HONG KONG
MODERN AND CONTEMPORARY ART
31 MAY 2015
HA1501
SPRING AUCTION 2015 HONG KONG
RAVENEL SPRING AUCTION 2015 HONG KONG Modern and Contemporary Art
羅芙奧香港 2015 春季拍賣會 現代與當代藝術拍賣
AUCTION
拍賣日期 / 地點
Sunday, 31 May 2015, 6:00 pm Grand Hyatt Hong Kong (Grand Ballroom) 1 Harbour Road, Wanchai, Hong Kong
2015年5月31日（日） 下午 6:00 香港君悅酒店（宴會大禮堂） 香港灣仔港灣道1號
PREVIEWS
預展日期 / 地點
Taipei
台北 2015年5月9日（六） 上午10:00至下午6:00 2015年5月10日（日） 上午10:00至下午6:00 富邦人壽大樓國際會議中心 台北市敦化南路一段108號B2
Taichung
台中 2015年5月16日（六） 下午1:00至下午6:00 2015年5月17日（日） 上午11:00至下午6:00 寶輝建設接待中心 台中市市政北二路與惠來路交叉口
Saturday, 9 May 2015, 10:00 am - 6:00 pm Sunday, 10 May 2015, 10:00 am - 6:00 pm Fubon International Conference Center B2, No.108, Sec. 1, Dunhua South Road, Taipei, Taiwan
Saturday, 16 May 2015, 1:00 pm - 6:00 pm Sunday, 17 May 2015, 11:00 am - 6:00 pm Pao-huei Construction Reception Center Intersection of Shizheng North 2nd Road and Huilai Road, Taichung, Taiwan
Hong Kong
Friday, 29 May 2015, 2:00 pm - 8:00 pm Saturday, 30 May 2015, 10:00 am - 7:00 pm Grand Hyatt Hong Kong (Tiffin) 1 Harbour Road, Wanchai, Hong Kong
香港 2015年5月29日（五） 下午2:00至下午8:00 2015年5月30日（六） 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
As requested by the Buyer, we are delighted to offer the condition reports of all the auction items, provided, however, such items will be sold “as is”. In addition, the Buyer is requested to take note of the transaction agreement and the explanations of the provisions regarding the notice of no-guarantee. This auction catalogue: HK$ 500 per copy.
Arthur WANG 王鎮華
Chairman 董事長
Clara KUO 郭倩如
Vice Chairman 副董事長
Lorries CHANG 張增偉
C.E.O. 執行長
陳惠黛 Odile Chen
傅斐郡 Flora Fu
香港藝術部 總經理 Head of Art Department, Hong Kong Chief Specialist
台北藝術部 總經理 President, Art Department, Taipei
何瑩 Vivi He
林慧菁 Maggie Lin
業務發展部 總監 Head of Business Development Department
台北藝術部 副總經理 Vice President, Art Department, Taipei
廖培娟 Claire Liao
黃詩涵 Stella Huang
香港藝術部 專家 Specialist, Art Department, Hong Kong
台北藝術部 經理 Manager, Art Department, Taipei
鄧秀麗 Crystal Tang
蔡晉欣 Olivier Tsai
香港藝術部 專家 Specialist, Art Department, Hong Kong
台北藝術部 副理 Assistant Manager, Art Department, Taipei
楊千嬅 Kelly Yang
江玉涵 Marguerite Chiang
香港藝術部 主任 Supervisor, Art Department, Hong Kong
台北藝術部 行政主任 Administrative Officer, Art Department, Taipei
張鶴軒 Helen Zhang 北京業務代表 Sales Representative, Beijing
游景涵 Carol Yu 香港藝術部 業務助理 Sales Assistant, Art Department, Hong Kong
CONTENTS 5
Sale Information 羅芙奧春季拍賣會
8
Ravenel Services 羅芙奧之服務
12
Modern and Contemporary Art 現代與當代藝術
223
Transaction Rules For Art (Hong Kong) 業務規則
229
Absentee Bid Form 委託競投表格
231
Index 畫家索引
RAVENEL STAFF AND SERVICES FOR THIS SALE
ART CONSULTANTS ART DEPARTMENT, HONG KONG Head of Art Department, Hong Kong Odile Chen Tel: +886 2 2708 9868 ext. 889 Email: odilechen@ravenel.com
Specialist Claire Liao Tel: +886 2 2708 9868 ext. 880 Email: claireliao@ravenel.com
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CATALOGUE SUBSCRIPTION
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Taiwan
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羅芙奧香港 2015 春季拍賣會服務部門及連絡人
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MODERN & CONTEMPORARY ART Sunday, 31 May 2015, 6:00 pm Grand Hyatt Hong Kong (Grand Ballroom)
Lots 001 – 101
001
LIU KUO-SUNG
(Taiwanese, b. 1932)
New Creation 1966 Ink and color on paper 58.2 x 87.2 cm Signed lower left Liu Kuo-sung and dated 1966 both in Chinese With one seal of the artist EXHIBITED: Unexpected, Illusion, Change – Liu Kuo-sung Painting Collections , Capital Art Center, Taipei, 2008 ILLUSTRATED: Unexpected, Illusion, Change – Liu Kuo-sung Painting Collections , Capital Art Center, Taipei, 2008, color illustrated, p. 22
HK$ 700,000 - HK$ 1,100,000 NT$ 2,834,000 - NT$ 4,453,000 US$ 90,300 - US$ 141,800
劉 國松 初生的斑斕 1966 彩墨 紙本 58.2 x 87.2 cm 簽名左下：劉國松一九六六 鈐印左下：劉國松 展覽： 「突兀•夢幻•蛻變—劉國松畫集」， 首都藝術中心，台北，2008年 圖錄： 《突兀•夢幻•蛻變—劉國松畫集》， 首都藝術中心，台北，2008，彩色圖版，頁22
While striving to maintain a traditional Chinese aesthetic sensibility and to have his work grounded on the foundations of classical Chinese philosophy, Liu Kuo-sung engaged in wholesale innovation in terms of the artistic lexicon of ink brush painting and the implements and materials used, and in doing so played a leading role in the emergence of modern ink brush painting. The 1960s were a major turning point for Liu Kuo-sung, in which he began to move away from purely Western forms and aesthetics towards a greater understanding of the inner meaning of East Asian art. Liu’s bold experimentation with new materials during this period produced outstanding achievements that surprised even the artist himself. Liu used specially-made rice paper that contained bagasse (sugar-cane residue), on which he applied color using a flat brush composed of multiple individual brushes attached together, before adding abstract symbols using fierce, rapid strokes of a dry brush with thick, dark ink. The smooth, crisp lines were accomplished with a single brushstroke. Liu would then unpick some of the strands of the paper to expose the paper’s white texture, after which he would add the finishing touches using a wet brush; with freeflowing brushstrokes reminiscent of the cursive script in calligraphy, Liu was able to create a richly layered effect. The effectiveness of this technique can be seen in works such as “New Creation”. This painting has a marvelous simplicity and sense of balance; the transition from luminous yellow to greenish-black creates a mystical effect reminiscent of the dim light inside a forest. The wild strokes of the wet brush have created a black that is as simple and striking as a mountain peak, while the work as a whole embodies the essence of the East Asian aesthetic tradition. 劉國松立在堅持民族審美精神、古典哲學的意蘊基礎之上，對傳統水墨 的創作語言及工具材料進行了大刀闊斧的創造，開闢出現代水墨的新局 面。1960年代轉折期的劉國松，開始從追求純粹西方形式美感向領悟東 方藝術內在價值過渡。這一時期，在材料方面的大膽實踐為他帶來意想 不到的出色成效。他使用摻有甘蔗渣的特製宣紙，以大排筆賦彩，後以 迅猛爽利的濃墨幹筆構畫抽象形象，其線條氣勢乾脆俐落且一筆而就， 其後依畫面需要抽除紙筋，留下紙張的白色肌理，再以濕墨大筆點畫， 如草書運筆般自由流暢，創造出豐富層次。這樣的手法在作品《初生的 斑斕》中得到完美的表現。整幅作品於簡約均衡中一氣呵成，螢明黃色 調到墨綠的過渡營造出森林微光的神秘效果，狂草疾書的濕筆留在畫面 中的黑色宛若山巒，單純簡煉又引人注目，恰到好處的表現了東方美學 意境。
Ravenel
13
002
LIU KUO-SUNG
(Taiwanese, b. 1932)
Untitled 1978 Ink and color on paper 50 x 59 cm Signed center right Liu Kuo-sung and dated 1978 both in Chinese With one seal of the artist and one seal of the collector
HK$ 440,000 - HK$ 650,000 NT$ 1,781,000 - NT$ 2,632,000 US$ 56,700 - US$ 83,800
劉 國松 無題 1978 彩墨 紙本 50 x 59 cm 簽名右中：劉國松 一九七八 鈐印右中：劉國松 收藏鈐印左下：登峰珍藏
Liu Kuo-sung, well-known painter in Taiwan, known as the Pioneer of modern painting in China and Father of modern ink painting across the Taiwan Straits, advocated innovation in modern Chinese ink painting as early as in 1960s and presented the slogan of Moder nization of Chinese painting. In the artist's eyes, the aspiration of art comes from creation, which means life and the universe. People feel it from inner heart and then express their feeling by drawing. However, our life is changing and our feeling is changing. This way, drawing is changing. Every famous painter in our history had his own invention. Actually, to paint, there are many techniques. For example, Mi Fu drew with lotus seed pod, Fu Baoshi drew with chalina, whereas some others draw with finger only. Sticking to the using of the center tip of brush can only narrow the space of Chinese painting and push it to a dead end. He looks for any unprecedented, possible form for his artistic expression and is in search of maximum integration and breakthrough for the twosided issue of the modern and water ink. His achievements in the technical perimentation include the innovative ink rubbing and ink immersing for traditional Chinese ink painting, bringing white strips to Chinese painting and enriching the forms of expression by water. "Untitled" has an intricate composition and calligraphic flow to the lines that is full of rhythm. 在海峽兩岸有「中國現代繪畫先驅」、「現代水墨畫之父」之稱的台 灣著名畫家劉國松，早在上世紀60年代，就積極宣導創新現代中國水 墨畫，提出「中國畫的現代化」的訴求。在藝術家看來：「 藝術的靈
感從造化中來，造化是生活，是宇宙，人們的內心感受它， 再把自己的感受通過繪畫表達出來。但我們的生活在變化， 感受也在變化，畫就要變化。歷史上的大畫家都有自己的發 明，繪畫其實有多種畫法，如米芾用蓮蓬畫，傅抱石用絲瓜 瓤畫，還有人用手指頭畫。一味強調用中鋒，只能使中國畫 的領域越來越窄，把中國畫推向死胡同。 」他自己在作品表現上 尋求各種前所未有的可能形式，並在「現代」與「水墨」的雙重議題上 尋求最大的結合與突破。其技法實驗的成就包括了創作性地發明瞭中國 水墨畫的拓墨法和漬墨法，令中國畫裡出現了白線條，而且大大豐富了 水的表現形式。此幅《無題》，結構嚴密，書法線條流暢，情境幽遠。 整幅作品氣勢藉著飛躍的墨線，動感十足。
Ravenel
15
003
LIU KUO-SUNG
(Taiwanese, b. 1932)
Winter
劉國松
1998 Ink and color on paper 30 x 30 cm Signed lower right Liu Kuo-sung and dated 1998 both in Chinese Signed on the reverse made by Liu Kuo-sung in Chinese, titled Winter in Chinese, inscribed 30 x 30 cm and dated 1998 With one seal of the artist
冬
This painting is to be sold with a certificate of authenticity signed by the artist.
附藝術家親筆簽名之原作保證書
HK$ 95,000 - HK$ 150,000 NT$ 385,000 - NT$ 607,000 US$ 12,300 - US$ 19,300
1998 彩墨 紙本 30 x 30 cm 簽名右下：劉國松 一九九八 簽名畫背：劉國松作 冬 1998 30 x 30 cm 鈐印右下：劉
004
LIU KUO-SUNG (Taiwanese, b. 1932)
Glacier 2002 Ink and color on paper 39.5 x 19.5 cm Signed center left Liu Kuo-sung and dated 2002 both in Chinese Titled on the reverse Glacier in Chinese, inscribed 39.5 x 19.5 cm and dated 2002 With one seal of the artist This painting is to be sold with a certificate of authenticity signed by the artist.
HK$ 95,000 - HK$ 150,000 NT$ 385,000 - NT$ 607,000 US$ 12,300 - US$ 19,300
劉 國松 冰河 2002 彩墨 紙本 39.5 x 19.5 cm 簽名左方：劉國松 二OO二 簽名畫背：冰河 2002 39.5 x 19.5 cm 鈐印左方：國松 附藝術家親筆簽名之原作保證書
Ravenel
17
005
PANG JIUN
(Chinese, b. 1936)
Boat Houses
龐均
2014 Oil on canvas 75.5 x 90 cm Signed lower right Pang Jiun in Chinese and dated 2014 With one painted seal of the artist
江上輕舟
This painting is to be sold with a certificate of authenticity signed by the artist.
附藝術家親筆簽名之原作保證書
2014 油彩 畫布 75.5 x 90 cm 簽名右下：龐均 2014 手繪鈐印：均
HK$ 260,000 - HK$ 400,000 NT$ 1,053,000 - NT$ 1,619,000 US$ 33,500 - US$ 51,600
"Boat Houses" is a cardinal example of the amalgamation of Classical elements of the late Impressionism and the spiritual poetic quality and aesthetic philosophy of ink painting, the simultaneous incorporation of these sentiments results in the liberated and unrestrained lively aura of Pang's paintings. In essence, the Impressionist notion of instantaneity is transpired through the comprehension of a sense of the time, as the painting captivates an instantaneous moment in time. When the delicate autumn branches on the left and the shrubbery leafy sprigs on the right frames and opens up into a scenery of quietude, where the sailer aviate the sampan across the peaceful water towards further sampans along the shore, which continues to extend further into the distant mountainous backdrop. The potent lines and simple figuration composed of a freehand style of calligraphic strokes and rhythms imbues the composition with the ethereal beauty of expressionist tradition further imbue by the employment of the calligraphy like signature and appearance of a seal mark. The present lot is a very fine exemplar of Pang's exquisite utilization of colours as the artist posits "The reason my landscapes were popular was precisely that they have a fine grasp of the grey tone, To my observation, the grand mountains and deep waters of China are definitely to be portrayed in grey, and the grey, consonant with the sentiment and ethereality of Chinese poetry and the reserved and low key style of Chinese people, reveals the spirituality of Chinese Culture. " Pang's grey varies in different perspective as illuminated by the present lot, where the subtle shadow and light on the water is rendered with simple strokes that intersect and flow as a river, from which the life of a painting springs. the most essential characteristic of Pang's ideal oil painting exists in the way he observes and expresses the objective world, as Mozart expresses himself through music, Pang likewise embodies his feelings and thoughts through brushstrokes that linger and whirls across the canvas. "Boat Houses" illuminates a refined atmosphere that epitomizes Pang's passion for life and patriotic tendencies in the form of his unique interpretation of the mild and misty impressions of whirling rivers that lead to high mountains, where the vicissitudes of time are transferred into poetic and peaceful landscapes.
《江上輕舟》是一幅揉合印象派後期經典元素，與水墨畫詩意美學的典型作品，下筆自然融合東西情思，傳達了龐大師全然釋放不受限制的靈活情感 表述。就其本質論，印象派畫家的即時概念，乃是精準掌握時代意識的極致表現，《江上輕舟》捕捉了讚揚日常美好的自然瞬間，在時光凍結的剎那 裡歡慶著生命的美好本質。若是更精確地探索，畫中左邊纖細的秋樹枝葉，和右邊的茂盛灌木如同一扇觀景窗，往外朝著一片寧靜祥和的景色開展， 操舟者駕著小船，朝向岸邊其他的小舟，渡過靜謐無波的水域，而上岸後景色繼續延伸，可以看到寧靜水色之後，是一片幽遠蓊鬱的山林背景。書法 筆觸的寫意風格和韻律構成了強而有力的線條，具體呈現出以簡馭繁的素寫風格，與懷舊的抒情構圖，下方猶如書法般寫意的落款與用印尤其強化了 傳統印象技法的飄渺之美。 本拍品乃是藝術家龐均巧妙運用色彩的典範之作，據他個人表示：「 我 的 風 景 畫 作 之 所 以 受 到 歡 迎 ， 是 因 為 運 用 了 極 具 質 感 的 灰 色 色
調，根據我的觀察，必須使用灰色來描繪中國的蓊鬱青山和悠悠綠水，而灰色也恰好呼應了中國詩學的飄渺之美與情感 抒 發 、 中 國 人 保 守 低 調 的 性 格 ， 更 能 暢 快 傳 達 了 中 國 文 化 的 精 神 。 」 在本拍品當中可以看到龐均運用了多樣層次的墨灰色澤，並以 簡單的筆觸描繪出水上的細微光影，有如銀鱗般靈活地交織躍動於畫作之上。龐均的油畫特色在於他如何觀察並呈現主觀世界，就如同莫札特透過音 樂表達自我，龐均透過恣意遊走帆布之間的筆觸，盡情地表達自身情感與想法。龐均在《江上輕舟》裡，詮釋了飄渺而湍急旋流的河川，通往遙遠高 山的景色，時代的滄桑流離轉化成充滿詩意且詳和的灕江景色。
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PANG JIUN
(Chinese, b. 1936)
Lijiang River Landscape 2011 Oil on canvas 60.6 x 72.7 cm Signed lower right Pang Jiun in Chinese and dated 2011 With one painted seal of the artist This painting is to be sold with a certificate of authenticity signed by the artist.
HK$ 180,000 - HK$ 280,000 NT$ 729,000 - NT$ 1,134,000 US$ 23,200 - US$ 36,100
龐均 無限風光 2011 油彩 畫布 60.6 x 72.7 cm 簽名右下：龐均 2011 手繪鈐印：均 附藝術家親筆簽名之原作保證書
Pang Jiun has been immersed in an artistic environment since his youth under the influence of his parents and mentor Xu beihong, who were among the first generation of Chinese artists to study art abroad in France and Japan. "Lijiang River Landscape" testifies to the artist's miraculous use of the color grey through an oriental humanistic expressionist approach that synthesize the lyrical essence of Chinese ink paintings and the expressive elements of Western oil paintings. Pang employed a sculptural application of greys to present the Lijiang, which further directs the viewer's eyes to the distant river streams that leads to the inner mountainous scape in the background. The lively strokes depicting the spring branches in the foreground greatly compliments the exquisite use of lines and planes that transpires a sense of tranquility. Furthermore, the artist's utilized his signature tones of grey enhances the pictorial composition while simultaneously delivering a sense of vitality of the Lijiang scene as the sampans sails across the lake peacefully. Thus injecting an oriental poetic and musical quality to the pictorial scene of the Lijiang, a distinct element that can be attributed to the artist's enjoyment of poetry and preference of listening to Mozart's symphonies while indulging himself in the world of painting, thereby constituting a vigor expression of everyday subjects in response to the cadence of music. In essence, the present lot is connotative of Pang's distinctive stylistic approach that predicates and builds upon a distinctive lyrical depiction of the nature and spirit of traditional Chinese culture, while simultaneously demonstrating the artist's accolade in portraying the aesthetics of nature in Chinese literati paintings with his mastery of manipulating the Western medium. 龐均自少年時代便浸潤於藝術氛圍之中，深受父母及師承徐悲鴻的影 響，徐悲鴻是中國首批留學法國和日本的繪畫大師。《無限風光》體現 出龐均運用灰色的手法神乎其技，東方人文式的表現藝術手法，結合了 中國水墨畫的抒情和西方油畫的表現元素。龐均以雕刻般的灰色層次來 描繪灕江，吸引觀賞者的目光投向遠處的河水和背景的山巒, 深淺有致 的盎然新綠傳達了寧靜之美。龐均並以其擅用的灰色敷染周邊的河岸， 豐富畫面的構圖，徐徐行經河面的舢舨更增添了灕江景致的栩栩如生。 灕江景色在龐均的畫筆下既有東方的詩情畫意，又有音樂的韻致，這種 獨特性源於龐均對詩歌的喜愛，作畫時也時常聆聽莫札特的交響樂， 因此儘管處理的是習見的題材，畫面仍充滿生命力和節奏感。《無限風 光》具備龐均獨特的個人風格，奠基於描繪自然和精神層面的中國抒情 傳統，既向歷代文人山水畫的藝術美學致敬，也展現他對西方繪畫技巧 運用自如。
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PANG JIUN
(Chinese, b. 1936)
The Young Girl in front of the Yellow Background 1998 Oil on canvas 91.5 x 72.5 cm Signed upper left Pang Jiun in Chinese and dated 1998 With one painted seal of the artist EXHIBITED: The Art of J. Pang , National Dr. Sun Yat-sen Memorial Hall, Taipei, 2003 ILLUSTRATED: The Art of J. Pang , National Dr. Sun Yat-sen Memorial Hall, Taipei, 2003, color illustrated, p. 79 This painting is to be sold with a certificate of authenticity signed by the artist.
HK$ 160,000 - HK$ 260,000 NT$ 648,000 - NT$ 1,053,000 US$ 20,600 - US$ 33,500
龐均 黃色背景前的少女 1998 油彩 畫布 91.5 x 72.5 cm 簽名左上：1998 龐均 手繪鈐印：均 展覽： 「龐均的藝術」，國立國父紀念館，台北，2003年 圖錄： 《龐均的藝術》，國立國父紀念館，台北，2003， 彩色圖版，頁79 附藝術家親筆簽名之原作保證書
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T'ANG HAYWEN (TANG THEN PHUOC) (Chinese-French, 1927-1991)
Untitled (diptych) Ink on paper 100 x 70 cm Signed lower right T'ang in English and Haywen in Chinese
HK$ 150,000 - HK$ 240,000 NT$ 607,000 - NT$ 972,000 US$ 19,300 - US$ 30,900
曾 海文 無題（雙聯幅） 水墨 紙本 100 x 70 cm 簽名右下：T'ang 海文
Born in Amoy, Fujian in 1927. T'ang Haywen studied Chinese calligraphy under the instruction of his grandfather. In 1937, T'ang moved first to Vietnam and then to Paris in 1948 to further his studies. A self-taught artist, T'ang held his first exhibition in 1955 and since then his works have been widely exhibited in Europe and America. In August 1997, the Taipei Fine Arts Museum organized a retrospective exhibition of his work entitled "The Tao of Painting". From June to September 2002 the Musée des Arts AsiatiquesGuimet 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. 曾海文1927年生於福建廈門，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曾海文個展，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。
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T'ANG HAYWEN (TANG THEN PHUOC) (Chinese-French, 1927-1991)
Valley
曾海文
c. 1965 Ink on paper 70 x 50 cm Signed lower right T'ang in English and Haywen in Chinese
山谷 約1965年 水墨 紙本 70 x 50 cm 簽名右下：T'ang 海文
HK$ 140,000 - HK$ 200,000 NT$ 567,000 - NT$ 810,000 US$ 18,100 - US$ 25,800
T'ang Haywen undertook in-depth study of both Taoist philosophy and traditional Chinese arts, developing an artistic sensibility characterized by both broad scope and great attention to detail; in doing so, he wrote an important page in the history of modern Chinese ink brush painting. The creation date of the present lot has been verified to be approximately 1965 by specialist of T'ang's works. A member of the third (and last) generation of Chinese artists to study in France, T'ang Haywen adopted a different approach from that of his contemporaries Chu Teh-chun and Zao Wou-ki, who were both influenced by Lin Fengmian. T'ang was basically a selftaught artist who developed his own unique style, deriving his inspiration from close observation, and deep reflection on the field of culture and the arts. As T'ang himself put it, "Art is power." The power of T'ang's art can be seen as an extension of his study of Taoist philosophy and Chinese calligraphy. T'ang Haywen's preferred media were pastels, ink brush painting and oil painting. He enjoyed creating fusions of abstract elements from Chinese tradition with the lyrical brushwork of Western art. His main sources of inspiration were traditional Chinese calligraphy and Taoist thought. T'ang's art was characterized by vivid scenes, a powerful expressionist style, and wild, unconstrained brushwork. T'ang took Chinese ink brush painting as the foundation for his artistic creation, using it as a means for expressing his own emotions and feelings. A consistent theme in T'ang's work is the use of ink brush painting as a means of reinterpreting the detail and complexity of Chinese culture, in a manner that breaks with Chinese ink brush painting conventions. Rather than using ink brush painting to imitate nature as was the case with traditional ink brush painting, T'ang created a formalist representation of reality, an expression of pure energy and beauty.Inspired by both and Taoism by the modern masters of Western impressionist art, T'ang Haywen used ink as a medium for developing his own unique artistic style. In the integration of ink and blank space, T'ang succeeded in capturing the spirit of natural energy, while also opening up new vistas for the continued development of the ancient tradition of ink brush painting. 曾海文深研道家哲學與中國傳統藝術，以一種澎湃又不乏細膩的藝術質感，在現代水墨畫發展史上留下獨特而雋永的一筆。此件拍品經曾海文專 家鑑定，創作年代約為1965年。作為第三代、也是最後一代旅法畫家，曾海文有別於同期師承林風眠的朱德群和趙無極。他自習藝術，自成一 格，靈感源自他對藝術文化的細緻觀察和深刻反思。正如畫家本人所言的「繪畫就是能量」，曾海文作品的「能量」還在於其對道家哲學和中國 書法的理念延伸。 曾海文鍾情於水粉、水墨和油彩，也喜歡把中國傳統的抽象元素跟西方的抒情筆調融會貫通。畫作靈感主要來自中國傳統書法和道家思想。生動 的畫面、強烈的表現主義風格、自由奔放的筆勢都是他的創作特徵。傳承中國水墨為創作基礎，用以表達他自己的情感。作品風格秉承畫家一直 以來利用水墨畫重新演繹中國文化的細膩和複雜性，打破中國水墨傳統的過程。他的畫作沒有如傳統水墨畫般模擬自然，而是呈現一種形而上的 現實，一種唯美而純粹的能量狀態。他在道家精神及西方印象派及現代主義大師的啟發之下，透過墨為媒介，走出了一條獨特的藝術之路。他的 創作在墨色與留白之間，捕捉了自然力量的精神，並將水墨繪畫這門歷史悠久的藝術，帶往新的領域。
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HSIAO CHIN
(Taiwanese, b. 1935)
Untitled 1980 Ink and color on silk 45.5 x 95 cm Signed lower right Hsiao in English, Chin in Chinese and dated 80 With two seals of the artist
HK$ 130,000 - HK$ 200,000 NT$ 526,000 - NT$ 810,000 US$ 16,800 - US$ 25,800
蕭勤 無題 1980 彩墨 絹布 45.5 x 95 cm 簽名右下：Hsiao 勤 80 鈐印右下：蕭勤畫記 鈐印上方：逍遙王玉璽
In 1980, Hsiao Chin was invited to Beijing and Shanghai for the 40th anniversary of the death of his father, Hsiao Yumei. This was the artist's first time returning to mainland China in 31 years. Created in 1980, "Untitled" was accomplished with the artist's wistful and complicated sentiment towards his hometown. Ever since he was a child, Hsiao has grown a particular interest in music. Unfortunately, his parents, who passed away early, did not develop his talent. Nevertheless, various incidents in life the rhythms in music, the retrospection of life and the eternal pursuit of art, have already born fruit in his paintings. For the first time in 1961, Hsiao turned his artistic attention to the strokes of Chinese calligraphy. Submerging himself in Chinese ink wash for years, he created "Untitled" with masterly skills in 1980 in his forties, the age that Chinese believe to be free from perplexities.
Between the colors, the lines, and the shapes introduced by heavy
1980年蕭勤被邀前往北京與上海，參加其父蕭友梅逝世40週年活動。這
strokes of ink lie pale, wrinkled, and rhythmic lines that seem to
是蕭勤31年來第一次重返大陸。1980年《無題》便是在近鄉情怯的背景
gently hover over the canvas. By embracing blank areas through
下完成。蕭氏自幼對音樂感興趣，但可惜未獲早逝父母親的栽培。儘管
reserved use of the ink, Hsiao coherently completed this work and
如此，因為生命中不同階段的緣分，音樂般的律動、生命的反思、無垠
directed the artistic conception to the state of Daoist Zen that
永恆的追尋，在其畫作中已結下碩果。
moves and pauses both follow the will. The curves endlessly flow over the canvas while simultaneously acting as static boundaries
1961年，蕭勤首次轉向真正具有書法筆觸的畫風，沉潛累積至1980年
that segment the space. Pink and gray-black lines appear to be the
《無題》，不惑之年的蕭勤對於此類畫作帷幄已得心應手。在大筆墨色
batons that lead viewers to enjoy a soundless music, and yet those
帶出的色、線、形中，輕輕飛白帶皴及盤旋有韻律的線條明顯，少著
lines can also be seen as countless streams of the Yangtze River that
墨、多留空，一氣呵成，皈依到欲行則行、欲止則止的道禪之境。《無
inhales and exhales innumerable water, pouring out the life course
題》中的曲線一方面是流動不懈的，另方面又是一個分割空間的靜態界
of men. During the first stage of Hsiao's artistic career, uncertainties
限。粉紅與灰黑的線條彷彿引領觀者進入太空無聲音韻的指揮棒；又宛
filled the room between blank and fullness. However, in his late
如一脈長江流程，氣吐萬匯，道盡人的一生：在起始階段充滿部分空白
middle age, he has to learn to let go and find peace in mind.
與盈滿之間的不確定性，到了中晚年，怎樣也得走向放下和安住。
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HSIAO CHIN
(Taiwanese, b. 1935)
Atman – 1 1999 Acrylic on canvas 61 x 73 cm Signed on the reverse Hsiao Chin in Chinese and dated 1999
An old Chinese saying about poetry asserts: "There's no such
thing as an exact interpretation of a poem. " In other words, a poem can often be read and understood from numerous different
HK$ 150,000 - HK$ 220,000 NT$ 607,000 - NT$ 891,000 US$ 19,300 - US$ 28,400
angles. This is also the case in minimalist work that resonates with viewers, helping them reach inner and outer fulfillment. Golden and cinnabar dots gather and surround the arched semi-circle, a pure and spotless shape as if a giant sifter has filtered it. The blank in the center is "empty" while the tilted and clean orange lines it harbors
蕭勤 靈魂—1 1999 壓克力 畫布 61 x 73 cm 簽名畫背：蕭勤 1999
are "exuberant." The colored dots also appear to be droplets of golden cinnabar rain that fall to the ground in high and low keys. Low and quiet, near and afar, they seem to manifest a Sanskrit song from a Buddhist paradise. The use of acrylic paint, which is water-based, imbues the painting with especially vivid and bold colors. Full of life, the saturated colored dots run through the canvas with such an energetic vigor. Hsiao tragically lost his beloved daughter, Samantha, in 1990. Later in 1991, the death of his daughter gave birth to his "Passage through the great threshold", a series of works elaborating the new meaning of life. In "Atman - 1", created in 1999, it is easy to see the shadow of this series that concerns the artist's care for life and his breaking off the shackles of suffering. The artist said he had gained a profound "insight" into the infiniteness of life: "Life fades away in
one way while transforms itself in another. Constant transformation is the nature of life. " As this work shows, with the seemingly brilliant sunset on a long summer day as the background, the beauty of minimalism and a whole new perspective of life on the canvas go along with the essence of the artist's life. 古人云：「 詩無答話 」，給予一首詩多樣寬容的自由解讀可能；如同 極簡的抽象作品，總令人心有所感，使人錘煉心性、內聖外王。《靈 魂—1》金黃和朱紅相間的色點，率直地群聚並圍繞著拱形半圓，顏色 純淨地毫無斑駁，像用一面巨大的篩子篩過了。拱形中間的留白又是 「空無的」，包藏傾斜簡練的橘色線條又是「充盈的」。畫面上的色點 亦好似金紅淅淅瀝瀝的雨，聲音高高低低、大大小小、遠遠近近，彷彿 清淨梵音。 《靈魂—1》運用水性壓克力顏料的本質特性，掌握鮮豔色彩無拘無 束。飽滿富靈氣的跳躍色點，生氣勃勃。蕭勤歷經1990年痛失愛女莎芒 妲，由於女兒去世之衝擊，1991後創作了一系列以「度大限」的新作， 闡述生命之新義。在1999年的《靈魂—1》中，不難看到其承接對於生 命關懷與超脫苦難桎梏的影子。藝術家曾形容自己「悟」出了生命的永 恆性， 「 生 命 ， 以 一 種 方 式 離 開 ， 卻 會 以 不 同 的 方 式 轉 換
出 現 ， 生 命 的 本 質 在 不 斷 地 轉 換 。 」 誠如本作，以宛如相伴 長夏燦爛夕陽的背景，將極簡美與嶄新人生體悟熨貼著藝術家的本體生 命。
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HSIAO CHIN
(Taiwanese, b. 1935)
Wisdom Heart 2006 Acrylic on canvas 110 x 170 cm Signed on the reverse Hsiao in English, Chin in Chinese, titled Wisdom Heart in English and Chinese, inscribed acrylic on canvas in Chinese and dated 2006 EXHIBITED: Hsiao Chin Solo Exhibition , Lin & Keng Gallery, Taipei, June 3-25, 2006 ILLUSTRATED: Hsiao Chin (exhibition catalogue), Lin & Keng Gallery, Taipei, 2006
The "Wisdom Heart" series Hsiao has cultivated over the past
This painting is to be sold with a certificate of authenticity issued by Lin & Keng Gallery, Taipei.
Heart" features the outline of a heart leaning on one side through
decade emphasizes the exploration of "love" and feelings, a kind of selfless "great love" that fulfills the infinite greater self. "Wisdom bold, direct, and simple strokes. The deep blue heart embraces purple, green, sky blue and white stars, delivering a message about
HK$ 300,000 - HK$ 480,000 NT$ 1,215,000 - NT$ 1,943,000 US$ 38,700 - US$ 61,900
"inclusiveness, love, and infinite energy." The warm heart harbors a small cosmos. The strokes delineate a series of planets with planes and dots. Such a lively and bustling scene seems to have heated up the outer space. More fine dots were interlaced to be various nets evenly woven into the deep blue world. The blank that surrounds
蕭勤 智慧心 2006 壓克力 畫布 110 x 170 cm 簽名畫背：Hsiao 勤 2006 智慧心 Wisdom Heart 壓克力畫 展覽： 「蕭勤個展」，大未來畫廊，台北，展期自2006 年6月3日至25日 圖錄： 《蕭勤的心》（展覽目錄），大未來畫廊，台 北，2006 附大未來畫廊開立之原作保證書
the heart and the orange red background inject warmth into the blue heart, which clearly demonstrates the all-inclusive spirit and the artist's profound affection for life. The artist built his personal perspective from Daoist thinking, seeing it as his unique fertile soil for artistic creation. Topics about "outer space," "inner cosmos," "lost civilization" and "extraterrestrial culture" are all blended into his abstract works. Appreciating "Wisdom Heart", one stands still as a Buddha in front of the vast cosmos. The painting seems to capture the breaths from heaven to earth, the spirits of all things. It is warm and gentle but is also as hard as a rock. Between toughness and softness, it is the mysterious charm that has traveled through time and space again and again. 蕭勤近十年來所發展的「宇宙愛心」系列，著重在「愛」和情感的探 求。是一種浩渺無私的的「大愛」，進入無限的大我。《智慧心》以 非常直率、通俗化的筆法繪出側躺的愛心，深藍色愛心擁抱紫、綠、天 藍、白等繁簇星辰，開展「包容、愛、無限能量」的語彙。心形溫暖包 藏小宇宙，筆觸包羅面、點帶出延綿星球，嘈嘈雜雜，騰躍於太空。更 多細點交織錯落如網，均勻織入深邃的藍色世界中。新型外圍一圈的留 白以及橘黃紅色調的背景，為深藍心形注入暖意，包容與疼愛之情表露 無遺。 藝術家在道家的思想中建立自我的觀點，以作為創作的不凡沃土；蕭氏 寄情關於「外太空」、「內宇宙」、「失去的文明」，以及「外星文 化」的主題，這些都融會在他的抽象作品之中。觀照《智慧心》，在浩 瀚宇宙前，靜定如佛。其彷彿匯聚天地之氣、萬物之精，溫潤典雅，卻 又堅勝磐石的特質。剛猛與柔智之間，尋覓造化的一次次穿越時空的秘 藏聖符。
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013
HSIAO CHIN
(Taiwanese, b. 1935)
Cosmic Vortex 1999 Acrylic on paper 63 x 70 cm Signed lower right Hsiao in English, Chin in Chinese and dated 99 in Chinese Titled lower left Cosmic Vortex in Chinese
HK$ 50,000 - HK$ 80,000 NT$ 202,000 - NT$ 324,000 US$ 6,400 - US$ 10,300
Continuing the "galaxy" series in late 1980s, Hsiao already blended ideas of Daoist thinking, such as "being free from worldly cares" and "entering the state of stillness," into his following artworks."Mind, eyes, heart and hands" are four aspects that an artist is supposed to
蕭勤 宇宙漩渦 1999 壓克力 紙本 63 x 70 cm 簽名右下：Hsiao 勤 九九 題識左下：宇宙漩渦
take care of. Hsiao, however, ranks "mind and heart" above "eyes and hands." Hsiao tries to search for the answer to artistic creation through Daoism, and in the mean time, exposes himself to Western knowledge, such as "outer space," "extraterrestrial culture" and "inner cosmos," which adds a sense of wonder and mystery to his works. In terms of the composition, "Cosmic Vortex" shows a strong contrast between blank and lines on the canvas. The purple curves are so attractive that they seem to be wrestling with the blank background. The painting appears dynamic as well as static. Its momentum contracts inward as well as unfurls outward, which seems as if waves roar and whirl from a deep cosmic pool. Under the whistle of a strong wind, water seems to spray in all directions. It also looks like waterfalls with tens of thousands of silver threads or endless surging waves that crash into mountains and uproot trees, pouring down water to every layer of the cosmos. "Cosmic Vortex" can also be calm and elegant, as static as the scene depicted in "Watching the Moon and Yearning for Those Afar by" poet Zhang Juiling. The poem describes the moment the candle burns out and moonlight enters the room. The blank left in this painting can be compared to the inexhaustible moonlight that symbolizes a soft but endless feeling. 延續1980年代末期的銀河系列，中國傳統老莊思維中，「超然物外」、 「神遊太虛」的意境已然潛移默化入蕭勤往後的作品。藝術家著重的層 面與形式包括「腦、眼、心、手」，蕭勤將「腦、心」排序優於「眼、 手」。蕭勤嘗試從道家中尋找繪畫的答案，但同時亦接觸西方「外太 空」、「外星文化」、「內宇宙」等知識，成就其作品中宇宙的神秘 性。 《宇宙漩渦》從構圖上來看，畫面對比的留白與線條空間，紫色曲線強 烈吸睛，和留白的背景互相牽引。從形態上來看可動可靜，動勢既內 聚、又外放，可為宇宙間的澎轟激濺、浪濤旋轉，形成深潭。在大風呼 嘯下，彷彿飛沫漫天。又似如千絲萬縷的瀑布、大海的漣漪波濤，拔山 倒樹而來，傾洩於宇宙每一處空隙；《宇宙漩渦》亦可優雅靜謐，靜態 恰似古詩張九齡《望月懷遠》中的「滅燭憐光滿」，靈動描寫燭光一 滅，月光沁入中心，畫作中留白之處好比詩中源源不絕的月光，此情此 景淡遠綿邈。
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014
HSIAO MING-HSIEN (Chinese-American, b. 1936)
Abstratction 1957 Oil on canvas 50 x 70 cm Signed lower left Hsiao Ming-hsien in Chinese and dated 1957.12.10 PROVENANCE: Private collection, Barcelona
HK$ 55,000 - HK$ 85,000 NT$ 223,000 - NT$ 344,000 US$ 7,100 - US$ 11,000
蕭 明賢 抽象畫 1957 油彩 畫布 50 x 70 cm 簽名左下：蕭明賢1957.12.10 來源： 私人收藏，巴塞隆納
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015
YU CHENG-YAO
(Taiwanese, 1898 - 1993)
Mountain Landscape
余承堯
Ink and color on paper 98 x 43 cm With one seal of the artist
畫家故居 彩墨 紙本 98 x 43 cm 鈐印右下：余承堯印
PROVENANCE: Private collection, Asia EXHIBITED: A Sound of Silence: Yu Cheng-yao , Tamsui Center for Arts and Culture, Taipei, October 2 - November 13, 1994
來源： 私人收藏，亞洲 展覽： 「山水清音：余承堯」特展，淡水藝文中心， 台北，展期自1994年10月2日至11月13日
HK$ 260,000 - HK$ 420,000 NT$ 1,053,000 - NT$ 1,700,000 US$ 33,500 - US$ 54,200
An artist of almost legendary status, Yu Cheng-yao had no formal
dense landscape; the rocks in particular seem imbued with a sense
art training, and belonged to no particular school of painting;
of power that is quite striking. The "three-dimensionality" of Yu
through constant travelling, study, poetry composition, calligraphy
Cheng-yao's landscapes is one of the most entrancing features of his
practice, declamation and study of music, he succeeded in
work. Yu himself believed that this three-dimensionality derived from
becoming, towards the end of his life, the creator of a series of
his passion for traditional nanguan music, in which multiple parts
awe-inspiring, mystical landscape paintings. Yu Cheng-yao strove
merge to form a coherent ensemble structure. Yu's combination of
to realize something more than the conventional representational
long and short brushstrokes, consistently firm and precise, creates
techniques of traditional Chinese painting; he sought to portray
a richly-textured pattern of rocks and trees; within each carefully-
the reality of the underlying structure of the landscape, creating
composed scene, the artist takes pains to bring across the earthy
"real landscapes" characterized by serried peaks, complex shading,
simplicity of the landscape and its raw power.
spontaneity and a down-to-earth simplicity of expression. The inspiration for Yu Cheng-yao's landscape paintings came from his
余承堯，這位被大多數人視為傳奇及異數的創作大家，無特別的師承，
memories of travelling across the imposing mountain ranges of
也非正統科班出身，卻憑借其未間斷的遊歷、讀書、寫詩、煉字、吟詠
Northwest and Southwest China. His incredible memory allowed
山川以及研究音樂戲曲，成就出晚年一幅幅雄偉飽滿又幽深靈動的自然
him to recreate majestic, beautiful scenes that leave the viewer
景致。余承堯所要追求的，並非傳統繪畫中的筆墨表現形式，而是山川
open-mouthed with admiration. Having had no-one to tutor him
結構的真實呈現，一種層層交疊、濃淡互滲、隨興之所至，質樸坦率的
in painting, and no formal academic training in the arts, Yu took
「真山真水」。余承堯的筆墨山水，源自於記憶裡行踏中國西北、西南
nature itself as his teacher; taking as his subject matter the countless
的崇山峻嶺而來，他以驚人的記憶力，再現了山水中令人瞠目結舌的崇
famous mountains and great rivers that he had seen during the
高與瑰麗。雖然沒有師承、沒有受過學院派紮實的訓練，但是他以大自
course of his travels in China and in Taiwan, Yu employed a finely
然為師，將他一生在大陸、台灣閱歷的無數名山大川，以他細碎密結的
detailed texturing technique and his own unique artistic lexicon and
皴擦筆法、獨創的繪畫語言及構圖形式，創作出一幅幅足以撼動觀者心
compositional style to create dozens of visually striking landscape
靈的峻奇山水畫作。
paintings that have a pronounced emotional impact on the viewer. 本件拍品以遠景峰峰相連，構圖緊湊，綿密厚實；近景空谷傳幽，布局
This particular work by Yu Cheng-yao features a range of mountain
疏朗，層疊有序。淡筆起稿，亂筆皴擦，不僅堆疊出巍峨的山勢，同時
peaks in the distance, with a dense composition in which the
也表現出震懾人心的生命情思。通體觀之，能以充滿變化的筆墨線條，
mountains seem to press hard against one another. The foreground
寫就層次分明且畫面飽和的大山大水，特別是其強勁有力的石質趣味，
depicts secluded valleys, portrayed in a smooth, flowing style.
