AUTUMN AUCTION 2011 TAIPEI
MODERN
&
CONTEMPORARY
ART
羅芙奧台北 2011 秋季拍賣會 亞洲現代與當代藝術
RAVENEL AUTUMN AUCTION 2011 TAIPEI Modern and Contemporary Asian Art
AUCTION
拍賣日期／地點 2011年12月4日（日）下午 2:30 至 7:30 富邦人壽大樓國際會議中心 台北市敦化南路一段108號B2
Sunday, December 4, 2011, 2:30pm – 7:30pm Fubon National Conference Center B2, No. 108, Section 1, Dunhua South Road, Taipei, Taiwan
預展日期／地點
PREVIEWS
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
Taichung
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
Beijing
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（M樓茶園） 香港灣仔港灣道 1 號
Hong Kong
台北 2011年12月2日（五）至12月3日（六）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
Taipei
MODERN
&
CONTEMPORARY
Saturday, October 29 – Sunday, October 30, 2011, 1:00pm – 7:00pm GSR Gallery 1F, No. 83, Gong Zheng Road, Taichung, 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 – Tiffin Lounge 1 Harbour Road, Wanchai, Hong Kong Friday, December 2 – Saturday, December 3, 2011, 10:00am – 7:00pm Fubon National Conference Center B2, No. 108, Section 1, Dunhua South Road, Taipei, Taiwan
ART
拍賣目錄每本售價：NT$2,000 This auction catalogue: NT$2,000 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
羅芙奧台北 2011 秋季拍賣會服務部門及連絡人
藝術品諮詢專家 藝術拍賣部總經理 傅斐郡 電話：+886 2 2708 9868 轉 888 電子信箱：florafu@ravenel.com
業務拓展部總經理
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目錄訂閱
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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
Chief Specialist Odile Chen Tel: +886 2 2708 9868 ext. 889 Email: odilechen@ravenel.com
Vice President Sales Department, Taipei Maggie Lin Tel: +886 2 2708 9868 ext. 886 Email: maggielin@ravenel.com
Vice President Sales Department, Hong Kong Elaine Holt Tel: +852 2889 0859 Email: elaineholt@ravenel.com
Manager Sales Department, Beijing
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
Hong Kong Miyuki Wai Tel: +852 2889 0859 Email: miyukiwai@ravenel.com
China
PHONE BIDS AND WRITTEN BIDS
International
Taiwan
Kate Lin Tel: +886 2 2708 9868 ext. 182 Email: katelin@ravenel.com
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The catalogues are available for subscription. For details of subscription, please refer to the explanations of the catalogue or contact the above persons.
PAYMENT Rachel Chuang Tel: +886 2 2708 9868 ext. 682 Email: rachelchuang@ravenel.com Payment details are described at the back of the catalogue. Please contact the above person if you need any further information.
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Judy Xie Tel: +86 10 5820 6151/52 Email: judyxie@ravenel.com
International Stella Huang Tel: +886 2 2708 9868 ext. 883 Email: stellahuang@ravenel.com Remarks: All the items auctioned may be collected upon receipt of payments. The Buyers are requested to arrange for collection as soon as possible to facilitate warehouse inventory circulation and centralize management. We accept personal and corporate checks, however collection may be made only when such checks are honored. We apologize for no acceptance of credit cards and traveler’s checks. Other items may be collected at the Ravenel Ltd. The business hours are 9:30 am to 6:30 pm, Monday to Friday. Our professional administration department may make recommendations of arrangement or the most appropriate transportation for you. Ravenel is glad to provide you with the condition report of any of the items at the auction, however, the buyers must note that all the items at the auction are sold “as is”. Please refer to the Transaction Agreement at the back of the catalogue. Please refer to the “Transaction Agreement to the Buyers”.
目次 / Contents 2
藝術家索引 / Index A
羅芙奧秋季拍賣會
Yoshitaka AMANO
Sale Information 3
Index
CAI Guo-Qiang CAO Jingping CHA Jong-rye Chang-Ling CHEN Ke CHEN Liu CHIU Ya-tsai CHU Teh-chun
亞洲現代與當代藝術
DU Xi
羅芙奧之服務
Ravenel Services 6
7
藝術家索引
185, 188, 190 228 360 139, 216 230 221 217 145, 147, 151
杜溪
102, 214
高瑀
229
洪凌 華慶 黃鋼 黃銘昌 黃瑞芳 黃岩 洪易 黃銘哲
205 206 189, 194 123 103 210, 212 256 125
今井俊滿
179
詹金水 鄭真蓉 賈剛 朱銘
119, 138 168 226 156, 157, 160, 199, 200 234, 235
H
藝術家簡歷
HONG Ling HUA Qing HUANG Gang HUANG Ming-chang Vincent J.F. HUANG HUANG Yan HUNG Yi Michell HWANG
委託競投表格
Absentee Bid Form 287
蔡國強 曹靜萍 車鍾禮 常陵 陳可 陳流 邱亞才 朱德群
G GAO Yu
Artist Biographies 285
177, 245, 247
D
Modern and Contemporary Asian Art 254
天野喜孝
C
I
業務規則
Transaction Agreement
Toshimitsu IMAI
J JAN Chin-shui JEONG Jinyong JIA Gang JU Ming
K Agus Ardika I KADEK Tetsutaro KAMATANI Hideaki KAWASHIMA Ryoko KATO KIM Duck Yong Masao KINOSHITA Hiroto KITAGAWA Hiroshi KOBAYASHI J. C. KUO Yayoi KUSAMA KWON Ki Soo
安格斯．艾迪卡．艾卡德克 246 鎌谷徹太郎 167 川島秀明 241 加藤遼子 250 金德龍 166, 175 木下雅雄 259 北川宏人 258 小林浩 180 郭振昌 132 草間彌生 181 權奇秀 173, 174, 261
L LEE Jae-hyo LEE Seung Min LEI Shuang LI Chen LI Hui LI Xinping LIAO Chi-chun LIAO Yu-an LIU Kuo-sung Max LIU LIU Wei
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李在孝 李承玟 雷雙 李真 李暉 李新平 廖繼春 廖堉安 劉國松 劉其偉 劉煒
182 170 101 158, 237 198 186 152 137 127, 129 107 192
ZHAN Wang ZHANG Donghong ZHANG Hongtu ZHANG Kai ZHANG Xiaotao ZHOU Chunya
L LU Hsien-ming
陸先銘
141
馬白水 松浦浩之 艾柯圖．莫妮亞塔 村上隆
136, 202 176, 178, 239 248 161, 162, 163, 164, 165 252
奈良美智
240, 244
歐陽春
207
龐均 彭斯
143 233
藍蔭鼎 任戎 任哲 六角彩子
133 209, 211 253, 255 172, 242
常玉 席德進 蘇笑柏 菅井祐一 司徒立
112 109, 110, 111, 121, 220 148, 149 243, 249 218, 222
高野綾 唐海文 丁雄泉 屠宏濤
251 108, 120, 140 105, 113, 124, 126 183
王懷慶 魏樂唐 韋啟美 吳健
155 106, 122, 213 134 118
夏俊娜 熊宇 徐冰 薛松
232 225, 227 201 104, 219
楊識宏 楊登雄 楊茂林 楊英風 葉永青 余本 葉子奇 尹鍾錫
128, 142, 208, 223 215 257 159, 236, 238, 254 184 135 114, 115, 116, 117, 131 169, 171
趙無極 曾梵志
144, 146, 150, 153, 154 195, 196
M MA Pai-sui Hiroyuki MATSUURA I Ketut MONIARTA Takashi MURAKAMI
N Yoshitomo NARA
O OUYANG Chun
P PANG Jiun PENG Si
R RAN In-ting REN Rong REN Zhe Ayako ROKKAKU
S SANYU SHIY De-jinn SU Xiaobai Yuichi SUGAI SZETO Lap
T Aya TAKANO T’ANG Haywen Walasse TING TU Hongtao
W WANG Huaiqing John WAY WEI Qimei WU Jian
X XIA Junna XIONG Yu XU Bing XUE Song
Y YANG Chi-hung YANG Din YANG Mao-lin Yuyu YANG YE Yongqing YEE Bon Tzu-chi YEH YOON Jongseok
Z ZAO Wou-ki ZENG Fanzhi
7
展望 張東紅 張宏圖 張凱 張小濤 周春芽
197 204 130 203 187 191, 193, 224, 231
101
LEI Shuang (Chinese, b. 1950)
Certainty 1998 Oil on canvas 55 x 55 cm Signed lower right LEI SHUANG in English
NT$ 100,000-200,000 US$ 3,200-6,400 HK$ 24,000-49,000
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雷雙 古瓷瓶花系列之一 1998 油彩 畫布 55 x 55 cm 簽名右下：LEI SHUANG
102
DU Xi
(Chinese, b. 1980)
Wonderland 2011 Oil on canvas 100 x 160 cm Signed lower right DU XI in Chinese and English, dated 2011
NT$ 120,000-260,000 US$ 3,800-8,300 HK$ 29,000-63,000
杜溪 桃源仙境 2011 油彩 畫布 100 x 160 cm 簽名右下：杜溪 DU XI 2011
103
Vincent J.F. HUANG (Taiwanese, b. 1971)
The Way Back Home Mixed media, fiber glass 74(L) x 180(W) x 8(D) cm
黃瑞芳 NT$ 180,000-300,000 US$ 5,700-9,600 HK$ 44,000-73,000
10
讓我們有個家 綜合媒材 玻璃纖維 74(長) x 180(寬) x 8(厚) cm
104
XUE Song
(Chinese, b. 1965)
Landscape 2009 Mixed media on canvas, collage 70 x 60 cm Signed lower right Xue Song in Chinese Signed on the reverse Xue Song in Chinese and English, titled Landscape in Chinese, inscribed 70cm x 60cm and dated 2009
NT$ 220,000-350,000 US$ 7,000-11,200 HK$ 54,000-85,000
薛松 山水圖 2009 綜合媒材 畫布 拼貼 70 x 60 cm 簽名右下：薛松 簽名畫背：《山水》70cm x 60cm 薛松 Xue Song 2009
105
Walasse TING
(Chinese-American, 1929-2010)
Girl with Red Hair 1990 Acrylic on rice paper 28 x 40 cm With one seal of the artist
NT$ 160,000-260,000 US$ 5,100-8,300 HK$ 39,000-63,000
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丁雄泉 紅髮女孩 1990 壓克力 紙本 28 x 40 cm 鈐印右方：採花大盜
106
John WAY
(Chinese-American, b. 1921)
Abstract 1997 Oil on paper, mounted onto canvas 76.5 x 56 cm Signed lower right John Way in English and dated 97
NT$ 220,000-400,000 US$ 7,000-12,800 HK$ 54,000-98,000
魏樂唐 抽象 1997 油彩 紙本裱於畫布 76.5 x 56 cm 簽名右下：John Way 97
107
Max LIU
(Taiwanese, 1912-2002)
Deers in the Forest 1979 Watercolor on paper 30 x 42 cm Signed upper left Liu Chi-wei in Chinese phonetic alphabet, inscribed taiwan in English and dated 1979
NT$ 140,000-240,000 US$ 4,500-7,700 HK$ 34,000-59,000
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劉其偉 森林小鹿 1979 水彩 紙本 30 x 42 cm 簽名左上：ㄌㄧㄡˊ ㄑㄧˊ ㄨㄟˇ 1979 taiwan
108
T'ANG Haywen
(T'ANG Then Phuoc) (Chinese-French, 1927-1991)
Abstraction Mixed media on paper 68.5 x 48 cm Signed lower right T'ang in English and Haywen in Chinese
NT$ 300,000-500,000 US$ 9,600-15,900 HK$ 73,000-122,000
唐海文 抽象 綜合媒材 紙本 68.5 x 48 cm 簽名右下：T'ang 海文
阮克霖（1914-2002），英國外交官。阮克霖曾在牛津聖約翰學院研究所主修哲學、政治、經濟，並研習現代語言，畢業後擔任駐 外使領人員。 1938年左右，阮克霖首次被任命為英國駐中國副領事，並在北京研讀、學習中文，其間旅行中國各地。一年半後，二次大戰爆 發，當時他人正在上海。後來派駐雲南昆明，因戰亂轉至大後方四川重慶，遇到熟稔中文的芭柏絲，後來結為夫妻。芭柏絲也是 英國大使館的成員，與家人同住在重慶，父親為英國商人，母親是出生於中國的英國傳教士之女。 離開中國之後，約有四年時間阮克霖夫婦被派駐加爾各答、阿爾及爾、馬賽與倫敦，之後一起回到中國，1946至1947 年派駐廈 門，隨後轉駐天津，直到中國共產黨取得政權後，才轉派至瑞士巴塞爾與阿富汗喀布爾。阮克霖於 1956 年再度回到遠東，在台 灣的淡水擔任英國領事，一直到 1958 年為止。 阮克霖舉家於1956年至1958年期間來台從事外交工作，與籍貫四川的藝術家席德進結為友好，熱愛東方藝術的他，後來成為席德 進的贊助人之一，收藏有多幅席氏畫作及其陶瓷創作。工作之餘，阮克霖最大嗜好即是研究歐洲與中國之間的歷史關係，及收藏 大量的中國的陶瓷與繪畫。 1998年台北蘇富比公司曾為阮克霖出版專冊並舉辦專拍，獲致關注。此次羅芙奧介紹的三幅水彩畫作皆出自阮克霖的後人所有。
Andrew Albert Ernst Franklin (1914-2002), worked as a diplomat in China and Taiwan for several years. Franklin read modern languages followed by a postgraduate diploma in PPE at St John’s College, Oxford before joining the Foreign Service. In his first appointment as a British vice-consul in China around 1938, his remit was to be a full time Chinese studies student. After a year and half of studies (including learning Mandarin) in Beijing and travelling in China, he was in Shanghai at the outbreak of World War II. He was then posted to Kuming in Yunan, and later in Chongqing, the wartime capital. There he met his wife, Babs whose knowledge of Chinese and typing made her a useful member of the British Embassy staff. Her family were living in Chongqing, her father a British businessman and mother the China born daughter of British missionaries. After about four years out of China (posted in Calcutta, Algiers, Marseilles and London), Mr. and Mrs Franklin returned to China (Amoy, 1946/7 and Tianjin, 1947/9) until the Communist takeover. After postings in Basel and Kabul, Andrew returned to the Far East (Taiwan) in 1956 and was British Consul-General there until 1958. During the stay between 1956 and 1958, Andrew Franklin got acquainted with Sichuan artist Shiy De-jinn and became the artist’s friend and patron. Fascinated with Shiy’s talent, Franklin collected several paintings and ceramics from the artist. His main interests outside work included historical links between Europe and China and Chinese ceramics and paintings. He was especially interested in the understanding and cross-fertilisation that develops between cultures in spite of inherent differences, and this extended beyond his interest in links between Europe and China. Franklin had a great love of and curiosity to learn more about Chinese works of art, especially ceramics, which lasted all his life. In October 1998, Sotheby’s Taiwan hosted a sale “In Memory of Homeland: Important Works by Shiy De-jinn: from the Andrew Franklin Collection” and drew much attention. The present three lots were from the former collection of Andrew Franklin and offered by his family.
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109
SHIY De-jinn
(Taiwanese, 1923-1981)
Tamsui River, Guanyin Mountain 1956 Watercolor on paper 39 x 53 cm Signed lower left Shiy De Jinn in English and dated 1956
席德進 PROVENANCE: Former collection of Andrew Franklin, British Consul-General (acquired directly from the artist around 1956-1958)
NT$ 200,000-400,000 US$ 6,400-12,800 HK$ 49,000-98,000
淡水河．觀音山 1956 水彩 紙本 39 x 53 cm 簽名左下：Shiy De Jinn 1956 來源： 英國駐台灣淡水領事阮克霖先生舊藏 （1956-58年間直接購自藝術家本人）
110
SHIY De-jinn
(Taiwanese, 1923-1981)
Cattle in a Farmyard 1956 Watercolor on paper 38 x 53 cm Signed lower right Shiy De Jinn in Chinese and English, dated 1956
18
席德進 PROVENANCE: Former collection of Andrew Franklin, British Consul-General (acquired directly from the artist around 1956-1958)
NT$ 200,000-400,000 US$ 6,400-12,800 HK$ 49,000-98,000
農家群牛 1956 水彩 紙本 38 x 53 cm 簽名右下：Shiy De Jinn 席德進 1956 來源： 英國駐台灣淡水領事阮克霖先生舊藏 （1956-58年間直接購自藝術家本人）
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SHIY De-jinn
(Taiwanese, 1923-1981)
Colorful Village Scene 1956 Watercolor on paper 38 x 53 cm Signed lower left Shiy De Jinn in Chinese and dated 1956
席德進 PROVENANCE: Former collection of Andrew Franklin, British Consul-General (acquired directly from the artist around 1956-1958)
NT$ 240,000-450,000 US$ 7,700-14,400 HK$ 59,000-110,000
鄉村風景 1956 水彩 紙本 38 x 53 cm 簽名左下：席德進 1956 來源： 英國駐台灣淡水領事阮克霖先生舊藏 （1956-58年間直接購自藝術家本人）
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SANYU
(Chinese-French, 1901-1966)
Horse c. 1930 Etching on paper, edition no. 18/30 12.5 x 10.5 cm Signed upper left Yu in Chinese and SANYU in English Numbered upper right 30/18
NT$ 160,000-260,000 US$ 5,100-8,300 HK$ 39,000-63,000
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常玉 馬 約1930 蝕刻版畫 紙本 18/30 12.5 x 10.5 cm 簽名左上：玉 SANYU 題識右上：30/18 常玉作品不論是油畫、水彩或版畫多以馬為 主題，可以肯定他對馬有一定的愛好，他本 身經常到動物園觀察動物，愛妻的英文名字 亦暱稱作“Ma”（諧音同馬），可見他對 馬是情有獨鍾。至於他的瓶花作品構圖亦多 參考宋人的作品，尤其是宋代的緙絲，可見 常玉雖然很早便到了法國，但對中國古代文 化特別是宋代的書畫藝術品並不陌生。
A high percentage of Sanyu’s work – whether in oils, watercolors, or woodblock prints – has horses as its subject matter, reflecting his passion for the animal. He often visited the zoo to admire the animals, and his pet name for his wife was “Ma” (which sounds the same as the word for “horse” in Mandarin Chinese). Many of Sanyu’s paintings of flowers show the influence of Sung Dynasty art, particularly Song era silk tapestries. Clearly, despite the fact that Sanyu moved to France at an early age and subsequently spent most of his life there, the influence of traditional Chinese culture, and particularly the art of the Sung Dynasty, can still be seen in his work.
113
Walasse TING
(Chinese-American, 1929-2010)
Reclining Beauty Acrylic on rice paper 35.5 x 46.5 cm With one seal of the artist
NT$ 260,000-400,000 US$ 8,300-12,800 HK$ 63,000-98,000
丁雄泉 美人圖 壓克力 紙本 35.5 x 46.5 cm 鈐印左上：採花大盜
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Tzu-chi YEH
(Taiwanese, b. 1957)
After Rain, Turtle Island II 1999-2000 Tempera and oil on linen 20 x 61 cm Signed lower right Tzu-chi in Chinese and dated 1999-2000
NT$ 200,000-300,000 US$ 6,400-9,600 HK$ 49,000-73,000
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葉子奇 返花途中．雨後的龜山島II 1999-2000 卵彩 油彩 亞麻布 20 x 61 cm 簽名右下：子奇 1999-2000
115
Tzu-chi YEH
(Taiwanese, b. 1957)
Camellia in Yan-Ming Mountain 2009-2011 Tempera and oil on linen 51 x 51 cm Signed lower right Tzu-chi in Chinese and dated 2009-2011
NT$ 300,000-500,000 US$ 9,600-15,900 HK$ 73,000-122,000
葉子奇 陽明山的茶花 2009-2011 卵彩 油彩 亞麻布 51 x 51 cm 簽名右下：子奇 2009-2011
116
Tzu-chi YEH
葉子奇 靜物
(Taiwanese, b. 1957)
2003 卵彩 油彩 亞麻布 38 x 46 cm 簽名左下：子奇 2003
Still Life 2003 Tempera and oil on linen 38 x 46 cm Signed lower left Tzu-chi in Chinese and dated 2003 EXHIBITIED: Monologue - Near and Far from Home, Eslite Gallery, Taipei, 2004
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ILLUSTRATED: Monologue - Near and Far from Home, Eslite Gallery, Taipei, color illustrated, pp. 20-21
NT$ 200,000-300,000 US$ 6,400-9,600 HK$ 49,000-73,000
展覽： 「獨白－離鄉之遠近」，誠品畫廊，台北， 2004年 圖錄： 《獨白－離鄉之遠近》，誠品畫廊，台北， 2004，彩色圖版，頁20-21
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Tzu-chi YEH
(Taiwanese, b. 1957)
A Tree (Rennes, Brittany, France) 1996 Tempera and oil on linen 66 x 40 cm Signed lower right Tzu-chi in Chinese and dated 1996 EXHIBITED: Tzu-chi Yeh - Landscape, Home Gallery, Taipei, January 11 - February 6, 1997 ILLUSTRATED: Tzu-chi Yeh - Landscape, Home Gallery, Taipei, color illustrated, pp. 17-18
NT$ 300,000-500,000 US$ 9,600-15,900 HK$ 73,000-122,000
葉子奇 獨樹（法國．布列塔尼．雷恩城） 1996 卵彩 油彩 亞麻布 66 x 40 cm 簽名右下：子奇 1996 展覽： 「葉子奇個展─走過風景的心情」， 家畫廊，台北，展期自1997年1月11日 至2月6日 圖錄： 《葉子奇個展─走過風景的心情》， 家畫廊，台北，1997，彩色圖版， 頁17-18
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WU Jian
(Chinese, b. 1972)
Ballet Dancers in White Dresses Oil on canvas 60.5 x 75.5 cm Signed lower right Wu Jian in English
NT$ 220,000-400,000 US$ 7,000-12,800 HK$ 54,000-98,000
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吳健 白色的舞裙 油彩 畫布 60.5 x 75.5 cm 簽名右下：Wu Jian
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JAN Chin-shui (Taiwanese, b. 1953)
Yosemite Valley 2011 Mixed media on canvas 130 x 162 cm Signed lower left Chin-shui in Chinese and dated 2011 Signed on the reverse Jan Chin-shui and titled Yosemite Valley in Chinese, inscribed 100F and dated 2011
NT$ 300,000-500,000 US$ 9,600-15,900 HK$ 73,000-122,000
詹金水 優勝谷地 2011 綜合媒材 畫布 130 x 162 cm 簽名左下：金水 2011 簽名畫背：詹金水 2011年 100F 優勝谷地
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T'ANG Haywen
(T'ANG Then Phuoc) (Chinese-French, 1927-1991)
唐海文
Abstract
PROVENANCE: Private collection, USA
Ink and color on paper 70 x 100 cm Signed lower right T'ang in English and Haywen in Chinese
NT$ 220,000-350,000 US$ 7,000-11,200 HK$ 54,000-85,000
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抽象 彩墨 紙本 70 x 100 cm 簽名右下：T'ang 海文 來源： 私人收藏，美國
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SHIY De-jinn
(Taiwanese, 1923-1981)
Street in Taipei 1960 Watercolor on paper 39.5 x 55.8 cm Signed lower left Shiy De-jinn in Chinese and dated 1960
PROVENANCE: Former collection of Mr. Bob Brodach, 1960s until 1995 (Met Shiy at a party in the Vatican embassy in 1968 and later on purchased this painting at a gallery in Taipei.) Private collection, USA (acquired directly from Mr. Brodach's widow in 2006)
NT$ 300,000-500,000 US$ 9,600-15,900 HK$ 73,000-122,000
席德進 台北街景 1960 水彩 紙本 39.5 x 55.8 cm 簽名左下：席德進 1960 來源： 鮑伯．博達屈先生舊藏，1960年代至1995年 （1968年在梵諦岡大使館結識席德進，後來 於台北一間畫廊買下此畫） 私人收藏，美國（2006年購自博達屈遺孀）
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John WAY
(Chinese-American, b. 1921)
Vitreous Enamel No. 12 1998 Mixed media on canvas 62 x 52 cm Signed lower right John Way in English and dated 98 Titled on the reverse VITREOUS ENAMEL NO. 12 in English, inscribed 20 ½" x 24 ½", 52cm x 62cm and dated DECEMBER 1998 ILLUSTRATED: The Pioneer of Chinese Abstract - Anthology of John Way, William Art Center, Taipei, 2007, color illustrated
NT$ 400,000-800,000 US$ 12,800-25,500 HK$ 98,000-195,000
魏樂唐 芥子納須彌 1998 綜合媒材 畫布 62 x 52 cm 簽名右下：John Way 98 簽名畫背：VITREOUS ENAMEL NO.12 DECEMBER 1998 20 ½" x 24 ½" 52cm x 62cm 圖錄： 《華人抽象先驅─魏樂唐大集》，威廉國際 藝術有限公司，台北，2007，彩色圖版
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123
HUANG Ming-chang (Taiwanese, b. 1952)
Wind in Rice - Rice Field Series 2005 Oil on canvas 52 x 72 cm Signed on the right edge Huang Ming-chang in Chinese and Huang m.c in English, dated '05
NT$ 500,000-700,000 US$ 15,900-22,300 HK$ 122,000-171,000
黃銘昌 禾風─水稻田系列 2005 油彩 畫布 52 x 72 cm 簽名右側：黃銘昌 Hung m.c. '05
黃銘昌的作品從有時間、地域性的鄉土寫實邁向無時間隔閡的土地延伸，從室內生活空間的 真虛搜索到窗外欄杆線外廣大的宏觀與細膩的微觀，畫家以個人的視宇舖陳出繽紛密密萬物 歸懷的物我繾綣之情。歸國後的「稻田系列」與「遠眺系列」，大同小異地覆述著靜純樸世 界的眷戀，他的鄉土寫實不再是攝影鏡頭獵取下的切面空間，而是透過細緻描繪與嚴謹結構 組合出的鄉土意象，一吋吋貂毛筆所犁過的畫布，似乎意欲攫取住每一吋畫面所能擁有的寂 靜，似幻似真地抗拒了外來世界的侵擾。他的稻秧正如家鄉「瑞穗」知名，常年豐盛的成為 記憶版圖上的烙記，是一株株已在現實中逐漸消逝的鄉土符號。現實中逝去的，黃銘昌在畫 面上挽留了。（節錄自高千惠〈切向七○、八○美術年代〉《中國時報》83年4月14日）
Huang Ming-chang's paintings reach out from the local and native beyond the horizons of a fixed geographical setting or single point in time. Starting from the limited spaces of indoor life and everyday experience, the artist gradually expands his view to incorporate what lies outside the window and beyond the fences that demarcate the borders of our mundane microcosmos. A master of the detailed and minute as well as the sweeping and panoramic, he presents to audiences stunningly colourful outdoor subjects that capture his personal view of the world and clearly express the artist's deep attachment to, and involvement with, the natural world. Returning to Taiwan from abroad, Huang devoted his creative energy to two sets of similar projects, the 'Rice Field' series and the 'Views from Afar' series, both keen representations of the artist's love of a simpler and more serene world. His paintings of local scenery were no longer random photographic 'snapshot s' , but rather succinctly composed rural imageries that speak to audiences through their meticulous attention to detail, deftly combined to produce impressive tapestries of tranquility. It is as if the artist was compelled to imbue every inch of the canvas with an atmosphere of calm, idyllic poesy that seems to reject any intrusion from the noisy outer world. Just like the famous rice from his hometown Ruisui, Huang's paddy fields are renowned as dogged reminders of the natural beauty and charm of the gradually disappearing countryside. Huang Mingchang is the champion of the past, using his brush to try and save from oblivion what is inexorably fading from reality. (cf. Kao Chien-hui, 'A Cross-Section of 70s to 80s Art' in China Times, April 14, 1994)
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124
Walasse TING
(Chinese-American, 1929-2010)
Cat Series I Acrylic on paper 80 x 120 cm PROVENANCE: Lung Men Art Gallery, Taipei
NT$ 600,000-850,000 US$ 19,100-27,100 HK$ 146,000-207,000
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丁雄泉 貓系列一 壓克力 紙本 80 x 120 cm 來源： 龍門畫廊，台北
125
Michell HWANG (Taiwanese, b. 1948)
King 1991 Oil on canvas 130 x 130 cm Signed lower right Che in Chinese and dated 1991 Inscribed on the reverse Splendor in Chinese and titled King in English
NT$ 750,000-1,000,000 US$ 23,900-31,900 HK$ 183,000-244,000
黃銘哲 國王 1991 油彩 畫布 130 x 130 cm 簽名右下：哲 1991 題識畫背：金典 King
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126
Walasse TING
(Chinese-American, 1929-2010)
Still Life 1990 Acrylic on rice paper mounted on canvas 97 x 178 cm With one seal of the artist
NT$ 800,000-1,200,000 US$ 25,500-38,300 HK$ 195,000-293,000
丁雄泉 花花世界 1990 壓克力 紙本 裱於畫布 97 x 178 cm 鈐印左下：採花大盜
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LIU Kuo-sung (Taiwanese, b. 1932)
Picking Water Chestnuts Tune 1996 Ink and color on paper 91.3 x 92 cm Signed upper left Liu Kuo-sung and dated 1996 in Chinese Titled on the reverse Picking Water Chestnuts Tune in Chinese, dated 1996 and inscribed 91.3 x 92 cm With one seal of the artist ILLUSTRATED: Liu Kuo-sung's Universe, Chan Liu Art Museum, Taipei, 2004, color illustrated, p. 105
NT$ 980,000-1,700,000 US$ 31,300-54,200 HK$ 239,000-415,000
劉國松 採菱謠 1996 彩墨 紙本 91.3 x 92 cm 簽名左上：劉國松 一九九六 簽名畫背：採菱謠 1996 91.3 x 92 cm 鈐印左上：劉國松 圖錄： 《劉國松的宇宙》，長流美術館，台北， 2004，彩色圖版，頁105
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128
YANG Chihung (Taiwanese, b. 1950)
Breaking the Waves 2007 Acrylic on canvas 200 x 200 cm Signed on the reverse Chihung Yang and titled Breaking the Waves in English, dated 2007 ILLUSTRATED: lnner Vision Human Condition - Chihung Yang Solo Exhibition, National Art Museun of China, Beijing, 2007, color illustrated, pp. 162-163
NT$ 1,000,000-2,000,000 US$ 31,900-63,800 HK$ 244,000-488,000
楊識宏 浪淘沙 2007 壓克力 畫布 200 x 200 cm 簽名畫背：Chihung Yang Breaking The Waves 2007 圖錄： 《心象情境：2007楊識宏北京中國美 術個展》，亞洲藝術中心，北京， 2007，彩色圖版，頁162-163
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在1980年代末期與1990年代初期，楊識宏稱為「植物的美學」的系列作品中，他回到了宇宙 的和諧結構，以抒情的視覺思維與圖像思維，表現出一種理性內化之後的浪漫氣氛。這時畫 面上的物象已經不僅僅是物象，而是外在事件時間已經過濾之後的詩性元素。我們所看到的 是，大自然環境與植物隨著時間的變化，亦隨著筆觸的方向而揮灑出來。 此件《浪淘沙》作於2007年。已經歷十數年，楊識宏的抽象的植物的美學已然成熟。畫面中 仍以楊識宏一貫使用的大地色為主，採取如波浪與土地的色澤，但抽象手法使波濤和自然環 境的形貌有所改變，藝術家使之模糊化，成功營造了天地海交會成一片時的激動。除了有畫 筆的大片揮灑，也有細小點狀的細部經營，大器與細膩兼備。
In the late 1980s and the early 1990s, in the series “the aesthetics of flora” which Yang Chi-Hung himself called, he returned to the harmony of the universe to express a kind of romantic ambience which is rationality having been internalized through poetic iconography. During this period, the things and their images in Yang’s paintings is more than things and their images. They are rather the element of poet which had been filtered from external affairs through time. What we can see was the changes of nature and plants over time, and they were also vividly demonstrated with the directions of Yang’s strokes. “Breaking the Waves” was made in 2007. Back than Yang Chi-Hung’s aesthetics of flora had experienced more than a decade and had become more sophisticated. The appearance and color in this painting still inherit his old style using main color of the earth and wave. But the abstract approach to the morphology of the waves and the natural environment has changed. The artist intentionally blurred the concrete images, successfully making the intensity when sky, earth, and sea come to an encounter. Both big unrestrained strokes and minute spots on the canvas bring the painting greatness and delicateness.
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LIU Kuo-sung (Taiwanese, b. 1932)
Which is Outside No. 12 1968 Ink and color on paper, collage 128 x 73 cm Signed lower left Liu Kuo-sung and dated 1968 in Chinese Signed on the reverse Liu Kuo-sung, titled Which is outside No. 12 in Chinese, inscribed 128 x 73 cm and dated 1968 With one seal of the artist ILLUSTRATED: Drawing from Nature - Exhibition of Liu Guosong’s Modern Wash Drawing, Culture Affairs Bureau, Taichung City Government, Taichung, 2003, color illustrated, p. 36 Liu Kuo-sung's Universe, Chan Liu Art Museum, Taipei, 2004, color illustrated, p. 53 M o d e r n I m p u l s e – L i u K u o - s u n g, S o k a Association, Taipei, 2005, color illustrated, p. 18 Drawing from Nature - Exhibition of Liu Guosong’s Modern Wash Drawing, Hunan Provincial Museum, Hunan, 2006, color illustrated, p. 2 Universe in the Mind, A Retrospective of Liu Kuo-sung, Cultural Affairs Bureau of Taoyuan County Government, Taoyuan County, Taiwan, 2007, color illustrated, p. 43
NT$ 1,200,000-2,200,000 US$ 38,300-70,200 HK$ 293,000-537,000
劉國松 窗裡窗外之十二 1968 彩墨 紙本 拼貼 128 x 73 cm 簽名左下：劉國松 一九六八 簽名畫背：劉國松作 窗裡窗外之十二 1968 128 x 73 cm 鈐印左下：劉國松
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圖錄： 《心源造化—劉國松現代水墨畫展》，台中 市立文化局，台中，2003，彩色圖版，頁36 （原圖錄標題及尺寸有誤） 《劉國松的宇宙》，長流美術館，台北， 2004，彩色圖版，頁53（原圖錄標題及尺寸 有誤） 《現代的衝擊—劉國松》，日本創價學會， 台北，2005，彩色圖版，頁18（原圖錄標題 及尺寸有誤） 《心源造化—劉國松現代水墨畫展》，湖 南省博物館，湖南，2006，彩色圖版，頁2 （原圖錄標題及尺寸有誤） 《宇宙心印：劉國松回顧展》，桃園縣政府 文化局，台灣桃園，2007，彩色圖版，頁43 （原圖錄標題及尺寸有誤）
「窗裡窗外」是劉國松於1967年九月返台後 新開創的系列，在大筆觸水墨的上方，再置 入一個正方形的空間，企圖脫離原有的空 間，成為並置的另一時空。換句話說，正方 形中的空間和下方大筆觸的空間完全不同， 就如窗戶中所呈現的另外空間，究竟哪裡是 窗裡？哪裡是窗外？形成一種有趣的形上思 考。藝評家王伯敏形容：「那是開在太空中 的另一隻眼。」 劉國松的大筆觸採用大刷子畫在富含粗紙筋 的「劉國松紙」上，線條粗獷、靈活，石破 天驚，而被撕去的紙筋所造成如細絲般蜿蜒 的留白，有如清風吹動，氣韻生動，與藍黑 色的大筆觸互相襯托，增加韻律與動感之 美；正方形的窗子中則是另一綠色大筆觸， 有如遠在天邊的朦朧青山，受限於正方形的 框框，產生擠壓感，而下方的大筆觸則無限 延伸，上下遙遙相應，增加畫面的張力以及 趣味性。 「窗裡窗外」系列劉國松藝術發展歷程中， 具有承先啟後意義的重要階段，而且由於此 系列不多，更彌足珍貴。
“Which is Outside” is a series of paintings that Liu Kuo-sung began work on after his return to Taiwan in September 1967. Through the placing of a square space above the array of broad ink brush strokes, the painting seeks to achieve separation from existing space and create a separate spatial/temporal dimension. The space within the square is completely different from the bold brush strokes in the lower part of the canvas; it is as though one were looking out through a window into a separate space. But where is the window? And where is the space outside the window? The work creates a fascinating formal conundrum. The Fine Art Historian Wang Bomin described the painting in these terms: “It is another eye within outer space.” Liu Kuo-sung’s broad brush stroke technique involves the use of large brushes on coarse, highly textured “Liu Kuo-sung Paper.” The lines are thick, rugged and vigorous, embodying immense power. The rough texture of the paper creates a pattern of white space like a winding silken thread; the lively, breezeblown image that this presents contrasts starkly with the thick blue-black brush strokes, adding an additional rhythmic beauty and sense of movement to the work. Within the square “window” there is another bold brush stroke, this time a green one. It is as though verdant mountains in the far distance were being squeezed by the rectangular frame. At the same time, the strong brush strokes in the lower part of the canvas spread out unconstrained in all directions; the contrast between the upper and lower portions of the painting adds to the dramatic tension and interest of the work. The “Which is Outside” series marked a watershed in the evolution of Liu Kuo-sung’s artistic style. The relatively small number of paintings in this series further enhances the importance and value of each individual painting.
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ZHANG Hongtu (Chinese, b. 1943)
Dong Qichang - Cézanne 1999 Oil on canvas 244 x 76 cm Dated upper left 1999 in Chinese With one seal of the artist EXHIBITED: Repaint Chinese Shan Shui Painting, Yale China Association, Yale-University, New Haven, CT, 1999 Zhang Hongtu, Wang Huaiqing, Tony Wong, Lin & Keng Gallery, Taipei, 2005 - 2006 ILLUSTRATED: Zhang Hongtu: An on-going Painting Project, On-going Publications, New York, 2000, color illustrated, pp. 28-29 Zhang Hongtu: The Art of Straddling Boundaries, Lin & Keng Gallery, Taipei, 2007, color illustrated, p. 112 This painting is to be sold with a certificate of authenticity issued by Lin & Keng Gallery, Taipei.
NT$ 1,200,000-2,200,000 US$ 38,300-70,200 HK$ 293,000-537,000
張宏圖 董其昌─塞尚 1999 油彩 畫布 244 x 76 cm 簽名左上：公元一九九九年 鈐印左上：張 展覽： 「中國山水畫再製」，雅禮中心，耶魯大 學，康州，1999 「張宏圖、王懷慶、黃榮禧」，大未來畫 廊，台北，2005-2006 圖錄： 《張宏圖─繪畫系列》，持續出版社，紐 約，2000，彩色圖版，頁28-29 《張宏圖：跨越邊界的藝術》，大未來畫 廊，台北，2007，彩色圖版，頁112 附大未來畫廊開立之原作保證書
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Tzu-chi YEH
(Taiwanese, b. 1957)
Shamao Mountain in May 2009-2010 Tempera and oil on linen 76.2 x 183 cm Signed lower right Tzu-chi YEH in Chinese and dated 2009-2010
NT$ 1,600,000-2,400,000 US$ 51,000-76,600 HK$ 390,000-585,000
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葉子奇 五月的紗帽山 2009-2010 卵彩 油彩 亞麻布 76.2 x 183 cm 簽名右下：葉子奇 2009-2010
葉子奇的繪畫在濃郁的古典氛圍中一直有著強烈的當代感構圖。他的繪畫訓練與精神素養有著跨越中西文化的深度與廣度。《五月的紗帽 山》，藝術家強調雲與山的對話，除了運用至簡藝術的元素，也有南宋馬遠和夏圭「一角」與「半邊」的構圖變奏，藉著前後光影明暗相互映 襯的處理，將遠近氛圍的對比與空間的變化賦予無限的開展，色調與色彩的精密變化，在畫中透露出深沉的靜寂與溫柔。葉子奇的風景傳遞出 一種深刻的生命氣息，蘊涵了形而上學的神秘主義。他以敏感的心思、謙卑的態度，將自己的人生體驗及行旅紀錄結合，引領觀者進入藝術家 的精神領域，探索人與土地似曾相識的共同記憶。 ─ 張金催 紐約大學藝術教育博士
The paintings of Tzu-chi Yeh combine a strongly classical feel with pronouncedly modern composition. Both Yeh’s training as an artist and his spiritual cultivation reflect a broad, deep immersion in both Chinese and Western culture. In “Shamao Mountain in May,” the artist emphasizes the dialog between the mist and the hill. Besides the employment of elements from minimalist art, there is also a compositional variation similar to that seen in the paintings of Southern Sung Dynasty artists such as Ma Yuan (with his preference for painting just small sections of a landscape) and Hsia Kuei (noted for his diagonal composition technique). By utilizing the way light and shadow, bright and dark set one another off, Yeh is able to take the exploration of the contrast between the sense of proximity and distance, and of the spatial variation in the scene, to a new level; the precise control of changes in color and color tone creates a marked sense of warmth and quietude. Tzu-chi Yeh’s landscapes are characterized by a deep feeling of vitality, and embody the essence of formalist thought. Perceptive and yet humble, Yeh successfully integrates his own experience of life and the places he has visited to draw the viewer into the artist’s spiritual world, to join in exploring what seems like a shared memory of the union of man and earth. Dr. Kin Tsuei Chang (Ph.D. in Art Education, New York University)
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J. C. KUO
(KUO Jen-chang) (Taiwanese, b. 1949)
Lohans 6 2003 Mixed media on canvas, collage 200 x 130 cm Signed lower left J.C. Kuo in Chinese and English, dated 2003 This painting is to be sold with a certificate of authenticity issued by Main Trend Gallery, Taipei.
NT$ 1,500,000-2,000,000 US$ 47,800-63,800 HK$ 366,000-488,000
郭振昌 羅漢六 2003 綜合媒材 畫布 拼貼 200 x 130 cm 簽名左下：郭振昌 2003 J.C. Kuo 附大趨勢畫廊開立之原作保證書
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133
RAN In-ting
(Taiwanese, 1903-1979)
Boats 1955 Watercolor on paper 34.5 x 44.5 cm Signed lower left In-Ting in Chinese, Ran InTing in English, dated 5.1955, FORMOSA With one seal of the artist
NT$ 500,000-700,000 US$ 15,900-22,300 HK$ 122,000-171,000
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藍蔭鼎 船 1955 水彩 紙本 34.5 x 44.5 cm 簽名左下：蔭鼎 Ran In-Ting 5.1955. FORMOSA 鈐印左下：鼎
134
WEI Qimei
(Chinese, 1923-2009)
Flower 1979 Oil on canvas 46 x 38.5 cm Signed lower left Qimei in Chinese and dated 1979
NT$ 120,000-220,000 US$ 3,800-7,000 HK$ 29,000-54,000
韋啟美 花 1979 油彩 畫布 46 x 38.5 cm 簽名左下：啟美 1979
135
YEE Bon
(Chinese, 1905-1995)
Still Life c. 1950 Oil on canvas, mounted onto wooden board 25.5 x 35.5 cm Signed lower left Yee Bon in English With one seal of the artist
NT$ 90,000-180,000 US$ 2,900-5,700 HK$ 22,000-44,000
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余本 靜物 約1950 油彩 畫布 裱於木板 25.5 x 35.5 cm 簽名左下：Yee Bon 鈐印左下：余本
136
MA Pai-sui
(Taiwanese, 1909-2003)
Chungshan Bridge, Taipei 1979 Ink and color on paper 50 x 60 cm Signed lower right Pai-sui in Chinese and dated 1979 With one seal of the artist
NT$ 160,000-260,000 US$ 5,100-8,300 HK$ 39,000-63,000
馬白水 台北中山橋 1979 彩墨 紙本 50 x 60 cm 簽名右下：白水 1979 鈐印右下：MA PAI SUI
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LIAO Yu-an
(Taiwanese, b. 1979)
Big Garbage Recycling 1 2007 Acrylic on canvas 162 x 130 cm Signed on the reverse Liao Yu An in Chinese and English, titled Big Garbage Recycling 1 in Chinese and dated 2007 EXHIBITED: 3L4D-3rd Life 4th Dimension, National Dr. Sun Yat-sen Memorial Hall, Taipei, October 20 Novermber 28, 2007 Fondle Without Tenderness, Asia Art Center, Taipei, December 20, 2008 - January 18, 2009
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ILLUSTRATED: 3L4D-3rd Life 4th Dimension, Metaphysical Art Gallery, Taipei, 2007, color illustrated, p. 64 Fondle Without Tenderness, Asia Art Center, Taipei, 2009, color illustrated, p. 69
NT$ 220,000-350,000 US$ 7,000-11,200 HK$ 54,000-85,000
廖堉安 大型垃圾回收 1 2007 壓克力 畫布 162 x 130 cm 簽名畫背：廖堉安 Liao Yu An 2007 大型垃 圾回收 1
展覽： 「3L4D動漫美學新世紀」，國立國父紀念 館，台北，展期自2007年10月20日至11月28 日 「不溫柔的愛撫—2008廖堉安個展」，亞洲 藝術中心，台北，展期自2008年12月20日至 2009年1月18日 圖錄： 《3L4D動漫美學新世紀》，形而上畫廊， 台北，2007，彩色圖版，頁64 《不溫柔的愛撫—2008廖堉安個展》，亞洲 藝術中心，台北，2009，彩色圖版，頁69
138
JAN Chin-shui (Taiwanese, b. 1953)
Landscape within Sky and Bamboo Grove 2010 Mixed media on canvas 112.5 x 162 cm Signed lower right Chin-shui in Chinese and dated 2010 Signed on the reverse Jan Chin-shui and titled Landscape within Sky and Bamboo Grove in Chinese, inscribed 100P and dated 2010
NT$ 300,000-500,000 US$ 9,600-15,900 HK$ 73,000-122,000
詹金水 天籟幽皇 2010 綜合媒材 畫布 112.5 x 162 cm 簽名右下：金水 2010 簽名畫背：詹金水 2010年 100P 天籟幽皇
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Chang-Ling
(Taiwanese, b. 1975)
常陵
Pork Belly Series - Flesh, Flowers and Birds - Waiting for Dawn
ILLUSTRATED: Chang-Ling, Impressions Gallery, Taipei, 2008, color illustrated, p. 46
2007 油彩 畫布 130 x 162 cm 簽名畫背：五花肉系列─肉花鳥 靜待拂曉 圖 常陵 2007
NT$ 350,000-550,000 US$ 11,200-17,500 HK$ 85,000-134,000
圖錄： 《常陵》，印象畫廊當代館，台北，2008， 彩色圖版，頁46
2007 Oil on canvas 130 x 162 cm Signed on the reverse Chang-Ling and titled Pork Belly Series - Flesh, Flowers and Birds Waiting for Dawn in Chinese, dated 2007
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五花肉系列─肉花鳥─靜待拂曉圖
140
T'ANG Haywen
(T'ANG Then Phuoc) (Chinese-French, 1927-1991)
Abstraction Ink and color on paper 70 x 100 cm
唐海文 NT$ 400,000-600,000 US$ 12,800-19,100 HK$ 98,000-146,000
抽象 彩墨 紙本 70 x 100 cm
141
LU Hsien-ming (Taiwanese, b. 1959)
Running 2008 Oil and stainless steel on canvas 132 x 182 cm Signed on the reverse Lu Hsien-ming and titled "Running" in Chinese, dated 2008
NT$ 500,000-700,000 US$ 15,900-22,300 HK$ 122,000-171,000
陸先銘 奔 2008 油彩 不鏽鋼 畫布 132 x 182 cm 簽名畫背：陸先銘 2008 「奔」�
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142
楊識宏
YANG Chihung
轉瞬芳華
(Taiwanese, b. 1950)
Transitory Bloom 2005 Charcoal and acrylic on canvas 112 x 162 cm Signed on the reverse Chihung Yang and titled Transitory Bloom in English, dated 2005
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ILLUSTRATED: Chihung Yang, O'Hara Gallery, New York, 2006, color illustrated, pp. 16-17
2005 炭筆 壓克力 畫布 112 x 162 cm 簽名畫背：Chihung Yang Transitory Bloom 2005
NT$ 700,000-900,000 US$ 22,300-28,700 HK$ 171,000-220,000
圖錄： 《楊識宏》，歐哈拉畫廊，紐約，2006，彩 色圖版，頁16-17
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PANG Jiun
(Taiwanese, b. 1936)
龐均
The Charm of Yellow Flowers ILLUSTRATED: Inheritance and Refinement of Art, Culture and Art Publishing House, Beijing, 2011, color illustrated, p. 196
2010 油彩 畫布 72 x 91 cm 簽名左下：龐均 2010 簽名畫背：龐均 PANG JIUN 2010 鈐印左下：均
NT$ 750,000-1,200,000 US$ 23,900-38,300 HK$ 183,000-293,000
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196
2010 Oil on canvas 72 x 91 cm Signed lower left PANG JIUN in Chinese and dated 2010 Signed on the reverse PANG JIUN in Chinese and English, dated 2010 With one seal of the artist
黃色花的魅力
144
ZAO Wou-ki
(Chinese-French, b. 1921)
Abstract in Green 1954 Watercolor on paper, mounted onto board 21.6 x 26.6 cm Signed lower right Wou-ki in Chinese and ZAO in French, dated 54 PROVENANCE: Private collection, New England This painting is to be sold with a certificate of authenticity signed by the artist.
NT$ 1,500,000-2,500,000 US$ 47,800-79,700 HK$ 366,000-610,000
趙無極 綠色抽象 1954 水彩 紙本 裱於木板 21.6 x 26.6 cm 簽名右下：無極 ZAO 54 來源： 私人收藏，新英格蘭 附藝術家簽名之原作保證書
創作於1954年的水彩作品《綠色抽象》，畫中 穿梭著文字書寫般的符號，藉由這些神祕的符 號，畫家賦予一種暗示，其中也潛藏著悲壯的 戲劇張力。在一片墨綠色的自然裡，細小的 線條翻騰，色塊躁動，象徵著花園裡的不安狀 態。這處心靈花園或許是荒蕪了，因為人的離 開，畫中充滿藝術家的惆悵思緒。人的離開， 指的是與家園父親的分別，也可能隱喻著自己 情感的變化，妻子景蘭即將離去。趙無極是一 位情感纖細的藝術家，繪畫乃是生活的指標， 更是生命的重心。 1955年到1956年間，因為與妻子間的感情問 題，趙無極的心情陷入無比的低潮，毀滅性 的、悲涼的情緒，時常籠罩著他。然而，這段 期間的作品他創作如《向屈原致敬》、《向杜甫致敬》（1956）、《友人 之碑》及《黑色足 跡》等膾炙人口的巨作。在1950年代前期，他為自己的畫加上標題，但是卻沒有敘事性之用 意。我們可以說，理性的思辨難以分析他的繪畫，唯有詩意的感知，透過情感才能理解他的 繪畫。從1955年後，趙無極完全放棄具象畫，他回到中國的經典，選擇抒情抽象的形式，以 中國人的哲學觀來詮釋自然，繼續開展出一個精采動人的抽象畫世界。
"Abstract in Green" a watercolor painting created in 1954, is dominated by criss-crossings of symbols similar to words. Through these symbols the artist gave the work suggestibility and a sense of tragic, theatrical tension. In this field of dark green Nature, thin lines twirl and colors dance restlessly, symbolizing the sense of unrest in the garden. Perhaps the garden is abandoned, and the departure of man leaves behind only the artist's melancholy and regret. The departure of man was the departure of his father, or his own personal emotive changes; his wife Lan-Lan was about to leave as well. Zao is a sensitive artist, and his art is not only indicators of his life, but an anchor for his life as well. Between 1955 and 1956, his problems with his wife drove him to emotive depths, and he was frequently surrounded by destructive and sorrowful emotions. However, also in this period, he created such renowned masterpieces such as "Hommage à Chu-Yuan" (1955), "Hommage à Tou-Fou" (1956), "Stèle pour un ami", "Foule noire"and others. In the early 50's his art was titled, but the titles were without narrative intent. We can say that rational thought cannot comprehend his art, and only through emotional understanding can one gain appreciation. After 1955, Zao gave up on figurative art entirely, and returned to the Chinese classics; he chose to interpret nature through Chinese philosophy, and represent it with emotive abstraction, thus continuing his exploration of a wonderful and exciting world of abstractions.
