亞洲現代與當代藝術 Modern and Contemporary Asian Art

AUTUMN AUCTION 2014 TAIPEI

羅芙奧台北 2014 秋季拍賣會 亞洲現代與當代藝術

RAVENEL AUTUMN AUCTION 2014 TAIPEI Modern and Contemporary Asian Art 拍賣日期

地點

2014年12月7日（日）下午 2:30 富邦人壽大樓國際會議中心 台北市敦化南路一段108號B2 預展日期

地點

台中 2014年11月8日（六）下午 1:00 至下午 6:00 2014年11月9日（日）上午 11:00 至下午 6:00 寶輝建設接待中心 台中市市政北二路與惠來路交叉口 香港 2014 年11月21日（五）下午 2:00 至下午 7:00 2014 年11月22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 台北 2014年12月5日（五）至12月6日（六）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

AUCTION Sunday, December 7, 2014, 2:30pm Fubon International Conference Center B2, No. 108, Section 1, Dunhua South Road, Taipei, Taiwan

PREVIEWS Taichung

Saturday, November 8, 2014, 1:00pm - 6:00pm Sunday, November 9, 2014, 11:00am - 6:00pm Pao-Huei Construction Reception Center Intersection of Shizheng North 2nd Road and Huilai Road, Xitun District, Taichung, Taiwan

Hong Kong

Friday, November 21, 2014, 2:00pm - 7:00pm Saturday, November 22, 2014, 10:00am - 7:00pm Grand Hyatt Hong Kong - Tiffin Lounge 1 Harbour Road, Wanchai, Hong Kong

Taipei

Friday, December 5 - Saturday, December 6, 2014, 10:00am - 6:00pm Fubon International Conference Center B2, No. 108, Section 1, Dunhua South Road, Taipei, Taiwan 拍賣目錄每本售價：NT$2,000 This auction catalogue: NT$2,000 per copy

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

陳惠黛 Odile Chen

藝術部總經理 President, Art Department

藝術部總經理（海外拓展） Chief Specialist, Art Department

林慧菁 Maggie Lin

黃詩涵 Stella Huang

藝術部副總經理 Vice President, Art Department

藝術部經理 Manager, Art Department

張淳茹 Sabrina Chang

吳博峯 Tommy Wu

營運部協理 Senior Manager Operations Department

總務處協理 Senior Manager, General Affairs

羅芙奧台北 2014 秋季拍賣會服務部門及連絡人

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RAVENEL STAFF AND SERVICES FOR THIS SALE

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CATALOGUE SUBSCRIPTION Taiwan

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Hong Kong

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.

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目次 / Contents

5

羅芙奧秋季拍賣會

Sale Information 10

羅芙奧之服務

Ravenel Services 15

藝術家索引

Index 16

亞洲現代與當代藝術

Modern and Contemporary Asian Art 365

委託競投表格

Absentee Bid Form 367

業務規則

Transaction Agreement

藝術家索引 / Index

CHUANG Che

莊喆

333 142 300 329 329 123, 248, 249 124 161, 162, 165, 166 271 198 119, 128, 134 288 147 291 252, 253 290 110 163, 164, 273, 278 324, 332 167, 168, 169, 173 174, 180, 186, 187 228, 229, 230, 297 298, 299 156, 261, 266

D

DAI Ze DING Yan-yung DU Xi

戴澤 丁衍庸 杜溪

254, 255 197 282, 284, 289

F

FANG Lijun Alixe FU

方力鈞 傅慶豊

296 114, 116, 149

G

GOH Geun-Ho GU Wenda

高勤虎 谷文達

320 205, 213

H

Jaime HAYON HE Juan HOU Chun-ming HSIAO Chin

亞米．海因 賀娟 侯俊明 蕭勤

HSIEH Hsiao-De HSIEH Tong-liang HSU Yu-jen HU Shanyu HUANG Ming-chang HUANG Po-Ren HUNG Jui-lin HUNG Tung HUNG Yi Dennis HWANG HWANG Jyi Michell HWANG

謝孝德 謝棟樑 許雨仁 胡善餘 黃銘昌 黃柏仁 洪瑞麟 洪通 洪易 黃志超 黃楫 黃銘哲

337 281 195 105, 115, 120, 137 138, 151, 272 246 331 111, 112 263 268 334 148, 245 217 330 199 141 179, 322

I

Kiriko IIDA

飯田桐子

311, 316

J

JAN Chin-shui JI Dachun JI Yong Ho JU Ming

詹金水 季大純 池龍虎 朱銘

139, 144 303 335 181, 184, 185, 336 338

K

Eddie KANH KIM Nampyo KING Fen-hwa Hiroto KITAGAWA J. C. KUO Yayoi KUSAMA

姜錫鉉 金南杓 金芬華 北川宏人 郭振昌 草間彌生

315 314 247, 250 321 264 309, 312, 313, 319

L

Daniel LEE LEE Min-Chung LI Chen LI Chun-shan LI Hui LI Rui

李小鏡 李民中 李真 李仲生 李暉 李銳

292, 293 258 182, 183 190, 191, 200 308 295

C

CAI Zhisong CHANG Chen-yu CHANG Chia-ying CHANG Keng-hau CHANG Geng-hwa CHANG Wan-chuan Yoshio CHANG George CHANN CHEN Cheng-po CHEN Chi-kwan CHEN Ching-jung CHEN Liu CHEN Ting-shih CHEN Wan-Jen CHEN Yin-Wei Zeno CHEN CHENG Tsai-tung CHIU Ya-tsai CHU Chen-yung CHU Teh-chun

蔡志松 張振宇 張嘉穎 張耿豪 張耿華 張萬傳 張義雄 陳蔭羆 陳澄波 陳其寬 陳景容 陳流 陳庭詩 陳萬仁 陳英偉 陳志駒 鄭在東 邱亞才 初陳勇 朱德群

LI Shan LI Shih-chiao LIANG Xi-ping LIANG Yifen LIAO Chi-chun LIN Fengmian LIN Wan-Shih LIN Yao-sheng LIU Haisu LIU Keng-I LIU Kuo-sung Max LIU LIU Zhifei LU Guoying LU Hsien-ming LUO Zhongli

李山 李石樵 梁夕萍 梁奕焚 廖繼春 林風眠 林萬士 林耀生 劉海粟 劉耿一 劉國松 劉其偉 劉志飛 陸國英 陸先銘 羅中立

305 269 280 259, 262 270 227, 233 118 251 232 113, 131 207, 218, 231 104, 140, 194 127 256 150 178

M

MIAO Jingchang

苗景昌

294

P

PANG Jiun

龐均

PANG Xunqin

龐薰琹

103, 153, 157, 158 159, 267 215

Q

QI Zhilong QIN Xuanfu

祁志龍 秦宣夫

302 260

R

REN Jian RAN In-ting

任戩 藍蔭鼎

304 189

S

SANYU

常玉

234, 235, 236, 237 238, 239, 240, 241 242, 243, 244 317, 318 130, 132 154, 188, 206, 214 221, 222, 223, 224 226 106, 146 257

Masaru SCHICHINOHE 七戶優 SHEN Che-tsai 沈哲哉 席德進 SHIY De-jinn SU Meng-hung SUN Yuntai

蘇孟鴻 孫雲台

TAI Hoi-ying T’ANG Haywen

戴海鷹 唐海文

TIAN Xiaochi Walasse TING

田小赤 丁雄泉

TSONG Pu Tomoya TSUKAMOTO

莊普 塚本智也

129 208, 209, 210, 211 212, 216 285 101, 102, 107, 108 121, 122, 125, 219 220, 275, 276, 277 109 310

W

We Studio WANG Jinsong WANG Wen-ping WANG Xinfeng WANG Ya-Hui WANG Yan Cheng John WAY WU Hao

We Studio 王勁松 王文平 王信豐 王雅慧 王衍成 魏樂唐 吳昊

143 204, 286 133 145 117 175 135 126

X

XU Na

許那

283, 287

Y

YANG Chihung YANG Din YANG San-lang Yuyu YANG Tzu-chi YEH YU Cheng-yao

楊識宏 楊登雄 楊三郎 楊英風 葉子奇 余承堯

YU Peng YUE Minjun

于彭 岳敏君

136, 155 152 265 325, 326, 327, 328 160, 274, 279 192, 193, 201, 202 203, 225 196 306

ZAO Wou-ki

趙無極

ZHOU Chunya ZHU Yiyong

周春芽 朱毅勇

T

Z

170, 171, 172, 176 177, 323 307, 337 301

101 Walasse TING

丁雄泉

(Chinese-American, 1929-2010)

小貓咪

Little Cat

1980年代 壓克力 紙本 24 x 38 cm 鈐印左上：採花大盜

1980s Acrylic on paper 24 x 38 cm With one seal of the artist PROVENANCE: Private collection, Europe

NT$ 70,000-140,000 HK$ 18,000-36,000 US$ 2,300-4,600

16

來源： 私人收藏，歐洲

102 Walasse TING

(Chinese-American, 1929-2010)

Fish Swimming in Lotus Ponds 1980s Acrylic on paper 49 x 37 cm With one seal of the artist PROVENANCE: Private collection, Europe

NT$ 100,000-200,000 HK$ 26,000-51,000 US$ 3,300-6,600

丁雄泉 魚戲荷塘 1980年代 壓克力 紙本 49 x 37 cm 鈐印左下：採花大盜 來源： 私人收藏，歐洲

103 PANG Jiun

龐均

(Chinese, b. 1936)

晨曦

Dawn

1990 針筆 墨 紙本 36 x 45 cm 簽名右下：龐均 1990年 鈐印右下：醉手、龐均

1990 Drawing pen and ink on paper 36 x 45 cm Signed lower right Pang Jiun in Chinese and dated 1990 With two seals of the artist

NT$ 120,000-220,000 HK$ 31,000-56,000 US$ 3,900-7,200

18

104 Max LIU

(LIU Chi-wei) (Taiwanese, 1912-2002)

A Roadrunner 1983 Mixed media on paper 52 x 34 cm Signed upper right Liu Chi-wei in Chinese phonetic alphabet and dated 1983 ILLUSTRATED: Max Chiwei Liu – Water-color Works of 1962-86, Artist Publishing Co., Taipei, 1986, color illustrated, pp. 48-49 This drawing is to be sold with a certificate of authenticity issued by Lung Men Art Gallery, Taipei.

NT$ 130,000-240,000 HK$ 33,000-61,000 US$ 4,300-7,900

劉其偉 沙漠裡的步行者—蛇鳥 1983 綜合媒材 紙本 52 x 34 cm 簽名右上： ㄌㄧㄡˊ ㄑㄧˊ ㄨㄟˇ 1983 圖錄： 《劉其偉水彩集—1986廿四節氣系列》，藝術家出 版社，台北，1986，彩色圖版，頁48-49 附龍門畫廊開立之原作保證書

105 HSIAO Chin

(XIAO Qin) (Taiwanese, b. 1935)

Big Storm 1985 Acrylic on paper 49.5 x 66 cm Signed center Hsiao in English, Chin in Chinese and dated 85 in Chinese

NT$ 130,000-220,000 HK$ 33,000-56,000 US$ 4,300-7,200

20

蕭勤 大風暴 1985 壓克力 紙本 49.5 x 66 cm 簽名中央：Hsiao 勤 八五

106 SU Meng-hung (Taiwanese, b. 1976)

HIRST 1 2008 Mixed media on canvas 90 x 90 cm

NT$ 140,000-280,000 HK$ 36,000-71,000 US$ 4,600-9,200

蘇孟鴻 賀死的 2008 綜合媒材 畫布 90 x 90 cm

107 Walasse TING

(Chinese-American, 1929-2010)

Lady, Parrots and Horse 1980s Acrylic on paper 22 x 30 cm With one seal of the artist PROVENANCE: Private collection, Europe

NT$ 130,000-220,000 HK$ 33,000-56,000 US$ 4,300-7,200

22

丁雄泉 美人、鸚鵡與馬 1980年代 壓克力 紙本 22 x 30 cm 鈐印左下：採花大盜 來源： 私人收藏，歐洲

108 Walasse TING

丁雄泉

(Chinese-American, 1929-2010)

鸚鵡

A Pair of Parrots

1980年代 壓克力 紙本 36 x 46.5 cm 鈐印左上：採花大盜

1980s Acrylic on paper 36 x 46.5 cm With one seal of the artist PROVENANCE: Private collection, Europe

NT$ 140,000-240,000 HK$ 36,000-61,000 US$ 4,600-7,900

來源： 私人收藏，歐洲

109 TSONG Pu

(Taiwanese, b. 1947)

Radical May 1997 Acrylic on canvas 53 x 246 cm EXHIBITED: Your are the Beautiful Flower, IT PARK, Taipei, May 24-June 14, 1997 Art from the Underground: Tsong Pu Solo Exhibition, Taipei Fine Arts Museum, Taipei, May 22-August 18, 2010 ILLUSTRATED: Art from the Underground: Tsong Pu Solo Exhibition, Taipei Fine Arts Museum, Taipei, 2010, color illustrated, p. 69

NT$ 160,000-240,000 HK$ 41,000-61,000 US$ 5,300-7,900

24

莊普 激進的五月 1997 壓克力 畫布 53 x 246 cm 展覽： 「你就是那美麗的花朵」，伊通公園，台北，展期 自1997年5月24日至6月14日 「2010莊普地下藝術展」，台北市立美術館， 台北，展期自2010年5月22日至8月18日 圖錄： 《2010莊普地下藝術展》，台北市立美術館， 台北，2010，彩色圖版，頁69

110 CHENG Tsai-tung (ZHENG Zaidong) (Taiwanese, b. 1953)

A Moonlit Night 1990 Oil on canvas 73 x 91 cm Signed center right Cheng Tsai-tung in Chinese and dated '90 EXHIBITED: Cheng Tsai-tung – Peitou Romance, Hsiung Shih Gallery, Taipei, March 6-21, 1993 ILLUSTRATED: Cheng Tsai-tung – Peitou Romance, Hanart Gallery, Taipei, 1993, color illustrated, p. 8 Cheng Tsai-tung, Lion Art Magazine March issue 265, Taipei, 1993, black and white illustrated, p. 43

NT$ 180,000-280,000 HK$ 46,000-71,000 US$ 5,900-9,200

鄭在東 雖然是十五暝，月色帶柔意 1990 油彩 畫布 73 x 91 cm 簽名右中：'90 鄭在東 展覽： 「鄭在東—北投風月」，雄獅畫廊，台北，展期自 1993年3月6日至21日 圖錄： 《鄭在東—北投風月》，漢雅軒畫廊，台北， 1993，彩色圖版，頁8 《鄭在東專輯》，雄獅月刊三月號第265期，台北， 1993，黑白圖版，頁43

111 HSU Yu-jen

(Taiwanese, b. 1951)

Waiting for Free Love 1998 Oil on canvas mounted onto wooden board 133.5 x 51.5 cm Signed lower center Hsu Yu-jen in Chinese, initialed HYJ in English, titled Waiting for Free Love in Chinese, inscribed A Man with Green Imprint in Chinese, dated 1998 LA

NT$ 180,000-280,000 HK$ 46,000-71,000 US$ 5,900-9,200

許雨仁 等待流水情愛自由 1998 油彩 畫布 裱於木板 133.5 x 51.5 cm 簽名中下：被綠色烙印的男人 許雨仁 HYJ 1998 LA 等待流水情愛 自由

26

112 HSU Yu-jen

(Taiwanese, b. 1951)

Something about Culture Oil on canvas mounted onto wooden board 133.5 x 54 cm Signed lower center Hsu Yu-jen in Chinese, initialed HYJ in English, titled Something about Culture and inscribed Memory of Juda's Iron Frame both in Chinese

NT$ 180,000-280,000 HK$ 46,000-71,000 US$ 5,900-9,200

許雨仁 有感於文化 油彩 畫布 裱於木板 133.5 x 54 cm 簽名中下：有感於文化 許雨仁 HYJ 猶太的鉄框的記憶

113 LIU Keng-I

(Taiwanese, b. 1938)

Winter 1991 Crayon and oil on paper 55 x 75 cm Signed lower right Keng in Chinese and dated 1991

NT$ 120,000-200,000 HK$ 31,000-51,000 US$ 3,900-6,600

劉耿一 冬 1991 蠟筆 油彩 紙本 55 x 75 cm 簽名右下：耿 1991

28

114 Alixe FU

(FU Qingli, Ching-Fong) (Chinese-French, b. 1961)

Canapé rouge 1990 Oil on canvas 100 x 81 cm Signed lower right Alixe Fu in French and dated 90 Signed on the reverse Fu Qingli in Chinese, Alixe Fu in French, inscribed 40F and dated 90 ILLUSTRATED: Alixe Fu, East Gallery, Taipei; Galerie Patrick Chemama, Paris, 1990, color illustrated, p. 39

NT$ 180,000-280,000 HK$ 46,000-71,000 US$ 5,900-9,200

傅慶豊 紅色沙發 1990 油彩 畫布 100 x 81 cm 簽名右下：Alixe Fu 90 簽名畫背：40F 傅慶豊 Alixe Fu 90 圖錄： 《傅慶豊》，東之畫廊，台北；派帝克畫廊，巴 黎，1990，彩色圖版，頁39

115 HSIAO Chin

(XIAO Qin) (Taiwanese, b. 1935)

Opening and Closing No. 2 1960 Ink and color on paper 38.5 x 56.5 cm Signed lower right HSiAO in English, Chin in Chinese and dated November 8, 60 With one seal of the artist

NT$ 120,000-280,000 HK$ 31,000-71,000 US$ 3,900-9,200

30

蕭勤 開闔之二 1960 彩墨 紙本 38.5 x 56.5 cm 簽名右下：HSiAO 勤 十一. 八. 60. 鈐印右下：蕭勤

116 Alixe FU

(FU Qingli, Ching-Fong) (Chinese-French, b. 1961)

Un poisson à l'arrière 1990 Oil on canvas 100 x 81 cm Signed lower left Alixe Fu in French and dated 90 Signed on the reverse Fu Qingli in Chinese, Alixe Fu in French, inscribed 40F and dated 90 ILLUSTRATED: Alixe Fu, East Gallery, Taipei; Galerie Patrick Chemama, Paris, 1990, color illustrated, p. 60

NT$ 180,000-280,000 HK$ 46,000-71,000 US$ 5,900-9,200

傅慶豊 背後有隻魚 1990 油彩 畫布 100 x 81 cm 簽名左下：Alixe Fu 90 簽名畫背：40F 傅慶豊 Alixe Fu 90 圖錄： 《傅慶豊》，東之畫廊，台北；派帝克畫廊，巴 黎，1990，彩色圖版，頁60

117 WANG Ya-hui (Taiwanese, b. 1973)

Sunshine on Tranquility 2005 Video installation, edition no. 5/6 Length:4'36" (Endless Loop) Signed on the disk Wang Yahui in Chinese and English, titled Sunshine on Tranquility in Chinese and English, numbered 5/6 EXHIBITED: Empty Fields – A Dialogue Between Contemporary Art and Contemporary Philosophy, Kuandu Museum of Fine Arts, Taipei, February 18-April 2, 2006 This work is to be sold with a certificate of authenticity signed by the artist and issued by Galerie Grand Siècle, Taipei.

NT$ 180,000-260,000 HK$ 46,000-66,000 US$ 5,900-8,500

32

王雅慧 日光下的靜物 2005 影像裝置 5/6 長度：4分36秒（循環放映） 簽名光碟上："日光下的靜物" Sunshine on Tranquility 5/6 王雅慧 Wang Yahui 展覽： 「空場—台灣當代藝術與當代哲學的對話」，關渡 美術館，台北，展期自2006年2月18日至4月2日 附新苑藝術開立藝術家親筆簽名之原作保證書

118 LIN Wan-shih (Taiwanese, b. 1964)

Silent Island 2011 Oil on canvas 120 x 140 cm Signed on the reverse Wan S Lin in Chinese and English, titled Silent Island in Chinese, inscribed 120 x 140 cm and dated 2011 This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 200,000-400,000 HK$ 51,000-102,000 US$ 6,600-13,100

林萬士 靜寂之嶼 2011 油彩 畫布 120 x 140 cm 簽名畫背：靜寂之嶼 2011 120 x 140 cm 林萬士 Wan S Lin 林萬士 附藝術家親筆簽名之原作保證書

119 CHEN Ching-jung

陳景容

(Taiwanese, b. 1934)

澎湖民房

House in Penghu

1993 油彩 畫布 46 x 53 cm 簽名左下：景容 1993

1993 Oil on canvas 46 x 53 cm Signed lower left Ching-jung in Chinese and dated 1993 EXHIBITED: 1994 Taiwan Art Elite Exhibition, Li Shih-Chiao Museum, Taipei, 1994 ILLUSTRATED: 1994 Taiwan Art Elite Exhibition, Li Shih-Chiao Museum, Taipei, 1994, color illustrated, p. 58 This painting is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.

NT$ 180,000-260,000 HK$ 46,000-66,000 US$ 5,900-8,500

34

展覽： 「1994年台灣美術精英研究展」，李石樵美術館， 台北，1994年 圖錄： 《1994年台灣美術精英研究展》，李石樵美術館文 化中心出版，台北，1994，彩色圖版，頁58 附亞洲藝術中心開立之原作保證書

120 HSIAO Chin

(XIAO Qin) (Taiwanese, b. 1935)

Il nuovo campo magnetico spiritual – 11 1998 Acrylic on canvas 60 x 50 cm Signed on the reverse HSIAO in English, Chin in Chinese, dated 98 in Chinese, titled Il nuovo campo magnetico spiritual-11 in Italian and inscribed acrilico 60 x 50 cm This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 260,000-400,000 HK$ 66,000-102,000 US$ 8,500-13,100

蕭勤 新精神磁場11 1998 壓克力 畫布 60 x 50 cm 簽名畫背：HSIAO 勤 九八 Il nuovo campo magnetico spiritual-11 acrilico 60 x 50 cm 附藝術家親筆簽名之原作保證書

121 Walasse TING

(Chinese-American, 1929-2010)

Red Flowers with Blue Parrot 1980s Acrylic on paper 47 x 59.5 cm With one seal of the artist PROVENANCE: Private collection, Europe

NT$ 190,000-280,000 HK$ 48,000-71,000 US$ 6,200-9,200

36

丁雄泉 紅花與藍鸚鵡 1980年代 壓克力 紙本 47 x 59.5 cm 鈐印左下：採花大盜 來源： 私人收藏，歐洲

122 Walasse TING

(Chinese-American, 1929-2010)

Sweet Watermelon 1980s Acrylic on paper 58.5 x 47.5 cm With one seal of the artist PROVENANCE: Private collection, Europe

NT$ 200,000-300,000 HK$ 51,000-77,000 US$ 6,600-9,900

丁雄泉 西瓜的滋味 1980年代 壓克力 紙本 58.5 x 47.5 cm 鈐印右上：採花大盜 來源： 私人收藏，歐洲

123 CHANG Wan-chuan

花

Flowers

1964 油彩 木板 39.5 x 30.5 cm 簽名右上：CHANG - 万 64

1964 Oil on wooden board 39.5 x 30.5 cm Signed upper right CHANG in English and Wan in simplified Chinese, dated 64 ILLUSTRATED: Chang Wan-chuan Collection Album, Galerie Elegance, Taipei, 1990, color illustrated, pp. 170-171

NT$ 200,000-400,000 HK$ 51,000-102,000 US$ 6,600-13,100

38

張萬傳

(Taiwanese, 1909-2003)

圖錄： 《張萬傳畫冊》，愛力根畫廊，台北，1990，彩色 圖版，頁170-171

124 Yoshio CHANG (Taiwanese, b. 1914)

Lakeside Woods; Street Scene (a set of 2) 1981(upper); 1990(lower) Oil on canvas 13.5 x 17.5 cm (upper) 14.5 x 18.5 cm (lower) Signed lower right CHANG.Y. in English and dated '81 (upper) Signed lower right CHANG.Y. in English and dated '90 (lower) These paintings are to be sold with certificates of authenticity issued by Impressions Art Gallery, Taipei.

NT$ 200,000-300,000 HK$ 51,000-77,000 US$ 6,600-9,900

張義雄 林間湖畔；街景（兩件一組） 1981（上）；1990（下） 油彩 畫布 13.5 x 17.5 cm（上） 14.5 x 18.5 cm（下） 簽名右下：'81. CHANG.Y.（上） 簽名右下：CHANG.Y. '90.（下） 附印象藝術中心開立之原作保證書

125 Walasse TING

丁雄泉

(Chinese-American, 1929-2010)

花彩繽紛

Colorful Flowers

1980年代 壓克力 紙本 48.5 x 65.5 cm 鈐印右下：採花大盜

1980s Acrylic on paper 48.5 x 65.5 cm With one seal of the artist PROVENANCE: Private collection, Europe

NT$ 200,000-300,000 HK$ 51,000-77,000 US$ 6,600-9,900

40

來源： 私人收藏，歐洲

126 WU Hao

吳昊

(Taiwanese, b. 1931)

小女孩與鳥

Girls with Birds

2001 油彩 畫布 65 x 65 cm 簽名左上：吳昊 2001

2001 Oil on canvas 65 x 65 cm Signed upper left Wu Hao in Chinese and dated 2001

NT$ 220,000-360,000 HK$ 56,000-92,000 US$ 7,200-11,800

127 LIU Zhi-fei

劉志飛

(Taiwanse, b. 1958)

花開了就相愛

Fall in Love When the Flowers Blooms

2011-2013 油彩 畫布 72.5 x 91 cm 簽名左下：飛 2011-3 指印一枚

2011-2013 Oil on canvas 72.5 x 91 cm Signed lower left fei in Chinese and dated 2011-3 With one fingerprint of the artist This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 220,000-420,000 HK$ 56,000-107,000 US$ 7,200-13,800

42

附藝術家親筆簽名之原作保證書

128 CHEN Ching-jung

陳景容

(Taiwanese, b. 1934)

澎湖古厝

Old House in Penhu

1992 油彩 畫布 50 x 60.5 cm 簽名左下：景容 1992

1992 Oil on canvas 50 x 60.5 cm Signed lower left Ching-jung in Chinese and dated 1992 RROVENANCE: Heritage Arts Auction, December 14, 1997 Acquired from the above by the present owner

NT$ 240,000-420,000 HK$ 61,000-107,000 US$ 7,900-13,800

來源： 傳家藝術1997年12月14日精品拍賣會 現有收藏者購自上述來源

129 TAI Hoi Ying

(Chinese-French, b. 1946)

The Park 1979 Oil and acrylic on canvas 97 x 146 cm Signed on the reverse Tai, titled THE PARK 79 in English, inscribed 146 X 97 cm OIL and ACRYLIC on CANVAS in English and dated 79

NT$ 240,000-360,000 HK$ 61,000-92,000 US$ 7,900-11,800

44

戴海鷹 公園 1979 油彩 壓克力 畫布 97 x 146 cm 簽名畫背：THE PARK 79 146 X 97 cm OIL and ACRYLIC on CANVAS Tai 79

130 SHEN Che-tsai (Taiwanese, b. 1926)

Dancer 1993 Oil on canvas 41 x 32 cm Signed lower right Che-tsai in Chinese and dated 1993 Signed on the reverse Shen Che-tsai and titled Dancer both in Chinese, inscribed 6F ILLUSTRATED: Che-Tsai Shen, Asia Art Center, Taipei, 1995, color illustrated, p. 98

NT$ 220,000-320,000 HK$ 56,000-82,000 US$ 7,200-10,500

沈哲哉 盼 1993 油彩 畫布 41 x 32 cm 簽名右下：1993 哲哉 簽名畫背：沈哲哉 6F 盼 圖錄： 《沈哲哉》，亞洲藝術中心，台北，1995， 彩色圖版，頁98

131 LIU Keng-I

劍蘭

Gladiolus

1994 油彩 紙本 75 x 54 cm 簽名右下：耿 1994

1994 Oil on paper 75 x 54 cm Signed lower right Keng in Chinese and dated 1994

NT$ 220,000-420,000 HK$ 56,000-107,000 US$ 7,200-13,800

46

劉耿一

(Taiwanese, b. 1938)

132 SHEN Che-tsai (Taiwanese, b. 1926)

Ballerina 1998 Oil on canvas 41 x 31.8 cm Signed lower right Che-tsai in Chinese and dated 1998 This painting is to be sold with a certificate of authenticity issued by Metropolitan Art Space, Tainan.

NT$ 220,000-320,000 HK$ 56,000-82,000 US$ 7,200-10,500

沈哲哉 芭蕾少女 1998 油彩 畫布 41 x 31.8 cm 簽名右下：1998 哲哉 附大都會藝術環境開立之原作保證書

133 WANG Wen-ping

熱浪

Hot Wave

1998-2001 油彩 畫布 145 x 112 cm 簽名畫背：王文平 熱浪 98-2001 油画．画布 80F

1998-2001 Oil on canvas 145 x 112 cm Signed on the reverse Wang Wen-ping, titled Hot Wave both in Chinese, inscribed oil on canvas in Chinese, 80F and dated 98-2001 This painting is to be sold with a certificate of authenticity issued by Capital Art Center, Taipei.

NT$ 240,000-400,000 HK$ 61,000-102,000 US$ 7,900-13,100

48

王文平

(Taiwanese, b. 1960)

附首都藝術中心開立之原作保證書

134 CHEN Ching-jung

陳景容

(Taiwanese, b. 1934)

靜物

Still Life

1992 油彩 畫布 53.5 x 65 cm 簽名左下：景容 1992 CHEN.C.J.

1992 Oil on canvas 53.5 x 65 cm Signed lower left Ching-jung in Chinese and CHEN. C.J. in English, dated 1992

NT$ 300,000-500,000 HK$ 77,000-128,000 US$ 9,900-16,400

135 John WAY

魏樂唐

(Chinese-American, 1921-2012)

抽象世界 3

Abstract World 3

1976 油彩 紙本 49 x 61 cm 簽名左下：John Way '76

1976 Oil on paper 49 x 61 cm Signed lower left John Way in English and dated '76 ILLUSTRATED: The Pioneer of Chinese Abstract – Anthology of John Way, William Art Center, Taipei, 2007, color illustrated, pp. 30-31

NT$ 300,000-400,000 HK$ 77,000-102,000 US$ 9,900-13,100

50

圖錄： 《華人抽象先驅—魏樂唐大集》，威廉國際藝術有 限公司，台北，2007，彩色圖版，頁30-31

136 YANG Chihung

楊識宏

(Taiwanese, b. 1950)

情感 I

Affection I

2002 油彩 畫布 80.5 x 61 cm 簽名畫背：Chihung Yang Affection I © 2002

2002 Oil on canvas 80.5 x 61 cm Signed on the reverse Chihung Yang and titled Affection I both in English and dated 2002

NT$ 300,000-500,000 HK$ 77,000-128,000 US$ 9,900-16,400

137 HSIAO Chin

(XIAO Qin) (Taiwanese, b. 1935)

Oltre la grande soglia – 79 1993 Acrylic on canvas 70 x 90 cm Signed on the reverse Hsiao in English, Chin in Chinese, titled "Oltre la grande soglia-79" in Italian, inscribed Acrylic 70 x 90 cm and dated 93 in Chinese

NT$ 320,000-550,000 HK$ 82,000-140,000 US$ 10,500-18,100

52

蕭勤 超越大限－79 1993 壓克力 畫布 70 x 90 cm 簽名畫背：Hsiao 勤 九三 "Oltre la grande soglia-79" Acrylic 70 x 90 cm

138 HSIAO Chin

(XIAO Qin) (Taiwanese, b. 1935)

Ascensione verso l’infinito – 4 1988 Acrylic on canvas 50 x 70 cm Signed center right HSIAO in English, Chin in Chinese and dated 88 in Chinese Titled center left Ascensione verso l’infinito-4 in Chinese Titled on the reverse Ascensione verso l'infinito-4 in Italian, inscribed 50 x 70 cm

NT$ 320,000-480,000 HK$ 82,000-122,000 US$ 10,500-15,800

蕭勤 昇華之四 1988 壓克力 畫布 50 x 70 cm 簽名右中：HSIAO 勤 八八 題識左中：昇華之四 題識畫背：Ascensione verso l'infinito-4, 50 x 70 cm

139 JAN Chin-shui

詹金水

(Taiwanese, b. 1953)

天光

Daylight

2013 綜合媒材 畫布 130 x 162 cm 簽名左下：金水 2013 簽名畫背：詹金水 2013年 100F 天光

2013 Mixed media on canvas 130 x 162 cm Signed lower left Chin-shui in Chinese and dated 2013 Signed on the reverse Jan Chin-shui and titled Daylight both in Chinese, inscribed 100F, dated 2013

NT$ 320,000-550,000 HK$ 82,000-140,000 US$ 10,500-18,100

54

140 Max LIU

(LIU Chi-wei) (Taiwanese, 1912-2002)

African Shaman Masks 1987 Mixed media on paper 64 x 48.5 cm Signed upper right Liu Chi-wei in Chinese phonetic alphabet and dated 1987 (Chinese numerals)

NT$ 320,000-460,000 HK$ 82,000-117,000 US$ 10,500-15,100

劉其偉 非洲巫師面具 1987 綜合媒材 紙本 64 x 48.5 cm 簽名右上：ㄌㄧㄡˊㄑㄧˊㄨㄟˇ〡〩〨〧

141 HWANG Jyi

(Taiwanese, b. 1953)

Sculpture of Man 1991 Oil on canvas 117 x 80 cm Signed lower left Jyi in Chinese and dated 1991 Signed on the reverse Hwang Jyi, titled Sculpture of Man, inscribed (Hwang's Museum, Sculpture Department) all in Chinese, dated 1991 ILLUSTRATED: Hwang Jyi, Galerie Elegance, Taipei, 1991, color illustrated, no. 092 Hwang Jyi 1996, Galerie Elegance, Taipei, 1996, color illustrated, p. 192

NT$ 320,000-500,000 HK$ 82,000-128,000 US$ 10,500-16,400

56

黃楫 男人的雕塑 1991 油彩 畫布 117 x 80 cm 簽名左下：楫 1991 簽名畫背：男人的雕塑（黃氏博物館．塑形部） 黃楫 1991 圖錄： 《黃楫》，愛力根畫廊，台北，1991，彩色圖版， 編號092 《黃楫繪畫全集》，愛力根畫廊，台北，1996，彩 色圖版，頁192

142 CHANG Chen-yu (Taiwanese, b. 1957)

After the Last Supper 1992 Oil on linen 111.5 x 144.5 cm Signed lower right Chen-yu in Chinese and dated 1992 ILLUSTRATED: Chen-Yu Chang Retrospect on Neo-Humanism 1975-1994, Chang Chen-Yu Studio, Keelung, 1994, color illustrated, no. 38

NT$ 420,000-600,000 HK$ 107,000-153,000 US$ 13,800-19,700

張振宇 最後的晚餐之後 1992 油彩 亞麻布 111.5 x 144.5 cm 簽名右下：振宇 1992 圖錄： 《張振宇―新人文主義作品 1975-1994》，張振宇工 作室，基隆，1994，彩色圖版，編號38

143 We Studio Honor Will Never Die 2013 Oil on canvas 115.5 x 162 cm Signed on the reverse We Studio in English, titled Honor Will Never Die in Chinese and English, dated 2013

NT$ 380,000-480,000 HK$ 97,000-122,000 US$ 12,500-15,800

58

We Studio 榮耀不死 2013 油彩 畫布 115.5 x 162 cm 簽名畫背：榮耀不死 Honor Will Never Die, We Studio 2013

144 JAN Chin-shui

詹金水

(Taiwanese, b. 1953)

山嵐無盡

Endless Mist

2014 綜合媒材 畫布 130 x 194.5 cm 簽名左下：金水 2014 簽名畫背：詹金水 2014年 120F 山嵐無盡

2014 Mixed media on canvas 130 x 194.5 cm Signed lower left Chin-shui in Chinese and dated 2014 Signed on the reverse Jan Chin-shui and titled Endless Mist both in Chinese, inscribed 120F, dated 2014

NT$ 380,000-600,000 HK$ 97,000-153,000 US$ 12,500-19,700

145 WANG Hsin-feng

王信豐

(Taiwanese, b. 1952)

海景

Seascape

1986 彩墨 紙本 裱於木板 91 x 192 cm 簽名右下：一九八六年 王信豐

1986 Ink and color on paper mounted onto wooden board 91 x 192 cm Signed lower right Wang Hsin-feng and dated 1986 both in Chinese ILLUSTRATED: Record of the Trip to the Island of Fire: Paintings by Wang Hsin-feng, Ji Chan Arts Ltd., Kaohsiung, 1997, color illustrated

NT$ 500,000-700,000 HK$ 128,000-179,000 US$ 16,400-23,000

60

圖錄： 《火燒島紀行：王信豐畫集》，積禪事業股份有限 公司，高雄，1997，彩色圖版

146 SU Meng-hung (Taiwanese, b. 1976)

Kai Dao Tu Mi Series – No. 9; Kai Dao Tu Mi Series – No. 18 (a set of 2) 2006; 2007 Mixed media on canvas 90 x 90 cm (each) Signed on the reverse Su Meng-hung in Chinese, susu in English and dated 2006 (upper) With one seal of the artist on the reverse (upper) Signed on the reverse Su Meng-hung in Chinese, susu in English and dated 2007 (lower) With one seal of the artist on the reverse (lower) ILLUSTRATED: Sam Su Meng-hung 2004-2008, Galerie Grand Siècle Co. Ltd, Taipei, 2008, color illustrated, p. 51 & p. 59

NT$ 420,000-600,000 HK$ 107,000-153,000 US$ 13,800-19,700

蘇孟鴻 開到荼靡之浮光掠影 No. 9； 開到荼靡之浮光掠影 No. 18（兩件一組） 2006；2007 綜合媒材 畫布 90 x 90 cm（每件） 簽名畫背：蘇孟鴻 susu 2006（上） 鈐印畫背：開到荼靡（上） 簽名畫背：蘇孟鴻 susu 2007（下） 鈐印畫背：開到荼靡（下） 圖錄： 《蘇孟鴻2004-2008》，新苑藝術經紀股份有限公司，台北， 2008，彩色圖版，頁51與頁59

147 CHEN Ting-shih

紫氣東來

Purple Breeze Comes from the East

1987 壓克力 紙本 81 x 81 cm 簽名左下：陳庭詩 87 Chen Ting-Shih

1987 Acrylic on paper 81 x 81 cm Signed lower left Chen Ting-shih in Chinese and English, dated 87

NT$ 480,000-600,000 HK$ 122,000-153,000 US$ 15,800-19,700

62

陳庭詩

(Taiwansese, 1916-2002)

148 HUNG Jui-lin

洪瑞麟

(Taiwanese, 1912-1996)

花

Flower

油彩 畫布 裱於木板 41 x 32 cm

Oil on canvas mounted onto wooden board 41 x 32 cm This painting is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.

NT$ 500,000-700,000 HK$ 128,000-179,000 US$ 16,400-23,000

附亞洲藝術中心開立之原作保證書

149 Alixe FU

(FU Qing-li, Ching-Fong) (Chinese-French, b. 1961)

Vagabond 1991 Oil on canvas 195 x 129 cm Signed lower left Alixe FU in French and dated 91 Signed on the reverse Fu Qingli in Chinese, Alixe Fu in French, titled Vagabond in Chinese, inscribed 120F 195 x 129 cm, dated 91 ILLUSTRATED: Alixe Fu, Taipei, 1992, color illustrated, pp. 34-35

NT$ 460,000-600,000 HK$ 117,000-153,000 US$ 15,100-19,700

64

傅慶豊 遊子 1991 油彩 畫布 195 x 129 cm 簽名左下：Alixe FU 91 簽名畫背：120F 傅慶豊 Alixe FU 91 195 x 129 cm 畫題：遊子 圖錄： 《傅慶豊》，台北，1992，彩色圖版，頁34–35

150 LU Hsien-ming (Taiwanese, b. 1959)

Forked Bridge 1994 Oil on canvas 172 x 172 cm Signed on the reverse Lu Hsien-ming, titled Forked Bridge both in Chinese and dated 1994 ILLUSTRATED: Bold Designs: Voices from the Urban Periphery – Lu Hsien-ming, Impressions Art Gallery, Taipei, 1998, p. 56

NT$ 600,000-800,000 HK$ 153,000-204,000 US$ 19,700-26,300

陸先銘 叉橋 1994 油彩 畫布 172 x 172 cm 簽名畫背：陸先銘 1994 叉橋 圖錄： 《悍圖都市邊緣的主流意識陸先銘畫集》，印象畫 廊，台北，1998，頁56

151 HSIAO Chin

(XIAO Qin) (Taiwanese, b. 1935)

Il giardino eterno – 59 1990 Acrylic on canvas 100 x 130 cm Signed on the reverse Hsiao in English, Chin in Chinese, titled "Il giardino eterno - 59" in Chinese and Italian, inscribed 100 x 130 cm Acrylic, and dated 90 in Chinese

NT$ 650,000-850,000 HK$ 166,000-217,000 US$ 21,300-27,900

66

蕭勤 永久的花園－59 1990 壓克力 畫布 100 x 130 cm 簽名畫背：Hsiao 勤 九◯ "永久的花園之59" "Il giardino eterno - 59" 100 x 130 cm Acrylic

152 YANG Din

楊登雄

(Chinese, b. 1958)

回憶（雙聯幅）

Souvenir (diptych)

1993 油彩 畫布 210 x 400 cm 簽名右下：Yang Din 簽名畫背：Yang Din 1993. 10-11 "Souvenir"

1993 Oil on canvas 210 x 400 cm Signed lower right Yang Din in English Signed on the reverse Yang Din in English, titled Souvenir in French, dated 1993. 10-11 EXHIBITED: Yang Din, Casa Garden, Macau, May 1994, no. 7 ILLUSTRATED: Yang Din, Fundação Oriente, Macau, 1994, color illustrated Yang Din, Kwai Fung Hin Art Gallery, Hong Kong, 2002, color illustrated, p. 46

NT$ 650,000-950,000 HK$ 166,000-242,000 US$ 21,300-31,200

展覽： 「楊登雄」，東方基金會畫廊，澳門，展期1994年5 月，編號7 圖錄： 《楊登雄》，東方基金會，澳門，1994，彩色圖版 《楊登雄》，季豐軒畫廊，香港，2002，彩色圖 版，頁46

153 PANG Jiun

(Chinese, b. 1936)

Dusk 1987 Oil on canvas 61.5 x 70 cm Signed lower right Pang Jiun and dated year of dingmao both in Chinese With one painted seal of the artist Signed on the reverse PANG JIUN in Chinese and English, titled Dusk in Chinese, and dated 1987 ILLUSTRATED: Techniques for Oil Painting, Artist Publishing Co., Taipei, 1988, color illustrated , p. 216 Discourses on Oil Painting, People's Fine Arts Publishing, Beijing, 2007, color illustrated , p. 89

NT$ 550,000-800,000 HK$ 140,000-204,000 US$ 18,100-26,300

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龐均 薄暮夜初昇 1987 油彩 畫布 61.5 x 70 cm 簽名右下：龐均 丁卯年 手繪鈐印右下：均 簽名畫背：薄暮夜初昇 龐均 PANG JIUN 1987 圖錄： 《油畫技法哲學》，藝術家出版社，台北，1988， 彩色圖版，頁216 《油畫論》，人民美術出版社，北京，2007，彩色 圖版，頁89

154 SHIY De-jinn

席德進

(Taiwanese, 1923-1981)

瓶花靜物

Still Life (Vase)

1959 油彩 紙板 62 x 42 cm 簽名左方：席德進 1959

1959 Oil on cardboard 62 x 42 cm Signed center left Shiy De-jinn in Chinese and dated 1959 PROVENANCE: Dienst Voor Schone Kunsten, 'S-Gravenhage (The Hague) Private collection, Europe

NT$ 600,000-900,000 HK$ 153,000-230,000 US$ 19,700-29,600

來源： 丁斯特美術收藏，荷蘭海牙 私人收藏，歐洲

155 YANG Chi-hung

虛中之虛

The Shadow of a Shadow

1987-1988 油彩 畫布 141 x 102 cm 簽名畫背：Chihung Yang 1987-88

1987-1988 Oil on canvas 141 x 102 cm Signed on the reverse Chihung Yang in English and dated 1987-88

NT$ 700,000-900,000 HK$ 179,000-230,000 US$ 23,000-29,600

70

楊識宏

(Taiwanese, b. 1947)

156 CHUANG Che (Taiwanese, b. 1934)

Abstract 8609 1986 Acrylic on canvas 101 x 101 cm Signed lower left Chuang Che in Chinese and dated 86 Inscribed on the stretcher # 8609

NT$ 650,000-1,000,000 HK$ 166,000-255,000 US$ 21,300-32,800

莊喆 抽象 8609 1986 壓克力 畫布 101 x 101 cm 簽名左下：莊喆 86 題識畫背框條：# 8609

157 PANG Jiun

(Chinese, b. 1936)

Old Houses 1990 Oil on canvas 80.5 x 65.5 cm Signed lower right Pang Jiun in Chinese and dated 1990 With one painted seal of the artist Signed on the reverse PANG JIUN in Chinese and English, titled Old Houses in Chinese, inscribed 25F and dated 1990 This painting is to be sold with a picture of the artist and the artwork.

NT$ 750,000-1,000,000 HK$ 191,000-255,000 US$ 24,600-32,800

龐均 古居 1990 油彩 畫布 80.5 x 65.5 cm 簽名右下：龐均 1990 手繪鈐印右下：均 簽名畫背：〈古居〉25F 龐均 PANG JIUN 1990 附藝術家與作品合影照片

72

158 PANG Jiun

(Chinese, b. 1936)

Boats Beside Xiang River 1990 Oil on canvas 65 x 80.5 cm Signed lower right Pang Jiun in Chinese and dated 1990 With one painted seal of the artist Signed on the back board PANG JIUN in Chinese and English, titled Boats Beside Xiang River in Chinese and dated 1990

NT$ 750,000-1,000,000 HK$ 191,000-255,000 US$ 24,600-32,800

龐均 湘江泊舟 1990 油彩 畫布 65 x 80.5 cm 簽名右下：龐均 1990 手繪鈐印右下：均 簽名背板：龐均 PANG JIUN 1990 湘江泊舟

74

159 PANG Jiun

(Chinese, b. 1936)

Misty Mountains 1987 Oil on canvas 88 x 73 cm Signed lower left Pang Jiun and dated year of dingmao both in Chinese With one painted seal of the artist Signed on the stretcher PANG JIUN in Chinese and English and titled Misty Mountains in Chinese ILLUSTRATED: Techniques for Oil Painting, Artist Publishing Co., Taipei, 1988, color illustrated, p. 221

NT$ 850,000-1,200,000 HK$ 217,000-306,000 US$ 27,900-39,400

龐均 煙雨之鄉 1987 油彩 畫布 88 x 73 cm 簽名左下：丁卯年 龐均 手繪鈐印：均 簽名畫背框條：煙雨之鄉 龐均 PANG JIUN 圖錄： 《油畫技法哲學》，藝術家出版社，台北，1988，彩色圖版，頁221

76

160 Tzu-chi YEH

(Taiwanese, b. 1957)

Rose 2011-2014 Tempera and oil on linen 61 x 61 cm Signed lower right Tzu-chi in Chinese and dated 2011-2014

NT$ 800,000-1,000,000 HK$ 204,000-255,000 US$ 26,300-32,800

葉子奇 玫瑰 2011-2014 卵彩 油彩 亞麻布 61 x 61 cm 簽名右下：子奇 2011-2014

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161 George CHANN

陳蔭羆

(Chinese-American, 1913-1995)

香港維港景色

Victoria Harbour, Hong Kong

1970年代 油彩 畫布 83.5 x 127 cm 簽名右下：GEO CHANN

1970s Oil on canvas 83.5 x 127 cm Signed lower right GEO CHANN in English PROVENANCE: Former collection of the artist's family Christie's Hong Kong, sale of May 30, 2010, lot 1357 Acquired from the above by the present owner

來源： 藝術家家屬舊藏 香港佳士得拍賣，2010年5月30日，編號1357 現有收藏者購自上述來源

NT$ 2,000,000-3,000,000 HK$ 510,000-765,000 US$ 65,700-98,500 1947年陳蔭羆曾回到中國，客居香港有兩三年的時間，期間與嶺南畫家趙少昂與黃君璧等交遊，並曾擔任 嶺南大學客座講師。他完成了旅行所見的靜物與風景畫。香港、上海、杭州等地的旅行經驗，為他日後的 繪畫創作添加養分。返回美國之後，是否仍再返祖國，尚未獲得證實。不過，他在研究抽象畫之餘，仍不 斷創作非抽象畫或聖經故事題材的作品，也是事實。 在此幅作品《香港維港景色》中，陳蔭羆描繪了香江繁榮富足印象。維多利亞港為香港的地標，在其歷 史、文化與經濟皆扮演重要的角色。畫家以早年對印象派與後印象派風格的探索，生動地捕捉了維多利亞 港豐收的黃金歲月。海岸線停泊著滿滿的漁船，將畫面切割成上下的空間。前景有寬闊的水域，有小船點 綴，色彩斑斕充滿活力；遠景則是朦朧的群山與霞光映照的天空，山水共一色。結合西方的光線及色彩， 並融入中國畫的寫意趣味，整體畫面充滿律動感，為富足的東方之珠作了美好的詮釋。 Two years after the end of WWII, George Chann returned to China for two or three years, staying mostly in Hong Kong and spending much time in the company of fellow Lingnan artists like Chao Shao-ang and Huang Jun-Bi. He also took up a position as guest lecturer at Lingnan University. During that period he finished a number of still lifes and landscapes showing sceneries and things he had seen on his travels to places such as Hong Kong, Shanghai, and Hangzhou. This travel experience brought him drawing inspiration and nourishment for his art. There was no evidence in the literature showing that Chen ever returned to his mother country again after this trip. The fact was that he continued to create non-abstract paintings and also completed several biblical paintings “Victoria Harbour, Hong Kong”, the painting by George Chann depicts Hong Kong’s richness and diversity. Victoria Harbour, the Hong Kong’s landmark, plays a very important role in the history, culture and economy. The artist continued to his early exploration of Impressionism and the Post-Impressionists and captured an image for heydays of the harbour. The canvas is divided by the fishing boats that berths along the coastline. In the foreground is a scatter of boats over a large board of water, where the brilliant variation of rich colors and the vivid brushwork conjure up the image of a shimmering green sea. In the background, gorgeous shafts of light through the distant sky and the mist-covered mountain range, create such a magnificent scene that the sky and the water seem to be mingled. The strong rhythm of the picture perfectly interprets Hong Kong’s Victoria Harbour, the Pearl of the East and exhibits the artist’s remarkable skill in integrating Western and Chinese medium of painting in his talented depiction.

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162 George CHANN

陳蔭羆

(Chinese-American, 1913-1995)

書法－II

Calligraphy – II

約1950年代 綜合媒材 畫布 96 x 61 cm

c.1950s Mixed media on canvas 96 x 61 cm ILLUSTRATED: George Chann, Lin & Keng Gallery, Taipei, 2000, color illustrated, pp. 60-61

圖錄： 《陳蔭羆》，大未來畫廊，台北，2000，彩色圖 版，頁60-61

NT$ 2,000,000-3,000,000 HK$ 510,000-765,000 US$ 65,700-98,500 亂中有序、華豔有味，古雅且現代，可謂「抽象表現主義畫派」滄海遺珠的已故華裔美籍畫家陳蔭羆；其融入中國書法，但又揮灑自由，擅長 描繪織錦般華麗抽象畫，形成奔放視覺美感特色。 1950年代至1960年代初，以鮮明的「文字畫」為主，從漢字的符號書寫出發，表現筆勢的韻味考究畫面的質感，令人玩味的，陳蔭羆的「文字 畫」時期，與趙無極的「甲骨文時期」（1953-1956）十分接近，然而兩人並不相識，表現的形式也不盡相同。陳蔭羆對於繪畫材料十分嫻熟， 結合文字意象，將行、草、篆、隸等豐富的視覺中文字態，伴隨著刻石、碑拓、紙片、殘經等樣貌，發揮了肌理質感與特色，文字符號的 魅 力，激起了歷史的浮想聯翩。 此次拍品《書法－II》將黑底白字如拓字的書法字帖糊裱於畫布上，再將字的樣貌解構，復以書寫，色彩的灑染，形成漢字符號交雜著色斑繽 紛。畫面肌理細密厚實，色韻和諧，整體作品呈現古雅且現代的視覺新感受。陳蔭羆此時的創作呈現一種神秘迷離的風格，創意豐沛，風格多 樣。 Order in chaos, subtlety in magnificence, classical elegance and modern panache: this is how one might best describe the work of the late Chinese-born American painter George Chann (Chen Yin-pi), a hidden pearl in the treasure trove of abstract expressionism.

