modern Art Exhibition”, Taejon Art Museum, Korea; 2001 “Towards a New Image-20 Years of Contemporary Chinese Painting”, National Art Museum of China, Beijing; 1999 “The 1st Exhibition of Asian Art Triennal”, Fukuoka Museum, Fukuoka, Japan; 1995 “Change-Chinese Contemporary Art”, Goteburg Museum, Sweden; 1993 “The 45th Venice Biennale Exhibition”, Venice; 1991 “Garage Art Exhibition”, Shanghai; 1989 “China Avant-Garde”, National Art Museum of China, Beijing; 1988 “Exhibition of Today’s Art”, Shanghai Art Museum, Shanghai.

陳可 (中國，1978年生)

歐陽春 (中國，1974年生)

孫良 (中國，1957年生)

生於四川省通江。2002年畢業於四川美術學院油畫系。 2005年畢業於四川美術學院油畫系碩士學位。現工作生 活於北京。2001年獲第一屆成都雙年展學生特展「新秀 獎」。2007年分別在北京星空間藝術中心和米蘭瑪蕊樂 畫廊舉辦「和你在一起，永遠不孤單」個展。陳可是一 位很有代表性的藝術家，她的作品由動畫、漫畫帶動美 學，從虛擬世界裡的情愛和真實人生的情感密切互動， 由數位影像呈現的鮮亮色光，構成變換多端的視覺造 型。她用繽紛絢奇的想像來為我們營造一個大家的卡通 新世界。

生於陝西西安，1993年畢業於西安美術學院。在歐陽春 的身上，更多的是自我教育的痕跡，也正是這種自覺地 服從「來源於生活」的感受，令他的行動和學院出身的 藝術創作拉開了距離，不是那麼明顯、輕易地就能看到 畫面來源。在歐陽春的作品中，你或許可以找到巴斯奇 亞的癲狂、巴塞里茲的粗暴與基斯．哈林的戲謔，卻唯 獨看不到屬於學院藝術的那套腐朽做派—歐陽春堅決要 給繪畫一個新的解釋。因此，他用多變的風貌構建他的 繪畫帝國。

1957年出生於中國杭州，1982年畢業於上海輕工業學 院藝術設計系。2003年「形而上2003：上海抽象藝術 展」，上海美術館，上海；2002年「第十七屆亞洲現代 藝術展」，大田美術館，韓國；2001年「當代繪畫新形 象：二十年當代中國藝術展」，中國美術館，北京； 1999年「亞洲藝術三年展：福岡現代美術館」，日本； 1995年「中國進程現代藝術展」，哥德堡美術館，瑞 典；1993年威尼斯雙年展，威尼斯；1991年「上海車庫 藝術展」，上海；1989年「中國現代藝術大展」，中國 美術館，北京；1988年「今日藝術展：上海美術館」， 上海。

195

Lot 007 Lot 009

Lot 008

LU Hao (Chinese, b. 1969)

SU Wong-shen (Taiwanese, b. 1956)

LIEN Chien-hsing (Taiwanese, b. 1962)

Born in 1969 in Beijing, China. 1992, graduated from the Central Academy of Fine Arts, Beijing, China.

Solo Exhibitions: 2006 Xin Dong Cheng Space for Contemporary Art, Beijing; Arario gallery, Seoul, South Korea. He Xiangning Art Museum, Shenzhen, China; Kwai Fung Hin Art Gallery, Hong Kong, China; 2005, Goedhuis Contemporary, New York, U.S.A; Beijing Art Now Gallery, Beijing, China; Tokyo Gallery, Tokyo, Japan; 1996, "Experimental Inks", Yun Feng Art Gallery, Beijing, China; 1995, "Experimental Inks", International Art Gallery, Holiday Inn Crown Plaza, Beijing, China; Joint Exhibitions: 2006, "Mahjong China Contemporary Art from the Sigg Collection", Museum of Contemporary Art, Hamburg, Germany; Pusan Biennale, South Korea.

Born in Chiayi, Taiwan. Su Wong-shen currently works and lives in Kaohsiung. He graduated from the Fine Arts Department of Chinese Culture University. Su’s first solo exhibition was held in the American Culture Center in Taipei. He held another solo exhibition in the Taipei Fine Arts Museum in 1988 and continued to exhibit extensively thereafter in both solo and group exhibitions. Su’s early work in 1980s was abstract and it was only in the 1990s that he moved to more realistic work. Most of his recent works use dogs as a metaphor for social criticism. His work is found in the public collections of the Taipei Fine Arts Museum and the National Taiwan Museum of Fine Arts.

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

盧昊 (中國，1969年生)

蘇旺伸 (台灣，1956年生)

連建興 (台灣，1962年生)

1969年出生於中國北京。1992年畢業於中國中央美術學 院。個展：2006年 「盧昊個展」，程昕東國際當代藝 術空間，北京，中國；「盧昊個展」，阿拉里奧畫廊， 首爾，韓國；何香凝美術館，深圳，中國；季豐軒畫 廊，香港，中國；2005年，個展，古德豪斯當代畫廊， 紐約，美國；個展，北京現在畫廊，北京，中國；個 展，東京畫廊，東京，日本；1996年「個人實驗水墨畫 展」，北京雲峰畫廊，中國；1995年「個人實驗水墨畫 展」，北京國際藝苑美術館，中國；聯展：2006年「麻 將—中國當代藝術席克收藏展」，漢堡當代美術館，德 國；「釜山雙年展」，釜山，韓國。

台灣嘉義人，目前居住於高雄。1979年畢業於文化大學 美術系。1985年首次個展於美國文化中心，1988年台北 市立美術館個展，歷年舉辦多次個展及聯展。其作品從 早期切割畫面的構成，至近期以「狗」為隱喻手法，表 現當今社會現象。收藏機構：台北市立美術館、國立台 灣美術館等。

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

196

Lots 010, 051, 065

Lot 011

Lots 012, 050

ZHOU Chunya (Chinese, b. 1955)

HUANG Gang (Chinese, b. 1961)

CAI Guo-Qiang (Chinese, b. 1957)

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 works 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 Beijing in 1961, he graduated from the Central Industrial Art Institute. During the 80's, paintings with a Tibet theme were extremely popular; people loved the pureness, the mystery, and the nature of Tibet, which is not yet polluted by civilization. Huang Gang became interested in the culture, religion, and art of Tibet, and started his own Tibet classical drawing artware collection, studies society, religion, philosophy background which this kind of art produced. He created the Tibet writing series work afterwards, but he is a different artist, he used an unprecedented artistic way to carry on the creation. Huang Gang’s works were exhibited internationally. 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 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).

周春芽 (中國，1955年生)

黃鋼 (中國，1961年生)

蔡國強 (中國，1957年生)

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。

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 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。

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）。

197

Lot 013

Lots 014, 021, 022, 062

Lots 015, 017, 020, 061, 063

LI Chen (Taiwanese, b. 1963)

JU Ming (Taiwanese, b. 1938)

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

Li Chen, born in 1963 in Taiwan, is regarded as one of the leading sculptors working in Asia today. His powerful, large-scale bronzes fuse Zen thought with contemporary art practice. In the 1990s, he freed himself from the restraints of the traditional canon while retaining a profound spirituality in his work. This was further deepened through his study of scriptures in Confucianism, Buddhism, and Taoism. In 2007, a large scale exhibition of Li Chen’s work was presented at the 52nd Venice Biennale. In 2008, his work was recognized at a major solo exhibition titled “In Search of Spiritual Space” at The National Art Museum of China in Beijing. In the same year, Li Chen took a new shift with the unveiling of his brand-new series for the very first time to the public in “Soul Guardian – In an Age of Disasters and Calamities”. In 2009, Singapore Art Museum presented a significant body of work spanning Li’s artistic practice from 1992 to the present in his first solo outdoor sculpture exhibition in Asia.

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, New Taipei City 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.

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 ago. In 1997, he was inducted into the prestigious L'Institute de France, as a member of the Beaux-Arts.

李真 (台灣，1963年生)

朱銘 (台灣，1938年生)

朱德群 (華裔法籍，1920年生)

出生於台灣雲林，是極受矚目的當代藝術家。其充滿震 撼力的銅雕，成功融合中西方特色，同時具有濃厚的東 方氣韻以及西方藝術的極簡風格，是禪宗思想和當代藝 術表現的完美結合。李真的雕塑有著細膩溫潤的表面質 感，以銅為材料，採用中國特殊墨黑色的生漆手法、銨 金、銨銀技巧。展現雕塑的輕盈與大自在感，呈現「既 重又輕」的奇妙對比。2000年以來，李真陸續在國際重 要城市展出，2007年更受邀參加第52屆義大利威尼斯雙 年展，成為百年來首位以個人名義受邀舉行個展的台 灣藝術家，2008年三月於北京中國美術館舉辦「尋找 精神的空間」，十月於北京798藝術區展出「神魄」系 列，2009年新加坡國家美術館「李真：精神．身體．靈 魂」，則為其藝術生涯寫下另一高峰。

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 館成立於新北市金山鄉。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。

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 離台三十二年後第一次畫展。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。

198

Lot 016

Lots 018, 019

Lot 024

WU Guanzhong (Chinese, 1919-2010)

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

WANG Yanru (Chinese, b. 1974)

Born in Yixing, Jiangsu. Wu Guanzhong's training in Western art began at the Hangzhou National College of Art in 1936 under Lin Fengmian (1900-1991). After his graduation in 1942, he obtained a teaching position at the National Chung-ching University. He then traveled to France where he spent the next four years studying oil painting under Professor Jean Souverbie (1891-1981) at the Ecole Nationale Sup rieure des Beaux Arts and the ateliers of Andr Lhote (1885-1962) and Othon Frieze (1879-1949). He has painted in oil since 1950, even during the Cultural Revolution. His international fame is evident in two recent exhibitions of his traditional oil paintings at the Chinese Culture Foundation of San Francisco (1989-90) and the British Museum in London (1993). Hong Kong Museum of Art and National Museum of History in Taipei held solo exhibitions of Wu's work in 1995 and in 1997 respectively.

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 1974, in Hubei China, Wang Yanru graduated from Hubei Fine Arts Institute, Oil Painting Department in 1977. Participating group exhibitions include: 2009 “Green: Art Exhibition”, China World Trade Center, Beijing, China; 2009 “Retrospect and Exploration: A Selected Collection from Fine Arts Literature Art Center”, Hubei Museum of Art, Wuhan, China; 2007 “The 2nd Documentary Exhibition of Fine Arts”, Hubei Museum of Art, Wuhan, China.; 2006 “Group Exhibition by 25 Contemporary Artists”, The Museum of Contemporary Art, Beijing; 2004 “Slow: Contemporary Art Exhibition”, Fine Arts Literature Art Center, Wuhan, China.