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145
CHU Teh-chun
(Chinese-French, b. 1920)
Composition No. 538 1974 Oil on canvas 81 x 60 cm Signed lower right CHU TEH-CHUN in Chinese and Englsih Signed on the reverse CHU TEH-CHUN in Chinese and English, titled NO. 538 and dated 1974 PROVENANCE: Collection of UMC, Taipei ILLUSTRATED: Impressions Classics IX: Chu Teh-chun, Impressions Art Gallery, Taipei, 2005, color illustrated, no. 6, p. 28 Solo Exhibition of Chu Teh-Chun, The Ueno Royal Museum (catalogue), Tokyo; Thin Chang Corporation, Taipei, 2007, color illustrated, p. 167
NT$ 2,600,000-4,600,000 US$ 82,900-146,700 HK$ 634,000-1,122,000
朱德群 構圖 No. 538 1974 油彩 畫布 81 x 60 cm 簽名右下：朱德群 CHU TEH-CHUN 簽名畫背：CHU TEH-CHUN NO. 538 朱德 群 1974 來源： 聯華電子股份有限公司收藏，台北 圖錄： 《印象經典IX朱德群》，印象畫廊，台北， 2005，彩色圖版，編號6，頁28 《大象無形—朱德群作品展》，上野之森美 術館，東京；台灣馨昌股份有限公司，台 北，2007，彩色圖版，頁167
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《構圖No. 538》創作於1974年，在此階段的風 格中，朱德群減去刻擘般的線條處理，用筆愈 加奔放率意，且以中國傳統繪畫的飛白手法， 創造出紛層漸次的色彩變化，與厚實油彩敷塗 的組合，讓畫面肌里獲得虛實更迭的對比。朱 德群的創作風格發展至此，用色更趨大膽艷 麗，在作品中常使用的紅、黃、棕、黑色，以 大筆刷塗的水平色塊交替鋪陳，畫面中交織的 線條舞動流曳，延伸了空間的深度，呈現如蒼 玄地貌的壯闊之勢。 有別於前期作品堅毅沉著的色調運用，自1960 年代末期，朱德群從林布蘭作品中的光線表現 獲致靈感與啟發，此時色彩明暗相間的構圖組 合已受其影響。他在畫面中綴以大面積平塗的 白色與粉色清麗色塊，在動態筆觸交夾之間， 標示出如光之來源，亦如概念性的空間，在強 烈色彩之中提供舒展休憩的視覺空間。由《構 圖No. 538》一作，可見他的創作風格轉化與進程，由渾厚內斂的布局，逐漸轉向節奏抑揚的 躍動畫面，氛圍爽朗激昂，是詩意抒情的默想、自然意象的壯遊，也是朱德群在1970年代創 作風格中最為精彩的代表作品。
“Composition No. 538” is a work that Chu Teh-chun created in 1974. At this stage in the evolution of his artistic style, Chu Teh-chun had moved away from the hard, angular use of line that characterized his earlier work, towards a freer, more relaxed style of brushwork. Employing the fei bai (“flying white”) technique of traditional Chinese painting, Chu created a layered, gradation effect of color tone variation. Used in combination with the thick application of oils, this produced a sense of contrast in the texture of the canvas, an alternation between the “virtual” and the “real” Another change in Chu’s style by this period was a greater willingness to use bold, bright colors. Works from this period often make extensive use of reds, yellows, browns and black, with a patchwork of flat patches of color laid on with sweeping brushstrokes. The interleaving lines on the canvas seem to dance and flow, creating a sense of spatial depth and of immense power. Whereas Chu Teh-chun’s early paintings had been characterized by a restrained, somber use of color tone variation, in the late 1960s Chu was inspired by the way Rembrandt used rays of light in his work. This inspiration is reflected in the composition of Chu’s paintings from the late 1960s and onwards, in terms of how he combines bright and dark. These paintings feature large, bright patches of pink and white built up by applying one layer on top of another; positioned between the dynamic, linear brushstrokes, these patches function as “light sources,” and also as conceptual space, while at the same time and providing a visual space in which the eye can “rest” amidst the interplay of bright colors. In “Composition No. 538”, we can see the evolution of Chu Teh-chun’s artistic style, as he gradually moves away from solid, restrained compositions towards vibrant, rhythmic paintings with a bright, cheerful atmosphere, a poetic sense of emotional release, and a free-flowing exploration of natural images. Overall, this is one of the finest examples of Chu Teh-chun’s work from the 1970s.
146
ZAO Wou-ki
(Chinese-French, b. 1921)
29.12.49 1949 Oil on carton 12.7 x 16.8 cm Signed on the reverse Wou-ki in Chinese and ZAO in French, titled 29.12.49 This painting is to be sold with a certificate of authenticity signed by the artist.
NT$ 2,500,000-3,800,000 US$ 79,700-121,200 HK$ 610,000-927,000
趙無極的回憶錄裡，提到從上海出航，經過一個月漫長的航行及幾次的靠岸，1948年4月1日 終於抵達藝術之都。剛到巴黎他就急忙趕往羅浮宮，興奮地飽覽西洋大師的作品，體驗未曾 有過的觀看藝術方式。有長達一年多的時間，趙無極大半時間花在學法語，參觀美術館、畫 廊，聽音樂會，幾乎很少畫畫，只零星地畫了素描及版畫。後來經常流連大茅屋工作室，結 識了許多畫家同好 ，不少畫家後來都成了藝術大師 ，如哈同、史塔耶、蘇拉吉、薇拉．達． 西爾瓦法蘭西斯等。 1949年在青年畫家素描比賽中獲得首獎，鼓舞了仍在繪畫道路中摸索的趙無極。同年5月舉辦 在巴黎的首次個展，大獲成功。他獨有的線條、符號已隱隱躍動著。米修在他此時的繪畫裡 發現了詩的存在，特別寫詩歌頌他的作品。趙無極從小讀古詩，對詩畫意境有一定的研究， 況且在中國詩與畫本就合一。透過畫裡簡單的形體與色彩，趙無極吸引了當時藝術家的關 注，如杜布菲。而雕塑家傑克梅第則說過，特別喜歡趙無極畫中具象的部份。 1949年趙無極已決心朝油畫的方向前進，受到教堂壁畫的影響，他花了很多時間精心研究， 如何採用平面的透視來表現空間，以及如何為物象佈局等等。藝評家馬歇索認為，「他找到 一種東方纖細筆劃和西方古典建築結構相結合的畫路」。 （參閱《趙無極繪畫六十年回顧》展覽目錄，上 海三聯書店，1998，頁22）
趙無極 29.12.49 1949 油彩 紙板 12.7 x 16.8 cm 簽名畫背：29.12.49 無極 ZAO 附藝術家簽名之原作保證書
In Zao Wou-ki's memoirs there is a passage in which he recalls his month-long sea voyage from Shanghai to Paris, a trip that featured several stops on the way before he finally arrived in the City of Arts on April 1, 1948. Zao had barely set foot in the city when he headed straight to the Louvre to feast his eyes on the masterpieces of Western art. He was thrilled by the prospect of immersing himself in the viewing and admiration of artistic works like never before, and for more than a year all he did was visiting museums, galleries and concerts-and learning French. During this period of time, he hardly painted at all, though he did the occasional sketch or block print. Later he spent a lot of time at the Académie de la Grande Chaumière, where he became acquainted with a number of fellow artists, many of which would go on to become renowned painters, such as Hans Hartung, Nicolas de Staël, Pierre Soulages, Vieira da Silva and Sam Francis. In 1949, he won the first prize in a sketch competition for young artists, a great encouragement for Zao, who was still finding his way and direction in the world of painting. By May of the same year, he was able to hold his first solo exhibition in Paris, which was a big success. He displayed the first inklings of his own characteristic lines and vibrant symbolism. It was during that period that Henri Michaux spotted the existence of a latent lyricism in Zao’s paintings, which inspired him to write poems in their praise. Zao, an avid reader of classical Chinese poetry since his early childhood, naturally had a deep understanding of vistas and imagery in both poems and pictures, in particular since in Chinese art poetry and painting often tend to melt into one. This affinity helped Zao to use uncomplicated forms and colors to attract the attention of his peers, such as Jean Dubuffet. And it was the sculptor Alberto Giacometti who once said that he particularly enjoyed the concrete, unveiled elements in Zao’s paintings. As early as 1949, Zao had decided to focus his efforts on oil painting. Largely influenced by the mural paintings in churches and cathedrals, he spent much time on studying carefully how to employ a two-dimensional medium to produce a three-dimensional effect. He also explored different ways of composition and arrangement of objects in his paintings. The art critic Daniel Marchesseau expressed his appreciation this way: “Il retrouve alors une voie pour son pinceau, entre délés orientalisants et architectures classiques.”(cf. p. 22 of the exhibition catalogue Zao Wou-ki 60 ans de peintures, published in Chinese by Sanlian Publishers, Shanghai, 1998).
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147
CHU Teh-chun
(Chinese-French, b. 1920)
Vibrations lumineuse (Splendid Light) 1986 Oil on canvas 65 x 92 cm Signed lower right CHU TEH-CHUN in Chinese and English Signed on the reverse CHU TEH-CHUN in Chinese and English, dated 1986 PROVENANCE: Collection of UMC, Taipei ILLUSTRATED: Solo Exhibition of Chu Teh-Chun, The Ueno Royal Museum (catalogue), Tokyo; Thin Chang Corporation, Taipei, 2007, color illustrated, p. 196
NT$ 3,000,000-5,000,000 US$ 95,700-159,500 HK$ 732,000-1,220,000
朱德群 璀璨之光 1986 油彩 畫布 65 x 92 cm 簽名右下：朱德群 CHU TEH-CHUN 簽名畫背：朱德群 CHU TEH-CHUN 1986 來源： 聯華電子股份有限公司收藏，台北 圖錄： 《大象無形—朱德群作品展》，上野 之森美術館，東京；台灣馨昌股份有 限公司，台北，2007，彩色圖版，頁 196
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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1980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1986年創作的《璀璨 之光》，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. “Vibrations lumineuse” created in 1986, 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.
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SU Xiaobai
(Chinese, b. 1949)
Red Float on Bizarre Water 2011 Oil on board, lacquer on linen cloth 80 x 200 cm Signed lower right Xiaobai in English Signed on the reverse Su Xiaobai and titled Red Float on Bizarre Water in Chinese, inscribed 80 x 200 cm and dated 2011 EXHIBITED: Exhibition of Su Xiaobai, Author Gallery, Shanghai, June 30 – July 8, 2011 ILLUSTRATED: Exhibition of Su Xiaobai, Author G a l l e r y, S h a n g h a i , 2 0 11 , c o l o r illustrated, p. 29
NT$ 3,600,000-5,000,000 US$ 114,800-159,500 HK$ 878,000-1,220,000
蘇笑柏 異水流赤 2011 油彩 木板 大漆 亞麻布 80 x 200 cm 簽名右下：Xiaobai 簽名畫背：《異水流赤》 80 x 200 cm 2011年 蘇笑柏 展覽： 「蘇笑柏作品觀摩周」，奧賽畫 廊，上海，展期自2011年6月30日至 7月8日 圖錄： 《蘇笑柏作品》，奧賽畫廊，上 海，2011，彩色圖版，頁29
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藝術，擁有跨越文化藩籬的特權。藝術是 人類基本的、共通的創造本能。藝術能夠 連接文化，藝術是一門人類共通的語言。 而那些漫步在不同文化間的藝術家們，一 次又一次精確地論證了這個理念。蘇笑柏 就是這眾多漫遊者之一。他們的作用是在 不同文化間構架一座橋樑，因為他們的作 品中體現了文化間的差異與共通。對於蘇 笑柏這樣的藝術家亦是如此，他們的藝術 語言是抽象的，他們的作品中沒有可識別 的結構或者形體，也並不描繪我們的日常 生活，這些作品直接與我們的感情溝通， 與我們的思想擦出火花，我們從中看到自 己的曾經，思考自己的未來。這些作品， 用紅色、赭色、黑色和深紅色作歌詞，以 深淺各異的鏽紅色、啞綠色、 柔棕色為變調，對著我們低唱 淺吟。他的作品中質樸有力的 色彩與強大的物質感，都是非 常驚人的。
並且意義深刻的構圖。他的作品能夠通過 不同的途徑，在不同文化和歷史背景的環 境中產生互動，引起共鳴。事實上，在全 球化的今天，不管在藝術或是更廣闊的範 圍內，這樣開放的對話正是我們所需要 的—為了我們共同的明天。( 節錄自馬克．沙切 特教授 ＜來自中央王國的中間人＞，《蘇笑柏德國蘭根 基金會個展—彩色王朝》目錄，2009/2010，第9頁。
Art has the privilege of being intercultural. Art is an underlying universal principle of human creation. Art connects cultures. Art is a language that everyone understands. And this is made clear to us again and again
and the physicality of his paintings were stunning. Xiaobai Su leads us to a world full of poetry. Yet this is not the poetry of words. No sounds are strung together to form an utterance. Rather, it is the emotions of the colors that pulsate within us; it is the structural patterns of the surfaces that move us; it is the materials that are alive. We see the poetry, we feel the poetry. Words are not needed, for art needs no words. It is pure poetry. Xiaobai Su has understood this and - without words – he fulfils his function of conveying a sense of belonging and grace, earth and heaven, strength and love. He brings this closer to us with and in his pictures. His story fuses with ours, becoming a universal experience full of passion and dynamism. (an excerpt from Prof. Sabine Langen-Crasemann,
“The Poetry of the Pictures”, Xiaobai 蘇笑柏將我們帶入一個充滿詩 Su Die Dynastie Der Farben, ZDF and 意的世界。然而，這並不是文 Langen Foundation, 2009/2010, p. 11.) 字譜成的詩，沒有聲音，不聞 吟誦；這是色彩的情緒在我們 His art works present another 的心底悸動，是層次營造的格 蘇笑柏《白領》，羅芙奧台北2011秋季拍賣會，編號249，預估價：NT$ 7,800,000-10,000,000 major highlight in the ongoing 局觸動了我們，是作品的材料 SU Xiaobai, White Collar, 2011, oil on board, lacquer on linen cloth, 140 x 360 cm artistic dialogue between East 擁有了生命。我們看到這詩， Ravenel Autumn Auction 2011, Taipei, lot 249, estimate: US$ 248,800-319,000 and West. This exchange is 感覺到這詩。 語言多餘的， expressed in Xiaobai Su's attempt to create a 因為藝術本身就不需要語言，就已經是純 precisely by those who wander between the universal language of form and color through 粹的詩。蘇笑柏已經瞭解了這一點，拋開 different cultures. Xiaobai Su is one of these his intensively colorful abstract paintings. In 文字的束縛，他完成了他的使命，傳達了 wanderers. Their function is to build a bridge his unique way, Xiaobai Su succeeds in fusing 歸屬與感恩的心情，天空與大地，力量與 between the cultures inasmuch as the works of color and material to form a multi-layered and 愛的感知。透過他的畫，他來到我們的面 art they create bring out what is different and thus highly suggestive composition. His work 前，他的故事與我們的融為一體，成為一 what is shared in our cultures. Even if, as in allows very different approaches in terms of 個共通的、充滿激情與生命力的體驗。( 節 the case of Xiaobai Su, their artistic language 錄自莎賓．蘭根克拉澤曼 ＜畫之詩＞，《蘇笑柏德國蘭 culture and history to interact and flow into i s a b s t r a c t - s h o w i n g n o re c o g n i z a b l e 根基金會個展—彩色王朝》目錄，2009/2010，第11頁。) each other. Indeed, in an age of globalization structures or shapes and refusing to represent this open dialogue is exactly what we want our everyday worlds - it speaks directly to - in art and beyond - for the sake of all our 他的藝術作品也是正在進行的東西方藝術 our feelings, sparks associations in our mind, futures. (an excerpt from Prof. Mark Schachter, “Mediator 對話的代表。蘇笑柏嘗試在他的作品中， shows us our past, and plays with the idea of from the Middle Kindom”, Xiaobai Su Die Dynastie Der 通過色彩強烈的抽象繪畫創造了一種共通 our future. It sings within us like music, with Farben, ZDF and Langen Foundation, 2009/2010, p. 9.) 的形式與色彩的語言，進而表現這種文化 lyrics in red and ochre, in black and crimson, 的交流。蘇笑柏以其獨特的方式，成功的 in every variation of rust red, in matt green 融合了顏色與材料，構成了一個多層次， and mellow brown. The powerful earthy colors
149
SU Xiaobai
(Chinese, b. 1949)
White Collar (diptych)
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2011 Oil on board, lacquer on linen cloth 140 x 360 cm Signed lower right Xiaobai in English Signed on the reverse Su Xiaobai and titled White Collar in Chinese, inscribed 140 x 360 cm and dated 2011
ILLUSTRATED: Exhibition of Su Xiaobai, Author Gallery, Shanghai, 2011, color illustrated, p. 7
EXHIBITED: Exhibition of Su Xiaobai, Author Gallery, Shanghai, June 30 – July 8, 2011
NT$ 7,800,000-10,000,000 US$ 248,800-319,000 HK$ 1,902,000-2,439,000
蘇笑柏 白領（二聯幅） 2011 油彩 木板 大漆 亞麻布 140 x 360 cm 簽名右下：Xiaobai 簽名畫背：《白領》140 x 360 cm 2011年 蘇笑柏 展覽： 「蘇笑柏作品觀摩周」，奧賽畫廊，上海， 展期自2011年6月30日至7月8日 圖錄： 《蘇笑柏作品》，奧賽畫廊，上海，2011， 彩色圖版，頁7
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與凝固具象的幾何模式或者線條主題不同， 蘇笑柏的作品中，簡單、大方、平靜的形狀 和表層，按照仔細構思的結構順序排列著。 蘇笑柏既不想表達定義的關聯，也不想單純 的將色彩處理成表現的工具。對於他而言， 色彩更像是一種自主的物質，一種具體的視 覺形式。這個作品，無論是色彩還是節奏， 都充滿了表現力。此外，這幅畫在第一眼看 上去或許會產生單色的錯覺，事實上，它蘊 含著異常豐富的色彩，營造了一種見仁見智 的深遠感。這為作品賦予了一種立體感，並 且通過條條畫布疊加、層層漆料覆蓋、以及 二者恰到好處的相互作用的效果，進一步強 調了高遠的空間感。對比的效果激發了一種 強烈的張力：空曠、甚至平面的區域，面對 著高低各異的凹凸的斑塊，從底層閃現的對 比色更加強調了層面效果。
靜，隔岸而觀的姿態，從他自身與他之前的 生活中抽離開來，同時與浸淫著他的新的文 化環境也保持一定的距離；如此，他從週邊 觀察著這兩個世界。他選擇了一條中間之 道，汲取兩個文化中最好的精粹，以最終 的、由純粹的物體組成的、只保留實質與本 質的宏觀世界為目的地，秉持著這樣的信念 前行。 ( 節錄自尼可．拜耳教授 ＜繪畫的要素＞《蘇笑 柏德國蘭根基金會個展—彩色王朝》目錄，2009/2010，第 30-32頁。)
The simple, generous and calm shapes and surfaces follow a structural order that is carefully conceived, quite different from concrete geometric patterns or the primacy of line. Xiaobai Su neither wants to convey associations in a defining manner, nor treat
that impose order. The ordering elements, consisting of lines and bars, performs here a rhythmic function similar to that of punctuation marks in grammar or bar lines in a state of music. The colors as bearers of emotion are a transporting medium, much like notes in music. Colors are, of course, a sensual part of our world. For each individual they are deeply subjective in reception and effect. In these pictures, colors achieve special structure and dynamism thanks to the flowing properties of the raw lacquer employed by the artist- which Xiaobai Su expressly does not wish to be seen as a link with his artistic origins, even though lacquer work may be generally associated with China. This fluidity has its own dynamism, bringing the colors to life and making them autonomous, indeed the very subject of the picture.
這些看起來色彩單一、顏料層 次隨意疊加的畫作，被豎直 An artist who lives and works in 排列起來，加以排序。排序的 an alien culture brings with him 元素包括線條，它們在這裡起 his own background and learning 到節奏性的作用，好比語法中 and must engage with a new and 的標點符號，或者樂譜中的小 very different set of conditions 節線。而色彩是情緒的載體、 and teachings. His situation 溝通的媒介，好比音樂中的音 has, at least temporarily, a 符。毫無疑問，色彩是我們的 “dipolar character’; from which 世界中重要的感官組成，它對 various strategies are open to 每個人的感知與反應都產生 蘇笑柏《異水流赤》，羅芙奧台北2011秋季拍賣會，編號248，預估價：NT$ 3,600,000-5,000,000 SU Xiaobai, Red Float on Bizarre Water, 2011, oil on board, lacquer on linen cloth, 80 x 200 cm the artist as he seeks resolution. 深刻的主觀影響。在這些畫作 Ravenel Autumn Auction 2011, Taipei, lot 248, estimate: US$ 114,800-159,500 One tendency is for him to 中，藝術家採用的帶有流動特 remain wedded to the art that is intrinsic to his the colors purely as a means of expression. 質的生漆為色彩賦予了特殊的結構感與生命 origins and work by, in a sense, looking back. Rather, he understands color as something 力；關於這一點，蘇笑柏特別強調：儘管漆 Here, the new ideas will ultimately always autonomous, as a concrete visual form. Colors 器作品通常讓人聯想到中國，他卻並不希望 remain alien, and he will remain a foreigner and rhythm within the picture are sufficient in 作品中生漆的使用被視作與他藝術起源的關 in a foreign country. On the other hand, he their own terms. Moreover, the pictures, which 聯。 這種流質有他自身的生命力，為色彩 can engage unreservedly with the totally new may at first seem almost monochromatic but are 賦予了生命與自主性，進而成為畫中的真正 art. Or an artist can follow a course like the actually exceptionally rich in colors, convey a 主體。 one pursued by Xiaobai Su, although very contingent sense of depth. This creates a third few have succeeded. He adopts a cautious, dimension that is further heightened by the 作為一個身處於外國文化中生活和工作的藝 quiet, renunciation position, stepping back effect of overlaid strips of canvas and multiple 術家，一方面背負著其自身的文化背景與經 from himself and his previous life, but also layers of lacquer and counter posed to each 歷，另一方面又要融入到一個全新的、不同 keeping a certain distance from the new culture other with great finesse. This evokes a formal 的環境與學習過程。他具有或者至少暫時具 surrounding him. In this way, he observes both tension based on contrasts: empty, almost 有一個微妙的『兩極特性』—在藝術家尋找 worlds from the outside. Taking a middle path, flat areas are placed opposite uneven patches 突破的過程中，各種不同的出路會一一向他 he seeks the best from both cultures, with the of manifold elevations and depressions, the 敞開大門。 一個趨勢是他仍忠於其固有的 aim and conviction that ultimately only the surface effects often accentuated by contrasting 藝術起源，繼續創作，在某種意義上講 – 回 macro world of things, the substance and the colors flashing out from the ground layers. 顧；這樣，他新的創作理念會最終保持其外 essence will last. (an excerpt from Prof. Nicole Beyer, 來性，而藝術家本身，仍將是一個身處國 “The Essence of the Pictures”, Xiaobai Su Die Dynastie Der Seemingly monochromatic pictures with their 外的外國人。或者，藝術家可以跟隨蘇笑柏 Farben, ZDF and Langen Foundation, 2009/2010, pp. 30- 32.) random arrangements of revealed layers of 的心路歷程，然而，只有極少數的人在條路 under-painting are then structured by verticals 上取得了成功。蘇笑柏採取了一個謹慎、安
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ZAO Wou-ki
(Chinese-French, b. 1921)
11.10.78 1978 Oil on canvas 65 x 54 cm Signed lower right Wou-Ki in Chinese and Zao in French Signed on the reverse ZAO WOU-KI in French and titled 11.10.78
NT$ 8,200,000-12,000,000 US$ 261,600-382,800 HK$ 2,000,000-2,927,000
趙無極 11.10.78 1978 油彩 畫布 65 x 54 cm 簽名右下：無極 ZAO 簽名畫背：ZAO WOU-Ki 11.10.78
趙無極曾說：「每一幅畫，從最小的到最大 的，都是這夢的空間的一部份。」藝術家的感 知，在不可見的世界漂泊旅行，靈魂的眼睛有 無限的穿透力與想像力，可以超脫世俗的框 架。趙無極熱愛生命，畢生醉心於藝術的創 作，即便在形式上有所矛盾、不安，他也要勇 於追尋夢想的空間，畫出讓人永遠感覺和諧的 居所，為世人留下美麗而神秘的心靈風景。 1970年前後，趙無極的生活發生遽變，暌違中 國故里，以及面對親人的離去。他漸漸走過妻 子美琴、家鄉母親相繼病故的傷痛，藉由創作 移情療傷、尋找平靜的出口。過去曾經灰暗、 心碎不已的作品，此時逐漸地雲淡風輕起來。 畫中沒有過多的結構堆砌，不再追求力重如山 的筆觸，肌理顯得含蓄沉靜，此時的畫風富有 拙趣、墨韻，他的抽象畫研究進入另一階段。 藝評家都認為，1973年之後趙無極的畫風明顯有所改變，因為水墨畫的影響，轉向舒緩悠 揚、蒼茫遼闊的風格。他以松節油稀釋了油彩，形成墨韻般的渲染特色，表現雲霧縹緲的虛 無空間；而乾筆的皴擦，形成粗獷斑駁的痕跡。雖然是油彩的塗敷，卻能表現出中國山水畫 特有的深遠畫意、畫境，令西方的詩人與藝評家們驚艷不已。 1977年巴黎法蘭西畫廊的趙無極畫展目錄前言中，詩人夏爾一段評述讓畫家有如獲知音的喜 悅：「奧菲琴音的魅力直透畫面，既空靈又根植於大地，構成畫作的成份不停蘊生出新意， 向晚在一片繽紛中劃出一道稍縱即逝的夕陽。」 （參閱趙無極、梵思娃著、劉俐譯《趙無極自畫像》，藝術 家出版社，台北，1992初版，頁147）向晚的繽紛，剎那即是永恆。如同杭州藝專教師吳大羽曾教導學 生的道理：「繪畫即是畫家對自然的感受，亦是宇宙間一剎那的真實。」多麼真切的體悟。 趙無極的油畫作品《11.10.78》完成於1978年，就其行雲流水的和諧畫風來看，畫家似乎仍沉 浸在新婚的愉悅之中。一年之前，趙無極與結識四年的年輕博物館館員梵思娃結為連理，兩 人理解彼此的工作，而成為靈魂的伴侶，何其幸福的歸宿。趙無極的作品《11.10.78》顯示出 溫柔、沉穩、優雅的新文人風格，追求空間與光線的細緻表現。畫面前景平塗顏色，偶見潑 彩，濛濛雲霧，撲朔迷離，意境縹緲。淺褐色幽幽抹過，空間形成上下的分野，其間乾擦出 少許淡淡的飛白，大地萬物彷彿隱入煙雲繚繞中，詩意的想像無限遼闊。 對照於前景的煙波浩渺，遠景則宛如霞蒸雲蔚，濃入淡出，顏色層次豐富而多變化。意念之 下的風景，夢想追尋的空間，皆是宇宙間剎那存在過的真實。趙無極在此作品中運用虛實相 生的哲學觀，巧妙佈局出具有東方審美意境的山水圖繪，值得再三品味。
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Zao Wou-ki once said, “All my paintings, from the smallest to the very biggest, are pieces of a larger picture, a ‘dream place’ [where true harmony is achieved].” Through his heightened perception, the artist may roam and travel in spheres that are invisible to most of us; the eyes of his soul can penetrate the veils of the unknown, and his boundless insight and imagination transcend the limitations of convention and vulgarity. Zao’s art is not free from contradictions and doubts, yet his lust for life and lifelong devotion to—indeed, intoxication with—art and creativity provided enduring impetus to the pursuit of his dreams, giving him the courage to paint spiritual landscapes both mysterious and beautiful, places that never fail to make us feel peaceful and at home.
developed a markedly different style. Under the influence of ink and wash painting, a more relaxed and expansive approach surfaced, purged of most disruptive elements and throbbing with gentle rhythms and harmonies, using the canvas to show infinite mystical spaces. Diluting the oil paint with turpentine, the artist achieved a deliberately “hazy” effect with colors blending and running into each other for softer contours and ethereal shapes. As in traditional splashed ink painting, the spaces left empty and the things only hinted at, or subtly implied, are just as important as what immediately meets the eye. At the same
unique and highly successful fusion of East and West. In his foreword to the catalogue of the 1977 Zao Wou-ki exhibition at the Galerie de France, French poet René Char wrote the following lines that filled Zao with the joy of knowing that here was someone who truly appreciated his work: “The canvas is pulsating with an Orphean vision that penetrates the most elusive mysteries, both down-toearth and heavenly inspired. Looking at the roiling sceneries set before us, we see a sea of infinite possibilities constantly generating new meaning. It is like looking at a vibrant landscape at dusk, at the precise moment when the last rays of sunshine, faint and fleeting, pierce our perception with the most poignant sense of beauty.” (“Là perece le sortilège aérien et tellurique d’Orphée v o y a g e u r. To u s l e s é l é m e n t s q u i composent l’oeuvre produisent entre eux d’une manière continue. Comme ligne de démarcation passagère, celle au soir du partage des couleurs dans un mélange tumultueux.”) (Zao Wou-
The years around 1970 were a time of many changes and departures in Zao Wou-ki’s life. He returned to China for several visits after a long absence from his native country. On an even more personal note, he had to deal with the successive deaths of his wife, May, and his old mother back in China. ki & Françoise Marquet, Autoportrait, Fayard, As an artist, his way of coping was Paris, 1986, p. 158) That moment, however to paint, processing his experiences through creative expression. This transient, is eternity. One is reminded helped him to recover piece of mind, of the words of Wu Dayu, one of Zao’s and his work, which for a period of teachers at the Hangzhou College of 趙無極《29.2.80》，羅芙奧香港2011春季拍賣會，編號018，600萬港幣成交 time had been dominated by grey Arts (now China Academy of Art): 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 hues and subliminal disconsolation, “Painting is the artist’s response to gradually took on a much lighter and nature, and offers a fleeting glimpse time, lighter strokes and a drier brush bring tranquil quality. Ridding his compositions of of universal truth.” How true this rings, out even the finest variations of shade and all unnecessary structural and representational especially with regard to Zao’s art! texture, creating roughly cast yet delicately elements, and abandoning the immensely executed vistas, rugged and bold but also full forceful brushstrokes of the past, he shifted This lot, “11.10.78,” was completed in 1978, of elegance and sophistication: Zao had found towards a new and simpler style marked and from the picture’s fee-flowing and fairly a way of expressing the profound lyricism and by subtler textures and quieter shades, and uncomplicated composition it would seem expansive poesy of Chinese landscape painting softly reminiscent of the Chinese ink and that at the time the artist was still bathing in in oil painting, an essentially Occidental art wash tradition. In other words, the artist’s the joy of his young marriage to Françoise form. This may go a long way in explaining explorations of abstract painting had entered a Marquet. She was a curator at the Musé d’Art the praise and admiration lavished on Zao new phase. Moderne de Ville de Paris when Zao met Wou-ki by many Western art critics and poets, her, and they had known each other for four who were simply stunned by the artist’s Art critics agree that after 1973, Zao years when they got married in 1977. It was
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a happy union of two like-minded spirits, and very likely one of the inspirations for the gentler, very self-assured and unobtrusively elegant approach seen in “11.10.78.” As so many of Zao’s works, this lot can be seen as an ingenious exploration of space and light: the foreground features sweeping planes of flatly applied color with occasional splashes of darker shades, spawning an atmosphere of enigmatic proportions, a panoramic view permeated by a whirling, vague complexity that is lurking just below the surface of its misty, vapory expanses. The bulkier elements in the painting’s upper part, which are kept in light brown and ocher tones, create a sort of watershed, dividing the composition into two halves that are yet intimately connected through faint patches of white, done with light strokes with a half-dry brush. It is as if all things under the sun have somehow found a place in these primeval swathes of existence, and the observer is invited to give free reign to his poetic imagination. The foreground with its intimations of a vast lake, shrouded in mist and undulating in tiny ripples of hidden energy, merges perfectly with the background, which has all the grandeur of scudding wracks of clouds at sunset—like yin and yang, they are inseparably interlocked, fused through the rich layers of variegated color. Lighter, ephemeral shades are mingled with darker, more solid ones as the artist’s thoughts and ideas become manifest on the canvas, which is really his space for pursuing the wildest dreams, for capturing moments of “universal truth.” Viewing existence and emptiness not as opposites, but simply two sides of the same coin, Zao is able to conjure up abstract vistas that are brimming with the understated aesthetics of traditional Chinese landscapes. This is why his work, and “11.10.78” in particular, merits repeated viewings: it has a philosophical charm that never grows old.
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CHU Teh-chun
(Chinese-French, b. 1920)
Rime bleue (Rhyme in Blue) 1997 Oil on canvas 162 x 130 cm Signed lower right CHU TEH-CHUN in Chinese and English Signed on the reverse CHU TEH-CHUN in Chinese and English, titled Rime bleue in French and dated 97 PROVENANCE: Collection of UMC, Taipei ILLUSTRATED: Chu Teh-Chun, Galerie Enrico Navarra, Paris, 2000, color illustrated, p. 249 Solo Exhibition of Chu Teh-Chun, The Ueno Royal Museum (catalogue), Tokyo; Thin C h a n g C o r p o r a t i o n, Ta i p e i, 2007, c o l o r illustrated, p. 295
NT$ 9,000,000-15,000,000 US$ 287,100-478,500 HK$ 2,195,000-3,659,000
朱德群 藍色的賦格 1997 油彩 畫布 162 x 130 cm 簽名右下：朱德群 CHU TEH-CHUN 簽名畫背：Rime bleue 朱德群 CHU TEHCHUN 97 來源： 聯華電子股份有限公司收藏，台北 圖錄： 《朱德群》，昂利哥．那瓦哈畫廊，巴黎 2000，彩色圖版，頁249 《大象無形—朱德群作品展》，上野之森美 術館，東京；台灣馨昌股份有限公司，台 北，2007，彩色圖版，頁295
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朱德群曾說，他進入抽象繪畫的領域，並非為了接受一個理論，而是欣賞過自由奔放，超越 抽象與具象對立的畫作之後，使他激動，讓他躍躍欲試。終於豁然頓悟，原來抽象畫就是要 畫那些記憶中的壯遊圖像，似是而非、似非而是的存在。至此，他開始褪去桎梏與限制，隻 身闖蕩這塊藝術的未知之地。 而對朱德群來說，一腳踏入抽象創作的未知之地後，他才又領受到，自由不僅只是繪畫創作 的形式的跳脫與解放，也是藝術創作的態度。自由奔放在繪畫中如此地難能可貴，又如此的 困難，如何不讓畫面流於空洞粗野，在神領意造之際又能將畫面處理地恰到好處，而不失內 涵，則是他在創作歷程中不斷追尋自問的。猶如北宋山水畫家郭熙在《山水訓》中提到「景 外意」與「意外妙」的看法，主張若作品描繪的景像了無內涵與反思，無法感動觀者，也不 能感動創作者本身，作品便趨於空虛。長久以來，沉澱內化於藝術家心中的美景、詩歌、音 樂與文化記憶，自然而然羅列於胸中，總是能激發他如源頭活水般不息的畫意，不自覺地便 在畫布上傾瀉流露。 朱德群於1997年創作《藍色的賦格》，採用對角斜線式的構圖，透露著寶藍、青綠、橘紅與 深黑短促縱橫交疊的色塊，由畫面左上延伸奔騰至右下方，一抹橘紅與鵝黃濃密地矗立相 望，在色彩的強烈對比之下，不僅成功地捉住觀者的視線，也讓向下傾洩的藍黑色帶顯得更 加靈動輕盈。對比畫面中央雄渾厚重的色彩與結構，畫面兩側則夾以清朗明亮的藍色，帶有 如飛白的筆觸拖曳淡薄，如雲疾速行經後的天空。如此的構圖形式，可對照傳為北宋范寬所 作的《雪山蕭寺圖》，同樣採取對角線的走向，表現巍峰聳峙的壯闊之勢，畫中稜角分明的 層疊岩壁，在《藍色的賦格》中則轉化為更加寫意，巍峨跌宕的筆觸與色塊，更加呼應畫 題，讓繪畫元素展現像是多聲部樂曲，重複變化所演出的節奏韻律。 畫中邊緣的色帶被框架阻擋而未入畫的部分，似乎暗示其綿延向外無法窮盡的可能性，顯露 出對象物的浩然廣大。宋代山水畫將觀山的視角分為三遠，此作在視覺上不僅表現出高遠的 突兀之勢，傳統精神上對於「遠」的要求，也具體且明顯地表現於畫作之中，使形體與精神 得到完美的統一。在朱德群筆下所描繪的，也許並非現實中的景色，卻留下高遠雄壯、如山 如瀑的態勢，刻畫於藝術家的記憶中。透過畫作，讓想像的延伸從有限通向無限，從瞬息幻 變的現實通向宇宙生機的根源之中，並在無限中達成人類所暢想的解放與藝術自由。 對朱德群來說，抽象畫不一定要否定物質的自然形象，他破除了抽象與具象之間的對立，觀 者在作品中尋覓的也不僅只是物象的呈現，更能領受中國山水畫論提出畫作可游、可居的藝 術欣賞功能。藝術家透過繪畫追念記憶中的一幕風景，或者是來自詩詞與音樂的啟發，讓人 與世界相互走近，它帶來心靈層面的充實及愉悅，使人與外在世界合二為一、不分主客彼 此，整體一氣流蕩，這即是朱德群作品中天人合一的審美境界。
Chu Teh-chun once said that the reason why he went into abstract art was not because he had been won over by any theoretical arguments in its favor, but rather because of his experience of viewing free, expressive paintings that overcame the opposition between figurative and abstract painting; these paintings stimulated him, and made him want to attempt something along the same lines. It dawned on him that the goal of abstract painting was to depict those images in one’s memory that seem both real and unreal. Inspired by this realization, Chu Teh-chun cast off the shackles of conventional art and threw himself wholeheartedly into this unknown territory.
in 1997, Chu Teh-chun uses a diagonal compositional structure, in which an array of royal blue, blue-green, orange and deep black color patches interlace with and overlay one another in layers, streaming down from the top left-hand corner of the canvas to the bottom right corner. Dense orange and cadmium yellow strokes stand erect facing one another; the dramatic contrast between these color tones draws in the viewer’s gaze and adds an extra touch of movement and energy to the downward-flowing blue and black patches. Contrasting with the strong, imposing colors and structures in the center of the canvas, brighter, airier blues have been used for the two sides of the painting, with a lightness of touch that resembles the fei bai (“flying white”) technique of traditional
emphasizing the immensity of the subject matter. The landscape artists of the Song Dynasty divided the viewing angles for viewing mountain scenery into three categories: the “three distances.” This work by Chu Teh-chun embodies the visual power of the gao yuan (“high distant”) viewing angle, and the spirit that the concept of “distance” was traditionally supposed to embody is clearly and concretely expressed in this painting, creating a perfect marriage of form and spirit. What Chu Tehchun depicts here may not be a real scene, but it retains the majesty of the gao yuan viewpoint, reflecting potent scenes that must have been retained in the artist’s memory. In this painting, the potential for the extension of the imagination ceases to be constrained, and takes on a boundless character. There is linkage here between constantlychanging reality and the foundations of the cosmic life force; within this unlimited space, the potential exists for the liberation of human thought, and for true artistic freedom.
It was only after taking the plunge into the mysterious world of abstract art that Chu Tehchun realized that “freedom” means more than just liberation from artistic form; it is also a way of approaching the whole business of artistic creation. He became aware of just how important freedom is in painting, but also of how difficult it is to achieve. Chu was constantly pondering For Chu Teh-chun, the the question of how to purpose of abstract art prevent his paintings from need not necessarily degenerating into meaningless 朱德群《意志堅強》（四聯幅），羅芙奧台北2009秋季拍賣會，編號104，4416萬台幣成交 be to negate or deny wild abandon, how to ensure CHU Teh-chun, Force d'âme (quadtych), 2004-2005, oil on canvas, 195 x 456 cm the natural phenomena Ravenel Autumn Auction 2009 Taipei, lot 104, USD 1,373,134 sold that spiritual inspiration was of the material world. not accompanied by a loss of Chu dismantles the opposition between the Chinese ink brush painting, creating an effect “content.” In his treatise Mountains and Waters, abstract and the representational; clearly, in similar to that of clouds passing swiftly across the Northern Song Dynasty landscape painter his paintings, he is striving to do more than the heavens. There seems to be a parallel here Kuo Hsi uses the concepts of the “meaning just represent material objects, but rather to with the painting “Solitary Temple Among beyond the landscape” and the “wonder embody the traditional Chinese landscape Snowy Hills,” attributed to the Northern Song beyond the meaning,” suggesting that if the painting concept that it should be possible to Dynasty painter Fan K’uan, which uses a scenery depicted in a landscape painting does “journey” and “reside” within a painting. When similar diagonal composition to portray the not inspire reflection, then it cannot move the an artist uses painting to reflect on a scene majesty of the towering peaks. The serried viewer, or even the artist, and the work will be from memory, or creates a work inspired by ranks of individually distinguishable peaks in empty and meaningless. Over time, an artist poetry or music, this helps to bring humanity that painting have been transformed in “Rime internalizes the beautiful scenes they have and the world it lives in closer together. It bleue” into softer, more poetic brushstrokes viewed, the poetry they have read, the music creates spiritual fulfillment and joy, and brings and color patches which perfectly match the they have heard, and all of their other “cultural” human beings and the external universe into title of the painting, turning the painting into a memories; all of this can well up within them at harmony in which there is no distinction polyphonic symphony with a rhythm based on any time, providing a never-exhausted well of between the “self” and the “other”; everything repeated variation. inspiration for painting, and being reflected in flows together. This is the aesthetic vision that the paintings that the artist produces (whether underpins the paintings of Chu Teh-chun – the The strips of color on the sides of the picture consciously or not). joining together of Heaven and humanity. that are blocked by the frame seem to hint at the potential for boundless continuation, “Rime bleue” a painting that he completed
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LIAO Chi-chun (Taiwanese, 1902-1976)
Northeast Coast, Taiwan
（王秀雄語）、「一隻溫馴的野獸」（張永 村語）、「色彩的魔術師」（2006年故宮展 名稱）等，多為對廖繼春晚期藝術風貌的讚 美之詞。
1973 Oil on canvas 46 x 53 cm Signed lower right CC LIAO in English Inscribed and signed on the reverse To my beloved son, Shu-chung, as a souvenir, painting by Liao Chi-chun 1973 With an inscription on the reverse written by Liao Shu-chung: Liao C. C. original painting, certified by his son, Shu-chung Liao 53x46cm 21x18", “To my lovely daughter, Ann Liao From Dad, Shu-chung”
創作於1973年《東北角》原為廖繼春的四公 子廖述忠先生舊藏。廖述忠曾任密西根大學 教授，長年旅居美國。台北市立美館珍藏的 《西班牙特麗羅》油畫，原本也歸廖述忠所 有。廖繼春在世時，經常將得意之作送給子 女留念，以此作為例，畫作背面題寫有「留 給愛兒述忠保存」的親筆筆跡。後來廖述忠 又將《東北角》轉贈愛女Ann，繼續傳承父 愛。
PROVENANCE: Collection of Liao Shu-chung, the forth son of the artist, USA Collection of Ann Liao, the daughter of Liao Shu-chung, USA
NT$ 10,000,000-20,000,000 US$ 319,000-638,000 HK$ 2,439,000-4,878,000
廖繼春 東北角 1973 油彩 畫布 46 x 53 cm 簽名右下：CC LIAO 簽名畫背：留給愛兒 述忠保存 一九七三年 廖繼春畫 畫背文字： Liao C. C. original painting, certified by his son, Shu-chung Liao 53x46cm 21x18" To my lovely daughter, Ann Liao From Dad, Shu-chung （廖繼春真跡畫作，藝術家之子廖述忠保 證。尺寸53x46公分、21x18英吋。贈與我可 愛的女兒Ann。父親述忠） 來源： 藝術家四子廖述忠舊藏，美國 廖述忠之女Ann收藏，美國
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台灣早期油畫家廖繼春於日據時代即在畫壇 佔有重要的地位，作品曾入選三屆帝展、兩 度日本新文展入選、及多次台展特選的榮 耀。論其一生繪畫風格演進，隨著時代的更 迭更見精進，勇於創新、改造，晚年階段其 藝術成就甚至達到高峰。 從1920年代東京美術學校時期後印象派或外 光派的影響，到1930年代接觸日本野獸派大 師梅原龍三郎（1888-1986），催化其色彩 與造形的解放，廖繼春前期階段的題材多以 描寫台灣鄉土情趣為主。因其本身木訥內斂 的個性，繪畫風格傾向素樸沉穩，雖有誇張 變形的構圖，色彩凝鍊卻不甚開朗，風格上 其實較接近表現藝術家個性的後印象派。 約莫1956年前後，廖繼春表現出美術教育家 的典範，以身作則帶領學生投入抽象藝術的 風潮，繪畫形式變得簡約而大膽，令人驚 艷。爾後，開始運用獨特的粉紅色調，加上 青綠、粉藍對比強烈的鮮麗色彩，廖繼春式 的野獸派風格，如焉漸漸生成。特別是1962 年赴歐美考察美術回國後，改抽象轉趨半 抽象，筆觸及色彩益加奔放自由。美術學者 對於廖繼春歐美返國後至晚年之間的繪畫評 價最高。無論是「華麗諧和的野獸派畫家」
廖繼春的作品《東北角》描繪台灣東北部海 岸的迷人風光。台灣四面環海，全島有不少 知名的賞海景點，其中最受到藝術家青睞的 幾處海景：如宜蘭龜山島、台北近郊野柳、 淡水，或是屏東東港等，皆為他後期的繪畫 中經常出現的題材。而台灣東北角海岸特殊 的岬角、岩岸奇景，美不勝收，吸引藝術家 多次前來寫生作畫。如《運河》、《野柳風 景》、《龜山島》，以及此幅《東北角》等 作皆是。 《東北角》一作呈現出廖繼春後期繪畫的 個人特色：造型樸拙、色彩華美、洋溢天 真浪漫的情懷。整幅畫面的天空、海面以粉 紅、粉藍對比色調和而成。崎嶇的岩岸、磯 石則化為五彩顏色，那是民間廟宇節慶特有 的用色，整幅海景畫因而被妝點得熱情奔放 而富有動感。廖繼春在後期繪畫中以粉紅色 入畫，藝評家王素峰女士認為是畫家獨到之 舉：「無疑地，粉紅色是柔和、抒情的象 徵，當它隨同其他鮮麗的色彩出現時，真是 詩情畫意。」而粉紅色的運用，顯示出廖繼 春的赤子之心、及其浪漫精神所在。
Already one of the island’s foremost oil painters during the Japanese era in Taiwan, Liao Chi-chun was an innovative and inventive artist whose style visibly matured over time, and who produced much of his best work in his later years. Some of his earlier work was
shortlisted three times for the Teiten (Imperial Exhibition) and twice for the Shinbunten (“New Culture Exhibition”), as well as receiving many special awards at the Taiten (Taiwan Fine Arts Exhibition). During his studies at the Tokyo School of Fine Arts, from which he graduated in 1926, Liao was influenced by Impressionistic Academism and Post-Impressionist styles, in particular by the work of Japanese Fauvist Umehara Ryuzaburo (1888-1986). His experiences in Japan served as a catalyst for the creation of his own style, which would come to feature an expansive and free approach to color, form and composition. His early work shows a preoccupation with Taiwanese themes and landscapes, depicted in a relatively compact and straightforward fashion - which is not surprising if we consider his down-toearth and rather introverted character. Even so, exaggerated and slightly distorted shapes are also part of his repertoire from early on, and while his colors are dense and powerful, they have a certain opaqueness about them that is reminiscent of PostImpressionism and Expressionism.
same time abandoning abstractionism for a sort of semi-abstract approach. Most critics agree that Liao produced much of his best work in the years between his return to Taiwan in the early sixties and his death in 1976. And most of the artist’s best-known monikers, such as “Fauvist Master of Splendid Harmonies” (Wang Hsiuhsiung), “The Gentle Fauvist” (Chang Yungtsun), or the title of the 2006 National Palace Museum Exhibition, “Magician of Colors,” were bestowed mainly in recognition of Liao’s achievements in his later years.
written by the artist himself. Later, Liao Shuchung gave the painting as a present to his daughter Ann. This lot depicts the captivating beauty of Taiwan’s northeast coast. As an island, Formosa is blessed with many famous scenic spots and superb panoramas along its coastline, some of which appear with particular frequency in the artist’s later work, including Turtle Island off the Ilan coast, the natural wonders of Yehliu and the picturesque area of the Tamsui estuary (both not far from Taipei), or Tungkang in Pingtung County. The various promontories, rock formations and fascinating geological features lured Liao back time and again, and became motifs of many of his sketches and paintings, including “Canal”, “Scenery in Yehliu”, “Turtle Island”, and the present lot.