During the decade from 1950 to 1960, his works were dominated by bright scripts or script-like patterns. Taking Chinese characters as his cue, the artist focused on the beauty and expressiveness of lines, hooks, and curves, and explored their effect on the overall composition and visual impact of his paintings.

It is interesting to observe that Chann’s “script period” is roughly contemporary with Zao Wou-ki’s “oracle bone period” (1953-1956), even though the two artists never met and otherwise painted in rather different styles. Chann was very comfortable expressing himself in a variety of media and materials, combining the minimalist aesthetic appeal of various calligraphic styles, such as semi-cursive, cursive, seal, and clerical script, with a variety of materials and writing methods, such as stone engraving, stone tablets, or scraps of paper and fragments of scriptures. The result were compositions full of striking textures and dazzling patterns, giving full rein to the charm and symbolic beauty of Chinese characters, linked up to form a chain of strange historical reveries.

In this lot “Calligraphy-II” the white characters on black ground, highly reminiscent of stone or bronze rubbings, are pasted onto the canvas only to be deconstructed and dissembled into vibrant, speckled montages of color and script. The texture of these effervescent mosaics is solid, the structure tight, the palette well balanced, and the general effect is that of classical elegance seamlessly merged with modern panache. The artist’s output from this period has an enigmatic and mysterious quality, and is notable for its great stylistic variety and overflowing creative energy.

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163 CHIU Ya-tsai

(Taiwanese, 1949-2013)

Man in Stripes Oil on canvas 125 x 71.2 cm Signed lower left Chiu Ya-tsai in Chinese

NT$ 1,800,000-2,800,000 HK$ 459,000-714,000 US$ 59,100-92,000

邱亞才 紅白條紋的男子 油彩 畫布 125 x 71.2 cm 簽名左下：邱亞才

84

164 CHIU Ya-tsai

邱亞才

(Taiwanese, 1949-2013)

短髮少女

Girl with Short Hair

油彩 畫布 130 x 97 cm 簽名左下：邱亞才

Oil on canvas 130 x 97 cm Signed lower left Chiu Ya-tsai in Chinese

NT$ 2,800,000-3,800,000 HK$ 714,000-969,000 US$ 92,000-124,800 邱亞才筆下的台灣現代文人肖像，受唐代繪畫的影響頗深，如人物的鉤狀鼻、杏眼，鵝蛋臉，身材頎長纖瘦，雌雄莫辯，主題上傾向於孤寂、 憂鬱、內斂而沈靜。他的人物繪畫不重形似，以情寫意，極力塑造畫中主角的內心世界而不拘泥於表面情感。使用單一大色塊為背景，寫意平 塗，以對比色或加入些微的裝飾性元素，悠然推出前景人物，根植於歐洲現代派畫家，如莫迪里亞尼及畢卡索。精緻的臉部輪廓線承襲中國唐 代古典肖像畫傳統，五官的處理上，則展現出他對西方現代藝術形式及技巧的熟稔，精巧地揉合了東方傳統文人畫的神韻。 此幅畫作主題為《短髮少女》，畫面中人物有著修長纖瘦的體態，眼神憂鬱疏離，神情內斂且沉靜，展現出較優雅、安靜和東方文人的氣質。 女子畫作背景中有許多幾何圖案，線條與用色的簡約，則營造了孤寂憂鬱的氛圍。 Chiu's portraits of Taiwan's modern-day literati are greatly influenced by the figure painting of the Tang dynasty (618-906 AD) seen in the hooked noses and almond-shaped eyes. Elegant androgynous-looking men and women with elongated, oval faces are shown seated or standing in partial profile. The subjects appear to be lonely, even melancholic, but controlled and self-possessed. Chiu’s portraits prioritize not strict formal resemblance, but the expression of affections through freehand strokes, constructing the inner world of the subjects beyond apparent emotions. His use of large blocks of solid, flat color for backdrops—at times adding bits of adorning elements in contrasting colors—serve to highlight the subject in the foreground. These techniques were derived from European modernist painters such as Amedeo Modigliani and Pablo Picasso. Chiu’s delicate outlines of faces, meanwhile, inherit the figure painting traditions of Tang Dynasty China. The facial features display the artist’s familiarity with the forms and techniques of modern Western art, while exquisitely incorporating the spirit of literati paintings in the Eastern tradition.

This portrait is entitled “Girl with Short Hair”. The subject possesses a slim, elongated figure, with a sense of melancholy and detachment visible in her eyes. Her expression is composed and self-possessed, exuding the graceful tranquility of Eastern literati, there are some geometric patterns in the background while the simplicity in lines and color create a sense of pensiveness and solitude.

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165 George CHANN

陳蔭羆

(Chinese-American, 1913-1995)

變—抽象

Abstract Variations

1960年代 油彩 畫布 拼貼 135.4 x 89.7 cm 簽名左下：GEO. CHANN

1960s Oil on canvas, collage 135.4 x 89.7 cm Signed lower left GEO. CHANN in English ILLUSTRATED: George Chann, Lin & Keng Gallery, Taipei, 2005, color illustrated, p. 154

圖錄： 《陳蔭羆》，大未來畫廊，台北，2005，彩色圖 版，頁154

NT$ 3,000,000-4,000,000 HK$ 765,000-1,020,000 US$ 98,500-131,400 陳蔭羆的抽象富有東方旨趣，自然和他的出身背景有極大關連。1952年他在洛杉磯開設一「農夫市場藝廊」小店，店鋪內不賣自己的繪畫，而 是販售玉石珠寶、骨董字畫等中華文物，藉此餬口。雖然他終日與文物為伍，每天仍作畫 7個小時。不願與畫商打交道，他的後期創作少見發 表，作畫的目的不為市場考量，純粹是潛心研究抽象藝術，仿如古人的大隱隱於市，一直延續到1995年病逝為止，歷時超過40年。 綜觀陳蔭羆的抽象畫發展，依年代分為幾個階段，首先是1950年代的黑白系列抽象作品，漢文字、碑帖入畫，而後漸融入色彩；1960年代文字 符號仍在，佐以破碎、揉合、拼貼、糊裱等材質變化，表現肌理厚實，透露出人文湮滅的神祕痕跡；1970年代之後發展出另一種色彩繽紛、線 條奔放如織錦般的抽象圖畫，融入都會景觀的現代感受，洋溢著古文明與現代的華麗融合，藉由行動繪畫的滴流、潑灑方式盡情展現。 Chann's abstract paintings are rich in oriental atmosphere, which is indeed related to his background. In 1952 he ran a store "Farmer's Market Art Gallery" in Los Angeles, in which he did not sell his own works but Chinese artifacts such as jewelries and antiques just to earn a living. Running a business as an antique dealers, he still managed to paint for 7 hours a day. His later works were hardly seen owing to his unwillingness to work with art dealers. He refused to work on market-oriented paintings: pure abstract art was the only objective he had. Until he passed away in 1995, he has been exploring abstract art while running the small business for over 40 years.

Chann's abstract art development is divided into several stages. First is the black-and-white collection during the 1950s in which he employed Chinese characters, marks and inscriptions; colors were not used until later. Up to the 1960s characters and symbols remained, adding on material varieties such as shattered, mix-and-match, collage, paper-pasting effects. The expression during this period of time was substantial and sturdy, implying some tract of humanism decline. Later in the 1970s, Chann created colorful tapestry-like paintings that not only embodied modern cityscapes but combined the old civilization and modernism. Using techniques of action painting such as dripping and splashing, he fully illustrated the flamboyant mixture of the old and new.

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166 George CHANN

陳蔭羆

(Chinese-American, 1913-1995)

抽象系列 537

Abstraction Series 537

1970年代 綜合媒材 畫布 176 x 131 cm 簽名左下：GEO CHANN

1970s Mixed media on canvas 176 x 131 cm Signed lower left GEO CHANN in English

NT$ 5,000,000-7,000,000 HK$ 1,276,000-1,786,000 US$ 164,200-229,900 身為二十世紀活躍於美國的華裔藝術家，陳蔭羆以細密厚重、內蘊文明感懷的抽象繪畫聞名於世。《抽象系列537》是陳蔭羆作於1970年的作 品，以黑、灰、白為主色調，在幾近無色彩的畫面中，遙遙呼應書法拓本之美，鋪展出既現代又古雅的無盡詠嘆。 陳蔭羆早期作品多以社會寫實風格為主，從人文關懷的角度描繪生活在美國的非裔、亞裔或墨西哥裔移民，反映了藝術家自少年時期隨家人移 民美國的背景。他在1947至1950年重訪中國，期間浸潤於傳統書畫之中，而於1950年回到美國之後，以書法造形為基底，開啟了他獨特的抽象 表現風格。若說具象繪畫是對現實生活的所思所感，那麼抽象繪畫對於陳蔭羆而言，應是一種淬煉自東西文明、關於未境理想的追求。創作於 1970年的《抽象系列537》屬於陳蔭羆後期的代表作，此時，中國文字符號已然消融為純粹的抽象佈局，鋪展成一曲繽紛的旋律。以墨色為主調 的背景，間或點綴以少許的紅與黃，背景之上，具有透明感的白色線條鋪展開來，斷續之間卻有著綿延不絕的節奏。黑與白的構圖，對應了陳 蔭羆早期自書法拓本演變而來的風格起源，卻已經更為自由而無拘無束，宛如有股自發性的生命力無限延續，虛實之間已然包融萬象，訴說著 關於歷史文明、關於個人追溯、關於美學意念的浩瀚意象。 As an active overseas Chinese artist in America in the 20th century, George Chann is famous for his fine abstract paintings expressive of cultural reflections.

This piece, “Abstraction Series 537”, was created by Chann in 1970 and features a strong use of black, grey, and white as the main motif. Chann’s seemingly colorless painting reveals the beauty of calligraphy rubbings and the flamboyant mixture of the old and new.

Chann’s works at his early stage were mostly on social realism, demonstrating the compassionate humanitarianism and concerns for immigrants of African, Asian, and Mexican ancestry, reflecting his own background as someone who immigrated to America with his family as a young teen. From 1947 to 1950, Chann visited China and immersed himself in traditional Chinese calligraphy and paintings. After returning to America in 1950, he developed his unique abstract expressionism on the basis of Chinese calligraphy. If figurative art is the representation of the real life, abstract art to Chann is the longterm fusion and pursuit of the essences of the eastern civilization and the western culture. Created in 1970, “Abstraction Series 537” is a classic piece by Chann’s that reflects his late-stage work. At this stage, Chinese characters were not written, but the writing of Chinese characters became the arrangement of sheer background, forming abstract musicality. Black forms the main tone of the background, along with drips of red and yellow, while transparent white lines stretch across in a way that resembles an on-again off-again everlasting melody playing freely on the canvas. The arrangement of the color black and white of this piece up for auction not only reveals Chann’s inspiration from stone rubbings in his early stage, but also shows that he was capable of freely experimenting with different abstract possibilities in his late period as a stretch of his sudden burst of vitality. The arrangement of fullness and the emptiness in this painting reveals unlimited possibility, a eulogy of civilization, and a pursuit of the artist’s identity that splendidly expresses Chann’s unique aesthetics.

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167 CHU Teh-chun

朱德群

(Chinese-French, 1920-2014)

剛與柔

Le solide et le suave

1993 油彩 畫布 59.5 x 72.5 cm 簽名右下：朱德群 CHU TEH-CHUN 93 簽名畫背：“Le solide et le suave＂CHU TEH-CHUN 朱德群 1993

1993 Oil on canvas 59.5 x 72.5 cm Signed lower right CHU TEH-CHUN in Chinese and English, dated 93 Titled on the reverse Le solide et le suave in French, signed CHU TEH-CHUN in English and Chinese, dated 1993 ILLUSTRATED: Chu Teh-chun: Trésors, Soobin Art Int’l, Singapore, 1994, no. 5 Chu Teh-chun, Galerie Enrico Navarra, Paris, 2000, color illustrated, p. 169

圖錄： 《朱德群畫集》，斯民藝苑出版，新加坡，1994， 圖5 《朱德群》，昂利哥・那瓦哈畫廊，巴黎，2000， 彩色圖版，頁169

NT$ 5,000,000-8,000,000 HK$ 1,276,000-2,041,000 US$ 164,200-262,700 朱德群創作於1993年的《剛與柔》，當時他已年屆七十二，藝術修為已達到頂峰。畫面對光色的處理，構成了畫面的主要內容，呈現著深刻、 雄渾而灑脫的景致。作品以大筆觸的寬闊線條繪畫出黑色、深藍色和褐色的背景，光感強烈，氣象渾厚。他精準地以強烈的白和淡黃色，劃分 出明暗對強烈的畫面，營造出豐富的層次和廣闊的空間感。那股穿透黑暗的光線，彷彿散發著一股暖流，展現著熾熱的生命力。在西方油畫的 發展歷程上，光線和色彩一直有著舉足輕重的地位，它賦予物件立體感和空間感，是真實呈現的關鍵。朱德群在探索西方繪畫真諦的同時，始 終不斷地在東方美學上尋找他的根據點。隨性而又約束的抽象形態，縱橫糾葛的線條和色塊，隱約透出中國山水畫的氣息、詩詞的意境美和書 法的渾厚筆觸，他表示：「真正的融合，是融合東西方的思想，才能在作品中自然、無形地流露 。」東西方的繪畫特色，在朱德群的畫筆下淋 漓盡顯。 “Le solide et le suave” exhibits the sophistication of composition honed by Chu Teh-chun over decades of abstract exploration. With ethereal sweeping strokes of white juxtaposed with opaque forms of darkened hues, the artist has created a sense of depth which recalls the construction of landscape within this composition. Pools of molten golden light emanate vibrantly from the darkened depths of the shadowed expanse, with resplendent colors refracted across the spectrum of illumination. The creation of such a rich landscape from abstract forms originates from Chu Teh-chun’s amalgamation of Western abstraction with the spirit and intention of traditional Chinese landscapes. As the artist himself explains, “The landscape portrayed in Chinese paintings is no longer merely the landscape portrayed in reality; the distance between the actuality and the imagination is the realm of the abstraction.” The lot presented here embodies this sense of reaching beyond accepted forms in presenting a standard conception of a landscape, and expanding the aesthetic lexicon with which an artist constructs a scene which is at once idealistic and universal.

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168 CHU Teh-chun

朱德群

(Chinese-French, 1920-2014)

冬之一

Hiver I

1985 壓克力 紙本 74.5 x 55 cm 簽名右下：朱德群 CHU TEH-CHUN 85

1985 Acrylic on paper 74.5 x 55 cm Signed lower right CHU TEH-CHUN in Chinese and English, dated 85

附藝術家親筆簽名之原作保證書

This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 7,000,000-9,500,000 HK$ 1,786,000-2,423,000 US$ 229,900-312,000 皚皚白雪空中灑落，點點茫茫成瀑成幕，時空似幻，穿透迷離，如飄融之姿，亦若飛昇之勢，可作空靈之山勢、澎湃之雲湧、磅礡之江流，光 影虛實，形色滉動，樂音繽陳，無一不醉人。 1985所創作的《冬之一》可以看見朱德群在創作時，採取即興的、自動性的繪畫技法，飛揚的深色線條和濺撒的白色雪花，在在展現他勤練書 法後的行雲流水，表現自由豪放，帶有歐洲冬景的寫意。飛雪漫天的大自然，本是孤寂而帶有寒意的，朱德群卻在墨韻裡巧妙點綴少許黃、紅 的小點，使得整幅白色調的圖畫增添活力。唐詩有「忽然一夜春風來，千樹萬樹梨花開」的雪景隱喻，吟詠雪白大地之美，而朱德群則以色 彩、線條和曼妙的節奏，來書寫白雪皚皚的詩意，一幅令人讚賞的冬季裡的自然！ White snow falls from the sky – small yet infinite – surrounding the scene. Objects become blurred as if in a dream. Some float, some stretch to the skies so as to paint an ethereal mountain immersed in clouds and flowing with surging rivers. Light and the shadow play with natural colors, dancing in an intoxicating yet enchanting rhythm.

In this 1985 work “Hiver I”, Chu employed an impromptu approach, with his brush following wherever inspiration might lead it. The dark blue lines and patterns, executed in unrestrained, “flying” brushstrokes, and the sprinkles of white snowflakes dabbed across the composition, are all typical for Chu's trademark style, natural and smooth "like moving clouds and flowing water". Meanwhile, the picture breathes a freedom of spirit through which we may well discern the atmosphere of winter in Europe. Yet this is also where Chu adds his own ingenious touch, for he subtly brightens the often dark and harsh mood of a lonely winter landscape in northern regions with small dabs of yellow and red, thus adding a more vigorous flair to the predominantly white and blue palette. Tang poet Cen Shen wrote, “It is as if suddenly one night a spring wind would rise, and scatter the blossoms from thousands and thousands of pear trees”, using a springtime image as a metaphor for the beauty of the earth covered under a thick layer of snow. In “Hiver I”, Chu does something very similar when he employs unique shades of color and gently undulating lines to create a litheness and rhythmic harmony that makes the observer acutely aware of the stunning beauty that is a winter landscape.

朱德群《白色森林之二（雙聯作）》1987 油彩 畫布，香港佳士得2012年秋季拍賣會6020萬港元成交 CHU Teh-chun, La forêt blanche II, 1987, oil on canvas, 130 x 390 cm, Chirstie's Hong Kong, Autumn, 2012, US$ 7,780,915 sold

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169 CHU Teh-chun

朱德群

(Chinese-French,1920-2014)

綠意盎然

Alentours verdoyants II

1988 油彩 畫布 97 x 63.8 cm 簽名右下：朱德群 CHU TEH-CHUN 88 簽名畫背：CHU TEH-CHUN 朱德群 1988 "Alentours verdoyants II"

1988 Oil on canvas 97 x 63.8 cm Signed lower right CHU TEH-CHUN in Chinese and English, dated 88 Signed on the reverse CHU TEH-CHUN in English and Chinese, titled "Alentours verdoyants II" in French, dated 1988 ILLUSTRATED: Solo Exhibition of Chu Teh-chun, The Ueno Royal Museum (Catalogue), Tokyo; Thin Chang Corporation, Taipei, 2007, color illustrated, p. 208

圖錄： 《大象無形—朱德群作品展》，上野之森美術館， 東京；馨昌股份有限公司，台北，2007，彩色圖 版，頁208

NT$ 9,500,000-18,000,000 HK$ 2,423,000-4,592,000 US$ 312,000-591,100 光與色彩在朱德群的畫作之中，可以靈動流暢，可以磅礡懾人，但總不失光明寧靜，在在反映了藝術家寬厚浩瀚的氣魄與和諧包容的心胸。一 生勤寫書法的朱德群，在早期的抽象繪畫中充分融入了書法的勁道之美，藉由深色筆觸揮灑出雄渾深刻的力量。及至1980年代，線條已然融入 光影之中，與鮮麗的色塊共譜行雲流水般的詠嘆，一如《綠意盎然》一作中，墨綠、赭紅、靛青與澄黃恣意鋪陳出亂石崩雲之勢，明暗對比之 間召喚出瑰麗的宇宙律動。 朱德群的抽象繪畫往往能喚起山川大地的意象，繪於1988年的《綠意盎然》亦然。油彩在此一改其濃厚黏滯的特質，取而代之的是輕盈流動， 即使是為最深沉的色塊，也被賦予了靈巧的動勢，堆疊出壯麗磅礡的胸中丘壑。而在色彩變幻之間，一道繽紛的光自畫面下方流瀉而過，澄 黃、透藍的色塊與線條飛濺其間。若說畫布底端深色的邊線宛如水岸，那麼畫面主體就可能是山間樹石與奔馳流水；如果將畫面下緣視為樹梢 構成的天際線，那麼上方便是無垠宇宙裡的神秘躍動，以及炫目豐美的曙光乍現。《綠意盎然》有著超越凡塵的灑脫，情感自由流洩，為畫面 注滿張力，然而看似渾然天成的色彩、線條與光影並非偶然，而是朱德群以圓熟的掌握力加諸其深厚修為創造而出的奧妙世界。 Whether flowing or majestic, color and light in Chu Teh-chun’s paintings is always serene and peaceful, reflecting the artist’s great courage and tolerance.

Devoting his life to calligraphy, Chu incorporated the strength of calligraphy into his abstract paintings in his early period, adopting dark and strong strokes.

In the 1980s, he wove lines into light and shadow, harmonizing the canvas with splendid flowing color blocks. As seen in “Alentours verdoyants II”, blackish green, reddish brown, indigo, and bright orange boldly form crumbling rocks and breaking clouds, establishing a strikingly harmonious blend of contrasting dualities of light and shadow.

Chu’s abstract paintings often elicit natural landscape images to the viewer, especially this auction item “Alentours verdoyants II”, created in 1988. In this work, Chu transformed viscous oil paint into fluid calligraphic brush strokes. Even the darkest colors are bestowed with an ethereal lightness to create a majestic landscape in the artist’s mind. Amid the changing colors, across the lower part of the canvas spreads a vibrant and colorful light, splashed with color blocks and bright orange and light blue lines. If the dark sideline of the bottom of the canvas is a river bank, the main part of the canvas is the running water and the trees and stones in the mountains. If the bottom of the canvas is the skyline silhouetted by treetops, the upper part of the canvas is the mysterious fluidity of an immense universe as well as a flash of dazzling light. With ethereal lightness and flowing feeling, Chu establishes a landscape of intense complexity on the canvas. The flawless intermingling of colors, lines, light and shadow reveals the mysterious world created by Chu’s artistic mastery.

96

170 ZAO Wou-ki

(Chinese-French, 1921-2013)

Mars, 1952 1952 Oil on canvas 90 x 116 cm Signed lower right Wou-ki in Chinese and ZAO in French Titled on the reverse Mars, 1952 PROVENANCE: Cadby Birch Gallery, New York EXHIBITED: Zao Wou-ki Solo Exhibition, Tina Keng Gallery, Taipei, December 12, 2009-January, 17, 2010

NT$ 100,000,000-160,000,000 HK$ 25,510,000-40,816,000 US$ 3,284,100-5,254,500

趙無極 三月 1952 油彩 畫布 90 x 116 cm 簽名右下：無極 ZAO 簽名畫背：Mars, 1952 來源： 卡德比．布奇畫廊，紐約 展覽： 「趙無極個展」，耿畫廊，台北，展期自2009年12月12日至2010年1月17日

98

100

1948年27歲的畫家趙無極，在父親的支持下，遠渡重洋，航向人文薈萃的藝術國度，往巴黎朝聖而去。在那樣的年代到一個遙遠、語言不通的 國度，他自覺是項奇蹟。兩三年過去，趙無極飽覽博物館的名畫珍藏，也逐漸熟悉巴黎的生活，其藝術才華受到肯定，可鬻畫維生，於是他決 定暫停畫筆，出外旅行，增廣見聞。1951年他先去了瑞士，參加自己的銅版畫展開幕，又在博物館內看到克利（Paul Klee）的畫，發現小小符 號裡藏著奇妙的廣闊空間，竟接近中國繪畫裡才有的獨特意境。後來，他選擇遊歷南歐的義大利及西班牙，其中義大利托斯卡尼省（Toscane） 最令他印象深刻，他不禁讚嘆景致優雅有若中國的江南。 趙無極細心觀察歐洲城市的教堂、壁畫、古蹟建築，幫助自己構思繪畫裡的空間佈 局。地中海獨特的色調及無窮想像力，化為風景畫的靈感源泉。這段旅行的經驗對 趙無極而言至關重要，他重新去發現中國，進入所謂的「克利時期」階段。回到巴 黎之後，有一批結合風景、建築和大自然等主題的繪畫於焉誕生。 此幅帶有古典神祕風格的精彩油畫《三月》，便是趙無極歐洲旅遊後的傑出創作， 為「克利時期」系列代表作，完成於1952年的春天。畫中描繪無數的帆船穿梭在南 歐的美麗海洋上，像是進行著一場節慶嘉年華會。墨色的線描與簡筆圖示，將形象 符號化與抽象化，以定點或散點透視營造多重的空間感。趙無極將旅途所見所聞， 透過書法性的線條細細描繪，橙紅金黃的豐富色彩，輝映著古城特有的神秘色調。 從平面的透視裡，表現多重的空間，藝評家看見趙無極的畫裡有「詩」的存在。趙 無極自幼熟讀唐詩、宋詞，背誦論語，苦練書法、水墨，深諳中國的詩畫意境，況 且在中國詩與畫本就合一，在家學淵源深厚養成的繪畫中自然顯露。盛唐詩人李白 寫過知名詩詞：「故人西辭黃鶴樓，煙花三月下揚州。孤帆遠影碧山盡，惟見長江 天際流。」說明暮春三月繁花盛開的時節，文人在春天雲遊江南，特別有感受。所 謂唐詩頌揚州，宋詞詠江南，現代文人畫家趙無極也在他的歐遊風景畫裡追尋中 國。

保羅・克利 《亞洲表演者》1919 粉彩 水彩 紙本 Paul KLEE, Asian Entertainers, 1919, Crayon and Watercolor on paper

詩人兼藝評家亨利．米修（Henri Michaux）在1952年趙無極紐約首次個展的畫冊序 言中曾寫道：「欲露還掩、似斷還連，線條隨興遊走，描繪出遐思的脈動，這是趙 無極喜歡的。驀然間，畫面躍動著一片中國城鎮鄉村特有的喜氣，又是歡騰愉悅， 又是滑稽突梯，在一團符號中。」（趙無極與梵思娃，《趙無極自畫像》，藝術家雜誌社，台北， 1992年1月15日初版，1996年1月15日再版，頁103）亨利．米修認為：趙無極的畫其實不是「風 景」，而是「自然」，早期作品中帶有幽渺曠遠及神祕的感覺，類似中國的節慶氣 氛。米修的評畫相當契合藝術家的心境，詩人特別能領悟趙無極所欲傳達的畫意， 兩人一生相知相惜。 1950年代前後，雕塑大師傑克梅第（Alberto Giacometti）的工作室和趙無極相鄰， 提過特別喜歡他「畫中有一種潦草顫動的東西」。潦草顫動的符號，隱藏的是詩意 的空間。而趙無極早期寫實繪畫中纖瘦的人物剪影，則是對友人傑克梅第的禮讚。

透納《斯卡堡》約1825 水彩 炭筆 紙本 Joseph Mallord Willord TURNER, Scafborough, c. 1825 Watercolor and graphite on paper

藉助克利畫作的提示，趙無極以幾何的架構演繹詩意的美感。他意識到需要創造出 一種關照繪畫的新角度，「繪畫應讓人以另外一種眼光看事物，以繪畫的觀點看事 物」。於是，從靈動纖巧的符號敘事性風格，逐漸轉向古樸奧秘的甲骨文時期，以 及後期的抒情抽象表現階段。克利時期的作品《三月》，為趙無極早期創作關鍵轉 型階段的力作，畫家思索著宇宙與人的關連，參透生命哲裡、探索抽象畫的意義。 華麗如詩、綺麗似海的繪畫《三月》，將畫家的優雅自信展露無遺。 海洋或土地是宇宙的空間，裡面孕育自然萬物。在詩人或畫家的眼中，前者有遼 闊、神秘、不安、包容、承載等意象；後者則有故鄉、親近、安定、樹草、山石等 象徵。海洋與土地，互為虛實、陰陽的依存關係。而趙無極的繪畫擅長使用中國式 的思惟透視，結合西方聖潔寧靜的光感，完成看似虛空其實豐盈的寫意圖畫。宇宙 的生成，虛與實的相連，也是人類生活空間裡的不同層面。虛實的議題，在抽象畫 裡至關重要，呼應了中國水墨畫上意境的創造。而此為趙無極繪畫裡終極關懷的課 題，他一生致力於創造油彩的「虛實相生的空間感」，創造想像無窮的妙境，並賦 予其平衡和諧的美感，為人類留下美好的藝術瑰寶。

趙無極 《失去的大海》1952 油彩 畫布 80.5 x 116 cm 羅芙奧台北2012年秋拍 台幣1億2576萬元 成交 ZAO Wou-ki, La Mer perdue, 1952, Oil on canvas, 80.5 x 116 cm Ravenel Autumn Auction 2012 Taipei, US$4,327,598 sold

With his father’s support, in 1948 and at the age of 27, Zao Wou-ki sailed from Shanghai, China to the capital of the art world, Paris, to study fine arts. This trip to a foreign country where he didn’t know the language was a miracle to him. Within two or three years, Zao had not only visited numerous famous museums to view the masterpieces housed there but had also become accustomed to life in Paris. Once his talents were recognized and he could start to make a living selling his own paintings, he was able to take a break from painting and embark on artistic journeys to broaden his horizons. In 1951, he attended the opening of his own solo copperplate engravings, exhibition in Switzerland. There, he saw Paul Klee’s paintings in a gallery and discovered the great space existing within Klee’s tiny symbols, a feature with a strong similarity to Chinese paintings. Later, he visited Italy and Spain. He was so impressed by the scenery of Tuscany that he praised it as resembling the scenery of the southern river towns of the Jiangnan region of China.

Zao observed the classical churches, mural art and historical architecture in many European cities and applied this in the composition and arrangement of objects in his paintings. The distinctive hues and vibrant imagination of the Mediterranean area were a source of inspiration in his later landscape paintings.

The trip to southern Europe was of great significance to Zao, in that after this he re-discovered China and entered his “Klee Period”. On his return to Paris he began to create paintings infused with scenery, architecture, and nature.

Classical and mysterious, the oil painting “Mars, 52” is a representative piece of Zao’s Klee Period, completed in the spring of 1952 after his trip to Europe.

In this carnival-like world, we see numerous sailboats sailing to and fro on the southern European seas. Zao used simple black lines and brush strokes to make the images in this piece symbolic and abstract and employed fixed points scattered to create multiple spatial layers. Moreover, he applied calligraphiclike lines and rich orange, red, gold hues to illustrate images from his trip and to create the mysterious tones of an ancient city.

With the multiple layers of space presented within planar perspectives, art critics consider Zao’s paintings poetic. Zao, an avid reader of Tang and Song poetry and the Confucian Analects, and a practitioner of calligraphy since his early childhood, naturally had a deep understanding of landscape and imagery in both poems and pictures, in particular since poetry and painting are often merged in Chinese art. His deep understanding of Chinese classical literature was thus naturally revealed in his paintings. Li Bai, a great poet in the Tang Dynasty, famously wrote: “West of the Yellow Crane Tower to an old pal I say goodbye. / He leaves for Yangzhou in mid-spring when flower petals fly. / The shadow of his lonely sail gradually fades into the blue sky, / Until I can only see the Yangzi River from heaven rumbling by.” This poem illustrates the beautiful blossom scenery of late spring, when the poet visited the southern water towns of Jiangnan. Just as the Tang poets praised Yangzhou, and the southern water towns of Jiangnan were the main theme of Song poetry, Zao was searching for China in his landscape painting on his artistic voyage to Europe.

The poet and art critic, Henri Michaux, wrote in the catalogue preface for Zao’s first solo exhibition in New York in 1952, "Showing while concealing, breaking down and making the lines shake, tracing, wandering, walking detours and squiggles with a dreamer's spirit, this is what Zao Wou-ki likes and suddenly, with the same festive air which animates the Chinese countryside and towns, the painting appears quivering, joyous and a little amusing with an orchard of signs."

(Zao Wou-ki & Françoise Marquet, Zao Wou-ki Autoportrait, éditions Fayard, 1988 pp. 102-103) Henri Michaux thought that Zao’s paintings are not actually about scenery, but about nature. His early works carried profound and mysterious feelings reminiscent of the atmosphere at Chinese festivals. Michaux’s comments fully reflect the artist’s thoughts. As a poet, he could better comprehend the meaning conveyed in his painting by Zao. These two artists recognized and appreciated each other throughout their lives.

Around 1950, the sculptor Alberto Giacometti, whose studio was next to Zao’s, mentioned his appreciation of the concrete, unveiled elements of Zao's paintings, saying that “it is a trembling squiggly quotation”. Behind the “trembling squiggly quotation” in Zao’s paintings is a poetic space, while the thin silhouettes in Zao’s early realistic paintings are a kind of homage to his friend Alberto Giacometti. 趙無極 《爭榮競秀》1954，油彩 畫布，115 x 147 cm 羅芙奧台北2014春季拍賣會，台幣2億4336萬元 成交 ZAO Wou-ki, Plantes tortillées, 1954, oil on canvas, 115 x 147 cm Ravenel Spring Auction 2014 Taipei, US$ 8,114,705 sold

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Drawing inspiration from Klee’s paintings, Zao composed poetic beauty within an abstract framework. He was aware that a new perspective of painting should be created. “Painting should allow people to see the world in a different way, to see

it from the perspective of a painter.” Therefore, his delicate narrative style gradually became his classic Oracle Bones Period and then the later abstract expressionist period. This spectacular auction item, “Mars, 52”, completed in the Klee Period, marks the turning point of Zao’s early work. In it Zao not only contemplates the connection between the universe and Man and philosophies of life but also explores the significance of abstract paintings. The artist’s true grace and confidence is fully realized in the poetically magnificent “Mars, 52”.

Both spaces in the universe, the sea and the earth, give birth to everything in nature. In the eyes of a poet or a painter, the sea suggests imagery of being expansive, mysterious, insecure, inclusive, and sustainable, while the earth symbolizes home, closeness, stability, trees and grass, mountains and rocks. The sea and the earth share a mutual dependency between the virtual and the real, yin and yang. Zao was skilled in employing Chinese contemplative perspective in combination with Western sacred and serene lighting to create a seemingly virtual and empty but actually abundant impressionistic painting. The formation of the universe, the connection between the virtual and the real, are different layers within people’s living spaces. The subject about the virtual and the real is a pivotal issue in abstract painting, echoing the creation of an artistic conception in Chinese ink painting. This is also Zao’s ultimate concern in abstract painting. Throughout his life, he had been devoted to create “a space of mutual emergence between the virtual and the real,” a wonderland full of imagination. He rendered balanced and harmonious aesthetics in his paintings, leaving the world beautiful artistic treasures.

171 ZAO Wou-ki

(Chinese-French, 1921-2013)

Ciel, terre et poussière 1957 Oil on canvas 73 x 100 cm Signed lower right Wou-ki in Chinese and ZAO in French, dated 57 ILLUSTRATED: Zao Wou-ki, Lin & Keng Gallery, Taipei, 2005, color illustrated, cover and p. 57

NT$ 75,000,000-100,000,000 HK$ 19,133,000-25,510,000 US$ 2,463,100-3,284,100

趙無極 晴空、宏偉的大地 1957 油彩 畫布 73 x 100 cm 簽名右下：無極 ZAO 57 圖錄： 《趙無極》，大未來畫廊，台北，2005，彩色圖版，封面及頁57

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甲骨文鉅作 磅礡不滅的大地之歌

西方藝術自十九世紀末印象派開始，逐漸掙脫自文藝復興以降，主宰著歐洲美學的 自然寫實傳統，終至二十世紀上半葉的百家爭鳴，並且跳脫再現雙眼所見事物的 主觀桎梏，而能夠欣賞歐洲傳統之外如非洲、亞洲文化的不同美學觀。於此同時， 有著悠久且深厚文化傳統的亞洲，於二十世紀初開始系統性地接收西方藝術洗禮， 先行者如林風眠等人致力於中西藝術融合，及至第二代的趙無極全然投入西方藝術 體系，將源自於東方的哲思注入來自歐洲的繪畫傳統，擁抱宇宙生機的無限動盪， 取得劃時代的卓越成就。趙無極無法被單純地歸類於東方或西方藝術的範疇，他的 繪畫為世界整體的藝術史開創了另一種懾人心弦的嶄新視野，特別是1950年代中期 「甲骨文時期」系列創作，無疑展現了東西文化精粹完美融匯之後所迸發的撼人力 量，而《晴空、宏偉的大地》，正是甲骨文時期的成熟經典之作。

趙無極 《爭榮競秀》1954，油彩 畫布，115 x 147 cm 羅芙奧台北2014春季拍賣會，台幣2億4336萬元 成交 ZAO Wou-ki, Plantes tortillées, 1954, oil on canvas, 115 x 147 cm Ravenel Spring Auction 2014 Taipei, US$ 8,114,705 sold

趙無極 《秋之舞》1955，油彩 畫布，97.5 x 146.3 cm 香港蘇富比，港幣5948萬元 成交 ZAO Wou-ki, Debut d'Octobre (Beginning of October), 1955 Oil on canvas, 97.5 x 146.3 cm, Sotheby's Hong Kong, US$ 7,625,641 sold

莫內《紫藤》約1925，油彩 畫布 ，153.6 x 203.5 cm Oscar-Claude Monet, Wisteria, c. 1925, oil on canvas, 153.6 x 203.5 cm

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《晴空、宏偉的大地》以藍為主色調，墨黑、銀白、亮金與赭紅穿梭跳躍其間。趙 無極以他對油彩卓越的掌握力堆疊出層次豐富多變、如空氣般具穿透性的湛藍色 調，鋪陳出標題中「晴空」的意象。墨色般濃烈有力的筆觸由畫面底部向上延伸， 建構出崢嶸的山石大地，崎峻生輝如人生道路上的跌宕多姿，及至畫面中央，則轉 為有著大地般紅褐色調的深邃空間 ，而伴隨著銀白光輝的墨色線條，隨之幻化成 不知名的符碼往空中攀升，仿佛脫離地心引力一般地懸浮在空氣與光線之中，併發 出一股意欲衝破桎梏的強烈渴望。此時，畫面左上方一股厚重力量的進逼，仿如黑 暗的陰霾，與懸空而起的線性符號互相碰撞、激盪，迸發出晶燦的火花，我們宛若 聽見大地的巨響，在喧囂中裂變而重生。而右下方的淡金光芒輕靈通透，在天地蒼 茫之中，捎來了希望，並且與左上方的藍黑相互呼應，於構圖上取得明與暗、輕盈 與厚重之間的平衡。《晴空、宏偉的大地》變化有致的空間佈局展現巧妙的虛實對 應，構成起伏跌宕的節奏。而萃取自甲骨文的元素隱約浮現在凌空而出的那些無名 符號裡，特別耐人尋味。豐富多變的筆觸與色彩的流動，更在空間刻畫中注入了永 恆的時間性。 作為甲骨文時期的經典之作，《晴空、宏偉的大地》同時凝煉了藝術家的人生經歷 與起伏。出生於宋室後裔的書香世家，趙無極自幼奠下深厚的國學修養，卻選擇西 方的油畫作為終生的主要創作領域，他受教於林風眠、吳大羽、潘天壽等中國藝術 現代化的先驅，在大時代的動盪之中完成學業。1948年，趙無極遠渡重洋，落腳於 當時的世界藝術中心巴黎。初抵巴黎的趙無極曾經刻意迴避水墨元素，深怕落入所 謂的「中國趣味」。1951年，他自保羅．克利（Paul Klee，1879-1940）的畫作中 獲得啟發，拋卻了繁複的具體描繪，在純粹的畫面與輕靈的線條之間找到內蘊更為 深遠的視覺語言，而線條，正是中國水墨的精髓所在。趙無極對於線條濃淡、筆勢 運用的駕馭能力無疑突出於同時代的西方藝術家，而他對中國甲骨文的研究，更於 1954年開啟了氣象萬千的「甲骨文時期」，誠如趙無極所說：「符號成了形體，背 景形成空間，因為一再重畫、毀棄、再重新來過，在我心裡的東西好像開始浮現出 來了。」屬於趙氏個人的藝術語彙，於焉成形。 《晴空、宏偉的大地》不僅標誌了趙無極確立個人藝術走向的重要時期，也訴說著 藝術家胸中的澎湃情緒。創作《晴空、宏偉的大地》的1957年，正是趙無極遊歷美 國，密集考察「抽象表現主義」的那一年，也是趙無極與結褵16年的謝景蘭在經歷 刻骨銘心的情感拉扯之後，最終離異的那一年。藝術道路上的凌雲壯志與家庭生活 的劇變，無不劇烈地衝撞藝術家的人生，而他以堅強的心志，將生命中的震盪轉化 成撼動人心的作品。仿若奮力刻劃而成的墨色線條與滿溢的情緒騷動，在《晴空、 宏偉的大地》裡構成張力十足的大地史詩，召喚著天地萬物的脈動與震盪，正如同 趙無極曾經說過的：「我想表現動感，或迂迴纏綿，或風擎電馳。強烈的喧囂比靜 默對我更具吸引力。」

若說中國古老的甲骨文為趙無極帶來形式上的啟發，進而掙脫 了具體題材的描繪轉往抽象，那麼，東方自古以來的天人合一 宇宙觀，則是從哲學的切入點，啟發趙無極將創作題材轉往更 深邃巨大的自然力量。文學家與藝評者伊夫．博納富瓦曾說趙 無極「在可見事物的密林中一次次重新開始對不可見世界的探 索。」他如此闡釋：「這種繪畫是對可見世界的超越，因此它 引發聯想，它稍稍地但卻有力地表現那些恰恰在超越完成之時 消散的事物……它讓我們走向它，它對我們談話，或更促使我 們對自己談話，自我提問。於是便出現了一種形而上性質的強 烈直覺，我們有空去聆聽的直覺，以及其他十分不同卻繼續在 我們周圍湧現的直覺。」 （摘自伊夫．博納富瓦著《趙無極的思考》， 《趙無極繪畫六十年回顧》，上海三聯書店，頁29、30）而這，也正點出了 《晴空、宏偉的大地》一作的迷人與偉大之處。

Since the Impressionism movement at the end of the 19th century, Western Art has broken free of the naturalistic and realistic traditions that had dominated European aesthetics since the Renaissance. With numerous schools of art prospering in the first half of the 20th century, Western art not only broke from the confines of representational subjectivity, but also began to appreciate aesthetics from outside the European traditions such as African cultures and Asian art. Meanwhile Western art began to be systematically introduced to Asia, with its long history and deep-rooted culture, at the beginning of the 20th century.

Pioneers such as Lin Fengmian devoted themselves to a fusion of Chinese and Western art. Instilling Eastern philosophy into European painting traditions, Zao Wou-ki, a second generation modern Chinese artist, fully embraced the system of Western art and achieved unprecedented success. Hard to pigeonhole as either Eastern or Western art, the works of Zao Wou-ki opened a majestic window onto world art history. There is no denying that his “Oracle Bone Period” series in the mid-1950s demonstrates the overwhelming power of this perfect fusion of Eastern and Western art. “Ciel, terre et poussière” is a classic full-blown work of the Oracle Bone Period.

With blue as the main tone, ink black, silver white, bright gold, and reddish brown are dotted and splashed on the canvas. With his mastery of oil painting, Zao creates an image of the sky with rich variations of airy and penetrating blue hues. Resembling the ups and downs in the journey of life, the mountainous land is constructed with upward-reaching strong and striking ink-black strokes. These powerful ink-black strokes first change into reddish brown earth-like depths in the center of the canvas and then transform into airborne mysterious signals with silvery glitter, as if they have struggled free of gravity and float in the air and light. Forcing itself in from the upper-left side of the canvas, a heavy and shadow-like darkness clashes, igniting and generating sparks, as if a roaring sound in the earth has revived itself amidst the clamor. On the bottom-right of the canvas, ethereal and glittering gold signifies hope in the vast and boundless world and creates a contrast to the blue and black hue of the bottom-right of the canvas, striking a balance between brightness and the darkness, and the lightness and the heaviness of the composition. The apparent disorder of “Ciel, terre et poussière” reveals a contrast between fullness and emptiness, composing tempestuous rhythms. Signals abstracted from oracle bone characters fire the viewers’ imagination while resplendent and oscillating colors and strokes weave an infinity within the limited space of the canvas.

“Ciel, terre et poussière” is not only one masterpiece of the Oracle Bone Period but also depicts the artist’s ups and downs. Born into a wealthy family who were descendents of the Song Dynasty court, Zao took a

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A MASTERPIECE OF THE ORACLE BONE PERIOD: MAJESTIC SONG OF THE EARTH keen interest in Chinese literature and history from an early age but later chose Western oil painting as his primary creative medium. Under the teaching of the pioneers of Chinese modern art such as Lin Fengmian, Wu Dayu and Pan Tianshou, Zao completed his studies in a time of troubles. In 1948, he sailed from China to the capital of the art world, Paris. At first, he made a determined effort to distance himself from the socalled chinoiserie of water-ink painting. In 1951, drawing inspiration from Paul Klee’s works (1879-1940), Zao abandoned complex concrete illustration and started to find a more profound visual language in the interplay of sheer canvas and ethereal lines. Lines are exactly the essence of Chinese water-ink painting and Zao was better equipped than contemporary Western artists in terms of control of color and line strokes. His deep understanding of Chinese oracle bones initiated his celebrated “Oracle Bone Period”. As Zao once said, “Signal becomes form while the background constructs the space. Something comes to my mind because I paint and destroy it over and over again.” Zao went on to develop his very own brand of aesthetic appeal.

“Ciel, terre et poussière” not only marks the most significant phase of Zao’s career but also discloses an upsurge in his emotions. Zao created “Ciel, terre et poussière” in 1957 when he travelled around America studying and observing abstract expressionism. At the same time he ended his 16-year marriage to Xie Jinglan after numerous emotional struggles. The ambition and achievement of his artistic career, alongside the sudden change in his family life greatly impacted his life. However, Zao persevered through his strong will and transformed the adversity of life into this breathtaking masterpiece. The striking ink-black lines and the outburst of emotions depict a stunning epic of land in “Ciel, terre et poussière”, summoning up the collision of every living creation on earth. As Zao once said, “I want to express vibrant dynamism, or lingering twists, or lightning speed. Clamor is more appealing than sheer silence to me.”

While the ancient Chinese bone oracles inspired Zao to abandon concrete objects and to depict abstract symbols in form, the “harmonious unity of man and the Universe”, the deep-rooted world view of Eastern philosophy, inspired Zao to transcend the limitations of the oil medium in search of a more powerful and profound natural force. Yves Bonnefoy, the writer and art critic, once depicted Zao as “à recommencer dans les fourrés du visible l'apprentissage de l'invisible”. He further elaborated, “Cette peinture est le franchissement du visible mais elle évoque donc, elle désigne de façon furtive mais forte, les choses mêmes qui se dissipent quand le franchissement s'accomplit; ……elle nous permet de venir à elle, nous parle ou plutot nous incite à nous parler à nous-memes, à nous poser des questions. Une grande intuition de nature métaphysique se fait entendre, que nous avons loisir d'écouter, d'autres bien differentes n'en continuent pas moins autour de nous d'avoir cour”.

(Yves Bonnefoy, La pensée de Zao Wou-ki and Zao Wou-ki 60 ans de peintures Shanghai Joint Publishing Company, p. 29-30.). His words point to the charm and the significance of “Ciel, terre et poussière”.

郭熙《早春圖》1072 台北國立故宮博物院收藏 KUO Hsi, Early Spring, 1072, 158.3 x 108.1 cm Collection of National Palace Museum, Taipei

172 ZAO Wou-ki

趙無極

(Chinese-French, 1921-2013)

21.01.76

21.01.76

1976 油彩 畫布 73 x 92 cm 簽名右下：無極 ZAO 簽名畫背：ZAO WOU-KI 21.1.76

1976 Oil on canvas 73 x 92 cm Signed lower right Wou-ki in Chinese and ZAO in French Signed on the reverse ZAO WOU-KI in French and titled 21.1.76 ILLUSTRATED: Jean Leymaire, Zao Wou-ki, Editions Hier et Demain, Paris, 1978, no. 219, p. 268 Jean Leymaire, Zao Wou-ki, Editions Rizzoli, New York, 1979, no. 219, p. 268 Jean Leymaire, Zao Wou-ki, Editions Cercle d'Art, Paris, 1986, no. 219, p. 268

圖錄： 尚．雷馬利，《趙無極》，昨日與今日出版社，巴 黎，1978，編號219，頁268 尚．雷馬利，《趙無極》，瑞佐利出版社，紐約， 1979，編號219，頁268 尚．雷馬利，《趙無極》，藝術圈出版社，巴黎， 1986，編號219，頁268 附藝術家工作室開立之原作保證書

This painting is to be sold with a certificate of authenticity issued by Atelier Zao Wou-ki.

NT$ 45,000,000-60,000,000 HK$ 11,480,000-15,306,000 US$ 1,477,800-1,970,400 1970年前後，趙無極經歷人生中的極度低潮。眼看著愛妻陳美琴深受疾病所苦，一天天沉入病痛卻無力挽回，使他感到極度的孤寂與頹喪，試 圖在交際和威士忌裡忘憂，及至1972年愛妻病逝之前，幾乎無法提筆作畫。陳美琴離世之後，趙無極回到中國探望母親，這是他自1948年來到 巴黎以來，首次踏上中國的土地。這趟探親之旅帶給他無比的衝擊，他在自傳中回憶：「1972年4月（從大陸）回到巴黎，我無法作畫……我找 出了一張縐了的宣紙和筆、墨，開始亂塗，這對我輕鬆得多了，因為童年所學得的動作，仍然熟悉，我看著宣紙吸滿了水，在墨色浸潤下，白 色轉為灰色，不知不覺中，我以最簡單的材料，沒費多大氣力，筆下就畫成了。」（參閱趙無極、梵思娃著、劉俐譯《趙無極自畫像》，藝術家出版社，台北， 1992初版，頁144-145）

從生命低谷中走出來的趙無極，在1973年進入了藝術創作的另一次蛻變。烈火重生後的爆發力，造就了藝術生涯的再一次高峰，而這一次，趙 無極經由水墨的揮灑找到內心的平靜，也為他的抽象繪畫注入了一股沉穩舒朗的嶄新力量。他說：「我愈來愈愛畫，愈來愈有話要說，也愈來 愈怕自我重複。我畫我的生活，但也想畫一個眼睛看不見的空間、一個夢的空間，一個使人永遠感覺和諧的所在，即使用的是充滿矛盾力量的 不安的形式。」（同上，頁147）相對於前期抽象繪畫的激越與狂烈，1970年代中期的作品在水墨的影響之下轉而以暈染般的色層鋪展出蒼茫、幽 遠的空靈感；而以往的縝密布局，也轉化為輕快舒展的揮灑，展現了藝術家內心更多的自信與從容。如同《21.01.76》一作，在輕麗明亮的光線 之中，捕捉的依舊是大自然無形力量的流轉動勢，卻更為灑脫且自在，更顯大器。 趙無極在1975年至1976年間展現豐沛的創作力並且獲得廣大的關注與肯定，各地畫廊與博物館的展覽邀約不斷，其中，1976年在當時位於東京 宮的巴黎國家現代美術館展出9件繪畫，標示了藝術家在法國藝壇愈形重要的地位。這段時期與第三任妻子梵思娃（Françoise Marquet） 的相識 愛戀，一掃趙無極內心的沈鬱，也為他的繪畫帶來輕盈與幸福的光采。於是，我們在創作於1976年的《21.01.76》中感受到這股豐沛而明快的能 量，虛實相依之間，如樂音、如海浪、如火勢般鋪展開來，展現烈焰重生後的生命體悟。 輕靈有力的動勢，是《21.01.76》這件迷人畫作帶給我們最鮮明的感受。在澄黃、銀白、天藍與黃褐交織而成的愉悅空間裡，色彩互相渲染如潑 彩，卻又保持各自的澄淨，而一抹由畫面左方向上揚起的深色斑痕，構成了整體視覺的重心。這道痕跡如墨色般勁道十足，卻有著油彩堆疊既 豐厚又明快的層次感，時而暈染、時而鋒利的筆觸，創造出疏密有致的律動感，在聚散之間，如煙雲般變幻莫測。《21.01.76》喚起我們關於宇 宙洪荒的原初想像，既豐富多變，又在含納萬物的同時譜出整體的和諧。這件畫作同時顯現藝術家在重拾水墨之後所獲得的全新體悟，舉重若 輕地將人生的漂泊與跌宕，沉澱為和諧沉靜、卻又活潑靈動的詠嘆，展現天地之間，那自遠古以來即生生不息，循環不已的生命力量。

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Around the year 1970, Zao Wou-ki was going through a tough period in his life. His wife, Chan MayKan (May Zao), was suffering from an illness that was becoming severer by the day. Feeling helpless in this situation, Zao fell into a deep sense of loneliness and depression and tried to find comfort by expanding his social life and indulging in whisky. It was not until 1972, when his wife passed away, that he rediscovered the energy to resume painting. After the loss of Chan, Zao visited his mother in China—marking the first time he had returned to China since leaving for Paris in 1948. This visit left a large emotional impact on Zao, something he recalls in his autobiography: “When I returned to Paris [from China] in April, 1972, I couldn’t pick up my paintbrush… I took out the xuan paper, brush, and ink and started scribbling. It was relaxing for me because the hand motion that I learned from childhood was still familiar to me. I watched the xuan paper which turned from white to gray after absorbing the black ink. Without much thinking and a lot of effort, the painting was completed with the simplest materials.” (Zao Wou-ki & Françoise Marquet, Self-Portrait of Zao Wou-ki, tr. Liu Li, 1st edition, Artist Publishing Co., Taipei, 1992, pp. 144–145).