尤讓人印象深刻。「層次感」是余承堯山水畫中一個非常迷人的風格特
The combination of soft shading and vigorous texturing brings
色，而他認為這個層次感係源自南管的「多線性的合奏結構」。一貫細
across the majesty of the mountain peaks, along with an inspiring
膩而結實的長短筆調，綿密地鋪陳出層次豐富的山石與青木，並在安排
sense of vitality. Viewed as a whole, the painting demonstrates a
嚴謹的結構形式中，刻意體現重重山水質樸又敦厚的力量。
skillful variation in brushwork techniques that creates a layered,
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016
YU CHENG-YAO
(Taiwanese, 1898-1993)
Blue and Green Landscape c. 1970s Ink and color on paper 60 x 46 cm Signed upper right Yu Cheng-yao in Chinese With one seal of the artist PROVENANCE: Han Tang Arts & Culture Center, Taipei Private collection, Asia
HK$ 180,000 - HK$ 280,000 NT$ 729,000 - NT$ 1,134,000 US$ 23,200 - US$ 36,100
余 承堯 青綠山水 約1970年代 彩墨 紙本 60 x 46 cm 簽名右上：余承堯作 鈐印右上：余承堯 來源： 漢唐樂府舊藏，台北 私人收藏，亞洲
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017
SHIY DE-JINN
(Taiwanese, 1923-1981)
Mountain Valley
席德進
1981 Watercolor on paper 64.7 x 110 cm Signed lower left Shiy De-Jinn in Chinese and dated 1981
谷關山色
PROVENANCE: Collection of former Director of the Shiy De-jinn Foundation (acquired directly from the artist)
1981 水彩 紙本 64.7 x 110 cm 簽名左下：席德進 1981 來源： 席德進基金會前董事收藏（直接得自藝術家本人）
HK$ 360,000 - HK$ 550,000 NT$ 1,457,000 - NT$ 2,227,000 US$ 46,400 - US$ 70,900
The most attractive feature of Shiy De-jinn's later works is probably the faint marine blue, an elegant, pure blue that strikes directly at the viewer's heart. It quietly exudes a sense of disquiet that stops the passerby in their tracks and encourages them to look closely at the painting. This particular work, "Mountain Valley" was painted in 1981, and was one of the last works that Shiy finished before his death. The painting employs Western-style perspective in its composition, reflecting the fact that, while carrying on the Chinese aesthetic tradition, Shiy De-jinn continued to make use of the skills he had acquired during the period he spent studying in Europe as a young man. Shiy's misty, opaque painting style incorporates the impressionistic brushwork of traditional Chinese ink brush painting, while giving the brushstrokes something of the power and vigor of calligraphy, creating an innovative new way of painting. The overall feeling that the painting gives the viewer is that the artist was seeking to make full use of the little time remaining to him, depicting the mountain landscape in a reverent, almost worshipful manner. Precisely because Shiy was so deeply engrossed in the work, he seems to have been able to "hear" the sorrowful call of the hills and the low sobbing of the rivers, and to perceive that unique blue tone's presence amidst the mist that lies between the mountain peaks. This is a sad, mournful blue which, unlike the traditional ink tones of Chinese ink brush painting, or the verdant greens of many landscape paintings, reveals the artist's sorrow at saying goodbye to this beautiful mountain scenery. As Shiy himself put it, "My landscapes use the tools of Western watercolor painting to bring across East Asian emotions, and to interpret
nature in a new way; my use of color has become a new way of ‘playing' with Chinese ink brush painting to create a sense of newness and vitality ." The ink tones and colors in Shiy's paintings both contrast and fuse with one another, sometimes drawing on aspects of the Chinese literati painting tradition, and sometimes incorporating the rich colors of Chinese folk art. In this way, Shiy succeeds in giving a contemporary feel to his depictions of the sub-tropical colors of Taiwan's landscape. 席德進晚期作品最吸引人的地方，或許就是那一抹淡淡的幽藍，肅穆聖潔的藍，緊緊扣住了觀者的心緒；它靜謚地流淌出一絲絲的憂悒，讓人不得不 停佇腳步，凝神注目。此幅《谷關山色》創作於1981年，為藝術家生命的最後一年所作。作品中採西方透視構圖，顯露席德進在傳承中國美學的的同 時，又在運用早年在歐洲留學之真諦。以氤氳迷濛的畫法，結合帶有中國水墨畫寫意筆法，使筆法更具書法性的功力，建構繪畫創新的形式。 畫面多給予我們的感受，是畫家企圖抓住僅剩的光陰，以一種近乎虔敬的朝聖心情去為山林寫真，正因為極度專注投入，他聽到了山巒、河川的聲 響，也覺察到那一抹抹獨特的藍，蘊藏於山嵐雲氣之間，那是一抹憂傷的藍，不同於傳統的墨色，或青綠山水，流露出畫家對美好河山的眷戀。正 如席德進所言「 我的山水是用西方的水彩工具傳達了東方人的深邃的情操，對自然賦以新的詮釋，我的色彩也變為中國水墨的趣
味，賦予清新氣息與生命的活力。」墨與彩互為對比、融合，有時汲取中國文人畫的筆墨情趣，有時注入民間藝術的艷麗顏色，將台灣亞熱帶的 地域色彩，使其畫作別具有時代感。
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018
SHIY DE-JINN
(Taiwanese, 1923-1981)
A Delightful Contrast of Sea and Mountain 1979 Ink and color on paper 69 x 136.5 cm Signed upper left Shiy De-Jinn in Chinese With two seals of the artist Inscription: A Delightful Contrast of Sea and Mountain Traveling to Jiufen to capture this landscape finally made me realize that Taiwanese scenery cannot be depicted using traditional techniques Shiy De-jiin of Sichuan, a guest in Taiwan for thirty-two years PROVENANCE: Collection of former Director of the Shiy De-jinn Foundation (acquired directly from the artist)
HK$ 460,000 - HK$ 700,000 NT$ 1,862,000 - NT$ 2,834,000 US$ 59,300 - US$ 90,300
席 德進 海山相照 1979 彩墨 紙本 69 x 136.5 cm 簽名左上：蜀人席德進 鈐印右上：席氏書畫 鈐印左上：席德進印 題識： 海山相照 遊九份 得此景 始知台灣山水不能以傳統皴法寫之 蜀人席德進 客居寶島卅又二年矣 來源： 席德進基金會前董事收藏（直接得自藝術家本人）
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In 1979, on a visit to the northern, mountain town of Jiufen, Shiy
Like Lin Fengmian, under whom he studied in his youth, Shiy De-
painted "A Delightful Contrast of Sea and Mountain", a series of ink
jinn refused to allow himself to be constrained by tradition, and
wash paintings. On one of the paintings, he inscribed: "Traveling
became a bold innovator. Abandoning the conventional texturing
to Jioufen to capture this landscape finally made me realize that
methods of traditional Chinese painting, Shiy chose to make use of
Taiwanese scenery cannot be depicted using traditional techniques.
techniques from ink brush painting, creating rich, warm color tones
Shiy De-jiin of Sichuan, a guest in Taiwan for thirty-two years. " He
and making effective use of empty space, so that white space itself
abandoned the distinctive texture strokes of traditional Chinese
became a kind of color, a kind of light, and a kind of spatial element.
painting and chose ink as his primary medium. Damp brushwork and
Shiy succeeded in building a new, harmonious relationship between
a keen sense of color, the white space in his paintings becomes a
ink and color. While making changes to traditional techniques, Shiy
shade of color, light, and emptiness to rebalance the harmonious
continued to respect the strengths of Chinese ink brush painting,
relationship between ink and color.
and sought to develop his own personal style within the framework of the tradition. Shiy's work makes extensive use of wash effects to
In the "A Delightful Contrast of Sea and Mountain" series, the
create images of serried rows of hills that embody the essence of ink
verdant peaks are depicted in contrasting tones, with different
brush painting, producing complex landscapes in which the superb
shades of ink blue being used to great effect to bring across the
coloration of the mist and clouds creates outstanding aesthetic
majestic, awe-inspiring appearance of the mountain peaks; the
beauty. By casting a modern eye over landscape painting, Shiy
richly layered effect created in this way is deeply impressive. Slight
succeeds in creating new forms and a new sense of will. His verdant,
changes in the texture of the ink produce a pronounced three-
textured landscapes, covered in multi-fold layers of mist, represent
dimensional contrast between the foreground and the far distance;
a peak of artistic achievement.
careful brushwork traces out the form of the hills and the structure of the rocks, and a faint wash effect ensures that sea and sky seem to blend into one. The depiction of a handful of boats on the water prevents the scene from appearing too empty, reflecting the artist's skill and attention to detail.
1979年席德進在遊歷過山城九份之後，創作了一系列「海山相照」的水 墨畫。他在此系列其中一幅畫上題寫著： 「 遊 九 份 ， 得 此 景 ， 始
知台灣山水不能以傳統皴法寫之，蜀人席德進客居寶島 卅 又 二 年 矣 。 」 曾歷經半世之心，繪油彩於人物，舒情慾以解內心 之苦澀。晚年多著丹青於山水，留情在筆墨之間，拓新畫法以尋改良。 「海山相照」系列中，群山聳立的蒼鬱宏遠，近悅遠來墨色鋪張開來。 凸顯山的宏偉，深淺不一的墨藍，富有層次，令人回味無窮。濃淡變化 的墨韻染出遠近的層次，再用筆寫出山形、礁石的結構，筆刷掠過的留 白形成海天一色效果。孤舟而三，又使空間不顯太過慘白，表現出畫家 的用心與嫻熟。 師從林風眠，同樣是一心超越傳統、勇於創新，席德進捨棄傳統國畫的 皴法，選擇以墨法取勝，濕潤飽滿的色感，巧妙運用畫中留白，將空白 當作一種色、光、空間，重新和諧墨與色的相互和諧關係。在改革傳統 的同時又尊重中國筆墨的優越性，努力探求自己的風格，作品以渲染的 墨法為重，墨氣淋漓的重山，畫面呈現出「山水丹青雜，煙雲紫翠浮」 的美感，以現代的眼睛看山水，創造新的造型與意志。層巒疊翠，上出 重霄，再創藝術成就的另一高峰。 SHIY De-jinn, A Delightful Contrast of Sea and Mountain , c. 1980-1981, ink and color on paper, 115.5 x 105.5 cm, Ravenel Autumn Auction 2013, Taipei, lot 695 US$ 202,771 sold 席德進 《海山相照》約1980-1981 彩墨 紙本 111.5 x 105.5 cm 羅芙奧台北2013秋季拍賣會 lot 695 NT$ 6,000,000 成交
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019
YANG CHIHUNG
(Taiwanese, b. 1947)
Undercurrent 1998-2000 Acrylic on canvas 131 x 194 cm Signed on the reverse Chihung Yang, titled Undercurrent in English, and dated 1998-00 EXHIBITED: Chihung Yang , Asia Art Center, Taipei, October 14 - November 6, 2005. Inner Vision Human Condition Chihung Yang Solo Exhibition , National Art Museum of China, Beijing, October 16- 23, 2007 ILLUSTRATED: Chihung Yang , Asia Art Center, Taipei, 2005, color illustrated, p. 81 Inner Vision Human Condition - Chihung Yang Solo Exhibition , National Art Museum of China Beijing , Asia Art Center, Beijing, 2007, color illustrated, pp. 50-51
HK$ 300,000 - HK$ 500,000 NT$ 1,215,000 - NT$ 2,024,000 US$ 38,700 - US$ 64,500
楊 識宏 底流 1998-2000 壓克力 畫布 131 x 194 cm 簽名畫背：Chihung Yang Undercurrent 1998-00 展覽： 「楊識宏」，亞洲藝術中心，台北，展期自2005年10月14日至 11月6日 「心象情境：2007楊識宏北京中國美術館個展」，中國美術 館，北京，展期自2007年10月16日至23日 圖錄： 《楊識宏》，亞洲藝術中心，台北，2005，彩色圖版，頁81 《心象情境：2007 楊識宏北京中國美術館個展》，亞洲藝術中 心，北京，2007，彩色圖版，頁50-51
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020
CHIU YA-TSAI
(Taiwanese, 1949-2013 )
Man in Red 1983 Oil on canvas 130 x 113 cm Signed lower right Ya-Tsai in Chinese and dated 83
HK$ 500,000 - HK$ 800,000 NT$ 2,024,000 - NT$ 3,239,000 US$ 64,500 - US$ 103,200
Chiu Ya-tsai's works predicates upon ideal archetypes in human nature, his portraits seem to accrue a certain public grandeur reminiscence of historical personages. Chiu's favored subject of poets and writers, the aesthetes and disaffected youths with
邱 亞才 紅衣男子 1983 油彩 畫布 130 x 113 cm 簽名右下：83亞才
privileged upbringing contrasts moderately with his personal upbringing, there is always a hint of the old world in Chiu's art as he believes that humanity can be best portrayed by the ancient confucius and the great figures from classic literatures such as Shakespeare and Dostoyevsky. "Man in Red" is imbued with an air of nostalgia as the textured warm yellow backdrop is executed in brushstrokes that runs along the shape of the exterior of the central figure, which essentially extenuates the contours of the smooth and clear outline of the body. Simultaneously, the effect of these strokes in the background opens up the plain space delineating space. The velvety red sweater of the central melancholic figure
邱亞才的畫作表現的是人性的原型，他的人像畫似乎流露出
appears to be indulging in a moment of deep rumination in the nest
某種來自歷史人物的共通光采。邱亞才偏愛的繪製主題包括
of his malaise with his hands placed firming on his waist. In essence,
了詩人和作家，畫中人物的藝術教養和青春叛逆，和他自己
Chiu deliberately rid his central figures in his portraits of excessive
的成長經歷形成微妙的對比。他的畫作總是潛藏古老時代的
facial emotions as he regards expressions as fickle with a tendency
氣息，因為他相信古聖孔子乃至於莎士比亞和杜斯托也夫斯
to deviate and fluctuates continuously. Instead, the artist strived to
基的經典之作，對人性的刻畫最為深刻。《紅衣男子》充滿
paint the inner spirit and temperament of his subjects. Chiu's figures
懷舊的情調，沿著畫面中心人物的形狀，畫筆刷出暖黃色的
could be deemed as idealized visions with essences of refinement as
粗糙背景，襯托出主角流暢清晰的身體輪廓線條，同時背景
he reflects a narrative quality to these complex characters, much like
的筆觸也為畫面營造出多層次的空間感。 畫中人物穿著柔軟
the circular glasses that frames the thin eyebrows and moustache of
的紅毛衣，雙手插在腰間，似乎沉浸在自己憂鬱的冥想中。
the slender central figure that adds a hint of age and wisdom.
邱亞才有意不賦予畫中人物太多的面部表情，因為他認為人 的表情變化無常，捉摸不定。 相反的，他想要捕捉的是人物
The artist yearns for orders within the composition and out of the
的內在性情和氣質。邱亞才筆下的人物是理想的化身，具有
chaos and the unreadable emotions of these memorable archetypes
精煉的特質，同時反映出他對於每位複雜角色的主觀陳述，
results in his unforgettable portraits. Chiu insisted that the spirit of
一如作品裡人物的圓眼鏡框住細眉毛，臉上留著鬍疵，身形
his art is a derivative of the figure paintings dated to the Tang and
瘦削，流露出歲月和智慧。
Sung Dynasties. Similar to the ancient depictions of scholars and officials, the faces and gesture of his subjects are connotative of
邱亞才在現實的紛亂中追求畫作的秩序，這些人物原型意境
personality and mindset. In essence, Chiu's synthesizes traditions of
幽遠，讓他的肖像畫令人一見難忘。邱亞才堅持其創作精上
Classical Chinese portraiture with Western elements, which results
承自唐宋的人物畫， 彷彿古代畫家對文士高官的描繪，邱亞
in parallels between his characters and those of Modigliani. It is
才畫中人物的表情和姿態，也傳達了他們的個性和思想。 邱
Chiu Ya-tsai's old-fashioned faith in history and the wisdom of great
亞才揉合了中國肖像畫傳統和西方繪畫元素，他的畫作和莫
men that prompt his paintings. Chiu's figures are truly portraits in
迪里亞尼有相似之處。 邱亞才創作的動力來自對於歷史的傳
that they are always poised and limited in body language, which
統虔信，以先賢的智慧為本。邱亞才畫中的人物永遠冷靜自
work magnificently in portraying the precarious nature of man's
持，沒有太多動作，精采傳達了人類本質的游移和神秘。
being with a touch of mystery.
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021
LI CHEN
(Taiwanese, b. 1963)
From the Heart 2008 Oil on canvas 162 x 130 cm Signed lower left Li Chen in English and dated 2008 With one seal of the artist EXHIBITED: Soul Guardians: In an Age of Disasters and Calamities , Asia Art Center, Beijing, October 18 - December 21, 2008 This painting is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.
HK$ 200,000 - HK$ 300,000 NT$ 810,000 - NT$ 1,215,000 US$ 25,800 - US$ 38,700
李真 起心 2008 油彩 畫布 162 x 130 cm 簽名左下: Li Chen 2008 鈐印左下：李真 展覽： 「神魄─李真個展」，亞洲藝術中心，北京， 展期自2008年10月18日至12月21日 附亞洲藝術中心開立之原作保證書
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022
PENG SI
(Chinese, b. 1980)
Waiting for a Friend in the Winter Mountain 2010 Oil on canvas 80 x 80 cm Signed lower right Peng Si in English and dated 10.9 Signed on the reverse Peng Si , titled Waiting for a Friend in the Winter Mountain in Chinese, inscribed oil painting 80 x 80 and dated 2010 INSCRIPTION: A poem by Ni Zan, a painter and poet of the Yuan Dynasty. "As splendid as the garments of the gods Who dwell on ships in the Five Lakes. To share the magnificent surroundings with you Is to travel to the clouds together."
HK$ 360,000 - HK$ 550,000 NT$ 1,457,000 - NT$ 2,227,000 US$ 46,400 - US$ 70,900
彭斯 冬山待友圖 2010 油彩 畫布 80 x 80 cm 簽名右下：PENG SI 10.9 簽名畫背：東山待友圖 油畫 80 x 80 彭斯 2010 釋文： 若士振衣千仞表，何人泛宅五湖間。 絕憐與子同清賞，擬向雲霄共往還。
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023
YE YONGQING
(Chinese, b. 1958)
Bird 2007 Acrylic on canvas 200 x 150 cm Signed lower center Ye Yongqing in Chinese and English, dated 2007 EXHIBITED: As Free As a Bird , Hong Kong Arts Centre, Hong Kong, April 5 - 19, 2008 ILLUSTRATED: Ye Yongqing – A Journey of Art , Anna Ning Fine Art, Hong Kong, 2008, color illustrated
The high prices hit on the art market by Ye Yongqing's sketch-like bird paintings have, in recent years, led to intense discussions on the Internet, with heated arguments as to what constitutes a good resemblance, and what kind of art has real value. Ye Yongqing maintained that painting is primarily a form of spiritual cultivation. This series of paintings originated from Ye's bird sketches. As Ye explained it, the sketches constituted a kind of diary for him, recording his fragmented, chaotic life; for him, they played a role like that of social media plays today. Ye could usually finish one of these sketches within a minute, keeping them as simple as a child's rough drawing; however, he then spent considerable time on the process of transforming the sketches into paintings. When creating the
HK$ 460,000 - HK$ 700,000 NT$ 1,862,000 - NT$ 2,834,000 US$ 59,300 - US$ 90,300
paintings, Ye kept things very basic, using the same kind of materials that an amateur artist might use: a woman's cosmetic eyebrow pencil, and an ink bottle filled with a mixture of water and propylene. Using the most conventional and ordinary of techniques, Ye was able to create some distinctively unconventional lines and shapes.
葉 永青 畫鳥
Ye Yongqing has a great passion for the court painting style of the
2007 壓克力 畫布 200 x 150 cm 簽名中下：葉永青Ye Yong Qing 2007
into a unified whole. In that era, dominated by the great painter
展覽： 「迷塗症－葉永青藝術之旅」，香港藝術中心， 香港，展期自2008年4月5日至19日
bird's head or its rear. In these paintings, Ye has approached the
圖錄： 《葉永青藝術之旅》，Anna Ning Fine Art， 香港，2008，彩色圖版
stereotypical presentation of birds in traditional literati painting, they
Song Dynasty, which integrated painting, calligraphy and poetry Huang Quan and his son Huang Jucai, birds symbolized nobility and elegance. However, as depicted by Ye Yongqing, all birds are "ugly birds." They are unattractive birds; sometimes, Ye depicts only the traditional image of birds ironically, seeking to turn convention on its head. Nevertheless, although these birds are divorced from the are still depicted in a very "literature" way; what seems to be random at first glance is actually very carefully structured, and the overall effect is highly decorative. 葉永青筆下隨意的塗鴉鳥在藝術市場上的出色表現曾經在網路引起巨大 討論。關於像與不像，什麼樣的藝術才是有價值的藝術的一時間成了網 路討論的熱點。當事人對於爭議一笑置之。對於葉永青而言，繪畫是一 種修行。 這個系列始於他的塗鴉，用他的話說就是用塗鴉來記日記，記錄他碎片 式的生活，類似今天的社交媒體。經常一秒鐘可以塗完，像兒童亂塗一 樣簡單，但他用很長時間把它描繪到畫布上。用的都是業餘材料，不事 鋪張，一個女人描眉的畫筆，一個墨水瓶，用水和丙烯填充。用最靠譜 的技術複製最不靠譜的圖形和線條。 他衷情與宋代詩書畫一體的宮廷藝術。在黃荃黃居寀父子為主流的那個 時代裡，鳥是富貴優雅的象徵。但在葉永青筆下，都是些「醜鳥」。那 些鳥，又笨又醜，有時是鳥的頭，有時只有屁股，他試圖「調侃和顛覆 了那個傳統的東西」。但脫胎於文人畫的鳥，依然書卷之氣盈然，看似 隨意，實則井然有條，且裝飾意味濃厚。
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024
LIU YI (LUI LIU)
(Chinese, b. 1957)
Ginger
劉溢
2006 Oil on canvas 91 x 76 cm Signed lower right LUI LIU in English and dated 2006 Titled on the reverse Ginger in English
小姜
ILLUSTRATED: The Oil Painting of Lui Liu , People's Fine Arts Publishing House, Beijing, 2011, color illustrated, p. 62
2006 油彩 畫布 91 x 76 cm 簽名右下：LUI LIU 2006 簽名畫背：Ginger 圖錄： 《劉溢的油畫》，人民美術出版社，北京，2011， 彩色圖版，頁62
HK$ 480,000 - HK$ 700,000 NT$ 1,943,000 - NT$ 2,834,000 US$ 61,900 - US$ 90,300
Born in Tianjin in 1957, Liu Yi was admitted to the Central Academy
and an ingenuous composition, creating a situation where real and
of Fine Arts (CAFA) in 1978. He was a student in the first oil painting
surreal become interlaced on a single canvas. As the artist said
class in CAFA after the Cultural Revolution ended and the college
about himself, "I don't particularly try to express classic or modern
entrance exam was restored. Many celebrated contemporary
elements. I just absorb everything into my mind. "I don't have to
Chinese artists were his classmates, such as Chen Danqing, Wang
understand what this is in my painting. The mystery of existence
Yidong, and Yang Feiyun. Liu moved to Canada in 1991 and
itself is exactly the message I want to deliver. "
returned to China sometime around 2007. Regarded as "an explorer that moves between Surrealism and Pop Art," Liu created his works
1957年於天津出生的劉溢，1978年考入中央美術學院，是文化大革命後
with narrative and theatrical metaphors and depicted his characters
美院恢復高考後第一屆油畫班。劉溢當時的同學有陳丹青、王沂東及楊
with realism, using the qualities of classic oil painting to create
飛雲等。1991年劉溢遷居加拿大，2007年左右回到中國定居。劉溢被評
artwork that exhales a breath of modernity.
為「 超現實主義與波普主義兩極之間的探索者 」，他以故事性、 戲劇感及暗喻的手法創作，又以寫實的技巧刻畫，並利用古典油畫的特
After moving to Canada in 1991, Liu began to compose portraits
質，創作充滿現代氣息的作品。
mostly of Western women. "Ginger" was an important piece the artist created in 2006, one year before he returned to China. In some
1991年移居加拿大後，劉溢便開始創作較多以西方女性為題材的肖像
western nations, the word "Ginger" is an epithet for individuals with
畫，《小姜》是畫家於2006年回國前夕創作的一幅重要作品。「小姜」
strawberry-blonde hair. Chen Danqing once said Liu's work often
是作品英文名Ginger的譯名，Ginger是西方人對於金髮女子的昵稱。陳
carries "a dramatic expression and an uninterpretable context. " The woman in the painting wears simple green clothes with unkempt hair
丹青曾說，劉溢的作品具有「 戲劇性的表情，以及難以解讀的情 境。 」畫中女子身穿簡樸的綠衣，她頭髮淩亂，目光低垂，並未直視
and lowered eyes, such that she does not look at the viewer directly.
觀眾。黑色背景的運用意味深長，有少許頹廢的情形，邪惡的感覺在那
The dark background conveys a profound meaning with hints of
裏，性的表達方面點到為止，這種模棱兩可的表達在劉溢其他成功的作
a dispirited and evil sentiment; the artist does not overdo the
品中也很普遍。
expression of sexual appeal as well. Such ambiguity is very common in Liu's other successful works.
在劉溢的肖像作品中，總有一種特別的神秘感和戲劇效果，女性許多都 身份不明，其背景、時間及地點都被省略，似乎畫家是刻意將人物抽離
Liu's portraits always carry a sort of special mysterious and theatrical
現實，以營造疑幻疑真的感覺。目光散漫的女性形象時而壓低整個畫面
effect. Most of the women he has portrayed remain unidentified,
的一側，時而集聚在繪畫的中心，時而又使極為艷麗的色彩環繞四周。
and the background, time, and location are often omitted. It
「小姜」究竟身處何時何地？整體而言，畫家以細膩精湛的技巧、戲劇
seems that the artist purposefully detaches his characters from
性的手法及巧妙的構思，凸顯畫面中女子的形象，創作出一個現實與超
reality in order to build a kind of surreal atmosphere. The woman
現實交織的境象。正如劉溢所言，「 我不會特地去表現古典或是
with unfocused eyes sometimes compresses the whole painting to one side, sometimes appears to be the center of the layout and sometimes makes gorgeous colors encircle her. Where and when does Ginger stand? In a way, the artist highlights the woman's image with his refined artistic skill, an attractive theatrical effect,
現代，我只是吸收進入我腦海中的東西。不需要明白這是什 麼，存在的神秘性就是我要表現的。」
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025
YUAN YUAN
(Chinese, b. 1973)
Keep Out (triptych) 2012 Oil on linen 195 x 234 cm Signed and titled on the reverse Keep Out in Chinese and English, L 2013 (left piece); M Y. Yuan in Chinese and English, dated 2013 (middle piece); R 2013 (right piece)
HK$ 550,000 - HK$ 850,000 NT$ 2,227,000 - NT$ 3,441,000 US$ 70,900 - US$ 109,600
袁遠 禁入（三聯幅） 2012 油彩 亞麻布 195 x 234 cm 簽名畫背： 《禁入》左聯 <keep out> L 2013 （左） 《禁入》中間 <keep out> M Y. Yuan袁遠 2013 （中） 《禁入》右聯 <keep out> R 2013（右）
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T h e a r t o f Yu a n Yu a n ( b o r n i n 1 9 7 3 ) i n t e g r a t e s E a s t a n d We s t , links the individual with the collective, and fuses the imagined with the real. Yuan Yuan's work has won widespread international recognition, and his paintings have been exhibited in Paris, Berlin, New York, Beijing, Shanghai, Hong Kong, Singapore and Taipei. W h i l e d i s c u s s i n g h i s a r t i n a n i n t e r v i e w, Yu a n Yu a n n o t e d t h a t "I am very interested in those corners that people overlook because
they are too familiar with them or take them for granted. I start thinking about how I can present them in a new way on my canvas, so that they seem different to people … Because my paintings are so concrete, many people are under the mistaken impression that I get my inspiration from seeing a real place, but it's actually quite the opposite of that; I start off with an indistinct abstract image in my mind, which may consist of just a ray of light or a particular type of space, and then I take that as my starting point, adding something more concrete to it, such as lines, a ceiling, etc. … and through this process a realistic-looking scene gets teased out. " In "Keep Out", the three panels show a scene from New York's Chinatown, a dilapidated building in London, and an abandoned factory building in Detroit. Although Yuan Yuan's detailed depictions of the buildings exclude any human figures, there are abundant signs of human activity in every corner, inspiring deep reflection. Of course, as the viewer stands entranced by the painting, pondering on the passing of time, they are themselves "sacrificing" precious time that they can never get back. 生於1973年的袁遠，作品跨越東方與西方、連結個人與集體、融合真實與 想像，旋即在國際藝壇獲致好評，曾於巴黎、柏林、紐約、北京、上海、 香港、新加坡、台北等地展出。他曾在訪談中提到：「 我對那些因為人
們過於熟悉或習慣而忽略的角落很感興趣，我會想要怎樣在我的 畫布上重新表現它，可以讓人覺得有所不同…因為我的畫非常具 體，所以很多人可能誤解我是看到一個實際的地方開始有創作想 法的，其實是恰恰相反，我是會先腦海裡隱約出現一個抽象的印 象，也可能只有一個光線或是一個空間的影像，然後我會這裡出 發，添加具體的東西，像是線條、天花板等…在這個過程就會揉 合一些實際的景。」 《禁入》一作中，三個場景分別是紐約中國城，倫敦街頭的危樓以及底特律 的廢棄廠房。袁遠細膩描繪的建築中，缺席的人物卻在每個角落留下曾經活 動的痕跡，引發無限幽思。曾經的時空，流逝的光陰，觀者專注於畫面時， 也奉獻了帶不走的，不可見的寶貴時間。
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026
CHU TEH-CHUN
(Chinese-French, 1920-2014)
Lumière captive III 1992 Oil on canvas 46 x 55 cm Signed lower right CHU TEH-CHUN in Chinese and English, dated 92 ILLUSTRATED: Chu Teh-chun , Oeuvres récentes , Galerie Enrico Navara, Paris, 1998, color illustrated, p. 28 Chu Teh-chun , Darga Gallery, Bali; Galerie Enrico Navara, Paris, 2000, color illustrated, p. 9
HK$ 850,000 - HK$ 1,300,000 NT$ 3,441,000 - NT$ 5,263,000 US$ 109,600 - US$ 167,600
朱 德群 撲獲之光輝III 1992 油彩 畫布 46 x 55 cm 簽名右下：朱德群 CHU TEH-CHUN 92 圖錄： 《朱德群近作》，昂利哥•那瓦哈畫廊，巴黎，1998，彩色圖版， 頁28 《朱德群》，達卡畫廊，峇里島；昂利哥•那瓦哈畫廊，巴黎， 2000，彩色圖版，頁9
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Chu arrived in Paris in 1955 and experienced the city's abundance of contemporary art in person, especially the retrospective exhibition of Nicolas de Staël (1914-1955) at the Musée de l'Art Moderne de la Ville de Paris in 1956. It opened for him another window of free expression. The exhibition, moreover, became the wedge that would open the way to his artistic pinnacle. His early abstract works were filled with dark tones and strong tensions. However, clear color blocks, calligraphic line, and straightforward, solid composition have been the constant characteristics running through his works in different periods. A man of talent still needs a wise headhunter to discover his gift. After Chu entered the Paris art circle, he signed a six-year contract with Galerie Henriette Legendre, which was run by the guardian of modern art, Maurice Panier. The gallery successively introduced him to the world and made him an important member of the School of Paris. Receiving various invitations for exhibitions around the world, Chu enjoyed his success and led a happy life with his family. His style, meanwhile, became even more mature: his smooth brushstrokes and ethereal air surged and swirled with an imposing manner. On his canvas, he perfectly combined the artistic conception and the solid brushwork that are emphasized in Chinese poetry and painting. At the age of 62, the Musée des Beaux Arts André Malraux in Le Havre, France, hosted his first large retrospective exhibition. Five years later, he returned to Taiwan and held an important retrospective exhibition at the National Museum of History. In 1992, the year he created "Lumière captive III," Chu traveled to the US and was deeply inspired by the Niagara Falls. Many of his works during this period are covered with a veil of vapor, light, pure and transparent. Shiny color spatters all over. The emitting light and the heavy, dark tones play together in a harmonious and powerful melody.
LUMIÈRE CAPTIVE III CHU TEH-CHUN
After having experienced transitions in his abstract style, fame, and glory, Chu Teh-chun became even more comfortable handling his paint brush in the 1990s. Created in 1992, "Lumière captive III" gives a transparent sense of space, with scintillating crystal color blocks, a dynamism between light and shadow, and momentum from the flowing air. Within an immense chaos similar to the beginning of the world, the painting leaps across the boundary between the visible and the invisible. The artist fully expresses his ideas through his work and does so with such willful delight. Chu once said that his inspiration comes from nature. He is expert at using dynamic momentum and luxuriant color to express the eternal change of the magnificence of nature.The harmony he achieves in his brush between rhythm and time is simply fascinating.
In 1997, Chu was elected as a member of l'Institut des Beaux-Arts de l'Académie Française. After 2000, in his eighties, the master's abundant creativity did not slacken. His free, artistic expression that seemed to be accumulated from past glories once again created a new dimension in abstract painting. Chu, who lives in France for almost sixty years, still maintains his Eastern soul and humanistic spirit. In the European art circle of "Lyrical Abstract" that flourished after WWII, he was praised for his unique personal style fused with his intrinsic grounding in traditional Chinese art, as well as for his solid painting skill. He is hailed as one of the best Chinese abstract masters in the 20th century. Chu dedicates his life to art. He is focused and committed to art without distraction. Through his paintings, he shares with the viewers his life: the small pieces as well as the important chapters. Even though they are abstract, the surging emotions, powerful concepts, and his spiritual contemplation of the universe over and again lead the viewers to travel into his works and leave feeling deeply touched. The ancient philosopher Lao Tzu once said, "The most beautiful sound is soundless; the most beautiful image is without an image. " Within and through his works, Chu has expressed exactly this poetic and aesthetic concept to art lovers around the world.
1990年代的朱德群，已經歷抽象風格的轉換、成名與榮耀，畫筆的揮
在他62歲時，法國勒哈佛市的安德烈．馬勒侯現代美術館為他舉辦第一
灑更顯自在、游刃有餘。在這幅1992年創作的《撲獲之光輝I I I》中，通
次的大型回顧展；五年後，回到久違的台灣，於國立歷史博物館展出重
透的空間感，晶瑩跳耀的色塊，光影對比的活力，大氣流動的勢態，在
要回顧展。創作此幅《撲獲之光輝I I I》的1992年，朱德群赴美旅遊，途
有如天地初開的磅薄渾沌中，躍有形與無形之界線，暢所欲書，快意淋
中的尼加拉瓜大瀑布予他豐沛的靈感泉源，為這時期的許多作品鋪上一
漓！朱德群曾自述他的創作靈感源於大自然，他專擅將其豐富無窮的雄
層氤氳水氣，薄暮輕盈，剔透無暇。閃耀的色彩濺射，光線漫射開來，
偉壯麗，以翻飛的動感與華麗的色彩展演出不曾停歇的奧妙變化。韻律
與堅實沉穩的深色調形成輕重並濟，和諧又強烈的樂章。
性以及時間感的協調，引人入勝。 1997年榮登法蘭西研究院美術院士。進入2000年代後，大師以八十高齡 朱德群在1955年抵達巴黎，親身體驗當代藝術的豐富與多采，尤以巴黎
的姿態，旺盛的創作力絲毫不減，彷彿集大成的自由揮灑，又再度開創
市立現代美術館於1956年舉辦的「尼古拉．德．史塔耶爾回顧展」，
抽象繪畫的新格局。長居法國的朱德群，不脫其東方靈魂與文人精神，
為他開啟了自由表現的另一種方式，也是他登上藝術創作顛峰的楔子。
他深厚的中國傳統藝術內蘊與紮實的繪畫技巧，於二次戰後興起「抒情
步入抽象畫風初期的作品，帶有深沉濃重的色彩與張力。而明確的色塊
抽象」的歐洲畫壇融匯出鶴立於群的個人風格而備受矚目，被喻為二十
與書法線條，果斷結實的構圖，則是一向貫穿朱德群不同年代作品中的
世紀華人畫家中最傑出之抽象主義大師。
特色。千里馬還需伯樂，天賦的才氣讓朱德群一進入巴黎藝術圈即與現 代藝術守護神－巴聶主持的勒讓特畫廊簽訂了六年合約，推動他站上國
朱德群的一生皆繫於他的藝術，他專注、堅持、單純地一路直行，觀者
際舞台，並成為巴黎畫派的重要一員。來自世界各地接連的展覽邀約與
從他的畫中，點點滴滴分享了他生活裡的枝微末節與重要篇章，儘管畫
成功，幸福的家庭生活，朱德群的畫風亦隨心境愈加成熟，流暢的筆法
面是抽象，那情緒的起伏悸動、那思潮的湧現、那面對宇宙大地的省思
與空靈之氣，奔騰捲湧，氣象萬千。中國詩詞書畫的情境意象、運筆勁
與心靈感受…一再一再引領觀者神遊其中，感動久久。老子：「 大音希
道，完美結合並流露在畫面中。
聲，大象無形 」，如此富於詩意的哲思，朱德群在他的作品中，已向 全世界的藝術愛好者盡顯這至高的美感境界。
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027
WU GUANZHONG
(Chinese, 1919-2010)
Viewing Fish at Flower Harbour 1977 Ink and color on paper 40 x 35 cm Inscribed lower right A Gift to Song Zhong in Chinese and dated 1977 With one seal of the artist PROVENANCE: Ancient collection of Song Zhong, former Secretary General of the Chinese Olympic Committee (a gift from the artist) Private collection, Singapore Ravenel Spring Auction 2009, Taipei, June 7, 2009, lot 048
HK$ 850,000 - HK$ 1,300,000 NT$ 3,441,000 - NT$ 5,263,000 US$ 109,600 - US$ 167,600
吳 冠中 花港觀魚 1977 彩墨 紙本 40 x 35 cm 款識右下：宋中同志品評 1977 鈐印左下：荼 來源： 前中國奧委會秘書長宋中舊藏（得自藝術家贈與） 私人收藏，新加坡 羅芙奧2009春季拍賣會，台北，2009年6月7日，編號048
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“Viewing Fish at Flower Harbour”, is one of the ten views at the West Lake, a famous scenic area in China. This view is to the southwest of Su Causeway. Emperor Kangxi arrived at the West Lake in 1699, and he was so taken by what he saw that he wrote an epigraph with the title “Viewing Fish at Flower Harbour”. A stele with the epigraph was erected by the side of the fishpond. Later when Emperor Qianlong traveled around Jiangnan (the area to the south of the lower reaches of the Changjiang River), he also visited the West Lake, also moved to compose verses, he had them engraved as an epigraph on the back of Kangxi’s stele. One of them is “At the Flower Harbour under the Mountain of flowers, flowers touch fish, and fish kiss flowers ”. Memories of Jiangnan have always been an important theme of many of Wu’s paintings. This painting is a typical one from his “Jiangnan” series. The picture’s poetic atmosphere is exuberant, with dots, lines, and planes precisely combined and mixed. The waves are depicted in freehand brushwork, and a close up of swimming carp is inserted. The complete scene is wisely balanced in terms of distant views and close shots, solid objects and empty spaces, and is cleanly coordinated in respect of colors and composition. Wu Guanzhong himself commented that “Brushes, rice paper or silk, Chinese painting pigment, all these materials have their respective virtue, and limitations as well. It is difficult to cover a huge area of canvas or paper with such materials only. For a long time I’ve been exploring a way to form a daedal effect of composition by applying several limited elements, such as dots, lines, planes, and various colors such as black, white, gray, red, yellow, green, etc. so that the painting area is expanded, showing spacious effect by balancing and changing the density of dots and lines .” (Refer to Reason– Wu Guanzhong Talks about Art by Wu Guanzhong). 西湖十景的「花港觀魚」位於蘇堤南段以西。1699年，康熙皇帝玄燁駕臨西 湖，照例題書花港觀魚景目，用石建碑於魚池畔。後乾隆下江南遊西湖時， 又有詩作題刻於碑陰，「花家山下流花港，花著魚身魚嘬花」。 憶江南，一直是吳老許多作品的情懷。此作品創作於1977年，為經典的「江 南」系列，畫面充滿詩意，點、線、面的結合嚴謹搭配。寫意的池水波瀾， 穿插近景的紅色魚兒，遠近虛實相得益彰，色彩佈局協調清爽。藝術家自己 則認為：「 筆墨、宣紙或絹、國畫顏料，其材質具獨特的優點，
同時有極大的局限，難於鋪覆巨大面積。我自己長期探索用點、 線、面，黑、白、灰及紅、黃、綠有限數種元素來構成千變萬 化的畫面，展拓畫幅，在點、線的疏密組合中體現空間效應。 」 （參閱吳冠中《吳冠中談藝錄—情理》）
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028
REED LEE
(Chinese, 1921-2010)
Homesickness 1983 Oil on canvas 91 x 116.5 cm Signed lower right Reed in English EXHIBITED: The Struggle between Space and Sentiment: Reed Lee , Taipei Fine Arts Museum, Taipei, July 9-September 25, 2011 ILLUSTRATED: Reed Lee-True Freedom Lies in Subtlety , Taipei Fine Arts Museum, Taipei, 2011, color illustrated, p. 45
HK$ 1,300,000 - HK$ 2,000,000 NT$ 5,263,000 - NT$ 8,097,000 US$ 167,600 - US$ 257,900
The important post-war veteran Taiwanese artist Reed Lee was born in 1921 in to a scholarly family in Jiangsu Province surrounded by poetry, literature, books, paintings, antiques and Beijing opera. They provided him with nourishment in Chinese culture and art. When the Sino-Japanese War broke out in 1937, Reed Lee went to
李德 望鄉
Sichuan as an exiled student. He graduated from the Chongqing University in 1945 and came to Taiwan in 1948. In contrast to members of modern painting movements such as Fifth Moon
1983 油彩 畫布 91 x 116.5 cm 簽名右下：REED
Group and Ton Fon Art Group at the time, Reed Lee did not receive
展覽： 「空間與情意的纏鬥─李德繪畫展」，台北市立美 術館，台北，展期自2011年7月9日至9月25日
Chen guided Reed Lee in his exploration of space, which would last
圖錄： 《李德 REED LEED─真放在精微》，台北市立美 術館，台北，2011，彩色圖版，頁45
To Reed Lee, creation was an endless conversation between
professional art training. However, with his passion for literature and art, he started studying painting with veteran artist Mr. Chen Te-wang (1910-1984). During his eight years of study (1956-1964), his entire life.
