寂靜歡喜—古今人文藝術專場 Literati: Quiet Affection by Ravenel International Art Group

寂靜歡喜古今人文藝術專場 LITERATI: QUIET AFFECTION

SPRING AUCTION 29 MAY 2016 HONG KONG

IMPORTANT NOTICE TO BUYERS The auction will strictly abide by the rules and regulations set out by Ravenel Auction Hong Kong Ltd. Prior to participating in the auction, bidders are advised to read and understand the following regulations: 1. Interested parties must complete the registration procedures with valid personal identifications (i.e. Identification card, Passport, etc.). The completion of a registration form and the payment of a security deposit are required. 2. Security deposit in the amount of HK $100,000. 3. The security deposit must be transferred to Ravenel's specified Bank account prior to 25th May 2016, details as follow: Beneficiary's Name: Ravenel Auction Hong Kong Limited Beneficiary Bank's Name: Â The Hongkong and Shanghai Banking Corporation Limited Beneficiary Bank Address: 1 Queen's Road Central, Hong Kong SWIFT Code: HSBCHKHHHKH Beneficiary's Account No:Â 808-347959-292 (HKD) The bank should be notified that the transfer must be exactly the amount of security deposit. The payer will be responsible for any associated bank service fees. 4. After the 25th May 2016, parties interested in obtaining a paddle number must submit a cash security deposit during the Hong Kong previews (From 27th to 28th, May 2016). Acceptance will cease on 28th of May by 7 pm (No other forms of payment will be accepted). 5. Telephone/written/ internet bids: In the event that the bidder chooses not to be present at venue on the day of the auction, the bidder may place a bid through means of a telephone, written or internet bid. A registration form must be completed and the security deposit transferred to Ravenel's specified Bank account before the 25th May 2016. 6. If the security deposit has been transferred prior to the 25th May 2016, suitable proof or documentation is required. Once this information is verified, the payer will be contacted for details of his/her paddle number. 7. If the payment of the security deposit is made on the day of the auction, the payer may obtain his/her paddle number with valid personal identification (i.e. Identification Card, passport, etc.) for purposes of verification. 8. Return of the Security Deposit: (1) Completed Transaction: For successful bidder with a security deposit made through wire transfer, the hammer price and buyer's premium will be deducted from the security deposit, any remaining value will be returned to the successful bidder within 14 business days through means of a wire transfer. For bidders with security deposit made by Cash, the hammer price and buyer's premium will be deducted from the security deposit, any remaining value will be returned to the successful bidder on the same day after the auction for a cash refund. (2) Nil Transaction: For individuals with a security deposit transferred by wire, the security deposit will be returned within 14 business days through means of a wire transfer. Cash security deposit will be returned to individuals on the same day after the auction. 9. Successful bidder must settle the payment (hammer price with buyer's premium) prior to receiving the lot(s) on site. If the price exceeds the amount of the security deposit, the successful bidder may settle the outstanding balance through the following means: (1) A cash payment in HKD. (2) A credit or China UnionPay payment: The credit payment must not exceed HK$250,000. The holder of the credit card or China UnionPay must be the s uccessful bidder, credit payments from any title except for the successful bidder will not be permitted nor accepted. 10. Ravenel Auction Hong Kong Ltd. retains full discretion to accept or decline a payment in the event of any unforeseen disputes or discrepancies.

Contact Person HONG KONG Vivi He vivihe@ravenel.com +852 2889 0859 ext.711 |

給予買家的重要通知

本拍賣會依據「羅芙奧香港拍賣有限公司拍賣規則」舉行，請在參加拍賣會之前仔細閱讀，充分理解以下規則： 1.

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保證金 : 港幣拾萬元。

保證金需於 2016 年 5 月 25 日以前完成匯款至本公司指定帳號如下 : Beneficiary's Name: Ravenel Auction Hong Kong Limited Beneficiary Bank's Name: The Hongkong and Shanghai Banking Corporation Limited Beneficiary Bank Address: 1 Queen's Road Central, Hong Kong SWIFT Code: HSBCHKHHHKH Beneficiary's Account No: 808-347959-292 (HKD) 匯款時請指示銀行本公司需實收保證金全額 , 銀行手續費請匯款人負擔。

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如於 2016 年 5 月 25 日以前完成保證金匯款，請提供我方可證明已匯款的證明文件。確認收到保證金匯款後，我們將與競投者聯繫並與之確認其競標牌號。

7. 拍賣當天已繳納保證金之競投者欲領取所登記的牌號時，請出示有效證件 ( 如：身份證明、護照…) 以確認身份。 8. 保證金退還方式 : (1) 有成交 : 保證金以「匯款」方式完成者 , 扣除應支付予本公司之款項 ( 包含落槌價、佣金及其他費用 ) 後 , 若有餘額需退還，本公司將於拍賣日後十四個工作天內以匯款方式退還給買家。保證金以「現金」方式完成者 , 扣除應支付予本公司之款項 ( 包含落槌價、佣金及其他費用 ) 後 , 若有餘額需退還，本公司將於拍賣當日以現金退還給買家。 (2) 未成交 : 保證金以「匯款」方式完成者 , 本公司將於拍賣日後十四個工作天內以匯款方式退還給買家。保證金以「現金」方式完成者 , 本公司將於拍賣當日以現金退還給買家。 9. 若成功得標買方欲現場取貨，買方之應付款項 ( 落槌價與佣金 ) 金額超過保證金金額時，買方得以下列方式結清帳款 : (1) 港幣現鈔。 (2) 信用卡與銀聯卡 : 刷卡上限為港幣貳拾伍萬元。信用卡與銀聯卡持有人必需是買家本人 , 本公司不接受他人之信用卡。 10. 羅芙奧香港拍賣有限公司有權在發生任何不可預見的糾紛或矛盾的狀況之下，對於接受或拒絕付款（包含保證金）保留全部的決定權。

諮詢香港何

瑩

vivihe@ravenel.com +852 2889 0859 ext.711

RAVENEL SPRING AUCTION 2016 HONG KONG Literati: Quiet Affection

羅芙奧香港 2016 春季拍賣會寂靜歡喜 – 古今人文藝術專場

AUCTION

拍賣日期 / 地點

Sunday, 29 May 2016, 2:00 pm Grand Hyatt Hong Kong (Ballroom) 1 Harbour Road, Wanchai, Hong Kong

2016年5月29日（日）下午 2:00 香港君悅酒店（宴會大禮堂）香港灣仔港灣道1號

PREVIEWS

預展日期 / 地點

Taichung

台中 2016年5月14日（六）下午1:00至下午6:00 2016年5月15日（日）上午11:00至下午6:00 豐藝館台中市西區五權西路一段110號

Taipei

台北 2016年5月21日（六）上午10:00至下午6:00 2016年5月22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

Hong Kong

香港 2016年5月27日（五）中午12:00至下午7:00 2016年5月28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

Saturday, 14 May 2016, 1:00 pm - 6:00 pm Sunday, 15 May 2016, 11:00 am - 6:00 pm Fong-Yi Art Gallery (Next to the National Taiwan Museum of Fine Arts) No. 110, Sec. 1, Wuquan W. Rd., West Dist., Taichung, Taiwan

Saturday, 21 May 2016, 10:00 am - 6:00 pm Sunday, 22 May 2016, 10:00 am - 6:00 pm Fubon International Conference Center B2, No. 108, Sec. 1, Dunhua South Road, Taipei, Taiwan Friday, 27 November 2016, 12:00 pm - 7:00 pm Saturday, 28 November 2016, 10:00 am - 7:00 pm Grand Hyatt Hong Kong (Tiffin) 1 Harbour Road, Wanchai, Hong Kong

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 noguarantee. This auction catalogue: HK$ 300 per copy

Arthur WANG 王鎮華

Chairman 董事長

Clara KUO 郭倩如

Vice Chairman 副董事長

Wendy LEE 李雅欣

Chief Operation Officer 營運長

何瑩 Vivi He 業務發展部總監 Head of Business Development Department

朱毅 Walter Zhu

吳博峯 Tommy Wu

業務代表北京

總務處協理營運部 Senior Manager, General Affairs Operation Department

Representative Beijing

李政希 Xiu Lee 業務代表上海 Business Representative Shanghai

目次 / Contents 2

給予買家的重要通知

IMPORTANT NOTICE TO BUYERS 4

羅芙奧春季拍賣會

SALE INFORMATION 6

羅芙奧之服務

RAVENEL SERVICES 16

寂靜歡喜 – 古今人文藝術專場

Literati: Quiet Affection

143

業務規則

TRANSACTION AGREEMENT 149

委託競投表格

ABSENTEE BID FORM 151

中國歷代年表

CHRONOLOGY 154

畫家索引

INDEX

RAVENEL STAFF AND SERVICES FOR THIS SALE

CONSULTANTS

CATALOGUE SUBSCRIPTION

COLLECTION AND SHIPPING

Head of Business Development Department Vivi He

Taiwan

Tel: +852 2889 0859 ext. 711 Email: vivihe@ravenel.com

Carol Yu

Tommy Wu

Tel: +886 2 2708 9868 ext. 146 Email: carolyu@ravenel.com

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Hong Kong, International

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Beijing

China

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Taiwan Carol Yu Tel: +886 2 2708 9868 ext. 146 Email: carolyu@ravenel.com

Beijing Walter Zhu Tel: +86 10 8587 8099 ext. 23 Email: yizhu@ravenel.com

Shanghai

The catalogues are available for subscription. For details of subscription, please refer to the explanations of the catalogue or contact the above persons.

Remarks: All the items auctioned may be collected upon receipt of payments. The Buyers are requested to arrange for collection as soon as possible to facilitate warehouse inventory circulation and centralize management. We accept personal and corporate checks, however collection may be made only when such checks are honored. We apologize for no acceptance of traveler’s checks. Other items may be collected at the Ravenel Ltd. The business hours are 9:30 am to 6:30 pm, Monday to Friday.

Xiu Lee Tel: +86 21 6228 2883 Email: xiulee@ravenel.com

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

Remarks: If you are unable to attend the auction in person, you may tender the bid by phone or you may use the absentee bid forms attached at the back of the auction catalogue to tender your bid. It is also possible to bid online for selected lots. Please refer to ravenel.com for more information.

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

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

ONLINE BIDS Register at LiveAuctioneers www.liveauctioneers.com/sign-up

羅芙奧香港 2016春季拍賣會服務部門及連絡人

諮詢專家

目錄訂閱

取貨及運輸事宜

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台灣

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李政希電話：+86 21 6228 2883 電子信箱：xiulee@ravenel.com 本目錄開放各界訂閱，詳細訂閱辦法，請參照目錄之說明或請洽上述聯絡人。

註一：所有拍品在貨款結清後，即可取貨；買家請儘早通知安排取貨事宜，以利倉庫存貨流通和集中安排辦理，本公司接受個人及公司支票付款，惟需在兌現後始能提貨。恕不接受旅行支票付款。其他各項貨品可在羅芙奧辦公室提領，上班時間為週一至週五上午9:30至下午6:30。註二：我們的專業行政部門可為您建議或安排最適當的運輸方式。

上海李政希電話：+86 21 6228 2883 電子信箱：xiulee@ravenel.com 註一：如您無法親臨拍賣現場，可以電話投標方式競標；亦可利用附在此目錄後面之委託競投表格；或可參與網上競投，詳情請洽羅芙奧官方網頁。註二：鑑於拍賣現場電話有限，欲以電話投標方式競標的投標者，請於拍賣前24小時通知我們為您安排，尤其對需用外國語言服務之投標者。

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羅芙奧樂意提供您本次拍賣當中任何一項拍品的狀況報告書，惟準買家需注意拍品均是以「當時認定」之狀況賣出，相關細項請參照目錄後之業務規則。請參照買家需注意事項。

LITERATI: QUIET AFFECTION Sunday, 29 May 2016 2:00 pm Grand Hyatt Hong Kong (Ballroom)

Lots 601 – 677

601 HAN FEI (Chinese, b.1979) Bird on Rock 2011 Ink and color on paper 44 x 36.5 cm With two seals of the artist PROVENANCE: Imavision Gallery, Taipei Private collection, Taiwan With the artist's certiﬁcate of authenticity

HK$ 38,000 - 48,000 NT$ 160,000 - 202,000 US$ 4,900 - 6,200 韓非醉清風

Gongbi , within the school of realism in the context of traditional Chinese painting, its deviation, New Gongbi , is gaining attention from the public and realizing its value within the circle of art; with a group of artists injecting new life into it, creating a modernized version of this conventional style, and restoring it to its rightful place alongside the xieyi approaches more fashionable in Eastern art. Han Fei focuses on birds and flowers, an important subcategory of gongbi , and his work is marked by expert gouran , or "bent brush," technique, smooth strokes, and a sublime palette that breathes a sort of understated charm. His imagery communicates a tranquil springtime atmosphere, a mood dripping with pleasant scents and soft, earthy tones. Through ingenious layering, his compositions superimpose their three basic elements—flowers, birds, and rocks—in a way that blends geometric and natural shapes into arrangements of astonishing visual impact. His oeuvre’s seemingly effortless elegance bespeaks the high degree of sophistication attained by this fervent artist. In this lot, titled "Bird on Rock," cool colors dominate in a scene that is brimming with countless enigmatic gradations of hue and shade, showing the artist’s keen eye for natural shapes and tones, as well as his superior compositional skills. Overall, this painting is a good example of Han Fei’s ambitious goal to rejuvenate his cultural heritage, imbuing it with subtle hints of Zen-like serenity, a calm and poise that is all the more apparent for the vibrant yet mellow imagery that so aptly reflects the

2011 設色紙本 44 x 36.5 cm 鈐印：韓非

artist’s inner world, making it eminently visible to a sympathetic audience. Most of Han’s best work was painted in recent years, marked by astute composition that cleverly distributes the broken-branch-style flowers and birds among carved railings and ornamental rocks. In particular, the taihu stones, also known as Chinese scholar’s rocks, with their close-up realism, and the parrots with their beautiful

來源：台北晴山藝術中心台灣私人收藏附藝術家親筆簽名之原作保證書

plumage, captured in most lifelike postures, are radiating energy and vitality. Han’s mature skill allows him to construct complex aesthetic concepts through which to develop and express his artistic temperament. The resultant pictures are very much a work of his individual imagination, yet they manage to pluck the nostalgic heartstrings of a wide audience, letting us enter a peaceful realm away from the bustle of the world, a quiet corner where classical elegance and poignant beauty soothe our senses. 工筆畫是中國傳統繪畫中偏重於寫實的一脈，近些年新工筆做為一種團體力量得到人們關注，並在當代中國繪畫領域裡體現出其應有價值。韓非的工筆花鳥畫，畫面鉤染精緻，氣息溫潤，用色沉穩冷豔，傳達著一種小槽春酒、琥珀香濃的意境。其作品多運用疊加的方式來表述花、鳥、石三個傳統的元素，幾何形與自然形在畫中相互交錯，畫面中雕刻的石直抵內心，花鳥融合其中，更添雅韻氣息，從這些作品中我們可以看出畫家在醉心營造自己所理解的世界。此幅《醉清風》畫面色調以冷色偏多，色彩窮極變化，幽微深遠，反映出畫家捕捉自然物象的敏銳觸角與駕馭畫面基調的高超調度能力。畫家別具匠心的安排，以作為一種文化底蘊復興的徵象，籍之釋放出一派拈花微笑的活潑禪意，呼之欲出的藝象與那溫柔畫境倒也甚是熨帖。作品同時更加關注內心意境，並將這種訊息以藝術的形式傳達給觀者。這等佳作多為近年所繪，構圖十分巧妙，多將折枝花鳥與雕欄賞石相疊合，太湖賞石是近距離的寫實，鸚鵡招展多姿，翎羽著色華麗，綻放出一派盎然生意。韓非在其技法嫻熟的層面之上，將意境營造與性情流露，也正是將這兩種意象相重合，雖為臆想製作，卻很容易觸動觀者的懷舊情愫，將我們帶入一隅古殿香凝、寧靜致遠的淨界中。

Literati: Quiet Affection | Hong Kong 29 May 2016 | Ravenel

Landscape XIA YIFU

Hsia Yifu’s work has a mesmerizing quality. His vigorous ink and color

lines, and shapes, and his knack for all but flawless composition, and

brushstrokes conjure up visual imagery both magnificent and serene,

you have something akin to a grandiose sort of "mega-realism," a

both substantial and ethereal, taking the observer on an enlightening

painting that captures the rugged essence of trees and rocks and

journey through vast, transcendental landscapes where the artist’s

mountains through the aesthetic lens of East Asian art. Entirely

talent, beliefs, skill, vision, and character rule supreme. This is a

monochromatic, this piece exudes a profound mood of peace and

painter who has experienced all the vicissitudes of life, a venerable

quiet. Its combination of vagueness and precision, of simplicity and

doyen of his art who surveys the finer points of existence and the

complexity, stands out as the hallmark of Hsia’s style: the artist has

deeper meaning of history through the lens of a calm wisdom that is

taken the form of jiaomo shanshui, or "dry ink landscape," to new

one of the beautiful fruits of old age. Hsia loves gradually unfolding

heights, devoting all his efforts to creating a purer kind of literati

and far-reaching vistas—no friend of easy angles or insignificant

painting—poignant yet mellow—than anything that went before.

details, he focuses on panoramic views and sweeping images of the wide earth with its majestic mountains, rivers, and clouds, always

欣賞夏一夫的作品時，無不被那雄闊靜穆、渾厚華滋的筆墨形態所

searching to open his audiences’ eyes to the splendor and brilliance

感動，他的作品帶人進入一個超塵脫穀的境界，且能充分領略到畫

of the world.

家的才情、信念、學養、氣度與風骨。這是一位經歷了風雨坎坷，閱遍了人世滄桑的現代老人對自然、對生命、對歷史的思索和憧

This lot is one of Hsia’s most representative landscape paintings.