In 1973, after Zao Wou-ki recovered from the loss of his wife, his art creation entered into another stage of transformation. He reached another peak of his career after rising from the flame of rebirth with a powerful force. This time, Zao found an inner tranquility through ink splashing which also instilled a new stable and cheerful ease in his abstract paintings. He said, “My love in painting grew, and there are more and more I want to sag, but I am also afraid of repeating myself. I paint my life but also want to paint an invisible space, a dream space, a place that makes people feel peaceful, even though it is using a form full of contradicted and volatile force” (Zao Wou-ki & Françoise Marquet, Self-Portrait of Zao Wou-ki, tr. Liu Li, 1st edition, Artist Publishing Co., Taipei, 1992, p. 147). Compared with the fierce and fiery abstract style in the previous stage, his works from the mid 1970, influenced by water ink painting, turned into a boundless and timeless airy atmosphere; the previous meticulous composition was also replaced by a splash of breezy and sooth displaying the confidence and poise of the artist’s inner world. In a graceful and bright beam of light, this piece, “21.01.76”, catches an invisible circulating momentum of nature only to be more carefree and open-minded.

Between 1975 and 1976, Zao Wou-ki appeared to be a prolific artist showing profuse creativity in his works and gained a lot of attention and recognition. He received invitations of exhibitions from many galleries and museums of different cities. Among those exhibitions, nine of Zao’s works were 北宋畫家范寬《谿山行旅圖》 絹本 淺設色 畫軸，206.3 x 103.3 cm presented in the Paris Museum of Modern Art, Tokyo Palace, in 1976 that marked the significance 現藏於台北國立故宮博物院 of his works ascending in the French art world. During this period, Zao met his third wife, Françoise FAN K'uan, Travelers among Mountains and Streams Marquet, with whom the romantic relationship swept away his despondency and brought his works Hanging scroll, ink and light colors on silk, 206.3 x 103.3 cm with a lively and joyful glow. We can experience this abundant and sprightly energy in the “21.01.76” Collection of National Palace Museum, Taipei piece of 1976 that is lingering between the reality and fantasy as music, waves, a spreading blaze, all of which show an enlightenment toward life after undergoing a rebirth.

The most vivid impression that the “21.01.76” piece brings to us is an ethereal and sprightly sense of momentum. Swathes of orange yellow, silver white, azure, and amber are interlaced on the canvas to create a pleasant space. They are splashed on one another but kept pure of their own. A fuscous stripe struck from the left ascending toward right becomes the overall visual center. This mark is as powerful as a calligraphic stroke but rich and lucid in paints that heap up the dimension. The brushstrokes that create even and orderly rhythms are sometimes smoky and sometimes sharp and keen. In meeting and parting, they are as capricious as the clouds. “21.01.76” provides us an imagination for the chaotic, prehistoric world, rich and fluctuating in form, embracing all things and promoting harmony. This painting embodies the refreshing insight that the artist obtained after picking his brush once again, and in it we can see a rootless life full of ups and downs depicted with ease. The artist seems to convey an unending life cycle and force since antiquity through a harmonious, quiet, and fairy-like aria resounding in the universe.

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173 CHU Teh-chun

朱德群

(Chinese-French, 1920-2014)

構圖 No. 166

Composition No. 166

1964 油彩 畫布 90 x 146 cm 簽名右下：朱德群 CHU TEH-CHUN 64

1964 Oil on canvas 90 x 146 cm Signed lower right CHU TEH-CHUN in Chinese and English, dated 64

來源： 原收藏者1960年代末直接得自藝術家

PROVENANCE: Acquired from the artist by the previous owner, end of 1960s

NT$ 34,000,000-50,000,000 HK$ 8,673,000-12,755,000 US$ 1,116,600-1,642,000 1955年離開台灣前往巴黎發展的朱德群，初期仍以具象風格創作，創作過幾幅人物肖像，寫實技法細膩，參加春季沙龍展獲得獎項。不久，具 象畫愈畫愈少，全部心思精神轉而投入抽象畫研究，狂熱的創作讓藝術評論家激賞，1958年開始在巴黎的畫廊發表抽象畫，同時有多家畫廊產 生興趣，後來他與專門展出抽象藝術的勒讓特畫廊（Galerie Legendre）簽下六年的合同，生活有了保障，得以專心繪畫。而勒讓特畫廊的藝術 主任巴聶（Maurice Panier）眼光精準，1944年曾為康丁斯基（Kandisky）在法國舉辦個展，鼓舞他的晚年時光。他讚美朱德群是善於運用顏色 的畫家，油畫構圖嚴謹。 1960年時朱德群在巴黎已經確立了地位，代表遠東藝術家參加巴黎夏邦提耶畫廊（Galerie Charpentier）的國際性畫展「巴黎畫派」（École de Paris），才華深受肯定。1950年後期畫作，結合書法線條，紅、綠、藍、黑，構成的色塊，結實有力，可以看出抽象畫家史塔耶爾（de Staël） 的深刻影響。1960年代，朱德群的油畫以寬橫幅構圖居多，描繪多以單一色為背景，畫面上有雲山煙樹之感，詩情畫意與中國山水畫可謂一脈 相承。多位藝評家指出朱德群的畫是詩與畫的結合，詩人作家兼藝術評論家夏布朗（Jean-François Chabrun）在1960年的《快訊週刊》中就曾以 「二十世紀的宋朝畫家」形容朱德群。 曾任1985年巴黎雙年展主席的喬治．布達伊（Georges Boudaille），在1963年3月號法國的《西馬斯》（Cimaise）雜誌專欄中曾如此介紹朱德 群的藝術︰「朱德群的繪畫承接巴黎畫派優秀抽象畫派藝術家之經驗，其形式純粹是西方的，但是他的繪畫卻轉向自身的本源。…純屬於他自 己的是其構圖中特有的東方含蓄之氣氛，一種細膩的詩情畫意油然而生，迴繞在畫面的景象，及其暗喻的激情，歷久不散，分佈在深切的和諧 中。…職業畫家的朱德群在巴黎畫派中，由於他豐富的繪畫經驗及完全掌握的技巧，而形成一個特殊的例子，並能挺立在當前藝術潮流中。」 1964年創作的《構圖No. 166》是朱德群第166號抽象畫作品，抽象藝術家通常不為作品命題，避免給觀者先入為主的影響，因此常採取編號或 創作日期代替畫題。1958-59年起，朱德群除了取法文畫題之外，也為油畫作品編號，後來連題目都省去，直接以編號取代。不過大約到了1970 年前後，因編號排序太多，自己也不易記得，他開始為畫作再取一個極富詩意的題目，畢竟詩詞文字也是抽象的，他認為應該不會妨礙觀者的 自由解讀，反而更能親近畫家所欲營造的空間。 《構圖No. 166》作品採取海景型的構圖，淡色暈染的背景帶有中國山水畫的意象，筆刷橫掃過畫面，切割出上下的空間。重色堆砌處，有山巒 連綿之形勢，細筆飛動間，如輕風搖曳之韻律，整幅畫面呈現水天共一色的迷人風景圖式。此外，彩度較高的紅、藍、綠等色塊，為單色圖畫 增添顏色，使得畫面結構更有層次感。1962年之後，因為代理畫廊風格轉向，朱德群進入幾年的沈潛，為畫家在巴黎生活最刻骨銘心的時期， 儘管收入不豐，生活困頓，但卻是畫家內心最清明、藝術最純粹的階段，1960年代的作品量稀有，但多屬難得的精品。

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When Chu Teh-chun left Taiwan for Paris to develop his career in 1955, his early style was still figurative having drawn several portraits with delicate realistic and factual painting skills. Chu attended the Salon des artistes français (the Salon for French artists) and was awarded a prize. Soon after, he drew less and less representational paintings becoming absorbed in abstract.

His enthusiastic compositions were recognized by artistic commentators. He started to exhibit his abstract paintings in galleries in Paris in 1958, many of them showing interest in his works. Later Chu signed a six-year contract with Galerie Legendre which focused on abstract paintings. Thus, he managed to make ends meet and was able to concentrate on painting. The keen eyed Maurice Panier, artistic director of Galerie Legendre, who arranged a solo exhibition for Kandisky in France, give Chu generous encouragement. He recognized Chu Tehchun as “un coloriste” (a colorist) of thoughtful composition for oil paintings.

purpose. …What properly belongs to him is the discreetly oriental atmosphere pervading his compositions. A subtle, but penetrating scent of poetry develops from the deep harmony between the sight offered and the emotion suggested… Chu Teh-chun remains a professional painter even within the ‘Ecole de Paris’; his craftsmanship and his mastery of the technique have made of him an extraordinary and quite exceptional case amid the trends of present painting…”

The painting “Composition No.166” painted in 1964 was Chu Teh-chun’s 166th abstract painting. Abstract artists usually leave their works without a title to avoid preconceived understandings of their art.

They give their compositions numbers or dates of creation. From 1958-59, Chu Teh-chun gave his oil paintings numbers and French names. Then later, he simply omitted titles and replaced them entirely with numbers. Around 1970 he found himself puzzled by so many numbers, so he started to use poetic titles since, after all, poetic verses were also abstract. He believed poetic names wouldn’t obstruct viewers’ freedom of understanding. On the contrary, a good title may help viewers to get closer to the atmosphere which he as a painter had tried to create.

By 1960, Chu Teh-chun had established his reputation in Paris. As a representative of the Far East artists, he entered the international art exhibition of “Ecole de Paris” held by Galerie Charpentier, and his talent was fully recognized in that exhibition. His paintings late in 1950 were full of strength and were painted with calligraphic lines and color patches of red, green, blue and black. The paintings reflect The painting “Composition No. 166” adopts the profound impact on Chu of the abstract the composition of an ocean view. The painter de Staël. In the 1960s, Chu Tehlight-color-filled and smudged background chun’s oil paintings were mostly landscapes has the feature and style of Chinese of single-color background with clouds mountain-water paintings. The sweep of the surrounding mountains and mist around brush horizontally separates the canvas into 朱德群《源》1965 油彩 畫布 trees. This poetic and artistic scenery upper and lower spaces. The overlapped CHU Teh-chun, La source conception derives from Chinese mountain1965, oil on canvas, 120 x 60 cm colors form endless mountains; the thin water paintings. Several art critics pointed lines constitute rhythms as if a gentle breeze. The painting shows out that Chu Teh-chun’s paintings were the combination of poetry a fascinating landscape of water blending with sky where color and scenery. Jean-François Chabrun, the poet, writer and art critic, patches of red, blue and green add charm to the single dominant praised Chu Teh-chun as a “ Peintre Song du XXe siècle (20th color, enriching the hierarchies of the structure of the picture. A Century Song Painter)” in “L’Express” in 1960. change in style of the gallery agency in 1962 brought about a low point for Chu Teh-chun for some years. This is a forgettable period Georges Boudaille, former chairman of the Paris Biannual for Chu in Paris. A difficult life and low income, however, never Exhibition, presented Chu Teh-chun’s art in a column in Vol.3 influenced his work as a pure-hearted and clear-minded painter. His (March) of “Cimaise” in 1963: “…The form is determinedly paintings in the 1960s were less in quantity, but greatly superior in Western, directly inherited from the experience of the best abstract quality. painters of the Ecole de Paris. But he diverts it from its original

174 CHU Teh-chun

(Chinese-French, 1920-2014)

L'irréel 2005 Oil on canvas 195 x 130 cm Signed lower right CHU Teh-chun in Chinese and English, dated 05 Signed on the reverse CHU Teh-chun in Chinese and English, titled "L'irréel" in Chinese and French, dated 2005 EXHIBITED: Chu Teh-chun, Shanghai Art Museum, Shanghai, October 12-November 10, 2005 ILLUSTRATED: Chu Teh-chun, Shanghai Bookstore Publishing House, Shanghai, 2005, color illustrated, pp. 54-55 Pierre-Jean Rémy, Chu Teh-chun, La Différence, Paris, 2006, color illustrated, p. 297 Solo Exhibition of Chu Teh-chun, The Ueno Royal Museum (catalogue), Tokyo; Thin Chang Corporation, Taipei, 2007, color illustrated, p. 394 (hard back edition) Solo Exhibition of Chu Teh-chun, The Ueno Royal Museum (catalogue), Tokyo; Thin Chang Corporation, Taipei, 2007, color illustrated, p. 50 (brochure) Chu Teh-chun 88 Retrospective, National Museum of History, Taipei, 2008, color illustrated, p. 240

NT$ 30,000,000-40,000,000 HK$ 7,653,000-10,204,000 US$ 985,200-1,313,600

朱德群 霧非霧 2005 油彩 畫布 195 x 130 cm 簽名右下：朱德群 CHU Teh-chun 05 簽名畫背："L'irréel" "霧非霧" CHU Teh-chun 朱德群 2005 展覽： 「朱德群近作展」，上海美術館，上海，展期自2005年10月12日至11月10日 圖錄： 《朱德群》，上海書店出版社，上海，2005，彩色圖版，頁54-55 皮耶—尚．雷米，《朱德群畫集》，拉迪夫羅斯出版社，巴黎，2006，彩色圖版，頁297 《大象無形—朱德群作品展》，上野之森美術館，東京；台灣馨昌股份有限公司，台北，2007，彩 色圖版，頁394（精裝本） 《大象無形—朱德群作品展》，上野之森美術館，東京；台灣馨昌股份有限公司，台北，2007，彩 色圖版，頁50（簡冊） 《朱德群八十八回顧展》，國立歷史博物館，台北；馨昌股份有限公司，台北，2008，彩色圖版， 頁240

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走完94年的漫長人生旅途，朱德群有超過一甲子的歲月潛心鑽研藝術 創作。1997年他獲頒法蘭西學院院士的殊榮，成為歷史上首位獲此頭 銜的華裔人士。他的繪畫根源於中國書畫的古典傳統，詩詞、文學、 哲學的廣泛閱讀，以及西方美術的影響。他被譽為是「20世紀的宋代 畫家」，將東方藝術的細膩與西方繪畫的濃烈，融匯得最成功的畫 家。終其一生，朱德群不斷的開創新局，繪畫的靈感泉源完全從自然 而來，繪畫是自然與其靈性的結晶，他的繪畫呈現靈性的境界；在文 化的修持中，他的繪畫蘊含生命的光輝，描繪山靈地氣間美好的抒情 世界。 朱德群回顧他一生的創作，歸結自己所欲傳達的哲裡，他曾說道： 「作為漢家之子的我，在此意識到有一個特殊的使命要傳達，即《易 經》中之哲理的再現——兩個最基本的元素，其生生不息、相輔相成 在繪畫中的具體呈現。陽，是光明、熱烈；陰，是自然，柔和。」他 繼續說：「我一直在追求將西方的傳統色彩與現代抽象藝術中的自由 形態結合成陰陽和合之體，成為無窮無盡的宇宙現象。我在大自然中 聆聽宇宙、聆聽人、聆聽東方、聆聽西方，得到我唯一的靈感源泉， 賦予詩情和詩意。」

Lorrain, 1600-1682）！？或向泰納（William Turner, 1885-1851）致 敬！？再不然，輕輕地對林布蘭說聲早安！？」 （節錄自2008年王哲雄的 〈光源、形象和韻律─朱德群藝術講座〉）

朱德群的抽象藝術，是中國的智慧，是西方的眼睛。他的畫既體現現 代的意識，又具有中國傳統文化的古典精神，兼融中西卻又超越中 西，彩筆揮灑出屬於自己獨特而充滿魅力的藝術世界。 Chu Teh-chun devoted himself to the arts for over 60 years during his long, now concluded, 94 year journey. He was elected a member of the Institute de France’s Académie des Beaux-Arts, the first ethnic Chinese to be granted this honor. His works are rooted in and influenced by Chinese painting, calligraphy, classical poetry, literature, philosophy, and Western art. He was once called a "20th century Song dynasty painter” (Peintre Song du XXe siècle) whose art featured the successful integration of the delicateness of Eastern art with more intense Western forms. Nature was the source of inspiration from which Chu drew continuous innovation. His paintings show a union of nature and spirituality that implies the glory of life amongst cultural practices, depicting lyrical worlds replete with mountain spirits and the energy of the land.

陰陽調和自然，達到天 人合一的境界，為東方 藝術的精神，朱德群深 知他的文化底蘊，並具 體表現於筆下的世界。 2003年他為上海歌劇院 創作了巨幅油畫《復興 Looking back on his life 的氣韻》，表現出如交 works, Chu summed up 響詩般節奏輕快、宏大 the philosophy he wanted 的歡宴氣氛，令世人驚 to pass on in this way, 艷不已。此後，他繼續 “As a person of Chinese 創作油畫、陶瓷、彩墨 朱德群《意志堅強》（四聯幅）2004-2005 油彩 畫布，羅芙奧2013年秋季拍賣會，編號665，新台幣7536萬元成交 descent, I realize that my 等，對藝術探索保有濃 CHU Teh-chun, Force d'âme (Fortitude) (quadriptych), 2004-2005, oil on canvas, 195 x 456 cm life mission is to convey 厚的興趣與好奇。2005 Ravenel Autumn Auction 2013 Taipei, lot 665, US$ 2,546,806 sold the two basic elements 年他為上海美術館的個 introduced in the I Ching, Yang, representing light and passion, and Yin 人畫展特別創作了《霧非霧》等作品，展現寶刀未老的創造力。 representing nature and gentleness. My paintings try to manifest this philosophy by complementing each other and forming an endless cycle.” 《霧非霧》作品為畫家的後期較大尺幅的佳作，在沉穩凝練的藍綠色 He continued, “I have always pursued the integration of Yin and Yang 基調中，躍動著粉色的刷白及五彩繽紛的色塊，交融出和諧的格局與 by uniting the traditional colors of Western paintings and the freer style 色感。其筆觸簡約、細膩，色調豐富、溫潤，透露著朦朧的詩意感。 of contemporary abstract art to create a sense of infinity. My source of 白居易寫詩：「花非花，霧非霧。夜半來，天明去。來如春夢幾多 inspiration is listening to the universe through nature, listening to people, 時？去似朝雲無覓處。」朱德群的抒情圖畫賦予無限的想像空間，一 listening to the East and the West, and expressing this with lyrical and 如詩詞的抽象意境，並詠嘆人生的易逝美好。 poetic sentiments.” 對於朱德群千禧年後的創作，王哲雄教授如此說明：「如果九○年 The spirit of the East proposes that the energies of Yin and Yang harmonize 代的作品是可以用『釋放能量』來解讀的話，2000年代應該是『內 with nature to achieve a synergy between mankind and heaven. Chu Teh化能量』，這個時期的作品，譬如《N°50神秘的境界》（2001）、 chun knew his cultural heritage well and applied it with the help of his 《N°42生命的成就》（2004）、《N°45拂曉》（2004）、《陽 brush. In 2003, for the Shanghai Opera House, he created a large-scale oil 光之源》（2004）、《力爭上游》（2005,三聯作）、《他鄉異 painting, “Symphonie Festive”, that displayed a symphonic rhythm and 彩》（2005,三聯作）、《白色的誕生》（2005）、《海的幻夢》 grand, festive ambiance. After this he continued to produce oil paintings, （2005）、《祥兆》（2005）、《曙光》（2005）、《霧非霧》 ceramics and color ink works as part of a journey of artistic exploration. （2005）…等等，線條相對地精簡，非到必要不用，用則如龍點 In 2005, he created works such as “L'irréel” for his solo exhibition at 睛，如虎添翼，如此淬鍊是謂『惜線如金』；寓『韻律』於蒸騰的 the Shanghai Art Museum, revealing that he was still at the height of his 神秘『形象』和閃爍躍動的小色塊；幻化的光源召換著洛翰（Claude

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creative powers.

“L'irréel” is a larger masterpiece from his later years. Turquoise is the base tone, like still water, concentrated and running deep, upon which pink brushstrokes leap from the canvas along with other blocks of color. Each plays an integral part in the harmony and hue of the whole structure. The brushstrokes are concise and delicate; the shading carries a poetic mood that is warm and rich in color.

The painting evokes Bai Juyi’s poem, “It is a flower, yet not a flower, a mist, yet not a mist; it arrives at midnight and leaves at dawn. It appears like a spring dream, not staying long. And it vanishes as morning clouds, leaving without a trace.”

Chu Teh-chun’s romantic painting creates a space for endless imagination like the abstract mindscape of a poem intoning the evanescence of life. Professor Wang Che-hsiung described the works of Chu Tehchun post-2000, “If Chu’s art in the 90s can be interpreted by ‘a release of power’, his art in the 2000s should be seen as ‘an internalization of power’.

The works from this period, N° 50 Vers l’inconnu (2001), N° 42 Triomphe de la vie(2004), N° 45 L’aube (2004), Au Coeur du soleil (2004), Le poids du devenir (2005, Triptych), Soleils venus d’ailleurs (2005, Triptych), Où renait la blancheu (2005), Fantaisie maritime (2005), Signes heureux (2005), L’aurore (2005), L'irréel (2005)… the contours are very simple, without extra lines, like the final touches to an already brilliant work. He transforms ‘rhythm’ into a steamy, mysterious ‘form’ as an analogy and small, lively blocks of color as a source of light that evokes Claude Lorrain (1600-1682), or that pays tribute to William Turner (1885-1851), or even whispers ‘good morning’ to Rembrandt!?” (Excerpt from The Source of Light, Image, and Rhythm—a Lecture on the Art of Chu Teh-chun, Wang Che-hsiung, 2008)

The abstract art of Chu Teh-chun represents a combination of Chinese wisdom and Western points of view that signifies both a contemporary awareness and a Chinese traditional classical spirit. It embraces both cultures while surpassing any categorization as “Eastern” or “Western”. His brush paints the world in a unique and completely charming style.

175 WANG Yan Cheng (Chinese, b. 1960)

Sans titre 2013 Oil on canvas 150 x 150 cm Signed lower right Wang Yan Cheng in English and Chinese, dated 2013 EXHIBITED: Wang Yan Cheng, Peintures récentes, Galerie Louis Carré & Cie, Paris, February 20-March 22, 2014 ILLUSTRATED: Wang Yan Cheng, Louis Carré & Cie, Paris, 2014, color illustrated, p. 22

NT$ 14,000,000-18,000,000 HK$ 3,571,000-4,592,000 US$ 459,800-591,100

王衍成 無題 2013 油彩 畫布 150 x 150 cm 簽名右下：Wang Yan Cheng 王衍成 2013 展覽： 「王衍成近作展」，路易・卡雷畫廊，巴黎，展期自2014年2月20日至3月22日 圖錄： 《王衍成》，路易・卡雷公司，巴黎，2014，彩色圖版，頁22

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如果說王衍成的視角是抽象的，那是指他的色彩遊戲：純粹色彩的富於韻律的即興發 揮，張力被破除，又重新連接，在一個平衡的瞬間，將時間凝固。觀眾總是處於聖主顯 像的感動中。一個想像的世界出現了，它充滿了層疊的地質紋理，混亂的混沌留下的痕 跡，成千上萬星星般的符號，似乎是天、地、石窟、泉水、雪山高峰、雷電和晚霞。 王衍成的每一筆都為了「喚醒材質」。他成為自己世界的主人。符號孕育了一個形式的 世界，根據自然法則，將對立事物統一其中。王衍成的創作是一個漫長的繪製過程，從 畫筆反復塗抹畫布開始，他將顏料塗在畫布上，刮掉，再塗上，壓縮，逐層累積。他刻 畫深度，但不用透視法。色塊的爆炸帶來傷痕，沉浸在陰暗的流水中。形式的迸裂對陰 影進行切割，它喚醒光明，光線附著在顫動中的厚重顏料上，回應天空的繽紛色彩，或 地下的忽明忽暗。深度帶來對比強烈的邊界，而形體之間的衝撞擠壓出紅色、橙色、赭 石、褐色、黑色和幽藍。它們出現在深不可測的層次裡，然後浮出海面，在山脊上消 融，在雲霧中隱現。光線的深度為黃褐色、土黃色和暗紅色帶來活力。 王衍成與宇宙合一的體驗告訴他如何在不可捕捉與元初混沌之間把握平衡，這兩點正是 他繪畫的基礎。 構圖完美地平衡，光線統一了不同層面和深度。帶有運動感的深度讓我們覺察到空間的 延伸。筆觸的一呼一吸都緊湊有致，收放自如，帶來空間的整體感。空間隨著自然變化 而變易，變成激浪，捲動，斷斷續續的曲線，顫動，符號的狂舞。寶石藍，寶石綠，天藍，碧綠，附帶著紅色與橙色。用畫筆輕撫而成的彩色 符號表達出王者的自在完滿。不同的層次融合在過程中、路徑中、清除中，帶來自然的氣息，它呼吸的聲音。紛亂中顏料還在發芽開花，沉澱 與堆積則留下分裂交錯的痕跡和閒散耕作的線條。王衍成發明了一條新路，他的繪畫世界裡符號努力地從土地的沉重中掙脫出來，最終於色彩 和光線合為一體。 王衍成告訴我們，他的畫表達的是「他的生活，他的思想，他的靈魂」。這意味著，他既承認對傳統的繼承，又認識到自己的個性發揮與創 新。他在滿懷信心地冒險。這是王衍成的座標。時間與他一起工作，為他工作。 今天，色彩的流淌和爆發，顏料與色調的延展，都融合在一段不被動搖的電流中。自然在我們觀照中顯出它的神性的美。湖泊，山川，群葉， 深谷，平原，河流，火山，岩石，松樹，泡沫，冰河，沉寂的大地，北極光，黃昏與晚霞交織在一起，又在奔放的色彩中消隱蒸發。脫胎於書 法的線條以嫺熟而隨意的技法勾勒出結構。色彩豐富得令人眩目，它們越來越個性化，變化更細膩而微妙，彰顯藝術家的氣韻。紅色，橙紅， 藍色系，赭黃系，土色，黑色，赭白色，藍灰色，共同建立流動的空間。每種顏色是一種色度，一個聲音，它們在自由逍遙的空間，在顫動的 空氣中，進行時間之外的旅行。 王衍成超越了已經成為歷史的寫意抽象畫派的門階，他創造了一種完全個性化的藝術語言，也憑此在國際藝術舞臺上佔據了一席之地。對王衍 成來說，想像與精神的辯證法就意味著他所創作的不斷更新、帶著神秘的童話色彩、帶給我們觀照與領悟的靈魂風景。 作者及版權所有：莉蒂亞・阿亨布林（法蘭西藝術學院通訊院士，藝術史家，藝術評論家）

Wang Yan Cheng’s perspective could be interpreted as a playful manipulation of colors rather than pure abstraction: A spontaneous approach is portrayed through a seamless balance of the disconnected and reconnected tension, so full of rhythmic improvisation that froze a moment in time. The viewer is moved by this direct confrontation with an imagined world, full of layered geological textures and traces of chaotic elements, where thousands of star-like elements symbolic of the heaven, earth, caves, springs, snow-capped peaks, lightning and the sunset delicately compliments the composition.

Wang Yan Cheng infuses life into every brushstroke. He became the master of his own world in manifesting a symbolic world in accordance to the laws of nature by unifying opposing elements. Wang Yan Cheng’s artistic creation entails a long process, from the repeated brushstrokes applied to the canvas, he then proceed to scraping, reapplying and compressing his color palette. He portrays depth by abandoning perspectives. Form is established through the manipulation of shadows and light in turn emerges in response to the heavy colors of the sky and the contrasting darkness emanating from the ground. The colors red, orange, ocher, brown, black is illuminated through a collusion of these forms. They appear in the depth of the layers, surfaced from the sea, ablating on the mountain ridge, looming against the clouds. The composition is revitalize through the depths of light and the color palette of yellowish brown, sandy yellow and dark red.

The foundation of Wang Yan Cheng’s artistic approach predicates upon a unity of the artist’s experiences, thus achieving balanced of the intangible elements.

The artist’s composition is perfectly balanced as the source of light unified the different levels of depths. Wang’s brushstrokes are compact and spontaneous, bringing an overall sense of space. In particular, this notion of space manifest and delicately turns into waves, curves, trembling lines that parallels a harmonious dance through the utilization and natural variations in tones of sapphire blue, emerald green, sky blue, green, with red and orange. The colors from these delicate brushstrokes reflect the artist’s proficiency. An air of natural beauty is illustrated through integration of the various depths as the colors

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blossoms beautifully into staggered lines. Wang Yan Cheng thus devised a new artistic approach in his painting as these symbols emerge from the grounded elements, harmoniously blending seamlessly with the light sources and colors.

Wang Yan Cheng’s painting expresses "his life, his thoughts and his soul." through recognition of traditional sentiments and an incorporation of his subjective individuality and innovation overtime.

The lyrical flow and the outburst of extended tonal colors blends seamlessly into an entirety. Nature portrays its divine beauty in our contemplation, where the lakes, mountains, the leaves, valleys, plains, rivers, volcanoes, rocks, pine, foam, ice, quiet earth, northern lights, dusk and sunset intertwined and evaporates under these bold colors.

The structure is constructed through lines derived from the traditions of calligraphy techniques. These stunning rich colors become personalized and in turn extenuate the artist's charm. The combination of red, orange, blue lines, ocher yellow lines, earthy tones in black, ocher white, blue-gray jointly defines and creates a flowing space. Each color constituting a sound, they exist and travel freely within this space across time.

Wang Yan Cheng have devised an artistic means that goes beyond the limits of Impressionistic abstraction, a technique that remains distinctively his. This attribute have distinguished the artist on the international stage.

According to Wang Yan Cheng, the imagination and the spirit can best be illuminated through continuous revitalization; the soul of his landscape composition is thus created through his mysterious fairy-like and nostalgic palette.

Author and copyright: Lydia Harambourg (Correspondante de l’Académie des beaux-arts de l’Institut de France, art historian, art critic.)

2013年王衍成先生由法國政府授予法國文化軍官勳章，法國憲法委員會 主席德布雷先生頒發勳章 In 2013, Wang Yan Cheng received recognition as Officier dans l'ordre des Arts et des Lettres by the French government. The President of the Constitutional Council, Jean-Louis Debré presented him with the medal during the ceremony.

176 ZAO Wou-ki

趙無極

(Chinese-French, 1921-2013)

漂浮的城市

Ville flottante

1954 油彩 畫布 46 x 55 cm 簽名右下：無極 ZAO 54 簽名畫背：ZAO Wou-ki Ville flottante VI-VII、54

1954 Oil on canvas 46 x 55 cm Signed lower right Wou-ki in Chinese, ZAO in French and dated 54 Signed on the reverse ZAO Wou-ki, titled Ville flottante both in French and dated VI-VII, 54 PROVENANCE: Dimensions Art Gallery, Taipei Acquired from the above by the present owner

來源： 帝門藝術中心，台北 現有收藏者購自上述來源 附藝術家親筆簽名之原作保證書

This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 14,000,000-20,000,000 HK$ 3,571,000-5,102,000 US$ 459,800-656,800 1954年是趙無極轉向抽象繪畫至為關鍵的年代。在此之前，趙無極受到保羅．克利（Paul Klee，1879-1940）的啟發而找到線條與符號的神秘魅 力，他揚棄了西方傳統的三度空間描繪技法，反而開展了另一種悠遠的詩意空間。而這樣超越形體之上的意境追求，無疑喚醒了趙無極童年時 期，在袓父趙紹甫殷殷教導之下所奠定的深厚國學修養，促使他在西方的繪畫脈絡之中，融入了蘊藏於自身精神內的東方文明哲思。 趙無極對於中國上古時期的甲骨文與青銅器紋刻的探索為他帶來豐饒的創作養份，這些上古文字與符號是古人處於天地之間，觀照自然萬物與 無形現象，提煉而出的智慧結晶。於是，趙無極從克利時期運用線條勾勒有具體形狀的花草樹石與人物，到拉開視角著眼於宏觀的城市、自然 界、以及流動於其間的混沌力量，再一次蛻變。然而，與其說趙無極經由研究甲骨文而領略了符號式的造形之美，倒不如說他從中頓悟了造形 與自然力量之間的聯結，發現了一個令他更為著迷的世界。這個世界無形卻充滿力量，難以駕馭卻更為宏大且豐富，而這樣缺乏具體形象的認 知領域，又呼應了二十世紀西方藝術的抽象趨勢，終於在趙無極的筆下匯聚，形成一股融匯東西方精神的璀璨旋律。 作於1954年的《漂浮的城市》正是趙無極走出克利的影響而形塑出個人獨特語彙的轉折之作。泛著金銅色調的天地之中，細膩鋪陳出神聖而典 雅的文明氣質，朝向畫面中央凝聚的線條仍保留克利式的清晰纖細，卻也已然透露那有如銘刻般的剛勁力道，顯現出趙無極自甲骨文提煉而出 的形式美學，而閃爍的光芒穿越濃厚的金銅、黃褐色層，間或透出互補的藍色調，散發優雅的光采，襯托出接近畫面中央的一抹銀白，成為視 覺焦點。於是，充滿律動的線條與深淺有致的色層，譜寫出無法界定、幻化萬千的詩意空間。在此，線條已經不再如先前的作品般勾勒出具體 的形象，而是消融為抽象的結構，或許仍舊隱約暗示著蜿蜒的街道、錯落的建築、以及迎向天際的尖塔，卻也同時揭示了另一層超越於形體之 外、關於自然界與人間意象的領悟。經由線條的凝聚與擴散，以及跳躍於其間的光影，《漂浮的城市》透過感受性而非具體言說，傳達了生氣 勃勃的城市形廓，並開啟無盡的想像。而藝術用在此作中精采地運用古典的金銅色調，煥發出神聖、典雅的氣質，也預示了他在1960年代最為 輝煌而受讚揚的金銅色調抽象繪畫。 創作《漂浮的城市》之時正值33歲的趙無極，從初抵巴黎時深怕落入「中國趣味」的捷徑而刻意迴避東方元素，到發掘東方文化深刻的底蘊並 注入創作之中，為我們開拓了新的藝術視野。他曾說：「我在畫中力求自由的空間關係，我的視點是像國畫中那樣移動的多視點。」離開了東 方，反而使他深入了東方，在東西文化的交會、衝撞與迴旋之間，迸發出無比的創作能量，透過密集的轉化與蛻變，形塑悠遠深邃的趙式風 格。他認為「繪畫應讓人以另外一種眼光看事物，以繪畫的觀點看事物」，因而努力地「創造一種不受題材限制的語言」，正如《漂浮的城 市》詩意地展現一種關於居住、關於群體、關於人類社會與大自然的無盡想像。

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1954 was a critical year for Zao Wou-ki. It was in that year that he shifted his focus to abstract painting. Before that year, Zao was highly influenced

by Paul Klee (1879–1940), from whom he drew inspiration, and immersed himself in the mysterious charms of lines and symbols. He abandoned traditional Western style painting techniques that require creating a sense of three-dimensional space, and instead set out on a journey in search of a remote and poetic space. Such a metaphysical pursuit that transcends the limit of form undoubtedly awakened Zao’s childhood memories. Owing to the earnest and tireless instruction of his grandfather, Zao Shao-fu, Zao had built a solid foundation of Chinese studies, which prompted him to blend the philosophical thinking of Eastern civilization and philosophy into the contextual fabric of his Western paintings.

he had learned from the study of oracle bone script. The glistening light penetrates the thick and heavy layers of copper and brown, showing the complementary tints of blue. Such graceful luster serves as a foil to a touch of silver-white in the center, making it the focus of sight. Here, lines no longer outline concrete images as the artist had been doing but dissolve into abstract structures. Perhaps they still allude to the winding streets, the scattered buildings and the tower that looks to the sky, yet they also bring to light a different level of understanding that goes beyond forms, a kind of realization that concerns nature and the imagery in the human world.

Through the convergence and diffusion of lines and the light and shadow that leap between them, “Ville flottante” portrays the lively city contours and arouses infinite imagination through perceptive description rather than specific depiction. His brilliant use of gold and copper takes on an unspeakable sacred and elegant atmosphere, which also foreshadows the creation of his most criticallyacclaimed copper-colored abstract paintings created in the 1960s.

His exploration of oracle bone script and the engraved patterns of bronzeware from ancient China offered up an abundance of artistic inspiration.

Our forefathers created those ancient characters and symbols, which represent a crystallization of wisdom, by observing the natural world and Zao, after creating “Ville flottante” at age thirtyabstract phenomena. From using lines to depict the three, changed his attitude from purposefully tangible things from flowers and grass, trees, rocks avoiding Eastern elements for fear of falling into to people during his “Klee period” to broadening 保羅．克利《魚兒上鉤》 a “Chinoiserie” stereotype when first arriving in his perspective on cities, the natural environment 1920，油彩 水彩 紙本 ，31 x 32.5 cm Paris to earnestly sifting through and excavating and the formless forces floating in between, Zao 倫敦泰德美術館藏 Paul KLEE, They're Biting, 1920, drawing and oil on paper the profound Eastern cultural fountainhead and once again transformed his artistic style. However, 31 x 32.5 cm, collection of Tate Gallery, London imbuing those cultural qualities into his later it was not so much about him grasping the symbolic paintings. In doing so, he opened up a brand new artistic perspective for beauty of form through the study of oracle bone script, but rather him us. He once said, “I endeavor to seek a free spatial relationship in my realizing the connection between form and natural forces, and therefore paintings. My perspective is similar to the moving, multi-angle perspective discovered a more charming and attractive world. Filled with forces, this often seen in Chinese paintings.” Leaving from the East conversely invisible world is difficult to manage yet much grander and rich in various prompted him to delve deeper into the East. In the collisions, the impacts, resources. Such a cognitive realm that lacks concrete images echoes the and the vacillations between Eastern and Western culture, he burst forth trend of Western abstract art in the 20th century. Under Zao’s brush, these an immeasurable power in art and developed his remote and profound Zao elements that belong to the world of abstraction finally converge and form style through intensive artistic alterations and transformations. He believed into a piece of remarkable melody that combines the East and the West. that “paintings are supposed to give people another perspective on things, Created in 1954, “Ville flottante” is an important work that marks as in the view point of paintings,” which was why he strove to “create a Zao’s departure from out of Klee’s shadow and into the initial stages of language that is not restricted by themes” as “Ville flottante” poetically developing his own artistic language. In the realm that is suffused with a showcases: the infinite imagination about dwelling, groups, human society, copper colored hue, the artist arranges a sacred and elegant civilized air. and nature.

Although the lines converging to the center remain clear and delicate as the style of Klee, they already reveal the powerful force exerted on engraved patterns. Such a development unfolds Zao’s aestheticism in forms that

177 ZAO Wou-ki

(Chinese-French, 1921-2013)

Sans titre 1960 Watercolor and india ink on paper 76 x 56.7 cm Signed lower right Wou-ki in Chinese, ZAO in French and dated 60

趙無極 無題 1960 水彩 墨 紙本 76 x 56.7 cm 簽名右下：無極 ZAO 60 附藝術家工作室開立之原作保證書

This painting is to be sold with a certificate of authenticity issued by Atelier Zao Wou-ki.

NT$ 15,000,000-20,000,000 HK$ 3,827,000-5,102,000 US$ 492,600-656,800 《無題》一畫以1960年代特有的古銅黃褐色為基調在畫面的空間裡，畫家的思緒在其間奔流，豐富色階的顫動、纖細敏感的線條躍動，輕盈、 濃烈並重。情感原來仍是低迴纏綿的水流，但瞬時河海翻騰，洶湧澎湃，衝擊著觀者的心靈。儘管面對內在的恐懼，精神的苦悶，趙無極以其 熱愛和諧、自由的意志，為他筆下的作品賦予向上升揚的精神，其色彩、光影空間都能掌握得奧妙，此時畫風因繪畫元素多元而產生富麗之 感。趙無極出生自悠久歷史的中國，其繪畫內蘊藏著文化的傳承，以及古老歷史的軌跡，相較於同代歐美抽象畫家，書畫的傳統，讓他擁有更 富足的背景元素。文人墨戲，高山、漁隱，數百年中國繪畫大師借畫寓情，不在描繪實景實物，而是書寫內在微觀。趙無極不也是懷抱崇高理 想，在異鄉的畫室內，為自己開闢一處可以冥想遨遊的山水空間。 “Sans titre” is based on a copper-colored yellow brown tone that was only characteristic in the 1960s. The painter's thoughts are rushing in the large space with abundant quivering color gradation and slight sensitive jumping lines. Both lightness and heaviness show in the painting. The emotion is like circuitous windings at this moment but instantaneously the seas are rising and surging to strike the hearts of people watching. Though facing fear in his heart and depression in his soul, Zao Wou-ki still uses his harmoniousness-loving free will to give an upward spirit to his painting. He has mastered the secret of color and light-shadow space. His style looks splendid with abundant painting elements. Zao Wou-ki was born in China with its long history. Compared with European abstract painters at the same time, Zao’s cultural heritage, and ancient historic tracing in his paintings give him more abundant background elements. Over hundreds of years, Chinese painting masters used literary devices and ink plays, high mountains, and fishing in seclusion to express themselves in their paintings. They were not painting real landscapes but expressing their innermost microcosms. Zao Wou-ki also cherishes a grand ideal to open a space for himself to meditate freely in the studio on the foreign land.

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178 LUO Zhongli (Chinese, b. 1948)

Take Shelter from Rain – 2 1995 Oil on canvas 95 x 130 cm Signed lower right Luo zhong li in English and Luo in Chinese Signed on the reverse Luo zhong li in English, Luo in Chinese, titled Take Shelter from Rain-2 in Chinese, inscribed 130 x 95 cm, LZL-123 and dated 1995 ILLUSTRATED: Luo Zhongli - The Chinese Soul of Dabashan, Mountain Art Cultural and Educational Foundation, Kaohsiung, 1996, color illustrated, p. 69

NT$ 12,000,000-18,000,000 HK$ 3,061,000-4,592,000 US$ 394,100-591,100

羅中立 躲雨的農民之二 1995 油彩 畫布 95 x 130 cm 簽名右下：Luo zhong li 羅 簽名畫背：《躲雨的農民》之二 1995年 130 x 95 cm LUO zhong li 羅 LZL-123 圖錄： 《羅中立—西南的力量》，山藝術文教基金會，高雄，1996，彩色圖版，頁69

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兒時的理想 《父親》的成功 對美術的興趣，源自於從小受到家庭環境的影響，父親是一位工廠的製圖員， 週末都會教羅中立兄弟四人畫畫，在他初中二年級那年，羅中立參加了一個在 香港舉辦的國際兒童展覽並獲獎，獲獎的成功更堅定了他將美術從愛好轉換成 一種理想。1979年《父親》的出現，羅中立才三十歲，還是四川美術學院的學 生，《父親》這幅畫獲得第二屆全國青年美展一等獎，給年輕羅中立帶來了極 大的榮譽，這堅定了羅中立一輩子要畫他熟悉的大巴山農民的平凡生活，畫他 們的悲、歡、喜、怒、愛、憎、死。

留學的深造 視野的開闊 1984-1986年，羅中立赴比利時安特衛普皇家美術學院深造，他遊歷了歐美13 個國家，參觀了各個重要的博物館和美術館，也臨摹了許多名作。羅中立很喜 歡法國畫家米勒（J.F. Millet）和比利時畫家布魯哲爾（P. Bruegel），他們都 是表現農民生活的畫家。他將這幾位繪畫大師對他潛移默化的影響融合在自己 的生活經歷與藝術情感中。 羅中立《金錢豹》1993，油彩 畫布，160 x 200 cm 香港蘇富比，港幣12,647,500元 成交 LUO Zhongli, Golden Leopards, 1993, oil on canvas, 160 x 200 cm Sotheby’s Hong Kong, HK$12,647,500 sold

繪畫語言風格的演變

第一階段：繼《父親》之後，1982年羅中立完成了他的畢業創作《故鄉組 畫》，描繪了大巴山區農民的一些日常生活場景，源自於他在農村畫了大量的 速寫，如《吹喳喳》、《翻門檻》、《屋簷水》， 手法拙樸、色彩單純、鄉間氣息濃厚，描繪這些山區農民自然流露出來的質樸情感。藝術表 現手法上從超寫實繪畫風格走向了鄉土寫實繪畫風格，這些早期創作在思維和觀念上仍是一脈相承的，沿用了學院派的寫實語言。 羅中立從鄉土寫實繪畫風格進化到表現現實繪畫風格，是他第二階段的繪畫風格，同時也是第一階段的延續。進入了90年代，羅中立注重在個 人語言、藝術風格的變化和發展，以及在藝術語言的實驗上，探索一種既有當代文化特徵，又能體現東方審美趣味的藝術風格。其繪畫語言逐 漸以寫實轉向變形和誇張，在他的筆下，出現了一幅幅誇張變形的大巴山農民形象、奔放自由的線條和色彩，描繪了大巴山農民之間，老人對 小孩，男人和女人的一種相互關愛，普通卻又樸實的情感，這個時期作品的造型語言厚重，敦實的力與美，此時羅中立的畫筆下充滿了激情的 表現，開始顯露出大師風範。 《躲雨的農民之二》這幅作品創作於1995年，正是羅中立第二個階段繪畫風格的代表作，在題材的選擇上仍然是羅中立所鍾愛的大巴山鄉民的 生活場景，但是在表現形式和技法上有了很大的轉變。 畫面描繪的是一個在大巴山風雨欲來的前夕，一對大巴山農民夫婦在樹下躲雨的一個場景，這幅作品的畫面中已經不再有寫實的環境和背景， 對人物也不再是現實的描繪，整幅作品使用的是藝術家作品中常見的藍灰色調，以相近的深深淺淺的藍灰色調變換著豐富的色彩，以飛揚粗 獷的射線狀的筆觸，刻畫了傾盆暴雨的急驟，畫面遠處急驟的閃電，還在拉著磨盤的老牛，樹 枝上棲息的鳥兒正在睜著驚恐的眼，一對在樹下躲雨的大巴山農民夫婦，用具有表現主義的誇 張卻有力的筆觸，突出了丈夫胳膊的粗壯，妻子也是體格強壯的人物造型，頭披衣服坐在簸箕 上，並帶有些無奈的眼神，一條驚恐萬狀的小狗匍匐在身旁，既突出了人物形象的敦實淳樸， 人物豐富的層次和肌膚紋理，也使整幅畫面栩栩如生，傳達著濃厚的生活氣息和真實的生活 感，描繪了大巴山農民夫婦平凡生活的一幕。

A CHILDHOOD AMBITION, AND THE SUCCESS OF “FATHER” Luo Zhongli’s interest in art derived from his family background. Luo’s father was a draughtsman in a factory, and on weekends he would teach Luo Zhongli and his three brothers to draw and paint. When Luo Zhongli was in his second year in junior high school, he won a prize for a painting of his that was shown in an international exhibition of children’s paintings in Hong Kong; this award strengthened his ambition to make art a vocation rather than just a hobby. When Luo’s famous work “Father” was completed in 1979, Luo was still only 30 years old, and was still enrolled as a student at the Sichuan Fine Arts Institute; “Father” won first prize at the Second Youth Art Exhibition, which brought Luo great prestige, and reinforced his determination to make painting the daily life of the peasants of the Dabashan region that he knew so well – including their joys, sorrows, anger, love, hate and death – his life’s work.

STUDYING OVERSEAS HELPED LUO TO BROADEN HIS OUTLOOK During the period 1984-1986, Luo Zhongli studied at the Royal Belgian Academy in Antwerp. During this time, he traveled to 13 countries in Europe and North America, visiting the important museums and art galleries, and studying famous works. Luo was very impressed by the works of Millet and Bruegel, both of whom painted scenes of peasant life. He succeeded in fusing the influence of the great masters of the past with his own life experience and artistic vision.

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羅中立《春蠶》1983，油彩 畫布，200 x 134 cm 北京保利國際拍賣有限公司，人民幣4370萬元 成交 LUO Zhongli, Spring Silkworm, 1983, oil on canvas, 200 x 134 cm Poly International Auction Co., Ltd, Beijing, US$6,555,000 sold

A TRANSFORMATION IN LUO’S ARTISTIC LEXICON AND STYLE First stage: Following on from the success of “Father,” in 1982 Luo Zhongli completed his graduation project – the “Home” series – which depicted scenes from the daily life of peasants in the Dabashan region. These paintings derived from the large number of sketches that Luo had made while visiting the region. Works such as “Whispering,” “Exerting Himself” and “Rain Dripping Off the Eaves,” with their simple brushwork and sparing use of color, have a strong rural feel to them; they exude a sense of the down-to-earth integrity that characteristics the peasants living in these mountainous districts. In these paintings, a change in Luo’s style can be seen away from hyper-realism towards a “rural realism” style. However, the thinking and concepts embodied by these paintings still show continuity with Luo’s earlier work, with continued use of an academy-influenced expressionist artistic lexicon.

Second stage: The second stage in the evolution of Luo Zhongli’s artistic style was his move away from rural realism towards expressionism. At the same time, however, Luo’s new style still represented a continuation of the first stage. By the 1990s, Luo was focused on the transformation and development of his personal artistic lexicon and style, and was engaged in a process of experimentation whereby he sought to develop an artistic style that reflected contemporary culture while also embodying an East Asian aesthetic. There was a gradual shift away from a realist approach towards more exaggerated, distorted forms. Luo produced a series of paintings that portrayed peasants from the Dabashan region in this exaggerated style, with markedly free use of line and color; these works depicted the love and concern that old and young, men and women show to one another, and their straightforward, down-to-earth emotions. Luo’s works from this period are characterized by solid forms and a sturdy sense of power and beauty; the paintings are highly expressive, and begin to reflect Luo’s emergence as a truly great artist.

“Take Shelter from Rain - 2” was painted in 1995, and is a classic example of Luo Zhongli’s style during the second stage of his evolution as an artist. Once again, the subject matter for the painting is taken from the lives of the people of the Dabashan region, to whom Luo was so attached; however, there has been a major transformation in Luo’s use of form and in his technique.