吳冠中 (中國，1919-2010)

趙無極 (華裔法籍，1921年生)

王衍如 (中國，1974年生)

生於江蘇。1936年進入國立杭州藝專，在林風眠的指導 下開始研習繪畫。1942年畢業後，在國立重慶大學執 教。1946年獲教育部獎學金赴法國留學。在法國四年期 間，曾就讀於巴黎的國立高等美術學校，師從蘇弗爾比 （1891-1981）教授學習油畫，並入洛特（1885-1962） 和佛里茲（1879-1949）畫室進修。同時在羅浮宮研習 美術史。1950年回到中國後，先後在中央美術學院，清 華大學及北京藝術學院任教。吳氏數十年間持續進行油 畫創作，即使在文化革命中亦未曾中斷。1989年三藩市 中華文化基金會舉辦個展及1992年在倫敦大英博物館舉 辦個展，其作品受到世界的重視，1995年香港藝術館以 及1997年台北國立歷史博物館亦為其舉辦講座及個展。

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。

1974年出生於湖北武漢。1997年王衍如自湖北美術學院 油畫系取得學位。參與聯展：2009年「綠：當代藝術 展」，中國國際貿易中心，北京；2009年「回溯與探 索：美術文獻藝術中心收藏展」，湖北省藝術館，湖 北；2007年「第二屆美術文獻展」，湖北省藝術館，湖 北；2006年「觸動：當代架上繪畫25人聯展」，北京當 代美術館，北京；2004年「慢：當代藝術展」，美術文 獻藝術中心，武漢。

199

Lot 027 Lot 026 Lot 028

XIA Xing (Chinese, b. 1958)

LI Shuang (Chinese-French, b. 1957)

JIN Gao (Chinese, b. 1933)

Xia Xing was born in Beijing, China in 1958, and from 1979 he studied painting under the guidance of Jin Shangyi who later became president of the Central Academy. He graduated from oil painting department of the Central Academy of Fine Arts, Beijing in 1988.

Then in 1991, he completed the advance oil painting technique courses under the guidance of French realist painter Claude Ewell. Solo Exhibition: 1998 “Beijing: Stories: Oil Paintings by Xia Xing”, Schoeni Art Gallery, Hong Kong. Group Exhibitions: 2005-2008 “Chinese Annual Realism Group Exhibition”, China; And he had participated in several group exhibitions at Schoeni Art Gallery, Hong Kong from 1993 to 1998, and also in Art Asia 1994 and 1995, Hong Kong Convention and Exhibition Centre, Hong Kong.

Born in Beijing. Works as a stage designer for the Chinese National Youth Art Theatre. One of the founding members of "The Stars". Exhibited in both the historic shows of 1979 and 1980. Emigrated to France in 1983. Held 18 solo shows in France, Switzerland and USA since then. Exhibitions of Oils have received international acclaim. Works collected by many museums in the world, including Epernay Museum, Seoul National Museum and Fukuoka Asian Art Museum.

Born in 1933, China, Jin Gao entered Beijing Art Technological Academy in 1948, and graduated from China Art Academy in 1952, and then she found a job in Inner Mongolia. From 1979 to 1988, she served as vice president of Inner Mongolia Artists Association. In 1982, she took a position in the art department of Inner Mongolia Normal University. Since 1983, she traveled to America. Rewarded prizes include: The Excellent Works Award of the 6th National Art Exhibition, 1984; The Excellent Award of National 1st Minority Art Exhibition, 1982. Her works are collected as permanent collections in China Art Museum, China National Museum, and Inner Mongolia Museum.

夏星 （中國，1958年生）

李爽 (華裔法籍，1957年生)

金高 (中國，1933年生)

1958出生於北京，1979年隨靳尚誼學習繪畫，1988年畢 業於中央美術學院。1991年結業於法國寫實主義畫家 克勞德．依維爾油畫材料技法研究班。個展：1998年 「北京故事：夏星個人畫展」，少勵畫廊，香港。聯展 展覽紀錄包括：2005-2008年共四屆 「中國寫實畫派年 展」，夏星於1993-1998年間參與多次香港少勵畫廊聯 展，另參加1994年與1995年舉辦於香港會議展覽中心的 亞洲藝術博覽會。

北京人。曾在中國青年藝術劇院從事舞臺美術工作。 「星星繪畫 」創作人之一。1979年和1980年組織參加第 一、第二屆「星星美展」。1983年移居法國後繼續深造 。自1979年以來，曾參加國內、國際性大型聯展近40餘 次。多幅作品被法國艾培市立美術館、韓國漢城近代藝 術國立美術館、日本福岡亞洲近現代藝術博物館及各國 收藏家廣泛收藏。

1933年出生，1948年起進入北京藝術學院就讀，並於 1952年從中國美術學院畢業，之後便前往內蒙古工作。 從1979年到1988年，金高擔任內蒙古藝術家協會副會 長。1982年起任教於內蒙古普通大學藝術系，翌年便動 身展開美國之旅。獲獎紀錄：1984年第六屆國家美術展 優作獎、1982年第一屆國家少數族群藝術展優等獎。作 品收藏紀錄：中國美術館、中國國家美術館、內蒙古博 物館。

200

Lot 029

Lot 030

Lot 031

PANG Jiun (Chinese, b. 1936)

LIAO Yibai (Chinese, b. 1971)

HUA Qing (Chinese, b. 1962)

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

Born 1971, Jiang An, Sichuan, China. Lives and works in Beijing and Chongqing, China. 2001-2005 Lecturer, Department of Art Design, College of Art, Chongqing University 1997 Graduated from Sichuan Academy of Fine Arts (SIFA). Important art exhibition: 1996 “Personal Experience Exhibition”, Chongqing, China. 1998 “Urban Personality Exhibition”, Chongqing, China.

2002 “China International City Sculpture Exhibition & Symposium”, Beijing, China. 2003 “Wuyeshen New Documentary Exhibition of China”, Guangzhou, China. 2004 “MIP TV Cannes Program Fair”, France.

2005 “On Going Contemporary Art Show”, Haikou, China. 2006 “New Improvement Academy Invitation Exhibition”, Guangdong, China. 2007 “Burning”, Beijing, China. 2008 “Germinators”, New York.

Born in Anhui, China, graduated from Anhui College of Art and Central Academy of Arts and Design in 1981 and 1986 respectively. Over the years, he had resided in many different places with diverse culture, such as Vienna, Yugoslavia, Slovakia, Taiwan, and China.

The artist has experienced the vast difference between Western and Eastern culture. Solo Exhibitions: 2010 “I Think, Therefore I Am” – 2010 Exhibition of Recent Works by Hua Qing, Taipei; 2009 “Magic of Thinking”, Beijing; “Hua Qing Solo Exhibition”, Hong Kong; 2008 “The Upanishad of Human Beings”, Beijing ; 2007 Art Space of Life Science Library Academia Sinca. Important group exhibitions: 2010 “Art Beijing”, Beijing; 2009 “ART HK 09”, Hong Kong; 2008 “Art Taipei 2008”, Taipei; “Art Singapore 2008”, Singapore; “Bridge Art Fair”, New York, U.S.A; “Blue Dot Asia” Art Fair, Seoul Art Center, Seoul, Korea; “China Now Now 2”, Amsterdam, Holland; 2007 “The Power of The Universe-An Exhibition of the Frontier of Contemporary “Chinese Art”, Beijing; “Wild Beast”, Beijing; 2006 “The Moving Socialism”, Beijing.

龐均 (中國，1936年生)

廖一百 (中國，1971年生)

華慶 (中國，1962年生)

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

1971年生於中國四川江安；1991年畢業於四川美術學院 附中；1997年畢業於四川美術學院油畫系第三工作室； 2001-2005年任教於重慶大學人文藝術學院；現居北 京。主要展覽有：1996年「個人經驗展」，重慶；1998 年「都市人格展」，重慶；2002年「北京國際城市雕塑 藝術展」，北京；2003年「五葉神中國新紀錄影展」， 廣東；2004年「M I P T V 法國坎城節目交易展」，法 國；2005年「進行時當代藝術展」，海南；2006年「新 改良－學術邀請展」，廣東；2007年「燃—廖一百個 展」，北京；2008年「雷達之下」，美國。

1962年出生於安徽，於1981年及1986年取得安徽省藝術 學校與中央工藝美術學院學位，後入駐圓明園，從事前 衛藝術活動。他曾旅居過維也納、南斯拉夫、斯洛伐 克、台灣、中國等地，對東西方文化有個著非常深刻 的體驗。個展：2010年「我思故我在—2010華慶新作 展」，台北；2009年「思維的魔力—華慶2009」，北 京；「華慶個展」，香港；2008年「人的奧義書」，北 京； 2007年中央研究院生命科學所美學空間，台北； 「華慶—人的寓言」，新加坡；重要群展：2010年「藝 術北京博覽會」，北京；2009年「香港國際藝術展」 香港；2008年「台北國際藝術博覽會」，台北；「新 加坡藝術博覽會」，新加坡；「橋藝術博覽會」，紐 約；「亞洲藍點」，首爾藝術中心，首爾；「中國當代 藝術 2」，阿姆斯特丹；「天行健—中國當代藝術前沿 展」，北京；「動物兇猛」，北京；2006年「移動的社 會主義」，北京。

201

Lot 034

Lot 032

Lots 033, 035

CHEN Wenling (Chinese, b. 1969)

LI Tianbing (Chinese, b. 1974)

LI Xinping (Chinese, b. 1959)

Born in Anxi County, Fujian Province, graduated from the Painting Program, Fujian Art & Craft College in 1991, and the Department of Sculpting at Central Academy of Fine Arts in 1993. In 2002, Chen Wenling started working on the series of “Red Memory” sculptures; from appearance, these works originated from the lively sweet village kids back at his home in Anxi, but actually, they originate from his longings for childlike innocence and fun.

Born in Guilin, China, Tianbing Li graduated from the Ecole Nationale Superieure Des Beaux-Arts (ENSBA).

Selected notable solo exhibitions held in: 2011 Hong Kong Art Center; 2009 “ADAA Show”, New York; 2007 Galerie Albert Benamou, Paris; 2006 Galerie Kashya Hidebrand, Zurich, “Brand New Works”, Kashya Hildebrand Gallery, New York; 2005 Musée de Gajac, Villeneuve; 2004 Galerie Albert Benamou, Paris; 2005 Galerie Loft, Paris; 2004 Kashya Hildebrand Gallery, New York; 2000 Musée Marzelles, Marmande.

Born in Beijing, 1959. He pursued a degree in Fine Arts at Henan University and graduated in 1982 with top honors. Li took up post graduate studies in 1985 at the Central Academy of Fine Arts in Beijing. In 1993, he attended St. Petersburg Art Academy in Russia for further post graduate studies. Li has been a member of the China Artists Assocication in Beijing since 1994. Li's painterly style has always carried a unique stand within Chinese contemporary art today as it encompasses the perimeters of decorative art and various mythological and philosophical discourses concerning the ancient history and culture of China. Solo exhibitions: 2010 “Li Xinping”, Hong Kong; “Li Xinping: A Symbolic Logic”, Shanghai; 2008 “Li Xinping: Trans + Fusion”, Shanghai; 2007 “Li Xingping: Chinese Synthesism”, Hong Kong; “Li Xinping: Beijing Studio Exhibition”, Beijing. Group exhibition: 2008 “Invitation Exhibition of Contemporary Art in Shenzhen”, Shenzhen; 2007 “Resetting, Suo Jia Village Modern Art Exhibition”, Beijing; 2006 “SUSI: Key to Chinese Art Today – Exploration & Discovery”, National Museum, Manila.