憬。他的作品執著於那種吃力耗時的全景式展開，很少側視巧取，

Deeply touched by the sheer weight and profoundness of towering,

在邊角上做文章，他總是從正面攝取山河大地中最沉鬱、最壯麗的

undulating mountain ranges, and moved by the virtually unlimited

場景來表現，引發欣賞者的情思激蕩。

sense of depth they convey, the artist has made a black massif the centerpiece of this work, executing it in the style of traditional

本件作品為畫家山水畫表現之代表，他深為「千岩萬壑」中亂以石

Chinese landscape painting with a "dry brush." This approach makes

穿空的無限深邃感所感動，使他選擇黑色的山做為繪畫的題材採用

the surface structure of the rocks stand out with exceptional clarity,

中國傳統繪畫中的枯筆焦墨，逐筆點出堅實的山石紋理，而不使用

emphasizing their solidity and visual impact. Even without employing

渲染技法處理畫面，然不同筆法的聚散及墨色濃淡控制，完整呈現

the classical xuanran technique, which involves adding extra washes

山間雲霧之飄渺流動感，建構出磅礡的山水雲海景象，達到自然實

of ink or color, Hsia manages to imbue his scenery with many distinct

在的感受，其又擅長將西畫中透視和光影的觀念揉入畫面之中，加

layers through subtle shading and a great variety of brushstrokes,

上其在點、線、形象刻劃上精確掌握的技巧，以及畫面上完備的構

vividly expressing the floating movement of air and mists at high

圖，使他畫中的樹石，顯現出一種堅實、崎嶇、雄偉之感，富以東

elevations, and impressing the viewer with veritable seas of clouds

方精神世界。整體僅以墨色表現而不施一彩，於虛實繁簡中，傳達

that are brimming with a sense of the preternatural. At the same

出一種濃郁的沉靜之感，自成一格。他是用心血進行焦墨山水畫創

time, he is a master of light and perspective, the main domains

作的畫家，他把焦墨山水畫得如此深入、如此醇厚，他為焦墨山水

of Western painting, which he skillfully merges into his individual

畫表現的一個新高度做出了自己的貢獻。

artistic language. Add to this his expert use and execution of dots,

Literati: Quiet Affection | Hong Kong 29 May 2016 | Ravenel

602 XIA YIFU (HSIA Yifu, Taiwanese, b.1925)

夏一夫

Landscape

山水

2007 Ink on paper 41.5 x 57.5 cm Signed Yifu in Chinese With one seal of the artist PROVENANCE: Private collection, Taiwan With the artist's certiﬁcate of authenticity, issued by Howard Salon in March 2013

HK$ 40,000 - 50,000 NT$ 168,000 - 210,000 US$ 5,200 - 6,400

2007 水墨紙本 41.5 x 57.5 cm 款識：二〇〇七八二老人一夫鈐印：夫來源：台灣私人收藏台灣福華沙龍 2013 年 3 月出具之藝術家簽名原作保證書

603 CHANG YU (Sanyu, Chinese, 1901 – 1966) Nude Ink on paper 43 x 26.5 cm Signed lower left Yu in Chinese and SANYU in English PROVENANCE: Private collection, Taiwan Acquired from Taipei in 90s

HK$ 80,000 - 120,000 NT$ 336,000 - 504,000 US$ 10,300 - 15,500

The most important Chinese-born painter to be counted a part of the École de Paris, Sanyu was particularly renowned for his ink wash/brush

常玉

paintings and drawings of human bodies, earning him the moniker"

裸女

Matisse of the East." Taking his cue from traditional Chinese calligraphy, and further honing his artistic skills by sketching from life, he became an

水墨紙本 43 x 26.5 cm 簽名左下：玉 SANYU

expert at depicting Western subjects through the prism of Eastern style and technique. His art combines a distinct feel of Western modernity with the understated elegance of Eastern freehand flair, something that is especially obvious in his many female nudes. It will be interesting to follow

來源：台灣私人收藏現藏家於九十年代購於台北

the latest collectors’craze for Sanyu’s nude drawings and paintings, each of them exemplifying the seductiveness of the artist’s lines and the beauty of his female forms. "Nude" is a masterpiece of Sanyu, the audience can easily realized Sanyu had infused the painting concept from the western with traditional techniques from the east. It gives a full body and a sense of completeness to the painting with very few strokes, this painting style is termed "nude in ink". Sanyu was exploring a breakthrough from the tradition, he elaborates on the smoothness and sensuous beauty of the body with straightforward and unique techniques, usually completes in one stroke. This demonstrates Sanyu is a true master with lines, Sanyu’s artwork gives the contemporaneousness of the west and the freehand brushwork of the east a perfect infusion. 巴黎畫派中最重要的華人畫家常玉，多以水墨或炭筆勾勒人體線條最為人稱道，素有「東方的馬蒂斯」之稱。其擅長中學西用，畫風自書法萌芽、在素描裡紮根；既有西方的現代感，也具備了東方的寫意精神。線條之妙、彰顯女體之美。此幅裸女為常玉代表性素描作品，其用筆灑脫，行線暢逸，使人能感受到常玉在遵循中國傳統技法的同時，在觀念上已接近西畫的表現形式。簡單幾筆即可掌握住模特兒的神態，畫中裸女胴體線條簡約卻飽滿，增之一分則贅，減之一分則缺。這一類水墨或毛筆勾勒人體線條風格，稱之為「水墨裸女」。常玉在努力試圖突破傳統格局的束縛而傾力探索。他將人體表現得更率性而獨特，同時側重表現人體線條的流暢及感性美。常玉裸女畫的黑色線條都是一筆完成的，線條功力了得。其紙上作品藝術性完整而突出，既有西方的現代感，也具備了東方的寫意精神。

Literati: Quiet Affection | Hong Kong 29 May 2016 | Ravenel

604 YOSHITOMO NARA (Japanese, b.1959) Helmut Lang & Puppy (Happy Birthday) 1998 Pen on paper 21.08 x 13.91 cm x 2 PROVENANCE: Private collection, Europe With a certiﬁcate of authenticity signed by Ms. Swetlana Heger-Davis

HK$ 140,000 - 200,000 NT$ 588,000 - 840,000 US$ 18,000 - 25,800 奈良美智女孩與狗

Yoshitomo Nara’s rise in art world during 1990s was highly related to art movements in Japan at that time. His artworks have always been categorized as superflat style founded by Takashi Murakami and developed from the addiction toward Japanese animation culture as

1998 原子筆紙本 21.08 x 13.91 cm x 2 來源：歐洲私人收藏附 Swetlana Heger-Davis 女士親筆簽名之原作保證書

well as Otaku culture. Children in his works appear simultaneously sweet and sinister, with strong sense of isolation. The isolated and lonely images with little background depict artist’s self-consciousness and anxiety. Overall, his art works convey unique Japanese culture and imply the loneliness of people in the modern society. His distinct style draws people’s attention and leads Japanese contemporary art to the forefront on the international stage. Human figures in the artworks by Yoshitomo Nara always share a similarity as loneliness. This artwork was directly given to Swetlana HegerDavis in 1998 by Yoshitomo Nara on her exhibition at Tomio Koyama Gallery, Tokyo.With greetings for her birthday on the left it reveals slight differences with others. The girl and puppy, which are typical subject matters in the artist's works, appear less evil but more amiable with light color on the background. 奈良美智在九十年代的藝壇迅速崛起，與當時日本的藝術運動是息息相關的。他的作品常被歸類為村上隆的「超扁平」風格—一種由日本動漫文化引申，源自對禦宅文化狂熱愛好的美學概論。其作品筆下的小孩單純可親，卻蘊含著強烈的孤獨感，這恰是奈良美智的創作精神來源。他的作品呈現強烈的自我意識，並反映出自身的不安。畫作以疏離和孤寂的人物形象，配上單一的淨色背景，表達內心孤獨的感受和不安的感覺。從巨集觀去看，他的作品流露著日本獨特的文化精神，也暗示現代人的孤寂感。他鮮明的風格，帶領著日本當代藝術走上國際舞臺最前線的席位。在奈良美智大部分的作品中，人物都有一個共同點：孤獨感。但這幅由奈良美智在1998年小山登美夫畫廊的展覽中直接贈與Swetlana HegerDavis女士的作品，卻與其它的有所不同。作品的左邊寫有生日的祝賀

On the reserve: This work is painted on the rear side of Nara's poster 作品背面 : 該作品畫於奈良美智海報背面

語，而作品中典型的女孩和小狗的形象也在亮色調背景的襯托下，少了幾分敵意而多了幾分親切感。

Literati: Quiet Affection | Hong Kong 29 May 2016 | Ravenel

605 ANDY WARHOL (American, 1928-1987) A Christmas Thing 1954 Ink on paper 43.2 x 36.5 cm PROVENANCE: Andy Worhol Fundation for the Visual Arts Christie's, New York

HK$ 160,000 - 240,000 NT$ 672,000 - 1,008,000 US$ 20,600 - 30,900

Andy Warhol is one of the true masters in commercializing art. Warhol, as a founder of Pop Art, he is good at utilizing objects, from

安迪．沃荷

celebrities to anything people are familiar with, and turning them

聖誕

into his artworks, for instance Marilyn Monroe and Elvis Presley. A famous quotation from Warhol "Making money is art and working

1954 水墨紙本 43.2 x 36.5 cm 來源：安迪．沃荷視覺藝術基金會紐約佳士得

is art and good business is the best art" demonstrates his concept as commercializing art that is deep in his heart. This works comes from his series for Christmas. In fact, he never missed chance for togetherness and Christmas became one of his favourite festivals. From the late 1950s until his death in 1987, Warhol was an integral component of New York's creative community, and has been described by several of his contemporaries as the glue that held the legendary group of artists and New York's downtown crowd together. Society's relationship to consumption was something that Warhol addressed extensively in his art. This work is the culture of consumerism that has come to define the modern tradition of Christmas celebrations. One thing should be noted that, a signature from Andy Warhol, which remarks the spot and time of this creation, is rarely seen in his sketches and makes this work outstanding from others. 若論全世界把商業藝術化、藝術商業化做得最淋漓盡緻，安迪．沃荷必會名列其中。安迪．沃荷，作為波普藝術的開創者之一，他作品的一大特色是將名人及人們所熟悉的事物轉換為作品元素，例如聞名世界的瑪麗蓮．夢露和埃爾維斯普雷斯利等。正如他自己所說，賺錢是藝術，工作也是藝術，而賺錢的工作才是最棒的藝術，因此他推崇藝術的商業化，經常使用絹印版畫技法來重現圖像，並以重複來體現現代社會中批量生產的趨勢。該作品為他聖誕作品系列之一。事實上，安迪．沃荷在生前從未錯失任何與朋友歡聚的機會，聖誕節也成為他最喜愛的節日之一。他在社交中如魚得水，並成為傳奇式的紐約藝術創作團體的核心凝聚力。社會中的形形色色與消費所構建的紐帶是安迪·沃荷不斷地在他的藝術中提及的，這幅作品中所呈現的就是在消費主義的文化背景給予傳統節日慶祝新的定義和認知。最值得注意的是，該作品附有安迪．沃荷親筆簽名，標註了其創作地點和時間。這在安迪．沃荷

With frame 作品帶框圖

的素描作品中是十分少見的，使得它在此類作品中脫穎而出。

Literati: Quiet Affection | Hong Kong 29 May 2016 | Ravenel

606 WUNG GUAN LING (NG Kwun Lun Tony, Chinese, b.1964)

吳觀麟移山系列之三

Moving Mountains Series - III 2011 Ink and color on paper 58 x 89 cm With one seal of the artist

HK$ 50,000 - 80,000 NT$ 210,000 - 336,000 US$ 6,400 - 10,300

2011 設色紙本 58 x 89 cm 鈐印：吳觀麟

Literati: Quiet Affection | Hong Kong 29 May 2016 | Ravenel

607 AGATE BOWL WITH GOLDEN HANDLE Song Dynasty (AD 960-1279) L: 9.6 cm H: 3.1 cm PROVENANCE: Private Asian Collection

HK$ 70,000 - 90,000 NT$ 294,000 - 378,000 US$ 9,000 - 11,600 宋金把瑪瑙碗來源：亞洲藏家舊藏

608 SMALL BAMBOO CARVED IMMORTALITY PEACH WATER POT Qing Dynasty (AD 1644-1911) H: 3.6 cm D: 7.5 cm PROVENANCE: Private Asian Collection

HK$ 22,000 - 32,000 NT$ 92,000 - 134,000 US$ 2,800 - 4,100 清竹雕壽桃水盂來源：亞洲藏家舊藏

Literati: Quiet Affection | Hong Kong 29 May 2016 | Ravenel

609 BIAN PINGSHAN (Chinese, b.1958) Rattan Ink on paper 57 x 16 cm Signed Pingshan in Chinese With one seal of the artist

HK$ 12,000 - 22,000 NT$ 50,000 - 92,000 US$ 1,500 - 2,800 邊平山藤水墨紙本 57 x 16 cm 款識：平山鈐印：三

610 SCENTED ROSEWOOD INCENSE PLATE Qing Dynasty (AD 1644-1911) L: 39.5 cm W: 25.5 cm H: 3 cm PROVENANCE: Private collection, Belgium

HK$ 36,000 - 46,000 NT$ 151,000 - 193,000 US$ 4,600 - 5,900 清黃花梨香盤來源：比利時藏家舊藏

Literati: Quiet Affection | Hong Kong 29 May 2016 | Ravenel

611 BIAN PINGSHAN (Chinese, b.1958) Tree Ink on paper 70 x 33.5 cm Signed Pingshan in Chinese With one seal of the artist

HK$ 24,000 - 36,000 NT$ 101,000 - 151,000 US$ 3,100 - 4,600 邊平山樹水墨紙本 70 x 33.5 cm 款識：平山鈐印：三

Literati: Quiet Affection | Hong Kong 29 May 2016 | Ravenel

Taihu Stone PENG WEI

Modern gongbi was form since ’85 New Wave and the exploration of modernization of Chinese painting, rules gradually established and differentiate itself from traditional painting, it demostrates a strong vitality by emphasizing the spirit of modern society. Peng put attitude before compassion and talent in her creation; she mastered brush painting skill at young age under the influence of her father Peng Xiancheng whom is a famous painter. She paints on various medium with different colors and classical painting characters and techniques. Peng differentiate herself from traditional topics and other classical painters by developing her own painting techniques, as demonstrated in "Taihu Stone", which create an entirely differerent Shan Shui expression. Peng demonstrated her insight to the spirit of comtemporary scholar with her lifestyle and living philosophy that set her apart from other painters. She mentioned that when her passion to a series of artwork diminishes, painting of rock would recharge her enthusiasm and refreshes her. "Taihu Stone", which act as an iconography in classical ShanShui painting, had utilized available material and methods in contemporary art and gained ideas from former pattern. Consequently, it appears in contemporary art in another way that is never before seen. 中國當代藝術自85新潮以來，伴隨著中國水墨當代化的探索思潮，新工筆這一藝術風格的逐步形成，並使繪畫創作走出了傳統水墨形製、題材和範式的框架，強調當代社會精神表達，使工筆畫呈現出蓬勃的生命力。在彭薇的藝術公式裡，熱情和天賦都在其後，藝術態度才是第一位的。她的父親是著名畫家彭先誠，耳濡目染下，自幼毛筆就進入了她的生活。彭薇將中國傳統畫裡的山水花鳥等各色人景用彩墨畫在宣紙上，麻紙上，絹上，女鞋的內與外，塑膠模特的身軀上。彭薇正是從「太湖石」這一中國傳統人文題材中找到了自己的繪畫語言，一個不同於其它藝術家的古典山水中國畫。以一種全新的繪畫技巧來構造出一個靜謐的山水世界。彭薇以她新工筆畫家的文人身份、生活方式、生活哲學，在現代畫家這裡已不多見，新的眼光和概念演繹出新文人精神。正如彭薇自己所說，畫石頭在我這裡如同充電，當一個系列進行到我已非常熟悉，熱情減退時，回到它，又有了新的熱情。「太湖石」古典山水圖式的文化符號，在吸取當代藝術任何可使用的材料、觀念、方法，從過往無窮圖式中獲得靈感，其繪法或挪用，或置換，使這一經典圖式以另一種未被發現的方式和效果，出現在當代藝術中。

Taihu Stone in Liuyuan Garden, Suzhou. 江蘇蘇州留園中的太湖石

612 PENG WEI (Chinese, b.1974) Taihu Stone Ink and color on paper 137 x 70 cm Signed Peng Wei in Chinese With two seals of the artist

HK$ 300,000 - 500,000 NT$ 1,261,000 - 2,101,000 US$ 38,700 - 64,400 彭薇太湖石設色紙本 137 x 70 cm 簽名：彭薇

"Schiller, a German aesthetician, identifies artists into two categories: sentimental and simplicity. Sentimental would outcry to the society and hoping for salvage; while simplicity would express themselves in a natural way. I believe I belong to the latter. Regardlessly, we are all stamped by our generation, and you are collecting those stamps." — Peng Wei 「席勒把藝術家分為傷感和素樸兩種，傷感型的藝術家對社會叫喊，企求在藝術中獲得拯救。樸素型的藝術家則表達自己，用天生自然的方式創作。我想，我屬於後者。但無論哪一類，我們都被時代打上了烙印，而你收藏了這些烙印。」 — 彭薇

Literati: Quiet Affection | Hong Kong 29 May 2016 | Ravenel

613 LIANG LANBO

Liang’s achievements in wild cursive Chinese calligraphy reflecting a

(LEONG Lampo, Chinese-American, b.1961)

reverence for both the spirit of Daoism and the Sublime, as well as an

Exploration

science.

2013 Ink on paper 52 x 38 cm (107 x 79.5 cm with frame) Signed upper right Lanbo in Chinese and lower left Lampo Leong in English With two seals of the artist Liang (upper right) and Lanbo (bottom left) LITERATURE: Liu, Charles. "A Review on Chinese Ink Painting in North America. " Art Salon. The People's Fine Arts Publishing House, Beijing, China (2013/1): 219 (1 color plate) PROVENANCE: Private Asian Collection

HK$ 18,000 - 40,000 NT$ 76,000 - 168,000 US$ 2,300 - 5,200 梁藍波遊歷 2013 水墨紙本 52 x 38 cm（107 x 79.5 cm 帶裱）款識右上 : 藍波款識左下 : Lampo Leong 鈐印右上 : 梁鈐印左下 : 藍波

ever-renewed wonder at a universe revealed to us through modern

In his current series, Moving Marks , which includes this work, incorporates wild cursive Chinese calligraphy with geometric structure attained by accumulated layers of ink washes to generate an ethereal atmospheric quality and a sense of moving energy in a mysterious and powerful cosmic space. These familiar yet abstract images make us aware of the miraculous vitality in nature as well as the enigmatic process of creation in the universe. (Lot 613)

Grandeur Spirit III is another great sample of Lampo Leong’s works in Chinese calligraphy. Though energetic brushwork and unique composition, Leong turns Mengzi’s philosophy into an abstract paintinglike construction with linear rhythms, enhancing this dynamic expression with great artistic value. In this work, his ingenuity is also demonstrated in the treatment of the background — with elegant color and beautiful textures, the background washes integrate and contrast with the powerful calligraphic marks, creating at once an ancient and a contemporary sensibility for this classical Eastern tradition. (Lot 618) Virtue is a great sample of Lampo Leong’s achievements in wild cursive Chinese calligraphy. The word "Virtue" is derived from Laozi’s Daodejing: "High virtue takes no contrived action and acts without agenda." Though dynamic brushwork and unique composition, Leong turns Laozi’s philosophy into an abstract painting-like construction with linear rhythms, enhancing its meaningful expression with great artistic value. (Lot 620) 梁藍波的狂草作品，透過中國文字的圖像以及水墨的穿梭揮灑、碰撞交織去延展傳統水墨的語彙並推進水墨藝術向抽象性和後現代性的演化。在本拍品所屬的當代水墨系列《墨勢》中，融合狂草書法的筆觸和幾何構架於抽象水墨之中，既力求發揮中國書法線條的精神意蘊，強化作品的視覺衝擊力，又充分利用充滿動勢的水墨肌理去營造一種氤氳渾沌的

出版：劉昌漢《絲路上的長城 ── 北美水墨畫觀覽》，《藝術沙龍》，北京人民美術出版社， 2013 年第 1 期，第 219 頁（1 張彩圖）

視覺空間，營造豐厚強盛的生命張力，展現博大輝煌的宇宙氛圍。（拍品編號613）作品《浩然之氣》體現了梁藍波狂草的線條和結體盡顯其書法的功力，然而，最新穎獨到之處是它的佈局——字體的安排高低錯落、疏密有

來源：亞洲私人收藏

致、穿插靈動。通過雄健、律動的線條，演繹出抑揚頓挫的樂音，生動地將孟子「至大至剛」的「浩然之氣」演化成繪畫般的節奏。作品除了東方哲學精神的表達，畫面更與西方抽象表現主義的構成相契合。其書法的獨到之處還體現於他在背景上的處理——在古雅的設色中加入各種肌理，使水痕與墨色產生出豐富的對比，既古樸又現代，成就了深具現代性的狂草藝術作品。（拍品編號618）作品《德》則通過剛勁、律動的線條，演繹出抑揚頓挫的樂音，生動地將老子《道德經》高深的哲學演化成抽象繪畫般的節奏，除了東方哲學精神的表達，畫面更與西方抽象表現主義的構成相契合，產生出深具現代性的狂草藝術。（拍品編號620）

Literati: Quiet Affection | Hong Kong 29 May 2016 | Ravenel

614 PABLO PICASSO (Spanish, 1881-1973) Picador 1953 Ceramic D: 22 cm H: 2.5 cm NUMBERED: 143/200, with the Madoura and Empreinte Originale de Picasso stamps LITERATURE: (A.R. 201)

HK$ 40,000 - 80,000 NT$ 168,000 - 336,000 US$ 5,200 - 10,300 巴布羅．畢卡索鬥牛士瓷盤 1953 瓷器 D: 22 cm H: 2.5 cm 印鑑、標記及編號： Madoura / Empreinte Originale de Picasso 143/200（底部）出版： (A.R. 201)

Literati: Quiet Affection | Hong Kong 29 May 2016 | Ravenel

Animals painted by Qin Ai do not exist as appeared, they were isolated from the reality and placed in the foreground with a dramatic background which add a hint of surrealism to her works. 秦艾筆下的動物都不是真實存在於畫面環境的形象，而是被抽離了出來，放置於戲劇性、舞台式的背景中，平添了幾分超現實之感。

Literati: Quiet Affection | Hong Kong 29 May 2016 | Ravenel

Treasure Chest Series: Chang’e QIN AI

Qin Ai graduated from Nanjing University of the Arts in 1996,

old-fashioned round lock on the chest, also a projection of her

earning a degree from the Chinese Painting Department of the

inner self, as well as an iconic representation of the moon, thus

College of Fine Arts. She currently lives and works in Nanjing, and

connecting the hare with the painting’s Chang'e theme. Overall,

is one of the most important contemporary female artists in the

the interplay of light and shade, and the restrained yet vivid

field of gongbi painting. Freely mixing and rearranging classical

brushstrokes, serve to convey the Chinese nation’s tribulations

elements, she favors a surrealistic style and meticulous technique

and broken dreams throughout the ages. Many of the picture’s

to create unique and often dreamlike images. In 2006, she began

constituent elements are lifted from Song Dynasty literati painting,

to work on a series of paintings titled

but reassembled in a peculiar fashion and

"Treasure Chest," in which she combines

style—yet it is this "weirdness" that first

scrupulously realist form with traditional

attracts one to this distinctive work of art.

style and atmosphere to freely express her emotional world. Qin has a deep root of

秦艾，1996年畢業於南京藝術學院美術系

cultural heritage and this can be seen with

中國畫專業。現生活於南京。是中國當代

her reliance of traditional symbols, such as,

工筆領域重要女藝術家之一。作品多用古

the conventional Chinese wooden chest,

典元素經過自己的組合，以超現實主義的

painting from Song Dynasty that embellish

手法和細膩的工筆技法描繪著自己營造的

the chest, and the complexity of the

舞台。2006年開始的《百寶箱》系列以工

wallpaper from the background. Traditional gongbi seldom treats it background with perspective, however under the influence of modern art and Western concepts, contemporary painters in the Chinese realist style are adopting novel approaches in terms of both form and aesthetics, and this is also true of Qin Ai.