The painting depicts a scene in the Dabashan mountains the evening before a big rainstorm. A farming couple are shown sheltering from the rain under a tree. Here, we no longer see the realistic background and environment that characterized Luo’s earlier works, and the human figures are no longer painted in a realistic way. The painting is full of the blue and grey color tones that are used so often in Luo’s work, with contrasting light and dark tones being used to achieve the variation that other artist might use different colors to create. Wild, flying brushstrokes have been used to create the effect of driving rain; lightning flashes in the distance, causing the old ox turning a grindstone and the birds roosting in the tree branches to open their eyes wide in fear. The present husband and wife shown sheltering under the tree are depicted in an exaggerated, expressionistic manner using powerful brushstrokes, emphasizing the muscularity of the husband’s arms; the wife is also portrayed as a strong, sturdy individual, who is using her clothes to keep the rain off her head and sitting on a sieve with a resigned expression on her face. A small, anxious-looking dog lies prostrate beside her. Besides portraying the simple decency of the human figures, the three-dimensional way in which the people are shown, and the detailed texturing of their skin, also helps bring the painting as a whole to life, causing it to exude a powerful sense of vitality and authenticity in its depiction of this scene from the lives of a Dabashan peasant couple.

179 Michell HWANG (HUANG Ming-che) (Taiwanese, b. 1948)

Continuation 1982-1985 Oil on canvas, wood 200 x 222.5 cm Dated upper center 1985 With one seal of the artist With one fingerprint of the artist EXHIBITED: Michell Hwang Solo Exhibition, Lung Men Art Gallery; Vien Gallery, Taipei, April 26-May 7, 1986 ILLUSTRATED: Michell Hwang Solo Exhibition, Lung Men Art Gallery; Vien Gallery, Taipei, 1986, color illustrated, exhibition invitation card Michell Hwang 1992, Galerie Pierre, Taichung, October 1992, color illustrated, no. 5, p. 29 Michell Hwang 1994 Faces of the Modern City, Galerie Pierre, Taichung, August 1994, black and white illustrated, pp. 6-7

黃銘哲 延續 1982-1985 油彩 畫布 木板 200 x 222.5 cm 年代中上：1985 鈐印中上：哲 指印中上一枚 展覽： 「黃銘哲個展」，龍門畫廊；維茵畫廊，台北， 展期自1986年4月26日至5月7日 圖錄： 《黃銘哲個展》，龍門畫廊；維茵畫廊，台北， 1986，彩色圖版，展覽邀請卡 《黃銘哲1992》，臻品藝術中心，台中，1992年 10月，彩色圖版，圖5，頁29 《黃銘哲—都會的臉譜》，臻品藝術中心，台 中，1994年8月，黑白圖版，頁6-7

NT$ 7,500,000-10,000,000 HK$ 1,913,000-2,551,000 US$ 246,300-328,400 美麗側影女子密密髮絲旋繞垂落、意念深切的容顏、纖纖指尖，朝向稚子而去；未經世事的孩兒一雙清澈閃亮的眼睛，望入未來，彷彿未知， 彷彿命定。向來不多談那段曾經的黃銘哲，輕輕地說明那時期畫面中的女人、小孩、家人等形象多為虛擬，唯獨此件《延續》的人物，確實是 以自己的妻兒入畫。 如聖壇畫的三聯幅形式，尺幅攝人；濃烈的中國紅、取自甲骨文精隨的字體，是千百年來傳統文化的陳跡。黃銘哲打開限制，畫布被穿透、畫 面以現成物延伸、平面繪畫以裝置藝術的型態展現，這些在當時台灣畫壇極為前衛的突破性藝術表現手法，對黃銘哲來說都是信手捻來，不慍 不火。不僅完美的表達了藝術家當時的心境，更預示了往後創作的軌跡。 此幅《延續》是黃銘哲自英國返台五年後首度在台北的個展邀請卡圖像。「經過一系列以少女、嬰兒、老人的人倫演遞及自我剖析的象徵風格 探求之後，黃銘哲在生活的歷煉、感受過程當中，自覺二度空間的平面手繪方式，已無法滿足於現階段的藝術反芻需求；進而轉向繪畫與實體 材質統合之嚐試，既不否定繪畫原有的完整性，也不跟風似地將『達達』全盤移植；在平面與立體之間，意念與實體之間，描寫與表現之間， 他一秉往日對生命的熱愛，對藝術的執著，不斷的嚐試突破，或許這是他超越手繪象徵的內心需求，解脫一般裝飾的必然精神。…更能擴張作 品實體之外的呈現領域，給予觀者打內心裏浮起一種玄想，或者是現實或者是夢囈，使視象、心靈、觸覺獲致全新的協調與震撼。」（黃圻文， 1986年，黃銘哲個展邀請卡）

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繭型輪廓和女人臉龐周圍裝飾性的躍動色塊，令人聯想起克林姆畫中的形 象。克林姆是耽美的，黃銘哲是耽美的。出現時總是有型的裝扮，強烈的自 我風格與存在感十足，正如他的畫作以及雕塑作品一樣，有著國王的霸氣， 而內在其實真誠柔軟。王哲雄教授曾說：「黃銘哲對題材的選擇是秉持著 『入世觀』，也就是說他選題材不會遠求他方，而是就他身邊周圍所看到、 聽到、感覺到的七情六慾、親情與愛情，但是他使用的表現手法往往是隱喻 的、寓言式或象徵的『出世觀』，說得明白點，黃銘哲的畫多半是以隱喻、 象徵的方法在寫他的『自傳』。」 1985-1990年間，黃銘哲歷經沉潛蛻變，成果是燦爛奔放的抽象化表現畫面； 而1995年後他愈加熱衷於立體造型，將繪畫中的意象迸出畫面。每一次，黃 銘哲都以大破大立的精神，呈現淬鍊後的精采。而此幅難得現身的1982年早 期作品《延續》，則可視為藝術家象徵性語彙確立，才情縱橫、貼近自身並 且力圖突破的最佳典型。 相熟的藝文圈人都知道黃銘哲多次搬遷工作室，黃銘哲一向認為藝術家必須 有完整合適的工作室，利於沉思、創作、生活。黃銘哲目前的工作室位於宜 蘭羅東，回到家鄉，當年為實現創作理念犧牲祖產的農家子弟，現今以數十 年來奉獻耕耘的藝術果實光耀故里。開闊挑高的工作室有如藝術殿堂，在此 可盡情而恣意地揮動筆刷，並將巨幅的新作以喜愛方式呈現。藝術家的生活 充滿浪漫，充滿美，牆邊的風扇、暖爐…等等，經黃銘哲改造，都變成獨一 無二的黃式藝術傢俱。入秋的驕陽依舊熱烈，照進白淨的居室，圍坐談天少 不了美酒相陪，矮籬上蔓生開的嬌豔的各色玫瑰，還待伊人聞香折取入懷； 而他只一貫靦腆地微笑著，再酌口紅酒，談及接下來的計劃，又讓人見著那 目光炯炯，那藝壇永遠的先鋒，將再掀一波風雲。 In this work, entitled “Continuation”, a beautiful woman with slender fingertips tilts a head of disheveled hair towards the innocent child at the front of the painting.

The child seems to gaze into an enigmatic future, with bright, clear eyes. Michell Hwang, who previously seldom talked about his past, explains that the women, children and family members in his paintings are usually fictional, while the figures in “Continuation” actually are his ex-wife and child.

黃銘哲《傳人》1981，油彩 畫布 ，180 x 90 cm Michell HWANG, Progeny, 1981, oil on canvas, 180 x 90 cm

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“Continuation”, a triptych on a large-scale commonly seen in altarpieces, impresses viewers with its cultural trappings of centuries-old traditions such as intense red color and Chinese characters derived from oracle bones. Hwang made holes on the canvas and extended his painting with real objects in “Continuation”, breaking artistic boundaries in Taiwan at the time while demonstrating graphic art

by way of installation art. These avant-garde techniques were already familiar to Hwang at the time and he uses these expressive techniques to capture his emotions while showing the direction for his later artistic creations.

An image of this auction item, “Continuation”, was used for the invitation cards of Hwang’s first Taipei exhibition five years after he came back from the U. K. “After a series of young ladies, babies, and old men as well as self-analytic exploration of symbolic styles, Hwang’s life experienced ups and downs and he noticed that graphic art could not satisfy the needs of contemporary art. Thus he attempted to integrate paintings and real objects. He neither denied the original completeness of paintings nor fully embraced “Dadaism”. Between planar and three-dimensional design, abstract ideas and real objects, and representation and expression, Hwang never stops trying to test his limits through his passion for life and obsession with art. This may stem from his inner desire to surpass painting and ordinary decoration….It can further expand the territory of expression and inspire a mystical response in viewers, whether real or surreal, creating a whole new balance and impact on the senses.” (Huang Chyi-wen, Invitation Card of Michell Hwang’s Exhibition, 1986) The cocoon shape and the decorative dancing color strokes surrounding the female face brings to mind Gustav Klimt’s paintings. Gustav Klimt was obsessed with beauty and so is Hwang. Hwang always dresses in strong personal style showing his innegligible existence. Just like his paintings and sculptures, he looks majestic while he is actually a sincere and sensitive person. Professor Wang Che-hsiung once said, “Huang chooses his objects on a mundane level. That is, instead of things far away and long ago, he chooses things he can see, hear and sense in real life such as family relationships and romantic love. However, the techniques he employs to present these worldly objects are metaphorical, fable-like or symbolic. In brief, most of Hwang’s paintings comprise a symbolic and metaphorical autobiography.”

From 1985 to 1990, Hwang underwent a period of transformation that led to his flamboyant abstract expressionist paintings. After 1995, he become more and more interested in working on three-dimensional pieces, making the images of his paintings burst from the frame. After each period of transformation Huang reappears with an emboldened spirit. “Continuation”, a rarely-seen work from his early period created in 1982, can be viewed as a landmark in the establishment of his symbolic language as well as a classic work revealing his talent and endeavor.

Close friends of Hwang’s know that he has relocated his studio several times because he believes that an artist should have a completely suitable studio to meditate, create, and live in. Hwang’s studio is now located in his hometown of Luodong, Yilan. When he was young, he left his hometown and invested his inheritance in pursuing his dreams. Now, after decades of endeavors, he has come back bringing honor to his hometown with his achievements in the arts. His wide and highceiling studio serves as a palace of art where he can freely create his large-scale works as he likes. The life of an artist is full of romance and beauty. Furniture such as a fan by the wall and a heater are turned into unique art works after Hwang’s alteration. The autumn sun illuminates the white studio while a bottle of wine is always on hand for friends who drop by for a chat. Growing along the fence are roses of various colors, waiting for someone to pick them. In his studio, Hwang bashfully smiles, sips some red wine, and then talks about his future plans. With his eyes shining brightly, this pioneer of the arts is getting ready to cause another sensation.

180 CHU Teh-chun

(Chinese-French, 1920-2014)

Hong Kong No. 25 1997 Oil on paper 56 x 77 cm Signed lower right CHU TEH-CHUN in Chinese and English, dated 97 ILLUSTRATED: Chu Teh-chun and His Universe, Alisan Fine Arts, Hong Kong, 2001, color illustrated, no. 25 Chu Teh-chun, Impressions Art Gallery, Taipei, 2005, color illustrated, no. 56, p. 91

NT$ 4,800,000-5,500,000 HK$ 1,224,000-1,403,000 US$ 157,600-180,600

朱德群 香港 No. 25 1997 油彩 紙本 56 x 77 cm 簽名右下：朱德群 CHU TEH-CHUN 97 圖錄： 《物我兩忘：朱德群繪畫》，藝倡畫廊，香港，2001，彩色圖版，編號25 《印象經典IX朱德群》，印象畫廊，台北，2005，彩色圖版，編號56，頁91

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181 JU Ming

(Taiwanese, b. 1938)

Taichi Arch 1992 Wooden sculpture (Toona spp. kalantas) 65(L) x 25(W) x 35(H) cm Engraved bottom left Ju Ming in Chinese and dated '92 This sculpture is to be sold with a certificate of authenticity issued by the nonprofit organization Juming Culture and Education Foundation.

NT$ 7,500,000-9,500,000 HK$ 1,913,000-2,423,000 US$ 246,300-312,000

朱銘 太極系列—拱門 1992 木雕（菲律賓香椿） 65(長) x 25(寬) x 35(高) cm 簽名雕刻左側下方：'92 朱銘 附財團法人朱銘文教基金會作品鑑定報告書

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《太極系列—拱門》原本是從雙人太極推手演化而來。藝術家說：「以前的推手，兩個個體間還有間距，而現在，我讓雙手連接 起來，一連接，氣的流動、肌肉的牽動，就相互貫通、活絡，合為一體，轉化成拱門的造型。」 太極拳法瀟灑飄逸，你來我往之間，雙方拳者象徵著中國的陰陽兩儀，推手的兩方又構成了太極的本體。朱銘從練太極拳中獲得 自然的啟示，1970年代後期開始專研太極造型，逐漸發表一系列蜚聲國際的太極系列雕塑，其中「太極拱門」可謂是頗具動感的 一種姿態。 《太極系列—拱門》特別之處也在於它與其所處之角落和諧共存，並漸漸地成為周遭中有機的構成要件，融合了中國園林天地圓 融的東方哲學思想，無論其大小，所表現的空間感都是不受限的，也許是因為朱銘賦予的空靈氣質所致，散發出無限延伸之感。 “Taichi Arch” originally evolved from “Taichi Pushing Hands”. The artist said: “There are distances between two objects in the ’Pushing Hands’ from the past, now, I have connected those two hands, once they are connected, the flow of chi, and movements of muscles are connected and alive, becoming a single object, and are transformed to an arch.”

Far from being just a martial art, Taichi is unrestrained and graceful, the relationship of two boxers are like the Chinese Ying Yang, pushing hands between two formed Taichi. Ju Ming was inspired by nature when he practiced Taichi, and gradually completed his world–famous Taichi Series. Among the series, “Arch” is one of the liveliest pieces of work.

The uniqueness of the “Taichi Arch” lies in its harmonious coexistence with the corner where it is located. It has gradually become an important component of the surroundings, integrating the Oriental philosophical thinking of the union of heaven and earth in the gardens of China. The intensity presented by the sculpture, regardless of its size, is unrestricted. Perhaps the feeling of infinite extent is a result of the spiritual character it is endowed with by Ju Ming.

182 LI Chen

(Taiwanese, b. 1963)

Dragon–Riding Bodhisattva 2001 Bronze, edition no. 8/8 93.5(L) x 77(W) x 112.5(H) cm Engraved on the lower back Li Chen in Chinese and English, numbered 8/8 Dated on the left hind foot 2001 EXHIBITED: Li Chen – Energy of Emptiness, 52nd Venice Biennale, Venice, June 8-November 21, 2007 Li Chen: In Search of Spiritual Space, National Museum of China, Beijing, April 29-May 11, 2008 Li Chen: Mind, Body, Spirit, Singapore Art Museum, Singapore, September 17-December 9, 2009 (larger version) Great of Spirit – Li Chen Premiere Sculpture Exhibition in Taiwan, Chang Kai-shek Memorial Hall, Taipei, November 6-December 4, 2011 (larger version) Li Chen’s Major Sculpture Solo Exhibition, Place Vendome, Paris, September 2-29, 2013 (larger version) ILLUSTRATED: Li Chen 1992-2002 Sculpture, Asia Art Center, Taipei, 2004, color illustrated, pp. 82-83 Li Chen in Venice 52nd Venice Biennale - Energy of Emptiness, Asia Art Center, Taipei, 2007, color illustrated, pp. 118-129 & p. 219 Li Chen in Beijing - In Search of Spiritual Space, Asia Art Center, Taipei, 2008, color illustrated, pp. 50-57 & back cover Li Chen: Mind, Body, Spirit, Singapore Art Museum, Singapore, 2010, color illustrated, pp. 94-103; black-and-white illustrated, p. 183 (larger version) Great of Spirit – Li Chen Premiere Sculpture Exhibition in Taiwan, Asia Art Center, Taipei, 2011, color illustrated, p. 59 & pp. 78-79 (larger version) This sculpture is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.

李真 大士騎龍 2001 銅雕 8/8 93.5(長) x 77(寬) x 112.5(高) cm 簽名雕刻後方：李真 Li Chen 8/8 年代左後腳：2001 展覽： 「第52屆威尼斯雙年展—李真：虛空的能量」，威尼斯，展期自2007年 6月8日至11月21日 「李真：尋找精神的空間」，中國美術館，北京，展期自2008年4月29日 至5月11日 「李真：精神、身體、靈魂」，新加坡美術館，新加坡，展期自2009年 9月17日至12月9日（較大版本） 「大氣—李真台灣大型雕塑首展」，中正紀念堂，台北，展期自2011年 11月6日至12月4日（較大版本） 「李真2013巴黎凡登廣場大型雕塑個展」，凡登廣場，巴黎，展期自 2013年9月2日至29日（較大版本） 圖錄： 《1992-2002李真雕塑》，亞洲藝術中心，台北，2004，彩色圖版， 頁82-83 《第52屆威尼斯雙年展―李真：虛空的能量》，亞洲藝術中心，台北， 2007，彩色圖版，頁118-129與頁219 《李真：中國美術館個展—尋找精神的空間》，亞洲藝術中心，台北， 2008，彩色圖版，頁50-57與封底 《李真：精神、身體、靈魂》，新加坡美術館，新加坡，2010，彩色圖 版，頁94-103；黑白圖版，頁183（較大版本） 《大氣—李真台灣大型雕塑首展》，亞洲藝術中心，台北，2011，彩色 圖版，頁59與頁78-79（較大版本） 附亞洲藝術中心開立之原作保證書

NT$ 5,500,000-8,000,000 HK$ 1,403,000-2,041,000 US$ 180,600-262,700 李真在創作初期曾經大量涉獵佛道學經典，觀摩博物館或古蹟裡的佛像，在藝術作品的追求上，他通過雕塑傳達東方文化的博大精深的精神與 內涵，展現質樸素簡的個人風格。2001年的作品《大士騎龍》可視為李真創作的代表力作，它是1999年《大士》的創作延伸。民間信仰有觀音 大士騎龍的傳說，李真運用內斂沉穩的思維，賦予此傳說以單純、圓融、智慧的當代化形象。墨黑色的處理，遠看如磐石渾厚，近觀如漆器精 緻，光澤照人，既穩重且輕盈，展開雙臂的大士，使雕塑藝術的造型更多變化。 李真突破千年佛教雕塑既有的形式藩籬，轉化唐代佛教造像的豐腴飽滿，及宋代俊美秀麗的精神暨形象特質，將雕塑的開臉、線條減至極簡， 並粹取中國五千年歷史文化元素，如中國的仙、佛、龍、神話、民間故事等，更進一步注入當代藝術的元素及物件，成功的結合古典與當代， 使其作品呈現一種前所未見的獨特型態及樣貌，賦予東方雕塑新的生命，殊為難得。 During the early stage of his artistic creation, Li Chen dabbled in a large amount of Buddhist and Daoist classics and became enamored with Buddha statues in museums and monuments. In his pursuit of art, he engages in conveying the profundity of Eastern culture with his simple and pristine style through sculpture. “Dragon-Riding Bodhisattva”, created in 2001, is considered a highly representative piece by Li and an extension of his work Avalokitesvara made in 1999. Li invokes the folk belief of Bodhisattva riding on a dragon. By exerting his reserved and steady thinking, he endows this legendary story with a simple, harmonious, and wise contemporary image. The ink-black appearance makes this sculpture appear as a powerful heavy boulder when viewed from a distance and yet, upon closer examination, the piece seems to become a delicate, glowing lacquerwork. The steady and airy Buddha with open arms exemplifies the changing shapes in sculpture art.

Li makes breakthroughs in existing styles of Buddhist sculpture which have existed for over a millennium. He alters the thick and full Tang Dynasty (A.D. 618-907) style Buddhist sculptures and the elegantly spiritual characteristics of Song Dynasty (A.D. 960-1279) sculptures, reaching an extreme simplification in both face and line. He extracts elements of China's five thousand years of history and culture, including Chinese immortals, Buddhas, dragons, fairytales, and folk tales, and takes them a step further to create unabashedly contemporary artwork. Furthermore, he successfully combines classical and contemporary perspectives and creates works that possess unprecedented and unique forms, endowing new life to Eastern sculpture. Such an artistic achievement is truly rare in the contemporary art scene.

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183 LI Chen

李真

(Taiwanese, b. 1963)

雪峰仙蹤

Snow Wonderland 2007 Bronze, edition no. 4/8 41(L) x 35(W) x 73(H) cm Engraved on the back Li Chen in Chinese and English, numbered 4/8, dated 2007 EXHIBITED: Li Chen: Mind, Body, Spirit, Singapore Art Museum, Singapore, September 17-December 9, 2009 (larger version) ILLUSTRATED: Li Chen in Beijing - In Search of Spiritual Space, Asia Art Center, Taipei, 2008, black-and-white illustrated, p. 199 (potter's clay version) Li Chen: Mind, Body, Spirit, Singapore Art Museum, Singapore, 2010, color illustrated, pp. 86-87; black-and-white illustrated, p. 184 (larger version)

2007 銅雕 4/8 41(長) x 35(寬) x 73(高) cm 簽名雕刻後方：李真 Li Chen 4/8 2007 展覽： 「李真：精神、身體、靈魂」，新加坡美術館，新加坡，展期自2009年 9月17日至12月9日（較大版本） 圖錄： 《李真：中國美術館個展—尋找精神的空間》，亞洲藝術中心，台北， 2008，黑白圖版，頁199（土胚版本） 《李真：精神、身體、靈魂》，新加坡美術館，新加坡，2010，彩色圖 版，頁86-87；黑白圖版，頁184（較大版本） 附亞洲藝術中心開立之原作保證書

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

NT$ 2,800,000-4,400,000 HK$ 714,000-1,122,000 US$ 92,000-144,500 作品《雪峰仙蹤》完成於2007年，為李真「大氣神遊系列」(2001~) 的創作之一。李真的創作粹取中國的意境，作品帶有一種「仙氣」，強調 「遊」的意象，以空明境界讓觀者沉澱與紓解，在精氣神內自在悠遊，用最真的態度來面對生命。其雕塑肌理與線條關係，藝術家表現出高超 的融合性，看似簡約，但在光影下卻充滿變化，圓滿造型中依然有其精妙的神韻。左握拂塵，右推掌印，雙足交叉而立。「拂塵」在道家意涵 中有拂去塵緣超凡脫俗之意，也是道門中人們外出雲遊隨身攜帶之物。仙風道骨油然而生，畫龍點睛之妙為雕塑增添神秘感。在質感上，用中 國墨黑色帶有霧亮處理形成特有效果，使觀者有既重又輕的感覺，銀色的溫潤，黑色的能量，彼此對比又和諧。 李真透過現代化手法雕塑，發展出有別於傳統面貌的新東方精神，呈現更高層次的靈性之美，使流傳千年的傳統造像能與現代完美融合。透過 視覺感表現物質空間與精神空間的咫尺，進而傳達人與精神的價值，使觀賞者有立即的感動。李真作品中的心靈世界，加上幽默感與寬闊內韻 之造化，呈現虛幻清靜的氣質，是太虛智慧包容的意涵，即簡單又直接傳達姿勢語彙。《雪峰仙蹤》成功表現出山、神、人的完美連結，將佛 學的「空」及老莊思想的「氣」價值概念生活化，同時也更入世傳達和平理念，為一件不可多得的精品。 "Snow Wonderland" was completed in 2007. It is one of the creations of Li Chen's "Spiritual Journey through the Great Ether" series. Absorbing the essence of Chinese artistic conception, Li Chen's work contains a kind of celestial atmosphere, and emphasizes a "journey", guiding observers to calm down and relax in an empty and bright state of mind, to comfortably and leisurely enjoy a spiritual journey, and to face life with the most genuine attitude. Li Chen displays superb integration of texture and lines in his sculpture. The work looks simple, but abounds with changes in light and shadow, with profound and delicate verve resting within its roundish shape. The figure holds a horsetail whisk in its left hand, and pushes a palm with its right hand, and stands with crossed feet. According to Taoism, a horsetail whisk is actually a metaphor for wiping off mortal destiny to achieve transcendence and be freed from earthliness. Traditionally a Taoist would take a horsetail whisk with them while they travel. The work spontaneously emanates and shows the flavor and spirit of an immortal Taoist and the vivid sculpture is also added with a mysterious atmosphere. The sense of reality is emphasized by the special effect of ink black treated with misty brightness, which gives observers a feeling of weight and of lightness as well. The opposition and harmony of gentle silver and energetic black make the excellent work of art affordable for thoughts.

By means of contemporary sculpture, Li Chen has developed a new oriental spirit which is different from its traditional outlook, and displays a higher level of spiritual beauty, and has enabled the traditional statue which originated thousands of years ago to perfectly integrate with modern elements. He presents via visual images the narrow gap between material space and spiritual space, and further expresses the value of human beings and spirit, arousing the immediate emotion of viewers. The spiritual world reflected in Li Chen's work, plus his sense of humor and design of rich implication, presents feelings of emptiness, illusion, and quietness, which are the meaning and connotation of heavenly wisdom. It is simple in design, and conveys direct body language. The "Snow Wonderland" successfully expresses the perfect integration of the mountain, the immortal, and human beings. This rare and elaborate work of art visualizes the concept of "emptiness" in Buddhism and that of "Qi (close to the meaning of 'spirit')" in the philosophy of Laozi and Zhuangzi, and simultaneously shows concern for the mortal world by conveying the notion of peace.

146

184 JU Ming

(Taiwanese, b. 1938)

Taichi Series – Return to Innocence 1995 Bronze, edition no.18/20 27(L) x 22(W) x 38(H) cm (left) 25(L) x 21(W) x 37(H) cm (right) Engraved on the left Ju Ming in Chinese, numbered 18/20 and dated 95 (left) Engraved on the right Ju Ming in Chinese, numbered 18/20 and dated 95 (right) These sculptures are to be sold with a certificate of authenticity issued by Caves Art Center, Taipei.

NT$ 2,600,000-4,000,000 HK$ 663,000-1,020,000 US$ 85,400-131,400

朱銘 返璞歸真 1995 銅雕 18/20 27(長) x 22(寬) x 38(高) cm (左) 25(長) x 21(寬) x 37(高) cm (右) 簽名雕刻左側：朱銘 18/20 95（左） 簽名雕刻右側：朱銘 18/20 95（右） 附敦煌藝術中心開立之原作保證書

148

185 JU Ming

(Taiwanese, b. 1938)

Taichi 1992 Bronze, edition no. 3/20 61(L) x 51(W) x 56(H) cm Engraved on the back Ju Ming in Chinese and numbered 3/20 This sculpture is to be sold with a certificate of authenticity issued by Hanart TZ Gallery, Hong Kong.

NT$ 2,200,000-3,200,000 HK$ 561,000-816,000 US$ 72,200-105,100

朱銘 太極 1992 銅雕 3/20 61(長) x 51(寬) x 56(高) cm 簽名後側：朱銘 3/20 附香港漢雅軒畫廊開立之原作保證書

150

186 CHU Teh-chun

(Chinese-French, 1920-2014)

Peinture sur vase en céramique 1987 Porcelain vase (unique) 18(L) x 18(W) x 29(H) cm Signed CHU TEH-CHUN in Chinese and English With a seal of Tze-young Kiln on bottom ILLUSTRATED: L'écoute de l'univers: 2003 Asia Exhibition of Art Master Chu Teh-chun, Providence University Art Center, Taichung, 2003, color illustrated, p. 24 This work is to be sold with a certificate of authenticity issued by Impressions Art Gallery, Taipei.

NT$ 1,600,000-2,600,000 HK$ 408,000-663,000 US$ 52,500-85,400

朱德群 高山流水瓶 1987 陶瓷（單一件） 18(長) x 18(寬) x 29(高) cm 簽名下方：朱德群 CHU TEH-CHUN 鈐印底部：瓷揚窯 圖錄： 《大象無形：傾聽宇宙—2003朱德群亞洲巡迴展》，靜宜大學藝術中心出版，台中，2003， 彩色圖版，頁24 附印象畫廊開立之原作保書

152

187 CHU Teh-chun

(Chinese-French, 1920-2014)

Orchid 1987 Porcelain plate (unique) 25.5 cm (diameter) Signed on the plate lower center CHU TEH-CHUN in Chinese and English dated 87 With a seal of Tze-young Kiln on bottom

NT$ 1,600,000-2,600,000 HK$ 408,000-663,000 US$ 52,500-85,400

朱德群 蘭 1987 瓷盤著色（單一件） 25.5 cm（直徑） 簽名中下：朱德群 CHU TEH-CHUN 87 鈐印底部：瓷揚窯

154

188 SHIY De-jinn

人物（少年）

Figure

炭筆 紙本 26.5 x 19 cm 鈐印右下：席德進畫室印

Charcoal on paper 26.5 x 19 cm With one seal of the artist

NT$ 80,000-160,000 HK$ 20,000-41,000 US$ 2,600-5,300

156

席德進

(Taiwanese, 1923-1981)

189 RAN In-ting

藍蔭鼎

(Taiwanese, 1903-1979)

瓜棚清風

Under the Sheds

水墨 紙本 18 x 24 cm 簽名題識右下：瓜棚清風 蔭鼎

Ink on paper 18 x 24 cm Signed lower right In-ting and titled Under the Sheds both in Chinese This painting is to be sold with a certificate of authenticity issued by East Gallery, Taipei.

NT$ 200,000-400,000 HK$ 51,000-102,000 US$ 6,600-13,100

附東之畫廊開立之原作保證書

190 LI Chun-shan

(Taiwanese, 1912-1984)

Abstract Mixed media on paper 38.5 x 54 cm

NT$ 180,000-260,000 HK$ 46,000-66,000 US$ 5,900-8,500

李仲生 抽象 綜合媒材 紙本 38.5 x 54 cm

158

191 LI Chun-shan

(Taiwanese, 1912-1984)

Abstract Mixed media on paper 39 x 54 cm

NT$ 180,000-260,000 HK$ 46,000-66,000 US$ 5,900-8,500

李仲生 抽象 綜合媒材 紙本 39 x 54 cm

192 YU Cheng-yao

(Taiwanese, 1898-1993)

Calligraphy in Running Script c. 1971 Ink on paper 98 x 33.5 cm Signed lower left Yu Cheng-yao in Chinese With one seal of the artist PROVENANCE: Dai Kui-sheng ancient collection, Taiwan

NT$ 120,000-280,000 HK$ 31,000-71,000 US$ 3,900-9,200

余承堯 行書—自作七言絕句六首 約1971 水墨 紙本 98 x 33.5 cm 簽名左下：余承堯敬祝 鈐印左下：余承堯印 來源： 戴愧生舊藏，台灣

160

釋文： 愧生先生八秩大慶 早歲同盟懷抱紓 老耽諸子百家書 雖然塵土風雲重 却向滄洲賦遂初 不矜功伐故能群 雅度雍容海內聞 玉面方瞳難老相 河山為壽捧浮雲 廉察甘寧青法崇 中樞倚畀振僑風 林泉退養端居後 不用靈丹顏駐紅 書道傳碑寫硬黃 纖波濃點總含芳 碧池水黑雲生紫 飛上南山鬱鬱蒼 筋力健從鍛鍊成 朝朝不廢暑寒生 由來和氣能康壽 松柏心堅雪後榮 樂世風懷賦有真 奉觴親故祝隹辰 芝蘭玉桂盈堦秀 百歲天崇景福人 余承堯敬祝

193 YU Cheng-yao

(Taiwanese, 1898-1993)

Calligraphy – Two Poems of Li Po 1990 Ink on paper 52.5 x 110.5 cm Signed lower left Yu Cheng-yao and dated Summer of genwu year (1990) in Chinese With one seal of the artist

NT$ 200,000-400,000 HK$ 51,000-102,000 US$ 6,600-13,100

余承堯 書法—李白絕句二首 1990 水墨 紙本 52.5 x 110.5 cm 簽名左下：庚午夏日書李白之絕句 余承堯 鈐印左下：余承堯印

釋文： 故人西辭黃鶴樓 孤帆遠影碧空盡 誰家玉笛暗飛聲 此夜曲中聞折柳

煙花三月下揚州 惟見長江天際流 散入春風滿洛城 何人不起故園情

194 Max LIU

(LIU Chi-wei) (Taiwanese,1912 - 2002)

Nanluchi – A Passional Horse 1988 Mixed media on paper 38 x 50 cm Signed lower right Liu Chi-wei in Chinese phonetic alphabet and dated '88 (Chinese numerals) ILLUSTRATED: Lung Men Art Gallery, Lung Men Art Gallery, Taipei, c. late 1980s, color illustrated, p. 2

NT$ 160,000-260,000 HK$ 41,000-66,000 US$ 5,300-8,500

162

劉其偉 颯露紫—昭陵六駿之一 1988 綜合媒材 紙本 38 x 50 cm 簽名右下：ㄌㄧㄡˊㄑㄧˊㄨㄟˇ 〡〩〨〨 '88 圖錄： 《龍門畫廊》，龍門畫廊，台北，約1980年代後 期，彩色圖版，頁2

195 HOU Chun-ming (Taiwanese, b. 1963)

Making Love in the Tree 1988 Mixed media on canvas 157.5 x 98.5 cm Signed center right servist Hou Chun-ming and dated April 26, 1988, chi-shan all in Chinese With one seal of the artist

NT$ 200,000-300,000 HK$ 51,000-77,000 US$ 6,600-9,900

侯俊明 樹上做愛 1988 綜合媒材 畫布 157.5 x 98.5 cm 簽名右方：役男 侯俊明 一九八八.四.二六 於旗山蕉野 題識右方：有一個人正中午的時候 爬到樹上 和他的愛人做愛 鈐印右方（肖形印）

196 YU Peng

(Taiwanese, 1955-2014)

Yen-sheng Fall 1986 Ink on paper 135.5 x 69 cm Signed lower right Yu Peng and dated 1986 both in Chinese With one seal of the artist Titled lower left on the end mounting Yen-sheng Fall, dated 1986 and signed Yu Peng all in Chinese

NT$ 200,000-300,000 HK$ 51,000-77,000 US$ 6,600-9,900

于彭 煙聲瀑布 1986 水墨 紙本 135.5 x 69 cm 簽名右下：于彭 一九八六 鈐印右下：于彭 題識裱綾左下：煙聲瀑布 一九八六年 于彭

164

197 DING Yan-yong (Chinese, 1902-1978)

Two Birds in the Sparse Willow Ink on paper 139 x 68.5 cm Signed upper center Ding Yan-yong in Chinese With one seal of the artist

NT$ 260,000-360,000 HK$ 66,000-92,000 US$ 8,500-11,800

丁衍庸 疏柳雙禽 水墨 紙本 139 x 68.5 cm 簽名中上：丁衍庸畫 鈐印中上：叔旦

198 CHEN Chi-kwan (Taiwanese, 1921-2007)

My Mother Comforts Me 1953 Ink on paper 17 x 22.5 cm (upper) 61.5 x 24.5 cm (lower) Signed lower right Chen Chi-kwan, titled My Mother Comforts Me and dated mid-Autumn 1953 all in Chinese

NT$ 360,000-550,000 HK$ 92,000-140,000 US$ 11,800-18,100

陳其寬 吾母撫我 1953 水墨 紙本 17 x 22.5 cm（上） 61.5 x 24.5 cm（下） 簽名題識右下：吾母撫我 陳其寬筆 一九五三年 中秋

166

199 Dennis HWANG

(Chih-chao HWANG) (Chinese-American, b. 1941)

Nudes Ink on paper 178.5 x 96 cm Signed upper right Chih-chao in Chinese and Hwang in English

NT$ 300,000-400,000 HK$ 77,000-102,000 US$ 9,900-13,100

黃志超 裸女 水墨 紙本 178.5 x 96 cm 簽名右上：志超 Hwang

200 LI Chun-shan

(Taiwanese, 1912-1984)

Yellow and Green Mixed media on paper 27 x 37 cm

NT$ 300,000-500,000 HK$ 77,000-128,000 US$ 9,900-16,400

李仲生 黃與綠 綜合媒材 紙本 27 x 37 cm

168

201 YU Cheng-yao

(Taiwanese, 1898-1993)

Calligraphy 1979 Ink on paper 133 x 68.5 cm Signed center left Yu Cheng-yao in Chinese With one seal of the artist EXHIBITED: Three Masters of Art: Calligraphy and Ink Paintings

by Yu Chen-yao, Shen Yao-chu, and Zhen Shan-xi, National Museum of History, Taipei, December 20, 2013-February 23, 2014 ILLUSTRATED: Three Masters of Art: Calligraphy and Ink Paintings

by Yu Chen-yao, Shen Yao-chu, and Zhen Shan-xi, National Museum of History, Taipei, 2013, color illustrated, p. 72

NT$ 300,000-500,000 HK$ 77,000-128,000 US$ 9,900-16,400

余承堯 書法 1979 水墨 紙本 133 x 68.5 cm 簽名左中：己未冬日 銘遠先生大雅正之 余承堯 鈐印左下：余承堯 釋文： 滿江春水盛湖藻 兩岸風煙楊柳青 青舸中流花載去 月明何處不曾經 徵車言北日移西 海色山光煙樹齊 莫謂登臨無元處 白雲空外向人低 展覽： 「閩臺三傑—余承堯、沈耀初、鄭善禧書畫聯 展」，國立歷史博物館，台北，展期自2013年12月 20日至2014年2月23日 圖錄： 《閩臺三傑—余承堯、沈耀初、鄭善禧書畫集》， 國立歷史博物館，台北，2013，彩色圖版，頁72

202 YU Cheng-yao

余承堯

(Taiwanese, 1898-1993)

山水圖

Landscape

彩墨 紙本 71.5 x 43 cm 簽名中上：余承堯誌 題識中上：山水圖作於臺北寓所 鈐印中上：余承堯印

Ink and color on paper 71.5 x 43 cm Signed upper center Yu Cheng-yao, titled Landscape and inscribed created at my residence in Taipei all in Chinese With one seal of the artist EXHIBITED: Three Masters of Art: Calligraphy and Ink Paintings

by Yu Chen-yao, Shen Yao-chu, and Zhen Shan-xi, National Museum of History, Taipei, December 20, 2013-February 23, 2014 ILLUSTRATED: Three Masters of Art: Calligraphy and Ink Paintings

by Yu Chen-yao, Shen Yao-chu, and Zhen Shan-xi, National Museum of History, Taipei, 2013, color illustrated, p. 50

展覽： 「閩臺三傑—余承堯、沈耀初、鄭善禧書畫聯 展」，國立歷史博物館，台北，展期自2013年12月 20日至2014年2月23日 圖錄： 《閩臺三傑—余承堯、沈耀初、鄭善禧書畫集》， 國立歷史博物館，台北，2013，彩色圖版，頁50

NT$ 260,000-400,000 HK$ 66,000-102,000 US$ 8,500-13,100 年輕時投身軍旅，戎馬倥傯二十餘年，余承堯在退役後才開始提筆作畫。他雖是素人畫家，憑藉著與生俱來的藝術天分，以及走遍大江南北的 旅行經驗，自創亂筆皴法山水畫，表現力異常強大。在藝評家的眼中，他的繪畫與中國傳統二千年的山水畫全然不同，然而卻非常貼近真實的 中國山水。余承堯說：「山是有生命，有變化的。如果不用亂筆而採用規矩筆墨線條，則山勢易成呆板堆積，不符自然。」余承堯特立獨行的 筆墨，一種全新的視覺觀點建立了獨特的美術地位。 藝術家兼藝評家林銓居如此分析余承堯的獨創性：「縱觀廿世紀下半葉的諸大名家，我以為從傳統『詩書畫一體』的角度來評余承堯，他的重 要性僅次於溥心畬；論個性的解放與筆墨的高度結合，他的成就雖不同於江兆申但應與之等量齊觀；論繪畫技術層面的『文』，余承堯的技法 不如張大千的富麗多變，但以文學情采對書畫藝術所發揮的『文』的作用來看，張大千不如余承堯的自然超詣，論『質』之真淳，則毫無疑問 余承堯勝過張大千；再從革新與創發的角度上來看，余承堯的時代意義與影響層面廣度不及劉國松，但深度勝過劉國松…。」林銓居認為在台 灣水墨畫界除了上述幾位畫家，幾乎無法與余承堯相提並論，可見其不凡的典型與高度。 Joined the army when he was young, and after over twenty years’ life in army, Yu Cheng-yao began painting after retirement. Although he is a self-taught painter, he created a mess pen style landscape painting of powerful expression, with his innate art talent and travel experience around China. In the eye of the art critics, his painting is completely different from the traditional China landscape painting with two thousand years’ history, yet very close to the real Chinese landscape. Yu Cheng-yao said: “Mountains have life, they are changing. If you use lines obey to rules instead of disorderly pen traces, and then you will easily create a mountain with rigid accumulations, not conform to natural.” The independent character of Yu Cheng-yao’s ink trace is a brand-new visual point which established a unique art status.

Artist and critic Lin Chuan-chu analysis Yu's originality as below: “From the traditional perspective that ‘poem, calligraphy and painting are one’, to review famous artists throughout the second half of the 20th century, I think Yu Cheng-yao’s importance is only second to Pu Hsin-Yu; from the highly combination of personality liberation and ink, his achievement is different from Jiang Zhao-shen but should be equated with him; the “surface” from techniques aspect, Yu Cheng-yao is not varied as Zhang Da-qian, however, from the aspect the role of “surface” that literary sentiment played in painting and calligraphy art, Zhang Da-qian’s natural super notion was not equal to that of Yu Cheng-yao; from the aspect the genuineness of "essence", is undoubtedly that Yu Chengyao was better than Zhang Da-qian; from the view of reform and innovation, Yu Cheng-yao had less significance or impact breadth than Liu Guo-song, but he was much deeper than the latter...” Lin Chuan-chu thinks there was nearly no one in Taiwan ink painting circle that could be compared with Yu Chengyao except the artists mentioned above. We could see his remarkable model and altitude from this point.

170

203 YU Cheng-yao

余承堯

(Taiwanese, 1898-1993)

叢林幽居

Mountains Retreat

1971 水墨 紙本 66.5 x 33.5 cm 簽名左上：在平先生正之 余承堯作 鈐印左上：余承堯印

1971 Ink on paper 66.5 x 33.5 cm Signed upper left Yu Cheng-yao in Chinese With one seal of the artist EXHIBITED: Three Masters of Art: Calligraphy and Ink Paintings

by Yu Chen-yao, Shen Yao-chu, and Zhen Shan-xi, National Museum of History, Taipei, December 20, 2013-February 23, 2014 ILLUSTRATED: Three Masters of Art: Calligraphy and Ink Paintings

by Yu Chen-yao, Shen Yao-chu, and Zhen Shan-xi, National Museum of History, Taipei, 2013, color illustrated, p. 73

展覽： 「閩臺三傑—余承堯、沈耀初、鄭善禧書畫聯 展」，國立歷史博物館，台北，展期自2013年12月 20日至2014年2月23日 圖錄： 《閩臺三傑—余承堯、沈耀初、鄭善禧書畫集》， 國立歷史博物館，台北，2013，彩色圖版，頁73

NT$ 500,000-700,000 HK$ 128,000-179,000 US$ 16,400-23,000 台灣作曲家梁銘越博士曾經提出，「層次感」是余承堯山水畫中一個非常迷人的風格特色，而他認為這個層次感係源自南管的「多線性的合奏 結構」。余承堯的畫不是亂無章法的，層次線性的樂種，有獨特的風韻。所以，他認為余承堯的山水千變萬化，找不出同樣的山水。美術史學 者將余承堯的水墨畫分為三個時期：「早期」、「成熟期」及「晚期」；倪在沁則將他的風格轉進劃分為「素樸」、「雄奇走向堅實」、「沈 鬱再回到稚拙」。 余承堯少年因時常練習楷書、草書，寫得一手好字，也喜愛吟詩寫詩，被譽為是一位具有高度人文思想的藝術家。1993年仙逝之後，他遺留人 間的是寶貴的人文資產，有南管的樂理、文獻、瀟灑的書法創作，以及獨樹一格的水墨與彩墨畫。余承堯的出現，被畫壇稱為傳奇。繪畫造就 了余老的名聲，但名利於他如浮雲，他仍舊一如往常的平淡度日，高尚的情操令人敬佩。在藝術的探索歷程，他的名言是「繪畫要為真而寫， 纔能得其真髓。」 Taiwanese composer, Dr. Liang Mingyue, once put forward the idea that the "multi-layered effect" is an extremely fascinating feature in Yu Cheng-yao's style of landscapes and he holds the view that this effect originated from Nanguan's "multi-linear ensemble structure". Yu Cheng-yao's paintings are not without logical structures and coherence. A layered and multi-linear musical variety, it is possessive of unique charms. Therefore, he believes that Yu Chengyao's landscapes are full of transformations and ever changing, where no two similar mountains and rivers are to be found. Art historians categorized Yu Cheng-yao's works into three periods, "The Early Period", "The Mature Period" and "The Late Period"; Ni Tsai-chin, on the other hand, divided Yu Chengyao's Chinese ink paintings into three periods namely, "Modest", "Remarkable and Imposing to Solid and Substantial", "Depressed and Gloomy back to Young and Awkward".

Yu Cheng-yao often practiced standard script, cursive script when he was teenager, and it was the reason why he wrote beautiful calligraphies; he was fond of reciting and writing poems as well, and was regarded as an artist with profound humanistic thoughts. He left the world with valuable cultural heritages when passed away in 1993, as the music theory of Nanguan music, documents, and natural, unrestrained calligraphy works, as well as the unique Chinese ink and color paintings. The emergence of Yu Cheng-yao was called a legend by the art circle. Painting brought him reputations, but he treated the fame and fortune as floating clouds. The noble sentiments that he still led a simple life as usual are admirable. In the course of the art exploration, his motto is “painting for real could only gain its essence.”

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204 WANG Jinsong (Chinese, b. 1963)

Ink Figure No. 77 2005 Ink on paper 146 x 90.5 cm Signed upper left Wang Jinsong in Chinese and dated 2005.12 With four seals of the artist

NT$ 460,000-600,000 HK$ 117,000-153,000 US$ 15,100-19,700

王勁松 水墨人物 No. 77 2005 水墨 紙本 146 x 90.5 cm 簽名左上：王勁松畫 2005.12 題識右下：人物 77 鈐印左側：王勁松印 勁松 噓生—風

174

205 GU Wenda

(Chinese, b. 1955)

Mythos of Lost Dynasties Series J No. 7 2006 Ink on paper 96 x 59.5 cm Titled lower left Mythos of Lost Dynasties Series J, signed Wenda, inscribed studio on Mogan shan Road in Shanghai and dated 2006 all in Chinese With two seals of the artist

NT$ 460,000-600,000 HK$ 117,000-153,000 US$ 15,100-19,700

谷文達 遺失的王朝 J 系列之七 2006 水墨 紙本 96 x 59.5 cm 簽名左下：遺失的王朝 J 系列之七 二◯◯六年 文達於上海 莫干山工作室 記之 鈐印左下：谷文達印 鈐印中央：酒神

206 SHIY De-jinn

莎莉的畫像

Portrait of Sally

1965 粉彩 紙本 51 x 41 cm 簽名下方：Shiy 席 1965 Dusseldorf

1965 Pastel on paper 51 x 41 cm Signed lower center Shiy in English and Chinese, dated 1965, inscribed Dusseldorf PROVENANCE: Former collection of Andrew Franklin, British Consul-General (It was a portrait of his daughter.)

This drawing was done when Shiy stayed with the Franklins in Dusseldorf in 1965 and given to them as a gift by the artist.

NT$ 320,000-550,000 HK$ 82,000-140,000 US$ 10,500-18,100

176

席德進

(Taiwanese, 1923-1981)

來源： 英國駐台灣淡水領事阮克霖先生舊藏（藝術家為其 女兒畫像） 此幅畫創作於1965年，席德進與阮克霖家族在德國 杜塞道夫旅行期間，作為禮物親自贈與此家族。

207 LIU Kuo-sung

劉國松

(Taiwanese, b. 1932)

秋色 九寨溝系列—七十

Autumnal Color: Jiuzhaigou Series No. 70

2005 彩墨 紙本 22 x 93 cm 簽名右上：劉國松 二○○五 鈐印右方：劉國松

2005 Ink and color on paper 22 x 93 cm Signed upper right Liu Kuo-sung and dated 2005 both in Chinese With one seal of the artist ILLUSTRATED: The Universe in the Mind – A Retrospective of Liu Kuo-sung, Cultural Affairs Bureau of Taoyuan County Government, Taoyuan, 2007, color illustrated, pp. 162-163

NT$ 420,000-600,000 HK$ 107,000-153,000 US$ 13,800-19,700

圖錄： 《宇宙心印︰劉國松回顧展》，桃園縣政府文化局， 桃園，2007，彩色圖版，頁162-163

208 T'ANG Haywen

唐海文

(Chinese-French, 1927-1991)

No. 264（雙聯幅）

No. 264 (diptych)

1970-1973 水墨 紙本 70 x 100 cm

1970-1973 Ink on paper 70 x 100 cm PROVENANCE: Hôtel Drouot Étude Leroux, Paris, 1992 Jean-Michel Beurdeley, Paris Private collection, Asia

來源： 德福奧拍賣，勒胡拍賣公司，巴黎，1992年 尚・米歇爾・貝賀德雷，巴黎 私人收藏，亞洲

EXHIBITED: Breeze from Paris: Lalan, T'ang Haywen, Hsiung Ping-Ming, Pan Yulin, Sanyu, Eslite Gallery, Taipei, 31 May-29 June, 2014

展覽： 「來自巴黎的微風：謝景蘭、曾海文、熊秉明、潘 玉良、常玉」，誠品畫廊，台北，展期自2014年5月 31至6月29日

ILLUSTRATED: Breeze from Paris, Eslite Gallery, Taipei, 2014, color illustrated, p.76

圖錄： 《來自巴黎的微風》，誠品畫廊，台北，2014，彩 色圖版，頁76

This painting is to be sold with a certificate of authenticity issued by Eslite Gallery, Taipei.