"man", "heaven" (nature) and "history", involving a process of the condensation of learning and the sublimation of life. After mastering figuration, Reed Lee turned to "abstraction" from 1973, creating layers of rich textures with vigorous brushwork and thick paint, and often using lines of poetry as titles. In 1983, Reed Lee returned to the exploration of "dots" and the study of "modeling" in Chinese ink painting. Before starting his late series "Attribute of Emptiness" in 1989, Reed Lee depicted his layered inner landscapes and images with powerful brushwork, dots and lines. One day in 1989, after images of his studio and models emerged in Reed Lee's subconscious, he created a series of 22 works entitled "Attribute of Emptiness". He once explained that they are depictions of actual "space", the emptiness of the impermanent world, as well as the genuine emptiness and wondrous presence of solemn Buddha images. His painting style changed from heavy and gloomy to light and clear. His "dots" also became more refined and fused with the colours, achieving a balance between sentiment and rationality . (Wu Kwang-tyng, Director of Taipei Fine Arts Museum, "Harmony between Sentiment and Rationality, Deep Cultivation
Lies in Joy-Reed Lee ", Taipei Fine Arts Museum, Taipei, 2011, p. 7)
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The attribute of emptiness has three levels: The first level is the object seen by the eyes, existing in a specific space. The second level is object transformed to self, objective phenomena transformed into perception of life. People may internalize the myriad objects of the external world, transforming them into a part of their life, creating personalized, vitalized objects. The third level is mutable, impermanent individual life, sublimated to transcend individuality and surpass the ordinary reality of space and time. Here, the boundaries between the artistic realm and the religious realm no longer remain valid. The attribute of emptiness governs all three levels, and its highest state accords with "true emptiness and wondrous presence." Here we must explain that although the preceding characterization is clearly divided into levels, when it comes to expression as a series of paintings, "Attribute of Emptiness" follows a different track of formal development. This draft that had been grasped in a dream revealed the ultimate order of painting. And painting with oil became the practical action and discipline through which the painter gradually approached and embodied this ultimate order within the flow of time. The series "attribute of Emptiness" gradually unfolded within the mutual dialectical process between these two staring points and materials. Reed Lee was unquestionably quite familiar with the postimpressionist development of Western art. In his conversations and memoirs he made frequent mention of a deep appreciation for such masters as Paul CĂŠzanne (1839-1906) and Alberto Giacometti (1901-1966). This paper will consider one British artist, Joseph Mallord William Turner (1775-1851), who worked both in oil and watercolor, in an attempt to explore one source of inspiration for Lee's painting style, and its connection to the "Attribute of Emptiness" series. The similarities between Reed Lee's paintings and the later-era painting style of Turner include: (1) the development of a form of expression verging on the abstract, based on landscapes, and seascapes in particular; (2) circular structures similar to halos; (3) literary and richly lyrical painting titles; (4) color tones tending toward a single color; and (5) and "oil sketching" style leaving behind traces of the brushstroke to produce an unfinished effect. These points of similarity may also be seen as the hall marks of Reed Lee's painting style, forms of expression adopted in order to "create a state of lyricism." Nevertheless, what must be noted is that this paper does not intend to deduce from these similarities that Turner had a direct influence on Lee, but rather,
based on these observations, to advance the following perspective:
軌跡。
In his artworks Reed Lee bended and amalgamated Eastern and Western art, culture and tradition, and his sources of inspiration may have been broader and more diverse in scope that most people recognize. (Lin Sheng-chih, Assistant Research Fellow, The Institute of History and Philology, Academia Sinica, The Genealogy of "Attribute of Emptiness", Deep Cultivation Lies in Joy-Reed Lee, Taipei Fine Arts Museum, Taipei, 2011, p. 51, 56, 60, 61)
李德是台灣戰後重要的前輩藝術家。1921年出生於江蘇省一 個詩、文、書、畫、古器物與京劇繚繞的書香世家，孕育其 豐沛的中國人文藝術涵養。1937年爆發中日戰爭，李德成為 流亡學生到了四川，1945年自重慶大學畢業，1948年來到台 灣。與同時期推動現代繪畫運動的「五月畫會」、「東方畫 會」不同的是，李德並非藝術科班出身，但愛好文學與藝術 的生命，讓他在1956年跟隨前輩畫家陳德旺（1910-1984） 習畫，長達八年（1956-1964）的學習歷程中，陳德旺開啟 李德終其一生對空間的探索。 創作對李德而言，是『人』、『天』（自然）與『歷史』， 一場無止境的對話，從其中展現出淬鍊學術、提撕生命的過 程。在經歷對物象實體的掌握，李德自1970年後進入抽象的 過程，以奔放的筆觸與厚重的顏料層層堆疊出豐富的肌理， 並喜好以詩句題名。1983年以後，李德回歸對「點」的探 索，以及中國水墨畫『皴法』的研究。在1989年李德創作晚 期《空相》系列之前，李德以充滿力道的筆觸、點與線，描 繪勾勒具有豐厚層次的心底風光與意象。
得自夢境的畫稿揭示了最終的畫面秩序，油畫製作則成為畫 家在時間之流中逐步逼近、體現這最終秩序的實踐與修練。 《空相》系列即是在這兩種起點、媒材的交互辯證過程中逐 次展開。 李德先生無疑頗為熟悉自印象派以來西洋美術史的發展，在 其談話或日記中屢次提到得自塞尚（1839-1906）、傑克梅 第（1901-1966）等大師的深切體悟。本文嘗試由一位李 德先生曾經提過的畫家，英國油畫與水彩畫家泰納（17751851）來思索李德先生畫風的部分淵源，以及與《空相》系 列的關聯。 關於李德先生畫作與泰納晚期畫風的類似之處，可舉出： （1）由風景，特別是海景發展出趨近抽象性的表現、（2） 如同發光體般的圓形構圖、（3）文學性與富於詩意的畫題、 （4）色調上趨近於單色、（5）保留筆觸，具有未完成效果 的「油畫速寫」風格。這些相似點也可視為李德先生畫風的 特徵，為追求「造境抒情」所採取的表現形式。…本文無意 將這種畫風上的類似性化約為泰納對於李德的直接影響，而 是旨在於藉由指出這種現象來說明以下觀點：在李德先生的 創作中，東西方藝術文化傳統兼融並蓄，其來源可能較一般 所認識的範圍更為廣泛而多樣。 （中央研究院歷史語言研究所 助 研究員 林聖智，《空相》的系譜，深耕寓至樂 李德，台北市立美術館， 台北，2011年，頁51、56、60、61）
1989年某日，李德自潛意中浮現畫室及其中模特兒的意象， 以此創作二十二幅《空相》系列作品。他曾解釋空相－是， 存有實在的「空」間形「相」；是，變幻無常的人間「空 相」；是，真「空」妙有的莊嚴法「相」。畫風由厚重沈鬱 轉為清明、開闊，『點』也更為精緻，與色彩融合為一，達 至感情與理性的平衡。 （台北市立美術館館長 吳光庭，感情與理性 的和諧，深耕寓至樂 李德，台北市立美術館，台北，2011年，頁7）
空相具有三個層次：第一層為肉眼所見的物象，存在於特定 的時空之中。第二層則由物轉向本我，由物象轉為人生的觀 照。人可以將萬物內化成其生命的一部分，創造出個人化、 生命化的物象。第三層則由變幻無常的個人生命，提升到超 脫個人，跨越時空的普遍真理。至此，藝術境界與宗教境界 已不復區別。空相統攝三個層次，以最高境界的「真空妙 有」為依歸。在此必須說明的是，以上的文字辯證雖然層次 分明，但是作為繪畫表現，《空相》系列另有其形式發展的
Piet MONDRIAN (1872-1944), The Gray Tree , 1911, oil on canvas, Haags Gemeentemuseum, The Hague, Netherlands / Bridgeman Images 蒙德里安《灰色的樹》1911 油彩 畫布 荷蘭海芽市立美術館收藏
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029
JU MING
(Taiwanese, b. 1938)
Taichi Series 1992 Wooden sculpture (Toona spp. kalantas) 47.7 (L) x 30.3 (W) x 50 (H) cm Engraved on lower back Ju Ming in Chinese and dated '92 This sculpture is to be sold with a certificate of authenticity issued by the nonprofit organization Juming Culture and Education Foundation.
HK$ 1,900,000 - HK$ 2,700,000 NT$ 7,692,000 - NT$ 10,931,000 US$ 245,000 - US$ 348,200
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
朱銘 太極系列 1992 木雕 (香樁木) 47.7 (長) x 30.3 (寬) x 50 (高) cm 簽名雕刻後側：朱銘 ' 92 附財團法人朱銘文教基金會作品鑑定報告書
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 first hand 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. Ju Ming says, "Taichi is a method, invented by the ancient Chinese,
of maintaining your health through regular soft exercise. It is also the best example of 'achieving oneness between man and nature' that I am aware of. Through our own body (i.e. our four limbs, internal organs, blood and breath) taichi allows us to directly experience and emulate the natural phenomena that make up our universe" Ju's lifelong pursuit of taichi's natural rhythm is manifest in his sculptures. Having internalized the principles of this ancient sport through constant practice, he is able to merge taichi and art into straightforward, unadulterated representations of man's union with nature. "Taichi Series" marked the maturation of his sculptural language and aesthetic style, securing his status as one of the most acclaimed figures in contemporary art. This series drew him away from the traditional themes he explored in the past and into a type of pure spiritualism that marked the beginning of his mature phase in modern sculpture. In his "Taichi" series, Ju Ming takes basic skills of shadow boxing as the elements of traditional picture for shaping and further replacing the traditional connotation in it, applying the massive touch sense and concise patch sense of modern sculpture, Ju Ming, as an artist, has expressed his understanding on image of mutual integration and accommodation of Chinese and western cultures. The Taichi series has seen remarkable transformations from its beginning in the late 1970s. In the early years, when the sculptures were made of
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wood, Ju Ming was basically using traditional woodworking axes
nature of humankind as its starting-point for contacting and
and knives, but over time he gradually switched over to using
imitating various natural phenomena that exist within the cosmos,
saws for the initial cutting, and then removing additional material
thereby exploring channels for communication between man
from the wood by hand or with a saw, following the grain of the
and nature. There is an emphasis on learning from nature, which
wood. In this way, the material became a more effective medium
has echoes of Zen Buddhist thought. Later works in the “Taichi”
for the content of what Ju Ming wanted to express, the medium
series placed more emphasis on the relationship between the
in fact became the content, thereby enhancing the vitality of
individual and the group; the human figures are somehow closed
the symbolism. His travels in Europe brought about the most
in on themselves, unlike the more flamboyant works of Ju Ming’s
revolutionary transformation in his approach towards this subject.
earlier period. The statues from this later period have little in the
His encounters with the stone architecture of ancient Rome
way of decorative finishing; the carving is more intense, in a way
brought him profound inspiration. As a result, his works since
reminiscent of traditional Chinese ink brush painting.
the 1990s took on cleaner contours and a more sublime sense of monumentality.
This rare piece of wooden “Taichi” series was executed in 1992, depicting the classic posture of Taichi-- Golden Rooster Standing.
Ju Ming saw man as being a part of nature, rather than standing
"Golden Rooster Standing" is clean and simple in form but
in opposition to nature. The “Taichi” series took the essential
voluminous in its presence. The artist has made use of clean and
precise sculptural cutting to mold the voluminous surface area. From the waist to the shoulder runs an astonishingly bold cutting mark that vividly models the energy and sense of speed of a kick from the right leg. Art critic Chang Tsong-zung has said: "In
the sculptural art of Ju Ming the signature cutting strokes are attuned by their usage in sculpting figurative form, where spirit and likeness should be captured with minimal strokes ". Ju Ming's Taichi sculptures depict diverse movements expressing a delicate balance between movement and immobility. 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。 朱銘曾說：「 太極拳是古代中國人所創造的一種健身術，它是我
所知道的一個『人與自然結合』的最好例子。首先，它是用人 自己的身體（四肢、五官、血液、呼吸）來接觸和模仿宇宙中 的自然現象。 」朱銘追求自然的韻律，透過練習太極、雕刻太極，達 成「人與自然結合」的完美表現。太極系列堪稱其雕刻語言與美學風格 成熟之作， 他奠定當代藝術名家的地位。 个系列迥異於過去探索的傳統 主題，趨向純粹靈性，使其現代雕塑開始進入成熟期。 在「太極系列」中，朱銘借用太極拳的基本招式作為造型的傳統圖式因素依據，並 進一步置換其中傳統的內涵，運用現代雕塑厚重的體量和簡約的塊面形式，表達了藝術 家對於中西兩種文化融合與變通的意象理解。太極系列始於1970年代後期，當中可見 顯著轉變。早期木雕太極系列，朱銘的創作方式基本上還是刀鑿斧劈，但漸漸 地，他改而採用鋼鋸裁切，再順著自然紋理手撕或斧劈，使材料不僅成 為表現內容的載體，而且還轉化為內容本身，從而強化了形象的生命 力。行旅歐洲的经 為他處理該主題的手法 最革命性的轉變，古羅馬 石造建築帶給他深刻的啟示。影響所及，1990年代以後的作品，輪 廓更簡潔，愈見莊嚴神聖。 他將「人」視為自然的一部分，而不是與自然的對立，「太極系 列」是從人的本性出發，去接觸和模仿宇宙中自然的現象，藉此追 求人與自然溝通之路，所謂師法自然、處處有禪機。而後來的太極 群像，注重個體與群體的關係，人物較收緊，不像過去那麼開展， 作品均不加太多修飾，功力較過去深厚，有如中國潑墨畫。 此次榮幸的呈現的這件《太極系列》作於1992年，表現了太極經典招 式——金雞獨立。作品在形式上清新、簡樸、氣勢磅礡。藝術家精準 的雕塑工藝形塑出渾厚的作品表面。從雕塑的肩膀到腰部，採用非常粗 狂的切割痕跡，生動地傳遞了力量以及速度感。張頌仁評論道：「 朱銘
的雕塑藝術將形象描繪與象徵手法相結合，以最細微的筆觸捕捉 作品的神似與形似。 」朱銘的太極雕塑描繪了不同的運動，表達了運動和靜止 之間的微妙平衡。
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030
JU MING
(Taiwanese, b. 1938)
Taichi Series 1991 Wooden sculpture 73.5 (L) x 39 (W) x 42 (H) cm Engraved on lower back Ju Ming in Chinese and dated '91
HK$ 2,400,000 - HK$ 3,000,000 NT$ 9,717,000 - NT$ 12,146,000 US$ 309,500 - US$ 386,800
朱銘 太極 1991 木雕 73.5 (長) x 39 (寬) x 42 (高) cm 簽名雕刻後側：朱銘 '91
In contemporary Chinese artistic circle, Ju Ming's
circle. The creation theme "Taichi" is originated
sculpture arts are famous for the style containing deep
from his life experience, as well as an experience of
orient cultural connotation and presenting personality.
life movement and a capture of life imago also. Ju
In his sculpture "Taichi" series, the individual sculpture
Ming accepted Yuyu Yang's suggestion and begun
together with the surrounding environment, has
to learn shadowboxing. Exercise of shadowboxing
formed a unique humanistic landscape. In "Taichi
and comprehension about shadowboxing spirit has
Series", taking basic skills of shadowboxing as the
evolved into a new topic of his sculptural art, as well as
elements of traditional picture for shaping and further
his personality. The works have presented an immense
replacing the traditional connotation in it, applying
bearing of man and nature combination and promoted
the massive touch sense and concise patch sense of
the outstanding existence of "Taichi" image. From
modern sculpture, Ju Ming, as an artist, has expressed
learning Taichi to carving Taichi, along with increasing
his understanding on imago of mutual integration and
improvement of skills of Taichi, his understanding
accommodate ion of Chinese and western cultures.
about Taichi spirit has been continuously deepened, images he carved coming out one after another so that
"Taichi" is an important symbol forming Ju Ming's
his creation turning to be more and more confident
mature sculpture language and artistic style. When
and perfect, attaining such a realm where he "carves at
"Taichi" appeared by his cutting skills, it immediately
will", oblivious of himself.
a ro u s e d t h e c o n c e r n f ro m i n t e r n a t i o n a l a r t i s t i c
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In 1978, Ju Ming went to Japan for exhibitions twice. That was
Ju Ming's creation of the "Taichi Series" has made mutual reference
the first time his "Taichi Series" attracted attention, among which,
and integration of the sculpture on a shelf and the environmental
"Single Whip" has, since then, found its foothold in Japanese
sculpture and introduced a new concept of modern sculpture,
"Chokoku no mori". "Taichi Series" opened another foreground
endowing modern public space with a wider visual creation and
of his creation also. Actually, before then, in the exhibition of 1976
humanistic prospect. With its unique visual symbol and sculptural
through which he found fame, Ju Ming had exhibited a woodcarving
graphic arts, the "Taichi Series" has become a complementation of
with the topic of Kong Fu, which could be considered as the origin
an urban life and an extension of natural creation. The works have
of the "Taichi Series". But, in the view of Ju Ming, it is the "Taichi
shaped a visual effect of conquering the dynamic by static and
Series" that is the starting point of his own style. He expresses the
exciting touch sense, being provided with a specific impelling force
vital force from inside to outside rather than from outside to inside.
of the age and teemed with endless imagination and edification of a contemporary aesthetic spirit.
In the sculptures of the "Taichi Series", the relations between the geometric abstraction and active posture of the figures, as well as
"Taichi Series", executed in 1991 depicting the posture â&#x20AC;&#x153;Below
the contrast between the dynamic and static, the rough and terse
Elbow Watch First Lean", is an exercise in freeform fluidity. Both
in tri-dimensionality form a rich rhythmic change in the works. The
hands move to the front, gathering energy inwards for an explosive
sculpture presents a very colorful effect of change between light
kick with the right foot. This is the right heel kick, boiled down to its
and shadow. In "Single Whip", relying on his own experience and
bare essence. In this piece, you can truly appreciate the explosive
judgment, Ju Ming made artistic treatment of the familiar Taichi
power of the heel kick along with the solid stability of the left foot,
culture and relevant boxing skills, having broken away from previous
a great example of the principles of perfect balance in Taichi. As
and relevant frame, giving out a kind of vitality and irresistible
Ju Ming said "the practice of Taichi strives for a concentration of
power.
energy on the inside, along with calm and ease on the outside ".
在中國當代藝術界，朱銘的雕塑藝術，以其深含東方文化內涵而又獨具
《功夫》的木雕，可以說是「太極系列」的發端。在朱銘眼中，「太極
個性面貌的雕塑風格而著稱。他的「太極」系列雕塑，從雕塑個體到周
系列」才是他自己風格的起點，而他所要表達的那份生命力，是由內而
圍環境，共同形成了一種獨特的人文景觀的架構。在「太極系列」中，
外，而非由外而內。
朱銘借用太極拳的基本招式作為造型的傳統圖式因素依據，並進一步置 換其中傳統的內涵，運用現代雕塑厚重的體量和簡約的塊面形式，表達
「太極系列」雕塑之中，幾何化抽象體面與人物動勢造型的聯繫，以及
了藝術家對於中西兩種文化融合與變通的意象理解。
三度空間語言中動靜與粗放簡潔的對比，形成了作品豐富有致的節奏變 化；雕塑在陽光和陰影之中形成極為豐富的變化效果。
「太極」是朱銘雕塑語言成熟和藝術風格形成的一個重要標誌。當「太 極」出現在他的斧鋸之下，很快便引起了國際藝壇的關注。朱銘「太
「太極系列」創作，將架上雕塑和環境雕塑相互參照和融合，引入現代
極」的題材創作源於他的生活經歷，也是一種對生命運動的體驗與對生
雕塑的新理念，在現代的公共空間之中，賦予了更為廣闊的視覺創造和
命意象的捕捉。朱銘接受了楊英風的建議開始學習太極拳，太極拳的練
人文圖景。《太極系列》以其獨特的視覺符號和雕塑形態，成為都市生
習與對太極精神的領悟，化為他雕塑的新主題也是其個性的主題。作品
活的互補和自然造化的延伸。作品形成了以靜制動的視覺張力和震撼人
湧現出天人合一的浩瀚氣度，促成「太極」形象卓然挺立。從學習太極
心的體量感，具有特定的時代感召力，富有無盡的當代審美精神的想像
到雕塑太極，隨著對太極招式熟練程度的不斷提高，對太極精神理解的
和陶冶。
不斷加深，斧鋸下的形象源源不斷，創作時也更加遊刃有餘，並達到了 完全可以「縱手放意」，達到渾然忘我的境地。
1991年木雕作品《太極系列》表現太極招式「肘底看捶前動」自由流動 的形態；雙手向前擺，向內集氣，右腳用力一蹬。這就是右蹬腳，回歸
1978年朱銘二度赴日本展出，這也是他的「太極系列」首次受到矚目
至其純粹的本質。這件作品讓人感受蹬踢的爆炸性威力，左腳卻不動如
的一次展覽，其中「單鞭下勢」系列作品從此矗立在日本的「雕刻之
山，充分展現太極完美平衡的精神。正如朱銘所言：「 太極努力追求
森」美術館。「太極系列」也為他的創作生涯開闢了另一個旅程。其實
由內集氣，而外冷靜自持。」
在此之前，就在1976年他成名的那次個展中，朱銘就已展出一尊題為
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031
LI CHEN
(Taiwanese, b. 1963)
Soothing Breezes Floating Clouds
李真
2005 Bronze, edition no. 5/8 70 (L) x 50 (W) x 120 (H) cm Engraved on the back Li Chen in Chinese and English, numbered 5/8
清風雲露
EXHIBITED: Li Chen - In Search of Spiritual Space , National Museum of China, Beijing, April 29-May 11, 2008 Greatness of Spirit: Li Chen Premiere Sculpture Exhibition in Taiwan , Chang Kai-shek Memorial Hall, Taipei, November 6-December 4, 2011 Li Chen's Major Sculpture Solo Exhibition , Place Vendôme, Paris, September 2-29, 2013 (larger version) 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, color illustrated, pp. 116-123 & p. 172 & p. 175 (different sized version illustrated) Greatness of Spirit: Li Chen Premiere Sculpture Exhibition in Taiwan , Asia Art Center, Taipei, 2012, color illustrated, pp. 90-93 (larger version) Li Chen's Major Sculpture Solo Exhibition , Asia Art Center, Taipei, 2014, color illustrated, pp. 96-97 (larger version) This sculpture is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.
HK$ 1,500,000 - HK$ 2,200,000 NT$ 6,073,000 - NT$ 8,907,000 US$ 193,400 - US$ 283,700
2005 銅雕，5/8 70(長) x 50(寬) x 120(高) cm 簽名雕刻後方：李真 Li Chen 5/8 展覽： 「李真—尋找精神的空間」，中國美術館， 北京，展期自2008年4月29日至5月11日 「大氣－ 李真台灣大型雕塑首展」，中正紀念堂， 台北，展期自2011年11月6日至12月4日 「李真2013巴黎凡登廣場大型雕塑個展」， 凡登廣場，巴黎，展期自2013年9月2日至29日 (較大版本) 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 《大氣－ 李真台灣大型雕塑首展》， 亞洲藝術中心，台北，2012，彩色圖版， 頁90-93 (較大版本) 《李真2013巴黎凡登廣場大型雕塑個展》， 亞洲藝術中心，台北，2014，彩色圖版， 頁96-97 (較大版本) 附亞洲藝術中心開立之原作保證書
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SOOTHING BREEZES FLOATING CLOUDS LI CHEN
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. 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。
Early dusk, looking out into the void, the red sun sets, driving away the gray smoke.
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032
LI CHEN
(Taiwanese, b. 1963)
Angelic Smile
李真
2010 Bronze, edition no. 7/8 55.5 (L) x 46 (W) x 125.5 (H) cm Engraved on the back Li Chen in Chinese and English, numbered 7/8
捻花
EXHIBITED: The Beacon–When Night Light Glimmers , ShContemporary 10: The Asia Pacific Contemporary Art Fair, Shanghai, September 9-12, 2010 Greatness of Spirit: Li Chen Premiere Sculpture Exhibition in Taiwan , Chang Kai-shek Memorial Hall, Taipei, November 6 - December 4, 2011 Li Chen's Major Sculpture Solo Exhibition , Place Vendôme, Paris, September 2-29, 2013 (larger version)
展覽： 「天燧系列：夜光盈昃」，2010上海藝術博覽會國際 當代藝術展，上海，展期自2010年9月9日至12日 「大氣－ 李真台灣大型雕塑首展」，中正紀念堂，台 北，展期自2011年11月6日至12月4日 「李真2013巴黎凡登廣場大型雕塑個展」，凡登廣 場，巴黎，展期自2013年9月2日至29日（較大版本）
ILLUSTRATED: The Beacon Series When Night Light Glimmers , Asia Art Center, Taipei, 2010, color illustrated, pp. 78-85 & back cover Greatness of Spirit: Li Chen Premiere Sculpture Exhibition in Taiwan , Asia Art Center, Taipei, 2012, color illustrated, pp. 118-121, black and white illustrated, pp. 36-37 (potter's clay version) Li Chen's Major Sculpture Solo Exhibition , Asia Art Center, Taipei, 2014, color illustrated, pp. 112-113; black and white illustrated, p. 81 (larger version)
2010 銅雕，7/8 55.5(長) x 46(寬) x 125.5(高) cm 簽名雕刻後方：李真 Li Chen 7/8
圖錄： 《天燧系列：夜光盈昃》，亞洲藝術中心，台北， 2010，彩色圖版，頁78-85與封底 《大氣－ 李真台灣大型雕塑首展》，亞洲藝術中心， 台北，2012，彩色圖版，頁118-121，黑白圖版，頁 36-37 (土坯版本) 《李真2013巴黎凡登廣場大型雕塑個展》，亞洲藝術 中心，台北，2014，彩色圖版，頁112-113；黑白圖 版，頁81 (較大版本) 附亞洲藝術中心開立之原作保證書
This sculpture is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.
HK$ 1,500,000 - HK$ 2,200,000 NT$ 6,073,000 - NT$ 8,907,000 US$ 193,400 - US$ 283,700
Born in 1963, Li Chen is an artist who divides his time living in Taichung and Shanghai. Early on in his career, Chen dabbled in the study of Buddhism and Taoism, and he was later able to fuse the emotion of religious introspection with the spirit of creative freedom. He also absorbed Eastern traditions, Western sculpture, and the rawness of Africa and the arts of Oceania, combining them with contemporary thinking, which freed him from the constraints of a singular tradition and allowed his creations to rival the wonders of nature. During the 1990s, his vigorous personal creative concepts led him to forego his Buddha statue carving profession in favor of focusing on creation of art. His creations are intertwined with his personal emotion and contemporary spirit; his sculptures seem simultaneously classic and modern. His works emit harmony of life that strives for a new reflection. Li Chen is achieving personal spiritual healing through creation of art. He is seeking paradise on earth, creating spiritual realms in his works. He is conveying metaphors in humorous ways. We hope viewers can see the spiritual elements within.
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ANGELIC SMILE LI CHEN
To the bashful lass in “Angelic Smile”, the lotus flower is a source of
李真，1963年出生，目前創作於臺中、上海兩地。早期涉獵佛學道家
comfort and joy for the mind and soul. Her well-rounded, full figure
等，在自由創作的精神中融入自我攝心之情感，並吸收東方傳統與西方
and elongated upper body are typical of both classical and modern
雕塑、及原始非洲大洋洲等藝術養分，更結合當代思惟，作品不受單一
Chinese female figures. The work may rouse a myriad of feelings in
傳統束縛，呈現渾然天成的效果。因有豐沛的個人創作意念，於是放棄
the viewer – one may feel a sense of blessing, longing, satisfaction
佛像雕刻事業，90年代起專註於藝術創作。其創作中，有個人的情感、
and innocence, and even be inspired to make a wish. At here, Li
當代的精神，雕塑作品的面貌看來暨古典又現代；他的作品讓人感受到
Chen shows his playful streak in his presentation of the cloud, which
生命和諧的作品，盼能引發不同的省思。李真透過藝術進行個人的「精
takes the shape of a shower cap or a pillow resting on the head of
神療傷」，在俗世中尋找樂土，在作品中創造靈性空間，用幽默詼諧的
the figure. When viewed from behind, the head is hidden by the
方式暗喻世事，希望欣賞者能察覺其中的精神元素。
cloud, which in turn resembles a rather abstract-looking face. We marvel yet again at how Li Chen stretches our imagination and
《捻花》如是一位憨厚女子，靦腆仰望地享受著蓮花帶給她心靈愉悅，
piques our curiosity in his inimitable style.
體象圓潤長腰低臀的比例，塑造出融合古典與當代華人女性普遍特質。 另外，此作品也讓人有多種感受，如祝福、思念、滿足、單純、或者許
Li Chen’s works reflect his study of the physique, historical artifacts,
願等。李真不改其創作中常有的幽默，女子後方雲彩，如浴帽或枕頭般
and environment of the inhabitants of the Orient, and viewers will be
處理，從背面觀賞，不見其頭，有如抽象臉孔，是李真作品中超乎外觀
able to discern the people groups Li Chen has sculpted through the
之想像和精采。
texture of his works. "Angelic Smile" represents an encore for The Beacon series. The most important element of The Beacon is fire,
李真以他對東方體態的觀察，從歷史文物與週遭生活特徵，所作之人體
which was discovered and utilized by Suiren about 5000 years ago.
肌理令人一眼辨出作品的地域種族，《捻花》為「天燧」系列延伸出篇
Suiren’s discovery greatly impacted humanity. Today, technology
外章。「天燧」系列的重要元素——「火」。為距今約五千年前燧人氏
advances in pursuit of correcting what is wrong and has significantly
所發現，並靈活運用。因此，人類文明受到極大轉變。今日科技因不斷
altered living conditions, so much so that the purest meanings have
推翻錯誤而發達，導致許多周遭生活事物都漸漸變調，最純粹的意義都
ceased to exist. Fire remains constant, regardless of place or time,
消逝變滅。火，對人類亙古不變，無論古今中外、性別種族，火乃實用
gender or race; it continues to bring warmth, to cook, to light the
地為人類取暖、烹飪、照明等，人類對火之敬重與情感，也可在各種生
world. Respect and emotion for fire can still be found in various live
活現象與不同宗教儀式裡發現蹤跡。「天燧」的「天」也就是這種劃破
activities and religious ceremonies. The Beacon expresses the idea
時空，不分疆界之意。李真從材質到理念，「千年暗，一燈明」，真誠
of being uninhibited by time, space, and rigid boundaries. From the
詮釋他對靈光、靈氣之吸收，對文化生活與世界觀察，自然地刻劃出東
selection of the materials to the concept of a light remaining through
方人文性。
a thousand years of darkness, Li Chen full-heartedly expresses the spiritual light and aura he has absorbed, and through his observation of culture and the world, he intuitively carved out the characteristics of Orientals.
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033
WANG KEPING
(Chinese, b. 1949)
Woman 2003 Cedarwood sculpture 37(L) x 30(W) x 41(H) cm Engraved on the back Wang in Chinese and initialed K in English
HK$ 160,000 - HK$ 240,000 NT$ 648,000 - NT$ 972,000 US$ 20,600 - US$ 30,900
王 克平 女子 2003 雪松木 37(長) x 30(寬) x 41(高) cm 簽名雕刻背面：王K
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034
WALASSE TING
(Chinese-American, 1929-2010)
丁雄泉
Geisha
藝妓
1970s Acrylic on paper 19.5 x 25 cm With one seal of the artist
1970年代 壓克力 紙本 19.5 x 25 cm 鈐印左上：採花大盜
PROVENANCE: Private collection, Netherlands (A gift from the artist in around 1976)
來源： 私人收藏，荷蘭（藝術家贈送於1976）
HK$ 34,000 - HK$ 50,000 NT$ 138,000 - NT$ 202,000 US$ 4,400 - US$ 6,400
035
WALASSE TING
(Chinese-American, 1929-2010)
丁雄泉
Ladies with Flower Bouquets
持花雙美
mid 1980s Acrylic on paper, mounted onto canvas 46 x 64 cm With one seal of the artist
1980年代中期 壓克力 紙本 裱於畫布 46 x 64 cm 鈐印右下：採花大盜
PROVENANCE: Private collection, USA Private collection, Netherlands
來源： 私人收藏，美國 私人收藏，荷蘭
HK$ 60,000 - HK$ 90,000 NT$ 243,000 - NT$ 364,000 US$ 7,700 - US$ 11,600
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036
WALASSE TING
(Chinese-American, 1929-2010)
丁雄泉
Pink Lady
紅粉佳人
mid 1980s Acrylic on paper mounted onto canvas 67 x 48 cm With one seal of the artist
1980年代中期 壓克力 紙本 裱於畫布 67 x 48 cm 鈐印中下：採花大盜
PROVENANCE: Private collection, USA Private collection, Netherlands
來源： 私人收藏，美國 私人收藏，荷蘭
HK$ 55,000 - HK$ 85,000 NT$ 223,000 - NT$ 344,000 US$ 7,100 - US$ 11,000
037
MAX LIU
(Taiwanese, 1912-2002)
Severe Cold
劉其偉
1986 Watercolor on paper 45 x 30 cm Signed upper left Liu Chi-wei in Chinese phonetic alphabet and dated '86 .
二十四節氣─大寒
ILLUSTRATED: Max Chiwai Liu - Water-Colour Works of 1962~86 , 1986, Artist Publishing Co., Taipei, color illustrated, p. 33. Max Liu's 40 years of retrospective exhibition , 1990, Taiwan Museum of Art (Presently the National Taiwan Museum of Fine Arts), Taichung, color illustrated, p. 13.
圖錄： 《劉其偉水彩集─1986 二十四節氣系列、 回顧作品1962~86》，1986，藝術家出版 社，台北，彩色圖版，頁33 《劉其偉創作40年回顧展》，1990，台 灣省立美術館（現國立台灣美術館），台 中，彩色圖版，頁13
1986 水彩 紙本 45 x 30 cm 簽名左上：ㄌ一ㄡˊㄑㄧˊㄨㄟˇ '86
HK$ 90,000 - HK$ 140,000 NT$ 364,000 - NT$ 567,000 US$ 11,600 - US$ 18,100
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038
MAX LIU
(Taiwanese, 1912-2002)
Play Mahjong
劉其偉
1991 Mixed media on canvas 40 x 55 cm Signed upper left Liu Chi-wei in Chinese phonetic alphabet and dated 1991 (Chinese numerals)
搓麻將
HK$ 75,000 - HK$ 120,000 NT$ 304,000 - NT$ 486,000 US$ 9,700 - US$ 15,500
1991 綜合媒材 畫布 40 x 55 cm 簽名左上：ㄌㄧㄡˊㄑㄧˊㄨㄟˇ ｜攵攵｜
039
MAX LIU
(Taiwanese, 1912-2002)
War Horse of the First Emperor
劉其偉
1989 Mixed media on paper 35 x 50 cm Signed lower right Liu Chi-wei in Chinese phonetic alphabet, inscribed Taiwan and dated 1989 (Chinese numerals)
秦王的戰馬
ILLUSTRATED: Son of the Nature - Max Liu , G. Zen Art Gallery, Kaohsiung, August 1996, p. 66
1989 綜合媒材 紙本 35 x 50 cm 簽名右下：ㄌㄧㄡˊㄑㄧˊㄨㄟˇ ｜攵 攵 Taiwan 圖錄： 《自然之子：劉其偉》，積禪藝術，高雄，1996 年8月出版，頁66
HK$ 100,000 - HK$ 150,000 NT$ 405,000 - NT$ 607,000 US$ 12,900 - US$ 19,300 Ravenel
99
040
MAX LIU
(Taiwanese, 1912-2002)
Cello
劉其偉
1987-8 Mixed media on paper 47 x 33 cm Signed lower left Max and dated upper right 1987-8
大提琴
PROVENANCE: Liang Gallery, Taipei
HK$ 75,000 - HK$ 120,000 NT$ 304,000 - NT$ 486,000 US$ 9,700 - US$ 15,500
1987-8 綜合媒材 紙本 47 x 33 cm 簽名左下：Max 年代右上：1987-8 來源： 尊彩藝術中心，台北
041
YANG DIN
(Chinese, b. 1958)
Impression of the Yellow Ground
楊登雄
2006 Acrylic on canvas 180 x 200 cm Signed lower right Yang Din in English Signed on the reverse Yang Din in English and titled "L'Impression de la terre jaune " in French, inscribed 180 x 200 cm and dated 2006
印象中的黃土地
This painting is to be sold with a certificate of authenticity issued by Kwai Fung Hin Art Gallery, Hong Kong.