“Northeast Coast, Taiwan” displays all the typical characteristics of the artist’s late work: unpretentious style, vibrating colors, natural simplicity and warm nostalgia. Sky and sea are kept in harmonizing hues of pastel pink and blue, while a more variegated palette is reserved for the rugged coastline and outlying rocks. Together, the shades Around 1956, Liao became actively 廖繼春《運河》，羅芙奧台北2006春季拍賣會，編號064，8085萬台幣成交 LIAO Chi-chun, Canal, 1974, oil on canvas, 72.5 x 91 cm and tones employed are reminiscent involved in art education, introducing Ravenel Spring Auction 2006, lot 064, USD 2,523,802 sold of colorful temple festivals in rural a growing number of students to the art Taiwan, adding considerably to the of oil painting and becoming one of the sense of unrestrained passion and powerful This lot, “Northeast Coast, Taiwan”, was leaders of a new trend towards abstract art in motion that pervades the whole composition. originally in the possession of the artist’s fourth Taiwan. His compositions became increasingly Art critic Wang Su-feng feels that the son, Liao Shu-chung, who spent much of his simple and terse, stunning audiences with prevalence of pink tones in Liao Chi-chun’s late life in the United States, among other things a newfound boldness. Soon Liao began to work hints at the artist’s genius: “Of course, the teaching as a professor at the University of experiment with pink, dark green and soft color pink symbolizes softness, gentleness, and Michigan. Liao Shu-chung was also the original blue pastel tones, which he applied with bold lyricism, and by combining it with other bold owner of the painting “Toledo in Spain”, which strokes for maximum intensity and vividness, and fresh tones, Liao creates a uniquely poetic is now part of the collection of the Taipei Fine adumbrating the gradual birth of his very own atmosphere.” No doubt, the spots and planes Arts Museum. Liao Chi-chun was in the habit brand of Fauvism. After returning from a tour of pink or rose dappled among his landscapes of giving many of his paintings - especially of Europe and the United States in 1962, during perfectly express the artist’s romanticism and those he felt to represent his best work - to which he soaked up the latest trends in Western young-at-heart view of the world. his sons and daughters, for which this lot is a art, his strokes, palette and entire artistic good example: on the back of the painting one language moved even further beyond the finds the words “For my dear son Shu-chung” restrains of conventional painting, while at the
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153
ZAO Wou-ki
(Chinese-French, b. 1921)
17.9.80 1980 Oil on canvas 95 x 105 cm Signed lower right Wou-ki in Chinese and ZAO in French Signed on reverse ZAO WOU-Ki in French, inscribed 95 x 105 and dated 17.9.80 PROVENANCE: Galerie de France, Paris Private collection, France ILLUSTRATED: Jean Leymarie, Zao Wou-ki, Editions Cercle d'Art, Paris, 1986, black-and-white illustrated, no. 528, p. 350
NT$ 18,000,000-28,000,000 US$ 574,200-893,100 HK$ 4,390,000-6,829,000
趙無極 17.9.80 1980 油彩 畫布 95 x 105 cm 簽名右下：無極 ZAO 簽名畫背：ZAO WOU-Ki 90 x 105 17.9.80 來源： 法蘭西畫廊，巴黎 私人收藏，法國 圖錄： 尚．雷馬利，《趙無極》，藝術圈出版社， 巴黎，1986，黑白圖版，編號 528，頁350
黃公望《富春山居圖》（局部）1350年代 Huang Gongwang, Dwelling in the Fuchun Mountains (detail), c. 1350s
謎樣的神秘，來自遙遠國度的吟唱。當我們沐浴在趙無極畫裡悅目的寂靜時，那一方天地， 總是令人悠然神往。處在飄逸的、深沉的、曖曖含光、夢境般的空間時，人們忘卻了今夕是 何夕。 趙無極的繪畫訴說著山的悠久、天的浩瀚、水的柔情，描繪出大自然裡蘊藏的無限情感及包 容力。當凝視著他的畫時，慢慢地我們彷彿也變成了一座高山，或是徜徉於天上的雲彩，或 是幻化成湖水中一朵優雅的花。 1980年代，趙無極的抽象畫跨上新的高度，有一種空靈的傾向。趙無極曾坦言：「畫滿容 易，畫空難！」當人生邁入成熟階段，能夠從容又自信地面對畫布，他不再是處於激昂的戰 鬥姿態，以線條、色彩和光影當武器。此時的繪畫是他生活的空間，他生活在其中，經歷在 其中，觀者得以自由走進他的繪畫世界。 觀照過往的創作歷程，趙無極漸漸能通透體悟寧靜的詩意，他曾說，希望能畫一種看起來很 空的畫。他認為，在傳統的中國畫裡，所謂「計白當黑」，宣紙不著墨，直接留白即能表現 空的意境。然而西方的油畫是層層堆疊，往往是滿的，要如何畫「空」？那是兩樣全然不同 的思惟。來自東方的趙無極，汲取中西兩種傳統涵養，得以自由運用油彩的色韻與光感，卻 又超脫油彩的厚重感限制，慢慢的堆砌，講究的塗刷，宛如經營墨色的佈局，達到透明的、 水光般的輕盈。趙無極本身兩種傳統的優勢，再以豐富的人生經驗去構築一幅韻味的圖畫。 以趙無極的油畫《17.9.80》為例，即是一幅將通透空靈的意象表達得淋漓盡致的作品。既非 具象也非抽象，任憑觀者自由想像。構圖中央像是描寫雲霧縹緲間的山 丘，也彷如水天共一 色的沙渚臺嶼，令人想起起元代黃公望《富春山居圖》第一段的遠山墨韻。《17.9.80》作品 中，濕潤、淡雅的油彩輕施薄染，傳達出東方水墨山水的意象。而油畫顏料的五彩斑斕，鋪 陳的細膩層次，達到水墨畫難以企及的豐富感，乃是藝評家眼中趙無極油畫的可貴之處。 趙無極巧妙地融入中國的思惟透視，以及西方聖潔寧靜的光感，完成一幅看似虛空，但其實 想像非常充實的寫意圖畫。虛與實的相連，本是生活空間的不同的層面。虛實在抽象畫裡至 關重要，呼應了中國水墨畫上意境的創造，這是趙無極始終關心的課題，他致力於創造油彩 的「虛實相生的空間感」，留下想像無窮的妙境，並賦予平衡和諧的美感。作品《17.9.80》 呈現出當代的「極簡主義」風格，耐人尋味。趙無極畫筆下的一線江山，跫音綿延不斷，天 地如此遼闊。
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An enigmatic mystery, a chant from a distant land. When we bathe in the joyful tranquility of Zao Wou-ki’s paintings, that world always sends our thoughts roaming afar. When standing in that elegant, profound, warm, dreamlike space, people forget what day it is. Z a o Wo u - k i ’s p a i n t i n g s s p e a k o f t h e timelessness of the mountains, the vastness of the sky and the tenderness of the water, depicting the infinite emotions and capacity concealed within nature. When we gaze at one of his paintings, it gradually becomes as if we are a towering mountain, a floating cloud, or an elegant flower floating on a crystalline lake.
had touched the paper could directly present the concept of emptiness. Western oil paintings usually consist of many layers of colors, with the canvas always full. In that case, how does one paint “emptiness?” That is a completely different concept. Hailing from the East, Zao Wou-ki draws from both Chinese and western traditions, so that he is able to freely apply the colors and lighting of oils, but also able
penetrating lyricism. It is neither depictive nor abstract, leaving everything to the viewer’s imagination. The center appears to depict a mountain shrouded in mist, or perhaps a sandbar on a rainy day. It calls to mind the distant ink mountains from the classic Yuan dynasty painting “Dwelling in the Fuchun Mountains” by Huang Gongwang. In “17.9.80”, the oil colors are lightly and carefully spread with elegance, recalling the lyricism of eastern ink landscape paintings. The riotous colors and their delicate layering attain a richness that is hard to grasp in ink. This is one of the most highly praised aspects of Zao Wou-ki’s art.
Zao Wou-ki deftly fused Chinese conceptual perspective with sacred western lighting to complete an In the 1980s, Zao Wou-ki’s abstract apparently empty but actually quite paintings reached new heights, taking imaginatively supple freehand painting. on an air of lyricism. Zao once said, The interplay between emptiness and “Filling a painting is easy; emptying substance is a different level of the one is hard!” As a man enters his mature living space. Emptiness and substance phase, he can calmly and confidently are crucial to abstract painting, face the canvas. He is no longer in an corresponding to the conceptual agitated warrior’s stance, with lines, 趙無極《22.3.1979》，羅芙奧香港2008秋季拍賣會，編號131，814萬港幣成交 creativity of Chinese ink landscapes. colors and lighting as his weapons. The ZAO Wou-ki , 22.3.1979, 1979, oil on canvas, 97 x 130 cm Ravenel Autumn Auction 2008 Hong Kong, lot 131, US$ 1,050,323 sold This is a subject that has always been painting of this time is the space of his near to Zao’s heart. He has always life. He lives and experiences things strived to create a “sense of space between to escape the limitations of the sense of bulk from inside, and the viewer can enter freely emptiness and substance” in oil color, to form and heaviness inherent to oil paints. Through into his painted world. an infinitely imaginative realm and bestow careful layering, he attained a transparent, it with the beauty of balance and harmony. lucent sense of lightness. Zao Wou-ki draws Looking back over his creative trajectory, The “minimalist” style presented in the work from the advantages of the two traditions and a Zao was gradually able to penetrate and “17.9.80” is highly thought-provoking and rich life experience to create alluring works of comprehend the poetry of tranquility. He once alluring. The mountains that flow from Zao art. said that he hoped to be able to create a painting Wou-ki’s brush are vast and endless. that appeared empty. The concept in traditional Zao Wou-ki’s oil painting “17.9.80” is a fine Chinese painting of “treating white as black” example of the artist’s ability to vividly express meant that the white spaces left where no ink
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154
ZAO Wou-ki
(Chinese-French, b. 1921)
5.6.54 (Herbes) 1954 Oil on canvas 50 x 73 cm Signed lower right Wou-ki in Chinese, ZAO in French PROVENANCE: Galerie Pierre Loeb, Paris Private Collection, Italy Private Collection, Switzerland Former collection of Yageo Foundation, Taipei Collection of B&W Private Equity Fund, USA ILLUSTRATED: Zao Wou-Ki, A Retrospective of Work from 1948-1999, Lin & Keng Gallery, Inc., Taipei, 1999, color illustrated, pp. 18-19 (image reversed) Zao Wou-Ki, Lin & Keng Gallery, Inc., Taipei, 2005, color illustrated, p. 46 (image reversed)
NT$ 28,000,000-40,000,000 US$ 893,100-1,275,900 HK$ 6,829,000-9,756,000
趙無極 5.6.54（青草） 1954 油彩 畫布 50 x 73 cm 簽名右下：無極ZAO 54 來源： 皮耶．洛布畫廊，巴黎 私人收藏，義大利 私人收藏，瑞士 國巨基金會舊藏，台北 美商私募基金收藏，美國 圖錄： 《趙無極1948-1999年作品回顧展目錄》， 大未來畫廊藝術有限公司，台北，1999， 彩色圖版，頁18-19（圖像正反倒置） 《趙無極》，大未來畫廊藝術有限公司， 台北，2005，彩色圖版，頁46（圖像正反 倒置）
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1950年代趙無極透過克利詩意空間的提示， 找回古老中國文字蘊藏的神祕魅力。甲骨文 的象形圖文符號，原本即是取自自然界的造 形符碼，是人文智慧的結晶，近似繪畫的造 形原理。初期，趙無極先描繪大自然界有具 體形體的花草樹石等，後來漸漸轉向宇宙間 的火水風土等看不見的自然景象。1954年， 趙無極轉向抽象繪畫關鍵的一年，他從敘事 性、情節性的描寫，過渡至抒發物象之外純 粹的象徵意義。 1954年趙無極拋開具象繪畫，從克利的影響 中掙脫出來，他認為「繪畫應讓人以另外一 種眼光看事物，以繪畫的觀點看事物」，所 以他努力地「創造一種不受題材限制的語 言」。終於，趙無極回溯文化的傳承，從中 國甲骨文字的靈感找到通往抽象繪畫世界的 道路，真正屬於趙無極個人藝術的面格，至 此終於產生。趙無極說：「符號成了形體， 背景形成空間，因為一再重畫、毀棄、再重 新來過，在我心裡的東西好像開始浮現出來 了。」 法國藝評家儒瓦在1955年巴黎的《藝術》雜 誌上評論趙無極此時的繪畫特色：「趙無極 的作品清楚地顯示出中國人的宇宙觀：朦朧 和深遠反映著靜觀的精神狀態，而不是靜觀 的對象，這已經是一種當今現代全球性的視 覺觀點。」顯示趙無極繪畫中的當代性及藝 術內涵。 中國自古以來的宇宙觀相信天人合一，形氣 相感而能化生萬物，因此人與自然乃是和諧 為一體的。北宋畫家郭熙的《早春圖》即 傳達出中國人的宇宙觀：S 形的山體為畫面 主軸，經營出不斷迴旋、氣脈相通、虛實 相生的空間，雅好文藝的乾隆皇帝以詩詞讚 譽《早春圖》中山石草木間空氣的流動感： 「樹纔發葉溪開凍，樓閣仙居最上層，不藉 柳桃閑點綴，春山早見氣如蒸。」巴黎龐 畢度中心收藏有一幅趙無極1954年起名為 《風》的油畫，法國政府於1985年向藝術家 購入此畫，藉以研究其抽象藝術之演進。作 品《風》淋漓表現樹葉飄揚的意象，迴旋、 氣脈、虛實相生的空間，呼應了北宋畫家郭 熙的山水空間。 本幅油畫作品《5.6.54（青草）》完成於
1954年的春天，與龐畢度中心收藏的《風》 一作同樣為值得研究之藝術家傑作。兩幅畫 作都屬於藝術評價極高的「甲骨文系列」， 採單色主調的細膩鋪陳，可見藝術家捕捉住 大自然中無形的力量，巧妙營造出如音樂般 的蒸騰律動感。 以《5.6.54（青草）》為例，畫布背面有藝 術家以法文「青草」（Herbes）題識。他描 寫春天時節的青青草地，生意盎然的一方綠 色世界。黑色的神秘線條穿梭其間，濃淡有 致宛如書法篆刻的美麗圖像，古樸殷實的圖 紋，令人聯想起青銅器的歷史蒼茫感。而米 褐色的圖騰符碼點綴其中，生發出顫動昇騰 的律動感。其間氤氳如煙的空氣流轉，使得 整體畫面顯得迷濛詩意，空間富有層次。 特別值得一提之處，《5.6.54（青草）》和 另一幅《抽象風景》（2010年羅芙奧台北春 拍）為同年創作的作品，有極其近似的構 圖，一動一靜，一繁一簡，一濃一淡，彷彿 表現著不同季節或不同心境下的青草風景。 兩相對照之後，可閱讀出藝術家豐富有趣的 抽象畫演進。
郭熙《早春圖》1072 台北國立故宮博物院收藏 Kuo Hsi, Early Spring, 1072, 158.3 x 108.1 cm, collection of National Palace Museum, Taipei
During the 1950s, the poetical spaces and intimations of Paul Klee’s work helped Zao Wou-ki to rediscover the mysterious appeal of ancient Chinese characters. In origin, the signs employed by the oldest Chinese script, also known as the “oracle bone inscriptions” (jiaguwen), are graphic symbols used to represent all kinds of objects and concepts occurring in the natural world. As lasting pictographs and ideographs, they are fascinating examples of early human ingenuity and cultural inventiveness, and their design bears much resemblance to the composition of a painting. In his early work, Zao was content to depict nature in a fairly concrete and objective fashion: flowers and grass, trees and rocks are readily recognizable. But in his later years, the artist gradually shifted gears, aiming for the representation of more abstract ideas and forces, such as fire, water, wind and earth: the invisible powers that drive all existence. The crucial year for Zao’s switch to abstract painting was 1954, when he moved from the narrative, material and specific to the existential, non-representational and universal, from concrete objects to symbolic meanings. Klee’s oeuvre was instrumental in pushing the artist towards abandoning figural and objective painting, but at the same time Zao’s embracing of abstractionism also meant that he was leaving behind the influence of Klee’s lyricism, stating that “painting should allow people to see the world in a different way, to see it from the perspective of a painter.” Consequently, Zao strove to “create an artistic vocabulary that is not dependant on my subject.” By tracing the Chinese cultural tradition back to one of its origins, the oracle bone inscriptions, Zao learned to grasp the role of “line” (in itself an abstraction), which enabled him to simplify and generalize all those objects and images he had before represented in a more “objective” fashion. With this, the artist’s unique and much admired individual style was truly born. As Zao put it, “Suddenly, motifs began to take on shapes, while their backgrounds began to take on spatial depth, and as I repainted them again and again, discarding previous work and starting over many times, things that had
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趙無極《風》1954 油彩 畫布 巴黎龐畢度中心收藏 Zao Wou-ki, Vent, 1954, oil on canvas, 195 x 96.5 cm Collection of Centre Georges Pompidou, Paris
been hidden in the deepest recesses of my mind began to surface.” In an article about Zao Wou-ki's paintings from this period that was published in the Parisian art journal Arts in 1955, the French art critic Alain Jouffroy outlined what it was that made Zao's work from this era so special: “In Zao Wou-ki's work one can see how the Chinese vision of the universe, where flow and distance reflect the spirit of contemplation more than the object of contemplation, has been transformed into a modern vision of universal relevance.” The modernity and artistic significance of Zao’s oeuvre could hardly be summed up any better. In the Chinese view of the world, man and heaven form an organic whole, and all things and creatures in the universe come about
through the merging of matter and essence. The upshot of this is that man and nature are one, each forming an integral part of the other. This harmonious view of the cosmos is evident in Northern Song painter Kuo Hsi’s “Early Spring”: the softly zigzagging mountains form the painting’s central axis, and S-shaped rock structures help to create a sense of circular motion and make the landscape throb with currents of energy that can be felt if not actually seen. Qing Emperor Qianlong, a great friend and patron of the arts, wrote a poem to praise the merits of Early Spring: “Budding trees and thawing rivers, a hermit’s residence at lofty heights; a landscape dotted with willows and peaches, and mist rising in the valleys.” One of Zao Wou-ki’s works from 1954 titled Vent is currently in the collection of the Centre Pompidou in Paris. The French government bought the oil painting from a collector in 1985 for a research project examining the development of Zao’s abstract style of painting. “Vent” offers an abstracted yet perfectly vivid and expressive image of tree leaves fluttering in the wind, circling, blowing and wavering in a constant interplay of air and matter, mover and moved—a poignant modern echo of the atmosphere permeating Kuo Hsi’s classical landscape painting. This lot, “5.6.54 (Herbes)”, was completed in the spring of 1954 and is a masterpiece just as worthy of admiration and close study as the Centre Pompidou’s Vent. Both paintings belong to the “Oracle Bone Series,” employing delicate lines and shapes against a largely monochromatic backdrop of blocks and planes. With the assurance and subtle skill of a calligrapher, the artist manages to conjure up a sweeping impression of musical rhythm that seems to evaporate from the canvas like gusts of steam—an apt representation of the invisible forces of nature. “5.6.54 (Herbes)” has the title (Herbes, Eng. “Grass”) written on the back of the painting by the artist. On the surface of it, the composition shows a verdant stretch of grass in spring, a world dominated by lush green tones brimming with the sap of budding life. But there is more:
cryptic black lines and curves crisscross the canvas, and a closer look reveals them to be interwoven in a peculiar fashion, with the result strongly reminiscent of the beautiful semi-abstract imagery found in Chinese seal characters, or the solid engravings and embellishments found in ancient bronze ware, heavy with a sense of long history. Meanwhile, the yellow-beige totemic symbols interspersed among the calligraphic lines further add to the captivating feel of rhythm and vibration that pervades the entire picture, and the white hues invoke enshrouding mist and floating shreds of clouds, generating a dreamlike lyrical ambience and layered space. It is worth mentioning that “5.6.54 (Herbes)” was completed in the same year as “Paysage Abstrait” (“Abstract Landscape”), which was sold at the Ravenel Spring Auction 2010 Taipei and, in terms of basic structure and composition, bears a striking similarity to this lot. However, in other respects the paintings differ considerably. Where “5.6.54 (Herbes)” is brimming with motion, its counterpart is much more quiet and subdued, where the former revels in complexity, the latter emphasizes simplicity and compactness, where one prefers lush and rich tones, the other employs softer and less varied shades. It is almost as if these two pictures show the same landscape in a different season, or painted in a different mood. What is certain is that both works are prime specimens documenting the artist’s engrossing development as an abstract painter.
趙無極《抽象風景》，2010年羅芙奧台北春拍 編號151，3520萬台幣成交 Zao Wou-ki, Paysage Abstrait (Abstract Landscape) 1954, oil on canvas, 195 x 96.5 cm Ravenel Spring Auction 2010 Taipei, lot 151, USD 1,090,796 sold
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WANG Huaiqing (Chinese, b. 1944)
Lute Table 2003 Oil on canvas 165 x 200 cm Signed lower right Wang Huaiqing in Chinese EXHIBITED: Art of Wang Huaiqing, Shanghai Art Museum, Shanghai, Dec 4-12, 2007 Traces of Nature, Wang Huaiqing, Guangdong Art Museum, Guangzhou, Jan 30-Feb 24, 2008 ILLUSTRATED: Wang Huaiqing, Wang Huaiqing published, Beijing, 2004, color illustrated, p.127 Art of Wang Huaiqing, Lin & Keng Gallery, Taipei, 2007, color illustrated, p. 121 Traces of Nature, Wang Huaiqing, catalogue of Shanghai Art Museum, Lin & Keng Gallery, Taipei, 2007, color illustrated, pp.120-121
NT$ 38,000,000-48,000,000 US$ 1,212,100-1,531,100 HK$ 9,268,000-11,707,000
王懷慶 琴桌 2003 油彩 畫布 165 x 200 cm 簽名右下：王懷慶 展覽： 「王懷慶藝術展」，上海美術館，上海，展 期自2007年12月4日至12月12日 「天工開物：王懷慶藝術展」，廣東美術 館，廣州，展期自2008年1月30日至2月24日 圖錄： 《王懷慶》，王懷慶出版，北京，2004，彩 色圖版，頁127 《王懷慶藝術展》，大未來畫廊，台北 2007，彩色圖版，頁121 《天工開物︰王懷慶》，上海美術館展覽目 錄，大未來畫廊，台北，2007，彩色圖版， 頁120-121
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現今中國當代藝術家群裡，王懷慶古雅醇厚 畫風可謂獨樹一格，他承繼中國文化的古典 美學觀，又時刻反省自己身處的時空背景與 藝術環境，不斷創新的形式再造經典的價 值。三十多年來，以不願隨波逐流的堅持， 加上與生俱來的纖細敏感，他執意追求華夏 民族繁華褪去後的真淳，重現歷史的芳蹤。 他從江南民居、中國建築中他發現藝術結構 之美，橫樑、立柱的木質色澤，在素樸的白 牆對襯托下，日影下的建築空間的陰暗對 比，成就了一幅黑白的抽象畫構成，那是描 寫紹興老屋的作品《故園》（上海美術館收 藏）。而一張看似平凡無奇的明式舊椅，透 過王懷慶的眼與手，在粗重的黑色結構下， 傳達出屬於東方的情調，捕捉文明的美學遺 址，是作品《大明風度》，此畫獲得1991年 中國油畫年展金獎的高度榮譽。兩幅畫標誌 出王懷慶在主題選擇的開端與轉折。 從建築的探索，到傢俱的拆解，王懷慶在其 中發現了中國人的高度智慧與美學傳承。其 實，儘管他所關注的對象轉變，但本質其實 相同，在藝術家的眼中，它們造型與結構都 相同。王懷慶曾說：「我之所以當時從『民 居』轉入『傢俱』的描寫，是因為在我眼 裡—『都一樣』。傢俱就是能夠移動的建 築，無論從造型還是從結構，沒有任何區 別。對於一種思想與情感的載體而言，人與 山與地與天與建築與傢俱與河與雲與月與花 與房與風……都是同等的，只是看你對哪一 種載體情有獨鐘而已。」 （摘錄自王懷慶〈大明 風度的謎底〉一文）
無論是建築抑或是傢俱，雖然選擇了這些 沒有生命的物件，但其實藝術家自我深度 的思考隱身其中，文化的痕跡與氣味也存在 其中。畢業自中央工藝美術學院裝潢繪畫系 與美術研究所，他擅長畫面的置陳佈勢，予 人一種劇場式的聯想，如同人物離場後的舞 台空間。曾有的粉墨登場，曾有過的輝煌故 事，只能留給觀眾去回想。他曾說道：「特 別想畫一幅畫來把這種有生命的東西和這種 物件，沒有生命的東西，給它的主角和它的 次角做一個倒置，有時候覺得人的生命不管 多輝煌，多奢靡，全都是比較脆弱的，有時 候還不如一個傢俱更永恆，更長久，物很 近，人很遠，就這種物是人非的一種情緒 吧。」
王懷慶的老師吳冠中認為，大自然中充滿抽 象之美，教導人們無須畏懼抽象，在中國人 所建造的文化裡更是如此。吳冠中發現江南 水鄉粉牆黛瓦之美，鍾情於江南特有的黑白 語彙，從大塊的黑色裡發展出純抽象形式。 黑與白 ，乃是中國水墨傳承裡最重要的色 彩，是老祖先流傳的情趣。黑色，更是超乎 顏色的層次，召喚出中國傳統藝術裡的內在 聯繫。吳冠中從黑白引渡到抽象的構成，啟 發了王懷慶也選擇黑與白的虛實對應。他刻 意將所有的傢俱黑色化，改變其生活器物的 本色，轉化成為藝術的形式，也顯示畫家對 文化淵源的追溯與連結。 王懷慶在〈大明風度的謎底〉一文裡，總 結出自己的三大創作語彙，其一是上述的 「把所有出現在畫面裡的傢俱黑色化」，其 二是「把傢俱置處在一種虛無而空的背景 裡，更換了世上所有傢俱傳統的必然位置— 『地面』，第三是「把立體拍成平面」。他 幽默地形容這三個語彙如魔術謎底，不應說 穿。然而它們能讓觀者更容易領略藝術家的 心機。以2003年王懷慶的大幅油畫《琴桌》 為例，或可說明藝術家所採用的三種轉換的 特點。一張極度簡化的、拉長變形的琴桌， 木質的顏色概約成黑色，轉換成如「門」字 形的黑色線條及黑色色塊。大面積的背景留 白，讓琴桌漂浮在虛無飄渺的空間裡，空間 中不見透視，原本的立體結構在此轉化為平 面的構成。 近年來，王懷慶偏愛在畫布上添加拼貼，豐 富原有的空間表現，有時是老窗花、有時是 散裂的傢俱元件。而在《琴桌》的大片留白 空間，畫家向來擅長處理的肌理效果，灰白 的牆，斑駁的，皴染的，留有歷史的古老妝 痕。左上方拼貼有棕色布塊，形成古樸、和 諧的質感，可見他的烘托巧思，使畫面的層 次更有變化，即使簡化了顏色，簡化了物件 造型，卻一點也不覺單調。 修長古雅的琴桌，以遒勁簡約的黑色結構 表現，橫的黑，顯得剛毅敦厚，豎的黑， 則顯得溫婉娟秀。黑色的構成中傳統書法的 筆勢，也可見西方抽象的符號形式，經過畫 家的細心鋪陳轉化，形成中西合璧的繪畫結 晶。琴桌兀自地漂浮在畫面中，少了弦琴作 伴，也無主人的彈奏，它彷彿失去了附著， 失去了歸屬，形成某種的斷裂關係。而藝術
家所欲揭露的是歷史與文化之間的斷裂，如 同今日我們所面對的環境變遷。 值得留意之處，王懷慶將琴桌形象概括成一 種平面化的圖案，不禁令人聯想起傳統京戲 中的舞台佈景。畫家在此精心安排下，追求 景物的平面化與裝飾性，黑白兩色的對比鮮 明，強調空間的二維性，使得優雅的琴桌在 極度平面化的佈局中，烘托地更加突出，而 產生極佳的藝術效果。在中國的舞台藝術或 是民間剪紙藝術裡，平面化都是一種經典的 表現形式。無疑地，王懷慶深刻理解自己的 藝術追求，他透過作品裡反映出對人文的感 悟與關懷，對時代的思考與期待，同時藉此 向民族藝術的審美價值致敬，他表現新時 代的傳承精神，在當代藝術家中殊為難得可 貴。
Among the Chinese contemporary artists, Wang Huaiqing is unique in painting style with classic elegance and frankness. He has inherited classical aesthetic concept of Chinese culture, at the same time, he often introspects the time and background, as well as art environment, he involved. His continuous innovation in the form of recycling classic has created worthwhile value. For more than 30 years, his persistence in refusing to follow the trend, together with his innate delicate sensation, has made him deliberately pursuit of the truth and honest after eliminating flourishing Chinese nation, and
and the dark shadow under the architectural space have formed a black-and-white abstract drawing. This is the depiction of “Hometown” (collection of Shanghai Art Museum) regarding to Shaoxing old houses. And a seemingly ordinary old-style chair conveys the atmosphere of the Orient, through the eyes and hands of Wang Huaiqing, who captured the aesthetic civilization with heavy black structure. This is the work, “The Great Ming Manner”, which was highly rewarded and got gold medal of First Annual Exhibition of Chinese Oil Painting in 1991. These two paintings of Wang Huaiqing have marked his beginning and turning point in choice of the theme. From exploration of the construction to dismantle of the furniture, Wang Huaiqing has discovered the great wisdom and aesthetic heritage of Chinese people. Though he has changed the object of concern, in fact, the essential of the concern is the same. In the artist’s view, they are same in respect of shape and structure. Wang Huaiqing once said, “The reason for I transferred from the description of ‘residential houses’ to ‘furniture’ is that in my eyes they are ‘all the same’. Furniture is the movable building, in terms of form and structure, there is no distinction. For an ideological and emotional carrier, it can be people, mountain, earth, heaven, construction, furniture, river, cloud, moon, flower, house, wind, etc. but everything is the same. It is up to you for selecting the carrier you affectionate.” (Extracted from Answer to the Riddle of the Great Ming
Manner , written by Wang Huaiqing)
2007年上海美術館「王懷慶藝術展」一景 The Art of Wang Huaiqing, exhibition view, Shanghai Art Museum, 2007
reproduce the prosperous history. He discovered the beauty of art structure from the residential houses in the South of Yangtze River, which is the peculiar architecture in China. The wooden color of the beam and pillars that reflected by the plain white wall
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Though the lifeless object has been selected, whether it is construction or furniture, actually the selfhood thinking of the artist, as well as the cultural trace and aroma, has been deeply embedded in it. Graduated from the decorating and painting department of Central Academy of Fine Arts and Crafts, and Arts and Crafts Institute, he is an expert in allocation and distribution, giving out a theatrical association with a stage space after people leave the arena. The made up beauty and the brilliant story could only leave a memory for the audience to recall. He once said, “I particularly like to paint a picture with a living object and a lifeless object, but converting the protagonist with deuteragonist. Sometimes, I feel that the life whatever how brilliant and extravagant it
is, it is relatively fragile. To some extent, it is not so eternal and long lasting as the furniture. The material is very close, but people are very remote. This is what we called an emotional vicissitudes.” Wu Guanzhong, the teacher of Wang Huaiqing, believes that the beauty of abstraction is abundantly existed in nature. He advisesd people not to fear of abstraction, especially the abstraction in the culture created by Chinese people. Wu Guanzhong has found the beauty of white wall and black tiles in the construction at the South of Yangtze River, and he is in favor of peculiar black-and-white expression at the South of Yangtze River, with pure abstract formation developed from massive black. Black and white colors are most important in the heritage of Chinese ink painting, and they reveal the sentimental feeling of the ancestors. Black is beyond the scope of colors and indicates the intrinsic links in Chinese traditional art. Wu Guanzhong extradited the black-and-white to form abstraction, inspiring Wang Huaiqing to choose the counterparts of black and white. He deliberately blackened all the furniture and changed the nature of living utensils into a form of art, showing the retrospection and linkage of the cultural origins pursued by the artist. Wang Huaiqing has summed up three creative statements in his article, Answer to the Riddle of the Great Ming Manner. The first one has already been mentioned above, which is to “blacken all the furniture appeared in the picture”. The second one is to “put the furniture in an empty background, and changed the traditional inevitable position – ‘ground’, which is the normal location for all furniture in the world”. The third is to “make threedimensional scene into plain”. He humorously described these three statements as the magic words, which should not be disclosed. However, they could make the audience to understand the intention of the artist more easily. The large scale oil painting, “Lute Table”, created by Wang Huaiqing in 2003, could be taken as a good example to illustrate three conversion features adopted by the artist. An extremely simplified elongated and distorted “Lute Table”, the color of the wood has been turned to black, and the structure has been converted into a “gate” shaped in black lines and blocks. Large area of background left blank, making the
王懷慶《金石為開》，羅芙奧2007年秋季拍賣會，編號069，8796萬台幣成交 WANG Huaiqing, Gold Stone, oil on canvas, 200 x 480 cm, Ravenel Autumn Auction 2007, lot 069, US$ 2,726,174 sold
“Lute Table” float in the airy space. There is no perspective in space and the original threedimensional structure has been transformed into a planar configuration.
attribution, constituting a certain relationship of fracture. The artist intended to expose the fracture between history and culture, just as today the environmental change we are facing.
In recent years, Wang Huaiqing has preferred to add collage on the canvas to enrich presentation of the original space. Sometimes, the old window tracery, and other times, the dilapidated furniture pieces were adopted. The large area of blank space in “Lute Table” has been treated with effective texture by the painter, who is good at this treatment. The gray wall, which mottled and crimpled, has left traces of makeup in ancient history. The upper left was added with brown cloth collage, showing simple and harmonious texture. It reflects his heightened ingenuity to make the picture with more changeable layers. Even if the colors and the models of the object are simplified, it is not monotonous at all.
It is worth noticing that Wang Huaiqing has summarized the lute table into a planar image, which recalls people’s memory of the stage setting for traditional Peking opera. Under this meticulous arrangement, the artist pursues the features of the plane and ornamental, as well as the distinctive contrast between black and white. The two-dimensional space was focused,
The slender quaint lute table is expressed with a vigorous and simple black structure. The horizontal black shows rigidity and significant, and the vertical black appears elegant and beautiful. In the composition of black, the handwriting of traditional calligraphy has visualized symbols of western abstraction. After careful presentation of the transformation by the artist, a crystallization of Chinese and Western painting has been formed. “Lute Table” is lonely floating in the picture, without strings to accompany, nor master to play. It seemed to have lost its attachment and
《琴桌》草圖 A sketch for the "Lute Table"
making elegant “Lute Table” heightened and prominent in extreme planar layout, and producing an excellent artistic effect. For the stage art and folk paper-cut art in China, the complanation is the classic expression. Undoubtedly, Wang Huaiqing has profoundly realized his artistic pursuit. Through his works, he has expressed his sentiment and concern for humanity, his consideration and expectation for the epoch. At the same time, he has hailed the aesthetic value of folk art and demonstrated the heritage spirit of the new era, which is rare among the contemporary artists.
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JU Ming
(Taiwanese, b. 1938)
Taichi Series - Shadow Boxing 1998 Wooden sculpture 48.1(L) x 32.9(W) x 67.8(H) cm (left) 50(L) x 35(W) x 66(H) cm (right) Engraved Ju Ming in Chinese and dated '98 (both) This sculpture is to be sold with a certificate issued by the Nonprofit Organization Juming Culture and Education Foundation.
NT$ 15,000,000-20,000,000 US$ 478,500-638,000 HK$ 3,659,000-4,878,000
朱銘 太極系列─對招 1998 木雕 48.1(長) x 32.9(寬) x 67.8(高) cm（左） 50(長) x 35(寬) x 66(高) cm（右） 簽名雕刻：朱銘 '98（2件） 附財團法人朱銘文教基金會所開立之作品鑑 定報告書
朱銘1938年出生於台灣的苗栗縣通宵鎮，早 年未接受完善的美術教育，15歲時跟隨李金 川師傅學習傳統木雕技藝。30歲時，他放棄 在大雕刻廠首席師傅的高薪，離開故鄉，向 雕刻大師楊英風學藝術現代雕塑，為期八 年。當年朱銘身體瘦弱，楊英風建議他修習 太極拳養身。練太極拳原本僅為了強身，然 而領悟力極強的朱銘，卻從中體會到思想與 心靈上的奧妙。 以太極拳調養與修行期間，朱銘體會到自然 萬物、大氣運作的能量與蘊涵，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。 朱銘的太極系列大致分為兩大類，一類展現 個體的技巧與姿態，另一類則講求兩股力量 之間的對立關係，也就是雙人對打。在單一 人物的太極雕塑中，太極的力量和節奏透過 身體的運動和姿勢來表達。但太極在本質上 可謂兩極相生，即「陰」與「陽」，兩極相 互關聯，循環往復合而為一，構成和諧而有 力的運動。此件《太極系列—對招》動靜、 虛實之間，將太極拳隨屈就伸、人剛我柔、 借人之力、順人之勢的精義顯露無疑。在 「太極系列」的創作探索中，朱銘經歷了從 有形到無形的千雕萬鑿，其作品材質上樟木 的古色古香，把人帶入到寧靜而悠遠的哲學 境界。 在朱銘眼中，「太極系列」才是他個人風格 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。太 極拳講究勻、慢、柔、圓，充分體 現美學思 想，宛如不同的人練太極同一招式時，會展 現不同的力度。因此，當朱銘在雕塑每一件 太極時，也賦予他們獨特的生命力。朱銘掌
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握了太極的精神與形式的概念，他的創作愈 益自信洗鍊，達到「隨意雕琢」忘我的境 界。簡單的劈、削、砍，律動感與重量感於 焉而生。在這件作品中，太極對招表現了兩 種武打形式，兼具冷靜與力度。 牛津大學美術史學家蘇立文曾說：「太極 同時也是一種儀式性的格鬥形式，兩個形 體相互對峙。在太極對招中，藉由參與者的 移動，他（較少是她）得以勝過自己。古代 的軍事分析師孫子寫道：知己知彼，百戰百 勝。」 （參閱《朱銘太極系列雕塑》，漢雅軒，香港， 1993） 。法國藝評家尚律克．夏綠莫讚譽： 「朱銘在三度空間中以線條、形式，解決銅 雕向來存在的笨重感問題，熟練地呈現太極 的律動，使中國武術藝術的不安定狀態取得 和諧、平衡。他認為朱銘的『太極旋踢』和 『太極對招』似乎重現了希臘雕像的神奇發 現，大塊量體中竟然隱藏著矯捷的形式。」 （參閱尚律克．夏綠莫著《朱銘》， 藝術圈出版社，巴 黎，2002，頁79）
Ju Ming was born in 1938 in Tunghsiao, Miaoli County, which is a center of wood carving in Taiwan. He received very little formal education in the arts, and at the age of 15, he was apprenticed to Lee Chin-chuan, a famous traditional master wood-carver. When he was 30, he decided to give up a well-paid position as a chief craftsman in a large woodcarving factory. He left Miaoli to study sculpture with the master sculptor Yuyu Yang with whom he studied for eight years. Yang suggested to Ju Ming that he take up Taichi boxing, the traditional Chinese boxing, as he had a frail constitution, and it would help him to improve his health. Ju Ming soon discovered that practicing the ancient 'martial art' did more than just make him stronger: it gave him much food for thought and opened up profound new vistas
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. The Taichi Series by Ju Ming can be broadly divided into two categories: those depicting individuals demonstrating their skills and postures, and those that examine the contradictory relationship between opposing forces - the twin sparring figures. With the single Taichi figures, the force and rhythm of Taichi are expressed through body movements and postures. However the nature of Taichi is such that there are two types of chi: the Yin and the Yang. These two entities share a reciprocal relationship and are united as one, creating a harmonious and powerful movement.In this “Taichi Series - Shadow Boxing”, he has given ultimate presentation the pith of shadowboxing yielding to dissolve attacking force, treating rigidity with suppleness, borrowing external force and complying with external orientation. In the creation exploration of “Taichi Series”, Ju Ming has experienced a magnitude of elaboration from tangible to intangible. Oldworld charm camphorwood used as material of his works bring people into a serene and remote philosophical world. 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
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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. The sculptures also play with a colorful effect of change between light and shadow. In “Single Whip”, Ju Ming found his own voice and creates works of tremendous vitality and irresistible power as he explores the pure energy of traditional Taichi boxing. Mastering the spirit of Taichi and the concept of forms, Ju Ming’s creations grew increasingly confident and refined, reaching a realm where he “carves at will”, oblivious of himself. With a few clean marks of chopping, peeling and splitting, the sense of movement and weight is expressed. In this lot, the Taichi sparring represents two fighting forms possessing both calmness and dynamism. The form of shadow boxing, and the corresponding relation between spaces, later became an important key to his breakthrough with the more abstracted “Taichi Arch” series. The scholar of art history in Oxford University, Michael Sullivan, said: “Taichi is also a form of ritual combat in which two figures actively oppose each other. In Taichi boxing, the participant moves so that he (more rarely she) extends beyond himself. Know your enemy as well as yourself, wrote the ancient military strategist Sun Zi, and you will be invincible!” (Ju Ming Taichi Sculptures, Hanart T Z Gallery, Hong Kong, 1993)
The French art critic, Jean-Luc Chalumeau, ever praised Ju Ming’s art: “However, that was referring to lines, or forms worked upon in the third dimension, whereas Ju Ming has to solve the constant problem of extricating, from the massiveness of a block of bronze, the sensation of a Taichi Art in which balance must be kept in the midst of disequilibrium. “Taichi Spin Kick” and “Taichi Shadow Boxing” seem to revive the miraculous discoveries of Greek statuary, hidden in the mass of these strangely agile forms.” (Jean-Luc Chalumeau, Ju Ming, Editions Cercle d’Art, 2002, p. 79)
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JU Ming
(Taiwanese, b. 1938)
Taichi Series – Single Whip 1975 Bronze, edition no. 10/16 51.3(L) x 28.1(W) x 35.6(H) cm Engraved on the back Ju Ming in Chinese, dated '75, numbered 10/16 This sculpture is to be sold with a certificate issued by the Nonprofit Organization Juming Culture and Education Foundation.
NT$ 6,000,000-8,000,000 US$ 191,400-255,200 HK$ 1,463,000-1,951,000
朱銘
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」。具有視覺力度與 造型美感的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。朱銘雕刻過多件 「單鞭下勢」，名稱上雖然相同，但其神 態、氣勢不同，各有千秋，如同不同的人練 太極同一招式，會有不一樣的氣味。因此， 當朱銘在雕塑每一件太極時，也賦予他們獨 特的生命力。 朱銘在「太極系列」創作同時參照、融合架 上雕塑與空間環境雕塑，引進現代雕塑的新 觀念。朱銘的雕塑作品為現代化的公共空間 賦予廣闊的視覺創造以及經典人文圖景。其 中尤以「太極系列」之獨特的視覺符號和雕 塑形態，成為都市生活的互補和自然造化的 延伸。作品形成以靜制動的視覺張力，震撼 人心的體量感，具有特定的時代感召力，富 有當代審美精神的想像和陶冶。
太極系列—單鞭下勢 1975 銅雕 10/16 51.3(長) x 28.1(寬) x 35.6(高) cm 簽名雕刻後側：朱銘 '75 10/16 附財團法人朱銘文教基金會所開立之作品鑑 定報告書
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In all the works of “Taichi Series” by Ju Ming, Single Whip is the most well-known form among the world. With its dynamic visual impact and aesthetic appearance, Taichi boxing seems tender and powerless, but it’s Yin and Yang mutual responsive in reality and involves
activity and quietude, rigidity and fluidity. Its posture leads the body and balance both action and breath, and then have the effect upon quiet and peaceful. Ju Ming sculpted a number of Single Whip works. Although they share the same name, the spirit and dynamism of each work is uniquely different. This may be compared to how different people may be doing the same Taichi moves, yet each will have his own style. Thus, when Ju Ming was sculpting each work, he also imbued each with its own individual life force. The “Taichi Series” integrates the traditional concepts of sculpture with a new and exciting ‘capturing’ of nature and energy. The works are created for public display in a public space and bring a very humanistic prospect to urban life. With its unique visual symbols and sculptural graphic arts, the “Taichi Series” is very ‘urban’ but its energy and force is from nature. The works visual effect is of the dynamic conquering the static material, creating an excitement that is immediately apparent to the viewer. The sculptures are totally modern yet imbued with primitive life forces.
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LI Chen
(Taiwanese, b. 1963)
Soothing Breezes Floating Clouds 2005 Bronze, edition no. 6/8 70(L) x 50(W) x 120(H) cm Engraved Li Chen in Chinese and English, numbered 6/8 and dated 2005 EXHIBITED: Li Chen-In Search of Spiritual Space, National Museum of China, Beijing, 2008 ILLUSTRATED: Li Chen in 52nd Venice Biennale - Energy of Emptiness, Asia Art Center, Taipei, 2007, color illustrated, cover & pp. 173-177 (different sized version illustrated) Li Chen in Beijing-In Search of Spiritual Space, Asia Art Center, Taipei, 2008, blackand-white illustrated, pp. 116-123 & p. 172 & p. 175 (different sized version illustrated) The sculpture is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.
NT$ 3,600,000-5,600,000 US$ 114,800-178,600 HK$ 878,000-1,366,000
李真於2005年完成此作，是「大氣神遊」系列之一，充滿著神仙和詩人的浪漫情懷。其雕塑 形態自若愜意，雲朵竟如此輕巧飄然，讓人賞心悅目。李真確實極為擅長處理這種量體輕重 對應關係，如同「獨上雄峰天之界，輕駕浮雲樂逍遙」的絕妙東方藝術，直接傳達到心裡。 《清風雲露》使觀賞者有如「初化露、望長空、赤日地、御青煙」是心靈理想世界，加上幽 默感與寬闊內韻之造化，氣定神閒的雕塑人物，有道家之仙者姿態漂於仙界，一種乾坤扇、 遙指風、天靈界、化大千的虛幻清淨之氣質，令人極為心動。
李真 清風雲露 2005 銅雕 6/8 70(長) x 50(寬) x 120(高) cm 簽名雕刻：李真 Li Chen 6/8 2005 展覽： 「李真—尋找精神的空間」，中國美術 館，北京，2008 圖錄： 《第52屆威尼斯雙年展－虛空中的能 量》，亞洲藝術中心，台北，2007，彩色 圖版，封面及頁173-177 《尋找精神的空間－李真中國美術館個 展》，亞洲藝術中心，台北，2008，彩色 圖版，頁116-123，頁172及頁175 附亞洲藝術中心開立之原作保證書
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Li Chen completed this work in 2005 as part of his series "Spiritual Journey through the Great Ether", and it is full of the romantic mood of immortals and poets. The sculpture has a self-satisfied manner, with the figure floating ethereally and aesthetically on top of clouds. Li Chen certainly excels at dealing with this type of corresponding relationship between the form and impact of the image. This type of eastern art has a direct transmittance to the heart, and is as described in his lines of verse: "standing alone on heavenly mountain tops, floating unfettered on clouds." “Soothing Breezes Floating Clouds” impresses an ideal world of "Early dusk, looking out into the void, the red sun sets, driving away the gray smoke" as Li Chen writes. It is a creation infused with a sense of humor and an expansive inner harmony, a leisurely and spirited figure, with the air of a Taoist immortal floating in paradise. In a supremely moving manner, his auspicious fan directs a remote breeze. In his heavenly world he peacefully melts the boundless illusions.
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Yuyu YANG
(YANG Ying-feng) (Taiwanese, 1926-1997)
Advent of the Phoenix III 1970 Stainless steel, edition no. 10/10 220(L) x 140(W) x 180(H) cm Engraved Yuyu YANG Ying-feng in Chinese, Yuyu YANG Yang F. in English, dated 1970 and numbered 10/10 This sculpture is to be sold with a certificate of authenticity issued by Yuyu Yang Foundation, Taipei.