筆的細緻委婉描摹了畫家對世界的感受並留有傳統的痕跡，借用了很多符號性的東西，這一系列作品中的傳統木箱、箱子上點綴的宋畫以及繁複的牆紙，都是對傳統符號的依賴。傳統工筆花鳥畫很大程度上是沒有透視感的空間背景處理的，而新工筆劃在受到西方觀念和現代藝術影響下，構思和審美趣味已發生了極大的轉換。《百寶箱之嫦娥》畫中玉兔以背影示人又

In this lot, titled "Treasure Chest— Chang'e," the mythical Jade Hare stares at the background, largely made up of patterned wallpaper. The hare itself is bathed in a sort of spotlight that brightly illumines the center of the composition, while leaving its periphery in a somewhat

Qin Ai, Treasure Chest Series: Pandora No.2, 2010, ink and color on paper, 94 x 61 cm, Xiling Yinshe Auction Co Ltd.,2014 Autumn Auction, RMB$437,000

放置在畫面的正中，強光照射形成焦點，

秦艾《百寶箱之潘多拉》2010, 94 x 61 cm 西泠印社拍賣有限公司 2014年秋季拍賣會 RMB$437,000

道。兔子站立於一個質樸無華的極簡單的

murky half-light. The effect on the viewer

形成中間明亮、四周黯淡的格局，給人特別的感動，雖有種疏離、又冷暖自知的味木箱子之上，箱子則是以個人私藏的意象出現，顯現出女畫家私密性的體驗，去除了滿足個人興趣的修飾或許反而能準確傳

is complicated: on one hand, it creates a sense of alienation, but

達畫家的意圖。箱子上古舊的圓鎖其實也是象徵個人心理的一種

at the same time one feels drawn to the animal at the picture’s

投射，正如人所說那把鎖頭像一個圓月，與兔子互為推映，更切

heart, sitting as it is on an unadorned wooden chest whose

「嫦娥」之題。作品明暗深淺的墨色和筆觸在宣紙上構建了千百

very plainness is suggestive of privacy and secrecy, depicting the

年來中國文人的夢圓和夢碎。宋畫元素情懷呈現出別樣的趣味，

inner self of the artist herself. Another symbolic element is the

經過她的拼裝，有點詭異，但詭異得抓人眼球。

615 QIN AI (Chinese, b.1973) Treasure Chest Series: Chang’e 2006 Ink on paper 90 x 63 cm Signed Qin Ai in Chinese With one seal of the artist LITERATURE: New Ink Exhibition , Beijing Ronghuatang Publishing, Beijing, 2006, p.84 New Gongbi Painting Collection Book: Qin Ai Volume ,Anhui Fine Art Publishing House, Anhui, 2010, p.17,99 Concept Transcendence: Qin Ai's Personal Collections , Chinese Fine Art Publishing House, Beijing, 2012, p.29,60,61 No Art , Issue no.58, Beijing, 2015, p.180

HK$ 280,000 - 380,000 NT$ 1,176,000 - 1,597,000 US$ 36,100 - 49,000 秦艾百寶箱之嫦娥 2006 水墨紙本 90 x 63 cm 簽名：秦艾鈐印：秦

出版：《出版水墨新銳年展》，北京榮華堂出版社，北京，2006，頁 84 《新工筆文獻叢書：秦艾卷》，安徽美術出版社，安徽，2010，頁 17，99 《靠近我的天涯：秦艾個人作品集》，中國美術出版社，北京，2012，頁 29，60，61 《看藝術》第 58 期，北京，2015，頁 180

Literati: Quiet Affection | Hong Kong 29 May 2016 | Ravenel

616 A XING YAO WHITE-GLAZED POT Tang Dynasty (AD 618-907) H: 16 cm D: 13 cm PROVENANCE: Private collection, Hong Kong

HK$ 120,000 - 160,000 NT$ 504,000 - 672,000 US$ 15,500 - 20,600 唐邢窯白釉蓋壺來源：香港藏家舊藏

This ewer has a short body curves into the base, whose thick round form provides it with ample stability. A short spout elegantly extends out from its shoulder. White glaze gives the piece a nice sheen. Xing province was the main production area for the Tang Dynasty Northern white-glazed porcelain. It was a great significance in the Chinese history of ceramics. This ewer is a fine white porcelain that is elegant and graceful, which reflects the "silvery snow" quality in Tang Xing Kiln porcelain. 壺唇口，圓腹，平底，小短流，通體施白釉，外部施釉接近底部。上腹部圓鼓，下腹部弧收，底部露出白色胎土，胎質細膩堅實。釉色潔白明淨，施釉均勻，釉質飽滿瑩潤。邢窯是唐代北方白瓷的主要產地，在中國的陶瓷史中佔有重要地位。此件器物造型端莊規整，屬邢窯白瓷中的細白瓷，體現出唐代邢窯白瓷「似雪類銀」的素雅與優美。

Literati: Quiet Affection | Hong Kong 29 May 2016 | Ravenel

617 HUAIREN YAOBIAN TEA BOWL Song Dynasty (AD 960-1279) D: 9 cm H: 4 cm PROVENANCE: Sotheby's New York

HK$ 280,000 - 380,000 NT$ 1,176,000 - 1,597,000 US$ 36,100 - 49,000 宋懷仁窯曜變茶盞來源：紐約蘇富比

Literati: Quiet Affection | Hong Kong 29 May 2016 | Ravenel

With the rise of tea ceremony and regular tea preparation

shimmering dark glaze adds a dynamic and vibrant note. The

competitions during the Song Dynasty, tea utensils, in particular

irregular dotted pattern is reminiscent of a vast and starry night

that of the black glaze variety, gained in popularity and became

sky, a poetic touch that leaves one to ponder the boundless

an important product of Chinese kilns both north and south.

depths of the universe. In spite of its age, the bowl is in an

The Huairen Kiln, a producer of such tea utensils, was located

excellent condition, making it a worthy addition to the Song

in Shanxi Province’s Huairen County. In The Comprehensive

Dynasty Huairen ware collection of any avid tea drinker.

Records of the Great Ming Dynasty ("Da Ming Yitong Zhi") is recorded: "The Jinping Mountain lies 25 li southwest

宋代隨著鬥茶的流行，特別重視黑釉系茶盞，其所影響遍及南

from Huairen Prefecture, and of old there was a pottery kiln

北名窯，懷仁窯位於今山西懷仁縣，在明代《大明一統志》中

there." In terms of clay composition and glaze coloring, as

就有「錦屏山在懷仁縣西南二十五裏，山舊有瓷窯」之記載。

well as shape and design, Huairen ware tended to imitate the

其燒製的瓷器在胎土、釉色、形製上有刻意仿製福建建窯的傾

craftsmanship of Fujian’s Jian Kiln.

向。

This relatively shallow bowl has rounded sides and a short

此盞弧壁，矮圈足。內外滿施黑釉至器物底部，釉面晶瑩光

round foot. Black glaze has been applied to its outer and inner

潤，滿布鐵鏽色油滴狀紋。底足胎土塗有一層鐵色薄釉，意為

walls, extending to the bottom part. The glazing is smooth and

模仿建窯的鐵色胎體所刻意塗抹，整器裝飾韻味極強，造型精

glossy, and textured with rust-colored tears. The foot has a thin

巧，釉色暗中閃亮，極具動勢，斑點宛若浩瀚的星空，給人帶

layer of iron-colored glaze in deliberate imitation of Jianyao

來無限的遐想，歷經多年保存依舊完整，可謂宋代懷仁窯當中

ware. Overall, this item shows a charming decorative pattern

的一件飲茶佳器。

and sophisticated design, while the lustrous quality of the

618 LIANG LANBO (LEONG Lampo, Chinese-American, b.1961)

Grandeur Spirit III 2008 Ink and watercolor on paper 30.5 x 64 cm Signed bottom center Lanbo in Chinese and bottom center Lampo Leong in English With two seals of the artist Liang (center right) and Lanbo (bottom left) LITERATURE: Lampo Leong: Wild Cursive , Taiwan: Artists in Taiwan, (2014): 28 (1 color plate) PROVENANCE: Private Asian Collection

HK$ 12,000 - 22,000 NT$ 50,000 - 92,000 US$ 1,500 - 2,800

梁藍波浩然之氣 III 2008 水墨設色紙本 30.5 x 64 cm 款識中下 : 藍波 Lampo Leong 鈐印左下 : 藍波鈐印右中 : 梁出版：《梁藍波：狂草》，台灣藝術家出版，2014 年，第 28 頁（1 張彩圖）來源：亞洲私人收藏

Literati: Quiet Affection | Hong Kong 29 May 2016 | Ravenel

619 YUE WARE CELADON BOWL Tang Dynasty (AD 618-907) D: 14.5 cm H: 4.2 cm PROVENANCE: Private Asian Collection

Most Tang Dynasty ware falls in two categories: white ware from the northern Xing Kiln and celadon or green ware from the southern Yue Kiln, a distinction often summed up as "southern celadon and northern white." This lot shows a shape and design seen in both Xing and Yue ware, with a broad mouth, slanting belly, and a flattish round foot. The bowl has fairly thick walls and is entirely covered in light brownish-green glaze. In the book The Classic of Tea ("Cha Jing"), Tang author Lu Yu writes, "When it comes to tea bowls,

HK$ 26,000 - 36,000 NT$ 109,000 - 151,000 US$ 3,400 - 4,600

Yue ware is superior to ware from other regions, such as Dingzhou, Wuzhou, Yuezhou, Shouzhou, or Hongzhou. I also don’t agree that Xing ware is to be placed above Yue ware, for Xing white ware may look like silver, but Yue celadon ware looks like jade. Secondly, if white ware reminds one of snow, celadon reminds one of ice. Last not least, Xing ware makes tea appear reddish, while celadon bowls

唐越窯青釉盞來源：亞洲藏家舊藏

give it a pleasant green hue. For all these reasons, Yue ware is to be preferred." There can be little doubt that Yue celadon ware was considered to be a high end product at the time. 唐代時期瓷器燒造主要為北方邢窯的白瓷與南方越窯的青瓷，史稱南青北白；這個時期其形製接近此盞造型在邢窯與越窯中均有出現；其型敞口，斜腹壁，玉璧底圈足，通體施青釉，胎體厚實；唐代陸羽的茶經中記載：「碗，越州上，鼎州次，婺州次，岳州次，壽州，洪州次。或者以邢州處越州上，殊為不然。若邢瓷類銀,，越瓷類玉，邢不如越一也；若邢瓷類雪，則越瓷類冰，邢不如越二也；邢瓷白而茶色丹，越瓷青而茶色綠，邢不如越三也。」此雖一家之言，卻由此可知，越窯青瓷茶盞在當時是一件高等級茶器。

620 LIANG LANBO (LEONG Lampo, Chinese-American, b.1961)

梁藍波德 III

Virtue III 2013 Ink and watercolor on paper 64 x 75 cm Signed center right Lanbo in Chinese With three seals of the artist Liang (center right), Liang (center left), and Lanbo (bottom left) LITERATURE: Lampo Leong: Wild Cursive , Taiwan: Artists in Taiwan (2014): 15 (1 color plate, detail) PROVENANCE: Private Asian Collection

HK$ 12,000 - 20,000 NT$ 50,000 - 84,000 US$ 1,500 - 2,600 50

2013 水墨設色紙本 64 x 75 cm 款識右中 : 藍波鈐印右中 : 梁鈐印左中 : 梁鈐印左下 : 藍波出版：《梁藍波：狂草》，台灣藝術家出版，2014 年，第 15 頁（1 張彩圖，局部）來源：亞洲私人收藏

Literati: Quiet Affection | Hong Kong 29 May 2016 | Ravenel

621 A JIZHOU WHITE VASE WITH BROWN OCEAN WAVE PATTERN Song Dynasty (AD 960-1279) H: 17.5 cm D: 8 cm PROVENANCE: Private collection, Hong Kong

HK$ 120,000 - 160,000 NT$ 504,000 - 672,000 US$ 15,500 - 20,600 宋吉州窯海水紋膽瓶來源：香港藏家舊藏

This vase featured a round mouth, long concave-neck, and plump lower body. The ceramic body is white and glazed in yellow; the neck is decorated with the pattern while the lower body is decorated with ocean wave pattern. The decoration is very smooth and detailed, which matches the classical style from the Jizhou kiln of the Song Dynasty. 宋代吉州窯海水紋膽瓶，胎質灰白，唇口外翻，頸部下漸豐腴至接近底部收斂，圈足略寬，黃地褐彩，紋飾層次繁密，頸部兩組旋紋中間描繪紋飾，腹部繪滿海濤紋，紋飾纖細，繪畫流暢，為典型宋代時期南方吉州窯的風格。

622 YAOZHOU WARE BOWL WITH IMPRINTED CHRYSANTHEMUM PATTERN Song Dynasty (AD 960-1279) D: 10.3 cm H: 3.3 cm PROVENANCE: Private Asian Collection

This small washbowl has a gently curved belly, a rim that is slightly arching outward, and a round foot. On its inner walls is imprinted an intertwined decorative pattern, while the bottom shows a chrysanthemum design. The entire bowl is covered in Yaozhou celadon glaze of a somewhat darkish, elegant hue. The vessel’s shape has a simple, straightforward design. Imprinted patterns were one of the most important decorative features of Yaozhou ware, including floral and animal designs, as well as human figures. This particular type of bowl is rare, making this a

HK$ 40,000 - 60,000 NT$ 168,000 - 252,000 US$ 5,200 - 7,700

worthy addition to any collection. 此洗器形小巧，淺弧腹，口部略外撇，圈足。洗內壁模印纏枝紋，底部為團菊紋。通體施耀州窯青釉，釉色深沉、典雅，造型簡約。耀州窯瓷器中，印花為主要的一種裝飾手法，紋飾多模印花卉、動物、人物等。而此洗造型較為罕見，為耀州窯瓷

宋耀州窯印花團菊小洗來源：亞洲藏家舊藏

器中值得收藏的一件。

Literati: Quiet Affection | Hong Kong 29 May 2016 | Ravenel

623 WHITE GLAZED CUP Sui Dynasty (AD 581-618) D: 10.5 cm H: 8.5 cm PROVENANCE: Private collection, Japan

HK$ 90,000 - 120,000 NT$ 378,000 - 504,000 US$ 11,600 - 15,500 隋白釉杯來源：日本藏家舊藏

This cup has an outwardly curved rim and a deep, wide belly. The white body is thin and light, and glazed on the inside and outside. The glaze is evenly applied, but there are some tear-stains where it ran towards the round foot during the firing process, leaving a slightly thicker coating of a faint celadon hue. Both the outer and inner walls show some fine crackling, and the surface of the glazing has a particularly vitreous texture and luster, while the coloring is smooth and pure. These features are all proof of the high level of craftsmanship reached during the Sui Dynasty, in particular in the production of white ceramics, where its standards are still unsurpassed. 杯撇口，深弧腹，白胎，質地緻密細膩，胎體輕薄，內外施釉，釉面均勻，燒製時釉面微微流淌，杯底部呈現淡淡的青色，杯外壁釉面帶有開片，釉水施至杯接近底部處，底部一周釉水堆積，亦呈現青色，釉水玻璃質感強，底部露胎處可見潔白胎骨。

Literati: Quiet Affection | Hong Kong 29 May 2016 | Ravenel

624 LONGQUAN WARE HIGH STEM CUP WITH PLAIN BODY AND PLUM DESIGN Southern Song (AD 1127-1279) H: 10.5 cm D: 8.7 cm PROVENANCE: Private Asian Collection

HK$ 140,000 - 200,000 NT$ 588,000 - 840,000 US$ 18,000 - 25,800 南宋龍泉窯素胎印梅花紋高足杯來源：亞洲藏家舊藏

Literati: Quiet Affection | Hong Kong 29 May 2016 | Ravenel

This high-stemmed cup has a fairly wide mouth, deep belly, and

此拍品為高足杯造型，敞口，深弧腹，圈足外撇，內壁施青釉，釉

outward-arching round foot. Only the inside is covered with celadon

色清淡，釉面瑩潤，杯心模印梅花紋飾，花朵的脈絡清晰可見，外

glaze of faint hue but smooth luster. The central part is engraved

壁則為素胎，無釉水，高足處兩道旋紋點綴。龍泉窯中此類高足杯

with a plum blossom design, with the outlines of the petals clearly

數量相對稀少，是龍泉窯瓷器中值得把玩欣賞的一件器物。在盛滿

discernible. The outer parts are plain and unglazed, the only

飲品的杯底一朵梅花若隱若現更是平添了許多的樂趣。

adornment being two simple lines running around the stem. This is a special piece of Longquan ware, well worth a collector’s attention. When the cup is filled with liquid, the play of the plum blossoms at the bottom makes for an entertaining diversion.

625 YAOZHOU DISH WITH INTERTWINING BRANCHES AND PEONY DESIGN Song Dynasty (AD 960-1279) D: 11.5 cm H: 4.8 cm PROVENANCE: Private Asian Collection

HK$ 36,000 - 60,000 NT$ 151,000 - 252,000 US$ 4,600 - 7,700 宋耀州窯交枝牡丹紋盞來源：亞洲藏家舊藏

Literati: Quiet Affection | Hong Kong 29 May 2016 | Ravenel

This dish has a very broad mouth, a short round foot, and a wide,

in the remains of the Yao Kiln pottery shards were found with reign

curved belly. The interior bottom has a somewhat oval center, and

titles engraved on them, such as Xining, Daguan, and Zhenghe. This

where the glaze has been scraped away, the brownish body is visible.

explains the mostly elegant and sophisticated design of such ware.

On the outside, a decorative pattern runs along the edge of the mouth, while the vessel’s interior is engraved with floral designs. The

此盞矮圈足，深弧腹，足底挖削淺，器外壁口下一道弦紋。器內印

main motif are two intertwined broken-branch-style peony flowers

花裝飾，以兩株牡丹花為主紋，兩株牡丹交織，花瓣層重上揚，作

whose petals are arranged in layers, creating an impression of full

飽滿盛開的豐滿姿態，其下以枝葉偃仰托襯，空間佈置圓滿；器施

bloom. This dominant design is further accentuated by intertwining

橄欖色調的青釉，紋飾下凹處積釉色深，有如陰影或輪廓。耀州瓷

leaves and branches that fill up all the lower interior’s remaining

器在北宋中期列為該地的貢物，窯址發現有熙寧、大觀、政和等字

space. An olive celadon glaze is applied to the whole dish, with the

樣的殘片，足見產品曾貢為官物；故紋飾設計多端雅大方。

finish thicker in the receding parts of the ornamental design, making for sharper contours and a shade-like effect. During the Northern Song, Yaozhou ware was a designated tribute item of that area, and

626 LONGQUAN DOULI-SHAPED CELADON BOWL Song Dynasty (AD 960-1279) D: 14 cm H: 4.8 cm PROVENANCE: Private collection, Hong Kong

This bowl is shaped like an East Asian broad-brimmed hat, or douli, with a wide, outward-curving mouth and a deep belly tapering towards the small round foot. The vessel is covered inside and out with evenly applied celadon glaze of a darkish plum green hue. The douli is the most famous and widely recognized design of Song Dynasty teabowls. Simple yet elegant, douli bowls were very much favored by the Song literati class. This item features a classic design and attractive color, showing all the widely admired aesthetic features of Song era ceramics.