2006 壓克力 畫布 180 x 200 cm 簽名右下：Yang Din 簽名畫背：Yang Din "L'Impression de la terre jaune" 2006 180 x 200 cm 附季豐軒畫廊開立之原作保證書
HK$ 100,000 - HK$ 150,000 NT$ 405,000 - NT$ 607,000 US$ 12,900 - US$ 19,300
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042
TECHING HSIEH
(Taiwanese, b. 1950)
One Year Performance (1978-1979)
In 2009, MoMA launched a pioneering new series focused on
1980; 1993 Cage created in 1980; print executed in 1993 Print, statement and poster, edition no. 123/365 127 x 97 cm (print); 27.5 x 21.5 cm (statement); 44.5 x 28.5 cm (poster) Signed lower right Sam Hsieh, Tehching in English and dated 1980 and 1993 (print) Numbered lower left 123/365 (print)
contemporary art's most volatile form. The first exhibition,
EXHIBITED: Performance 1: Tehching Hsieh , Museum of Modern Art, New York, January 21–May 18, 2009
in a wooden cage, furnished only with a wash basin, lights, a
ILLUSTRATED: Adrian Heathfield & Tehching Hsieh, Out of Now: The Lifeworks of Tehching Hsieh , Live Art Development Agency, London; MIT Press, Cambridge, USA, 2009 Adrian Heatherfield & Tehching Hsieh, Out of Now: The Lifeworks of Tehching Hsieh , Taipei Fine Arts Museum; Art & Collection Group, Taipei, 2011, color illustrated, pp. 7274 & p. 87
Performance 1: Tehching Hsieh, introduced the Taiwan- born, New York City-based performance art master Tehching Hsieh through the records and remnants of his seminal "Cage Piece" (1978-79). In this performance, which lasted from September 30, 1978 through September 29, 1979, Tehching Hsieh locked himself pail, and a single bed. During the year, he was not allowed to talk, to read, to write, or to listen to radio and TV. A lawyer notarized the entire process and made sure the artist never left the cage during that one year. A friend came daily to deliver food, remove the artist's waste, and take a single photograph to document the project. In addition, this performance was open to be viewed daily from 11am to 5pm. After one full year passed, he have left the signs which he marked on the walls to count the days. The artist took both time-based art and personal deprivation
HK$ 70,000 - HK$ 100,000 NT$ 283,000 - NT$ 405,000 US$ 9,000 - US$ 12,900
to new extremes. The curator of Hsieh's solo show at MoMA, Jenny Schlenzka stated: "Hsieh's works stand out for their
enormous duration and the great physical strain they demand. With rigorous discipline and endurance, the artist created situations in which life and art became simultaneous. In his
謝 德慶
work, the conventional distinction between artistic time and lived time becomes meaningless. "
一年行為表演（1978-1979） 1980；1993 籠子創作於1980；版畫製作於1993 版畫 聲明 海報；版畫版次 123/365 127 x 97 cm（版畫） 27.5 x 21.5 cm（聲明） 44.5 x 28.5 cm（海報） 簽名右下：Sam Hsieh 1980 Tehching 1993（版畫） 版次左下：123/365（版畫）
2009年，紐約現代美術館史無前例推出當代藝術中最大變數形式 的「行為表演」展覽單元，第一檔展覽名為「行為藝術之一：謝德 慶」，主推台灣出生、旅居紐約的行為藝術大師謝德慶，展出其 三十年前的代表作「一年行為」系列作品《籠子》(1978-79)的記 錄與物件。 這件表演行為在謝德慶的紐約工作室，期間從1978年9月30日到 1979年9月29日為止，整整一年時間將自己鎖在一座木籠子內，裡
展覽： 「行為藝術之一：謝德慶」，現代美術館，紐約，展期自 2009年1月21日至5月18日
頭只有一個洗手台、燈、馬桶和一張單人床。期間不與外界交談、
圖錄： 亞德里安．希斯菲爾德與謝德慶，《現在之外：謝德慶生 命作品》，即場藝術推廣協會，倫敦；麻省理工學院出 版，美國劍橋，2009 亞德里安．希斯菲爾德與謝德慶〈龔卓軍譯〉，《現在之 外：謝德慶生命作品》，台北市立美術館；典藏藝術家 庭，台北，2011，彩色圖版，頁72-74與頁87
無離開木籠。每天可開放參觀，時間自早上11點到下午5點。一年
不閱讀、不書寫，也不收聽廣播或看電視，一位朋友每天來照料 食物、衣服並處理穢物，且拍照紀錄。全程由律師公證，確認絕 過去，他在牆上留下366條計算日期的符號，以及「S A M H S I E H 93078-92979」的刻痕。 當年，謝德慶將時間的藝術和身體的剝奪兩種元素推至新的極限。 紐約現代美術館謝德慶個展的策展人珍妮．施林卡茲曾說過：「 謝
德慶作品的傑出之處，在於它們需要極長的時間持續性 與極大的身體損耗。以嚴峻的訓練和耐力，藝術家創作 出生命和藝術同步的狀態。在他的作品中，藝術時間與 生命時間之間的世俗區分已經不具意義。」
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043
VINCENT J.F. HUANG
"Tunalutis-006" is made using material from a reef in the island nation of
(Taiwanese, b. 1971)
Tuvalu in the South Pacific, combined with a collage of printed circuits
Tuvalutis -006
that reflects the threat posed by global climate change. The choice of
2013 Mixed media, acrylic, Tuvalu reefs and printed circuit boards on canvas Diameter 80 cm Signed on the reverse Huang Jui-fang in Chinese and Vincent J.F. Huang in English EXHIBITED: La Biennale di Venezia - 55th International Art Exhibition , Venice, June 1 - November 24, 2013 Destiny Intertwined – A Dialogue between Vincent J.F. Huang and Tuvalu , Museum of Contemporary Art, Taipei, December 31, 2013 - February 9, 2014 ILLUSTRATED: Tuvalu Pavilion - La Biennale di Venezia - 55th International Art Exhibition , Tuvalu Pavilion, 2013, color illustrated, p. 79 Vincent J.F. Huang , Museum of Contemporary Art, Taipei, 2013, color illustrated p. 247
HK$ 100,000 - HK$ 150,000 NT$ 405,000 - NT$ 607,000 US$ 12,900 - US$ 19,300
黃 瑞芳 吐瓦魯提斯-006 2013 吐瓦魯礁石 電路板 壓克力顏料 畫布 直徑 80 cm 簽名畫背：黃瑞芳Vincent J.F. Huang 展覽： 「第五十五屆威尼斯雙年展」，威尼斯，展期自 2013年6月1日至11月24日 「命運．交織─黃瑞芳與吐瓦魯的對話」，台北 當代藝術館，台北，展期自2013年12月31日至 2014年2月9日
that symbolize modern civilization, to create a heat-sensitive color scheme the distinctive coral reef material from one of the countries that will be most badly affected by climate change embodies the utilization of art as a means of recording history, and emphasizes the issue of global sustainability. The work constitutes a commentary on contemporary global events, and reflects deep reflection on the alienation of technology from the natural environment. This piece explores the way in which, since the commencement of the Industrial Revolution, humanity has used the development of "civilization" as an excuse for wantonly consuming hydrocarbon energy sources, while also adopting materialist, consumerist values, and examines how these trends have led to unprecedented climate change and natural disasters. The work prompts us to consider what kind of future the ongoing development of human civilization will bring. Adopting a mixed-media approach, the artist travelled to the island country of Tuvalu in the South Pacific, which is on the frontline of the struggle against climate change, and to a location in the Arctic Ocean at a latitude of 78 degrees north, to undertake artistic creation in the field. The creation of art works characterized by black humor through their use of creatures that are suffering harm from climate change represents a critique of the contemporary, non-sustainable, predatory economic model. Besides pointing up the threat to the survival of small island nations, these works also draw on the Social Sculpture movement initiated by Joseph Beuys, seeking to use art to help make Tuvalu's voice heard in the international community. The Tuvalu reefs are used as a metaphor for the natural environment and are circled by circuit boards that symbolize technological civilization. The series depicts the world after the industrial revolution, in which human beings have been pursuing economic growth in the name of development and are finally faced with the consequent extreme climate change. Taiwan's diplomatic ally, Tuvalu, is assessed to be the first island country that faces the imminent threat of rising sea level. Is the development of our civilization pointing to a better and brighter future, or leading the human race towards destruction when pursuing development without limits? (Quoted from the website of Taipei MOCA)
《吐瓦魯提斯-006》以南太平洋島國吐瓦魯礁石為媒材，輔以拼貼 象徵現代文明的電路板現成物，組構成現今地球面對氣候變遷危機 之熱感應色調。藉由氣候變遷受難指國之獨特珊瑚礁石媒材，透過 圖錄： 藝術記錄歷史的角度，突顯全球永續議題。其創作素來關注全球時 《第五十五屆威尼斯雙年展吐瓦魯國家館畫 政，作品常蘊含了對環境和科技異化問題的深度思考。探討工業革 冊》，吐瓦魯國家館，2013，彩色圖版，頁79 《黃瑞芳個展畫冊》，台北當代藝術館，台北， 命以來，人類以文明發展為名，大肆消耗石化能源與建構的消費文 2013，彩色圖版，頁247 明價值觀，反為人類帶來前所未有的氣候劇變及自然反撲浩劫。思 考文明不斷發展將帶向如何的未來? 尤以透過多元藝術形式，遠赴 氣候變遷最前線的南太島國吐瓦魯及北緯78度的北冰洋進行現地創作，運用氣候變遷受難動物創造的黑色幽默作品， 批判現今非永續的掠奪式經濟模式。不僅突顯小島國的生存危機，更彷如波伊斯式的「社會雕塑」實踐般，嘗試透過 藝術實踐為吐瓦魯爭取國際發聲。 以吐瓦魯當地礁石象徵自然環境，並以象徵科技文明的電路板媒材環繞，描繪自工業革命後，人類以發展為名，無限 追求經濟成長，導致極端氣候加劇肆虐。以被評估將為首個遭海平面升高而面臨煙滅危機的台灣友邦吐瓦魯為暖化前 線之隱喻象徵，探討人類文明將帶向美麗新世界的明天?或是在無限追求高速發展下往未知災難的終點前進？（節錄自 台北當代藝術館展覽網站文宣）
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044
LO CHAN-PENG
(Taiwanese, b. 1983)
The Beauty Ode 5
羅展鵬
2009 Oil on canvas 145 x 145 cm Signed on the reverse Lo Chan Peng in Chinese and English, dated 2009
紅顏歌5
ILLUSTRATED: Journal of Strawberry Generation , Aki Gallery, Taipei, 2009, color illustrated, pp. 118-119
2009 油彩 畫布 145 x 145 cm 簽名畫背：羅展鵬 Lo Chan Peng 2009 圖錄： 《草莓族青春日誌》，也趣藝廊，台北， 2009，彩色圖版 ，頁118-119
HK$ 160,000 - HK$ 240,000 NT$ 648,000 - NT$ 972,000 US$ 20,600 - US$ 30,900
Chan Peng was born in Chiayi, Taiwan in 1983. His parents separated when he was very young, and Lo grew up in a single-parent family; painting gave him comfort and strengthened his sense of self. Lo began to study art on a formal basis in high school, and in 2005 secured admission to the Western Painting Section of the Fine Arts Department, Chinese Culture University in Taipei. Having to work part-time in order to pay his tuition fees, “I was constantly anxious and stressed.” After completing his undergraduate degree, Lo entered the Western Painting Section of the Graduate School of Fine Arts, National Taiwan Normal University. After a period in which his life was somewhat rootless and chaotic, Lo Chan Peng settled in Tanshui. His workshop in the Hsia-kuei-shan district of Tanshui was located in a disused factory. The dilapidated, damp old building was a breeding ground for mosquitoes, which often got themselves stuck on his canvases as they flew around. For a painter such as Lo, who strove for great attention to detail in his work, this was a serious source of disruption. In this challenging environment, Lo expressed his frustrations in his “The Beauty Ode” series of paintings. This particular painting, forming part of the “The Beauty Ode” series, features large, sweeping brushstrokes which seem to embody the artist’s internal sense of anger and frustration; one can almost imagine Lo swiping at the mosquitoes with his brush as he painted. In “The Beauty Ode 5” Lo Chan Peng makes use of the classical glazing technique, employing multiple layers of translucent paint; over an extended period of painting and retouching, Lo has given the subject its own highly subjective expression, combined with totemic symbols, which together bring across the way in which the bright, gaudy appearance of the members of Taiwan’s “Strawberry Generation” hides feelings of helplessness, joy, fear, jealousy, anger, love and hate. 羅展鵬，1983年出生於嘉義，從小父母離異，成長於單親家庭，畫畫就成了他尋找慰藉及存在感的方法。羅展鵬高中開始正式 習畫，2005年，他考上台北文化大學美術系西畫組，當時，他必須半工半讀才能支付學費，「我經常處於一種焦慮的狀態。」 後來羅展鵬考上國立台灣師大美研所西畫創作組。 羅展鵬曾有一度顛沛流離的日子，幾經波折之後，曾定居在淡水下圭柔山。淡水下圭柔山的工作室，改建於廢棄舊工廠的工作 室，工作室陳舊破損，潮濕的環境滋養了許多蚊蟲，常常飛撲黏附在畫布上，對於羅展鵬這類精緻細密的繪畫方式有著嚴重的 影響，而羅展鵬在飽受困擾的窘境中，以「紅顏歌」系列來抒發自己的煩悶，本件拍品亦屬於此系作品。此系列作品肆意大筆 塗刷的筆觸，恰似宣洩自身內心的煩躁，似乎見到羅展鵬拿著畫筆揮趕著蚊蟲的身影。 拍品《紅顏歌5》中羅展鵬亦使用古典繪畫裡的罩染技法，用半透明的顏料層層疊疊，在漫長的繪畫修改過程中加入個人主觀 的表情及圖騰，隱隱散發出草莓族光鮮亮麗外表背後，那種溢散在空氣裡，夾雜著的無奈，喜悅，恐懼，嫉妒，憤怒，愛情以 及恨意。
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045
OUYANG CHUN
(Chinese, b. 1974)
Snow Man 2006 Oil on canvas 160 x 140 cm Signed on the reverse Ouyang Chun in Chinese, titled Snow Man in Chinese and dated 2006 EXHIBITED: Solo Exhibition of Ouyang Chun , Gallery J Chen, Taipei, June 15 - July 8, 2007
HK$ 180,000 - HK$ 280,000 NT$ 729,000 - NT$ 1,134,000 US$ 23,200 - US$ 36,100
歐 陽春 雪人 2006 油彩 畫布 160 x 140 cm 簽名畫背：雪人歐陽春2006年 展覽： 「歐陽春個展」，J Chen畫廊，台北，展期自2007年 6月15日至7月8日
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046
ZHANG LINHAI
(Chinese, b. 1963)
Reminiscence Series No. 2 2006 Oil on canvas 100 x 100 cm Initialed lower left Z.L.H in English, signed Linhai in Chinese and dated February 2006 This painting is to be sold with a certificate of authenticity.
HK$ 180,000 - HK$ 280,000 NT$ 729,000 - NT$ 1,134,000 US$ 23,200 - US$ 36,100
張 林海 回憶系列之2 2006 油彩 畫布 100 x 100 cm 簽名左下：2006年2月，Z.L.H 林海 附原作保證書
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047
HE SEN
(Chinese, b. 1968)
Toy on the Bed 2008 Oil on canvas 151 x 199 cm Signed lower right He Sen in English and Chinese and dated 2008 Signed on the reverse He Sen and titled Toy on the bed both in Chinese and English, inscribed 150 x 200 cm and dated 2008
HK$ 150,000 - HK$ 220,000 NT$ 607,000 - NT$ 891,000 US$ 19,300 - US$ 28,400
何森 床上的玩具 2008 油彩 畫布 151 x 199 cm 簽名右下：He Sen 2008 何森 簽名畫背：Toy on the bed 床上的玩具 150x200cm 何森 He Sen 2008
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048
GUAN LIANG
(Chinese, 1900-1986)
Chinese Opera Figures Ink and color on paper 33 x 43.5cm Titled center left Chinese Opera Figures in Chinese Signed lower left Guan Liang , Fangyu in Chinese With two seals of the artist EXHIBITED: Guan Liang 100 Years of Retrospective , Lin & Keng Gallery, Taipei, April 19-May 14, 2000 ILLUSTRATED: Chinese Famous Painters: Guan Liang , Hebei Education Published, Beijing, 2003, color illustrated, p. 151 Guan Liang 100 Years of Retrospective , Lin & Keng Gallery, Taipei, 2000, color illustrated, p. 89 This painting is to be sold with a certificate of authenticity issued by Lin & Keng Gallery, Taipei.
HK$ 130,000 - HK$ 200,000 NT$ 526,000 - NT$ 810,000 US$ 16,800 - US$ 25,800
關良 花鼓圖 彩墨 紙本 33 x 43.5cm 題識左中：花鼓圖 簽名左下：番禺關良 鈐印左下：關良 鈐印右上：日軒 展覽： 「關良百年紀念展」，大未來畫廊，台北，展期自2000年4月19至 5月14日 圖錄： 《中國名畫家全集：關良》，河北教育出版社，北京，2003，彩色 圖版，頁151 《關良百年紀念展》，大未來畫廊，台北，2000，彩色圖版，頁89 附大未來畫廊開立之原作保證書
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049
PANG XUNQIN
(Chinese, 1906-1985)
Apsarasa Ink and color on silk 41 x 35 cm Signed lower right Pang Xunqin in Chinese PROVENANCE: Private Collection, East Coast, United States The artist's son Pang Jiun confirmed the authenticity.
HK$ 85,000 - HK$ 130,000 NT$ 344,000 - NT$ 526,000 US$ 11,000 - US$ 16,800
龐 薰琹 飛天 彩墨 絹本 41 x 35 cm 簽名右下：龐薰琹 來源：美國東岸私人收藏 曾請益藝術家之子龐均先生，確認為真蹟無誤。
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050
SANYU (CHANG YU) (Chinese-French, 1901-1966)
Nude Ink on paper 28 x 44.5 cm Signed lower left Yu in Chinese and SANYU in French PROVENANCE: Ancient collection of Henri-Pierre Roché, Paris Spring Auction 2005, Christie's Hong Kong, lot 0316 Ravenel Spring Auction 2013, Taipei, June 2, 2013, lot 698 Acquired from the above by the present owner ILLUSTRATED: Rita Wong, Sanyu – Index of Drawings (L'inventaire des dessins ), The Li-Ching Culture and Education Foundation, Taipei, February 2015, No. D0265, p. 27 (USB flash drive)
HK$ 120,000 - HK$ 180,000 NT$ 486,000 - NT$ 729,000 US$ 15,500 - US$ 23,200
常玉 側臥裸女 水墨 紙本 28 x 44.5 cm 簽名左下：玉 SANYU 來源： 昂利—皮耶．侯謝舊藏，巴黎 香港佳士得2005春季拍賣會，香港，編號0316 羅芙奧2013春季拍賣會，台北，2013年6月2日，編號698 現有收藏者得自上述來源 圖錄： 衣淑凡，《常玉素描全集》，財團法人立青文教基金會，台北， 2015年2月出版，圖版編號D0265，頁27（隨身碟）
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051
WALASSE TING
(Chinese-American, 1929-2010)
丁雄泉
25 Grasshoppers to Detroit
底特律的25隻蚱蜢
c. 1975 Pastel and crayon on paper 58 x 82 cm Signed lower right Walasse Ting and titled 25 Grasshoppers to Detroit both in English
約1975年 粉彩 蠟筆 紙本 58 x 82 cm 簽名右下：25 Grasshoppers to Detroit Walasse Ting
PROVENANCE: Private collection, USA Private collection, Netherlands
來源： 私人收藏，美國 私人收藏，荷蘭
HK$ 60,000 - HK$ 90,000 NT$ 243,000 - NT$ 364,000 US$ 7,700 - US$ 11,600
052
WALASSE TING
(Chinese-American, 1929-2010)
丁雄泉
Nude
裸女
mid 1980s Acrylic on paper 33.5 x 45 cm With one seal of the artist
1980年代中期 壓克力 紙本 33.5 x 45 cm 鈐印右下：採花大盜
HK$ 95,000 - HK$ 150,000 NT$ 385,000 - NT$ 607,000 US$ 12,300 - US$ 19,300
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053
WANG PAN-YOUN
(Taiwanese, b. 1911)
Yearning
王攀元
Oil on paperboard 55 x 39 cm Initialed upper left P.Y. in English
思
HK$ 75,000 - HK$ 110,000 NT$ 304,000 - NT$ 445,000 US$ 9,700 - US$ 14,200
油彩 紙本 55 x 39 cm 簽名左上：P.Y.
054
TZU-CHI YEH
(Taiwanese, b. 1957)
Summer Away
葉子奇
1993 Tempera and oil on linen 30 x 45.5 cm Signed lower right Tzuchi in Chinese and dated '92-'93
去夏
ILLUSTRATED: Tzu-chi Yeh , The Gate Gallery, Taipei, 1992, color illustrated, pp. 10-11
1993 卵彩 油彩 亞麻布 30 x 45.5 cm 簽名右下：子奇 '92-'93 圖錄： 《葉子奇》，玄門藝術中心，台北， 1992，彩色圖版，頁10-11
HK$ 85,000 - HK$ 130,000 NT$ 344,000 - NT$ 526,000 US$ 11,000 - US$ 16,800
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055
GEORGE CHANN
(Chinese-American, 1913-1995)
Little Boy c. 1950s Oil on canvas 46 x 35.5 cm Signed lower left GEO CHANN in English PROVENANCE: Ravenel Autumn Auction 2004, Taipei, November 14, 2004, lot 171 Acquired from the above by the present owner
HK$ 95,000 - HK$ 150,000 NT$ 385,000 - NT$ 607,000 US$ 12,300 - US$ 19,300
陳 蔭羆 男孩肖像 約1950年代 油彩 畫布 46 x 35.5 cm 簽名左下：GEO CHANN 來源： 羅芙奧2004秋季拍賣會，台北，2004年11月14日，編號171 現有收藏者購自上述來源
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056
CHU TEH-CHUN
(Chinese-French, 1920-2014)
Portrait d'un ami 1953 Oil on canvas 53 x 45 cm Signed lower left Chu Teh-chun and dated 1953 both in Chinese PROVENANCE: Acquired by the present owner's father directly from the artist ILLUSTRATED: To be included in the catalogue raisonné de l'oeuvre prepared by the artist's studio. This painting is to be sold with a certificate of authenticity signed by the artist's wife, Ching-chao Chu.
HK$ 320,000 - HK$ 480,000 NT$ 1,296,000 - NT$ 1,943,000 US$ 41,300 - US$ 61,900
朱 德群 友人畫像 1953 油彩 畫布 53 x 45 cm 簽名左下：朱德群一九五三 來源： 現有收藏者的父親直接得自畫家本人 圖錄： 此作品將被收錄於朱德群工作室正在編纂的《朱德群作品編年 目錄》（資料提供：朱德群工作室、朱董景昭女士） 附藝術家妻子朱董景昭女士開立之原作保證書
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PORTRAIT D'UN AMI CHU TEH-CHUN
"Portrait d'un ami" was created in 1953 before Chu Teh-chun left
Chu's realism style also gained respect from the Parisian academics
for France, when he was just 33 years old. This is a rare portrait
and art scene during that time; in short order, he also climbed to
where the background is depicted in the inverse to produce a
the top of France's mainstream art scene. From that point on, Chu
sense of frozen time. It is instilled with a gentle and profound
created fewer and fewer representational works and turned all his
emotion. In 1951, Chu Teh-Chun held the first modern art exhibition
attention to the study of abstract art.
"Independent Modern Art Exhibition" in Taiwan in collaboration with artists Li Zhong-Sheng, Liu Shi, Chao Chung-Hsiang, and Lin Sheng-
Very few of Chu's works in the realism-representational styles have
Yang. This was to realize his dream of "being in line with modern
survived; this is true in both of his oil paintings and sketches. This
art around the world". It was at this point that he started planning
"Portrait dim ami", is depicted with tender brushstrokes full of
his move to France. In 1953, with the recommendation of Mr. Luo
emotions portrayed by his mature realism techniques. Moreover,
Jialun, he painted portraits of Sun Yat-Sen and Chiang Kai-Shek, as
this is one of the few pieces Chu created during his transition period
well as many other historically themed works such as The 72 Martyrs
before departing for France, making it all the more precious and
of Huanghuagang for the art department of the National Museum of
unique.
History. To finance his travels, he painted many portraits of historical figures. At the same time, he also created a few portraits for friends
《友人肖像》創作於1953年朱德群赴法之前，此時朱德群33歲，是一
and certain collectors. It is likely that this piece was created during
幅罕見的人物肖像畫，背景以逆方式處理，形成一種時間凝結之感，
this period.
富有溫和而細膩的情感。1951年，朱德群與李仲生、劉獅、趙春翔、 林聖揚等畫家舉辦台灣首次現代繪畫聯展 「現代獨立畫展」，進一
In 1954, Chu held his first solo exhibition and gained recognition in
步實踐「與世界現代藝術合流」的理想。這時，他開始計劃去法國。
the Taiwanese art scene. More importantly, the sales mode during
1953年，朱德群由羅家倫先生推薦，為台北歷史博物館畫孫中山先生
the exhibition was add to finance gave the funds he needed in
肖像、蔣介石肖像，以及《黃花崗七十二烈士起義》等數幅歷史題材
order to travel to France. In 1955, Chu left Taiwan for Paris, passing
繪畫作品，為籌措旅費，他十分認真地畫了許多歷史人物肖像。與此
through Hong Kong on the way. He arrived in Paris on May 5, 1955.
同時，他亦為周邊友人及收藏家畫了少量肖像作品，本件拍品應該就
In the beginning of his Paris period, Chu still created works in the
是在這一段時期創作的。
representational style and painted several portraits. In 1955, on a ferry bound for Marseilles, Chu met Tung Ching-chao who was on
1954年，朱德群舉行了他的首次個展，獲得台灣藝術界的贊揚，更重
her way to Spain for her studies and the two quickly fell in love.
要的是以此解決了去法國的經濟問題。1955年，朱德群離開臺灣，途
Later, they were married and Tung became Chu's lifelong partner.
經香港，前往巴黎發展，於1955年5月5日抵達巴黎。到達巴黎的，
In 1956, Chu won an honorable mention at the Paris Salon with the
朱德群初期仍以具象風格創作，創作過幾幅人物肖像。1955年，在去
portrait of Tung titled "Portrait of Ching-chao". In 1957, his second
馬賽的郵輪上，朱德群邂逅了前往西班牙馬德裏留學的董景昭，兩人
"Portrait of Ching-Chao" won the silver medal. This reveals that
迅速墜入愛河。後來，董景昭成為朱德群的終身伴侶。1956年，朱德
群以董景昭為模特畫的《景昭肖像》在巴黎春季沙龍獲榮譽獎，
朱德群早期的寫實具象作品，無論是油畫還是素描，存世數量甚
1957年，他的第二幅《景昭肖像》拿下銀獎。由此可見，朱德群
少，此幅《友人肖像》筆觸溫和而富有感情，寫實技法成熟，加
的寫實繪畫同，得到了當時巴黎學術界和藝術界的肯定，他也籍
之創作於朱德群赴法之前這一重要的轉折時期，可以說是十分珍
此躋身於法國主流美學價值的金字塔的頂端。此後，朱德群的具
貴。
象畫愈畫愈少，全部心思精神轉而投入抽象畫研究。
CHU Teh-chun, Portrait de Ching-Chao , 1955, oil on canvas, 73 x 60 cm 朱德群《景昭畫像》1955，油彩 畫布，73 x 60 cm
CHU Teh-chun, Portrait de Ching-Chao , 1956, oil on canvas, 81 x 65 cm 朱德群《景昭畫像》1956，油彩 畫布，81 x 65 cm
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057
CHU TEH-CHUN
(Chinese-French, 1920-2014)
Pa-Shian Mountain
朱德群
1954 Oil on panel 45 x 52 cm Signed lower right Teh-chun in Chinese and dated R.O.C year of 43
八仙山
PROVENANCE: Acquired by the present owner's father directly from the artist
來源： 現有收藏者之父親直接得自畫家本人
ILLUSTRATED: Chu Teh-Chun , Galerie Enrico Navarra, Paris, 1998, black and white illustrated, p. 82 (The stated size is incorrect) Overseas Chinese Fine Arts Series II: Chu Teh-chun , Artist Publishing, Taipei, 1999, black and white illustrated, p. 32 (The stated size is incorrect) Chu Teh-chun , Shanghai Museum, Shanghai, 2000, black and white illustrated, p. 106 Chu Teh-chun , Galerie Enrico Navarra, Paris, 2000, black and white illustrated, p. 322
HK$ 2,400,000 - HK$ 3,600,000 NT$ 9,717,000 - NT$ 14,575,000 US$ 309,500 - US$ 464,200
1954 油彩 木板 45 x 52 cm 簽名右下：德群四十三年
圖錄： 《朱德群》，昂利哥•那瓦哈畫廊，巴黎，1998， 黑白圖版，頁82（尺寸標示有誤） 《華裔美術選集（II）朱德群》，藝術家出版社，台 北，1999，黑白圖版，頁32（尺寸標示有誤） 《朱德群畫展》，上海博物館，上海，2000，黑白 圖版，頁106 《朱德群》，昂利哥•那瓦哈畫廊，巴黎，2000， 黑白圖版，頁322
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MEMORIES OF HALCYON DAYS AT PA-SHIAN MOUNTAIN Pa-Shian Mountain lies in Taichung County's Heping Township. With
the Chinese people, were the first to discover the beauty of cloud and
an elevation of around 2,000 meters, the mountain is well-known
mist and successfully recreated their forms in painting. Impressionism
for beautiful scenery and lush forests. In the 1950s, Chu Teh-Chun
emphasizes the complex colors of clouds and mists, but only Chinese
held a teaching position at National Taiwan University's Department
painters have discovered and studied in detail the ever-changing
of Fine Arts and — accompanied by his colleague Yuan Chu-Sheng,
exquisiteness of clouds and mists ", Chu said.
Chu often brought students here to sketch, draw, and get inspired. It was during this period that Chu passed five years of halcyon days in
Very few of Chu's works from his early days survive; currently, only five
Taiwan.
paintings with a Pa-Shian Mountain theme are known to exist. This piece, Pa-Shian Mountain, was created in 1954 and incorporates a
Immersed in nature, Chu's artistic understanding reached a new
remote mountainous landscape, floating clouds, Pa-Shian Mountain,
height. Many years later, Chu wrote in Remembering Mr. Wu Dayu,
as well as people and close-up objects all within a single scene.
"Under the mentorship of Master Wu, I have become an admirer of
These all serve as testament to Chu's experience in composition
Cézanne. During my many years of working in the country, I never
and his skills in capturing real-life essence. The composition of the
strayed far from the perimeters of post-impressionism until 1953
scene is both serene yet severe, imitating the "perspective drawing
when I went to Pa-Shiam Mountain to sketch. Amidst the crests and
techniques "for the image construction so that the spatial constructs
valleys, clouds and forests of this 2,000 meter-high peak, I suddenly
retain a sense of stability and calm but at the same time, reveal its
gained an epiphany to the fundamentals of Chinese ink painting, the
many-layered depth. Although the painting is small in scale, it is
interconnection between the poetic spirit of tradition to nature. From
rich in a wealth of color layers. Not only does this give off the style
the permeating mists and the surrounding trees, I envisioned the
of post-impressionism, it also shows Chu's pursuit for the rhythms
brushstrokes of calligraphy incorporated with the past perception of
and nuances of the scene. This painting is noteworthy in that when
sketching and painting. Unconsciously, a transformation came about
compared to other works in the Pa-Shian Mountain series where
my understanding of art ". Pa-Shian Mountain played a significant
the scenes depict tall trees and verdant forests, this piece uses
role in Chu's art career and undoubtedly provided him the juncture
almost half of the scene to portray blue skies and white clouds. Chu
in which he later turned to the integration of Chinese poetical and
integrated western oil painting techniques to illustrate the loveliness
Western abstract styles.
in the misty forms and the beauty in change. The minute differences
After the end of WWII, between 1945 to 1949, the Chinese Civil War resumed. From the age of 21, Chu was already a teaching assistant at the National Hangzhou School of Art; at 24, he was transferred to the Department of Architecture at the National Central University to teach sketching. Finally, during the new year of 1949, he boarded the last ferry to Taiwan. From here, he began his career in teaching the sketching course at the Department of Fine Arts at the National Taiwan University. When he thought back to this period, the most memorable for Chu were those times he took the NTU students on sketch sessions to Pa-Shian Mountain. "On the several thousand meter-high Pa-Shian Mountain of Taiwan, I
fully took in the breathtaking view of the magnificent roiling clouds. The billowing waves of white clouds bring heaven and earth together in glorious magnificence, their splendor rejuvenates one's soul. All this brought back the memory of when we returned to Nanjing in victory after the war, when the ferry passed through the Yangtze Gorges, we also saw the spectacular view of majestic mountains and water surrounded by ephemeral cloudy mists. Are all of these not like the 'Pa-Shian Landscapes' in Chinese painting? Faced with billowing waves of clouds, I realized the root of Chinese painting lies in that we,
Paul CÉZANNE, Mont Sainte-Victoire , c.1887, oil on convas, 67 x 92 cm Courtauld Institute of Art, London 保羅・塞尚《聖維克多山》 c.1887 科陶德藝術學院收藏 倫敦
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of the colors in the sky faintly reflect the "ink in five shades" form
subtle changes in color and light, and the piece reveals Chu's initial
presented in Chinese ink paintings. Chu had once said, "As I gaze
foray into the exploration of representational calligraphic lines. This
upon the fantastical mists and clouds of Pa-Shian Mountain, it
can be said to be the first mature period and a time of transformation
reminded me of a Tang poem 'Over the thousand peaks float the
in Chu's artistic career.
clouds and mists, heaven and earth mingle and become one, hidden are the trees amongst the haze, faintly the apes can be heard but not seen'. This is a poem by Tang dynasty poet Wang Wei to express
追憶八仙山的似水年華
the lyrical scenery of cloud and mist. From this moment on, I gained
八仙山位於台中縣和平鄉，海拔2000餘米，以林木茂密景色優美著稱，
a deeper insight to clouds and mists. This understanding served a
五十年代由於在台灣師大藝術系任教，朱德群與同任教的袁樞真曾多次帶
crucial function as it accompanied me afterwards throughout my
領學生到此觀光寫生，朱德群在台灣度過了五年似水年華的美好時光。
abstract works in France and it enabled me to consciously instill the essence of Chinese landscape painting into my creations. "
在自然的陶冶中，朱德群的藝術體悟也進入了一個新的境界，多年後在 《憶吳大羽先生》一文中他追述：「 我在吳師的教導下成了塞尚的
From the "realistic landscapes" of the early 1950s in Taiwan to the "abstract construction series" in the late 1950s, later extended to the "brilliantly-colored ink-style paintings", all of the works complement and resonate each other and present Chu's artistic journey from representational to abstract. They reveal fully the Chinese Art Master's half a century journey of exploration and artistic achievements. In December 1954, three months before Chu went to France to further his studies, he held his first solo exhibition at Zhongshan Hall in Taipei. The exhibit was well-received and many critics gave positive reviews. In particular, Su Xuelin's critique included a detailed account of Chu's styles in his early works: "His painting techniques stem from
the French post-impressionistic Cézanne with a bit of Fauvism thrown in to form his own unique style. Mr. Chu Teh-Chun's oil paintings
崇拜者，在國內多年工作，沒有遠離後期印象派的範圍，直 到1953年去八仙山寫生，在兩千多公尺的山峰深谷雲霧叢林 中，突然領悟了中國水墨畫的虛實，具有詩意的傳統精神與 自然的關系。煙霧彌漫，松柏縱橫交錯，聯想到書法用筆的 境界，與過去學習寫、畫的心情連接融合，不知不覺我對繪 畫觀念有了轉變。 」可見，八仙山對朱德群的藝術生涯有重要意義， 這無疑成為他之後走向融合中西的抒情抽象風格提供了契機。 1945年抗戰勝利後到1949之間，已經於21歲就任杭州藝專助教，24歲 又調任中央大學建築系擔任素描教學的朱德群，終於在1949年的除夕， 趕上最後一班輪船去了台灣。從此，他開始了在台灣師大藝術系教授素 描課程的生涯。回憶起這段日子，朱德群最難以忘懷的還是帶著師大的 學生登上八仙山的頂峰寫生的時光。
show his profound sensitivity and versatility with color; he favors using bold colors such as bright reds, greens, blues, and yellows to
「在台灣海拔數千公尺的八仙山，我痛快地覽閱了排山倒海的
depict still-life and landscape, but his lines are still powerful. Not
雲海勝景。那一排一排滾滾奔湧的白雲，接天連海，氣勢恢 宏，波瀾壯闊，使人頓生蕩氣回腸的快感。我借此又聯想到 抗戰勝利回南京時，當輪船從長江三峽經過時，也欣賞到的 氣勢非凡的自然山水和繚繞靈動的雲霧。這些，不正是極像 中國畫中的『北派山水』嗎？面對排排雲海，我領悟到中國 繪畫的根源所在，正是我們中國人，第一個發現雲霧造型之 美，並把它成功地畫了下來。印象派註重的是雲霧的復雜色 彩；而只有中國畫家才真正發現並專註研究了雲霧變化的無 窮之美。」朱德群說。
only is he a disciple of Cézanne, he can be said to have surpassed Cézanne's legacy. " This exhibition merited special reports in Taiwan's China Times, Taiwan Daily, and United Daily News to become another prominent art event in addition to the Taiyang Art Exhibition. Chu showcased over 50 paintings - and sold all of them. It was from these proceeds that Chu managed to save enough money to fund his trip to France. The Pa-Shian Mountain series of paintings hold special meaning in Chu's life, and they are highly representative works of Chu's Taiwan period. The style shows many similar features to Cézanne's post-impressionism; special attention was paid to the
朱德群早年具象的作品存世極少，目前能夠的以八仙山為主題的畫作僅 有三幅，此幅《八仙山》創作於1954年，將遠山、浮雲、八仙山、乃 至人物點景，納入畫面中，足見朱德群對於構圖的經驗，以及寫實的功 力。畫面所見，空間構圖宏闊卻又嚴謹，仿「透視技法」的構圖方式， 使空間組織保留一定的安穩靜謐感受，又有深邃的層次。畫面包含著十 分豐富繁密的色彩層次，有後印象派的風格，也表現出朱德群追求畫面 韻律的意趣。值得註意的是，與其他《八仙山》系列的作品著重描繪參 天古木與茂密森林的場景不同，此件作品，幾乎用了接近一半的畫面去 描繪藍天白雲，朱德群結合西方油畫的寫實技法去刻畫雲霧造型之美與 變化之美，天空中細微變化的色彩又隱射出中國水墨畫「墨分五彩」 的表現方式。正如朱德群所言：「 瀏覽著八仙山的奇特雲霧，我
想起一首唐詩『山萬重兮一雲，混天地兮不分。樹晻曖兮氤 氳，猿不見兮空聞』，這是唐代王維寫的具有山水畫意境的 雲霧詩。從這一刻起，我對雲霧的理解更深了一層。這種領 悟，對於我今後在法國從事抽象畫創作時，能夠自覺地融入 中國山水畫的精髓，起到至關重要的作用。」 從1950年初台灣時代的「寫實風景」到1950年代晚期開始的「抽象構 圖系列」，之後重延伸至1990年代「色彩絢爛的水墨式油畫」，作品之
Chu Teh-chun, Pa-Shian Mountain, 1953, oil on canvas 65.5 x 81cm, Christie's Hong Kong Spring 2010 US$ 340,000 sold 朱德群《八仙山》油彩 晝布 65.5 x 81 cm 香港佳士得2010春拍 HK$ 2,420,000 成交
間互相呼應，展示朱德群藝術從具象到抽象的歷變脈絡，完整地呈現了 一個中國藝術大師半個世紀的探索歷程和藝術成就。 1954年12月，朱德群赴法深造前三個月，他在台北中山堂舉辦了第一 次個人展覽，效果極佳，很多評論家給以好評，其中蘇雪林的評論很好 的概括了他早期作品的風格「 他的繪畫技巧是從法國後期印象派
塞尚走出來的，又摻和了一點野獸派，形成了自己一種獨特 的作風。朱德群先生的油畫對於色彩的感覺極其靈敏，他喜 歡用大紅大綠大藍大黃等強烈的顏色來寫靜物與風景，但他 的線條仍然有力，他不但是塞尚的私塾弟子，也可以說是塞 尚的升堂入室的高足了。 」這次畫展，吸引了台灣《中央時報》、 《台灣新日報》、《聯合報》等專文報導，成為台陽美展以外另一畫壇 盛事。展出的五十多幅作品，悉數賣出，朱德群也因此收集到足夠的旅 費，才能開展他的法國之旅。《八仙山》這一系列的作品在朱德群的人 生歷程上具有特殊意義，是朱德群台灣時期的代表性作品，風格十分貼 近塞尚等後印象派的特色，註意色彩、光線的微妙嬗變，也開始探索書 法線條的表現性，可以說是朱德群創作歷程中的的第一個成熟時期和轉 折階段。
Chu Teh-chun, Pa-Shian Mountain , 1954, oil on canvas 80.3 x 65.2 cm, Beijing Cheng Xuan Auction Spring 2010 US$ 450,000 sold 朱德群《八仙山》油彩 晝布 80.3 x 65.2 cm 北京誠軒2010春拍 RMB 2,800,000 成交
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058
LUO ZHONGLI
(Chinese, b. 1948)
Peasant Life 1980s Oil on canvas 63 x 75cm Signed lower left Luo Zhongli in English, Luo in Chinese Titled on the reverse Peasant Life in Chinese, inscribed Sichuan Fine Arts Institute Luo Zhongli in Chinese
HK$ 1,900,000 - HK$ 2,800,000 NT$ 7,692,000 - NT$ 11,336,000 US$ 245,000 - US$ 361,100
羅 中立 鄉情 1980年代 油彩 畫布 63 x 75cm 簽名左下：Luo Zhongli 羅 簽名畫背：《鄉情》中國四川美術學院 羅中立
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PEASANT LIFE LUO ZHONGLI
Different aspects of rural life in the Daba Mountains (Dabashan) of Sichuan have been a favored source of subject matter for the paintings of Luo Zhongli. Luo has dedicated his life to depicting the down-to-earth simplicity and virtue of the peasants living in this mountainous region. Luo's links with the Daba Mountains go back to when he was quite young. In early 1966, while the Cultural Revolution was raging throughout China, Luo (who had been studying at the High School attached to the Sichuan Fine Arts Institute) was sent away from home to live in a small village in the Daba Mountains, in line with the government's policy of sending young urbanites to work in factories and in rural communities, to "learn from the workers, peasants and soldiers." Luo Zhongli was sent to live with a mountain family surnamed Deng. They were simple, hardworking, downto-earth people who were honest and sincere in their dealings with others, and they looked after the young Luo like a member of their own family. Luo found that, while the people living in the Daba Mountains may have been materially impoverished and suffered from a lack of intellectual stimulation, their souls were as pure and uncorrupted as the unpolluted spring-water that welled up from the hills in the Daba Mountains. Luo was struck forcefully by the fact that these mountain communities had a warmth and tranquility that was lacking in the big cities. During the few months that he spent there, Luo sketched scenes from rural life as a "pictorial journal". When it was time for him to leave, Luo Zhongli realized that there was now an inseparable bond linking him to the Deng family and to the Daba Mountains. The following year, Luo Zhongli finished school and applied for a job working in the Daba Mountains region. He was assigned to a job working as a filterer at a steelworks in the foothills of the Mountains, where most of the workers were peasants recruited from mountain villages. As fate would have it, Luo ended up marrying a girl from the Daba Mountains, making him a real Daba Mountain man himself. With his wife's encouragement, Luo enrolled in the Sichuan Fine Arts Institute. In 1977, when Luo Zhongli was 29, the Chinese government reinstituted the university entrance examination system, and Luo was able to return to the Sichuan Fine Arts Institute to study oil painting after an absence of 10 years. During his time at the Institute, Luo studied and experimented with a wide variety of different styles, seeking to find his own artistic path. Thinking about the Daba Mountains, which had grown so familiar to him, and about the inhabitants of the mountain villages with their simple yet authentic lives, Luo began to see a connection with the paintings of the 19th century French artist Jean-Franรงois Millet, such as "The Sower", "The Gleaners" and "The Angelus", with their straightforward depictions of the labors and dignity of ordinary working people. In the Institute's library, Luo happened to come across an article about the works of U.S. hyperrealist artist Chuck Close, which described the dramatic impact that a hyper-realist painting four feet high had on viewers. The article inspired Luo to undertake a large portrait of a peasant, modeled on "Uncle Deng" who had looked after him when he was a teenager. Luo's incredibly realistic, deeply moving painting "Father" has since come to be seen as one of the most important works in the history of modern Chinese art. The success of "Father" was the making of the young artist's reputation in art circles. More importantly, the success of this work confirmed Luo in his decision as to which artistic trajectory his career should follow; he determined to follow a path based around the themes that were most familiar to him, and which he cared about the most. Starting in 1980, Luo completed a
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series of paintings that had scenes from rural life in the Daba Mountains as their subject matter, including "Time", "Spring Silkworms", and "Year's End". With their combination of intellectual depth, strong affection for rural communities and high level of artistic skill, these paintings were widely praised, and Luo's work began to attract attention not only within China, but in the wider international art world. Luo's later "Hometown" series used a straightforward, quasi-narrative approach, depicting scenes such as cow-herding, weeding, grinding, embroidering, sheltering from the rain, crossing a river, etc., that seem on the surface to be just random scenes from the daily lives of mountain people, and yet carry with them a breath of fresh air redolent of ancient ways and pristine wilderness, a nostalgia fueled by childhood memories, and a sense of rootedness in the stable reality of the earth. This particular painting, "Peasant Life", is a fine example of Luo's work during this period. There is no trace of embellishment or superfluous beautification, and no awe-inspiring vistas; what the painting gives us is an image of the essence of innocence, along with a strong sense of the local character of life in the Daba Mountains of Sichuan. The simple, ordinary human figures and the bold use of color, combined with Luo's distinctive treatment of the light and vivid, precise brushwork, create a perfect unity of content and form. This work embodies the areas in which Luo Zhongli excels: the depiction of human figures in different circumstances, and the creation of an environment or atmosphere. The painting inspires in the viewer a sense of temporal dislocation, and awakens the fundamental spiritual need to commune with nature. In the calm, quiet atmosphere that suffuses "Peasant Life", a little girl is shown holding a younger child; she appears to have been left in charge of the toddler while the adults in the family are all working in the fields. The rice seedlings that are just visible in LUO Zhongli, Spring Silkworm , 1983, oil on canvas 200 x 134cm, Poly Auction Beijing Spring 2014 US$ 6,555,000 Sold 羅中立《春蠶》油彩 晝布 200 x 134 cm 北京保利2014 春拍 RMB 43,700,000 成交
the distance represent hope for this rural family, and the heavy old grindstone on which the children sit symbolizes the realization of that hope. This simple rural scene exudes a powerful sense of togetherness, a sense of the stability that comes from a practical, down-to-earth lifestyle, and a vision of an ideal world in which people live humbly in harmony with nature.
四川大巴山恬適的農家生活種種，是羅中立最鍾愛的繪畫題材，他要用
《父親》獲致的成功使年輕的羅中立在美術界有了一席之地，更重要的
一生來描繪這些山區農民自然流露的質樸情感。羅中立與大巴山的情緣
是，羅中立從此堅定了自己選擇的藝術道路，一個最熟悉、最熱愛的方
牽繫開始的很早，1966年初，當文化大革命如火如荼的席捲中國大地，
向。1980年後，他先後完成了《歲月》、《春蠶》、《年終》等一系列
在四川美術學院附中就讀的羅中立，因著「到工廠去，到農村去，向工
以大巴山農村生活為題材的繪畫創作，豐富的思想內蘊、濃郁的鄉土情
農兵學習」的政策，離開了家鄉，被分配到大巴山的小村莊，住進一戶
意以及熟練的繪畫技巧獲得讚譽，也使他的藝術開始在國際藝壇發光。
鄧姓山民家中，鄧家人純樸、勤勞，樸實度日而待人厚道、真誠，對待
爾後的《故鄉》系列組畫，更以一種平實的心態，娓娓述說的方式，描
羅中立關懷備至。山裡的人們或許物質生活簡陋，精神生活貧乏，但心
繪諸如放牛、割草、推磨、繡花、躲雨、過河…等等看似日常、零散的
靈就如同大巴山上未曾被汙染的泉水一樣清澈、透明。羅中立深深感覺
山區農村生活小事，彷彿是現實生活的信手捻來，卻讓觀者能夠細細體
在這大山中具有城市缺乏的溫馨、安寧，他待在這裡的幾個月中，用速
會感受到源自古老和山野的清新氣息，由童年生活回憶所撩動的溫暖情
寫紀錄農家生活的繪畫日記。而到了離別的時候，羅中立發現自己已與
懷，一種植根於寬廣、殷實土地上的安穩和實在。
鄧家人以及大巴山之間有一種難以割捨的情分。 本件拍品《鄉情》亦為此時期情感深厚的創作之一。沒有粉飾美化的痕 隔年，羅中立從學校畢業便申請到大巴山去工作，他在山下一家鋼鐵廠
跡，也沒有宏大場面的渲染，留下的是純真本色的形象，以及帶有濃厚
當鍋爐工，工人多是從山區農村招來的農民，而命運的安排更讓他娶了
巴蜀風情的生活氣息，敦實質樸的人物形象和大俗大雅的色彩運用，加
一位大巴山姑娘，成為道地的大巴山人，而正是她的鼓勵，讓羅中立報
上獨特的光線處理和細膩生動的筆觸，使得內容和形式達到了完美的統
考四川美術學院。1977年，羅中立29歲，中國恢復了高考，相隔十年重
一。作品顯示著畫家創造的藝術形象，以人物形態的刻劃和環境氣氛的
回四川美術學院學習油畫，在學校裡涉足並追尋各種創作流派風格，試
表現見長，使觀者意識到文明發展的時空錯位，喚發出回歸自然本色的
圖找到屬於自己的藝術道路。他想起了熟悉的大巴山，想起與這群山村
心靈需要。《鄉情》中，恬靜安適的氛圍裡，小姐姐懷抱著孩童，家中
農民們朝夕相處平實而深刻的感動，他彷彿看到了十九世紀法國畫家米
成人紛紛外出農忙勞作的時分，稍微年長的姐姐負擔起照護年幼弟妹的
勒筆下《播種者》、《拾穗》、《晚禱》中的情景，樸實堅定的描繪勞
責任；望向遠處水田中秧苗依稀可見，那是莊稼人的希望所在；而老舊
動者的辛勤與尊嚴。
沉重的石磨，象徵這份希望的完成。簡樸的鄉間即景，帶著濃濃化不開 的親情、踏實生活的穩定感以及與天地和諧共存的謙卑理想世界。
他偶然在學校圖書館看到一篇介紹美國超寫實主義畫家克洛斯的作品與 文章，形容一幅高達四英尺的超寫實頭像給觀者帶來的震撼，羅中立靈 光乍現，決定創作以鄧大伯為原型的巨大農民肖像，真實動人的《父 親》成為中國當代美術運動發展史上重要的一幅作品。
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059
LUO ZHONGLI
(Chinese, b. 1948)
River Series
羅中立
2007 Oil on canvas 160 x 200 cm Signed on the reverse Luo Zhongli, titled River Series, insdcribed Sichuan Fine Arts Institute all in Chinese and dated 2007
過河系列 2007 油彩 畫布 160 x 200 cm 簽名畫背：過河系列 羅中立 四川美院 2007年
HK$ 6,500,000 - HK$ 8,500,000 NT$ 26,316,000 - NT$ 34,413,000 US$ 838,200 - US$ 1,096,100
Born in Chongqing, China in 1948, Luo Zhongli learned
galleries, and studying famous works. Luo was very impressed
how to paint while he was young under the influence of his
by the works of Millet and Bruegel, both of whom painted
father. He graduated from Senior High School of Sichuan
scenes of peasant life. He succeeded in fusing the influence of
Fin Arts Institute and lived in the rural regions of the Daba
the great masters of the past with his own life experience and
Mountains for 10 years. In 1978, he returned to Sichuan Fine
artistic vision.