陳文令 (中國，1969年生)

李天兵 (中國，1974年生)

李新平 (中國，1959年生）

生於福建省安溪縣的陳文令，1991年畢業於福建工藝美 術學校繪畫班，1993年結業於中央美術學院雕塑系。 2002年陳文令開始《紅色記憶》系列雕塑作品的創作， 從表面上看，這些作品源於他安溪農村老家活潑可愛的 村童，實際上是源於他心中對童真、童趣的眷戀。

李天兵出生於1974年，中國桂林，2002年畢業於巴黎國 立高等美院。近年重要展覽經歷：2011年香港藝術中心 個展；2009年「ADAA軍械庫博覽會」，紐約；2007年 阿爾伯特．貝納姆畫廊，巴黎；2006年卡舒亞．希爾德 布蘭德畫廊個展，蘇黎世，卡舒亞．希爾德布蘭德畫廊 新作展，紐約；2005年格扎克博物館個展，維倫紐夫； 2005年勞夫特畫廊個展，巴黎；2004年阿爾伯特．貝納 姆畫廊個展，巴黎；2004年卡夏．希爾德布蘭德畫廊個 展，紐約；2000年瑪茲列斯博物館個展，馬芒德。

1959年生於北京。1982 年於河南大學美術系高院畢業。 1985年於中央美術學院進修，並於1993年到俄羅斯聖彼 德堡美術學院再度深造。自1994年起為中國美術家協會 北京會員。李氏的繪畫風格在中國當代藝術中一直佔著 一種獨特的位置；它被歸納為裝飾藝術的同時也包含著 對中國古代歷史和文化中不同哲學和神話的理解。李氏 的繪畫以西方符號學和理想主義中常見的元素來探索和 審視東西方美學兩者之間的無限可能性。個展：2010年 「李新平個展」，香港；「符號邏輯—李新平個展」， 上海；2008年「『導+化』李新平油畫展」，上海； 2007年「中國構成」，香港；「李新平：北京工作室 展」，北京；聯展：2008年「深圳當代藝術邀請展」， 深圳；2007年「『重啟．索家村』國際藝術營展」，北 京；2006年「匙—開創當今中國藝術之門」，馬尼拉國 家博物館，菲律賓。曾於2004年和1994年代表北京入選 全國美展。

202

Lot 037

Lot 036

Lots 038, 047

XIN Haizhou (Chinese, b. 1966)

YUAN Xiaofang (Chinese, b. 1961)

FANG Lijun (Chinese, b. 1963)

Born in 1966, Chengdu, China, he graduated in 1989 from Department of Printmaking, Sichuan Fine Arts Institute and now teaches there. He has attended the following major exhibitions: 1989 "Exhibition of China’s Modern Art", Beijing; 1991 "I Don’t Want to Play Cards with Cézanne", California; 1992 " The First Biennale Exhibition of Art in 1990s", Guangzhou; 1993 "Post 1989 - New Art Exhibition of China", Hong Kong; 1994 "Oil Painting Exhibition of Contemporary China", Beijing; 1995 "From Realism to Postmodernism - Oil Painting Exhibition of Contemporary China", Brussels; 1997 "Mirage of Reality - Exhibition of Xin Haizhou Sketch", Hong Kong; 1979-1999 Chinese Art Invitation Exhibition", Chengdu; 1999 "1999 Exhibition of China's Contempory Art", 2000 "Gate of the Century: 19791999 Chinese Art Invitation Exhibition", Chengdu; 2001 "Chongqing Chilies", Kassel.

Born in Wuhan. Graduated form Hubei Academy of Fine Arts in 1986. Now he teaches in the academy. The exhibitions he participated in include “Guangzhou Biennale Exhibition” in 1992,“China Year of Oil Painting Exhibition” in 1993, 1994, 1995, and the First “China Institute of Oil Painting Exhibition” in 1996, Shanghai “Contemporary Oil Painting Art Exhibition” in 1997, the 13th “Asia International Art Exhibition” in 1998 (the Malaysia National Art Gallery), the 14th “Asia International Art Exhibition” in 1999 (Japan Fukuoka Art Gallery), Northeast Asia (China, Japan, Korea) and the “Third World Art Exhibition” (South Korea Seoul Art Gallery), “Reshufling-Contemporary Art Exhibition” in 2001(Shenzhen Academy of Sculpture), the 16th “Asia International Art Exhibition” in 2001 (Guangdong Art Gallery). His works of art have been collected by institute and individual collectors from home and abroad.

Born in Handan, Hebei Province, he graduated from the Print Department of the Central Institute of Fine Arts in 1989, Current: Lives and Works in Beijing.

Group Exhibitions: 1989 "China Avant-Garde Art Exhibition, National Art Museum", China; 1993 "China Avant-garde", Germany; 1994 "The 22nd International Biennale of San Paulo", Brazil; 1995 "The 1st Kwangju Biennale", Korea; 1999, "Open Boundary: the 48th Venice Biennale", Italy; 2002 "The Power of Image", China. Solo Exhibitions: 1995, "Fang Lijun", France; 1998 "Fang Lijun", the Netherlands; "Fang Lijun", USA; 2000 "Fang Lijun", Singapore; 2001 "Fang Lijun, Asian Fine Arts", Germany; 2004 "Fang Lijun", Germany.

忻海洲 (中國，1966年生)

袁曉舫 (中國，1961年生)

方力鈞 (中國，1963年生)

1966年生於成都。1989年畢業於四川美術學院版畫系， 現任教於四川美術學院 。參加的主要展覽有：1989 年「中國現代藝術展」，北京；1991年「不與塞尚玩 牌」，美國加州；1992年「廣州首屆九十年代藝術雙年 展」，廣州；1993年「後89中國新藝術展」，香港； 1994年「中國當代油畫展」，北京；1995年「從現實 主義到後現代主義－中國當代油畫展」，布魯塞爾； 1997年「現實的幻影－忻海州素描展」，香港。1999 年「1999中國當代藝術展」，舊金山；2000年「世紀 之門：1979-1999年中國藝術邀請展」，成都；2001年 「重慶辣椒」，卡塞爾，德國。

生於武漢。1986年畢業於湖北美術學院，現任教於該 院。參加展覽如下：1992年「廣州雙年展」，1993年、 1994年、1995年「中國油畫年展」，1996年首屆「中 國油畫學會展」，1997年「上海當代油畫藝術展」， 1998 年馬來西亞國家美術館「第十三屆亞洲國際藝術 展」，1999年日本福岡美術館第十四屆「亞洲國際藝 術展」、韓國漢城美術館「東北亞（中、日、韓）及第 三世界美術展」，2001年深圳雕塑院「重新洗牌—當代 藝術展」，2001年廣東美術館第十六屆「亞洲國際藝術 展」。作品曾為國內外機構與私人收藏。

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

203

Lot 041

Lot 039

Lots 040, 072

GAO Yu (Chinese, b. 1981)

YIN Zhaoyang (Chinese, b. 1970)

LI Shan (Chinese, b. 1942)

Born in Guizhou, graduated from the Sichuan Fine Arts Institute in 2003 with a bachelor’s degree. He held two solo exhibitions “Five Elements Mountain” & “Specimen” in Beijing in 2006 and 2007 respectirely.He attended the exhibition known as “Ideal of A New Generation–the Chinese New Generation” in He Xiangning Art Museum, Shenzhen in 2004; in 2005 he took part in “The Self- Made Generation — A Retrospective of New Chinese Painting” exhibition in Zendai Moma, Shanghai, “Post 70s “The Generation Changed By the Market” exhibition co-organized by Shanghai Mingyuan Art Center and Beijing Today Art Museum and “Next Station, Cartoon?” exhibition co-organized by Star Gallery and Shenzhen He angning Art Museun; In 2006 he participated in “Beyond Experience: New China” and “ Naughty Kids” which were held by Beijing Arario Gallery and Star Gallery’s respectively; he also participated in Nokia’s art works creation known as “Fashion! The Top One is Prism!” .

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 “Cruelty 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”.

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.

高瑀 (中國，1981年生)

尹朝陽 (中國，1970年生)

李山 (中國，1942年生)

生於貴州。2003年畢業於四川美術學院，獲學士學位。 2006年在北京舉辦個展「標本」，2007年在北京舉辦個 展「五行山」。2004年參加深圳何香凝美術館舉辦的 「少年心氣—中國新銳繪畫」展； 2005年參加上海證 大現代藝術館舉辦的「自我造局—中國當代繪畫」展、 上海明園藝術中心聯合北京今日美術館舉辦的「70後藝 術：市場改變中國之後的一代」畫展、北京星空間聯合 深圳何香凝美術館舉辦的「下一站，卡通嗎？」畫展； 2006年參加北京阿拉里奧畫廊舉辦的「超驗的中國」畫 展、北京星空間舉辦的「壞孩子的天空」畫展；2007參 加諾基亞「時尚，角度至上」主題創作。

生於河南，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。

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。

204

Lot 042

Lot 043

Lot 044

LING Jian (Chinese, b. 1963)

LIU Wei (Chinese, b. 1965)

LIU Xiaodong (Chinese, b. 1963)

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.

Born in Beijing. Graduated from Central Academy of Fine Arts in 1989, majoring in printing. Currently lives in Beijing. “Attended the 45th Venice Biennial”, “the 22nd Saint Paul Biennial” and “Mao, Toward Pop” Exhibition, Australia in 1994; attended “Chinese New Artist Exhibition”, Germany in 1995; attended “China!”

Exhibition, Germany in 1996; attended “Made in ChinaContemporary Chinese Art” Exhibition, Berlin, Germany in 1998; attended “New Modernism in New Millennium” Exhibition, San Francisco in 1999. Attended “New Faces in China” Exhibition, Sydney in 2000. Held solo exhibition at Loft Art Gallery, Paris in 2001.

Born in Liaoning Province. Liu graduated from fine arts in the Oil Painting Department, China Central Academy of Fine Arts(CAFA) in 1988. In 1995, he received master degree in fine arts in oil painting of CAFA. He has been teaching in CAFA. Primary exhibitions: “Towards a New Image-1981-2001 Twenty Years of Contemporary Chinese Painting” , Beijing, Shanghai, Guangzhou, Chengdu, 2001; “Liu Xiao Dong” , Art Center of Donghai University, Taiwan, 2002; “Alors, La Chine?”, Centre Pompidou, Paris,2003; “Dreaming of the Dragon’s Nation-Contemporary Art Exhibition from China”, Irish, 2004; “Wang Guangle, Yin Chaoyang, Men Xinxi, Xia Xiaowan, Liu Xiaodong Art Show”, Beijing, 2005; “The Three Gorges Project-Painting by Liu Xiaodong”, San Francisco, 2006.

凌健 (中國，1963年生)

劉煒 (中國，1965年生)

劉小東 (中國，1963年生)

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。

生於中國北京。1989年畢業於中央美術學院版畫系，現 居北京。1994年參加「第45屆威尼斯雙年展」、「第22 屆聖保羅雙年展」、澳大利亞「毛澤東走向波普」展； 1995年參加德國「中國新藝術展」；1996年參加德國 「中國！」展；1998年參加德國柏林「中國製造—中國 當代藝術展」；1999年參加舊金山「新千年的新現代主 義」展；2000年參加雪梨「中國的新面孔展」；2001年 於巴黎勞夫特畫廊舉辦個展。

生於遼寧省，1988年畢業於中央美術學院油畫系，1995 年獲中央美術學院油畫系碩士學位。現任教於中央美術 學院油畫系。重要展覽： 2001年「新形象 1981-2001中 國當代藝術20年巡迴展」， 北京、上海、成都；2002年 「劉小東在東海」，台灣；2003年「中國怎麼樣？」， 龐畢度中心，巴黎；2004年「龍族之夢—中國當代藝術 展」，愛爾蘭；2005年「王光樂、尹朝陽、門欣熙、夏 小萬、劉小東藝術展」，北京；2006年「三峽專案—劉 小東作品」，舊金山。

205

Lots 045, 052, 066 Lots 046, 071 Lot 048

WANG Guangyi (Chinese, b. 1957)

TANG Zhigang (Chinese, b. 1959)

ZHANG Xiaogang (Chinese, b. 1958)

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

Born in 1959 in Yunnan, China, after graduating from the Department of Oil Painting in 1989, he serviced as a propaganda painter for the Political Department of the Army. Notable solo and group exhibitions: 2008 “Beijing - Athens, Contemporary Art from China”, Greece; 2007 “Never Grow Up, Tang Zhigang: 19772007, Retrospective”, Hyundai doArt Gallery, Beijing; 2005 “Chinese Fairytale”, Hanart TZ Gallery, Hong Kong; 2004 “Tang Zhigang”, Galerie Enrico Navarra, Paris, “The Army Show”, New York; 2003 “From China with Art”, National Gallery of Jakarta, Indonesia; 2002 Basel International Art Fair, Basel; 2000 “Chinese Avant-garde Exhibition”, De La Vilette Museum, Paris, “Children Meeting”, Hanart T Z Gallery, Hong Kong; “Moment: Chinese Contemporary Art”, University of Chicago Art Centre, Chicago.