HK$ 120,000 - 160,000 NT$ 504,000 - 672,000 US$ 15,500 - 20,600 宋龍泉窯青釉斗笠盞來源：香港藏家舊藏

盞斗笠型製，盞口外撇，深腹斜收，底部小圈足。盞口至圈足皆施青釉，釉面均勻，釉色如梅子青色。斗笠盞為宋代最為著名的茶盞造型，因造型酷似斗笠而得名。器形優雅，頗受宋代文人的喜愛。此盞造型經典，釉色古樸，彰顯了宋代文人精緻生活的縮影。

Literati: Quiet Affection | Hong Kong 29 May 2016 | Ravenel

627 LI JING (Chinese, b.1972) Landscape 2016 Ink and color on paper 75 x 46.5 cm Signed Li Jing in Chinese with one seal of the artist

HK$ 15,000 - 30,000 NT$ 63,000 - 126,000 US$ 1,900 - 3,900 李淨仿湘碧圖 2016 設色紙本 75 x 46.5 cm 款識：仿湘碧丙申春李淨鈐印：李淨

628 A HENAN YAO IRON RUST CONICAL SHAPED BOWL Song Dynasty (AD 960-1279) D: 15.6 cm H: 4.5 cm PROVENANCE: Private collection, Hong Kong

HK$ 160,000 - 260,000 NT$ 672,000 - 1,092,000 US$ 20,600 - 33,500 宋當陽峪窯鐵鏽斑斗笠茶盞來源：香港藏家舊藏

This teabowl is conical shape reminiscence of amboo hat (douli), its rim is curving slightly outwards, and it rests on a small round foot. Inner side of the bowl is glazed black, with iron-rust colored splashed irregularly as decoration. This visual effect is pleasant to the eye and invites fancy reveries. Brown iron-rust glaze extends to the foot on the outside. This kind of decorative straked black glaze is typical for Song Dynasty Cizhou ware, and during the Song/Jin period this technique had reached a high level of maturity and popularity. 盞撇口，呈現斗笠形，小圈足，盞內施黑釉，黑釉上點撒鐵鏽斑點釉色，鐵鏽斑不規則的分佈在盞中，猶如浩瀚星際。盞外施褐色鐵鏽斑釉至圈足處。此種鐵鏽斑為宋代磁州窯創新的裝飾手法，宋金時期足見此種釉色工藝已經被成熟掌握，鐵鏽斑這種釉色更為宋人所喜愛。

Literati: Quiet Affection | Hong Kong 29 May 2016 | Ravenel

629 BLUE GLAZED BOWL Tang or Five Dynasties (AD 618-960) D: 10 cm H: 4 cm PROVENANCE: Private Asian Collection

Blue glazed earthenware first appeared during the Sui-Tang era, using cobalt pigments as colorant. Since cobalt was initially rare and expensive, and not easy to work, thus raising the production costs, blue glazed ware for a long time remained the prerogative of the nobility, in particular the emperor and his family. This lot is entirely covered in evenly applied blue glaze of a faint, darkish sapphire hue. Near the foot, where the finish is thinner, the body’s tawny ocher is visible. The round foot is slightly wider than usual and embellished

HK$ 15,000 - 26,000 NT$ 63,000 - 109,000 US$ 1,900 - 3,400

with two lines of a swirling design. The item shows a decorous design and excellent workmanship in keeping with its aristocratic roots. 隋唐時期出現釉色純正的藍釉瓷器；以鈷料為著色劑；而藍釉這種色彩為貴族所青睞，其原因推測可能其燒製工藝或燒製成本較高等因素致使價格不菲；所以深受皇親貴冑所鍾愛。此盞通體施藍釉，

唐/五代藍釉盞來源：亞洲藏家舊藏

釉水均勻，其色澤呈現幽幽的寶石藍，釉水接近底足處，胎骨呈現黃褐色，圈足略寬，圈足外壁刻畫兩道旋紋，整體造型端莊，古樸，規整，製作精良，彰顯其貴族氣質。

Literati: Quiet Affection | Hong Kong 29 May 2016 | Ravenel

630 LI JING (Chinese, b.1972) Landscape 2015 Ink and color on paper 75 x 46.5 cm Signed Li Jing in Chinese and dated 2015 With two seals of the artist

HK$ 15,000 - 30,000 NT$ 63,000 - 126,000 US$ 1,900 - 3,900 李淨仿石谷圖 2015 設色紙本 75 x 46.5 cm 款識：仿石谷乙未冬李淨鈐印：李淨

631 NATSUKI URUSHIHARA (Japanese, b.1977) Planet 2007 Ink, Japanese pigment powder, metal powder on paper 181.8 x 492 cm Signed Natsuki Urushihara in Japanese on the reserve PROVENANCE: Christie's Hong Kong, May 25, 2014, Lot.715

HK$ 750,000 - 900,000 NT$ 3,151,000 - 3,782,000 US$ 96,600 - 116,000 漆原夏樹遊星 2007 水墨日本顏料金粉紙本 181.8 x 492 cm 簽名：漆原夏樹（背面）來源：香港佳士得 2014 年 5 月 25 日，編號 715

Autumn Grasses Folding Screen by Atomi Kakei, collection of Atomi University. 跡見花蹊(1840-1926)《秋草圖屏風》，現藏於跡見学園女子大学花蹊記念資料館。

Literati: Quiet Affection | Hong Kong 29 May 2016 | Ravenel

Planet NATSUKI URUSHIHARA

Natsuki Urushihara, an active contemporary artist from

日本藝術家漆原夏樹是日本當代藝術界較活躍的青年畫

Japan. Graduated from painting at Tokyo National

家。畢業於東京藝術大學繪畫科，在學生時代研習日本古

University of Fine Arts and Music, concentrated in ancient

美術技法，早先多以遠古動物為繪畫主題。如熊貓、企鵝

techniques for Japanese art, emphasizing ancient animals

在表現其可愛外表的背後，黑白兩色相互影響，同時也是

in his early work. For instance, Urushihara explore the

雙色調的強烈對比，由此探討事物的兩面性。同時影射當

“Two-sided” nature by contrasting colors and make use

今社會中人的生存現狀，在看似平和的社會群體中，是否

of context with adorable images such as panda, penguin

也會有瘋狂的原始行為。漆原夏樹的繪畫語言多引用日本

etc; he nevertheless hinted the reality world and led the

傳統神話故事，形像地表達出對舊世界天堂的嚮往，但又

audience to question if an insanity society with sensibility

不停地再嘗試在為未來而創作。近年來作品多以人為主

and peacefulness on the surface exists. Urushihara utilizes

題，探討感情世界人與人的距離感，從普眾的故事中產生

metaphor to express his fascination to the imagery of

共鳴，這就是畫人的職能。

heaven from the old world, while making attempts to create new artwork. He probe into the social distance and social

此件作品《遊星》以日本古代繪畫為基底並帶有佛教藝術

interaction, creating a resonance with his audience, by

的影子，藝術家靈感來源於日本奈良藥師寺。這一宗教題

exploiting human figures in his recent work.

材雖已司空見慣，但漆原夏樹認為這是超然世界的美，並決心要用自己的藝術方式來呈現同一題材的畫作。或者更

“Planet” is an artwork inspired by the Yakushi-ji from Nara

確切地說，藝術家是要挑戰以往的自己，這是在克服時

of Japan, Japanese traditional painting techniques with

間，需要時間的沉積，開發繪畫技術巧思，從而一點點地

hint of Buddhist painting is applied. Urushihara believes,

越來越接近心中獨美的美術作品。藝術家這樣解析自己的

although very common, this is surreally beautiful and

作品「我用感知到的現實世界的現象，去替換一個有故

decided to create his artwork based on this. Urushihara

事的世界，在那裡，滲透著作為視覺的快樂和蠱惑的謎

explained, “ from the phenomena of the reality world

團。」

I perceived, I replace it with a delusive, mysterious and eventful world with visual pleasure.”

Literati: Quiet Affection | Hong Kong 29 May 2016 | Ravenel

Autumn Lake FANG ZHAOLING

Kong, was a Chinese painter and calligrapher. Fang has a very solid

方召麐，女，1914年出生於江蘇無錫，後定居於香港，是中國當代傑出的書畫世術大師。曾先後受業於錢松喦、趙少昂、張大千，得

foundation after studying under great artists like Cheung Dai-chien

名家指點，打下了扎實而深厚的中國畫基礎。後經數十年的勤練與

and developed her own style after years of practices. Her artwork includes a wide variety of topics, with a preference being world

創新，終於形成自己別具一格的畫風。方召麐的作品題材豐富，而尤以世界和平、人類幸福這一類主題最受偏愛，充分展示了藝術家

peace and happiness, demonstrating her compassion and sympathy.

的寬闊胸襟與仁愛之心。其筆墨雄厚質樸，渾成大方。所用皴法、

Her painting techniques is plain and marvelous, with an bold and

線條、構圖、著色，時有新意；所繪人物、山水、花鳥、蟲魚，意

traditional style of painting, was praised by her audience.

趣盎然。畫風稚拙古樸，個性鮮明，為人稱歎。

Fang is one of the earliest participant in experimenting modern ink and Chinese painting reform. She received honorary doctorate from

方召麐，是中國最早一批進行現代水墨實驗和國畫改造的藝術大師。曾為多個大學的名譽博士，香港紫荊獎章的獲得者。她天賦奇

various universities and Bronze Bauhinia Star, a rank in Order of the

才。師從趙少昂一年後就與老師作品一同在日本展出，成為戰後第

Bauhinia Star in Hong Kong. She is the first female artist to exhibit

一個在日本開展覽的女畫家。之後她又拜師藝壇泰斗張大千，張大

in Japan in the post-war era, co-exhibiting with Chao Shao-ang in

千非常欣賞她，悉心加以指點。

Feng Zhaoling, born Wuxi, Jiangsu, and later migrated to Hong

1951, a year after studying under him, demonstrating her gifted talent. She then studies under Cheung Dai-chien and was praised by him. Fang’s calligraphy was also acclaimed by internationally.

香港著名詞人林夕，稱讚是方召麐「人畫合一了」評價說，「有些人的堅強是莽撞的，而有些人的堅強是負責任的，方老即是後者。」方老作為壯美風格的女畫家，中國書畫史上尚屬罕見。70

Albert Leung, also known as Lin Xi, a prolific and award winning

年代她再次回到中國大陸開始遊覽中國勝景，在黃山和華山上登

lyricist based in Hong Kong, once commented, "Some people are

高，在長江上揚帆經過三峽，在西北部的黃土高原覽勝。所有這些

strong yet reckless; some are strong and responsible. Fang belongs

經歷都可以在她的畫作中找到。她的山水作品筆挾風雨雷霆，石破

to the latter." Fang’s style is of elegance, which is rarely seen in the

天驚。這正得意於張大千給了她很重要的點撥——「拙」與「生」

history of Chinese painting and calligraphy. She creates contrast,

的美學風格選擇。稚拙樸茂，畫格清雄，袒露童心。作品中遠景山

richness and depthness with the application of brush and dampness

變以幹筆淡墨擦，與前景以濃墨濕筆繪成的山石房舍形成強烈對

of ink in her Shan-shui work; she has nonetheless painted the work of fishermen on lake with bird-eye view, her painting insinuate

比，營造遠近層次效果。紅霞盡染於波光粼粼的水面上，方召麐用鳥瞰的方式畫了江上泛舟的漁民往來勞作。這幅畫初看色彩豐富、

innocence yet profound, injecting a new aesthetic value to Shan-

圖像質樸，開創了中國山水畫史上的一種全新美學面貌。在藝術風

shui.

格上，她的小畫不纖弱，大畫不空泛。方老的書法亦是碑帖淵源寬博，古拙樸厚，氣勢磅礡，自具風貌，為海內外畫家所欽敬。

Literati: Quiet Affection | Hong Kong 29 May 2016 | Ravenel

632 FANG ZHAOLIN (Chinese, 1914-2006)

方召麐

Autumn Lake

湖上秋

1989 Ink and color on paper 76 x 89 cm PROVENANCE: Private collection by Mr. Fang Mansheng

HK$ 100,000- 180,000 NT$ 420,000 - 756,000 US$ 12,900 - 23,200

1989 設色紙本 76 x 89 cm 來源：方曼生先生舊藏

633 WOODEN TRAY WITH BLACK LACQUER FINISH AND INLAID MOTHER-OF-PEARL FLORAL DESIGN Late Qing or Early Republic (AD 1644-1911) L: 28.5 cm W: 17 cm H: 2 cm PROVENANCE: Private Asian Collection

HK$ 5,000 - 10,000 NT$ 21,000 - 42,000 US$ 600 - 1,300 晚清/民國木胎黑漆嵌螺鈿花卉紋盤來源：亞洲藏家舊藏

Literati: Quiet Affection | Hong Kong 29 May 2016 | Ravenel

634 JIANG ZHAOSHEN (Chinese, 1925-1996)

Landscape 1990 Ink and color on paper 64 x 48.8 cm Signed Jiang Zhaoshen in Chinese and dated 1990 With two seals of the artist PROVENANCE: Private collection, Taiwan

HK$ 80,000 - 120,000 NT$ 336,000 - 504,000 US$ 10,300 - 15,500 江兆申一徑入雙崖 1990 64 x 48.8 cm 設色紙本款識：一徑入雙崖初疑有幾家行窮人不見坐久日空斜石上生靈草泉中落異花終須結茅屋向此學餐霞庚午江兆申鈐印：兆申之印雙菩提樹盦來源：台灣私人收藏

635 ZHANG YU (Chinese, b.1959) “Divine Light” Series 2000 Ink on paper 68.5 x 67 cm Signed Zhang Yu in Chinese and dated 2000.11

HK$ 60,000 - 80,000 NT$ 252,000 - 336,000 US$ 7,700 - 10,300 張羽靈光系列 2000 水墨紙本 68.5 x 67 cm 簽名：張羽 2000.11

Chinese painting by brush is a representation of the Chinese philosophy and its culture from public perceiptionand which is the mission given to ink painting by Dan ink. One can not ignore the outstanding contribution to contemporary by Zhang Yu, especially from “Divine Light” series; people even name him the Pioneer of Experimental Ink. Zhang’s work is more emotionally inspired where traditional ink is usually imagery. Zhang said “Chinese painting focuses on spirit rather than actual imagery, which deviate it from western art, and that is the essence and core to Chinese painting.” “Divine Light” is the last experimental work done on brush, and it is a very rare experimental work that Zhang is reluctant to categorize it as abstract. Zhang constructed a pattern, that depicts the floating light in space, emphasizing the non-imagery rather than abstract. This is how it differentiates itself from the western and Japanese abstract. 在世人看來，毛筆繪出的中國畫就是代表中國的哲學、中國的文化，彷彿這就是筆墨丹青所賦予水墨作品使命。提及毛筆繪畫，在中國當代藝術就無法不提起張羽在實驗水墨方面突出的貢獻，尤其是《靈光》系列作品給人留下了非常深刻的印象。有人甚至因此稱其為實驗水墨的教父。水墨作品通常多以表現是外在聯繫，而在張羽的作品中，我們可以看到其卻蘊含豐富的關係。張羽認為「中國畫本身在於對神的把握，不在於外在造型的準確，它重在傳神。這是西方繪畫難以比擬的，是中國畫的核心和精髓。」《靈光》系列是毛筆作品的最後一次實驗，完成《靈光》之後毛筆彷彿就失去它意義了。《靈光》系列的確是實驗水墨的一個非常難得的作品。對於這樣一個作品，張羽其實不太願意別人稱之為「抽象」。作品《靈光》是張羽創造了一個圖式，強調了它是非具象的，而不是抽象的，是一個圖式、一個方或一個圓，是光在宇宙中的懸浮。由此《靈光》不同於西方的抽象，也不同於日本的抽象，而是屬於中國的抽象。

Literati: Quiet Affection | Hong Kong 29 May 2016 | Ravenel

636 AN IMPERIAL GILT BRONZE FIGURE OF USHNISHAVIJAYA Qing Dynasty (AD 1644-1911) H: 17.4 cm PROVENANCE: Sotheby's, Paris

HK$ 260,000 - 360,000 NT$ 1,092,000 - 1,513,000 US$ 33,500 - 46,400 清官造銅鎏金尊勝佛母坐像來源：巴黎蘇富比

USHNISHAVIJAYA vajrasana sitting on a double lotus-shaped pedestal, eight arms radiating gracefully around the body, the head and the three faces slightly bent, each decorated with a third eye on forehead and overcame by a double chignon behind a crown, wearing a dhoti with finely carved flower borders. 尊勝佛母跏趺端坐於雙層蓮座之上，三面八臂，每面均為三目。雖手中的器物部分遺失，但仍可知其手中所持寶物及手印的吉祥寓意。佛像三面微傾，面目嚴肅慈祥，項戴珍寶纓絡，身著秀麗天衣，雙足跏趺於蓮花寶座中央。其製作精美程度推測或為宮廷造辦處所製作，彰顯出清代皇家對佛教的重視與信仰。

Literati: Quiet Affection | Hong Kong 29 May 2016 | Ravenel

637 A TIBETAN GILT BRONZE FIGURE OF AMITAYUS 16th century H: 18.7 cm PROVENANCE: Sotheby's, Paris

HK$ 180,000 - 260,000 NT$ 756,000 - 1,092,000 US$ 23,200 - 33,500 十六世紀西藏銅鎏金無量壽佛坐像來源：巴黎蘇富比

AMITAYUS vajrasana sitting on a double lotus-shaped pedestal, hands of dhyana mudra holding a vase, the serene expression is framed by long ears and a crown. 無量壽佛跏趺端坐於雙層蓮座之上，雙手結禪定印托長壽瓶於腹前。頭部微傾，細眉闔目，神態安然。頭戴寶冠，繒帶於耳后自然卷起，佩戴項圈纓絡、臂環手環，並均嵌以綠松石。

Literati: Quiet Affection | Hong Kong 29 May 2016 | Ravenel

638 VAJRA PESTLE Ming Dynasty (AD 1368-1644) H: 17.5 cm PROVENANCE: Private collection, Taiwan

HK$ 160,000 - 200,000 NT$ 672,000 - 840,000 US$ 20,600 - 25,800

Vajra pestles are religious utensils used in Tibetan Buddhism that trace their origin back to an ancient type of Indian weapon. In the Tantric tradition, vajras are an implement used to overcome all sort of doubts and demons, a tool for dispelling evil influences with the power of the Buddhist law. Vajra pestle is also a symbol of indestructability and power, and often used in combination with a bell, which represents feminine wisdom, the vajra symbolizes the masculine attribute of skillful means or compassion. This lot is entirely gilded and features meticulously cast decorative designs. 金剛杵是藏傳佛教的重要法器，杵原是古代印度的兵器，由於質地堅固，能擊破各種物質，故稱為金剛杵。在密教中，金剛杵象徵摧滅煩惱之菩提心，象徵如來金剛之智慧大用，能破除愚癡妄想的內

明銅鎏金金剛杵

魔與外道諸魔障。鈴與杵常同時使用，當手持者雙手相交，除了隱

來源：台灣藏家舊藏

象徵著所向無敵、無堅不摧的智慧和真如佛性，它可以斷除各種煩

喻男性與女性的親密結合之外，更代表慈悲與智慧的結合。金剛杵惱、摧毀形形色色障礙修道的惡魔，為密教諸尊之持物。

Literati: Quiet Affection | Hong Kong 29 May 2016 | Ravenel

639 NOBUYOSHI ARAKI (Japanese, b.1940)

荒木經惟

Untitled

無題

1946 Gelatin silver print and photograph 46.5 x 58 cm Signed Nobuyoshi Araki in English on the reverse PROVENANCE: Private Asian Collection