NT$ 340,000-550,000 HK$ 87,000-140,000 US$ 11,200-18,100

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附誠品畫廊開立之原作保證書

209 T'ANG Haywen

唐海文

(Chinese-French, 1927-1991)

海（雙聯幅）

Sea (diptych)

水墨 紙本 70 x 100 cm 簽名右下：T'ang 海文

Ink on paper 70 x 100 cm Signed lower right T'ang in English and Haywen in Chinese PROVENANCE: Hôtel Drouot Étude Leroux, Paris, 1992 Private collection, Europe

NT$ 600,000-800,000 HK$ 153,000-204,000 US$ 19,700-26,300

來源： 德福奧拍賣，勒胡拍賣公司，巴黎，1992年 私人收藏，歐洲

210 T'ANG Haywen

無題

Untitled

水墨 紙本 60 x 60 cm 簽名右下：T'ang 海文

Ink on paper 60 x 60 cm Signed lower right T'ang in English and Haywen in Chinese PROVENANCE: Private collection, Europe

NT$ 500,000-700,000 HK$ 128,000-179,000 US$ 16,400-23,000

180

唐海文

(Chinese-French, 1927-1991)

來源： 私人收藏，歐洲

211 T'ANG Haywen

唐海文

(Chinese-French, 1927-1991)

道路（雙聯幅）

Road (diptych)

水墨 紙本 70 x 100 cm 簽名右下：T'ang 海文

Ink on paper 70 x 100 cm Signed lower right T'ang in English and Haywen in Chinese PROVENANCE: Hôtel Drouot Étude Leroux, Paris, 1992 Private collection, Europe

NT$ 600,000-800,000 HK$ 153,000-204,000 US$ 19,700-26,300

來源： 德福奧拍賣，勒胡拍賣公司，巴黎，1992年 私人收藏，歐洲

212 T'ANG Haywen

(Chinese-French, 1927-1991)

Pink Clouds (diptych) Ink and color on paper 70 x 100 cm Signed lower right T'ang in English and Haywen in Chinese PROVENANCE: Hôtel Drouot Étude Leroux, Paris, 1992 Private collection, Europe

NT$ 750,000-950,000 HK$ 191,000-242,000 US$ 24,600-31,200

唐海文 粉色雲彩（雙聯幅） 彩墨 紙本 70 x 100 cm 簽名右下：T'ang 海文 來源： 德福奧拍賣，勒胡拍賣公司，巴黎，1992年 私人收藏，歐洲

182

213 GU Wenda

谷文達

(Chinese, b. 1955)

虛構文字系列—風情

Pseudo Character Series

2003 水墨 紙本 96 x 90 cm 簽名左上：二○○三年 文達於紐約 題識左上：風情以谷氏簡詞“几”部入畫 鈐印左下：谷文達印 鈐印右下：無人

2003 Ink on paper 96 x 90 cm Signed upper left Wenda in English, dated 2003, and inscribed New York Titled upper left Fong-Qing, Pseudo Character in Chinese With one seal of the artist

NT$ 650,000-950,000 HK$ 166,000-242,000 US$ 21,300-31,200

214 SHIY De-jinn

(Taiwanese, 1923-1981)

Landscape 1976 Watercolor on paper 56 x 76 cm Signed lower right Shiy De-jinn in Chinese and dated 1976 PROVENANCE: Lung Men Art Gallery, Taipei Acquired from the above in the late 1970s by the present owner

NT$ 700,000-900,000 HK$ 179,000-230,000 US$ 23,000-29,600

184

席德進 風景 1976 水彩 紙本 56 x 76 cm 簽名右下：席德進 1976 來源： 龍門畫廊，台北 現任藏家於1970年代後期購自上述來源

215 PANG Xunqin (Chinese, 1906-1985)

Miao Woman Ink and color on paper 50.5 x 34 cm Signed lower left Pang Xunqin in Chinese With one seal of the artist PROVENANCE: Poly Auction, Shanghai, July 3, 2005, lot 357 Acquired from the above by the present owner

NT$ 600,000-800,000 HK$ 153,000-204,000 US$ 19,700-26,300

龐薰琹 苗女 彩墨 紙本 50.5 x 34 cm 簽名左下：龎薰琹 鈐印左下：龎 來源： 北京保利上海拍賣，2005年7月3日，編號357 現有收藏者購自上述來源

216 T'ANG Haywen

(Chinese-French, 1927-1991)

Provence Landscape (diptych) 1975-78 Ink and color, acrylic on paper 29.5 x 41.5 cm Signed lower right T'ang in English and Haywen in Chinese

NT$ 650,000-1,000,000 HK$ 166,000-255,000 US$ 21,300-32,800

唐海文 鄉村風光（雙聯幅） 1975-78 彩墨 壓克力 紙本 29.5 x 41.5 cm 簽名右下：T'ang 海文

186

217 HUNG Tung

(Taiwanese, 1920-1987)

Spring Greetings 1974 Watercolor and color pen on paper 100 x 32.5 cm Signed lower left Hung Tung in Chinese and dated ROC era 63 (1974)

NT$ 800,000-1,000,000 HK$ 204,000-255,000 US$ 26,300-32,800

洪通 迎春 1974 水彩 彩色筆 紙本 100 x 32.5 cm 簽名左下：洪通 63年

188

218 LIU Kuo-sung (Taiwanese, b. 1932)

The Winds of Autumn 2007 Ink and color on paper 77.4 x 34 cm Signed lower left Liu Kuo-sung and dated 2007 both in Chinese With one seal of the artist EXHIBITED: Unexpected, Illusion, Change – Liu Kuo-sung Painting Collections, Capital Art Center, Taipei, 2008 ILLUSTRATED: Unexpected, Illusion, Change – Liu Kuo-sung Painting Collections, Capital Art Center, Taipei, 2008, color illustrated, p. 52 This painting is to be sold with a certificate of authenticity issued by Capital Art Center, Taipei.

NT$ 800,000-1,600,000 HK$ 204,000-408,000 US$ 26,300-52,500

劉國松 秋風升起 2007 彩墨 紙本 77.4 x 34 cm 簽名左下：劉國松 二◯◯七 鈐印右下：松韻 展覽： 「突兀・夢幻・蛻變—劉國松畫集」，首都藝術中心，台北，2008年 圖錄： 《突兀・夢幻・蛻變—劉國松畫集》，首都藝術事業有限公司，台北，2008，彩色圖版，頁52 附首都藝術中心開立之原作保證書

190

192

219 Walasse TING

(Chinese-American, 1929-2010)

Beauty with Pink Hair 1980s Acrylic on paper mounted onto canvas 124 x 161 cm With one seal of the artist PROVENANCE: Private collection, Europe

NT$ 800,000-1,400,000 HK$ 204,000-357,000 US$ 26,300-46,000

丁雄泉 粉紅佳人 1980年代 壓克力 紙本 裱於畫布 124 x 161 cm 鈐印右上：採花大盜 來源： 私人收藏，歐洲

220 Walasse TING

(Chinese-American, 1929-2010)

A Bouquet of Tenderness 1992 Acrylic on paper 178 x 96 cm With one seal of the artist This painting is to be sold with a certificate of authenticity issued by Asia Art Center, Taipei.

NT$ 1,100,000-2,200,000 HK$ 281,000-561,000 US$ 36,100-72,200

丁雄泉 溫柔情人 1992 壓克力 紙本 178 x 96 cm 鈐印左下：採花大盜 附亞洲藝術中心開立之原作保證書

194

221 SHIY De-jinn

(Taiwanese, 1923-1981)

Old Houses, Tamsui 1980 Ink and color on paper 69 x 136 cm Signed lower left Shiy De-jinn in Chinese With three seals of the artist PROVENANCE: Collection of former Director of the Shiy De-jinn Foundation (acquired directly from the artist)

NT$ 1,600,000-2,800,000 HK$ 408,000-714,000 US$ 52,500-92,000

席德進 淡水老屋 1980 彩墨 紙本 69 x 136 cm 簽名左下：席德進 鈐印左下：席德進印 鈐印右上：席氏書畫 鈐印左上：四川南部縣人 來源： 席德進基金會前董事收藏 （直接得自藝術家本人）

淡水景色靜謐而美好，經常出現在他的創作之中。席德進曾經寫道：「為 的是去畫淡水景色，我常常在日落之前趕往淡水，看那退潮後浮現的沙 灘，水流走後枯竭的河床。徘徊在白鷺群棲息的江畔一片水草與雜樹叢 旁。沒有人跡的沙洲，如身臨洪荒時的大地，將自我遺忘。這時，觀音山 一筆青翠從平直的沙洲昇起，又投影在靜止的水面，水就是天。」 「我鍾愛那殘破的古船，傾斜而帶著勞累地躺在淺水灣中。它們往日英勇 的事蹟，已不復記憶，他們神翼般的風帆，永不復再現，而淡水的夕照， 是永恆的燦爛。對岸的觀音山色，是永恆的壯麗。」 淡江、沙洲、扁舟、磚屋、觀音山，席德進對淡水的美好印象都詮釋在此 幅《淡水老屋》之中。因為對土地的深厚情感，他的藝術也在此，令人動 容的在地情感。「我浸在愛與激動之中。在寂靜、荒漠、莊嚴的天幕之 下，啜飲那一片沉鬱的綠色，輝煌的夕陽，磚屋的古紅….。我的藝術就在 這兒。不在古畫中，不在夢幻裡，更不會在國外的潮流裡。」

196

The tranquility and elegance of the scenery of Tamsui River is an often-seen topic in his works. Shiy De-jinn once wrote, "To paint the landscape of Tamsui River, I often rush there before the sunset so that I can see the emerging beach and the drained river bed after the tide recedes. I often wander along the bank where flocks of egrets alight, where the grass and bush thrive. I often find an abandoned sandbank and plant myself there as if I were deserted in a more primitive era. I lose myself there. Then, Mt. Guanyin rises from the plain sandbank and projects itself on the still water. The water is the sky, the sky is the water."

"I love those broken and abandoned old boats that lean with the fatigue of time in the shallow bay. Their heroic deeds are by no means remembered; their wing-like sails will never fly again. However, the sunset in Tamsui remains forever bright; the lofty scene of Mt. Guanyin on the opposite bank is forever majestic."

The river, sandbanks, small boats, old red brick houses and Mt. Guanyin, they are Shiy De-jinn’s impression of Tamsui and also depicted in this work “Old Houses, Tamsui�. Shiy De-jinn rooted his art in the soil of his native land, bringing rich and touching national sentiment into his works. "I was immersed in love and excitement. Under the grey, lonely sky, I sipped the melancholy green of the grass, the brilliant gold of the sunset, and the rich old red of the brick houses..., and this is my art, it doesn't live inside ancient paintings or dreams, and never in Western trends."

222 SHIY De-jinn

(Taiwanese, 1923-1981)

True Brightness Lies in the Seasons 1976 Ink and color on paper 69.5 x 138 cm Signed upper left Shiy De-jinn and dated 1976 both in Chinese With two seals of the artist With an inscription: “True brightness lies in the seasons, genuine fragrance in the soil, and real beauty in the wind and rain.” in Chinese PROVENANCE: Collection of former Director of the Shiy De–jinn Foundation (acquired directly from the artist)

NT$ 1,600,000-2,800,000 HK$ 408,000-714,000 US$ 52,500-92,000

席德進 鮮艷還給季節 1976 彩墨 紙本 69.5 x 138 cm 簽名左上：席德進 一九七六 鈐印左上：席德進印 鈐印右上：席氏書畫 題識上方：鮮艷還給季節 芬芳還給土地 姿態還給 風雨 來源： 席德進基金會前董事收藏 （直接得自藝術家本人） 感性浪漫的席德進，在自己的畫裡題上名句：「鮮艷還給季節，芬芳還給土地，姿 態還給風雨。」這些文字意境優美，傳誦至今。席德進一生守著藝術，飲盡生命的 苦泉，忍受病痛的折磨。所有生命的豐盈、美好，皆已在他的畫中。 他用現代的眼睛去看山水，賦予全新的造型，擺脫慣有的思想、習慣，用自然去感 受一切。《鮮艷還給季節》一作寄寓著席德進對生命的熱愛，也展現了他對土地的 關懷，海岸邊的台灣黃牛，佇立在東北海岸的美麗風光，還有生命力象徵的橙黃秋 樹。台灣豐富的景觀特色巧妙地繪寫於紙上，用色斑斕，構成俐落大器。

198

A romantic at heart, Shiy De-jinn once wrote into one of his paintings the famous poetic words, “True brightness lies in the seasons, genuine fragrance in the soil, and real beauty in the wind and rain.” These words perfectly describe the enduring charm of the artist’s oeuvre. Shiy lived his whole life for his art, and sublimated the hardships and suffering he experienced into works of unique aesthetic appeal, artistic treasures worthy of repeated appreciation. He demonstrated a lifelong passion for life itself; all of the beauty and richness of life can be found in his paintings.

Shiy De-jinn looks at landscape through a modern eye, though in presenting it he gives it an entirely new form. He throws off wonted notions and habits, instead using nature to feel the entirety of the world. This work, “The Brightness Lies in the Seasons”, shows again Shiy’s concern for the soil, as a Taiwanese yellow cow is set against the pleasing scenery of the northeast coast and the hardy yellow autumn trees in the foreground. Taiwan’s rich beautiful landscape is figured wonderfully in Shiy’s painting; his use of color is brilliant, and his composition is forcefully set.

223 SHIY De-jinn

席德進

(Taiwanese, 1923-1981)

不染塵處見清姿

Narcissus

1980 彩墨 紙本 136.5 x 69 cm 簽名左下：四川南部縣人 席德進 一九八○年 題識左上：不染塵處見清姿 鈐印左下：席德進印 鈐印右上：席氏書畫

1980 Ink and color on paper 136.5 x 69 cm Signed lower left Shiy De-jinn and dated 1980 in Chinese, inscribed A man from Southern Sichuan in Chinese Titled upper left Narcissus in Chinese With two seals of the artist PROVENANCE: Collection of former Director of the Shiy De-jinn Foundation (acquired directly from the artist)

來源： 席德進基金會前董事收藏（直接得自藝術家本人）

NT$ 1,600,000-2,800,000 HK$ 408,000-714,000 US$ 52,500-92,000 純粹以花為繪畫的主題，席德進認為只有在中國畫中獨有。西方人畫花，是插在瓶中，已加了人工的改 變，而中國人尊重自然，追求天趣。 席德進用「現代眼」來觀察花，用不同的素材去表現，賦以新的意義與生命。水仙，冬末初春的花卉，中 國詩人黃庭堅以「凌波仙子」形容。在席德進的筆下，水仙的姿態清盈優雅，堅毅自戀。他精心布局繪畫 的空間，將墨韻轉化為色韻，以沉穩的筆勢勾勒，充實的內蘊，水仙花開，展現著茂盛的生機。 《不染塵處見清姿》一作，表現出水仙花的清麗脫俗。水仙後方是墨色的古樸奇石，加入東方庭園的趣 味，更襯托出花中仙子的柔美婉約。

Shiy De-jinn indicated that the use of flowers as theme in painting is unique to Chinese art. In Western art, the flowers are often intentionally arranged in a vase; in Chinese art, however, the artist holds to natural representations and pursues the pleasures that nature herself has to offer.

Shiy De-jinn observed flowers with a "modern eye" and presented them from different sources; this gives the flowers in his paintings a new life as well as a new meaning. The narcissus, a bloom of late winter and early spring, was described as the "Fairy of the Waves" by the Chinese poet Huang Tingjian. In Shiy's painting, the narcissuses are clear and elegant, persevering and—as the name implies—self-centered. In his delicate composition, the harmony of the ink is transformed into a harmony of color; the narcissus is outlined with steady, strong brushstrokes that speak to their inner fullness and lush vitality of the bloom.

The work, “Narcissus” depicts the flowers, a symbol of purity and untainted by the mud they grow from, representing the ability to compassionately accept all life and rise above it. In the background, an odd rock pillar with ink color reminds the viewers of Eastern garden and contrasts the beauty of the fairy narcissus.

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224 SHIY De-jinn

(Taiwanese, 1923-1981)

Landscape near Wu-ling 1980 Ink and color on paper 137.5 x 69 cm Signed lower left Shiy De-jinn in Chinese With two seals of the artist PROVENANCE: Collection of former Director of the Shiy De-jinn Foundation (acquired directly from the artist)

席德進 武陵一景 1980 彩墨 紙本 137.5 x 69 cm 簽名左下：席德進 鈐印左下：席德進印 鈐印右上：席氏書畫 來源： 席德進基金會前董事收藏 （直接得自藝術家本人）

NT$ 1,700,000-3,000,000 HK$ 434,000-765,000 US$ 55,800-98,500 席德進認為在大自然裡寫生，面對千變萬化的山林美景能帶給他一股澎湃的力量。摯友常陪同他一同賞遊 作畫。他有善於發現美的眼睛，總會停駐在最美的角度，等待最合適的雲霧出現，以追求美好的色感氣 氛。多位藝術評論家認為他的藝術成就之一，在於從台灣的山林景色表現出現代中國畫的全新風格。 武陵，位於台灣中部，屬雪山山脈圍繞的高海拔山區，群山環繞、谿谷棋布，四季分明，秋冬時節楓紅迷 人。武陵地區景色優雅，宛如古人陶淵明的桃花源勝地，經常吸引席德進與友人到此駐足。 據席德進摯友表示，畫家一共創作了四幅長約240公分長的武陵風景，而長137公分的中型作品大約有兩幅 左右。相較於其它的橫幅武陵，《武陵一景》為難得以直幅形制創作的佳作，傳達高遠、深遠的山水境 界，其獨特與稀有性可想而知。 Shiy De-jinn believed that the ever changing landscape always rendered him a powerful strength. His close friends often went along with him. With a pair of sharp eyes that was good at capturing beauty, he always situated himself at the most beautiful area and waited for the perfect amount of fog to appear in order to capture the wonderful color and atmosphere of the scenery. Many art critics believe one of his artistic achievements lies in expressing Taiwan’s mountains in a modern Chinese painting style.

In the middle of Taiwan, Wu-ling is located in the high-altitude region of Syue Mountain. Surrounded by the mountains and valleys, Wu-ling has four distinct seasons, with red maple trees that are particularly captivating in autumn and winter. The elegant landscape of Wu-ling can be compared to poet Tao Yuanming’s Peach Blossom Spring. Shiy and his friends often came here to enjoy the beauty, and he also completed his rare, giant color ink painting here-“Wu-ling.”

According to his close friend, four 240 cm long paintings of the scenery of Wu-ling were produced by Shiy, along with an estimated two mid-sized (137 cm) works. Among them, this work “Landscape near Wu-ling” is the only one in vertical composition. A "vertical scroll" conveys a far-reaching feeling of mountains and water in traditional Chinese painting. That means that “Landscape near Wu-ling” is a rare and unique piece in the artist’s Wu-ling Series.

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225 YU Cheng-yao

余承堯

(Taiwanese, 1898-1993)

翠峰

Green Mountains

彩墨 紙本 89 x 45 cm 簽名右上：余承堯作 鈐印右上：余承堯印

Ink and color on paper 89 x 45 cm Signed upper right Yu Cheng-yao in Chinese With one seal of the artist EXHIBITED: Three Masters of Art: Calligraphy and Ink Paintings

by Yu Chen-yao, Shen Yao-chu, and Zhen Shan-xi, National Museum of History, Taipei, December 20, 2013 - February 23, 2014 ILLUSTRATED: Contemporary Taiwanese Ink Painting Series, Artist Publishing Co., Taipei, 2005, color illustrated, p. 50 and cover Three Masters of Art: Calligraphy and ink Paintings

by Yu Chen-yao, Shen Yao-chu, and Zhen Shan-xi, National Museum of History, Taipei, 2013, color illustrated, p. 55

展覽： 「閩臺三傑—余承堯、沈耀初、鄭善禧書畫聯 展」，國立歷史博物館，台北，展期自2013年12月 20日至2014年2月23日 圖錄： 《台灣近代水墨大系 余承堯—時潮外的巨擘》，藝 術家出版社，台北，2005，彩色圖版，頁50及封面 《閩臺三傑—余承堯、沈耀初、鄭善禧書畫集》， 國立歷史博物館，台北，2013，彩色圖版，頁55

NT$ 2,000,000-3,000,000 HK$ 510,000-765,000 US$ 65,700-98,500 「余承堯透過唐詩的描述而「取法」唐人的繪畫精神，但實際操作上卻採取不師古法、批評今人的立場，在早期的山水畫中，余承堯還會在水 流平闊處偶而加上小舟與人物作為點景，但等他自覺已能充分掌握到山水整體的層次和結構，或說他的山水畫中的體量感與層次感已經飽滿到 無需靠景點來加以強化的時候，他便摒除了這些非現實的古典情調，取而代之的是閩南式的紅瓦房、山間的梯田，甚至是台北市郊隨處可見的 整排整排的白色水泥樓房，這種點景上的改變，一方面使他的山水畫具有眼見為憑的真實感，同時也標示了他在心態上，從近乎全盤的批評古 人，到適度或不自覺地借鑑古人，最後再到完全不依傍古人、直接與自然對話的轉變。」 「從第一張畫開始，余承堯就承受著做為一個具備獨創精神的藝術家所必須承擔的風險，他跳過一千年的繪畫史，將自己置於筆墨形式發明和 成熟之前的孤絕處，迫使自己成為一個筆墨的發明家與原始詮釋者。余承堯的首要價值不在於使某家某派的筆墨更加精煉，不在於增加一種或 數種筆墨形式，而在於矯正暮氣沈沈的傳統水墨畫，並重新體現了一種創作本體的可能性，以他的藝術實踐證明了這一正源心法仍然如游絲般 地續存著。」 節錄林銓居《台灣近代水墨大系 余承堯—時潮外的巨擘》，藝術家出版社，台北，2005

Yu Cheng-yao used his readings of Tang Dynasty poems to absorb the artistic spirit of Tang painters; however, Yu’s work does not rely on slavish imitation of the ancient masters, and it incorporates critique of the modern world. In his early landscape paintings, Yu would sometimes add little boats and human figures in areas where a river is flowing more slowly over level ground, so as to draw the viewer’s attention to particular features within the canvas.

However, once Yu felt that he had fully mastered the multi-layered structure of traditional Chinese landscape paintings, or to put it another way, once his landscape paintings had achieved a sufficient sense of spaciousness and depth to eliminate the need to rely on “signposts” within the painting, Yu began to do away with these unrealistic, “classical” elements, replacing them with Minnan-style farmhouses with red-tiled roofs, terraced fields, and even the rows of white cement houses that are a common sight in the suburbs of Taipei. This change in the ornamentation of Yu’s work gave his landscapes a pronounced sense of realism, while at the same time reflecting the shift in Yu’s attitude away from wholesale criticism of the ancients towards, first, a limited degree of (possibly subconscious) imitation of ancient masters, and then later, a total elimination of any need to rely on the old masters and a transformation towards direct, unmediated dialogue with nature.

Starting from this painting, Yu Cheng-yao began to shoulder the burden of risk that any truly innovative artist must carry. He moved beyond the thousandyear history of traditional Chinese painting to position himself in a place that is somehow “before” the invention and maturation of traditional ink brush painting styles, forcing himself to become an ink brush painting “inventor” and an original interpreter. The true value of Yu Cheng-yao’s work lies not so much in the idea that he has further refined the painting style of a particular artist to a particular school, or that he has added one or more new styles to the existing repertoire of traditional Chinese painting forms, but rather that Yu has brought to the sometimes staid and hidebound world of traditional ink brush painting a new sense of creative possibility; Yu’s work demonstrates that the original creative stream of ink brush painting continues to flow.

Excerpt from Lin Chuan-chu, Contemporary Taiwanese Ink Brush Painting: “Yu Cheng-yao – A Great Talent Standing Outside of Contemporary Trends”, Artist Publishing Co., Taipei, 2005

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226 SHIY De-jinn

(Taiwanese, 1923-1981)

Guanyin Mountain 1980 Ink and color on paper 92.5 x 174.5 cm Signed lower left Shiy De-jinn in Chinese With three seals of the artist PROVENANCE: Collection of former Director of the Shiy De–jinn Foundation (acquired directly from the artist)

NT$ 2,000,000-3,200,000 HK$ 510,000-816,000 US$ 65,700-105,100

席德進 觀音山景 1980 彩墨 紙本 92.5 x 174.5 cm 簽名左下：席德進 鈐印左下：席德進印 鈐印右上：席氏書畫 鈐印右下：四川南部縣人 來源： 席德進基金會前董事收藏 （直接得自藝術家本人）

席德進在〈近百年來國畫的改革者〉專文中曾經提過：「對傳統國畫筆墨的尊 重，把國畫重新改回眼前現實的生活裡，並注入新鮮的血液。尋找新的題材、 新的構圖、新的意境。以水彩色感融合於水墨，使國畫的色彩更具有新鮮的活 力。」（見1980年11月號《藝術家雜誌》） 「任何走在前面的藝術家都是寂寞的」。席德進在情感的表現是苦澀的，晚年他 將滿腔無法抒發的愛意都投注在繪畫創作中。受到法國作家紀德的漂泊流浪美學 影響，席德進也以「守著藝術，伴著孤獨」作為短暫一生的美麗註腳。 平日喜愛攝影的席德進，有時會從攝影角度入畫，採用「三分法」的簡練構圖概 念。前景是牧牛與草地，然後是墨綠的灌木，中景、遠景平刷出大片空間，無限 延伸的水平橫向概念。水彩的色感上融入，使彩墨畫有新的可能，席德進從中西 美學中尋找平衡與新的意境，成就斐然。

206

In “The Reformers of Traditional Chinese Painting over the Last 100 Years,” Shiy De-jinn writes, “To respect Chinese painting is to bring it back into the reality of life in front of us, giving it new lifeblood. Searching for a new subject, a new composition, and a new concept, we blend watercolor into ink wash painting, bringing new vitality to the color of Chinese painting.” (Artist Magazine, November, 1980) Shiy De-jinn said, “Any artist who walks ahead is lonesome.” He expressed his emotion in a bitter way, injecting his profuse and unspeakable love into his paintings of his later years. Under the influence of French writer André Gide, Shiy also believed that “preserving art is accompanied by loneliness”; a beautiful footnote of his short life.

Shiy loved taking photos in his free time and often created his work through a photographic perspective by using trichotomy, a simple composition concept. The cow and grass in the foreground, then dark green trees, complemented by flat brush strokes taking up the large, empty space of the middle and background, so as to display the notion of an endless horizon. By adding watercolor, he brought new possibility to colored ink painting, which represented Shiy’s remarkable achievement in his search for balance and new artistic concepts between Chinese and Western aesthetics.

227 LIN Fengmian (Chinese, 1900-1991)

Bottled Flowers 1960s Ink and color on paper 34 x 34.5 cm Signed lower left Lin Fengmian in Chinese With one seal of the artist PROVENANCE: Collection of Sanhuai House, Hong Kong ILLUSTRATED: Zhou Weiming ed., Collection of Art Garden Studio No. 72: Sanhuai House's Modern Chinese Paintings, People’s Fine Arts Publishing House, Shanghai, 2004, color illustrated, p. 15

林風眠 瓶花圖 1960年代 彩墨 紙本 34 x 34.5 cm 簽名左下：林風眠 鈐印左下：林風瞑印 來源： 三槐堂收藏，香港 圖錄： 周衛明編，《藝苑掇英第七十二期：三槐堂藏現代 書畫專輯》，上海人民美術出版社，上海，2004， 彩色圖版，頁15

NT$ 2,800,000-3,800,000 HK$ 714,000-969,000 US$ 92,000-124,800 不論什麼時候，只要跟自然花卉形象接觸，無不令人為其欣欣向榮的生命所感染和陶醉，一切生活的苦和命運的波折在這絢爛面前都失了蹤。 林風眠一生坎坷，對於花卉和自然卻無比熱愛，很多人在林風眠的花卉面前不由自主地發出「多麼美啊」的讚歎聲。這種美麗夾雜著對作品本 身色彩及造型的欣賞，更有藝術家飽滿而熱烈的情感。同樣，濃烈的情感裡也存在著寒冷和灰暗的情緒主宰的時刻。此幅《瓶花圖》比真正的 菊花更絢爛，生長更肆意，又一點不刺眼。人在花前，只有和諧和純粹，不見張揚和冷峻。畫家對美好事物的感念，使得畫前的觀者受到了向 上的蓬勃氣氛的感染。 事實上，真實花卉的色彩沒有這麼斑駁，深厚而鮮明。這裡的菊花黃的多變而絢爛，紅色的襯托熱烈又有收斂，一改過去白色和粉藍色給人清 麗脫俗的感受。但熱烈生命的背後，在表現形式上，畫家在背景上用寒色調子來減弱主體黃色和紅色給人們帶來的過分強烈的感覺，另外也使 得觀者產生藝術家在克制內心壓抑和晦澀的情緒，讓生命的張力掙脫一切的枷鎖，嬌豔而出。林風眠畫花，體現了他是一個運用色彩的大師。 經由畫家豐富的經驗，在調色板上創造出濃淡深淺的層次色彩，經過畫家內心世界在客觀世界尋找到最符合表達感情的處理方式。 No matter what time it is, as long as you contact with natural image of flowers, nobody won't be affected and intoxicated by its prosperous life. All the sufferings from life and all the turns of the wheel vanishing in front of this floweriness. Lin Fengmian's whole life is full of difficulties, but he loves the flowers and nature so much, lots of people involuntarily highly praise “What a beautiful flower” in front of Lin Fengmian's flowers. This kind of beauty couples appreciative of color and shape of the work itself, but also the full and warm feelings of artist. Similarly, there are also strong feelings in the moment dominated by cold and gloomy emotions. Those flowers in this “Bottled Flowers” in the vase picture are more gorgeous, growth more willfully than real mums, and not dazzling at all. People stands in front of the flowers, only feels harmony and pure, but no aggressive and frigid. Artist's recall with deep emotion about the beauty makes the viewer in front of the picture deeply affected by the prosperous and progressive atmosphere.

In fact, the true color of the real flowers is not so motley, deep and bright. The yellow of these mums changefully and complex, the background red warm and convergent, change the concinnous and refined feelings coming from white and powder blue. But behind the warm life, in the form of its representation, the painter uses cold color tones in the background to weaken the over strong feelings to people which come from main yellow and red, also makes the viewers feel depressed and recondite emotions restraint by artist, free vital tension from all shackles, come out beautifully. Lin Fengmian's paintings of flowers embody that he is a master of color usage. Enriched by the experience of artist, create shade and depth level of color on palette, find out best way to express feelings in the objective world through artist inner world.

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228 CHU Teh-chun

(Chinese-French, 1920-2014)

No. 14 1998 Ink on paper 67 x 136 cm Signed lower right CHU TEH-CHUN in Chinese and English, dated 98 With one seal of the artist

NT$ 2,500,000-3,600,000 HK$ 638,000-918,000 US$ 82,100-118,200

朱德群 No. 14 1998 水墨 紙本 67 x 136 cm 簽名右下：朱德群 CHU TEH-CHUN 98 鈐印左中：朱德群

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229 CHU Teh-chun

(Chinese-French, 1920-2014)

Running and Cursive Script – Song of Wei City by Wang Wei 2000 Ink on paper 40 x 88 cm Signed lower left Chu Teh-chun, dated 2000 and inscribed Chun's Garden, Paris all in Chinese With three seals of the artist EXHIBITED: 2010 FIAC, Paris 2011 Galerie J. Bastien Art, Brussels

NT$ 4,000,000-5,000,000 HK$ 1,020,000-1,276,000 US$ 131,400-164,200

朱德群 行草橫幅—王維渭城曲 2000 水墨 紙本 40 x 88 cm 簽名左下：天門居士 朱德群 兩千年於巴黎 群園 鈐印右上：群園 鈐印左下：天門居士、朱德群 釋文：渭城朝雨浥清塵 客舍青青枊色新 勸君更進一杯酒 西出陽關無故人 展覽： FIAC巴黎當代藝術博覽會，巴黎，2010 巴斯提昂畫廊常態展，布魯塞爾，2011

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230 CHU Teh-chun

(Chinese-French, 1920-2014)

Running and Cursive Script – Song of the Great Wind by Liu Bang 2000 Ink on paper 32.5 x 100 cm Signed lower left Tien-men Householder in Chinese With two seals of the artist

NT$ 3,600,000-4,600,000 HK$ 918,000-1,173,000 US$ 118,200-151,100

朱德群 行草橫幅—劉邦大風歌 2000 水墨 紙本 32.5 x 100 cm 簽名左下：天門居士草 鈐印右上：朱德群書畫印 鈐印左下：龍城朱德群 釋文：大風起兮雲飛揚 威加海內兮歸故鄉 安得猛士兮守四方 劉邦 大風歌 劉邦（c. 256-195 B.C.），中國史上首位平民出身皇 帝，也是漢朝（西漢）開國皇帝，史稱漢太祖高皇 帝、漢高祖或漢高帝。〈大風歌〉屬於樂府形式。為 漢高祖徵討叛亂，凱旋歸來，途經故鄉沛縣時與父老 兄弟宴飲，於酒酣之中擊筑親唱的歌曲。藝術家朱德 群曾言，特別欣賞此詩歌之氣勢雄偉，故作此行草。 Liu Bang (c. 256-195 B.C.), was also the first emperor ascending the throne from the populace. Also known as Emperor Gaozu of the Western Han Dynasty, he was the first emperor of the Han Dynasty (202 B.C. - 220 A.D.).

The Song of the Great Wind was a song composed by Liu Bang in 195 B.C. when he visited his hometown in Pei County after suppressing Ying Bu's rebellion. He prepared a banquet and invited all his old friends and townsfolk to join him. After some drinks, Liu Bang played the guqin and sang the song. The artist Chu Tehchun appreciated this ambitious and intriguing poem, so created the calligraphy.

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231 LIU Kuo-sung

劉國松

(Taiwanese, b. 1932)

月之律動（B）

Rhythm of the Moon (B)

2007 彩墨 紙本 100.5 x 182 cm 簽名右上：劉國松 二○○五 鈐印右下：劉國松印 大吉羊

2007 Ink and color on paper 100.5 x 182 cm Signed upper right Liu Kuo-sung and dated 2005 both in Chinese With two seals of the artist

NT$ 5,000,000-7,000,000 HK$ 1,276,000-1,786,000 US$ 164,200-229,900 從1960年代後期至今，劉國松的作品至少為全球87間博物館所典藏，包括2010年大英博物館透過倫敦古豪士畫廊，收藏了1970年的「太空畫系 列」作品《日月浮沉》。這不僅是對劉國松個人的肯定，亦說明了西方重要博物館開始重視中國現代水墨藝術。劉國松的榮耀紀錄有勞伯樂的 支持，更主要是來自藝術家的天分、努力與機運造就。 綜觀劉國松的創作生涯，不斷尋求變化，他的名言是「先求異，再求好」。從早期1950年代學生時期寫實風格（1951-1955），轉向抽象（1958 年起），發展出個人特色的創作，進入「大筆觸」狂草時期（1963），開始對自然宇宙好奇所發展的「窗裡窗外系列」，赴瑞士受雪山美 景感動的「雪山系列」（1968），及見到美國太空人登陸月球新聞照片得到靈感後開展出的「太空畫系列」（1969-1973）、「水拓系列」 （1973）、「四序山水圖卷」（1983）、「西藏組曲」（1987年起）與「九寨溝系列」（2000年起）等作品，均可見個人創意，自信雄偉、氣 勢豪放的藝術表現。 劉國松曾獲得台灣藝文界最高榮譽―國家藝文獎，與中國藝文界最高榮譽―華人藝文終生成就獎。在今年兩岸三地的藝術市場上，劉國松的作 品成為搶手的對象，各檔展覽都開出紅盤，而觀察拍賣市場裡劉國松的最高成交紀錄，超過半數都在近年所締造的。未來，他的作品市場行情 仍然值得期待。 Since 1960, Liu Kuo-sung’s works have found their way into at least 87 museums around the world, including the British Museum, which in 2010 added the artist’s work “Sun and Moon: Floating? Sinking?” (part of the painter’s “Space” series) to its collection, a deal brokered by London’s Michael Goedhuis Gallery. This was more than a confirmation of Liu’s individual status as an artist, it also showed that major Western museums and galleries were beginning to give modernist ink and wash painting a larger role in their exhibitions and collections. While Liu’s success, like that of many artists, was to some extent the result of the generous support he received from friends and connoisseurs who appreciated his art, his outstanding talent, untiring efforts, and the ability to take opportunities when they presented themselves, all contributed to his brilliant career.

An overview of Liu Kuo-sung’s oeuvre reveals him as an artist in constant search of variety and new styles. One of his famous quotations is, “Originality first, quality second.” From 1951-1955, still a student, he basically painted in a realistic style, but beginning in 1958, Liu started to switch to abstract modes of composition, and developed his own individual creative approach. Around 1963 the next phase followed, marked by broad, sweeping brushstrokes and calligraphically-inspired lines. In this period fall the “Which is Outside” series, born of his explorations of nature and the universe, the “Snow Mountain” series from 1968, inspired by the grandiose landscapes Liu had seen in Switzerland, and the “Space” series, which took its cue from the Apollo missions and the first landing of human beings on the moon (1969-1973). Other series that give full expression to the artist’s creativity and confidence, brimming with magnificent images and dynamic energy, include the “Water Rubbing” series (1973), the “Four Seasons Handscroll” (1983), the “Tibetan Suite” series (since 1987), and the “Jiuzhaigou” series (since 2000).

Liu Kuo-sung has previously been given both Taiwan’s most prestigious arts award, the National Arts Award, and China’s most important distinction, the Chinese Artist Lifetime Achievement Award. This year, the works of Liu Kuo-sung have become coveted items in art markets of China, Hong Kong, and Taiwan, and sales numbers have been consistently high. In fact, in terms of the prices paid for works by Liu at auction, more than half of the highest records were set during the recent year, and value of his works is most likely to be in the uptrend in the future.

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232 LIU Haisu

(Chinese, 1896-1994)

Yellow Mountain 1985 Ink and color on paper 143 x 367 cm Signed upper left and lower left Liu Haisu in Chinese With eleven seals of the artist This painting is to be sold with a certificate of authenticity issued by Heritage Arts International Ltd., Taipei in 1996.

NT$ 8,000,000-12,000,000 HK$ 2,041,000-3,061,000 US$ 262,700-394,100

劉海粟 黃山圖 1985 彩墨 紙本 143 x 367 cm 簽名左上與左下：劉海粟 鈐印：九上黃山絕頂人 昔吾師黃山今作黃山友 美在斯 百丈竿頭須進步 存天戲海之樓 海粟不朽 藝術叛徒 靜遠堂 劉海粟 曾經滄海 清白傳家 題識左上：彩筆縱橫七十年 甘為叛逆輕名教 功過終須千載空 雪壓霜欺只枉然 劉海粟 憶寫黃山 並題明誌 題識左下：黃山七十有二峰 峰峰削出金芙蓉 白雲綠樹自重重 天風海濤曲未終 乙丑春京華香山燈下 寫黃海奇景 劉海粟 年方九十 附1996年傳家藝術原作保證書

劉海粟，中國第一代油畫家，1912年與烏始光、張聿光創辦上海美術專科學校，任校長。他一生暢言美術改革，有諸多創舉：如組織第一個民 間美術團體「天馬會」；發行中國第一本美術雜誌《美術》；首創男女同校；更引進人體模特兒，掀起巨大波瀾；鼓勵旅行寫生，打破關門畫 畫常規，他的創舉獲得蔡元培學者的支持。劉海粟於國畫、油畫、書法、詩詞與藝術理論上皆有深厚造詣，重視寫生，畫風豪放奇肆，蒼莽勁 拔，彩墨畫帶有後印象派的影響，卓然自成一家，他以遭人怒評的「藝術的叛徒」稱號自勵，猶如當年「野獸派」在美術史上的開創先例。 劉海粟最愛黃山，一生最重要的作品多以黃山為題。他曾十度登黃山，1988年時因此於上海美術館舉辦「十上黃山」畫展。他曾說：「黃山真 美，是天然的雕塑博物館。黃山的風景，百看不厭，越看越有味。靜中有動，動中有靜，奇峰、怪石、松樹是靜的，一陣煙雲來變幻無窮，頓 時就都活起來。黃山的氣勢大，黃山有堅貞不屈的毅力，黃山有深邃莫測的魔力。我每次來，每次都有新的認識，有畫不完的畫。黃山是我的 老師，他的美誘發了我的靈感，使我創造了很多藝術作品。在我的眼裡，變幻的煙雲，在光的作用下，就像墨和彩潑在白紙上一樣，我的潑墨 潑彩新畫法就是黃山教我的。」此幅1985年的《黃山圖》為九上黃山後的憶寫大作，畫中墨韻淋漓、色彩斑斕，氣勢不凡，為其黃山題材的重 要代表作。 Liu Haisu, a member of China’s first generation of oil painters, worked together with Wu Shiguang and Zhang Yunguang to establish the Shanghai Academy of Chinese Painting in 1912, where he served as the dean. As the proponent of a new artistic revolution in China, he broke new ground as a pioneer in many respects, such as by founding the first private institute of fine arts, known as the Celestial Horse Association, and published Art magazine, the first magazine of its kind in China dedicated to covering the arts. He initiated co-education and was one of the first individuals in China to incorporate the use of nude models to teach painting, which stirred up a great deal of controversy at the time. Moreover, he encouraged artists in China to take part in en plein air painting while traveling outdoors, breaking from the convention of relegating painting indoors which was common at that time in China. Liu’s pioneering efforts also won the support of the famous scholar Cai Yuanpei. Liu excelled at traditional Chinese painting, oil painting, calligraphy, poetry, and art theory.

He placed great emphasis on capturing the candid reality of his subject matter, and his style is not only bold and unconstrained but also vigorous and strong.

Traces of post-impressionism can be seen in his ink and color paintings, imbuing his work with a style that is unabashedly unique. Supposedly maligned with the nickname “a traitor to the arts,” Liu instead embraced the title and took the initiative, similar to les Fauves at the time, to set out to create innovative new art that would stand the test of time.

Yellow Mountain was greatly appealing to Liu, and was also his favorite theme. Liu visited Yellow Mountain ten times. In 1988, he even held a show titled Ten Visits to Yellow Mountain at the Shanghai Art Museum. He once said, “Yellow Mountain is a truly beautiful place and a veritable natural museum of sculpture—I never grow tired of its scenery. There is stillness in moving things and a sense of movement in still objects. Gorgeous peaks, unusual stones, and lush pines seem still, but are instantly brought to life as a bank of wandering clouds rolls in. Yellow Mountain is magnificent and steadfast. Yellow Mountain has an almost indescribable aura of mystery surrounding it. Each time I visit, I am inspired in a different way. The subject matter for painting scenes of Yellow Mountain is inexhaustible. Yellow Mountain is my teacher, and its beauty inspires me to create many artistic works. When I gaze out at the ever-changing clouds and interplay of light at Yellow Mountain, I see ink and color splashing across white paper. “Yellow Mountain” taught me the splashing ink and color painting method.” This piece, “Yellow Mountain”, was created in 1985 after Liu’s ninth visit to Yellow Mountain. The splashing ink and rich colors make this fantastic painting a highly representative piece from Liu’s portfolio of work centered on the theme of Yellow Mountain.

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233 LIN Fengmian

林風眠

(Chinese, 1900-1991)

仙人掌盆栽

Potted Cactus

1964 彩墨 紙本 68 x 68 cm 簽名左下：林風眠 鈐印左下：林風瞑印

1964 Ink and color on paper 68 x 68 cm Signed lower left Lin Fengmian in Chinese With one seal of the artist EXHIBITED: R/evolution, Tina Keng Gallery, Taipei, November 1-27, 2009

展覽： 「延・革」，耿畫廊，台北，展期自2009年11月1日至27日 圖錄： 《延・革》，耿畫廊，台北，2009，彩色圖版，頁38-39

ILLUSTRATED: R/evolution, Tina Keng Gallery, Taipei, 2009, color illustrated, pp. 38-39

NT$ 20,000,000-30,000,000 HK$ 5,102,000-7,653,000 US$ 656,800-985,200

「他描繪的靜物都是隨手可得的，它們常置於前景的當眼處，帶給觀賞者極強的視覺和觸覺的刺激。 在那悄然無聲的靜物畫上，室內的光線成 了通向外界的唯一渠道。在那斗室空間內，林風眠的藝術找到了豐饒平和的感覺。」

域外流芳—林風眠薈萃中西的靜物畫 林風眠的創作生涯在 1950、1960 年代達到高峰，本拍品融會中西，捕捉了在全球化下藝術家眼中靜物的剎那神采。畫中背景是交錯的十字格 線，刷上一層淡淡的水墨，營造沉靜的氣氛，同時也引導觀賞者的視線到前景的仙人掌盆栽，以及自然寫實的黃色星形蓓蕾。花盆黑白相對， 在光影對比中呈現顏色的和諧。花盆的擺放位置各有巧妙，大花盆映襯著前景的小花盆，凸顯空間的層次感，亦讓觀者與畫中植物更加接近。 圓形花盆以黑色和淺藍線條勾勒出輪廓，與方型花盆相映成趣。這種方圓對比是林風眠常用的技法，他認為在繪畫構圖中，方圓對比最能展現 畫面的均衡和諧。 有趣地，背景的留白宛如白色輕霧，在黃色花朵之間縈繞，更添植物的生氣。林風眠隨性寫意的筆觸為畫面增加動感，有如微風輕拂，花蕾隨 之微微顫動。在畫面的左右各有一盆花，修長的花莖綴著淡紫和黃色的花朵，依傍著中央的圓形植物，朝外的筆觸拓展了畫面以外的空間，將 觀者的視線和想像帶到框外。相較於林風眠開闊的山水畫，他的靜物大異其趣，正如本作品，展現的是近距離的特定空間，畫中的仙人掌盆栽 幾乎觸手可及。林風眠曾說：繪畫上的單純，是要從複雜的自然物象中，找出個性、特質，找出整體的色彩表現；從瑣碎的現象中找出整體的 概念和意義。在林風眠的靜物畫所創造的完美世界中，豐富美妙的感官饗宴能夠眼見為憑，能夠親身感受、親手觸摸。 林風眠的祖父和父親都是畫家，所以他自幼便接觸中國水墨畫。他二十多歲時留學法國，開始接觸西方藝術，這對他後來以西方觀點解讀中國 社會現實影響很大。林風眠採用了歐遊所習得的繪畫技巧描繪靜物，儘管現代西方繪畫與傳統水墨畫各擅勝場，但也有相通之處，靜物畫就是 絕佳的例子。靜物畫起源於西方，本拍品明顯受到馬諦斯及立體派後期的影響，畫家以熟練的色彩運用技巧和留白虛位營造抒情的氛圍和室內 的光影效果，描繪出物品的明暗層次，例如自畫面中央仙人掌盆栽後方散發、縈繞黃色蓓蕾的霧光。藝術家對光線的關注亦受馬諦斯的靜物畫 作所啟發，馬諦斯是以顏色表現光影明暗的高手，1916 年他談到為何偏愛黑色：「不知道該用什麼顏色的時候，我都用黑色，黑色代表力量， 我用黑色簡化結構」。《仙人掌盆栽》也同樣傳達出光影分明的裝飾趣味。 林風眠的靜物畫反映出他所追求的嶄新藝術語言，既能體現現代藝術，同時又保留中國繪畫的抒情成分。在本拍品中，黑色線條及水墨色彩彰 顯了水墨畫與書法的精神，光影對比則是以色彩的透明度來展現，如右方的透明玻璃瓶，瓶中綠色莖幹清晰可見。林風眠反覆賦色以達致濃墨 重彩的效果，而彎曲的線條則表現仙人掌的尖刺，不同的筆觸為畫作帶來更豐富的肌理和藝術表現。整體而言，背光令畫面構圖更和諧，亦為 盆栽植物增添懷舊情懷。藝術家巧妙地以協調的色調描繪中央的仙人掌，周圍配襯深淺不一的藍、紫、黃及綠色，令畫面更和諧一致。《仙人 掌盆栽》可說是林風眠藝術成就的高峰之作，展現成熟的風格，為中西藝術薈萃做了最好的演示。

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“The subjects of Lin Fengmian’s still lifes are highly accessible; with the subject matter positioned in the foreground where it will strike the eye at once, the paintings have a powerful visual and “tactile” impact on the viewer. On the silent canvas, the interior lighting is the only connection to the outside world. Within this tiny space, Lin’s art succeeds in creating a sense of fullness and harmony.”

LIN FENGMIAN - AN INTEGRATION OF THE FINEST MERITS OF TRADITIONS There is general consensus that Lin reached the peak of his creativity during the 1950s and 60s, the present lot “Potted Cactus” testifies to Lin’s harmonious synthesis of elements derived from both the Eastern and Western traditions, captivating an instant of still-life transformed by the subjectivity of Lin Fengmian within a globalized context. The sinuous crisscross pattern constituting the background is overlaid with a thin wash of ink suggesting a melancholy poignant interior setting while simultaneously guiding the viewer’s eyes toward the multiple “Potted Cactus” and naturalistic plants bearing star-shaped yellow blossoms. The various vessels rendered in contrasting shades of white and black are connotative of light and dark that contributes to a balanced composition.

The heavily larger vessels are strategically placed against the smaller ones in the foreground to strengthen the two dimensional quality and heighten the sense of proximity with the viewer. Interestingly, The black and pale icy blue line outlining the extremities of the circular vessels emphasizes its roundness against other square-formed vessels. A format that Lin favored as the artist believes that squares and circles are ideal companions in any composition in offering harmony and balance to a painting.

In retrospect, Lin has been exposed to classical Chinese ink works since a young age, as both his grandfather and his father were artists respectively. It would seem logical to regard Europe as Lin’s initial encounter with Western art as Lin was merely in his twenties when he visited France, this initial encounter would proved to be pivotal in his later journey in employing Western modes as means to comment on the social realities of China. It is visible that Lin’s still life such as the present lot actively embodies painterly techniques the artist derived from his encounter with Europe. Although Western modernist painting may appear at odds with traditional Chinese ink paintings, the two schools does however have certain properties in common.

The genre of still life illuminate the case in point, although it is inherently Western in origin, Lin’s ink works such as “Potted Cactus” exhibits visible traces of a stylistic influence of Matisse and of the late cubism. In this regard, Lin’s mastery in utilizing colors, the white and negative space not only allow the artist to inject an emotional tone into the present lot, it also introduce light effects and the concept of interior illumination in “Potted Cactus”, where the airy iridescent light surrounding the yellow florets suggest the visibility of a light source coming from behind the central potted plants and cactuses. This preoccupation in manipulation of light can also be observed in many still-life works of Matisse, who is a master in suggesting light through color. In this regard, the two artists are comparable in their use of black as a color, rather then an absence of color. In 1916, Matisse commented on his love of black “before, when I didn’t know what color to put down, I put black.

Black is a force, I depend on black to simplify the construction.” “Potted Cactus” imparts a similar decorative pictorial quality.

L i n ’s “ P o t t e d C a c t u s ” epitomizes the artist’s pursuit in devising an artistic language that is both representative of the modern era while simultaneously retaining sentimental elements that 林風眠《秋山圖》彩墨 紙本 ，68 x 139 cm，人民幣1219萬元 成交 LIN Fengmian, Autumn Mountain, ink and color on paper, 68 x 139 cm, US$ 1,828,500 sold remains distinctly Chinese.

Interestingly, the thin layer The black line in the present lot and its washes of color emphasize the of ink wash does not cover the background entirely, this uncovered area essential spirit of traditional Chinese painting and calligraphy. While areas enhances an iridescent radius of what appears to be a blanket of white mist of contrasting light and shadow visible in the present lot portrayed through surrounding the yellow blossoms, an attribute that works magnificently in the transparency of color inks such as the magnificent brushstrokes that heightening the vitality of the plants. The spontaneous airy brushstrokes portrays a clear vessel exposing the green stems on the right, the saturated constituting the yellow petals also suggest motion, as if the dainty yellow colors achieved through repeated application of the ink on the potted plants blossoms are swaying ever so slightly at the hint of a light breeze. The and the sinuous lines resembling the spikes on the cactuses brings an extra elongated stems bearing light-lavender and yellow buds near the opposing richness of texture and expressiveness to the composition. In essence, edges of the painting is strategically utilized to frame the circular-shaped the subtle backlight emanating from the background in “Potted Cactus” plants occupying the middle of the pictorial composition, the sinuous enhances the pictorial composition adding a nostalgic quality to the potted diverging and outward-pointing brush stokes works miraculously in plants. In this regard Lin had deliberately placed his subject at the center negating a wider space that extends beyond the confines of the painting. of the painting imbued with a harmonization of a color palette, the gradual In stark contrast to the distant conveyed by Lin’s landscape paintings, layering of a lively color palette of contrasting shades of blue and lavender, the artist’s still-life depictions such as the present lot is connotative of a yellow and green greatly compliments the work’s sense of harmony. “Potted defined space of close proximity, whereby these “Potted Cactus” appear to Cactus” can be interpreted as the summit of Lin Fengmian’s artistic career, be reachable or accessible by hand. Lin Fengmian once comments, “The a time period when his stylistic approach was at its most mature. It is a meaning of simplicity…is to seek out, within the complexity of natural concrete representation of a work that embraces outstanding features of phenomenon, the personality, the texture, and overall expressions of both Eastern and Western Art. colors they present. To tease out an overall concept and meaning from the minutiae of a scene.” This sensuous richness can be visually ascertained, feel and touch within the protective confines of a domestic environment that Lin had impeccably created.

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常玉，中國現代主義藝術的開路先鋒，最早成名於1920-1930年代的巴黎。他是巴黎畫派中最重要的華人 代表畫家，才氣縱橫，評論家曾以「東方的馬諦斯」、「東方的莫迪里亞尼」別號稱之，用以稱頌他筆下 的線條之妙、女體之美。常玉也是一位先書後畫、中學西用的藝術家，尤其從書法藝術轉入素描、水彩與 版畫等早期的紙上作品，為其日後的油畫創作奠定最堅實的基礎。 巴黎畫派中最重要的華人畫家常玉，又以水墨或毛筆勾勒人體線條最為人稱道。擅長中學西用，畫風自書 法萌芽、在素描裡扎根；既有西方的現代感，也具備了東方的寫意精神。 Sanyu, a pioneer of Chinese modernism, first rose to fame during the Roaring Twenties in Paris, and soon became the most eminent representative of Chinese-born painters within the École de Paris movement. Critics recognized his outstanding gifts and called him the “Matisse of the East” or “Modigliani of the East” when praising the seductive quality of his lines and the aesthetic appeal of his female forms. Merging Western and Eastern elements in his work, Sanyu made good use of his early training as a calligrapher in his prolific output of sketches, watercolors, and prints, and these early works on paper also laid a solid foundation for his later oil paintings.