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

王廣義 (中國，1957年生)

唐志剛 (中國，1959年生)

張曉剛（中國，1958年生）

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

1959年生於中國雲南。1989年於解放軍藝術學院油畫系 畢業後，曾為解放軍政治部繪製文宣畫作。曾參加重 要個展與聯展有：2008年「北京—雅典：中國當代藝 術」，希臘；2007年「永不長大：唐志剛1977-2007」 回顧展，Hyundai doArt畫廊，北京；2005年「唐志剛： 中國童話」漢雅軒，香港；2004年 「唐志剛」，納瓦哈 畫廊，巴黎，「軍械庫展」，現代畫廊，紐約；2003年 「從中國來：藝術」，雅加達國立畫廊，印尼；2002年 巴塞爾國際藝術博覽會；2000年「中國前衛藝術展」， 德拉維萊特博物館，巴黎，「兒童開會」，漢雅軒，香 港；1999-2000年「瞬間︰中國當代藝術」，芝加哥大 學藝術博物館，芝加哥。

生於昆明，畢業於四川美術學院油畫系。1989年起於北 京中國美術館參加中國現代藝術大展後，陸續參加許多 國際重要大展，如1994年參加「第22屆巴西聖保羅雙年 展」，並獲銅牌，次年應邀參加「第46屆威尼斯雙年 展」以及西班牙巴塞隆納現代藝術博物館舉辦的「中國 前衛藝術15年」。於1996年參加了德國波恩美術館舉辦 的「中國當代畫展」及巴黎法蘭西畫廊舉行的來自中國 四位當代藝術家聯展，1997年榮獲由英國庫茨國際當代 藝術基金會頒發的當代藝術新人獎。作品亦被許多重要 美術館收藏，如美國古根漢美術館、日本福岡美術館 等。

206

Lots 049, 067, 068

Lots 053, 073

Lot 054

ZENG Fanzhi (Chinese, b. 1964)

FENG Zhengjie (Chinese, b. 1968)

MAO Xuhui (Chinese, b. 1956)

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, “ParisBeijing” 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 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).

Born in Chongqing City, China, Mao Xuhui graduated in 1982 from the Yunnan Arts University, Art Department, majoring in oil painting, where he stayed teaching after graduation since 1996; and he is now a member of the Yunnan Oil Painting Association, and Vice-Chairman of the Yunnan Oil Painting Society. Since the opening up of China’s reformation, modern and contemporary Western art has taken root in China, and Mao Xuhui is one of the artists that has most assimilated and manifested Western art to its utmost, which makes him unique among his fellow artists.

曾梵志 (中國，1964年生)

俸正傑 (中國，1968年生)

毛旭輝 (中國，1956年生)

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

生於四川。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）。

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

207

Lots 056, 060 Lots 057, 059

Lot 055

ZHOU Tiehai (Chinese, b. 1966)

Yayoi KUSAMA (Japanese, b. 1929)

Yoshitaka AMANO (Japanese, b. 1952)

Born in Shanghai, China in 1966, graduated from College of Fine Arts Shanghai University in 1987, he was awarded a prize by Chinese Contemporary Art Association, Switzerland-China in 1998. Selected art exhibitions include: 2010 “Desserts: Zhou Tiehai”, Shanghai; 2005 Montpellier/Chine: MC1 Biennale international , Montpellier, France; 2005 Prague Biennial, Prague; 2004 Shanghai Biennial: Techniques of the Visible, Shanghai; 2003 “Zhou Tiehai”, Milan, Italy; 2002 Gwangju Biennial, Gwangju, Korea; 2011 Chendu Biennial, China; 2000 Art Basel, Switzerland; 1999 Venice Biennial, Italy.

Born on 22nd March, 1929. Kusama was called the classic artist still alive in Japan. She was born in Matsumoto City in Nagano, Japan. In 1956 she moved to New York, U.S.A. and began to show her unique avant-garde artistic creation which takes a dominant place. She once held exhibition with some current brillant artists such as Andy Warhol, Claes Oldenburg and Jasper Johns together. She lives in Tokyo in Japan now. She has a wide artistic practice, including painting, collage, sculpture, acting, filming, decorating and writing novels, poems and music. When she was ten years old, he got acousma and heteroptics because she was ill. When she was in America, it was the period of radicalness. And from then on her arts stayed in the state of radical, commercial and retrospective. She thinks that the net form means the vividness of life. In 1966 her decorating work “Endless Mirror Room” reveals the endless and the uncontrollable of life.

Born in 1952 in Shizuoka, Japan, he joined the early Japanese animation 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 1983-1986 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.

周鐵海 (中國，1966年生)

草間彌生 (日本，1929年生)

天野喜孝 (日本，1952年生)

1966年生於中國上海。1987年畢業於上海大學美術學 院，1998年獲瑞士中國當代藝術協會頒發的中國當代 藝術獎金。展覽經歷：2010年「甜點 : 上海當代美術館 周鐵海藝術展」，上海；2006年「另一種歷史 : 周鐵海 藝術展」，上海；2005年「蒙彼利埃／中國」：M C1 中國當代藝術雙年展，法國蒙彼利埃，第一屆布拉格雙 年展，布拉格；2004年「影像生存」，第五屆上海雙年 展，中國上海；2003年「周鐵海新作展」，米蘭；2002 年第四屆光州雙年展，光州；2001年成都雙年展，四 川；2000年巴塞爾藝術博覽會，巴塞爾；1999年第48屆 威尼斯雙年展，威尼斯。

草間彌生被稱為日本現存的經典藝術家，出生於日本長 野縣松本市，在1956年移居美國紐約市，並開始展露她 佔有領導地位的前衛藝術創作。曾與當代卓越的藝術家 如安迪．沃荷、克勒斯．歐登柏格、賈斯培．瓊斯一起 聯展。現居住在日本東京。她的藝術實踐非常廣泛：繪 畫、拼貼畫、雕塑、表演、電影、裝置、小說、詩歌和 音樂。她十歲患病導致幻聽幻視。在美期間正值激進主 義時期，此後她的藝術停留在激進、商業和反思的層面 上。她認為網狀結構象徵富有生機的生命本質。1966年 的充滿神秘感的《無限鏡屋》的裝置作品反映了一種生 命力的無限廣博以及不可把握性。她對自己的藝術經曆 描述為：分解和積聚，增值和破碎，是對自己的湮沒和 對無形宇宙的回想。返日後用多種形式和材料探索無止 境的網狀結構。她的藝術中所蘊含的獨特的感知經驗和 不可觸摸的神秘。

1952年出生於日本靜岡縣。1967年開始從事日本早期的 動畫製作，為日本的電視節目設計角色，包括《救難小 英雄》及《宇宙騎士》、《科學小飛俠》及《小蜜蜂》 等。其優異表現也讓他得到了許多知名的獎項：2000年 的惡龍多媒體大會獎及艾斯納獎，及1983到1986年連續 四屆的星雲賞。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。

208

Lot 064

Lot 058

Lot 069

Hideaki KAWASHIMA (Japanese, b. 1969)

XU Bing (Chinese, b. 1955)

YUE Minjun (Chinese, b. 1962)

Born in Aichi, Japan in 1969, Hideaki Kawashima graduated from Tokyo Zokei University, Tokyo Japan with a B.A in 1991. Kawashima has held solo shows: 2009 “Wandering”, Tokyo; 2008 “Wavering”, Tokyo; 2005 “Mutability”, Tokyo; 2003 “Shadow Monk: Project Room”, Tokyo. Selected group exhibitions: 2007 “ Portrait Session”, Tokyo; 2007 “Tomorrow Now”, Luxembourg; 2007 Pocheon Asia Biennale, Korea; 2006 “Art and Object”, Aomori, Japan; 2005 “ Little Boy”, USA; 2005 “Imagined Scenery from the eyes of Kotaro Terada”, Saitama, Japan; 2004 “Japanese Experience Inevitable”, Salzburg, Austria; 2004 “Fiction Love: Ultra New Vision in Contemporary Art”, Taipei, Taiwan; 2004 “Young Artists from China, Japan and Korea”, Seoul, Korea; 2001 “Morning Glory”, Tokyo, Japan.

Born in Chongqing, grew up in Beijing. Xu Bing graduated from the Central Fine Arts Institute Print Department in 1981, and stay teaching in school, attained the Master of Arts degree from central fine arts institute in 1987. Went to America in 1990, and settled down in New York. Participates in many important international contemporary fine arts display several times, like the 45th Venice Biennale, Museum of Modern Art in New York, the San Francisco Museum of Modern art, the Tokyo International Vision Transmission Center, New York PS1 and so on. In 1999 he obtained the American cultural circle highest prize-MacArthur Fellow.

Yue Minjun was born in Heilongjiang 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.

川島秀明 (日本，1969年生)

徐冰（中國，1955年生）

岳敏君 (中國，1962年生)

生於日本愛知縣1969年，1991年畢業於東京造形大學 藝術文學系。舉辦個展包括: 2009年「漫遊」，首爾； 2008年「搖擺」，東京；2005年「易變」，東京；2003 年「影子僧侶」，東京。部分聯展包括：2007年「肖像 會議」，廣島城市當代藝術博物館，東京；2007年「明 日即當下」，盧森堡現代藝術美術館，盧森堡；2007年 「抱川2007亞洲雙年展」，抱川藝術會展，韓國；2006 年「藝術與對象」，青森縣美術館，日本；2005年「小 男孩」，日本文化協會，紐約；2005年「寺田小太郎眼 中的幻想風景」，琦玉川越市立美術館，日本；2004年 「必然日本經驗」，薩爾斯堡現代美術館，澳洲；2004 年「虛擬的愛／當代新藝術」，台北當代美術館，台 北；2004年「中、日、韓新秀展」，首爾國立當代美術 館，首爾；2001年「牽牛花」，小山登美夫畫廊，東 京。

生於重慶，長於北京。1981年畢業於中央美術學院版畫 系，留校任教。1987年獲中央美術學院文學碩士學位。 1990年赴美，並定居紐約。多次參加許多重要國際當代 美術展覽，如第45屆威尼斯雙年展、紐約現代美術館、 舊金山現代美術館、東京國際視覺傳達中心，紐約PS1 等。1999年獲得美國文化界最高獎－麥克阿瑟獎。

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。

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Lot 075

Lot 076

YU Chen (Chinese, b. 1963)

HE Sen (Chinese, b. 1968)

XUE Song (Chinese, b. 1965)

Born in Guizhou, she graduated in 1981 from the Guizhou Province School of Fine Arts and began teaching at the school the same year. Between 1984-1988 when studying at the China Central Academy she won for three straight years the Distinguished Artwork award at the “Student Portfolio Exhibition”. In 1988 she gradated from the School of Printmaking at the Central Art Academy, and returned in 1993 to teach at the school ever since. Her 1979 print “Flight” was submitted to the “Guizhou Young Artists Exhibition” where it won the third rank ward. Her 1995 oil paintings “Earth in Heaven”, “Stubborn Girl” and “Balancing Act” were entered in the 2nd “World of Female Artists” exhibition organized by the Beijing International Art Palace and published in books such as Painting Trend of Chinese Female Artist on the Turn of the Centuries, Culture and “The East”. In 1997 she was dispatched to Paris in France on a fact-finding and study tour of art. In Paris she held the “Cite Internationale des Arts” while in 2006 at the Schoeni Gallery in Hong Kong she held “The Three of Us - Yu Chen, Chen Yu and Chen Li Siblings Joint Exhibition”.