NT$ 3,200,000-6,000,000 US$ 102,100-191,400 HK$ 780,000-1,463,000
楊英風 鳳凰來儀（三） 1970 不鏽鋼 10/10 220(長) x 140(寬) x 180(高) cm 簽名雕刻：1970 呦呦 楊英風 Yuyu YANG Yang F. 10/10 附財團法人楊英風藝術教育基金會呦呦藝術 事業有限公司開立之作品保證
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JU Ming
(Taiwanese, b. 1938)
Taichi Series - Arch 1996 Wooden sculpture 43(L) x 12(W) x 23(H) cm Engraved Ju Ming in Chinese and dated '96
NT$ 3,400,000-4,800,000 US$ 108,500-153,100 HK$ 829,000-1,171,000
朱銘 太極系列—拱門 1996 木雕 43(長) x 12(寬) x 23(高) cm 簽名雕刻：朱銘 '96
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Takashi MURAKAMI (Japanese, b. 1963)
Kansei: Abstraction; Like the River's Flow (a set of 2) 2010 Offset lithograph 70 cm (diameter) (x2) Signed lower right M and numbered 27/300 (upper) Signed lower right M and numbered 219/300 (lower) With one seal of the artist (both)
NT$ 50,000-100,000 US$ 1,600-3,200 HK$ 12,000-24,000
村上隆 澗聲：抽象、如河水般流淌（2件1組） 2010 限量石版畫 70 cm（直徑）（x2） 簽名右下：M 27/300（上） 簽名右下：M 219/300（下） 鈐印左下：澗聲
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Takashi MURAKAMI (Japanese, b. 1963)
Flowerball-Red-3D-The-MagicFlute / Flower Ball 3D (a set of 2) 2008; 2009 Offset lithograph 70 cm (diameter) (x2) Signed lower right M and numbered 26/300 (upper) Signed lower right M and numbered 199/300 (lower)
NT$ 50,000-100,000 US$ 1,600-3,200 HK$ 12,000-24,000
村上隆 小花球（3D）魔笛；小花球（3D） （2件1組） 2008；2009 限量石版畫 70 cm（直徑）（x2） 簽名右下：M 26/300（上） 簽名右下：M 199/300（下）
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Takashi MURAKAMI (Japanese, b. 1963)
Kansei: Korin Gold; Korin Red Stream (a set of 2) 2007; 2009 Offset lithograph 70 cm (diameter) (x2) Signed lower right M and numbered 136/300 (upper) Signed lower right M and numbered 217/300 (lower) With one seal of the artist (both)
NT$ 50,000-100,000 US$ 1,600-3,200 HK$ 12,000-24,000
村上隆 澗聲系列：光琳金、光琳紅色河流 （2件1組） 2007；2009 限量石版畫 70 cm（直徑）（x2） 簽名右下：M 136/300（上） 簽名右下：M 217/300（下） 鈐印左下：澗聲（兩件）
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Takashi MURAKAMI (Japamese, b. 1963)
Purple Flower Bouquet; Even the Digital Realm has Flowers to Offer! (a set of 2) 2009; 2010 Offset lithograph 70 cm (diameter) (x2) Signed lower right M and numbered 127/300 (upper) Signed lower right M and numbered 43/300 (lower)
NT$ 50,000-100,000 US$ 1,600-3,200 HK$ 12,000-24,000
村上隆 紫花束；數位王國之花 （2件1組） 2009；2010 限量石版畫 70 cm（直徑）（x2） 簽名右下：M 127/300（上） 簽名右下：M 43/300（下）
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Takashi MURAKAMI (Japanese, b. 1963)
Open Your Hand (top left); Purple Flower Bouquet (top right) Poporoke Forest (lower left); KaiKai KiKi and Me (lower right); (a set of 4) 2010; 2011 Offset lithograph 86 x 67 cm (top-left) 70 cm (diameter) (top-right) 75.5 x 91.5 cm (lower-left) 67 x 67 cm (lower-right) Signed lower right M and numbered 31/300 (top-left) Signed lower right M and numbered 128/300 (top-right) Signed lower right M and numbered 101/300 (lower-left) Signed lower right M and numbered 123/300 (lower-right)
NT$ 100,000-200,000 US$ 3,200-6,400 HK$ 24,000-49,000
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村上隆 張開你的雙手； 紫花束； Poporoke之谷； KaiKai KiKi與我 （4件1組） 2010；2011 限量石版畫 86 x 67 cm（左上） 70 cm（直徑）（右上） 75.5 x 91.5 cm（左下） 67 x 67 cm（右下） 簽名右下：M 31/300（左上） 簽名右下：M 128/300（右上） 簽名右下：M 101/300（左下） 簽名右下：M 123/300（右下）
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KIM Duck Yong (Korean, b. 1961)
Grain Series-Peach 2004 Mixed media on board 35(L) x 83(W) x 4(D) cm With one seal of the artist With one seal of the artist on the reverse
NT$ 160,000-260,000 US$ 5,100-8,300 HK$ 39,000-63,000
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金德龍 木紋系列—桃子 2004 綜合媒材 木板 35(長) x 83(寬) x 4(厚) cm 鈐印左下：龍 畫背鈐印：龍
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Tetsutaro KAMATANI
鎌谷徹太郎
(Japanese, b. 1979)
哭泣的女人 2009 壓克力 畫布 91 x 73 cm 簽名畫背：C u b i s m f o r m e 「We e p i n g Woman」 Kamatani Tetsutaro 2009
Weeping Woman 2009 Acrylic on canvas 91 x 73 cm Signed on the reverse Kamatani Tetsutaro and titled Weeping Woman in English, inscribed Cubism for me in English, dated 2009
Illustrated: Ultra Superficial, Gallery J. Chen, Taipei, color illustrated
ExhibitED: Ultra Superficial, Gallery J. Chen, Taipei, March 21- April 30, 2009
NT$ 200,000-400,000 US$ 6,400-12,800 HK$ 49,000-98,000
展覽： 「極端膚淺論」，J. Chen畫廊，台北，展期 自2009年3月21日至4月30日 圖錄： 《極端膚淺論》，J. C h e n畫廊，台北， 2009，彩色圖版
鄭真蓉
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紅色天空下的城樓
Cheng Jing Yong (Korean, b. 1972)
The National Treasure No. 1 2008 Mixed media on board 165 x 170 cm Signed on left edge Jing Yong in Han and dated 2008 Signed on the reverse JEONG JIN YONG and titled THE NATIONAL TREASURE NO.1.0802 in English, dated 2008, inscribed 165 x 170 cm
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ExhibitED: Jeong Jinyong’s Solo Exhibition, Han Ji Yun Contemporary Space, Seoul, 2008 Exhibited Image of the World, My Humble House Art Gallery, Taipei, May 14 - June 19, 2011
NT$ 350,000-500,000 US$ 11,200-15,900 HK$ 85,000-122,000
2008 綜合媒材 木板 165 x 170 cm 簽名左側：真蓉 2008 簽名畫背：THE NATIONAL TREASURE NO.1.0802 JEONG JIN YONG 165x170cm 2008 展覽： 「鄭真蓉個展」，韓之演畫廊，首爾， 2008年 「影像的世界」，寒舍空間，台北，展期 2011年5月14日至6月19日
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YOON Jongseok (Korean, b. 1970)
Dog 2009 Acrylic on canvas 112 x 162 cm Signed on right edge Yoon Jongseok in English and dated 2009
尹鍾錫 EXHIBITED: China International Gallery Exposition, China World Trade Center, Beijing, 2009 Exhibited Image of the World, My Humble House Art Gallery, Taipei, 2011
NT$ 300,000-500,000 US$ 9,600-15,900 HK$ 73,000-122,000
狗頭 2009 壓克力 畫布 112 x 162 cm 簽名右側：Yoon Jongseok 2009 展覽： 「中藝博國際畫廊博覽會」，中國國際貿易 中心，北京，2009年 「影像的世界」，寒舍空間，台北，2011年
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LEE Seung Min (Korean, b. 1978)
The Positive Conspirator 2008 Oil on canvas 194 x 130.5 cm Signed on the reverse Lee S.M. in English and dated 2008
NT$ 350,000-450,000 US$ 11,200-14,400 HK$ 85,000-110,000
李承玟 正向的密謀者 2008 油彩 畫布 194 x 130.5 cm 簽名畫背：Lee S.M. 2008
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YOON Jongseok (Korean, b. 1970)
Pistol 2008 Acrylic on canvas 100 x 200 cm Signed on right edge Yoon Jongseok in English and dated 2008
ExhibitED: Art Beijing 2008 Contemporary Art Fair, National Agriculture Exhibition Center, Beijing, 2008 Exhibited Image of the World, My Humble House Art Gallery, Taipei, 2011
NT$ 400,000-600,000 US$ 12,800-19,100 HK$ 98,000-146,000
尹鍾錫 手槍 2008 壓克力 畫布 100 x 200 cm 簽名右側：Yoon Jongseok 2008 展覽： 「藝術北京當代藝術博覽會」，北京農業展 覽館，北京，2008年 「影像的世界」，寒舍空間，台北，2011年
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Ayako ROKKAKU (Japanese, b. 1982)
Little Girl and Baby Elephant 2008 Acrylic on canvas 101 x 153 cm Signed lower right Ayako Rokkaku in Japanese and dated 2008
NT$ 400,000-600,000 US$ 12,800-19,100 HK$ 98,000-146,000
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六角彩子 女孩與小象 2008 壓克力 畫布 101 x 153 cm 簽名右下：2008 ロッカクアヤコ
173
KWON Ki Soo (Korean, b. 1972)
Blow Off Day - Silver 2008 Acrylic on canvas 194 x 130 cm Signed on the reverse Kwon Ki Soo in Han Characters and English, dated 2008
NT$ 450,000-750,000 US$ 14,400-23,900 HK$ 110,000-183,000
權奇秀 放天空─銀 2008 壓克力 畫布 194 x 130 cm 簽名畫背：權奇秀 Kwon Ki Soo 2008
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KWON Ki Soo (Korean b. 1972)
Red River 2009 Acrylic on canvas 130 x 130 cm Signed on the reverse Kwon Ki Soo in Han character and English, dated 2009
NT$ 550,000-800,000 US$ 17,500-25,500 HK$ 134,000-195,000
權奇秀 紅河 2009 壓克力 畫布 130 x 130 cm 簽名畫背：權奇秀 Kwon Ki Soo 2009
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KIM Duck Yong (Korean, b. 1961)
The Grain-Woman Mixed media on board 118(L) x 176(W) x 6(D) cm Engraved lower right Kim Duck Yong in Korean With one seal of the artist on the reverse
NT$ 650,000-850,000 US$ 20,700-27,100 HK$ 159,000-207,000
金德龍 女人背影 綜合媒材 木板 118(長) x 176(寬) x 6(厚) cm 簽名雕刻右下：김 덕 용 鈐印畫背：龍
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Hiroyuki MATSUURA
松浦浩之
(Japanese, b. 1964)
End of Forest 2007 Acrylic on canvas 92 x 92 cm Signed on the reverse Hiroyuki Matsuura in English and dated 2007.4.16
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森林盡處 PROVENANCE: Canvas International Art, Amsterdam
NT$ 850,000-1,500,000 US$ 27,100-47,800 HK$ 207,000-366,000
2007 壓克力 畫布 92 x 92 cm 簽名畫背：Hiroyuki Matsuura 2007.4.16 來源： 畫布國際畫廊，阿姆斯特丹
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Yoshitaka AMANO (Japanese, b. 1952)
Jane the Swan 2008 Automotive paint on aluminum panel 100(L) x 140(W) x 10.5(D) cm EXHIBITED: Yo s h i t a k a A m a n o : D e v a L o k a R o u g e & Bleu, Art Statements Gallery, Hong Kong, September 4 - October 17, 2008
NT$ 700,000-1,400,000 US$ 22,300-44,700 HK$ 171,000-341,000
天野喜孝 珍珍 2008 汽車漆 鋁板 100(長) x 140(寬) x 10.5(厚) cm 展覽： 「天野喜孝個展：極樂淨土之紅與藍」，藝 術聲明畫廊，香港，展期自2008年9月4日至 10月17日
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Hiroyuki MATSUURA (Japanese, b. 1964)
Baby-X (Pink Panic) 2006 Acrylic on canvas 90 x 90 cm Signed on the reverse Hiroyuki Matsuura in English and dated 2006.10.17 EXHIBITED: Ultra New Uisions - Hiroyuki Matsuura Solo Exhibition, Eslite Gallery, Taipei, April 7 - 29, 2007
NT$ 850,000-1,500,000 US$ 27,100-47,800 HK$ 207,000-366,000
松浦浩之 X寶貝（粉紅） 2006 壓克力 畫布 90 x 90 cm 簽名畫背：Hiroyuki Matsuura 2006.10.17 展覽： 「松浦浩之個展」，誠品畫廊，台北，展期 自2007年4月7日至29日
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Toshimitsu IMAI (Japanese, 1928-2002)
今井俊滿
Floraison
1965 油彩 木板 91 x 242.5 cm 簽名左下：IMAI. 65. 簽名右上：IMAI. 65. 簽名畫背：I M A I 俊滿，F L O R A I S O N， Mars 1965 à Tokyo
1965 Oil on panel 91 x 242.5 cm Signed lower left IMAI in English and dated 65 Signed upper right IMAI in English and dated 65 Signed on the reverse IMAI in English and Han Characters, titled "FLORAISON" in French and inscribed Mars 1965 à Tokyo According to the note by the artist, the work can be displayed vertical or horizental.
NT$ 1,800,000-2,800,000 US$ 57,400-89,300 HK$ 439,000-683,000
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盛開
依據藝術家註記，作品以直幅或橫幅懸掛 皆可
今井俊滿出生於日本大阪的港口商人家庭。 1948年完成學業後進入東京國立美術學院學 習。早期的風格帶有給人野獸派的感覺。 1952年移居巴黎，並立即參加了稱為「無形 式」藝術的先鋒運動，由此他在西方社會背 景下找到了自己的文化背景。
1955年，在法國藝術評論家米歇爾．塔皮 耶（1909–1987）的介紹下，今井和無形式 藝術的領軍人物杜布菲以及福泰爾建立了 關係。在新的印象和影響下，今井的藝術風 格出現重大轉變。1950年代末的畫作呈現激 烈和厚重的機理，使用紅、黃、黑等鮮亮色 彩，畫面具有極為猛烈的震顫感。但背景則 顯示出中國瓷器般的寧靜之美。具有東亞風 格的感性確定了今井無形式藝術家中的重要 地位。今井在探尋和西方現代風格不同的美 感。1960年代創作的華麗而具表現力的畫作 主要使用紅色，著色濃重，顏料呈螺旋或放 射狀線條滴流。這幅作品《盛開》是今井當 時創作風格的代表作，黑紅相間的顏色嵌在 自然的背景下，潑濺的顏料呈現出能量和動 感。 今井於1957年和塔皮耶、山姆．法蘭西斯以 及馬修去了日本，此後無形式藝術運動傳入 日本，今井在這方面起到極為重要的作用， 在日本藝術界掀起了狂熱的風潮，也促成了 無具形藝術團體和具體藝術機構之間進行意 義深遠的交流。除了在畫布上進行藝術創 作，今井對日本社會也作出了巨大貢獻。
1953年他在聖保羅雙年展和1960年在威尼斯 雙年展上取得巨大成就，使今井成為國際知 名的藝術家。隨即在日本國內也獲得讚譽， 1962年他在第五屆日本當代藝術展（東京） 獲獎，東京都現代美術館收藏了他的多幅畫 作。今井俊滿在法國和歐洲其他國家和地區 也獲得多項殊榮。1991年成為西班牙馬德里 市榮譽市民，1992年成為法國里昂榮譽市 民，1996年獲法國榮譽軍團騎士勳章，1997 年獲法國藝術文學榮譽授勳。
Toshimitsu Imai grew up in the family of a port merchant in Osaka. After finishing school in 1948, he was trained at the Tokyo State Art Academy. Imai’s early style of painting is reminiscent of the Fauves. He moved to Paris in 1952 where he immediately joined the avantgarde art movement called Art Informel, finding his own cultural background in the Western society. In 1955, through the French art critic Michel Tapié (1909–1987), Imai built a relationship
with artists such as Jean Dubuffet and Jean Fautrier, who were leading members of Art Informel. Under the sway of new impressions and influence, Imai’s style underwent a dramatic change. His paintings in the late 1950s were aggressively and intensely textured, with vivid colors of red, yellow and black, and a fierce sense of vibration over the entire pictorial surface. However, the grounds of the paintings had the serenely beautiful texture of Chinese porcelain. This East Asian sensibility confirmed Imai’s importance for the Art Informel artists, who were searching for an alternative aesthetic to that of Western modernity. His flamboyant gestural paintings of the 1960s were mainly red, with thickly applied paint and dripping lines running in spiral and radial directions. The present lot “Floraison” is a typical style of Imai’s work in that period. The red and black colors are set against a natural background, the splattered paint gives the painting a sense of movement and energy. Imai played a paramount role in introducing the
Art Informel movement in his home country after visiting Japan in 1957 with Tapié, Sam Francis and Georges Mathieu. It literally created a furor over Japanese art constitution. He also made meaningful interaction between members of the Art Informel group and the Gutai Art Association. Apart from his artistic expressions on canvases, he has made a great contribution to the Japanese society. The success Imai had with his work at the 1953 São Paulo Biennale and the 1960 Venice Biennale brought him international acclaim, followed by recognition at home in 1962. Imai was awarded a prize at the 5th Exhibition of Japanese Contemporary Art in Tokyo and the Museum of Modern Art in Tokyo acquired several of his paintings. Toshimitsu Imai was awarded numerous distinctions in France and elsewhere in Europe. In 1991, he was made an honorary citizen of Madrid, in 1992 of Lyon. In 1996 he was made a chevalier de la Légion d’honneur and in 1997 an Officier de l’Ordre des Arts et des Lettres.
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Hiroshi KOBAYASHI (Japanese, b. 1967)
Observation Balloon 2008 Acrylic on canvas 162 x 259 cm Signed on the reverse Kobayashi and titled Observation balloon in English, dated 2008 ExhibitED: Hiroshi kobayashi's Solo Exhibition, Gallery Artside, Seoul, March 35 - April 11, 2009 Illustrated: Hiroshi Kobayashi, Gallery Artside, Seoul, color illustrated, pp. 14-15
NT$ 1,800,000-2,600,000 US$ 57,400-82,900 HK$ 439,000-634,000
小林浩 觀測氣球 2008 壓克力 畫布 162 x 259 cm 簽名畫背：Observation balloon 2008 Kobayashi 展覽： 「小林浩個展」，阿特塞帝畫廊，首 爾，展期2009年3月25日至4月11日 圖錄： 《小林浩》，阿特塞帝畫廊，首爾， 2009，彩色圖版，頁14-15
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Yayoi KUSAMA (Japanese, b. 1929)
Pumpkin 1998 Bronze, edition no. 10/100 27(L) x 27(W) x 28(H) cm Engraved YAYOI KUSAMA in English, dated 1998 and numbered 10/100 This sculpture is to be sold with a certificate of authenticity issued by Monnaie de Paris, Paris.
NT$ 500,000-700,000 US$ 15,900-22,300 HK$ 122,000-171,000
草間彌生 南瓜 1998 銅雕 10/100 27(長) x 27(寬) x 28(高) cm 簽名雕刻：YAYOI KUSAMA 1998 10/100 附巴黎鑄幣博物館開立之原作保證書
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182
LEE Jae-hyo (Korean, b. 1970)
0121-1110=1110712 2011 Wood (big cone pine) 98(L) x 98(W) x 85(H) cm Engraved 0121-1110=111
NT$ 600,000-800,000 US$ 19,100-25,500 HK$ 146,000-195,000
李在孝 0121-1110=1110712 2011 松木 98(長) x 98(寬) x 85(高) cm 簽名雕刻：0121-1110=111
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TU Hongtao (Chinese, b. 1976)
Lonely Tree 2006 Oil on canvas 70 x 55 cm Signed lower center tutu in English and dated 06 Signed on the reverse Tu Hongtao and titled Lonely Tree in Chinese, dated 2006.11
NT$ 400,000-600,000 US$ 12,800-19,100 HK$ 98,000-146,000
142
屠宏濤 一棵樹，很孤獨 2006 油彩 畫布 70 x 55 cm 簽名下方：tutu 06 簽名畫背：<一棵樹，很孤獨> 屠宏濤 2006.11
葉永青 香蕉
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2002 油彩 畫布 111 x 140 cm 簽名右下：葉永青 Ye Yongqing 2002
YE Yongqing (Chinese, b. 1958)
Banana 2002 Oil on canvas 111 x 140 cm Signed lower right Ye Yongqing in Chinese and English, dated 2002 Exhibited: Paint A Bird, Qunyan Press, Beijing, 2007 Beyond Graffiti - Ye Yongqing Solo Exhibition, My Humble House Art Gallery, Taipei, 2009
Illustrated: Paint A Bird, Qunyan Press, Beijing, 2007, color illustrated, pp. 78-79 Beyond Graffiti - Ye Yongqing Solo Exhibition, My Humble House Art Gallery, Taipei, 2009, color illustrated, pp. 28-29
NT$ 600,000-800,000 US$ 19,100-25,500 HK$ 146,000-195,000
展覽： 「畫個．『鳥』!」，方音空間，北京， 2007年 「畫．塗─葉永青精品收藏展」，寒舍空 間，台北，2009年 圖錄： 《畫個．『鳥』!》，方音空間，北京， 2007，彩色圖版，頁78-79 《畫．塗─葉永青精品收藏展》，寒舍空 間，台北，2009，彩色圖版，頁28-29
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CAI Guo-Qiang (Chinese, b. 1957)
Nontransparent Monument No. 1~No. 5 (A set of 5) 2006 Ink rubbing on handmade paper, edition no. 14/20 230 x 126 cm (1) 219 x 127 cm (2) 195 x 125 cm (3) 183 x 127 cm (4) 161 x 128 cm (5) Signed lower center Cai Guo-Qiang in Chinese and Cai in English, dated 2006 and numbered 14/20 (1) (3) (5)
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Signed lower center Cai in Chinese and English, dated 2006 and numbered 14/20 (2) Signed lower center Cai Guo Qiang in Chinese and Cai in English, numbered 14/20 (4) With one stamp of The Metropolitan Museum of Art, the Mezzanine Gallery, New York The Edition no. 5/20 is collected by the Metropolitan Museum of Art, New York.
NT$ 750,000-1,000,000 US$ 23,900-31,900 HK$ 183,000-244,000
蔡國強 不透明的紀念碑 No. 1~No. 5（5件1組） 2006 水墨 拓印 手工紙本 14/20 230 x 126 cm (1) 219 x 127 cm (2) 195 x 125 cm (3) 183 x 127 cm (4) 161 x 128 cm (5) 簽名下方：14/20 蔡國強 Cai 2006 (1)(3)(5) 14/20 蔡 Cai 2006 (2) 14/20 蔡國強 Cai (4) 鋼印右下：紐約大都會美術館，夾層畫廊 紐約大都會美術館收藏版次 5/20
這組作品是由藝術家的九片綠石灰岩浮雕《不透明的紀念碑》所轉拓出的五件水墨拓印， 《不透明的紀念碑》巨型雕塑是2006年紐約大都會美術館屋頂花園的「蔡國強在屋頂：不透 明的紀念碑」的展覽作品之一。 這件雕塑描寫九一一事件之後的生活景象，包括奧薩瑪．賓拉登、三峽大壩、卡翠娜颶風、 伊拉克戰爭。這些當代現象穿插有中國傳統的吉祥主題，例如菊花、松枝、鳳凰與雙龍等。
This work comprises five ink rubbings that the artist made from the surface of his work "Nontransparent Monument," a nine-panel green limestone relief sculpture that was exhibited as part of "Cai Guo Qiang on the Roof: Transparent Monument" on the Metropolitan Museum of Art's Roof Garden from April 25 - October 29, 2006. The sculpture depicts scenes of post-September 11 life including Osama bin Laden, the Three Gorges Dam, Hurricane Katrina, and the war in Iraq. Interspersed among these contemporary events are traditional auspicious Chinese motifs such as chrysanthemums, pine boughs, and a phoenix and dragon duo.
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LI Xinping
(Chinese, b. 1973)
Ginkgo 2007 Oil on canvas 180 x 130 cm Signed lower center Xinping in English
NT$ 750,000-950,000 US$ 23,900-30,300 HK$ 183,000-232,000
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李新平 銀杏 2007 油彩 畫布 180 x 130 cm 簽名中下：Xinping
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ZHANG Xiaotao (Chinese, b. 1970)
張小濤
The Decay of Landscape: Mist 2006 Oil on linen 150 x 120 cm Signed on the reverse Zhang Xiaotao and titled The Decay of Landscape: Mist in Chinese, inscribed 150 x 120 cm, oil on linen and dated 2006 in Beijing 798 in Chinese
This painting is to be sold with a certificate of authenticity issued by Chen Ling Hui contemporary space, Taipei.
NT$ 750,000-950,000 US$ 23,900-30,300 HK$ 183,000-232,000
潰爛的山水─霧 2006 油彩 亞麻布 150 x 120 cm 簽名畫背：潰爛的山水．霧 亞麻油彩 150 x 120 cm 張小濤 2006 於北京 798 附陳綾蕙當代空間開立之原作保證書
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CAI Guo-Qiang (Chinese, b. 1957)
Project for Extraterrestrials No. 3: 45.5 Meteorite Craters Made by Humans on Their 45.5 Hundred Million Year Old Planet 1990 Gunpowder and ink on paper 94 x 63.5 cm Singed lower right OGC, Drawing project in southern France in July 1990 in Chinese
NT$ 1,700,000-2,700,000 US$ 54,200-86,100 HK$ 415,000-659,000
蔡國強 為外星人作的計畫第三號：人類為自己 星球所做的「隕石坑」 1990 火藥 爆破 水墨 紙本 94 x 63.5 cm 簽名右下：人類為自己星球所做的「隕 石坑」1990.7 法國南部 P OUR R IER ES村 MINIMES修道院廢墟
蔡國強在當代華人藝術家圈中的國際地位大家有目共睹。他1958年生於中國福建泉州，父親 蔡瑞欽是一位傳統的水墨畫家和書法家，他沒有跟隨父親的腳步，反而選擇就讀上海戲劇學 院舞台美術系。1980年代時他悠遊於實驗藝術的世界裡。1986年赴日求學並在那裡生活了九 年。這段期間的體驗深深的影響了他的藝術創作方向。1995年他受邀前往美國紐約皇后區的 P.S.1藝術中心創作一年，之後便定居紐約。 他的藝術風格既複雜又獨特，融合了成長背景、生活經驗、信念以及感性。作品經常挑戰既 定的創作模式，尤其是他的 爆破創作舉世聞名。特別是火藥草圖以及定點爆破的創作令人 耳目一新。他的裝置藝術涵蓋中國許多的傳統文化圖像，好比古代神話和戰爭史，藉以質疑 當代世界。同時，他也參與社會計畫，結合偏遠與藝術較無接觸的當地居民一起創作藝術作 品。 身為新前衛藝術之創作者，蔡國強早期的作品主題刻劃深邃，也常涉及政治評論，關切相關 議題。1986年當他去日本求學時第一次接觸到一個全新的世界。來自高壓統治社會的他，終 於可以深入西方知性的開放面。由於日本的社會結構嚴謹，身為外來者的他，可說是這片新 土地的外星人。於是他開始探索火藥的性能並大量運用到自己的作品裡。藉由火藥的巨大破 壞力創出前所未見的新穎藝術。他的「為外星人作的計畫」爆破系列作品讓他達到創作的最 高峰，這些大型的爆破作品試圖讓觀眾和更大的宇宙產生連結。
Cai Guo-Qiang is the most internationally acclaimed of all contemporary Chinese artists. He was born in Quanzhou, Fujian Province in China in 1958. His father, Cai Ruiqin was a traditional brush painter and calligrapher. However, rather than follow in his father's footsteps, Cai studied stage design at the prestigious Shanghai Drama Institute. He soon emerged as a player in the experimental art world of the 1980s. 1n 1986, he received a student visa for Japan, where he spent the next nine years of his life. His experiences, there, were to have a major influence on the direction of his artwork. In 1995, after a yearlong residency at the P.S. 1 Art Centre in Queens, he made New York his base. Cai's art is complex and unique. His art is a result of his origins, his experiences, his beliefs and his sensitivities. In his work he challenges all the accepted boundaries of art making becoming famous for creating major works using explosives. Along with his Gunpowder Drawings, he is also renowned for his explosion events, which are often site-specific artistic creations. He records moments of many of these events later in gunpowder drawings. His installations call on many icons of Chinese culture such as ancient mythology and military history to ask new questions of the modern world. Cai is also very involved in social projects where he engages entire local communities to produce art often in remote, non-art sites. As part of the new avant-garde movement his early works dealt with profound subjects and often contained political comments, concerns that have remained central to his art. His first opportunity to encounter a new world was in 1986 when he went to Japan. Coming from a tightly controlled society, he embraced its intellectual openness and discussion of the Western World. However, Japanese society is tightly woven and Cai was an outsider, an alien in his new land. He now explored the properties of gunpowder and started using it extensively in his art. Through its tremendous energy, destruction would ensue, from which something new and wonderful would be created. He first began his explosion projects here culminating in his series "Projects for Extraterrestrials". These were explosion events on a grand scale, which were an attempt to engage viewers with the larger universe around them.
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HUANG Gang (Chinese, b. 1961)
Between the Moon and the Sun 2007 Mixed media on board 125 x 125 cm Signed lower right Huang Gang in Chinese and English, dated 2007
NT$ 1,500,000-2,500,000 US$ 47,800-79,700 HK$ 366,000-610,000
黃鋼 日月之間 2007 綜合媒材 木板 125 x 125 cm 簽名右下：Huang Gang 黃鋼 2007
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CAI Guo-Qiang (Chinese, b. 1957)
Solar Eclipse 1988 Gunpowder and oil on canvas 32 x 40 cm Signed lower right Cai in English Signed on the reverse Cai Guo-Qiang, China and titled Solar Eclipse in Chinese, inscribed collection of Muchi Hiromu and Muchi Yoko PROVENANCE: Collection of Hiromu and Yoko Muchi, Japan ILLUSTRATED: Gunpowder Picture of Cai Guoqiang, Lijiang Publishing House, Guilin, 1989, color illustrated, p. 21
NT$ 2,400,000-3,600,000 US$ 76,600-114,800 HK$ 585,000-878,000
蔡國強 火藥畫－影陽（日蝕） 1988 火藥 油彩 畫布 32 x 40 cm 簽名右下：Cai 簽名畫背：「火藥畫－影陽」中國：蔡國強 鞭熙樣、洋子樣藏 來源： 鞭熙與鞭洋子收藏，日本 圖錄： 《蔡國強火藥作品集》，漓江出版社，桂 林，1989，彩色圖版，頁21
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蔡國強在當代華人藝術家圈中的國際地位大家有目共睹，他的藝術作品根源於中國傳統卻又 顛覆傳統，他將帶有中國文化色彩的火藥作為繪畫媒材，以其獨特的宇宙觀及哲學蘊底，探 究人類歷史的感知及普世共通的問題。 「火藥畫」是蔡國強最具震撼力及原創性的藝術創作之一。藝術家著迷於火藥既具危險性卻 又極其自由的強烈生命力，透過火藥爆炸這種破壞性的活動，使自己從中國早期封閉的社會 環境裡獲得解放，他曾說過：「火藥是一個自發的，不可預測和無法控制的媒介。你越是想 控制它，往往越無從入手，創作的結果永遠難以預測，而這正是最有趣的部分……在淘取火 藥的精髓，在我眼裡它包含著宇宙的力量，我們從何而來，宇宙從何而來，關於混沌的思考 皆源自爆炸。」 《火藥畫—影陽（日蝕）》創作於1988年，是藝術家的早期之作。日蝕為陰陽交會之時，一 伸一降，一沉一伏，自古被視為宏偉壯觀的自然天象，為人類所敬畏崇拜。蔡國強利用火 藥的特性，表現出光影薰染的效果，留白之處仍保有中國文人畫的寫意之美。蔡國強的作品 常帶有一種神秘的感染力，或一種超自然的顛覆意味，使觀者進入浩瀚無垠的宇宙中一窺奧 秘。
Cai Guo-Qiang’s international reputation among all cotemporary Chinese artists is well acknowledged. His artworks root in Chinese traditions yet subvert it at the same time. He uses gunpowder - a symbolic Chinese culture element - as a drawing medium, integrated with his unique universe perspectives and philosophies, to explore the perception of human history and the shared concerns of our society. “Gunpowder” drawing is Cai’s most stunning and original artistic creation. The artist is obsessed with the dangerous yet free vitality of gunpowder; he seeks liberation from the closed traditional Chinese society through his exploring of such destructive explosion of gunpowder. Cai once said: Gunpowder is a spontaneous, unpredictable and uncontrollable medium. The more you want to control it, the less control you are likely to get. The result of the creation is always hard to predict, and this just happens to be the most fascinating part…to explore the spirit of the gunpowder, I believe it bears the power of the universe; the answers to where we come from, where the universe comes from and discussion of the chaos, all originate from the Big Bang, the explosion. “Solar Eclipse”, Cai Guo-Qiang’s early piece of work, was finished in 1988. Eclipse is the moment when the “Yin” meets the “Yang”, one rises while the other drops, one goes up while the other goes down; this spectacular astronomical phenomena has been feared and worshiped by human being for thousands of years. The artist has created an amazing smudged effect of light and shadow using the special features of gunpowder; meanwhile, the treatment of “Liubai” (traditional Chinese painting skill of leaving appropriate blank spaces) creates poetic beauty of Chinese traditional literati paintings. Cai’s works always carry an attraction of mystery, or a sense of supernatural subversion, which leads the audiences to the infinite universe to discover the mysteries.
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ZHOU Chunya (Chinese, b. 1955)
Red Rocks 1994 Oil on canvas 72.5 x 61 cm Signed lower right Zhou Chunya in Chinese and dated 1994 Signed on the reverse Zhou Chunya in Chinese and dated 1994
NT$ 2,200,000-3,200,000 US$ 70,200-102,100 HK$ 537,000-780,000
周春芽 紅石 1994 油彩 畫布 72.5 x 61 cm 簽名右下：1994 周春芽 簽名畫背：1994 周春芽
山石畫法是傳統山水畫中重要之門類，勾、皴、擦、染、點五個步驟，山石的形態、山石的 構造，決定了不同的表現手法，進而形成不同風格與流派。山水畫家長期觀察自然現象提 煉出筆法符號，將中國山石圖像塑造得深邃曼妙。反自然色彩的運用是周春芽作品中的典型 風格。90年代初，周春芽以花卉、山石為繪畫主題，畫家借助德國新表現主義的繪畫方式、 技巧，大膽用色使畫增添異彩，以濃豔的紅色重新詮釋山石和花卉，面貌迥然相異，顏色跟 自然不同，放於畫面大片的空白中，筆法精練，個體抽象獨立，表面被一層奇怪的增生物覆 蓋，暗示出模糊的天然本性並詮譯了文人繪畫「溫和、內向、惰性」。 作品《紅石》周春芽運用玫瑰紅和黑色網底烘托，濃郁沉穩的紅映著脆生生的白，恍惚之間 感覺像肉團，如溫潤祥和的血塊，引人入勝。畫作顏料的堆疊、渲染、塗抹和交織，使色彩 衝擊力強，造型抽象，視覺震撼，從色彩到構圖均給人奔放之感。
The brushwork for mountain rock is a very important category for Chinese traditional landscape paintings. It has five approaches in respect to tick, crimple, rub, dye and dot. The form and the structure of mountain rock decide the expression of the painting methods, and in turn, different styles and genres are formed. The historical observation of natural phenomena by ancient painters has reigned a set of writing symbols, depicting the traditional Chinese rocks in a profound miracle. Zhou Chunya’s artworks feature the usage of colors in contradiction to nature. Early in the 1990s, Zhou Chunya painted such themes as flowers, mountains, and rocks in the painting style and with the skills of German New Expressionism, using colors boldly to add extraordinary splendor to his paintings. Thick and flamboyant red colors give new interpretations to mountains, rocks and flowers, which show a completely different outlook and color compared to those in nature and are arranged in large blank areas with simplified brushstrokes. The abstract and independent images are covered by an accumulation of thick layers of paint, implying their ambiguous nature and explaining the painter's characteristics such as gentleness, introversion, and laziness. In "Red Rocks", Zhou Chunya applies rose and black to serve as a foil, and thick and superb red in contrast to the porcelain white. The attractive stones resemble trance-like meatballs, and warm and serene blood clots. The piling, rendering, painting and mixing of paints strengthen the impact of the colors, and have formed an abstract and eye-catching design of images. The overall paintings, from the colors to the composition, provide a feeling of ghost-like freedom and easiness.
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LIU Wei
(Chinese, b. 1965)
Flowers 2006 Oil on canvas 50 x 80 cm Signed lower right Liu Wei in Chinese and English, dated 2006 ILLUSTRATED: Liu Wei, Red Bridge Gallery, Shanghai, 2006, color illustrated, p. 200
NT$ 4,000,000-6,000,000 US$ 127,600-191,400 HK$ 976,000-1,463,000
劉煒
劉煒被譽為當代「才情畫家」和「玩世現實主義」代表人物，其作品主要涉及人物、風景、 鳥、花草等主題。他習慣於熟練的駕馭帶有強烈個人色彩的筆意和氣氛，作品傳達的當代意 義常有驚人之筆，雜亂、偏執、繁複卻又能讓觀者感受到細膩、力量和諷刺。 作品《花兒》乍看畫面柔美，實則筆意狂放，花草的精神似乎透露出中國傳統繪畫的蹤跡， 而畫面中將花草置於環境之外的態度又似乎讓人依稀看到了塞尚和巴斯奇亞特的影響。 具有 諷刺意味的畫面正中間的簽名和經過精心處理的作品名字，這些元素在畫布上渾然天成，完 美的表現出藝術家狂放不羈的才情，對自然天成的追求，和對於傳統的挑戰與顛覆。
Liu Wei is known as a cynical realist and “talented and spiritual painter” in contemporary China. His work involves themes of human figures, landscapes, flowers, and plants, among other things. His individual brushwork style creates a distinctive element in his art, delivering strikingly profound and sharp messages to the modern society. Beauty, strength and sarcasm can be found in his seemingly chaotic and complex pieces.
花兒 2006 油彩 畫布 50 x 80 cm 簽名右下：劉煒 Liu Wei 2006 圖錄： 《劉煒》，紅橋畫廊，上海，2006，彩色圖 版，頁200
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The lot “Flowers” which appears to be soft and subtle at first glance, is in fact strong and wild. The essence of flowers and plants are often present in traditional Chinese paintings, though the artists’ placement of flowers outside the environment reveals influence by Cezanne and Basquiat. Sarcasm is seen through the placement of the signature as well as in the title of the piece, both in the center of the painting. The seemingly random elements created by the artist come together in an unusually organic and harmonious way. The subtle decisions made by the artist demonstrate his uninhibited spirit, his yearning for harmony in the natural world, as well as his creativity in transforming traditional concepts.
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ZHOU Chunya (Chinese, b. 1955)
Red Mountain Rock Series - Nude 1992 Oil on canvas 100 x 80 cm Signed lower right Zhou Chunya in Chinese and dated 1992
NT$ 5,200,000-6,800,000 US$ 165,900-216,900 HK$ 1,268,000-1,659,000
周春芽 紅色山石系列－人體 1992 油彩 畫布 100 x 80 cm 簽名右下：1992 周春芽
山石一直是極受古今藝術家青睞的課題，周春芽從1990年開始創作了「山石」系列，有別於 于「桃花」和「綠狗」、「黑根」等系列，藝術家在「山石」系列中引入了新的繪畫技巧和 材料，該系列石頭的表面都覆蓋著一層奇怪的增生物質，類似浮雕一般的筆觸給平面的作品 增加了立體的延展。加之藝術家充滿情緒的描繪，使得畫面中原本安靜無聲的石頭，充滿了 各式各樣複雜的情愫。 《紅色山石系列—人體》是周春芽1992年的創作，有別於傳統藝術家對山石溫和，內斂的表 現，周使用了張狂而冒險的手法去塑造山石，而石頭中又揉入了抽象的暗紅色人體，使原本 典雅的山石透出暴力甚至色情的意味。充分的表現了藝術家對傳統的挑戰，和由於內心對於 自然原始的探尋而產生的複雜情結。
Stones have been a popular subject for artists throughout the centuries. Zhou Chunya began his “Mountain Stone” series in 1990. Different from his “Peach Blossom,” “Green Dog,” and “Hei Gen” (literally “black root”) series, Chunya infused creative painting techniques and various types of paints in the Mountain Stone series. In this set of paintings, the rocks are fully covered by a unique, vegetation substance. Each delicate brushstroke brings a special embossed quality to the painting, attaching a tridimensional property to the overall piece. The curves of the delicate brushstrokes bring a surreal emotion to the canvas, bringing to life the seemingly silent and still rocks, transforming inanimate objects to ones filled with sentiments. “Red Mountain Rock Series - Nude” was painted by the Zhou Chunya in 1992. Instead of portraying rocks as quiet, lifeless objects as they are traditionally displayed, the artist uses an adventurous method for their depiction by painting them with layers of deep reds. In this piece, the traditionally elegant and graceful mountain stone exudes signs of violence, even sensuality. This is a reflection of the artist’s challenge to tradition, as well as the complexities of his search for the origin of nature from within him.
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HUANG Gang (Chinese, b. 1961)
When Wind Springs Up (triptych) 2006 Mixed media on board 246.5 x 369 cm ILLUSTRATED: Huang Gang, People’s Fine Arts Publishing House, Beijing, 2008, color illustrated, p. 146
NT$ 8,500,000-15,000,000 US$ 271,100-478,500 HK$ 2,073,000-3,659,000
黃鋼 當風起時（三聯幅） 2006 綜合媒材 木板 246.5 x 369 cm 圖錄： 《黃鋼》，人民美術出版社，北京，2008， 彩色圖版，頁146
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黃鋼的作品從80年代開始就呈現出強烈的個人風貌，從書法系列，到曼陀羅系列、經版系 列、雪域系列、紅五星系列……始終貫穿著的是畫面中熱烈磅礡的衝突，和藝術家厚重深沈 的人文情感。 《當風起時》包含了經版系列的精髓要義，該作品中濃重的色彩和抽象的構圖無限延伸了畫 面之外的熱烈情愫。而材質的另類多元—如經版的使用則為作品嵌入了藏傳佛教的積累沈澱 和深遠博大。整幅作品中溫暖與冷峻的色彩碰撞，抽象的色塊與具象的經版文字的對立，古 典文化與當代美學的反差，油畫技法與裝置概念的迥異中間……種種種種的衝突經過藝術家 恰到好處的掌控，融合在一起，最終畫面的深遠和諧卻能讓觀者沈澱於心，甚至從中捕捉到 一絲輕美飄揚的優雅意境，深入心靈。
The art of Huang Gang began to present a powerfully individual style in the 1980s. From his calligraphy series to his mandala series, scripture block series, snowfield series and red five star series, all of his work has been marked by heated, overwhelming conflict, as well as the artist’s deep humanist sentiments. “When Wind Springs Up” contains the essential elements of the scripture block series. The heavy colors and abstract composition extend the passionate emotions beyond the boundaries of the picture. The unconventional and diverse materials, such as the scripture boards, imbue the work with the vastness and accumulated profundity of Tibetan Buddhism. There are many conflicts present in the image, such as the clash between cold and warm colors throughout the work, the opposition between the abstraction of the color fields and the specificity of such elements as the text in the scripture blocks, the contrast between ancient culture and contemporary aesthetics, and the wide disparity between the calligraphic techniques and the concepts of installation art. Through the deft handling of the artist, all of these conflicts fuse together, allowing the profundity and harmony of the image to take root in the heart of the viewer, even allowing the viewer to perhaps catch a fleeting glimpse of an elegant realm within the depths of the mind.
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ZENG Fanzhi (Chinese, b. 1964)
Mask Series
起海內外觀眾的共鳴。曾梵志於 1994 年 從故鄉河北武漢移居北京後，隨即展開此 系列的創作。離開故鄉移居北京遭遇的困 難甚至造成些許創傷，因為他離開了故鄉 的溫暖與同志情誼，發現自己在大城市變 得孤獨寂寞。他感受到新同學與老師的冷 漠與疏遠，而且難以理解，城市中的人際 關係令他感到孤立、寂寞、絕望，也還有 一種遭受背叛的感覺，因為在爭奪社會地 位與新社會的機會時，大家表面上友善親 切，實則隱藏了真正的自己。
2001 Oil on canvas 150 x 104 cm Signed lower right Zeng Fanzhi in Chinese and English, dated 2001
NT$ 30,000,000-48,000,000 US$ 956,900-1,531,100 HK$ 7,317,000-11,707,000
曾梵志 面具系列 2001 油彩 畫布 150 x 104 cm 簽名右下：曾梵志 2001 Zeng Fanzhi
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自 1994 年的「面具系列」作品開始，曾梵 志打破了中國當代繪畫的模式、拓展了疆 域、將自我情感與反思觀察導入傳統現實 主義表現的藝術形式。其他同期藝術家的 創作受到美國普普藝術的影響（這也是社 會與政治對現今中國社會的評論），曾梵 志的創作卻以自我與反思為中心，藉此打 破中國傳統。曾梵志的創作方式由於「面 具系列」而享譽全球，同時也為中國的觀 眾呈現一個全新的藝術世界。
曾梵志是觀察力相當敏銳的藝術家，與他 同樣脆弱的人物是他長久以來的創作主 題。「面具系列」源自他對北京都市年輕 人的觀察，每個人似乎都戴著面具，隱藏 真實自我。他們非常關注外在事物，如穿 著打扮、容貌外觀、行為表現、是否符合 社會規範，卻忽略逃避了內心的世界、更 內在的自我、精神與心靈的快樂，這種緊 張的情緒進而導致焦慮、痛苦與迷失。曾 梵志的「面具系列」成功捕捉到這種緊張 和壓力，他筆下的單一人物或群體衣著合 身，宛如穿著束身衣般，姿勢僵硬不自 然，臉上戴著白色面具，眼神怪異而空 洞，彷彿是靈魂的鏡子，反映出主角內心 世界的真實狀態。
當代中國藝術家接受中國各所藝術學院的 現實主義傳統訓練，畢業時，人人都擅長 現實主義繪畫。因此年輕藝術家面臨的最 大挑戰就是找到自己的聲音，並透過自己 的藝術成功發聲。由於中國社會在 1990 年代急速邁向現代化與開放，因此年輕藝 術家比較容易採用愈來愈被大眾接受的當 代風格，包括「政治波普」和「玩世現實 主義」，這些風格相當受到西方觀眾的喜 愛，因此可確保作品有一定的市場。曾梵 志是靈魂與理智的探險家，絕不會滿足此 種俗套的創作與社會評論，而是不斷向內 探索，呈現自己的感情。
2001 年創作的「面具系列」中，一名孤單 疏離的人，以破除因襲的姿勢出現在畫作 中央，他合身的衣著文雅細膩，白色面具 下卻透出困惑茫然的眼神，營造出悲傷與 渴望的氛圍。服裝與面具的冷酷外表，與 紅潤肥胖的手和曝露的臉部肌膚形成尖銳 對比。衣著與面具代表看似光滑的外表， 易變的內在如生肉般曝露在外（尤其是誇 張的手），外表和內在之間形成強大的張 力。主角極力表現外在的平靜，事實上， 虛飾的外表下卻情感洶湧。以曾梵志的語 言來說，對人類而言，這種對真實自我的 否定會導致脫節、疏離與終極深沈的痛 苦。
「面具系列」是當代中國繪畫的指標，引
曾梵志對於傷者的描繪並未完全表現其不
幸與悲傷，對於「面具系列」的主角有一 種自覺，為救贖提供一絲希望。曾梵志是 受內心驅策而創作的藝術家，因此能深刻 聽見自己心理的運作，筆下的主角通常是 他內心騷動的自我形象。但曾梵志知道， 深思與反省能夠增進內在快樂並產生新見 解。從小就內向敏感的曾梵志，一直覺得 自己是疏離、孤獨的。成為年輕藝術家後 之所以離開武漢，乃是因為覺得自己的作 品不被了解，向他微笑點頭的人們其實心 裡都認為他瘋了。移居北京後，他發現自 己變得更孤立、更無法與周遭的人來往， 但卻發現自己的作品與思想本質被人接受 了。因此，雖然承受深刻的痛苦磨難，卻 伴隨著希望與救贖的可能性。
influenced by American Pop Art, and which were social and political commentaries on their present day Chinese society, Zeng broke with Chinese tradition by putting himself and his ruminations at the center of his works. The ‘Mask Series’ justly brought global fame and admiration Zeng’s way, while opening up a whole new world of art to his Chinese viewers. Contemporary Chinese artists are grounded in the realist tradition in every art college in China. As graduates they are masters with the realist brush. So the greatest challenge facing a young artist is to find their voice and to communicate successfully through their art. As Chinese society rushed headlong into modernization and openness in the 1990s, it
he had moved to Beijing from Wuhan in Hubei province where he was born and raised. Moving from the provinces to Beijing was difficult and even somewhat traumatic as the warmth and camaraderie of his hometown was left behind, and he found himself isolated and lonely in a big city. Finding his new classmates and teachers to be cold, distant and unknowable, he was disturbed at the sense of isolation, aloneness and despair permeating relationships in the city. There was also a sense of treachery, as people put on a public show of friendliness, but were in reality hiding their true selves, as they jostled for social position and opportunity in the new society.
Zeng is a deeply observant 遭逢文化大革命的孩子，成長 artist, and the human being with 的環境騷動而混亂，使得敏感 all his frailties and fragilities, 的孩子退回自我內心，養成極 has been a consuming topic 內向的性格。他的藝術作品處 for Zeng since he first began 處展現這方面性格，最好的藝 to paint. The ‘Mask Series’ is 術作品（尤其是「面具」系 born of his observations of the 列）更表現出強烈的情感。 young urbanities he encountered 他在湖北藝術學院求學時， in Beijing. It seemed everyone 對於歐洲表現主義的發現成 was wearing a mask, hiding 為他創作的工具，在畫布上探 their real selves. They were very 索自己的生命與情感，也描繪 concerned with the externals, 周遭觀察到的人們。曾梵志是 how they dressed, how they 最有個性且最個人主義的中國 looked, how they performed, 當代藝術家，他的作品能喚起 how they met social norms, but 熱情、活力與情感的共鳴。他 曾梵志《面具系列 No. 6》，2008年春季拍賣，7536.75萬港幣成交 Zeng Fanzhi, Mask Series No. 6, 1996, oil on canvas, 200 x 360 cm, Spring Auction 2008, US$ 9,703,490 sold they were ignoring and avoiding 的作品「面具」完美捕捉了他 the internal, their deeper selves, 對個體的觀察心得，個體飽受 their spiritual and psychological well-being, was relatively easy for young artists to adopt 社會折磨，因為社會只關心社交應酬的表 and such tension results in anxiousness, one of the burgeoning accepted contemporary 現並隱藏真實內在的動機，而不能完全接 suffering and a feeling of being lost. It is this styles of ‘Political Pop’ or ‘Cynical Realism’, 受個體之間的差異。在創作「面具」系列 tension and pressure that Zeng has captured which had found great favor with Western 時，曾梵志也創造出現今中國社會最典型 so successfully in his ‘Mask Series’ where audiences, and thus ensured a ready market for 的象徵，也就是那些帶著面具、不可知、 he depicts persons either individually or in their works. Zeng Fanzhi, the explorer of souls 疏離、輕蔑且受到深刻折磨的個體。 groups, dressed in tailored suits, reminiscent and minds, could never have been satisfied with of straitjackets, posed stiffly and awkwardly, such formulaic production and commentary wearing a white mask. Their weird eyes stare on society, and instead looked inwards and With his ‘Mask Series’ which he began in 1994, vacantly, and as mirrors of the soul they reflect portrayed his own feelings. Zeng Fanzhi broke the mold of contemporary the true state of the protagonists’ inner world. Chinese painting, stretching its boundaries, The ‘Mask Series’ is a landmark in and introducing the expression of self and Our painting ‘Mask’ from 2001, has a single contemporary Chinese painting, one that introspective observations into what had been man, alone and aloof, iconoclastically posed resonates with viewers both at home and a traditionally realist representational art in the center of the painting. Depicted as abroad. Zeng stared the series in 1994 just after form. As his contemporaries produced works
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suave and sophisticated in his tailored suit, his puzzled and perplexed stare, through his white mask, creates a sense of sadness and yearning. The cool exterior of the suit and mask is in stark contrast to the redness and fleshiness of the hands and exposed skin on the face. A powerful tension is built between a seemingly smooth exterior represented by the suit and mask, and a volatile interior exposed in the raw like flesh, especially in the exaggerated hands. The protagonist obsessed with presenting a surface calm, is in fact a bubbling cauldron of emotions beneath his veneers. And for a human being this denial of the true s e l f , i n Z e n g ’s language, results in disjointedness, separation and ultimately deep suffering.
to Beijing, his found even more bitter isolation and disconnectedness with the individuals he encountered, but he also found an acceptance of his works and his thinking nature. So while suffering is deep and painful, hope and redemption are also possibilities.
A child of the Cultural Revolution he grew up surrounded by turmoil and upheaval. A sensitive child he withdrew into himself and developed a strongly introverted character. It is this part of his nature that so imbues his artistic output, lending powerful and strong emotional expression to his greatest works especially his ‘Mask Series’. His discovery of European Expressionism as a student at Hubei College of Fine Arts was to give him the means to explore on canvas his personal Zeng’s depictions life and emotions, and of wounded and those of the people hurting people are around him, whom not total depictions he observed closely. of wretchedness As the most personal and sadness. There and individualistic is a self-conscious of contemporary awareness about Chinese artists, his the protagonist works resonate with i n ‘ M a s k ’ , passion, energy offering a hope and feeling. ‘Mask’ for redemption. 曾梵志《A系列之三：婚禮》 beautifu lly cap tu res As an inwardly 2011年春季拍賣，1200萬人民幣幣成交 Zeng’s observations of driven artist, Zeng Zeng Fanzhi, A Series No. 3: Marriage, 2001, oil on canvas, 296 x an individual tortured is deeply attuned 231cm, Spring Auction 2011, RMB 12,000,000 sold and imposed upon by to the workings of a society far more concerned with the display his own psychology. Often his protagonists are of social niceties and hiding of true inner self-images of his own inner turmoil. But Zeng motivations than in the full acceptance of the is aware that deep thought and reflection can individual. In creating the ‘Mask Series’, Zeng lead to new insights and improvements in inner has also created one of the most iconic symbols wellbeing. As an introverted and sensitive of modern day Chinese society, the masked child, Zeng had always felt isolated and alone. individual, unknowable, aloof, disdainful, and As a young artist he had left Wuhan because ultimately tortured. he felt that his works were not understood, and that people smiled gently, nodded their heads, and secretly thought he was crazy. On moving
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ZENG Fanzhi (Chinese, b. 1964)
Woman
傳達了都市青年人的苦惱，觀眾也能夠感覺 到面具背後的恐懼和偏執多疑。在「人像系 列」中曾梵志不再重點表現社會角色和人們 所佩戴的面具的輕薄性質，而是直接重點刻 畫疏離的世界中人物心理的脆弱性。
2002 Oil on canvas 220 x 145 cm Signed lower right Zeng Fanzhi in Chinese and English, dated 2002
曾梵志童年時期經歷了文化大革命，身邊殘 酷和混亂的社會狀態對他造成了深深的影 響，當時他並不是聰慧的學生，常常被老師 視作問題學生，當時代表成功和社會接納的 最重要標誌—紅領巾，也與他無緣，這進一 步加深了他的沮喪和與社會疏離的感覺。藝 術就成了他唯一的安慰，少年時經常畫畫， 並藉此逃避自身內心的衝動和消沉。他在湖 北藝術學院學習期間他接觸到歐洲 表現主 義，並為之癡迷，表現主義成為他釋放狂野 和強大情緒力量的出口，使他通過生動而富 於動感，並具有震懾力和深刻寓意的人像創 作喻示了自己的心理。
NT$ 25,000,000-40,000,000 US$ 797,400-1,275,900 HK$ 6,098,000-9,756,000
曾梵志 女人 2002 油彩 畫布 220 x 145 cm 簽名右下：曾梵志 2002 Zeng Fanzhi
《女人》是曾梵志在「面具系列」之後不久 創作的「肖像系列」作品。曾梵志是內驅型 藝術家，他的作品具有高度的主觀性和個 人特點，包含著作者強烈的自我表達。《女 人》是曾梵志少數專門刻畫女性的作品之 一，因此有極其重要。在「肖像系列」中， 曾梵志筆下的男性常常是粗糙、兇惡、脆弱 的形象，反映出他個人深刻的痛苦和憂鬱， 他說：「繪畫是一個痛苦的過程，它迫使我 將畫中的人體形態表現出一種痛苦和焦慮。 我用悲涼的情態來畫人物，他們表達了我想 要表達的一切。」 （展覽目錄《中國1989年後的新 藝術》，引自V. C. Doran中曾梵志的話語，香港漢雅軒畫 廊，頁148） 《女人》這幅作品提供了觀看曾
梵志表現現代女性情感和心理狀態的難得機 會。 曾梵志在1990年代以其著名的「面具系列」 確立了自己的在中國當代藝壇的地位。在該 系列中，畫中的每個男性人物都戴著一個 呆滯的扁平白色面具。1993年曾梵志移居 北京，他親見中產階級人與人之間的偽善和 無聊，並為之震撼，但戴著社會從眾性和 無聊的面具是要付出和承受巨大的代價和壓 力，人需要保持和他人的關係，否則會感到 困惑、失落和悲傷。曾梵志成功地在畫作中
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曾梵志毫不費力地掌握了表現主義的方法。 他的人物因為情緒的效果表現而扭曲和誇 張，常常帶有奇怪的特點，如過分龐大的 手。特別在「人像系列」中，他使用了原始 主義的成份，例如不經雕琢的拉長的身體。 他還使用濃色重彩，特別是肉色和狂亂的筆 法。人物懸浮在雜亂的空間和背景中，似乎 在虛空中失去了重量。肖像畫中集中的光線 幾乎具有了宗教的強度，令人想到對表現主 義產生主要影響的歐洲中世紀的宗教。曾梵 志發現表現主義使他對自己的思想有了更為 深刻的體察，他的作品也不可避免地建立在 他個人的記憶和關係的基礎之上。他深入鑽 研內心世界，探索自己對於周遭事物和事件 的主觀情緒和反應。 《女人》是對女性暴露的內心思想狀態的精 彩描繪。空虛呆滯的雙眼暗示了內心深藏的 焦灼和痛苦，粗糙肉感的肌膚裸露在外，喻 示刺痛和創傷。然而人像要表現的並非是悲 慘和絕望的主題。人物的姿態顯示了強大和 直率，儘管看上去是坐著，但放在臀部的手 卻暗示了力量和權威。高高抬起的頭和向後 繃緊的肩膀似乎在挑釁，緊身的黑色夾克更 增添了傲慢和權力。畫面幾乎沒有女性的溫 柔和軟弱，反而充滿了女性能夠克服恐懼和 焦慮，成為控制主體的感覺。
這幅作品在藝術表現方面幾乎屬於男性化， 進一步表現了內心的力量和女性人物的堅 韌，卻絲毫沒有曾梵志筆下男性形象的特 點。勉強遮體的衣衫，毫不掩飾的女人氣， 他看上去對自己的女性氣質很是坦然。這也 和曾梵志作品中長衣長褲扣子緊扣，似乎害 怕露體的男性人物形成了鮮明對比。男性人 像中的脆弱和哀傷在這幅畫中蕩然無存，取 而代之的是具有支配力量的女性所表現的救 贖氣質。 和其他中國當代畫家相比，曾梵志的作品最 具有個人特徵和主觀性。大多數當代畫家滿 足於探索社會政治主題，而曾梵志則廣泛致 力於內心世界的脆弱。他創作的系列作品記 錄了他自己的歷程和成長經歷，預示了在中 國不可逆轉地進入現代社會發生巨變之時， 中國當下最年輕一代人所體驗的焦慮感。
“Woman” is from Zeng’s “Portrait Series” which followed on closely to his ‘Mask Series’. As Zeng is an internally driven artist whose works are highly subjective and personal, and involve intense self-expression, “Woman” takes on huge importance as it is one of Zeng’s very few and special depictions of a female. In the “Portrait Series” he portrays males with a rawness, ferocity, and frailness that is a reflection of his own deep pain and angst. He has said that ‘Painting is a painful process; it forces the human figures in my painting into a state of pain and anxiety. I paint images of people in tragic situations, and they express everything that I want to express’ (Zeng in V.C. Doran, China’s New Art, Post-1989, exh. cat., Hanart/TZ
In “Woman” we have a very rare chance to view Zeng’s depiction of the emotional and psychological plight of a female in contemporary society.