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 paintings and drawings of human bodies. Taking his cue from traditional Chinese calligraphy, and further honing his artistic skills by sketching from life, he became an 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.

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234 SANYU

(Chinese-French, 1901-1966)

Nude with a Necklace c. 1927 Charcoal and pencil on paper 51 x 33.5 cm Signed lower right Yu in Chinese and SANYU in French PROVENANCE: Print Maker’s Gallery, Taipei Private collection, Asia ILLUSTRATED: Antoine Chen (Chen Yen-fon), Overseas Chinese Fine Arts Series-Sanyu, Artist Publishing Co., Taipei, 1995, color illustrated, no. 4, p. 60 Sanyu-A Pioneering Avant-Garde in Chinese Modernist Art, Tina Keng Gallery, Taipei, 2013, color illustrated, p. 25

NT$ 220,000-400,000 HK$ 56,000-102,000 US$ 7,200-13,100

常玉 戴珠鍊的裸女 約1927 炭筆 鉛筆 紙本 51 x 33.5 cm 簽名右下：玉 SANYU 來源： 版畫家畫廊，台北 私人收藏，亞洲 圖錄： 陳炎鋒，《華裔美術選集Ⅰ：常玉》，藝術家 出版社，台北，1995，彩色圖版，圖4，頁60 《常玉—中國現代主義藝術的先鋒》，耿畫廊 ，台北，2013，彩色圖版，頁25

235 SANYU

(Chinese-French, 1901-1966)

Bather c. 1927 Charcoal and pencil on paper 44 x 27 cm Signed lower left Yu in Chinese and SANYU in French PROVENANCE: Print Maker's Gallery, Taipei Private collection, Asia ILLUSTRATED: Antoine Chen (Chen Yen-fon), Overseas Chinese Fine Arts Series-Sanyu, Artist Publishing Co., Taipei, 1995, color illustrated, no. 3, p. 59

NT$ 240,000-400,000 HK$ 61,000-102,000 US$ 7,900-13,100

常玉 梳妝的裸女 約1927 炭筆 鉛筆 紙本 44 x 27 cm 簽名左下：玉 SANYU 來源： 版畫家畫廊，台北 私人收藏，亞洲 圖錄： 陳炎鋒，《華裔美術選集Ⅰ：常玉》，藝術家 出版社，台北，1995，彩色圖版，圖3，頁59

226

236 SANYU

(Chinese-French, 1901-1966)

Nude 1930 Ink on paper 43 x 26 cm Signed lower left Yu in Chinese, SANYU in French and dated 30 PROVENANCE: 20th Century Chinese Art (Part II), Christie's Taipei sale, October 25, 1998, lot 36 Ravenel Autumn Auction 2006, Taipei, December 1, 2006, lot 002

NT$ 320,000-600,000 HK$ 82,000-153,000 US$ 10,500-19,700

常玉 裸女 1930 水墨 紙本 43 x 26 cm 簽名左下：玉 SANYU 30 來源： 「20世紀中國藝術（Part Ⅱ）」，台北佳士得 拍賣，1998年10月25日，編號36 「羅芙奧2006秋季拍賣會」，台北，2006年 12月1日，編號002

237 SANYU

(Chinese-French, 1901-1966)

Joyful Nude c. 1929 Charcoal and ink on paper 45 x 28 cm PROVENANCE: Print Maker's Gallery, Taipei Private collection, Asia ILLUSTRATED: Antoine Chen (Chen Yen-fon), Chanson Nostaligique: Sanyu, Printers, Taichung, 1982, color illustrated Antoine Chen (Chen Yen-fon), Overseas Chinese Fine Arts Series-Sanyu, Artist Publishing Co., Taipei, 1995, color illustrated, no. 24, p. 80

NT$ 320,000-600,000 HK$ 82,000-153,000 US$ 10,500-19,700

常玉 喜悅的裸女 約1929 炭筆 水墨 紙本 45 x 28 cm 來源： 版畫家畫廊，台北 私人收藏，亞洲 圖錄： 陳炎鋒，《巴黎的一曲鄉思—常玉》，印刷出 版社，台中，1982，彩色圖版 陳炎鋒，《華裔美術選集Ⅰ：常玉》，藝術家 出版社，台北，1995，彩色圖版，圖24，頁80

228

238 SANYU

(Chinese-French, 1901-1966)

Bather Ink on paper 28.5 x 22.5 cm Signed lower left Yu in Chinese and SANYU in French PROVENANCE: Print Maker's Gallery, Taipei Private collection, Asia

NT$ 240,000-400,000 HK$ 61,000-102,000 US$ 7,900-13,100

常玉 裸女梳妝 水墨 紙本 28.5 x 22.5 cm 簽名左下：玉 SANYU 來源： 版畫家畫廊，台北 私人收藏，亞洲

239 SANYU

(Chinese-French, 1901-1966)

Seated Nude 1929 Charcoal and ink on paper 45 x 28 cm Signed center right Yu in Chinese, SANYU in French and dated 1.1929 PROVENANCE: Print Maker's Gallery, Taipei Private collection, Asia ILLUSTRATED: Antoine Chen (Chen Yen-fon), Overseas Chinese Fine Arts Series-Sanyu, Artist Publishing Co., Taipei, 1995, color illustrated, no. 29, p. 85

NT$ 320,000-600,000 HK$ 82,000-153,000 US$ 10,500-19,700

常玉 坐著的裸女 1929 炭筆 水墨 紙本 45 x 28 cm 簽名右方：玉 SANYU 1.1929 來源： 版畫家畫廊，台北 私人收藏，亞洲 圖錄： 陳炎鋒，《華裔美術選集Ⅰ：常玉》，藝術家 出版社，台北，1995，彩色圖版，圖29，頁85

230

240 SANYU

(Chinese-French, 1901-1966)

Figures (double-sided) Charcoal and ink on paper 49 x 30 cm Signed lower right Yu in Chinese and SANYU in French PROVENANCE: Print Maker's Gallery, Taipei Private collection, Asia ILLUSTRATED: Antoine Chen (Chen Yen-fon), Chanson Nostaligique: Sanyu, Printers, Taichung, 1982, black-and-white illustrated, p. 93

NT$ 320,000-600,000 HK$ 82,000-153,000 US$ 10,500-19,700

常玉 人物（雙面畫） 炭筆 水墨 紙本 49 x 30 cm 簽名右下：玉 SANYU 來源： 版畫家畫廊，台北 私人收藏，亞洲 圖錄： 陳炎鋒，《巴黎的一曲鄉思—常玉》，印刷出 版社，台中，1982，黑白圖版，頁93

241 SANYU

(Chinese-French, 1901-1966)

Nudes (double-sided) Charcoal and pencil on paper 49.5 x 30 cm PROVENANCE: Print Maker's Gallery, Taipei Private collection, Asia

NT$ 320,000-600,000 HK$ 82,000-153,000 US$ 10,500-19,700

常玉 裸女裸男（雙面畫） 炭筆 鉛筆 紙本 49.5 x 30 cm 來源： 版畫家畫廊，台北 私人收藏，亞洲

232

242 SANYU

常玉

(Chinese-French, 1901-1966)

大茅屋工作室

Académie de la Grande Chaumière

約1929 炭筆 水墨 紙本 28.5 x 45 cm

c. 1929 Charcoal and ink on paper 28.5 x 45 cm PROVENANCE: Print Maker's Gallery, Taipei Private collection, Asia ILLUSTRATED: Antoine Chen (Chen Yen-fon), Overseas Chinese Fine Arts Series-Sanyu, Artist Publishing Co., Taipei, 1995, color illustrated, p. 187

NT$ 320,000-600,000 HK$ 82,000-153,000 US$ 10,500-19,700

來源： 版畫家畫廊，台北 私人收藏，亞洲 圖錄： 陳炎鋒，《華裔美術選集Ⅰ：常玉》，藝術家出版 社，台北，1995，彩色圖版，頁187

243 SANYU

(Chinese-French, 1901-1966)

Nude with Green Shoes c. 1929 Watercolor on paper 45 x 28.5 cm PROVENANCE: Collection of Antoine Chen Yen-fon, Paris Print Maker's Gallery, Taipei Jia Art Gallery, Taipei Private collection, Asia EXHIBITED: China-Paris, Seven Chinese Painters Who Studied in France, 1918-1960, Taipei Fine Arts Museum, Taipei, March 26-June 26, 1988 ILLUSTRATED: Antoine Chen (Chen Yen-fon), Une Chanson Nostaligique: Sanyu, Printers, Taichung, 1982, color illustrated, p. 32 China-Paris, Seven Chinese Painters Who Studied in France, 1918-1960, Taipei Fine Arts Museum, Taipei, 1988, color illustrated, p. 110 Antoine Chen (Chen Yen-fon), Overseas Chinese Fine Arts Series-Sanyu, Artist Publishing Co., Taipei, 1995, color illustrated, no. 22, p. 78 The Art of Sanyu, National Museum of History, Taipei, 1995, color illustrated, no. 84, p. 101 Francesco Pellizzi ed., Res: Anthropology and Aesthetics, 35, Spring 1999: Intercultural China, Peabody Museum of Archaeology and Ethnology, Harvard University, Cambridge, December 31,2004 , black-and-white illustrated, no. 1, p. 224

NT$ 550,000-900,000 HK$ 140,000-230,000 US$ 18,100-29,600

常玉 穿鞋的裸女 約1929 水彩 紙本 45 x 28.5 cm 來源： 陳炎鋒舊藏，巴黎 版畫家畫廊，台北 家畫廊，台北 私人收藏，亞洲 展覽： 「中國—巴黎：早期旅法中國畫家回顧展」，台北市立美 術館，台北，展期自1988年3月26日至6月26日 圖錄： 陳炎鋒，《巴黎的一曲鄉思—常玉》，印刷出版社，台 中，1982，彩色圖版，頁32 《中國—巴黎：早期旅法中國畫家回顧展專輯》，台北市 立美術館，台北，1988，彩色圖版，頁110 陳炎鋒，《華裔美術選集Ⅰ：常玉》，藝術家出版社，台 北，1995，彩色圖版，圖22，頁78 《常玉畫集》，國立歷史博物館，台北，1995，彩色圖 版，圖84，頁101 法蘭切斯可．佩利茲編輯，《人類學與美學35期1999春： 跨文化中國》學術期刊，哈佛大學畢巴底考古與民族博物 館，劍橋，2004，黑白圖版，圖1，頁224 234

244 SANYU

(Chinese-French, 1901-1966)

A Lady Drawing Ink and watercolor on paper 48.5 x 31.5 cm PROVENANCE: Print Maker's Gallery, Taipei Private collection, Asia

NT$ 550,000-900,000 HK$ 140,000-230,000 US$ 18,100-29,600

常玉 作畫中的女人 水墨 水彩 紙本 48.5 x 31.5 cm 來源： 版畫家畫廊，台北 私人收藏，亞洲

245 HUNG Jui-lin

洪瑞麟

(Taiwanese, 1912-1996)

海景

Seascape

1970 水彩 紙本 25.5 x 35 cm 年代左下：1970 鈐印左下：洪

1970 Watercolor on paper 25.5 x 35 cm Dated lower left 1970 With one seal of the artist

NT$ 30,000-60,000 HK$ 8,000-15,000 US$ 1,000-2,000

236

246 HSIEH Hsiao-de

謝孝德

(Taiwanese, b. 1940)

風景

Landscape

2011 水彩 紙本 77 x 108.5 cm 簽名左下：2011 謝孝德

2011 Watercolor on paper 77 x 108.5 cm Signed lower left Hsieh Hsiao-de in Chinese and dated 2011

NT$ 50,000-120,000 HK$ 13,000-31,000 US$ 1,600-3,900

247 KING Fen-hwa (JING Fen-hua) (Taiwanese, b. 1955)

Girl with a Cat 1992 Oil on canvas 45.5 x 61 cm Signed lower left King Fen-hwa in Chinese and F. H. KING in English, dated '92

NT$ 50,000-100,000 HK$ 13,000-26,000 US$ 1,600-3,300

238

金芬華 少女與貓 1992 油彩 畫布 45.5 x 61 cm 簽名左下：金芬華 F. H. KING '92

248 CHANG Wan-chuan (Taiwanese, 1909-2003)

Still Life with Fruits 1980-1990 Oil on wooden board 24.3 x 33.3 cm Signed lower right CHANG in English, Wan in simplified Chinese and dated 1980 Signed on the reverse CHANG in English, Wanchuan in simplified Chinese and dated 1990 This painting is to be sold with a certificate of authenticity issued by Impressions Art Gallery, Taipei.

NT$ 90,000-180,000 HK$ 23,000-46,000 US$ 3,000-5,900

張萬傳 水果靜物 1980-1990 油彩 木板 24.3 x 33.3 cm 簽名右下：1980 CHANG. 万. 簽名畫背：CHANG. 万伝 1990. 附印象畫廊開立之原作保證書

249 CHANG Wan-chuan (Taiwanese, 1909-2003)

Bathers 1985 Oil on carton 33.5 x 24 cm Signed lower left CHANG in English, Wan in simplified Chinese and dated 1985 Signed on the reverse Chang Wan-chuan and titled Flower both in Chinese This painting is to be sold with a certificate of authenticity issued by Goethe Art Center, Taipei.

NT$ 90,000-180,000 HK$ 23,000-46,000 US$ 3,000-5,900

張萬傳 浴女（三人） 1985 油彩 紙板 33.5 x 24 cm 簽名左下：CHANG.万.1985 簽名畫背：花 張萬傳 附哥德藝術中心開立之原作保證書

250 KING Fen-hwa (JING Fen-hua) (Taiwanese, b. 1955)

Waiting (upper left); Girl in the Hat (lower left); Childishness (upper right); Drinking (lower right) 1997 Oil on canvas 24.3 x 33.4 cm (each) Signed lower left KING Fen-hwa in Chinese, F.H. King in English and dated '97 (upper left) Signed lower left KING Fen-hwa in Chinese, F.H. King in English and dated '97 (lower left) Signed lower center KING Fen-hwa in Chinese, F.H. King in English and dated '97 (upper right) Signed lower left KING Fen-hwa in Chinese, F.H. King in English and dated '97 (lower right)

NT$ 70,000-140,000 HK$ 18,000-36,000 US$ 2,300-4,600

金芬華 等待（左上）；戴帽女孩（左下） 稚氣（右上）；淺酌（右下） 1997 油彩 畫布 24.3 x 33.4 cm（每件） 簽名左下：金芬華 F.H. King '97（左上） 簽名左下：金芬華 F.H. King '97（左下） 簽名下方：金芬華 F.H. King '97（右上） 簽名左下：金芬華 F.H. King '97（右下）

240

251 LIN Yao-sheng

林耀生

(Taiwanese, b. 1954)

濱海之鄉

Houses by the Sea

1996 油彩 畫布 65.5 x 91 cm 簽名右下：耀生 '96

1996 Oil on canvas 65.5 x 91 cm Signed lower right Yao-sheng in Chinese and dated '96

NT$ 80,000-160,000 HK$ 20,000-41,000 US$ 2,600-5,300

252 CHEN Yin-wei (Taiwanese, b. 1960)

Revelation of Zhuangzi 2013 Oil and mixed media on canvas 40.5 x 51 cm Signed lower right Chen Yin-wei in Chinese and dated 2013 With one painted seal of the artist This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 70,000-140,000 HK$ 18,000-36,000 US$ 2,300-4,600

242

陳英偉 莊周啟示錄（五） 2013 油彩 綜合媒材 畫布 40.5 x 51 cm 簽名右下：歲次 2013 陳英偉 手繪鈐印左上：ART 1 by 1 御覽之寶 附藝術家親筆簽名之原作保證書

253 CHEN Yin-wei

陳英偉

(Taiwanese, b. 1960)

出塵

Transcending the World

2009 綜合媒材 油彩 畫布 72.5 x 61 cm 簽名左下：歲次 2009 陳英偉 手繪鈐印：ART 1 by 1 御覽之寶

2009 Mixed media and oil on canvas 72.5 x 61 cm Signed lower left Chen Yin-wei in Chinese and dated 2009 With one painted seal of the artist EXHIBITED: Taiwan Surrealism Chen Yin-Wei Solo Exhibition, Global Art Center, Taichung, May 2-30, 2012

NT$ 90,000-180,000 HK$ 23,000-46,000 US$ 3,000-5,900

展覽： 「台灣超現實：陳英偉創作個展」，全球藝術中 心，台中，展期自2012年5月2日至30日

254 DAI Ze

(Chinese, b. 1922)

Joys of Spring 1981 Oil on paper 40 x 50 cm Signed lower left Dai Ze and dated 81 both in Chinese

NT$ 100,000-200,000 HK$ 26,000-51,000 US$ 3,300-6,600

244

戴澤 春滿人間 1981 油彩 紙本 40 x 50 cm 簽名左下：八一年 戴澤

255 DAI Ze

(Chinese, b. 1922)

Stream 1984 Oil on paper 40 x 54.5 cm Signed lower left Dai Ze in Chinese and dated 1984

NT$ 100,000-200,000 HK$ 26,000-51,000 US$ 3,300-6,600

戴澤 清溪 1984 油彩 紙本 40 x 54.5 cm 簽名左下：戴澤 1984

256 LU Guo-ying (Chinese, b. 1925)

Vase of Flowers 1992 Oil on canvas 71 x 60 cm Signed lower right Lu Guo Ying in English and dated 1992 Signed on the reverse Lu Guo-ying in simplified Chinese

NT$ 100,000-200,000 HK$ 26,000-51,000 US$ 3,300-6,600

246

陸國英 瓶花 1992 油彩 畫布 71 x 60 cm 簽名右下：Lu Guo Ying 1992 簽名畫背：陸國英

257 SUN Yuntai

(Chinese, 1913-2005)

Beautiful Flowers 1997 Oil on canvas 53.5 x 73 cm Signed lower right Sun Yun-tai in simplified Chinese and dated 1997 PROVENANCE: Soka Art Center, Taipei

NT$ 260,000-340,000 HK$ 66,000-87,000 US$ 8,500-11,200

孫雲台 群芳競妍 1997 油彩 畫布 53.5 x 73 cm 簽名右下：孫雲台 1997 來源： 索卡藝術中心，台北

258 LEE Ming-chung (Taiwanese, b. 1961)

Ursa Major and Ursa Minor 1992 Oil on canvas 116.5 x 91 cm Signed on the reverse Lee Ming-Chung, titled Ursa Major and Ursa Minor both in Chinese, inscribed 50F and dated 1992 EXHIBITED: Solo Exhibition by Lee Ming-Chung, Taiwania Gallery, Taipei, November 7-28, 1992

NT$ 110,000-220,000 HK$ 28,000-56,000 US$ 3,600-7,200

248

李民中 大熊星座＋小熊星座 1992 油彩 畫布 116.5 x 91 cm 簽名畫背：李民中 1992 大熊星座+小熊星座 50F 展覽： 「李民中個展」，台灣泥雅畫廊，台北，展期自 1992年11月7日至28日

259 LIANG Yi-fen

梁奕焚

(Taiwanese, b. 1937)

窗台上的貓

Cat on the Windowsill

2008 油彩 畫布 117 x 91 cm 簽名左下：LIANG 奕焚 008 簽名畫背：梁奕焚

2008 Oil on canvas 117 x 91 cm Signed lower left LIANG in English, Yi-fen in Chinese and dated 008 Signed on the reverse Liang Yi-fen in Chinese ILLUSTRATED: Liang Yi-fen Fine Works Retrospective, Top Art, Taipei, 2014, color illustrated, no. 93 This painting is to be sold with a photo of the artist and the artwork.

NT$ 110,000-220,000 HK$ 28,000-56,000 US$ 3,600-7,200

圖錄： 《梁奕焚精品回顧展》，拓樸藝術，台北，2014， 彩色圖版，編號93 附藝術家與作品合影照片

260 Qin Xuanfu

(Chinese, 1906-1998)

Qingdao Waterfront – 2 1948 Oil on cardboard 30 x 49 cm Signed on the reverse Xuanfu and titled Qingdao Waterfront – 2 both in Chinese, dated 48 PROVENANCE: Soka Art Center, Taipei EXHIBITED: Life and Nature – The Art of Qin Xuanfu, Soka Art Center, Taipei, December 11-26, 1999.

NT$ 300,000-500,000 HK$ 77,000-128,000 US$ 9,900-16,400

250

秦宣夫 青島海濱－2 1948 油彩 紙板 30 x 49 cm 簽名畫背：青島海濱（二）宣夫 48年 來源： 索卡藝術中心，台北 展覽： 「抱住人生—棲定自然—秦宣夫的藝術」，索卡藝 術中心，台北，展期自1999年12月11日至26日

261 CHUANG Che (Taiwanese, b. 1934)

Abstract 1970 Mixed media on canvas 118 x 83 cm Signed lower right Chuang Che in Chinese and dated '70

NT$ 460,000-600,000 HK$ 117,000-153,000 US$ 15,100-19,700

莊喆 抽象 1970 綜合媒材 畫布 118 x 83 cm 簽名右下：莊喆 '70

262 LIANG Yi-fen (Taiwanese, b. 1937)

Reclining Nude 2008 Oil on canvas 96 x 161 cm Signed upper left LIANG in English, Yi-fen in Chinese and dated 008 Signed on the reverse Liang Yi-fen in Chinese ILLUSTRATED: Liang Yi-fen Fine Works Retrospective, Top Art, Taipei, 2014, color illustrated, no. 21

NT$ 220,000-320,000 HK$ 56,000-82,000 US$ 7,200-10,500

252

梁奕焚 裸女側睡 2008 油彩 畫布 96 x 161 cm 簽名左上：LIANG 奕焚 008 簽名畫背：梁奕焚 圖錄： 《梁奕焚精品回顧展》，拓樸藝術，台北，2014， 彩色圖版，編號21

263 HU Shanyu

胡善餘

(Chinese, 1909-1993)

雁蕩山

Yandang Mountain

油彩 畫布 49.5 x 61.5 cm 簽名右下：善餘

Oil on canvas 49.5 x 61.5 cm Signed lower right Shanyu in Chinese This painting is to be sold with a picture of the artist's family and the artwork.

NT$ 460,000-600,000 HK$ 117,000-153,000 US$ 15,100-19,700

附藝術家家屬與本拍品合影照片

264 J. C. KUO

(Jen-chang KUO) (Taiwanese, b. 1949)

Guardians 2008 Mixed media on canvas 130.5 x 200 cm Signed lower right Jen-chang Kuo in Chinese, J. C. Kuo in English and dated 2008 EXHIBITED: Totem and Taboo: Solo Exhibition by J.C. Kuo, Taipei Fine Arts Museum, Taipei, July 2-September 21, 2008 ILLUSTRATED: Totem and Taboo: Solo Exhibition by J.C. Kuo, Taipei Fine Arts Museum, Taipei, 2008, color illustrated, p. 25

NT$ 800,000-1,000,000 HK$ 204,000-255,000 US$ 26,300-32,800

郭振昌 守護者 2008 綜合媒材 畫布 130.5 x 200 cm 簽名右下：郭振昌 2008 J.C. Kuo 展覽： 「圖騰與禁忌：郭振昌個展」，台北市立美術館，台北，展期自2008年 7月2日至9月21日 圖錄： 《圖騰與禁忌：郭振昌個展》，台北市立美術館， 台北，2008，彩色 圖版，頁25

254

265 YANG San-lang (Taiwanese, 1907-1995)

Seascape Oil on canvas 50 x 60.5 cm Signed lower right S. Yang in English

NT$ 900,000-1,800,000 HK$ 230,000-459,000 US$ 29,600-59,100

楊三郎 海景 油彩 畫布 50 x 60.5 cm 簽名右下：S. Yang

256

266 CHUANG Che (Taiwanese, b. 1934)

Abstract 8016 1980 Oil on canvas 127.5 x 100.5 cm Signed lower center Chuang Che in Chinese Titled on the reverse 8016

NT$ 1,100,000-2,200,000 HK$ 281,000-561,000 US$ 36,100-72,200

莊喆 抽象 8016 1980 油彩 畫布 127.5 x 100.5 cm 簽名中下：莊喆 題識畫背：8016

258

260

267 PANG Jiun

(Chinese, b. 1936)

Grotto Art 1988 Oil on canvas 91 x 117 cm Signed lower right Pang Jiun in Chinese and dated 1988 With one painted seal of the artist Signed on the reverse PANG JIUN in English and Chinese, titled Grotto Art in Chinese and dated 1988 This painting is to be sold with a picture of the artist and the artwork.

NT$ 1,300,000-2,200,000 HK$ 332,000-561,000 US$ 42,700-72,200

龐均 石窟藝術 1988 油彩 畫布 91 x 117 cm 簽名右下：龐均 1988作 手繪鈐印：均 簽名畫背：石窟藝術 PANG JIUN 1988 龐均 附藝術家與作品合影照片

268 HUANG Ming-chang (Taiwanese, b. 1952)

Portrait 1999 Oil on canvas 145 x 97 cm Signed on the right edge Huang Ming-chang in Chinese and Huang m.c in English, dated '99

NT$ 1,500,000-2,200,000 HK$ 383,000-561,000 US$ 49,300-72,200

黃銘昌 肖像 1999 油彩 畫布 145 x 97 cm 簽名右下側：黃銘昌 Huang m.c '99

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269 LI Shih-chiao

(Taiwanese, 1908-1995)

Lilies and Wufeng Landscape (double-sided) 1958 Oil on wooden board 50 x 60.5 cm Signed lower left Shih-chiao and dated 1958 in Chinese (Lilies) Signed lower left Li Shih-chiao in Chinese and dated 1958 (Wufeng Landscape) PROVENANCE: East Gallery, Taipei Acquired from the above by the present owner

NT$ 2,000,000-3,000,000 HK$ 510,000-765,000 US$ 65,700-98,500

李石樵 百合花與霧峰風景（雙面畫） 1958 油彩 木板 50 x 60.5 cm 簽名左下：一九五八 石樵（百合花） 簽名左下：1958 李石樵（霧峰風景） 來源： 東之畫廊，台北 現有收藏者購自上述來源

畫作背面（霧峰風景） Reverse (Wufeng Landscape)

264

270 LIAO Chi-chun

廖繼春

(Taiwanese, 1902-1976)

威尼斯小景

Venice

1968 油彩 畫布 31.5 x 41 cm 簽名左下：C.C. LIAO.1968.6 簽名畫背：「威尼斯小景」 廖繼春画

1968 Oil on canvas 31.5 x 41 cm Signed lower left C.C. LIAO in English and dated 1968.6 Signed on the reverse Liao Chi-chun and titled Venice both in Chinese PROVENANCE: Ancient collection of Liao Chi-chun’s student, graduated from Department of Fine Arts, National Taiwan Normal University in 1968.

Inherited from the above by the present owner

來源： 台灣師範大學美術系第57級廖繼春學生舊藏（得自 藝術家本人） 現有收藏者繼承自上述來源

NT$ 2,600,000-4,000,000 HK$ 663,000-1,020,000 US$ 85,400-131,400 此幅《威尼斯小景》完成於1968年〈民國57年〉6月，廖繼春難得以嫩黃鋪陳水都的奔放風采，簡約輪廓線勾勒繁忙穿梭的貢多拉船與人們，躍 動的粉色，如波光粼粼的搖曳，也如愉悅心情的展現。自1962年到過歐美考察旅行後，畫家曾反覆畫過幾幅威尼斯的風景，有時運用粉紅、有 時繪以粉藍，他經歷過歲月的洗禮，走過人生的不同階段，而筆下的威尼斯，隨著情緒的變化呈現迥異的視覺感。 《威尼斯小景》是廖繼春的歐遊回憶再現，融和了畫家的純真浪漫的情懷，他將此份美好贈與賞識的學生，並寄予祝福。此畫原本的收藏者為 廖繼春的師大美術系57級畢業的學生，後遺贈予家人。廖繼春一生對創作充滿熱情、也感染他的學生，流芳百世。珍貴的《威尼斯小景》珍藏 已46年，難得曝光，而師生雖皆已化作千風，翱翔於無限寬廣的天空裡，藝術光芒永恆閃耀。 “Venice”, completed in June 1968, showcases Liao Chi-chun’s seldom but bold use of light yellow to elegantly depict the graceful, untrammeled manner of this famous city on water. With several simple strokes, he outlined the busy gondolas and the enthusiastic Venetian people. The rhythmic pink seems to be the gleaming reflection of the wavy water as well as the expression of a delightful mood. Since traveling to the U.S. and the European countries in 1962, the artist had painted several landscapes about Venice, sometimes with pink and sometimes with powder blue. He has gone through various stages of life, and along with the change of mood, his Venice also takes on several different looks.

A highly representative piece of Liao’s journey to Europe, “Venice” represents an amalgamation of the artist’s romantic and innocent artistic bearings. As an academic blessing, he bestowed this beautiful memory on one of his beloved students, who graduated in 1968 from the Department of Fine Art of NTNU. The original owner later bequeathed this painting to his family. Liao had a fierce passion for artistic creation, and such an enthusiasm also influenced his students. “Venice” has been privately treasured for 46 years and is a rare treat to be seen in public. The master and his apprentice have since departed from this world, but their spirits still soar freely in the boundless sky as the light of this unique piece of art continues to glow and dazzle on into eternity.

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271 CHEN Cheng-po

陳澄波

(Taiwanese, 1895-1947)

街景

Street Scene

約1929-1933 油彩 畫布 38 x 46.5 cm

c. 1929-1933 Oil on canvas 38 x 46.5 cm PROVENANCE: Private collection, Taiwan (acquired directly from the artist's first son Chen Chung-kuang in 1940s by the owner's father) This painting is to be sold with a picture of the artist's first son and the artwork.

來源： 私人收藏，台灣 （現有收藏者的父親約1940年代直接得自藝術家長 子陳重光先生贈與） 附藝術家長子陳重光先生與作品合影照片

NT$ 3,800,000-5,000,000 HK$ 969,000-1,276,000 US$ 124,800-164,200 陳澄波1929年自東京美術學校畢業之後，受旅日中國畫家王濟遠之邀來到上海，他加入了中國近代美術史上第一個現代畫派決瀾社，同時任教 於新華藝術專科學校及昌明藝術專科學校，活躍於上海藝壇，及至1933年因戰亂返回台灣。依據陳澄波之子陳重光的回憶，當年陳澄波的寓所 離新華藝專不遠，步行即可往返。而新華藝專在 1937年11月以前的舊址即位於打浦橋南堍地區，現為打浦路海華花園小區。《街景》一作中， 繪有「打浦路」路標及當時上海常見的街燈形式，據此推論為陳澄波上海時期的作品。 上海，是民國初年現代藝術激盪生發之處，而當年正值三十幾歲盛年之時的陳澄波正是在這座摩登都市裡，有意識地棄絕以往在東京接受美術 訓練的日本風以及透過日本學習而來的西洋風，轉而師法水墨傳統，為油畫注入新穎創作觀點，進而創造其個人藝術生涯的關鍵轉折。於是， 他的作品裡有了水墨線條的趣味，例如《街景》中的街燈、電線桿與禿樹，而以往繽紛亮麗的色彩也轉為以黃褐、紅褐色調為主，顯出一種古 樸的氛圍。構圖上，我們看到陳澄波不再遵守學院裡習得的單點透視，而是採用如同山水畫的多重視角，近景的街道蜿蜒而上，路樹與遠方的 樓房層層相疊，富有層次感，展現了陳澄波融混中西藝術元素與強烈主觀意識的獨特風格。 After graduating from Tokyo Fine Arts Institute in 1929, Chen Cheng-po came to Shanghai at the invitation of Chinese painter Wang Jiyuan, who had also been in Japan. He joined the Jue Lan School, the first movement of modern art in the history of Chinese art and also taught at Xinhua Arts Junior College and Changming Arts Junior College. He was very active in the art scene of Shanghai, until his return to Taiwan in 1933 because of war. According to Chen Cheng-po’s son, Chen Chung-kuang, Chen’s residence was within walking distance of Xinhua Arts Junior College. Before November 1937, the original location of Xinhua Arts Junior College was in the Dapuqiao of Nantu area, which is now the Haihua Garden residential area on Dapu Road. In this piece, “Street Scene”, the artist painted a Dapu Road street sign and street light, a common sight during those days. Based on the subject matter, it has been suggested that this piece is one of Chen’s works he completed during his time living in Shanghai.

In the early 1920s Shanghai was a place where modern art flourished and resonated. In this modern city, Chen Cheng-po, in his thirties and his prime, consciously abandoned the Japanese-style art training he received in Tokyo, along with the western-style he learned there, to take up traditional ink-wash painting. The change injected brand new creative viewpoints into his oil painting that further created a key turning point in his artistic life. Consequently, his works complimented the delightfulness of ink-wash brushstrokes, evident in the street light, telephone pole, and the bare trees in “Street Scene”. The vivid and lively colors of Chen’s earlier works have now been toned down to mainly yellowish and reddish browns, radiating a quaint atmosphere. In the composition, we can see that Chen did not follow the one-point perspective, as is taught in schools; rather, he adopted the multi-point perspective of traditional Chinese shan shui paintings. The close-up street scene winds upward as trees and houses layered together create a sense of depth, demonstrating Chen’s unique style of mixing oriental and western art elements and his strong subjective sensibility.

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272 HSIAO Chin

(XIAO Qin) (Taiwanese, b. 1935)

Energy Source – 2 2012 Acrylic on canvas 200 x 200 cm Signed on the reverse Hsiao in English and Chin in Chinese, titled Energy Source – 2 in Chinese, inscribed 200 x 200 cm, dated 2012 EXHIBITED: Formless Form – Taiwanese Abstract Art, Taipei Fine Arts Museum, Taipei, July 7-September 2, 2012 YES, TAIWAN – 2012 Taiwan Biennial, Taiwan Museum of Fine Arts, Taichung, October 6, 2012-January 6, 2013

NT$ 2,000,000-3,000,000 HK$ 510,000-765,000 US$ 65,700-98,500

蕭勤 能量源－2 2012 壓克力 畫布 200 x 200 cm 簽名畫背：Hsiao 勤 2012 能量源 – 2 200 x 200 公分 展覽： 「非形之形—台灣抽象藝術」，台北市立美術館，台北，展期自2012年7月7日至9月2日 「台灣報到—2012台灣美術雙年展」，國立台灣美術館，台中，展期自2012年10月6日至2013年1月6日

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273 CHIU Ya-tsai

邱亞才

(Taiwanese, 1949-2013)

穿紅色衣服的畫家

The Painter Wearing Red

1995 油彩 畫布 163 x 131.5 cm

1995 Oil on canvas 163 x 131.5 cm Signed lower right Chiu Ya-tsai in Chinese Titled on the stretcher The Painter Wearing Red in Chinese

簽名右下：邱亞才 題識畫背框條：穿紅衣服的畫家

NT$ 3,500,000-5,500,000 HK$ 893,000-1,403,000 US$ 114,900-180,600 「我喜歡用意象的人生來寫實，來傳達面對生老病死的感慨，描繪過周邊生活被傷害的小人物，捲進悲劇漩渦時常是我作品中人物的縮影，刻 意以冷漠來突顯人生的荒謬與空泛。例如：流浪漢及漂泊者等等。繪畫是我解釋人生意義的象徵，畫筆是我自我表述的工具，表達出我內心抑 鬱的複雜意識及孤獨的人我關係。藉由繪畫創作，我才逐漸把我心中的壓抑演繹成為一個個種種身形修長的人物畫像，也有人說幾近莫迪里亞 尼的肖像人物風格。我擅長用中國傳統的白描人物技術，用簡約的線條勾勒出人物的性格與生活氣質，背景則大都以大色塊處理。我也研閱了 西方當代藝術家的創作手法，野獸派觀念中具表現力的色彩，和莫迪里亞尼纖弱的人物風格都進了我的畫布裡，畫中人物都是我想像而來的， 似乎是懷才不遇的失意心情，似乎是漂泊的失敗者身影。但這些失落的心靈依然能擁有一片屬於他們自我的天地，失敗卻不怨天也不尤人，在 受挫的事實下流露出不慍不火的坦然以對，就像台灣人堅韌的生命哲理一樣。」--- 邱亞才〈我的繪畫思維〉 “In my creation, I like to deliver my understanding upon birth, senility, sickness, and death. I intend to use nonchalant attitude toward the absurdity and emptiness of life peruse. Those wounded little people around me are the subjects of my works. Those people are wanderers dingers, women so on and so forth. Painting is my way to interpret life. By means of painting, I express the suppressed self to become long shaped figure painting. Some people say that my paintings look like Modigliani’s. In fact, I specialize in applying Chinese sketch skill by using compact lines to sketch figures’ personalities and dispositions. The background is usually treated by large swaths of colors. On the other hand, I have learned the Western painting skills and used them in my painting, such as expressive colors from Fauvism and gangly modeling from Modigliani. I imagine my characters to be lost in their life or being mislocated at work. However, no matter how frustrated they are, they still have a world that belongs to them. Even if they fail, they never blame the God for not being successful. Rather, they face their destiny with a humble mind, just like Taiwanese’s toughness of dealing with life.” ---My Paintings and Thoughts by Chiu Ya-Tsai

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274 Tzu-chi YEH

葉子奇

(Taiwanese, b. 1957)

大榕樹

Big Banyan Tree

2013-2014 卵彩 油彩 亞麻布 152.5 x 152.5 cm 簽名右下：葉子奇 2013-2014

2013-2014 Tempera and oil on linen 152.5 x 152.5 cm Signed lower right Tzu-chi Yeh in Chinese and dated 2013-2014

NT$ 4,800,000-6,000,000 HK$ 1,224,000-1,531,000 US$ 157,600-197,000 四十多年前，年近六十的父親，牽著年近十歲的我，第一次來到台南。那是我們父子相伴第一次也是唯一的一次環島旅行。我們從玉里出發到 台東，經南迴，過屏東、高雄，兩天後來到台南。我對台南的印象，就是「樹」的印象。 父親牽著我的手，沿著台南公園邊走過。這是一個， 在台灣，人與樹相處得最好的城市，一直都是。 我也是在這裡，第一次遇見歷史。父親帶著我爬上安平古堡的台階，觀看時代與歷史的交鋒，在高台與海的交界處。我在我的日記本的封 面，留下了我九歲多的僅存素描：一尊古炮。將近十年後，我又來到台南。那是1975年，大學二度落榜後勉力考上國立藝專的八月，我和一 起考上美術科西畫組的高中同學來到他的故鄉，聽他談他悽慘的童年：生父早逝， 家族爭產，凌虐逼迫，身為小妾的母親為了保護他改嫁 外省軍人，遠遁花蓮。 這是為何隨繼父籍貫河南的他，卻操一口台南音調的國語。我們在台南火車站前的水池邊，長談一夜，坐等黎明。 一年後，我三度叩關聯考，上了華岡，從此鴻飛東西，不再復見。相隔六、七年後，再度來到台南，已是1983年當完兵後的第一個夏天。我和 我現在的妻子，戀情剛剛開始萌芽，我們兩人第一次的遠行也是來到台南，我們來探訪母親也是台南人的玉里同鄉好友。他剛從成功大學畢 業，熱心的為我們引見校園中那一棵我兒時似曾相識的大榕樹。我在台南公園為我的妻子唱了第一首歌。年輕的我們三人一起共乘摩托車，走 走停停，到虎頭埤水庫漫遊。再看到那一棵大榕樹，已經又過了十年。出國、結婚、父親已逝。再過五年，1998年夏天，我在台南新生態藝術 空間（加力畫廊的前身）舉辦我在台南的第一次個展。 往事如昨，今年再回到台南個展，年序又過一輪，12年。樹的成長，是一種堅持，一種 承諾。對風、對雨的堅持，對陽光、對土地的承諾。生命如是，理想亦如是。—葉子奇（台南 追想） Over forty years ago, my father, who was nearly 60 at the time, took my nine-year-old self to Tainan for the first time. That was the first and only time that we went on a journey round Taiwan together. Starting out from Yuli, we traveled to Taitung, then round the Southern Cross-Island Highway to Pingtung, then Kaohsiung, arriving in Tainan two days after we set out. The thing about Tainan that made the biggest impression on me was the trees. Holding my hand, my father led me round Tainan Park. Within Taiwan, Tainan is the city where people and trees live most in harmony with each other, and this has always been the case.

Tainan is also the place where I encountered history for the first time. My father led me up onto the ramparts of Anping Fort (the historic fort in Tainan built by the Dutch in the 17th century). It seemed to me that the location of this fort next to the sea was somehow also a conjuncture of time and history. I made a sketch of one of the ancient cannons in the fort on the inside cover page of my diary – the only sketch from this time that I still have in my possession. Nearly ten years later, I came back to Tainan again. That was in 1975, in August; I had just managed to scrape into National Taiwan Academy of Arts after failing the university entrance examination twice in a row. I traveled to Tainan with a classmate of mine from senior high school who had also been accepted into the Western Painting Section at the National Taiwan Academy of Arts, and who wanted to visit the city where his parents had come from originally. I heard all about the terrible childhood he had endured; his father died young, and the relatives started fighting over the inheritance. Bullied and threatened to give up the property she had inherited from his father, his mother (who only had the status of concubine, not wife), ended up leaving Tainan and moving to Hualien, because she had remarried (to a professional soldier born in Mainland China) was afraid something bad might happen to her second husband.

This was why, although his identity card listed his “native place” as Henan Province in China, like his step-father, he actually spoke Mandarin Chinese with a pronounced Tainan accent. We talked all night, sitting by the fountain in front of Tainan Railway Station, until the sun came up the next day. A year later, I finally passed the joint university entrance examination on the third attempt, and was accepted into Chinese Culture University. We went different ways, and I never saw him again. After another six or seven years had passed, I came back to Tainan again. It was in the summer of 1983, just after I had completed my compulsory military service. I had just met the woman who is now my wife, and the first long journey we made together was to Tainan. We went to visit a friend from Yuli whose mother was from Tainan. He had just graduated from National Cheng Kung University, and was happy to show us the big banyan tree on the University campus, which I thought I remembered seeing from my first visit as a boy. Standing in Tainan Park I sang a song for my future wife, for the first time ever. We three young people drove around the city, the three of us sharing one motorcycle, stopping as the mood took us, and eventually went to have a look at Hutoupei Reservoir. The next time I saw that big banyan tree was more than a decade later. During the interval, I had lived overseas, got married, and my father had passed away. Another five years on, in the summer of 1998, I had my first solo exhibition in the New Phase Art Space gallery (now InArt Space) in Tainan. It seems like only yesterday, but when I came back to Tainan for another solo exhibition this year, 12 years had elapsed in the meantime. The growth of a tree is a kind of steadfastness, a sort of commitment. Steadfastness in facing up to the wind and rain. Commitment to the sunlight, and to the soil. Life is like this, and so are ideals. –Tzu-chi Yeh (Memories of Tainan)

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276

275 Walasse TING

丁雄泉

(Chinese-American, 1929-2010)

她在想甚麼

What is She Thinking

1986 壓克力 畫布 91 x 116.5 cm 簽名畫背：What is She Thinking Ting 86

1986 Acrylic on canvas 91 x 116.5 cm Signed on the reverse Ting, titled What is She Thinking both in English and dated 86

NT$ 5,000,000-7,000,000 HK$ 1,276,000-1,786,000 US$ 164,200-229,900 女人、花、鳥、貓是丁雄泉創作的經典題材。他也自詡為「採花大盜」，窮其一生探尋女人與花之美。 作品《她在想甚麼》創作於1986年，正是丁雄泉女性題材創作的鼎盛時期。畫面被一位半裸少女慵懶的 身軀所填滿。粉色，寶藍色，丁香紫的平塗運用將畫面分割成幾個大的塊面。粉色和白色勾勒出嬌豔欲 滴的軀幹，表現雙乳的橘色有畫龍點睛的神奇效果。寶藍色的頭髮和花朵順勢將觀者的視線引到少女的 臉頰。綠色的佈景調和畫面色彩的節奏，畫面上滴流的顏料則來自丁早期在紐約經歷的抽象表現主義洗 禮影響。這種創作手法在其女性題材的作品中尤為多見。 藝術家曾說過：「無論我看到漂亮的女人，還是鮮花。他們都會讓我感到空靈和敏感。他們讓我充滿活 力，讓我有別樣的感覺，讓我像新生一樣。我使用很多色彩，讓我身上的能量和愛在畫布上爆發。我終 生從事油畫事業，已經50年了。我想要表達的就是清新。從美到愛再到清新。就像一個新生的春天。」 Women, flowers, birds and cats are the classic subject matter for Walasse Ting’s paintings. He once jokingly described himself as a “stealer of flowers and hearts” who spent his entire life exploring the beauty of women and flowers.

This particular work, “What is She Thinking,” was painted in 1986, during the period in which women figured most prominently in Walasse Ting’s art. The canvas is filled with the languorous, half-naked form of a young woman. The application of patches of pink, royal blue and lilac color tones divides the canvas up into several large blocks. The pink and white delineate the woman’s elegant torso, while the orange tone used for her nipples works magically to perfect the image. The royal blue of the hair, and the nearby flowers, draw the viewer’s gaze towards the young woman’s face. The green background goes perfectly with the rhythmic effect created by the other colors used in the painting; the spots of color scattered over the canvas reflect Walasse Ting’s early exposure to abstract expressionism while living in New York as a young man, and is a technique that he used particularly often in his paintings of female subjects.

Walasse Ting noted that “whenever I see a beautiful woman or a flower, it inspires in me a lightness of spirit and a sense of heightened sensitivity. Viewing them fills me with energy and with unique sensations, as though I had been reborn. I use a wide range of different colors to allow this sense of energy and love to explode onto the canvas. My artistic career as a painter in oils now goes back over 50 years, but what I want to express is a feeling of newness. From beauty to love to newness – like a newly-born spring day.”

276 Walasse TING

丁雄泉

(Chinese-American, 1929-2010)

憂鬱的一天

A Melancholy Day

1979 壓克力 畫布 71 x 107 cm 簽名畫背：A Melancholy Day Ting 79

1979 Acrylic on canvas 71 x 107 cm Signed on the reverse Ting and titled A Melancholy Day both in English, and dated 79

NT$ 4,000,000-6,000,000 HK$ 1,020,000-1,531,000 US$ 131,400-197,000 萬紫千紅的花兒在濃綠間盛放，掩映著一旁的女子嬌豔無比，她的嘴角輕揚含笑，而遠眺它方的眼神魅惑迷濛，是思念、是回憶、還是對未來 的期盼牽引著她的思緒？《憂鬱的一天》展現了丁雄泉在1980年代前後創作高峰的成熟豐沛， 飽滿欲滴的紅、綠、黃、藍、紫看似不經意地潑 灑在畫面上，卻又層次分明、絢麗而不雜亂，澎湃洶湧之中展現含蓄卻迷人的韻味。 豪放不羈、享受生命的丁雄泉，自稱「採花大盜」，其創作忠於他生活裡最真純的感受，女人與花卉是他一生所愛，也是他最常畫的題材。 1952年，23歲的丁雄泉即旅居巴黎，1958年前往紐約發展，2001年起定居阿姆斯特丹。生性豪邁且才氣縱橫的他，在各地藝術圈交友廣闊，創 作受到當時不同藝術思潮的啟發，但他個人卻從未加入任何團體，自立於主流畫派之外，以鮮明的畫風與題材，樹立了雅俗共賞、風靡中外的 個人特色。《憂鬱的一天》展現了丁雄泉令人讚嘆的色彩掌握力，繽紛飽合的顏色構成充滿魔力的愉悅世界，他的寫意重在寫態，寫花的瑰麗 曼妙、寫女子的柔媚嬌態，歌頌著生命的美好與感官的豐美。而花與女人懸浮在無法定義的藍色背景之中，有如凌駕於現實之外，既夢幻，又 亮麗迷人，即便是憂愁著，也是雜帶著無盡甜美的愁思吧！ Hidden behind a bloom of various color tones, a woman gazes dreamily ahead, exuding a sense of loveliness with a hint of a smile. The mysterious smile makes the audience wonder whether it is her memory in the past or her hope for the future makes the female in the painting melancholy. This piece up for auction, “A Melancholy Day”, is a wonderful example of Walasse Ting’s mature style in the 1980s. With rich red, green, yellow, blue, and purple boldly splashed across the canvas, layers of striking and vivid colors on the canvas cleverly compose the elusive allure behind the intense and expressive colors.

Ting, always uninhibited embracing the zest of life, once called himself the “butterfly gangster”, and drew inspiration from his genuine feelings of his life.

Women and flowers are his fascination, which he usually depicts in fresh and vivid colors in his paintings. Ting came to Paris in 1952 at 23, and moved New York in 1958. He finally relocated to Amsterdam in 2001, where he spent the remainder of his life. Vigorous and unrestrained, Ting was acquainted with members in art circles and influenced by different art movements in different places. However, he did not belong to any particular art schools and groups. He exercised his bright, vivid, and colorful style and striking subjects to develop his own individual style, capturing the audience of all ages all over the world. In this particular piece, “A Melancholy Day”, Ting’s highly-refined ability to create an alluring and glamorous world with the use of bright, vivid, fresh color is on full display. Ting’s most prominent feature is to depict the alluring beauty of flowers and women, captured in abundantly rich and bright images while offering a feast for the senses. With the flowers and the woman drifting on the background in the indefinable blue, this auctioned piece exudes a mysterious, dreamy charm and melancholy abundance of sweetness.

278

280

277 Walasse TING

(Chinese-American, 1929-2010)

Love Me? 1985 Acrylic on canvas 53 x 71 cm Signed on the reverse Ting, titled Love Me? both in English and dated 1985

NT$ 2,000,000-4,000,000 HK$ 510,000-1,020,000 US$ 65,700-131,400

丁雄泉 愛我？ 1985 壓克力 畫布 53 x 71 cm 簽名畫背：Love Me? Ting 1985

278 CHIU Ya-tsai

(Taiwanese, 1949-2013)

Man in Blue Oil on canvas 117 x 91 cm Signed lower right Ya-tsai in Chinese

NT$ 1,800,000-2,800,000 HK$ 459,000-714,000 US$ 59,100-92,000

邱亞才 藍衣男子 油彩 畫布 117 x 91 cm 簽名右下：亞才

282

279 Tzu-chi YEH

(Taiwanese, b. 1957)

Niagara Falls 2007-2008 Tempera and oil on linen 86.5 x 127 cm Signed lower right Tzu-chi in Chinese and dated 2007-'08 This painting is to be sold with a certificate of authenticity issued by Moon Gallery, Taichung.