Born in 1968 in Yunnan, China, He Sen graduated from Sichuan Academy of Fine Arts in 1989. He now lives and works in Chengdu, China. His works were shown in many international exhibitions, including solo exhibitions held by the Piltzer Gallery (2002, Paris); by Marella Contermporary Art (2003, Milan); “Shadow” (2004, Beijing). He also participated in group shows such as “New York Asia International Art Fair”(2002); “China Avant Garde”(2004, Jakarta, Indonesia); “New Perspectives in Chinese Painting”(2004, Milan); “Beijing, Chongqing, Shanghai - Painting and Photography” (2004, Munich).

Born in 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 du 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.

余陳 (中國，1963年生)

何森 (中國，1968年生)

薛松 (中國，1965年生)

生於貴州。1981年畢業於貴州省藝術學校，同年留校任 教。 1984-1988年在中央美術學院讀書期間，連續3年 獲「學生成績展」優秀獎，1988年畢業於中央美術學院 版畫系，1993年任教於中央美術學院版畫系至今。1979 年版畫作品《飛》參加「貴州青年美術作品展」，獲三 等獎。1995年，油畫作品《天上人間》、《倔女孩》、 《如何平衡》等參加國際藝苑美術館「女畫家的世界」 第2屆畫展，作品發表在《世紀之交中國女性繪畫走 勢》、《文化》、《東方》等書刊上。1997年，被派往 法國巴黎進行藝術考察和學習，在巴黎舉辦「余陳作品 展」（國際藝術村），2006年於香港少勵畫廊舉辦「我 們仨─余陳、陳餘和陳李姐弟聯展」。

1968年生於中國雲南，1989年畢業自四川美術學院師範 系，現定居與工作於成都。其作品曾於海內外個展展 出，如皮爾策畫廊舉辦的「何森個人作品展」（2002， 巴黎）、米蘭瑪蕊樂畫廊個展 (2003)、「如影隨形」 （2004，北京）。另外，其參加過的聯展有紐約國際亞 洲藝術博覽會(2002)、「中國前衛藝術展」（2004，印 尼雅加達）、「中國繪畫新景觀」（2004，米蘭）、 「北京、重慶、上海—繪畫與攝影」（2004，德國慕尼 黑）等展覽。

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。

210

Lot 079 Lot 077

Lot 078

GUO Jin (Chinese, b. 1964)

PAN Dehai (Chinese, b. 1956)

ZHENG Delong (Chinese, b. 1976)

Born in Chengdu, Sichuan, graduated from the Sichuan Fine Arts Institute in 1990 and stayed on as a teacher after his graduation. His works are exhibited internationally. Solo exhibitions include: 2008 “Guo Jin – Solo Exhibition”, Shanghai; “Appearance: Guo Jin Solo Exhibition”, Museum Nasional, Jakarta, Indoesia; 2007 “Things That Change, Things That Don’t”, Hong Kong; 2006 “Action and Imagination”, Amsterdam, Netherlands; 2005 Chinese Contemporary Art Gallery, London, UK; LIMN Art Gallery, San Francisco, USA. Important group exhibitions: 2011 “Prints From Contemporary Masterpieces”, Chengdu; 2010 “The Asia Pacific Contemporary Art Fair”, Shanghai; 2008 “Face and Faces” Madrid, Spain; 2007 “China Art Now!” Singapore Art Museum, Singapore; “Guo Wei & Guo Jin: Figurative Possibilities, N.Y., USA; 2005 “4+1: Chinese Contemporary Paintings” Taipei, Taiwan; 2004 “Contemporary Chinese Art Exhibition”, Italy; “Chinart” Ludwing Museum, Hungary; 2003 “China Art”, Dulsburg, Germany.

Born in Jilin City, Liaoning Province, he graduated from the Fine Art Department, Northeast Normal University.

In 1989, Pan won an award in the 7th National Art Exhibition. From 2002, he has worked for the Fine Arts College, Yunnan Arts University as a lecturer. His important exhibitions include “China Contemporary Art Exhibition” (1988, Chengdu); “From Mao to Pop Art” (1993, Melbourne); “Reality, Today, and Tomorrow” (1996, Beijing); “Asian Contemporary Art Exhibition”, 2000, London); “International Art Exposition” (2006, Beijing); “Pan Dehai Solo Exhibition” (2007, Beijing).

Born in Chengdu, Sichuan Province, China. Exhibition: 2003,“The Art Scene in China”- Shanghai Art City, Shanghai, China, 2003. 2004, “Sichuan Art Exhibition of Oil Paintings”- Chengdu, Sichuan Province, China.

Solo exhibition-Magazine Gallery, Shanghai, China.

2005,“New things” Exhibition of Chinese contemporary oil painting-Shanghai Magazine Gallery. “Rapid”Singapore, Soo Bin Art Int' l, 2006. “Collision”, Vanessa Gallery, Jakarta, 2007.

郭晉 (中國，1964年生)

潘德海 (中國，1956年生)

鄭德龍 (中國，1976年生)

生於四川成都。 1990年畢業於四川美術學院油畫系，並 留校任教。 他的作品曾於世界各地展出。個展： 2008 年「郭晉個展」，上海；「浮現：郭晉的回歸」，印 尼國家博物館，印尼；2007年「從未變與正在變」， 香港；2006年「動態和想像」，阿姆斯特丹， 荷蘭； 2005年「郭晉個展」，中國當代畫廊，倫敦， 英國； LIMN畫廊，舊金山，美國； 重要群展：2011年「當代 名家版畫展」，成都；2010年「上海藝術博覽會國際當 代藝術展」，上海；2008年「臉與臉」，馬德里， 西班 牙；2007年「中國當代藝術」，新加坡美術館， 新加 坡；「郭偉和郭晉：貝象的可能」，紐約，美國；2005 年「4+1當代中國油畫展」， 亞洲藝術中心，台北； 2004年「中國當代藝術展」，羅馬當代藝術博物館， 羅 馬，義大利；「中國當代藝術展」，路德維格博物館， 匈牙利；2003年「中國當代藝術展」，杜伊斯堡，德 國。

1956年2月生於吉林省四平市。1982年7月畢業於東 北師範大學美術系油畫專業。1989年，曾獲得「第七 屆全國美展」的獎項。2002年調入雲南藝術學院美術 學院任教，現任雲南藝術學院美術學院講師。重要展 覽包括「88年中國現代藝術展」（1988，成都）； 「走向波普」（1993，墨爾本）；「現實、今天和明 天」（1996，北京）;「亞洲當代藝術展」（2000，倫 敦）；「國際藝術博覽會」（2006，北京）；「潘德海 個人畫展」（2007，北京）。

生於成都。展覽：2003年「四川暨成都油畫展」—中國 成都；2003年多元視點—上海；2004年「上海春季藝術 沙龍」—上海；2005年「鄭德龍個人作品展」—上海； 2006年「湍」鄭德龍個人作品展—新加坡斯民國際藝 苑；2007年「湱」個展，華藝莎畫廊，雅加達。

211

Lot 080

Lot 081

Lot 082

XIANG Qinghua (Chinese, b. 1976)

SHEN Hua (Chinese, b. 1972)

WANG Keping (Chinese, b. 1949)

Born in Yunyang Congqing in 1976, entered the Department of Oil Painting in Sichuan Fine Arts Institute in 1997, and has been teaching at the Chuanyin Chengdu Academy of Arts since 2001. Xiang Qinghua's pictures have a strong sense of composition, but the language of form is simple. The colors are basically flat colors, using the difference between warm and cold colors to create space and distance in the pictures.

No extra illustration or strong spiritual pursuits. The characters are childish, the facial expression somewhat sluggish with a deformed intentional image, but the whole picture is mild among the low-key grey tones, as if covered by age. The simple and ordinary life covers up the world the artist personally desires – meditative nostalgia for childhood and quiet review of reality.

Shen Hua was born in Chongqing, China in 1972. He graduated from Sichuan Academy of Fine Arts, receiving master’s degree of The Language and Manifestation of Oil Painting in 2008. Awards: Top 30 Finalists, the Sovereign Asian Art Foundation, Hong Kong in 2006, and Bronze Medal, Today Art Student Annual Art Awards, Today Art Museum, Beijing in 2007. Solo exhibitions: 2007 and 2006 “From the Countryside to the City I and II”, Hong Kong. Recent notable group exhibitions: 2007 Art London, Royal Hospital Chelsea, London, “Green Idea, Green Hope Project”, Today Art Museum, Beijing, “A + A 2007 Round Two Exhibition”, Chongqing Art Museum and Sichuan Art Museum; 2006 “MiArt, The 11th International Modern and Contemporary Art Fair”, Milan, Italy; 2006 Hong Kong Artwalk, Hong Kong; 2004, The 3rd Chongqing Fine Art Exhibition, Chongqing, China.

Born in Beijing in 1949, he is one of the founders of the first non-conformist artist's group "The Stars" (Xing Xing) which was formed in 1979 during the poetcultural revolution "Beijing Spring". He has been living in Paris since 1984. Wang's creative language is plain and simple, he uses woods as materials, adapts their natural shapes to present the natural forms of human, however he also wanted it to be unnatural, therefore he pour his expressions into his works along with natural materials, and the result is amazing as if it came part of the natural world, the work itself explains all. His works are collected by Villes de Paris, Paris, France; The Olympic Sculpture Park, Seoul, Korea; Modern Art Museum, Taipei, Taiwan; and Aidekman Art Center, Boston. Solo exhibitions he held in New York, Paris, and London reflect his more serious and modest attitude. After his moving to Paris, he continues to have conversations with art traditions originated from different places, and he's full of confidence and strength.