Arts Institute. With his hyperrealistic work, "Father", Luo won the first prize at the 2nd National Art Exhibition in 1981. This
Luo is skilled at capturing an ordinary scene in rural life and
prize brought him a huge honor, making him widely known in
depicting people who have endured years of heavy labor.
China. It also gave him the confidence to establish farmers as
He uses his simple brush strokes to depict them without any
the central focus of his art career. With a grand composition,
modification, showing an atmosphere that is natural, real,
akin to a plaque or a monument, Luo sentimentally depicts
and intimate. This work is not focused on the story but the
the typical image of a Chinese farmer in "Father", which has
depiction, outlining, and atmosphere of the characters and the
also been praised as a guiding banner for the Chinese painting
environment.
sphere in the 1980s. After "Father", Luo Zhongli completed his graduation Luo believes that he should focus on the daily lives of farmers
portfolio, the "Hometown" series, in 1982. These paintings
in Daba Mountains, the subject he is most familiar with. He
depict the daily lives of the farmers in Daba Mountains, all
wants to depict their sadness and happiness, their joy and
of which originated from a large number of sketches he had
anger, their love and hate, and ultimately their death. He said,
made in the countryside, such as "Blow Dregs", "Over the
"I think works of art should be human. They should build on
Threshold", and "The Eavesdrop". With simple skills, pure
a kind of emotional communication and resonance with most
colors and the flavor of the countryside, he depicted a kind
viewers. To do this, the artist should have true emotions and a
of natural and rustic simplicity of famers from the mountain
solid foundation in life. "
area. His artistic expression turned from surrealism to domestic realism. These early creations, however, still remained in the
In 1982, Luo graduated from Sichuan Fine Arts Institute and
line of succession of his artistic concepts and followed an
began to work as a teacher at his alma mater in Sichuan. From
academic realist language.
1983 to 1986, he went to Belgium to study oil painting at Antwerp Royal Art Institute and received a master's degree. During this time, he traveled to 13 countries in Europe and North America, visiting the important museums and art
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LUO Zhongli, Peasant Life of Ban Shan , 1993, oil on canvas, 95.5 x 120 cm Ravenel Autumn Auction 2010 Hong Kong, US$ 618,557 sold 羅中立《巴山農家》1993 油彩 畫布 95.5 x 120 cm 羅芙奧香港2010秋拍 HK$ 4,800,000 成交
L u o ' s p a i n t i n g s t y l e e v o l v e d f ro m v e r n a c u l a r re a l i s m t o
During this period, Luo's brush was full of passion and revealed
expressionism, which was also the second phase of his artistic
his masterly skills.
creation and a continuance of his first phase. Entering the 1990s, Luo began to change and develop personal language and
Painted in 2007, "River Series" was created during Luo's third
style. He also experimented with his artistic language in order
phase - contemporary expressionism. In the late 1990s, Luo
to discover a kind of style that was able to hold contemporary
began to use rough lines and original colors to express his
cultural characteristics and reflect Eastern aesthetics at the same
rustic subjects with a half-abstract style. His powerful tone
time. His painting language gradually shifted from realism to
carried a kind of primitiveness. Covering the canvas with a
deformation and exaggeration. He drew images of exaggerated
black background, he applied his passionate, stunning, and
and deformed farmers as well as unrestrained lines and colors,
extremely modern colored lines over it. The composition was
depicting the love and caring between the elderly and the youth,
dynamic. Humans and animals were depicted with the elements
and the men and women of the Daba Mountains with common
extracted from folk art. The density between the curved and
yet simple emotions. His modeling language in this phase was
straight lines provides a smooth rhythm to the picture. This
quite heavy, showing a kind of solid strength and beauty with
new attempt transcends the limit of the narrative language in
rustic originality, while his vivid, subjective, and highlighted color
painting, turning itself into a deep and literary illustration. Art
contrasts contained the spirit of Chinese folk art and aesthetics.
critic Yin Shuangxi once said, "Actually, Luo's works provide us
with a reference to existence, an eternal value of human interaction.
greater visual depth, displaying a little happy moment of an ordinary
When we see his works from this perspective, the lives of the farmers
rural couple. He renders the characters in a vivid and vigorous image
in Daba Mountains go beyond regional natural landscape and
with his rough, heavy, and intertwined brush strokes. In the painting,
become a reflection on our national spirit and value in the process
the husband delicately carries his wife across water that reaches the
of modernization ". However, the focus was still on humanistic
knee. The couples' big limbs and rough hands, the result of heavy
concern, elements of Chinese traditional folk art, and modern and
labor, holding onto each other closely. Wild, flying brushstrokes
contemporary artistic concepts under globalization. He once said,
have been used to create the domesticated cow used for cultivation
"My style has undergone the baptism of Western modern art, my
labor, as it follows the lead of his owner. Besides portraying the
study on Western modern and contemporary art, and my return to
simple decency of the human figures, the three-dimensional way in
Chinese backdrop and traditional culture. After I distinguished the
which the people are shown, and the detailed texturing of their skin,
difference between the East and the West, my distinctive and unique
also helps bring the painting as a whole to life, causing it to exude
personal style began to take shape ".
a powerful sense of vitality and authenticity in its depiction of this scene from the mellow loving lives of a Dabashan peasant couple.
The painting "River Series" shows a vivid contrast in its tone. Human bodies are sculptural with rough, strong, and vigorous images. It is a contrast between the dynamic and the static. The strong contrast between the foreground and the background gives the picture
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1948年羅中立生於中國重慶，幼年在父親影響下學畫，1968年畢業於四
Bruegel），他們都是表現農民生活的畫家。他將這幾位繪畫大師對他潛
川美術學院附中，後在大巴山農村生活十年，1978年重回四川美術學院
移默化的影響融合在自己的生活經歷與藝術情感中。
就讀，以一幅超級寫實主義作品《父親》，獲得了第二屆全國青年美展 一等獎，給年輕羅中立帶來了榮譽，幾乎家喻戶曉，奠定了羅中立一輩
羅中立善於捕捉農村生活中普通平凡的場景，描繪因長年累月進行繁重
子表現農民的信心。該作品以紀念碑式的宏偉構圖，飽含深情地刻畫出
體力勞動的人。他用樸實無華的筆不加美化和修飾地描寫他們，予人以
了中國農民的典型形象，也由此被譽為二十世紀八十年代中國畫壇的一
自然，真實和親切之感。畫作不以情節取勝，而注重對人物和環境的描
面旗幟。
繪、刻劃和氣氛的烘托。
他認定自己要畫他熟悉的大巴山農民的平凡生活，畫他們的悲、歡、
繼《父親》之後，1982年羅中立完成了他的畢業創作《故鄉組畫》，描
喜、怒、愛、憎、死。他說︰「我覺得作品應有人民性，作品應和
繪了大巴山區農民的一些日常生活場景，源自於他在農村畫了大量的速
多數觀眾起一種感情上的交流和共鳴作用，要做到這一點， 重要的是要有堅實的生活基礎和真實的感情」。
寫，如《吹喳喳》、《翻門檻》、《屋簷水》，手法拙樸、色彩單純、 鄉間氣息濃厚，描繪這些山區農民自然流露出來的質樸情感。藝術表現 手法上從超寫實繪畫風格走向了鄉土寫實繪畫風格，這些早期創作在思
1982年畢業並任教於母校四川美術學院。1983至1986年赴比利時深
維和觀念上仍是一脈相承的，沿用了學院派的寫實語言。
造，進入安特衛普皇家美術學院學習油畫獲碩士學位，他遊歷了歐美 13個國家，參觀了各個重要的博物館和美術館，也臨摹了許多名作。
羅中立從鄉土寫實繪畫風格進化到表現現實繪畫風格，是他第二階段的
羅中立很喜歡法國畫家米勒（J.F. M i l l e t）和比利時畫家布魯哲爾（P.
繪畫風格，同時也是第一階段的延續。進入了90年代，羅中立注重在個
漸以寫實轉向變形和誇張，在他的筆下，出現了一幅幅誇張變形的大巴
考，一個永恆的人與人交往的價值模式。這樣，大巴山的農 民生活，就超越了地區性的自然風情，成為現代化進程中對 民族精神和價值模式觀念的反思 」。在這些充滿激情表現的畫面
山農民形象、奔放自由的線條和色彩，描繪了大巴山農民之間，老人對
中，依舊是人文關懷的主題、中國傳統和民間藝術的元素、全球化的現
小孩，男人和女人的一種相互關愛，普通卻又樸實的情感。這個時期作
當代藝術理念。他說：「 我的藝術風格是經歷了西方現代藝術的
品的造型語言厚重，敦實的力與美，既具有古樸的原生性和原始意味，
洗禮，以及對西方現當代藝術的學習之後，又回到中國背景 及中國的傳統文化而來的、並且是區分中西之後，所形成的 一種鮮明而獨特的個人風格。」
人語言、藝術風格的變化和發展，以及在藝術語言的實驗上，探索一種 既有當代文化特徵，又能體現東方審美趣味的藝術風格。其繪畫語言逐
此時羅中立的畫筆下充滿了激情的表現，顯露出大師風範。 本次拍品《過河系列》創作於2007年，在風格上屬於羅中立的第三個階 段—當代表現繪畫風格。從1990年代末之後，羅中立將過去農民鄉土的 素材，用半抽象性的粗獷線條與原始色彩表達，色彩感突出，帶著一些 原始性，先在畫布底層上鋪了一層黑色，覆蓋在上面的色彩線條激情四 溢，非常炫目，形成強烈的視覺對比，極具當代感。構圖上比較具有運 動感，人物、動物造型加入豐富多元的民間藝術；線條的曲直變化，疏 密有致賦予畫面流暢的韻律和節奏，這一新的嘗試突破了繪畫敘事語言 的局限，進而轉向了深刻的文人闡釋。美術史學家殷雙喜曾這樣評價羅 中立的藝術：「 羅中立的作品實際上為我們提供了一個生存參
《過河系列》的色調對比鮮明，雕塑感強，人體健壯結實樸拙，生機勃 勃。他以粗狂，厚重，交錯的筆觸賦予了人物鮮活的生命。畫中的細 節，丈夫背負著妻子度過水深及膝的河川，因為生活勞作辛苦而粗大的 四肢和雙手，緊緊抓住彼此，刻劃得富於個性和生動；耕作時最依賴的 夥伴牛隻，也殷殷的隨著主人的步伐前進；飛揚粗獷的射線狀的筆觸， 既突出了人物形象的敦實淳樸，豐富的層次和紋理，也使整幅畫面栩栩 如生，傳達著濃厚的生活氣息和真實的生活感，刻畫了大巴山農民夫婦 平凡生活中有情的一幕。
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060
ZHOU CHUNYA
(Chinese, b. 1955)
Red Stone of Ya'an 1999 Oil on canvas 150 x 120 cm Signed lower right Zhou Chunya in Chinese and English, dated 1999 Signed on the reverse, inscribed 2015 retouched in Chinese.
HK$ 4,000,000 - HK$ 6,000,000 NT$ 16,194,000 - NT$ 24,291,000 US$ 515,800 - US$ 773,700
周 春芽 雅安紅石 1999 油彩 畫布 150 x 120 cm 簽名右下：1999 周春芽 Zhou Chunya 簽名畫背：2015 周春芽補筆
Looking backward on the movement of contemporary art in China in the past three decades, Zhou Chunya always kept himself away from the trends, but art critics would praise his "non-conformist" art as always. Resolutely ignoring new developments in current affairs and new trends in the arts, Zhou has continued to search for things that can inspire him and create a sense of the positive, beautiful aspect of the world we live in. This is dramatically different from the attitude adopted by the majority of contemporary Chinese artists, who position themselves as rationalist spectators standing off to one side and clinically observing historical events. Viewed from this perspective, Zhou Chunya is, in spiritual terms, an absolute liberal. Whether he is addressing East Asian culture, Western culture, history, tradition, or the avant-garde, Zhou is equally openminded and receptive. The years Zhou Chunya spent in Germany in the 1980s had influenced much on his career. The masterpieces of modern Western art and German expressionism deeply affected Zhou's subsequent artistic career. Living in a foreign country also ignited Zhou's passion for traditional Chinese culture. After return to China, Zhou assiduously studied the Chinese "literati" landscape painting tradition as it evolved from the Ming Dynasty onwards, immersing himself in the landscape works of the "Four Wangs" (Wang Shimin, Wang Jian, Wang Hui and Wang Yuanqi) and the "Four Monks" (Zhu Da, Shi Tao, Kun Can and Hong Ren), and deriving spiritual nourishment from this rich classical culture. In the early 1990s, as he wanted to refine his texture and composition skills, Zhou Chunya began to work on a series of paintings on the subject matter of "artificial rocks", Commonly seen in traditional Chinese gardens, seeking to extract the unique aesthetic features of this semiabstract art form. To realize this project, Zhou made many trips to the mountain areas in Sichuan to study particular types of stones. During the period 1992-1996, Zhou completed a series of works that constituted an experimental development and interpretation of traditional Chinese gardens and traditional Chinese "bird and flower" painting. The style of these paintings fused the spirit of expressionist art, sketching and ink brush landscape painting with the techniques of expressionism. "Stone Series - Stone and Tree" and "Memory of Lung Chuen Lake" are two of Zhou's finest works from this period. Around the year 2000, visits to Suzhou and Yangzhou inspired Zhou's interests in Taihu stone (a type of porous limestone). Zhou felt that Taihu stone was the most intrinsically "Chinese" of all objects, with its sense of history, its hardness, its vigor, its complexity, its fearsomeness, its brutality and its beauty all combined as one. Taihu stone was the most famous kind of stone being used in traditional Chinese gardens. With its unique shapes, Taihu stone naturally became a key scenic feature in a garden, and attracted the interest of the literati. If the Western tradition is to carve stone, the East Asian tradition is to depict stone as it is, and Zhou Chunya remains faithful to this tradition. Zhou uses his own unique artistic lexicon to endow cold, unfriendly stone with emotion and life.
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Zhou Chunya is always highly praised for his talent on color. Zhou excels at filling canvases with rich, finely textured colors that are simultaneously sensitive, passionate and precise. Besides the outstanding use of color in his "Green Dog" and "Red Man" series, Zhou's utilization of color in his "Rock" series is also very impressive. In the "Taihu Stone" series, the use of scarlet derives ultimately from the red mud that collected was from in the holes in Taihu stone. The flowing colors of these paintings make the rocks a flesh-like vitality that is one of the key distinguishing features of the artistic lexicon that underpins the "Taihu Stone" series of paintings. This lot is a work from Zhou Chunya's "Mountain and Rock Series" which combines the rich texturing of Zhou's other "Mountain and Rock" paintings from the 1990s with the distinctive expressive techniques employed in Zhou's "Taihu Lake Stone" series to portray powerful inner emotion. Red rock occupies most of the right hand side of the canvas; set off as it is against a "cold" background color tone, the red stone seems especially somber and gloomy, carrying with it a slight sense of foreboding. The smooth, flowing use of color in this painting represents a continuation of the way Zhou used the color red in his "Taihu Lake Stone" series; the artist himself has suggested that this constitutes an expression of subconscious emotion that has spontaneously burst forth. Mountains and rocks have been an ever-present cultural theme for Zhou Chunya, one which has consistently been reflected in his art over the years. In his mountain and rock paintings, Zhou is also exploring the impact of cultural traditions on contemporary society. Zhou studied art in Germany from 1986 to 1988. He was amazed and deeply influenced by German Expressionism and Neo-Expressionism. During the early 90s, he began to study traditional Chinese painting. While indulging himself in the majestic atmosphere and exquisite deepness of the Chinese literati paintings of Wang Meng, Bada Shanren and Huang Binhong, he was also stimulated and inspired by the essence, spirit and depth of tradition.
ZHOU Chunya, Stone Series - Stone and Tree , 1993 oil on canvas, 195 x130 cm, Ravenel Autumn Auction 2012 Hong Kong US$ 1,006,452 sold 周春芽《石頭系列－與石頭聯接的樹》1993 油彩 畫布 195 x130 cm 羅芙奧香港2012秋拍 HK$ 7,800,000 成交
Talking about his "Mountain and Rocks" series, he said, "I was studying literati landscape painting when working on ‘Rocks'. I didn't try to understand literati from its material properties and forms like Chinese painters once did, but I tried to look for those unfamiliar yet surprising objects with my own will for artistic expression. I spent time on passion and texture, almost obsessively trying to capture and explore the visual elements hidden in the natural properties of rocks. By strengthening these elements, enlargement itself is the form while the visual presentation is the content: no further explanation or implication is required. The stones we saw and experienced are so amazing under the view of concept and art method."
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縱觀中國當代藝術發展的三十年脈絡，周春芽一直是異於潮流之外的特 例——從不曾在主流裡面，但藝評家卻從來都在主流之外為他另闢蹊徑。任 歷史與藝術潮流變換，他始終堅持追求能夠觸發他激情，感受世間美好的事 物。這與中國當代藝術家普遍傾向於某種旁觀距離的理性思考，冷眼旁觀的 大歷史情懷完全不同。這點上來說，周春芽是精神上的絕對自由主義者，無 論面對東方，西方，歷史，傳統，還是前衛，皆可以縱情肆意，信手拈來。 1980年代遠赴德國求學的經歷在周春芽的藝術發展歷程中至關重要。西方現 代藝術傑作和德國表現的主義的深刻影響貫穿周的創作生涯，異鄉漂泊的生 活也重燃了他對中國傳統文化的熱情。回國之後潛心研究中國明代之後的文 人山水畫，徜徉於四王、四僧的水墨山水世界，汲取豐富的古典文化養份。 九十年代初，為了磨練畫面肌理與構成趣味，周春芽開始以著手以中國園林 中假山石為題材的系列創作，挖掘這種半抽象形態中的審美特徵。為此他曾 多次奔赴四川周邊的山區觀察石頭的形態。1992年到1996年間，他完成了 一系列由傳統園林與花鳥畫演繹實驗發展出的作品，風格上融合了寫意，寫 生，水墨山水的意趣與表現主義的手法。《石頭系列－與石頭聯接的樹》、 《龍泉湖回憶》皆為這一時期的佳作。2000年前後，蘇州和揚州的旅行又 使他對太湖石的形象產生濃厚興趣。他認為「 太湖石以其歷史感，堅
硬，渾厚，複雜，恐怖，血腥和優美為一體，是最具中國特色物 體 」。中國園林中的山石以太湖石最為著名。太湖石以其形狀奇巧，自成景 致的特點而備受文人青睞。在西方雕刻石頭，東方描繪石頭的傳統裡，周亦 不例外。他用自己獨特的藝術語言為冰冷的石頭賦予情感和生命。 周春芽對於色彩的駕馭一直廣受讚譽，他可以輕易把握畫面上細微豐富的色 彩，敏感，熱烈而精準。除了廣為人知的「綠狗」與「紅人」系列，「山 石」系列中色彩的運用亦相當精彩。太湖石系列中猩紅色的運用最早來源於 石頭洞裡是泛紅的泥巴。畫面中流淌的色彩便賦予了石頭血肉與生命，也成 為了《太湖石》系列的標誌性語言。 談及「山石」這個系列的作品，周春芽曾說：「 我在創作『石頭』的時
候，正研究文人山水畫，我並沒像國畫家那樣在材質屬性和圖示 形態上去理解，而是按照我的表現意志去尋找那些令我覺得陌生 又能帶來驚喜的東西。我在激勵和質感上花費了很大功夫，近似 於強迫症似的去捕捉和玩味那些潛藏在石頭自然屬性中的視覺因 素，把這些東西強化，放大本身就是形式，而視覺呈現的本就是 內容，已經不需要你進行更多解釋和引申，我們從觀念、方法出 發，看到和理解到的石頭更讓人驚訝、震撼。」 《山石系列》融合了1990年代山石系列的豐富肌理與《太湖石》系列中獨特 的表現手法，用以表達內心強烈的情感。紅色的石體佔據了畫面右側的大部 分空間，在冷色調的背景襯托下，紅色的山石顯得格外陰鬱， 造出略帶森然 的氛圍。畫面中流淌的顏料延續了《太湖石》系列中流淌的紅色，藝術家認 為這是一種潛意識裡的情緒表達，自然流露。山石作為一個逃不開的文化情 結，久久縈繞在周春芽的藝術創作中，他也正在用自己畫筆探索人文傳統對
ZHOU Chunya Taihu Lake Stone, 2000, oil on canvas 196.5 x 148 cm Ravenel Autumn Auction 2012 Taipei, US$ 1,938,059 Sold 周春芽《太湖石》2000 油彩 畫布 196.5 x 148 cm 羅芙奧台北2012秋拍 NT$ 56,320,000 成交
當下社會的影響。
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061
CAI GUO-QIANG (Chinese, b. 1957)
Nice – Church 2010 Gunpowder on paper 300 x 200 cm Signed and titled lower center Nice-Church Cai GuoQiang in English and dated 2010 This work is to be sold with a certificate of authenticity signed by the artist. Cai Studio Reference #2010.2233.
HK$ 5,000,000 - HK$ 7,500,000 NT$ 20,243,000 - NT$ 30,364,000 US$ 644,700 - US$ 967,100
蔡 國強 尼斯—教堂 2010 火藥爆破 紙本 300 x 200 cm 簽名下方：Nice-Church Cai Guo-Qiang 2010 附藝術家親簽名之原作保證書 編號2010.2233
FROM UNPREDICTABLE SPLENDOR TO ETHEREAL BEAUTY "The gunpowder drawings evolve from a practice that seeks to
conflate, collapse, and complicate distances, between the "seen and unseen worlds," between ancient and contemporary notions of time, and between human life and natural and man-made chaos. "
–
Alexandra Munroe
CONCEPTION OF THE CATHEDRAL "Nice – Church", executed in gunpowder on paper depicts the tranquil composition of the Church and its surrounding geometric structures against a simplified ground. The figurative elements of the dome-shaped Church occupies the main portion of a canvas near the foreground with great definition. The present lot parallels to Cai's symbolist tradition that synthesizes the artist's signature elements as the surrounding structures appear and disappear from the resulting reaction of the scorches, burn marks and gunpowder residue rendered by capturing the vestiges of a gunpowder explosion on paper used in executing the work. It is precisely the aspiration toward the unlimited and what cannot be contained in a single vision that defines Cai's predominant interest in the tie between the visible and the invisible. The composition of the present lot is suggestive of a transcendence of time and space while simultaneously connotative of a pure and vital energy source as the slight hint of subtle yellowish charred originating from the top left corner is reminiscent of a light source that shines upon the sanctuary Cathedral like a golden halo. The airy linear trails that diffuse and permeate in the sky further imbue the composition with a nostalgic quality.
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CAI Guo-Qiang, Furious Tiger Going Down a Mountain (detail) , 2005, gunpowder on paper, 200 x 300 cm, Ravenel Autumn Auction 2010 Hong Kong, US$ 989,691 sold 蔡國強《猛虎下山》（局部）2005 火藥爆破 紙本 200 x 300 cm 羅芙奧香港2010秋拍 HK$ 7,680,000 成交
The present lot also references a place in time as witnessed by
never ending acts of terrorism which reflects that the world has yet
the inclusion of the inscription alongside the title and signature.
to achieve lasting peace. In this regard, the present lot constitutes
An inscription that the artist has deliberately added to the artwork
a playful contemplation of the dichotomy between war and peace,
further adds a narrative quality that conjured with the literati
concepts that are integral aspects of the issues that Cai attempts to
tradition of Chinese Classical ink works while the composition
address in his works. In essence, the church has been traditionally
resonates with Cai's status as a globetrotter who has travel
associated with peace, creating an interesting juxtaposition with
extensively throughout his artistic career. "I have a lot of curiosity
Cai's concern against the dichotomy of warfare. All the while
about unseen forces and invisible things. " In essence, Cai critiques
presented through the utilization of the medium gunpowder could
h i s p e rc e p t i b l e p e r i p a t e t i c e n v i ro n m e n t a n d s u b s e q u e n t l y
also be interpreted and used as a weapon. For Cai, gunpowder
embeds them in his art. More specifically, perhaps his visit to the
could be deemed as a symbol of war and violence but it was also
Mediterranean 2010 at the Musee d'Art Contemporary (MAMAC) in
a familiar material with which he was well acquainted with since as
Nice might have possibly inspired the composition of the present
early as 1984 he had attempted to ignite gunpowder over an oil
lot of a depiction of the tranquility and mystique of the Cathedral
painting in attempts to transform it into a new work as a result of the
as the gunpowder outlines the silhouette of the structures in various
contingency arising from the explosion. In this instance, the medium
intensity of vivid prominence and ridding it of any obfuscation
has been transformed into artistic production through the power
resulting in the present lot imbued with a timeless majestic splendor.
of imagination. More precisely, gunpowder that would be used for
Where artist like John Cage, Chen Zhen, and the Rosicrucian
mass destruction has been transformed to procreate works of art.
rituals of Yves Klein have used smoke, fire, and burned materials as their artistic mode that introduced processes that animated and
The subject matter is not without reason as Cai was born in the
transformed the material with new formal values, Cai's distinctive
Fujian Province in Quanzhou City. Cai's birthplace was one if the
manner in utilizing explosives encompass concepts of destruction
largest ports in the world, from which Marco Polo departed in 1292
and creation constituting a pure force of energy as an art form itself.
for his journey to Venice. Due to its economic ties with the rest of
More specifically, the ambiguity of its powder and challenged the
the world, a liberal social climate pervaded the city of Quanzhou.
destructive power of fire from a creative position in the form of art.
This openness can be observed from the diverse ethnicity of the
Art is truly an explosion, and explosions become art.
city as Arabs from foreign lands migrated to Quanzhou to take
TRANQUILITY OF THE CHURCH
on government posts. More importantly, Quanzhou is dotted with temples belonging to varying sects amidst the lush green hills. These religious sanctuaries were once the playgrounds of Cai who
In retrospect, Cai has produced artworks as a response to human
would spend his time day dreaming at these places as a child,
tendency towards violence revealed in his works in response to the
where he was convinced of the existence of a mysterious universe
atomic bombs dropped on Hiroshima and Nagasaki and seemingly
parallel to his own reality by the sight of the twin pagodas and arch
CAI Guo-Qiang, Study for Sunflower (detail) , 2010, gunpowder on paper, 200 x 300 cm, Ravenel Spring Auction 2011 Taipei, US$ 1,417,510 sold 蔡國強《向日葵速寫》（局部）2010 火藥爆破 紙本 200 x 300 cm 羅芙奧台北2011春拍 NT$ 40,640,000 成交
of the Qingjing Mosque, standing tall among low brick compounds
in Classical ink traditions. Moreover, his use of gunpowder serves as
with tiled roofs and a nearby stele engraved with Arabic texts and
a metaphor for harnessing the tremendous power that is contained
partially submerged in weeds. Hence, the religious and spiritual
within the universe. The artist channels it into his work through
diversity of Quanzhou with the prevalence of practices such as
a direct dialogue with the material by accepting the element of
Islam, Nestorian Christianity, Manichaeism, alongside Eastern
chance and by adopting the spontaneous energy that nature emits
conceptions of Buddhism, Taoism and Confucianism have created a
while captivating time, process and transformation.
consciousness in Cai since his youth. Hence, it is not without reason that Cai would incorporate elements of religion in his conceptual art
"Nice - Church" incorporates the gradual expanding of black lines
embedded with sentiments from Classical tradition conceived with a
that dissipate much like ink spreading across paper. By extension,
philosophical sensibility. The structure of the Church is connotative
lines and curves created from the preordained arrangement of
of a deceptively peaceable quietude that entices the viewer to
the gunpowder further recalls the spontaneous brushstrokes and
ponder upon the notion of histories and future possibilities. More
splashes akin to Classical ink works. Cai successfully broadens his
precisely, to apprehend the ever emerging instant that is now.
scope to include figurative compositions alluding to his topological
THE ORIGIN OF THE LITERATI
interests and adaptations of traditional Chinese literati landscape painting. Perhaps it would seem appropriate to attribute this aspect of development in Cai's artistic odyssey to his father, who would
The present lot is imbued with historical and cultural significance.
relentlessly draw traditional landscape paintings on matchbox,
For Cai, the color black is reminiscent of sumi ink. The distinctive
sometimes with one pictorial scenery on one matchbox while other
monochrome in various intensity of light and shade of the whole of
times would drew different elements on numerous matchboxes to
creation conjure up images of Chinese landscape paintings imbue
be put together subsequently as a panel. Cai would be told that
with an abundance of nature, whereby the black changes can be
his father was depicting his hometown when asked what his was
interpreted different as the monochrome abundantly and vividly into
depicting. Later on, Cai visited his father's hometown and realized
all manner of colors and shapes depending on one's imagination.
his father's drawings were not an exact replica of the scenery of
In practice, Cai would place the fibrous paper sheet on the floor as
his hometown. Instead, it contains virtues of added attributes that
he arranges gun power, loose explosive powders of varying potency
only exist within the realms of one's imagination or more accurately,
and cardboard stencils to create silhouetted forms over the paper's
deviates from patriotism and his love for a place that he identified
surface. He then weights all these elements in place with rocks
with dearly. In his poetic appreciation of Chinese aesthetics, the vast
before commencing to ignite them in a blast that creates charred
world was compressed into the canvas provided by the matchbox.
residue of the original matter, inducing an array of explosives
In this square inch was a world that was replete with his profound
according to its pre-designated pattern. This practice result in works
emotions and immense inner world. Similarly, "Nice - Church"
that carries an air of the monochrome of varying intensity celebrated
captivates an instantaneous moment and memory of Cai in time that is poetic and ambitious at its core. Ravenel
157
Cai's Dual status as expatriate has sharpened his sense of identity as a global citizen. Cai's decision of studying stage design in Shanghai in 1981 have accord him to enter the realm of theater production and exposed him to greater possibilities for new artistic thinking. During this period, Cai grasped the notion that art works not just single images that expressed organic responses about humanity, but are narratives to be crafted from a variety of approaches. Cai's subsequent visit to Japan allowed him to encounter and experience the art scenery within the context of post-Moo-ha art and discourse. In essence, Cai's unique trajectory of his life echoes this dynamic spirit. Growing up in China in one of its most turbulent periods, migrating to Japan in the mid 1980s, then to New York in the mid 1990s where many of his gunpowder drawings were created as diagrams of Cai's that correspond to explosion events generally serve as diagrams outlining the artist's concept. These experiences as a while have given Cai rich perspectives on the processes of migration, globalization and cross-cultural politics. Cai made references to many historical, political, economical, and cultural background stories to enrich the meaning of the works. This meant that viewers needed to not only look at the works, but also ponder over their meanings with rich humanistic consciousness. The present lot is a work of expressive, emotional and intellectual maturity. It epitomizes Cai's mastery over gunpowder drawings that are complex as both technical and pictorial feats. It is the product of mastery and maturation of Cai's signature methodology, one that is vigorously protracted in different time and spaces since the inception of artistic career. "Nice - Church" is imbued with eclectic, ahistorical, and essentially ephemeral elements that transgress cultural boundaries as the ultimate creative force of our borderless age. 從不可預測的燦爛朝向永恆之美 「 火藥畫試圖在創作的過程中混合、崩解和混淆可見與不可
見的世界之間的距離，過去和現在對時間觀念的距離，還有 人與自然和人為混亂之間的距離。」 ─ 孟璐 (Alexandra Munroe) ， 古根漢美術館三星亞洲藝術資深策展人
《尼斯─教堂》係於紙面上以火藥創作，寧靜的構圖於簡單的背景中描 繪出教堂及其周圍的幾何圖形架構。 教堂建築圓頂輪廓的構成元素，佔 據了畫布的主要部分，清晰呈現於畫面前景。本拍品採用了蔡國強慣用 的象徵主義手法，藉由火藥的紙上爆破，讓焦痕、餘燼與殘留火藥交相 映襯，若隱若現地勾勒出周遭結構，展現典型的蔡式風格。 這種不受限 制、非單一視角的表現方式，突現了蔡國強的創作意圖，即探索視覺表 象與隱含歷程之間的連結。 本件作品的構圖傳達了超越時空的意念，而 畫面左上方灰燼中透出的一抹淡黃，宛如某種光源，則又散發出純潔豐 沛的能量，令人思及照耀教堂的肅穆燈光。 瀰漫消融於天際的隨意線條 更讓畫作充滿了懷舊思古之幽情。
作品上的題獻文字，與畫作名稱和簽名並列，標誌出特定的時空。 蔡國
需略施想像力就能體驗其中變化萬千的色澤與形狀。 實際創作時，蔡國
強特意在畫作上題字，增強了作品的敘事性，既顯現中國文人水墨畫的
強會將富含纖維的紙張平鋪於地，安排爆破裝置的火力、不同強度的火
傳統，也呼應其藝術生涯的世界旅人角色。「 我對看不見的力量和
藥和紙板模型，在紙張表面創造出畫面的輪廓。 然後他會將所有裝置以
事物很有興趣。 」蔡國強觀察周遭不停變換的風景，然後將其體現在
石頭固定，才開始進行爆破，引爆火藥，讓原先的物質燃燒後變成焦黑
作品中。 蔡國強曾於 2010 年走訪地中海，參觀了尼斯當地的當代美術
的灰燼，連串的爆炸依據原先規劃依次進行。 這樣產生的作品是濃淡不
館 (M A M A C)；具體而言，本拍品的靈感可能源自這趟旅程。畫作演繹
一的黑白色調，向傳統的水墨畫致敬。 再者，他選擇使用火藥，隱喻對
出大教堂的寧靜與神秘，深淺不一的火藥痕跡生動而清楚的描繪了教堂
於宇宙間強大力量的駕馭。 蔡國強將這股強大力量注入作品中，和創作
的輪廓，充滿了超越時間的壯麗光輝。 約翰・凱吉、陳箴等藝術家，以
材料直接對話，接受機運的安排，接受爆破隨興發揮的能量，同時捕捉
及演練薔薇十字會儀式的伊夫・克萊因等人，都曾使用煙、火和燃燒過
了時間、過程和轉化的結果。
的材質作為藝術表達的形式，將物質活化和並轉換為新的型態。但蔡國 強爆破藝術格外獨特，既是毀滅也是創造，讓爆破的能量也成為藝術的
《尼斯─教堂》漸層延伸的黑色線條就像墨水在紙面上擴散暈染。 預先
一部分。 也就是說，作品中殘留模糊的火藥輝進圖案，挑戰了爆破力量
排好的火藥製造出線條和轉折，神似傳統水墨畫的即興筆觸和潑灑。 蔡
的毀滅性，從中衍生出爆破藝術的創造性觀點。 藝術即爆炸，爆炸也成
國強在畫作中融入象徵元素，應用拓樸學和中國傳統山水畫，成功拓展
為藝術。
了作品的視野。 蔡國強的藝術旅程之所以如此展開，或可歸因於其持續 不懈在火柴盒上繪製風景畫的父親。其中某些火柴盒的圖樣自成一幅風
回顧蔡國強的作品，他所質問的，乃是人類本質傾向暴力的一面，既是
景，此外也有好幾個火柴盒拼湊成整幅畫的情況。 蔡國強的父親告訴
對於廣島長崎原爆、看似無盡的恐怖主義的回應，也是對於世界未臻永
他，火柴盒上畫的是他的家鄉。 後來蔡國強拜訪了父親的故鄉，才發現
久和平的反思。 由此看來，這件作品代表了對於戰爭與和平二分法的輕
父親的畫並非故鄉景致的忠實複製。 事實上，那還包含了個人的想像，
快思索，這是蔡國強作品中亟欲處理、不可或缺的議題。 一般而言，教
或者更具體地說，實為愛國主義和思鄉情懷的體現。 透過中國藝術眼光
堂令人聯想到和平，這和蔡國強對於戰爭中敵我截然二分的憂心，形成
的詩意詮釋，他把浩瀚的世界濃縮在火柴盒的方寸之間， 其中蘊藏了他
了有趣的並置與對照。 而以火藥作為創作媒介，亦可視為為某種禦敵利
豐富的情思和內在世界遼闊的觀想。 同樣的，《尼斯─教堂》既捕捉了
器的使用。 對蔡國強來說，火藥可被視為戰爭和暴力的象徵，但也是他
珍貴的瞬間，也是蔡國強的回憶片段，不僅詩意浪漫，至深處更埋藏著
熟悉的創作素材。1984 年起，他就嘗試在油畫上爆破火藥，藉著爆破
凌雲壯志。
的隨機結果，將其轉化為新的創作。 經由想像力的運作，火藥成為藝術 創作的一環。 更精確的形容則是本來用於大規模毀壞用途的火藥，被轉
蔡國強為了創作而數度落腳世界各國，強化了自己身為世界公民的自
化為藝術創作的要素。
覺。 1981 年他到上海研習舞台設計，接觸到劇場實務，啟發了他對嶄 新藝術思維的想像。 這段期間蔡國強瞭解到，藝術作品並非只是回應人
選擇這樣的主題並非偶然。蔡國強生於福建省泉州市， 是世界最大的港
性的單純影像呈現，也可以透過各種不同創作途徑來表達。 蔡國強後來
口之一。1292 年，馬可波羅便是由此航向威尼斯。 泉州和世界各地的
旅居日本，接觸並體驗了當時後物派藝術的文化氛圍。 蔡國強獨特的生
貿易往來相當密切，因此民風自由開放。 當地的人口組成既多元又薈
命軌跡和其變動不居的創作精神正相呼應。 他成長於中國的動亂時期，
萃，就連遠渡重洋的阿拉伯人後裔亦曾任職於泉州官府。 更直接的關聯
1980 年代中期移居日本，1990 年代中期前往紐約，並在當地創作許多
是，泉州青翠茂密的山巒間，滿布不同宗教的寺院。 這些宗教的聖殿曾
火藥畫的爆破計畫草圖，傳達其創作意念。 這種種的體驗與歷練，使得
是蔡國強昔日的遊戲場，童年的他常在那裡追思過往、遙想未來。磚牆
蔡國強對於移民、全球化和跨文化政治等議題都有深入的體認。 蔡國強
瓦屋的低矮民居之間，抬頭可見雙子寶塔和清真寺拱門，荒煙蔓草間掩
的作品中經常呈現歷史、政治、經濟和文化的背景和關注，豐富了作品
映銘刻阿拉伯文的石柱，讓他相信在現實之外，另有神秘世界存在。 宗
的內涵。 觀賞者不只欣賞作品，更必須思索其中豐富的人文意涵。本拍
教和文化多元的泉州，伊斯蘭教、景教、摩尼教和本地的佛教、道教、
品的表達、情感與知性均臻至成熟階段。 它是蔡國強精熟駕馭火藥爆破
儒教並行不悖，是蔡國強成長的思想背景。 因此，蔡國強的概念藝術同
畫技巧的里程碑，在技術和視覺效果上均屬大師之作。 蔡國強的獨特藝
時融合宗教要素，其來有自，其中更蘊含了傳統的經典價值與哲思。 教
術手法在本拍品中有精熟的展現，自其藝術生涯開展以來，在不同時空
堂的形體表面上看來祥和寧靜，令觀者不禁開始思索過去與未來， 更對
中也已多次有力的演繹。 《尼斯─教堂》充滿駁雜的、超越歷史的、稍
稍縱即逝的當下有所體認。
縱即逝的特色，超越了文化的藩籬，在這個疆界消解的時代裡，堪稱終 極創作力量的根源。
《尼斯─教堂》富含歷史和文化意涵，對蔡國強來說，黑色是水墨畫的 墨色。 本拍品的黑白色調展現深淺不一的光影虛實，宛如中國山水畫， 大自然的豐富蘊含其中，其中黑色深淺的變化是如此生動多彩，觀者僅
Ravenel
159
062
ZHOU CHUNYA
(Chinese, b. 1955)
Green Dog
周春芽
2002 Oil on canvas 120 x 150 cm Signed lower right Zhou Chunya both in Chinese and English and dated 2002
綠狗
PROVENANCE: EM Galerie, Netherlands
來源： EM 畫廊，荷蘭
2002 油彩 畫布 120 x 150 cm 簽名右下：2002 周春芽 Zhou Chunya
HK$ 1,300,000 - HK$ 2,000,000 NT$ 5,263,000 - NT$ 8,097,000 US$ 167,600 - US$ 257,900
In examining the artistic movements and stylistic
politicized metaphors or social theories, but instead focus on
developments of Chinese artists over the past few decades,
the simple aesthetic inspiration that Zhou found in the colors
Zhou Chunya stands apart from his contemporaries. In
and rustic beauty of both the people and landscape.
inspiration, symbolism, technique, and purpose, Zhou has effectively developed his own artistic direction, continually
Following his time in Tibet, Zhou left a socially tumultuous
diverging from the movements around him to explore and
China to obtain his master's degree at the Gesamthochschule
establish his own means of expression through art. Rejecting
in Kassel, Germany. Of his time in Germany, Zhou claims "the
participation in the politically and ideologically charged
classroom where I really studied was the art museums and
artistic theories celebrated by other contemporary artists
galleries of Germany and other European countries. " Exposure
in China, Zhou instead cultivated his own passions and
to Western artistic movements such as Cubism, Expressionism,
interests through the establishment of several iconic series:
Fauvism, and the Neo–Expressionist "Junge Wilde" (Wild
"Tibet", "Stones", "Flowers", "Peach Blossoms" and "Green
Youth) theory expanded Zhou's aesthetic and stylistically
Dog". Zhou's unique and distinctive voice has earned him
influenced his artistic exploration.
recognition throughout his career. Zhou's refusal to mold his artistic voice to a discernable movement has set his work apart
Despite Zhou's identification with the artistic movements
in both originality of style and expression.
he discovered in Germany, he did not remain there long, returning to China in 1989. China has always held certain sway
Zhou's first departure from the artistic movements around him
over Zhou, who states simply, "I have been deeply influenced
came in the aftermath of the Cultural Revolution. While Zhou's
by Chinese tradition, which I can never be rid of wherever
classmates at the Sichuan Fine Arts Institute united to express
I am. " It was in pursuit of this Chinese tradition that Zhou
the social upheaval and historical trauma of the Cultural
developed both his Stone and Flower series, combining the
Revolution through the newly established Scar Art movement,
visual experimentation of the Western modern movements he
Zhou elected instead to focus on depictions of the idyllic,
had discovered in Germany with the traditional elements of
agrarian lives of the Tibetan people. Zhou explains that while
Chinese literati painters. While his contemporaries in China
he appreciated the Scar Art narratives of his peers, his artistic
were participating in the New Wave, Cynical Realism, and
interests lay elsewhere, stating, "I only wanted to sketch from
Political Pop movements saturated with social and political
life because in so doing I was confronting an immediate, living
commentary, Zhou chose subject matter quintessential to the
nature. This allowed my artistic expression to remain at one
literati aesthetic, devoid of the contentious activism inherent
with my passions. " Zhou's Tibetan studies do not represent
in the movements around him.