NT$ 1,700,000-2,800,000 HK$ 434,000-714,000 US$ 55,800-92,000

葉子奇 尼加拉大瀑布 2007-2008 卵彩 油彩 亞麻布 86.5 x 127 cm 簽名右下：子奇 2007-'08 附月臨畫廊開立之原作保證書

284

280 LIANG Xiping

梁夕萍

(Chinese, b. 1974)

千手舞

Thousand Hands Dance

2005 油彩 畫布 92 x 122 cm 簽名右下：Liang 2005

2005 Oil on canvas 92 x 122 cm Signed lower right Liang in English and dated 2005

NT$ 70,000-120,000 HK$ 18,000-31,000 US$ 2,300-3,900

286

281 HE Juan

賀娟

(Chinese, b. 1985)

生肖系列—戍狗

Chinese Zodiac Series – Dog

2014 綜合媒材 畫布 60 cm（直徑） 簽名右下：2014 He Juan

2014 Mixed media on canvas 60 cm (diameter) Signed lower right He Juan in English and dated 2014

NT$ 90,000-180,000 HK$ 23,000-46,000 US$ 3,000-5,900

282 DU Xi

杜溪

(Chinese, b. 1980)

英雄出少年

The Young Heroes

2014 油彩 畫布 41.5 x 51 cm 簽名左下：杜溪 2014

2014 Oil on canvas 41.5 x 51 cm Signed lower left Du Xi in Chinese and dated 2014

NT$ 80,000-160,000 HK$ 20,000-41,000 US$ 2,600-5,300

288

283 XU Na

許那

(Chinese, b. 1968)

果中珠玉

Fruit Vase

2012 油彩 畫布 50 x 40 cm 簽名右下：許那

2012 Oil on canvas 50 x 40 cm Signed lower right Xu Na in Chinese This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 110,000-220, 000 HK$ 28,000-56,000 US$ 3,600-7,200

附藝術家親筆簽名之原作保證書

284 DU Xi

(Chinese, b. 1980)

Romance of the Three Kingdoms: Fengyi Pavilion 2007 Oil on canvas 51 x 187.5 cm Signed lower right Du Xi in Chinese and dated 07 EXHIBITED: World Shaking – Du Xi, William Contemporary Art Space, Taipei, April 11-30, 2009 ILLUSTRATED: World Shaking – Du Xi, William Contemporary Art Space, Taipei, 2009, color illustrated, pp. 44-45 This painting is to be sold with a certificate of authenticity issued by Ping Art Space, Taipei.

NT$ 130,000-220,000 HK$ 33,000-56,000 US$ 4,300-7,200

290

杜溪 刀馬記─鳳儀亭 2007 油彩 畫布 51 x 187.5 cm 簽名右下：杜溪 07 展覽： 「翻天覆地―杜溪個展」，威廉當代藝術空間，台 北，展期自2009年4月11日至30日 圖錄： 《杜溪―翻天覆地》，威廉當代藝術空間，台北， 2009，彩色圖版，頁44-45 附平藝術空間開立之原作保證書

285 TIAN Xiaochi (Chinese, b. 1966)

Happiness of the Fish Ink and color on paper 49 x 98.5 cm Signed lower left by Yipou in Chinese Titled lower left Happiness of the Fish in Chinese With four seals of the artist

NT$ 130,000-240,000 HK$ 33,000-61,000 US$ 4,300-7,900

田小赤 樂魚圖 彩墨 紙本 49 x 98.5 cm 簽名左下：乙卜畫 題識左下：樂魚圖 鈐印左下：佛 乙卜印 鈐印右上：佛 鈐印右下：田小赤

286 WANG Jinsong (Chinese, b. 1963)

One Child Policy 1996 Oil on canvas 50.8 x 40.6 cm Signed upper left WANG JINSONG in English and dated 1996

NT$ 130,000-240,000 HK$ 33,000-61,000 US$ 4,300-7,900

292

王勁松 標準家庭系列 1996 油彩 畫布 50.8 x 40.6 cm 簽名左上：WANG JINSONG 1996

287 XU Na

(Chinese, b. 1968)

Flowers of Joy 2012 Oil on canvas 80 x 40 cm Signed upper right Xu Na in Chinese This painting is to be sold with a certificate of authenticity signed by the artist.

NT$ 170,000-280,000 HK$ 43,000-71,000 US$ 5,600-9,200

許那 朵朵歡欣 2012 油彩 畫布 80 x 40 cm 簽名右上：許那 附藝術家親筆簽名之原作保證書

288 CHEN Liu

(Chinese, b. 1973)

New Celestial Series – Reaching for the Moon 2008 Oil on canvas 118.5 x 59 cm Signed lower right Chen Liu in Chinese and dated 2008.1

NT$ 190,000-280,000 HK$ 48,000-71,000 US$ 6,200-9,200

陳流 新天空界之摘月 2008 油彩 畫布 118.5 x 59 cm 簽名右下：陳流 2008.1

294

289 DU Xi

杜溪

(Chinese, b. 1980)

刀馬記─虎牢關

Romance of the Three Kingdoms: Battle of Hulao Pass

2007 油彩 畫布 100 x 200 cm 簽名右下：杜溪 07

2007 Oil on canvas 100 x 200 cm Signed lower right Du Xi in Chinese and dated 07 EXHIBITED: World Shaking - Du Xi, William Contemporary Art Space, Taipei, April 11-30, 2009 ILLUSTRATED: World Shaking - Du Xi, William Contemporary Art Space, Taipei, 2009, color illustrated, pp. 42-43 This painting is to be sold with a certificate of authenticity issued by Ping Art Space, Taipei.

NT$ 220,000-380,000 HK$ 56,000-97,000 US$ 7,200-12,500

展覽： 「翻天覆地―杜溪個展」，威廉當代藝術空間，台 北，展期自2009年4月11日至30日 圖錄： 《杜溪―翻天覆地》，威廉當代藝術空間，台北， 2009，彩色圖版，頁42-43 附平藝術空間開立之原作保證書

290 Zeno CHEN

(Taiwanese, b. 1962)

Yesterday, Today & Tomorrow 2014 Color photograph (unique) 72 x 108 cm Signed lower right Zeno Chen in English, and dated 2014 EXHIBITED: Temporal Equation, Floor 8 Contemporary Art Space, Taipei, May 17-June 15, 2014 This work is to be sold with a certificate of authenticity signed by the artist and issued by ART Trust Online.

NT$ 100,000-200,000 HK$ 26,000-51,000 US$ 3,300-6,600

陳志駒 昨天、今天、明天 2014 彩色照片（單一版） 72 x 108 cm 簽名右下：Zeno Chen 2014 展覽： 「時間方程式—陳志駒 / 久方武 影像創作雙個展」，八樓當代藝術空間，台北，展期自 2014年5月17日至6月15日 附ART Trust Online開立藝術家親筆簽名之原作保證書

296

藝術家運用海螺、紅酒杯、櫻桃三種完全不同 調性的生活物件，抒發感情貫穿時空，作品背 景更隱約呈現深淺並濟，肌理柔韌而有脫胎自 中國水墨之意涵，物品無規則的自覺性排序， 巧奪東方內斂之思維底 。 作品並不強調視覺或空間的強烈張力，但在靜 觀冥思之間，光陰在物件之間寧靜流竄，視覺 享受可謂盡在其中。 In this photograph, the artist utilizes a conch shell, wine glass, and a cup filled with cherrieseveryday objects with heterogeneous properties and composition-to convey emotions free of the constraints of space and time. The subtly shaded backdrop of the piece invokes the textural resilience and spirituality of Chinese ink wash paintings, while the seemingly irregular but methodically arranged placement of the objects exemplifies the modesty and serenity of Eastern intellectual thought.

There is no dramatic tension within this piece, either visually or spatially, but the viewer cannot help but experience a fluid sense of continuity as their gaze moves effortlessly between the objects portrayed in a sense of timeless abstraction.

291 CHEN Wan-jen

陳萬仁

(Taiwanese, b. 1982)

第二月台

Platform 2

2006-2008 影像裝置 2/5 長度：3分36秒 簽名光碟上：陳萬仁 2008.9.10

2006-2008 Video installation, edition no. 2/5 Length:3'36" Signed on the disk Chen Wan-jen in Chinese and dated 2008.9.10 EXHIBITED: Taipei Arts Award 2006, Taipei Fine Arts Museum, Taipei, December 23, 2006-March 4, 2007 This work is to be sold with a certificate of authenticity signed by the artist and issued by Aki Gallery, Taipei.

NT$ 180,000-260,000 HK$ 46,000-66,000 US$ 5,900-8,500

展覽： 「2006臺北美術獎」，台北市立美術館，台北，展 期自2006年12月23至2007年3月4日 附也趣畫廊開立藝術家親筆簽名之原作保證書

292 Daniel LEE

(LI Xiao-jing) (Chinese, b. 1945)

Awaiting 2004 Digital C-Print, edition no. AP 89.5 x 127 cm Signed lower right Xiao-jing in English, numbered A/P, and dated 04 Titled lower left AWAITING in English EXHIBITED: Metamorphosis – Mirror A Double Solo Show by Daniel Lee and Roger Ballen, OCT Contemporary Art Terminal, Shanghai, July 13-September 14, 2014 This work is to be sold with a certificate of authenticity issued by Daniel Lee Studio, New York.

NT$ 220,000-320,000 HK$ 56,000-82,000 US$ 7,200-10,500

298

李小鏡 等待 2004 數位輸出 AP 89.5 x 127 cm 簽名右下：A/P Xiao-jing 04 題識左下：AWAITING 展覽： 「李小鏡與羅傑・拜倫雙個展—借鏡之道」'OCT當 代藝術中心，上海，展期自2014年7月13日至9月14 日 附李小鏡工作室開立之原作保證書

293 Daniel LEE

(LI Xiao-jing) (Chinese, b. 1945)

Celebration 2005 Digital C-Print, edition no. 5/8 88 x 176 cm Signed lower left Xiao-jing in English, numbered 5/8 and dated '05 EXHIBITED: Petting Creature Liberation, CO4 Documenta, Administration Building of Taipei County, Taipei, November 19, 2004-January 16, 2005 Fantastic World of Daniel Lee, Center for Arts & Humanities, National Yang Ming University, Taipei, September 9-October 30, 2008 This work is to be sold with a certificate of authenticity issued by Daniel Lee Studio, New York.

NT$ 240,000-340,000 HK$ 61,000-87,000 US$ 7,900-11,200

李小鏡 慶祝 2005 數位輸出 5/8 88 x 176 cm 簽名左下：5/8 Xiao-jing '05 展覽： 「寵怪解放—CO4台灣前衛文件展」，台北縣政大 樓，台北，展期自2004年11月19日至2005年1月16日 「李小鏡的科幻世界」，陽明大學藝文中心，台 北，展期自2008年9月9日至10月30日 附李小鏡工作室開立之原作保證書

294 MIAO Jingchang

苗景昌

(Chinese, b. 1966)

立秋

Autumn Commences

1994 油彩 畫布 80.5 x 100 cm 簽名右下：景昌 94.1

1994 Oil on canvas 80.5 x 100 cm Signed lower right Jingchang in Chinese and dated 94.1 ILLUSTRATED`: Miao Jingchang, Jeff Hsu's Art, Taipei, 2006, color illustrated, p. 20

NT$ 220,000-320,000 HK$ 56,000-82,000 US$ 7,200-10,500

300

圖錄： 《苗景昌作品集》，觀想藝術有限公司，台北， 2006，彩色圖版，頁20

295 LI Rui

(Chinese, b. 1984)

Memory Series 2010 Oil on canvas 130 x 109.5 cm Signed lower right Li Rui in Chinese Signed on the reverse Li Rui in Chinese and dated 2010

NT$ 300,000-500,000 HK$ 77,000-128,000 US$ 9,900-16,400

李銳 記憶系列 2010 油彩 畫布 130 x 109.5 cm 簽名右下：李銳 簽名畫背：李銳 2010

296 FANG Lijun (Chinese, b. 1963)

Untitled (Faces) (a set of 4) 2000 Woodblock print 122 x 81 cm (each) Signed lower center Fang Lijun in Chinese, numbered 45/65 and dated 2000.6.30 (1) Signed lower center Fang Lijun in Chinese, numbered 34/65 and dated 2000.6.15 (2) Signed lower center Fang Lijun in Chinese, numbered 34/65 and dated 2000.6.25 (3) Signed lower center Fang Lijun in Chinese, and dated 2000.5.5 (4) EXHIBITED: Cinesi: Artisti fra Tradizione e Presente, Potenza Pinacoteca Provinciale, Italy, AprilJune 2004 ILLUSTRATED: Li Luming ed., Fang Lijun, Hunai Fine Arts Publishing House, Changsha, 2001, illustrated, pp. 196-199 Fang Lijun, the artist's catalogue, Beijing, 2002, illustrated, pp. 196-199 Stone Face – China's First Group Printing Exhibition, Art Now Gallery, Beijing, 2004, black-and-white illustrated, pp. 23-32 Cinesi: Artisti fra Tradizione e Presente, Potenza Pinacoteca Provinciale, Italy, 2004

NT$ 460,000-600,000 HK$ 117,000-153,000 US$ 15,100-19,700

方力鈞 臉（四件一組） 2000 木刻版畫 紙本 122 x 81 cm（每件） 簽名下方：2000.6.30 45/65 方力鈞（1） 簽名下方：2000.6.15 34/65 方力鈞（2） 簽名下方：2000.6.25 34/65 方力鈞（3） 簽名下方：2000.5.5 方力鈞（4） 展覽： 「中國人：介於傳統與現在的藝術家」，波坦 察市立美術館，義大利，2004年4月至6月 圖錄： 李路明編，《方力鈞》，湖南美術出版社，長 沙，2001，圖版，頁196-199 《方力鈞》，藝術家目錄，北京，2002，圖 版，頁196-199 《板起面孔：中國現在藝術第一次版畫聯 展》，現在畫廊，北京，2004，黑白圖版， 頁23-32 《中國人：介於傳統與現在的藝術家》，波坦 察市立美術館，義大利，2004

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297 CHU Teh-chun

朱德群

(Chinese-French, b. 1920)

藍季（七件一組）

Saison bleue (a set of 7)

2006 石版畫 紙本 56/99（內含六件石版畫，一件書法集） 45 x 35 cm 簽名右下：朱德群 CHU TEH-CHUN（暴風雪、夏日 黃昏） 鈐印右下：朱德群（春雨、泛黃初秋、紅色深秋） 鈐印右下：群園（林逋詞、李煜詞、蘇軾詩） 鈐印左下：天門居士 朱德群（蘇軾詩、李煜詞、林 逋詞） 版次左下：56/99

2006 Lithographs, calligraphy of poems, edition no. 56/99 45 x 35 cm (cover and back cover) 45 x 35 cm (lithographs x4) 45 x 69.5 cm (calligraphy x1) Signed lower right CHU TEH-CHUN in Chinese and English, numbered lower left 56/99 With three seals of the artist (calligraphy)

NT$ 360,000-500,000 HK$ 92,000-128,000 US$ 11,800-16,400

298 CHU Teh-chun

朱德群

(Chinese-French, b. 1920)

第53號構圖—紅雨村白雲舍

Composition No. 53 (Village de pluie rouge, maison de nuage blanc)

2008 木刻版畫 紙本 49/140 91 x 61 cm（圖） 109 x 79 cm（紙） 版次左下：49/140 鈐印右下：朱德群

2008 Woodblock print, edition no. 49/140 91 x 61 cm (image) 109 x 79 cm (paper) Numbered lower left 49/140 With one seal of the artist EXHIBITED: In Memory of Lin Fengmian's 110th Birthday Anniversary: Exhibition of Works by Lin Fengmian and His Students, China Academy of Art, Hangzhou, November 22-December 1, 2010 (another number) ILLUSTRATED: In Memory of Lin Fengmian's 110th Birthday Anniversary: Exhibition of Works by Lin Fengmian and His Students, China Academy of Art, Hangzhou, 2010, color illustrated, p. 138 PUBLIC COLLECTIONS: China Academy of Art, Hangzhou The Ueno Royal Museum, Tokyo National Museum of History, Taipei National Taiwan University, Taipei National Chengchi University, Taipei National Taiwan Normal University, Taipei This print was made for the memory of Chu Teh-chun, 88 Retrospective Exhibition, which hold in Taiwan in 2008.

NT$ 800,000-1,000,000 HK$ 204,000-255,000 US$ 26,300-32,800

朱德群公子朱以峰先生（左）和許江院長於2010年11月22日在中國美術學院，林風眠 誕辰110週年紀念—林風眠師生展開幕會合照 The photo which Mr. Yvon Chu (the artist's son) took with President Xu Jiang in the opening of In Memory of Lin Fengmian's 110th Birthday Anniversary: Exhibition of Works by Lin Fengmian and His Students on November 22, 2010

304

展覽： 「林風眠誕辰110週年紀念―林風眠師生展」，中國美術學院，杭州，展 期自2010年11月22日至12月1日（不同版次） 圖錄： 《林風眠誕辰110週年紀念―林風眠師生展》，中國美術學院，杭州， 2010，彩色圖版，頁138 公共收藏： 中國美術學院，杭州 上野之森美術館，東京 國立歷史博物館，台北 國立台灣大學，台北 國立政治大學，台北 國立台灣師範大學，台北 此幅版畫是紀念2008年台灣「朱德群88回顧展」而作

299 CHU Teh-chun

朱德群

(Chinese-French, b. 1920)

第25號構圖—秋

Composition No. 25 (Automne)

2008 木刻版畫 紙本 49/140 91 x 73 cm（圖） 109 x 79 cm（紙） 版次左下：49/140 鈐印右下：朱德群

2008 Woodblock print, edition no. 49/140 91 x 73 cm (image) 109 x 79 cm (paper) Nnumbered lower left 49/140 With one seal of the artist EXHIBITED: In Memory of Lin Fengmian's 110th Birthday Anniversary: Exhibition of Works by Lin Fengmian and His Students, China Academy of Art, Hangzhou, November 22-December 1, 2010 (another number) ILLUSTRATED: In Memory of Lin Fengmian's 110th Birthday Anniversary: Exhibition of Works by Lin Fengmian and His Students, China Academy of Art, Hangzhou, 2010, color illustrated, p. 138 PUBLIC COLLECTIONS: China Academy of Art, Hangzhou The Ueno Royal Museum, Tokyo National Museum of History, Taipei National Taiwan University, Taipei National Chengchi University, Taipei National Taiwan Normal University, Taipei This print was made for the memory of Chu Teh-chun, 88 Retrospective Exhibition, which hold in Taiwan in 2008.

NT$ 800,000-1,000,000 HK$ 204,000-255,000 US$ 26,300-32,800

朱德群公子朱以峰先生（左）和許江院長於2010年11月22日在中國美術學院，林風眠 誕辰110週年紀念—林風眠師生展開幕會合照 The photo which Mr. Yvon Chu (the artist's son) took with President Xu Jiang in the opening of In Memory of Lin Fengmian's 110th Birthday Anniversary: Exhibition of Works by Lin Fengmian and His Students on November 22, 2010

306

展覽： 「林風眠誕辰110週年紀念―林風眠師生展」，中國美術學院，杭州，展 期自2010年11月22日至12月1日（不同版次） 圖錄： 《林風眠誕辰110週年紀念―林風眠師生展》，中國美術學院，杭州， 2010，彩色圖版，頁138 公共收藏： 中國美術學院，杭州 上野之森美術館，東京 國立歷史博物館，台北 國立台灣大學，台北 國立政治大學，台北 國立台灣師範大學，台北 此幅版畫是紀念2008年台灣「朱德群88回顧展」而作

300 CHANG Chia-Ying (Taiwanese, b. 1982)

The Fatty Fatty and A-mi 2005 Acrylic on canvas 162 x 227 cm EXHIBITED: Taiwan Contemporary Art in Wonderland, National Taiwan Museum of Fine Art, Taichung, May 12-August 5, 2007

NT$ 1,300,000-2,200,000 HK$ 332,000-561,000 US$ 42,700-72,200

張嘉穎 ㄉㄨㄞ ㄉㄨㄞ 與阿咪 2005 壓克力 畫布 162 x 227 cm 展覽： 「綠野仙蹤—台灣當代藝術的奇想世界」，國立灣美術館，台中，展期自2007年5月12日至8月5日

308

301 ZHU Yiyong

朱毅勇

(Chinese, b. 1957)

凝固的記憶系列之24

Memory of the Past Series No. 24

2007 油彩 畫布 171 x 162 cm 簽名右下：朱毅勇 2007 簽名畫背：《凝固的記憶》No. 24 162 x 171 cm 朱毅勇 2007

2007 Oil on canvas 171 x 162 cm Signed lower right Zhu Yiyong in Chinese and dated 2007 Signed on the reverse Zhu Yiyong, titled Memory of the Past Series No. 24 in Chinese, inscribed 162 x 171 cm and dated 2007

NT$ 1,600,000-2,600,000 HK$ 408,000-663,000 US$ 52,500-85,400 「記憶中的『過去』，那是一個紅色理想化的年代，離我們今天現實生活並不遙遠，『紅五星』是紅色中國的標誌，它與我們的今天依然有著 難以割捨的聯繫。」「〈童年的記憶〉這批作品力求洋溢著人性的關懷，我的想法是通過兒童純真的眼光，將昨天、今天、明天聯繫在一起， 力求尋找過去與當今、理想與現實的全新解讀方式，以一種充滿童趣的翻線遊戲來詮釋人們對生存狀態的關注，對現實的反思，我認為〈童年 的記憶〉是我個體生命中又一深刻的體驗和思考。」(朱毅勇創作自述，《中國記憶》，少勵畫廊，香港，2011年，頁9) 在多年的創作之後，朱毅勇決定再次關注所處的當代社會現況。這一系列與「記憶」相關的作品，描繪了包括兒童、農夫與都會美女，一直到 勞動階層等等不同社會階級的形象。同時他以童玩裡的「翻線」、「花繩」遊戲的「五角星」圖示，喚醒對中國文革象徵的記憶，非物質性的 記憶，已逐漸在人們的視線中淡去消逝。透過這些方式，人們集體的記憶正尋求一種全新的解讀方式。 "That so-called 'past' in our memories, was an era of red idealism, it is actually not that far away at all from our lives today. The 'Red Five Star' is the icon representing red China, and is still inextricably intermingled with our 'today'," writes Zhu Yiyong. "'The Memories of China Series' is filled with my striving for the spirit of care in humanity. Through the innocent eyes of the children, I want to link yesterday, today and tomorrow, and to find a new way to interpret our past, present, ideology and reality." (The artist’s statement, “Zhu Yiyong in Memories of China: Artworks by Zhu Yiyong”, Schoeni Art Gallery Ltd., Hong Kong, 2011, p. 9) After years of creativeness, Zhu Yiyong decided to express his concern over issues of reality in contemporary society. He then started another remarkable series of work, entitled “Memories”. Zhu has portrayed people from different social classes, ranging from schoolyard children, peasants, cosmopolitan beauties to working laborers, etc. He also employed the motif of the children’s game Cat’s Cradle that is a recollection of China’s most famous symbol in the History of Culture Revolution to reminisce on the non-materialistic memories that had gradually faded from people’s field of vision. Through these means, the forgotten part of Chinese history and the collective memories of people are now being reinterpreted.

310

302 QI Zhilong

祁志龍

(Chinese, b. 1962)

中國姑娘

Chinese Girl

2009 油彩 畫布 161.5 x 129.5 cm 簽名右下：祁志龍 2009

2009 Oil on canvas 161.5 x 129.5 cm Signed lower right Qi Zhilong in Chniese and dated 2009 ILLUSTRATED: Yishu, Journal of Contemporary Chinese Art, issue of May / June 2010, Vancouver, color illustrated, cover

圖錄： 英文版《藝術》雙月刊雜誌2010年5、6月號，彩色 圖版，封面（2013年此圖像有發行版畫）

NT$ 1,800,000-2,800,000 HK$ 459,000-714,000 US$ 59,100-92,000 1992至1994年間祁志龍創作「消費形象」系列，他是一位很早開始表現政治波普的中國藝術家。祁志龍曾經說過：「它是以政治的方式來消解 『政治』，而不是一種『消費』的理念來『消解』政治的」。「1992到1994年，我畫消費形象。但是跟政治波普有很大區別，跟如今仍然有人 在畫的消費形象也有根本區別。消費是我對政治波普理念的反叛。在我看來，政治波普是與意識形態的對抗，導致了它自身成為另一個意識形 態的神話。而未來肯定是開放的社會，所有意識形態在將來都可以被消費。在這一點上，我的消費形象正是要消解政治波普的。」 1995年祁志龍結束了「消費形象」系列，開始一系列以穿軍裝的女孩形象為主題的「中國形象」。他描述當時的創作：「不像消費形象，女孩 不是使用公共的流行符號，而是我腦海中的形象。我所要解決的問題就是，如何把她以當代性呈現出來。人物必須是有些曖昧的，包括笑的樣 子。在這種手段下，我的想像符號實現了這種轉變，而這恰恰暗合了豔俗的特點。」 2007年10月10日希臘特撒羅尼克市立美術館舉辦了「中國肖像」展，作為第42屆特米塔藝術節的重要活動內容，祁志龍用十幾件作品來呈現 十五年創作的脈絡（1992-2007年）。政治波普、消費主義、豔俗藝術、後波普，直到最近推崇的「消費現實主義」，這些都是祁志龍身上的標 籤。從「消費形象」到「中國姑娘」，祁志龍作品的母題只有兩個，卻囊括了中國當代藝術的全部歷史。 著名評論家栗憲庭曾這樣評論過：「有一種美麗，可以讓你忘掉苦難；有一種清純，可以為你撫去憂傷；有一種姣好，可以振動你內心最柔軟 的部分，讓你重拾對未來的希望。這就是祁志龍筆下美麗清純的中國姑娘。」 Qi Zhilong painted his "Consumer Icon" series from 1992 to 1994. He is one of the earliest Chinese political pop artists. Qi recalled that "it is clearing up 'politics' in a political manner, instead of clearing up 'politics' with a notion of 'consumption'". Qi Zhilong said, "From 1992 to 1994, I was painting Consumer Image, which was very different from the political pop and had fundamental distinction with consumer image some people still painting at present. Consumption is my idea of the rebel to political bop. In my point of view, the political pop is confronted with ideology, leading to another ideological myth of its own. The society in future will certainly be open and all ideologies can be consumed in the future. For this, the Consumer Image I depicted is just to clear up the political pop."

In 1995, Qi Zhilong bid farewell to the Consumer Image and turned to a series of paintings with the image of uniformed girls as the theme, "Chinese Image". He described his creation at that time, "Unlike Consumer Image, the girl is not adopted from the popular symbols in pubic, but the image is from my mind. What I need to know is how to solve the problem of presenting her in the image of contemporary. Figures must be in a sort of ambiguous way, including laughing appearance. My imaginary symbol has realized this change by this means, and this is just covertly matching the dashing features."

At "Chinese Portrait Exhibition" held in Municipal Art Gallery of Thessaloniki in Greece on October 10, 2007, Qi Zhilong displayed a dozen of masterpieces as an important part of the activity for 42 Demetria Art Festival to show his creative trend during 15 years (1992-2007). Political pop, consumerism, dashing art, post pop, and consumer realism adored recently are all symbols of Qi Zhilong. From "Consumer Image" to "Chinese Girl", Qi Zhilong's works have only two subjects, but all history of Chinese contemporary art has been included.

Su Xianting, the renowned critic commented: "There exists the beautifulness which would make you forget about tribulation; there exists the purity which would comfort you from desolation; there exists the sweetness that would touch the softest part of your heart, and would inspire you to recollect the hope to the future. This would be the beautiful and pure 'Chinese Girl' painted by Qi Zhilong."

312

303 JI Dachun

(Chinese, b. 1968)

Beuys 2002 Mixed media on canvas 150 x 110 cm Signed upper center Dachun in Chinese, dated 2002 and the year of renwu in Chinese

NT$ 1,200,000-2,200,000 HK$ 306,000-561,000 US$ 39,400-72,200

季大純 波伊斯 2002 綜合媒材 畫布 150 x 110 cm 簽名上方：大純 2002 壬午

314

304 REN Jian

(Chinese, b. 1955)

Stamp Collection (a set of 6) 1991 Acrylic on canvas 50 x 50 cm (each) Signed on the reverse Ren Jian in Chinese, dated 1991, inscribed Antigua and Barbuda in Chinese (upper left) Signed on the reverse Ren Jian in Chinese, dated 1991, inscribed Guiana in English and Chinese 144 (upper right) Signed on the reverse Ren Jian in Chinese, dated 1991, inscribed Ouganda in English 87 (center left) Signed on the reverse Ren Jian in Chinese, dated 1991, inscribed ST LUCIA ISLAND in English and simplified Chinese (center right) Signed on the reverse Ren Jian in Chinese, dated 1991, inscribed TRINIDAD & TOBAGO in English (lower left) Signed on the reverse REN Jian in Chinese, dated 1991, inscribed Argentina in English (lower right)

任戩 集郵系列（六件一組） 1991 壓克力 畫布 50 x 50 cm（每件） 簽名畫背：安提瓜和巴布達 任戩 1991年 127（左上） 簽名畫背：Guiana 圭亞那 144 任戩 1991年（右上） 簽名畫背：Ouganda 87 任戩 1991年（中左） 簽名畫背：聖盧西亞 ST LUCIA ISLAND 任戩 1991年（中右） 簽名畫背：TRINIDAD & TOBAGO 任戩 1991年（左下） 簽名畫背：阿根廷 任戩 1991年（右下）

NT$ 1,800,000-2,800,000 HK$ 459,000-714,000 US$ 59,100-92,000 「（國旗）是代表那個國家人民的視覺最簡約、公定的圖式，意義圖騰的視覺最佳選擇—最抽象的意義符號，由此也對應了康定斯基、馬列維 奇、萊因哈特的視覺學科本身的工作。這樣，意義和圖形本身都被消融而化為合一狀態，兩者不可分離。這樣，它既是意義又是圖形而不被分 離所誤解。這就構成了符號，而當把這些符號集郵時，預示著多元的匯流與新的整合；條碼提供視覺的流通感，在流通線中的國旗將被分解； 1234567890是工整符號，與它相比任何國家文字都不公正；2000是指待目的，人們心中的一種期待—世紀末的新可能性意指。」（任戩1991年「集 郵系列」創作自述）

“The stamp is the necessary code that allows people to exchange their feelings and private information in their daily lives. Choosing different national flags as stamps provides the visual meaning of international communication, and also symbolizes the possibility of visual participation in democracy. Beginning with the form of the national flag itself is the best way of presenting the citizen with the most simple icon, and as well as the most abstracted symbol. The symbol can refer to visual art itself, as seen in Kandinsky, Mondrian, Malevich, and Reinhard. The numbers are symbols of equality, and all languages lack universal justice compared to these numbers. “2000″ means the beginning of the new millennium, and indicates peoples’ expectation as well as new possibilities at the end of the 20th century.” – Ren Jian's statement about Stamp Collection, 1991.

316

305 LI Shan

李山

(Chinese, b. 1942)

閱讀系列：豹崽

Reading Series – Cubs

2006 壓克力 畫布 120.6 x 202 cm 簽名畫背：李山 Li Shan 2006 紐約

2006 Acrylic on canvas 120.6 x 202 cm Signed on the reverse Li Shan in Chinese and English, inscribed New York in Chinese and dated 2006

來源： 現藏者直接購自藝術家

PROVENANCE: Acquired directly from the artist by the present owner

NT$ 2,400,000-3,600,000 HK$ 612,000-918,000 US$ 78,800-118,200 「李山是中國當代藝術史中最重要的藝術家之一。在長達四十年的藝術生涯中，李山始終堅持思考，不斷探索，通過藝術創作反省人生和人 性。八十年代初，李山參與推動了上海前衛藝術運動，並成為八十年代中國抽象藝術—「理性繪畫」的代表畫家。八十年代末，李山創作了 《胭脂》系列，不僅被視為中國『政治波普』藝術的代表人物，他的『粉紅色』符號系列作品也廣為人知。從二十世紀九十年代中期，李山開 始創作他的生物藝術—《閱讀》系列。」（節錄自台北當代藝術館《粉紅微笑之後：閱讀・李山》展覽文宣） 李山在1993年參加威尼斯雙年展時，受到美國青年藝術家馬修・巴尼（Matthew Barney）作品的啟示，而後開始「閱讀」系列的研究。對於 「閱讀」名稱的解釋，李山說『閱讀的過程中常常會有錯誤，而錯誤往往會產生新的東西，它可以是新的解釋，也可以是另類與變異』。李山 畫作中描繪的超現實世界中居住著一些奇特的生物。他們半人半獸，一些長著蝴蝶形的翅膀，另一些則是變異的物種。這個虛構的世界向人們 傳達著詩意的，色情的及一股緊張而疏離的氣息。 “Li Shan is one of the most important artists in the history of Chinese contemporary art. In his four-decade long artistic career, Li Shan has always insisted on constantly contemplating, exploring and reflecting on life and human nature through artistic creation. In the early eighties, Li Shan participated in the promotion of avant-garde art movement and became a representative painter of “rational painting”, Chinese abstract art, in the mid-eighties. At the end of the eighties, Li Shan created Yan Zhi (rouge) series, which led him not only be regarded as the representative of the “political pop” art, his series of work with “pink” symbols was also well known. Since the mid-nineties, Li Shan has begun creation of his bio-art—the Reading series. This exhibition is to present Li Shan’s thinking, ideas, and experiments regarding bio-art over the past 17 years by presenting a part of his works.” (Expert from Taipei MOCA’s press release for the exhibition “Reading Li Shan”)

While Li Shan was attending the Venice Biennial in 1993, he was enlightened by the art of Matthew Barney, a young American artist. After this experience, Li Shan started to paint his "Reading" series. As for the interpretation of the name "Reading", Li Shan said: "Constantly people make mistakes in the process of reading, and mistakes sometimes arouse creations, which can be a new explanation, or extraordinary and varied elements." Li Shan's paintings describe a surrealistic world where some peculiar orc-like beings live. Some of them have wings like butterflies, and others are variated species. This imaginary world portrays people with a poetic and erotic atmosphere with a sense of tension and alienation.

318

306 YUE Minjun

岳敏君

(Chinese, b. 1962)

故鄉

Hometown

2005 油彩 畫布 220 x 200 cm 簽名左下：yue minjun 2005 簽名畫背：《故鄉》岳敏君 2005年

2005 Oil on canvas 220 x 200 cm Signed lower left yue minjun in English and dated 2005 Signed on the reverse Yue Minjun, titled Hometown in Chinese and dated 2005 ILLUSTRATED: Reproduction Icons: Yue Minjun Works, 2004-2006, He Xiangning Art Museum, Shenzhen, 2006, color illustrated, p. 71

圖錄︰ 《複製的偶像：岳敏君作品2004-2006》，何香凝美 術館，深圳，2006，彩色圖版，頁71

NT$ 17,000,000-24,000,000 HK$ 4,337,000-6,122,000 US$ 558,300-788,200 在一次訪談中，中國藝術家岳敏君如此形容他筆下看似瘋癲的笑臉人物：「有的人看是跟我差不多，但大部份確實是覺得好笑。其實覺得好笑 的人，是一般觀眾，稍微專業一些的、文化程度較深的，會發現這畫不是畫笑，而是畫笑的極致、悲痛的極點。」將痛苦的感覺變成一種不帶 有任何恐怖的疼痛。 「笑是源自痛苦，人生本質，就是痛苦。」岳敏君用創作笑看人生。1985年就讀於河北師範大學美術系，在學期間參觀1987年「85美術新潮」 畫展受到衝擊，1991年落腳北京圓明園藝術村，專事創作。從1990年代初期開始，岳敏君的繪畫中幾乎全是自己的臉孔，一個或是多個，誇張 的扮演著各種情境，或呼應歷史事件，或模擬世界名畫，不斷塑造鮮明的自我形象，他不停的畫，樂此不疲，絲毫不感厭煩。這是一種舞台式 的表演，自我的放大，成就出一種「英雄」，岳敏君將自我塑造成複數化的新偶像，集體的、民族性的形象。 岳敏君的敘事風格向來張揚、戲謔，給人玩世不恭，幽默的聯想，然而仔細觀察，那些簡單明瞭具有廣告宣傳意味的風格、標誌或是符號，在 笑容的背後，反映的卻是當代社會殘酷的現實問題。藝術家進行著一場「偶像製造」的工程，然而不斷的改寫、重覆的詮釋之後，反而達到反 偶像的目的。無論如何，藝術家成功地形塑出他的藝術追求之路，在中國當代藝壇佔有重要地位，成為1990年代玩世主義的代表藝術家，在藝 術市場被稱作F4成員之一。 緊閉雙眼張嘴大笑的面孔，宛同卡通的形象一樣，表情變化不需太多。粉紅色膚色，一整排如牙膏廣告式的潔白牙齒，簡單化、程式化、宣傳 化的形象，容易深植人心，岳敏君的笑臉人物成為中國當代藝術最重要的符號之一。藝術家從與世界的互動中反映在創作之中，根據岳敏君自 述，每個系列作品就像寫劇本，勾勒故事的輪廓，而靈感皆來自他的思維框架和情緒。 從2004年開始，從雅典奧運會上，得獎的運動員頭上的橄欖頭冠，岳敏君思考到帽子之於身分、社會地位、國籍、種族的表述，具有重要的象 徵意義。他在笑臉人物上添加「帽子」的元素，進入了所謂的「帽子系列」，探討人的身分與職業，及其與社會環境的關連性，顯見岳敏君對 於社經議題的持續關注。此幅拍品《故鄉》作於2005年，也屬於「帽子系列」的創作之一。初看《故鄉》畫作的背景，自然聯想到已故畫家陳 逸飛的1984年成名作《故鄉的回憶》，該畫取景自江南水鄉周庄，美國企業家購進此畫後來轉贈與鄧小平，從此陳逸飛的石拱橋圖像成為江南 水鄉的標誌，甚至是懷舊中國的樣版印象。 2005年陳逸飛因病去世，岳敏君可能有感而發創作了《故鄉》一作，畫中遠景的石拱橋即是江南水鄉周庄。古鎮周庄因陳逸飛的畫而聲名鵲 起，然而周庄附近的崑山市，也是全球電子科技大廠聚集的工業區。笑臉人物的帽子上繡著NOKIA（諾基亞）的圖案，誇張的手舞足蹈，暗喻 著中國成為世界工廠的無奈現況。帽子上的文字圖樣顯示是鏡像，而非正像。正像，意謂著主流、正統的意識，而鏡像卻是歷史的、記憶的投 射。岳敏君藉由創作關懷身處的世界，以看似笑謔輕鬆的風格，反映著沉重且嚴肅的全球化議題。 藝術評論家馮博一先生即曾道出岳敏君創作裡的關注議題：「我以為在岳敏君創作觀念和語言方式上最具特色的是他作品的當代性體現問 題。……岳敏君將以往政治宣傳畫與當代的廣告畫有機地結合或置換起來，廣告的單純、亮麗、表面、直觀的形象和眩目的顏色成為岳敏君作 品突出的風格樣式和話語方式。……所以他90年代末期到近幾年的一些作品的畫面背景出現了風景、園林、花鳥、動物，甚至天空、宇宙等等 『閒雲野鶴』式的唯美圖示。既有個人成長的經驗記憶，又有時代審美趣味中的變遷，構成了中國社會轉型的生活烙印。從這一角度考察，岳 敏君的作品恰恰適應或對應了現代化社會和中國急於現代化發展的本質特徵，換句話來說，他的作品從某種角度在測度或凸現著中國社會轉型 期的現實變化。」(節錄自馮博一〈存在便是種荒誕―關於岳敏君的藝術〉《複製的偶像：岳敏君作品2004-2006》，何香凝美術館，深圳，頁9)

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Yue Minjun, a Chinese artist, once described the seemingly-crazy laughing faces in his paintings in an interview thusly: “Some may think these faces are my self-portrait, and many people think that these faces are absolutely absurd. In fact, those who think that these faces are funny are just part of my ordinary audience; those who are more professional and more cultural will find that what I paint is not laughing faces, but the extreme end of the spectrum of laughter—that is to say, ultimate sorrow.”

“Laughter originates from agony, which is the true nature of life.” Yue mocks the world with his paintings. Yue went to the department of art at Hebei Normal University in 1985 and drew much inspiration when he visited the “China Avant-Garde Exhibition” in Beijing in 1987. In 1991, he moved to the artistic community at Yuanmingyuan and devoted himself to art creation. Beginning in the early 1990s, faces in Yue’s paintings began to almost resemble his own self-portraits. No matter how many faces in his paintings, they exaggeratedly simulate all kinds of situations, historical events, or world-famous masterpieces to shape Yue’s strikingly vivid selfimage. Yue enjoys painting a lot and never gets tired with it. Painting to Yue is a stage performance and a selfexpansion, in which he forms a “hero” image. Yue then shapes himself into multiple new idols, a collective and ethnic image.

series, on which he began to work in 2004, Yue Minjun undertakes a further exploration of people’s identity and roles within society, revealing his great concern over socioeconomic issues. This auction item, “Hometown”, was created in 2005 as one of the Hats series. The background of “Hometown” is associated with “Memory of Hometown”, a famous painting of Chen Yifei, a late painter, which depicted the scenery of Zhouzhuang, a waterfront town in the southern of the Yangtze River. Purchased by an American entrepreneur and later presented to Deng Xiaoping, the stone arch bridges in Chen’s “Memory of Hometown” have become the mark of waterfront towns in the southern of the Yangtze River and even the template of nostalgic China.

Chen’s death in 2005 may have been the impetus for Yue to create “Hometown”. The stone arch bridge in the background is Zhouzhuang, a waterfront town in southern of the Yangtze River. Zhouzhuang becomes famous because of Chen’s painting while Kunshan City, a town nearby Zhouzhuang, is an industrial complex where numerous international science and technology factories are located. Both the embroidered words, NOKIA, on the hats and odd, comical actions and expressions of the figures in the painting imply China’s helpless situation as the world factory. Words on the hats are mirror images, not erect images. Erect images suggest the mainstream and official thoughts while mirror images are the projection of history and memory.

In exercising his parody-like, easy-going style to reflect serious and gloomy global issues, Yue shows his concern for the world 岳敏君《醉人春光》1994，油彩 畫布，150 x 300 cm 羅芙奧香港2008秋季拍賣會，編號 128，港幣1150萬元 成交 through his paintings.

Yue’s exaggerating and sardonic style has always given his audience a humorous, parody-like association. However, through careful observation, the simple and advertising style, mark, or symbol behind the laughing face reflects cruel problems in the contemporary society. Although YUE Minjun, Enchanted Spring, 1994, oil on canvas, 150 x 300 cm it seems that the artist is working Ravenel Autumn Auction 2008 Hong Kong, lot 128, US$1,483,871 sold Feng Boyi, an art critic, once on an “idol making” project, he commented on the concern of Yue Minjun, “I think that what is most achieves his anti-idol goal through repetitive revisions and reinterpretations characteristic of Yue Minjun’s creative ideas and his language is the way of these images. The artist thus has successfully developed his own brand in which his works manage to demonstrate the spirit of the age. … Yue of artistic appeal and plays an important role in Chinese contemporary art.

Minjun combines the basic elements of past propaganda posters with those Yue Minjun was a representative figure of “Cynical Realism” in the 1990s of modern advertisements: simple, flashy, superficial, and visually direct as well as one member of F4 in the art market. images and dazzling colours feed the language and style of his art…. Since Calling to mind stylistic cartoon characters, Yue’s human figures in this the end of the 1990s, aesthetic images from Nature, such as landscape, piece have ruddy skin, perfect teeth, and tightly closed eyes and display a gardens, flowers and birds, beasts, even sky and outer space, have appeared range of odd, comical actions, and expressions. The ironic depiction of these in Yue Minjun’s works. He also uses memories born of his personal simplified, formularized, and advertising images touches its audience’s experience, as well as an exploration of the shifts in aesthetics that mirror hearts easily. Thus, the laughing face motif has become one of the most the times. The works track reality through a period of social transformation significant symbols in Chinese contemporary art. These art pieces reflect the in China. Viewed from this perspective, Yue Minjun’s works correspond with artist’s interaction with the world. According to Yue’s words, creating each the nature of a Chinese society desperate to modernize; in other words, his series is like writing a play in which he uses his thoughts and emotions as works exhibit the changing reality during a period of social transformation inspiration to outline a story. in China.” (“To Be is Just Absurd: The Art of Yue Minjun” by Feng Boyi, Reproduction Icons: Yue has stated that the inspiration for the Hats series came from seeing the olive wreaths that medal-winners wore at the Athens Olympics in 2004, which got him thinking about how hats and other head-wear denote personal identity, social status, nationality, and ethnic identity. In the Hats

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Yue Minjun Works, 2004-2006, He Xiangning Art Museum, Shenzhen, 2006, p. 9)

307 ZHOU Chunya (Chinese, b. 1955)

Mr. Heigen's – Walking (Heigen's Family) (diptych) 1995 Oil on canvas 192 x 260 cm Signed lower right Zhou Chunya in Chinese and dated 1995 EXHIBITED: Shanghai Biennale 1996, Shanghai Art Museum, Shanghai, March 18-April 7, 1996 ILLUSTRATED: Shanghai Biennale 1996, Shanghai Art Museum, Shanghai, 1996, color illustrated, no. 47 Zhou Chunya, Timezone 8, Hong Kong, 2010, color illustrated, pp. 260-261

周春芽 黑根一家─行走（雙聯幅） 1995 油彩 畫布 192 x 260 cm 簽名右下：1995 周春芽 展覽： 「1996上海美術雙年展」，上海美術館，上海，展 期自1996年3月18日至4月7日 圖錄： 《1996上海美術雙年展》，上海美術館，上海， 1996，彩色圖版，編號47 《周春芽》，東方時區，香港，2010，彩色圖版， 頁260-261

NT$ 28,000,000-42,000,000 HK$ 7,143,000-10,714,000 US$ 919,500-1,379,300 周春芽於1955年在重慶出生。1982年，他畢業於四川美術學院。1986-1988年，周春芽遠赴德國留學，深受德國表現主義，新表現主義的薰陶和 震撼。 1988年，他取得德國卡塞爾綜合大學碩士學位後，翌年便回到祖國生活。現時，他活躍於成都和上海兩地，是中國當代藝術中最富有才情和表 現力的藝術家之一。他的作品結合了中國「文人畫」的傳統元素和西方新表現主義藝術運動中的美學，從早期的《剪羊毛》，直至德國留學歸 國後「山石」、「風景」、「黑根」、「綠狗」、「紅人」、「桃花」等一系列富有變化與激情的畫作，都是當代藝術市場中備受青睞的成功 作品。近年，為了讓地震中致殘的學生得到適切的援助和教學，他成立了「五彩基金」。2010年，他在上海美術館舉辦了首次個人回顧展，並 於上海成立「周春芽藝術研究院」獲致成功與好評。 這幅《黑根一家―行走》創作於1995年，1990年代他和第二任妻子養了一條德國狼犬，起名黑根，九十年代的中國城市是禁止飼養寵物的，因 此黑根只能長年被藏在公寓的家中，天性敏感、忠誠、勇敢、直覺的德國狼犬，跟周春芽夫妻倆日夕相處，情感深厚。他們很喜歡這條狗，待 它如自己的「孩子」，一家「三口」和諧幸福的一起生活。黑根一開始的兩三年，在畫家的畫筆下是以單一的黑色出現，黑根行走、黑根跳 躍、黑根奔跑、黑根與男主人女主人一起玩耍。 這幅作品中仍然有德國表現主義的影子，但此時他開始研究中國的文人畫，曾經畫了一批文人畫式的風景，筆觸鬆動率意，有著文人畫逸筆草 草的味道，但周春芽最終結合了來自西方的表現主義和中國傳統水墨藝術的寫意手法，開創了個人風格，把最初借用的語言融會貫通，成就了 自身的繪畫語言。《黑根一家—行走》這幅作品就是這個時期的典型風格，油畫筆觸的運用，像中國傳統狼毫鬥筆劃枯樹山石的筆法，散開筆 鋒，連戳帶拖，給畫面增添了一種生氣勃勃的表現力。而畫面情節是一種有敘事的場景，黑根這條愛犬和女主人的嬉戲，男主人愜意地站在一 旁觀看，在男女主人之間，佔據畫面中心的是狗的動作，但又是不求形似只求意到的畫法，不再是完全寫實的表現事件本身，而是突出整個畫 面愉悅的生活氣氛，一個一家人充滿著溫情，而又浪漫真實的情感故事。 1999年黑根病死了，周春芽說：在他的生活中，至今最傷心的有兩件事，一是1969年他父親去世，另一件就是黑根去世。雖然真正的相處只有 五六年的時間，但是在周春芽的藝術歷程中，黑根已經成為一個永恆的象徵。 從山石風景，到畫狗，畫綠狗，再到畫桃花。周春芽繪畫創作的主題與技巧非常跳躍多變，他從「山石」時期顏料、色彩、筆觸堆疊濃郁的畫 法，轉變到畫「黑根」與「綠狗」時期成為大畫面留白，單色性繪畫與近乎自動化線條恣情寫意的走筆，然後又再開始了大氣，色彩豔麗、明 媚的「桃花」系列，他都是畫真實生活中親近的，感動的人，事物和風景，特別是在他的畫筆下，寄託、轉化了生命中的悲傷與痛苦，他的藝 術永遠只跟他生活的美好，感動，跟生活的真實內容相關，正是因為他的繪畫與他的生命的真誠與貼合，共同成就了他的藝術生涯，也成就了 作品的厚度與豐富性。

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Zhou Chunya was born in Chongqing, China in 1955. He graduated from the Sichuan Fine Arts Institute in 1982, and during the period 1986-1988 he studied in Germany, where he was exposed to the influence of German expressionism and neo-expressionism.

In 1988, Zhou Chunya was awarded his MFA from the Kassel Academy of Fine Arts in Germany, and the following year he returned to China. Zhou currently divides his time between Chengdu and Shanghai; he is one of the most talented, expressive artists active in the contemporary Chinese art scene. His work combines elements from traditional Chinese literati painting with the aesthetic viewpoint of the Western neo-expressionist movement. From early works such as “Sheap Shearing” through to the series of paintings that Zhou produced after his return from studying in Germany (including the “Stones,” “Landscapes,” “Heigen,” “Green Dog,” “Red Man” and “Peach Blossom” series), Zhou Chunya’s work has always been richly varied and expressive, and his paintings have attracted considerable attention in the contemporary art market. Recently, Zhou established the 5 Colors Foundation to help children injured in the Sichuan Earthquake of 2008 to receive support and a proper education. The first retrospective exhibition of Zhou Chunya’s work was held at the Shanghai Art Museum in 2010. The Zhou Chunya Art Academy in Shanghai has won widespread plaudits for its work.

sweeping brushstrokes, and a sense of flowing exuberance. Eventually, Zhou succeeded in fusing Western neo-expressionism with the expressionist techniques of traditional Chinese ink brush painting to create his own personal style. The artistic lexicon that he had borrowed from others was successfully made his own. “Mr. Heigen’s – Walking (Heigen’s Family)” is a classic work from this period. The brushstrokes resemble the technique used in traditional Chinese painting to depict withered trees and rocks, with the brush hairs allowed to splay out as the brush is drawn over the canvas; this adds an extra touch of vibrant expressiveness to the painting. The scene depicted in the painting has a narrative aspect to it, with Heigen shown playing with Mrs. Zhou while her husband watches contentedly off to one side. Between the male and female figures, the canvas is occupied by the dog’s movements, but in a way that depicts the essence rather than the form. Rather than using a wholly expressionist approach, Zhou’s painting somehow succeeds in bringing across a sense of joyful exuberance, presenting a story that combines family togetherness with a romantic truthfulness.

Heigen died in 1999. Zhou Chunya has said that the two saddest events in his life were the death of his father in 1969 and Heigen’s death. Although they only spent five or six years together, Heigen has become an eternal symbol through Zhou’s art.