Gallery, Hong Kong, p. 148.)
Zeng has become most famous for his “Mask Series” from the 1990s where the male protagonists hide their true selves behind white, flat and sterile masks. On moving to
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Beijing in 1993, Zeng was shocked to see the hypocrisy and boredom between members of the middle-classes. However, there is a heavy price and burden to pay for wearing a mask of social conformity and frivolity, as human beings we need sustaining relationships with others, without them we become perplexed, lost and distressed. Zeng successfully conveys this agony of the young urbanites as we detect their fear and paranoia behind their masks. In his “Figurative Series” Zeng is much less concerned with the frivolous nature of social personae and the masks people wear, instead focusing directly and with a new openness on the fragility and vulnerability of a person’s psyche in an alienating and disconnected world.
exaggerated for emotional effect often with peculiar features such as over sized hands. In the “Figure Series” in particular he uses elements of primitivism, such as unfinished and elongated bodies. He uses intense colors especially fleshy hues applied with agitated brushstrokes. The figures are suspended in disjointed space and backgrounds where they seem to be floating in emptiness. The light focused on the portrait is almost religious in its intensity, reminiscent of European medieval
exposed skin is suggestive of hurt and wounds. However, the portrait is not one of wretchedness and despair. The pose is strong and forthright, although seemingly seated, the hand on the hip suggests strength and authority, the shoulders are held back in a defiant manner, and the head is held high and aloft. The tight black jacket adds to the sense of defiance and authority. There is little softness or femininity in the painting, instead the overwhelming feeling is of a woman in control, who can overcome her fears and anxieties. The picture is almost masculine in its rendition, a tribute to the inner strength and fortitude of the female protagonist, traits usually missing from Zeng’s male figures. The woman seems at ease with her womanhood, sparingly dressed, exposing her femininity. This is also in great contrast to Zeng’s male protagonists who are usually buttoned up, wearing long overcoats as if fearing exposure. The fragility and sadness of the male portraits is missing here, as the redemptive qualities of the female dominate.
The young Zeng, growing up under the Cultural Revolution, was deeply disturbed by the chaotic and brutal events taking place around him. To make matters worse, he wasn’t a clever student and had constant problems with 曾梵志《安迪．沃荷拍照》，羅芙奧香港2011春季拍賣會，編號047，780萬港幣成交 teachers. The most important ZENG Fanzhi, Andy Warhol is Shooting Picture, 2004, oil on board, 165 x 250 cm symbol of success and social Ravenel Spring Auction 2011 Hong Kong, lot 047, US$ 1,002,571 sold inclusion was denied him, the religious depictions, a major influence on red scarf of the red guards, further adding to Zeng, of any Chinese contemporary painter, is the expressionists. Zeng found that the his sense of dejection and alienation. Art was the most personal and subjective. Whereas most expressionism allowed him to examine the contemporary artists are content to explore his only solace, and he drew constantly as a deepest recesses of his mind and his works are socio-political themes, Zeng has focused youth as a way of escaping his demons and inextricably based on his personal memories demoralization. He discovered and became exclusively on the inner world of vulnerability and relationships. He delves deep into his inner obsessed with European Expressionism at the and fragility. He has created a body of work world to tap into his subjective emotions and Hubei Institute of Fine Arts. Expressionism was which documents his own journey and growing responses aroused by the objects and events processes, indicative of the upheavals and to become the outlet for his raw and powerful around him. personal angst experienced by the most recent emotions allowing him to figuratively portray generations of Chinese society as they move the vivid, jarring and dynamic workings of his “Woman” is a magnificent depiction of the psyche. interminably into modern times. exposed inner mental state of a female. Her vacant, staring eyes are suggestive of Zeng readily embraced the methods of hidden angst and pain, while the raw, fleshy expressionism. His figures are distorted and
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ZHAN Wang (Chinese, b. 1962)
Artificial Garden Rock 2006 Stainless steel, edition no. 1/10 113(L) x 85(W) x 80(H) cm 55(L) x 46(W) x 37(H) cm (base) Engraved Zhan Wang in Chinese, numbered 1/10 and dated 2006
NT$ 3,000,000-6,000,000 US$ 95,700-191,400 HK$ 732,000-1,463,000
展望 山石 2006 不鏽鋼 1/10 113(長) x 85(寬) x 80(高) cm 55(長) x 46(寬) x 37(高) cm（底座） 簽名雕刻：展望 2006 1/10
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LI Hui
(Chinese, b. 1977)
Ark No. 2 2010 Acrylic, LED lamp, stainless steel 180(L) x 40(W) x 46(H) cm
NT$ 3,000,000-4,200,000 US$ 95,700-134,000 HK$ 732,000-1,024,000
李暉 方舟二 2010 壓克力板 LED燈 不鏽鋼 180(長) x 40(寬) x 46(高) cm
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生於1977年，2003年畢業於中央美術學院，李暉成長的過程中，正值中國改革開放的轉型 期，巨變的中國社會瀰漫著令人不安的氣氛，也不斷衝擊民眾既有的價值觀。在此生長背景 之下，李暉的作品一方面濃縮了這個時代的特殊氛圍與集體觀感，另一方面也反映出藝術家 欲探求「永恆」內在的精神世界。誠如李暉所說：「回顧我的學習生涯，我認為，我們接受 的是西方的技巧訓練，但就內容、甚或骨子裡，我們仍跳脫不開東方傳統。我要在我的作品 裡呈現這樣的現象，而這正是今日存在於中國一種相當典型的現象」。 李暉的藝術創作融合了感性氛圍與理性操作，有意借用當代工業科技媒材探討輪迴、救贖、 超脫等生命情境與心理狀態，他擅長運用日常可見的雷射、壓克力、LED燈作為創作媒材， 透過概念性的實體雕塑或空間裝置，體現他對社會人文課題的觀察與省思。 《方舟二》這件作品便是以壓克力板與不鏽鋼材質製成，冷峻平實的造形傳達《聖經》諾亞 方舟的警世意涵，LED燈穿透方舟透亮的壓克力形體，強調出層層堆疊的視覺深度，並使其 外觀呈現冰冷、靜謐的藍色調，營造出宗教儀式般的神秘氣氛，使觀者進入一種撲朔迷離、 真實而又虛幻的情境中。
Lu Hui was born in 1977, graduated from Central Academy of Fine Arts in 2003. While growing up, Li Hui growing up witnessed the early-stage transformation of China’s reform and opening up, when the society was suffused with the atmosphere of anxiety, while the public moral value being challenged by the big changes. In this background, his works are enriched with shared feelings and reflections of that special era, as well as express the artist’s pursuit of the “eternal” spiritual world. As the artist said himself, “looking back at my days as a student, I think we were trained with western art skills, however, if you look into the content and the inspiration of our works, however, the Chinese cultures were never divorced from us, in terms of the content and the inspiration of our works. What I want to express in my art works is this kind of phenomenon; as I believe this is very typical in China now days.” Li Hui’s artistic creation is a fusion of emotional rendering and rational processing, through medium materials of modern industrial technologies; he explores discussions of reincarnation, redemption and nirvana among other states of life and mind. He has a way with communicating his observation and understanding of the human society through solid sculptures and installations with common medium materials such as laser, acrylics and LED lights. The piece “Ark No. 2” is made of acrylic and stainless steel, the simple and austere form delivers an awakening message of Noan's Arc No. 2 in the Bible. LED lights are piercing through the transmitting acrylic body, which emphasizes the texture of depth perception, meanwhile, creates a cold and calm blue tone in the appearance, diffusing a religious mysterious atmosphere, draws audiences to an environment of complexity, somewhere between reality and fantasy.
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JU Ming
(Taiwanese, b. 1938)
Taichi Series - Arch 1991 Bronze, edition no. 19/20 45(L) x 94(W) x 36(H) cm Engraved Ju Ming in Chinese, numbered 19-20 and dated '91 This sculpture is to be sold with a certificated of authenticity issued by Giotto Art Center, Taipei.
NT$ 4,600,000-5,800,000 US$ 146,700-185,000 HK$ 1,122,000-1,415,000
朱銘 太極拱門 1991 銅雕 19/20 45(長) x 94(寬) x 36(高) cm 簽名雕刻：朱銘 19-20 '91 附吉優特國際股份有限公司開立之原作保證 書
「太極拱門」原本是從雙人太極推手演化而來。藝術家說：「以前的推手，兩個個體間還有 間距，而現在，我讓雙手連接起來，一連接，氣的流動、肌肉的牽動，就相互貫通、活絡， 合為一體，轉化成拱門的造型。」 太極拳法瀟灑飄逸，你來我往之間，雙方拳者象徵著中國 的陰陽兩儀，推手的兩方又構成了太極的本體。在「太極拱門」中，已看不見那些無關宏旨 的細節，其創作躍入幾乎純抽象的階段，就像看著帕洛克的抽象畫作，腦海也能浮現他在畫 布上舞動的姿態，幾何的切面，或是不完全對稱的外形，將包圍此作品的空間裝飾的更有層 次，它的豐富更不外乎創作的速度感，單一的刻劃間展現創作者的忘我狀，我們看到朱銘的 不受羈絆，看到他可以不再像傳統的工匠只想單純的複製一個形體，而是因為太極帶來的愉 悅情緒，使他按耐不住要將其化作一永恆的個體。 「太極拱門」特別之處也在於它與其所處之角落和諧共存，並漸漸地成為周遭中有機的構成 要件，融合了中國園林天地圓融的東方哲學思想，無論它的大或小，所要表現的空間感都是 不受限的，也許是因為朱銘賦予的空靈氣質所致，散發出一種無限延伸之感。
“Taichi Arch” was originally born out of two people engaging in the Taichi exercise called “pushing hands” (Tui-shou). Regarding the piece, the artist remarks, “Before, with ‘pushing hands’, a distance remained between the two individuals practicing. But now I’ve connected their hands together - as soon as their hands met, the flow of Chi and the synchronous muscle movement of the two figures formed a mutual and dynamic bond, and combined into a single body that formed the shape of an arch.” Ju Ming’s work represents the natural, graceful elegance of Taichi movement - the space between the two figures and their fists symbolize Yin and Yang for China, with the pushing of hands forming the essence of Taichi. Details that are irrelevant to the main theme are no longer seen in the Taichi Arch. The creation has plunged into an almost purely abstract stage. Like looking at an abstract painting by Jackson Pollock, things that appear before one’s eyes are the dance poses, geometrical planes and asymmetrical forms on his canvas. Increased levels of adornment are given to the space surrounding this work, the richness of which does not go beyond its tempo. The simple carvings show the artist’s state of self-denial. We can see an unfettered Ju Ming who no longer wants to simply copy a form like a traditional craftsman. Thanks to the joyful moods brought by Taichi, he cannot help but transform it into an eternal entity. The uniqueness of the “Taichi Arch” lies in its harmonious coexistence with the corner where it is located. It has gradually become an important component of the surroundings, integrating the Oriental philosophical thinking of the union of heaven and earth in the gardens of China. The extensity presented by the sculpture, regardless of its size, is unrestricted. Perhaps the feeling of infinite extent is a result of the spiritual character it is endowed with by Ju Ming.
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JU Ming
(Taiwanese, b. 1938)
Taichi Series 1995 Bronze, edition no. 5/10 48(L) x 90(W) x 72.5(H) cm Engraved Ju Ming in Chinese, numbered 5/10 and dated '95 This sculpture is to be sold with a certificate issued by the Nonprofit Organization Juming Culture and Education Foundation.
NT$ 3,500,000-4,500,000 US$ 111,600-143,500 HK$ 854,000-1,098,000
朱銘 太極系列 1995 銅雕 5/10 48(長) x 90(寬) x 72.5(高) cm 簽名雕刻：朱銘 5/10 '95 附財團法人朱銘文教基金會所開立之作品鑑 定報告書
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XU Bing
(Chinese, b. 1955)
S q u a r e Wo r d : N e w E n g l i s h Calligraphy (An Introduction to Square Word Calligraphy) 1994-1996 Woodcut (printed books), edition no. 78/350 41.5 x 27.5 cm Signed Xu Bing in English and dated 1994-1996, numbered 78/350
NT$ 140,000-260,000 US$ 4,500-8,300 HK$ 34,000-63,000
徐冰 英文方塊字書法 1994-1996 木刻版畫 78/350 41.5 x 27.5 cm 簽名：Xu Bing 78/350 1994-1996
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MA Pai-sui
(Taiwanese, 1909-2003)
Taroko Gorge 1977 Ink and color on paper 60 x 50 cm Signed lower right Pai-sui in Chinese and dated 1977 With one seal of the artist
NT$ 160,000-260,000 US$ 5,100-8,300 HK$ 39,000-63,000
馬白水 太魯閣 1977 彩墨 紙本 60 x 50 cm 簽名右下：白水 1977 鈐印右下：MA PAI SUI
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ZHANG Kai (Chinese, b. 1985)
Cat No. 1 2007 Oil on canvas 50 x 40 cm Signed lower left ZK in English
NT$ 160,000-260,000 US$ 5,100-8,300 HK$ 39,000-63,000
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張凱 貓之一 2007 油彩 畫布 50 x 40 cm 簽名左下：ZK
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ZHANG Donghong (Chinese, b. 1967)
Flower 2006 Oil on canvas 120 x 100 cm Signed lower left Donghong in English and dated 2006.3.1
NT$ 240,000-400,000 US$ 7,700-12,800 HK$ 59,000-98,000
張東紅 紅玫瑰 2006 油彩 畫布 120 x 100 cm 簽名左下：Donghong 2006.3.1
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HONG Ling (Chinese, b. 1955)
Lotus 1988 Oil on canvas 120 x 120 cm Signed lower right Hong Ling in Chinese and dated 88.8 Signed on the reverse Hong Ling and titled Lotus in Chinese, inscribed No. 120 and dated 1988
NT$ 300,000-550,000 US$ 9,600-17,500 HK$ 73,000-134,000
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洪凌 蓮 1988 油彩 畫布 120 x 120 cm 簽名右下：洪凌 88.8 簽名畫背：洪凌 《蓮》 1988 No. 120
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HUA Qing
(Chinese, b. 1962)
Fun with Exploration No. 1 2009 Oil on canvas 162 x 145 cm Signed lower right Hua Qing in Chinese and dated 2009
NT$ 300,000-500,000 US$ 9,600-15,900 HK$ 73,000-122,000
華慶 探索的樂趣 No. 1 2009 油彩 畫布 162 x 145 cm 簽名右下：華慶 2009
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OUYANG Chun
歐陽春
(Chinese, b. 1974)
醉酒
Drunk 2007 Oil on canvas 60 x 60 cm Signed lower right Ouyang Chun in Chinese and dated 2007 Signed on the reverse Ouyang Chun and titled drunk in Chinese, dated 2007
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EXHIBITED: Realms of Myth, Shanghai Gallery of Art, Shanghai, March 15 - April 21, 2008 NT$ 300,000-500,000 US$ 9,600-15,900 HK$ 73,000-122,000
2007 油彩 畫布 60 x 60 cm 簽名右下：2007 歐陽春 簽名畫背：醉酒 歐陽春 2007 展覽： 「神話之界」，滬申畫廊，上海，展期自 2008年3月15 至4月21日
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YANG Chihung (Taiwanese, b. 1950)
Yellow Leaves 1990-1991 Oil on canvas 141 x 105 cm Signed on the reverse Chihung Yang and titled Yellow Leaves in English and dated 1990-91
NT$ 400,000-600,000 US$ 12,800-19,100 HK$ 98,000-146,000
楊識宏 黃色樹葉 1990-1991 油彩 畫布 141 x 105 cm 簽名畫背：Chihung Yang Yellow Leaves 1990-91
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REN Rong
(Chinese, b. 1960)
Autumn-I 2000 Acrylic on pinewood 140(L) x 100(W) x 6(D) cm Signed on the reverse Ren Rong in Chinese and English, dated 2000.05 ILLUSTRATED: Ren Rong, Eslite Gallery, Taipei, 2000, color illustrated, pp. 10-11
NT$ 350,000-550,000 US$ 11,200-17,500 HK$ 85,000-134,000
任戎 金秋之一 2000 壓克力 松木 140(長) x 100(寬) x 6(厚) cm 簽名畫背：任戎 Ren Rong 2000.05 圖錄： 《任戎》，誠品畫廊，台北， 2000，彩色圖版，頁10-11
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HUANG Yan (Chinese, b. 1966)
One Line Shan Shui (Green) 2007 Oil on canvas 200 x 100 cm Signed on the reverse Huang Yan in Chinese and dated 2007
NT$ 300,000-500,000 US$ 9,600-15,900 HK$ 73,000-122,000
黃岩 一線山水（綠色） 2007 油彩 畫布 200 x 100 cm 簽名畫背：黃岩 2007
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REN Rong
(Chinese, b. 1960)
Plant Man Series 2000 Pinewood 140(L) x 100(W) x 8(D) cm Signed on the reverse Ren Rong in Chinese and English, dated 2000.06 ILLUSTRATED: Ren Rong, Eslite Gallery, Taipei, 2000, color illustrated, pp. 12-13
NT$ 350,000-550,000 US$ 11,200-17,500 HK$ 85,000-134,000
任戎 植物人之二 2000 松木 140(長) x 100(寬) x 8(厚) cm 簽名畫背：任戎 R e n R o n g 2000.06 圖錄： 《任戎》，誠品畫廊，台北， 2000，彩色圖版，頁12-13
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HUANG Yan (Chinese, b. 1966)
One Line Shan Shui (Blue) 2007 Oil on canvas 200 x 100 cm Signed on the reverse Huang Yan in Chinese and dated 2007
NT$ 300,000-500,000 US$ 9,600-15,900 HK$ 73,000-122,000
黃岩 一線山水（藍色） 2007 油彩 畫布 200 x 100 cm 簽名畫背：黃岩 2007
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John WAY
(Chinese-American, b. 1921)
Autumn Maple 1990 Oil on paper, mounted onto wooden board 48.5 x 61 cm Signed lower right John Way in English and dated '90
NT$ 200,000-450,000 US$ 6,400-14,400 HK$ 49,000-110,000
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魏樂唐 秋楓 1990 油彩 紙本 裱於木板 48.5 x 61 cm 簽名右下：John Way '90
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DU Xi
杜溪
(Chinese, b. 1980)
Make Three Calls at the Thatched Cottage 2008 Oil on canvas 100 x 200 cm Signed lower right Du Xi in Chinese and dated 2008
三顧茅廬 ILLUSTRATED: World Shaking, William Art International, Taipei, 2009, color illustrated, p. 63
2008 油彩 畫布 100 x 200 cm 簽名右下：杜溪 2008
NT$ 400,000-600,000 US$ 12,800-19,100 HK$ 98,000-146,000
圖錄： 《翻天覆地》，威廉當代藝術空間，台北， 2009，彩色圖版，頁63
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YANG Din
(Chinese, b. 1958)
Paysage II 1995 Acrylic on canvas 130 x 162 cm Signed lower right Yang Din in English Signed on the reverse Yang Din, titled Paysage II, all in French and Chinese, dated 1995.3 and inscribed 162 x 130 cm
NT$ 450,000-650,000 US$ 14,400-20,700 HK$ 110,000-159,000
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楊登雄 月夜 II 1995 壓克力 畫布 130 x 162 cm 簽名右下：Yang Din 簽名畫背：Yang Din 楊登雄 Paysage 月夜II 1995.3 162 x 130 cm
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Chang-Ling
(Taiwanese, b. 1975)
Pork Belly Series - Flesh Religion Little Divinity, Big Lotus 2009 Oil on canvas 145 x 200 cm Signed on the reverse Chang-Ling, titled Pork Belly Series-Flesh Religion - Little Divinity, Big Lotus in Chinese and dated 2009
NT$ 400,000-600,000 US$ 12,800-19,100 HK$ 98,000-146,000
常陵 五花肉系列─肉宗教─小小神性大大荷 2009 油彩 畫布 145 x 200 cm 簽名畫背：五花肉系列─肉宗教─小小神性 大大荷 常陵 2009
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CHIU Ya-tsai
(Taiwanese, b. 1949)
Gentleman Oil on canvas 124 x 66 cm Signed lower left Chiu Ya-tsai in Chinese
NT$ 450,000-800,000 US$ 14,400-25,500 HK$ 110,000-195,000
邱亞才 紳士 油彩 畫布 124 x 66 cm 簽名左下：邱亞才
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SZETO Lap (Chinese, b. 1949)
Still Life with Trumpet 1988 Oil on canvas 135 x 126 cm Signed lower right Szeto in English and dated 88
NT$ 500,000-700,000 US$ 15,900-22,300 HK$ 122,000-171,000
司徒立 聽小號的日子 1988 油彩 畫布 135 x 126 cm 簽名右下：Szeto 88
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XUE Song
(Chinese, b. 1965)
Consciousness Calligraphy II 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 110cm x 110cm and dated 2006
NT$ 500,000-700,000 US$ 15,900-22,300 HK$ 122,000-171,000
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薛松 意象書法之二 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》110cm x 110cm 薛 松 Xue Song 2006
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SHIY De-jinn
(Taiwanese, 1923-1981)
席德進
Tamsui River, Fishing Boat under Shadow of Trees 1977 Watercolor on paper 56 x 76 cm Signed center left Shiy De-jinn in Chinese and dated 1977 PROVENANCE: Lung Men Art Gallery, Taipei The present owner acquired directly from the above in late 1970s (The present owner was acquainted with the artist, who assisted the present owner in purchasing from the gallery.)
淡水河畔．漁舟與樹影 1977 水彩 紙本 56 x 76 cm 簽名左方：席德進 1977
EXHIBITED: Shiy De-jinn Solo Exhibition, Lung Men Art Gallery, Taipei, June, 1977
來源： 龍門畫廊，台北 現有收藏者得自上述來源，1970年代後期。 （現有收藏者認識藝術家，並獲其協助與龍 門畫廊聯繫購買）
NT$ 500,000-800,000 US$ 15,900-25,500 HK$ 122,000-195,000
展覽： 「席德進個展」，龍門畫廊，台北，1977年 6月
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CHEN Liu
(Chinese, b. 1973)
The Celestial Battle - Broadswords and Hammers 2007 Oil on canvas 140 x 200 cm Signed lower left Chen Liu in Chinese and dated 2007.6 ILLUSTRATED: Chen Liu: The Celestial, Proeditor Culture Co. Ltd., Taipei, 2008, color illustrated, p. 78
NT$ 550,000-750,000 US$ 17,500-23,900 HK$ 134,000-183,000
陳流 天空界對打系列之雙刃與雙錘 2007 油彩 畫布 140 x 200 cm 簽名左下：陳流 2007.6 圖錄： 《陳流：天降大任》，藏新藝術有限公司， 台北，2008，彩色圖版，頁78
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SZETO Lap (Chinese, b. 1949)
Hallway (a set of 2) 1988 Oil on canvas 146 x 97 cm (x2) Signed lower left Szeto in English and dated 1988 (left) Signed lower right Szeto in English and dated 1988 (right)
NT$ 750,000-900,000 US$ 23,900-28,700 HK$ 183,000-220,000
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司徒立 走廊（2件1組） 1988 油彩 畫布 146 x 97 cm (x2) 簽名左下：Szeto 1988（左） 簽名右下：Szeto 1988（右）
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YANG Chihung (Taiwanese, b. 1950)
Dialog of Fire & Water 1988 Acrylic on canvas 198 x 152.5 cm Signed on the reverse Chihung Yang and titled Dialog of Fire & Water in English, dated 1988 and inscribed 78 x 60 inches
NT$ 850,000-1,300,000 US$ 27,100-41,500 HK$ 207,000-317,000
楊識宏 水與火的對話 1988 壓克力 畫布 198 x 152.5 cm 簽名畫背：Chihung Yang Dialog of Fire & Water 1988 78 x 60 inches
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ZHOU Chunya (Chinese, b. 1955)
Pointillist Landscape 1980 Oil on canvas, mounted onto paperboard 39 x 35 cm Signed lower right Zhou Chunya in Chinese and dated 1980
NT$ 800,000-1,000,000 US$ 25,500-31,900 HK$ 195,000-244,000
周春芽 點彩風景 1980 油彩 畫布 裱於紙板 39 x 35 cm 簽名右下：1980 周春芽
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XIONG Yu
(Chinese, b. 1975)
Twinkling Forest 2005 Oil on canvas 120 x 150 cm Signed on the reverse Xiong Yu and titled Twinkling Forest in Chinese, dated 2005 This painting is to be sold with a certificate of authenticity issued by DUBANG Contemporary Space, Miaoli.
NT$ 800,000-1,000,000 US$ 25,500-31,900 HK$ 195,000-244,000
熊宇 閃亮的森林 2005 油彩 畫布 120 x 150 cm 簽名畫背：熊宇 2005《閃亮的森林》2005年 附杜邦當代藝術空間開立之原作保證書
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JIA Gang
(Chinese, b. 1974)
Be Excused from Courtesy No. 1 2006 Oil on canvas 120 x 160 cm Signed lower right Jia Gang in Chinese and dated 2006 ILLUSTRATED: JIA Gang-The Art of Gestures, New Age Gallery, Beijing, 2007, color illustrated, p. 114
NT$ 800,000-1,000,000 US$ 25,500-31,900 HK$ 195,000-244,000
賈剛 免禮一 2006 油彩 畫布 120 x 160 cm 簽名右下：2006 賈剛 圖錄： 《賈剛─姿態》，新時代畫廊，北京， 2007，彩色圖版，頁114
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XIONG Yu
(Chinese, b. 1975)
Floating 2004-2005 Oil on canvas 100 x 200 cm Signed lower right Xiong Yu in Chinese and dated 2005 S i g n e d o n t h e r e v e r s e X i o n g Yu , t i t l e d Floating, dated 2004, all in Chinese and inscribed 200 cm x 100 cm
NT$ 850,000-1,500,000 US$ 27,100-47,800 HK$ 207,000-366,000
熊宇 煙雲的人體 2004-2005 油彩 畫布 100 x 200 cm 簽名右下：熊宇 2005 簽名畫背：《煙雲的人體》熊宇 2004年 200 cm x 100 cm
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CAO Jingping (Chinese, b. 1972)
Summer Palace in Spring (triptych) 2007 Acrylic on canvas 150 x 222 cm (x3) Signed center left Cao Jingping in Chinese and dated 2007 (left) Signed lower left Cao Jingping in Chinese and dated 2007 (middle) Signed center right Cao Jingping in Chinese and dated 2007 (right) Signed on the reverse Cao Jingping and titled Summer Palace in Spring in Chinese and English, inscribed 150 x 222 cm, acrylic on canvas and dated 2007 (all) EXHIBITED: Landscape without End – Works of Cao Jing Ping, Li Xuda, Z-Art Center, Shanghai, 2007 Cina Rinascita Contemporanea, Palazzo Reale, Milan, December 11, 2009 – February 7, 2010
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ILLUSTRATED: Landscape without End – Works of Cao Jing Ping, a cura di Li Xuda, Z-Art Center, Shanghai, a 36, 2007, p. 31 Cina Rinascita Contemporanea, 24 Ore Motta Cultura & Palazzo Reale, Milan, 2009, illustrated, pp. 212 - 213
NT$ 850,000-1,300,000 US$ 27,100-41,500 HK$ 207,000-317,000
曹靜萍 頤和春色（三聯幅） 2007 壓克力 畫布 150 x 222 cm (x3) 簽名左方：曹靜萍 2007（左） 簽名左下：曹靜萍 2007（中） 簽名右方：曹靜萍 2007（右） 簽名畫背：頤和春色 S u m m e r P a l a c e i n Spring 150 x 222 cm 布面丙烯 Acrylic on Canvas 曹敬平 Cao Jing ping 2007（三件） 展覽： 「無限江山－曹靜萍」，張江當代藝術中 心，上海，展期2007年 「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： 《無限江山－曹靜萍》，張江當代藝中心， 上海，2007，彩色圖版，頁31 《中國當代文藝復興》，24小時摩塔文化， 王宮，米蘭，2009，彩色圖版，頁212-213
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GAO Yu
(Chinese, b. 1981)
Arrogant Blowfish I 2004 Acrylic on canvas 120 x 140 cm Signed lower right GAO Yu in Chinese, dated 2004, inscribed for GG Signed on the reverse Gao Yu and titled Arrogant Blowfish I in Chinese, dated 2004, inscribed acrylic on canvas, 140 x 120 cm EXHIBITED: Next Station: Cartoon?, Star Gallery, Beijing, April 1-12, 2005 ILLUSTRATED: Next Station: Cartoon?, Star Gallery, Beijing, 2005, color illustrated
NT$ 1,000,000-2,000,000 US$ 31,900-63,800 HK$ 244,000-488,000
高瑀 妄河豚 I 2004 壓克力 畫布 120 x 140 cm 簽名右下：高瑀 for GG 2004 簽名畫背：布面丙烯 140 x 120 cm 高瑀作品 2004《妄河豚1》 展覽： 「下一站：卡通嗎？—七零後的藝術」，星 空間畫廊，北京，2005年4月1日至4月12日 圖錄： 《下一站：卡通嗎？—七零後的藝術》，星 空間畫廊，北京，2005，彩色圖版
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CHEN Ke
(Chinese, b. 1978)
Fire of Love 2005 Oil on canvas 220 x 80 cm Signed lower right Ke in Chinese and dated 2005 Signed on the reverse Chen Ke and titled Fire of Love in Chinese, inscribed oil on canvas, 220 x 80 cm and dated 2005
NT$ 1,500,000-2,500,000 US$ 47,800-79,700 HK$ 366,000-610,000
陳可 愛火 2005 油彩 畫布 220 x 80 cm 簽名右下：可 2005 簽名畫背："愛火" 布上油畫 220 x 80 cm 陳可 2005
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ZHOU Chunya (Chinese, b. 1955)
Stone and Black 1994 Oil on canvas 72.5 x 60.5 cm Signed lower right Zhou Chunya and dated 1994 in Chinese Signed on the reverse Zhou Chunya and titled Stone and Black in Chinese, dated 1994
NT$ 1,500,000-2,800,000 US$ 47,800-89,300 HK$ 366,000-683,000
周春芽 石頭與黑色 1994 油彩 畫布 72.5 x 60.5 cm 簽名右下：一九九四 周春芽 簽名畫背：《石頭與黑色》 1994 周春芽
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XIA Junna
(Chinese, b. 1971)
Girl in Garden 2010 Oil on canvas 110 x 60 cm Signed lower right XJN in English and dated 2010
NT$ 1,200,000-2,600,000 US$ 38,300-82,900 HK$ 293,000-634,000
夏俊娜 賞花圖 2010 油彩 畫布 110 x 60 cm 簽名右下：XJN 2010
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PENG Si
(Chinese, b. 1980)
Sacred Mountain 2010 Oil on canvas 98 x 188 cm Signed lower right PENG SI in English and dated 10 Signed on the reverse Peng Si and titled Sacred Mountain in Chinese and English, inscribed oil on canvas, 98 x 188 cm and dated 2010 EXHIBITED: Peng Si’s Art Painting Exhibition, Daechon Gallery of Art, Korea, 2010 ILLUSTRATED: Different Currents of the Same River, Hebei Education Press, Shijiazhuang, 2010, color illustrated, pp. 164-165
NT$ 1,800,000-2,700,000 US$ 57,400-86,100 HK$ 439,000-659,000
彭斯 邈菇射神山 2010 油彩 畫布 98 x 188 cm 簽名右下： PENG SI 10 簽名畫背：邈菇射神山 Sacred Mountain 油 畫 oil on canvas 98 x 188 cm 彭斯 Peng Si 2010 展覽： 「彭斯油畫藝術展」，韓國大川美術館，韓 國，2010年 圖錄： 《異世同流》，河北教育出版社，石家莊， 2010，彩色圖版，頁164-165
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JU Ming
(Taiwanese, b. 1938)
Taichi Series 1996 Stone (unique) 20(L) x 20(W) x 40(H) cm Engraved Ju Ming in Chinese and dated '96 This sculpture is to be sold with a certificate of authenticity issued by Kalos Gallery, Taipei.
NT$ 1,700,000-2,400,000 US$ 54,200-76,600 HK$ 415,000-585,000
朱銘 太極系列 1996 石頭（單一件） 20(長) x 20(寬) x 40(高) cm 簽名雕刻：朱銘 '96 附真善美畫廊開立之原作保證書
222
235
JU Ming
(Taiwanese, b. 1938)
Taichi Series 1995 Bronze, edition no. AP 8/10 38(L) x 30(W) x 27(H) cm Engraved Ju Ming in Chinese, numbered AP 8/10 and dated '95 This sculpture is to be sold with a certificate of authenticity signed by the artist.
NT$ 1,300,000-2,300,000 US$ 41,500-73,400 HK$ 317,000-561,000
朱銘 太極系列 1995 銅雕 自 8/10 38(長) x 30(寬) x 27(高) cm 簽名雕刻：朱銘 自 8/10 '95 附藝術家親筆簽名之原作保證書
236
Yuyu YANG
(YANG Ying-feng) (Taiwanese, 1926-1997)
Moving Sleeve 1972 Bronze, edition no. 29/30 62(L) x 25(W) x 75(H) cm Engraved Yingfeng in Chinese, dated 72' Taipei and numbered 29/30 in Chinese ILLUSTRATED: Exhibition of Yuyu Yang's Art from 1961-1977, National History Museum, Taipei, 2000, color illustrated, p. 94 Landscape Contentment - Yang Ying-Feng, Hsiung Shih Publishers, Taipei, 2004, color illustrated, p. 119 Yuyu Yang Corpus, Artist Publishing Co., Taipei, 2005, color illustrated, p. 230 Yuyu Yang Vanguard on Native Soil, Kaohsiung Museum of Fine Arts, Kaohsiung; Yuyu Yang Artistic and Educational, Taipei, 2006, color illustrated, p. 147 Eternity of Heaven and Earth: Sculptor YuYu Yang, Chengyin Culture, Taipei, 2009, p. 41 This sculpture is to be sold with a cerificate of authenticity issued by Yuyu Yang Foundation, Taipei.
NT$ 980,000-1,600,000 US$ 31,300-51,000 HK$ 239,000-390,000
224
楊英風 水袖 1972 銅雕 29/30 62(長) x 25(寬) x 75(高) cm 簽名：英風 72' 台北 29/30 圖錄： 《楊英風─六一~七七年創作特展》，國立 歷史博物館，台北，2000，彩色圖版，頁94 《景觀．自在．楊英風》，雄獅圖書股份有 限公司，台北，2004，頁119 《楊英風全集 第一卷》，藝術家出版社， 台北，2005，頁230 《楊英風：站在鄉土上的前衛》，高雄市立 美術館，高雄，2006，頁147 《天地永恆：雕塑藝術家楊英風》，正因文 化，台北，2009，頁41 附財團法人楊英風藝術教育基金會呦呦藝術 事業有限公司開立之作品保證
237
LI Chen
(Taiwanese, b. 1963)
Avalokitesvara
李真
1999 Bronze, edition no. 8/30 49(L) x 23(W) x 41(H) cm Engraved Li Chen in Chinese and English, numbered 8/30
1999 銅雕 8/30 49(長) x 23(寬) x 41(高) cm 簽名雕刻：李真 Li Chen 8/30
EXHIBITED: Li Chen in 52nd Venice Biennale - Energy of Emptiness, Venice, 2007 (different sized version illustrated) Li Chen - In Search of Spiritual Space, National Museum of China, Beijing, 2008 (different sized version illustrated) Li Chen : Mind, Body, Spirit, Singapore Art Museum, Singapore, 2009 (different sized version illustrated) ILLUSTRATED: Li Chen 1992-2002 Sculpture, Asia Art Center, Taipei, 2004, color illustrated, cover & p. 22, pp. 48-49 Top 10 Chinese Contemporary Sculpture Exhibition, Asia Art Center, Beijing, 2007, color illustrated, p. 44 Li Chen in 52nd Venice Biennale - Energy of Emptiness, Venice, Asia Art Center, Taipei, 2007, color illustrated, pp. 68-75 Li Chen: In Search of Spiritual Space, 2008 Solo Exhibition at National Art Museum of China, Asia Art Center, Taipei, 2008, color illustrated, p. 171& p. 178 Li Chen : Mind, Body, Spirit, Singapore Art Museum, Singapore, 2009, color illustrated, pp. 80-81 This sculpture is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.
NT$ 700,000-900,000 US$ 22,300-28,700 HK$ 171,000-220,000
226
大士
展覽： 「義大利第52屆威尼斯雙年展」，威尼斯， 2007 (展品為不同尺寸版本) 「李真—尋找精神的空間」，中國美術館， 北京，2008 (展品為不同尺寸版本) 「李真—精神．身體．靈魂」，新加坡美術 館，新加坡，2009 (展品為不同尺寸版本) 圖錄： 《1992-2002李真雕塑》，亞洲藝術中心， 北京，2004，彩色圖版，封面及頁22及 頁48-49 《中國當代雕塑十人展》，亞洲藝術中心， 北京，2007，彩色圖版，頁44 《虛空中的能量—第52屆威尼斯雙年展》， 亞洲藝術中心，台北，2007，彩色圖版， 頁68-75 《李真—尋找精神的空間》，亞洲藝術中 心，台北，2008，彩色圖版，頁171及頁178 《李真—精神．身體．靈魂》，新加坡美術 館，新加坡，2009，彩色圖版，頁80-81 附亞洲藝術中心開立之原作保證書
《大士》是李真首展「虛空中的能量」系列 中代表作之一（1999年），作品渾圓敦厚又 慈悲的神情，在霧化面相中不失拙趣，是喜 樂也是祥和。以單純清淨，卻又充斥著沛然 莫之禦的氣體能量，這種具形擴張效果，在 極限與厚重間有了虛與實的官感，是太虛智 慧包容的意涵，即簡單又直接傳達姿勢語 彙，正是李真獨特的個人風格。 就雕塑肌理與線條關係，作者表現出高超的 融合性，看似簡約，但在光影下卻充滿著變
化，圓滿造型中依然有其精妙的神韻，左握 淨瓶，右拈指印，渾圓展臂而立。一種安穩 泰勢，讓人有平靜安定感。在質感上用中國 墨黑色帶有霧亮處理形成特有效果，使觀者 有既重又輕的感覺，是一件耐人尋味的精 品。
“Avalokitesvara” is one of the most memorable works in Li Chen’s very first exhibition titled “Energy of Emptiness (1999).” The plumpish sculpture reveals a benevolent yet sympathetic demeanor, and in its indistinctive facial features, evidence of gratification and harmony could be found along with a hint of modesty. Given the work’s simplistic approach, nevertheless its amplified outcome was made possible with an implacable sense of energy; between extremity and mass is a coexistence of abstract and tangible sensation. The casualness and bluntness of the sculpture’s posture is a result of insight to the essence embraced by voidness, and that is where the uniqueness of Li Chen’s individuality lies. From the connection between the sculpture’s complexion and contour, it is evident that the artist has exhibited an unparalleled level of integration of the two elements. What seems to be simple on the surface could transform with the change of shade, despite its spherical shape, it is still able to display an exquisite as well as ingenious spirituality. The combination of a purification vase in the left hand while a symbolic sign formed on the right in addition to its rotund physique standing with both arms fully extended is a portrait of soundness and strength and offers a sense of serenity to people. On the surface, the sculpture was done by using Chinese black lacquer which achieves an unusual result after been polished, and it gives off an illusion as the object’s true weight is not what it seems to the spectators. This is indeed an intriguing work of art.
238
Yuyu YANG
(YANG Ying-feng) (Taiwanese, 1926-1997)
Return to the Beginning 1986 Stainless steel, edition no. 17/20 72(L) x 60(W) x 78(H) cm Engraved on the base Yuyu Yang in Chinese and English, Yang YF in English, dated '86 and numbered 17/20
NT$ 500,000-700,000 US$ 15,900-22,300 HK$ 122,000-171,000
楊英風 回到太初 1986 不鏽鋼 17/20 72(長) x 60(寬) x 78(高) cm 簽名雕刻台座：'86 呦呦楊英風 Yuyu YANG Yang YF, 17/20
228
239
Hiroyuki MATSUURA (Japanese, b. 1964)
Pancake 2006 Acrylic on canvas 35 x 35 cm Signed on the reverse Hiroyuki Matsuura in English and dated 2006.12.25
NT$ 400,000-600,000 US$ 12,800-19,100 HK$ 98,000-146,000
230
松浦浩之 鬆餅 2006 壓克力 畫布 35 x 35 cm 簽名畫背：Hiroyuki Matsuura 2006.12.25
240
Yoshitomo NARA (Japanese, b. 1959)
Good Bye Japanese er! 1996 Pen, color pencil on paper 29.5 x 20.7 cm Signed lower right Na in Japanese and dated '96
NT$ 400,000-600,000 US$ 12,800-19,100 HK$ 98,000-146,000
奈良美智 再會日本人！ 1996 原子筆 色鉛筆 紙本 29.5 x 20.7 cm 簽名右下：な '96
241
Hideaki KAWASHIMA (Japanese, b. 1969)
ID2 2004 Acrylic on canvas 41 x 41 cm PROVENANCE: Tomio Koyama Gallery, Tokyo
NT$ 220,000-350,000 US$ 7,000-11,200 HK$ 54,000-85,000
232
川島秀明 ID2 2004 壓克力 畫布 41 x 41 cm 來源： 小山登美夫畫廊，東京
242
Ayako ROKKAKU (Japanese, b. 1982)
What Should I do? 2007 Acrylic on canvas 60 x 73 cm Signed on the reverse Ayako Rokkaku in Japanese and dated 2007
NT$ 140,000-240,000 US$ 4,500-7,700 HK$ 34,000-59,000
六角彩子 我該怎麼辦？ 2007 壓克力 畫布 60 x 73 cm 簽名畫背：2007 ロッカクアヤコ
243
Yuichi SUGAI (Japanese, b. 1952)
Hatsuyume 2 (First Dream 2) 2010 Oil and kimono fabric on canvas, collage 152 x 137 cm
NT$ 180,000-260,000 US$ 5,700-8,300 HK$ 44,000-63,000
234
菅井祐一 初夢II 2010 油彩 和服布 畫布 拼貼 152 x 137 cm
244
Yoshitomo NARA (Japanese, b. 1959)
I am Alone & Fuckin' Politics
奈良美智
2003 Print, edition no. 47/75 & 44/75 66 x 50 cm (x2) Signed lower right the character of Na in Japanese and dated 2003, numbered lower left 47/75 (left) Signed lower right the character of Na in Japanese and dated 2003, numbered lower left 44/75 (right)
PROVENANCE: Adam Biesk Inc. Art Advisory, L. A. Private collection, Asia
2003 版畫 47/75 & 44/75 66 x 50 cm (x2) 簽名下方：47/75 な 2003 (左) 44/75 な 2003 (右)
NT$ 140,000-220,000 US$ 4,500-7,000 HK$ 34,000-54,000
來源： 亞當．畢亞斯克藝術顧問公司，洛杉磯 私人收藏，亞洲
我很孤單 & 去他的政治
245
Yoshitaka AMANO (Japanese, b. 1952)
Monochrome 8 2010 Acrylic on canvas 45.5 x 48.5 cm Signed lower right Amano in English
NT$ 100,000-200,000 US$ 3,200-6,400 HK$ 24,000-49,000
236
天野喜孝 單色畫 8 2010 壓克力 畫布 45.5 x 48.5 cm 簽名右下：Amano
246
Agus Ardika I KADEK (Indonesian, b. 1984)
Dalam Produk 2008 Acrylic on canvas 160 x 140 cm Signed lower left I Kadek A. Ardika in English and dated 08
安格斯．艾迪卡．艾卡德克 Signed on the reverse I Kadek A. Ardika and titled Dalam Produk in Indonesian, inscribed 140 x 160 cm, acrylic on kanvas and dated 2008
NT$ 100,000-200,000 US$ 3,200-6,400 HK$ 24,000-49,000
名牌製品 2008 壓克力 畫布 160 x 140 cm 簽名左下：I Kadek A. Ardika 08 簽名畫背：I KADEK A. ARDIKA DALAM PRODUK 140 x 160 cm ACRYLIC ON KANVAS 2008
247
Yoshitaka AMANO (Japanese, b. 1952)
Monochrome 10 2010 Acrylic on canvas 30 x 30 cm Signed lower edge Y. Amano in English
NT$ 90,000-180,000 US$ 2,900-5,700 HK$ 22,000-44,000
238
天野喜孝 單色畫 10 2010 壓克力 畫布 30 x 30 cm 簽名下側：Y. Amano
248
I Ketut MONIARTA (Indonesia, b. 1981)
Little Wave 2008 Enamel on aluminium 86 x 150 cm
NT$ 100,000-200,000 US$ 3,200-6,400 HK$ 24,000-49,000
艾柯圖．莫尼亞塔 小波浪 2008 琺瑯 鋁板 86 x 150 cm
249
Yuichi SUGAI (Japanese, b. 1952)
Untitled 2010 Oil and kimono fabric on canvas, collage 80 x 60.5 cm Initialed on right edge Y.S. and dated 2010
NT$ 70,000-140,000 US$ 2,200-4,500 HK$ 17,000-34,000
菅井祐一 無題 2010 油彩 和服布 畫布 拼貼 80 x 60.5 cm 簽名右側：Y.S. 2010
240
250
Ryoko KATO (Japanese, b. 1982)
Ice Lolly and Stripes No. 9: Tragedy 2002 Acrylic on canvas 18 x 18 cm Signed on the reverse ryoko KATO in English and titled Ice Lolly and stripes #9 Tragedy in Japanese
NT$ 40,000-60,000 US$ 1,300-1,900 HK$ 10,000-15,000
加藤遼子 條紋冰棒之九：悲劇 2002 壓克力 畫布 18 x 18 cm 簽名畫背：ryoko KATO アイス条旗シりー ズ #9 悲劇
251
Aya TAKANO (Japanese b. 1976)
Drive with a Night Dog & The Weightless Room 2006 Offset lithograph 70 x 52 cm (left) 76 x 51 cm (right) Signed lower right Aya Takano in English, dated 06 and numbered EP 75/300 (left) Signed lower right Aya Takano in English, dated 06 and numbered EP 105/300 (right)
NT$ 50,000-70,000 US$ 1,600-2,200 HK$ 12,000-17,000
高野綾 和守夜犬一起開車、無重力房間 2006 限量石版畫 70 x 52 cm（左） 76 x 51 cm（右） 簽名右下：06 Aya Takano EP 75/300（左） 簽名右下：06 Aya Takano EP 105/300（右）
252
Takashi MURAKAMI (Japanese, b. 1963)
村上隆
Inochi Doll: Victor, David, Bob
2009 樹脂 環保聚氯乙烯 鐵板 棉 聚酯纖維 95/200（黑） 25/200（紅） 92/200（白） 15(長) x 12(寬) x 40(高) cm (x3) 簽名底部：M 95（黑） M 25（紅） M 92（白）
2009 ABS and NP-PVC, iron plate, cotton and polyester, edition no. 95/200, 25/200, 92/200 15(L) x 12(W) x 40(H) cm (x3) Signed on the base M and numbered 95 (black) Signed on the base M and numbered 25 (red) Signed on the base M and numbered 92 (white)
242
生命系列
This sculpture is to be sold with a certificate of authenticity and a box.
NT$ 240,000-400,000 US$ 7,700-12,800 HK$ 59,000-98,000
附原作保證書與紙盒
253
REN Zhe
(Chinese, b. 1983)
Majestic - Looking 2007 Bronze, edition no. 7/10 38(L) x 32(W) x 60(H) cm Engraved Ren Zhe in Chinese and English, numbered 7/10 ILLUSTRATED: Ren Zhe Work Collection 2005-2008, Rong Bao Zhai, Beijing, 2009, color illustrated, p. 82
NT$ 180,000-280,000 US$ 5,700-8,900 HK$ 44,000-68,000
任哲 威風凜凜 2007 銅雕 7/10 38(長) x 32(寬) x 60(高) cm 簽名雕刻：任哲 Ren Zhe 7/10 圖錄： 《任哲作品集2005-2008》，榮寶齊出版 社，北京，2009，彩色圖版，頁82
254
Yuyu YANG
(YANG Ying-feng) (Taiwanese, 1926-1997)
Dawn in the Forest 1977 Bronze, edition no. 29/30 67(L) x 20(W) x 38(H) cm Engraved Yang Ying-feng in Chinese, YUYU YANG in English, dated '77 and numbered 29/30 This sculpture is to be sold with a certificate of authenticity issued by Yuyu Yang Foundation, Taipei.