Ravenel
161
While the Stones, Flowers, and Peach Blossom series all had their
放眼過去數十年中國藝壇的潮流與風格演變，周春芽與其他當代藝術家
inspirations and origins in the traditions of the Chinese literati
卓然不同。在靈感、象徵、技巧與理念等方面，周春芽都有自己獨特的
painters, Zhou's Green Dog series came from a directly corporeal
藝術走向，不隨流行起舞，努力建立自己的藝術表現手法。周春芽不願
muse. Given to the artist in 1994, the spirited German shepherd
與其他當代中國藝術家一樣，為政治與意識形態掛帥的藝術理論背書，
named Hei Gen became a source of near paternal pride for Zhou.
他透過多項代表性系列作品，展現自己的熱忱與興趣，如：「西藏」、
While at first depicting his canine companion in natural brown and
「石頭」、「花卉」、「桃花」與「綠狗」。周春芽獨特的表現手法深
black shades, in 1997 Zhou began using hues of bright, bold green
獲各界肯定。周春芽不願以特定流派侷限自己的藝術風格，作品風格與
to illustrate not only the physical form but the captivating spirit of
表現能夠維持原創性。
Hei Gen as well. "Green Dog is a symbol, an emblem ," explains the artist, "The color green is quiet, romantic, and lyric, and it contains
周與當代藝術潮流與運動首次脫鉤，是在文化大革命之後。當時他在四
in it the tranquility right before an explosion ".
川美術學院的同學發起傷痕藝術運動，反應社會動亂與歷史傷痕等現 況，而周春芽卻以藏人的田園牧歌與農村生活為題材。他表示，雖然欣
This lot, "Green Dog" was completed in 2005. In Chinese empty
賞同儕發起的傷痕藝術論述，但他有自己偏好的藝術主題，「 我只想
negative space, the background is kept in plain white, and the dog is placed squarely in the center of the picture, imbuing the animal
描繪生活，這樣才能直接與人接觸，讓藝術表現與個人的真 實熱情合而為一。」他的西藏作品並非再現政治化隱喻或社會理論，
figure with additional vividness and force. The dog appears almost
而是在藏人身上與西藏山水中發現獨特的色彩與樸實之美，使他傾注心
three-dimensional, like a sculpture, and the vivid green color seems
力於簡單美學。
to jump off the canvas. In the painter's words", Some people feel
that 'Green Dog' is one of my more iconic paintings, a catchy image,
「西藏系列」創作結束之後，周春芽離開動盪的中國，前往德國卡塞爾
but that wasn't my primary intention. My original intention was to
綜合大學攻讀碩士。談到他在德國的生活，周春芽表示，「 我真正的
evoke the concise simplicity of traditional literati paintings, as well as create the sense of volume and depth usually associated with a sculpture. I believe the green dog is not so much a flat image as a 'sculpture on canvas. " The dog's body is painted with a variety of different strokes—wrinkled, rubbed, and twisted—all of which mesh to form a tight yet complex web of churning color, full of what Zhou likes to term "the structural rhythm of undulating strokes". The result is a painting of powerful visual impact.
教室是德國與其他歐洲國家的美術館和畫廊。 」他接觸西方藝 術思潮，如立體派、表現主義、野獸派、新表現主義者（Junge W ilde 狂野青年）等理論，拓展了美學視野，更影響他的藝術表現風格。 儘管周春芽十分認同德國的藝術風潮，但他並未在德國滯留太久， 1989 年他返回中國。中國對周春芽始終保持某種影響力，如他自己所 言，「 我深受中國傳統影響，無論身處何地都無法改變這個事
實。」在研究中國傳統的過程中，他創作了「石頭」與「花卉」兩個系 列的作品，將他在德國學到的現代西方視覺實驗手法，與傳統中國文人 畫家的藝術元素相結合。在其他當代中國藝術家熱情參與新浪潮（N e w Wa v e）、玩世現實主義與政治普普運動等藝術潮流之際，周春芽選擇 與文人美學有關的主題，避開了週遭藝術運動的爭議性激進主義。 著名的「綠狗」系列則關係到他的生活體驗。綠狗的靈感來自他飼養的 一隻純種德國狼狗「黑根」。1997年起他以黑根作為創作題材，捕捉牠 的舉止和神韻。 開始的時候周春芽是用黑色的，但有次他驀然用上鮮 艷的綠色。想不到瞬間的一個念頭，最終會轉化為他獨特的標誌。在他 看來，綠色是寧靜、浪漫而抒情的，包含了爆發前的寧靜意境。周春芽 重複畫一隻狗，無形中賦予牠多重的象徵意義。1999年黑根去世，「綠 狗」系列暫停。直到2001年他才開始新的創作。沒有黑根在身邊作為描 繪的實體，他轉而研究犬隻的品種、脾性、態度和姿勢等，創作了「大 綠狗」系列，風格比從前更寫意和抽象。 此幅《綠狗》創作於2005年，畫家運用留白的表達手法，抹除了背景 元素，把綠狗置放於純白的背景之中，更加突顯色彩之表現張力和雕塑 量感，畫家說：「 有人認為，『綠狗』是我作品中偏向於圖像
ZHOU Chunya, Green Dog , 2002, oil on canvas, 250 x 200cm Ravenel Autumn Auction 2013 Taipei, US$ 446,097 Sold 周春芽《綠狗》2002 油彩 畫布 250 x 200 cm 羅芙奧台北2013秋拍 NT$ 13,200,000 成交
性質的作品，但我的用意不是圖像，我的初衷是文人花鳥畫 簡潔的形態以及雕塑的體量感，我認為它不是圖像而是畫布 上的雕塑。 」，綠狗的形體是由皴擦、摩擦、扭曲的筆觸所構成。筆 觸的扭動十分繁密，色彩彷佛躍動了起來，充滿一種如周春芽所討論的 「起伏跌宕」的「形體節奏」，創造了強烈的視覺衝擊。
Ravenel
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063
PANG MAOKUN
(Chinese, b. 1963)
Resting Dream
龐茂琨
2012 Oil on canvas 160 x 120 cm Signed lower right Pang Maokun in Chinese and dated 2012
棲息的夢 2012 油彩 畫布 160 x 120 cm 簽名右下：龐茂琨 2012
HK$ 850,000 - HK$ 1,300,000 NT$ 3,441,000 - NT$ 5,263,000 US$ 109,600 - US$ 167,600
Bor n in Chongqing in 1963, Pang Maokun is one of China's
the viewer. The dog's hind legs are curled up beneath it, while its
leading contemporary artists. His works are characterized by keen
front legs are spread self-confidently out in front, as though the dog
observation of human figures. Pang's emotive, realist style and
were greeting the viewer; the overall effect is one of lively energy.
attention to detail bring across the entire spectrum of human emotional and spiritual expression, the artistic lexicon that Pang
In "Resting Dream", Pang Maokun seems to draw us gradually
employs in his work embodies both refined, classical technique and
into the minds of the girl and the dog, in this beautiful dream of
also a unique contemporary spirit.
being able to take a short break from trouble and care. This faintly intoxicating, magical scene, which is situated somewhere between
"Resting Dream", presents a scene full of rich colors, with soft,
the virtual and the real, leaves the viewer spellbound.
even interior lighting; warm color tones occupy the key areas of the canvas, establishing a cheerful atmosphere. The soft red cushion
龐茂琨1963年生於重慶，為當代著名藝術家，其作品著重對人物的觀
positioned near the center of the painting enhances the three-
察。其鍾情寫實，錘鍊細節之美，在人物刻畫中，盡顯人文精神語彙。
dimensionality of the work; the bright red of the pillow accentuates
龐氏的藝術語言，部分技法優美而古典，然而蘊含的精神卻展現當代不
the pure white skin of the girl, enhancing the aesthetic beauty that
凡氣質。
emanates from her. The pink carpet is decorated with green, orange, blue and brown patches and motifs, with the overall effect being
《棲息的夢》畫面色彩豐富，室內光線平均柔和，暖色調占了主要版
one of auspiciousness and joy. The detailed depiction of the texture
面，奠定了愉悅的氣氛。作品近中央的紅色柔軟抱枕，提高畫面的跳躍
of the girl's winter clothing, the carpet, and the dog's fur, adds an
感，抱枕的鮮紅更襯托出少女雪白的肌膚，使其更添動人美感。粉紅色
extra touch of warmth to the soft pink tones, imbuing the painting as
地毯鑲嵌綠、紅、橘、藍、褐等色塊圖騰，紋路盡顯喜氣吉祥。羽毛般
a whole with a sense of peace and harmony. At the same time, the
細膩描繪少女穿戴的冬季衣物、地毯、犬隻皮毛肌理的筆觸為溫柔的粉
tripartite division of the painting's background into the brown wall
紅基調背景更添暖意，使畫面籠罩一層平靜與和諧感。此外，畫作由上
at the top, the gray sofa in the middle, and the pink carpet at the
而下主要以淡褐色牆面、灰色沙發、 粉紅地毯等色塊對畫面背景進行三
bottom, creates a powerful visual effect.
元切割，視覺效果強烈。
The portrayal of the expressions and postures of the human and
人物之間眼神和肢體的交流、刻畫，對整幅作品的視覺表現力，有卓越
animal figures has a pronounced impact on the overall visual
的影響。少女坐姿略為斜臥，使身段展現柔軟與隨興。其臉部微側，低
presentation of the painting. The girl is seated leaning to one
頷恬靜從容凝視愛犬，沁出兩者的濃濃情誼，為人類與動物間和諧共存
side, giving her a soft, relaxed posture. Her head is tilted over
的理想狀態帶出嘉許，饒富深意。少女一手靜置於腰間 ，一手微微垂落
slightly, gazing fondly at her pet dog with an expression that shows
於沙發，從肢體語言上透露出對此靜謐空間的信任與幸福感。畫家塑造
the depth of the bond between them; presenting as it does the
動物形象時，其描繪姿態、雙眼傳神氣韶。少女愛犬褐白相間的皮毛細
possibility of an ideal, harmonious relationship between humans
膩度及炯炯有神的睿眼，直入觀者心扉。犬隻後腿閒適併攏，前足自信
and animals, this vignette is highly meaningful. The girl has one
邁向正前方，彷彿向觀畫者寒暄，氣質活潑不凡。
hand resting lightly on her lap, while the other lies on the sofa. Her body language reveals that she feels safe and happy in this spatial
《棲息的夢》在龐氏縝密地循循善誘下，宛如使我們置身少女、犬隻、
environment. In depicting the dog, the artist has given it a highly
或是藝術家遠離塵囂的美夢，得以暫時棲息。此略帶微醺，虛實相間的
lifelike posture and expression. The detailed texture of the dog's
迷幻情景，令人意猶未盡。
brown and white fur, and its bright eyes, have a striking impact on
Ravenel
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064
LING JIAN
(Chinese, b. 1963)
凌健
Army Princess No. 4
綠裝公主四號
2009 Oil on canvas 250 x 180 cm Signed on the reverse Jian Ling in Chinese, LING Jian Ling in English and dated 2009
2009 油彩 畫布 250 x 180 cm 簽名畫背：凌健LING Jian Ling 2009
EXHIBITED: Back to Beijing , Tang Contemporary Art, Hong Kong, November 29, 2009 - January 3, 2010
展覽： 「回到北京」, 當代唐人藝術中心, 香港，展期自 2009年11月29日至2010年1月3日
HK$ 800,000 - HK$ 1,200,000 NT$ 3,239,000 - NT$ 4,858,000 US$ 103,200 - US$ 154,700
In the works of Ling Jian, the facial expressions of his subjects
impression is revealed. This fresh new visual experience enables
are finely depicted and at the same time almost exude a sense of
viewers to sense the rapid change between each individual and the
transcending qualities. Behind these beautiful, sexy, cold, or even
society in which they are enveloped. The artificial external beauty
sorrowful visages, the emphasized or hidden bewildering mindscapes
juxtaposed with the emptiness and loss of inner character exposes
of the characters ignite a surge of thoughts and feelings in viewers.
one of the more prominent social and cultural aspects that define our
Beautiful and representational female characters are depicted on
current era.
giant circular canvases to explore a broad spectrum of themes from materialism, wealth, political awareness to modern feminism, identity
在凌健的作品中，對人物面部表情的刻畫極為豐富，同時又近乎於某種
and body image. The women in the paintings exhibit the cultural
超然，在這些美麗、性感、冷漠、亦或是感傷的背後，被彰顯或掩蓋的
transformations of a locality, contradictory conflicts, marks left behind
撲朔迷離的人物內心世界，更是讓人浮想聯翩。將美麗而極具表達力的
by time, and each character's individual story. Ling Jian customarily
女性形象，繪製在巨大的圓形畫布上，探索從物欲、財富、政治意識形
presents female forms in hyper-realistic and exaggerated styles. A
態，到當代女性觀念、身份和身體意象等廣泛的主題。繪製中的女性展
wide forehead, narrow chin, plump lips, and large eyes are depicted in
示了在一個地域中文化的變遷、矛盾的衝突、時代的痕跡以及每個個體
a reflection of modern standards of beauty and the impact of cultural
的故事。凌健一貫以超現實和誇張的風格展現一系列女性形象：寬闊的
affirmation, in effect becoming a carrier of information in this age
額頭、狹窄的下巴、豐滿的嘴唇和大大的眼睛，反映著現代審美標準以
where things are becoming increasingly abstract.
及文化認同的影響，成為一個日益抽象的時代的信息載體。
This piece, created in 2009, expresses its sensibility in a much more
此幅創作於2009年的作品，較之前系列所要表達的敏感與精緻相比，由
thorough and straightforward manner compared to the sensitivity
感性傳達出的東西更為直接徹底。特別是2006年以後的創作中，畫家所
and delicacy conveyed in earlier pieces. In particular with his works
營造的畫面由面部延展到身體直至整個女性的物質世界，骨感削瘦的身
created after 2006, the artist creates materialistic scenes that embody
體、略顯蒼白冰冷的肌膚、芭比娃娃似的短髮、閃耀光芒的珠寶飾物、
women extending from the face all the way to encompass the entire
紅唇吸吮著的櫻桃，充滿期待誘惑的凝望，這些畫面元素所流露出的情
body. Thin and angular forms, pale cold skin, short Barbie Doll hair,
色意味依舊不能用理性來解讀。觀者在不同的角度去凝視作品時，作品
shiny jewelry and accessories, red lips sucking on a cherry, gazes full
會出現一種新的面貌，這種視覺上新的體驗，可以讓人觀察到每個個體
of temptation and desire; the highly suggestive and erotic elements
與社會在瞬間的變化。而人工製造的外表美麗，和內在人格精神的缺失
of these scenes cannot be deciphered through logic. When the
與空洞化，是這個時代最顯著的文化和社會特徵之一。
viewer observes these works from different perspectives, a new visual
Ravenel
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065
YIN ZHAOYANG (Chinese, b. 1970)
尹朝陽
Mao
毛澤東
2007 Oil on canvas 110 x 110 cm Signed on the reverse Zhaoyang in Chinese and dated 2007
2007 油彩 畫布 110 x 110 cm 簽名畫背：朝陽2007年
HK$ 600,000 - HK$ 900,000 NT$ 2,429,000 - NT$ 3,644,000 US$ 77,400 - US$ 116,100
The drawings of Yin Zhaoyang open the theme of expressing emotion for the sorrow towards youth by the generation born in 1970s. They are genuinely building the image and emotional features of this generation. Regarding the distance of time and the significant concept of "Mao", what is fuzzy may be memory for the younger generation artists such as Yin Zhaoyang and what is vivid is still cognition. The image of Mao Zedong, a kind of social and historical heritage, relates to a social phenomenon affording for thought for the diversified uses. Yin Zhaoyang is interpreting and describing a splendid image of that era with his own experience. His works are unique among numerous like ones under the theme "Mao" with his unprecedented demeanor. Yin Zhaoyang's works in relation to Mao Zedong always represent an allegory. Even this "Mao", featuring such simple drawing and composition, contrasts the pose and temperament of the figure with colors. The figure and the background are basically rendered in two major tones: red and green. Red is a code for maintaining a politically correct status in the communist context. In traditional Chinese culture, it also has positive associations to fortune, fertility, happiness, and success. The green color of military uniforms occupies a large part of the canvas; green symbolizes hope, while also being the characteristic color of the Chinese Red Army. At the same time, the primary colors used evoke the pure color field explorations of Mark Rothko, giving the portrait deeper emotional resonance than a straightforward realistic depiction. 尹朝陽的繪畫開啟了1970年代出生的一代人青春感傷的抒情主題，並真正 開始塑造這一代人自己的自我形象和情感特徵。以時間的距離，關於「毛澤 東」的重大概念，對於尹朝陽這些更為年輕的藝術家來說，模糊的或許是記 憶，生動的依然是認知。毛澤東的形象作為一種社會歷史遺產，各種方式的 使用是非常耐人尋味的社會現象。 尹朝陽以自己的經驗解讀並敘述著一個輝煌的時代的形象。他以自己獨有的 氣勢，在眾多以「毛澤東」為題材的作品中獨樹一幟。他以不同背景創作的 毛澤東常常像一個寓言，即使如同這幅如此簡單構圖的《毛澤東》，以顏色 對比烘托出人物形象的體態和氣質，基本上呈現兩大色調：紅色和綠色。紅 色是代表與共產主義政治立場一致狀態的符號。在傳統的中華文化，它也有 積極的聯想：財富、生育、幸福和成功；而戎裝的綠色佔據了畫面的大部分 空間，綠色象徵希望，同時也是紅色政權軍隊的代表色。與此同時，這兩種 基礎色的使用能激發起如馬克．羅斯科般對純淨顏色的探索，賦予所繪肖像 比寫實手法更深的情感共鳴。
YIN Zhaoyang, Dizzy Mao , 2007, oil on canvas, 200 x 200 cm Ravenel Spring Auction 2011 Hong Kong, US$ 200,514 sold 尹朝陽《眩－毛澤東》2007 油彩 畫布 200 x 200 cm 羅芙奧香港2011春拍 HK$ 1,560,000 成交
Ravenel
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066
HAN YOUNG WOOK
(Korean, b. 1963)
Face 2009 Oil on aluminum scratch 112 x 162 cm Signed lower left Y Wook in English and dated 2009 Inscribed on the reverse #100
HK$ 600,000 - HK$ 900,000 NT$ 2,429,000 - NT$ 3,644,000 US$ 77,400 - US$ 116,100
韓 永旭 面容 2009 油彩 鋁板 填色刮畫 112 x 162 cm 簽名左下：Y Wook 2009 題識畫背：#100
Ravenel
171
067
HYUNG-KOO KANG
(Korean, b. 1954)
Untitled
姜亨九
2006 Oil on canvas 259 x 184 cm
無題
EXHIBITED: Art Beijing 2007 , National Agricultural Exhibition Center (New Hall), Beijing, September 20-23, 2007
2006 油彩 畫布 259 x 184 cm 展覽： 「藝術北京2007」，全國農業展覧館（新館），北京， 展期自2007年9月20日至23日
HK$ 650,000 - HK$ 950,000 NT$ 2,632,000 - NT$ 3,846,000 US$ 83,800 - US$ 122,500
Hyung Koo's Kang enamored of painting is portrayed through
with an extraordinary view of the human face that strives to
the thematic oeuvre of his detailed portraitures that seeks to
instill greater empathy. " In this regard, one's eyes is a key to
reveal the universal truths of humanity. Kang has been creating
the core expressionism in extracting their spiritual existence
large-scale paintings since 1989 and his subjects ranges from
and introverted soul. It is through such attributes that Kang
recognizable icons to personnels that exhibit interesting facial
induces an evocations of emotional responses and ventures
features rendered by employing a unique arsenal of tools that
beyond the realm of pure representation towards exquisite
includes an airbrush, drill, erasers, cotton swabs, sandpaper
implications that instills his subjects with an aura that exceeds
and toothpicks in creating works that aspires to illustrate an
mere representation or imitation.
alternative reality based on potential and possibilities. In essence, Kang's portraitures are a primitive portrayal of his
姜亨九對於繪畫的熱情，體現在細緻的人物肖像上，格外引人入
subjective aesthetics driven by his psychological connections
勝，而畫家也據此探索著人性的普世真理。自1989年開始，姜
with his subjects that he endeavors to bring to life. "Untitled"
亨九投入了大篇幅作品的創作，主角包括各界名人和臉部特徵饒
exhibits the magnificence of the artist's large scale portrait
富趣味的人物。他應用的工具包括了噴槍、鑽子、橡皮擦、棉花
works imbued with a compositional focus that magnifies the
棒、砂紙和牙籤，希望藉著各種工具的多樣特性，描繪出另類的
facial features of his subject to reveal a diversity of complex
真實。姜亨九的肖像畫是其主觀美學的樸實展現，源自他和肖像
emotions through the exquisite details. Moving beyond
畫主角的心理連結，試圖藉著畫作再次賦予主角生命。《無題》
Hyperrealism, the delicate soft contours on the face and
乃是姜亨九筆下壯觀的巨幅作品，畫作放大了人物的臉部特徵，
the monotone palette creates a mysterious and appealing
藉著細節的清楚描繪，傳達出複雜多樣的情感。姜亨九的作品超
magnetism, which involves a mastery of the emblematic
脫了超寫實主義的範疇，人物臉部的柔和輪廓、畫作的單色調，
utilization of tonal grey and blacks as the figure's black
賦予作品滿溢的神秘氣息，像磁鐵一樣吸引觀賞者的目光。他巧
texturized ensemble brings forth the delicate features of the
妙運用灰黑色為基調，展露主角的線條，並以白色背景凸顯人物
subject's face against the white ground, where the finely
臉部的細部特徵。畫中人物絲絲分明的頭髮參雜灰白，吸引觀賞
depicted hair is interwoven with intricate strands of white hairs
者聚焦於主角朦朧恍惚的眼神。人物眼角的陰影和生動的表情配
that diverts and pulls one's attention towards the soft hypnotic
合無間，造就出更完整而全面的印象，同時容許觀賞者的感性與
gaze of his eyes. The shadow casted over the inner corners of
想像力隨著畫面自由揮灑。如同姜亨九所說：「 人物臉部特徵 的放大，顯現了一般尺寸作品無法傳達的隱藏情緒，觀 賞者凝視著如此不凡的人物臉部肖像，激盪出內心的萬 般情感與共鳴。 」人物的眼睛是表現內心及靈魂的重要關鍵，
his eyes works in harmony with the figure's expressive features in telling a more complete story, one that is largely contingent upon the emotional response and imagination of the viewer. As Kang posits, "By magnifying the facial features the portrait
reveals traces of hidden emotion that might not be otherwise seen on a normal scale. Nonetheless, the viewer is presented
姜亨九正是藉此喚起觀賞者對於畫作的情緒反應，超越了單純的 寫實和模仿，為肖像畫的人物注入新的意義和生命。
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068
HYUNG-KOO KANG
(Korean, b. 1954)
Deng
姜亨九
1999 Oil on canvas 259 x 194 cm Signed lower right Hyung-Koo Kang in Korean and dated 99.2
鄧小平
EXHIBITED: Hyung Koo Kang: The Burning Gaze , Singapore Art Museum, Singapore, October 14 - December 25, 2011
1999 油彩 畫布 259 x 194 cm 簽名右下： 강형구 99.2 展覽： 「姜亨九：燃燒的凝視」，新加坡美術館，新 加坡，展期自2011年10月14日至12月25日
HK$ 500,000 - HK$ 800,000 NT$ 2,024,000 - NT$ 3,239,000 US$ 64,500 - US$ 103,200
"We are all wearing masks with two holes in the eyes, all the
rather necessitate to bring forth the importance of one's eyes
while harboring our voyeuristic tendencies with the desire to
as a key to the core expressionism in extracting their spiritual
watch others over exposing ourselves. "
existence and introverted soul. It is through such attributes
– Kang Hyung Koo
that Kang ventures beyond the realm of pure representation Kang Hyung Koo's explores the illusory premise of reality
towards exquisite implications that instills his subjects with an
that predicates upon a balanced enigmatic illusion between
aura that exceeds mere representation or imitation.
Surrealism and Hyperrealism. Kang's portraitures are a primitive portrayal of his subjective aesthetics driven by his
「 我們都戴著面具，上面有兩個眼睛的洞，同時承載著
psychological connections with his subjects that he endeavors
偷窺的傾向，觀察他人的慾望比暴露自己的意願更為強 烈。」─ 姜亨九
to bring to life. It is imbued with a compositional focus that magnifies the facial features to reveal the diversity of emotions through magnificent details as epitomizes in "Deng". The
姜亨九探索現實的虛幻前提，在超現實主義和超寫實主義之間勾
monotone gray palette creates a mysterious and appealing
勒出微妙如謎題的平衡點。姜亨九的肖像畫，是其主觀美學的原
magnetism that involves a mastery of the emblematic
始呈現，以自身與特定描繪對象之間的心理連結為動力，並致力
utilization of colours. This quality attributes a sense of
透過作品讓人物活靈活現。他的構圖焦點放大了人物的臉部特
existence and life to the late Deng Xiaoping. Interestingly,
徵，藉由細緻微妙的臉部細節，揭露多元而複雜的情緒，《鄧小
the turning profile of Deng Xiaoping is illuminated by a faint
平》正是這種手法的典型展現。畫面的純灰色調營造出神秘非凡
nostalgic hint of soft light that strikes only the left side of
的吸引力，唯有精準掌控顏色象徵意義的大師才有此等手筆，這
Deng's face, enticing the viewers to acknowledge and unravel
種特質也為逝者帶來存在感和生命力。有趣的是，鄧小平的側臉
Deng's facial expression. The delicate and fine layers of dark
浮現一簇微弱的復古光暈，照映在他的左半臉上，吸引觀賞者注
and grey hair coupled with the superficial creases on the
意並試圖理解其臉部表情。線條明確、層次井然的黑髮與白髮，
Deng's face illuminates a worldly wise man weathered with age
加上臉上清晰可見的皺紋，描繪出他的世故和風霜，也繚繞著危
and wisdom with an air of unusual menace and mystery. This
險和神秘。 模糊的燈光令人注意到鄧小平深沉的雙眼，這對靈魂
peculiar soft light also brings attention to Deng's dark eyes, a
之窗既是無窮活力的泉源，也是領略個人內在本質的堂奧。他的
window to one's soul that is a source of immense energy and
黑眼睛專注地直視某處，避開了觀賞者直接的凝視，同時為畫面
a key in observing into one's internal psyche. Simultaneously,
增添了一絲懸疑之情。由此看來，姜亨九的肖像畫似乎實踐了顧
this quality also adds a sentiment of suspense as Deng's
愷之的人物畫哲學：「 四體妍媸，本無關於妙處，傳神寫
focused dark eyes focus slightly away from the viewer's direct gaze. In this regard, Kang seems to parallel with Gu Kaizhi's theory on portraits that predicates an extension beyond depiction of physical beauty and ugliness on portrait, but
照，正在阿堵中。 」眼睛才能真正傳達人物的靈魂。正是因為 這樣的手筆，姜亨九的肖像畫得以突破了純粹的寫實，讓畫中的 人物蘊藏深沉微妙的意味和暗示，更超越了一般的再現或臨摹。
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069
YUN WEE-DONG
(Korean, b. 1982)
Contrast 36 2010 Acrylic on canvas 130 x 163 cm EXHIBITED: Yun Wee-Dong: Contrast, Hanwon Museum of Art, Seoul, June 5-24, 2010
HK$ 180,000 - HK$ 280,000 NT$ 729,000 - NT$ 1,134,000 US$ 23,200 - US$ 36,100
尹暐東 對比36 2010 壓克力 畫布 130 x 163 cm 展覽： 「尹暐東：對比」，翰園美術館，首爾，展期自2010年6 月5日至24日
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070
HAJI WIDAYAT
(Indonesian, 1919 - 2002)
Flora and Fauna 1981 Oil on canvas 150 x 200 cm Signed lower right Widajat and dated 81 PROVENANCE: Private collection, Indonesia This painting is to be sold with a certificate of authenticity issued by Museum. H. Widayat.
HK$ 460,000 - HK$ 700,000 NT$ 1,862,000 - NT$ 2,834,000 US$ 59,300 - US$ 90,300
維 達雅 植物和動物 1981 油彩 畫布 150 x 200 cm 簽名右下：Widajat 81 來源：私人收藏，印尼 附維達雅博物館開立之原作保證書
THE FLORA AND FAUNA OF LYRICAL SENSIBILITIES
Widayat's paintings have been described as magical-decorative and have contributed significantly to the development of Indonesian art since the 1950s. When the Republic of Indonesia became independent after the Second World War, many artists strived to rid their art from traditions of their Dutch colonizers in attempts to derived artistic productions that were distinctively Indonesian as means to unite the sprawling archipelago of the East Indies. In retrospect, Hendra Gunawan and Affandi incorporated Indonesian folk themes in their efforts to identify their Indonesian identity. Widayat developed his distinctive magical-decorative stylislic approach that draws from his subjective past experiences in Indonesia and Japan. "Flora and Fauna" epitomizes the case in point, where the dense visual fantasy of jungle life reflects qualities of a primordial innocence and savagery, with attention given to depicting the tiger as it stands upon the edge of the cliff in the foreground overlooking the paranoiac view of further distant verdant jungle shrubbery as the backdrop. The intricacy of the present lot is reminiscent of Widayat's mother laborious intensive crafting of the refined batik design that young Widayat grew up observing. In this regard, although the sombre tonal schemas of "Flora and Fauna" may appear monochromatic from a distance, it is in fact accented with selected areas of subtle vibrant blueish-green that imbue the leaves on the luxuriant trees with boughs reaching like steady structures to support crowns of verdant foliage where magpies perched upon, while an ornate filigree of dots and lines filled the background of the jungle shrubbery, creating a composition that is enchantingly beautiful with an air of magical drifting calm.
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The geographic archipelago's of Tarumanagara, Sriwijaya, Singhasari, Majapahit or Mataram constitute the backbone of a rich cultural heritage unique to Indonesia. Widayat experienced the naturalistic landscape of the beautiful Indies early on in his artistic career when he was under the apprenticeship for Mulyono, who supplied souvenir landscape paintings in Bandung, West Java. W idayat subsequently relocated to Palembang, Sumatra in 1939 to work as surveyors in rubber plantations with fields that stretches across hundreds of hectares of land, where he was exposed to the wilderness of the Sumatran jungles with its incredible variety of vegetation and avian lives. These elements seems to have been incorporated into Widayat's thematic oeuvre and manifested itself in the form of pictorial influence in works such as the present lot, where the sombre and tightly packed compositional arrangement of the thematic oeuvre of the tiger as the king of the jungle in its natural habitat is also reflective of Rousseau influences, portrayed in the distinctive approach of Widayat's signature magical-decorative paintings that remains highly sought after by connoisseurs. In
essence, the present lot appears to exhibits a more complex and harmonious intricate compositional arrangement of various types of flora and fauna in comparison to another painting of similar composition presenting residing in the H. Widayat. Museum. The relatively more ornately crowded surfaces of the present lot parallels Widayat's motto which posits "If all the elements of art are composed harmoniously, the resulting art will be alive and valuable. " The simultaneous incorporation of these exquisite qualities results infuse the present lot with a magical sublimity and mysterious antiquity that remain highly sought after by connoisseurs. Widayat was already among the ranks of the most esteemed artist in Indonesia and was receiving attention on a national level as early as the 1950s, when his painting garnered an award from the National Council on Culture. "Flora and Fauna" truly testifies to a mastery in his characteristically primitive magical-decorative style imbued with an air of archaic ambiance that reflects an artist of remarkable versatility with an insatiable curiosity to experiment with the new.
抒情質感的動植物側寫
塔魯馬 (Tarumanagara)、斯里維 (Sriwijaya)、新哈沙 (Singhasari) 和馬 加帕西 (Majapahit 或 Mataram) 等島嶼，賦予印尼獨特豐富的文化遺
維達雅 (Widayat) 的畫作被歸類為魔幻巧飾風格，對1950年代以來的印
產。早在維達雅藝術生涯的初期，即已體認東印度群島自然景觀的美麗
尼藝術發展貢獻卓著。二次大戰後印尼獨立，藝術家亟於擺脫荷蘭殖民
與獨特，當時的他正在印尼西爪哇省的萬隆 (Bandung)，師從紀念風景
者的影響，試圖創作印尼本土特色顯著的藝術，藉以凝聚東印度群島中
畫大師穆爾約諾 (M u l y o n o) 學藝。隨後維達雅於1939年奉命前往蘇門
零星散布的諸島。回顧當時，藝術家古那旺 (Hendra Gunawan) 和阿凡
答臘的巨港 (Palembang) 擔任橡膠園的測量員，當地橡膠園面積遼闊達
迪 (A ff a n d i) 表述民族認同的方式，即是在作品裡融合多樣的印尼民俗
數百畝，他因此見識到蘇門答臘充滿豐富多樣植被和鳥類的叢林生態。
元素。維達雅與眾不同的魔幻巧飾風格則是源自於個人在印尼和日本的
舉凡南國風貌的野生植物、動物與禽鳥，都成為他腦海中叢林的浮光掠
主觀生活經驗。《植物和動物》是其中的代表之作，綿密細緻地描繪出
影，而這些元素無不成為他日後創作的主題，對畫作的影響也明顯可
叢林生活的夢幻意象，反映原始的純真和野性。前景中懸崖邊緣的老虎
見，正如本拍品所示。深沉的色調、緊密的構圖，並以叢林之王老虎的
俯視著畫作的背景，眺望遠處青翠茂密而洋溢靈性的蒼鬱灌木叢林。本
棲止作為主題，可以看出盧梭的影響，同時也展現出維達雅獨特的魔幻
拍品的精細繁複令人想起維達雅自幼觀察母親努力不懈手工精製蠟染布
巧飾筆觸，無怪乎他的畫作始終是鑑賞家們競相收藏的瑰寶。本拍品描
圖樣的經驗。是以《植物和動物》幽微深邃的構圖若從遠處欣賞，看似
繪了多種植物和動物，若與維達雅博物館 (Museum H. Widayat) 內主題
色調齊一，事實上畫作的某些部分卻是以微妙生動的藍綠色加以強調，
相似的另一收藏相互參照，細膩的構圖與玄妙的用色則更顯洗鍊。這種
點染出繁茂密林的綠葉，樹木粗大的枝枒向外延伸，支撐翠葉層疊的冠
卓然不群的華麗豐富，合乎納達雅的創作信念：「若能和諧安排藝術的
冕，鵲鳥棲息其間，背景則以華麗細密的點和線繪製出茂密的灌木叢，
所有元素，最後的成品必將栩栩如生，彌足珍貴。」本拍品將眾多藝術
畫面流動著魔幻的寧靜感，以純淨卓立於塵世之外的自然魅力禮讚著生
元素融於一爐，莊嚴、神秘，古樸典雅又炫麗奇幻，深獲藝評讚譽。維
命的強韌。
達雅是印尼備受尊崇的藝術家，畫作曾獲國家議會文化獎，自1950年代 起即受到全國矚目。《植物和動物》可謂大師之作，充分展現維達雅獨 特原創的魔幻巧飾風格，並充盈古老時代的情調，體驗了維達雅自在運 用強烈視覺節奏的大師風範，以及勇於探索、創新的好奇心。
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071
PABLO PICASSO
(Spanish, 1881-1973)
Tête de lion
巴 布 羅・畢 卡 索
Conceived in 1968-1969; executed in an edition of 200 Partially glazed terracotta plaque, edition no. 6/200 30.5 x 30.5 cm Stamped on the reverse Madoura Plein Feu/Emreinte Originale de Picasso Inscribed and numbered on the reverse J. 218 6/200
雄獅頭
ILLUSTRATED: Alain Ramié, Picasso, catalogue de l'oeuvre céramique édité, 1947-1971 , (the complete catalogue raisonné of Picasso's ceramic editions), Galerie Madoura, Paris, 1988, No. 576 (another version illustrated p. 281)
HK$ 55,000 - HK$ 85,000 NT$ 223,000 - NT$ 344,000 US$ 7,100 - US$ 11,000
1968-1969 局部上釉陶盤，6/200 30.5 x 30.5 cm 陶藝工作室鈐印背面：Madoura Plein Feu/ Empreinte Originale de Picasso 題識背面： J. 218, 6/200 圖錄： 亞倫・拉米耶，《畢卡索：限量陶藝作品全 集1947-1971》，瑪杜拉陶藝工坊，巴黎， 1988，編號576
072 SALVADOR DALI
(Spanish, 1904-1989)
Woman Aflame 1980 Bronze, edition no. 328/350 29 (L) x 24 (W) x 84 (H) cm Engraved Dalí in Spanish, numbered 328/350 on the base ILLUSTRATED: Robert & Nicolas Descharnes, Dalí: The Hard and the Soft, Sculptures and Objects , London, 2004, illustrated, No. 655, p. 255 (another cast illustrated) This sculpture is to be sold with a certificate of authenticity issued by Opera Gallery, Hong Kong.
HK$ 240,000 - HK$ 360,000 NT$ 972,000 - NT$ 1,457,000 US$ 30,900 - US$ 46,400
薩爾瓦多•達利 燃燒中的女人 1980 銅雕，328/350 29 (長) x 24 (寬) x 84 (高) cm 簽名底座：Dalí 328/350 圖錄： 羅伯與尼可拉斯•德夏尼，《達利：硬與軟、雕塑與 物件》，倫敦，2004，圖版，編號655，頁255 （另一版次） 附香港歌劇畫廊開立之原作保證書
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073
MOÏSE KISLING
(Polish-French, 1891-1953)
Zoucha et Louis Tas 1930 Oil on canvas 100 x 73 cm Signed upper right Kisling , inscribed Amsterdam both in French and dated 1930 PROVENANCE: Jacques Tas, Amsterdam Oscar Ghez, Geneva Private collection, Europe Private collection, Asia ILLUSTRATED: Kisling 1891-1953 Première Edition , Edition Jean Kisling, text by Joseph Kessel, 1982, black and white illustrated, no. 121, p. 170 This painting is to be sold with a certificate of authenticity signed by Jean Kisling.
HK$ 850,000 - HK$ 1,300,000 NT$ 3,441,000 - NT$ 5,263,000 US$ 109,600 - US$ 167,600
莫依斯・奇斯林 塔斯醫生的小孩，路易和柔卡 1930 油彩 畫布 100 x 73 cm 簽名右上：Kisling Amsterdam 1930 來源： 傑克・塔斯，阿姆斯特丹 奧斯卡・蓋兹，日內瓦 私人收藏，歐洲 私人收藏，亞洲 圖錄： 《奇斯林1981-1953》第一輯，尚．奇斯林出版 喬瑟夫．卡索撰文 ，1982，黑白圖版，編號121，頁170 附藝術家之子尚．奇斯林簽名之原作保證書
Born into a Jewish family in 1891 at Krakow, Poland, Moïse Kisling's father, a tailor by trade, had hoped for his son to become an engineer. However, young Kisling had other ideas and his dream was to become an artist. While pursuing his studies in the School of Fine Arts in Krakow, Kisling met Jozef Pankiewicz (1866-1940), his first mentor. At that time, it was immensely popular among the Poles to further their education in Germany. Pankiewicz, however, thought otherwise. Having been to Paris, Pankiewicz had been initiated into Impressionism and had close associations with numerous artists such as Renoir, Vuillard and Bonnard. He advised Kisling against moving to Germany, suggesting instead that he should leave for the country where Auguste Renoir and Paul Cézanne already resided. To Pankiewicz, the kingdom of art was to be found in Paris.
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ZOUCHA ET LOUIS TAS MOÏSE KISLING
In 1910, Kisling set foot in Paris, the capital of art, imbued with
of 28, he was able to hold his first personal exhibition at the
lofty ideals. He was then at the tender age of 19, with only
famous Galerie Druet in Paris. As the gallery had previously acted
twenty francs in his pocket as well as a complete disregard to
as agent for the works of Matisse and Derain, this exhibition
the problem of maintaining his living. In the early 20th century,
created great popularity overnight for Kisling, turning him
Paris witnessed the continuous thriving of various modern
into a celebrity figure in Paris. The success of this exhibition
artistic movements, such as Fauvism and Cubism. After some
at Galerie Druet enhanced his reputation as a top-notch artist
time, Kisling returned to Montparnasse and settled there for the
among the members of l'École de Paris. The 1910s to 1930s saw
next 27 years. During that period, Kisling became acquainted
Paris undergoing a period known as La Belle Époque, a time
with many artists, and among his closest friends were Amedeo
that stressed upon leisurely endeavors and sensory pleasures.
Modigliani (1884-1920), Georges Braque (1882-1963), Pablo
Fine dining, fashion and fine arts collecting became flourishing
Picasso (1881-1973) as well as Chaim Soutine (1894-1943). Kisling
aspects of this culture. The tastes and preferences of the
was a man who enjoyed great popularity. His studio often became
Bourgeois very much favored l'École de Paris. Beneath the rich
a conference center for little gatherings among the artists,
and bright colors in Kisling's figure paintings, flower and plants,
writers and poets. Together, they enjoyed a bold and uninhibited
still lifes and landscapes, there was always a faint, lingering
Bohemian lifestyle. Kisling and Modigliani were equally reputed
mystique and melancholy. A sense of the exotic, evoked by his
for their good looks and carefree demeanor among this group.
adoption of the Slavic style from Eastern Europe, made Kisling's
Both were not only brilliant artists brimming with superb talent
paintings exceptionally enchanting and thus well-received by the
but also bosom friends who fully understood and appreciated
masses.
each other. In fact, both were so close that Kisling not only shared his painting materials with the impoverished Modigliani, he even
The present lot “Zoucha et Louis Tas” (Portrait of Zoucha and
took care of Modigliani's funeral affairs when the latter died of
Louis, children of Dr. Tas), was created in 1930 and was a former
illness in 1920.
collection of an important Swiss collector, Oscar Ghez, and of the Museum du Petit Palais in Geneva, Switzerland. Kisling's
From 1910 to approximately 1920, Les Montparnasse was the
portraits are often compared with those of his friend Modigliani.
center of the Parisian art scene. Artists from different countries
Both artists' works have a melancholy flair, while Kisling's pieces
ended up gathering in this one space. The name “l'École de
seem to convey more emotion. The present lot depicts two
Paris” was used to describe the style of these artists. In 1917,
children in bright ensemble; with the girl's arm around the boy's
Kisling was given the title "King of the Montparnasse" by
shoulder and their hands holding each other’s, forms a circle
historians and correspondents of fine arts, while Modigliani
that giving the piece a certain vibrancy and liveliness, and at
was christened as the "Prince of the Montparnasse". After the
the same time symbolize deep family love; the very picture of
outbreak of World War I, Kisling volunteered for the French
warmth and hope. When we gaze into the children's eyes, we are
Foreign Legion. He was seriously wounded in 1915 in the Battle
moved by their innocence. The two youngsters appear pure and
of the Somme. Kisling was recognized for his valor and was
naïve, one stands and one sits, both deep in thought as if they
awarded French citizenship in 1924 in spite of the fact that he was
are waiting for good news. During his lifetime, Kisling traveled a
a Polish Jewish. In 1933, he was awarded the French Legion of
lot to the Netherlands. Dr. Tas was a Hollandaise Jewish living in
Honour (Légion d'honneur).