HK$ 26,000 - 36,000 NT$ 109,000 - 151,000 US$ 3,400 - 4,600

1946 銀鹽相紙 46.5 x 58 cm 簽名：Nobuyoshi Araki（背面）來源：亞洲私人收藏

A VERY RARE AND IMPORTANT GILT BRONZE FIGURE OF MANJUSHRI 13-14世紀尼泊爾西藏銅鎏金文殊菩薩立像

Literati: Quiet Affection | Hong Kong 29 May 2016 | Ravenel

The bodhisattva stands in a graceful posture, abbanga, on a circular lotus pedestal, holding the stem of a flower in his left hand. The Prajnaparamita text, ‘Perfection is Wisdom’, resting on the lotus bloom at the shoulder identifies the subject as Manjushri, the Buddhist god of Wisdom. Although the statue was probably cast in Tibet for a Tibetan patron, there is no mistaking the influence of Napalese sculptural traditions in the sensuous modelling of the youthful human form and the stem yet engaging expression. The sash tied low at the left thigh is a feature commonly seen on Nepali standing bodhisattvas. And the gilt copper from which it is made is particularly reminiscent of Nepalese statues. Subtle departures from mainstream Nepalese styles, however, suggest the Tibetan provenance. The large pectoral suspended from the necklace, the similarly shaped but smaller belt ornaments, and the rhomboid jewellery set above the armbands, are designs not seen on contemporary Nepalese sculpture. Numerous historical records confirm the presence of Newar artists in Tibet, who were no doubt influential in the creation of this elegant sculpture of Manjushri. Another Bodhisattva Kyabdol (skyab sgrol) with an ear of corn at his left shoulder (in the collection of the British Museum, fig.1) corresponds very closely in style to Spink’s Manjushri. Since both deities belong to the iconographic group of 16 Bodhisattvas it is likely that the two images originally belonged to the same set. 在佛教中認為，文殊菩薩為「智慧」的象徵。常修持文殊菩薩，可增長智能，辯才無礙，了知諸法真實義。文殊菩薩造像多以跏趺姿態為主，站姿的文殊菩薩像卻不多見，立像通常成組陳設，並為重要寺廟中所供奉。此尊造像面型端莊俊秀，造型優美，通體鎏金，品相完美。寶冠、耳璫、繒帶、瓔珞、釧環及衣飾均雕刻細膩精緻，一絲不苟。不僅具備尼泊爾佛像的形態與審美，又兼有西藏造像的神秘與深邃，顯示出高超的藝術水準，極為難得。此尊文殊菩薩立像傳承有序，大英博物館中亦有一尊與其非常類似的造像（如圖 1）。這兩尊造像，尺寸、風格、造型非常接近，推測皆出自於同一組八大菩薩像。且此類佛像從級別上來看，通常是為重要寺廟所鑄造，並經歷過數百年的供奉，其所具備的福祉不可估量。

Fig.1: Bodhisattva, 15th-16th century, H: 38.1 cm, The collection of the British Museum, Acquisition date: 1952 圖1：佛造像，15-16世紀，38.1 cm，大英博物館館藏，藏購於1952年

Literati: Quiet Affection | Hong Kong 29 May 2016 | Ravenel

640 A VERY RARE AND IMPORTANT GILT BRONZE FIGURE OF MANJUSHRI Nepal-Tibetan 13th-14th century H: 39.2 cm PROVENANCE: Collection Mr J. Gelpey, London, before 1997 Collection Spink and Son Ltd, London, 1997-2002 Collection Mr and Mrs. J. Meijer, the Netherlands, 2002-2013 PUBLISHED: Light of Compassion. Buddhist Art from Nepal and Tibet, Spink & Son Ltd, catalogue, London, 1997, pp. 12-13 (fig.2) J. Van Alphen, Cast for Eternity, Bronze Masterworks from India and the Himalayas in Belgian and Dutch Collections, Ethnographic Museum, Antwerp, 2005, p.186, fig. 60 LITERATURE: D. Snellgrove, The Image of the Buddha, London, 1978, p.346, fig. 271 With certificate of authenticity issued by Art Loss Register

E st i mat e o n re qu e st 估價待詢 13-14世紀尼泊爾西藏銅鎏金文殊菩薩立像來源：倫敦 J. Gelpey 先生收藏，1997 年之前倫敦 Spink and Son Ltd., 收藏，1997 年至 2002 年荷蘭 J. Meijer 伉儷收藏，2002 年至 2013 年著錄：《慈悲之光尼泊爾與西藏佛教藝術》，Spink & Son 出版，倫敦，1997 年，頁 12-13（如圖 2） J. Van Alphen 著《鑄造永恒收藏于比利時和丹麥的印度及喜瑪拉雅精品銅像》，民族博物館，比利時安特衛普，2005 年，頁 186，圖 60 出版： D. Snellgrove 著《佛像》，倫敦，1978 年，頁 346，圖 271 附 Art Loss Register 出具之作品保證書

A Large and Important Gilt Bronze Figure of AVALOKITESHVARA, 13th century, H: 63.4 cm, The Collection of Robert Hatfield Ellsworth Part I, Lot 25, Christie's New York, 17th March, 2015, USD$ 8,299,000 十三世紀尼泊爾鎏金銅觀音立像，63.5 cm，錦瑟華年 —— 安思遠私人珍藏第一部分，拍品編號25，紐約佳士得，2015 年 3 月 17 日， USD $8,299,000

ﬁg 2 86

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641 A GILT BRONZE VAJRA BELL Ming Dynasty (AD 1368-1644) H: 23.5 cm D: 11.5 cm PROVENANCE: Private collection, Taiwan

HK$ 26,000 - 36,000 NT$ 109,000 - 151,000 US$ 3,400 - 4,600 明銅鎏金金剛鈴來源：台灣藏家舊藏

Vajra bell, a symbol of wisdom and virtue, is one of the primary ritual symbols in Tibetan Buddhism. The three constituent parts of a Vajra bell are the body, the handle, and the clapper. This lot is shaped like a large temple bell and cast in a copper alloy, with a round mouth and even rim. Both the top and the sides of the body are embellished with elaborate decorative patterns. This lot is very rare and precious. Its lower middle part consists of a Manjushri Bodhisattva head and three Buddha heads, while the topmost element is a hollow radial sphere. The body and handle of Vajra bells are usually separately cast and then soldered or riveted together. The handle’s shape looks like one end or half of a vajra pestle, which is why vajra bells are generally considered to be derived from vajra pestles. 金剛鈴是藏傳佛教的重要法器，故又稱藏鈴。金剛鈴表智德之器，具摧破、堅固二德，有摧破煩惱之功用。在修法中，主要為督勵眾生精進，警覺、勸請佛菩薩，令彼等歡喜之用。金剛鈴由鈴身、鈴柄、鈴舌三部分構成。鈴身外形似，響銅鑄成，圓口，邊緣齊平，頂部和周身均飾有精美花紋。此件金剛鈴屬胎藏界鈴，柄首為九股半杵形，傳世中十分少見，彌足珍貴；下接單層仰式蓮花瓣，蓮瓣飽滿圓潤，典型的永樂風格特徵；其下為修法本尊的頭像。鈴身為銅合金製成，圖案繁複華麗，頂部為蓮瓣裝飾的諸佛種子字，並依順時針方向排列。

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642 JADEITE PHOENIX HEAD HAIRPIN Middle Qing Dynasty (AD 1644-1911) L: 16 cm PROVENANCE: Private collection, France

HK$ 48,000 - 60,000 NT$ 202,000 - 252,000 US$ 6,200 - 7,700 清中期翡翠鳳首簪來源：法國藏家舊藏

643 A TIBETAN GILT BRONZE FIGURE OF THE SECOND DALAI LAMA 16-17th century H: 22.5 cm W: 18 cm PROVENANCE: Private collection, London, acquired in 2007 LITERATURE: Himalayan Art Resource (himalayanart.org), item no. 23958

HK$ 500,000 - 800,000 NT$ 2,101,000 - 3,361,000 US$ 64,400 - 103,100 16-17世紀藏傳銅鎏金達賴喇嘛二世坐像來源：倫敦藏家舊藏，於 2007 年購買出版 : Himalayan Art Resource (himalayanart.org), 編號：23958

Seated in dhyanasana on a double-lotus base with beaded rims, his right hand raised in vitarkamudra and his left holding a manuscript in his lap, dressed in voluminous patchwork robes with hems incised in a floral pattern, the face with smiling mouth flanked by prominent ears, the base sealed and incised with a double-vajra. 此尊達賴喇嘛二世端坐於雙層蓮座之上，右手施法印，左手持經文，身著長袍，衣緣處鏨刻纏枝花卉。面帶微笑，嘴角上揚。台座蓮瓣挺拔飽滿，辦尖微翹。底座密封，並有雙金剛刻印。

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644 A GILT BRONZE FIGURE OF SHAKYAMUNI Ming Dynasty (AD 1368-1644) H: 18.6 cm PROVENANCE: Private collection, Taiwan

HK$ 120,000 - 180,000 NT$ 504,000 - 756,000 US$ 15,500 - 23,200 明銅鎏金釋迦牟尼佛像來源：台灣藏家舊藏

Statues of Shakyamuni Buddha usually come in two basic varieties: sitting and standing posture. In addition, there are a number of mudras, or hand gestures, the five most commonly seen of which are the dhyana mudra, varada mudra, bhumyakramana mudra, dharmachakra mudra, and the "fear not" mudra. This statue shows Shakyamuni in the lotus position making the bhumyakramana gesture, also known as the "overcoming demons" mudra. This is the most common way of representing Gautama Buddha’s moment of enlightenment under a sacred fig tree in Bodh Gaya, as well as one of the most important images in Buddhist iconography. The Buddha is dressed in the kasaya, the monk’s robe, and his expression and overall appearance are serene and dignified. He is sitting on a lotus seat, his right hand making the bhumyakramana mudra, and his left placed in the dhyana mudra position. The entire statue is gilded, and the craftsmanship excellent. In particular, the fine adhesive gold coating of the face is very typical of Ming Dynasty style and technique. 釋迦牟尼圖像學變化很少，只有坐姿和立姿兩種，所施禪定印、與願印、觸地印、轉法輪印和無畏印為最常見的五大手印；而此尊降魔印釋迦牟尼像，或者說佛陀菩提伽耶成道像，是佛教圖像學中最為重要的造像之一。尊相妙相莊嚴靜穆，身著袈裟，一手施禪定印，一手施降魔印，跏趺坐於蓮花座上，整尊造像寶相莊嚴，製作精湛，通體鎏金，面部泥金工藝，具有鮮明的明代造像風格与特徵。

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645 WHITE GLAZED BOWL Late Tang or Early Five Dynasties (AD 618-960) D: 10 cm H: 4 cm PROVENANCE: Private Asian Collection

This bowl has a lipped rim and round foot. Faint casting marks are visible on the outer walls. The entire bowl is glazed except for the foot, where the ceramic body is visible, which is slightly on the thick side, white and smooth. The finish is clean and glossy with a faint tint of celadon. A spiral pattern running along the item’s lower part gives an aesthetically pleasing effect. This kind of pattern is based on decorative elements often found in Tang Dynasty gold and silver utensils; in terms of design and glazing this bowl displays all the

HK$ 42,000 - 60,000 NT$ 176,000 - 252,000 US$ 5,400 - 7,700

typical features generally found in late Tang and early Five Dynasties Xing ware. Although well over a thousand years old, the item is in excellent condition. 此盞唇口，圈足。外壁依稀可見拉坯的痕跡，周身施釉接近至圈足，圈足處露胎，胎體微厚，胎土潔白細膩，釉面潔淨剔透，釉水

晚唐/五代白釉盞來源：亞洲藏家舊藏

微微呈現淡藍色。器身下部一道旋紋展現出器物的造型美感，此種設計傳承了唐代時期模仿金銀器造型的傳統；此盞從造型到釉水均呈現出晚唐到五代時期邢窯白瓷的特點，雖經歷千年的洗禮仍風采依舊。

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646 SHIRAGA KAZUO (Japanese, 1924-2008)

白髮一雄

Untitled

無題

Ink on paper 48 x 67 cm

HK$ 50,000 - 80,000 NT$ 210,000 - 336,000 US$ 6,400 - 10,300

水墨紙本 48 x 67 cm

647 LONGQUAN CELADON BRUSH WASHER Song Dynasty (AD 960-1279) D: 12.4 cm H: 3.5 cm PROVENANCE: Private collection, Hong Kong

HK$ 40,000 - 60,000 NT$ 168,000 - 252,000 US$ 5,200 - 7,700 宋龍泉窯青釉小洗來源：香港藏家舊藏

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Historically, the Longquan kilns were the most important producers

龍泉窯為歷史上重要的青瓷窯口，尤以宋代時期燒製的最為著名，

of celadon ware, with items from the Song Dynasty enjoying the

質量最優。燒製的器物也豐富多彩，釉色也分為粉青、梅子青、冬

highest reputation. Not only does Song greenware tend to have the

青等釉色。此洗敞口，淺平腹，內壁呈現瓜棱型，通體施青釉，釉

best quality, it also comes in a great variety of designs and finishes,

質肥潤若瑩玉，其胎骨凸出處清淡，凹處微微釉深，明暗變化顯得

the latter including pastel celadon, plum green, and dongqing (“ilex

更加優雅，外壁圈足修削工整，足底露胎呈現紅褐色，為宋代時期

green”) glaze. This shallow washer has a wide mouth and flat bottom,

龍泉窯的典型特徵。

with curved sides that show a melon-ribbed pattern. The entire vessel is covered in a thick and lustrous celadon glaze, with a lighter color where the body is bulging slightly, and a uniformly deeper hue in the concave parts, particularly of the melon rib design. This shading effect adds an extra touch of elegance and variety. The outer walls and round foot are neatly worked, with the foot’s unglazed underside revealing the reddish-brown tint of the body, a typical feature of Song era Longquan ware.

648 PABLO PICASSO (Spanish, 1881-1973) Sujet colombe 1959 Ceramic Vase 15.5 x 20 x 16 cm NUMBERED: 137/500, inscribed 'Edition Picasso', with the Madoura and Edition Picasso stamps LITERATURE: (A.R. 435)

HK$ 40,000 - 80,000 NT$ 168,000 - 336,000 US$ 5,200 - 10,300 巴布羅．畢卡索鴿子瓷瓶 1959 瓷器 15.5 x 20 x 16 cm 印鑑、標記及編號： Edition Picasso / Madoura / Edition Picasso 137/500（底部）出版： (A.R. 435)

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649 DW (Chinese, b. 1981)

1973 Ford F-Series

1973 福特F系列

2013 Silver Gelatin Photographic Paper Edition no. 3/5 40.64 x 50.8 cm PROVENANCE: Acquired directly from the artist

HK$ 12,000 - 20,000 NT$ 50,000 - 84,000 US$ 1,500 - 2,600

100

2013 銀鹽相紙鏡框版數：3/5 40.64 x 50.8 cm 來源：直接來源於藝術家

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650 DW (Chinese, b. 1981)

Opportunity Cost

機會成本

2014 Fine Art Paper Print Edition no. 1/5 61 x 50 cm PROVENANCE: Acquired directly from the artist

HK$ 10,000 - 20,000 NT$ 42,000 - 84,000 US$ 1,300 - 2,600

2014 美術紙版數：1/5 61 x 50 cm 來源：直接來源於藝術家

651 NOBUYOSHI ARAKI (Japanese, b.1940) Flower 2006-2009 Polaroid unique 8 x 8 cm x 2 With certiﬁcate of authenticity issued by Taka Ishii Gallery

HK$ 12,000 - 22,000 NT$ 50,000 - 92,000 US$ 1,500 - 2,800 荒木經惟花 2006-2009 寶麗來相紙 8 x 8 cm x 2 附 Taka Ishii 畫廊提供之原作保證書

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652 NOBUYOSHI ARAKI (Japanese, b.1940) Women 2006-2009 Polaroid unique 8 x 8 cm x 3 With certiﬁcate of authenticity issued by Taka Ishii Gallery

HK$ 18,000 - 28,000 NT$ 76,000 - 118,000 US$ 2,300 - 3,600 荒木經惟女人 2006-2009 寶麗來相紙 8 x 8 cm x 3 附 Taka Ishii 畫廊提供之原作保證書

653 LI YIHONG (LEE YIH-HONG, Chinese, b.1941)

李義弘

Summer

仲夏

1991 Ink and color on paper 88 x 95 cm Signed LI Yihong in Chinese and dated 1991 With three seals of the artist PROVENANCE: Private collection, Taiwan

HK$ 160,000 - 260,000 NT$ 672,000 - 1,092,000 US$ 20,600 - 33,500

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1991 88 x 95 cm 設色紙本款識：辛未仲夏於笛音凝室明窸義弘鄉情欽印：義弘染翰在川小記即事多所欣來源：台灣私人收藏

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654 BLUE AND WHITE INCENSE BOX WITH POEM AND FLORAL DESIGN Qing Dynasty (AD 1644-1911) H: 3.5 cm W: 4 cm PROVENANCE: Private collection, Taiwan

HK$ 65,000 - 75,000 NT$ 273,000 - 315,000 US$ 8,400 - 9,700 清青花花卉人物題詩香盒來源：台灣藏家舊藏

655 LI YIHONG (LEE YIH-HONG, Chinese, b.1941)

李義弘

A Fan Calligraphy

扇面書法

1967 Ink on paper 15 x 51.2 cm Signed Li Yihong in Chinese With two seals of the artist PROVENANCE: Private collection, Taiwan

HK$ 28,000 - 38,000 NT$ 118,000 - 160,000 US$ 3,600 - 4,900

1967 水墨紙本 15 x 51.2 cm 款識：李義弘鈐印：吉祥李氏釋文：林亭積雪對江干松影橫波木葉乾正有幽人招隱士溪邊煙柳斜陽裏郭外秋風碧水前牛背歸來歌未已清溪極浦與雲連遠樹微茫映碧天片片風帆向何處飛鴻已渡白沙洲遠岫浮煙水自流已有扁舟待明月幽棲猶認舊柴門山雨微茫嶺色昏林際鐘聲蕭寺晚江南春色雪猶寒滿地平蕪木葉乾遠近清溪添碧水山光雲影共徘徊夕照群峰霽色開鴻雁無聲江水濶書寒玉堂詩李義弘來源：台灣私人收藏

106

吟詩沽酒坐消寒隨風遠破暮雪天鳴榔歸去夕陽前澹雲疎柳一江秋寒蘆苦竹幾家村雁聲已隔暮雲端扁舟遠處破煙來

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656 LI YIHONG (LEE YIH-HONG, Chinese, b.1941)

李義弘

A Fan Landscape

誠登絕頂圖

1983 Ink and color on paper 15 x 51.2 cm Signed Li Yihong in Chinese With two seals of the artist

1983 設色紙本 15 x 51.2 cm

PROVENANCE: Private collection, Taiwan

HK$ 28,000 - 38,000 NT$ 118,000 - 160,000 US$ 3,600 - 4,900

款識：誠登絕頂望鄉國江南江北青山多癸亥夏日畫於笛音凝室李義弘鈐印：李義弘記在川來源：台灣私人收藏

657 WAN QINGLI (Chinese, b.1945) Loyalists from the Old Dynasty 1997 Ink and color on paper, hanging scroll 19.5 x 72.5 cm；141 x 72.5 cm Signed Wan Qingli in Chinese and dated 1997 April With nine seals of the artist

HK$ 50,000 - 80,000 NT$ 210,000 - 336,000 US$ 6,400 - 10,300 萬青力上古遺民 1997 設色紙本立軸 19.5 x 72.5 cm；141 x 72.5 cm 詩塘：上古遺民讀趙松雪吳興賦以將還敦樸於上古為題信手圖之餘作畫一曝十寒又如昔時京戲玩票忽餘忽楊不過一時忘情而已此圖累數日始成自覺不佳奈何時間不容再重作一幀好在尚未入摩登新潮人或冷眼清觀今日尚有愚頑如此者也丁丑四月萬青力鈐印：山水知己萬青力本幅：上古遺民丁丑四月初夏萬青力鈐印：萬青力宣城小棚友肖形印肖形印

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658 A SILVER TEAPOT WITH RATTAN HANDLE AND JADE LID BY DAIMARU HOKYU

With its round belly, rattan handle, jade lid handle, and tapering

L: 17 cm H: 15.5 cm

drinkers have to deal with when preparing their favorite brew.