NT$ 350,000-550,000 US$ 11,200-17,500 HK$ 85,000-134,000
244
楊英風 南山晨曦 1977 銅雕 29/30 67(長) x 20(寬) x 38(高) cm 簽名雕刻：楊英風 YUYU YANG '77 29/30 附財團法人楊英風藝術教育基金會呦呦藝術 事業有限公司開立之作品保證
255
REN Zhe
(Chinese, b. 1983)
Breaking Through Brambles and Thorns 2007 Bronze, edition no. 2/8 59(L) x 59(W) x 116(H) cm Engraved REN Zhe in Chinese and English, numbered 2/8
NT$ 450,000-600,000 US$ 14,400-19,100 HK$ 110,000-146,000
任哲 披荊斬棘 2007 銅雕 2/8 59(長) x 59(寬) x 116(高) cm 簽名雕刻：任哲 REN Zhe 2/8
256
HUNG Yi
(Taiwanese, b. 1970)
Papercutting Bird 2008 Baked enamel on steel plate (unique) 100(L) x 60(W) x 210(H) cm Signed on the base Hung Yi in Chinese and dated 2008 This sculpture is to be sold with a certificate of authenticity issued by Impressions Art Gallery, Taipei.
NT$ 550,000-800,000 US$ 17,500-25,500 HK$ 134,000-195,000
洪易 剪紙鳥 2008 鋼板烤漆（單一件） 100(長) x 60(寬) x 210(高) cm 簽名底座：洪易 2008 附印象畫廊開立之原作保證書
246
257
YANG Mao-lin (Taiwanese, b. 1953)
Ah Chiang Deva in Pure Land of Maha 2004 Bronze with gold foil, edition no. 2/6 73(L) x 61.6(W) x 125(H) cm Engraved Yang Mao-lin in Chinese, numbered 2/6 and dated 2004 EXHIBITED: Canonization of the Gods-The Pure Land of Maha, Lin & Keng Gallery, Taipei, May 13-30, 2006 ILLUSTRATED: Canonization of the Gods-The Pure Land of Maha, Lin & Keng Gallery, Taipei, 2006, color illustrated, p. 37
NT$ 500,000-700,000 US$ 15,900-22,300 HK$ 122,000-171,000
楊茂林 摩訶極樂世界的不空阿強佛 2004 銅雕 金箔 2/6 73(長) x 61.6(寬) x 125(高) cm 簽名雕刻：2/6 2004 楊茂林 展覽： 「楊茂林個展─封神之前戲─摩訶極 樂世界」，大未來畫廊，台北，展期 自2006年5月13日至30日 圖錄： 《封神演義—摩訶—極樂世界》，大 未來畫廊，台北，2006，彩色圖版， 頁37
258
Hiroto KITAGAWA (Japanese, b. 1967)
Kyoko Tamaru 2009 Terracotta, acrylic 38(L) x 32(W) x 159(H) cm Signed Hiroto in English and dated '09 ILLUSTRATED: Hiroto Kitagawa, Eslite Gallery, Taipei, 2009, color illustrated, pamphlet
NT$ 750,000-950,000 US$ 23,900-30,300 HK$ 183,000-232,000
北川宏人 田丸恭子 2009 赤陶 壓克力 38(長) x 32(寬) x 159(高) cm 簽名：'09 Hiroto 圖錄： 《北川宏人》，誠品畫廊，台北， 2009，彩色圖版，摺頁
248
259
Masao KINOSHITA (Japanese, b. 1971)
Onishima 2004 Painted fiberglass and crayon, edition no. 4/5 23(L) x 15(W) x 64(H) cm S i g n e d M A S A O K I N O S H I TA a n d t i t l e d ONISHIMA in English, numbered 4/5 and dated 2004 EXHIBITED: Modern Masters of Figures, Kawamoto Kihachiro Puppet Museum, Nagano, 2007 Masao Kinoshita, Eslite Gallery, Taipei, October 11 – November 2, 2008
NT$ 550,000-750,000 US$ 17,500-23,900 HK$ 134,000-183,000
木下雅雄 鬼島 2004 玻璃纖維 蠟筆 4/5 23(長) x 15(寬) x 64(高) cm 簽名足底：ONISHIMA 4/5 2004 MASAO KINOSHITA 展覽： 「人物雕塑大師展」，川本喜八郎人形美術 館，長野，2007 「木下雅雄」，誠品畫廊，台北，展期自 2008年10月11日至11月2日
250
260
CHA Jong-Rye (Korean, b. 1968)
Expose Exposed 110810 2011 Wooden sculpture 90(L) x 128(W) x 18(D) cm
NT$ 450,000-550,000 US$ 14,400-17,500 HK$ 110,000-134,000
252
車鍾禮 暴露 110810 2011 木雕 90(長) x 128(寬) x 18(厚) cm
261
KWON Ki Soo (Korean, b. 1972)
A Flower Garden 2007-2008 Painted steel, acrylic, edition no. 2/5 130(L) x 30(W) x 123(H) cm Signed on the base Kwon Ki Soo in Han characters and English, dated 2007-2008 EXHIBITED: Who is Dongguri?, Metaphysical Art Gallery, Taipei, July 13-August 5, 2008 ILLUSTRATED: Who is Dongguri?, Metaphysical Art Gallery, Taipei, 2008, color illustrated, p. 33
NT$ 400,000-600,000 US$ 12,800-19,100 HK$ 98,000-146,000
權奇秀 小花園 2007-2008 彩色鋼 壓克力 2/5 130(長) x 30(寬) x 123(高) cm 簽名底座：權奇秀 Kwon Ki Soo 2007-2008 展覽： 「誰是Dongguri？」，形而上畫廊，台北， 展期自2008年7月13日至8月5日 圖錄： 《誰是Dongguri？》，形而上畫廊，台北， 2008，彩色圖版，頁33
Lot 103
Lots 102, 214
Lot 101
LEI Shuang (Chinese, b. 1950)
DU Xi (Chinese, b. 1980)
Vincent J.F. HUANG (Taiwanese, b. 1971)
Born in Changsha, Hunan, China. Lei Shuang is currently a professional artist at the Henan Sculpture and Painting Academy. She majored in Chinese and graduated in Henan. In 1989, she enrolled in the Central Academy of Fine Art for studying oil painting. From 1991, she began to hold solo exhibitions and flowers were her main subject matter. In Chinese Art, flowers are the very familiar subjects. But Lei Shuang endows them with profound depth and subtlety, giving us a new perspective. Lei Shuang’s flowers are pre-sented to us in a seemingly simple tableau that causes the viewer to pause for thought. A beauti-ful vision to be enjoyed, Lei Shuang’s flowers also have the power to make one contemplate about larger issues in life. Public collections:National Art Gallery (Beijing) and WCA (USA).
Du Xi was born in 1980. In 1984, he followed his mother to Fine Art Academy of the Chinese People’s Liberation Army, where he was put in touch with painting. In 1995, he went to pre-school class of the middle school affiliated to China Central Academy of Fine Arts. He enrolled in the middle school affiliated to Yunnan Art Institute in 1996, and graduated in 1999. He was admitted to Fine Art department of Yunnan Art Institute in the same year. In 2005, he went to USA for exhibition and stayed in USA for advanced study. Now he is living and working in Kunming.
Huang was born in Taiwan in 1971, and received MA in Art & Design from Grays School of Art, Robert Gordon University, U.K. He has held numerous exhibitions include: 2008 “The Last Penguins”, Academia Sinica, Taipei; 2007 “An Illusion of Civilization by Vincent J.F. Huang,” Butchart International Contemporary Art Space; 2007 “Melting Penguin,” Creek Art, Shanghai; 2005 “After Tomorrow: A Solo Exhibition by Vincent J.F. Huang”, Shanghai Duolun Museum Of Modern Art, China; 2003 “Balefire Project”, Academia SINICA, Taipei; 2002 “The Memory of the Little Prince”, Galerie Grand Siècle, Taipei; 2000 “Decomposed City”, Edinburgh. Permanent collection: 2005 Shanghai Duolun Museum of Modern Art, 2002 National Chiao Tung University, and 2000 Taipei Representative Office in the U.K., Edinburgh.
雷雙 (中國，1950年生)
杜溪 (中國，1980年生)
黃瑞芳 (台灣，1971年生)
湖南長沙人，女性藝術家。目前任河南省雕塑書畫院畫 師。畢業於河南大學中文系，1989年考入中央美術學院 油畫系創作研究班，1991年畢業。1988年首次個展於上 海科技大學畫廊，後來經常舉辦展覽於上海、台灣， 1998年中國美術館油畫個展。其作品取材以花為主，對 中國藝術來說，花是極為熟悉的題材，但是雷雙卻賦予 其新意表現出不加修飾的低沈心境，雷雙的花帶來的思 想矛盾與感情壓抑，遠超過了視覺上的賞心悅目，激發 思考很多除花草以外的問題。作品收藏機構有中國美術 館、美國WCA等。
1980年出生。1984年隨母親到解放軍藝術學院，開始接 觸繪畫。1995年赴北京中央美術學院附中預科班，1996 年考入雲南藝術學院附中，於1999年畢業。1999年考入 雲南藝術學院美術系，2005年赴美國參加展覽，並在美 國學習進修。現生活工作於昆明。
1971年出生於台灣南投，2000年畢業於英國蘇格蘭，羅 伯哥登大學格瑞斯藝術學院，取得美術暨設計碩士。近 年重要個展經歷：2008年「末代企鵝」，中央研究院美 學空間；2007年「文明的虛幻」，台北布查國際當代藝 術空間；2007年「難以面對的融化」，上海大雍當代藝 術空間；2005年「明天過後」，上海多倫現代美術館； 2003年「狼煙計畫」，台灣中央研究院美學空間；2002 年「小王子的回憶」，台北觀想藝術中心；2000年「解 構城市—黃瑞芳愛丁堡個展」，英國愛丁堡。作品永久 典藏：2005年上海多倫現代美術館；2002年台灣新竹國 立交通大學；2000年台北駐愛丁堡辦事處。
254
Lots 105, 113, 124, 126
Lots 104, 219
XUE Song (Chinese, b. 1965)
Lots 106, 122, 213
Walasse TING (Chinese-American, 1929-2010)
John WAY (Chinese-American, b. 1921) Born in Shanghai. Way has held his own shows in Shanghai since 1937. From 1951 his works have been selected to show at the Hong Kong Art Club Annual Exhibition for five consecutive years. Way settled down in Boston in 1956, where he studied abstract painting in the West. Throughout the 1960s Way had held many solo shows in Boston, including one in Nexus Gallery in 1960 and one in MIT’s Art Museum in 1968. In 1965, his work was showed alongside with other wellacclaimed contemporary artists including Hans Hartung and Andy Warhol, in a joint exhibition “Painting Without a Brush” held at the Accademia del Verbano in Italy. His works are in the collections of both the Stanford University Art Museum and the San Francisco Art Museum.
Born in Anhui Province. In 1988, he graduated from the Shanghai Drama institute. He now lives and works in Shanghai. His solo exhibitions include the British Embassy in Beijing in 1992, the Shanghai Art Museum in Shanghai in 1966, “Standing on the Shoulder of Giants”, Shangh Art, Shanghai in 2000, “Xue Song Solo Show” at the Chinese Contemporary Art Gallery in London in 2001; “Ver Da Ga-Xue Song Fashion Series” at Shanghai Art in 2002; Xue Song solo shows at the Walsh Gallery in Chicago, Gallery 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.
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.
薛松 (中國，1965年生)
丁雄泉 (華裔美籍，1929-2010)
魏樂唐 (華裔美籍，1921年生)
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。而他多次參加國際群展，當中有1996年，德國 波恩現代藝術博物館「覺醒的中國」、1997年，維也 納、哥本哈根等地巡迴展出「中國！」現代藝術展、 2002年，法國巴黎皮爾卡登空間「巴黎－北京」；澳門 「未來－中國當代藝術展」等。
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。
出生於上海，1937年起即於上海畫廊展出，1951年起連 續5次入選香港美術協會年展。1956年移居美國，並專 心投入抽象繪畫，為當代華人藝術家中最早專研抽象繪 畫者之一。1960年代起曾在波士頓舉行多項展覽，包括 1960年在納思畫廊及1968年在麻省學院藝術館之個展， 並入選1965年波士頓現代美術館之「不用畫筆的畫作」 聯展，參展畫家包括國際著名的當代畫大師如哈同及安 迪．沃荷等。其作品為美國史丹佛美術館及舊金山美術 館等典藏。
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Lots 109, 110, 111, 121, 220
Lot 107
Lots 108, 120, 140
Max LIU (Taiwanese, 1912-2002)
T’ANG Haywen (TANG Then Phuoc) (Chinese-French, 1927-1991)
SHIY De-jinn (Taiwanese, 1923-1981)
Liu spent his formative years in Japan and graduated from the National Railway Technical College in Tokyo. He moved to Taiwan in 1945 and held his first watercolor exhibition in 1951. In 1962, the Art Society of China in Taiwan awarded First Prize in watercolors. Liu has traveled extensively in South America and Southeast Asia in order to gain a better understanding of primitive art and culture. His works in early periods mostly are scenic sketch and portrait. Afterward, Taiwan aborigines’ memorial ceremony, dressing and building became the subject matters of his paintings. Besides, he finished the work - “An epic of Indochina”, which was plain in model and mysterious in color. He expresses the works by using simple figures, lines, and color painting, also made the subject in images through the abstract thinking. In his later period, Liu signed in Chinese phonetic alphabet and Chinese number for marking the date, those made his works full of interest. Liu’s eighty-year retrospective exhibition was held at the National Museum of Art in Taichung, Taiwan in 1990.
Born in Amoy, Fujian. T’ang studied Chinese calligraphy under the instruction of his grandfather. In 1937, T’ang moved irst to Vietnam and then to Paris in 1948 to further his studies. A self-taught artist, T’ang held his first exhibition in 1955 and since then his works have been widely exhibited in Europe and America. In August 1997, the Taipei Fine Arts Museum organized a retrospective exhibition of his work entitled “The Tao of Painting.” From June to September 2002 the Musée des Arts Asiatiques-Guimet in Paris has presented a retrospective of T’ang works entitled “Paths of Ink” In August 2002 the Shiseido Foundation in Tokyo has also exhibited the work of T’ang. T’ang’s work is either held privately or in the collections of several museums in Europe and America. Among them are The Menil Collection, Houston, Texas; the Musée National des Art Asiatiques-Guimet in Paris and The Musée d’Art Moderne de la Ville de Paris.
Born in 1923, Sichuan, China. At the age of five, he began learning to draw. In 1948, he graduated from the Hangzhou National College of Art. He carried on from his teacher Lin Fengmian. After graduation, he moved to Taiwan to teach at the provincial Chiayi High School. In 1957, he held his first solo exhibition. In 1962, together with Liao Chi-chun, he accepted an invitation of the U.S. State Department to visit the United States. Afterward, he went to France to study in Paris for three years. After his return to Taiwan, he taught at the Tamkang University architecture department and National Taiwan Normal University. In 1975, he won the Chungshan Literary Prize Award. Shiy De-jinn was known for the lyrical mood of his watercolors, at the same time being influenced by Pop Art and Op Art. His favorite subject matter was old-style traditional Taiwan architecture. He traveled all over the villages and counties of Taiwan seeking inspiration. His works richly display Taiwan's folk scenes and customs.
劉其偉 (台灣，1912-2002)
唐海文 (華裔法籍，1927-1991)
席德進 (台灣，1923-1981)
出生於福建福州。1920年移居日本，畢業於東京幾道教 習學院。1954年來台，自修繪畫，1951年舉行首次個人 水彩畫展，1962年獲中國畫學會第一屆水彩畫家金爵 獎。曾多次前往中南美、波羅州、菲律賓、越南等地採 集原始文化資料，對原始藝術研究深具心得，著有《現 代藝術研究基本理論》、《水彩技巧與創作》及《台灣 土著文化藝術》等書。早期作品多為風景寫生與人物 畫，其後，台灣山胞傳統祭禮、服飾、建築成了繪畫的 靈感與題材。及至烽火漫天的中南半島，除淡彩風景寫 生作品外，並完成造形樸拙、色彩神秘的「中南半島一 頁史詩」作品。返台後，創作題材愈廣，或以精簡的形 象、線條與色彩表達，或以抽象聯想將主題形象化。作 品面貌呈現多樣性與思考性。早期作品多以英文簽名和 西元紀年：其後，則與眾不同的，多以注音符號簽名和 中國數碼記載時間，其作品更具趣味。1990年於台灣省 立美術館舉行八十回顧展。
生於福建廈門，自幼跟隨祖父習寫書法，1937年舉家遷 居越南，因其對藝術的執著，於1948年赴藝術之都巴黎 遊學，他以自修的方式遊覽巴黎各大美術館，而於1955 年首次舉辦展覽，之後陸續於歐美各國展出，1997年8 月台北市立美術館為其舉辦「作品回顧展」。於2002年 9月法國巴黎的亞洲藝術館舉行大型的回顧展，並於同 年日本東京資生堂基金會也舉行了唐海文個展。完整地 呈現其繪畫風貌，作品為多所法國現代美術館及私人收 藏。
生於四川，五歲開始習畫。1948年畢業於杭州藝專，師 承林風眠。畢業後遷台任教於省立嘉義中學。1957年舉 辦首次個展。1962年與廖繼春同應美國國務院之邀訪 美，之後赴法國巴黎進修三年，回台後任教於淡江大學 建築系及師範大學。1975年獲中山文藝創作獎。席德進 以抒情風格的水彩畫著稱，並受到普普，歐普等現代藝 術思潮的影響。他最喜歡的題材是老式的傳統台灣建 築，曾遍遊台灣各鄉鎮尋找靈感，其畫作充分表現台灣 的風土民情。
256
Lots 114, 115, 116, 117, 131
Lot 118
Lot 112
SANYU (Chinese-French, 1901-1966)
Tzu-chi YEH (Taiwanese, b. 1957)
WU Jian (Chinese, b. 1942)
Born in 1901, Sichuan. Sanyu attended Art College in Shanghai and went to Japan in 1919. In 1920, he went to France as part of the first wave of Chinese artists to study there. Unlike most of his contemporaries, Sanyu decided to remain in Paris. Since 1925, Sanyu exhibited his work regularly at the Paris salons and in local galleries. Before World War II, Sanyu returned to China briefly and then moved on to New York where he lived for two years. In 1948, the Museum of Modern Art in New York held an exhibition of his work. Since Sanyu's death in Paris in 1966, the National Museum of History in Taipei has held three retrospective exhibitions of his works. To celebrate the 100th anniversary of Sanyu, the National Museum of History held a grand exhibition of over 129 oil paintings. In 2004, the Musée National des Arts Asiatiques-Guimet held a restrospective show of Sanyu's 60 works.
Native of Meixian, Guangdong, Tzu-chi Yeh was born 1957 in Yuli, Hualien county, Taiwan. He held his undergraduate study at the National Taiwan Academy of Arts in 1977 and graduated from the Fine Arts Department, Chinese Culture University in 1981. He acquired his master’s degree in the Institute of Fine Arts, City University of New York, Brooklyn, USA in 1989. After living in New York for nineteen years, he returned to settle in Hualien in 2006. Works have been participated in varies solo and group exhibitions at home and abroad, including the 1980 Asian Youth Art Exhibition held in Hong Kong, the Taipei American Cultural Center and the Westbeth Gallery in NY in 1987 and 1989 respectively. He was invited by the NY Choice Art Gallery to attend the joint exhibition named “The Day of Death” in 1989 and 1990. His recent solo exhibitions include the 2004 “Monologue – the Near and Far Away from Home” Eslite Gallery; 2007 “Through the Landscape of the Mind” Eslite Gallery; 2009 “Landscape Taiwan” Eslite Gallery. Yeh’s still life subjects from the “Soliloquy” series to the “Landscape Taiwan” series are the records of his inner feelings, realistic with symbolic metaphors, paintings are filled with personal touch, strong and unique in style.
Born in 1942, Wu Jian studied under master artists Liu Haisu. He has been studied in Shanghai Fine Art School, Fine Art school of San Francisco and Fine Art school of New York. After graduated from study, he taught at Shanghai Educational Institute and University of Communication as professor, during that time Wu Jian has participant the National Fine Art Awards. After he came back from the U.S in 1986, he joined some important community like: China’s National Artists Association, Shanghai Artists Association, Shanghai pastel society and American Portrait Gallery artist association, etc. Wu Jian contracted with Revel Gallery in New York for more than one decade, his works have been collected by NECCA museum in USA, Shanghai Art Museum, Shanghai Luxun Museum and other art museums, act. Main exhibitions at: Springfield art museum of Ohio; Art Center of Florida; Michelson Reves museum; Art Gallery of Washington & Jefferson College of Texas; Leigh Yawkey Woodson Museum of Wisconsin, etc.
常玉 (華裔法籍，1901-1966)
葉子奇 (台灣，1957年生)
吳健 (中國，1942年生)
生於四川，少年時就讀上海美術學校，1919年至日本 留學，1920年轉赴法國留學，成為中國最早期的留法 學生之一，之後留居巴黎。1925年起，其作品屢見於巴 黎的沙龍美展及各大畫廊。二次大戰前曾回到中國，後 轉至紐約生活兩年。1948年，紐約現代美術館替他舉辦 個展。在其1966年於巴黎逝世後，台北國立歷史博物館 曾分別於1978、1984、1990年共舉辦三次他的回顧展， 2001年常玉百歲冥誕時，歷史博物館又展出常玉百歲紀 念大展，2004年6月巴黎國立居美東方美術館舉辦常玉 回顧展，展出60餘件作品。足見其作為海外華人藝術家 在中國畫壇的重要性。主要收藏機構有：台北國立歷史 博物館、中國美術館等。
祖籍廣東梅縣，1957年生於台灣花蓮縣玉里鎮。1977年 國立藝專肄業，1981年中國文化大學美術系西畫組畢 業。1989年獲美國紐約市立大學布魯克林藝術研究所藝 術創作碩士。旅居紐約十九年，2006年返回花蓮定居。 作品多次參加國內外個展及聯展，包括1980年參加香港 舉行的亞洲青年畫展、1987年台北美國文化中心及1989 年紐約衛斯貝斯畫廊個展、1989與1990年均獲邀參加紐 約「抉擇美術館」之「死亡之日」邀請展。近期主要 個展：2004 年「獨白─離鄉之遠近」誠品畫廊；2007 年「走過風景的心情」(誠品畫廊)；2009年「風景�台 灣」(誠品畫廊)。葉子奇作品從靜物主題的「獨白」系 列至「風景．台灣」，都是他心情的記錄，寫實而帶有 隱喻的象徵，充滿了一種豐富的個人情懷，風格強烈而 獨特。
出生於1942年，中國杭州。1960年代師從藝術大師劉海 粟。就讀於上海美專，舊金山藝術學院，紐約藝術學 院，在上海教育學院藝術系與交通大學藝術系任教，曾 參加全國美展並獲獎。1986年赴美研修。中國美術家協 會會員，上海美術家協會會員，上海粉畫學會理事，美 國肖像畫廊專屬畫家。1990至2005年與美國蘇活區歷史 悠久的畫廊REVEL簽約十多年。作品已被美國NECCA 博物館、上海美術館、上海魯迅紀念館、香港徐氏博物 館等典藏。主要參展：斯普林菲爾德美術館、佛羅里達 州藝術文化中心、美國國際學院、加勒特畫廊、美國德 州米歇爾森裡維斯美術館、賓州華盛頓傑斐遜藝術畫 廊、田納西大學藝術畫廊、美國佛蒙州伯瑞特波羅博物 館、美國威斯康辛州雷亞契五森美術館。
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Lots 119, 138
Lot 123
Lot 125
JAN Chin-shui (Taiwanese, b. 1953)
HUANG Ming-chang (Taiwanese, b. 1952)
Michell HWANG (Taiwanese, b. 1948)
Born in Miao-li, Taiwan. Jan Chin-shui graduated from the Fine Arts Department of National Taiwan Academy of Arts. He was awarded the first prize in the 11th National Fine Arts Exhibition in 1987 and the Golden Literature & Art Prize from the Ministry of Education in 1989. Jan participated in an important exhi-bition of Chinese contemporary art in Shanghai in 1997. He has published four exhibition cat-alogues and his works can be found in the public collection of the Taipei National Taiwan University of the Arts (today’s Taipei University of the Arts).
Graduates from the Chinese Culture University fine arts department, went to France in 1977, and entered the national advanced Paris fine arts institute to pursue advanced studies. Graduated in 1984 and attains the advanced oil painting diploma, simultaneously his work was collected by Paris municipal government Ministry of Culture. While his residency in France, his works participates in many join exhibitions: For example the “French autumn Salon exhibition” in 1977, the “Montrouge Salon exhibition” in 1980, 1982 and the “Foire Internationaled’ Art Contemporain” (FIAC) in Paris Grand Palais, 1983. In 1985 he returned to Taiwan and settled down,teaches at the state-run art academy, and in 1985,1991 he conducted his personal exhibition. Huang received the 3rd Hsiung Shig Award for best new artist 1978, excels to present the village field picture through a careful and detailed painting technique,favored by many art critics, galleries and collectors from the nation and abroad. He’s the artist who not only inherited and linked native realistic poetics during the 80’s in Taiwan, he also poured a broad view into the painting itself.
Born in Taiwan. First solo exhibition, Taiwan Provincial Museum: Pursued advance study in Europe and USA, 1976 to 1980. Solo exhibition “The King’s Dream”, National Taiwan Museum of Fine Arts, Taipei; “Nightmare”, Taipei Fine Arts Museum, “Dignified Symbol” collected by the Museum, 1995. Established Hwang Ming-che 3-D Art Workshop, 1996. “From Construction to Deconstruction and Back to Construction: Hwang Ming-che Solo Exhibition”, Forum of Creativity in Art held by Kaoshiung Museum of Fine Arts, 1998. Hwang’s 3-D artwork collected by the Museum. Solo Exhibition, “Shanghai-Taipei”, Shanghai Fine Arts Museum, “A Group of Women in East Taipei” collected by the Museum, 2001. “Construction of Belief,” Solo 3-D Artwork Exhibition, Taipei Fine Arts Museum, Taipei, 2001. “The Multiform Nineties: Taiwan’s Art Branches Out”, Taipei Fine Arts Museum, 2004. Arario Beijing, 2006, Solo Exhibition, National Art Museum of China, Beijing; 798 Beijing Art Center, Beijing, 2007; “Flower and Hammer”, Main Trend Gallery, Taipei; Commercial spokesperson of Volkswagen Phaeton Series, designed gifts for VW’s new car owners.
詹金水 (台灣，1953年生)
黃銘昌 (台灣，1952年生)
黃銘哲 (台灣，1948年生)
台灣苗栗人。專業畫家，擅長油畫。1986年國立藝專美 術科畢業。1987年曾獲第十一屆全國油畫展金牌獎， 1989年獲教育部文藝創作獎油畫金牌獎。1997年參加上 海舉辦之中國當代藝術大展。出版有三本個人畫集。作 品收藏機構有國立藝術學院（今國立台北藝術大學）。
畢業於中國文化大學美術系，1977年赴法國，並進入國 立高等巴黎美術學院深造。1984年畢業獲高等油畫文 憑，同時作品被巴黎市政府文化部收藏。留法期間，其 作品多次參加重要聯展：如1979年的「法國秋季沙龍 展」，1980、1982年的「紅山沙龍展」，1983年巴黎大 皇宮「國際當代藝術展FIAC」等。1985年返國定居， 任教於國立藝術學院，並於1985年及1991年舉辦個展。 黃氏曾於1978年獲得第三屆雄獅新人獎，擅長以細緻的 筆法描繪鄉間田野景象，深受藝評及美術館和海內外私 人藏家的喜愛。是台灣1990年代接續鄉土寫實詩情而又 賦以大格局式觀照的畫家，一貫保持了藝術本質的純粹 性。於2000年應邀參加北京、上海「20世紀中國油畫 展」及2001年台北、台中「台灣美術百年展」，作品經 常在歐、美、加等地展出。
1948年生於台灣，1976年至1980年首度油畫個展於台灣 省立博物館，同年遊學於歐美。1992年應邀於國立美術 館舉行個展—「國王的夢」，並典藏作品。1995年台北 市立美術館個展—「夢魘」，並典藏作品《尊嚴的符 號》。1996年成立「黃銘哲立體作品工作室」。1998年 高雄市立美術館「創作論壇」—「從結構、解構、再結 構的黃銘哲」個展，並典藏立體作品。2001年上海美術 館新館，「上海—台北風華再現」個展，並典藏作品 《東區的一群女人》；台北市立美術館，「信仰的打 造」黃銘哲立體作品個展。2004年「立異—九○年代台 灣美術發展」台北市立美術館。2006年「本位．面對， 第一接觸在北京，李錫奇 V S 黃銘哲」；「超驗的中 國」阿拉里奧開幕聯展，阿拉里奧北京藝術空間。2007 年北京中國美術館個展；北京798亞洲藝術中心個展。 2008年黃銘哲個展《花與鐵鎚》台北大趨勢畫廊；為福 斯汽車旗艦車款Phaeton廣告代言；並為福斯汽車打造藝 術品作為其交車禮。
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Lots 127, 129
Lots 128, 142, 208, 223
Lot 130
LIU Kuo-sung (Taiwanese, b. 1932)
YANG Chihung (Taiwanese, b. 1947)
ZHANG Hongtu (Chinese, b. 1943)
Born in Chinchou, Shandong, he graduated from the National Normal University art department, and initiated the Fifth Moon Group, arduously promoting the Taiwan modern art movement. When he was twenty-seven years old, he deeply felt the importance of national characteristics and cultural traditions, he was like a man on a mission, to find for twentieth century Chiniese drawing a new tradition to be spared no effort, and gave brush ink in traditional Chinese paintings a new definition, and promoted the theory of “texture with the brush”. This kind of Chinese traditional painting doesn’t need a pen to be painted, although receiving criticism at the time, at present, including mainland painters, critics as well as art historians, have all accepted this idea. Liu Kuo-sung also puts to this kind of theory the implemention with, in his individual practices, innovating with the color and ink techniques for more than 30 years, creating many kinds of different forms and individual styles.
Yang Chi-hung, born in 1947 in Taiwan, is graduated in National Taiwan College of Arts. He is the first Chinese artist awarded the fellowship program of “National Studio” in the USA. He has concentrated on the field of abstract painting for decades, and always been energetic in art arena around the world. Yang is one of the representatives of Chinese abstract painting. During the time Yang moved to the USA, the Postmodernism movement was experiencing a full-scale development. As a lover of literature and music, he created his works with strong cultural and poetic atmosphere, mysterious oriental charm, melodious and philosophical beauty. Yang has held numerous exhibitions around the world. Many of his art works have been collected in museums. For instance, The Aldrich Museum of Contemporary Art, The Arkansas Arts Center, National Museum of Singapore; The Taipei Fine Arts Museum, National Taiwan Museum of Fine Arts and Kaohsiung Museum of Fine Arts. Chihung Yang is an influential Chinese abstract painter, after masters Zao Wou-ki and Chu Teh-chun, who bring Eastern lyrical abstract painting to the world.
Born in Gansu, China, Zhang graduated from the Affiliated Senior High School of the Central Academy of Fine Arts and the Central Academy of Arts and Design. In 1982, he settled down in the United States. Zhang reinterprets the masterpieces of traditional Chinese painting and calligraphy with western colors and brush marks. He reserves the composition and wide horizon of traditional Chinese landscape painting fully with western painting techniques and starts the conversations between past and present, east and west with his own paint brush. He frees himself boldly from the traditional Chinese and western aesthetics and provides the viewers with a whole new visual experience from an objective perspective.
劉國松 (台灣，1932年生)
楊識宏 (台灣，1947年生)
張宏圖 (中國，1943年生)
山東青州人，國立台灣師範大學藝術系畢業，為五月畫 會創始之一，倡導台灣現代藝術運動不遺餘力。劉國松 自14歲開始學習傳統國畫，大學二年級後轉為專心研究 西洋近代繪畫及現代藝術理論，27歲時深感民族性及民 族文化傳統之重要，一種使命感與責任心促使他為創建 廿世紀中國繪畫的新傳統不遺餘力，給予國畫傳統中的 皴法及「筆墨」一種新的意義，並倡導「革筆的命」的 理論，這種畫國畫不一定要用筆的見解，當時雖受到批 判，但到現在，包括大陸在內的畫家，評論家以及美術 史家都已接受此一觀念。劉國松並將此種理論付諸實 行，在其個人創作實踐中，創新水墨的皴法和技巧， 三十餘年來，已創造了多種不同形式的個人風格。現任 東海大學美術系所專任教授。
出生於台灣桃園，台灣藝專美術科西畫組畢，是首位獲 得美國「國家工作室」獎助計畫的華人藝術家。數十年 來專研於抽象繪畫，活躍於國際重要城市的美術館和藝 術機構，為華人抽象畫界的領軍人物。楊識宏於1990年 起以「植物」為創作主軸，開展對於自然的更迭、生命 的興衰及時間消逝的意境表現。呈現出強烈純粹的「繪 畫性」與「表現性」，運用色彩對比，營造出黝暗中的 光影。迄今楊識宏已在世界各地舉辦多次展覽，作品被 各大博物館收藏。如美國阿爾德里奇當代藝術博物館、 亨廷頓美術館、新加坡國家美術館，以及台北市立美術 館、國立台灣美術館、高雄市立美術館等。他是繼趙無 極和朱德群之後，另一位在東方抒情抽象繪畫領域具有 絕對代表性的藝術家。
出生於中國甘肅。張宏圖畢業於北京中央美術學院附 中、中央工藝美術學院，1982年到美國定居。張宏圖將 中國古代名家的經典字畫，以西方大師的用色及筆觸重 新詮釋，運用西畫畫法很好地保留了中國傳統山水畫的 構圖及遼闊視野，讓古與今、東方與西方借著畫家的彩 筆展開對話，大膽跳脫了傳統中西方的美學，以客觀的 角度提供觀者一種全新的視覺體驗。
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Lot 133
Lot 134
Lot 132
J. C. KUO (KUO Jen-chang) (Taiwanese, b. 1949)
RAN In-ting (Taiwanese, 1903-1979)
WEI Qimei (Chinese, 1923-2009)
Kuo born in Lukuang, Changhua, Taiwan in 1949, graduated from the Department of Fine Arts, Chinese Culture University in 1973 and learned how to paint at the Li Chun-shan Studio during 1968-73. Sponsored by Asia Foundation, USA during 1974-79, he devoted himself to researching Taiwan folk arts and participated in practical fieldwork. Influenced by Pop Art in the 70’s, he formed an unique personal creative style in the 80’s-the combination of Han-Tang figures and totems or symbols of Chinese folk arts as well as a strong western vocabulary. In the 90’s he expanded to landscape paintings and Chinese classical fairytales. His works are collected by the Taipei Fine Arts Museum, the Kaohsiung Museum of Fine Arts, the National Taiwan Museum of Fine Arts, and the Hara Museum of Contemporary Art, Japan.
Born in Yilan, Taiwan. Ran studid watercolor painting from his mentor, Ishikawa Kinichiro. Then he went to Japan and had been invited to many exhibitions in Tokyo and Taiwan. In 1929, he was named honorary member of the British Royal Watercolor Association and was invited as a guest lecturer in Europe, North America and Asia. He then became the editor of Taiwan Pictoral Magazine and Good Harvest Magazine. Ran was selected as one of the top ten watercolor artist in the world by the critics in 1971. He served as president of China Television System in 1973 and passed away in 1979. Ran specialized in portraiting the local people’s life and combining the technique of Chinese Calligraphy and watercolor together to achieve his unique expression of pictorial space. In 1991, National Palace Museum held the memorial exhibition of Ran. In 1998, the National Museum of History in Taipei held the retrospective exhibition of Ran In-ting and also published a catalogue of Ran’s collection.
Born in Anqing, Anhui Province. In 1942, he enrolled in Art Department of Chongqing Central University and graduated in 1947. Invited by Xu Beihong, he went to Peking Art College. In 1950, he taught in painting department of China Central Academy of Fine Arts. He was the director and the professor of graduates course in China Central Academy of Fine Arts, and the member of Chinese Artists’ Associate. His artwork attended the 1st National Art Exhibition in 1949; and awarded silver prize at the 6th and 7th National Art Exhibition in 1984 and in 1989 respectively. His artworks were collected by China National Art Gallery and other art institutions.
郭振昌 (台灣，1949年生)
藍蔭鼎 (台灣，1903-1979)
韋啟美 (中國，1923-2009)
1949年生於台灣彰化鹿港，1973年中國文化大學美術系 畢業。1968-1973年入李仲生畫室習畫。1947-1979年間 曾獲美國亞洲基金會贊助，投入台灣民俗藝術研究，並 實際參與民間田野調查工作。1970年代因受到普普藝術 影響，1980年代出現擷取中國漢唐時期人物造型及中國 民間藝術圖騰符號結合強烈的西方語彙，形成獨特的個 人創作風格。而後1990年代擴大至山水風景及中國古典 神話。其作品獲台北市立美術館、高雄市立美術館、國 立台灣美術館及日本原美術館等收藏。
生於台灣宜蘭，跟隨石川欽一郎習畫，並前往日本進修 水彩畫，作品多次入選日本帝展及台展。1929年獲選為 英國皇家水彩協會會員。經常應歐、美、亞等國之邀請 舉行畫展及講學，作品廣為國內外機構所收藏。台灣光 復後，創辦並擔任《台灣畫報》與《豐年月刊》社長。 1971年榮獲歐、美國藝術評論徵選為世界十大水彩畫家 之一。1973年出任華視董事長，於1979年逝世。藍氏一 生創作不輟，水彩畫多以台灣風俗民情為題材，畫風將 水墨技法與西洋水彩畫融為一體，成就非凡，1991年台 北故宮博物院舉辦其紀念展，1998台北國立歷史博物館 也再次舉辦藍氏回顧展，並出版其繪畫世界之經典。
安徽省安慶人。1942年進入重慶中央大學藝術系學習。 1947年，從中央大學藝術系畢業。應徐悲鴻之邀任教於 北平藝專，1950年任教於中央美術學院繪畫系。曾任中 央美院油畫系研究生班主任、教授，中國美術家協會會 員。1949年他的油畫作品參加第一屆全國美展；1984年 和1989年其作品分別獲第六屆和第七屆全國美展銀獎。 他的作品曾被中國國家美術館以及其他藝術機構收藏。
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Lot 135 Lots 136, 202 Lot 137
YEE Bon (Chinese, 1905-1995)
MA Pai-sui (Taiwanese, 1909-2003)
Liao Yu-an (Taiwanese, b. 1979)
Yee Bon was born in Guandong Tai Shan Shen, he was the directorate of China Artist Association, art counselor, and the vice president of the Guandong Painting School. He went to Canada to study and live charily in 1918, in 1931, he studied art in Ontario School of Art and received great honor. His works had been selected by Canada’s national exhibition of art as well as worldwide expos. Yee returned to his homeland in 1956, he devoted himself completely into art creations; he painted large oil paintings for the Guandong, HeiLongJiang halls of the Great Hall of the People in Beijing. His works has been collected for over 10 pieces by National Art Museum of China, Guandong art academy, Hong Kong Museum of Art; In July 1995, he held a grand solo oil paintings exhibitions, there were over 300 pieces exhibited, next year, he participated the “Yee Bon Exhibition” held by Hong Kong Art Center, where exhibited 80 pieces that received appreciative criticisms.
Born in Liaoning, China. He graduated from Liaoning Normal College in 1929 and taught in various high schools and colleges in Liaoning, Jilin and Beijing. He used to be an editor and committee member of the National Institute for Compilation and Translation, responsible for the editing of elementary and middle school art textbooks. In addition he had membership in various art societies, including Art Society of China in Taiwan, Chinese Art Society, consultant of Chinese Water Color Painting Society, researcher of the Chinese Academic institute, judge of Chung Shan Literary Prize etc., In 1990 Taiwan Museum of Fine Arts held a workshop of “Ma Pai-sui Art Research” and complimented on his achievements. In 1999, “Color and Landscape: Ma Pai-sui Retrospective Exhibition at Age 90” was held in National Museum of History where more than 200 related books were published. His achievement and style were highly respected with all his contribution to watercolor painting education and research. Ma Pai-sui passed away in New York in 2003.
Born in Taipei in 1979 and won the “Taipei Arts Award” in 2003, Liao Yu-an is a promising young artist in contemporary art. The making of his art is a deeply personal one, and the theme of alienation and isolation is beautifully described in his artworks. Liao has set about making art that begans as a voyage of self-exploration and self-discovery and is now a comment on the society in which he lives. He made for himself a theater of possibilities that has embraced deeply personal moments of his life and his insecurities, as well as some astute observation on the society in which he finds himself as a young artist. Being an emerging artist, Lao Yu-an already had several solo exhibitions., which including “I think what I am” ( Shin Leh Yu-an Art Space,Taipei , 2003) “Perplexity” (Absolutely SPP, Kaohsiung, 2004), “Drowse” (Butchart International Contemporary Art Space, Taipei, 2007), “Death Pretentious” (IT Park, Taipei, 2007), “Fondle Without Tenderness” (Asia Art Center, Taipei, 2008) .
余本 (中國，1905-1995)
馬白水 (台灣，1909-2003)
廖堉安 (台灣，1979年出生)
生於廣東台山縣。曾任中國美術家協會理事、藝術顧 問、廣東畫院副院長等職。1918年赴加拿大勤工儉學， 1931年在加拿大多倫多安大略省立藝術學院學習美術並 獲特別優異文憑。其作品曾入選加拿大全國性展覽及在 世界博覽會展出。1938年至1956年在香港從事職業畫家 及授徒，每年均舉辦個人展覽。1956年歸國，專心從事 藝術創作，曾為北京人民大會堂廣東廳及黑龍江廳繪畫 大型油畫作品。作品數十幅被中國美術館，廣州美術學 院，香港文化中心藝術館收藏。出版余本畫冊三本。作 品先後在北京、南京、上海、廣州、香港及菲律賓等地 展出。1995年7月在廣州舉辦盛大余本油畫展。作品300 餘幅，1996年12月由香港藝術中心主辦「余本作品展」 展出油畫80幅深受好評。
東北遼寧人。1929年畢業於遼寧師範學院，畢業於遼寧 省立師範專修科，先後任教於遼寧、吉林、北平等地師 校及中學。曾任台灣師範大學美術系專任教授、台灣藝 專及文化大學兼任教授、國立編譯館中小學美術教科書 編輯委員及主任委員、中國畫學會理事、中國美術協會 常務理事、中國水彩畫會顧問、中華學術院研士、歷屆 全國美展、台灣省美展及中山文藝獎評審委員等。1979 年榮獲華府美國協會金牌獎。1990年省立美術館為其舉 辦「馬白水繪畫藝術之研究」，對其藝術成就推崇備 至，並在世界各地舉辦展覽；1999年國立歷史博物館舉 辦「彩墨千山：馬白水九十回顧展」並出版200多幅作 品圖錄。其成就與風範為國人所敬仰，對台灣水彩畫教 學、研究和推廣，貢獻卓著。2003年卒於紐約。
廖堉安生於台北市。2005年畢業於國立台南藝術大學造 形藝術研究所。廖的作品以自身形象與心理狀態為創作
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題材，對都會人群的生活型態和人際互動關係的進行一 系列的描摹。他畫作中的人物之間瀰漫著濃稠的「疲憊 感」，溝通成為一種艱澀的行動，軟弱地再一次去嘗試 接觸與對話，而疲憊彷彿是個共通的經歷，凝聚著矛盾 而疏離的情感，靜靜的發散。儘管是一位藝術界的新 秀，但是廖堉安已經舉辦過多場個展，2003年的「自以 為是…」於台北的新樂園藝術空間；2004年的「不知所 措」於高雄的新濱碼頭舉辦。2007年「假寐」在台北的 布查國際當代藝術空間以及「活殺自在之術？」於伊通 公園舉辦。2008年「不溫柔的愛撫」於亞洲藝術中心。
Lots 139, 216
Lot 141 Lot 143
Chang-Ling (Taiwanese, b. 1975)
LU Hsien-ming (Taiwanese, b. 1959)
PANG Jiun (Chinese, b. 1936)
Born in Hualien County, Taiwan. Chang-Ling graduated from L’Ecole Nationale des Beaux-Art de Bourge in 2000, in which year he was admitted into the Ecole Nationale Superieure des Beaux-Art de Paris and studied under Christian Boltansky, Jean-Luc Vilmout and Jean-Marc Bustamant. In 2004, he held art group “COLOCOLOC” in Paris and established an art publication “Le Couteau de Paris”. His major solo exhibitions are as follow: “Unnatural Exhibition” (2004, Hsinchu, Taiwan); “The First Flower of the Streaky Pork” (2005, Taipei); “Hair Follicle” (2005, Taipei); “Streaky Pork Series: Epoch-Making” (2007,Taipei); “Flesh Landscape in Garden” (2007, Geneva, Switzerland); “Pork Belly Flesh Series - Flesh Weapons” (2007, Taipei).
Born in Taipei in 1959, he graduated from the fine art department of the Chinese Culture University in Taipei. His solo exhibitions include: “Blue Tremble” in Chiaug Ren Gallery, Taipei, 1985; “City Aesthetics” in Taiwan Art Gallery, Taipei, 1993; “Bold Design” in Impressions Art Gallery Part II, Taipei, 1998. Since 1982, he has participated in joint exhibitions frequently, such as, “Pusan Youth Biennial” in 1987, “The Contemporary Art of Taiwan”, Museum of Contemporary Art, Sydney, Australia in 1995, “Taiwan- Present Art”, Ludwig Forum of International Art, Ludwig, Germany in 1996, and “The Odyssey of Art in Taiwan, 1950-2000” in the National Art Museum of China, Beijing in 2006. Awards: Hsiungshih Awards for New Artist, first prize, 1981; Taipei Biennial, first prize, 1992; Liao Chih-chun Award, first prize of oil painting, 2002.
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.
常陵 (台灣，1975年生)
陸先銘 (台灣，1959年生)
龐均 (中國，1936年生)
常陵生於台灣花蓮，2000年畢業於法國國立步矩藝術學 院，同年進入法國國立巴黎高等藝術學院，師事波坦斯 基，韋勒蒙及布斯塔蒙，2004年畢業於法國國立巴黎高 等藝術學院。2003年成立COLOCOLOC藝術團體於巴 黎，2004年創辦《巴黎小刀藝術報》於巴黎。個展： 2004年，「非自然個展」於台灣國立交通大學藝文空 間，新竹；2005年「五花肉之第一花」個展，一票票人 畫廊，台北；「毛囊展」個展於關渡自強284，台北； 2007年「五花肉系列－開天闢地」，也趣畫廊，台北； 「肉－花園一遊」，蕾達畫廊邀請個展，日內瓦，瑞 士；「五花肉系列－肉兵器」，關渡美術館，台北。
台灣台北人。1982年畢業於文化大學美術系。1993年任 「台北畫派」會長。1985年加入宣言以歷史的再閱讀、 美術史的再閱讀、表徵大眾文化價值為目標的藝術團體 「台北畫派」。陸先銘的個展為1985年嘉仁畫廊的「藍 色驚悸」、1993年台灣畫廊的「都市美學」、1998年的 「悍圖」等。從1982年起即經常參與聯展，韓國「中韓 現代美術交流展」、日本「第六屆亞洲國際美展」、 「1992台北現代美術雙年展」、「台灣美術新風貌」 等。得獎經歷：1981年曾獲第六屆美術新人獎首獎、 1992年台北現代美術雙年展首獎及2002年廖繼春油畫創 作獎首獎等。
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。
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Lots 144, 146, 150, 153, 154
Lots 145, 147, 151
ZAO Wou-ki (Chinese-French, b. 1921)
CHU Teh-chun (Chinese-French, b. 1920)
SU Xiaobai (Chinese, b. 1949)
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 1920 in Jiangsu, China. In 1935, Chu passed the examination for Hangzhou National College of Art, which at the time had Lin Fengmian as its director. In 1949, he came to Taiwan. In 1951. he taught at the Taiwan Normal University. In 1954, he held his first solo exhibition at the Taipei Chung Shan Hall. In 1955, he went to France to further his studies. In 1957, he won the Silver Award at the Paris Salon du Printemps. In 1969, he entered the Tenth Sao Paolo Biennial International Exhibition in Brazil. In 1982, he held a solo exhibition at the André Moreau Contemporary Art Studio in le Havre in France. In 1987, the National Museum of History held a solo exhibition of his works, his first one in Taiwan since leaving thirty-two years before. In 1997, he was inducted into the prestigious L'Institute de France, as a member of the Beaux-Arts.
Su Xiaobai was born in Wuhan, China in 1949. Since 1992 living and working as an artist in Germany. Solo exhibitions: 1988-1997 “Su Xiaobai Solo Exhibition” Heidenheim, Germany; 1998-2005 “Su Xiaobai Solo Exhibition” Albrecht, Germany; 1999-2004“Su Xiaobai solo Exhibition” Ambit, Spain; 2000 “Su Xiaobai Solo Exhibition”, Baden Museum, Germany; 2001 “Su Xiaobai Solo Exhibition”, Beda Museum, Germany; 2002 “Su Xiaobai Solo Exhibition”, Palament House, Germany. Joint exhibitions & Art activities: 1998-2005 “Art Cologne”, Cologne; 2000 “100 Year of Oil Painting in China”, Beijing, China; 2002 “Special exhibition at the Reichtag in Berlin”, Germany ; 2003 “International Art Bienalle” Beijing, China; 2004 “Art Museum Shanghai Abstract Art”, Shanghai, China; 2005 “Wu-yi-Shan Sinnbild”, China; 2009 “ The Dynasty of Colours”, Langen Foundation, Germany; 2008 “The Exhibition of Xiaobai Su’s Artworks”, Today Art Museum, Beijing, China; 2007 “Intangible Greats”, Shanghai Art Museum, Shanghai, China.
趙無極 (華裔法籍，1921年生)
朱德群 (華裔法籍，1920年生)
蘇笑柏 (中國，1949年生)
生於北京，趙無極在國立杭州藝專師承林風眠（19001991）與吳大羽（1903-1988），於1941年畢業於杭州 藝專，同年在重慶舉行首次畫展，並留校任助教。1948 年往巴黎深造，並結交不少歐洲藝術界人士。從1959至 1965年曾在紐約庫茲畫廊舉行每年一次的個展，1970年 代時趙無極成為巴黎最傑出的中國畫家。於1993和1995 年應邀在台北及高雄市立美術館展覽。1994年獲得日本 天皇美術獎。1998年更經由法國文化部策劃其回到中國 上海博物館、北京中國美術館、廣東美術館舉辦回顧 展；2003年法國巴黎網球場國家畫廊亦舉辦回顧展。在 中國現代藝術家中首推趙無極在西方的藝術成就最高， 而其作品更廣為世界著名的博物館，如法國國家現代美 術館、舊金山現代美術館等美術館及私人企業機構所珍 藏。
生於江蘇省，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。
1949年出生於武漢，祖籍河北，自1992年開始旅居德 國。個人專題展覽：1988至1997年「蘇笑柏個人展 覽」，海頓海姆畫廊，德國；1998至2005年「蘇笑柏個 人展覽」，阿里特畫廊，德國；1999至2004年「蘇笑柏 個人展覽」，艾姆特畫廊，西班牙；2000年「蘇笑柏個 人展覽」，巴頓博物館，德國；2001年「蘇笑柏個人展 覽」柏達博物館，德國；2002年「蘇笑柏個人展覽」， 議會大廈，德國。參加聯展有：1998至2005年「國際藝 術博覽會」，科隆；2000年「中國油畫百年展」，中國 北京；2002年「國會大廈繪畫藝術專題展」，德國柏 林；2003年「國際藝術雙年展」，中國北京；2004年 「上海抽象」，中國上海；2005年「意象武夷—中德藝 術家」，中國；2009-2010年「色彩王朝」，蘭根基金 會，德國 ；2008年「考工記－蘇笑柏作品展」，今日 美術館，北京，中國；2007年「大象無形－蘇笑柏繪畫 展」，上海美術館，上海，中國。
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Lots 156, 157, 160, 199, 200, 234, 235 Lot 155 Lot 152
LIAO Chi-chun (Taiwanese, 1902-1976)
WANG Huaiqing (Chinese, b. 1944)
JU Ming (Taiwanese, b. 1938)
Born in Taichung. After graduating from Taipei Normal School in 1922, Liao Chi-chun studied in Japan at the Tokyo Fine Arts School. While in Japan, Liao was strongly influenced by contemporary developments in Western art. Liao was a co-founder of both the Ruddy Island Association and the Taiyang Fine Arts Association. He was also an art professor at National Taiwan Normal University until his retirement in 1973. In 1957, he encouraged his students to form the Fifth Moon Group in Taiwan. In 1962 he toured Europe and the United States at the invitation of the USA State Department. Later, he changed to a new art style in pink color and his distinguishing characteristic became mature. Liao received the Golden Cup Award for Chinese Painting from the Chinese Painting Society and the Sun Yat Sen Foundation's Literary Awards. He passed away in Taipei in 1976. The Liao family donated several of Liao's paintings to the Taipei Fine Arts Museum.