Amsterdam who was also an important collector of Kisling’s art. It is easy to imagine that the piece was particularly prized by the
Kisling lived a fortuitous and happy life. In 1919, at the age
artist and full of fond memories.
奇斯林：「蒙帕納斯之王」
本件拍品《塔斯醫生的小孩，路易和柔卡》創作於1930年，曾為瑞士 重要收藏家奧斯卡．蓋茲收藏，並為日內瓦小皇宮美術館舊藏。奇斯林
奇斯林（1891-1853），1891年出生於波蘭克拉科夫一個猶太家庭，父
的人物畫常常被拿來和好友莫迪里亞尼作對照，兩人的作品都帶有憂鬱
親是裁縫師傅，期望自己的兒子將來能當工程師，但奇斯林卻夢想成為
的味道，而奇斯林似乎更多了情感的表達。畫中兩位小朋友衣著鮮亮，
藝術家。他在克拉科夫的美術學院研讀時，遇見了啟蒙老師潘其維齊，
女孩左手搭於男孩肩膀之上，另一隻手相握，環繞的畫面帶著活躍的明
後者曾經在巴黎接受印象派洗禮，和雷諾瓦、烏依亞爾、波納爾等畫家
快並象徵親情的牽連，溫馨而給人希望；而當我們把視線集中到人物的
交往密切。潘其維齊勸奇斯林不要選擇當時波蘭人普遍前往的德國，建
雙眸時，又會被那無辜的眼神所感動。畫中的兩人天真無邪，一坐一
議應該到雷諾瓦和塞尚的國家去，他認為巴黎才是藝術的王國。
站，若有所思一副靜待佳音的樣子。奇斯林曾多次旅遊荷蘭，塔斯醫生 （Jacques Tas）為居住於阿姆斯特丹的荷裔猶太人，收藏多幅奇斯林重
1910年19歲的奇斯林滿懷理想來到藝術之都巴黎，口袋裡只有20法郎，
要畫作，此作感情溢於言表，更是畫家具有特殊意義與回憶之作。
完全不顧這些錢僅能維持幾週的生活。20世紀初的巴黎，野獸派、立 體派各種現代藝術運動接續不斷勃發。後來，奇斯林遷移到蒙帕納斯 區，並在此生活了27年之久。他和莫迪里亞尼（1884-1920）、布拉克 （1882-1963）、畢卡索、蘇丁（1894-1943）等人結為好友。奇斯林 人緣頗佳，他的畫室經常是為藝術家、作家、詩人的聚會中心。奇斯林 和莫迪里亞尼兩人皆以瀟灑俊美聞名，都是才氣縱橫的藝術家，也是相 知相惜的莫逆之交，奇斯林將自己的顏料分享給貧困的莫迪里亞尼，甚 至於當莫迪里亞尼在1920年病故，他的後事也是奇斯林代為張羅。 1910年到1920年左右，蒙巴納斯是巴黎藝術活動的中心。一群來自異鄉 的畫家流浪聚集於此，當時大家稱這群從故鄉流浪到巴黎的畫家為「巴 黎畫派」。1917年時美術記者和史學家給奇斯林「蒙帕納斯之王」的稱 號，而莫迪里亞尼則有「蒙帕納斯王子」的美名。第一次世界大戰爆發 後，奇斯林志願服務於法國外籍軍團。1915年，他在索姆河戰役中身 負重傷，這使得他波蘭猶太人的身分得到法國人的認同，並於1924年 正式取得法國國籍。1933年，奇斯林贏得法國榮譽軍團勳章（L é g i o n d'honneur）。 奇斯林一生充滿機運與歡樂，1919年28歲的他即在巴黎的杜魯葉畫廊舉 辦個展，這家畫廊曾代理過馬蒂斯、德朗的作品，自此奇斯林竄紅，成 為巴黎知名人物。他在杜魯葉畫廊首次個展的成功，使得他穩穩地建立 起「巴黎畫派」第一流藝術家的地位。1910至1930年代，巴黎正值「美 好年代」，注重休閒、講究感官享受的年代，美食、時尚、藝術收藏蓬 勃，布爾喬亞式的品味，也將巴黎畫派帶至發光發熱的階段。奇斯林的 作品帶有東歐斯拉夫式的異國情調，他筆下的人物、花卉、靜物或風 景，在濃烈鮮明的色彩裡，總是透著淡淡的神秘與憂鬱氣氛，獨具個人
Amédeo MODIGLIANI, Jacques and Berthe Lipchitz , 1916, oil on canvas, 81.3 x 54.3 cm, Art Institute of Chicago. 莫迪里亞尼《雅克與貝爾・特利普希茨》1916 油彩畫布 81.3 x 54.3 cm 芝加哥藝術學院收藏
魅力，受到廣大歡迎。
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074
MAURICE DE VLAMINCK (French, 1876-1958)
Nature morte aux fruits et à la baguette de pain c. 1950 Oil on canvas 50 x 65 cm Signed lower right Vlaminck in French EXHIBITED: Maurice de Vlaminck , The New Otani Art Museum, Tokyo, October 9-November 24, 1991 ILLUSTRATED: Maurice de Vlaminck , The New Otani Art Museum, Tokyo, 1991, color illustrated, no. 29 This painting is to be sold with two certificates of authenticity issued by Galerie Gilbert et Paul Pétridès, Paris and Galerie Taménaga, Tokyo.
HK$ 800,000 - HK$ 1,200,000 NT$ 3,239,000 - NT$ 4,858,000 US$ 103,200 - US$ 154,700
莫里斯・德 ・烏拉曼克 有長棍麵包和水果的靜物 約1950年 油彩 畫布 50 x 65 cm 簽名右下：Vlaminck 展覽： 「烏拉曼克特展」，新大谷美術館，東京，展期自1991年10月9日至 11月24日 圖錄： 《烏拉曼克》，新大谷美術館，東京，1991，彩色圖版，編號29 附巴黎吉伯-保羅沛提戴畫廊以及東京為永畫廊分別開立之原作保證書
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The exquisite "Nature morte aux fruits et à la baguette de pain",
progress beyond a style much like Henri Matisse and Andre Derain,
painted circa 1950s is a derivative from the fascinating interlude in
all whilst retaining his idiosyncratic and instinctive manner of the
the history of modern art from Vlaminck's intensely concentrated
application of paint. In retrospect, Vlaminck had depicted various
observation of a still life depiction of fruits and liquid holding vessel.
still-life in different stages during his various artistic phrases, which
The composition is rich in elements depicting a half-loaf of Baguette
reflects the artist’s consistent endeavor in this genre and associated
that dominate the foreground, leading to three bulbous luscious
subject matter. Vlaminck’s interpretation of earlier still-life such as
pears next to the liquid-holding vessel and a platter of fruits in near
Apple and Still-life in 1906 with vibrant colorful attributes from the
proximity on the frontal plane. The profuse application of pigment
Fauves tradition contrasts with another work of Fruits and still-life
and the sequence of dabs and short streaks rendered in warmer
executed in 1908, adorned with a cooler colour palette of icy-blues
tones of lighter yellowish-green further define the highlights and
and whites further accented with areas of warmer tones that remains
dimensionality on the fruits and texture of the baguette, creating an
reminiscent of Cezanna influences. Vlaminck’s brief encounter with
effect of great optical richness. The compositional elements is further
cubism is apparent in another work entitled still-life in 1910 with an
extenuated against a sombre backdrop enhanced with bold strokes
identifiable geometric composition. Grape basket was completed in
and areas of contrasting whitish-grey that illuminates the outlines
1920 of the post World War I era and thus exhibits a slightly more
of the fruits and vessel. This mastery in projecting the stark contrast
delicate warmer tonal palette comparatively. It is apparent that
between light and dark in dabs and streaks of colours conveys a
Vlaminck had consistently explored the realms of still-life, whereby
sense of motion that cuts horizontally, connotative of space and
many of these works are manifestations of his reality or inner
brings forth the essential compositional elements in this exquisite
emotions in responses to his artistic indulgence during the various
painting. In this regard, the Art historian and critic Jean Selz had once
phrases of his artistic development at a particular point in time.
remarked upon the way in which Vlaminck’s “striking contrasts of light and shade and introduction of more sombre tones all contribute
Nonetheless, "Nature morte aux fruits et à la baguette de pain"
to the harmony of Vlaminck's canvas.”
is truly an exceptional work that represents a significant period of Vlaminck’s artistic endeavor, which parallels with his later works
The present lot represents a masterful consolidation of form that is
that predicates upon the utilization of a darker more sombre
both enticing and anchoring. It differs and contrasts with the artist’s
palette imbued with heavy strokes of contrasting whitish pigments,
Fauves canvases inspired largely by works of Von Gogh whom the
as epitomized by the present lot. Furthermore, it testifies to a
artist remained a key proponent of up until the 1908, after which his
distinguished maturity and mastery in techniques derived from a
palette become more monochromatic largely due to the influence
dedicated lifetime of constant experimentations with different genres
and response to the works of Cezanna that he had observed at
of artistic influences that ultimately lead to the fruition of a stylistic
an exhibition, an encounter that constituted a significant phrase of
approach that remained very dear to the artist’s heart. "Nature
transition in Vlaminck’s artistic development. This prolific phrase
morte aux fruits et à la baguette de pain" is truly a remarkable work,
subsequently extended to a fruitful personal exhibition of larger
beautifully imbued with Vlaminck’s strident individual characteristics
scale in 1909. In Vlaminck’s latter artistic endeavors, the artist
derived from a vibrant life of experiences from being a Violinist, an
demonstrated difficulty in accepting Cubism’s rise during the war in
athlete, a writer, and a truly revolutionary and exceptional artist of the
Paris when artistic modernism was undergoing a delicate transition
early 20th century.
from Fauvism to Cubism in France. In essence, Vlaminck sought to
《有長棍麵包和水果的靜物》完成於1950年代，是現代藝術的迷人篇章，烏拉曼 克（Vlaminck）在本靜物畫中展現對水果和水瓶的精微觀察。畫面構圖豐富，包 括佔據前景的半條長棍麵包、水瓶旁邊三隻圓潤、豐美的梨子，和緊貼著它們的 水果盤。厚重的油彩、輕快的筆觸為畫中靜物染上溫暖的淺黃綠色，凸顯水果和 長棍麵包的明暗層次和質地，共同創造出極為豐富的視覺效果。偏暗的背景大片 刷上沈穩的白灰色更顯現了構圖的嚴謹，襯托出水果和水瓶的輪廓。這種以色彩 突出明暗對照的高超手法為畫面帶來水平的流動感，也傳達出空間感，帶出畫中 靜物的主題。藝術史學和評論家賽茲（Jean Selz）曾說，烏拉曼克「明暗對比
的運用令人驚嘆，沈穩的用色也讓其畫作達到和諧的境界。」 本拍品代表了烏拉曼克作為大師的完美形式，動人心神且臻至成熟。本拍品和烏 拉曼克1908年以前受梵谷影響而為的野獸派畫作相當不同，在野獸派時期之後， 其畫風明顯受到觀賞塞尚畫作的啟發，轉趨單一色調，這是烏拉曼克藝術生涯的 重要轉變。1909年巴黎的秋季沙龍舉行大規模的塞 回顧展，更深入影響了烏拉曼 克 。一次大戰期間，法國現代藝術進程由野獸派轉向立體派，身在巴黎的烏拉曼 克並未坦然接受。烏拉曼克希望超越流派，就像馬蒂斯（Henri Matisse）和德安 （André Derain）一樣，保有個人特色，隨心所欲的作畫。在藝術生涯的不同階 段，烏拉曼克創作了不同風格的靜物畫，表現出他對此一主題的熱愛。他於1906 年對早期靜物畫《蘋果與靜物》的詮釋，用色鮮明大膽，展現出野獸派的特色， 不同於1908年的《水果與靜物》，採用冷調的淺藍與白色，進一步突顯出畫作中 暖色調的部分，可看出塞尚的影響。烏拉曼克曾受立體派的短暫影響，從1910年 畫作《靜物》的幾何圖形也可觀察出來。戰後1920年完成的《葡萄籃》，相對來 說色調則較為溫暖。烏拉曼克持續不懈的描繪靜物，靜物畫作代表了他在各個藝 術生涯階段對真實世界的感知和內在情緒的投射。 《有長棍麵包和水果的靜物》是標誌烏拉曼克藝術生涯的傑出之作，和他的後期 作品一樣採用了深暗的色調，並以厚重的白色顏料作為畫面的對照。本拍品作展 現烏拉曼克畢生致力實踐各派藝術理念、終於加以融會貫通後卓然成家的圓熟和 精到。《有長棍麵包和水果的靜物》完美展現了烏拉曼克的個人特色，其中蘊含 他作為小提琴家、運動員、作家和20世紀初創新藝術家的豐富人生體會，是值得 珍藏的大師之作。
Paul CÉZANNE, Peppermint Bottle , 1893-1895, oil on canvas, 65.9 x 82.1 cm National Gallery of Art, Washington, D.C. 保羅・塞尚《糊椒粉瓶和靜物》 1893-1895 油彩 畫布 65.9 x 82.1 cm 華盛頓國家畫廊收藏
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075
XIA JUNNA
(Chinese, b. 1971)
A Lady among Flowers
夏俊娜
2002 Oil and pastel on paper 53 x 39 cm Initialed lower left XJN and dated 2002
春天的約會
HK$ 65,000 - HK$ 95,000 NT$ 263,000 - NT$ 385,000 US$ 8,400 - US$ 12,300
2002 油彩 粉彩 紙本 53 x 39 cm 簽名左下：XJN 2002
076
GAO XING-JIAN
(Chinese-French, b. 1940)
Scenery
高行健
2000 Ink on paper 90 x 95 cm With one seal of the artist
風景 2000 水墨 紙本 90 x 95 cm 鈐印左下：高
HK$ 100,000 - HK$ 150,000 NT$ 405,000 - NT$ 607,000 US$ 12,900 - US$ 19,300
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078
YU PENG
(Taiwanese, 1955-2014)
A Thousand Waterfalls admist Bizarre Cliffs 1998 Hanging scroll, ink and color on paper 232 x 53 cm With one seal of the artist PROVENANCE: Kaikodo Asian Art, New York EXHIBITED: A Modern Odyssey: New Works by Yu Peng , Kaikodo Asian Art, New York, May 16- June 6, 1998 ILLUSTRATED: Kaikodo Journal VIII , Kaikodo Asian Art, New York, May 1998 This work is provided with a wooden box
HK$ 200,000 - HK$ 300,000 NT$ 810,000 - NT$ 1,215,000 US$ 25,800 - US$ 38,700
于彭 奇峰歸處千瀑 1998 彩墨 紙本 立軸 232 x 53 cm 鈐印上方：于彭 釋文： 清溪流過 奇峰岸 白練漫佈 雲霧間 千帆過盡 峯迴轉 舟 中赤子 不識愁 于彭寫 奇峰歸處千瀑 來源： 懷古堂，紐約 展覽： 「搜盡奇峰打草稿」，懷古堂，紐約，展期自1998年5 月16日至6月6日 圖錄： 《懷古堂期刊八》，懷古堂，紐約，1998年5月 作品附木盒
"A Thousand waterfalls admist Bizarre Cliffs", was displayed at Kaikodo Asian Art in New York in 1998. The abundance and compactness of its composition cause the landscape to exude a sense of great agitation as figures and old trees weave throughout the whole work. Outlined with simple strokes, nude men and women of all ages sit and stand with various expressions. The whole presentation conveys a sort of simple but eccentric atmosphere that seems to hide countless mysterious legendary tales. One principle of Chinese gardening, "paving the path with the landscape and obtaining the landscape through the path", emphasizes mutual interpretation between the landscape and the path. Yu's innovative layout triggers curiosity in the viewer to explore the relationship between the characters and nature. In terms of the artistic technique, Yu uses light purple, cinnabar red and light yellow, a rare color combination in traditional Chinese ink wash, to build a mellow dreamland with a faint touch of night. Its short and overlapping strokes bring about the elements of crudeness. Between the dry and wet brush strokes, the artist ingeniously arranges the gradation of ink, adding rhythms to this work. The silhouette-like figures in the painting express a kind of undeniable clumsiness in action, which likely originates from Yu's admiration for shadow plays. Since he was young, Yu has had a keen interest in mud sculpture and traditional shadow plays, which have become his two major sources of inspiration. Instead of falling into academic restrictions, most of his works manifest the artist's truthful encounter with nature and the material world. Without a doubt, Yu's poetic imagination and Confucian humanistic thoughts fully unfold through this painting. 《奇峰歸處千瀑》曾在1998年於紐約懷古堂展出，其畫面豐饒緊 湊，山水中醞釀許多騷動。人物與古樹貫穿全作，裸露的男女老少線 條簡練，或坐或站，神態不一，呈現畫面上樸實又幻化的氛圍與怪誕 性，彷彿隱匿著無數似真似幻的傳說。中國造園手法中，其中「因景 設路，因路得景」，景色與路徑相互演繹，于彭創新的路景佈局，令 觀者更引頸探究作品中人物與自然的關係。 從畫作技巧上來看，利用傳統繪畫上罕見的顏色組成，水墨披戴淡 紫、朱紅、淡黃，築起淺抹夜色的微醺幻境。《奇峰歸處千瀑》並多 使用層層疊疊的短筆觸，展其拙趣。乾筆濕筆相間，開展靈巧的濃墨 焦墨層次，增添畫作韻律起伏。 在人物造型上略帶剪影的風格，使得畫作上的個體有種揮之不去的樸 拙動作感。這也許多少源自于彭對皮影戲的傾慕，自小就對泥塑及傳 統皮影戲產生濃厚興趣，其日後著實成為于氏創作的源頭活水。其畫 作不落傳統學院與門派窠臼，大多出自藝術家與大自然、塵世之間相 晤的誠摯體現。于氏一腔詩情與入世精神，於本作盡顯酣暢淋漓。
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079
JIN SHANGYI
(Chinese, b. 1934)
Sketch of Portrait
靳尚誼
1965 Charcoal on paper 53 x 38 cm Signed lower right Jin Shangyi in Chinese and dated April 65
人像素描
HK$ 50,000 - HK$ 80,000 NT$ 202,000 - NT$ 324,000 US$ 6,400 - US$ 10,300
1965 炭筆素描 紙本 53 x 38 cm 簽名右下：靳尚誼 65.4
080
HUANG ZHIYANG
(Taiwanese, b. 1965)
Maternity Room ♀ (No. 27) 1992 Ink on paper 244 x 60.5 cm With six seals of the artist EXHIBITED: Religion, Shamanism, Nature , Taipei Fine Arts Museum, Taipei, September 5-27, 1992
HK$ 85,000 - HK$ 130,000 NT$ 344,000 - NT$ 526,000 US$ 11,000 - US$ 16,800
黃致陽 形產房（二十七） 1992 水墨 紙本 244 x 60.5 cm 鈐印左上： 形產房 黃志陽 鈐印右上：屌 鈐印右下：拜根黨 依古法制限量生產 鈐印左下：肉 展覽： 「延續與斷裂—宗教、巫術、自然」，台北市立美術館，台北， 展期自1992年9月5日至27日
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081
YU CHENG-YAO
(Taiwanese, 1898-1993)
Calligraphy – Crossing the Sea
余承堯
1990 Ink on paper 59 x 132 cm Signed center left Yu Cheng-yao in Chinese and dated Summer of Gengwu year (1990) With one seal of the artist
渡海
PROVENANCE: Han Tang Arts & Culture Center, Taipei Private collection, Asia
來源： 漢唐樂府舊藏，台北 私人收藏，亞洲
HK$ 60,000 - HK$ 90,000 NT$ 243,000 - NT$ 364,000 US$ 7,700 - US$ 11,600
1990 水墨 紙本 59 x 132 cm 簽名左方：庚午夏日 余承堯 鈐印左方：余承堯印
082
YU CHENG-YAO
(Taiwanese, 1898-1993)
Calligraphy
余承堯
1989 Ink on paper 69 x 44 cm Signed center left Yu Cheng-yao in Chinese and dated Jisi year (1989) With one seal of the artist
書法
PROVENANCE: Han Tang Arts & Culture Center, Taipei Private collection, Asia
來源： 漢唐樂府舊藏，台北 私人收藏，亞洲
1989 水墨 紙本 69 x 44 cm 簽名左方：余承堯 己巳年 鈐印左下：余承堯
HK$ 60,000 - HK$ 90,000 NT$ 243,000 - NT$ 364,000 US$ 7,700 - US$ 11,600
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083
YU CHENG-YAO
(Taiwanese, 1898-1993)
Calligraphy in Running Script
余承堯
1989 Ink on paper 67 x 44 cm Signed center left Yu Cheng-yao in Chinese and dated Jisi year (1989) With one seal of the artist
飄飄朝霧
PROVENANCE: Han Tang Arts & Culture Center, Taipei Private collection, Asia
來源： 漢唐樂府舊藏，台北 私人收藏，亞洲
HK$ 30,000 - HK$ 50,000 NT$ 121,000 - NT$ 202,000 US$ 3,900 - US$ 6,400
1989 水墨 紙本 67 x 44 cm 簽名左方：己巳年 余承堯 鈐印左下：余承堯印
084
YU CHENG-YAO
(Taiwanese, 1898-1993)
Calligraphy
余承堯
1990 Ink on paper 68 x 62.5cm Signed center left Yu Cheng-yao in Chinese and dated Summer of Gengwu year (1990) With one seal of the artist
不俗即仙骨•多情乃佛心
PROVENANCE: Han Tang Arts & Culture Center, Taipei Private collection, Asia
來源： 漢唐樂府舊藏 私人收藏，亞洲
1990 水墨 紙本 68 x 62.5cm 簽名左方：庚午夏日 余承堯 鈐印左方：余承堯印
HK$ 48,000 - HK$ 75,000 NT$ 194,000 - NT$ 304,000 US$ 6,200 - US$ 9,700 Ravenel
203
085
SHIY DE-JINN
(Taiwanese, 1923-1981)
The Artist's Self-Portrait c. 1972 Fineliner on paper 35 x 24.5 cm Signed lower right Shiy De-jinn in Chinese Inscribed upper right For Jui-hsiung in Chinese
HK$ 40,000 - HK$ 60,000 NT$ 162,000 - NT$ 243,000 US$ 5,200 - US$ 7,700
席德進 畫家自畫像 約1972 簽字筆 紙本 35 x 24.5 cm 簽名右下：席德進 題識右上：瑞雄存
086
CHEN KENG
(Chinese, b. 1962)
Towing Out to Sea I
陳鏗
1998 Oil on canvas 40.5 x 137 cm Signed lower right Chen Keng in Chinese and dated 98 Signed on the reverse chen keng in Chinese and English, titled Towing Out to Sea 1 in Chinese, and dated 1998
扛海1
ILLUSTRATED: Contemporary Paintings of China: Oil Paintings of Chen Keng , Museu de Macau, Macau, 2000, color illustrated, p.1 & p.30
圖錄： 《豆棚架下：陳鏗油畫》，澳門博物館， 澳門，2000，彩色圖版，頁1及頁30
1998 油彩 畫布 40.5 x 137 cm 簽名右下：陳鏗 98 簽名畫背：扛海(一) 陳鏗 chen keng 1998
HK$ 80,000 - HK$ 120,000 NT$ 324,000 - NT$ 486,000 US$ 10,300 - US$ 15,500
Ravenel
205
087
SHIY DE-JINN
(Taiwanese, 1923-1981)
Figure
席德進
Charcoal on paper 38 x 28.5 cm Stamped lower right Seal of Shiy De-jinn Studio in Chinese
少年肖像
PROVENANCE: Ravenel Spring Auction 2004, Taipei, 11 April, 2004, lot 005 Private collection, Taiwan
HK$ 34,000 - HK$ 55,000 NT$ 138,000 - NT$ 223,000 US$ 4,400 - US$ 7,100
炭筆 紙本 38 x 28.5 cm 鈐印右下：席德進畫室印 來源： 羅芙奧2004春季拍賣會，台北，2004年 4月11日，編號005 私人收藏，台灣
088
QU GUANGCI
(Chinese, b. 1969)
A Man Playing Cello 2005 Bronze, edition no. 7/7 31 (L) x 25 (W) x 49.5 (H) cm Signed Guangci in Chinese, dated 2005 and numbered 7-7 at the base
HK$ 55,000 - HK$ 85,000 NT$ 223,000 - NT$ 344,000 US$ 7,100 - US$ 11,000
瞿 廣慈 大提琴手 2005 銅雕，7/7 31 (長) x 25 (寬) x 49.5 (高) cm 簽名台座：7/7 廣慈 2005
Ravenel
207
089
CHEN XI
(Austrian-Chinese, b. 1966)
Untitled IPD 2010-01
陳熹
2010 Ink pen drawing on layered xuan paper 70 x 50 cm Signed lower right CHEN XI in English and dated 2010
無題 工筆素描 2010-01
EXHIBITED: ArtMark Galerie, Vienna, October, 2010 Viennafair, Vienna, May 2010 Chen Xi Solo Exhibition , Schlosse Palz Gallery, Vienna, March, 2010 This painting is to be sold with a certificate of authenticity signed by the artist.
HK$ 36,000 - HK$ 55,000 NT$ 146,000 - NT$ 223,000 US$ 4,600 - US$ 7,100
2010 鋼筆素描 多層宣紙 70 x 50 cm 簽名右下：CHEN XI 2010 展覽： ArtMark 畫廊，維也納， 2010年10月 維也納藝術博覽會，維也納， 2010年5月 「陳熹個人展」，舒洛斯・帕茲畫廊，維也 納， 2010年3月 附藝術家親筆簽名之原作保證書
090
ZHANG PENG
(Chinese, b. 1981)
Red No. 2
張鵬
2007 C-print photograph, edition no. 6/8 84 x 200 cm
紅色二
This work is to be sold with a certificate of authenticity signed by the artist.
2007 彩色相片， 6/8 84 x 200 cm 附藝術家親筆簽名之原作保證書
HK$ 40,000 - HK$ 60,000 NT$ 162,000 - NT$ 243,000 US$ 5,200 - US$ 7,700
Ravenel
209
091
WANG JINSONG
(Chinese, b. 1963)
Ink Figure No. 27 2001 Ink on paper 123 x 123 cm Signed upper right Wang Jinsong in Chinese Titled lower center Ink Figure no. 27 in Chinese and dated 2001.6.19 With 13 seals of the artist
HK$ 75,000 - HK$ 130,000 NT$ 304,000 - NT$ 526,000 US$ 9,700 - US$ 16,800
王 勁松 水墨人物 No. 27 2001 水墨 紙本 123 x 123 cm 簽名右上：王勁松畫 題識下方：2001.6.19 水墨人物 No.27 鈐印：藝術家印13枚
Ravenel
211
092
YIN KUN
(Chinese, b. 1969)
Chinese Baby
尹坤（尹堃）
2006 Oil on canvas 150 x 120 cm Signed lower right Yin Kun in Chinese and dated 2006 Signed on the reverse Yin Kun in Chinese, titled Chinese baby in English, inscribed oil on canvas 150 x 120 cm and dated 2006
中國英雄—毛澤東
HK$ 32,000 - HK$ 48,000 NT$ 130,000 - NT$ 194,000 US$ 4,100 - US$ 6,200
2006 油彩 畫布 150 x 120 cm 簽名右下：尹堃 2006 簽名畫背：Chinese baby oil on canvas 150 x 120 cm 2006 尹堃 2006
093
JI WENYU
(Chinese, b. 1959)
Youth has no Limits
計文于
2004 Oil on canvas 98 x 138 cm Signed lower left Ji Wenyu in Chinese and dated 2004 Signed on the reverse Ji Wenyu in Chinese, inscribed 138 x 98 cm and dated 2004 .
年輕無極限
PROVENANCE: Marc Richards Gallery, Los Angeles
來源： 馬克・理查茲畫廊，洛杉磯
2004 油彩 畫布 98 x 138 cm 簽名左下：計文于 2004年 簽名畫背：計文于 二OO四年 138 x 98 cm
HK$ 40,000 - HK$ 60,000 NT$ 162,000 - NT$ 243,000 US$ 5,200 - US$ 7,700
Ravenel
213
094
CARRIE CHAU (WUN-YING CHAU) (Hong Kong, b. 1979)
鄒蘊盈
The Fishing Game; Playing the Big Rope Game (a set of two)
釣魚遊戲；跳繩遊戲（兩件一組）
2007; 2007 Acrylic on canvas; oil on canvas 25 x 20 cm; 15 x 20 cm Signed lower right Chau C, titled The Fishing Game both in English and dated 07 June (left) Signed upper right Chau Carrie, titled Playing the big rope game both in English and dated 07 May (right)
HK$ 30,000 - HK$ 50,000 NT$ 121,000 - NT$ 202,000 US$ 3,900 - US$ 6,400
2007；2007 壓克力 畫布；油彩 畫布 25 x 20 cm；15 x 20 cm 簽名右下：The Fishing Game Chau C 07 June（左） 簽名右上：Playing the big rope game Chau Carrie 07 May（右）
095
CARRIE CHAU (WUN-YING CHAU) (Hong Kong, b. 1979)
鄒蘊盈
Damn Bored Drawing
極度無聊
2004 Oil on canvas 50.8 x 76.2 cm Signed lower right Chau, titled Damn Bored Drawing both in English and dated 05/15/04
2004 油彩 畫布 50.8 x 76.2 cm 簽名右下：Damn Bored Drawing Chau 05/15/04
EXHIBITED: The Black Sheep Exhibition 2007 Carrie Chau Drawing Exhibition , Times Square, Causeway Bay, Hong Kong, September 2 - 16, 2007
展覽： 「黑羊2007鄒蘊盈畫展」，銅鑼灣時代廣 場，香港，展期自2007年9月2日至16日
HK$ 40,000 - HK$ 70,000 NT$ 162,000 - NT$ 283,000 US$ 5,200 - US$ 9,000
Ravenel
215
096
SOICHI YAMAGUCHI
(Japanese, b. 1983)
Another Chance; Nightmare (a set of two)
山口聰一
2009 Acrylic, cotton cloth and gesso on panel 65.5 x 65.5 cm (each) Signed on the reverse Soichi Yamaguchi in Japanese and English, dated 2009 (both)
另一個機會；夢魘（兩件一組）
HK$ 42,000 - HK$ 65,000 NT$ 170,000 - NT$ 263,000 US$ 5,400 - US$ 8,400
2009 壓克力 棉布 石膏粉 木板 65.5 x 65.5 cm（每件） 簽名畫背：2009 山口聰一 Soichi Yamaguchi（兩件）
097
SAKAE OZAWA
(Japanese, b. 1980)
Playing at World
小澤沙加耶
2009 Oil on canvas 145.5 x 145.5 cm Signed on the reverse Sakae Ozawa and titled Playing at World in Japanese, Welt Spielen in German, and dated 2009
世界遊樂場
EXHIBITED: Broken Fantasy – Ozawa Sakae , Gallery J Chen, Taipei, August 8-September 6, 2009 Perlenpoesie , Mori Yu Gallery, Kyoto, 30 May-5 July, 2009
HK$ 60,000 - HK$ 90,000 NT$ 243,000 - NT$ 364,000 US$ 7,700 - US$ 11,600
2009 油彩 畫布 145.5 x 145.5 cm 簽名畫背：世界あそび Welt Spielen 2009 Sakae Ozawa 展覽： 「BROKEN FANTASY—小澤沙加耶」， J Chen畫廊，台北，展期自2009年8月8日 至9月6日 「串珠」，Mori Yu 畫廊，京都，展期自 2009年5月30日至7月5日
Ravenel
217
098
AYAKO ROKKAKU
(Japanese, b. 1982)
Untitled
六角彩子
2008 Acrylic on canvas 100 x 100 cm Signed center right Ayako Rokkaku in Japanese and dated 2008
無題
PROVENANCE: Gallery Delaive, Nertherlands
HK$ 60,000 - HK$ 90,000 NT$ 243,000 - NT$ 364,000 US$ 7,700 - US$ 11,600
2008 壓克力 畫布 100 x 100 cm 簽名右中：2008 ロッカクアヤコ 來源： 德萊夫畫廊，荷蘭
099
YOSHITAKA AMANO
(Japanese, b. 1952)
Flowers S3
天野喜孝
2010 Automotive paint on aluminum panel 50 (L) x 70 (W) x 5.5 (D) cm Signed on the right edge Y. Amano
花系列 S3 2010 汽車漆 鋁板 50 (長) x 70 (寬) x 5.5 (厚) cm 簽名右側：Y. Amano
HK$ 130,000 - HK$ 200,000 NT$ 526,000 - NT$ 810,000 US$ 16,800 - US$ 25,800
Ravenel
219
100
YOSHITAKA AMANO
(Japanese, b. 1952)
Swan II 2008 Automotive paint on aluminum panel 140 (L) x 100 (W) x 10.5 (D) cm Signed on the right edge Y. Amano
HK$ 360,000 - HK$ 550,000 NT$ 1,457,000 - NT$ 2,227,000 US$ 46,400 - US$ 70,900
天 野喜孝 科學小飛俠—珍珍 2008 汽車漆 鋁板 140 (長) x 100 (寬) x 10.5 (厚) cm 簽名右側：Y. Amano
Ravenel
221
101
YOSHITOMO NARA (Japanese, b. 1959)
Sleepless Night Sitting 2007 Fiberglass, edition no. 297/300 36 (L) x 26 (W) x 24 (H) cm (box) 15 (L) x 19 (W) x 28 (H) cm (sculpture) This sculpture is to be sold with a certificate of authenticity and a wooden box.
HK$ 90,000 - HK$ 150,000 NT$ 364,000 - NT$ 607,000 US$ 11,600 - US$ 19,300
奈良美智 失眠夜坐著 2007 玻璃纖維，297/300 36 (長) x 26 (寬) x 24 (高) cm（箱子） 15 (長) x 19 (寬) x 28 (高) cm（人物） 附原作保證書及木盒
TRANSACTION RULES FOR ART (HONG KONG)
The following provisions are entered into by and between Ravenel Auction Hong Kong Limited, , as the auctioneer (hereinafter referred to as “the Company”) and the Seller (hereinafter referred to as the “Seller”). This Agreement is also entered into by and between the Company as the agent of the Seller and the Buyer (hereinafter referred to as the “Buyer”). The Prospective Buyer, the Buyer and the Seller must carefully review and completely agree all provisions hereunder and any revisions from time to time. The Buyer should pay special attention to Article 2, Section 5which provides limitations as to the legal responsibilities of the Company. Article 1.Definition Some of the phrases commonly seen herein are defined as follows: 1. “The Buyer” shall mean highest bidder accepted by the Company. 2. “The Prospective Buyer” shall mean any potential bidder willing to attend the auction sale hosted by the Company. 3. “The Seller” shall mean the mandator who provides the Lot and agrees to appoint the Company as its exclusive agent to sell the Lot at the Auction and participate, and cooperate, in exhibitions prior to the Auction if so required by the Company. 4. “The Lot” shall mean the item delivered to the Company to be sold in an auction, especially the single or multiple pieces of items numbered in the catalogue. 5. “Hammer price” shall mean the highest bid with respect to one particular auction item accepted by the auctioning party. 6. “The Buyer’s Premium paid by the Buyer” shall mean the fee based on a certain percentage of the Hammer price paid by the Buyer; the percentage shall be as prescribed in Article 2, Section 4a. 7. “The Reserve Price” shall mean the lowest price agreed by the Company and Seller. The Lot cannot be sold at a price lower than such price. 8. “Counterfeit” shall mean the Lot constitutes imitation and the original concept of the imitation and its overall execution result in fraud to cause deception in connection with the author, history, year, age, culture or origin of the Lot, for which the accurate description is not reflected in the catalogue and the value of the Lot on the auction day is far less than the value it should have according to the description in the catalogue. Therefore, no auction item will become a counterfeit as a result of any damage and/or any repairing in any manner (including repaints). 9. "Insured amount" shall mean the value of the insurance purchased for the Lot which the Company considers necessary under its absolute power from time to time (regardless whether such insurance is purchased by the Company). Article 2.The Buyer 1. The Company 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 including but without limitations whether the Lot is a counterfeit or the authentication of the Lot’s certificates (with the exception of the guarantee with regard to counterfeits as defined in Article 1 of the Transaction Agreement). b. Important Notice Attention, the 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 does not guarantee that the Lots 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 the 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 the Lots; therefore, any description in the catalogue or any statement provided by the Company is purely the Company’s subjective opinion and not a statement of fact, not for representations or warranties. The Prospective Buyer completely understands and acknowledges that 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 conditions of any of the items. Unless otherwise stated in laws of Hong Kong, the Company does not provide any warranty with the items. c. Symbol Key The following key explains the symbol you may see inside this catalogue.  Premium Lot In order to bid on “Premium Lots” the Buyer must complete the required pre-registration application and deliver to The Company such necessary financial references, guarantees, deposits and / or such other security as The Company’s may in its absolute discretion require for your bid. The Companydecision whether to accept any pre-registration application shall be final. We recommend you complete and return the Lot pre-registration form in this catalogue in the manner required therein or contact the Company at least 5 working days prior to the relevant sale in order to process the pre-registration. Please bear in mind that we are unable to obtain financial references over weekends or public holidays. The Company will provide a special paddle number for the register of “Premium Lot”. ○ 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 Buyer’s Premium.
223
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 and certificates thereof 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 and making his/her own judgment or estimation independently regarding the items. 3. In the Auction a. Refusal of Admission The auction is held at the premises of the Company or any location where the Company has control of for the auction. The Company has full discretion to exercise the right to refuse entry to the premises for the auction or to prevent participation in the auction. b. Registration Prior to the Bidding The Prospective Buyers must fill in and sign the registration forms prior to the bidding and provide personal identification. The Prospective Buyers should also note that the Company may be requested to conduct credit checks against Buyers. c. The Bidder is the Buyer Unless a written agreement has been made upon registration that the bidder will be the agent who acts on behalf of a third person and such third person is accepted by the Company, the bidder will be deemed as the Buyer who will bear individual legal responsibilities. d.Commission Bids The Company will make the proper 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. The Prospective Buyers should attend the auction in person if they wish to ensure a successful bid. e. Bid by Phone The Company will make proper effort to contact the bidder so he can participate in the auction by phone if the Prospective Buyer makes 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 or any failure to participate in the auction by phone under any circumstances. f. Online Bids via LiveAuctioneers If the bidder cannot attend the auction, it may be possible to bid online via LiveAuctioneers for selected Lots to bear individual buyers’ responsibilities. This service is free and confidential. For information about registering to bid via LiveAuctioneers, please refer to ravenel.com. Bidders using the LiveAuctioneers service are subject to the additional terms and conditions for online bidding via LiveAuctioneers, which can be viewed at ravenel.com and be revised by the Company from time to time. g. Exchange Rate Conversion Board There will be an exchange rate conversion board operating at the 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 HKdollars. The exchange rate conversion board is not absolutely reliable and for the reference only. 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. h. Recorded Images There is image projection in the 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. i. 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.If the auctioneer announcethe points for attention before the auction or the bidding, the Buyer shall pay attention for any announcement as its own responsibility. j. Successful Bids Under the sole 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. The Buyer shall be responsible to the Seller for performing the obligations and responsibility of a Buyer. 4. Following the Auction a. The Buyer’s Premium of Each Lot Payable by the Buyer (1)The Buyer should pay the hammer price and, in addition, the Buyer’s Premium to the Company. For hammer price below HK$ 8,000,000 (inclusive), the Buyer’s Premium should be calculated at 20% of the hammer price. (2)For hammer price higher than HK$ 8,000,000, total amount of the Buyer’s Premium should be that the first HK$ 8,000,000 of the hammer price should be calculated at 20% and the rest of the amount of the hammer price should be calculated at 12%. b. Taxes All the payments payable by the Buyer to the Company do not include any government tax any commodity or service taxes or any other value added taxes. The Buyer should be responsible for paying any applicable taxes as required by the law. c. Payment The Buyer should provide his name and permanent address to the Company upon the successful bid. Relevant bank information, including but without limitations the payment account, should also be provided upon request. All payments due (including the hammer price,
Buyer’s Premium 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 The Company are made in any currency other than HK dollars, the Company will collect from the Buyer any foreign exchange expense incurred therefrom, including bank charges and foreign exchange Buyer’s Premiums. The exchange rate of the payments to the Company in any currency other than HK dollars should be the exchange rate reported by the Hong Kong and Shanghai Banking Corporation (HSBC) to the Company on the auction date and should be based on the certificates issued by the Company according to such exchange rate. d. Collection of the Lot Sold Unless otherwise agreed by the Company, the Company will hold temporarily the successfully 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 earlier 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 after expiration of the said 7 days period or from collection of such items(whichever is the earlier), without prejudice to the Company’s right. 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.And the Buyer shall prepay the freight charges. g. Remedies for Non-Payment 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 following the auction date: (1)An interest at the annual rate of no higher than 10% plus the base interest rate of Hong Kong and Shanghai Banking Corporation (HSBC) will be imposed on all of the payment due if payment is not made within 7 days following the auction date. Besides, we have the right of charging also 1% selling price (including of hammer price and the commission) multiplied by the number of delayed days as fine for the default. The payment to be made by the Buyer mayoffset any payment owed by the Company or its subsidiaries to the Buyer for any other transactions upon the Company’s sole decision. (2)To exercise lien of any items owned by the Buyer and held by the Company for any purposeincluding but without limitations other transactions. 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 one or more of the following rights in addition to the aforementioned: (a)To bring legal proceedings against the Buyer on behalf of the Seller to claim the entire payment due and the legal fees and attorney fees resulting from such proceeding based on a total claim. (b)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. (c)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 following 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 in full can the sold Lot be collected. i. Export Permit Except where otherwise agreed in writing by the Company, the fact that the Buyer’s wishes to apply for an export permit does not affect the Buyer’s responsibility to make the payments in 7 days following the auction date; nor does it affect the Company’s right to impose interest on delayed payments. If the Buyer requests that the Company applies for the export permit on his behalf, the Company is entitled to collect monies made in connection with such an application and any miscellaneous expenses together with any relevant value added taxes. If the Buyer makes the payment regardless of the fact that an export permit is needed, the Company is not responsible for returning to the Buyer any interest or other expenses incurred therefrom. 5. The Legal Responsibility of the Company The Company is responsible for returning payment to the Buyer pursuant to Article 2, Section 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 impliedly or explicitly with respect to any auction items. Any warranty of any kind shall not be included herein. 6. Return of Payments for Counterfeits The transaction will be cancelled and payments made before remit to the Seller will be returned to the Buyer if the Lot of the Company is confirmed to be a counterfeit by the professional appraisal party agreed and recognized by the Company in writing. 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 or explicitly indicates it conflicts with the opinions generally accepted by the academic or professional fields; or 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. The Buyer must return the Lot to the Company within the following 14 days after notice and the said notice and the condition of the item must be the same as on the auction day and without any damage. 2. Upon returning the Lot, the Buyer must present evidence as soon as possible to convince the Company that the Lot is a counterfeit (The Company has the final and sole discretion and decision and such decision shall not be objected in this regard). 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 on which such Buyer’s name is recorded 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.If the result of appraising and verifying whether the Lot is a counterfeit by the Company conflicts with the evidence provided by the Buyer, the Company’s said result shall prevail over the evidence provided by the Buyer. Article 3.The Seller 1. The Company as the Agent The Company acts as the agent of the Seller at a public auction. The Closing Agreement of the Lot is the agreement by and between the Buyer and the Seller, through the agency of the Company on behalf of the Seller. The Seller shall be responsible to the Buyer for performing the obligations and responsibility of a seller. 2. Expenses The Seller shall bear costs relating to the following: a. Packing of the Lot and shipping to the Company for the auction b. Any applicable shipping insurance c. The packaging and shipping if the item is delivered back to the Seller. Any applicable custom duties d. Insured under the Company art relic insurance policy (explained in detail later) indicate cohere (we point below) e. Any repairs made to the Lot as per prior agreement with the Seller f. Authentication made by independent professionals appointed by the Company which the Company believes to be necessary in preparing the catalogue explanations. g. Any independent professional opinions appointed by the Company which the Company deems proper h. The storage, loading and unloading and custody of the Lot after the auction (if applicable) i. The administration cost of the Company reaches the total amount of 10% of all the expenses and 10% of the damages incurred as a result of client services provided. j. Any marketing and promotional expenses 3. Insurance Coverage to be Arranged by the Company a. Unless otherwise agreed by the Company, the Lot will be automatically insured under the the Company art relic policy in the amount as deemed appropriate and estimated by the Company. However, the insured amount is not the amount the Company undertakes to be successfully reached during the auction. b. The Company will collect 1% of the hammer price from the Seller or 1% of the Reserve Price if the Lot is not successfully auctioned as the insurance fee. If the shipping is arranged by the Company, an additional amount will be collected by the Company from the Seller as the shipping insurance. Such amount varies depending on the individual condition of each auction item. The Company will refer a freight forwarder if necessary. However, in no event shall the Company be not responsible for any legal responsibilities and liabilities incurred therefrom. c. The Lot will remain insured up to 7 days after the auction date. If the Lot has not been sold, it will be at the Seller’s risk upon the expiry of 7 days. d. We are unable to accept responsibility for damage caused by woodworm or changes in atmospheric conditions, moisture, force majeure or unforeseeable conditions, or any reason not attributable to the Company. 4. Insurance Purchased by the Owner If the Seller instructs the Company specifically that it is unnecessary to purchase insurance for the Lot, the risks shall be borne entirely by the Seller until the Buyer makes all the paymentsand the Lot is delivered to the Buyer. The Seller must indemnify the Company, the employees and agents of the Company and the Buyer (if applicable) any claims in connection with the auction against the Company, the employees and agents of the Company and the Buyer, regardless of the cause of such claim, without any conditions. The Buyer must be responsible and also pay for the expenses incurred as a result of such claim if requested by the Company, the employees and agents of the Company and the Buyer, even if such expenses are made as a result of negligence by the Company, the employees and agents of the Company and the Buyer without proof of legal responsibility. The Seller must informby himself/herself the underwriter of the Seller the provision herein. 5. Commitments Made by the Seller with Respect to the Lot The standards for the Company to handle the Lots are provided hereunder. These standards also stipulate and limit the sale relationship between the Seller and Buyer. In the event such standards are incorrect in any aspect, the Company or the Buyer may bring legal actions against the Seller. The Company should base the purchase and handling of auction items on the following undertaking made by the Seller: a. The Seller is the only legal owner of the Lot and has the unlimited rights to assign his ownership to the Buyer which should not concern any third party right or claim (including but without limitations copyright claims, liens, mortgage). b. The Seller complies with all the laws in connection with the import and export of auction items and any other laws and has notified the Company in writing any failure to comply with such rules in the past. c. The Seller has notified the Company in writing of any major modifications in the Lot to the best of his knowledge and any concern the third party has raised with respect to the ownership of the Lot and the condition. In the event of any inaccuracy of the above a, b and c now or in the future, the Seller must guarantee, if requested, to identify fully the Company and/or the Buyer all the claims, legal fees, attorney fees or other costs and expenses arising herefrom, whether caused by the Lot or the auction proceeds. 6. Auction Arrangements a. The Company has absolute discretion over the description of the auction in the catalogue, display layouts, authentication opinions, location and method of the auction, who will be allowed to bid and the acceptance of the bid price, whether to seek professional opinion and whether to combine or separate the Lots. b. Any price estimates, whether verbal or written are strictly opinions and shall not serve as a guarantee of the final price for the Lot to be sold. c. The Seller cannot withdraw the sale of the Lot without obtaining the prior written consent from the Company. The Company reserves the right to withdraw, suspend, or terminate the sale and authorization of the Lots for the following reasons. These reasons include: 1. The Company is doubtful about the definition or authenticity of the Lot or the accuracy of the statement referred to in Articles 5a, b. or c; or 2. Any violations of the Transaction Agreement; or 3. The Company deems it inappropriate to include the Lot in the auction.