向慶華 (中國，1976年生)

沈樺 (中國，1972年生)

王克平 (中國，1949年生)

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

1972年出生於中國重慶，2008年取得四川美術學院油畫 碩士學位。獲獎紀錄：2006年香港傑出亞洲藝術獎、 2007年北京今日美術館：年度學生藝術獎銅獎。近年個 展：2007年、2006年「從農村到都市」，香港。重要聯 展經歷：2007年倫敦藝術博覽會，雀爾喜皇家醫院， 倫敦，「綠色希望計畫」，今日美術館，北京，「A + A：2007年巡迴展」，重慶美術館、四川美術館，四 川；2006年第11屆國際現當代藝術博覽會，米蘭，「香 港Artwalk」，香港；2004年第三屆重慶藝術展，重慶。

生於中國北京，1979年加入由北京藝術工作者成立的 「星星畫會 」，成為活躍成員。1984年定居於法國至 今。王克平的創作語言是簡單自然，以木頭為材料，以 其自然形式表現人的自然形態，既是用自然又要打破自 然，把自己的表達加進去，最後作品處理又渾然天成， 讓作品解釋作品。巴黎市政府、首爾奧林匹克公園、台 灣省立美術館、波士頓Aidekman藝術中心，都有收藏他 的作品，前後於紐約、巴黎、倫敦等各地畫廊的個展， 更反映出移居法國讓王克平以一種更嚴謹和內斂的態 度，繼續與源自他方的藝術傳統對話，充滿著自信和力 量。

212

Lot 084

Lot 085

Lot 083

ZHU Wei (Chinese, b. 1966)

Catur BINAPRASETYO (Indonesian, b. 1972)

Galam ZULKIFLI (Indonesian, b. 1971)

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.

Catur was born 1972 in Central Java, Indonesia. He graduated from ISI/ Indonesian Institute of the Arts, Yogyakarta 2002. He has participated in group exhibitions in Indonesia, Thailand, Japan, Singapore, France and Belgium. He has gained great attention and won several awards including in 2003 Indofood Indonesian art Award, 2001 Osaka Triennial, 2000 ASEAN Art awards, Singapore, and 2000 Top Ten prize winners of the Indonesian Art Awards, 1999 The Special Prize International Museum Of Art Oslo, 1996 Osaka Triennial painting, and The First Prize in the Australia-Indonesia Friendship art competition in 1995.

Galam Zulkifli was born in 1971 born in Sumbawa, Indonesia. Being a self taught artist, he still gains great reputation with rewarded prizes includes: 2004 and 1999 The Best Five Indonesia Art Awards (Philip Morris Award) and 1998 ASEAN Art Awards Finalist. Solo Exhibitions: 2007 CamouflageIGA Gallery, Jakarta; 2006 Mon Decor Gallery, Jakarta; 2005 Potret Edwin Gallery, Jakarta; 2000 Taman Seni Gelaran Budaya, Yogyakarta. Group exhibitions: 2009 “Indonesia…

Goes Pop, Two-men show with Dipo Andy”, Gallery Avanthay Contemporary, Zurich; 2008 Art Miami USA, “Wedding: Tobacco & Art Magelang”, Central Java.

朱偉 (中國，1966年生)

卡圖爾．賓納帕西優 (印尼，1972年生)

格蘭．祖基菲里 (印尼，1971年生)

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。

賓納帕西優出生於1972年印尼中爪哇，2002年自日惹印 尼藝術學院畢業，賓納帕西優曾參與舉辦於印尼、泰 國、新加坡、日本、法國、比利時之聯展。他的作品已 獲得各地藝術機構的重視，並參與許多藝術競賽並獲頒 獎項，部份獎項有：2003年印尼Indofood藝術獎、2001 年大阪三年展獲獎、2000年新加坡東南亞國家聯盟藝術 獎、2000年印尼藝術獎前十名、1999年奧斯陸國際美術 館特別獎、1996年大阪三年展獲獎、1995年澳洲印尼藝 術友誼競賽首獎。

祖基菲里生於1971年，印尼，作為一位自學的素人藝術 家，他的藝術成就依然得到廣泛的肯定，獲獎紀錄包 括：2004年與1999年獲選印尼五位最佳藝術家（菲利 浦．摩里斯獎）；1998年入圍東南亞國家聯盟藝術獎。 個展紀錄：2007年CamouflageIGA畫廊個展，雅加達； 2006年孟德克畫廊個展，雅加達；2005年波切．艾德恩 畫廊個展，雅加達；2000年公園文化藝術節，日惹。聯 展紀錄：2009年「印尼，邁向波普藝術」，阿凡賽當代 藝術畫廊，蘇黎世；2008年邁阿密藝術博覽會，邁阿 密，「婚禮：菸草與藝術，馬吉冷」，中爪哇。

213

Lot 087 Lot 086

Lot 088

Erica Hestu WAHYUNI (Indonesian, b. 1971)

Jahan LOH (Singaporean, b. 1976)

Pong-Q Hary PURNOMO (Indonesian, b. 1970)

Graduating from Indonesian Fine Art Institute in Yogyakarta and Surikov Institute of Art, Russia, Erica Hestu Wahyuni hailed as one of the most promising artists from Indonesia. Selected group exhibitions: 2005 “Contemporary Art, Group Exhibition”, Jakarta, “Balinese Feast: Group Exhibition” and “Celebration of South East Asian Paintings: Group Exhibition”, Singapore; 2000 Group Exhibition at Linda Gallery and Sembilan Gallery, Indonesia; 1999 “Women Imaging: Women Group Exhibition”, Philipines; 1997 “At Tresors: The International Fine Art Fair”, Singapore; 1996 “A New Wave Group Exhibition”, Jakarta, Indonesia; 1995 “Exhibition of Sixth Dimension “, Jakarta; 1994 “Exhibition of Indonesia Woman Painters at the Taman Mini”, Jakarta, Indonesia; 1993 International Triennial Competition of Painting, Osaka 1993, Japan; 1991 “Painting Exhibition of the Cultural Festival of Yogyakarta (FKY) “, Yogyakarta, Indonesia.

Born in Singapore in 1976, Jahan Loh graduated with Masters in design from University of New South Wales in Australia. Rewarded prizes include: Singapore Press Holdings Arts scholar in 1996, EMND Special Award of Excellence in 1997, winner of Nokia Arts Competition in 1998, winner of Thames & Hudson Arts award in 1998 and TIAF Taipei Special Award in 2005. Exhibitions had been held in Hong Kong, Beijing, Taipei, Kuala Lumpur, and Melbourne. Selected exhibitions also include: 2007 “No Comply”, Melbourne; 2006 “Collision 1&2”, Singapore; 2006 “Sketch”, Taipei; 2003 “Cherry Pop”, Singapore.

Born in 1970, Jakarta, Indonesia. He studied art at the Visual Arts Department at the Art Institute of Jakarta.

He had held two solo shows in 2002 and 2007. His first group show was held at the Visual Arts Exhibition Hall IKJ in 1993. Since then he has participated in several group shows held in Indonesia and most recently at the 2008 Singapore Art Exhibition in Singapore. Rewarded prizes: 2006 Jakarta Art Awards, 2001 Phillip Morris Singapore Art Awards, and 1995 The Best Paper Award IKJ Visual Art.

艾瑞卡．海斯圖．瓦尤尼 (印尼，1971年生)

羅傑瀚 (新加坡，1976年生)

龐丘．海瑞．普爾諾莫 (印尼，1970年生)

艾瑞卡．海斯圖．瓦尤尼，出生於1971年，是印尼最重 要的當代藝術家之一，畢業於日惹的印尼藝術學院、 俄羅斯的蘇里科夫藝術學院。曾參與2005年「當代藝 術群展」、「東南亞繪畫盛會」、「峇里盛宴」，新 加坡；2000年舉辦於林大畫廊與森美蘭畫廊之群展； 1999年「女性圖像藝術群展」，菲律賓；1997年「A t TRESORS 新加坡國際藝術博覽會」，新加坡；1996年 「新浪潮群展」，雅加達；1995年「第六維」，雅加 達；1994年「縮影公園印尼女性藝術家展」，印尼； 1993年「國際繪畫競賽三年展」，大阪；1991年「日惹 文化藝術節繪畫展」，印尼。2001、2002年曾於新加坡 及雅加達的林大畫廊舉辦個展。

羅傑瀚出生於新加坡，畢業於澳洲新南威爾斯大學取得 美術設計碩士學位。獲獎紀錄：1996年新加坡報業集 團學者獎、1997年EMND特殊卓越獎、1998年Thames & Hudson藝術獎得主、1998 年新加坡地區諾基亞美術 獎、2005年台灣國際動畫影展：台北特別獎。羅傑瀚曾 於香港、北京、台北、新加坡、吉隆坡、墨爾本等地展 出創作。重要展覽：2007年「違規」，墨爾本；2006年 「素描」，台北；2006年「碰撞」聯展，新加坡；2003 年「櫻桃紅」，新加坡。

普爾諾莫出生於印尼雅加達，並就讀雅加達藝術學院視 覺藝術系。2002年與2007年曾舉辦個展。1993年首度參 與群展舉辦於IKJ視覺展覽廳，之後曾於印尼參與多次 聯展，近年則參加2008年新加坡藝術博覽會。獲獎紀 錄：2006年雅加達藝術獎、2001年新加坡菲利浦．摩里 斯藝術獎、1995年IKJ視覺藝術最佳論文獎。

214

Lot 091 Lot 089 Lot 090

Popo ISKANDAR (Indonesian, 1927-2000)

I Nyoman MASRIADI (Indonesian, b. 1973)

T.V. SANTHOSH (Indian, b. 1968)

Born in 1927, Indonesia, he graduated from the Department of Art of the Bandung Institute of Technology/ ITB). He held solo exhibitions in Jakarta, Yogyakarta, Indonesia, The Hague and Leiden (The Netherlands).

He participated in numerous group exhibitions in Indonesia, China, UK, India, Japan, United States of America, The Netherlands and Brazil. Popo was also an art critic and essayist on art and literature, and was made a lifetime member of the Jakarta Academy in 1970. He received the Anugerah Seni Art Award from the Indonesian Government in 1980. He passed away in 2000.

Nyoman Masriadi was born in Gianyar, Bali, in 1973.

He studied at the Indonesian Art Institute Yogyakarta but left without graduating. He later joined Sanggar Dewata studio in Bali. In 1997, he was awarded the prize for Best Painting at Dies Natalis ISI Yogyakarta. His group exhibitions include: Figur di Abad Baru, Edwin’s Gallery, Jakarta, 2000; Bersatu dalam Rasa, Edwin’s Gallery, Jakarta, 2002; “Beauty and Terror”, Galerie Loft, Paris, France, 2005.

Born in Kerala, India in 1968 and raised there, Santhosh received his B.F.A. from Kalabhavana, Shantiniketan, West Bengal, and his MFA from the Faculty of Fine Arts, Baroda in 1997; in the same year, he received National Scholarship and the INLAKS Scholarship. Notable solo exhibitions include 2011 “The Land”, Berlin; 2010 “Burning Flags”, London; 2009 “Blood and Spit”, New York, “Living with a Wound”, London; 2008 “A Room To Pray”, Mumbai, “Countdown”, Mumbai; 2006 “Scars of An Ancient Error”, Mumbai; 2005 “False Promises”, London, “The Works of Contemporary Mumbai and Baroda Artists, Arts India”, New York; 2004 “Unresolved Stories”, New Delhi; 2003 “One Hand Clapping / Siren”, Mumbai; 2002 “Transfiguration”, New Delhi, “Words and Images”, Mumbai.