Born in Beijing, entered the Central Academy of Arts and Crafts in 1964 to study interior design and while there, he studied painting under Wu Guanzhong. In 1970, during the Culture Revolution, Wang was assigned to the countryside for rehabilitation through labour and studied painting with Wu Guanzhong. In 1980, Wang formed the Contemporary Painting Society with his fellow classmates; organized an exhibition at the China National Museum of Fine Arts and joined the National Chinese Artist Association. He received a Master’s degree a year later. Wang’ s work has been selected for exhibitions worldwide including the recent major exhibition at the Guggenheim Museum, New York, entitled “5000 Years of Chinese Art” in addition to the Asian Art Fair at the Armory. A retrospective exhibition at Seattle Asian Art Museum was held in 2010. His paintings are sought after by major museums and private collectors.
Born in Miaoli, Taiwan. Ju Ming studied with Yuyu Yang (1926-1997), a master sculptor, from 1968 to 1976. Ju was chosen as one of the Ten Outstanding Young Persons in Taiwan in 1976, a recognition given each year to ten young men and women in any field of endeavor. He was presented with a National Cultural Award in recognition of his artistic accomplishments. His most famous Series are the "Nativist", the "Taichi" and the "Living World". In December 1997, his works were exhibited in Place Vendome, Paris. The Juming Museum was established in Chin-shan, Taipei County in 1999. Ju Ming's work can be found in major public collections at the Taipei Fine Arts Museum, National Taiwan Museum of Fine Arts, Kaohsiung Museum of Fine Arts and Juming Museum.
廖繼春 (台灣，1902-1976)
王懷慶 (中國，1944年生)
朱銘 (台灣，1938年生)
生於豐原，1922年台北師範學校畢業，後赴日本就讀於 東京美術學校，1927年畢業後返台。深受當時西方美術 風潮所影響，活躍於各項展覽及多個組織，為「赤島 社」及「台陽美協」的發起人之一。並任教於國立台灣 師範大學及中國文化大學美術系。1957年鼓勵支持學生 成立「五月畫會」，為台灣現代藝術催生。1962年應邀 赴歐美考察，此後畫風真淳，色彩活潑華麗卻和諧適 意，粉紅色大量出現，發展出特殊個人風格。其作品曾 獲中山學術文藝創作獎及中國畫金爵獎。1976年病逝台 北。1997年廖氏家屬為體現廖繼春畢生奉獻美術教育之 精神，於1997年捐贈一批代表作與台北市立美術館，同 時由民間企業贊助設置廖繼春紀念獎助金，以鼓勵從事 油畫創作與藝術理論研究之後進，遺愛在人間。
生於北京，1964年入中央工藝美術學院裝璜繪畫系，於 1970年文化大革命期間，下放農村勞動改造，並隨吳冠 中先生學習繪畫。1980年籌辦策劃「同代人畫會」於中 國美術館聯展，並於同年加入中國美術家協會，次年獲 得碩士學位。王懷慶作品頻頻於國內外重要大展中獲 獎，極獲重視。並於1998年參加紐約古根漢美術館「中 國藝術5000年展」及紐約軍械庫「亞洲藝術博覽會」。 2010年在美國西雅圖亞洲藝術博物館舉辦大型回顧展。 其作品廣為海內外重要美術館及企業收藏。
出生於台灣苗栗。1953-1957年從李金川學習木刻， 1968-1976年從楊英風（1926-1997）學習現代雕塑，以 純樸的天性、卓越的才華，將過去賴以維生的木雕工 藝，逐次提升為富有生命意味的藝術創作。作品廣泛而 深切地感動了國人，已漸受西方社會矚目。曾獲選十大 傑出青年，獲頒國家文藝獎章。著名的作品有鄉土系 列、太極雕刻、人間雕刻等。曾在1997年12月至巴黎梵 登廣場盛大展出其著名的太極系列。1999年於朱銘美術 館成立於台北縣金山鄉。主要收藏機構：台北市立美術 館、國立台灣美術館、高雄市立美術館、朱銘美術館 等。
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Lots 158, 237
Lots 159, 236, 238, 254
LI Chen (Taiwanese, b. 1963)
Yuyu YANG (YANG Ying-feng) (Taiwanese, 1926-1997)
Takashi MURAKAMI (Japanese, b. 1962)
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 I-lan, Taiwan. Yang studied architecture at the Tokyo Art School in Japan, fine arts at Fu Jen University in Beijing, and sculpture at the National Academy of Art in Rome. During 1964-1966, he held exhibitions in major cities in Italy and was awarded the gold metal in painting and a silver medal in sculpture at the Olimpiadi d'Arte e Cultura Abano Terme in 1966. He was also awarded the World Peace Prize for Culture and Arts by the ROC's Literature and Arts Society. In 1991 Yang held a Stainless Steel Sculpture Exhibition in the National Museum of Singapore.
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.
李真 (台灣，1963年生)
楊英風 (台灣，1926-1997)
村上隆 (日本，1962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。
生於台灣宜蘭縣，曾進修於日本東京美術學校建築系， 北平輔仁大學美術系及國立台灣師範大學藝術系，其後 又習雕塑於義大利羅馬藝術學院。1964至1966年間於義 大利各大城市舉辦巡迴個展。1966年曾獲義大利奧林匹 克繪畫金章獎及雕塑銀章獎。其後又獲頒第二屆世界和 平文化藝術大獎。1991年應新加坡之邀作個人展覽。
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。
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Lots 166, 175
Lot 167
Lot 168
KIM Duck Yong (Korean, b. 1961)
Tetsutaro KAMATANI (Japanese, b. 1979)
JEONG Jinyong (Korean, b. 1972)
Kim Duck Yong graduated in Painting from Seoul University and obtained a master’s degree in Painting from Seoul National University in 1992. He was awarded the Donga Art Festival Award in 1996 and the Award for Outstanding Artist at MANIF Seoul International Art Fair in 2002. He exhibited his works at the Korean Culture and Art Foundation and the National Museum of Contemporary Art, Korea as he participated in Grand Art Exhibition of Korean in 1995.
Born in 1979 in Osaka, Japan. Tetsutaro Kamatani now works and lives in Tokyo. His works have joined solo exhibitions: “Tetsu” (2005, Nagoya); “Human Paradise” (2007, Nagoya); “The Kingdom of Images” (2008, Nagoya); and group exhibitions such as “Art Fair Tokyo” (2006-2008, Tokyo); “Wonderland-Japanese Contemporary Art Exhibition” (2008, Hong Kong); “Masked Portrait” (2008, New York).
The artist was born in North Jeonju, Korea in 1972. Jeong Jinyong was study in Hongik University and graduate with master degree in 1999 and also Ph-D from art study in Hongik University, Korea 2005. Jeong’s works have been collected by National Modern Museum, Seoul Metropolitan Museum and Song-Eun Culture Foundation. Solo exhibitions: 2000 “Jeong Jin Yong Solo Exhibition”, Seoul, Korea; 2004 “City of Illusion”, Seoul, Korea; 2005 “Narrative of Simulacrum”, Seoul, Korea; “Destructor & Creator”, Seoul, Korea; 2006 “Theme”, Taipei, Taiwan; “Majesty”, Seoul, Korea; 2007 “Scenery of Mind“, Seoul, Korea; “Resonance”, Seoul, Korea; 2008 “Jeong Jin Yong Sole Exhibition“, Taipei, Taiwan; 2009 “Transcendent Imitari – Divinity Chamber Jeong Jinyong Solo Exhibition”, Beijing, China; “Jeong Jin Yong Solo Exhibition”, Seoul, Korea.
金德龍 (韓國，1961年生)
鎌谷徹太郎 (日本，1979年生)
鄭真蓉 (韓國，1972年生)
金德龍於1992年獲得韓國漢城大學美術學院的藝術碩 士學位。於1996年榮獲東亞藝術獎，於2002年獲首爾 Manif藝術博覽會的傑出藝術家獎。他曾於韓國文化藝 術基金會及韓國國立現代美術館展出，並參加1995年的 韓國大藝術展。
1979年出生於日本大阪，現於東京工作與生活。其作 品 曾參加個展 「徹」（2 005，名古屋 ）、「 人 間樂 土」（2007，名古屋）、「影像王國」（2008，名古 屋）；並參加聯展「東京藝術博覽會」（2006-2008， 東京）、「仙境－日本現代藝術展」（2008，香港）、 「戴面具的肖像」（2008，紐約）。
1972年生於韓國全北全州。1997年畢業於弘益大學美術 學院東洋畫科，獲得學士學位。1999年畢業於弘益大學 美術學院東洋畫科，獲得碩士學位。2005年畢業於弘益 大學美術學院，獲得博士學位。其作品由國立現代美術 館、首爾市立美術館、松殷文化基金會等機構收藏。個 展：2000年「鄭真蓉個展」，首爾；2004年「假像都 市」，首爾；2005年「假像的都市敘事」，大田、「空 間破壞者與空間製造者—鄭真蓉作品展」，首爾；2006 年「君威」，首爾、「T h e m e」，台北、「君」，首 爾；2007年「心靈的風景」，首爾、「共鳴」，首爾； 2008年「鄭真蓉個展」，台北；2009年「超驗的圖像— 神殿鄭真蓉個展」，北京、「鄭真蓉個展」，首爾。
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Lots 169, 171 Lots 172, 242 Lot 170
YOON Jongseok (Korean, b. 1970)
LEE Seung Min (Korean, b. 1978)
Ayako ROKKAKU (Japanese, b. 1982)
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).
Lee seungmin got a BFA degree of Painting in College of Fine Art, Hong-ik University in 2007, and got a MFA degree of Painting in College of Fine Art, Hong-ik University in 2009. Selected solo exhibitions include "Lee Seung Min ILLUSIVE"(2008, Art Space H, Seoul), selected group exhibitions include "IYAP 2009 - Against Interpretation" (2009, Seoul), "Korean Eye - Moon Generation" (2009, Phillips de Pury & Company, London).
Born in 1982 in Chiba, Japan, Ayako Rokkaku has never received any academic art education but learned to paint on her own. She started her career in painting in 2002, and her works are already common in many art fairs in Japan. Rokkaku has mastered her own painting technique. She applies acrylic paint on cardboard sheets with her bare hands. Adolescent children are the main subjects in her work, and are mostly illustrated from closeup. Rokkaku has won the prestigious Akio Goto Prize at Geisai # 9. Her works appeared in many solo exhibitions like shows held by Gallery Delaive (2007, Holland); by Gallerie Moderne (2007, Denmark); by Galerie Teo (2007, Tokyo); by Gallerie Wild (2008, Germany); Juliana Gallery (2008, Korea). And she has joined several international art fairs such as “Art Cologne” (2007, Holland); “Shanghai Art Fair 2007”; “Art Singapore 2007”; “Art Fair Tokyo 2008”; “Art Amsterdam” (2008); “Art Taipei 2008”.
尹鍾錫 (韓國，1970年生)
李承玟 (韓國，1978年生)
六角彩子 (日本，1982年生)
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」 （20 0 2， 法國）、 「中國 國 際 藝 術節 」 (2005年，北京)。
李承玟在2007年於宏益大學美術系獲學士學位、2009 年於弘益大學美術系獲碩士學位。近期重要個展包括 「李承玟—幻影」（2008，H藝術空間，首爾）。近 期重要聯展有「2009 IYAP─與釋意對抗」（2009，首 爾）、「韓國之眼─月亮世代」（2009，菲利普公司， 倫敦）。
1982年出生於日本千葉，六角彩子從未上過任何藝術學 校，其畫作技巧與本領皆為自學，並從2002年起正式開 啟其繪畫創作之路，目前已在日本的許多藝術節上展出 了作品。六角彩子的繪畫技巧上已自成一派。她空手運 用丙烯酸樹脂漆在紙板上作畫；其畫作的主題是青少 年兒童，大部分從近距離進行描繪。 六角彩子曾在日 本「第9屆藝祭藝術節」上獲頒極具聲望的「後藤明男 賞」獎。於2007年分別在荷蘭（德萊夫畫廊）、丹麥 （現代繪畫畫廊）、日本（Teo畫廊）等地舉辦個展， 2008年則在德國（Wild畫廊）、韓國（朱莉亞娜畫廊） 舉辦個展。另外也參加過許多重要的國際藝術展，如 2007年的「科隆國際藝術展」（荷蘭）、上海、新加坡 藝術博覽會；2008年的東京、阿姆斯特丹、台北藝術博 覽會。
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Lots 177, 245, 247
Lots 173, 174, 261
Lots 176, 178, 239
KWON Ki Soo (Korean, b. 1972)
Hiroyuki MATSUURA (Japanese, b. 1964)
Yoshitaka AMANO (Japanese, b. 1952)
Kwon Ki Soo was born in 1972 in Young-ju, Korea. He attained his B.F.A. and M.F.A. from Hongik University, Seoul, in 1996 and 1998 respectively. He has held various solo exhibitions including “The Show 1998” at Kwan Hoon Gallery (1998) and “A Red Fountain” at Gallery Fish (2004) in Seoul. He has also participated in numerous notable group exhibitions, including throughout Seoul, such as “Pleasure Factory” at the Seoul Museum” of Art (2003), “The Elegance of Silence: Contemporary Art From East Asia at the Mori Art Museum in Japan (2004), “Traveling Art Museum” at the National Museum of Contemporary Art in Korea (2004), as well as “Listening 2004 N.Y”. at the Jacob Javits Convention Center in New York (2004).
Born in Tokyo, Japan. He started to work as a graphic designer: advertising, packaging, binding and logo design in 1984. And the artist started to produce “Poster+Package+Skateboard” designs using “Character Illustration” themes. Exhibitions: 2007, “Ani Manga”, VIA07 Festival international, France. 2007, “Ultra New Visions”: Hiroyuki Matsuura Solo Exhibition, Eslite Gallery, Taipei, Taiwan. 2006, “Super Acrylic Skin, Mirai Projects” solo exhibition, Stockholm, Sweden. 2006, “Japanimation!”, Beijing Tokyo Art Projects, Beijing, China. 2005, “Super Acrylic Skin”, Hiroyuki Matsuura Solo Exhibition, Tokyo Gallery, Tokyo, Japan.
Born in 1952 in Shizuoka, Japan, he joined the early Japanese anime movement in 1967, working on character design for a number of Japanese TV programs, including the series “Time Bokan”, “Tekkaman”, “Gatchaman” and “Honey Bee”. Amano has won several prestigious awards including the Seiun Award in 19831986 and the Dragon Con Award and the Eisner Award in 2000. Amano has exhibited his art in prestigious museums and galleries worldwide since 1989, including the Orlean Museum of Art in France, Tokyo’s Uenonomori Museum, The Angel Orensanz Foundation in New York, and the Barbican Centre in London.
權奇秀 (韓國，1972年生)
松浦浩之 (日本，1964年生)
天野喜孝 (日本，1952年生)
1972年生於韓國。1996年於弘益大學獲得美術文學士學 位，1998年在本校獲得美術碩士學位。他舉辦過的個展 包括1998年首爾寬勳美術館畫廊舉辦的「展覽1998」和 2004年魚畫廊的「紅色水泉」。他參與過的重要團體 展，當中包括2003年韓國美術館的「快樂工廠」、2004 年森美術館的「沉默的優雅－東亞近代美術」、2004年 韓國國立近代美術館的「遊歷美術博物館」和2004年美 國紐約賈維茲會議中心的「傾聽紐約2004」等。
出生於日本東京，松浦浩之自1984年開始從事平面設計 師的工作，設計廣告、出版、包裝、裝訂等事項，從 1999年起，開始創作以「角色圖案」為題材的「海報 ＋包裝＋滑板」設計。展覽：2007年「動漫展」，VIA 07 國際影城，法國；2007年，「新異術」，松浦浩之 個展，誠品畫廊，台北，台灣；2006年，「超級丙烯外 衣」個展，「未來計畫」個展，斯德哥爾摩，瑞典； 2006年，「日本動漫！」，北京東京藝術工程，北京， 中國；「超級丙烯外衣」，松浦浩之個展，東京畫廊， 東京，日本。
1952年出生於日本靜岡縣。1967年開始從事日本早期動 畫製作，為日本電視節目設計角色，包括《救難小英 雄》及《宇宙騎士》、《科學小飛俠》及《小蜜蜂》 等。其優異表現也讓他得到許多知名的獎項：2000年的 惡龍多媒體大會獎及艾斯納獎，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。
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Lot 179
Lot 180
Lot 181
Toshimitsu IMAI (Japanese, 1928-2002)
Hiroshi KOBAYASHI (Japanese, b. 1967)
Yayoi KUSAMA (Japanese, b. 1929)
Born in Kyoto, Japan in 1928, Imai was trained at the Tokyo State Art Academy, and his works were distinguished by an acute sensitivity to color. In 1952, he was rewarded the prize for the best new artist at the 15th Shinseisaku Salon. Then Imai moved to Paris, he attended the Académie de la Grande Chaumière and the Sorbonne. Imai switched from representational to abstract art in 1955 under the influence by the critic, Michel Tapié. He participated in São Paulo Biennale of 1953 and the Venice Biennale of 1960. In 1962, Imai was awarded a prize at the 5th Exhibition of Japanese Contemporary Art in Tokyo. After 1970, he began to integrate words and Japanese elements into his pictures. In his last work, Imai turned to war as his theme. Toshimitsu Imai passed away after a long illness in 2002.
Born in 1967 in Fukushima prefecture, Japan. Kobyashi Hiroshi graduated from the Tokyo National University of Fine Arts & Music in 1995, and received his master's degree from Brooklyn College of the City University of New York. He has been holding solo exhibitions in Gallery Natsuka since 2000 (2000-2005, Tokyo) ; and other solo exhibitions such as "Blue/blue" (2004, Washington D.C.); "Works on paper" (2005, Tokyo); "Project" (2006, Tokyo); "and group shows in "VOCA Exhibition 2003" (2003,Tokyo); "Revolving Door: ISCP<>Asia" (2003,New York); "Japan: Rising" (2003,Tokyo); "Depredation" (destroy)(2003,Tokyo); "Shell Art Award 2004" (2004,Tokyo); "New Spirits Fukushima" (2005, Fukushima); "Blend-Group Exhibition of China, Japan, Korea and Taiwan Contemporary" (2007, Taiwan).
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.
今井俊滿 (日本，1928-2002)
小林浩 (日本，1967年生)
草間彌生 (日本，1929年生)
今井俊滿出生於1928年，日本京都。在1948年完成學業 後，他在東京藝術學院接受訓練。今井早期的繪畫可追 溯至野獸派的風格，他終其一生的創作特色在於藝術家 精準的色感。1952年他獲得第十五屆新制作協會沙龍的 最佳新秀獎，並於同年前往巴黎，就讀於大茅屋工作 室，並在索邦（巴黎大學舊稱）修習中世紀歷史與哲 學。1955年受到藝評家達皮埃的影響，使他的創作轉向 抽象風格。1953年今井俊滿受邀參加聖保羅雙年展； 1956年回到日本舉辦群展；1960年於威尼斯雙年展展 出；1962年獲頒第五屆日本東京當代藝術展獎項，在日 本受到高度矚目。但今井不願自我侷限，並開始象徵性 繪畫的實驗，1970年後他更將文字與日本文化元素融入 繪畫。在他最後期的作品中，他的創作轉向處理日本侵 華與二次世界大戰的主題。今井俊滿病逝於2002年。
1967年出生於日本福島縣，1991年畢業於東京藝術大學 油畫科，並於1995年取得紐約市立大學Brooklyn College 美術學部碩士學位。小林浩自200年起，陸續在Natsuka 畫廊舉辦多次個展（2000-2005，東京），其它個展 如「藍色／藍色」（2004，華盛頓）、「紙上作品」 （2005，東京）、「計劃」（2006，東京）。以及群 展如「VOCA展2003」（2003，東京）、「旋轉之門： ISCP A s i a」 （2003，紐約）、「日本：上升」 （2003，東京）、「破壞」（2003，東京） 、「Shell 美術賞展2004」（2004，東京）、「新精神—福島」 （2005，福島） 、「交融—中日韓台當代藝術聯展」 （2007，台灣）。
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。
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Lot 184 Lot 182
Lot 183
LEE Jae-hyo (Korean, b. 1970)
TU Hongtao (Chinese, b. 1976)
YE Yongqing (Chinese, b. 1958 )
Born in 1970, Korea. Lee Jae-hyo graduated from Hongik University as a BFA in Plastic Arts in 1992. He received numerous awards including, "Grand Prize Winner of Osaka Triennial" (1998, Japan), "Kim SaeJung Young Artist Prize" (2000, Korea), "Sculpture in Woodland Award" (2002, Ireland), "Pize of Excellence of Hyogo International Competition of Painting" (2005, Korea), and "Prize of Excellence of 2008 Olympic Landscape Sculpture Contest" (2008, Beijing). His works has been shown in several solo exhibitions in Seoul, Tokyo, Beijing, and New York. The artist also participated in various group exhibitions, such as the "Young Korean Artist Exhibition" (2000, Korea), "Association of Asian Contemporary Sculpture" (2001, Korea), "Out of Wood" (2003, Korea), "Vibration" (2005, Korea), "Art Canal" (2006, Switzerland), "Art Basel" (2006, USA), "Five Space & I" (2007, Korea), and "Opening of the 10th Municipal Museum of Art" (2008, Korea).
Born in Chengdu, Sichuan, Tu Hongtao graduated from the affiliated middle school to Sichuan Fine Arts Institute in 1995. In 1998 he attained an outstanding prize from the Li Chun-shan art foundation in Taiwan. He graduated from the oil painting department of the China Art Academy in 1999, and teaches in the art design department in Chengdu University. In 2006, he participated in the “Fiction@Love” exhibition tour held by the Museum of Contemporary Art Shanghai.
Ye Yongqing, born in Kunming, graduated from painting department of Sichuan Fine Arts Institute. He is a pioneering artist who was part of the Sichuan School of artists. He has spent much of his career in painting portraits of birds. In recent years , he has focused on creating colorful collages. But for years he has been better known as a curator, arts events organizer and artist community booster. He is a close friend and colleague to artists who worked in Western China, particularly Sichuan and Yunnan. He lives in Beijing and Kunming currently.
李在孝 (韓國，1970年生)
屠宏濤 (中國，1976年生)
葉永青 (中國，1958年生)
1992畢業於韓國弘益大學造型藝術專業，獲得藝術學士 學位。他榮獲許多獎項，其中包括「大阪三年展大獎」 （1998，日本）、「金大中青年藝術家獎」（2000，韓 國）、「林地雕塑大獎」（2002，愛爾蘭）、「兵庫縣 國際繪畫競賽優勝獎」（2002，日本）、「2008奧林匹 克景觀雕塑競賽優勝獎」（2008，北京）。於 1996開 始在東京、紐約、首爾、北京等地舉辦過12次個展，也 參加過多次群展，包括「韓國青年藝術家展」（2000， 韓國）、「亞洲當代雕塑聯展」（2001，韓國）、「運 河藝術博覽會」（2006，瑞士）、「五個空間與我， Moran美術館」（2007，韓國）、「第10屆釜山市立美 術館開幕展」（2008，韓國）。
出生於四川成都。1995年畢業於四川美院附中。1998年 獲台灣李仲生基金會優秀獎。1999年畢業於中國美院油 畫系，現任教於成都大學設計藝術系。2006年曾應邀參 加上海當代藝術館舉辦的《虛擬＠愛》巡展。
出生於昆明，1982年畢業於四川美術學院繪畫系，現任 四川美術學院教授。曾在北京、上海、新加坡、英國倫 敦、德國慕尼黑、德國奧格斯堡、美國西雅圖等地舉辦 個展。參與重要聯展： 1996年德國「中國！」、北京 「首屆學術邀請展」、「首屆上海美術雙年展」；2000 年北京「20世紀中國油畫大展」；2002年廣州「中國藝 術三年展」；2003年北京「開放時代」展。作品被中國 美術館等藝術機構收藏。
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Lots 185, 188, 190 Lot 186
Lot 187
CAI Guo-Qiang (Chinese, b. 1957)
LI Xinping (Chinese, b. 1959)
ZHANG Xiaotao (Chinese, b. 1970)
Born in 1957 in Quanzhou, Fujian, China. Cai graduated from the Shanghai Drama Institute in 1985, specializing in Stage Design. Cai now lives in New York. Cai is highly recognized by the international art world for his achievement in art. He was awarded the Golden Lyon Prize at “The 48th Venice Biennial” (1999); “Hiroshima Art Award” (2007, Japan); and he was appointed as committee member for the creativity of the Opening and Closing Ceremonies of the Beijing 2008 Olympic Games and chief visual designer. His works are in collections of world-famous art institutions and enterprises, such as Guggenheim Museum in New York, Metropolitan Museum of Art (New York), Venice Naval History Museum (Italy), Deutsche Bank collections (Germany) and Issey Miyake (Tokyo). The long list of Cai’s exhibitions includes the traveling exhibition “Inside Out: New Chinese Art” (1998), “International Currents in Contemporary Art” (1999, Spain); Whitney Museum of American Art “Biennial Exhibition” (2000, N.Y.); and he held solo exhibitions at world-wide famous art institutions such as Smithsonian Institute (2004, Washington D.C.); Metropolitan Museum of Art (2006, N.Y.); Deutsche Guggenheim (2006, Berlin).
Born in 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 Association 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.
Born in Hechuan, Sichuan Province, China. Zhang Xiaotao graduated from the Oil Painting Department of Sichuan Fine Arts Institute. Solo exhibitions: “Flowers in the Dream” at the Tokyo Gallery, Japan, 2001; “The Blown-up Property”, Beijing, 2001; “Desire” at the Kunst Akademie Muenster in Germany, 2002; “The Erosion of Materialism”, Paris, 2003; “Dream Factory and Refuse Dump”, Beijing, 2004 and Tokyo, 2005; “Illusion”, Norway and Lithuania. His group exhibitions have included: “Between the Dream and Painting— Vienna from 1900 to 2000”, Germany, 2000; “Dream: Chinese Contemporary Art Exhibition” at the London Pacific Gallery, 2001 and Manchester, 2002; “The Left Hand-Right Hand” at the China and Germany Art Communication Exhibition, Beijing, 2003; “Madrid International Art Exhibition”, Spain, 2004; “Chinese Current Painting” at the INFELD Culture House, Vienna, 2004; “New Viewpoint of Chinese Painting” at Marella Arte Contemporanea, Italy, 2004; “Paris International Art Exhibition”, 2004; “Chinese Current Painting”, Italy and “The 2nd Prague Biennale”, Czechoslovakia, 2005.
蔡國強 (中國，1957年生)
李新平 (中國，1959年生)
張小濤 (中國，1970年生)
1957年生於中國福建泉州，1985年畢業於上海戲劇學院 舞台設計系。曾旅居日本多年，後於紐約定居至今。其 藝術成就備受國際藝壇重視，名聲斐然，屢獲殊榮包括 威尼斯第48屆雙年展「國際榮譽－金獅獎」（1999）、 「廣島藝術獎」（2007，日本廣島），並受委任為2008 年奧運開幕與閉幕儀的核心創意小組成員暨視覺設計總 監。其作品廣為國際知名藝術機構及藏家所收藏，如紐 約古根漢美術館、紐約大都會美術館、義大利威尼斯海 軍歷史博物館、德意志銀行藏館以及日本東京三宅一生 等企業。蔡國強參加過的展覽不計其數，如全球巡迴展 出的「蛻變與突破：中國新藝術」（1998）、「當代藝 術的國際新潮」（1999，西班牙）、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）。
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。
生於四川合川。1996年畢業於四川美術學院油畫系。個 展： 2001年，「夢裡的花兒」，日本，東京畫廊。2002 年「欲望」，德國明斯特藝術設計學院。2003年「唯 物主義的糜爛」，法國巴黎阿基阿妮基畫廊 。2004年 「夢工廠和垃圾場」，北京東京藝術工程。2005年「幻 景」，挪威。2005年「夢工廠和垃圾場」，日本，東京 畫廊。2005年「幻景」M.K.修爾里奧尼斯國立藝術博物 館，立陶宛。聯展： 2004年「中國繪畫中的新視點」， 瑪蕊樂畫廊，義大利米蘭。2004年巴黎國際藝術博覽 會，法國巴黎。2005年「中國當代繪畫」，義大利波洛 尼亞銀行基金會。2005年「第二屆布拉格雙年展」，捷 克布拉格。
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Lots 189, 194
Lots 191, 193, 224, 231
HUANG Gang (Chinese, b. 1961)
ZHOU Chunya (Chinese, b. 1955)
LIU Wei (Chinese, b. 1965)
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 1955 in Chengdu, Sichuan Province. Zhou Chunya graduated from the Department of Oil Painting of the Sichuan Institute of Fine Arts in 1982. Zhou also graduated from the Fine Arts College of German Kassel University. He currently works as an artist at the Chengdu Academy of Painting in Sichuan. Zhou’s works have been shown at “The Documentary Exhibition of Chinese Contemporary Art” (Beijing, 1991), “China Experience” (Chengdu, 1993), “China’s New Art - Post ‘89” (Hong Kong, 1993), “The Annual Exhibition of Art Critics Nomination” (Beijing, 1994), “China!” (Bonn, 1996) and “The Shanghai Biennial” (Shanghai, 1996). His work can be found in the public collection of the Austria Linz Art Museum. 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. 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.
黃鋼 (中國，1961年生)
周春芽 (中國，1955年生)
劉煒 (中國，1965年生)
1961年出生中國北京，畢業於中央工藝美術學院。1980 年代在中國內地以西藏題材創作藝術作品十分流行，人 們大都熱衷於表現這裡神奇而未被現代文明污染的壯美 的自然環境、獨特的風土人情，黃鋼於那時開始對西藏 文化、宗教、藝術產生濃厚興趣，開始了西藏古典繪畫 藝術品的收藏，研究這種藝術產生的社會、宗教、哲學 背景。之後創作了西藏文字系列作品，但他是以一種不 同於其他藝術家，前所未有的藝術方式進行創作。黃鋼 的藝術作品在世界各地多次展覽。在德國、法國、瑞 士、美國等國家及香港舉辦過個人展覽，並獲得極大成 功。得到了不同國家不同文化背景的關注、認同和高度 評價。
四川成都人。1982年畢業於四川美術學院油畫系。1988 年畢業於德國卡塞爾綜合大學美術學院自由藝術系。現 在為成都畫院專職畫家。1980年作品入選第二屆全國青 年美展獲二等獎。1982年參加紐約中國當代油畫展， 1984年參加香港四川油畫展，同年參加前進中的中國青 年畫展。1987年舉辦個人畫展於德國杜塞道夫，1988年 於奧地利林茨舉辦個人畫展，同年參加德國比勒費爾德 國際五人作品展。1992年入選「廣州九十年代藝術雙年 展」獲學術獎。1993年參加香港「後八九中國新藝術 展」，同年與葉永青、張曉剛等舉辦中國新經驗展。 1996年應邀參加第一屆上海雙年展。作品為奧地利林茨 美術館典藏。2010年6月在上海美術館舉辦個人首次回 顧展，並於上海成立「周春芽藝術研究院」獲至成功與 好評。同年，在中國獲得「2010馬爹利非凡藝術人物」 的榮譽。
生於中國北京。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。
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Lots 195, 196
Lot 197
Lot 198
ZENG Fanzhi (Chinese, b. 1964)
ZHAN Wang (Chinese, b. 1962)
LI Hui (Chinese, b. 1977)
Born in 1964 in Wuhan, Hubei, Zeng Fanzhi graduated from the oil painting department of the Hubei Fine Arts Institute in 1991. Presently lives in Beijing as a painter. He conducted many important exhibitions, including the “Zeng Fanzhi Art Exhibition” held in Hubei Fine Arts Museum in 1990, the “80's China Fine Arts (oil paintings) Biannual Exhibition” held in Guangzhou in 1992, “Post-'89 China New Art Exhibition” held in Hong Kong in 1993, “Walk Away from National Ideology - China New Art” held in Hamburg international avant-grade cultural center in Germany in 1995, “Zeng Fanzhi: False Face” held in the Barcelona Contemporary Art Museum in Spain and Hanart T Z Gallery in Hong Kong, “The Future” held in the Macao Contemporary Art Center in 2000, “Behind the Mask” held in Shanghai Shangrila Gallery in 2001, “Paris-Beijing” held in the Pierre Cardin Center in France and “The 1st Session Guangzhou 3 Years Exhibition” in the Guangdong Art Museum in 2002, and “I, We” held in the Shanghai Art Museum.
Born in Beijing, Zhan graduated from the Sculpture Department of Central Academy of Fine Arts in 1988 and acquired his Master degree from Central Academy of Fine Arts in 1995. In 1990, he started creating sculptures of Pure Realism. In 1991, he participated in the New Generation Art Exhibition. In 1992, he participated in Exhibition of Contemporary Young Sculptors. In 1995, his work was selected in the Beijing-Berlin Art Exchange Exhibition and in the Exhibition of Works Nominated by Chinese Art Critics. In 1997, he participated in 97 Chinese Contemporary Art Exhibition in Tokyo and in “Moving Cities” Asian Contemporary Art Exhibition Tour. His works were published in World Sculptures: Eastern Section, 50 Years of Chinese Fine Arts, The Complete Treasury of Chinese Fine Arts, etc. He has issued an academic dissertation, Conceptual Sculpture - The Idea of Materialization. His works have been collected in many art museums in China and in the Museum of Chicago University as well as in the personal collection of collectors in Switzerland, Germany, United States, and Singapore, etc.
Li Hui was born in Beijing. From 1998 to 2003, he studied in the department of sculpture of Central Academy of Fine Arts. He won the Third Prize in “PE Sculpture Exhibition of New Beijing, Great Olympic”. In 2003, his works participated in “Beijing Biannual Exhibition”. At the same year, his work “Renewing Jeep- Smooth Current and Counter Current” won the Golden medal in the competition of “Dalian Golden Cup” held by China Sculpture Website. His work “Acupoints” participated in the exhibition of Shiseido Gallery, Tokyo in 2004. His works are Shiseido highly praised by collectors all over the world.
曾梵志 (中國，1964年生)
展望（中國，1962年生）
李暉 (中國，1977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。
生於北京。1988年畢業於中央美術學院雕塑系， 1995年中央美術學院研究生班結業。1990年開始從 事超寫實主義雕塑創作，1991年參加新生代藝術 展，1992年參加當代青年雕塑家邀請展，1995年參 加北京─柏林藝術交流展，批評家年度提名入選， 1997年參加東京97中國當代藝術展，同年參加「移 動的城市」亞洲當代藝術巡迴展。作品曾被收入 《世界雕塑全集．東方部分》、《中國美術五十 年》、《中國美術全集》等，發表學術論文《觀念 性雕塑─物質化的觀念》。作品收藏於國內數家美 術館及美國芝加哥大學博物館，及瑞士、德國、美 國、新加坡等私人收藏。
出生於中國北京，1998-2003年就讀於中央美院雕塑 系。2001年作品獲「新北京新奧運－體育雕塑展」三等 獎，2003年作品參加北京「北京雙年展週邊展」，同年 作品《改裝吉普－順流逆流》榮獲「中國雕塑網2003年 大連金和杯全國畢業生作品大賽」一等獎，作品《穴 相》2004年參加日本資生堂畫廊邀請展，其作品廣受各 地收藏家喜愛。
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Lot 201
Lot 203
Lot 204
XU Bing (Chinese, b. 1955)
ZHANG Kai (Chinese, b. 1985)
ZHANG Donghong (Chinese, b. 1967)
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.
Zhang Kai was born in Nantong City Jiangsu Province in China, and he graduated from Oil Painting Department of Sichuan Fine Arts Institute by 2007. Solo-exhibitions: 2007 “Space of Mine”, Shanghai, China; 2008 “Pursuit of Joy”, Shanghai, China. Group-exhibitions: 2006 “18 Warriors”, Chongqing, China; “Infinity is Invisible”, Chongqing, China; “Opposite Dreams in the Same Bed”, Chongqing, China; 2007 “Touching”, Chongqing, China; 2008 “Young State of Si Chuan Fine Arts Institute”, Shanghai, China; “Shanghai Fine Art”, Shanghai, China; 2009 “Fresh Vision-The Contemporary Young Artists Invites the Exhibition”, Suzhou, China; “30°”, Beijing, China.
Born in Jiling, China in 1967, graduated with BA from the Department of Art, Jiling Institute of Fine Arts in 1992, taught in the Department of Art, Jiling Institute of Technology the same year, established an art workshop in Beijing in 1995, and currently a professional painter. Starting attending international exhibitions since 1994, including "the Chinese Modern Art Exhibition" in Holland in 1994, "the Contemporary Art Exhibition" in Berlin Germany in 1995, "the Chinese Modern Art Exhibition" in Singapore in 1997, "the China Youth Artists Joint Exhibition" in Milan Italy in 1998, "the Contemporary Art Exhibition" in London UK in 2000, "the Chinese Modern Art Exhibition" in Houston US in 2001 & 2002, "the Chinese Artist Collection Exhibition" in London UK in 2004, "the International Modern Art Exhibition" in Italy in 2005, and the "Classic Decade" Modern Art Exhibition held by Beijing China Museum of Art in 2006. Solo exhibitions have also been held in galleries in Hong Kong, Shanghai, Beijing and Singapore.
徐冰（中國，1955年生）
張凱 (中國，1985年生)
張東紅 (中國，1967年生)
重慶人。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。
1985年出生於江蘇南通。2007年畢業於四川美術學院 油畫系。個展有：2007年「空間之我」，上海；2008 年「對幸福的追求」，上海。聯展有：2006年「十八 勇」，重慶、「大象無形」，重慶、「異夢同床」， 重慶；2007年「觸動」，重慶；2008年「川美術年輕 態」，上海、「上海藝術博覽會」，上海；2009年「新 銳視覺—當代青年藝術家邀請展」，蘇州、「30˚」， 北京。
1967年生於中國吉林，1992年畢業於吉林藝術學院美術 系，獲學士學位，同年任教於吉林工學院美術系，1995 年在北京建立藝術工作室，現為職業畫家。自1994年開 始參與國際性展覽，包括1994年荷蘭的「中國現代藝術 展」、1995年德國柏林的「當代藝術展」、1997年新加 坡的「中國現代藝術展」、1998年義大利米蘭的「中國 青年藝術家聯合展」、2000年英國倫敦的「當代藝術 展」、2001年及2002年於美國休斯頓舉行的「中國當代 藝術展」、2004年英國倫敦的「中國藝術家收藏展」、 2005年義大利「國際當代藝術展」、2006年北京中國美 術館舉行的「經典十年」當代藝術展等。其個人展覽亦 曾於香港、上海、北京及新加坡等地畫廊舉行。
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Lot 206
Lot 207
HONG Ling (Chinese, b. 1955)
HUA Qing (Chinese, b. 1962)
OUYANG Chun (Chinese, b. 1974)
Born in Beijing, China, 1955. Hong Ling graduated from the Fine Arts Department of Beijing Normal College in 1979. In 1985, he entered the Oil Painting Department of the Central Academy of Fine Arts and currently holds the position of associate professor there. His oil paintings have been exhibited in the first and second annual exhibition of "Chinese Oil Paintings" and the "1994 Critics Nomination Exhibitions." Hong has won many awards for his art. A solo exhibition was held in Hong Kong in 1995. He also participated in the 47th Venice Biennale in 1997. His work is found in the public collection of the National Art Museum of China, Beijing.
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, Taipei; “Hua Qing–human fable”, Singapore. 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.
Born in Xian, Shaanxi 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.
洪凌 (中國，1955年生)
華慶 (中國，1962年生)
歐陽春 (中國，1974年生)
生於北京。1979年畢業於北京首都師範學院美術系，專 長油畫。1985年入中央美術學院油畫系研習班，目前為 中央美術學院油畫系副教授。油畫作品曾參加第七屆全 國美展、首屆中國油畫展、第一與第二屆中國油畫年 展，以及1994美術批評家年度提名展等展覽，並多次獲 獎，1995年在香港舉辦個人展覽。1997年參加第47屆義 大利威尼斯雙年展。作品《秋草》為中國美術館收藏。
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。重要聯展：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， 美國；「亞洲藍點」，首爾，韓國；「中國當代藝術 2」，阿姆斯特丹，荷蘭；「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
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、巴塞利茲的粗暴與奇斯．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。
社會主義」，北京。
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Lot 215 Lots 209, 211
Lots 210, 212
REN Rong (Chinese, b. 1960)
HUANG Yan (Chinese, b. 1966)
YANG Din (Chinese-French, b. 1958)
Ren Rong was born in 1960 in Nanjing, capital city of China’s Jiangsu Province. He had been learning in Fine Arts Department of Nanjing Art Institute from 1982 to 1986, and he stayed in German Munster and Düsseldorf National Academy of Art from 1989 to 1992. He furthered his education by joining Fritz Schwegler, a German art professor’s master class in 1992, and obtained Master’s degree. He was granted art scholarship by Germany’s Schleswig-Holstein Ministry of Culture in 1993 and was awarded Welberg City Art Prize in 1994. The next year He established Ren Rong Modern Art Studio in Songzhuang, Beijing. In 1996 he was entrusted by German Bonn Modern Art Gallery for the planning of an exhibition tour themed as “China!–Modern Uygure”. He was appointed as Guest Professor of Hamburg Academy of Plastic Arts in 2000 and he established Ren Rong Modern Art Studio in Bonn, Germany in 2007. Now he lives in Bonn and Beijing.
Born in Jilin City, Jilin Province. Start learning traditional Chinese landscape painting in 1978 and graduated from Changchun Normal College in 1987. Huang Yan is one of the contemporary representatives of avant-garde artists in China. From 1994, he has started using oil painting and camera to record his concepts and performances. His creative works are diversified. He always put the traditional painting and behavioral factors into his photography and put the contemporary factors into painting. Since 1997, his solo exhibitions have been held in different countries over the world including: 2006 “Zen painting”, Beijing, China; 2005 “Huang Yan Solo Exhibition”, London, UK; 2003 “History of Landscape”, Beijing, China; 1997 “Postal Art of Huang Yan”, Beijing, China. , New Contemporary Chinese art Revolution”, Cuba; 2006 “Boundless Pause”, Beijing, China; 2005 “Sigg Collection of Contemporary Chinese Art”, Switzerland; 2004 “Between Past and Future, New Photography and Video from China, USA; New Perspectives in Chinese Painting, Milan, Italy; 2001 “Biennale de Chengdu”, Chengdu, China. His artworks are collected by important museums all over the world.
Born in Shantou (Guangzhou), China, Yang lives and works in Paris since 1980. He graduated from L'Ecole Nationale Supérieure des Beaux-Arts de Paris (Paris National Art School) in 1987. He was a professor at ASDASCS center in Clairvaux, France. Since 1990, he has held solo exhibitions in France, Belgium, the Netherlands, Taipei, Hong Kong and Macau. Awarded First Prize at the Aube Art Fair organized in Troyes, France.
任戎 (中國，1960年生)
黃岩 (中國，1966年生)
楊登雄 (華裔法籍，1958年生)
出生於中國江蘇省南京市。1982-86年就讀於南京藝術 學院美術系，1989-92年就讀於德國蒙斯特與杜塞道夫 國立美術學院，1992年入德國藝術教授費里茲．施韋格 勒大師班，獲研究生學位。1993年獲德國施萊斯威西． 赫爾斯坦州文化部藝術獎學金，1994年獲德國威爾伯 格市立藝術獎，1995年在北京宋莊創建任戎當代藝術 空間，1996年受德國波昂現代美術館委託，策劃「中 國！—當代繪畫巡迴展覽」2000年聘為漢堡造型藝術學 院客座教授，2007年在德國波昂建造任戎當代藝術空 間，現在居住在波昂與北京。
1966年生於吉林省吉林市。1978年開始學習傳統中國山 水畫，1987 年畢業於長春師範學院。黃岩是中國當代 最具代表性的先鋒藝術家之一，1994年起用油畫和攝影 記錄自己的觀念與行為，他的創作形式多元化，常在攝 影裡注入傳統繪畫和行為因素、在繪畫裡注入當代的因 素。自1997年至今曾在北京、香港、上海、倫敦、柏 林、紐約、巴黎、阿姆斯丹及米蘭等地舉辦個展，包 括：2006年「禪畫—黃岩個展」，北京； 2005年「黃 岩個展」，倫敦，英國；2003年「個展—山水故事」， 北京； 1997年「黃岩1997郵件藝術個展」，北京。群 展： 2009年「北京—哈瓦那：新中國當代藝術革命」， 古巴； 2006年「無邊界的停頓」雕塑展，北京； 2005 年「希克收藏展」，瑞士；2004年「過去與未來之間— 來自中國的新攝影及影片」，美國；「中國藝術現在 代」，米蘭，義大利；2001年「成都雙年展」，成都， 中國。作品廣為世界各地重要美術館收藏。
出生於中國廣東汕頭市。1980年起定居法國巴黎。1987 年畢業於巴黎國家高等藝術學院。1993-1994年於克雷 佛教育中心擔任美術老師。自1990年起，曾於法國、比 利時、荷蘭、台北、香港、澳門等地舉行個展。1987年 獲法國特羅瓦省歐柏藝術藝術沙龍獎。
276
Lot 221
Lot 217
Lot 218, 222
CHIU Ya-tsai (Taiwanese, b. 1949)
SZETO Lap (Chinese, b. 1949)
CHEN Liu (Chinese, b. 1973)
Chiu was born in 1949 in Yi-lan on the east coast of Taiwan. A loner and an underachiever in school, he began his mandatory military service and at the same time began to read. Beginning with Chinese history and progressing to the classics of Western literature in translation for example the masterpieces of Shakespeare and Dostevsky, he was inspired by tales of heroes and began to write and paint. Chiu's portraits of Taiwan's modernday literati are greatly influenced by the figure painting of the Tang dynasty (618-906 AD) seen in the hooked noses and almond-shaped eyes. Elegant androgynouslooking men and women with elongated, oval faces are shown seated or standing in partial profile. The subjects appear to be lonely, even melancholic, but controlled and self-possessed. In the 1980s, Chiu persevered with his literary and artistic works in a well-known cultural salon "Wisteria" in Taipei. His paintings have been widely exhibited in Spring Gallery (Taipei), the National Museum of History and the Taiwan Museum of Art.
Born in Guangzhou, in 1949. Szeto studied ine arts in Guangzhou before emmigrating to France in 1975. After a solo exhibition in Paris, he won awards in- cluding the Feneon Prize and later the Grand Prize for Painting granted by the Institute of France. Inlu- enced by Giacometti of the Neo-Figurative School he looked for the “absolute reality” of beings. Szeto was indeed a Chinese artist equipped with both artis- tic and philosophic notions. His works are collected by Le Centre National d’Art de la Culture, Georges Pompidou as well as various other European muse- ums.
Born in 1973 in Kunming, Chen Liu graduated from the Central Art & Crafts College in 1996, in which year he won the first prize of Ikuo Hirayama Award, and is now a professor in the Yunnan Academy of Fine Arts. His works have been published in Chenliu Water Color Paintings (2001) and Segment, Chenliu Art Works (2004); and he has shown his works in several exhibitions such as his solo exhibitions “Watercolor Paintings of Chen Liu” (2004, Kunming) and “Segments - Oil Paintings of Chen Liu” (2004, Kunming); “Contemporary Tradition - Invitational Exhibition of Chinese Artists” (2006, Milan); “International Contemporary Art Fair 2007” (Hong Kong); “Asian Contemporary Art Fair 2007” (New York); and in the recent group exhibition “I’m Ready” (2008, Taipei).
邱亞才 (台灣，1949年生)
司徒立 (中國，1949年生)
陳流 (中國，1973年生)
1949年生於台灣宜蘭，非學院派畫家，自幼對正規學業 不感興趣，退伍後才開展對文字藝術的追求，以及對人 性的深刻觀察。中國歷史、莎士比亞、杜斯妥也夫斯基 等大師巨著的閱讀經驗，豐富其往後繪畫中的人物深 度。邱亞才筆下的台灣現代文人肖像，受唐代繪畫的影 響頗深，如人物的鉤狀鼻、杏眼、鵝蛋臉，身材頎長纖 瘦，雌雄莫辯，主題上傾向於孤寂、憂鬱、內斂而沈 靜。1980年代他經常於台北知名文化沙龍「紫藤廬」一 隅創作，以成無數畫作及小說。作品曾於台北春之藝 廊、歷史博物館及省立美術館等處展出。以肖像畫著 稱，藉由畫筆直嘆身埋人類理性面具下的卑微、傲慢、 頹廢與脆弱，細膩優雅中洋溢著文人感懷落寞的頹靡氛 圍。
廣東廣州市人，1975年赴法，1981年獲義大利盧比欣國 際繪畫大獎，2000年獲法蘭西藝術爵士勳章《法國法蘭 西學院繪畫大獎桂冠》。受新具象畫派傑克梅第影響至 深，在藝術表現中尋找事物「絕對的真實」。是難得兼 備藝術哲思與技巧的華人畫家。其作品收藏見於法國國 家現代藝術博物館龐畢度文化中心、法國國家當代藝術 收藏基金會、法國布倫市博物館、法國巴康丹市博物 館、義大利盧比欣博物館等。
1973年生於中國昆明，1996畢業於中央工藝美術學院裝 飾藝術系裝飾繪畫專業，於1996榮獲中央工藝美術學院 「平山鬱夫獎」一等獎，目前則是任教於雲南藝術學 院美術學院油畫系。出版過多本畫冊，如《陳流水彩 畫集》（2001）、《片斷—破碎的天空陳流作品集》 （2004）。繼2004在雲南昆明舉辦的個展「陳流水彩畫 展」、「片斷—陳流油畫作品展」，另參加多次國際展 覽，如「當代的傳統—中國畫家邀請展」（2006，米 蘭）；「2007國際當代藝術博覽會」（2007，香港）； 「亞洲當代藝術展覽2007」（2007，紐約）；「我準備 好了」（2008，台北）。
277
Lot 228
Lots 225, 227
Lot 226
XIONG Yu (Chinese, b. 1975)
JIA Gang (Chinese, b. 1974)
CAO Jingping (Chinese, b. 1972)
Born in Chengdu, Sichuan, Xiong Yu graduated from the attached middle school of the Sichuan Academy of Fine Arts in 1995, and rose up into the oil painting department of the Sichuan Academy of Fine Arts. In 1999, he graduated from the oil painting department of the Sichuan Academy of Fine Arts and was admitted to the plastic arts department of the Sichuan Academy of Fine Arts as a professional graduate student of oil painting in the same year. In 2002, he obtained the Sichuan Art Academy oil painting master’s degree and began to teach at the artistic academy of Sichuan University. Xiong is a new talent of Chinese oil painting from the “Sichuan School of Painting”, after Luo Zhongli, He Duo-Ling and Zhang Xiaogang. His work participated in and was awarded in “Youth Art Exhibition of Sichuan Province” in Chengdu. In 2004, his works received a Bronze Prize in “Mood of the Youth-Exhibition of Reworded Paintings of Chinese Newly Emerging Artists” in Shenzhen.