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d. Withdrawal of Mandate or Authorization (1)The Seller may not withdraw, suspend or terminate his/her/its mandate for the Item(s) or the authorization to the Company under this Agreement without prior written consent of the Company. (2)In the case of such withdrawal, suspending or termination stated in paragraph A, the Seller shall pay the Company an amount equivalent to 40% of the Reserve Price as punitive damages in addition to the compensation for damages or economic loss to the Company. (3)In case of default or breach of this Agreement, the Company may cancel or terminate this Agreement anytime and the Seller shall also pay all costs and expenses incurred by the Company under this Agreement. 7. Auction Rules a. The Company will auction the item according to the Reserve Price. The Reserve Price may not be higher than the minimum of the estimates set in the catalogue except otherwise if the Reserve Price agreed is in a currency other than HK dollars and the ReservePrice is higher than the minimum of the estimates caused by the exchange rate fluctuation between the Reserve Price agreement day and the auction day. Under such circumstances, except where otherwise agreed by the Company, the ReservePrice shall be in HK dollars calculated by the exchange rate at the closing of the market the day immediately before the successful auction. b. If the bid price is lower than the ReservePrice, the Company is in no way to be held liable; however, the Company is entitled to auction the item at a price lower than the ReservePrice. If the Company so auctions the item, the Company is responsible to pay the Seller the difference between the closing price and the ReservePrice. c. The Seller may not increase the price with his own or other third parties’ name, nor participate in the bidding of his/her/its auction item(s)with his own or other third parties’ name, however, The Company is authorized to bid on behalf of the Seller at the price not higher than the Reserve Price. 8. After the Successful Auction a. Settlement Upon the successful auction, the Company will request the Buyer to make full payment no later than within 7 days following the auction date, including the compensation payable by the Buyer. Upon payment by the Buyer, unless the Company receives a notice claiming such auction item is a counterfeit (as defined in Article 2 of the Transaction Agreement) or other necessary conditions, the Company will remit to the Seller within 60 workdays following the successful auction day an amount equal to the closing price taking away all the expenses payable by the Seller. In the event the Buyer delays the payment, the Company will remit to the Seller within 7 workdays following the payment in full by the Buyer. Unless otherwise instructed by the Seller in writing, the Company will make its payment in HK dollars. If the Seller requests to pay in currencies other than HK dollars, the exchange rate should be according to what the Hong Kong and Shanghai Banking Corporation (HSBC) reports and the Company announces on the auction date. b. Closing of the Transaction and Handling Fee (1)The transaction is closed when the Buyer has paid the Company in full after the auction. (2)The handling fee is payable to the Company after the closing of the transaction. c. Non-payment by the Buyer If the Buyer fails to make all the payments due within 7 days following the auction day, the Company is entitled to negotiate special terms in connection with the payments, storage, and insurance on behalf of the Seller and act as deemed necessary by the Company to collect payments payable from the Buyer.Any and all damages, costs, expenses or fees incurred shall be borne by the Seller. However, the Company is not responsible for making payment to the Seller nor for bringing any legal actions on behalf of the Seller. The Company will discuss with the Seller to adopt appropriate actions to claim auction payments from the Buyer. d. Counterfeits If the Buyer convinces or make the Company doubt that the Lot is a counterfeit (as defined in Article 1 of the Transaction Agreement) or stolen good or involved in any illegality within ten (10) days after the Buyer settles all payments and collects the Lot from the Company, the Company will return the hammer price (The Company may deduct the reasonable expenses and fees incurred) received from the Buyer and the Lot will be returned to the Seller or forwarded to the Police for handling. The Seller shall not object to the Company’s decision and handling in accordance with this Lot and make any claim or allegation. The Company will notify the Seller of such matter and the Seller shall return to the Company without objection the entire payment received within three (3) days of such notification, and shall pay the Company fees and expenses, and any and all losses, damages or related expenses and fees. In case that the Seller’s failure of payment and compensation obligations, the Seller shall pay the interest for delay of the entire payment by the best saving rate of the Hong Kong and Shanghai Banking Corporation (HSBC)plus ten percent (10%) per annum. In addition, the Company may collect one percent (1%) of the total amount of the hammer price plus the Buyer’s Premium paid by the Buyer as the compensations for breach of contract. The Company may decide to offset the Seller’s payment payable to the Company from the Company’s or other subsidiaries’payments due to the Seller in other transactions. e. Items Not Successfully Auctioned (1)Any items not successfully auctioned, not included in the auction or withdrawn from the auction for any reason must be collected by the Seller within 35 days upon notification by the Company to the Seller that he must reclaim the Lot. (2)A storage fee of HK$300 per day per piece will be imposed on each item not collected after such 35 day period together with an additional charge for purchasing insurance coverage. The Seller may not reclaim such item until all the payments due are made. (3)Such items may be removed to a third party warehouse if not collected in 60 days after the notification of collection is issued. The expenses arising therefrom shall be borne by the Seller. (4)The Company may dispose of the Lot in the manner it deems appropriate if such item is not collected within 90 days following the auction date or the notice date (whichever is the earlier). Such disposal includes removing the item to a third party warehouse with the associated expenses borne by the Seller and to auction such items under terms deemed appropriate by the Company (including the terms of estimates and the ReservePrice). The Company will pay the Seller the auction proceeds after payments owed are offset. (5)The Company is authorized to act as the sole agent of the Seller within 2 months following the auction for any auction item withdrawn from the auction or not sold. The Company may auction in private the item based on net amount the Seller may receive (the amount after deducting all the expenses payable by the Seller) or sell such item in private at a lower price agreed upon by the Company and the Seller. The Company has the rights to offset all expenses payable by the Seller in advance. Under such circumstances, the Seller’s responsibilities and liabilities to the Company are the same as during an auction. 9. Photographs and Display The Seller agrees the Company have rights to make the photographs, illustration, recordings and other reproduced images of the Lot. The Company owns all rights to the photographs, illustration,recordings and other reproduced images of the Lot made by the Company. All the rights(including but without limitation the copyright) of such images shall belong to the Company and the company is entitled to use such images in any manner it deems appropriate,and the Seller has no objection.
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10. Taxes a. According to the tax laws of Hong Kong, The Company shall submit to the competent revenue agency the name of the Sellerand other relevant documents supplied by the Seller. b. If the Seller is a Hong Kong resident (corporation or individual), according to the tax laws of Hong Kong, no withholding amount of the profit tax will be deducted. However, The Company shall reserve the rights to claim for the tax amount and other related expenses (including but not limited to interests, penalty) from the Seller if the representation made or document provided by the Seller is not true. c. Where the Seller is a foreigner, the Seller agrees that The Company may deduct an amount equivalent to 0.5% of the hammer price or the Reserve Price (if the Reserve Price is higher than hammer price) and submit the deducted amount as Profits tax to the competent revenue agency. The amount to be withheld by The Company shall be subject to change once the applicable tax rate is adjusted. Article 4.Terms Applicable to Both the Buyer and the Seller 1. Intellectual Property Rights Intellectual property rights (including but without limitations, the copyright or patent) 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 a. 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. b. The conditions of the Buyer under Article 2 exclusively apply to the relationship between the Company and the Buyer, which the Seller shall not apply. And the conditions of the Seller under Article 3 exclusively apply to the relationship between the Company and the Seller, which the Buyer shall not apply. 4. This Agreement is entered into the parties in English and Chinese. If there is any conflict with two versions, the Chinese version shall prevail. 5. This Agreement may be revised or modified by the Company from time to time, and the Prospective Buyer, the Buyer andthe Seller agree to obey the revision or modification. 6. Jurisdiction The Transaction Agreement is governed under the Hong Kong laws and the interpretation and effect of the Rules shall be subject to the laws of Hong Kong. The Buyer and Seller shall submit themselves to the exclusive jurisdiction of the Hong Kong courts for the interests of the Company.
香港藝術品業務規則
本業務規則，為羅芙奧香港拍賣有限公司 (「本公司」)作為拍賣公司與賣家訂立合約之條 款，亦作為賣家之代理人與買家訂立合約之條款。準買家、買家及賣家務須細讀各項規則並 完全同意遵守本業務規則。準買家、買家請特別留意第二條第5項，其對本公司之法律責任作 了限定。 一. 本業務規則所用詞彙之定義 在本業務規則中，某些常用詞彙需加以解釋。此等詞彙定義如下： 1.「買家」：指本拍賣公司所接受之出價最高之自然人或法人。 2. 「準買家」：指任何有意參加本公司舉辦拍賣之任何自然人或法人。 3. 「賣家」：指將拍賣品獨家委託本公司於本公司舉辦之拍賣會參與拍賣之自然人或法人。 4.「拍賣品」：指交予本公司以供拍賣出售之物品，尤其在任何目錄內以任何編號描述之一 項或多項物品。 5.「落槌價」：指本拍賣公司就某一拍賣品而接受之最高出價之價款。 6.「買家佣金」：指買家按拍賣落槌價之某一百分比而支付之費用；收費率如第二條第4a項 所列。 7.「底價」：指本公司與賣家協定之最低價格，拍賣品不能以低於該價之價格售出。 8.「膺品」：指拍賣品構成模仿，而模仿之原構想及其整體執行均具有欺詐意圖，以就拍賣 品之作者、來歷、年代、時期、文化或來源進行欺騙，而對此等事項之正確描述並未在目 錄之描述上反映出來，而拍賣品在拍賣當日之價值，遠低於按照目錄之描述所應有之價 值。按此定義，任何拍賣品均不會因為有任何損壞及 或任何形式之修整而成為膺品。 9.「保險值」：指本公司不時按其絕對決定權認為拍賣品所應購買之保險之價值（不論保險 是否由本公司安排購買）。 二.買家 1. 本公司作為賣家之代理人 作為拍賣公司，本公司以作為賣家代理人之身分行事。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。除香港法例 (如商品說明條例)另有規定外，本公司不會就拍賣品及其證明文件之真偽對買家作任何 保證。 b. 拍賣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。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或保證。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。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，不應依據目錄中的 描述或陳述，因為任何在目錄中所列出的描述或陳述是為純粹本公司的主觀意見，並非 提供聲明或擔保。準買家知悉並瞭解所有拍賣品均以「現狀」售出。除香港法例(如商 品說明條例)另有規定外，本公 司對於任何拍出之拍賣品狀態不作任何承諾或保證。 c. 符號表示 以下為目錄中所載符號之說明 高估價拍賣品 為對「高估價拍賣品」（ ）作出競投，買家必須填妥拍賣品預先登記表，並向本公司 交付所需的財務狀況證明、擔保、存款證明及 或本公司可絕對酌情要求買家為競投須 作出的其他抵押。本公司對是否接受任何預先登記申請有最終決定權。本公司建議買家 在有關拍賣日期至少五個工作日前聯絡本公司，以進行預先登記。請注意本公司不能在 週末或公眾假期期間取得財政狀況證明。「高估價拍賣品」登記競投者，本公司將提供 特殊的競投牌號參與競投。 ○ 保證項目 拍賣品編號旁註有○ 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佣金。 d. 目錄說明 本公司於目錄或鑑定意見書內對任何拍賣品及其證書之作者、來歷、日期、年代、尺 寸、材質、歸屬、真實性、產地、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，均僅屬本公司主觀意見之陳述，不應依據為確實事實之陳述，亦不應視 為本公司對於任何拍賣品之狀態所作之承諾或保證。目錄圖示亦僅作為參考而已，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。此等資料僅作為參考而已，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 有關拍賣品之狀況以及目錄說明所提述之事項，買家有責任自行查明並了解，並就拍賣 品為自己獨立之判斷及評估，確使自己感到滿意。 3.拍賣時 a. 拒絕入場 拍賣於本公司之場地進行，或於本公司為拍賣而具有控制權之場地進行，本公司具有完 全之決定權，可行使權利拒絕任何人進入拍賣場地或參與拍賣而無須作出任何解釋。 b. 競投之前作出登記 每一準買家在作出競投之前，必須填妥及簽署登記表格，並提供身分證明。準買家應注 意，本公司通常會要求對買家作出信用核查。 c. 競投者為買家 競投者將被視為買家而須承擔獨立之法律責任，除非登記時已經與本公司書面協定，競 投者僅為第三人之代理人，且該第三人須為本公司所同意接受者。
d. 委託競投 如準買家使用印於目錄說明之後之表格指示本公司代其競投，本公司將盡適當努力代 其競投，但代為競投指示須於拍賣前送抵本公司。如本公司就某一拍賣品而收到多個 委託競投之相等競投價，而在拍賣時此等競投價乃該拍賣品之最高競投價，則該拍賣 品會歸其委託競投最先送抵本公司之人。委託競投之承擔受拍賣時之其他承諾所限， 而拍賣進行之情況可能使本公司無法代為競投。由於此項承擔乃本公司為準買家按所 述條款提供之免費服務，如未能按委託作出競投，本公司將不負任何法律責任。準買 家如希望確保競投成功，應親自出席競投。 e. 電話競投 如準買家於拍賣前與本公司作好安排，本公司將盡適當努力聯絡競投者，使其能以電 話參與競投，但在任何情況下，如未能聯絡或無法參加電話競投，本公司對賣家或任 何準買家均不負任何責任。 f. 即時網上競投 若準買家未能出席拍賣會，或可透過 LiveAuctioneers 網上競投服務於網上競投指 定拍品，而承擔買方獨立責任。此項服務乃免費及保密。有關透過 LiveAuctioneers 網上競投服務登記，進行網上競投之詳情，請參閱本公司網頁 ravenel.com。使用 LiveAuctioneers 網上競投服務之準買家須接受透過 LiveAuctioneers 網上競投服務進行 即時網上競投之附加條款（可參閱羅芙奧 ravenel.com），以及適用於該拍賣之業務規 則所規範，本公司得隨時修改該業務規則。 g. 匯率轉換顯示板 拍賣會中，本公司會使用匯率轉換顯示板，然而競投仍會以港幣進行。匯率轉換顯示 板僅供參考，不論是顯示板所示之拍賣品編號或是港幣競投價之相等外匯，其準確程 度均可能會出現非本公司所能控制之誤差。買家因依賴匯率轉換顯示板（而非因以港 幣競投）所導致而蒙受之任何損失，本公司概不負責。 h. 錄映影像 在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，或是如翻版影像之質素，本公司對買家均不負任何責任。 i.拍賣官之決定權 拍賣官具有絕對決定權，包括但不限於有權拒絕任何競投、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拍賣，以及如遇有誤差 或爭議，將拍賣品重新拍賣。拍賣官會於拍賣開始前或於相關拍賣品競標前對應注意 事項作出通告，買家須自行注意此等通告。 j. 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，視為賣家與買家之成功拍賣 合約之訂立。買家即應對賣家負擔買受人之義務及責任。 4.拍賣後 a. 買家支付每件拍賣品之佣金費率 (1)買家除支付落槌價外，另須支付買家佣金予本公司，落槌價於港幣捌佰萬元以下 者（含港幣捌佰萬元），以20％計算。 (2)落槌價於港幣捌佰萬元以上者，採分二級計價，其中港幣捌佰萬元以20％計算， 超過港幣捌佰萬元之部份再以12％計算，加總計算佣金金額。 b. 稅項 買家應付予本公司之所有款項均不包括任何國家或地區稅賦、貨物或服務稅或其他稅 款。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，自行繳付 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，買方亦須提供付款 銀行之詳情，包含但不限於付款帳號。買方應於拍賣日期後起算七天內悉數支付應付 予本公司之款項（包含落槌價、佣金，以及任何適用之稅款及其他費用）。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應付之全部款項，則不能取得拍賣品之所有權，即使本公司已 將拍賣品交付予買家亦然。如支付予本公司之款項為港幣以外之貨幣，本公司將向買 家收取所引致之任何外匯費用。這包括銀行收費與兌換貨幣之規費及匯差。 以港幣以 外之貨幣付款予本公司之匯率，依拍賣日現場由香港匯豐銀行公佈之匯率，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品，直至所 有應付予本公司之款項已悉數由買家支付為止。拍賣品在暫時保留期間，由成功拍賣 日後起算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，成功拍賣日後起算七天期滿後或自領取時起，拍賣品之風險全 由買家承擔，但不得損及本公司之權益。 f. 介紹裝運及運輸公司 本公司之貨運部門在買家要求下可為買家介紹運輸公司、安排付運及購買特定保險， 但本公司在此方面不負任何法律責任。買家必須預先繳付運送費用。 g. 不付款之補救辦法 如買家並未有在成功拍賣日後起算七天內付款，本公司即有權行使下述一項或多項權 利或補救辦法： (1)在成功拍賣日後起算七天仍未付款，則按不超過香港匯豐銀行最優惠利率加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。本公司亦得自行選擇將買家未付之款項，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，買方絕無異議。 (2)對任何屬於買家所有而因任何目的（包含但不限於其他交易）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，另有權為下述一項或多項權利或補救辦法： (a)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及律師費等相關費用。 (b)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。 (c)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被買家在成功拍賣日後起算七天內領取，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。而買方在付清所引起之貯存、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，買家才可領取已購得之拍賣 品。
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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，並不影響買家在成功拍 賣日後起算七天內付款之責任，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稅款。 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 本公司僅在第二條第6項所列之情況下，得將退還款項予買家。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、尺寸、 材質、歸屬、真實性、產地、保存狀況或估計售價之陳述，或任何拍賣品之任何缺陷， 均不負有任何責任。賣家、本公司、本公司之僱員或代理人，不論明示或暗示，均無就 任何拍賣品作出任何保證。 6. 膺品/贓物之退款 如經本公司拍賣之拍賣品，經本公司書面認可之專業鑑定機構出具鑑定報告證實為膺品 或贓物，則交易將取消，已付之款項於交付賣方前將退還予買家。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 表明有抵觸當時學者或專家普遍接納之意見，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. 買家必須在付款領取拍賣品後的十日內以書面通知本公司，說明買家認為有關拍賣 品乃膺品或贓物之詳細理由及證據，並通知後十四日內及將拍賣品送還本公司，而 其狀況應維持與拍賣當日相同，不得有任何損壞；及 2. 送還拍賣品時，買家須出示證據，足以使本公司確信拍賣品乃膺品或贓物(本公司保 有最終及不可異議的決定權)。在任何情況下，本公司均毋須向買家支付多於買家就 有關拍賣品而支付予本公司之款項，而買家亦不能索取利息或任何賠償。 本條款之利益不能轉讓，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 (該買家名稱確係被記載於發票上)，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，如本公司 驗證拍賣品是否屬於贗品之結果與買家出示證據相衝突者，應以本公司驗證結果為準。 三.賣家 1. 本公司作為代理人 本公司在公開拍賣會中，以作為賣家代理人身份行事。拍賣品成功拍賣後，即產生賣家 通過本公司之代理與買家達成之合約，由賣家負責向買家履行出賣人義務及責任。 2. 開支 賣家須負責與下述各項有關之費用： a. 將拍賣品包裝並運予本公司作拍賣。 b. 任何適用之運送保險。 c. 如拍賣品交回賣家其包裝與付運。若拍賣品由海外進口，付運費與進口適用之稅項。 d. 受保於本公司之精品保險單（下文另有解釋）。 e. 預先與賣家協定之對拍賣品作出之任何修整。 f. 本公司為擬定目錄說明指定需由外界專家作出之鑑定。 g. 本公司指定之任何外界專家意見。 h. 拍賣品拍賣前後之裝卸、貯存及保管等費用。 i. 本公司之行政費用，金額為因賣家而引致之一切費用及損害金額之10%。 j. 任何市場之推廣及廣告費用。 3. 由本公司安排保險事宜 a. 除非與本公司另有協定外，否則拍賣品將自動受保於本公司藝術品精品保險單，保險 值為本公司自行評估 當時認為適當者。然而保險金額並非本公司承諾拍賣品會成功拍 賣之款額。 b. 本公司將向賣家收取拍賣落槌價之1%或若未拍賣成功時以拍賣品底價之1%，作為保險 費。如由本公司安排運送，本公司將向賣家收取額外款項，作為運送保險費，款額視 每宗拍賣品之特定情況而定。如有需要，本公司可建議/介紹承運人，但不論於何種情 況下，本公司均不承擔任何有關此方面之運送法律責任。 c. 拍賣品在成功拍賣日後起算七天內保險仍然有效。如拍賣品未能成功拍賣，保險屆期 以後風險全由賣家承擔。 d. 由蛀木蟲、空氣、水份情況轉變或其他不能預見或人力不可抗拒情況而對拍賣品造成 之損壞，或其他非可歸責於本公司之事由所致之損壞，本公司不承擔任何法律責任。 4. 物主購買保險 如賣家特別指示本公司毋須為拍賣品購買保險，風險全由賣家承擔，直至拍賣品交付予 買家為止。賣家無條件同意須保障本公司、本公司之僱員與代理人，以及買家（如適 用）免負因拍賣品而針對本公司、本公司之僱員與代理人，以及買家索償之賠償責任， 而不論索償因何引起。賣家亦同意應本公司、本公司之僱員與代理人，以及買家所要 求，負責償還因此種索償而引致之開支，縱使本公司、本公司之僱員與代理人，以及買 家有疏忽之處，而未證明有任何法律責任而作出之付款，亦須償還。賣家須自行將本條 條款揭露予賣家之承保人。 5. 賣家就拍賣品所作之承諾 本項列出本公司處理拍賣品之基準，規範賣家與買家之間的買賣關係。如此基準在任何 方面有不確實之處，本公司或買家可採取針對賣家之法律行動。本公司處理拍賣品及購 買拍賣品，均以賣家所作之下述承諾及擔保為基準，賣家承諾及擔保如下： a. 賣家為拍賣品之唯一所有權人及/或合法持有人，具備將其所有權及相關所有權利(於無 質押、無產權負擔及無涉及第三人權益或申索的情況下)轉讓予買家之無限制權利。 b. 賣家已遵守一切與拍賣品之進出口有關之法律或其他方面之規定，並已將過去任何第 三人未能遵守此等規定之事以書面通知本公司。 c. 賣家已將其所知之有關拍賣品之任何重大修改以及第三人就拍賣品之所有權、狀況或 歸屬所表示之任何關注以書面通知本公司。 如上述a、b或c等三項擔保有任何不確實之處，賣家須應本公司及/或買家之要求，完全負 責及彌償本公司及 或買家一切因此而引起之損失索償、訴訟費、律師費、所有費用及 開支，而不論是因拍賣品還是因拍賣收益而引起。
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6.拍賣安排 a.本公司對目錄內拍賣品之描述與圖示方式、鑑定意見書、拍賣地點與方式、讓何人進場 競投以及競投價之接受、是否應尋求專家意見，以及將物品合併或分開拍賣等均有完 全之決定權。 b.任何估價，不論口頭或書面，均只屬意見，而非拍賣品最終可賣得的價錢之保證。 c.未得本公司事前書面同意，賣家不可撤回拍賣品之委託。但本公司保留隨時因後述原因 而撤回、中止或終止拍賣品委託授權之權利。此等原因為： (1)本公司對拍賣品之界定或真實性或上述第5a、 b或c項所指之承諾之準確性有懷疑； 或 (2)有任何違反本業務規則之情況；或 (3)本公司認定將拍賣品納入或繼續執行拍賣並不適當者。 d. 撤銷委託或授權條款 (1)非經本公司事前書面同意，賣家不得撤回、中止或終止對於標的作品之委託或授予 本公司之權利。 (2)賣家依前項規定撤回、中止或終止拍賣品之委託或授與本公司之權利者，委託者除 應對本公司負損害賠償或經濟上損失賠償責任外，尚須支付委託底價之40%作為懲 罰性違約金付與本公司。 (3)如賣家有任何違約情事，本公司有權隨時終止委託事項，賣家須支付本公司所有之 前為履行委託或授權工作所產生之費用及開支。 7. 拍賣守則 a. 本公司將會參照底價進行拍賣品之拍賣程序。底價不得高於拍賣目錄所印登載估價之 下限，但如所同意之底價為港幣以外之貨幣，並因協定底價之日與成功拍賣之日上匯 率波動而致底價高於估價下限，則不在此限。在此情況下，除本公司另行同意外，底 價須為相等於以緊接成功拍賣前一個工作天之收市匯率計算之港幣款項。 b. 如競投價不能達到底價，本公司在任何情況均不負有任何責任，但本公司有權決定將 拍賣品以低於底價拍賣。如本公司如此將拍賣品拍賣，本公司將有責任向賣家支付成 交價與底價之差額。 c. 賣家不得以自己或第三人名義隨意哄抬競投價格，不得以自己或第三人名義參與競標 拍賣品，亦不得聘請任何人代賣家參與競投，惟本公司有權代理賣家參與競投。 8.成功拍賣後 a. 結算 成功拍賣後，本公司協助賣方要求買家最遲於成功拍賣日後7日內全數付款。在買家付 款後，除非本公司收到通知謂拍賣品為膺品，否則，本公司會於成功拍賣日期後60個 工作天，將一筆相等於成交價減去賣家應支付之所有費用之款額匯予賣家。如遇買家 延遲付款，則本公司將在買家付款後7個工作天內匯款予賣家。如因任何理由而使本公 司在買家付款前即已付款予賣家，則本公司即獲得拍賣品之完整之擁有權與所有權。 但在本公司因拍賣品為膺品而被迫向買家收回拍賣品下，賣家方須將已收取之拍賣收 益退還予本公司。 除賣家另有書面指示外，本公司將以港幣付款。如賣家要求以港幣以外之貨幣付款， 依拍賣現場由香港匯豐銀行公佈之匯率計算付款金額。 b.賣家支付每件拍賣品之手續費： (1)本公司之拍賣須至拍賣完成後買家實際付清所有款項予本公司時，視為交易完成。 (2)當交易完成，賣家須依約定支付本公司手續費。 c. 買家不付款 如買家在成功拍賣日後起算7天內未支付應付之全部款項，本公司即有權代理賣家就 付款、貯存與保險而協定特別條款，並有權代理賣家採取本公司認為適當的任何步驟 以向買家收取其應付之款項，因而產生之相關費用及損害，概由賣家自行承擔。但本 公司並未承擔任何付款責任，亦無義務代理賣家採取任何行動(包括但不限於法律行 動)。但本公司將與賣家討論如何採取適當行動以向買家追討拍賣款額。 d. 膺品/贓物 如買家於付款領取拍賣品後之十日內，使本公司相信或懷疑拍賣品為膺品或贓物或涉 及任何不法情事者，本公司得自行決定無條件買家交付之拍賣落槌價(本公司得扣處因 此所致之相關處理費用)予買家時，而拍賣品將由本公司退回賣家或送交警方處理，賣 家不得異議或對本公司主張任何權利或請求，賣家並應於本公司通知後，於三日內無 條件退還其所得之全數金額予本公司，賣家並應於十日內付清相關基本支出費用，及 賠償本公司因此所致之所有損失、損害及相關費用等。逾期退還、給付者，賣家應另 外支付按不超過香港匯豐銀行最優惠利率加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。本公司亦得自行選擇將賣 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賣家之款項， 賣家絕無異議。 e. 未能成功拍賣之拍賣品 (1)任何拍賣品如未能成功拍賣，或不包括在拍賣之內，或因任何理由而撤回、中止或 終止拍賣，則在本公司發出通知予賣家要求賣家領回拍賣品後之35天內，賣家必須 領回拍賣品。 (2)任何此等拍賣品如在35天過期後仍未領回，本公司可向委託者徵收每天每件標的作 品參佰港元 (HK$300)貯存費，並收取額外費用以購買保險。賣家須在付清所有未付 費用後，方可領回拍賣品。 (3)此等拍賣品如在發出領回通知後之60天內仍未領回，則可被移往第三人之貨倉貯 存，開支費用由賣家承擔。 (4)任何此等拍賣品如在拍賣日期後或上述通知日期後之90天內（以較早之日期為準） 未被領回，則本公司可視乎是否合適而將該拍賣品處置。處置包括將拍賣品移往第 三人之貨倉而開支費由賣家承擔，以及將該拍賣品按本公司認為適當之條款（包括 有關估價與底價之條款）公開拍賣。本公司其後會將拍賣收益扣除所有欠款後支付 予賣家。 (5)任何拍賣品如在拍賣中收回或未能成功拍賣，則本公司有權代理賣家在拍賣後的兩 個月內作為賣家之獨家代理人，按賣家可收取之淨款額（即扣除賣家應付之一切費 用後之款額），私下出售拍賣品。本公司得事前扣除所致之費用。在此情況下，賣 家就該拍賣品而對本公司所負有之責任、義務及付款條件等，與拍賣品成功拍賣時 一樣。 9. 圖片與圖示 賣家同意本公司有權對拍賣品制作照片、圖示、錄像或其他形式的影像制品，此等照 片、圖示、錄像及影像制品之著作權及其他一切權利均屬本公司所有，且本公司有權以 任何本公司認為適合之方式使用之，賣家絕無異議。
10.稅制 a. 依香港稅法規定，拍賣品成交後委託者須提供報稅名單及相關資料，由本公司提報稅 捐單位。 b. 如果賣家為香港公司或香港居民，根據香港稅法，本公司毋須向賣家代扣香港利得 稅。如果本公司其後發現賣家之聲明及文件不實，本公司保留向賣家追討香港稅款及 其他相關費用（如利息、罰款及律師費等）的權利。 c. 若委託者非香港本地人士，委託者並同意本公司直接代扣落槌價或底價(如底價高於落 槌價)之0.5%，作為拍出後之利得稅，由本公司代為申報並繳交稅捐單位。由本公司 扣除的款項將隨著當時的稅率而調整。 四.買家與賣家均適用之條件 1. 智慧財產權 與拍賣品有關之一切影像、圖示與書面材料之相關智慧財產權(包括但不限於著作權、 專利等)，於任何時候均屬於本公司之財產及所有。未得本公司事先書面同意，賣家、 買家或任何人均不得使用。 2. 通知 a. 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，則在付郵寄出後第 二個工作天，視為收件人已合法收受；如收件人在海外，則為付郵寄出後第五個工作 天，視為收件人已合法收受。 b. 本公司根據本業務規則、委託授權書或買家所提供之聯絡資料對賣家或買家發出之通 知，凡已依據委託授權書後附或買家所提供資料上所載的地址、電子郵件地址或傳真 號碼統稱「聯絡方式」)以書面發出該通知者，均視為該通知已有效發出。若賣家或 買家之聯絡方式有變更時，應立即以書面通知本公司。 3.可分割性 a. 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條款仍繼續有效及可強制執行。 b. 本業務規則第二條買家條款項下之各條款，專屬適用本公司與買家間法律關係，賣家 不得主張適用。本業務規則第三條賣家條款項下之各條款，專屬適用於本公司與賣家 間法律關係，買家不得主張適用。 4.本業務規則同時存在中文及英文版本，如二版本內容有所歧異，應以中文版條文為準。 5. 本業務規則得隨時由本公司修改，買方及賣方均同意遵守修改後之業務規則。 6. 法律及管轄權 本業務規則受香港法律規範，本業務規則之解釋與效力均適用香港法律。賣家與買家須 服從香港法院之排他性管轄權。
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ABSENTEE BID FORM The absentee bid forms must be delivered to the Customer Service Department at least 24 hours before the auction begins. The bid forms may be faxed to: Tel: +852 2889 0859 Fax: +852 2889 0850
Auction Date Sale No. Location Address
RAVENEL SPRING AUCTION 2015 HONG KONG Modern & Contemporary Art Sunday, 31 May 2015, 6:00 pm HA1501 Grand Hyatt Hong Kong (Grand Ballroom) 1 Harbour Road, Wanchai, Hong Kong
Bidder’s Details Name ID number Address Post code Tel Mobile Fax Email Signature (We must have your signature to execute this bid.) It is requested hereby that Ravenel tenders the bid on my behalf for the following auction items within the bidding range described hereunder. I understand that Ravenel provides such bid services for the convenience of customers and Ravenel shall not be held liable for any failure to execute a bid. If Ravenel receives more than one commission of the same bid price with regard to a particular auction item, priority will be given to the person whose bid is first received. I understand that if my bid is successful, I shall pay the final hammer price together with the Buyer’s Premium and any applicable sales tax. The Buyer’s Premium shall be calculated as 20% of the final hammer price (not applicable to wines). For detail please refer to Articles 4a, c and d of the Transaction Rules to the Buyer. (4a. The Buyer’s Premium of Each Lot Payable by the Buyer: (1) The Buyer should pay the hammer price and, in addition, the Buyer’s Premium to the Company. For hammer price below HK$ 8,000,000 (inclusive), the Buyer’s Premium should be calculated at 20% of the hammer price. (2) For hammer price higher than HK$ 8,000,000, total amount of the Buyer’s Premium should be that the first HK$ 8,000,000 of the hammer price should be calculated at 20% and the rest of the amount of the hammer price should be calculated at 12%.) The bid shall be subject to the Transaction Rules prescribed in the catalogue. Please note especially the limited guarantee and exclusive warrantees that may be provided for certain items.
PLEASE PRINT LEGIBLY Auction item number (in numerical order)
Title
Bid price (HK$) (excluding buyer’s premium)
Interested buyers should provide Ravenel with their current bank and/or other relevant material to ensure all bids will be accepted and the delivery of the auction item will not be delayed, and authorize us to verity the provided informations with the bank. Kindly provide this information for processing in advance of the auction date.
Bank Reference Approval Name of the bank Address of the bank
Name of the account Account number Contact of the bank Tel. No.
Ravenel Auction Hong Kong Limited Room 1307A, 13/F, 39 Healthy Street East, North Point, Hong Kong Tel: +852 2889 0859 Fax: +852 2889 0850 ravenel.com
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委託競投表格 委託競投表格須於拍賣24小時前送抵客戶服務部。競投表格可傳真至： 電話：+852 2889 0859 傳真：+852 2889 0850
拍 賣 名 稱： 羅芙奧香港 2015 春季拍賣會 現代與當代藝術 拍 賣 編 號：HA1501 香港拍賣日期：2015 年 5 月 31 日（星期日） 下午 6:00 香港君悅酒店（宴會大禮堂）香港灣仔港灣道 1 號
投標者資料 客戶編號 （如有） 姓名 身份證號碼 地址 郵碼 電話 傳真 簽名
行動電話 電郵
（本公司在取得閣下之簽名後方才接受競標）
茲請求羅芙奧就下列拍賣品於下列競投價範圍內投標。 本人亦明白，羅芙奧為方便顧客而提供代為投標的服務，羅芙奧不因怠於投標而負任何責任。倘羅芙奧就同一項拍賣品收到相同競價之委託，以 最先收到者優先辦理。 本人知悉如投標成功，本人應付之購買價款為最後之落槌價加上買家佣金（連同該最後落槌價及買家佣金之營業稅）買家佣金依最後落槌價乘以 佣金費率得之。詳見業務原則規定第4條a,c,d之規定。（4a.買家支付每件拍品之買家佣金費率：（1）買家除支付落槌價外，另須支付買家佣金予 本公司，落槌價於港幣捌佰萬元以下者（含捌佰萬元）以20％計算；（2）落槌價於港幣捌佰萬元以上者，採分二級計價，其中港幣捌佰萬元以 20％計算，超過港幣捌佰萬元之部份以12％計算；加總計算佣金金額。） 本競投，本人同意並遵守本目錄所載所有業務規則（特別是有限保證、不負其他瑕疵擔保等規定）。
請用正楷填寫清楚 拍賣品編號 （按數字順序）
名
競投價（港元） （買家佣金不計在內）
稱
為確保所有投標均得以接受及拍賣品之送交不延誤，有意買家應向羅芙奧提供往來銀行或其他適當之參考資料，並予以授權羅芙奧得向銀行查 證。該等資料應及時提供，以便在拍賣前著手處理。
銀行證明 銀行名稱 銀行地址 羅芙奧香港拍賣有限公司 香港北角健康東街13樓1307A室 Tel: +852 2889 0859 Fax: +852 2889 0850 ravenel.com
銀行帳戶名稱 銀行帳號 銀行聯絡者 銀行電話
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INDEX A YOSHITAKA AMANO
P 天野喜孝
PANG JIUN
龐均
PANG MAOKUN
龐茂琨
063
061
PANG XUNQIN
龐薰琹
049
PABLO PICASSO
巴布羅・畢卡索
071
PENG SI
彭斯
022
瞿廣慈
088
六角彩子
098
099, 100
C CAI GUO-QIANG
蔡國強
GEORGE CHANN
陳蔭羆
055
CARRIE CHAU
鄒蘊盈
094, 095
CHEN KENG
陳鏗
086
Q
CHEN XI
陳熹
089
QU GUANGCI
CHIU YA-TSAI
邱亞才
020
CHU TEH-CHUN
朱德群
026, 056, 057
005, 006, 007
R AYAKO ROKKAKU
D 薩爾瓦多・達利
072
SHIY DE-JINN
席德進
GAO XING-JIAN
高行健
076
SANYU
常玉
GUAN LIANG
關良
048
T
HAN YOUNG WOOK
韓永旭
066
HE SEN
何森
047
HSIAO CHIN
蕭勤
010, 011, 012
HSIAO MING-HSIEN
蕭明賢
014
TECHING HSIEH
謝德慶
042
VINCENT J.F. HUANG
黃瑞芳
043
HUANG ZHIYANG
黃致陽
HUNG TUNG
洪通
SALVADOR DALI
G
H
S 017, 018, 085, 087 050
T'ANG HAYWEN
曾海文
008, 009
WALASSE TING
丁雄泉
034, 035, 036, 051 052
V 莫里斯・德・烏拉曼克
074
WANG JINSONG
王勁松
091
080
WANG KEPING
王克平
033
077
WANG PAN-YOUN
王攀元
053
HAJI WIDAYAT
哈吉・維達雅
070
093
WU GUANZHONG
吳冠中
027
079
X 夏俊娜
075
SOICHI YAMAGUCHI
山口聰一
096
YANG CHIHUNG
楊識宏
019
YANG DIN
楊登雄
041
TZU-CHI YEH
葉子奇
054
YE YONGQING
葉永青
023 092
J JI WENYU
計文于
JIN SHANGYI
靳尚誼
JU MING
朱銘
029, 030
HYUNG-KOO KANG
姜亨九
067, 068
MOÏSE KISLING
莫依斯・奇斯林
K 073
L
MAURICE DE VLAMINCK
W
XIA XIA JUNNA
Y
REED LEE
李德
028
LI CHEN
李真
021, 031, 032
LING JIAN
凌健
YIN KUN
尹坤
LIU KUO-SUNG
劉國松
001, 002, 003, 004
YIN ZHAOYANG
尹朝陽
065
MAX LIU
劉其偉
037, 038, 039, 040
YU CHENG-YAO
余承堯
015, 016, 081 082
LIU YI
劉溢
024
LO CHAN-PENG
羅展鵬
044
YU PENG
于彭
078
LUO ZHONGLI
羅中立
058, 059
YUAN YUAN
袁遠
025
YUN WEE-DONG
尹暐東
069
ZHANG LINHAI
張林海
046
045
ZHANG PENG
張鵬
097
ZHOU CHUNYA
周春芽
064
N YOSHITOMO NARA
奈良美智
101
O OUYANG CHUN SAKAE OZAWA
歐陽春 小澤沙加耶
083, 084
Z 090 060, 062