PROVENANCE: Private Collection, Japan

spout, this cleverly designed teapot blends essential features of Chinese and Japanese tea ceremony to create an eminently practical utensil that solves many of the little issues and problems avid tea

The rattan handle, for example, ensures that you won’t burn your hand when picking up the pot, while the sturdy tapering spout guarantees a smooth flow without any dribbling, and also cuts off the flow cleanly when the cup is full. Last not least, the lid handle made

HK$ 60,000 - 80,000 NT$ 252,000 - 336,000 US$ 7,700 - 10,300

of jade not only provides heat insulation, but also serves an important aesthetical purpose, putting the finishing touch on an outstanding item that gets top marks for both beauty and functionality. 此壺器型渾圓飽滿，搭配藤把，玉摘及砲口的設計著實巧妙的合併了中國及日本的茶道文化精髓，並透過精巧地設計克服了許多茶人

大丸保久作藤柄玉摘砲口銀壺

在使用銀壺泡茶上的困擾。

來源：日本藏家舊藏

藤把的設計能確保使用者在使用上不燙手;砲口的設計元素則能確保出水的順利，不管是出水或斷水都簡潔有力。最後再搭配上玉紐的設計不但使茶人在取蓋時有隔熱效果, 也對整把壺有著畫龍點睛的效果，是把不可多得的泡茶利器。

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659 ENGRAVED INDENTED TIN TEA SAUCERS BY SHANG TIAN TAI Qing Dynasty (AD 1644-1911) L: 11.5 cm W: 7 cm PROVENANCE: Private Collection, Japan

HK$ 10,000 - 20,000 NT$ 42,000 - 84,000 US$ 1,300 - 2,600 清雕花尚天泰款雕花錫托（五只）來源：日本藏家舊藏

A set of indented tin saucers in prime condition. The

saucers’ edges are slightly raised, curving very gently towards the middle, which has a round, deeper indentation to receive the teacup. The outer rim is in the shape of a stylized flower blossom with eight lobes of varying size, while a lianzhu decorative design runs around the upside’s central indentation, which is itself embellished with the auspicious Chinese character shou ("longevity"), also executed in the lianzhu style. The central part of the underside shows the characters “Shang Tian Tai” in bas-relief. 錫器蓮形茶託一套，狀態完好，形式上略作淺弧邊沿，托盤至中心徐緩下凹，中部作圓形托座，茶托外圍輪廓作花瓣造形，分出八瓣，大小不等，富於變化。茶托中部正面附予連珠草葉紋環飾一周，中部以連珠紋作「壽」字文飾，予人吉祥歡慶之感。茶托背面中心淺刻陽文「尚天泰」款識。

660 A CIZHOU BLACK GLAZED RIBBED JAR WITH HANDLES Song Dynasty (AD 960-1279) H: 15 cm D: 13.5 cm PROVENANCE: Private collection, Hong Kong

HK$ 120,000 - 160,000 NT$ 504,000 - 672,000 US$ 15,500 - 20,600 宋磁州窯黑釉線條雙耳罐來源：香港藏家舊藏

This jar is a representative work of Cizhou ceramics. It was produced by carving ridgelines onto the halfly dried pottery to form raised vertical rib patterns in the sides. Ithas a pair of small strap loop handles on the shoulder, covered overall in a black glaze and thinning to pale brown at the raised ribs, exposing the buff coloured body. During the high temperature firing process of the pottery, the black glaze was allowed to flow naturally through the carved lines. This created distinguishing black and white contrast in tonality where the rhythmic lines became the pattern, a significant representation of the bold characteristics of the Northern kilns. 罐唇口，弧腹，肩部飾雙耳。器身施黑釉，裝飾有線條紋；黑釉線條罐是磁州窯系的代表作。其製作方法是在半乾的胎體上先刻出棱線，形成有韻律的線條起伏，再施以黑釉，由於釉料在高溫下的自然流動，使得黑釉隨著棱線的起伏呈現濃淡黑白的對比，起到以線條裝飾器身的效果，展現其渾樸質感與北方窯口瓷器的豪邁性格。

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661 ZHOU CHENG (Chinese, b.1941) Balmy Landscape in Autumn 1967 50.5 x 34 cm Ink and color on paper, hanging scroll Signed Chunbo in Chinese With four seals of the artist PROVENANCE: Private collection, Taiwan

HK$ 15,000 - 30,000 NT$ 63,000 - 126,000 US$ 1,900 - 3,900 周澄秋高氣爽 1967 設色紙本立軸 50.5 x 34 cm 款識：秋高氣爽丁未中秋蓴波欽印：澄大年慎獨草堂來源：台灣私人收藏

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662 SHODAI ISHIGURO KONAN JADE SLEET STYLE SILVER EMBOSSED CENSER H: 10 cm D: 10 cm PROVENANCE: Private collection, Japan The Ishiguro family has already produced three generations of famous

HK$ 65,000 - 80,000 NT$ 273,000 - 336,000 US$ 8,400 - 10,300

potters. The founder, Ishiguro Konan, was born in Toyama in 1914. At the age of 14, he began to study under Kawauchi Komyo, one of Hirata Soko’s best students. Honing his skills as a goldsmith, his work in 1943 attracted the attention of a high-ranking cabinet minister, as well as a minister of trade and commerce, and the governor of Tokyo. In 1984, Ishiguro Konan, was awarded the 7th Class Green

初代石黑光南玉霰型銀打出香爐

Paulownia Leaves Medal by Emperor Hirohito.

來源：日本藏家舊藏

Ishiguro Konan continued the Edo period’s long tradition of gold and silver smiths, but gave the conventional craft a new twist when he invented methods such as the "jade sleet" and "tapping" techniques, earning him the moniker "the first and foremost maker of jade sleet silverware in all of Kyoto." A look at many of Ishiguro’s pieces will reveal patterns of bulging or pointed protrusions, arranged in a strictly regular fashion and revealing a structure as delicate as that of snowflakes. This design is strongly reminiscent of a Tathagata (Rulai) Buddha’s head, and also conveys the serenity and beauty of Rulai’s posture, sitting on a lotus pedestal with crossed legs, lowered eyelids, and folded hands. Most of the lots currently circulating in the market are second or third generation pieces, such as silver pots or tea caddies. While tea utensils and flower vases are very common, it is much harder to find a censer by Ishiguro. Add to this the fact that the present lot represents a first generation ("shodai") item, and what you have is a true rarity that will make a worthy addition to any connoisseur’s collection. 日本著名製壺名家石黑光南從初代至今已傳三代，初代石黑光南 1914年在富山出生，1928年拜平田宗幸的高徒河內光明為師，學習鍛金技術，1943年榮獲內閣總理大臣賞，通商產業大臣和東京知事賞，1984年榮獲天皇賜勳七等青色桐葉勳章。石黑光南既傳承了江戶時代的金銀器製作技法，更推陳出新，創造出超高難度的「玉霰」與「敲打」系列製品，被推崇為「京都美霰共賞銀器第一人」。觀看石黑的作品時，外觀經常可見一顆顆突起，細緻如雪珠般嚴整排列，彷彿如來垂目合十，結跏趺坐蓮花之上，千錘百煉所成就的「玉霰」，令人動容。目前市面上流動的大多為二或三代的作品，且形式多為銀壺及茶倉為主。相對於茶器或花器的作品，香爐算是極為稀少的香道器具加上此件為初代石黑光南少見的銀打出之作，作品存世數量稀少，實為難得。

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663 A SMALL HUTIAN GREENISH WHITE GLAZED FLOWER TEABOWL Song Dynasty (AD 960-1279) D: 12.5 cm H: 4.5 cm PROVENANCE: Private collection, Hong Kong

HK$ 50,000 - 80,000 NT$ 210,000 - 336,000 US$ 6,400 - 10,300 宋湖田窯影青刻花菱口盞來源：香港藏家舊藏

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This type of Teabowl is a popular artifact among the upper class in

影青茶盞是宋代上層社會使用較為普遍的高檔器物，其中又以湖田

Song Dynasty, among which, porcelain produced from Hutian kiln

窯的青白瓷茶盞造型最為精緻高雅，此茶盞呈六瓣式葵口型，猶如

is of majestic elegance. This teabowl was designed with six pedals,

雪蓮盛開，冰清玉潔。釉層高度透明，積釉處呈淡淡的藍色，玻璃

which depicts a lotus in full bloom, a representation of nobility and

質感強，胎白如玉，胎質極薄，透光鑑影，韻致空靈，猶如一池碧

purity. The glaze is highly transparent with a hint of faint blue, the

澈的湖水。

ceramic body is white as jade, extremely thin that is translucent under light, just like conveying the peacefulness of a clear lake.

664 SHAO SHAN KE “ANCIENT PINE IMMORTAL” TIN CAN ENGRAVED WITH CHINESE POETRY H: 10.5 cm W: 7 cm PROVENANCE: Private collection, Japan

HK$ 28,000 - 38,000 NT$ 118,000 - 160,000 US$ 3,600 - 4,900 少山刻老松仙人漢詩錫罐來源：日本藏家舊藏

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An elaborately engraved round tin can. On the side is carved a picture

錫罐以圓柱為形，周身刻繪豐富，以老松賢者為題、賢者手握芭蕉

showing the Immortal of the Ancient Pine resting under a pine tree,

扇在松下納涼，並以刻有漢詩註解，圖文並茂，相得益彰。

fanning himself with a plantain leaf fan. Also engraved are two lines of poetry: the words enrich the image and vice versa, making for an

漢詩註解：盛暑光天夜未涼，松陰深處解襟裳。

aesthetically satisfying effect. The lines of poetry read: "The heat of the summer’s day doesn’t dissipate until late in the night; sitting deep in the shade of the pine tree, I unbutton my shirt."

(Another view)

665 GOLD AND SILVER INLAID INCENSE BOX SHOWING A SCENE FROM KYOTO BY KYOTO ARTIST KOMAI OTOJIRO L: 6.3 cm W: 5 cm H: 2 cm PROVENANCE: Private collection, Japan

HK$ 30,000 - 40,000 NT$ 126,000 - 168,000 US$ 3,900 - 5,200 京都駒井製金銀鑲嵌京景香盒來源：日本藏家舊藏

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This charming little box is also a practical utensil. The tiny silver

emphasis on elaborately designed and painstakingly executed

and gold strings, less than 0.1mm in width, have to be inlaid

filigree and other ornamental features. In this particular niche,

into the metal surface with great patience and skill, a work

their achievement remains unmatched.

that requires long experience and mature craftsmanship. The result is a scene of Kyoto brimming with classical beauty and

Before he reached the age of 48, Komai Otojiro’s name rarely

refinement. Since this kind of filigree work requires much time,

appeared in international or Japanese lists of artists, but as

it can take anywhere from several months to three or even

he entered his sixth decade, both critics and collectors began

five years to complete one single piece. Place this kind of petit

to turn their attention to his work. Today, his place in the

treasure in your tearoom, and it will add a whole new layer

history of arts and crafts is secure, and his work is found in

of attraction and class to any tea ceremony you may wish to

the collections of museums and galleries in Japan, Taiwan, the

perform. This lot can truly round off a perfect collection of tea

UK, the US, Australia, Canada, and other countries around the

paraphernalia.

world.

Komai Otojiro (1842-1917) is considered the grandmaster of

此香盒小巧可愛，屬實用器。在細膩輕巧的鐵地小盒上，將一

Kyoto’s gold and silver inlay craft. He is most famous for his

絲絲細於0.1公分的金銀線絲一一崁入鐵盒上而構成這幅唯美

unique nunome zogan technique, allowing him to create an

而典雅的京景圖。因這種工藝極為耗時，一件作品至少耗費數

unrivaled artistic style and language. It is therefore also referred

個月到三至五年時間不等。在茶室裡若擺有此物必能為古意盎

to as Komai zogan style. The Komai clan had run a bladesmith

然的茶桌上增添一股新意，有著畫龍點睛的效果。

and cutler business in the Kyoto area for many generations, and Otojiro made his first steps as a craftsman as a 13-year-

駒井音次郎（1842-1917），京都金銀鑲嵌細工第一人，得意

old when he began to learn inlay work from Master Misaki

技法以布目鑲嵌為名，因作品風格獨特，技法特殊，其布目鑲

Shusuke. When the Meiji government issued the Haitorei Edict

嵌也被稱為駒井鑲嵌。駒井家在京都代代以刀匠為家業，十三

in 1876, abolishing the carrying of swords and other weapons

歲拜師三崎周助學習鑲嵌細工，明治九年頒布廢刀令後，開始

in public, many smiths, including the Komai family, switched to

將金銀鑲嵌細工轉型成西方人喜歡的擺件、飾品及花瓶等，轉

the production of Western-style decorative articles and jewelry,

而投向海外市場。

catering both to domestic and overseas markets.

1903年內國勸業博覽會，1904年路易斯安那博覽會，1905年

The Komais won awards at the 1903 National Industrial

比利時列日世博會中連續獲得大獎。駒井家族技藝以金銀表面

Exhibition in Osaka, Japan, the 1904 Louisiana Purchase

的精細雕琢和象嵌工藝著稱。觀看以往世博會出展名目可以發

Exhibition in St. Louis, USA, and the Exposition Universelle et

現，作品包括寶塔形擺件、盆、簞笥、手箱、花瓶、皿、寶石

Internationale de Liege, Belgium, in 1905. The Komai clan were

箱等等，以小型器物為主。紋飾象嵌技法精湛高超，可謂毫無

especially well known for their superior gold and silver filigree,

破綻，著實讓人驚嘆！

employing both onlay and inlay techniques. Perusing the catalogues of the above-mentioned exhibitions, one finds that their work ranged from decorative objects and small furniture to basins, bamboo vessels, boxes, vases, plates, and jewelry. Most of their output was focused on smaller items, with a clear

48歲前，駒井的名字很少出現在國際及日本藝術家的名單中，但他對工藝的堅持與執著，最後終於發光發熱，得到市場與藝術史的承認。在日本，台灣，英國，美國，澳洲，加拿大等世界各地多處的知名美術館中也都收有駒井的作品。

666 FU SHENG KE CHAHUA TIN CAN ENGRAVED WITH CHINESE POETRY Qing Dynasty (AD 1644-1911) H: 10 cm W: 7 cm PROVENANCE: Private collection, Japan

HK$ 40,000 - 60,000 NT$ 168,000 - 252,000 US$ 5,200 - 7,700 清符生刻茶花漢詩錫罐來源：日本藏家舊藏

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Through long use and much handling, the can’s oxidized surface

錫罐表面因長期氧化以及人為的使用，包漿豐盈，視覺效果極佳。

shines with a rich luster, rendering it very pleasing to the eye. The

作者鄧奎，字符生，是清道光年間著名的書法家，也是文人參與紫

artist Deng Kui, who styled himself Fu Sheng, was a renowned

砂創作的代表人物之一，嘗與楊彭年等紫砂藝人合作製壺。

calligrapher and pottery artist during the Qing Emperor Daoguang’s reign. He was one of the representative terracotta ("zisha") artists of his time, who frequently worked together with other zisha specialists, including Yang Pengnian and others.

(Another view)

667 HENAN YAO BROWN GLAZED TEABOWL Song Dynasty (AD 960-1279) D: 9.5 cm H: 5.1 cm PROVENANCE: Private collection, Hong Kong

HK$ 50,000 - 100,000 NT$ 210,000 - 420,000 US$ 6,400 - 12,900 宋當陽峪窯醬釉茶盞來源：香港藏家舊藏

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This teabowl has a gently curved belly and a round foot. It is covered

盞弧腹，高圈足，圈足底部一週無釉，露胎處可見細膩白色胎土，

in brown glaze inside and out, with the exception of the bottom

內外壁通體均勻施醬色釉，釉面光潔無雜質，呈現漆器的質感。此

rim of the foot. Ceramic body is white and smooth. The finisheing is

種釉色在古籍中記載稱之為醬釉或紫釉，是當陽峪窯的高質量製

evenly applied, and has a glossy luster free from impurities. Purple-red

品，最能體現當陽峪窯燒造技藝的高超。說明至少在北宋該窯已能

glaze is a medium-high quality product produced by Cizhou kiln, its

成功燒造此類器物，其製作精緻規整，胎質堅硬，變形極小，釉色

uniformity, firmness, glossiness, and smoothness make it comparable

光亮純淨。製作精細，用手撫摸光滑如嬰兒肌膚，視之如綢緞般光

to Ding ware.

滑滋潤，毫不遜色於同期的定窯製品。

668 ROSEWOOD TABLE WITH DRAGONS CHASING FLAMING PEARL DESIGN Qing Dynasty (AD 1644-1911) L: 48 cm H: 12 cm W: 25 cm PROVENANCE: Private Asian Collection

HK$ 90,000 - 120,000 NT$ 378,000 - 504,000 US$ 11,600 - 15,500 清紫檀雕雙龍戲珠紋案幾來源：亞洲藏家舊藏

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669 TEDDY LO (Chinese, b.1974) Waking Life 2011 Stainless steel, Glass, LED, PCB boards, Electrical wire, CPU, LED driver, Power supply 110 x 110 x 15 cm PROVENANCE: Acquired directly from the artist

HK$ 180,000 - 300,000 NT$ 756,000 - 1,261,000 US$ 23,200 - 38,700 羅揚文夢醒 2011 年不鏽鋼玻璃 LED PCB板電線 CPU LED 開關電源 110 x 110 x 15 cm 來源：直接來源於藝術家

The surreal imagery is captured by the photographer's manipulation of the camera, as the Spinner moves the LED lights in her dance. The light artist, the light dancer and the light capturer all using their equipment and manipulation of light to create and record a moment in time. 攝影師用相機捕捉超現實的影像，使之與LED的光影共舞。而光的藝術家，光的舞者和光的捕捉者紛紛各盡所能去創造和記錄此時此刻。

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Teddy Lo is recognized in international art circles as a pioneering figure in the new media and contemporary art scene, Lo’s creative luminous works present a fusion of technological, conceptual and aesthetic elements. The series of Spectrum Manners, is an experimental manipulation of the traditional non-retouched photographic process, in which Teddy intends to create a series of abstract expressionism images with LED lights through performance art. The intricate use of etching and forms has been explored in Waking Life, through creating more mesmerizing effects with natural and artificial lights. This art piece is made with geometric volumetric glass constructions that diffuse light with triangular etched patterns. A regenerative light sequence provides lively and energetic motion on the sculpture, representing an innate force of nature that proliferates into digital infinity. 羅揚文是首批以LED創作揚名國際的視覺藝術家，他極富想像力的作品展現了科技與美學概念的完美融合。 Spectrum Manners系列是在傳統攝影過程中的實驗性操作，羅試圖在這個過程中通過LED燈光展現抽象表現主義下的行為藝術。在Waking Life中，通過自然與人工照明的交相呼應顯示出生命中錯綜複雜的凋謝與生機。該藝術作品以特殊玻璃為材料構造出三角漫射光的樣式，以序列排列的燈光則給予了該作品動態的效果，體現出大自然與生俱來的無窮力量。

670 HAMMERED IRON CENSER WITH GILDED INTERIOR AND INLAID SILVER DESIGN D: 6.7 cm H: 2 cm PROVENANCE: Private collection, Japan

HK$ 22,000 - 32,000 NT$ 92,000 - 134,000 US$ 2,800 - 4,100

Iron has low ductility and malleability, making it a difficult to work material. Repeated hammering is required to beat every part into the right shape, angle, and thickness, and make the individual elements fit into each other. The seamless look of the finished product, as if made from one piece, is in truth the result of a time-consuming, painstaking process. This kind of iron craft is therefore considered to be one of the most challenging forms of metalwork. It is a type of skill that originated in Japan during the Edo period, and today this tradition is gradually disappearing. Hammered iron objects with decorative patterns of inlaid silver are even harder to make, taxing the craftsman’s patience and skill to the utmost. This hammered iron censer features an inlaid silver design of high filigree and exquisite execution. The item’s aesthetic appeal is further enhanced by its gilded interior, emphasizing the blend of classical elegance and simple beauty that best describes its overall appearance. Any avid incense

鐵打出內鎏金樹柳銀葉鑲崁香盒來源：日本藏家舊藏

aficionado will be interested in acquiring this piece with its smooth, free-flowing design and attractive solidity. 鐵打出，就是以延展性最低的鐵為材質，反覆的敲打，要把握每一個部位的錘起力度和厚度，以及部件的結合，最終以一件產品的形態來展示，它的製作工藝是金工裡最難的工藝，技法起源於日本江戶期間，流傳至今逐漸消失。鐵打出鑲銀紋又是鐵打出中較為複雜的工藝。非常考驗金工師的耐力和技術手段。這件鐵打出鑲銀紋香合，工藝技巧和造型美感都堪稱典範之作且內膛鎏金古意盎然，優雅端莊、大氣古樸。線條流暢，柔韌又極富張力，為香道之人的一大利器。

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671 TEDDY LO (Chinese, b.1974) Spectrum Manners I 2011 Ink jet paper Edition no. 4/8 61 x 48.5 cm

HK$ 14,000 - 20,000 NT$ 59,000 - 84,000 US$ 1,800 - 2,600 羅揚文光譜禮．壹 2011 噴墨紙版數：4/8 61 x 48.5 cm

672 TEDDY LO (Chinese, b.1974)

羅揚文

Spectrum Manners II

光譜禮．貳

2011 Ink jet paper Edition no. 4/8 61 x 48.5 cm

HK$ 14,000 - 20,000 NT$ 59,000 - 84,000 US$ 1,800 - 2,600

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673 LINGBI ROCK L: 30 cm W: 42 cm H: 70 cm PROVENANCE: Private collection, Taiwan

HK$ 20,000 - 30,000 NT$ 84,000 - 126,000 US$ 2,600 - 3,900 靈璧石來源：台灣藏家舊藏

674 DW (Chinese, b.1981)

Pattisserie

甜品店

2010 Fine Art Paper Print Edition no. 2/5 40 x 110 cm PROVENANCE: Acquired directly from the artist

HK$ 20,000 - 40,000 NT$ 84,000 - 168,000 US$ 2,600 - 5,200

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2010 美術紙版數：2/5 40 x 110 cm 來源：直接來源於藝術家

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675 DW (Chinese, b.1981)

Un Soir

今夜

2010 Fine Art Paper Print Edition no. 2/5 40 x 110 cm PROVENANCE: Acquired directly from the artist

HK$ 20,000 - 40,000 NT$ 84,000 - 168,000 US$ 2,600 - 5,200

2010 美術紙版數：2/5 40 x 110 cm 來源：直接來源於藝術家

676 PU RU (Chinese, b.1896) Utopia behind Mountain and Cloud 1967 Ink and color on paper 79 x 29 cm Signed Xinyu in Chinese With two seals of the artist

HK$ 40,000 - 80,000 NT$ 168,000 - 336,000 US$ 5,200 - 10,300 溥儒青山白雲圖 1967 設色紙本 79 x 29 cm 款識：青山白雪隱居之所幽客之懷悠然自樂心畬鈐印：荒寒溥儒

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677 ANTIQUE BIRDCAGE Qing Dynasty (AD 1644-1911) H: 35 cm W: 20.5 cm PROVENANCE: Private collection, Taiwan

HK$ 36,000 - 48,000 NT$ 151,000 - 202,000 US$ 4,600 - 6,200 清古董鳥籠來源：台灣藏家舊藏

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CHINESE WORKS OF 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.