Born in Liaoning, China, Jia graduated from the Academy of Arts and Design in Tsinghua University in 2001, and participated in the “Young and Bold – Exhibition of the new acts in the China art scene”; 2007, “Gestures”, Beijing New Age Gallery; “The Age of Pluralism, Being Persistent”, New Age Gallery, Beijing and Taichung.
Cao Jingping was born in Chongqing, graduated from the affiliated middle school to Sichuan Fine Arts Institute in 1992 and graduated from Department of oil Painting in Sichuan Fine Arts Institute and acquired bachelor degree. During 1997-1998, Cao went to Germany Kassel Academy of Fine Arts to pursue advanced studies, in 1999 graduated from Department of oil Painting in Sichuan Fine Arts Institute and acquired a master degree. In 2001, Cao participated the “Sweet Illusions” six artist joint exhibition in Shanghai Museum of Fine Arts, China; “Chongqing Chilies” in Kulturbahnhof, Germany; and “Post-Politics” in The Bloxham Galleries, London, UK.
熊宇 (中國，1975年生)
賈剛 (中國，1974年生)
曹靜萍 (中國，1972年生)
出生於四川成都，1995年畢業於四川美術學院附中，升 入四川美術學院油畫系，1999年畢業於四川美術學院油 畫系，同年考取四川美術學院造型藝術系油畫專業研究 生，2002年獲四川美術學院油畫系碩士學位並任教於四 川大學藝術學院。熊宇是繼羅中立、何多苓、張曉剛等 人之後，中國油畫「四川畫派」的新秀。2002年作品參 加成都「四川省青年美展」並獲獎，2004年作品參加深 圳「少年心氣—中國新銳繪畫獎作品展」獲頒銅獎。
出生於中國遼寧，2001年畢業於清華大學美術學院， 2004年「少年心氣—中國新銳繪畫展」；2007年，「姿 態」，北京新時代畫廊；「多元世代．固執己見」，新 時代畫廊，北京、台中。
出生於重慶。1992年畢業於四川美術學院附中，1996年 畢業於四川美術學院油畫系並獲學士學位，1997-1998 年赴德國卡塞爾美術學院學習，1999年畢業於四川美術 學院油畫系並獲碩士學位。2001年《甜蜜的幻覺》當代 藝術六人作品展中國上海美術館 。《重慶辣椒》展於德 國卡塞爾文化火車站 。《後政治》藝術作品展於英國倫 敦的 布洛斯罕畫廊。
278
Lot 229 Lot 232
Lot 230
GAO Yu (Chinese, b. 1981)
CHEN Ke (Chinese, b. 1978)
XIA Junna (Chinese, b. 1971)
Born in Guizhou, Gao Yu graduated from the Sichuan Fine Arts Institute in 2003 with a bachelor’s degree. In 2006, he held “Specimen” a solo exhibition in Beijing; and in 2007, a solo exhibition “Five Elements Mountain” in Beijing. He attended the exhibition known as “Ideal of A New Generation–the Chinese New Generation” in He Xiangning Art Museum, Shenzhen in 2004; in 2005 he took part in “The Self-Made Generation - A Retrospective of New Chinese Painting” exhibition in Zendai Moma, Shanghai, “Post 70s - The Generation Changed By the Market” exhibition co-organized by Shanghai Mingyuan Art Center and Beijing Today Art Museum and “Next Station, Cartoon?” exhibition coorganized by Star Gallery and Shenzhen He Xiangning Art Museum; in 2006 he attended “Beyond Experience: New China” exhibition held by Beijing Arario Gallery and Star Gallery’s “Naughty Kids” exhibition; he participated in Nokia’s art works creation known as “Fashion! The Top One is Prism!” .
Born in Tongjiang, Sichuan Province, Chen Ke graduated from the Oil Painting Department of Sichuan Institute of Fine Arts in 2002 and from Sichuan Institute of Fine Arts with an MFA in 2005. Chen Ke is currently working and living in Beijing. She was awarded the Inaugural Chengdu Biennial for Art Academy Students in 2001. In 2007, She held the exhibition “With you, I will never feel lonely” at Beijing Star Gallery and Milano Marella Gallery. Chen Ke is a representative artist. Her artworks derive aesthetics from animation and cartoons, closely connecting the affection in the virtual world with real life. The digital images from her painting demonstrates bright and colorful light, contributing to the diversity of her visual layout. She creates a popular cartoon world with kaleidoscopic and dazzling imagination.
Born in Inner Mongolia, 1971. In 1984, she attended Weihai No.2 Middle School and studied portrait painting with Cong Jian Zi, who introduced her to a certain field of art. She graduated in 1995 from the Oil Painting Department of the Central Academy of Fine Arts. Her work “Autumn” won silver prize at the 1995 Annual Exhibition of Chinese Oil Paintings. Her works were also shown at the Shanghai Biennale and Contemporary Art Exhibition held in Beijing in 1996. In 1997, she joined “China Young Oil Painting” Exhibition in Beijing. In 1998, she joined “Century-Female Art Exhibition” and won a collector award. In 2000, she joined “Twentieth Century China Oil Painting Exhibition”, “Youngs Series Exhibition”. Beijing Evening News used “Six Main Courses in Grant Banquet of Centurial Oil Painting” as the title and commend her as the most representative painter in China. Taiwan magazine, CANS, used “From Li Tiefu to Xia Junna” as the slogan to summarize Xia’s historic significance in inheriting from centurial oil painting. Her paintings are collected by private collectors at home and abroad in recent years.
高瑀 (中國，1981年生)
陳可 (中國，1978年生)
夏俊娜 (中國，1971年生)
生於中國貴州。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、北京星空間畫廊舉辦的「壞孩子的天空」畫展； 2007參加諾基亞「時尚，角度至上」主題創作。
生於四川省通江。2002年畢業於四川美術學院油畫系。 2005年畢業於四川美術學院油畫系碩士學位。現工作生 活於北京。2001年獲第一屆成都雙年展學生特展「新秀 獎」。2007年分別在北京星空間藝術中心和米蘭瑪蕊樂 畫廊舉辦「和你在一起，永遠不孤單」個展。陳可是一 位很有代表性的藝術家，她的作品由動畫、漫畫帶動美 學，從虛擬世界裡的情愛和真實人生的情感密切互動， 由數位影像呈現的鮮亮色光，構成變換多端的視覺造 型。她用繽紛絢奇的想像來為我們營造一個大家的卡通 新世界。
出生於內蒙古，1984年就讀於威海市第二中學，師從美 術啟蒙老師叢建子先生學習國畫人物，初步接觸繪畫藝 術。1995年畢業於中央美術學院油畫系，畢業創作獲 得中央美術學院優秀獎和日本岡松家族獎學金。作品 《秋》獲「95第三屆中國油畫年展」銀獎。1996年參加 「上海美術雙年展」，「北京中國當代藝術展」。1997 年參加「中國青年油畫展」及「中國藝術大展」。1998 年參加「世紀－女性」藝術展，獲收藏家獎。2000年參 加「二十世紀中國油畫展」，北京晚報也以「百年油畫 盛宴的六道大菜」為題，把夏俊娜提為中國最有時代代 表性的畫家。台北的《藝術新聞》雜誌以「從李鐵夫到 夏俊娜」來概括百年油畫的歷史承繼性，其作品被海內 外私人廣為收藏。
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Lot 241
PENG Si（Chinese, b. 1980)
Yoshitomo NARA (Japanese, b. 1959)
Hideaki KAWASHIMA (Japanese, b. 1969)
Peng Si was born in Heng Yang, Hu Nan, who graduated from the Print-making Department of the Central Academy of Fine Art in 2004. In 2002, his work “Untitled I” participated in the 2002 Nokia Asia Pacific Art Competition, received award of excellence award. 2004 My Form My Show series received bronze metal in “Light of Academy” Central Academy of Fine Art’s award for plastic art. My Form My Show series received the silver award in graduation artworks at the Central Academy of Fine Arts, and his work “My Form My Show No.7” was collected by the museum of the Central Academy of Fine Arts. Main exhibitions: 2002“Annual Pedagogical Exhibition of National Academies”, Beijing; 2003 “Third National Oil Painting Exhibition, National Art Gallery”, Beijing; 2004 “Central Academy of Fine Arts for Art Exchange Exhibition at Columbia University”, U.S.A; 2005 “Contemporary Vision-Students’ Work of Excellence from the Central Academy of Fine Art ”, Macau; 2006 “Praising Our Beautiful Life-Young Artists Exhibition”, Beijing; 2007 “Art China-Triumphant Return-Chinese Contemporary Art Invitational Exhibition”, Beijing; 2008 “Style-Oil painting exhibition of Pengsi, Poly Art Museum”, Beijing; 2009 “Dialog-China and German art communication exhibition”, Beijing; 2010 “Different Currents of the Same River-Arthur M. Sackler Museum of Art and Archaeology at Peking University”, Beijing.
Born in Hirosaki City, Aomori, Japan, Yoshitomo now lives in Tokyo. Having most of his early works in illustrations, Yoshitomo developed in the late 1980s portraits of seemingly innocuous children, which have now become his main art style. The artist is infatuated with subjects with big heads and big eyes; he is well-known in depicting the variety of emotions showing through the character’s eyes, especially his famous squint look (as some see it as a demonstration of anger, and some think of it as the representation of evil). In the late 1990s, Yoshitomo also began to create three-dimensional works, and implemented different media into his artworks. Today, his works are in collections of the Museum of Modern Art in New York and Museum of Contemporary Art in Los Angeles among many other well-known museums in the world.
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.
彭斯 (中國，1980年生)
奈良美智 (日本，1959年生)
川島秀明 (日本，1969年生)
1980年生於湖南衡陽。2004年中央美術學院版畫系畢 業。主要成就：2002年作品《無題I》參加諾基亞亞太 地區繪畫大賽獲優秀獎。2004年 《我型我SHOW》系 列獲「學院之光」中央美術學院造型藝術銅獎，同年 《我型我SHOW》系列獲中央美術學院學生畢業作品展 銀獎，其《我型我SHOW7號》作品被中央美術學院美 術館收藏。主要展覽：2002年「全國高校版畫教學年會 展」，北京；2003年「第三屆中國油畫大展精品展」， 北京；2004年「哥倫比亞大學藝術交流展」，美國； 2005年「當代視線—中央美術學院學生優秀作品展」， 澳門 ； 2 0 06 年 「歌頌 我們美好 生活 —新 銳 藝術 家 大 展」，北京； 2007年「藝術中國—全國畫展」，北京； 2008 年「風—彭斯油畫展」，北京；2009年「東西對 話—第三屆中德當代藝術家聯展」，北京；2010 年「異 世同流—彭斯油畫藝術展」，北京。
生於日本青森縣弘前市，現居住於東京。早期的作品以 插畫性質為多，但在1980年代後期即發展出他以小人頭 像為主的風格；奈良美智對於大頭和大眼型的小人相當 著迷，他的特色在於塑造各種帶有情感的眼神，其中最 知名的是斜視的眼神（有人說是代表憤怒、有人則說是 代表了邪惡）。在1990年代後期，他也開始創作立體作 品，並採用不同媒材拼組的方式。今日他的作品已被許 多博物館收藏，如紐約現代藝術博物館和洛杉磯當代藝 術博物館等。
1969年生於日本愛知縣，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。
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Lot 246
Yuichi Sugai (Japanese, b. 1952)
Agus Ardika I KADEK (Indonesia, b. 1984)
I Ketut MONIARTA (Indonesia, b. 1981)
Yuichi Sugai was born in Tokyo in 1952. In the 1970s he was very active within the minimalist paintings movement and held, at that time, exhibitions in different galleries in Tokyo as well as art institutions such as the Kyoto Museum, Kanagawa Citizen’s Gallery, etc. In the early 1980s Yuichi Sugai studied printmaking and subsequently opened a printing studio in Tokyo that soon became a reference in Japan and overseas, working with such artists as Toeko Tatsuno, Ufan Lee, Isamu Wakabayashi, Sandro Chia, Martin Kippenberger, Donald Baechler, etc. In the mid mid-1990s he married and moved to Europe with his new wife. He continued making prints for international artists and taught printmaking at various institutions. After many years of hesitation and a deep will and need to create art, Yuichi Sugai decided in 2009 to produce his own work again. He developed a brand new series of works inspired by his childhood and a sense of nostalgia that currently inhabit him. Exhibitions: 2011 “Los Angeles Art Show”, USA; “Art Statements Tokyo”, Japan; “Tokyo Art Fair”, Japan; 2010 “Contemporary Shanghai”, China.
Born in Sukawati, Indonesia in 1984, he graduated from Indonesian Institute of Art Yogyakarta. I Kadek has participated in several group exhibitions: 2011 “Bali Making Choice”, National Gallery, Jakarta; 2009 Biennale Jogja, Jogja National Museum, Yogyakarta, “The Dream”, Jogja National Museum; 2008 “Animal Kingdom”, Jogja Gallery, Yogyakarta; 2007 “i+”, Canna Gallery, Yogyakarta, “Shadow of Prambanan”, Jogja Gallery, Yogyakarta; 2006 “Kepala Busuk”, Sanggar Dewata, Indonesia, and group exhibition held at Taman Budaya Art Center, Denpasar-Bali; 2005 “Gunarsa Prize and Dies Natalis”, ISI Yogyakarta and Pra-Bali Biennale Exhibition at Tama Gallery, Ubud, Bali; 2004 Group Exhibition at Sanata Dharma University, Yogyakarta.
Born in 1981, Bali, Indonesia, I Ketut Moniarta graduated from Indonesian Art Institute, Denpasar, Bali in 2006. Notable solo exhibitions: 2009 “Post Branded Objects”, Semarang Contemporary Art Gallery, Semarang; 2008 “The Way of Seeing”, Ark Gallery, Jakarta. Selected group exhibitions: 2010 “Artissima 17: International Fair of Contemporary Art”, Torino, Italy; 2010 “Bazaar Art Jakarta 2010”, Jakarta; 2009 “Common Sense”, National Gallery, Jakarta; 2008 “Manifesto”, National Gallery, Jakarta; 2005 “Consciousness of Here and Now: Biennale Jogja 2005”, Yogyakarta and 2005 “Urban Culture: CP Biennale II 2005”, Museum Bank Indonesia, Jakarta.
菅井祐一 (日本，1952年生)
安格斯˙艾迪卡˙艾卡德克 (印尼，1984年生)
艾柯圖˙莫尼亞塔 (印尼，1981年生)
1952年出生於東京。70年代時在簡約繪畫運動中表現非 常活躍，同時在多家美術館、機構舉辦展覽。80年代開 始學習版畫並在東京建立了自己的版畫工作室，也使得 他有機會和辰野登惠子、李禹煥、若林奮、桑德羅．齊 亞、馬汀．吉本貝格、貝克雷爾這些藝術家合作。90年 代結婚並搬至歐洲，為一些國際藝術家製作版畫，同時 身兼各種機構和雜誌的獨立策展人和批評家。2009年決 定創作他自己的作品。他創作了一系列與童年和鄉愁 相關的作品。展覽：2011年「洛杉磯藝術展」，美國、 「東京藝術陳述」，日本、「東京藝術博覽會」，日 本；2010年「上海當代藝術展」，上海。
1984年出生於印尼蘇卡瓦地，畢業於日惹印尼藝術學 院。近年重要聯展有：2011年「峇里抉擇」，國家藝 廊，雅加達；2009年日惹雙年展及「夢境」，日惹國家 藝廊，日惹；2008年「動物王國」，日惹畫廊，日惹； 2007年「i+」卡那藝廊，日惹，「普蘭巴南之影」，日 惹畫廊，日惹。2006年於印尼迪瓦他工作室，及峇里島 登巴薩文化公園藝術中心舉行群展；2005年峇里雙年 展，塔馬畫廊，峇里，印尼日惹大學群展，日惹；2004 年聖那塔達瑪大學聯展，日惹。
1981年艾柯圖．莫尼亞塔出生於印尼峇里島，2006年畢 業於峇里印尼美術學院。近年個展有：2009年「後品 牌」，三寶壟當代藝廊，三寶壟；2008年「觀看的方 式」，方舟畫廊，雅加達。重要群展有：2010年義大利 杜林當代藝術博覽會，義大利；2010年雅加達藝術博覽 會，雅加達；2009年「常識」，國家藝廊，雅加達； 2008年「宣言」，國家藝廊，雅加達；2005年「當下 意識」，日惹雙年展，日惹，印尼；2005年「都市文 化」，雅加達CP雙年展，印尼銀行博物館，雅加達。
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Lot 251
Lots 253, 255
Ryoko KATO (Japanese, b. 1982)
Aya TAKANO (Japanese, b. 1976)
REN Zhe (Chinese, b. 1983)
Born in 1982 in Chiba prefecture, Japan. Ryoko Kato graduated from the Department of Design, Faculty of Arts of Tokyo Polytechnic University in 2005. Ryoko Kato has been holding solo exhibitions such as “Mercury Lollypop” (2005, Unseal Contemporary, Tokyo); “Mercury Iceberg” (2006, Unseal Contemporary, Tokyo); “Ryoko Kato” (2008, Unseal Contemporary, Tokyo); and group shows in “GEISAI3-4” (2003, Tokyo); “GEISAI5-6” (2004, Tokyo); “GEISAI7” (2005, Tokyo); “GEISAI9-10” (2006, Tokyo); “KIAF2007” (2007, Seoul), “GEISAI11” (2008,Tokyo); “Beyond Cartoon” (2008, Beyond Art Space, Beijing); “Spot” (2008, IHN Gallery, Seoul); “ShContemporary 2008” (2008, Shanghai) “Beyond Globalization” (2009, Beyond Art Space, Beijing).
Aya Takano was born 1976 in Saitama, Japan, as a Japanese pop artist who associated with the Superflat movement. Since 1997 she became an assistant for leading Japanese Contemporary Artist Takashi Murakami. Aya Takano received a B.A. from Tama Art University in Tokyo, 2000. Aya Takano published her catalogue as “HOT BANANA FUDGE” and comic “SPACE SHIP EE”. She has exhibitions all over the world, like 2009 had her solo exhibition “Reintegrating Worlds,” in Skarstedt gallery in New York and group exhibition as “Garden of Painting Japanese Art of the 00s” at the National Museum of Art in Osaka 2010.
Born in 1983, Ren Zhe graduated in 2005 from the Academy of Arts & Design of Tsinghua University, China, majoring in Sculpture. He won third prize of the Ikuo Hirayama Award in 2003, and although a young artist in China, since 2005, his works could be seen in many international exhibitions such as “The First 798 Biennale” (Beijing); “Crossovers - beyond art & design” (2006, Shanghai); “The 10th Art Exposition of Shanghai” (2006); “International Circuit Exhibition of Landscape Artwork Show of the 2008 Olympic Games” (2007); “International Contemporary Art Fair 2007” (Hong Kong); “Asian Contemporary Art Fair” (2007, New York); and the recent group exhibition “I’m Ready” (2008, Taipei).
加藤遼子 (日本，1982年生)
高野綾 (日本，1976年生)
任哲 (中國，1983年生)
1982年出生於日本千葉縣，2005年畢業於東京工藝大 學藝術學系設計科。加藤遼子舉辦過的個展如「水銀 冰棒」（2005，開啟的當代畫廊，東京）、「水銀冰 山」（2006，開啟的當代畫廊，東京）、「加藤遼子」 （2008，開啟的當代畫廊，東京）。以及聯展如「藝 祭3-4」（2003，東京）、「藝祭5-6」（2004，東京） 「藝祭7」（2005，東京）、「藝祭9-10」（2006，東 京）、「2007韓國國際藝術博覽會」（2007，首爾）、 「藝祭11」（2008，東京）、「超越卡漫」 （2008， 北京別處空間，北京）、「場景」（2008，IHN畫廊， 首 爾） 、 「 2 008 上 海藝術 博覽 會國際 當 代藝 術 展 」 （2008，上海）、「超越全球化」（2009，北京別處空 間，北京）。
1976年在埼玉縣出生，屬於日本超平面主義畫派運動 藝術家。1997年加入村上隆公司Kaikai Kiki旗下成為大 受歡迎的女藝術家。2000年畢業於多摩藝術大學的藝 術部，作品包括畫集《熱香蕉軟糖》和漫畫《太空船 EE》。高野綾在世界各地的展覽頗豐，如2009年其個展 「復興世界」於紐約的斯卡斯特畫廊舉行，2010年也參 加了大阪當代美術館「00日本繪畫公園」的聯展。
生於北京，畢業於清華大學美術學院雕塑系獲學士學 位。曾於2003年獲得2003 年日本「平山鬱夫」三等獎， 2005年畢業於清華大學美術學院雕塑系。雖為中國年輕 的新一代畫家，卻也參加過多次國內外展覽，從2005 年起的「首屆798雙年展」（北京）、「跨越：當代藝 術與設計展」（2006，上海）、「上海第十屆藝術博 覽會」（2006）、「2008北京奧運景觀國際巡迴展」 （2007）、「香港國際藝術博覽會」（2007）、「亞洲 當代藝術博覽會」（2007，紐約）、以及近期的台北聯 展「我準備好了」（2008）。
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Lot 256
HUNG Yi (Taiwanese, b. 1970)
YANG Mao-lin (Taiwanese, b. 1953)
Hiroto KITAGAWA (Japanese, b. 1967)
Born in 1970, Taichung, Taiwan. He was once an owner of 9 restaurants, and at the age of 30, decided to live his life as an artist when he was nominated as the artist of “Stock 20 in Taichung Railway Station” (2002). His work is inspired by his surroundings and life experiences. The artist uses a lot of bright primary colors. His works are bold and lively, which clearly represent the local Taiwanese culture. Hung Yi’s major solo exhibitions include the “Art in Taiwan, Interesting Taiwan” (2004, Taipei), “Life in the World” (2002, Taipei), and “Meet Hung Yi” (2008, Taipei). Besides works shown in exhibitions, his works can also be seen in many public art locations.
Yang was the first director and a founding member of the Taipei School, in 1991 he won the first Art Creation Award of Hsiung Shih Fine Arts; his works have been shown in numerous exhibitions, including his first solo exhibition at the Taipei Fine Arts Museum; in 1990 he participated in the Taiwan Art Museum Exhibition “300 years of Taiwan Art”; in 1995 his works were included in the “Exhibition of Taiwanese Art” in Rome. Yang Mao-lin’s works represent a segment of Taiwanese history and build up time/space juxtapositions; they take a critical and even subversive view of Taiwanese historical events. Since the 1990s, he has criticized Taiwanese social phenomena under the long-term influence of American culture and Japanese culture. Then he added multiple-media in his installation work to respond to current Taiwan society. Yang has been frequently invited to participate in international art exhibitions. In 1999, his early series of Zeelandia Memorandum was shown at the 48th Venice Biennale and was well received by international art critics and collectors.
Born in 1967 in Otsu city, Shiga prefecture, Japan. Hiroto Kitagawa graduated from the Kanazawa College of Art in 1989 and Academy of fine Arts, Carrara, Italy in 1998, majoring in Sculpture. His works were presented in solo exhibitions held by Yoshiaki Inoue Gallery (2003; 2004; 2006; 2008, Osaka); by Spazio Consolo (Marella Arte Contemporanea) (2002, Milan); by Shinjuku Takashimaya Art Gallery (2007, Tokyo); by Tokyo Gallery + BTAP (2008, Tokyo) ; by Eslite Gallery (2009, Taipei). Some of the group shows he joined are: “Alternative Paradise” (2005, 21st Century Museum of Contemporary Art, Kanazawa); “ Art Fair Tokyo” (2005; 2007; 2008; 2009; 2010, Tokyo); “Japanimation” (2006, Tokyo Gallery + BTAP, Beijing); “Japanese Contemporary Arts” (2007, Gallery Sun Contemporary, Seoul); “Works in progress” (2007, Tokyo Gallery + BTAP, Beijing); “Figurative : Personified Shapes” (2008, Tsukuba Museum, Ibaraki); “Milestones” (2008, Tokyo Gallery + BTAP, Beijing); “Collection II shell – shelter” (2008, 21st Century Museum of Contemporary Art, Kanazawa).
洪易 (台灣，1970年生)
楊茂林 (台灣，1953年生)
北川宏人 (日本，1967年生)
1970年生於台灣台中，曾開設九間風格獨特的餐廳，在 他三十歲那年，毅然走向藝術家這條路。2000年獲選為 「20號倉庫—鐵道藝術網絡台中站」駐站藝術家。洪易 的作品風格、靈感皆來自他的週遭環境與生活經驗，從 廟宇文化探掘台灣的原生色彩，大膽活潑並充滿愉悅 感。他的雕塑作品經常使用紅黃藍綠等強烈的原色；自 發性以及原生性的創作風格十分具有台灣獨特的視覺意 象。流暢的線條、奔放的色彩、充滿活力的快樂感及敘 述式構圖是洪易作品的特定標誌。他的重要個展包括 「普羅眾生」（2002，台北）、「台灣有藝術，台灣 有意思」（2004，台北）、「偶遇洪易」（2008，台 北）。除多次參與國內外展覽之外，更能在許多公共藝 術中，看見洪易深具絢麗活力的作品。
1953年生於台灣彰化。1979畢業於台北文化大學美 術系，1985年為台北畫派創始成員並推選為第一任
1967年出生於日本滋賀縣大津市，1989年於金澤美術工 藝大學雕塑科畢業，1998年於義大利卡拉拉藝術學院 雕塑組畢業。其作品參加過多次個展，如井上佳昭畫 廊（2003、2004、2006、2008，大阪）、舒適空間《瑪
會長。1991年榮獲第一屆雄獅美術創作新人獎。展 覽紀錄豐富，如：1987年第一次個展於台北市立美 術館，1990參加台灣省立美術館舉辦的「台灣三百 年作品展」，1995年於義大利羅馬舉行的「台灣當 代藝術展」等。於楊茂林的作品中，我們可以看到 對台灣歷史的片斷及多元時空的交錯，其作品以批 判，顛覆的手法對台灣歷史事件作一另類省思。 1990年代之後，從美國、日本文化影響，創作「文 化篇」系列作品，嘗試多媒體與裝置創作，掌握時 代脈動，呈現今日社會文化面向。1990年代獲國際 邀展不斷，1999年以《熱蘭遮紀事》等早期作品參 加第四十八屆威尼斯國際藝術雙年展，受到國際藝 評家與收藏家的注意。
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芮拉當代藝術》（2002，米蘭）、新宿高島屋美術畫廊 （2007，東京）、東京畫廊（2008，東京）、誠品畫廊 （2009，台北）。參加過的聯展有：「另一個天堂」 （2005，金澤21世紀美術館，金澤）、「東京藝術博覽 會」（2005、2007、2008、2009、2010，東京）、「日 本動漫」（2006，東京畫廊，北京）、「日本當代藝 術」（2007，SUN當代畫廊，首爾）、「進行中之作」 （2007，東京畫廊，北京）、「魅惑之像」（2008，筑 波美術館，日本茨城）、「里程碑」（2008，東京畫 廊，北京）、「典藏展II─殼」（2008，金澤21世紀美 術館，金澤）。
Lot 260
Lot 259
Masao KINOSHITA (Japanese, b. 1971)
CHA Jong-rye (Korean, b. 1968)
Born in 1971 in Nagano Prefecture, Japan. Kinoshita Masao graduated from the Department of Sculpture of Tokyo Zokei University in 1993. His works have joined various exhibitions such as "Geisai Museum" (2003, Tokyo); "Geisai 5" (2004, Tokyo); "Geisai 7 - Exhibition of Geisai Medalists" (2005, Tokyo); "Exhibition of Teruhisa Kitahara's Collection" (2006, Tokyo); "The Exhibition of International Sculpture Masterpiece" (2007, Taiwan); "Masao Kinoshita" (2008, Taiwan); "Art Fair Tokyo 2009" (2007, Taiwan).
She was born in Daejeon, Korea in 1968, and graduated from Sculpture Ewha Women’s University with B.F.A in 1992, then obtained M.F.A in Sculpture Graduate School of Ewha Women’s University in 1996. Solo exhibitions: 1999 “The 1st Solo Exhibition”, Seoul; 2004 “The 2nd Solo Exhibition”, Seoul; 2007 “The 3rd Solo Exhibition”, Seoul; 2008 “The 4th Solo Exhibition”, U.S.A; 2011 “The 5th Solo Exhibition”, Seoul; 2011 “The 6th Solo Exhibition”, Taiwan. Selected group exhibitions: 2002 “Magamnews Installation Exhibition”, Ansung; 2003 “Korean Women’s Fine Art Association Exhibition”, Seoul. 2004 “Neowa Sculpture Exhibition”, Seoul; 2005 “Songeun Great Function”, Seoul; 2006 “Magamnews Installation Exhibition”, Seoul; 2007 “Korea-India Art Exchange” , India. 2008 “Neowa Sculpture Exhibition”, Seoul; 2009 “Korean Aesthetics”, U.K; 2010 “Neowa Sculpture Exhibition”, Hong Kong. Cha’s works have been collected by the Plaza Hotel and Sungkok Art Museum (Seoul) as permanent collections.
木下雅雄 (日本，1971年生)
車鍾禮 (韓國，1968年生)
1971年出生於日本長野縣，1993年畢業於東京造形大 學雕刻系。其作品曾參加多項展覽，如「藝祭美術 館」(2003，東京)、「藝祭5」(2004，東京)、「藝祭 7—藝祭得獎者展覽」(2005，東京)、「北原照久收藏 展」(2006，東京)、「花蓮國際石雕藝術季」(2007，台 灣)、「木下雅雄」(2008，台灣) 、「2009東京藝術博覽 會」(2009，東京)。
1968年出生於韓國大田。1992年畢業於韓國梨花女子 大學美術系雕塑組，獲學士學位。1996年畢業於韓國 梨花女子大學美術系雕塑組，獲碩士學位。個人展覽 有：1999年「第一次個展」，首爾；2004年「第二次 個展」，首爾；2007年「第三次個展」，首爾；2008 年「第四次個展」，美國；2011年「第五次個展」， 首爾；2011年「第六次個展」，台灣。重要聯展有： 2002年「Magamnews裝置展覽」，安城；2003年「韓 國女子美術協會展覽」，首爾；2004年「Neowa 雕塑 展覽」首爾；2005年「松隱重要展覽」，首爾；2006年 「Magamnews裝置展覽」，首爾；2007年「韓國、印 度藝術交流」，印度；2008年「Neowa雕塑展覽」，首 爾；2009年「韓國美學」，英國；2010年「Neowa雕塑 展覽」香港。其作品被首爾廣場飯店和首爾聖坤美術館 永久收藏。
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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 ｏ保證項目 拍賣品編號旁註有ｏ符號者，表示賣家已取得本公司保證，可在一次或一 連串拍賣中得到最低出售價格。此保證可由本公司、第三方或由本公司 與第三方共同提供。保證可為由第三方提供之不可撤銷競投之形式做出。 若保證拍賣品成功售出，提供或參與提供保證之第三方可能會取得財務利 益；惟銷售不成功時，則可能會產生虧損。若提供或參與保證之第三方成 功競投保證拍賣品時，他們仍需支付全額的買家服務費。 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。 3. 拍賣時 a. 買方應繳之營業稅 依據中華民國法律規定，凡進口藝術品由買方在台取貨者，買方需繳交
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b. 估價 目錄內及拍賣當日所提供之美金等貨幣估價，僅為參考依據。本拍賣會須 以新台幣結算，買方如須以新台幣之外其他貨幣繳付，請買方核實繳付當 日匯率，折合所繳付之等值貨幣計算。 c. 拒絕入場 拍賣於本公司之場地進行，或於本公司為拍賣而具有控制權之場地進行， 本公司具有完全之決定權，可行使權利拒絕任何人進入拍賣場地或參與拍 賣。 d. 競投之前作出登記 每一準買家在作出競投之前，必須填妥及簽署登記表格，並提供身分證 明。準買家應注意，本公司通常會要求對買家作出信用核查。 e. 競投者為買家 除非登記時已書面協定，競投者將為代第三人行事之代理人，而該第三人 為本公司所接受者，否則競投者將被視為買家而須承擔個人法律責任。 f. 委託競投 如準買家使用印於目錄說明之後之表格指示本公司代其競投，本公司將盡 適當努力代其競投，但代為競投指示須於拍賣前送抵本公司。如本公司 就某一拍賣品而收到多個委託競投之相等競投價，而在拍賣時此等競投價 乃該拍賣品之最高競投價，則該拍賣品會歸其委託競投最先送抵本公司之 人。委託競投之承擔受拍賣時之其他承諾所限，而拍賣進行之情況可能使 本公司無法代為競投。由於此項承擔乃本公司為準買家按所述條款提供之 免費服務，如未能按委託作出競投，本公司將不負任何法律責任。準買家 如希望確保競投成功，應親自出席競投。 g. 電話競投 如準買家於拍賣前與本公司作好安排，本公司將盡適當努力聯絡競投者， 使其能以電話參與競投，但在任何情況下，如未能聯絡，本公司對賣家或 任何準買家均不負任何責任。 h. 匯率轉換顯示板 在有些拍賣中，會有一具匯率轉換顯示板操作。匯率按拍賣日當天銀行開 市時向本公司報出之一個月期貨匯率計算。然而競投仍會以新台幣進行。 匯率轉換顯示板並非時常可靠，不論是顯示板所示之拍賣品編號或是新台 幣競投價之相等外匯，其準確程度均可能會出現非本公司所能控制之誤 差。買家因依賴匯率轉換顯示板（而非因以新台幣競投）所導致而蒙受之 任何損失，本公司概不負責。 i. 錄映影像 在有些拍賣中會有影像投射，但其操作或會出現錯誤。不論影像是否與成 功拍賣之拍賣品相配合，或是翻版影像之質素，本公司對買家均不負任何 責任。 j. 拍賣官之決定權 拍賣官具有絕對決定權，有權拒絕任何競投、以其決定之方式推動出價、 將任何拍賣品撤回或分批、將任何兩件或多件拍賣品合併，以及如遇有誤 差或爭議，將拍賣品重新拍賣。 k. 成功競投 在拍賣官之決定權下，下槌即顯示對最高競投價之接受，亦即為賣家與買 家之成功拍賣合約之訂立。 4. 拍賣後 a. 買家支付每件拍品之服務費率 （1）買家除支付落槌價外，另須支付服務費予本公司，落槌價於新台幣 參仟貳佰萬元以下者含參仟貳佰萬元以20％計算。 （2）落槌價於新台幣參仟貳佰萬元以上者分為二級，其中新台幣參仟貳 佰萬元以20％計算，超過新台幣參仟貳佰萬元之部份以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貨物或服務稅或其他增值稅 （不論由台灣政府或別處所徵收）。如有任何此等稅項適用，買家須負責 按有關法律所規定之稅率及時間繳付此稅款。 c. 付款 成功拍賣後，買家須向本公司提供其姓名及永久地址。如遇要求，亦須提 供付款銀行之詳情。然後於拍賣日期後七天內悉數支付所欠款項（包含落 槌價、拍賣支付之酬金，以及任何適用之增值稅）。即使買家希望將拍賣 品出口並需要（或可能需要）出口許可證，此一付款條件亦適用。 買家如未向本公司支付所欠之全部款項，則不能取得拍賣品之所有權，即 使本公司已將拍賣品交付予買家亦然。如支付予本公司之款項為新台幣以 外之貨幣，本公司將向買家收取所引致之任何外匯費用。這包括銀行收費 與兌換貨幣之規費及匯差。以新台幣以外之貨幣付款予本公司之匯率，依 拍賣日現場公佈之匯率（台灣銀行），並以本公司就此兌換率而發出之憑 證為準。 d. 領取已購拍賣品 除非本公司另有特別相反協定，否則本公司將暫時保留已成功拍賣之拍賣 項目，直至欠本公司之款項已悉數支付為正。拍賣品在暫時保留期間， 由成功拍賣日期起為期七天將受保於本公司之保險，如屆時拍賣品已被領 取，則受保至領取時為止。七天期滿後或自領取時起（以較早者為準）， 拍賣品之風險全由買家承擔。 e. 包裝及搬運 本公司謹請買家注意，七天期滿後或自領取時起，拍賣品之風險全由買家 承擔。 f. 介紹裝運及運輸公司 本公司之貨運部門可作為買家之代理人，代為安排付運。雖然在特別要求 下本公司可介紹承運人，但本公司在此方面不負任何法律責任。 g. 不付款或未有領取已購拍賣品之補救辦法 如買家未有在七天內付款，本公司即有權行使下述一項或多項權利或補救 辦法：
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）在拍賣日期後超過七天仍未付款，則按不超過台灣銀行基本利率加 10%之年利率收取整筆欠款之利息。此外本公司可同時按日收取依 賣價（含佣金）1％計算之違約金。將買家未付之款項，用以抵銷 本公司或其他附屬公司在任何其他交易中欠下買家之款項。 （2）對任何屬於買家所有而因任何目的而由本公司管有之物品行使留置 權，並在給予買家有關其未付之欠繳之14天通知後，安排將該物品 出售並將收益用以清償該未付之欠款。 （3）如買家因多項不同之交易而欠下本公司數筆款項，將所付之款項用 以清償就任何特定交易而欠下之任何款項，而不論買家是否指示用 以清償該筆款項。 （4）在將來的任何拍賣中，拒絕買家作出或由他人代其作出之競投， 或在接受其任何競投之前先收取買家一筆保證金。如買家未有在 三十五天內付款，本公司除上述者外，另有權： （5）代賣家針對買家進行法律程序，以追討整筆欠款，連同此項以悉數 賠償為基準之法律程序之訴訟費。 （6）取消同一次或任何其他拍賣中買家競投得之拍賣品或任何其他售予 買家之拍賣品之交易。 （7）安排將拍賣品公開或私下重售，如重售所得價格較低，就差額連同 因買家未有付款而引致之任何費用一併向買家索償。 h. 未有領取已購拍賣品 如已購得之拍賣品未有在成功拍賣後七天內領取，則不論是否已付款，本 公司將安排貯存事宜，費用由買家承擔。而只在所引起之貯存、搬運、保 險及任何其他費用，連同欠本公司之所有其他款項付清後，方可領取已購 拍賣項目。
1. 版權 與拍賣品有關之一切影像、圖示與書面材料之版權，於任何時候均屬於本 公司之財產。未得本公司事先書面同意，買家或任何人均不得使用。 2. 通知 根據本業務規則發出之通知，均須以書面發出。如採用郵遞發出，則在付 郵後第二個工作天即當作已由收件人收妥；如收件人在海外，則為付郵後 第五個工作天。 3. 可分割性 如本業務規則有任何部份遭任何法院認定為無效、不合法或不可強制執 行，則該部分可不予理會，而本業務規則之其他部份在法律許可之最大範 圍內須繼續有效及可強制執行。 4. 法律及管轄權 本業務規則受中華民國法律規限，本業務規則之解釋與效力均適用台灣法 律。為本公司之利益而言，賣家與買家須服從台灣法院之排他性管轄權。
賣方業務規則請參閱羅芙奧網站 http://www.ravenel.com
i. 出口許可證 除本公司另有書面同意外，買家希望申請出口許可證之事實，並不影響買 家在七天內付款之責任，亦不影響本公司對延遲付款收取利息之權利。 如買家要求本公司代為申請出口許可證，本公司有權向其收回與此項申請 有關之付出款項及零碎開支連同任何有關之增值稅。
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Transaction Agreement
The following provisions are entered into by and between the Company, as the auctioneer, and the Seller (hereinafter the "Seller"). This Agreement is also entered into by and between the Company as the agent of the Seller and the Buyer (hereinafter the "Buyer"). Both the Buyer and the Seller must carefully review all provisions hereunder. The Buyer should pay special attention to Article 5 which provides limitations as to the legal responsibilities of the Company. 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. ď˝?Guaranteed Property The Seller of the Lots with this symbol next to the Lot number has been guaranteed a minimum price from one auction or a series of auctions. This guarantee may be provided by the Company, by a third party or jointly by the Company and a third party. A guarantee may be in the form of an irrevocable bid provided by a third party. Third parties providing or participating in a guarantee may benefit financially if a guaranteed Lot is sold successfully and may incur a loss if the sale is not successful. If third parties providing or participating in a guarantee is the successful bidder for the guaranteed Lot, they should be required to pay the full service fee. 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. 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.
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3. In the auction Sales Tax Payable by the Buyer a. The Buyer shall pay (value added) sales tax in the amount of 5% of the Hammer Price with respect to imported works of art collected by the Buyer in Taiwan pursuant to the laws of the R.O.C. The Buyer is not required to pay sales tax if such imported works of art (with * marks by the number in the catalogue) are delivered to the buyer outside the R.O.C. and are handled by Ravenel for the relevant shipments. The buyer shall notify Ravenel in writing within two business days following the auction day if he desires to collect the items auctioned outside the R.O.C. b. Estimates The prices in US dollars or other currencies reproduced in the auction and this catalogue are for reference only. The Buyer is requested to pay by New Taiwan dollars or other foreign currencies in its equivalency based on the exchange rate of the payment day. c. Refusal of admission The auction is held at the premises of the Company or any location where the Company has control of for the auction. The Company has full discretion to exercise the right to refuse entry to the premises for the auction or to prevent participation in the auction. d. Registration prior to the bidding Prospective buyers must fill in and sign the registration forms prior to the bidding and provide personal identification. Prospective buyers should also note that the Company may be requested to conduct credit checks against buyers. e. The bidder is the Buyer Unless a written agreement has been made upon registration that the bidder will be the agent who acts on behalf of a third person and such third person is accepted by the Company, the bidder will be deemed as the Buyer who will bear individual legal responsibilities. f. Commission bids The Company will make every effort to bid for the prospective buyers who instruct us to bid on their behalf by using the forms attached to the explanations of the catalogue; provided, however, bid commission instructions are delivered to the Company prior to the auction. If the Company receives several commission bids for one particular item, with all bid prices being equal and of the highest bid price at the auction, priority shall be given to the Buyer whose bid commission is delivered to the Company first. Commission bids are subject to auction conditions. The situation at the auction may prevent the Company from making the bid as commissioned. This is a free service provided by the Company to the prospective buyers pursuant to the provisions prescribed. The Company will not be held legally liable if it fails to make the bid as commissioned. Prospective Buyers should attend the auction in person if they wish to ensure a successful bid. g. Bid by phone The Company will make proper effort to contact the bidder so he can participate in the auction by phone if the prospective buyer make arrangements with the Company prior to the auction. However, the Company will bear no responsibilities to the Seller or any prospective buyer if no contact is made under any circumstances. h. Exchange rate conversion board There will be an exchange rate conversion board operating at some auctions. The exchange rate is calculated at the exchange rate of the one-month future goods reported to the Company from the bank when starting business on the day of the auction. Nonetheless, the auction will still be conducted in NT dollars. The exchange rate conversion board is not absolutely reliable. The accuracy of either the Lot numbering shown on the board or the equivalent of the bid price in any foreign currency is not within the control of the Company. The Company will not be responsible for any losses caused by the reliance of the Buyer on the exchange rate conversion board. i. Recorded images There is image projection in some auctions; however, errors may occur during the operation. The Company is not liable for the color accuracy of the reproduced image and whether the projected image corresponds to the item being auctioned. j. Determining power of the auctioneer The auctioneer has the absolute power to reject any bid, push for bids at his discretion, withdraw any auction items, separate or combine two or more auction items, and if there is any error or dispute, re-auction the items. k. Successful bids Under the discretion of the auctioneer, the fall of the hammer indicates the acceptance of the highest bid price, i.e., the Seller and the Buyer enter into a successful auction agreement. 4. Following the auction a. The service fee of each lot payable by the Buyer (1) The Buyer should pay the hammer price and, in addition, the service fee to the Company. For hammer price below NT$ 32,000,000 (inclusive), the service fee should be calculated at 20% of the hammer price.
(2) For hammer price higher than NT$ 32,000,000, the first NT$ 32,000,000 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 commodity or service taxes or any other value added taxes (whether imposed by the Taiwanese government or elsewhere). The Buyer should be responsible for paying any applicable taxes as required by the law. c. Payment The Buyer should provide his name and permanent address to the Company upon the successful bid. Relevant bank information should also be provided upon request. All payments due (including the hammer price, service fee and any applicable taxes) should be paid within 7 days following the auction date. The aforesaid provision also applies if the Buyer intends to export the Lot and (may) need the export permit. If the Buyer fails to pay to the Company all the payments due, the Buyer will not acquire the ownership of the Lot even if the Company has delivered such item to the Buyer. If the payment to Ravenel are made in any currency other than NT dollars, the Company will collect from the Buyer any foreign exchange expense incurred therefrom, including bank charges and foreign exchange service fees. The exchange rate of the payments to the Company in any currency other than NT dollars should be the exchange rate reported by the Bank of Taiwan to the Company on the auction date and should be based on the certificates issued by the Company according to such exchange rate. d. Collection of the Lot sold Unless otherwise agreed by the Company, the Company will hold temporarily the successfuly sold Lots until all payments to the Company are made in full. The Lot will be covered by the insurance of the Company from the auction date for 7 days during the temporary holding period. The insurance coverage will terminate upon collection of such item. The Buyer should be responsible for all risks following expiration of the said 7-day period or the collection (whichever is the earlier). e. Packaging and transportation The Buyer is requested to note that he should bear all the risks upon expiration of the said 7 days period or from collection of such items. f. Referral of packaging or transportation companies The shipping department of the Company may act as the agent of the Buyer to arrange for delivery. Although we can refer freight forwarders upon special request, the Company will not be held liable for any legal responsibilities in this regard. g. Remedies for non-payment or non-collection of items sold The Company is entitled to exercise one or more of the following rights or remedies if the Buyer fails to make payment within 7 days: (1) An interest at the annual rate of no higher than 10% plus the base interest rate of Bank of Taiwan will be imposed on all of the payment due if payment is not made within 7 days following the auction date. Besides, we have the right of charging also 1% selling price (including of hammer price and the commission) multiplied by the number of delayed days as fine for the default. The payment to be made by the Buyer should offset any payment owed by the Company or its subsidiaries to the Buyer for any other transactions. (2) To exercise lien of any items owned by the Buyer and held by the Company for any purpose. The Company may arrange to sell such items after serving a 14-day notice to the Buyer about his non-payment. The proceeds shall make up for the payment due. (3) If the Buyer owes the Company several payments as a result of different transactions, the payments will setoff any payments due in any particular transaction, regardless of whether the Buyer specifies to setoff such payments. (4) Refuse the Buyer to make, or to make on behalf of others, bids in any future auctions and/or to require a security deposit from the Buyer before accepting any future bids from him. If the Buyer fails to make payment within 35 days, the Company is entitled to exercise the following rights in addition to the aforementioned: (5) To bring legal proceedings against the Buyer on behalf of the Seller to claim the entire payment due and the legal fees resulting from such proceeding based on a total claim. (6) Cancel the transaction of Lots bid by the Buyer or any other auction items sold to the Buyer at the same or any other auctions. (7) To arrange a public or private re-sale of the Lot. If the re-selling price is lower, the difference will be claimed against the Buyer together with any cost incurred as a result of the non-payment by the Buyer. h. No collection of the Lot sold The Company will arrange for the storage of the Lot if such item sold is not collected within 7 days of the successful auction, regardless of payment. Such storage cost will be borne by the Buyer. Only when the storage, shipping, insurance cost and any other expenses together with any other payments due to the Company are paid can the sold Lot be collected.
If the Buyer requests that the Company applies for the export permit on his behalf, the Company is entitled to collect monies made in connection with such an application and any miscellaneous expenses together with any relevant value added taxes. If the Buyer makes the payment regardless of the fact that an export permit is needed, the Company is not responsible for returning to the Buyer any interest or other expenses incurred therefrom. 5. The legal responsibility of the Company The Company is responsible for returning payment to the Buyer pursuant to Article 6. Otherwise, whether the Buyer, the Company, any employees or agents of the Company will not be held liable for any statements of the author, history, date, year, ownership, authenticity or origin of any auction item or any errors with respect to any explanations and any flaws or defects of any auction item. The Buyer, the Company, the employees or the agents of the Company make no guarantee with respect to any auction items. Any warrantee of any kind shall not be included herein. 6. Return of payments for counterfeits The transaction will be cancelled and payments made will be returned to the Buyer if the Lot of the Company is confirmed to be a counterfeit. However, if: a. The catalogue explanations or the notice at the auction distributed on the auction day corresponds to the opinions generally accepted by the academic or professional fields; b. The method used to prove that the Lot is a counterfeit is a scientific procedure not generally accepted for use before the publication of the catalogue or a procedure unreasonably expensive on the day of the auction, or impractical, or may cause damage to the Lot; the Company is not liable for the return of any payment under any circumstances. In addition, the Buyer's payment can only be refunded when the following terms are met: (1) The Buyer must notify the Company in writing within 10 days following the auction day that he considers the relevant auction item a counterfeit. (2) The Buyer must return the Lot to the Company within the following 14 days and the condition of the item must be the same as on the auction day. (3) Upon returning the Lot, the Buyer must present evidence as soon as possible to convince the Company that the Lot is a counterfeit. The Buyer may also assign the good ownership of the Lot to the Company, which shall not concern any third party claim. Under no circumstances is it necessary for the Company to pay the Buyer an amount more than what the Buyer pays in connection with the Lot and the Buyer can not claim interests. The interests of the warrantee cannot be assigned and belong solely to the Buyer who receives the original invoice from the Company when the Lot is sold. Such Buyers shall remain the owner of the auction Lot and cannot assign any interest of the Lot to any other person. The Company is entitled to ascertain that the Lot is not a counterfeit based on a scientific procedure or any other procedure, regardless of whether such procedure is being used on the day of the auction. The aforementioned does not apply to coins, medals, jewelry and paintings. II. Terms applicable to both the Buyer and the Seller 1. Copyright The copyright of all the images, photographs and written material in connection with the Lot shall maintain and belong to the Company at any time. The Buyer or any person may not use such items without obtaining prior written consent from the Company. 2. Notices All the notices distributed according to the Transaction Agreement herein shall be made in writing. Any notice shall be deemed served to the recipient on the second day following delivery if sent by mail. If the recipient is abroad, the notice shall be deemed served on the fifth working day following delivery by mail. 3. Severability If any part of the Transaction Agreement is deemed invalid, illegal or unenforceable by any court, such part can be ignored and the rest of the Transaction Agreement continues to be valid and enforceable to the maximum extent permitted by the law. 4. Jurisdiction The Transaction Agreement are governed under the ROC law and the interpretation and effect of the Rules shall be subject to the laws of Taiwan. The Buyer and Seller shall submit themselves to the exclusive jurisdiction of the Taiwanese court for the interests of the Company.
Please refer to our website for sellerâ&#x20AC;&#x2122;s Transaction Agreement. http://www.ravenel.com
i. Export permit Except where otherwise agreed in writing by the Company, the fact that the Buyer's wishes to apply for an export permit does not affect the Buyer's responsibility to make the payments in 7 days; nor does it affect the Company's right to impose interest on delayed payments.
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