波波．伊斯甘達爾 (印尼，1927-2000)

米斯尼亞迪 (印尼，1973年生)

T.V. 山度士 (印度，1968年生)

出生於1927年，印尼。伊斯甘達爾畢業於萬隆技術學院 藝術系，曾於印尼雅加達、日惹及荷蘭的海牙、萊頓舉 辦個展，也曾於印尼、印度、中國、英國、日本、美 國、荷蘭及巴西參與許多聯展，此外，他也是位著名的 藝術與文學評論者。1970年他成為雅加達學會終身榮譽 會員，1980年獲得印尼政府頒發藝術獎。伊斯甘達爾逝 世於2000年。

米斯尼亞迪於1973年出生在峇里島的吉安雅。他就讀爪 哇日惹市的印尼藝術大學，未完成學業即離開學校；而 後加入巴里島的桑格．迪瓦它工作室；1997年，獲選日 惹印尼藝術大學「誕生日」最佳畫作獎。重要聯展： 2000年，「新世紀畫像」展覽，雅加達艾德溫畫廊； 2002年，Bersatu dalam Rasa，雅加達艾德溫畫廊；2005 年，「優美與恐怖」，法國巴黎閣樓畫廊。

1968年出生於印度喀拉拉，於西孟加拉完成藝術學士學 位，並於1997年自巴羅達美術學院完成藝術碩士學位， 同年取得國家與INLAKS獎學金。近年重要個展：2011 年「大地」，德國柏林；2010年「燃燒的旗幟」，倫 敦；2009年「血液與口涎」，紐約，「與創傷共存」， 倫敦；2008年「祈禱室」，孟買，「倒數計時」，孟 買；2006年「古老原罪的傷痕」，孟買；2005年「未竟 的承諾」，倫敦，孟買與巴羅達當代印度藝術，紐約； 2004年「沒有結局的故事」，新德里；2003年「孤掌鳴 ／警報」，孟買；2002年「變形」，新德里，「文字與 圖像」，孟買。

215

Lot 092 Lot 093

Lot 094

Haris PURNOMO (Indonesian, b. 1956)

GUO Rui (Chinese, b. 1977)

LIU Zheng (Chinese, b. 1969)

Haris Purnomo graduated from Sekolah Seni Rupa Indonesia Art School, Yogyakarta in 1975, and Sekolah Tinggi Seni Rupa Indonesia Asri Colleage of Fine Art in 1984. Purnomo has participated in various solo or group exhibitions since 1978, such as “Art Singapore 2007”, “Shanghai Art Fair 2007”. He also won the “Sovereign Asian Award” in 2007.

Born in Chongqing, China in 1977, Guo Rui graduated from the Sichuan Fine Art Institute in 1999, B.A of Oil Painting Major. Then he serviced as a professor in Art Collage of Henan Normal University. Exhibitions: Art Taipei 2008; 2007 “Project 1.0 x Group Exhibition of Sichuan Young Artist”, Shanghai Hwas Gallery, Shanghai; 2006 “Sichuan Fine Art Institute Artworks Exhibition”; 2006 “Inheriting and Creation”, Hangzhou, China; 2006 The 10th National Art Exhibition, rewarded the Silver Prize, Henan; 2002 “National New Generation Artist Exhibition”, Zhengzhou; 2000 “New Century Artworks Exhibition”, rewarded Silver Prize, Zhengzhou.

Liu Zhen was born in Hebei Province, China in 1969.

He graduated from Beijing Technology Institute, Beijing, China in 1991. Selected Exhibitions: 2010 Gwangju Biennale, South Korea; 2009 “Photography Now: China, Japan, Korea”, San Francisco, CA; 2006 “Mahjong, Contemporary Chinese Art from the Sigg Collection”, Germany; 2006 The 6th Gwangju Biennale, Korea; 2005 “Follow Me”, Japan ; 2005 “Chinese Art at the Threshold of the New Millenium”, Japan; 2004 “The Chinese”, Germany; 2004 The 5th Shanghai Biennale, China; 2003 “Strangers: The First ICP Triennial of Photography and Video”, NY, USA; 2003 “50th Biennale di Venezia”, Italy; 2002 “Reinterpretation: A Decade of Experimental Chinese Art”, 1st Guangzhou Triennial, China; 2001 Solo Exhibition in Central Academy of Fine Arts, Beijing, China. Permanent Collections: International Center of Photography, New York; Museum of Contemporary Art, Los Angeles; Museum of Fine Arts, Houston; New Orleans Museum of Art, New Orleans; San Francisco Museum of Modern Art, San Francisco.

哈里斯．普爾諾莫 (印尼，1956年生)

郭銳 (中國，1977年生)

劉崢 (中國，1969年生)

哈里斯．普爾諾莫1975年從爪哇日惹市的印尼藝術學院 畢業，1984年畢業於汀吉藝術大學；1978年起，他參加 了無數的個展及聯展，如2007年的「新加坡藝博會」及 「上海藝術博覽會」；2007年，他曾獲得「傑出亞洲藝 術獎」。

1977年生於重慶，1999年郭銳自四川美術學院油畫系畢 業，並於河南師範大學美術學院任教。展覽紀錄：2008 年台北國際藝術博覽會；2007年「Project 1.0 x 四川青年 畫家聯展」，上海華氏畫廊；2006年四川美院藝術展； 2006年「傳承與創新」藝術展，杭州：2006年第十屆全 國藝術展（河南省銀獎），河南；2002年「河南省新人 新作展」，河南鄭州；2000年「新世紀藝術展」（銀 獎），河南鄭州。

劉崢出生於1969年，中國河北省，1991年自北京技術學 院畢業。部分參展紀錄：2010年光州雙年展，韓國； 2009年「中日韓當代攝影」，舊金山當代美術館，舊金 山；2006年「麻將：希克當代中國藝術收藏展」，德 國；2006年光州雙年展；2005「追隨我」，森美術館， 日本；2005「新千禧年的中國藝術」，森美術館，日 本；2004年「中國人」，沃爾夫斯堡美術館，德國； 2004年上海雙年展，上海；2003年「陌生人：第一屆 I C P攝影錄像藝術三年展」，國際攝影中心，紐約； 2003年威尼斯雙年展；2002年「重新詮釋：中國實驗藝 術的十年」，第一屆廣州三年展，中國；2001年中央美 術學院個展。美術館永久收藏：紐約國際攝影中心、洛 杉磯當代美術館、休士頓美術館、新紐奧良美術館、舊 金山當代美術館。

216

Lot 096

Lot 095

Lot 097

PARK Sung Tae (Korean, b. 1960)

YOON Jongseok (Korean, b. 1970)

LIANG Quan (Chinese, b. 1948)

Born in 1960 in Kwangju, 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).

Born in 1970 in Seo-cheon Chung-nam, Korea, Yoon Jongseok graduated from Hannam University in 2000. Solo exhibitions: “Firing of Aerial Time” (1998, Seoul); “Pure Contradiction” (Seoul, 2002); “Drawing” (2006, Italy).He has also shown his works in many group exhibitions including “Korean Youth Artists Art Festival” (2001, Seoul); “Exchange Exhibition between Korea and Japan” (2001, Japan); “Korean Dream” (2002, France); “International Art Fair in China” (2005, Beijing).

Liang Quan was born in Shanghai, China. He graduated from Chekiang College of Fine Arts, and then served as professor at Chinese College of Fine Arts and national fine artist at Shenzhen Arts Institute. Selected recent group exhibitions include: 2011 “Tao of Nature: 2011 Chinese Abstract Art Exhibition”, Museum of Contemporary Art, Shanghai; 2010 “Reshaping History: China Art from 2000 to 2009”, Today Art Museum, Beijing; 2010 “The Promise of the Invisible: Abstract Paintings from 15 Artists”, The National Art Museum of China, Beijing; 2010 “Academic Inviting Exhibition of Contemporary Abstract Art”, Hubei Museum of Art, Hubei; 2009 “Contemporary Ink Painting: Shanghai New Ink Painting Art Exhibition”, Shanghai Duolun Museum of Modern Art; 2008 “Shanghai MOCA Envisage: Butterfly Dream”, Museum of Contemporary Art, Shanghai; 2005 “Tribute to 85”, Shanghai Duolun Museum of Modern Art, Shanghai; 1998 Shanghai Biennial.

朴成泰 (韓國，1960年生)

尹鍾錫 (韓國，1970年生)

梁銓 (中國，1948年生)

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）。

1970年生於韓國舒川忠南。2000年畢業於韓南大學美 術學院。尹鍾錫舉辦過多次個展，如「飄忽飛行時 的火焰」（1998，首爾）、「純然的對比」（2002， 首爾）、「繪畫」（2006，義大利）。他的作品也曾 參加過多次聯展，包括：「韓國青年藝術家藝術節」 （2001，首爾）、「韓日交流展」（2001，日本）、 「韓國 夢」（2002 ，法國）、 「中國國際 藝 術節 」 (2005年，北京)。

1948年生於中國上海，畢業於浙江美術學院，先後擔任 中國美術學院教授，與深圳畫院國家一級美術師。聯展 經歷：2011年「道法自然：中國抽象藝術展」，上海當 代藝術館，上海；2010年「改造歷史：中國青年新藝術 邀請展」，今日美術館，北京；2010年「大象無形：抽 象藝術十五人展」，中國美術館，北京；2010年「當代 藝術學術邀請展」，湖北美術館，湖北；2009年「水墨 當下：上海新水墨大展」，上海多倫美術館，上海； 2008年「第二屆上海當代藝術館文獻展：夢蝶」，上海 當代藝術館，上海；2005年「八五致敬」，上海多倫美 術館，上海；1998年上海雙年展。

217

Lot 098

Lots 099, 100

LEE Jung-woong (Korean, b. 1963)

Takashi MURAKAMI (Japanese, b. 1962)

Born in Wooleung-Gun, Gyeongsangbuk-do, Korea, Lee is the member of the Korea Art Association, held several exhibitions in Korea. He participated in "Seoul Art Fair", 1993-1999; the "NICAF", 1999; "Shanghai Art Fair", 2003; "Shanghai Art Fair" and "Singapore Art Fair", 2004.

Born in Tokyo, Japan. Takashi Murakami received his P.h.D from Tokyo National University of Fine Arts and Music in 1993. His work is diverse and prolific; ranging from the coordination of GEISAI, collaborations with Roppongi Hills, Louis Vuitton, and Yuzu. Main solo shows: 2001 “Summon monsters? Open the door?

Heal? Or die?”, Museum of Contemporary Art, Tokyo; 2002“Kaikai Kiki: Takashi Murakami”, fondation Cartier, Paris. In 2007 he held a large-scale retrospective installation “©MURAKAMI” at the Museum of Contemporary Art, Los Angeles, CA; Brooklyn Museum, Brooklyn, NY; Museum für Moderne Kunst, Frankfurt, Germany. In September 2010, Murakami exhibited some of his works at the Palace of Versailles in France, filling 15 rooms with his sculptures.