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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.

香港古董業務規則

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.「贋品」：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贗品。 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. 贗品/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贗品或贓物，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. 證明拍賣品為贗品之方法，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贗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贗品或贓物(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贗品，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贗品，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贗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. 贗品/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贗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: Hong Kong Tel: +852 2889 0859 Fax: +852 2889 0850 Taipei Tel: +886 2708 9868 Fax: +886 2708 8955 Bidder’s Details Name ID number Address

Auction Date Sale No. Location Address

Literati: Quiet Affection Sunday, 29 May, 2016, 2:00pm HC1601 Grand Hyatt Hong Kong - Ballroom 1 Harbour Road, Wanchai, Hong Kong

1. Interested parties must complete the registration procedures with valid personal identifications (i.e. Identification card, Passport, etc.). The completion of a registration form and the payment of a security deposit are required. 2. In the event that the bidder chooses not to be present at the venue on the day of the auction, the bidder may place an absentee bid through means of a telephone, written or internet bid. A registration form must be completed and the security deposit transferred to Ravenel’s specified Bank account before the 25th May 2016 in order to obtain a paddle number for the purposes of placing a telephone/ written/internet bid(s).

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)

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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

149

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：香港電話：+852 2889 0859 傳真：+852 2889 0850 台北電話：+886 2708 9868 傳真：+886 2708 8955 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

拍賣名稱：羅芙奧香港 2016 春季拍賣會寂靜歡喜 – 古今人文藝術專場拍賣編號：HC1601 香港拍賣日期：2016 年 5 月 29 日（星期二）下午 2:00 香港君悅酒店（宴會大禮堂）香港灣仔港灣道 1 號

1. 有意參與競投的買家需事前辦理登記申請手續：請出示有效証件 ( 如：身份証明、護照…) 並填寫登記文件以及繳納保証金。 2. 競投者如不能出席拍賣會，可通過電話書面方式進行競投。登記申請手續以及保証金之繳納亦需在 2016 年 5 月 25 日以前完成匯款至本公司指定帳號。以取得電話書面競標牌號。

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39號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

150

CHRONOLOGY 中國歷代年表

新石器時代商周秦漢三國晉南北朝隋唐五代遼宋北宋南宋西夏金元明洪武建文永樂洪熙宣德正統景泰天順成化弘治正德嘉靖隆慶萬曆泰昌天啟崇禎清順治康熙雍正乾隆嘉慶道光咸豐同治光緒宣統

10th - early 1st millennium BC NEOLITHIC 16th Century - C. 1050 BC SHANG DYNASTY C. 1050 - 221 BC ZHOU DYNASTY 221 - 206 BC QIN DYNASTY 206 BC - AD 220 HAN DYNASTY AD 220 - 265 THREE KINGDOMS AD 265 - 420 JIN DYNASTY AD 420 - 589 SOUTHERN AND NORTHERN DYNAST1ES AD 581 - 618 SUI DYNASTY AD 618 - 907 TANG DYNASTY AD 907 - 960 FIVE DYNASTIES AD 907 - 1125 LI AO DYNASTY AD 960 - 1279 SONG DYNASTY AD 960 - 1127 Northern Song AD 1127 - 1279 Southern Song AD 1038 - 1227 XIXIA DYNASTY AD 1115 - 1234 JIN DYNASTY AD 1279 - 1368 YUAN DYNASTY AD 1368 - 1644 MING DYNASTY AD 1368 - 1398 Hongwu AD 1399 - 1402 Jianwen AD 1403 - 1424 Yongle AD 1425 Hongxi AD 1426 - 1435 Xuande AD 1436 - 1449 Zhengtong AD 1450 - 1456 Jingtai AD 1457 - 1464 Tianshun AD 1465 - 1487 Chenghua AD 1488 - 1505 Hongzhi AD 1506 - 1521 Zhengde AD 1522 - 1566 Jiajing AD 1567 - 1572 Longqing AD 1573 - 1619 Wanli AD 1620 Taichang AD 1621 - 1627 Tianqi AD 1628 - 1644 Chongzhen AD 1644 - 1911 QING DYNASTY AD 1644 - 1661 Shunzhi AD 1662 - 1722 Kangxi AD 1723 - 1735 Yongzheng AD 1736 - 1795 Qianlong AD 1796 - 1820 Jiaqing AD 1821 - 1850 Daoguang AD 1851 - 1861 Xianfeng AD 1862 - 1874 Tongzhi AD 1875 - 1908 Guangxu AD 1909 - 1911 Xuan tong

151

Lot 616

Lot 617

Lot 619

Lot 621

Lot 622

Lot 623

Lot 624

Lot 625

Lot 626

Lot 628

Lot 629

Lot 640

Lot 645

Lot 647

Lot 660

Lot 663

Lot 667

152

153

ARTIST INDEX

Lot 646 Lot 605

Lot 614

Lot 648

Andy WARHOL (American,1928-1987)

Kazuo SHIRAGA (Japanese,1924-2008)

Pablo PICASSO (Spanish, 1881-1973)

Born in 1928 in Pittsburgh, Andy Warhol is best known for pioneering the Pop Art Movement. His revolutionary style brought him international fame, as his explored popular culture by adopting everyday objects and images of celebrities as the subjects for his mass-produced works. Warhol founded Interview Magazine, and was the author of numerous books detailing his artistic philosophy. His studio, "The Factory", was a famous artistic gathering place for intellectuals, celebrities, artists, and other members of the Contemporary popular stage. He coined the widely used expression "15 minutes of fame", and his works include some of the most expensive paintings ever sold. Even after his death, he has remained one of the most influential figures in Contemporary art and culture.

Born in Amagasaki, Japan, a painter, performance artist. He was a member of "Zero Kai" and of Gutai Group, an avant-garde artist. He created some performance art works in his early career life, and later he was influenced by the American abstract art, which leaded him to change his artistic language, and develop a signature style"Footpainting"; he defined his art as "a decision to the instant vitality between life and death."

Pablo Picasso (1881-1973), was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet and playwright who spent most of his adult life in France. Regarded as one of the greatest and most influential artists of the 20th century, he is known for co-founding the Cubist movement, the invention of constructed sculpture, the co-invention of collage, and for the wide variety of styles that he helped develop and explore. Picasso, Henri Matisse and Marcel Duchamp are regarded as the three artists who most defined the revolutionary developments in the plastic arts in the opening decades of the 20th century, responsible for significant developments in painting, sculpture, printmaking and ceramics.

安迪．沃荷（美國，1928-1987）

白髮一雄（日本，1924-2008）

巴勃羅．畢卡索（西班牙，1881-1973）

1928年生於美國匹茲堡，安迪．沃荷是普普藝術的

白髮一雄，生於日本尼崎市。創作形式涉及繪畫、

畢卡索，西班牙著名畫家、雕塑家，和喬治·布拉克

倡導者，他那顛覆傳統的大膽創作風格轟動了整個

行為。為日本「零族」藝術團體及「具體派」前衛

同為立體主義的創始者，是20世紀現代藝術的主要

藝術界，並為他帶來國際名氣，成為自由精神的標

藝術團體成員。早期藝術創作帶有行為藝術的形

代表人物之一，遺作逾兩萬件，包括油畫、素描、

誌性人物之一。沃荷透過以日常用品作為作品題材

式，後期受美國抽象藝術的影響創作出獨具特色的

雕塑、拼貼及陶瓷等。畢卡索是少數在生前「名利

來探討普及文化，他亦曾以量產的方式製作名人肖

藝術手法—「足繪」；他認為藝術創作行為是身體

雙收」的畫家之一。

像。沃荷生前名氣高企，以致死後至今仍是一位對

的「瞬間生命力對生與死的抉擇」。

畢卡索、馬塞爾·杜象和亨利·馬蒂斯是三位在二十

當代藝術和文化極具影響力的人物。他的作品被紐

世紀初期開始造型藝術革命性發展的藝術家，在繪

約現代藝術博物館、大都會藝術博物館、索羅門．

畫、雕塑、版畫及陶瓷上都有顯著的進展。畢卡索

古根漢美術館，以及倫敦泰特美術館和巴黎蓬皮度

的作品通常被分為4個時期。時期的名稱尚有爭議，

藝術中心等世界級美術館收藏。展覽：1962年「康

大致是「藍色時期」（1901年－1904年）、「粉

寶湯罐頭」，洛杉磯；1967年「安迪．沃荷：十三

紅色時期」（1904年－1906年）、「立體派時期」

個頭號通緝犯」，巴黎、漢堡；1974年「安迪．沃

（1917年－1924年）和「晚期」（1912年－1972

荷：舊畫作，新版畫」，華盛頓D.C.；1979年「安

年）。

迪．沃荷：七十年代的肖像」，紐約；1987年「懷念安迪：沃荷的近期作品」，東京；2009年「安迪 •沃荷：普普政治」，紐約；2009年「安迪•沃荷：最後的十年」，紐約；2010年「安迪•沃荷：沃荷與舞蹈」，巴黎；2011年「安迪．沃荷與伊麗莎白泰勒」，紐約；2012-2014年「安迪．沃荷： 15分鐘的永恆」，新加坡、香港、上海、北京和東京。 154

藝術家簡歷

Lot 649

Lot 650

Lot 674

Lot 675

Lot 603 Lot 609

Lot 611

BIAN Pingshan (Chinese, b.1958) Born in Beijing in 1958, Bian is a graduate from the Central Academy of Fine Arts School of Chinese Painting, Chinese National Academy of Arts, and its Graduate class of famous painters of Chinese Painting. As a former editor at Rong Bao Zhai Publishing House, he has edited over 100 Fine Art related literatures and publications, and has been a recipient of the National Award for Outstanding Editors. He currently resides in Shanghai as a professional artist.

CHANG Yu (Sanyu, Chinese-French, 1901-1966) Born in 1901, Sichuan. Sanyu attended Art College in Shanghai and went to Japan in 1919. In 1921, he went to France as part of the first wave of Chinese artists to study there. Unlike most of his contemporaries, Sanyu decided to remain in Paris. Since 1925, Sanyu exhibited his work regularly at the Paris salons and in local galleries. Before World War II, Sanyu returned to China briefly and then moved on to New York where he lived for two years. In 1948, the Museum of Modern Art in New York held an exhibition of his work. Since Sanyu's death in Paris in 1966, the National Museum of History in Taipei has held three retrospective exhibitions of his works. To celebrate the 100th anniversary of Sanyu, the National Museum of History held a grand exhibition of over 129 oil paintings. In 2004, the Musée National des Arts Asiatiques-Guimet held a restrospective show of Sanyu's 60 works.

DW (Chinese, b.1981) DW was born in 1981 Hong Kong, and had his debut solo photography exhibition "Luminance From The Dark" in 2012 at the Hong Kong Art Centre. While furthering his studies in Central St Martins, he was able to take his techniques to higher level through the inspiration of his mentor. DW's passion and love of processing and developing all his works in a darkroom with the play on other various materials and techniques were then further explored through the use of not only darkroom development processing, but also with street photography, and his latest method on Wet Plate Collodion.

邊平山（中國， 1958年生）

常玉（華裔法籍，1901-1966）

DW（中國，1981年生）

邊平山，一九五八年生於北京市，結業於中央美術

生於四川，少年時就讀上海美術學校，1919年至日

DW，1981年出生於香港，並曾於2012年在香港藝

學院國畫系、中國藝術研究院、中國畫名家研修

本留學，1921年轉赴法國留學，成為中國最早期的

術中心舉辦了首場個人攝影展。同時，他也正繼續

班。曾任榮寶齋出版社編輯，編輯美術書籍百餘

留法學生之一，之後留居巴黎。1925年起，其作品

中央聖馬丁藝術與設計學院的學習，希望能夠將個

種，並獲全國優秀編輯一等獎。現為職業畫家，客

屢見於巴黎的沙龍美展及各大畫廊。二次大戰前曾

人的攝影技術推向更高的水平。D W對使用暗房技

居上海。

回到中國，後轉至紐約生活兩年。1948年，紐約現

術對自己的作品進行加工有著極大的熱情和興趣。

代美術館替他舉辦個展。在其1966年於巴黎逝世

他的攝影不只局限於暗房技術，更與街頭攝影相結

後，台北國立歷史博物館曾分別於1978、1984、

合，並運用了溼板攝影法。

1990年共舉辦三次他的回顧展，2001年常玉百歲冥誕時，歷史博物館又展出常玉百歲紀念大展，2004 年6月巴黎國立居美東方美術館舉辦常玉回顧展，展出60餘件作品。足見其作為海外華人藝術家在中國畫壇的重要性。主要收藏機構有：台北國立歷史博物館、中國美術館等。

155

ARTIST INDEX

Lot 632

Lot 639

Lot 651

Lot 652

Lot 601

FANG Zhaolin (Chinese, 1914-2006)

HAN Fei (Chinese, b.1979)

Nobuyoshi ARAKI (Japanese, b.1940)

Fang Zhaolin, born in Wuxi, Jiangsu, and later migrated to Hong Kong, was a Chinese painter and calligrapher. Fang began studying calligraphy and painting. In her teens, the young artist was sent to the U.K. to pursue her studies. She studied under great artists like Chang Dai-chien and attended both the University of Hong Kong and Oxford University in the U.K. Fang continued to work throughout her 80s and, in 1996, received an honorary doctorate from the University of Hong Kong. In 2005, Fang and her family donated more than 40 of her works to the Asian Art Museum of San Francisco.

Born in 1979 in Jiangsu Xiangshui. Graduated from Department of Fine Arts of Nanjing Normal University in 2002 and obtained Master of Fine Arts under the supervision of Jiang Hongwei from Nanjing Institute of Arts. Han currently working at the Museum of Modern Art in Jiangsu Province, director of Chinese Painting Society of Jiangsu, executive vice president of Painting and Calligraphy Institute of Nanjing Presidential Palace, Distinguished artist academy researcher Nanjing Painting and Calligraphy Institute of Nanjing University of Posts and Telecommunications.

Born in Tokyo in 1940, Araki studied photography during his college years. He has published over 350 books since his debut and still more every year. Araki is considered one of the most prolific artists in Japan and around the world. Many of his photographs are erotic; some have been called pornographic. Some of his most popular publications include albums entitled: "Sentimental Journey", "Tokyo Lucky Hole" and "Shino". His works are held in numerous museum collections including the Tate and the San Francisco Museum of Modern Art.

方召麐（中國，1914-2006）

韓非（中國，1979年生）

荒木經惟（日本，1940年生）

方召麐，1914年生於中國江蘇省無錫市，是當代傑

1979年出生於江蘇響水縣。2002年畢業於南京師範

1940年出生於東京。荒木經惟於大學的時候學過攝

出國畫大師。13歲起跟隨老師陶伯芳努力學習中英

大學美術學院。2010年畢業於南京藝術學院美術學

影，自出道以來出版了超過350本出版物，且數量每

文並學國畫，1933年隨錢松喦、陳舊村學習山水

院獲碩士學位,師從江宏偉先生。現供職於江蘇省現

年仍在增長。因此荒木經惟被認為是日本乃至全世

畫，同年其作品入選白浪畫會之「無錫各團體書畫

代美術館,江蘇省中國畫學會理事,南京總統府書畫院

界最多產的藝術家之一。他的作品中有不少是以性

聯展」，1937年到英國曼徹斯特大學攻讀歐洲近代

常務副院長，南京書畫院特聘畫家，南京郵電大學

愛題材為主題。最受歡迎的攝影作品出版物有《多

史。方在香港跟隨國畫大師趙少昂習書畫，1951

畫院研究員，中國工筆劃學會會員，北京工筆重彩

愁之旅》、《東京幸運洞》和《S h i n o》等。作品

年與國畫大師趙少昂到日本舉辦畫展，於東京出版

畫會會員。

被泰特美術館，洛杉磯現代藝術館等知名美術館收

《方召麐近作集》。1953年她拜國畫大師張大千為

藏。

師，1954年入讀香港大學，隨國學大師饒宗頤、劉百閔等研讀中國哲學及文學，1955年在港大舉辦辦個人畫展，1956年到英國牛津大學修讀文學博士學位。1970年在張大千美國之「可以居」隨侍聆教一年，創繪山水作品。

156

藝術家簡歷

Lot 634

Lot 627

Lot 630 Lot 653

Lot 655

Lot 656

JIANG Zhaoshen (Taiwanese, 1925-1996)

LI Jing (Chinese, 1972)

LI Yihong (Lee Yih-Hong, Taiwanese, b.1941)

Jiang Zhaoshen, born in August 1925 in Anhui Shexian. Jiang is a painter and art historian. He studied calligraphy, seal carving at young age. Moved to Taiwan in 1949, Jiang learnt classical poetry and painting from Pu Hsin. She studied corpus linguistics from various bodies. Jiang had been engaged in the history of Chinese painting, specialized in the Wu School of Southern School of Chinese Painting. Jiang was former researcher and vice president of Taipei Palace Museum. In addition to academic and professional, Jiang is also outstanding in museum administration. Jiang was not only renowned both domestically and internationally as a historian of Chinese art, he was also held in exceptionally high regard for his outstanding achievements in painting, calligraphy, and seal carving. Diligent in his art, he held major exhibitions of painting and calligraphy at such venues as the Taipei Fine Arts Museum, the National Art Museum of China in Beijing, and the Huangshan Municipal Museum in Anhui Province.

Li Jing, also known as Mo An and Shi Yue Nan Ying, has been an artist for years, and has the honor of being a student of the great Chinese artist Zhou Kai. The works of Li are rooted from the traditional Chinese styles and search for a natural and fluid flow of the ink. Li has participated in many national and Hong Kong major exhibitions, and his works are kept in many private collections. He has established JM Culture in 2003 with a motto “Cleanse the heart with ink. With a pure heart to write with ink”. JM Culture aims to pass on the traditional Chinese cultures through ink, purify the heart as well as realizing the truth from the heart.

Lee Yih-Hong, also known as Chai-Chuan, was born in Sikang Township, Tainan County in 1941 and graduated from the National Taiwan College of Art in 1966. He taught at Keelung Chungshan Junior High School and Taipei National University of the Arts, and has won both the Chungshan Art & Literature Award and the Wusanlien Art & Literature Award. Lee’s fresh strokes incorporate the humanity of photography as scenes of the Southern Taiwanese countryside are brought to life in the ink. He lived in Sanzhi Township after the age of 50, where he finally established himself as an influential artist, though he greatly missed the affections of his hometown.