From stones and landscapes to dogs, to green dogs, and then to peach blossom – the subject matter of Zhou Chunya’s paintings, and the This work by Zhou Chunya – “Mr. Heigen’s techniques used, have varied considerably – Walking (Heigen’s Family)” was painted over the years. The works in Zhou’s “Stones” in 1995. Following Zhou’s marriage to his series were richly textured in their use of second wife in the early 1990s, they acquired color and their brushwork; the “Heigen” a German Shepherd dog which they named 周春芽《太湖石》2000，油彩 畫布，196.5 x 148 cm 羅芙奧台北2012秋季拍賣會，編號 697，台幣5632萬元 成交 and “Green Dog” series then saw a shift Heigen. In the 1990s, keeping dogs as pets ZHOU Chunya, Taihu Lake Stone, 2000, oil on canvas, 196.5 x 148 cm towards monochromatic paintings in which was prohibited in most Chinese cities, so Ravenel Autumn Auction 2012 Taipei, lot 697, US$15,018,667 sold large areas of the canvas were left blank, Heigen had to stay in their apartment yearwith expressionistic brushwork in which the lines seemed almost to have round. This sensitive, loyal, brave, perceptive German Shepherd dog kept emerged spontaneously, before Zhou went on to produce the “Peach Zhou Chunya and his wife company both day and night, and a close bond Blossom” series of paintings with their bold, rich colors. What ties all developed between them. Mr. and Mrs. Zhou grew so fond of Heigen that of these series together is that, in every case, Zhou Chunya was painting he became like a son to them; they lived together in harmony as a happy things, people, creatures or scenes that were close to him or had particular family unit. During the first few years of Heigen’s life, Zhou Chunya would meaning for him. In these works, Zhou succeeded in transforming the sad paint him in monochrome, either walking, jumping around, running, or and painful aspects of life through a focus on what is beautiful, moving playing with Mr. and Mrs. Zhou. and true. The sincerity of the connections between Zhou Chunya’s art and This particular painting still shows traces of the influence of German neohis own life is precisely the factor that has made his artistic career such a expressionism on Zhou Chunya’s work. However, around this time Zhou success, and which has enriched his work and given it real depth. was also starting to study the Chinese literati painting tradition, at one stage producing a series of landscapes in the literati painting style with relaxed,

1970年代出生的李暉乃當下中國青年雕塑家中的翹楚，其作品受邀在世界各地展出，並被廣泛收藏。他的成長歷程中經歷了中國發展最為迅速 的三十年，見證了時代的裂變與傷痕。同時代的藝術家大多著眼於大時代的變遷與個體的彷徨，而李暉則將目光投向心理層面的不安全感。他 善於將材料和概念相結合，他熱衷將現代科技與自己的作品相結合，傳達一種獨特的科技美學。他試圖藉由創作主題與媒材的衝突，來突顯出 現代中國進退兩難的社會困境。 《長頸鹿—工業時代的保護色》以疲憊的長頸鹿為表現主體。作品運用不鏽鋼材料挑戰人們習以為常的視覺經驗。深邃的人文思維與新穎的實 驗手法，不僅象徵工業文明與環境之間的衝突，更為觀者帶來視覺與心靈上的震撼。形體巨大的長頸鹿倦怠地俯身地上，周身鏡面一般的不鏽 鋼反照出觀者的形象。觀眾在觀賞作品的同時也融入了作品其中。光鮮的外表與疲憊的身體是無數都市人的真實生活寫照，注視別人的同時， 也在他人身上看到自己的身影。所謂工業時代的保護色其實也是彼此的內心寫照。 Born in the 1970s, Li Hui is one of the leading figures in the younger generation of Chinese sculptors; his work has been exhibited all over the world, and is widely collected. Li Hui has grown up during three decades in which China has developed more rapidly than at any time in the past, and has witnessed dramatic transformations and also the harm caused by sudden change. Most artists of the generation to which Li belongs have focused on the changing times and the sense of alienation of the individual; Li’s art focuses mainly on people’s psychological states, and in particular on feelings of insecurity. He excels at combining materials and concepts in effective ways, and makes extensive use of modern technology in his work, which enables him to express a unique technological aesthetic. Li attempts to show conflict between the themes of his work and the materials used to create the work, as a means of pointing up the social contradictions that exist in contemporary China.

“Giraffe – Camouflage for the Industrial Era” has an exhausted-looking giraffe as its subject matter. The piece uses stainless steel to challenge people’s conventional visual experience. With its deep conceptual underpinnings and innovative, experimental techniques, this work symbolizes the conflict between industrial civilization and the natural environment, but also gives the viewer a visual and spiritual shock. The huge giraffe is shown resting its tired body on the ground; the mirror-like surface of the surrounding stainless steel reflects the image of the viewer, so that, in the process of examining the work, the viewer is also drawn into it. This combination of a bright, attractive surface and a tired, weary body constitutes a faithful depiction of countless urbanites; while looking at someone else, one is also pursuing one’s own reflection as reflected in their body. The “camouflage for the industrial era” is thus actually the two-way reflection of the soul.

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308 LI Hui

(Chinese, b. 1977)

Giraffe – Camouflage for the Industrial Era 2002 Stainless steel, edition no. 3/8 170(L) x 120(W) x 110(H) cm Engraved right front foot Li Hui in Chinese and English, numbered 3/8 This sculpture is to be sold with a certificate of authenticity issued by DuBang Contemporary Artistic Space, Miaoli.

NT$ 2,800,000-3,600,000 HK$ 714,000-918,000 US$ 92,000-118,200

李暉 長頸鹿—工業時代的保護色 2002 不鏽鋼 3/8 170(長) x 120(寬) x 110(高) cm 簽名雕刻右前腳：李暉 Li Hui 3/8 附杜邦當代藝術空間開立之原作保證書

309 Yayoi KUSAMA (Japanese, b. 1929)

Key-Chan 2008 FRP, paint (unique) 130(L) x 56(W) x 100(H) cm Signed Yayoi Kusama and titled "KEY-CHAN" in English, and dated 2008 PROVENANCE: Victoria Miro Gallery, London Acquired from the above by the present owner

草間彌生 圓點小狗 2008 玻璃纖維 著色（單一件） 130(長) x 56(寬) x 100(高) cm 簽名：Yayoi Kusama 2008《KEY-CHAN》 來源： 維多利亞‧米羅畫廊，倫敦 現有收藏者購自上述來源

NT$ 3,600,000-5,000,000 HK$ 918,000-1,276,000 US$ 118,200-164,200 草間彌生是當今日本最具影響力的藝術家之一，她和小野洋子被譽為二十世紀國際藝壇最明亮的兩顆明星。草間彌生無論在繪畫、雕塑、行為 藝術、小說寫作皆有出色的表現，前衛性十足。每天不停的繪畫創作，她的超高意志打敗身心的折磨，藉由創作自我救贖與療癒。高彩度對比 的「波卡圓點」，幾乎已成為她的註冊商標，人稱之為「圓點女王」。 她在自傳中寫道：「我的生命也是一個點，是億萬粒子中的一點。我要用天文數字的斑點，編織出一張蒼白虛無的網，在此時此刻提出宣言， 消融自我、他者和宇宙的一切。」她筆下蔓生的圓點激盪出奇妙的視覺美感與想像空間，啟發了後輩當代藝術家戴米恩‧赫斯特和村上隆的靈 感，甚至跨界影響當代時尚界的風向。 1990年代後，草間彌生曾為博物館、藝術節、博覽會創作戶外雕塑或裝置作品，如知名的南瓜雕塑，以及千禧年後「Hi, Konnichiwa系列」發展 出的巨型植物、花朵、女孩、小狗雕塑，作品表面都塗有色彩鮮豔的圓點圖案，風格強烈。此件《圓點小狗》雕塑是2009年倫敦維多利亞‧米 羅畫廊花園雕塑展的展品之一，展覽中有一對小狗雕塑，高一點的叫Key-Chan，小一點是Rhu-Chan。Chan在日文的意思有小的、親暱之意。草 間彌生會為自己創作的小狗雕塑取名字，「小Key」、「小龍」等可愛的小名，代表著她的童心未泯。《圓點小狗》各有不同的色彩，如同它 們的名字，每件小狗雕塑都是獨一無二的作品。 Yayoi Kusama is one of the most influential artists in Japan today, and she and Yoko Ono Lennon were acclaimed as the two brightest stars in the art circle in the twentieth century. Whether the medium is painting, sculpture, behavioral performance, or fiction writing, the works of Yayoi Kusama are all outstanding and avant-garde. She paints nonstop every day. Her extraordinary willpower overcomes the torments of body and mind. By creating, she exercises self-redemption and healing. Polka dots in high saturation, high contrast colors has almost become her trademark. She is known as “the polka dot queen”.

In her autobiography, she wrote, “My life, a dot: one of a million particles. A white net of nothingness composed of an astronomical aggregation of connected dots will obliterate me and others, and the whole of the universe.” Her compositions of rampant polka dots stimulates a marvelous visual aesthetics and space for imagination and inspire the younger generation of contemporary artists such as Damien Hirst and Takashi Murakami, and even cross into the fashion world influencing contemporary fashion trends.

After 1990, Yayoi Kusama created outdoor sculptures and decorative pieces for museums, art festivals, and exhibitions. Among these works, celebrated pieces include pumpkin sculptures and the post-millennium “Hi, Konnichiwa (Hello) series” featuring sculptures of large-scale plants, flowers, girls, and puppies. The surface of each work is covered with “polka dots” in bright colors in a very strong style. This piece, Polka Dot Puppy, is one of the sculpture works included in the 2009 Victoria Miro Gallery Garden Sculpture Exhibition in London. There was a pair of puppy sculptures of which the taller one is called Key-Chan and the smaller one Rhu-Chan. Chan refers to “small” or “dear” in Japanese. Yayoi Kusama is truly a child at heart, which is why she named her puppy sculptures with cute nicknames such as Key-Chan and Rhu-Chan. There are different colors in the “Polka Dot Puppy” series, and as their names imply, each puppy sculpture is unique.

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310 Tomoya TSUKAMOTO

森林中

Inside the Forest

2008 油彩 畫布 130 x 97 cm 簽名畫背：2008 Tomoya Tsukamoto

2008 Oil on canvas 130 x 97 cm Signed on the reverse Tomoya Tsukamoto in English and dated 2008 EXHIBITED: Emerging Artist Group Exhibition 08, Mirai Gallery, Tokyo, July 9-28, 2008

NT$ 180,000-380,000 HK$ 46,000-97,000 US$ 5,900-12,500

332

塚本智也

(Japanese, b. 1982)

展覽： 《新銳藝術家聯展》，未來畫廊，東京，展期自 2008年7月9日至28日

311 Kiriko IIDA

(Japanese, b. 1970)

Blessing 2009 Oil on canvas 91 x 91 cm Signed on the stretcher Kiriko Iida in English EXHIBITED: November – Kiriko Iida Solo Exhibition, Soka Art Center, Taipei, November 6-28, 2010

NT$ 200,000-300,000 HK$ 51,000-77,000 US$ 6,600-9,900

飯田桐子 祝福 2009 油彩 畫布 91 x 91 cm 簽名畫背框條：Kiriko Iida 展覽： 「霜月—飯田桐子個展」，索卡藝術中心，台北， 展期自2010年11月6日至28日

312 Yayoi KUSAMA (Japanese, b. 1929)

Snail 1989 Color silkscreen, edition no. 86/100 51 x 56.5 cm Signed lower Yayoi Kusama in English, titled Snail in Japenese, numbered 86/100 and dated 1989

NT$ 200,000-400,000 HK$ 51,000-102,000 US$ 6,600-13,100

334

草間彌生 蝸牛 1989 版畫 86/100 51 x 56.5 cm 簽名下方：86/100 かたつむり 1989 Yayoi Kusama

313 Yayoi KUSAMA

草間彌生

(Japanese, b. 1929)

帽子

Hat

1984 版畫 1/30 34.5 x 42.5 cm 簽名下方：1/30 1984 Yayoi Kusama

1984 Color silkscreen, edition no. 1/30 34.5 x 42.5 cm Signed lower Yayoi Kusama in English, numbered 1/30 and dated 1984

NT$ 200,000-400,000 HK$ 51,000-102,000 US$ 6,600-13,100

314 KIM Nampyo

金南杓

(Korean, b. 1970)

即刻風景─鸚鵡之2

Instant Landscape – Parrot 2

2009 人造毛皮 炭筆 粉彩 畫布 130 x 162.5 cm 簽名畫背：Instant Landscape – Parrot 2, Nampyo Kim 2009

2009 Artificial fur, charcoal and pastel on canvas 130 x 162.5 cm Signed on the reverse Nampyo Kim, titled Instant Landscape – Parrot 2 in English and dated 2009 EXHIBITED: Instant Landscape-Kim Nampyo Painting, Canvas International Art, Amsterdam, May 9-30, 2009

NT$ 360,000-500,000 HK$ 92,000-128,000 US$ 11,800-16,400

336

展覽： 「即刻風景―金南杓畫展」，畫布國際藝術畫廊， 阿姆斯特丹，展期自2009年5月9日至30日

315 Eddie KANG (Suk-Hyun KANG) (Korean, b. 1980)

Confession II 2008 Mixed media on canvas 130 x 97 cm Signed on the strecher Suk-Hyun Kang in English and dated 2008 EXHIBITED: I am a Bear: Eddie Kang Solo Exhibition, Metaphysical Art Gallery, Taipei, May 17 June 8, 2008 ILLUSTRATED: I am a Bear : Eddie Kang's Solo, Metaphysical Art Gallery, Taipei, 2008, color illustrated, cover This painting is to be sold with a certificate of authenticity signed by the artist and issued by Metaphysical Art Gallery, Taipei.

NT$ 200,000-300,000 HK$ 51,000-77,000 US$ 6,600-9,900

姜錫鉉 心聲 II 2008 綜合媒材 畫布 130 x 97 cm 簽名畫背框條：Suk-Hyun Kang 2008 展覽： 「姜錫鉉．我是一隻熊」，形而上畫廊，台 北，展期自2008年5月17日至6月8日 圖錄： 《姜錫鉉．我是一隻熊》，形而上畫廊，台 北，2008，彩色圖版，封面 附形而上畫廊開立藝術家親筆簽名之原作保 證書

316 Kiriko IIDA

(Japanese, b. 1970)

The High Tide 2010 Oil on canvas 65 x 65 cm Signed on the stretcher Kiriko Iida in English and dated 2010

NT$ 120,000-220,000 HK$ 31,000-56,000 US$ 3,900-7,200

338

飯田桐子 漲潮 2010 油彩 畫布 65 x 65 cm 簽名背後框條：Kiriko Iida 2010

317 Masaru SCHICHINOHE (Japanese, b. 1959)

Lesson 2010 Acrylic on wooden board 22 x 15 cm Signed lower right Shichinohe in English Signed on the reverse M. Shichinohe in English and Japanese, inscribed Title: Lesson, Date: 31.May.2010, Acrylic on board, finish: golden artist colors. Inc. Gross Virnish all in English ILLUSTRATED: Black Angel, Ping Art Space, Taipei, 2010, color illustrated, p. 26 & p. 205

NT$ 300,000-500,000 HK$ 77,000-128,000 US$ 9,900-16,400

七戶優 課程 2010 壓克力 木板 22 x 15 cm 簽名右下：Shichinohe 簽名畫背：Title: Lesson Date: 31.May.2010 M. Shichinohe 七戶優 Acrylic on board finish: golden artist colors. Inc. Gross Virnish 圖錄： 《月下紫羅蘭》，藏新藝術有限公司，台北， 2010，彩色圖版，頁26與頁205

318 Masaru SCHICHINOHE (Japanese, b. 1959)

Under the Moonlight 2007 Acrylic on wooden board 50 x 17.5 cm Signed lower right masaru in English Signed on the reverse Masaru Shichinohe in Japanese, titled Under the Moonlight in English and dated 2007.9.15 in Japanese ILLUSTRATED: Black Angel, Ping Art Space, Taipei, 2010, color illustrated, p. 50 & p. 206

NT$ 600,000-800,000 HK$ 153,000-204,000 US$ 19,700-26,300

七戶優 月光 2007 壓克力 木板 50 x 17.5 cm 簽名右下：masaru 簽名題識畫背：Under the Moonlight 二◯◯七年九月十五日 七戶優 圖錄： 《月下紫羅蘭》，藏新藝術有限公司，台北，2010，彩色圖版，頁50與 頁206

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319 Yayoi KUSAMA

草間彌生

(Japanese, b. 1929)

西瓜

Watermelon

1989 壓克力 畫布 38 x 45.5 cm 簽名畫背：西瓜 1989 Yayoi Kusama

1989 Acrylic on canvas 38 x 45.5 cm Signed on the reverse Yayoi Kusama in English, titled Watermelon in Japanese and dated 1989

附草間彌生工作室開立之原作登錄卡

This painting is to be sold with a registration card issued by Yayoi Kusama Studio, Tokyo.

NT$ 3,600,000-4,800,000 HK$ 918,000-1,224,000 US$ 118,200-157,600

草間彌生認為自己跟其他藝術家不一樣，她會以自己的心理狀態與創傷作為藝術主題。《西瓜》正充分反映了草間自小面對的視聽幻覺與精神 病困擾。佈滿畫面的線條與鮮艷的底色形成了強烈的對比，令人聯想到草間的「無限的網」系列。網線猶如裂紋一樣，讓畫面充滿馬賽克的效 果。草間以平面的方式繪畫簡單的西瓜圖案，而水果上大小不一的圓點則為這些圖形增添立體感。《西瓜》雖然有斷裂的感覺，但網線與圓點 又把整體畫面連接起來，顯現藝術家透過藝術創作來治療精神病的過程。 Plagued from a young age by visual and aural hallucinations, Kusama faces her mental illness candidly in “Watermelon.” The flamboyant, playful colors of the piece juxtapose sharply with the jarring effect of the fractured lines which recall the Infinity Nets of Kusama’s early series. Creating a mosaic effect, the two dimensional shapes of each individual fruit take shape in cracked, contrasting simplicity. Complementing the two-dimensional flatness of the nets, Kusama adds dimension and variance by echoing the roundness of some fruits with her iconic polka dots. The splintered scene of Fruits “Watermelon” provides the viewer with a glimpse into the fractured yet ultimately connected visualizations of Yayoi Kusama as the artist reconciles her mental obstacles through her creation of art. “Artists,” states Yayoi Kusama, “do not usually express their own psychological complexes directly. But I use my complexes and fears as subjects.”

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320 GOH Geun-ho (Korean, b. 1966)

The Hero III (Che Guevara) 2008 Steel, edition no. 2/10 25.5(L) x 24.5(W) x 128(H) cm (including base) Signed on the base GOH, Geun-ho in English and dated 2008-0

NT$ 90,000-160,000 HK$ 23,000-41,000 US$ 3,000-5,300

高勤虎 英雄III（切・格瓦拉） 2008 鋼 2/10 25.5(長) x 24.5(寬) x 128(高) cm （含高腳底座） 簽名底座：GOH, Geun-ho 2008-0

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321 Hiroto KITAGAWA (Japanese, b. 1967)

Junichi Sawada 2011 Acrylic on terracotta (unique) 11(L) x 8(W) x 45(H) cm 18(L) x 18(W) x 2(H) cm (base) Engraved on the back Hiroto in English and dated 11

NT$ 160,000-220,000 HK$ 41,000-56,000 US$ 5,300-7,200

北川宏人 澤田 順一 2011 壓克力 赤陶（單一件） 11(長) x 8(寬) x 45(高) cm 18(長) x 18(寬) x 2(高) cm（底座） 簽名雕刻背部：11 Hiroto

322 Michell HWANG (HUANG Ming-che) (Taiwanese, b. 1948)

Plate 2003 Baked enamel on aluminum alloy, edition no. 103/300 59.5(L) x 54(W) x 14.5(H) cm Engraved on the bottom Che in Chinese HUANG MING-CHE in English, dated 2003 and numbered 300-103

NT$ 80,000-180,000 HK$ 20,000-46,000 US$ 2,600-5,900

346

黃銘哲 水果盤 2003 鋼板烤漆 鋁合金 103/300 59.5(長) x 54(寬) x 14.5(高) cm 簽名雕刻下方：哲 HUANG MING-CHE 2003-300-103

323 ZAO Wou-ki

趙無極

(Taiwanese, b. 1968)

蘭花

Orchidée

1986 瓷盤；趙無極水粉畫圖案平版印製之紀念盤；無版次 25 cm（直徑） 簽名中下：無極ZAO 86（印刷簽名） 背面釋文：B.S.N. 1966-1986二十週年紀念 BSN秉持永續發展 誠摯感謝 所有的創意與鼓勵 86年6月 © 趙無極 Altelier de Segries 陶瓷工作室製作

1986 Porcelain plate; lithographic transposition of a Zao Wou-Ki gouache; multiple copies 25 cm (diameter) Signed on the plate lower center Wou-ki in Chinese, Zao in French, and dated 86 Note on the reverse: Vingt ans de B.S.N, 1966-1986 BSN existe, BSN se développera grâce à l'instinct, l'imagination et le courage de tous - Juin 86 © Zao Wou-ki Edité par atelier de Ségriès

NT$ 100,000-200,000 HK$ 26,000-51,000 US$ 3,300-6,600

附註：B.S.N. 為法國知名玻璃及食品企業

324 CHU Chen-yung (Taiwanese, b. 1968)

Pumpkin Series – Pumpkin Bottle 2014 Ceramic (uniuqe) 20(L) x 26(W) x 20(H) cm Engraved on the bottom Chu in Chinese and dated 14

NT$ 80,000-160,000 HK$ 20,000-41,000 US$ 2,600-5,300

初陳勇 南瓜系列—南瓜細頸瓶 2014 陶器 柴燒（單一件） 20(長) x 26(寬) x 20(高) cm 簽名雕刻底部：初14

348

作者於在1987年，第一次入選台北市美展，就是以《金瓜》獲獎！各朝歷代皆有為器形 立名，如較為人熟知的蒜頭瓶、橄欖瓶等，而作者以「南瓜瓶」立名；南瓜意味著多肉 耐儲存、多籽易生長，有其多子多福、延壽之意，乃中國人文思維，也應驗了作者的 「師法自然不忘初衷」。 此次拍品《南瓜系列—南瓜細頸瓶》以極為高難度的拉坏技術在轆轤上一次成型，創作 者選擇為期八個工作天燒製後，再待一週冷卻，以最為費時、費神，最耗費體力的柴燒 方式成現。而此次細頸小口瓶之造形，也是在燒製過程中失敗率最高之型體，實為不 易！ When the artist, Chu Chen-yung, was selected in the Taipei City Art Exhibition for the first time in 1987, this creation “Pumpkin” , was a prize winner. Every age is marked by the distinctiveness of its vessels, such as garlic-shaped vases and olive-shaped vases. Chu is known for his pumpkinshaped vessels. The image of longevity emphasized by the preservation of the rich orange flesh of a pumpkin and the vitality and offspring implied by its numerous seeds in Chinese culture fully correspond to the creator’s ideal – “follow nature and stick to the original intention”.

This auction item, a slim-neck pumpkin-shaped vase, was shaped through the highly difficult throwing technique and created by the time-consuming and strenuous wood firing method for eight days before a seven-day cooling process. The narrow neck, the most difficult shape to create during the firing process, highlights the painstaking originality of the artist.

325 Yuyu YANG

(YANG Ying-feng) (Taiwanese, 1926-1997)

Phoenix 1986 Stainless steel, edition no. 15/20 100(L) x 50(W) x 121(H) cm Engraved on the base Ying-feng in Chinese, numbered 15/20 and dated '86 ILLUSTRATED: Yuyu Yang Corpus Volum I, Artist Publishing Co., Taipei, 2005, color illustrated, p. 292 This sculpture is to be sold with a certificate of authenticity issued by Fine Art Center, Tainan.

NT$ 130,000-320,000 HK$ 33,000-82,000 US$ 4,300-10,500

楊英風 鳳翔 1986 不鏽鋼 15/20 100(長) x 50(寬) x 121(高) cm 簽名底座：'86 英風 15/20 圖錄： 《楊英風全集第一卷》，藝術家出版社，台北， 2005，彩色圖版，頁292 附梵藝術中心開立之原作保證書

326 Yuyu YANG

(YANG Ying-feng) (Taiwanese, 1926-1997)

The Bright Moon 1979 Stainless steel, edition no.6/9 65(L) x 25(W) x 70(H) cm Engraved on the left side Yu Yu Yang Ying-feng in Chinese, Yu Yu Yang Yang.f in English, numbered 6/9 and dated '79 This sculpture is to be sold with a certificate of authenticity issued by Yuyu Yang Foundation, Taipei.

NT$ 130,000-320,000 HK$ 33,000-82,000 US$ 4,300-10,500

楊英風 月明 1979 不鏽鋼 6/9 65(長) x 25(寬) x 70(高) cm 簽名雕刻左側：呦呦 楊英風 '79 Yu Yu Yang Yang-f 6/9 附財團法人楊英風藝術教育基金會呦呦藝術事業有 限公司開立之原作保證書

350

327 Yuyu YANG

(YANG Ying-feng) (Taiwanese, 1926-1997)

Return to the Beginning 1986 Stainless steel, edition no. 10/20 90(L) x 65(W) x 108(H) cm Engraved on the back Ying-feng in Chinese, numbered 10/20 and dated '86 This sculpture is to be sold with a certificate of authenticity issued by Yuyu Yang Foundation, Taipei.

NT$ 220,000-400,000 HK$ 56,000-102,000 US$ 7,200-13,100

楊英風 回到太初 1986 不鏽鋼 10/20 90(長) x 65(寬) x 108(高) cm 簽名雕刻後方：'86 英風 10/20 附財團法人楊英風藝術教育基金會呦呦藝術事業有 限公司開立之原作保證書

328 Yuyu YANG

(YANG Ying-feng) (Taiwanese, 1926-1997)

Balance & Harmony 1993 Stainless steel, edition no. 7/9 128(L) x 70(W) x 92(H) cm Engraved Yu Yu YANG Ying-feng in Chinese, YuYu YANG Yang F. in English, numbered 7/9 and dated '93 This sculpture is to be sold with a certificate of authenticity issued by Fine Art Center, Tainan.

NT$ 130,000-420,000 HK$ 33,000-107,000 US$ 4,300-13,800

楊英風 厚生 1993 不鏽鋼 7/9 128(長) x 70(寬) x 92(高) cm 簽名雕刻：'93 呦呦 楊英風 Yu Yu YANG Yang F. 7/9 附梵藝術中心開立之原作保證書

352

329 CHANG Geng-hwa + CHANG Keng-hau (Taiwanese, b. 1980); (Taiwanese, b. 1980)

Jido 2007 Fiberglass, edition no. 3/8 29(L) x 24(W) x 55(H) cm Signed on the base Geng Hwa in Chinese and keng hau in English, dated 2007 and numbered 3/8

NT$ 160,000-220,000 HK$ 41,000-56,000 US$ 5,300-7,200

張耿華＋張耿豪 筋斗雲 2007 玻璃纖維 3/8 29(長) x 24(寬) x 55(高) cm 簽名底部：耿華 keng hau 2007 3/8

354

330 HUNG Yi

(Taiwanese, b. 1970)

Cattle 2009 Lacquered steel, edition no. 2/6 91.5(L) x 86.5(W) x 82(H) cm Signed left hind foot Hung Yi in Chinese, numbered 2/6 and dated 2009 This sculpture is to be sold with a certificate of authenticity signed by the artist.

NT$ 300,000-500,000 HK$ 77,000-128,000 US$ 9,900-16,400

洪易 牛 2009 鋼板烤漆 2/6 91.5(長) x 86.5(寬) x 82(高) cm 簽名左後足：洪易 2009 2/6 附藝術家親筆簽名之原作保證書

331 HSIEH Tong-liang (Taiwanese, b. 1949)

Pregnant 1993 Bronze, edition no. 1/6 25(L) x 20(W) x 75(H) cm Engraved on the base Tong-liang in Chinese, numbered 1/6 and dated 1993 EXHIBITED: Hsieh Tong Liang Sculpture, Taiwan Museum of Art, Taichung, April 2-May 8, 1994 ILLUSTRATED: Hsieh Tong Liang Sculpture, Taiwan Museum of Art, Taichung, 1994, color illustrated, pp. 28-29

NT$ 220,000-400,000 HK$ 56,000-102,000 US$ 7,200-13,100

謝棟樑 有喜 1993 銅雕 1/6 25(長) x 20(寬) x 75(高) cm 簽名雕刻底座：1993 棟樑 1/6 展覽： 「謝棟樑雕塑展」，台灣省立美術館，台中，展期 自1994年4月2日至5月8日 圖錄： 《謝棟樑雕塑展—台灣省全省美展永久免審查作家 系列(十八)》，台灣省立美術館，台中，1994，彩色 圖版，頁28-29

356

332 CHU Chen-yung (Taiwanese, b. 1968)

Doll Series – Happy Couples 2013-2014 Ceramic (uniuqe) 14(L) x 15(W) x 36(H) cm (right) 12(L) x 12(W) x 41(H) cm (left) Engraved on the bottom Chu and inscribed a whole lifetime in Chinese, dated 1314 (right) Engraved on the bottom Chu and inscribed a whole lifetime, dated 1314 (left)

NT$ 220,000-320,000 HK$ 56,000-82,000 US$ 7,200-10,500

初陳勇 人形系列—佳偶 2013-2014 陶器 柴燒（單一件） 14(長) x 15(寬) x 36(高) cm （右） 12(長) x 12(寬) x 41(高) cm （左） 簽名雕刻底部：初 1314 一生一世（右） 簽名雕刻底部：初 1314 一生一世（左）

作者在柴燒的專業領域是各界有目共睹的；近十幾年來更是專研於柴 燒技術，更值得一提的是，同為《人形系列—婉約》與另一作品《紅 色的太陽》皆受邀參加巴黎東西方國際藝術展、羅浮宮2014中華藝術 精品展、法國羅浮宮Carrousel卡洛斯廳展出，將台灣陶瓷藝術呈現於國 際藝術殿堂，實為不易，堪稱「台灣之光」！此次拍品《人型系列—佳 偶》，以柴燒燒製而成，作者以成熟的拉坏技巧，一氣呵成後再意象塑 型。由於作者感嘆現今離婚率增高，怨偶頻增，祈願人間多能成就「對 對佳偶」，起念多些正面能量，皆以和諧、相敬、尊重、互持角度對 待，豈不「佳偶天成、成太平盛世」。此外從另一角度來看，中國神話 故事中，女媧以泥塑造人更能合乎本意！ The creator, Chu Chen-yu, is a prominent artist in the field of wood-fired ceramic art. He has been devoted to the research of wood-fired ceramic art techniques for the past ten years. Both his “Doll Series – Gentle and Meek” and “Red Sun” were selected in the Exposition Internationale d’Arts d’Orient et d’Arts Occident de Paris and 2014 Louvre Museum-China Art Treasures Exhibition at Carrousel du Louvre. Bringing ceramic art of Taiwan to the international stage, Chu is truly the pride of Taiwan!

This auction item, “Doll Series – Happy Couples”, is produced by wood firing and integrated with the creator’s fully-developed techniques. The art work simply expresses the artist’s wish that there be more happy couples in a world with a rapidly rising divorce rate. The image of a happy couple implies that a harmonious world comes from happy couples treating each other with respect and mutual understanding. This auction item also corresponds to the Chinese legend that Nüwa created mankind from clay.

333 CAI Zhisong (Chinese, b. 1972)

Silent Warrior 2009 Resin, copperplate, brass wires, edition no. 7/99 16.5(L) x 16(W) x 22(H) cm Engraved lower right Cai Zhisong in English and numbered 7/99 EXHIBITED: Cai Zhisong Solo Exhibition, See+ Gallery, Beijing, July 25-August 28, 2009 Motherland and Roses Cai Zhisong Art Exhibition, Triumph Art Space, Beijing, November 24-December 26, 2010 54th Venice Biennial, Palazzo delle Prigioni Venezia, June 4-November 27, 2011 Solo Exhibition Cai Zhisong, Museum Nasional, Jakarta, June 17-July 24, 2011 Rose – Cai Zhisong Solo Exhibition, Gallery 49, Beijing, June 26-July 27, 2011 This sculpture is to be sold with a certificate of authenticity issued by See+ Gallery, Beijing.

NT$ 140,000-280,000 HK$ 36,000-71,000 US$ 4,600-9,200

358

蔡志松 沈默的武士 2009 樹脂 銅板 銅線 7/99 16.5(長) x 16(寬) x 22(高) cm 簽名右下：Cai Zhisong 7/99 展覽： 「蔡志松作品展」，See+ 畫廊，北京，展期自2009年7月25日至8月28日 「故國與玫瑰—蔡志松藝術展」，藝・凱旋藝術空間，北京，展期自 2010年11月24日至12月26日 「54屆威尼斯雙年展」，普里奇歐尼宮，威尼斯，展期自2011年6月4日 至11月27日 「蔡志松個展」，印尼國家博物館，雅加達，展期自2011年6月17日至 7月24日 「玫瑰—蔡志松作品展」，四九畫廊，北京，展期自2011年6月26日至 7月27日 附See+ 畫廊開立之原作保證書

334 HUANG Po-ren (Taiwanese, b. 1970)

The Patron Saint 2002 Iron (unique) 43(L) x 43(W) x 128.5(H) cm Engraved on the base PR in English and dated 2002.9.22

NT$ 300,000-500,000 HK$ 77,000-128,000 US$ 9,900-16,400

黃柏仁 守護者 2002 鐵雕（單一件） 43(長) x 43(寬) x 128.5(高) cm 簽名雕刻底座：2002.9.22 PR

335 JI Yong Ho

(Korean, b. 1978)

Cat 1 2009 Used tire, stainless steel, wood, polyurethane foam (unique) 46(L) x 164(W) x 43(H) cm Signed back of eyeball J9 in English

NT$ 420,000-600,000 HK$ 107,000-153,000 US$ 13,800-19,700

池龍虎 貓1 2009 舊輪胎 不鏽鋼 木 聚苯乙烯（單一件） 46(長) x 164(寬) x 43(高) cm 簽名眼睛：J9

360

336 JU Ming

(Taiwanese, b. 1938)

Living World Series – Endless

朱銘

2007 Stainless steel, edition no. 158/200 31.9(L) x 24.7(W) x 52.6(H) cm Engraved on the back Ju Ming in Chinese, inscribed Audi A6 Masterpiece, numbered 158/200 and dated 2007

人間系列—生生不息

This sculpture to be sold with a certificate of artwork reproduction issued by Lee Chi Creativity Co., Ltd., Taipei.

NT$ 400,000-500,000 HK$ 102,000-128,000 US$ 13,100-16,400

2007 不鏽鋼 158/200 31.9(長) x 24.7(寬) x 52.6(高) cm 簽名雕刻右後方：朱銘 2007 Audi A6 Masterpiece 158/200 附李記創意股份有限公司限量複製品保證書

337 ZHOU Chunya + Jaime HAYON (Chinese, b. 1955); (Spanish, b. 1974)

Alive 2012 Epoxy resins, lacquer, edition no. 28/88 (sculpture) Lacquered wood, edition no. 28/88 (vitrine) 14(L) x 5(W) x 8(H) cm (x30) 53(L) x 40(W) x 23(H) cm (box) 130(L) x 55(W) x 82(H) cm (vitrine) Signed on the bottom Zhou Chunya in Chinese and numbered 28/88 (each sculpture) Signed on the bottom Jaime Hayon in English and numbered 28/88 (vitrine) EXHIBITED: Alive & Kicking: Zhou Chunya + Jamine Hayon, Museum of Contemporary Art Chengdu, Chengdu, Sichuan, October 24-November 3, 2012 This sculpture is to be sold with a certificate of authenticity signed by the artists.

NT$ 480,000-700,000 HK$ 122,000-179,000 US$ 15,800-23,000

362

周春芽 + 亞米・海因 綠狗 2012 環氧樹脂 亮面漆 28/88（雕塑） 亮面漆木 28/88（玻璃櫃） 14(長) x 5(寬) x 8(高) cm（x30） 53(長) x 40(寬) x 23(高) cm（外盒） 130(長) x 55(寬) x 82(高) cm（玻璃櫃） 簽名底部：周春芽 28/88（每件雕塑） 簽名底部：Jaime Hayon 28/88（玻璃櫃） 展覽： 「爆發的生命力：周春芽＋亞米・海因 」，成都當代美術館，成都， 四川，展期自2012年10月24日至11月3日 附藝術家親筆簽名之原作保證書

338 JU Ming

(Taiwanese, b. 1938)

Living World Series 1996 Unsaturated polyester resin, calcium carbonate, environmentally-friendly water based mineral paint, edition no. 227/300 67(L) x 10.5(W) x 18(H) cm Numbered on the bottom 227/300 This sculpture is to be sold with a certificate of limited reproduction issued by Ju Ming Museum, Taipei.

NT$ 90,000-180,000 HK$ 23,000-46,000 US$ 3,000-5,900

朱銘 人間系列 1996 不飽和聚酯樹脂 碳酸鈣 水性環保礦物顏料 227/300 67(長) x 10.5(寬) x 18(高) cm 版次底部：227/300 附朱銘美術館限量複製品保證書

364

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RAVENEL AUTUMN AUCTION 2014 TAIPEI Modern and Contemporary Asian Art TA1402 Sunday 7 December 2014 at 2:30 pm

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下述規則，為羅芙奧股份有限公司(下稱「本公司」)作為拍賣公司與賣家 訂立合約，亦作為賣家之代理人與買家訂立合約之條款。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 在下列規定中，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」：指買家按落槌價之某一百分比而支付之費用；收費率如 第二條第4a項所列。 7. 「底價」：指本公司與賣家協定之最低價格，拍賣品不能以低於該價之 價格售出。 8. 「膺品」：指拍賣品構成模仿，而模仿之原構想及其整體執行均具有欺 詐意圖，以就拍賣品之作者、來歷、年代、時期、文化或來源進行欺 騙，而對此等事項之正確描述並未在目錄之描述上反映出來，而拍賣品 在拍賣當日之價值，遠低於按照目錄之描述所應有之價值。按此定義， 任何拍賣品均不會因為有任何損壞及／或任何形式之修整（包括重新上 漆）而成為膺品。 9. 「保險值」：指本公司不時按其絕對決定權認為拍賣品所應購買之保險 之價值（不論保險是否由本公司安排購買）。 二、買家 1. 本公司作為代理人 作為拍賣人，本公司以作為賣方代理人之身分行事。除另行協定外，在 本公司之拍賣中成功拍賣之物品，即產生賣家通過本公司之代理與買家 達成之合約。 2. 拍賣前 a. 鑑定物品 本公司鄭重建議，準買家應於拍賣進行之前親自鑑定其有興趣競投之 物品。本公司就任何拍賣品及拍賣證明文件之真偽，均不對買家作任 何保證。 b. 拍品狀況之重要注意事項 請準買家注意，在可能的範圍內，目錄中對於拍賣品特性上之描述， 皆已提及顯著的損壞，惟不包括所有的缺陷、瑕疪與不完整。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，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 以下為本目錄所載符號之說明 ｏ保證項目 拍賣品編號旁註有ｏ符號者，表示賣家已取得本公司保證，可在一次 或一連串拍賣中得到最低出售價格。此保證可由本公司、第三方或由 本公司與第三方共同提供。保證可為由第三方提供之不可撤銷競投之 形式做出。若保證拍賣品成功售出，提供或參與提供保證之第三方可 能會取得財務利益；惟銷售不成功時，則可能會產生虧損。若提供或 參與保證之第三方成功競投保證拍賣品時，他們仍需支付全額的買家 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、出處、保存狀況或估計售 價之陳述，或另行對此等方面之口頭或書面陳述，均僅屬意見之陳 述，不應依據為確實事實之陳述。目錄圖示亦僅作為指引而已，不應 作為任何拍賣項目之依據，藉以決定其顏色或色調，或揭示其缺陷。

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拍賣價格之估計，不應依據為拍賣品會成功拍賣之價格或拍賣品作其 他用途之價值陳述。 許多拍賣品基於其年代或性質，使其未能有完美之狀況，目錄內有些 說明或鑑定意見書會提述拍賣品之損壞及／或修整資料。此等資料僅 作為指引而已，如未有提述此等資料，亦不表示拍賣品並無缺陷或修 整，如已提述特定缺陷，亦不表示並無其他缺陷。 e. 買家之責任 有關物品之狀況以及目錄說明所提述之事項，買家有責任自行查明並 瞭解，並就拍賣品為自己獨立之判斷及評估，並確使自己感到滿意。 3. 拍賣時 a. 買方應繳之營業稅 依據中華民國法律規定，凡進口藝術品由買方在台取貨者，買方需繳 交「落槌價」百分之五的（加值）營業稅。此等進口藝術品（目錄內 有＊符號之編號者），若係於中華民國境外交付買方，並由本公司處 理相關之運貨事宜，則買方無須支付營業稅。買方若欲於中華民國境 外取貨，應於拍賣日後兩個工作天內以書面通知本公司。 b. 估價 目錄內及拍賣當日所提供之美金等貨幣估價，僅為參考依據。本拍賣 會須以新台幣結算，買方如須以新台幣之外其他貨幣繳付，請買方核 實繳付拍賣日當日之匯率，折合所繳付之等值貨幣計算。 c. 拒絕入場 拍賣於本公司之場地進行，或於本公司為拍賣而具有控制權之場地進 行，本公司具有完全之決定權，可行使權利拒絕任何人進入拍賣場地 或參與拍賣。 d. 競投之前作出登記 每一準買家在作出競投之前，必須填妥及簽署登記表格，並提供身分 證明。準買家應注意，本公司通常會要求對買家作出信用核查。 e. 競投者為買家 競投者將被視為買家而須承擔個人法律責任，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，且該第三人復為本公司所 接受者。 f. 委託競投 如準買家使用印於目錄說明之後之表格指示本公司代其競投，本公司 將盡適當努力代其競投，但代為競投指示須於拍賣前送抵本公司。如 本公司就某一拍賣品而收到多個委託競投之相等競投價，而在拍賣時 此等競投價乃該拍賣品之最高競投價，則該拍賣品會歸其委託競投最 先送抵本公司之人。委託競投之承擔受拍賣時之其他承諾所限，而拍 賣進行之情況可能使本公司無法代為競投。由於此項承擔乃本公司為 準買家按所述條款提供之免費服務，如未能按委託作出競投，本公司 將不負任何法律責任。準買家如希望確保競投成功，應親自出席競 投。 g. 電話競投 如準買家於拍賣前與本公司作好安排，本公司將盡適當努力聯絡競投 者，使其能以電話參與競投，但在任何情況下，如未能聯絡或無法參 加電話競投，本公司對賣家或任何準買家均不負任何責任。 h. 透過 LiveAuctioneers 進行網上競投 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。 i. 匯率轉換顯示板 拍賣會中，本公司會使用匯率轉換顯示板。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新台幣競投價之相等外匯， 其準確程度均可能會出現非本公司所能控制之誤差。買家因依賴匯率 轉換顯示板（而非因以新台幣競投）所導致而蒙受之任何損失，本公 司概不負責。 j. 錄映影像 在有些拍賣中會有影像投射，但其操作或會出現錯誤。不論影像是否 與成功拍賣之拍賣品相配合，或是翻版影像之質素，本公司對買家均 不負任何責任。

k. 拍賣官之決定權 拍賣官具有絕對決定權，有權拒絕任何競投、以其決定之方式推動出 價、將任何拍賣品撤回或分批、將任何兩件或多件拍賣品合併，以及 如遇有誤差或爭議，將拍賣品重新拍賣。 l. 成功競投 在拍賣官之決定權下，下槌即顯示對最高競投價之接受，亦即為賣家 與買家之成功拍賣合約之訂立。 4. 拍賣後 a. 買家支付每件拍賣品之佣金費率 1. 買家除支付落槌價外，另須支付佣金予本公司，落槌價於新台幣參 仟貳佰萬元以下者含參仟貳佰萬元以20％計算。 2. 落槌價於新台幣參仟貳佰萬元以上者，採分為二階段計費，其中新 台幣參仟貳佰萬元以20％計算，超過新台幣參仟貳佰萬元之部份 再以12％，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貨物或服務稅或其他增值 稅（不論由台灣政府或別處所徵收）。如有任何此等稅項適用，買家 須負責按有關法律所規定之稅率及時間，自行繳付稅款。 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 日期後七天內悉數支付應支付予本公司之款項（包含落槌價、佣金， 以及任何適用之增值稅）。即使買家希望將拍賣品出口並需要（或可 能需要）出口許可證，此一付款條件亦適用。 買家如未向本公司支付所欠之全部款項，則不能取得拍賣品之所有 權，即使本公司已將拍賣品交付予買家亦然。如支付予本公司之款項 為新台幣以外之貨幣，本公司將向買家收取所引致之任何外匯費用。 這包括銀行收費與兌換貨幣之規費及匯差。以新台幣以外之貨幣付款 予本公司之匯率， 依拍賣日現場公佈之匯率（台灣銀行），並以本 公司就此兌換率而發出之憑證為準。 d. 領取已購拍賣品 除非本公司另有特別相反協定，否則本公司將暫時保留已成功拍賣之 拍賣項目，直至欠本公司之款項已悉數支付為止。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.不付款或未有領取已購拍賣品之補救辦法 如買家並未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超過七天仍未付款，則按不超過台灣銀行基 本利率加10%之年利率收取整筆欠款之利息。此外本公司可同時 按日收取依賣價（含佣金）1％計算之違約金。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。 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。

(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 款項後，方可領取已購拍賣項目。 i. 出口許可證 除本公司另有書面同意外，買家希望申請出口許可證之事實，並不影 響買家在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增值稅。 如買家不管需要有出口許可證之事實而作出付款，本公司並無責任退 還買家因此而引致之任何利息或其他開支。 5. 本公司之法律責任 本公司僅在第二條第6項所列之情況下，得退還款項予買家。除此之 外，不論賣家或本公司，或本公司任何僱員或代理人，對任何拍賣品之 作者、來歷、日期、年代、歸屬、真實性或出處之陳述，或任何其他說 明之誤差，任何拍賣品之任何毛病或缺陷，均不負有任何責任。買家、 本公司、本公司之僱員或代理人，不論是明示或暗示均無就任何拍賣品 作出任何保證。任何種類之任何擔保，均不包含在本條之內。 6. 膺品/贓物之退款 如經本公司拍賣之拍賣品，經本公司書面認可之專業鑑定機構出具鑑定 報告證實為膺品或贓物，則交易將取消，已付之款項於交付賣方前將退 還予買家。但如： 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，或清楚表明有牴觸當時學者或專家普遍接納之意見，或 證明拍賣品為膺品或贓物之方法，只是一種在目錄出版前仍未普遍獲接 納使用之科學程序，或是一種在拍賣日仍屬昂貴得不合理或並不實際或 很可能會對拍賣品造成損壞之程序，則本公司無論如何並無責任退還任 何款項。此外，買家只在滿足下述條件下方可獲得退款： (1) 買家必須在拍賣日起十日內以書面通知本公司，說明買家認為有 關拍賣品乃膺品之詳細理由及證據；且 (2) 買家需於書面通知後十四天內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 (3) 送還拍賣品後，買家須盡快出示證據，足以使本公司確信拍賣品 乃膺品或贓物(本公司保有最終及不可異議之決定權)，買家並可 將拍賣品之完整所有權及相關權利轉讓予本公司，而與任何第三 人之索償無涉。在任何情況下，本公司均毋須向買家支付多於買 家就有關拍賣品而支付之款項，而買家亦不能索取利息。 本擔保之利益不能轉讓，完全屬於拍賣品成功拍賣時獲本公司發給正本 發票之買家所有(該買家名稱被記載於發票上)，該名買家並須自拍賣後 一直保持拍賣品擁有人之身分，而且並無將拍賣品之任何利益讓予任何 第三人。本公司有權依據任何科學程序或其他程序確定拍賣品並非膺 品，不論該程序在拍賣當日是否已使用或已在使用，如本公司驗證拍賣 品是否屬於贗品結果與買家出示證據相衝突者，應以本公司驗證結果為 準。

賣方業務規則請參閱羅芙奧網站 http://ravenel.com http://ravenelart.com.cn

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Transaction Agreement The following provisions are entered into by and between Ravenel Ltd., 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 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 1, Section 5 which 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 Seller 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 that it is unable to 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 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 condition of any of the items. c. Symbol Key The following key explains the symbol you may see inside this catalogue. ○ 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 Lots.

3. In the Auction a. Sales Tax Payable by the Buyer The Buyer shall pay (value added) sales tax in the amount of 5% of the Hammer Price with respect to imported works of art collected by the Buyer in Taiwan pursuant to the laws of the R.O.C. The Buyer is not required to pay sales tax if such imported works of art (with * marks by the number in the catalogue) are delivered to the Buyer outside the R.O.C. and are handled by The Company for the relevant shipments. The Buyer shall notify The Company in writing within two business days following the auction day if he desires to collect the items auctioned outside the R.O.C. b. Estimates The prices in US dollars or other currencies reproduced in the auction and this catalogue are for reference only. The Buyer is requested to pay

by New Taiwan dollars or other foreign currencies in its equivalency based on the exchange rate of the payment day. c. Refusal of Admission The auction is held at the premises of the Company or any location where the Company has control of for the auction. The Company has full discretion to exercise the right to refuse entry to the premises for the auction or to prevent participation in the auction. d. Registration Prior to the Bidding Prospective Buyers must fill in and sign the registration forms prior to the bidding and provide personal identification. Prospective Buyers should also note that the Company may be requested to conduct credit checks against Buyers. e. The Bidder is the Buyer Unless a written agreement has been made upon registration that the bidder will be the agent who acts on behalf of a third person and such third person is accepted by the Company, the bidder will be deemed as the Buyer who will bear individual legal responsibilities. f. Commission Bids The Company will make 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. g. Bid by Phone The Company will make proper effort to contact the bidder so he can participate in the auction by phone if The Prospective Buyer make arrangements with the Company prior to the auction. However, the Company will bear no responsibilities to the Seller or any prospective Buyer if no contact is made or any failure to participate in the auction by phone under any circumstances. h. 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 the Company.com. Bidders using the LiveAuctioneers service are subject to the additional terms and conditions for online bidding via LiveAuctioneers, which can be viewed at the Company.com and be revised by the Company from time to time. i. Exchange Rate Conversion Board There will be an exchange rate conversion board operating at some auctions. Nonetheless, the auction will still be conducted in NT dollars.

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. j. Recorded Images There is image projection in some auctions; however, errors may occur during the operation. The Company is not liable for the color accuracy of the reproduced image and whether the projected image corresponds to the item being auctioned. k. 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, reauction the items. If the auctioneer announces the points for attention before the auction or the bidding, the Buyer shall pay attention for any announcement as its own responsibility. l. Successful Bids Under the discretion of the auctioneer, the fall of the hammer indicates the acceptance of the highest bid price, i.e., the Seller and the Buyer enter into a successful auction agreement. 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 The Buyer’s Premium to the Company. For hammer price below NT$ 32,000,000 (inclusive), the The Buyer’s Premium should be calculated at 20% of the hammer price.

2.For hammer price higher than NT$ 32,000,000, total amount of the The Buyer’s Premium should be that the first NT$ 32,000,000 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 commodity or service taxes or any other value added taxes (whether imposed by the Taiwanese government or elsewhere). The Buyer should be responsible for paying any applicable taxes as required by the law. c. Payment The Buyer should provide his name and permanent address to the Company upon the successful bid. Relevant bank information, including but without limitations the payment account, should also be provided upon request. All payments due (including the hammer price, the 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 NT dollars, the Company will collect from the Buyer any foreign exchange expense incurred therefrom, including bank charges and foreign exchange The Buyer’s Premiums.

The exchange rate of the payments to the Company in any currency other than NT dollars should be the exchange rate reported by the Bank of Taiwan to the Company on the auction date and should be based on the certificates issued by the Company according to such exchange rate. d. Collection of the Lot Sold Unless otherwise agreed by the Company, the Company will hold temporarily the 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 upon expiration of the said 7 days period or from collection of such items (which 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 or Non-Collection of Items Sold The Company is entitled to exercise one or more of the following rights or remedies if the Buyer fails to make payment within 7 days following the auction date: (1)An interest at the annual rate of no higher than 10% plus the base interest rate of Bank of Taiwan will be imposed on all of the payment due if payment is not made within 7 days following the auction date. Beides, 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 may offset 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 purpose including 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 set off 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.

2. The Buyer must return the Lot to the Company within the following 14 days following the said notice and the condition of the item must be the same as on the auction day without any damage.

3. Upon returning the Lot, the Buyer must present evidence as soon as possible to convince the Company that the Lot is a counterfeit（The 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 cannot claim interests.

The interests of the warranty 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.

Please refer to our website for seller’s Transaction Agreement. http://ravenel.com http://ravenelart.com.cn

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