李錠雄 (韓國，1963年生)

村上隆 (日本，1962年生)

生於韓國的慶尚北道鬱陵郡。是韓國美術協會的成員， 在韓國舉辦過多次個展。他參加了 1993-1999年間的 「首爾藝術博覽會」，1999年的日本「NICAF」。2003 年和2004年的「上海藝術博覽會」和2004年的「新加坡 藝術博覽會」。

出生於日本東京，1993年東京藝術大學大學院美術研究 科博士後期課程修畢。村上隆作品豐富而多元，主辦藝 術活動「藝祭」，設計六本木之丘的公仔，並與LV及 柚子等企業合作。其主要的展覽包括：2001年「召喚或 開門或回復或全滅」，東京都現代美術館，東京；2002 年「Kaikai Kiki：村上隆」，卡地亞現代美術財團，巴 黎。以及2007年以洛杉磯現代美術館為始，巡迴布魯克 林美術館、法蘭克福現代藝術美術館、畢爾包古根漢 美術館等世界美術館舉辦大規模回顧展「©MURAKAMI」。並於2010年9月在法國凡爾賽宮舉辦個展，15個 房間內擺滿了村上隆的雕塑作品。

218

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Ravenel Fine Arts Limited 17/F Wheelock House, 20 Pedder Street, Central, Hong Kong Tel: +852 2889 0859 Fax: +852 2889 0850 www.ravenel.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2011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

2011年11月28日（星期一） 上午11:30至下午2:00

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

高估價拍賣品 為對「高估價拍賣品」（ ）作出競投，買家必須填妥拍賣品預先登記 表，並向羅芙奧交付所需的財政狀況證明、擔保、存款證明及／或羅芙 奧可絕對酌情要求買家為競投須作出的其他抵押。羅芙奧對是否接受任 何預先登記申請有最終決定權。本公司建議買家在有關拍賣日期至少五 個工作日前聯絡羅芙奧，以進行預先登記。請注意本公司不能在週末或 公眾假期期間取得財政狀況證明。「高估價拍賣品」登記競投者，羅芙 奧將提供特殊的競投牌號參與競投。

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，落槌價於港幣捌佰萬元以下者含捌佰萬元以20％計算；（2）落槌價於港幣捌佰萬元以上者分為二級，其中港幣捌佰萬元以20％計算，超過 港幣捌佰萬元之部份以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

睿芙奧股份有限公司 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.ravenel.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. Symbol Key The following key explains the symbol you may see inside this catalogue.

Premium Lot In order to bid on “Premium Lots” ( ) the Buyer must complete the required pre-registration application and deliver to Ravenel such necessary financial references, guarantees, deposits and / or such other security as Ravenel’s may in its absolute discretion require for your bid. Ravenel decision whether to accept any pre-registration application shall be final. We recommend you complete and return the Lot pre-registration form in this catalogue in the manner required therein or contact Ravenel at least 5 working days prior to the relevant sale in order to process the pre-registration. Please bear in mind that we are unable to obtain financial references over weekends or public holidays. Ravenel will provide a special paddle number for the register of “Premium Lot”. d. 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.

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e. Responsibility of the Buyer The Buyer is responsible for clarifying and satisfying himself about the condition of the items and any related matters stated in the catalogue descriptions.

3. In the auction a. Refusal of admission The auction is held at the premises of the Company or any location where the Company has control of for the auction. The Company has full discretion to exercise the right to refuse entry to the premises for the auction or to prevent participation in the auction. b. Registration prior to the bidding Prospective buyers must fill in and sign the registration forms prior to the bidding and provide personal identification. Prospective buyers should also note that the Company may be requested to conduct credit checks against buyers. c. The bidder is the Buyer Unless a written agreement has been made upon registration that the bidder will be the agent who acts on behalf of a third person and such third person is accepted by the Company, the bidder will be deemed as the Buyer who will bear individual legal responsibilities. d. Commission bids The Company will make every effort to bid for the prospective buyers who instruct us to bid on their behalf by using the forms attached to the explanations of the catalogue; provided, however, bid commission instructions are delivered to the Company prior to the auction. If the Company receives several commission bids for one particular item, with all bid prices being equal and of the highest bid price at the auction, priority shall be given to the Buyer whose bid commission is delivered to the Company first. Commission bids are subject to auction conditions. The situation at the auction may prevent the Company from making the bid as commissioned. This is a free service provided by the Company to the prospective buyers pursuant to the provisions prescribed.The Company will not be held legally liable if it fails to make the bid as commissioned. Prospective Buyers should attend the auction in person if they wish to ensure a successful bid. e. Bid by phone The Company will make proper effort to contact the bidder so he can participate in the auction by phone if the prospective buyer make arrangements with the Company prior to the auction. However, the Company will bear no responsibilities to the Seller or any prospective buyer if no contact is made under any circumstances. f. Exchange rate conversion board There will be an exchange rate conversion board operating at some auctions.

The exchange rate is calculated at the exchange rate of the one-month future goods reported to the Company from the bank when starting business on the day of the auction. Nonetheless, the auction will still be conducted in HK dollars.

The exchange rate conversion board is not absolutely reliable. The accuracy of either the Lot numbering shown on the board or the equivalent of the bid price in any foreign currency is not within the control of the Company. The Company will not be responsible for any losses caused by the reliance of the Buyer on the exchange rate conversion board. g. Recorded images There is image projection in some auctions; however, errors may occur during the operation. The Company is not liable for the color accuracy of the reproduced image and whether the projected image corresponds to the item being auctioned. h. Determining power of the auctioneer The auctioneer has the absolute power to reject any bid, push for bids at his discretion, withdraw any auction items, separate or combine two or more auction items, and if there is any error or dispute, re-auction the items. i. Successful bids Under the discretion of the auctioneer, the fall of the hammer indicates the acceptance of the highest bid price, i.e., the Seller and the Buyer enter into a successful auction agreement.

4. Following the auction a. The service fee of each lot payable by the Buyer (1) The Buyer should pay the hammer price and, in addition, the service fee to the Company. For hammer price below HK$ 8,000,000 (inclusive), the service fee should be calculated at 20% of the hammer price.

(2) For hammer price higher than HK$ 8,000,000, the first HK$ 8,000,000 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.

impose interest on delayed payments.

If the Buyer requests that the Company applies for the export permit on his behalf, the Company is entitled to collect monies made in connection with such an application and any miscellaneous expenses together with any relevant value added taxes.

If the Buyer makes the payment regardless of the fact that an export permit is needed, the Company is not responsible for returning to the Buyer any interest or other expenses incurred therefrom.

5. The legal responsibility of the Company The Company is responsible for returning payment to the Buyer pursuant to Article 6. Otherwise, whether the Buyer, the Company, any employees or agents of the Company will not be held liable for any statements of the author, history, date, year, ownership, authenticity or origin of any auction item or any errors with respect to any explanations and any flaws or defects of any auction item.

The Buyer, the Company, the employees or the agents of the Company make no guarantee with respect to any auction items. Any warrantee of any kind shall not be included herein.

6. Return of payments for counterfeits The transaction will be cancelled and payments made will be returned to the Buyer if the Lot of the Company is confirmed to be a counterfeit. However, if: a. The catalogue explanations or the notice at the auction distributed on the auction day corresponds to the opinions generally accepted by the academic or professional fields; b. The method used to prove that the Lot is a counterfeit is a scientific procedure not generally accepted for use before the publication of the catalogue or a procedure unreasonably expensive on the day of the auction, or impractical, or may cause damage to the Lot; the Company is not liable for the return of any payment under any circumstances. In addition, the Buyer’s payment can only be refunded when the following terms are met: (1) The Buyer must notify the Company in writing within 10 days following the auction day that he considers the relevant auction item a counterfeit.

(2) The Buyer must return the Lot to the Company within the following 14 days and the condition of the item must be the same as on the auction day.

(3) Upon returning the Lot, the Buyer must present evidence as soon as possible to convince the Company that the Lot is a counterfeit. The Buyer may also assign the good ownership of the Lot to the Company, which shall not concern any third party claim.

Under no circumstances is it necessary for the Company to pay the Buyer an amount more than what the Buyer pays in connection with the Lot and the Buyer can not claim interests.

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

The aforementioned does not apply to coins, medals, jewelry and paintings.

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

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

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

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.

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.

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

Please refer to our website for seller’s Transaction Agreement. http://www.ravenel.com

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業務規則

下述規則，為本公司作為拍賣公司與賣家訂立合約，亦作為賣家之代理 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。 Ⅰ.買家 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. 符號表示 以下為本目錄所載符號之 說明 高估價拍賣品 為對「高估價拍賣品」（ ）作出競投，買家必須填妥拍賣品預先登記 表，並向羅芙奧交付所需的財政狀況證明、擔保、存款證明及／或羅芙 奧可絕對酌情要求買家為競投須作出的其他抵押。羅芙奧對是否接受任 何預先登記申請有最終決定權。本公司建議買家在有關拍賣日期至少五 個工作日前聯絡羅芙奧，以進行預先登記。請注意本公司不能在週末或 公眾假期期間取得財政狀況證明。「高估價拍賣品」登記競投者，羅芙 奧將提供特殊的競投牌號參與競投。 d. 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。 e. 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。

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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。 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。 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。 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，落槌價於港幣捌 佰萬元以下者含港幣捌佰萬元以20％計算。 （2）落槌價於港幣捌佰萬元以上者分為二級，其中港幣捌佰萬元以20％ 計算，超過港幣捌佰萬元之部份以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。 5. 本公司之法律責任 本公司有責任在第6條所列之情況下退還款項予買家。除此之外，不論 賣家或本公司，或本公司任何僱員或代理人，對任何拍賣品之作者、 來歷、日期、年代、歸屬、真實性或出處之陳述，或任何其他說明之 誤差，任何拍賣品之任何毛病或缺陷，均不負有任何責任。買家、本公 司、本公司之僱員或代理人，均無就任何拍賣品作出任何保證。任何種 類之任何擔保，均不包含在本條之內。 6. 膺品之退款 如經本公司拍賣之拍賣品證實為膺品， 則交易將取消，已付之款項則退 還予買家。但如：a.在拍賣日發出之目錄說明或拍賣場通告符合當時學者 或專家普遍接納之意見，或清楚表明意見有抵通告符合當時學者或專家 普遍接納之意見，或清楚表明意見有牴觸之處，或b.證明拍賣品為膺品之 方法，只是一種在目錄出版前仍未普遍獲接納使用之科學程序，或是一 種在拍賣日仍屬昂貴得不合理或並不實際或很可能會對拍賣品造成損壞 之程序，則本公司無論如何並無責任退還任何款項。此外，買家只在滿 足下述條件下方可獲得退款： （1）買家必須在拍賣日起十日內以書面通知本公司，說明買家認為有關 拍賣品乃膺品； （2）買家隨後必須在十四天內將拍賣品送還本公司，而其狀況與拍賣當 日相同；及 （3）送還拍賣品後，買家須盡快出示證據，足以使本公司確信拍賣品乃 膺品，買家並可將拍賣品之良好所有權轉讓予本公司，而與任何第三人 之索償無涉。在任何情況下，本公司均毋須向買家支付多於買家就有關 拍賣品而支付之款項，而買家 亦不能索取利息。 本擔保之利益不能轉讓，完全屬於拍賣品成功拍賣時獲本公司發給正 本發票之買家所有，該名買家並須自拍賣後一直保持拍賣品擁有人之身 分，而且並無將拍賣品之任何利益讓予任何第三人。本公司有權依據任 何科學程序或其他程序確定拍賣品並非膺品，不論該程序在拍賣當日是 否已使用或已在使用。 本條件不適用於硬幣、獎牌、珠寶及畫。 II.買家與賣家均適用之條件 1. 版權 與拍賣品有關之一切影像、圖示與書面材料之版權，於任何時候均屬於 本公司之財產。未得本公司事先書面同意，買家或任何人均不得使用。 2. 通知 根據本業務規則發出之通知，均須以書面發出。如採用郵遞發出，則在 付郵後第二個工作天即當作已由收件人收妥；如收件人在海外，則為付 郵後第五個工作天。 3. 可分割性 如本業務規則有任何部份遭任何法院認定為無效、不合法或不可強制執 行，則該部分可不予理會，而本業務規則之其他部份在法律許可之最大 範圍內須繼續有效及可強制執 行。 4. 法律及管轄權 本業務規則受香港法律規限，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網站 http://www.ravenel.com

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