江兆申（中國，1949年生）

李淨（中國，1972年生）

李義弘（台灣，1941年生）

江兆申，1925年8月出生於安徽歙縣。畫家，美術

李淨，字墨盦，號十月南嬰，資深書畫人。師從畫

李義弘，字在川，1941年生於台南縣西港鄉。1966

史家。自幼學習書法、篆刻。1949年赴台灣，隨溥

壇名宿周凱，得其言傳身教，登堂入室。作品立根

年國立台灣藝術專科學校畢業。曾先後任教於基隆

心佘學習古詩詞文賦和山水畫，研讀諸家文集。長

古法，探求自然氣象與墨道氤氳，曾多次入選全國

市立中山國中和台北藝術大學。曾先後獲中山文藝

期從事中國畫繪畫史研究，於吳門畫派用功尤深，

及本港多項大型書畫展，並為私人機構收藏。2003

獎、吳三連文藝獎。李義弘將清新的筆墨結合攝影

頗有建樹。曾任台北故宮博物院研究員、副院長等

年創立淨墨文化，主張「以墨淨心，淨心寫墨。」

的文人情懷，以南台灣鄉間的水墨寫生崛起畫壇。

職。除了學術專業外，同時是一位不可多得的博物

冀透過筆墨延傳中國傳統文人書畫，同時淨化心

五十歲後深居三芝鄉間，終究確立了筆墨積澱的渾

館行政長才。江兆申不僅在中國藝術史的領域中在

靈、證於心源。

厚蒼樸，與對故鄉人文的熱切關懷。獲獎經歷：

國內外享譽盛名，他同時也在繪畫、書法、篆刻上

1974年基隆攝影學會會員，九月獲會員肖像比賽金

取得優異的成績，並曾在台北市立美術館、中國國

牌獎。1976年獲基隆攝影學會第十一屆會員季賽幻

家藝術館和安徽省黃山市博物館舉辦大型的展覽。

燈片組優秀作家獎、黑白照片組年度最佳作品金牌獎、幻燈片組年度最佳作品金牌獎。

157

ARTIST INDEX

Lot 669

Lot 671

Lot 672 Lot 604

Lot 613

Lot 618

Lot 620

LIANG Lanbo (Leong Lampo, Chinese-American, b.1961)

LUO Yangwen (Teddy Lo, Chinese, b.1974)

Yoshitomo NARA (Japanese, b.1959) Nara was born in Hirosaki, a village located in the northern prefecture of Aomori, Japan. After obtaining a Masters in Fine Arts from Aichi Prefectural University of Fine Arts and Music in Nagoya, Japan in 1987, Nara moved to Germany to study at the Kunstakademie Düsseldorf, from which he graduated in 1993. Until 2000, Nara continued to live and work in Germany before returning to Japan, and is currently based out of Tokyo. Nara’s work spans a diverse range of media, from postcards to canvas paintings to three-dimensional sculptural works, and has acquired a cult-like following as varied as his methods.

Liang was born in Guangzhou in 1961, received his PhD in Art Theory and Practice from the Central Academy of Fine Arts in Beijing, MFA in painting with High Distinction from the California College of the Arts, and BFA in ink painting from the Guangzhou Academy of Fine Arts. Liang currently works as a professor of Art at the University of Missouri-Columbia and a former Art Department Chair. He is also a Visiting Professor at the Guangzhou Academy of Fine Arts and Central China Normal University. Liang’s works can be found in the collection of Stanford University, the Asian Art Museum of San Francisco, the Minneapolis Institute of Arts, the Museu de Arte de Macau, the Guangdong Museum of Art, the Written Art Foundation in Germany, etc.

Teddy Lo is an internationally acclaimed light artist based in Hong Kong who has exhibited his works in the US, Europe, and Asia. Recognized in international art circles as a pioneering figure in the new media and contemporary art scene, Lo’s creative luminous works present a fusion of technological, conceptual and aesthetic elements. In 2003, Lo held his first solo art exhibition in NYC, Morphology, and was featured in lighting magazine’s “Who’s Who of Lighting 2004” list, for his contributions to the lighting industry. Since then, Lo has been focusing on developing LED artworks that dealt with spectrum manipulations, sculptural designs and interactive dynamics. His current works emphasize and challenge the norm and intricacies in visual, scientific and spiritual realm through the use of luminous and contemporary technologies. Lo held exhibitions in prestigious locations around the world, including Luminale in Frankfurt, Asia Society in Hong Kong, Museum of Art and Design in NYC, Shanghai Museum of Contemporary Arts, Art Centre BUDA Kortrijk in Belgium, Hong Kong Museum of Art and Esplanade in Singapore, among others.

梁藍波（美籍華人，1961年生）

羅揚文（中國，1974年生）

奈良美智（日本，1959年生）

梁藍波，1961年生於廣州，1983 年畢業於廣州美術

羅揚文是首批以LED創作揚名國際的視覺藝術家，

奈良美智生於日本青森縣弘前市，1987年畢業於日

學院國畫系，其後於美國加州美術學院油畫系獲碩

居香港，作品曾在美國、歐洲及亞洲地區展出。他

本愛知縣立藝術大學，取得碩士學位。隨後他遠赴

士學位、於北京中央美術學院獲書法與繪畫比較研

極富想像力的作品展現了科技與美學概念的完美融

德國杜塞道夫藝術學院留學，並於1993年完成其學

究博士學位。目前於美國哥倫比亞密蘇里大學美術

合。2003年，他在紐約舉辦了第一個LED藝術个人

業。他在德國生活了12年，直至2000年才回到日

系任職為終身教授、研究生導師，及湖北武漢華中

展——「形態論」，獲得了公眾、當地業內人士和

本，現時他在東京工作。奈良美智的創作跨越不同

師範大學美術學院、廣州華南師範大學美術學院等

媒體的好評。

的媒介，從明信片、畫布到雕塑作品，鮮明的風格

學校之客座教授。其作品於藏於各地區，包括舊金

從那以後，羅就一直專注於頻譜操作、雕塑設計和

使他獲得一批忠實的追隨者。

山亞洲藝術博物館、斯坦福大學肯托爾藝術中心、

交互動態的領域。他近期的作品通過光學和現代科

明尼阿波利斯藝術學院、聖路易斯大學藝術博物

技的應用呈現出對視覺、科學和精神領域上既定規

館、德國書寫藝術基金會、廣東美術館和澳門藝術

範的挑戰。之後他更在世界各地舉辦了他個人藝

博物館等。

術展，包括在美國紐約的「Russell Simmons' Art for Life」，德國法蘭克福的「Luminale」和新加坡濱海藝術中心的「2006 National Day Singapore Expo」。

158

藝術家簡歷

Lot 631

Lot 612

Lot 676

PENG Wei (Chinese, b.1974)

PU Ru (Pu Xinyu, Chinese, 1896-1963)

Natsuki URUSHIHARA (Japanese, b.1977)

Peng Wei was born in 1974, in Chengdu, China. She is a contemporary Chinese artist from Sichuan, China. She graduated from Nankai University with a BA in Fine Art in 1997, and earning a Master of Philosophy in Aesthetics in 2000. From 2000 to 2006, she was an editor for ART Magazine. She was one of 25 artists included in the "Contemporary Art from China: Visual Expression through Ink and Paper" exhibition. Her work has been featured in exhibitions at the He Xiangning Museum in Shenzhen, the National Art Museum of China in Beijing, the National Art Museum of Malaysia, Fukuoka Art Museum in Yokohama, and Kunst museum Luzern in Switzerland. Her work resides in the permanent collection of the National Museum of Art in China, the Brooklyn Museum, the Asian Art Center of San Francisco, and the Hong Kong Museum of Art.

Pu Ru, also known as Pu Xinyu with Xinyu as his courtesy name, was a traditional Chinese painter and calligrapher. He was a member o f t h e M a n c h u A i s i n G i o ro c l a n , t h e r u l i n g house of the Qing dynasty. He was a student at the University of Berlin. After he returned from Europe, he retreated into the Western Mountains, where he spent many years in Jietai Monastery to concentrate on his studies. He was appointed in October 1949 as a professor of fine arts at the National Taiwan Normal University. In 1959, he held a two-week-long art exhibition at the National Museum of History with 318 works on display.

Natsuki was born in 1977 in Kanagawa, Japan. Graduated in 2001 and graduate studies of Japanese painting in 2003 from Japanese Painting of University of Tokyo of Arts respectively. His works are delicate and imaginative, emphasizing on ancient Japanese art techniques. Natsuki is currently an active young contemporary art painter in Japan.

彭薇（中國，1974年生）

溥儒（中國，1896-1963）

漆原夏樹（日本，1977年生）

彭薇，女，1974年生於成都。 1997年畢業於南開大

溥心畬（1896-1963）原名愛新覺羅·溥儒，初字仲

漆原夏樹，1977年出生於日本神奈川縣。2001年，

學東方文化藝術系中國畫專業，獲文學學士學位。

衡，改字心畬，自號羲皇上人､西山逸士。北京

畢業於東京藝術大學繪畫科日本畫攻。他的作品細

2000年畢業於南開大學人文學院美學專業，獲哲學

人，滿族，為清恭親王奕訢之孫。曾留學德國，篤

膩而充滿想像力。他專注於研習日本古美術技法，

碩士學位。 2000年至2006年任中國美術家協會《美

嗜詩文、書畫，皆有成就。畫工山水、兼擅人物、

現為日本當代藝術界活躍的青年畫家。

術》雜誌編輯。她曾與其它24位藝術家共同被選入

花卉及書法，與張大千有「南張北溥」之譽，又與

中國當代水墨畫展覽中。她的作品曾於深圳何香凝

吳湖帆並稱「南吳北溥」。溥心畬行草學二王、米

美術館、中國美術館、馬來西亞國家美術館、日本

芾。

福岡市美術館和瑞士盧塞恩市立美術館展出，並被中國美術館、布魯克林美術館、舊金山亞洲藝術博物館和香港藝術館永久地收藏。

159

ARTIST INDEX

Lot 606

Lot 615

Lot 657

QIN Ai (Chinese, b.1979)

WAN Qingli (Chinese, b.1945)

Born in 1973 in Nantong, Jiangsu. Graduated from Nanjing Art Institute of Chinese Painting in 1996. Qin now is a professional painter. Qin rendered by meticulous brushwork, with main theme being animals and natural scene, showing the depth of tension and scenes arrangements. Exhibitions: 2012 “The End of the World by My Side, First Solo Tour Exhibition of Qin Ai”, Ping Art Space/Hanmo Art Gallery/Jiangsu Provincial Art Museum, Taipei/ Beijing/Nanjing, China; 2015, “Xu Hong & Qin Ai: Ksana” Today Art Museum, Beijing. Important collections: “The Chest of Pandora I”, Jiangsu Provincial Art Museum.

Wan Qingli was born in Beijing in 1945, Wan graduated from the Department of Art History and the Department of Chinese painting of the Central Academy of Fine Arts in 1968 and 1981 respectively. He studied from some of the major artists of the past century including Li Keran (1907-1989) and Lu Yanshao (1909-1993). Wan completed his PhD degree in art history at The University of Kansas in the United States and since 1989 has taught at the Department of Fine Arts of The University of Hong Kong. Wan worked at Art Academy of Beijing and Beijing Chinese Painting Research Institute for eight years. From 1985 to date, Wan is a fellow of the College Art Association (CAA, New York); fellow of the UNESCO International Art Critics Association from 1995 onwards (IACA, Paris) and director of the Hong Kong branch; and served as the International Art History academic publications editorial consultant.

秦艾（中國，1973年生）

萬青力（中國，1945年生）

吳觀麟（中國香港，1964年生）

秦艾，1973年生於江蘇省南通市，1996年畢業於南

萬青力生於1945年。別名白黑、海音，安徽宣城

1964年生於香港。1986年取得香港中文大學校外進

京藝術學院美術系中國畫專業。現為職業畫家，生

人，擅長中國畫和美術史論。1963年起從蕭淑芳教

修部中國水墨畫課程文憑， 2011年取得澳洲皇家

活於南京。秦艾通過工筆渲染的筆法，將大自然的

授學畫，1973年後兼師吳作人教授。山水畫師承李

墨爾本理工大學藝術碩士。個人藝術作品包括現代

動物和風景融入室內，呈現出極有心理張力的景深

可染和陸儼少教授。1968年畢業於中央美術學院美

水墨、裝置、攝影、公共藝術、雕塑、以及地景

和場景安排。重要個展：2012《靠近我的天涯》秦

術史系，1979年考取中央美術學院中國畫系研究

藝術。曾參與超過七十個本地及海外展覽，包括：

艾首度個人作品巡迴展，臺北平藝術空間，北京世

生，1980年成為中國美術家協會會員，曾任第六屆

「香港當代藝術雙年展」，1983-1994;「第七屆、

紀翰墨畫廊，南京江蘇省美術館；2015《剎那–秦艾

全國青聯委員，1981年畢業，分配到中國畫研究院

第八屆、第十屆全國美術作品展」, 北京中國美術

＆徐弘雙個展》北京今日美術館。收藏：作品《百

任學報編輯。1984年春赴美國自費留學，先後在紐

館, 1989-2004;「新水墨藝術：創新與超越」，香港

寶箱之潘朵拉I》獲江蘇省工筆畫大展金獎，由江蘇

約及堪薩斯大學讀書，獲堪大研究院藝術史碩士、

藝術館，2008;「承傳與創造—水墨對水墨」，上海

省美術館收藏。

哲學博士學位，曾在堪大及奈爾遜博物館工作。

當代藝術館，2010;「蒙古360°:第一屆地景藝術雙

1989年10月起，應聘任教香港大學藝術學系，博

年展」，蒙古國立現代美術館， 2010。曾獲「香港

士研究生導師。曾在北京畫院及中國畫研究院任職

市政局藝術獎」，繪畫．國畫素材．1994；「第十

共八年。1985年起至今，為美國大學藝術學會會員

屆全國美術作品特別獎」，2004等獎項。作品可見

（CAA，New York）；1995年起至今，為聯合國科

於香港國際機場、濕地公園、香港警察總部、西貢

教文組織所屬國際藝評家協會會員（IACA，Paris）

視覺走廊，尖沙咀百年紀念公園和香港K11藝術購物

兼香港分會理事；並兼任國際美術史學術刊物編輯

商場等，並為香港文化博物館，香港藝術館及私人

顧問等職位。

收藏。 160

WU Guanlin (NG Kwun Lun Tony, Chinese, b.1964) Born in Hong Kong in 1964, Ng obtained a D i p l o m a i n C h i n e s e i n k p a i n t i n g f ro m t h e Department of Extralmural Studies of the Chinese University of Hong Kong in 1986 and obtained M a s t e r o f F i n e A r t f ro m R o y a l M e l b o u r n e Institute of Technology in 2011. Ng’s works include contemporary ink painting, installation, photography, public art, sculpture and “land art” on site. His art has been featured in more than 70 overseas and local exhibitions.His works have also been collected by the Hong Kong Heritage Museum, the Hong Kong Museum of Art and private collectors.

藝術家簡歷

Lot 602

Lot 635

Lot 661

XIA Yifu (HSIA Yifu, Chinese, b.1927)

ZHANG Yu (Chinese, b.1959)

ZHOU Cheng (Taiwanese, b.1941)

HSIA Yifu was born in Shandong, also named Hsia Hongxi. Graduated from Yantai School and taught in an elementary school. Hsia moved to Taiwan due to the civil war in 1949. The artist established Eastern Gallery in 1971 and specialized in his art craft work. Hsia learned painting skills from a famous artist FU Chuan-Fu in 1988 and Hsia’s works were wildly exhibited in a plenty of famous museums and galleries. He also held his solo exhibitions in Taiwan. His work was collected at Taipei Fine Art Museum, National Taiwan Museums of Fine Arts, Harvard University of America, etc.

Born in Tianjin, China. Zhang graduated from Tian Jin Arts and Crafts Vocational College in 1988. In 1993, he was invited to give lectures at the Royal Academy of Fine Arts in Antwerp, Belgium. Zhang is an important figure in the contemporary experimental Chinese ink and wash painting of the 1990’s. Major exhibitions including: 1992, “Chinese Artist Zhang Yu: Modern Ink and Wash Exhibition”, Belyaevo Modern Art Museum, Moscow, Russia; 1999, “Color, Brush and Ink: Zhang Yu and Heidi Meyer”, German Embassy, Beijing, China; 2001, “Zhang Yu: Experimental Ink and Wash”, Red Mansion Foundation, London, UK; “Diffused Fingerprints – Zhang Yu’s Art works”, National Sun Yat-sen Memorial Hall, Taipei, Taiwan; “Cultivation Practice – Exhibition of Zhang Yu’s Fingerprint Works 1991-2013”, Gwangju Museum of Art, Gwangju, Korea. Main collections: Hong Kong Art Museum, Hong Kong, China; Metropolitan Museum of Art, New York, U.S.A; the Estella Collection Foundation, New York, U.S.A; Olenska Foundation Art Museum, Geneva, Switzerland; Royal Academy of Fine Arts, Antwerp, Belgium; Belyaevo Modern Art Gallery, Moscow, Russia.

Zhou Cheng, courtesy name: Chunbo, born in Yilan, Taiwan in 1941, is a famous contemporary calligrapher, painter and educator in Taiwan, known for his extraordinary skills in poet, calligraphy, painting and seal-cutting. His works have been exhibited in his own solo exhibition as well as in museums, galleries all around the world. In 2003, he became the first contemporary artist whose works were exhibited in Painting Hall of the Palace Museum in Beijing. He is now an artist of Tamkang University, professor of Department of Fine Arts of National Taiwan University of Arts, Collection Committee member of the Palace Museum in Taipei, Evaluation Committee member of Taipei History Museum, president of Taiwan Seal Art Society, member of Xiling Seal Art Society, deputy dean of Chinese Painting School of Chinese Painting Academy, researcher of Seal Art Department of Chinese Fine Arts Institute, honorary advisor of Chinese Culture and Arts Foundation.

夏一夫（中國，1927年生）

張羽（中國，1959年生）

周澄（臺灣，1941年生）

1927年生於山東，原名夏鴻錫。1945煙台師範學

出生於中國天津，1988年畢業於天津工藝美術學

周澄，字蓴波，1941年出生在臺灣省宜蘭縣，其藝

校畢業，後任小學老師。1949年因戰亂隨軍來台，

院，1993年比利時安特衛普皇家美術學院講學。張

術學養嚴謹而脈絡清晰，是臺灣當代著名書畫家和

1971創設東方畫廊，專事蠟染畫創作。1988年隨傅

羽為中國大陸1990年代以來當代實驗水墨的核心人

美術教育家，其詩、書、畫、印全能的藝術造詣早

狷夫習畫。此後作品多次在海內外知名畫廊，美術

物。1992年「張羽現代水墨藝術展」個展於俄羅斯

已蜚聲國際藝壇，其作品曾在國內個展十餘次，並

館展出，亦曾多次在台灣舉辦個展。他的作品被臺

莫斯科比那耶烏現代美術館，1999年「色筆墨」中

在英、美、加、日、韓等地舉辦個展多次，是第一

北市立美術館，國立台灣美術館，美國普林斯頓大

德藝術交流展，於北京德國駐華大使館，2001年

位在北京故宮舉辦個展的當代書畫家。他現為淡江

學美術館等知名機構收藏。

「張羽實驗水墨展」於英國倫敦紅樓基金會，「迷

大學的藝術家，台灣國立藝術大學藝術系教授，台

漫的指印」台灣台北，國父紀念館，2011年「合

北故宮博物院委員會成員，台灣歷史博物館評審會

流︰張羽、索涵．卡德里雙個展」美國紐約，泰

成員，台灣篆刻藝術協會主席，西冷印社成員，中

戈爾畫廊，2012年「張羽的指印」美國邁阿密，

國畫學院副院長，中國美術協會篆刻部研究院，及

C O N T E X T邁阿密國際藝術博覽會，2013年「修

中國文化藝術基金會榮譽顧問。

行—張羽個展」韓國光州，光州市立美術館。作品典藏︰香港藝術館、紐約大都會博物館、美國紐約艾絲戴拉基金會美術館、瑞士日內瓦奧蘭斯卡基金會美術館、比利時安特衛普皇家美術學院博物館、俄羅斯莫斯科比納耶烏現代美術館。

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